{ "schema_version": 1, "id": "rimsky-harmony", "source_language": "fr", "source_label": "French", "title": "Traité d'harmonie théorique et pratique", "work_title": "Practical Manual of Harmony", "author": "Nikolai Rimsky-Korsakov", "reader_title": "Rimsky-Korsakov · Practical Manual of Harmony", "share_attribution": "N. Rimsky-Korsakov · Traité d'harmonie (1886; French translation 1910)", "status": "complete-review-draft", "edition_note": "Complete source-compared AI draft of the 1910 French edition (Dorfmann), with a new English translation. Source scans remain authoritative; no human verification claimed.", "notation_note": "Music examples are transcribed from the 1910 Leduc source. Uncertain or unsupported notation stays marked for review. No modern translation is reused.", "verification_status": "needs-review", "reading_versions": [ "en", "fr", "both" ], "source_pdf": "https://s9.imslp.org/files/imglnks/usimg/e/ec/IMSLP469495-PMLP222589-traitdharmonie-rimsky.pdf", "source_sha256": "6871d1a25d63932d91c30a361336c5fe827993a40f83f4b5cab0c393a53e8193", "normalization": [ "Source spelling retained; line-end hyphenation and drop capitals normalized after source comparison. Running page numbers and plate numbers (A.L.14,464) are page furniture retained in the scans.", "English is a new AI translation of the French source (Dorfmann, 1910), itself a translation of the Russian original; no published English translation is copied." ], "blocks": [ { "id": "rh-title", "type": "heading", "original": "Traité d'harmonie théorique et pratique de N. Rimsky-Korsakoff", "english": "Rimsky-Korsakov · Practical Manual of Harmony", "reading_order": 1, "section": "prefaces", "sources": [ { "pdf_page": 7, "source_image": "source-pages/007.png", "printed_label": "Title page" } ] }, { "id": "rh-edition", "type": "paragraph", "original": "Traduction française de Félix Dorfmann. Alphonse Leduc, Éditions Musicales, 3, Rue de Grammont, Paris. Tous droits de Reproduction, d'Exécution et de Traduction réservés pour tous pays. Copyright 1910, by Emile Leduc, P. Bertrand et Cie.", "english": "French translation by Félix Dorfmann. Alphonse Leduc, music publishers, 3 rue de Grammont, Paris. All rights of reproduction, performance and translation reserved for all countries. Copyright 1910 by Emile Leduc, P. Bertrand & Co.", "reading_order": 2, "section": "prefaces", "sources": [ { "pdf_page": 7, "source_image": "source-pages/007.png", "printed_label": "Title page" } ] }, { "id": "rh-prefaces-001", "type": "heading", "original": "Préface de la Première Édition", "english": "Preface to the First Edition", "reading_order": 3, "section": "prefaces", "sources": [ { "pdf_page": 9, "source_image": "source-pages/009.png", "printed_page": 1 } ] }, { "id": "rh-prefaces-002", "type": "paragraph", "original": "Dans la plupart des traités d'harmonie on trouve des analyses détaillées sur les différents accords et leur résolution, l'emploi (actuellement peu nécessaire) d'une clef différente pour chaque partie, et des notions sur la basse chiffrée; on y rencontre aussi le soin apporté par les auteurs à l'explication de tout fait harmonique, p. ex.: les raisons qui défendent les quintes consécutives, etc. mais à vrai dire, on y trouve peu ou presque pas d'instruction pédagogique sur la réalisation d'un chant et le bon choix des accords.", "english": "Most treatises on harmony contain detailed analyses of the various chords and their resolution, the use (hardly necessary nowadays) of a different clef for each part, and notes on figured bass; one also finds the care their authors take to explain every harmonic fact — for example, the reasons that forbid consecutive fifths, and so on. But in truth they offer little or almost no teaching on how to harmonize a melody or how to choose chords well.", "reading_order": 4, "section": "prefaces", "sources": [ { "pdf_page": 9, "source_image": "source-pages/009.png", "printed_page": 1 } ] }, { "id": "rh-prefaces-003", "type": "paragraph", "original": "En général, les traités, tout en exposant comme moyen modulant les différents accords dissonants, omettent le véritable principe de la modulation: l'affinité des tons et les accords communs.", "english": "In general, while these treatises present the various dissonant chords as means of modulation, they omit the true principle of modulation: the relationship of keys and the chords they share.", "reading_order": 5, "section": "prefaces", "sources": [ { "pdf_page": 9, "source_image": "source-pages/009.png", "printed_page": 1 } ] }, { "id": "rh-prefaces-004", "type": "paragraph", "original": "Il arrive très souvent que l'élève, après s'être familiarisé avec toutes les règles de ces traités, ne sait comment s'y prendre pour réaliser un chant, composer un prélude de quelques mesures ou moduler dans un ton quelconque; ses modulations sont dures et inattendues, et ses enchaînements, même ceux des accords consonants, sont plats et incohérents.", "english": "It very often happens that a pupil who has mastered every rule in these treatises still does not know how to set about harmonizing a melody, composing a prelude of a few bars, or modulating to any given key; his modulations are harsh and abrupt, and his progressions — even those of consonant chords — are flat and incoherent.", "reading_order": 6, "section": "prefaces", "sources": [ { "pdf_page": 9, "source_image": "source-pages/009.png", "printed_page": 1 } ] }, { "id": "rh-prefaces-005", "type": "paragraph", "original": "Tout en ayant la conviction que mon manuel n'est pas dépourvu d'imperfections, je crois avoir réussi à exposer, avec clarté et assez complètement, les procédés de réalisation d'un chant et ceux de la modulation, en partant des moyens les plus simples pour arriver graduellement aux plus complexes. Pour ce travail je dois un tribut de reconnaissance à la collaboration amicale de Monsieur Anatolia Konstantinovitch Liadoff auquel je dédie mon ouvrage.", "english": "Though I am convinced that my manual is not without its imperfections, I believe I have succeeded in setting out, clearly and fairly completely, the methods of harmonizing a melody and of modulating, starting from the simplest means and proceeding gradually to the most complex. For this work I owe a debt of gratitude to the friendly collaboration of Anatoly Konstantinovich Liadov, to whom I dedicate the book.", "reading_order": 7, "section": "prefaces", "sources": [ { "pdf_page": 9, "source_image": "source-pages/009.png", "printed_page": 1 } ] }, { "id": "rh-prefaces-006", "type": "paragraph", "original": "Mon but se résume en quelques lignes.", "english": "My aim can be summed up in a few lines.", "reading_order": 8, "section": "prefaces", "sources": [ { "pdf_page": 9, "source_image": "source-pages/009.png", "printed_page": 1 } ] }, { "id": "rh-prefaces-007", "type": "paragraph", "original": "Iº Rédiger en peu de mots les principes de notre science.", "english": "1. To set down the principles of our science in few words.", "reading_order": 9, "section": "prefaces", "sources": [ { "pdf_page": 9, "source_image": "source-pages/009.png", "printed_page": 1 } ] }, { "id": "rh-prefaces-008", "type": "paragraph", "original": "IIº Adapter mon ouvrage au Cours d'Harmonie du Conservatoire de St Pétersbourg et des autres écoles russes.", "english": "2. To fit the book to the harmony course of the St Petersburg Conservatory and the other Russian schools.", "reading_order": 10, "section": "prefaces", "sources": [ { "pdf_page": 9, "source_image": "source-pages/009.png", "printed_page": 1 } ] }, { "id": "rh-prefaces-009", "type": "paragraph", "original": "IIIº Indiquer à l'élève le moyen de poursuivre ses études, autant que possible, sans l'aide continuelle du professeur.", "english": "3. To show the pupil how to continue his studies, as far as possible, without the constant help of a teacher.", "reading_order": 11, "section": "prefaces", "sources": [ { "pdf_page": 9, "source_image": "source-pages/009.png", "printed_page": 1 } ] }, { "id": "rh-prefaces-010", "type": "paragraph", "original": "Mes modèles harmoniques et mes devoirs sont en nombre suffisant; mais l'élève doit en composer personnellement d'après mes exemples.", "english": "My harmonic models and exercises are sufficient in number, but the pupil should also compose his own on the pattern of my examples.", "reading_order": 12, "section": "prefaces", "sources": [ { "pdf_page": 9, "source_image": "source-pages/009.png", "printed_page": 1 } ] }, { "id": "rh-prefaces-011", "type": "paragraph", "original": "Pour les réalisations, j'adopte dans mon manuel l'emploi des quatre parties; pour ce qui concerne les pauses, les entrées successives des parties, les imitations, l'emploi des motifs, les différentes figures d'accompagnement, je renvoie l'élève aux études du contrepoint et de la composition libre sous toutes ses formes.", "english": "For the realizations in this manual I use four parts. For rests, staggered entries of the parts, imitation, the use of motives and the various accompaniment figures, I refer the pupil to the study of counterpoint and of free composition in all its forms.", "reading_order": 13, "section": "prefaces", "sources": [ { "pdf_page": 9, "source_image": "source-pages/009.png", "printed_page": 1 } ] }, { "id": "rh-prefaces-012", "type": "paragraph", "original": "L'élève qui s'adonne à l'étude du contrepoint, en terminant le cours d'harmonie, doit pouvoir:", "english": "On finishing the harmony course and taking up counterpoint, the pupil should be able:", "reading_order": 14, "section": "prefaces", "sources": [ { "pdf_page": 9, "source_image": "source-pages/009.png", "printed_page": 1 } ] }, { "id": "rh-prefaces-013", "type": "paragraph", "original": "1) Réaliser un choral en accords plaqués dans le style rigoureux. (ex. p. 50)", "english": "1) To harmonize a chorale in block chords in the strict style (example, p. 50).", "reading_order": 15, "section": "prefaces", "sources": [ { "pdf_page": 9, "source_image": "source-pages/009.png", "printed_page": 1 } ] }, { "id": "rh-prefaces-014", "type": "paragraph", "original": "2) Réaliser un choral avec l'ornement rigoureux des trois parties inférieures sans modification du chant. (ex. p. 68)", "english": "2) To harmonize a chorale with strict melodic decoration in the three lower parts, leaving the melody unchanged (example, p. 68).", "reading_order": 16, "section": "prefaces", "sources": [ { "pdf_page": 9, "source_image": "source-pages/009.png", "printed_page": 1 } ] }, { "id": "rh-prefaces-015", "type": "paragraph", "original": "3) Réaliser un choral librement, avec des accords dissonants et polytoniques. (ex. p. 81)", "english": "3) To harmonize a chorale freely, with dissonant chords and chords from several keys (example, p. 81).", "reading_order": 17, "section": "prefaces", "sources": [ { "pdf_page": 9, "source_image": "source-pages/009.png", "printed_page": 1 } ] }, { "id": "rh-prefaces-016", "type": "paragraph", "original": "4) Réaliser un chant contenant l'ornement libre. (ex. p. 70, 71 et 80)", "english": "4) To harmonize a melody that contains free melodic decoration (examples, pp. 70, 71 and 80).", "reading_order": 18, "section": "prefaces", "sources": [ { "pdf_page": 9, "source_image": "source-pages/009.png", "printed_page": 1 } ] }, { "id": "rh-prefaces-017", "type": "paragraph", "original": "5) Composer un devoir, modulant graduellement par accords plaqués. (ex. p. 52 et 53)", "english": "5) To compose an exercise that modulates gradually in block chords (examples, pp. 52 and 53).", "reading_order": 19, "section": "prefaces", "sources": [ { "pdf_page": 9, "source_image": "source-pages/009.png", "printed_page": 1 } ] }, { "id": "rh-prefaces-018", "type": "paragraph", "original": "6) Composer un prélude modulant, autant que possible en coupe ternaire, en donnant un sens mélodique aux parties et surtout à la partie supérieure. (ex. p. 83)", "english": "6) To compose a modulating prelude, in ternary form where possible, giving melodic sense to the parts and above all to the top part (example, p. 83).", "reading_order": 20, "section": "prefaces", "sources": [ { "pdf_page": 10, "source_image": "source-pages/010.png", "printed_page": 2 } ] }, { "id": "rh-prefaces-019", "type": "paragraph", "original": "7) Faire quelques variations harmoniques sur un thème donné. (ex. p. 84)", "english": "7) To write a few harmonic variations on a given theme (example, p. 84).", "reading_order": 21, "section": "prefaces", "sources": [ { "pdf_page": 10, "source_image": "source-pages/010.png", "printed_page": 2 } ] }, { "id": "rh-prefaces-020", "type": "paragraph", "original": "En outre, l'élève doit pouvoir jouer au piano toute modulation graduelle et subite ainsi que préluder dans n'importe quel ton, de préférence à quatre parties; exécuter enfin différentes marches et successions harmoniques.", "english": "In addition, the pupil should be able to play any gradual or sudden modulation at the piano, to improvise a prelude in any key, preferably in four parts, and finally to play various sequences and harmonic progressions.", "reading_order": 22, "section": "prefaces", "sources": [ { "pdf_page": 10, "source_image": "source-pages/010.png", "printed_page": 2 } ] }, { "id": "rh-prefaces-021", "type": "paragraph", "original": "L'élève qui étudie spécialement la composition, s'il n'est pas trop surchargé par d'autres études musicales, peut apprendre notre cours d'harmonie en l'espace d'une année scolaire.", "english": "A pupil who is studying composition in particular, if not overburdened with other musical studies, can learn our harmony course within one school year.", "reading_order": 23, "section": "prefaces", "sources": [ { "pdf_page": 10, "source_image": "source-pages/010.png", "printed_page": 2 } ] }, { "id": "rh-prefaces-022", "type": "paragraph", "original": "Pour s'adonner aux études d'harmonie, il est indispensable de connaître la théorie élémentaire, avoir une bonne oreille musicale, pouvoir solfier couramment, reconnaître sans hésitation les intervalles et enfin savoir jouer du piano. Mais si l'on étudie l'harmonie pour compléter une éducation musicale le cours peut être notablement réduit.", "english": "To take up the study of harmony one must know elementary theory, have a good musical ear, sight-sing fluently, recognize intervals without hesitation, and play the piano. If harmony is studied only to round out a general musical education, however, the course can be considerably shortened.", "reading_order": 24, "section": "prefaces", "sources": [ { "pdf_page": 10, "source_image": "source-pages/010.png", "printed_page": 2 } ] }, { "id": "rh-prefaces-023", "type": "paragraph", "original": "Tous les devoirs se trouvent à la fin du volume avec le numéro d'ordre indiqué au fur et à mesure après chaque explication théorique.", "english": "All the exercises are at the end of the volume; their numbers are given in turn after each theoretical explanation.", "reading_order": 25, "section": "prefaces", "sources": [ { "pdf_page": 10, "source_image": "source-pages/010.png", "printed_page": 2 } ] }, { "id": "rh-prefaces-024", "type": "paragraph", "original": "N. Rimsky-Korsakoff. St Pétersbourg 1886.", "english": "N. Rimsky-Korsakov. St Petersburg, 1886.", "reading_order": 26, "section": "prefaces", "sources": [ { "pdf_page": 10, "source_image": "source-pages/010.png", "printed_page": 2 } ] }, { "id": "rh-prefaces-025", "type": "heading", "original": "Préface de la Troisième Édition", "english": "Preface to the Third Edition", "reading_order": 27, "section": "prefaces", "sources": [ { "pdf_page": 10, "source_image": "source-pages/010.png", "printed_page": 2 } ] }, { "id": "rh-prefaces-026", "type": "paragraph", "original": "Dans la présente édition j'ai ajouté, entre autres, les compléments suivants qui sont nécessaires en pratique: quintes et octaves cachées, demi-cadence plagale, accord parfait du second degré et son accord de septième; marches ascendantes ainsi que quelques explications sur l'établissement des plans modulants. Quelques chapitres ont changé de place, d'autres, ayant pour l'élève une signification moins importante, sont imprimés en petits caractères; enfin le nombre des devoirs est augmenté de plusieurs chorals.", "english": "To this edition I have added, among other things, the following material, which is needed in practice: hidden fifths and octaves, the plagal half cadence, the triad on the second degree and its seventh chord, ascending sequences, and some explanation of how to lay out a modulation plan. Some chapters have been moved; others, less important for the pupil, are printed in small type; and several chorales have been added to the exercises.", "reading_order": 28, "section": "prefaces", "sources": [ { "pdf_page": 10, "source_image": "source-pages/010.png", "printed_page": 2 } ] }, { "id": "rh-prefaces-027", "type": "paragraph", "original": "N. R. K. St Pétersbourg 1893.", "english": "N. R.-K. St Petersburg, 1893.", "reading_order": 29, "section": "prefaces", "sources": [ { "pdf_page": 10, "source_image": "source-pages/010.png", "printed_page": 2 } ] }, { "id": "rh-prefaces-028", "type": "heading", "original": "Note du Traducteur", "english": "Translator's Note", "reading_order": 30, "section": "prefaces", "sources": [ { "pdf_page": 11, "source_image": "source-pages/011.png", "printed_page": 3 } ] }, { "id": "rh-prefaces-029", "type": "paragraph", "original": "Notre inexprimable sentiment de satisfaction pour l'honneur que l'éminent chef de l'école russe a daigné nous accorder, en nous confiant la tâche délicate mais plus encore séduisante et flatteuse de la traduction de son Manuel d'Harmonie, devait malheureusement être amoindri par le vif regret de la perte douloureuse autant que prématurée de notre illustre maître vénéré.", "english": "Our inexpressible satisfaction at the honour the eminent head of the Russian school did us, in entrusting us with the delicate — but still more attractive and flattering — task of translating his Manual of Harmony, was sadly diminished by our keen regret at the painful and premature loss of our illustrious and revered master.", "reading_order": 31, "section": "prefaces", "sources": [ { "pdf_page": 11, "source_image": "source-pages/011.png", "printed_page": 3 } ] }, { "id": "rh-prefaces-030", "type": "paragraph", "original": "Le monde musical français connaît Nicolas Andrevitch, ce génie créateur; notre but dans ce travail de traduction, est de faire connaître le théoricien et de vulgariser en France, comme on l'a fait en Allemagne, son incomparable méthode pédagogique.", "english": "The French musical world knows Nikolai Andreyevich as a creative genius; our aim in this translation is to make the theorist known as well, and to spread his incomparable teaching method in France, as has been done in Germany.", "reading_order": 32, "section": "prefaces", "sources": [ { "pdf_page": 11, "source_image": "source-pages/011.png", "printed_page": 3 } ] }, { "id": "rh-prefaces-031", "type": "paragraph", "original": "Nous croyons inutile d'insister sur les avantages généraux de ce Manuel et particulièrement sur l'ingénieuse habileté avec laquelle s'y trouve traitée la partie la plus importante de l'Harmonie, la modulation.", "english": "We think it needless to dwell on the general merits of this Manual, and in particular on the ingenious skill with which it treats the most important part of harmony: modulation.", "reading_order": 33, "section": "prefaces", "sources": [ { "pdf_page": 11, "source_image": "source-pages/011.png", "printed_page": 3 } ] }, { "id": "rh-prefaces-032", "type": "paragraph", "original": "Le nom seul de l'auteur qui à une science solide joignait une rare modestie, doit suffire à présenter et recommander cet ouvrage destiné à rendre de réels services aussi bien aux professionnels qu'aux amateurs de notre science musicale.", "english": "The name of its author alone — a man who joined sound learning to rare modesty — should be enough to introduce and recommend a work meant to be of real service to professionals and amateurs of musical science alike.", "reading_order": 34, "section": "prefaces", "sources": [ { "pdf_page": 11, "source_image": "source-pages/011.png", "printed_page": 3 } ] }, { "id": "rh-prefaces-033", "type": "paragraph", "original": "De notre part, tous nos efforts se sont portés sur une traduction aussi exacte et aussi fidèle que possible, et si parfois les exigences de la langue nous ont obligé à nous éloigner quelque peu du texte russe, nous nous sommes efforcé de suppléer à cet inconvénient par des remarques qui remplaceront ces légères et inévitables imperfections.", "english": "For our part, we have aimed at a translation as exact and faithful as possible; where the demands of the language obliged us to depart slightly from the Russian text, we have tried to make up for it with remarks that will stand in for these slight and unavoidable imperfections.", "reading_order": 35, "section": "prefaces", "sources": [ { "pdf_page": 11, "source_image": "source-pages/011.png", "printed_page": 3 } ] }, { "id": "rh-prefaces-034", "type": "paragraph", "original": "Félix Dorfmann", "english": "Félix Dorfmann", "reading_order": 36, "section": "prefaces", "sources": [ { "pdf_page": 11, "source_image": "source-pages/011.png", "printed_page": 3 } ] }, { "id": "rh-intro-001", "type": "heading", "original": "Introduction", "english": "Introduction", "reading_order": 37, "section": "introduction", "sources": [ { "pdf_page": 12, "source_image": "source-pages/012.png", "printed_page": 4 } ] }, { "id": "rh-intro-002", "type": "paragraph", "original": "On appelle accord l'émission simultanée de trois, quatre ou cinq sons différents superposés ou pouvant être superposés en intervalles de tierces, par exemple:", "english": "A chord is the simultaneous sounding of three, four or five different notes that are stacked, or can be stacked, in thirds. For example, the notes", "reading_order": 38, "section": "introduction", "sources": [ { "pdf_page": 12, "source_image": "source-pages/012.png", "printed_page": 4 } ] }, { "id": "rh-002-ex01", "type": "music", "original": "[Exemple]", "english": "Three notes: C, G, E", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 39, "section": "introduction", "sources": [ { "pdf_page": 12, "source_image": "source-pages/012.png", "printed_page": 4 } ], "asset_refs": [ "rh-002-ex01" ] }, { "id": "rh-intro-003", "type": "paragraph", "original": "peuvent être disposés en intervalles de tierces:", "english": "can be arranged in thirds:", "reading_order": 40, "section": "introduction", "sources": [ { "pdf_page": 12, "source_image": "source-pages/012.png", "printed_page": 4 } ] }, { "id": "rh-002-ex02", "type": "music", "original": "[Exemple]", "english": "The same notes stacked in thirds: C–E–G", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 41, "section": "introduction", "sources": [ { "pdf_page": 12, "source_image": "source-pages/012.png", "printed_page": 4 } ], "asset_refs": [ "rh-002-ex02" ] }, { "id": "rh-intro-004", "type": "paragraph", "original": "et leur émission simultanée forme un accord.", "english": "and when they sound together they form a chord.", "reading_order": 42, "section": "introduction", "sources": [ { "pdf_page": 12, "source_image": "source-pages/012.png", "printed_page": 4 } ] }, { "id": "rh-intro-005", "type": "paragraph", "original": "Au contraire les sons:", "english": "By contrast, the notes", "reading_order": 43, "section": "introduction", "sources": [ { "pdf_page": 12, "source_image": "source-pages/012.png", "printed_page": 4 } ] }, { "id": "rh-002-ex03", "type": "music", "original": "[Exemple]", "english": "Four notes: E, D, B, C", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 44, "section": "introduction", "sources": [ { "pdf_page": 12, "source_image": "source-pages/012.png", "printed_page": 4 } ], "asset_refs": [ "rh-002-ex03" ] }, { "id": "rh-intro-006", "type": "paragraph", "original": "ne pouvant être disposés en intervalle de tierce:", "english": "which cannot be arranged in thirds,", "reading_order": 45, "section": "introduction", "sources": [ { "pdf_page": 12, "source_image": "source-pages/012.png", "printed_page": 4 } ] }, { "id": "rh-002-ex04", "type": "music", "original": "[Exemple] etc.", "english": "The same notes in combinations that are not stacks of thirds, etc.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 46, "section": "introduction", "sources": [ { "pdf_page": 12, "source_image": "source-pages/012.png", "printed_page": 4 } ], "asset_refs": [ "rh-002-ex04" ] }, { "id": "rh-intro-007", "type": "paragraph", "original": "ne constituent pas un accord, mais leur émission simultanée présente un ensemble occasionnel.", "english": "do not form a chord; sounded together they make only an incidental combination (ensemble occasionnel).", "reading_order": 47, "section": "introduction", "sources": [ { "pdf_page": 12, "source_image": "source-pages/012.png", "printed_page": 4 } ] }, { "id": "rh-intro-008", "type": "paragraph", "original": "L'accord, étant constitué de tierces superposées, il est évident que ses sons représentent une tierce, une quinte, une septième ou une neuvième relativement à la note inférieure ou basse, et forment ainsi la disposition directe, d'où le nom d'accord direct ou fondamental.", "english": "Since a chord is built of stacked thirds, its notes clearly lie a third, fifth, seventh or ninth above the lowest note, or bass. They thus form the direct arrangement, hence the name direct or fundamental chord (root position).", "reading_order": 48, "section": "introduction", "sources": [ { "pdf_page": 12, "source_image": "source-pages/012.png", "printed_page": 4 } ] }, { "id": "rh-intro-009", "type": "paragraph", "original": "Si, en plus des intervalles énoncés précédemment (tierce, quinte, septième) nous trouvons une quarte, une seconde ou une sixte par rapport à la basse, la nouvelle agrégation de notes est appelée renversement.", "english": "If, besides the intervals just named (third, fifth, seventh), we find a fourth, a second or a sixth above the bass, the new grouping of notes is called an inversion.", "reading_order": 49, "section": "introduction", "sources": [ { "pdf_page": 12, "source_image": "source-pages/012.png", "printed_page": 4 } ] }, { "id": "rh-002-ex05", "type": "music", "original": "Accord fondamental", "english": "Fundamental chord", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 50, "section": "introduction", "sources": [ { "pdf_page": 12, "source_image": "source-pages/012.png", "printed_page": 4 } ], "asset_refs": [ "rh-002-ex05" ] }, { "id": "rh-002-ex06", "type": "music", "original": "Renversement", "english": "Inversion", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 51, "section": "introduction", "sources": [ { "pdf_page": 13, "source_image": "source-pages/013.png", "printed_page": 5 } ], "asset_refs": [ "rh-002-ex06" ] }, { "id": "rh-intro-010", "type": "paragraph", "original": "On compte trois accords fondamentaux:", "english": "There are three fundamental chords:", "reading_order": 52, "section": "introduction", "sources": [ { "pdf_page": 13, "source_image": "source-pages/013.png", "printed_page": 5 } ] }, { "id": "rh-002-ex07", "type": "music", "original": "L'accord de trois sons", "english": "The triad (chord of three notes)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 53, "section": "introduction", "sources": [ { "pdf_page": 13, "source_image": "source-pages/013.png", "printed_page": 5 } ], "asset_refs": [ "rh-002-ex07" ] }, { "id": "rh-002-ex08", "type": "music", "original": "L'accord de septième", "english": "The seventh chord", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 54, "section": "introduction", "sources": [ { "pdf_page": 13, "source_image": "source-pages/013.png", "printed_page": 5 } ], "asset_refs": [ "rh-002-ex08" ] }, { "id": "rh-002-ex09", "type": "music", "original": "L'accord de neuvième", "english": "The ninth chord", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 55, "section": "introduction", "sources": [ { "pdf_page": 13, "source_image": "source-pages/013.png", "printed_page": 5 } ], "asset_refs": [ "rh-002-ex09" ] }, { "id": "rh-intro-011", "type": "paragraph", "original": "Toute émission simultanée, ayant plus de cinq sons, est considérée comme un ensemble occasionnel.", "english": "Any simultaneous sounding of more than five notes is regarded as an incidental combination.", "reading_order": 56, "section": "introduction", "sources": [ { "pdf_page": 13, "source_image": "source-pages/013.png", "printed_page": 5 } ] }, { "id": "rh-intro-012", "type": "paragraph", "original": "L'accord contenant un intervalle dissonant (accord dissonant) exige une succession sur une consonance ou sur un accord consonant, et cette succession est appelée résolution.", "english": "A chord containing a dissonant interval (a dissonant chord) requires a move to a consonance or to a consonant chord; this move is called its resolution.", "reading_order": 57, "section": "introduction", "sources": [ { "pdf_page": 13, "source_image": "source-pages/013.png", "printed_page": 5 } ] }, { "id": "rh-intro-013", "type": "paragraph", "original": "On appelle succession, une suite de deux ou plusieurs accords. L'harmonie est donc l'étude de l'enchaînement des accords, de leur ensemble occasionnel et de leur emploi dans la composition musicale.", "english": "A succession is a series of two or more chords. Harmony is therefore the study of how chords are connected, of incidental combinations of notes, and of their use in musical composition.", "reading_order": 58, "section": "introduction", "sources": [ { "pdf_page": 13, "source_image": "source-pages/013.png", "printed_page": 5 } ] }, { "id": "rh-ch01-001", "type": "heading", "original": "Chapitre I. Notions élémentaires", "english": "Chapter I. Elementary Notions", "reading_order": 59, "section": "ch01", "sources": [ { "pdf_page": 14, "source_image": "source-pages/014.png", "printed_page": 6 } ] }, { "id": "rh-ch01-002", "type": "heading", "original": "Accords de trois sons", "english": "Triads", "reading_order": 60, "section": "ch01", "sources": [ { "pdf_page": 14, "source_image": "source-pages/014.png", "printed_page": 6 } ] }, { "id": "rh-ch01-003", "type": "paragraph", "original": "§ 1. — On appelle accord de trois sons celui qui est formé d'une fondamentale, d'une tierce et d'une quinte. Suivant la composition de ces intervalles, les accords de trois sons peuvent être classés en quatre espèces:", "english": "§ 1. A triad (chord of three notes) is one formed of a root, a third and a fifth. According to the make-up of these intervals, triads fall into four kinds:", "reading_order": 61, "section": "ch01", "sources": [ { "pdf_page": 14, "source_image": "source-pages/014.png", "printed_page": 6 } ] }, { "id": "rh-003-ex01", "type": "music", "original": "a b c d", "english": "The four kinds of triad on C: a) C–E–G, b) C–E♭–G, c) C–E♭–G♭, d) C–E–G♯", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 62, "section": "ch01", "sources": [ { "pdf_page": 14, "source_image": "source-pages/014.png", "printed_page": 6 } ], "asset_refs": [ "rh-003-ex01" ] }, { "id": "rh-ch01-004", "type": "paragraph", "original": "a) L'accord de trois sons, formé d'une tierce majeure et d'une quinte juste, ou d'une tierce majeure superposée d'une tierce mineure est appelé accord parfait majeur.", "english": "a) A triad formed of a major third and a perfect fifth — that is, a major third with a minor third above it — is called a major triad (accord parfait majeur).", "reading_order": 63, "section": "ch01", "sources": [ { "pdf_page": 14, "source_image": "source-pages/014.png", "printed_page": 6 } ] }, { "id": "rh-ch01-005", "type": "paragraph", "original": "b) L'accord de trois sons, formé d'une tierce mineure et d'une quinte juste, ou d'une tierce mineure superposée d'une tierce majeure est appelé accord parfait mineur.", "english": "b) A triad formed of a minor third and a perfect fifth — a minor third with a major third above it — is called a minor triad (accord parfait mineur).", "reading_order": 64, "section": "ch01", "sources": [ { "pdf_page": 14, "source_image": "source-pages/014.png", "printed_page": 6 } ] }, { "id": "rh-ch01-006", "type": "paragraph", "original": "c) L'accord de trois sons, formé d'une tierce mineure et d'une quinte diminuée, ou de deux tierces mineures est appelé accord de quinte diminuée.", "english": "c) A triad formed of a minor third and a diminished fifth — two minor thirds — is called a diminished triad (chord of the diminished fifth).", "reading_order": 65, "section": "ch01", "sources": [ { "pdf_page": 14, "source_image": "source-pages/014.png", "printed_page": 6 } ] }, { "id": "rh-ch01-007", "type": "paragraph", "original": "d) L'accord de trois sons, formé d'une tierce majeure et d'une quinte augmentée, ou de deux tierces majeures est appelé accord de quinte augmentée.", "english": "d) A triad formed of a major third and an augmented fifth — two major thirds — is called an augmented triad (chord of the augmented fifth).", "reading_order": 66, "section": "ch01", "sources": [ { "pdf_page": 14, "source_image": "source-pages/014.png", "printed_page": 6 } ] }, { "id": "rh-ch01-008", "type": "paragraph", "original": "Ces deux derniers accords contenant des intervalles dissonants de quinte diminuée et augmentée sont appelés dissonants.", "english": "These last two chords, which contain the dissonant intervals of the diminished and augmented fifth, are called dissonant.", "reading_order": 67, "section": "ch01", "sources": [ { "pdf_page": 14, "source_image": "source-pages/014.png", "printed_page": 6 } ] }, { "id": "rh-ch01-009", "type": "paragraph", "original": "Remarque. — L'accord de quinte augmentée étant fort dissonant et de caractère indéterminé, nous ne nous en occuperons pas jusqu'au chapitre V (des accords altérés enharmoniques et des successions polytoniques) comme accord indépendant. De même l'accord de septième avec quinte augmentée sera considéré plutôt comme ensemble occasionnel que comme accord indépendant.", "english": "Remark. Because the augmented triad is very dissonant and indefinite in character, we shall not deal with it as an independent chord until Chapter V (altered enharmonic chords and successions between keys). Likewise, the seventh chord with an augmented fifth will be treated as an incidental combination rather than as an independent chord.", "reading_order": 68, "section": "ch01", "sources": [ { "pdf_page": 14, "source_image": "source-pages/014.png", "printed_page": 6 } ] }, { "id": "rh-ch01-010", "type": "paragraph", "original": "§ 2. — Chaque accord de trois sons a deux renversements: L'accord de sixte qui s'indique par le chiffre 6 et l'accord de quarte et sixte qui s'indique par 6/4.", "english": "§ 2. Every triad has two inversions: the chord of the sixth (first inversion), figured 6, and the chord of the fourth and sixth (second inversion), figured 6/4.", "reading_order": 69, "section": "ch01", "sources": [ { "pdf_page": 14, "source_image": "source-pages/014.png", "printed_page": 6 } ] }, { "id": "rh-003-ex02", "type": "music", "original": "Accord de trois sons dans son état fondamental", "english": "Triad in root position", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 70, "section": "ch01", "sources": [ { "pdf_page": 14, "source_image": "source-pages/014.png", "printed_page": 6 } ], "asset_refs": [ "rh-003-ex02" ] }, { "id": "rh-003-ex03", "type": "music", "original": "Premier renversement ou accord de sixte", "english": "First inversion, or chord of the sixth", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 71, "section": "ch01", "sources": [ { "pdf_page": 14, "source_image": "source-pages/014.png", "printed_page": 6 } ], "asset_refs": [ "rh-003-ex03" ] }, { "id": "rh-003-ex04", "type": "music", "original": "Deuxième renversement ou accord de quarte et sixte", "english": "Second inversion, or chord of the fourth and sixth", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 72, "section": "ch01", "sources": [ { "pdf_page": 14, "source_image": "source-pages/014.png", "printed_page": 6 } ], "asset_refs": [ "rh-003-ex04" ] }, { "id": "rh-ch01-011", "type": "paragraph", "original": "De la note de basse dépend la dénomination du renversement qui ne change pas, quelle que soit la disposition des notes supérieures; ainsi, on appelle accord de sixte celui dont la basse est représentée par la tierce de la fondamentale. (On entend par fondamentale la note basse d'un accord à l'état direct.)", "english": "The name of an inversion depends on the bass note and does not change, however the upper notes are arranged. Thus a chord of the sixth is one whose bass is the third of the root. (By the root we mean the bass note of a chord in root position.)", "reading_order": 73, "section": "ch01", "sources": [ { "pdf_page": 15, "source_image": "source-pages/015.png", "printed_page": 7 } ] }, { "id": "rh-003-ex05", "type": "music", "original": "[Exemple]", "english": "Two chords of the sixth with different upper arrangements: E–G–C and E–C–G", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 74, "section": "ch01", "sources": [ { "pdf_page": 15, "source_image": "source-pages/015.png", "printed_page": 7 } ], "asset_refs": [ "rh-003-ex05" ] }, { "id": "rh-ch01-012", "type": "paragraph", "original": "On appelle accord de quarte et sixte celui dont la basse est représentée par la quinte de la fondamentale.", "english": "A chord of the fourth and sixth is one whose bass is the fifth of the root.", "reading_order": 75, "section": "ch01", "sources": [ { "pdf_page": 15, "source_image": "source-pages/015.png", "printed_page": 7 } ] }, { "id": "rh-003-ex06", "type": "music", "original": "[Exemple]", "english": "Two chords of the fourth and sixth: G–C–E and G–E–C", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 76, "section": "ch01", "sources": [ { "pdf_page": 15, "source_image": "source-pages/015.png", "printed_page": 7 } ], "asset_refs": [ "rh-003-ex06" ] }, { "id": "rh-ch01-013", "type": "paragraph", "original": "Les sons qui constituent chaque renversement conservent le même nom et le même caractère que dans l'accord à l'état direct; ainsi dans chaque renversement de l'accord parfait:", "english": "The notes of each inversion keep the same names and character as in the root-position chord. Thus in every inversion of the triad", "reading_order": 77, "section": "ch01", "sources": [ { "pdf_page": 15, "source_image": "source-pages/015.png", "printed_page": 7 } ] }, { "id": "rh-003-ex07", "type": "music", "original": "[Exemple]", "english": "The C major triad: C–E–G", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 78, "section": "ch01", "sources": [ { "pdf_page": 15, "source_image": "source-pages/015.png", "printed_page": 7 } ], "asset_refs": [ "rh-003-ex07" ] }, { "id": "rh-ch01-014", "type": "paragraph", "original": "La note [ut] est toujours nommée fondamentale; la note [mi] tierce de la fondamentale, et la note [sol] quinte de la fondamentale.", "english": "the note [C] is always called the root, the note [E] the third of the root, and the note [G] the fifth of the root.", "reading_order": 79, "section": "ch01", "sources": [ { "pdf_page": 15, "source_image": "source-pages/015.png", "printed_page": 7 } ] }, { "id": "rh-ch01-015", "type": "paragraph", "original": "Les renversements d'un accord appartiennent au degré du même accord à l'état direct; p. ex: dans le ton d'ut majeur, l'accord de sixte [mi–sol–ut] est considéré comme accord de sixte du premier degré, et l'accord de quarte et sixte [ré–sol–si] est considéré comme accord de quarte et sixte du cinquième degré, etc.", "english": "The inversions of a chord belong to the same degree as the chord in root position. For example, in C major the chord of the sixth [E–G–C] is the chord of the sixth on the first degree, and the chord of the fourth and sixth [D–G–B] is the chord of the fourth and sixth on the fifth degree, and so on.", "reading_order": 80, "section": "ch01", "sources": [ { "pdf_page": 15, "source_image": "source-pages/015.png", "printed_page": 7 } ] }, { "id": "rh-ch01-016", "type": "paragraph", "original": "Le premier renversement ou accord de sixte est formé d'une tierce et d'une sixte relativement à la basse; p. ex: L'accord de sixte [mi–sol–ut] est composé d'une tierce [mi–sol] et d'une sixte [mi–ut]; il peut être aussi considéré comme formé d'une tierce et d'une quarte [mi–sol, sol–ut].", "english": "The first inversion, or chord of the sixth, is made of a third and a sixth above the bass. For example, the chord of the sixth [E–G–C] consists of a third [E–G] and a sixth [E–C]; it can also be seen as a third and a fourth [E–G, G–C].", "reading_order": 81, "section": "ch01", "sources": [ { "pdf_page": 15, "source_image": "source-pages/015.png", "printed_page": 7 } ] }, { "id": "rh-ch01-017", "type": "paragraph", "original": "Le second renversement ou accord de quarte et sixte est formé d'une quarte et d'une sixte relativement à la basse; p. ex: L'accord de quarte et sixte [sol–ut–mi] est composé d'une quarte [sol–ut] et d'une sixte [sol–mi]; il peut être aussi considéré comme formé d'une quarte et d'une tierce [sol–ut, ut–mi].", "english": "The second inversion, or chord of the fourth and sixth, is made of a fourth and a sixth above the bass. For example, the chord of the fourth and sixth [G–C–E] consists of a fourth [G–C] and a sixth [G–E]; it can also be seen as a fourth and a third [G–C, C–E].", "reading_order": 82, "section": "ch01", "sources": [ { "pdf_page": 15, "source_image": "source-pages/015.png", "printed_page": 7 } ] }, { "id": "rh-ch01-024", "type": "heading", "original": "Accord de septième", "english": "Seventh Chords", "reading_order": 83, "section": "ch01-part02", "sources": [ { "pdf_page": 16, "source_image": "source-pages/016.png", "printed_page": 8 } ] }, { "id": "rh-ch01-025", "type": "paragraph", "original": "§ 3. — L'accord de septième est composé d'un accord de trois sons auquel on ajoute une tierce qui forme septième par rapport à la basse:", "english": "§ 3. A seventh chord consists of a triad with a further third added, which forms a seventh above the bass:", "reading_order": 84, "section": "ch01-part02", "sources": [ { "pdf_page": 16, "source_image": "source-pages/016.png", "printed_page": 8 } ] }, { "id": "rh-004-ex01", "type": "music", "original": "[Exemple]", "english": "Seventh chord on G: G–B–D–F", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 85, "section": "ch01-part02", "sources": [ { "pdf_page": 16, "source_image": "source-pages/016.png", "printed_page": 8 } ], "asset_refs": [ "rh-004-ex01" ] }, { "id": "rh-ch01-026", "type": "paragraph", "original": "il peut être aussi considéré comme formé de deux accords de trois sons:", "english": "It can also be regarded as made of two triads:", "reading_order": 86, "section": "ch01-part02", "sources": [ { "pdf_page": 16, "source_image": "source-pages/016.png", "printed_page": 8 } ] }, { "id": "rh-004-ex02", "type": "music", "original": "[Exemple]", "english": "The two triads within it: G–B–D and B–D–F", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 87, "section": "ch01-part02", "sources": [ { "pdf_page": 16, "source_image": "source-pages/016.png", "printed_page": 8 } ], "asset_refs": [ "rh-004-ex02" ] }, { "id": "rh-ch01-027", "type": "paragraph", "original": "Les accords de septième se classent de la manière suivante:", "english": "Seventh chords are classified as follows:", "reading_order": 88, "section": "ch01-part02", "sources": [ { "pdf_page": 16, "source_image": "source-pages/016.png", "printed_page": 8 } ] }, { "id": "rh-004-ex03", "type": "music", "original": "a b c d e f g · Avec accord de 5te augm.", "english": "The kinds of seventh chord on C, lettered a–g; “with augmented-fifth chord” is printed above f–g", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 89, "section": "ch01-part02", "sources": [ { "pdf_page": 16, "source_image": "source-pages/016.png", "printed_page": 8 } ], "asset_refs": [ "rh-004-ex03" ] }, { "id": "rh-ch01-028", "type": "paragraph", "original": "Tous les accords de septième se chiffrent par un 7.", "english": "All seventh chords are figured 7.", "reading_order": 90, "section": "ch01-part02", "sources": [ { "pdf_page": 16, "source_image": "source-pages/016.png", "printed_page": 8 } ] }, { "id": "rh-ch01-029", "type": "paragraph", "original": "§ 4. — Chaque accord de septième a trois renversements: 1er L'accord de quinte et sixte (6/5). 2e L'accord de tierce et quarte (4/3). 3e L'accord de seconde (2).", "english": "§ 4. Every seventh chord has three inversions: 1st, the chord of the fifth and sixth (6/5); 2nd, the chord of the third and fourth (4/3); 3rd, the chord of the second (2).", "reading_order": 91, "section": "ch01-part02", "sources": [ { "pdf_page": 16, "source_image": "source-pages/016.png", "printed_page": 8 } ] }, { "id": "rh-004-ex04", "type": "music", "original": "7 · 6/5 · 4/3 · 2", "english": "The G seventh chord and its three inversions, figured 7, 6/5, 4/3 and 2", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 92, "section": "ch01-part02", "sources": [ { "pdf_page": 16, "source_image": "source-pages/016.png", "printed_page": 8 } ], "asset_refs": [ "rh-004-ex04" ] }, { "id": "rh-ch01-030", "type": "paragraph", "original": "La différence entre chaque renversement est caractérisée par la position de l'intervalle de seconde provenant du renversement de la septième qui se trouve dans le premier renversement au-dessus, dans le deuxième renversement au milieu et dans le troisième renversement à la basse.", "english": "The inversions are told apart by where the second lies — the interval that comes from inverting the seventh: at the top in the first inversion, in the middle in the second, and at the bass in the third.", "reading_order": 93, "section": "ch01-part02", "sources": [ { "pdf_page": 16, "source_image": "source-pages/016.png", "printed_page": 8 } ] }, { "id": "rh-ch01-031", "type": "paragraph", "original": "Le renversement conserve son nom quelle que soit la disposition des trois parties supérieures, par exemple, les accords suivants:", "english": "An inversion keeps its name whatever the arrangement of the three upper parts. For example, the following chords", "reading_order": 94, "section": "ch01-part02", "sources": [ { "pdf_page": 16, "source_image": "source-pages/016.png", "printed_page": 8 } ] }, { "id": "rh-004-ex05", "type": "music", "original": "[Exemple] etc.", "english": "Three arrangements over the third of the root, each figured 6/5, “etc.”", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 95, "section": "ch01-part02", "sources": [ { "pdf_page": 16, "source_image": "source-pages/016.png", "printed_page": 8 } ], "asset_refs": [ "rh-004-ex05" ] }, { "id": "rh-ch01-032", "type": "paragraph", "original": "sont toujours considérés comme accords de quinte et sixte car la tierce de la fondamentale se trouve placée à la basse.", "english": "are always regarded as chords of the fifth and sixth, because the third of the root is in the bass.", "reading_order": 96, "section": "ch01-part02", "sources": [ { "pdf_page": 16, "source_image": "source-pages/016.png", "printed_page": 8 } ] }, { "id": "rh-ch01-033", "type": "paragraph", "original": "Les accords:", "english": "The chords", "reading_order": 97, "section": "ch01-part02", "sources": [ { "pdf_page": 16, "source_image": "source-pages/016.png", "printed_page": 8 } ] }, { "id": "rh-004-ex06", "type": "music", "original": "[Exemple] etc.", "english": "Three arrangements over the fifth of the root, each figured 4/3, “etc.”", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 98, "section": "ch01-part02", "sources": [ { "pdf_page": 16, "source_image": "source-pages/016.png", "printed_page": 8 } ], "asset_refs": [ "rh-004-ex06" ] }, { "id": "rh-ch01-034", "type": "paragraph", "original": "sont toujours considérés comme accords de tierce et quarte car la quinte de la fondamentale se trouve placée à la basse.", "english": "are always regarded as chords of the third and fourth, because the fifth of the root is in the bass.", "reading_order": 99, "section": "ch01-part02", "sources": [ { "pdf_page": 16, "source_image": "source-pages/016.png", "printed_page": 8 } ] }, { "id": "rh-ch01-035", "type": "paragraph", "original": "Les accords.", "english": "The chords", "reading_order": 100, "section": "ch01-part02", "sources": [ { "pdf_page": 16, "source_image": "source-pages/016.png", "printed_page": 8 } ] }, { "id": "rh-004-ex07", "type": "music", "original": "[Exemple] etc.", "english": "Three arrangements over the seventh of the root, each figured 2, “etc.”", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 101, "section": "ch01-part02", "sources": [ { "pdf_page": 16, "source_image": "source-pages/016.png", "printed_page": 8 } ], "asset_refs": [ "rh-004-ex07" ] }, { "id": "rh-ch01-036", "type": "paragraph", "original": "sont toujours considérés comme accords de seconde car la septième de la fondamentale se trouve placée à la basse.", "english": "are always regarded as chords of the second, because the seventh of the root is in the bass.", "reading_order": 102, "section": "ch01-part02", "sources": [ { "pdf_page": 16, "source_image": "source-pages/016.png", "printed_page": 8 } ] }, { "id": "rh-ch01-037", "type": "heading", "original": "Gammes naturelles et artificielles", "english": "Natural and Artificial Scales", "reading_order": 103, "section": "ch01-part02", "sources": [ { "pdf_page": 17, "source_image": "source-pages/017.png", "printed_page": 9 } ] }, { "id": "rh-ch01-038", "type": "heading", "original": "Accords des bons et des mauvais degrés ou Accords de premier et deuxième ordre", "english": "Chords of the Strong and Weak Degrees, or Chords of the First and Second Order", "reading_order": 104, "section": "ch01-part02", "sources": [ { "pdf_page": 17, "source_image": "source-pages/017.png", "printed_page": 9 } ] }, { "id": "rh-ch01-039", "type": "paragraph", "original": "§ 5. — Nous employons dans ce Manuel quatre modes de gammes pour la constitution des accords:", "english": "§ 5. In this Manual we use four kinds of scale for building chords:", "reading_order": 105, "section": "ch01-part02", "sources": [ { "pdf_page": 17, "source_image": "source-pages/017.png", "printed_page": 9 } ] }, { "id": "rh-ch01-040", "type": "paragraph", "original": "a) Le mode majeur naturel:", "english": "a) The natural major mode:", "reading_order": 106, "section": "ch01-part02", "sources": [ { "pdf_page": 17, "source_image": "source-pages/017.png", "printed_page": 9 } ] }, { "id": "rh-004-ex08", "type": "music", "original": "[Exemple]", "english": "C natural major scale", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 107, "section": "ch01-part02", "sources": [ { "pdf_page": 17, "source_image": "source-pages/017.png", "printed_page": 9 } ], "asset_refs": [ "rh-004-ex08" ] }, { "id": "rh-ch01-041", "type": "paragraph", "original": "b) Le mode majeur harmonique artificiel:", "english": "b) The artificial harmonic major mode:", "reading_order": 108, "section": "ch01-part02", "sources": [ { "pdf_page": 17, "source_image": "source-pages/017.png", "printed_page": 9 } ] }, { "id": "rh-004-ex09", "type": "music", "original": "1½", "english": "C harmonic major scale, with A♭; “1½” marks the augmented second (a tone and a half) A♭–B", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 109, "section": "ch01-part02", "sources": [ { "pdf_page": 17, "source_image": "source-pages/017.png", "printed_page": 9 } ], "asset_refs": [ "rh-004-ex09" ] }, { "id": "rh-ch01-042", "type": "paragraph", "original": "c) Le mode mineur naturel:", "english": "c) The natural minor mode:", "reading_order": 110, "section": "ch01-part02", "sources": [ { "pdf_page": 17, "source_image": "source-pages/017.png", "printed_page": 9 } ] }, { "id": "rh-004-ex10", "type": "music", "original": "[Exemple]", "english": "A natural minor scale", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 111, "section": "ch01-part02", "sources": [ { "pdf_page": 17, "source_image": "source-pages/017.png", "printed_page": 9 } ], "asset_refs": [ "rh-004-ex10" ] }, { "id": "rh-ch01-043", "type": "paragraph", "original": "d) Le mode mineur harmonique artificiel:", "english": "d) The artificial harmonic minor mode:", "reading_order": 112, "section": "ch01-part02", "sources": [ { "pdf_page": 17, "source_image": "source-pages/017.png", "printed_page": 9 } ] }, { "id": "rh-004-ex11", "type": "music", "original": "1½", "english": "A harmonic minor scale, with G♯; “1½” marks the augmented second F–G♯", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 113, "section": "ch01-part02", "sources": [ { "pdf_page": 17, "source_image": "source-pages/017.png", "printed_page": 9 } ], "asset_refs": [ "rh-004-ex11" ] }, { "id": "rh-ch01-044", "type": "paragraph", "original": "§ 6. — Les accords construits sur ces quatre modes sont les suivants:", "english": "§ 6. The chords built on these four modes are as follows:", "reading_order": 114, "section": "ch01-part02", "sources": [ { "pdf_page": 17, "source_image": "source-pages/017.png", "printed_page": 9 } ] }, { "id": "rh-ch01-045", "type": "heading", "original": "Accords de trois sons", "english": "Triads", "reading_order": 115, "section": "ch01-part02", "sources": [ { "pdf_page": 17, "source_image": "source-pages/017.png", "printed_page": 9 } ] }, { "id": "rh-004-ex12", "type": "music", "original": "A) Mode majeur naturel", "english": "A) Natural major mode: triads on each degree of C major", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 116, "section": "ch01-part02", "sources": [ { "pdf_page": 17, "source_image": "source-pages/017.png", "printed_page": 9 } ], "asset_refs": [ "rh-004-ex12" ] }, { "id": "rh-004-ex13", "type": "music", "original": "B) Mode majeur harmonique", "english": "B) Harmonic major mode: triads on each degree of C harmonic major; the augmented triad on VI is bracketed", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 117, "section": "ch01-part02", "sources": [ { "pdf_page": 17, "source_image": "source-pages/017.png", "printed_page": 9 } ], "asset_refs": [ "rh-004-ex13" ] }, { "id": "rh-004-ex14", "type": "music", "original": "C) Mode mineur naturel", "english": "C) Natural minor mode: triads on each degree of A natural minor", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 118, "section": "ch01-part02", "sources": [ { "pdf_page": 17, "source_image": "source-pages/017.png", "printed_page": 9 } ], "asset_refs": [ "rh-004-ex14" ] }, { "id": "rh-004-ex15", "type": "music", "original": "D) Mode mineur harmonique", "english": "D) Harmonic minor mode: triads on each degree of A harmonic minor; the augmented triad on III is bracketed", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 119, "section": "ch01-part02", "sources": [ { "pdf_page": 17, "source_image": "source-pages/017.png", "printed_page": 9 } ], "asset_refs": [ "rh-004-ex15" ] }, { "id": "rh-ch01-046", "type": "paragraph", "original": "Excepté l'accord de quinte augmentée du sixième degré du mode majeur harmonique et celui du troisième degré du mode mineur harmonique on compte neuf différents accords de trois sons pour les deux modes majeurs et neuf pour les deux modes mineurs.", "english": "Leaving aside the augmented triad on the sixth degree of the harmonic major mode and the one on the third degree of the harmonic minor mode, there are nine different triads in the two major modes and nine in the two minor modes.", "reading_order": 120, "section": "ch01-part02", "sources": [ { "pdf_page": 17, "source_image": "source-pages/017.png", "printed_page": 9 } ] }, { "id": "rh-ch01-047", "type": "paragraph", "original": "Les trois accords des bons degrés ou accords de premier ordre de la gamme majeure sont:", "english": "The three chords of the strong degrees, or chords of the first order, in the major scale are:", "reading_order": 121, "section": "ch01-part03", "sources": [ { "pdf_page": 18, "source_image": "source-pages/018.png", "printed_page": 10 } ] }, { "id": "rh-ch01-048", "type": "paragraph", "original": "L'accord de tonique:", "english": "The tonic chord:", "reading_order": 122, "section": "ch01-part03", "sources": [ { "pdf_page": 18, "source_image": "source-pages/018.png", "printed_page": 10 } ] }, { "id": "rh-005-ex01", "type": "music", "original": "I", "english": "Tonic triad of C major", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 123, "section": "ch01-part03", "sources": [ { "pdf_page": 18, "source_image": "source-pages/018.png", "printed_page": 10 } ], "asset_refs": [ "rh-005-ex01" ] }, { "id": "rh-ch01-049", "type": "paragraph", "original": "L'accord de sous-dominante:", "english": "The subdominant chord:", "reading_order": 124, "section": "ch01-part03", "sources": [ { "pdf_page": 18, "source_image": "source-pages/018.png", "printed_page": 10 } ] }, { "id": "rh-005-ex02", "type": "music", "original": "IV", "english": "Subdominant triad of C major", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 125, "section": "ch01-part03", "sources": [ { "pdf_page": 18, "source_image": "source-pages/018.png", "printed_page": 10 } ], "asset_refs": [ "rh-005-ex02" ] }, { "id": "rh-ch01-050", "type": "paragraph", "original": "L'accord de dominante:", "english": "The dominant chord:", "reading_order": 126, "section": "ch01-part03", "sources": [ { "pdf_page": 18, "source_image": "source-pages/018.png", "printed_page": 10 } ] }, { "id": "rh-005-ex03", "type": "music", "original": "V", "english": "Dominant triad of C major", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 127, "section": "ch01-part03", "sources": [ { "pdf_page": 18, "source_image": "source-pages/018.png", "printed_page": 10 } ], "asset_refs": [ "rh-005-ex03" ] }, { "id": "rh-ch01-051", "type": "paragraph", "original": "Les trois accords de premier ordre de la gamme mineure harmonique sont:", "english": "The three chords of the first order in the harmonic minor scale are:", "reading_order": 128, "section": "ch01-part03", "sources": [ { "pdf_page": 18, "source_image": "source-pages/018.png", "printed_page": 10 } ] }, { "id": "rh-ch01-052", "type": "paragraph", "original": "L'accord de tonique:", "english": "The tonic chord:", "reading_order": 129, "section": "ch01-part03", "sources": [ { "pdf_page": 18, "source_image": "source-pages/018.png", "printed_page": 10 } ] }, { "id": "rh-005-ex04", "type": "music", "original": "I", "english": "Tonic triad of A minor", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 130, "section": "ch01-part03", "sources": [ { "pdf_page": 18, "source_image": "source-pages/018.png", "printed_page": 10 } ], "asset_refs": [ "rh-005-ex04" ] }, { "id": "rh-ch01-053", "type": "paragraph", "original": "L'accord de sous-dominante:", "english": "The subdominant chord:", "reading_order": 131, "section": "ch01-part03", "sources": [ { "pdf_page": 18, "source_image": "source-pages/018.png", "printed_page": 10 } ] }, { "id": "rh-005-ex05", "type": "music", "original": "IV", "english": "Subdominant triad of A minor", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 132, "section": "ch01-part03", "sources": [ { "pdf_page": 18, "source_image": "source-pages/018.png", "printed_page": 10 } ], "asset_refs": [ "rh-005-ex05" ] }, { "id": "rh-ch01-054", "type": "paragraph", "original": "L'accord de dominante:", "english": "The dominant chord:", "reading_order": 133, "section": "ch01-part03", "sources": [ { "pdf_page": 18, "source_image": "source-pages/018.png", "printed_page": 10 } ] }, { "id": "rh-005-ex06", "type": "music", "original": "V harm.", "english": "Dominant triad of A harmonic minor", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 134, "section": "ch01-part03", "sources": [ { "pdf_page": 18, "source_image": "source-pages/018.png", "printed_page": 10 } ], "asset_refs": [ "rh-005-ex06" ] }, { "id": "rh-ch01-055", "type": "heading", "original": "Accords de septième", "english": "Seventh Chords", "reading_order": 135, "section": "ch01-part03", "sources": [ { "pdf_page": 18, "source_image": "source-pages/018.png", "printed_page": 10 } ] }, { "id": "rh-005-ex07", "type": "music", "original": "A) Mode majeur naturel", "english": "A) Natural major mode: seventh chords on each degree of C major", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 136, "section": "ch01-part03", "sources": [ { "pdf_page": 18, "source_image": "source-pages/018.png", "printed_page": 10 } ], "asset_refs": [ "rh-005-ex07" ] }, { "id": "rh-005-ex08", "type": "music", "original": "B) Mode majeur harmonique", "english": "B) Harmonic major mode: seventh chords on each degree of C harmonic major; those on IV and VI are bracketed", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 137, "section": "ch01-part03", "sources": [ { "pdf_page": 18, "source_image": "source-pages/018.png", "printed_page": 10 } ], "asset_refs": [ "rh-005-ex08" ] }, { "id": "rh-005-ex09", "type": "music", "original": "C) Mode mineur naturel", "english": "C) Natural minor mode: seventh chords on each degree of A natural minor", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 138, "section": "ch01-part03", "sources": [ { "pdf_page": 18, "source_image": "source-pages/018.png", "printed_page": 10 } ], "asset_refs": [ "rh-005-ex09" ] }, { "id": "rh-005-ex10", "type": "music", "original": "D) Mode mineur harmonique", "english": "D) Harmonic minor mode: seventh chords on each degree of A harmonic minor; those on I and III are bracketed", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 139, "section": "ch01-part03", "sources": [ { "pdf_page": 18, "source_image": "source-pages/018.png", "printed_page": 10 } ], "asset_refs": [ "rh-005-ex10" ] }, { "id": "rh-ch01-056", "type": "paragraph", "original": "Excepté les accords de septième ayant une quinte augmentée: les accords du IVe et du VIe degré du mode majeur harmonique et ceux du Ier et du IIIe degré du mode mineur harmonique, on compte neuf différents accords de septième pour les deux modes majeurs et neuf pour les deux modes mineurs.", "english": "Leaving aside the seventh chords that contain an augmented fifth — those on the fourth and sixth degrees of the harmonic major mode and on the first and third degrees of the harmonic minor mode — there are nine different seventh chords in the two major modes and nine in the two minor modes.", "reading_order": 140, "section": "ch01-part03", "sources": [ { "pdf_page": 18, "source_image": "source-pages/018.png", "printed_page": 10 } ] }, { "id": "rh-ch01-057", "type": "paragraph", "original": "Les accords de septième placés sur le Ve degré du mode majeur naturel et du mode mineur harmonique, sont appelés accords de septième de dominante ou de premier ordre.", "english": "The seventh chords on the fifth degree of the natural major mode and of the harmonic minor mode are called dominant seventh chords, or seventh chords of the first order.", "reading_order": 141, "section": "ch01-part03", "sources": [ { "pdf_page": 18, "source_image": "source-pages/018.png", "printed_page": 10 } ] }, { "id": "rh-005-ex11", "type": "music", "original": "V · V harm.", "english": "Dominant sevenths: G–B–D–F in C major and E–G♯–B–D in A minor", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 142, "section": "ch01-part03", "sources": [ { "pdf_page": 18, "source_image": "source-pages/018.png", "printed_page": 10 } ], "asset_refs": [ "rh-005-ex11" ] }, { "id": "rh-ch01-058", "type": "paragraph", "original": "§ 7. — Les accords de trois sons placés sur le premier et sur le quatrième degré du mode majeur naturel, sont majeurs.", "english": "§ 7. The triads on the first and fourth degrees of the natural major mode are major.", "reading_order": 143, "section": "ch01-part03", "sources": [ { "pdf_page": 19, "source_image": "source-pages/019.png", "printed_page": 11 } ] }, { "id": "rh-ch01-059", "type": "paragraph", "original": "Les accords de trois sons placés sur le premier et sur le quatrième degré du mode mineur harmonique, sont mineurs.", "english": "The triads on the first and fourth degrees of the harmonic minor mode are minor.", "reading_order": 144, "section": "ch01-part03", "sources": [ { "pdf_page": 19, "source_image": "source-pages/019.png", "printed_page": 11 } ] }, { "id": "rh-ch01-060", "type": "paragraph", "original": "Les accords de trois sons placés sur la dominante des deux modes, majeur et mineur harmonique, sont majeurs.", "english": "The triads on the dominant of both modes, major and harmonic minor, are major.", "reading_order": 145, "section": "ch01-part03", "sources": [ { "pdf_page": 19, "source_image": "source-pages/019.png", "printed_page": 11 } ] }, { "id": "rh-ch01-061", "type": "paragraph", "original": "Les accords de septième de dominante sont composés d'un accord de trois sons majeur et d'une septième mineure.", "english": "Dominant seventh chords consist of a major triad and a minor seventh.", "reading_order": 146, "section": "ch01-part03", "sources": [ { "pdf_page": 19, "source_image": "source-pages/019.png", "printed_page": 11 } ] }, { "id": "rh-ch01-062", "type": "paragraph", "original": "Excepté les accords de trois sons de premier ordre du mode majeur et du mode mineur, et ceux de septième de dominante, tous les autres accords de trois sons et de septième sont appelés accords de deuxième ordre.", "english": "Apart from the first-order triads of the major and minor modes and the dominant sevenths, all other triads and seventh chords are called chords of the second order.", "reading_order": 147, "section": "ch01-part03", "sources": [ { "pdf_page": 19, "source_image": "source-pages/019.png", "printed_page": 11 } ] }, { "id": "rh-ch01-063", "type": "paragraph", "original": "Parmi les accords de septième de deuxième ordre, ceux placés sur les notes sensibles du mode majeur naturel et du mode mineur harmonique, sont appelés accords de septième de sensible.", "english": "Among the second-order seventh chords, those on the leading notes of the natural major mode and the harmonic minor mode are called leading-note seventh chords.", "reading_order": 148, "section": "ch01-part03", "sources": [ { "pdf_page": 19, "source_image": "source-pages/019.png", "printed_page": 11 } ] }, { "id": "rh-ch01-064", "type": "paragraph", "original": "Accord de septième de sensible mineur:", "english": "Minor leading-note seventh chord (half-diminished):", "reading_order": 149, "section": "ch01-part03", "sources": [ { "pdf_page": 19, "source_image": "source-pages/019.png", "printed_page": 11 } ] }, { "id": "rh-005-ex12", "type": "music", "original": "VII · 7", "english": "Leading-note seventh of C major: B–D–F–A", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 150, "section": "ch01-part03", "sources": [ { "pdf_page": 19, "source_image": "source-pages/019.png", "printed_page": 11 } ], "asset_refs": [ "rh-005-ex12" ] }, { "id": "rh-ch01-065", "type": "paragraph", "original": "Accord de septième de sensible diminuée:", "english": "Diminished leading-note seventh chord:", "reading_order": 151, "section": "ch01-part03", "sources": [ { "pdf_page": 19, "source_image": "source-pages/019.png", "printed_page": 11 } ] }, { "id": "rh-005-ex13", "type": "music", "original": "VII harm.", "english": "Leading-note seventh of A harmonic minor: G♯–B–D–F", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 152, "section": "ch01-part03", "sources": [ { "pdf_page": 19, "source_image": "source-pages/019.png", "printed_page": 11 } ], "asset_refs": [ "rh-005-ex13" ] }, { "id": "rh-ch01-066", "type": "paragraph", "original": "Remarque. — Dans la succession harmonique des degrés de premier ordre on emploie le mode majeur naturel et le mode mineur harmonique; ce dernier est adopté parce qu'il contient la note sensible qui n'existe pas dans le mode mineur naturel. Dans la succession des accords de tous les degrés, on emploie aussi le mode mineur naturel et le mode majeur harmonique.", "english": "Remark. For progressions among the first-order degrees we use the natural major mode and the harmonic minor mode; the latter is chosen because it contains the leading note, which the natural minor lacks. For progressions among chords on all degrees, the natural minor and harmonic major modes are used as well.", "reading_order": 153, "section": "ch01-part03", "sources": [ { "pdf_page": 19, "source_image": "source-pages/019.png", "printed_page": 11 } ] }, { "id": "rh-ch01-067", "type": "heading", "original": "Exercices", "english": "Exercises", "reading_order": 154, "section": "ch01-part03", "sources": [ { "pdf_page": 19, "source_image": "source-pages/019.png", "printed_page": 11 } ] }, { "id": "rh-ch01-068", "type": "paragraph", "original": "Analyser tous les accords de trois sons ainsi que les accords de septième en se rendant compte de leur constitution et en même temps de l'espèce à laquelle ils appartiennent.", "english": "Analyse all the triads and seventh chords, accounting for how each is built and at the same time which kind it belongs to.", "reading_order": 155, "section": "ch01-part03", "sources": [ { "pdf_page": 19, "source_image": "source-pages/019.png", "printed_page": 11 } ] }, { "id": "rh-ch01-069", "type": "heading", "original": "Rapports entre les différents accords de trois sons", "english": "Relationships between Triads", "reading_order": 156, "section": "ch01-part03", "sources": [ { "pdf_page": 19, "source_image": "source-pages/019.png", "printed_page": 11 } ] }, { "id": "rh-ch01-070", "type": "paragraph", "original": "§ 8. — Les accords de trois sons, distants d'une quarte ou d'une quinte, ont une note commune et sont appelés: accords de trois sons en rapport de quarte ou de quinte.", "english": "§ 8. Triads a fourth or a fifth apart have one note in common and are called triads related by a fourth or fifth.", "reading_order": 157, "section": "ch01-part03", "sources": [ { "pdf_page": 19, "source_image": "source-pages/019.png", "printed_page": 11 } ] }, { "id": "rh-005-ex14", "type": "music", "original": "Ex. Majeur: I V, I IV · Mineur: I V, I IV", "english": "Triads a fourth or fifth apart, the common note tied: C major I–V and I–IV; A minor I–V and I–IV", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 158, "section": "ch01-part03", "sources": [ { "pdf_page": 19, "source_image": "source-pages/019.png", "printed_page": 11 } ], "asset_refs": [ "rh-005-ex14" ] }, { "id": "rh-ch01-071", "type": "paragraph", "original": "Les accords de trois sons, distants d'une tierce, ont deux notes communes et sont appelés: accords de trois sons en rapport de tierce.", "english": "Triads a third apart have two notes in common and are called triads related by a third.", "reading_order": 159, "section": "ch01-part03", "sources": [ { "pdf_page": 19, "source_image": "source-pages/019.png", "printed_page": 11 } ] }, { "id": "rh-005-ex15", "type": "music", "original": "Ex. Majeur: I III, IV VI · Mineur: I III, IV VI", "english": "Triads a third apart, the two common notes tied: C major I–III and IV–VI; A minor I–III and IV–VI", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 160, "section": "ch01-part03", "sources": [ { "pdf_page": 19, "source_image": "source-pages/019.png", "printed_page": 11 } ], "asset_refs": [ "rh-005-ex15" ] }, { "id": "rh-ch01-072", "type": "paragraph", "original": "Les accords de trois sons, les plus voisins, n'ont pas de notes communes et sont en rapport de seconde.", "english": "The nearest triads have no notes in common and are related by a second.", "reading_order": 161, "section": "ch01-part03", "sources": [ { "pdf_page": 19, "source_image": "source-pages/019.png", "printed_page": 11 } ] }, { "id": "rh-005-ex16", "type": "music", "original": "Ex. Majeur: I II, IV VI · Mineur: I II, IV VI", "english": "Triads a second apart: C major I–II and IV–V; A minor I–II and IV–V", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 162, "section": "ch01-part03", "sources": [ { "pdf_page": 19, "source_image": "source-pages/019.png", "printed_page": 11 } ], "asset_refs": [ "rh-005-ex16" ] }, { "id": "rh-ch01-073", "type": "heading", "original": "Mouvement des parties", "english": "Motion of the Parts", "reading_order": 163, "section": "ch01-part04", "sources": [ { "pdf_page": 20, "source_image": "source-pages/020.png", "printed_page": 12 } ] }, { "id": "rh-ch01-074", "type": "paragraph", "original": "§ 9. — Il existe trois manières de faire mouvoir les parties harmoniques.", "english": "§ 9. There are three ways in which the harmonic parts can move.", "reading_order": 164, "section": "ch01-part04", "sources": [ { "pdf_page": 20, "source_image": "source-pages/020.png", "printed_page": 12 } ] }, { "id": "rh-ch01-075", "type": "paragraph", "original": "1) Mouvement direct: Lorsque les parties procèdent simultanément par mouvement ascendant ou descendant.", "english": "1) Direct (similar) motion: when the parts move up or down together.", "reading_order": 165, "section": "ch01-part04", "sources": [ { "pdf_page": 20, "source_image": "source-pages/020.png", "printed_page": 12 } ] }, { "id": "rh-006-ex01", "type": "music", "original": "a b c d", "english": "Direct motion: a) and b) parallel sixths and thirds; c) and d) similar motion into different intervals", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 166, "section": "ch01-part04", "sources": [ { "pdf_page": 20, "source_image": "source-pages/020.png", "printed_page": 12 } ], "asset_refs": [ "rh-006-ex01" ] }, { "id": "rh-ch01-076", "type": "paragraph", "original": "Lorsque le mouvement direct produit une suite d'intervalles semblables (ex. a et b) il est appelé mouvement parallèle.", "english": "When direct motion produces a series of like intervals (examples a and b), it is called parallel motion.", "reading_order": 167, "section": "ch01-part04", "sources": [ { "pdf_page": 20, "source_image": "source-pages/020.png", "printed_page": 12 } ] }, { "id": "rh-ch01-077", "type": "paragraph", "original": "2) Mouvement contraire: Lorsque les parties procèdent en sens opposé l'une de l'autre.", "english": "2) Contrary motion: when the parts move in opposite directions.", "reading_order": 168, "section": "ch01-part04", "sources": [ { "pdf_page": 20, "source_image": "source-pages/020.png", "printed_page": 12 } ] }, { "id": "rh-006-ex02", "type": "music", "original": "[Exemple]", "english": "Contrary motion: four pairs of two-part progressions", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 169, "section": "ch01-part04", "sources": [ { "pdf_page": 20, "source_image": "source-pages/020.png", "printed_page": 12 } ], "asset_refs": [ "rh-006-ex02" ] }, { "id": "rh-ch01-078", "type": "paragraph", "original": "3) Mouvement oblique: Lorsqu'une partie est immobile tandis que l'autre se meut.", "english": "3) Oblique motion: when one part stays still while the other moves.", "reading_order": 170, "section": "ch01-part04", "sources": [ { "pdf_page": 20, "source_image": "source-pages/020.png", "printed_page": 12 } ] }, { "id": "rh-006-ex03", "type": "music", "original": "[Exemple]", "english": "Oblique motion: in each pair one part holds a tied note while the other moves by step", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 171, "section": "ch01-part04", "sources": [ { "pdf_page": 20, "source_image": "source-pages/020.png", "printed_page": 12 } ], "asset_refs": [ "rh-006-ex03" ] }, { "id": "rh-ch01-079", "type": "paragraph", "original": "Pour l'étude de l'enchaînement des accords on emploie un ensemble de quatre voix appelées parties qui servent de base à toute espèce de composition.", "english": "To study how chords are connected we use a texture of four voices, called parts, which underlies every kind of composition.", "reading_order": 172, "section": "ch01-part04", "sources": [ { "pdf_page": 20, "source_image": "source-pages/020.png", "printed_page": 12 } ] }, { "id": "rh-ch01-080", "type": "paragraph", "original": "Les parties portent les nominations suivantes:", "english": "The parts are named as follows:", "reading_order": 173, "section": "ch01-part04", "sources": [ { "pdf_page": 20, "source_image": "source-pages/020.png", "printed_page": 12 } ] }, { "id": "rh-ch01-081", "type": "paragraph", "original": "La première: supérieure ou soprano; la deuxième: alto; la troisième: ténor; la quatrième: basse.", "english": "The first is the upper part or soprano; the second, alto; the third, tenor; the fourth, bass.", "reading_order": 174, "section": "ch01-part04", "sources": [ { "pdf_page": 20, "source_image": "source-pages/020.png", "printed_page": 12 } ] }, { "id": "rh-ch01-082", "type": "paragraph", "original": "Le mouvement de la partie supérieure dans une succession d'accords est aussi appelé mélodie.", "english": "The motion of the upper part through a succession of chords is also called the melody.", "reading_order": 175, "section": "ch01-part04", "sources": [ { "pdf_page": 20, "source_image": "source-pages/020.png", "printed_page": 12 } ] }, { "id": "rh-ch01-083", "type": "footnote", "original": "(*) ou voix, selon l'auteur.", "english": "(*) Or “voices,” as the author has it.", "reading_order": 176, "section": "ch01-part04", "sources": [ { "pdf_page": 20, "source_image": "source-pages/020.png", "printed_page": 12 } ] }, { "id": "rh-ch01-084", "type": "heading", "original": "Notes à doubler — Dispositions serrées et larges", "english": "Doubling — Close and Open Spacing", "reading_order": 177, "section": "ch01-part04", "sources": [ { "pdf_page": 20, "source_image": "source-pages/020.png", "printed_page": 12 } ] }, { "id": "rh-ch01-085", "type": "heading", "original": "Position mélodique des accords de trois sons", "english": "Melodic Position of Triads", "reading_order": 178, "section": "ch01-part04", "sources": [ { "pdf_page": 20, "source_image": "source-pages/020.png", "printed_page": 12 } ] }, { "id": "rh-ch01-086", "type": "paragraph", "original": "§ 10. — 1) Pour la disposition d'un accord de trois sons à quatre parties, il faut doubler, de préférence, la fondamentale. Au début de ces études on emploiera exclusivement cette doublure.", "english": "§ 10. 1) When a triad is set in four parts, the root should preferably be doubled. At the start of these studies this doubling is used exclusively.", "reading_order": 179, "section": "ch01-part04", "sources": [ { "pdf_page": 20, "source_image": "source-pages/020.png", "printed_page": 12 } ] }, { "id": "rh-ch01-087", "type": "paragraph", "original": "2) Les accords de trois sons peuvent se trouver en disposition serrée ou large.", "english": "2) Triads can be in close or open spacing.", "reading_order": 180, "section": "ch01-part04", "sources": [ { "pdf_page": 20, "source_image": "source-pages/020.png", "printed_page": 12 } ] }, { "id": "rh-ch01-088", "type": "paragraph", "original": "En disposition serrée les trois parties supérieures sont distantes d'une tierce ou d'une quarte:", "english": "In close spacing the three upper parts lie a third or a fourth apart:", "reading_order": 181, "section": "ch01-part04", "sources": [ { "pdf_page": 20, "source_image": "source-pages/020.png", "printed_page": 12 } ] }, { "id": "rh-006-ex04", "type": "music", "original": "[Exemple]", "english": "C major triad in close spacing, four arrangements on two staves", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 182, "section": "ch01-part04", "sources": [ { "pdf_page": 20, "source_image": "source-pages/020.png", "printed_page": 12 } ], "asset_refs": [ "rh-006-ex04" ] }, { "id": "rh-ch01-089", "type": "paragraph", "original": "En disposition large les trois parties supérieures sont distantes d'une quinte ou d'une sixte:", "english": "In open spacing the three upper parts lie a fifth or a sixth apart:", "reading_order": 183, "section": "ch01-part04", "sources": [ { "pdf_page": 21, "source_image": "source-pages/021.png", "printed_page": 13 } ] }, { "id": "rh-006-ex05", "type": "music", "original": "[Exemple]", "english": "C major triad in open spacing, four arrangements on two staves", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 184, "section": "ch01-part04", "sources": [ { "pdf_page": 21, "source_image": "source-pages/021.png", "printed_page": 13 } ], "asset_refs": [ "rh-006-ex05" ] }, { "id": "rh-ch01-090", "type": "paragraph", "original": "3) Suivant la note qui se trouve à la partie supérieure, l'accord de trois sons peut se présenter sous les positions mélodiques suivantes:", "english": "3) Depending on which note is in the upper part, a triad can appear in the following melodic positions:", "reading_order": 185, "section": "ch01-part04", "sources": [ { "pdf_page": 21, "source_image": "source-pages/021.png", "printed_page": 13 } ] }, { "id": "rh-006-ex06", "type": "music", "original": "Position d'Octave · 8", "english": "Position of the octave: the root in the soprano, close and open (8)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 186, "section": "ch01-part04", "sources": [ { "pdf_page": 21, "source_image": "source-pages/021.png", "printed_page": 13 } ], "asset_refs": [ "rh-006-ex06" ] }, { "id": "rh-006-ex07", "type": "music", "original": "de Tierce · 3", "english": "Position of the third: the third in the soprano, close and open (3)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 187, "section": "ch01-part04", "sources": [ { "pdf_page": 21, "source_image": "source-pages/021.png", "printed_page": 13 } ], "asset_refs": [ "rh-006-ex07" ] }, { "id": "rh-006-ex08", "type": "music", "original": "de Quinte · 5", "english": "Position of the fifth: the fifth in the soprano, close and open (5)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 188, "section": "ch01-part04", "sources": [ { "pdf_page": 21, "source_image": "source-pages/021.png", "printed_page": 13 } ], "asset_refs": [ "rh-006-ex08" ] }, { "id": "rh-ch01-091", "type": "paragraph", "original": "4) Un accord de trois sons peut passer librement d'une disposition serrée à une large et réciproquement, ainsi que changer sa position mélodique:", "english": "4) A triad may move freely from close to open spacing and back, and may change its melodic position:", "reading_order": 189, "section": "ch01-part04", "sources": [ { "pdf_page": 21, "source_image": "source-pages/021.png", "printed_page": 13 } ] }, { "id": "rh-006-ex09", "type": "music", "original": "8 8 3 5 8 5 3", "english": "The C major triad respaced seven times; the figures give the soprano’s position", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 190, "section": "ch01-part04", "sources": [ { "pdf_page": 21, "source_image": "source-pages/021.png", "printed_page": 13 } ], "asset_refs": [ "rh-006-ex09" ] }, { "id": "rh-ch01-092", "type": "heading", "original": "Enchaînement harmonique et mélodique des accords de trois sons", "english": "Harmonic and Melodic Connection of Triads", "reading_order": 191, "section": "ch01-part04", "sources": [ { "pdf_page": 21, "source_image": "source-pages/021.png", "printed_page": 13 } ] }, { "id": "rh-ch01-093", "type": "paragraph", "original": "§ 11. — 1) L'enchaînement des accords appartenant aux différents degrés peut être: a) Harmonique, lorsque la note commune aux deux accords reste immobile. b) Mélodique, lorsque toutes les parties se meuvent.", "english": "§ 11. 1) Chords on different degrees can be connected a) harmonically, when the note common to both chords stays where it is; or b) melodically, when all the parts move.", "reading_order": 192, "section": "ch01-part04", "sources": [ { "pdf_page": 21, "source_image": "source-pages/021.png", "printed_page": 13 } ] }, { "id": "rh-ch01-094", "type": "paragraph", "original": "2) Dans l'enchaînement harmonique et mélodique les trois parties supérieures doivent se mouvoir sans dépasser l'intervalle de tierce pour obéir à la règle de la doublure exclusive de la fondamentale.", "english": "2) In both harmonic and melodic connection, the three upper parts must move by no more than a third, so as to obey the rule that only the root is doubled.", "reading_order": 193, "section": "ch01-part04", "sources": [ { "pdf_page": 21, "source_image": "source-pages/021.png", "printed_page": 13 } ] }, { "id": "rh-ch01-095", "type": "paragraph", "original": "3) Les accords se trouvant en rapport de quarte et quinte peuvent être enchaînés harmoniquement ou mélodiquement sans que la disposition serrée devienne large et réciproquement.", "english": "3) Chords related by a fourth or fifth can be connected harmonically or melodically without close spacing becoming open or open becoming close.", "reading_order": 194, "section": "ch01-part04", "sources": [ { "pdf_page": 21, "source_image": "source-pages/021.png", "printed_page": 13 } ] }, { "id": "rh-006-ex10", "type": "music", "original": "Harmonique", "english": "Harmonic connection: I–IV and I–V in C major, the common note tied; figures mark the size of each step", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 195, "section": "ch01-part04", "sources": [ { "pdf_page": 21, "source_image": "source-pages/021.png", "printed_page": 13 } ], "asset_refs": [ "rh-006-ex10" ] }, { "id": "rh-006-ex11", "type": "music", "original": "Mélodique", "english": "Melodic connection: I–IV and I–V in C major, all parts moving", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 196, "section": "ch01-part04", "sources": [ { "pdf_page": 21, "source_image": "source-pages/021.png", "printed_page": 13 } ], "asset_refs": [ "rh-006-ex11" ] }, { "id": "rh-ch01-096", "type": "paragraph", "original": "4) Les parties supérieures mobiles doivent procéder par mouvement direct; lorsque dans l'enchaînement harmonique leur mouvement est ascendant il deviendra descendant dans l'enchaînement mélodique et réciproquement.", "english": "4) The moving upper parts must proceed in similar motion; where they rise in a harmonic connection, they fall in the melodic one, and the reverse.", "reading_order": 197, "section": "ch01-part04", "sources": [ { "pdf_page": 22, "source_image": "source-pages/022.png", "printed_page": 14 } ] }, { "id": "rh-ch01-097", "type": "paragraph", "original": "5) Les accords en rapport de seconde s'enchaînent toujours mélodiquement, n'ayant pas de note commune.", "english": "5) Chords related by a second are always connected melodically, since they have no note in common.", "reading_order": 198, "section": "ch01-part04", "sources": [ { "pdf_page": 22, "source_image": "source-pages/022.png", "printed_page": 14 } ] }, { "id": "rh-ch01-098", "type": "paragraph", "original": "6) Les trois parties supérieures procèdent parallèlement et par mouvement contraire à la basse: la disposition reste la même, qu'elle soit serrée ou large.", "english": "6) The three upper parts move in parallel and in contrary motion to the bass; the spacing stays the same, close or open.", "reading_order": 199, "section": "ch01-part04", "sources": [ { "pdf_page": 22, "source_image": "source-pages/022.png", "printed_page": 14 } ] }, { "id": "rh-006-ex12", "type": "music", "original": "Mélodique", "english": "Melodic connection of chords a second apart: IV–V and V–IV in C major", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 200, "section": "ch01-part04", "sources": [ { "pdf_page": 22, "source_image": "source-pages/022.png", "printed_page": 14 } ], "asset_refs": [ "rh-006-ex12" ] }, { "id": "rh-ch01-099", "type": "paragraph", "original": "7) Les accords en rapport de tierce s'enchaînent harmoniquement ou mélodiquement.", "english": "7) Chords related by a third are connected harmonically or melodically.", "reading_order": 201, "section": "ch01-part04", "sources": [ { "pdf_page": 22, "source_image": "source-pages/022.png", "printed_page": 14 } ] }, { "id": "rh-ch01-100", "type": "paragraph", "original": "8) En les enchaînant harmoniquement, la disposition serrée ou large ne change pas; mais si l'enchaînement est mélodique la disposition serrée devient large et réciproquement.", "english": "8) Connected harmonically, they keep their close or open spacing; connected melodically, close spacing becomes open and open becomes close.", "reading_order": 202, "section": "ch01-part04", "sources": [ { "pdf_page": 22, "source_image": "source-pages/022.png", "printed_page": 14 } ] }, { "id": "rh-006-ex13", "type": "music", "original": "Harmonique", "english": "Harmonic connection of chords a third apart: VI–IV and IV–VI in C major, the two common notes tied", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 203, "section": "ch01-part04", "sources": [ { "pdf_page": 22, "source_image": "source-pages/022.png", "printed_page": 14 } ], "asset_refs": [ "rh-006-ex13" ] }, { "id": "rh-006-ex14", "type": "music", "original": "Mélodique", "english": "Melodic connection of chords a third apart: VI–IV and IV–VI in C major", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 204, "section": "ch01-part04", "sources": [ { "pdf_page": 22, "source_image": "source-pages/022.png", "printed_page": 14 } ], "asset_refs": [ "rh-006-ex14" ] }, { "id": "rh-ch01-101", "type": "heading", "original": "Mouvements défendus", "english": "Forbidden Motions", "reading_order": 205, "section": "ch01-part04", "sources": [ { "pdf_page": 22, "source_image": "source-pages/022.png", "printed_page": 14 } ] }, { "id": "rh-ch01-102", "type": "paragraph", "original": "§ 12. — 1) Des règles de l'enchaînement harmonique et mélodique résultent les conséquences suivantes: Deux accords de trois sons ne peuvent s'enchaîner avec les mêmes positions mélodiques:", "english": "§ 12. 1) The rules of harmonic and melodic connection have the following consequences. Two triads cannot be connected in the same melodic position:", "reading_order": 206, "section": "ch01-part04", "sources": [ { "pdf_page": 22, "source_image": "source-pages/022.png", "printed_page": 14 } ] }, { "id": "rh-006-ex15", "type": "music", "original": "5 · 8", "english": "I–V with both chords in octave position: parallel fifths and octaves, then fifths and octaves by contrary motion (bracketed and marked 5 and 8)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 207, "section": "ch01-part04", "sources": [ { "pdf_page": 22, "source_image": "source-pages/022.png", "printed_page": 14 } ], "asset_refs": [ "rh-006-ex15" ] }, { "id": "rh-ch01-103", "type": "paragraph", "original": "Les quintes et les octaves parallèles et par mouvement contraire se produisant dans ce cas, sont strictement défendues à l'élève; les unissons parallèles se rapportent aux mêmes règles:", "english": "The parallel fifths and octaves, and the fifths and octaves by contrary motion, that arise in this case are strictly forbidden to the pupil; parallel unisons come under the same rules:", "reading_order": 208, "section": "ch01-part04", "sources": [ { "pdf_page": 22, "source_image": "source-pages/022.png", "printed_page": 14 } ] }, { "id": "rh-006-ex16", "type": "music", "original": "5 · 8 · 1", "english": "Two-part illustrations, bracketed: parallel fifths, fifths by contrary motion, parallel octaves, octaves by contrary motion, parallel unisons, and unison to octave", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 209, "section": "ch01-part04", "sources": [ { "pdf_page": 22, "source_image": "source-pages/022.png", "printed_page": 14 } ], "asset_refs": [ "rh-006-ex16" ] }, { "id": "rh-ch01-104", "type": "paragraph", "original": "2) Dans les mouvements défendus à l'élève on doit considérer aussi tous les intervalles augmentés et par conséquent le mouvement de seconde augmentée dans les modes mineurs et majeurs harmoniques:", "english": "2) Among the motions forbidden to the pupil are also all augmented intervals, and therefore the step of an augmented second in the harmonic minor and major modes:", "reading_order": 210, "section": "ch01-part04", "sources": [ { "pdf_page": 22, "source_image": "source-pages/022.png", "printed_page": 14 } ] }, { "id": "rh-006-ex17", "type": "music", "original": "1½", "english": "Augmented seconds F–G♯, G♯–F, A♭–B, B–A♭, each marked 1½", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 211, "section": "ch01-part04", "sources": [ { "pdf_page": 22, "source_image": "source-pages/022.png", "printed_page": 14 } ], "asset_refs": [ "rh-006-ex17" ] }, { "id": "rh-ch02-001", "type": "heading", "original": "Chapitre II. De la succession des accords dans leurs rapports unitoniques", "english": "Chapter II. Chord Progressions within One Key", "reading_order": 212, "section": "ch02", "sources": [ { "pdf_page": 23, "source_image": "source-pages/023.png", "printed_page": 15 } ] }, { "id": "rh-ch02-002", "type": "paragraph", "original": "Remarque. — Tous les exemples donnés en mode majeur sont applicables au mode mineur. Dans le cas où il y a lieu à une diversité de réalisation on trouvera séparément les exemples en mineur et ceux en majeur.", "english": "Remark. All the examples given in the major mode apply to the minor mode as well. Where the realization differs, separate examples are given for minor and major.", "reading_order": 213, "section": "ch02", "sources": [ { "pdf_page": 23, "source_image": "source-pages/023.png", "printed_page": 15 } ] }, { "id": "rh-ch02-003", "type": "paragraph", "original": "Les réalisations données comme modèles sont en Do majeur ou en la mineur dans la mesure à deux ou à trois temps.", "english": "The model realizations are in C major or A minor, in duple or triple time.", "reading_order": 214, "section": "ch02", "sources": [ { "pdf_page": 23, "source_image": "source-pages/023.png", "printed_page": 15 } ] }, { "id": "rh-ch02-004", "type": "paragraph", "original": "Les basses et chants donnés comme travail à l'élève se trouvent à la fin du volume.", "english": "The basses and melodies set as exercises for the pupil are at the end of the volume.", "reading_order": 215, "section": "ch02", "sources": [ { "pdf_page": 23, "source_image": "source-pages/023.png", "printed_page": 15 } ] }, { "id": "rh-ch02-005", "type": "paragraph", "original": "D'après le contenu de chaque § et sur le modèle des exemples (sauf les chorals) il sera utile que l'élève compose lui-même un travail personnel en appliquant les règles apprises.", "english": "Following the content of each § and on the pattern of the examples (except the chorales), the pupil will find it useful to compose exercises of his own, applying the rules he has learned.", "reading_order": 216, "section": "ch02", "sources": [ { "pdf_page": 23, "source_image": "source-pages/023.png", "printed_page": 15 } ] }, { "id": "rh-ch02-006", "type": "heading", "original": "Harmonie consonante", "english": "Consonant Harmony", "reading_order": 217, "section": "ch02", "sources": [ { "pdf_page": 23, "source_image": "source-pages/023.png", "printed_page": 15 } ] }, { "id": "rh-ch02-007", "type": "heading", "original": "Enchaînement des accords parfaits du Ier degré avec le IVme, du Ier avec le Vme degré et réciproquement", "english": "Connecting the Triads of I and IV, and of I and V, in Either Direction", "reading_order": 218, "section": "ch02", "sources": [ { "pdf_page": 23, "source_image": "source-pages/023.png", "printed_page": 15 } ] }, { "id": "rh-ch02-008", "type": "paragraph", "original": "§ 13. — a) En réalisant les chants donnés:", "english": "§ 13. a) When harmonizing given melodies:", "reading_order": 219, "section": "ch02", "sources": [ { "pdf_page": 23, "source_image": "source-pages/023.png", "printed_page": 15 } ] }, { "id": "rh-ch02-009", "type": "paragraph", "original": "1) Au-dessous de chaque note du chant donné, placer un accord parfait du Ier, IVme ou Vme degré suivant la note, sans employer les IVme et Vme degré de suite.", "english": "1) Under each note of the given melody, place a triad on I, IV or V according to the note, without using IV and V in succession.", "reading_order": 220, "section": "ch02", "sources": [ { "pdf_page": 23, "source_image": "source-pages/023.png", "printed_page": 15 } ] }, { "id": "rh-ch02-010", "type": "paragraph", "original": "2) Enchaîner les accords parfaits d'après les règles de l'enchaînement harmonique ou mélodique.", "english": "2) Connect the triads by the rules of harmonic or melodic connection.", "reading_order": 221, "section": "ch02", "sources": [ { "pdf_page": 23, "source_image": "source-pages/023.png", "printed_page": 15 } ] }, { "id": "rh-ch02-011", "type": "paragraph", "original": "3) Si dans le chant donné il y a un intervalle mélodique qui dépasse la tierce, employer un accord parfait du même degré, mais dans différentes positions mélodiques.", "english": "3) Where the given melody leaps by more than a third, use the triad on the same degree, but in different melodic positions.", "reading_order": 222, "section": "ch02", "sources": [ { "pdf_page": 23, "source_image": "source-pages/023.png", "printed_page": 15 } ] }, { "id": "rh-ch02-012", "type": "paragraph", "original": "4) Dans une suite de deux notes du même nom au chant donné, employer deux accords de différents degrés ou faire en sorte que la disposition des parties du deuxième accord soit différente de celle du premier accord.", "english": "4) Where the given melody repeats a note, use chords on two different degrees, or else arrange the parts of the second chord differently from the first.", "reading_order": 223, "section": "ch02", "sources": [ { "pdf_page": 23, "source_image": "source-pages/023.png", "printed_page": 15 } ] }, { "id": "rh-ch02-013", "type": "paragraph", "original": "5) Commencer et finir le devoir par l'accord de tonique.", "english": "5) Begin and end the exercise with the tonic chord.", "reading_order": 224, "section": "ch02", "sources": [ { "pdf_page": 23, "source_image": "source-pages/023.png", "printed_page": 15 } ] }, { "id": "rh-ch02-014", "type": "paragraph", "original": "6) Ne pas placer sur le temps fort d'une mesure l'accord parfait du temps faible précédent.", "english": "6) Do not put on the strong beat of a bar the same triad that was on the preceding weak beat.", "reading_order": 225, "section": "ch02", "sources": [ { "pdf_page": 23, "source_image": "source-pages/023.png", "printed_page": 15 } ] }, { "id": "rh-ch02-015", "type": "paragraph", "original": "7) Éviter dans la basse le mouvement mélodique de deux quartes ou de deux quintes.", "english": "7) In the bass, avoid two successive leaps of a fourth or two of a fifth.", "reading_order": 226, "section": "ch02", "sources": [ { "pdf_page": 23, "source_image": "source-pages/023.png", "printed_page": 15 } ] }, { "id": "rh-007-ex01", "type": "music", "original": "Ex. Mauvais · Bon", "english": "Bass leaps: bad — two fourths (G–C–F), two fifths (G–C–F down); good — a fourth then a fifth, a fifth then a fourth", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 227, "section": "ch02", "sources": [ { "pdf_page": 23, "source_image": "source-pages/023.png", "printed_page": 15 } ], "asset_refs": [ "rh-007-ex01" ] }, { "id": "rh-ch02-016", "type": "heading", "original": "Devoir No 1 (chants donnés)", "english": "Exercise No. 1 (given melodies)", "reading_order": 228, "section": "ch02", "sources": [ { "pdf_page": 23, "source_image": "source-pages/023.png", "printed_page": 15 } ] }, { "id": "rh-007-ex02", "type": "music", "original": "Modèle", "english": "Model: a given melody harmonized with I, IV and V in C major", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 229, "section": "ch02", "sources": [ { "pdf_page": 23, "source_image": "source-pages/023.png", "printed_page": 15 } ], "asset_refs": [ "rh-007-ex02" ] }, { "id": "rh-ch02-017", "type": "paragraph", "original": "§ 14. — b) En réalisant les basses données:", "english": "§ 14. b) When realizing given basses:", "reading_order": 230, "section": "ch02-part02", "sources": [ { "pdf_page": 23, "source_image": "source-pages/023.png", "printed_page": 15 } ] }, { "id": "rh-ch02-018", "type": "paragraph", "original": "1) Procéder de préférence dans la mélodie par mouvement conjoint.", "english": "1) In the melody, prefer stepwise motion.", "reading_order": 231, "section": "ch02-part02", "sources": [ { "pdf_page": 23, "source_image": "source-pages/023.png", "printed_page": 15 } ] }, { "id": "rh-ch02-019", "type": "paragraph", "original": "2) Faire monter toujours la note sensible. Pour cela, enchaîner harmoniquement à l'accord de tonique suivant l'accord du Vme degré placé au-dessous de la sensible.", "english": "2) Always let the leading note rise. To do this, connect harmonically to the tonic chord the chord of the fifth degree that lies beneath the leading note.", "reading_order": 232, "section": "ch02-part02", "sources": [ { "pdf_page": 24, "source_image": "source-pages/024.png", "printed_page": 16 } ] }, { "id": "rh-008-ex01", "type": "music", "original": "Bon · Mauvais · Bon · Mauvais", "english": "V–I in C major: good when the leading note B rises to C; bad when it falls to G", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 233, "section": "ch02-part02", "sources": [ { "pdf_page": 24, "source_image": "source-pages/024.png", "printed_page": 16 } ], "asset_refs": [ "rh-008-ex01" ] }, { "id": "rh-ch02-020", "type": "paragraph", "original": "3) Dans la conclusion du devoir, pour faire monter dans l'enchaînement mélodique la note sensible se trouvant dans une des parties intermédiaires, le dernier accord de tonique peut être incomplet, c'est-à-dire avec trois toniques et sans quinte:", "english": "3) At the end of the exercise, so that a leading note in one of the inner parts can rise in a melodic connection, the final tonic chord may be incomplete — that is, with three tonics and no fifth:", "reading_order": 234, "section": "ch02-part02", "sources": [ { "pdf_page": 24, "source_image": "source-pages/024.png", "printed_page": 16 } ] }, { "id": "rh-008-ex02", "type": "music", "original": "V I · V I", "english": "Final V–I with an incomplete tonic chord (three Cs and an E, no fifth), so the leading note in an inner part rises", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 235, "section": "ch02-part02", "sources": [ { "pdf_page": 24, "source_image": "source-pages/024.png", "printed_page": 16 } ], "asset_refs": [ "rh-008-ex02" ] }, { "id": "rh-ch02-021", "type": "heading", "original": "Devoir No 2 (basses données)", "english": "Exercise No. 2 (given basses)", "reading_order": 236, "section": "ch02-part02", "sources": [ { "pdf_page": 24, "source_image": "source-pages/024.png", "printed_page": 16 } ] }, { "id": "rh-008-ex03", "type": "music", "original": "Modèle", "english": "Model: a given bass in A minor, 3/2, harmonized with I, IV and V", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 237, "section": "ch02-part02", "sources": [ { "pdf_page": 24, "source_image": "source-pages/024.png", "printed_page": 16 } ], "asset_refs": [ "rh-008-ex03" ] }, { "id": "rh-ch02-022", "type": "paragraph", "original": "L'élève composera des devoirs de huit mesures, préférablement à deux temps, d'après les modèles donnés.", "english": "The pupil should compose exercises of eight bars, preferably in duple time, on the pattern of the models given.", "reading_order": 238, "section": "ch02-part02", "sources": [ { "pdf_page": 24, "source_image": "source-pages/024.png", "printed_page": 16 } ] }, { "id": "rh-ch02-023", "type": "heading", "original": "Enchaînement des accords parfaits du IVme et du Vme degré", "english": "Connecting the Triads of IV and V", "reading_order": 239, "section": "ch02-part02", "sources": [ { "pdf_page": 24, "source_image": "source-pages/024.png", "printed_page": 16 } ] }, { "id": "rh-ch02-024", "type": "paragraph", "original": "§ 15. — 1) N'ayant pas de notes communes l'enchaînement est mélodique. (*)", "english": "§ 15. 1) Having no notes in common, these chords are connected melodically. (*)", "reading_order": 240, "section": "ch02-part02", "sources": [ { "pdf_page": 24, "source_image": "source-pages/024.png", "printed_page": 16 } ] }, { "id": "rh-ch02-025", "type": "paragraph", "original": "2) Placer l'accord parfait du IVme degré avant celui du Vme et non après.", "english": "2) Place the triad of IV before that of V, not after it.", "reading_order": 241, "section": "ch02-part02", "sources": [ { "pdf_page": 24, "source_image": "source-pages/024.png", "printed_page": 16 } ] }, { "id": "rh-008-ex04", "type": "music", "original": "IV V · IV V", "english": "IV–V in C major, two spacings; the upper parts move against the bass", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 242, "section": "ch02-part02", "sources": [ { "pdf_page": 24, "source_image": "source-pages/024.png", "printed_page": 16 } ], "asset_refs": [ "rh-008-ex04" ] }, { "id": "rh-ch02-026", "type": "heading", "original": "Devoir No 3 (basses et chants donnés)", "english": "Exercise No. 3 (given basses and melodies)", "reading_order": 243, "section": "ch02-part02", "sources": [ { "pdf_page": 24, "source_image": "source-pages/024.png", "printed_page": 16 } ] }, { "id": "rh-008-ex05", "type": "music", "original": "Modèle", "english": "Model in C major, cut time, using I, IV and V", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 244, "section": "ch02-part02", "sources": [ { "pdf_page": 24, "source_image": "source-pages/024.png", "printed_page": 16 } ], "asset_refs": [ "rh-008-ex05" ] }, { "id": "rh-ch02-027", "type": "footnote", "original": "(*) Voir § 11 (5 et 6).", "english": "(*) See § 11 (5 and 6).", "reading_order": 245, "section": "ch02-part02", "sources": [ { "pdf_page": 24, "source_image": "source-pages/024.png", "printed_page": 16 } ] }, { "id": "rh-ch02-028", "type": "heading", "original": "Enchaînement des Accords de Sixte du Ier, IVme et Vme Degré avec les Accords parfaits des mêmes Degrés", "english": "Succession of Sixth Chords of the First, Fourth and Fifth Degrees with the Triads of the Same Degrees", "reading_order": 246, "section": "ch02-part03", "sources": [ { "pdf_page": 25, "source_image": "source-pages/025.png", "printed_page": 17 } ] }, { "id": "rh-ch02-029", "type": "paragraph", "original": "§ 16. — 1) Doubler dans les accords de sixte la fondamentale ou la quinte de la fondamentale.", "english": "§16. 1) In sixth chords, double the root or the fifth of the root.", "reading_order": 247, "section": "ch02-part03", "sources": [ { "pdf_page": 25, "source_image": "source-pages/025.png", "printed_page": 17 } ] }, { "id": "rh-ch02-030", "type": "paragraph", "original": "2) Ne pas enchaîner deux accords de sixte de suite.", "english": "2) Do not connect two sixth chords in succession.", "reading_order": 248, "section": "ch02-part03", "sources": [ { "pdf_page": 25, "source_image": "source-pages/025.png", "printed_page": 17 } ] }, { "id": "rh-ch02-031", "type": "paragraph", "original": "3) L'enchaînement de l'accord de sixte avec l'accord parfait (des différents degrés) doit être absolument harmonique. La note commune reste en place, et le mouvement mélodique des autres parties supérieures ne dépasse pas l'intervalle de tierce.", "english": "3) The connection of the sixth chord with the triad (of the various degrees) must be strictly harmonic. The common note stays in place, and the melodic motion of the other upper parts does not exceed the interval of a third.", "reading_order": 249, "section": "ch02-part03", "sources": [ { "pdf_page": 25, "source_image": "source-pages/025.png", "printed_page": 17 } ] }, { "id": "rh-009-ex01", "type": "music", "original": "(exemple non légendé)", "english": "I–V6–I twice: the common note stays in place (tied) and the other upper parts move by step or third", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 250, "section": "ch02-part03", "sources": [ { "pdf_page": 25, "source_image": "source-pages/025.png", "printed_page": 17 } ], "asset_refs": [ "rh-009-ex01" ] }, { "id": "rh-ch02-032", "type": "paragraph", "original": "4) La doublure de la tierce dans l'accord de sixte est permise lorsque les trois parties supérieures restent en place et que la basse monte par tierces.", "english": "4) Doubling the third in the sixth chord is permitted when the three upper parts stay in place and the bass rises by thirds.", "reading_order": 251, "section": "ch02-part03", "sources": [ { "pdf_page": 25, "source_image": "source-pages/025.png", "printed_page": 17 } ] }, { "id": "rh-009-ex02", "type": "music", "original": "(exemple non légendé)", "english": "Doubled third in the sixth chord: the three upper parts stay in place while the bass rises by thirds, C–E–G", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 252, "section": "ch02-part03", "sources": [ { "pdf_page": 25, "source_image": "source-pages/025.png", "printed_page": 17 } ], "asset_refs": [ "rh-009-ex02" ] }, { "id": "rh-ch02-033", "type": "paragraph", "original": "5) L'intervalle mélodique de sixte à la basse est permis en passant de l'accord parfait à l'accord de sixte mais non de l'accord de sixte à l'accord parfait. Les intervalles mélodiques de septième sont défendus.", "english": "5) The melodic interval of a sixth in the bass is permitted when passing from the triad to the sixth chord, but not from the sixth chord to the triad. Melodic intervals of a seventh are forbidden.", "reading_order": 253, "section": "ch02-part03", "sources": [ { "pdf_page": 25, "source_image": "source-pages/025.png", "printed_page": 17 } ] }, { "id": "rh-ch02-034", "type": "heading", "original": "Devoir N° 4 (Basses et Chants donnés)", "english": "Exercise No. 4 (Given Basses and Melodies)", "reading_order": 254, "section": "ch02-part03", "sources": [ { "pdf_page": 25, "source_image": "source-pages/025.png", "printed_page": 17 } ] }, { "id": "rh-009-ex03", "type": "music", "original": "MODÈLE", "english": "Model realization, eight bars, with figured-bass sixth chords", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 255, "section": "ch02-part03", "sources": [ { "pdf_page": 25, "source_image": "source-pages/025.png", "printed_page": 17 } ], "asset_refs": [ "rh-009-ex03" ] }, { "id": "rh-ch02-035", "type": "heading", "original": "Enchaînement de l'Accord de Sixte du IVme Degré avec l'Accord parfait du Vme Degré", "english": "Succession of the Sixth Chord of the Fourth Degree with the Triad of the Fifth Degree", "reading_order": 256, "section": "ch02-part03", "sources": [ { "pdf_page": 25, "source_image": "source-pages/025.png", "printed_page": 17 } ] }, { "id": "rh-ch02-036", "type": "paragraph", "original": "§ 17. — 1) Doubler dans l'accord de sixte toujours la fondamentale ou la quinte de la fondamentale.", "english": "§17. 1) In the sixth chord, always double the root or the fifth of the root.", "reading_order": 257, "section": "ch02-part03", "sources": [ { "pdf_page": 25, "source_image": "source-pages/025.png", "printed_page": 17 } ] }, { "id": "rh-ch02-037", "type": "paragraph", "original": "2) Chacune des trois parties supérieures procède par intervalle de seconde ou de tierce:", "english": "2) Each of the three upper parts moves by the interval of a second or a third:", "reading_order": 258, "section": "ch02-part03", "sources": [ { "pdf_page": 25, "source_image": "source-pages/025.png", "printed_page": 17 } ] }, { "id": "rh-009-ex04", "type": "music", "original": "IV V · IV V", "english": "Sixth chord of the fourth degree to the triad of the fifth degree, two voicings", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 259, "section": "ch02-part03", "sources": [ { "pdf_page": 25, "source_image": "source-pages/025.png", "printed_page": 17 } ], "asset_refs": [ "rh-009-ex04" ] }, { "id": "rh-010-001", "type": "heading", "original": "Enchaînement de l'Accord Parfait du IVme Degré avec l'Accord de sixte du Vme Degré", "english": "Succession of the Triad of the Fourth Degree with the Sixth Chord of the Fifth Degree", "reading_order": 260, "section": "ch02-part04", "sources": [ { "pdf_page": 26, "source_image": "source-pages/026.png", "printed_page": 18 } ] }, { "id": "rh-010-002", "type": "paragraph", "original": "§ 18. — 1) La basse procède par quinte diminuée descendante et non par quarte augmentée ascendante.", "english": "§18. — 1) The bass moves by a descending diminished fifth, and not by an ascending augmented fourth.", "reading_order": 261, "section": "ch02-part04", "sources": [ { "pdf_page": 26, "source_image": "source-pages/026.png", "printed_page": 18 } ] }, { "id": "rh-010-003", "type": "paragraph", "original": "2) On doublera dans l'accord de sixte du Vme degré la fondamentale ou la quinte de la fondamentale.", "english": "2) In the sixth chord of the fifth degree, double the root or the fifth of the root.", "reading_order": 262, "section": "ch02-part04", "sources": [ { "pdf_page": 26, "source_image": "source-pages/026.png", "printed_page": 18 } ] }, { "id": "rh-010-004", "type": "paragraph", "original": "3) Chacune des trois parties supérieures procède par seconde ou par tierce.", "english": "3) Each of the three upper parts moves by a second or a third.", "reading_order": 263, "section": "ch02-part04", "sources": [ { "pdf_page": 26, "source_image": "source-pages/026.png", "printed_page": 18 } ] }, { "id": "rh-010-005", "type": "paragraph", "original": "4) Si entre les trois parties supérieures de l'accord du IVme degré se trouve un intervalle de quinte, on ne peut doubler dans l'accord de sixte que la quinte de la fondamentale.", "english": "4) If a fifth occurs among the three upper parts of the chord of the fourth degree, then in the sixth chord only the fifth of the root may be doubled.", "reading_order": 264, "section": "ch02-part04", "sources": [ { "pdf_page": 26, "source_image": "source-pages/026.png", "printed_page": 18 } ] }, { "id": "rh-010-ex01", "type": "music", "original": "IV V · Bon · Bon · Mauvais", "english": "Four pairs of chords illustrating the rules above: IV to V6, doubling the root and then the fifth, then the point-4 case (a fifth among the upper parts of IV) doubled correctly and incorrectly; 'Good' over the first three pairs, 'Bad' over the last", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 265, "section": "ch02-part04", "sources": [ { "pdf_page": 26, "source_image": "source-pages/026.png", "printed_page": 18 } ], "asset_refs": [ "rh-010-ex01" ] }, { "id": "rh-010-006", "type": "heading", "original": "Devoir No 5 (basses et chants donnés)", "english": "Exercise No. 5 (given basses and melodies)", "reading_order": 266, "section": "ch02-part04", "sources": [ { "pdf_page": 26, "source_image": "source-pages/026.png", "printed_page": 18 } ] }, { "id": "rh-010-ex02", "type": "music", "original": "Modèle", "english": "Model realization, eight bars, cut time, C major", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 267, "section": "ch02-part04", "sources": [ { "pdf_page": 26, "source_image": "source-pages/026.png", "printed_page": 18 } ], "asset_refs": [ "rh-010-ex02" ] }, { "id": "rh-010-007", "type": "heading", "original": "Enchaînement des deux Accords de Sixte du IVme et du Vme Degré", "english": "Succession of the Two Sixth Chords of the Fourth and Fifth Degrees", "reading_order": 268, "section": "ch02-part04", "sources": [ { "pdf_page": 26, "source_image": "source-pages/026.png", "printed_page": 18 } ] }, { "id": "rh-010-008", "type": "paragraph", "original": "§ 19. — 1) Doubler dans l'accord de sixte du IVme degré la fondamentale et dans l'accord de sixte du Vme degré la quinte de la fondamentale.", "english": "§19. — 1) In the sixth chord of the fourth degree, double the root, and in the sixth chord of the fifth degree, double the fifth of the root.", "reading_order": 269, "section": "ch02-part04", "sources": [ { "pdf_page": 26, "source_image": "source-pages/026.png", "printed_page": 18 } ] }, { "id": "rh-010-009", "type": "paragraph", "original": "2) Deux des parties supérieures procèdent parallèlement et une par mouvement contraire à la basse:", "english": "2) Two of the upper parts move in parallel, and one by contrary motion to the bass:", "reading_order": 270, "section": "ch02-part04", "sources": [ { "pdf_page": 26, "source_image": "source-pages/026.png", "printed_page": 18 } ] }, { "id": "rh-010-ex03", "type": "music", "original": "IV V", "english": "Two pairs of chords illustrating rules 1-2: the sixth chord of IV to the sixth chord of V, two upper parts moving in parallel and one in contrary motion to the bass", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 271, "section": "ch02-part04", "sources": [ { "pdf_page": 26, "source_image": "source-pages/026.png", "printed_page": 18 } ], "asset_refs": [ "rh-010-ex03" ] }, { "id": "rh-010-010", "type": "paragraph", "original": "3) Dans le mode mineur la basse de l'accord de sixte du IVme degré est accidentée pour éviter le mouvement de seconde augmentée:", "english": "3) In the minor mode, the bass of the sixth chord of the fourth degree takes an accidental, to avoid the motion of an augmented second:", "reading_order": 272, "section": "ch02-part04", "sources": [ { "pdf_page": 26, "source_image": "source-pages/026.png", "printed_page": 18 } ] }, { "id": "rh-010-ex04", "type": "music", "original": "IV V · Gamme mineure mélodique", "english": "Minor-mode illustration of rule 3 (A minor): the bass of IV6 is raised to F sharp; caption 'Melodic minor scale'", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 273, "section": "ch02-part04", "sources": [ { "pdf_page": 26, "source_image": "source-pages/026.png", "printed_page": 18 } ], "asset_refs": [ "rh-010-ex04" ] }, { "id": "rh-010-011", "type": "paragraph", "original": "REMARQUE. — En ce cas, pour éviter des successions défendues (quintes parallèles) l'accord de sixte du IVme degré doit avoir la fondamentale en position mélodique.", "english": "REMARK. — In this case, to avoid forbidden successions (parallel fifths), the sixth chord of the fourth degree must have its root in melodic position (in the soprano).", "reading_order": 274, "section": "ch02-part04", "sources": [ { "pdf_page": 26, "source_image": "source-pages/026.png", "printed_page": 18 } ] }, { "id": "rh-010-012", "type": "heading", "original": "Devoir No 6 (basses et chants donnés)", "english": "Exercise No. 6 (given basses and melodies)", "reading_order": 275, "section": "ch02-part04", "sources": [ { "pdf_page": 26, "source_image": "source-pages/026.png", "printed_page": 18 } ] }, { "id": "rh-010-ex05", "type": "music", "original": "Modèle", "english": "Model realization, eight bars, cut time, A minor", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 276, "section": "ch02-part04", "sources": [ { "pdf_page": 26, "source_image": "source-pages/026.png", "printed_page": 18 } ], "asset_refs": [ "rh-010-ex05" ] }, { "id": "rh-011-001", "type": "heading", "original": "Cadences ou conclusions complètes — Authentiques et plagales", "english": "Cadences, or Full Closes — Authentic and Plagal", "reading_order": 277, "section": "ch02-p027", "sources": [ { "pdf_page": 27, "source_image": "source-pages/027.png", "printed_page": 19 } ] }, { "id": "rh-011-002", "type": "paragraph", "original": "§ 20. — 1) On appelle cadence la terminaison harmonique des idées musicales.", "english": "§ 20. 1) The harmonic ending of musical ideas is called a cadence.", "reading_order": 278, "section": "ch02-p027", "sources": [ { "pdf_page": 27, "source_image": "source-pages/027.png", "printed_page": 19 } ] }, { "id": "rh-011-003", "type": "paragraph", "original": "2) On appelle cadence complète la terminaison sur l'accord de tonique.", "english": "2) An ending on the tonic chord is called a full cadence.", "reading_order": 279, "section": "ch02-p027", "sources": [ { "pdf_page": 27, "source_image": "source-pages/027.png", "printed_page": 19 } ] }, { "id": "rh-011-004", "type": "paragraph", "original": "3) Dans les cadences complètes on distingue des cadences authentiques (dominante-tonique) et plagales (sous-dominante-tonique).", "english": "3) Among full cadences we distinguish authentic cadences (dominant–tonic) and plagal cadences (subdominant–tonic).", "reading_order": 280, "section": "ch02-p027", "sources": [ { "pdf_page": 27, "source_image": "source-pages/027.png", "printed_page": 19 } ] }, { "id": "rh-011-ex01", "type": "music", "original": "A) Cadences authentiques (Vme, Ier degrés) · Parfaite · Parfaite · Imparfaite · Imparfaite · Imparfaite", "english": "A) Authentic cadences (V–I): perfect, perfect, imperfect, imperfect, imperfect", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 281, "section": "ch02-p027", "sources": [ { "pdf_page": 27, "source_image": "source-pages/027.png", "printed_page": 19 } ], "asset_refs": [ "rh-011-ex01" ] }, { "id": "rh-011-ex02", "type": "music", "original": "B) Cadences plagales (IVme, Ier degrés) · Parfaite · Parfaite · Imparfaite · Imparfaite · Imparfaite", "english": "B) Plagal cadences (IV–I): perfect, perfect, imperfect, imperfect, imperfect", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 282, "section": "ch02-p027", "sources": [ { "pdf_page": 27, "source_image": "source-pages/027.png", "printed_page": 19 } ], "asset_refs": [ "rh-011-ex02" ] }, { "id": "rh-011-005", "type": "paragraph", "original": "4) Lorsque les deux accords conclusifs se trouvent à l'état fondamental, que le dernier accord a la fondamentale dans sa position mélodique, et qu'il se trouve placé sur le temps fort de la mesure, la cadence est parfaite; à défaut de ces conditions, elle devient imparfaite.", "english": "4) When the two closing chords are both in root position, the last chord has its root in the melodic position (in the soprano), and it falls on the strong beat of the bar, the cadence is perfect; if these conditions are not met, it becomes imperfect.", "reading_order": 283, "section": "ch02-p027", "sources": [ { "pdf_page": 27, "source_image": "source-pages/027.png", "printed_page": 19 } ] }, { "id": "rh-011-006", "type": "heading", "original": "Formule de cadence de première espèce — avec la succession de la sous-dominante et de la dominante", "english": "Cadence Formula of the First Kind — with the Succession of Subdominant and Dominant", "reading_order": 284, "section": "ch02-p027", "sources": [ { "pdf_page": 27, "source_image": "source-pages/027.png", "printed_page": 19 } ] }, { "id": "rh-011-007", "type": "paragraph", "original": "§ 21. — 1) On entend par formule de cadence de première espèce la succession des accords des Ier, IVme, Vme, Ier degrés.", "english": "§ 21. 1) By the cadence formula of the first kind is meant the succession of the chords of degrees I, IV, V, I.", "reading_order": 285, "section": "ch02-p027", "sources": [ { "pdf_page": 27, "source_image": "source-pages/027.png", "printed_page": 19 } ] }, { "id": "rh-011-008", "type": "paragraph", "original": "2) Dans la mesure à deux temps le IVme degré est toujours placé sur le temps fort et le Vme sur le temps faible; dans la mesure à trois temps le IVme degré peut se placer également sur le deuxième temps (faible) et le Vme degré sur le troisième temps.", "english": "2) In duple time the fourth degree is always placed on the strong beat and the fifth on the weak beat; in triple time the fourth degree may also be placed on the second (weak) beat and the fifth degree on the third beat.", "reading_order": 286, "section": "ch02-p027", "sources": [ { "pdf_page": 27, "source_image": "source-pages/027.png", "printed_page": 19 } ] }, { "id": "rh-011-ex03", "type": "music", "original": "Modèle · I IV V", "english": "Model: the first-kind cadence formula I–IV–V–I in C major, cut time, IV on the strong beat", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 287, "section": "ch02-p027", "sources": [ { "pdf_page": 27, "source_image": "source-pages/027.png", "printed_page": 19 } ], "asset_refs": [ "rh-011-ex03" ] }, { "id": "rh-011-ex04", "type": "music", "original": "I V · IV V", "english": "The formula in 3/2: in C major with IV on the first beat and V on the second; in A minor with iv (first inversion) on the second beat and V on the third", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 288, "section": "ch02-p027", "sources": [ { "pdf_page": 27, "source_image": "source-pages/027.png", "printed_page": 19 } ], "asset_refs": [ "rh-011-ex04" ] }, { "id": "rh-011-009", "type": "heading", "original": "Devoir No 7 (basses et chants donnés)", "english": "Exercise No. 7 (given basses and melodies)", "reading_order": 289, "section": "ch02-p027", "sources": [ { "pdf_page": 27, "source_image": "source-pages/027.png", "printed_page": 19 } ] }, { "id": "rh-012-001", "type": "heading", "original": "Formule de cadence de deuxième espèce (avec l'accord de quarte et sixte du premier degré)", "english": "Cadence Formula of the Second Kind (with the Six-Four Chord of the First Degree)", "reading_order": 290, "section": "ch02-p028", "sources": [ { "pdf_page": 28, "source_image": "source-pages/028.png", "printed_page": 20 } ] }, { "id": "rh-012-002", "type": "paragraph", "original": "§ 22. — 1) On entend par formule de cadence de deuxième espèce, la succession des accords du IVme degré, de quarte et sixte du Ier et de ceux parfaits des Vme et Ier degrés.", "english": "§ 22. — 1) By the cadence formula of the second kind is meant the succession of the chord of the fourth degree, the six-four chord of the first degree, and the triads of the fifth and first degrees.", "reading_order": 291, "section": "ch02-p028", "sources": [ { "pdf_page": 28, "source_image": "source-pages/028.png", "printed_page": 20 } ] }, { "id": "rh-012-003", "type": "paragraph", "original": "2) L'accord de quarte et sixte de cadence s'enchaîne harmoniquement avec l'accord parfait qui le précède; c'est ainsi que la quarte de l'accord de quarte et sixte est note commune.", "english": "2) The cadential six-four chord is connected harmonically with the triad that precedes it; thus the fourth of the six-four chord is a common note.", "reading_order": 292, "section": "ch02-p028", "sources": [ { "pdf_page": 28, "source_image": "source-pages/028.png", "printed_page": 20 } ] }, { "id": "rh-012-004", "type": "paragraph", "original": "3) On double dans l'accord de quarte et sixte exclusivement la quinte de la fondamentale (note de basse).", "english": "3) In the six-four chord, only the fifth of the root (the bass note) is doubled.", "reading_order": 293, "section": "ch02-p028", "sources": [ { "pdf_page": 28, "source_image": "source-pages/028.png", "printed_page": 20 } ] }, { "id": "rh-012-005", "type": "paragraph", "original": "4) Dans la mesure à deux temps on place l'accord de quarte et sixte de cadence sur le temps fort. Dans la mesure à trois temps on peut le placer aussi sur le deuxième temps (faible), alors l'accord de dominante se trouve sur le troisième temps.", "english": "4) In duple time the cadential six-four chord is placed on the strong beat. In triple time it may also be placed on the second (weak) beat; the dominant chord then falls on the third beat.", "reading_order": 294, "section": "ch02-p028", "sources": [ { "pdf_page": 28, "source_image": "source-pages/028.png", "printed_page": 20 } ] }, { "id": "rh-012-ex01", "type": "music", "original": "Exemple", "english": "Example: two cadences in C major, cut time — IV6 or IV, the six-four chord on the strong beat, V, I", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 295, "section": "ch02-p028", "sources": [ { "pdf_page": 28, "source_image": "source-pages/028.png", "printed_page": 20 } ], "asset_refs": [ "rh-012-ex01" ] }, { "id": "rh-012-ex02", "type": "music", "original": "I · I · V", "english": "Example (continued), 3/2: two cadences in A minor and one in C major, the six-four chord on the first or the weak second beat", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 296, "section": "ch02-p028", "sources": [ { "pdf_page": 28, "source_image": "source-pages/028.png", "printed_page": 20 } ], "asset_refs": [ "rh-012-ex02" ] }, { "id": "rh-012-006", "type": "heading", "original": "Exercice", "english": "Exercise", "reading_order": 297, "section": "ch02-p028", "sources": [ { "pdf_page": 28, "source_image": "source-pages/028.png", "printed_page": 20 } ] }, { "id": "rh-012-007", "type": "paragraph", "original": "Jouer au piano différentes cadences dans tous les modes majeurs et mineurs.", "english": "Play various cadences at the piano in all major and minor keys.", "reading_order": 298, "section": "ch02-p028", "sources": [ { "pdf_page": 28, "source_image": "source-pages/028.png", "printed_page": 20 } ] }, { "id": "rh-012-008", "type": "heading", "original": "Accords de quarte et sixte de passage", "english": "Passing Six-Four Chords", "reading_order": 299, "section": "ch02-p028", "sources": [ { "pdf_page": 28, "source_image": "source-pages/028.png", "printed_page": 20 } ] }, { "id": "rh-012-009", "type": "paragraph", "original": "§ 23. — 1) Entre un accord parfait et un accord de sixte, ou entre un accord de sixte et un accord parfait du même degré, on peut placer un accord de quarte et sixte de passage.", "english": "§ 23. — 1) Between a triad and a sixth chord, or between a sixth chord and a triad of the same degree, a passing six-four chord may be placed.", "reading_order": 300, "section": "ch02-p028", "sources": [ { "pdf_page": 28, "source_image": "source-pages/028.png", "printed_page": 20 } ] }, { "id": "rh-012-010", "type": "paragraph", "original": "2) L'enchaînement est harmonique; la basse procède par degrés conjoints; l'une des trois parties supérieures reste en place, formant note commune, l'autre procède par mouvement contraire à la basse, et la troisième par mouvement conjoint descendant et ensuite ascendant.", "english": "2) The connection is harmonic; the bass moves by step; one of the three upper parts stays in place, forming a common note, another moves in contrary motion to the bass, and the third moves by step, first down and then up.", "reading_order": 301, "section": "ch02-p028", "sources": [ { "pdf_page": 28, "source_image": "source-pages/028.png", "printed_page": 20 } ] }, { "id": "rh-012-011", "type": "paragraph", "original": "3) L'accord de quarte et sixte de passage se place de préférence sur le temps faible de la mesure.", "english": "3) The passing six-four chord is preferably placed on the weak beat of the bar.", "reading_order": 302, "section": "ch02-p028", "sources": [ { "pdf_page": 28, "source_image": "source-pages/028.png", "printed_page": 20 } ] }, { "id": "rh-012-ex03", "type": "music", "original": "I V I · IV I IV", "english": "Passing six-four chords: I–V6/4–I6 and IV6–I6/4–IV", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 303, "section": "ch02-p028", "sources": [ { "pdf_page": 28, "source_image": "source-pages/028.png", "printed_page": 20 } ], "asset_refs": [ "rh-012-ex03" ] }, { "id": "rh-012-012", "type": "heading", "original": "Devoir N° 8 (basses et chants donnés)", "english": "Exercise No. 8 (given basses and melodies)", "reading_order": 304, "section": "ch02-p028", "sources": [ { "pdf_page": 28, "source_image": "source-pages/028.png", "printed_page": 20 } ] }, { "id": "rh-013-001", "type": "heading", "original": "De la demi-cadence — De la phrase", "english": "On the Half Cadence — On the Phrase", "reading_order": 305, "section": "ch02-p029", "sources": [ { "pdf_page": 29, "source_image": "source-pages/029.png", "printed_page": 21 } ] }, { "id": "rh-013-002", "type": "paragraph", "original": "§ 24. — On appelle demi-cadence ou demi-cadence authentique l'arrêt sur l'accord parfait du Vme degré (a).", "english": "§ 24. A stop on the triad of the fifth degree is called a half cadence, or authentic half cadence (a).", "reading_order": 306, "section": "ch02-p029", "sources": [ { "pdf_page": 29, "source_image": "source-pages/029.png", "printed_page": 21 } ] }, { "id": "rh-013-003", "type": "paragraph", "original": "On appelle demi-cadence plagale, l'arrêt sur l'accord parfait du IVme degré (b).", "english": "A stop on the triad of the fourth degree is called a plagal half cadence (b).", "reading_order": 307, "section": "ch02-p029", "sources": [ { "pdf_page": 29, "source_image": "source-pages/029.png", "printed_page": 21 } ] }, { "id": "rh-013-ex01", "type": "music", "original": "Exemple · a) I V I V IV V · b) I IV V (*) IV", "english": "Example: a) authentic half cadences ending on V (C major, then A minor twice); b) plagal half cadences ending on IV (C major; then A minor, where V precedes IV)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 308, "section": "ch02-p029", "sources": [ { "pdf_page": 29, "source_image": "source-pages/029.png", "printed_page": 21 } ], "asset_refs": [ "rh-013-ex01" ] }, { "id": "rh-013-004", "type": "paragraph", "original": "L'idée musicale terminée par une cadence complète ou par une demi-cadence s'appelle phrase musicale.", "english": "A musical idea that ends with a full cadence or with a half cadence is called a musical phrase.", "reading_order": 309, "section": "ch02-p029", "sources": [ { "pdf_page": 29, "source_image": "source-pages/029.png", "printed_page": 21 } ] }, { "id": "rh-013-005", "type": "paragraph", "original": "1) La demi-cadence ne se place pas à la fin d'un morceau.", "english": "1) A half cadence is not placed at the end of a piece.", "reading_order": 310, "section": "ch02-p029", "sources": [ { "pdf_page": 29, "source_image": "source-pages/029.png", "printed_page": 21 } ] }, { "id": "rh-013-006", "type": "paragraph", "original": "2) Après une demi-cadence on peut commencer la phrase suivante par l'accord parfait du IVme degré ou par son premier renversement; par l'accord parfait du Vme ou son premier renversement; et enfin, quand on les aura étudiés, par les accords de deuxième ordre.", "english": "2) After a half cadence the next phrase may begin with the triad of the fourth degree or its first inversion; with the triad of the fifth degree or its first inversion; and finally, once they have been studied, with the chords of the second order.", "reading_order": 311, "section": "ch02-p029", "sources": [ { "pdf_page": 29, "source_image": "source-pages/029.png", "printed_page": 21 } ] }, { "id": "rh-013-007", "type": "heading", "original": "Modèles", "english": "Models", "reading_order": 312, "section": "ch02-p029", "sources": [ { "pdf_page": 29, "source_image": "source-pages/029.png", "printed_page": 21 } ] }, { "id": "rh-013-ex02", "type": "music", "original": "a)", "english": "Model a): eight bars in C major, cut time; a half cadence on V in bar 4 (passing six-four in bar 1), then a full close", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 313, "section": "ch02-p029", "sources": [ { "pdf_page": 29, "source_image": "source-pages/029.png", "printed_page": 21 } ], "asset_refs": [ "rh-013-ex02" ] }, { "id": "rh-013-ex03", "type": "music", "original": "b)", "english": "Model b): eight bars in A minor, 3/2; a plagal half cadence on IV in bar 4, then a full close through the cadential six-four", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 314, "section": "ch02-p029", "sources": [ { "pdf_page": 29, "source_image": "source-pages/029.png", "printed_page": 21 } ], "asset_refs": [ "rh-013-ex03" ] }, { "id": "rh-013-008", "type": "paragraph", "original": "L'élève s'exercera à faire quelques petites compositions d'après les modèles.", "english": "The student should practise writing a few short compositions after these models.", "reading_order": 315, "section": "ch02-p029", "sources": [ { "pdf_page": 29, "source_image": "source-pages/029.png", "printed_page": 21 } ] }, { "id": "rh-013-009", "type": "footnote", "original": "(*) En ce cas l'accord du Vme degré peut précéder celui du IVme.", "english": "(*) In this case the chord of the fifth degree may precede that of the fourth.", "reading_order": 316, "section": "ch02-p029", "sources": [ { "pdf_page": 29, "source_image": "source-pages/029.png", "printed_page": 21 } ] }, { "id": "rh-014-001", "type": "heading", "original": "Des intervalles mélodiques de quarte et quinte dans une des trois parties supérieures", "english": "Melodic Intervals of a Fourth and a Fifth in One of the Three Upper Parts", "reading_order": 317, "section": "ch02-p030", "sources": [ { "pdf_page": 30, "source_image": "source-pages/030.png", "printed_page": 22 } ] }, { "id": "rh-014-002", "type": "paragraph", "original": "§ 25. — 1) Les notes formant mouvement mélodique de quarte ou de quinte dans une des parties supérieures peuvent se réaliser par deux accords des différents degrés Ier–IVme; Ier–Vme.", "english": "§ 25. — 1) Notes forming a melodic movement of a fourth or a fifth in one of the upper parts may be harmonized by two chords of different degrees: I–IV; I–V.", "reading_order": 318, "section": "ch02-p030", "sources": [ { "pdf_page": 30, "source_image": "source-pages/030.png", "printed_page": 22 } ] }, { "id": "rh-014-003", "type": "paragraph", "original": "2) Si la première note fait partie d'un accord parfait, la deuxième doit faire partie d'un accord de sixte et réciproquement.", "english": "2) If the first note belongs to a triad, the second must belong to a sixth chord, and vice versa.", "reading_order": 319, "section": "ch02-p030", "sources": [ { "pdf_page": 30, "source_image": "source-pages/030.png", "printed_page": 22 } ] }, { "id": "rh-014-004", "type": "paragraph", "original": "3) On évitera deux sauts de quarte ou de quinte à la fois dans deux parties différentes.", "english": "3) Two leaps of a fourth or a fifth at the same time in two different parts are to be avoided.", "reading_order": 320, "section": "ch02-p030", "sources": [ { "pdf_page": 30, "source_image": "source-pages/030.png", "printed_page": 22 } ] }, { "id": "rh-014-005", "type": "paragraph", "original": "4) La distance entre les trois parties supérieures ne doit pas dépasser l'octave.", "english": "4) The distance between the three upper parts must not exceed an octave.", "reading_order": 321, "section": "ch02-p030", "sources": [ { "pdf_page": 30, "source_image": "source-pages/030.png", "printed_page": 22 } ] }, { "id": "rh-014-ex01", "type": "music", "original": "Dans la partie supérieure · a) IV I · Mauvais V · b) IV I · Mauvais I V · (*) 8 · (*) 5", "english": "In the upper part: a) leaps between roots, b) leaps between fifths of the chords, each pairing a triad with a sixth chord; two progressions marked bad for hidden octaves and fifths", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 322, "section": "ch02-p030", "sources": [ { "pdf_page": 30, "source_image": "source-pages/030.png", "printed_page": 22 } ], "asset_refs": [ "rh-014-ex01" ] }, { "id": "rh-014-006", "type": "paragraph", "original": "a) Sauts de notes fondamentales; accord de sixte avec la doublure de la fondamentale.", "english": "a) Leaps between root notes; the sixth chord with the root doubled.", "reading_order": 323, "section": "ch02-p030", "sources": [ { "pdf_page": 30, "source_image": "source-pages/030.png", "printed_page": 22 } ] }, { "id": "rh-014-007", "type": "paragraph", "original": "b) Sauts de notes quintes à l'accord: accord de sixte avec la doublure de la quinte.", "english": "b) Leaps between notes that are fifths of their chords: the sixth chord with the fifth doubled.", "reading_order": 324, "section": "ch02-p030", "sources": [ { "pdf_page": 30, "source_image": "source-pages/030.png", "printed_page": 22 } ] }, { "id": "rh-014-ex02", "type": "music", "original": "Dans la partie intermédiaire", "english": "In an inner part: the tenor leaps a fourth or a fifth, each pairing a triad with a sixth chord", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 325, "section": "ch02-p030", "sources": [ { "pdf_page": 30, "source_image": "source-pages/030.png", "printed_page": 22 } ], "asset_refs": [ "rh-014-ex02" ] }, { "id": "rh-014-008", "type": "heading", "original": "Devoir N° 9", "english": "Assignment No. 9", "reading_order": 326, "section": "ch02-p030", "sources": [ { "pdf_page": 30, "source_image": "source-pages/030.png", "printed_page": 22 } ] }, { "id": "rh-014-009", "type": "paragraph", "original": "Réaliser les chants donnés de deux manières diverses et conclure par des cadences de différentes espèces.", "english": "Harmonize the given melodies in two different ways and end them with cadences of different kinds.", "reading_order": 327, "section": "ch02-p030", "sources": [ { "pdf_page": 30, "source_image": "source-pages/030.png", "printed_page": 22 } ] }, { "id": "rh-014-ex03", "type": "music", "original": "Modèle · Ire réalisation · V · I · IV · I · I · IV · 2e espèce · (**) · 8", "english": "Model, first realization: C major, cut time, ending with a cadence of the second kind", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 328, "section": "ch02-p030", "sources": [ { "pdf_page": 30, "source_image": "source-pages/030.png", "printed_page": 22 } ], "asset_refs": [ "rh-014-ex03" ] }, { "id": "rh-014-ex04", "type": "music", "original": "IIme réalisation · 1re espèce", "english": "Model, second realization of the same melody, ending with a cadence of the first kind", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 329, "section": "ch02-p030", "sources": [ { "pdf_page": 30, "source_image": "source-pages/030.png", "printed_page": 22 } ], "asset_refs": [ "rh-014-ex04" ] }, { "id": "rh-014-010", "type": "footnote", "original": "(*) Le mouvement direct amenant les parties extrêmes à une quinte juste ou à une octave, n'est pas admis (5tes et 8ves cachées).", "english": "(*) Direct motion bringing the outer parts to a perfect fifth or an octave is not allowed (hidden fifths and octaves).", "reading_order": 330, "section": "ch02-p030", "sources": [ { "pdf_page": 30, "source_image": "source-pages/030.png", "printed_page": 22 } ] }, { "id": "rh-014-011", "type": "footnote", "original": "(**) Octaves cachées.", "english": "(**) Hidden octaves.", "reading_order": 331, "section": "ch02-p030", "sources": [ { "pdf_page": 30, "source_image": "source-pages/030.png", "printed_page": 22 } ] }, { "id": "rh-015-001", "type": "heading", "original": "Du mouvement disjoint des notes tierces des accords", "english": "Disjunct Motion of the Thirds of Chords", "reading_order": 332, "section": "ch02-p031", "sources": [ { "pdf_page": 31, "source_image": "source-pages/031.png", "printed_page": 23 } ] }, { "id": "rh-015-002", "type": "paragraph", "original": "§ 26. — 1) Les notes tierces des accords, formant mouvement mélodique de quarte ou de quinte, peuvent se rencontrer dans les enchaînements des accords du Ier au IVme et du Ier au Vme degrés à l'état fondamental.", "english": "§ 26. — 1) The thirds of chords, moving melodically by a fourth or a fifth, may occur in the connections of the chords of the first and fourth degrees and of the first and fifth degrees in root position.", "reading_order": 333, "section": "ch02-p031", "sources": [ { "pdf_page": 31, "source_image": "source-pages/031.png", "printed_page": 23 } ] }, { "id": "rh-015-003", "type": "paragraph", "original": "2) L'enchaînement harmonique est obligatoire.", "english": "2) The harmonic connection is obligatory.", "reading_order": 334, "section": "ch02-p031", "sources": [ { "pdf_page": 31, "source_image": "source-pages/031.png", "printed_page": 23 } ] }, { "id": "rh-015-004", "type": "paragraph", "original": "3) Après le mouvement disjoint on procédera en sens inverse par intervalle de seconde ou de tierce:", "english": "3) After the disjunct motion, proceed in the opposite direction by the interval of a second or a third:", "reading_order": 335, "section": "ch02-p031", "sources": [ { "pdf_page": 31, "source_image": "source-pages/031.png", "printed_page": 23 } ] }, { "id": "rh-015-ex01", "type": "music", "original": "I V I · V I V · I IV I · IV I I", "english": "Four examples in C major: the soprano leaps by a fourth or fifth from the third of one chord to the third of the next (I–V, V–I, I–IV, IV–I), then turns back by step or third into a I6 or V6", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 336, "section": "ch02-p031", "sources": [ { "pdf_page": 31, "source_image": "source-pages/031.png", "printed_page": 23 } ], "asset_refs": [ "rh-015-ex01" ] }, { "id": "rh-015-005", "type": "heading", "original": "Devoir No 10 (chants donnés)", "english": "Exercise No. 10 (given melodies)", "reading_order": 337, "section": "ch02-p031", "sources": [ { "pdf_page": 31, "source_image": "source-pages/031.png", "printed_page": 23 } ] }, { "id": "rh-015-ex02", "type": "music", "original": "Modèle", "english": "Model: an eight-bar melody in C major, cut time, harmonized in four parts with leaps between chord thirds", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 338, "section": "ch02-p031", "sources": [ { "pdf_page": 31, "source_image": "source-pages/031.png", "printed_page": 23 } ], "asset_refs": [ "rh-015-ex02" ] }, { "id": "rh-015-006", "type": "heading", "original": "Du mouvement mélodique formé à la basse par des notes tierces des accords", "english": "Melodic Motion Formed in the Bass by the Thirds of Chords", "reading_order": 339, "section": "ch02-p031", "sources": [ { "pdf_page": 31, "source_image": "source-pages/031.png", "printed_page": 23 } ] }, { "id": "rh-015-007", "type": "paragraph", "original": "§ 27. — 1) Se forme par l'enchaînement de deux accords de sixte du Ier au IVme et du Ier au Vme degrés.", "english": "§ 27. — 1) It arises from the connection of two chords of the sixth: of the first and fourth degrees, and of the first and fifth degrees.", "reading_order": 340, "section": "ch02-p031", "sources": [ { "pdf_page": 31, "source_image": "source-pages/031.png", "printed_page": 23 } ] }, { "id": "rh-015-008", "type": "paragraph", "original": "2) L'enchaînement harmonique est obligatoire.", "english": "2) The harmonic connection is obligatory.", "reading_order": 341, "section": "ch02-p031", "sources": [ { "pdf_page": 31, "source_image": "source-pages/031.png", "printed_page": 23 } ] }, { "id": "rh-015-009", "type": "paragraph", "original": "3) Après le saut de quarte ou de quinte on procédera en sens inverse par intervalle de seconde ou de tierce:", "english": "3) After the leap of a fourth or a fifth, proceed in the opposite direction by the interval of a second or a third:", "reading_order": 342, "section": "ch02-p031", "sources": [ { "pdf_page": 31, "source_image": "source-pages/031.png", "printed_page": 23 } ] }, { "id": "rh-015-ex03", "type": "music", "original": "I V · I IV · V I · IV I", "english": "Four examples in C major: two sixth chords (I6–V6, I6–IV6, V6–I6, IV6–I6) with the bass leaping between chord thirds, common notes tied, then a step or third back in the opposite direction", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 343, "section": "ch02-p031", "sources": [ { "pdf_page": 31, "source_image": "source-pages/031.png", "printed_page": 23 } ], "asset_refs": [ "rh-015-ex03" ] }, { "id": "rh-015-010", "type": "heading", "original": "Devoir No 11 (basses données)", "english": "Exercise No. 11 (given basses)", "reading_order": 344, "section": "ch02-p031", "sources": [ { "pdf_page": 31, "source_image": "source-pages/031.png", "printed_page": 23 } ] }, { "id": "rh-015-ex04", "type": "music", "original": "Modèle", "english": "Model: a seven-bar given bass in A minor, 3/2, harmonized in four parts, including a diminished fourth (C–G♯) in the bass", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 345, "section": "ch02-p031", "sources": [ { "pdf_page": 31, "source_image": "source-pages/031.png", "printed_page": 23 } ], "asset_refs": [ "rh-015-ex04" ] }, { "id": "rh-016-001", "type": "heading", "original": "Accord de sixte de l'Accord de quinte diminuée du septième degré (*)", "english": "The Sixth Chord of the Diminished-Fifth Chord of the Seventh Degree (*)", "reading_order": 346, "section": "ch02-p032", "sources": [ { "pdf_page": 32, "source_image": "source-pages/032.png", "printed_page": 24 } ] }, { "id": "rh-016-002", "type": "paragraph", "original": "§ 28. — 1) On l'emploie comme harmonie de dominante.", "english": "§ 28. 1) It is used as a dominant harmony.", "reading_order": 347, "section": "ch02-p032", "sources": [ { "pdf_page": 32, "source_image": "source-pages/032.png", "printed_page": 24 } ] }, { "id": "rh-016-003", "type": "paragraph", "original": "2) On le prépare par l'accord parfait du IVme degré et on le résout sur l'accord parfait de la tonique.", "english": "2) It is prepared by the triad of the fourth degree and resolved onto the tonic triad.", "reading_order": 348, "section": "ch02-p032", "sources": [ { "pdf_page": 32, "source_image": "source-pages/032.png", "printed_page": 24 } ] }, { "id": "rh-016-004", "type": "paragraph", "original": "3) On ne double que la quinte ou la tierce de la fondamentale.", "english": "3) Only the fifth or the third of the root is doubled.", "reading_order": 349, "section": "ch02-p032", "sources": [ { "pdf_page": 32, "source_image": "source-pages/032.png", "printed_page": 24 } ] }, { "id": "rh-016-005", "type": "paragraph", "original": "4) Il faut faire monter la note sensible sur la tonique et ne pas la placer au ténor afin d'éviter des quintes parallèles:", "english": "4) The leading note must rise to the tonic, and it must not be placed in the tenor, so as to avoid parallel fifths:", "reading_order": 350, "section": "ch02-p032", "sources": [ { "pdf_page": 32, "source_image": "source-pages/032.png", "printed_page": 24 } ] }, { "id": "rh-016-ex01", "type": "music", "original": "VII · VII · VII · VII · VII", "english": "Five progressions in C major, I–IV–VII6–I, with the sixth chord of VII (figured 6) between IV and I; the leading note B rises to C", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 351, "section": "ch02-p032", "sources": [ { "pdf_page": 32, "source_image": "source-pages/032.png", "printed_page": 24 } ], "asset_refs": [ "rh-016-ex01" ] }, { "id": "rh-016-006", "type": "paragraph", "original": "5) L'employer pour la réalisation du tétracorde supérieur et ascendant de la gamme majeure.", "english": "5) Use it to harmonize the upper, ascending tetrachord of the major scale.", "reading_order": 352, "section": "ch02-p032", "sources": [ { "pdf_page": 32, "source_image": "source-pages/032.png", "printed_page": 24 } ] }, { "id": "rh-016-007", "type": "paragraph", "original": "6) L'employer pour la réalisation du tétracorde supérieur et ascendant de la gamme mineure mélodique.", "english": "6) Use it to harmonize the upper, ascending tetrachord of the melodic minor scale.", "reading_order": 353, "section": "ch02-p032", "sources": [ { "pdf_page": 32, "source_image": "source-pages/032.png", "printed_page": 24 } ] }, { "id": "rh-016-008", "type": "paragraph", "original": "L'accord parfait du IVme degré se transforme artificiellement en accord parfait majeur par suite de l'altération du VIme degré de la gamme mineure mélodique.", "english": "The triad of the fourth degree is artificially turned into a major triad as a result of the alteration of the sixth degree of the melodic minor scale.", "reading_order": 354, "section": "ch02-p032", "sources": [ { "pdf_page": 32, "source_image": "source-pages/032.png", "printed_page": 24 } ] }, { "id": "rh-016-ex02", "type": "music", "original": "VII mél. VII", "english": "A minor: I – IV (melodic, D–F♯–A) – VII6 (figured ♯6) – I", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 355, "section": "ch02-p032", "sources": [ { "pdf_page": 32, "source_image": "source-pages/032.png", "printed_page": 24 } ], "asset_refs": [ "rh-016-ex02" ] }, { "id": "rh-016-009", "type": "paragraph", "original": "7) En employant le tétracorde complet du mode mineur mélodique on évitera la suite de deux tierces majeures:", "english": "7) When the complete tetrachord of the melodic minor mode is used, the succession of two major thirds is to be avoided:", "reading_order": 356, "section": "ch02-p032", "sources": [ { "pdf_page": 32, "source_image": "source-pages/032.png", "printed_page": 24 } ] }, { "id": "rh-016-ex03", "type": "music", "original": "(deux tierces majeures)", "english": "Two successive major thirds, C–E to D–F♯", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 357, "section": "ch02-p032", "sources": [ { "pdf_page": 32, "source_image": "source-pages/032.png", "printed_page": 24 } ], "asset_refs": [ "rh-016-ex03" ] }, { "id": "rh-016-010", "type": "paragraph", "original": "pour cela on retardera la basse de l'accord de sixte du Ier degré qui formera ainsi un accord de seconde:", "english": "to do so, the bass of the sixth chord of the first degree is held back, thus forming a second chord:", "reading_order": 358, "section": "ch02-p032", "sources": [ { "pdf_page": 32, "source_image": "source-pages/032.png", "printed_page": 24 } ] }, { "id": "rh-016-ex04", "type": "music", "original": "I · IV mél. VII", "english": "A minor: I6 – IV (melodic) as a 4/2 chord over the held bass C – VII6 – I; the soprano climbs E–F♯–G♯–A", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 359, "section": "ch02-p032", "sources": [ { "pdf_page": 32, "source_image": "source-pages/032.png", "printed_page": 24 } ], "asset_refs": [ "rh-016-ex04" ] }, { "id": "rh-016-011", "type": "heading", "original": "Devoir N° 12 (basses et chants donnés)", "english": "Exercise No. 12 (given basses and melodies)", "reading_order": 360, "section": "ch02-p032", "sources": [ { "pdf_page": 32, "source_image": "source-pages/032.png", "printed_page": 24 } ] }, { "id": "rh-016-012", "type": "heading", "original": "Accord parfait du IIme degré du mode majeur", "english": "The Triad of the Second Degree in the Major Mode", "reading_order": 361, "section": "ch02-p032", "sources": [ { "pdf_page": 32, "source_image": "source-pages/032.png", "printed_page": 24 } ] }, { "id": "rh-016-013", "type": "paragraph", "original": "§ 29. — a) Cet accord qui s'emploie seulement en mode majeur, se place après celui de tonique ou son premier renversement, ainsi qu'après les accords parfaits des IVme et VIme degrés. (Voir ci-après)", "english": "§ 29. a) This chord, which is used only in the major mode, is placed after the tonic chord or its first inversion, and also after the triads of the fourth and sixth degrees. (See below.)", "reading_order": 362, "section": "ch02-p032", "sources": [ { "pdf_page": 32, "source_image": "source-pages/032.png", "printed_page": 24 } ] }, { "id": "rh-016-014", "type": "footnote", "original": "(*) On peut le considérer plutôt comme accord dissonant.", "english": "(*) It may rather be regarded as a dissonant chord.", "reading_order": 363, "section": "ch02-p032", "sources": [ { "pdf_page": 32, "source_image": "source-pages/032.png", "printed_page": 24 } ] }, { "id": "rh-017-001", "type": "paragraph", "original": "Il exige comme enchaînement l'accord parfait du Vme degré avec lequel il s'enchaîne mélodiquement, ou le premier renversement de ce dernier:", "english": "As its continuation it requires the triad of the fifth degree, to which it is connected melodically, or the first inversion of that triad:", "reading_order": 364, "section": "ch02-p033", "sources": [ { "pdf_page": 33, "source_image": "source-pages/033.png", "printed_page": 25 } ] }, { "id": "rh-017-ex01", "type": "music", "original": "II · II · II · II", "english": "Four progressions in C major, each leading through the II triad (connected melodically) to V or V6, then to I", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 365, "section": "ch02-p033", "sources": [ { "pdf_page": 33, "source_image": "source-pages/033.png", "printed_page": 25 } ], "asset_refs": [ "rh-017-ex01" ] }, { "id": "rh-017-002", "type": "paragraph", "original": "L'enchaînement harmonique de cet accord avec l'accord du Vme degré dans son état fondamental n'est pas heureux à cause de la suite de deux tierces majeures:", "english": "The harmonic connection of this chord with the chord of the fifth degree in root position is not a happy one, because of the succession of two major thirds:", "reading_order": 366, "section": "ch02-p033", "sources": [ { "pdf_page": 33, "source_image": "source-pages/033.png", "printed_page": 25 } ] }, { "id": "rh-017-ex02", "type": "music", "original": "MAUVAIS · BON — 3ce maj. · 3ce maj. · 6te min. · 6te min.", "english": "BAD · GOOD — major 3rd · major 3rd · minor 6th · minor 6th: II to V with the common tone held; bad when tenor and alto form two successive major thirds, good when they form two minor sixths", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 367, "section": "ch02-p033", "sources": [ { "pdf_page": 33, "source_image": "source-pages/033.png", "printed_page": 25 } ], "asset_refs": [ "rh-017-ex02" ] }, { "id": "rh-017-003", "type": "paragraph", "original": "REMARQUE. — L'accord parfait du IIme degré du mode majeur se place parfois dans les cadences des chorals avant l'accord de sixte du Ier degré.", "english": "REMARK. — The triad of the second degree in the major mode is sometimes placed, in the cadences of chorales, before the sixth chord of the first degree.", "reading_order": 368, "section": "ch02-p033", "sources": [ { "pdf_page": 33, "source_image": "source-pages/033.png", "printed_page": 25 } ] }, { "id": "rh-017-ex03", "type": "music", "original": "II I · II I", "english": "Two chorale-cadence progressions in C major: II triad, I6, V", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 369, "section": "ch02-p033", "sources": [ { "pdf_page": 33, "source_image": "source-pages/033.png", "printed_page": 25 } ], "asset_refs": [ "rh-017-ex03" ] }, { "id": "rh-017-004", "type": "heading", "original": "Accord de sixte du IIme degré du mode majeur et du mode mineur", "english": "The Sixth Chord of the Second Degree in the Major and Minor Modes", "reading_order": 370, "section": "ch02-p033", "sources": [ { "pdf_page": 33, "source_image": "source-pages/033.png", "printed_page": 25 } ] }, { "id": "rh-017-005", "type": "paragraph", "original": "b) — 1) L'accord de sixte du IIme degré peut s'employer en mineur aussi bien qu'en majeur comme harmonie de sous-dominante, dans les cadences de deuxième espèce après l'accord parfait du Ier degré ou son premier renversement, ainsi que dans une tournure de phrase ayant caractère de cadence.", "english": "b) — 1) The sixth chord of the second degree may be used in minor as well as in major as a subdominant harmony, in cadences of the second kind after the triad of the first degree or its first inversion, and also in a turn of phrase that has the character of a cadence.", "reading_order": 371, "section": "ch02-p033", "sources": [ { "pdf_page": 33, "source_image": "source-pages/033.png", "printed_page": 25 } ] }, { "id": "rh-017-006", "type": "paragraph", "original": "2) Employer l'accord de sixte du IIme degré avec la fondamentale à la partie supérieure.", "english": "2) Use the sixth chord of the second degree with the root in the upper part.", "reading_order": 372, "section": "ch02-p033", "sources": [ { "pdf_page": 33, "source_image": "source-pages/033.png", "printed_page": 25 } ] }, { "id": "rh-017-007", "type": "paragraph", "original": "3) Doubler la tierce de la fondamentale ou la fondamentale; mais avant l'accord de quarte et sixte de cadence doubler exclusivement la tierce de la fondamentale.", "english": "3) Double the third of the root, or the root; but before the cadential six-four chord, double only the third of the root.", "reading_order": 373, "section": "ch02-p033", "sources": [ { "pdf_page": 33, "source_image": "source-pages/033.png", "printed_page": 25 } ] }, { "id": "rh-017-ex04", "type": "music", "original": "II · II · II", "english": "Three progressions in C major with the II6 chord (root in the soprano) leading to V, or to the cadential six-four and V, then I", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 374, "section": "ch02-p033", "sources": [ { "pdf_page": 33, "source_image": "source-pages/033.png", "printed_page": 25 } ], "asset_refs": [ "rh-017-ex04" ] }, { "id": "rh-018-001", "type": "paragraph", "original": "REMARQUE. — La doublure de la quinte de la fondamentale dans l'accord de sixte du IIme degré n'est possible que dans le mode majeur:", "english": "REMARK. — Doubling the fifth of the root in the sixth chord of the second degree is possible only in the major mode:", "reading_order": 375, "section": "ch02-p034", "sources": [ { "pdf_page": 34, "source_image": "source-pages/034.png", "printed_page": 26 } ] }, { "id": "rh-018-ex01", "type": "music", "original": "Bon · II · 4 · Mauvais · II · 4te augm.", "english": "Good: in C major, II6 (F–A–D) with the fifth A doubled, the tenor rising a fourth A–D. Bad: in A minor, II6 (D–F–B) with the fifth F doubled, the tenor rising an augmented fourth F–B", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 376, "section": "ch02-p034", "sources": [ { "pdf_page": 34, "source_image": "source-pages/034.png", "printed_page": 26 } ], "asset_refs": [ "rh-018-ex01" ] }, { "id": "rh-018-002", "type": "heading", "original": "Devoir N° 13 (basses et chants donnés)", "english": "Exercise No. 13 (given basses and melodies)", "reading_order": 377, "section": "ch02-p034", "sources": [ { "pdf_page": 34, "source_image": "source-pages/034.png", "printed_page": 26 } ] }, { "id": "rh-018-003", "type": "heading", "original": "Double emploi de l'accord parfait du VIme degré", "english": "Twofold Use of the Triad of the Sixth Degree", "reading_order": 378, "section": "ch02-p034", "sources": [ { "pdf_page": 34, "source_image": "source-pages/034.png", "printed_page": 26 } ] }, { "id": "rh-018-004", "type": "paragraph", "original": "§ 30. — Ier Dans la cadence rompue.", "english": "§ 30. — I. In the deceptive cadence.", "reading_order": 379, "section": "ch02-p034", "sources": [ { "pdf_page": 34, "source_image": "source-pages/034.png", "printed_page": 26 } ] }, { "id": "rh-018-005", "type": "paragraph", "original": "1) L'accord parfait de dominante en évitant celui de tonique qui le suit ordinairement, passe par enchaînement mélodique sur l'accord parfait du VIme degré avec la doublure de la tierce.", "english": "1) The dominant triad, avoiding the tonic triad that ordinarily follows it, passes by melodic connection to the triad of the sixth degree, with the third doubled.", "reading_order": 380, "section": "ch02-p034", "sources": [ { "pdf_page": 34, "source_image": "source-pages/034.png", "printed_page": 26 } ] }, { "id": "rh-018-006", "type": "paragraph", "original": "2) Un tel arrêt à la fin d'une phrase s'appelle Cadence Rompue; la phrase suivante commence par l'accord parfait du IVme degré ou par l'accord de sixte du IIme degré.", "english": "2) Such a stop at the end of a phrase is called a Deceptive Cadence; the following phrase begins with the triad of the fourth degree or with the sixth chord of the second degree.", "reading_order": 381, "section": "ch02-p034", "sources": [ { "pdf_page": 34, "source_image": "source-pages/034.png", "printed_page": 26 } ] }, { "id": "rh-018-007", "type": "paragraph", "original": "3) On emploie parfois la même combinaison dans des tournures de phrases ayant un caractère de cadence rompue:", "english": "3) The same combination is sometimes used in turns of phrase that have the character of a deceptive cadence:", "reading_order": 382, "section": "ch02-p034", "sources": [ { "pdf_page": 34, "source_image": "source-pages/034.png", "printed_page": 26 } ] }, { "id": "rh-018-ex02", "type": "music", "original": "V · VI · V · VI", "english": "Deceptive cadences in C major: V–VI with the third (C) doubled in VI; the leading note B rises to C and the other upper voices fall", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 383, "section": "ch02-p034", "sources": [ { "pdf_page": 34, "source_image": "source-pages/034.png", "printed_page": 26 } ], "asset_refs": [ "rh-018-ex02" ] }, { "id": "rh-018-008", "type": "paragraph", "original": "IIe Dans les cadences parfaites ainsi que dans des phrases analogues.", "english": "II. In perfect cadences, and likewise in similar phrases.", "reading_order": 384, "section": "ch02-p034", "sources": [ { "pdf_page": 34, "source_image": "source-pages/034.png", "printed_page": 26 } ] }, { "id": "rh-018-009", "type": "paragraph", "original": "1) On place l'accord parfait du VIme degré après celui de tonique et ensuite les accords parfaits du Vme, IVme et IIme ou l'accord de sixte du IIme degré.", "english": "1) The triad of the sixth degree is placed after the tonic triad, and then come the triads of the fifth, fourth and second degrees, or the sixth chord of the second degree.", "reading_order": 385, "section": "ch02-p034", "sources": [ { "pdf_page": 34, "source_image": "source-pages/034.png", "printed_page": 26 } ] }, { "id": "rh-018-010", "type": "paragraph", "original": "2) L'enchaînement avec l'accord parfait du Vme degré est mélodique, il est nécessairement harmonique avec l'accord parfait du IVme et du IIme degré:", "english": "2) The connection with the triad of the fifth degree is melodic; with the triads of the fourth and second degrees it is necessarily harmonic:", "reading_order": 386, "section": "ch02-p034", "sources": [ { "pdf_page": 34, "source_image": "source-pages/034.png", "printed_page": 26 } ] }, { "id": "rh-018-ex03", "type": "music", "original": "I VI V · I VI IV · I VI II · I VI II", "english": "Four progressions in C major: I–VI–V–I; I–VI–IV–V–I; I–VI–II6–V–I (twice, with different spacing of VI)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 387, "section": "ch02-p034", "sources": [ { "pdf_page": 34, "source_image": "source-pages/034.png", "printed_page": 26 } ], "asset_refs": [ "rh-018-ex03" ] }, { "id": "rh-018-011", "type": "heading", "original": "Devoir N° 14 (basses et chants donnés)", "english": "Exercise No. 14 (given basses and melodies)", "reading_order": 388, "section": "ch02-p034", "sources": [ { "pdf_page": 34, "source_image": "source-pages/034.png", "printed_page": 26 } ] }, { "id": "rh-018-012", "type": "heading", "original": "Accord parfait du IIIme degré du Mode majeur", "english": "The Triad of the Third Degree of the Major Mode", "reading_order": 389, "section": "ch02-p034", "sources": [ { "pdf_page": 34, "source_image": "source-pages/034.png", "printed_page": 26 } ] }, { "id": "rh-018-013", "type": "paragraph", "original": "§ 31. — 1) L'employer pour la réalisation du deuxième tétracorde descendant de la gamme majeure, lorsque ce dernier se trouve au chant:", "english": "§ 31. — 1) Use it to harmonize the second tetrachord of the major scale descending, when this tetrachord lies in the melody:", "reading_order": 390, "section": "ch02-p034", "sources": [ { "pdf_page": 34, "source_image": "source-pages/034.png", "printed_page": 26 } ] }, { "id": "rh-018-ex04", "type": "music", "original": "[Exemple]", "english": "The descending upper tetrachord of C major in the melody: C–B–A–G", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 391, "section": "ch02-p034", "sources": [ { "pdf_page": 34, "source_image": "source-pages/034.png", "printed_page": 26 } ], "asset_refs": [ "rh-018-ex04" ] }, { "id": "rh-019-001", "type": "paragraph", "original": "2) Le placer après l'accord parfait du Ier ou du VIme degré en l'enchaînant harmoniquement.", "english": "2) Place it after the triad of the first or of the sixth degree, connecting it harmonically.", "reading_order": 392, "section": "ch02-p035", "sources": [ { "pdf_page": 35, "source_image": "source-pages/035.png", "printed_page": 27 } ] }, { "id": "rh-019-002", "type": "paragraph", "original": "3) Après l'accord du IIIme degré placer celui du IVme en les enchaînant mélodiquement:", "english": "3) After the chord of the third degree, place that of the fourth, connecting them melodically:", "reading_order": 393, "section": "ch02-p035", "sources": [ { "pdf_page": 35, "source_image": "source-pages/035.png", "printed_page": 27 } ] }, { "id": "rh-019-ex01", "type": "music", "original": "I III · I III · VI III", "english": "Three progressions in C major: I (or VI) – III connected harmonically, then III – IV connected melodically, ending on I or V", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 394, "section": "ch02-p035", "sources": [ { "pdf_page": 35, "source_image": "source-pages/035.png", "printed_page": 27 } ], "asset_refs": [ "rh-019-ex01" ] }, { "id": "rh-019-003", "type": "heading", "original": "DEVOIR N° 15 (CHANTS DONNÉS)", "english": "EXERCISE No. 15 (GIVEN MELODIES)", "reading_order": 395, "section": "ch02-p035", "sources": [ { "pdf_page": 35, "source_image": "source-pages/035.png", "printed_page": 27 } ] }, { "id": "rh-019-004", "type": "heading", "original": "ACCORD PARFAIT DU IIIme DEGRÉ du Mode mineur naturel (Cadence Phrygienne de 1re espèce)", "english": "The Triad of the Third Degree of the Natural Minor Mode (Phrygian Cadence of the First Kind)", "reading_order": 396, "section": "ch02-p035", "sources": [ { "pdf_page": 35, "source_image": "source-pages/035.png", "printed_page": 27 } ] }, { "id": "rh-019-005", "type": "paragraph", "original": "§ 32. — 1) L'employer, comme l'accord du même degré du mode majeur, pour la réalisation du deuxième tétracorde descendant de la gamme mineure naturelle:", "english": "§ 32. — 1) Use it, like the chord of the same degree in the major mode, to harmonize the second tetrachord of the natural minor scale descending:", "reading_order": 397, "section": "ch02-p035", "sources": [ { "pdf_page": 35, "source_image": "source-pages/035.png", "printed_page": 27 } ] }, { "id": "rh-019-ex02", "type": "music", "original": "(A–G–F–E)", "english": "The second tetrachord of the natural A minor scale, descending in the melody: A–G–F–E", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 398, "section": "ch02-p035", "sources": [ { "pdf_page": 35, "source_image": "source-pages/035.png", "printed_page": 27 } ], "asset_refs": [ "rh-019-ex02" ] }, { "id": "rh-019-006", "type": "paragraph", "original": "2) Le placer après l'accord parfait du Ier ou du VIme degré, et le faire suivre de l'accord parfait de sous-dominante:", "english": "2) Place it after the triad of the first or of the sixth degree, and follow it with the subdominant triad:", "reading_order": 399, "section": "ch02-p035", "sources": [ { "pdf_page": 35, "source_image": "source-pages/035.png", "printed_page": 27 } ] }, { "id": "rh-019-ex03", "type": "music", "original": "1) III nat. · CADENCE PHRYG. 2) III nat. · CADENCE PHRYG. 3) IV nat.", "english": "Three progressions in A minor with the natural III triad (C major) under the descending tetrachord A–G–F–E: (1) I – III – IV – I; (2) and (3), labelled “Phrygian cadence”, I or VI – III – IV – V", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 400, "section": "ch02-p035", "sources": [ { "pdf_page": 35, "source_image": "source-pages/035.png", "printed_page": 27 } ], "asset_refs": [ "rh-019-ex03" ] }, { "id": "rh-019-007", "type": "paragraph", "original": "Les exemples 2 et 3 forment une suite d'accords appelée: Succession phrygienne, (cette dénomination tire son origine du mode phrygien ecclésiastique); si on l'emploie comme demi-cadence en mode mineur elle s'appelle: Cadence phrygienne.", "english": "Examples 2 and 3 form a series of chords called the Phrygian succession (the name comes from the ecclesiastical Phrygian mode); when it is used as a half cadence in the minor mode it is called the Phrygian cadence.", "reading_order": 401, "section": "ch02-p035", "sources": [ { "pdf_page": 35, "source_image": "source-pages/035.png", "printed_page": 27 } ] }, { "id": "rh-019-008", "type": "heading", "original": "DEVOIR N° 16 (CHANTS DONNÉS)", "english": "EXERCISE No. 16 (GIVEN MELODIES)", "reading_order": 402, "section": "ch02-p035", "sources": [ { "pdf_page": 35, "source_image": "source-pages/035.png", "printed_page": 27 } ] }, { "id": "rh-019-009", "type": "heading", "original": "ACCORD PARFAIT DU VIIme DEGRÉ du Mode mineur naturel (Cadence Phrygienne de 2e espèce)", "english": "The Triad of the Seventh Degree of the Natural Minor Mode (Phrygian Cadence of the Second Kind)", "reading_order": 403, "section": "ch02-p035", "sources": [ { "pdf_page": 35, "source_image": "source-pages/035.png", "printed_page": 27 } ] }, { "id": "rh-019-010", "type": "paragraph", "original": "§ 33. — 1) On l'emploie pour la réalisation du second tétracorde descendant de la gamme mineure, ce dernier étant à la basse:", "english": "§ 33. — 1) It is used to harmonize the second tetrachord of the minor scale descending, when that tetrachord is in the bass:", "reading_order": 404, "section": "ch02-p035", "sources": [ { "pdf_page": 35, "source_image": "source-pages/035.png", "printed_page": 27 } ] }, { "id": "rh-019-ex04", "type": "music", "original": "(A–G–F–E)", "english": "The second tetrachord of the natural A minor scale, descending in the bass: A–G–F–E", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 405, "section": "ch02-p035", "sources": [ { "pdf_page": 35, "source_image": "source-pages/035.png", "printed_page": 27 } ], "asset_refs": [ "rh-019-ex04" ] }, { "id": "rh-019-011", "type": "paragraph", "original": "On aura ainsi la succession des accords suivants: Accords parfaits du Ier degré et du VIIme naturel, accord de sixte du IVme et accord parfait de dominante.", "english": "This gives the following succession of chords: the triads of the first degree and of the natural seventh degree, the sixth chord of the fourth degree, and the dominant triad.", "reading_order": 406, "section": "ch02-p035", "sources": [ { "pdf_page": 35, "source_image": "source-pages/035.png", "printed_page": 27 } ] }, { "id": "rh-019-012", "type": "paragraph", "original": "2) Eviter dans les trois parties supérieures le mouvement défectueux:", "english": "2) In the three upper parts, avoid the faulty motion:", "reading_order": 407, "section": "ch02-p035", "sources": [ { "pdf_page": 35, "source_image": "source-pages/035.png", "printed_page": 27 } ] }, { "id": "rh-019-ex05", "type": "music", "original": "(G–A–G♯)", "english": "The faulty melodic motion G–A–G♯ (natural seventh degree, back through A to the raised leading note)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 408, "section": "ch02-p035", "sources": [ { "pdf_page": 35, "source_image": "source-pages/035.png", "printed_page": 27 } ], "asset_refs": [ "rh-019-ex05" ] }, { "id": "rh-020-ex01", "type": "music", "original": "Bon · VII nat. · VII nat. · VII nat. · Mauvais", "english": "Phrygian succession in A minor with the natural seventh-degree triad: three good versions (I–VII nat.–IV6–V) and a bad one (I–VII nat.–IV6–V with the alto moving G–A–G♯)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 409, "section": "ch02-p036", "sources": [ { "pdf_page": 36, "source_image": "source-pages/036.png", "printed_page": 28 } ], "asset_refs": [ "rh-020-ex01" ] }, { "id": "rh-020-001", "type": "paragraph", "original": "Chaque groupe d'accords ci-dessus se nomme aussi Succession phrygienne, employés comme demi-cadence en mode mineur, ces groupes s'appellent: Cadence phrygienne.", "english": "Each group of chords above is also called a Phrygian Succession; used as a half cadence in the minor mode, these groups are called a Phrygian Cadence.", "reading_order": 410, "section": "ch02-p036", "sources": [ { "pdf_page": 36, "source_image": "source-pages/036.png", "printed_page": 28 } ] }, { "id": "rh-020-002", "type": "heading", "original": "Devoir N° 17 (basses données)", "english": "Exercise No. 17 (given basses)", "reading_order": 411, "section": "ch02-p036", "sources": [ { "pdf_page": 36, "source_image": "source-pages/036.png", "printed_page": 28 } ] }, { "id": "rh-020-003", "type": "heading", "original": "Supplément au § 32", "english": "Supplement to § 32", "reading_order": 412, "section": "ch02-p036", "sources": [ { "pdf_page": 36, "source_image": "source-pages/036.png", "printed_page": 28 } ] }, { "id": "rh-020-004", "type": "paragraph", "original": "Dans la cadence phrygienne de première espèce on peut employer l'accord de sixte du VIIme degré naturel avec la doublure de la basse:", "english": "In the Phrygian cadence of the first kind, the sixth chord of the natural seventh degree may be used, with the bass doubled:", "reading_order": 413, "section": "ch02-p036", "sources": [ { "pdf_page": 36, "source_image": "source-pages/036.png", "printed_page": 28 } ] }, { "id": "rh-020-ex02", "type": "music", "original": "VII nat.", "english": "Phrygian cadence of the first kind in A minor with the sixth chord of the natural seventh degree (bass B doubled): I–VII nat.6–IV–V", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 414, "section": "ch02-p036", "sources": [ { "pdf_page": 36, "source_image": "source-pages/036.png", "printed_page": 28 } ], "asset_refs": [ "rh-020-ex02" ] }, { "id": "rh-020-005", "type": "heading", "original": "Réalisation des chorals (unitoniques)", "english": "Harmonizing Chorales (in One Key)", "reading_order": 415, "section": "ch02-p036", "sources": [ { "pdf_page": 36, "source_image": "source-pages/036.png", "printed_page": 28 } ] }, { "id": "rh-020-006", "type": "paragraph", "original": "§ 34. — 1) On appelle choral la musique chantée à l'église pendant le service liturgique.", "english": "§ 34. — 1) The music sung in church during the liturgical service is called a chorale.", "reading_order": 416, "section": "ch02-p036", "sources": [ { "pdf_page": 36, "source_image": "source-pages/036.png", "printed_page": 28 } ] }, { "id": "rh-020-007", "type": "paragraph", "original": "2) La plupart de ces chants présentent un mouvement égal de blanches, rompu par des points d'orgue qui divisent le choral en plusieurs phrases ou strophes.", "english": "2) Most of these melodies move in even half notes, broken by fermatas that divide the chorale into several phrases or strophes.", "reading_order": 417, "section": "ch02-p036", "sources": [ { "pdf_page": 36, "source_image": "source-pages/036.png", "printed_page": 28 } ] }, { "id": "rh-020-008", "type": "paragraph", "original": "3) L'application au choral de toutes les règles apprises jusqu'à présent prendra le nom d'harmonie du style rigoureux.", "english": "3) The application to the chorale of all the rules learned so far will be called harmony in the strict style.", "reading_order": 418, "section": "ch02-p036", "sources": [ { "pdf_page": 36, "source_image": "source-pages/036.png", "printed_page": 28 } ] }, { "id": "rh-020-009", "type": "paragraph", "original": "4) Eviter, autant que possible, l'uniformité dans l'emploi des cadences.", "english": "4) Avoid, as far as possible, uniformity in the use of cadences.", "reading_order": 419, "section": "ch02-p036", "sources": [ { "pdf_page": 36, "source_image": "source-pages/036.png", "printed_page": 28 } ] }, { "id": "rh-020-010", "type": "paragraph", "original": "5) Au milieu du choral il faudrait éviter les cadences parfaites; la cadence de 2me espèce (avec l'accord de quarte et sixte) s'emploie rarement et à la fin du choral seulement.", "english": "5) In the middle of the chorale perfect cadences should be avoided; the cadence of the 2nd kind (with the six-four chord) is used rarely, and only at the end of the chorale.", "reading_order": 420, "section": "ch02-p036", "sources": [ { "pdf_page": 36, "source_image": "source-pages/036.png", "printed_page": 28 } ] }, { "id": "rh-020-011", "type": "paragraph", "original": "6) Si le point d'orgue se trouve sur le deuxième temps de la mesure, on emploie ordinairement le même accord pour les deux temps, parfois en différentes positions mélodiques.", "english": "6) If the fermata falls on the second beat of the bar, the same chord is ordinarily used for both beats, sometimes in different melodic positions.", "reading_order": 421, "section": "ch02-p036", "sources": [ { "pdf_page": 36, "source_image": "source-pages/036.png", "printed_page": 28 } ] }, { "id": "rh-020-012", "type": "paragraph", "original": "7) Nombre de chorals commencent sur un temps faible, sur l'accord parfait de dominante ou son premier renversement, plus rarement sur l'accord du IVme degré.", "english": "7) Many chorales begin on a weak beat, on the dominant triad or its first inversion, more rarely on the chord of the fourth degree.", "reading_order": 422, "section": "ch02-p036", "sources": [ { "pdf_page": 36, "source_image": "source-pages/036.png", "printed_page": 28 } ] }, { "id": "rh-020-013", "type": "heading", "original": "Devoir N° 18 (chants, chorals donnés)", "english": "Exercise No. 18 (given melodies, chorales)", "reading_order": 423, "section": "ch02-p036", "sources": [ { "pdf_page": 36, "source_image": "source-pages/036.png", "printed_page": 28 } ] }, { "id": "rh-020-014", "type": "heading", "original": "Modèles", "english": "Models", "reading_order": 424, "section": "ch02-p036", "sources": [ { "pdf_page": 36, "source_image": "source-pages/036.png", "printed_page": 28 } ] }, { "id": "rh-020-ex03", "type": "music", "original": "[Exemple]", "english": "Model chorale harmonization in C major, cut time, opening on an upbeat (bars 1–8; continued on the next page)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 425, "section": "ch02-p036", "sources": [ { "pdf_page": 36, "source_image": "source-pages/036.png", "printed_page": 28 } ], "asset_refs": [ "rh-020-ex03" ] }, { "id": "rh-020-ex04", "type": "music", "original": "[Exemple] (*)", "english": "Model chorale (continued from the previous page), bars 9–16, ending with a half-bar final chord", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 426, "section": "ch02-p036", "sources": [ { "pdf_page": 37, "source_image": "source-pages/037.png", "printed_page": 29 } ], "asset_refs": [ "rh-020-ex04" ] }, { "id": "rh-021-ex02", "type": "music", "original": "[Exemple]", "english": "Chorale model in A minor, cut time, sixteen bars over two systems, its phrases closed by fermatas", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 427, "section": "ch02-p037", "sources": [ { "pdf_page": 37, "source_image": "source-pages/037.png", "printed_page": 29 } ], "asset_refs": [ "rh-021-ex02" ] }, { "id": "rh-021-001", "type": "heading", "original": "Accord de sous-dominante mineure et accord de sixte du IIme degré du mode majeur harmonique", "english": "The Minor Subdominant Chord and the Sixth Chord of the Second Degree in the Harmonic Major Mode", "reading_order": 428, "section": "ch02-p037", "sources": [ { "pdf_page": 37, "source_image": "source-pages/037.png", "printed_page": 29 } ] }, { "id": "rh-021-002", "type": "paragraph", "original": "§ 35. — 1) Dans les devoirs en majeur qui suivent, on pourrait se servir du groupe des accords de sous-dominante du mode majeur harmonique:", "english": "§ 35. — 1) In the major-key exercises that follow, the group of subdominant chords of the harmonic major mode may be used:", "reading_order": 429, "section": "ch02-p037", "sources": [ { "pdf_page": 37, "source_image": "source-pages/037.png", "printed_page": 29 } ] }, { "id": "rh-021-003", "type": "paragraph", "original": "Accord parfait mineur du IVme degré et son premier renversement et accord de sixte du IIme degré avec l'altération descendante de la quinte de la fondamentale:", "english": "the minor triad of the fourth degree and its first inversion, and the sixth chord of the second degree with the fifth of the root lowered:", "reading_order": 430, "section": "ch02-p037", "sources": [ { "pdf_page": 37, "source_image": "source-pages/037.png", "printed_page": 29 } ] }, { "id": "rh-021-ex03", "type": "music", "original": "IV · IV 6 · II 6", "english": "In C major: the minor triad of the fourth degree F–A♭–C, its first inversion (A♭–C–F, figure 6), and the sixth chord of the second degree with lowered fifth (F–A♭–D, figure 6)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 431, "section": "ch02-p037", "sources": [ { "pdf_page": 37, "source_image": "source-pages/037.png", "printed_page": 29 } ], "asset_refs": [ "rh-021-ex03" ] }, { "id": "rh-021-004", "type": "paragraph", "original": "2) Ne pas employer le mouvement chromatique:", "english": "2) Do not use chromatic motion:", "reading_order": 432, "section": "ch02-p037", "sources": [ { "pdf_page": 37, "source_image": "source-pages/037.png", "printed_page": 29 } ] }, { "id": "rh-021-ex04", "type": "music", "original": "[Exemple]", "english": "The chromatic motion A–A♭ (to be avoided)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 433, "section": "ch02-p037", "sources": [ { "pdf_page": 37, "source_image": "source-pages/037.png", "printed_page": 29 } ], "asset_refs": [ "rh-021-ex04" ] }, { "id": "rh-021-005", "type": "paragraph", "original": "ni, en général, alterner trop souvent dans une même phrase l'harmonie de sous-dominante du mode majeur naturel avec celle du mode majeur harmonique.", "english": "nor, in general, alternate too often within one phrase between the subdominant harmony of the natural major mode and that of the harmonic major mode.", "reading_order": 434, "section": "ch02-p037", "sources": [ { "pdf_page": 37, "source_image": "source-pages/037.png", "printed_page": 29 } ] }, { "id": "rh-021-006", "type": "paragraph", "original": "3) Ne pas employer le mode majeur harmonique pour la réalisation des chorals.", "english": "3) Do not use the harmonic major mode when realizing chorales.", "reading_order": 435, "section": "ch02-p037", "sources": [ { "pdf_page": 37, "source_image": "source-pages/037.png", "printed_page": 29 } ] }, { "id": "rh-021-007", "type": "footnote", "original": "(*) Employer quelquefois la succession des Vme et IVme degrés au milieu du choral", "english": "(*) Occasionally use the succession of the fifth and fourth degrees in the middle of the chorale.", "reading_order": 436, "section": "ch02-p037", "sources": [ { "pdf_page": 37, "source_image": "source-pages/037.png", "printed_page": 29 } ] }, { "id": "rh-022-001", "type": "heading", "original": "HARMONIE DISSONANTE", "english": "DISSONANT HARMONY", "reading_order": 437, "section": "ch02-p038", "sources": [ { "pdf_page": 38, "source_image": "source-pages/038.png", "printed_page": 30 } ] }, { "id": "rh-022-002", "type": "heading", "original": "ACCORD DE SEPTIÈME DE DOMINANTE", "english": "THE DOMINANT SEVENTH CHORD", "reading_order": 438, "section": "ch02-p038", "sources": [ { "pdf_page": 38, "source_image": "source-pages/038.png", "printed_page": 30 } ] }, { "id": "rh-022-003", "type": "heading", "original": "ÉTAT FONDAMENTAL", "english": "ROOT POSITION", "reading_order": 439, "section": "ch02-p038", "sources": [ { "pdf_page": 38, "source_image": "source-pages/038.png", "printed_page": 30 } ] }, { "id": "rh-022-004", "type": "paragraph", "original": "§ 36. — 1) L'accord de septième de dominante à l'état fondamental se résout sur l'accord parfait de tonique.", "english": "§ 36. — 1) The dominant seventh chord in root position resolves to the tonic triad.", "reading_order": 440, "section": "ch02-p038", "sources": [ { "pdf_page": 38, "source_image": "source-pages/038.png", "printed_page": 30 } ] }, { "id": "rh-022-005", "type": "paragraph", "original": "2) La septième procède par mouvement descendant sur la tierce de l'accord parfait de tonique, les autres parties, étant notes de l'accord parfait de dominante, se meuvent d'après les règles de l'enchaînement mélodique:", "english": "2) The seventh moves downward to the third of the tonic triad; the other parts, being notes of the dominant triad, move according to the rules of melodic connection:", "reading_order": 441, "section": "ch02-p038", "sources": [ { "pdf_page": 38, "source_image": "source-pages/038.png", "printed_page": 30 } ] }, { "id": "rh-022-ex01", "type": "music", "original": "[Exemple]", "english": "The dominant seventh (G–B–D–F) resolving to the tonic triad in C major, with the seventh in the soprano, the alto and the tenor in turn", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 442, "section": "ch02-p038", "sources": [ { "pdf_page": 38, "source_image": "source-pages/038.png", "printed_page": 30 } ], "asset_refs": [ "rh-022-ex01" ] }, { "id": "rh-022-006", "type": "paragraph", "original": "3) L'accord de septième de dominante peut être complet ou incomplet; dans ce dernier cas il est sans quinte avec la doublure de la fondamentale.", "english": "3) The dominant seventh chord may be complete or incomplete; in the latter case it lacks the fifth and doubles the root.", "reading_order": 443, "section": "ch02-p038", "sources": [ { "pdf_page": 38, "source_image": "source-pages/038.png", "printed_page": 30 } ] }, { "id": "rh-022-007", "type": "paragraph", "original": "4) D'après la règle selon laquelle la note sensible doit monter sur la tonique, l'accord de septième de dominante complet se résout sur l'accord de tonique incomplet, et l'accord de septième de dominante incomplet se résout sur l'accord de tonique complet:", "english": "4) Because of the rule that the leading note must rise to the tonic, the complete dominant seventh chord resolves to an incomplete tonic chord, and the incomplete dominant seventh chord resolves to a complete tonic chord:", "reading_order": 444, "section": "ch02-p038", "sources": [ { "pdf_page": 38, "source_image": "source-pages/038.png", "printed_page": 30 } ] }, { "id": "rh-022-ex02", "type": "music", "original": "V I · V I · etc.", "english": "V7 – I in C major: the complete seventh chord resolving to an incomplete tonic chord, then the incomplete seventh chord resolving to a complete tonic chord, etc.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 445, "section": "ch02-p038", "sources": [ { "pdf_page": 38, "source_image": "source-pages/038.png", "printed_page": 30 } ], "asset_refs": [ "rh-022-ex02" ] }, { "id": "rh-022-008", "type": "paragraph", "original": "5) L'accord de septième de dominante se place dans les mêmes cas que l'accord parfait de dominante:", "english": "5) The dominant seventh chord is used in the same situations as the dominant triad:", "reading_order": 446, "section": "ch02-p038", "sources": [ { "pdf_page": 38, "source_image": "source-pages/038.png", "printed_page": 30 } ] }, { "id": "rh-022-009", "type": "paragraph", "original": "a) Après l'accord du Ier degré, la septième est amenée par mouvement conjoint.", "english": "a) After the chord of the first degree, the seventh is approached by step.", "reading_order": 447, "section": "ch02-p038", "sources": [ { "pdf_page": 38, "source_image": "source-pages/038.png", "printed_page": 30 } ] }, { "id": "rh-022-ex03", "type": "music", "original": "1) I V I · 2) 5 · 5te dim. · 3) · 4) · 5) · 6)", "english": "Six progressions in C major in which the dominant seventh follows a tonic chord (root position, first inversion or 6/4), its seventh approached by step; in 2) a fifth followed by a diminished fifth is bracketed", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 448, "section": "ch02-p038", "sources": [ { "pdf_page": 38, "source_image": "source-pages/038.png", "printed_page": 30 } ], "asset_refs": [ "rh-022-ex03" ] }, { "id": "rh-022-010", "type": "paragraph", "original": "REMARQUE. — Les quintes parallèles (ex. 2), dont la seconde est diminuée, sont tolérées.", "english": "REMARK. — Parallel fifths (ex. 2), of which the second is diminished, are tolerated.", "reading_order": 449, "section": "ch02-p038", "sources": [ { "pdf_page": 38, "source_image": "source-pages/038.png", "printed_page": 30 } ] }, { "id": "rh-022-011", "type": "paragraph", "original": "b) Après l'accord parfait du IVme degré, avec lequel l'accord de septième de dominante s'enchaîne harmoniquement, la septième est note commune et s'appelle septième préparée; les autres parties se meuvent d'après la règle de l'enchaînement mélodique:", "english": "b) After the triad of the fourth degree, with which the dominant seventh chord is connected harmonically, the seventh is a common note and is called a prepared seventh; the other parts move according to the rule of melodic connection:", "reading_order": 450, "section": "ch02-p038", "sources": [ { "pdf_page": 38, "source_image": "source-pages/038.png", "printed_page": 30 } ] }, { "id": "rh-023-ex01", "type": "music", "original": "IV V · IV V · IV V", "english": "Three IV–V7–I progressions in C major (A♭ optional, for C minor): after the IV triad the prepared seventh F stays and the dominant seventh is incomplete; after the IV sixth chord it is complete or incomplete", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 451, "section": "ch02-p039", "sources": [ { "pdf_page": 39, "source_image": "source-pages/039.png", "printed_page": 31 } ], "asset_refs": [ "rh-023-ex01" ] }, { "id": "rh-023-001", "type": "paragraph", "original": "REMARQUE.— Après l'accord parfait du IVme degré l'accord de septième de dominante doit être incomplet; après l'accord de sixte du IVme degré il peut être complet.", "english": "REMARK. — After the triad of the fourth degree the dominant seventh chord must be incomplete; after the sixth chord of the fourth degree it may be complete.", "reading_order": 452, "section": "ch02-p039", "sources": [ { "pdf_page": 39, "source_image": "source-pages/039.png", "printed_page": 31 } ] }, { "id": "rh-023-002", "type": "paragraph", "original": "c) Après l'accord parfait du Vme degré, l'accord de septième de dominante se forme par la septième de passage ou par la septième qui résulte du mouvement disjoint de n'importe quelle note de l'accord parfait du Vme degré; les autres parties peuvent rester immobiles ou changer de position.", "english": "c) After the triad of the fifth degree, the dominant seventh chord is formed by the passing seventh, or by the seventh that results from a leap of any note of the fifth-degree triad; the other parts may stay where they are or change position.", "reading_order": 453, "section": "ch02-p039", "sources": [ { "pdf_page": 39, "source_image": "source-pages/039.png", "printed_page": 31 } ] }, { "id": "rh-023-ex02", "type": "music", "original": "1) V I · 2) V · 3) V · 4) V · 5) V", "english": "Five V–V7–I progressions in C major: 1) passing seventh in the tenor; 2)–5) the seventh F reached by a leap in an upper voice, the other voices holding or changing position", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 454, "section": "ch02-p039", "sources": [ { "pdf_page": 39, "source_image": "source-pages/039.png", "printed_page": 31 } ], "asset_refs": [ "rh-023-ex02" ] }, { "id": "rh-023-003", "type": "paragraph", "original": "REMARQUE.— Le mouvement ascendant de quinte diminuée ou de septième mineure est toléré.", "english": "REMARK. — Ascending motion by a diminished fifth or a minor seventh is tolerated.", "reading_order": 455, "section": "ch02-p039", "sources": [ { "pdf_page": 39, "source_image": "source-pages/039.png", "printed_page": 31 } ] }, { "id": "rh-023-004", "type": "paragraph", "original": "b) L'accord de septième de dominante, comme l'accord parfait du même degré se résout aussi sur l'accord du VIme degré avec la doublure de la tierce dans la cadence rompue. (Voir § 32)", "english": "b) The dominant seventh chord, like the triad on the same degree, also resolves onto the chord of the sixth degree, with the third doubled, in the deceptive cadence. (See § 32.)", "reading_order": 456, "section": "ch02-p039", "sources": [ { "pdf_page": 39, "source_image": "source-pages/039.png", "printed_page": 31 } ] }, { "id": "rh-023-ex03", "type": "music", "original": "V VI · V VI", "english": "V7–VI in C major, the third (C) of the VI chord doubled: with a passing seventh in the alto, and with the seventh already present", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 457, "section": "ch02-p039", "sources": [ { "pdf_page": 39, "source_image": "source-pages/039.png", "printed_page": 31 } ], "asset_refs": [ "rh-023-ex03" ] }, { "id": "rh-023-005", "type": "paragraph", "original": "REMARQUE.— En ce cas l'accord de septième de dominante doit absolument être complet.", "english": "REMARK. — In this case the dominant seventh chord must without fail be complete.", "reading_order": 458, "section": "ch02-p039", "sources": [ { "pdf_page": 39, "source_image": "source-pages/039.png", "printed_page": 31 } ] }, { "id": "rh-023-006", "type": "heading", "original": "DEVOIR N° 19 (BASSES ET CHANTS DONNÉS)", "english": "EXERCISE No. 19 (GIVEN BASSES AND MELODIES)", "reading_order": 459, "section": "ch02-p039", "sources": [ { "pdf_page": 39, "source_image": "source-pages/039.png", "printed_page": 31 } ] }, { "id": "rh-023-ex04", "type": "music", "original": "MODÈLE", "english": "Model realization in C major (with A♭), 2/4, eight bars", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 460, "section": "ch02-p039", "sources": [ { "pdf_page": 39, "source_image": "source-pages/039.png", "printed_page": 31 } ], "asset_refs": [ "rh-023-ex04" ] }, { "id": "rh-024-001", "type": "heading", "original": "RENVERSEMENTS de L'ACCORD de SEPTIÈME de DOMINANTE", "english": "INVERSIONS OF THE DOMINANT SEVENTH CHORD", "reading_order": 461, "section": "ch02-p040", "sources": [ { "pdf_page": 40, "source_image": "source-pages/040.png", "printed_page": 32 } ] }, { "id": "rh-024-002", "type": "paragraph", "original": "§ 37. — 1) Les renversements de l'accord de septième de dominante se résolvent sur le Ier degré par le mouvement de la septième de la fondamentale sur la tierce de l'accord de tonique.", "english": "§ 37. — 1) The inversions of the dominant seventh chord resolve onto the first degree, the seventh above the root moving to the third of the tonic chord.", "reading_order": 462, "section": "ch02-p040", "sources": [ { "pdf_page": 40, "source_image": "source-pages/040.png", "printed_page": 32 } ] }, { "id": "rh-024-003", "type": "paragraph", "original": "2) Premier Renversement: Accord de quinte et sixte; il se place après un des accords de Ier ordre et se résout sur l'accord parfait de tonique:", "english": "2) First inversion: the chord of the fifth and sixth (six-five chord). It is placed after one of the chords of the first order and resolves to the tonic triad:", "reading_order": 463, "section": "ch02-p040", "sources": [ { "pdf_page": 40, "source_image": "source-pages/040.png", "printed_page": 32 } ] }, { "id": "rh-024-ex01", "type": "music", "original": "[Exemple]", "english": "First inversion (six-five chord) of the dominant seventh in C major, after I, IV and V, resolving to the tonic triad", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 464, "section": "ch02-p040", "sources": [ { "pdf_page": 40, "source_image": "source-pages/040.png", "printed_page": 32 } ], "asset_refs": [ "rh-024-ex01" ] }, { "id": "rh-024-004", "type": "paragraph", "original": "3) Deuxième Renversement: Accord de tierce et quarte; il se place après un des accords de Ier ordre et se résout sur l'accord parfait de tonique:", "english": "3) Second inversion: the chord of the third and fourth (four-three chord). It is placed after one of the chords of the first order and resolves to the tonic triad:", "reading_order": 465, "section": "ch02-p040", "sources": [ { "pdf_page": 40, "source_image": "source-pages/040.png", "printed_page": 32 } ] }, { "id": "rh-024-ex02", "type": "music", "original": "[Exemple]", "english": "Second inversion (four-three chord) of the dominant seventh in C major, after I, IV and V, resolving to the tonic triad", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 466, "section": "ch02-p040", "sources": [ { "pdf_page": 40, "source_image": "source-pages/040.png", "printed_page": 32 } ], "asset_refs": [ "rh-024-ex02" ] }, { "id": "rh-024-005", "type": "paragraph", "original": "4) Troisième Renversement: Accord de seconde; il se place après un des accords de Ier ordre et après l'accord de sixte du IIme degré et se résout sur l'accord de sixte de tonique:", "english": "4) Third inversion: the chord of the second (four-two chord). It is placed after one of the chords of the first order and after the sixth chord of the second degree, and resolves to the sixth chord of the tonic:", "reading_order": 467, "section": "ch02-p040", "sources": [ { "pdf_page": 40, "source_image": "source-pages/040.png", "printed_page": 32 } ] }, { "id": "rh-024-ex03", "type": "music", "original": "[Exemple]", "english": "Third inversion (four-two chord) of the dominant seventh in C major, after I, IV, V and II6, resolving to the tonic sixth chord", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 468, "section": "ch02-p040", "sources": [ { "pdf_page": 40, "source_image": "source-pages/040.png", "printed_page": 32 } ], "asset_refs": [ "rh-024-ex03" ] }, { "id": "rh-024-006", "type": "paragraph", "original": "REMARQUE. — L'accord du IVme degré avant l'accord de seconde ne peut se présenter qu'à l'état fondamental.", "english": "REMARK. — The chord of the fourth degree, before the four-two chord, can appear only in root position.", "reading_order": 469, "section": "ch02-p040", "sources": [ { "pdf_page": 40, "source_image": "source-pages/040.png", "printed_page": 32 } ] }, { "id": "rh-024-007", "type": "paragraph", "original": "Les trois parties supérieures procèdent par mouvement descendant.", "english": "The three upper parts move by descending motion.", "reading_order": 470, "section": "ch02-p040", "sources": [ { "pdf_page": 40, "source_image": "source-pages/040.png", "printed_page": 32 } ] }, { "id": "rh-024-008", "type": "paragraph", "original": "5) Les trois renversements se trouvant après l'accord du Ier degré, la septième peut résulter d'un saut de quarte supérieure de l'une des parties; les autres parties ne doivent pas dépasser l'intervalle de tierce:", "english": "5) When the three inversions come after the chord of the first degree, the seventh may arise from a leap of a fourth upward in one of the parts; the other parts must not exceed the interval of a third:", "reading_order": 471, "section": "ch02-p040", "sources": [ { "pdf_page": 40, "source_image": "source-pages/040.png", "printed_page": 32 } ] }, { "id": "rh-024-ex04", "type": "music", "original": "[Exemple]", "english": "The three inversions after I in C major, the seventh reached by an upward leap of a fourth in one part", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 472, "section": "ch02-p040", "sources": [ { "pdf_page": 40, "source_image": "source-pages/040.png", "printed_page": 32 } ], "asset_refs": [ "rh-024-ex04" ] }, { "id": "rh-025-001", "type": "paragraph", "original": "6) Les sauts des notes fondamentales ou des quintes à l'accord (voir § 25) peuvent se pratiquer en résolvant les renversements de l'accord de septième de dominante:", "english": "6) Leaps of the roots or of the fifths of the chord (see § 25) may be used when resolving the inversions of the dominant seventh chord:", "reading_order": 473, "section": "ch02-p041", "sources": [ { "pdf_page": 41, "source_image": "source-pages/041.png", "printed_page": 33 } ] }, { "id": "rh-025-ex01", "type": "music", "original": "MAUVAIS · V I · (*) · 8 · BON", "english": "Bad: V6/5 to I with hidden octaves between the outer voices (*); good: V4/3 to I and V4/2 to I6 with leaps in the inner or upper voice", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 474, "section": "ch02-p041", "sources": [ { "pdf_page": 41, "source_image": "source-pages/041.png", "printed_page": 33 } ], "asset_refs": [ "rh-025-ex01" ] }, { "id": "rh-025-002", "type": "paragraph", "original": "7) L'accord de septième de dominante et ses renversements peuvent s'enchaîner entre eux à condition que la septième soit note commune; par conséquent l'accord de seconde ne peut participer à ces enchaînements.", "english": "7) The dominant seventh chord and its inversions may be connected with one another, provided that the seventh is a common note; consequently the chord of the second cannot take part in these connections.", "reading_order": 475, "section": "ch02-p041", "sources": [ { "pdf_page": 41, "source_image": "source-pages/041.png", "printed_page": 33 } ] }, { "id": "rh-025-ex02", "type": "music", "original": "V · I", "english": "V7 moving through its inversions over a held seventh (F) before resolving to I", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 476, "section": "ch02-p041", "sources": [ { "pdf_page": 41, "source_image": "source-pages/041.png", "printed_page": 33 } ], "asset_refs": [ "rh-025-ex02" ] }, { "id": "rh-025-003", "type": "paragraph", "original": "REMARQUE.— Cette règle pourra plus tard donner lieu à des exceptions.", "english": "REMARK.— This rule may later admit exceptions.", "reading_order": 477, "section": "ch02-p041", "sources": [ { "pdf_page": 41, "source_image": "source-pages/041.png", "printed_page": 33 } ] }, { "id": "rh-025-004", "type": "heading", "original": "DEVOIR N° 20 (BASSES ET CHANTS DONNÉS)", "english": "EXERCISE No. 20 (GIVEN BASSES AND MELODIES)", "reading_order": 478, "section": "ch02-p041", "sources": [ { "pdf_page": 41, "source_image": "source-pages/041.png", "printed_page": 33 } ] }, { "id": "rh-025-ex03", "type": "music", "original": "MODÈLE", "english": "Model realization in C major (with A♭), 3/4, eight bars", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 479, "section": "ch02-p041", "sources": [ { "pdf_page": 41, "source_image": "source-pages/041.png", "printed_page": 33 } ], "asset_refs": [ "rh-025-ex03" ] }, { "id": "rh-025-005", "type": "heading", "original": "ACCORD DE SEPTIÈME DE SENSIBLE", "english": "THE LEADING-NOTE SEVENTH CHORD", "reading_order": 480, "section": "ch02-p041", "sources": [ { "pdf_page": 41, "source_image": "source-pages/041.png", "printed_page": 33 } ] }, { "id": "rh-025-006", "type": "heading", "original": "Mineure et Diminuée", "english": "Minor and Diminished", "reading_order": 481, "section": "ch02-p041", "sources": [ { "pdf_page": 41, "source_image": "source-pages/041.png", "printed_page": 33 } ] }, { "id": "rh-025-007", "type": "paragraph", "original": "§ 38.—1) Comme harmonie de dominante les accords de septième de sensible —mineure dans le mode majeur naturel, et diminuée dans les modes majeur et mineur harmoniques— ont la tendance de se résoudre sur l'accord de tonique.", "english": "§ 38.—1) As dominant harmony, the leading-note seventh chords (minor in the natural major mode, and diminished in the harmonic major and minor modes) tend to resolve to the tonic chord.", "reading_order": 482, "section": "ch02-p041", "sources": [ { "pdf_page": 41, "source_image": "source-pages/041.png", "printed_page": 33 } ] }, { "id": "rh-025-008", "type": "paragraph", "original": "2) La note sensible (fondamentale) procède par mouvement ascendant sur la tonique; la septième procède par mouvement descendant sur la quinte de la tonique; la tierce et la quinte procèdent par mouvement contraire formant tierce doublée dans l'accord parfait du Ier degré:", "english": "2) The leading note (the root) moves upward to the tonic; the seventh moves downward to the fifth of the tonic; the third and the fifth move in contrary motion, forming a doubled third in the triad of the first degree:", "reading_order": 483, "section": "ch02-p041", "sources": [ { "pdf_page": 41, "source_image": "source-pages/041.png", "printed_page": 33 } ] }, { "id": "rh-025-ex04", "type": "music", "original": "a) VII · b) VII · c) VII · d) VII", "english": "Leading-note seventh chord (A♭ or A) in root position and its three inversions, each resolving to the tonic triad with doubled third", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 484, "section": "ch02-p041", "sources": [ { "pdf_page": 41, "source_image": "source-pages/041.png", "printed_page": 33 } ], "asset_refs": [ "rh-025-ex04" ] }, { "id": "rh-025-009", "type": "footnote", "original": "(*) Mauvais à cause des octaves cachées entre les parties extrêmes.", "english": "(*) Bad because of the hidden octaves between the outer voices.", "reading_order": 485, "section": "ch02-p041", "sources": [ { "pdf_page": 41, "source_image": "source-pages/041.png", "printed_page": 33 } ] }, { "id": "rh-026-001", "type": "paragraph", "original": "REMARQUE. — Le troisième renversement (ex. d) n'est pas usité à cause de sa résolution sur l'accord de quarte et sixte.", "english": "REMARK. — The third inversion (ex. d) is not used, because it resolves onto the six-four chord.", "reading_order": 486, "section": "ch02-p042", "sources": [ { "pdf_page": 42, "source_image": "source-pages/042.png", "printed_page": 34 } ] }, { "id": "rh-026-002", "type": "paragraph", "original": "3) Nous conseillons à l'élève d'employer l'accord de septième de sensible exclusivement à l'état fondamental; en outre, l'emploi de l'accord de septième de sensible diminuée du mode majeur et du mode mineur harmonique est préférable à l'accord de septième de sensible mineure du mode majeur naturel.", "english": "3) We advise the student to use the leading-note seventh chord exclusively in root position; moreover, the use of the diminished leading-note seventh chord of the major mode and of the harmonic minor mode is preferable to the minor leading-note seventh chord of the natural major mode.", "reading_order": 487, "section": "ch02-p042", "sources": [ { "pdf_page": 42, "source_image": "source-pages/042.png", "printed_page": 34 } ] }, { "id": "rh-026-003", "type": "paragraph", "original": "4) On place les accords de septième de sensible après l'accord parfait du IVme degré en les enchaînant harmoniquement avec deux notes communes; leur préparation par l'accord parfait du Ier degré serait d'un effet inférieur:", "english": "4) Leading-note seventh chords are placed after the triad of the fourth degree, connected to it harmonically through two common notes; preparing them with the triad of the first degree would be less effective:", "reading_order": 488, "section": "ch02-p042", "sources": [ { "pdf_page": 42, "source_image": "source-pages/042.png", "printed_page": 34 } ] }, { "id": "rh-026-ex01", "type": "music", "original": "IV VII I · I VII I", "english": "Leading-note seventh chord in C major: IV–VII7–I (prepared by IV, two common notes) and I–VII7–I (prepared by I)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 489, "section": "ch02-p042", "sources": [ { "pdf_page": 42, "source_image": "source-pages/042.png", "printed_page": 34 } ], "asset_refs": [ "rh-026-ex01" ] }, { "id": "rh-026-004", "type": "heading", "original": "DEVOIR N° 21 (BASSES ET CHANTS DONNÉS)", "english": "EXERCISE No. 21 (GIVEN BASSES AND MELODIES)", "reading_order": 490, "section": "ch02-p042", "sources": [ { "pdf_page": 42, "source_image": "source-pages/042.png", "printed_page": 34 } ] }, { "id": "rh-026-ex02", "type": "music", "original": "MODÈLE", "english": "Model realization in C major (with A♭), 2/4, eight bars", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 491, "section": "ch02-p042", "sources": [ { "pdf_page": 42, "source_image": "source-pages/042.png", "printed_page": 34 } ], "asset_refs": [ "rh-026-ex02" ] }, { "id": "rh-026-005", "type": "heading", "original": "ACCORD DE SEPTIÈME DU IIme DEGRÉ et son Ier Renversement", "english": "THE SEVENTH CHORD OF THE SECOND DEGREE and Its First Inversion", "reading_order": 492, "section": "ch02-p042", "sources": [ { "pdf_page": 42, "source_image": "source-pages/042.png", "printed_page": 34 } ] }, { "id": "rh-026-006", "type": "paragraph", "original": "§ 39. — 1) De tous les accords de septième de deuxième ordre on emploie le plus souvent l'accord de quinte et sixte du IIme degré et son état fondamental.", "english": "§ 39. — 1) Of all the seventh chords of the second order, the most frequently used are the six-five chord of the second degree and its root position.", "reading_order": 493, "section": "ch02-p042", "sources": [ { "pdf_page": 42, "source_image": "source-pages/042.png", "printed_page": 34 } ] }, { "id": "rh-026-007", "type": "paragraph", "original": "2) Dans les cadences parfaites ou dans les successions d'accords ayant caractère de cadence, ces accords remplacent l'accord de sixte et l'accord parfait du même degré.", "english": "2) In perfect cadences, or in chord successions having the character of a cadence, these chords take the place of the sixth chord and the triad of the same degree.", "reading_order": 494, "section": "ch02-p042", "sources": [ { "pdf_page": 42, "source_image": "source-pages/042.png", "printed_page": 34 } ] }, { "id": "rh-026-008", "type": "paragraph", "original": "3) La septième doit être préparée par la note commune des accords parfaits du Ier, IVme ou VIme degré qui précèdent.", "english": "3) The seventh must be prepared by the common note of the preceding triad of the first, fourth or sixth degree.", "reading_order": 495, "section": "ch02-p042", "sources": [ { "pdf_page": 42, "source_image": "source-pages/042.png", "printed_page": 34 } ] }, { "id": "rh-026-009", "type": "paragraph", "original": "4) En passant sur l'accord du Vme degré, la septième procède par mouvement descendant sur la tierce de ce dernier accord, et en passant sur l'accord de quarte et sixte de cadence, la septième reste en place formant quarte du dernier accord.", "english": "4) On moving to the chord of the fifth degree, the seventh descends to the third of that chord; on moving to the cadential six-four chord, the seventh stays in place, forming the fourth of that chord.", "reading_order": 496, "section": "ch02-p042", "sources": [ { "pdf_page": 42, "source_image": "source-pages/042.png", "printed_page": 34 } ] }, { "id": "rh-026-010", "type": "paragraph", "original": "5) On peut aussi employer l'accord de quinte et sixte du IIme degré après l'accord de sixte du IVme degré (ex. d).", "english": "5) The six-five chord of the second degree may also be used after the sixth chord of the fourth degree (ex. d).", "reading_order": 497, "section": "ch02-p042", "sources": [ { "pdf_page": 42, "source_image": "source-pages/042.png", "printed_page": 34 } ] }, { "id": "rh-026-ex03", "type": "music", "original": "a) I II V · b) I II I · c) I VI II V · d) I IV II V", "english": "Second-degree seventh chord in C major, examples a)–d) (continued on the next page with e)–g))", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 498, "section": "ch02-p042", "sources": [ { "pdf_page": 42, "source_image": "source-pages/042.png", "printed_page": 34 } ], "asset_refs": [ "rh-026-ex03" ] }, { "id": "rh-026-ex04", "type": "music", "original": "e) I II V · f) IV II V · g) VI II V", "english": "Second-degree seventh chord in C major, examples e)–g) (continuation of the preceding examples)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 499, "section": "ch02-p042", "sources": [ { "pdf_page": 43, "source_image": "source-pages/043.png", "printed_page": 35 } ], "asset_refs": [ "rh-026-ex04" ] }, { "id": "rh-027-001", "type": "heading", "original": "DEVOIR N° 22 (BASSES ET CHANTS DONNÉS)", "english": "EXERCISE No. 22 (GIVEN BASSES AND MELODIES)", "reading_order": 500, "section": "ch02-p043", "sources": [ { "pdf_page": 43, "source_image": "source-pages/043.png", "printed_page": 35 } ] }, { "id": "rh-027-ex01", "type": "music", "original": "MODÈLE", "english": "Model realization in A minor, 3/4, eight bars, with the II6/5 chord in cadences", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 501, "section": "ch02-p043", "sources": [ { "pdf_page": 43, "source_image": "source-pages/043.png", "printed_page": 35 } ], "asset_refs": [ "rh-027-ex01" ] }, { "id": "rh-027-002", "type": "heading", "original": "FORME SPÉCIALE DES CADENCES PLAGALES", "english": "A SPECIAL FORM OF PLAGAL CADENCE", "reading_order": 502, "section": "ch02-p043", "sources": [ { "pdf_page": 43, "source_image": "source-pages/043.png", "printed_page": 35 } ] }, { "id": "rh-027-003", "type": "paragraph", "original": "§ 40.—1) L'accord de quinte et sixte du IIme degré ou l'accord de tierce et quarte du VIIme degré forment par le mouvement de quarte descendante de la basse et par le mouvement conjoint des parties supérieures, des cadences plagales d'un caractère spécial.", "english": "§ 40.—1) The six-five chord of the second degree, or the four-three chord of the seventh degree, forms plagal cadences of a special character through the descending fourth in the bass and the stepwise motion of the upper voices.", "reading_order": 503, "section": "ch02-p043", "sources": [ { "pdf_page": 43, "source_image": "source-pages/043.png", "printed_page": 35 } ] }, { "id": "rh-027-004", "type": "paragraph", "original": "2) En ce cas, ces accords se placent sur les différents temps de la mesure et se préparent par l'accord parfait du IVme degré, parfois avec la doublure de la quinte.", "english": "2) In this case these chords are placed on the various beats of the bar and are prepared by the triad of the fourth degree, sometimes with the fifth doubled.", "reading_order": 504, "section": "ch02-p043", "sources": [ { "pdf_page": 43, "source_image": "source-pages/043.png", "printed_page": 35 } ] }, { "id": "rh-027-ex02", "type": "music", "original": "IV · II · IV · VII", "english": "Plagal cadences through II6/5 and VII4/3 over a held fourth-degree bass, in C major and in A minor", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 505, "section": "ch02-p043", "sources": [ { "pdf_page": 43, "source_image": "source-pages/043.png", "printed_page": 35 } ], "asset_refs": [ "rh-027-ex02" ] }, { "id": "rh-027-005", "type": "heading", "original": "DEVOIR N° 23 (BASSES ET CHANTS DONNÉS)", "english": "EXERCISE No. 23 (GIVEN BASSES AND MELODIES)", "reading_order": 506, "section": "ch02-p043", "sources": [ { "pdf_page": 43, "source_image": "source-pages/043.png", "printed_page": 35 } ] }, { "id": "rh-028-001", "type": "heading", "original": "EMPLOI DES ACCORDS DE SEPTIÈME dans la réalisation des Chorals", "english": "USE OF SEVENTH CHORDS in the Realization of Chorales", "reading_order": 507, "section": "ch02-p044", "sources": [ { "pdf_page": 44, "source_image": "source-pages/044.png", "printed_page": 36 } ] }, { "id": "rh-028-002", "type": "paragraph", "original": "§ 41.—Dans la réalisation des chorals ci-après on se servira de l'accord de septième de dominante, de ses renversements et de l'accord de quinte et sixte du IIme degré.", "english": "§ 41.—In realizing the chorales that follow, use the dominant seventh chord, its inversions, and the six-five chord of the second degree.", "reading_order": 508, "section": "ch02-p044", "sources": [ { "pdf_page": 44, "source_image": "source-pages/044.png", "printed_page": 36 } ] }, { "id": "rh-028-003", "type": "paragraph", "original": "Le plus souvent on emploie la septième de passage de l'accord de dominante; on évitera autant que possible cet accord dans son état fondamental (*) surtout avec la septième au chant. Ses renversements sont employés assez souvent, surtout l'accord de quinte et sixte et celui de seconde (**).", "english": "Most often the seventh is used as a passing seventh over the dominant chord; avoid this chord in root position as far as possible (*), above all with the seventh in the melody. Its inversions are used fairly often, especially the six-five chord and the second (four-two) chord (**).", "reading_order": 509, "section": "ch02-p044", "sources": [ { "pdf_page": 44, "source_image": "source-pages/044.png", "printed_page": 36 } ] }, { "id": "rh-028-004", "type": "heading", "original": "DEVOIR N° 24 (CHORALS DONNÉS)", "english": "EXERCISE No. 24 (GIVEN CHORALES)", "reading_order": 510, "section": "ch02-p044", "sources": [ { "pdf_page": 44, "source_image": "source-pages/044.png", "printed_page": 36 } ] }, { "id": "rh-028-ex01", "type": "music", "original": "MODÈLE · CHORAL", "english": "Model: chorale realized in C major, cut time, sixteen bars over two systems, its phrases closed by fermatas", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 511, "section": "ch02-p044", "sources": [ { "pdf_page": 44, "source_image": "source-pages/044.png", "printed_page": 36 } ], "asset_refs": [ "rh-028-ex01" ] }, { "id": "rh-028-005", "type": "heading", "original": "ACCORDS DE NEUVIÈME", "english": "NINTH CHORDS", "reading_order": 512, "section": "ch02-p044", "sources": [ { "pdf_page": 44, "source_image": "source-pages/044.png", "printed_page": 36 } ] }, { "id": "rh-028-006", "type": "paragraph", "original": "§ 42.—1) L'accord de neuvième est composé d'un accord de septième avec l'addition d'une tierce, neuvième par rapport à la basse.", "english": "§ 42.—1) The ninth chord consists of a seventh chord with a further third added, a ninth above the bass.", "reading_order": 513, "section": "ch02-p044", "sources": [ { "pdf_page": 44, "source_image": "source-pages/044.png", "printed_page": 36 } ] }, { "id": "rh-028-007", "type": "paragraph", "original": "2) Comme accord indépendant, il n'est considéré que sur le Vme degré, par conséquent il est classé parmi les harmonies de dominante.", "english": "2) As an independent chord it is considered only on the fifth degree; it is therefore classed among the dominant harmonies.", "reading_order": 514, "section": "ch02-p044", "sources": [ { "pdf_page": 44, "source_image": "source-pages/044.png", "printed_page": 36 } ] }, { "id": "rh-028-008", "type": "paragraph", "original": "3) Lorsque la neuvième est majeure il est appelé accord de neuvième majeure; lorsque la neuvième est mineure il est appelé accord de neuvième mineure.", "english": "3) When the ninth is major it is called the major ninth chord; when the ninth is minor it is called the minor ninth chord.", "reading_order": 515, "section": "ch02-p044", "sources": [ { "pdf_page": 44, "source_image": "source-pages/044.png", "printed_page": 36 } ] }, { "id": "rh-028-009", "type": "paragraph", "original": "4) L'accord de neuvième majeure se trouve sur le Vme degré du mode majeur naturel et l'accord de neuvième mineure sur le Vme degré des modes majeur et mineur harmoniques:", "english": "4) The major ninth chord is found on the fifth degree of the natural major mode, and the minor ninth chord on the fifth degree of the harmonic major and minor modes:", "reading_order": 516, "section": "ch02-p044", "sources": [ { "pdf_page": 44, "source_image": "source-pages/044.png", "printed_page": 36 } ] }, { "id": "rh-028-ex02", "type": "music", "original": "V do · V do · V la", "english": "The ninth chord on the fifth degree: in C major with major ninth (G–B–D–F–A), in harmonic C major with minor ninth (A♭), and in A minor (E–G♯–B–D–F); each figured 9", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 517, "section": "ch02-p044", "sources": [ { "pdf_page": 44, "source_image": "source-pages/044.png", "printed_page": 36 } ], "asset_refs": [ "rh-028-ex02" ] }, { "id": "rh-028-010", "type": "paragraph", "original": "5) Pour la disposition de l'accord de neuvième à quatre parties on supprime la quinte.", "english": "5) To lay out the ninth chord in four parts, the fifth is omitted.", "reading_order": 518, "section": "ch02-p044", "sources": [ { "pdf_page": 44, "source_image": "source-pages/044.png", "printed_page": 36 } ] }, { "id": "rh-028-011", "type": "paragraph", "original": "6) La neuvième descend sur la quinte de l'accord parfait de tonique qui le suit comme résolution, et les autres parties se meuvent d'après la règle de la résolution de l'accord de septième de dominante.", "english": "6) The ninth descends to the fifth of the tonic triad that follows it as its resolution, and the other parts move according to the rule for resolving the dominant seventh chord.", "reading_order": 519, "section": "ch02-p044", "sources": [ { "pdf_page": 44, "source_image": "source-pages/044.png", "printed_page": 36 } ] }, { "id": "rh-028-012", "type": "paragraph", "original": "7) On place l'accord de neuvième après l'accord parfait du IVme degré en enchaînant ces deux accords harmoniquement avec la neuvième de préférence à la partie supérieure:", "english": "7) The ninth chord is placed after the triad of the fourth degree, the two chords being connected harmonically, preferably with the ninth in the upper part:", "reading_order": 520, "section": "ch02-p044", "sources": [ { "pdf_page": 44, "source_image": "source-pages/044.png", "printed_page": 36 } ] }, { "id": "rh-028-ex03", "type": "music", "original": "MAJEUR: IV V · MINEUR: IV V", "english": "IV–V9–I in harmonic C major (ninth A♭) and iv–V9–i in A minor (ninth F), the common tones held, the ninth in the soprano resolving down to the fifth of the tonic", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 521, "section": "ch02-p044", "sources": [ { "pdf_page": 44, "source_image": "source-pages/044.png", "printed_page": 36 } ], "asset_refs": [ "rh-028-ex03" ] }, { "id": "rh-028-013", "type": "footnote", "original": "(*) A moins qu'on ne se trouve à la fin du choral (N.D.T.)", "english": "(*) Unless one is at the end of the chorale. (Translator's note)", "reading_order": 522, "section": "ch02-p044", "sources": [ { "pdf_page": 44, "source_image": "source-pages/044.png", "printed_page": 36 } ] }, { "id": "rh-028-014", "type": "footnote", "original": "(**) Une telle réalisation présente une transition du style rigoureux au style libre.", "english": "(**) Such a realization represents a transition from the strict style to the free style.", "reading_order": 523, "section": "ch02-p044", "sources": [ { "pdf_page": 44, "source_image": "source-pages/044.png", "printed_page": 36 } ] }, { "id": "rh-029-001", "type": "paragraph", "original": "8) En mode majeur naturel il est admis comme accord de passage entre l'accord parfait du IVme et son premier renversement.", "english": "8) In the natural major mode it is allowed as a passing chord between the triad of the IVth degree and its first inversion.", "reading_order": 524, "section": "ch02-p045", "sources": [ { "pdf_page": 45, "source_image": "source-pages/045.png", "printed_page": 37 } ] }, { "id": "rh-029-ex01", "type": "music", "original": "IV · V · IV · V · I", "english": "Ninth chord on V (9) as a passing chord between IV and IV6, then V6/5 – I, in C major", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 525, "section": "ch02-p045", "sources": [ { "pdf_page": 45, "source_image": "source-pages/045.png", "printed_page": 37 } ], "asset_refs": [ "rh-029-ex01" ] }, { "id": "rh-029-002", "type": "paragraph", "original": "9) Généralement cet accord est d'un emploi assez rare.", "english": "9) In general this chord is used fairly rarely.", "reading_order": 526, "section": "ch02-p045", "sources": [ { "pdf_page": 45, "source_image": "source-pages/045.png", "printed_page": 37 } ] }, { "id": "rh-029-003", "type": "paragraph", "original": "Nous ne donnons pas de devoirs spéciaux pour l'emploi de cet accord, l'élève composera plusieurs exemples de huit mesures en employant l'accord de neuvième sans en abuser.", "english": "We give no special exercises for the use of this chord; the student will compose several examples of eight bars using the ninth chord without overusing it.", "reading_order": 527, "section": "ch02-p045", "sources": [ { "pdf_page": 45, "source_image": "source-pages/045.png", "printed_page": 37 } ] }, { "id": "rh-029-004", "type": "heading", "original": "DE TOUS LES ACCORDS DE TROIS SONS dans leurs rapports unitoniques", "english": "ALL THREE-NOTE CHORDS in their relations within one key", "reading_order": 528, "section": "ch02-p045", "sources": [ { "pdf_page": 45, "source_image": "source-pages/045.png", "printed_page": 37 } ] }, { "id": "rh-029-005", "type": "heading", "original": "A) MARCHES HARMONIQUES DE QUARTE ET DE QUINTE", "english": "A) HARMONIC SEQUENCES BY FOURTHS AND FIFTHS", "reading_order": 529, "section": "ch02-p045", "sources": [ { "pdf_page": 45, "source_image": "source-pages/045.png", "printed_page": 37 } ] }, { "id": "rh-029-006", "type": "paragraph", "original": "§ 43. — En répétant symétriquement le modèle qui résulte de l'enchaînement de deux ou plusieurs accords (p. ex. de dominante et de tonique) sur divers degrés de la gamme, on obtient une suite d'accords appelée: Marche harmonique:", "english": "§ 43. By repeating symmetrically, on various degrees of the scale, the model that results from connecting two or more chords (e.g. dominant and tonic), one obtains a succession of chords called a harmonic sequence:", "reading_order": 530, "section": "ch02-p045", "sources": [ { "pdf_page": 45, "source_image": "source-pages/045.png", "printed_page": 37 } ] }, { "id": "rh-029-007", "type": "heading", "original": "A) EN MODE MAJEUR", "english": "A) IN THE MAJOR MODE", "reading_order": 531, "section": "ch02-p045", "sources": [ { "pdf_page": 45, "source_image": "source-pages/045.png", "printed_page": 37 } ] }, { "id": "rh-029-ex02", "type": "music", "original": "V · I · IV · VII · III · VI · II · V", "english": "Harmonic sequence by descending fifths in C major, the two-chord model repeated on each degree", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 532, "section": "ch02-p045", "sources": [ { "pdf_page": 45, "source_image": "source-pages/045.png", "printed_page": 37 } ], "asset_refs": [ "rh-029-ex02" ] }, { "id": "rh-029-008", "type": "heading", "original": "B) EN MODE MINEUR", "english": "B) IN THE MINOR MODE", "reading_order": 533, "section": "ch02-p045", "sources": [ { "pdf_page": 45, "source_image": "source-pages/045.png", "printed_page": 37 } ] }, { "id": "rh-029-009", "type": "paragraph", "original": "Dans ces marches, les accords, à cause du mouvement de seconde augmentée, appartiennent au mode mineur naturel; toutefois l'accord initial et le dernier accord du Vme degré appartiennent au mode mineur harmonique:", "english": "In these sequences the chords belong to the natural minor mode, because of the augmented-second motion; the opening chord and the last chord of the Vth degree, however, belong to the harmonic minor mode:", "reading_order": 534, "section": "ch02-p045", "sources": [ { "pdf_page": 45, "source_image": "source-pages/045.png", "printed_page": 37 } ] }, { "id": "rh-029-ex03", "type": "music", "original": "V harm. · I · IV · VII nat. · III nat. · VI · II · V nat. · … · V harm.", "english": "Harmonic sequence by descending fifths in A minor: natural minor throughout, with harmonic V at the start and before the final tonic", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 535, "section": "ch02-p045", "sources": [ { "pdf_page": 45, "source_image": "source-pages/045.png", "printed_page": 37 } ], "asset_refs": [ "rh-029-ex03" ] }, { "id": "rh-029-010", "type": "paragraph", "original": "Les marches harmoniques de quarte et de quinte démontrent les rapports les plus naturels qui existent entre les accords appartenant à une seule tonalité. L'enchaînement y est alternativement harmonique et mélodique; les accords de quinte diminuée qui dans les successions ne contenant pas de marches, sont employés seulement comme accords de sixte, peuvent se trouver, dans les marches harmoniques, à l'état fondamental.", "english": "Harmonic sequences by fourths and fifths show the most natural relations that exist between the chords belonging to a single key. In them the connection is alternately harmonic and melodic; diminished-fifth chords, which in progressions containing no sequences are used only as sixth chords, may appear in root position in harmonic sequences.", "reading_order": 536, "section": "ch02-p045", "sources": [ { "pdf_page": 45, "source_image": "source-pages/045.png", "printed_page": 37 } ] }, { "id": "rh-029-011", "type": "heading", "original": "EXERCICES", "english": "EXERCISES", "reading_order": 537, "section": "ch02-p045", "sources": [ { "pdf_page": 45, "source_image": "source-pages/045.png", "printed_page": 37 } ] }, { "id": "rh-029-012", "type": "paragraph", "original": "1) Compléter les marches suivantes des accords de sixte et des accords parfaits:", "english": "1) Complete the following sequences of sixth chords and triads:", "reading_order": 538, "section": "ch02-p045", "sources": [ { "pdf_page": 45, "source_image": "source-pages/045.png", "printed_page": 37 } ] }, { "id": "rh-029-013", "type": "heading", "original": "MODE MAJEUR", "english": "MAJOR MODE", "reading_order": 539, "section": "ch02-p045", "sources": [ { "pdf_page": 45, "source_image": "source-pages/045.png", "printed_page": 37 } ] }, { "id": "rh-029-ex04", "type": "music", "original": "a) · 6 · 6 · etc.", "english": "Exercise a): sequence alternating sixth chords and root-position triads in C major, to be continued", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 540, "section": "ch02-p045", "sources": [ { "pdf_page": 45, "source_image": "source-pages/045.png", "printed_page": 37 } ], "asset_refs": [ "rh-029-ex04" ] }, { "id": "rh-029-ex05", "type": "music", "original": "b) · 6 · 6 · etc.", "english": "Exercise b): the same sequence in a different spacing, to be continued", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 541, "section": "ch02-p045", "sources": [ { "pdf_page": 45, "source_image": "source-pages/045.png", "printed_page": 37 } ], "asset_refs": [ "rh-029-ex05" ] }, { "id": "rh-029-014", "type": "paragraph", "original": "2) Ecrire les mêmes marches en mineur.", "english": "2) Write the same sequences in minor.", "reading_order": 542, "section": "ch02-p045", "sources": [ { "pdf_page": 45, "source_image": "source-pages/045.png", "printed_page": 37 } ] }, { "id": "rh-230-001", "type": "heading", "original": "B) MARCHES HARMONIQUES DE SECONDE ET DE TIERCE", "english": "B) HARMONIC SEQUENCES OF SECONDS AND THIRDS", "reading_order": 543, "section": "ch02-p046", "sources": [ { "pdf_page": 46, "source_image": "source-pages/046.png", "printed_page": 38 } ] }, { "id": "rh-230-002", "type": "paragraph", "original": "§ 44.—1) Le modèle qui provient de l'enchaînement du IVme avec le Vme degré répété symétriquement à une seconde inférieure sur divers degrés, donne comme résultat des marches harmoniques de seconde et de tierce inférieure.", "english": "§ 44.—1) The model arising from the connection of the fourth degree with the fifth, repeated symmetrically a second lower on various degrees, results in harmonic sequences of a second and a third downward.", "reading_order": 544, "section": "ch02-p046", "sources": [ { "pdf_page": 46, "source_image": "source-pages/046.png", "printed_page": 38 } ] }, { "id": "rh-230-003", "type": "paragraph", "original": "En mode mineur tous les accords du Vme degré sont basés sur le mode naturel excepté le dernier qui appartient au mode harmonique.", "english": "In the minor mode all the chords of the fifth degree are based on the natural mode, except the last, which belongs to the harmonic mode.", "reading_order": 545, "section": "ch02-p046", "sources": [ { "pdf_page": 46, "source_image": "source-pages/046.png", "printed_page": 38 } ] }, { "id": "rh-230-ex01", "type": "music", "original": "A) EN MODE MAJEUR · IV V III IV II III I II VII I VI VII V VI IV V", "english": "A) In the major mode: the sequence IV–V, III–IV, II–III, I–II, VII–I, VI–VII, V–VI, IV–V in C major", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 546, "section": "ch02-p046", "sources": [ { "pdf_page": 46, "source_image": "source-pages/046.png", "printed_page": 38 } ], "asset_refs": [ "rh-230-ex01" ] }, { "id": "rh-230-ex02", "type": "music", "original": "B) EN MODE MINEUR · IV Vnat. IIInat. IV IInat. IIInat. I II VIInat. I VI VIInat. Vnat. VI IV Vharm.", "english": "B) In the minor mode: the same sequence in A minor, every fifth-degree chord natural except the last (harmonic, with G♯)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 547, "section": "ch02-p046", "sources": [ { "pdf_page": 46, "source_image": "source-pages/046.png", "printed_page": 38 } ], "asset_refs": [ "rh-230-ex02" ] }, { "id": "rh-230-004", "type": "paragraph", "original": "Dans les marches harmoniques de seconde et de tierce l'enchaînement mélodique des accords en rapport de seconde est suivi de l'enchaînement harmonique des accords en rapport de tierce. Cette succession d'accords en rapport de seconde et de tierce est praticable autant que celle de quarte et de quinte.", "english": "In harmonic sequences of seconds and thirds, the melodic connection of chords a second apart is followed by the harmonic connection of chords a third apart. This succession of chords a second and a third apart is as practicable as that of chords a fourth and a fifth apart.", "reading_order": 548, "section": "ch02-p046", "sources": [ { "pdf_page": 46, "source_image": "source-pages/046.png", "printed_page": 38 } ] }, { "id": "rh-230-005", "type": "heading", "original": "EXERCICES", "english": "EXERCISES", "reading_order": 549, "section": "ch02-p046", "sources": [ { "pdf_page": 46, "source_image": "source-pages/046.png", "printed_page": 38 } ] }, { "id": "rh-230-006", "type": "paragraph", "original": "1) Compléter les marches suivantes contenant des accords de sixte:", "english": "1) Complete the following sequences, which contain chords of the sixth:", "reading_order": 550, "section": "ch02-p046", "sources": [ { "pdf_page": 46, "source_image": "source-pages/046.png", "printed_page": 38 } ] }, { "id": "rh-230-007", "type": "heading", "original": "MODE MAJEUR", "english": "MAJOR MODE", "reading_order": 551, "section": "ch02-p046", "sources": [ { "pdf_page": 46, "source_image": "source-pages/046.png", "printed_page": 38 } ] }, { "id": "rh-230-ex03", "type": "music", "original": "a) · etc.", "english": "a) Beginning of a sequence with sixth chords in C major: IV6, V, III6, IV, then \"etc.\"", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 552, "section": "ch02-p046", "sources": [ { "pdf_page": 46, "source_image": "source-pages/046.png", "printed_page": 38 } ], "asset_refs": [ "rh-230-ex03" ] }, { "id": "rh-230-ex04", "type": "music", "original": "b) · etc.", "english": "b) The same sequence with different doublings: IV6, V, III6, IV, then \"etc.\"", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 553, "section": "ch02-p046", "sources": [ { "pdf_page": 46, "source_image": "source-pages/046.png", "printed_page": 38 } ], "asset_refs": [ "rh-230-ex04" ] }, { "id": "rh-230-ex05", "type": "music", "original": "c) · etc.", "english": "c) Sequence beginning on the root-position fourth degree: IV, V6, III, IV6, then \"etc.\"", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 554, "section": "ch02-p046", "sources": [ { "pdf_page": 46, "source_image": "source-pages/046.png", "printed_page": 38 } ], "asset_refs": [ "rh-230-ex05" ] }, { "id": "rh-230-ex06", "type": "music", "original": "d) · etc.", "english": "d) Sequence entirely in sixth chords: IV6, V6, III6, IV6, then \"etc.\"", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 555, "section": "ch02-p046", "sources": [ { "pdf_page": 46, "source_image": "source-pages/046.png", "printed_page": 38 } ], "asset_refs": [ "rh-230-ex06" ] }, { "id": "rh-230-008", "type": "paragraph", "original": "2) Ecrire les mêmes marches en mode mineur.", "english": "2) Write the same sequences in the minor mode.", "reading_order": 556, "section": "ch02-p046", "sources": [ { "pdf_page": 46, "source_image": "source-pages/046.png", "printed_page": 38 } ] }, { "id": "rh-230-009", "type": "heading", "original": "EXERCICE", "english": "EXERCISE", "reading_order": 557, "section": "ch02-p046", "sources": [ { "pdf_page": 46, "source_image": "source-pages/046.png", "printed_page": 38 } ] }, { "id": "rh-230-010", "type": "paragraph", "original": "Jouer au piano différentes marches harmoniques dans diverses tonalités d'après l'exposé, en commençant par des accords de divers degrés pour revenir à la tonique.", "english": "Play at the piano various harmonic sequences in various keys, following the explanation above, beginning with chords on various degrees and returning to the tonic.", "reading_order": 558, "section": "ch02-p046", "sources": [ { "pdf_page": 46, "source_image": "source-pages/046.png", "printed_page": 38 } ] }, { "id": "rh-231-001", "type": "heading", "original": "SUPPLÉMENT", "english": "SUPPLEMENT", "reading_order": 559, "section": "ch02-p047", "sources": [ { "pdf_page": 47, "source_image": "source-pages/047.png", "printed_page": 39 } ] }, { "id": "rh-231-002", "type": "paragraph", "original": "Conformément aux précédents exemples des marches descendantes des accords parfaits et de leurs renversements, on peut faire aussi des marches par mouvement ascendant, p. ex:", "english": "Following the preceding examples of descending sequences of common chords and their inversions, sequences in ascending motion can also be made, e.g.:", "reading_order": 560, "section": "ch02-p047", "sources": [ { "pdf_page": 47, "source_image": "source-pages/047.png", "printed_page": 39 } ] }, { "id": "rh-231-ex01", "type": "music", "original": "I IV II V III VI etc. au I II II III III IV etc. au I V II VI III VII etc.", "english": "Three ascending sequences in C major on one staff: by fourth up and third down (I IV II V III VI); with sixth chords (I6 II II6 III III6 IV); by fifth up and fourth down (I V II VI III VII)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 561, "section": "ch02-p047", "sources": [ { "pdf_page": 47, "source_image": "source-pages/047.png", "printed_page": 39 } ], "asset_refs": [ "rh-231-ex01" ] }, { "id": "rh-231-003", "type": "paragraph", "original": "L'élève recherchera et jouera au piano d'après l'exposé, des marches en dispositions serrées et larges, dans différentes tonalités et positions mélodiques.", "english": "Following this account, the student will work out and play at the piano sequences in close and open spacing, in various keys and melodic positions.", "reading_order": 562, "section": "ch02-p047", "sources": [ { "pdf_page": 47, "source_image": "source-pages/047.png", "printed_page": 39 } ] }, { "id": "rh-231-004", "type": "heading", "original": "DE TOUS LES ACCORDS DE SEPTIÈME dans leurs rapports unitoniques", "english": "ALL THE SEVENTH CHORDS in their relations within one key", "reading_order": 563, "section": "ch02-p047", "sources": [ { "pdf_page": 47, "source_image": "source-pages/047.png", "printed_page": 39 } ] }, { "id": "rh-231-005", "type": "heading", "original": "MARCHES HARMONIQUES AVEC ACCORDS DE SEPTIÈME", "english": "HARMONIC SEQUENCES WITH SEVENTH CHORDS", "reading_order": 564, "section": "ch02-p047", "sources": [ { "pdf_page": 47, "source_image": "source-pages/047.png", "printed_page": 39 } ] }, { "id": "rh-231-006", "type": "paragraph", "original": "§ 45. — 1) En répétant à la seconde inférieure le modèle qui se forme par la résolution de l'accord de septième de dominante sur l'accord de tonique, il en résulte les marches harmoniques suivantes:", "english": "§ 45. 1) By repeating a second lower the model formed by the resolution of the dominant seventh chord to the tonic chord, the following harmonic sequences result:", "reading_order": 565, "section": "ch02-p047", "sources": [ { "pdf_page": 47, "source_image": "source-pages/047.png", "printed_page": 39 } ] }, { "id": "rh-231-ex02", "type": "music", "original": "A) EN MODE MAJEUR — V I IV VII III VI II V I IV VII IV VI II V I", "english": "A) In the major mode: sixteen chords descending by fifths in C major, seventh chords (figured 7) alternating with triads, the common notes tied", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 566, "section": "ch02-p047", "sources": [ { "pdf_page": 47, "source_image": "source-pages/047.png", "printed_page": 39 } ], "asset_refs": [ "rh-231-ex02" ] }, { "id": "rh-231-ex03", "type": "music", "original": "ou — V I IV VII etc.", "english": "or: the same sequence beginning with an incomplete V7 (no fifth) resolving to a complete tonic triad", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 567, "section": "ch02-p047", "sources": [ { "pdf_page": 47, "source_image": "source-pages/047.png", "printed_page": 39 } ], "asset_refs": [ "rh-231-ex03" ] }, { "id": "rh-231-ex04", "type": "music", "original": "B) EN MODE MINEUR — Vharm. I IV VIInat. IIInat. VI II Vnat. Inat. IV VIInat. IIInat. VI II Vharm. I", "english": "B) In the minor mode: the same sequence in A minor, harmonic V with G♯ at the start and end, natural (G♮) forms of VII, III, V and I in between", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 568, "section": "ch02-p047", "sources": [ { "pdf_page": 47, "source_image": "source-pages/047.png", "printed_page": 39 } ], "asset_refs": [ "rh-231-ex04" ] }, { "id": "rh-231-ex05", "type": "music", "original": "ou — Vharm. I V VIInat. etc.", "english": "or: the minor sequence beginning with an incomplete V7 (no fifth) resolving to a complete tonic triad", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 569, "section": "ch02-p047", "sources": [ { "pdf_page": 47, "source_image": "source-pages/047.png", "printed_page": 39 } ], "asset_refs": [ "rh-231-ex05" ] }, { "id": "rh-231-007", "type": "paragraph", "original": "Ces marches nous indiquent la résolution la plus naturelle des accords de septième de deuxième ordre; chacun se résout sur l'accord de trois sons de la quarte supérieure ou de la quinte inférieure. Les accords de septième complets se résolvent sur les accords de trois sons incomplets et réciproquement.", "english": "These sequences show us the most natural resolution of the seventh chords of the second order: each resolves to the triad a fourth above or a fifth below. Complete seventh chords resolve to incomplete triads, and conversely.", "reading_order": 570, "section": "ch02-p047", "sources": [ { "pdf_page": 47, "source_image": "source-pages/047.png", "printed_page": 39 } ] }, { "id": "rh-232-001", "type": "heading", "original": "EXERCICES", "english": "EXERCISES", "reading_order": 571, "section": "ch02-p048", "sources": [ { "pdf_page": 48, "source_image": "source-pages/048.png", "printed_page": 40 } ] }, { "id": "rh-232-002", "type": "paragraph", "original": "Compléter les marches suivantes:", "english": "Complete the following sequences:", "reading_order": 572, "section": "ch02-p048", "sources": [ { "pdf_page": 48, "source_image": "source-pages/048.png", "printed_page": 40 } ] }, { "id": "rh-232-ex01", "type": "music", "original": "a) · etc.", "english": "Exercise a): seventh chords (6/5) alternating with triads, C major, to be continued", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 573, "section": "ch02-p048", "sources": [ { "pdf_page": 48, "source_image": "source-pages/048.png", "printed_page": 40 } ], "asset_refs": [ "rh-232-ex01" ] }, { "id": "rh-232-ex02", "type": "music", "original": "b) · etc.", "english": "Exercise b): seventh chords (4/3) alternating with triads, C major, to be continued", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 574, "section": "ch02-p048", "sources": [ { "pdf_page": 48, "source_image": "source-pages/048.png", "printed_page": 40 } ], "asset_refs": [ "rh-232-ex02" ] }, { "id": "rh-232-ex03", "type": "music", "original": "c) · etc.", "english": "Exercise c): seventh chords (2) alternating with triads (6), C major, to be continued", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 575, "section": "ch02-p048", "sources": [ { "pdf_page": 48, "source_image": "source-pages/048.png", "printed_page": 40 } ], "asset_refs": [ "rh-232-ex03" ] }, { "id": "rh-232-003", "type": "paragraph", "original": "b) Ecrire les mêmes marches en mineur.", "english": "b) Write the same sequences in minor.", "reading_order": 576, "section": "ch02-p048", "sources": [ { "pdf_page": 48, "source_image": "source-pages/048.png", "printed_page": 40 } ] }, { "id": "rh-232-004", "type": "paragraph", "original": "2) En faisant retarder la tierce de chaque accord de septième dans l'accord suivant, il en résultera une marche des accords de septième.", "english": "2) By delaying the third of each seventh chord into the following chord, a sequence of seventh chords will result.", "reading_order": 577, "section": "ch02-p048", "sources": [ { "pdf_page": 48, "source_image": "source-pages/048.png", "printed_page": 40 } ] }, { "id": "rh-232-005", "type": "heading", "original": "A) EN MODE MAJEUR", "english": "A) IN THE MAJOR MODE", "reading_order": 578, "section": "ch02-p048", "sources": [ { "pdf_page": 48, "source_image": "source-pages/048.png", "printed_page": 40 } ] }, { "id": "rh-232-ex04", "type": "music", "original": "V · I · IV · VII · III · VI · II · V · I", "english": "Sequence of seventh chords by descending fifths in C major, the third of each chord held over as the seventh of the next", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 579, "section": "ch02-p048", "sources": [ { "pdf_page": 48, "source_image": "source-pages/048.png", "printed_page": 40 } ], "asset_refs": [ "rh-232-ex04" ] }, { "id": "rh-232-006", "type": "heading", "original": "B) EN MODE MINEUR", "english": "B) IN THE MINOR MODE", "reading_order": 580, "section": "ch02-p048", "sources": [ { "pdf_page": 48, "source_image": "source-pages/048.png", "printed_page": 40 } ] }, { "id": "rh-232-ex05", "type": "music", "original": "V nat. · I nat. · IV · VII nat. · III nat. · VI · II · V nat. · V harm.", "english": "Sequence of seventh chords by descending fifths in A minor (natural minor, harmonic V at the cadence)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 581, "section": "ch02-p048", "sources": [ { "pdf_page": 48, "source_image": "source-pages/048.png", "printed_page": 40 } ], "asset_refs": [ "rh-232-ex05" ] }, { "id": "rh-232-007", "type": "paragraph", "original": "On peut aisément remarquer qu'à chaque accord de septième en succède un autre reposant sur la quarte supérieure ou sur la quinte inférieure et que la tierce de l'un prépare la septième de l'autre, celle-ci se résolvant à son tour sur la tierce de l'accord suivant.", "english": "It is easy to see that each seventh chord is followed by another standing on the fourth above or the fifth below, and that the third of the one prepares the seventh of the other, this seventh resolving in turn onto the third of the following chord.", "reading_order": 582, "section": "ch02-p048", "sources": [ { "pdf_page": 48, "source_image": "source-pages/048.png", "printed_page": 40 } ] }, { "id": "rh-232-008", "type": "paragraph", "original": "A un accord de septième complet en succède un autre incomplet et réciproquement.", "english": "A complete seventh chord is followed by an incomplete one, and vice versa.", "reading_order": 583, "section": "ch02-p048", "sources": [ { "pdf_page": 48, "source_image": "source-pages/048.png", "printed_page": 40 } ] }, { "id": "rh-232-009", "type": "paragraph", "original": "Dans les marches formées par des renversements, les accords de quinte et sixte sont alternés par des accords de seconde et les accords de tierce et quarte par des accords de septième complets.", "english": "In sequences formed from inversions, six-five chords alternate with second (four-two) chords, and four-three chords with complete seventh chords.", "reading_order": 584, "section": "ch02-p048", "sources": [ { "pdf_page": 48, "source_image": "source-pages/048.png", "printed_page": 40 } ] }, { "id": "rh-232-010", "type": "heading", "original": "EXERCICES", "english": "EXERCISES", "reading_order": 585, "section": "ch02-p048", "sources": [ { "pdf_page": 48, "source_image": "source-pages/048.png", "printed_page": 40 } ] }, { "id": "rh-232-011", "type": "paragraph", "original": "Compléter les marches suivantes:", "english": "Complete the following sequences:", "reading_order": 586, "section": "ch02-p048", "sources": [ { "pdf_page": 48, "source_image": "source-pages/048.png", "printed_page": 40 } ] }, { "id": "rh-232-ex06", "type": "music", "original": "a) · etc.", "english": "Exercise a): seventh-chord sequence alternating 6/5 and 2 chords, C major, to be continued", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 587, "section": "ch02-p048", "sources": [ { "pdf_page": 48, "source_image": "source-pages/048.png", "printed_page": 40 } ], "asset_refs": [ "rh-232-ex06" ] }, { "id": "rh-232-ex07", "type": "music", "original": "b) · etc.", "english": "Exercise b): seventh-chord sequence alternating 4/3 and root-position 7 chords, C major, to be continued", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 588, "section": "ch02-p048", "sources": [ { "pdf_page": 48, "source_image": "source-pages/048.png", "printed_page": 40 } ], "asset_refs": [ "rh-232-ex07" ] }, { "id": "rh-232-012", "type": "paragraph", "original": "Ecrire des marches en mode mineur.", "english": "Write sequences in the minor mode.", "reading_order": 589, "section": "ch02-p048", "sources": [ { "pdf_page": 48, "source_image": "source-pages/048.png", "printed_page": 40 } ] }, { "id": "rh-233-001", "type": "paragraph", "original": "3) On peut aussi faire des marches d'après le modèle de la résolution (moins naturelle) de l'accord de septième de sensible sur l'accord de tonique avec la tierce doublée; il en résultera des marches dont chaque accord parfait prépare l'accord de septième se trouvant à la tierce inférieure:", "english": "3) Sequences can also be made on the model of the (less natural) resolution of the leading-note seventh chord to the tonic chord with the third doubled; the result is sequences in which each triad prepares the seventh chord lying a third below it:", "reading_order": 590, "section": "ch02-p049", "sources": [ { "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41 } ] }, { "id": "rh-233-ex01", "type": "music", "original": "VII I VI VII V VI IV V III IV II III I II VII I · 7 7 7 7 7 7 7 7", "english": "Sequence in C major: each triad prepares, by two tied common tones, the seventh chord a third below — VII7–I, VI7–VII, V7–VI, IV7–V, III7–IV, II7–III, I7–II, VII7–I", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 591, "section": "ch02-p049", "sources": [ { "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41 } ], "asset_refs": [ "rh-233-ex01" ] }, { "id": "rh-233-002", "type": "heading", "original": "EXERCICES", "english": "EXERCISES", "reading_order": 592, "section": "ch02-p049", "sources": [ { "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41 } ] }, { "id": "rh-233-003", "type": "paragraph", "original": "Ecrire les mêmes marches en mode mineur; faire des marches avec des accords de neuvième et les jouer toutes au piano en commençant par des accords de divers degrés pour revenir à la tonique.", "english": "Write the same sequences in the minor mode; make sequences with ninth chords, and play them all at the piano, beginning with chords on various degrees and returning to the tonic.", "reading_order": 593, "section": "ch02-p049", "sources": [ { "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41 } ] }, { "id": "rh-233-004", "type": "heading", "original": "SUPPLÉMENT", "english": "SUPPLEMENT", "reading_order": 594, "section": "ch02-p049", "sources": [ { "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41 } ] }, { "id": "rh-233-005", "type": "heading", "original": "Libre emploi de tous les degrés de chaque mode", "english": "Free use of all the degrees of each mode", "reading_order": 595, "section": "ch02-p049", "sources": [ { "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41 } ] }, { "id": "rh-233-006", "type": "paragraph", "original": "§ 46.—Pour l'élève qui aura appris avec profit tout ce qui vient d'être exposé, nous ajoutons ici quelques règles au sujet d'un emploi plus libre des accords.", "english": "§ 46.—For the student who has profitably learned everything set out so far, we add here a few rules concerning a freer use of the chords.", "reading_order": 596, "section": "ch02-p049", "sources": [ { "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41 } ] }, { "id": "rh-233-007", "type": "paragraph", "original": "1) Les accords de quinte diminuée ne sont employés que comme accords de sixte.", "english": "1) Chords of the diminished fifth are used only as chords of the sixth.", "reading_order": 597, "section": "ch02-p049", "sources": [ { "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41 } ] }, { "id": "rh-233-008", "type": "paragraph", "original": "2) Les accords de trois sons de deuxième ordre font suite le plus souvent aux accords de premier ordre, à la tierce inférieure. Une succession de plusieurs accords en rapport de tierce donne le sentiment d'une harmonie plutôt faible:", "english": "2) Three-note chords of the second order most often follow chords of the first order at the third below. A succession of several chords related by thirds gives the feeling of a rather weak harmony:", "reading_order": 598, "section": "ch02-p049", "sources": [ { "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41 } ] }, { "id": "rh-233-ex02", "type": "music", "original": "3 · 3 · 3", "english": "Four chords whose roots fall by thirds — C, A minor, F, D minor — with the bass line marked 3, 3, 3", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 599, "section": "ch02-p049", "sources": [ { "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41 } ], "asset_refs": [ "rh-233-ex02" ] }, { "id": "rh-233-009", "type": "paragraph", "original": "3) Chaque accord de trois sons placé à la tierce supérieure de celui qui le précède doit être suivi d'un autre à la seconde supérieure:", "english": "3) Every three-note chord placed a third above the one preceding it must be followed by another a second higher:", "reading_order": 600, "section": "ch02-p049", "sources": [ { "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41 } ] }, { "id": "rh-233-ex03", "type": "music", "original": "3 2 · 3 2 · 3 2", "english": "Three progressions in C major, each rising a third then a second: I–III–IV, II–IV–V, III–V–VI", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 601, "section": "ch02-p049", "sources": [ { "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41 } ], "asset_refs": [ "rh-233-ex03" ] }, { "id": "rh-233-010", "type": "paragraph", "original": "4) Un accord parfait et un accord de sixte sur la même basse, donnent un sentiment d'harmonie sans vigueur lorsqu'ils sont placés en passant du temps faible au temps fort:", "english": "4) A triad and a chord of the sixth on the same bass give a feeling of harmony without vigour when they are placed in passing from the weak beat to the strong beat:", "reading_order": 602, "section": "ch02-p049", "sources": [ { "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41 } ] }, { "id": "rh-233-ex04", "type": "music", "original": "FAIBLE · 6 · etc. · BON · 6 · etc.", "english": "Weak: the F major triad on the weak beat, the sixth chord F–A–D on the following strong beat; good: the triad on the strong beat and the sixth chord after it over a held bass F", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 603, "section": "ch02-p049", "sources": [ { "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41 } ], "asset_refs": [ "rh-233-ex04" ] }, { "id": "rh-233-011", "type": "paragraph", "original": "en tout cas on placera toujours l'accord de sixte après l'accord parfait.", "english": "In any case, the chord of the sixth will always be placed after the triad.", "reading_order": 604, "section": "ch02-p049", "sources": [ { "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41 } ] }, { "id": "rh-233-012", "type": "paragraph", "original": "Il serait désirable, en général, que la basse, en passant du temps fort au temps faible ne reste pas immobile même dans la succession des accords des différents degrés:", "english": "In general it would be desirable for the bass not to remain stationary in passing from the strong beat to the weak beat, even when the chords succeeding one another are on different degrees:", "reading_order": 605, "section": "ch02-p049", "sources": [ { "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41 } ] }, { "id": "rh-233-ex05", "type": "music", "original": "MAUVAIS · I II · 6/5 · BON · IV II · 6 · 6/5", "english": "Bad: the bass D held (tied) under two different chords, IV and II 6/5, before V; good: a moving bass, I–IV6 | II 6/5–V, in A minor", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 606, "section": "ch02-p049", "sources": [ { "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41 } ], "asset_refs": [ "rh-233-ex05" ] }, { "id": "rh-233-013", "type": "paragraph", "original": "5) L'emploi du premier renversement des accords du deuxième ordre (excepté celui du IIme degré) est meilleur après les accords fondamentaux de ces degrés:", "english": "5) The first inversion of chords of the second order (except that of the IInd degree) is better used after the root-position chords of those degrees:", "reading_order": 607, "section": "ch02-p049", "sources": [ { "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41 } ] }, { "id": "rh-233-ex06", "type": "music", "original": "6 · 6", "english": "The VI chord moving to its first inversion (VI–VI6) over a bass A–C, then to II; and again VI–VI6, then to III (C major)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 608, "section": "ch02-p049", "sources": [ { "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41 } ], "asset_refs": [ "rh-233-ex06" ] }, { "id": "rh-233-014", "type": "paragraph", "original": "6) Le second renversement des accords de deuxième ordre est employé comme accord de passage:", "english": "6) The second inversion of chords of the second order is used as a passing chord:", "reading_order": 609, "section": "ch02-p049", "sources": [ { "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41 } ] }, { "id": "rh-233-ex07", "type": "music", "original": "6 · 6/4 · 6/4 · 7", "english": "The 6/4 chord on E (A minor in second inversion) as a passing chord over the bass F–E–D: II6–VI6/4–II, then II 6/5–VI6/4–II7 with C held", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 610, "section": "ch02-p049", "sources": [ { "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41 } ], "asset_refs": [ "rh-233-ex07" ] }, { "id": "rh-233-015", "type": "paragraph", "original": "et en sens contraire.", "english": "and in contrary motion.", "reading_order": 611, "section": "ch02-p049", "sources": [ { "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41 } ] }, { "id": "rh-234-001", "type": "paragraph", "original": "On place quelquefois l'accord de quarte et sixte entre deux accords du même degré et sur la même basse:", "english": "The six-four chord is sometimes placed between two chords of the same degree over the same bass:", "reading_order": 612, "section": "ch02-p050", "sources": [ { "pdf_page": 50, "source_image": "source-pages/050.png", "printed_page": 42 } ] }, { "id": "rh-234-ex01", "type": "music", "original": "[Exemple]", "english": "Six-four chord between two root-position chords on the same bass: C major (I – I6/4 – I) and A minor (I – I6/4 – I)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 613, "section": "ch02-p050", "sources": [ { "pdf_page": 50, "source_image": "source-pages/050.png", "printed_page": 42 } ], "asset_refs": [ "rh-234-ex01" ] }, { "id": "rh-234-002", "type": "paragraph", "original": "ou bien entre un accord de sixte et son état fondamental, lorsque la basse procède successivement par les notes constitutives de l'accord:", "english": "or else between a chord of the sixth and its root position, when the bass moves successively through the notes that make up the chord:", "reading_order": 614, "section": "ch02-p050", "sources": [ { "pdf_page": 50, "source_image": "source-pages/050.png", "printed_page": 42 } ] }, { "id": "rh-234-ex02", "type": "music", "original": "[Exemple]", "english": "The bass arpeggiates the C major chord under held upper voices: root – sixth chord – six-four chord, then the reverse", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 615, "section": "ch02-p050", "sources": [ { "pdf_page": 50, "source_image": "source-pages/050.png", "printed_page": 42 } ], "asset_refs": [ "rh-234-ex02" ] }, { "id": "rh-234-003", "type": "paragraph", "original": "7) Les accords des IIme et IIIme degrés du mode majeur s'enchaînent très rarement et en tout cas à l'état de renversement:", "english": "7) The chords of the IInd and IIIrd degrees of the major mode are very rarely connected, and in any case only in inversion:", "reading_order": 616, "section": "ch02-p050", "sources": [ { "pdf_page": 50, "source_image": "source-pages/050.png", "printed_page": 42 } ] }, { "id": "rh-234-ex03", "type": "music", "original": "III · II · III", "english": "III–II and II–III in C major, connected only with the second chord (or both) in inversion", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 617, "section": "ch02-p050", "sources": [ { "pdf_page": 50, "source_image": "source-pages/050.png", "printed_page": 42 } ], "asset_refs": [ "rh-234-ex03" ] }, { "id": "rh-234-004", "type": "paragraph", "original": "8) Les accords de septième de deuxième ordre, surtout ceux qui contiennent une septième majeure, sont employés comme accords de passage (avec la septième de passage) ou préparés par des notes communes avec les accords précédents:", "english": "8) Secondary seventh chords, especially those containing a major seventh, are used as passing chords (with a passing seventh) or prepared by notes held in common with the preceding chords:", "reading_order": 618, "section": "ch02-p050", "sources": [ { "pdf_page": 50, "source_image": "source-pages/050.png", "printed_page": 42 } ] }, { "id": "rh-234-ex04", "type": "music", "original": "[Exemple]", "english": "Sequences of secondary seventh chords in C major (VI7, II7, V7 resolving to I), with the sevenths prepared by ties", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 619, "section": "ch02-p050", "sources": [ { "pdf_page": 50, "source_image": "source-pages/050.png", "printed_page": 42 } ], "asset_refs": [ "rh-234-ex04" ] }, { "id": "rh-234-ex05", "type": "music", "original": "[Exemple]", "english": "Further seventh-chord successions in C major, including inversions (4/3, 6/5, 2), resolving to I", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 620, "section": "ch02-p050", "sources": [ { "pdf_page": 50, "source_image": "source-pages/050.png", "printed_page": 42 } ], "asset_refs": [ "rh-234-ex05" ] }, { "id": "rh-234-005", "type": "paragraph", "original": "Les marches harmoniques contenant plus de quatre accords de septième ne sont pas de bon effet. Les accords de septième de sensible mineure et diminuée peuvent être employés comme renversement avec la résolution sur l'accord de tonique.", "english": "Harmonic sequences containing more than four seventh chords do not sound well. The minor and diminished leading-note seventh chords may be used in inversion, resolving to the tonic chord.", "reading_order": 621, "section": "ch02-p050", "sources": [ { "pdf_page": 50, "source_image": "source-pages/050.png", "printed_page": 42 } ] }, { "id": "rh-234-006", "type": "paragraph", "original": "9) La doublure de la tierce et de la quinte dans les accords parfaits est parfois demandée par des circonstances spéciales:", "english": "9) Doubling the third or the fifth in triads is sometimes called for by special circumstances:", "reading_order": 622, "section": "ch02-p050", "sources": [ { "pdf_page": 50, "source_image": "source-pages/050.png", "printed_page": 42 } ] }, { "id": "rh-234-ex06", "type": "music", "original": "ou", "english": "Triads with doubled third or fifth, C major: II (doubled third) – I6 (doubled third) – V; or II (doubled third) to I", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 623, "section": "ch02-p050", "sources": [ { "pdf_page": 50, "source_image": "source-pages/050.png", "printed_page": 42 } ], "asset_refs": [ "rh-234-ex06" ] }, { "id": "rh-234-007", "type": "paragraph", "original": "10) Le mouvement des intervalles augmentés ne s'emploie pas du tout; le mouvement des intervalles diminués est préférable en descendant.", "english": "10) Movement by augmented intervals is not used at all; movement by diminished intervals is preferable in descending.", "reading_order": 624, "section": "ch02-p050", "sources": [ { "pdf_page": 50, "source_image": "source-pages/050.png", "printed_page": 42 } ] }, { "id": "rh-234-008", "type": "paragraph", "original": "11) On ne peut pas éviter toujours le mouvement parallèle de deux tierces majeures:", "english": "11) Parallel motion of two major thirds cannot always be avoided:", "reading_order": 625, "section": "ch02-p050", "sources": [ { "pdf_page": 50, "source_image": "source-pages/050.png", "printed_page": 42 } ] }, { "id": "rh-234-ex07", "type": "music", "original": "en Majeur. · en Mineur.", "english": "In major: F–A to G–B; in minor: C–E to E–G♯ — two major thirds in parallel motion", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 626, "section": "ch02-p050", "sources": [ { "pdf_page": 50, "source_image": "source-pages/050.png", "printed_page": 42 } ], "asset_refs": [ "rh-234-ex07" ] }, { "id": "rh-234-009", "type": "paragraph", "original": "Nous ne donnons pas des devoirs spéciaux; l'élève pourra appliquer dans les devoirs suivants et spécialement dans les chorals, le libre emploi des accords des différents degrés.", "english": "We do not give special exercises; the student may apply the free use of chords of the various degrees in the exercises that follow, and especially in the chorales.", "reading_order": 627, "section": "ch02-p050", "sources": [ { "pdf_page": 50, "source_image": "source-pages/050.png", "printed_page": 42 } ] }, { "id": "rh-ch03-001", "type": "heading", "original": "Chapitre III. De la modulation", "english": "Chapter III. Modulation", "reading_order": 628, "section": "ch03", "sources": [ { "pdf_page": 51, "source_image": "source-pages/051.png", "printed_page": 43 } ] }, { "id": "rh-ch03-002", "type": "heading", "original": "Notions préliminaires", "english": "Preliminary notions", "reading_order": 629, "section": "ch03", "sources": [ { "pdf_page": 51, "source_image": "source-pages/051.png", "printed_page": 43 } ] }, { "id": "rh-ch03-003", "type": "paragraph", "original": "§ 47. — 1) L'action par laquelle on passe d'un ton à un autre s'appelle modulation. Il y a deux manières de moduler: graduellement (modulation graduelle) et subitement (modulation subite).", "english": "§ 47. 1) The action by which one passes from one key to another is called modulation. There are two ways of modulating: gradually (gradual modulation) and suddenly (sudden modulation).", "reading_order": 630, "section": "ch03", "sources": [ { "pdf_page": 51, "source_image": "source-pages/051.png", "printed_page": 43 } ] }, { "id": "rh-ch03-004", "type": "paragraph", "original": "2) Pour la modulation graduelle on se sert de l'affinité des tons (tons voisins); pour la modulation subite, de la polytonie et de l'enharmonie.", "english": "2) For gradual modulation one makes use of the affinity of keys (related keys); for sudden modulation, of polytonality and of enharmonicism.", "reading_order": 631, "section": "ch03", "sources": [ { "pdf_page": 51, "source_image": "source-pages/051.png", "printed_page": 43 } ] }, { "id": "rh-ch03-005", "type": "heading", "original": "Tons voisins ou de première classe", "english": "Related keys, or first-class keys", "reading_order": 632, "section": "ch03", "sources": [ { "pdf_page": 51, "source_image": "source-pages/051.png", "printed_page": 43 } ] }, { "id": "rh-ch03-006", "type": "paragraph", "original": "§ 48. — 1) Chaque ton majeur ou mineur a six tons voisins de première classe dont les accords de tonique se trouvent dans ce ton majeur ou mineur.", "english": "§ 48. 1) Every major or minor key has six first-class related keys, whose tonic chords are found within that major or minor key.", "reading_order": 633, "section": "ch03", "sources": [ { "pdf_page": 51, "source_image": "source-pages/051.png", "printed_page": 43 } ] }, { "id": "rh-ch03-007", "type": "paragraph", "original": "Ainsi les tons voisins du ton de Do seront:", "english": "Thus the keys related to the key of C will be:", "reading_order": 634, "section": "ch03", "sources": [ { "pdf_page": 51, "source_image": "source-pages/051.png", "printed_page": 43 } ] }, { "id": "rh-030-ex01", "type": "music", "original": "La, SOL, FA, Fa, Mi, Ré", "english": "The six keys related to C major: A minor, G major, F major, f minor, E minor, D minor (roman type marks a major key, italic a minor one).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 635, "section": "ch03", "sources": [ { "pdf_page": 51, "source_image": "source-pages/051.png", "printed_page": 43 } ], "asset_refs": [ "rh-030-ex01" ] }, { "id": "rh-ch03-008", "type": "paragraph", "original": "Les six tons voisins du ton de la mineur seront:", "english": "The six keys related to the key of A minor will be:", "reading_order": 636, "section": "ch03", "sources": [ { "pdf_page": 51, "source_image": "source-pages/051.png", "printed_page": 43 } ] }, { "id": "rh-030-ex02", "type": "music", "original": "DO, ré, mi, MI, FA, SOL", "english": "The six keys related to A minor: C major, D minor, E minor, E major, F major, G major.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 637, "section": "ch03", "sources": [ { "pdf_page": 51, "source_image": "source-pages/051.png", "printed_page": 43 } ], "asset_refs": [ "rh-030-ex02" ] }, { "id": "rh-ch03-009", "type": "paragraph", "original": "2) Tous les autres tons relativement à Do et la seront des tons éloignés ou de IIme, IIIme classe, etc.", "english": "2) All other keys, relative to C and A, are distant keys, of the second, third class, and so on.", "reading_order": 638, "section": "ch03", "sources": [ { "pdf_page": 51, "source_image": "source-pages/051.png", "printed_page": 43 } ] }, { "id": "rh-ch03-010", "type": "paragraph", "original": "3) La transition d'un ton à un autre est basée sur les accords communs aux deux tons.", "english": "3) The transition from one key to another is based on the chords common to both keys.", "reading_order": 639, "section": "ch03", "sources": [ { "pdf_page": 51, "source_image": "source-pages/051.png", "printed_page": 43 } ] }, { "id": "rh-ch03-011", "type": "paragraph", "original": "4) Nous appellerons précédent le ton qui est le point de départ et suivant celui où l'on veut passer.", "english": "4) We shall call precedent the key that is the starting point, and following the one to which we wish to pass.", "reading_order": 640, "section": "ch03", "sources": [ { "pdf_page": 51, "source_image": "source-pages/051.png", "printed_page": 43 } ] }, { "id": "rh-ch03-012", "type": "heading", "original": "Modulation diatonique", "english": "Diatonic modulation", "reading_order": 641, "section": "ch03", "sources": [ { "pdf_page": 51, "source_image": "source-pages/051.png", "printed_page": 43 } ] }, { "id": "rh-ch03-013", "type": "paragraph", "original": "§ 49. — 1) Lorsqu'on se trouve dans le ton précédent on prend un des accords communs au ton suivant, évitant toutefois l'accord de tonique du dernier.", "english": "§ 49. 1) While still in the precedent key, one takes one of the chords common to the following key, avoiding however the tonic chord of the latter.", "reading_order": 642, "section": "ch03", "sources": [ { "pdf_page": 51, "source_image": "source-pages/051.png", "printed_page": 43 } ] }, { "id": "rh-ch03-014", "type": "paragraph", "original": "2) On considère cet accord intermédiaire comme accord du degré correspondant dans le ton suivant et on retient la modulation accomplie en y ajoutant une des cadences ou successions de cadence du ton suivant.", "english": "2) This intermediate chord is regarded as the chord of the corresponding degree in the following key, and the modulation is confirmed as accomplished by adding one of that key's cadences or cadential successions.", "reading_order": 643, "section": "ch03", "sources": [ { "pdf_page": 51, "source_image": "source-pages/051.png", "printed_page": 43 } ] }, { "id": "rh-ch03-015", "type": "paragraph", "original": "3) Le plus souvent l'accord commun devrait être choisi parmi les accords de sous-dominante du ton suivant.", "english": "3) Most often the common chord should be chosen among the subdominant chords of the following key.", "reading_order": 644, "section": "ch03", "sources": [ { "pdf_page": 51, "source_image": "source-pages/051.png", "printed_page": 43 } ] }, { "id": "rh-ch03-016", "type": "paragraph", "original": "4) Si l'accord commun est de deuxième ordre dans le ton majeur précédent, on le place à la tierce inférieure d'un accord de premier ordre à l'état fondamental.", "english": "4) If the common chord is of the second order in the preceding major key, it is placed a third below a first-order chord in root position.", "reading_order": 645, "section": "ch03", "sources": [ { "pdf_page": 51, "source_image": "source-pages/051.png", "printed_page": 43 } ] }, { "id": "rh-ch03-017", "type": "heading", "original": "Exemples de modulations de Do à ses tons voisins", "english": "Examples of modulations from C major to its related keys", "reading_order": 646, "section": "ch03-part02", "sources": [ { "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44 } ] }, { "id": "rh-031-ex01", "type": "music", "original": "1 a) Do (II = IV) la b) Do (VII = II) la c) (I = III nat.) phrygienne", "english": "Example 1: C major to A minor (a) through II of C = IV of a, (b) through VII of C = II of a, (c) through the C major tonic taken as the natural III of a, with a Phrygian progression.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 647, "section": "ch03-part02", "sources": [ { "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44 } ], "asset_refs": [ "rh-031-ex01" ] }, { "id": "rh-031-ex02", "type": "music", "original": "2 Do (I = IV) 7 Sol", "english": "Example 2: C major to G major; the C major tonic becomes IV of G.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 648, "section": "ch03-part02", "sources": [ { "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44 } ], "asset_refs": [ "rh-031-ex02" ] }, { "id": "rh-031-ex03", "type": "music", "original": "3 Do (I = V) 8—7 Fa", "english": "Example 3: C major to F major; the C major tonic becomes V of F, with the octave falling to the seventh (8—7).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 649, "section": "ch03-part02", "sources": [ { "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44 } ], "asset_refs": [ "rh-031-ex03" ] }, { "id": "rh-031-ex04", "type": "music", "original": "4 Do (I = V) 8—7 fa min.", "english": "Example 4: C major to F minor, in the same way.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 650, "section": "ch03-part02", "sources": [ { "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44 } ], "asset_refs": [ "rh-031-ex04" ] }, { "id": "rh-ch03-018", "type": "paragraph", "original": "En modulant d'un ton majeur aux tons de la sous-dominante majeure et mineure (Do-Fa ou Do-fa) on recourt le plus souvent au moyen indirect (*), c'est-à-dire on va préalablement à la cadence rompue afin d'obtenir l'harmonie de sous-dominante du ton suivant:", "english": "When modulating from a major key to the keys of its major and minor subdominant (C-F or C-f), one most often resorts to the indirect means (*) — that is, one goes first to the deceptive cadence in order to obtain the subdominant harmony of the following key:", "reading_order": 651, "section": "ch03-part02", "sources": [ { "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44 } ] }, { "id": "rh-031-ex05", "type": "music", "original": "3bis Do … Fa", "english": "Example 3bis: C major to F major by the indirect means (deceptive cadence first).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 652, "section": "ch03-part02", "sources": [ { "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44 } ], "asset_refs": [ "rh-031-ex05" ] }, { "id": "rh-031-ex06", "type": "music", "original": "4bis Do … fa", "english": "Example 4bis: C major to F minor by the indirect means.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 653, "section": "ch03-part02", "sources": [ { "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44 } ], "asset_refs": [ "rh-031-ex06" ] }, { "id": "rh-031-ex07", "type": "music", "original": "5 Do (VI = IV) 7 mi", "english": "Example 5: C major to E minor; VI of C becomes IV of e.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 654, "section": "ch03-part02", "sources": [ { "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44 } ], "asset_refs": [ "rh-031-ex07" ] }, { "id": "rh-031-ex08", "type": "music", "original": "6 d) Do (IV = III) succ. phrygienne ré b) (I = VII nat.) succ. phrygienne ré", "english": "Example 6: C major to D minor, (first) through IV of C = III of d, (b) through the C major tonic taken as the natural VII of d; each with a Phrygian succession.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 655, "section": "ch03-part02", "sources": [ { "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44 } ], "asset_refs": [ "rh-031-ex08" ] }, { "id": "rh-ch03-019", "type": "heading", "original": "Exemples de modulations de la à ses tons voisins", "english": "Examples of modulations from A minor to its related keys", "reading_order": 656, "section": "ch03-part02", "sources": [ { "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44 } ] }, { "id": "rh-031-ex09", "type": "music", "original": "1 a) la (IV = II) 6 6/4 Do ou b) la (VI = IV) 6 Do", "english": "Example 1: A minor to C major, (a) through IV of a = II of C, or (b) through VI of a = IV of C.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 657, "section": "ch03-part02", "sources": [ { "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44 } ], "asset_refs": [ "rh-031-ex09" ] }, { "id": "rh-031-ex10", "type": "music", "original": "2 la (I = IV) 6/4 7 mi", "english": "Example 2: A minor to E minor; the A minor tonic becomes IV of e.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 658, "section": "ch03-part02", "sources": [ { "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44 } ], "asset_refs": [ "rh-031-ex10" ] }, { "id": "rh-031-ex11", "type": "music", "original": "3 la (I = IV) 6/4 7 Mi", "english": "Example 3: A minor to E major; the A minor tonic becomes IV of E.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 659, "section": "ch03-part02", "sources": [ { "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44 } ], "asset_refs": [ "rh-031-ex11" ] }, { "id": "rh-031-ex12", "type": "music", "original": "4 la (I = III) 4/3 Fa", "english": "Example 4: A minor to F major; the A minor tonic becomes III of F, preparing the dominant 4/3 chord.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 660, "section": "ch03-part02", "sources": [ { "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44 } ], "asset_refs": [ "rh-031-ex12" ] }, { "id": "rh-ch03-020", "type": "paragraph", "original": "En modulant d'un ton mineur au ton du VIme degré (la-Fa) on considère le ton précédent comme IIIme degré propre à préparer l'accord de tierce et quarte de dominante du ton suivant avec deux notes communes.", "english": "When modulating from a minor key to the key of its sixth degree (a–F), one regards the precedent key as a third degree, suited to preparing the dominant four-three chord of the following key, with which it has two notes in common.", "reading_order": 661, "section": "ch03-part02", "sources": [ { "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44 } ] }, { "id": "rh-ch03-021", "type": "paragraph", "original": "NOTA. — On se servira exclusivement de ce moyen (ex. 4).", "english": "NOTE. — This means is to be used exclusively (Ex. 4).", "reading_order": 662, "section": "ch03-part02", "sources": [ { "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44 } ] }, { "id": "rh-031-ex13", "type": "music", "original": "5 la (I = II) 7 Sol", "english": "Example 5: A minor to G major; the A minor tonic becomes II of G.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 663, "section": "ch03-part02", "sources": [ { "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44 } ], "asset_refs": [ "rh-031-ex13" ] }, { "id": "rh-ch03-022", "type": "footnote", "original": "(*) Ou moyen composé selon l'auteur.", "english": "(*) Or the “compound means”, in the author's terms.", "reading_order": 664, "section": "ch03-part02", "sources": [ { "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44 } ] }, { "id": "rh-032-001", "type": "paragraph", "original": "Ici (ex. 5) l'accord du IIme degré du ton suivant se présente à l'état fondamental, il n'y aura donc pas de difficulté à le faire suivre de l'accord de septième de dominante ou d'un de ses renversements.", "english": "Here (Ex. 5) the chord of the II degree of the following key appears in root position, so there will be no difficulty in following it with the dominant seventh chord or one of its inversions.", "reading_order": 665, "section": "ch03-p053", "sources": [ { "pdf_page": 53, "source_image": "source-pages/053.png", "printed_page": 45 } ] }, { "id": "rh-032-002", "type": "heading", "original": "MOYENS INDIRECTS", "english": "INDIRECT MEANS", "reading_order": 666, "section": "ch03-p053", "sources": [ { "pdf_page": 53, "source_image": "source-pages/053.png", "printed_page": 45 } ] }, { "id": "rh-032-003", "type": "paragraph", "original": "§ 50. — Pour bien moduler d'un ton mineur au ton de la sous-dominante (la-ré) on module tout d'abord au ton majeur relatif au ton suivant: la (Fa) ré.", "english": "§ 50. — To modulate well from a minor key to the key of the subdominant (a–d), one first modulates to the major key relative to the following key: a (F) d.", "reading_order": 667, "section": "ch03-p053", "sources": [ { "pdf_page": 53, "source_image": "source-pages/053.png", "printed_page": 45 } ] }, { "id": "rh-032-ex01", "type": "music", "original": "a) la Fa ré b) la Fa 6/4 ré etc.", "english": "Example: A minor to D minor by way of F major, the relative major of D minor, in two versions (a and b), the second with a bracketed cadential 6/4; “etc.” as printed.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 668, "section": "ch03-p053", "sources": [ { "pdf_page": 53, "source_image": "source-pages/053.png", "printed_page": 45 } ], "asset_refs": [ "rh-032-ex01" ] }, { "id": "rh-032-004", "type": "paragraph", "original": "La raison de cette modulation est la contradiction entre l'accord mineur de tonique du ton de la et l'accord majeur de dominante du ton de ré.", "english": "The reason for this modulation is the contradiction between the minor tonic chord of the key of a and the major dominant chord of the key of d.", "reading_order": 669, "section": "ch03-p053", "sources": [ { "pdf_page": 53, "source_image": "source-pages/053.png", "printed_page": 45 } ] }, { "id": "rh-032-005", "type": "paragraph", "original": "Pour moduler d'un ton majeur au ton majeur de la sous-dominante (Do-Fa) on peut aussi moduler indirectement: Do (ré) Fa.", "english": "To modulate from a major key to the major key of the subdominant (C–F), one can also modulate indirectly: C (d) F.", "reading_order": 670, "section": "ch03-p053", "sources": [ { "pdf_page": 53, "source_image": "source-pages/053.png", "printed_page": 45 } ] }, { "id": "rh-032-ex02", "type": "music", "original": "Do ré 6/4 Fa", "english": "Example: C major to F major indirectly, by way of D minor, with a bracketed cadential 6/4.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 671, "section": "ch03-p053", "sources": [ { "pdf_page": 53, "source_image": "source-pages/053.png", "printed_page": 45 } ], "asset_refs": [ "rh-032-ex02" ] }, { "id": "rh-032-006", "type": "paragraph", "original": "De même que pour passer au ton du IIme degré (Do-ré) on module indirectement:", "english": "Likewise, to pass to the key of the II degree (C–d), one modulates indirectly:", "reading_order": 672, "section": "ch03-p053", "sources": [ { "pdf_page": 53, "source_image": "source-pages/053.png", "printed_page": 45 } ] }, { "id": "rh-032-ex03", "type": "music", "original": "Do Fa ré", "english": "Example: C major to D minor indirectly, by way of F major; the soprano C falls to B♭ in half notes over the held C major chord.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 673, "section": "ch03-p053", "sources": [ { "pdf_page": 53, "source_image": "source-pages/053.png", "printed_page": 45 } ], "asset_refs": [ "rh-032-ex03" ] }, { "id": "rh-032-007", "type": "paragraph", "original": "REMARQUE. — Dans tous les exemples ci-dessus l'accord de quarte et sixte entre parenthèse, n'est que la formule de la cadence de seconde espèce, et n'ayant qu'une importance relative il peut, sans inconvénient, être exclus.", "english": "REMARK. — In all the examples above, the six-four chord in parentheses is only the formula of the cadence of the second kind, and, being of only relative importance, it may be left out without harm.", "reading_order": 674, "section": "ch03-p053", "sources": [ { "pdf_page": 53, "source_image": "source-pages/053.png", "printed_page": 45 } ] }, { "id": "rh-032-008", "type": "heading", "original": "PARTICIPATION DE L'ACCORD MAJEUR ARTIFICIEL DU IVme DEGRÉ du Mode mineur mélodique", "english": "PARTICIPATION OF THE ARTIFICIAL MAJOR CHORD OF THE IV DEGREE of the Melodic Minor Mode", "reading_order": 675, "section": "ch03-p053", "sources": [ { "pdf_page": 53, "source_image": "source-pages/053.png", "printed_page": 45 } ] }, { "id": "rh-032-009", "type": "paragraph", "original": "§ 51. — L'accord parfait majeur artificiel du IVme degré, mode mineur mélodique, provenant de l'altération du VIme degré de la gamme mineure ascendante (voir § 28) nous donne encore deux moyens de modulation d'un ton mineur au ton de la sous-dominante: la-ré; et d'un ton majeur au ton du IIme degré: Do-ré.", "english": "§ 51. — The artificial major triad of the IV degree of the melodic minor mode, which arises from the alteration of the VI degree of the ascending minor scale (see § 28), gives us two further means of modulation: from a minor key to the key of the subdominant, a–d; and from a major key to the key of the II degree, C–d.", "reading_order": 676, "section": "ch03-p053", "sources": [ { "pdf_page": 53, "source_image": "source-pages/053.png", "printed_page": 45 } ] }, { "id": "rh-032-ex04", "type": "music", "original": "la (VII = IV mél.) 6 ré", "english": "Example 1 (unnumbered): A minor to D minor; VII of A minor (G major) taken as IV of the melodic minor of D.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 677, "section": "ch03-p053", "sources": [ { "pdf_page": 53, "source_image": "source-pages/053.png", "printed_page": 45 } ], "asset_refs": [ "rh-032-ex04" ] }, { "id": "rh-032-ex05", "type": "music", "original": "et 2 Do (V = IV mél.) 6 ré", "english": "and Example 2: C major to D minor; V of C major (G major) taken as IV of the melodic minor of D.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 678, "section": "ch03-p053", "sources": [ { "pdf_page": 53, "source_image": "source-pages/053.png", "printed_page": 45 } ], "asset_refs": [ "rh-032-ex05" ] }, { "id": "rh-032-010", "type": "heading", "original": "EXERCICE", "english": "EXERCISE", "reading_order": 679, "section": "ch03-p053", "sources": [ { "pdf_page": 53, "source_image": "source-pages/053.png", "printed_page": 45 } ] }, { "id": "rh-032-011", "type": "paragraph", "original": "Jouer au piano des modulations, de différentes tonalités majeures et mineures, aux tons de première classe et d'après l'exposé.", "english": "Play at the piano modulations from various major and minor keys to the keys of the first class, following the explanation above.", "reading_order": 680, "section": "ch03-p053", "sources": [ { "pdf_page": 53, "source_image": "source-pages/053.png", "printed_page": 45 } ] }, { "id": "rh-033-001", "type": "heading", "original": "MODULATION IMMÉDIATE", "english": "IMMEDIATE MODULATION", "reading_order": 681, "section": "ch03-p054", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ] }, { "id": "rh-033-002", "type": "heading", "original": "par l'accord de tonique du ton suivant", "english": "by the tonic chord of the following key", "reading_order": 682, "section": "ch03-p054", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ] }, { "id": "rh-033-003", "type": "paragraph", "original": "§ 52. — Voici le procédé de la modulation par l'accord de tonique du ton suivant:", "english": "§ 52. — Here is the procedure for modulation by the tonic chord of the following key:", "reading_order": 683, "section": "ch03-p054", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ] }, { "id": "rh-033-004", "type": "paragraph", "original": "1) Lorsqu'on se trouve dans un ton quelconque, on attaque l'accord de tonique du ton suivant, et considérant la modulation accomplie on y ajoute des accords du nouveau ton.", "english": "1) When one is in any key, one strikes the tonic chord of the following key and, regarding the modulation as accomplished, adds chords of the new key to it.", "reading_order": 684, "section": "ch03-p054", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ] }, { "id": "rh-033-005", "type": "paragraph", "original": "2) Si cet accord intermédiaire est un accord de deuxième ordre dans le ton majeur précédent, nous proposons à l'élève de le placer à la tierce inférieure d'un accord de premier ordre et à l'état fondamental.", "english": "2) If this intermediate chord is a chord of the second order in the preceding major key, we suggest that the student place it a third below a chord of the first order, and in root position.", "reading_order": 685, "section": "ch03-p054", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ] }, { "id": "rh-033-006", "type": "heading", "original": "Exemples des modulations de Do à ses tons voisins", "english": "Examples of modulations from C major to its related keys", "reading_order": 686, "section": "ch03-p054", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ] }, { "id": "rh-033-ex01", "type": "music", "original": "Do (VI = I) la", "english": "Example: C major to A minor; the A minor chord, VI of C, becomes I of a.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 687, "section": "ch03-p054", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ], "asset_refs": [ "rh-033-ex01" ] }, { "id": "rh-033-ex02", "type": "music", "original": "Do (V = I) Sol", "english": "Example: C major to G major; the G major chord, V of C, becomes I of G.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 688, "section": "ch03-p054", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ], "asset_refs": [ "rh-033-ex02" ] }, { "id": "rh-033-ex03", "type": "music", "original": "Do (IV = I) Fa", "english": "Example: C major to F major; the F major chord, IV of C, becomes I of F.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 689, "section": "ch03-p054", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ], "asset_refs": [ "rh-033-ex03" ] }, { "id": "rh-033-ex04", "type": "music", "original": "Do (IV = I) fa", "english": "Example: C major to F minor; the F minor chord (IV of harmonic C major) becomes I of f.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 690, "section": "ch03-p054", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ], "asset_refs": [ "rh-033-ex04" ] }, { "id": "rh-033-ex05", "type": "music", "original": "Do (III = I) mi", "english": "Example: C major to E minor; the E minor chord, III of C, becomes I of e.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 691, "section": "ch03-p054", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ], "asset_refs": [ "rh-033-ex05" ] }, { "id": "rh-033-ex06", "type": "music", "original": "Do (II = I) ré", "english": "Example: C major to D minor; the D minor chord, II of C, becomes I of d.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 692, "section": "ch03-p054", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ], "asset_refs": [ "rh-033-ex06" ] }, { "id": "rh-033-007", "type": "heading", "original": "Exemples des modulations de la à ses tons voisins", "english": "Examples of modulations from A minor to its related keys", "reading_order": 693, "section": "ch03-p054", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ] }, { "id": "rh-033-ex07", "type": "music", "original": "la (III = I) Do", "english": "Example: A minor to C major; the C major chord, III of a, becomes I of C.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 694, "section": "ch03-p054", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ], "asset_refs": [ "rh-033-ex07" ] }, { "id": "rh-033-ex08", "type": "music", "original": "la (IV = I) ré", "english": "Example: A minor to D minor; the D minor chord, IV of a, becomes I of d.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 695, "section": "ch03-p054", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ], "asset_refs": [ "rh-033-ex08" ] }, { "id": "rh-033-ex09", "type": "music", "original": "la (V = I) mi", "english": "Example: A minor to E minor; the E minor chord (V of natural A minor) becomes I of e.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 696, "section": "ch03-p054", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ], "asset_refs": [ "rh-033-ex09" ] }, { "id": "rh-033-ex10", "type": "music", "original": "la (V = I) Mi", "english": "Example: A minor to E major; the E major chord, V of a, becomes I of E.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 697, "section": "ch03-p054", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ], "asset_refs": [ "rh-033-ex10" ] }, { "id": "rh-033-ex11", "type": "music", "original": "la (VI = I) Fa", "english": "Example: A minor to F major; the F major chord, VI of a, becomes I of F.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 698, "section": "ch03-p054", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ], "asset_refs": [ "rh-033-ex11" ] }, { "id": "rh-033-ex12", "type": "music", "original": "la (VII = I) Sol", "english": "Example: A minor to G major; the G major chord, VII of natural A minor, becomes I of G.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 699, "section": "ch03-p054", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ], "asset_refs": [ "rh-033-ex12" ] }, { "id": "rh-033-008", "type": "paragraph", "original": "REMARQUE. — La modulation par l'accord de tonique du ton suivant est la moins parfaite et s'emploie plutôt pour la réalisation d'un chant que pour la modulation dans le véritable sens du mot.", "english": "REMARK. — Modulation by the tonic chord of the following key is the least perfect, and is used rather for harmonizing a melody than for modulation in the true sense of the word.", "reading_order": 700, "section": "ch03-p054", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ] }, { "id": "rh-033-009", "type": "heading", "original": "Du mouvement chromatique et des successions polytoniques", "english": "Chromatic motion and polytonic successions", "reading_order": 701, "section": "ch03-p054", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ] }, { "id": "rh-033-010", "type": "heading", "original": "Fausses relations", "english": "False relations", "reading_order": 702, "section": "ch03-p054", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ] }, { "id": "rh-033-011", "type": "paragraph", "original": "§ 53. — 1) De l'enchaînement immédiat des accords appartenant aux différentes modalités — naturelles et harmoniques — il en résulte un mouvement chromatique de l'une des parties.", "english": "§ 53. — 1) The immediate connection of chords belonging to the different modes — natural and harmonic — results in chromatic motion in one of the parts.", "reading_order": 703, "section": "ch03-p054", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ] }, { "id": "rh-033-012", "type": "paragraph", "original": "De l'enchaînement des accords du mode mineur naturel avec les accords du mode mineur harmonique, résulte le mouvement chromatique ascendant:", "english": "The connection of chords of the natural minor mode with chords of the harmonic minor mode produces ascending chromatic motion:", "reading_order": 704, "section": "ch03-p054", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ] }, { "id": "rh-033-ex13", "type": "music", "original": "[Exemple]", "english": "Example: ascending chromatic motion, G to G♯.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 705, "section": "ch03-p054", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ], "asset_refs": [ "rh-033-ex13" ] }, { "id": "rh-033-013", "type": "paragraph", "original": "De l'enchaînement des accords du mode majeur naturel avec les accords du mode majeur harmonique, résulte le mouvement chromatique descendant:", "english": "The connection of chords of the natural major mode with chords of the harmonic major mode produces descending chromatic motion:", "reading_order": 706, "section": "ch03-p054", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ] }, { "id": "rh-033-ex14", "type": "music", "original": "[Exemple]", "english": "Example: descending chromatic motion, A to A♭.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 707, "section": "ch03-p054", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ], "asset_refs": [ "rh-033-ex14" ] }, { "id": "rh-033-014", "type": "paragraph", "original": "2) Le mouvement chromatique doit absolument se trouver dans une seule et même partie pour éviter le fait appelé fausse relation, qui est rigoureusement défendu à l'élève:", "english": "2) The chromatic motion must absolutely lie in one and the same part, to avoid what is called a false relation, which is strictly forbidden to the student:", "reading_order": 708, "section": "ch03-p054", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ] }, { "id": "rh-033-ex15", "type": "music", "original": "FAUSSE RELATION", "english": "Example: false relation — the chromatic step is split between two parts (G in the bass, G♯ in the treble; A in the treble, A♭ in the bass), shown by connecting lines.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 709, "section": "ch03-p054", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ], "asset_refs": [ "rh-033-ex15" ] }, { "id": "rh-064-001", "type": "paragraph", "original": "3) Les enchaînements des accords appartenant à différentes modalités s'appellent: successions polytoniques. (*)", "english": "3) Connections of chords belonging to different modes are called polytonic successions. (*)", "reading_order": 710, "section": "ch03-p055", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ] }, { "id": "rh-064-002", "type": "heading", "original": "MODULATION CHROMATIQUE", "english": "CHROMATIC MODULATION", "reading_order": 711, "section": "ch03-p055", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ] }, { "id": "rh-064-003", "type": "paragraph", "original": "§ 54. — La modulation chromatique est basée sur ce qui suit:", "english": "§ 54. — Chromatic modulation rests on the following:", "reading_order": 712, "section": "ch03-p055", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ] }, { "id": "rh-064-004", "type": "paragraph", "original": "L'accord transitoire par lequel se forme la modulation, appartenant à un mode naturel et se trouvant modifié immédiatement par la note caractéristique (**) des modes harmoniques, conduit de ce fait aux accords du nouveau ton.", "english": "The transitional chord through which the modulation is made, belonging to a natural mode and immediately altered by the characteristic note (**) of the harmonic modes, thereby leads to the chords of the new key.", "reading_order": 713, "section": "ch03-p055", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ] }, { "id": "rh-064-005", "type": "paragraph", "original": "Le mouvement chromatique ascendant qui en résulte:", "english": "The ascending chromatic motion that results:", "reading_order": 714, "section": "ch03-p055", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ] }, { "id": "rh-064-ex01", "type": "music", "original": "[Exemple]", "english": "Example: ascending chromatic motion, G to G♯.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 715, "section": "ch03-p055", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ], "asset_refs": [ "rh-064-ex01" ] }, { "id": "rh-064-006", "type": "paragraph", "original": "module au ton mineur, il est représenté par les accords du Vme et du VIIme degré.", "english": "modulates to the minor key; it is represented by the chords of the fifth and seventh degrees.", "reading_order": 716, "section": "ch03-p055", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ] }, { "id": "rh-064-007", "type": "paragraph", "original": "Pour la modulation chromatique, les intervalles mélodiques faciles d'intonation et les notes communes sont indispensables.", "english": "For chromatic modulation, melodic intervals that are easy to sing in tune, and common notes, are indispensable.", "reading_order": 717, "section": "ch03-p055", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ] }, { "id": "rh-064-008", "type": "paragraph", "original": "(Le mouvement chromatique est considéré comme note commune.)", "english": "(Chromatic motion counts as a common note.)", "reading_order": 718, "section": "ch03-p055", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ] }, { "id": "rh-064-009", "type": "paragraph", "original": "Pendant le mouvement chromatique ascendant, la basse doit procéder ou par mouvement conjoint descendant et diatonique, ou par mouvement chromatique ascendant, mais elle ne doit pas rester en place, ni revenir sur la note de l'accord précédent.", "english": "During ascending chromatic motion, the bass must proceed either by descending diatonic stepwise motion or by ascending chromatic motion; but it must neither stay in place nor return to the note of the preceding chord.", "reading_order": 719, "section": "ch03-p055", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ] }, { "id": "rh-064-010", "type": "heading", "original": "Exemples de modulations chromatiques au ton mineur des tons de DO et LA", "english": "Examples of chromatic modulations to a minor key from the keys of C and A", "reading_order": 720, "section": "ch03-p055", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ] }, { "id": "rh-064-ex02", "type": "music", "original": "Do (V = VII nat.) VII harm. la", "english": "Example: C major to A minor; the G major chord, V of C, is VII of natural A minor; it moves to VII of harmonic A minor (G–G♯ chromatically in the bass), then to the A minor chord.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 721, "section": "ch03-p055", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ], "asset_refs": [ "rh-064-ex02" ] }, { "id": "rh-064-ex03", "type": "music", "original": "Do (V = III nat.) V harm. mi", "english": "Example: C major to E minor; the G major chord, V of C, is III of natural E minor; it moves to V harm. of E minor (B seventh chord, figured 4/3 over F♯), then to the E minor chord.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 722, "section": "ch03-p055", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ], "asset_refs": [ "rh-064-ex03" ] }, { "id": "rh-064-ex04", "type": "music", "original": "Do (I = VII nat.) VII harm. ré", "english": "Example: C major to D minor; the C major chord, I of C, is VII of natural D minor; it moves to VII harm. of D minor (C♯–E–G–B♭, figured ♭7), then to the D minor chord.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 723, "section": "ch03-p055", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ], "asset_refs": [ "rh-064-ex04" ] }, { "id": "rh-064-ex05", "type": "music", "original": "la (I = V nat.) V harm. ré", "english": "Example: A minor to D minor; the A minor chord, I of a, is V of natural D minor; it moves to V harm. of D minor over G in the bass (figured 2), then to the D minor chord in first inversion (figured 6).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 724, "section": "ch03-p055", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ], "asset_refs": [ "rh-064-ex05" ] }, { "id": "rh-064-ex06", "type": "music", "original": "la (VII = III nat.) V harm. mi", "english": "Example: A minor to E minor; the G major chord, VII of natural A minor, is III of natural E minor; it moves to V harm. of E minor (figured 4/3 over F♯), then to the E minor chord.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 725, "section": "ch03-p055", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ], "asset_refs": [ "rh-064-ex06" ] }, { "id": "rh-064-011", "type": "paragraph", "original": "L'altération descendante", "english": "Descending alteration", "reading_order": 726, "section": "ch03-p055", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ] }, { "id": "rh-064-ex07", "type": "music", "original": "[Exemple]", "english": "Example: descending alteration, A to A♭.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 727, "section": "ch03-p055", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ], "asset_refs": [ "rh-064-ex07" ] }, { "id": "rh-064-012", "type": "paragraph", "original": "ne peut être considérée comme moyen modulant car elle n'est pas un indice essentiel du ton suivant. Toutefois la succession immédiate du mode majeur naturel au mode harmonique, formé par le mouvement chromatique, est de très bon effet.", "english": "cannot be regarded as a means of modulation, since it is not an essential sign of the following key. Nevertheless, the immediate succession from the natural major mode to the harmonic mode, produced by chromatic motion, is very effective.", "reading_order": 728, "section": "ch03-p055", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ] }, { "id": "rh-064-013", "type": "heading", "original": "Exemples des modulations au ton majeur des tons de DO et LA", "english": "Examples of modulations to a major key from the keys of C and A", "reading_order": 729, "section": "ch03-p055", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ] }, { "id": "rh-064-ex08", "type": "music", "original": "Do (II = IV) IV harm. Fa", "english": "Example: C major to F major; after the F major chord, the D minor chord (II of C) moves to IV harm. of F (B♭ minor, D–D♭ chromatically in the soprano); a parenthesized C seventh chord (V of F) may follow; then the F major chord.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 730, "section": "ch03-p055", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ], "asset_refs": [ "rh-064-ex08" ] }, { "id": "rh-064-ex09", "type": "music", "original": "Do (I = IV nat.) II harm. Sol", "english": "Example: C major to G major; the C major chord, I of C, is IV of natural G major; it moves to II harm. of G (C–E♭–G–A, figured 6/5, E–E♭ chromatically), a parenthesized D major chord (V of G), then the G major chord.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 731, "section": "ch03-p055", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ], "asset_refs": [ "rh-064-ex09" ] }, { "id": "rh-064-ex10", "type": "music", "original": "la (VI = IV nat.) II harm. Do", "english": "Example: A minor to C major; the F major chord, VI of a, is IV of natural C major; it moves to II harm. of C (F–A♭–C–D, figured 6/5), a parenthesized G major chord (V of C), then the C major chord.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 732, "section": "ch03-p055", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ], "asset_refs": [ "rh-064-ex10" ] }, { "id": "rh-064-ex11", "type": "music", "original": "la (IV = VI nat.) IV harm. Fa", "english": "Example: A minor to F major; the D minor chord, IV of a, is VI of natural F major; it moves to IV harm. of F (B♭ minor), a parenthesized C seventh chord (V of F, figured 7), then the F major chord.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 733, "section": "ch03-p055", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ], "asset_refs": [ "rh-064-ex11" ] }, { "id": "rh-064-ex12", "type": "music", "original": "la (I = II nat.) II harm. Sol", "english": "Example: A minor to G major; the A minor chord, I of a, is II of natural G major; it moves to II harm. of G (C–E♭–G–A, figured 6/5), a parenthesized D major chord (V of G), then the G major chord.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 734, "section": "ch03-p055", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ], "asset_refs": [ "rh-064-ex12" ] }, { "id": "rh-064-014", "type": "footnote", "original": "(*) La véritable traduction serait: fausses successions.", "english": "(*) The accurate translation would be: false successions.", "reading_order": 735, "section": "ch03-p055", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ] }, { "id": "rh-064-015", "type": "footnote", "original": "(**) Note qui sert à déterminer la modulation de l'un à l'autre ton, ou note qui se trouve seulement dans le ton suivant (N. D. T.)", "english": "(**) A note that serves to determine the modulation from one key to the other, or a note that is found only in the following key. (Translator's note.)", "reading_order": 736, "section": "ch03-p055", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ] }, { "id": "rh-065-001", "type": "heading", "original": "INFLUENCE DE L'ACCORD ARTIFICIEL du IVme degré de la gamme mineure mélodique", "english": "INFLUENCE OF THE ARTIFICIAL CHORD of the IVth degree of the melodic minor scale", "reading_order": 737, "section": "ch03-p056", "sources": [ { "pdf_page": 56, "source_image": "source-pages/056.png", "printed_page": 48 } ] }, { "id": "rh-065-002", "type": "paragraph", "original": "§ 55. — L'accord majeur artificiel du IVme degré de la gamme mineure mélodique, modifié en accord du même degré du mode mineur naturel et réciproquement, donne les moyens modulants suivants:", "english": "§ 55. — The artificial major chord of the IVth degree of the melodic minor scale, altered into the chord of the same degree of the natural minor mode, and vice versa, gives the following means of modulation:", "reading_order": 738, "section": "ch03-p056", "sources": [ { "pdf_page": 56, "source_image": "source-pages/056.png", "printed_page": 48 } ] }, { "id": "rh-065-003", "type": "paragraph", "original": "1) Par le mouvement chromatique ascendant — aux tons majeurs.", "english": "1) By ascending chromatic motion — to major keys.", "reading_order": 739, "section": "ch03-p056", "sources": [ { "pdf_page": 56, "source_image": "source-pages/056.png", "printed_page": 48 } ] }, { "id": "rh-065-004", "type": "paragraph", "original": "2) Par le mouvement chromatique descendant — aux tons mineurs.", "english": "2) By descending chromatic motion — to minor keys.", "reading_order": 740, "section": "ch03-p056", "sources": [ { "pdf_page": 56, "source_image": "source-pages/056.png", "printed_page": 48 } ] }, { "id": "rh-065-005", "type": "heading", "original": "EXEMPLES DE MODULATION DES TONS DO et LA", "english": "EXAMPLES OF MODULATION FROM THE KEYS OF C AND A", "reading_order": 741, "section": "ch03-p056", "sources": [ { "pdf_page": 56, "source_image": "source-pages/056.png", "printed_page": 48 } ] }, { "id": "rh-065-ex01", "type": "music", "original": "Do (V = IV mél.) IV nat. ré — la IV nat. (IV m. = V n.) Sol", "english": "Example: C major to D minor — the G major chord, V of C, is IV of melodic D minor; by the chromatic step B–B♭ it becomes IV of natural D minor (G–B♭–D), followed by the parenthesized chords D minor (6) and A7 (4/3), then the D minor chord. A minor to G major — the D minor chord, IV of natural A minor, becomes by the chromatic step F–F♯ IV of melodic A minor = V of natural G (D7 over C, figured 2), resolving to the G major chord (6).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 742, "section": "ch03-p056", "sources": [ { "pdf_page": 56, "source_image": "source-pages/056.png", "printed_page": 48 } ], "asset_refs": [ "rh-065-ex01" ] }, { "id": "rh-065-006", "type": "heading", "original": "CONCLUSION GÉNÉRALE", "english": "GENERAL CONCLUSION", "reading_order": 743, "section": "ch03-p056", "sources": [ { "pdf_page": 56, "source_image": "source-pages/056.png", "printed_page": 48 } ] }, { "id": "rh-065-007", "type": "paragraph", "original": "Ce qui est remarquable dans la modulation chromatique c'est sa brièveté et sa précision complète, par suite de la note caractéristique qui exprime clairement les altérations du ton suivant.", "english": "What is remarkable in chromatic modulation is its brevity and its complete precision, owing to the characteristic note, which clearly expresses the alterations of the following key.", "reading_order": 744, "section": "ch03-p056", "sources": [ { "pdf_page": 56, "source_image": "source-pages/056.png", "printed_page": 48 } ] }, { "id": "rh-065-008", "type": "heading", "original": "EXERCICES", "english": "EXERCISES", "reading_order": 745, "section": "ch03-p056", "sources": [ { "pdf_page": 56, "source_image": "source-pages/056.png", "printed_page": 48 } ] }, { "id": "rh-065-009", "type": "paragraph", "original": "Jouer au piano des modulations chromatiques et écrire des modulations de différentes tonalités, en rondes, sans division de mesure.", "english": "Play chromatic modulations at the piano, and write modulations in different keys, in whole notes, without division into bars.", "reading_order": 746, "section": "ch03-p056", "sources": [ { "pdf_page": 56, "source_image": "source-pages/056.png", "printed_page": 48 } ] }, { "id": "rh-065-010", "type": "heading", "original": "MODULATION DÉFINITIVE ET PASSAGÈRE", "english": "DEFINITIVE AND TRANSIENT MODULATION", "reading_order": 747, "section": "ch03-p056", "sources": [ { "pdf_page": 56, "source_image": "source-pages/056.png", "printed_page": 48 } ] }, { "id": "rh-065-011", "type": "paragraph", "original": "§ 56. — On subdivise la modulation en définitive et passagère.", "english": "§ 56. — Modulation is subdivided into definitive and transient.", "reading_order": 748, "section": "ch03-p056", "sources": [ { "pdf_page": 56, "source_image": "source-pages/056.png", "printed_page": 48 } ] }, { "id": "rh-065-012", "type": "paragraph", "original": "Lorsque le ton suivant prend une durée plus ou moins longue, la modulation est définitive.", "english": "When the following key lasts for a more or less long time, the modulation is definitive.", "reading_order": 749, "section": "ch03-p056", "sources": [ { "pdf_page": 56, "source_image": "source-pages/056.png", "printed_page": 48 } ] }, { "id": "rh-065-013", "type": "paragraph", "original": "Lorsque le ton suivant n'est abordé que légèrement, soit même par un seul accord, pour revenir au ton précédent ou pour passer à un autre ton voisin, la modulation est passagère.", "english": "When the following key is touched only lightly, even by a single chord, in order to return to the preceding key or to pass to another related key, the modulation is transient.", "reading_order": 750, "section": "ch03-p056", "sources": [ { "pdf_page": 56, "source_image": "source-pages/056.png", "printed_page": 48 } ] }, { "id": "rh-065-014", "type": "paragraph", "original": "Pour que la modulation soit bien accomplie on n'a point besoin d'accuser le ton suivant par l'accord de tonique à l'état fondamental et l'accord de sixte du Ier degré tout en étant suffisant, il est évident que la modulation n'est pas définitive et demande quelques accords ou bien une cadence pour bien affermir le ton suivant. De même que pour définir le ton précédent, le seul accord de tonique n'est pas suffisant.", "english": "For the modulation to be fully accomplished, there is no need to mark the following key by the tonic chord in root position; and although the sixth chord of the first degree is sufficient, it is evident that the modulation is then not definitive, and requires a few chords or else a cadence to establish the following key firmly. In the same way, to define the preceding key, the tonic chord alone is not sufficient.", "reading_order": 751, "section": "ch03-p056", "sources": [ { "pdf_page": 56, "source_image": "source-pages/056.png", "printed_page": 48 } ] }, { "id": "rh-065-015", "type": "heading", "original": "DEVOIRS", "english": "ASSIGNMENTS", "reading_order": 752, "section": "ch03-p056", "sources": [ { "pdf_page": 56, "source_image": "source-pages/056.png", "printed_page": 48 } ] }, { "id": "rh-065-016", "type": "paragraph", "original": "a) Ecrire des phrases modulantes de quatre mesures en confirmant bien le ton suivant et en accusant plus ou moins le ton précédent.", "english": "a) Write modulating phrases of four bars, firmly confirming the following key and marking the preceding key more or less strongly.", "reading_order": 753, "section": "ch03-p056", "sources": [ { "pdf_page": 56, "source_image": "source-pages/056.png", "printed_page": 48 } ] }, { "id": "rh-065-ex02", "type": "music", "original": "MODÈLE (La-ré-La)", "english": "Model (A minor – D minor – A minor): a four-bar modulating phrase in four parts, 3/2 time, from A minor to D minor.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 754, "section": "ch03-p056", "sources": [ { "pdf_page": 56, "source_image": "source-pages/056.png", "printed_page": 48 } ], "asset_refs": [ "rh-065-ex02" ] }, { "id": "rh-066-ex01", "type": "music", "original": "MODÈLE (Do-Fa-Do)", "english": "Model (C major – F major – C major): an eight-bar modulating period in four parts, cut time, from C major to F major and back to C major.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 755, "section": "ch03-p057", "sources": [ { "pdf_page": 57, "source_image": "source-pages/057.png", "printed_page": 49 } ], "asset_refs": [ "rh-066-ex01" ] }, { "id": "rh-066-001", "type": "paragraph", "original": "c) Composer des phrases et des périodes de huit mesures sans retour au ton précédent mais bien le déterminer au commencement, et donner une complète affirmation du ton suivant.", "english": "c) Compose phrases and periods of eight bars without returning to the preceding key, but establish that key clearly at the beginning and give a complete affirmation of the following key.", "reading_order": 756, "section": "ch03-p057", "sources": [ { "pdf_page": 57, "source_image": "source-pages/057.png", "printed_page": 49 } ] }, { "id": "rh-066-ex02", "type": "music", "original": "MODÈLE (la-Sol)", "english": "Model (A minor – G major): an eight-bar period in four parts, cut time, from A minor to G major without return.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 757, "section": "ch03-p057", "sources": [ { "pdf_page": 57, "source_image": "source-pages/057.png", "printed_page": 49 } ], "asset_refs": [ "rh-066-ex02" ] }, { "id": "rh-066-002", "type": "paragraph", "original": "d) Composer des périodes de huit mesures en modulant passagèrement aux tons voisins, une fois le ton précédent abordé, ou après le retour à ce dernier ton pour bien l'affermir.", "english": "d) Compose periods of eight bars, modulating transiently to the neighbouring keys once the preceding key has been stated, or after the return to that key in order to establish it firmly.", "reading_order": 758, "section": "ch03-p057", "sources": [ { "pdf_page": 57, "source_image": "source-pages/057.png", "printed_page": 49 } ] }, { "id": "rh-066-ex03", "type": "music", "original": "MODÈLE (la-Mi)", "english": "Model (A minor – E major): an eight-bar period in four parts, 3/2 time, passing through neighbouring keys (\"tons de passage\", \"ton de passage\") before reaching E major.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 759, "section": "ch03-p057", "sources": [ { "pdf_page": 57, "source_image": "source-pages/057.png", "printed_page": 49 } ], "asset_refs": [ "rh-066-ex03" ] }, { "id": "rh-066-003", "type": "paragraph", "original": "REMARQUE. — La modulation chromatique par sa clarté et sa brièveté est surtout applicable à la modulation passagère. Pour bien affermir le ton suivant il est d'usage de moduler passagèrement aux tons de sous-dominante ainsi qu'au ton du IIme degré, mode majeur, et au ton du VIme degré, mode mineur: DO-ré-DO et la-FA-la.", "english": "REMARK. — Chromatic modulation, through its clarity and brevity, is especially applicable to transient modulation. To establish the following key firmly it is customary to modulate transiently to the subdominant keys, and also to the key of the IInd degree in the major mode and to the key of the VIth degree in the minor mode: C–d–C and a–F–a.", "reading_order": 760, "section": "ch03-p057", "sources": [ { "pdf_page": 57, "source_image": "source-pages/057.png", "printed_page": 49 } ] }, { "id": "rh-066-004", "type": "paragraph", "original": "Après la cadence rompue on module d'ordinaire passagèrement aux tons de sous-dominante des deux modes:", "english": "After the deceptive cadence one usually modulates transiently to the subdominant keys of both modes:", "reading_order": 761, "section": "ch03-p057", "sources": [ { "pdf_page": 57, "source_image": "source-pages/057.png", "printed_page": 49 } ] }, { "id": "rh-066-ex04", "type": "music", "original": "[Exemple]", "english": "Example: in A minor, a deceptive cadence (V7–VI) followed by a transient modulation to D minor, the subdominant key (\"ton de passage\"), and a return to A minor.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 762, "section": "ch03-p057", "sources": [ { "pdf_page": 57, "source_image": "source-pages/057.png", "printed_page": 49 } ], "asset_refs": [ "rh-066-ex04" ] }, { "id": "rh-066-005", "type": "paragraph", "original": "NOTA. — Avant la modulation d'un ton majeur au ton de sa sous-dominante mineure (Do-fa), et après la modulation d'un ton mineur au ton de sa dominante majeure (la-Mi) il vaut mieux ne pas moduler passagèrement aux tons voisins à cause de la contradiction résultant des accords des tons de passage avec ceux du ton suivant ou du ton précédent:", "english": "NOTE. — Before a modulation from a major key to the key of its minor subdominant (C–f), and after a modulation from a minor key to the key of its major dominant (a–E), it is better not to modulate transiently to the neighbouring keys, because of the contradiction that results between the chords of the passing keys and those of the following or the preceding key:", "reading_order": 763, "section": "ch03-p057", "sources": [ { "pdf_page": 57, "source_image": "source-pages/057.png", "printed_page": 49 } ] }, { "id": "rh-066-ex05", "type": "music", "original": "MAUVAIS — a) Do, ré, Do, fa; b) la, Mi, fa♯, Mi", "english": "Bad: a) C major with a transient modulation to D minor (\"ré\", bracketed), back to C, then to F minor; b) A minor to E major, then a transient modulation to F♯ minor (\"fa♯\", bracketed) before returning to E major.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 764, "section": "ch03-p057", "sources": [ { "pdf_page": 57, "source_image": "source-pages/057.png", "printed_page": 49 } ], "asset_refs": [ "rh-066-ex05" ] }, { "id": "rh-067-001", "type": "heading", "original": "EMPLOI DE LA MODULATION dans la réalisation d'un chant", "english": "THE USE OF MODULATION in harmonizing a melody", "reading_order": 765, "section": "ch03-p058", "sources": [ { "pdf_page": 58, "source_image": "source-pages/058.png", "printed_page": 50 } ] }, { "id": "rh-067-002", "type": "paragraph", "original": "§ 57. — Un chant donné définit parfois clairement la modulation par ses notes accidentées:", "english": "§ 57. — A given melody sometimes defines the modulation clearly through its notes bearing accidentals:", "reading_order": 766, "section": "ch03-p058", "sources": [ { "pdf_page": 58, "source_image": "source-pages/058.png", "printed_page": 50 } ] }, { "id": "rh-067-ex01", "type": "music", "original": "[Exemple]", "english": "Example: a given melody whose accidentals (B♭, then G♯) clearly define the modulation.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 767, "section": "ch03-p058", "sources": [ { "pdf_page": 58, "source_image": "source-pages/058.png", "printed_page": 50 } ], "asset_refs": [ "rh-067-ex01" ] }, { "id": "rh-067-003", "type": "paragraph", "original": "parfois, au contraire, sans contenir d'accidents il demande la modulation, mais il peut aussi être réalisé différemment:", "english": "sometimes, on the contrary, it calls for modulation without containing any accidentals, but it can also be harmonized differently:", "reading_order": 768, "section": "ch03-p058", "sources": [ { "pdf_page": 58, "source_image": "source-pages/058.png", "printed_page": 50 } ] }, { "id": "rh-067-ex02", "type": "music", "original": "a) Sans modulation — b) Avec modulation", "english": "a) Without modulation (C major throughout: I–ii6–V–I) — b) With modulation (C major to A minor: I–ii6–V of A minor–i).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 769, "section": "ch03-p058", "sources": [ { "pdf_page": 58, "source_image": "source-pages/058.png", "printed_page": 50 } ], "asset_refs": [ "rh-067-ex02" ] }, { "id": "rh-067-004", "type": "paragraph", "original": "En réalisant les chorals il ne faudrait pas moduler au ton mineur de la sous-dominante du mode majeur, ni au ton majeur de la dominante du mode mineur. On n'emploie pas non plus la modulation chromatique dans le style rigoureux ecclésiastique. (*)", "english": "In harmonizing chorales one should not modulate to the minor key of the subdominant in the major mode, nor to the major key of the dominant in the minor mode. Nor is chromatic modulation used in the strict ecclesiastical style. (*)", "reading_order": 770, "section": "ch03-p058", "sources": [ { "pdf_page": 58, "source_image": "source-pages/058.png", "printed_page": 50 } ] }, { "id": "rh-067-005", "type": "paragraph", "original": "Dans les chorals l'élève apportera toute son attention sur les cadences qui doivent être désignées tout d'abord et ensuite modulées, s'il y a lieu.", "english": "In chorales the student will give his full attention to the cadences, which must first be identified and then made to modulate, if there is occasion to do so.", "reading_order": 771, "section": "ch03-p058", "sources": [ { "pdf_page": 58, "source_image": "source-pages/058.png", "printed_page": 50 } ] }, { "id": "rh-067-006", "type": "heading", "original": "DEVOIR N° 25 (CHANTS, CHORALS DONNÉS) (Style rigoureux)", "english": "EXERCISE No. 25 (GIVEN MELODIES, CHORALES) (Strict style)", "reading_order": 772, "section": "ch03-p058", "sources": [ { "pdf_page": 58, "source_image": "source-pages/058.png", "printed_page": 50 } ] }, { "id": "rh-067-ex03", "type": "music", "original": "MODÈLE", "english": "Model: chorale harmonization in D major, cut time, with cadences modulating to the dominant (A major) and to B minor (fermatas mark the phrase ends); the chromatic step A♯–A♮ after the second fermata is marked (**).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 773, "section": "ch03-p058", "sources": [ { "pdf_page": 58, "source_image": "source-pages/058.png", "printed_page": 50 } ], "asset_refs": [ "rh-067-ex03" ] }, { "id": "rh-067-007", "type": "heading", "original": "DEVOIR N° 26", "english": "EXERCISE No. 26", "reading_order": 774, "section": "ch03-p058", "sources": [ { "pdf_page": 58, "source_image": "source-pages/058.png", "printed_page": 50 } ] }, { "id": "rh-067-008", "type": "paragraph", "original": "Réaliser les chants donnés avec modulations.", "english": "Harmonize the given melodies with modulations.", "reading_order": 775, "section": "ch03-p058", "sources": [ { "pdf_page": 58, "source_image": "source-pages/058.png", "printed_page": 50 } ] }, { "id": "rh-067-ex04", "type": "music", "original": "MODÈLE — Ire phrase — IIme phrase", "english": "Model, F major, 3/4, in two phrases: 1st phrase (bars 1–4) modulating to C major; 2nd phrase (bars 5–8) passing through D minor and returning to F major.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 776, "section": "ch03-p058", "sources": [ { "pdf_page": 58, "source_image": "source-pages/058.png", "printed_page": 50 } ], "asset_refs": [ "rh-067-ex04" ] }, { "id": "rh-067-009", "type": "footnote", "original": "(*) Les accords de septième et la modulation chromatique agissant ensemble établissent définitivement l'harmonie du style libre.", "english": "(*) Seventh chords and chromatic modulation, acting together, definitively establish the harmony of the free style.", "reading_order": 777, "section": "ch03-p058", "sources": [ { "pdf_page": 58, "source_image": "source-pages/058.png", "printed_page": 50 } ] }, { "id": "rh-067-010", "type": "footnote", "original": "(**) Le mouvement chromatique après un point d'orgue n'est pas défavorable au style rigoureux.", "english": "(**) Chromatic motion after a fermata is not unfavourable to the strict style.", "reading_order": 778, "section": "ch03-p058", "sources": [ { "pdf_page": 58, "source_image": "source-pages/058.png", "printed_page": 50 } ] }, { "id": "rh-068-001", "type": "heading", "original": "MODULATION AUX TONS DE DEUXIÈME CLASSE", "english": "MODULATION TO KEYS OF THE SECOND CLASS", "reading_order": 779, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ] }, { "id": "rh-068-002", "type": "heading", "original": "Plans modulants", "english": "Modulating plans", "reading_order": 780, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ] }, { "id": "rh-068-003", "type": "paragraph", "original": "§ 58. — 1) Nous entendons par tons de deuxième classe ceux dont les accords de tonique ne se trouvent pas dans le ton primitif, mais ayant tout de même, avec ce dernier, au moins un accord commun.", "english": "§ 58. — 1) By keys of the second class we mean those whose tonic chords are not found in the original key, but which nevertheless have at least one chord in common with it.", "reading_order": 781, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ] }, { "id": "rh-068-004", "type": "paragraph", "original": "2) Chaque ton majeur ou mineur à douze tons de deuxième classe.", "english": "2) Every major or minor key has twelve keys of the second class.", "reading_order": 782, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ] }, { "id": "rh-068-005", "type": "paragraph", "original": "Ceux de deuxième classe du ton de Do sont:", "english": "Those of the second class for the key of C are:", "reading_order": 783, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ] }, { "id": "rh-068-006", "type": "paragraph", "original": "RÉ♭ – RÉ – MI♭ – MI – sol – LA♭", "english": "D♭ – D – E♭ – E – g – A♭", "reading_order": 784, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ] }, { "id": "rh-068-007", "type": "paragraph", "original": "LA – SI♭ – si♭ – SI – si et do", "english": "A – B♭ – b♭ – B – b and c", "reading_order": 785, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ] }, { "id": "rh-068-008", "type": "paragraph", "original": "Ceux de deuxième classe du ton de la sont:", "english": "Those of the second class for the key of A minor are:", "reading_order": 786, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ] }, { "id": "rh-068-009", "type": "paragraph", "original": "SI♭ – si♭ – SI – si – do – do♯", "english": "B♭ – b♭ – B – b – c – c♯", "reading_order": 787, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ] }, { "id": "rh-068-010", "type": "paragraph", "original": "RÉ – fa – fa♯ – sol – sol♯ et LA", "english": "D – f – f♯ – g – g♯ and A", "reading_order": 788, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ] }, { "id": "rh-068-011", "type": "paragraph", "original": "3) Les accords communs aux deux tons indiquent le plan de la modulation; ainsi pour moduler du ton de Do au ton de Ré qui ont deux accords communs:", "english": "3) The chords common to the two keys indicate the plan of the modulation; thus, to modulate from the key of C to the key of D, which have two chords in common:", "reading_order": 789, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ] }, { "id": "rh-068-ex01", "type": "music", "original": "[Exemple]", "english": "The two chords common to C major and D major: the G major triad (V of C, IV of D) and the E minor triad (III of C, II of D), in whole notes.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 790, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ], "asset_refs": [ "rh-068-ex01" ] }, { "id": "rh-068-012", "type": "paragraph", "original": "on peut établir les plans suivants:", "english": "the following plans can be established:", "reading_order": 791, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ] }, { "id": "rh-068-013", "type": "paragraph", "original": "1) DO (Sol) RÉ", "english": "1) C (G) D", "reading_order": 792, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ] }, { "id": "rh-068-014", "type": "paragraph", "original": "2) DO (mi) RÉ", "english": "2) C (e) D", "reading_order": 793, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ] }, { "id": "rh-068-015", "type": "paragraph", "original": "Dans le premier plan nous avons trois tons qui se succèdent de quinte en quinte rendent la modulation monotone, donc le deuxième est préférable par suite du ton mineur qui se trouve entre les deux tons majeurs; en outre le premier pas modulant serait d'une tierce ascendante et le deuxième d'une seconde descendante.", "english": "In the first plan we have three keys succeeding one another by fifths, which makes the modulation monotonous; the second is therefore preferable, owing to the minor key that stands between the two major keys; moreover, its first modulating step would be a third upward and its second a second downward.", "reading_order": 794, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ] }, { "id": "rh-068-016", "type": "paragraph", "original": "Dans d'autres tonalités par exemple en passant du ton de la au ton de do, le seul accord commun:", "english": "In other keys, for example in passing from the key of A minor to the key of C minor, the only common chord:", "reading_order": 795, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ] }, { "id": "rh-068-ex02", "type": "music", "original": "[Exemple]", "english": "The only chord common to A minor and C minor: the G major triad (V in both keys), in a whole note.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 796, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ], "asset_refs": [ "rh-068-ex02" ] }, { "id": "rh-068-017", "type": "paragraph", "original": "indique le seul plan modulant: la —2de— (Sol) —4te— do.", "english": "indicates the only modulating plan: a —2nd— (G) —4th— c.", "reading_order": 797, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ] }, { "id": "rh-068-018", "type": "heading", "original": "EXCEPTIONS", "english": "EXCEPTIONS", "reading_order": 798, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ] }, { "id": "rh-068-019", "type": "paragraph", "original": "1) Les plans modulant d'un ton majeur à un ton mineur homonyme (Do-do ou La-la et réciproquement) demandent qu'on intercale dans ces plans encore un autre ton: on passera d'abord au ton relatif du ton suivant:", "english": "1) Plans modulating from a major key to the minor key of the same name (C–c or A–a, and vice versa) require that yet another key be inserted into them: one passes first to the relative key of the following key:", "reading_order": 799, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ] }, { "id": "rh-068-020", "type": "paragraph", "original": "1) DO (fa – MI♭) do", "english": "1) C (f – E♭) c", "reading_order": 800, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ] }, { "id": "rh-068-021", "type": "paragraph", "original": "2) la (MI – fa♯) LA etc.", "english": "2) a (E – f♯) A, etc.", "reading_order": 801, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ] }, { "id": "rh-068-022", "type": "paragraph", "original": "On doit se servir exclusivement de ces procédés.", "english": "These procedures must be used exclusively.", "reading_order": 802, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ] }, { "id": "rh-068-023", "type": "paragraph", "original": "2) La modulation d'un ton majeur à un ton mineur qui se trouve à une seconde majeure inférieure (Do-si♭) et d'un ton mineur à un ton majeur qui se trouve à une seconde majeure supérieure (la-Si) demande le plan modulant de deux quartes ou de deux quintes de suite:", "english": "2) Modulation from a major key to a minor key lying a major second below (C–b♭), and from a minor key to a major key lying a major second above (a–B), requires a modulating plan of two fourths or two fifths in succession:", "reading_order": 803, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ] }, { "id": "rh-068-024", "type": "paragraph", "original": "1) DO —4te— (fa) —4te— si♭", "english": "1) C —4th— (f) —4th— b♭", "reading_order": 804, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ] }, { "id": "rh-068-025", "type": "paragraph", "original": "2) la —5te— (MI) —5te— SI", "english": "2) a —5th— (E) —5th— B", "reading_order": 805, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ] }, { "id": "rh-068-026", "type": "paragraph", "original": "il est donc préférable de passer par les tons relatifs aux tons suivants:", "english": "it is therefore preferable to pass through the keys relative to the following keys:", "reading_order": 806, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ] }, { "id": "rh-068-027", "type": "paragraph", "original": "1) DO (fa – RÉ♭) si♭", "english": "1) C (f – D♭) b♭", "reading_order": 807, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ] }, { "id": "rh-068-028", "type": "paragraph", "original": "2) la (MI – sol♯) SI", "english": "2) a (E – g♯) B", "reading_order": 808, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ] }, { "id": "rh-068-029", "type": "paragraph", "original": "ou par les tons relatifs aux précédents:", "english": "or through the keys relative to the preceding keys:", "reading_order": 809, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ] }, { "id": "rh-068-030", "type": "paragraph", "original": "1) DO (la – FA) Si♭", "english": "1) C (a – F) b♭", "reading_order": 810, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ] }, { "id": "rh-068-031", "type": "paragraph", "original": "2) la (DO – mi) SI", "english": "2) a (C – e) B", "reading_order": 811, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ] }, { "id": "rh-068-032", "type": "heading", "original": "DEVOIR", "english": "ASSIGNMENT", "reading_order": 812, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ] }, { "id": "rh-068-033", "type": "paragraph", "original": "Établir les plans modulants des tons Do et la, aux tons de deuxième classe, en évitant les tonalités intermédiaires qui donnent deux quartes ou deux quintes de suite.", "english": "Establish the modulating plans from the keys of C and A minor to the keys of the second class, avoiding intermediate keys that produce two fourths or two fifths in succession.", "reading_order": 813, "section": "ch03-p059", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ] }, { "id": "rh-069-001", "type": "heading", "original": "MODULATION PARFAITE", "english": "PERFECT MODULATION", "reading_order": 814, "section": "ch03-p060", "sources": [ { "pdf_page": 60, "source_image": "source-pages/060.png", "printed_page": 52 } ] }, { "id": "rh-069-002", "type": "paragraph", "original": "§ 59. — La modulation parfaite consiste dans son exact accomplissement par tous les tons qui dérivent du plan établi.", "english": "§ 59. — Perfect modulation consists in carrying the modulation out exactly through all the keys that follow from the plan laid down.", "reading_order": 815, "section": "ch03-p060", "sources": [ { "pdf_page": 60, "source_image": "source-pages/060.png", "printed_page": 52 } ] }, { "id": "rh-069-003", "type": "heading", "original": "EXEMPLE DE MODULATIONS PARFAITES AUX TONS DE 2me CLASSE", "english": "EXAMPLE OF PERFECT MODULATIONS TO KEYS OF THE 2nd CLASS", "reading_order": 816, "section": "ch03-p060", "sources": [ { "pdf_page": 60, "source_image": "source-pages/060.png", "printed_page": 52 } ] }, { "id": "rh-069-ex01", "type": "music", "original": "DO – (la) – MI", "english": "Example: C major – (A minor) – E major. C major chord; E7 (V7 of A minor); A minor chord; in parentheses the A minor 6/4 chord over B; B7 (V7 of E); E major chord.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 817, "section": "ch03-p060", "sources": [ { "pdf_page": 60, "source_image": "source-pages/060.png", "printed_page": 52 } ], "asset_refs": [ "rh-069-ex01" ] }, { "id": "rh-069-ex02", "type": "music", "original": "DO – (Fa) – sol", "english": "Example: C major – (F major) – G minor. C major chord; C7 over B♭ (V4/2 of F); F major chord, first inversion; C minor 6/4 chord over G; D major chord, first inversion (V6 of G minor); G minor chord.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 818, "section": "ch03-p060", "sources": [ { "pdf_page": 60, "source_image": "source-pages/060.png", "printed_page": 52 } ], "asset_refs": [ "rh-069-ex02" ] }, { "id": "rh-069-ex03", "type": "music", "original": "DO – (fa – MI♭) – do", "english": "Example: C major – (F minor – E♭ major) – C minor. C major chord; C7 over E (V6/5 of F minor); F minor chord; B♭7 over D (V6/5 of E♭); E♭ major chord; A♭ major chord over A♭ (IV of E♭ = VI of C minor); D–F–A♭–C over A♭; G major chord (V of C minor), with a printed natural on B; C minor chord.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 819, "section": "ch03-p060", "sources": [ { "pdf_page": 60, "source_image": "source-pages/060.png", "printed_page": 52 } ], "asset_refs": [ "rh-069-ex03" ] }, { "id": "rh-069-ex04", "type": "music", "original": "La – (DO) – fa", "english": "Example: A minor – (C major) – F minor. A minor chord; D minor seventh over F (II6/5 of C); G7 over F (V4/2 of C); C major chord, first inversion; C7 over E (V6/5 of F); F minor chord.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 820, "section": "ch03-p060", "sources": [ { "pdf_page": 60, "source_image": "source-pages/060.png", "printed_page": 52 } ], "asset_refs": [ "rh-069-ex04" ] }, { "id": "rh-069-ex05", "type": "music", "original": "la – (FA) – Si♭", "english": "Example: A minor – (F major) – B♭ major. A minor chord; C7 over G (V4/3 of F); F major chord; F7 over E♭ (V4/2 of B♭); B♭ major chord, first inversion; E♭ major chord; in parentheses the B♭ 6/4 chord over F; F major chord (V of B♭); B♭ major chord.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 821, "section": "ch03-p060", "sources": [ { "pdf_page": 60, "source_image": "source-pages/060.png", "printed_page": 52 } ], "asset_refs": [ "rh-069-ex05" ] }, { "id": "rh-069-ex06", "type": "music", "original": "la – (MI – fa♯) – LA", "english": "Example: A minor – (E major – F♯ minor) – A major. A minor chord; B7 (V7 of E); E major chord; diminished seventh E♯–G♯–B–D (VII of F♯ minor), with a printed natural on D; F♯ minor chord; B minor chord, first inversion; in parentheses the A major 6/4 chord over E; E major chord (V of A); A major chord.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 822, "section": "ch03-p060", "sources": [ { "pdf_page": 60, "source_image": "source-pages/060.png", "printed_page": 52 } ], "asset_refs": [ "rh-069-ex06" ] }, { "id": "rh-069-004", "type": "heading", "original": "DEVOIRS", "english": "ASSIGNMENTS", "reading_order": 823, "section": "ch03-p060", "sources": [ { "pdf_page": 60, "source_image": "source-pages/060.png", "printed_page": 52 } ] }, { "id": "rh-069-005", "type": "paragraph", "original": "a) Moduler en rondes, sans division de mesure, aux différents tons de deuxième classe.", "english": "a) Modulate in whole notes, without division of the bar, to the various keys of the second class.", "reading_order": 824, "section": "ch03-p060", "sources": [ { "pdf_page": 60, "source_image": "source-pages/060.png", "printed_page": 52 } ] }, { "id": "rh-069-006", "type": "paragraph", "original": "b) Composer en différentes divisions, des périodes de huit mesures, modulant aux tons de deuxième classe.", "english": "b) Compose, in various divisions of the bar, periods of eight bars modulating to keys of the second class.", "reading_order": 825, "section": "ch03-p060", "sources": [ { "pdf_page": 60, "source_image": "source-pages/060.png", "printed_page": 52 } ] }, { "id": "rh-069-007", "type": "paragraph", "original": "NOTA. — Avant de moduler du majeur au mineur dont la différence d'armure de la clé est de quatre altérations (Do–fa) et après avoir modulé du mineur au majeur dont la différence d'armure de la clé est de quatre altérations (la–Mi) il vaut mieux ne pas moduler aux tons passagers, surtout à celui du IIme degré et à la sous-dominante majeure (Do–ré–Do–fa) (Mi–fa♯–Mi–La) pour éviter la contradiction de ces tonalités et la contradiction des accords en général (Voir § 56, Nota). Ces tonalités doivent être affermies le mieux possible.", "english": "NOTE. — Before modulating from a major key to a minor key whose key signature differs by four accidentals (C–f), and after modulating from a minor key to a major key whose key signature differs by four accidentals (a–E), it is better not to modulate to transient keys, above all not to that of the IInd degree or to the major subdominant (C–d–C–f) (E–f♯–E–A), in order to avoid the contradiction of these keys and the contradiction of the chords in general (see § 56, Note). These keys must be established as firmly as possible.", "reading_order": 826, "section": "ch03-p060", "sources": [ { "pdf_page": 60, "source_image": "source-pages/060.png", "printed_page": 52 } ] }, { "id": "rh-069-008", "type": "paragraph", "original": "c) Faire des modulations de seize mesures aux tons de deuxième classe en coupe binaire:", "english": "c) Write modulations of sixteen bars to keys of the second class in binary form:", "reading_order": 827, "section": "ch03-p060", "sources": [ { "pdf_page": 60, "source_image": "source-pages/060.png", "printed_page": 52 } ] }, { "id": "rh-069-009", "type": "paragraph", "original": "Ire Partie — Une phrase de 8 mesures. IIme Partie — (Retour au ton précédent) deux phrases chacune de 4 mesures, ou:", "english": "Part I — One phrase of 8 bars. Part II — (Return to the preceding key) two phrases of 4 bars each, or:", "reading_order": 828, "section": "ch03-p060", "sources": [ { "pdf_page": 60, "source_image": "source-pages/060.png", "printed_page": 52 } ] }, { "id": "rh-069-010", "type": "paragraph", "original": "Ire Partie — Deux phrases de 4 mesures chacune. IIme Partie — (Retour au ton précédent) une phrase de 8 mesures.", "english": "Part I — Two phrases of 4 bars each. Part II — (Return to the preceding key) one phrase of 8 bars.", "reading_order": 829, "section": "ch03-p060", "sources": [ { "pdf_page": 60, "source_image": "source-pages/060.png", "printed_page": 52 } ] }, { "id": "rh-069-ex07", "type": "music", "original": "MODÈLE — phrase de 4 mesures — phrase de 4 mesures — Do … fa", "english": "Model, Part I (two phrases of 4 bars): four-part writing in cut time. The first phrase stays in C major (Do) and closes on the dominant seventh; the second phrase moves to F minor (fa) and on through G♭ and E♭-minor harmony toward D♭ major. The model continues on the next page.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 830, "section": "ch03-p060", "sources": [ { "pdf_page": 60, "source_image": "source-pages/060.png", "printed_page": 52 } ], "asset_refs": [ "rh-069-ex07" ] }, { "id": "rh-069-ex08", "type": "music", "original": "Ré♭ — fa — Do — phrase de 8 mesures", "english": "Model, Part II (one phrase of 8 bars): from D♭ major (Ré♭) through F minor (fa), returning to C major (Do) by way of the diminished seventh B–D–F–A♭ over F, ending on the C major chord.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 831, "section": "ch03-p060", "sources": [ { "pdf_page": 61, "source_image": "source-pages/061.png", "printed_page": 53 } ], "asset_refs": [ "rh-069-ex08" ] }, { "id": "rh-070-001", "type": "heading", "original": "MODULATION IMPARFAITE", "english": "Imperfect modulation", "reading_order": 832, "section": "ch03-p061", "sources": [ { "pdf_page": 61, "source_image": "source-pages/061.png", "printed_page": 53 } ] }, { "id": "rh-070-002", "type": "paragraph", "original": "§ 60.—En ce cas le ton intermédiaire est abordé sans modulation.", "english": "§ 60.—In this case the intermediate key is reached without modulating to it.", "reading_order": 833, "section": "ch03-p061", "sources": [ { "pdf_page": 61, "source_image": "source-pages/061.png", "printed_page": 53 } ] }, { "id": "rh-070-003", "type": "paragraph", "original": "EXEMPLE DE MODULATION IMPARFAITE", "english": "Example of imperfect modulation", "reading_order": 834, "section": "ch03-p061", "sources": [ { "pdf_page": 61, "source_image": "source-pages/061.png", "printed_page": 53 } ] }, { "id": "rh-070-ex01", "type": "music", "original": "DO-Mi b", "english": "Example: C major to E♭ major (DO-Mi♭). The C major chord is followed directly by the F minor chord (the intermediate key, not established), then the B♭ dominant seventh and the E♭ major chord.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 835, "section": "ch03-p061", "sources": [ { "pdf_page": 61, "source_image": "source-pages/061.png", "printed_page": 53 } ], "asset_refs": [ "rh-070-ex01" ] }, { "id": "rh-070-ex02", "type": "music", "original": "La-Si", "english": "Example: A minor to B minor (La-Si). A minor – C major – G major (the intermediate keys touched without modulation) – C♯–E–G–B (II7 of B minor, in inversion) – F♯ major (dominant of B) – B minor.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 836, "section": "ch03-p061", "sources": [ { "pdf_page": 61, "source_image": "source-pages/061.png", "printed_page": 53 } ], "asset_refs": [ "rh-070-ex02" ] }, { "id": "rh-070-004", "type": "heading", "original": "EXERCICES", "english": "Exercises", "reading_order": 837, "section": "ch03-p061", "sources": [ { "pdf_page": 61, "source_image": "source-pages/061.png", "printed_page": 53 } ] }, { "id": "rh-070-005", "type": "paragraph", "original": "Faire des modulations imparfaites, en rondes, sans division de mesure.", "english": "Write imperfect modulations in whole notes, without division of the bar.", "reading_order": 838, "section": "ch03-p061", "sources": [ { "pdf_page": 61, "source_image": "source-pages/061.png", "printed_page": 53 } ] }, { "id": "rh-070-006", "type": "heading", "original": "TONS ÉLOIGNÉS", "english": "Distant keys", "reading_order": 839, "section": "ch03-p061", "sources": [ { "pdf_page": 61, "source_image": "source-pages/061.png", "printed_page": 53 } ] }, { "id": "rh-070-007", "type": "paragraph", "original": "§ 61.—1) Excepté les tons de première et deuxième classe, les autres tons n'ayant pas d'accords communs avec leur précédent sont considérés comme tons éloignés.", "english": "§ 61.—1) Apart from the keys of the first and second class, the other keys, having no chords in common with the preceding key, are considered distant keys.", "reading_order": 840, "section": "ch03-p061", "sources": [ { "pdf_page": 61, "source_image": "source-pages/061.png", "printed_page": 53 } ] }, { "id": "rh-070-008", "type": "paragraph", "original": "On y module par l'intermédiaire des tons voisins; les plans modulants peuvent être différents:", "english": "One modulates to them by way of the neighbouring keys; the modulating plans may differ:", "reading_order": 841, "section": "ch03-p061", "sources": [ { "pdf_page": 61, "source_image": "source-pages/061.png", "printed_page": 53 } ] }, { "id": "rh-070-009", "type": "paragraph", "original": "1) DO —4te— (fa —3ce— RÉ ♭) —2de— mi ♭\n2) DO —2de— (ré —3ce— SI ♭) —4te— mi ♭\n} BON\n3) DO —4te— (FA —4te— SI ♭) —4te— mi ♭\n4) DO —4te— (fa —4te— si ♭) —4te— mi ♭\n} MONOTONE. Intervalles de quarte.", "english": "1) C major —4th— (F minor —3rd— D♭ major) —2nd— E♭ minor\n2) C major —2nd— (D minor —3rd— B♭ major) —4th— E♭ minor\n} GOOD\n3) C major —4th— (F major —4th— B♭ major) —4th— E♭ minor\n4) C major —4th— (F minor —4th— B♭ minor) —4th— E♭ minor\n} MONOTONOUS. Intervals of a fourth.", "reading_order": 842, "section": "ch03-p061", "sources": [ { "pdf_page": 61, "source_image": "source-pages/061.png", "printed_page": 53 } ] }, { "id": "rh-070-010", "type": "paragraph", "original": "2) En établissant un plan modulant aux tons éloignés on se servira le plus souvent possible du moyen suivant:", "english": "2) In drawing up a modulating plan to distant keys, one will use the following means as often as possible:", "reading_order": 843, "section": "ch03-p061", "sources": [ { "pdf_page": 61, "source_image": "source-pages/061.png", "printed_page": 53 } ] }, { "id": "rh-070-011", "type": "paragraph", "original": "a) Dans la modulation des tons diésés vers ceux bémolisés.", "english": "a) In modulating from sharp keys to flat keys.", "reading_order": 844, "section": "ch03-p061", "sources": [ { "pdf_page": 61, "source_image": "source-pages/061.png", "printed_page": 53 } ] }, { "id": "rh-070-012", "type": "paragraph", "original": "En partant d'un ton majeur on modulera à quatre altérations; en partant d'un ton mineur, on modulera également à quatre altérations, en ayant soin de passer préalablement au ton relatif majeur ou à un des tons majeurs voisins, p. ex:", "english": "Starting from a major key, one modulates by four accidentals; starting from a minor key, one likewise modulates by four accidentals, taking care to pass first to the relative major key or to one of the neighbouring major keys, e.g.:", "reading_order": 845, "section": "ch03-p061", "sources": [ { "pdf_page": 61, "source_image": "source-pages/061.png", "printed_page": 53 } ] }, { "id": "rh-070-013", "type": "paragraph", "original": "1) SI – mi – DO – ré – SI ♭\n2) do♯ – MI – la – FA – SI ♭ ou do♯ – LA – ré – SI ♭", "english": "1) B major – E minor – C major – D minor – B♭ major\n2) C♯ minor – E major – A minor – F major – B♭ major, or C♯ minor – A major – D minor – B♭ major", "reading_order": 846, "section": "ch03-p061", "sources": [ { "pdf_page": 61, "source_image": "source-pages/061.png", "printed_page": 53 } ] }, { "id": "rh-070-014", "type": "paragraph", "original": "b) Dans la modulation des tons bémolisés vers ceux diésés. En partant d'un ton mineur on modulera à quatre altérations, et en partant d'un ton majeur on modulera également à quatre altérations, en passant préalablement au ton relatif ou à un des tons relatifs mineurs, p. ex:", "english": "b) In modulating from flat keys to sharp keys. Starting from a minor key, one modulates by four accidentals, and starting from a major key one likewise modulates by four accidentals, passing first to the relative key or to one of the related minor keys, e.g.:", "reading_order": 847, "section": "ch03-p061", "sources": [ { "pdf_page": 61, "source_image": "source-pages/061.png", "printed_page": 53 } ] }, { "id": "rh-070-015", "type": "paragraph", "original": "1) si ♭ – FA – la – mi\n2) (LA ♭ – fa) DO – la – MI ou (LA ♭ – do) SOL – la – MI", "english": "1) B♭ minor – F major – A minor – E minor\n2) (A♭ major – F minor) C major – A minor – E major, or (A♭ major – C minor) G major – A minor – E major", "reading_order": 848, "section": "ch03-p061", "sources": [ { "pdf_page": 61, "source_image": "source-pages/061.png", "printed_page": 53 } ] }, { "id": "rh-070-016", "type": "heading", "original": "EXERCICES", "english": "Exercises", "reading_order": 849, "section": "ch03-p061", "sources": [ { "pdf_page": 61, "source_image": "source-pages/061.png", "printed_page": 53 } ] }, { "id": "rh-070-017", "type": "paragraph", "original": "S'exercer à écrire et jouer des modulations aux tons éloignés, sans division de mesure.", "english": "Practise writing and playing modulations to distant keys, without division of the bar.", "reading_order": 850, "section": "ch03-p061", "sources": [ { "pdf_page": 61, "source_image": "source-pages/061.png", "printed_page": 53 } ] }, { "id": "rh-071-001", "type": "heading", "original": "DE LA PÉDALE", "english": "On the pedal point", "reading_order": 851, "section": "ch03-p062", "sources": [ { "pdf_page": 62, "source_image": "source-pages/062.png", "printed_page": 54 } ] }, { "id": "rh-071-002", "type": "paragraph", "original": "§ 62.— 1) La pédale est une note plus ou moins persistante à la basse, au-dessus de laquelle se meuvent les accords formés par les trois parties supérieures.", "english": "§ 62.— 1) The pedal is a more or less sustained note in the bass, above which the chords formed by the three upper parts move.", "reading_order": 852, "section": "ch03-p062", "sources": [ { "pdf_page": 62, "source_image": "source-pages/062.png", "printed_page": 54 } ] }, { "id": "rh-071-003", "type": "paragraph", "original": "2) Les parties supérieures procèdent d'après les règles de l'harmonie à trois parties.", "english": "2) The upper parts proceed according to the rules of three-part harmony.", "reading_order": 853, "section": "ch03-p062", "sources": [ { "pdf_page": 62, "source_image": "source-pages/062.png", "printed_page": 54 } ] }, { "id": "rh-071-004", "type": "paragraph", "original": "Dans ces accords incomplets on supprime ordinairement la quinte, mais si, pour faire bien chanter les parties, l'accord est placé en position mélodique de quinte, ou si cette dernière se trouve dans la partie inférieure, comme par exemple dans l'accord de tierce et quarte, on supprime le plus souvent la fondamentale.", "english": "In these incomplete chords the fifth is ordinarily omitted; but if, to make the parts sing well, the chord is placed in the melodic position of the fifth, or if the fifth lies in the lowest part, as for example in the chord of the third and fourth, the root is most often omitted.", "reading_order": 854, "section": "ch03-p062", "sources": [ { "pdf_page": 62, "source_image": "source-pages/062.png", "printed_page": 54 } ] }, { "id": "rh-071-ex01", "type": "music", "original": "EXEMPLE D'HARMONIE A TROIS PARTIES", "english": "Example of three-part harmony", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 855, "section": "ch03-p062", "sources": [ { "pdf_page": 62, "source_image": "source-pages/062.png", "printed_page": 54 } ], "asset_refs": [ "rh-071-ex01" ] }, { "id": "rh-071-005", "type": "paragraph", "original": "3) La note qui forme pédale est habituellement dominante ou tonique. La première est basse persistante de l'accord de quarte et sixte de cadence; elle se termine par l'harmonie de dominante qui prend sa résolution sur l'accord de tonique. La deuxième est basse persistante de l'accord de tonique et se termine par la cadence authentique ou plagale dans les trois parties supérieures.", "english": "3) The note that forms the pedal is usually the dominant or the tonic. The former is the sustained bass of the cadential six-four chord; it ends with the dominant harmony, which resolves onto the tonic chord. The latter is the sustained bass of the tonic chord and ends with the authentic or plagal cadence in the three upper parts.", "reading_order": 856, "section": "ch03-p062", "sources": [ { "pdf_page": 62, "source_image": "source-pages/062.png", "printed_page": 54 } ] }, { "id": "rh-071-006", "type": "paragraph", "original": "4) La pédale doit prendre naissance sur le temps fort de la mesure; la pédale sur la tonique peut suivre immédiatement celle de la dominante.", "english": "4) The pedal must begin on the strong beat of the bar; the tonic pedal may immediately follow the dominant pedal.", "reading_order": 857, "section": "ch03-p062", "sources": [ { "pdf_page": 62, "source_image": "source-pages/062.png", "printed_page": 54 } ] }, { "id": "rh-071-007", "type": "paragraph", "original": "5) En plus des accords appartenant à leur tonalité, les pédales peuvent supporter quelques tonalités passagères.", "english": "5) Besides the chords belonging to their key, pedals can bear a few passing keys.", "reading_order": 858, "section": "ch03-p062", "sources": [ { "pdf_page": 62, "source_image": "source-pages/062.png", "printed_page": 54 } ] }, { "id": "rh-071-008", "type": "paragraph", "original": "6) Dans un ton majeur (p. ex. en Do) la pédale sur la dominante (sol) permet la modulation à tous les tons de première classe; ré, mi, Fa, fa, Sol, la; la pédale sur la tonique (do) permet de moduler aux tons de la sous-dominante mineure et majeure et aux tons de première classe de la sous-dominante majeure; fa, Fa, sol, la, Si♭, si♭, La♭, etc.", "english": "6) In a major key (e.g. in C) the pedal on the dominant (G) allows modulation to all the keys of the first class: d, e, F, f, G, a; the pedal on the tonic (C) allows modulation to the keys of the minor and major subdominant and to the keys of the first class of the major subdominant: f, F, g, a, B♭, b♭, A♭, etc.", "reading_order": 859, "section": "ch03-p062", "sources": [ { "pdf_page": 62, "source_image": "source-pages/062.png", "printed_page": 54 } ] }, { "id": "rh-071-ex02", "type": "music", "original": "MODÈLE", "english": "Model: four parts in common time over a dominant pedal (G, bars 1–4) and then a tonic pedal (C, bars 5–8) in C major.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 860, "section": "ch03-p062", "sources": [ { "pdf_page": 62, "source_image": "source-pages/062.png", "printed_page": 54 } ], "asset_refs": [ "rh-071-ex02" ] }, { "id": "rh-071-009", "type": "paragraph", "original": "7) Dans un ton mineur (p. ex. la) la pédale sur la dominante (mi) permet la modulation aux tons du Vme et du IVme degré: Mi et ré; et la pédale sur la tonique (la) — la modulation au ton de la sous-dominante et à celui du VIme dégré de cette dernière, ré et sol.", "english": "7) In a minor key (e.g. A minor) the pedal on the dominant (E) allows modulation to the keys of the 5th and 4th degrees: E major and D minor; and the pedal on the tonic (A) allows modulation to the key of the subdominant and to that of the 6th degree of the latter: D minor and G minor.", "reading_order": 861, "section": "ch03-p062", "sources": [ { "pdf_page": 62, "source_image": "source-pages/062.png", "printed_page": 54 } ] }, { "id": "rh-072-001", "type": "paragraph", "original": "REMARQUE. — Une telle pédale se termine souvent sur un accord parfait majeur:", "english": "REMARK. — Such a pedal often ends on a major triad:", "reading_order": 862, "section": "ch03-p063", "sources": [ { "pdf_page": 63, "source_image": "source-pages/063.png", "printed_page": 55 } ] }, { "id": "rh-072-ex01", "type": "music", "original": "[Exemple] (*)", "english": "Example: a pedal in A minor, first on the dominant E, then on the tonic A, ending on an A major triad (*).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 863, "section": "ch03-p063", "sources": [ { "pdf_page": 63, "source_image": "source-pages/063.png", "printed_page": 55 } ], "asset_refs": [ "rh-072-ex01" ] }, { "id": "rh-072-002", "type": "heading", "original": "DEVOIR", "english": "EXERCISE", "reading_order": 864, "section": "ch03-p063", "sources": [ { "pdf_page": 63, "source_image": "source-pages/063.png", "printed_page": 55 } ] }, { "id": "rh-072-003", "type": "paragraph", "original": "Composer des préludes modulants avec la pédale sur la dominante avant le retour au ton précédent, et sur la tonique pour la conclusion.", "english": "Compose modulating preludes with a pedal on the dominant before the return to the preceding key, and on the tonic for the conclusion.", "reading_order": 865, "section": "ch03-p063", "sources": [ { "pdf_page": 63, "source_image": "source-pages/063.png", "printed_page": 55 } ] }, { "id": "rh-072-004", "type": "heading", "original": "SUPPLÉMENT", "english": "SUPPLEMENT", "reading_order": 866, "section": "ch03-p063", "sources": [ { "pdf_page": 63, "source_image": "source-pages/063.png", "printed_page": 55 } ] }, { "id": "rh-072-005", "type": "paragraph", "original": "§ 63. — 1) La dominante et la tonique peuvent se trouver aussi comme pédale dans les parties supérieures.", "english": "§ 63. — 1) The dominant and the tonic can also occur as a pedal in the upper parts.", "reading_order": 867, "section": "ch03-p063", "sources": [ { "pdf_page": 63, "source_image": "source-pages/063.png", "printed_page": 55 } ] }, { "id": "rh-072-006", "type": "paragraph", "original": "2) En ce cas elles présentent le plus souvent des notes communes à plusieurs accords, tolérant rarement des harmonies fortes-dissonantes:", "english": "2) In that case they most often present notes common to several chords, and rarely tolerate strongly dissonant harmonies:", "reading_order": 868, "section": "ch03-p063", "sources": [ { "pdf_page": 63, "source_image": "source-pages/063.png", "printed_page": 55 } ] }, { "id": "rh-072-ex02", "type": "music", "original": "N.B. — N.B.", "english": "Example: a held dominant G3 (bars 1–4) and then a held tonic C4 (bars 5–7) in the tenor, C major; N.B. marks the leading-tone seventh chords over the held note (bars 2 and 6).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 869, "section": "ch03-p063", "sources": [ { "pdf_page": 63, "source_image": "source-pages/063.png", "printed_page": 55 } ], "asset_refs": [ "rh-072-ex02" ] }, { "id": "rh-072-007", "type": "paragraph", "original": "3) Nous indiquons par N.B. les accords de septième de sensible sur la note persistante dans la partie intermédiaire, qui parfois sont considérés comme renversement de l'accord de neuvième sans quinte:", "english": "3) We mark with N.B. the leading-tone seventh chords over the sustained note in the inner part, which are sometimes regarded as an inversion of the ninth chord without its fifth:", "reading_order": 870, "section": "ch03-p063", "sources": [ { "pdf_page": 63, "source_image": "source-pages/063.png", "printed_page": 55 } ] }, { "id": "rh-072-ex03", "type": "music", "original": "Ier renv. — IIIme renv.", "english": "Diagram: the dominant ninth chord without its fifth (G–B–F–A, figured 9), its 1st inversion (figured 7, 5, 6) and its 3rd inversion (figured 3, 4, 2), each resolving to the C major triad (6 under the last).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 871, "section": "ch03-p063", "sources": [ { "pdf_page": 63, "source_image": "source-pages/063.png", "printed_page": 55 } ], "asset_refs": [ "rh-072-ex03" ] }, { "id": "rh-072-008", "type": "paragraph", "original": "4) Nous devons signaler aussi la pédale particulière dans les parties inférieures sur la tonique et la dominante à la fois:", "english": "4) We must also point out the special pedal in the lower parts on the tonic and the dominant at the same time:", "reading_order": 872, "section": "ch03-p063", "sources": [ { "pdf_page": 63, "source_image": "source-pages/063.png", "printed_page": 55 } ] }, { "id": "rh-072-ex04", "type": "music", "original": "[Exemple]", "english": "Example: a double pedal on the tonic and dominant together (C3 and G3, tied through all eight bars) under two moving upper parts, C major.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 873, "section": "ch03-p063", "sources": [ { "pdf_page": 63, "source_image": "source-pages/063.png", "printed_page": 55 } ], "asset_refs": [ "rh-072-ex04" ] }, { "id": "rh-072-009", "type": "footnote", "original": "(*) En mineur le dernier accord est souvent majeur.", "english": "(*) In minor the last chord is often major.", "reading_order": 874, "section": "ch03-p063", "sources": [ { "pdf_page": 63, "source_image": "source-pages/063.png", "printed_page": 55 } ] }, { "id": "rh-080-001", "type": "heading", "original": "Chapitre IV. De l'ornement mélodique", "english": "Chapter IV. Melodic Ornamentation", "reading_order": 875, "section": "ch04", "sources": [ { "pdf_page": 64, "source_image": "source-pages/064.png", "printed_page": 56 } ] }, { "id": "rh-080-002", "type": "heading", "original": "Notes de passage", "english": "Passing Notes", "reading_order": 876, "section": "ch04", "sources": [ { "pdf_page": 64, "source_image": "source-pages/064.png", "printed_page": 56 } ] }, { "id": "rh-080-003", "type": "heading", "original": "Notions générales", "english": "General Principles", "reading_order": 877, "section": "ch04", "sources": [ { "pdf_page": 64, "source_image": "source-pages/064.png", "printed_page": 56 } ] }, { "id": "rh-080-004", "type": "paragraph", "original": "§ 64. — On appelle notes de passage celles placées sur les temps faibles de la mesure ou sur la partie faible d'un temps, remplissant par suite du mouvement conjoint la distance comprise entre les notes réelles ou intégrantes (notes de l'accord). Selon la gamme d'où elles dérivent, les notes de passage sont diatoniques ou chromatiques.", "english": "§ 64. — Passing notes are those placed on the weak beats of the bar or on the weak part of a beat, filling, by means of stepwise motion, the distance between the real or essential notes (the notes of the chord). According to the scale from which they derive, passing notes are diatonic or chromatic.", "reading_order": 878, "section": "ch04", "sources": [ { "pdf_page": 64, "source_image": "source-pages/064.png", "printed_page": 56 } ] }, { "id": "rh-080-005", "type": "heading", "original": "Notes de passage diatoniques", "english": "Diatonic Passing Notes", "reading_order": 879, "section": "ch04", "sources": [ { "pdf_page": 64, "source_image": "source-pages/064.png", "printed_page": 56 } ] }, { "id": "rh-080-006", "type": "paragraph", "original": "§ 65. — 1) Si la distance comprise entre deux notes réelles est d'une tierce, on peut y placer une note de passage diatonique, si la distance est d'une quarte on peut en placer deux.", "english": "§ 65. — 1) If the distance between two real notes is a third, one diatonic passing note may be placed between them; if the distance is a fourth, two may be placed.", "reading_order": 880, "section": "ch04", "sources": [ { "pdf_page": 64, "source_image": "source-pages/064.png", "printed_page": 56 } ] }, { "id": "rh-080-007", "type": "paragraph", "original": "2) Les notes de passage diatoniques prennent leur origine des gammes majeure naturelle et mineure mélodique.", "english": "2) Diatonic passing notes are taken from the natural major scale and the melodic minor scale.", "reading_order": 881, "section": "ch04", "sources": [ { "pdf_page": 64, "source_image": "source-pages/064.png", "printed_page": 56 } ] }, { "id": "rh-080-008", "type": "paragraph", "original": "3) Les notes de passage placées dans une seule partie sont appelées simples; doubles ou triples, etc. si elles sont placées dans deux ou trois parties à la fois.", "english": "3) Passing notes placed in a single part are called simple; they are called double or triple, etc., if they are placed in two or three parts at once.", "reading_order": 882, "section": "ch04", "sources": [ { "pdf_page": 64, "source_image": "source-pages/064.png", "printed_page": 56 } ] }, { "id": "rh-080-ex01", "type": "music", "original": "[Exemple] etc.", "english": "Example: simple passing notes (+) in one part at a time: soprano D between C and E; bass B between C and A; tenor F♯ and G♯ between E and A (melodic minor); alto D and E between C and F; \"etc.\"", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 883, "section": "ch04", "sources": [ { "pdf_page": 64, "source_image": "source-pages/064.png", "printed_page": 56 } ], "asset_refs": [ "rh-080-ex01" ] }, { "id": "rh-080-009", "type": "paragraph", "original": "4) Les notes de passage ne cachent pas les successions défendues.", "english": "4) Passing notes do not conceal forbidden successions.", "reading_order": 884, "section": "ch04", "sources": [ { "pdf_page": 64, "source_image": "source-pages/064.png", "printed_page": 56 } ] }, { "id": "rh-080-ex02", "type": "music", "original": "INCORRECT", "english": "Incorrect: parallel fifths (D–G to B–E) and parallel octaves (E–E to G–G) are not hidden by an intervening passing note.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 885, "section": "ch04", "sources": [ { "pdf_page": 64, "source_image": "source-pages/064.png", "printed_page": 56 } ], "asset_refs": [ "rh-080-ex02" ] }, { "id": "rh-080-010", "type": "paragraph", "original": "5) Les doubles notes de passage doivent procéder par mouvement de tierces ou sixtes parallèles ou par mouvement contraire:", "english": "5) Double passing notes must move in parallel thirds or sixths, or in contrary motion:", "reading_order": 886, "section": "ch04", "sources": [ { "pdf_page": 64, "source_image": "source-pages/064.png", "printed_page": 56 } ] }, { "id": "rh-080-ex03", "type": "music", "original": "[Exemple]", "english": "Example: double passing notes (+) in parallel sixths (soprano and alto), parallel thirds (alto and tenor), and contrary motion (alto and tenor).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 887, "section": "ch04", "sources": [ { "pdf_page": 64, "source_image": "source-pages/064.png", "printed_page": 56 } ], "asset_refs": [ "rh-080-ex03" ] }, { "id": "rh-080-011", "type": "paragraph", "original": "6) Quant aux triples notes de passage, deux parties procèdent par mouvement de tierces ou sixtes parallèles, et la troisième par mouvement contraire aux deux dernières; il arrive aussi que les trois parties se meuvent parallèlement, formant des accords de sixte:", "english": "6) As for triple passing notes, two parts move in parallel thirds or sixths and the third in contrary motion to those two; it also happens that all three parts move in parallel, forming chords of the sixth:", "reading_order": 888, "section": "ch04", "sources": [ { "pdf_page": 64, "source_image": "source-pages/064.png", "printed_page": 56 } ] }, { "id": "rh-081-ex01", "type": "music", "original": "[Exemple] etc.", "english": "[Example] etc.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 889, "section": "ch04-p065", "sources": [ { "pdf_page": 65, "source_image": "source-pages/065.png", "printed_page": 57 } ], "asset_refs": [ "rh-081-ex01" ] }, { "id": "rh-081-001", "type": "paragraph", "original": "7) Pour bien faire chanter les parties à l'aide des notes de passage on peut recourir aux doublures incorrectes des notes d'un accord:", "english": "7) To make the parts sing well by means of passing notes, one may resort to incorrect doublings of the notes of a chord:", "reading_order": 890, "section": "ch04-p065", "sources": [ { "pdf_page": 65, "source_image": "source-pages/065.png", "printed_page": 57 } ] }, { "id": "rh-081-ex02", "type": "music", "original": "[Exemple]", "english": "[Example]", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 891, "section": "ch04-p065", "sources": [ { "pdf_page": 65, "source_image": "source-pages/065.png", "printed_page": 57 } ], "asset_refs": [ "rh-081-ex02" ] }, { "id": "rh-081-002", "type": "paragraph", "original": "8) Entre les notes de passage, les meilleures sont celles qui forment un ensemble occasionnel, p.ex: les notes de passage formant septième ou neuvième.", "english": "8) Among passing notes, the best are those that form an incidental chord, e.g. passing notes forming a seventh or a ninth.", "reading_order": 892, "section": "ch04-p065", "sources": [ { "pdf_page": 65, "source_image": "source-pages/065.png", "printed_page": 57 } ] }, { "id": "rh-081-003", "type": "paragraph", "original": "REMARQUE.— Nous signalons le bon emploi des doubles notes de passage formées entre l'accord de quinte et sixte et l'accord de tierce et quarte.", "english": "REMARK.— We point out the good use of double passing notes formed between the chord of the fifth and sixth and the chord of the third and fourth.", "reading_order": 893, "section": "ch04-p065", "sources": [ { "pdf_page": 65, "source_image": "source-pages/065.png", "printed_page": 57 } ] }, { "id": "rh-081-ex03", "type": "music", "original": "[Exemple] etc. etc.", "english": "[Example] etc. etc.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 894, "section": "ch04-p065", "sources": [ { "pdf_page": 65, "source_image": "source-pages/065.png", "printed_page": 57 } ], "asset_refs": [ "rh-081-ex03" ] }, { "id": "rh-081-004", "type": "heading", "original": "Notes de passage chromatiques", "english": "Chromatic passing notes", "reading_order": 895, "section": "ch04-p065", "sources": [ { "pdf_page": 65, "source_image": "source-pages/065.png", "printed_page": 57 } ] }, { "id": "rh-081-005", "type": "heading", "original": "Orthographe des gammes chromatiques", "english": "Spelling of the chromatic scales", "reading_order": 896, "section": "ch04-p065", "sources": [ { "pdf_page": 65, "source_image": "source-pages/065.png", "printed_page": 57 } ] }, { "id": "rh-081-006", "type": "paragraph", "original": "§ 66.— 1) Gamme majeure ascendante. Tous les degrés de la gamme diatonique naturelle sont accidentés par des altérations ascendantes excepté le VIme dont l'altération ascendante est remplacée par la descendante du VIIme degré:", "english": "§ 66.— 1) Ascending major scale. All the degrees of the natural diatonic scale are inflected by raising alterations, except the VIth, whose raising alteration is replaced by the lowering of the VIIth degree:", "reading_order": 897, "section": "ch04-p065", "sources": [ { "pdf_page": 65, "source_image": "source-pages/065.png", "printed_page": 57 } ] }, { "id": "rh-081-ex04", "type": "music", "original": "[Exemple] I II III IV V VI VII I", "english": "[Example] I II III IV V VI VII I", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 898, "section": "ch04-p065", "sources": [ { "pdf_page": 65, "source_image": "source-pages/065.png", "printed_page": 57 } ], "asset_refs": [ "rh-081-ex04" ] }, { "id": "rh-081-007", "type": "paragraph", "original": "2) Gamme majeure descendante. Tous les degrés de la gamme diatonique naturelle sont accidentés par des altérations descendantes excepté le Vme dont l'altération descendante est remplacée par celle ascendante du IVme degré:", "english": "2) Descending major scale. All the degrees of the natural diatonic scale are inflected by lowering alterations, except the Vth, whose lowering alteration is replaced by the raising alteration of the IVth degree:", "reading_order": 899, "section": "ch04-p065", "sources": [ { "pdf_page": 65, "source_image": "source-pages/065.png", "printed_page": 57 } ] }, { "id": "rh-081-ex05", "type": "music", "original": "[Exemple] I VII VI V IV III II I", "english": "[Example] I VII VI V IV III II I", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 900, "section": "ch04-p065", "sources": [ { "pdf_page": 65, "source_image": "source-pages/065.png", "printed_page": 57 } ], "asset_refs": [ "rh-081-ex05" ] }, { "id": "rh-081-008", "type": "paragraph", "original": "3) La gamme mineure ascendante prend les altérations de sa gamme majeure relative (do comme Mi ♭):", "english": "3) The ascending minor scale takes the alterations of its relative major scale (C as E♭):", "reading_order": 901, "section": "ch04-p065", "sources": [ { "pdf_page": 65, "source_image": "source-pages/065.png", "printed_page": 57 } ] }, { "id": "rh-081-ex06", "type": "music", "original": "[Exemple] I II III IV V VI VII I", "english": "[Example] I II III IV V VI VII I", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 902, "section": "ch04-p065", "sources": [ { "pdf_page": 65, "source_image": "source-pages/065.png", "printed_page": 57 } ], "asset_refs": [ "rh-081-ex06" ] }, { "id": "rh-082-001", "type": "paragraph", "original": "4) La gamme mineure descendante s'écrit comme la descendante majeure homonyme (do comme Do)", "english": "4) The descending minor scale is written like the descending major scale of the same name (c as C)", "reading_order": 903, "section": "ch04-p066", "sources": [ { "pdf_page": 66, "source_image": "source-pages/066.png", "printed_page": 58 } ] }, { "id": "rh-082-ex01", "type": "music", "original": "[Exemple] I VII VI V IV III II I", "english": "Example: the descending chromatic scale of C minor, written like that of C major; the degrees of C minor (I VII VI V IV III II I) are marked above.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 904, "section": "ch04-p066", "sources": [ { "pdf_page": 66, "source_image": "source-pages/066.png", "printed_page": 58 } ], "asset_refs": [ "rh-082-ex01" ] }, { "id": "rh-082-002", "type": "heading", "original": "Notes de passage chromatiques", "english": "Chromatic Passing Notes", "reading_order": 905, "section": "ch04-p066", "sources": [ { "pdf_page": 66, "source_image": "source-pages/066.png", "printed_page": 58 } ] }, { "id": "rh-082-003", "type": "heading", "original": "simples, doubles, etc.", "english": "simple, double, etc.", "reading_order": 906, "section": "ch04-p066", "sources": [ { "pdf_page": 66, "source_image": "source-pages/066.png", "printed_page": 58 } ] }, { "id": "rh-082-004", "type": "paragraph", "original": "§ 67. — 1) Les notes de passage chromatiques peuvent être placées entre les notes réelles éloignées d'une seconde majeure ou entre les notes de passage diatoniques. Elles peuvent se trouver dans une ou plusieurs parties à la fois et en même temps que des notes de passage diatoniques:", "english": "§ 67. — 1) Chromatic passing notes may be placed between real notes a major second apart, or between diatonic passing notes. They may occur in one or in several parts at once, and at the same time as diatonic passing notes:", "reading_order": 907, "section": "ch04-p066", "sources": [ { "pdf_page": 66, "source_image": "source-pages/066.png", "printed_page": 58 } ] }, { "id": "rh-082-ex02", "type": "music", "original": "[Exemple] a) b) c) d) e) f)", "english": "Example a)–f): chromatic passing notes (+) in one part, in two parts at once, and together with diatonic passing notes.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 908, "section": "ch04-p066", "sources": [ { "pdf_page": 66, "source_image": "source-pages/066.png", "printed_page": 58 } ], "asset_refs": [ "rh-082-ex02" ] }, { "id": "rh-082-005", "type": "paragraph", "original": "2) La note de passage chromatique ne doit pas se trouver à la fois dans une autre partie sans altération:", "english": "2) A chromatic passing note must not occur at the same time, unaltered, in another part:", "reading_order": 909, "section": "ch04-p066", "sources": [ { "pdf_page": 66, "source_image": "source-pages/066.png", "printed_page": 58 } ] }, { "id": "rh-082-ex03", "type": "music", "original": "[Exemple] 1) 2) 3) 4)", "english": "Example 1)–4): a chromatic passing note (+) sounding against the same note unaltered in another part (joined by a line).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 910, "section": "ch04-p066", "sources": [ { "pdf_page": 66, "source_image": "source-pages/066.png", "printed_page": 58 } ], "asset_refs": [ "rh-082-ex03" ] }, { "id": "rh-082-006", "type": "paragraph", "original": "Le premier exemple peut cependant avoir son emploi, ce qu'on voit aussi par l'exemple précédent (e).", "english": "The first example may nevertheless find its use, as can also be seen from the preceding example (e).", "reading_order": 911, "section": "ch04-p066", "sources": [ { "pdf_page": 66, "source_image": "source-pages/066.png", "printed_page": 58 } ] }, { "id": "rh-082-007", "type": "paragraph", "original": "REMARQUE. — Nous attirons l'attention de l'élève sur le bon emploi des notes de passage chromatiques formées immédiatement avant les septièmes mineures de passage et surtout à trois temps:", "english": "REMARK. — We draw the student's attention to the good use of chromatic passing notes formed immediately before passing minor sevenths, and especially in triple time:", "reading_order": 912, "section": "ch04-p066", "sources": [ { "pdf_page": 66, "source_image": "source-pages/066.png", "printed_page": 58 } ] }, { "id": "rh-082-ex04", "type": "music", "original": "[Exemple]", "english": "Example in 3/4: in each bar a chromatic passing note (+) leads directly into a passing minor seventh (bass C–B–B♭, A–G♯–G, F–E–E♭; tenor D–C♯–C; alto G–F♯–F).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 913, "section": "ch04-p066", "sources": [ { "pdf_page": 66, "source_image": "source-pages/066.png", "printed_page": 58 } ], "asset_refs": [ "rh-082-ex04" ] }, { "id": "rh-082-008", "type": "paragraph", "original": "ainsi que sur l'emploi des notes de passage chromatiques dans deux parties à la fois en déplaçant la septième:", "english": "as well as to the use of chromatic passing notes in two parts at once when the seventh is displaced:", "reading_order": 914, "section": "ch04-p066", "sources": [ { "pdf_page": 66, "source_image": "source-pages/066.png", "printed_page": 58 } ] }, { "id": "rh-082-ex05", "type": "music", "original": "[Exemple] 6/5 6/5 7 6/4 2", "english": "Example: chromatic passing notes in two parts at once while the seventh moves to another part; figures 6/5, 6/5 | 7, 6/4, 2.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 915, "section": "ch04-p066", "sources": [ { "pdf_page": 66, "source_image": "source-pages/066.png", "printed_page": 58 } ], "asset_refs": [ "rh-082-ex05" ] }, { "id": "rh-083-001", "type": "heading", "original": "De la broderie", "english": "The Neighbour Note", "reading_order": 916, "section": "ch04-p067", "sources": [ { "pdf_page": 67, "source_image": "source-pages/067.png", "printed_page": 59 } ] }, { "id": "rh-083-002", "type": "paragraph", "original": "§ 68. — 1) On entend par broderie la note placée sur les temps faibles de la mesure ou sur la partie faible d'un temps, entre deux notes réelles du même nom et à un degré supérieur (broderie supérieure) ou à un degré inférieur (broderie inférieure) des notes réelles.", "english": "§ 68. — 1) By a neighbour note is meant the note placed on the weak beats of the bar or on the weak part of a beat, between two real notes of the same name, one degree above (upper neighbour note) or one degree below (lower neighbour note) the real notes.", "reading_order": 917, "section": "ch04-p067", "sources": [ { "pdf_page": 67, "source_image": "source-pages/067.png", "printed_page": 59 } ] }, { "id": "rh-083-ex01", "type": "music", "original": "[Exemple]", "english": "Example: neighbour notes (+) in one part at a time, six fragments: soprano G-A-G; tenor C-B-C; soprano D-C#-D and E-F-E; alto E-D#-E and F-G-F; bass A-G#-A; soprano G-Ab-G.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 918, "section": "ch04-p067", "sources": [ { "pdf_page": 67, "source_image": "source-pages/067.png", "printed_page": 59 } ], "asset_refs": [ "rh-083-ex01" ] }, { "id": "rh-083-003", "type": "paragraph", "original": "2) Les notes broderies, suivant la gamme diatonique, se trouvent à une seconde majeure ou mineure de leurs notes réelles, mais les premières peuvent être rapprochées d'un demi-ton à leurs notes réelles par un accident; ce rapprochement chromatique est souvent obligatoire pour certaines broderies :", "english": "2) Neighbour notes, following the diatonic scale, lie a major or minor second from their real notes, but they may be brought to within a semitone of their real notes by an accidental; this chromatic drawing-closer is often obligatory for certain neighbour notes:", "reading_order": 919, "section": "ch04-p067", "sources": [ { "pdf_page": 67, "source_image": "source-pages/067.png", "printed_page": 59 } ] }, { "id": "rh-083-004", "type": "paragraph", "original": "a) Dans l'accord parfait majeur :", "english": "a) In the major triad:", "reading_order": 920, "section": "ch04-p067", "sources": [ { "pdf_page": 67, "source_image": "source-pages/067.png", "printed_page": 59 } ] }, { "id": "rh-083-005", "type": "paragraph", "original": "La fondamentale demande : Broderie supérieure : seconde majeure ou mineure ; Broderie inférieure : seconde mineure.\nLa tierce » Broderie supérieure : seconde mineure ; Broderie inférieure : seconde majeure ou mineure.\nLa quinte » Broderie supérieure : seconde majeure ou mineure ; Broderie inférieure : seconde mineure.", "english": "The root requires: upper neighbour note: a major or minor second; lower neighbour note: a minor second.\nThe third requires: upper neighbour note: a minor second; lower neighbour note: a major or minor second.\nThe fifth requires: upper neighbour note: a major or minor second; lower neighbour note: a minor second.", "reading_order": 921, "section": "ch04-p067", "sources": [ { "pdf_page": 67, "source_image": "source-pages/067.png", "printed_page": 59 } ] }, { "id": "rh-083-ex02", "type": "music", "original": "[Exemple]", "english": "Example: neighbour notes about the root, third and fifth of the C major triad: C-D(b)-C-B-C; E-F-E-D(#)-E; G-A(b)-G-F#-G.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 922, "section": "ch04-p067", "sources": [ { "pdf_page": 67, "source_image": "source-pages/067.png", "printed_page": 59 } ], "asset_refs": [ "rh-083-ex02" ] }, { "id": "rh-083-006", "type": "paragraph", "original": "b) Dans l'accord parfait mineur :", "english": "b) In the minor triad:", "reading_order": 923, "section": "ch04-p067", "sources": [ { "pdf_page": 67, "source_image": "source-pages/067.png", "printed_page": 59 } ] }, { "id": "rh-083-007", "type": "paragraph", "original": "La fondamentale demande : Broderie supérieure : seconde majeure ; Broderie inférieure : seconde mineure.\nLa tierce » Broderie supérieure : seconde majeure ; Broderie inférieure : seconde mineure.\nLa quinte » Broderie supérieure : seconde mineure ; Broderie inférieure : seconde majeure ou mineure.", "english": "The root requires: upper neighbour note: a major second; lower neighbour note: a minor second.\nThe third requires: upper neighbour note: a major second; lower neighbour note: a minor second.\nThe fifth requires: upper neighbour note: a minor second; lower neighbour note: a major or minor second.", "reading_order": 924, "section": "ch04-p067", "sources": [ { "pdf_page": 67, "source_image": "source-pages/067.png", "printed_page": 59 } ] }, { "id": "rh-083-ex03", "type": "music", "original": "[Exemple]", "english": "Example: neighbour notes about the root, third and fifth of the A minor triad: A-B-A-G#-A; C-D-C-B-C; E-F-E-D(#)-E.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 925, "section": "ch04-p067", "sources": [ { "pdf_page": 67, "source_image": "source-pages/067.png", "printed_page": 59 } ], "asset_refs": [ "rh-083-ex03" ] }, { "id": "rh-083-008", "type": "paragraph", "original": "La broderie supérieure de la septième ne permet pas d'altérations descendantes :", "english": "The upper neighbour note of the seventh does not allow downward alterations:", "reading_order": 926, "section": "ch04-p067", "sources": [ { "pdf_page": 67, "source_image": "source-pages/067.png", "printed_page": 59 } ] }, { "id": "rh-083-ex04", "type": "music", "original": "IMPOSSIBLE", "english": "Example, \"IMPOSSIBLE\": the seventh F of the G7 chord with a lowered upper neighbour Gb (F-Gb-F).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 927, "section": "ch04-p067", "sources": [ { "pdf_page": 67, "source_image": "source-pages/067.png", "printed_page": 59 } ], "asset_refs": [ "rh-083-ex04" ] }, { "id": "rh-084-001", "type": "paragraph", "original": "4) Les broderies accidentées n'expriment pas toujours la modulation; nous en voyons l'exemple dans les accords de septième:", "english": "4) Chromatically altered neighbour notes do not always express a modulation; we see an example of this in seventh chords:", "reading_order": 928, "section": "ch04-p068", "sources": [ { "pdf_page": 68, "source_image": "source-pages/068.png", "printed_page": 60 } ] }, { "id": "rh-084-ex01", "type": "music", "original": "BON", "english": "GOOD: over a G seventh chord (bass G with figure 7), an altered lower neighbour F♯ in an inner part sounds together with F natural in the upper part; the preceding chord likewise has the neighbour C♯ in the lowest part (+ signs mark the neighbour notes).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 929, "section": "ch04-p068", "sources": [ { "pdf_page": 68, "source_image": "source-pages/068.png", "printed_page": 60 } ], "asset_refs": [ "rh-084-ex01" ] }, { "id": "rh-084-002", "type": "paragraph", "original": "où la broderie accidentée peut s'employer à la fois avec la même note non accidentée.", "english": "where the altered neighbour note may be used simultaneously with the same note unaltered.", "reading_order": 930, "section": "ch04-p068", "sources": [ { "pdf_page": 68, "source_image": "source-pages/068.png", "printed_page": 60 } ] }, { "id": "rh-084-003", "type": "paragraph", "original": "5) Les broderies supérieures et inférieures permettent la doublure de leurs notes principales lorsque ces notes sont distantes, au minimum, d'une octave; exception faite aux notes tierces à l'accord qui ne peuvent être doublées que dans les accords de sixte:", "english": "5) Upper and lower neighbour notes allow their principal notes to be doubled when these notes are at least an octave apart; an exception is made for notes that are the third of the chord, which may be doubled only in chords of the sixth:", "reading_order": 931, "section": "ch04-p068", "sources": [ { "pdf_page": 68, "source_image": "source-pages/068.png", "printed_page": 60 } ] }, { "id": "rh-084-ex02", "type": "music", "original": "MAUVAIS", "english": "BAD: in a root-position C major chord the third E is doubled (soprano E5, tenor E4) while one of the two E's is ornamented by a neighbour note: upper neighbour F in the soprano, then lower neighbour D♯ in the alto against the soprano's E; lines in the print connect the doubled E's.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 932, "section": "ch04-p068", "sources": [ { "pdf_page": 68, "source_image": "source-pages/068.png", "printed_page": 60 } ], "asset_refs": [ "rh-084-ex02" ] }, { "id": "rh-084-ex03", "type": "music", "original": "ADMISSIBLE", "english": "ADMISSIBLE: the same neighbour notes (soprano F above E, then bass D♯ below E) with the doubled third E in a chord of the sixth (bass E, figure 6).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 933, "section": "ch04-p068", "sources": [ { "pdf_page": 68, "source_image": "source-pages/068.png", "printed_page": 60 } ], "asset_refs": [ "rh-084-ex03" ] }, { "id": "rh-084-004", "type": "paragraph", "original": "6) Les fausses relations et les quintes parallèles sont toujours à éviter:", "english": "6) False relations and parallel fifths are always to be avoided:", "reading_order": 934, "section": "ch04-p068", "sources": [ { "pdf_page": 68, "source_image": "source-pages/068.png", "printed_page": 60 } ] }, { "id": "rh-084-ex04", "type": "music", "original": "MAUVAIS · 5te · 5te · 5te", "english": "BAD: (1) the soprano's neighbour B♭ against the tenor's B natural: a false relation, marked with a line; (2) the soprano's upper neighbour E over the alto's A forms a fifth, moving to the fifth D over G: parallel fifths, bracketed 5te; (3) the alto's lower neighbour B under the soprano's F, then the fifth G over C: bracketed 5te.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 935, "section": "ch04-p068", "sources": [ { "pdf_page": 68, "source_image": "source-pages/068.png", "printed_page": 60 } ], "asset_refs": [ "rh-084-ex04" ] }, { "id": "rh-084-005", "type": "paragraph", "original": "7) Les broderies dans deux parties à la fois doivent former des tierces ou des sixtes parallèles ou par mouvement contraire; les broderies dans trois parties à la fois sont soumises à la même règle mais elles peuvent aussi former des accords de sixte par mouvement parallèle.", "english": "7) Neighbour notes in two parts at once must form parallel thirds or sixths, or move in contrary motion; neighbour notes in three parts at once are subject to the same rule, but they may also form chords of the sixth in parallel motion.", "reading_order": 936, "section": "ch04-p068", "sources": [ { "pdf_page": 68, "source_image": "source-pages/068.png", "printed_page": 60 } ] }, { "id": "rh-084-ex05", "type": "music", "original": "[Exemple]", "english": "Example in 6/8, C major: neighbour notes in two and three parts at once, in parallel thirds and sixths, in contrary motion, and as parallel chords of the sixth.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 937, "section": "ch04-p068", "sources": [ { "pdf_page": 68, "source_image": "source-pages/068.png", "printed_page": 60 } ], "asset_refs": [ "rh-084-ex05" ] }, { "id": "rh-084-006", "type": "paragraph", "original": "Les doubles, triples broderies, etc. forment souvent des accords occasionnels.", "english": "Double, triple neighbour notes, etc. often form incidental chords.", "reading_order": 938, "section": "ch04-p068", "sources": [ { "pdf_page": 68, "source_image": "source-pages/068.png", "printed_page": 60 } ] }, { "id": "rh-084-007", "type": "heading", "original": "Des retards", "english": "Suspensions", "reading_order": 939, "section": "ch04-p068", "sources": [ { "pdf_page": 68, "source_image": "source-pages/068.png", "printed_page": 60 } ] }, { "id": "rh-084-008", "type": "heading", "original": "Notions générales", "english": "General Principles", "reading_order": 940, "section": "ch04-p068", "sources": [ { "pdf_page": 68, "source_image": "source-pages/068.png", "printed_page": 60 } ] }, { "id": "rh-084-009", "type": "paragraph", "original": "§ 69. — 1) Lorsqu'une partie, dans le passage d'un accord à un autre, arrête momentanément son mouvement graduel et prolonge son entrée au deuxième accord, elle produit le procédé appelé retard ou suspension.", "english": "§ 69. — 1) When a part, in passing from one chord to another, momentarily halts its stepwise motion and prolongs its entry into the second chord, it produces the device called retardation or suspension.", "reading_order": 941, "section": "ch04-p068", "sources": [ { "pdf_page": 68, "source_image": "source-pages/068.png", "printed_page": 60 } ] }, { "id": "rh-084-010", "type": "paragraph", "original": "Suivant le mouvement de la partie, le retard peut être ascendant ou descendant. Le retard doit toujours se trouver sur le temps fort de la mesure ou sur la partie forte d'un temps; la préparation peut être sur le temps faible ou sur le temps fort de la mesure précédente et la résolution sur le temps faible suivant.", "english": "According to the motion of the part, the suspension may be ascending or descending. The suspension must always fall on the strong beat of the bar or on the strong part of a beat; the preparation may be on the weak beat or on the strong beat of the preceding bar, and the resolution on the following weak beat.", "reading_order": 942, "section": "ch04-p068", "sources": [ { "pdf_page": 68, "source_image": "source-pages/068.png", "printed_page": 60 } ] }, { "id": "rh-085-001", "type": "paragraph", "original": "Dans une mesure à trois temps la résolution tombe sur le troisième temps et aussi sur le deuxième si le troisième contient un nouvel accord :", "english": "In a bar of three beats the resolution falls on the third beat, and also on the second if the third contains a new chord:", "reading_order": 943, "section": "ch04-p069", "sources": [ { "pdf_page": 69, "source_image": "source-pages/069.png", "printed_page": 61 } ] }, { "id": "rh-085-ex01", "type": "music", "original": "[Exemple] a) Prép. Ret. Rés. 4—3 · b) 7—6 · c) 9—8 5—4", "english": "Example: a) Prep(aration), Sus(pension, +), Res(olution): soprano C held over from the C major chord into the G chord, resolving C–B (4–3). b) Tenor E held over a bass F and resolving in eighth notes E–D (7–6) before C. c) Tenor D held over a bass C (9–8), then tenor C held over a bass F (5–4).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 944, "section": "ch04-p069", "sources": [ { "pdf_page": 69, "source_image": "source-pages/069.png", "printed_page": 61 } ], "asset_refs": [ "rh-085-ex01" ] }, { "id": "rh-085-ex02", "type": "music", "original": "[Exemple] d) 4—3 · e) 2—6 etc. · f) 7—8", "english": "Example: d) in triple time, the alto F held over from the F chord and resolving to E on the third beat (4–3). e) The bass F held over in eighth notes (2) and resolving to E (6), then \"etc.\" f) The soprano B held over the bass C and resolving to C (7–8).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 945, "section": "ch04-p069", "sources": [ { "pdf_page": 69, "source_image": "source-pages/069.png", "printed_page": 61 } ], "asset_refs": [ "rh-085-ex02" ] }, { "id": "rh-085-002", "type": "paragraph", "original": "2) Le retard doit former un accord dissonant ou un ensemble occasionnel. L'élève fera bien, dans ses devoirs, de s'abstenir des retards consonants.", "english": "2) The suspension must form a dissonant chord or an incidental combination. In his exercises the student will do well to refrain from consonant suspensions.", "reading_order": 946, "section": "ch04-p069", "sources": [ { "pdf_page": 69, "source_image": "source-pages/069.png", "printed_page": 61 } ] }, { "id": "rh-085-ex03", "type": "music", "original": "[Exemple] Acc. diss. · Ens. occas. diss. · Acc. cons.", "english": "Example: a suspension forming a dissonant chord (soprano A held over B–D–F); one forming a dissonant incidental combination (alto F held over C, marked +); and a consonant suspension (soprano C held over E–G), which is to be avoided.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 947, "section": "ch04-p069", "sources": [ { "pdf_page": 69, "source_image": "source-pages/069.png", "printed_page": 61 } ], "asset_refs": [ "rh-085-ex03" ] }, { "id": "rh-085-003", "type": "paragraph", "original": "3) La préparation ne doit pas avoir une durée plus courte que le retard.", "english": "3) The preparation must not be shorter in duration than the suspension.", "reading_order": 948, "section": "ch04-p069", "sources": [ { "pdf_page": 69, "source_image": "source-pages/069.png", "printed_page": 61 } ] }, { "id": "rh-085-ex04", "type": "music", "original": "Ne pas écrire :", "english": "Do not write: the soprano D prepared as a quarter note and then held as a half-note suspension (D–C) over the C major chord.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 949, "section": "ch04-p069", "sources": [ { "pdf_page": 69, "source_image": "source-pages/069.png", "printed_page": 61 } ], "asset_refs": [ "rh-085-ex04" ] }, { "id": "rh-085-004", "type": "paragraph", "original": "4) Le retard ne cache pas les quintes et octaves parallèles.", "english": "4) The suspension does not conceal parallel fifths and octaves.", "reading_order": 950, "section": "ch04-p069", "sources": [ { "pdf_page": 69, "source_image": "source-pages/069.png", "printed_page": 61 } ] }, { "id": "rh-085-ex05", "type": "music", "original": "[Exemple] même effet que : 5te 5te", "english": "Example: the suspension A–G in the top part over D–C still yields the same effect as the parallel fifths A/D–G/C (marked \"5th\").", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 951, "section": "ch04-p069", "sources": [ { "pdf_page": 69, "source_image": "source-pages/069.png", "printed_page": 61 } ], "asset_refs": [ "rh-085-ex05" ] }, { "id": "rh-085-ex06", "type": "music", "original": "[Exemple] même effet que : 8ve 8ve", "english": "Example: the suspension D–C in the top part still yields the same effect as the parallel octaves D/D–C/C (marked \"8ve\").", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 952, "section": "ch04-p069", "sources": [ { "pdf_page": 69, "source_image": "source-pages/069.png", "printed_page": 61 } ], "asset_refs": [ "rh-085-ex06" ] }, { "id": "rh-085-005", "type": "heading", "original": "Retards descendants", "english": "Descending Suspensions", "reading_order": 953, "section": "ch04-p069", "sources": [ { "pdf_page": 69, "source_image": "source-pages/069.png", "printed_page": 61 } ] }, { "id": "rh-085-006", "type": "paragraph", "original": "§ 70.— 1) La note sur laquelle le retard descendant se résout ne doit pas se trouver dans une autre partie au moment du retardement :", "english": "§ 70.— 1) The note on which the descending suspension resolves must not be present in another part at the moment of the suspension:", "reading_order": 954, "section": "ch04-p069", "sources": [ { "pdf_page": 69, "source_image": "source-pages/069.png", "printed_page": 61 } ] }, { "id": "rh-085-ex07", "type": "music", "original": "MAUVAIS", "english": "BAD: in the first fragment the soprano C is held over the G chord while the tenor already sounds B, its note of resolution; in the second, the tenor E is held over the bass B while the soprano already sounds D.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 955, "section": "ch04-p069", "sources": [ { "pdf_page": 69, "source_image": "source-pages/069.png", "printed_page": 61 } ], "asset_refs": [ "rh-085-ex07" ] }, { "id": "rh-086-001", "type": "paragraph", "original": "Pour obtenir des retards bien corrects on peut faire descendre ou monter la partie qui formerait obstacle:", "english": "To obtain fully correct suspensions, the part that would stand in the way may be made to descend or ascend:", "reading_order": 956, "section": "ch04-p070", "sources": [ { "pdf_page": 70, "source_image": "source-pages/070.png", "printed_page": 62 } ] }, { "id": "rh-086-ex01", "type": "music", "original": "au lieu de: … il faut écrire:", "english": "Instead of (left): the tenor sounds C, the note of resolution, at the moment the soprano's D is suspended over it; one must write (right): the tenor descends B–G and reaches C only on the soprano's resolution.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 957, "section": "ch04-p070", "sources": [ { "pdf_page": 70, "source_image": "source-pages/070.png", "printed_page": 62 } ], "asset_refs": [ "rh-086-ex01" ] }, { "id": "rh-086-002", "type": "paragraph", "original": "2) Comme exception à la règle précédente, la note, résolution du retard de l'une des trois parties supérieures, peut se trouver à la basse à distance de neuvième et lorsque ces notes sont fondamentales des accords parfaits ou des accords de septième:", "english": "2) As an exception to the preceding rule, the note of resolution of a suspension in one of the three upper parts may be present in the bass at the distance of a ninth, when these notes are the roots of triads or of seventh chords:", "reading_order": 958, "section": "ch04-p070", "sources": [ { "pdf_page": 70, "source_image": "source-pages/070.png", "printed_page": 62 } ] }, { "id": "rh-086-ex02", "type": "music", "original": "BON", "english": "Good: the suspended D (and, in the second fragment, A) sounds a ninth (compound) above its note of resolution, C (and G), which is the root in the bass.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 959, "section": "ch04-p070", "sources": [ { "pdf_page": 70, "source_image": "source-pages/070.png", "printed_page": 62 } ], "asset_refs": [ "rh-086-ex02" ] }, { "id": "rh-086-003", "type": "paragraph", "original": "Dans les accords parfaits incomplets cette exception peut être également appliquée à l'égard du ténor:", "english": "In incomplete triads this exception may likewise be applied with respect to the tenor:", "reading_order": 960, "section": "ch04-p070", "sources": [ { "pdf_page": 70, "source_image": "source-pages/070.png", "printed_page": 62 } ] }, { "id": "rh-086-ex03", "type": "music", "original": "[Exemple]", "english": "Example: the soprano's suspended D sounds a ninth above the tenor's C, the note of resolution, in an incomplete C major triad (C–C–E).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 961, "section": "ch04-p070", "sources": [ { "pdf_page": 70, "source_image": "source-pages/070.png", "printed_page": 62 } ], "asset_refs": [ "rh-086-ex03" ] }, { "id": "rh-086-004", "type": "paragraph", "original": "3) La septième et parfois la neuvième sont les seules notes de passage qui peuvent être retardées.", "english": "3) The seventh and sometimes the ninth are the only passing notes that may be suspended.", "reading_order": 962, "section": "ch04-p070", "sources": [ { "pdf_page": 70, "source_image": "source-pages/070.png", "printed_page": 62 } ] }, { "id": "rh-086-005", "type": "paragraph", "original": "4) Au moment de la résolution du retard descendant, les autres parties peuvent changer de position et former aussi un nouvel accord, pourvu que le retard soit correctement résolu sur une consonance:", "english": "4) At the moment the descending suspension resolves, the other parts may change position and may even form a new chord, provided that the suspension is correctly resolved onto a consonance:", "reading_order": 963, "section": "ch04-p070", "sources": [ { "pdf_page": 70, "source_image": "source-pages/070.png", "printed_page": 62 } ] }, { "id": "rh-086-ex04", "type": "music", "original": "[Exemple] 6 6 6", "english": "Example: the soprano's suspension D–C resolves while the other parts move (to C major in first inversion in the first pair of bars, to A minor in the second); figures 6 under the bass.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 964, "section": "ch04-p070", "sources": [ { "pdf_page": 70, "source_image": "source-pages/070.png", "printed_page": 62 } ], "asset_refs": [ "rh-086-ex04" ] }, { "id": "rh-086-006", "type": "paragraph", "original": "5) Au moment de la préparation du retard on peut intercaler dans les autres parties des notes de passage aussi bien qu'entre le retard et sa résolution:", "english": "5) At the moment of preparation of the suspension, passing notes may be inserted in the other parts, as well as between the suspension and its resolution:", "reading_order": 965, "section": "ch04-p070", "sources": [ { "pdf_page": 70, "source_image": "source-pages/070.png", "printed_page": 62 } ] }, { "id": "rh-086-ex05", "type": "music", "original": "[Exemple]", "english": "Example: passing notes in the tenor and bass during the preparation, and in the alto and bass between the suspension (D) and its resolution (C).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 966, "section": "ch04-p070", "sources": [ { "pdf_page": 70, "source_image": "source-pages/070.png", "printed_page": 62 } ], "asset_refs": [ "rh-086-ex05" ] }, { "id": "rh-086-007", "type": "paragraph", "original": "6) Au moment de la résolution du retard descendant, une des parties peut former septième de passage; les quintes et quartes se formant ainsi, et dont la première seulement est juste, sont tolérées:", "english": "6) At the moment the descending suspension resolves, one of the parts may form a passing seventh; the fifths and fourths that arise in this way, of which only the first is perfect, are tolerated:", "reading_order": 967, "section": "ch04-p070", "sources": [ { "pdf_page": 70, "source_image": "source-pages/070.png", "printed_page": 62 } ] }, { "id": "rh-086-ex06", "type": "music", "original": "[Exemple] 5te … 5te; 4te … 4te aug.", "english": "Example: in bar 2 the soprano's passing seventh A over B forms fifths with the alto (B–E perfect, then A–D♯ diminished); in bar 3 the bass's passing seventh D under E forms fourths with the soprano (E–A perfect, then D–G♯ augmented).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 968, "section": "ch04-p070", "sources": [ { "pdf_page": 70, "source_image": "source-pages/070.png", "printed_page": 62 } ], "asset_refs": [ "rh-086-ex06" ] }, { "id": "rh-087-ex01", "type": "music", "original": "EXEMPLES DE RETARDS DESCENDANTS", "english": "EXAMPLES OF DESCENDING SUSPENSIONS", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 969, "section": "ch04-p071", "sources": [ { "pdf_page": 71, "source_image": "source-pages/071.png", "printed_page": 63 } ], "asset_refs": [ "rh-087-ex01" ] }, { "id": "rh-087-001", "type": "heading", "original": "RETARDS ASCENDANTS ET SIMULTANÉS", "english": "Ascending and simultaneous suspensions", "reading_order": 970, "section": "ch04-p071", "sources": [ { "pdf_page": 71, "source_image": "source-pages/071.png", "printed_page": 63 } ] }, { "id": "rh-087-002", "type": "paragraph", "original": "§ 71.— 1) Les retards ascendants à une seconde mineure sont plus satisfaisants que ceux à une seconde majeure; les plus usités des retards ascendants sont les notes sensibles qui retardent la tonique.", "english": "§ 71.— 1) Ascending suspensions by a minor second are more satisfactory than those by a major second; the most commonly used ascending suspensions are leading notes that delay the tonic.", "reading_order": 971, "section": "ch04-p071", "sources": [ { "pdf_page": 71, "source_image": "source-pages/071.png", "printed_page": 63 } ] }, { "id": "rh-087-003", "type": "paragraph", "original": "La note de résolution ne doit pas se trouver dans une partie supérieure à celle du retard:", "english": "The note of resolution must not be in a part higher than that of the suspension:", "reading_order": 972, "section": "ch04-p071", "sources": [ { "pdf_page": 71, "source_image": "source-pages/071.png", "printed_page": 63 } ] }, { "id": "rh-087-ex02", "type": "music", "original": "MAUVAIS — BON", "english": "BAD — GOOD", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 973, "section": "ch04-p071", "sources": [ { "pdf_page": 71, "source_image": "source-pages/071.png", "printed_page": 63 } ], "asset_refs": [ "rh-087-ex02" ] }, { "id": "rh-087-004", "type": "paragraph", "original": "Elle ne doit pas non plus se trouver à l'alto ni dans l'accord de sixte:", "english": "Nor must it be in the alto, nor in the chord of the sixth:", "reading_order": 974, "section": "ch04-p071", "sources": [ { "pdf_page": 71, "source_image": "source-pages/071.png", "printed_page": 63 } ] }, { "id": "rh-087-ex03", "type": "music", "original": "[Exemple]", "english": "[Example]", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 975, "section": "ch04-p071", "sources": [ { "pdf_page": 71, "source_image": "source-pages/071.png", "printed_page": 63 } ], "asset_refs": [ "rh-087-ex03" ] }, { "id": "rh-087-005", "type": "paragraph", "original": "2) Dans les doubles et triples retards les parties doivent procéder par tierces et sixtes parallèles ou par mouvement contraire:", "english": "2) In double and triple suspensions the parts must move in parallel thirds and sixths or in contrary motion:", "reading_order": 976, "section": "ch04-p071", "sources": [ { "pdf_page": 71, "source_image": "source-pages/071.png", "printed_page": 63 } ] }, { "id": "rh-087-ex04", "type": "music", "original": "[Exemple]", "english": "[Example]", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 977, "section": "ch04-p071", "sources": [ { "pdf_page": 71, "source_image": "source-pages/071.png", "printed_page": 63 } ], "asset_refs": [ "rh-087-ex04" ] }, { "id": "rh-088-001", "type": "paragraph", "original": "3) Parfois deux retards, séparément incorrects, deviennent corrects par le fait de leur réunion:", "english": "3) Sometimes two suspensions, each incorrect on its own, become correct through being combined:", "reading_order": 978, "section": "ch04-p072", "sources": [ { "pdf_page": 72, "source_image": "source-pages/072.png", "printed_page": 64 } ] }, { "id": "rh-088-ex01", "type": "music", "original": "MAUVAIS · MAUVAIS · BON", "english": "Bad: the soprano suspension D sounds against C, its note of resolution, in the tenor. Bad: the tenor suspension B sounds against C, its note of resolution, in the soprano. Good: both suspensions are made together and resolve together.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 979, "section": "ch04-p072", "sources": [ { "pdf_page": 72, "source_image": "source-pages/072.png", "printed_page": 64 } ], "asset_refs": [ "rh-088-ex01" ] }, { "id": "rh-088-002", "type": "heading", "original": "EXEMPLE DES SUCCESSIONS HARMONIQUES AVEC DES RETARDS ASCENDANTS ET SIMULTANÉS", "english": "Example of harmonic progressions with ascending and simultaneous suspensions", "reading_order": 980, "section": "ch04-p072", "sources": [ { "pdf_page": 72, "source_image": "source-pages/072.png", "printed_page": 64 } ] }, { "id": "rh-088-ex02", "type": "music", "original": "[Exemple]", "english": "Eight-bar progression in C major, common time, with suspensions, including ascending and simultaneous ones, ending with a fermata on the tonic chord.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 981, "section": "ch04-p072", "sources": [ { "pdf_page": 72, "source_image": "source-pages/072.png", "printed_page": 64 } ], "asset_refs": [ "rh-088-ex02" ] }, { "id": "rh-088-003", "type": "paragraph", "original": "REMARQUE.— Les retards simultanés, marqués N.B. sont considérés par quelques théoriciens comme accords de onzième (a) et treizième (b) sans tierce et sans quinte.", "english": "REMARK.— The simultaneous suspensions marked N.B. are regarded by some theorists as chords of the eleventh (a) and of the thirteenth (b) without third and without fifth.", "reading_order": 982, "section": "ch04-p072", "sources": [ { "pdf_page": 72, "source_image": "source-pages/072.png", "printed_page": 64 } ] }, { "id": "rh-088-ex03", "type": "music", "original": "a) N.B. 11 · b) N.B. 13", "english": "a) The chord marked N.B. (G with F, A, C above it, figured 11) as an eleventh chord without third and fifth, resolving to the dominant seventh and then to the C major triad. b) The chord marked N.B. (G with F, A flat, C, E above it, figured 13) as a thirteenth chord without third and fifth, resolving likewise.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 983, "section": "ch04-p072", "sources": [ { "pdf_page": 72, "source_image": "source-pages/072.png", "printed_page": 64 } ], "asset_refs": [ "rh-088-ex03" ] }, { "id": "rh-088-004", "type": "heading", "original": "Devoir No 27 (basses et chants donnés)", "english": "Exercise No. 27 (given basses and melodies)", "reading_order": 984, "section": "ch04-p072", "sources": [ { "pdf_page": 72, "source_image": "source-pages/072.png", "printed_page": 64 } ] }, { "id": "rh-088-005", "type": "heading", "original": "SUPPLÉMENT", "english": "Supplement", "reading_order": 985, "section": "ch04-p072", "sources": [ { "pdf_page": 72, "source_image": "source-pages/072.png", "printed_page": 64 } ] }, { "id": "rh-088-006", "type": "heading", "original": "RETARD de L'OCTAVE DIMINUÉE ou de L'UNISSON AUGMENTÉ", "english": "Suspension of the diminished octave or of the augmented unison", "reading_order": 986, "section": "ch04-p072", "sources": [ { "pdf_page": 72, "source_image": "source-pages/072.png", "printed_page": 64 } ] }, { "id": "rh-088-007", "type": "paragraph", "original": "Dans certains cas, p. ex: dans la modulation chromatique en mineur, dans la cadence rompue en majeur, dans la demi-cadence en mineur, avec une note de passage chromatique, etc. il peut se former par l'accord de septième diminuée, le retard d'octave diminuée avec la basse:", "english": "In certain cases, e.g. in chromatic modulation in minor, in the deceptive cadence in major, in the half cadence in minor, with a chromatic passing note, etc., the diminished seventh chord may produce a suspension forming a diminished octave with the bass:", "reading_order": 987, "section": "ch04-p072", "sources": [ { "pdf_page": 72, "source_image": "source-pages/072.png", "printed_page": 64 } ] }, { "id": "rh-088-ex04", "type": "music", "original": "8ve dim. · 8ve dim.", "english": "Two progressions separated by a double bar. First: G major chord, then the bass moves chromatically to G sharp while the alto G is held as a suspension, a diminished octave above the bass, before falling to F (diminished seventh chord), resolving to A minor. Second: D minor chord, then the bass moves to D sharp while the soprano D is held as a suspension, a diminished octave above the bass, before falling to C (diminished seventh chord), resolving to E major.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 988, "section": "ch04-p072", "sources": [ { "pdf_page": 72, "source_image": "source-pages/072.png", "printed_page": 64 } ], "asset_refs": [ "rh-088-ex04" ] }, { "id": "rh-088-008", "type": "paragraph", "original": "2) En changeant la disposition des parties il peut en résulter un retard rarement employé formant unisson augmenté:", "english": "2) By changing the arrangement of the parts, there may result a rarely used suspension forming an augmented unison:", "reading_order": 989, "section": "ch04-p072", "sources": [ { "pdf_page": 72, "source_image": "source-pages/072.png", "printed_page": 64 } ] }, { "id": "rh-088-ex05", "type": "music", "original": "unisson augm. · etc.", "english": "The alto holds G as a suspension while the soprano rises from G to G sharp, forming an augmented unison; the alto then falls to F and E, the soprano rises to A (A minor chord). The example breaks off with \"etc.\"", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 990, "section": "ch04-p072", "sources": [ { "pdf_page": 72, "source_image": "source-pages/072.png", "printed_page": 64 } ], "asset_refs": [ "rh-088-ex05" ] }, { "id": "rh-089-001", "type": "heading", "original": "De l'ornement mélodique du Style rigoureux", "english": "Melodic Ornamentation in the Strict Style", "reading_order": 991, "section": "ch04-p073", "sources": [ { "pdf_page": 73, "source_image": "source-pages/073.png", "printed_page": 65 } ] }, { "id": "rh-089-002", "type": "paragraph", "original": "§ 73.— 1) On se sert des notes de passage, des broderies et des retards pour agrémenter un chant et, en général, les parties des successions harmoniques.", "english": "§ 73.— 1) Passing notes, neighbour notes and suspensions are used to embellish a melody and, in general, the parts of harmonic progressions.", "reading_order": 992, "section": "ch04-p073", "sources": [ { "pdf_page": 73, "source_image": "source-pages/073.png", "printed_page": 65 } ] }, { "id": "rh-089-003", "type": "paragraph", "original": "Cet agrément de l'harmonie s'appelle ornement mélodique. Tous ces procédés peuvent s'alterner dans une seule partie ou dans plusieurs parties à la fois.", "english": "This embellishment of the harmony is called melodic ornamentation. All these devices may alternate within a single part or in several parts at once.", "reading_order": 993, "section": "ch04-p073", "sources": [ { "pdf_page": 73, "source_image": "source-pages/073.png", "printed_page": 65 } ] }, { "id": "rh-089-004", "type": "paragraph", "original": "2) Les notes consonantes des accords et la septième mineure formée librement sans préparation et sans résolution, servant quelque peu de soutien au mouvement des parties, donnent en outre le moyen de former des retards ou des notes de passage là où tout d'abord cela parait impossible.", "english": "2) The consonant notes of the chords, and the minor seventh formed freely without preparation and without resolution, which serve as a kind of support for the movement of the parts, also provide the means of forming suspensions or passing notes where at first this seems impossible.", "reading_order": 994, "section": "ch04-p073", "sources": [ { "pdf_page": 73, "source_image": "source-pages/073.png", "printed_page": 65 } ] }, { "id": "rh-089-005", "type": "paragraph", "original": "Le mouvement disjoint des parties ne permet pas de former des retards, de même que le mouvement conjoint ne donne pas lieu aux notes de passage. L'un et l'autre s'obtiennent à l'aide des sauts d'une des parties sur une des notes consonantes de l'accord:", "english": "Disjunct motion of the parts does not allow suspensions to be formed, just as conjunct motion gives no occasion for passing notes. Both are obtained by means of a leap in one of the parts to one of the consonant notes of the chord:", "reading_order": 995, "section": "ch04-p073", "sources": [ { "pdf_page": 73, "source_image": "source-pages/073.png", "printed_page": 65 } ] }, { "id": "rh-089-006", "type": "paragraph", "original": "Le retard descendant est impossible:", "english": "The descending suspension is impossible:", "reading_order": 996, "section": "ch04-p073", "sources": [ { "pdf_page": 73, "source_image": "source-pages/073.png", "printed_page": 65 } ] }, { "id": "rh-089-ex01", "type": "music", "original": "[Exemple]", "english": "[Example]", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 997, "section": "ch04-p073", "sources": [ { "pdf_page": 73, "source_image": "source-pages/073.png", "printed_page": 65 } ], "asset_refs": [ "rh-089-ex01" ] }, { "id": "rh-089-007", "type": "paragraph", "original": "Il devient possible à l'aide d'un saut:", "english": "It becomes possible with the help of a leap:", "reading_order": 998, "section": "ch04-p073", "sources": [ { "pdf_page": 73, "source_image": "source-pages/073.png", "printed_page": 65 } ] }, { "id": "rh-089-ex02", "type": "music", "original": "[Exemple]", "english": "[Example]", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 999, "section": "ch04-p073", "sources": [ { "pdf_page": 73, "source_image": "source-pages/073.png", "printed_page": 65 } ], "asset_refs": [ "rh-089-ex02" ] }, { "id": "rh-089-008", "type": "paragraph", "original": "Les notes de passage diatoniques sont impossibles:", "english": "Diatonic passing notes are impossible:", "reading_order": 1000, "section": "ch04-p073", "sources": [ { "pdf_page": 73, "source_image": "source-pages/073.png", "printed_page": 65 } ] }, { "id": "rh-089-ex03", "type": "music", "original": "[Exemple]", "english": "[Example]", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1001, "section": "ch04-p073", "sources": [ { "pdf_page": 73, "source_image": "source-pages/073.png", "printed_page": 65 } ], "asset_refs": [ "rh-089-ex03" ] }, { "id": "rh-089-009", "type": "paragraph", "original": "Elles s'introduisent à l'aide des notes réelles:", "english": "They are introduced with the help of real notes:", "reading_order": 1002, "section": "ch04-p073", "sources": [ { "pdf_page": 73, "source_image": "source-pages/073.png", "printed_page": 65 } ] }, { "id": "rh-089-ex04", "type": "music", "original": "[Exemple]", "english": "[Example]", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1003, "section": "ch04-p073", "sources": [ { "pdf_page": 73, "source_image": "source-pages/073.png", "printed_page": 65 } ], "asset_refs": [ "rh-089-ex04" ] }, { "id": "rh-089-010", "type": "paragraph", "original": "3) Les notes de passage et les broderies peuvent également se trouver sur la partie forte de la mesure ou sur la partie forte d'un temps, si à ce moment il ne se produit pas un nouvel accord.", "english": "3) Passing notes and neighbour notes may also occur on the strong part of the bar or on the strong part of a beat, provided that no new chord arises at that moment.", "reading_order": 1004, "section": "ch04-p073", "sources": [ { "pdf_page": 73, "source_image": "source-pages/073.png", "printed_page": 65 } ] }, { "id": "rh-089-ex05", "type": "music", "original": "[Exemple] etc.", "english": "[Example] etc.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1005, "section": "ch04-p073", "sources": [ { "pdf_page": 73, "source_image": "source-pages/073.png", "printed_page": 65 } ], "asset_refs": [ "rh-089-ex05" ] }, { "id": "rh-089-011", "type": "paragraph", "original": "4) La note, résolution de cette note de passage, peut se trouver dans une autre partie toujours à l'octave inférieure:", "english": "4) The note that resolves this passing note may lie in another part, always in the lower octave:", "reading_order": 1006, "section": "ch04-p073", "sources": [ { "pdf_page": 73, "source_image": "source-pages/073.png", "printed_page": 65 } ] }, { "id": "rh-089-ex06", "type": "music", "original": "MAUVAIS", "english": "BAD", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1007, "section": "ch04-p073", "sources": [ { "pdf_page": 73, "source_image": "source-pages/073.png", "printed_page": 65 } ], "asset_refs": [ "rh-089-ex06" ] }, { "id": "rh-090-001", "type": "paragraph", "original": "Elle ne doit pas être tierce à l'accord:", "english": "It must not be the third of the chord:", "reading_order": 1008, "section": "ch04-p074", "sources": [ { "pdf_page": 74, "source_image": "source-pages/074.png", "printed_page": 66 } ] }, { "id": "rh-090-ex01", "type": "music", "original": "[Exemple]", "english": "[Example]", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1009, "section": "ch04-p074", "sources": [ { "pdf_page": 74, "source_image": "source-pages/074.png", "printed_page": 66 } ], "asset_refs": [ "rh-090-ex01" ] }, { "id": "rh-090-002", "type": "paragraph", "original": "Dans les deux cas la partie formant obstacle doit changer de position:", "english": "In both cases the part forming the obstacle must change position:", "reading_order": 1010, "section": "ch04-p074", "sources": [ { "pdf_page": 74, "source_image": "source-pages/074.png", "printed_page": 66 } ] }, { "id": "rh-090-ex02", "type": "music", "original": "BON", "english": "GOOD", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1011, "section": "ch04-p074", "sources": [ { "pdf_page": 74, "source_image": "source-pages/074.png", "printed_page": 66 } ], "asset_refs": [ "rh-090-ex02" ] }, { "id": "rh-090-003", "type": "paragraph", "original": "5) Les exemples suivants sont considérés comme des quintes et des octaves parallèles et sont absolument défendues:", "english": "5) The following examples are regarded as parallel fifths and octaves and are absolutely forbidden:", "reading_order": 1012, "section": "ch04-p074", "sources": [ { "pdf_page": 74, "source_image": "source-pages/074.png", "printed_page": 66 } ] }, { "id": "rh-090-ex03", "type": "music", "original": "[Exemple] a) b) c)", "english": "[Example] a) b) c)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1013, "section": "ch04-p074", "sources": [ { "pdf_page": 74, "source_image": "source-pages/074.png", "printed_page": 66 } ], "asset_refs": [ "rh-090-ex03" ] }, { "id": "rh-090-004", "type": "paragraph", "original": "Au contraire, les octaves et les quintes sur les temps faibles sont permises:", "english": "On the other hand, octaves and fifths on the weak beats are permitted:", "reading_order": 1014, "section": "ch04-p074", "sources": [ { "pdf_page": 74, "source_image": "source-pages/074.png", "printed_page": 66 } ] }, { "id": "rh-090-ex04", "type": "music", "original": "[Exemple] d) e) f)", "english": "[Example] d) e) f)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1015, "section": "ch04-p074", "sources": [ { "pdf_page": 74, "source_image": "source-pages/074.png", "printed_page": 66 } ], "asset_refs": [ "rh-090-ex04" ] }, { "id": "rh-090-005", "type": "paragraph", "original": "6) La partie retardante est souvent agrémentée par l'intercalation d'une note réelle ou par des broderies.", "english": "6) The suspending part is often ornamented by inserting a chord note or by auxiliary notes.", "reading_order": 1016, "section": "ch04-p074", "sources": [ { "pdf_page": 74, "source_image": "source-pages/074.png", "printed_page": 66 } ] }, { "id": "rh-090-ex05", "type": "music", "original": "[Exemple] a) b) c)", "english": "[Example] a) b) c)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1017, "section": "ch04-p074", "sources": [ { "pdf_page": 74, "source_image": "source-pages/074.png", "printed_page": 66 } ], "asset_refs": [ "rh-090-ex05" ] }, { "id": "rh-090-006", "type": "paragraph", "original": "7) On peut agrémenter le retard descendant avec la broderie inférieure de la note retardée et le retard ascendant avec la broderie supérieure; l'une et l'autre se prennent à la tierce du retard:", "english": "7) The descending suspension may be ornamented with the lower auxiliary of the delayed note, and the ascending suspension with the upper auxiliary; both are taken at the third from the suspension:", "reading_order": 1018, "section": "ch04-p074", "sources": [ { "pdf_page": 74, "source_image": "source-pages/074.png", "printed_page": 66 } ] }, { "id": "rh-090-ex06", "type": "music", "original": "[Exemple]", "english": "[Example]", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1019, "section": "ch04-p074", "sources": [ { "pdf_page": 74, "source_image": "source-pages/074.png", "printed_page": 66 } ], "asset_refs": [ "rh-090-ex06" ] }, { "id": "rh-091-001", "type": "heading", "original": "Du choral figuré et réalisation d'un chant contenant l'ornement mélodique", "english": "On the Figured Chorale, and the Harmonization of a Melody Containing Melodic Ornamentation", "reading_order": 1020, "section": "ch04-p075", "sources": [ { "pdf_page": 75, "source_image": "source-pages/075.png", "printed_page": 67 } ] }, { "id": "rh-091-002", "type": "paragraph", "original": "§ 74.— 1) Pour le développement des parties des simples successions harmoniques avec l'ornement mélodique il faut éviter:", "english": "§ 74.— 1) When developing the parts of simple harmonic progressions with melodic ornamentation, one must avoid:", "reading_order": 1021, "section": "ch04-p075", "sources": [ { "pdf_page": 75, "source_image": "source-pages/075.png", "printed_page": 67 } ] }, { "id": "rh-091-003", "type": "paragraph", "original": "a) Les dessins mélodiques formés seulement par des broderies:", "english": "a) Melodic figures formed solely of neighbour notes:", "reading_order": 1022, "section": "ch04-p075", "sources": [ { "pdf_page": 75, "source_image": "source-pages/075.png", "printed_page": 67 } ] }, { "id": "rh-091-ex01", "type": "music", "original": "[Exemple]", "english": "[Example]", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1023, "section": "ch04-p075", "sources": [ { "pdf_page": 75, "source_image": "source-pages/075.png", "printed_page": 67 } ], "asset_refs": [ "rh-091-ex01" ] }, { "id": "rh-091-004", "type": "paragraph", "original": "b) Les dessins mélodiques formés des notes intégrantes réitérées:", "english": "b) Melodic figures formed of repeated chord notes:", "reading_order": 1024, "section": "ch04-p075", "sources": [ { "pdf_page": 75, "source_image": "source-pages/075.png", "printed_page": 67 } ] }, { "id": "rh-091-ex02", "type": "music", "original": "[Exemple]", "english": "[Example]", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1025, "section": "ch04-p075", "sources": [ { "pdf_page": 75, "source_image": "source-pages/075.png", "printed_page": 67 } ], "asset_refs": [ "rh-091-ex02" ] }, { "id": "rh-091-005", "type": "paragraph", "original": "c) Plusieurs dessins mélodiques de sixte, composés des notes intégrantes et formant plutôt ornement harmonique:", "english": "c) Several melodic figures spanning a sixth, composed of chord notes and amounting rather to harmonic ornamentation:", "reading_order": 1026, "section": "ch04-p075", "sources": [ { "pdf_page": 75, "source_image": "source-pages/075.png", "printed_page": 67 } ] }, { "id": "rh-091-ex03", "type": "music", "original": "[Exemple] etc.", "english": "[Example] etc.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1027, "section": "ch04-p075", "sources": [ { "pdf_page": 75, "source_image": "source-pages/075.png", "printed_page": 67 } ], "asset_refs": [ "rh-091-ex03" ] }, { "id": "rh-091-006", "type": "paragraph", "original": "d) Les mouvements disjoints après la résolution des retards:", "english": "d) Disjunct motion after the resolution of suspensions:", "reading_order": 1028, "section": "ch04-p075", "sources": [ { "pdf_page": 75, "source_image": "source-pages/075.png", "printed_page": 67 } ] }, { "id": "rh-091-ex04", "type": "music", "original": "[Exemple]", "english": "[Example]", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1029, "section": "ch04-p075", "sources": [ { "pdf_page": 75, "source_image": "source-pages/075.png", "printed_page": 67 } ], "asset_refs": [ "rh-091-ex04" ] }, { "id": "rh-091-007", "type": "paragraph", "original": "e) Les sauts de la sensible de courte durée sur la tierce inférieure:", "english": "e) Short-valued leaps of the leading note to the third below:", "reading_order": 1030, "section": "ch04-p075", "sources": [ { "pdf_page": 75, "source_image": "source-pages/075.png", "printed_page": 67 } ] }, { "id": "rh-091-ex05", "type": "music", "original": "[Exemple]", "english": "[Example]", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1031, "section": "ch04-p075", "sources": [ { "pdf_page": 75, "source_image": "source-pages/075.png", "printed_page": 67 } ], "asset_refs": [ "rh-091-ex05" ] }, { "id": "rh-091-008", "type": "paragraph", "original": "f) La répétition de la note résolution du retard:", "english": "f) Repetition of the note that resolves the suspension:", "reading_order": 1032, "section": "ch04-p075", "sources": [ { "pdf_page": 75, "source_image": "source-pages/075.png", "printed_page": 67 } ] }, { "id": "rh-091-ex06", "type": "music", "original": "MAUVAIS — BON", "english": "BAD — GOOD", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1033, "section": "ch04-p075", "sources": [ { "pdf_page": 75, "source_image": "source-pages/075.png", "printed_page": 67 } ], "asset_refs": [ "rh-091-ex06" ] }, { "id": "rh-091-009", "type": "paragraph", "original": "g) La répétition immédiate de la dernière note d'un dessin mélodique, sur le temps fort de la mesure et dans la même partie:", "english": "g) The immediate repetition of the last note of a melodic figure on the strong beat of the bar and in the same part:", "reading_order": 1034, "section": "ch04-p075", "sources": [ { "pdf_page": 75, "source_image": "source-pages/075.png", "printed_page": 67 } ] }, { "id": "rh-091-ex07", "type": "music", "original": "[Exemple]", "english": "[Example]", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1035, "section": "ch04-p075", "sources": [ { "pdf_page": 75, "source_image": "source-pages/075.png", "printed_page": 67 } ], "asset_refs": [ "rh-091-ex07" ] }, { "id": "rh-091-010", "type": "paragraph", "original": "2) En réalisant des chants chorals, ceux-ci ne doivent être modifiés dans aucun cas; dans les autres parties on tâchera de soutenir sans interruption le premier mouvement, l'arrêtant seulement sur le point d'orgue.", "english": "2) When harmonizing chorale melodies, these must not be altered in any case; in the other parts one should try to sustain the initial motion without interruption, stopping it only at the fermata.", "reading_order": 1036, "section": "ch04-p075", "sources": [ { "pdf_page": 75, "source_image": "source-pages/075.png", "printed_page": 67 } ] }, { "id": "rh-091-011", "type": "paragraph", "original": "Les notes de passage chromatiques sont à éviter.", "english": "Chromatic passing notes are to be avoided.", "reading_order": 1037, "section": "ch04-p075", "sources": [ { "pdf_page": 75, "source_image": "source-pages/075.png", "printed_page": 67 } ] }, { "id": "rh-091-012", "type": "paragraph", "original": "3) En réalisant des chants contenant des ornements mélodiques on s'appliquera, en cas d'arrêt du chant, à soutenir son mouvement par les autres parties.", "english": "3) When harmonizing melodies that contain melodic ornaments, one should take care, wherever the melody comes to a halt, to sustain its motion in the other parts.", "reading_order": 1038, "section": "ch04-p075", "sources": [ { "pdf_page": 75, "source_image": "source-pages/075.png", "printed_page": 67 } ] }, { "id": "rh-092-001", "type": "heading", "original": "DEVOIR N° 28 (CHORALS FIGURÉS)", "english": "EXERCISE No. 28 (FIGURED CHORALES)", "reading_order": 1039, "section": "ch04-p076", "sources": [ { "pdf_page": 76, "source_image": "source-pages/076.png", "printed_page": 68 } ] }, { "id": "rh-092-002", "type": "paragraph", "original": "Réaliser les chants chorals avec ornement dans les trois parties inférieures.", "english": "Realize the chorale melodies with ornamentation in the three lower parts.", "reading_order": 1040, "section": "ch04-p076", "sources": [ { "pdf_page": 76, "source_image": "source-pages/076.png", "printed_page": 68 } ] }, { "id": "rh-092-003", "type": "heading", "original": "MODÈLES", "english": "MODELS", "reading_order": 1041, "section": "ch04-p076", "sources": [ { "pdf_page": 76, "source_image": "source-pages/076.png", "printed_page": 68 } ] }, { "id": "rh-092-ex01", "type": "music", "original": "CHORAL I", "english": "CHORALE I", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1042, "section": "ch04-p076", "sources": [ { "pdf_page": 76, "source_image": "source-pages/076.png", "printed_page": 68 } ], "asset_refs": [ "rh-092-ex01" ] }, { "id": "rh-092-ex02", "type": "music", "original": "CHORAL II", "english": "CHORALE II", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1043, "section": "ch04-p076", "sources": [ { "pdf_page": 76, "source_image": "source-pages/076.png", "printed_page": 68 } ], "asset_refs": [ "rh-092-ex02" ] }, { "id": "rh-093-001", "type": "heading", "original": "DEVOIR N° 29", "english": "EXERCISE No. 29", "reading_order": 1044, "section": "ch04-p077", "sources": [ { "pdf_page": 77, "source_image": "source-pages/077.png", "printed_page": 69 } ] }, { "id": "rh-093-002", "type": "paragraph", "original": "Réaliser les chants donnés contenant des notes de passage, broderies et retards.", "english": "Realize the given melodies, which contain passing notes, auxiliary notes and suspensions.", "reading_order": 1045, "section": "ch04-p077", "sources": [ { "pdf_page": 77, "source_image": "source-pages/077.png", "printed_page": 69 } ] }, { "id": "rh-093-ex01", "type": "music", "original": "MODÈLE", "english": "Model realization in C major, 4/4, eight bars, with passing notes, auxiliary notes and suspensions in all parts", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1046, "section": "ch04-p077", "sources": [ { "pdf_page": 77, "source_image": "source-pages/077.png", "printed_page": 69 } ], "asset_refs": [ "rh-093-ex01" ] }, { "id": "rh-093-003", "type": "heading", "original": "DE L'ORNEMENT MÉLODIQUE du STYLE LIBRE", "english": "Melodic Ornamentation in the Free Style", "reading_order": 1047, "section": "ch04-p077", "sources": [ { "pdf_page": 77, "source_image": "source-pages/077.png", "printed_page": 69 } ] }, { "id": "rh-093-004", "type": "paragraph", "original": "§ 75.—Les procédés les plus usités de l'ornement mélodique du style libre sont les suivants:", "english": "§ 75.—The most commonly used devices of melodic ornamentation in the free style are the following:", "reading_order": 1048, "section": "ch04-p077", "sources": [ { "pdf_page": 77, "source_image": "source-pages/077.png", "printed_page": 69 } ] }, { "id": "rh-093-005", "type": "paragraph", "original": "1) La note de passage et la broderie sur le temps fort de la mesure ou sur la partie forte d'un temps envisagée aussi comme retard préparé par le mouvement successif:", "english": "1) The passing note and the auxiliary note on the strong beat of the bar or on the strong part of a beat, regarded also as a suspension prepared by stepwise motion:", "reading_order": 1049, "section": "ch04-p077", "sources": [ { "pdf_page": 77, "source_image": "source-pages/077.png", "printed_page": 69 } ] }, { "id": "rh-093-ex02", "type": "music", "original": "[Exemple]", "english": "[Example]", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1050, "section": "ch04-p077", "sources": [ { "pdf_page": 77, "source_image": "source-pages/077.png", "printed_page": 69 } ], "asset_refs": [ "rh-093-ex02" ] }, { "id": "rh-093-006", "type": "paragraph", "original": "2) Les broderies sur les temps forts et faibles de la mesure ou sur les parties fortes et faibles d'un temps dérivant d'un mouvement disjoint; celles du temps fort ou de la partie forte s'appellent aussi retards sans préparation ou appogiatures:", "english": "2) Auxiliary notes on the strong and weak beats of the bar, or on the strong and weak parts of a beat, arising from disjunct motion; those on the strong beat or on the strong part of a beat are also called unprepared suspensions or appoggiaturas:", "reading_order": 1051, "section": "ch04-p077", "sources": [ { "pdf_page": 77, "source_image": "source-pages/077.png", "printed_page": 69 } ] }, { "id": "rh-093-ex03", "type": "music", "original": "[Exemple]", "english": "[Example]", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1052, "section": "ch04-p077", "sources": [ { "pdf_page": 77, "source_image": "source-pages/077.png", "printed_page": 69 } ], "asset_refs": [ "rh-093-ex03" ] }, { "id": "rh-093-007", "type": "paragraph", "original": "3) La double appogiature: Lorsque la note principale est précédée de l'appogiature ascendante suivie de celle descendante et réciproquement:", "english": "3) The double appoggiatura: when the principal note is preceded by the ascending appoggiatura followed by the descending one, and vice versa:", "reading_order": 1053, "section": "ch04-p077", "sources": [ { "pdf_page": 77, "source_image": "source-pages/077.png", "printed_page": 69 } ] }, { "id": "rh-093-ex04", "type": "music", "original": "[Exemple]", "english": "[Example]", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1054, "section": "ch04-p077", "sources": [ { "pdf_page": 77, "source_image": "source-pages/077.png", "printed_page": 69 } ], "asset_refs": [ "rh-093-ex04" ] }, { "id": "rh-094-001", "type": "heading", "original": "RÈGLES GÉNÉRALES", "english": "GENERAL RULES", "reading_order": 1055, "section": "ch04-p078", "sources": [ { "pdf_page": 78, "source_image": "source-pages/078.png", "printed_page": 70 } ] }, { "id": "rh-094-002", "type": "paragraph", "original": "Toutes les notes dissonantes énoncées ci-dessus sont soumises aux règles des retards descendants et ascendants; elles ne permettent pas la doublure de la note résolution, excepté les notes fondamentales à la basse et à distance d'octave au minimum.", "english": "All the dissonant notes described above are subject to the rules for descending and ascending suspensions: they do not allow the note of resolution to be doubled, except for roots in the bass, and then at a distance of at least an octave.", "reading_order": 1056, "section": "ch04-p078", "sources": [ { "pdf_page": 78, "source_image": "source-pages/078.png", "printed_page": 70 } ] }, { "id": "rh-094-003", "type": "paragraph", "original": "Parfois aussi on fait exception à la basse de l'accord de sixte et aux notes quintes à l'accord.", "english": "Sometimes an exception is also made for the bass of the sixth chord and for notes that are the fifth of the chord.", "reading_order": 1057, "section": "ch04-p078", "sources": [ { "pdf_page": 78, "source_image": "source-pages/078.png", "printed_page": 70 } ] }, { "id": "rh-094-004", "type": "paragraph", "original": "Par conséquent les notes qui formeraient obstacle doivent changer de position, ce qui est indiqué dans les exemples précédents par des traits.", "english": "Consequently the notes that would stand in the way must change position, as is shown by lines in the preceding examples.", "reading_order": 1058, "section": "ch04-p078", "sources": [ { "pdf_page": 78, "source_image": "source-pages/078.png", "printed_page": 70 } ] }, { "id": "rh-094-ex01", "type": "music", "original": "INCORRECT … MEILLEUR", "english": "Incorrect … Better", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1059, "section": "ch04-p078", "sources": [ { "pdf_page": 78, "source_image": "source-pages/078.png", "printed_page": 70 } ], "asset_refs": [ "rh-094-ex01" ] }, { "id": "rh-094-005", "type": "paragraph", "original": "Tous les procédés ci-dessus signalés s'emploient de préférence comme ornement de la partie supérieure quoiqu'ils puissent également se produire dans les autres parties.", "english": "All the devices pointed out above are used preferably as ornaments of the upper part, although they may also occur in the other parts.", "reading_order": 1060, "section": "ch04-p078", "sources": [ { "pdf_page": 78, "source_image": "source-pages/078.png", "printed_page": 70 } ] }, { "id": "rh-094-006", "type": "heading", "original": "DEVOIR N° 30 (CHANTS AVEC BASSE DONNÉE)", "english": "EXERCISE No. 30 (MELODIES WITH GIVEN BASS)", "reading_order": 1061, "section": "ch04-p078", "sources": [ { "pdf_page": 78, "source_image": "source-pages/078.png", "printed_page": 70 } ] }, { "id": "rh-094-007", "type": "paragraph", "original": "Les chants suivants qui contiennent l'ornement libre et dont nous donnons la basse (qu'on placera à l'octave inférieure) doivent être complétés par les deux parties intermédiaires, toutefois sans ornement libre.", "english": "The following melodies, which contain free ornamentation and whose bass we give (it is to be placed an octave lower), are to be completed with the two inner parts, but without free ornamentation.", "reading_order": 1062, "section": "ch04-p078", "sources": [ { "pdf_page": 78, "source_image": "source-pages/078.png", "printed_page": 70 } ] }, { "id": "rh-094-008", "type": "heading", "original": "DEVOIR N° 31 (CHANTS SANS BASSE DONNÉE)", "english": "EXERCISE No. 31 (MELODIES WITHOUT GIVEN BASS)", "reading_order": 1063, "section": "ch04-p078", "sources": [ { "pdf_page": 78, "source_image": "source-pages/078.png", "printed_page": 70 } ] }, { "id": "rh-094-ex02", "type": "music", "original": "MODÈLE", "english": "Model realization in F major, 4/4, four bars, with free ornamentation in the melody", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1064, "section": "ch04-p078", "sources": [ { "pdf_page": 78, "source_image": "source-pages/078.png", "printed_page": 70 } ], "asset_refs": [ "rh-094-ex02" ] }, { "id": "rh-094-009", "type": "paragraph", "original": "REMARQUE.— Les quintes parallèles provenant de l'appogiature sont justifiées par cela même (voir la première mesure du modèle).", "english": "REMARK.— Parallel fifths arising from the appoggiatura are justified by that very fact (see the first bar of the model).", "reading_order": 1065, "section": "ch04-p078", "sources": [ { "pdf_page": 78, "source_image": "source-pages/078.png", "printed_page": 70 } ] }, { "id": "rh-094-010", "type": "paragraph", "original": "§ 76.— Il nous reste encore à signaler les ornements mélodiques libres que voici:", "english": "§ 76.— It remains for us to point out the following free melodic ornaments:", "reading_order": 1066, "section": "ch04-p078", "sources": [ { "pdf_page": 78, "source_image": "source-pages/078.png", "printed_page": 70 } ] }, { "id": "rh-094-011", "type": "paragraph", "original": "4) L'anticipation: Note qui, devant se trouver sur un temps fort ou sur la partie forte d'un temps, se trouve placée prématurément dans la même partie sur le temps ou sur la partie faible précédente. La durée de l'anticipation doit être assez brève.", "english": "4) The anticipation: a note which, belonging on a strong beat or on the strong part of a beat, is placed prematurely in the same part on the preceding weak beat or weak part of a beat. The anticipation should be fairly short.", "reading_order": 1067, "section": "ch04-p078", "sources": [ { "pdf_page": 78, "source_image": "source-pages/078.png", "printed_page": 70 } ] }, { "id": "rh-094-012", "type": "paragraph", "original": "L'anticipation peut précéder la note intégrante dans une ou plusieurs parties à la fois:", "english": "The anticipation may precede the chord note in one part or in several parts at once:", "reading_order": 1068, "section": "ch04-p078", "sources": [ { "pdf_page": 78, "source_image": "source-pages/078.png", "printed_page": 70 } ] }, { "id": "rh-094-ex03", "type": "music", "original": "[Exemple]", "english": "Four cadential fragments with anticipations (marked +): in the soprano alone; in soprano and tenor; in soprano, alto and tenor; and in all four parts.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1069, "section": "ch04-p078", "sources": [ { "pdf_page": 78, "source_image": "source-pages/078.png", "printed_page": 70 } ], "asset_refs": [ "rh-094-ex03" ] }, { "id": "rh-094-013", "type": "paragraph", "original": "L'anticipation est le plus souvent employée dans les cadences conclusives.", "english": "The anticipation is most often used in concluding cadences.", "reading_order": 1070, "section": "ch04-p078", "sources": [ { "pdf_page": 78, "source_image": "source-pages/078.png", "printed_page": 70 } ] }, { "id": "rh-094-014", "type": "paragraph", "original": "On peut également pratiquer l'anticipation avant une note de passage diatonique ou chromatique, avant une broderie et avant une appogiature:", "english": "The anticipation may also be used before a diatonic or chromatic passing note, before a neighbour note and before an appoggiatura:", "reading_order": 1071, "section": "ch04-p078", "sources": [ { "pdf_page": 78, "source_image": "source-pages/078.png", "printed_page": 70 } ] }, { "id": "rh-095-ex01", "type": "music", "original": "au lieu de: … etc. on écrit: … etc.", "english": "instead of: … etc. one writes: … etc.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1072, "section": "ch04-p079", "sources": [ { "pdf_page": 79, "source_image": "source-pages/079.png", "printed_page": 71 } ], "asset_refs": [ "rh-095-ex01" ] }, { "id": "rh-095-001", "type": "heading", "original": "DEVOIR N° 32 (CHANTS DONNÉS)", "english": "EXERCISE No. 32 (GIVEN MELODIES)", "reading_order": 1073, "section": "ch04-p079", "sources": [ { "pdf_page": 79, "source_image": "source-pages/079.png", "printed_page": 71 } ] }, { "id": "rh-095-002", "type": "paragraph", "original": "5) Anticipation indirecte ou échappée (**). Ce sont les dissonances quittées sans résolution qui s'appellent parfois aussi notes échangées. Le plus souvent elles s'expliquent par la suppression d'une ou plusieurs notes de passage ou par la possibilité de se trouver dans l'accord subséquent:", "english": "5) The indirect anticipation, or escape note (**). These are dissonances left without resolution, which are sometimes also called exchanged notes. Most often they can be explained by the omission of one or more passing notes, or by the possibility of their belonging to the following chord:", "reading_order": 1074, "section": "ch04-p079", "sources": [ { "pdf_page": 79, "source_image": "source-pages/079.png", "printed_page": 71 } ] }, { "id": "rh-095-ex02", "type": "music", "original": "[Exemple] 1) … 8)", "english": "Eight numbered fragments with escape notes (marked +).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1075, "section": "ch04-p079", "sources": [ { "pdf_page": 79, "source_image": "source-pages/079.png", "printed_page": 71 } ], "asset_refs": [ "rh-095-ex02" ] }, { "id": "rh-095-003", "type": "paragraph", "original": "6) Le retard préparé mais quitté par un intervalle disjoint (le plus souvent c'est la neuvième).", "english": "6) The suspension that is prepared but left by a leap (most often it is the ninth).", "reading_order": 1076, "section": "ch04-p079", "sources": [ { "pdf_page": 79, "source_image": "source-pages/079.png", "printed_page": 71 } ] }, { "id": "rh-095-ex03", "type": "music", "original": "[Exemple]", "english": "A prepared ninth (marked +) left by leap.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1077, "section": "ch04-p079", "sources": [ { "pdf_page": 79, "source_image": "source-pages/079.png", "printed_page": 71 } ], "asset_refs": [ "rh-095-ex03" ] }, { "id": "rh-095-004", "type": "paragraph", "original": "Un bon emploi de ces derniers ornements libres (5-6-8) étant assez difficile nous conseillons à l'élève de s'en servir avec sobriété.", "english": "Since good use of these last free ornaments (5-6-8) is rather difficult, we advise the student to use them sparingly.", "reading_order": 1078, "section": "ch04-p079", "sources": [ { "pdf_page": 79, "source_image": "source-pages/079.png", "printed_page": 71 } ] }, { "id": "rh-095-005", "type": "heading", "original": "DEVOIR N° 33 (CHANTS AVEC BASSE DONNÉE)", "english": "EXERCISE No. 33 (MELODIES WITH GIVEN BASS)", "reading_order": 1079, "section": "ch04-p079", "sources": [ { "pdf_page": 79, "source_image": "source-pages/079.png", "printed_page": 71 } ] }, { "id": "rh-095-ex04", "type": "music", "original": "MODÈLE", "english": "Model realization in C major, 4/4, four bars, with free ornaments in the melody", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1080, "section": "ch04-p079", "sources": [ { "pdf_page": 79, "source_image": "source-pages/079.png", "printed_page": 71 } ], "asset_refs": [ "rh-095-ex04" ] }, { "id": "rh-095-006", "type": "paragraph", "original": "L'élève composera des périodes de huit ou seize mesures à rythmes différents, ayant pour but l'emploi des ornements mélodiques libres.", "english": "The student will compose periods of eight or sixteen bars in various rhythms, aiming at the use of free melodic ornaments.", "reading_order": 1081, "section": "ch04-p079", "sources": [ { "pdf_page": 79, "source_image": "source-pages/079.png", "printed_page": 71 } ] }, { "id": "rh-095-007", "type": "footnote", "original": "(*) Les quintes parallèles ne présentent aucun inconvénient, par suite de la deuxième (mi-si) formée par la note de passage.", "english": "(*) The parallel fifths present no drawback, because the second of them (E–B) is formed by the passing note.", "reading_order": 1082, "section": "ch04-p079", "sources": [ { "pdf_page": 79, "source_image": "source-pages/079.png", "printed_page": 71 } ] }, { "id": "rh-095-008", "type": "footnote", "original": "(**) La traduction plus fidèle serait: Saut de la note dissonante.", "english": "(**) A more faithful translation would be: leap from the dissonant note.", "reading_order": 1083, "section": "ch04-p079", "sources": [ { "pdf_page": 79, "source_image": "source-pages/079.png", "printed_page": 71 } ] }, { "id": "rh-100-001", "type": "heading", "original": "Chapitre V. Enharmonie et modulation subite", "english": "Chapter V. Enharmony and Sudden Modulation", "reading_order": 1084, "section": "ch05", "sources": [ { "pdf_page": 80, "source_image": "source-pages/080.png", "printed_page": 72 } ] }, { "id": "rh-100-002", "type": "heading", "original": "Accords altérés", "english": "Altered Chords", "reading_order": 1085, "section": "ch05", "sources": [ { "pdf_page": 80, "source_image": "source-pages/080.png", "printed_page": 72 } ] }, { "id": "rh-100-003", "type": "paragraph", "original": "§ 77. — 1) Les notes de passage chromatiques forment un certain nombre d'accords qui doivent être considérés comme indépendants et s'appellent : Accords altérés.", "english": "§ 77. — 1) Chromatic passing notes form a certain number of chords which must be regarded as independent and are called altered chords.", "reading_order": 1086, "section": "ch05", "sources": [ { "pdf_page": 80, "source_image": "source-pages/080.png", "printed_page": 72 } ] }, { "id": "rh-100-004", "type": "paragraph", "original": "2) On peut les subdiviser en deux classes. Ceux de la première classe ne contiennent pas une nouvelle composition et se reconnaissent par le degré sur lequel ils se produisent et par le changement chromatique sans lequel ils ne pourraient pas se former.", "english": "2) They can be subdivided into two classes. Those of the first class do not have a new make-up; they are recognized by the degree on which they occur and by the chromatic change without which they could not be formed.", "reading_order": 1087, "section": "ch05", "sources": [ { "pdf_page": 80, "source_image": "source-pages/080.png", "printed_page": 72 } ] }, { "id": "rh-100-005", "type": "paragraph", "original": "Les principaux sont :", "english": "The principal ones are:", "reading_order": 1088, "section": "ch05", "sources": [ { "pdf_page": 80, "source_image": "source-pages/080.png", "printed_page": 72 } ] }, { "id": "rh-100-006", "type": "paragraph", "original": "L'accord artificiel de septième de dominante sur le IIme degré du ton majeur, l'accord de septième diminuée sur le IIme degré du ton majeur, et l'accord parfait majeur sur le IIme degré du ton majeur et du ton mineur.", "english": "The artificial dominant seventh chord on the 2nd degree of the major key, the diminished seventh chord on the 2nd degree of the major key, and the major triad on the 2nd degree of the major and of the minor key.", "reading_order": 1089, "section": "ch05", "sources": [ { "pdf_page": 80, "source_image": "source-pages/080.png", "printed_page": 72 } ] }, { "id": "rh-100-007", "type": "paragraph", "original": "Ceux de la deuxième classe ont tout à fait une nouvelle composition ; ce sont les accords de quinte et sixte augmentée.", "english": "Those of the second class have an entirely new make-up; they are the chords of the augmented fifth-and-sixth.", "reading_order": 1090, "section": "ch05", "sources": [ { "pdf_page": 80, "source_image": "source-pages/080.png", "printed_page": 72 } ] }, { "id": "rh-100-008", "type": "heading", "original": "Accord artificiel de 7me de dominante et accord artificiel de 7me diminuée", "english": "The Artificial Dominant Seventh Chord and the Artificial Diminished Seventh Chord", "reading_order": 1091, "section": "ch05", "sources": [ { "pdf_page": 80, "source_image": "source-pages/080.png", "printed_page": 72 } ] }, { "id": "rh-100-009", "type": "paragraph", "original": "§ 78. — 1) L'accord artificiel de septième de dominante se forme par l'altération ascendante de la tierce (comme note de passage chromatique) dans l'accord de septième du IIme degré du ton majeur, et se résout sur l'accord du Ier ou du Vme degré.", "english": "§ 78. — 1) The artificial dominant seventh chord is formed by raising the third (as a chromatic passing note) in the seventh chord of the 2nd degree of the major key; it resolves to the chord of the 1st or of the 5th degree.", "reading_order": 1092, "section": "ch05", "sources": [ { "pdf_page": 80, "source_image": "source-pages/080.png", "printed_page": 72 } ] }, { "id": "rh-100-010", "type": "paragraph", "original": "2) L'accord artificiel de septième diminuée provient de la réunion de l'altération précédente avec celle de la fondamentale du même accord et se résout sur le Ier degré seulement.", "english": "2) The artificial diminished seventh chord arises from combining the preceding alteration with an alteration of the root of the same chord; it resolves to the 1st degree only.", "reading_order": 1093, "section": "ch05", "sources": [ { "pdf_page": 80, "source_image": "source-pages/080.png", "printed_page": 72 } ] }, { "id": "rh-100-011", "type": "paragraph", "original": "3) Tous les deux s'emploient de préférence comme accord de quinte et sixte, et de tierce et quarte dans les cadences :", "english": "3) Both are used preferably as chords of the fifth-and-sixth and of the third-and-fourth in cadences:", "reading_order": 1094, "section": "ch05", "sources": [ { "pdf_page": 80, "source_image": "source-pages/080.png", "printed_page": 72 } ] }, { "id": "rh-100-ex01", "type": "music", "original": "ACCORDS ARTIFICIELS DE 7me DE DOMINANTE", "english": "ARTIFICIAL DOMINANT SEVENTH CHORDS. Example in C major: the seventh chord of the 2nd degree (II) as a 6/5 chord, F–A–C–D, whose bass F rises to F♯ (D–F♯–A–C), resolving to the tonic 6/4 chord G–C–E or (in parentheses) to the G major chord; after a double bar, the same chord as a 4/3 chord, A–C–D–F, with the upper F rising to F♯, resolving to the tonic 6/4 chord or (in parentheses) to the G major chord.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1095, "section": "ch05", "sources": [ { "pdf_page": 80, "source_image": "source-pages/080.png", "printed_page": 72 } ], "asset_refs": [ "rh-100-ex01" ] }, { "id": "rh-100-ex02", "type": "music", "original": "ACCORDS ARTIFICIELS DE 7me DIMINUÉE", "english": "ARTIFICIAL DIMINISHED SEVENTH CHORDS. Example in C major: the seventh chord of the 2nd degree (II) as a 6/5 chord, F–A–C–D, in which both F and D rise a semitone (F♯–A–C–D♯), resolving to the tonic 6/4 chord; after a double bar, the same chord as a 4/3 chord, A–C–D–F, with D and F rising to D♯ and F♯, resolving to the tonic 6/4 chord.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1096, "section": "ch05", "sources": [ { "pdf_page": 80, "source_image": "source-pages/080.png", "printed_page": 72 } ], "asset_refs": [ "rh-100-ex02" ] }, { "id": "rh-101-001", "type": "paragraph", "original": "4) Tous les deux, préparés par les accords parfaits du Ier ou du VIme degré ainsi que par le IVme, peuvent être employés comme accords indépendants.", "english": "4) Both of them, prepared by the triads of the Ist or VIth degree as well as by that of the IVth, can be used as independent chords.", "reading_order": 1097, "section": "ch05-p081", "sources": [ { "pdf_page": 81, "source_image": "source-pages/081.png", "printed_page": 73 } ] }, { "id": "rh-101-ex01", "type": "music", "original": "[Exemple]", "english": "Example in C major, four parts. First: I (C major triad) – II, the artificial diminished seventh D#–F#–A–C as a six-five chord (6/5, bass F#) – the cadential six-four (6/4) with the alto G held over into the dominant seventh, where it falls G–F – I. Second: VI (A minor triad) – II, the same artificial diminished seventh as a four-three chord (4/3, bass A) – cadential six-four – dominant seventh – I.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1098, "section": "ch05-p081", "sources": [ { "pdf_page": 81, "source_image": "source-pages/081.png", "printed_page": 73 } ], "asset_refs": [ "rh-101-ex01" ] }, { "id": "rh-101-002", "type": "paragraph", "original": "REMARQUE.— En cas de préparation de l'accord artificiel de septième diminuée par l'accord parfait du IVme degré, une des parties procède par mouvement descendant de tierce diminuée:", "english": "REMARK.— When the artificial diminished seventh chord is prepared by the triad of the IVth degree, one of the parts moves down by a diminished third:", "reading_order": 1099, "section": "ch05-p081", "sources": [ { "pdf_page": 81, "source_image": "source-pages/081.png", "printed_page": 73 } ] }, { "id": "rh-101-ex02", "type": "music", "original": "3ce dim.", "english": "Diminished third (3ce dim.): F falls to D#, which rises to E.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1100, "section": "ch05-p081", "sources": [ { "pdf_page": 81, "source_image": "source-pages/081.png", "printed_page": 73 } ], "asset_refs": [ "rh-101-ex02" ] }, { "id": "rh-101-003", "type": "paragraph", "original": "5) En mineur l'accord artificiel de septième de dominante demande, en plus de l'altération ascendante de la tierce, celle ascendante de la quinte:", "english": "5) In minor, the artificial dominant seventh chord requires, in addition to the raising of the third, the raising of the fifth as well:", "reading_order": 1101, "section": "ch05-p081", "sources": [ { "pdf_page": 81, "source_image": "source-pages/081.png", "printed_page": 73 } ] }, { "id": "rh-101-ex03", "type": "music", "original": "[Exemple]", "english": "Example in C minor: over the whole-note D, the II chord F–Ab–C (6/5) becomes F#–A natural–C (third and fifth both raised), followed in parentheses by the six-four chord G–C–Eb (6/4) and the chord G–B natural–D.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1102, "section": "ch05-p081", "sources": [ { "pdf_page": 81, "source_image": "source-pages/081.png", "printed_page": 73 } ], "asset_refs": [ "rh-101-ex03" ] }, { "id": "rh-101-004", "type": "paragraph", "original": "l'emploi du deuxième renversement de cet accord est rare.", "english": "the use of the second inversion of this chord is rare.", "reading_order": 1103, "section": "ch05-p081", "sources": [ { "pdf_page": 81, "source_image": "source-pages/081.png", "printed_page": 73 } ] }, { "id": "rh-101-005", "type": "paragraph", "original": "6) L'accord artificiel de septième diminuée ne peut pas se former sur le IIme degré du mode mineur.", "english": "6) The artificial diminished seventh chord cannot be formed on the IInd degree of the minor mode.", "reading_order": 1104, "section": "ch05-p081", "sources": [ { "pdf_page": 81, "source_image": "source-pages/081.png", "printed_page": 73 } ] }, { "id": "rh-101-006", "type": "heading", "original": "ACCORDS PRODUITS PAR L'ALTÉRATION DESCENDANTE DU IIme DEGRÉ", "english": "CHORDS PRODUCED BY THE LOWERING ALTERATION OF THE IInd DEGREE", "reading_order": 1105, "section": "ch05-p081", "sources": [ { "pdf_page": 81, "source_image": "source-pages/081.png", "printed_page": 73 } ] }, { "id": "rh-101-007", "type": "paragraph", "original": "§ 79.— 1) En modifiant la fondamentale de l'accord de trois sons du deuxième degré par une altération descendante, il en résulte un accord parfait majeur employé comme premier renversement avec la doublure de la tierce et qui se résout sur l'accord de quarte et sixte de cadence ou sur l'accord parfait de tonique:", "english": "§ 79.— 1) When the root of the three-note chord of the second degree is modified by a lowering alteration, the result is a major triad, used as a first inversion with the third doubled, which resolves to the cadential six-four chord or to the tonic triad:", "reading_order": 1106, "section": "ch05-p081", "sources": [ { "pdf_page": 81, "source_image": "source-pages/081.png", "printed_page": 73 } ] }, { "id": "rh-101-ex04", "type": "music", "original": "[Exemple]", "english": "Example in C major and then C minor: the II chord over F (6) with the soprano D moving to Db (6–b), i.e. the lowered second degree Db–F–Ab with doubled F; it resolves either to the cadential six-four (6/4) or to the tonic triad, both shown as alternatives in parentheses.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1107, "section": "ch05-p081", "sources": [ { "pdf_page": 81, "source_image": "source-pages/081.png", "printed_page": 73 } ], "asset_refs": [ "rh-101-ex04" ] }, { "id": "rh-101-008", "type": "paragraph", "original": "2) On peut l'employer dans les cadences comme accord indépendant en le faisant précéder de préférence par l'accord parfait du Ier degré:", "english": "2) It can be used in cadences as an independent chord, preferably preceded by the triad of the Ist degree:", "reading_order": 1108, "section": "ch05-p081", "sources": [ { "pdf_page": 81, "source_image": "source-pages/081.png", "printed_page": 73 } ] }, { "id": "rh-101-ex05", "type": "music", "original": "[Exemple]", "english": "Example in C major and then C minor: I – II (the lowered second degree Db–F–Ab over F, as an independent chord) – in parentheses the cadential six-four (6/4), whose alto G is held into the dominant seventh and falls G–F – I.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1109, "section": "ch05-p081", "sources": [ { "pdf_page": 81, "source_image": "source-pages/081.png", "printed_page": 73 } ], "asset_refs": [ "rh-101-ex05" ] }, { "id": "rh-101-009", "type": "paragraph", "original": "REMARQUE.— Sa résolution sur l'accord parfait du Vme degré ou sur l'accord de septième de dominante demande le mouvement descendant de tierce diminuée de l'une des parties:", "english": "REMARK.— Its resolution to the triad of the Vth degree or to the dominant seventh chord requires one of the parts to move down by a diminished third:", "reading_order": 1110, "section": "ch05-p081", "sources": [ { "pdf_page": 81, "source_image": "source-pages/081.png", "printed_page": 73 } ] }, { "id": "rh-101-ex06", "type": "music", "original": "3ce dim.", "english": "Diminished third (3ce dim.): Db falls to B natural, which rises to C.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1111, "section": "ch05-p081", "sources": [ { "pdf_page": 81, "source_image": "source-pages/081.png", "printed_page": 73 } ], "asset_refs": [ "rh-101-ex06" ] }, { "id": "rh-102-001", "type": "paragraph", "original": "3) Par la même altération descendante du IIme degré se produit aussi l'accord de septième de dominante avec quinte diminuée:", "english": "3) The same downward alteration of the 2nd degree also produces the dominant seventh chord with diminished fifth:", "reading_order": 1112, "section": "ch05-p082", "sources": [ { "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74 } ] }, { "id": "rh-102-ex01", "type": "music", "original": "[Exemple]", "english": "[Example]", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1113, "section": "ch05-p082", "sources": [ { "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74 } ], "asset_refs": [ "rh-102-ex01" ] }, { "id": "rh-102-002", "type": "paragraph", "original": "L'élève se servira de ces accords dans ses devoirs modulants, toutefois sans en abuser.", "english": "The student will use these chords in his modulating exercises, though without overusing them.", "reading_order": 1114, "section": "ch05-p082", "sources": [ { "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74 } ] }, { "id": "rh-102-003", "type": "heading", "original": "Accord de quinte augmentée (*)", "english": "The Augmented Fifth Chord (*)", "reading_order": 1115, "section": "ch05-p082", "sources": [ { "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74 } ] }, { "id": "rh-102-004", "type": "paragraph", "original": "§ 80.— 1) Il se produit par l'altération ascendante de la quinte d'un accord parfait majeur, ou par l'altération descendante de la fondamentale d'un accord parfait mineur:", "english": "§ 80.— 1) It is produced by raising the fifth of a major triad, or by lowering the root of a minor triad:", "reading_order": 1116, "section": "ch05-p082", "sources": [ { "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74 } ] }, { "id": "rh-102-ex02", "type": "music", "original": "[Exemple]", "english": "[Example]", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1117, "section": "ch05-p082", "sources": [ { "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74 } ], "asset_refs": [ "rh-102-ex02" ] }, { "id": "rh-102-005", "type": "paragraph", "original": "REMARQUE.— L'accord de quinte augmentée (2) ne peut pas se produire dans le ton mineur; voir l'orthographe de la gamme chromatique (§ 66).", "english": "REMARK.— The augmented fifth chord (2) cannot occur in the minor key; see the spelling of the chromatic scale (§ 66).", "reading_order": 1118, "section": "ch05-p082", "sources": [ { "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74 } ] }, { "id": "rh-102-006", "type": "paragraph", "original": "2) En dehors de sa propriété d'être formé par une note de passage chromatique, l'accord de quinte augmentée peut s'employer indépendamment lorsqu'il a comme préparation l'accord résolutif même:", "english": "2) Apart from its property of being formed by a chromatic passing note, the augmented fifth chord may be used independently when it is prepared by the very chord into which it resolves:", "reading_order": 1119, "section": "ch05-p082", "sources": [ { "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74 } ] }, { "id": "rh-102-ex03", "type": "music", "original": "[Exemple]", "english": "[Example]", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1120, "section": "ch05-p082", "sources": [ { "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74 } ], "asset_refs": [ "rh-102-ex03" ] }, { "id": "rh-102-007", "type": "paragraph", "original": "3) Il peut aussi se produire comme renversement:", "english": "3) It may also occur in inversion:", "reading_order": 1121, "section": "ch05-p082", "sources": [ { "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74 } ] }, { "id": "rh-102-ex04", "type": "music", "original": "[Exemple]", "english": "[Example]", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1122, "section": "ch05-p082", "sources": [ { "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74 } ], "asset_refs": [ "rh-102-ex04" ] }, { "id": "rh-102-008", "type": "heading", "original": "Accord de 7me de dominante avec quinte augmentée", "english": "The Dominant Seventh Chord with Augmented Fifth", "reading_order": 1123, "section": "ch05-p082", "sources": [ { "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74 } ] }, { "id": "rh-102-009", "type": "paragraph", "original": "§ 81.— 1) Il ne peut se produire qu'en majeur:", "english": "§ 81.— 1) It can occur only in major:", "reading_order": 1124, "section": "ch05-p082", "sources": [ { "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74 } ] }, { "id": "rh-102-ex05", "type": "music", "original": "[Exemple]", "english": "[Example]", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1125, "section": "ch05-p082", "sources": [ { "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74 } ], "asset_refs": [ "rh-102-ex05" ] }, { "id": "rh-102-010", "type": "paragraph", "original": "2) Comme accord indépendant on peut le préparer par l'accord résolutif (**):", "english": "2) As an independent chord it may be prepared by the chord into which it resolves (**):", "reading_order": 1126, "section": "ch05-p082", "sources": [ { "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74 } ] }, { "id": "rh-102-ex06", "type": "music", "original": "[Exemple]", "english": "[Example]", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1127, "section": "ch05-p082", "sources": [ { "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74 } ], "asset_refs": [ "rh-102-ex06" ] }, { "id": "rh-102-011", "type": "paragraph", "original": "3) Son effet ne sera que meilleur si on l'emploie dans une disposition donnant le renversement de la tierce diminuée c'est-à-dire la sixte augmentée.", "english": "3) Its effect will only be better if it is used in a position that gives the inversion of the diminished third, that is, the augmented sixth.", "reading_order": 1128, "section": "ch05-p082", "sources": [ { "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74 } ] }, { "id": "rh-102-012", "type": "heading", "original": "Supplément", "english": "Supplement", "reading_order": 1129, "section": "ch05-p082", "sources": [ { "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74 } ] }, { "id": "rh-102-013", "type": "paragraph", "original": "A cinq parties on peut aussi employer un accord de neuvième avec quinte augmentée dans le ton majeur:", "english": "In five parts, a ninth chord with augmented fifth may also be used in the major key:", "reading_order": 1130, "section": "ch05-p082", "sources": [ { "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74 } ] }, { "id": "rh-102-ex07", "type": "music", "original": "[Exemple]", "english": "[Example]", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1131, "section": "ch05-p082", "sources": [ { "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74 } ], "asset_refs": [ "rh-102-ex07" ] }, { "id": "rh-102-014", "type": "footnote", "original": "(*) Il est bien entendu que tous ces accords se classent sous le titre d'accords altérés.", "english": "(*) It is of course understood that all these chords are classed under the heading of altered chords.", "reading_order": 1132, "section": "ch05-p082", "sources": [ { "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74 } ] }, { "id": "rh-102-015", "type": "footnote", "original": "(**) Nous conseillons toutefois de le former par une note de passage.", "english": "(**) We nevertheless advise forming it by means of a passing note.", "reading_order": 1133, "section": "ch05-p082", "sources": [ { "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74 } ] }, { "id": "rh-103-001", "type": "heading", "original": "ACCORD DE SIXTE AUGMENTÉE", "english": "THE AUGMENTED SIXTH CHORD", "reading_order": 1134, "section": "ch05-p083", "sources": [ { "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75 } ] }, { "id": "rh-103-002", "type": "paragraph", "original": "§ 82. — 1) Afin de donner une notion distincte des accords de sixte augmentée, nous les formerons sur le VIme degré des modes majeur et mineur harmoniques de sorte que ces accords altérés provenant du IIme et du IVme degré de ces deux modes auront toujours le VIme degré comme note de basse.", "english": "§ 82. — 1) To give a clear idea of the augmented sixth chords, we shall form them on the VIth degree of the harmonic major and minor modes, so that these altered chords, which derive from the IInd and the IVth degree of these two modes, will always have the VIth degree as their bass note.", "reading_order": 1135, "section": "ch05-p083", "sources": [ { "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75 } ] }, { "id": "rh-103-ex01", "type": "music", "original": "a) IV — ♯6 · b¹) — ♯6 5, 6 4 · c) II — ♯6 4 3, 6 4", "english": "Example (major, on A♭, the VIth degree of C harmonic major): a) chord derived from IV, A♭–C–C with F rising to F♯ (augmented sixth A♭–F♯), resolving either to the G major chord or to the C major 6/4 chord over G (both in parentheses); b¹) A♭–C–E with F rising to F♯ (♯6 5), resolving to the C major 6/4 chord; c) chord derived from II, A♭–C–D with F rising to F♯ (♯6 4 3), resolving either to the G major chord or to the C major 6/4 chord (both in parentheses).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1136, "section": "ch05-p083", "sources": [ { "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75 } ], "asset_refs": [ "rh-103-ex01" ] }, { "id": "rh-103-003", "type": "paragraph", "original": "ainsi que :", "english": "as well as:", "reading_order": 1137, "section": "ch05-p083", "sources": [ { "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75 } ] }, { "id": "rh-103-ex02", "type": "music", "original": "d) II — ♯6 ♯4 3, 6 4", "english": "Example (major): d) chord derived from II, A♭–C with D rising to D♯ and F rising to F♯ (♯6 ♯4 3), resolving to the C major 6/4 chord over G (6 4).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1138, "section": "ch05-p083", "sources": [ { "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75 } ], "asset_refs": [ "rh-103-ex02" ] }, { "id": "rh-103-ex03", "type": "music", "original": "En Mineur — a) IV — ♯6 · b²) IV — ♯6 5, 6 4 · c) II — ♯6 4 3, 6 4", "english": "Example in minor (C minor, three flats; A♭ is the VIth degree): a) chord derived from IV, A♭–C–C with F rising to F♯ (♯6), resolving either to the G major chord (with B♮) or to the C minor 6/4 chord (both in parentheses); b²) chord derived from IV, A♭–C–E♭ with F rising to F♯ (♯6 5), resolving to the C minor 6/4 chord; c) chord derived from II, A♭–C–D with F rising to F♯ (♯6 4 3), resolving either to the G major chord or to the C minor 6/4 chord (both in parentheses).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1139, "section": "ch05-p083", "sources": [ { "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75 } ], "asset_refs": [ "rh-103-ex03" ] }, { "id": "rh-103-004", "type": "paragraph", "original": "REMARQUE. — Ils peuvent encore se résoudre sur l'accord de sixte du IIIme degré en majeur comme en mineur.", "english": "REMARK. — They can also resolve to the sixth chord of the IIIrd degree, in major as in minor.", "reading_order": 1140, "section": "ch05-p083", "sources": [ { "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75 } ] }, { "id": "rh-103-005", "type": "paragraph", "original": "a) Accord de sixte augmentée; enharmonique de l'accord de septième de dominante incomplet, peut se produire en majeur et en mineur.", "english": "a) Augmented sixth chord; enharmonic with the incomplete dominant seventh chord; it can occur in major and in minor.", "reading_order": 1141, "section": "ch05-p083", "sources": [ { "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75 } ] }, { "id": "rh-103-006", "type": "paragraph", "original": "b¹) Accord de quinte et sixte doublement augmentée; enharmonique de l'accord de septième de dominante de quinte augmentée; peut se produire seulement en majeur.", "english": "b¹) Doubly augmented fifth-and-sixth chord; enharmonic with the dominant seventh chord with an augmented fifth; it can occur only in major.", "reading_order": 1142, "section": "ch05-p083", "sources": [ { "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75 } ] }, { "id": "rh-103-007", "type": "paragraph", "original": "b²) Accord de quinte et sixte augmentée; enharmonique de l'accord de septième de dominante complet; peut se produire seulement en mineur.", "english": "b²) Augmented fifth-and-sixth chord; enharmonic with the complete dominant seventh chord; it can occur only in minor.", "reading_order": 1143, "section": "ch05-p083", "sources": [ { "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75 } ] }, { "id": "rh-103-008", "type": "paragraph", "original": "c) Accord de tierce et quarte augmentée; enharmonique de l'accord de septième de dominante de quinte diminuée, peut se produire en majeur et en mineur.", "english": "c) Augmented third-and-fourth chord; enharmonic with the dominant seventh chord with a diminished fifth; it can occur in major and in minor.", "reading_order": 1144, "section": "ch05-p083", "sources": [ { "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75 } ] }, { "id": "rh-103-009", "type": "paragraph", "original": "d) Accord de tierce et quarte doublement augmentée; enharmonique de l'accord de septième de dominante peut se produire seulement en majeur.", "english": "d) Doubly augmented third-and-fourth chord; enharmonic with the dominant seventh chord; it can occur only in major.", "reading_order": 1145, "section": "ch05-p083", "sources": [ { "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75 } ] }, { "id": "rh-103-010", "type": "paragraph", "original": "2) Tous les accords ci-dessus énoncés, donnant par suite de l'enharmonie de leur sixte augmentée la même sonorité que l'accord de septième de dominante, servent de moyen à la modulation enharmonique.", "english": "2) All the chords set out above, which, through the enharmonic equivalence of their augmented sixth, give the same sound as the dominant seventh chord, serve as a means of enharmonic modulation.", "reading_order": 1146, "section": "ch05-p083", "sources": [ { "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75 } ] }, { "id": "rh-103-011", "type": "paragraph", "original": "3) La dénomination de ces accords dérive du renversement de leurs fondamentaux.", "english": "3) The names of these chords derive from the inversion of their fundamental chords.", "reading_order": 1147, "section": "ch05-p083", "sources": [ { "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75 } ] }, { "id": "rh-103-012", "type": "paragraph", "original": "4) On ne doit jamais doubler les notes qui forment la sixte augmentée.", "english": "4) The notes forming the augmented sixth must never be doubled.", "reading_order": 1148, "section": "ch05-p083", "sources": [ { "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75 } ] }, { "id": "rh-103-013", "type": "paragraph", "original": "5) En dehors de leur propriété d'accords de passage chromatiques et de moyen modulant, ils peuvent aussi s'employer indépendamment lorsqu'ils sont préparés par l'accord résolutif même:", "english": "5) Apart from their role as chromatic passing chords and as a means of modulation, they can also be used independently when they are prepared by the chord of resolution itself:", "reading_order": 1149, "section": "ch05-p083", "sources": [ { "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75 } ] }, { "id": "rh-103-ex04", "type": "music", "original": "[Exemple] ♯6 · 6 4, ♯6 ♯4 3 · ♯6 4 3", "english": "Example: each augmented sixth chord is preceded and followed by its own chord of resolution. (1) C major: G major chord; A♭–C–C–F♯ (♯6); G major chord. (2) C major: C major 6/4 chord over G (6 4); A♭–C–D♯–F♯ (♯6 ♯4 3); C major 6/4 chord. (3) C minor (key signature of three flats): C minor 6/4 chord over G; A♭–C–D–F♯ (♯6 4 3); C minor 6/4 chord.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1150, "section": "ch05-p083", "sources": [ { "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75 } ], "asset_refs": [ "rh-103-ex04" ] }, { "id": "rh-103-014", "type": "paragraph", "original": "6) La sixte augmentée a l'influence suivante sur les cadences plagales du mode majeur dont nous avons parlé au § 40:", "english": "6) The augmented sixth has the following influence on the plagal cadences of the major mode, which we discussed in § 40:", "reading_order": 1151, "section": "ch05-p083", "sources": [ { "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75 } ] }, { "id": "rh-103-ex05", "type": "music", "original": "II — 6 5 3 · II harm. — 6—♯ 5 ♭3 · VII — 6—♯ 4 3 · VII harm. — 6—♯ 4 ♭3", "english": "Example: four plagal cadences in C major, each ending on the C major chord with C in the bass, the top part D rising to D♯ (the augmented sixth above the bass F) before resolving to E. (1) II: F–A–C with D–D♯ (6 5 3); (2) II harm.: F–A♭–C with D–D♯ (6—♯ 5 ♭3); (3) VII: F–A–B with D–D♯ (6—♯ 4 3); (4) VII harm.: F–A–B with D–D♯ (6—♯ 4 ♭3).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1152, "section": "ch05-p083", "sources": [ { "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75 } ], "asset_refs": [ "rh-103-ex05" ] }, { "id": "rh-103-015", "type": "paragraph", "original": "REMARQUE. — L'emploi des accords de sixte augmentée et des accords de quinte augmentée comme ensemble indépendant, non modulant, est plutôt mauvais car l'effet de ces accords dans les devoirs est vague et emphatique, l'élève pourra tout de même s'en servir comme accords de passage.", "english": "REMARK. — Using augmented sixth chords and augmented fifth chords as independent, non-modulating sonorities is rather poor, because the effect of these chords in exercises is vague and bombastic; the student may nevertheless use them as passing chords.", "reading_order": 1153, "section": "ch05-p083", "sources": [ { "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75 } ] }, { "id": "rh-103-016", "type": "heading", "original": "SUPPLÉMENT", "english": "SUPPLEMENT", "reading_order": 1154, "section": "ch05-p083", "sources": [ { "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75 } ] }, { "id": "rh-103-017", "type": "paragraph", "original": "On peut également former sur le sixième degré des modes harmoniques, un accord de seconde avec sixte augmentée, enharmonique de celui de septième mineure:", "english": "On the sixth degree of the harmonic modes one can likewise form a second chord with an augmented sixth, enharmonic with the minor seventh chord:", "reading_order": 1155, "section": "ch05-p083", "sources": [ { "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75 } ] }, { "id": "rh-103-ex06", "type": "music", "original": "VII — ♯6 4 2 · (V) · (III) 6 · (III) ♭6", "english": "Example (C harmonic major): the chord derived from VII, A♭–B–D–F♯ (♯6 4 2), and three possible resolutions in parentheses: V, the G major chord; III, the E minor chord in first inversion over G (6); III of the harmonic mode, G–B–E♭–G (♭6).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1156, "section": "ch05-p083", "sources": [ { "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75 } ], "asset_refs": [ "rh-103-ex06" ] }, { "id": "rh-104-001", "type": "heading", "original": "Modulation enharmonique", "english": "Enharmonic Modulation", "reading_order": 1157, "section": "ch05-p084", "sources": [ { "pdf_page": 84, "source_image": "source-pages/084.png", "printed_page": 76 } ] }, { "id": "rh-104-002", "type": "paragraph", "original": "§ 83. — Comme moyens de modulation subite on se sert de l'enharmonie des accords de sixte augmentée, des accords de septième diminuée et des accords de quinte augmentée ainsi que des cas nombreux des successions polytoniques.", "english": "§ 83. — As means of sudden modulation one uses the enharmony of augmented-sixth chords, of diminished-seventh chords and of augmented-fifth chords, as well as the numerous cases of polytonic successions.", "reading_order": 1158, "section": "ch05-p084", "sources": [ { "pdf_page": 84, "source_image": "source-pages/084.png", "printed_page": 76 } ] }, { "id": "rh-104-003", "type": "heading", "original": "Enharmonie des accords de sixte augmentée", "english": "Enharmony of Augmented-Sixth Chords", "reading_order": 1159, "section": "ch05-p084", "sources": [ { "pdf_page": 84, "source_image": "source-pages/084.png", "printed_page": 76 } ] }, { "id": "rh-104-004", "type": "paragraph", "original": "§ 84. — 1) Pour moduler enharmoniquement d'un ton à un autre, soit par exemple Do le point de départ, on prend son accord de septième de dominante complet ou incomplet, (en ce dernier cas la doublure de la tierce est indispensable) et on le considère enharmonique de l'un des accords de sixte augmentée, dont la résolution sur l'accord parfait ou accord de quarte et sixte, donnera la modulation aux tons éloignés Fa ♯, Si ou si :", "english": "§ 84. — 1) To modulate enharmonically from one key to another — say, with C major (Do) as the starting point — one takes its dominant seventh chord, complete or incomplete (in the latter case the doubling of the third is indispensable), and regards it as the enharmonic equivalent of one of the augmented-sixth chords, whose resolution on the triad or on the six-four chord will give the modulation to the remote keys of F♯ major, B major or B minor:", "reading_order": 1160, "section": "ch05-p084", "sources": [ { "pdf_page": 84, "source_image": "source-pages/084.png", "printed_page": 76 } ] }, { "id": "rh-104-ex01", "type": "music", "original": "1)", "english": "Example 1): C major — dominant seventh, incomplete with doubled third (G–B–B–F), reinterpreted as an augmented-sixth chord (G–B–B–E♯, figured 7 = 6) — resolved, as three alternatives in parentheses, on the B minor six-four, the B major six-four or the F♯ major triad.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1161, "section": "ch05-p084", "sources": [ { "pdf_page": 84, "source_image": "source-pages/084.png", "printed_page": 76 } ], "asset_refs": [ "rh-104-ex01" ] }, { "id": "rh-104-ex02", "type": "music", "original": "2)", "english": "Example 2): C major — complete dominant seventh G–D–B–F, reinterpreted as an augmented six-five chord (G–D–B–E♯, figured 7 = 6) — resolved, as two alternatives in parentheses, on the B minor six-four or the F♯ major triad.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1162, "section": "ch05-p084", "sources": [ { "pdf_page": 84, "source_image": "source-pages/084.png", "printed_page": 76 } ], "asset_refs": [ "rh-104-ex02" ] }, { "id": "rh-104-ex03", "type": "music", "original": "3)", "english": "Example 3): C major — dominant seventh G–D–B–F reinterpreted as the chord of the doubly augmented fourth (G–C𝄪–B–E♯, figured 7 = 4/3) — resolved on the B major six-four (F♯–D♯–B–F♯).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1163, "section": "ch05-p084", "sources": [ { "pdf_page": 84, "source_image": "source-pages/084.png", "printed_page": 76 } ], "asset_refs": [ "rh-104-ex03" ] }, { "id": "rh-104-ex04", "type": "music", "original": "4)", "english": "Example 4): C major — dominant seventh G–F–B–D, then with raised fifth (G–F–B–D♯), reinterpreted as an augmented six-five chord (G–E♯–B–D♯, figured 7 = 6/5) — resolved on the B major six-four (F♯–F♯–B–D♯, black heads).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1164, "section": "ch05-p084", "sources": [ { "pdf_page": 84, "source_image": "source-pages/084.png", "printed_page": 76 } ], "asset_refs": [ "rh-104-ex04" ] }, { "id": "rh-104-005", "type": "paragraph", "original": "2) Dans la résolution de l'accord de quinte et sixte augmentée sur l'accord parfait de dominante (ex. 2) pour éviter des quintes parallèles, on le transforme d'abord en accord de tierce et quarte augmentée ou on le résout préalablement sur l'accord de quarte et sixte :", "english": "2) In resolving the augmented six-five chord on the dominant triad (ex. 2), in order to avoid parallel fifths one first transforms it into the augmented four-three chord, or else resolves it beforehand on the six-four chord:", "reading_order": 1165, "section": "ch05-p084", "sources": [ { "pdf_page": 84, "source_image": "source-pages/084.png", "printed_page": 76 } ] }, { "id": "rh-104-ex05", "type": "music", "original": "[Exemple]", "english": "Example in B: the augmented six-five chord G–D–B–E♯ (figured 6/5) passes, by the tenor's move D→C♯, into the augmented four-three chord (figured 4/3) before the dominant F♯ major (V); then, after a double bar, the same augmented six-five chord resolves first on the six-four chord (F♯–D–B–F♯, figured 6/4), then on the dominant (V).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1166, "section": "ch05-p084", "sources": [ { "pdf_page": 84, "source_image": "source-pages/084.png", "printed_page": 76 } ], "asset_refs": [ "rh-104-ex05" ] }, { "id": "rh-104-006", "type": "paragraph", "original": "3) Par l'enharmonie des accords de sixte augmentée on peut moduler aux autres tons, en passant préalablement à un des tons voisins à celui du point de départ et cela pour obtenir l'accord de septième de dominante du ton voisin, par exemple :", "english": "3) Through the enharmony of augmented-sixth chords one can modulate to other keys by passing first through one of the keys neighbouring the starting key, so as to obtain the dominant seventh chord of that neighbouring key; for example:", "reading_order": 1167, "section": "ch05-p084", "sources": [ { "pdf_page": 84, "source_image": "source-pages/084.png", "printed_page": 76 } ] }, { "id": "rh-104-ex06", "type": "music", "original": "Do — Mi — Do — Do ♯", "english": "Example in two parts. C major (Do) to E major (Mi): the V7 of F (C–G–B♭–E) is reinterpreted as C–F𝄪–A♯–E (figured 7 = 4/3) and resolves on the E major six-four, then B7 and E major. C major (Do) to C♯ major (Do ♯): the V7 of G (D–F♯–A–C) is reinterpreted as an augmented six-five chord (D–F♯–A–B♯, figured 7 = 6/5), whose A moves to G♯ (figured 4/3), resolving on the C♯ major triad.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1168, "section": "ch05-p084", "sources": [ { "pdf_page": 84, "source_image": "source-pages/084.png", "printed_page": 76 } ], "asset_refs": [ "rh-104-ex06" ] }, { "id": "rh-104-007", "type": "paragraph", "original": "4) Les accords de sixte augmentée modulent aux tons dièses ; leur emploi est donc bon lorsqu'il s'agit de diminuer subitement le nombre des bémols ou augmenter subitement le nombre des dièses :", "english": "4) Augmented-sixth chords modulate to sharp keys; their use is therefore good when the number of flats is to be reduced suddenly, or the number of sharps increased suddenly:", "reading_order": 1169, "section": "ch05-p084", "sources": [ { "pdf_page": 84, "source_image": "source-pages/084.png", "printed_page": 76 } ] }, { "id": "rh-104-ex07", "type": "music", "original": "Do — La — N.B. — Do", "english": "Example: from C major (Do) through D♭ major to A♭ major (La[♭]); the dominant seventh of D♭ (A♭–G♭–C–E♭, figured 7, marked N.B.) resolves directly on the six-four chord of C major (G–G–C–E, figured 6/4), then G major with the tenor moving G→F (figured 8—7) to C major (Do).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1170, "section": "ch05-p084", "sources": [ { "pdf_page": 84, "source_image": "source-pages/084.png", "printed_page": 76 } ], "asset_refs": [ "rh-104-ex07" ] }, { "id": "rh-104-008", "type": "paragraph", "original": "REMARQUE. — L'enharmonie de l'accord de septième de dominante avec l'accord de tierce et quarte doublement augmentée n'est pas présentée dans l'exemple ci-dessus, ce qui ne se fait pas ordinairement en pratique, toutefois la résolution de l'accord de septième de dominante du ton de Ré ♭ sur l'accord de quarte et sixte du ton de Do, s'explique par cette enharmonie sous-entendue.", "english": "REMARK. — The enharmony of the dominant seventh chord with the chord of the doubly augmented four-three is not shown in the example above, which is not usually done in practice; nevertheless, the resolution of the dominant seventh chord of D♭ major on the six-four chord of C major is explained by this implied enharmony.", "reading_order": 1171, "section": "ch05-p084", "sources": [ { "pdf_page": 84, "source_image": "source-pages/084.png", "printed_page": 76 } ] }, { "id": "rh-104-009", "type": "heading", "original": "Exercices", "english": "Exercises", "reading_order": 1172, "section": "ch05-p084", "sources": [ { "pdf_page": 84, "source_image": "source-pages/084.png", "printed_page": 76 } ] }, { "id": "rh-104-010", "type": "paragraph", "original": "Ecrire et jouer au piano, au moyen des accords de sixte augmentée, des modulations subites aux différents tons éloignés.", "english": "Write, and play at the piano, sudden modulations to the various remote keys by means of augmented-sixth chords.", "reading_order": 1173, "section": "ch05-p084", "sources": [ { "pdf_page": 84, "source_image": "source-pages/084.png", "printed_page": 76 } ] }, { "id": "rh-105-001", "type": "heading", "original": "Enharmonie de l'accord de 7me diminuée", "english": "Enharmony of the Diminished Seventh Chord", "reading_order": 1174, "section": "ch05-p085", "sources": [ { "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77 } ] }, { "id": "rh-105-002", "type": "paragraph", "original": "§ 85.— 1) Tout accord de septième diminuée peut avoir les six résolutions suivantes :", "english": "§ 85.— 1) Every diminished seventh chord can have the following six resolutions:", "reading_order": 1175, "section": "ch05-p085", "sources": [ { "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77 } ] }, { "id": "rh-105-ex01", "type": "music", "original": "[Exemple] 1) 2) 3) 4) 5) 6) (*)", "english": "[Example] 1) 2) 3) 4) 5) 6) (*)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1176, "section": "ch05-p085", "sources": [ { "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77 } ], "asset_refs": [ "rh-105-ex01" ] }, { "id": "rh-105-003", "type": "paragraph", "original": "2) Mais, vu que cet accord peut être présenté enharmoniquement sous quatre aspects différents :", "english": "2) But since this chord can be presented enharmonically in four different forms:", "reading_order": 1177, "section": "ch05-p085", "sources": [ { "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77 } ] }, { "id": "rh-105-ex02", "type": "music", "original": "[Exemple] 7 = 6/5, 4/3 = 2", "english": "[Example] 7 = 6/5, 4/3 = 2", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1178, "section": "ch05-p085", "sources": [ { "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77 } ], "asset_refs": [ "rh-105-ex02" ] }, { "id": "rh-105-004", "type": "paragraph", "original": "il en résulte 24 résolutions pouvant amener à l'une ou à l'autre des 24 tonalités.", "english": "it follows that there are 24 resolutions, which can lead to any one of the 24 keys.", "reading_order": 1179, "section": "ch05-p085", "sources": [ { "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77 } ] }, { "id": "rh-105-ex03", "type": "music", "original": "[Exemple] Do — Lab ; Do — Do #", "english": "[Example] C — Ab; C — C#", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1180, "section": "ch05-p085", "sources": [ { "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77 } ], "asset_refs": [ "rh-105-ex03" ] }, { "id": "rh-105-005", "type": "heading", "original": "Exercices", "english": "Exercises", "reading_order": 1181, "section": "ch05-p085", "sources": [ { "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77 } ] }, { "id": "rh-105-006", "type": "paragraph", "original": "Ecrire et jouer au piano des modulations aux différentes tonalités au moyen de l'accord de septième diminuée.", "english": "Write, and play at the piano, modulations to the various keys by means of the diminished seventh chord.", "reading_order": 1182, "section": "ch05-p085", "sources": [ { "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77 } ] }, { "id": "rh-105-007", "type": "heading", "original": "Enharmonie de l'accord de quinte augmentée", "english": "Enharmony of the Augmented Fifth Chord", "reading_order": 1183, "section": "ch05-p085", "sources": [ { "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77 } ] }, { "id": "rh-105-008", "type": "paragraph", "original": "§ 86.— 1) L'accord de quinte augmentée à quatre résolutions :", "english": "§ 86.— 1) The augmented fifth chord has four resolutions:", "reading_order": 1184, "section": "ch05-p085", "sources": [ { "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77 } ] }, { "id": "rh-105-ex04", "type": "music", "original": "[Exemple] 1) 2) 3) 4)", "english": "[Example] 1) 2) 3) 4)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1185, "section": "ch05-p085", "sources": [ { "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77 } ], "asset_refs": [ "rh-105-ex04" ] }, { "id": "rh-105-009", "type": "paragraph", "original": "2) Par le fait enharmonique, cet accord peut se présenter sous trois aspects différents :", "english": "2) Through enharmony this chord can appear in three different forms:", "reading_order": 1186, "section": "ch05-p085", "sources": [ { "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77 } ] }, { "id": "rh-105-ex05", "type": "music", "original": "[Exemple] 3 = 6 = 6/4", "english": "[Example] 3 = 6 = 6/4", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1187, "section": "ch05-p085", "sources": [ { "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77 } ], "asset_refs": [ "rh-105-ex05" ] }, { "id": "rh-105-010", "type": "paragraph", "original": "il en résulte douze résolutions.", "english": "hence twelve resolutions result.", "reading_order": 1188, "section": "ch05-p085", "sources": [ { "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77 } ] }, { "id": "rh-105-011", "type": "paragraph", "original": "Remarque.— L'accord de quinte augmentée s'emploie rarement comme moyen modulant.", "english": "Remark.— The augmented fifth chord is rarely used as a means of modulation.", "reading_order": 1189, "section": "ch05-p085", "sources": [ { "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77 } ] }, { "id": "rh-105-012", "type": "heading", "original": "Successions polytoniques", "english": "Polytonic Successions", "reading_order": 1190, "section": "ch05-p085", "sources": [ { "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77 } ] }, { "id": "rh-105-013", "type": "heading", "original": "Notions générales", "english": "General Notions", "reading_order": 1191, "section": "ch05-p085", "sources": [ { "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77 } ] }, { "id": "rh-105-014", "type": "paragraph", "original": "§ 87.— 1) Comme nous l'avons déjà dit au § 53 nous appelons polytonique toute succession de deux ou plusieurs accords appartenant séparément à différentes tonalités.", "english": "§ 87.— 1) As we have already said in § 53, we call polytonic any succession of two or more chords belonging separately to different keys.", "reading_order": 1192, "section": "ch05-p085", "sources": [ { "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77 } ] }, { "id": "rh-105-015", "type": "paragraph", "original": "2) Dans ces successions le mouvement conjoint des parties et l'enchaînement harmonique sont obligatoires.", "english": "2) In these successions, conjunct motion of the parts and harmonic connection are obligatory.", "reading_order": 1193, "section": "ch05-p085", "sources": [ { "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77 } ] }, { "id": "rh-105-016", "type": "paragraph", "original": "3) Plus il y a de notes communes entre les accords qui constituent une succession polytonique, plus sa sonorité est douce et agréable.", "english": "3) The more notes in common there are between the chords that make up a polytonic succession, the softer and more agreeable its sound.", "reading_order": 1194, "section": "ch05-p085", "sources": [ { "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77 } ] }, { "id": "rh-105-017", "type": "paragraph", "original": "4) Les plus remarquables et les plus usitées sont : la cadence empruntée et la succession polytonique des accords de septième de dominante.", "english": "4) The most remarkable and most frequently used are the borrowed cadence and the polytonic succession of dominant seventh chords.", "reading_order": 1195, "section": "ch05-p085", "sources": [ { "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77 } ] }, { "id": "rh-105-018", "type": "heading", "original": "Des cadences empruntées", "english": "On Borrowed Cadences", "reading_order": 1196, "section": "ch05-p085", "sources": [ { "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77 } ] }, { "id": "rh-105-019", "type": "paragraph", "original": "§ 88.— a) En majeur.", "english": "§ 88.— a) In major.", "reading_order": 1197, "section": "ch05-p085", "sources": [ { "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77 } ] }, { "id": "rh-105-020", "type": "paragraph", "original": "1) L'accord parfait de dominante ou l'accord de septième de dominante se résout sur l'accord parfait du VIme degré, emprunté au ton mineur homonyme avec la doublure de la tierce :", "english": "1) The dominant triad or the dominant seventh chord resolves to the triad of the 6th degree, borrowed from the minor key of the same name, with the third doubled:", "reading_order": 1198, "section": "ch05-p085", "sources": [ { "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77 } ] }, { "id": "rh-105-ex06", "type": "music", "original": "Exemple", "english": "Example", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1199, "section": "ch05-p085", "sources": [ { "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77 } ], "asset_refs": [ "rh-105-ex06" ] }, { "id": "rh-105-021", "type": "footnote", "original": "(*) En raison de la septième de cet accord qui appartient aux deux modes harmoniques homonymes, il est évident que les résolutions 1 — 3 — 5 appartiennent au mode mineur, les 2 — 4 au mode majeur et 6 aux deux modes. (N. D. T.)", "english": "(*) Since the seventh of this chord belongs to both harmonic modes of the same name, it is evident that resolutions 1, 3 and 5 belong to the minor mode, 2 and 4 to the major mode, and 6 to both modes. (Translator's note.)", "reading_order": 1200, "section": "ch05-p085", "sources": [ { "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77 } ] }, { "id": "rh-106-001", "type": "paragraph", "original": "2) On l'emploie dans le même cas que la cadence rompue et on peut la faire suivre de l'accord mineur de sous-dominante, de l'accord de sixte du IIme degré du mode majeur harmonique ou de l'accord de sixte du même degré modifié par une altération descendante.", "english": "2) It is used in the same cases as the deceptive cadence, and it may be followed by the minor subdominant chord, by the sixth chord of the 2nd degree of the harmonic major mode, or by the sixth chord of the same degree modified by a descending alteration.", "reading_order": 1201, "section": "ch05-p086", "sources": [ { "pdf_page": 86, "source_image": "source-pages/086.png", "printed_page": 78 } ] }, { "id": "rh-106-ex01", "type": "music", "original": "IV harm. II harm. II harm.", "english": "Example in C major (grand staff): the dominant chord G–D–G–B (the tenor moving G–F, making the seventh) goes to the borrowed VI chord A♭–E♭–C–C with doubled third; then, in brackets, three alternative continuations: the minor subdominant chord F–F–A♭–C (\"IV harm.\"), the sixth chord of the 2nd degree of harmonic major F–F–A♭–D (\"II harm.\", figured 6), and the same chord with the lowered root, F–F–A♭–D♭ (\"II harm.\", figured ♭6); then the cadence: tonic 6/4 chord G–E–G–C, dominant G–D–B with the alto G–F (seventh), and the final tonic chord C–C–E–C.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1202, "section": "ch05-p086", "sources": [ { "pdf_page": 86, "source_image": "source-pages/086.png", "printed_page": 78 } ], "asset_refs": [ "rh-106-ex01" ] }, { "id": "rh-106-002", "type": "heading", "original": "Supplément", "english": "Supplement", "reading_order": 1203, "section": "ch05-p086", "sources": [ { "pdf_page": 86, "source_image": "source-pages/086.png", "printed_page": 78 } ] }, { "id": "rh-106-003", "type": "paragraph", "original": "Par l'emprunt au ton mineur s'explique l'emploi de l'accord de quinte et sixte augmentée en majeur ainsi que l'emploi de l'accord de septième diminuée sur le IVme degré modifié par une altération ascendante ayant comme résolution l'accord de quarte et sixte de tonique.", "english": "Borrowing from the minor key explains the use of the augmented six-five chord in major, as well as the use of the diminished seventh chord on the 4th degree modified by an ascending alteration, with the tonic six-four chord as its resolution.", "reading_order": 1204, "section": "ch05-p086", "sources": [ { "pdf_page": 86, "source_image": "source-pages/086.png", "printed_page": 78 } ] }, { "id": "rh-106-ex02", "type": "music", "original": "au lieu de :", "english": "\"Instead of:\" two chords on the 2nd degree (II) in C major, each resolving to the tonic 6/4 chord: A♭–C–D♯–F♯ (figured ♯6/♯4/3) going to G–C–E–G (6/4); after a double bar, F♯–A–C–D♯ (figured ♯6/5) going to G–G–C–E (6/4).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1205, "section": "ch05-p086", "sources": [ { "pdf_page": 86, "source_image": "source-pages/086.png", "printed_page": 78 } ], "asset_refs": [ "rh-106-ex02" ] }, { "id": "rh-106-ex03", "type": "music", "original": "on écrit :", "english": "\"One writes:\" the same chords spelled on the 4th degree (IV): A♭–C–E♭–F♯ (augmented six-five chord, figured ♯6/5) going to G–C–E♮–G (6/4); after a double bar, F♯–A–C–E♭ (diminished seventh on the raised 4th degree, figured ♭7) going to G–G–C–E♮ (6/4).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1206, "section": "ch05-p086", "sources": [ { "pdf_page": 86, "source_image": "source-pages/086.png", "printed_page": 78 } ], "asset_refs": [ "rh-106-ex03" ] }, { "id": "rh-106-004", "type": "paragraph", "original": "L'orthographe de l'exemple ci-dessus se rencontre quand ces accords sont accompagnés d'ornements harmoniques ou mélodiques.", "english": "The spelling of the example above is found when these chords are accompanied by harmonic or melodic ornaments.", "reading_order": 1207, "section": "ch05-p086", "sources": [ { "pdf_page": 86, "source_image": "source-pages/086.png", "printed_page": 78 } ] }, { "id": "rh-106-005", "type": "paragraph", "original": "§ 89. — b) En mineur.", "english": "§ 89. b) In minor.", "reading_order": 1208, "section": "ch05-p086", "sources": [ { "pdf_page": 86, "source_image": "source-pages/086.png", "printed_page": 78 } ] }, { "id": "rh-106-006", "type": "paragraph", "original": "1) L'accord parfait de dominante est suivi de l'accord de septième diminuée sur le IVme degré modifié par une altération ascendante :", "english": "1) The dominant triad is followed by the diminished seventh chord on the 4th degree modified by an ascending alteration:", "reading_order": 1209, "section": "ch05-p086", "sources": [ { "pdf_page": 86, "source_image": "source-pages/086.png", "printed_page": 78 } ] }, { "id": "rh-106-ex04", "type": "music", "original": "[Exemple]", "english": "C minor, one treble staff: the dominant triad G–D–G–B♮ (V) followed by the diminished seventh chord F♯–E♭–A♮–C (labelled V), whole notes.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1210, "section": "ch05-p086", "sources": [ { "pdf_page": 86, "source_image": "source-pages/086.png", "printed_page": 78 } ], "asset_refs": [ "rh-106-ex04" ] }, { "id": "rh-106-007", "type": "paragraph", "original": "2) Cette succession s'emploie presque toujours dans les positions mélodiques indiquées dans l'exemple suivant et demande comme résolution l'accord de quarte et sixte conclusif :", "english": "2) This succession is used almost always in the melodic positions shown in the following example, and requires the concluding six-four chord as its resolution:", "reading_order": 1211, "section": "ch05-p086", "sources": [ { "pdf_page": 86, "source_image": "source-pages/086.png", "printed_page": 78 } ] }, { "id": "rh-106-ex05", "type": "music", "original": "V IV", "english": "C minor, grand staff: dominant G–D–G–B♮ (V); diminished seventh F♯–E♭–A♮–C (IV, figured 7/5/♮3); tonic 6/4 chord G–E♭–G–C (6/4); dominant G–D–B with the alto G–F (8–7); final tonic chord C–C–E♭–C.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1212, "section": "ch05-p086", "sources": [ { "pdf_page": 86, "source_image": "source-pages/086.png", "printed_page": 78 } ], "asset_refs": [ "rh-106-ex05" ] }, { "id": "rh-106-008", "type": "paragraph", "original": "Se servir des cadences d'emprunt dans la conclusion des devoirs modulants.", "english": "Use borrowed cadences in the conclusion of modulating exercises.", "reading_order": 1213, "section": "ch05-p086", "sources": [ { "pdf_page": 86, "source_image": "source-pages/086.png", "printed_page": 78 } ] }, { "id": "rh-106-009", "type": "heading", "original": "Succession polytonique des accords de 7me de dominante en rapport de tierce supérieure ou inférieure", "english": "Polytonic Succession of Dominant Seventh Chords in the Relation of an Upper or Lower Third", "reading_order": 1214, "section": "ch05-p086", "sources": [ { "pdf_page": 86, "source_image": "source-pages/086.png", "printed_page": 78 } ] }, { "id": "rh-106-010", "type": "paragraph", "original": "§ 90. — 1) Exemple d'enchaînement d'accords parfaits avec des accords de septième de dominante distants d'une tierce mineure ou majeure :", "english": "§ 90. 1) Example of the connection of triads with dominant seventh chords a minor or major third away:", "reading_order": 1215, "section": "ch05-p086", "sources": [ { "pdf_page": 86, "source_image": "source-pages/086.png", "printed_page": 78 } ] }, { "id": "rh-106-ex06", "type": "music", "original": "1) V 2) V 3) V 4) V", "english": "Four connections on one treble staff, whole notes. 1) G major triad G–G–B–D to the dominant seventh of E♭ in 4/3 position, F–A♭–B♭–D (V, figured 4/3), D tied. 2) G major G–B–B–D to the dominant seventh of E, F♯–A–B–D♯ (V, 4/3). 3) G major G–B–D–D to the dominant seventh of A, G♯–B–D–E (V, figured 5 over 6). 4) G major G–B–D–D to the dominant seventh of A♭, G–B♭–D♭–E♭ (V, figured 5 over 6).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1216, "section": "ch05-p086", "sources": [ { "pdf_page": 86, "source_image": "source-pages/086.png", "printed_page": 78 } ], "asset_refs": [ "rh-106-ex06" ] }, { "id": "rh-106-011", "type": "paragraph", "original": "2) Exemple d'enchaînement d'accords de septième de dominante avec des accords parfaits distants d'une tierce mineure ou majeure :", "english": "2) Example of the connection of dominant seventh chords with triads a minor or major third away:", "reading_order": 1217, "section": "ch05-p086", "sources": [ { "pdf_page": 86, "source_image": "source-pages/086.png", "printed_page": 78 } ] }, { "id": "rh-106-ex07", "type": "music", "original": "1) V 2) V 3) V 4) V", "english": "Four connections on one treble staff, whole notes. 1) Dominant seventh of C, G–B–D–F (V, 7), to the B♭ major 6/4 chord F–B♭–D–F (6/4), F tied. 2) G–B–D–F (V, 7) to the B major 6/4 chord F♯–B–D♯–F♯ (6/4), B tied. 3) G–B–D–F in third inversion, F–G–B–D (V, 2), to the E major chord E–G♯–B–E. 4) F–G–B–D (V, 2) to the E♭ major chord E♭–G–B♭–E♭.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1218, "section": "ch05-p086", "sources": [ { "pdf_page": 86, "source_image": "source-pages/086.png", "printed_page": 78 } ], "asset_refs": [ "rh-106-ex07" ] }, { "id": "rh-106-012", "type": "paragraph", "original": "NOTA. — L'exemple (1) est moins bon car il se présente comme s'il contenait un retard incorrect.", "english": "NOTE. Example (1) is less good, because it looks as if it contained an incorrect suspension.", "reading_order": 1219, "section": "ch05-p086", "sources": [ { "pdf_page": 86, "source_image": "source-pages/086.png", "printed_page": 78 } ] }, { "id": "rh-107-001", "type": "paragraph", "original": "3) Exemple d'enchaînement d'accords de septième de dominante distants d'une tierce majeure ou mineure :", "english": "3) Example of the succession of dominant seventh chords a major or minor third apart:", "reading_order": 1220, "section": "ch05-p087", "sources": [ { "pdf_page": 87, "source_image": "source-pages/087.png", "printed_page": 79 } ] }, { "id": "rh-107-ex01", "type": "music", "original": "[Exemple] 1) V V 2) V V 3) V V 4) V V", "english": "Four successions of dominant seventh chords whose roots lie a third apart, each chord labelled V: 1) G–B–D–F (7) to B♭–D–F–A♭ as a 4/2 chord (2), with the common tones F and D tied; 2) G–B–D–F (7) to B–D♯–F♯–A as a 4/2 chord (2), with the common tone B tied; 3) G–B–D–F (7) to E–G♯–B–D as a 6/5 chord; 4) G–B–D–F to E♭–G–B♭–D♭ with G in the bass (no figures printed).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1221, "section": "ch05-p087", "sources": [ { "pdf_page": 87, "source_image": "source-pages/087.png", "printed_page": 79 } ], "asset_refs": [ "rh-107-ex01" ] }, { "id": "rh-107-002", "type": "paragraph", "original": "4) Exemple d'enchaînement de deux accords de septième de dominante distants d'une quarte et d'une quinte :", "english": "4) Example of the succession of two dominant seventh chords a fourth and a fifth apart:", "reading_order": 1222, "section": "ch05-p087", "sources": [ { "pdf_page": 87, "source_image": "source-pages/087.png", "printed_page": 79 } ] }, { "id": "rh-107-ex02", "type": "music", "original": "[Exemple] a) V IV b) VI V", "english": "a) G–B–D–F (7, labelled V) to D–F♯–A–C as a 4/3 chord (labelled IV): the root rises a fifth. b) G–B–D–F (7, labelled VI) to C–E–G–B♭ as a 4/3 chord (labelled V): the root rises a fourth.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1223, "section": "ch05-p087", "sources": [ { "pdf_page": 87, "source_image": "source-pages/087.png", "printed_page": 79 } ], "asset_refs": [ "rh-107-ex02" ] }, { "id": "rh-107-003", "type": "paragraph", "original": "NOTA. — La succession (a) de l'exemple ci-dessus est d'un effet plutôt dur à cause du mouvement ascendant de la septième ; par contre, la succession (b) est assez usitée, elle dérive de la marche modulante, modification de la marche unitonique, c'est-à-dire : chaque accord de septième de la marche unitonique se transforme en accord de septième de dominante dans la marche modulante.", "english": "NOTE. — Succession (a) of the example above has a rather harsh effect because of the ascending motion of the seventh; succession (b), on the other hand, is fairly common. It derives from the modulating sequence, a modification of the one-key sequence; that is, each seventh chord of the one-key sequence is transformed into a dominant seventh chord in the modulating sequence.", "reading_order": 1224, "section": "ch05-p087", "sources": [ { "pdf_page": 87, "source_image": "source-pages/087.png", "printed_page": 79 } ] }, { "id": "rh-107-ex03", "type": "music", "original": "MARCHE UNITONIQUE", "english": "ONE-KEY SEQUENCE (in C major): seventh chords on V, I, IV, VII, III, VI, alternately in root position (7) and as 4/3 chords — G–B–D–F, C–E–G–B over G, F–A–C–E, B–D–F–A over F, E–G–B–D, A–C–E–G over E — etc.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1225, "section": "ch05-p087", "sources": [ { "pdf_page": 87, "source_image": "source-pages/087.png", "printed_page": 79 } ], "asset_refs": [ "rh-107-ex03" ] }, { "id": "rh-107-ex04", "type": "music", "original": "MARCHE MODULANTE", "english": "MODULATING SEQUENCE: every chord is a dominant seventh chord (V), the roots rising by fourths and the chords alternating between root position (7) and 4/3 position: G7, C7, F7, B♭7, E♭7, A♭7, then D♭7 (in parentheses) rewritten enharmonically as C♯7 (7 = 7), F♯7, B7, E7, A7, D7, G7, and the C major chord (I): the sequence returns to the starting key.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1226, "section": "ch05-p087", "sources": [ { "pdf_page": 87, "source_image": "source-pages/087.png", "printed_page": 79 } ], "asset_refs": [ "rh-107-ex04" ] }, { "id": "rh-107-004", "type": "paragraph", "original": "Une telle marche modulante, par suite de l'enharmonie d'un des accords de septième de dominante, amène la modulation au ton primitif.", "english": "Such a modulating sequence, through the enharmonic change of one of the dominant seventh chords, brings about the modulation back to the original key.", "reading_order": 1227, "section": "ch05-p087", "sources": [ { "pdf_page": 87, "source_image": "source-pages/087.png", "printed_page": 79 } ] }, { "id": "rh-107-005", "type": "paragraph", "original": "REMARQUE. — On peut aussi composer des marches modulantes avec des accords de septième de sensible mineure ou diminuée ainsi qu'avec des accords de neuvième alternés par des accords de septième.", "english": "REMARK. — Modulating sequences can also be composed with half-diminished or diminished leading-note seventh chords, and with ninth chords alternating with seventh chords.", "reading_order": 1228, "section": "ch05-p087", "sources": [ { "pdf_page": 87, "source_image": "source-pages/087.png", "printed_page": 79 } ] }, { "id": "rh-107-006", "type": "heading", "original": "Supplément", "english": "Supplement", "reading_order": 1229, "section": "ch05-p087", "sources": [ { "pdf_page": 87, "source_image": "source-pages/087.png", "printed_page": 79 } ] }, { "id": "rh-107-007", "type": "paragraph", "original": "La succession de deux accords de septième de dominante distants d'une quarte augmentée ou d'une quinte diminuée :", "english": "The succession of two dominant seventh chords an augmented fourth or a diminished fifth apart:", "reading_order": 1230, "section": "ch05-p087", "sources": [ { "pdf_page": 87, "source_image": "source-pages/087.png", "printed_page": 79 } ] }, { "id": "rh-107-ex05", "type": "music", "original": "[Exemple] V V", "english": "D–F♯–A–C as a 4/3 chord (V) followed by A♭–C–E♭–G♭ in root position (V, 7).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1231, "section": "ch05-p087", "sources": [ { "pdf_page": 87, "source_image": "source-pages/087.png", "printed_page": 79 } ], "asset_refs": [ "rh-107-ex05" ] }, { "id": "rh-107-008", "type": "paragraph", "original": "s'explique par :", "english": "is explained by:", "reading_order": 1232, "section": "ch05-p087", "sources": [ { "pdf_page": 87, "source_image": "source-pages/087.png", "printed_page": 79 } ] }, { "id": "rh-107-ex06", "type": "music", "original": "[Exemple] II I etc.", "english": "II: A–C–D–F♯ (♯6/4/3), then the same chord with A♭ in the bass and D♯, A♭–C–D♯–F♯ (♯6/4/3) — the A♭ seventh chord written enharmonically — resolving to the tonic 6/4 chord G–C–E–G (I, 6/4), etc.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1233, "section": "ch05-p087", "sources": [ { "pdf_page": 87, "source_image": "source-pages/087.png", "printed_page": 79 } ], "asset_refs": [ "rh-107-ex06" ] }, { "id": "rh-107-009", "type": "heading", "original": "Application de la polytonie à la modulation subite", "english": "Application of Polytony to Sudden Modulation", "reading_order": 1234, "section": "ch05-p087", "sources": [ { "pdf_page": 87, "source_image": "source-pages/087.png", "printed_page": 79 } ] }, { "id": "rh-107-010", "type": "paragraph", "original": "§ 91. — 1) La modulation au moyen de la polytonie ne demande pas d'explication particulière ; la polytonie s'emploie pour les transitions aux tons voisins aussi bien que pour les transitions aux tons éloignés :", "english": "§ 91. — 1) Modulation by means of polytony needs no particular explanation; polytony is used for transitions to closely related keys as well as for transitions to distant keys:", "reading_order": 1235, "section": "ch05-p087", "sources": [ { "pdf_page": 87, "source_image": "source-pages/087.png", "printed_page": 79 } ] }, { "id": "rh-107-ex07", "type": "music", "original": "[Exemple] Do – Mi ; Do – Réb ; Do – do♯", "english": "Three sudden modulations from C major, four-part, whole notes: to E major (C – G – B7 – E); to D♭ major (C – F – A♭7 – D♭); to C♯ minor (C – C7 over B♭ – A7 – C♯ minor 6/4 – G♯7 – C♯ minor), etc.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1236, "section": "ch05-p087", "sources": [ { "pdf_page": 87, "source_image": "source-pages/087.png", "printed_page": 79 } ], "asset_refs": [ "rh-107-ex07" ] }, { "id": "rh-108-001", "type": "paragraph", "original": "2) Toutefois la modulation subite, musicalement bien complète, ne demande pas de transition au delà des tons de deuxième classe; ce n'est que la modulation graduelle qui enchaîne d'une manière satisfaisante les tonalités éloignées.", "english": "2) However, sudden modulation, though musically quite complete, does not call for transition beyond the keys of the second class; only gradual modulation connects distant keys in a satisfactory way.", "reading_order": 1237, "section": "ch05-p088", "sources": [ { "pdf_page": 88, "source_image": "source-pages/088.png", "printed_page": 80 } ] }, { "id": "rh-108-002", "type": "paragraph", "original": "3) La modulation subite, employée comme modulation passagère de courte durée aux tons de deuxième classe, impose en quelque sorte la règle suivante: Après avoir modulé subitement à l'un des tons de deuxième classe on va immédiatement au ton de première classe retranché par la modulation subite et on revient ensuite au ton principal:", "english": "3) Sudden modulation, used as a passing modulation of short duration to keys of the second class, imposes, as it were, the following rule: after modulating suddenly to one of the keys of the second class, one goes immediately to the key of the first class that the sudden modulation cut out, and then returns to the principal key:", "reading_order": 1238, "section": "ch05-p088", "sources": [ { "pdf_page": 88, "source_image": "source-pages/088.png", "printed_page": 80 } ] }, { "id": "rh-108-003", "type": "paragraph", "original": "DO – RÉ♭ – fa – DO\nDO – SI – mi – DO\nDO – MI – la – DO\nDO – si – SOL – DO", "english": "C – D♭ – f – C\nC – B – e – C\nC – E – a – C\nC – b – G – C\n(capital letters: major keys; small letters: minor keys)", "reading_order": 1239, "section": "ch05-p088", "sources": [ { "pdf_page": 88, "source_image": "source-pages/088.png", "printed_page": 80 } ] }, { "id": "rh-108-ex01", "type": "music", "original": "EXEMPLE DE MODULATIONS PASSAGÈRES", "english": "EXAMPLE OF PASSING MODULATIONS. Four-part whole-note chords in C major (Do) passing through A major (La), D minor (ré), back to C (Do), then by enharmony (C–E–G–B♭ reinterpreted as C–E–F♯–A♯) to E major (Mi), through A minor (la), and back to C major (Do).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1240, "section": "ch05-p088", "sources": [ { "pdf_page": 88, "source_image": "source-pages/088.png", "printed_page": 80 } ], "asset_refs": [ "rh-108-ex01" ] }, { "id": "rh-108-004", "type": "paragraph", "original": "4) On peut aussi quelquefois revenir subitement et directement au ton primitif:", "english": "4) One may also sometimes return suddenly and directly to the original key:", "reading_order": 1241, "section": "ch05-p088", "sources": [ { "pdf_page": 88, "source_image": "source-pages/088.png", "printed_page": 80 } ] }, { "id": "rh-108-ex02", "type": "music", "original": "[Exemple] Do · Ré♭ · Do", "english": "Example: from C major (Do) suddenly to D♭ major (Ré♭) through its dominant seventh, and directly back to C major (Do) through the augmented-sixth chord D♭–F–A♭–B♮, whose A♭ falls to G.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1242, "section": "ch05-p088", "sources": [ { "pdf_page": 88, "source_image": "source-pages/088.png", "printed_page": 80 } ], "asset_refs": [ "rh-108-ex02" ] }, { "id": "rh-108-005", "type": "heading", "original": "Exercices", "english": "Exercises", "reading_order": 1243, "section": "ch05-p088", "sources": [ { "pdf_page": 88, "source_image": "source-pages/088.png", "printed_page": 80 } ] }, { "id": "rh-108-006", "type": "paragraph", "original": "Ecrire et jouer au piano des modulations subites alternées par des modulations graduelles.", "english": "Write and play at the piano sudden modulations alternating with gradual modulations.", "reading_order": 1244, "section": "ch05-p088", "sources": [ { "pdf_page": 88, "source_image": "source-pages/088.png", "printed_page": 80 } ] }, { "id": "rh-108-007", "type": "heading", "original": "Devoir Nº 34", "english": "Assignment No. 34", "reading_order": 1245, "section": "ch05-p088", "sources": [ { "pdf_page": 88, "source_image": "source-pages/088.png", "printed_page": 80 } ] }, { "id": "rh-108-008", "type": "paragraph", "original": "Employer quelquefois la polytonie dans la réalisation des chants donnés.", "english": "Occasionally use polytonality in realizing the given melodies.", "reading_order": 1246, "section": "ch05-p088", "sources": [ { "pdf_page": 88, "source_image": "source-pages/088.png", "printed_page": 80 } ] }, { "id": "rh-108-ex03", "type": "music", "original": "MODÈLE", "english": "Model: an eight-bar realization in four parts, 6/8 time, in A minor, using polytonic successions (bars 5–7 pass through chromatic chords with B♭, A♭, D♯, F♯), ending in A minor.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1247, "section": "ch05-p088", "sources": [ { "pdf_page": 88, "source_image": "source-pages/088.png", "printed_page": 80 } ], "asset_refs": [ "rh-108-ex03" ] }, { "id": "rh-108-009", "type": "paragraph", "original": "REMARQUE. — Nous laissons à l'élève la tâche de trouver toute combinaison polytonique pouvant résulter des autres accords de septième.", "english": "REMARK. — We leave to the student the task of finding every polytonic combination that can result from the other seventh chords.", "reading_order": 1248, "section": "ch05-p088", "sources": [ { "pdf_page": 88, "source_image": "source-pages/088.png", "printed_page": 80 } ] }, { "id": "rh-109-001", "type": "heading", "original": "Réalisation des chorals", "english": "Harmonizing Chorales", "reading_order": 1249, "section": "ch05-p089", "sources": [ { "pdf_page": 89, "source_image": "source-pages/089.png", "printed_page": 81 } ] }, { "id": "rh-109-002", "type": "paragraph", "original": "§ 92. — Dans la réalisation des chorals, la modulation chromatique et subite, la succession polytonique et les dissonances de toute espèce, peuvent y avoir leur emploi.", "english": "§ 92. — In harmonizing chorales, chromatic and sudden modulation, polytonic succession and dissonances of every kind may all be used.", "reading_order": 1250, "section": "ch05-p089", "sources": [ { "pdf_page": 89, "source_image": "source-pages/089.png", "printed_page": 81 } ] }, { "id": "rh-109-003", "type": "paragraph", "original": "Comme aperçu nous donnons deux réalisations différentes de deux strophes de chorals.", "english": "As an illustration we give two different harmonizations of two chorale strophes.", "reading_order": 1251, "section": "ch05-p089", "sources": [ { "pdf_page": 89, "source_image": "source-pages/089.png", "printed_page": 81 } ] }, { "id": "rh-109-ex01", "type": "music", "original": "Choral I", "english": "Chorale I. Four-part harmonization in G major, common time, with a half-note upbeat; the melody (G B C D C B A B, fermata, B B A B C A G A, fermata G) is set with chromatic chords: the dominant seventh of C (bar 1), the diminished seventh B–D–F–A♭ (bar 2), the diminished seventh G♯–B–D–F over D (bar 3), B major and B7 over A (bar 4), G and G7 over F (bar 5), D7 over F♯ (bar 6) and the diminished seventh D♯–F♯–A–C (bar 7), closing on E minor.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1252, "section": "ch05-p089", "sources": [ { "pdf_page": 89, "source_image": "source-pages/089.png", "printed_page": 81 } ], "asset_refs": [ "rh-109-ex01" ] }, { "id": "rh-109-ex02", "type": "music", "original": "Choral II", "english": "Chorale II. A second harmonization of the same melody, in four parts with ties and quarter-note motion in the inner voices: B major and A minor (bar 1), E7 over G♯ (bar 2), the diminished seventh G♯–B–D–F and G7 (bar 4), a C major seventh moving to E major with a chromatic tenor E–F♯–G♯ over the bass C–B (bar 5), D7 (bar 6), the chord C♯–E–G over E and D7 (bar 7), closing on G major.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1253, "section": "ch05-p089", "sources": [ { "pdf_page": 89, "source_image": "source-pages/089.png", "printed_page": 81 } ], "asset_refs": [ "rh-109-ex02" ] }, { "id": "rh-109-004", "type": "heading", "original": "Devoir Nº 35", "english": "Assignment No. 35", "reading_order": 1254, "section": "ch05-p089", "sources": [ { "pdf_page": 89, "source_image": "source-pages/089.png", "printed_page": 81 } ] }, { "id": "rh-109-005", "type": "paragraph", "original": "Réaliser chaque choral", "english": "Harmonize each chorale", "reading_order": 1255, "section": "ch05-p089", "sources": [ { "pdf_page": 89, "source_image": "source-pages/089.png", "printed_page": 81 } ] }, { "id": "rh-109-006", "type": "paragraph", "original": "Iº en style rigoureux avec des accords plaqués.", "english": "I. in strict style, with block chords.", "reading_order": 1256, "section": "ch05-p089", "sources": [ { "pdf_page": 89, "source_image": "source-pages/089.png", "printed_page": 81 } ] }, { "id": "rh-109-007", "type": "paragraph", "original": "IIº en style rigoureux avec des retards, des notes de passage et tout autre ornement mélodique dans les trois parties inférieures.", "english": "II. in strict style, with suspensions, passing notes and every other melodic ornament in the three lower parts.", "reading_order": 1257, "section": "ch05-p089", "sources": [ { "pdf_page": 89, "source_image": "source-pages/089.png", "printed_page": 81 } ] }, { "id": "rh-109-008", "type": "paragraph", "original": "IIIº en style libre avec l'emploi des harmonies dissonantes, des successions polytoniques, etc. (de 2 à 3 fois).", "english": "III. in free style, using dissonant harmonies, polytonic successions, etc. (2 to 3 times).", "reading_order": 1258, "section": "ch05-p089", "sources": [ { "pdf_page": 89, "source_image": "source-pages/089.png", "printed_page": 81 } ] }, { "id": "rh-109-009", "type": "heading", "original": "Supplément I", "english": "Supplement I", "reading_order": 1259, "section": "ch05-p089", "sources": [ { "pdf_page": 89, "source_image": "source-pages/089.png", "printed_page": 81 } ] }, { "id": "rh-109-010", "type": "heading", "original": "De l'ornement harmonique et de l'ornement de la pédale", "english": "On Harmonic Ornament and Ornament of the Pedal", "reading_order": 1260, "section": "ch05-p089", "sources": [ { "pdf_page": 89, "source_image": "source-pages/089.png", "printed_page": 81 } ] }, { "id": "rh-109-011", "type": "paragraph", "original": "§ 93. — 1) Si au lieu d'émettre simultanément les notes d'un accord (accord plaqué) on les fait se succéder dans un ordre quelconque, on obtient l'ornement appelé : harmonique ou accord brisé ou arpégé ou figuré :", "english": "§ 93. — 1) If, instead of sounding the notes of a chord simultaneously (block chord), we make them follow one another in any order, we obtain the ornament called harmonic, or broken, arpeggiated or figured chord:", "reading_order": 1261, "section": "ch05-p089", "sources": [ { "pdf_page": 89, "source_image": "source-pages/089.png", "printed_page": 81 } ] }, { "id": "rh-109-ex03", "type": "music", "original": "[Exemple]", "english": "[Example] The C major chord C–E–G–C as a block chord, followed by seven broken (arpeggiated) figurations of it in eighth notes, separated by double bars, some over a held C or a held C–E or E–G.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1262, "section": "ch05-p089", "sources": [ { "pdf_page": 89, "source_image": "source-pages/089.png", "printed_page": 81 } ], "asset_refs": [ "rh-109-ex03" ] }, { "id": "rh-109-012", "type": "paragraph", "original": "2) On peut alterner l'ornement harmonique avec l'ornement mélodique :", "english": "2) The harmonic ornament can be alternated with the melodic ornament:", "reading_order": 1263, "section": "ch05-p089", "sources": [ { "pdf_page": 89, "source_image": "source-pages/089.png", "printed_page": 81 } ] }, { "id": "rh-109-ex04", "type": "music", "original": "[Exemple]", "english": "[Example] The C major chord as a block chord, followed by four figurations in sixteenth and eighth notes that mix chord tones with passing and neighbour notes (B, D, F♯), separated by double bars.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1264, "section": "ch05-p089", "sources": [ { "pdf_page": 89, "source_image": "source-pages/089.png", "printed_page": 81 } ], "asset_refs": [ "rh-109-ex04" ] }, { "id": "rh-109-013", "type": "paragraph", "original": "3) L'ornement harmonique sert plutôt de formation à l'accompagnement instrumental et il constitue un sujet d'étude de la composition libre.", "english": "3) The harmonic ornament serves rather for building instrumental accompaniment, and it is a subject of study belonging to free composition.", "reading_order": 1265, "section": "ch05-p089", "sources": [ { "pdf_page": 89, "source_image": "source-pages/089.png", "printed_page": 81 } ] }, { "id": "rh-109-014", "type": "paragraph", "original": "4) Il reste à signaler la pédale brodée, ornement d'emploi assez fréquent :", "english": "4) It remains to mention the embellished pedal, an ornament used fairly often:", "reading_order": 1266, "section": "ch05-p089", "sources": [ { "pdf_page": 89, "source_image": "source-pages/089.png", "printed_page": 81 } ] }, { "id": "rh-109-ex05", "type": "music", "original": "[Exemple]", "english": "[Example] Embellished pedal in C major, common time: over a bass pedal on C ornamented in triplet eighths with lower neighbours (C–D–C, B–C–B, …; C–A–B in bar 2), the upper parts move C–E–G, F–A, F–A♭, G–F–C, D–F–B to the C major chord; \"etc.\"", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1267, "section": "ch05-p089", "sources": [ { "pdf_page": 89, "source_image": "source-pages/089.png", "printed_page": 81 } ], "asset_refs": [ "rh-109-ex05" ] }, { "id": "rh-110-001", "type": "heading", "original": "Supplément II", "english": "Supplement II", "reading_order": 1268, "section": "ch05-p090", "sources": [ { "pdf_page": 90, "source_image": "source-pages/090.png", "printed_page": 82 } ] }, { "id": "rh-110-002", "type": "heading", "original": "Dérogations à la règle rigoureuse du mouvement des parties", "english": "Departures from the Strict Rule of Part Movement", "reading_order": 1269, "section": "ch05-p090", "sources": [ { "pdf_page": 90, "source_image": "source-pages/090.png", "printed_page": 82 } ] }, { "id": "rh-110-003", "type": "paragraph", "original": "a) Deux quintes parallèles dont la première est diminuée et la deuxième juste, s'emploient quelquefois dans les parties intermédiaires lorsqu'elles sont formées par la résolution du premier renversement de l'accord de quinte diminuée ayant la note sensible au ténor :", "english": "a) Two parallel fifths, the first diminished and the second perfect, are sometimes used in the inner parts when they are formed by the resolution of the first inversion of the diminished triad with the leading note in the tenor:", "reading_order": 1270, "section": "ch05-p090", "sources": [ { "pdf_page": 90, "source_image": "source-pages/090.png", "printed_page": 82 } ] }, { "id": "rh-110-ex01", "type": "music", "original": "[Exemple]", "english": "Example in C major, whole notes: the diminished triad B–D–F in first inversion (D3 B3 F4 F5) resolving to the tonic triad (C3 C4 G4 E5). Brackets between tenor and alto mark the diminished fifth B–F (\"5te dim.\") followed by the perfect fifth C–G (\"5te juste\").", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1271, "section": "ch05-p090", "sources": [ { "pdf_page": 90, "source_image": "source-pages/090.png", "printed_page": 82 } ], "asset_refs": [ "rh-110-ex01" ] }, { "id": "rh-110-004", "type": "paragraph", "original": "b) La septième de l'accord de tierce et quarte de dominante qui monte dans la partie intermédiaire lorsque la dominante reste immobile :", "english": "b) The seventh of the dominant 4/3 chord rising in an inner part when the dominant stays still:", "reading_order": 1272, "section": "ch05-p090", "sources": [ { "pdf_page": 90, "source_image": "source-pages/090.png", "printed_page": 82 } ] }, { "id": "rh-110-ex02", "type": "music", "original": "[Exemple]", "english": "Example in C major, whole notes: tonic triad (C3 G3 E4 G4), dominant seventh as a 4/3 chord (D3 G3 F4 B4), tonic 6 chord (E3 G3 G4 C5); the seventh F4 rises to G4 in the alto while the dominant G3 is held (tied) in the tenor. Lines join F–G and B–C. A final chord in black heads (F3 C4 F4 A4), then \"etc.\"", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1273, "section": "ch05-p090", "sources": [ { "pdf_page": 90, "source_image": "source-pages/090.png", "printed_page": 82 } ], "asset_refs": [ "rh-110-ex02" ] }, { "id": "rh-110-005", "type": "paragraph", "original": "c) Les procédés (a-b) à la fois :", "english": "c) Procedures (a) and (b) together:", "reading_order": 1274, "section": "ch05-p090", "sources": [ { "pdf_page": 90, "source_image": "source-pages/090.png", "printed_page": 82 } ] }, { "id": "rh-110-ex03", "type": "music", "original": "[Exemple]", "english": "Example in C major, whole notes: tonic triad (C3 G3 C4 E4), dominant 4/3 chord (D3 G3 B3 F4), tonic 6 chord (E3 G3 C4 G4): the soprano seventh F4 rises to G4 over the held dominant G3 (tied in the tenor), while alto and soprano form a diminished fifth B–F (\"5te dim\") followed by a perfect fifth C–G (\"5te juste\"). A final chord in black heads (F3 F3 C4 A4, tenor and bass in unison), then \"etc.\"", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1275, "section": "ch05-p090", "sources": [ { "pdf_page": 90, "source_image": "source-pages/090.png", "printed_page": 82 } ], "asset_refs": [ "rh-110-ex03" ] }, { "id": "rh-110-006", "type": "paragraph", "original": "d) La septième qui monte, (exclusivement à l'alto) et dans la disposition serrée des parties, lorsque l'accord de dominante se résout sur l'accord parfait ou sur l'accord de sixte de tonique ; en ce cas la basse procède par mouvement descendant :", "english": "d) The seventh rising (only in the alto) in close position of the parts, when the dominant chord resolves to the tonic triad or to the tonic 6 chord; in this case the bass moves downward:", "reading_order": 1276, "section": "ch05-p090", "sources": [ { "pdf_page": 90, "source_image": "source-pages/090.png", "printed_page": 82 } ] }, { "id": "rh-110-ex04", "type": "music", "original": "[Exemple]", "english": "Two examples in C major separated by a double bar, whole notes, each marked V above the first chord. (1) Dominant seventh G3 D4 F4 B4 (figured 7) to the tonic triad C3 E4 G4 C5: the alto seventh F4 rises to G4 while the bass falls G3–C3. (2) The same dominant seventh (figured 7) to the tonic 6 chord E3 C4 G4 C5 (figured 6): the alto F4 rises to G4, the bass falls G3–E3. Lines join F–G in the alto.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1277, "section": "ch05-p090", "sources": [ { "pdf_page": 90, "source_image": "source-pages/090.png", "printed_page": 82 } ], "asset_refs": [ "rh-110-ex04" ] }, { "id": "rh-110-007", "type": "paragraph", "original": "e) Deux quintes justes formées par la résolution de l'accord de quinte et sixte augmentée :", "english": "e) Two perfect fifths formed by the resolution of the augmented 6/5 chord:", "reading_order": 1278, "section": "ch05-p090", "sources": [ { "pdf_page": 90, "source_image": "source-pages/090.png", "printed_page": 82 } ] }, { "id": "rh-110-ex05", "type": "music", "original": "[Exemple]", "english": "Example, whole notes: the augmented 6/5 chord A-flat2 E-flat3 C4 F-sharp4 (figured #6 over b5) resolving to the G major triad G2 D3 B3 G4; brackets marked 5 show the perfect fifths A-flat–E-flat and G–D between bass and tenor.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1279, "section": "ch05-p090", "sources": [ { "pdf_page": 90, "source_image": "source-pages/090.png", "printed_page": 82 } ], "asset_refs": [ "rh-110-ex05" ] }, { "id": "rh-110-008", "type": "paragraph", "original": "f) Deux quintes justes, dont la deuxième se trouve immédiatement après un point d'orgue :", "english": "f) Two perfect fifths, the second of which comes immediately after a fermata:", "reading_order": 1280, "section": "ch05-p090", "sources": [ { "pdf_page": 90, "source_image": "source-pages/090.png", "printed_page": 82 } ] }, { "id": "rh-110-ex06", "type": "music", "original": "[Exemple]", "english": "Four-part example in C major, half notes, no time signature, four full bars and one half-note bar followed by \"etc.\": I, IV | I6, VII6 | I (fermata on soprano C5), V | D major chord (F-sharp4 in the alto) with the bass falling D3–C3 | G major 6 chord. The fifths C–G (bass–tenor, under the fermata chord) and G–D (next chord) are marked with brackets and the figure 5.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1281, "section": "ch05-p090", "sources": [ { "pdf_page": 90, "source_image": "source-pages/090.png", "printed_page": 82 } ], "asset_refs": [ "rh-110-ex06" ] }, { "id": "rh-110-009", "type": "paragraph", "original": "g) Deux quintes parallèles ou se produisant par mouvement contraire dans les cadences conclusives, ayant pour but l'accord de tonique complet :", "english": "g) Two fifths, parallel or produced by contrary motion, in final cadences, for the sake of a complete tonic chord:", "reading_order": 1282, "section": "ch05-p090", "sources": [ { "pdf_page": 90, "source_image": "source-pages/090.png", "printed_page": 82 } ] }, { "id": "rh-110-ex07", "type": "music", "original": "[Exemple]", "english": "Two cadences in C major separated by a double bar, whole notes, fermata over the final soprano C5 in each. (1) Dominant seventh without fifth G3 D4 F4 B4 to the complete tonic triad C3 G3 E4 C5: parallel fifths G–D to C–G between bass and tenor (marked 5). (2) The same chord with the bass on G2 to C3 G3 E4 C5: the fifth G–D becomes C–G by contrary motion (tenor D4 down to G3, bass G2 up to C3; lines and a bracket marked 5).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1283, "section": "ch05-p090", "sources": [ { "pdf_page": 90, "source_image": "source-pages/090.png", "printed_page": 82 } ], "asset_refs": [ "rh-110-ex07" ] }, { "id": "rh-111-001", "type": "paragraph", "original": "h) L'emploi de la gamme mineure harmonique à la partie supérieure, avec le mouvement de seconde augmentée :", "english": "h) The use of the harmonic minor scale in the upper part, with the movement of an augmented second:", "reading_order": 1284, "section": "ch05-p091", "sources": [ { "pdf_page": 91, "source_image": "source-pages/091.png", "printed_page": 83 } ] }, { "id": "rh-111-ex01", "type": "music", "original": "[Exemple]", "english": "Four-part example in C minor (key signature of three flats), whole notes, on a grand staff; the augmented second A-flat–B (and B–A-flat) in the soprano is marked 1½ (a tone and a half). First segment: C minor triad, F minor triad, diminished triad on B (D3 D4 F4 B4), C minor triad; double bar. Second segment: C minor triad, G major triad, diminished seventh chord B–D–F–A-flat over B2, C minor triad in first inversion (E-flat3 in the bass); double bar. Third segment: the soprano runs up and down the harmonic minor scale in eighth notes (G A-flat B C D C B A-flat, the two augmented seconds again marked 1½) over the alto E-flat–F in half notes, a held tenor G3 and the bass C3–B2 in half notes, leading to the C minor chord, followed by \"etc.\"", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1285, "section": "ch05-p091", "sources": [ { "pdf_page": 91, "source_image": "source-pages/091.png", "printed_page": 83 } ], "asset_refs": [ "rh-111-ex01" ] }, { "id": "rh-111-002", "type": "paragraph", "original": "Nous conseillons à l'élève de s'abstenir dans son travail d'école de toutes les licences (supplément II) qu'on vient de mentionner.", "english": "We advise the student to refrain, in school work, from all the licences just mentioned (Supplement II).", "reading_order": 1286, "section": "ch05-p091", "sources": [ { "pdf_page": 91, "source_image": "source-pages/091.png", "printed_page": 83 } ] }, { "id": "rh-111-003", "type": "heading", "original": "Supplément III", "english": "Supplement III", "reading_order": 1287, "section": "ch05-p091", "sources": [ { "pdf_page": 91, "source_image": "source-pages/091.png", "printed_page": 83 } ] }, { "id": "rh-111-004", "type": "heading", "original": "Particularités de quelques successions polytoniques", "english": "Peculiarities of Some Polytonal Successions", "reading_order": 1288, "section": "ch05-p091", "sources": [ { "pdf_page": 91, "source_image": "source-pages/091.png", "printed_page": 83 } ] }, { "id": "rh-111-005", "type": "paragraph", "original": "a) La réalisation de la gamme chromatique à la basse par mouvement descendant avec des accords de quinte et sixte augmentée.", "english": "a) The harmonization of the chromatic scale in the bass, descending, with chords of the augmented fifth-and-sixth.", "reading_order": 1289, "section": "ch05-p091", "sources": [ { "pdf_page": 91, "source_image": "source-pages/091.png", "printed_page": 83 } ] }, { "id": "rh-111-ex02", "type": "music", "original": "[Exemple]", "english": "Example on one treble staff, whole notes, no barlines until the closing double bar and \"etc.\": the bass descends chromatically C4, B3, B-flat3, A3, G-sharp3, G3, F-sharp3. Chords: C4 F4 A-flat4 C5 (figured 6/4); B3 F4 A-flat4 D-flat5 (7); B-flat3 F4 G-sharp4 D5 (6/5); A3 F4 A4 D5 (6/4); G-sharp3 F4 B-flat4 D5 (7); G3 E-sharp4 B4 D5 (6/5); F-sharp3 F-sharp4 B4 D5 (6/4).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1290, "section": "ch05-p091", "sources": [ { "pdf_page": 91, "source_image": "source-pages/091.png", "printed_page": 83 } ], "asset_refs": [ "rh-111-ex02" ] }, { "id": "rh-111-006", "type": "paragraph", "original": "b) La réalisation de la gamme descendante à la basse procédant par tons, avec des accords de septième de dominante.", "english": "b) The harmonization of the descending scale in the bass proceeding by whole tones, with dominant seventh chords.", "reading_order": 1291, "section": "ch05-p091", "sources": [ { "pdf_page": 91, "source_image": "source-pages/091.png", "printed_page": 83 } ] }, { "id": "rh-111-ex03", "type": "music", "original": "[Exemple]", "english": "Two examples on one treble staff, whole notes, separated by a double bar; the bass descends by whole tones G, F, E-flat, D-flat, B, A, G. (1) G major (G4 B4 D5 G5); G7 over F4 (figured 2); E-flat major (E-flat4 B-flat4 E-flat5 G5); E-flat7 over D-flat4 (2); B major (B3 B4 D-sharp5 F-sharp5); B7 over A3 (2); G major (G3 B4 D5 G5). (2) G major (G4 B4 D5 G5); B-flat7 over F4 (F4 B-flat4 D5 A-flat5, figured 4/3); E-flat major (E-flat4 B-flat4 E-flat5 G5); G-flat7 over D-flat4 (D-flat4 B-flat4 F-flat5 G-flat5, 4/3); B major (B3 B4 D-sharp5 F-sharp5); D7 over A3 (A3 C5 D5 F-sharp5, 4/3); G major (G3 B4 D5 G5). Final double bar.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1292, "section": "ch05-p091", "sources": [ { "pdf_page": 91, "source_image": "source-pages/091.png", "printed_page": 83 } ], "asset_refs": [ "rh-111-ex03" ] }, { "id": "rh-111-007", "type": "paragraph", "original": "c) Des successions chromatiques des accords de septième diminuée par mouvement ascendant et descendant.", "english": "c) Chromatic successions of diminished seventh chords in ascending and descending motion.", "reading_order": 1293, "section": "ch05-p091", "sources": [ { "pdf_page": 91, "source_image": "source-pages/091.png", "printed_page": 83 } ] }, { "id": "rh-111-ex04", "type": "music", "original": "[Exemple]", "english": "Two examples on one treble staff, whole notes, each ending with \"etc.\" and a double bar. (1) Ascending: D4 F4 A-flat4 B4 (figured 6/5); E-flat4 F-sharp4 A4 C5 (2); E4 G4 B-flat4 C-sharp5 (6/5); F4 G-sharp4 B4 D5 (2). (2) Descending: G-sharp4 B4 D5 F5 (7); G4 B-flat4 C-sharp5 E5 (4/3); F-sharp4 A4 C5 E-flat5 (7); F4 A-flat4 B4 D5 (4/3).", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1294, "section": "ch05-p091", "sources": [ { "pdf_page": 91, "source_image": "source-pages/091.png", "printed_page": 83 } ], "asset_refs": [ "rh-111-ex04" ] }, { "id": "rh-111-008", "type": "paragraph", "original": "d) Des successions d'accords de sixte sur une pédale, par mouvement ascendant et descendant.", "english": "d) Successions of sixth chords over a pedal, in ascending and descending motion.", "reading_order": 1295, "section": "ch05-p091", "sources": [ { "pdf_page": 91, "source_image": "source-pages/091.png", "printed_page": 83 } ] }, { "id": "rh-111-ex05", "type": "music", "original": "[Exemple]", "english": "Two examples on one treble staff, each over a pedal G3 held as a whole note, the sixth chords in stemless black note heads; double bar between and at the end. (1) Descending chromatically: E5 G5 C6, D-sharp5 F-sharp5 B5, D5 F5 B-flat5, C-sharp5 E5 A5, C5 E-flat5 A-flat5, B4 D5 G5. (2) Ascending chromatically: E4 G4 C5, F4 A-flat4 D-flat5, F-sharp4 A4 D5, G4 B-flat4 E-flat5, G-sharp4 B4 E5, A4 C5 F5, A-sharp4 C-sharp5 F-sharp5, B4 D5 G5.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1296, "section": "ch05-p091", "sources": [ { "pdf_page": 91, "source_image": "source-pages/091.png", "printed_page": 83 } ], "asset_refs": [ "rh-111-ex05" ] }, { "id": "rh-111-009", "type": "heading", "original": "Conclusion", "english": "Conclusion", "reading_order": 1297, "section": "ch05-p091", "sources": [ { "pdf_page": 91, "source_image": "source-pages/091.png", "printed_page": 83 } ] }, { "id": "rh-111-010", "type": "paragraph", "original": "Sous la direction d'un professeur expérimenté l'élève pourra composer des préludes modulants à quatre parties en coupe binaire et ternaire, et faire diverses variations sur un thème harmonique ; pour mieux guider l'élève dans ce travail nous en donnons des exemples, quoique l'étendue limitée de notre manuel ne devrait pas nous le permettre.", "english": "Under the guidance of an experienced teacher the student will be able to compose modulating preludes in four parts in binary and ternary form, and to write various variations on a harmonic theme; to guide the student better in this work we give some examples of it, although the limited scope of our manual should not allow us to do so.", "reading_order": 1298, "section": "ch05-p091", "sources": [ { "pdf_page": 91, "source_image": "source-pages/091.png", "printed_page": 83 } ] }, { "id": "rh-111-011", "type": "heading", "original": "Fin", "english": "End", "reading_order": 1299, "section": "ch05-p091", "sources": [ { "pdf_page": 91, "source_image": "source-pages/091.png", "printed_page": 83 } ] }, { "id": "rh-112-001", "type": "heading", "original": "EXEMPLES de variations sur un thème harmonique", "english": "EXAMPLES of variations on a harmonic theme", "reading_order": 1300, "section": "ch05-p092", "sources": [ { "pdf_page": 92, "source_image": "source-pages/092.png", "printed_page": 84 } ] }, { "id": "rh-112-ex01", "type": "music", "original": "THÈME", "english": "Theme: eight four-part chords in whole notes, C major, unmetered, ending with the tonic chord tied over; double bar.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1301, "section": "ch05-p092", "sources": [ { "pdf_page": 92, "source_image": "source-pages/092.png", "printed_page": 84 } ], "asset_refs": [ "rh-112-ex01" ] }, { "id": "rh-112-ex02", "type": "music", "original": "VAR. I (en style de choral)", "english": "Variation I (in chorale style), bars 1–4: the theme in 2/4, one chord per bar, with passing notes, suspensions and ties in the inner voices.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1302, "section": "ch05-p092", "sources": [ { "pdf_page": 92, "source_image": "source-pages/092.png", "printed_page": 84 } ], "asset_refs": [ "rh-112-ex02" ] }, { "id": "rh-112-ex03", "type": "music", "original": "[Exemple]", "english": "Variation I, continued (bars 5–8, start of the second system), ending with a double bar.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1303, "section": "ch05-p092", "sources": [ { "pdf_page": 92, "source_image": "source-pages/092.png", "printed_page": 84 } ], "asset_refs": [ "rh-112-ex03" ] }, { "id": "rh-112-ex04", "type": "music", "original": "VAR. II (ornement mélodique dans la partie supérieure)", "english": "Variation II (melodic ornament in the upper part), bars 1–3: 3/4, the soprano in running eighth notes over the sustained harmony.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1304, "section": "ch05-p092", "sources": [ { "pdf_page": 92, "source_image": "source-pages/092.png", "printed_page": 84 } ], "asset_refs": [ "rh-112-ex04" ] }, { "id": "rh-112-ex05", "type": "music", "original": "[Exemple]", "english": "Variation II, continued (bars 4–8, third system), ending with a double bar.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1305, "section": "ch05-p092", "sources": [ { "pdf_page": 92, "source_image": "source-pages/092.png", "printed_page": 84 } ], "asset_refs": [ "rh-112-ex05" ] }, { "id": "rh-112-ex06", "type": "music", "original": "VAR. III (ornement dans toutes les parties) … etc.", "english": "Variation III (ornament in all the parts): 6/8, four bars, two chords of the theme to a bar, every voice ornamented; “etc.”", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1306, "section": "ch05-p092", "sources": [ { "pdf_page": 92, "source_image": "source-pages/092.png", "printed_page": 84 } ], "asset_refs": [ "rh-112-ex06" ] }, { "id": "rh-112-ex07", "type": "music", "original": "VAR. IV (autre réalisation, succession polytonique) … etc.", "english": "Variation IV (another realization, polytonic succession): 2/2, eight bars, the soprano of the theme harmonized with chromatic chords passing through several keys; “etc.”", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1307, "section": "ch05-p092", "sources": [ { "pdf_page": 92, "source_image": "source-pages/092.png", "printed_page": 84 } ], "asset_refs": [ "rh-112-ex07" ] }, { "id": "rh-113-001", "type": "heading", "original": "PRÉLUDE MODULANT sur le même thème", "english": "MODULATING PRELUDE on the same theme", "reading_order": 1308, "section": "ch05-p093", "sources": [ { "pdf_page": 93, "source_image": "source-pages/093.png", "printed_page": 85 } ] }, { "id": "rh-113-002", "type": "paragraph", "original": "Do — Mi♭ — Do", "english": "C — E♭ — C", "reading_order": 1309, "section": "ch05-p093", "sources": [ { "pdf_page": 93, "source_image": "source-pages/093.png", "printed_page": 85 } ] }, { "id": "rh-113-ex01", "type": "music", "original": "Ire PARTIE (période)", "english": "First part (period), bars 1–5: four-part setting of the theme in common time, C major, turning toward the flat side (B♭, A♭) at the end of the system.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1310, "section": "ch05-p093", "sources": [ { "pdf_page": 93, "source_image": "source-pages/093.png", "printed_page": 85 } ], "asset_refs": [ "rh-113-ex01" ] }, { "id": "rh-113-ex02", "type": "music", "original": "IIe PARTIE (autre mouvement et caractère)", "english": "Bars 6–10: end of the first part, reaching E♭ (bars 6–8), and the second part (\"other motion and character\") from bar 9, with eighth-note movement in the upper and inner voices.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1311, "section": "ch05-p093", "sources": [ { "pdf_page": 93, "source_image": "source-pages/093.png", "printed_page": 85 } ], "asset_refs": [ "rh-113-ex02" ] }, { "id": "rh-113-ex03", "type": "music", "original": "[Exemple]", "english": "Bars 11–14: the second part continued, in running eighths, turning back from the flat keys toward C.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1312, "section": "ch05-p093", "sources": [ { "pdf_page": 93, "source_image": "source-pages/093.png", "printed_page": 85 } ], "asset_refs": [ "rh-113-ex03" ] }, { "id": "rh-113-ex04", "type": "music", "original": "IIIe PARTIE (comme la Ire)", "english": "Bars 15–19: end of the second part on the dominant of C (bars 15–16), and the third part (\"like the first\") from bar 17, restating the opening.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1313, "section": "ch05-p093", "sources": [ { "pdf_page": 93, "source_image": "source-pages/093.png", "printed_page": 85 } ], "asset_refs": [ "rh-113-ex04" ] }, { "id": "rh-113-ex05", "type": "music", "original": "[Exemple]", "english": "Bars 20–24: the third part concluded, cadencing in C major with fermatas on the final chord; final double bar.", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1314, "section": "ch05-p093", "sources": [ { "pdf_page": 93, "source_image": "source-pages/093.png", "printed_page": 85 } ], "asset_refs": [ "rh-113-ex05" ] }, { "id": "rh-120-001", "type": "heading", "original": "DEVOIRS", "english": "Exercises", "reading_order": 1315, "section": "devoirs", "sources": [ { "pdf_page": 94, "source_image": "source-pages/094.png", "printed_page": 86 } ] }, { "id": "rh-120-ex01", "type": "music", "original": "1 (Accords de trois sons. (I-IV et I-V))", "english": "Exercise 1 (Triads. (I–IV and I–V)), given melody 1: F major, cut time", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1316, "section": "devoirs", "sources": [ { "pdf_page": 94, "source_image": "source-pages/094.png", "printed_page": 86 } ], "asset_refs": [ "rh-120-ex01" ] }, { "id": "rh-120-ex02", "type": "music", "original": "[1]", "english": "Exercise 1, given melody 2: G minor (two flats), cut time", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1317, "section": "devoirs", "sources": [ { "pdf_page": 94, "source_image": "source-pages/094.png", "printed_page": 86 } ], "asset_refs": [ "rh-120-ex02" ] }, { "id": "rh-120-ex03", "type": "music", "original": "[1]", "english": "Exercise 1, given melody 3: D major, 3/2", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1318, "section": "devoirs", "sources": [ { "pdf_page": 94, "source_image": "source-pages/094.png", "printed_page": 86 } ], "asset_refs": [ "rh-120-ex03" ] }, { "id": "rh-120-ex04", "type": "music", "original": "[1]", "english": "Exercise 1, given melody 4: C minor, cut time", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1319, "section": "devoirs", "sources": [ { "pdf_page": 94, "source_image": "source-pages/094.png", "printed_page": 86 } ], "asset_refs": [ "rh-120-ex04" ] }, { "id": "rh-120-ex05", "type": "music", "original": "2 (Accords de trois sons. (I-IV et I-V))", "english": "Exercise 2 (Triads. (I–IV and I–V)), given bass 1: B♭ major, cut time", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1320, "section": "devoirs", "sources": [ { "pdf_page": 94, "source_image": "source-pages/094.png", "printed_page": 86 } ], "asset_refs": [ "rh-120-ex05" ] }, { "id": "rh-120-ex06", "type": "music", "original": "[2]", "english": "Exercise 2, given bass 2: B minor (two sharps), cut time", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1321, "section": "devoirs", "sources": [ { "pdf_page": 94, "source_image": "source-pages/094.png", "printed_page": 86 } ], "asset_refs": [ "rh-120-ex06" ] }, { "id": "rh-120-ex07", "type": "music", "original": "[2]", "english": "Exercise 2, given bass 3: E major, cut time", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1322, "section": "devoirs", "sources": [ { "pdf_page": 94, "source_image": "source-pages/094.png", "printed_page": 86 } ], "asset_refs": [ "rh-120-ex07" ] }, { "id": "rh-120-ex08", "type": "music", "original": "[2]", "english": "Exercise 2, given bass 4: B♭ minor (five flats), 3/2", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1323, "section": "devoirs", "sources": [ { "pdf_page": 94, "source_image": "source-pages/094.png", "printed_page": 86 } ], "asset_refs": [ "rh-120-ex08" ] }, { "id": "rh-120-ex09", "type": "music", "original": "3 (Accords de trois sons. (IV-V))", "english": "Exercise 3 (Triads. (IV–V)), given bass 1: D major, cut time", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1324, "section": "devoirs", "sources": [ { "pdf_page": 94, "source_image": "source-pages/094.png", "printed_page": 86 } ], "asset_refs": [ "rh-120-ex09" ] }, { "id": "rh-120-ex10", "type": "music", "original": "[3]", "english": "Exercise 3, given bass 2: C minor (three flats), 3/2", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1325, "section": "devoirs", "sources": [ { "pdf_page": 94, "source_image": "source-pages/094.png", "printed_page": 86 } ], "asset_refs": [ "rh-120-ex10" ] }, { "id": "rh-121-ex01", "type": "music", "original": "Devoir 3, basse 3", "english": "Exercise 3, given bass 3 (A major)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1326, "section": "devoirs-p095", "sources": [ { "pdf_page": 95, "source_image": "source-pages/095.png", "printed_page": 87 } ], "asset_refs": [ "rh-121-ex01" ] }, { "id": "rh-121-ex02", "type": "music", "original": "Devoir 3, chant 1", "english": "Exercise 3, given melody 1 (A major)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1327, "section": "devoirs-p095", "sources": [ { "pdf_page": 95, "source_image": "source-pages/095.png", "printed_page": 87 } ], "asset_refs": [ "rh-121-ex02" ] }, { "id": "rh-121-ex03", "type": "music", "original": "Devoir 3, chant 2", "english": "Exercise 3, given melody 2 (E minor)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1328, "section": "devoirs-p095", "sources": [ { "pdf_page": 95, "source_image": "source-pages/095.png", "printed_page": 87 } ], "asset_refs": [ "rh-121-ex03" ] }, { "id": "rh-121-ex04", "type": "music", "original": "Devoir 3, chant 3", "english": "Exercise 3, given melody 3 (B♭ major, 3/2)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1329, "section": "devoirs-p095", "sources": [ { "pdf_page": 95, "source_image": "source-pages/095.png", "printed_page": 87 } ], "asset_refs": [ "rh-121-ex04" ] }, { "id": "rh-121-001", "type": "heading", "original": "4 (Accords de 6te. 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}, { "id": "rh-136-ex12", "type": "music", "original": "(5", "english": "Exercise 33, melody 4 (end) and melody 5 with given bass: two sharps, 6/8", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1538, "section": "devoirs-p110", "sources": [ { "pdf_page": 110, "source_image": "source-pages/110.png", "printed_page": 102 } ], "asset_refs": [ "rh-136-ex12" ] }, { "id": "rh-137-001", "type": "heading", "original": "CHANTS DONNÉS (Successions polytoniques)", "english": "Given melodies (Polytonic successions)", "reading_order": 1539, "section": "devoirs-p111", "sources": [ { "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103 } ] }, { "id": "rh-137-ex01", "type": "music", "original": "34 (1", "english": "34 (1) — given melody 1, four flats, 3/4", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1540, "section": "devoirs-p111", "sources": [ { "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103 } ], "asset_refs": [ "rh-137-ex01" ] }, { "id": "rh-137-ex02", "type": "music", "original": "(2", "english": "Melody 1 (end) and given melody 2, one flat, 6/8", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1541, "section": "devoirs-p111", "sources": [ { "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103 } ], "asset_refs": [ "rh-137-ex02" ] }, { "id": "rh-137-ex03", "type": "music", "original": "[34 (2)]", "english": "Melody 2 (continued and end)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1542, "section": "devoirs-p111", "sources": [ { "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103 } ], "asset_refs": [ "rh-137-ex03" ] }, { "id": "rh-137-ex04", "type": "music", "original": "(3", "english": "34 (3) — given melody 3, four sharps, 4/4", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1543, "section": "devoirs-p111", "sources": [ { "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103 } ], "asset_refs": [ "rh-137-ex04" ] }, { "id": "rh-137-ex05", "type": "music", "original": "[34 (3)]", "english": "Melody 3 (end)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1544, "section": "devoirs-p111", "sources": [ { "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103 } ], "asset_refs": [ "rh-137-ex05" ] }, { "id": "rh-137-ex06", "type": "music", "original": "(4", "english": "34 (4) — given melody 4, two flats, 4/4", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1545, "section": "devoirs-p111", "sources": [ { "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103 } ], "asset_refs": [ "rh-137-ex06" ] }, { "id": "rh-137-ex07", "type": "music", "original": "[34 (4)]", "english": "Melody 4 (end)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1546, "section": "devoirs-p111", "sources": [ { "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103 } ], "asset_refs": [ "rh-137-ex07" ] }, { "id": "rh-137-002", "type": "paragraph", "original": "Réaliser chaque choral: 1° en style rigoureux avec des accords plaqués; 2° en style rigoureux avec des retards, des notes de passage et tout autre ornement mélodique dans les trois parties inférieures; 3° en style libre avec l'emploi des harmonies dissonantes, des successions polytoniques, etc. (de 2 à 3 fois).", "english": "Work out each chorale: 1st, in strict style with block chords; 2nd, in strict style with suspensions, passing notes and every other melodic ornament in the three lower parts; 3rd, in free style, using dissonant harmonies, polytonic successions, etc. (two to three times).", "reading_order": 1547, "section": "devoirs-p111", "sources": [ { "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103 } ] }, { "id": "rh-137-ex08", "type": "music", "original": "35 (1", "english": "35 (1) — chorale melody 1, F major (one flat), C, half-note upbeat", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1548, "section": "devoirs-p111", "sources": [ { "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103 } ], "asset_refs": [ "rh-137-ex08" ] }, { "id": "rh-137-ex09", "type": "music", "original": "[35 (1)]", "english": "Chorale melody 1 (continued)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1549, "section": "devoirs-p111", "sources": [ { "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103 } ], "asset_refs": [ "rh-137-ex09" ] }, { "id": "rh-137-ex10", "type": "music", "original": "(2", "english": "Chorale melody 1 (end) and chorale melody 2, one flat, C", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1550, "section": "devoirs-p111", "sources": [ { "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103 } ], "asset_refs": [ "rh-137-ex10" ] }, { "id": "rh-137-ex11", "type": "music", "original": "[35 (2)]", "english": "Chorale melody 2 (continued)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1551, "section": "devoirs-p111", "sources": [ { "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103 } ], "asset_refs": [ "rh-137-ex11" ] }, { "id": "rh-137-ex12", "type": "music", "original": "[35 (2)]", "english": "Chorale melody 2 (end)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1552, "section": "devoirs-p111", "sources": [ { "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103 } ], "asset_refs": [ "rh-137-ex12" ] }, { "id": "rh-138-ex01", "type": "music", "original": "(3", "english": "Exercise 35, chorale melody 3: E♭ major (three flats), common time", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1553, "section": "devoirs-p112", "sources": [ { "pdf_page": 112, "source_image": "source-pages/112.png", "printed_page": 104 } ], "asset_refs": [ "rh-138-ex01" ] }, { "id": "rh-138-ex02", "type": "music", "original": "(4", "english": "Exercise 35, chorale melody 4: C major, common time", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1554, "section": "devoirs-p112", "sources": [ { "pdf_page": 112, "source_image": 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melody 10, line 2 (end)", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1564, "section": "devoirs-p113", "sources": [ { "pdf_page": 113, "source_image": "source-pages/113.png", "printed_page": 105 } ], "asset_refs": [ "rh-139-ex05" ] }, { "id": "rh-139-ex06", "type": "music", "original": "(11", "english": "Exercise 35, chorale melody 11, line 1: C minor (three flats), common time", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1565, "section": "devoirs-p113", "sources": [ { "pdf_page": 113, "source_image": "source-pages/113.png", "printed_page": 105 } ], "asset_refs": [ "rh-139-ex06" ] }, { "id": "rh-139-ex07", "type": "music", "original": "Devoir 35, choral 11 (suite)", "english": "Exercise 35, chorale melody 11, line 2", "notation_review": { "source_compared": true, "render_checked": true, "human_verified": false }, "reading_order": 1566, "section": 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"sources": [ { "pdf_page": 114, "source_image": "source-pages/114.png", "printed_label": "Table des matières" } ] }, { "id": "rh-contents-114", "type": "table", "original": "Table des matières", "english": "Contents", "tables": { "fr": { "columns": [ "Section", "Pages" ], "rows": [ [ "Introduction", "4" ], [ "Chapitre I. Notions élémentaires", "" ], [ "↳ Accord de trois sons", "6" ], [ "↳ Accord de septième", "8" ], [ "↳ Gammes naturelles et artificielles ou accords de 1ᵉʳ et de 2ᵉ ordre", "9" ], [ "↳ Rapports entre les différents accords de trois sons", "11" ], [ "↳ Mouvement des parties", "12" ], [ "↳ Notes à doubler — dispositions serrées et larges — Position mélodique des accords de trois sons", "12" ], [ "↳ De l'enchaînement harmonique et mélodique des accords de trois sons", "13" ], [ "↳ Des successions et mouvements défendus", "14" ], [ "Chapitre II. De la succession des accords dans leurs rapports unitoniques", "" ], [ "↳ Harmonie consonante. — Enchaînement des accords de trois sons; du Iᵉʳ degré avec le IVᵉ; du Iᵉʳ avec le Vᵉ et réciproquement", "15" ], [ "↳ Enchaînement des accords parfaits du IVᵉ et du Vᵉ degré", "16" ], [ "↳ Enchaînement des accords de sixte avec les accords du Iᵉʳ, IVᵉ degré, et du Iᵉʳ, Vᵉ degré", "17" ], [ "↳ Enchaînement de l'accord de sixte du IVᵉ degré avec l'accord parfait du Vᵉ degré", "17" ], [ "↳ Enchaînement de l'accord parfait du IVᵉ degré avec l'accord de sixte du Vᵉ degré", "18" ], [ "↳ Enchaînement des deux accords de sixte du IVᵉ et du Vᵉ degré", "18" ], [ "↳ Cadences ou conclusions complètes authentiques et plagales", "19" ], [ "↳ Formule de cadence de première espèce avec la succession de la sous-dominante et de la dominante", "19" ], [ "↳ Formule de cadence de seconde espèce avec l'accord de quarte et de sixte du premier degré", "20" ], [ "↳ Accords de quarte et sixte de passage", "20" ], [ "↳ De la demi-cadence. De la phrase", "21" ], [ "↳ Des intervalles mélodiques de quarte et de quinte dans une des trois parties supérieures", "22" ], [ "↳ Du mouvement disjoint des notes tierces des accords", "23" ], [ "↳ Du mouvement mélodique à la basse par des notes tierces des accords", "23" ], [ "↳ Accords de sixte de l'accord de quinte diminué du VIIᵉ degré", "24" ], [ "↳ Accords de trois sons et accords de sixte du IIᵉ degré", "25" ], [ "↳ Accord parfait du VIᵉ degré; cadence rompue", "26" ], [ "↳ Accord parfait du VIIᵉ degré du mode majeur", "26" ], [ "↳ Accord parfait du IIIᵉ degré du mode mineur naturel (cadence phrygienne de 1ʳᵉ espèce)", "27" ], [ "↳ Accord parfait du VIIᵉ degré du mode mineur naturel (cadence phrygienne de 2ᵈᵉ espèce)", "27" ], [ "↳ Réalisation des chorals (unitoniques)", "28" ], [ "↳ Accord de sous-dominante mineure et accord de sixte du IIᵉ degré du mode majeur harmonique", "29" ], [ "↳ Harmonie dissonante. — Accord de 7ᵉ de dominante. État fondamental", "30" ], [ "↳ Renversements de l'accord de 7ᵉ de dominante", "32" ], [ "↳ Accord de 7ᵉ de sensible: mineure et diminuée", "33" ], [ "↳ Accord de 7ᵉ du IIᵉ degré et son Iᵉʳ renversement", "34" ], [ "↳ Forme spéciale des cadences plagales", "35" ], [ "↳ Emploi des accords de 7ᵉ dans la réalisation des chorals", "36" ], [ "↳ Accords de neuvième", "36" ], [ "↳ De tous les accords de trois sons dans leurs rapports unitoniques. Marches harmoniques des accords de trois sons", "37" ], [ "↳ De tous les accords de 7ᵉ dans leurs rapports unitoniques. Marches harmoniques avec accords de 7ᵉ", "39" ], [ "↳ Supplément — (Libre emploi de tous les degrés de chaque mode)", "41" ] ] }, "en": { "columns": [ "Section", "Pages" ], "rows": [ [ "Introduction", "4" ], [ "Chapter I. Elementary Notions", "" ], [ "↳ Triads", "6" ], [ "↳ Seventh Chords", "8" ], [ "↳ Natural and Artificial Scales, or Chords of the First and Second Order", "9" ], [ "↳ Relationships between Triads", "11" ], [ "↳ Motion of the Parts", "12" ], [ "↳ Doubling — Close and Open Spacing — Melodic Position of Triads", "12" ], [ "↳ Harmonic and Melodic Connection of Triads", "13" ], [ "↳ Forbidden Successions and Motions", "14" ], [ "Chapter II. Chord Progressions within One Key", "" ], [ "↳ Consonant Harmony. — Connecting Triads: I with IV, and I with V, in Either Direction", "15" ], [ "↳ Connecting the Triads of IV and V", "16" ], [ "↳ Connecting Sixth Chords with the Chords of I and IV, and of I and V", "17" ], [ "↳ Succession of the Sixth Chord of IV with the Triad of V", "17" ], [ "↳ Succession of the Triad of IV with the Sixth Chord of V", "18" ], [ "↳ Succession of the Two Sixth Chords of IV and V", "18" ], [ "↳ Cadences, or Full Closes, Authentic and Plagal", "19" ], [ "↳ Cadence Formula of the First Kind, with the Succession of Subdominant and Dominant", "19" ], [ "↳ Cadence Formula of the Second Kind, with the Six-Four Chord of the First Degree", "20" ], [ "↳ Passing Six-Four Chords", "20" ], [ "↳ On the Half Cadence. On the Phrase", "21" ], [ "↳ Melodic Intervals of a Fourth and a Fifth in One of the Three Upper Parts", "22" ], [ "↳ Disjunct Motion of the Thirds of Chords", "23" ], [ "↳ Melodic Motion in the Bass by the Thirds of Chords", "23" ], [ "↳ Sixth Chords of the Diminished-Fifth Chord of the Seventh Degree", "24" ], [ "↳ Triads and Sixth Chords of the Second Degree", "25" ], [ "↳ The Triad of the Sixth Degree; Deceptive Cadence", "26" ], [ "↳ The Triad of the Seventh Degree of the Major Mode", "26" ], [ "↳ The Triad of the Third Degree of the Natural Minor Mode (Phrygian Cadence of the First Kind)", "27" ], [ "↳ The Triad of the Seventh Degree of the Natural Minor Mode (Phrygian Cadence of the Second Kind)", "27" ], [ "↳ Harmonizing Chorales (in One Key)", "28" ], [ "↳ The Minor Subdominant Chord and the Sixth Chord of the Second Degree in the Harmonic Major Mode", "29" ], [ "↳ Dissonant Harmony. — The Dominant Seventh Chord. Root Position", "30" ], [ "↳ Inversions of the Dominant Seventh Chord", "32" ], [ "↳ The Leading-Note Seventh Chord: Minor and Diminished", "33" ], [ "↳ The Seventh Chord of the Second Degree and Its First Inversion", "34" ], [ "↳ A Special Form of Plagal Cadence", "35" ], [ "↳ Use of Seventh Chords in Harmonizing Chorales", "36" ], [ "↳ Ninth Chords", "36" ], [ "↳ All Triads in Their Relations within One Key. Harmonic Sequences of Triads", "37" ], [ "↳ All Seventh Chords in Their Relations within One Key. Harmonic Sequences with Seventh Chords", "39" ], [ "↳ Supplement — (Free Use of All the Degrees of Each Mode)", "41" ] ] } }, "reading_order": 1572, "section": "contents", "sources": [ { "pdf_page": 114, "source_image": "source-pages/114.png", "printed_label": "Table des matières" } ] }, { "id": "rh-contents-115", "type": "table", "original": "Table des matières (suite)", "english": "Contents (continued)", "tables": { "fr": { "columns": [ "Section", "Pages" ], "rows": [ [ "Chapitre III. De la modulation", "" ], [ "↳ Notions préliminaires", "43" ], [ "↳ Tons voisins ou de 1ʳᵉ classe", "43" ], [ "↳ Modulation diatonique", "43" ], [ "↳ Moyens indirects", "45" ], [ "↳ Participation de l'accord majeur artificiel du IVᵉ degré du mode mineur mélodique", "45" ], [ "↳ Modulation immédiate par l'accord artificiel de tonique du ton suivant", "46" ], [ "↳ Du mouvement chromatique et des successions polytoniques. Fausses relations", "46" ], [ "↳ Modulation chromatique", "47" ], [ "↳ Influence de l'accord artificiel du IVᵉ degré de la gamme mineure mélodique", "48" ], [ "↳ Modulation définive et passagère", "48" ], [ "↳ Emploi de la modulation dans la réalisation d'un chant", "50" ], [ "↳ Modulation aux tons de deuxième classe. Plans modulants", "51" ], [ "↳ Tons éloignés", "53" ], [ "↳ De la pédale", "54" ], [ "↳ Supplément — Pédale supérieure et pédale médiaire", "55" ], [ "Chapitre IV. De l'ornement mélodique", "" ], [ "↳ Notes de passage. Notions générales", "56" ], [ "↳ Notes de passage diatoniques", "56" ], [ "↳ Notes de passage chromatiques. Orthographe des gammes chromatiques", "57" ], [ "↳ Notes de passage chromatiques simples, doubles, etc.", "58" ], [ "↳ De la broderie", "59" ], [ "↳ Des retards — Notions générales", "60" ], [ "↳ Retards descendants", "61" ], [ "↳ Retards ascendants et simultanés", "63" ], [ "↳ Supplément — Retard de l'octave diminuée ou de l'unisson augmenté", "64" ], [ "↳ De l'ornement mélodique du style rigoureux", "65" ], [ "↳ Du choral figuré et realisation d'un chant contenant l'ornement mélodique", "67" ], [ "↳ De l'ornement mélodique du style libre", "69" ], [ "Chapitre V. Enharmonie et modulation subite", "" ], [ "↳ Accords altérés", "72" ], [ "↳ Accord artificiel de 7ᵉ de dominante et accord artificiel de 7ᵉ diminuée", "72" ], [ "↳ Accords produits par l'altération descendante du IIᵉ degré", "73" ], [ "↳ Accord de quinte augmentée", "74" ], [ "↳ Accord de 7ᵉ de dominante avec quinte augmentée", "74" ], [ "↳ Accord de sixte augmentée", "75" ], [ "↳ Modulation enharmonique", "76" ], [ "↳ Enharmonie des accords de sixte augmentée", "76" ], [ "↳ Enharmonie de l'accord de 7ᵉ", "77" ], [ "↳ Enharmonie de l'accord de quinte augmentée", "77" ], [ "↳ Successions polytoniques. Notions générales", "77" ], [ "↳ Des cadences empruntées", "78" ], [ "↳ Succession polytonique des accords de 7ᵉ de dominante", "78" ], [ "↳ Application de la polytonie à la modulation subite", "79" ], [ "↳ Réalisation des chorals", "81" ], [ "↳ Supplément I — De l'ornement harmonique et de l'ornement de la pédale", "81" ], [ "↳ Supplément II — Dérogations à la règle rigoureuse du mouvement des parties", "82" ], [ "↳ Supplément III — Particularités de quelques successions polytoniques", "83" ], [ "↳ Exemples de variations sur un thème harmonique", "84" ], [ "↳ Prélude modulant sur le même thème", "85" ], [ "↳ Devoirs", "86" ] ] }, "en": { "columns": [ "Section", "Pages" ], "rows": [ [ "Chapter III. Modulation", "" ], [ "↳ Preliminary Notions", "43" ], [ "↳ Related Keys, or Keys of the First Class", "43" ], [ "↳ Diatonic Modulation", "43" ], [ "↳ Indirect Means", "45" ], [ "↳ Participation of the Artificial Major Chord of the Fourth Degree of the Melodic Minor Mode", "45" ], [ "↳ Immediate Modulation by the Artificial Tonic Chord of the Following Key", "46" ], [ "↳ Chromatic Motion and Polytonic Successions. False Relations", "46" ], [ "↳ Chromatic Modulation", "47" ], [ "↳ Influence of the Artificial Chord of the Fourth Degree of the Melodic Minor Scale", "48" ], [ "↳ Definitive and Transient Modulation", "48" ], [ "↳ The Use of Modulation in Harmonizing a Melody", "50" ], [ "↳ Modulation to Keys of the Second Class. Modulating Plans", "51" ], [ "↳ Distant Keys", "53" ], [ "↳ On the Pedal Point", "54" ], [ "↳ Supplement — Upper Pedal and Inner Pedal", "55" ], [ "Chapter IV. Melodic Ornamentation", "" ], [ "↳ Passing Notes. General Principles", "56" ], [ "↳ Diatonic Passing Notes", "56" ], [ "↳ Chromatic Passing Notes. Spelling of the Chromatic Scales", "57" ], [ "↳ Chromatic Passing Notes: Simple, Double, etc.", "58" ], [ "↳ The Neighbour Note", "59" ], [ "↳ Suspensions — General Principles", "60" ], [ "↳ Descending Suspensions", "61" ], [ "↳ Ascending and Simultaneous Suspensions", "63" ], [ "↳ Supplement — Suspension of the Diminished Octave or of the Augmented Unison", "64" ], [ "↳ Melodic Ornamentation in the Strict Style", "65" ], [ "↳ On the Figured Chorale, and the Harmonization of a Melody Containing Melodic Ornamentation", "67" ], [ "↳ Melodic Ornamentation in the Free Style", "69" ], [ "Chapter V. Enharmony and Sudden Modulation", "" ], [ "↳ Altered Chords", "72" ], [ "↳ The Artificial Dominant Seventh Chord and the Artificial Diminished Seventh Chord", "72" ], [ "↳ Chords Produced by the Lowering Alteration of the Second Degree", "73" ], [ "↳ The Augmented Fifth Chord", "74" ], [ "↳ The Dominant Seventh Chord with Augmented Fifth", "74" ], [ "↳ The Augmented Sixth Chord", "75" ], [ "↳ Enharmonic Modulation", "76" ], [ "↳ Enharmony of Augmented-Sixth Chords", "76" ], [ "↳ Enharmony of the Seventh Chord", "77" ], [ "↳ Enharmony of the Augmented Fifth Chord", "77" ], [ "↳ Polytonic Successions. General Notions", "77" ], [ "↳ On Borrowed Cadences", "78" ], [ "↳ Polytonic Succession of Dominant Seventh Chords", "78" ], [ "↳ Application of Polytony to Sudden Modulation", "79" ], [ "↳ Harmonizing Chorales", "81" ], [ "↳ Supplement I — On Harmonic Ornament and Ornament of the Pedal", "81" ], [ "↳ Supplement II — Departures from the Strict Rule of Part Movement", "82" ], [ "↳ Supplement III — Peculiarities of Some Polytonic Successions", "83" ], [ "↳ Examples of Variations on a Harmonic Theme", "84" ], [ "↳ Modulating Prelude on the Same Theme", "85" ], [ "↳ Exercises", "86" ] ] } }, "reading_order": 1573, "section": "contents", "sources": [ { "pdf_page": 115, "source_image": "source-pages/115.png", "printed_label": "Table des matières (suite)" } ] } ], "assets": [ { "path": "images/rh-002-ex01.png", "kind": "music", "bbox_pixels": [ 540, 600, 560, 150 ], "dimensions_pixels": [ 560, 150 ], "description": "Three whole notes, C, G, E, in separate bars on one treble staff.", "status": 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Bad: G–G–D–B, G–D–B–G, C–E–C–G.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-008-ex01.musicxml", "label": "V–I in C major: good when the leading note B rises to C; bad when it falls to G", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 2 } ], "sha256": "25acf205257257b950c76653763911947690eb0b4c2f3374107646ca521baa83", "transcriptionStatus": "needs-review" } ], "id": "rh-008-ex01", "sha256": "4933ec4d74203a1119d75e6ffc6a43ad415e1cd81c27e4fdea5a37347dd24e26", "sources": [ { "pdf_page": 24, "source_image": "source-pages/024.png", "printed_page": 16 } ], "pdf_page": 24, "source_image": "source-pages/024.png", "printed_page": 16, "music_transcription_status": "needs-review" }, { "path": "images/rh-008-ex02.png", "kind": "music", "bbox_pixels": [ 976, 530, 560, 235 ], "dimensions_pixels": [ 560, 235 ], "description": "V–I ending with an incomplete tonic: G–B–G–D to C–C–E–C; G–D–B–G to C–C–C–E.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-008-ex02.musicxml", "label": "Final V–I with an incomplete tonic chord (three Cs and an E, no fifth), so the leading note in an inner part rises", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "815ab8075d248723eed36fb67e2e58a75b7eba93de43daa181b7608239e7cd76", "transcriptionStatus": "needs-review" } ], "id": "rh-008-ex02", "sha256": "715be86e55b1db863158f9c8ab5f37f1fe584b7ee1efb522e50510a14b964d55", "sources": [ { "pdf_page": 24, "source_image": "source-pages/024.png", "printed_page": 16 } ], "pdf_page": 24, "source_image": "source-pages/024.png", "printed_page": 16, "music_transcription_status": "needs-review" }, { "path": "images/rh-008-ex03.png", "kind": "music", "bbox_pixels": [ 85, 895, 1455, 300 ], "dimensions_pixels": [ 1455, 300 ], "description": "Exercise 2 model, A minor, 3/2, eight bars on a given bass.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-008-ex03.musicxml", "label": "Model: a given bass in A minor, 3/2, harmonized with I, IV and V", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 2 } ], "sha256": "f3f4a2a9e443486f6d3503e0df8d46fa3ecb2559f8973cd986bb3dc566be9d14", "transcriptionStatus": "needs-review" } ], "id": "rh-008-ex03", "sha256": "97c6525b2db03a0bb3b9d74bf2526a202ae1999767a075e7193a8d9c4289ff02", "sources": [ { "pdf_page": 24, "source_image": "source-pages/024.png", "printed_page": 16 } ], "pdf_page": 24, "source_image": "source-pages/024.png", "printed_page": 16, "music_transcription_status": "needs-review" }, { "path": "images/rh-008-ex04.png", "kind": "music", "bbox_pixels": [ 976, 1505, 560, 235 ], "dimensions_pixels": [ 560, 235 ], "description": "F–C–F–A to G–B–D–G; F–C–A–F to G–B–G–D.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-008-ex04.musicxml", "label": "IV–V in C major, two spacings; the upper parts move against the bass", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "f0bfe6133224877b64d83001f9c4a4c86ed8b5929d2b8b3250159caf8f22945a", "transcriptionStatus": "needs-review" } ], "id": "rh-008-ex04", "sha256": "5b5475bff77abf787d5bc58ca15af9b509111c80f49fa6aac78e3b541455991b", "sources": [ { "pdf_page": 24, "source_image": "source-pages/024.png", "printed_page": 16 } ], "pdf_page": 24, "source_image": "source-pages/024.png", "printed_page": 16, "music_transcription_status": "needs-review" }, { "path": "images/rh-008-ex05.png", "kind": "music", "bbox_pixels": [ 100, 1850, 1440, 310 ], "dimensions_pixels": [ 1440, 310 ], "description": "Exercise 3 model, C major, cut time: I V | I IV | V V | I I | IV V | I IV | I V | I.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-008-ex05.musicxml", "label": "Model in C major, cut time, using I, IV and V", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 2 } ], "sha256": "66a0d63053662b87379875e813337fe23a5178441da45fcc2856871f642e1187", "transcriptionStatus": "needs-review" } ], "id": "rh-008-ex05", "sha256": "9cd0f56331bb44bcd14437970c4e40c68054bbf03d83138f84012ff4584e1003", "sources": [ { "pdf_page": 24, "source_image": "source-pages/024.png", "printed_page": 16 } ], "pdf_page": 24, "source_image": "source-pages/024.png", "printed_page": 16, "music_transcription_status": "needs-review" }, { "path": "images/rh-009-ex01.png", "kind": "music", "bbox_pixels": [ 345, 520, 780, 255 ], "dimensions_pixels": [ 780, 255 ], "description": "Bar 1: I (C3 G3 C4 E4) – V6 (B2 G3 D4 G4, tenor G3 tied over) – I (C3 E3 C4 G4, soprano G4 tied over). Bar 2: I (C3 E4 G4 C5) – V6 (B2 D4 G4 D5) – I (C3 C4 G4 E5), alto G4 tied through. Whole-note chords; figure 6 under each V6; double bar between the bars.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-009-ex01.musicxml", "label": "I–V6–I twice: the common note stays in place (tied) and the other upper parts move by step or third", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "e84b5ce01682480ce3ab4783b0451a9b41986df8510f71b9a195a57e46a2e42d", "transcriptionStatus": "needs-review" } ], "id": "rh-009-ex01", "sha256": "aa882e05c5c1f6bc44ff6753d45c40900f247217e38b52e62caa8d29619f0e78", "sources": [ { "pdf_page": 25, "source_image": "source-pages/025.png", "printed_page": 17 } ], "pdf_page": 25, "source_image": "source-pages/025.png", "printed_page": 17, "music_transcription_status": "needs-review" }, { "path": "images/rh-009-ex02.png", "kind": "music", "bbox_pixels": [ 545, 880, 390, 270 ], "dimensions_pixels": [ 390, 270 ], "description": "Upper parts C5 G4 E4 held (whole notes) while the bass rises by thirds C3–E3 (halves, 6 under E3: doubled third E3/E4), then G3 under B4 G4 D4 (whole-note chord).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-009-ex02.musicxml", "label": "Doubled third in the sixth chord: the three upper parts stay in place while the bass rises by thirds, C–E–G", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "c0cda69d773c402d0b12073aec9e3f3876f033f6cc88c65caa046b1c690e8b64", "transcriptionStatus": "needs-review" } ], "id": "rh-009-ex02", "sha256": "baa64766b3c941ad4a995cb4d4640215528ea7fefa506761dbc67553b4fd8d5a", "sources": [ { "pdf_page": 25, "source_image": "source-pages/025.png", "printed_page": 17 } ], "pdf_page": 25, "source_image": "source-pages/025.png", "printed_page": 17, "music_transcription_status": "needs-review" }, { "path": "images/rh-009-ex03.png", "kind": "music", "bbox_pixels": [ 35, 1365, 1435, 345 ], "dimensions_pixels": [ 1435, 345 ], "description": "Devoir No 4 model, A minor, eight unmetered bars of two half-note chords (bar 8 whole). Figures: 6 under G#2 (b2), F3 (b3), G#3 (b4), C3 (b5), G#2 (b6), sharp under E3 (b6, b7). Alto E4 tied b1–2, b5–6–7.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-009-ex03.musicxml", "label": "Model realization, eight bars, with figured-bass sixth chords", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 2 } ], "sha256": "67b884ff962a56933a43e036b58c4d44397afa9435936e9164d663f3d1fe600b", "transcriptionStatus": "needs-review" } ], "id": "rh-009-ex03", "sha256": "0663fabbdc79db1567e9ba6f3dcf27ab05d930d1bf9a74e3651c4731049250f7", "sources": [ { "pdf_page": 25, "source_image": "source-pages/025.png", "printed_page": 17 } ], "pdf_page": 25, "source_image": "source-pages/025.png", "printed_page": 17, "music_transcription_status": "needs-review" }, { "path": "images/rh-009-ex04.png", "kind": "music", "bbox_pixels": [ 455, 1915, 570, 285 ], "dimensions_pixels": [ 570, 285 ], "description": "IV6–V twice, whole-note chords, IV/V above, 6 under each IV6. (1) A2 F4 C5 F5 – G2 D4 D5 G5 (V printed without its third). (2) A2 C4 F4 C5 – G2 D4 G4 B4. Double bar between.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-009-ex04.musicxml", "label": "Sixth chord of the fourth degree to the triad of the fifth degree, two voicings", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "85331e9b3f685580ba65ca6c4bcf6ccf3b62b82fb8de97d48dcad0cb9b1c4334", "transcriptionStatus": "needs-review" } ], "id": "rh-009-ex04", "sha256": "be5667177a721840007623658e4731528eb0807dc9828069eec686d91f0b8177", "sources": [ { "pdf_page": 25, "source_image": "source-pages/025.png", "printed_page": 17 } ], "pdf_page": 25, "source_image": "source-pages/025.png", "printed_page": 17, "music_transcription_status": "needs-review" }, { "path": "images/rh-010-ex01.png", "kind": "music", "bbox_pixels": [ 725, 445, 840, 292 ], "dimensions_pixels": [ 840, 292 ], "description": "Four unmetered pairs of whole-note chords illustrating §18 (IV to the sixth chord of V; C major). 'Bon' is printed over the dotted group of pairs 1-3, 'Mauvais' over pair 4. 1 (IV V): F3 C4 F4 A4 to B2 D4 G4 G4 (root G doubled, alto and soprano in unison). 2: F3 C4 F4 A4 to B2 D4 D4 G4 (fifth D doubled). 3: F3 F4 A4 C5 to B2 D4 G4 D5 - the upper parts of IV contain the fifth F4-C5 (bracketed '5'), so the fifth D is doubled. 4 (Mauvais): F3 F4 A4 C5 to B2 G4 G4 D5 - root doubled (alto and tenor in unison), with a second bracketed '5' (G4-D5). Figures 6 under each V chord. Brackets, the diagonal voice-leading lines and a short horizontal stroke on the F3 line in pair 1 are not encoded.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-010-ex01.musicxml", "label": "Four pairs of chords illustrating the rules above: IV to V6, doubling the root and then the fifth, then the point-4 case (a fifth among the upper parts of IV) doubled correctly and incorrectly; 'Good' over the first three pairs, 'Bad' over the last", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 2 } ], "sha256": "06c407d21af1aa7fc690a3efcd59c75b2e1160a673a0171140162252e642a5ad", "transcriptionStatus": "needs-review" } ], "id": "rh-010-ex01", "sha256": "cb794882b50128e999a976a4d92c3cd1417c3d39a0f857b810ecda2ea231bd46", "sources": [ { "pdf_page": 26, "source_image": "source-pages/026.png", "printed_page": 18 } ], "pdf_page": 26, "source_image": "source-pages/026.png", "printed_page": 18, "music_transcription_status": "needs-review" }, { "path": "images/rh-010-ex02.png", "kind": "music", "bbox_pixels": [ 110, 812, 1460, 322 ], "dimensions_pixels": [ 1460, 322 ], "description": "Exercise 5 model, C major, cut time, eight bars: I-I6 | IV-V6 | I-V | I-IV6 | V-V6 | I-IV | I6-V | I. Ties: tenor C4 bar1-2 and bar6-7, alto G4 bar5-6 and bar7-8. IV and V labelled over bar 2.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-010-ex02.musicxml", "label": "Model realization, eight bars, cut time, C major", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 2 } ], "sha256": "45806b7e47339ff2fec6bbd16a631a66d027c51ec583c42efa6881a298d86456", "transcriptionStatus": "needs-review" } ], "id": "rh-010-ex02", "sha256": "5b41e7098bba3ce03bad0454db3258335a2d688fbbceb2b488d7cd3e1694c86a", "sources": [ { "pdf_page": 26, "source_image": "source-pages/026.png", "printed_page": 18 } ], "pdf_page": 26, "source_image": "source-pages/026.png", "printed_page": 18, "music_transcription_status": "needs-review" }, { "path": "images/rh-010-ex03.png", "kind": "music", "bbox_pixels": [ 995, 1252, 565, 250 ], "dimensions_pixels": [ 565, 250 ], "description": "§19.1-2, C major: sixth chord of IV to sixth chord of V, two unmetered pairs of whole-note chords. 1: A2 C4 F4 F5 to B2 D4 G4 D5. 2: A2 F3 C4 F4 to B2 D3 D4 G4. Figures 6 under every chord; IV and V labelled over pair 1. Straight voice-leading lines join each part's two notes (not encoded).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-010-ex03.musicxml", "label": "Two pairs of chords illustrating rules 1-2: the sixth chord of IV to the sixth chord of V, two upper parts moving in parallel and one in contrary motion to the bass", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "4a410156a07b7a4fabfb5f51f16418f45298a17bfbafaf297849e51ce5d33cd6", "transcriptionStatus": "needs-review" } ], "id": "rh-010-ex03", "sha256": "88a94755753387480ad35a064c1759db9fc62842c2757050b40bd81beb8c1d70", "sources": [ { "pdf_page": 26, "source_image": "source-pages/026.png", "printed_page": 18 } ], "pdf_page": 26, "source_image": "source-pages/026.png", "printed_page": 18, "music_transcription_status": "needs-review" }, { "path": "images/rh-010-ex04.png", "kind": "music", "bbox_pixels": [ 995, 1505, 570, 272 ], "dimensions_pixels": [ 570, 272 ], "description": "§19.3, A minor: four whole-note chords in one unbarred system, caption 'Gamme mineure mélodique' in a dotted box below. i (A3 E4 A4 C5) - IV6 with raised bass F#3 (F#3 D4 A4 D5) - V6 (G#3 B3 B4 E5) - i (A3 C4 A4 E5). IV and V labelled; figures 6 under chords 2-3.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-010-ex04.musicxml", "label": "Minor-mode illustration of rule 3 (A minor): the bass of IV6 is raised to F sharp; caption 'Melodic minor scale'", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "18d5677e92d7be3719d088cc6f109cf7ed04bd7bb6d10198ae0f045183a04e6b", "transcriptionStatus": "needs-review" } ], "id": "rh-010-ex04", "sha256": "0ac5bd292fb4090d0cb9943736ee1f8cef4cc7a93e98b866cea3630b460a24f2", "sources": [ { "pdf_page": 26, "source_image": "source-pages/026.png", "printed_page": 18 } ], "pdf_page": 26, "source_image": "source-pages/026.png", "printed_page": 18, "music_transcription_status": "needs-review" }, { "path": "images/rh-010-ex05.png", "kind": "music", "bbox_pixels": [ 110, 1960, 1460, 315 ], "dimensions_pixels": [ 1460, 315 ], "description": "Exercise 6 model, A minor, cut time, eight bars: i-i6 | iv-iv6 | V | i-IV6 (raised F#) | V6-i | iv6-iv | V (figured #) | i. Ties: tenor A3 bar1-2 and bar5-6, alto E4 bar3-4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-010-ex05.musicxml", "label": "Model realization, eight bars, cut time, A minor", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 2 } ], "sha256": "88db5963ba9b0792266c12b9a5580e587ed02bdca2b45cdb0ce012baaf1caee3", "transcriptionStatus": "needs-review" } ], "id": "rh-010-ex05", "sha256": "470183a53e174a64f0c4ef6cd0a3b0f80180d301630577b2670968bd19295e13", "sources": [ { "pdf_page": 26, "source_image": "source-pages/026.png", "printed_page": 18 } ], "pdf_page": 26, "source_image": "source-pages/026.png", "printed_page": 18, "music_transcription_status": "needs-review" }, { "path": "images/rh-011-ex01.png", "kind": "music", "bbox_pixels": [ 40, 440, 1440, 340 ], "dimensions_pixels": [ 1440, 340 ], "description": "A) Authentic cadences, five pairs separated by double bars. 1 perfect (C): C–G–E–C, G–G–D–B | C–G–E–C. 2 perfect (A minor): A–C–E–A, C–C–E–A (6), E–B–E–G# | A–C–E–A. 3 imperfect: C–G–E–C, G–B–G–D | C–C–G–E. 4 imperfect: C–G–E–C, B–G–D–D (6) | C–G–E–C. 5 imperfect (A minor, one bar): E–B–E–G# to A–C–E–A.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-011-ex01.musicxml", "label": "A) Authentic cadences (V–I): perfect, perfect, imperfect, imperfect, imperfect", "playbackAvailable": true, "printed_systems": [ { "bars": 9, "staves": 2 } ], "sha256": "96bc2293fa5b7a4871b32bca44de696ad785564289a91a9a6e035f1e8902c7ab", "transcriptionStatus": "needs-review" } ], "id": "rh-011-ex01", "sha256": "93803a5e307e781834d0d02a04c40dee8881342a0fee27c5d68f4861d64e2de9", "sources": [ { "pdf_page": 27, "source_image": "source-pages/027.png", "printed_page": 19 } ], "pdf_page": 27, "source_image": "source-pages/027.png", "printed_page": 19, "music_transcription_status": "needs-review" }, { "path": "images/rh-011-ex02.png", "kind": "music", "bbox_pixels": [ 40, 780, 1440, 322 ], "dimensions_pixels": [ 1440, 322 ], "description": "B) Plagal cadences, five pairs separated by double bars. 1 perfect (C): C–E–G–C, F–F–A–C | C–E–G–C. 2 perfect (A minor): A–E–C–A, D–F–D–A | A–E–C–A. 3 imperfect: C–C–E–G, F–C–F–A | C–C–E–G (tenor C held). 4 imperfect (A minor): A–E–C–A, F–D–D–A (6) | A–E–C–A. 5 imperfect (one 3-half bar): F–A–F–C, bass to low F, C–G–E–C.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-011-ex02.musicxml", "label": "B) Plagal cadences (IV–I): perfect, perfect, imperfect, imperfect, imperfect", "playbackAvailable": true, "printed_systems": [ { "bars": 9, "staves": 2 } ], "sha256": "ec2da16aec08fc69d0f7559290b0b22320b569f03169db40863c71ee60f8c5c6", "transcriptionStatus": "needs-review" } ], "id": "rh-011-ex02", "sha256": "f3b02c6aa142ad2cd817a323e76ba0b5462d799060c2f89804ef1f608370deb8", "sources": [ { "pdf_page": 27, "source_image": "source-pages/027.png", "printed_page": 19 } ], "pdf_page": 27, "source_image": "source-pages/027.png", "printed_page": 19, "music_transcription_status": "needs-review" }, { "path": "images/rh-011-ex03.png", "kind": "music", "bbox_pixels": [ 440, 1588, 620, 282 ], "dimensions_pixels": [ 620, 282 ], "description": "Model, C major, cut time: upbeat I (C–E–G–C) | IV (F–F–A–C) V (G–D–G–B) | I (C–E–G–C).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-011-ex03.musicxml", "label": "Model: the first-kind cadence formula I–IV–V–I in C major, cut time, IV on the strong beat", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 2 } ], "sha256": "79b538814cc2086717e804ae72a27b6d6bd844fa50f9b9c5d6b8316ac75ef6be", "transcriptionStatus": "needs-review" } ], "id": "rh-011-ex03", "sha256": "307a8a85fc1ad5465797933e735d71990b2c67bfaf97d307f77be3017ccbeba1", "sources": [ { "pdf_page": 27, "source_image": "source-pages/027.png", "printed_page": 19 } ], "pdf_page": 27, "source_image": "source-pages/027.png", "printed_page": 19, "music_transcription_status": "needs-review" }, { "path": "images/rh-011-ex04.png", "kind": "music", "bbox_pixels": [ 240, 1866, 1040, 304 ], "dimensions_pixels": [ 1040, 304 ], "description": "3/2. C major: upbeat C–E–G–C | F–F–A–C (labelled I) then V whole, bass G3–G2 | C–E–G–C. Double bar. A minor: A–E–A–C, F–D–A–D (6), E–B–G#–E (#) | A–C–A–E.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-011-ex04.musicxml", "label": "The formula in 3/2: in C major with IV on the first beat and V on the second; in A minor with iv (first inversion) on the second beat and V on the third", "playbackAvailable": true, "printed_systems": [ { "bars": 5, "staves": 2 } ], "sha256": "6eeb03a29736239834984ecfe94cf027793a58ea5d300ef0adfe17c97e35aef6", "transcriptionStatus": "needs-review" } ], "id": "rh-011-ex04", "sha256": "d99338a50bdce7f49007662bddbe31a43bae062ca0e98353c2fd956d137119d7", "sources": [ { "pdf_page": 27, "source_image": "source-pages/027.png", "printed_page": 19 } ], "pdf_page": 27, "source_image": "source-pages/027.png", "printed_page": 19, "music_transcription_status": "needs-review" }, { "path": "images/rh-012-ex01.png", "kind": "music", "bbox_pixels": [ 360, 655, 935, 332 ], "dimensions_pixels": [ 935, 332 ], "description": "\"Exemple\", C major, cut time, two cadences separated by a double bar. (1) Upbeat IV6 (A2, C4, F4, F5; figure 6) | I6/4 on the strong beat (G2, C4 tied over as common note, G4, E5; figures 6/4) moving to V (G2, B3, G4, D5) | I (C3, C4, E4, C5). (2) Upbeat IV (F3, C4, A4, C5) | I6/4 (G3, E4, G4, C5; figures 6/4) to V (G2, G4, B4, D5) | I (C3, G4, C5, E5); in this second cadence the tenor lies on ledger lines above the bass staff.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-012-ex01.musicxml", "label": "Example: two cadences in C major, cut time — IV6 or IV, the six-four chord on the strong beat, V, I", "playbackAvailable": true, "printed_systems": [ { "bars": 6, "staves": 2 } ], "sha256": "7abfe8f1685d2fe972fa07125ec7b4999a68290e236d3dc42b88bfa4123b6fa1", "transcriptionStatus": "needs-review" } ], "id": "rh-012-ex01", "sha256": "7a81276c9fa9aa2d9c2209d551894bd6468207740f6c8d9882eb07cd906eecfd", "sources": [ { "pdf_page": 28, "source_image": "source-pages/028.png", "printed_page": 20 } ], "pdf_page": 28, "source_image": "source-pages/028.png", "printed_page": 20, "music_transcription_status": "needs-review" }, { "path": "images/rh-012-ex02.png", "kind": "music", "bbox_pixels": [ 195, 988, 1225, 317 ], "dimensions_pixels": [ 1225, 317 ], "description": "Second system of the example, 3/2, three cadences separated by double bars, with the 6/4 chord on the weak second beat and the dominant on the third. (1) A minor: upbeat D3, D4, F4, A4 (labelled \"I\" in the print) | I6/4 (E3, C4, E4, A4 tied; figures 6/4, labelled I), the upper voices moving to C5/A4/E4 over the held bass, then V on beat 3 (E2, tenor E4 held, G♯4, B4; figure ♯; labelled V) | I (A2, C4, A4, A4 in unison), dotted wholes. (2) A minor: upbeat IV6 (F3, A3, D4, A4 tied; figure 6) | I6/4 (E3, C4, E4, A4; figures 6/4) with V (G♯4, B3, figure ♯) from beat 2 and the bass E2 on beat 3 | I (A2, C4, E4, A4). (3) C major: IV6 (A2, C4, F4, C5; figure 6), I6/4 (G2, E4, G4, C5; figures 6/4), V (G2, D4, G4, B4) | I (C3, E4, G4, C5).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-012-ex02.musicxml", "label": "Example (continued), 3/2: two cadences in A minor and one in C major, the six-four chord on the first or the weak second beat", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 2 } ], "sha256": "6459ae373b7399a3920684f391deaf6c0682149bb35b5e04d476ef71040c8168", "transcriptionStatus": "needs-review" } ], "id": "rh-012-ex02", "sha256": "759dad74068a84343f9eaf10733fcd626ba15174f7487dd4b2b79b9749574c8d", "sources": [ { "pdf_page": 28, "source_image": "source-pages/028.png", "printed_page": 20 } ], "pdf_page": 28, "source_image": "source-pages/028.png", "printed_page": 20, "music_transcription_status": "needs-review" }, { "path": "images/rh-012-ex03.png", "kind": "music", "bbox_pixels": [ 478, 1822, 690, 311 ], "dimensions_pixels": [ 690, 311 ], "description": "Passing 6/4 chords, 3/1, whole notes. Bar 1 (labelled I V I): I (C3, E4, G4, C5), passing V6/4 (D3, D4, G4, B4; figures 6/4), I6 (E3, C4, G4, C5; figure 6); the alto G4 is tied throughout as the common note, the bass rises by step, the tenor falls E4–D4–C4 against it. Double bar. Bar 2 (labelled IV I IV): IV6 (A3, C4, F4, F5; figure 6), passing I6/4 (G3, C4, G4, E5; figures 6/4), IV (F3, C4, A4, F5); the tenor C4 is tied throughout, the bass falls by step, the alto rises F4–G4–A4 and the soprano moves F5–E5–F5.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-012-ex03.musicxml", "label": "Passing six-four chords: I–V6/4–I6 and IV6–I6/4–IV", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "294b02c6eeba5e3f10fc853fbd432c9272f80b82a70c89b72a68262669522e14", "transcriptionStatus": "needs-review" } ], "id": "rh-012-ex03", "sha256": "4ad9d2b07663cc559509f8bd427fb12576011db207885b181085ec2acb61c460", "sources": [ { "pdf_page": 28, "source_image": "source-pages/028.png", "printed_page": 20 } ], "pdf_page": 28, "source_image": "source-pages/028.png", "printed_page": 20, "music_transcription_status": "needs-review" }, { "path": "images/rh-013-ex01.png", "kind": "music", "bbox_pixels": [ 65, 455, 1430, 380 ], "dimensions_pixels": [ 1430, 380 ], "description": "\"Exemple\", unmetered, five pairs of chords separated by double bars. a) Authentic half cadences: (1) C major I (C3 then E3 with figure 6, E4, G4, C5) | V (G3, D4, G4, B4). (2) A minor I6 to I (C3 then A2 under A3–C4, E4, A4; figure 6) | V (E3, B3, E4, G♯4; figure ♯). (3) A minor, half notes over a held alto A4: I (A3, C4, E5), IV6 (F3, D4, D5; figure 6, labelled IV), IV (D3, D4, F5) | V in dotted wholes (E3, B3, G♯4, E5; figure ♯). b) Plagal half cadences: (4) C major I (C3, C4, G4, E5) as a half bar | IV (F3, C4, A4, F5). (5) A minor V in halves (E3, E4, G♯4, B4; figure ♯; marked (*) above the tenor, see footnote) | IV (D3, F4, A4, D5). Roman numerals are printed above the staff.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-013-ex01.musicxml", "label": "Example: a) authentic half cadences ending on V (C major, then A minor twice); b) plagal half cadences ending on IV (C major; then A minor, where V precedes IV)", "playbackAvailable": true, "printed_systems": [ { "bars": 10, "staves": 2 } ], "sha256": "2a781d31456dd28c364d84d759c028e5e6826ea1ef05ba18a57e056171932629", "transcriptionStatus": "needs-review" } ], "id": "rh-013-ex01", "sha256": "a4a1c79247f5bde82eba506e77b30ae7c56c8109f33d411adac6060aaa0adf37", "sources": [ { "pdf_page": 29, "source_image": "source-pages/029.png", "printed_page": 21 } ], "pdf_page": 29, "source_image": "source-pages/029.png", "printed_page": 21, "music_transcription_status": "needs-review" }, { "path": "images/rh-013-ex02.png", "kind": "music", "bbox_pixels": [ 65, 1205, 1430, 390 ], "dimensions_pixels": [ 1430, 390 ], "description": "\"Modèles\" a), C major, cut time, eight bars. Bar 1: I (C3, E4, G4, C5) to passing V6/4 (D3, D4, G4 held and tied, B4; figures 6/4); bar 2: I6 (E3, C4, G4, C5; figure 6), IV (F3, C4, F4, A4); bar 3: I (C3, C4 whole, E4, G4), I6 (E3, G4, C5; figure 6); bar 4: half cadence on V (G3, D4, G4, B4), labelled V. Bar 5 (labelled V): V6 (B2, D4, G4, D5; figure 6), I (C3, C4, G4, E5); bar 6: IV6 (A2, C4, F4, F5; figure 6), V6 (B2, D4, G4, D5; figure 6); bar 7: I (C3, C4, G4, E5), V (G2, B3, G4, D5); bar 8: I (C3, C4, E4, C5), whole notes, final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-013-ex02.musicxml", "label": "Model a): eight bars in C major, cut time; a half cadence on V in bar 4 (passing six-four in bar 1), then a full close", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 2 } ], "sha256": "ce8d76d40d0ec2c9fc5ae1a43d9dc9fbd5d128c681bba2e738c4823b167be28f", "transcriptionStatus": "needs-review" } ], "id": "rh-013-ex02", "sha256": "ae9f2d2e82e8f35b82757d12879035ee32e40dbd10e607f724441f01c56e3289", "sources": [ { "pdf_page": 29, "source_image": "source-pages/029.png", "printed_page": 21 } ], "pdf_page": 29, "source_image": "source-pages/029.png", "printed_page": 21, "music_transcription_status": "needs-review" }, { "path": "images/rh-013-ex03.png", "kind": "music", "bbox_pixels": [ 65, 1640, 1430, 320 ], "dimensions_pixels": [ 1430, 320 ], "description": "\"Modèles\" b), A minor, 3/2, eight bars. Bar 1: I (A3, E4, A4, C5), V6 (G♯3, B4, E5; figure 6), I (A3, C5, E5), the tenor E4 a dotted whole tied into bar 2 and the soprano E5 a whole tied into bar 2; bar 2: V6 (G♯3, E4, B4, E5; figure 6), I (A3, E4, A4, C5), IV6 (F3, D4, A4, D5; figure 6), the alto A4 tied into bar 3; bar 3: I (A3, E4 dotted whole, A4, C5), V (E3, G♯4, B4), I (A3, A4, C5); bar 4: plagal half cadence on IV (D3, F4, A4, D5), dotted wholes. Bar 5: IV (D3, D4, A4, F5), IV6 (F3, D4, A4, D5), V (E3, B3, G♯4, E5); bar 6: I (A3, tenor A3 dotted whole tied into bar 7, A4, C5), IV (D3, F4, D5), E3, E4, C5; bar 7: IV6 (F3, A3, D4, D5), cadential I6/4 (E3, A3, E4, C5), V (E3, G♯3, E4, B4); bar 8: I (A2, A3, C4, A4), dotted wholes, final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-013-ex03.musicxml", "label": "Model b): eight bars in A minor, 3/2; a plagal half cadence on IV in bar 4, then a full close through the cadential six-four", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 2 } ], "sha256": "5985cd63f6f2961ca87319acea1704b545b0fbdeab3f00be8c452b172f87a195", "transcriptionStatus": "needs-review" } ], "id": "rh-013-ex03", "sha256": "2e8f714f7378f85e61802f32ada8da4c8a4c4655da2bcf3fd7ee70c2b7e056d6", "sources": [ { "pdf_page": 29, "source_image": "source-pages/029.png", "printed_page": 21 } ], "pdf_page": 29, "source_image": "source-pages/029.png", "printed_page": 21, "music_transcription_status": "needs-review" }, { "path": "images/rh-014-ex01.png", "kind": "music", "bbox_pixels": [ 100, 520, 1450, 310 ], "dimensions_pixels": [ 1450, 310 ], "description": "\"Dans la partie supérieure\", C major, eight unmetered pairs of whole-note chords, each closed by a double bar; a line marks the soprano leap. a) Root leaps, sixth chord with doubled root: IV6 (A2, C4, F4, F5; figure 6) to I (C3, E4, G4, C5), soprano F5–C5 | IV (F3, C4 tied, A4, F5) to I6 (E3, C4, G4, C5; 6) | \"Mauvais\": I6 (E3, C4, G4, C5; 6) to V (G3, D4, B4, G5), bracket from bass to soprano marked \"(*) 8\" | I (C3, E4, G4, C5) to V6 (B2, D4, G4, G5; 6). b) Leaps between chord fifths, sixth chord with doubled fifth: IV6 (A2, C4, F4, C5; 6) to I (C3, C4, E4, G4), soprano C5–G4 | IV (F3, A3, F4, C5) to I6 (E3, C4, G4, G4 in unison; 6) | \"Mauvais\": I6 (E3, C4, G4, G4; 6, alto G4 tied) to V (G3, B3, G4, D5), bracket marked \"(*) 5\" | I (C3, C4, E4, G4) to V6 (B2, D4, G4, D5; 6).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-014-ex01.musicxml", "label": "In the upper part: a) leaps between roots, b) leaps between fifths of the chords, each pairing a triad with a sixth chord; two progressions marked bad for hidden octaves and fifths", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 2 } ], "sha256": "699ce2dc72c77580fe32d0fe35ec6eff331b1bdae5fa2dc06078bf04b6e9a453", "transcriptionStatus": "needs-review" } ], "id": "rh-014-ex01", "sha256": "b9fcb165ebf11f052ec8c809a1658c84d463395367bcbdf55efef45ff548b531", "sources": [ { "pdf_page": 30, "source_image": "source-pages/030.png", "printed_page": 22 } ], "pdf_page": 30, "source_image": "source-pages/030.png", "printed_page": 22, "music_transcription_status": "needs-review" }, { "path": "images/rh-014-ex02.png", "kind": "music", "bbox_pixels": [ 670, 968, 880, 285 ], "dimensions_pixels": [ 880, 285 ], "description": "\"Dans la partie intermédiaire\", C major, four unmetered pairs of whole-note chords with double bars; a line marks the tenor leap. I6 (E3, G3, G4, C5; 6) to V (G3, D4, G4, B4), tenor G3–D4 | I (C3, G3, E4, C5) to V6 (B2, D4, G4, D5; 6), tenor G3–D4 | IV (F3, C4, F4, A4) to I6 (E3, G3, G4, C5; 6), tenor C4–G3 | IV6 (A2, C4, F4, C5; 6) to I (C3, G3, E4, C5), tenor C4–G3. Each sixth chord doubles its fifth.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-014-ex02.musicxml", "label": "In an inner part: the tenor leaps a fourth or a fifth, each pairing a triad with a sixth chord", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 2 } ], "sha256": "43416ae34242c866d05315c8f85c698c3a3aeb47d93e44ffe07c6028643e7809", "transcriptionStatus": "needs-review" } ], "id": "rh-014-ex02", "sha256": "8e510c0c3382ef50c6f887c7a3822e7f7474aa1e3a7f9dae469050eb48f5d01f", "sources": [ { "pdf_page": 30, "source_image": "source-pages/030.png", "printed_page": 22 } ], "pdf_page": 30, "source_image": "source-pages/030.png", "printed_page": 22, "music_transcription_status": "needs-review" }, { "path": "images/rh-014-ex03.png", "kind": "music", "bbox_pixels": [ 100, 1395, 1455, 350 ], "dimensions_pixels": [ 1455, 350 ], "description": "\"Modèle\", \"Ire réalisation\", C major, cut time, eight bars on the given soprano E4 G4 | C5 C5 | G4 E4 | F4 G4 | A4 G4 | G4 C5 | C5 B4 | C5. Labels V, I, IV, I over bars 1-3, I IV over bar 6, \"2e espèce\" over bar 7. Bar 1: tenor G3 a whole note tied into bar 2, marked \"(**)\" above the tie; I (C3, G3, C4, E4) to V6 (B2, G3, D4, G4; 6). Bar 2: I (C3, G3, E4, C5), a bracket from soprano to bass at the barline marked \"8\" (soprano G4–C5 against bass B2–C3), then IV6 (A2, F3, C4, C5; 6), alto C4 tied into bar 3. Bar 3: I (C3 whole, E3–G3, C4, G4–E4). Bar 4: IV6 (A2, F3, C4 whole tied on, F4; 6) to I6/4 (G2, E3, C4, G4; 6/4). Bar 5: IV (F2, F3, C4, A4) to V (G2, D3, B3, G4), soprano G4 tied. Bar 6: I (C3, E3, C4 whole, G4) to IV6 (A2, F3, C4, C5; 6), soprano C5 tied. Bar 7: I6/4 (G2 whole, G3 whole tied on, E4, C5; 6/4) to V (D4, B4). Bar 8: I (C3, G3, E4, C5), whole notes.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-014-ex03.musicxml", "label": "Model, first realization: C major, cut time, ending with a cadence of the second kind", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 2 } ], "sha256": "31c0cd43832d8241950896cd8861906c4972d1af0c6c996f06b3abb0594f16f0", "transcriptionStatus": "needs-review" } ], "id": "rh-014-ex03", "sha256": "b4d5f8fea2e745f92b19533e51689fb139b12f44bccba510b097f365a41cab5a", "sources": [ { "pdf_page": 30, "source_image": "source-pages/030.png", "printed_page": 22 } ], "pdf_page": 30, "source_image": "source-pages/030.png", "printed_page": 22, "music_transcription_status": "needs-review" }, { "path": "images/rh-014-ex04.png", "kind": "music", "bbox_pixels": [ 100, 1750, 1455, 333 ], "dimensions_pixels": [ 1455, 333 ], "description": "\"IIme réalisation\", the same soprano, cut time, \"1re espèce\" over bar 7. Bar 1: I (C3, G3 whole tied on, C4, E4) to V (G2, G3, B3, G4). Bar 2: I6 (E2, G3, C4, C5; 6) to I (C3, G3, E4, C5), tenor G3 tied on. Bar 3: V6 (B2, G3, D4, G4; 6) to I (C3, G3, C4, E4). Bar 4: IV (F2, A3, C4 whole, F4) to I6 (E2, G3, C4, G4; 6). Bar 5: IV (F2, F3, C4 whole, A4) to I (C3, E3, C4, G4), soprano G4 tied. Bar 6: V (G2, G3 whole, B3, G4) to I6 (E2, G3, C4, C5; 6), soprano C5 tied; a line joins the alto C4 to its F4 in bar 7. Bar 7: IV (F2, A3, F4, C5) to V (G2, G3, D4, B4). Bar 8: I (C3, G3, E4, C5), whole notes.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-014-ex04.musicxml", "label": "Model, second realization of the same melody, ending with a cadence of the first kind", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 2 } ], "sha256": "1961d1c50b3fd601ffd40b7409c6f1bd4728bf0a1774040bde4ebf6a0d418915", "transcriptionStatus": "needs-review" } ], "id": "rh-014-ex04", "sha256": "f473c621f67f2a673f9d49dd704857b007fae1ffede25e32daf5583c9fa7895a", "sources": [ { "pdf_page": 30, "source_image": "source-pages/030.png", "printed_page": 22 } ], "pdf_page": 30, "source_image": "source-pages/030.png", "printed_page": 22, "music_transcription_status": "needs-review" }, { "path": "images/rh-015-ex01.png", "kind": "music", "bbox_pixels": [ 245, 485, 1085, 265 ], "dimensions_pixels": [ 1085, 265 ], "description": "Unmetered whole-note chords, four groups separated by double bars, Roman numerals above, figure 6 below. (1) I C3–C4–G4–E5, V G3–D4–G4–B4, I6 E3–C4–G4–C5. (2) V G3–D4–G4–B4, I C3–C4–G4–E5, V6 B2–D4–G4–D5. (3) I C3–C4–G4–E5, IV F3–C4–F4–A4, I6 E3–C4–G4–C5. (4) IV F3–C4–F4–A4, I C3–C4–G4–E5, I6 E3–C4–G4–C5. A printed stroke joins the two soprano notes of each leap (E5–B4, B4–E5, E5–A4, A4–E5).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-015-ex01.musicxml", "label": "Four examples in C major: the soprano leaps by a fourth or fifth from the third of one chord to the third of the next (I–V, V–I, I–IV, IV–I), then turns back by step or third into a I6 or V6", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 2 } ], "sha256": "86feab8ec6790ba6229b3bd8a47c6c4e5be5c5ee2d003076b19fc6f04acc291f", "transcriptionStatus": "needs-review" } ], "id": "rh-015-ex01", "sha256": "121b7b52775f98402dddee1e953de94e1ae1ccc82a9e5f356e69ec5e3e699754", "sources": [ { "pdf_page": 31, "source_image": "source-pages/031.png", "printed_page": 23 } ], "pdf_page": 31, "source_image": "source-pages/031.png", "printed_page": 23, "music_transcription_status": "needs-review" }, { "path": "images/rh-015-ex02.png", "kind": "music", "bbox_pixels": [ 70, 870, 1440, 310 ], "dimensions_pixels": [ 1440, 310 ], "description": "Exercise 10 model, C major, cut time, eight bars. Soprano E5 B4 | C5 | A4 E4 | F4 A4 | G4 E5 | A4 C5 | F5 D5 | C5. Alto G4 tied | G4 E4 | C4 tied | C4 tied | C4 G4 | F4 G4 | F4 G4 | G4. Tenor C4 D4 | G3 (no second note) | F3 G3 | F3 | E3 C4 tied | C4 E4 | C4 D4 | E4. Bass C3 G3 | E3 C3 | F3 C3 | A2 F2 | C3 (whole) | F3 C3 | A2 B2 | C3; in bar 3 tenor and bass share the head F3. Figures 6 under E3 (bar 2), A2 (bar 4), A2 and B2 (bar 7). Strokes mark the soprano leaps E5–B4, A4–E4, E5–A4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-015-ex02.musicxml", "label": "Model: an eight-bar melody in C major, cut time, harmonized in four parts with leaps between chord thirds", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 2 } ], "sha256": "027b229d928f5caa55815062bcc3e4ce71017a65e0bb5119d0c608b708749209", "transcriptionStatus": "needs-review" } ], "id": "rh-015-ex02", "sha256": "69dc1dd30f3185b15aab7b087c19f5635b01815d71ce014b816eadbb64a5dd6d", "sources": [ { "pdf_page": 31, "source_image": "source-pages/031.png", "printed_page": 23 } ], "pdf_page": 31, "source_image": "source-pages/031.png", "printed_page": 23, "music_transcription_status": "needs-review" }, { "path": "images/rh-015-ex03.png", "kind": "music", "bbox_pixels": [ 245, 1495, 1085, 270 ], "dimensions_pixels": [ 1085, 270 ], "description": "Unmetered whole-note chords, four groups separated by double bars; figures 6 6 under the first two chords of each. (1) I6 E3–C4–G4–G5, V6 B2–D4–G4–G5 (soprano and alto G tied), I C3–C4–G4–E5. (2) I6 E3–C4–G4–C5, IV6 A3–C4–F4–C5 (C4 and C5 tied), V G3–D4–G4–B4. (3) V6 B2–D4–G4–G5, I6 E3–C4–G4–G5 (G tied), I C3–C4–G4–E5. (4) IV6 A3–C4–F4–C5, I6 E3–C4–G4–C5 (C4 and C5 tied), V G3–D4–G4–B4. Strokes join the bass leaps E3–B2, B2–E3, A3–E3; in (4) a short stroke also joins the alto F4–G4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-015-ex03.musicxml", "label": "Four examples in C major: two sixth chords (I6–V6, I6–IV6, V6–I6, IV6–I6) with the bass leaping between chord thirds, common notes tied, then a step or third back in the opposite direction", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 2 } ], "sha256": "1290f7cb441f2be5e8b0d7d4bdbb2bb62640b6fc1ab6105c21e9e466c3fcf88b", "transcriptionStatus": "needs-review" } ], "id": "rh-015-ex03", "sha256": "7965f4c0d7b406200a8ef8b6cb696a5db07623ff3433d55f9fa21f0de241fe22", "sources": [ { "pdf_page": 31, "source_image": "source-pages/031.png", "printed_page": 23 } ], "pdf_page": 31, "source_image": "source-pages/031.png", "printed_page": 23, "music_transcription_status": "needs-review" }, { "path": "images/rh-015-ex04.png", "kind": "music", "bbox_pixels": [ 70, 1880, 1440, 345 ], "dimensions_pixels": [ 1440, 345 ], "description": "Exercise 11 model, A minor, 3/2, seven bars. Soprano C5 D5 E5 | E5 C5 A4 | A4 B4 | C5 A4 G#4 | E5 | D5 C5 B4 | A4. Alto E4 F4 E4 | E4 D4 | E4 tied through bar 4 into bar 5 | E4 G#4 A4 | A4 G#4 | A4. Tenor A3 | B3 A3 | A3 G#3 B3 | A3 C4 B3 | A3 B3 C4 | D4 E4 | C4. Bass A2 D3 C3 | G#2 A2 F3 | C3 E3 G#2 | A2 E3 | C3 B2 A2 | D3 E3 | A2. Under the bass: \"4te dim.\" with a stroke for C3–G#2 (bars 1–2), figures 6 (bar 2: G#2, F3; bar 3: C3, G#2; bar 5: C3), #6/4 (bar 5: B2), 6/4 (bar 6: E3).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-015-ex04.musicxml", "label": "Model: a seven-bar given bass in A minor, 3/2, harmonized in four parts, including a diminished fourth (C–G♯) in the bass", "playbackAvailable": true, "printed_systems": [ { "bars": 7, "staves": 2 } ], "sha256": "fbc83ee9d6d2d30eac00ceed5efa66793689f4fe7a3ad2c57ca73b33c4baca4c", "transcriptionStatus": "needs-review" } ], "id": "rh-015-ex04", "sha256": "f115d0a00d3c0a659739912307589b2e376f52e6e3d85366937ff1bf700a69b2", "sources": [ { "pdf_page": 31, "source_image": "source-pages/031.png", "printed_page": 23 } ], "pdf_page": 31, "source_image": "source-pages/031.png", "printed_page": 23, "music_transcription_status": "needs-review" }, { "path": "images/rh-016-ex01.png", "kind": "music", "bbox_pixels": [ 95, 490, 1455, 300 ], "dimensions_pixels": [ 1455, 300 ], "description": "Five unmetered groups of four whole-note chords in C major, separated by double bars, each I – IV – VII6 (labelled VII, figured 6) – I. (1) C3 E3 C4 G4; F3 F3 C4 A4 (bass and tenor in unison); D3 F3 F4 B4; C3 G3 E4 C5. (2) C3 C4 G4 E5; F3 C4 A4 F5; D3 F4 B4 F5; C3 G4 C5 E5. (3) C3 C4 G4 E5; F3 C4 A4 F5; D3 D4 F4 B4; C3 G3 E4 C5. (4) C3 E4 G4 C5; F3 F4 A4 C5; D3 F4 F4 B4 (tenor and alto in unison); C3 E4 G4 C5. (5) C3 E4 G4 C5; F3 F4 A4 C5; D3 F4 B4 D5; C3 G4 C5 E5. The leading note B is never in the tenor and always rises to C. Diagonal voice-leading lines in bars 1 and 2 are not encoded.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-016-ex01.musicxml", "label": "Five progressions in C major, I–IV–VII6–I, with the sixth chord of VII (figured 6) between IV and I; the leading note B rises to C", "playbackAvailable": true, "printed_systems": [ { "bars": 5, "staves": 2 } ], "sha256": "874047066c58a80a8d2258c60c5a72e6205381b49c6ad24b6ed6e4ff082c7dd9", "transcriptionStatus": "needs-review" } ], "id": "rh-016-ex01", "sha256": "a35a249357ed5df39825ca27a5e7115118b0998f31e004dde3dad21351a9d484", "sources": [ { "pdf_page": 32, "source_image": "source-pages/032.png", "printed_page": 24 } ], "pdf_page": 32, "source_image": "source-pages/032.png", "printed_page": 24, "music_transcription_status": "needs-review" }, { "path": "images/rh-016-ex02.png", "kind": "music", "bbox_pixels": [ 560, 1050, 530, 280 ], "dimensions_pixels": [ 530, 280 ], "description": "A minor, four unmetered whole-note chords: I (A2 C4 E4 A4); major IV of melodic minor (D3 A3 D4 F♯4, labelled \"VII mél.\" as printed); VII6 (B2 B3 D4 G♯4, labelled VII, figured ♯6); I (A2 E3 C4 A4). A bracket line over the soprano from the first to the third chord is not encoded.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-016-ex02.musicxml", "label": "A minor: I – IV (melodic, D–F♯–A) – VII6 (figured ♯6) – I", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "d0e6539957385c2966291f43bd7d6b001349eaf6e48bec7a73638e2b14baf48b", "transcriptionStatus": "needs-review" } ], "id": "rh-016-ex02", "sha256": "4aceb6e1862294ac5cd164e6621359115bbef80f4eb88bf60c059000b217c57c", "sources": [ { "pdf_page": 32, "source_image": "source-pages/032.png", "printed_page": 24 } ], "pdf_page": 32, "source_image": "source-pages/032.png", "printed_page": 24, "music_transcription_status": "needs-review" }, { "path": "images/rh-016-ex03.png", "kind": "music", "bbox_pixels": [ 1265, 1345, 285, 135 ], "dimensions_pixels": [ 285, 135 ], "description": "Treble staff alone: the major third C4–E4 followed by the major third D4–F♯4 (whole notes), joined by two diagonal lines (C–D below, E–F♯ above), then a double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-016-ex03.musicxml", "label": "Two successive major thirds, C–E to D–F♯", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "6d41e825f402ee2c78f00c3e037230bed7f7bb319b99a72598679c8bcf73aae5", "transcriptionStatus": "needs-review" } ], "id": "rh-016-ex03", "sha256": "df4971b65e5a63cfaf06333a58f99f6c15078de529d5f55709b8491702a18af5", "sources": [ { "pdf_page": 32, "source_image": "source-pages/032.png", "printed_page": 24 } ], "pdf_page": 32, "source_image": "source-pages/032.png", "printed_page": 24, "music_transcription_status": "needs-review" }, { "path": "images/rh-016-ex04.png", "kind": "music", "bbox_pixels": [ 560, 1600, 530, 280 ], "dimensions_pixels": [ 530, 280 ], "description": "A minor, four unmetered whole-note chords: I6 (C3 A3 E4 E4, alto and soprano in unison; labelled I, figured 6); the bass C3 held (tied) under IV of melodic minor, forming a second chord (C3 A3 D4 F♯4, figured 2); VII6 (B2 B3 D4 G♯4, figured 6); I (A2 E3 C4 A4). \"IV mél.\" and \"VII\" are printed above, shifted right. The soprano climbs E–F♯–G♯–A under a bracket line (not encoded).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-016-ex04.musicxml", "label": "A minor: I6 – IV (melodic) as a 4/2 chord over the held bass C – VII6 – I; the soprano climbs E–F♯–G♯–A", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "c73b822320ff6726df6e598c6d7faadd826ee5cb5fb4c21d12de091eb5ac7b71", "transcriptionStatus": "needs-review" } ], "id": "rh-016-ex04", "sha256": "1b696bfcb0a93029b26a093331a77a190f8050cde5e548157c25e0e89d5f32c3", "sources": [ { "pdf_page": 32, "source_image": "source-pages/032.png", "printed_page": 24 } ], "pdf_page": 32, "source_image": "source-pages/032.png", "printed_page": 24, "music_transcription_status": "needs-review" }, { "path": "images/rh-017-ex01.png", "kind": "music", "bbox_pixels": [ 265, 230, 1075, 305 ], "dimensions_pixels": [ 1075, 305 ], "description": "Unmetered whole-note chords in C major, four groups separated by double bars, \"II\" above the second chord of each, figure 6 below. (1) I C3–E4–G4–C5, II D3–D4–F4–A4, V G3–B3–D4–G4, I C3–C4–E4–G4. (2) I6 E3–G4–C5–G5, II D3–A4–D5–F5, V G3–G4–B4–D5, I C3–G4–C5–E5. (3) IV F3–A4–C5–F5, II D3–A4–D5–F5, V6 B2–G4–D5–G5, I C3–G4–C5–E5. (4) VI A3–E4–A4–C5, II D3–F4–A4–D5, V G3–D4–G4–B4, I C3–E4–G4–C5. The tenor lies on ledger lines above the bass staff.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-017-ex01.musicxml", "label": "Four progressions in C major, each leading through the II triad (connected melodically) to V or V6, then to I", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 2 } ], "sha256": "fd30367497aa1f4f6ed92f9c8bf3ac2254f61520683a26ce00760c8eb3a66d54", "transcriptionStatus": "needs-review" } ], "id": "rh-017-ex01", "sha256": "50f17e2c9bb2842a5f338ec8cfe883bf55a1ee5337a6e6f45072069785df03c7", "sources": [ { "pdf_page": 33, "source_image": "source-pages/033.png", "printed_page": 25 } ], "pdf_page": 33, "source_image": "source-pages/033.png", "printed_page": 25, "music_transcription_status": "needs-review" }, { "path": "images/rh-017-ex02.png", "kind": "music", "bbox_pixels": [ 505, 680, 585, 280 ], "dimensions_pixels": [ 585, 280 ], "description": "Unmetered whole notes, II to V in C major with the soprano D5 held. \"MAUVAIS\" (bad): D3–F4–A4–D5 to G3–G4–B4–D5; brackets join tenor and alto of each chord, labelled \"3ce maj.\" (F4–A4, G4–B4). Double bar. \"BON\" (good): D3–A3–F4–D5 to G3–B3–G4–D5; brackets labelled \"6te min.\" (A3–F4, B3–G4).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-017-ex02.musicxml", "label": "BAD · GOOD — major 3rd · major 3rd · minor 6th · minor 6th: II to V with the common tone held; bad when tenor and alto form two successive major thirds, good when they form two minor sixths", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "52058ee96b79e9262adb2a06ad9eb6b31dea5c9ce43540751a93289af2c1627c", "transcriptionStatus": "needs-review" } ], "id": "rh-017-ex02", "sha256": "1f5d87adfd25156d7f5085a6d1288fa0b74c867a94d300c4201fb859deccfd6f", "sources": [ { "pdf_page": 33, "source_image": "source-pages/033.png", "printed_page": 25 } ], "pdf_page": 33, "source_image": "source-pages/033.png", "printed_page": 25, "music_transcription_status": "needs-review" }, { "path": "images/rh-017-ex03.png", "kind": "music", "bbox_pixels": [ 415, 1125, 765, 295 ], "dimensions_pixels": [ 765, 295 ], "description": "Unmetered whole notes, C major, two groups, labels II I above, figure 6 under the I chord. (1) II D3–A4–D5–F5, I6 E3–G4–C5–E5, V G3–G4–B4–D5. (2) II D3–F4–A4–D5, I6 E3–E4–G4–C5, V G3–D4–G4–B4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-017-ex03.musicxml", "label": "Two chorale-cadence progressions in C major: II triad, I6, V", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "8500b20316a23d501421de86aaa2fcd65c420c2031fe403fbae657df54ad8017", "transcriptionStatus": "needs-review" } ], "id": "rh-017-ex03", "sha256": "0e500a6c096098c09047035dd91d0899d67fbb7fa44ee6984d1146fbd265caa1", "sources": [ { "pdf_page": 33, "source_image": "source-pages/033.png", "printed_page": 25 } ], "pdf_page": 33, "source_image": "source-pages/033.png", "printed_page": 25, "music_transcription_status": "needs-review" }, { "path": "images/rh-017-ex04.png", "kind": "music", "bbox_pixels": [ 375, 1925, 835, 305 ], "dimensions_pixels": [ 835, 305 ], "description": "Unmetered whole notes, C major, three groups, \"II\" above the II6 chord, figure 6 below. (1) I C3–E4–G4–C5, II6 F3–D4–A4–D5, V G3–D4–G4–B4, I C3–E4–G4–C5. (2) I6 E3–C4–G4–C5, II6 F3–A3–F4–D5, V G3–G3–D4–B4 (tenor and bass in unison, two heads side by side), I C3–G3–E4–C5. (3) I C3–C4–G4–E5, II6 F3–A3–F4–D5, cadential six-four G3–G3–E4–C5 (no figures printed), V G3–G3–D4–B4 with tenor and bass G3 both tied over (two tie arcs, above and below), I C3–G3–E4–C5.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-017-ex04.musicxml", "label": "Three progressions in C major with the II6 chord (root in the soprano) leading to V, or to the cadential six-four and V, then I", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 2 } ], "sha256": "3e3e31598386453de12c4d42c273a13aba25ab7fb08f2e8f77ad44dcde7bbda0", "transcriptionStatus": "needs-review" } ], "id": "rh-017-ex04", "sha256": "53b2e08c529d316bde9890e99ea25445881239c359115a0b6145c78eded1ec50", "sources": [ { "pdf_page": 33, "source_image": "source-pages/033.png", "printed_page": 25 } ], "pdf_page": 33, "source_image": "source-pages/033.png", "printed_page": 25, "music_transcription_status": "needs-review" }, { "path": "images/rh-018-ex01.png", "kind": "music", "bbox_pixels": [ 385, 228, 845, 300 ], "dimensions_pixels": [ 845, 300 ], "description": "\"Bon\" (C major): I6 (E3, C4, G4, C5; figure 6) – II6 (F3, A3, A4, D5; figure 6; labelled II; fifth A doubled) – V (G3, D4, G4, B4) – I (C3, E4, G4, C5); a line marked \"4\" joins the tenor A3–D4. Double bar. \"Mauvais\" (A minor): I6 (C3, A3, E4, A4; figure 6) – II6 (D3, F3, F4, B4; figure 6; labelled II; fifth F doubled) – V (E3, B3, E4, G♯4) – I (A2, C4, E4, A4); a line marked \"4te augm.\" joins the tenor F3–B3.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-018-ex01.musicxml", "label": "Good: in C major, II6 (F–A–D) with the fifth A doubled, the tenor rising a fourth A–D. Bad: in A minor, II6 (D–F–B) with the fifth F doubled, the tenor rising an augmented fourth F–B", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "ea4543b8c818ecacdab5a5ec3adbad40d0beae8fe14b47637bcb029186f58dc7", "transcriptionStatus": "needs-review" } ], "id": "rh-018-ex01", "sha256": "71d0e33c9047bceb0bd2455d294d8f50dd7a2adfa498c6238606ddb3ba69d10d", "sources": [ { "pdf_page": 34, "source_image": "source-pages/034.png", "printed_page": 26 } ], "pdf_page": 34, "source_image": "source-pages/034.png", "printed_page": 26, "music_transcription_status": "needs-review" }, { "path": "images/rh-018-ex02.png", "kind": "music", "bbox_pixels": [ 425, 1045, 765, 245 ], "dimensions_pixels": [ 765, 245 ], "description": "C major, two phrases ending V–VI. (1) I (C3, E4, G4, C5) – II6 (F3, D4, A4, D5) – V (G3, D4, G4, B4; labelled V) – VI (A3, C4, E4, C5; labelled VI). (2) I (C3, C4, G4, E5) – IV (F3, C4, A4, F5) – V (G3, B3, G4, D5) – VI (A3, C4, E4, C5). Lines join soprano and tenor from V to VI.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-018-ex02.musicxml", "label": "Deceptive cadences in C major: V–VI with the third (C) doubled in VI; the leading note B rises to C and the other upper voices fall", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "cd5a679acfd5eaa673540711bcacbb2d3df5a8ff6f01708b949ecc47e710acf6", "transcriptionStatus": "needs-review" } ], "id": "rh-018-ex02", "sha256": "8c08fa77846682b007d785131eae137d7676e8da930024adf2040b49a6bde42d", "sources": [ { "pdf_page": 34, "source_image": "source-pages/034.png", "printed_page": 26 } ], "pdf_page": 34, "source_image": "source-pages/034.png", "printed_page": 26, "music_transcription_status": "needs-review" }, { "path": "images/rh-018-ex03.png", "kind": "music", "bbox_pixels": [ 200, 1590, 1230, 295 ], "dimensions_pixels": [ 1230, 295 ], "description": "C major, four progressions separated by double bars; the tenor is written on ledger lines above the bass staff. (1) I (C3, E4, G4, C5) – VI (A2, E4, A4, C5; soprano C tied) – V (G2, G4, B4, D5) – I (C3, G4, C5, E5). (2) I – VI (A2, E4, A4, C5; C tied) – IV (F2, F4, A4, C5; C and A tied) – V (G2, D4, G4, B4) – I (C3, E4, G4, C5). (3) I – VI (C tied) – II6 (F2, D4, A4, D5; figure 6; A tied) – V (G2, D4, G4, B4) – I. (4) I (C3, E4, G4, C5) – VI (A2, C4, A4, E5) – II6 (F2, D4, A4, D5; figure 6) – V (G2, D4, G4, B4) – I (C3, E4, G4, C5).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-018-ex03.musicxml", "label": "Four progressions in C major: I–VI–V–I; I–VI–IV–V–I; I–VI–II6–V–I (twice, with different spacing of VI)", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 2 } ], "sha256": "7f64b289f2183d0bd65e7efe29f8397e874a00424a053e977d9cf84f6efea133", "transcriptionStatus": "needs-review" } ], "id": "rh-018-ex03", "sha256": "78e70744bd216f4bf7e2635cb6895eff67878b7acbd400655b470d1cc17c9cf8", "sources": [ { "pdf_page": 34, "source_image": "source-pages/034.png", "printed_page": 26 } ], "pdf_page": 34, "source_image": "source-pages/034.png", "printed_page": 26, "music_transcription_status": "needs-review" }, { "path": "images/rh-018-ex04.png", "kind": "music", "bbox_pixels": [ 1130, 2070, 410, 125 ], "dimensions_pixels": [ 410, 125 ], "description": "Treble staff, whole notes: C5, B4, A4, G4 (descending upper tetrachord of C major), final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-018-ex04.musicxml", "label": "The descending upper tetrachord of C major in the melody: C–B–A–G", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "2543cfad4ef46baf9dbe913a21deca39cb39fc360f0ef011700b9d3c9c32f66b", "transcriptionStatus": "needs-review" } ], "id": "rh-018-ex04", "sha256": "a298e38a8cb9c6588f0d7d9ff7fba20bbe1bd00191ff6f0f9006a0e71ad77614", "sources": [ { "pdf_page": 34, "source_image": "source-pages/034.png", "printed_page": 26 } ], "pdf_page": 34, "source_image": "source-pages/034.png", "printed_page": 26, "music_transcription_status": "needs-review" }, { "path": "images/rh-019-ex01.png", "kind": "music", "bbox_pixels": [ 370, 235, 850, 245 ], "dimensions_pixels": [ 850, 245 ], "description": "Three unmetered groups of four whole-note chords in C major, separated by double bars; \"I III\" (or \"VI III\") above the first two chords of each. (1) I C3 E4 G4 C5; III E3 E4 G4 B4 (alto G4 and tenor E4 tied over as common notes); IV F3 C4 F4 A4; I C3 C4 E4 G4. (2) I C3 E4 G4 C5; III E3 E4 G4 B4; IV F3 C4 F4 A4; V G3 B3 D4 G4. (3) VI A2 E4 A4 C5; III E3 E4 G4 B4; IV F3 C4 F4 A4; V G3 B3 D4 G4. The I/VI–III step is harmonic (common notes held, tied only in group 1), III–IV melodic (all voices move). A small dot after the last bass chord of group 2 is a print speck, not encoded.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-019-ex01.musicxml", "label": "Three progressions in C major: I (or VI) – III connected harmonically, then III – IV connected melodically, ending on I or V", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 2 } ], "sha256": "5938532b8ca0519825f6b253a8645324a182ebf892db789f7150622c8f0a5b50", "transcriptionStatus": "needs-review" } ], "id": "rh-019-ex01", "sha256": "8ea26314b130f8ebdd2ff351eeba39db4cbf081d8bf1bd1f7bcf601d36f98a52", "sources": [ { "pdf_page": 35, "source_image": "source-pages/035.png", "printed_page": 27 } ], "pdf_page": 35, "source_image": "source-pages/035.png", "printed_page": 27, "music_transcription_status": "needs-review" }, { "path": "images/rh-019-ex02.png", "kind": "music", "bbox_pixels": [ 1105, 790, 400, 130 ], "dimensions_pixels": [ 400, 130 ], "description": "Treble staff alone, whole notes: A4 G4 F4 E4 (the descending upper tetrachord of natural A minor), final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-019-ex02.musicxml", "label": "The second tetrachord of the natural A minor scale, descending in the melody: A–G–F–E", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "7b87e9df902d4007854893b7b1216e7387b53195e6030ff080c2b443c4379424", "transcriptionStatus": "needs-review" } ], "id": "rh-019-ex02", "sha256": "1f4ce09ce9bacb031600e1ccc5859339dec55d67b0ba3df54be542458d4a46f3", "sources": [ { "pdf_page": 35, "source_image": "source-pages/035.png", "printed_page": 27 } ], "pdf_page": 35, "source_image": "source-pages/035.png", "printed_page": 27, "music_transcription_status": "needs-review" }, { "path": "images/rh-019-ex03.png", "kind": "music", "bbox_pixels": [ 370, 1055, 850, 275 ], "dimensions_pixels": [ 850, 275 ], "description": "Three unmetered groups of four whole-note chords in A minor, separated by double bars, each under a bracket line over the soprano tetrachord A–G–F–E (not encoded). Labels: \"1) III nat.\", \"2) III nat.\", \"3) IV nat.\" over the second chord; \"CADENCE PHRYG.\" over groups 2 and 3. (1) I A2 C4 E4 A4; III C3 C4 E4 G4; IV D3 A3 D4 F4; I A2 A3 C4 E4. (2) I A2 C4 E4 A4; III C3 C4 E4 G4; IV D3 A3 D4 F4; V E3 G♯3 B3 E4. (3) VI F3 C4 F4 A4; III C3 C4 E4 G4; IV D3 A3 D4 F4; V E3 G♯3 B3 E4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-019-ex03.musicxml", "label": "Three progressions in A minor with the natural III triad (C major) under the descending tetrachord A–G–F–E: (1) I – III – IV – I; (2) and (3), labelled “Phrygian cadence”, I or VI – III – IV – V", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 2 } ], "sha256": "dc40a0d35c520008175a12cb16711aa855c77be600f06f2e9ee1542b709acec0", "transcriptionStatus": "needs-review" } ], "id": "rh-019-ex03", "sha256": "8d8e588a47736e28da4b9f3da890c5951e159044420135671577a9b6a9a46110", "sources": [ { "pdf_page": 35, "source_image": "source-pages/035.png", "printed_page": 27 } ], "pdf_page": 35, "source_image": "source-pages/035.png", "printed_page": 27, "music_transcription_status": "needs-review" }, { "path": "images/rh-019-ex04.png", "kind": "music", "bbox_pixels": [ 1105, 1800, 400, 100 ], "dimensions_pixels": [ 400, 100 ], "description": "Bass staff alone, whole notes: A3 G3 F3 E3 (the descending upper tetrachord of A minor in the bass), final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-019-ex04.musicxml", "label": "The second tetrachord of the natural A minor scale, descending in the bass: A–G–F–E", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "0fd848e02d8fd721dc9dbcdde1a5982495925bdd9323371f14ba62d3028a34ea", "transcriptionStatus": "needs-review" } ], "id": "rh-019-ex04", "sha256": "9d840e85b7a780102fde167b073bef77f40946b1f8f2bd3b2af1d88595352c0f", "sources": [ { "pdf_page": 35, "source_image": "source-pages/035.png", "printed_page": 27 } ], "pdf_page": 35, "source_image": "source-pages/035.png", "printed_page": 27, "music_transcription_status": "needs-review" }, { "path": "images/rh-019-ex05.png", "kind": "music", "bbox_pixels": [ 1105, 2050, 400, 145 ], "dimensions_pixels": [ 400, 145 ], "description": "Treble staff alone, whole notes: G4 A4 G♯4 (the faulty motion: natural seventh degree, up to A, back to the raised leading note), final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-019-ex05.musicxml", "label": "The faulty melodic motion G–A–G♯ (natural seventh degree, back through A to the raised leading note)", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "0bca2e1148bae33e1376bd229141a6297f0daae71b6a98364c69ba6f8ab3442e", "transcriptionStatus": "needs-review" } ], "id": "rh-019-ex05", "sha256": "6d13a4e29f41187f13394d5d2c6371d9f6d026c0450e81e2029febecccafc3b2", "sources": [ { "pdf_page": 35, "source_image": "source-pages/035.png", "printed_page": 27 } ], "pdf_page": 35, "source_image": "source-pages/035.png", "printed_page": 27, "music_transcription_status": "needs-review" }, { "path": "images/rh-020-ex01.png", "kind": "music", "bbox_pixels": [ 185, 115, 1215, 330 ], "dimensions_pixels": [ 1215, 330 ], "description": "A minor, four groups of four whole-note chords separated by double bars, each I – VII nat. – IV6 – V (figures 6 and ♯ under the last two bass notes; a line joins the bass notes A–G–F–E). \"Bon\" (1): A3, E4, A4, C5 | G3, G4, B4, D5 (VII nat.) | F3, D4, A4, D5 | E3, B3, G♯4, E5. (2): A3, C4, E4, A4 | G3, D4, G4, B4 (VII nat.) | F3, D4, D4, A4 | E3, B3, E4, G♯4. (3): A3, A3, C4, E4 | G3, B3, D4, G4 (VII nat.) | F3, A3, D4, A4 | E3, G♯3, B3, B4. \"Mauvais\" (4): A3, C4, E4, A4 | G3, D4, G4, B4 | F3, D4, A4, D5 | E3, E4, G♯4, B4, a bracket under the alto G4–A4–G♯4 marking the faulty motion.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-020-ex01.musicxml", "label": "Phrygian succession in A minor with the natural seventh-degree triad: three good versions (I–VII nat.–IV6–V) and a bad one (I–VII nat.–IV6–V with the alto moving G–A–G♯)", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 2 } ], "sha256": "04da6a456625fb9711e3e63a219168a3b1d60d35c530f5870a7438f079de300d", "transcriptionStatus": "needs-review" } ], "id": "rh-020-ex01", "sha256": "87ab13600ef0e24712c6584f47b3c2dbabfb1d95217cef1ae22c45b2d2949691", "sources": [ { "pdf_page": 36, "source_image": "source-pages/036.png", "printed_page": 28 } ], "pdf_page": 36, "source_image": "source-pages/036.png", "printed_page": 28, "music_transcription_status": "needs-review" }, { "path": "images/rh-020-ex02.png", "kind": "music", "bbox_pixels": [ 550, 820, 480, 290 ], "dimensions_pixels": [ 480, 290 ], "description": "A minor, whole notes: I (A2, C4, E4, A4) – VII nat.6 (B2, B3, D4, G4; figure 6; bass B doubled) – IV (D3, A3, D4, F4) – V (E3, G♯3, B3, E4; figure ♯). Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-020-ex02.musicxml", "label": "Phrygian cadence of the first kind in A minor with the sixth chord of the natural seventh degree (bass B doubled): I–VII nat.6–IV–V", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "22f97ce4dad398d7bad79302bb5c069acaeb0675f571cd2eafda0dc6117752f9", "transcriptionStatus": "needs-review" } ], "id": "rh-020-ex02", "sha256": "ceb06fb9a0d55df0f595ca77405d9eaf068b069edba1cf753eea64ecf8669443", "sources": [ { "pdf_page": 36, "source_image": "source-pages/036.png", "printed_page": 28 } ], "pdf_page": 36, "source_image": "source-pages/036.png", "printed_page": 28, "music_transcription_status": "needs-review" }, { "path": "images/rh-020-ex03.png", "kind": "music", "bbox_pixels": [ 135, 1900, 1385, 350 ], "dimensions_pixels": [ 1385, 350 ], "description": "Model chorale, C major, ¢, half notes, stems separating the four voices. Upbeat V (G3, B3, G4, G4) | I6 (E3, C4, G4, C5; figure 6) – IV (F3, C4, F4, A4) | V (G3, B3, D4, G4) – I6 (E3, C4, G4, G4; figure 6) | IV (F3, C4, F4, A4) – VII6 (D3, D4, F4, B4; figure 6) | I (C3, E4, G4, C5) with fermatas above and below – IV (F3, C4, F4, A4) | I (C3, E4, G4, C5) – III (E3, E4, G4, B4) | IV (F3, C4, F4, A4) – I (C4, C4, E4, G4) | VI (A3, C4, E4, A4) – II6 (F3, A3, D4, D5; no figure printed). Continues on the next page.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-020-ex03.musicxml", "label": "Model chorale harmonization in C major, cut time, opening on an upbeat (bars 1–8; continued on the next page)", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 2 } ], "sha256": "bdca9f67ae8de87c886925aca16ca21abc4745c0995e21d889224ab04da51cfe", "transcriptionStatus": "needs-review" } ], "id": "rh-020-ex03", "sha256": "fd91e18f051f3c8c3e687a576c7de2dfefed94a9f8cc68ebbc36b060994d1854", "sources": [ { "pdf_page": 36, "source_image": "source-pages/036.png", "printed_page": 28 } ], "pdf_page": 36, "source_image": "source-pages/036.png", "printed_page": 28, "music_transcription_status": "needs-review" }, { "path": "images/rh-020-ex04.png", "kind": "music", "bbox_pixels": [ 70, 114, 1450, 336 ], "dimensions_pixels": [ 1450, 336 ], "description": "Model chorale continued (top system of page 29), C major. V (G3, G3, D4, B4) with fermatas above and below – V (G3, B3, D4, G4), \"(*)\" between the staves | IV (F3, C4, F4, A4) – I6 (E3, C4, G4, C5; figure 6) | V (G3, D4, G4, B4) – I (C4, E4, G4, C5) | IV6 (A3, C4, F4, C5; figure 6) – IV (F3 then A3 in quarters, figure 6 under A3; C4, A4, F5) | I (C4, C4, G4, E5) with fermata above – VI (A3, C4, A4, E5) | II, whole notes (D3, D4, A4, F5) | V, whole notes (G3, B3, G4, D5) | final half-bar I (C3, C4, E4, C5) with fermatas above and below; final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-020-ex04.musicxml", "label": "Model chorale (continued from the previous page), bars 9–16, ending with a half-bar final chord", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 2 } ], "sha256": "31e50dcb7c0245bd83429219b6d081f28443883d22c00e009744ee2a14058cce", "transcriptionStatus": "needs-review" } ], "id": "rh-020-ex04", "sha256": "521a74a52d02c432fcf1c654a0d98e2e76fcc0395e54e129550528b428ec19fd", "sources": [ { "pdf_page": 37, "source_image": "source-pages/037.png", "printed_page": 29 } ], "pdf_page": 37, "source_image": "source-pages/037.png", "printed_page": 29, "music_transcription_status": "needs-review" }, { "path": "images/rh-021-ex02.png", "kind": "music", "bbox_pixels": [ 80, 472, 1430, 690 ], "dimensions_pixels": [ 1430, 690 ], "description": "Chorale model 2, A minor, cut time, 16 bars on two systems, half notes except whole-note chords in bars 4 and 16. Phrases end with fermatas: bar 4 (E major chord E3 G♯3 B3 E4, whole notes), bar 8 beat 1 (F3 A3 C4 A4), bar 12 beat 2 (E3 B3 G♯4 E5), bar 16 (A2 C4 E4 A4, final double bar). Figures under the bass: 6 at bars 5, 7, 10, 13, 14, 15 (first beat) and 2 at bar 13 beat 2 (C3 A3 D4 F♯4, a dominant-seventh third inversion). In bars 9 and 11 tenor and bass share A3 on one notehead; in bar 13 beat 1 soprano and alto share E4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-021-ex02.musicxml", "label": "Chorale model in A minor, cut time, sixteen bars over two systems, its phrases closed by fermatas", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 2 }, { "bars": 8, "staves": 2 } ], "sha256": "e48ee55641be7c105b6ca40e260b5fc317f5fe3cad3b3d895c290ab63419a838", "transcriptionStatus": "needs-review" } ], "id": "rh-021-ex02", "sha256": "859e36d3c8ede03e28a1adf22167b90f338f22f0a263bf88c2e885a3e39cc46e", "sources": [ { "pdf_page": 37, "source_image": "source-pages/037.png", "printed_page": 29 } ], "pdf_page": 37, "source_image": "source-pages/037.png", "printed_page": 29, "music_transcription_status": "needs-review" }, { "path": "images/rh-021-ex03.png", "kind": "music", "bbox_pixels": [ 525, 1540, 545, 140 ], "dimensions_pixels": [ 545, 140 ], "description": "Treble staff alone, unmetered whole-note chords separated by double bars: \"IV\" F4 A♭4 C5; \"IV\" A♭4 C5 F5 (figure 6 below); \"II\" F4 A♭4 D5 (figure 6 below) — the minor subdominant triad, its first inversion, and the II6 chord with lowered fifth of the root, in C major.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-021-ex03.musicxml", "label": "In C major: the minor triad of the fourth degree F–A♭–C, its first inversion (A♭–C–F, figure 6), and the sixth chord of the second degree with lowered fifth (F–A♭–D, figure 6)", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 1 } ], "sha256": "edba73afa9ce1d4e06aa380eb98202794dacdf23f29308a2018268cdfc27d577", "transcriptionStatus": "needs-review" } ], "id": "rh-021-ex03", "sha256": "9b74a2088d4635d3692d677ec37965c889bfffa977860dd449fae05b5f2c462d", "sources": [ { "pdf_page": 37, "source_image": "source-pages/037.png", "printed_page": 29 } ], "pdf_page": 37, "source_image": "source-pages/037.png", "printed_page": 29, "music_transcription_status": "needs-review" }, { "path": "images/rh-021-ex04.png", "kind": "music", "bbox_pixels": [ 640, 1805, 330, 125 ], "dimensions_pixels": [ 330, 125 ], "description": "Treble staff alone, unmetered: whole notes A4 then A♭4, joined by a curved line (the chromatic motion to be avoided); final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-021-ex04.musicxml", "label": "The chromatic motion A–A♭ (to be avoided)", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "7cb9a0d9f2ef40e362d758d9e8cceaf216707ee33bf25d2ae74452e3a18f7a2c", "transcriptionStatus": "needs-review" } ], "id": "rh-021-ex04", "sha256": "51a0e8788f84c7aa9307a3869488abac2b701a1909d6789ef5cf12b6e5a6fb4f", "sources": [ { "pdf_page": 37, "source_image": "source-pages/037.png", "printed_page": 29 } ], "pdf_page": 37, "source_image": "source-pages/037.png", "printed_page": 29, "music_transcription_status": "needs-review" }, { "path": "images/rh-022-ex01.png", "kind": "music", "bbox_pixels": [ 430, 670, 715, 280 ], "dimensions_pixels": [ 715, 280 ], "description": "Three unmetered pairs of whole-note chords in C major, V7 – I, separated by double bars; figure 7 under each V7; a line joins the seventh to the third it falls to. (1) G2 D4 B4 F5 → C3 C4 G4 E5 (seventh in the soprano). (2) G2 B3 F4 D5 → C3 G3 E4 C5 (seventh in the alto). (3) G3 F4 B4 D5 → C4 E4 G4 C5 (seventh in the tenor, F4 above two ledger lines, resolving to E4; bass rises G3–C4). In (1)–(3) the leading note B is in an inner voice and falls to G, as printed.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-022-ex01.musicxml", "label": "The dominant seventh (G–B–D–F) resolving to the tonic triad in C major, with the seventh in the soprano, the alto and the tenor in turn", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 2 } ], "sha256": "eb86918993a6a81208a8fb5b51a6115bcdea1e669550195795e3910261fa7ebc", "transcriptionStatus": "needs-review" } ], "id": "rh-022-ex01", "sha256": "df7e5af9f405049c3d7fc2d3a0aada28d96fbb21c310cc06d05ca43a7dd477a5", "sources": [ { "pdf_page": 38, "source_image": "source-pages/038.png", "printed_page": 30 } ], "pdf_page": 38, "source_image": "source-pages/038.png", "printed_page": 30, "music_transcription_status": "needs-review" }, { "path": "images/rh-022-ex02.png", "kind": "music", "bbox_pixels": [ 515, 1215, 545, 285 ], "dimensions_pixels": [ 545, 285 ], "description": "V7 – I in C major, \"V I\" above each pair, figure 7 under each V7, \"etc.\" after the second pair. (1) Complete V7 G3 D4 F4 B4 → incomplete I C3 C4 E4 C5 (no fifth). (2) Incomplete V7 G3 G3 F4 B4 (no fifth, root doubled: tenor and bass on the same G3, printed as two heads side by side) → complete I C3 G3 E4 C5, the tenor G3 tied over. Lines join B4–C5 and F4–E4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-022-ex02.musicxml", "label": "V7 – I in C major: the complete seventh chord resolving to an incomplete tonic chord, then the incomplete seventh chord resolving to a complete tonic chord, etc.", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "b6a5bea95793c7ad54d88503292e84ced805ad40f20892bcb678b83833946cbe", "transcriptionStatus": "needs-review" } ], "id": "rh-022-ex02", "sha256": "0f73564efc937a38fca7c7bf01932e4dd242ef5e17faa0f7ecbbe4cb84fbd66f", "sources": [ { "pdf_page": 38, "source_image": "source-pages/038.png", "printed_page": 30 } ], "pdf_page": 38, "source_image": "source-pages/038.png", "printed_page": 30, "music_transcription_status": "needs-review" }, { "path": "images/rh-022-ex03.png", "kind": "music", "bbox_pixels": [ 60, 1700, 1460, 320 ], "dimensions_pixels": [ 1460, 320 ], "description": "Six unmetered progressions in C major, numbered 1)–6), separated by double bars. 1) \"I V I\": C3 G3 E4 C5 – G2 G3 F4 B4 (7) – C3 G3 E4 C5, tenor G3 tied throughout. 2) C3 C4 G4 E5 – G3 B3 F4 D5 – C3 C4 E4 C5; brackets mark the fifth C4–G4 (\"5\") and the diminished fifth B3–F4 (\"5te dim.\") between tenor and alto. 3) E3 G3 C4 G4 (6) – G3 G3 B3 F4 (7; tenor and bass both G3, two heads side by side) – C3 G3 C4 E4. 4) E3 C4 G4 C5 (6) – G3 B3 F4 D5 (7) – C3 C4 E4 C5. 5) G2 G3 E4 C5 (6/4) – G2 G3 F4 B4 (7) – C3 G3 E4 C5, tenor G3 tied throughout, bass G2 tied (arc below the bass between the figures). 6) G2 G3 E4 C5 (6/4) – G2 B3 F4 D5 (7) – C3 C4 E4 C5, bass G2 tied.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-022-ex03.musicxml", "label": "Six progressions in C major in which the dominant seventh follows a tonic chord (root position, first inversion or 6/4), its seventh approached by step; in 2) a fifth followed by a diminished fifth is bracketed", "playbackAvailable": true, "printed_systems": [ { "bars": 6, "staves": 2 } ], "sha256": "c0b703bb0c33e087b114c161458f84874b6d7ab7c516e7ab1c64f7188463f0c1", "transcriptionStatus": "needs-review" } ], "id": "rh-022-ex03", "sha256": "6e8c89426c6abf17e379837e93eb4d7f8134c16bb815b951a8d03bb249407bb7", "sources": [ { "pdf_page": 38, "source_image": "source-pages/038.png", "printed_page": 30 } ], "pdf_page": 38, "source_image": "source-pages/038.png", "printed_page": 30, "music_transcription_status": "needs-review" }, { "path": "images/rh-023-ex01.png", "kind": "music", "bbox_pixels": [ 310, 115, 890, 330 ], "dimensions_pixels": [ 890, 330 ], "description": "Continuation of § 36, 5) b) (the prepared seventh after IV): three unmetered IV–V7–I progressions in C major, separated by double bars, \"IV V\" above the first two chords of each. A bracketed flat (♭) before the A of each IV chord offers A♭ (C minor); the MusicXML encodes A natural. (1) IV F3 C4 F4 A4 – V7 G3 B3 F4 G4 (figure 7; incomplete, no fifth; alto F4 tied over as the prepared seventh; F4 and G4 printed side by side a second apart) – I C3 C4 E4 G4. (2) IV6 A3 F4 C5 F5 (figure 6) – V7 G3 G4 B4 F5 (figure 7; soprano F5 tied, the arc drawn between the labels \"IV\" and \"V\") – I C4 G4 C5 E5. (3) IV6 A3 F4 C5 F5 (6) – V7 G3 F4 B4 D5 (7, complete; tenor F4 repeated, no tie printed) – I C3 E4 C5 C5 (soprano and alto in unison, two heads side by side).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-023-ex01.musicxml", "label": "Three IV–V7–I progressions in C major (A♭ optional, for C minor): after the IV triad the prepared seventh F stays and the dominant seventh is incomplete; after the IV sixth chord it is complete or incomplete", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 2 } ], "sha256": "2e68c56ba5971a151bc9152fa01e81023fd0c106a03fe6f25dc854f65a178091", "transcriptionStatus": "needs-review" } ], "id": "rh-023-ex01", "sha256": "1fb4665ab3305dac1139c9c10611b715ae2001df8b3a6d6c396e4c659d83616a", "sources": [ { "pdf_page": 39, "source_image": "source-pages/039.png", "printed_page": 31 } ], "pdf_page": 39, "source_image": "source-pages/039.png", "printed_page": 31, "music_transcription_status": "needs-review" }, { "path": "images/rh-023-ex02.png", "kind": "music", "bbox_pixels": [ 45, 795, 1435, 350 ], "dimensions_pixels": [ 1435, 350 ], "description": "Five unmetered V–V7–I progressions in C major, numbered 1)–5), separated by double bars; each V triad divides into two half notes in the moving voices, lines join the moving notes. 1) \"V I\": G2 G3 D4 B4 (figure 8) with the tenor passing G3–F3 (figure 7) to E3; I C3 E3 C4 C5. 2) G3 D4 G4 B4 (8) – G3 B3 F4 D5 (7): soprano B4–D5, alto G4–F4, tenor D4–B3 – I C3 C4 E4 C5. 3) G3 B3 G4 D5 – soprano leaps D5–F5 (figure 7 under it), the others held – I C3 C4 G4 E5; a short dash follows the final alto G4. 4) G3 D4 G4 B4 – G2 B3 G4 F5 (7): soprano leaps a diminished fifth B4–F5, tenor D4–B3, bass G3–G2 – I C3 C4 G4 E5. 5) G3 B3 D4 B4 – G2 D4 B4 F5 (7): soprano B4–F5, alto D4–B4, tenor B3–D4, bass G3–G2 – I C3 C4 G4 E5; the final tenor C4 is printed with a dot after the whole note.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-023-ex02.musicxml", "label": "Five V–V7–I progressions in C major: 1) passing seventh in the tenor; 2)–5) the seventh F reached by a leap in an upper voice, the other voices holding or changing position", "playbackAvailable": true, "printed_systems": [ { "bars": 5, "staves": 2 } ], "sha256": "802ceb84456f2c4495460c98991845eb17e2fdfb5c1ab13e566ba9c2f737dcdb", "transcriptionStatus": "needs-review" } ], "id": "rh-023-ex02", "sha256": "5b78a41a6f442449b3b1af6515ecf55095c8d611b113ce71c58f052492b74c12", "sources": [ { "pdf_page": 39, "source_image": "source-pages/039.png", "printed_page": 31 } ], "pdf_page": 39, "source_image": "source-pages/039.png", "printed_page": 31, "music_transcription_status": "needs-review" }, { "path": "images/rh-023-ex03.png", "kind": "music", "bbox_pixels": [ 465, 1360, 575, 280 ], "dimensions_pixels": [ 575, 280 ], "description": "V7–VI (deceptive cadence) in C major, unmetered, \"V VI\" above each pair, the third C doubled in VI. (1) V G3 D4 B4 with the alto passing G4–F4 in half notes (lines join G4–F4–E4) – VI A3 C4 E4 C5. (2) V7 G3 B3 F4 D5 – VI A3 C4 E4 C5 (a line joins F4–E4). No figures.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-023-ex03.musicxml", "label": "V7–VI in C major, the third (C) of the VI chord doubled: with a passing seventh in the alto, and with the seventh already present", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "4e40c710f1456339f5deb221598cb228e14b39557bb4c1defe7378fa12cf527b", "transcriptionStatus": "needs-review" } ], "id": "rh-023-ex03", "sha256": "7bc95d0627f87c87f6ea18648e35918cadbfdf83d78785939cf8e122825be049", "sources": [ { "pdf_page": 39, "source_image": "source-pages/039.png", "printed_page": 31 } ], "pdf_page": 39, "source_image": "source-pages/039.png", "printed_page": 31, "music_transcription_status": "needs-review" }, { "path": "images/rh-023-ex04.png", "kind": "music", "bbox_pixels": [ 45, 1900, 1440, 345 ], "dimensions_pixels": [ 1440, 345 ], "description": "Exercise 19 model, C major with A♭ (borrowed minor IV), 2/4, eight bars: I V7 | I I6 | iv V7 | I6/4–iv6 | V–V7 | I iv6 | I6/4 V7 | I. Prepared sevenths: alto F4 held (bar 3), tenor C4/soprano G4 ties across bars; bar 5 the tenor leaps D4–F4 over the held V; bar 7 the alto passes G4 (dotted quarter)–F4 (eighth).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-023-ex04.musicxml", "label": "Model realization in C major (with A♭), 2/4, eight bars", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 2 } ], "sha256": "1d63fc4bbd1400271b0423b7fa3c98b25c543361509acd950d1d8240fe86548f", "transcriptionStatus": "needs-review" } ], "id": "rh-023-ex04", "sha256": "dfd4d82bcb861377b67aff44d7187e325cb9538163475eec5bdb695210d6034c", "sources": [ { "pdf_page": 39, "source_image": "source-pages/039.png", "printed_page": 31 } ], "pdf_page": 39, "source_image": "source-pages/039.png", "printed_page": 31, "music_transcription_status": "needs-review" }, { "path": "images/rh-024-ex01.png", "kind": "music", "bbox_pixels": [ 255, 400, 1105, 315 ], "dimensions_pixels": [ 1105, 315 ], "description": "Four unmetered three-chord progressions in C major separated by double bars, V6/5 resolving to I; degree numerals above, figures 6/5 (and 6) below; a line joins the seventh F to the E it falls to. (1) \"I V\": I C3 G3 E4 C5 – V6/5 B2 G3 F4 D5 (tenor G3 tied) – I C3 G3 E4 C5. (2) \"IV V\": IV F3 C4 F4 A4, a bracketed flat (♭) before the A offering A♭ – V6/5 B2 D4 F4 G4 (alto F4 tied; F4 and G4 printed side by side a second apart) – I C3 C4 E4 G4. (3) \"V V\": V6 B2 D4 G4 G5 (figure 6) – V6/5 B2 D4 G4 F5 (bass B2 tied) – I C3 C4 G4 E5. (4) \"V V\": V G2 B3 G4 D5 – V6/5 B2 G3 F4 D5 (soprano D5 tied) – I C3 G3 E4 C5.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-024-ex01.musicxml", "label": "First inversion (six-five chord) of the dominant seventh in C major, after I, IV and V, resolving to the tonic triad", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 2 } ], "sha256": "10f4cc0b5f2a26f0a204d751f7cc21a097bea742b674dce253cf346629028792", "transcriptionStatus": "needs-review" } ], "id": "rh-024-ex01", "sha256": "7bc0e819760c2401eb8c2817847d32f440b2da83be62c0b141e5eb3e9959dd77", "sources": [ { "pdf_page": 40, "source_image": "source-pages/040.png", "printed_page": 32 } ], "pdf_page": 40, "source_image": "source-pages/040.png", "printed_page": 32, "music_transcription_status": "needs-review" }, { "path": "images/rh-024-ex02.png", "kind": "music", "bbox_pixels": [ 255, 868, 1105, 285 ], "dimensions_pixels": [ 1105, 285 ], "description": "Four unmetered three-chord progressions in C major separated by double bars, V4/3 resolving to I; degree numerals above, figures 4/3 (and 6) below; a line joins the seventh F to E. (1) \"I V\": I C3 G3 E4 C5 – V4/3 D3 G3 F4 B4 – I C3 G3 E4 C5, tenor G3 tied throughout. (2) \"I V\": I6 E3 G3 C4 C5 (figure 6; tenor and bass printed as one stacked pair) – V4/3 D3 G3 F4 B4 – I C3 G3 E4 C5, tenor G3 tied throughout. (3) \"IV V\": IV F3 C4 F4 A4 with a bracketed flat (♭) before the A – V4/3 D3 B3 F4 G4 (alto F4 tied; F4 and G4 side by side) – I C3 C4 E4 G4. A small dot above the staff over the V chord is a print speck. (4) \"V V\": V6 B2 G3 G4 D5 (figure 6) – V4/3 D3 G3 F4 B4 – I C3 G3 E4 C5 (no ties printed).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-024-ex02.musicxml", "label": "Second inversion (four-three chord) of the dominant seventh in C major, after I, IV and V, resolving to the tonic triad", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 2 } ], "sha256": "2397ce41c510f61d90a6a8920c35a16f74fdfa8c2171b1b26612de7d51942817", "transcriptionStatus": "needs-review" } ], "id": "rh-024-ex02", "sha256": "91ca699f7c12412775c45716225a2d39af276fa5b61f28bde9ff789e4f6eac25", "sources": [ { "pdf_page": 40, "source_image": "source-pages/040.png", "printed_page": 32 } ], "pdf_page": 40, "source_image": "source-pages/040.png", "printed_page": 32, "music_transcription_status": "needs-review" }, { "path": "images/rh-024-ex03.png", "kind": "music", "bbox_pixels": [ 180, 1310, 1235, 280 ], "dimensions_pixels": [ 1235, 280 ], "description": "Five unmetered progressions in C major separated by double bars, V4/2 resolving to I6; degree numerals above, figures 2 and 6 below; a line joins the seventh F (in the bass) to E. (1) \"I V\": I6 E3 C4 G4 C5 (6) – V4/2 F3 D4 G4 B4 (2; alto G4 tied) – I6 E3 C4 G4 C5 (6). (2) \"IV V\": IV F3 C4 F4 A4 with a bracketed flat (♭) before the A – V4/2 F3 B3 D4 G4 (2; bass F3 tied; the three upper parts descend, lines A–G, F–D, C–B) – I6 E3 C4 C4 G4 (6; alto C4 and tenor C4 in unison). (3) \"V V\": V G3 B3 D4 G4 – V4/2 F3 B3 D4 G4 (2) – I6 E3 C4 C4 G4 (6). (4) \"V V\": V G2 B3 G4 D5 – V4/2 F3 G3 D4 B4 (2; F3 and G3 side by side) – I6 E3 G3 C4 C5 (6). (5) \"II V\": II6 F3 D4 A4 D5 (6), a bracketed flat (♭) before the A – V4/2 F3 D4 G4 B4 (2; bass F3 tied); the example ends on the unresolved V4/2, as printed. A small dot under the second chord of (1) is a print speck.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-024-ex03.musicxml", "label": "Third inversion (four-two chord) of the dominant seventh in C major, after I, IV, V and II6, resolving to the tonic sixth chord", "playbackAvailable": true, "printed_systems": [ { "bars": 5, "staves": 2 } ], "sha256": "6f06c6764488116bc9bb10da09c969d9df26e3d9268b68cb0c614a2a9aaf48c5", "transcriptionStatus": "needs-review" } ], "id": "rh-024-ex03", "sha256": "3d6f1c61f1c68b36b66351076b4ad546861a9c11cfc2a256a7a5dfc5006569d0", "sources": [ { "pdf_page": 40, "source_image": "source-pages/040.png", "printed_page": 32 } ], "pdf_page": 40, "source_image": "source-pages/040.png", "printed_page": 32, "music_transcription_status": "needs-review" }, { "path": "images/rh-024-ex04.png", "kind": "music", "bbox_pixels": [ 400, 1928, 835, 322 ], "dimensions_pixels": [ 835, 322 ], "description": "Three unmetered progressions in C major separated by double bars, \"I V\" above; in each the seventh F is reached by an upward leap of a fourth from C (lines drawn) and falls to E. (1) I C3 E4 G4 C5 – V6/5 B2 D4 G4 F5 (soprano leaps C5–F5) – I C3 C4 G4 E5. (2) I6 E3 G3 C4 G4 – V4/3 D3 G3 F4 B4 (alto leaps C4–F4) – I C3 G3 E4 C5. (3) I C3 E4 G4 C5 – V4/2 F3 D4 G4 B4 (bass leaps C3–F3) – I6 E3 C4 G4 C5. The first chord of (2) carries no figure in the source, and the alto G4 of the V4/2 in (3) is a partly broken notehead; a small mark after the figure 2 is a print speck.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-024-ex04.musicxml", "label": "The three inversions after I in C major, the seventh reached by an upward leap of a fourth in one part", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 2 } ], "sha256": "b7810ff34028f25c3e85c483710c9a35b791529d86557d25296841e3a658c089", "transcriptionStatus": "needs-review" } ], "id": "rh-024-ex04", "sha256": "008eda1efe14b802fb192b6d49ff96d52b009493b79532eaf9e97302ba840c0e", "sources": [ { "pdf_page": 40, "source_image": "source-pages/040.png", "printed_page": 32 } ], "pdf_page": 40, "source_image": "source-pages/040.png", "printed_page": 32, "music_transcription_status": "needs-review" }, { "path": "images/rh-025-ex01.png", "kind": "music", "bbox_pixels": [ 420, 250, 690, 285 ], "dimensions_pixels": [ 690, 285 ], "description": "Three unmetered pairs of whole-note chords in C major separated by double bars. \"MAUVAIS\", \"V I\": B2 D4 F4 G4 (6/5) → C3 C4 E4 C5; a line marks the soprano leap G4–C5, a bracket with \"8\" joins the outer voices of the I chord, and \"(*)\" refers to the footnote (hidden octaves). \"BON\": D3 G3 F4 B4 (4/3) → C3 C4 E4 C5, a line marks the tenor leap G3–C4; then F3 B3 G4 D5 (2) → E3 C4 G4 G5 (6), a line marks the soprano leap D5–G5.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-025-ex01.musicxml", "label": "Bad: V6/5 to I with hidden octaves between the outer voices (*); good: V4/3 to I and V4/2 to I6 with leaps in the inner or upper voice", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 2 } ], "sha256": "c3fb13740393f6db10e613020a3cbb214db9c2dfa39f9316863ea9c9a9d67f22", "transcriptionStatus": "needs-review" } ], "id": "rh-025-ex01", "sha256": "1c69c819c722b042ca3efec8aad181c082f622e91f8b330506bb5d0173723811", "sources": [ { "pdf_page": 41, "source_image": "source-pages/041.png", "printed_page": 33 } ], "pdf_page": 41, "source_image": "source-pages/041.png", "printed_page": 33, "music_transcription_status": "needs-review" }, { "path": "images/rh-025-ex02.png", "kind": "music", "bbox_pixels": [ 420, 678, 690, 272 ], "dimensions_pixels": [ 690, 272 ], "description": "Unmetered whole-note chords in C major, \"V\" over the first and \"I\" over the last, a horizontal line joining them: G2 B3 F4 D5 (7) – B2 G3 F4 D5 (6/5) – D3 G3 F4 B4 (4/3) – B2 D4 F4 G4 (6/5; alto F4 and soprano G4 printed side by side) – G2 D4 F4 B4 (7) – C3 C4 E4 C5. The alto F4 (the seventh) is tied through the first five chords and falls to E4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-025-ex02.musicxml", "label": "V7 moving through its inversions over a held seventh (F) before resolving to I", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "e164fe931a76f38c9d88e28c66e803e1ccd5a3200725dba946766a8fc8d919a2", "transcriptionStatus": "needs-review" } ], "id": "rh-025-ex02", "sha256": "d90c608a2dce6a693ebb297dfc39e17b0eef4294da0ef9edc36dac124ac7d83a", "sources": [ { "pdf_page": 41, "source_image": "source-pages/041.png", "printed_page": 33 } ], "pdf_page": 41, "source_image": "source-pages/041.png", "printed_page": 33, "music_transcription_status": "needs-review" }, { "path": "images/rh-025-ex03.png", "kind": "music", "bbox_pixels": [ 40, 1105, 1430, 385 ], "dimensions_pixels": [ 1430, 385 ], "description": "\"MODÈLE\", C major with A♭, 3/4, eight bars, quarter-note chords with half and dotted-half notes. Figures under the bass: bar 1 2, 6; bar 2 ♭, 4/3; bar 3 ♭, 2 (under the held bass F3), 6; bar 4 4/3, 6/5; bar 5 ♭, 6/5; bar 6 6, 6/♭; bar 7 6/4, 8, 7 (the 7 on beat 3 over the held bass G2). In bar 7 beat 1 tenor and bass share G3 on one notehead (stems up and down). Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-025-ex03.musicxml", "label": "Model realization in C major (with A♭), 3/4, eight bars", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 2 } ], "sha256": "4c090d4b3302ce8c02b12c9bd910ea269e8d787c3d0f32f66755eb3b5d23116f", "transcriptionStatus": "needs-review" } ], "id": "rh-025-ex03", "sha256": "e6dda27e8e7228f39202ebb57b775cbd331e73e05ebcaa92e667a78fc9221d7c", "sources": [ { "pdf_page": 41, "source_image": "source-pages/041.png", "printed_page": 33 } ], "pdf_page": 41, "source_image": "source-pages/041.png", "printed_page": 33, "music_transcription_status": "needs-review" }, { "path": "images/rh-025-ex04.png", "kind": "music", "bbox_pixels": [ 340, 1840, 815, 285 ], "dimensions_pixels": [ 815, 285 ], "description": "Unmetered whole-note chords in C major, four pairs a)–d) separated by double bars, \"VII\" over each seventh chord: a) B2 F3 D4 (♭)A4 (7) → C3 E3 E4 G4; b) D3 (♭)A3 F4 B4 (6/5) → E3 G3 E4 C5 (6); c) F3 B3 (♭)A4 D5 (4/3) → E3 C4 G4 E5 (6); d) A♭3 D4 B4 F5 (2) → G3 E4 C5 E5 (6/4). The flats in a)–c) are in parentheses (A for the minor seventh chord of natural major, A♭ for the diminished); the flat in d) is printed without parentheses. As elsewhere in this edition, a bracketed accidental is an option and the score plays the unbracketed reading: A in a)–c), A♭ in d).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-025-ex04.musicxml", "label": "Leading-note seventh chord (A♭ or A) in root position and its three inversions, each resolving to the tonic triad with doubled third", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 2 } ], "sha256": "5fe31f168714b536e7adc4ae7f6f68d58f6db5c3257c029babc13db377921841", "transcriptionStatus": "needs-review" } ], "id": "rh-025-ex04", "sha256": "4dc42f4d2e8f2cd6e9da7892d019b603c13fa3e44779c2ab0ec7e27801698f27", "sources": [ { "pdf_page": 41, "source_image": "source-pages/041.png", "printed_page": 33 } ], "pdf_page": 41, "source_image": "source-pages/041.png", "printed_page": 33, "music_transcription_status": "needs-review" }, { "path": "images/rh-026-ex01.png", "kind": "music", "bbox_pixels": [ 480, 465, 630, 270 ], "dimensions_pixels": [ 630, 270 ], "description": "C major, unmetered whole-note chords, two groups separated by a double bar, figure 7 under each VII. (1) \"IV VII I\": F3 C4 F4 A♭4 – B2 D4 F4 A♭4 (diminished leading-note seventh; alto F4 and soprano A♭4 tied over, the arcs drawn above and below) – C3 E4 E4 G4 (third doubled, no root above the bass). (2) \"I VII I\": C3 E4 E4 G4 – B2 D4 F4 A4 (natural printed in parentheses: the minor leading-note seventh of natural major) – C3 E4 E4 G4. Lines join the moving tenor and alto notes.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-026-ex01.musicxml", "label": "Leading-note seventh chord in C major: IV–VII7–I (prepared by IV, two common notes) and I–VII7–I (prepared by I)", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "fa635fb3422882c22a99ca2014d743e12375018f3348eaae2946491a2f5672ee", "transcriptionStatus": "needs-review" } ], "id": "rh-026-ex01", "sha256": "1ffd7b03c36d5d76dfaf35a69dd2d4e10ffde3f69605953c0a26086da321539f", "sources": [ { "pdf_page": 42, "source_image": "source-pages/042.png", "printed_page": 34 } ], "pdf_page": 42, "source_image": "source-pages/042.png", "printed_page": 34, "music_transcription_status": "needs-review" }, { "path": "images/rh-026-ex02.png", "kind": "music", "bbox_pixels": [ 65, 880, 1470, 400 ], "dimensions_pixels": [ 1470, 400 ], "description": "Exercise 21 model, C major with A♭ (diminished VII7 and borrowed iv), 2/4, eight bars, mostly in eighths. \"VII\" above bar 1 (third eighth) and bar 3 (over the second eighth, while the upper voices hold quarters A♭4/F4). Figures: bar 1 ♭, ♭7; bar 2 6, 6; bar 3 ♭, ♭7; bar 4 6/4, 6/5; bar 5 6, 2, 6; bar 6 6/5, 7, 6/4; bar 7 6, 6, 8, 7; bar 8 ♭. Bar 4 and bar 6 alto G4 half notes; bar 8 ends with soprano C5 half over alto E4–F4–E4, tenor C4–A♭3–G3, bass C3–F3–C3 (plagal iv–I).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-026-ex02.musicxml", "label": "Model realization in C major (with A♭), 2/4, eight bars", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 2 } ], "sha256": "c6169e4594441c7e895f5600657911bc0429ab63f492fc1f5018c0b0c385d941", "transcriptionStatus": "needs-review" } ], "id": "rh-026-ex02", "sha256": "407c3b2b11fdcafb4e467f3f0946cfefa096d9f766e9e6c4e4cc297c95635e51", "sources": [ { "pdf_page": 42, "source_image": "source-pages/042.png", "printed_page": 34 } ], "pdf_page": 42, "source_image": "source-pages/042.png", "printed_page": 34, "music_transcription_status": "needs-review" }, { "path": "images/rh-026-ex03.png", "kind": "music", "bbox_pixels": [ 95, 1890, 1430, 310 ], "dimensions_pixels": [ 1430, 310 ], "description": "C major, unmetered whole-note chords, four examples separated by double bars (continued on PDF 43 as e)-g)). a) \"I II V\": C3 C4 G4 E5 – II6/5 F3 C4 A4 D5 (figures 6/5; flat printed in parentheses before A4, i.e. optionally A♭; tenor C4 tied as the prepared seventh) – V G3 B3 with alto G4–F4 in half notes (figures 8—7) under D5 – I C3 C4 E4 C5. b) \"I II I\": C3 E4 G4 C5 – II6/5 F3 D4 A4 C5 (6/5; (♭) before A4; soprano C5 tied in) – I6/4 G3 E4 G4 C5 (6/4; C5 tied on) – V G3 D4 G4 B4 – I C3 E4 G4 C5. c) \"I VI II V\": C3 E3 C4 G4 – A2 E3 C4 A4 – II6/5 F2 D3 C4 A4 (6/5) – V4/2 F2 D3 B3 G4 (2) – I6 E2 C3 C4 G4 (6). d) \"I IV II V\": I with tenor and bass both on C4 (two heads side by side) under G4 E5 – IV6 A3 C4 F4 F5 (6) – II6/5 F3 C4 A4 D5 (6/5) – V G3 B3 with alto G4–F4 halves (8—7) under D5 – I C3 C4 E4 C5. The parenthesized flats are encoded as A naturals.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-026-ex03.musicxml", "label": "Second-degree seventh chord in C major, examples a)–d) (continued on the next page with e)–g))", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 2 } ], "sha256": "a6f0b5bc0e0ddbdf34eba964555cd0b6f06b379239b29a572c3c5721edce6eae", "transcriptionStatus": "needs-review" } ], "id": "rh-026-ex03", "sha256": "a58a214a59d78df6d26783738f9f80e5f9fe76512250fa8f2945b2a41c4b01f3", "sources": [ { "pdf_page": 42, "source_image": "source-pages/042.png", "printed_page": 34 } ], "pdf_page": 42, "source_image": "source-pages/042.png", "printed_page": 34, "music_transcription_status": "needs-review" }, { "path": "images/rh-026-ex04.png", "kind": "music", "bbox_pixels": [ 190, 130, 1110, 320 ], "dimensions_pixels": [ 1110, 320 ], "description": "Continuation of the § 39 examples (top of PDF 43, printed p. 35), C major, unmetered whole-note chords. e) \"I II V\": I6 E3 G3 G4 C5 (6) – II7 D3 A3 F4 C5 (7; soprano C5 tied over) – V4/3 D3 G3 F4 B4 (4/3) – I C3 G3 E4 C5. f) \"IV II V\": IV with tenor and bass both on F3 (two heads side by side) under C4 A4 – II7 D3 F3 C4 A4 (7; alto C4 tied over, arc below) – V4/3 D3 F3 B3 G4 (4/3, the 3 followed by a dot) – I C3 E3 C4 G4. g) \"VI II V\": VI A3 C4 E4 A4 – II7 D3 C4 F4 A4 (7; tenor C4 tied over) – V7 G3 B3 F4 G4 (7; F4 and G4 printed side by side a second apart) – I C3 C4 E4 G4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-026-ex04.musicxml", "label": "Second-degree seventh chord in C major, examples e)–g) (continuation of the preceding examples)", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 2 } ], "sha256": "918db91a2a84a2025ef327af1271e5b6fd0367ddf7acb134fb217c7170475e36", "transcriptionStatus": "needs-review" } ], "id": "rh-026-ex04", "sha256": "bf792fe3149b7e708e4cd74d1b12738afb96ced65f76f095424da5ab3bf68778", "sources": [ { "pdf_page": 43, "source_image": "source-pages/043.png", "printed_page": 35 } ], "pdf_page": 43, "source_image": "source-pages/043.png", "printed_page": 35, "music_transcription_status": "needs-review" }, { "path": "images/rh-027-ex01.png", "kind": "music", "bbox_pixels": [ 35, 560, 1430, 440 ], "dimensions_pixels": [ 1430, 440 ], "description": "\"MODÈLE\", A minor, 3/4, eight bars of quarter-note chords with halves and dotted halves; \"II\" over the II6/5 chords of bars 1, 3 and 7. Figures under the bass: bar 1 6/5, 2; bar 2 6, 4/3; bar 3 6/5, ♯, 2; bar 4 6, ♯6/4; bar 5 ♯, 6; bar 6 4/3, 6; bar 7 6/5, ♯ over 8—7 (the 7 on beat 3 over the held bass E3). Ties: tenor A3 across bars 2–3, 4–5 and 6–7; alto E4 across bars 3–4. Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-027-ex01.musicxml", "label": "Model realization in A minor, 3/4, eight bars, with the II6/5 chord in cadences", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 2 } ], "sha256": "61b5977dbfba72322ab6b4eea8d7648883621fb590c6cc2b89209a8480e403d1", "transcriptionStatus": "needs-review" } ], "id": "rh-027-ex01", "sha256": "25f1fdc16da0c31e639edbd8a7dda735a5e88ce76618020c24bc29b59451049e", "sources": [ { "pdf_page": 43, "source_image": "source-pages/043.png", "printed_page": 35 } ], "pdf_page": 43, "source_image": "source-pages/043.png", "printed_page": 35, "music_transcription_status": "needs-review" }, { "path": "images/rh-027-ex02.png", "kind": "music", "bbox_pixels": [ 130, 1355, 1235, 790 ], "dimensions_pixels": [ 1235, 790 ], "description": "Two systems of half and whole notes, C, each with two cadences separated by a double bar; \"IV\" and \"II\" or \"VII\" over the chords. C major: C3 C4 E4 G4 – E3 C4 G4 C5 (6) | F3 C4 (♭)A4 C5 (IV) – D5 (II, 6/5 over the held F3) | C3 C4 G4 E5; then the same with VII: soprano C5 tied into the IV chord, tenor C4 falling to B3 under D5 (VII, 4/3) | C3 C4 G4 E5. The tenor C4 is tied across bars; a line joins the held bass F3 to the final C3. A minor (no key or time signature): A2 A3 C4 E4 – C3 A3 E4 A4 (6) | D3 A3 D4 F4 (IV) with the alto falling to B3 (II, 6/5) | A2 A3 C4 E4; then D3 A3 D4 F4 (IV) with the tenor A3 falling to G♯3 and the alto to B3 (VII, ♯4/3) | A2 A3 C4 E4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-027-ex02.musicxml", "label": "Plagal cadences through II6/5 and VII4/3 over a held fourth-degree bass, in C major and in A minor", "playbackAvailable": true, "printed_systems": [ { "bars": 6, "staves": 2 }, { "bars": 6, "staves": 2 } ], "sha256": "0a61234af3ace7bc1a9c7b60b753444d06f581070b26ffce957ad446a0b4a22f", "transcriptionStatus": "needs-review" } ], "id": "rh-027-ex02", "sha256": "ca83f7240de1e77348c4d9c0fe4b2451a812972e6995b8fbb1cb5fd29c950127", "sources": [ { "pdf_page": 43, "source_image": "source-pages/043.png", "printed_page": 35 } ], "pdf_page": 43, "source_image": "source-pages/043.png", "printed_page": 35, "music_transcription_status": "needs-review" }, { "path": "images/rh-028-ex01.png", "kind": "music", "bbox_pixels": [ 105, 540, 1445, 665 ], "dimensions_pixels": [ 1445, 665 ], "description": "Chorale model (\"MODÈLE\", \"CHORAL\"), C major, cut time, 16 bars on two systems of 8, half-note chords except whole-note chords at bars 8 and 16. Fermatas: bar 4 beat 1 (C3 C4 G4 E5), bar 8 (half cadence G3 B3 G4 D5, whole notes), bar 12 beat 1 (deceptive A3 C4 E4 C5), bar 16 (C3 C4 E4 C5, final double bar). Figures: bar 2 \"2\" (F3 B3 D4 G4) and \"6\"; bar 3 beat 2 \"4/3\" (F3 B3 A4 D5, leading-note seventh); bar 5 \"6/5\" (F3 C4 A4 D5) and \"2\" (F3 B3 G4 D5); bar 6 \"6\"; bar 7 \"4/3\" (D3 B3 G4 F5); bar 9 beat 2 \"6/5\" (B2 D4 G4 F5); bar 10 beat 2 \"6\"; bar 11 \"6/5\" then \"8 7\" (alto G4–F4 in quarters over G3); bar 12 beat 2 \"6\"; bar 13 beat 2 \"2\"; bar 14 \"6\" and \"6/5\"; bar 15 \"6/4\" then \"8 7\". Ties: bass F3 bars 1–2, tenor C4 bars 4–5, 10–11 and 14–15, alto G4 bars 5–6.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-028-ex01.musicxml", "label": "Model: chorale realized in C major, cut time, sixteen bars over two systems, its phrases closed by fermatas", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 2 }, { "bars": 8, "staves": 2 } ], "sha256": "b028ad56fed25fe71cee8dd2006e59df64fc7a549adaa685bbde18d0c19bc480", "transcriptionStatus": "needs-review" } ], "id": "rh-028-ex01", "sha256": "e9a6ab13c9f07d3be251ab7bf04da5965ea606ab1de2ceac4dd91a1e173486d4", "sources": [ { "pdf_page": 44, "source_image": "source-pages/044.png", "printed_page": 36 } ], "pdf_page": 44, "source_image": "source-pages/044.png", "printed_page": 36, "music_transcription_status": "needs-review" }, { "path": "images/rh-028-ex02.png", "kind": "music", "bbox_pixels": [ 1080, 1510, 450, 148 ], "dimensions_pixels": [ 450, 148 ], "description": "Treble staff alone, unmetered whole-note chords separated by double bars, each figured 9: \"V do\" G4 B4 D5 F5 A5; \"V do\" G4 B4 D5 F5 A♭5 (flat printed before the top note); \"V la\" E4 G♯4 B4 D5 F5.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-028-ex02.musicxml", "label": "The ninth chord on the fifth degree: in C major with major ninth (G–B–D–F–A), in harmonic C major with minor ninth (A♭), and in A minor (E–G♯–B–D–F); each figured 9", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 1 } ], "sha256": "33d8492c4200d59453d5f46dbe088ae7d3a712ec4ce014313374a91379294f28", "transcriptionStatus": "needs-review" } ], "id": "rh-028-ex02", "sha256": "93aabccef79797f048996014e237315b734fcbab0b9ad32d907cbd5d141fb74c", "sources": [ { "pdf_page": 44, "source_image": "source-pages/044.png", "printed_page": 36 } ], "pdf_page": 44, "source_image": "source-pages/044.png", "printed_page": 36, "music_transcription_status": "needs-review" }, { "path": "images/rh-028-ex03.png", "kind": "music", "bbox_pixels": [ 935, 1810, 610, 330 ], "dimensions_pixels": [ 610, 330 ], "description": "Two unmetered groups of three whole-note chords, double bar between. \"MAJEUR\", IV V: F3 C4 F4 A♭4 – G3 B3 F4 A♭4 (figure 9) – C3 C4 E4 G4, soprano A♭4 and alto F4 tied. \"MINEUR\", IV V: D3 A3 D4 F4 – E3 G♯3 D4 F4 (figure 9) – A2 A3 C4 E4, alto F4 and D4 tied (in the treble staff the upper tie joins the F4s, the lower the D4s). Fifth omitted in each V9; the ninth falls to the fifth of the tonic.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-028-ex03.musicxml", "label": "IV–V9–I in harmonic C major (ninth A♭) and iv–V9–i in A minor (ninth F), the common tones held, the ninth in the soprano resolving down to the fifth of the tonic", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "e4d29d72a083215de6cd71bc8aa43a44d41f7c8c59310c6d40ef451079a2208f", "transcriptionStatus": "needs-review" } ], "id": "rh-028-ex03", "sha256": "29354ac723270a38aa369ce20770b3c7bb60aa675b6e34abfa4a2b2e19bc0500", "sources": [ { "pdf_page": 44, "source_image": "source-pages/044.png", "printed_page": 36 } ], "pdf_page": 44, "source_image": "source-pages/044.png", "printed_page": 36, "music_transcription_status": "needs-review" }, { "path": "images/rh-029-ex01.png", "kind": "music", "bbox_pixels": [ 915, 115, 560, 280 ], "dimensions_pixels": [ 560, 280 ], "description": "C major, IV – V – IV – V – I: F2 C4 F4 A4 (IV) | G2 B3 F4 A4 (V, figured 9) | A2 C4 F4 A4 (IV, 6) | B2 D4 F4 G4 (V, 6/5) | C3 C4 E4 G4 (I). Soprano A4 and alto F4 tied through the first three chords. Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-029-ex01.musicxml", "label": "Ninth chord on V (9) as a passing chord between IV and IV6, then V6/5 – I, in C major", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "5338616584ac07e0b9b9dfe5023c59cb98568fc58e6d85995e4dd686b3431917", "transcriptionStatus": "needs-review" } ], "id": "rh-029-ex01", "sha256": "e74d8343369b88834e6c72a5e9f0878e08d659df824ffbd5a25aa1a675c8b918", "sources": [ { "pdf_page": 45, "source_image": "source-pages/045.png", "printed_page": 37 } ], "pdf_page": 45, "source_image": "source-pages/045.png", "printed_page": 37, "music_transcription_status": "needs-review" }, { "path": "images/rh-029-ex02.png", "kind": "music", "bbox_pixels": [ 30, 850, 1450, 285 ], "dimensions_pixels": [ 1450, 285 ], "description": "\"A) EN MODE MAJEUR\": sixteen root-position chords descending by fifths (C major), numbered V I IV VII III VI II V over the first eight: G3 D4 G4 B4 | C3 E4 G4 C5 | F3 C4 F4 A4 | B2 D4 F4 B4 | E3 B3 E4 G4 | A2 C4 E4 A4 | D3 A3 D4 F4 | G2 B3 D4 G4 | C3 G3 C4 E4 | F2 A3 C4 F4 | B2 F3 B3 D4 | E2 G3 B3 E4 | A2 E3 A3 C4 | D2 F3 A3 D4 | G2 D3 G3 B3 | C2 E3 G3 C4. Alto G4 tied from chord 1 to 2; straight lines join the voices moving by step in chords 2-5 (C5-A4, G4-F4, E4-C4; B4-G4, F4-E4, D4-B3); brackets under the bass of chords 1-5 marked 3, 4, 3, 4 (the two-chord model and its repetition). Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-029-ex02.musicxml", "label": "Harmonic sequence by descending fifths in C major, the two-chord model repeated on each degree", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "b9a2b5010f373a7bf52557c4a40fa46d60520d3ed6c5c113329a4fe9f1eff8a1", "transcriptionStatus": "needs-review" } ], "id": "rh-029-ex02", "sha256": "ce654fec2206af223293a23036e08a6ca15d6000a640800c16ca133b2c5aca96", "sources": [ { "pdf_page": 45, "source_image": "source-pages/045.png", "printed_page": 37 } ], "pdf_page": 45, "source_image": "source-pages/045.png", "printed_page": 37, "music_transcription_status": "needs-review" }, { "path": "images/rh-029-ex03.png", "kind": "music", "bbox_pixels": [ 30, 1300, 1450, 280 ], "dimensions_pixels": [ 1450, 280 ], "description": "A minor, sixteen root-position chords descending by fifths: E3 E4 B4 G♯5 (V harm.) | A3 E4 C5 A5 (I) | D3 D4 A4 F5 (IV) | G3 D4 B4 G♮5 (VII nat.) | C3 C4 G4 E5 (III nat.) | F3 C4 A4 F5 (VI) | B2 B3 F4 D5 (II) | E3 B3 G4 E5 (V nat.) | A2 A3 E4 C5 | D3 A3 F4 D5 | G2 G3 D4 B4 | C3 G3 E4 C5 | F2 F3 C4 A4 | B2 F3 D4 B4 | E2 E3 B3 G♯4 (V harm.) | A2 E3 C4 A4. Tenor E4 tied chords 1-2 and D4 tied chords 3-4; curved lines also join soprano G♯5-A5 and F5-G♮5 (different pitches; encoded as slurs); straight lines A5-F5 and G5-E5; brackets (no digits) under the bass of chords 1-5. Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-029-ex03.musicxml", "label": "Harmonic sequence by descending fifths in A minor: natural minor throughout, with harmonic V at the start and before the final tonic", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "ecaed93b820d5fc65ed30c45ed70d69dce90bbc57c2d7b454ad55ef361ff1a05", "transcriptionStatus": "needs-review" } ], "id": "rh-029-ex03", "sha256": "14ff5fc32adde1f8a4b000caa62a563e2ad756d6145e55023bc0100eb9a704da", "sources": [ { "pdf_page": 45, "source_image": "source-pages/045.png", "printed_page": 37 } ], "pdf_page": 45, "source_image": "source-pages/045.png", "printed_page": 37, "music_transcription_status": "needs-review" }, { "path": "images/rh-029-ex04.png", "kind": "music", "bbox_pixels": [ 220, 1914, 470, 272 ], "dimensions_pixels": [ 470, 272 ], "description": "Exercise a), C major, four chords given then \"etc.\": B3 G4 D5 G5 (6) | C4 G4 C5 E5 | A3 F4 C5 F5 (6) | B3 F4 B4 D5. Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-029-ex04.musicxml", "label": "Exercise a): sequence alternating sixth chords and root-position triads in C major, to be continued", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "be8b5681c96651ff3296a36c0fb3c303802bfef7b2ea2b6b2555a2d47bdd98c1", "transcriptionStatus": "needs-review" } ], "id": "rh-029-ex04", "sha256": "1c424044777836a5ccd494e1d65e07090c931688c66a6a1f1c4b2f480d3fa6eb", "sources": [ { "pdf_page": 45, "source_image": "source-pages/045.png", "printed_page": 37 } ], "pdf_page": 45, "source_image": "source-pages/045.png", "printed_page": 37, "music_transcription_status": "needs-review" }, { "path": "images/rh-029-ex05.png", "kind": "music", "bbox_pixels": [ 795, 1914, 470, 272 ], "dimensions_pixels": [ 470, 272 ], "description": "Exercise b), C major, four chords given then \"etc.\": B3 D4 D5 G5 (6) | C4 E4 C5 G5 | A3 C4 C5 F5 (6) | B3 D4 B4 F5. Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-029-ex05.musicxml", "label": "Exercise b): the same sequence in a different spacing, to be continued", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "2944d92db9eedd14a551b0c347faf4b450fb70d2b7681b6012a0ffe70b4491be", "transcriptionStatus": "needs-review" } ], "id": "rh-029-ex05", "sha256": "9002ab83266f458b3fdf481c05827e796cd0a99443ab10bde62abb149cf6e6c1", "sources": [ { "pdf_page": 45, "source_image": "source-pages/045.png", "printed_page": 37 } ], "pdf_page": 45, "source_image": "source-pages/045.png", "printed_page": 37, "music_transcription_status": "needs-review" }, { "path": "images/rh-230-ex01.png", "kind": "music", "bbox_pixels": [ 100, 418, 1460, 296 ], "dimensions_pixels": [ 1460, 296 ], "description": "\"A) EN MODE MAJEUR\". Sixteen unmetered whole-note chords in C major, degree labels above: IV F3 C4 A4 F5 – V G3 B3 G4 D5 | III E3 B3 G4 E5 – IV F3 A3 F4 C5 | II D3 A3 F4 D5 – III E3 G3 E4 B4 | I C3 G3 E4 C5 – II D3 F3 D4 A4 | VII B2 F3 D4 B4 – I C3 E3 C4 G4 | VI A2 E3 C4 A4 – VII B2 D3 B3 F4 | V G2 D3 B3 G4 – VI A2 C3 A3 E4 | IV F2 C3 A3 F4 – V G2 B2 G3 D4; final double bar. Ties: alto G4 and tenor B3 from V into III; alto F4 and tenor A3 from IV into II. Straight lines join soprano F5–D5 and alto A4–G4 (IV–V), soprano E5–C5 and alto G4–F4 and tenor B3–A3 (III–IV). Brackets under the first five bass notes carry the digits 2, 3, 2, 3.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-230-ex01.musicxml", "label": "A) In the major mode: the sequence IV–V, III–IV, II–III, I–II, VII–I, VI–VII, V–VI, IV–V in C major", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "d5970a4293e221bdcb4e6da49bd28eaf8382461faf0f1cca4a7ed4c989ef85d9", "transcriptionStatus": "needs-review" } ], "id": "rh-230-ex01", "sha256": "6892e5bcc1ca344174f7fc5e18bb534ec723374fd61e0adb566f9598e60e65e3", "sources": [ { "pdf_page": 46, "source_image": "source-pages/046.png", "printed_page": 38 } ], "pdf_page": 46, "source_image": "source-pages/046.png", "printed_page": 38, "music_transcription_status": "needs-review" }, { "path": "images/rh-230-ex02.png", "kind": "music", "bbox_pixels": [ 100, 735, 1460, 300 ], "dimensions_pixels": [ 1460, 300 ], "description": "\"B) EN MODE MINEUR\". The same sequence in A minor (no key signature), sixteen whole-note chords, labels above: IV D4 F4 D5 A5 – V nat. E4 E4 B4 G5 | III nat. C4 E4 C5 G5 – IV D4 D4 A4 F5 | II nat. B3 D4 B4 F5 – III nat. C4 C4 G4 E5 | I A3 C4 A4 E5 – II B3 B3 F4 D5 | VII nat. G3 B3 G4 D5 – I A3 A3 E4 C5 | VI F3 A3 F4 C5 – VII nat. G3 G3 D4 B4 | V nat. E3 G3 E4 B4 – VI F3 F3 C4 A4 | IV D3 F3 D4 A4 – V harm. E3 E3 B3 G♯4; final double bar. The lower voices begin on ledger lines above the bass staff; unisons of tenor and bass are printed as two heads side by side. Ties: soprano G5 and tenor E4 from V nat. into III nat.; soprano F5 and tenor D4 from IV into II nat. Straight lines join soprano A5–G5 and alto D5–B4 (IV–V), soprano G5–F5 and alto C5–A4 (III–IV); brackets (no digits) join the first five bass notes.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-230-ex02.musicxml", "label": "B) In the minor mode: the same sequence in A minor, every fifth-degree chord natural except the last (harmonic, with G♯)", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "973f2a7a36d558f6157bce72117abf9ffa7a73d9dc94e5f3738891d74cd0e9ef", "transcriptionStatus": "needs-review" } ], "id": "rh-230-ex02", "sha256": "d824f043554ff91884346fa3715832cb4f7399416cc36432305c2ff348f39deb", "sources": [ { "pdf_page": 46, "source_image": "source-pages/046.png", "printed_page": 38 } ], "pdf_page": 46, "source_image": "source-pages/046.png", "printed_page": 38, "music_transcription_status": "needs-review" }, { "path": "images/rh-230-ex03.png", "kind": "music", "bbox_pixels": [ 285, 1425, 480, 265 ], "dimensions_pixels": [ 480, 265 ], "description": "\"a)\": A3 F4 C5 F5 (6) – G3 D4 B4 G5 – G3 E4 B4 E5 (6) – F3 C4 A4 F5, then \"etc.\" and a final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-230-ex03.musicxml", "label": "a) Beginning of a sequence with sixth chords in C major: IV6, V, III6, IV, then \"etc.\"", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "f7b6d48c32ee354a4a5f2cd9273db94b9b77d16562e159d26840ea565ca3827b", "transcriptionStatus": "needs-review" } ], "id": "rh-230-ex03", "sha256": "f5fee186532d6e2e49dbb61d97c69c81f0ace6a5201f5071ec4887c6f38291d4", "sources": [ { "pdf_page": 46, "source_image": "source-pages/046.png", "printed_page": 38 } ], "pdf_page": 46, "source_image": "source-pages/046.png", "printed_page": 38, "music_transcription_status": "needs-review" }, { "path": "images/rh-230-ex04.png", "kind": "music", "bbox_pixels": [ 875, 1425, 475, 265 ], "dimensions_pixels": [ 475, 265 ], "description": "\"b)\": A3 C4 C5 F5 (6) – G3 D4 B4 G5 – G3 B3 B4 E5 (6) – F3 C4 A4 F5, then \"etc.\" and a final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-230-ex04.musicxml", "label": "b) The same sequence with different doublings: IV6, V, III6, IV, then \"etc.\"", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "277f82a290eeaf7a03f19a8a18a73cddd8f4c19a00c0a8173af7630adb09f964", "transcriptionStatus": "needs-review" } ], "id": "rh-230-ex04", "sha256": "0c3742b033f2e8e79a1f596b4843e530ef5042f3b97fdcaf55457b9e7b9021ac", "sources": [ { "pdf_page": 46, "source_image": "source-pages/046.png", "printed_page": 38 } ], "pdf_page": 46, "source_image": "source-pages/046.png", "printed_page": 38, "music_transcription_status": "needs-review" }, { "path": "images/rh-230-ex05.png", "kind": "music", "bbox_pixels": [ 285, 1710, 480, 290 ], "dimensions_pixels": [ 480, 290 ], "description": "\"c)\": F3 A4 C5 F5 – B2 G4 D5 G5 (6) – E3 G4 B4 E5 – A2 F4 C5 F5 (6), then \"etc.\" and a final double bar. The tenor stands on ledger lines above the bass staff (A4 above three ledger lines; G4 on the third; F4 above two).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-230-ex05.musicxml", "label": "c) Sequence beginning on the root-position fourth degree: IV, V6, III, IV6, then \"etc.\"", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "c09d5c1251b160fe2a78ba1fbda71ee4a838c9836ca31676d3a5712d837622f2", "transcriptionStatus": "needs-review" } ], "id": "rh-230-ex05", "sha256": "222342a9bf58458ecfc45bed95f4754ab6782514e6f424eb26666ab2f030c952", "sources": [ { "pdf_page": 46, "source_image": "source-pages/046.png", "printed_page": 38 } ], "pdf_page": 46, "source_image": "source-pages/046.png", "printed_page": 38, "music_transcription_status": "needs-review" }, { "path": "images/rh-230-ex06.png", "kind": "music", "bbox_pixels": [ 875, 1710, 475, 290 ], "dimensions_pixels": [ 475, 290 ], "description": "\"d)\": A3 C4 F4 F5 (6) – B3 D4 G4 D5 (6) – G3 B3 E4 E5 (6) – A3 C4 F4 C5 (6), then \"etc.\" and a final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-230-ex06.musicxml", "label": "d) Sequence entirely in sixth chords: IV6, V6, III6, IV6, then \"etc.\"", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "d0d74c857c453c9ad003a65917f2542c6d48eab2016cb4ec30d9c228e8a8706d", "transcriptionStatus": "needs-review" } ], "id": "rh-230-ex06", "sha256": "1345aeb81333045a8b2361eadc3db08ef27e1175d2b8e07d80499d989f29fb3d", "sources": [ { "pdf_page": 46, "source_image": "source-pages/046.png", "printed_page": 38 } ], "pdf_page": 46, "source_image": "source-pages/046.png", "printed_page": 38, "music_transcription_status": "needs-review" }, { "path": "images/rh-231-ex01.png", "kind": "music", "bbox_pixels": [ 110, 306, 1415, 164 ], "dimensions_pixels": [ 1415, 164 ], "description": "Three ascending sequences in C major, four voices on one treble staff, separated by \"au\": I C4 G4 C5 E5 | IV F4 A4 C5 F5 | II D4 A4 D5 F5 | V G4 B4 D5 G5 | III E4 B4 E5 G5 | VI A4 C5 E5 A5 etc. ‖ I6 E4 G4 C5 G5 | II D4 A4 D5 F5 | II6 F4 A4 D5 A5 | III E4 B4 E5 G5 | III6 G4 B4 E5 B5 | IV F4 C5 F5 A5 etc. ‖ I C4 G4 C5 E5 | V G4 G4 B4 D5 | II D4 A4 D5 F5 | VI A4 A4 C5 E5 | III E4 B4 E5 G5 | VII B4 B4 D5 F5 etc. (unisons as side-by-side heads).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-231-ex01.musicxml", "label": "Three ascending sequences in C major on one staff: by fourth up and third down (I IV II V III VI); with sixth chords (I6 II II6 III III6 IV); by fifth up and fourth down (I V II VI III VII)", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 1 } ], "sha256": "83bd64b67069ba9d5de52529cb81c2997b1680a879e7c5cc1efbc81d98e78739", "transcriptionStatus": "needs-review" } ], "id": "rh-231-ex01", "sha256": "55156009ec741905442c4325adbf1c00b1f89abb41399293f5e4ec6847d7e8b1", "sources": [ { "pdf_page": 47, "source_image": "source-pages/047.png", "printed_page": 39 } ], "pdf_page": 47, "source_image": "source-pages/047.png", "printed_page": 39, "music_transcription_status": "needs-review" }, { "path": "images/rh-231-ex02.png", "kind": "music", "bbox_pixels": [ 100, 955, 1425, 290 ], "dimensions_pixels": [ 1425, 290 ], "description": "\"A) EN MODE MAJEUR\": C major, chords descending by fifths, sevenths (figured 7) on chords 1, 3, ... 15: G3 D4 B4 F5 (V7) | C3 C4 C5 E5 (I) | F3 C4 A4 E5 (IV7) | B2 B3 B4 D5 (VII) | E3 B3 G4 D5 (III7) | A2 A3 A4 C5 (VI) | D3 A3 F4 C5 (II7) | G2 G3 G4 B4 (V) | C3 G3 E4 B4 (I7) | F2 F3 F4 A4 (IV) | B2 F3 D4 A4 (VII7) | E2 E3 E4 G4 (\"IV\", sic) | A2 E3 C4 G4 (VI7) | D2 D3 D4 F4 (II) | G2 D3 B3 F4 (V7) | C2 C3 C4 E4 (I). Common notes tied in tenor and soprano from each triad (and from chord 1) into the next chord. Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-231-ex02.musicxml", "label": "A) In the major mode: sixteen chords descending by fifths in C major, seventh chords (figured 7) alternating with triads, the common notes tied", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "611ef6f57cb803e3472982107f20d2209e39e2c98fce5c23a3acea28f959e764", "transcriptionStatus": "needs-review" } ], "id": "rh-231-ex02", "sha256": "d07a3aa848ab8c5a3f7c542d644e3e56085578e314527dd4f9d537d0363bdafb", "sources": [ { "pdf_page": 47, "source_image": "source-pages/047.png", "printed_page": 39 } ], "pdf_page": 47, "source_image": "source-pages/047.png", "printed_page": 39, "music_transcription_status": "needs-review" }, { "path": "images/rh-231-ex03.png", "kind": "music", "bbox_pixels": [ 540, 1250, 490, 250 ], "dimensions_pixels": [ 490, 250 ], "description": "\"ou\": G3 G4 B4 F5 (V7, no fifth) | C3 G4 C5 E5 (I) | F3 F4 A4 E5 (IV7, no fifth) | B2 F4 B4 D5 (VII) etc.; tenor G4 and F4 written on ledger lines above the bass staff and tied; soprano E5 tied I–IV. Figures 7 under V and IV. Double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-231-ex03.musicxml", "label": "or: the same sequence beginning with an incomplete V7 (no fifth) resolving to a complete tonic triad", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "d0114b25ece7f6cc7b44f19814412c331cc04364e45483ab8bfba2060bea3a85", "transcriptionStatus": "needs-review" } ], "id": "rh-231-ex03", "sha256": "e442186ada4b008508fb49833153f1c7ec3988719c8242edee67e825a46a8aac", "sources": [ { "pdf_page": 47, "source_image": "source-pages/047.png", "printed_page": 39 } ], "pdf_page": 47, "source_image": "source-pages/047.png", "printed_page": 39, "music_transcription_status": "needs-review" }, { "path": "images/rh-231-ex04.png", "kind": "music", "bbox_pixels": [ 95, 1540, 1430, 318 ], "dimensions_pixels": [ 1430, 318 ], "description": "\"B) EN MODE MINEUR\": A minor, the same sequence: E3 B3 G♯4 D5 (V harm.7) | A3 A3 A4 C5 (I) | D3 A3 F4 C5 (IV7) | G3 G3 G♮4 B4 (VII nat.) | C3 G3 E4 B4 (III nat.7) | F3 F3 F4 A4 (VI) | B2 F3 D4 A4 (II7) | E3 E3 E4 G4 (V nat.) | A2 E3 C4 G4 (I nat.7) | D3 D3 D4 F4 (IV) | G2 D3 B3 F4 (VII nat.7) | C3 C3 C4 E4 (III nat.) | F2 C3 A3 E4 (VI7) | B2 B2 B3 D4 (II) | E2 B2 G♯3 D4 (V harm.7) | A2 A2 A3 C4 (I). Bass/tenor unisons as side-by-side heads; common notes tied. Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-231-ex04.musicxml", "label": "B) In the minor mode: the same sequence in A minor, harmonic V with G♯ at the start and end, natural (G♮) forms of VII, III, V and I in between", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "02a2da94dd9f0b876899addd0f20654ea66d0a530ece5a92c87ceca05f2f002f", "transcriptionStatus": "needs-review" } ], "id": "rh-231-ex04", "sha256": "c074c7c1550aec6fa9c37a9f94d22dfe04e6130aa2f99ceb9949c07b3f07701a", "sources": [ { "pdf_page": 47, "source_image": "source-pages/047.png", "printed_page": 39 } ], "pdf_page": 47, "source_image": "source-pages/047.png", "printed_page": 39, "music_transcription_status": "needs-review" }, { "path": "images/rh-231-ex05.png", "kind": "music", "bbox_pixels": [ 540, 1865, 490, 240 ], "dimensions_pixels": [ 490, 240 ], "description": "\"ou\": E3 E4 G♯4 D5 (V harm.7, no fifth) | A3 E4 A4 C5 (I) | D3 D4 F4 C5 (labelled \"V\", sic: IV7, no fifth) | G3 D4 G♮4 B4 (VII nat.) etc.; tenor E4 and D4 on ledger lines above the bass staff and tied; soprano C5 tied I–IV. Figures 7 under chords 1 and 3. Double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-231-ex05.musicxml", "label": "or: the minor sequence beginning with an incomplete V7 (no fifth) resolving to a complete tonic triad", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "ac6f9909b4f910de7867d9fe0c9c98301030495a88e5be501cc3efc2a56e02a4", "transcriptionStatus": "needs-review" } ], "id": "rh-231-ex05", "sha256": "e83200b6db2ad572973f4dc1a52dea50828d9bbcfbcd75aec7fc5fad4eff6b6d", "sources": [ { "pdf_page": 47, "source_image": "source-pages/047.png", "printed_page": 39 } ], "pdf_page": 47, "source_image": "source-pages/047.png", "printed_page": 39, "music_transcription_status": "needs-review" }, { "path": "images/rh-232-ex01.png", "kind": "music", "bbox_pixels": [ 110, 225, 440, 320 ], "dimensions_pixels": [ 440, 320 ], "description": "Exercise a), C major, four chords then \"etc.\": B3 G4 D5 F5 (6/5) | C4 G4 C5 E5 | A3 F4 C5 E5 (6/5) | B3 F4 B4 D5. Tenor G4 tied 1-2, soprano E5 and alto C5 tied 2-3, tenor F4 tied 3-4. Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-232-ex01.musicxml", "label": "Exercise a): seventh chords (6/5) alternating with triads, C major, to be continued", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "88ad685323b4f061c4f3e9402e7b96f8b723bd95ff57283adbca88591d332e9c", "transcriptionStatus": "needs-review" } ], "id": "rh-232-ex01", "sha256": "186fcc96365407f70ea25301d7aa59cd50d34fbd105206b1bf925d402cb704b5", "sources": [ { "pdf_page": 48, "source_image": "source-pages/048.png", "printed_page": 40 } ], "pdf_page": 48, "source_image": "source-pages/048.png", "printed_page": 40, "music_transcription_status": "needs-review" }, { "path": "images/rh-232-ex02.png", "kind": "music", "bbox_pixels": [ 585, 225, 420, 320 ], "dimensions_pixels": [ 420, 320 ], "description": "Exercise b), C major, four chords then \"etc.\": D4 G4 B4 F5 (4/3) | C4 G4 C5 E5 | C4 F4 A4 E5 (4/3) | B3 F4 B4 D5. Tenor G4 tied 1-2, soprano E5 tied 2-3, tenor F4 tied 3-4. Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-232-ex02.musicxml", "label": "Exercise b): seventh chords (4/3) alternating with triads, C major, to be continued", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "fd4a70fdc3a06b43b4e360dad07aa338e585ffff52795e5a27cc9f9accc44ddd", "transcriptionStatus": "needs-review" } ], "id": "rh-232-ex02", "sha256": "3aaf659a3864ea3404d9198784a53a92c037f1bc627b1aa18832fbb64f87d92b", "sources": [ { "pdf_page": 48, "source_image": "source-pages/048.png", "printed_page": 40 } ], "pdf_page": 48, "source_image": "source-pages/048.png", "printed_page": 40, "music_transcription_status": "needs-review" }, { "path": "images/rh-232-ex03.png", "kind": "music", "bbox_pixels": [ 1040, 225, 440, 320 ], "dimensions_pixels": [ 440, 320 ], "description": "Exercise c), C major, four chords then \"etc.\": F3 D4 G4 B4 (2) | E3 C4 G4 C5 (6) | E3 C4 F4 A4 (2) | D3 B3 F4 B4 (6). Alto G4 tied 1-2, tenor C4 tied 2-3, alto F4 tied 3-4. Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-232-ex03.musicxml", "label": "Exercise c): seventh chords (2) alternating with triads (6), C major, to be continued", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "e71819152b613090f5042d88c6545d1d83d250b650adb33cb9da4d93fbdb1ff5", "transcriptionStatus": "needs-review" } ], "id": "rh-232-ex03", "sha256": "c5439af8a42808837dc7bcc0abb9ac3b1bd549724ee9203bf41863a4c87b85f1", "sources": [ { "pdf_page": 48, "source_image": "source-pages/048.png", "printed_page": 40 } ], "pdf_page": 48, "source_image": "source-pages/048.png", "printed_page": 40, "music_transcription_status": "needs-review" }, { "path": "images/rh-232-ex04.png", "kind": "music", "bbox_pixels": [ 60, 765, 1460, 295 ], "dimensions_pixels": [ 1460, 295 ], "description": "C major, sixteen chords descending by fifths, numbered V I IV VII III VI II V I over the first nine, figured 7 under the first fifteen: G3 D4 B4 F5 | C4 C4 B4 E5 | F3 C4 A4 E5 | B3 B3 A4 D5 | E3 B3 G4 D5 | A3 A3 G4 C5 | D3 A3 F4 C5 | G3 G3 F4 B4 | C3 G3 E4 B4 | F3 F3 E4 A4 | B2 F3 D4 A4 | E3 E3 D4 G4 | A2 E3 C4 G4 | D3 D3 C4 F4 | G2 D3 B3 F4 | C3 C3 C4 E4. Complete chords alternate with incomplete ones (root doubled by tenor and bass in unison, fifth omitted). The third of each chord is tied into the next as its seventh (alto/soprano alternately); the tenor's doubled root is tied into the following chord as its fifth. Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-232-ex04.musicxml", "label": "Sequence of seventh chords by descending fifths in C major, the third of each chord held over as the seventh of the next", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "2b66f4330c79bac25a9e924cdda5eb3899e8a5d8e40261295c45903167545c2d", "transcriptionStatus": "needs-review" } ], "id": "rh-232-ex04", "sha256": "000b3cb02b65893b5ebed3d7914edb0cfb841011aaabec1cc0f9842461b7d433", "sources": [ { "pdf_page": 48, "source_image": "source-pages/048.png", "printed_page": 40 } ], "pdf_page": 48, "source_image": "source-pages/048.png", "printed_page": 40, "music_transcription_status": "needs-review" }, { "path": "images/rh-232-ex05.png", "kind": "music", "bbox_pixels": [ 60, 1130, 1460, 300 ], "dimensions_pixels": [ 1460, 300 ], "description": "A minor, sixteen chords descending by fifths, labelled V nat., I nat., IV, VII nat., III nat., VI, II, V nat. over chords 1-8 and V harm. over chord 15, figured 7 under the first fifteen: E3 B3 G♮4 D5 | A3 A3 G4 C5 | D3 A3 F4 C5 | G3 G3 F4 B4 | C3 G3 E4 B4 | F3 F3 E4 A4 | B2 F3 D4 A4 | E3 E3 D4 G4 | A2 E3 C4 G4 | D3 D3 C4 F4 | G2 D3 B3 F4 | C3 C3 B3 E4 | F2 C3 A3 E4 | B2 B2 A3 D4 | E2 B2 G♯3 D4 | A2 A2 A3 C4. Courtesy natural before G4 in chord 1. Treble-staff ties as in the major model (the third of each chord held as the next seventh); unlike the major model no ties are printed on the bass staff, so the repeated tenor notes are re-struck. Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-232-ex05.musicxml", "label": "Sequence of seventh chords by descending fifths in A minor (natural minor, harmonic V at the cadence)", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "5824b1310c980c0cee63df8534df80f45ac83b4fc65751977a6bd7bfb88d876f", "transcriptionStatus": "needs-review" } ], "id": "rh-232-ex05", "sha256": "99d623f41be9c4bdbd662e9e226f25cb80c6136cb5918930ca0b0327f4bafcdf", "sources": [ { "pdf_page": 48, "source_image": "source-pages/048.png", "printed_page": 40 } ], "pdf_page": 48, "source_image": "source-pages/048.png", "printed_page": 40, "music_transcription_status": "needs-review" }, { "path": "images/rh-232-ex06.png", "kind": "music", "bbox_pixels": [ 255, 1815, 480, 315 ], "dimensions_pixels": [ 480, 315 ], "description": "Exercise a), C major, four chords then \"etc.\": B3 F4 G4 D5 (6/5) | B3 E4 G4 C5 (2) | A3 E4 F4 C5 (6/5) | A3 D4 F4 B4 (2). Bass B3 tied 1-2, alto G4 tied 1-2, tenor E4 and soprano C5 tied 2-3, bass A3 and alto F4 tied 3-4. Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-232-ex06.musicxml", "label": "Exercise a): seventh-chord sequence alternating 6/5 and 2 chords, C major, to be continued", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "1f507ca811f1c73226d7b6cd37aa1236479de4509e13206ec00b3f331371382d", "transcriptionStatus": "needs-review" } ], "id": "rh-232-ex06", "sha256": "15c884bcaa6b604a867f0f960c2db2766b7c3837497f13bee8ad327085c23b94", "sources": [ { "pdf_page": 48, "source_image": "source-pages/048.png", "printed_page": 40 } ], "pdf_page": 48, "source_image": "source-pages/048.png", "printed_page": 40, "music_transcription_status": "needs-review" }, { "path": "images/rh-232-ex07.png", "kind": "music", "bbox_pixels": [ 840, 1815, 480, 315 ], "dimensions_pixels": [ 480, 315 ], "description": "Exercise b), C major, four chords then \"etc.\": D4 G4 B4 F5 (4/3) | C4 G4 B4 E5 (7) | C4 F4 A4 E5 (4/3) | B3 F4 A4 D5 (7). Tenor G4 and alto B4 tied 1-2, bass C4 and soprano E5 tied 2-3, tenor F4 and alto A4 tied 3-4. Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-232-ex07.musicxml", "label": "Exercise b): seventh-chord sequence alternating 4/3 and root-position 7 chords, C major, to be continued", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "6b4fbc54a24ba5143f518ffec3ce299852a1486bde12633e6df1a3702edf190c", "transcriptionStatus": "needs-review" } ], "id": "rh-232-ex07", "sha256": "e5d239c2a1ff3094b8a730c6ca1db2ce265ada52d28620a321f60d19e162cef2", "sources": [ { "pdf_page": 48, "source_image": "source-pages/048.png", "printed_page": 40 } ], "pdf_page": 48, "source_image": "source-pages/048.png", "printed_page": 40, "music_transcription_status": "needs-review" }, { "path": "images/rh-233-ex01.png", "kind": "music", "bbox_pixels": [ 80, 320, 1440, 290 ], "dimensions_pixels": [ 1440, 290 ], "description": "C major, sixteen unmetered whole-note chords, degree labels above, 7 under each seventh chord: VII7 B3 F4 D5 A5 | I C4 E4 E5 G5 | VI7 A3 E4 C5 G5 | VII B3 D4 D5 F5 | V7 G3 D4 B4 F5 | VI A3 C4 C5 E5 | IV7 F3 C4 A4 E5 | V G3 B3 B4 D5 | III7 E3 B3 G4 D5 | IV F3 A3 A4 C5 | II7 D3 A3 F4 C5 | III E3 G3 G4 B4 | I7 C3 G3 E4 B4 | II D3 F3 F4 A4 | VII7 B2 F3 D4 A4 | I C3 E3 E4 G4. Soprano and tenor tied from each triad into the next seventh chord. Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-233-ex01.musicxml", "label": "Sequence in C major: each triad prepares, by two tied common tones, the seventh chord a third below — VII7–I, VI7–VII, V7–VI, IV7–V, III7–IV, II7–III, I7–II, VII7–I", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "d9e5dedb1036841512cf003b316872622a8a26704b0f373f37defb226671e3ae", "transcriptionStatus": "needs-review" } ], "id": "rh-233-ex01", "sha256": "b9866947e3eafa89f1f2e4a58c5ca23dc0de3b88f0d861563d06ea2b37557e01", "sources": [ { "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41 } ], "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41, "music_transcription_status": "needs-review" }, { "path": "images/rh-233-ex02.png", "kind": "music", "bbox_pixels": [ 1100, 1050, 420, 160 ], "dimensions_pixels": [ 420, 160 ], "description": "One treble staff, four whole-note chords: C5 C5 E5 G5 (C5 printed twice, side by side) | A4 C5 E5 A5 | F4 C5 F5 A5 | D4 D5 F5 A5; lines marked 3 join the bass notes C–A–F–D. Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-233-ex02.musicxml", "label": "Four chords whose roots fall by thirds — C, A minor, F, D minor — with the bass line marked 3, 3, 3", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "632b8e3d493676419cea303b2bc3dac9459936b47dad3f595cae0270829e69a1", "transcriptionStatus": "needs-review" } ], "id": "rh-233-ex02", "sha256": "77ed2c00ff30405633000c542b441ee82e2c757ddf0fc1e4fd443fb6e59ac892", "sources": [ { "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41 } ], "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41, "music_transcription_status": "needs-review" }, { "path": "images/rh-233-ex03.png", "kind": "music", "bbox_pixels": [ 805, 1245, 710, 150 ], "dimensions_pixels": [ 710, 150 ], "description": "One treble staff, three groups of three whole-note chords separated by double bars: C4 C5 E5 G5 | E4 B4 E5 G5 | F4 A4 C5 F5 ‖ D4 D5 F5 A5 | F4 C5 F5 A5 | G4 B4 D5 G5 ‖ E4 E5 G5 B5 | G4 D5 G5 B5 | A4 C5 E5 A5; in each group lines marked 3 and 2 join the bass notes. Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-233-ex03.musicxml", "label": "Three progressions in C major, each rising a third then a second: I–III–IV, II–IV–V, III–V–VI", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 1 } ], "sha256": "8e8c0f094c4e0c6ef614e6ca0998b7b3777181ef2044a3af89a0479057c0e458", "transcriptionStatus": "needs-review" } ], "id": "rh-233-ex03", "sha256": "fc93562b481a123b2084235786fea14c9281cdac9865d758a65624c7bc41f83c", "sources": [ { "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41 } ], "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41, "music_transcription_status": "needs-review" }, { "path": "images/rh-233-ex04.png", "kind": "music", "bbox_pixels": [ 880, 1395, 630, 175 ], "dimensions_pixels": [ 630, 175 ], "description": "Two short treble staves. FAIBLE: half-note chord F4 A4 C5 over a bass F4 half (printed beside it) | half-note chord F4 A4 D5 over bass F4 half, figured 6, \"etc.\", double bar. BON: bass F4 whole note under half-note chords F4 A4 C5 then F4 A4 D5 (6), \"etc.\", double bar. No time signature.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-233-ex04.musicxml", "label": "Weak: the F major triad on the weak beat, the sixth chord F–A–D on the following strong beat; good: the triad on the strong beat and the sixth chord after it over a held bass F", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 }, { "bars": 1, "staves": 1 } ], "sha256": "8124eac064a3dd35126c3effc132a0f1b3524cbcc5979eae78ecd9d8b7730fdb", "transcriptionStatus": "needs-review" } ], "id": "rh-233-ex04", "sha256": "ee0aedfb2c5931f4a2b8404e01b9c95e594b51219275ec88a38949692d2eabc1", "sources": [ { "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41 } ], "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41, "music_transcription_status": "needs-review" }, { "path": "images/rh-233-ex05.png", "kind": "music", "bbox_pixels": [ 785, 1650, 725, 255 ], "dimensions_pixels": [ 725, 255 ], "description": "One treble staff, half-note chords, no time signature. MAUVAIS: A3 E4 A4 C5 | D4 F4 A4 D5 (labelled \"I\") ‖ D4 F4 A4 B4 (II, 6/5; bass D4 tied from the previous chord) | E4 E4 G♯4 B4. BON: A3 E4 A4 C5 | F4 A4 A4 D5 (IV, 6; A4 doubled side by side) ‖ D4 F4 A4 B4 (II, 6/5) | E4 E4 G♯4 B4. Double bar after bar 2, final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-233-ex05.musicxml", "label": "Bad: the bass D held (tied) under two different chords, IV and II 6/5, before V; good: a moving bass, I–IV6 | II 6/5–V, in A minor", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 1 } ], "sha256": "3c948f656b8a500a3680f3dfa0d03c81b900cd1bbb2b0d3f1fc495d86aec0cc4", "transcriptionStatus": "needs-review" } ], "id": "rh-233-ex05", "sha256": "9552fa2df9114011ef538f454ccb26f8975287a2834f039759b590d635846676", "sources": [ { "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41 } ], "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41, "music_transcription_status": "needs-review" }, { "path": "images/rh-233-ex06.png", "kind": "music", "bbox_pixels": [ 900, 1905, 610, 175 ], "dimensions_pixels": [ 610, 175 ], "description": "One treble staff: C5 E5 A5 whole over bass A3 half, C4 half (6) | D4 A4 D5 F5 ‖ C5 E5 A5 over A3, C4 (6) | E4 B4 E5 G5. Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-233-ex06.musicxml", "label": "The VI chord moving to its first inversion (VI–VI6) over a bass A–C, then to II; and again VI–VI6, then to III (C major)", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 1 } ], "sha256": "d7cc9d09cd60ab608e211357b2e891259078ebe82d7ed78f19f850bf2cb62ee0", "transcriptionStatus": "needs-review" } ], "id": "rh-233-ex06", "sha256": "2cfa3b6a308f9988619748fa886b2edc6a522e8d8b1c357b414c7924198387bf", "sources": [ { "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41 } ], "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41, "music_transcription_status": "needs-review" }, { "path": "images/rh-233-ex07.png", "kind": "music", "bbox_pixels": [ 780, 2095, 505, 165 ], "dimensions_pixels": [ 505, 165 ], "description": "One treble staff, two groups of three whole-note chords: F4 A4 D5 D5 (6; D5 twice side by side) | E4 A4 C5 E5 (6/4) | D4 A4 D5 F5 ‖ F4 A4 C5 D5 | E4 A4 C5 E5 (6/4) | D4 A4 C5 F5 (7). A4 tied through each group, C5 through the second. Final double bar; \"et en sens contraire.\" printed to the right.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-233-ex07.musicxml", "label": "The 6/4 chord on E (A minor in second inversion) as a passing chord over the bass F–E–D: II6–VI6/4–II, then II 6/5–VI6/4–II7 with C held", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "d2c2eaf9ebc55a4dfac13f82e130869508f0d4a76275779591cdf8e256737c6f", "transcriptionStatus": "needs-review" } ], "id": "rh-233-ex07", "sha256": "a0c03c26e1503f528d18fb0180e2eaa3d888d1d24c9b49abeb74fd694bbc3f99", "sources": [ { "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41 } ], "pdf_page": 49, "source_image": "source-pages/049.png", "printed_page": 41, "music_transcription_status": "needs-review" }, { "path": "images/rh-234-ex01.png", "kind": "music", "bbox_pixels": [ 460, 225, 700, 190 ], "dimensions_pixels": [ 700, 190 ], "description": "One treble staff, unmetered. C major: bass C4 whole under half-note chords G4 C5 E5 – A4 C5 F5 (figured 6/4), then G4 C5 E5 whole over C4 | double bar | A minor: bass A3 whole under A4 C5 E5 – A4 D5 F5 (6/4), then A4 C5 E5 whole over A3; final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-234-ex01.musicxml", "label": "Six-four chord between two root-position chords on the same bass: C major (I – I6/4 – I) and A minor (I – I6/4 – I)", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 1 } ], "sha256": "1f29c7f9237fddc0ce288d25505a0acc8f08e218818f91e9b73a684ff82951a5", "transcriptionStatus": "needs-review" } ], "id": "rh-234-ex01", "sha256": "75e9814e4fd87279406c608c17b85ca713bd857721bb423af1748ec02a32716e", "sources": [ { "pdf_page": 50, "source_image": "source-pages/050.png", "printed_page": 42 } ], "pdf_page": 50, "source_image": "source-pages/050.png", "printed_page": 42, "music_transcription_status": "needs-review" }, { "path": "images/rh-234-ex02.png", "kind": "music", "bbox_pixels": [ 460, 495, 700, 190 ], "dimensions_pixels": [ 700, 190 ], "description": "One treble staff, unmetered, dotted-whole chords C5 E5 G5 tied over the barline. First half: lower voice in halves C4 – E4 (6) – G4 (6/4), then C5 (half) beside the tied chord. Second half: C5 – G4 (6/4) – E4 (6) under the chord, then C4 dotted whole under the tied chord; final double bar. Lines join the figures to the bass notes.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-234-ex02.musicxml", "label": "The bass arpeggiates the C major chord under held upper voices: root – sixth chord – six-four chord, then the reverse", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 1 } ], "sha256": "b4a86a10f6ef9272a0c64d0de18c99a06bf2f3af3a4369405f779836fb451b39", "transcriptionStatus": "needs-review" } ], "id": "rh-234-ex02", "sha256": "af36217e20a3da29f9259d3b437c60e9b03308e41c3c4655a665491cb2138ee3", "sources": [ { "pdf_page": 50, "source_image": "source-pages/050.png", "printed_page": 42 } ], "pdf_page": 50, "source_image": "source-pages/050.png", "printed_page": 42, "music_transcription_status": "needs-review" }, { "path": "images/rh-234-ex03.png", "kind": "music", "bbox_pixels": [ 340, 790, 920, 190 ], "dimensions_pixels": [ 920, 190 ], "description": "One treble staff, whole-note chords in C major (bass to soprano). C4 C5 E5 G5 – III E4 B4 E5 G5 – II F4 A4 D5 F5 (6) – G4 G4 C5 E5 (6/4) – G4 G4 B4 D5 – C4 G4 C5 E5 | double bar | A3 E4 A4 C5 – II F3 F4 A4 D5 (6) – III G3 E4 B4 E5 (6) – A3 E4 A4 C5; final double bar. The doubled G4 is printed as two heads side by side.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-234-ex03.musicxml", "label": "III–II and II–III in C major, connected only with the second chord (or both) in inversion", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "81f7633845a2cd998a181e937719d9216fcef1ed55cf3d2b44c6ceed220fbaf9", "transcriptionStatus": "needs-review" } ], "id": "rh-234-ex03", "sha256": "5368aeda51ae836ca84a8019ce262072728255360b0fed26b54594df38ed16cd", "sources": [ { "pdf_page": 50, "source_image": "source-pages/050.png", "printed_page": 42 } ], "pdf_page": 50, "source_image": "source-pages/050.png", "printed_page": 42, "music_transcription_status": "needs-review" }, { "path": "images/rh-234-ex04.png", "kind": "music", "bbox_pixels": [ 350, 1115, 910, 160 ], "dimensions_pixels": [ 910, 160 ], "description": "One treble staff. G4 B4 D5 G5 – A4 A4 C5 G5 (7; G5 tied) – D4 A4 C5 F5 (7 under the bass; C5 tied) – G4 G4 B4 F5 (7; F5 tied) – C4 G4 C5 E5 in black stemless heads (encoded as quarter notes) | double bar | E4 B4 E5 G5 – A4 A4 C5 G5 (7; G5 tied) – D4 A4 C5 F5 (7) – G4 G4 B4 F5 (F5 tied) – C4 G4 C5 E5 black; final double bar. In the first half a second, shorter arc and a dot stand above the C5 tie between chords 2 and 3.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-234-ex04.musicxml", "label": "Sequences of secondary seventh chords in C major (VI7, II7, V7 resolving to I), with the sevenths prepared by ties", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "49cf00a017130e774903be64bf739b5484c85f7ab96bae98379f6d8cf33ef334", "transcriptionStatus": "needs-review" } ], "id": "rh-234-ex04", "sha256": "7e1e840c77a999b10de95d0b8f86985835f5f1afb3129bc4bc69f6b6165d5e58", "sources": [ { "pdf_page": 50, "source_image": "source-pages/050.png", "printed_page": 42 } ], "pdf_page": 50, "source_image": "source-pages/050.png", "printed_page": 42, "music_transcription_status": "needs-review" }, { "path": "images/rh-234-ex05.png", "kind": "music", "bbox_pixels": [ 350, 1270, 910, 165 ], "dimensions_pixels": [ 910, 165 ], "description": "One treble staff. C4 C5 E5 G5 – A4 C5 E5 G5 (7) – A4 C5 D5 F5 (4/3) – G4 B4 D5 F5 (7) – C4 C5 C5 E5 in black stemless heads (quarters) | double bar | C5 E5 G5 G5 – C5 E5 G5 A5 (6/5; C5 tied, with arcs above and below) – C5 D5 F5 A5 (2; A5 tied) – B4 D5 F5 G5 (6/5) – C5 C5 E5 G5 black; final double bar. Unisons are printed as heads side by side.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-234-ex05.musicxml", "label": "Further seventh-chord successions in C major, including inversions (4/3, 6/5, 2), resolving to I", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "05d74cea371dd7957332919a24cd9ceac075d3a4c9bf26d5608d72cb405695df", "transcriptionStatus": "needs-review" } ], "id": "rh-234-ex05", "sha256": "a49b3108366bfdba83cdc3d265778f120eb842752bbeabc179c2ce8d76d376c3", "sources": [ { "pdf_page": 50, "source_image": "source-pages/050.png", "printed_page": 42 } ], "pdf_page": 50, "source_image": "source-pages/050.png", "printed_page": 42, "music_transcription_status": "needs-review" }, { "path": "images/rh-234-ex06.png", "kind": "music", "bbox_pixels": [ 465, 1665, 690, 175 ], "dimensions_pixels": [ 690, 175 ], "description": "One treble staff (many ledger lines). D3 A3 F4 F5 – E3 C4 G4 E5 – G3 B3 G4 D5 | double bar | \"ou\" | new treble staff: D4 F4 A4 F5 – C4 G4 C5 E5, straight lines joining F5–E5, A4–C5, F4–G4, D4–C4; final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-234-ex06.musicxml", "label": "Triads with doubled third or fifth, C major: II (doubled third) – I6 (doubled third) – V; or II (doubled third) to I", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "0b92ca4876a3fdb6a8134a65f70ea58bba2c0ad80cee321dd0e0668033118743", "transcriptionStatus": "needs-review" } ], "id": "rh-234-ex06", "sha256": "a900f2618782f43734820ada2dc48da460a2bf487c6ef0d333a5e3e1a632c401", "sources": [ { "pdf_page": 50, "source_image": "source-pages/050.png", "printed_page": 42 } ], "pdf_page": 50, "source_image": "source-pages/050.png", "printed_page": 42, "music_transcription_status": "needs-review" }, { "path": "images/rh-234-ex07.png", "kind": "music", "bbox_pixels": [ 540, 2000, 540, 160 ], "dimensions_pixels": [ 540, 160 ], "description": "One treble staff. \"en Majeur.\": F4 A4 – G4 B4 | double bar | \"en Mineur.\": C4 E4 – E4 G♯4; final double bar. A small \"3\" precedes each third; straight lines join upper to upper and lower to lower notes.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-234-ex07.musicxml", "label": "In major: F–A to G–B; in minor: C–E to E–G♯ — two major thirds in parallel motion", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "873441eccf8b175790eacb5fbd1d570a5f3f524d480be1a0be2213222fb69f8f", "transcriptionStatus": "needs-review" } ], "id": "rh-234-ex07", "sha256": "7bd4daf4b98429c2ff6d40638f53496ef6401b3193324290dd73e993499d8f8f", "sources": [ { "pdf_page": 50, "source_image": "source-pages/050.png", "printed_page": 42 } ], "pdf_page": 50, "source_image": "source-pages/050.png", "printed_page": 42, "music_transcription_status": "needs-review" }, { "path": "images/rh-030-ex01.png", "kind": "music", "bbox_pixels": [ 280, 950, 1070, 215 ], "dimensions_pixels": [ 1070, 215 ], "description": "Tonic triads of the six keys related to C major, flanked by the C major tonic chord: C5–E5–G5 (Do); B4 alone in parentheses (the diminished vii°); A4–C5–E5 (la, A minor); G4–B4–D5 (Sol, G major); F4–A4–C5 (Fa, F major); F4–A♭4–C5 (fa, f minor); E4–G4–B4 (mi, E minor); D4–F4–A4 (ré, D minor); C4–E4–G4 (Do, C major, an octave lower). A bracket spans the six related-key chords la…ré; the caption line above lists them.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-030-ex01.musicxml", "label": "The six keys related to C major: A minor, G major, F major, f minor, E minor, D minor (roman type marks a major key, italic a minor one).", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "af4c96db1bc848a78e655d1090a7d1a8c0e9f9e1ebba9e530ae4167e862b58c0", "transcriptionStatus": "needs-review" } ], "id": "rh-030-ex01", "sha256": "e258accc3b26eb13bce914ba6af3263bdadb9a9e2e87fabe1264a2c9ad123bf3", "sources": [ { "pdf_page": 51, "source_image": "source-pages/051.png", "printed_page": 43 } ], "pdf_page": 51, "source_image": "source-pages/051.png", "printed_page": 43, "music_transcription_status": "needs-review" }, { "path": "images/rh-030-ex02.png", "kind": "music", "bbox_pixels": [ 280, 1245, 1070, 240 ], "dimensions_pixels": [ 1070, 240 ], "description": "Tonic triads of the six keys related to A minor, flanked by the A minor tonic chord: A3–C4–E4 (la); B3 alone in parentheses (the diminished vii°); C4–E4–G4 (Do, C major); D4–F4–A4 (ré, D minor); E4–G4–B4 (mi, E minor); E4–G♯4–B4 (Mi, E major); F4–A4–C5 (Fa, F major); G4–B4–D5 (Sol, G major); A4–C5–E5 (la, A minor, an octave higher). A bracket spans the six related-key chords Do…Sol; the caption line above lists them.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-030-ex02.musicxml", "label": "The six keys related to A minor: C major, D minor, E minor, E major, F major, G major.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "5d4e8adefed45ff42a2a6fc14389359710c5df4a1ea6d5aa3e986772693f4424", "transcriptionStatus": "needs-review" } ], "id": "rh-030-ex02", "sha256": "532858e64573fa56048d818f1e9e2d4b54be6fa306f42a0313cf6033e85ef4e8", "sources": [ { "pdf_page": 51, "source_image": "source-pages/051.png", "printed_page": 43 } ], "pdf_page": 51, "source_image": "source-pages/051.png", "printed_page": 43, "music_transcription_status": "needs-review" }, { "path": "images/rh-031-ex01.png", "kind": "music", "bbox_pixels": [ 85, 168, 1410, 204 ], "dimensions_pixels": [ 1410, 204 ], "description": "Example 1, C major to A minor three ways. a) Do: C–E–G–C; F–F–A–C; (II = IV) D–F–A–D; bracketed cadential 6/4 E–E–A–C; E–E–G♯–B; la: A–E–A–C. b) Do: C–E–G–C; F–F–A–C; (VII = II) D–F–B–D figured 6; bracketed 6/4 E–A–C; E–G♯–B; la: A–E–A–C. c) (I = III nat.): C–C–E–G; D–A–D–F; E–G♯–B–E; A–A–C–E; a bracket \"phrygienne\" under the first three chords. Parentheses and brackets are not encoded.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-031-ex01.musicxml", "label": "Example 1: C major to A minor (a) through II of C = IV of a, (b) through VII of C = II of a, (c) through the C major tonic taken as the natural III of a, with a Phrygian progression.", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 1 } ], "sha256": "c93b4f081d2fce04b433bdc1502561fdb50cd88d2376b3eeca3c7ef73599c4cd", "transcriptionStatus": "needs-review" } ], "id": "rh-031-ex01", "sha256": "bcd2fb8749498bd6aad8fed46d60f198ed72cb7b0cd35c891f63fbcdafecd8cf", "sources": [ { "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44 } ], "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44, "music_transcription_status": "needs-review" }, { "path": "images/rh-031-ex02.png", "kind": "music", "bbox_pixels": [ 170, 375, 380, 180 ], "dimensions_pixels": [ 380, 180 ], "description": "Example 2, C major to G major: Do (I = IV) C–E–G–C; D–D–F♯–C figured 7; Sol G–D–G–B.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-031-ex02.musicxml", "label": "Example 2: C major to G major; the C major tonic becomes IV of G.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "30a5c64fdd973efdf01c360590f4577ffd5bd01078106746f11d8972e2b5c26b", "transcriptionStatus": "needs-review" } ], "id": "rh-031-ex02", "sha256": "1b68db6cd8c0761f831e80a47f1cdc319fce15a064b6e875fcdf34b1d65f8098", "sources": [ { "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44 } ], "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44, "music_transcription_status": "needs-review" }, { "path": "images/rh-031-ex03.png", "kind": "music", "bbox_pixels": [ 575, 375, 370, 180 ], "dimensions_pixels": [ 370, 180 ], "description": "Example 3, C major to F major: Do (I = V), the soprano C falls to B♭ in half notes over held C–E–G (figured 8—7); Fa F–F–F–A (unison F printed as two heads).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-031-ex03.musicxml", "label": "Example 3: C major to F major; the C major tonic becomes V of F, with the octave falling to the seventh (8—7).", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "1781d37c49c262d5665403a469d7ad8754e1b24f8455561ead3144f0aeb77019", "transcriptionStatus": "needs-review" } ], "id": "rh-031-ex03", "sha256": "ec6fd9251ff6ef5196dca36fa3cda4d916382b4dfdb60d7b7bbf0b2d4beb6193", "sources": [ { "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44 } ], "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44, "music_transcription_status": "needs-review" }, { "path": "images/rh-031-ex04.png", "kind": "music", "bbox_pixels": [ 960, 375, 370, 180 ], "dimensions_pixels": [ 370, 180 ], "description": "Example 4, C major to F minor: Do (I = V), the soprano C falls to B♭ in half notes over held C–E–G (figured 8—7); fa min. F–F–F–A♭.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-031-ex04.musicxml", "label": "Example 4: C major to F minor, in the same way.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "d053666c5fb6fac810938e2ca5ef39f4ed2558709a5762b1a074ff31cac5d3c6", "transcriptionStatus": "needs-review" } ], "id": "rh-031-ex04", "sha256": "0f900915bc71bfe26d9e45c00c4bd4ea77ddee45696b3b8030dc70a280dfa1c3", "sources": [ { "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44 } ], "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44, "music_transcription_status": "needs-review" }, { "path": "images/rh-031-ex05.png", "kind": "music", "bbox_pixels": [ 320, 690, 800, 179 ], "dimensions_pixels": [ 800, 179 ], "description": "Example 3bis, C major to F major by the indirect means: Do, the alto C falls to B♭ in half notes under held E and over held G and C; D–F–A–F (deceptive resolution); B♭–F–B♭–D; bracketed 6/4 C–F–A–C; C–E–G–C; Fa F–F–A–C. Parentheses not encoded.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-031-ex05.musicxml", "label": "Example 3bis: C major to F major by the indirect means (deceptive cadence first).", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "95a64f625ee5371301632c81749f4d4b53eea2c1e6965d4b28f1ddfc5f70f3b3", "transcriptionStatus": "needs-review" } ], "id": "rh-031-ex05", "sha256": "4b11377dce3857a03d609d75bd73060f682219281df6fc6905d62668fde9711c", "sources": [ { "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44 } ], "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44, "music_transcription_status": "needs-review" }, { "path": "images/rh-031-ex06.png", "kind": "music", "bbox_pixels": [ 320, 869, 850, 164 ], "dimensions_pixels": [ 850, 164 ], "description": "Example 4bis, C major to F minor by the indirect means: Do, the alto C falls to B♭ in half notes as in 3bis; D♭–F–A♭–F; B♭–F–B♭–D♭; bracketed 6/4 C–F–A♭–C; C–E–G–C; fa F–F–A♭–C (unison F printed as two heads). Parentheses not encoded.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-031-ex06.musicxml", "label": "Example 4bis: C major to F minor by the indirect means.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "7fb50156571c870f7c398fa261dfa6c100b13befda7d0aef262ab6a7b36bfa87", "transcriptionStatus": "needs-review" } ], "id": "rh-031-ex06", "sha256": "955efad40a36050a87764f0fea754a0cb4295b1ef3d96b54eb49083a42b53ed3", "sources": [ { "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44 } ], "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44, "music_transcription_status": "needs-review" }, { "path": "images/rh-031-ex07.png", "kind": "music", "bbox_pixels": [ 100, 1035, 470, 180 ], "dimensions_pixels": [ 470, 180 ], "description": "Example 5, C major to E minor: Do (VI = IV) C–E–G–C; A–E–A–C; B–D♯–A–B figured 7; mi E–E–G–B.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-031-ex07.musicxml", "label": "Example 5: C major to E minor; VI of C becomes IV of e.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "a1f33b1c45a77d20bc30365137eacae535d8d5f8489a38b6af65e4524da2f832", "transcriptionStatus": "needs-review" } ], "id": "rh-031-ex07", "sha256": "2ace8e51db4de24f32fdd9ae72c65af8088e6861c66368b1d96581a1f3b3ddb1", "sources": [ { "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44 } ], "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44, "music_transcription_status": "needs-review" }, { "path": "images/rh-031-ex08.png", "kind": "music", "bbox_pixels": [ 595, 1033, 850, 222 ], "dimensions_pixels": [ 850, 222 ], "description": "Example 6, C major to D minor two ways. First part, labelled \"d)\" as printed: Do (IV = III) C–E–G–C; F–F–A–C; G–D–G–B♭; A–C♯–E–A; ré D–D–F–A; bracket \"succ. phrygienne\" under chords 2–4. b) (I = VII nat.): C–E–G–C; B♭–D–G–G (unison G printed as two heads); A–C♯–E–A; ré D–D–F–A; bracket \"succ. phrygienne\" under chords 1–3.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-031-ex08.musicxml", "label": "Example 6: C major to D minor, (first) through IV of C = III of d, (b) through the C major tonic taken as the natural VII of d; each with a Phrygian succession.", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "4e3659275bdd63db7b127d7c8836449f7be799def67b7090c2c37c2df79d5cc1", "transcriptionStatus": "needs-review" } ], "id": "rh-031-ex08", "sha256": "eaf0231f4d920b9493ee9ed42c64c2e327f1e657adf0bfd7d0a3c0ce1b6c9ad3", "sources": [ { "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44 } ], "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44, "music_transcription_status": "needs-review" }, { "path": "images/rh-031-ex09.png", "kind": "music", "bbox_pixels": [ 280, 1355, 985, 200 ], "dimensions_pixels": [ 985, 200 ], "description": "Example 1, A minor to C major, two staves joined by \"ou\". a) la (IV = II) A–E–A–C; F–D–A–D figured 6; bracketed 6/4 G–E–G–C; G–D–G–B; Do C–E–G–C. — ou — b) la (VI = IV) A–E–A–C; F–F–A–C; D–F–B–D figured 6; Do C–G–C–E. Parentheses not encoded.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-031-ex09.musicxml", "label": "Example 1: A minor to C major, (a) through IV of a = II of C, or (b) through VI of a = IV of C.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 }, { "bars": 1, "staves": 1 } ], "sha256": "ee8329768e70ce47489931502c44876ce47cfc052783a10499e963738251dacc", "transcriptionStatus": "needs-review" } ], "id": "rh-031-ex09", "sha256": "984810c16511b7bbb6f6d4e8def832f4f6a826771d8786571013859d3eefb4cb", "sources": [ { "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44 } ], "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44, "music_transcription_status": "needs-review" }, { "path": "images/rh-031-ex10.png", "kind": "music", "bbox_pixels": [ 165, 1565, 400, 195 ], "dimensions_pixels": [ 400, 195 ], "description": "Example 2, A minor to E minor: la (I = IV) A–E–A–C; bracketed 6/4 B–E–G–B; B–D♯–A–B figured 7; mi E–E–G–B. Parentheses not encoded.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-031-ex10.musicxml", "label": "Example 2: A minor to E minor; the A minor tonic becomes IV of e.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "6fc6ef57c8d1ebe6848e66fe08df1da67faa980ea7898d987b3a4a5af9b55cd7", "transcriptionStatus": "needs-review" } ], "id": "rh-031-ex10", "sha256": "fd622c942916292a1683563078af5b249be2b6929c393323ca71c4fdcd436ca8", "sources": [ { "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44 } ], "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44, "music_transcription_status": "needs-review" }, { "path": "images/rh-031-ex11.png", "kind": "music", "bbox_pixels": [ 585, 1565, 385, 195 ], "dimensions_pixels": [ 385, 195 ], "description": "Example 3, A minor to E major: la (I = IV) A–E–A–C; bracketed 6/4 B–E–G♯–B; B–D♯–A–B figured 7; Mi E–E–G♯–B. Parentheses not encoded.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-031-ex11.musicxml", "label": "Example 3: A minor to E major; the A minor tonic becomes IV of E.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "b8948981a0cc31bc4b5a5b43a292c287055b6e17dd6d10b7801ac55315e7f760", "transcriptionStatus": "needs-review" } ], "id": "rh-031-ex11", "sha256": "1dc1e8a265f2efa1e37c51b3cf427a93180ae3d2a914e4e00443a09797df46ba", "sources": [ { "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44 } ], "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44, "music_transcription_status": "needs-review" }, { "path": "images/rh-031-ex12.png", "kind": "music", "bbox_pixels": [ 975, 1565, 370, 195 ], "dimensions_pixels": [ 370, 195 ], "description": "Example 4, A minor to F major: la (I = III) A–E–A–C; G–E–B♭–C, the dominant 4/3 chord (its figure 3 is printed low, level with the top of the following text line); Fa F–F–A–C.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-031-ex12.musicxml", "label": "Example 4: A minor to F major; the A minor tonic becomes III of F, preparing the dominant 4/3 chord.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "011eae3b1ad5b4459032600a0b7783032727ac60c75471b8953fbbcce2bea307", "transcriptionStatus": "needs-review" } ], "id": "rh-031-ex12", "sha256": "e077cad90c88d99286b9af1f43fbc2c390f6c0946e5795b0c06b5ae371e100af", "sources": [ { "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44 } ], "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44, "music_transcription_status": "needs-review" }, { "path": "images/rh-031-ex13.png", "kind": "music", "bbox_pixels": [ 575, 1930, 370, 215 ], "dimensions_pixels": [ 370, 215 ], "description": "Example 5, A minor to G major: la (I = II) A–E–A–C; D–D–F♯–C figured 7; Sol G–D–G–B.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-031-ex13.musicxml", "label": "Example 5: A minor to G major; the A minor tonic becomes II of G.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "456cdc8e3ab459d6e42800208243eef52bbabf3ea71a0b91189bd964bdf0e9c2", "transcriptionStatus": "needs-review" } ], "id": "rh-031-ex13", "sha256": "94a668909b73ffea447b52b590ac5f7620d437cbb50044cc857077eba5786e23", "sources": [ { "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44 } ], "pdf_page": 52, "source_image": "source-pages/052.png", "printed_page": 44, "music_transcription_status": "needs-review" }, { "path": "images/rh-032-ex01.png", "kind": "music", "bbox_pixels": [ 180, 495, 1310, 200 ], "dimensions_pixels": [ 1310, 200 ], "description": "A minor to D minor by way of F major, two versions separated by a double bar. a) la A–E–A–C; G–E–B♭–C; Fa F–F–A–C; G–D–G–B♭; A–C♯–E–A; ré D–D–F–A (unison D as two heads). b) la A–E–A–C; G–E–B♭–C; Fa F–F–A–C; B♭–F–B♭–D; G–G–B♭–D (flat not reprinted); bracketed 6/4 A–F–A–D; A–E–A–C♯; ré D–F–A–D; final double bar, then \"etc.\" Parentheses not encoded.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-032-ex01.musicxml", "label": "Example: A minor to D minor by way of F major, the relative major of D minor, in two versions (a and b), the second with a bracketed cadential 6/4; “etc.” as printed.", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "910de4e234b96fa4f254c6d204c1da68e84875159ef5246c59672ad03d33b5ac", "transcriptionStatus": "needs-review" } ], "id": "rh-032-ex01", "sha256": "bc4f2ef879f32cbe5c05da846be534d59ffadeef3720eb7af1b4aa35fdfcae9f", "sources": [ { "pdf_page": 53, "source_image": "source-pages/053.png", "printed_page": 45 } ], "pdf_page": 53, "source_image": "source-pages/053.png", "printed_page": 45, "music_transcription_status": "needs-review" }, { "path": "images/rh-032-ex02.png", "kind": "music", "bbox_pixels": [ 395, 905, 840, 175 ], "dimensions_pixels": [ 840, 175 ], "description": "C major to F major by way of D minor: Do C–E–G–C; B♭–D–G–G (unison G as two heads); A–C♯–E–A; ré D–D–F–A; B♭–D–F–B♭; bracketed 6/4 C–C–F–A with a natural on the doubled C; C–C–E–G; Fa F–C–F–A. Parentheses not encoded.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-032-ex02.musicxml", "label": "Example: C major to F major indirectly, by way of D minor, with a bracketed cadential 6/4.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "49e2b44058c97518e85c0b67d5b79c4e0643603606920354a9feadbb109618bf", "transcriptionStatus": "needs-review" } ], "id": "rh-032-ex02", "sha256": "d31a0af407094191c88c9fa4262ab24b1d6c8e7d16c0e7100760328028669eab", "sources": [ { "pdf_page": 53, "source_image": "source-pages/053.png", "printed_page": 45 } ], "pdf_page": 53, "source_image": "source-pages/053.png", "printed_page": 45, "music_transcription_status": "needs-review" }, { "path": "images/rh-032-ex03.png", "kind": "music", "bbox_pixels": [ 395, 1180, 845, 182 ], "dimensions_pixels": [ 845, 182 ], "description": "C major to D minor by way of F major: Do, the soprano C falls to B♭ in half notes over held C–E–G; Fa F–F–F–A (unison F as two heads); B♭–D–F–B♭; G–D–G–B♭; A–C♯–E–A; ré D–D–F–A (unison D as two heads).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-032-ex03.musicxml", "label": "Example: C major to D minor indirectly, by way of F major; the soprano C falls to B♭ in half notes over the held C major chord.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "5af158ad06271a5523ee34dfe127e063c43e1eca77102586068556b83351419d", "transcriptionStatus": "needs-review" } ], "id": "rh-032-ex03", "sha256": "641c719cc260a72ac8853adada56694fce9bb62702ab2d9170dacfaaf90cadd3", "sources": [ { "pdf_page": 53, "source_image": "source-pages/053.png", "printed_page": 45 } ], "pdf_page": 53, "source_image": "source-pages/053.png", "printed_page": 45, "music_transcription_status": "needs-review" }, { "path": "images/rh-032-ex04.png", "kind": "music", "bbox_pixels": [ 420, 1888, 385, 160 ], "dimensions_pixels": [ 385, 160 ], "description": "A minor to D minor: la (VII = IV mél.) A–E–A–C; G–G–B–D; E–G–C♯–E figured 6; ré D–A–D–F.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-032-ex04.musicxml", "label": "Example 1 (unnumbered): A minor to D minor; VII of A minor (G major) taken as IV of the melodic minor of D.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "28994331dc7b11371845b86b6b07a3e4837e64e8bd5db4819c776f4a92f4b350", "transcriptionStatus": "needs-review" } ], "id": "rh-032-ex04", "sha256": "0cc388ef54c63586c110464b074669040ce8032c7bcb08b17b4c6139ad0086fe", "sources": [ { "pdf_page": 53, "source_image": "source-pages/053.png", "printed_page": 45 } ], "pdf_page": 53, "source_image": "source-pages/053.png", "printed_page": 45, "music_transcription_status": "needs-review" }, { "path": "images/rh-032-ex05.png", "kind": "music", "bbox_pixels": [ 800, 1878, 460, 165 ], "dimensions_pixels": [ 460, 165 ], "description": "Preceded by \"et 2\". C major to D minor: Do (V = IV mél.) C–G–C–E; G–G–B–D (the lowest G printed as a separate head before the chord); E–G–C♯–E figured 6; ré D–A–D–F.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-032-ex05.musicxml", "label": "and Example 2: C major to D minor; V of C major (G major) taken as IV of the melodic minor of D.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "daf31db258f4c7a3724351fe4b03130efe1cc3002c3717d9209b8d11b2708f34", "transcriptionStatus": "needs-review" } ], "id": "rh-032-ex05", "sha256": "a8d83fb9e68b741341e4548f30b2dfaf6e4a8559b82aa48196f3aabaffe30309", "sources": [ { "pdf_page": 53, "source_image": "source-pages/053.png", "printed_page": 45 } ], "pdf_page": 53, "source_image": "source-pages/053.png", "printed_page": 45, "music_transcription_status": "needs-review" }, { "path": "images/rh-033-ex01.png", "kind": "music", "bbox_pixels": [ 138, 572, 435, 140 ], "dimensions_pixels": [ 435, 140 ], "description": "C major to A minor: Do C–E–G–C; (VI = I) A–E–A–C, with tie curves joining the common tones C (above) and E (below); E–E–G♯–B (unison E as two heads); la A–C–A–A (unison A as two heads).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-033-ex01.musicxml", "label": "Example: C major to A minor; the A minor chord, VI of C, becomes I of a.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "5ba961266853db366385a529f1ad1e663d7013dc9c049df0a9387d2070a1a0d5", "transcriptionStatus": "needs-review" } ], "id": "rh-033-ex01", "sha256": "1874ac7d7d56f340d292b81c1833a458e491701112749e1e979ecc8a7ee9d860", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ], "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46, "music_transcription_status": "needs-review" }, { "path": "images/rh-033-ex02.png", "kind": "music", "bbox_pixels": [ 575, 572, 368, 140 ], "dimensions_pixels": [ 368, 140 ], "description": "C major to G major: Do C–E–G–C; (V = I) G–D–G–B; D–D–F♯–A (unison D as two heads); Sol G–D–G–B.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-033-ex02.musicxml", "label": "Example: C major to G major; the G major chord, V of C, becomes I of G.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "a24e542034ff48348f6f2ad9bf3ab3242907b38d018740eccc5a3d6e72f8dfd1", "transcriptionStatus": "needs-review" } ], "id": "rh-033-ex02", "sha256": "edf03e7d1ed045536c65cb74e14f8a836f97c7ddd24cccb392d0675b11a1f121", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ], "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46, "music_transcription_status": "needs-review" }, { "path": "images/rh-033-ex03.png", "kind": "music", "bbox_pixels": [ 945, 572, 478, 140 ], "dimensions_pixels": [ 478, 140 ], "description": "C major to F major: Do C–E–G–C; (IV = I) F–F–A–C (unison F as two heads); B♭–F–B♭–D; C–E–G–C; Fa F–F–A–C.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-033-ex03.musicxml", "label": "Example: C major to F major; the F major chord, IV of C, becomes I of F.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "a9dd0eca74396f8b54bd5db7f9d5d5761659892dd5a4d5a652aae36a78f47045", "transcriptionStatus": "needs-review" } ], "id": "rh-033-ex03", "sha256": "17c8994800dd3ee8c53557e43f6dd1b7d463fc39c2d4c1d3ca850febaf872873", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ], "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46, "music_transcription_status": "needs-review" }, { "path": "images/rh-033-ex04.png", "kind": "music", "bbox_pixels": [ 138, 738, 462, 147 ], "dimensions_pixels": [ 462, 147 ], "description": "C major to F minor: Do C–E–G–C; (IV = I) F–F–A♭–C (unison F as two heads); B♭–F–B♭–D♭; C–E–G–C; fa F–F–A♭–C (flat reprinted).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-033-ex04.musicxml", "label": "Example: C major to F minor; the F minor chord (IV of harmonic C major) becomes I of f.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "55b0334c0a73d1b01b30e32f095c4896db0fed9de14a65b887fcbad4898ae7b9", "transcriptionStatus": "needs-review" } ], "id": "rh-033-ex04", "sha256": "3c8c3a8c94a231235599ad29d9662612c7f712148027b53b9ee31b883b28b63c", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ], "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46, "music_transcription_status": "needs-review" }, { "path": "images/rh-033-ex05.png", "kind": "music", "bbox_pixels": [ 600, 738, 402, 147 ], "dimensions_pixels": [ 402, 147 ], "description": "C major to E minor: Do C–E–G–C; G–D–G–B; (III = I) E–E–G–B (unison E as two heads), with two tie curves from the G major chord into it (encoded as ties on the common tones G and B); B–D♯–F♯–B; mi E–E–G–B.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-033-ex05.musicxml", "label": "Example: C major to E minor; the E minor chord, III of C, becomes I of e.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "ebb5a4f8aa839133f8378781a7b70380d280665245e253338f2bf1f5e7c0bc7e", "transcriptionStatus": "needs-review" } ], "id": "rh-033-ex05", "sha256": "ffba398d5445474996bcb7bc702bbcda8111d6100de4c2f2581437d610abb070", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ], "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46, "music_transcription_status": "needs-review" }, { "path": "images/rh-033-ex06.png", "kind": "music", "bbox_pixels": [ 1003, 738, 420, 147 ], "dimensions_pixels": [ 420, 147 ], "description": "C major to D minor: Do C–E–G–C; F–F–A–C (unison F as two heads), the second F tied into the next chord; (II = I) D–F–A–D; A–E–A–C♯; ré D–F–A–D.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-033-ex06.musicxml", "label": "Example: C major to D minor; the D minor chord, II of C, becomes I of d.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "9ee7f33204e0c1089ca7359b6d7d6e22a118f90ae46e3d16ce2b803665d24bcd", "transcriptionStatus": "needs-review" } ], "id": "rh-033-ex06", "sha256": "fed20a8a4ec9fafe8be3bad0b098a22bfe13863616770899e0f0d77e2d547bee", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ], "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46, "music_transcription_status": "needs-review" }, { "path": "images/rh-033-ex07.png", "kind": "music", "bbox_pixels": [ 138, 950, 432, 155 ], "dimensions_pixels": [ 432, 155 ], "description": "A minor to C major: la A–C–E–A; (III = I) C–C–E–G (unison C as two heads), with tie curves joining the common tones E and C; G–B–D–G; Do C–C–E–G (unison C as two heads).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-033-ex07.musicxml", "label": "Example: A minor to C major; the C major chord, III of a, becomes I of C.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "d1a52fb0cda6f94f3d2ddf7335e85fe73e68e8e455e4e6a01301bc042449e6b5", "transcriptionStatus": "needs-review" } ], "id": "rh-033-ex07", "sha256": "969061cd2c810278caec504f499823b7f52e67b4a9d7afbfb3bdcf0f6767a174", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ], "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46, "music_transcription_status": "needs-review" }, { "path": "images/rh-033-ex08.png", "kind": "music", "bbox_pixels": [ 570, 950, 455, 155 ], "dimensions_pixels": [ 455, 155 ], "description": "A minor to D minor: la A–E–A–C; F–F–A–C (unison F as two heads), tied into the next chord on A (curve above) and F (curve below); (IV = I) D–F–A–D; A–E–A–C♯; ré D–F–A–D.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-033-ex08.musicxml", "label": "Example: A minor to D minor; the D minor chord, IV of a, becomes I of d.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "76e93edaebb7a76d97725d45625db5e2d322e7c8109ecbe389c7af01fcfc871d", "transcriptionStatus": "needs-review" } ], "id": "rh-033-ex08", "sha256": "9489ec1ebcb3845de682ea1876b4ac0c4b507f2f52264f39fc3c57f7cc8c102e", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ], "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46, "music_transcription_status": "needs-review" }, { "path": "images/rh-033-ex09.png", "kind": "music", "bbox_pixels": [ 1027, 950, 395, 155 ], "dimensions_pixels": [ 395, 155 ], "description": "A minor to E minor: la A–E–A–C; (V = I) E–E–G–B (unison E as two heads); B–D♯–F♯–B; mi E–G–B (only three noteheads printed).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-033-ex09.musicxml", "label": "Example: A minor to E minor; the E minor chord (V of natural A minor) becomes I of e.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "ab3650bfe57026984f0d8ef18d97025868def539d28b00afe6f9d6cb26eab641", "transcriptionStatus": "needs-review" } ], "id": "rh-033-ex09", "sha256": "1800c01c0dc14a0309f978d90d0aa7bc3c0bb71bd49cee3220dcfb7e41b2313f", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ], "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46, "music_transcription_status": "needs-review" }, { "path": "images/rh-033-ex10.png", "kind": "music", "bbox_pixels": [ 138, 1118, 457, 147 ], "dimensions_pixels": [ 457, 147 ], "description": "A minor to E major: la A–E–A–C; (V = I) E–E–G♯–B (unison E as two heads); B–D♯–F♯–B; Mi E–E–G♯–B (sharp reprinted).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-033-ex10.musicxml", "label": "Example: A minor to E major; the E major chord, V of a, becomes I of E.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "703cbe483fb11498c6a7287b64cb688ef6048d024d22ed723385c9cf8528ae08", "transcriptionStatus": "needs-review" } ], "id": "rh-033-ex10", "sha256": "c4c387335ae42ae7d2f25ebe0f120384e3b92c1d0abe822b278cade28e55c4ca", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ], "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46, "music_transcription_status": "needs-review" }, { "path": "images/rh-033-ex11.png", "kind": "music", "bbox_pixels": [ 596, 1118, 403, 147 ], "dimensions_pixels": [ 403, 147 ], "description": "A minor to F major: la A–E–A–C; (VI = I) F–F–A–C (unison F as two heads); C–E–G–C; Fa F–F–A–C.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-033-ex11.musicxml", "label": "Example: A minor to F major; the F major chord, VI of a, becomes I of F.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "b17701db58f3d462b471ace35dc2174ab6420c6ce9bd43e65bdf5d0afef036b0", "transcriptionStatus": "needs-review" } ], "id": "rh-033-ex11", "sha256": "9d15d178b645d80aa48ad21316033faf3d412c75b22558ba55c38796da7e7951", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ], "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46, "music_transcription_status": "needs-review" }, { "path": "images/rh-033-ex12.png", "kind": "music", "bbox_pixels": [ 1000, 1118, 420, 147 ], "dimensions_pixels": [ 420, 147 ], "description": "A minor to G major: la A–E–A–C; (VII = I) G–G–B–D; D–F♯–A–D; Sol G–G–B–D.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-033-ex12.musicxml", "label": "Example: A minor to G major; the G major chord, VII of natural A minor, becomes I of G.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "5854c984249c51d5981e8d74f16bb4dd9af8718d711fc62896e0b7d559e59817", "transcriptionStatus": "needs-review" } ], "id": "rh-033-ex12", "sha256": "dea565ea6370cedc844abaf8d03016f91c74ae15035cbfbf96d96d998aa8c089", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ], "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46, "music_transcription_status": "needs-review" }, { "path": "images/rh-033-ex13.png", "kind": "music", "bbox_pixels": [ 1225, 1640, 215, 100 ], "dimensions_pixels": [ 215, 100 ], "description": "Ascending chromatic motion: G4 to G♯4, whole notes joined by a slur.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-033-ex13.musicxml", "label": "Example: ascending chromatic motion, G to G♯.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "a23adb535e87ace1bde9dcf3c94f4bfa54115b076d5755993784bd2959d4c121", "transcriptionStatus": "needs-review" } ], "id": "rh-033-ex13", "sha256": "34e104227dcd60b1dee823fe925bf3036f2543c147eeb8ed83d7b832513905ad", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ], "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46, "music_transcription_status": "needs-review" }, { "path": "images/rh-033-ex14.png", "kind": "music", "bbox_pixels": [ 1225, 1760, 215, 95 ], "dimensions_pixels": [ 215, 95 ], "description": "Descending chromatic motion: A4 to A♭4, whole notes joined by a slur.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-033-ex14.musicxml", "label": "Example: descending chromatic motion, A to A♭.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "7cb9a0d9f2ef40e362d758d9e8cceaf216707ee33bf25d2ae74452e3a18f7a2c", "transcriptionStatus": "needs-review" } ], "id": "rh-033-ex14", "sha256": "d6aa6715e53dac25db85bc33af85c376b32cb20b7960d43cc980617bf069dc1d", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ], "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46, "music_transcription_status": "needs-review" }, { "path": "images/rh-033-ex15.png", "kind": "music", "bbox_pixels": [ 480, 1965, 560, 245 ], "dimensions_pixels": [ 560, 245 ], "description": "\"Fausse relation\" (false relation), grand staff, two bars divided by a double bar. Bar 1: G♮3–B3 (bass) with E4–B4 (treble), then E3–E4 with G♯4–B4; a line joins the bass G♮ to the treble G♯. Bar 2: F3–C4 with F4–A♮4, then A♭3–C4 with F4–C5; a line joins the treble A♮ to the bass A♭. The connecting lines are not encoded.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-033-ex15.musicxml", "label": "Example: false relation — the chromatic step is split between two parts (G in the bass, G♯ in the treble; A in the treble, A♭ in the bass), shown by connecting lines.", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "265ca816db8442a8610c5f3b476f714fde03e57a7703317b79ab4b55e215575e", "transcriptionStatus": "needs-review" } ], "id": "rh-033-ex15", "sha256": "d1c0fec4d970f96068b8ae29162d6a959d1acee7220543ad49bd7f1869d54ec7", "sources": [ { "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46 } ], "pdf_page": 54, "source_image": "source-pages/054.png", "printed_page": 46, "music_transcription_status": "needs-review" }, { "path": "images/rh-064-ex01.png", "kind": "music", "bbox_pixels": [ 950, 488, 232, 114 ], "dimensions_pixels": [ 232, 114 ], "description": "Ascending chromatic motion: G4 to G♯4, whole notes joined by a slur below; double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-064-ex01.musicxml", "label": "Example: ascending chromatic motion, G to G♯.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "a23adb535e87ace1bde9dcf3c94f4bfa54115b076d5755993784bd2959d4c121", "transcriptionStatus": "needs-review" } ], "id": "rh-064-ex01", "sha256": "4ea92917cf1c8a76332a134449089259d0f6e0be79644e058df33a6dbc54162e", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ], "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47, "music_transcription_status": "needs-review" }, { "path": "images/rh-064-ex02.png", "kind": "music", "bbox_pixels": [ 240, 958, 540, 170 ], "dimensions_pixels": [ 540, 170 ], "description": "C major to A minor: Do C–E–G–C; (V = VII nat.) G–D–G–B; VII harm. G♯–D–F–B, with a slur from the bass G to G♯ and a straight line from G4 to F4; la A–C–E–A.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-064-ex02.musicxml", "label": "Example: C major to A minor; the G major chord, V of C, is VII of natural A minor; it moves to VII of harmonic A minor (G–G♯ chromatically in the bass), then to the A minor chord.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "5f31e1a1c1f98d5b8efc54517df452fc2d7f3c4f639bdc15c2f9d5c08c5ec97c", "transcriptionStatus": "needs-review" } ], "id": "rh-064-ex02", "sha256": "f9021575290eb3f699d160a7345e14bc07ac27173a292d53aa3cafb9a2b02741", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ], "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47, "music_transcription_status": "needs-review" }, { "path": "images/rh-064-ex03.png", "kind": "music", "bbox_pixels": [ 780, 958, 485, 200 ], "dimensions_pixels": [ 485, 200 ], "description": "C major to E minor: Do C–E–G–C; (V = III nat.) G–D–G–B; V harm. F♯–D♯–A–B (B and A printed side by side), figured 4/3, with a slur from D to D♯; mi E–E–G–B.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-064-ex03.musicxml", "label": "Example: C major to E minor; the G major chord, V of C, is III of natural E minor; it moves to V harm. of E minor (B seventh chord, figured 4/3 over F♯), then to the E minor chord.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "e2dca06c0663776c28c2a1e601a9230d08179f09563654cdb6a947641de13066", "transcriptionStatus": "needs-review" } ], "id": "rh-064-ex03", "sha256": "b36bedd002e6d671e6bf4852dcb51bd2a44cb5c86a2830109a4d6063238baa15", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ], "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47, "music_transcription_status": "needs-review" }, { "path": "images/rh-064-ex04.png", "kind": "music", "bbox_pixels": [ 240, 1138, 348, 170 ], "dimensions_pixels": [ 348, 170 ], "description": "C major to D minor: Do C–E–G–C; (I = VII nat.) C–E–G–C; VII harm. C♯–E–G–B♭, figured ♭7; ré D–F–F–A (unison F as two heads).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-064-ex04.musicxml", "label": "Example: C major to D minor; the C major chord, I of C, is VII of natural D minor; it moves to VII harm. of D minor (C♯–E–G–B♭, figured ♭7), then to the D minor chord.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "f2be68879f8df7e572cc47e900003e565c39d1b3665e45983e3ee9afa06c11ce", "transcriptionStatus": "needs-review" } ], "id": "rh-064-ex04", "sha256": "86fb0890cd931659c812c17c0af5fc22b442cf5e97395c2b79d13e67a55a76c7", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ], "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47, "music_transcription_status": "needs-review" }, { "path": "images/rh-064-ex05.png", "kind": "music", "bbox_pixels": [ 588, 1138, 292, 187 ], "dimensions_pixels": [ 292, 187 ], "description": "A minor to D minor: la (I = V nat.) A–E–A–C; V harm. G–E–A–C♯, figured 2; ré F–D–A–D, figured 6.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-064-ex05.musicxml", "label": "Example: A minor to D minor; the A minor chord, I of a, is V of natural D minor; it moves to V harm. of D minor over G in the bass (figured 2), then to the D minor chord in first inversion (figured 6).", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "27acb59e3ab6b1f6a6eafd9f6b79273a19df876b95e52187d3191dacebbf59a1", "transcriptionStatus": "needs-review" } ], "id": "rh-064-ex05", "sha256": "2491d71f02386af92ec620fdcb5e35700304e8c3978a74270a815ab4bff65d75", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ], "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47, "music_transcription_status": "needs-review" }, { "path": "images/rh-064-ex06.png", "kind": "music", "bbox_pixels": [ 880, 1150, 385, 200 ], "dimensions_pixels": [ 385, 200 ], "description": "A minor to E minor: la A–E–A–C; (VII = III nat.) G–G–B–D; V harm. F♯–A–B–D♯ (A and B side by side), figured 4/3; mi E–G–B–E.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-064-ex06.musicxml", "label": "Example: A minor to E minor; the G major chord, VII of natural A minor, is III of natural E minor; it moves to V harm. of E minor (figured 4/3 over F♯), then to the E minor chord.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "ad6e047e5c84fff0f040e746f414d95c8e102c22b111431e43e62bdb06668870", "transcriptionStatus": "needs-review" } ], "id": "rh-064-ex06", "sha256": "e7281bfe82d9118a47135fbfc19997f059f8b62b4e2d604b54e90f85a180f715", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ], "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47, "music_transcription_status": "needs-review" }, { "path": "images/rh-064-ex07.png", "kind": "music", "bbox_pixels": [ 480, 1327, 240, 106 ], "dimensions_pixels": [ 240, 106 ], "description": "Descending alteration: A4 to A♭4, whole notes; double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-064-ex07.musicxml", "label": "Example: descending alteration, A to A♭.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "1539ff53c452a1630ce1ba22ae2d95a1f17249d3d795c284bd53f2199f73a5a3", "transcriptionStatus": "needs-review" } ], "id": "rh-064-ex07", "sha256": "d9cec19d9e1b664b9340fdf5bb9047b93d3a4acc2d99f12993bbf158650dc87e", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ], "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47, "music_transcription_status": "needs-review" }, { "path": "images/rh-064-ex08.png", "kind": "music", "bbox_pixels": [ 240, 1640, 605, 160 ], "dimensions_pixels": [ 605, 160 ], "description": "C major to F major: Do C–E–G–C; F–F–A–C (unison F as two heads); (II = IV) D–F–A–D; IV harm. B♭–F–B♭–D♭, slur D to D♭; (C–E–B♭–C) in parentheses; Fa F–F–A–C.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-064-ex08.musicxml", "label": "Example: C major to F major; after the F major chord, the D minor chord (II of C) moves to IV harm. of F (B♭ minor, D–D♭ chromatically in the soprano); a parenthesized C seventh chord (V of F) may follow; then the F major chord.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "244ba13f7631232d59b4db46f041d2479ba9216f2b87c69f342e232ecdb4eb48", "transcriptionStatus": "needs-review" } ], "id": "rh-064-ex08", "sha256": "0570ad856bf6665ce5f4377485e88a60fd03ced3bcd21ac919cc7cf78818e01a", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ], "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47, "music_transcription_status": "needs-review" }, { "path": "images/rh-064-ex09.png", "kind": "music", "bbox_pixels": [ 845, 1640, 425, 187 ], "dimensions_pixels": [ 425, 187 ], "description": "C major to G major: Do (I = IV nat.) C–E–G–G (unison G as two heads); II harm. C–E♭–G–A, figured 6/5, slur E to E♭; (D–D–F♯–A) in parentheses; Sol G–D–G–B.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-064-ex09.musicxml", "label": "Example: C major to G major; the C major chord, I of C, is IV of natural G major; it moves to II harm. of G (C–E♭–G–A, figured 6/5, E–E♭ chromatically), a parenthesized D major chord (V of G), then the G major chord.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "be3f2fe07cbe7e345881025d3dbfdbc77d5b689f5cd63946d8db8e9055722ad8", "transcriptionStatus": "needs-review" } ], "id": "rh-064-ex09", "sha256": "7d3990bc483dd7804e9abacc6a17e12474fa34b53c9c1018515d7ac98eba7cae", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ], "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47, "music_transcription_status": "needs-review" }, { "path": "images/rh-064-ex10.png", "kind": "music", "bbox_pixels": [ 120, 1838, 485, 197 ], "dimensions_pixels": [ 485, 197 ], "description": "A minor to C major: la A–E–A–C; (VI = IV nat.) F–A–C–C (unison C as two heads); II harm. F–A♭–C–D, figured 6/5; (G–G–B–D) in parentheses; Do C–G–C–E.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-064-ex10.musicxml", "label": "Example: A minor to C major; the F major chord, VI of a, is IV of natural C major; it moves to II harm. of C (F–A♭–C–D, figured 6/5), a parenthesized G major chord (V of C), then the C major chord.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "22c46fd86cd79a9517f901ef10cb9a99bbd57e523601fa13aa7e76de4ff35c37", "transcriptionStatus": "needs-review" } ], "id": "rh-064-ex10", "sha256": "7a740a1a3fdc1d25ca95e0858e8e996f5b9276c8344709c58e5129193f5a1060", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ], "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47, "music_transcription_status": "needs-review" }, { "path": "images/rh-064-ex11.png", "kind": "music", "bbox_pixels": [ 605, 1838, 420, 197 ], "dimensions_pixels": [ 420, 197 ], "description": "A minor to F major: la A–E–A–C; (IV = VI nat.) D–F–A–D; IV harm. B♭–F–B♭–D♭; (C–E–B♭–C) in parentheses, figured 7; Fa F–F–A–C.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-064-ex11.musicxml", "label": "Example: A minor to F major; the D minor chord, IV of a, is VI of natural F major; it moves to IV harm. of F (B♭ minor), a parenthesized C seventh chord (V of F, figured 7), then the F major chord.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "c059be6d0830c9701dbb927aa278f02d523bcecf5d5a46f00096ffc7be7a298e", "transcriptionStatus": "needs-review" } ], "id": "rh-064-ex11", "sha256": "0f59d5926d56e0a832734822fc83b905d25e9d0687c9fe901e302655682ef9c3", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ], "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47, "music_transcription_status": "needs-review" }, { "path": "images/rh-064-ex12.png", "kind": "music", "bbox_pixels": [ 1022, 1838, 375, 197 ], "dimensions_pixels": [ 375, 197 ], "description": "A minor to G major: la (I = II nat.) A–E–A–C; II harm. C–E♭–G–A, figured 6/5; (D–D–F♯–A) in parentheses; Sol G–D–G–B.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-064-ex12.musicxml", "label": "Example: A minor to G major; the A minor chord, I of a, is II of natural G major; it moves to II harm. of G (C–E♭–G–A, figured 6/5), a parenthesized D major chord (V of G), then the G major chord.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "5abe2e63dbce4dd4ab935366be72d9b84d097705f2ae41a6d4aa003d67e63adc", "transcriptionStatus": "needs-review" } ], "id": "rh-064-ex12", "sha256": "587c573668c16175f83633f78b43cd12564aa1a9d8df8dbbaeaa418cbd97635c", "sources": [ { "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47 } ], "pdf_page": 55, "source_image": "source-pages/055.png", "printed_page": 47, "music_transcription_status": "needs-review" }, { "path": "images/rh-065-ex01.png", "kind": "music", "bbox_pixels": [ 280, 560, 1090, 165 ], "dimensions_pixels": [ 1090, 165 ], "description": "C major to D minor: Do C–G–C–E; (V = IV mél.) G–G–B–D (unison G); IV nat. G–G–B♭–D, a curve above marking B→B♭; in parentheses F–A–A–D and E–G–A–C♯ (4/3); ré D–F–A–D; double bar. A minor to G major: la A–E–A–C; IV nat. D–F–A–D; (IVm. = Vn.) C–F♯–A–D, figured 2; Sol B–G–G–D (unison G); final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-065-ex01.musicxml", "label": "Example: C major to D minor — the G major chord, V of C, is IV of melodic D minor; by the chromatic step B–B♭ it becomes IV of natural D minor (G–B♭–D), followed by the parenthesized chords D minor (6) and A7 (4/3), then the D minor chord. A minor to G major — the D minor chord, IV of natural A minor, becomes by the chromatic step F–F♯ IV of melodic A minor = V of natural G (D7 over C, figured 2), resolving to the G major chord (6).", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "0d34a86605cf7212f5d1d941da5942584b5b3a532ad010de132303dddf0b66c6", "transcriptionStatus": "needs-review" } ], "id": "rh-065-ex01", "sha256": "8e81e48affe44d0e90832438eec7d6e775af93df10a4bc2f070292c6452f48d8", "sources": [ { "pdf_page": 56, "source_image": "source-pages/056.png", "printed_page": 48 } ], "pdf_page": 56, "source_image": "source-pages/056.png", "printed_page": 48, "music_transcription_status": "needs-review" }, { "path": "images/rh-065-ex02.png", "kind": "music", "bbox_pixels": [ 205, 1860, 1095, 330 ], "dimensions_pixels": [ 1095, 330 ], "description": "Model (La-ré-La), 3/2, four bars, A minor to D minor: i–iv6–V | i–(G–E–B♭–C)–III | VI–ii6/5–V–V7 | i (dotted whole notes); tenor F4 tied over bar 2–3; final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-065-ex02.musicxml", "label": "Model (A minor – D minor – A minor): a four-bar modulating phrase in four parts, 3/2 time, from A minor to D minor.", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 2 } ], "sha256": "c286bfb38f07000aaefb7448f5513aa1098e562ac624c73556d33d5c790ce63f", "transcriptionStatus": "needs-review" } ], "id": "rh-065-ex02", "sha256": "2f3ae26777f37f2aceb083b5bddc1fd50c9194450aa62526162103449df723b3", "sources": [ { "pdf_page": 56, "source_image": "source-pages/056.png", "printed_page": 48 } ], "pdf_page": 56, "source_image": "source-pages/056.png", "printed_page": 48, "music_transcription_status": "needs-review" }, { "path": "images/rh-066-ex01.png", "kind": "music", "bbox_pixels": [ 60, 193, 1440, 284 ], "dimensions_pixels": [ 1440, 284 ], "description": "Model (Do-Fa-Do), cut time, eight bars, four parts on a grand staff: C major (Do) – via C♯ diminished seventh to D minor – C7 – F major (Fa) – G7 – C major (Do); soprano C5 tied bars 3–4, alto C5 tied bars 6–7; final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-066-ex01.musicxml", "label": "Model (C major – F major – C major): an eight-bar modulating period in four parts, cut time, from C major to F major and back to C major.", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 2 } ], "sha256": "c51d4616ce67b4e9a5ac3a1664b8f824165c960e87940a1076e8416507805a3a", "transcriptionStatus": "needs-review" } ], "id": "rh-066-ex01", "sha256": "bff96b9885c2f2348c4c98470edb013dc02ff8a27b5e72203710d2a99f7526d5", "sources": [ { "pdf_page": 57, "source_image": "source-pages/057.png", "printed_page": 49 } ], "pdf_page": 57, "source_image": "source-pages/057.png", "printed_page": 49, "music_transcription_status": "needs-review" }, { "path": "images/rh-066-ex02.png", "kind": "music", "bbox_pixels": [ 60, 653, 1440, 256 ], "dimensions_pixels": [ 1440, 256 ], "description": "Model (la-Sol), cut time, eight bars, four parts on a grand staff: A minor (la), alto E4 held and tied bars 1–3, tenor C4 tied bars 2–3; E major chord in bar 4 with an optional bass passing note E3–(D3) (parenthesized D3 half note; encoded as the E3 whole note); C minor colour (E♭) and the diminished seventh on F♯ lead to G major (Sol); soprano G4 tied bars 6–7; D7 – G; final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-066-ex02.musicxml", "label": "Model (A minor – G major): an eight-bar period in four parts, cut time, from A minor to G major without return.", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 2 } ], "sha256": "d5f64fc0b323374a5dcce35af7927fd6cae77512b719d5c7a00aaf73a8ee7c33", "transcriptionStatus": "needs-review" } ], "id": "rh-066-ex02", "sha256": "a3cb60e737a71bf89c21543273e55f8ee48d16faf4d3d7f94922e1d69dce6553", "sources": [ { "pdf_page": 57, "source_image": "source-pages/057.png", "printed_page": 49 } ], "pdf_page": 57, "source_image": "source-pages/057.png", "printed_page": 49, "music_transcription_status": "needs-review" }, { "path": "images/rh-066-ex03.png", "kind": "music", "bbox_pixels": [ 60, 1075, 1440, 285 ], "dimensions_pixels": [ 1440, 285 ], "description": "Model (la-Mi), 3/2, eight bars, four parts on a grand staff: A minor (la); bracket \"tons de passage\" from bar 1 (second chord) to about bar 4 — through G7 to C major, C♯ diminished seventh to D minor; E7 over D, A minor, B major/B7, E major (V6) – E7 – A minor under the boxed \"ton de passage\" (bar 6, alto E4 dotted whole tied into bar 7); cadential 6/4 – B7 over a held B2; E major (Mi), dotted whole notes; final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-066-ex03.musicxml", "label": "Model (A minor – E major): an eight-bar period in four parts, 3/2 time, passing through neighbouring keys (\"tons de passage\", \"ton de passage\") before reaching E major.", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 2 } ], "sha256": "68d709b20599207ccc215a65b3f6c630bdbc35cfcff6bf2b50e66413806b7516", "transcriptionStatus": "needs-review" } ], "id": "rh-066-ex03", "sha256": "1fbc4df6e39d13e700eaa3539079bc15f375de530bd1e9e077a260758970a47d", "sources": [ { "pdf_page": 57, "source_image": "source-pages/057.png", "printed_page": 49 } ], "pdf_page": 57, "source_image": "source-pages/057.png", "printed_page": 49, "music_transcription_status": "needs-review" }, { "path": "images/rh-066-ex04.png", "kind": "music", "bbox_pixels": [ 330, 1718, 880, 170 ], "dimensions_pixels": [ 880, 170 ], "description": "Seven four-part whole-note chords on one treble staff, unbarred: A minor (la) A–E–A–C; E7 E–D–G♯–B; deceptive cadence to F major F–C–A–A (unison A5); bracket \"ton de passage\" over A7 E–C♯–G–A and D minor D–D–F–A; E7 E–D–E–G♯; A minor A3–C♮–E–A; final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-066-ex04.musicxml", "label": "Example: in A minor, a deceptive cadence (V7–VI) followed by a transient modulation to D minor, the subdominant key (\"ton de passage\"), and a return to A minor.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "999096f1ca84a7add6122c14dfdb2475764a4fc63d40ccc8574291a16ff0fdd3", "transcriptionStatus": "needs-review" } ], "id": "rh-066-ex04", "sha256": "f6d94326f88a81c7101aeaab20acca2d94937f630eaf61aadc8d9f8dc87eb534", "sources": [ { "pdf_page": 57, "source_image": "source-pages/057.png", "printed_page": 49 } ], "pdf_page": 57, "source_image": "source-pages/057.png", "printed_page": 49, "music_transcription_status": "needs-review" }, { "path": "images/rh-066-ex05.png", "kind": "music", "bbox_pixels": [ 60, 2088, 1440, 180 ], "dimensions_pixels": [ 1440, 180 ], "description": "MAUVAIS (bad): four-part whole-note chords on one treble staff. a) C major (Do) C–E–G–C; bracket \"ré\": C♯–E–G–B♭, D minor D–F–F–A; G7 B♮–D–F–G; C major (Do) C–C–E–G; C7 B♭–E–G–C; F minor (fa) A♭–F–F–C; C7 G–C–E–B♭; F minor F–C–F–A♭; double bar. b) A minor (la) A–A–C–E; B7 B–A–B–D♯; E major (Mi) E–G♯–B–E; bracket \"fa♯\": E♯–G♯–B–D♮, F♯ minor F♯–A–A–C♯; B7 D♯–F♯–A–B; E major (Mi) E♮–G♯–B (three heads); final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-066-ex05.musicxml", "label": "Bad: a) C major with a transient modulation to D minor (\"ré\", bracketed), back to C, then to F minor; b) A minor to E major, then a transient modulation to F♯ minor (\"fa♯\", bracketed) before returning to E major.", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "bdb6c7c07665d4d2cc3569a47526064a7ae1df0b6012f24ad74d6f6850b9fe5b", "transcriptionStatus": "needs-review" } ], "id": "rh-066-ex05", "sha256": "8a4630fba8449567c6feba8361d53c696179c393a0b16537a943ac79b18f4784", "sources": [ { "pdf_page": 57, "source_image": "source-pages/057.png", "printed_page": 49 } ], "pdf_page": 57, "source_image": "source-pages/057.png", "printed_page": 49, "music_transcription_status": "needs-review" }, { "path": "images/rh-067-ex01.png", "kind": "music", "bbox_pixels": [ 455, 318, 800, 125 ], "dimensions_pixels": [ 800, 125 ], "description": "Given melody, treble clef, no key signature or meter, half notes: C5 A4 | B4 C5 | B♭4 A4 | A4 G♯4 | A4, final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-067-ex01.musicxml", "label": "Example: a given melody whose accidentals (B♭, G♯) clearly define the modulation (C major → F major → A minor).", "playbackAvailable": true, "printed_systems": [ { "bars": 5, "staves": 1 } ], "sha256": "acaa197f38aded05b8e4b422ab67dfa85da0b5d76bcce33e041e31787bef13fe", "transcriptionStatus": "needs-review" } ], "id": "rh-067-ex01", "sha256": "29d28bea2bb0d111cf431f8afaf4a647c8c51eb5d036dac78721995e55c5d959", "sources": [ { "pdf_page": 58, "source_image": "source-pages/058.png", "printed_page": 50 } ], "pdf_page": 58, "source_image": "source-pages/058.png", "printed_page": 50, "music_transcription_status": "needs-review" }, { "path": "images/rh-067-ex02.png", "kind": "music", "bbox_pixels": [ 425, 555, 800, 225 ], "dimensions_pixels": [ 800, 225 ], "description": "a) \"Sans modulation\": C3 E4 G4 C5 – F3 D4 A4 D5 – G3 D4 G4 B4 – C3 E4 G4 C5; double bar; b) \"Avec modulation\": C3 E4 G4 C5 – F3 D4 A4 D5 – E3 E4 G♯4 B4 – A2 E4 A4 C5; whole notes, tenor on ledger lines above the bass staff; final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-067-ex02.musicxml", "label": "a) Without modulation (C major throughout: I–ii6–V–I) — b) With modulation (C major to A minor: I–ii6–V of A minor–i).", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "ff024a0b8ab091db61b06c84cb8bc9e7f73a9b4a340eb5061b5231e9dbcb68df", "transcriptionStatus": "needs-review" } ], "id": "rh-067-ex02", "sha256": "e864105ad80a5c453fef9ff62e352beded8c86dc156ac0680ac625392f4af26e", "sources": [ { "pdf_page": 58, "source_image": "source-pages/058.png", "printed_page": 50 } ], "pdf_page": 58, "source_image": "source-pages/058.png", "printed_page": 50, "music_transcription_status": "needs-review" }, { "path": "images/rh-067-ex03.png", "kind": "music", "bbox_pixels": [ 118, 1132, 1475, 588 ], "dimensions_pixels": [ 1475, 588 ], "description": "Devoir 25 model: chorale in D major, cut time, 18 bars on two systems, half notes with whole notes in bars 3 (alto D4 tied over), 14 (soprano), 16–18. Fermatas over the first chord of bars 5, 8, 11, 15 (soprano above, bass below) and over the final chord (above both staves). Cadences: bar 5 on D, bar 8 on F♯ major (V of B minor), bar 11 on A major, bar 15 on A major, final D major. In bar 8 the tenor A♯3 moves chromatically to A♮3 (in unison with the bass) after the fermata, marked (**) and tied into bar 9. Unisons on one notehead: alto/soprano B4 (bar 6 beat 2), tenor/bass A3 (bars 8, 15 and 17 beat 1).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-067-ex03.musicxml", "label": "Model: chorale harmonization in D major, cut time, with cadences modulating to the dominant (A major) and to B minor (fermatas mark the phrase ends); the chromatic step A♯–A♮ after the second fermata is marked (**).", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 2 }, { "bars": 10, "staves": 2 } ], "sha256": "db92d5da0e87d2f46e7f8951af747fb0ffdbda6d4237bacfdbd073c815831eee", "transcriptionStatus": "needs-review" } ], "id": "rh-067-ex03", "sha256": "28a0618b7151849886ab6ae704f4dbdb642cc7a97a12f0ee77428f0e529f2058", "sources": [ { "pdf_page": 58, "source_image": "source-pages/058.png", "printed_page": 50 } ], "pdf_page": 58, "source_image": "source-pages/058.png", "printed_page": 50, "music_transcription_status": "needs-review" }, { "path": "images/rh-067-ex04.png", "kind": "music", "bbox_pixels": [ 110, 1838, 1475, 287 ], "dimensions_pixels": [ 1475, 287 ], "description": "Devoir 26 model: F major, 3/4, 8 bars; brackets \"Ire phrase\" over bars 1–2 and \"IIme phrase\" over bars 5–6 (bars 5–6 begin like bars 1–2). Phrase 1 modulates to C major (bar 3: A♭3 in the tenor, B♮4 in the alto; bar 4: courtesy-natural A4 in the alto, B♮3 in the tenor, cadence V–I in C). Phrase 2 touches D minor (bar 6: C♯4 in the tenor) and closes in F (bar 7: C♮4 in the tenor over C3, bar 8 F major, dotted halves, final double bar). Ties: alto F4 bars 1–2 and 5–6, soprano F5 and alto C5 bars 2–3, soprano F5 bars 6–7, tenor C4 bars 3–4 and 7–8, tenor D4 bars 6–7. Unison tenor/bass B♭3 on beat 1 of bars 2 and 6.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-067-ex04.musicxml", "label": "Model, F major, 3/4, in two phrases: 1st phrase (bars 1–4) modulating to C major; 2nd phrase (bars 5–8) passing through D minor and returning to F major.", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 2 } ], "sha256": "fe118c62f317381616c538291db293776123170776f1215c4ca10eb8b0fdd244", "transcriptionStatus": "needs-review" } ], "id": "rh-067-ex04", "sha256": "17afc8a1fcb5e750571a9d2ac030518ec201d3fc5724ca1119104a6ab565a5ed", "sources": [ { "pdf_page": 58, "source_image": "source-pages/058.png", "printed_page": 50 } ], "pdf_page": 58, "source_image": "source-pages/058.png", "printed_page": 50, "music_transcription_status": "needs-review" }, { "path": "images/rh-068-ex01.png", "kind": "music", "bbox_pixels": [ 1060, 738, 235, 110 ], "dimensions_pixels": [ 235, 110 ], "description": "The two chords common to C major and D major: G–B–D | E–G–B, whole notes, treble clef, barline between, double bar at the end.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-068-ex01.musicxml", "label": "The two chords common to C major and D major: the G major triad (V of C, IV of D) and the E minor triad (III of C, II of D), in whole notes.", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "552a6214cb29976162221e7066f7bd2340ca7e687b1c293cb359842727cb078f", "transcriptionStatus": "needs-review" } ], "id": "rh-068-ex01", "sha256": "a405e2f20d3590c1897998804ab09a2441e15221f672a1a2c6a14fa874e5f952", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ], "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51, "music_transcription_status": "needs-review" }, { "path": "images/rh-068-ex02.png", "kind": "music", "bbox_pixels": [ 225, 1155, 145, 105 ], "dimensions_pixels": [ 145, 105 ], "description": "The only chord common to A minor and C minor: G–B–D, whole note, treble clef, double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-068-ex02.musicxml", "label": "The only chord common to A minor and C minor: the G major triad (V in both keys), in a whole note.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "5650dd6047ac819e31424cc98e5ec84796544f864ee6151adbc8352a8f868b07", "transcriptionStatus": "needs-review" } ], "id": "rh-068-ex02", "sha256": "d09ae470664e4f355fdc946e6e72d539ea32eb59ab4d5eafc440402661df548e", "sources": [ { "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51 } ], "pdf_page": 59, "source_image": "source-pages/059.png", "printed_page": 51, "music_transcription_status": "needs-review" }, { "path": "images/rh-069-ex01.png", "kind": "music", "bbox_pixels": [ 95, 372, 1155, 162 ], "dimensions_pixels": [ 1155, 162 ], "description": "DO – (la) – MI: C4 G4 C5 E5 | B3 G♯4 D5 E5 | A3 A4 C5 E5 | (B3 G♯4 B4 E5, figured 6/4, in parentheses) | B3 A4 B4 D♯5 | E4 G♯4 B4 E5; final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-069-ex01.musicxml", "label": "Example: C major – (A minor) – E major. C major chord; E7 (V7 of A minor); A minor chord; in parentheses the A minor 6/4 chord over B; B7 (V7 of E); E major chord.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "00d81cd8d951cee7a5d61393f75ddaaecb252862673dc16fdf870b6297111c64", "transcriptionStatus": "needs-review" } ], "id": "rh-069-ex01", "sha256": "22e6c5c8b10894c55e400b9e24ad00e6864bad41afe62999ab7e01d2a2726217", "sources": [ { "pdf_page": 60, "source_image": "source-pages/060.png", "printed_page": 52 } ], "pdf_page": 60, "source_image": "source-pages/060.png", "printed_page": 52, "music_transcription_status": "needs-review" }, { "path": "images/rh-069-ex02.png", "kind": "music", "bbox_pixels": [ 95, 540, 1155, 150 ], "dimensions_pixels": [ 1155, 150 ], "description": "DO – (Fa) – sol: C4 E4 G4 C5 | B♭3 E4 G4 C5 | A3 F4 F4 C5 | G3 E♭4 G4 C5 | F♯3 D4 A4 D5 | G3 D4 G4 B♭4; final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-069-ex02.musicxml", "label": "Example: C major – (F major) – G minor. C major chord; C7 over B♭ (V4/2 of F); F major chord, first inversion; C minor 6/4 chord over G; D major chord, first inversion (V6 of G minor); G minor chord.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "b69bf2e74604560d0cf568cd2614c0984f0f18393725401e861c8fd1adbc3e48", "transcriptionStatus": "needs-review" } ], "id": "rh-069-ex02", "sha256": "3394d5f291467dedc15dd74217053e849ed4d43a5053f70c1802932e31714f41", "sources": [ { "pdf_page": 60, "source_image": "source-pages/060.png", "printed_page": 52 } ], "pdf_page": 60, "source_image": "source-pages/060.png", "printed_page": 52, "music_transcription_status": "needs-review" }, { "path": "images/rh-069-ex03.png", "kind": "music", "bbox_pixels": [ 95, 700, 1455, 135 ], "dimensions_pixels": [ 1455, 135 ], "description": "DO – (fa – MI♭) – do: C4 E4 G4 C5 | E4 G4 B♭4 C5 | F4 F4 A♭4 C5 | D4 F4 A♭4 B♭4 | E♭4 E♭4 G4 B♭4 | A♭3 E♭4 A♭4 C5 | A♭3 D4 F4 C5 | G3 D4 G4 B♮4 | C4 E♭4 G4 C5; final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-069-ex03.musicxml", "label": "Example: C major – (F minor – E♭ major) – C minor. C major chord; C7 over E (V6/5 of F minor); F minor chord; B♭7 over D (V6/5 of E♭); E♭ major chord; A♭ major chord over A♭ (IV of E♭ = VI of C minor); D–F–A♭–C over A♭; G major chord (V of C minor), with a printed natural on B; C minor chord.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "110f5fa2d2f5757eba69b08211d0b514dd2fc1ccf1990d0fd186fb0c4b313770", "transcriptionStatus": "needs-review" } ], "id": "rh-069-ex03", "sha256": "256000e06738ff1812e09cad197eb9d7a70b5075dc0cd4fee47f791c6b8e6ae2", "sources": [ { "pdf_page": 60, "source_image": "source-pages/060.png", "printed_page": 52 } ], "pdf_page": 60, "source_image": "source-pages/060.png", "printed_page": 52, "music_transcription_status": "needs-review" }, { "path": "images/rh-069-ex04.png", "kind": "music", "bbox_pixels": [ 95, 848, 1155, 135 ], "dimensions_pixels": [ 1155, 135 ], "description": "La – (DO) – fa: A4 A4 C5 E5 | F4 A4 C5 D5 | F4 G4 B4 D5 | E4 G4 C5 G5 | E4 B♭4 C5 G5 | F4 A♭4 C5 F5; final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-069-ex04.musicxml", "label": "Example: A minor – (C major) – F minor. A minor chord; D minor seventh over F (II6/5 of C); G7 over F (V4/2 of C); C major chord, first inversion; C7 over E (V6/5 of F); F minor chord.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "f14b87e02fd2264d7383290fc74a52f9bcbcb0ec516bd9848a03422140f0dfb3", "transcriptionStatus": "needs-review" } ], "id": "rh-069-ex04", "sha256": "abdf832b5028656fb11fc061227d7b163332c305e401ed8c98e4c42aa447ffd2", "sources": [ { "pdf_page": 60, "source_image": "source-pages/060.png", "printed_page": 52 } ], "pdf_page": 60, "source_image": "source-pages/060.png", "printed_page": 52, "music_transcription_status": "needs-review" }, { "path": "images/rh-069-ex05.png", "kind": "music", "bbox_pixels": [ 95, 1008, 1455, 140 ], "dimensions_pixels": [ 1455, 140 ], "description": "la – (FA) – Si♭: A4 C5 C5 E5 | G4 B♭4 C5 E5 | F4 A4 C5 F5 | E♭4 A4 C5 F5 | D4 B♭4 B♭4 F5 | E♭4 G4 B♭4 E♭5 | (F4 F4 B♭4 D5, figured 6/4, in parentheses) | F4 F4 A4 C5 | B♭3 F4 B♭4 D5; final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-069-ex05.musicxml", "label": "Example: A minor – (F major) – B♭ major. A minor chord; C7 over G (V4/3 of F); F major chord; F7 over E♭ (V4/2 of B♭); B♭ major chord, first inversion; E♭ major chord; in parentheses the B♭ 6/4 chord over F; F major chord (V of B♭); B♭ major chord.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "660d47e337d5a10653c348aef420de90c5255c11fc9c55a0af10a7a8de1bc641", "transcriptionStatus": "needs-review" } ], "id": "rh-069-ex05", "sha256": "d9b481ae81f38fbf874f42ecdd554bc2ce7a2418066a046283215d14fe3ce82b", "sources": [ { "pdf_page": 60, "source_image": "source-pages/060.png", "printed_page": 52 } ], "pdf_page": 60, "source_image": "source-pages/060.png", "printed_page": 52, "music_transcription_status": "needs-review" }, { "path": "images/rh-069-ex06.png", "kind": "music", "bbox_pixels": [ 95, 1172, 1455, 140 ], "dimensions_pixels": [ 1455, 140 ], "description": "la – (MI – fa♯) – LA: A3 A4 C5 E5 | B3 A4 B4 D♯5 | E4 G♯4 B4 E5 | E♯4 G♯4 B4 D♮5 | F♯4 A4 A4 C♯5 | D4 F♯4 B4 D5 | (E4 E4 A4 C♯5, figured 6/4, in parentheses) | E4 E4 G♯4 B4 | A3 E4 A4 C♯5; final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-069-ex06.musicxml", "label": "Example: A minor – (E major – F♯ minor) – A major. A minor chord; B7 (V7 of E); E major chord; diminished seventh E♯–G♯–B–D (VII of F♯ minor), with a printed natural on D; F♯ minor chord; B minor chord, first inversion; in parentheses the A major 6/4 chord over E; E major chord (V of A); A major chord.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "73961e6fdc020914e6b93888ef9b6c8cbee04edadcc1f1f5dbb105a1cbd6fc87", "transcriptionStatus": "needs-review" } ], "id": "rh-069-ex06", "sha256": "13f348734d0dc462f23eef4e943562ba79689be75774f94a628bdd47ac953ada", "sources": [ { "pdf_page": 60, "source_image": "source-pages/060.png", "printed_page": 52 } ], "pdf_page": 60, "source_image": "source-pages/060.png", "printed_page": 52, "music_transcription_status": "needs-review" }, { "path": "images/rh-069-ex07.png", "kind": "music", "bbox_pixels": [ 95, 1890, 1440, 388 ], "dimensions_pixels": [ 1440, 388 ], "description": "Modèle, first part (p. 52): grand staff, cut time, eight bars bracketed as two phrases of four bars; C major (Do) moving to F minor (fa) and on toward D♭ major. Ties: alto F4 bars 1–2, alto D4 bars 3–4, soprano B♭4 bars 7–8, tenor D♭4 bars 7–8. The system continues on p. 53 (rh-069-ex08).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-069-ex07.musicxml", "label": "Model, Part I (two phrases of 4 bars): four-part writing in cut time. The first phrase stays in C major (Do) and closes on the dominant seventh; the second phrase moves to F minor (fa) and on through G♭ and E♭-minor harmony toward D♭ major. The model continues on the next page.", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 2 } ], "sha256": "bdd6f30ef47979d4252d5ae32ca6da392088eab4a1cc45dff0c69c53dea5012c", "transcriptionStatus": "needs-review" } ], "id": "rh-069-ex07", "sha256": "f6454a64931bf49a83cdf868975d66c3372482c0eced4629c9f5f43dfa808291", "sources": [ { "pdf_page": 60, "source_image": "source-pages/060.png", "printed_page": 52 } ], "pdf_page": 60, "source_image": "source-pages/060.png", "printed_page": 52, "music_transcription_status": "needs-review" }, { "path": "images/rh-069-ex08.png", "kind": "music", "bbox_pixels": [ 55, 106, 1440, 344 ], "dimensions_pixels": [ 1440, 344 ], "description": "Modèle, second part (p. 53): eight bars bracketed \"phrase de 8 mesures\"; D♭ major (Ré♭), F minor (fa), returning to C major (Do). Ties: tenor C4 bars 12–13 and 14–15, soprano G4 bars 13–14. Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-069-ex08.musicxml", "label": "Model, Part II (one phrase of 8 bars): from D♭ major (Ré♭) through F minor (fa), returning to C major (Do) by way of the diminished seventh B–D–F–A♭ over F, ending on the C major chord.", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 2 } ], "sha256": "82ddac9f2660c682db4636275a8ffc694f6cd7d8a0091e01339f94517d3f54a7", "transcriptionStatus": "needs-review" } ], "id": "rh-069-ex08", "sha256": "8e3fb21d2374b02d214caa36739a8b83d8042fb32b9e62e36659f20c9976957f", "sources": [ { "pdf_page": 61, "source_image": "source-pages/061.png", "printed_page": 53 } ], "pdf_page": 61, "source_image": "source-pages/061.png", "printed_page": 53, "music_transcription_status": "needs-review" }, { "path": "images/rh-070-ex01.png", "kind": "music", "bbox_pixels": [ 290, 655, 990, 150 ], "dimensions_pixels": [ 990, 150 ], "description": "DO-Mib: four four-part whole-note chords on one treble staff, unbarred: C major C4–C5–E5–G5; F minor F4–C5–F5–Ab5; Bb7 D4–Bb4–F5–Ab5; Eb major Eb4–Bb4–Eb5–G5; final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-070-ex01.musicxml", "label": "Example: C major to E♭ major (DO-Mi♭). The C major chord is followed directly by the F minor chord (the intermediate key, not established), then the B♭ dominant seventh and the E♭ major chord.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "9bb7f9536f709ba322676b6354b5d84a6e80077ca23fad41023642d51455b344", "transcriptionStatus": "needs-review" } ], "id": "rh-070-ex01", "sha256": "2d1571fbbb86ebd98647bda28134aacc7cc56bf66f1ee45a1ad3a6f48bf5285e", "sources": [ { "pdf_page": 61, "source_image": "source-pages/061.png", "printed_page": 53 } ], "pdf_page": 61, "source_image": "source-pages/061.png", "printed_page": 53, "music_transcription_status": "needs-review" }, { "path": "images/rh-070-ex02.png", "kind": "music", "bbox_pixels": [ 290, 815, 990, 140 ], "dimensions_pixels": [ 990, 140 ], "description": "La-Si: six four-part whole-note chords on one treble staff, unbarred: A minor A4–C5–E5–A5; C major C5–C5–E5–G5 (unison C5 heads side by side); G major G4–B4–D5–G5; E4–B4–C#5–G5; F# major F#4–A#4–C#5–F#5; B minor B4–B4–D5–F#5 (unison B4 heads, one sharp printed); final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-070-ex02.musicxml", "label": "Example: A minor to B minor (La-Si). A minor – C major – G major (the intermediate keys touched without modulation) – C♯–E–G–B (II7 of B minor, in inversion) – F♯ major (dominant of B) – B minor.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "a2721bf0189bdaf8e2d2894b4ddef64beedd31241924742c5ecb2d52977894f3", "transcriptionStatus": "needs-review" } ], "id": "rh-070-ex02", "sha256": "52f7569d1b3c9f02cc3276334d5887e8130e0aeac2c25743df05e5da5b0d9fe3", "sources": [ { "pdf_page": 61, "source_image": "source-pages/061.png", "printed_page": 53 } ], "pdf_page": 61, "source_image": "source-pages/061.png", "printed_page": 53, "music_transcription_status": "needs-review" }, { "path": "images/rh-071-ex01.png", "kind": "music", "bbox_pixels": [ 90, 545, 1460, 224 ], "dimensions_pixels": [ 1460, 224 ], "description": "Example of three-part harmony: nineteen whole-note chords on one treble staff, unbarred, figured below: C–E–G; E–B♭–C (6/5 in parentheses); F–A–C; F–A–F; F–G–B♮ (2); E–G–C (6); F–F–A (unison F); E–G–C (6); D–F–C (7); D–F–B (\"4 over 6\" in parentheses); C–E–C; E–G–C (6); F–A–C; D–F–D; B♭–G–D (6); A3 with C♯5 held while the middle part moves A4–G4 in half notes (figured 7–8); D–F–D; B♮–F–G (6/5 in parentheses); C–E–G; final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-071-ex01.musicxml", "label": "Example of three-part harmony", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "3a98e0bea479884838f1b734ff933ec63a9b3fdc8bfb446c83de839078fda70c", "transcriptionStatus": "needs-review" } ], "id": "rh-071-ex01", "sha256": "ff6e50ca69c70abf667eac3ec03a06dc7fa3dbff20433adecd550c8b28d2c553", "sources": [ { "pdf_page": 62, "source_image": "source-pages/062.png", "printed_page": 54 } ], "pdf_page": 62, "source_image": "source-pages/062.png", "printed_page": 54, "music_transcription_status": "needs-review" }, { "path": "images/rh-071-ex02.png", "kind": "music", "bbox_pixels": [ 85, 1340, 1470, 722 ], "dimensions_pixels": [ 1470, 722 ], "description": "Model, common time, eight bars in two systems, four parts on a grand staff in C major. Bars 1–4 over a tied dominant pedal G2: cadential 6/4 (tenor C4 dotted half), IV 6/4, passing through A7 to D minor, then G and G7 (tenor F♮3) at the end of bar 4. Bars 5–8 over a tied tonic pedal C3: C – C7 (soprano C♯5 chromatic passing) – F major – B♭ minor 6/4 and F7 – B♭ minor colouring (D♭5, B♭3) – G7 – C; final double bar. Soprano C5 tied bars 3–4 and within bar 7; alto D4 tied bars 1–2; tenor A3 tied bars 2–3.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-071-ex02.musicxml", "label": "Model: four parts in common time over a dominant pedal (G, bars 1–4) and then a tonic pedal (C, bars 5–8) in C major.", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 2 }, { "bars": 4, "staves": 2 } ], "sha256": "a621e718c4104671b9c988f9105b7ba6333fde3d48be37de822ccbcf72c4051a", "transcriptionStatus": "needs-review" } ], "id": "rh-071-ex02", "sha256": "455f96d510bcd99d59873a585e3413dc98b45ff727318b51d8648c30c0144f57", "sources": [ { "pdf_page": 62, "source_image": "source-pages/062.png", "printed_page": 54 } ], "pdf_page": 62, "source_image": "source-pages/062.png", "printed_page": 54, "music_transcription_status": "needs-review" }, { "path": "images/rh-072-ex01.png", "kind": "music", "bbox_pixels": [ 80, 195, 1430, 355 ], "dimensions_pixels": [ 1430, 355 ], "description": "Pedal example, A minor, 3/4, eight bars, four parts on a grand staff, quarter-note motion. Bass: E2 dotted halves tied through bars 1-4 (dominant pedal), then A2 dotted halves tied through bars 5-8 (tonic pedal). Bars 1-4 alternate A minor 6/4 and dominant/diminished-seventh harmonies over E (D♯4, G♯, C♯4 chromatic tenor/alto lines); bars 5-8 over A: A minor, E7, A7(♭9) to D minor 6/4, F♯ diminished seventh (E♭4 tenor), G minor 6/4, A7, D minor 6/4, E7 with alto eighths E4-D4, final A major triad (C♯4 alto) marked (*). Ties: alto E4 bars 1-2, soprano F5 and alto A4 bars 3-4, alto E4 bars 5-6.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-072-ex01.musicxml", "label": "Example: a pedal in A minor, first on the dominant E, then on the tonic A, ending on an A major triad (*).", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 2 } ], "sha256": "16bd088b0bae06bc955ca30d094b479c06ac3b65d7bd43a7fcda7f17ec5639c5", "transcriptionStatus": "needs-review" } ], "id": "rh-072-ex01", "sha256": "dc709e8bbcbb81248eabd211d4ce9045bcdeb35f53f5650cfda07f3039095c09", "sources": [ { "pdf_page": 63, "source_image": "source-pages/063.png", "printed_page": 55 } ], "pdf_page": 63, "source_image": "source-pages/063.png", "printed_page": 55, "music_transcription_status": "needs-review" }, { "path": "images/rh-072-ex02.png", "kind": "music", "bbox_pixels": [ 80, 975, 1430, 320 ], "dimensions_pixels": [ 1430, 320 ], "description": "Pedal in an inner part, C major, cut time, eight bars, four parts on a grand staff, half notes. Tenor: G3 whole notes tied bars 1-4 (dominant), then C4 tied bars 5-6-7 (tonic; half note in bar 7 moving to D4). Bass C3 D3 | E3 F3 | E3 D3 | C3 B2 | C3 E3 | F3 E3 | F3 B2 | C3. Soprano E4 D4 | G4 A4 (N.B.) | G4 B4 | C5 D5 | E5 G5 | C5 D♭5 (N.B.) | C5 F5 | E5. Alto C4 B3 | C4 B3 | C4 F4 | E4 G4 | G4 B♭4 | A4 B♭4 | A4 A♭4 G4 (quarters) | G4. Fermatas on soprano E5 and above tenor C4 in the final chord.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-072-ex02.musicxml", "label": "Example: a held dominant G3 (bars 1–4) and then a held tonic C4 (bars 5–7) in the tenor, C major; N.B. marks the leading-tone seventh chords over the held note (bars 2 and 6).", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 2 } ], "sha256": "a5b1a249e950e22120b105ca53fdbdf29b8aa53016e3989b8c75f22912762dbc", "transcriptionStatus": "needs-review" } ], "id": "rh-072-ex02", "sha256": "60bffc59126000c8860ff2c98065a438d473956847c03f416e222e4ed66a2ace", "sources": [ { "pdf_page": 63, "source_image": "source-pages/063.png", "printed_page": 55 } ], "pdf_page": 63, "source_image": "source-pages/063.png", "printed_page": 55, "music_transcription_status": "needs-review" }, { "path": "images/rh-072-ex03.png", "kind": "music", "bbox_pixels": [ 470, 1490, 650, 225 ], "dimensions_pixels": [ 650, 225 ], "description": "Unmetered treble-staff diagram in three groups separated by double bars, open whole notes joined by voice-leading lines to black stemless heads: (1) G3 F4 B4 A5, figured 9 → C4 E4 C5 G5; (2) \"Ier renv.\" B3 G4 F5 A5, figured 7, 5 (with stroke), 6 → C4 G4 E5 G5; (3) \"IIIme renv.\" F4 G4 B4 A5 (G4 printed to the left of F4), figured 3, 4, 2 → E4 G4 C5 G5, figured 6; final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-072-ex03.musicxml", "label": "Diagram: the dominant ninth chord without its fifth (G–B–F–A, figured 9), its 1st inversion (figured 7, 5, 6) and its 3rd inversion (figured 3, 4, 2), each resolving to the C major triad (6 under the last).", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 1 } ], "sha256": "dd95230de98e307aa21b2a0c1dd33341ca50854954f4e9b751d8eabccaf59d79", "transcriptionStatus": "needs-review" } ], "id": "rh-072-ex03", "sha256": "e2d4879132a6cd598a9b447d35d2a54a922391ed7b648cffb7c5bfdff21121d8", "sources": [ { "pdf_page": 63, "source_image": "source-pages/063.png", "printed_page": 55 } ], "pdf_page": 63, "source_image": "source-pages/063.png", "printed_page": 55, "music_transcription_status": "needs-review" }, { "path": "images/rh-072-ex04.png", "kind": "music", "bbox_pixels": [ 80, 1825, 1430, 275 ], "dimensions_pixels": [ 1430, 275 ], "description": "Double pedal on tonic and dominant at once, C major, cut time, eight bars, grand staff: lower staff C3 and G3 whole notes tied through all eight bars. Upper parts: soprano E4 E4 | F4 A♭4 | G4 B4 | C5 B♭4 | A♭4 G4 (tied) | G4 B♭4 | A♮4 B♮4 | C5 (whole); alto C4 C♯4 | D4 C4 | B3 F4 | E4 (whole) | F4 (whole) | E4 (whole) | F4 (whole) | E4 (whole); final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-072-ex04.musicxml", "label": "Example: a double pedal on the tonic and dominant together (C3 and G3, tied through all eight bars) under two moving upper parts, C major.", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 2 } ], "sha256": "4874ff7ab98bf8eaa9b51a6d718fb66d34212fcf1f8f384ac2ea665291179023", "transcriptionStatus": "needs-review" } ], "id": "rh-072-ex04", "sha256": "22bc77d44c38651c32be61dca2392953f45bc510e779620531cf75befbae27fd", "sources": [ { "pdf_page": 63, "source_image": "source-pages/063.png", "printed_page": 55 } ], "pdf_page": 63, "source_image": "source-pages/063.png", "printed_page": 55, "music_transcription_status": "needs-review" }, { "path": "images/rh-080-ex01.png", "kind": "music", "bbox_pixels": [ 300, 1030, 1110, 345 ], "dimensions_pixels": [ 1110, 345 ], "description": "Four fragments separated by double bars, no meter; passing notes marked +. (1) C major: soprano C5–D5 eighths, E5 quarter; alto E4 G4; tenor G3 C4; bass C3 half (no + printed). (2) soprano G4 half, A4 quarter; alto E4 dotted half; tenor C4 dotted half; bass C3 B2(+) A2 quarters. (3) A minor: soprano A4 dotted quarter, E4 dotted quarter; alto C4 dotted half; tenor E3 F♯3(+) G♯3(+) eighths, A3 dotted quarter; bass A2 dotted half. (4) F major: soprano A4 dotted half, C5 quarter; alto C4 D4(+) E4(+) F4 quarters; tenor F3 dotted half, A3 quarter; bass F2 whole. \"etc.\" after the final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-080-ex01.musicxml", "label": "Example: simple passing notes (+) in one part at a time: soprano D between C and E; bass B between C and A; tenor F♯ and G♯ between E and A (melodic minor); alto D and E between C and F; \"etc.\"", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 2 } ], "sha256": "d6aa0873aff760af915ba0909f0550f671d5a2070db4fb2f2f4aea7bd6f78e26", "transcriptionStatus": "needs-review" } ], "id": "rh-080-ex01", "sha256": "80cd67c9454240af13cdeaa71b403f359d374993a6a1c30db1636eb3937fca56", "sources": [ { "pdf_page": 64, "source_image": "source-pages/064.png", "printed_page": 56 } ], "pdf_page": 64, "source_image": "source-pages/064.png", "printed_page": 56, "music_transcription_status": "needs-review" }, { "path": "images/rh-080-ex02.png", "kind": "music", "bbox_pixels": [ 495, 1430, 630, 180 ], "dimensions_pixels": [ 630, 180 ], "description": "\"INCORRECT\", one treble staff, two fragments. (1) upper D5 quarter, C5 quarter (+), B4 half over lower G4 half, E4 half: fifths D/G to B/E, bracketed and marked 5 … 5. Double bar. (2) upper E5 half, G5 half over lower E4 quarter, F4 quarter, G4 half: octaves E to G, bracketed and marked 8 … 8. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-080-ex02.musicxml", "label": "Incorrect: parallel fifths (D–G to B–E) and parallel octaves (E–E to G–G) are not hidden by an intervening passing note.", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "12d5bf757639750ab8ece77fc1a0016807ed1ff4d3d151958c0b28e56a6e52a0", "transcriptionStatus": "needs-review" } ], "id": "rh-080-ex02", "sha256": "4095d3948688777dbbcd3e77718445aa7ed2786af099dff1f57dd963a70688dc", "sources": [ { "pdf_page": 64, "source_image": "source-pages/064.png", "printed_page": 56 } ], "pdf_page": 64, "source_image": "source-pages/064.png", "printed_page": 56, "music_transcription_status": "needs-review" }, { "path": "images/rh-080-ex03.png", "kind": "music", "bbox_pixels": [ 375, 1715, 840, 345 ], "dimensions_pixels": [ 840, 345 ], "description": "Three fragments separated by double bars, no meter; passing notes marked +. (1) soprano C5 D5(+) eighths, E5 quarter; alto E4 F4(+) eighths, G4 quarter (parallel sixths); tenor G3 C4 quarters; bass C3 half. (2) soprano G4 half, F4 half; alto E4 D4(+) quarters, C4 half; tenor C4 B3(+) quarters, A3 half (parallel thirds); bass C3 half, F3 half. (3) soprano D5 dotted half; alto F4 G4(+) A4 quarters; tenor A3 G3(+) F3 quarters (contrary motion); bass D3 dotted half. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-080-ex03.musicxml", "label": "Example: double passing notes (+) in parallel sixths (soprano and alto), parallel thirds (alto and tenor), and contrary motion (alto and tenor).", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 2 } ], "sha256": "b6ae8083924c9364c90355b2d84bb06dd0909c37a778fa10892a4df61d3f1edf", "transcriptionStatus": "needs-review" } ], "id": "rh-080-ex03", "sha256": "81014b6a463b6744c6041f289a0b52673f006557be4c3e777236e3fe8dc59808", "sources": [ { "pdf_page": 64, "source_image": "source-pages/064.png", "printed_page": 56 } ], "pdf_page": 64, "source_image": "source-pages/064.png", "printed_page": 56, "music_transcription_status": "needs-review" }, { "path": "images/rh-081-ex01.png", "kind": "music", "bbox_pixels": [ 395, 115, 900, 325 ], "dimensions_pixels": [ 900, 325 ], "description": "Triple passing notes: three fragments separated by double bars, no meter; passing notes marked +; \"etc.\" after the last. (1) C major: soprano E4 F4(+) quarters, G4 half; alto C4 D4(+) quarters, E4 half (parallel thirds); tenor G3 whole; bass E3 D3(+) quarters, C3 half (contrary motion). (2) A minor: soprano C5 B4(+) A4 quarters; alto E4 D4(+) C4 quarters; tenor E3 F♯3(+) eighths, G♯3(+) A3 quarters; bass A2 dotted half. (3) G major: soprano G4 A4(+) B4(+) halves; alto D4 E4 F4 halves; tenor B3 C4(+) D4(+) halves (three parts in parallel, forming sixth chords); bass G2 dotted whole.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-081-ex01.musicxml", "label": "[Example] etc.", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 2 } ], "sha256": "14ef28a5d43dcf06529e2a8a9239336e3d27d8149e659ecaa064083335cd182d", "transcriptionStatus": "needs-review" } ], "id": "rh-081-ex01", "sha256": "d8c7b2c21dfd5b700f166ba217a60828848d9bf9a000a36e1850b5611aee28bd", "sources": [ { "pdf_page": 65, "source_image": "source-pages/065.png", "printed_page": 57 } ], "pdf_page": 65, "source_image": "source-pages/065.png", "printed_page": 57, "music_transcription_status": "needs-review" }, { "path": "images/rh-081-ex02.png", "kind": "music", "bbox_pixels": [ 95, 535, 1435, 310 ], "dimensions_pixels": [ 1435, 310 ], "description": "Incorrect doublings used to let the parts sing with passing notes: five fragments, no meter, double bars between them; brackets at the left of fragments 1, 2, 3 and 5. (1) soprano C5 B4 quarters, A4 half; alto E4 D4 quarters, C4 half; tenor G3 A3 halves; bass E3 F3 halves. (2) soprano E5 D5 C5 halves; alto G4 A4 quarters, B4 A4 halves; tenor (high, on ledger lines) E4 half, F4 G4 quarters, A4 half; bass C3 half, D3 E3 quarters, F3 half. (3) soprano A4 dotted half; alto A4 G4 F4 E4 eighths, D4 quarter; tenor F4 E4 D4 C4 eighths, B3 quarter (parallel thirds); bass F3 dotted half. (4) soprano B4 whole, C5 half; alto B4 A4 G4 F4 quarters, E4 half; tenor G4 F4 E4 D4 quarters, C4 half; bass G3 dotted whole. (5) two bars and a final bar: soprano C5 whole tied to C5 half, B4 half, C5 whole; alto E4 F4 halves, G4 whole tied to G4 whole; tenor C4 D4, E4 F4 halves, E4 whole; bass A3, G3, C3 wholes.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-081-ex02.musicxml", "label": "[Example]", "playbackAvailable": true, "printed_systems": [ { "bars": 7, "staves": 2 } ], "sha256": "7bdcf80cd0659445c1c48ba643a5a9b2fd9446d6e9af9708e09770d86d5f7890", "transcriptionStatus": "needs-review" } ], "id": "rh-081-ex02", "sha256": "256437d560b390af67ec399e3052a1ded66ffdc3fd477e5c8b2b4b9d4dca60f9", "sources": [ { "pdf_page": 65, "source_image": "source-pages/065.png", "printed_page": 57 } ], "pdf_page": 65, "source_image": "source-pages/065.png", "printed_page": 57, "music_transcription_status": "needs-review" }, { "path": "images/rh-081-ex03.png", "kind": "music", "bbox_pixels": [ 515, 1025, 605, 220 ], "dimensions_pixels": [ 605, 220 ], "description": "Double passing notes between the 4/3 and 6/5 chords, one treble staff, two fragments, each ending \"etc.\". (a) D4 F4 G4 B4 (figured 4/3) – soprano C5(+) over bass C4(+) with F4 and G4 held – B3 F4 G4 D5 quarters (6/5). (b) G♯3 D4 E4 B4 (6/5) – soprano A4(+) over bass A3(+) with D4 and E4 held – B3 D4 E4 G♯4 quarters (4/3). Halves, halves, quarters; the held inner notes are tied into the last chord.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-081-ex03.musicxml", "label": "[Example] etc. etc.", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "64660dbc7ed1c2e047cd0eed2fec5b400b5256cd4c3058b00ebfb40bcc2ca2ea", "transcriptionStatus": "needs-review" } ], "id": "rh-081-ex03", "sha256": "3edc074238e8c4802ad7f2afd5942ed86b93fc50ec3a7d1eacbc28c0ad42cca8", "sources": [ { "pdf_page": 65, "source_image": "source-pages/065.png", "printed_page": 57 } ], "pdf_page": 65, "source_image": "source-pages/065.png", "printed_page": 57, "music_transcription_status": "needs-review" }, { "path": "images/rh-081-ex04.png", "kind": "music", "bbox_pixels": [ 255, 1505, 1130, 115 ], "dimensions_pixels": [ 1130, 115 ], "description": "Ascending chromatic major scale on C, treble staff: C4 C♯4 D4 D♯4 E4 F4 F♯4 G4 G♯4 A4 B♭4 B♮4 C5; diatonic degrees as whole notes labelled I–VII, I; chromatic notes as quarter heads. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-081-ex04.musicxml", "label": "[Example] I II III IV V VI VII I", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "63f6de305e01681646cc298ed082a6549a00a4ad71016d5ab242bbc99857934e", "transcriptionStatus": "needs-review" } ], "id": "rh-081-ex04", "sha256": "ca6290e675286b17d6a3361ecece047419c3ad68df7fbd10acfb8b0d120d3cd7", "sources": [ { "pdf_page": 65, "source_image": "source-pages/065.png", "printed_page": 57 } ], "pdf_page": 65, "source_image": "source-pages/065.png", "printed_page": 57, "music_transcription_status": "needs-review" }, { "path": "images/rh-081-ex05.png", "kind": "music", "bbox_pixels": [ 255, 1798, 1130, 152 ], "dimensions_pixels": [ 1130, 152 ], "description": "Descending chromatic major scale on C, treble staff: C5 B4 B♭4 A4 A♭4 G4 F♯4 F♮4 E4 E♭4 D4 D♭4 C4; diatonic degrees as whole notes labelled I, VII–II, I; chromatic notes as quarter heads. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-081-ex05.musicxml", "label": "[Example] I VII VI V IV III II I", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "1136161b82c020649729a7b27d66001a9def3f459006fabc04377340c854ce76", "transcriptionStatus": "needs-review" } ], "id": "rh-081-ex05", "sha256": "55ce0e2e272d5132e2ac2ba68289e8302c6bdb7a8f6717a5d4f7f61019586662", "sources": [ { "pdf_page": 65, "source_image": "source-pages/065.png", "printed_page": 57 } ], "pdf_page": 65, "source_image": "source-pages/065.png", "printed_page": 57, "music_transcription_status": "needs-review" }, { "path": "images/rh-081-ex06.png", "kind": "music", "bbox_pixels": [ 255, 2090, 1130, 155 ], "dimensions_pixels": [ 1130, 155 ], "description": "Ascending chromatic minor scale on C (spelled as its relative E♭ major), treble staff: C4 D♭4 D♮4 E♭4 E♮4 F4 F♯4 G4 A♭4 A♮4 B♭4 B♮4 C5; diatonic degrees of C minor as whole notes labelled I–VII, I; chromatic notes as quarter heads. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-081-ex06.musicxml", "label": "[Example] I II III IV V VI VII I", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "aa6d31c45056fb81d60d97d77c3e516948843f6d1b5e5d1c93bc52ee8fa63abd", "transcriptionStatus": "needs-review" } ], "id": "rh-081-ex06", "sha256": "1b898bfee48d53746a5046cbdb2e1213be54a3fba03e9c6f5366161136d4a50c", "sources": [ { "pdf_page": 65, "source_image": "source-pages/065.png", "printed_page": 57 } ], "pdf_page": 65, "source_image": "source-pages/065.png", "printed_page": 57, "music_transcription_status": "needs-review" }, { "path": "images/rh-082-ex01.png", "kind": "music", "bbox_pixels": [ 225, 235, 1130, 130 ], "dimensions_pixels": [ 1130, 130 ], "description": "Treble staff, no meter: C5 whole (I), B4 natural quarter, Bb4 whole (VII), A4 natural quarter, Ab4 whole (VI), G4 whole (V), F#4 quarter, F4 natural whole (IV), E4 quarter, Eb4 whole (III), D4 whole (II), Db4 quarter, C4 whole (I); final double bar. Numerals printed above the whole notes.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-082-ex01.musicxml", "label": "Example: the descending chromatic scale of C minor, written like that of C major; the degrees of C minor (I VII VI V IV III II I) are marked above.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "f2bd3693ede6b5b20793d3e40390834cfeca5a70617ab902bcf6cf66a499660f", "transcriptionStatus": "needs-review" } ], "id": "rh-082-ex01", "sha256": "8439b69ef19f8b66254195ca4987b384073b75efadb394ccb205dfc33356372a", "sources": [ { "pdf_page": 66, "source_image": "source-pages/066.png", "printed_page": 58 } ], "pdf_page": 66, "source_image": "source-pages/066.png", "printed_page": 58, "music_transcription_status": "needs-review" }, { "path": "images/rh-082-ex02.png", "kind": "music", "bbox_pixels": [ 55, 670, 1460, 330 ], "dimensions_pixels": [ 1460, 330 ], "description": "Six fragments a)-f), double bars, no meter; chromatic passing notes marked +. a) soprano A4 Bb4(+) B4(+) quarters, C5 dotted half; alto F4, G4 dotted halves; tenor C4, E4; bass F3, C3. b) soprano D5 dotted half; alto A4 Ab4(+) G4 F#4(+) eighths, F4 quarter; tenor D4 quarter, B3 half; bass F3 G3 G#3 quarters. c) soprano G4 F#4(+) F4(+) quarters, E4 dotted half; alto E4 Eb4(+) D4(+) quarters, C4 dotted half; tenor C4, G3 dotted halves; bass C3 dotted whole. d) soprano B4 C5 C#5(+) D5 eighths, E5 quarter; alto G4 dotted half; tenor D4 C4 eighths, B3 C4 quarters; bass G3 half, C3 quarter. e) soprano G4 Ab4(+) A4 Bb4(+) eighths, B4 quarter; alto D4 Eb4(+) eighths, E4 F4 quarters; tenor B3 C4(+) eighths, C#4(+) D4 quarters; bass G3 dotted half. f) soprano B4 Bb4(+) A4 Ab4(+) eighths, G4 quarter; alto D4 Db4(+) C4 B3 eighths, C4 quarter; tenor D3 Eb3(+) E3 F3 eighths, E3 quarter; bass G2 half, C3 quarter. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-082-ex02.musicxml", "label": "Example a)–f): chromatic passing notes (+) in one part, in two parts at once, and together with diatonic passing notes.", "playbackAvailable": true, "printed_systems": [ { "bars": 6, "staves": 2 } ], "sha256": "01fbccdff638e8006d45c1cb483eb1803122250d3c49d9a618495c1178d2d6eb", "transcriptionStatus": "needs-review" } ], "id": "rh-082-ex02", "sha256": "894a180bcd2886d17d01fe52048c4ceb8e051a91b0cda35f968fa2d7fe06b6ee", "sources": [ { "pdf_page": 66, "source_image": "source-pages/066.png", "printed_page": 58 } ], "pdf_page": 66, "source_image": "source-pages/066.png", "printed_page": 58, "music_transcription_status": "needs-review" }, { "path": "images/rh-082-ex03.png", "kind": "music", "bbox_pixels": [ 290, 1125, 1000, 200 ], "dimensions_pixels": [ 1000, 200 ], "description": "One treble staff, four fragments 1)-4), double bars, no meter. 1) upper C5 C#5(+) quarters, D5 half over lower halves C4-E4-G4, B3-D4-G4; line from C4 to C#5. 2) upper half chord E4-G4-C5, then quarter chord D4-G4-B4 over lower C4 C#4(+) D4 quarters; line from C5 to C#4. 3) upper D5 Db5(+) quarters, C5 half over lower halves B3-D4-G4, C4-E4-G4; line from D4 to Db5. 4) upper half chords G4-B4-D5, G4-C5-E5 over lower D4 Db4(+) quarters, C4 half; line from D5 to Db4. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-082-ex03.musicxml", "label": "Example 1)–4): a chromatic passing note (+) sounding against the same note unaltered in another part (joined by a line).", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 1 } ], "sha256": "5d176b6c39f76272ef67b326c03b0083ed53d6880f7cbff6c46d8458f3b48d78", "transcriptionStatus": "needs-review" } ], "id": "rh-082-ex03", "sha256": "620c76fc87b6fabeb05b94992e815de7e19791a18d1f345643f0f48cb2fe6a6d", "sources": [ { "pdf_page": 66, "source_image": "source-pages/066.png", "printed_page": 58 } ], "pdf_page": 66, "source_image": "source-pages/066.png", "printed_page": 58, "music_transcription_status": "needs-review" }, { "path": "images/rh-082-ex04.png", "kind": "music", "bbox_pixels": [ 165, 1505, 1240, 325 ], "dimensions_pixels": [ 1240, 325 ], "description": "Grand staff, 3/4, six bars, C major. Soprano E5 E5 F5 F5 D5 C5 and alto G4 A4 A4 A4 dotted halves, then alto G4 F#4(+) F4 quarters in bar 5 and E4 in bar 6. Tenor C4 dotted half in bars 1-3, D4 C#4(+) C4 quarters in bar 4, B3 and C4 dotted halves. Bass C4 B3(+) Bb3 | A3 G#3(+) G3 | F3 E3(+) Eb3 quarters, then D3, G3, C3 dotted halves. Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-082-ex04.musicxml", "label": "Example in 3/4: in each bar a chromatic passing note (+) leads directly into a passing minor seventh (bass C–B–B♭, A–G♯–G, F–E–E♭; tenor D–C♯–C; alto G–F♯–F).", "playbackAvailable": true, "printed_systems": [ { "bars": 6, "staves": 2 } ], "sha256": "7e61ceb36ac28189ed3497328c67098909f7fd6da46dd2adb050ee927f950b66", "transcriptionStatus": "needs-review" } ], "id": "rh-082-ex04", "sha256": "415944a2485f8d1d0585b02ef2baaf7515d591583e8731432df748b2d35d7e04", "sources": [ { "pdf_page": 66, "source_image": "source-pages/066.png", "printed_page": 58 } ], "pdf_page": 66, "source_image": "source-pages/066.png", "printed_page": 58, "music_transcription_status": "needs-review" }, { "path": "images/rh-082-ex05.png", "kind": "music", "bbox_pixels": [ 430, 1940, 710, 350 ], "dimensions_pixels": [ 710, 350 ], "description": "Grand staff, two bars, no meter, double bar between. Bar 1: soprano D5 dotted half, C5 quarter; alto G4 F#4(+) F4 E4 quarters; tenor F3 F#3(+) G3 G3 quarters; bass B2 dotted half, C3 quarter; figures 6/5 (beat 1) and 6/5 (beat 3). Bar 2: soprano F4 F#4(+) G4 G4 quarters; alto D4 dotted half, C4 quarter; tenor B3 dotted half, C4 quarter; bass G3 F#3 F3 E3 quarters, figured 7, 6/4, 2. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-082-ex05.musicxml", "label": "Example: chromatic passing notes in two parts at once while the seventh moves to another part; figures 6/5, 6/5 | 7, 6/4, 2.", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "2c823c752219a9529f6f1154a46968f91329a7f60ef589fe88b833317c958e86", "transcriptionStatus": "needs-review" } ], "id": "rh-082-ex05", "sha256": "5dfd80b5343105c5fa7284325a68103371e77f38bfc9e1fe3010c0a2da971dc1", "sources": [ { "pdf_page": 66, "source_image": "source-pages/066.png", "printed_page": 58 } ], "pdf_page": 66, "source_image": "source-pages/066.png", "printed_page": 58, "music_transcription_status": "needs-review" }, { "path": "images/rh-083-ex01.png", "kind": "music", "bbox_pixels": [ 85, 378, 1430, 392 ], "dimensions_pixels": [ 1430, 392 ], "description": "Six fragments separated by double bars, no meter; neighbour notes marked +. (1) soprano G5 A5(+) eighths, G5 quarter; alto C5 B4; tenor E4 D4; bass C3 G3 quarters. (2) soprano G4 C5 halves; alto E4 G4 halves; tenor C4 B3(+) quarters, C4 half; bass C3 E3 halves. (3) soprano D5 C#5(+) D5 E5 F5(+) E5 eighths; alto G4 dotted half; tenor B3 C4, bass G3 C3 dotted quarters. (4) soprano C5 B4 dotted halves; alto E4 D#4(+) E4 F4 G4(+) F4 quarters (third note printed as a half); tenor G3 dotted whole; bass C3 G2 dotted halves. (5) A minor: soprano A4, alto C4, tenor E3 wholes; bass A2 G#2(+) quarters, A2 half. (6) soprano G4 Ab4(+) quarters, G4 half; alto F4 E4 halves; tenor B3 C4 halves; bass G3 C3 halves. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-083-ex01.musicxml", "label": "Example: neighbour notes (+) in one part at a time, six fragments: soprano G-A-G; tenor C-B-C; soprano D-C#-D and E-F-E; alto E-D#-E and F-G-F; bass A-G#-A; soprano G-Ab-G.", "playbackAvailable": true, "printed_systems": [ { "bars": 6, "staves": 2 } ], "sha256": "75825fb6e1d5862913b8b1a0d8bba1ac90c066e19f1e8ac3c4c6327fa8dff21f", "transcriptionStatus": "needs-review" } ], "id": "rh-083-ex01", "sha256": "b194112bc35cbf6aa56d16e8d8455538f67431d39567c0a7cedf9332a7ae4cac", "sources": [ { "pdf_page": 67, "source_image": "source-pages/067.png", "printed_page": 59 } ], "pdf_page": 67, "source_image": "source-pages/067.png", "printed_page": 59, "music_transcription_status": "needs-review" }, { "path": "images/rh-083-ex02.png", "kind": "music", "bbox_pixels": [ 400, 1290, 800, 190 ], "dimensions_pixels": [ 800, 190 ], "description": "Major triad, one treble staff, three fragments, no meter; neighbour notes marked +. (1) root: C5 D5(+, bracketed flat option) C5 B4(+) eighths, C5 half over C4 E4 G4 whole notes. (2) third: E5 F5(+) E5 D5(+, bracketed sharp option) eighths, E5 half over C4 G4 C5. (3) fifth: G5 A5(+, bracketed flat option) G5 F#5(+) eighths, G5 half over C4 E4 C5. Double bar at the end.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-083-ex02.musicxml", "label": "Example: neighbour notes about the root, third and fifth of the C major triad: C-D(b)-C-B-C; E-F-E-D(#)-E; G-A(b)-G-F#-G.", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 1 } ], "sha256": "19f008b99a91dae0c0344f494f11f9e84c63acd4af7d99cb37a56d0ec2a0801e", "transcriptionStatus": "needs-review" } ], "id": "rh-083-ex02", "sha256": "95b380db8ab071f00c5c2f5079ec927a3f28116a4213ca04c4b991c2a55a424d", "sources": [ { "pdf_page": 67, "source_image": "source-pages/067.png", "printed_page": 59 } ], "pdf_page": 67, "source_image": "source-pages/067.png", "printed_page": 59, "music_transcription_status": "needs-review" }, { "path": "images/rh-083-ex03.png", "kind": "music", "bbox_pixels": [ 400, 1830, 790, 180 ], "dimensions_pixels": [ 790, 180 ], "description": "Minor triad, one treble staff, three fragments, no meter; neighbour notes marked +. (1) root: A4 B4(+) A4 G#4(+) eighths, A4 half over A3 C4 E4 whole notes. (2) third: C5 D5(+) C5 B4(+) eighths, C5 half over A3 E4 A4. (3) fifth: E5 F5(+) E5 D5(+, bracketed natural/sharp option) eighths, E5 half over A3 C4 A4. Double bar at the end.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-083-ex03.musicxml", "label": "Example: neighbour notes about the root, third and fifth of the A minor triad: A-B-A-G#-A; C-D-C-B-C; E-F-E-D(#)-E.", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 1 } ], "sha256": "61ef282e99fb8e729038e598fa97aa6f2009ef117464bb6a3f5f5afe86ce3352", "transcriptionStatus": "needs-review" } ], "id": "rh-083-ex03", "sha256": "a57ea27826c813fc7a73563e1d0a2fbfb373ce5898255f7e02ca9c74a15a96f4", "sources": [ { "pdf_page": 67, "source_image": "source-pages/067.png", "printed_page": 59 } ], "pdf_page": 67, "source_image": "source-pages/067.png", "printed_page": 59, "music_transcription_status": "needs-review" }, { "path": "images/rh-083-ex04.png", "kind": "music", "bbox_pixels": [ 1180, 1980, 330, 250 ], "dimensions_pixels": [ 330, 250 ], "description": "\"IMPOSSIBLE\", one treble staff, no meter: upper part F5 Gb5(+) eighths, F5 quarter over G3 D4 B4 half notes (G7 chord). Double bar at the end.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-083-ex04.musicxml", "label": "Example, \"IMPOSSIBLE\": the seventh F of the G7 chord with a lowered upper neighbour Gb (F-Gb-F).", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "f9fb3f1698e5fbcdd98bff15f4a728961bd5a9d729abc2883c71c2dbd12cb0ab", "transcriptionStatus": "needs-review" } ], "id": "rh-083-ex04", "sha256": "a780c1acc00d9f13766e2036fe758b7911833fa5f32956bdff642fae28aa3e6c", "sources": [ { "pdf_page": 67, "source_image": "source-pages/067.png", "printed_page": 59 } ], "pdf_page": 67, "source_image": "source-pages/067.png", "printed_page": 59, "music_transcription_status": "needs-review" }, { "path": "images/rh-084-ex01.png", "kind": "music", "bbox_pixels": [ 1110, 85, 400, 220 ], "dimensions_pixels": [ 400, 220 ], "description": "\"BON\", one treble staff, no meter, two bars. (1) upper B♮4–D5–F5 half-note chord over D4 C♯4 eighths (both marked +) and D4 quarter. (2) upper B4–F5 halves; middle G4 F♯4(+) eighths, G4 quarter; lowest G3 half with figure 7 below. Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-084-ex01.musicxml", "label": "GOOD: over a G seventh chord (bass G with figure 7), an altered lower neighbour F♯ in an inner part sounds together with F natural in the upper part; the preceding chord likewise has the neighbour C♯ in the lowest part (+ signs mark the neighbour notes).", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "66f88c45330151b815807c3cc9792cc0ae174a4ce1c36a670b32ba08ea744296", "transcriptionStatus": "needs-review" } ], "id": "rh-084-ex01", "sha256": "9f7219a6962dd4bcdd0ab246f3c70ef755887443ab2749170cbbcd94634f468e", "sources": [ { "pdf_page": 68, "source_image": "source-pages/068.png", "printed_page": 60 } ], "pdf_page": 68, "source_image": "source-pages/068.png", "printed_page": 60, "music_transcription_status": "needs-review" }, { "path": "images/rh-084-ex02.png", "kind": "music", "bbox_pixels": [ 160, 478, 600, 307 ], "dimensions_pixels": [ 600, 307 ], "description": "\"MAUVAIS\", grand staff, no meter, two bars. (1) soprano E5 F5(+) quarters, E5 half; alto G4 whole; tenor E4 whole (ledger line above the bass staff); bass C3 whole; a line joins soprano E5 and tenor E4. (2) soprano E5 whole; alto E4 D♯4(+) quarters, E4 half; tenor G3 whole; bass C3 whole; a line joins soprano E5 and alto D♯4. Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-084-ex02.musicxml", "label": "BAD: in a root-position C major chord the third E is doubled (soprano E5, tenor E4) while one of the two E's is ornamented by a neighbour note: upper neighbour F in the soprano, then lower neighbour D♯ in the alto against the soprano's E; lines in the print connect the doubled E's.", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "9bbb20c54e41c1e873c7a1108524ff80b721b0bd88994f269b08182652c123b0", "transcriptionStatus": "needs-review" } ], "id": "rh-084-ex02", "sha256": "95d270304a9a73210ee3c5cc29628bfb59d3d24323a66b17337456ec945de85b", "sources": [ { "pdf_page": 68, "source_image": "source-pages/068.png", "printed_page": 60 } ], "pdf_page": 68, "source_image": "source-pages/068.png", "printed_page": 60, "music_transcription_status": "needs-review" }, { "path": "images/rh-084-ex03.png", "kind": "music", "bbox_pixels": [ 785, 478, 635, 312 ], "dimensions_pixels": [ 635, 312 ], "description": "\"ADMISSIBLE\", grand staff, no meter, two bars. (1) soprano E5 F5(+) quarters, E5 half; alto G4 whole; tenor C4 whole; bass E3 whole, figure 6. (2) soprano E5, alto G4, tenor C4 wholes; bass E3 D♯3(+) quarters, E3 half. Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-084-ex03.musicxml", "label": "ADMISSIBLE: the same neighbour notes (soprano F above E, then bass D♯ below E) with the doubled third E in a chord of the sixth (bass E, figure 6).", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "c0d432c11210fe339381ab5e39aa6d14be5fa1a62a7cc0b8b651b34cd55e496c", "transcriptionStatus": "needs-review" } ], "id": "rh-084-ex03", "sha256": "0c9b225b9cb7fb1d2700d02cbaceddc840200b9708cb48d4e780783dd9882a52", "sources": [ { "pdf_page": 68, "source_image": "source-pages/068.png", "printed_page": 60 } ], "pdf_page": 68, "source_image": "source-pages/068.png", "printed_page": 60, "music_transcription_status": "needs-review" }, { "path": "images/rh-084-ex04.png", "kind": "music", "bbox_pixels": [ 345, 855, 950, 280 ], "dimensions_pixels": [ 950, 280 ], "description": "\"MAUVAIS\", grand staff, no meter, three bars separated by double bars. (1) soprano A4 B♭4 quarters, A4 half; alto F4 whole; tenor C4 half, B♮3 half; bass F3 whole; a line joins B♭4 and B♮3 (false relation). (2) soprano D5 E5 quarters, D5 half; alto A4 half, G4 half; tenor C4 half, B3 half; bass F3 whole; E5/A4 and D5/G4 marked 5te. (3) soprano F4 half, G4 half; alto C4 B3 quarters, C4 half; tenor A3 half, G3 half; bass F3 half, E3 half; F4/B3 and G4/C4 marked 5te. Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-084-ex04.musicxml", "label": "BAD: (1) the soprano's neighbour B♭ against the tenor's B natural: a false relation, marked with a line; (2) the soprano's upper neighbour E over the alto's A forms a fifth, moving to the fifth D over G: parallel fifths, bracketed 5te; (3) the alto's lower neighbour B under the soprano's F, then the fifth G over C: bracketed 5te.", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 2 } ], "sha256": "3f67805d72ed6733b64831e8df2a4d35d1c40df0ab490ac0ae7f2f82a632adf6", "transcriptionStatus": "needs-review" } ], "id": "rh-084-ex04", "sha256": "8a874d60c6fc5bffb679ede08b7cd8062a0bd3eae57cc7681dcf89a8bc227fea", "sources": [ { "pdf_page": 68, "source_image": "source-pages/068.png", "printed_page": 60 } ], "pdf_page": 68, "source_image": "source-pages/068.png", "printed_page": 60, "music_transcription_status": "needs-review" }, { "path": "images/rh-084-ex05.png", "kind": "music", "bbox_pixels": [ 170, 1320, 1215, 335 ], "dimensions_pixels": [ 1215, 335 ], "description": "6/8, C major, grand staff, three-eighth upbeat, four further bars (the last a three-eighth final bar). Upbeat: soprano G4 quarter, A4 eighth; alto E4 D♯4 E4; tenor C4 B3 C4; bass C3 quarter, A2 eighth. Bar 1: soprano A4 G♯4 A4 eighths, G♮4 dotted quarter; alto F4 dotted quarter tied to F4, E4 F4; tenor C4 B3 C4, B3 A♯3 B3; bass F3 dotted quarter, D3 C♯3 D3. Bar 2: soprano C5 B4 C5, C5 dotted quarter; alto E4 F4 E4, F4 G4 F4; tenor G3 A♭3 G3, C4 dotted quarter tied over; bass C3 dotted quarter, A♮2 B2 A2. Bar 3: soprano G4 A4 G4, B4 A♯4 B4; alto E4 D♯4 E4, F4 E4 F4; tenor C4 B3 C4, D4 C♯4 D4; bass G2 F♯2 G2, G2 dotted quarter. Final bar: C5, E4, C♮4, C3 dotted quarters. Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-084-ex05.musicxml", "label": "Example in 6/8, C major: neighbour notes in two and three parts at once, in parallel thirds and sixths, in contrary motion, and as parallel chords of the sixth.", "playbackAvailable": true, "printed_systems": [ { "bars": 5, "staves": 2 } ], "sha256": "e94202a24b2c97f0ab7215085030f34d10a15324a67c574a0c9f4e1dd6c35592", "transcriptionStatus": "needs-review" } ], "id": "rh-084-ex05", "sha256": "19d00f300e689044ee187004a2fa9ea34d32126123ee6e0aa80f3d46de62b2ef", "sources": [ { "pdf_page": 68, "source_image": "source-pages/068.png", "printed_page": 60 } ], "pdf_page": 68, "source_image": "source-pages/068.png", "printed_page": 60, "music_transcription_status": "needs-review" }, { "path": "images/rh-085-ex01.png", "kind": "music", "bbox_pixels": [ 285, 250, 1030, 355 ], "dimensions_pixels": [ 1030, 355 ], "description": "Three fragments a) b) c), no meter, separated by double bars. a) soprano G4 half, C5 half (Prép.) tied to C5 half (Ret., +), B4 half (Rés.); alto E4 G4 halves | G4 whole; tenor C4 whole | D4 whole; bass C3 E3 halves | G3 whole; figures 4—3. b) soprano C5 half | B4 C5 quarters; alto G4 half | G4 half; tenor E4 half tied to E4 eighth (+), D4 eighth, C4 quarter; bass C3 E3 | F3 E3 quarters; 7—6. c) soprano B4 F5 | E5 D5 quarters; alto G4 half | G4 half; tenor D4 half tied to D4 eighth (+), C4 eighth tied to C4 eighth (+), B3 eighth; bass G2 B2 | C3 F3 quarters; figures 9—8, 5—4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-085-ex01.musicxml", "label": "Example: a) Prep(aration), Sus(pension, +), Res(olution): soprano C held over from the C major chord into the G chord, resolving C–B (4–3). b) Tenor E held over a bass F and resolving in eighth notes E–D (7–6) before C. c) Tenor D held over a bass C (9–8), then tenor C held over a bass F (5–4).", "playbackAvailable": true, "printed_systems": [ { "bars": 6, "staves": 2 } ], "sha256": "5fc487584594ecd5528d350a59d469dc104503698e72be04a0e091e041bedc29", "transcriptionStatus": "needs-review" } ], "id": "rh-085-ex01", "sha256": "c9cadd54ed1fafdb1ccbe4efe3d52c630545b4f879cb6e098476ecf9539513bc", "sources": [ { "pdf_page": 69, "source_image": "source-pages/069.png", "printed_page": 61 } ], "pdf_page": 69, "source_image": "source-pages/069.png", "printed_page": 61, "music_transcription_status": "needs-review" }, { "path": "images/rh-085-ex02.png", "kind": "music", "bbox_pixels": [ 285, 610, 1030, 325 ], "dimensions_pixels": [ 1030, 325 ], "description": "Three fragments d) e) f), no meter. d) soprano G4 quarter, A4 half | G4 dotted half; alto E4 quarter, F4 half tied to F4 half (+), E4 quarter; tenor C4 dotted half in both bars; bass C3 F2 A2 quarters | C3 dotted half; 4—3. e) soprano B4 dotted quarter, C5 quarter, D5 eighth | E5 quarter; alto G4 dotted half | G4; tenor D4 dotted quarter, C4 quarter, B3 eighth | C4; bass eighths G2 G3 F3, F3 (tied, +) E3 D3 | C3 quarter; 2—6; \"etc.\" f) soprano A4, B4 tied to B4 (+), C5 quarters; alto F4 half | D4 half; tenor C4 F3 quarters | G3 half; bass F3 D3 quarters | C3 half; 7—8. Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-085-ex02.musicxml", "label": "Example: d) in triple time, the alto F held over from the F chord and resolving to E on the third beat (4–3). e) The bass F held over in eighth notes (2) and resolving to E (6), then \"etc.\" f) The soprano B held over the bass C and resolving to C (7–8).", "playbackAvailable": true, "printed_systems": [ { "bars": 6, "staves": 2 } ], "sha256": "2a77c0258f22dd4639538ee1f3aeef3f123c98631183b5ee85095e5beac1a053", "transcriptionStatus": "needs-review" } ], "id": "rh-085-ex02", "sha256": "ec6e265dd9894cdf843766bcc8ddd970da977d20938ef47dd24fb896dc482fb2", "sources": [ { "pdf_page": 69, "source_image": "source-pages/069.png", "printed_page": 61 } ], "pdf_page": 69, "source_image": "source-pages/069.png", "printed_page": 61, "music_transcription_status": "needs-review" }, { "path": "images/rh-085-ex03.png", "kind": "music", "bbox_pixels": [ 920, 925, 595, 315 ], "dimensions_pixels": [ 595, 315 ], "description": "Two bars, no meter. Bar 1: soprano A4 half tied to A4 quarter (Acc. diss.), G4 quarter; alto F4 whole tied into bar 2; tenor C4 D4 halves; bass F3 B2 halves. Bar 2: soprano G4 (Ens. occas. diss.), C5 tied to C5 (Acc. cons.), B4 quarters; alto F4 (+) E4 quarters, G4 half; tenor C4 G3 halves; bass C3 E3 halves.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-085-ex03.musicxml", "label": "Example: a suspension forming a dissonant chord (soprano A held over B–D–F); one forming a dissonant incidental combination (alto F held over C, marked +); and a consonant suspension (soprano C held over E–G), which is to be avoided.", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "eb49e58b7d60073eb85e96abbe5e6e469a61e1afe7f6f623ded4c65a83dbb4ff", "transcriptionStatus": "needs-review" } ], "id": "rh-085-ex03", "sha256": "d70c3cfa66de112e8a76169e1f449fb5fd5dd4bb4d6be84ba09447e35b6a9941", "sources": [ { "pdf_page": 69, "source_image": "source-pages/069.png", "printed_page": 61 } ], "pdf_page": 69, "source_image": "source-pages/069.png", "printed_page": 61, "music_transcription_status": "needs-review" }, { "path": "images/rh-085-ex04.png", "kind": "music", "bbox_pixels": [ 835, 1270, 680, 185 ], "dimensions_pixels": [ 680, 185 ], "description": "\"Ne pas écrire\": one treble staff, four parts. Bar 1 (two beats): soprano G4 quarter, D5 quarter tied over the barline; lower parts G4, F4, B3 halves. Bar 2: soprano D5 half, C5 half over C4–E4–G4 whole notes.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-085-ex04.musicxml", "label": "Do not write: the soprano D prepared as a quarter note and then held as a half-note suspension (D–C) over the C major chord.", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "c7280abba3ed59a67161983ce5a66e119456917fc8a483d9b9219dfb9a966bc4", "transcriptionStatus": "needs-review" } ], "id": "rh-085-ex04", "sha256": "526f0d7a566205134abfb4d6796bada385822ef17f36905d9e656f32e7280cd8", "sources": [ { "pdf_page": 69, "source_image": "source-pages/069.png", "printed_page": 61 } ], "pdf_page": 69, "source_image": "source-pages/069.png", "printed_page": 61, "music_transcription_status": "needs-review" }, { "path": "images/rh-085-ex05.png", "kind": "music", "bbox_pixels": [ 295, 1495, 1025, 170 ], "dimensions_pixels": [ 1025, 170 ], "description": "One treble staff. Left: B3–F4–D5–A5 whole chord, the A5 tied to an A5 half that falls to G5 half over C4–E4–C5 whole notes. \"même effet que:\" Right: B3–F4–D5–A5 then C4–E4–C5–G5 whole chords, the fifths D5/A5 and C5/G5 bracketed and marked \"5te\".", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-085-ex05.musicxml", "label": "Example: the suspension A–G in the top part over D–C still yields the same effect as the parallel fifths A/D–G/C (marked \"5th\").", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "a14fa69a600b81fba2ae52fdb642b0a0b60d4ad0977d75a9b44e5b503f3f6787", "transcriptionStatus": "needs-review" } ], "id": "rh-085-ex05", "sha256": "f761264a25353f12fee0490b17e398e1be38c4ca04ba34729d886de75ee62931", "sources": [ { "pdf_page": 69, "source_image": "source-pages/069.png", "printed_page": 61 } ], "pdf_page": 69, "source_image": "source-pages/069.png", "printed_page": 61, "music_transcription_status": "needs-review" }, { "path": "images/rh-085-ex06.png", "kind": "music", "bbox_pixels": [ 295, 1675, 1025, 135 ], "dimensions_pixels": [ 1025, 135 ], "description": "One treble staff. Left: D4–F4–B4–D5 whole chord, the D5 tied to a D5 half that falls to C5 half over C4–E4–G4 whole notes. \"même effet que:\" Right: D4–F4–B4–D5 then C4–E4–G4–C5 whole chords, the octaves D4/D5 and C4/C5 bracketed and marked \"8ve\".", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-085-ex06.musicxml", "label": "Example: the suspension D–C in the top part still yields the same effect as the parallel octaves D/D–C/C (marked \"8ve\").", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "14f45e3f706fa840dba89c63eb82f177dc579fb6dabe839ee4107011f6b5fcce", "transcriptionStatus": "needs-review" } ], "id": "rh-085-ex06", "sha256": "568eed4a215df621625868cafc5850784cd88575ccb65f4cf452a4012457fbca", "sources": [ { "pdf_page": 69, "source_image": "source-pages/069.png", "printed_page": 61 } ], "pdf_page": 69, "source_image": "source-pages/069.png", "printed_page": 61, "music_transcription_status": "needs-review" }, { "path": "images/rh-085-ex07.png", "kind": "music", "bbox_pixels": [ 1035, 1928, 480, 295 ], "dimensions_pixels": [ 480, 295 ], "description": "\"MAUVAIS\", two unbarred fragments. (1) C3–G3–E4–C5 whole chord, then the soprano C5 tied (half) and resolving to B4 half over G2–B3–D4 whole notes; a curved line joins the tenor B3 to the suspended C. (2) C3–E4–G4–C5, then B2–G4–D5 with the tenor E4 tied (half) and resolving to D4 half; a curved line joins the soprano D5 to the tenor E.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-085-ex07.musicxml", "label": "BAD: in the first fragment the soprano C is held over the G chord while the tenor already sounds B, its note of resolution; in the second, the tenor E is held over the bass B while the soprano already sounds D.", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "ae8655d464902d935fbc92d1e9f85168b530a29163a349ce3e165c6145200466", "transcriptionStatus": "needs-review" } ], "id": "rh-085-ex07", "sha256": "6fa02580692b21cc72485c080c19995209bbeb4ab086a42af04b0f3db3bb837f", "sources": [ { "pdf_page": 69, "source_image": "source-pages/069.png", "printed_page": 61 } ], "pdf_page": 69, "source_image": "source-pages/069.png", "printed_page": 61, "music_transcription_status": "needs-review" }, { "path": "images/rh-086-ex01.png", "kind": "music", "bbox_pixels": [ 245, 235, 1125, 265 ], "dimensions_pixels": [ 1125, 265 ], "description": "\"au lieu de:\" — soprano D5 half tied to D5 quarter, C5 quarter; alto G4 whole; tenor B3 half, C4 half (a curved line joins the suspended D5 to the tenor C4); bass F3 half, E3 half; double bar. \"il faut écrire:\" — same upper parts and bass; tenor B3 half, G3 quarter, C4 quarter (straight line B3–G3); final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-086-ex01.musicxml", "label": "Instead of (left): the tenor sounds C, the note of resolution, at the moment the soprano's D is suspended over it; one must write (right): the tenor descends B–G and reaches C only on the soprano's resolution.", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "e099d9e285a419b0a6d40d64a05ae5b6d958497b364f1bcafd564e2907304985", "transcriptionStatus": "needs-review" } ], "id": "rh-086-ex01", "sha256": "c97a5804eb9f8412dc9e24b7187753c00688d7099d6f070dfbc73ef360100502", "sources": [ { "pdf_page": 70, "source_image": "source-pages/070.png", "printed_page": 62 } ], "pdf_page": 70, "source_image": "source-pages/070.png", "printed_page": 62, "music_transcription_status": "needs-review" }, { "path": "images/rh-086-ex02.png", "kind": "music", "bbox_pixels": [ 880, 525, 640, 290 ], "dimensions_pixels": [ 640, 290 ], "description": "\"BON\" over bar 2. Whole notes. (1) G2 B3 F4 D5 (D5 tied) – C3 G3 E4 with soprano D5–C5 halves; double bar. (2) F2 C4 F4 A4 (A4 tied) – G2 B3 F4 with soprano A4–G4 halves; final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-086-ex02.musicxml", "label": "Good: the suspended D (and, in the second fragment, A) sounds a ninth (compound) above its note of resolution, C (and G), which is the root in the bass.", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 2 } ], "sha256": "e83907712c9f41d86618100021e1ee1fcafb268cd5516d5b7572e4e0bb5ad31e", "transcriptionStatus": "needs-review" } ], "id": "rh-086-ex02", "sha256": "686f9e808235a2b522babc18f4ca14aa20cd41e2c547ceb092550902d6e17cf2", "sources": [ { "pdf_page": 70, "source_image": "source-pages/070.png", "printed_page": 62 } ], "pdf_page": 70, "source_image": "source-pages/070.png", "printed_page": 62, "music_transcription_status": "needs-review" }, { "path": "images/rh-086-ex03.png", "kind": "music", "bbox_pixels": [ 1160, 855, 355, 265 ], "dimensions_pixels": [ 355, 265 ], "description": "Soprano D5 whole tied to D5 half, C5 half; alto G4 half, F4 half, then E4 whole; tenor B3 whole, C4 whole; bass G2 whole, C3 whole. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-086-ex03.musicxml", "label": "Example: the soprano's suspended D sounds a ninth above the tenor's C, the note of resolution, in an incomplete C major triad (C–C–E).", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "4b38f95f4ee047ee2c1825f53149ef1453e72316d1bf3f43e0630170ac98d6fc", "transcriptionStatus": "needs-review" } ], "id": "rh-086-ex03", "sha256": "a7b3b6f6a84262bfb90299cd5c5aca3e13d5c646ba0f86231481091a100c65bf", "sources": [ { "pdf_page": 70, "source_image": "source-pages/070.png", "printed_page": 62 } ], "pdf_page": 70, "source_image": "source-pages/070.png", "printed_page": 62, "music_transcription_status": "needs-review" }, { "path": "images/rh-086-ex04.png", "kind": "music", "bbox_pixels": [ 715, 1285, 800, 330 ], "dimensions_pixels": [ 800, 330 ], "description": "(1) bar 1: soprano D5 whole (tied), alto G4 whole, tenor B3–D4 halves, bass G3–B2 halves (6); bar 2: soprano D5–C5, alto E4–G4, tenor G3 whole, bass C3–E3 (6); double bar. (2) bar 3: soprano D5 (tied), alto G4, tenor B3–D4, bass G2–B2 (6); bar 4: soprano D5–C5, alto E4 whole, tenor G3–A3, bass C3–A2. Lines join alto E4–G4, tenor G3–A3, bass C3–E3 and C3–A2. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-086-ex04.musicxml", "label": "Example: the soprano's suspension D–C resolves while the other parts move (to C major in first inversion in the first pair of bars, to A minor in the second); figures 6 under the bass.", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 2 } ], "sha256": "a78c6653b856bacc7794b755ef6e4a801ca640bcd0d79ece2d4bf6da9b153bfb", "transcriptionStatus": "needs-review" } ], "id": "rh-086-ex04", "sha256": "b9567c248afcc1db12b91e3155ac4620af9eca33bc0fbe72e7f0feff001f03e9", "sources": [ { "pdf_page": 70, "source_image": "source-pages/070.png", "printed_page": 62 } ], "pdf_page": 70, "source_image": "source-pages/070.png", "printed_page": 62, "music_transcription_status": "needs-review" }, { "path": "images/rh-086-ex05.png", "kind": "music", "bbox_pixels": [ 980, 1615, 535, 320 ], "dimensions_pixels": [ 535, 320 ], "description": "Bar 1: soprano D5 dotted half tied over; alto F4 dotted half; tenor B3 A3 A♭3 quarters; bass G2 A2 B2 quarters. Bar 2: soprano D5 half, C5 quarter; alto E4 F4 G4 quarters; tenor G3 dotted half; bass C3 D3 E3 quarters. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-086-ex05.musicxml", "label": "Example: passing notes in the tenor and bass during the preparation, and in the alto and bass between the suspension (D) and its resolution (C).", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "9f2af3824468b71ead11c7d54f79ec1388c47366d6a090af8133675a4a898b3d", "transcriptionStatus": "needs-review" } ], "id": "rh-086-ex05", "sha256": "13bd9eff5e87095dafb894e7b27ae23616f279227dc4685e83ff0f85d0039752", "sources": [ { "pdf_page": 70, "source_image": "source-pages/070.png", "printed_page": 62 } ], "pdf_page": 70, "source_image": "source-pages/070.png", "printed_page": 62, "music_transcription_status": "needs-review" }, { "path": "images/rh-086-ex06.png", "kind": "music", "bbox_pixels": [ 728, 1935, 790, 330 ], "dimensions_pixels": [ 790, 330 ], "description": "Bar 1: soprano C5–A4 halves; alto E4 whole (tied); tenor A3 whole; bass A2–C3 halves. Bar 2: soprano B4–A4 halves (A4 tied); alto E4–D♯4 halves; tenor G♯3–B3 halves; bass B2 whole; bracket \"5te\" before and after the soprano/alto pair. Bar 3: soprano A4–G♯4 halves; alto E4 whole (tied); tenor B3 whole; bass E3–D3 halves (D3 tied); brackets \"4te\" (E3–A4) and \"4te aug.\" (D3–G♯4). Bar 4: soprano A4, alto E4, tenor A3 whole notes; bass D3–C3 halves. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-086-ex06.musicxml", "label": "Example: in bar 2 the soprano's passing seventh A over B forms fifths with the alto (B–E perfect, then A–D♯ diminished); in bar 3 the bass's passing seventh D under E forms fourths with the soprano (E–A perfect, then D–G♯ augmented).", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 2 } ], "sha256": "94c23641e07450e98728dc672131ae3c14639f590f3908a01add80466fb2f18c", "transcriptionStatus": "needs-review" } ], "id": "rh-086-ex06", "sha256": "a6a40b2133e14645b71a6b9c370b743d9da93d9995ec2e47eaf21d7016ab5972", "sources": [ { "pdf_page": 70, "source_image": "source-pages/070.png", "printed_page": 62 } ], "pdf_page": 70, "source_image": "source-pages/070.png", "printed_page": 62, "music_transcription_status": "needs-review" }, { "path": "images/rh-087-ex01.png", "kind": "music", "bbox_pixels": [ 95, 160, 1440, 710 ], "dimensions_pixels": [ 1440, 710 ], "description": "Examples of descending suspensions, C major ending, cut time, sixteen bars in two systems, four parts. Suspensions prepared by ties across the bar line and resolved by step down: tenor C4-B3 (bar 2), soprano/alto G4 and F4 held into bar 3, soprano C5-B4 (bar 4), tenor D4 held through bar 5 to C4 in bar 6, soprano E5-D5 (bar 7), alto A4-G4 (bar 8), soprano D5-C5 (bar 10), tenor F#3 and A3-G#3 (bars 11-12), alto G4-F4 (bar 14), soprano D5-C5-B4 (bar 15), alto F4-E4 (bar 16). Final chord C major. Bass: C3 F3 | D3 | C3. A2 | G2 | G2 F2 E2 | A2. G2 | F2 | G2 | B2 | C3 A2 | B2 | E3. D3 | C3 C#3 | D3. F2 | G2 | C3.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-087-ex01.musicxml", "label": "EXAMPLES OF DESCENDING SUSPENSIONS", "playbackAvailable": true, "printed_systems": [ { "bars": 16, "staves": 2 } ], "sha256": "038e09290234b76bb284fd542ca3f241ec27c37c8b5d95efa8c297abaa8741ad", "transcriptionStatus": "needs-review" } ], "id": "rh-087-ex01", "sha256": "91ad87ad773c4b535cae5ca8bdbdf5db0a3fbcaa1b05bc90dc24b39166aa3821", "sources": [ { "pdf_page": 71, "source_image": "source-pages/071.png", "printed_page": 63 } ], "pdf_page": 71, "source_image": "source-pages/071.png", "printed_page": 63, "music_transcription_status": "needs-review" }, { "path": "images/rh-087-ex02.png", "kind": "music", "bbox_pixels": [ 905, 1115, 615, 300 ], "dimensions_pixels": [ 615, 300 ], "description": "Two unmetered fragments, MAUVAIS (bad) and BON (good), each a dominant chord resolving to C major with the tenor (or soprano) B held and rising to C. MAUVAIS: G-major chord D5/G4/B3/G3 to C5/E4/C3 while the tenor B3 is tied and rises to C4 — the resolution note C5 lies in the soprano above the suspension; a curved line joins tenor B3 to soprano C5. Double bar. BON: G7 B4/F4/D4/G3 to C major: soprano B4 tied, rising to C5, alto E4, tenor C4, bass C3. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-087-ex02.musicxml", "label": "BAD — GOOD", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "b2b3491699cdb2a8770aa1523d6abdbd636a0537308aa6221589a0f0a31e8d7c", "transcriptionStatus": "needs-review" } ], "id": "rh-087-ex02", "sha256": "3fd1d918d71f72d09f4e66d0b088b0ec07f16794cefac2079a5ac633e32654c6", "sources": [ { "pdf_page": 71, "source_image": "source-pages/071.png", "printed_page": 63 } ], "pdf_page": 71, "source_image": "source-pages/071.png", "printed_page": 63, "music_transcription_status": "needs-review" }, { "path": "images/rh-087-ex03.png", "kind": "music", "bbox_pixels": [ 905, 1455, 615, 312 ], "dimensions_pixels": [ 615, 312 ], "description": "Two unmetered fragments, soprano suspension B4 (marked +) tied and rising to C5. (1) G major B4/D4/G3/G2 to C major in which the resolution note C4 lies in the alto (bracket from soprano B4 to alto C4): alto D4-C4, tenor G3-E3, bass G2-C3. Double bar. (2) G7 third inversion B4/G4/D4/F3 (figure 2) to C major sixth chord, tenor C4 over bass E3 (figure 6); a bracket joins the soprano to the tenor C4. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-087-ex03.musicxml", "label": "[Example]", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "1606263c94bcf25005f2e2c33e8cf1372122f9cb12cd01f6dfee7a939bff5377", "transcriptionStatus": "needs-review" } ], "id": "rh-087-ex03", "sha256": "31d5b7892b35fa3d89f17fe54572287f1861124f02a7525285340f54c6f41ec1", "sources": [ { "pdf_page": 71, "source_image": "source-pages/071.png", "printed_page": 63 } ], "pdf_page": 71, "source_image": "source-pages/071.png", "printed_page": 63, "music_transcription_status": "needs-review" }, { "path": "images/rh-087-ex04.png", "kind": "music", "bbox_pixels": [ 280, 1925, 1050, 345 ], "dimensions_pixels": [ 1050, 345 ], "description": "Four unmetered fragments of double and triple suspensions resolving to C major (+ signs mark the suspended notes). (1) F major A3/F3 bass position under C5/F4: alto F4-E4 and tenor A3-G3 suspended in parallel sixths over bass C3 (figure 6/4 under the chord of resolution). (2) G7/B, soprano G4, alto F4-E4 and tenor D4-C4 in parallel thirds, bass B2-C3. (3) G7 without root doubling: soprano B4-C5 rising and alto F4-E4 falling (contrary motion), tenor G3 held, bass G2-C3. (4) triple suspension: soprano D5-C5, alto F4-E4, tenor B3-C4, bass G3-C3. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-087-ex04.musicxml", "label": "[Example]", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 2 } ], "sha256": "8c1a3470dfcef8b6d7e23a924f675b49dddee5b7360275739be97ae957b38dc2", "transcriptionStatus": "needs-review" } ], "id": "rh-087-ex04", "sha256": "3e6147b4ae1c8783091b64ab116f139f755d93e5b124ce9f3ec1c95122e9fcac", "sources": [ { "pdf_page": 71, "source_image": "source-pages/071.png", "printed_page": 63 } ], "pdf_page": 71, "source_image": "source-pages/071.png", "printed_page": 63, "music_transcription_status": "needs-review" }, { "path": "images/rh-088-ex01.png", "kind": "music", "bbox_pixels": [ 855, 130, 670, 270 ], "dimensions_pixels": [ 670, 270 ], "description": "Three fragments separated by double bars, no meter, each two whole-note lengths. \"MAUVAIS\": soprano D5 whole tied to D5 half, C5 half; alto G4, G4 wholes; tenor B3 whole, C4 whole; bass F3 whole, E3 whole (a curved line joins the suspended D5 to the tenor C4). \"MAUVAIS\": soprano D5 whole, C5 whole; alto G4 tied G4; tenor B3 whole tied to B3 half, C4 half; bass F3, E3. \"BON\": soprano D5 whole tied to D5 half, C5 half; alto G4 tied G4; tenor B3 whole tied to B3 half, C4 half; bass F3, E3. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-088-ex01.musicxml", "label": "Bad: the soprano suspension D sounds against C, its note of resolution, in the tenor. Bad: the tenor suspension B sounds against C, its note of resolution, in the soprano. Good: both suspensions are made together and resolve together.", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 2 } ], "sha256": "61967081cb773b4e145ed6395eacd99382c458b28e5abf5d933714c416414d9c", "transcriptionStatus": "needs-review" } ], "id": "rh-088-ex01", "sha256": "3ef478a3305818e75f8a0a4ece667bc9254cf7890dffe4d9ab968730a5f6c578", "sources": [ { "pdf_page": 72, "source_image": "source-pages/072.png", "printed_page": 64 } ], "pdf_page": 72, "source_image": "source-pages/072.png", "printed_page": 64, "music_transcription_status": "needs-review" }, { "path": "images/rh-088-ex02.png", "kind": "music", "bbox_pixels": [ 90, 555, 1460, 345 ], "dimensions_pixels": [ 1460, 345 ], "description": "C major, common time, 8 bars. Soprano: C5 E5~ | E5 D5 C5~ | C5 B4 C5 D5 | D5 (whole)~ | D5 (dotted half) C5 | C5 (whole)~ | C5 (dotted half) B4~ | B4 C5 (dotted half, fermata). Alto: E4 F4 G4 (half)~ | G4 A4 F4 E4 | D4 (half) G4 F#4~ | F#4 G4 (half) F4 (natural)~ | F4 E4–D4 (eighths) E4 (half)~ | E4 (half) D4 F4~ | F4 E4 (half) D4~ | D4 C4 (dotted half). Tenor: C4 (dotted half) B3 | A3 (whole)~ | A3 G3 (half) A3 | B3 G3~ (halves) | G3 (half)~ G3 C4 | A3 (dotted half) Ab3~ | Ab3 G3 F3 (half)~ | F3 E3 (halves, fermata above). Bass: C3 (whole) | F2 (dotted half) D3 | G2 F3 E3 D3 | G2 B2 (halves) | C3 (dotted half) A2 | F2 (whole) | G2 (whole) | C3 (whole). Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-088-ex02.musicxml", "label": "Eight-bar progression in C major, common time, with suspensions, including ascending and simultaneous ones, ending with a fermata on the tonic chord.", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 2 } ], "sha256": "a47840c60ae25936f87dfaa681caf417511b7bc11f72728c6ed2c6d5ec64b011", "transcriptionStatus": "needs-review" } ], "id": "rh-088-ex02", "sha256": "5f875892fe909ab49522e50541ecde5b75b7deeb410174dad3af0c7ca23b01d6", "sources": [ { "pdf_page": 72, "source_image": "source-pages/072.png", "printed_page": 64 } ], "pdf_page": 72, "source_image": "source-pages/072.png", "printed_page": 64, "music_transcription_status": "needs-review" }, { "path": "images/rh-088-ex03.png", "kind": "music", "bbox_pixels": [ 320, 1035, 1010, 175 ], "dimensions_pixels": [ 1010, 175 ], "description": "One treble staff, no meter. a) F3 F4 A4 C5 (bracketed flat before A4: optional Ab) – \"N.B.\" G3 F4 A4 C5 (F4 A4 C5 tied over; figure 11 under G3) – G3 (tied) F4 (tied) G4 B4 – black stemless C4 E4 G4 C5. Double bar. b) C4 E4 G4 C5 E5 – F3 F4 Ab4 C5 E5 (C5, E5 tied over) – \"N.B.\" G3 F4 Ab4 C5 E5 (all four upper notes tied over; figure 13 under G3) – G3 (tied) F4 (tied) B4 D5 wholes with an inner Ab4 half moving to G4 half – black stemless C4 E4 G4 C5 (C5 printed twice side by side). Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-088-ex03.musicxml", "label": "a) The chord marked N.B. (G with F, A, C above it, figured 11) as an eleventh chord without third and fifth, resolving to the dominant seventh and then to the C major triad. b) The chord marked N.B. (G with F, A flat, C, E above it, figured 13) as a thirteenth chord without third and fifth, resolving likewise.", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "ed36346b53334a7f7b8bff29b97d2fab6b5776e1980d0d0fa2a4b4fe50942269", "transcriptionStatus": "needs-review" } ], "id": "rh-088-ex03", "sha256": "55090a094801bb3a2f78d83162dec45cc77f70a3de057d712636666ee085f1c7", "sources": [ { "pdf_page": 72, "source_image": "source-pages/072.png", "printed_page": 64 } ], "pdf_page": 72, "source_image": "source-pages/072.png", "printed_page": 64, "music_transcription_status": "needs-review" }, { "path": "images/rh-088-ex04.png", "kind": "music", "bbox_pixels": [ 440, 1650, 740, 295 ], "dimensions_pixels": [ 740, 295 ], "description": "No meter; four bars of whole-note length, double bar after bar 2. Bar 1 (\"8ve dim.\"): soprano B4 whole; alto G4 half tied to G4 quarter (+), F4 quarter; tenor D4 whole; bass G3 half, G#3 half (curved line from alto G4 to bass G#3). Bar 2: A3 C4 E4 A4 wholes. Bar 3 (\"8ve dim.\"): soprano D5 half tied to D5 quarter (+), C5 quarter; alto F4 half, F#4 half; tenor A3 whole; bass D3 half, D#3 half (curved line from soprano D5 to bass D#3). Bar 4: E3 G#3 G#4 B4 wholes. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-088-ex04.musicxml", "label": "Two progressions separated by a double bar. First: G major chord, then the bass moves chromatically to G sharp while the alto G is held as a suspension, a diminished octave above the bass, before falling to F (diminished seventh chord), resolving to A minor. Second: D minor chord, then the bass moves to D sharp while the soprano D is held as a suspension, a diminished octave above the bass, before falling to C (diminished seventh chord), resolving to E major.", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 2 } ], "sha256": "047040a2cb9a49664d241cc21f3b62c356b11961ed9ad8b4f97e716ef2eb14bc", "transcriptionStatus": "needs-review" } ], "id": "rh-088-ex04", "sha256": "8f18221786191d836602da66f4117e6580e22a7ccbc786f3323d7c2f8b095cd4", "sources": [ { "pdf_page": 72, "source_image": "source-pages/072.png", "printed_page": 64 } ], "pdf_page": 72, "source_image": "source-pages/072.png", "printed_page": 64, "music_transcription_status": "needs-review" }, { "path": "images/rh-088-ex05.png", "kind": "music", "bbox_pixels": [ 990, 1960, 560, 290 ], "dimensions_pixels": [ 560, 290 ], "description": "No meter, one bar of six quarter beats, followed by \"etc.\". Soprano G4 half, G#4 half (\"unisson augm.\"), A4 half; alto G4 half tied to G4 (natural) quarter (printed beside the soprano G#4), F4 quarter, E4 half; tenor D4 whole, C4 half; bass B2 whole, C3 half. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-088-ex05.musicxml", "label": "The alto holds G as a suspension while the soprano rises from G to G sharp, forming an augmented unison; the alto then falls to F and E, the soprano rises to A (A minor chord). The example breaks off with \"etc.\"", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "63459b713e1a2bc33f1a9b55fe0b7b1833bcaad3fea076bc0f9132e4318e8735", "transcriptionStatus": "needs-review" } ], "id": "rh-088-ex05", "sha256": "3669edb55770a9f4d735c9b47d7dcb64ea1e41ff3d58bb34c63af34ac5712923", "sources": [ { "pdf_page": 72, "source_image": "source-pages/072.png", "printed_page": 64 } ], "pdf_page": 72, "source_image": "source-pages/072.png", "printed_page": 64, "music_transcription_status": "needs-review" }, { "path": "images/rh-089-ex01.png", "kind": "music", "bbox_pixels": [ 340, 770, 290, 300 ], "dimensions_pixels": [ 290, 300 ], "description": "\"The descending suspension is impossible\": two half-note chords, C major to G major. Soprano C5 D5 (rising), alto E4 D4, tenor G3 B3, bass C3 G3. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-089-ex01.musicxml", "label": "[Example]", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "d317d760f3417837ab0a591538727ba47cd14881c89901c5fcb750ab4661c6a2", "transcriptionStatus": "needs-review" } ], "id": "rh-089-ex01", "sha256": "7d9e8e5f48ff4967d9ffaedf1e5436694beac74b8d7e80bfa523d193e8ddcacc", "sources": [ { "pdf_page": 73, "source_image": "source-pages/073.png", "printed_page": 65 } ], "pdf_page": 73, "source_image": "source-pages/073.png", "printed_page": 65, "music_transcription_status": "needs-review" }, { "path": "images/rh-089-ex02.png", "kind": "music", "bbox_pixels": [ 1080, 775, 410, 305 ], "dimensions_pixels": [ 410, 305 ], "description": "\"It becomes possible with the help of a leap\": same chords; the tenor leaps G3 to C4 (quarters), holds C4 tied over the change of chord and resolves down to B3; straight lines join G3-C4 and C4-B3. Soprano C5 D5, alto E4 D4, bass C3 G3 halves. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-089-ex02.musicxml", "label": "[Example]", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "f6fa9b14f8c63058ea6c49624a79b3ae25504b1f73310a2b665769c7a6ebc4e7", "transcriptionStatus": "needs-review" } ], "id": "rh-089-ex02", "sha256": "154c110916fadbf7757fd00d7d7d393e65756aef82cc06897dadf0b8ee340c4c", "sources": [ { "pdf_page": 73, "source_image": "source-pages/073.png", "printed_page": 65 } ], "pdf_page": 73, "source_image": "source-pages/073.png", "printed_page": 65, "music_transcription_status": "needs-review" }, { "path": "images/rh-089-ex03.png", "kind": "music", "bbox_pixels": [ 340, 1120, 290, 300 ], "dimensions_pixels": [ 290, 300 ], "description": "\"Diatonic passing notes are impossible\": C major to G major. Soprano C5 B4, alto E4 D4 halves, tenor G3 whole held through, bass C3 G3 halves. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-089-ex03.musicxml", "label": "[Example]", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "6db7ccfedb617c0949c2f4a7870a5c62463b06ef556adcc7bef2ef6dcf5da564", "transcriptionStatus": "needs-review" } ], "id": "rh-089-ex03", "sha256": "80274ea3fede3c5f22ba45c6aa7fc14800ce53b048e9a2b24db535be59c49757", "sources": [ { "pdf_page": 73, "source_image": "source-pages/073.png", "printed_page": 65 } ], "pdf_page": 73, "source_image": "source-pages/073.png", "printed_page": 65, "music_transcription_status": "needs-review" }, { "path": "images/rh-089-ex04.png", "kind": "music", "bbox_pixels": [ 950, 1120, 540, 320 ], "dimensions_pixels": [ 540, 320 ], "description": "\"They are introduced with the help of real notes\": two fragments separated by a double bar, same chords. (1) alto eighths E4 F4 G4 E4 then D4 half (+ below the beam); soprano C5 B4, tenor G3 whole, bass C3 G3. (2) bass eighths C3 D3 E3 F3 then G3 half (+ below the beam); soprano C5 B4, alto E4 D4, tenor G3 whole. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-089-ex04.musicxml", "label": "[Example]", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "47126a6ec8edcc6cda1cef9db8ed6219816a503f0c126d41645a138775fe55c2", "transcriptionStatus": "needs-review" } ], "id": "rh-089-ex04", "sha256": "4af0d6d4cec1caf2b7cfa8130e20b85ff46af3147b681ef17e6dab6054605b3e", "sources": [ { "pdf_page": 73, "source_image": "source-pages/073.png", "printed_page": 65 } ], "pdf_page": 73, "source_image": "source-pages/073.png", "printed_page": 65, "music_transcription_status": "needs-review" }, { "path": "images/rh-089-ex05.png", "kind": "music", "bbox_pixels": [ 385, 1580, 830, 330 ], "dimensions_pixels": [ 830, 330 ], "description": "Passing notes on the strong part of the beat, two fragments separated by a double bar, \"etc.\" after the final bar. (1) soprano eighths C5 E5 D5(+) C5, G4 half; alto E4 D4 halves; tenor G3 whole; bass C3 G3 halves. (2) in dotted halves: soprano eighths C5 B4 C5 D5(+) C5 B4, C5 dotted half; alto E4 G4, tenor G3 C4, bass C3 E3 dotted halves.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-089-ex05.musicxml", "label": "[Example] etc.", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "d5ce7c56b975fe85096d91ee0bf6590b70b3e2f131142fdbc0b644a79b18b1b2", "transcriptionStatus": "needs-review" } ], "id": "rh-089-ex05", "sha256": "34db053021a8cd9c99f3b335de5225879bfe62b93cff10954888586cb61071dc", "sources": [ { "pdf_page": 73, "source_image": "source-pages/073.png", "printed_page": 65 } ], "pdf_page": 73, "source_image": "source-pages/073.png", "printed_page": 65, "music_transcription_status": "needs-review" }, { "path": "images/rh-089-ex06.png", "kind": "music", "bbox_pixels": [ 1115, 1940, 400, 300 ], "dimensions_pixels": [ 400, 300 ], "description": "\"MAUVAIS\" (bad): soprano G4 half; alto eighths C4 E4 D4(+) C4; tenor C4 half (ledger line), joined by a curved line to the alto passing note D4, whose resolution C4 falls in unison with it; bass E3 half. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-089-ex06.musicxml", "label": "BAD", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "da7e3a191ae07566e522d37350855b4537f7e31ed1bf3203bc87040a265a2865", "transcriptionStatus": "needs-review" } ], "id": "rh-089-ex06", "sha256": "197e9be4e4dc45e269d0a461b2a233c9101f32c20982b01caff4fd8ed9b2067c", "sources": [ { "pdf_page": 73, "source_image": "source-pages/073.png", "printed_page": 65 } ], "pdf_page": 73, "source_image": "source-pages/073.png", "printed_page": 65, "music_transcription_status": "needs-review" }, { "path": "images/rh-090-ex01.png", "kind": "music", "bbox_pixels": [ 985, 135, 365, 275 ], "dimensions_pixels": [ 365, 275 ], "description": "One unmetered fragment (two quarter beats), F major chord. Soprano A4 C5 B4(+) A4 eighths; alto C4 half; tenor A3 half; bass F3 half. An oblique line runs from the passing note B4 down to the tenor A3. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-090-ex01.musicxml", "label": "[Example]", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "b9dac971214a6a36c2aa8b6f829a59ebfdd7d91af92ad736a492229b1038f18e", "transcriptionStatus": "needs-review" } ], "id": "rh-090-ex01", "sha256": "cb5184543ac6a911cfaa60f33038bed7c11878395013fb7a541d448f2f1c49ad", "sources": [ { "pdf_page": 74, "source_image": "source-pages/074.png", "printed_page": 66 } ], "pdf_page": 74, "source_image": "source-pages/074.png", "printed_page": 66, "music_transcription_status": "needs-review" }, { "path": "images/rh-090-ex02.png", "kind": "music", "bbox_pixels": [ 550, 535, 595, 330 ], "dimensions_pixels": [ 595, 330 ], "description": "\"BON\" (good). Two unmetered fragments of two quarter beats, double bar between, final bar. (1) soprano A4 C5 B4 A4 eighths; alto C4 F4 quarters; tenor A3 C4 quarters (joined by a line); bass F3 half. (2) soprano G4 half; alto C4 E4 D4 C4 eighths; tenor C4 G3 quarters (joined by a line); bass E3 half.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-090-ex02.musicxml", "label": "GOOD", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "9e8ab2bd250fd685fb0d0e33f506e0148a2eff9d789407d958bff4e5bd803ebc", "transcriptionStatus": "needs-review" } ], "id": "rh-090-ex02", "sha256": "fd19888ee0699a09a488e0c3f9e35287d78acfbed11a7d2fa41d81b45e75a837", "sources": [ { "pdf_page": 74, "source_image": "source-pages/074.png", "printed_page": 66 } ], "pdf_page": 74, "source_image": "source-pages/074.png", "printed_page": 66, "music_transcription_status": "needs-review" }, { "path": "images/rh-090-ex03.png", "kind": "music", "bbox_pixels": [ 385, 975, 930, 200 ], "dimensions_pixels": [ 930, 200 ], "description": "Forbidden parallels, one treble staff, upper part stems up, lower part stems down. a) upper E5 half, D5 half over lower E4 D4 E4 C4 | D4 C4 D4 B3 eighths; octaves E5/E4 and D5/D4 bracketed \"8ve\". b) upper A4 half, G4 half over lower D4 C4 D4 A3 | C4 B3 C4 G3 eighths; fifths A4/D4 and G4/C4 bracketed \"5te\". c) upper B4 A4 G4 B4 eighths, C5 half over lower G3 half, C4 half; lines marked \"8ve\" join G4 to G3 and C5 to C4. Double bars between, final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-090-ex03.musicxml", "label": "[Example] a) b) c)", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 1 } ], "sha256": "16c174cf48485b01dc31299cdfe3e22266de9f57cd60f042e1b0cac3ca1d9924", "transcriptionStatus": "needs-review" } ], "id": "rh-090-ex03", "sha256": "d1743be493f0158b7e64cb014eb0c6447594fe030efb4cd56136387bcadbb12d", "sources": [ { "pdf_page": 74, "source_image": "source-pages/074.png", "printed_page": 66 } ], "pdf_page": 74, "source_image": "source-pages/074.png", "printed_page": 66, "music_transcription_status": "needs-review" }, { "path": "images/rh-090-ex04.png", "kind": "music", "bbox_pixels": [ 385, 1232, 930, 188 ], "dimensions_pixels": [ 930, 188 ], "description": "Permitted parallels on weak beats, one treble staff. d) upper E5 half, D5 half over lower C4 D4 E4 C4 | B3 C4 D4 B3 eighths; slurs marked \"8ve\" join E5 to E4 and D5 to D4. e) upper A4 half, G4 half over lower C4 E4 D4 C4 | B3 D4 C4 B3 eighths; slurs marked \"5te\" join A4 to D4 and G4 to C4. f) upper B4 G4 A4 B4 eighths, C5 half over lower G3 half, C4 half; lines marked \"8ve\" join G4 to G3 and C5 to C4. Double bars between, final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-090-ex04.musicxml", "label": "[Example] d) e) f)", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 1 } ], "sha256": "698b930ca16a9b3f24b0334a3ceac1b95d9e0e3115fb1f3a3a2b24c856d06e2a", "transcriptionStatus": "needs-review" } ], "id": "rh-090-ex04", "sha256": "d7359bb5ef4e0532f53013fa1a8e889f86e4140bd01f61c4cea479b0586fa910", "sources": [ { "pdf_page": 74, "source_image": "source-pages/074.png", "printed_page": 66 } ], "pdf_page": 74, "source_image": "source-pages/074.png", "printed_page": 66, "music_transcription_status": "needs-review" }, { "path": "images/rh-090-ex05.png", "kind": "music", "bbox_pixels": [ 285, 1540, 1115, 265 ], "dimensions_pixels": [ 1115, 265 ], "description": "Ornamented 4–3 suspension over the dominant seventh, three two-bar fragments, double bars between, final bar. Bar 1 each time: soprano G4 half, C5 half tied over; alto E4 whole; tenor C4 whole; bass C3 whole. Bar 2: alto F4 whole; tenor D4 whole; bass G3 whole; soprano a) C5 quarter, D5 quarter (inserted chord note), B4 half; b) C5 quarter, B4 A4 eighths, B4 half; c) C5 B4 D5 C5 eighths, B4 half.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-090-ex05.musicxml", "label": "[Example] a) b) c)", "playbackAvailable": true, "printed_systems": [ { "bars": 6, "staves": 2 } ], "sha256": "51968dfdedac0d778bc883e0c8040b06316c092006edf187a7e201491b6aaa88", "transcriptionStatus": "needs-review" } ], "id": "rh-090-ex05", "sha256": "2da77a8a682d4a70bd79b5bfe82a0bc23beef982f95dbee3d795f9ca8f358467", "sources": [ { "pdf_page": 74, "source_image": "source-pages/074.png", "printed_page": 66 } ], "pdf_page": 74, "source_image": "source-pages/074.png", "printed_page": 66, "music_transcription_status": "needs-review" }, { "path": "images/rh-090-ex06.png", "kind": "music", "bbox_pixels": [ 425, 1965, 845, 330 ], "dimensions_pixels": [ 845, 330 ], "description": "Two two-bar fragments, double bar between, final bar. (1) Descending suspension D5–C5 with the lower auxiliary: soprano G4 half, D5 half tied to D5 quarter, B4(+) quarter, C5 half; alto G4 half, F4 half | E4 whole; tenor B3 whole | G3 whole; bass G3 half, G2 half | C3 whole. (2) Ascending suspension B4–C5 with the upper auxiliary: soprano B4 whole tied to B4 quarter, D5(+) quarter, C5 half; alto D4 half, F4 half | E4 whole; tenor G3 whole | G3 whole; bass G2 whole | C3 whole.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-090-ex06.musicxml", "label": "[Example]", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 2 } ], "sha256": "b4ce53f5c25ad990d40cd022dd03704c566319d20d391a3bf51736fe657800de", "transcriptionStatus": "needs-review" } ], "id": "rh-090-ex06", "sha256": "f373895c522b8390a10d8207b981213e8ac7256ea0b9ddee959d063f2371ff91", "sources": [ { "pdf_page": 74, "source_image": "source-pages/074.png", "printed_page": 66 } ], "pdf_page": 74, "source_image": "source-pages/074.png", "printed_page": 66, "music_transcription_status": "needs-review" }, { "path": "images/rh-091-ex01.png", "kind": "music", "bbox_pixels": [ 1015, 510, 510, 130 ], "dimensions_pixels": [ 510, 130 ], "description": "a) Figures made only of neighbour notes: treble staff, two groups of four beamed eighths separated by a double bar, no meter: C5 D5 C5 D5 || E5 D5 E5 D5. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-091-ex01.musicxml", "label": "[Example]", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "bc32be63443604bc7bcb6664f85db637420f1372ff4a257168d7d7c4446e9147", "transcriptionStatus": "needs-review" } ], "id": "rh-091-ex01", "sha256": "86f0e819b89932be6f163cfa8be0fd8409f3d4965d18ef08eae1f95a8cd2d365", "sources": [ { "pdf_page": 75, "source_image": "source-pages/075.png", "printed_page": 67 } ], "pdf_page": 75, "source_image": "source-pages/075.png", "printed_page": 67, "music_transcription_status": "needs-review" }, { "path": "images/rh-091-ex02.png", "kind": "music", "bbox_pixels": [ 1015, 705, 510, 130 ], "dimensions_pixels": [ 510, 130 ], "description": "b) Figures made of repeated chord notes: treble staff, two groups of four beamed eighths separated by a double bar, no meter: C5 E5 C5 E5 || G4 D4 G4 D4. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-091-ex02.musicxml", "label": "[Example]", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "566aa00fadc895282b9774778caf413794a71b1c8eb65ce352039871a8e86008", "transcriptionStatus": "needs-review" } ], "id": "rh-091-ex02", "sha256": "c589d092c79f95087eeb1c6ab07471021f99ae5b47dfca328a4b93fbe12bda1b", "sources": [ { "pdf_page": 75, "source_image": "source-pages/075.png", "printed_page": 67 } ], "pdf_page": 75, "source_image": "source-pages/075.png", "printed_page": 67, "music_transcription_status": "needs-review" }, { "path": "images/rh-091-ex03.png", "kind": "music", "bbox_pixels": [ 890, 870, 625, 155 ], "dimensions_pixels": [ 625, 155 ], "description": "c) Several arpeggiated figures of chord notes (\"harmonic ornament\"): treble staff, three groups of four beamed eighths, no meter: C5 E5 G5 C6 | B5 G5 D5 B4 | C5 E5 A5 C5, followed by \"etc.\" and a final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-091-ex03.musicxml", "label": "[Example] etc.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "43bf09f95a7111e739559c546a03b8e7e69b6a178a00b93def58630634a2d8d3", "transcriptionStatus": "needs-review" } ], "id": "rh-091-ex03", "sha256": "b57fbb9dd3e1315c587c45d79c62e0fc0da3e8e9e248ad6d688b57719faa947c", "sources": [ { "pdf_page": 75, "source_image": "source-pages/075.png", "printed_page": 67 } ], "pdf_page": 75, "source_image": "source-pages/075.png", "printed_page": 67, "music_transcription_status": "needs-review" }, { "path": "images/rh-091-ex04.png", "kind": "music", "bbox_pixels": [ 1130, 1080, 385, 180 ], "dimensions_pixels": [ 385, 180 ], "description": "d) Disjunct motion after the resolution of a suspension: one treble staff, all four parts, no meter. Chord 1 (halves): B3 F4 G4 D5 (dominant seventh, B in the bass). Chord 2: soprano D5 tied over as a suspension (quarter), resolving to C5 (quarter) over C4 E4 G4 halves. Chord 3: the soprano leaps from C5 down to G4 (half; a line joins the two notes), in unison with the alto G4, over D4 and B3. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-091-ex04.musicxml", "label": "[Example]", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "3680cb014c6da492a2f605407d40c44338e6109cb273b887381ab9215075e376", "transcriptionStatus": "needs-review" } ], "id": "rh-091-ex04", "sha256": "6c2fd03817817c2230e74b0b677b1a29e511b5b3af03d8fa618ce831bd4d7006", "sources": [ { "pdf_page": 75, "source_image": "source-pages/075.png", "printed_page": 67 } ], "pdf_page": 75, "source_image": "source-pages/075.png", "printed_page": 67, "music_transcription_status": "needs-review" }, { "path": "images/rh-091-ex05.png", "kind": "music", "bbox_pixels": [ 1130, 1290, 385, 200 ], "dimensions_pixels": [ 385, 200 ], "description": "e) Short-valued leap of the leading note down to the third below: one treble staff, all four parts, no meter. Soprano D5 half, C5 half. Alto (the leading note) B4 D5 C5 B4 beamed eighths, then a leap down to G4 half (a line joins B4 and G4). Lower parts G4 and G3 halves, then E4 and C4 halves. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-091-ex05.musicxml", "label": "[Example]", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "bfa5098960eb317f4d3a10a4bef55f7b3a670e919cb96e1d9f80c52371d12e99", "transcriptionStatus": "needs-review" } ], "id": "rh-091-ex05", "sha256": "f168670289c080a7da481dc0631e7ff0c63f2c09584fdae24f93cf25f2a2fa6d", "sources": [ { "pdf_page": 75, "source_image": "source-pages/075.png", "printed_page": 67 } ], "pdf_page": 75, "source_image": "source-pages/075.png", "printed_page": 67, "music_transcription_status": "needs-review" }, { "path": "images/rh-091-ex06.png", "kind": "music", "bbox_pixels": [ 950, 1490, 565, 225 ], "dimensions_pixels": [ 565, 225 ], "description": "f) Repetition of the note of resolution of a suspension: one treble staff, all four parts, two fragments separated by a double bar, no meter. MAUVAIS (bad): soprano D5 half tied to D5 quarter, C5 quarter (+), C5 half (+); lower parts B3 F4 G4, then C4 E4 G4, then A3 E4 A4 halves. BON (good): soprano D5 half tied to D5 quarter (+ above it), C5 B4 beamed eighths, C5 half; same lower parts. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-091-ex06.musicxml", "label": "BAD — GOOD", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "551a5ddbacc4631e9d709723efc55e86d7069d4174eb622f8cbf3f7c1f15be9f", "transcriptionStatus": "needs-review" } ], "id": "rh-091-ex06", "sha256": "04cf9565a4ca904b03f5295c81be18f2ad050794e78ea08ce823529e3099fcdd", "sources": [ { "pdf_page": 75, "source_image": "source-pages/075.png", "printed_page": 67 } ], "pdf_page": 75, "source_image": "source-pages/075.png", "printed_page": 67, "music_transcription_status": "needs-review" }, { "path": "images/rh-091-ex07.png", "kind": "music", "bbox_pixels": [ 1135, 1715, 385, 205 ], "dimensions_pixels": [ 385, 205 ], "description": "g) Immediate repetition of the last note of a melodic figure on the strong beat in the same part: one treble staff, all four parts, no meter. Soprano E5 G5 F5 E5 beamed eighths (+ over the last E5), then E5 half (+); lower parts C4 G4 C5 halves, then E4 G4 B4 halves. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-091-ex07.musicxml", "label": "[Example]", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "cdde0ba96f17aeafac4aeee4649ffd3faf9a50bb47fc4bb550edba196c427930", "transcriptionStatus": "needs-review" } ], "id": "rh-091-ex07", "sha256": "4f0c545be957960d9bba8f492789c29fde04867cf15b886cbf2a575cd4e2190b", "sources": [ { "pdf_page": 75, "source_image": "source-pages/075.png", "printed_page": 67 } ], "pdf_page": 75, "source_image": "source-pages/075.png", "printed_page": 67, "music_transcription_status": "needs-review" }, { "path": "images/rh-092-ex01.png", "kind": "music", "bbox_pixels": [ 90, 300, 1450, 655 ], "dimensions_pixels": [ 1450, 655 ], "description": "Choral I, model for Devoir 28: G major, common time, chorale melody in the soprano in half notes, four phrases of four bars each starting with a half-bar upbeat and ending with a closing half bar; fermatas over the soprano and under the bass at bars 5, 9, 13 and the last chord (further fermata signs under the alto in bars 5, 13 and 17). The three lower parts are ornamented with quarter- and eighth-note passing notes and suspensions. Melody: G4 | G4 D5 | B4 A4 | B4 C♯5 | D5 E5 | D5 B4 | A4 G4 | B4 A4 | G4 A4 | B4 B4 | A4 D5 | D5 C♯5 | D5 B4 | C5 B4 | A4 G4 | (tied) G4 F♯4 | G4. Ties: alto A4 bars 2-3, G4 bars 4-5-6 and 12-13, D4 bars 10 and 14-15, F♯4 bars 11-12, C4 bars 16-17; tenor G3 bars 6-7, 7-8 and 14-15, A3 bars 12-13; bass G3 in bar 2; soprano G4 bars 15-16. Bar 8: printed natural on the alto C4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-092-ex01.musicxml", "label": "CHORALE I", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 2 }, { "bars": 9, "staves": 2 } ], "sha256": "515eebd8a5b8eb3f99cafd6927cd84629f9eb4fc3ef117d82a9db220bff7a21b", "transcriptionStatus": "needs-review" } ], "id": "rh-092-ex01", "sha256": "fb1b29712fdd3417a74c994dc01ee5361b6537f1d1526b827bf6ddcf0986c503", "sources": [ { "pdf_page": 76, "source_image": "source-pages/076.png", "printed_page": 68 } ], "pdf_page": 76, "source_image": "source-pages/076.png", "printed_page": 68, "music_transcription_status": "needs-review" }, { "path": "images/rh-092-ex02.png", "kind": "music", "bbox_pixels": [ 90, 955, 1450, 1320 ], "dimensions_pixels": [ 1450, 1320 ], "description": "Choral II, model for Devoir 28: three flats, common time, 16 bars on four systems, chorale melody in the soprano (half notes, whole notes at the phrase ends), lower parts in running eighths, quarters and suspensions. Phrases close with fermatas on C minor (bar 4), E♭ major (bar 8), G major (bar 12) and C minor (bar 16, final double bar); fermatas printed over the soprano and under the bass, with further fermata signs on the alto and tenor. Melody: G4 C5 | B♮4 C5 | E♭5 D5 | C5 | B♭4 A♭4 | G4 A♭4 | G4 F4 | E♭4 | B♭4 B♭4 | G4 G4 | C5 D5 | B♮4 G4 | C5 D5 | E♭5 D5 | C5 B♮4 | C5. Ties: alto G4 bars 1-2, 3 and 15, F4 bars 3-4, 6-7 and 15-16, E♭4 in bars 5 and 7; tenor B♭3 bars 9-10, C4 bars 10-11; bass C3 in bar 1, E♭3 in bar 9. Accidentals: B♮ in bars 1 (tenor), 2 (soprano), 3 (tenor), 12 (soprano, tenor) and 15 (soprano); F♯3 and A♮3 in the tenor of bar 12.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-092-ex02.musicxml", "label": "CHORALE II", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 2 }, { "bars": 4, "staves": 2 }, { "bars": 4, "staves": 2 }, { "bars": 4, "staves": 2 } ], "sha256": "a777f4a5520fd47fb74aad174b79b829c870b09f3fcf92c05d4156e52373aab7", "transcriptionStatus": "needs-review" } ], "id": "rh-092-ex02", "sha256": "e0a386bb520d37b01bbeea9e2a5dd7b41f01e13d33fa151ca96995c940683edf", "sources": [ { "pdf_page": 76, "source_image": "source-pages/076.png", "printed_page": 68 } ], "pdf_page": 76, "source_image": "source-pages/076.png", "printed_page": 68, "music_transcription_status": "needs-review" }, { "path": "images/rh-093-ex01.png", "kind": "music", "bbox_pixels": [ 95, 245, 1410, 680 ], "dimensions_pixels": [ 1410, 680 ], "description": "\"MODÈLE\", C major, 4/4, eight bars in two systems of four. Soprano in continuous eighths: E4 G4 C5 B4 A4 C5 B4 A4 | G4 A4 G4 D5 E5 D5 C5 B4 | A4 B4 C5 A4 D5 G5 F♯5 E5 | D5 E5 D5 C5 B4 G4 B4 D5 | G5 F♮5 E5 D5~D5 C♯5 B♮4 C♯5 | D5 A4 F5 E5 D5 C5 B4 A4 | G♯4 A4 B4 D5~D5 C5 B4 C5 | D5 E5 F5 D5, E5 half (fermata). Alto: E4 half, F4 half~ | F4 half, E4 half | F♯4 half, G4 half~ | G4 F♯4 quarters, G4 half | B4 B♭4 quarters, A4 half~ | A4 dotted half, D4 quarter | E4 whole | A4 A♭4 quarters, G4 half. Tenor: C4 whole~ | C4 B3 C4 G3 quarters | D4 whole | A3 half, G3 quarter, D4 quarter~ | D4 quarter, G4 F4 eighths, E4 half | D4 half, A3 half | B3 half, A3 half~ | A3 B3 quarters, C4 half. Bass: C3 half, F3 half | D3 half, C3 half~ | C3 A2 quarters, B2 dotted quarter, C3 eighth | D3 half, G3 half | G3 whole | F3 whole | E3 half, A3 quarter, G♮3 quarter | F3 half, C3 half (fermata below). Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-093-ex01.musicxml", "label": "Model realization in C major, 4/4, eight bars, with passing notes, auxiliary notes and suspensions in all parts", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 2 }, { "bars": 4, "staves": 2 } ], "sha256": "ddc2531155d2a4fa3abf6c5c9c0087041f3fcf056b64452ad76e8c62a5d5a4a3", "transcriptionStatus": "needs-review" } ], "id": "rh-093-ex01", "sha256": "53e499122527d254c3c1b8e0bfc103f92c82d3a583849028ca14305ad8660076", "sources": [ { "pdf_page": 77, "source_image": "source-pages/077.png", "printed_page": 69 } ], "pdf_page": 77, "source_image": "source-pages/077.png", "printed_page": 69, "music_transcription_status": "needs-review" }, { "path": "images/rh-093-ex02.png", "kind": "music", "bbox_pixels": [ 280, 1145, 1000, 300 ], "dimensions_pixels": [ 1000, 300 ], "description": "Accented passing and auxiliary notes (+), three unmetered fragments separated by double bars. (1) two bars of half-note length: soprano G4 E5 quarters | D5(+) C5 quarters; alto E4 half | G4 half; tenor C4 half | G3 half (straight line C4–G3); bass C3 half | E3 half. (2) one bar of nine eighths: soprano A4 dotted quarter, B♭4(+) quarter, C5 eighth, D5(+) C5 G5 eighths; alto A4 (unison with the soprano) dotted quarter, A4 dotted quarter, G4 dotted quarter; tenor C4 dotted half, G3 dotted quarter (straight line C4–G3); bass F3 dotted half, E3 dotted quarter. (3) one bar of two beats: soprano sixteenths E4 C5 B4 A4 G♯4(+) A4 B4 A4; alto E4 F4 quarters; tenor C4 half; bass A3 F3 quarters. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-093-ex02.musicxml", "label": "[Example]", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 2 } ], "sha256": "adf1d6b8539c28d691138fa1fa2807ee836369a5914fd229076966e1cd71017e", "transcriptionStatus": "needs-review" } ], "id": "rh-093-ex02", "sha256": "ba4691d36aeb162cb3c087590e20d5f9962dca721d1b97c200b1fc80fe857a6d", "sources": [ { "pdf_page": 77, "source_image": "source-pages/077.png", "printed_page": 69 } ], "pdf_page": 77, "source_image": "source-pages/077.png", "printed_page": 69, "music_transcription_status": "needs-review" }, { "path": "images/rh-093-ex03.png", "kind": "music", "bbox_pixels": [ 415, 1568, 720, 292 ], "dimensions_pixels": [ 720, 292 ], "description": "Auxiliary notes from disjunct motion (appoggiaturas), marked +; two fragments of four quarter beats, a) and b), C major. a) soprano eighths F♯4(+) G4, D5(+) C5, G5(+) F5, D♯5(+) E5; alto E4 G4 A4 G4 quarters; tenor C4 G3 quarters, C4 half (straight lines C4–G3–C4); bass C3 E3 F3 C3 quarters (straight line E3–F3). b) soprano eighths G4 D5(+), C5 G5, F5 D♯5(+), E5 quarter; alto E4 G4 quarters, C5 half; tenor G3 half, A3 G3 quarters; bass C3 E3 F3 C3 quarters. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-093-ex03.musicxml", "label": "[Example]", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "15bfd4351559a373b0b4088aeebf3c2e4a4fd58f18d871ce2ecd4c910d0531fb", "transcriptionStatus": "needs-review" } ], "id": "rh-093-ex03", "sha256": "12f1191502c9deeb405d0bb7a22af431be1abbffeceda10e3779dc9a68e807e7", "sources": [ { "pdf_page": 77, "source_image": "source-pages/077.png", "printed_page": 69 } ], "pdf_page": 77, "source_image": "source-pages/077.png", "printed_page": 69, "music_transcription_status": "needs-review" }, { "path": "images/rh-093-ex04.png", "kind": "music", "bbox_pixels": [ 300, 1959, 940, 296 ], "dimensions_pixels": [ 940, 296 ], "description": "Double appoggiaturas (+ +): a principal note approached from the note below and the note above, or the reverse. Bar 1 (four beats): soprano eighths G4 B4(+) D5(+) C5, B4(+) G♯4(+), A4 quarter; alto G4 half (unison with the soprano's first eighth), F4 half; tenor C4 G3 quarters (straight line), C4 half; bass E3 half, F3 half. Double bar. Bars 2-3 (six eighths each): soprano A4 G♯4(+) B♭4(+) A4 C♯5 D5 | E5 F5(+) D♯5(+) eighths, E5 dotted quarter; alto F4 dotted half | G4 dotted half; tenor D4 A3 dotted quarters (straight line) | A3 dotted half; bass D3 dotted half tied to D3 dotted quarter, C♯3 dotted quarter. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-093-ex04.musicxml", "label": "[Example]", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 2 } ], "sha256": "5b32876604840656c2b2846300d0498536127c8d8145abaf9b4c3710944037d9", "transcriptionStatus": "needs-review" } ], "id": "rh-093-ex04", "sha256": "6a43ad65cba41d90dd77ed6d978e7276745a92d36d5ff916c361d99f2fd51ad7", "sources": [ { "pdf_page": 77, "source_image": "source-pages/077.png", "printed_page": 69 } ], "pdf_page": 77, "source_image": "source-pages/077.png", "printed_page": 69, "music_transcription_status": "needs-review" }, { "path": "images/rh-094-ex01.png", "kind": "music", "bbox_pixels": [ 430, 515, 750, 290 ], "dimensions_pixels": [ 750, 290 ], "description": "\"INCORRECT\": soprano eighths E4 A4 G4 B4 D5 C5 B4 A4; alto C4 whole; tenor G3 dotted half, A3 quarter; bass C3 quarter, E3 half, F3 quarter. Double bar. \"MEILLEUR\": the same soprano and bass; alto C4 quarter, G4 half, F4 quarter (line C4–G4); tenor G3 dotted half, C4 quarter (line G3–C4). Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-094-ex01.musicxml", "label": "Incorrect … Better", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "5fd1b6709e71c7381271bb51a7c7d42611e596b70fbc030a20e214453aa001ae", "transcriptionStatus": "needs-review" } ], "id": "rh-094-ex01", "sha256": "676871705621319e82cc5bf33ea7389d36b3b0951e63d63e85f2fcec9c0febe7", "sources": [ { "pdf_page": 78, "source_image": "source-pages/078.png", "printed_page": 70 } ], "pdf_page": 78, "source_image": "source-pages/078.png", "printed_page": 70, "music_transcription_status": "needs-review" }, { "path": "images/rh-094-ex02.png", "kind": "music", "bbox_pixels": [ 85, 1125, 1460, 360 ], "dimensions_pixels": [ 1460, 360 ], "description": "\"MODÈLE\", F major, 4/4. Bar 1: soprano eighths A4 B♭4 A4 G♯4 A4 C5 G♮5 F5; alto F4 dotted half, C5 quarter; tenor C4 whole; bass F3 dotted half, A2 quarter; fifths marked 5 (curve alto F4 → soprano C5) and 5( at C5–G5. Bar 2: soprano E5 D5 C♯5 D5 C♮5 B♭4 A4 G4; alto F4 half, G4, D4 quarters; tenor B♭3 half, D3 dotted quarter, G3 eighth; bass B♭2 whole. Bar 3: soprano F4 D♯4 E4 D♮5 B♮4 C5 D5 C5; alto C4 half, F4, E♭4 quarters; tenor G3 half, F3, F♯3 quarters; bass C3, B♭2 quarters, A2 half. Bar 4: soprano A4 B♭4 D4 E4 eighths, G4, F4 quarters; alto D4, C4, E4, F4 quarters; tenor G3, B♭3 tied to B♭3, A3 quarters; bass B♭2, C3 quarters, F2 half. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-094-ex02.musicxml", "label": "Model realization in F major, 4/4, four bars, with free ornamentation in the melody", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 2 } ], "sha256": "cc6cd668ebcde98667da5cd8e7dc1b3ee2a8ff56a91d541e111f599b9202c316", "transcriptionStatus": "needs-review" } ], "id": "rh-094-ex02", "sha256": "6a41a581a5c86a54b1c178856d79686449779df2e8144e99d7c46108e9f7b735", "sources": [ { "pdf_page": 78, "source_image": "source-pages/078.png", "printed_page": 70 } ], "pdf_page": 78, "source_image": "source-pages/078.png", "printed_page": 70, "music_transcription_status": "needs-review" }, { "path": "images/rh-094-ex03.png", "kind": "music", "bbox_pixels": [ 365, 1778, 870, 342 ], "dimensions_pixels": [ 870, 342 ], "description": "Four fragments separated by double bars, no meter; anticipations marked +. (1) soprano B4 dotted quarter, C5(+) eighth, C5 half; alto G4, F4 quarters, E4 half; tenor D4 half, C4 half; bass G3 half, C3 half. (2) soprano F5 double-dotted quarter, E5(+) sixteenth, E5 quarter; alto A4 quarter, G4 half; tenor C4 quarter, B3 dotted eighth, C4(+) sixteenth, C4 quarter; bass F3, G3, C3 quarters. (3) soprano D5 dotted eighth, C5(+) sixteenth, C5 quarter; alto F4 dotted eighth, E4(+) sixteenth, E4 quarter; tenor B3 dotted eighth, C4(+) sixteenth, C4 quarter; bass G3 quarter, A3 quarter. (4) every part dotted quarter, anticipation eighth(+), quarter: soprano B4 C5 C5; alto F4 E4 E4; tenor D4 C4 C4; bass G3 C3 C3. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-094-ex03.musicxml", "label": "Four cadential fragments with anticipations (marked +): in the soprano alone; in soprano and tenor; in soprano, alto and tenor; and in all four parts.", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 2 } ], "sha256": "ed208224ff1409b3f30db09b6a552068443cc654b8dd8baad03d8f93fe61a5ed", "transcriptionStatus": "needs-review" } ], "id": "rh-094-ex03", "sha256": "46770b68138d0a2226981dbdc4ab1bc4b4f5e75287687e9bcc51249904959199", "sources": [ { "pdf_page": 78, "source_image": "source-pages/078.png", "printed_page": 70 } ], "pdf_page": 78, "source_image": "source-pages/078.png", "printed_page": 70, "music_transcription_status": "needs-review" }, { "path": "images/rh-095-ex01.png", "kind": "music", "bbox_pixels": [ 95, 85, 1440, 350 ], "dimensions_pixels": [ 1440, 350 ], "description": "Two unmetered fragments in C major, \"au lieu de\" (instead of) and \"on écrit\" (one writes), each three bars breaking off with \"etc.\". Instead of: soprano G4 A4 B4 C5 | G5 F5 C#5 D5 | D#5 E5 in quarters over alto E4 G4 | A4 G4 | G4, tenor C4 G3 | D4 F4 G3 | G3, bass C3 E3 | D3 B2 | C3; brackets with the figure 5 and the footnote mark (*) point out the fifths bass–soprano C3–G4, E3–B4. One writes: the soprano in eighths, each note anticipated (+) on the preceding off-beat: G4 A4 A4 B4 B4 C5 C5 G5 | G5 F5 F5 C#5 C#5 D5 D5 D#5 | D#5 E5; in bar 2 the tenor also anticipates its F4 (D4 quarter, F4 half, G3 quarter).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-095-ex01.musicxml", "label": "instead of: … etc. one writes: … etc.", "playbackAvailable": true, "printed_systems": [ { "bars": 6, "staves": 2 } ], "sha256": "3589461520da4b1927501374a8304f6aff34ac4379149377cd04ee13b3a2e1a8", "transcriptionStatus": "needs-review" } ], "id": "rh-095-ex01", "sha256": "99bcdc8aebda4e92d86e1190a43d76aa5986d4578c2e3db12bb37f97fcefff7d", "sources": [ { "pdf_page": 79, "source_image": "source-pages/079.png", "printed_page": 71 } ], "pdf_page": 79, "source_image": "source-pages/079.png", "printed_page": 71, "music_transcription_status": "needs-review" }, { "path": "images/rh-095-ex02.png", "kind": "music", "bbox_pixels": [ 85, 708, 1450, 335 ], "dimensions_pixels": [ 1450, 335 ], "description": "Eight numbered unmetered fragments in C major showing escape notes (marked +), dissonances left by leap without resolution. 1) soprano C5 B4+ G4 A4 B4 over C–C–G7. 2) soprano F5 E5+ B4 C5 over F3–E3. 3) soprano D5 (dotted) E5+ C5 over G2–C3. 4) soprano E5 F5 D5 E5+ C5 over C3 F3 E3. 5) soprano C5 D5+ A4 B4 D5 C5. 6) soprano G4 A4+ E4 A4+ G4 over C3–B2. 7) soprano B4 C5+ A4 B4 C5 over G3–C3. 8) three bars with an upbeat: soprano G4 tied, G4 A4+ E5 | D5 C5 rest, alto G4 tied over the bar, tenor C4 | B3 tied | B3 C4, bass E3 | F3 | E3 rest. Double bars separate the fragments.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-095-ex02.musicxml", "label": "Eight numbered fragments with escape notes (marked +).", "playbackAvailable": true, "printed_systems": [ { "bars": 10, "staves": 2 } ], "sha256": "11e4060002c4e3424f748e6783d78517e909dae7db62c2b401434bd3511770f0", "transcriptionStatus": "needs-review" } ], "id": "rh-095-ex02", "sha256": "7ac2dc323e76047e29f5b8e6b67e25242285979533b4b0aa26eff11353a6bfb1", "sources": [ { "pdf_page": 79, "source_image": "source-pages/079.png", "printed_page": 71 } ], "pdf_page": 79, "source_image": "source-pages/079.png", "printed_page": 71, "music_transcription_status": "needs-review" }, { "path": "images/rh-095-ex03.png", "kind": "music", "bbox_pixels": [ 985, 1058, 537, 282 ], "dimensions_pixels": [ 537, 282 ], "description": "Two unmetered bars: G major (G4 in soprano and alto, tenor B3, bass G3) moving to D5/F4/G3/B2, the soprano D5 tied over the bar line as a prepared suspension (ninth over the bass C3, marked +) and left by leap to G4, continuing in eighths G4 F#4 G4 A4 G4; alto E4 dotted half, tenor G3 then C4, bass C3.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-095-ex03.musicxml", "label": "A prepared ninth (marked +) left by leap.", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "9b4c9e9ec393a50face55b884f4359326c528b960e33765bd5d5d34538b9bb89", "transcriptionStatus": "needs-review" } ], "id": "rh-095-ex03", "sha256": "874125c7c142450d2284ff65ec184705f9ab624633339eda33434c598695185d", "sources": [ { "pdf_page": 79, "source_image": "source-pages/079.png", "printed_page": 71 } ], "pdf_page": 79, "source_image": "source-pages/079.png", "printed_page": 71, "music_transcription_status": "needs-review" }, { "path": "images/rh-095-ex04.png", "kind": "music", "bbox_pixels": [ 85, 1598, 1440, 345 ], "dimensions_pixels": [ 1440, 345 ], "description": "Model for Devoir 33, C major, common time, four bars: an eighth-note melody with free ornaments (marked +) over a given bass. Soprano G4 A4 E4 F#4 A4 G4 D5 E5 | B4 C5 D5 C5 F5 E5 B4 C5 | D5 E5 B4 A4 F#4 G4 C5 F5 | C#5 D5 E5 B4 C5 (half). Alto C4 E4 Eb4 D4 F4 | E4 F4 E4 | A4 D4 E4 (dotted) G4 | F4 E4. Tenor E3 G3 A3 D3 G3 | G3 C4 | A3 C4 C4 | B3 G3 G3. Bass C3 B2 | C3 B2 A2 G2 | F2 F#2 G2 | G2 C3.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-095-ex04.musicxml", "label": "Model realization in C major, 4/4, four bars, with free ornaments in the melody", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 2 } ], "sha256": "21899b14ffb5caa70bf7c277dd40610cd6a22d6c04f21e87da51292d1d3141ea", "transcriptionStatus": "needs-review" } ], "id": "rh-095-ex04", "sha256": "1b16e54039c54018bc0be8a7b7da004e50002b43bc6b1bdb2dad8fe533bf0818", "sources": [ { "pdf_page": 79, "source_image": "source-pages/079.png", "printed_page": 71 } ], "pdf_page": 79, "source_image": "source-pages/079.png", "printed_page": 71, "music_transcription_status": "needs-review" }, { "path": "images/rh-100-ex01.png", "kind": "music", "bbox_pixels": [ 450, 1745, 730, 265 ], "dimensions_pixels": [ 730, 265 ], "description": "\"ACCORDS ARTIFICIELS DE 7me DE DOMINANTE\". (1) II: whole notes C5 and D5 over halves A4 and F4 (figured 6/5); the F4 moves to F♯4 (half, slur F–F♯); then two parenthesized black-head chords: G4 G4 C5 E5 (figured 6/4) and G4 G4 B4 D5. Double bar. (2) Whole notes A4 C5 D5 (figured 4/3) under half F5 moving to F♯5 (slur); then parenthesized black-head chords G4 C5 E5 G5 (6/4) and G4 B4 D5 G5. Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-100-ex01.musicxml", "label": "ARTIFICIAL DOMINANT SEVENTH CHORDS. Example in C major: the seventh chord of the 2nd degree (II) as a 6/5 chord, F–A–C–D, whose bass F rises to F♯ (D–F♯–A–C), resolving to the tonic 6/4 chord G–C–E or (in parentheses) to the G major chord; after a double bar, the same chord as a 4/3 chord, A–C–D–F, with the upper F rising to F♯, resolving to the tonic 6/4 chord or (in parentheses) to the G major chord.", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "387b97fdd256dc257d821dbf434f8006535587662b64cc44795c6282d619adc8", "transcriptionStatus": "needs-review" } ], "id": "rh-100-ex01", "sha256": "2daab7916173930dadae28dfdcca77b9781339f9933c12606133d76393d9d3f2", "sources": [ { "pdf_page": 80, "source_image": "source-pages/080.png", "printed_page": 72 } ], "pdf_page": 80, "source_image": "source-pages/080.png", "printed_page": 72, "music_transcription_status": "needs-review" }, { "path": "images/rh-100-ex02.png", "kind": "music", "bbox_pixels": [ 450, 2025, 730, 250 ], "dimensions_pixels": [ 730, 250 ], "description": "\"ACCORDS ARTIFICIELS DE 7me DIMINUÉE\". (1) II: half D5 (slur) to D♯5 above whole notes A4 C5; half F4 (figured 6/5) to F♯4; resolving to black heads G4 G4 C5 E5 (6/4). Double bar. (2) Halves D5 F5 (slur) to D♯5 F♯5 above whole notes A4 C5 (figured 4/3); resolving to black heads G4 C5 E5 G5 (6/4). Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-100-ex02.musicxml", "label": "ARTIFICIAL DIMINISHED SEVENTH CHORDS. Example in C major: the seventh chord of the 2nd degree (II) as a 6/5 chord, F–A–C–D, in which both F and D rise a semitone (F♯–A–C–D♯), resolving to the tonic 6/4 chord; after a double bar, the same chord as a 4/3 chord, A–C–D–F, with D and F rising to D♯ and F♯, resolving to the tonic 6/4 chord.", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "45cadba07f16aba0169516468013446982f85f826eadab8be22dba5b308f6e76", "transcriptionStatus": "needs-review" } ], "id": "rh-100-ex02", "sha256": "bbdfededc31fee983ab55ba300e4972c4bc79f3b00fcae5909c03fcc1bb458dd", "sources": [ { "pdf_page": 80, "source_image": "source-pages/080.png", "printed_page": 72 } ], "pdf_page": 80, "source_image": "source-pages/080.png", "printed_page": 72, "music_transcription_status": "needs-review" }, { "path": "images/rh-101-ex01.png", "kind": "music", "bbox_pixels": [ 295, 245, 1020, 290 ], "dimensions_pixels": [ 1020, 290 ], "description": "I II: C4 E4 G4 C5 | F#3 D#4 A4 C5 (6/5) | G3 E4 G4 C5 (6/4), alto G4 tied | G3 Dn4 G4-F4 B4 | C3 C4 E4 C5; double bar; VI II: A3 E4 A4 C5 | A3 D#4 F#4 C5 (4/3) | G3 E4 G4 C5 (6/4), alto tied | G3 Dn4 G4-Fn4 B4 | C3 C4 E4 C5; final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-101-ex01.musicxml", "label": "Example in C major, four parts. First: I (C major triad) – II, the artificial diminished seventh D#–F#–A–C as a six-five chord (6/5, bass F#) – the cadential six-four (6/4) with the alto G held over into the dominant seventh, where it falls G–F – I. Second: VI (A minor triad) – II, the same artificial diminished seventh as a four-three chord (4/3, bass A) – cadential six-four – dominant seventh – I.", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "02e3e25abe832816cb2cae42c98c4245f6bc5bfd22fde78c771e71900892aaa4", "transcriptionStatus": "needs-review" } ], "id": "rh-101-ex01", "sha256": "1b6a7de967abfe93cfad8fc59755e685db840912da42958b4d3df72b4ea7d953", "sources": [ { "pdf_page": 81, "source_image": "source-pages/081.png", "printed_page": 73 } ], "pdf_page": 81, "source_image": "source-pages/081.png", "printed_page": 73, "music_transcription_status": "needs-review" }, { "path": "images/rh-101-ex02.png", "kind": "music", "bbox_pixels": [ 1160, 580, 375, 135 ], "dimensions_pixels": [ 375, 135 ], "description": "Whole notes F4 – D#4 – E4, a line joining F4 to D#4 labelled \"3ce dim.\"; double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-101-ex02.musicxml", "label": "Diminished third (3ce dim.): F falls to D#, which rises to E.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "0919690e2851b0b44431989e5b800b3f62d87b6eab7785d24eb96a7fccab7326", "transcriptionStatus": "needs-review" } ], "id": "rh-101-ex02", "sha256": "c7306096faa2d666f70f11735339cc44fde152f1ef8a4c9a1bd16144cbe707b8", "sources": [ { "pdf_page": 81, "source_image": "source-pages/081.png", "printed_page": 73 } ], "pdf_page": 81, "source_image": "source-pages/081.png", "printed_page": 73, "music_transcription_status": "needs-review" }, { "path": "images/rh-101-ex03.png", "kind": "music", "bbox_pixels": [ 1080, 735, 450, 175 ], "dimensions_pixels": [ 450, 175 ], "description": "C minor (three flats). II: whole D5 above the half-note chord F4 Ab4 C5 (6/5), then F#4 An4 (arc from C5 onward; arc below F4 to F#4); in parentheses quarter chords G4 G4 C5 Eb5 (6/4) and G4 G4 Bn4 D5; final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-101-ex03.musicxml", "label": "Example in C minor: over the whole-note D, the II chord F–Ab–C (6/5) becomes F#–A natural–C (third and fifth both raised), followed in parentheses by the six-four chord G–C–Eb (6/4) and the chord G–B natural–D.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "8c48da845a9869173ee2ad0c05b7823af1c982cafcdcec412158893c8a2f05d3", "transcriptionStatus": "needs-review" } ], "id": "rh-101-ex03", "sha256": "fbd5b3fccd41a93609fdda9640e7ea7454c0917a0c10d21d26e2dd63419e655d", "sources": [ { "pdf_page": 81, "source_image": "source-pages/081.png", "printed_page": 73 } ], "pdf_page": 81, "source_image": "source-pages/081.png", "printed_page": 73, "music_transcription_status": "needs-review" }, { "path": "images/rh-101-ex04.png", "kind": "music", "bbox_pixels": [ 440, 1280, 735, 335 ], "dimensions_pixels": [ 735, 335 ], "description": "C major: S D5-Db5 halves (slur) over A Ab4, T F4, B F3 whole notes (figures 6 — b); in parentheses G3 E4 G4 C5 (6/4) and C4 E4 G4 C5 as black stemless heads; double bar; C minor (three flats): the same with Ab4/F4/F3 and resolutions G3 Eb4 G4 C5 and C4 Eb4 G4 C5 (figures 6 — b); final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-101-ex04.musicxml", "label": "Example in C major and then C minor: the II chord over F (6) with the soprano D moving to Db (6–b), i.e. the lowered second degree Db–F–Ab with doubled F; it resolves either to the cadential six-four (6/4) or to the tonic triad, both shown as alternatives in parentheses.", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "616dbd13975a4fda9914ec3c903565fd59183aa7cdaa0099ef1742f037cc481d", "transcriptionStatus": "needs-review" } ], "id": "rh-101-ex04", "sha256": "7a22532a8585f7bde75c7dece31a121368d61a624bd9915a4332b4025e14c694", "sources": [ { "pdf_page": 81, "source_image": "source-pages/081.png", "printed_page": 73 } ], "pdf_page": 81, "source_image": "source-pages/081.png", "printed_page": 73, "music_transcription_status": "needs-review" }, { "path": "images/rh-101-ex05.png", "kind": "music", "bbox_pixels": [ 295, 1760, 1010, 310 ], "dimensions_pixels": [ 1010, 310 ], "description": "C major: I C3 E4 G4 C5 | II F3 F4 Ab4 Db5 | (G3 E4 G4 C5, 6/4, in parentheses), alto G4 tied | G3 Dn4 G4-F4 B4 | C3 C4 E4 C5; double bar; C minor (three flats): I C3 Eb4 G4 C5 | II F3 F4 Ab4 Db5 | (G3 Eb4 G4 C5, 6/4) | G3 Dn4 G4-F4 Bn4 | C3 C4 Eb4 C5; final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-101-ex05.musicxml", "label": "Example in C major and then C minor: I – II (the lowered second degree Db–F–Ab over F, as an independent chord) – in parentheses the cadential six-four (6/4), whose alto G is held into the dominant seventh and falls G–F – I.", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "1d9f1092a5ea95afc23c377ab186a359b9cecdbee2fc15c540292997ed1190d0", "transcriptionStatus": "needs-review" } ], "id": "rh-101-ex05", "sha256": "bffd0006ef3abdfdc37d10994387156d227908d773b5e53d1c50c5a8febf351e", "sources": [ { "pdf_page": 81, "source_image": "source-pages/081.png", "printed_page": 73 } ], "pdf_page": 81, "source_image": "source-pages/081.png", "printed_page": 73, "music_transcription_status": "needs-review" }, { "path": "images/rh-101-ex06.png", "kind": "music", "bbox_pixels": [ 1150, 2095, 375, 130 ], "dimensions_pixels": [ 375, 130 ], "description": "Whole notes Db5 – Bn4 – C5, a line joining Db5 to B4 labelled \"3ce dim.\"; final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-101-ex06.musicxml", "label": "Diminished third (3ce dim.): Db falls to B natural, which rises to C.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "5de62916751c09da0db8a908e0c66db2fc146cd576b46b622c8133337acb3931", "transcriptionStatus": "needs-review" } ], "id": "rh-101-ex06", "sha256": "fa8907282c542eee0ae58a310d9952fd0352f22e88ee6154fabd303a3d2c61c9", "sources": [ { "pdf_page": 81, "source_image": "source-pages/081.png", "printed_page": 73 } ], "pdf_page": 81, "source_image": "source-pages/081.png", "printed_page": 73, "music_transcription_status": "needs-review" }, { "path": "images/rh-102-ex01.png", "kind": "music", "bbox_pixels": [ 905, 140, 595, 180 ], "dimensions_pixels": [ 595, 180 ], "description": "Two groups. C major: G3 F4 B4 with D5 (half) slurred to D♭5 (half), figured 7 and ♭5; resolving to black heads C4 E4 C5 C5. Double bar; key signature of three flats (C minor): G3 F4 B♮4 with D5 slurred to D♭5, figured 7 and ♭5; resolving to C4 E♭4 C5 C5; final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-102-ex01.musicxml", "label": "[Example]", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "718e16fa1fa089b504d88002a9ffa0a6731ad912795d0c2c078653d3964a7559", "transcriptionStatus": "needs-review" } ], "id": "rh-102-ex01", "sha256": "d4611f1fcfb39d1effdd9a63cd03c1e2fb4929cef187f86923b111d14bb4ad17", "sources": [ { "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74 } ], "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74, "music_transcription_status": "needs-review" }, { "path": "images/rh-102-ex02.png", "kind": "music", "bbox_pixels": [ 840, 555, 660, 175 ], "dimensions_pixels": [ 660, 175 ], "description": "1) C4 E4 C5 whole with G4 (half) slurred to G♯4 (half), figured ♯5; then two parenthesized black-head resolutions: F3 F4 A4 C5 and A3 E4 A4 C5. Double bar. 2) A4 (half) under C5 C5 E5 (whole), slurred to A♭4 (half); then parenthesized resolutions G4 C5 C5 E5 (figured 6/4) and G4 B4 E5 E5 (figured 6); final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-102-ex02.musicxml", "label": "[Example]", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "7a171c40e0c898fefff943074a6361e62987b21804836f0f373c2be6d68b234e", "transcriptionStatus": "needs-review" } ], "id": "rh-102-ex02", "sha256": "4d4b4416baa3328abba9c851c19f607e087a3f9824094c0f01a5b43ef799706a", "sources": [ { "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74 } ], "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74, "music_transcription_status": "needs-review" }, { "path": "images/rh-102-ex03.png", "kind": "music", "bbox_pixels": [ 905, 835, 595, 150 ], "dimensions_pixels": [ 595, 150 ], "description": "Whole-note chords: C4 G4 C5 E5 – G3 G4 B4 D♯5 – C4 G4 C5 E5; double bar; G3 E4 B4 E5 – A♭3 E4 C5 E5 – G3 E4 B4 E5; final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-102-ex03.musicxml", "label": "[Example]", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "9269567a0914acbf42d9af18f143c39503fc25ed9ee9392976b6ae40a7a90f66", "transcriptionStatus": "needs-review" } ], "id": "rh-102-ex03", "sha256": "372c16b4d57f9191024f84f431473ebffccc7c205a168e355ab32d10a14ce374", "sources": [ { "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74 } ], "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74, "music_transcription_status": "needs-review" }, { "path": "images/rh-102-ex04.png", "kind": "music", "bbox_pixels": [ 905, 1020, 595, 170 ], "dimensions_pixels": [ 595, 170 ], "description": "Whole-note chords: C4 G4 E5 G5 – B3 G4 D♯5 G5 (figured 6, ♯3) – C4 G4 E5 G5; double bar; E4 G4 G4 C5 (6) – D♯4 G4 G4 B4 (6/4) – E4 G4 G4 C5 (6), the unison G4 printed as two heads; final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-102-ex04.musicxml", "label": "[Example]", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "1e1a7b787b23d09dd59f3c23a9ec2881ba9cc74d0e9eaa48d113c9d65796a0b3", "transcriptionStatus": "needs-review" } ], "id": "rh-102-ex04", "sha256": "2810a2871e3a6704a418f1ec1d3e7529d94416888eea89644f8013f1a225cbcb", "sources": [ { "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74 } ], "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74, "music_transcription_status": "needs-review" }, { "path": "images/rh-102-ex05.png", "kind": "music", "bbox_pixels": [ 782, 1330, 718, 200 ], "dimensions_pixels": [ 718, 200 ], "description": "Three groups, each labelled V. (1) G3 F4 B4 with D5 (half) slurred to D♯5 (half), figured 7, ♯5; black heads C4 E4 C5 E5. (2) F4 G4 B4 with D5 slurred to D♯5, figured 2, ♯6; parenthesized resolutions E4 G4 C5 E5 and E4 G4 B4 E5. (3) B3 F4 G4 with D5 slurred to D♯5, figured 6/5, ♯3; black heads C4 E4 G4 E5. Double bars between groups; final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-102-ex05.musicxml", "label": "[Example]", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 1 } ], "sha256": "e2978fde977ad977880ecc2d9e3876af4df99614735762ee9affd1aad4566bc0", "transcriptionStatus": "needs-review" } ], "id": "rh-102-ex05", "sha256": "4a846a50df0fa0ee71c36ed3cfc40d66dfa1af04e31bc6e48a2e5e7f142e5e06", "sources": [ { "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74 } ], "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74, "music_transcription_status": "needs-review" }, { "path": "images/rh-102-ex06.png", "kind": "music", "bbox_pixels": [ 905, 1535, 595, 148 ], "dimensions_pixels": [ 595, 148 ], "description": "Whole-note chords: C4 G4 C5 E5 – G3 F4 B4 D♯5 – C4 E4 C5 E5; double bar; E4 G4 B4 E5 – F4 G4 B4 D♯5 (figured 2) – E4 G4 B4 E5; final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-102-ex06.musicxml", "label": "[Example]", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "1d31b2b13b87e80831b2b48660e8c13fdb1e6567ec1c4214816516b5f6f50749", "transcriptionStatus": "needs-review" } ], "id": "rh-102-ex06", "sha256": "eaa197ef3645df2abbe1f4b5d1b3047f59b8b9ba4d883667ba5afe5e3d6a38a7", "sources": [ { "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74 } ], "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74, "music_transcription_status": "needs-review" }, { "path": "images/rh-102-ex07.png", "kind": "music", "bbox_pixels": [ 905, 1910, 595, 190 ], "dimensions_pixels": [ 595, 190 ], "description": "Five parts. G3 F4 B4 A5 (whole) with D5 (half) slurred to D♯5 (half), figured 9; black heads C4 E4 C5 E5 G5. Double bar. Same with A♭5: G3 F4 B4 A♭5, D5 slurred to D♯5, figured 9; black heads C4 E4 C5 E5 G5; final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-102-ex07.musicxml", "label": "[Example]", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "5d409562a94701dd9678f18b5dc47cc7b418d405846f98a78dd5937d06925407", "transcriptionStatus": "needs-review" } ], "id": "rh-102-ex07", "sha256": "3246b9a6605a4b40e268414385e8040fd9c72f8379854d917eb738247ee8abf8", "sources": [ { "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74 } ], "pdf_page": 82, "source_image": "source-pages/082.png", "printed_page": 74, "music_transcription_status": "needs-review" }, { "path": "images/rh-103-ex01.png", "kind": "music", "bbox_pixels": [ 205, 392, 765, 176 ], "dimensions_pixels": [ 765, 176 ], "description": "Major, three groups separated by double bars. a) (IV) A♭4 C5 C5 whole, F5–F♯5 halves (slur), ♯6 → (G4 B4 D5 G5) (G4 C5 E5 G5) black stemless in parentheses | b¹) A♭4 C5 E5 whole, F5–F♯5 halves, ♯6 5 → G4 C5 E5 G5, 6 4 | c) (II) A♭4 C5 D5 whole, F5–F♯5 halves, ♯6 4 3 → (G4 B4 D5 G5) (G4 C5 E5 G5), 6 4; final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-103-ex01.musicxml", "label": "Example (major, on A♭, the VIth degree of C harmonic major): a) chord derived from IV, A♭–C–C with F rising to F♯ (augmented sixth A♭–F♯), resolving either to the G major chord or to the C major 6/4 chord over G (both in parentheses); b¹) A♭–C–E with F rising to F♯ (♯6 5), resolving to the C major 6/4 chord; c) chord derived from II, A♭–C–D with F rising to F♯ (♯6 4 3), resolving either to the G major chord or to the C major 6/4 chord (both in parentheses).", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 1 } ], "sha256": "89be319d81a5402d8e0ba93f91eb97107dea3025ccf4edf862d2c84ffbad62dc", "transcriptionStatus": "needs-review" } ], "id": "rh-103-ex01", "sha256": "4238278937decb5c6992844445f39229637ca9af0e9812d8532e8ec53f6e5e25", "sources": [ { "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75 } ], "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75, "music_transcription_status": "needs-review" }, { "path": "images/rh-103-ex02.png", "kind": "music", "bbox_pixels": [ 1160, 392, 300, 198 ], "dimensions_pixels": [ 300, 198 ], "description": "d) (II) A♭4 C5 whole, F5–F♯5 and D5–D♯5 halves (two slurs), ♯6 ♯4 3 → G4 C5 E5 G5 black stemless, 6 4; final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-103-ex02.musicxml", "label": "Example (major): d) chord derived from II, A♭–C with D rising to D♯ and F rising to F♯ (♯6 ♯4 3), resolving to the C major 6/4 chord over G (6 4).", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "f960627e580d3b8bd2343bab6ce7d0c50e4440c7b39d9c31813baff6a7002327", "transcriptionStatus": "needs-review" } ], "id": "rh-103-ex02", "sha256": "5ccd661ca65d44e4048ff75fc4f5b58bf4be9caacd1387c6ca223558bf1fcdaf", "sources": [ { "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75 } ], "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75, "music_transcription_status": "needs-review" }, { "path": "images/rh-103-ex03.png", "kind": "music", "bbox_pixels": [ 295, 565, 915, 180 ], "dimensions_pixels": [ 915, 180 ], "description": "En Mineur, key signature three flats. a) (IV) A♭4 C5 C5 whole, F5–F♯5 halves, ♯6 → (G4 B♮4 D5 G5) (G4 C5 E♭5 G5) | b²) (IV) A♭4 C5 E♭5 whole, F5–F♯5 halves, ♯6 5 → G4 C5 E♭5 G5, 6 4 | c) (II) A♭4 C5 D5 whole, F5–F♯5 halves, ♯6 4 3 → (G4 B♮4 D5 G5) (G4 C5 E♭5 G5), 6 4; final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-103-ex03.musicxml", "label": "Example in minor (C minor, three flats; A♭ is the VIth degree): a) chord derived from IV, A♭–C–C with F rising to F♯ (♯6), resolving either to the G major chord (with B♮) or to the C minor 6/4 chord (both in parentheses); b²) chord derived from IV, A♭–C–E♭ with F rising to F♯ (♯6 5), resolving to the C minor 6/4 chord; c) chord derived from II, A♭–C–D with F rising to F♯ (♯6 4 3), resolving either to the G major chord or to the C minor 6/4 chord (both in parentheses).", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 1 } ], "sha256": "e684779ccfe2e27728b25cb52089fc2e5e61dd0951c6a0592c91ba61d51cd39e", "transcriptionStatus": "needs-review" } ], "id": "rh-103-ex03", "sha256": "db3a4c11b03e8424ccc685213d2f23813b2f144937840966a46709634141fe9e", "sources": [ { "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75 } ], "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75, "music_transcription_status": "needs-review" }, { "path": "images/rh-103-ex04.png", "kind": "music", "bbox_pixels": [ 875, 1475, 655, 170 ], "dimensions_pixels": [ 655, 170 ], "description": "Three groups of whole-note chords separated by double bars. (1) G4 B4 D5 G5 – A♭4 C5 C5 F♯5 (♯6) – G4 B4 D5 G5 | (2) G4 C5 E5 G5 (6 4) – A♭4 C5 D♯5 F♯5 (♯6 ♯4 3) – G4 C5 E5 G5 | (3) key signature three flats: G4 C5 E♭5 G5 – A♭4 C5 D5 F♯5 (♯6 4 3) – G4 C5 E♭5 G5; final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-103-ex04.musicxml", "label": "Example: each augmented sixth chord is preceded and followed by its own chord of resolution. (1) C major: G major chord; A♭–C–C–F♯ (♯6); G major chord. (2) C major: C major 6/4 chord over G (6 4); A♭–C–D♯–F♯ (♯6 ♯4 3); C major 6/4 chord. (3) C minor (key signature of three flats): C minor 6/4 chord over G; A♭–C–D–F♯ (♯6 4 3); C minor 6/4 chord.", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 1 } ], "sha256": "93a964f7976fb745226e6ebc387acefa31a6056beddbb8ade5af56b5cce4678e", "transcriptionStatus": "needs-review" } ], "id": "rh-103-ex04", "sha256": "23220ec396f0be66587324d5b5c293275d9105a91b0188d6f681d0b4053e735c", "sources": [ { "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75 } ], "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75, "music_transcription_status": "needs-review" }, { "path": "images/rh-103-ex05.png", "kind": "music", "bbox_pixels": [ 365, 1740, 910, 180 ], "dimensions_pixels": [ 910, 180 ], "description": "Four plagal cadences, double bars between. (1) II: F4 A4 C5 whole, D5–D♯5 halves (slur), 6 5 3 → C4 G4 C5 E5 | (2) II harm.: F4 A♭4 C5, D5–D♯5, 6—♯ 5 ♭3 → C4 G4 C5 E5 | (3) VII: F4 A4 B4, D5–D♯5, 6—♯ 4 3 → C4 G4 C5 E5 | (4) VII harm.: F4 A4 B4 (no flat printed on A), D5–D♯5, 6—♯ 4 ♭3 → C4 G4 C5 E5; final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-103-ex05.musicxml", "label": "Example: four plagal cadences in C major, each ending on the C major chord with C in the bass, the top part D rising to D♯ (the augmented sixth above the bass F) before resolving to E. (1) II: F–A–C with D–D♯ (6 5 3); (2) II harm.: F–A♭–C with D–D♯ (6—♯ 5 ♭3); (3) VII: F–A–B with D–D♯ (6—♯ 4 3); (4) VII harm.: F–A–B with D–D♯ (6—♯ 4 ♭3).", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 1 } ], "sha256": "d1b2d00493d20747417a630d7220718c1ed7b943915738982e96d65fa502a4f7", "transcriptionStatus": "needs-review" } ], "id": "rh-103-ex05", "sha256": "815b7976b63ca713aab4b9102b8db544d415dc56c885d2f5b57d292f81d048c7", "sources": [ { "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75 } ], "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75, "music_transcription_status": "needs-review" }, { "path": "images/rh-103-ex06.png", "kind": "music", "bbox_pixels": [ 1105, 2110, 430, 175 ], "dimensions_pixels": [ 430, 175 ], "description": "VII: A♭4 B4 D5 F♯5 whole (♯6 4 2) → in parentheses, black stemless: V G4 B4 D5 G5 | III G4 B4 E5 G5 (6) | III G4 B4 E♭5 G5 (♭6); final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-103-ex06.musicxml", "label": "Example (C harmonic major): the chord derived from VII, A♭–B–D–F♯ (♯6 4 2), and three possible resolutions in parentheses: V, the G major chord; III, the E minor chord in first inversion over G (6); III of the harmonic mode, G–B–E♭–G (♭6).", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "71f93fa6ab9a31b6601a11e7d58e9879267b7d528557db1644b6f59cc4b87dae", "transcriptionStatus": "needs-review" } ], "id": "rh-103-ex06", "sha256": "ac0ee21031f3bb0135b83210bd6d26de175a8450c70283ccba2e4ad6008ec401", "sources": [ { "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75 } ], "pdf_page": 83, "source_image": "source-pages/083.png", "printed_page": 75, "music_transcription_status": "needs-review" }, { "path": "images/rh-104-ex01.png", "kind": "music", "bbox_pixels": [ 235, 662, 625, 192 ], "dimensions_pixels": [ 625, 192 ], "description": "1): C4 G4 C5 E5 | A3 F4 C5 F5 | G3 B3 B4 F5 (figured 7) | G3 B3 B4 E♯5, G, B, B tied and F→E♯ curved (figured 6) | in parentheses, black heads: F♯3 D4 B4 F♯5 (6/4) | F♯3 D♯4 B4 F♯5 (6/4) | F♯3 C♯4 A♯4 F♯5.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-104-ex01.musicxml", "label": "Example 1): C major — dominant seventh, incomplete with doubled third (G–B–B–F), reinterpreted as an augmented-sixth chord (G–B–B–E♯, figured 7 = 6) — resolved, as three alternatives in parentheses, on the B minor six-four, the B major six-four or the F♯ major triad.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "fc299172fe372ecff231d91b8ab5d4cb65241195c0a65af297a3dc4c4f06d9c7", "transcriptionStatus": "needs-review" } ], "id": "rh-104-ex01", "sha256": "e96ecbb14189ae209e5e87896f1272fc316ca94b3399aa12bb39f80beec7a6a6", "sources": [ { "pdf_page": 84, "source_image": "source-pages/084.png", "printed_page": 76 } ], "pdf_page": 84, "source_image": "source-pages/084.png", "printed_page": 76, "music_transcription_status": "needs-review" }, { "path": "images/rh-104-ex02.png", "kind": "music", "bbox_pixels": [ 852, 662, 535, 192 ], "dimensions_pixels": [ 535, 192 ], "description": "2): C4 G4 C5 E5 | A3 F4 C5 F5 | G3 D4 B4 F5 (figured 7) | G3 D4 B4 E♯5, G, D, B tied and F→E♯ curved (figured 6) | in parentheses, black heads: F♯3 D4 B4 F♯5 (6/4) | F♯3 C♯4 A♯4 F♯5; double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-104-ex02.musicxml", "label": "Example 2): C major — complete dominant seventh G–D–B–F, reinterpreted as an augmented six-five chord (G–D–B–E♯, figured 7 = 6) — resolved, as two alternatives in parentheses, on the B minor six-four or the F♯ major triad.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "30ce8c52bf35da4f553fb614ac930b28caac0124a85baf81b2e3314a7eacc418", "transcriptionStatus": "needs-review" } ], "id": "rh-104-ex02", "sha256": "2dd7e8dc8e2d755be67ae4dc87d33280cf14ecb41644d86b1520afeec2022868", "sources": [ { "pdf_page": 84, "source_image": "source-pages/084.png", "printed_page": 76 } ], "pdf_page": 84, "source_image": "source-pages/084.png", "printed_page": 76, "music_transcription_status": "needs-review" }, { "path": "images/rh-104-ex03.png", "kind": "music", "bbox_pixels": [ 235, 856, 560, 182 ], "dimensions_pixels": [ 560, 182 ], "description": "3): C4 G4 C5 E5 | A3 F4 C5 F5 | G3 D4 B4 F5 (figured 7) | black heads: G3 C𝄪4 B4 E♯5, G and B tied, D→C𝄪 and F→E♯ curved (figured 4/3) | F♯3 D♯4 B4 F♯5 (6/4); double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-104-ex03.musicxml", "label": "Example 3): C major — dominant seventh G–D–B–F reinterpreted as the chord of the doubly augmented fourth (G–C𝄪–B–E♯, figured 7 = 4/3) — resolved on the B major six-four (F♯–D♯–B–F♯).", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "f3b1dfc56907c59691d80e3dcd17952faae7c491a591d20171d17079720a0422", "transcriptionStatus": "needs-review" } ], "id": "rh-104-ex03", "sha256": "fa2b0d841195aca811b2f5ed0c0cf18242c79cb8351330656ae3f9d26355f2c4", "sources": [ { "pdf_page": 84, "source_image": "source-pages/084.png", "printed_page": 76 } ], "pdf_page": 84, "source_image": "source-pages/084.png", "printed_page": 76, "music_transcription_status": "needs-review" }, { "path": "images/rh-104-ex04.png", "kind": "music", "bbox_pixels": [ 770, 856, 625, 182 ], "dimensions_pixels": [ 625, 182 ], "description": "4): C4 G4 C5 E5 | A3 F4 C5 F5 | G3 F4 B4 D5 | G3 F4 B4 D♯5 (figured 7) | G3 E♯4 B4 D♯5, G, B, D♯ tied and F→E♯ curved (figured 6/5) | black heads: F♯3 F♯4 B4 D♯5 (6/4); final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-104-ex04.musicxml", "label": "Example 4): C major — dominant seventh G–F–B–D, then with raised fifth (G–F–B–D♯), reinterpreted as an augmented six-five chord (G–E♯–B–D♯, figured 7 = 6/5) — resolved on the B major six-four (F♯–F♯–B–D♯, black heads).", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "4e7dc0b7398521ef2b05b498e28f808c0583a7cef7b654f8465979ddbf58579c", "transcriptionStatus": "needs-review" } ], "id": "rh-104-ex04", "sha256": "d8a328af6499c47f465b84394d79e5569f337a47d46d12f820d988142c8bedec", "sources": [ { "pdf_page": 84, "source_image": "source-pages/084.png", "printed_page": 76 } ], "pdf_page": 84, "source_image": "source-pages/084.png", "printed_page": 76, "music_transcription_status": "needs-review" }, { "path": "images/rh-104-ex05.png", "kind": "music", "bbox_pixels": [ 955, 1078, 582, 192 ], "dimensions_pixels": [ 582, 192 ], "description": "Unmetered, two segments. 1: G3 D4 B4 E♯5 (6/5), tenor D4 half → C♯4 half (4/3); then V: F♯3 C♯4 A♯4 F♯5. Double bar. 2: G3 D4 B4 E♯5 (6/5); D4 and B4 tied into halves over F♯3 and F♯5 (6/4), then C♯4 and A♯4 halves (V); final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-104-ex05.musicxml", "label": "Example in B: the augmented six-five chord G–D–B–E♯ (figured 6/5) passes, by the tenor's move D→C♯, into the augmented four-three chord (figured 4/3) before the dominant F♯ major (V); then, after a double bar, the same augmented six-five chord resolves first on the six-four chord (F♯–D–B–F♯, figured 6/4), then on the dominant (V).", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "868c38bbc41723687667bd11753c47ab9e77b26081b2e1506c280bc54f7f805c", "transcriptionStatus": "needs-review" } ], "id": "rh-104-ex05", "sha256": "5bffb298e177e7dcc32ba279ba5648e49dbbb38dd39acea018eab21950977ab4", "sources": [ { "pdf_page": 84, "source_image": "source-pages/084.png", "printed_page": 76 } ], "pdf_page": 84, "source_image": "source-pages/084.png", "printed_page": 76, "music_transcription_status": "needs-review" }, { "path": "images/rh-104-ex06.png", "kind": "music", "bbox_pixels": [ 268, 1396, 1270, 172 ], "dimensions_pixels": [ 1270, 172 ], "description": "Part 1, Do: C4 G4 C5 E5 | C4 G4 B♭4 E5 (7) | C4 F𝄪4 A♯4 E5 (4/3), B♭→A♯ curved, E5 tied through chords 1–4 | B3 G♯4 B♮4 E5 | B3 A♮4 B4 D♯5 | Mi: E4 G♯4 B4 E5. Double bar. Part 2, Do: C4 E4 G4 C5 | E4 G4 C5 C5 | D4 F♯4 A4 C5 (7) | D4 F♯4 B♯4 whole, D and F♯ tied, C→B♯ curved, with A4 half (6/5) → G♯4 half (4/3) | Do♯: C♯4 E♯4 G♯4 C♯5; final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-104-ex06.musicxml", "label": "Example in two parts. C major (Do) to E major (Mi): the V7 of F (C–G–B♭–E) is reinterpreted as C–F𝄪–A♯–E (figured 7 = 4/3) and resolves on the E major six-four, then B7 and E major. C major (Do) to C♯ major (Do ♯): the V7 of G (D–F♯–A–C) is reinterpreted as an augmented six-five chord (D–F♯–A–B♯, figured 7 = 6/5), whose A moves to G♯ (figured 4/3), resolving on the C♯ major triad.", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "3364124f980fbe3e6f867bef1a0ff684e1193382e3fe839afa39a66d8a4ec688", "transcriptionStatus": "needs-review" } ], "id": "rh-104-ex06", "sha256": "e4a633b24af9be42a171256566c7bcdb566083bd8fcd57beeee8d1f8d50ad3d2", "sources": [ { "pdf_page": 84, "source_image": "source-pages/084.png", "printed_page": 76 } ], "pdf_page": 84, "source_image": "source-pages/084.png", "printed_page": 76, "music_transcription_status": "needs-review" }, { "path": "images/rh-104-ex07.png", "kind": "music", "bbox_pixels": [ 318, 1681, 995, 198 ], "dimensions_pixels": [ 995, 198 ], "description": "Do: C4 E4 G4 C5 | C4 G4 B♭4 E5 | D♭4 F4 A♭4 F5 | D♭4 G4 B♭4 E♭5 | La: C4 A♭4 A♭4 E♭5 | N.B.: A♭3 G♭4 C5 E♭5 (7) | G3 G♮4 C5 E♮5 (6/4) | G3 B♮4 D♮5 with tenor G4 half → F4 half (8—7) | Do: C4 E4 C5 C5; final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-104-ex07.musicxml", "label": "Example: from C major (Do) through D♭ major to A♭ major (La[♭]); the dominant seventh of D♭ (A♭–G♭–C–E♭, figured 7, marked N.B.) resolves directly on the six-four chord of C major (G–G–C–E, figured 6/4), then G major with the tenor moving G→F (figured 8—7) to C major (Do).", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "ca306970d873f4c1ee6a528989a2d78dc3462c8d83f59da344a6e22c9ee4a422", "transcriptionStatus": "needs-review" } ], "id": "rh-104-ex07", "sha256": "2eb693c1af233030eac2e320d174ba8eb1474849597cd3ad2daaa79ea7d87ae0", "sources": [ { "pdf_page": 84, "source_image": "source-pages/084.png", "printed_page": 76 } ], "pdf_page": 84, "source_image": "source-pages/084.png", "printed_page": 76, "music_transcription_status": "needs-review" }, { "path": "images/rh-105-ex01.png", "kind": "music", "bbox_pixels": [ 235, 258, 1150, 160 ], "dimensions_pixels": [ 1150, 160 ], "description": "Six resolutions of the diminished seventh G#4 B4 D5 F5 (whole notes, figured 7 except in 6), each to black stemless heads; double bars between: 1) A4 C5 C5 E5; 2) A4 C#5 C#5 E5, figured #; 3) A4 C5 C5 F5 (F5 tied), figured 6; 4) G#4 (tied) C#5 C#5 E5, figured 6/4; 5) A4 A4 D5 F5 (D5 and F5 tied), figured 6/4; 6) G#4 (tied) B4 E5 E5, figured 6, marked (*) above. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-105-ex01.musicxml", "label": "[Example] 1) 2) 3) 4) 5) 6) (*)", "playbackAvailable": true, "printed_systems": [ { "bars": 6, "staves": 1 } ], "sha256": "8934ca250303f0bc4810a6c97de8986d319ace56c60408bd4f6e2da62e6d2c5b", "transcriptionStatus": "needs-review" } ], "id": "rh-105-ex01", "sha256": "06a61d462daa1fa6700d9bcf984142bd54997571d2bd231a47051232f90dc560", "sources": [ { "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77 } ], "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77, "music_transcription_status": "needs-review" }, { "path": "images/rh-105-ex02.png", "kind": "music", "bbox_pixels": [ 500, 455, 615, 135 ], "dimensions_pixels": [ 615, 135 ], "description": "The four enharmonic forms of the diminished seventh, whole notes, double bars between: G#4 B4 D5 F5 (7) = G#4 B4 D5 E#5 (6/5); Ab4 Cb5 D5 F5 (4/3) = Ab4 B4 (natural printed) D5 F5 (2). The \"=\" signs link 7 with 6/5 and 4/3 with 2. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-105-ex02.musicxml", "label": "[Example] 7 = 6/5, 4/3 = 2", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 1 } ], "sha256": "ff688707b348079e5ed8488b5592183c55300c29d285819da42b3ba9ac6c7148", "transcriptionStatus": "needs-review" } ], "id": "rh-105-ex02", "sha256": "9ccd3e3174d13b4767df428fa599d2686f68626d0899f1ae9d195e7fcc86f281", "sources": [ { "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77 } ], "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77, "music_transcription_status": "needs-review" }, { "path": "images/rh-105-ex03.png", "kind": "music", "bbox_pixels": [ 240, 605, 1140, 175 ], "dimensions_pixels": [ 1140, 175 ], "description": "Enharmonic modulations through the diminished seventh, whole notes. Do: C4 G4 C5 E5 | F4 Ab4 C5 F5 | D4 Ab4 B4 F5 (6/5) | Eb4 Ab4 C5 Eb5 (6/4) | Eb4 G4 Bb4 Eb5 | Lab: Ab4 Ab4 C5 Eb5; double bar. Do: C4 G4 C5 E5 | F4 Ab4 C5 F5 | D4 Ab4 B4 F5 (6/5) | C#4 G#4 C#5 E5 | F#4 An4 C#5 D#5 | G#4 G#4 B#4 D#5 | Do #: C#4 G#4 C#5 E5. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-105-ex03.musicxml", "label": "[Example] C — Ab; C — C#", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "8dd2650c9fd1437a1edbdd6e94eafb62ac051ef3635da7608707ecd64b301313", "transcriptionStatus": "needs-review" } ], "id": "rh-105-ex03", "sha256": "d2e20f273310dfe63ee3066aa04c02d4a7d7ab1e8cf13d2b96ec53f72e432c0f", "sources": [ { "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77 } ], "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77, "music_transcription_status": "needs-review" }, { "path": "images/rh-105-ex04.png", "kind": "music", "bbox_pixels": [ 688, 972, 820, 175 ], "dimensions_pixels": [ 820, 175 ], "description": "Four resolutions of the augmented triad C4 E4 G#4 (whole notes) to black stemless heads, double bars between: 1) C4 (tied) E4 A4, figured 6; 2) B3 E4 (tied) G#4 (tied), figured 6/4; 3) C4 (tied) F4 A4, figured 6/4; 4) B3 D#4 G#4 (tied), figured 6. Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-105-ex04.musicxml", "label": "[Example] 1) 2) 3) 4)", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 1 } ], "sha256": "301b0570fa05c1fc45d6d462b445fbd8902ec4a2fa24a9135c696563009423b5", "transcriptionStatus": "needs-review" } ], "id": "rh-105-ex04", "sha256": "bbf59e92cb5c6159c83422962f7959d397915e5d9edc47b52aeda4abe08fab63", "sources": [ { "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77 } ], "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77, "music_transcription_status": "needs-review" }, { "path": "images/rh-105-ex05.png", "kind": "music", "bbox_pixels": [ 618, 1128, 420, 160 ], "dimensions_pixels": [ 420, 160 ], "description": "The three enharmonic forms of the augmented triad, whole notes, double bars between: C4 E4 G#4 (3) = C4 E4 Ab4 (6) = C4 Fb4 Ab4 (6/4). Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-105-ex05.musicxml", "label": "[Example] 3 = 6 = 6/4", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 1 } ], "sha256": "0062364f13f4ab636e5d3dcc83a4aacdc744f958e658977ec271345c1d376496", "transcriptionStatus": "needs-review" } ], "id": "rh-105-ex05", "sha256": "fb6ec3b6e30d125883e6a020d0efff2351379a7ba6587e134b46df56e5538293", "sources": [ { "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77 } ], "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77, "music_transcription_status": "needs-review" }, { "path": "images/rh-105-ex06.png", "kind": "music", "bbox_pixels": [ 1175, 1935, 330, 196 ], "dimensions_pixels": [ 330, 196 ], "description": "EXEMPLE. V → VI in C major, one treble staff, four parts: V = G3 (bass) with B4 D5 (wholes) and tenor G4 then F4 (halves), figured 8 — 7; VI = Ab3 Eb4 C5 C5 (doubled third, two heads side by side). Final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-105-ex06.musicxml", "label": "Example", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "9bc7d1189ad4ca40283f5328f0d20d5381eccaff5d2f1c877e8efab057d4dcf3", "transcriptionStatus": "needs-review" } ], "id": "rh-105-ex06", "sha256": "9453fe6929d948af5336f9e35bb7d41336eb54245f6b0db22141445da8563d6b", "sources": [ { "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77 } ], "pdf_page": 85, "source_image": "source-pages/085.png", "printed_page": 77, "music_transcription_status": "needs-review" }, { "path": "images/rh-106-ex01.png", "kind": "music", "bbox_pixels": [ 310, 278, 1000, 275 ], "dimensions_pixels": [ 1000, 275 ], "description": "C major, grand staff, unmetered: G3 G4 B4 D5 (tenor half G4 then half F4) | Ab3 Eb4 C5 C5 | bracketed: F3 F4 Ab4 C5 (\"IV harm.\") | F3 F4 Ab4 D5 (\"II harm.\", 6) | F3 F4 Ab4 Db5 (\"II harm.\", b6) | G3 E4 G4 C5 (natural on E) | G3 D4 G4 B4 (natural on D; alto halves G4 F4) | C3 C4 E4 C5; final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-106-ex01.musicxml", "label": "Example in C major (grand staff): the dominant chord G–D–G–B (the tenor moving G–F, making the seventh) goes to the borrowed VI chord A♭–E♭–C–C with doubled third; then, in brackets, three alternative continuations: the minor subdominant chord F–F–A♭–C (\"IV harm.\"), the sixth chord of the 2nd degree of harmonic major F–F–A♭–D (\"II harm.\", figured 6), and the same chord with the lowered root, F–F–A♭–D♭ (\"II harm.\", figured ♭6); then the cadence: tonic 6/4 chord G–E–G–C, dominant G–D–B with the alto G–F (seventh), and the final tonic chord C–C–E–C.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "867ffac4bd586397c6f4fd60d64fe6ba4acb8ebb7e87cde250c80dcd03b86530", "transcriptionStatus": "needs-review" } ], "id": "rh-106-ex01", "sha256": "a3d6fc6aaf02660bb20449cbaa3b06066beaae094dc3e5a2a3cefedbe7babbec", "sources": [ { "pdf_page": 86, "source_image": "source-pages/086.png", "printed_page": 78 } ], "pdf_page": 86, "source_image": "source-pages/086.png", "printed_page": 78, "music_transcription_status": "needs-review" }, { "path": "images/rh-106-ex02.png", "kind": "music", "bbox_pixels": [ 185, 770, 625, 165 ], "dimensions_pixels": [ 625, 165 ], "description": "\"au lieu de\": II: Ab4 C5 D#5 F#5 (figured #6 #4 3) to black heads G4 C5 E5 G5 (6/4) || II: F#4 A4 C5 D#5 (#6 5) to black heads G4 G4 C5 E5 (6/4); double bars.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-106-ex02.musicxml", "label": "\"Instead of:\" two chords on the 2nd degree (II) in C major, each resolving to the tonic 6/4 chord: A♭–C–D♯–F♯ (figured ♯6/♯4/3) going to G–C–E–G (6/4); after a double bar, F♯–A–C–D♯ (figured ♯6/5) going to G–G–C–E (6/4).", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "2dcdd596965d0ee002f2b00e28f9503f143d3ce5c49ca68c1e221fbaa361445d", "transcriptionStatus": "needs-review" } ], "id": "rh-106-ex02", "sha256": "f78aa4a0eb6df73b88d825438cce443358498fd561867744682fd59755a689c5", "sources": [ { "pdf_page": 86, "source_image": "source-pages/086.png", "printed_page": 78 } ], "pdf_page": 86, "source_image": "source-pages/086.png", "printed_page": 78, "music_transcription_status": "needs-review" }, { "path": "images/rh-106-ex03.png", "kind": "music", "bbox_pixels": [ 825, 770, 610, 165 ], "dimensions_pixels": [ 610, 165 ], "description": "\"on écrit\": IV: Ab4 C5 Eb5 F#5 (#6 5) to black heads G4 C5 E5 G5 (natural on E; 6/4) || IV: F#4 A4 C5 Eb5 (b7) to black heads G4 G4 C5 E5 (natural on E; 6/4); double bars.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-106-ex03.musicxml", "label": "\"One writes:\" the same chords spelled on the 4th degree (IV): A♭–C–E♭–F♯ (augmented six-five chord, figured ♯6/5) going to G–C–E♮–G (6/4); after a double bar, F♯–A–C–E♭ (diminished seventh on the raised 4th degree, figured ♭7) going to G–G–C–E♮ (6/4).", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "6c3366615acba3c87659cb3891ad2c0ff2042e4e77c3844876461793c50ab4a8", "transcriptionStatus": "needs-review" } ], "id": "rh-106-ex03", "sha256": "011e957b766518917b4badee3ce399bdb7665995ce345c771164120479b419fa", "sources": [ { "pdf_page": 86, "source_image": "source-pages/086.png", "printed_page": 78 } ], "pdf_page": 86, "source_image": "source-pages/086.png", "printed_page": 78, "music_transcription_status": "needs-review" }, { "path": "images/rh-106-ex04.png", "kind": "music", "bbox_pixels": [ 1175, 1055, 355, 150 ], "dimensions_pixels": [ 355, 150 ], "description": "C minor, treble staff: V G3 D4 G4 B4 (natural) | V F#3 Eb4 A4 (natural) C5; whole notes, double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-106-ex04.musicxml", "label": "C minor, one treble staff: the dominant triad G–D–G–B♮ (V) followed by the diminished seventh chord F♯–E♭–A♮–C (labelled V), whole notes.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "101a58d7923f8c7f38da1539e059b827a991fdb2ed2699d6591830f58436f1a2", "transcriptionStatus": "needs-review" } ], "id": "rh-106-ex04", "sha256": "340ed6bbd5ac360f606e2804747778e9d89e00855e4c31a207da55d50b0e4f5b", "sources": [ { "pdf_page": 86, "source_image": "source-pages/086.png", "printed_page": 78 } ], "pdf_page": 86, "source_image": "source-pages/086.png", "printed_page": 78, "music_transcription_status": "needs-review" }, { "path": "images/rh-106-ex05.png", "kind": "music", "bbox_pixels": [ 970, 1210, 565, 290 ], "dimensions_pixels": [ 565, 290 ], "description": "C minor, grand staff: V G3 D4 G4 B4 | IV F#3 Eb4 A4 C5 (7 5 n3) | G3 Eb4 G4 C5 (6/4) | G3 D4 G4 B4 with alto halves G4 F4 (8-7) | C3 C4 Eb4 C5; final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-106-ex05.musicxml", "label": "C minor, grand staff: dominant G–D–G–B♮ (V); diminished seventh F♯–E♭–A♮–C (IV, figured 7/5/♮3); tonic 6/4 chord G–E♭–G–C (6/4); dominant G–D–B with the alto G–F (8–7); final tonic chord C–C–E♭–C.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "379745e5fa6c8bdbfbb8ebecc455522637f7c2b26396d5b732e6219f047d8b0e", "transcriptionStatus": "needs-review" } ], "id": "rh-106-ex05", "sha256": "cd6925b9a8d9f4544a93e87426b75adac0a63597e051c95081bf36bdb0fdc022", "sources": [ { "pdf_page": 86, "source_image": "source-pages/086.png", "printed_page": 78 } ], "pdf_page": 86, "source_image": "source-pages/086.png", "printed_page": 78, "music_transcription_status": "needs-review" }, { "path": "images/rh-106-ex06.png", "kind": "music", "bbox_pixels": [ 375, 1775, 880, 145 ], "dimensions_pixels": [ 880, 145 ], "description": "1) G4 G4 B4 D5 to V F4 Ab4 Bb4 D5 (4/3), D5 tied || 2) G4 B4 B4 D5 to V F#4 A4 B4 D#5 (4/3) || 3) G4 B4 D5 D5 to V G#4 B4 D5 E5 (5 over 6) || 4) G4 B4 D5 D5 to V G4 Bb4 Db5 Eb5 (5 over 6); whole notes, double bars.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-106-ex06.musicxml", "label": "Four connections on one treble staff, whole notes. 1) G major triad G–G–B–D to the dominant seventh of E♭ in 4/3 position, F–A♭–B♭–D (V, figured 4/3), D tied. 2) G major G–B–B–D to the dominant seventh of E, F♯–A–B–D♯ (V, 4/3). 3) G major G–B–D–D to the dominant seventh of A, G♯–B–D–E (V, figured 5 over 6). 4) G major G–B–D–D to the dominant seventh of A♭, G–B♭–D♭–E♭ (V, figured 5 over 6).", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 1 } ], "sha256": "917d89326c844946bacbd447fd08c4882434f9974daa2faec92f5bd9f70c8af3", "transcriptionStatus": "needs-review" } ], "id": "rh-106-ex06", "sha256": "17205102bcb39c17606420c19c5fcb7d2fe3b93dbd588a8eb1f5cd2ad35f0e19", "sources": [ { "pdf_page": 86, "source_image": "source-pages/086.png", "printed_page": 78 } ], "pdf_page": 86, "source_image": "source-pages/086.png", "printed_page": 78, "music_transcription_status": "needs-review" }, { "path": "images/rh-106-ex07.png", "kind": "music", "bbox_pixels": [ 375, 2005, 885, 155 ], "dimensions_pixels": [ 885, 155 ], "description": "1) V G4 B4 D5 F5 (7) to F4 Bb4 D5 F5 (6/4), F5 tied || 2) V G4 B4 D5 F5 (7) to F#4 B4 D#5 F#5 (6/4), B4 tied || 3) V F4 G4 B4 D5 (2) to E4 G#4 B4 E5 || 4) V F4 G4 B4 D5 (2) to Eb4 G4 Bb4 Eb5; whole notes, double bars.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-106-ex07.musicxml", "label": "Four connections on one treble staff, whole notes. 1) Dominant seventh of C, G–B–D–F (V, 7), to the B♭ major 6/4 chord F–B♭–D–F (6/4), F tied. 2) G–B–D–F (V, 7) to the B major 6/4 chord F♯–B–D♯–F♯ (6/4), B tied. 3) G–B–D–F in third inversion, F–G–B–D (V, 2), to the E major chord E–G♯–B–E. 4) F–G–B–D (V, 2) to the E♭ major chord E♭–G–B♭–E♭.", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 1 } ], "sha256": "65f1f834ff6a62878092c9c000cb6821f81167d8bfe4d8771a2dae71633797bc", "transcriptionStatus": "needs-review" } ], "id": "rh-106-ex07", "sha256": "158315ec733e3cc458ffe0e076ff3dc70682b4ca3d979aea37c42f74a91212ae", "sources": [ { "pdf_page": 86, "source_image": "source-pages/086.png", "printed_page": 78 } ], "pdf_page": 86, "source_image": "source-pages/086.png", "printed_page": 78, "music_transcription_status": "needs-review" }, { "path": "images/rh-107-ex01.png", "kind": "music", "bbox_pixels": [ 350, 250, 870, 155 ], "dimensions_pixels": [ 870, 155 ], "description": "Four pairs of dominant seventh chords, each labelled V V, separated by double bars. 1) G4 B4 D5 F5 (7) – A♭4 B♭4 D5 F5 (2), with ties on the common tones F5 and D5. 2) G4 B4 D5 F5 (7) – A4 B4 D♯5 F♯5 (2), tie on the common tone B4. 3) G4 B4 D5 F5 (7) – G♯4 B4 D5 E5 (6/5). 4) G4 B4 D5 F5 – G4 B♭4 D♭5 E♭5 (no figures). Final bar line.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-107-ex01.musicxml", "label": "Four successions of dominant seventh chords whose roots lie a third apart, each chord labelled V: 1) G–B–D–F (7) to B♭–D–F–A♭ as a 4/2 chord (2), with the common tones F and D tied; 2) G–B–D–F (7) to B–D♯–F♯–A as a 4/2 chord (2), with the common tone B tied; 3) G–B–D–F (7) to E–G♯–B–D as a 6/5 chord; 4) G–B–D–F to E♭–G–B♭–D♭ with G in the bass (no figures printed).", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 1 } ], "sha256": "e41576518e67dc67812489fcdc8f9045b6628b111b7ae49538ee2e8ad226d77c", "transcriptionStatus": "needs-review" } ], "id": "rh-107-ex01", "sha256": "4c8e24991c4fa16509d6047899d649a21ace39327024451159f89399efa7579e", "sources": [ { "pdf_page": 87, "source_image": "source-pages/087.png", "printed_page": 79 } ], "pdf_page": 87, "source_image": "source-pages/087.png", "printed_page": 79, "music_transcription_status": "needs-review" }, { "path": "images/rh-107-ex02.png", "kind": "music", "bbox_pixels": [ 1055, 410, 450, 150 ], "dimensions_pixels": [ 450, 150 ], "description": "a) V: G4 B4 D5 F5 (7) – IV: A4 C5 D5 F♯5 (4/3); double bar; b) VI: G4 B4 D5 F5 (7) – V: G4 B♭4 C5 E5 (4/3); final bar line.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-107-ex02.musicxml", "label": "a) G–B–D–F (7, labelled V) to D–F♯–A–C as a 4/3 chord (labelled IV): the root rises a fifth. b) G–B–D–F (7, labelled VI) to C–E–G–B♭ as a 4/3 chord (labelled V): the root rises a fourth.", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "aeef7d3db18bf55b0d1351c6ff8314edf31d6cf437b22342373cb9ad87f27cca", "transcriptionStatus": "needs-review" } ], "id": "rh-107-ex02", "sha256": "0e5978d3f8661fb61e7c3d1fbaa578859f2e8d7e87dabbad405a41577c178a81", "sources": [ { "pdf_page": 87, "source_image": "source-pages/087.png", "printed_page": 79 } ], "pdf_page": 87, "source_image": "source-pages/087.png", "printed_page": 79, "music_transcription_status": "needs-review" }, { "path": "images/rh-107-ex03.png", "kind": "music", "bbox_pixels": [ 440, 745, 820, 185 ], "dimensions_pixels": [ 820, 185 ], "description": "\"MARCHE UNITONIQUE\" (C major): V G4 B4 D5 F5 (7) – I G4 B4 C5 E5 (4/3) – IV F4 A4 C5 E5 (7) – VII F4 A4 B4 D5 (4/3) – III E4 G4 B4 D5 (7) – VI E4 G4 A4 C5 (4/3); double bar, \"etc.\". A short tie stroke leaves the F5 of the first chord without reaching a note.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-107-ex03.musicxml", "label": "ONE-KEY SEQUENCE (in C major): seventh chords on V, I, IV, VII, III, VI, alternately in root position (7) and as 4/3 chords — G–B–D–F, C–E–G–B over G, F–A–C–E, B–D–F–A over F, E–G–B–D, A–C–E–G over E — etc.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "9ec9ed3fde7d06df6b5e6856e9049562acb4d3737306bd52b70a21634b90fd8e", "transcriptionStatus": "needs-review" } ], "id": "rh-107-ex03", "sha256": "9fda3b44e91ce87024103ea40a92a967cf6e09af2f46920d7a3f1f9e0451ed2f", "sources": [ { "pdf_page": 87, "source_image": "source-pages/087.png", "printed_page": 79 } ], "pdf_page": 87, "source_image": "source-pages/087.png", "printed_page": 79, "music_transcription_status": "needs-review" }, { "path": "images/rh-107-ex04.png", "kind": "music", "bbox_pixels": [ 165, 938, 1270, 215 ], "dimensions_pixels": [ 1270, 215 ], "description": "\"MARCHE MODULANTE\": dominant seventh chords whose roots rise by fourths, alternately in root position (7) and 4/3 position, each labelled V: G4 B4 D5 F5 (7) – G4 B♭4 C5 E5 (4/3) – F4 A4 C5 E♭5 (7) – F4 A♭4 B♭4 D5 (4/3) – E♭4 G4 B♭4 D♭5 (7) – E♭4 G♭4 A♭4 C5 (4/3) – in parentheses D4 F4 A♭4 C♭5 (7) \"=\" C♯4 E♯4 G♯4 B4 (7), the enharmonic change – C♯4 E4 F♯4 A♯4 (4/3) – B3 D♯4 F♯4 A4 (7) – B3 D4 E4 G♯4 (4/3) – A3 C♯4 E4 G4 (7) – A3 C4 D4 F♯4 (4/3) – G3 B3 D4 F4 (7) – I: C3 C4 C4 E4 (C3 on three ledger lines below). Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-107-ex04.musicxml", "label": "MODULATING SEQUENCE: every chord is a dominant seventh chord (V), the roots rising by fourths and the chords alternating between root position (7) and 4/3 position: G7, C7, F7, B♭7, E♭7, A♭7, then D♭7 (in parentheses) rewritten enharmonically as C♯7 (7 = 7), F♯7, B7, E7, A7, D7, G7, and the C major chord (I): the sequence returns to the starting key.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "01bc538914ac8edb1d99976ea16b66fe8a6c2ee5a7b491348ea8a0b28bd35ede", "transcriptionStatus": "needs-review" } ], "id": "rh-107-ex04", "sha256": "ba83c46a5c3a3f30ee2090902f457e98bd99a49163c0693ed91b79737bae1b58", "sources": [ { "pdf_page": 87, "source_image": "source-pages/087.png", "printed_page": 79 } ], "pdf_page": 87, "source_image": "source-pages/087.png", "printed_page": 79, "music_transcription_status": "needs-review" }, { "path": "images/rh-107-ex05.png", "kind": "music", "bbox_pixels": [ 370, 1540, 270, 160 ], "dimensions_pixels": [ 270, 160 ], "description": "V: A4 C5 D5 F♯5 (4/3) – V: A♭4 C5 E♭5 G♭5 (7); final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-107-ex05.musicxml", "label": "D–F♯–A–C as a 4/3 chord (V) followed by A♭–C–E♭–G♭ in root position (V, 7).", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "b99bf456ca6c12cea2fc48fafd0d23f261e3ace3df8814e4522bad738d2a82fa", "transcriptionStatus": "needs-review" } ], "id": "rh-107-ex05", "sha256": "1c78b77071ce09b7efb9c4088360214d9519a9be0329a2f2cebddbe76944571c", "sources": [ { "pdf_page": 87, "source_image": "source-pages/087.png", "printed_page": 79 } ], "pdf_page": 87, "source_image": "source-pages/087.png", "printed_page": 79, "music_transcription_status": "needs-review" }, { "path": "images/rh-107-ex06.png", "kind": "music", "bbox_pixels": [ 872, 1540, 425, 182 ], "dimensions_pixels": [ 425, 182 ], "description": "II: A4 C5 D5 F♯5 (♯6/4/3) – A♭4 C5 D♯5 F♯5 (♯6/4/3) – I: black stemless heads G4 C5 E5 G5 (6/4); final double bar, \"etc.\".", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-107-ex06.musicxml", "label": "II: A–C–D–F♯ (♯6/4/3), then the same chord with A♭ in the bass and D♯, A♭–C–D♯–F♯ (♯6/4/3) — the A♭ seventh chord written enharmonically — resolving to the tonic 6/4 chord G–C–E–G (I, 6/4), etc.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "f19aef1210464c22da72fff02b8ad3c4c210fe885f9ec86d0393f9f5c908de96", "transcriptionStatus": "needs-review" } ], "id": "rh-107-ex06", "sha256": "0a0ce1e1b2fd30fcce93eafcd64b1b5f46583bc17721e5fb4e9fd7fbd3c85d60", "sources": [ { "pdf_page": 87, "source_image": "source-pages/087.png", "printed_page": 79 } ], "pdf_page": 87, "source_image": "source-pages/087.png", "printed_page": 79, "music_transcription_status": "needs-review" }, { "path": "images/rh-107-ex07.png", "kind": "music", "bbox_pixels": [ 180, 1990, 1200, 265 ], "dimensions_pixels": [ 1200, 265 ], "description": "Grand staff, whole notes, three segments separated by double bars. (1) \"Do\" C3 C4 G4 E5 – G3 B3 B4 D5 – F♯3 B3 A4 D♯5 – \"Mi\" E3 B3 G♯4 E5. (2) \"Do\" C3 C4 G4 E5 – F3 C4 A4 F5 – E♭3 C4 A♭4 G♭5 – \"Réb\" D♭3 D♭4 A♭4 F5. (3) \"Do\" C3 C4 G4 E5 – B♭2 C4 G4 E5 – A2 C♯4 G4 E5 – G♯2 C♯4 G♯4 E5 – G♯3 B♯3 D♯5 with the alto G♯4 tied into a half note, then half F♯4 – \"do♯\" C♯3 C♯4 E4 C♯5; the alto half notes have long down-stems; \"etc.\" between the staves; final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-107-ex07.musicxml", "label": "Three sudden modulations from C major, four-part, whole notes: to E major (C – G – B7 – E); to D♭ major (C – F – A♭7 – D♭); to C♯ minor (C – C7 over B♭ – A7 – C♯ minor 6/4 – G♯7 – C♯ minor), etc.", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 2 } ], "sha256": "101e4cf966aa074994522eca7b75e2ff5ff717b0dd937ace254d66db514a1fe9", "transcriptionStatus": "needs-review" } ], "id": "rh-107-ex07", "sha256": "5b6440436636c2a1c071192f840d8a8e460b35976c639307a44c4274666a0e03", "sources": [ { "pdf_page": 87, "source_image": "source-pages/087.png", "printed_page": 79 } ], "pdf_page": 87, "source_image": "source-pages/087.png", "printed_page": 79, "music_transcription_status": "needs-review" }, { "path": "images/rh-108-ex01.png", "kind": "music", "bbox_pixels": [ 130, 690, 1440, 215 ], "dimensions_pixels": [ 1440, 215 ], "description": "\"EXEMPLE DE MODULATIONS PASSAGÈRES\". Seventeen whole-note chords (bass first): Do C–G–C–E; B–G♯–D–E; La A–A–C♯–E; A–G♮–C♯–E; ré D–F–A–D; D–F–G–B; Do C–E–G–C; C–E–G–B♭; (enharm.) C–E–F♯–A♯; Mi B–E–G♯–B; A–D♯–F♯–B; la G♯–D♮–E–B; A–C–E–A; F♯–C–D–A; G–C–E–G♮; G–F–G–B; Do C–E–G–C; final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-108-ex01.musicxml", "label": "EXAMPLE OF PASSING MODULATIONS. Four-part whole-note chords in C major (Do) passing through A major (La), D minor (ré), back to C (Do), then by enharmony (C–E–G–B♭ reinterpreted as C–E–F♯–A♯) to E major (Mi), through A minor (la), and back to C major (Do).", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "68e2c4902cf3bb1746da34d2a94a1774bc3755d252a5afd83955ca11c8c4e828", "transcriptionStatus": "needs-review" } ], "id": "rh-108-ex01", "sha256": "9b72f44880e720ffd58f1314906a4c4abdf047ee730d5a7c05f07a1cc27baccf", "sources": [ { "pdf_page": 88, "source_image": "source-pages/088.png", "printed_page": 80 } ], "pdf_page": 88, "source_image": "source-pages/088.png", "printed_page": 80, "music_transcription_status": "needs-review" }, { "path": "images/rh-108-ex02.png", "kind": "music", "bbox_pixels": [ 420, 995, 840, 135 ], "dimensions_pixels": [ 840, 135 ], "description": "Seven whole-note chords (bass first): Do C–E–G–C; E–G–G–C; F–F–A–C; E♭–G♭–A♭–C; Ré♭ D♭–F–A♭–D♭; D♭–F–B♮ held while an inner voice moves A♭ to G in half notes; Do C–E♮–G–C; final bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-108-ex02.musicxml", "label": "Example: from C major (Do) suddenly to D♭ major (Ré♭) through its dominant seventh, and directly back to C major (Do) through the augmented-sixth chord D♭–F–A♭–B♮, whose A♭ falls to G.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "9d89284505f5863217568354409e4d554004a81d08acceb1d74c03f01a0ee565", "transcriptionStatus": "needs-review" } ], "id": "rh-108-ex02", "sha256": "4c42f2a767de3aabb0e570b3067cede36aefae9823f755ef1afaf64fb17cfbe4", "sources": [ { "pdf_page": 88, "source_image": "source-pages/088.png", "printed_page": 80 } ], "pdf_page": 88, "source_image": "source-pages/088.png", "printed_page": 80, "music_transcription_status": "needs-review" }, { "path": "images/rh-108-ex03.png", "kind": "music", "bbox_pixels": [ 115, 1400, 1455, 705 ], "dimensions_pixels": [ 1455, 705 ], "description": "\"MODÈLE\", 6/8, eight bars on a grand staff in two systems of four bars, A minor. Soprano (bars 1–8): E A A G♯ C | B A D B | B C G♯ A E A | G A. F F E | E G B♭–B♭ A A♭– | A♭ G F♯ F♮ D♯ E– | E D♯ D♮ C E A | B C G♯ A. Brackets above the soprano in bar 3 over B–C and over G♯–A. Bass bars 1–8: A C D | C F E | D C B A G F♯ | G C B♭ | A D C♮ | B (dotted half) | A G♯ A C A | D♯ E A (low register). Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-108-ex03.musicxml", "label": "Model: an eight-bar realization in four parts, 6/8 time, in A minor, using polytonic successions (bars 5–7 pass through chromatic chords with B♭, A♭, D♯, F♯), ending in A minor.", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 2 }, { "bars": 4, "staves": 2 } ], "sha256": "9c4cbe87c25a0df230d05c2c5823526702a4fff4fc0a4edb182deb8296dd8e2c", "transcriptionStatus": "needs-review" } ], "id": "rh-108-ex03", "sha256": "c08f8bc030dbcff31d085b75d832f1f460369787b8b80c8afc1de443aadd146e", "sources": [ { "pdf_page": 88, "source_image": "source-pages/088.png", "printed_page": 80 } ], "pdf_page": 88, "source_image": "source-pages/088.png", "printed_page": 80, "music_transcription_status": "needs-review" }, { "path": "images/rh-109-ex01.png", "kind": "music", "bbox_pixels": [ 40, 325, 1420, 285 ], "dimensions_pixels": [ 1420, 285 ], "description": "\"CHORAL I\", G major, common time, half-note upbeat + 8 bars, SATB on a grand staff. Upbeat G4/D4/B3/G3. Bar 1 S B4 C5, A G4 whole, T D4 C4, B F♮3 E3; bar 2 S D5 C5, A F♮4 E4, T A♭3 G3, B B2 C3; bar 3 S B4 A4, A F♮4 E4, T G♯3 A3, B D3 C3; bar 4 S B4 (fermata) B4, A D♯4 D♯4, T F♯3 F♯3, B B2 (fermata below) A2; bar 5 S B4 A4–B4 (quarters), A D♮4 D4, T G3 G3, B G2 F♮2; bar 6 S C5 A4, A C4 C4, T G3 F♯3, B E2 D2; bar 7 S G4 A4, A B3 C4, T G3 F♯3, B G2 D♯2; bar 8 whole notes G4 (fermata) B3 G3 (fermata) E2.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-109-ex01.musicxml", "label": "Chorale I. Four-part harmonization in G major, common time, with a half-note upbeat; the melody (G B C D C B A B, fermata, B B A B C A G A, fermata G) is set with chromatic chords: the dominant seventh of C (bar 1), the diminished seventh B–D–F–A♭ (bar 2), the diminished seventh G♯–B–D–F over D (bar 3), B major and B7 over A (bar 4), G and G7 over F (bar 5), D7 over F♯ (bar 6) and the diminished seventh D♯–F♯–A–C (bar 7), closing on E minor.", "playbackAvailable": true, "printed_systems": [ { "bars": 9, "staves": 2 } ], "sha256": "1fbbab81858018ac142ad237314d9bb654271e86e05223401bd7ae2e529353be", "transcriptionStatus": "needs-review" } ], "id": "rh-109-ex01", "sha256": "b0b013a4d7af53dc1f36da93bd15e6d0eff004ff5d35fe0d18883d65f59c449a", "sources": [ { "pdf_page": 89, "source_image": "source-pages/089.png", "printed_page": 81 } ], "pdf_page": 89, "source_image": "source-pages/089.png", "printed_page": 81, "music_transcription_status": "needs-review" }, { "path": "images/rh-109-ex02.png", "kind": "music", "bbox_pixels": [ 40, 612, 1420, 300 ], "dimensions_pixels": [ 1420, 300 ], "description": "\"CHORAL II\", G major, common time, half-note upbeat + 8 bars, same melody as Choral I. Upbeat G4/E4/E3/C3. Bar 1 S B4 C5, A D♯4 E4 (tied on), T F♯3 A3, B B2 A2; bar 2 S D5 C5, A E4 E4, T B3 A3, B G♯2 A2; bar 3 S B4 A4, A D♯4 E4, T F♯3 E3, B B2 C3; bar 4 S B4 (fermata) B4, A D♮4 D4, T F♮3 F3, B G♯2 (fermata below) G♮2; bar 5 S B4 A4–B4, A E4 whole (tied on), T E3 half F♯3 G♯3 quarters, B C3 dotted half B2; bar 6 S C5 A4, A E4 D4, T A3 half tied to A3 quarter, D3 quarter, B A2 F♯2; bar 7 S G4 A4, A C♯4 C♮4, T E3 F♯3, B E2 D2; bar 8 whole notes G4 (fermata) B3 G3 (fermata) G2.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-109-ex02.musicxml", "label": "Chorale II. A second harmonization of the same melody, in four parts with ties and quarter-note motion in the inner voices: B major and A minor (bar 1), E7 over G♯ (bar 2), the diminished seventh G♯–B–D–F and G7 (bar 4), a C major seventh moving to E major with a chromatic tenor E–F♯–G♯ over the bass C–B (bar 5), D7 (bar 6), the chord C♯–E–G over E and D7 (bar 7), closing on G major.", "playbackAvailable": true, "printed_systems": [ { "bars": 9, "staves": 2 } ], "sha256": "9151b326b85ee835cd282b5d159c50bfe95842c79ff945ee341135ee358d28ff", "transcriptionStatus": "needs-review" } ], "id": "rh-109-ex02", "sha256": "6e21b403dda14351f16f7c4cf579e175e17fa04ae0318801422e5f1b65c121d2", "sources": [ { "pdf_page": 89, "source_image": "source-pages/089.png", "printed_page": 81 } ], "pdf_page": 89, "source_image": "source-pages/089.png", "printed_page": 81, "music_transcription_status": "needs-review" }, { "path": "images/rh-109-ex03.png", "kind": "music", "bbox_pixels": [ 45, 1484, 1420, 152 ], "dimensions_pixels": [ 1420, 152 ], "description": "Broken chords, C major, one treble staff, unmetered. (1) whole-note chord C4 E4 G4 C5 ‖ (2) eighths E4 G4 C5 G4 over a half C4 ‖ (3) eighths E4 G4 C5 over a quarter C4 ‖ (4) eighths C4 E4 G4 C5 G4 C5 G4 E4 | (5) C5 G4 E4 C4 E4 G4 ‖ (6) half C5 over eighths G4 E4 G4 E4 over half C4 ‖ (7) dotted half C5 over eighths C4 E4 G4 E4 G4 E4 ‖ (8) eighths C4 C5 C4 C5 C4 C5 with a half E4–G4 below (final bar).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-109-ex03.musicxml", "label": "[Example] The C major chord C–E–G–C as a block chord, followed by seven broken (arpeggiated) figurations of it in eighth notes, separated by double bars, some over a held C or a held C–E or E–G.", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "18cd324ff4b48ca30e1d33acda60b5bad4fd378cfb80d48592bdf14224e46b7a", "transcriptionStatus": "needs-review" } ], "id": "rh-109-ex03", "sha256": "59b4c4b8bef661e528935510fce96ad625cf08b3c804e9abda9cd27ec0fc5484", "sources": [ { "pdf_page": 89, "source_image": "source-pages/089.png", "printed_page": 81 } ], "pdf_page": 89, "source_image": "source-pages/089.png", "printed_page": 81, "music_transcription_status": "needs-review" }, { "path": "images/rh-109-ex04.png", "kind": "music", "bbox_pixels": [ 180, 1675, 1150, 150 ], "dimensions_pixels": [ 1150, 150 ], "description": "Harmonic and melodic ornament alternated, C major, one treble staff, unmetered. (1) whole-note chord C4 E4 G4 C5 ‖ (2) sixteenths E4 G4 B4 C5 D5 C5 G4 E4 over a half C4 ‖ (3) sixteenths E4 G4 D5 C5 B4 C5 G4 E4 over a half C4 ‖ (4) sixteenths C5 G4 E4 C4 B3 C4 E4 G4 ‖ (5) dotted half C5 over eighths E4 G4 F♯4 G4 F♯4 G4 over a dotted half C4 (final bar).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-109-ex04.musicxml", "label": "[Example] The C major chord as a block chord, followed by four figurations in sixteenth and eighth notes that mix chord tones with passing and neighbour notes (B, D, F♯), separated by double bars.", "playbackAvailable": true, "printed_systems": [ { "bars": 5, "staves": 1 } ], "sha256": "f4660d7f837f50d50552b72379c409d280c2d500aa1adc625d208c7c3ca8e4fc", "transcriptionStatus": "needs-review" } ], "id": "rh-109-ex04", "sha256": "fa43786e038291d67bafc15e0dec738f859dfdb35a417f0ff720b78b33a5c14b", "sources": [ { "pdf_page": 89, "source_image": "source-pages/089.png", "printed_page": 81 } ], "pdf_page": 89, "source_image": "source-pages/089.png", "printed_page": 81, "music_transcription_status": "needs-review" }, { "path": "images/rh-109-ex05.png", "kind": "music", "bbox_pixels": [ 235, 1964, 1090, 251 ], "dimensions_pixels": [ 1090, 251 ], "description": "Embellished pedal, C major, common time, grand staff, 3 bars + \"etc.\". Treble bar 1: whole C5 (tied on); half E4–G4 chord, then A4 quarter over F4 half (tied on), A♭4 quarter; bar 2: C5 half (tied on) C5 quarter B4 quarter; G4 half, then D4–F4 half chord; F4 quarter E4 quarter beneath; bar 3 whole notes C4 E4 C5. Bass: triplet eighths (marked 3 in bar 1) C3 D3 C3 | B2 C3 B2 | C3 B2 C3 | B2 C3 B2; bar 2 C3 A2 B2 | C3 A2 B2 | C3 B2 C3 (tied) | C3 B2 C3; bar 3 whole C3. Final bar, \"etc.\"", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-109-ex05.musicxml", "label": "[Example] Embellished pedal in C major, common time: over a bass pedal on C ornamented in triplet eighths with lower neighbours (C–D–C, B–C–B, …; C–A–B in bar 2), the upper parts move C–E–G, F–A, F–A♭, G–F–C, D–F–B to the C major chord; \"etc.\"", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 2 } ], "sha256": "3c56671da15b46acd2df906c7391efc220e6023c3b319dae9366d2462c1719a7", "transcriptionStatus": "needs-review" } ], "id": "rh-109-ex05", "sha256": "35dde14032308d54f7ac069995eeb912c81b0b7b32c1eb85cc2041ac91857be5", "sources": [ { "pdf_page": 89, "source_image": "source-pages/089.png", "printed_page": 81 } ], "pdf_page": 89, "source_image": "source-pages/089.png", "printed_page": 81, "music_transcription_status": "needs-review" }, { "path": "images/rh-110-ex01.png", "kind": "music", "bbox_pixels": [ 1240, 270, 310, 230 ], "dimensions_pixels": [ 310, 230 ], "description": "a) Whole notes: D3 B3 F4 F5 to C3 C4 G4 E5. Brackets between tenor and alto labelled \"5te dim.\" (B3–F4) and \"5te juste\" (C4–G4). Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-110-ex01.musicxml", "label": "Example in C major, whole notes: the diminished triad B–D–F in first inversion (D3 B3 F4 F5) resolving to the tonic triad (C3 C4 G4 E5). Brackets between tenor and alto mark the diminished fifth B–F (\"5te dim.\") followed by the perfect fifth C–G (\"5te juste\").", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "36735393a36c8a9c4210aa0a62f029b5c72b4a353443cbd25ae7c4ac984a408c", "transcriptionStatus": "needs-review" } ], "id": "rh-110-ex01", "sha256": "4acbf56568fdfef9f8033dd9340ee2cb8a1eb2514e0052b6a4038a4b45955bea", "sources": [ { "pdf_page": 90, "source_image": "source-pages/090.png", "printed_page": 82 } ], "pdf_page": 90, "source_image": "source-pages/090.png", "printed_page": 82, "music_transcription_status": "needs-review" }, { "path": "images/rh-110-ex02.png", "kind": "music", "bbox_pixels": [ 1040, 570, 515, 245 ], "dimensions_pixels": [ 515, 245 ], "description": "b) Whole notes: C3 G3 E4 G4; D3 G3 F4 B4 (figured 4/3); E3 G3 G4 C5; tenor G3 tied across all three; lines F4–G4 and B4–C5. Then black stemless heads F3 C4 F4 A4, \"etc.\", final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-110-ex02.musicxml", "label": "Example in C major, whole notes: tonic triad (C3 G3 E4 G4), dominant seventh as a 4/3 chord (D3 G3 F4 B4), tonic 6 chord (E3 G3 G4 C5); the seventh F4 rises to G4 in the alto while the dominant G3 is held (tied) in the tenor. Lines join F–G and B–C. A final chord in black heads (F3 C4 F4 A4), then \"etc.\"", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "50b9b71cfa7aa1a3a48575fe012db8fe3a9db4562645ac1b570cbdb87bbb522e", "transcriptionStatus": "needs-review" } ], "id": "rh-110-ex02", "sha256": "577902e90b74c7dc15233abdf61b3ac4bd7f5e29c6b743678b4be16549036203", "sources": [ { "pdf_page": 90, "source_image": "source-pages/090.png", "printed_page": 82 } ], "pdf_page": 90, "source_image": "source-pages/090.png", "printed_page": 82, "music_transcription_status": "needs-review" }, { "path": "images/rh-110-ex03.png", "kind": "music", "bbox_pixels": [ 1040, 845, 515, 250 ], "dimensions_pixels": [ 515, 250 ], "description": "c) Whole notes: C3 G3 C4 E4; D3 G3 B3 F4 (figured 4/3); E3 G3 C4 G4; tenor G3 tied across all three; brackets \"5te dim\" (B3–F4) and \"5te juste\" (C4–G4). Then black stemless heads F3 F3 C4 A4 (unison F3 as two heads), \"etc.\", final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-110-ex03.musicxml", "label": "Example in C major, whole notes: tonic triad (C3 G3 C4 E4), dominant 4/3 chord (D3 G3 B3 F4), tonic 6 chord (E3 G3 C4 G4): the soprano seventh F4 rises to G4 over the held dominant G3 (tied in the tenor), while alto and soprano form a diminished fifth B–F (\"5te dim\") followed by a perfect fifth C–G (\"5te juste\"). A final chord in black heads (F3 F3 C4 A4, tenor and bass in unison), then \"etc.\"", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "b02c6a64a3484cc7e1114513e25ab0fafadebb5085f03db3bf62523ca1bff088", "transcriptionStatus": "needs-review" } ], "id": "rh-110-ex03", "sha256": "e8b228a3a0ac86d52c56f2f998838b43b8ac6cfd014f8f1d042b2e66a9d9b327", "sources": [ { "pdf_page": 90, "source_image": "source-pages/090.png", "printed_page": 82 } ], "pdf_page": 90, "source_image": "source-pages/090.png", "printed_page": 82, "music_transcription_status": "needs-review" }, { "path": "images/rh-110-ex04.png", "kind": "music", "bbox_pixels": [ 1040, 1115, 515, 245 ], "dimensions_pixels": [ 515, 245 ], "description": "d) Whole notes, two groups each marked V. (1) G3 D4 F4 B4 (figured 7) to C3 E4 G4 C5. Double bar. (2) G3 D4 F4 B4 (figured 7) to E3 C4 G4 C5 (figured 6). Lines F4–G4 in the alto. Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-110-ex04.musicxml", "label": "Two examples in C major separated by a double bar, whole notes, each marked V above the first chord. (1) Dominant seventh G3 D4 F4 B4 (figured 7) to the tonic triad C3 E4 G4 C5: the alto seventh F4 rises to G4 while the bass falls G3–C3. (2) The same dominant seventh (figured 7) to the tonic 6 chord E3 C4 G4 C5 (figured 6): the alto F4 rises to G4, the bass falls G3–E3. Lines join F–G in the alto.", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "09bfbab584c15981e959babad322624bad69a8f2eb2a990b718f81968f3a2e49", "transcriptionStatus": "needs-review" } ], "id": "rh-110-ex04", "sha256": "0785b6a7596a67e0ee056e7274ee9ea5ae15d583a5d127213c832c3318994696", "sources": [ { "pdf_page": 90, "source_image": "source-pages/090.png", "printed_page": 82 } ], "pdf_page": 90, "source_image": "source-pages/090.png", "printed_page": 82, "music_transcription_status": "needs-review" }, { "path": "images/rh-110-ex05.png", "kind": "music", "bbox_pixels": [ 1240, 1410, 310, 265 ], "dimensions_pixels": [ 310, 265 ], "description": "e) Whole notes: Ab2 Eb3 C4 F#4 (figured #6 over b5) to G2 D3 B3 G4; brackets marked 5 on Ab–Eb and G–D. Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-110-ex05.musicxml", "label": "Example, whole notes: the augmented 6/5 chord A-flat2 E-flat3 C4 F-sharp4 (figured #6 over b5) resolving to the G major triad G2 D3 B3 G4; brackets marked 5 show the perfect fifths A-flat–E-flat and G–D between bass and tenor.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "d77c2d3c1848d9980d7867844659e4df6d99b897ff4de14b5fc762571d00ce47", "transcriptionStatus": "needs-review" } ], "id": "rh-110-ex05", "sha256": "9e4a4283a47e6b44e8fa860ba77939ae526eeff7560fdf87575a139a40c759c2", "sources": [ { "pdf_page": 90, "source_image": "source-pages/090.png", "printed_page": 82 } ], "pdf_page": 90, "source_image": "source-pages/090.png", "printed_page": 82, "music_transcription_status": "needs-review" }, { "path": "images/rh-110-ex06.png", "kind": "music", "bbox_pixels": [ 685, 1660, 870, 293 ], "dimensions_pixels": [ 870, 293 ], "description": "f) Half notes, no meter printed, 4 bars + 1 half-note bar, then \"etc.\" and final double bar. S G4 A4 | G4 B4 | C5 (fermata) B4 | A4 A4 | D5. A E4 F4 | G4 F4 | E4 G4 | F#4 F#4 | G4. T C4 C4 | C4 D4 | G3 D4 | D4 D4 | D4. B C3 F3 | E3 D3 | C3 G3 | D3 C3 | B2. Brackets marked 5 on C3–G3 and G3–D4 in bar 3.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-110-ex06.musicxml", "label": "Four-part example in C major, half notes, no time signature, four full bars and one half-note bar followed by \"etc.\": I, IV | I6, VII6 | I (fermata on soprano C5), V | D major chord (F-sharp4 in the alto) with the bass falling D3–C3 | G major 6 chord. The fifths C–G (bass–tenor, under the fermata chord) and G–D (next chord) are marked with brackets and the figure 5.", "playbackAvailable": true, "printed_systems": [ { "bars": 5, "staves": 2 } ], "sha256": "d3fc2cc07c0cb6d64c29d0a9273cb97dc15968855d2032b971526d37467874f4", "transcriptionStatus": "needs-review" } ], "id": "rh-110-ex06", "sha256": "65df68c8b26abb5f7f0842384dd105d73e893590d864b8d6dd612ecca7edbd50", "sources": [ { "pdf_page": 90, "source_image": "source-pages/090.png", "printed_page": 82 } ], "pdf_page": 90, "source_image": "source-pages/090.png", "printed_page": 82, "music_transcription_status": "needs-review" }, { "path": "images/rh-110-ex07.png", "kind": "music", "bbox_pixels": [ 1040, 1975, 515, 240 ], "dimensions_pixels": [ 515, 240 ], "description": "g) Whole notes, two cadences, fermata over the final soprano C5 in each. (1) G3 D4 F4 B4 to C3 G3 E4 C5, brackets marked 5 on G3–D4 and C3–G3. Double bar. (2) G2 D4 F4 B4 to C3 G3 E4 C5; lines D4–G3 and G2–C3, bracket marked 5 on G2–D4 and C3–G3. Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-110-ex07.musicxml", "label": "Two cadences in C major separated by a double bar, whole notes, fermata over the final soprano C5 in each. (1) Dominant seventh without fifth G3 D4 F4 B4 to the complete tonic triad C3 G3 E4 C5: parallel fifths G–D to C–G between bass and tenor (marked 5). (2) The same chord with the bass on G2 to C3 G3 E4 C5: the fifth G–D becomes C–G by contrary motion (tenor D4 down to G3, bass G2 up to C3; lines and a bracket marked 5).", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 2 } ], "sha256": "f12bdd40c15300566e3371b06b5612ce9feaa1bf70c08e640b7d8eaec3faf295", "transcriptionStatus": "needs-review" } ], "id": "rh-110-ex07", "sha256": "c7012674797b7df7359104dfed276c6fb456c2755a1495a9b5d01a956ddde453", "sources": [ { "pdf_page": 90, "source_image": "source-pages/090.png", "printed_page": 82 } ], "pdf_page": 90, "source_image": "source-pages/090.png", "printed_page": 82, "music_transcription_status": "needs-review" }, { "path": "images/rh-111-ex01.png", "kind": "music", "bbox_pixels": [ 185, 195, 1170, 280 ], "dimensions_pixels": [ 1170, 280 ], "description": "C minor, grand staff, whole notes. Bar 1: C3 C4 Eb4 G4 | F3 C4 F4 Ab4 | D3 D4 F4 B4 (1½ above, Ab–B) | C3 G3 Eb4 C5; double bar. Bar 2: C3 G3 Eb4 C5 | G2 G3 D4 B4 | B2 F3 D4 Ab4 (1½, B–Ab) | C3 Eb3 Eb4 G4; double bar. Bar 3: soprano eighths G4 Ab4 B4 C5 D5 C5 B4 Ab4 (two beams, 1½ over Ab–B and B–Ab) over alto halves Eb4 F4, tenor whole G3 (arc to the next G3), bass halves C3 B2. Bar 4: black heads C3 G3 Eb4 G4, \"etc.\", final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-111-ex01.musicxml", "label": "Four-part example in C minor (key signature of three flats), whole notes, on a grand staff; the augmented second A-flat–B (and B–A-flat) in the soprano is marked 1½ (a tone and a half). First segment: C minor triad, F minor triad, diminished triad on B (D3 D4 F4 B4), C minor triad; double bar. Second segment: C minor triad, G major triad, diminished seventh chord B–D–F–A-flat over B2, C minor triad in first inversion (E-flat3 in the bass); double bar. Third segment: the soprano runs up and down the harmonic minor scale in eighth notes (G A-flat B C D C B A-flat, the two augmented seconds again marked 1½) over the alto E-flat–F in half notes, a held tenor G3 and the bass C3–B2 in half notes, leading to the C minor chord, followed by \"etc.\"", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 2 } ], "sha256": "3d26676848da07fce15f099f2ff509bad881bd4450a02898eabe9cc5f0ba1328", "transcriptionStatus": "needs-review" } ], "id": "rh-111-ex01", "sha256": "119174d815d592847ecd7c775a11f848ad1205495cf2c9f7e376defe67e5c996", "sources": [ { "pdf_page": 91, "source_image": "source-pages/091.png", "printed_page": 83 } ], "pdf_page": 91, "source_image": "source-pages/091.png", "printed_page": 83, "music_transcription_status": "needs-review" }, { "path": "images/rh-111-ex02.png", "kind": "music", "bbox_pixels": [ 450, 850, 760, 175 ], "dimensions_pixels": [ 760, 175 ], "description": "One treble staff, whole notes: C4 F4 Ab4 C5 (6/4) | Bn3 F4 Ab4 Db5 (7) | Bb3 F4 G#4 D5 (6/5) | An3 F4 An4 D5 (6/4) | G#3 F4 Bb4 D5 (7) | Gn3 E#4 Bn4 D5 (6/5) | F#3 F#4 B4 D5 (6/4); double bar, \"etc.\".", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-111-ex02.musicxml", "label": "Example on one treble staff, whole notes, no barlines until the closing double bar and \"etc.\": the bass descends chromatically C4, B3, B-flat3, A3, G-sharp3, G3, F-sharp3. Chords: C4 F4 A-flat4 C5 (figured 6/4); B3 F4 A-flat4 D-flat5 (7); B-flat3 F4 G-sharp4 D5 (6/5); A3 F4 A4 D5 (6/4); G-sharp3 F4 B-flat4 D5 (7); G3 E-sharp4 B4 D5 (6/5); F-sharp3 F-sharp4 B4 D5 (6/4).", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 1 } ], "sha256": "a8fde1af21534afd9adae04ef057a000ce007932081044f1be405b5d24ae658e", "transcriptionStatus": "needs-review" } ], "id": "rh-111-ex02", "sha256": "b1a93cd0b017083628e33975c4c8fd957dd391b6a81971b7a272036cf75cfa57", "sources": [ { "pdf_page": 91, "source_image": "source-pages/091.png", "printed_page": 83 } ], "pdf_page": 91, "source_image": "source-pages/091.png", "printed_page": 83, "music_transcription_status": "needs-review" }, { "path": "images/rh-111-ex03.png", "kind": "music", "bbox_pixels": [ 180, 1135, 1220, 172 ], "dimensions_pixels": [ 1220, 172 ], "description": "One treble staff, whole notes. (1) G4 B4 D5 G5 | F4 B4 D5 G5 (2) | Eb4 Bb4 Eb5 G5 | Db4 Bb4 Eb5 G5 (2) | Bn3 Bn4 D#5 F#5 | A3 B4 D#5 F#5 (2) | G3 B4 Dn5 G5; double bar. (2) G4 B4 D5 G5 | F4 Bb4 D5 Ab5 (4/3) | Eb4 Bb4 Eb5 G5 | Db4 Bb4 Fb5 Gb5 (4/3) | Bn3 Bn4 D#5 F#5 | A3 C5 Dn5 F#5 (4/3) | G3 B4 D5 G5; final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-111-ex03.musicxml", "label": "Two examples on one treble staff, whole notes, separated by a double bar; the bass descends by whole tones G, F, E-flat, D-flat, B, A, G. (1) G major (G4 B4 D5 G5); G7 over F4 (figured 2); E-flat major (E-flat4 B-flat4 E-flat5 G5); E-flat7 over D-flat4 (2); B major (B3 B4 D-sharp5 F-sharp5); B7 over A3 (2); G major (G3 B4 D5 G5). (2) G major (G4 B4 D5 G5); B-flat7 over F4 (F4 B-flat4 D5 A-flat5, figured 4/3); E-flat major (E-flat4 B-flat4 E-flat5 G5); G-flat7 over D-flat4 (D-flat4 B-flat4 F-flat5 G-flat5, 4/3); B major (B3 B4 D-sharp5 F-sharp5); D7 over A3 (A3 C5 D5 F-sharp5, 4/3); G major (G3 B4 D5 G5). Final double bar.", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "1c766a9296614d5ac643d9e7261854dc8018eb95ab9370fd98223af571481d7c", "transcriptionStatus": "needs-review" } ], "id": "rh-111-ex03", "sha256": "3227030d4db4fb63e1c33804061bc4824198e1aead160420333f39071152c65a", "sources": [ { "pdf_page": 91, "source_image": "source-pages/091.png", "printed_page": 83 } ], "pdf_page": 91, "source_image": "source-pages/091.png", "printed_page": 83, "music_transcription_status": "needs-review" }, { "path": "images/rh-111-ex04.png", "kind": "music", "bbox_pixels": [ 355, 1410, 870, 150 ], "dimensions_pixels": [ 870, 150 ], "description": "One treble staff, whole notes. (1) D4 F4 Ab4 B4 (6/5) | Eb4 F#4 An4 C5 (2) | En4 G4 Bb4 C#5 (6/5) | F4 G#4 Bn4 D5 (2), \"etc.\", double bar. (2) G#4 B4 D5 F5 (7) | Gn4 Bb4 C#5 E5 (4/3) | F#4 A4 C5 Eb5 (7) | Fn4 Ab4 Bn4 D5 (4/3), \"etc.\", final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-111-ex04.musicxml", "label": "Two examples on one treble staff, whole notes, each ending with \"etc.\" and a double bar. (1) Ascending: D4 F4 A-flat4 B4 (figured 6/5); E-flat4 F-sharp4 A4 C5 (2); E4 G4 B-flat4 C-sharp5 (6/5); F4 G-sharp4 B4 D5 (2). (2) Descending: G-sharp4 B4 D5 F5 (7); G4 B-flat4 C-sharp5 E5 (4/3); F-sharp4 A4 C5 E-flat5 (7); F4 A-flat4 B4 D5 (4/3).", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "499f15551fde0bd5ab482ec7a8dbc5cadc14768604c9605da2b3e22add2c0208", "transcriptionStatus": "needs-review" } ], "id": "rh-111-ex04", "sha256": "51b5465f6bc480ffe6f0d82457c88483c548c6136f0dce5522c55897b76d7d35", "sources": [ { "pdf_page": 91, "source_image": "source-pages/091.png", "printed_page": 83 } ], "pdf_page": 91, "source_image": "source-pages/091.png", "printed_page": 83, "music_transcription_status": "needs-review" }, { "path": "images/rh-111-ex05.png", "kind": "music", "bbox_pixels": [ 180, 1615, 1220, 160 ], "dimensions_pixels": [ 1220, 160 ], "description": "One treble staff; pedal G3 whole note under each half, sixth chords in black stemless heads. (1) E5 G5 C6 | D#5 F#5 B5 | D5 F5 Bb5 | C#5 E5 A5 | C5 Eb5 Ab5 | Bn4 D5 G5; double bar. (2) E4 G4 C5 | F4 Ab4 Db5 | F#4 An4 Dn5 | G4 Bb4 Eb5 | G#4 Bn4 En5 | A4 C5 Fn5 | A#4 C#5 F#5 | B4 D5 G5; final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-111-ex05.musicxml", "label": "Two examples on one treble staff, each over a pedal G3 held as a whole note, the sixth chords in stemless black note heads; double bar between and at the end. (1) Descending chromatically: E5 G5 C6, D-sharp5 F-sharp5 B5, D5 F5 B-flat5, C-sharp5 E5 A5, C5 E-flat5 A-flat5, B4 D5 G5. (2) Ascending chromatically: E4 G4 C5, F4 A-flat4 D-flat5, F-sharp4 A4 D5, G4 B-flat4 E-flat5, G-sharp4 B4 E5, A4 C5 F5, A-sharp4 C-sharp5 F-sharp5, B4 D5 G5.", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "72e512f1d9c5d4083e8551cd036430cff810fa867e144b9a05032102355bf6be", "transcriptionStatus": "needs-review" } ], "id": "rh-111-ex05", "sha256": "0c19cf5acba693255bbb90492d42b81e59b146363e23aaaf085b9dfe1f75705a", "sources": [ { "pdf_page": 91, "source_image": "source-pages/091.png", "printed_page": 83 } ], "pdf_page": 91, "source_image": "source-pages/091.png", "printed_page": 83, "music_transcription_status": "needs-review" }, { "path": "images/rh-112-ex01.png", "kind": "music", "bbox_pixels": [ 100, 280, 735, 320 ], "dimensions_pixels": [ 735, 320 ], "description": "THÈME: grand staff, unmetered, eight whole-note chords, no internal barlines: C3 C4 E4 G4 | F3 C4 F4 A4 | D3 B3 F4 G4 | C3 G3 E4 C5 | F3 A3 D4 C5 | G3 G3 D4 B4 (tenor and bass unison, two heads side by side) | C3 G3 E4 C5 tied in all four voices to the same chord; double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-112-ex01.musicxml", "label": "Theme: eight four-part chords in whole notes, C major, unmetered, ending with the tonic chord tied over; double bar.", "playbackAvailable": true, "printed_systems": [ { "bars": 1, "staves": 2 } ], "sha256": "de9f513b22d34d32224329d03aa0149d00489e3a0e46265fdbf6b75a2164cd4c", "transcriptionStatus": "needs-review" } ], "id": "rh-112-ex01", "sha256": "36497a385d62bbb739d7768d03755a012e49ffa52350cd80b3ae07c7aa8bb4ca", "sources": [ { "pdf_page": 92, "source_image": "source-pages/092.png", "printed_page": 84 } ], "pdf_page": 92, "source_image": "source-pages/092.png", "printed_page": 84, "music_transcription_status": "needs-review" }, { "path": "images/rh-112-ex02.png", "kind": "music", "bbox_pixels": [ 836, 280, 710, 320 ], "dimensions_pixels": [ 710, 320 ], "description": "VAR. I (en style de choral), bars 1–4, 2/4. Soprano halves G4 | A4 | G4 | C5. Alto E4 G4 (tied) | G4 F4 | F4 half (tied) | F4 E4 (the E4 tied over the system break into bar 5). Tenor C4 half | C4 half (tied) | C4 quarter, B3 D4 eighths | G3 half. Bass C3 E3 | F3 dotted quarter, E3 eighth | D3 half | C3 half.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-112-ex02.musicxml", "label": "Variation I (in chorale style), bars 1–4: the theme in 2/4, one chord per bar, with passing notes, suspensions and ties in the inner voices.", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 2 } ], "sha256": "f961eaa75ef8fa32171de03f1b6e10db9235fe4e2b07c2a107f392d983cd6432", "transcriptionStatus": "needs-review" } ], "id": "rh-112-ex02", "sha256": "1096db9e86ea66c12a4c319dbe2428e1b0077ddf3dd28c3e3e9efb2c886b5d98", "sources": [ { "pdf_page": 92, "source_image": "source-pages/092.png", "printed_page": 84 } ], "pdf_page": 92, "source_image": "source-pages/092.png", "printed_page": 84, "music_transcription_status": "needs-review" }, { "path": "images/rh-112-ex03.png", "kind": "music", "bbox_pixels": [ 85, 680, 645, 360 ], "dimensions_pixels": [ 645, 360 ], "description": "VAR. I, bars 5–8 (second system, left). Soprano C5 half (tied) | C5 B4 | C5 half (tied) | C5 half. Alto E4 (tied in from bar 4) D4 (tied) | D4 F4 (tied) | F4 quarter, E4 D4 eighths | E4 half. Tenor A3 | G3 | G3 (tied) | G3 halves. Bass F3 | G3 (unison with the tenor) | C3 (tied) | C3 halves. Double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-112-ex03.musicxml", "label": "Variation I, continued (bars 5–8, start of the second system), ending with a double bar.", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 2 } ], "sha256": "57859cbee07188f0906785015ed99af933b5b2ac08e4a99121d77e245343dc63", "transcriptionStatus": "needs-review" } ], "id": "rh-112-ex03", "sha256": "6f5844fa483b8cf9e4bd217d0a59002eb8ea1e5ca94d311e9acd9a047aa7ba4c", "sources": [ { "pdf_page": 92, "source_image": "source-pages/092.png", "printed_page": 84 } ], "pdf_page": 92, "source_image": "source-pages/092.png", "printed_page": 84, "music_transcription_status": "needs-review" }, { "path": "images/rh-112-ex04.png", "kind": "music", "bbox_pixels": [ 730, 662, 815, 375 ], "dimensions_pixels": [ 815, 375 ], "description": "VAR. II (ornement mélodique dans la partie supérieure), bars 1–3, 3/4. Soprano eighths G4 F♯4 G4 A4 B4 C5 | G♯4 A4 G♯4 A4 E5 D5 | C5 B4 A4 G4 A4 B4. Alto E4 half, G4 quarter | F4 dotted half | F4 dotted half. Tenor C4 dotted half (tied) | C4 half, A3 quarter | G3 dotted half (tied over the system break). Bass C3 half, E3 quarter | F3 dotted half | G3 quarter, G2 half.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-112-ex04.musicxml", "label": "Variation II (melodic ornament in the upper part), bars 1–3: 3/4, the soprano in running eighth notes over the sustained harmony.", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 2 } ], "sha256": "5d1e65cba85752423433e0712086ee431b5f3720174409b457729ebf88a44b90", "transcriptionStatus": "needs-review" } ], "id": "rh-112-ex04", "sha256": "c7bf970b5059ef9deeebebf98176877f3b74d972d00dc9f0530edf761e73210c", "sources": [ { "pdf_page": 92, "source_image": "source-pages/092.png", "printed_page": 84 } ], "pdf_page": 92, "source_image": "source-pages/092.png", "printed_page": 84, "music_transcription_status": "needs-review" }, { "path": "images/rh-112-ex05.png", "kind": "music", "bbox_pixels": [ 85, 1055, 1460, 355 ], "dimensions_pixels": [ 1460, 355 ], "description": "VAR. II, bars 4–8 (third system). Soprano eighths D5 C5 B4 C5 G4 E4 | C♯4 D4 E4 F4 G♯4 A4 | F♯4 G4 A4 F5 E5 D5 | D5 E5 F5 E5 D5 C5 | C5 dotted half. Alto E4 dotted half | A3 half, D4 quarter | F♮4 dotted half (tied) | F4 dotted half (tied) | F4 D4 E4 quarters. Tenor G3 dotted half (tied in from bar 3) | A3 half, C♮4 quarter | B3 dotted half (tied) | B3 dotted half | C4 dotted half. Bass C3 half, E3 quarter (slur) | F3 dotted half | G3 half, G2 quarter | C3 dotted half (tied) | C3 dotted half. Final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-112-ex05.musicxml", "label": "Variation II, continued (bars 4–8, third system), ending with a double bar.", "playbackAvailable": true, "printed_systems": [ { "bars": 5, "staves": 2 } ], "sha256": "37b235d161dc582d8746cae8bb2fbffd33c731b401c0a932e2e3f74fc31ef8ac", "transcriptionStatus": "needs-review" } ], "id": "rh-112-ex05", "sha256": "cad11b7c7571be666c0b23ac168cbae4d9f611524579b7ccd7752962e7318e39", "sources": [ { "pdf_page": 92, "source_image": "source-pages/092.png", "printed_page": 84 } ], "pdf_page": 92, "source_image": "source-pages/092.png", "printed_page": 84, "music_transcription_status": "needs-review" }, { "path": "images/rh-112-ex06.png", "kind": "music", "bbox_pixels": [ 85, 1480, 1460, 365 ], "dimensions_pixels": [ 1460, 365 ], "description": "VAR. III (ornement dans toutes les parties), 6/8, four bars, then \"etc.\" and a final double bar. Soprano G4 A4 dotted quarters | A4 F♯4 G4 eighths, C5 dotted quarter (tied) | C5 B4 A4, B4 C5 D5 eighths | C5 dotted half. Alto eighths E4 D4 C4, C4 (tied) A3 B3 | C4 dotted quarter, D4 dotted quarter (tied) | D4 G4 F♯4 eighths, F♮4 dotted quarter (tied) | F4 D♯4 F4 eighths, E4 dotted quarter. Tenor G3 dotted half (tied) | G3 dotted quarter tied to G3 eighth, E♮3 F♯3 eighths | G3 dotted half (tied) | G3 with C4 above, dotted half. Bass eighths C3 D3 E3, F3 dotted quarter | E3 quarter, E♭3 eighth, D3 dotted quarter | G3 G2 dotted quarters | C3 dotted half.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-112-ex06.musicxml", "label": "Variation III (ornament in all the parts): 6/8, four bars, two chords of the theme to a bar, every voice ornamented; “etc.”", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 2 } ], "sha256": "e88728bce42ed9e66f4a10ae62c4680fe6afb5967b9c97f137b4535361d8bcc2", "transcriptionStatus": "needs-review" } ], "id": "rh-112-ex06", "sha256": "0fcf9f8db4ca2bcdf29abbd925bb86fb33da0d7be96018bdcb9759548861f2c8", "sources": [ { "pdf_page": 92, "source_image": "source-pages/092.png", "printed_page": 84 } ], "pdf_page": 92, "source_image": "source-pages/092.png", "printed_page": 84, "music_transcription_status": "needs-review" }, { "path": "images/rh-112-ex07.png", "kind": "music", "bbox_pixels": [ 85, 1895, 1460, 345 ], "dimensions_pixels": [ 1460, 345 ], "description": "VAR. IV (autre réalisation, succession polytonique), 2/2, eight bars in halves and wholes, then \"etc.\" and a double bar. Soprano (the theme melody) G4 A4 | G4 C5 | C5 B4 | C5 whole | G4 A4 | G4 C5 | C5 B4 | C5 whole. Alto G4 (unison with soprano) F♯4 | F♮4 E4 | D4 F♮4 | E4 F♯4 | G4 F♯4 | F♮4 E4 | F4 whole | E4 whole. Tenor B3 C4 | B3 G3 | A3 D4 | C4 whole | B3 C4 | B3 B♭3 | A♭3 G3 | G3 whole. Bass E3 D♯3 | D♮3 C3 | F♯2 G2 | A2 whole | E3 D♯3 | D♮3 C3 | F3 G3 (G3 unison with tenor) | C3 whole.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-112-ex07.musicxml", "label": "Variation IV (another realization, polytonic succession): 2/2, eight bars, the soprano of the theme harmonized with chromatic chords passing through several keys; “etc.”", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 2 } ], "sha256": "a70977d7c1d75e803eddb2d6752f730f2027ff501659d7c1ffcbe626f6ce8c3a", "transcriptionStatus": "needs-review" } ], "id": "rh-112-ex07", "sha256": "1f2e1ef538c2dd60df07ffe3f4c4254bd54f9b2b3fd0343cb8d81a0987bd8b87", "sources": [ { "pdf_page": 92, "source_image": "source-pages/092.png", "printed_page": 84 } ], "pdf_page": 92, "source_image": "source-pages/092.png", "printed_page": 84, "music_transcription_status": "needs-review" }, { "path": "images/rh-113-ex01.png", "kind": "music", "bbox_pixels": [ 75, 335, 1445, 360 ], "dimensions_pixels": [ 1445, 360 ], "description": "\"Ire PARTIE (période)\", bars 1-5, C major, common time. S G4 A4 (tied) | A4 G4 C5 | D5 F5 (tied) F5 E5 | D5. G4 | G4 Bb4 (tied) Bb4 Ab4 (tied over the system break). A E4 F4 E4 | D4 C4. E4 | G4 whole (tied) | G4. F4 (tied) | F4 E4 F4. T C4 whole | B3 D4 G3 | B3 C4 (tied) | C4 B3 A3 B3 D4 | C4 whole. B C3 F3 (tied) | F3 F3 E3 C3 | G2 C3 E3 | G3. B2 | C3 F3.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-113-ex01.musicxml", "label": "First part (period), bars 1–5: four-part setting of the theme in common time, C major, turning toward the flat side (B♭, A♭) at the end of the system.", "playbackAvailable": true, "printed_systems": [ { "bars": 5, "staves": 2 } ], "sha256": "b90e7bc3738ccce7e52c76f33516cb3cb6a1ee5a1476c3d006b06f5d86431062", "transcriptionStatus": "needs-review" } ], "id": "rh-113-ex01", "sha256": "1efca44e68278655b3b9f7680c47ef3f41618335f8d42160db7aec3cd075e0b1", "sources": [ { "pdf_page": 93, "source_image": "source-pages/093.png", "printed_page": 85 } ], "pdf_page": 93, "source_image": "source-pages/093.png", "printed_page": 85, "music_transcription_status": "needs-review" }, { "path": "images/rh-113-ex02.png", "kind": "music", "bbox_pixels": [ 75, 728, 1445, 382 ], "dimensions_pixels": [ 1445, 382 ], "description": "Bars 6-10; \"IIe PARTIE (autre mouvement et caractère)\" printed over bar 9. S Ab4 (courtesy flat) G4 C5 | C5 F5 Eb5 (tied) | Eb5 D5 C5 D5 F5 | Eb5 C5 | Bb4 C5 Bb4 Ab4 G4 Db5 C5 Bb4 eighths. A F4 (tied) F4 E4 | F4 G4 Ab4. G4 | F4 Ab4 (tied) | Ab4 G4 F4 Eb4 C4 D4 Eb4 | F4 G4. T D4 G3 | C4. Cb4 | Bb3 whole | Bb3 C4 | F3 Bb3 C4. B B2 C3 Bb2 | Ab2 G2 F2 Ab2 | B2. D3 (no flat printed) | Eb3 D3 Eb3 G3 Ab3 | D3 Eb3 E3.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-113-ex02.musicxml", "label": "Bars 6–10: end of the first part, reaching E♭ (bars 6–8), and the second part (\"other motion and character\") from bar 9, with eighth-note movement in the upper and inner voices.", "playbackAvailable": true, "printed_systems": [ { "bars": 5, "staves": 2 } ], "sha256": "4b18b535475e46ff0bc7f99f8352bcf49566f426819e8ace28fdd9cfc6e59e63", "transcriptionStatus": "needs-review" } ], "id": "rh-113-ex02", "sha256": "98bd3dca010f82c863e2e8cdb2b9a912ff91f3f6aca568157792828a916e8098", "sources": [ { "pdf_page": 93, "source_image": "source-pages/093.png", "printed_page": 85 } ], "pdf_page": 93, "source_image": "source-pages/093.png", "printed_page": 85, "music_transcription_status": "needs-review" }, { "path": "images/rh-113-ex03.png", "kind": "music", "bbox_pixels": [ 75, 1155, 1445, 320 ], "dimensions_pixels": [ 1445, 320 ], "description": "Bars 11-14. S Ab4 Bb4 C5 Bb4 Ab4 | G4. Ab4 Bb4 | Ab4 F4 G4 Ab4 G4 | G4 C5. A F4 G4 F4 E-natural4 F4 | Eb4 F4 Eb4 D4 Db4 | C4 (tied) C4 B-natural3 A-natural3 B3 | C4 B3 C4 D4 E4 C4 D4 E4 eighths. T C4 Bb3 | Bb3 G3 Bb3 Ab3 G3 | Ab3 F3 F3 (tied) | F3 E-natural3 F3 G3. 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"rh-123-ex03", "sha256": "431db4f393b06f76c305f489e77c98836ac217967a085ecc4b3c02ed5fa22c52", "sources": [ { "pdf_page": 97, "source_image": "source-pages/097.png", "printed_page": 89 } ], "pdf_page": 97, "source_image": "source-pages/097.png", "printed_page": 89, "music_transcription_status": "needs-review" }, { "path": "images/rh-123-ex04.png", "kind": "music", "bbox_pixels": [ 120, 660, 1430, 150 ], "dimensions_pixels": [ 1430, 150 ], "description": "Given melody, four sharps, cut time, treble staff; ends on C♯.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-123-ex04.musicxml", "label": "Given melody", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "15f644f881731b47537c4e852c1837cbd3165ee4b2af964dd28d0cf05f2939da", "transcriptionStatus": "needs-review" } ], "id": "rh-123-ex04", "sha256": "10e65eed88f8239291709e760059208852b1f395ee46c69f0de7a6870d3c1804", "sources": [ { "pdf_page": 97, "source_image": "source-pages/097.png", "printed_page": 89 } ], "pdf_page": 97, "source_image": "source-pages/097.png", "printed_page": 89, "music_transcription_status": "needs-review" }, { "path": "images/rh-123-ex05.png", "kind": "music", "bbox_pixels": [ 120, 858, 1430, 160 ], "dimensions_pixels": [ 1430, 160 ], "description": "Devoir 7, first given melody: G major, cut time, with the heading “(Formule de Cadence de 1re espèce)”.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-123-ex05.musicxml", "label": "7 (given melody)", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "4c9c8a82a973f8b7b44b85b6bd805067b752abaa81a228c6cf0d8112557941a7", "transcriptionStatus": "needs-review" } ], "id": "rh-123-ex05", "sha256": "5858c34580b6d19b6a1dc44c4ce34f2309f96832d39a200753a7195fa2837d89", "sources": [ { "pdf_page": 97, "source_image": "source-pages/097.png", "printed_page": 89 } ], "pdf_page": 97, "source_image": "source-pages/097.png", "printed_page": 89, "music_transcription_status": "needs-review" }, { "path": "images/rh-123-ex06.png", "kind": "music", "bbox_pixels": [ 120, 1035, 1430, 150 ], "dimensions_pixels": [ 1430, 150 ], "description": "Given melody, D minor (one flat), 3/2, treble staff; printed C♯ in bars 3 and 7.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-123-ex06.musicxml", "label": "Given melody", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "6c88507bbfb7e50da842573ff6bde771ec1456d464b5965bc46d165fc920ad0b", "transcriptionStatus": "needs-review" } ], "id": "rh-123-ex06", "sha256": "4a460e8e4a380ff827e53774e7b4fd0020325a8d5c4718d7316d8f605237b4a6", "sources": [ { "pdf_page": 97, "source_image": "source-pages/097.png", "printed_page": 89 } ], "pdf_page": 97, "source_image": "source-pages/097.png", "printed_page": 89, "music_transcription_status": "needs-review" }, { "path": "images/rh-123-ex07.png", "kind": "music", "bbox_pixels": [ 105, 1205, 1445, 160 ], "dimensions_pixels": [ 1445, 160 ], "description": "Given bass, F♯ minor (three sharps), cut time; printed E♯ (bars 3, 5) and D♯ (bar 4).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-123-ex07.musicxml", "label": "Given bass", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "2e8ea0fd04d4a3aebefdd8b52457b408324150d97ceb66576819c9c67dafe880", "transcriptionStatus": "needs-review" } ], "id": "rh-123-ex07", "sha256": "5e3334b26b281fd4c0a86739744f4e1c72d09d4fcd1c16b65269a1a09585adbf", "sources": [ { "pdf_page": 97, "source_image": "source-pages/097.png", "printed_page": 89 } ], "pdf_page": 97, "source_image": "source-pages/097.png", "printed_page": 89, "music_transcription_status": "needs-review" }, { "path": "images/rh-123-ex08.png", "kind": "music", "bbox_pixels": [ 105, 1380, 1445, 165 ], "dimensions_pixels": [ 1445, 165 ], "description": "Given bass, F major, 3/2; bars 3 and 7 combine a half and a whole note; ends on a dotted whole F.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-123-ex08.musicxml", "label": "Given bass", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "4c261f32eb8794c3ab8333a53d20051c19ac3a2a9fc4aeba6acd639198188aae", "transcriptionStatus": "needs-review" } ], "id": "rh-123-ex08", "sha256": "c68033ae2b1dbcd0ce230dc231f0a34c7e64fbb5d5a82ea67cd5d4e6bc374d7a", "sources": [ { "pdf_page": 97, "source_image": "source-pages/097.png", "printed_page": 89 } ], "pdf_page": 97, "source_image": "source-pages/097.png", "printed_page": 89, "music_transcription_status": "needs-review" }, { "path": "images/rh-123-ex09.png", "kind": "music", "bbox_pixels": [ 105, 1578, 1445, 160 ], "dimensions_pixels": [ 1445, 160 ], "description": "Devoir 8, first given bass: E major (four sharps), cut time, with the heading “(Formule de Cadence de 2e espèce et l’accord de 6/4 de passage)”.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-123-ex09.musicxml", "label": "8 (given bass)", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "51b147270ded86b6e7f539fdd8c5157083d5af755583e0f713a0d1a3034ff0ef", "transcriptionStatus": "needs-review" } ], "id": "rh-123-ex09", "sha256": "66280e303a008011490d19e789a25b99857aa90bbe5aa61c91f82d849f357a94", "sources": [ { "pdf_page": 97, "source_image": "source-pages/097.png", "printed_page": 89 } ], "pdf_page": 97, "source_image": "source-pages/097.png", "printed_page": 89, "music_transcription_status": "needs-review" }, { "path": "images/rh-123-ex10.png", "kind": "music", "bbox_pixels": [ 105, 1755, 1445, 165 ], "dimensions_pixels": [ 1445, 165 ], "description": "Given bass, G minor (two flats), 3/2; printed F♯ in bars 2 and 3; ends D (dotted whole) to G (dotted whole).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-123-ex10.musicxml", "label": "Given bass", 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"082a89b17bbc05b7bd12923b0a98ac57deb3521515583a4994b55d8554c7fd57", "sources": [ { "pdf_page": 97, "source_image": "source-pages/097.png", "printed_page": 89 } ], "pdf_page": 97, "source_image": "source-pages/097.png", "printed_page": 89, "music_transcription_status": "needs-review" }, { "path": "images/rh-124-ex01.png", "kind": "music", "bbox_pixels": [ 85, 205, 1435, 125 ], "dimensions_pixels": [ 1435, 125 ], "description": "Devoir 9, first given melody: treble, B-flat major, cut time, 8 bars of half notes ending on a whole-note B-flat.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-124-ex01.musicxml", "label": "Exercise 9: given melody in B-flat major", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "ee00fb0df375d13bb9e8ab9dc5eb478773428c56bac6b6ff3e3a99d250f474bc", "transcriptionStatus": "needs-review" } ], "id": "rh-124-ex01", "sha256": "04170086cffbee5acdab53b405ba40501ceb6925df0097b3955cd0c12eb7fd07", "sources": [ { "pdf_page": 98, "source_image": "source-pages/098.png", "printed_page": 90 } ], "pdf_page": 98, "source_image": "source-pages/098.png", "printed_page": 90, "music_transcription_status": "needs-review" }, { "path": "images/rh-124-ex02.png", "kind": "music", "bbox_pixels": [ 85, 343, 1435, 145 ], "dimensions_pixels": [ 1435, 145 ], "description": "Devoir 9, second given melody: treble, E minor (one sharp), cut time, 8 bars; leading note D-sharp in bar 7, final whole-note E.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-124-ex02.musicxml", "label": "Exercise 9 (continued): given melody in E minor", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "83d3ba65bee4dfe5aad3d77dedb974535fa5cfc1290c25607fd7cfd77fc10f63", "transcriptionStatus": "needs-review" } ], "id": "rh-124-ex02", "sha256": "bed4ab351b8106686490935105e7d794dab3503dae908cec1b07f759b45628ce", "sources": [ { "pdf_page": 98, "source_image": 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"printed_page": 90, "music_transcription_status": "needs-review" }, { "path": "images/rh-124-ex06.png", "kind": "music", "bbox_pixels": [ 85, 1104, 1435, 114 ], "dimensions_pixels": [ 1435, 114 ], "description": "Devoir 11, first given bass: bass clef, C minor (three flats), cut time, 8 bars; B-natural leading notes in bars 3 and 6; final whole-note C.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-124-ex06.musicxml", "label": "Exercise 11: given bass in C minor", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "133089591a9430de1810b6181089a104bd154c78b4a0f3ac581b7f9a5975fe90", "transcriptionStatus": "needs-review" } ], "id": "rh-124-ex06", "sha256": "00e5913221a18a0171793cce84bd0012ceee93815c5ce5a033a04f2a9560ac45", "sources": [ { "pdf_page": 98, "source_image": "source-pages/098.png", "printed_page": 90 } ], "pdf_page": 98, "source_image": "source-pages/098.png", "printed_page": 90, "music_transcription_status": 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"dimensions_pixels": [ 1435, 108 ], "description": "Devoir 12, first given bass: bass clef, B major (five sharps), cut time, 8 bars of half notes ending on a whole-note B.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-124-ex09.musicxml", "label": "Exercise 12: given bass in B major", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "1e181d61c331d163a7b6dd451acdfb47c8a3398b632cc15d7dd9b3363e1a316c", "transcriptionStatus": "needs-review" } ], "id": "rh-124-ex09", "sha256": "e9f63d369b43f0ce43ee252796cd0ebc5135d52e66dcbe766cf3007874c0d081", "sources": [ { "pdf_page": 98, "source_image": "source-pages/098.png", "printed_page": 90 } ], "pdf_page": 98, "source_image": "source-pages/098.png", "printed_page": 90, "music_transcription_status": "needs-review" }, { "path": "images/rh-124-ex10.png", "kind": "music", "bbox_pixels": [ 85, 1770, 1435, 160 ], "dimensions_pixels": [ 1435, 160 ], "description": "Devoir 12, second given bass: bass clef, F minor (four flats), 3/2, 8 bars; E-natural in bar 4; A-flat tied over the bar line from bar 5 to bar 6; final dotted whole-note F.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-124-ex10.musicxml", "label": "Exercise 12 (continued): given bass in F minor", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "7fe5b77697853ac4405c7c86091999c85a5c1b01ae72028c23d73ca6e3ded512", "transcriptionStatus": "needs-review" } ], "id": "rh-124-ex10", "sha256": "be18444e2d57f2efb823c0706b69cc374aa3be99d37081a3e0a07860873d92e0", "sources": [ { "pdf_page": 98, "source_image": "source-pages/098.png", "printed_page": 90 } ], "pdf_page": 98, "source_image": "source-pages/098.png", "printed_page": 90, "music_transcription_status": "needs-review" }, { "path": "images/rh-124-ex11.png", "kind": "music", "bbox_pixels": [ 85, 1940, 1435, 160 ], "dimensions_pixels": [ 1435, 160 ], "description": "Devoir 12, third given bass: bass clef, D major (two sharps), 3/2, 8 bars, final dotted whole-note D.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-124-ex11.musicxml", "label": "Exercise 12 (continued): given bass in D major", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "ed89aec20c623e5383b0f09cf67279345515bf594e68856ca192defe87fed05a", "transcriptionStatus": "needs-review" } ], "id": "rh-124-ex11", "sha256": "c4a6d51bf870d9be51772c8c451a459b4539925ed956ead5a02f69d8430fa44b", "sources": [ { "pdf_page": 98, "source_image": "source-pages/098.png", "printed_page": 90 } ], "pdf_page": 98, "source_image": "source-pages/098.png", "printed_page": 90, "music_transcription_status": "needs-review" }, { "path": "images/rh-124-ex12.png", "kind": "music", "bbox_pixels": [ 85, 2107, 1435, 150 ], "dimensions_pixels": [ 1435, 150 ], "description": "Devoir 12, fourth given melody: treble, G minor (two flats), cut time, 8 bars; E-natural in bar 5, F-sharp leading notes in bars 6 and 7; final whole-note G.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-124-ex12.musicxml", "label": "Exercise 12 (continued): given melody in G minor", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "a591b20fdce3139a43488cf61c0bac1ddcf6b4db7f83eafd432ca31e15fe017f", "transcriptionStatus": "needs-review" } ], "id": "rh-124-ex12", "sha256": "e4872ebd5d64406abf7c62f140bac1024d047f1cf92729a0b9087fed7d52ec3b", "sources": [ { "pdf_page": 98, "source_image": "source-pages/098.png", "printed_page": 90 } ], "pdf_page": 98, "source_image": "source-pages/098.png", "printed_page": 90, "music_transcription_status": "needs-review" }, { "path": "images/rh-125-ex01.png", "kind": "music", "bbox_pixels": [ 95, 131, 1437, 200 ], "dimensions_pixels": [ 1437, 200 ], "description": "Given melody (end of Devoir 12), C major, 3/2, 8 bars: C E D | C A B | C B C | C F F | E D G | F(whole) D | E A B | C (dotted whole).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-125-ex01.musicxml", "label": "Exercise 12 (continued): given melody in C major, 3/2", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "20c5457a9171f1e904cfcc8763c6db6ac023dffe699d53961e44adeb067734d4", "transcriptionStatus": "needs-review" } ], "id": "rh-125-ex01", "sha256": "4a99a8eadbc8f7b1a771218e308d9fcfdaf4547a92e3e3c8fcae8a2e3824bebb", "sources": [ { "pdf_page": 99, "source_image": "source-pages/099.png", "printed_page": 91 } ], "pdf_page": 99, "source_image": "source-pages/099.png", "printed_page": 91, "music_transcription_status": "needs-review" }, { "path": "images/rh-125-ex02.png", "kind": "music", "bbox_pixels": [ 95, 289, 1437, 200 ], "dimensions_pixels": [ 1437, 200 ], "description": "Given melody (end of Devoir 12), C-sharp minor (four sharps), 3/2, 8 bars, leading note B-sharp and raised A-sharp: E C# B# | C# G# A# | B# C# E | D# (dotted whole) | F# G# E | C# D# E | F# E B# | C# (dotted whole).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-125-ex02.musicxml", "label": "Exercise 12 (continued): given melody in C-sharp minor, 3/2", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "842bec4843279cdf543b8e6d0f4eee1e856f89a8f56319147dbf8bb5353ba9c3", "transcriptionStatus": "needs-review" } ], "id": "rh-125-ex02", "sha256": "090d514fd547092ac5ee8e8e32210ba4ff7f26abcfe16e0f81a15709c39f5587", "sources": [ { "pdf_page": 99, "source_image": "source-pages/099.png", "printed_page": 91 } ], "pdf_page": 99, "source_image": "source-pages/099.png", "printed_page": 91, "music_transcription_status": "needs-review" }, { "path": "images/rh-125-ex03.png", "kind": "music", "bbox_pixels": [ 100, 548, 1432, 145 ], "dimensions_pixels": [ 1432, 145 ], "description": "Devoir 13, first given melody, B-flat major, cut time, 8 bars: F G | A Bb | C A | Bb C | D Eb | D C | Bb A | Bb (whole).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-125-ex03.musicxml", "label": "13: given melody in B-flat major, cut time", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "6fa543f9aa8fb7e8501e0a9cfd93010d6901cb76403406b616ce0e582431f7c1", "transcriptionStatus": "needs-review" } ], "id": "rh-125-ex03", "sha256": "6d8e8f005bba00fb88030b37b857c017d4e9703b1aca84d68b0e93df4d1c8792", "sources": [ { "pdf_page": 99, "source_image": "source-pages/099.png", "printed_page": 91 } ], "pdf_page": 99, "source_image": "source-pages/099.png", "printed_page": 91, "music_transcription_status": "needs-review" }, { "path": "images/rh-125-ex04.png", "kind": "music", "bbox_pixels": [ 95, 672, 1437, 200 ], "dimensions_pixels": [ 1437, 200 ], "description": "Given melody (Devoir 13), E minor (one sharp), 3/2, 8 bars: E B A | B G A | B B C# | D# E F# | D# E(whole) | G E F# | E B D# | E (dotted whole).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-125-ex04.musicxml", "label": "Exercise 13 (continued): given melody in E minor, 3/2", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "208432e489579ce7a9d8b776f0791c2c36c3084488ba29c27d4eba1780e31d87", "transcriptionStatus": "needs-review" } ], "id": "rh-125-ex04", "sha256": "060ac527759a19f23e73541623deaf4d256393a013ecc8dd116c3c01d664ae59", "sources": [ { "pdf_page": 99, "source_image": "source-pages/099.png", "printed_page": 91 } ], "pdf_page": 99, "source_image": "source-pages/099.png", "printed_page": 91, "music_transcription_status": "needs-review" }, { "path": "images/rh-125-ex05.png", "kind": "music", "bbox_pixels": [ 95, 847, 1437, 200 ], "dimensions_pixels": [ 1437, 200 ], "description": "Given bass (Devoir 13), C minor (three flats), cut time, 8 bars: C Eb | F D | C F | G (whole) | B-natural C | F Ab | G (whole) | C (whole).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-125-ex05.musicxml", "label": "Exercise 13 (continued): given bass in C minor, cut time", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "2fbdb81b5531919c1d24be5664019d90111736490fffff05006fca4247884c40", "transcriptionStatus": "needs-review" } ], "id": "rh-125-ex05", "sha256": "bcb8e86a822b3514f7c02c700fc1b8cecdc3f792fe5505f87d6c829c231fd123", "sources": [ { "pdf_page": 99, "source_image": "source-pages/099.png", "printed_page": 91 } ], "pdf_page": 99, "source_image": "source-pages/099.png", "printed_page": 91, "music_transcription_status": "needs-review" }, { "path": "images/rh-125-ex06.png", "kind": "music", "bbox_pixels": [ 95, 1020, 1437, 200 ], "dimensions_pixels": [ 1437, 200 ], "description": "Given bass (Devoir 13), A major (three sharps), 3/2, 8 bars: A C# D | B A D | E(whole) C# | G# A B | C# D E | A(whole) D | E (dotted whole) | A (dotted whole).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-125-ex06.musicxml", "label": "Exercise 13 (continued): given bass in A major, 3/2", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "ad552d11a2d1941b3ef36859f16e031283dbf0553169686f160e5630fbaf10e2", "transcriptionStatus": "needs-review" } ], "id": "rh-125-ex06", "sha256": "4e504df390288eaf05317e9a95b1090e6839de5476e701fb5c2c8f1a1fcd3c13", "sources": [ { "pdf_page": 99, "source_image": "source-pages/099.png", "printed_page": 91 } ], "pdf_page": 99, "source_image": "source-pages/099.png", "printed_page": 91, "music_transcription_status": "needs-review" }, { "path": "images/rh-125-ex07.png", "kind": "music", "bbox_pixels": [ 100, 1280, 1432, 144 ], "dimensions_pixels": [ 1432, 144 ], "description": "Devoir 14, first given bass, D minor (one flat), cut time, 8 bars: D G | C# D | Bb A | Bb (whole) | G A | D Bb | G A | D (whole). A dot is printed above the staff over the A of bar 5.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-125-ex07.musicxml", "label": "14: given bass in D minor, cut time", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "fe78763b043245b720ed169dcd114400b5ebf2bc0d361a6fbbb1ce8dd7ff7821", "transcriptionStatus": "needs-review" } ], "id": "rh-125-ex07", "sha256": "72797b23eb34febe22c17e3c57270633e0735e844e02b18485757be01650f863", "sources": [ { "pdf_page": 99, "source_image": "source-pages/099.png", "printed_page": 91 } ], "pdf_page": 99, "source_image": "source-pages/099.png", "printed_page": 91, "music_transcription_status": "needs-review" }, { "path": "images/rh-125-ex08.png", "kind": "music", "bbox_pixels": [ 95, 1403, 1437, 200 ], "dimensions_pixels": [ 1437, 200 ], "description": "Given bass (Devoir 14), G major (one sharp), 3/2, 8 bars: G E A | D B C | A G D | G D B | C(whole) A | G E C | D (dotted whole) | G (dotted whole).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-125-ex08.musicxml", "label": "Exercise 14 (continued): given bass in G major, 3/2", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "b74523d97880ac4f26299b5bd4525c2fd9f8574b9de226675984c80910307437", "transcriptionStatus": "needs-review" } ], "id": "rh-125-ex08", "sha256": "df9941f65cfa333fc4329078838345ca80dd527bc26c46ff76642d7688829c05", "sources": [ { "pdf_page": 99, "source_image": "source-pages/099.png", "printed_page": 91 } ], "pdf_page": 99, "source_image": "source-pages/099.png", "printed_page": 91, "music_transcription_status": "needs-review" }, { "path": "images/rh-125-ex09.png", "kind": "music", "bbox_pixels": [ 95, 1577, 1437, 200 ], "dimensions_pixels": [ 1437, 200 ], "description": "Given bass (Devoir 14), F-sharp minor (three sharps), 3/2, 8 bars: F# C# A (tied) | A G# F# | D B C# | F# G# A | D B C# | D B D | C# (dotted whole) | F# (dotted whole). A stray dot is printed between the F# and G# of bar 4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-125-ex09.musicxml", "label": "Exercise 14 (continued): given bass in F-sharp minor, 3/2", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "f1714326f9a609681319553ab3099975213eb97a0cf90819681477518f8c7647", "transcriptionStatus": "needs-review" } ], "id": "rh-125-ex09", "sha256": "e0fec583cb4e2f278c5a9f3a12ed0624b08bfffa878ee65ca70a890d8f3ca8ea", "sources": [ { "pdf_page": 99, "source_image": "source-pages/099.png", "printed_page": 91 } ], "pdf_page": 99, "source_image": "source-pages/099.png", "printed_page": 91, "music_transcription_status": "needs-review" }, { "path": "images/rh-125-ex10.png", "kind": "music", "bbox_pixels": [ 95, 1751, 1437, 200 ], "dimensions_pixels": [ 1437, 200 ], "description": "Given melody (Devoir 14), E-flat major (three flats), cut time, 8 bars: Eb C | Bb Bb | G G | Ab Ab | G F | Eb F | Eb D | Eb (whole).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-125-ex10.musicxml", "label": "Exercise 14 (continued): given melody in E-flat major, cut time", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "8d0575bae89e04b3c4e29ad2892bdd685424795c34d3520c9c8767f9f1ee9f0f", "transcriptionStatus": "needs-review" } ], "id": "rh-125-ex10", "sha256": "6ab02e3567d7c64ffc414184ffd74f0e92d3c2145430e159b2db564ac4e5f8cc", "sources": [ { "pdf_page": 99, "source_image": "source-pages/099.png", "printed_page": 91 } ], "pdf_page": 99, "source_image": "source-pages/099.png", "printed_page": 91, "music_transcription_status": "needs-review" }, { "path": "images/rh-125-ex11.png", "kind": "music", "bbox_pixels": [ 95, 1923, 1437, 190 ], "dimensions_pixels": [ 1437, 190 ], "description": "Given melody (Devoir 14), A minor, 3/2, 8 bars: A G# A | A B B | E D B | A (dotted whole) | F D E | A B C | C D B | A (dotted whole).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-125-ex11.musicxml", "label": "Exercise 14 (continued): given melody in A minor, 3/2", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "bf91184a052daf13cd4257503f3c5c410c6a05a8cfff7a09b9d39f81d8748968", "transcriptionStatus": "needs-review" } ], "id": "rh-125-ex11", "sha256": "569cc46bf331767d0634f2195fbe47dd9d39aa990d5946f6c3f82ddca42d320d", "sources": [ { "pdf_page": 99, "source_image": "source-pages/099.png", "printed_page": 91 } ], "pdf_page": 99, "source_image": "source-pages/099.png", "printed_page": 91, "music_transcription_status": "needs-review" }, { "path": "images/rh-125-ex12.png", "kind": "music", "bbox_pixels": [ 95, 2094, 1437, 190 ], "dimensions_pixels": [ 1437, 190 ], "description": "Given melody (Devoir 14), E major (four sharps), 3/2, 8 bars: E E F# | D# E C# | B A A | G# B B | C# C# D# | E G# F# | E D# F# | E (dotted whole).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-125-ex12.musicxml", "label": "Exercise 14 (continued): given melody in E major, 3/2", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "9e5e9677bd994ef04560840120ee2b689dc52cee580ff3a65258f7d9a59c8ac3", "transcriptionStatus": "needs-review" } ], "id": "rh-125-ex12", "sha256": "f247f9c6784d4b1257f536dd9f0360b0494ab460c0725a566131c757b95bf9f4", "sources": [ { "pdf_page": 99, "source_image": "source-pages/099.png", "printed_page": 91 } ], "pdf_page": 99, "source_image": "source-pages/099.png", "printed_page": 91, "music_transcription_status": "needs-review" }, { "path": "images/rh-126-ex01.png", "kind": "music", "bbox_pixels": [ 90, 140, 1430, 140 ], "dimensions_pixels": [ 1430, 140 ], "description": "Devoir 15, melody 1, F major, cut time: A4 D5 | C5 E5 | F5 E5 | D5 C5 | D5 D5 | C5 B♭4 | A4 G4 | F4 (whole).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-126-ex01.musicxml", "label": "Exercise 15 (Triad of the III degree of the major mode.), given melody 1: F major, cut time", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "e66bf91a8afdbd3f93b52bbbbd74415d8c68f4a9a2a22e88859aeb48d011052c", "transcriptionStatus": "needs-review" } ], "id": "rh-126-ex01", "sha256": "9a1df12b681f37f13c000bd273a93ea50f38dd59b65439c2327ab7c12d61c78b", "sources": [ { "pdf_page": 100, "source_image": "source-pages/100.png", "printed_page": 92 } ], "pdf_page": 100, "source_image": "source-pages/100.png", "printed_page": 92, "music_transcription_status": "needs-review" }, { "path": "images/rh-126-ex02.png", "kind": "music", "bbox_pixels": [ 90, 315, 1430, 125 ], "dimensions_pixels": [ 1430, 125 ], "description": "Devoir 15, melody 2, G major, cut time: G5 D5 | E5 E5 | F♯5 G5 | F♯5 E5 | D5 A4 | B4 E5 | D5 F♯5 | G5 (dotted whole, as printed).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-126-ex02.musicxml", "label": "Exercise 15, given melody 2: G major, cut time", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "be322c14254f237a9573e47727148beb955154e26f117f448e24f79da801fb99", "transcriptionStatus": "needs-review" } ], "id": "rh-126-ex02", "sha256": "7d42f76fe776d010fc192cc162d2593afd4d28413e2f248b3e2d1f22fc455e00", "sources": [ { "pdf_page": 100, "source_image": "source-pages/100.png", "printed_page": 92 } ], "pdf_page": 100, "source_image": "source-pages/100.png", "printed_page": 92, "music_transcription_status": "needs-review" }, { "path": "images/rh-126-ex03.png", "kind": "music", "bbox_pixels": [ 90, 500, 1430, 125 ], "dimensions_pixels": [ 1430, 125 ], "description": "Devoir 15, melody 3, D♭ major (five flats), 3/2: A♭4 E♭5 D♭5 | C5 B♭4 A♭4 | B♭4 A♭4 A♭4 | B♭4 C5 D♭5 | D♭5 E♭5 E♭5 | F5 D♭5 E♭5 | D♭5 F5 E♭5 | D♭5 (dotted whole).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-126-ex03.musicxml", "label": "Exercise 15, given melody 3: D♭ major (five flats), 3/2", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "460d4920d0d592335e357f2805fb05d49da1883338c038df6d5a53ac3e0ba5c0", "transcriptionStatus": "needs-review" } ], "id": "rh-126-ex03", "sha256": "719c94d52a2911aaf2c606514eca19c9fd6346ede56dbeaa92951c9b72a23c41", "sources": [ { "pdf_page": 100, "source_image": "source-pages/100.png", "printed_page": 92 } ], "pdf_page": 100, "source_image": "source-pages/100.png", "printed_page": 92, "music_transcription_status": "needs-review" }, { "path": "images/rh-126-ex04.png", "kind": "music", "bbox_pixels": [ 90, 665, 1430, 152 ], "dimensions_pixels": [ 1430, 152 ], "description": "Devoir 16, melody 1, G minor, cut time: B♭4 D5 | G5 G5 | F5 E♭5 | D5 (whole) | C5 D5 | E♭5 C5 | D5 F♯5 | G5 (whole).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-126-ex04.musicxml", "label": "Exercise 16 (Triad of the III degree of the minor mode.), given melody 1: G minor (two flats), cut time", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "b81affab3f85936becfe9b4995e5c57dadd31db19f53e991d1e59bc588d430f7", "transcriptionStatus": "needs-review" } ], "id": "rh-126-ex04", "sha256": "db8f2983431c9e3b2aef9c394c13df5004285d34838ac22a9786bd45574e8fcb", "sources": [ { "pdf_page": 100, "source_image": "source-pages/100.png", "printed_page": 92 } ], "pdf_page": 100, "source_image": "source-pages/100.png", "printed_page": 92, "music_transcription_status": "needs-review" }, { "path": "images/rh-126-ex05.png", "kind": "music", "bbox_pixels": [ 90, 840, 1430, 135 ], "dimensions_pixels": [ 1430, 135 ], "description": "Devoir 16, melody 2, B minor, 3/2: D5 E5 F♯5 | D5 C♯5 B4 | A4 G4 F♯4 | B4 D5 F♯5 | F♯5 E5 C♯5 | D5 B4 E5 | D5 C♯5 A♯4 | B4 (dotted whole).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-126-ex05.musicxml", "label": "Exercise 16, given melody 2: B minor (two sharps), 3/2", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "e0d37d49e62dab95e4029e7a5cf27abf6ef21a255ae386e1e6d7b7b6dc50ac4e", "transcriptionStatus": "needs-review" } ], "id": "rh-126-ex05", "sha256": "b9963b52bafe26327033158474f16824afdf58038af85c2d732fa2f5191478aa", "sources": [ { "pdf_page": 100, "source_image": "source-pages/100.png", "printed_page": 92 } ], "pdf_page": 100, "source_image": "source-pages/100.png", "printed_page": 92, "music_transcription_status": "needs-review" }, { "path": "images/rh-126-ex06.png", "kind": "music", "bbox_pixels": [ 90, 1025, 1430, 120 ], "dimensions_pixels": [ 1430, 120 ], "description": "Devoir 16, melody 3, F minor (four flats), 3/2: C5 C5 D♮5 | E♮5 F5 F5 | G5 E♮5 C5 | F5 F5 E♭5 | D♭5 C5 (whole) | C5 D♭5 B♭4 | C5 F5 E♮5 | F5 (dotted whole).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-126-ex06.musicxml", "label": "Exercise 16, given melody 3: F minor (four flats), 3/2", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "175583380f697828dacfc70b3baca03d9357a6126add75a119dad152a1dbb6df", "transcriptionStatus": "needs-review" } ], "id": "rh-126-ex06", "sha256": "0b3beda3bdd9dc5dde77c1ee3840ac45c90478115d69de648abd11ee57e09997", "sources": [ { "pdf_page": 100, "source_image": "source-pages/100.png", "printed_page": 92 } ], "pdf_page": 100, "source_image": "source-pages/100.png", "printed_page": 92, "music_transcription_status": "needs-review" }, { "path": "images/rh-126-ex07.png", "kind": "music", "bbox_pixels": [ 90, 1205, 1430, 130 ], "dimensions_pixels": [ 1430, 130 ], "description": "Devoir 17, bass 1, F♯ minor (three sharps), cut time: F♯2 C♯3 | D3 B2 | C♯3 F♯3 | E3 D3 | C♯3 E♯3 | F♯3 B2 | C♯3 (whole) | F♯2 (whole).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-126-ex07.musicxml", "label": "Exercise 17 (Triad of the III degree of the natural minor mode.), given bass 1: F♯ minor (three sharps), cut time", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "57b4fedef11a1887e9cff830b644165e4da020105cee7b088983d48770d1935d", "transcriptionStatus": "needs-review" } ], "id": "rh-126-ex07", "sha256": "669f0ab4e502c17147154b4e14a293eafdfd36166de8ef2740b4466d35f4c9f9", "sources": [ { "pdf_page": 100, "source_image": "source-pages/100.png", "printed_page": 92 } ], "pdf_page": 100, "source_image": "source-pages/100.png", "printed_page": 92, "music_transcription_status": "needs-review" }, { "path": "images/rh-126-ex08.png", "kind": "music", "bbox_pixels": [ 90, 1390, 1430, 125 ], "dimensions_pixels": [ 1430, 125 ], "description": "Devoir 17, bass 2, C minor (three flats), 3/2: C3 F3 E♭3 | A♭3 G3 B♮2 | C3 B♭2 A♭2 | G2 (dotted whole) | C3 F2 D3 | C3 E♭3 F3 | G3 (whole) G2 | C3 (dotted whole).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-126-ex08.musicxml", "label": "Exercise 17, given bass 2: C minor (three flats), 3/2", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "28b74e4a72cc27cea079c7e29bc2c2363b594377db5e8c8aed8df2ad3b2d88fc", "transcriptionStatus": "needs-review" } ], "id": "rh-126-ex08", "sha256": "777f8aee6eba206f0e40297e664e4d93beb141510eb909a168d7222a4fac2df7", "sources": [ { "pdf_page": 100, "source_image": "source-pages/100.png", "printed_page": 92 } ], "pdf_page": 100, "source_image": "source-pages/100.png", "printed_page": 92, "music_transcription_status": "needs-review" }, { "path": "images/rh-126-ex09.png", "kind": "music", "bbox_pixels": [ 90, 1570, 1430, 100 ], "dimensions_pixels": [ 1430, 100 ], "description": "Devoir 17, bass 3, E minor (one sharp), 3/2: E3 (whole) G3 | A3 D♯3 E3 | D♮3 C3 B2 | E3 G3 F♯3 | E3 C3 A2 | G2 A2 C3 | B2 (dotted whole) | E3 (dotted whole).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-126-ex09.musicxml", "label": "Exercise 17, given bass 3: E minor (one sharp), 3/2", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "91a1ae5836482e68ad9b38287a5544286ba8edb21be7ef4c77637d8a452a75dc", "transcriptionStatus": "needs-review" } ], "id": "rh-126-ex09", "sha256": "d102fc2d658333642b015d2a77b7faa768346f42f9a6ff6734b89850e1cfb892", "sources": [ { "pdf_page": 100, "source_image": "source-pages/100.png", "printed_page": 92 } ], "pdf_page": 100, "source_image": "source-pages/100.png", "printed_page": 92, "music_transcription_status": "needs-review" }, { "path": "images/rh-126-ex10.png", "kind": "music", "bbox_pixels": [ 90, 1768, 1430, 312 ], "dimensions_pixels": [ 1430, 312 ], "description": "Devoir 18, chorale 1, G major, cut time, two systems; fermatas on the last note of bars 4, 8, 12 and 16: G4 B4 | D5 B4 | C5 D5 | B4 G4𝄐 | D5 D5 | C5 D5 | B4 B4 | A4 (whole)𝄐 || C5 A4 | B4 B4 | A4 A4 | G4 G4𝄐 | G4 A4 | B4 B4 | C5 A4 | G4 (whole)𝄐.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-126-ex10.musicxml", "label": "Exercise 18, chorale melody 1: G major, cut time", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 }, { "bars": 8, "staves": 1 } ], "sha256": "eea5b98173b364a906c727fdfe8ae7e5fcae50729bb1135ee03260eae5104dd4", "transcriptionStatus": "needs-review" } ], "id": "rh-126-ex10", "sha256": "47ff5ef66d6e1f02fb89ef3b19be11ffc67ad3dbe565bdf11770ddc171444b6f", "sources": [ { "pdf_page": 100, "source_image": "source-pages/100.png", "printed_page": 92 } ], "pdf_page": 100, "source_image": "source-pages/100.png", "printed_page": 92, "music_transcription_status": "needs-review" }, { "path": "images/rh-126-ex11.png", "kind": "music", "bbox_pixels": [ 90, 2110, 1430, 140 ], "dimensions_pixels": [ 1430, 140 ], "description": "Devoir 18, chorale 2 (first system, continued on p. 101), E minor (one sharp), cut time; fermatas on the first note of bar 4 and of bar 8: B4 D5 | A4 B4 | G4 A4 | B4𝄐 B4 | A4 B4 | C5 B4 | A4 A4 | G4𝄐 E5.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-126-ex11.musicxml", "label": "Exercise 18, chorale melody 2 (bars 1–8, on this page): E minor (one sharp), cut time", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "d16aa7f2850894f105d5fac787194d3093dea6733fb9704510dbe8170da63c36", "transcriptionStatus": "needs-review" } ], "id": "rh-126-ex11", "sha256": "daf3497575f6ec00dac0d41c3344f5aacc529cc735f6baabf568d447280d67b9", "sources": [ { "pdf_page": 100, "source_image": "source-pages/100.png", "printed_page": 92 } ], "pdf_page": 100, "source_image": "source-pages/100.png", "printed_page": 92, "music_transcription_status": "needs-review" }, { "path": "images/rh-126-ex12.png", "kind": "music", "bbox_pixels": [ 90, 115, 1450, 140 ], "dimensions_pixels": [ 1450, 140 ], "description": "Devoir 18, chorale 2 continued (first system of p. 93), one sharp, no time signature printed (cut time continues); fermatas on the second note of bar 4 and on the final whole note: C♯5 D♯5 | E5 D♮5 | C5 C5 | B4 B4𝄐 | A4 B4 | G4 A4 | G4 F♯4 | E4 (whole)𝄐.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-126-ex12.musicxml", "label": "Exercise 18, chorale melody 2 (continued, bars 9–16)", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "8852e53f96e1c1f1aa73ce4eba6a3b0279de26fcf1a1c67a5d6496018bb135e1", "transcriptionStatus": "needs-review" } ], "id": "rh-126-ex12", "sha256": "68d92f573f686519ead5fa7122547f062c3dd0fddf19aa29c1795ff40c3159d6", "sources": [ { "pdf_page": 101, "source_image": "source-pages/101.png", "printed_page": 93 } ], "pdf_page": 101, "source_image": "source-pages/101.png", "printed_page": 93, "music_transcription_status": "needs-review" }, { "path": "images/rh-127-ex01.png", "kind": "music", "bbox_pixels": [ 100, 254, 1430, 335 ], "dimensions_pixels": [ 1430, 335 ], "description": "Devoir 18, chorale (3), E♭ major, cut time: E♭5 B♭4 | C5 D5 | E♭5 E♭5 | D5𝄐 B♭4 | E♭5 C5 | B♭4 G4 | F4 F4 | E♭4𝄐 (whole) || C5 C5 | B♭4 G4 | A♭4 B♭4 | G4𝄐 E♭5 | D5 C5 | B♭4 A♭4 | G4 F4 | E♭4𝄐 (whole).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-127-ex01.musicxml", "label": "Exercise 18, chorale melody 3: E♭ major (three flats), cut time", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 }, { "bars": 8, "staves": 1 } ], "sha256": "0eaf7dbaa547871b85a41191c57f4cb732c155af9ac3c41b45fed63bcad750c6", "transcriptionStatus": "needs-review" } ], "id": "rh-127-ex01", "sha256": "35f70f494843765f442a43ba60537740f075389a4d7e258a2803b1fbe9869c6d", "sources": [ { "pdf_page": 101, "source_image": "source-pages/101.png", "printed_page": 93 } ], "pdf_page": 101, "source_image": "source-pages/101.png", "printed_page": 93, "music_transcription_status": "needs-review" }, { "path": "images/rh-127-ex02.png", "kind": "music", "bbox_pixels": [ 100, 580, 1430, 335 ], "dimensions_pixels": [ 1430, 335 ], "description": "Devoir 18, chorale (4), G minor, cut time: G4 D5 | C5 C5 | B♭4 C5 | A4𝄐 A4 | D5 C5 | B♭4 B♭4 | A4 A4 | G4𝄐 (whole) | A4 F♯4 | G4 E♮4 | F♯4 G4 | A4𝄐 D4 | D4 E♮4 | F♯4 G4 | G4 F♯4 | G4𝄐 (whole).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-127-ex02.musicxml", "label": "Exercise 18, chorale melody 4: G minor (two flats), cut time", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 }, { "bars": 8, "staves": 1 } ], "sha256": "58d51b7529db41816a2ce72164a2dc98b267fe08078f7bccf595b8dc47aeed9f", "transcriptionStatus": "needs-review" } ], "id": "rh-127-ex02", "sha256": "99b8cee9524821e3f7e1a995028c0a488d3e663a8dae32614281768baa94fd64", "sources": [ { "pdf_page": 101, "source_image": "source-pages/101.png", "printed_page": 93 } ], "pdf_page": 101, "source_image": "source-pages/101.png", "printed_page": 93, "music_transcription_status": "needs-review" }, { "path": "images/rh-127-ex03.png", "kind": "music", "bbox_pixels": [ 100, 905, 1430, 335 ], "dimensions_pixels": [ 1430, 335 ], "description": "Devoir 18, chorale (5), D major, cut time, half-note upbeat: A4 | D5 C♯5 | B4 A4 | G4 A4 | F♯4𝄐 A4 | B4 C♯5 | D5 D5 | E5 C♯5 | D5𝄐 B4 | A4 F♯4 | G4 A4 | A4 D5 | C♯5𝄐 C♯5 | D5 D5 | E5 C♯5 | D5𝄐 (half).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-127-ex03.musicxml", "label": "Exercise 18, chorale melody 5: D major (two sharps), cut time", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 }, { "bars": 8, "staves": 1 } ], "sha256": "3c376d244258c5810b5465a56ca74d829f57b1c443b140d638874f06b5d5053c", "transcriptionStatus": "needs-review" } ], "id": "rh-127-ex03", "sha256": "0202ef005df6d1a39b3a9904ab3880846100295272248bce8448bad47b8ae2a9", "sources": [ { "pdf_page": 101, "source_image": "source-pages/101.png", "printed_page": 93 } ], "pdf_page": 101, "source_image": "source-pages/101.png", "printed_page": 93, "music_transcription_status": "needs-review" }, { "path": "images/rh-127-ex04.png", "kind": "music", "bbox_pixels": [ 100, 1232, 1430, 335 ], "dimensions_pixels": [ 1430, 335 ], "description": "Devoir 18, chorale (6), A major, cut time, half-note upbeat: F♯4 | C♯5 A4 | B4 C♯5 | A4 G♯4 | F♯4𝄐 F♯4 | E♯4 F♯4 | G♯4 A4 | B4 B4 | C♯5𝄐 C♯5 | F♯4 G♯4 | F♯4 E♯4 | F♯4 B4 | A4𝄐 C♯5 | A4 A4 | G♯4 (whole) | F♯4𝄐 (half).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-127-ex04.musicxml", "label": "Exercise 18, chorale melody 6: A major (three sharps), cut time", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 }, { "bars": 8, "staves": 1 } ], "sha256": "76ca8913bc0d2e4308d306bbf03227799bb7e36440c2261106127735ae53867d", "transcriptionStatus": "needs-review" } ], "id": "rh-127-ex04", "sha256": "e62a9b7b5d61490f9cc25efb7fc8c9d531d69061b284be07b6cc6406883aff7a", "sources": [ { "pdf_page": 101, "source_image": "source-pages/101.png", "printed_page": 93 } ], "pdf_page": 101, "source_image": "source-pages/101.png", "printed_page": 93, "music_transcription_status": "needs-review" }, { "path": "images/rh-127-ex05.png", "kind": "music", "bbox_pixels": [ 100, 1558, 1430, 335 ], "dimensions_pixels": [ 1430, 335 ], "description": "Devoir 18, chorale (7), B♭ major, cut time, half-note upbeat: F4 | B♭4 C5 | D5 D5 | C5 A4 | B♭4𝄐 D5 | C5 C5 | F5 E♭5 | E♭5 D5 | C5𝄐 E♭5 | D5 B♭4 | G4 A4 | B♭4 C5 | A4𝄐 A4 | B♭4 D5 | D5 C5 | B♭4 A4 | B♭4𝄐 (half).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-127-ex05.musicxml", "label": "Exercise 18, chorale melody 7: B♭ major (two flats), cut time", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 }, { "bars": 9, "staves": 1 } ], "sha256": "3fb842a834749912e0e2d77346cc09273fe61b99f2e996bc3b819085e3bb7d08", "transcriptionStatus": "needs-review" } ], "id": "rh-127-ex05", "sha256": "b2b6155618d73e7d2a03941b17b9a73fa2d5ac584a595a963000743e210c1cbe", "sources": [ { "pdf_page": 101, "source_image": "source-pages/101.png", "printed_page": 93 } ], "pdf_page": 101, "source_image": "source-pages/101.png", "printed_page": 93, "music_transcription_status": "needs-review" }, { "path": "images/rh-127-ex06.png", "kind": "music", "bbox_pixels": [ 100, 1885, 1430, 335 ], "dimensions_pixels": [ 1430, 335 ], "description": "Devoir 18, chorale (8), B minor, cut time: B4 F♯4 | G♯4 A♯4 | B4 B4 | A♯4𝄐 C♯5 | F♯5 E5 | E5 D5 | C♯5 C♯5 | B4𝄐 B4 | A4 G4 | F♯4 B4 | C♯5 C♯5 | D5𝄐 F♯5 | E5 D5 | C♯5 B4 | B4 A♯4 | B4𝄐 (whole).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-127-ex06.musicxml", "label": "Exercise 18, chorale melody 8: B minor (two sharps), cut time", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 }, { "bars": 8, "staves": 1 } ], "sha256": "fa547d91621b5dbc8f0e03172d04d88803647cdd5b073b303fd1ef07c82a3326", "transcriptionStatus": "needs-review" } ], "id": "rh-127-ex06", "sha256": "7286fe106b20d71b429195ab0e245d7d161ec7ed2cda84ad5e8dccdb8c530ca5", "sources": [ { "pdf_page": 101, "source_image": "source-pages/101.png", "printed_page": 93 } ], "pdf_page": 101, "source_image": "source-pages/101.png", "printed_page": 93, "music_transcription_status": "needs-review" }, { "path": "images/rh-128-ex01.png", "kind": "music", "bbox_pixels": [ 96, 142, 1524, 145 ], "dimensions_pixels": [ 1524, 145 ], "description": "Devoir 19, bass 1, no key signature (C minor), 2/4: C3 A♭3 | G3 C3 | B♮2 C3 | F3(♭) G3 | C3 (half) | A♭2 F2(♭) | G2 (half) | C3 (half).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-128-ex01.musicxml", "label": "Exercise 19, given bass 1: no key signature (C minor), 2/4; figures ♭ (bars 4 and 6)", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "25fd8a55c7d41c96386457a68c156c4ed1ae35183e36e7956d921f4cfbd8c083", "transcriptionStatus": "needs-review" } ], "id": "rh-128-ex01", "sha256": 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"bbox_pixels": [ 80, 312, 1400, 170 ], "dimensions_pixels": [ 1400, 170 ], "description": "Chorale 1 end: G4 G4 | C5 B4 | A4 A4 | G4 whole (fermata) ‖ chorale 2, two flats, ¢: G4 A4 | B♭4 B♭4 | C5 C5 | D5 D5(fermata).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-131-ex02.musicxml", "label": "Chorale melody 1 (end) and chorale melody 2, G minor (two flats), cut time", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "38050f19c80a0c8994bd46967c693d22080b6ade972e88021fcab1e5d5610eb7", "transcriptionStatus": "needs-review" } ], "id": "rh-131-ex02", "sha256": "048d163cdd41ae4f844e297fca5d5351ab15adae7753141096820ab09c14d8ae", "sources": [ { "pdf_page": 105, "source_image": "source-pages/105.png", "printed_page": 97 } ], "pdf_page": 105, "source_image": "source-pages/105.png", "printed_page": 97, "music_transcription_status": "needs-review" }, { "path": "images/rh-131-ex03.png", "kind": "music", "bbox_pixels": [ 80, 486, 1400, 170 ], "dimensions_pixels": [ 1400, 170 ], "description": "Chorale 2 cont.: D5 D5 | C5 B♭4 | A4 whole | G4 whole (fermata) | D5 D5 | E♭5 E♭5 | D5 D5 | C5 C5(fermata).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-131-ex03.musicxml", "label": "Chorale melody 2 (continued)", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "c33ecd3cd86702f818a3f2b91f887b7ee6af6f40844117d7815c07c19c92d8ac", "transcriptionStatus": "needs-review" } ], "id": "rh-131-ex03", "sha256": "8d3bd1571fa6619a01caf3c54fb3d0df6f62f0e45a7630b39152f7e8de275691", "sources": [ { "pdf_page": 105, "source_image": "source-pages/105.png", "printed_page": 97 } ], "pdf_page": 105, "source_image": "source-pages/105.png", "printed_page": 97, "music_transcription_status": "needs-review" }, { "path": "images/rh-131-ex04.png", "kind": "music", "bbox_pixels": [ 80, 660, 1400, 170 ], "dimensions_pixels": [ 1400, 170 ], "description": "Chorale 2 end: C5 C5 | D5 D5 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| C♯5 F♯4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-131-ex05.musicxml", "label": "25 (3) — chorale melody 3, F♯ minor (three sharps), cut time, half-note upbeat", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "d15ab8d63dc57d0bc57bdd8767a2d5492e49267ef1c2fbc7f343139c46197e8c", "transcriptionStatus": "needs-review" } ], "id": "rh-131-ex05", "sha256": "4c74b1da1c169fad244b70b4629f64501200ac99dd5b78d9be959bbb41b5941d", "sources": [ { "pdf_page": 105, "source_image": "source-pages/105.png", "printed_page": 97 } ], "pdf_page": 105, "source_image": "source-pages/105.png", "printed_page": 97, "music_transcription_status": "needs-review" }, { "path": "images/rh-131-ex06.png", "kind": "music", "bbox_pixels": [ 80, 1006, 1400, 170 ], "dimensions_pixels": [ 1400, 170 ], "description": "Chorale 3 cont.: G♯4 B4 | A4 G♯4 | F♯4(fermata) G♯4 | G♯4 A4 | B4 B4 | B4 C♯5 | D5 E5 | D5 C♯5.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-131-ex06.musicxml", "label": "Chorale melody 3 (continued)", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "733d86e22ea324951db84bcdbccd4990187f557d5e3285cf1615c62528f40dba", "transcriptionStatus": "needs-review" } ], "id": "rh-131-ex06", "sha256": "b3f5dbde5276c8a42d4da64212f45f9a4cfc99708ddef14c50bc1a714f4ebaa5", "sources": [ { "pdf_page": 105, "source_image": "source-pages/105.png", "printed_page": 97 } ], "pdf_page": 105, "source_image": "source-pages/105.png", "printed_page": 97, "music_transcription_status": "needs-review" }, { "path": "images/rh-131-ex07.png", "kind": "music", "bbox_pixels": [ 80, 1180, 1400, 170 ], "dimensions_pixels": [ 1400, 170 ], "description": "Chorale 3 end: B4(fermata) D5 | C♯5 E♯4 | F♯4 B4 | A4 G♯4 | F♯4(fermata) ‖ chorale 4, one sharp, ¢: upbeat E4 | E4 F♯4 | G4 A4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-131-ex07.musicxml", "label": "Chorale melody 3 (end) and chorale melody 4, E minor (one sharp), cut time", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "62085aff3455fab61970c6301d5f6942f4018f7c71d91fd4734c3dc5a9e24c94", "transcriptionStatus": "needs-review" } ], "id": "rh-131-ex07", "sha256": "7b2ccf428d281c62ec2364e7998fd0d79dba6a96a1e71db900d49397a2c8f6dd", "sources": [ { "pdf_page": 105, "source_image": "source-pages/105.png", "printed_page": 97 } ], "pdf_page": 105, "source_image": "source-pages/105.png", "printed_page": 97, "music_transcription_status": "needs-review" }, { "path": "images/rh-131-ex08.png", "kind": "music", "bbox_pixels": [ 80, 1354, 1400, 170 ], "dimensions_pixels": [ 1400, 170 ], "description": "Chorale 4 cont.: B4(fermata) B4 | B4 A4 | G4 G4 | F♯4(fermata) F♯4 | G4 A4 | B4 B4 | A4 whole | B4(fermata) B4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-131-ex08.musicxml", "label": "Chorale melody 4 (continued)", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "e57ba2d70218867f46fda01a35ade7bf41ed39e405e6d8aff109c502303a0eec", "transcriptionStatus": "needs-review" } ], "id": "rh-131-ex08", "sha256": "d4c5c75afddc6b7c4fcf0deb956e96682c71968f73e4606f48643b2e128e1b7a", "sources": [ { "pdf_page": 105, "source_image": "source-pages/105.png", "printed_page": 97 } ], "pdf_page": 105, "source_image": "source-pages/105.png", "printed_page": 97, "music_transcription_status": "needs-review" }, { "path": "images/rh-131-ex09.png", "kind": "music", "bbox_pixels": [ 80, 1527, 1400, 170 ], "dimensions_pixels": [ 1400, 170 ], "description": "Chorale 4 cont.: G4 A4 | B4 B4 | A4 whole | B4(fermata) B4 | D5 B4 | B4 B4 | A4 whole | A4(fermata) A4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-131-ex09.musicxml", "label": "Chorale melody 4 (continued)", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "b065304aa3cbc391de5e06ec90b36a00fd46883cd90b45a508f53e1ca0d51649", "transcriptionStatus": "needs-review" } ], "id": "rh-131-ex09", "sha256": "365b65d134e97e6d597fef97d532defe7ab2eeefe13d1b3c047a17831dd8a444", "sources": [ { "pdf_page": 105, "source_image": "source-pages/105.png", "printed_page": 97 } ], "pdf_page": 105, "source_image": "source-pages/105.png", "printed_page": 97, "music_transcription_status": "needs-review" }, { "path": "images/rh-131-ex10.png", "kind": "music", "bbox_pixels": [ 80, 1701, 1400, 170 ], "dimensions_pixels": [ 1400, 170 ], "description": "Chorale 4 end: B4 A4 | G4 A4 | G4 F♯4 | E4(fermata) ‖ chorale 5, three sharps (A major), ¢: upbeat A4 | E4 A4 | G♯4 A4 | B4 C♯5 | B4(fermata) B4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-131-ex10.musicxml", "label": "Chorale melody 4 (end) and chorale melody 5, A major (three sharps), cut time", "playbackAvailable": true, "printed_systems": [ { "bars": 9, "staves": 1 } ], "sha256": "7c18ee077904d832771ecb33582b29a2da94dba7711fe42cbd71aa7c353cdc77", "transcriptionStatus": "needs-review" } ], "id": "rh-131-ex10", "sha256": "e40372450faa26bdd8b0c88a62d97a14ccf2344f7f6d7f576715d060aba826e1", "sources": [ { "pdf_page": 105, "source_image": "source-pages/105.png", "printed_page": 97 } ], "pdf_page": 105, "source_image": "source-pages/105.png", "printed_page": 97, "music_transcription_status": "needs-review" }, { "path": "images/rh-131-ex11.png", "kind": "music", "bbox_pixels": [ 80, 1873, 1400, 170 ], "dimensions_pixels": [ 1400, 170 ], "description": "Chorale 5 cont.: C♯5 B4 | A4 G♯4 | F♯4 whole | E4(fermata) C♯5 | A4 C♯5 | D5 C♯5 | B4(fermata) C♯5 | A4 A4 | D5 C♯5.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-131-ex11.musicxml", "label": "Chorale melody 5 (continued)", "playbackAvailable": true, "printed_systems": [ { "bars": 9, "staves": 1 } ], "sha256": "f9d7853f660425222a6e57d0f2c9c478d0c5960504eb91777fa19c9b47cba7a7", "transcriptionStatus": "needs-review" } ], "id": "rh-131-ex11", "sha256": "bfcdcb9a93be3904f5c0157d96074793710af461e72236396196d863652f8bfe", "sources": [ { "pdf_page": 105, "source_image": "source-pages/105.png", "printed_page": 97 } ], "pdf_page": 105, "source_image": "source-pages/105.png", "printed_page": 97, "music_transcription_status": "needs-review" }, { "path": "images/rh-131-ex12.png", "kind": "music", "bbox_pixels": [ 80, 2048, 1400, 170 ], "dimensions_pixels": [ 1400, 170 ], "description": "Chorale 5 end: B4(fermata) B4 | C♯5 C♯5 | F♯4 F♯4 | B4 A4 | G♯4(fermata) E4 | A4 B4 | C♯5 D5 | C♯5 B4 | A4(fermata), final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-131-ex12.musicxml", "label": "Chorale melody 5 (end)", "playbackAvailable": true, "printed_systems": [ { "bars": 9, "staves": 1 } ], "sha256": "e6717aafb226ceab5f48603dd6837a962e6cf18a2d9436ce105f6ce5989d256f", "transcriptionStatus": "needs-review" } ], "id": "rh-131-ex12", "sha256": "5b1a6aa384e330d9460c7812f4db284ac3edd09d8e4dc1b91feb4c3430e96a12", "sources": [ { "pdf_page": 105, "source_image": "source-pages/105.png", "printed_page": 97 } ], "pdf_page": 105, "source_image": "source-pages/105.png", "printed_page": 97, "music_transcription_status": "needs-review" }, { "path": "images/rh-132-ex01.png", "kind": "music", "bbox_pixels": [ 120, 90, 1425, 183 ], "dimensions_pixels": [ 1425, 183 ], "description": "Devoir 25, chorale melody 6, line 1: A♭ major (four flats), cut time, half-note upbeat E♭4: A♭4 B♭4 | C5 A♭4 | E♭5 E♭5–D♭5 (quarters) | C5 A♭4 (fermata) | half rest C5 | B♭4 E♭5 | C5 F5 | E♭5 D♮5.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-132-ex01.musicxml", "label": "Exercise 25, chorale melody 6, line 1: A♭ major (four flats), cut time", "playbackAvailable": true, "printed_systems": [ { "bars": 9, "staves": 1 } ], "sha256": "b41f7c459f42bbc055d066003c6bf0f39b718733e8e76553f4cbfb95146c9000", "transcriptionStatus": "needs-review" } ], "id": "rh-132-ex01", "sha256": "1b64cdfc0506763d5382deb86015e400a6b8b0ae317f5793baa9d3ddbc898f83", "sources": [ { "pdf_page": 106, "source_image": "source-pages/106.png", "printed_page": 98 } ], "pdf_page": 106, "source_image": "source-pages/106.png", "printed_page": 98, "music_transcription_status": "needs-review" }, { "path": "images/rh-132-ex02.png", "kind": "music", "bbox_pixels": [ 120, 266, 1425, 183 ], "dimensions_pixels": [ 1425, 183 ], "description": "Chorale melody 6, line 2: E♭5 (fermata) B♭4 | B♭4 B♭4 | G4 E♭4 | A♭4 B♭4 | C5 A♭4 (fermata) | half rest C5 | B♭4 C5 | A♭4 G4 | F4 F4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-132-ex02.musicxml", "label": "Exercise 25, chorale melody 6, line 2", "playbackAvailable": true, "printed_systems": [ { "bars": 9, "staves": 1 } ], "sha256": "94391e696541869f0f17f3d5b4311fa8da8403a24be1c69db7749d9c28c0a7b4", "transcriptionStatus": "needs-review" } ], "id": "rh-132-ex02", "sha256": "eb0df8c0b77ecc4ea4cd8335f7f4de777f067ff8bf8b83099a6242dbf4ac7ad5", "sources": [ { "pdf_page": 106, "source_image": "source-pages/106.png", "printed_page": 98 } ], "pdf_page": 106, "source_image": "source-pages/106.png", "printed_page": 98, "music_transcription_status": "needs-review" }, { "path": "images/rh-132-ex03.png", "kind": "music", "bbox_pixels": [ 120, 442, 1425, 183 ], "dimensions_pixels": [ 1425, 183 ], "description": "Chorale melody 6, line 3: E♭4 (fermata) E♭4 | A♭4 B♭4 | C5 A♭4 | E♭5 E♭5–D♭5 | C5 A♭4 (fermata) | half rest E♭5 | A♭4 B♭4 | G4 A♭4–B♭4 (quarters) | C5 B♭4 | A♭4 (half, fermata), final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-132-ex03.musicxml", "label": "Exercise 25, chorale melody 6, line 3 (end)", "playbackAvailable": true, "printed_systems": [ { "bars": 10, "staves": 1 } ], "sha256": "ebe1702425bb46ddf0ea3adfac0d0e5e581d964c162f8423e7fdfb6920133c59", "transcriptionStatus": "needs-review" } ], "id": "rh-132-ex03", "sha256": "41dd651c8db280f1a312ebe5192887c4a709a97be0056908aeb7ac24d9c511a5", "sources": [ { "pdf_page": 106, "source_image": "source-pages/106.png", "printed_page": 98 } ], "pdf_page": 106, "source_image": "source-pages/106.png", "printed_page": 98, "music_transcription_status": "needs-review" }, { "path": "images/rh-132-ex04.png", "kind": "music", "bbox_pixels": [ 120, 618, 1425, 183 ], "dimensions_pixels": [ 1425, 183 ], "description": "Devoir 25, chorale melody 7, line 1: E major (four sharps), cut time, half-note upbeat G♯4: E4 F♯4 | G♯4 B4 | B4 A♯4 | B4 (fermata) G♯4 | A♮4 G♯4 | F♯4 G♯4 | F♯4 (whole).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-132-ex04.musicxml", "label": "Exercise 25, chorale melody 7, line 1: E major (four sharps), cut time", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "1a235e9c1e439a6da2615f135564ad033438423b2cd4c9cc8aa70ca5492f70f4", "transcriptionStatus": "needs-review" } ], "id": "rh-132-ex04", "sha256": "516fa01169342affadd5e8ba731151d85104249586c31da1b16ed190261fed60", "sources": [ { "pdf_page": 106, "source_image": "source-pages/106.png", "printed_page": 98 } ], "pdf_page": 106, "source_image": "source-pages/106.png", "printed_page": 98, "music_transcription_status": "needs-review" }, { "path": "images/rh-132-ex05.png", "kind": "music", "bbox_pixels": [ 120, 795, 1425, 183 ], "dimensions_pixels": [ 1425, 183 ], "description": "Chorale melody 7, line 2: E4 (fermata) F♯4 | F♯4 G♯4 | A4 A4 | G♯4 G♯4 | F♯4 (fermata) G♯4 | G♯4 G♯4 | A4 C♯5 | C♯5 B♯4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-132-ex05.musicxml", "label": "Exercise 25, chorale melody 7, line 2", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "93be0f5869f8b7e81366b82136695641178b710a1360b4561805b1acbc73f1b2", "transcriptionStatus": "needs-review" } ], "id": "rh-132-ex05", "sha256": "4800fb44de0351e81c7e3b8485ea24238dfaefc19fbd985eca505660534b8373", "sources": [ { "pdf_page": 106, "source_image": "source-pages/106.png", "printed_page": 98 } ], "pdf_page": 106, "source_image": "source-pages/106.png", "printed_page": 98, "music_transcription_status": "needs-review" }, { "path": "images/rh-132-ex06.png", "kind": "music", "bbox_pixels": [ 120, 971, 1425, 183 ], "dimensions_pixels": [ 1425, 183 ], "description": "Chorale melody 7, line 3: C♯5 (fermata) D♯5 | E5 B4 | C♯5 B4 | A4 G♯4 | F♯4 (fermata) B4 | C♯5 B4 | A4 G♯4 | F♯4 (whole) | E4 (whole, fermata), final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-132-ex06.musicxml", "label": "Exercise 25, chorale melody 7, line 3 (end)", "playbackAvailable": true, "printed_systems": [ { "bars": 9, "staves": 1 } ], "sha256": "fc212e55a980a429ff88c4daee2517640595ce5ff25a334815344e4c881cb7a0", "transcriptionStatus": "needs-review" } ], "id": "rh-132-ex06", "sha256": "fe35cb0c7b506b98b7da1232ce089bdb36d1b4b8584a75bcab618b70abcde0a1", "sources": [ { "pdf_page": 106, "source_image": "source-pages/106.png", "printed_page": 98 } ], "pdf_page": 106, "source_image": "source-pages/106.png", "printed_page": 98, "music_transcription_status": "needs-review" }, { "path": "images/rh-132-ex07.png", "kind": "music", "bbox_pixels": [ 120, 1147, 1425, 183 ], "dimensions_pixels": [ 1425, 183 ], "description": "Unnumbered chorale melody (C major; key signature of four naturals cancelling E major; no meter printed), line 1: G4 C5 | G4 A4 | G4 F4 | E4 C4 (fermata) | G4 G4 | A4–B4 (quarters) C5 | D5 B4 | C5 (whole, fermata).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-132-ex07.musicxml", "label": "Exercise 25, chorale melody [8], line 1: C major, cut time (editorial)", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "4cd1b562c19b1c24a12c50b5c4d0df7713cecb6144e831f517e8cc1355d7b0ef", "transcriptionStatus": "needs-review" } ], "id": "rh-132-ex07", "sha256": "4f6e9e759ff83ac1ffac4c6e2a28cb6ae4c580c40c221d560407ed6735cd581e", "sources": [ { "pdf_page": 106, "source_image": "source-pages/106.png", "printed_page": 98 } ], "pdf_page": 106, "source_image": "source-pages/106.png", "printed_page": 98, "music_transcription_status": "needs-review" }, { "path": "images/rh-132-ex08.png", "kind": "music", "bbox_pixels": [ 120, 1322, 1425, 183 ], "dimensions_pixels": [ 1425, 183 ], "description": "Unnumbered chorale, line 2: B4 B4 | D5 B4 | A4 F♯4 | G4 G4 (fermata) | A4 B4 | C5 C5 | B4 G♯4 | A4 A4 (fermata).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-132-ex08.musicxml", "label": "Exercise 25, chorale melody [8], line 2", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "ec15c2cce2dbc26b8578dcc8a82a50d2e8d9acb961d6b308b1eb2e85d45d5cc0", "transcriptionStatus": "needs-review" } ], "id": "rh-132-ex08", "sha256": "63df5fe488836ecb2135884673fef52ff8200c5d512abe5a857c913694594bf5", "sources": [ { "pdf_page": 106, "source_image": "source-pages/106.png", "printed_page": 98 } ], "pdf_page": 106, "source_image": "source-pages/106.png", "printed_page": 98, "music_transcription_status": "needs-review" }, { "path": "images/rh-132-ex09.png", "kind": "music", "bbox_pixels": [ 120, 1499, 1425, 183 ], "dimensions_pixels": [ 1425, 183 ], "description": "Unnumbered chorale, line 3: E4 E4 | A4 E4 | G4 F♯4 | G4 (whole, fermata) | A4 B4 | C5 E5 | D5 B4 | C5 (whole, fermata), final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-132-ex09.musicxml", "label": "Exercise 25, chorale melody [8], line 3 (end)", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "73d8207cf148964f2b7c5d35911d1a1afe2e39fcfc438776996a629be5cecef3", "transcriptionStatus": "needs-review" } ], "id": "rh-132-ex09", "sha256": "e06a2363ada69d4901ce23877606415c8dca86aa31c8e147edce7505d97f452b", "sources": [ { "pdf_page": 106, "source_image": "source-pages/106.png", "printed_page": 98 } ], "pdf_page": 106, "source_image": "source-pages/106.png", "printed_page": 98, "music_transcription_status": "needs-review" }, { "path": "images/rh-132-ex10.png", "kind": "music", "bbox_pixels": [ 120, 1738, 1425, 160 ], "dimensions_pixels": [ 1425, 160 ], "description": "Devoir 26, melody 1, line 1, with the printed number 26 and (1: G major, 2/4, in eighths: D4 G4 E4 F♯4 | G4 A4 B4 B4 | A4 D5 B4 C♯5 | D5 (half) | D4 G4 E4 F♯4 | G4 A4 B4 B4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-132-ex10.musicxml", "label": "Exercise 26, melody 1, line 1: G major, 2/4", "playbackAvailable": true, "printed_systems": [ { "bars": 6, "staves": 1 } ], "sha256": "395ce5cc06417e8866446ac7f5f86ba48d74e4948330be5d7c34717982f303ca", "transcriptionStatus": "needs-review" } ], "id": "rh-132-ex10", "sha256": "b08705463f2795e1a7a5f6726b833a9cb187858a9beff63dcfddd72ed31aa839", "sources": [ { "pdf_page": 106, "source_image": "source-pages/106.png", "printed_page": 98 } ], "pdf_page": 106, "source_image": "source-pages/106.png", "printed_page": 98, "music_transcription_status": "needs-review" }, { "path": "images/rh-132-ex11.png", "kind": "music", "bbox_pixels": [ 120, 1892, 1425, 183 ], "dimensions_pixels": [ 1425, 183 ], "description": "Devoir 26, melody 1, line 2: A4 C5 F♯4 F♯4 | G4 (half) | B4 A4 A4 D5 | D5 E5 F♯5 D5 | G5 F♯5 D♯5 D♯5 | E5 (half) | F♯5 E5 D5 D♯5.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-132-ex11.musicxml", "label": "Exercise 26, melody 1, line 2", "playbackAvailable": true, "printed_systems": [ { "bars": 7, "staves": 1 } ], "sha256": "b19668186bae38aa46dc169d54429729c8237bb026640f936d396cf83cdca7b7", "transcriptionStatus": "needs-review" } ], "id": "rh-132-ex11", "sha256": "aed5f907d5e53fad4d688b36044209d0990b314f84faab480f6603abbe757b14", "sources": [ { "pdf_page": 106, "source_image": "source-pages/106.png", "printed_page": 98 } ], "pdf_page": 106, "source_image": "source-pages/106.png", "printed_page": 98, "music_transcription_status": "needs-review" }, { "path": "images/rh-132-ex12.png", "kind": "music", "bbox_pixels": [ 120, 2069, 632, 183 ], "dimensions_pixels": [ 632, 183 ], "description": "Devoir 26, melody 1, line 3 (to the double bar): E5 D♮5 C5 B4 | A4 C5 F♯4 F♯4 | G4 (half).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-132-ex12.musicxml", "label": "Exercise 26, melody 1, line 3 (end, to the double bar)", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 1 } ], "sha256": "74f8ee84116b4c1e43440e2d23e644d7c35a2cb538d7c080fdce583d3f7fd7ea", "transcriptionStatus": "needs-review" } ], "id": "rh-132-ex12", "sha256": "1007249bd68164893a42ae4412063f8f36b5141b702345487c63a8dd3750f657", "sources": [ { "pdf_page": 106, "source_image": "source-pages/106.png", "printed_page": 98 } ], "pdf_page": 106, "source_image": "source-pages/106.png", "printed_page": 98, "music_transcription_status": "needs-review" }, { "path": "images/rh-132-ex13.png", "kind": "music", "bbox_pixels": [ 750, 2069, 795, 183 ], "dimensions_pixels": [ 795, 183 ], "description": "Devoir 26, melody 2, opening (end of the line after the double bar): D major (two sharps), 3/4, quarter upbeat F♯4: B4 A♯4 B4 C♯5 D5 E5 (eighths) | C♯5 (half) C♯5 | F♯5 (half) E5.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-132-ex13.musicxml", "label": "Exercise 26, melody 2, opening: D major (two sharps), 3/4", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 1 } ], "sha256": "da439f4f21df50557400f86c4e3add5fd32775aba37eeeb91e0221740816b0ae", "transcriptionStatus": "needs-review" } ], "id": "rh-132-ex13", "sha256": "e850b31b7f55156a809abc5b92b6c7f1234c46f6cd97ae2dcef868cce45593e6", "sources": [ { "pdf_page": 106, "source_image": "source-pages/106.png", "printed_page": 98 } ], "pdf_page": 106, "source_image": "source-pages/106.png", "printed_page": 98, "music_transcription_status": "needs-review" }, { "path": "images/rh-132-ex14.png", "kind": "music", "bbox_pixels": [ 95, 120, 1450, 165 ], "dimensions_pixels": [ 1450, 165 ], "description": "Devoir 26, melody 2 continued (PDF 107, line 1): C♯5 (half) F♯4 | B4 A♯4 B4 C♯5 D5 E5 | C♯5 (half) C♯5 | F♯5–E5 (eighths) D5 C♯5 | B4 (half) D5 | C♯5 (half) B4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-132-ex14.musicxml", "label": "Exercise 26, melody 2, continued (p. 99, line 1)", "playbackAvailable": true, "printed_systems": [ { "bars": 6, "staves": 1 } ], "sha256": "66b6b2046486c62f18a83df2e5afcba6e9fe09f7dcc913082cd3fac7f492d576", "transcriptionStatus": "needs-review" } ], "id": "rh-132-ex14", "sha256": "971be64f639d84845da1e351dbb77964368fe4c9c2cf6a15804dde3910cc1e68", "sources": [ { "pdf_page": 107, "source_image": "source-pages/107.png", "printed_page": 99 } ], "pdf_page": 107, "source_image": "source-pages/107.png", "printed_page": 99, "music_transcription_status": "needs-review" }, { "path": "images/rh-132-ex15.png", "kind": "music", "bbox_pixels": [ 95, 275, 1450, 180 ], "dimensions_pixels": [ 1450, 180 ], "description": "Devoir 26, melody 2 continued (PDF 107, line 2): A♯4 G♯4 A♯4 F♯5 E♯5 D♯5 (eighths) | C♯5 (half) C♯5 | C♯5 (half) F♯4 | B4 A♯4 B4 C♯5 D5 E5 | C♯5 (half) C♯5 | F♯5–E5 D5 C♯5 | B4 (half), final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-132-ex15.musicxml", "label": "Exercise 26, melody 2, end (p. 99, line 2)", "playbackAvailable": true, "printed_systems": [ { "bars": 7, "staves": 1 } ], "sha256": "77d4874a2bf76e324fa09f30fe733c080d1501e0044c64d1e0484d5ed181988c", "transcriptionStatus": "needs-review" } ], "id": "rh-132-ex15", "sha256": "d5304c9f96f0ec9bc0178d311d4e2fbeb4287a9f2fc0f9ef8879d9351ee9d781", "sources": [ { "pdf_page": 107, "source_image": "source-pages/107.png", "printed_page": 99 } ], "pdf_page": 107, "source_image": "source-pages/107.png", "printed_page": 99, "music_transcription_status": "needs-review" }, { "path": "images/rh-133-ex01.png", "kind": "music", "bbox_pixels": [ 95, 510, 1450, 118 ], "dimensions_pixels": [ 1450, 118 ], "description": "Devoir 27, given bass 1, E♭ major, 3/2: E♭3 B♭3 A♭3~ | A♭3 G3 F3 | E♭3 (whole) D♭3~ | D♭3 C3 A♭2~ | A♭2 G2 F2 | G2 (whole) A♭2 | B♭2 (dotted whole) | E♭3 (dotted whole).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-133-ex01.musicxml", "label": "Exercise 27, given bass 1 (E♭ major, 3/2)", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "9f539d488152ad36ea054c0140ff4c1a0581d25d6f0677aacfd12e2241990ac8", "transcriptionStatus": "needs-review" } ], "id": "rh-133-ex01", "sha256": "965a7529e31701cefe476b5ff67b4642cdbb11e6fbe9cffa210011ceb971e6ce", "sources": [ { "pdf_page": 107, "source_image": "source-pages/107.png", "printed_page": 99 } ], "pdf_page": 107, "source_image": "source-pages/107.png", "printed_page": 99, "music_transcription_status": "needs-review" }, { "path": "images/rh-133-ex02.png", "kind": "music", "bbox_pixels": [ 95, 675, 1450, 120 ], "dimensions_pixels": [ 1450, 120 ], "description": "Devoir 27, given bass 2, A major (three sharps), C: F♯2 F♯3~ | F♯3 E♯3 | F♯3 E♮3~ | E3 D3~ | D3 C♯3 | B2 (whole)~ | B2 (quarter) A2 (half) G♯2 (quarter) | F♯2 (whole).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-133-ex02.musicxml", "label": "Exercise 27, given bass 2 (A major, common time)", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "59d904d6ade4564052f59f39556c72a9a28b247b2116bf5897811ca94fb8b3df", "transcriptionStatus": "needs-review" } ], "id": "rh-133-ex02", "sha256": "06747c1b3bad678ea24f288f9d72695ecc997db08631579269751bb31b04e005", "sources": [ { "pdf_page": 107, "source_image": "source-pages/107.png", "printed_page": 99 } ], "pdf_page": 107, "source_image": "source-pages/107.png", "printed_page": 99, "music_transcription_status": "needs-review" }, { "path": "images/rh-133-ex03.png", "kind": "music", "bbox_pixels": [ 95, 845, 1450, 115 ], "dimensions_pixels": [ 1450, 115 ], "description": "Devoir 27, given melody 1, D major, no printed time signature: A4 D5~ | D5 C♯5 | D5 B4 | A4 (whole) | A4 A4~ | A4 G4~ | G4 F♯4 (quarters) E4 | D4 (whole).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-133-ex03.musicxml", "label": "Exercise 27, given melody 1 (D major)", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "d580ec6de737c8370ae28e9665fc6cf852cb5553650a8cd1dbdb051108e3dce9", "transcriptionStatus": "needs-review" } ], "id": "rh-133-ex03", "sha256": "2b65f154eaa747751eb5cfc68f05ac5517794501b4974f1549e480e5a3fbdec9", "sources": [ { "pdf_page": 107, "source_image": "source-pages/107.png", "printed_page": 99 } ], "pdf_page": 107, "source_image": "source-pages/107.png", "printed_page": 99, "music_transcription_status": "needs-review" }, { "path": "images/rh-133-ex04.png", "kind": "music", "bbox_pixels": [ 95, 1015, 1450, 115 ], "dimensions_pixels": [ 1450, 115 ], "description": "Devoir 27, given melody 2, G minor (two flats), 3/2: G4 B♭4 D5~ | D5 C5 B♭4~ | B♭4 A4 C5~ | C5 B♭4 F5 | E♭5 (whole) E♭5 | D5 (whole) D5~ | D5 C5 (quarters) B♭4 A4 | G4 (dotted whole).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-133-ex04.musicxml", "label": "Exercise 27, given melody 2 (G minor, 3/2)", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "2ad29056c409975fedf98050718401359ae2d7bc26cb619c59fec7051f3d9875", "transcriptionStatus": "needs-review" } ], "id": "rh-133-ex04", "sha256": "d5fdf9d1bdcab3a9c5e0a26c3eff79c36b1da22952dc15511926f3af2f2661fb", "sources": [ { "pdf_page": 107, "source_image": "source-pages/107.png", "printed_page": 99 } ], "pdf_page": 107, "source_image": "source-pages/107.png", "printed_page": 99, "music_transcription_status": "needs-review" }, { "path": "images/rh-133-ex05.png", "kind": "music", "bbox_pixels": [ 95, 1235, 1450, 121 ], "dimensions_pixels": [ 1450, 121 ], "description": "Devoir 28, chorale 1, D major, C: F♯4 D4 | A4 B4 | A4 G4 | F♯4 D4(fermata) | D5 C♯5 | B4 C♯5 | B4 B4 | A4(fermata) A4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-133-ex05.musicxml", "label": "Exercise 28, chorale melody 1, line 1: D major (two sharps), common time", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "08edf00a5a9095fc2b23504f8e175d4b1acc97a5c6eef1fe9de23d7047e7008f", "transcriptionStatus": "needs-review" } ], "id": "rh-133-ex05", "sha256": "7737ffae7ff40a0e7dd88b72afcf7502cd8c1a6e78d42b933c89c5b8a2b13bff", "sources": [ { "pdf_page": 107, "source_image": "source-pages/107.png", "printed_page": 99 } ], "pdf_page": 107, "source_image": "source-pages/107.png", "printed_page": 99, "music_transcription_status": "needs-review" }, { "path": "images/rh-133-ex06.png", "kind": "music", "bbox_pixels": [ 95, 1405, 1450, 110 ], "dimensions_pixels": [ 1450, 110 ], "description": "Chorale 1 cont.: D5 C♯5 | B4 (whole, fermata) | A4 A4 | B4 A4 | B4 D5 | C♯5 C♯5(fermata) | D5 A4 | B4 A4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-133-ex06.musicxml", "label": "Exercise 28, chorale melody 1, line 2", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "cb93b5cb5fe13ab37a360c27b3ac4b3d385446fed1a9bfb1136e55d8eec385d8", "transcriptionStatus": "needs-review" } ], "id": "rh-133-ex06", "sha256": "5b8725dfbe1c03a3775605d02b9d1bb6afdea9c46bcabcfee257b97d52f890ae", "sources": [ { "pdf_page": 107, "source_image": "source-pages/107.png", "printed_page": 99 } ], "pdf_page": 107, "source_image": "source-pages/107.png", "printed_page": 99, "music_transcription_status": "needs-review" }, { "path": "images/rh-133-ex07.png", "kind": "music", "bbox_pixels": [ 95, 1578, 1450, 112 ], "dimensions_pixels": [ 1450, 112 ], "description": "Chorale 1 end: G4 F♯4 | E4 E4(fermata) | half rest, D5 | D5 C♯5 | D5 (whole, fermata) ‖ chorale 2, one sharp (G major), C: upbeat B4 | E4 F♯4 | G4 F♯4 | E4 (whole).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-133-ex07.musicxml", "label": "Chorale melody 1 (end) and chorale melody 2, G major (one sharp), common time", "playbackAvailable": true, "printed_systems": [ { "bars": 9, "staves": 1 } ], "sha256": "d0ed5585caf8a7fcc9755bd55753d350869dc715428289bd92bb5bf2a7bd29fc", "transcriptionStatus": "needs-review" } ], "id": "rh-133-ex07", "sha256": "d81b79947f653087373941b10b244370dced9c8405499c6316c9f8a9740e9160", "sources": [ { "pdf_page": 107, "source_image": "source-pages/107.png", "printed_page": 99 } ], "pdf_page": 107, "source_image": "source-pages/107.png", "printed_page": 99, "music_transcription_status": "needs-review" }, { "path": "images/rh-133-ex08.png", "kind": "music", "bbox_pixels": [ 95, 1750, 1450, 110 ], "dimensions_pixels": [ 1450, 110 ], "description": "Chorale 2 cont.: D4(fermata) G4 | E4 F♯4 | G4 A4 | B4(fermata) B4 | A4 B4 | C♯5 D5 | C♯5 (whole) | B4(fermata) E5.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-133-ex08.musicxml", "label": "Exercise 28, chorale melody 2, line 2", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "cca8459131da2f0972042c70ab846a73d4c0e99df31a2aa387433c63af30f16d", "transcriptionStatus": "needs-review" } ], "id": "rh-133-ex08", "sha256": "2195e975f3321bf14941e17a53918c329907e676cb13c568b0a3dd008cbb0891", "sources": [ { "pdf_page": 107, "source_image": "source-pages/107.png", "printed_page": 99 } ], "pdf_page": 107, "source_image": "source-pages/107.png", "printed_page": 99, "music_transcription_status": "needs-review" }, { "path": "images/rh-133-ex09.png", "kind": "music", "bbox_pixels": [ 95, 1920, 1450, 110 ], "dimensions_pixels": [ 1450, 110 ], "description": "Chorale 2 cont.: D5 B4 C♯5 (quarters) | D5 C♯5 | B4(fermata) B4 | D5 B4 | A4 G4 | F♯4 (whole) | E4(fermata) A4 | G4 F♯4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-133-ex09.musicxml", "label": "Exercise 28, chorale melody 2, line 3", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "d7c3cd1d97288599886522d7b6f2cdb8290be9e3dffee831f442f3a5bbb577df", "transcriptionStatus": "needs-review" } ], "id": "rh-133-ex09", "sha256": "b7398b6a03c17bea2195ca89d05ba8c3e54258d3689f49ef6ef9d6ab2a834bc5", "sources": [ { "pdf_page": 107, "source_image": "source-pages/107.png", "printed_page": 99 } ], "pdf_page": 107, "source_image": "source-pages/107.png", "printed_page": 99, "music_transcription_status": "needs-review" }, { "path": "images/rh-133-ex10.png", "kind": "music", "bbox_pixels": [ 95, 2090, 1450, 112 ], "dimensions_pixels": [ 1450, 112 ], "description": "Chorale 2 end: E4 E4 | D4(fermata) G4 | G4 A4 | B4 C5 | C5 (whole) | B4(fermata) B4 | A4 G4 | A4 F♯4 | E4 (whole, fermata), final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-133-ex10.musicxml", "label": "Exercise 28, chorale melody 2, line 4 (end)", "playbackAvailable": true, "printed_systems": [ { "bars": 9, "staves": 1 } ], "sha256": "af44143614bcc4d9caff81e0b4db2dab2e92b51b72130a5bdda4a01758048687", "transcriptionStatus": "needs-review" } ], "id": "rh-133-ex10", "sha256": "623f6719efa680c960d8dce5c1deeb4a1e26d61d6e252600c6da4a8955c0090f", "sources": [ { "pdf_page": 107, "source_image": "source-pages/107.png", "printed_page": 99 } ], "pdf_page": 107, "source_image": "source-pages/107.png", "printed_page": 99, "music_transcription_status": "needs-review" }, { "path": "images/rh-134-ex01.png", "kind": "music", "bbox_pixels": [ 110, 110, 1460, 185 ], "dimensions_pixels": [ 1460, 185 ], "description": "Devoir 28, chorale (3), line 1, F major, C: F4 A4(q) B♭4(q) | C5 D5 | C5 B♭4 | A4𝄐 (whole) | F5 E5 | D5 C5(q) D5(q) | E5 D5 | C5𝄐 (whole).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-134-ex01.musicxml", "label": "Exercise 28, chorale melody 3, line 1: F major, common time", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "758489725f5e12a58a2debbc714bb2a84a17e69b76b1d764c07adcd794a71120", "transcriptionStatus": "needs-review" } ], "id": "rh-134-ex01", "sha256": "d4c4378c2116f5184534543d9745af2d0dfe88f0e9e4dbbbdab0656805eb2253", "sources": [ { "pdf_page": 108, "source_image": "source-pages/108.png", "printed_page": 100 } ], "pdf_page": 108, "source_image": "source-pages/108.png", "printed_page": 100, "music_transcription_status": "needs-review" }, { "path": "images/rh-134-ex02.png", "kind": "music", "bbox_pixels": [ 110, 294, 1460, 200 ], "dimensions_pixels": [ 1460, 200 ], "description": "Chorale (3), line 2 (end), F major: F5 C5 | D5 E♭5 | D5 C5 | B♭4𝄐 (whole) | C5 A4 | A4 B♭4 | A4 G4 | F4𝄐 (whole) ||.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-134-ex02.musicxml", "label": "Exercise 28, chorale melody 3, line 2 (end): F major", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "8f10eea57a3120b9421e66f6701498961c125b00db5721a5413dc7aac1e9c306", "transcriptionStatus": "needs-review" } ], "id": "rh-134-ex02", "sha256": "e1c89d3af49a336ed441c482655f0fe642339160b28a459d415cedb726eb8acb", "sources": [ { "pdf_page": 108, "source_image": "source-pages/108.png", "printed_page": 100 } ], "pdf_page": 108, "source_image": "source-pages/108.png", "printed_page": 100, "music_transcription_status": "needs-review" }, { "path": "images/rh-134-ex03.png", "kind": "music", "bbox_pixels": [ 110, 491, 1460, 200 ], "dimensions_pixels": [ 1460, 200 ], "description": "Devoir 28, chorale (4), line 1, F minor (four flats), C: F4 G4 | A♭4(q) B♭4(q) C5 | C5 B♮4 | C5𝄐 (whole) | E♭5 D♮5 | C5 C5 | C5 B♮4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-134-ex03.musicxml", "label": "Exercise 28, chorale melody 4, line 1: F minor (four flats), common time", "playbackAvailable": true, "printed_systems": [ { "bars": 7, "staves": 1 } ], "sha256": "eb3cc0b4412c3bc25dd8ad057cef3ff4875369a1a00352b40bca58044880c990", "transcriptionStatus": "needs-review" } ], "id": "rh-134-ex03", "sha256": "53919b9698b64e52d5a4fd4dd6603cdd37c7e7ee8662716c673097f43d6b2f5e", "sources": [ { "pdf_page": 108, "source_image": "source-pages/108.png", "printed_page": 100 } ], "pdf_page": 108, "source_image": "source-pages/108.png", "printed_page": 100, "music_transcription_status": "needs-review" }, { "path": "images/rh-134-ex04.png", "kind": "music", "bbox_pixels": [ 110, 687, 1460, 200 ], "dimensions_pixels": [ 1460, 200 ], "description": "Chorale (4), line 2, F minor: C5𝄐 A♭4 | A♭4 B♭4 | C5 B♭4 | A♭4(q) G4(q) F4 | E♭4𝄐 C5 | C5 B♭4 | A♭4 G4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-134-ex04.musicxml", "label": "Exercise 28, chorale melody 4, line 2: F minor", "playbackAvailable": true, "printed_systems": [ { "bars": 7, "staves": 1 } ], "sha256": "09c9b8c50ddf70daa4174997fa35570750beee3f88af1072e02cb272dad4f4d7", "transcriptionStatus": "needs-review" } ], "id": "rh-134-ex04", "sha256": "afe4ff15e758c664748ce33ca017f079f0a5958189861ef1ce433d28d6b86e08", "sources": [ { "pdf_page": 108, "source_image": "source-pages/108.png", "printed_page": 100 } ], "pdf_page": 108, "source_image": "source-pages/108.png", "printed_page": 100, "music_transcription_status": "needs-review" }, { "path": "images/rh-134-ex05.png", "kind": "music", "bbox_pixels": [ 110, 885, 680, 200 ], "dimensions_pixels": [ 680, 200 ], "description": "Chorale (4), line 3 (end), F minor: F4 E♮4 | F4 F4 | F4𝄐 (whole) ||.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-134-ex05.musicxml", "label": "Exercise 28, chorale melody 4, line 3 (end): F minor", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 1 } ], "sha256": "a14c2ab968ab4d16f123023f116d7ac81245d32c6bd2be41da2213be62c752fb", "transcriptionStatus": "needs-review" } ], "id": "rh-134-ex05", "sha256": "2d47223cca439642058c3952daa81b7f7a9e16763c2bab519567976c0f44f922", "sources": [ { "pdf_page": 108, "source_image": "source-pages/108.png", "printed_page": 100 } ], "pdf_page": 108, "source_image": "source-pages/108.png", "printed_page": 100, "music_transcription_status": "needs-review" }, { "path": "images/rh-134-ex06.png", "kind": "music", "bbox_pixels": [ 796, 885, 774, 200 ], "dimensions_pixels": [ 774, 200 ], "description": "Devoir 28, chorale (5), line 1, A minor (key cancelled by four naturals), C, half-note upbeat: E4 | A4 G♯4 | A4 B4 | C5𝄐 C5.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-134-ex06.musicxml", "label": "Exercise 28, chorale melody 5, line 1: A minor, common time, half-note upbeat", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 1 } ], "sha256": "326a9aca816b3f66fac3eea99c8d5e7eaaab4d8950dac656121defdda1165d54", "transcriptionStatus": "needs-review" } ], "id": "rh-134-ex06", "sha256": "8f6e8f5a865c78e5644cdbc020fa0bbe651e6fbae89b2493bc657de8ad8fd342", "sources": [ { "pdf_page": 108, "source_image": "source-pages/108.png", "printed_page": 100 } ], "pdf_page": 108, "source_image": "source-pages/108.png", "printed_page": 100, "music_transcription_status": "needs-review" }, { "path": "images/rh-134-ex07.png", "kind": "music", "bbox_pixels": [ 110, 1082, 1460, 200 ], "dimensions_pixels": [ 1460, 200 ], "description": "Chorale (5), line 2, A minor: D5 C5 | B4 A4 | G4 F4 | E4𝄐 E4 | E4 D4 | E4 F♯4 | G4𝄐 E4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-134-ex07.musicxml", "label": "Exercise 28, chorale melody 5, line 2: A minor", "playbackAvailable": true, "printed_systems": [ { "bars": 7, "staves": 1 } ], "sha256": "0de61ee732e50904ae5beadf11f8e437da5ae99649aaa8ce9bdd24dffec768a8", "transcriptionStatus": "needs-review" } ], "id": "rh-134-ex07", "sha256": "6ae46dd19c2fc5d74d0291abd08d52fc135294ba7c9648394775536f73f3613e", "sources": [ { "pdf_page": 108, "source_image": "source-pages/108.png", "printed_page": 100 } ], "pdf_page": 108, "source_image": "source-pages/108.png", "printed_page": 100, "music_transcription_status": "needs-review" }, { "path": "images/rh-134-ex08.png", "kind": "music", "bbox_pixels": [ 110, 1279, 1460, 200 ], "dimensions_pixels": [ 1460, 200 ], "description": "Chorale (5), line 3, A minor: F♮4 E4 | D4 D4 | C4𝄐 E4 | E4 D4 | E4 F♯4 | G4𝄐 A4 | C5 D5.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-134-ex08.musicxml", "label": "Exercise 28, chorale melody 5, line 3: A minor", "playbackAvailable": true, "printed_systems": [ { "bars": 7, "staves": 1 } ], "sha256": "f72ccfba30cf2804b73eee7debf330ea9cfac5d7098aad5907c5a46da2655526", "transcriptionStatus": "needs-review" } ], "id": "rh-134-ex08", "sha256": "2212af8551bca0571ebff0d11b0e6b9bde8f6cf6fdff91630a147b3a2786df9c", "sources": [ { "pdf_page": 108, "source_image": "source-pages/108.png", "printed_page": 100 } ], "pdf_page": 108, "source_image": "source-pages/108.png", "printed_page": 100, "music_transcription_status": "needs-review" }, { "path": "images/rh-134-ex09.png", "kind": "music", "bbox_pixels": [ 110, 1474, 425, 200 ], "dimensions_pixels": [ 425, 200 ], "description": "Chorale (5), line 4 (end), A minor: C5 B4 | A4𝄐 (half) ||.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-134-ex09.musicxml", "label": "Exercise 28, chorale melody 5, line 4 (end): A minor", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 } ], "sha256": "4e8d3ec2a86bd08ff24a6ebc841e841280970fd662377486b48e4bf74f035f42", "transcriptionStatus": "needs-review" } ], "id": "rh-134-ex09", "sha256": "467c873695e74aba123795fa99a6f2d00272bdeb06373ba6e2ac0ec9184258a1", "sources": [ { "pdf_page": 108, "source_image": "source-pages/108.png", "printed_page": 100 } ], "pdf_page": 108, "source_image": "source-pages/108.png", "printed_page": 100, "music_transcription_status": "needs-review" }, { "path": "images/rh-134-ex10.png", "kind": "music", "bbox_pixels": [ 535, 1474, 1035, 200 ], "dimensions_pixels": [ 1035, 200 ], "description": "Devoir 28, chorale (6), line 1, C major, C, half-note upbeat: C5 | C5 C5 | G4(q) A4(q) B4 | C5(q) B4(q) A4 | G4𝄐 C5.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-134-ex10.musicxml", "label": "Exercise 28, chorale melody 6, line 1: C major, common time, half-note upbeat", "playbackAvailable": true, "printed_systems": [ { "bars": 5, "staves": 1 } ], "sha256": "d4027c5069c3f642843332c19a0b1c6480279fff4983ede1db8bec9449db3516", "transcriptionStatus": "needs-review" } ], "id": "rh-134-ex10", "sha256": "981b73c0e29612376f8631a30cbf5451f51b9a80a21534fa9d7f1205afb3656d", "sources": [ { "pdf_page": 108, "source_image": "source-pages/108.png", "printed_page": 100 } ], "pdf_page": 108, "source_image": "source-pages/108.png", "printed_page": 100, "music_transcription_status": "needs-review" }, { "path": "images/rh-134-ex11.png", "kind": "music", "bbox_pixels": [ 110, 1673, 1460, 200 ], "dimensions_pixels": [ 1460, 200 ], "description": "Chorale (6), line 2, C major: B4 A4 | G4 A4 | F4(q) E4(q) D4 | C4𝄐 C4 | G4 A4 | G4 F♯4 | G4𝄐 C4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-134-ex11.musicxml", "label": "Exercise 28, chorale melody 6, line 2: C major", "playbackAvailable": true, "printed_systems": [ { "bars": 7, "staves": 1 } ], "sha256": "cdfd61ceded04d124de4560a60e931e319824afb83d9416927ce343d41740fc9", "transcriptionStatus": "needs-review" } ], "id": "rh-134-ex11", "sha256": "1f7a0891a96cfa806b6f66e94d64daf5f3da262a9ebc1ae4707cbc25258d8244", "sources": [ { "pdf_page": 108, "source_image": "source-pages/108.png", "printed_page": 100 } ], "pdf_page": 108, "source_image": "source-pages/108.png", "printed_page": 100, "music_transcription_status": "needs-review" }, { "path": "images/rh-134-ex12.png", "kind": "music", "bbox_pixels": [ 110, 1870, 1460, 200 ], "dimensions_pixels": [ 1460, 200 ], "description": "Chorale (6), line 3, C major: G4 (whole) | A4 B4 | C5𝄐 B4 | C5 B4 | A4 A4 | G4𝄐 A4 | A4 G4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-134-ex12.musicxml", "label": "Exercise 28, chorale melody 6, line 3: C major", "playbackAvailable": true, "printed_systems": [ { "bars": 7, "staves": 1 } ], "sha256": "04028e2ce79490fed9a52dbe90c8d1df06da6f4503e738c7c7f92b2103390423", "transcriptionStatus": "needs-review" } ], "id": "rh-134-ex12", "sha256": "72dcdeeacdcc7984a160f2876c7fa1d4556f2ccd9202d6fea0b8d022e056651f", "sources": [ { "pdf_page": 108, "source_image": "source-pages/108.png", "printed_page": 100 } ], "pdf_page": 108, "source_image": "source-pages/108.png", "printed_page": 100, "music_transcription_status": "needs-review" }, { "path": "images/rh-134-ex13.png", "kind": "music", "bbox_pixels": [ 110, 2067, 1460, 200 ], "dimensions_pixels": [ 1460, 200 ], "description": "Chorale (6), line 4 (end), C major: A4 F4 | E4𝄐 C5 | B4 (stray dot) A4 | G4 A4 | F4(q) E4(q) D4 | C4𝄐 (whole) ||.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-134-ex13.musicxml", "label": "Exercise 28, chorale melody 6, line 4 (end): C major", "playbackAvailable": true, "printed_systems": [ { "bars": 6, "staves": 1 } ], "sha256": "242994c3a6cff299572b474888035b7ca83d5251d08cf200920ad02f730dc6d6", "transcriptionStatus": "needs-review" } ], "id": "rh-134-ex13", "sha256": "80f6a4b32ecd6dca4ae17d6e352bf8e858fcc915a24a6184e472862c2c0a77bd", "sources": [ { "pdf_page": 108, "source_image": "source-pages/108.png", "printed_page": 100 } ], "pdf_page": 108, "source_image": "source-pages/108.png", "printed_page": 100, "music_transcription_status": "needs-review" }, { "path": "images/rh-135-ex01.png", "kind": "music", "bbox_pixels": [ 85, 222, 1415, 290 ], "dimensions_pixels": [ 1415, 290 ], "description": "Devoir 29, chant (1), A major, 3/4, eighth-note melody with ties: C♯4 D4 E4 A4~A4 G♯4 | A4 C♯5 E5 D5~D5 C♯5~ | C♯5 B4~B4 A4~A4 G♯4 | A4 A♯4 B4 F♯5 E5 (quarter) | E5 A4 B4 F♯4 G♯4 B4~ | B4 A4 C♯5 E5~E5 D5~ | D5 C♯5 D5 F♯5 E5 G♯4 | A4 (dotted half).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-135-ex01.musicxml", "label": "29 (1): given melody in A major, 3/4", "playbackAvailable": true, "printed_systems": [ { "bars": 5, "staves": 1 }, { "bars": 3, "staves": 1 } ], "sha256": "1e956527c2c982e7c49e6950202c26cece0760b0a2e0788d03d9e18dced4d3bf", "transcriptionStatus": "needs-review" } ], "id": "rh-135-ex01", "sha256": "78215c2a1b21dcba75e66ed9df8e90adc993862c34772ea28a5978a13a074688", "sources": [ { "pdf_page": 109, "source_image": "source-pages/109.png", "printed_page": 101 } ], "pdf_page": 109, "source_image": "source-pages/109.png", "printed_page": 101, "music_transcription_status": "needs-review" }, { "path": "images/rh-135-ex02.png", "kind": "music", "bbox_pixels": [ 85, 372, 1415, 300 ], "dimensions_pixels": [ 1415, 300 ], "description": "Devoir 29, chant (2), B minor (two sharps), 4/4, eighths: F♯4 B4 A♯4 B4 C♯5 F♯5 E♯5 E♮5 | D5 F♯4 B4 A4 G4 F♯4 G4 A4 | B4 D5 C♯5 B4 C♯5 E5 D5 C♯5 | D5 B4 A♯4 C♯5 B4 (half).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-135-ex02.musicxml", "label": "29 (2): given melody in B minor, 4/4", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 }, { "bars": 2, "staves": 1 } ], "sha256": "d59545983d8d1d3a83a4fe408e61bceb9d6059398c31de2e2806cba9442b2686", "transcriptionStatus": "needs-review" } ], "id": "rh-135-ex02", "sha256": "fd7541b3a8738b4e3961b57fa9030b659472ab205376b84d756560571737c9a1", "sources": [ { "pdf_page": 109, "source_image": "source-pages/109.png", "printed_page": 101 } ], "pdf_page": 109, "source_image": "source-pages/109.png", "printed_page": 101, "music_transcription_status": "needs-review" }, { "path": "images/rh-135-ex03.png", "kind": "music", "bbox_pixels": [ 85, 530, 1415, 290 ], "dimensions_pixels": [ 1415, 290 ], "description": "Devoir 29, chant (3), B♭ major, 3/4, eighths with ties: F4 B♭4 A4 G4 F4 B♭4~ | B♭4 A4 G4 A4 B♭4 D5~ | D5 C5 E♭5 D5 C5 B♭4 | A4 C5 B♭4 G4 A4 (quarter) | F4 B♭4 A4 G4 F4 B♭4~ | B♭4 A4 G4 A4 B♭4 D5~ | D5 C5 E♭5 D5 C5 B♭4 | A4 E♭5 D5 C5 B♭4 (quarter).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-135-ex03.musicxml", "label": "29 (3): given melody in B♭ major, 3/4", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 1 }, { "bars": 5, "staves": 1 } ], "sha256": "a17251c4d88c2952f4c5e3a5f42b5ba4af32270f420fbb12006d56530dcd18b7", "transcriptionStatus": "needs-review" } ], "id": "rh-135-ex03", "sha256": "8696af8cc5bc41dd75c14111310529e731d9c380b50d7eb842783b82a138cd40", "sources": [ { "pdf_page": 109, "source_image": "source-pages/109.png", "printed_page": 101 } ], "pdf_page": 109, "source_image": "source-pages/109.png", "printed_page": 101, "music_transcription_status": "needs-review" }, { "path": "images/rh-135-ex04.png", "kind": "music", "bbox_pixels": [ 85, 845, 1415, 310 ], "dimensions_pixels": [ 1415, 310 ], "description": "Devoir 29, chant (4), one sharp, 6/8: D5 A4 F♯4~F♯4 E4 D4 | D4 G4 F♯4 E4 A4 G4 | F♯4 A4 B4 C5 D5 C5 | B4 C5 B4 B4 A4 (quarter) | D5 A4 F♯4~F♯4 E4 D4 | D4 G4 F♯4 E4 A4 G4~ | G4 F♯4 (quarter) E4 G4 B4 | F♯4 (quarter) C4 D4 (dotted quarter).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-135-ex04.musicxml", "label": "29 (4): given melody, one sharp, 6/8", "playbackAvailable": true, "printed_systems": [ { "bars": 6, "staves": 1 }, { "bars": 2, "staves": 1 } ], "sha256": "cf4a44718e7599de044e13c0406a34686e1a10a80bfad1981091436c9d8a30a9", "transcriptionStatus": "needs-review" } ], "id": "rh-135-ex04", "sha256": "6b6e4dc0cf128ccd3a5934bb5fba86780efea4d9c918a963fabd1bf3888a84d6", "sources": [ { "pdf_page": 109, "source_image": "source-pages/109.png", "printed_page": 101 } ], "pdf_page": 109, "source_image": "source-pages/109.png", "printed_page": 101, "music_transcription_status": "needs-review" }, { "path": "images/rh-135-ex05.png", "kind": "music", "bbox_pixels": [ 85, 1000, 1415, 310 ], "dimensions_pixels": [ 1415, 310 ], "description": "Devoir 29, chant (5), G minor, 9/8, eighths with ties: G4 A4 B♭4~B♭4 A4 C5 F♯4 G4 A4~ | A4 G4 D5~D5 C5 E♭5 A4 B♭4 C5~ | C5 B♭4 B♮4 C5 D5 E♭5~E♭5 D5 C5 | B♭4 C5 B♭4 A4 G4 F♯4 G4 (dotted quarter).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-135-ex05.musicxml", "label": "29 (5): given melody in G minor, 9/8", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 }, { "bars": 2, "staves": 1 } ], "sha256": "7f2c13e0259f723bc277851d160174a435b130e1f6d7404ed652dbe83e862cb1", "transcriptionStatus": "needs-review" } ], "id": "rh-135-ex05", "sha256": "3ee64d3e122ca8a50731179590e1c2c55b87fda5692081fa8fc217cda0d5af67", "sources": [ { "pdf_page": 109, "source_image": "source-pages/109.png", "printed_page": 101 } ], "pdf_page": 109, "source_image": "source-pages/109.png", "printed_page": 101, "music_transcription_status": "needs-review" }, { "path": "images/rh-135-ex06.png", "kind": "music", "bbox_pixels": [ 85, 1160, 1415, 305 ], "dimensions_pixels": [ 1415, 305 ], "description": "Devoir 29, chant (6), G major, 3/4: G4 D5~D5 C5 A4 C5~ | C5 B4 A4 B4 G4 A4 | B4 F♯4 G4 G♯4 A4 C5 | B4 (half) A4 (quarter) | G4 D5~D5 C5 A4 C5~ | C5 B4 A4 B4 G4 A4 | B4 F♯4 G4 G♯4 A4 C5 | B4 G4~G4 F♯4 G4 (quarter).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-135-ex06.musicxml", "label": "29 (6): given melody in G major, 3/4", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 }, { "bars": 6, "staves": 1 } ], "sha256": "acd46fcd4a8dad3b66ba45ca0093070422765e70b1dff1814a519c8fc807bd51", "transcriptionStatus": "needs-review" } ], "id": "rh-135-ex06", "sha256": "64e3b2896e74fa761ac93cc366ff616cca46269af37b888ad8cf4ddd364cbe75", "sources": [ { "pdf_page": 109, "source_image": "source-pages/109.png", "printed_page": 101 } ], "pdf_page": 109, "source_image": "source-pages/109.png", "printed_page": 101, "music_transcription_status": "needs-review" }, { "path": "images/rh-135-ex07.png", "kind": "music", "bbox_pixels": [ 85, 1580, 1415, 405 ], "dimensions_pixels": [ 1415, 405 ], "description": "Devoir 30, (1), G major, 3/4, eighth-note melody over a given bass written below it on the same treble staff. Melody: G4 B4 D5 C5 G♯4 A4 | A♯4 B4 F♮5 E5 B4 C5 | D5 F♯5 A5 G5 A4 B4 | D5 C5 B4 A4 G4 F♯4 | G4 B4 D5 C5 G♯4 A4 | A♯4 B4 F♮5 E5 B4 C5 | D5 F♯5 A5 G5 A4 B4 | D5 C5 B4 A4 G4 (quarter). Bass: G4 – F♯4 | G4 C4 (half) | C4 B3 C4-B3 (eighths) | A3 D4 A3 | G3 E4 D4 | G4 G♯4 A♮4 | C4 B3 C4-B3 | A3 D4 G3.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-135-ex07.musicxml", "label": "30 (1): given melody with given bass, G major, 3/4", "playbackAvailable": true, "printed_systems": [ { "bars": 5, "staves": 1 }, { "bars": 3, "staves": 1 } ], "sha256": "e30ca7b0aac970f5e9094856759d6f7aee13bc00d703474f70d553cfdf5ba5a2", "transcriptionStatus": "needs-review" } ], "id": "rh-135-ex07", "sha256": "647ed7f4782c0c7a75d77b0e4b8220fd139347b3375b7033a55b0d44813adca6", "sources": [ { "pdf_page": 109, "source_image": "source-pages/109.png", "printed_page": 101 } ], "pdf_page": 109, "source_image": "source-pages/109.png", "printed_page": 101, "music_transcription_status": "needs-review" }, { "path": "images/rh-135-ex08.png", "kind": "music", "bbox_pixels": [ 85, 1768, 1415, 462 ], "dimensions_pixels": [ 1415, 462 ], "description": "Devoir 30, (2), A minor (no signature), 6/8, eighth-note melody over a given bass on ledger lines below the treble staff. Melody: A4 B4 C5 B4 C5 A4 | B4 F5 E5 D♯5 E5 D♮5 | C5 B4 C5 D5 A5 F♯5 | G5 D5 E5 F♮5 E5 D5 | E5 F5 F♯5 A5 G5 D5 | C5 D5 D♯5 F5 E5 B4 | C5 B4 C5 D5 E5 F5 | A4 C5 B4 A4 (dotted quarter). Bass: A3 (dotted half) | E3 (dotted quarter)~E3 (quarter) G♯3 (eighth) | A3 (quarter) G♮3 (eighth) F♯3 (quarter) D3 (eighth) | G3 (dotted half) | C4 B3 (dotted quarters) | A3 G♯3 | A3 (dotted quarter) F3 (quarter) D3 (eighth) | E3 A3 (dotted quarters).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-135-ex08.musicxml", "label": "30 (2): given melody with given bass, A minor (no signature), 6/8", "playbackAvailable": true, "printed_systems": [ { "bars": 2, "staves": 1 }, { "bars": 6, "staves": 1 } ], "sha256": "e086fba89e8138a398479daa576b485cf029c9579cd1e821411f094a70f5dca0", "transcriptionStatus": "needs-review" } ], "id": "rh-135-ex08", "sha256": "eab24ee2a2dbde04a1858084e1f83bf4366cd41fbac7482d824061a5cb6a40b0", "sources": [ { "pdf_page": 109, "source_image": "source-pages/109.png", "printed_page": 101 } ], "pdf_page": 109, "source_image": "source-pages/109.png", "printed_page": 101, "music_transcription_status": "needs-review" }, { "path": "images/rh-136-ex01.png", "kind": "music", "bbox_pixels": [ 110, 152, 1450, 140 ], "dimensions_pixels": [ 1450, 140 ], "description": "Exercise 31, melody 1, line 1, two sharps, 4/4, eighths: F♯4 G4 A4 C♯5 E5 D5 C♯5 D5 | C♯5 B4 A♯4 B4–(tie)B4 A♮4 G♯4 A4 | D♯5 E5 C♯5 A4 G5 F♯5 E5 D♮5 | C♯5 B4 F♯4 G♯4 A4 (half) | A4 G♯4 A4 C♯5 E5 D5 C♯5 D5.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-136-ex01.musicxml", "label": "Exercise 31, melody 1, line 1: two sharps, 4/4, eighth-note motion", "playbackAvailable": true, "printed_systems": [ { "bars": 5, "staves": 1 } ], "sha256": "a24203458b5d4ef3adf0fe59ad04418a54ec1435c5191ff1702e73d9fe20313f", "transcriptionStatus": "needs-review" } ], "id": "rh-136-ex01", "sha256": "03f14fb66882fc80bccf4d31d476b60df10088f04b5b7500b05e970a8ba9fa95", "sources": [ { "pdf_page": 110, "source_image": "source-pages/110.png", "printed_page": 102 } ], "pdf_page": 110, "source_image": "source-pages/110.png", "printed_page": 102, "music_transcription_status": "needs-review" }, { "path": "images/rh-136-ex02.png", "kind": "music", "bbox_pixels": [ 110, 300, 1450, 130 ], "dimensions_pixels": [ 1450, 130 ], "description": "Melody 1 end: E5 D♯5 C♯5 D♯5 F♯5 E5 D♯5 E5 | D♮5 C♯5 B4 A4 E5 D5 C♯5 B4 | A4 E4 F♯4 G4 F♯4 (half) ‖ melody 2, three flats, 3/4, eighths: G4 A♮4 B♮4 C5 D5 C5–(tie) | C5 B♮4 D5 F5 A♭5 G5.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-136-ex02.musicxml", "label": "Exercise 31, melody 1 (end) and melody 2, line 1: three flats, 3/4", "playbackAvailable": true, "printed_systems": [ { "bars": 5, "staves": 1 } ], "sha256": "e7e7074798191478773a2ca7ab8b3f743feeb05202fa69bef5e4d54744e165e8", "transcriptionStatus": "needs-review" } ], "id": "rh-136-ex02", "sha256": "409e556e7aeaec755f889bc7b36513cdbed87003133dad4078ca4c5c023be1f3", "sources": [ { "pdf_page": 110, "source_image": "source-pages/110.png", "printed_page": 102 } ], "pdf_page": 110, "source_image": "source-pages/110.png", "printed_page": 102, "music_transcription_status": "needs-review" }, { "path": "images/rh-136-ex03.png", "kind": "music", "bbox_pixels": [ 110, 445, 1450, 150 ], "dimensions_pixels": [ 1450, 150 ], "description": "Melody 2 end, three flats, 3/4, eighths: C5 D5 E♭5 G5 E♮5 F5 | E♭5 D5 B♭5 F5 G5 A♭5 | G5 E♭5 B♭4 C5 D5 E♭5 | E♮5 F5 A♭5 G5 F5 E♭5 | D5 C5 B♮4 A♭5 F♯5 G5 | F♮5 E♭5 D5 (quarter) C5 (quarter); double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-136-ex03.musicxml", "label": "Exercise 31, melody 2 (end)", "playbackAvailable": true, "printed_systems": [ { "bars": 6, "staves": 1 } ], "sha256": "5e9f66373d84ea2ca9d1c895228b4367ff3a804b46bd7e5b205ce3e4496f7ac3", "transcriptionStatus": "needs-review" } ], "id": "rh-136-ex03", "sha256": "4b205699f67df8f5ee0c964d644801fcba58d0d1183110ce4f2c3342fe4fd590", "sources": [ { "pdf_page": 110, "source_image": "source-pages/110.png", "printed_page": 102 } ], "pdf_page": 110, "source_image": "source-pages/110.png", "printed_page": 102, "music_transcription_status": "needs-review" }, { "path": "images/rh-136-ex04.png", "kind": "music", "bbox_pixels": [ 110, 661, 1450, 132 ], "dimensions_pixels": [ 1450, 132 ], "description": "Exercise 32, melody 1, line 1, two flats, 6/8: G4 A4 B♭4 A4 G4 E♭5–(tie) | E♭5 D5 A4 C5 B♭4 B♮4 | D5 C5 G5 A4 B♭4 E♭5 | D5 (eighth) C5 (dotted eighth) B♭4 (sixteenth) B♭4 (dotted quarter) | F4 G4 A♭4–(tie)A♭4 F♯4 G4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-136-ex04.musicxml", "label": "Exercise 32 (anticipation), melody 1, line 1: two flats, 6/8", "playbackAvailable": true, "printed_systems": [ { "bars": 5, "staves": 1 } ], "sha256": "ae79f3fe0d1bb16b0668fe85125799cfde50edd9fde0a7a8ba9d6e2082b28df3", "transcriptionStatus": "needs-review" } ], "id": "rh-136-ex04", "sha256": "3a98b29c1325a7bf908ad1f47a03790d339c28d7b1b5ca40702e81c24ea940af", "sources": [ { "pdf_page": 110, "source_image": "source-pages/110.png", "printed_page": 102 } ], "pdf_page": 110, "source_image": "source-pages/110.png", "printed_page": 102, "music_transcription_status": "needs-review" }, { "path": "images/rh-136-ex05.png", "kind": "music", "bbox_pixels": [ 110, 805, 1450, 140 ], "dimensions_pixels": [ 1450, 140 ], "description": "Melody 1 end: G4 A♮4 B♭4 D5 B♮4 C5 | E♭5 D5 A4 C5 B♭4 C5 | B♭4 (eighth) A4 (dotted eighth) G4 (sixteenth) G4 (dotted quarter) ‖ melody 2, one sharp, 2/4: G4 A4 B4 E5 (eighths) | D5 (eighth) C5 (dotted sixteenth) B4 (thirty-second) B4 (quarter) | A4 (eighth) B4 (dotted sixteenth) F♯4 (thirty-second) G4 A4 (eighths).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-136-ex05.musicxml", "label": "Exercise 32, melody 1 (end) and melody 2, line 1: one sharp, 2/4", "playbackAvailable": true, "printed_systems": [ { "bars": 6, "staves": 1 } ], "sha256": "54ab35c9efe27cd6a5a0ccdab5c0797777148751cf23c2bc1087f208507ad810", "transcriptionStatus": "needs-review" } ], "id": "rh-136-ex05", "sha256": "74dccfab07acfa83d046f2b378200479fb2369c9978afb5287b4761727d05195", "sources": [ { "pdf_page": 110, "source_image": "source-pages/110.png", "printed_page": 102 } ], "pdf_page": 110, "source_image": "source-pages/110.png", "printed_page": 102, "music_transcription_status": "needs-review" }, { "path": "images/rh-136-ex06.png", "kind": "music", "bbox_pixels": [ 110, 950, 1450, 150 ], "dimensions_pixels": [ 1450, 150 ], "description": "Melody 2 end, one sharp, 2/4; each beat-group is eighth + dotted sixteenth + thirty-second: G4–(tie)G4 F♯4, F♯4 (quarter) | B4 G4 A4, B4 E5 | D5 C5 B4, B4 (quarter) | A4 B4 F♯4, G4 A4 | G4 F♯4 E4, E4 (quarter); double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-136-ex06.musicxml", "label": "Exercise 32, melody 2 (end)", "playbackAvailable": true, "printed_systems": [ { "bars": 5, "staves": 1 } ], "sha256": "a58b3b2c1a0082811f10b629cffbdbd4181b5abfee73b425b51d7e1873c5e55b", "transcriptionStatus": "needs-review" } ], "id": "rh-136-ex06", "sha256": "eb9a6d36a87d44f622eca75bc5256c5cc6323be945ed137a8111cac372132d9a", "sources": [ { "pdf_page": 110, "source_image": "source-pages/110.png", "printed_page": 102 } ], "pdf_page": 110, "source_image": "source-pages/110.png", "printed_page": 102, "music_transcription_status": "needs-review" }, { "path": "images/rh-136-ex07.png", "kind": "music", "bbox_pixels": [ 110, 1165, 1450, 180 ], "dimensions_pixels": [ 1450, 180 ], "description": "Exercise 33, melody 1 with given bass, line 1, two flats, 2/4. Melody: F4 B♭4 | A4 E♭5 D5 C5 | B♭4 C5 | A4 F4 | C5 D5 E♭5 | F5 G5 E♭5 C5 | B♭4 C5. Bass: B♭3 (half) | F4 E♭4 | D4 | F4 | E♭4 | D4 E♭4 | F4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-136-ex07.musicxml", "label": "Exercise 33 (indirect anticipation), melody 1 with given bass, line 1: two flats, 2/4", "playbackAvailable": true, "printed_systems": [ { "bars": 7, "staves": 2 } ], "sha256": "7dac897867ec981e1601075cc9af84b0bd15c049a46dfa921f0e73f0ca5a6ba0", "transcriptionStatus": "needs-review" } ], "id": "rh-136-ex07", "sha256": "f5898f8c9129a889d5fb43d59fbe20cb8c9e55fe1f0456bf42b21abdc2a8c6d5", "sources": [ { "pdf_page": 110, "source_image": "source-pages/110.png", "printed_page": 102 } ], "pdf_page": 110, "source_image": "source-pages/110.png", "printed_page": 102, "music_transcription_status": "needs-review" }, { "path": "images/rh-136-ex08.png", "kind": "music", "bbox_pixels": [ 110, 1350, 1450, 170 ], "dimensions_pixels": [ 1450, 170 ], "description": "Melody 1 end. Melody: D5 (half) | F4 B♭4 | A4 E♭5 D5 C5 | B♭4 C5 | A4 D5 | D5 C5 D5 E♭5 | F5 G5 E♭5 C5 | B♭4 A4 | B♭4 (half). Bass: B♭3 | B♭3 D4 | F4 F♯4 | G4 | D4 | G4 (dotted quarter) E♭4 (eighth) | D4 E♭4 | F4 | B♭3; double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-136-ex08.musicxml", "label": "Exercise 33, melody 1 with given bass (end)", "playbackAvailable": true, "printed_systems": [ { "bars": 9, "staves": 2 } ], "sha256": "092c14d5f0b0929694645cd65255fdbfd0158174b0d86db7e98aa64e4809cf1d", "transcriptionStatus": "needs-review" } ], "id": "rh-136-ex08", "sha256": "51f99a2cd2af23902f9b55429c879df51a3b35d54f5ee6bae0653aff81c7f54d", "sources": [ { "pdf_page": 110, "source_image": "source-pages/110.png", "printed_page": 102 } ], "pdf_page": 110, "source_image": "source-pages/110.png", "printed_page": 102, "music_transcription_status": "needs-review" }, { "path": "images/rh-136-ex09.png", "kind": "music", "bbox_pixels": [ 110, 1525, 1450, 165 ], "dimensions_pixels": [ 1450, 165 ], "description": "Exercise 33, melody 2 with given bass, three sharps, 4/4. Melody (eighths): E5 F♯5 C♯5 F♯5 E5 B4 C♯5 D5 | C♯5 D5 A4 D5 C♯5 G♯4 A4 B4 | A4 F♯4 G♯4 A4 B4 C♯5 D5 F♯5 | B4 C♯5 F♯4 G♯4 B4 (quarter) A4 (quarter). Bass: A4 G♯4 (halves) | A4 F♯4 (quarters) E♯4 (half) | F♯4 E♮4 (quarters) D4 (half) | E4 A3 (halves); double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-136-ex09.musicxml", "label": "Exercise 33, melody 2 with given bass: three sharps, 4/4", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 2 } ], "sha256": "82e7a1c5035b7437ab130b4bb22e77073fb1e784db53f467cb614fe35b504eec", "transcriptionStatus": "needs-review" } ], "id": "rh-136-ex09", "sha256": "492630ee4b1b02a94eac0b452e0e7fae5934331043a3bdd32a9a1dd4aa9af3c1", "sources": [ { "pdf_page": 110, "source_image": "source-pages/110.png", "printed_page": 102 } ], "pdf_page": 110, "source_image": "source-pages/110.png", "printed_page": 102, "music_transcription_status": "needs-review" }, { "path": "images/rh-136-ex10.png", "kind": "music", "bbox_pixels": [ 110, 1695, 1450, 183 ], "dimensions_pixels": [ 1450, 183 ], "description": "Exercise 33, melody 3 with given bass, five flats, 2/4. Melody: A♭4 D♭5 | D♭5 C5 D♭5 | E♭5 F5 B♭4 C5 | E♭5 D♭5 | D♭5 C5 | A♮4 B♭4 D♭5 G♭5 | F5 G♭5 E♭5 (dotted eighth) D♭5 (sixteenth) | D♭5 (half). Bass: D♭4 F4 | A♭4 | G♭4 F4 | B♭3 D♭4 | F4 | G♭4 | A♭4 A♭3 | D♭4; double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-136-ex10.musicxml", "label": "Exercise 33, melody 3 with given bass: five flats, 2/4", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 2 } ], "sha256": "9ebafaf56c92a5e6c695e3ec6912813d622dbe6701c69bdc4ef847a8a1a14c88", "transcriptionStatus": "needs-review" } ], "id": "rh-136-ex10", "sha256": "c156072fb37d344812fbd3ffe7964041c24130da052390813793e89e30fa2b59", "sources": [ { "pdf_page": 110, "source_image": "source-pages/110.png", "printed_page": 102 } ], "pdf_page": 110, "source_image": "source-pages/110.png", "printed_page": 102, "music_transcription_status": "needs-review" }, { "path": "images/rh-136-ex11.png", "kind": "music", "bbox_pixels": [ 110, 1895, 1450, 168 ], "dimensions_pixels": [ 1450, 168 ], "description": "Exercise 33, melody 4 with given bass, line 1, four sharps, 3/4. Melody (eighths): C♯5 D♯5 E5 F♯5 G♯5 A5 | B♯4 A5 G♯5 F♯5 D♯5 E5 | C♯5 B♮4 C♯5 D♯5 E5 F♯5 | D♯5 (dotted half) | C♯5 D♯5 E5 F♯5 G♯5 A5 | B♯4 A5 G♯5 F♯5 D♯5 E5. Bass: C♯4 E4 | G♯4 F♯4 | E4 C♯4 | G♯4 (dotted half) | C♯4 E4 | G♯4 (dotted half).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-136-ex11.musicxml", "label": "Exercise 33, melody 4 with given bass, line 1: four sharps, 3/4", "playbackAvailable": true, "printed_systems": [ { "bars": 6, "staves": 2 } ], "sha256": "56d26c60af7fd5cab636ee70ac0b244473139494a9f0c68fd33575061d4d5bc0", "transcriptionStatus": "needs-review" } ], "id": "rh-136-ex11", "sha256": "b27e0a706f4b7dae8ca94fc509832a17ab443631007e263e9c4d3107215db004", "sources": [ { "pdf_page": 110, "source_image": "source-pages/110.png", "printed_page": 102 } ], "pdf_page": 110, "source_image": "source-pages/110.png", "printed_page": 102, "music_transcription_status": "needs-review" }, { "path": "images/rh-136-ex12.png", "kind": "music", "bbox_pixels": [ 110, 2045, 1450, 230 ], "dimensions_pixels": [ 1450, 230 ], "description": "Melody 4 end: C♯5 D♯5 E5 F♯5 D♯5 E5 | C♯5 (dotted half); bass A4 G♯4 | C♯4 ‖ melody 5, two sharps, 6/8. Melody: A♯4 B4 F♯5 E5 C♯5 D5 | D♯5 E5 B5 A5 F♯5 G5 | F♯5 G5 D♯5 F♯5 E5 B5 | A5 G♯5 E5 F♯5 G♮5 C♯5 (sixteenths) D5 (dotted quarter). Bass (dotted quarters): G4 F♯4 | C♮5 B4 | A4 G4 | A4 D4; double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-136-ex12.musicxml", "label": "Exercise 33, melody 4 (end) and melody 5 with given bass: two sharps, 6/8", "playbackAvailable": true, "printed_systems": [ { "bars": 6, "staves": 2 } ], "sha256": "ccdfb111d1307a4730b7479b36e8f6dc3a8b460afc5c7da4820eec16ce5e7ed9", "transcriptionStatus": "needs-review" } ], "id": "rh-136-ex12", "sha256": "41686a81cb73f888fb81e1210d6c548b15f0e9b0b81b6da618a80bd3834e80a1", "sources": [ { "pdf_page": 110, "source_image": "source-pages/110.png", "printed_page": 102 } ], "pdf_page": 110, "source_image": "source-pages/110.png", "printed_page": 102, "music_transcription_status": "needs-review" }, { "path": "images/rh-137-ex01.png", "kind": "music", "bbox_pixels": [ 105, 152, 1415, 152 ], "dimensions_pixels": [ 1415, 152 ], "description": "Devoir 34, melody 1, four flats, 3/4, eighths: A♭4 B♭4 B♮4 D♭5 C5 G4 | A♭4 B♭4 C5 F5 E♭5 D♭5 | D♭5 C5 A♮4 F4 C5 B♭4 | C5 B♭4 G4 E♭4 B♭4 A♭4 (courtesy flat) | A♭4 C5 F5 E♭5 C5 D♭5.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-137-ex01.musicxml", "label": "34 (1) — given melody 1, four flats, 3/4", "playbackAvailable": true, "printed_systems": [ { "bars": 5, "staves": 1 } ], "sha256": "d4ec997901414ae09271b0108f20b94b64823fbf0903ad2e048b72b0cb58971f", "transcriptionStatus": "needs-review" } ], "id": "rh-137-ex01", "sha256": "1f5622f3d4576a3f6a6075fae8f9d064b5e8d39393b86ae0e59b1c93b30f74fd", "sources": [ { "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103 } ], "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103, "music_transcription_status": "needs-review" }, { "path": "images/rh-137-ex02.png", "kind": "music", "bbox_pixels": [ 105, 305, 1415, 162 ], "dimensions_pixels": [ 1415, 162 ], "description": "Melody 1 end: B♭4 D♮5 G5 F5 D5 E♭5 | C5 E♮5 A♭5 G5 E5 F5 | E♭5 (courtesy flat) D♭5 C5 E♮5 G5 F5 ‖ melody 2, one flat, 6/8: upbeat D5~ | D5 C♯5 G5~ G5 F♯5 C♮5~ | C5 B♮4 F♮5~ F5 E5 B♭4~ (tied into the next line).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-137-ex02.musicxml", "label": "Melody 1 (end) and given melody 2, one flat, 6/8", "playbackAvailable": true, "printed_systems": [ { "bars": 6, "staves": 1 } ], "sha256": "9d772d713b7c8b45ba67a635607b177e34a87cc486352428145a71439ba79e0d", "transcriptionStatus": "needs-review" } ], "id": "rh-137-ex02", "sha256": "3f11da882a56987c5c42015d6157253943162b74fbf2f3007a711e6d253c0bc1", "sources": [ { "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103 } ], "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103, "music_transcription_status": "needs-review" }, { "path": "images/rh-137-ex03.png", "kind": "music", "bbox_pixels": [ 105, 467, 1415, 162 ], "dimensions_pixels": [ 1415, 162 ], "description": "Melody 2 end, one flat, 6/8: B♭4 A4 G4~ G4 F4 E4 | D4 F4 E4 E4 (quarter) E4 | F4 A4 C5~ C5 B♭4 F♯4 | G4 B♮4 D5~ D5 C5 G♯4 | A4 C♯5 E5~ E5 D5 G5 | F5 E5 (dotted eighth) D5 (sixteenth) D5 (quarter), double bar; the last bar (five eighths) completes the upbeat.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-137-ex03.musicxml", "label": "Melody 2 (continued and end)", "playbackAvailable": true, "printed_systems": [ { "bars": 6, "staves": 1 } ], "sha256": "76ed4adadc88b0f05801cd90da0539fd9497734e277b4487da7d87030395a468", "transcriptionStatus": "needs-review" } ], "id": "rh-137-ex03", "sha256": "6d0d502a5dcbba83f1ab2d2535d4168228871220ad1caacd31297bdc12c4cc3e", "sources": [ { "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103 } ], "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103, "music_transcription_status": "needs-review" }, { "path": "images/rh-137-ex04.png", "kind": "music", "bbox_pixels": [ 105, 630, 1415, 162 ], "dimensions_pixels": [ 1415, 162 ], "description": "Devoir 34, melody 3, four sharps, 4/4, eighths: B4 E5 D♯5 C♯5 B4 C♯5 G♯4 A4 | B4 F♯4 G♯4 A4~ A4 G♯4 F♯4 E4 | E♯4 F♯4 G♯4 F♯4 C♯5 B4 E5 D♯5 | C♯5 D♯5 G♯4 A♯4 C♯5 B4 A♯4 A♮4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-137-ex04.musicxml", "label": "34 (3) — given melody 3, four sharps, 4/4", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 1 } ], "sha256": "c492c9d8f3e1d78e9b75ce536f3149bfff2c4656d62f808af49b5e607226d402", "transcriptionStatus": "needs-review" } ], "id": "rh-137-ex04", "sha256": "61c2752a46a507552ab78769ed931a4019c44af13bff0b7bb03274043582cfb4", "sources": [ { "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103 } ], "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103, "music_transcription_status": "needs-review" }, { "path": "images/rh-137-ex05.png", "kind": "music", "bbox_pixels": [ 105, 792, 1415, 162 ], "dimensions_pixels": [ 1415, 162 ], "description": "Melody 3 end: G♯4 A4 A♯4 B4 D♮5 C♯5 B♯4 C♯5 | A♯4 B4 B♯4 C♯5 E5 D♯5 C𝄪5 D♯5~ | D♯5 E5 F♯5 G♯5 F♯5 E5 D♯5 C♯5 | B4 C♯5 F♯4 (grace A4) G♯4 E4 (half), double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-137-ex05.musicxml", "label": "Melody 3 (end)", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 1 } ], "sha256": "b9ba93534b9522bfe0a7431319230d8e2dd87f279f3246364b29ec9d4fa13ba5", "transcriptionStatus": "needs-review" } ], "id": "rh-137-ex05", "sha256": "b9df3fd083aaf28ec99cde9efc425c5f4cbc017d77cf6cad1dd41e97c90dee98", "sources": [ { "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103 } ], "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103, "music_transcription_status": "needs-review" }, { "path": "images/rh-137-ex06.png", "kind": "music", "bbox_pixels": [ 105, 955, 1415, 162 ], "dimensions_pixels": [ 1415, 162 ], "description": "Devoir 34, melody 4, two flats, 4/4, eighths: F4 G4 G4 A4 A4 B♭4 B♭4 C5 | G♯4 A4 A4 E♭5 E♭5 G♮4 G4 F4 | F4 F♯4 F♯4 G4 G4 A♭4 A♭4 G4 | F5 E♮5 E5 E♭5 E♭5 C♯5 C♯5 D5.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-137-ex06.musicxml", "label": "34 (4) — given melody 4, two flats, 4/4", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 1 } ], "sha256": "59ce7e0173a3187afbad9a9dd844257680f97ed8d23268164e05c65af8e080c6", "transcriptionStatus": "needs-review" } ], "id": "rh-137-ex06", "sha256": "498d00b525f5d74e5ee39d6d69fb53b43932948be7c601cb8263ab1af7cb2fc7", "sources": [ { "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103 } ], "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103, "music_transcription_status": "needs-review" }, { "path": "images/rh-137-ex07.png", "kind": "music", "bbox_pixels": [ 105, 1118, 1415, 162 ], "dimensions_pixels": [ 1415, 162 ], "description": "Melody 4 end: E♭5 D5 D5 C♯5 C♯5 C♮5 C5 B♮4 | D5 C5 C5 B♮4 B4 B♭4 B♭4 A4 | B♭4 C5 C5 D5 D5 E♭5 F5 G5 | D5 E♭5 B♭4 C5 G4 A4 B♭4 (quarter), double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-137-ex07.musicxml", "label": "Melody 4 (end)", "playbackAvailable": true, "printed_systems": [ { "bars": 4, "staves": 1 } ], "sha256": "43c7bf633468486541c2c60c16ffc6b95feeb130a864887d8394035421244d87", "transcriptionStatus": "needs-review" } ], "id": "rh-137-ex07", "sha256": "6f85a3b178ec0dcd107ce01ed60bb541bf5045fc6653e0aa920f1750c60b046f", "sources": [ { "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103 } ], "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103, "music_transcription_status": "needs-review" }, { "path": "images/rh-137-ex08.png", "kind": "music", "bbox_pixels": [ 105, 1423, 1415, 160 ], "dimensions_pixels": [ 1415, 160 ], "description": "Devoir 35, chorale 1, one flat, C: upbeat C5 | A4 G4 | F4 F4 | G4 A4 | B♭4 A4 | G4(fermata) A4 | C5 A4 | G4 F4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-137-ex08.musicxml", "label": "35 (1) — chorale melody 1, F major (one flat), C, half-note upbeat", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "dfbe18fd708936ba6caa5d12679d3e75c0a3d0d5923df313edab2035034292b7", "transcriptionStatus": "needs-review" } ], "id": "rh-137-ex08", "sha256": "1c21c699cd444e388df6a236269990ffb02c514d8b37ca72fe4636ad30fcd195", "sources": [ { "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103 } ], "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103, "music_transcription_status": "needs-review" }, { "path": "images/rh-137-ex09.png", "kind": "music", "bbox_pixels": [ 105, 1581, 1415, 160 ], "dimensions_pixels": [ 1415, 160 ], "description": "Chorale 1 cont.: B♭4 A4 | G4 A4 | G4 (whole) | F4(fermata) C5 | C5 C5 | D5 E5 | F5 E5 | D5 D5.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-137-ex09.musicxml", "label": "Chorale melody 1 (continued)", "playbackAvailable": true, "printed_systems": [ { "bars": 8, "staves": 1 } ], "sha256": "e8fe5c535e43d0e21b1db83f9fd6102f48fb116d0f746659cd82afe6cd262211", "transcriptionStatus": "needs-review" } ], "id": "rh-137-ex09", "sha256": "a708e1184e68297a6f955e7cccbccf44bb48574c44fdc6080b535b8acf139f3b", "sources": [ { "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103 } ], "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103, "music_transcription_status": "needs-review" }, { "path": "images/rh-137-ex10.png", "kind": "music", "bbox_pixels": [ 105, 1741, 1415, 160 ], "dimensions_pixels": [ 1415, 160 ], "description": "Chorale 1 end: C5(fermata) B♭4 | A4 G4 | F4(fermata, a single half note completing the upbeat) ‖ chorale 2, C reprinted: A4 A4 | G4 F4 | E4 (whole) | D4 (whole, fermata) | A4 B♮4 | C5 A4.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-137-ex10.musicxml", "label": "Chorale melody 1 (end) and chorale melody 2, one flat, C", "playbackAvailable": true, "printed_systems": [ { "bars": 9, "staves": 1 } ], "sha256": "bf61b62ee84c212fd2bf0b7727dffb5693574bbdde03dc0cd0f10cc3b3d1e9a0", "transcriptionStatus": "needs-review" } ], "id": "rh-137-ex10", "sha256": "21fafd263b5866dceebb26a6fe0f0f4335d701897a428c8ebfabdfd7906b238c", "sources": [ { "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103 } ], "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103, "music_transcription_status": "needs-review" }, { "path": "images/rh-137-ex11.png", "kind": "music", "bbox_pixels": [ 105, 1897, 1415, 160 ], "dimensions_pixels": [ 1415, 160 ], "description": "Chorale 2 cont.: D5 (whole) | C♯5 (whole, fermata) | D5 F5 | E5 C♯5 | D5 (whole, fermata) | C5 C5 | B♭4 A4 | G4 G4 | F4 (whole, fermata).", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-137-ex11.musicxml", "label": "Chorale melody 2 (continued)", "playbackAvailable": true, "printed_systems": [ { "bars": 9, "staves": 1 } ], "sha256": "7673b3d2e1f3858c2ff8a8de5ed53787452da22e9f17cbfe87114875da4e4f9f", "transcriptionStatus": "needs-review" } ], "id": "rh-137-ex11", "sha256": "332c3e5c63193e14a73cbf9ebe52491f55eca61ba2e31288cbdf7b1b4cb00742", "sources": [ { "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103 } ], "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103, "music_transcription_status": "needs-review" }, { "path": "images/rh-137-ex12.png", "kind": "music", "bbox_pixels": [ 105, 2056, 1415, 160 ], "dimensions_pixels": [ 1415, 160 ], "description": "Chorale 2 end: A4 B♮4 | C5 A4 | D5 C5 | B♮4 (whole) | A4 (whole, fermata) | A4 A4 | G4 F4 | E4 (whole) | D4 (whole, fermata), final double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-137-ex12.musicxml", "label": "Chorale melody 2 (end)", "playbackAvailable": true, "printed_systems": [ { "bars": 9, "staves": 1 } ], "sha256": "65f2e9fabeb9c02cba72fc329f9a05cb0e72606ef6cb0c9924a8f6c504cf2ee8", "transcriptionStatus": "needs-review" } ], "id": "rh-137-ex12", "sha256": "813611cc76790b3f2e9268eb34770f3ff2cbb6b73ceabe46445063e0c70a3382", "sources": [ { "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103 } ], "pdf_page": 111, "source_image": "source-pages/111.png", "printed_page": 103, "music_transcription_status": "needs-review" }, { "path": "images/rh-138-ex01.png", "kind": "music", "bbox_pixels": [ 85, 95, 1445, 339 ], "dimensions_pixels": [ 1445, 339 ], "description": "Devoir 35, chorale (3), E♭ major, common time, half-note upbeat: E♭4 | G4 F4 | G4 C5 | B♭4 A♭4 | G4𝄐 C5 | B♭4 A♭4 | G4 F4 | G4𝄐 B♭4 | C5 D5 | E♭5 D5 | C5 (whole) | B♭4𝄐 G4 | A♭4 G4 | F4 F4 | E♭4𝄐 (half); double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-138-ex01.musicxml", "label": "Exercise 35, chorale melody 3: E♭ major (three flats), common time", "playbackAvailable": true, "printed_systems": [ { "bars": 9, "staves": 1 }, { "bars": 6, "staves": 1 } ], "sha256": "9577c110c7553a4f16a61289d8b1ffaa94d12750f2e353f81bbf3c8c11534157", "transcriptionStatus": "needs-review" } ], "id": "rh-138-ex01", "sha256": "0c5dd15189ffbee35d149d4a0b1ae3851bbf9b1b9364099528c7696eaa0f1435", "sources": [ { "pdf_page": 112, "source_image": "source-pages/112.png", "printed_page": 104 } ], "pdf_page": 112, "source_image": "source-pages/112.png", "printed_page": 104, "music_transcription_status": "needs-review" }, { "path": "images/rh-138-ex02.png", "kind": "music", "bbox_pixels": [ 85, 249, 1445, 545 ], "dimensions_pixels": [ 1445, 545 ], "description": "Devoir 35, chorale (4), C major (naturals cancel the three flats), common time, half-note upbeat: C5 | B4 A4 | G4𝄐 G4 | A4 B4 | C5𝄐 D5 | C5 B4 | A4 B4 | A4 (whole) | G4𝄐 C5 | B4 C5 | D5𝄐 D5 | E5 C5 | D5𝄐 G4 | A4 B4 | C5 (quarter) D5 (quarter) E5 | D5 (whole) | C5𝄐 (half); double bar.", "status": "source-compared-draft", "musicxml": [ { "path": "musicxml/rh-138-ex02.musicxml", "label": "Exercise 35, chorale melody 4: C major, common time", "playbackAvailable": true, "printed_systems": [ { "bars": 3, "staves": 1 }, { "bars": 10, "staves": 1 }, { "bars": 4, "staves": 1 } ], "sha256": "a880a1e9f27766a402f90e75f3a624944619a465a287b4513a37ee26623652b5", "transcriptionStatus": "needs-review" } ], "id": "rh-138-ex02", "sha256": "f90b84acf5b7ad190d4f79ba211e250fd06c4fc8a3305efbcae1a4adb43e217b", "sources": [ { "pdf_page": 112, "source_image": "source-pages/112.png", "printed_page": 104 } ], "pdf_page": 112, "source_image": "source-pages/112.png", "printed_page": 104, "music_transcription_status": "needs-review" }, { "path": "images/rh-138-ex03.png", "kind": "music", "bbox_pixels": [ 85, 609, 1445, 545 ], "dimensions_pixels": [ 1445, 545 ], "description": "Devoir 35, chorale (5), G minor (two flats), common time, half-note upbeat: D4 | G4 A4 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Elementary Notions", "group": "Chapters", "page": 6 }, { "blockId": "rh-ch01-002", "title": "Triads", "group": "Chapters", "page": 6 }, { "blockId": "rh-ch01-024", "title": "Seventh Chords", "group": "Chapters", "page": 8 }, { "blockId": "rh-ch01-037", "title": "Natural and Artificial Scales", "group": "Chapters", "page": 9 }, { "blockId": "rh-ch01-038", "title": "Chords of the Strong and Weak Degrees, or Chords of the First and Second Order", "group": "Chapters", "page": 9 }, { "blockId": "rh-ch01-045", "title": "Triads", "group": "Chapters", "page": 9 }, { "blockId": "rh-ch01-055", "title": "Seventh Chords", "group": "Chapters", "page": 10 }, { "blockId": "rh-ch01-067", "title": "Exercises", "group": "Chapters", "page": 11 }, { "blockId": "rh-ch01-069", "title": "Relationships between Triads", "group": "Chapters", "page": 11 }, { "blockId": "rh-ch01-073", "title": "Motion of the Parts", "group": "Chapters", "page": 12 }, { "blockId": "rh-ch01-084", "title": "Doubling — Close and Open Spacing", "group": "Chapters", "page": 12 }, { "blockId": "rh-ch01-085", "title": "Melodic Position of Triads", "group": "Chapters", "page": 12 }, { "blockId": "rh-ch01-092", "title": "Harmonic and Melodic Connection of Triads", "group": "Chapters", "page": 13 }, { "blockId": "rh-ch01-101", "title": "Forbidden Motions", "group": "Chapters", "page": 14 }, { "blockId": "rh-ch02-001", "title": "Chapter II. Chord Progressions within One Key", "group": "Chapters", "page": 15 }, { "blockId": "rh-ch02-006", "title": "Consonant Harmony", "group": "Chapters", "page": 15 }, { "blockId": "rh-ch02-007", "title": "Connecting the Triads of I and IV, and of I and V, in Either Direction", "group": "Chapters", "page": 15 }, { "blockId": "rh-ch02-016", "title": "Exercise No. 1 (given melodies)", "group": "Chapters", "page": 15 }, { "blockId": "rh-ch02-021", "title": "Exercise No. 2 (given basses)", "group": "Chapters", "page": 16 }, { "blockId": "rh-ch02-023", "title": "Connecting the Triads of IV and V", "group": "Chapters", "page": 16 }, { "blockId": "rh-ch02-026", "title": "Exercise No. 3 (given basses and melodies)", "group": "Chapters", "page": 16 }, { "blockId": "rh-ch02-028", "title": "Succession of Sixth Chords of the First, Fourth and Fifth Degrees with the Triads of the Same Degrees", "group": "Chapters", "page": 17 }, { "blockId": "rh-ch02-034", "title": "Exercise No. 4 (Given Basses and Melodies)", "group": "Chapters", "page": 17 }, { "blockId": "rh-ch02-035", "title": "Succession of the Sixth Chord of the Fourth Degree with the Triad of the Fifth Degree", "group": "Chapters", "page": 17 }, { "blockId": "rh-010-001", "title": "Succession of the Triad of the Fourth Degree with the Sixth Chord of the Fifth Degree", "group": "Chapters", "page": 18 }, { "blockId": "rh-010-006", "title": "Exercise No. 5 (given basses and melodies)", "group": "Chapters", "page": 18 }, { "blockId": "rh-010-007", "title": "Succession of the Two Sixth Chords of the Fourth and Fifth Degrees", "group": "Chapters", "page": 18 }, { "blockId": "rh-010-012", "title": "Exercise No. 6 (given basses and melodies)", "group": "Chapters", "page": 18 }, { "blockId": "rh-011-001", "title": "Cadences, or Full Closes — Authentic and Plagal", "group": "Chapters", "page": 19 }, { "blockId": "rh-011-006", "title": "Cadence Formula of the First Kind — with the Succession of Subdominant and Dominant", "group": "Chapters", "page": 19 }, { "blockId": "rh-011-009", "title": "Exercise No. 7 (given basses and melodies)", "group": "Chapters", "page": 19 }, { "blockId": "rh-012-001", "title": "Cadence Formula of the Second Kind (with the Six-Four Chord of the First Degree)", "group": "Chapters", "page": 20 }, { "blockId": "rh-012-006", "title": "Exercise", "group": "Chapters", "page": 20 }, { "blockId": "rh-012-008", "title": "Passing Six-Four Chords", "group": "Chapters", "page": 20 }, { "blockId": "rh-012-012", "title": "Exercise No. 8 (given basses and melodies)", "group": "Chapters", "page": 20 }, { "blockId": "rh-013-001", "title": "On the Half Cadence — On the Phrase", "group": "Chapters", "page": 21 }, { "blockId": "rh-013-007", "title": "Models", "group": "Chapters", "page": 21 }, { "blockId": "rh-014-001", "title": "Melodic Intervals of a Fourth and a Fifth in One of the Three Upper Parts", "group": "Chapters", "page": 22 }, { "blockId": "rh-014-008", "title": "Assignment No. 9", "group": "Chapters", "page": 22 }, { "blockId": "rh-015-001", "title": "Disjunct Motion of the Thirds of Chords", "group": "Chapters", "page": 23 }, { "blockId": "rh-015-005", "title": "Exercise No. 10 (given melodies)", "group": "Chapters", "page": 23 }, { "blockId": "rh-015-006", "title": "Melodic Motion Formed in the Bass by the Thirds of Chords", "group": "Chapters", "page": 23 }, { "blockId": "rh-015-010", "title": "Exercise No. 11 (given basses)", "group": "Chapters", "page": 23 }, { "blockId": "rh-016-001", "title": "The Sixth Chord of the Diminished-Fifth Chord of the Seventh Degree (*)", "group": "Chapters", "page": 24 }, { "blockId": "rh-016-011", "title": "Exercise No. 12 (given basses and melodies)", "group": "Chapters", "page": 24 }, { "blockId": "rh-016-012", "title": "The Triad of the Second Degree in the Major Mode", "group": "Chapters", "page": 24 }, { "blockId": "rh-017-004", "title": "The Sixth Chord of the Second Degree in the Major and Minor Modes", "group": "Chapters", "page": 25 }, { "blockId": "rh-018-002", "title": "Exercise No. 13 (given basses and melodies)", "group": "Chapters", "page": 26 }, { "blockId": "rh-018-003", "title": "Twofold Use of the Triad of the Sixth Degree", "group": "Chapters", "page": 26 }, { "blockId": "rh-018-011", "title": "Exercise No. 14 (given basses and melodies)", "group": "Chapters", "page": 26 }, { "blockId": "rh-018-012", "title": "The Triad of the Third Degree of the Major Mode", "group": "Chapters", "page": 26 }, { "blockId": "rh-019-003", "title": "EXERCISE No. 15 (GIVEN MELODIES)", "group": "Chapters", "page": 27 }, { "blockId": "rh-019-004", "title": "The Triad of the Third Degree of the Natural Minor Mode (Phrygian Cadence of the First Kind)", "group": "Chapters", "page": 27 }, { "blockId": "rh-019-008", "title": "EXERCISE No. 16 (GIVEN MELODIES)", "group": "Chapters", "page": 27 }, { "blockId": "rh-019-009", "title": "The Triad of the Seventh Degree of the Natural Minor Mode (Phrygian Cadence of the Second Kind)", "group": "Chapters", "page": 27 }, { "blockId": "rh-020-002", "title": "Exercise No. 17 (given basses)", "group": "Chapters", "page": 28 }, { "blockId": "rh-020-003", "title": "Supplement to § 32", "group": "Chapters", "page": 28 }, { "blockId": "rh-020-005", "title": "Harmonizing Chorales (in One Key)", "group": "Chapters", "page": 28 }, { "blockId": "rh-020-013", "title": "Exercise No. 18 (given melodies, chorales)", "group": "Chapters", "page": 28 }, { "blockId": "rh-020-014", "title": "Models", "group": "Chapters", "page": 28 }, { "blockId": "rh-021-001", "title": "The Minor Subdominant Chord and the Sixth Chord of the Second Degree in the Harmonic Major Mode", "group": "Chapters", "page": 29 }, { "blockId": "rh-022-001", "title": "DISSONANT HARMONY", "group": "Chapters", "page": 30 }, { "blockId": "rh-022-002", "title": "THE DOMINANT SEVENTH CHORD", "group": "Chapters", "page": 30 }, { "blockId": "rh-022-003", "title": "ROOT POSITION", "group": "Chapters", "page": 30 }, { "blockId": "rh-023-006", "title": "EXERCISE No. 19 (GIVEN BASSES AND MELODIES)", "group": "Chapters", "page": 31 }, { "blockId": "rh-024-001", "title": "INVERSIONS OF THE DOMINANT SEVENTH CHORD", "group": "Chapters", "page": 32 }, { "blockId": "rh-025-004", "title": "EXERCISE No. 20 (GIVEN BASSES AND MELODIES)", "group": "Chapters", "page": 33 }, { "blockId": "rh-025-005", "title": "THE LEADING-NOTE SEVENTH CHORD", "group": "Chapters", "page": 33 }, { "blockId": "rh-025-006", "title": "Minor and Diminished", "group": "Chapters", "page": 33 }, { "blockId": "rh-026-004", "title": "EXERCISE No. 21 (GIVEN BASSES AND MELODIES)", "group": "Chapters", "page": 34 }, { "blockId": "rh-026-005", "title": "THE SEVENTH CHORD OF THE SECOND DEGREE and Its First Inversion", "group": "Chapters", "page": 34 }, { "blockId": "rh-027-001", "title": "EXERCISE No. 22 (GIVEN BASSES AND MELODIES)", "group": "Chapters", "page": 35 }, { "blockId": "rh-027-002", "title": "A SPECIAL FORM OF PLAGAL CADENCE", "group": "Chapters", "page": 35 }, { "blockId": "rh-027-005", "title": "EXERCISE No. 23 (GIVEN BASSES AND MELODIES)", "group": "Chapters", "page": 35 }, { "blockId": "rh-028-001", "title": "USE OF SEVENTH CHORDS in the Realization of Chorales", "group": "Chapters", "page": 36 }, { "blockId": "rh-028-004", "title": "EXERCISE No. 24 (GIVEN CHORALES)", "group": "Chapters", "page": 36 }, { "blockId": "rh-028-005", "title": "NINTH CHORDS", "group": "Chapters", "page": 36 }, { "blockId": "rh-029-004", "title": "ALL THREE-NOTE CHORDS in their relations within one key", "group": "Chapters", "page": 37 }, { "blockId": "rh-029-005", "title": "A) HARMONIC SEQUENCES BY FOURTHS AND FIFTHS", "group": "Chapters", "page": 37 }, { "blockId": "rh-029-007", "title": "A) IN THE MAJOR MODE", "group": "Chapters", "page": 37 }, { "blockId": "rh-029-008", "title": "B) IN THE MINOR MODE", "group": "Chapters", "page": 37 }, { "blockId": "rh-029-011", "title": "EXERCISES", "group": "Chapters", "page": 37 }, { "blockId": "rh-029-013", "title": "MAJOR MODE", "group": "Chapters", "page": 37 }, { "blockId": "rh-230-001", "title": "B) HARMONIC SEQUENCES OF SECONDS AND THIRDS", "group": "Chapters", "page": 38 }, { "blockId": "rh-230-005", "title": "EXERCISES", "group": "Chapters", "page": 38 }, { "blockId": "rh-230-007", "title": "MAJOR MODE", "group": "Chapters", "page": 38 }, { "blockId": "rh-230-009", "title": "EXERCISE", "group": "Chapters", "page": 38 }, { "blockId": "rh-231-001", "title": "SUPPLEMENT", "group": "Chapters", "page": 39 }, { "blockId": "rh-231-004", "title": "ALL THE SEVENTH CHORDS in their relations within one key", "group": "Chapters", "page": 39 }, { "blockId": "rh-231-005", "title": "HARMONIC SEQUENCES WITH SEVENTH CHORDS", "group": "Chapters", "page": 39 }, { "blockId": "rh-232-001", "title": "EXERCISES", "group": "Chapters", "page": 40 }, { "blockId": "rh-232-005", "title": "A) IN THE MAJOR MODE", "group": "Chapters", "page": 40 }, { "blockId": "rh-232-006", "title": "B) IN THE MINOR MODE", "group": "Chapters", "page": 40 }, { "blockId": "rh-232-010", "title": "EXERCISES", "group": "Chapters", "page": 40 }, { "blockId": "rh-233-002", "title": "EXERCISES", "group": "Chapters", "page": 41 }, { "blockId": "rh-233-004", "title": "SUPPLEMENT", "group": "Chapters", "page": 41 }, { "blockId": "rh-233-005", "title": "Free use of all the degrees of each mode", "group": "Chapters", "page": 41 }, { "blockId": "rh-ch03-001", "title": "Chapter III. Modulation", "group": "Chapters", "page": 43 }, { "blockId": "rh-ch03-002", "title": "Preliminary notions", "group": "Chapters", "page": 43 }, { "blockId": "rh-ch03-005", "title": "Related keys, or first-class keys", "group": "Chapters", "page": 43 }, { "blockId": "rh-ch03-012", "title": "Diatonic modulation", "group": "Chapters", "page": 43 }, { "blockId": "rh-ch03-017", "title": "Examples of modulations from C major to its related keys", "group": "Chapters", "page": 44 }, { "blockId": "rh-ch03-019", "title": "Examples of modulations from A minor to its related keys", "group": "Chapters", "page": 44 }, { "blockId": "rh-032-002", "title": "INDIRECT MEANS", "group": "Chapters", "page": 45 }, { "blockId": "rh-032-008", "title": "PARTICIPATION OF THE ARTIFICIAL MAJOR CHORD OF THE IV DEGREE of the Melodic Minor Mode", "group": "Chapters", "page": 45 }, { "blockId": "rh-032-010", "title": "EXERCISE", "group": "Chapters", "page": 45 }, { "blockId": "rh-033-001", "title": "IMMEDIATE MODULATION", "group": "Chapters", "page": 46 }, { "blockId": "rh-033-002", "title": "by the tonic chord of the following key", "group": "Chapters", "page": 46 }, { "blockId": "rh-033-006", "title": "Examples of modulations from C major to its related keys", "group": "Chapters", "page": 46 }, { "blockId": "rh-033-007", "title": "Examples of modulations from A minor to its related keys", "group": "Chapters", "page": 46 }, { "blockId": "rh-033-009", "title": "Chromatic motion and polytonic successions", "group": "Chapters", "page": 46 }, { "blockId": "rh-033-010", "title": "False relations", "group": "Chapters", "page": 46 }, { "blockId": "rh-064-002", "title": "CHROMATIC MODULATION", "group": "Chapters", "page": 47 }, { "blockId": "rh-064-010", "title": "Examples of chromatic modulations to a minor key from the keys of C and A", "group": "Chapters", "page": 47 }, { "blockId": "rh-064-013", "title": "Examples of modulations to a major key from the keys of C and A", "group": "Chapters", "page": 47 }, { "blockId": "rh-065-001", "title": "INFLUENCE OF THE ARTIFICIAL CHORD of the IVth degree of the melodic minor scale", "group": "Chapters", "page": 48 }, { "blockId": "rh-065-005", "title": "EXAMPLES OF MODULATION FROM THE KEYS OF C AND A", "group": "Chapters", "page": 48 }, { "blockId": "rh-065-006", "title": "GENERAL CONCLUSION", "group": "Chapters", "page": 48 }, { "blockId": "rh-065-008", "title": "EXERCISES", "group": "Chapters", "page": 48 }, { "blockId": "rh-065-010", "title": "DEFINITIVE AND TRANSIENT MODULATION", "group": "Chapters", "page": 48 }, { "blockId": "rh-065-015", "title": "ASSIGNMENTS", "group": "Chapters", "page": 48 }, { "blockId": "rh-067-001", "title": "THE USE OF MODULATION in harmonizing a melody", "group": "Chapters", "page": 50 }, { "blockId": "rh-067-006", "title": "EXERCISE No. 25 (GIVEN MELODIES, CHORALES) (Strict style)", "group": "Chapters", "page": 50 }, { "blockId": "rh-067-007", "title": "EXERCISE No. 26", "group": "Chapters", "page": 50 }, { "blockId": "rh-068-001", "title": "MODULATION TO KEYS OF THE SECOND CLASS", "group": "Chapters", "page": 51 }, { "blockId": "rh-068-002", "title": "Modulating plans", "group": "Chapters", "page": 51 }, { "blockId": "rh-068-018", "title": "EXCEPTIONS", "group": "Chapters", "page": 51 }, { "blockId": "rh-068-032", "title": "ASSIGNMENT", "group": "Chapters", "page": 51 }, { "blockId": "rh-069-001", "title": "PERFECT MODULATION", "group": "Chapters", "page": 52 }, { "blockId": "rh-069-003", "title": "EXAMPLE OF PERFECT MODULATIONS TO KEYS OF THE 2nd CLASS", "group": "Chapters", "page": 52 }, { "blockId": "rh-069-004", "title": "ASSIGNMENTS", "group": "Chapters", "page": 52 }, { "blockId": "rh-070-001", "title": "Imperfect modulation", "group": "Chapters", "page": 53 }, { "blockId": "rh-070-004", "title": "Exercises", "group": "Chapters", "page": 53 }, { "blockId": "rh-070-006", "title": "Distant keys", "group": "Chapters", "page": 53 }, { "blockId": "rh-070-016", "title": "Exercises", "group": "Chapters", "page": 53 }, { "blockId": "rh-071-001", "title": "On the pedal point", "group": "Chapters", "page": 54 }, { "blockId": "rh-072-002", "title": "EXERCISE", "group": "Chapters", "page": 55 }, { "blockId": "rh-072-004", "title": "SUPPLEMENT", "group": "Chapters", "page": 55 }, { "blockId": "rh-080-001", "title": "Chapter IV. Melodic Ornamentation", "group": "Chapters", "page": 56 }, { "blockId": "rh-080-002", "title": "Passing Notes", "group": "Chapters", "page": 56 }, { "blockId": "rh-080-003", "title": "General Principles", "group": "Chapters", "page": 56 }, { "blockId": "rh-080-005", "title": "Diatonic Passing Notes", "group": "Chapters", "page": 56 }, { "blockId": "rh-081-004", "title": "Chromatic passing notes", "group": "Chapters", "page": 57 }, { "blockId": "rh-081-005", "title": "Spelling of the chromatic scales", "group": "Chapters", "page": 57 }, { "blockId": "rh-082-002", "title": "Chromatic Passing Notes", "group": "Chapters", "page": 58 }, { "blockId": "rh-082-003", "title": "simple, double, etc.", "group": "Chapters", "page": 58 }, { "blockId": "rh-083-001", "title": "The Neighbour Note", "group": "Chapters", "page": 59 }, { "blockId": "rh-084-007", "title": "Suspensions", "group": "Chapters", "page": 60 }, { "blockId": "rh-084-008", "title": "General Principles", "group": "Chapters", "page": 60 }, { "blockId": "rh-085-005", "title": "Descending Suspensions", "group": "Chapters", "page": 61 }, { "blockId": "rh-087-001", "title": "Ascending and simultaneous suspensions", "group": "Chapters", "page": 63 }, { "blockId": "rh-088-002", "title": "Example of harmonic progressions with ascending and simultaneous suspensions", "group": "Chapters", "page": 64 }, { "blockId": "rh-088-004", "title": "Exercise No. 27 (given basses and melodies)", "group": "Chapters", "page": 64 }, { "blockId": "rh-088-005", "title": "Supplement", "group": "Chapters", "page": 64 }, { "blockId": "rh-088-006", "title": "Suspension of the diminished octave or of the augmented unison", "group": "Chapters", "page": 64 }, { "blockId": "rh-089-001", "title": "Melodic Ornamentation in the Strict Style", "group": "Chapters", "page": 65 }, { "blockId": "rh-091-001", "title": "On the Figured Chorale, and the Harmonization of a Melody Containing Melodic Ornamentation", "group": "Chapters", "page": 67 }, { "blockId": "rh-092-001", "title": "EXERCISE No. 28 (FIGURED CHORALES)", "group": "Chapters", "page": 68 }, { "blockId": "rh-092-003", "title": "MODELS", "group": "Chapters", "page": 68 }, { "blockId": "rh-093-001", "title": "EXERCISE No. 29", "group": "Chapters", "page": 69 }, { "blockId": "rh-093-003", "title": "Melodic Ornamentation in the Free Style", "group": "Chapters", "page": 69 }, { "blockId": "rh-094-001", "title": "GENERAL RULES", "group": "Chapters", "page": 70 }, { "blockId": "rh-094-006", "title": "EXERCISE No. 30 (MELODIES WITH GIVEN BASS)", "group": "Chapters", "page": 70 }, { "blockId": "rh-094-008", "title": "EXERCISE No. 31 (MELODIES WITHOUT GIVEN BASS)", "group": "Chapters", "page": 70 }, { "blockId": "rh-095-001", "title": "EXERCISE No. 32 (GIVEN MELODIES)", "group": "Chapters", "page": 71 }, { "blockId": "rh-095-005", "title": "EXERCISE No. 33 (MELODIES WITH GIVEN BASS)", "group": "Chapters", "page": 71 }, { "blockId": "rh-100-001", "title": "Chapter V. Enharmony and Sudden Modulation", "group": "Chapters", "page": 72 }, { "blockId": "rh-100-002", "title": "Altered Chords", "group": "Chapters", "page": 72 }, { "blockId": "rh-100-008", "title": "The Artificial Dominant Seventh Chord and the Artificial Diminished Seventh Chord", "group": "Chapters", "page": 72 }, { "blockId": "rh-101-006", "title": "CHORDS PRODUCED BY THE LOWERING ALTERATION OF THE IInd DEGREE", "group": "Chapters", "page": 73 }, { "blockId": "rh-102-003", "title": "The Augmented Fifth Chord (*)", "group": "Chapters", "page": 74 }, { "blockId": "rh-102-008", "title": "The Dominant Seventh Chord with Augmented Fifth", "group": "Chapters", "page": 74 }, { "blockId": "rh-102-012", "title": "Supplement", "group": "Chapters", "page": 74 }, { "blockId": "rh-103-001", "title": "THE AUGMENTED SIXTH CHORD", "group": "Chapters", "page": 75 }, { "blockId": "rh-103-016", "title": "SUPPLEMENT", "group": "Chapters", "page": 75 }, { "blockId": "rh-104-001", "title": "Enharmonic Modulation", "group": "Chapters", "page": 76 }, { "blockId": "rh-104-003", "title": "Enharmony of Augmented-Sixth Chords", "group": "Chapters", "page": 76 }, { "blockId": "rh-104-009", "title": "Exercises", "group": "Chapters", "page": 76 }, { "blockId": "rh-105-001", "title": "Enharmony of the Diminished Seventh Chord", "group": "Chapters", "page": 77 }, { "blockId": "rh-105-005", "title": "Exercises", "group": "Chapters", "page": 77 }, { "blockId": "rh-105-007", "title": "Enharmony of the Augmented Fifth Chord", "group": "Chapters", "page": 77 }, { "blockId": "rh-105-012", "title": "Polytonic Successions", "group": "Chapters", "page": 77 }, { "blockId": "rh-105-013", "title": "General Notions", "group": "Chapters", "page": 77 }, { "blockId": "rh-105-018", "title": "On Borrowed Cadences", "group": "Chapters", "page": 77 }, { "blockId": "rh-106-002", "title": "Supplement", "group": "Chapters", "page": 78 }, { "blockId": "rh-106-009", "title": "Polytonic Succession of Dominant Seventh Chords in the Relation of an Upper or Lower Third", "group": "Chapters", "page": 78 }, { "blockId": "rh-107-006", "title": "Supplement", "group": "Chapters", "page": 79 }, { "blockId": "rh-107-009", "title": "Application of Polytony to Sudden Modulation", "group": "Chapters", "page": 79 }, { "blockId": "rh-108-005", "title": "Exercises", "group": "Chapters", "page": 80 }, { "blockId": "rh-108-007", "title": "Assignment No. 34", "group": "Chapters", "page": 80 }, { "blockId": "rh-109-001", "title": "Harmonizing Chorales", "group": "Chapters", "page": 81 }, { "blockId": "rh-109-004", "title": "Assignment No. 35", "group": "Chapters", "page": 81 }, { "blockId": "rh-109-009", "title": "Supplement I", "group": "Chapters", "page": 81 }, { "blockId": "rh-109-010", "title": "On Harmonic Ornament and Ornament of the Pedal", "group": "Chapters", "page": 81 }, { "blockId": "rh-110-001", "title": "Supplement II", "group": "Chapters", "page": 82 }, { "blockId": "rh-110-002", "title": "Departures from the Strict Rule of Part Movement", "group": "Chapters", "page": 82 }, { "blockId": "rh-111-003", "title": "Supplement III", "group": "Chapters", "page": 83 }, { "blockId": "rh-111-004", "title": "Peculiarities of Some Polytonal Successions", "group": "Chapters", "page": 83 }, { "blockId": "rh-111-009", "title": "Conclusion", "group": "Chapters", "page": 83 }, { "blockId": "rh-111-011", "title": "End", "group": "Chapters", "page": 83 }, { "blockId": "rh-112-001", "title": "EXAMPLES of variations on a harmonic theme", "group": "Chapters", "page": 84 }, { "blockId": "rh-113-001", "title": "MODULATING PRELUDE on the same theme", "group": "Chapters", "page": 85 }, { "blockId": "rh-120-001", "title": "Exercises", "group": "Chapters", "page": 86 }, { "blockId": "rh-121-001", "title": "4 (Sixth chords: I–IV and I–V)", "group": "Chapters", "page": 87 }, { "blockId": "rh-122-001", "title": "5 (Triad of IV with the sixth chord of V; sixth chord of IV with the triad of V)", "group": "Chapters", "page": 88 }, { "blockId": "rh-122-002", "title": "6 (Sixth chord, IV–V)", "group": "Chapters", "page": 88 }, { "blockId": "rh-123-001", "title": "7 (Cadence formula of the first kind)", "group": "Chapters", "page": 89 }, { "blockId": "rh-123-002", "title": "8 (Cadence formula of the second kind and the passing 6/4 chord)", "group": "Chapters", "page": 89 }, { "blockId": "rh-125-001", "title": "13 (Triad and sixth chord of the second degree)", "group": "Chapters", "page": 91 }, { "blockId": "rh-125-002", "title": "14 (Common chord of the sixth degree)", "group": "Chapters", "page": 91 }, { "blockId": "rh-126-001", "title": "Chorale melodies", "group": "Chapters", "page": 92 }, { "blockId": "rh-128-001", "title": "(Dominant seventh chord in root position.)", "group": "Chapters", "page": 94 }, { "blockId": "rh-128-002", "title": "(Inversions of the dominant seventh chord)", "group": "Chapters", "page": 94 }, { "blockId": "rh-129-001", "title": "(Leading-tone seventh chord)", "group": "Chapters", "page": 95 }, { "blockId": "rh-129-002", "title": "(Seventh chord and six-five chord on the second degree)", "group": "Chapters", "page": 95 }, { "blockId": "rh-129-003", "title": "(Plagal cadences)", "group": "Chapters", "page": 95 }, { "blockId": "rh-130-001", "title": "Chorale melodies", "group": "Chapters", "page": 96 }, { "blockId": "rh-131-001", "title": "Chorale melodies with modulations", "group": "Chapters", "page": 97 }, { "blockId": "rh-132-001", "title": "Melodies with modulations", "group": "Chapters", "page": 98 }, { "blockId": "rh-133-001", "title": "27 (Suspensions)", "group": "Chapters", "page": 99 }, { "blockId": "rh-133-002", "title": "28 (Harmonize these chorale melodies with ornamentation in the three lower parts)", "group": "Chapters", "page": 99 }, { "blockId": "rh-135-001", "title": "Melodic ornamentation in the strict style", "group": "Chapters", "page": 101 }, { "blockId": "rh-135-003", "title": "Melodic ornamentation in the free style", "group": "Chapters", "page": 101 }, { "blockId": "rh-136-001", "title": "Melodies without a given bass", "group": "Chapters", "page": 102 }, { "blockId": "rh-136-002", "title": "Given melodies (Anticipation)", "group": "Chapters", "page": 102 }, { "blockId": "rh-136-003", "title": "Melodies with given basses (Indirect anticipation.)", "group": "Chapters", "page": 102 }, { "blockId": "rh-137-001", "title": "Given melodies (Polytonic successions)", "group": "Chapters", "page": 103 }, { "blockId": "rh-contents-heading", "title": "Original Contents", "group": "Chapters", "page": "Table des matières" } ], "lessons": [], "uncertain_readings": [ { "id": "rh-prefaces-005-note-1", "blocks": [ "rh-prefaces-005" ], "status": "needs-review", "reason": "The source prints the name as “Anatolia Konstantinovitch Liadoff”; the English gives the standard form, Anatoly Konstantinovich Liadov." }, { "id": "rh-prefaces-015-note-1", "blocks": [ "rh-prefaces-015" ], "status": "needs-review", "reason": "The page number in “(ex. p. 81)” is faint in the scan; 81 matches the contents entry “Réalisation des chorals” (p. 81)." }, { "id": "rh-prefaces-018-note-1", "blocks": [ "rh-prefaces-018" ], "status": "needs-review", "reason": "Printed “(ex. p. 83)”; the contents list the modulating prelude on p. 85. The source reference is kept as printed." }, { "id": "rh-004-ex03-note-1", "blocks": [ "rh-004-ex03" ], "status": "needs-review", "reason": "The printed label “Avec accord de 5te augm.” begins above f and extends over g; only g (C–E–G♯–B) contains an augmented triad. The label is reproduced as printed." }, { "id": "rh-004-ex12-note-1", "blocks": [ "rh-004-ex12" ], "status": "needs-review", "reason": "Degree labels are printed as I, II nat., III, IV nat., V, V nat., VI over the triads on C, D, E, F, G, A and B; the last two appear to be misprints (VI, VII). The labels are reproduced as printed; the notes are as printed." }, { "id": "rh-ch01-060-note-1", "blocks": [ "rh-ch01-060" ], "status": "needs-review", "reason": "The source prints “Les accords de trois sont” for “trois sons”; read as “sons”." }, { "id": "rh-005-ex16-note-1", "blocks": [ "rh-005-ex16" ], "status": "needs-review", "reason": "The second chord of each IV–? pair is labelled “VI” as printed, but its notes are the dominant triad (G–B–D in C major, E–G♯–B in A minor), as a relation by a second requires. The label is reproduced as printed." }, { "id": "rh-008-ex03-note-1", "blocks": [ "rh-008-ex03" ], "status": "needs-review", "reason": "Bars 1 and 3 open with A–A–A–C (root tripled, no fifth); read at 600 dpi and kept as printed." }, { "id": "rh-009-ex03-note-1", "blocks": [ "rh-009-ex03" ], "status": "needs-review", "reason": "Bars 4 and 5: tenor and bass share the A3 notehead on beat 1 (one head, stems up and down); encoded as unison A3 in both voices. Bar 5 tenor A3 whole is printed beside the bass A3 half." }, { "id": "rh-009-ex04-note-1", "blocks": [ "rh-009-ex04" ], "status": "needs-review", "reason": "Bar 1 V chord is printed as G2–D4–D5–G5 (no third); confirmed on the JP2 master and encoded as printed." }, { "id": "rh-010-ex01-note-1", "blocks": [ "rh-010-ex01" ], "status": "needs-review", "reason": "The bracketed '5's (F4-C5 in pairs 3-4, G4-D5 in pair 4), the diagonal voice-leading lines and a short horizontal stroke on the F3 line in pair 1 are described but not encoded in the MusicXML." }, { "id": "rh-010-ex01-note-2", "blocks": [ "rh-010-ex01" ], "status": "needs-review", "reason": "Pair 4 (Mauvais) puts alto and tenor in unison on G4, and pair 1 alto and soprano in unison on G4, as printed." }, { "id": "rh-010-ex03-note-1", "blocks": [ "rh-010-ex03" ], "status": "needs-review", "reason": "Straight voice-leading lines join each part's two notes (and a stray line runs into the first bass note from the left edge); not encoded." }, { "id": "rh-010-ex04-note-1", "blocks": [ "rh-010-ex04" ], "status": "needs-review", "reason": "The figures 6 under chords 2-3 are printed overlapping the bottom line of the bass staff." }, { "id": "rh-011-ex01-note-1", "blocks": [ "rh-011-ex01" ], "status": "needs-review", "reason": "No time signature printed; encoded unmetered. Each cadence is closed off by a double bar; the A minor examples use a three-half-note bar." }, { "id": "rh-011-ex01-note-2", "blocks": [ "rh-011-ex01" ], "status": "needs-review", "reason": "Figured-bass 6 under the second bass note of the second and fourth cadences is not encoded in MusicXML." }, { "id": "rh-011-ex02-note-1", "blocks": [ "rh-011-ex02" ], "status": "needs-review", "reason": "No time signature printed; encoded unmetered, double bars between cadences." }, { "id": "rh-011-ex02-note-2", "blocks": [ "rh-011-ex02" ], "status": "needs-review", "reason": "Figured-bass 6 under the F of the fourth cadence is not encoded in MusicXML." }, { "id": "rh-011-ex03-note-1", "blocks": [ "rh-011-ex03" ], "status": "needs-review", "reason": "The first bar holds a single half-note chord (an upbeat); encoded as a short first bar." }, { "id": "rh-011-ex04-note-1", "blocks": [ "rh-011-ex04" ], "status": "needs-review", "reason": "Printed label 'I' stands over the first chord of bar 2, which is the IV chord (F–F–A–C); probable misprint for 'IV', kept as printed." }, { "id": "rh-011-ex04-note-2", "blocks": [ "rh-011-ex04" ], "status": "needs-review", "reason": "Bar 4: the alto A4 under the soprano C5 is read as a whole note held under the D5 (no separate alto head on beat 2)." }, { "id": "rh-011-ex04-note-3", "blocks": [ "rh-011-ex04" ], "status": "needs-review", "reason": "First bar is a single half-note upbeat; encoded as a short first bar. Figures 6 (under F) and ♯ (under E) in bar 4 are not encoded in MusicXML." }, { "id": "rh-012-ex01-note-1", "blocks": [ "rh-012-ex01" ], "status": "needs-review", "reason": "Both cadences begin with an upbeat half bar; encoded as short measures marked implicit (also bar 4 after the double bar). In the second cadence the tenor lies high on ledger lines (E4, G4, G4), as printed." }, { "id": "rh-012-ex02-note-1", "blocks": [ "rh-012-ex02" ], "status": "needs-review", "reason": "The first chord (upbeat) of the first A minor cadence is D3–D4–F4–A4, a IV chord, but is labelled \"I\" in the print (clearly a single stroke on the JP2 master); kept as printed, probably a misprint for IV." }, { "id": "rh-012-ex03-note-1", "blocks": [ "rh-012-ex03" ], "status": "needs-review", "reason": "The last alto note (A4) carries a small stroke resembling a stem or flag; read as a whole note like the rest of the example." }, { "id": "rh-013-ex01-note-1", "blocks": [ "rh-013-ex01" ], "status": "needs-review", "reason": "Printed without a time signature and with bars of unequal length (whole notes; half notes; dotted wholes in the third pair of bars); encoded unmetered, as printed." }, { "id": "rh-013-ex01-note-2", "blocks": [ "rh-013-ex01" ], "status": "needs-review", "reason": "The asterisk (*) printed above the tenor of the V chord in b) refers to the page footnote (rh-013-009); it is not encoded in the MusicXML." }, { "id": "rh-013-ex01-note-3", "blocks": [ "rh-013-ex01" ], "status": "needs-review", "reason": "In b) the A-minor V chord (E3, E4, G♯4, B4) is printed in half notes and the following IV (D3, F4, A4, D5) in whole notes, as encoded." }, { "id": "rh-013-ex02-note-1", "blocks": [ "rh-013-ex02" ], "status": "needs-review", "reason": "The alto G4 of bar 1 is tied into bar 2 (printed as a curve under the treble staff); encoded as a tie." }, { "id": "rh-013-ex03-note-1", "blocks": [ "rh-013-ex03" ], "status": "needs-review", "reason": "Ties encoded as printed: tenor E4 bars 1–2, soprano E5 bars 1–2, alto A4 bars 2–3, tenor A3 bars 6–7." }, { "id": "rh-013-ex03-note-2", "blocks": [ "rh-013-ex03" ], "status": "needs-review", "reason": "Bar 6 ends on E3, A3, E4, C5 (a six-four over E) moving to IV6 in bar 7; encoded as printed. No figures are printed under bars 4–8." }, { "id": "rh-014-ex01-note-1", "blocks": [ "rh-014-ex01" ], "status": "needs-review", "reason": "The (*) brackets with 8 and 5 (hidden octave/fifth between the outer voices) and the lines marking the soprano leaps are described, not encoded. Bar 6 and bar 7 print soprano and alto as two adjacent G4 heads (unison); encoded as two voices." }, { "id": "rh-014-ex02-note-1", "blocks": [ "rh-014-ex02" ], "status": "needs-review", "reason": "Bar 4 prints a short dash to the right of the bass A2 (no musical meaning found); ignored. Voice-leading lines marking the tenor leaps are not encoded." }, { "id": "rh-014-ex03-note-1", "blocks": [ "rh-014-ex03" ], "status": "needs-review", "reason": "The curve over the bass staff in bar 1, labelled (**) (footnote: hidden octaves), runs from the tenor whole G3 to the tenor G3 of bar 2 and is encoded as a tie; the hidden octave it refers to is presumably the bracket marked 8 at the barline (soprano G4–C5 against bass B2–C3). Neither marking is encoded in MusicXML." }, { "id": "rh-014-ex04-note-1", "blocks": [ "rh-014-ex04" ], "status": "needs-review", "reason": "A short dash printed after the bass C3 in bar 8 is ignored. The line joining alto C4 (bar 6) to F4 (bar 7) is not encoded." }, { "id": "rh-015-ex02-note-1", "blocks": [ "rh-015-ex02" ], "status": "needs-review", "reason": "Bar 2: the second chord (C3, E4, C5) has no tenor note; the tenor G3 shares a downward stem with the bass E3 on the first half and nothing follows it. Encoded as printed, with an invisible forward for the tenor's second half." }, { "id": "rh-015-ex04-note-1", "blocks": [ "rh-015-ex04" ], "status": "needs-review", "reason": "Bar 7 (final): the tenor C4 is printed as a plain whole note without the dot the 3/2 bar requires; encoded as printed (whole note plus an invisible forward)." }, { "id": "rh-015-ex04-note-2", "blocks": [ "rh-015-ex04" ], "status": "needs-review", "reason": "Bar 7: soprano and alto share A4, printed as two whole-note heads side by side with two dots stacked (the upper dot in the C5 space)." }, { "id": "rh-016-ex01-note-1", "blocks": [ "rh-016-ex01" ], "status": "needs-review", "reason": "Diagonal voice-leading lines (bar 1 above the treble and over the tenor; bar 2 beneath the alto and over the tenor) are not encoded." }, { "id": "rh-016-ex01-note-2", "blocks": [ "rh-016-ex01" ], "status": "needs-review", "reason": "Small specks beside the first soprano C5 and after the last tenor G4 of bar 5 look like printing marks (not a dot of augmentation); not encoded." }, { "id": "rh-016-ex02-note-1", "blocks": [ "rh-016-ex02" ], "status": "needs-review", "reason": "The label over the second chord is printed 'VII mél.'; the chord is the major IV of melodic minor (D–F♯–A), and the parallel example below prints 'IV mél.' — probably a misprint for 'IV mél.'. Kept as printed." }, { "id": "rh-016-ex02-note-2", "blocks": [ "rh-016-ex02" ], "status": "needs-review", "reason": "The labels sit to the right of the chords they name (cramped printing); placed on chords 2 and 3." }, { "id": "rh-016-ex02-note-3", "blocks": [ "rh-016-ex02" ], "status": "needs-review", "reason": "The bracket line over the soprano is not encoded." }, { "id": "rh-016-ex04-note-1", "blocks": [ "rh-016-ex04" ], "status": "needs-review", "reason": "'IV mél.' is printed to the right, between chords 2 and 3, and 'VII' over chord 4; labels placed on chords 2 and 3 (the harmonies they name). The bracket line over the soprano is not encoded." }, { "id": "rh-017-ex01-note-1", "blocks": [ "rh-017-ex01" ], "status": "needs-review", "reason": "Bar 1 of the first group carries a stray printed dot above the staff and another left of the treble staff (specks, not notation); ignored." }, { "id": "rh-017-ex02-note-1", "blocks": [ "rh-017-ex02" ], "status": "needs-review", "reason": "The brackets with the captions \"3ce maj.\" and \"6te min.\" join tenor and alto; described, not encoded in MusicXML." }, { "id": "rh-017-ex04-note-1", "blocks": [ "rh-017-ex04" ], "status": "needs-review", "reason": "Group 2, V chord: tenor and bass both G3, printed as two adjacent whole notes; encoded as a unison." }, { "id": "rh-017-ex04-note-2", "blocks": [ "rh-017-ex04" ], "status": "needs-review", "reason": "Group 3: the cadential six-four (G3–G3–E4–C5) carries no figures in the print; none added. Tenor and bass G3 are each tied into the V chord (two tie arcs, above and below)." }, { "id": "rh-017-ex04-note-3", "blocks": [ "rh-017-ex04" ], "status": "needs-review", "reason": "The Roman numeral over group 3 looks like \"Ii\" (broken type); read as II." }, { "id": "rh-018-ex01-note-1", "blocks": [ "rh-018-ex01" ], "status": "needs-review", "reason": "The diagonal lines marking the tenor's leap ('4' in the first bar, '4te augm.' in the second) are not encoded as lines; the labels are kept as text." }, { "id": "rh-018-ex02-note-1", "blocks": [ "rh-018-ex02" ], "status": "needs-review", "reason": "The lines joining the notes of V to VI (soprano B4–C5 and tenor D4–C4 in the first bar; soprano D5–C5 and tenor B3–C4 in the second) are not encoded." }, { "id": "rh-018-ex02-note-2", "blocks": [ "rh-018-ex02" ], "status": "needs-review", "reason": "A small mark at the right end of the treble staff, at the final barline, looks like a printing speck; not encoded." }, { "id": "rh-018-ex03-note-1", "blocks": [ "rh-018-ex03" ], "status": "needs-review", "reason": "Bar 2 is labelled 'I VI IV', bars 3 and 4 'I VI II'; the II chord is printed as a sixth chord (figure 6 under the bass F2)." }, { "id": "rh-019-ex03-note-1", "blocks": [ "rh-019-ex03" ], "status": "needs-review", "reason": "Group 3 is labelled \"IV nat.\" over its second chord, which is the C major triad (III), exactly as \"III nat.\" in groups 1 and 2; probably a misprint for \"III nat.\" Kept as printed." }, { "id": "rh-020-ex01-note-1", "blocks": [ "rh-020-ex01" ], "status": "needs-review", "reason": "The line joining the bass notes of each group (the descending tetrachord A–G–F–E in the bass) and the bracket under the alto G4–A4–G♯4 in the 'Mauvais' group are not encoded as lines." }, { "id": "rh-020-ex01-note-2", "blocks": [ "rh-020-ex01" ], "status": "needs-review", "reason": "This example opens PDF page 36 without a caption of its own; it illustrates § 33 (natural seventh-degree triad, Phrygian cadence of the second kind), whose text ends on page 35." }, { "id": "rh-020-ex03-note-1", "blocks": [ "rh-020-ex03" ], "status": "needs-review", "reason": "The system ends with an ordinary barline; the chorale continues at the top of PDF page 37 (rh-020-ex04)." }, { "id": "rh-020-ex03-note-2", "blocks": [ "rh-020-ex03" ], "status": "needs-review", "reason": "Unisons as printed: soprano and alto share G4 in the upbeat and on beat 2 of bar 3; tenor and bass share C4 on beat 2 of bar 7." }, { "id": "rh-020-ex04-note-1", "blocks": [ "rh-020-ex04" ], "status": "needs-review", "reason": "Continuation of the chorale begun on PDF page 36; taken into batch 020 under the page-boundary ownership rule. The page-37 worker should begin after this system." }, { "id": "rh-020-ex04-note-2", "blocks": [ "rh-020-ex04" ], "status": "needs-review", "reason": "The meter ¢ is not reprinted on this system; carried over from page 36 in the MusicXML." }, { "id": "rh-020-ex04-note-3", "blocks": [ "rh-020-ex04" ], "status": "needs-review", "reason": "The '(*)' between the staves in bar 9 refers to a footnote printed at the foot of PDF page 37 ('Employer quelquefois la succession des Vme et IVme degrés au milieu du choral'); the footnote itself is left to the page-37 batch. The marker is encoded as text below the alto on beat 2 of bar 9." }, { "id": "rh-020-ex04-note-4", "blocks": [ "rh-020-ex04" ], "status": "needs-review", "reason": "Unisons as printed: tenor and bass share G3 on beat 1 of bar 9 and C4 on beat 1 of bar 13." }, { "id": "rh-021-ex02-note-1", "blocks": [ "rh-021-ex02" ], "status": "needs-review", "reason": "Bar 12 beat 2: alto G4 printed without a sharp, the G♯4 earlier in the same bar governing it; encoded as G♯4." }, { "id": "rh-021-ex02-note-2", "blocks": [ "rh-021-ex02" ], "status": "needs-review", "reason": "Bar 11 beat 2 (F3 D4 A4 D5) carries no figure 6 although the bass holds the third; encoded as printed." }, { "id": "rh-021-ex02-note-3", "blocks": [ "rh-021-ex02" ], "status": "needs-review", "reason": "Fermatas (bars 4, 8 beat 1, 12 beat 2, 16) are encoded on soprano and bass." }, { "id": "rh-022-ex01-note-1", "blocks": [ "rh-022-ex01" ], "status": "needs-review", "reason": "In each pair the leading note B, in an inner voice, falls to G instead of rising to C — the usual free resolution that keeps the tonic chord complete. Encoded as printed." }, { "id": "rh-023-ex01-note-1", "blocks": [ "rh-023-ex01" ], "status": "needs-review", "reason": "Bracketed flat (♭) before A in each IV chord (optional A♭, minor mode); MusicXML gives A natural." }, { "id": "rh-023-ex02-note-1", "blocks": [ "rh-023-ex02" ], "status": "needs-review", "reason": "5): the final tenor C4 (whole note) is followed by a dot, likely a stray/misprint; encoded as an undotted whole." }, { "id": "rh-023-ex02-note-2", "blocks": [ "rh-023-ex02" ], "status": "needs-review", "reason": "3): a short dash after the final alto G4, meaning unclear; not encoded." }, { "id": "rh-023-004-note-1", "blocks": [ "rh-023-004" ], "status": "needs-review", "reason": "The paragraph is lettered \"b)\" as printed, although it follows a) b) c) of item 5) on pages 38–39; kept as printed (perhaps meant as a further numbered point of § 36)." }, { "id": "rh-024-ex01-note-1", "blocks": [ "rh-024-ex01" ], "status": "needs-review", "reason": "Bracketed flat before A4 of the IV chord (bar 2): optional A♭ (harmonic major); MusicXML encodes A natural." }, { "id": "rh-024-ex02-note-1", "blocks": [ "rh-024-ex02" ], "status": "needs-review", "reason": "Bracketed flat before A4 of the IV chord (bar 3): MusicXML encodes A natural." }, { "id": "rh-024-ex02-note-2", "blocks": [ "rh-024-ex02" ], "status": "needs-review", "reason": "Bar 2 opens with a first-inversion tonic labelled \"I\" (figure 6); bar 4 opens with V6 labelled \"V\" (figure 6)." }, { "id": "rh-024-ex03-note-1", "blocks": [ "rh-024-ex03" ], "status": "needs-review", "reason": "Bracketed flats before A4 in the IV (bar 2) and II6 (bar 5) chords: MusicXML encodes A natural." }, { "id": "rh-024-ex03-note-2", "blocks": [ "rh-024-ex03" ], "status": "needs-review", "reason": "Bar 5 ends on the unresolved V4/2, as printed." }, { "id": "rh-024-ex04-note-1", "blocks": [ "rh-024-ex04" ], "status": "needs-review", "reason": "The first chord of bar 2 is a first-inversion tonic (bass E3) with no figure 6 printed beneath it; kept as printed." }, { "id": "rh-024-ex04-note-2", "blocks": [ "rh-024-ex04" ], "status": "needs-review", "reason": "The alto G4 of the V4/2 in bar 3 is a partly broken notehead in the scan (confirmed on the JP2)." }, { "id": "rh-025-ex01-note-1", "blocks": [ "rh-025-ex01" ], "status": "needs-review", "reason": "The bass-staff (*) and the bracket '8' (hidden octaves B2–C3 / G4–C5) are not encoded." }, { "id": "rh-025-ex03-note-1", "blocks": [ "rh-025-ex03" ], "status": "needs-review", "reason": "Figure '2' in bar 3 (beat 2) and '7' in bar 7 (beat 3) stand under held bass notes; encoded on the tenor G3 and alto F4 events that begin there." }, { "id": "rh-025-ex03-note-2", "blocks": [ "rh-025-ex03" ], "status": "needs-review", "reason": "Bar 7 beat 1: tenor and bass share one G3 notehead; encoded as two G3s." }, { "id": "rh-025-ex04-note-1", "blocks": [ "rh-025-ex04" ], "status": "needs-review", "reason": "A small arc is printed just above the tenor E4 in the second chord of d); purpose unclear (possibly a stray mark), not encoded." }, { "id": "rh-025-ex04-note-2", "blocks": [ "rh-025-ex04" ], "status": "needs-review", "reason": "The flats in a)–c) are printed in parentheses (optional A♭ for the diminished form); encoded as A natural, the unbracketed reading. d) prints A♭ without parentheses." }, { "id": "rh-026-ex01-note-1", "blocks": [ "rh-026-ex01" ], "status": "needs-review", "reason": "In both I chords the upper voices are E4 and G4 over tenor E4 (third doubled, no root above the bass), as printed." }, { "id": "rh-026-ex01-note-2", "blocks": [ "rh-026-ex01" ], "status": "needs-review", "reason": "Bar 2: the natural before the VII chord's A4 is printed in parentheses (cautionary); encoded as an explicit natural." }, { "id": "rh-026-ex02-note-1", "blocks": [ "rh-026-ex02" ], "status": "needs-review", "reason": "\"VII\" in bar 3 stands over the second eighth (bass B2) while soprano A♭4 and alto F4 are held quarters; the label is attached to the soprano quarter in MusicXML." }, { "id": "rh-026-ex02-note-2", "blocks": [ "rh-026-ex02" ], "status": "needs-review", "reason": "Figure 7 in bar 7 falls on the fourth eighth (alto passing F4) and is attached to that alto note." }, { "id": "rh-026-ex03-note-1", "blocks": [ "rh-026-ex03" ], "status": "needs-review", "reason": "a) and b): the flat before A4 in the II6/5 chord is printed in parentheses (optional A♭, minor-mode variant); encoded as A natural." }, { "id": "rh-026-ex03-note-2", "blocks": [ "rh-026-ex03" ], "status": "needs-review", "reason": "Final barline printed as a light double bar; the MusicXML ends with the default final barline." }, { "id": "rh-026-ex04-note-1", "blocks": [ "rh-026-ex04" ], "status": "needs-review", "reason": "f): the 3 of the 4/3 figure is followed by a dot (probably a print speck); omitted." }, { "id": "rh-026-ex04-note-2", "blocks": [ "rh-026-ex04" ], "status": "needs-review", "reason": "Printed on PDF 43 (printed p. 35); owned by this batch because examples a)–g) start on PDF 42." }, { "id": "rh-027-ex01-note-1", "blocks": [ "rh-027-ex01" ], "status": "needs-review", "reason": "Figure '2' in bar 1 and '7' in bar 7 (beat 3) stand under held bass notes; encoded on the tenor G♯3 and alto D4 events that begin there." }, { "id": "rh-027-ex01-note-2", "blocks": [ "rh-027-ex01" ], "status": "needs-review", "reason": "The extension line of '8—7' in bar 7 is not encoded." }, { "id": "rh-027-ex02-note-1", "blocks": [ "rh-027-ex02" ], "status": "needs-review", "reason": "The A in each IV chord of the C-major system is printed with a parenthesized flat, (♭), an optional A♭; encoded as A natural." }, { "id": "rh-027-ex02-note-2", "blocks": [ "rh-027-ex02" ], "status": "needs-review", "reason": "The lines joining the held bass F3/D3 to the final C3/A2 are not encoded." }, { "id": "rh-027-ex02-note-3", "blocks": [ "rh-027-ex02" ], "status": "needs-review", "reason": "The first system ends with a final double bar and the second system has no time signature; encoded as one 4/4 example of two systems, the end of the first system as a light double bar." }, { "id": "rh-028-ex01-note-1", "blocks": [ "rh-028-ex01" ], "status": "needs-review", "reason": "Bars 10 beat 2 and 12 beat 1: the tenor C4 (on its ledger line) and bass A3 are engraved so closely that the stack reads like three noteheads; read as C4 + A3, as both OMR drafts and the figured harmony (6; deceptive vi) agree." }, { "id": "rh-028-ex01-note-2", "blocks": [ "rh-028-ex01" ], "status": "needs-review", "reason": "Bar 3 beat 1 is printed F3 A3 A4 C5 (third doubled, no root in the upper parts); encoded as printed." }, { "id": "rh-028-ex01-note-3", "blocks": [ "rh-028-ex01" ], "status": "needs-review", "reason": "Fermatas of bars 8 and 16 are printed above the bass staff; encoded on soprano and bass like the others." }, { "id": "rh-028-ex01-note-4", "blocks": [ "rh-028-ex01" ], "status": "needs-review", "reason": "In bars 11 and 15 the figures 8–7 are encoded as 8 on the bass G3 and 7 on the alto F4 quarter where it begins." }, { "id": "rh-028-ex03-note-1", "blocks": [ "rh-028-ex03" ], "status": "needs-review", "reason": "Labels MAJEUR/MINEUR and the degree numerals IV V are combined into the soprano text annotations." }, { "id": "rh-230-ex01-note-1", "blocks": [ "rh-230-ex01" ], "status": "needs-review", "reason": "Straight lines join the moving voices of the first pairs (soprano F5–D5, alto A4–G4; soprano E5–C5, alto G4–F4; tenor B3–A3); they are not encoded." }, { "id": "rh-230-ex01-note-2", "blocks": [ "rh-230-ex01" ], "status": "needs-review", "reason": "Brackets under the first five bass notes carry the digits 2, 3, 2, 3 (the bass intervals of a second and a third); described, not encoded." }, { "id": "rh-230-ex02-note-1", "blocks": [ "rh-230-ex02" ], "status": "needs-review", "reason": "The lower staff is printed high: tenor and bass begin above the bass staff on ledger lines (bass D4, tenor F4) and descend into it; encoded as printed." }, { "id": "rh-230-ex02-note-2", "blocks": [ "rh-230-ex02" ], "status": "needs-review", "reason": "Where tenor and bass share a pitch they are printed as two heads side by side; encoded as a unison." }, { "id": "rh-230-ex02-note-3", "blocks": [ "rh-230-ex02" ], "status": "needs-review", "reason": "Straight lines join the moving voices of the first pairs and brackets join the first five bass notes (no digits); described, not encoded." }, { "id": "rh-230-ex02-note-4", "blocks": [ "rh-230-ex02" ], "status": "needs-review", "reason": "The last chord, V harm., is printed as E3 E3 B3 G♯4 (no fifth), as encoded." }, { "id": "rh-230-004-note-1", "blocks": [ "rh-230-004" ], "status": "needs-review", "reason": "The first \"de\" is printed with a stray mark over the e (\"dē\"/\"dé\"); read as \"de\"." }, { "id": "rh-231-ex01-note-1", "blocks": [ "rh-231-ex01" ], "status": "needs-review", "reason": "The three sequences are printed on one line, joined by the word \"au\", each closed by a double bar and \"etc.\"; encoded as three bars." }, { "id": "rh-231-ex01-note-2", "blocks": [ "rh-231-ex01" ], "status": "needs-review", "reason": "Third sequence: unisons between the two lowest voices (V, VI, VII) are printed as two side-by-side note heads; encoded as doubled pitches." }, { "id": "rh-231-ex02-note-1", "blocks": [ "rh-231-ex02" ], "status": "needs-review", "reason": "Chord 12 (E2 E3 E4 G4, the III chord) is labelled \"IV\" in the print — a misprint for III; encoded as printed." }, { "id": "rh-231-ex02-note-2", "blocks": [ "rh-231-ex02" ], "status": "needs-review", "reason": "Complete seventh chords alternate with incomplete triads (root tripled, no fifth), as the following paragraph states." }, { "id": "rh-231-ex03-note-1", "blocks": [ "rh-231-ex03" ], "status": "needs-review", "reason": "The tenor is printed on ledger lines above the bass staff (G4, F4); encoded on the bass staff as printed." }, { "id": "rh-231-ex04-note-1", "blocks": [ "rh-231-ex04" ], "status": "needs-review", "reason": "Bass and tenor unisons in every triad are printed as two side-by-side note heads; encoded as doubled pitches." }, { "id": "rh-231-ex04-note-2", "blocks": [ "rh-231-ex04" ], "status": "needs-review", "reason": "Chord 4 (VII nat.) carries a printed natural on G4 after the G♯4 of chord 1." }, { "id": "rh-231-ex05-note-1", "blocks": [ "rh-231-ex05" ], "status": "needs-review", "reason": "Chord 3 (D3 D4 F4 C5, an incomplete IV7 figured 7) is labelled \"V\" in the print — a misprint for IV; encoded as printed." }, { "id": "rh-232-003-note-1", "blocks": [ "rh-232-003" ], "status": "needs-review", "reason": "Printed \"b)\" although it follows exercises a)–c); the parallel instruction on PDF 45 reads \"2) Ecrire les mêmes marches en mineur.\" Kept as printed." }, { "id": "rh-232-ex05-note-1", "blocks": [ "rh-232-ex05" ], "status": "needs-review", "reason": "Unlike the major model, the minor model prints no ties on the bass staff between the tenor's repeated notes; encoded as printed (re-struck)." }, { "id": "rh-233-ex01-note-1", "blocks": [ "rh-233-ex01" ], "status": "needs-review", "reason": "The seventh chords are figured 7 below the bass; the triads carry no figure. Soprano and tenor are tied from each triad into the following seventh chord, as printed." }, { "id": "rh-233-ex01-note-2", "blocks": [ "rh-233-ex01" ], "status": "needs-review", "reason": "The opening VII7 (B3 F4 D5 A5) resolves to a tonic with doubled third (C4 E4 E5 G5), the 'less natural' model named in the text; the final I (C3 E3 E4 G4) likewise doubles the third." }, { "id": "rh-233-ex02-note-1", "blocks": [ "rh-233-ex02" ], "status": "needs-review", "reason": "Straight lines with the digit 3 join the successive bass notes C5–A4–F4–D4 (falling thirds); they are not encoded." }, { "id": "rh-233-ex02-note-2", "blocks": [ "rh-233-ex02" ], "status": "needs-review", "reason": "First chord: C5 is printed twice, as two heads side by side (unison doubling)." }, { "id": "rh-233-ex03-note-1", "blocks": [ "rh-233-ex03" ], "status": "needs-review", "reason": "Straight lines with the digits 3 and 2 join the bass notes (C–E–F, D–F–G, E–G–A); they are not encoded." }, { "id": "rh-233-ex04-note-1", "blocks": [ "rh-233-ex04" ], "status": "needs-review", "reason": "No time signature is printed; each half of the example is encoded as printed in half notes (FAIBLE: one half-note chord in each of two bars; BON: two half-note chords over a whole-note bass in one bar)." }, { "id": "rh-233-ex04-note-2", "blocks": [ "rh-233-ex04" ], "status": "needs-review", "reason": "The bass F4 is printed as a separate head beside the upper voices' F4 (unison doubling)." }, { "id": "rh-233-ex05-note-1", "blocks": [ "rh-233-ex05" ], "status": "needs-review", "reason": "The degree label over the second chord of the MAUVAIS half is printed 'I', but the chord is D–F–A–D (IV of A minor; the BON half labels its corresponding chord IV). Probably a misprint or broken type for 'IV'; encoded as printed ('I')." }, { "id": "rh-233-ex05-note-2", "blocks": [ "rh-233-ex05" ], "status": "needs-review", "reason": "In the MAUVAIS half the tie joins the bass D4 of the second chord of bar 1 to the bass D4 of the first chord of bar 2 (across the barline)." }, { "id": "rh-233-ex05-note-3", "blocks": [ "rh-233-ex05" ], "status": "needs-review", "reason": "No time signature is printed; two half-note chords per bar. The print stems the upper voices up and the bass (and in the first chord also the tenor E4) down; the MusicXML puts the three upper voices in one voice and the bass in another." }, { "id": "rh-233-ex05-note-4", "blocks": [ "rh-233-ex05" ], "status": "needs-review", "reason": "The V chords print the bass E4 as a separate head beside the tenor E4 (unison); a sharp before G4." }, { "id": "rh-233-ex06-note-1", "blocks": [ "rh-233-ex06" ], "status": "needs-review", "reason": "Upper voices are whole notes held over two bass half notes (A3, C4 figured 6)." }, { "id": "rh-233-ex07-note-1", "blocks": [ "rh-233-ex07" ], "status": "needs-review", "reason": "First group: D5 is printed twice side by side over the first chord (unison doubling). Second group: the C5 of the first chord is printed to the right of the D5, as an adjacent second; no figure is printed under that first chord." }, { "id": "rh-233-ex07-note-2", "blocks": [ "rh-233-ex07" ], "status": "needs-review", "reason": "A4 is tied through all three chords of each group, and C5 through the second group; the soprano rises D5–E5–F5 against the falling bass F4–E4–D4." }, { "id": "rh-234-001-note-1", "blocks": [ "rh-234-001" ], "status": "needs-review", "reason": "Print damaged: \"s ir l. même basse\"; read as \"sur la même basse\"." }, { "id": "rh-234-ex01-note-1", "blocks": [ "rh-234-ex01" ], "status": "needs-review", "reason": "The final bass A3 is crossed by a short stroke and a small mark follows the last upper chord; read as print blemishes." }, { "id": "rh-234-ex02-note-1", "blocks": [ "rh-234-ex02" ], "status": "needs-review", "reason": "Bar 2: the lower voice is printed only as a half note C5 beside the dotted-whole chord; encoded as printed (half note, rest of the bar empty in that voice)." }, { "id": "rh-234-ex02-note-2", "blocks": [ "rh-234-ex02" ], "status": "needs-review", "reason": "Three curved lines join the upper chords across the barline in each half; encoded as ties on C5, E5 and G5." }, { "id": "rh-234-007-note-1", "blocks": [ "rh-234-007" ], "status": "needs-review", "reason": "\"augmentés\": the accent is not clearly visible in the scan (OCR \"augmentes\")." }, { "id": "rh-031-ex01-note-1", "blocks": [ "rh-031-ex01" ], "status": "needs-review", "reason": "c) label \"(I = III nat.)\" read on the JP2 master: printed exactly so (C major I = III of the natural minor); kept as printed." }, { "id": "rh-031-ex01-note-2", "blocks": [ "rh-031-ex01" ], "status": "needs-review", "reason": "b) the bracketed 6/4 and the following dominant are printed with three heads (single E), whereas in a) the E is doubled as two side-by-side heads; encoded as printed." }, { "id": "rh-031-ex01-note-3", "blocks": [ "rh-031-ex01" ], "status": "needs-review", "reason": "b) a small curved mark after the G of the first chord, probably a blemish; not encoded." }, { "id": "rh-031-ex08-note-1", "blocks": [ "rh-031-ex08" ], "status": "needs-review", "reason": "The first part is labelled \"d)\" in the print although the second is \"b)\"; probably a misprint for \"a)\". Kept as printed." }, { "id": "rh-031-ex12-note-1", "blocks": [ "rh-031-ex12" ], "status": "needs-review", "reason": "The figure 3 of the 4/3 under the second chord is printed low, level with the top of the following text line; the crop stops just below it, before the prose." }, { "id": "rh-032-ex01-note-1", "blocks": [ "rh-032-ex01" ], "status": "needs-review", "reason": "b) fifth chord G–G–B–D is printed without a flat on the B; the flat of the preceding B♭ chord (same unbarred segment) is taken to carry, and it is encoded B♭ (G minor, II of F). If the B was meant natural, this is a misprint either way." }, { "id": "rh-032-ex01-note-2", "blocks": [ "rh-032-ex01" ], "status": "needs-review", "reason": "b) the bracketed 6/4 A–F–A–D has a single A in the bass with a ledger line; parentheses not encoded." }, { "id": "rh-032-ex02-note-1", "blocks": [ "rh-032-ex02" ], "status": "needs-review", "reason": "The bracketed 6/4 C–C–F–A carries a natural on the doubled C, cancelling the C♯ of the A major chord earlier in the same unbarred segment; encoded C natural." }, { "id": "rh-032-ex05-note-1", "blocks": [ "rh-032-ex05" ], "status": "needs-review", "reason": "Printed “et 2” between the two examples; the first example carries no number. The G major chord is printed as a separate G head before a G–B–D chord (unison G as two heads), bass rising C4–G4; encoded as printed." }, { "id": "rh-033-ex01-note-1", "blocks": [ "rh-033-ex01" ], "status": "needs-review", "reason": "The two tie curves between the first two chords are encoded as ties on the common tones C5 (upper curve) and E4 (lower curve, which starts below the bass C4 and ends at the E of the A minor chord)." }, { "id": "rh-033-ex01-note-2", "blocks": [ "rh-033-ex01" ], "status": "needs-review", "reason": "The final A minor chord is printed A–C–A–A (no fifth; unison A as two heads); encoded as printed." }, { "id": "rh-033-ex05-note-1", "blocks": [ "rh-033-ex05" ], "status": "needs-review", "reason": "Two curves join the G major chord to the E minor chord: one between the B and G heads, one below the chord from the D to the lower E. They are encoded as ties on the common tones B4 and G4; the engraver's placement does not show unambiguously which notes they join." }, { "id": "rh-033-ex06-note-1", "blocks": [ "rh-033-ex06" ], "status": "needs-review", "reason": "A curve below the staff joins the second (right-hand) F of the F major chord to the D minor chord; encoded as a tie on an upper-voice F4." }, { "id": "rh-033-ex07-note-1", "blocks": [ "rh-033-ex07" ], "status": "needs-review", "reason": "The two tie curves between the first two chords are encoded as ties on the common tones E4 and C4 (tenor)." }, { "id": "rh-033-ex08-note-1", "blocks": [ "rh-033-ex08" ], "status": "needs-review", "reason": "Curves above (A) and below (F) join the F major chord to the D minor chord; encoded as ties on A4 and an upper-voice F4." }, { "id": "rh-033-ex09-note-1", "blocks": [ "rh-033-ex09" ], "status": "needs-review", "reason": "The final chord “mi” is printed with only three noteheads (E4–G4–B4), where the other examples have four; a unison E (two heads) may have been intended. Encoded as printed: bass E4, upper G4–B4." }, { "id": "rh-033-ex15-note-1", "blocks": [ "rh-033-ex15" ], "status": "needs-review", "reason": "The naturals on the bass G (bar 1) and the treble A (bar 2) are printed as cautionary accidentals and encoded as such." }, { "id": "rh-033-ex15-note-2", "blocks": [ "rh-033-ex15" ], "status": "needs-review", "reason": "The diagonal lines marking the false relations are not encoded in MusicXML." }, { "id": "rh-064-ex02-note-1", "blocks": [ "rh-064-ex02" ], "status": "needs-review", "reason": "A curve below the staff joins the bass G3 to G♯3 (chromatic motion); encoded as a slur." }, { "id": "rh-064-ex02-note-2", "blocks": [ "rh-064-ex02" ], "status": "needs-review", "reason": "A straight line joins the G4 of the second chord to the F4 of the third (voice-leading line); not encoded." }, { "id": "rh-064-ex03-note-1", "blocks": [ "rh-064-ex03" ], "status": "needs-review", "reason": "A curve joins the D4 of the G major chord to the D♯4 of the next chord (chromatic motion); encoded as a slur." }, { "id": "rh-064-ex03-note-2", "blocks": [ "rh-064-ex03" ], "status": "needs-review", "reason": "In the third chord B4 and A4 are printed side by side (a second apart); they are read as one chord, F♯3–D♯4–A4–B4, matching the printed figures 4/3, not as a suspension." }, { "id": "rh-064-ex04-note-1", "blocks": [ "rh-064-ex04" ], "status": "needs-review", "reason": "The final D minor chord is printed D–F–F–A (unison F as two heads); encoded as printed." }, { "id": "rh-064-ex05-note-1", "blocks": [ "rh-064-ex05" ], "status": "needs-review", "reason": "The second chord is printed G3–E4–A4–C♯5 (no G above; the seventh is in the bass); encoded as printed." }, { "id": "rh-064-ex06-note-1", "blocks": [ "rh-064-ex06" ], "status": "needs-review", "reason": "In the third chord A4 and B4 are printed side by side (a second apart); read as one chord F♯3–A4–B4–D♯5, matching the figures 4/3." }, { "id": "rh-064-ex06-note-2", "blocks": [ "rh-064-ex06" ], "status": "needs-review", "reason": "The final E minor chord is printed E3–G4–B4–E5." }, { "id": "rh-064-ex08-note-1", "blocks": [ "rh-064-ex08" ], "status": "needs-review", "reason": "The label over the D minor chord is printed '(II = IV)'. D minor is II of C and VI of F; by analogy with the other examples ('(IV = VI nat.)') '(II = VI)' may be meant. Kept as printed." }, { "id": "rh-064-ex08-note-2", "blocks": [ "rh-064-ex08" ], "status": "needs-review", "reason": "A curve joins the D5 of the D minor chord to the D♭5 of the B♭ minor chord (chromatic motion); encoded as a slur." }, { "id": "rh-064-ex08-note-3", "blocks": [ "rh-064-ex08" ], "status": "needs-review", "reason": "The C seventh chord (C4–E4–B♭4–C5) is printed in parentheses (optional chord); the parentheses are not encoded and the chord is played in sequence." }, { "id": "rh-064-ex09-note-1", "blocks": [ "rh-064-ex09" ], "status": "needs-review", "reason": "A curve below the staff joins the first chord to the E♭ of the second; encoded as a slur E4–E♭4 (the chromatic motion). Its exact endpoints are not unambiguous." }, { "id": "rh-064-ex09-note-2", "blocks": [ "rh-064-ex09" ], "status": "needs-review", "reason": "The D major chord (D4–D4–F♯4–A4, unison D as two heads) is printed in parentheses (optional chord); the parentheses are not encoded." }, { "id": "rh-064-ex10-note-1", "blocks": [ "rh-064-ex10" ], "status": "needs-review", "reason": "The parenthesized G major chord is printed G4–G4–B4–D5 (unison G as two heads, no lower bass); encoded as printed, parentheses not encoded." }, { "id": "rh-064-ex10-note-2", "blocks": [ "rh-064-ex10" ], "status": "needs-review", "reason": "No curve is printed for the chromatic A–A♭." }, { "id": "rh-064-ex11-note-1", "blocks": [ "rh-064-ex11" ], "status": "needs-review", "reason": "The C seventh chord (C4–E4–B♭4–C5) is printed in parentheses (optional chord); the parentheses are not encoded." }, { "id": "rh-064-ex11-note-2", "blocks": [ "rh-064-ex11" ], "status": "needs-review", "reason": "No curve is printed for the chromatic D–D♭." }, { "id": "rh-064-ex12-note-1", "blocks": [ "rh-064-ex12" ], "status": "needs-review", "reason": "The D major chord (D4–D4–F♯4–A4, unison D as two heads) is printed in parentheses (optional chord); the parentheses are not encoded." }, { "id": "rh-065-ex01-note-1", "blocks": [ "rh-065-ex01" ], "status": "needs-review", "reason": "The fifth and sixth chords of the first modulation (F–A–A–D and E–G–A–C♯, figured 4/3) are printed inside one pair of parentheses (optional chords); played in sequence, parentheses not encoded." }, { "id": "rh-065-ex01-note-2", "blocks": [ "rh-065-ex01" ], "status": "needs-review", "reason": "Printed unisons kept as two noteheads: G4 in the second and third chords, A4 in the fourth, G4 in the final Sol chord." }, { "id": "rh-065-ex01-note-3", "blocks": [ "rh-065-ex01" ], "status": "needs-review", "reason": "The curve over the second and third chords of the first modulation is encoded as a slur B4→B♭4 (the chromatic step); it is printed high above the staff without a precise attachment." }, { "id": "rh-065-014-note-1", "blocks": [ "rh-065-014" ], "status": "needs-review", "reason": "The French sentence is grammatically loose ('… et l'accord de sixte du Ier degré tout en étant suffisant, il est évident …'); the translation reads it as a concessive: the first-degree sixth chord suffices, but such a modulation is not definitive." }, { "id": "rh-065-ex02-note-1", "blocks": [ "rh-065-ex02" ], "status": "needs-review", "reason": "The caption reads (La-ré-La), but the printed four-bar phrase ends on the D minor chord with a final double bar; no return to A minor is printed. Encoded as printed." }, { "id": "rh-065-ex02-note-2", "blocks": [ "rh-065-ex02" ], "status": "needs-review", "reason": "Bar 1: the alto A4 is a whole note (no stem) under the soprano C5–D5 halves; bar 2: the soprano C5 is a whole note followed by a half-note C5, and the tenor E4 is a whole note; bar 3: the tenor E4 is a whole note." }, { "id": "rh-065-ex02-note-3", "blocks": [ "rh-065-ex02" ], "status": "needs-review", "reason": "Bar 3, beat 2: the alto B is read as B♭ (the flat printed in the first chord of the bar persists)." }, { "id": "rh-066-ex01-note-1", "blocks": [ "rh-066-ex01" ], "status": "needs-review", "reason": "No label b) is printed on this page or at the end of p. 48: the page opens directly with this second model after assignment a) and its model (La-ré-La), and the next assignment is labelled c). The Do-Fa-Do model is eight bars long and returns to the first key, so it evidently illustrates a missing assignment b) (eight-bar periods with a return to the preceding key, as opposed to c) \"sans retour\"); recorded as printed, no b) text supplied." }, { "id": "rh-066-ex01-note-2", "blocks": [ "rh-066-ex01" ], "status": "needs-review", "reason": "Bar 5: the natural before B4 is printed (a courtesy natural after the B♭ of bar 4)." }, { "id": "rh-066-ex01-note-3", "blocks": [ "rh-066-ex01" ], "status": "needs-review", "reason": "Bars 3–4: the soprano C5 whole note is tied to the first half note of bar 4; bars 6–7: the alto C5 is tied across the barline." }, { "id": "rh-066-ex02-note-1", "blocks": [ "rh-066-ex02" ], "status": "needs-review", "reason": "Bar 4: the bass has an E3 whole note and, beside it, an E3 half note followed by a parenthesized (D3) half note — an optional passing note. Encoded as the unbracketed reading (E3 whole note); the option E3–(D3) is described here and in the asset description." }, { "id": "rh-066-ex02-note-2", "blocks": [ "rh-066-ex02" ], "status": "needs-review", "reason": "Bar 7: tenor and bass share D3 as two whole notes printed side by side (unison)." }, { "id": "rh-066-ex03-note-1", "blocks": [ "rh-066-ex03" ], "status": "needs-review", "reason": "The bracket \"tons de passage\" runs from the second chord of bar 1 to about the start of bar 4; the boxed bracket \"ton de passage\" stands over the last chord of bar 6 (the A minor chord). Brackets are described, not encoded." }, { "id": "rh-066-ex03-note-2", "blocks": [ "rh-066-ex03" ], "status": "needs-review", "reason": "Bar 6: the tenor D4 carries a printed natural (courtesy, after the D♯4 of the alto in bar 5); bar 2: the soprano A4 carries a printed natural cancelling the A♭ of bar 1; bar 3: the soprano G4 carries a printed natural after G♯4." }, { "id": "rh-066-ex03-note-3", "blocks": [ "rh-066-ex03" ], "status": "needs-review", "reason": "Bar 7, first chord: the soprano G♯4 half-note head is printed faintly and reads at first like two small heads; read as one G♯4 (cadential 6/4 over B, resolving to B7)." }, { "id": "rh-066-ex03-note-4", "blocks": [ "rh-066-ex03" ], "status": "needs-review", "reason": "Bar 8: the final bass chord shows the sharp before G3 printed as if doubled (two short sharp signs stacked); read as one sharp on G♯3 over E3. Soprano and alto share E4 (two dotted whole notes side by side)." }, { "id": "rh-066-ex04-note-1", "blocks": [ "rh-066-ex04" ], "status": "needs-review", "reason": "Chord 3 has two A5 heads printed side by side (unison)." }, { "id": "rh-066-ex04-note-2", "blocks": [ "rh-066-ex04" ], "status": "needs-review", "reason": "The bracket \"ton de passage\" covers chords 4–5 (A7 – D minor); described, not encoded." }, { "id": "rh-066-ex04-note-3", "blocks": [ "rh-066-ex04" ], "status": "needs-review", "reason": "Chord 6 repeats the sharp on G♯5 already printed in chord 2; the last chord carries a natural on C5 cancelling C♯5." }, { "id": "rh-066-ex05-note-1", "blocks": [ "rh-066-ex05" ], "status": "needs-review", "reason": "The word MAUVAIS is printed once, above the start of b) (to the left of the b) label, over the double bar), not centred over the whole example; the NOTA covers both cases, so it is taken to apply to a) and b)." }, { "id": "rh-066-ex05-note-2", "blocks": [ "rh-066-ex05" ], "status": "needs-review", "reason": "a), chord 3 (D minor): a second F4 head is printed beside the F4 of the chord, read as a unison (D4–F4–F4–A4); a), chord 4: G4 with F4 printed beside it (B3–D4–F4–G4, the second displaced). a), chord 5: the two C4 heads side by side (unison)." }, { "id": "rh-066-ex05-note-3", "blocks": [ "rh-066-ex05" ], "status": "needs-review", "reason": "a): the C4 of chord 5 carries no natural after the C♯4 of chord 2 (each chord is read on its own in this unbarred example); the MusicXML may show a natural." }, { "id": "rh-066-ex05-note-4", "blocks": [ "rh-066-ex05" ], "status": "needs-review", "reason": "b), chord 5 (F♯ minor): an A4 head is printed beside the A4 (unison F♯4–A4–A4–C♯5). b), last chord (E major): only three noteheads are printed (E4–G♯4–B4), with a natural on E4 cancelling E♯4; encoded as printed with three notes." }, { "id": "rh-066-ex05-note-5", "blocks": [ "rh-066-ex05" ], "status": "needs-review", "reason": "The brackets \"ré\" (a), chords 2–3) and \"fa♯\" (b), chords 4–5) are described, not encoded." }, { "id": "rh-067-ex01-note-1", "blocks": [ "rh-067-ex01" ], "status": "needs-review", "reason": "No meter is printed; encoded unmetered, two half notes per bar as barred." }, { "id": "rh-067-ex02-note-1", "blocks": [ "rh-067-ex02" ], "status": "needs-review", "reason": "Unmetered whole-note chords; each printed half (a, b) encoded as one bar of four chords, the double bar between them kept." }, { "id": "rh-067-ex03-note-1", "blocks": [ "rh-067-ex03" ], "status": "needs-review", "reason": "Bar 8, second chord: tenor and bass share one A♮3 notehead (stems up and down); the tie after it is encoded on the tenor into bar 9 (the bass moves to D3)." }, { "id": "rh-067-ex03-note-2", "blocks": [ "rh-067-ex03" ], "status": "needs-review", "reason": "Bar 9, soprano G♯4: a small curl/mark is printed just above the notehead (ink flaw or stray sign); not encoded." }, { "id": "rh-067-ex03-note-3", "blocks": [ "rh-067-ex03" ], "status": "needs-review", "reason": "Unisons on one notehead encoded as two voices: soprano/alto B4 (bar 6 beat 2), tenor/bass A3 (bar 8 beat 2, bar 15 beat 1, bar 17 beat 1)." }, { "id": "rh-067-ex03-note-4", "blocks": [ "rh-067-ex03" ], "status": "needs-review", "reason": "Final-bar fermata printed above the bass staff (on the tenor/bass chord) is not encoded; only the soprano fermata is. The (**) footnote marker in bar 8 is described, not encoded." }, { "id": "rh-067-ex03-note-5", "blocks": [ "rh-067-ex03" ], "status": "needs-review", "reason": "Final barline printed as a thin double bar; encoded as the standard final barline." }, { "id": "rh-067-ex04-note-1", "blocks": [ "rh-067-ex04" ], "status": "needs-review", "reason": "Bar 4, alto beat 1: the notehead sits in the A4 space with a natural sign before it; read as A4 with a courtesy natural (after the tenor A♭3 of bar 3). A B♮4 reading is possible if the head is misplaced." }, { "id": "rh-067-ex04-note-2", "blocks": [ "rh-067-ex04" ], "status": "needs-review", "reason": "Phrase brackets (Ire phrase over bars 1–2, IIme phrase over bars 5–6) encoded as text above the first bar of each phrase." }, { "id": "rh-067-ex04-note-3", "blocks": [ "rh-067-ex04" ], "status": "needs-review", "reason": "Long curves under the alto from bar 1 to bar 2 and bar 5 to bar 6 (F4–F4) encoded as ties." }, { "id": "rh-068-004-note-1", "blocks": [ "rh-068-004" ], "status": "needs-review", "reason": "Printed 'à douze tons' for 'a douze tons' (misprint of the verb avoir); translated as 'has'." }, { "id": "rh-068-006-note-1", "blocks": [ "rh-068-006" ], "status": "needs-review", "reason": "Capitals denote major keys and lower case minor keys, as in the French; the English follows the same convention." }, { "id": "rh-068-ex01-note-1", "blocks": [ "rh-068-ex01" ], "status": "needs-review", "reason": "Inline example within the sentence; the printed closing barline is a thin double bar (rendered as a final barline)." }, { "id": "rh-068-015-note-1", "blocks": [ "rh-068-015" ], "status": "needs-review", "reason": "'qui s? succèdent': the e of 'se' is damaged in the scan; read 'se'." }, { "id": "rh-068-015-note-2", "blocks": [ "rh-068-015" ], "status": "needs-review", "reason": "The sentence lacks a connective before 'rendent' ('… de quinte en quinte [et] rendent …'); translated as a relative clause ('which makes')." }, { "id": "rh-068-ex02-note-1", "blocks": [ "rh-068-ex02" ], "status": "needs-review", "reason": "Inline example within the sentence; the printed closing barline is a thin double bar (rendered as a final barline)." }, { "id": "rh-068-017-note-1", "blocks": [ "rh-068-017" ], "status": "needs-review", "reason": "The interval names (2de = seconde, 4te = quarte) are printed small beneath short rules between the keys; rendered inline here between dashes." }, { "id": "rh-068-019-note-1", "blocks": [ "rh-068-019" ], "status": "needs-review", "reason": "'du tc■ suivant': the word 'ton' is damaged in the scan." }, { "id": "rh-068-024-note-1", "blocks": [ "rh-068-024" ], "status": "needs-review", "reason": "The flat after 'si' in plan 1 (DO … si♭) is broken in the scan; read as ♭ from context (Do-si♭ above)." }, { "id": "rh-068-024-note-2", "blocks": [ "rh-068-024" ], "status": "needs-review", "reason": "Interval names (4te = quarte, 5te = quinte) are printed small beneath short rules; rendered inline between dashes." }, { "id": "rh-068-030-note-1", "blocks": [ "rh-068-030" ], "status": "needs-review", "reason": "The goal key of plan 1 is printed 'Si♭' with a capital S and lower-case i, unlike the plans above (si♭ = B♭ minor). Kept as printed; translated as b♭ (minor), the goal of this exception." }, { "id": "rh-068-033-note-1", "blocks": [ "rh-068-033" ], "status": "needs-review", "reason": "Printed 'Etablir' without accent on the capital; normalized to 'Établir'." }, { "id": "rh-069-ex01-note-1", "blocks": [ "rh-069-ex01" ], "status": "needs-review", "reason": "Printed as whole-note chords on one treble staff without internal barlines; encoded as one unmetered bar, lowest note as the bass (T2)." }, { "id": "rh-069-ex01-note-2", "blocks": [ "rh-069-ex01" ], "status": "needs-review", "reason": "The fourth chord (B3 G♯4 B4 E5, figured 6/4) is printed in parentheses (optional chord); played in sequence, parentheses not encoded." }, { "id": "rh-069-ex01-note-3", "blocks": [ "rh-069-ex01" ], "status": "needs-review", "reason": "Printed unison A4 in the third chord kept as two noteheads." }, { "id": "rh-069-ex02-note-1", "blocks": [ "rh-069-ex02" ], "status": "needs-review", "reason": "Printed as whole-note chords on one treble staff without internal barlines; encoded as one unmetered bar, lowest note as the bass (T2)." }, { "id": "rh-069-ex02-note-2", "blocks": [ "rh-069-ex02" ], "status": "needs-review", "reason": "Printed unison F4 in the third chord kept as two noteheads." }, { "id": "rh-069-ex03-note-1", "blocks": [ "rh-069-ex03" ], "status": "needs-review", "reason": "Printed as whole-note chords on one treble staff without internal barlines; encoded as one unmetered bar, lowest note as the bass (T2)." }, { "id": "rh-069-ex03-note-2", "blocks": [ "rh-069-ex03" ], "status": "needs-review", "reason": "Printed unisons kept as two noteheads: F4 in the third chord, E♭4 in the fifth." }, { "id": "rh-069-ex04-note-1", "blocks": [ "rh-069-ex04" ], "status": "needs-review", "reason": "Printed as whole-note chords on one treble staff without internal barlines; encoded as one unmetered bar, lowest note as the bass (T2)." }, { "id": "rh-069-ex04-note-2", "blocks": [ "rh-069-ex04" ], "status": "needs-review", "reason": "Printed unison A4 in the first chord kept as two noteheads; the whole table lies on the treble staff without ledger lines." }, { "id": "rh-069-ex05-note-1", "blocks": [ "rh-069-ex05" ], "status": "needs-review", "reason": "Printed as whole-note chords on one treble staff without internal barlines; encoded as one unmetered bar, lowest note as the bass (T2)." }, { "id": "rh-069-ex05-note-2", "blocks": [ "rh-069-ex05" ], "status": "needs-review", "reason": "The seventh chord (F4 F4 B♭4 D5, figured 6/4) is printed in parentheses (optional chord); played in sequence, parentheses not encoded." }, { "id": "rh-069-ex05-note-3", "blocks": [ "rh-069-ex05" ], "status": "needs-review", "reason": "Printed unisons kept as two noteheads: C5 in the first chord, B♭4 in the fifth, F4 in the seventh and eighth." }, { "id": "rh-069-ex06-note-1", "blocks": [ "rh-069-ex06" ], "status": "needs-review", "reason": "Printed as whole-note chords on one treble staff without internal barlines; encoded as one unmetered bar, lowest note as the bass (T2)." }, { "id": "rh-069-ex06-note-2", "blocks": [ "rh-069-ex06" ], "status": "needs-review", "reason": "The seventh chord (E4 E4 A4 C♯5, figured 6/4) is printed in parentheses (optional chord); played in sequence, parentheses not encoded." }, { "id": "rh-069-ex06-note-3", "blocks": [ "rh-069-ex06" ], "status": "needs-review", "reason": "Printed unisons kept as two noteheads: A4 in the first and fifth chords, E4 in the seventh and eighth." }, { "id": "rh-069-ex06-note-4", "blocks": [ "rh-069-ex06" ], "status": "needs-review", "reason": "Encoded as one bar, so the MusicXML rendering shows a natural on E4 in the seventh and eighth chords (cancelling the E♯4 of the fourth chord); the source prints none there." }, { "id": "rh-069-ex07-note-1", "blocks": [ "rh-069-ex07" ], "status": "needs-review", "reason": "Bar 3: the bass F3 is read as a whole note (no stem visible beneath the tenor A3–A♭3 halves); bar 5: the bass E3 likewise a whole note under the tenor G3–C4." }, { "id": "rh-069-ex07-note-2", "blocks": [ "rh-069-ex07" ], "status": "needs-review", "reason": "Bar 6, second half: soprano and alto meet on a unison G♭4, printed as two heads side by side, each with its own flat." }, { "id": "rh-069-ex07-note-3", "blocks": [ "rh-069-ex07" ], "status": "needs-review", "reason": "Bar 8: the alto G♭4 is read as a whole note (no stem) under the soprano B♭4–A♭4 halves." }, { "id": "rh-069-ex07-note-4", "blocks": [ "rh-069-ex07" ], "status": "needs-review", "reason": "The phrase brackets above the staff (\"phrase de 4 mesures\" twice) are not encoded; no final barline, as the system continues on p. 53." }, { "id": "rh-069-ex08-note-1", "blocks": [ "rh-069-ex08" ], "status": "needs-review", "reason": "Bar 11: the natural on the soprano G4 is printed although no G♭ occurs in the treble since bar 8; encoded as a printed natural." }, { "id": "rh-069-ex08-note-2", "blocks": [ "rh-069-ex08" ], "status": "needs-review", "reason": "Bar 10, first half: tenor and bass share one notehead G♭3 (stems up and down)." }, { "id": "rh-069-ex08-note-3", "blocks": [ "rh-069-ex08" ], "status": "needs-review", "reason": "Bar 15: the first half is a unison A♮4 (one head with two stems, preceded by naturals); in the second half the soprano head sits on the B4 line and the alto head (to its right, one flat before the pair) on A♭4 — read as soprano B♮4, alto A♭4 (diminished seventh over F)." }, { "id": "rh-069-ex08-note-4", "blocks": [ "rh-069-ex08" ], "status": "needs-review", "reason": "The bracket below the system (\"phrase de 8 mesures\") is not encoded." }, { "id": "rh-069-ex08-note-5", "blocks": [ "rh-069-ex08" ], "status": "needs-review", "reason": "The continuation system on p. 53 prints no time signature; the cut-time meter of p. 52 is repeated in the MusicXML." }, { "id": "rh-070-ex01-note-1", "blocks": [ "rh-070-ex01" ], "status": "needs-review", "reason": "Chord 1 doubles C (C4–C5–E5–G5)." }, { "id": "rh-070-ex01-note-2", "blocks": [ "rh-070-ex01" ], "status": "needs-review", "reason": "The intermediate F minor chord carries no label; it is identified from the notes." }, { "id": "rh-070-ex02-note-1", "blocks": [ "rh-070-ex02" ], "status": "needs-review", "reason": "Chord 2 prints C5 twice side by side (unison): C5–C5–E5–G5." }, { "id": "rh-070-ex02-note-2", "blocks": [ "rh-070-ex02" ], "status": "needs-review", "reason": "Last chord: only one sharp is printed (F♯5); D5 has no accidental, so the final chord is B minor (B–B–D–F♯, unison B4 heads side by side). Encoded as printed." }, { "id": "rh-070-ex02-note-3", "blocks": [ "rh-070-ex02" ], "status": "needs-review", "reason": "The label case \"La-Si\" does not mark mode here (the book usually writes major keys in capitals); the music gives A minor to B minor." }, { "id": "rh-070-007-note-1", "blocks": [ "rh-070-007" ], "status": "needs-review", "reason": "Printed with the interval names (4te, 3ce, 2de) under short horizontal lines between the key names, and braces grouping 1–2 (\"BON\") and 3–4 (\"MONOTONE. Intervalles de quarte.\"); rendered as lines of text." }, { "id": "rh-071-ex01-note-1", "blocks": [ "rh-071-ex01" ], "status": "needs-review", "reason": "Chord 10 (D–F–B, the dominant seventh without its root over D, i.e. a chord of the third and fourth) is figured \"(4 over 6)\" in parentheses, with the 4 printed above the 6; this looks like an inverted (6/4) figure. Recorded as printed." }, { "id": "rh-071-ex01-note-2", "blocks": [ "rh-071-ex01" ], "status": "needs-review", "reason": "Chord 16: over the bass A3 the middle part moves in half notes A4–G4 (an 8–7 motion) under the soprano C♯5, but the figure printed below reads \"7–8\". Probably a misprint for 8–7; recorded as printed." }, { "id": "rh-071-ex01-note-3", "blocks": [ "rh-071-ex01" ], "status": "needs-review", "reason": "Chord 7 prints the bass and middle part in unison on F4 (two side-by-side whole-note heads), encoded as two F4 heads." }, { "id": "rh-071-ex01-note-4", "blocks": [ "rh-071-ex01" ], "status": "needs-review", "reason": "Figures in parentheses (6/5), (4/6), (6/5) mark chords whose root or fifth is omitted; the parentheses are kept in the labels." }, { "id": "rh-071-ex02-note-1", "blocks": [ "rh-071-ex02" ], "status": "needs-review", "reason": "No key names are printed in the model; the passing keys (D minor in bars 2–3 over the G pedal; F major and B♭ minor in bars 5–7 over the C pedal) are inferred from the accidentals and given only in the description." }, { "id": "rh-071-ex02-note-2", "blocks": [ "rh-071-ex02" ], "status": "needs-review", "reason": "Bars 1–2: the alto D4 on beat 4 of bar 1 is tied to beat 1 of bar 2; bars 2–3: tenor A3 tied; bars 3–4: soprano C5 tied; bar 7: soprano C5 tied from beat 2 to beat 3. The pedal whole notes are tied G2 bars 1–4 and C3 bars 5–8." }, { "id": "rh-072-ex01-note-1", "blocks": [ "rh-072-ex01" ], "status": "needs-review", "reason": "Bar 6, soprano D5 (beat 3) is printed with a hollow-looking head; read as a quarter note, which the 3/4 bar requires (Audiveris reads a half)." }, { "id": "rh-072-ex01-note-2", "blocks": [ "rh-072-ex01" ], "status": "needs-review", "reason": "Bar 7, alto E4 carries a printed (courtesy) natural; bar 8 alto F4 and tenor B3 likewise carry courtesy naturals after F♯4 and B♭ earlier." }, { "id": "rh-072-ex01-note-3", "blocks": [ "rh-072-ex01" ], "status": "needs-review", "reason": "The pedal notes are printed with downward stems below the bass staff; the (*) over the final soprano A4 refers to the footnote." }, { "id": "rh-072-006-note-1", "blocks": [ "rh-072-006" ], "status": "needs-review", "reason": "The print reads \"En ce.cas\" (a stray point); normalized to \"En ce cas\" in the text." }, { "id": "rh-072-ex02-note-1", "blocks": [ "rh-072-ex02" ], "status": "needs-review", "reason": "The final fermata on the lower staff is printed above the tenor C4; the MusicXML writer places a lower-staff fermata inverted." }, { "id": "rh-072-ex03-note-1", "blocks": [ "rh-072-ex03" ], "status": "needs-review", "reason": "Unmetered diagram: open whole notes resolving to black stemless heads, encoded as whole notes followed by quarter notes; the voice-leading lines between the heads are not encoded." }, { "id": "rh-072-ex03-note-2", "blocks": [ "rh-072-ex03" ], "status": "needs-review", "reason": "Figures as printed, top to bottom: 9; 7, 5 (with a stroke, i.e. diminished fifth), 6; 3, 4, 2 and 6. The unusual stack 3-4-2 under the third inversion is kept as printed." }, { "id": "rh-080-ex01-note-1", "blocks": [ "rh-080-ex01" ], "status": "needs-review", "reason": "Four fragments separated by double bars, no meter printed; encoded unmetered with their printed lengths (2, 3, 3 and 4 quarter beats)." }, { "id": "rh-080-ex01-note-2", "blocks": [ "rh-080-ex01" ], "status": "needs-review", "reason": "The soprano D5 in the first fragment carries no + sign in the print, though it is a passing note like the others." }, { "id": "rh-080-ex01-note-3", "blocks": [ "rh-080-ex01" ], "status": "needs-review", "reason": "Fragment 2: soprano G4 half and alto E4 half share one stem-pair; the dot is printed after the lower head only, read as alto dotted half and soprano half followed by A4 quarter." }, { "id": "rh-080-ex03-note-1", "blocks": [ "rh-080-ex03" ], "status": "needs-review", "reason": "Three fragments separated by double bars, no meter printed; encoded unmetered (2, 4 and 3 quarter beats)." }, { "id": "rh-081-ex01-note-1", "blocks": [ "rh-081-ex01" ], "status": "needs-review", "reason": "The three fragments are unmetered and of unequal length (4, 3 and 6 quarter beats); they are encoded without a meter, as printed, with double bars after fragments 1 and 2 and a final bar plus \"etc.\" after fragment 3." }, { "id": "rh-081-ex01-note-2", "blocks": [ "rh-081-ex01" ], "status": "needs-review", "reason": "Fragment 1: the tenor G3 is a wide open head (whole note) printed against the bass E3 quarter on a shared down-stem; encoded as a whole note held through the fragment." }, { "id": "rh-081-ex01-note-3", "blocks": [ "rh-081-ex01" ], "status": "needs-review", "reason": "Passing-note + signs (fragment 1: soprano F4, alto D4, bass D3; fragment 2: soprano B4, alto D4, tenor F♯3 and G♯3; fragment 3: soprano A4 and B4, tenor C4 and D4) are described, not encoded." }, { "id": "rh-081-ex02-note-1", "blocks": [ "rh-081-ex02" ], "status": "needs-review", "reason": "The five fragments are unmetered and of unequal length (4, 6, 3, 6 and 4+4 quarter beats); encoded without a meter. Double bars follow fragments 1–4; fragment 5 has two bars (single bar line) and a final bar." }, { "id": "rh-081-ex02-note-2", "blocks": [ "rh-081-ex02" ], "status": "needs-review", "reason": "Square brackets printed at the left of fragments 1, 2, 3 and 5 (across both staves in 1, 2 and 5; at the soprano in 3) mark the incorrect doublings; described, not encoded." }, { "id": "rh-081-ex02-note-3", "blocks": [ "rh-081-ex02" ], "status": "needs-review", "reason": "Fragments 2 and 4: the tenor lies very high on ledger lines above the bass staff (up to A4 in fragment 2, G4 in fragment 4), in unison with or above the alto; read as printed." }, { "id": "rh-081-ex02-note-4", "blocks": [ "rh-081-ex02" ], "status": "needs-review", "reason": "Fragment 3: soprano and alto begin in unison on A4 (dotted half beside the first beamed eighth); fragment 4: soprano whole B4 beside the alto B4 quarter." }, { "id": "rh-081-ex02-note-5", "blocks": [ "rh-081-ex02" ], "status": "needs-review", "reason": "Fragment 5: ties soprano C5 bar 1 → bar 2 and alto G4 bar 2 → bar 3." }, { "id": "rh-081-ex03-note-1", "blocks": [ "rh-081-ex03" ], "status": "needs-review", "reason": "Each fragment is printed with the inner note held as an open whole note (G4 in a, E4 in b) beside a half note one step lower (F4 in a, D4 in b) that shares the bass stem; long arcs tie both inner notes into the final chord. The half note is encoded as a whole note tied over (it is sounding throughout the passing chord), with the whole note; recorded here as an interpretation of the printed tie." }, { "id": "rh-081-ex03-note-2", "blocks": [ "rh-081-ex03" ], "status": "needs-review", "reason": "Both fragments are unmetered (half, half, quarter) and end with \"etc.\"; a double bar separates them." }, { "id": "rh-081-ex03-note-3", "blocks": [ "rh-081-ex03" ], "status": "needs-review", "reason": "Passing-note + signs above the soprano and below the bass of the middle chord are described, not encoded; the figures 4/3, 6/5 (a) and 6/5, 4/3 (b) are encoded as labels below." }, { "id": "rh-081-ex04-note-1", "blocks": [ "rh-081-ex04" ], "status": "needs-review", "reason": "Unmetered: open whole-note heads for the diatonic degrees, black quarter heads for the chromatic notes, as printed; Roman-numeral degree labels above the diatonic notes." }, { "id": "rh-081-ex05-note-1", "blocks": [ "rh-081-ex05" ], "status": "needs-review", "reason": "Unmetered: open whole-note heads for the diatonic degrees, black quarter heads for the chromatic notes, as printed; Roman-numeral degree labels above the diatonic notes." }, { "id": "rh-081-ex06-note-1", "blocks": [ "rh-081-ex06" ], "status": "needs-review", "reason": "Unmetered: open whole-note heads for the diatonic degrees, black quarter heads for the chromatic notes, as printed; Roman-numeral degree labels above the diatonic notes." }, { "id": "rh-081-ex06-note-2", "blocks": [ "rh-081-ex06" ], "status": "needs-review", "reason": "The printed spelling follows the relative major (E♭): D♭, E♮, F♯, A♮ and B♮ appear as the chromatic notes of C minor ascending." }, { "id": "rh-082-ex01-note-1", "blocks": [ "rh-082-ex01" ], "status": "needs-review", "reason": "The Roman numerals stand over the whole notes C, B♭, A♭, G, F, E♭, D, C (the degrees of C minor); the quarter notes B♮, A♮, F♯, E♮ and D♭ are the added chromatic notes. Lower-case \"do\" (minor) against capital \"Do\" (major) follows the book's convention; the English keeps the case and spells it out." }, { "id": "rh-082-ex02-note-1", "blocks": [ "rh-082-ex02" ], "status": "needs-review", "reason": "Six fragments a)–f) separated by double bars, no meter printed; encoded unmetered with their printed lengths (6, 3, 6, 3, 3 and 3 quarter beats)." }, { "id": "rh-082-ex02-note-2", "blocks": [ "rh-082-ex02" ], "status": "needs-review", "reason": "The + signs are described, not encoded. a) over soprano B♭4 and B♮4; b) two signs below the alto's beamed eighths, read as marking A♭4 and F♯4; c) over soprano F♯4 and F♮4 and under alto E♭4 and D4; d) over soprano C♯5 only; e) over soprano A♭4 and B♭4, one between the alto beam and the tenor beam (read as alto E♭4 and tenor C4) and one over tenor C♯4 — the alto E♮4 carries no sign; f) over soprano B♭4 and A♭4, two between the alto and tenor beams (read as alto D♭4 and tenor E♭3) — the tenor E♮3 carries no sign." }, { "id": "rh-082-ex02-note-3", "blocks": [ "rh-082-ex02" ], "status": "needs-review", "reason": "b) a short horizontal stroke joins the bass G3 to G♯3 (voice-leading line, not a tie; not encoded)." }, { "id": "rh-082-ex02-note-4", "blocks": [ "rh-082-ex02" ], "status": "needs-review", "reason": "e) the first alto note hangs just below the bottom line, read as D4 (G major chord G3 B3 D4 G4)." }, { "id": "rh-082-ex03-note-1", "blocks": [ "rh-082-ex03" ], "status": "needs-review", "reason": "Four fragments on one treble staff, no meter; double bars between them; encoded unmetered (4, 3, 4 and 4 quarter beats) as upper voice (stems up) and lower voice (stems down)." }, { "id": "rh-082-ex03-note-2", "blocks": [ "rh-082-ex03" ], "status": "needs-review", "reason": "The diagonal lines joining the chromatic note to its unaltered form in another part (C4–C♯5, C5–C♯4, D4–D♭5, D5–D♭4) and the + signs are described, not encoded." }, { "id": "rh-082-ex03-note-3", "blocks": [ "rh-082-ex03" ], "status": "needs-review", "reason": "4) the first upper chord is a tight stack of tilted half-note heads; read as G4 B4 D5 (three heads, agreeing with homr), not four." }, { "id": "rh-082-ex03-note-4", "blocks": [ "rh-082-ex03" ], "status": "needs-review", "reason": "2) the bass D4 and the D4 of the upper chord are printed as two heads side by side (unison)." }, { "id": "rh-082-ex04-note-1", "blocks": [ "rh-082-ex04" ], "status": "needs-review", "reason": "The + signs (under bass B3, G♯3, E3; over tenor C♯4; under alto F♯4) are described, not encoded. In bar 1 the bass C4 and the tenor C4 are printed as two heads side by side." }, { "id": "rh-082-ex05-note-1", "blocks": [ "rh-082-ex05" ], "status": "needs-review", "reason": "Two bars of four quarter beats, no meter printed; double bar after bar 1. Encoded unmetered." }, { "id": "rh-082-ex05-note-2", "blocks": [ "rh-082-ex05" ], "status": "needs-review", "reason": "The + signs (bar 1: alto F♯4 and tenor F♯3; bar 2: soprano F♯4) are described, not encoded; the bass F♯3 in bar 2 carries no sign." }, { "id": "rh-082-ex05-note-3", "blocks": [ "rh-082-ex05" ], "status": "needs-review", "reason": "Figures printed below the bass staff are encoded as words: 6/5 under the first beat (the 6 touches the bass stem) and under beat 3 of bar 1; 7, 6/4, 2 under beats 1–3 of bar 2." }, { "id": "rh-083-ex01-note-1", "blocks": [ "rh-083-ex01" ], "status": "needs-review", "reason": "Six fragments separated by double bars, no meter printed; encoded unmetered with their printed lengths (2, 4, 3, 6, 4 and 4 quarter beats)." }, { "id": "rh-083-ex01-note-2", "blocks": [ "rh-083-ex01" ], "status": "needs-review", "reason": "Fragment 4: the alto's third note (E4) is printed as a half note (hollow head, clearly so on the JP2 master), which would give the alto 7 beats against 6 in the other voices; its spacing puts it on a single beat (the following F4 stands under the soprano's B4 on beat 4). Probable misprint for a quarter; encoded as a quarter." }, { "id": "rh-083-ex01-note-3", "blocks": [ "rh-083-ex01" ], "status": "needs-review", "reason": "Fragments 3 and 6: tenor and bass share one up-stem in the first chord (B3 over G3); read as tenor B3 and bass G3." }, { "id": "rh-083-ex01-note-4", "blocks": [ "rh-083-ex01" ], "status": "needs-review", "reason": "The + signs marking the neighbour notes (A5; tenor B3; C#5 and F5; alto D#4 and G4; bass G#2; Ab4) are described, not encoded." }, { "id": "rh-083-ex02-note-1", "blocks": [ "rh-083-ex02" ], "status": "needs-review", "reason": "The bracketed accidentals (b) before D5 (fragment 1), (#) before D5 (fragment 2) and (b) before A5 (fragment 3) are options (major or minor second); the unbracketed readings D5, D5 and A5 are encoded, and the options described." }, { "id": "rh-083-ex02-note-2", "blocks": [ "rh-083-ex02" ], "status": "needs-review", "reason": "Three fragments separated by double bars, no meter printed; each encoded as four quarter beats (four eighths and a half over a whole-note chord)." }, { "id": "rh-083-ex02-note-3", "blocks": [ "rh-083-ex02" ], "status": "needs-review", "reason": "The + signs over the neighbour notes are described, not encoded." }, { "id": "rh-083-ex03-note-1", "blocks": [ "rh-083-ex03" ], "status": "needs-review", "reason": "The bracketed accidental before D5 in fragment 3 is printed as a natural over a sharp in parentheses (lower neighbour a major or minor second); D5 is encoded and the D#5 option described." }, { "id": "rh-083-ex03-note-2", "blocks": [ "rh-083-ex03" ], "status": "needs-review", "reason": "Three fragments separated by double bars, no meter printed; each encoded as four quarter beats." }, { "id": "rh-083-ex03-note-3", "blocks": [ "rh-083-ex03" ], "status": "needs-review", "reason": "The + signs over the neighbour notes are described, not encoded." }, { "id": "rh-083-008-note-1", "blocks": [ "rh-083-008" ], "status": "needs-review", "reason": "No item numbered 3) is printed in § 68: the items run 1), 2), then this unnumbered remark, and the next page (PDF 68) continues with 4)." }, { "id": "rh-083-ex04-note-1", "blocks": [ "rh-083-ex04" ], "status": "needs-review", "reason": "The + over Gb5 is described, not encoded." }, { "id": "rh-084-ex01-note-1", "blocks": [ "rh-084-ex01" ], "status": "needs-review", "reason": "No meter printed; two bars of two quarter beats each, final double bar." }, { "id": "rh-084-ex01-note-2", "blocks": [ "rh-084-ex01" ], "status": "needs-review", "reason": "The + signs stand under BOTH lower-part eighths of bar 1 (D4 and C♯4), although only C♯4 is the neighbour note; encoded as printed, signs described, not encoded." }, { "id": "rh-084-ex01-note-3", "blocks": [ "rh-084-ex01" ], "status": "needs-review", "reason": "Bar 1 has no printed note below the D4–C♯4–D4 line; the natural on B4 is printed (encoded as an explicit natural)." }, { "id": "rh-084-ex02-note-1", "blocks": [ "rh-084-ex02" ], "status": "needs-review", "reason": "No meter printed; two bars of four quarter beats separated by a double bar." }, { "id": "rh-084-ex02-note-2", "blocks": [ "rh-084-ex02" ], "status": "needs-review", "reason": "The diagonal lines joining the doubled notes are described, not encoded; + signs described, not encoded." }, { "id": "rh-084-ex03-note-1", "blocks": [ "rh-084-ex03" ], "status": "needs-review", "reason": "No meter printed; two bars of four quarter beats separated by a double bar." }, { "id": "rh-084-ex03-note-2", "blocks": [ "rh-084-ex03" ], "status": "needs-review", "reason": "+ signs described, not encoded." }, { "id": "rh-084-ex04-note-1", "blocks": [ "rh-084-ex04" ], "status": "needs-review", "reason": "No meter printed; three bars of four quarter beats separated by double bars." }, { "id": "rh-084-ex04-note-2", "blocks": [ "rh-084-ex04" ], "status": "needs-review", "reason": "The line marking the false relation and the 5te curves/brackets are described, not encoded." }, { "id": "rh-084-ex04-note-3", "blocks": [ "rh-084-ex04" ], "status": "needs-review", "reason": "Bar 3: the first 5te joins F4 and the neighbour B3, a diminished fifth, followed by the perfect fifth G4/C4; encoded as printed." }, { "id": "rh-084-ex05-note-1", "blocks": [ "rh-084-ex05" ], "status": "needs-review", "reason": "Begins with a printed three-eighth upbeat and ends with a three-eighth final bar (dotted quarters); encoded as printed." }, { "id": "rh-084-ex05-note-2", "blocks": [ "rh-084-ex05" ], "status": "needs-review", "reason": "Bar 2: a curve from the alto's dotted-quarter F4 to the following F4 eighth, read as a tie." }, { "id": "rh-084-ex05-note-3", "blocks": [ "rh-084-ex05" ], "status": "needs-review", "reason": "Bar 3: the curve from the tenor's dotted-quarter C4 to the first C4 of bar 4, read as a tie." }, { "id": "rh-084-ex05-note-4", "blocks": [ "rh-084-ex05" ], "status": "needs-review", "reason": "Bar 4: the alto's middle E4 eighth in the second group appears with an open (hollow) head in the print; read as an eighth (beamed)." }, { "id": "rh-084-ex05-note-5", "blocks": [ "rh-084-ex05" ], "status": "needs-review", "reason": "Printed courtesy naturals (G4 in bar 2, A2 in bar 3, C4 in bar 5) encoded as explicit naturals." }, { "id": "rh-085-ex01-note-1", "blocks": [ "rh-085-ex01" ], "status": "needs-review", "reason": "No time signature is printed; a) to c) are encoded unmetered with their printed values (a: two halves | a whole; b and c: two quarter beats per bar)." }, { "id": "rh-085-ex01-note-2", "blocks": [ "rh-085-ex01" ], "status": "needs-review", "reason": "The + signs (over the soprano C in a), over the first tenor eighth in b), over the first and third tenor eighths in c)) are described, not encoded; the interval figures 4—3, 7—6, 9—8, 5—4 printed below the bass are written as text below the bass notes." }, { "id": "rh-085-ex01-note-3", "blocks": [ "rh-085-ex01" ], "status": "needs-review", "reason": "c) The tenor's second and third eighths (C4–C4) are joined by a tie, so the C is held over the bass F; encoded as tied." }, { "id": "rh-085-ex01-note-4", "blocks": [ "rh-085-ex01" ], "status": "needs-review", "reason": "c), bar 1: the soprano leaps B4–F5 as printed." }, { "id": "rh-085-ex02-note-1", "blocks": [ "rh-085-ex02" ], "status": "needs-review", "reason": "No time signature is printed; d) and e) move in three quarter beats per bar, f) in two; encoded unmetered with the printed values." }, { "id": "rh-085-ex02-note-2", "blocks": [ "rh-085-ex02" ], "status": "needs-review", "reason": "e) The second bar holds only one quarter-note chord, followed by \"etc.\" and a double bar; encoded as printed (an incomplete bar)." }, { "id": "rh-085-ex02-note-3", "blocks": [ "rh-085-ex02" ], "status": "needs-review", "reason": "f) bar 1: the tenor moves C4–F3 over the bass F3–D3 (heads read on the JP2 at 3×)." }, { "id": "rh-085-ex02-note-4", "blocks": [ "rh-085-ex02" ], "status": "needs-review", "reason": "The + signs (under the alto F in d, under the tied bass F in e, over the soprano B in f) are described, not encoded; the figures 4—3, 2—6, 7—8 are written as text below the bass." }, { "id": "rh-085-ex03-note-1", "blocks": [ "rh-085-ex03" ], "status": "needs-review", "reason": "No time signature is printed; encoded unmetered, four quarter beats per bar as printed." }, { "id": "rh-085-ex03-note-2", "blocks": [ "rh-085-ex03" ], "status": "needs-review", "reason": "Bar 1: the alto F4 is a stemless whole note tied into bar 2; the + is printed below the treble staff at the alto's tied F4 in bar 2." }, { "id": "rh-085-ex03-note-3", "blocks": [ "rh-085-ex03" ], "status": "needs-review", "reason": "The labels \"Acc. diss.\", \"Ens. occas. diss.\" and \"Acc. cons.\" are written above the soprano at the three suspensions." }, { "id": "rh-085-ex04-note-1", "blocks": [ "rh-085-ex04" ], "status": "needs-review", "reason": "Four parts on one treble staff; the first bar holds only two quarter beats (soprano G4–D5 over a G4–F4–B3 half-note chord) and is encoded as an incomplete bar." }, { "id": "rh-085-ex04-note-2", "blocks": [ "rh-085-ex04" ], "status": "needs-review", "reason": "Encoded as the soprano line (upper voice) over the lower three parts as chords; the printed unison G4 (soprano quarter and alto half) is kept as two heads." }, { "id": "rh-085-ex05-note-1", "blocks": [ "rh-085-ex05" ], "status": "needs-review", "reason": "Each half is printed unbarred (two chords between barlines); encoded as two unmetered bars, the left closed by the printed double bar." }, { "id": "rh-085-ex05-note-2", "blocks": [ "rh-085-ex05" ], "status": "needs-review", "reason": "The \"5te\" labels and brackets joining the fifths on the right are described, not encoded." }, { "id": "rh-085-ex06-note-1", "blocks": [ "rh-085-ex06" ], "status": "needs-review", "reason": "Each half is printed unbarred; encoded as two unmetered bars, the left closed by the printed double bar." }, { "id": "rh-085-ex06-note-2", "blocks": [ "rh-085-ex06" ], "status": "needs-review", "reason": "The \"8ve\" labels and brackets joining the octaves on the right are described, not encoded." }, { "id": "rh-085-ex07-note-1", "blocks": [ "rh-085-ex07" ], "status": "needs-review", "reason": "Two unbarred fragments separated by a double bar; encoded as two unmetered bars of two chords each." }, { "id": "rh-085-ex07-note-2", "blocks": [ "rh-085-ex07" ], "status": "needs-review", "reason": "The printed curved lines joining the suspended note to the note of resolution in the other part (soprano C–tenor B; soprano D–tenor E) are described, not encoded." }, { "id": "rh-086-ex01-note-1", "blocks": [ "rh-086-ex01" ], "status": "needs-review", "reason": "Two fragments without meter, each one bar of a whole note's length; the first ends in a double bar, the second in a final bar." }, { "id": "rh-086-ex01-note-2", "blocks": [ "rh-086-ex01" ], "status": "needs-review", "reason": "The curved line from the soprano D5 to the tenor C4 (left) and the straight line from tenor B3 to G3 (right) are voice-leading marks, described, not encoded." }, { "id": "rh-086-ex02-note-1", "blocks": [ "rh-086-ex02" ], "status": "needs-review", "reason": "Two two-bar fragments separated by a double bar, whole notes, no meter printed." }, { "id": "rh-086-ex04-note-1", "blocks": [ "rh-086-ex04" ], "status": "needs-review", "reason": "Two two-bar fragments separated by a double bar, half and whole notes, no meter printed." }, { "id": "rh-086-ex04-note-2", "blocks": [ "rh-086-ex04" ], "status": "needs-review", "reason": "Straight lines join alto E4–G4 (bar 2), tenor G3–A3 and bass C3–A2 (bar 4): voice-leading marks, described, not encoded." }, { "id": "rh-086-ex05-note-1", "blocks": [ "rh-086-ex05" ], "status": "needs-review", "reason": "No meter printed; the bars hold three quarter-note beats (dotted halves) and are encoded unmetered with that length." }, { "id": "rh-086-007-note-1", "blocks": [ "rh-086-007" ], "status": "needs-review", "reason": "'tolérées': the second e is blotted in the print." }, { "id": "rh-086-ex06-note-1", "blocks": [ "rh-086-ex06" ], "status": "needs-review", "reason": "No meter printed; four bars of a whole note's length." }, { "id": "rh-086-ex06-note-2", "blocks": [ "rh-086-ex06" ], "status": "needs-review", "reason": "Brackets with '5te' (bar 2, soprano/alto) and '4te', '4te aug.' (bar 3, bass/soprano) are described, not encoded." }, { "id": "rh-087-ex01-note-1", "blocks": [ "rh-087-ex01" ], "status": "needs-review", "reason": "Bar 13: the alto G4 carries a printed (courtesy) natural after the G♯3 of bar 12; encoded as G natural." }, { "id": "rh-087-ex01-note-2", "blocks": [ "rh-087-ex01" ], "status": "needs-review", "reason": "Bar 14: the bass drops from D3 (dotted half) to a quarter F2 below the staff, as printed." }, { "id": "rh-087-ex01-note-3", "blocks": [ "rh-087-ex01" ], "status": "needs-review", "reason": "The caption is printed above the example and is included in the crop." }, { "id": "rh-087-ex02-note-1", "blocks": [ "rh-087-ex02" ], "status": "needs-review", "reason": "Unmetered fragments of two whole-note chords each; encoded without a meter, double bar between them, final bar after." }, { "id": "rh-087-ex02-note-2", "blocks": [ "rh-087-ex02" ], "status": "needs-review", "reason": "MAUVAIS: the curved line joining the tenor B3 to the soprano C5 (marking the resolution note above the suspension) is described, not encoded." }, { "id": "rh-087-ex02-note-3", "blocks": [ "rh-087-ex02" ], "status": "needs-review", "reason": "MAUVAIS: the first chord shows only B3 and G3 on the bass staff (no lower bass note); read as tenor B3, bass G3." }, { "id": "rh-087-ex03-note-1", "blocks": [ "rh-087-ex03" ], "status": "needs-review", "reason": "Unmetered fragments; encoded without a meter." }, { "id": "rh-087-ex03-note-2", "blocks": [ "rh-087-ex03" ], "status": "needs-review", "reason": "The + signs over the suspended soprano B4, the brackets joining it to the resolution note (alto C4 in fragment 1, tenor C4 in fragment 2) and the figures 2 and 6 under fragment 2 are described, not encoded." }, { "id": "rh-087-ex04-note-1", "blocks": [ "rh-087-ex04" ], "status": "needs-review", "reason": "Four unmetered fragments; encoded without a meter, double bars between them." }, { "id": "rh-087-ex04-note-2", "blocks": [ "rh-087-ex04" ], "status": "needs-review", "reason": "Fragments 1 and 4: the lower note of the first chord on the bass staff (F3, G3) is read as the bass, the upper (A3, B3) as the tenor, the bass then leaping to C3." }, { "id": "rh-087-ex04-note-3", "blocks": [ "rh-087-ex04" ], "status": "needs-review", "reason": "The + signs (under the alto/tenor stems, above the soprano in fragments 3 and 4) and the figure 6/4 under fragment 1 are described, not encoded." }, { "id": "rh-088-ex01-note-1", "blocks": [ "rh-088-ex01" ], "status": "needs-review", "reason": "Three unmetered fragments, each two whole-note lengths long, separated by double bars; encoded as one bar of eight quarter beats each." }, { "id": "rh-088-ex01-note-2", "blocks": [ "rh-088-ex01" ], "status": "needs-review", "reason": "In the first fragment a curved line joins the suspended soprano D5 to the tenor C4 (the resolution note sounding against it); described, not encoded." }, { "id": "rh-088-ex01-note-3", "blocks": [ "rh-088-ex01" ], "status": "needs-review", "reason": "The alto G4 is printed without a tie in the first fragment and tied in the second and third; encoded as printed." }, { "id": "rh-088-ex02-note-1", "blocks": [ "rh-088-ex02" ], "status": "needs-review", "reason": "Bar 1: a small dot printed just left of the alto G4 half note (beat 3) is read as a speck, not a rhythmic dot (a dotted F4 would overfill the bar)." }, { "id": "rh-088-ex02-note-2", "blocks": [ "rh-088-ex02" ], "status": "needs-review", "reason": "Bar 8: the fermata on the lower staff is printed above the tenor E3 (stem up); encoded on the tenor voice, which MusicXML renders as an inverted fermata on staff 2." }, { "id": "rh-088-ex02-note-3", "blocks": [ "rh-088-ex02" ], "status": "needs-review", "reason": "Bar 3 beat 2: tenor G3 (half, stem up) and bass F3 (quarter, stem down) share one stem line with displaced noteheads; read as two voices." }, { "id": "rh-088-ex03-note-1", "blocks": [ "rh-088-ex03" ], "status": "needs-review", "reason": "The flat before A4 in the first chord of a) is printed in parentheses: an optional A flat. The unbracketed A natural is encoded." }, { "id": "rh-088-ex03-note-2", "blocks": [ "rh-088-ex03" ], "status": "needs-review", "reason": "The final black stemless chords are encoded as quarter notes. In b) the final chord has two side-by-side noteheads on C5 (two voices in unison); encoded once." }, { "id": "rh-088-ex03-note-3", "blocks": [ "rh-088-ex03" ], "status": "needs-review", "reason": "Low bass notes are written on ledger lines below the treble staff; encoded as a second voice on the same staff. The moving inner voice A flat 4 – G4 (halves) in the fourth chord of b) is encoded as a third voice." }, { "id": "rh-088-ex03-note-4", "blocks": [ "rh-088-ex03" ], "status": "needs-review", "reason": "The A flat 4 half note in the fourth chord of b) is printed without a tie from the preceding A flat 4; encoded as printed." }, { "id": "rh-088-ex04-note-1", "blocks": [ "rh-088-ex04" ], "status": "needs-review", "reason": "Unmetered; each fragment two bars of whole-note length." }, { "id": "rh-088-ex04-note-2", "blocks": [ "rh-088-ex04" ], "status": "needs-review", "reason": "\"+\" signs mark the suspended note on its re-articulation (below the alto G4 quarter in bar 1, above the soprano D5 quarter in bar 3); curved lines join the suspended note to the bass note forming the diminished octave. Described, not encoded." }, { "id": "rh-088-ex04-note-3", "blocks": [ "rh-088-ex04" ], "status": "needs-review", "reason": "Bar 4: the E major chord is printed E3 G#3 G#4 B4 (doubled third, no fifth in the inner parts); encoded as printed." }, { "id": "rh-088-ex05-note-1", "blocks": [ "rh-088-ex05" ], "status": "needs-review", "reason": "Unmetered; encoded as one bar of six quarter beats." }, { "id": "rh-088-ex05-note-2", "blocks": [ "rh-088-ex05" ], "status": "needs-review", "reason": "The alto G4 (natural) quarter is printed just to the right of the soprano G#4 half (simultaneous, displaced noteheads), with a natural sign; it is tied from the alto G4 half." }, { "id": "rh-089-ex01-note-1", "blocks": [ "rh-089-ex01" ], "status": "needs-review", "reason": "Unmetered single bar of two half-note chords (C major to G major), final bar; encoded without a meter. The caption printed to the left is given as the preceding text block." }, { "id": "rh-089-ex02-note-1", "blocks": [ "rh-089-ex02" ], "status": "needs-review", "reason": "Unmetered single bar, encoded without a meter. Tenor in black quarter notes G3 C4 C4 B3: the two C4s are tied (the suspension) and straight voice-leading lines join G3 to the first C4 and the second C4 to B3; the lines are described, not encoded." }, { "id": "rh-089-ex02-note-2", "blocks": [ "rh-089-ex02" ], "status": "needs-review", "reason": "Tenor G3 shares a stem-up head position with the bass C3 (stem down); read as a quarter (filled head) in the tenor." }, { "id": "rh-089-ex03-note-1", "blocks": [ "rh-089-ex03" ], "status": "needs-review", "reason": "Unmetered single bar, encoded without a meter. The tenor G3 is a stemless whole note held through both chords; the second G3 on the lower staff (half, stem down) is the bass. A short stroke printed between the two G3s on the lower staff is read as a hold/repetition mark and not encoded." }, { "id": "rh-089-ex04-note-1", "blocks": [ "rh-089-ex04" ], "status": "needs-review", "reason": "Two unmetered fragments of four quarter beats, separated by a double bar; encoded without a meter." }, { "id": "rh-089-ex04-note-2", "blocks": [ "rh-089-ex04" ], "status": "needs-review", "reason": "(1) Alto eighths E4 F4 G4 E4; (2) bass eighths C3 D3 E3 F3. A + is printed below each beam, roughly under the third eighth (G4 in the alto, E3 in the bass) rather than under the stepwise passing notes F4 / D3, F3; its exact target is unclear. Passing-note + signs are described, not encoded." }, { "id": "rh-089-ex05-note-1", "blocks": [ "rh-089-ex05" ], "status": "needs-review", "reason": "Two unmetered fragments of unequal length (4 and 6 quarter beats; the second in dotted halves) separated by a double bar, final bar and \"etc.\" after; encoded without a meter, as printed." }, { "id": "rh-089-ex05-note-2", "blocks": [ "rh-089-ex05" ], "status": "needs-review", "reason": "Soprano eighths: + printed above D5 in fragment 1 (C5 E5 D5 C5) and above D5 in fragment 2 (C5 B4 C5 | D5 C5 B4, two beamed groups). Passing-note + signs are described, not encoded." }, { "id": "rh-089-ex05-note-3", "blocks": [ "rh-089-ex05" ], "status": "needs-review", "reason": "Fragment 1: tenor G3 is a stemless whole note held through the bar; the stem-down G3 half on beat 3 is the bass." }, { "id": "rh-089-ex06-note-1", "blocks": [ "rh-089-ex06" ], "status": "needs-review", "reason": "One unmetered bar of two beats, final bar; encoded without a meter. Alto eighths C4 E4 D4 C4 with + under D4; a curved line joins the tenor C4 (ledger line, stem up) to the + D4, showing the resolution note already present at the unison. Line and + described, not encoded." }, { "id": "rh-089-ex06-note-2", "blocks": [ "rh-089-ex06" ], "status": "needs-review", "reason": "The example is labelled MAUVAIS (bad) although the sentence beside it states the permitted case (resolution note in the lower octave); it illustrates the faulty unison. Text continues on PDF 74 (\"Elle ne doit pas être tierce à l'accord\") as a new sentence, left to the page-74 batch." }, { "id": "rh-090-ex01-note-1", "blocks": [ "rh-090-ex01" ], "status": "needs-review", "reason": "Printed to the right of the preceding sentence, without a label. One unmetered bar of two quarter beats with a final bar; encoded without a meter." }, { "id": "rh-090-ex01-note-2", "blocks": [ "rh-090-ex01" ], "status": "needs-review", "reason": "The + sign over the soprano B4 and the oblique line from that passing note down to the tenor A3 (its resolution note in another part) are described, not encoded." }, { "id": "rh-090-ex02-note-1", "blocks": [ "rh-090-ex02" ], "status": "needs-review", "reason": "Two unmetered fragments of two quarter beats each, separated by a double bar; encoded without a meter." }, { "id": "rh-090-ex02-note-2", "blocks": [ "rh-090-ex02" ], "status": "needs-review", "reason": "The lines joining tenor A3 to C4 (fragment 1) and tenor C4 to G3 (fragment 2) are described, not encoded." }, { "id": "rh-090-ex03-note-1", "blocks": [ "rh-090-ex03" ], "status": "needs-review", "reason": "Three unmetered fragments a), b), c) on one treble staff, each of four quarter beats, separated by double bars; encoded without a meter." }, { "id": "rh-090-ex03-note-2", "blocks": [ "rh-090-ex03" ], "status": "needs-review", "reason": "The interval labels \"8ve\" (a, c) and \"5te\" (b) with their brackets and connecting lines are described, not encoded." }, { "id": "rh-090-ex04-note-1", "blocks": [ "rh-090-ex04" ], "status": "needs-review", "reason": "Three unmetered fragments d), e), f) on one treble staff, each of four quarter beats, separated by double bars; encoded without a meter." }, { "id": "rh-090-ex04-note-2", "blocks": [ "rh-090-ex04" ], "status": "needs-review", "reason": "The interval labels \"8ve\" (d, f) and \"5te\" (e) with their slurs/lines are described, not encoded." }, { "id": "rh-090-ex05-note-1", "blocks": [ "rh-090-ex05" ], "status": "needs-review", "reason": "Three unmetered two-bar fragments a), b), c) of four quarter beats per bar, separated by double bars; encoded without a meter." }, { "id": "rh-090-ex06-note-1", "blocks": [ "rh-090-ex06" ], "status": "needs-review", "reason": "Two unmetered two-bar fragments of four quarter beats per bar, separated by a double bar; encoded without a meter." }, { "id": "rh-090-ex06-note-2", "blocks": [ "rh-090-ex06" ], "status": "needs-review", "reason": "Bar 1: the tenor B3 and bass G3 share one down-stem; the B3 head is round (whole-note shape) while the G3 head is a slanted half note, so the tenor is encoded as a whole note held through the bar and the bass as G3 half, G2 half." }, { "id": "rh-090-ex06-note-3", "blocks": [ "rh-090-ex06" ], "status": "needs-review", "reason": "The + signs over the soprano B4 (bar 2, lower auxiliary) and D5 (bar 4, upper auxiliary) are described, not encoded." }, { "id": "rh-091-ex01-note-1", "blocks": [ "rh-091-ex01" ], "status": "needs-review", "reason": "Unmetered, as printed; encoded without a meter." }, { "id": "rh-091-ex02-note-1", "blocks": [ "rh-091-ex02" ], "status": "needs-review", "reason": "Unmetered, as printed; encoded without a meter." }, { "id": "rh-091-ex03-note-1", "blocks": [ "rh-091-ex03" ], "status": "needs-review", "reason": "Unmetered, as printed; encoded without a meter. The three beamed groups are printed without bar lines between them; encoded as one bar of twelve eighths." }, { "id": "rh-091-ex03-note-2", "blocks": [ "rh-091-ex03" ], "status": "needs-review", "reason": "Group 1, fourth note: read as C6 (head on the second ledger line above the staff); group 2 begins B5 (head resting on the first ledger line)." }, { "id": "rh-091-ex03-note-3", "blocks": [ "rh-091-ex03" ], "status": "needs-review", "reason": "\"de sixte\": the groups span more than a sixth as printed (C5–C6, B5–B4, C5–A5); translated literally." }, { "id": "rh-091-ex04-note-1", "blocks": [ "rh-091-ex04" ], "status": "needs-review", "reason": "Unmetered, as printed; encoded without a meter." }, { "id": "rh-091-ex04-note-2", "blocks": [ "rh-091-ex04" ], "status": "needs-review", "reason": "All four parts share one treble staff; the bass lies below it on ledger lines (B3, C4, B3)." }, { "id": "rh-091-ex04-note-3", "blocks": [ "rh-091-ex04" ], "status": "needs-review", "reason": "Chord 3: a single G4 head carries the soprano (stem up) and the alto (stem down) in unison; encoded as two G4s." }, { "id": "rh-091-ex04-note-4", "blocks": [ "rh-091-ex04" ], "status": "needs-review", "reason": "The line joining the soprano C5 to G4 (the disjunct leap) is described, not encoded." }, { "id": "rh-091-ex05-note-1", "blocks": [ "rh-091-ex05" ], "status": "needs-review", "reason": "Unmetered, as printed; encoded without a meter." }, { "id": "rh-091-ex05-note-2", "blocks": [ "rh-091-ex05" ], "status": "needs-review", "reason": "All four parts share one treble staff; the bass G3 lies below it on ledger lines." }, { "id": "rh-091-ex05-note-3", "blocks": [ "rh-091-ex05" ], "status": "needs-review", "reason": "The line from the eighth B4 to the half G4 (the leap of the leading note) is described, not encoded." }, { "id": "rh-091-ex06-note-1", "blocks": [ "rh-091-ex06" ], "status": "needs-review", "reason": "Unmetered, as printed; encoded without a meter. Double bar between the two fragments." }, { "id": "rh-091-ex06-note-2", "blocks": [ "rh-091-ex06" ], "status": "needs-review", "reason": "\"+\" signs: over the C5 quarter and the C5 half in MAUVAIS, over the tied D5 quarter in BON; described, not encoded." }, { "id": "rh-091-ex06-note-3", "blocks": [ "rh-091-ex06" ], "status": "needs-review", "reason": "Final chord A3 E4 A4 C5 (bass A3 on the second ledger line below the staff)." }, { "id": "rh-091-ex07-note-1", "blocks": [ "rh-091-ex07" ], "status": "needs-review", "reason": "Unmetered, as printed; encoded without a meter." }, { "id": "rh-091-ex07-note-2", "blocks": [ "rh-091-ex07" ], "status": "needs-review", "reason": "\"+\" signs over the last eighth E5 and the following half E5 are described, not encoded." }, { "id": "rh-092-ex01-note-1", "blocks": [ "rh-092-ex01" ], "status": "needs-review", "reason": "Printed upbeat of a half bar (bar 1, encoded as an implicit measure) and a closing half bar (bar 17), as printed." }, { "id": "rh-092-ex01-note-2", "blocks": [ "rh-092-ex01" ], "status": "needs-review", "reason": "Two open heads a third apart are printed touching; in bar 9 beat 3 the lower-staff pair even looks like three stacked ovals. Read against the staff lines at 8x zoom as tenor F♯3 + bass D3 (the middle 'oval' is the gap between them); the D7 harmony agrees." }, { "id": "rh-092-ex01-note-3", "blocks": [ "rh-092-ex01" ], "status": "needs-review", "reason": "Further fermata signs printed under the alto in bars 5, 13 and 17 (the bar 5 sign shows no dot) are described, not encoded; fermatas are encoded on soprano and bass." }, { "id": "rh-092-ex01-note-4", "blocks": [ "rh-092-ex01" ], "status": "needs-review", "reason": "Bar 4: the alto G4 is an open stemless head (whole note) under the soprano B4 half, tied into bar 5." }, { "id": "rh-092-ex02-note-1", "blocks": [ "rh-092-ex02" ], "status": "needs-review", "reason": "Fermata signs on the inner parts at the phrase ends (bars 4 and 16: under the alto, over the tenor; bar 8: over the alto, under the tenor) are described, not encoded; fermatas are encoded on soprano and bass." }, { "id": "rh-092-ex02-note-2", "blocks": [ "rh-092-ex02" ], "status": "needs-review", "reason": "Bar 8: the alto's first eighth E♭4 is printed in unison with the soprano's whole-note E♭4." }, { "id": "rh-092-ex02-note-3", "blocks": [ "rh-092-ex02" ], "status": "needs-review", "reason": "Bar 9: the dot of the tenor's dotted-quarter F3 is printed beside the following bass head." }, { "id": "rh-092-ex02-note-4", "blocks": [ "rh-092-ex02" ], "status": "needs-review", "reason": "Bar 13: a dot printed just before the bass B♭2 half (after the four eighths) is read as a stray mark, not as rhythm." }, { "id": "rh-092-ex02-note-5", "blocks": [ "rh-092-ex02" ], "status": "needs-review", "reason": "Eighth notes are beamed by beat groups in the source; the MusicXML writer prints them with flags." }, { "id": "rh-093-ex01-note-1", "blocks": [ "rh-093-ex01" ], "status": "needs-review", "reason": "Bar 1: the soprano's first eighth E4 and the alto's half note E4 are printed as two heads side by side (a unison), encoded as separate notes in each voice." }, { "id": "rh-093-ex01-note-2", "blocks": [ "rh-093-ex01" ], "status": "needs-review", "reason": "Courtesy accidentals as printed: F♮5 and B♮4 in the soprano of bar 5, G♮3 in the bass of bar 7." }, { "id": "rh-093-ex02-note-1", "blocks": [ "rh-093-ex02" ], "status": "needs-review", "reason": "Three unmetered fragments separated by double bars; the second fragment lasts nine eighths (dotted-quarter units, like 9/8) and the third two quarter beats. No meter is printed; encoded unmetered." }, { "id": "rh-093-ex02-note-2", "blocks": [ "rh-093-ex02" ], "status": "needs-review", "reason": "Fragment 2: the soprano's last eighth reads G5 (above the top line), a leap of a fifth from C5; encoded as printed." }, { "id": "rh-093-ex02-note-3", "blocks": [ "rh-093-ex02" ], "status": "needs-review", "reason": "Fragment 3: the first sixteenth E4 of the soprano shares its head with the alto's quarter-note E4 (up- and down-stem on one head)." }, { "id": "rh-093-ex02-note-4", "blocks": [ "rh-093-ex02" ], "status": "needs-review", "reason": "The + signs marking the accented passing/auxiliary notes and the straight lines tenor C4–G3 (fragments 1 and 2) are described, not encoded." }, { "id": "rh-093-ex03-note-1", "blocks": [ "rh-093-ex03" ], "status": "needs-review", "reason": "Two unmetered fragments a) and b), each of four quarter beats, separated by a double bar." }, { "id": "rh-093-ex03-note-2", "blocks": [ "rh-093-ex03" ], "status": "needs-review", "reason": "The + signs and the straight voice-leading lines in the bass staff of a) (tenor C4–G3–C4, bass E3–F3) are described, not encoded." }, { "id": "rh-093-ex04-note-1", "blocks": [ "rh-093-ex04" ], "status": "needs-review", "reason": "Unmetered: the first fragment lasts four quarter beats; after a double bar follow two bars of six eighths each (dotted-half length, like 6/8)." }, { "id": "rh-093-ex04-note-2", "blocks": [ "rh-093-ex04" ], "status": "needs-review", "reason": "The + signs and the straight voice-leading lines (tenor C4–G3 in bar 1, D4–A3 in bar 2) are described, not encoded." }, { "id": "rh-093-ex04-note-3", "blocks": [ "rh-093-ex04" ], "status": "needs-review", "reason": "Crop top set just below the descenders of the preceding prose line; the tips of the two highest + signs (bar 3) are clipped by ~4 px." }, { "id": "rh-094-ex01-note-1", "blocks": [ "rh-094-ex01" ], "status": "needs-review", "reason": "Two fragments without meter, each the length of a whole note; double bar between them, final bar at the end." }, { "id": "rh-094-ex01-note-2", "blocks": [ "rh-094-ex01" ], "status": "needs-review", "reason": "In the right-hand fragment a straight line joins the alto C4 to its G4 and another joins the tenor G3 to its C4 (the parts that change position); these lines are described, not encoded." }, { "id": "rh-094-ex01-note-3", "blocks": [ "rh-094-ex01" ], "status": "needs-review", "reason": "The upper-staff figure is identical in both fragments; only the alto (C4 whole → C4–G4–F4) and the tenor (G3–A3 → G3–C4) differ." }, { "id": "rh-094-ex02-note-1", "blocks": [ "rh-094-ex02" ], "status": "needs-review", "reason": "Bar 1: the soprano G5 (third eighth of beat 3) carries a printed natural, superfluous in F major; encoded as printed (explicit natural). It is the appoggiatura of F5 and, with the alto C5, forms the fifth C–G that follows the fifth F–C (alto F4 / soprano C5); both fifths are marked '5', one below a curved line from the alto F4 to the soprano C5 and one beside a bracket at the C5–G5 chord. The figures, curve and bracket are described, not encoded." }, { "id": "rh-094-ex02-note-2", "blocks": [ "rh-094-ex02" ], "status": "needs-review", "reason": "Bar 3: the natural on the soprano D5 (after the D♯4 earlier in the bar) is a courtesy accidental; the natural on B4 is real (B♮ against the key's B♭)." }, { "id": "rh-094-ex02-note-3", "blocks": [ "rh-094-ex02" ], "status": "needs-review", "reason": "Bar 4: the soprano's beamed group reads A4 B♭4 D4 E4 as printed, crossing below the alto's C4 on beat 2 (the alto's C4 has its own stem down); the final F4 is a shared head for soprano and alto. Encoded as printed." }, { "id": "rh-094-ex02-note-4", "blocks": [ "rh-094-ex02" ], "status": "needs-review", "reason": "Bar 4: the tenor's B♭3 on beat 2 is tied to B♭3 on beat 3 (a suspension resolving to A3)." }, { "id": "rh-094-ex03-note-1", "blocks": [ "rh-094-ex03" ], "status": "needs-review", "reason": "No meter printed; the fragments are of unequal length (4, 3, 2 and 3 quarter beats) and are encoded at their printed lengths, separated by double bars as printed." }, { "id": "rh-094-ex03-note-2", "blocks": [ "rh-094-ex03" ], "status": "needs-review", "reason": "Bar 2: the soprano F5 is printed as a double-dotted quarter; the score writer has no double dot, so it is encoded as a dotted quarter tied to a sixteenth (same duration)." }, { "id": "rh-094-ex03-note-3", "blocks": [ "rh-094-ex03" ], "status": "needs-review", "reason": "The + signs marking the anticipations (soprano C5, bar 1; soprano E5 and tenor C4, bar 2; soprano C5, alto E4 and tenor C4, bar 3; all four parts, bar 4) are described, not encoded." }, { "id": "rh-095-ex01-note-1", "blocks": [ "rh-095-ex01" ], "status": "needs-review", "reason": "Left fragment, bar 1: brackets in the bass staff enclose the first two chords, with the figure 5 printed before and after them and the footnote mark (*) between; they mark the parallel fifths between bass and soprano (C3–G4, E3–B4). Brackets, figures and mark are described, not encoded." }, { "id": "rh-095-ex01-note-2", "blocks": [ "rh-095-ex01" ], "status": "needs-review", "reason": "The + signs over the anticipations in the right fragment are described, not encoded; the fourth + of bar 2 is faintly printed." }, { "id": "rh-095-ex01-note-3", "blocks": [ "rh-095-ex01" ], "status": "needs-review", "reason": "Bars 3 and 6 break off after two beats and one beat respectively, with 'etc.'; encoded as printed (unmetered)." }, { "id": "rh-095-ex01-note-4", "blocks": [ "rh-095-ex01" ], "status": "needs-review", "reason": "The page number 71 sits above the final bar line of the right fragment and could not be excluded from the crop without cutting off the + signs." }, { "id": "rh-095-ex02-note-1", "blocks": [ "rh-095-ex02" ], "status": "needs-review", "reason": "The + signs marking the escape notes are described, not encoded." }, { "id": "rh-095-ex02-note-2", "blocks": [ "rh-095-ex02" ], "status": "needs-review", "reason": "Fragment 8: the opening soprano G4 carries stems up and down (soprano and alto in unison) and is tied to the soprano G4 of the next bar; encoded as a soprano note, with the alto entering in the next bar. The single quarter rest at the end is shared by all voices (encoded as rests in soprano and bass)." }, { "id": "rh-095-ex03-note-1", "blocks": [ "rh-095-ex03" ], "status": "needs-review", "reason": "Bar 1: the G4 half note carries stems up and down (soprano and alto in unison); encoded in both voices." }, { "id": "rh-095-ex03-note-2", "blocks": [ "rh-095-ex03" ], "status": "needs-review", "reason": "The + sign over the suspended D5 is described, not encoded. No meter is printed." }, { "id": "rh-095-004-note-1", "blocks": [ "rh-095-004" ], "status": "needs-review", "reason": "'(5-6-8)' as printed; the ornaments just numbered are 5) and 6), so 8 may be a misprint (for 6) or a reference to fragment 8 of the preceding example. Kept as printed." }, { "id": "rh-095-ex04-note-1", "blocks": [ "rh-095-ex04" ], "status": "needs-review", "reason": "Bar 1: the soprano F♯4 and alto E♭4 on the second half of beat 2 share one pair of accidentals printed side by side (♯♭) before the notehead cluster; read as soprano F♯4 over alto E♭4 (diminished seventh F♯–A–C–E♭ over the bass C)." }, { "id": "rh-095-ex04-note-2", "blocks": [ "rh-095-ex04" ], "status": "needs-review", "reason": "Bar 1: the soprano's third eighth E4 shares its notehead with the alto E4 (stems up and down)." }, { "id": "rh-095-ex04-note-3", "blocks": [ "rh-095-ex04" ], "status": "needs-review", "reason": "Printed courtesy naturals: E5 and F4 in bar 1, F5 in bar 3, F4 and C5 in bar 4; encoded as naturals." }, { "id": "rh-095-ex04-note-4", "blocks": [ "rh-095-ex04" ], "status": "needs-review", "reason": "The + signs (bar 1 A4 and E5, bar 2 E5, bar 3 E5 and F5, bar 4 E5) are described, not encoded." }, { "id": "rh-095-007-note-1", "blocks": [ "rh-095-007" ], "status": "needs-review", "reason": "'(mi-si)' is printed in italics (OCR 'mi-xi'); 'la deuxième' read as 'the second [fifth]', i.e. bass E3 against the passing soprano B4." }, { "id": "rh-100-ex01-note-1", "blocks": [ "rh-100-ex01" ], "status": "needs-review", "reason": "Bar 1: A4 is printed as a half note on the stem of the bass F4 (no second half-note A4 beside the F♯4); encoded as printed, so A4 sounds only in the first half." }, { "id": "rh-100-ex01-note-2", "blocks": [ "rh-100-ex01" ], "status": "needs-review", "reason": "Both resolution chords of each half are printed in parentheses as black stemless heads; encoded as quarter notes played in sequence, parentheses not encoded." }, { "id": "rh-100-ex01-note-3", "blocks": [ "rh-100-ex01" ], "status": "needs-review", "reason": "The slur F4–F♯4 (below) and F5–F♯5 (above) is encoded as a slur." }, { "id": "rh-100-ex02-note-1", "blocks": [ "rh-100-ex02" ], "status": "needs-review", "reason": "Resolution chords are printed as black stemless heads; encoded as quarter notes." }, { "id": "rh-100-ex02-note-2", "blocks": [ "rh-100-ex02" ], "status": "needs-review", "reason": "The slur over D5–D♯5 (bar 1) and over the pair D5/F5–D♯5/F♯5 (bar 2) is encoded as a slur on the upper note." }, { "id": "rh-100-ex02-note-3", "blocks": [ "rh-100-ex02" ], "status": "needs-review", "reason": "Bar 1 resolution: the unison G4 is printed as two heads side by side; in the MusicXML the two voices share one G4 (renders as one head)." }, { "id": "rh-101-ex01-note-1", "blocks": [ "rh-101-ex01" ], "status": "needs-review", "reason": "Both halves print D# in the II chord, i.e. the artificial diminished seventh chord; no artificial dominant seventh (D natural) version is shown." }, { "id": "rh-101-ex01-note-2", "blocks": [ "rh-101-ex01" ], "status": "needs-review", "reason": "First chord: bass C4 and tenor E4 both printed on ledger lines above the bass staff (bass not in the low octave), encoded as printed." }, { "id": "rh-101-ex01-note-3", "blocks": [ "rh-101-ex01" ], "status": "needs-review", "reason": "A small dot printed before the figure 6/5 is taken as a speck; a short curved stroke under the alto A4 of the VI chord (second half) is not encoded." }, { "id": "rh-101-ex01-note-4", "blocks": [ "rh-101-ex01" ], "status": "needs-review", "reason": "Unmetered whole-note chords; each half encoded as one bar, with the printed double bar between them." }, { "id": "rh-101-ex02-note-1", "blocks": [ "rh-101-ex02" ], "status": "needs-review", "reason": "The printed line joining F4 to D#4 is not encoded; the caption '3ce dim.' is attached below the first note." }, { "id": "rh-101-ex03-note-1", "blocks": [ "rh-101-ex03" ], "status": "needs-review", "reason": "The upper C5 of the first half-note chord carries a tie-like arc reaching toward the second chord, where no C5 head is printed: read as C5 held for the whole II chord and encoded as a whole note with D5 (printed: C5 half note plus arc)." }, { "id": "rh-101-ex03-note-2", "blocks": [ "rh-101-ex03" ], "status": "needs-review", "reason": "The arc below joining F4 to F#4 (chromatic step) is encoded as a slur." }, { "id": "rh-101-ex03-note-3", "blocks": [ "rh-101-ex03" ], "status": "needs-review", "reason": "The two closing quarter-note chords are printed in parentheses (optional resolutions); played in sequence, parentheses not encoded. Each contains a doubled G4, kept as two heads." }, { "id": "rh-101-ex04-note-1", "blocks": [ "rh-101-ex04" ], "status": "needs-review", "reason": "The two resolution chords in each half are printed as stemless black (quarter) noteheads inside parentheses as alternatives; encoded as quarter notes played one after the other, parentheses not encoded." }, { "id": "rh-101-ex04-note-2", "blocks": [ "rh-101-ex04" ], "status": "needs-review", "reason": "The arc joining D5 to Db5 is encoded as a slur." }, { "id": "rh-101-ex04-note-3", "blocks": [ "rh-101-ex04" ], "status": "needs-review", "reason": "The second half has a key signature of three flats (C minor); it is written into the second bar of the MusicXML. The figure 6/4 is printed only in the first half." }, { "id": "rh-101-ex05-note-1", "blocks": [ "rh-101-ex05" ], "status": "needs-review", "reason": "The six-four chord is printed in parentheses (optional); played in sequence, parentheses not encoded." }, { "id": "rh-101-ex05-note-2", "blocks": [ "rh-101-ex05" ], "status": "needs-review", "reason": "The second half has a key signature of three flats (C minor); it is written into the second bar of the MusicXML. The natural on D4 (tenor) and on B4 (soprano) in the second half are printed." }, { "id": "rh-101-ex06-note-1", "blocks": [ "rh-101-ex06" ], "status": "needs-review", "reason": "The printed line joining Db5 to B4 is not encoded; the caption '3ce dim.' is attached below the first note." }, { "id": "rh-102-ex01-note-1", "blocks": [ "rh-102-ex01" ], "status": "needs-review", "reason": "Single treble staff; the key signature of three flats (C minor) is printed only at the start of the second group, after the double bar; encoded as a key change in bar 2." }, { "id": "rh-102-ex01-note-2", "blocks": [ "rh-102-ex01" ], "status": "needs-review", "reason": "Black stemless heads (resolution chords) encoded as quarter notes; the unison C5 is printed as two heads side by side." }, { "id": "rh-102-ex01-note-3", "blocks": [ "rh-102-ex01" ], "status": "needs-review", "reason": "The slur joining D5 to D♭5 (D♭5 in bar 2 as well) is encoded as a slur." }, { "id": "rh-102-ex02-note-1", "blocks": [ "rh-102-ex02" ], "status": "needs-review", "reason": "Resolution chords are black stemless heads, each in parentheses (alternative resolutions); encoded as quarter-note chords played in sequence, parentheses not encoded." }, { "id": "rh-102-ex02-note-2", "blocks": [ "rh-102-ex02" ], "status": "needs-review", "reason": "Group 2): the opening chord prints C5 twice (two whole-note heads side by side) above the moving A4; encoded as a doubled C5." }, { "id": "rh-102-ex02-note-3", "blocks": [ "rh-102-ex02" ], "status": "needs-review", "reason": "Slurs printed below the moving voice (G4–G♯4; A4–A♭4) encoded as slurs." }, { "id": "rh-102-ex03-note-1", "blocks": [ "rh-102-ex03" ], "status": "needs-review", "reason": "Four-part whole-note chords on one treble staff; encoded with the lowest note as a separate voice." }, { "id": "rh-102-ex04-note-1", "blocks": [ "rh-102-ex04" ], "status": "needs-review", "reason": "In bar 2 the doubled G4 is printed as two heads side by side in each chord; encoded as a unison." }, { "id": "rh-102-ex05-note-1", "blocks": [ "rh-102-ex05" ], "status": "needs-review", "reason": "Black stemless resolution heads encoded as quarter notes; in the second group the two resolution chords are each in parentheses (alternatives), encoded in sequence, parentheses not encoded." }, { "id": "rh-102-ex05-note-2", "blocks": [ "rh-102-ex05" ], "status": "needs-review", "reason": "The crop starts at the clef; the caption printed to the left is the preceding text block." }, { "id": "rh-102-ex06-note-1", "blocks": [ "rh-102-ex06" ], "status": "needs-review", "reason": "Four-part whole-note chords on one treble staff; in the second group the G4 of the middle chord is printed to the right of F4 (a second)." }, { "id": "rh-102-ex07-note-1", "blocks": [ "rh-102-ex07" ], "status": "needs-review", "reason": "Five parts on one treble staff; black stemless resolution heads encoded as quarter notes." }, { "id": "rh-102-ex07-note-2", "blocks": [ "rh-102-ex07" ], "status": "needs-review", "reason": "The second group has A♭5 (minor ninth) although the text says 'in the major key'; encoded as printed." }, { "id": "rh-103-ex01-note-1", "blocks": [ "rh-103-ex01" ], "status": "needs-review", "reason": "All four parts on one treble staff: T1 = the moving upper part (half notes, stems up) and the upper notes of the resolution chords; T2 = the remaining whole notes and the bass of the resolution chords." }, { "id": "rh-103-ex01-note-2", "blocks": [ "rh-103-ex01" ], "status": "needs-review", "reason": "The resolution chords are printed as black noteheads without stems; encoded as quarter notes (as in rh-072-ex03)." }, { "id": "rh-103-ex01-note-3", "blocks": [ "rh-103-ex01" ], "status": "needs-review", "reason": "The resolution chords of a) and c) are each printed in parentheses (alternative resolutions); played in sequence, parentheses not encoded." }, { "id": "rh-103-ex01-note-4", "blocks": [ "rh-103-ex01" ], "status": "needs-review", "reason": "a): the C5 is printed twice (two heads side by side, unison doubling); kept as two noteheads." }, { "id": "rh-103-ex01-note-5", "blocks": [ "rh-103-ex01" ], "status": "needs-review", "reason": "The slur from F5 to F♯5 and the vertical lines joining the degree labels (IV, II) to the stems are printed; the slur is encoded, the lines are not." }, { "id": "rh-103-ex01-note-6", "blocks": [ "rh-103-ex01" ], "status": "needs-review", "reason": "Figures (♯6; ♯6 5 and 6 4; ♯6 4 3 and 6 4) are encoded as words below the bass, written with # in the MusicXML." }, { "id": "rh-103-ex02-note-1", "blocks": [ "rh-103-ex02" ], "status": "needs-review", "reason": "Both moving parts (F5–F♯5 and D5–D♯5) are half notes with slurs; the D part is encoded as a third voice (T3) on the same staff so that each slur has its own voice." }, { "id": "rh-103-ex02-note-2", "blocks": [ "rh-103-ex02" ], "status": "needs-review", "reason": "The resolution chords are printed as black noteheads without stems; encoded as quarter notes (as in rh-072-ex03)." }, { "id": "rh-103-ex02-note-3", "blocks": [ "rh-103-ex02" ], "status": "needs-review", "reason": "The words \"ainsi que :\" printed to the left of this example on the same line are given as the preceding text block." }, { "id": "rh-103-ex03-note-1", "blocks": [ "rh-103-ex03" ], "status": "needs-review", "reason": "All four parts on one treble staff: T1 = the moving upper part (half notes, stems up) and the upper notes of the resolution chords; T2 = the remaining whole notes and the bass of the resolution chords." }, { "id": "rh-103-ex03-note-2", "blocks": [ "rh-103-ex03" ], "status": "needs-review", "reason": "The resolution chords are printed as black noteheads without stems; encoded as quarter notes (as in rh-072-ex03)." }, { "id": "rh-103-ex03-note-3", "blocks": [ "rh-103-ex03" ], "status": "needs-review", "reason": "The resolution chords of a) and c) are each printed in parentheses (alternative resolutions); played in sequence, parentheses not encoded." }, { "id": "rh-103-ex03-note-4", "blocks": [ "rh-103-ex03" ], "status": "needs-review", "reason": "a): the C5 is printed twice (two heads side by side, unison doubling); kept as two noteheads." }, { "id": "rh-103-ex03-note-5", "blocks": [ "rh-103-ex03" ], "status": "needs-review", "reason": "The caption \"En Mineur\" is printed to the left of the staff; it is not encoded in the MusicXML." }, { "id": "rh-103-ex03-note-6", "blocks": [ "rh-103-ex03" ], "status": "needs-review", "reason": "Slurs F5–F♯5 encoded; the vertical lines joining the degree labels to the stems are not." }, { "id": "rh-103-ex04-note-1", "blocks": [ "rh-103-ex04" ], "status": "needs-review", "reason": "Whole-note chords on one treble staff without meter; each group of three chords is one bar, separated by printed double bars. T1 = upper three notes, T2 = bass (lowest note)." }, { "id": "rh-103-ex04-note-2", "blocks": [ "rh-103-ex04" ], "status": "needs-review", "reason": "Group (1): the C5 of the augmented sixth chord is printed twice (unison heads side by side); kept as two noteheads." }, { "id": "rh-103-ex04-note-3", "blocks": [ "rh-103-ex04" ], "status": "needs-review", "reason": "Group (3) begins with a key signature of three flats printed in the middle of the staff; the MusicXML inserts the key change at bar 3." }, { "id": "rh-103-ex04-note-4", "blocks": [ "rh-103-ex04" ], "status": "needs-review", "reason": "Group (3): the accidental before the figure 6 is faintly printed and partly broken; read as ♯6 4 3." }, { "id": "rh-103-ex05-note-1", "blocks": [ "rh-103-ex05" ], "status": "needs-review", "reason": "One treble staff, unmetered; each cadence is one bar, separated by printed double bars. T1 = the top part (half notes D5–D♯5 with a slur, then E5), T2 = the other three parts (whole notes); the final bass C4 is on a ledger line below the staff." }, { "id": "rh-103-ex05-note-2", "blocks": [ "rh-103-ex05" ], "status": "needs-review", "reason": "Group (4), VII harm.: the figure ♭3 calls for A♭, but no flat is printed before the A4 notehead; encoded as printed (A♮). Probable misprint for A♭4." }, { "id": "rh-103-ex05-note-3", "blocks": [ "rh-103-ex05" ], "status": "needs-review", "reason": "Group (1) prints the figures 6 5 3 without the \"—♯\" continuation that groups (2)–(4) show under D♯; encoded as printed." }, { "id": "rh-103-ex05-note-4", "blocks": [ "rh-103-ex05" ], "status": "needs-review", "reason": "The ♯ of \"6—♯\" is encoded as a word below the D♯5 half note; the vertical lines from the degree labels to the stems are not encoded." }, { "id": "rh-103-ex06-note-1", "blocks": [ "rh-103-ex06" ], "status": "needs-review", "reason": "Printed on one treble staff without meter: an open whole-note chord followed by three black stemless chords in parentheses (alternative resolutions), encoded as quarter notes and played in sequence." }, { "id": "rh-103-ex06-note-2", "blocks": [ "rh-103-ex06" ], "status": "needs-review", "reason": "The B4 of the first chord is printed to the left of A♭4 (a second); the flat before it belongs to A4." }, { "id": "rh-103-ex06-note-3", "blocks": [ "rh-103-ex06" ], "status": "needs-review", "reason": "The fourth degree label is partly broken in the scan; read as III, matching the ♭6 figure and the chord G–B–E♭–G." }, { "id": "rh-104-ex01-note-1", "blocks": [ "rh-104-ex01" ], "status": "needs-review", "reason": "The three bracketed black-note chords are alternative resolutions; they are encoded in sequence as stemless quarter-value heads, the parentheses described, not encoded." }, { "id": "rh-104-ex01-note-2", "blocks": [ "rh-104-ex01" ], "status": "needs-review", "reason": "The curve from F5 to E♯5 joins enharmonic notes; encoded as a slur. The curves on G3, B3 and B4 are ties." }, { "id": "rh-104-ex02-note-1", "blocks": [ "rh-104-ex02" ], "status": "needs-review", "reason": "The two bracketed black-note chords are alternative resolutions, encoded in sequence as stemless quarter-value heads; parentheses described, not encoded." }, { "id": "rh-104-ex02-note-2", "blocks": [ "rh-104-ex02" ], "status": "needs-review", "reason": "Only the first bracketed chord carries the figure 6/4; the second (F♯–C♯–A♯–F♯, a root-position triad) has no figure." }, { "id": "rh-104-ex02-note-3", "blocks": [ "rh-104-ex02" ], "status": "needs-review", "reason": "The curve F5–E♯5 joins enharmonic notes (encoded as a slur); G3, D4 and B4 are tied." }, { "id": "rh-104-ex03-note-1", "blocks": [ "rh-104-ex03" ], "status": "needs-review", "reason": "The last two chords are printed as black stemless heads; encoded as quarter values." }, { "id": "rh-104-ex03-note-2", "blocks": [ "rh-104-ex03" ], "status": "needs-review", "reason": "Two enharmonic curves are printed: F5 to E♯5 (encoded as a slur) and D4 to C𝄪4 (described only; the score writer carries one slur at a time). G3 and B4 are tied." }, { "id": "rh-104-ex03-note-3", "blocks": [ "rh-104-ex03" ], "status": "needs-review", "reason": "The crop's right edge holds the double bar shared with example 4) and part of the label “4)”." }, { "id": "rh-104-ex04-note-1", "blocks": [ "rh-104-ex04" ], "status": "needs-review", "reason": "The final chord is printed with black stemless heads; encoded as a quarter value." }, { "id": "rh-104-ex04-note-2", "blocks": [ "rh-104-ex04" ], "status": "needs-review", "reason": "The curve F4–E♯4 joins enharmonic notes (encoded as a slur); G3, B4 and D♯5 are tied." }, { "id": "rh-104-ex05-note-1", "blocks": [ "rh-104-ex05" ], "status": "needs-review", "reason": "Unmetered, as printed; two segments of two whole-note beats each, divided by a double bar." }, { "id": "rh-104-ex05-note-2", "blocks": [ "rh-104-ex05" ], "status": "needs-review", "reason": "The second segment's six-four chord has D natural (B minor six-four), as printed." }, { "id": "rh-104-ex05-note-3", "blocks": [ "rh-104-ex05" ], "status": "needs-review", "reason": "Bottom figure digits are close to the following paragraph; the crop keeps them." }, { "id": "rh-104-ex06-note-1", "blocks": [ "rh-104-ex06" ], "status": "needs-review", "reason": "The upper E5 is tied through the first four chords of part one; the curve B♭4–A♯4 joins enharmonic notes (encoded as a slur). In part two the curve C5–B♯4 is encoded as a slur, and D4 and F♯4 are tied." }, { "id": "rh-104-ex06-note-2", "blocks": [ "rh-104-ex06" ], "status": "needs-review", "reason": "Part one, chord 5: A4 and B4 are printed side by side (a second); the B is offset to the right." }, { "id": "rh-104-ex07-note-1", "blocks": [ "rh-104-ex07" ], "status": "needs-review", "reason": "The key label above the A♭ major chord is printed “La” without a flat; kept as printed (the key is A♭ major)." }, { "id": "rh-104-ex07-note-2", "blocks": [ "rh-104-ex07" ], "status": "needs-review", "reason": "Courtesy naturals on D5 and B4 in the dominant chord are printed and encoded." }, { "id": "rh-105-ex01-note-1", "blocks": [ "rh-105-ex01" ], "status": "needs-review", "reason": "Unmetered, as printed; one bar per numbered resolution, double bars between them." }, { "id": "rh-105-ex01-note-2", "blocks": [ "rh-105-ex01" ], "status": "needs-review", "reason": "The resolution chords are printed as black stemless heads; encoded as quarter notes after the whole-note diminished seventh." }, { "id": "rh-105-ex01-note-3", "blocks": [ "rh-105-ex01" ], "status": "needs-review", "reason": "Curves joining the common tones (F5 in 3; G#4 in 4 and 6; F5 and D5 in 5) are encoded as ties." }, { "id": "rh-105-ex01-note-4", "blocks": [ "rh-105-ex01" ], "status": "needs-review", "reason": "Resolution 4 reads G#4 (held) – C#5 – C#5 – E5, figured 6/4; the G# carries over from the diminished seventh within the bar (no new accidental printed)." }, { "id": "rh-105-ex01-note-5", "blocks": [ "rh-105-ex01" ], "status": "needs-review", "reason": "Unisons (C5 C5 in 1-4, A4 A4 in 5, E5 E5 in 6) are printed as two heads side by side and encoded as two notes." }, { "id": "rh-105-ex02-note-1", "blocks": [ "rh-105-ex02" ], "status": "needs-review", "reason": "Unmetered, as printed; one bar per spelling, double bars between them." }, { "id": "rh-105-ex02-note-2", "blocks": [ "rh-105-ex02" ], "status": "needs-review", "reason": "The '=' signs printed between the figures (7 = 6/5 and 4/3 = 2) are described, not encoded." }, { "id": "rh-105-ex02-note-3", "blocks": [ "rh-105-ex02" ], "status": "needs-review", "reason": "Chord 4: a natural is printed before the B (courtesy) and a flat before the A; read as Ab4 Bn4 D5 F5 (figured 2)." }, { "id": "rh-105-ex03-note-1", "blocks": [ "rh-105-ex03" ], "status": "needs-review", "reason": "Unmetered, as printed; two bars (Do → Lab, double bar, Do → Do#), whole notes." }, { "id": "rh-105-ex03-note-2", "blocks": [ "rh-105-ex03" ], "status": "needs-review", "reason": "Second half: the final chord C#4 G#4 C#5 E5 (and the earlier C#4 G#4 C#5 E5) is C-sharp minor as printed (no sharp on E), and the preceding chords F#4 An4 C#5 D#5 and G#4 G#4 B#4 D#5 fit C-sharp minor; the label is printed with a capital, 'Do #', where the book otherwise uses capitals for major keys. Encoded as printed." }, { "id": "rh-105-ex03-note-3", "blocks": [ "rh-105-ex03" ], "status": "needs-review", "reason": "The natural before A4 in the fifth chord of the second half cancels the earlier Ab4 in the same (unmetered) bar." }, { "id": "rh-105-ex03-note-4", "blocks": [ "rh-105-ex03" ], "status": "needs-review", "reason": "Unison Ab4 (last chord of the first half) and G#4 (sixth chord of the second half) printed as two heads side by side." }, { "id": "rh-105-008-note-1", "blocks": [ "rh-105-008" ], "status": "needs-review", "reason": "'à quatre résolutions' printed with a grave accent (for 'a'); kept as printed, translated as 'has'." }, { "id": "rh-105-ex04-note-1", "blocks": [ "rh-105-ex04" ], "status": "needs-review", "reason": "Unmetered, as printed; one bar per numbered resolution, double bars between them." }, { "id": "rh-105-ex04-note-2", "blocks": [ "rh-105-ex04" ], "status": "needs-review", "reason": "Black stemless resolution heads encoded as quarter notes after the whole-note augmented triad C4 E4 G#4." }, { "id": "rh-105-ex04-note-3", "blocks": [ "rh-105-ex04" ], "status": "needs-review", "reason": "Curves joining common tones encoded as ties: C4 in 1 and 3; G#4 and E4 in 2; G#4 in 4. In 2 the lower curve is read as joining E4 to E4." }, { "id": "rh-105-ex05-note-1", "blocks": [ "rh-105-ex05" ], "status": "needs-review", "reason": "Unmetered, as printed; one bar per spelling, double bars between them." }, { "id": "rh-105-ex05-note-2", "blocks": [ "rh-105-ex05" ], "status": "needs-review", "reason": "The '=' signs between the figures are described, not encoded." }, { "id": "rh-105-ex06-note-1", "blocks": [ "rh-105-ex06" ], "status": "needs-review", "reason": "Unmetered, as printed; one bar, final double bar. All four parts on one treble staff; the bass G3 and Ab3 on ledger lines below." }, { "id": "rh-105-ex06-note-2", "blocks": [ "rh-105-ex06" ], "status": "needs-review", "reason": "Tenor G4 half then F4 half under the V chord, figured 8 — 7 below the bass; the figures are attached to the tenor halves in the encoding." }, { "id": "rh-105-ex06-note-3", "blocks": [ "rh-105-ex06" ], "status": "needs-review", "reason": "VI chord: doubled third C5 printed as two heads side by side." }, { "id": "rh-106-ex01-note-1", "blocks": [ "rh-106-ex01" ], "status": "needs-review", "reason": "The three bracketed chords are alternatives (IV harm., II harm., II harm. ♭6); encoded played in sequence, brackets not encoded." }, { "id": "rh-106-ex01-note-2", "blocks": [ "rh-106-ex01" ], "status": "needs-review", "reason": "No meter or internal barlines are printed; encoded as one unmetered bar of whole notes (halves where printed)." }, { "id": "rh-106-ex01-note-3", "blocks": [ "rh-106-ex01" ], "status": "needs-review", "reason": "The two soprano/alto C5 heads of the VI chord are printed side by side (unison); both encoded." }, { "id": "rh-106-ex02-note-1", "blocks": [ "rh-106-ex02" ], "status": "needs-review", "reason": "Resolution chords are printed as black stemless heads; encoded as quarter notes." }, { "id": "rh-106-ex02-note-2", "blocks": [ "rh-106-ex02" ], "status": "needs-review", "reason": "The figure under the first chord is ♯6 / ♯4 / 3 (the 3 partly cut by the line below in the scan)." }, { "id": "rh-106-ex02-note-3", "blocks": [ "rh-106-ex02" ], "status": "needs-review", "reason": "The example ends with a thin double bar in the source; MusicXML uses the standard final barline." }, { "id": "rh-106-ex03-note-1", "blocks": [ "rh-106-ex03" ], "status": "needs-review", "reason": "Resolution chords are printed as black stemless heads; encoded as quarter notes." }, { "id": "rh-106-ex03-note-2", "blocks": [ "rh-106-ex03" ], "status": "needs-review", "reason": "The example ends with a thin double bar in the source; MusicXML uses the standard final barline." }, { "id": "rh-106-ex04-note-1", "blocks": [ "rh-106-ex04" ], "status": "needs-review", "reason": "The second chord is labelled V above, as printed (the text calls it the diminished seventh on the raised 4th degree)." }, { "id": "rh-106-ex04-note-2", "blocks": [ "rh-106-ex04" ], "status": "needs-review", "reason": "The low notes (G3, D4; F♯3, E♭4) are on ledger lines below the treble staff; the example ends with a thin double bar." }, { "id": "rh-106-ex04-note-3", "blocks": [ "rh-106-ex04" ], "status": "needs-review", "reason": "The example ends with a thin double bar in the source; MusicXML uses the standard final barline." }, { "id": "rh-106-ex05-note-1", "blocks": [ "rh-106-ex05" ], "status": "needs-review", "reason": "Figures 7 / 5 / ♮3 under the diminished seventh chord as printed (relative to F♯ the third is A♮)." }, { "id": "rh-106-ex06-note-1", "blocks": [ "rh-106-ex06" ], "status": "needs-review", "reason": "In 3) and 4) the figures are printed 5 above 6 (i.e. 6/5 inverted); recorded as printed." }, { "id": "rh-106-ex06-note-2", "blocks": [ "rh-106-ex06" ], "status": "needs-review", "reason": "Slur/tie D5–D5 in 1) encoded as a tie; no tie printed in 2)–4) although common tones are kept." }, { "id": "rh-106-ex06-note-3", "blocks": [ "rh-106-ex06" ], "status": "needs-review", "reason": "Unisons (doubled G4, B4 or D5) printed as side-by-side heads; both encoded." }, { "id": "rh-106-ex06-note-4", "blocks": [ "rh-106-ex06" ], "status": "needs-review", "reason": "The example ends with a thin double bar in the source; MusicXML uses the standard final barline." }, { "id": "rh-106-ex07-note-1", "blocks": [ "rh-106-ex07" ], "status": "needs-review", "reason": "In 2) the tie is printed from B4 of the first chord to B4 of the second." }, { "id": "rh-106-ex07-note-2", "blocks": [ "rh-106-ex07" ], "status": "needs-review", "reason": "The example ends with a thin double bar in the source; MusicXML uses the standard final barline." }, { "id": "rh-107-ex01-note-1", "blocks": [ "rh-107-ex01" ], "status": "needs-review", "reason": "Figure '2' (= 4/2) printed under the second chords of 1) and 2); 4) has no figures, although its second chord has G in the bass (6/5 position)." }, { "id": "rh-107-ex01-note-2", "blocks": [ "rh-107-ex01" ], "status": "needs-review", "reason": "The two ties in 1) are read as F5–F5 (above) and D5–D5; the arc in 2) as a tie B4–B4 (the B4 of the second chord is printed displaced to the right)." }, { "id": "rh-107-ex02-note-1", "blocks": [ "rh-107-ex02" ], "status": "needs-review", "reason": "Degree labels IV (a) and VI–V (b) are printed as such; they do not match the V–V labelling of the other examples on the page. Encoded as printed." }, { "id": "rh-107-ex03-note-1", "blocks": [ "rh-107-ex03" ], "status": "needs-review", "reason": "A short tie stroke leaves the top F5 of the first chord and stops before the next chord (which has no F); not encoded." }, { "id": "rh-107-ex04-note-1", "blocks": [ "rh-107-ex04" ], "status": "needs-review", "reason": "The parenthesized D♭7 chord is printed with flats only on A♭4 and C♭5; its bass note has no flat (D4 instead of D♭4). Encoded as printed (D natural); the enharmonic C♯4 of the next chord shows D♭4 was meant." }, { "id": "rh-107-ex04-note-2", "blocks": [ "rh-107-ex04" ], "status": "needs-review", "reason": "The enharmonic sign '7 = 7' (a double line between the two figures) is encoded as the figure '7 =' under the D♭7 chord." }, { "id": "rh-107-ex04-note-3", "blocks": [ "rh-107-ex04" ], "status": "needs-review", "reason": "The C♯7 chord's B4 has no printed natural; the MusicXML writer adds a courtesy natural (B♭4 occurs earlier in the same unmetered bar)." }, { "id": "rh-107-ex04-note-4", "blocks": [ "rh-107-ex04" ], "status": "needs-review", "reason": "The final C major chord doubles C4 (two heads side by side) above C3 on three ledger lines." }, { "id": "rh-107-ex06-note-1", "blocks": [ "rh-107-ex06" ], "status": "needs-review", "reason": "The second chord has a sharp before D5 (A♭4 C5 D♯5 F♯5), the enharmonic spelling of A♭–C–E♭–G♭; encoded as printed." }, { "id": "rh-107-ex06-note-2", "blocks": [ "rh-107-ex06" ], "status": "needs-review", "reason": "The final chord is printed with black stemless heads; encoded as quarter notes." }, { "id": "rh-107-ex07-note-1", "blocks": [ "rh-107-ex07" ], "status": "needs-review", "reason": "In the third segment the alto G♯4 is tied into a half note and moves to a half-note F♯4 over the G♯7 chord; both half notes are printed with unusually long down-stems." }, { "id": "rh-107-ex07-note-2", "blocks": [ "rh-107-ex07" ], "status": "needs-review", "reason": "The bass of the G♯7 chord is G♯3 (an octave above the preceding G♯2), with the tenor B♯3, both printed as one two-note stack in the bass staff." }, { "id": "rh-108-ex01-note-1", "blocks": [ "rh-108-ex01" ], "status": "needs-review", "reason": "The print applies accidentals chord by chord; in the single unmetered MusicXML bar the renderer adds courtesy naturals not printed (C5 in the 7th chord, A4 in the 13th, F4 in the 16th, etc.). Pitches are as printed." }, { "id": "rh-108-ex01-note-2", "blocks": [ "rh-108-ex01" ], "status": "needs-review", "reason": "The 9th chord is printed C–E–F♯–A♯ (not C–E–G–A♯): the G of the preceding C–E–G–B♭ moves to F♯ with the enharmonic change; encoded as printed." }, { "id": "rh-108-ex01-note-3", "blocks": [ "rh-108-ex01" ], "status": "needs-review", "reason": "Label '(enharm.)' is printed between the 8th and 9th chords; attached to the 9th." }, { "id": "rh-108-ex02-note-1", "blocks": [ "rh-108-ex02" ], "status": "needs-review", "reason": "The inner A♭4–G4 half notes under the held D♭–F–B♮ chord are encoded as a separate voice; the renderer adds a courtesy natural to G4 not printed." }, { "id": "rh-108-ex02-note-2", "blocks": [ "rh-108-ex02" ], "status": "needs-review", "reason": "Repeated flats on A♭4 (5th, 6th chords) and D♭4 (6th chord) are printed and forced in the MusicXML." }, { "id": "rh-108-ex03-note-1", "blocks": [ "rh-108-ex03" ], "status": "needs-review", "reason": "Bar 3: two brackets above the soprano (over B4–C5 and over G♯4–A4) are not encoded in MusicXML; described." }, { "id": "rh-108-ex03-note-2", "blocks": [ "rh-108-ex03" ], "status": "needs-review", "reason": "Bar 5–6: the soprano A♭4 tied over the barline is printed with its flat again in bar 6; forced." }, { "id": "rh-108-ex03-note-3", "blocks": [ "rh-108-ex03" ], "status": "needs-review", "reason": "Bar 7 alto B3 quarter–B3 eighth joined by an arc read as a tie; bar 8 alto D4–D4 likewise; bar 8 tenor E3–E3 likewise." }, { "id": "rh-109-ex01-note-1", "blocks": [ "rh-109-ex01" ], "status": "needs-review", "reason": "The fermata of bar 4 is printed above the soprano and below the bass; that of the last bar above the soprano and above the tenor (bass staff); encoded on soprano and bass in bar 4 and on soprano and tenor in bar 8." }, { "id": "rh-109-ex01-note-2", "blocks": [ "rh-109-ex01" ], "status": "needs-review", "reason": "Bar 1: the alto G4 is printed as a whole note under the soprano halves B4–C5; encoded as printed." }, { "id": "rh-109-ex01-note-3", "blocks": [ "rh-109-ex01" ], "status": "needs-review", "reason": "Bar 4: the alto's second D4 has no accidental, so the D♯ of the first half carries through the bar (B7 chord over A)." }, { "id": "rh-109-ex02-note-1", "blocks": [ "rh-109-ex02" ], "status": "needs-review", "reason": "The fermata of bar 4 is printed above the soprano and below the bass; that of the last bar above the soprano and above the tenor; encoded on soprano and bass in bar 4 and on soprano and tenor in bar 8." }, { "id": "rh-109-ex02-note-2", "blocks": [ "rh-109-ex02" ], "status": "needs-review", "reason": "Bar 5: the dot is printed after the bass C3 only (dotted half); the tenor E3 sharing the stem is read as a half note followed by quarters F♯3 G♯3." }, { "id": "rh-109-ex02-note-3", "blocks": [ "rh-109-ex02" ], "status": "needs-review", "reason": "Bar 6: the arc over the tenor A3 half and the following black A3 is read as a tie; the tenor then drops to D3 (quarter), as printed." }, { "id": "rh-109-ex02-note-4", "blocks": [ "rh-109-ex02" ], "status": "needs-review", "reason": "Alto E4 is tied over the bar lines 1–2 and 5–6, as printed." }, { "id": "rh-109-ex03-note-1", "blocks": [ "rh-109-ex03" ], "status": "needs-review", "reason": "Unmetered fragments of unequal length separated by double bars, encoded without a meter; fragments 4 and 5 are separated by a single bar line, as printed." }, { "id": "rh-109-ex03-note-2", "blocks": [ "rh-109-ex03" ], "status": "needs-review", "reason": "Fragment 3: three eighths E4 G4 C5 over a black C4 with a down-stem and no dot (a quarter); encoded as printed, so the lower voice is shorter than the upper." }, { "id": "rh-109-ex03-note-3", "blocks": [ "rh-109-ex03" ], "status": "needs-review", "reason": "Last fragment: six eighths C4 C5 C4 C5 C4 C5 with an open E4–G4 chord (half note, down-stem) printed just after the first eighth; encoded as a half note from the start of the fragment, so it is shorter than the upper voice (3 beats)." }, { "id": "rh-109-ex03-note-4", "blocks": [ "rh-109-ex03" ], "status": "needs-review", "reason": "Fragment 6: the eighths G4 E4 G4 E4 are printed stems-up beamed under the half C5; encoded as a separate middle voice." }, { "id": "rh-109-ex04-note-1", "blocks": [ "rh-109-ex04" ], "status": "needs-review", "reason": "Unmetered fragments separated by double bars, encoded without a meter." }, { "id": "rh-109-ex04-note-2", "blocks": [ "rh-109-ex04" ], "status": "needs-review", "reason": "Last fragment: the sign before the first F4 is partly obscured but reads as a sharp; the second F4 in the same bar is encoded as F♯4 too (no new sign)." }, { "id": "rh-109-ex05-note-1", "blocks": [ "rh-109-ex05" ], "status": "needs-review", "reason": "The bass triplet eighths are marked 3 only in bar 1; bar 2 continues the same grouping in threes and is encoded as triplets too." }, { "id": "rh-109-ex05-note-2", "blocks": [ "rh-109-ex05" ], "status": "needs-review", "reason": "The long arcs over the upper C5 (bar 1 into bar 2, and within bar 2) and under F4 (bar 1 into bar 2) connect equal pitches and are encoded as ties; the arc under the bass C3–C3 in bar 2 likewise." }, { "id": "rh-109-ex05-note-3", "blocks": [ "rh-109-ex05" ], "status": "needs-review", "reason": "Bar 2: the half G4 and the black F4 are printed side by side on the first beat (two inner voices); the chord D4–F4 on beat 3 is one half note with a down-stem, assigned F4 to the middle voice and D4 to the lowest treble voice." }, { "id": "rh-110-ex01-note-1", "blocks": [ "rh-110-ex01" ], "status": "needs-review", "reason": "Unmetered; encoded as one bar of whole notes. The interval brackets are not encoded; their labels are attached as text below the alto." }, { "id": "rh-110-ex02-note-1", "blocks": [ "rh-110-ex02" ], "status": "needs-review", "reason": "Unmetered; encoded as one bar. The closing black stemless heads are encoded as quarter notes." }, { "id": "rh-110-ex02-note-2", "blocks": [ "rh-110-ex02" ], "status": "needs-review", "reason": "The lines joining F4–G4 and B4–C5 are not encoded." }, { "id": "rh-110-ex03-note-1", "blocks": [ "rh-110-ex03" ], "status": "needs-review", "reason": "Unmetered; encoded as one bar. The closing black stemless heads are encoded as quarter notes; the unison F3 is printed as two heads side by side." }, { "id": "rh-110-ex03-note-2", "blocks": [ "rh-110-ex03" ], "status": "needs-review", "reason": "The interval brackets are not encoded; their labels are attached as text above the alto." }, { "id": "rh-110-ex03-note-3", "blocks": [ "rh-110-ex03" ], "status": "needs-review", "reason": "The text speaks of an inner part (b), but here the rising seventh F4–G4 is the top voice of the printed example; encoded as printed." }, { "id": "rh-110-ex04-note-1", "blocks": [ "rh-110-ex04" ], "status": "needs-review", "reason": "Unmetered; each group encoded as one bar of whole notes." }, { "id": "rh-110-ex04-note-2", "blocks": [ "rh-110-ex04" ], "status": "needs-review", "reason": "The lines joining F4–G4 are not encoded." }, { "id": "rh-110-ex05-note-1", "blocks": [ "rh-110-ex05" ], "status": "needs-review", "reason": "Unmetered; encoded as one bar of whole notes. The fifth brackets are not encoded." }, { "id": "rh-110-ex06-note-1", "blocks": [ "rh-110-ex06" ], "status": "needs-review", "reason": "No meter is printed; encoded unmetered, two half notes per bar as printed, last bar one half note." }, { "id": "rh-110-ex06-note-2", "blocks": [ "rh-110-ex06" ], "status": "needs-review", "reason": "The fifth brackets are not encoded." }, { "id": "rh-110-ex06-note-3", "blocks": [ "rh-110-ex06" ], "status": "needs-review", "reason": "The tenor part is written with stems up in the gap between the staves (on ledger lines above the bass staff); encoded on the bass staff." }, { "id": "rh-110-ex06-note-4", "blocks": [ "rh-110-ex06" ], "status": "needs-review", "reason": "Crop: the top of the fermata arc over bar 3 is trimmed, because the figure \"b5\" of example e) stands at the same height just to the right." }, { "id": "rh-110-ex07-note-1", "blocks": [ "rh-110-ex07" ], "status": "needs-review", "reason": "Unmetered; each cadence encoded as one bar of whole notes." }, { "id": "rh-110-ex07-note-2", "blocks": [ "rh-110-ex07" ], "status": "needs-review", "reason": "Brackets and voice-leading lines are not encoded." }, { "id": "rh-111-ex01-note-1", "blocks": [ "rh-111-ex01" ], "status": "needs-review", "reason": "Final chord (C3 G3 E-flat4 G4) printed after a barline as stemless black note heads, followed by \"etc.\"; encoded as quarter notes." }, { "id": "rh-111-ex01-note-2", "blocks": [ "rh-111-ex01" ], "status": "needs-review", "reason": "The long arc from the tenor G3 of the third segment to the G3 of the final chord is encoded as a tie." }, { "id": "rh-111-ex01-note-3", "blocks": [ "rh-111-ex01" ], "status": "needs-review", "reason": "The 1½ labels are attached above the second note of each augmented second." }, { "id": "rh-111-ex02-note-1", "blocks": [ "rh-111-ex02" ], "status": "needs-review", "reason": "Repeated and cautionary accidentals printed on the A-flat4 of chord 2 and on the naturals of B3 (chord 2) and A3 (chord 4) are kept as printed." }, { "id": "rh-111-ex02-note-2", "blocks": [ "rh-111-ex02" ], "status": "needs-review", "reason": "In chord 3 the sharp is printed to the left of the second F4–G4; it is read as G-sharp4 (G-sharp4 head displaced to the right), giving the augmented sixth B-flat–G-sharp." }, { "id": "rh-111-ex03-note-1", "blocks": [ "rh-111-ex03" ], "status": "needs-review", "reason": "Section (2), last chord: no natural is printed before G5 after the G-flat5 of the fourth chord; encoded as G natural (G major chord), so the rendering shows a natural not in the print." }, { "id": "rh-111-ex03-note-2", "blocks": [ "rh-111-ex03" ], "status": "needs-review", "reason": "Repeated accidentals printed within a segment (B-flat4 and E-flat5 in the E-flat7 chords, sharps of the B7 chord in (1), F-sharp5 in the D7 chord in (2), natural on B3) are kept as printed." }, { "id": "rh-111-ex04-note-1", "blocks": [ "rh-111-ex04" ], "status": "needs-review", "reason": "(1) chord 4: no natural is printed before F4 after the F-sharp4 of chord 2 (accidentals apply to the single note in this print); encoded as F natural (diminished seventh F–G-sharp–B–D), so the rendering shows a natural not in the print." }, { "id": "rh-111-ex04-note-2", "blocks": [ "rh-111-ex04" ], "status": "needs-review", "reason": "In each chord the note a second away from its neighbour is printed displaced to the side; all four notes sound together." }, { "id": "rh-111-ex05-note-1", "blocks": [ "rh-111-ex05" ], "status": "needs-review", "reason": "The black stemless chord heads are encoded as quarter notes; the pedal whole note is encoded as tied notes lasting the whole segment." }, { "id": "rh-111-ex05-note-2", "blocks": [ "rh-111-ex05" ], "status": "needs-review", "reason": "Cautionary naturals printed on B4 (section 1, last chord) and F5 (section 2, sixth chord) are kept." }, { "id": "rh-112-ex01-note-1", "blocks": [ "rh-112-ex01" ], "status": "needs-review", "reason": "Printed without meter or internal barlines; encoded as one unmetered bar of eight whole-note chords." }, { "id": "rh-112-ex01-note-2", "blocks": [ "rh-112-ex01" ], "status": "needs-review", "reason": "Chord 6: tenor and bass G3 printed as two heads side by side; in the MusicXML they share one G3." }, { "id": "rh-112-ex02-note-1", "blocks": [ "rh-112-ex02" ], "status": "needs-review", "reason": "Var. I continues on the next system, where Var. II begins mid-system; split at the system break into rh-112-ex02 (bars 1–4) and rh-112-ex03 (bars 5–8)." }, { "id": "rh-112-ex02-note-2", "blocks": [ "rh-112-ex02" ], "status": "needs-review", "reason": "The alto tie E4 (bar 4) → E4 (bar 5) across the system break is not encoded in either MusicXML." }, { "id": "rh-112-ex03-note-1", "blocks": [ "rh-112-ex03" ], "status": "needs-review", "reason": "Continuation of rh-112-ex02; the alto tie into bar 5 is not encoded." }, { "id": "rh-112-ex03-note-2", "blocks": [ "rh-112-ex03" ], "status": "needs-review", "reason": "Bar 6: tenor and bass on one G3 head (stems up and down); encoded as a unison." }, { "id": "rh-112-ex04-note-1", "blocks": [ "rh-112-ex04" ], "status": "needs-review", "reason": "Var. II continues on the third system; split at the system break into rh-112-ex04 (bars 1–3) and rh-112-ex05 (bars 4–8). The tenor tie G3 (bar 3) → G3 (bar 4) is not encoded." }, { "id": "rh-112-ex04-note-2", "blocks": [ "rh-112-ex04" ], "status": "needs-review", "reason": "Bar 2: the sharp is printed only on the first G♯4; the second G is read as G♯4 under the bar rule." }, { "id": "rh-112-ex04-note-3", "blocks": [ "rh-112-ex04" ], "status": "needs-review", "reason": "The left edge of the crop shows the double bar ending Var. I." }, { "id": "rh-112-ex05-note-1", "blocks": [ "rh-112-ex05" ], "status": "needs-review", "reason": "Continuation of rh-112-ex04; the tenor tie into bar 4 is not encoded." }, { "id": "rh-112-ex05-note-2", "blocks": [ "rh-112-ex05" ], "status": "needs-review", "reason": "Bar 4: a slur from bass C3 to E3 is not encoded." }, { "id": "rh-112-ex05-note-3", "blocks": [ "rh-112-ex05" ], "status": "needs-review", "reason": "Bar 5: the soprano drops to C♯4 over the alto A3 (half), as printed." }, { "id": "rh-112-ex05-note-4", "blocks": [ "rh-112-ex05" ], "status": "needs-review", "reason": "Bar 5: the natural on the tenor C4 is a courtesy natural after the soprano's C♯4." }, { "id": "rh-112-ex05-note-5", "blocks": [ "rh-112-ex05" ], "status": "needs-review", "reason": "Bar 6: soprano F♯4 sounds against alto F♮4 on the same beat, as printed." }, { "id": "rh-112-ex06-note-1", "blocks": [ "rh-112-ex06" ], "status": "needs-review", "reason": "Bar 2: the tenor G3 dotted quarter is joined by a curve to the following G3 eighth; encoded as a tie." }, { "id": "rh-112-ex06-note-2", "blocks": [ "rh-112-ex06" ], "status": "needs-review", "reason": "Bar 4: the bass staff has three heads (C4, G3, C3), giving five voices; C4 and G3 are encoded as a tenor chord, with G3 tied in from bar 3." }, { "id": "rh-112-ex06-note-3", "blocks": [ "rh-112-ex06" ], "status": "needs-review", "reason": "Bar 3: the printed natural on alto F4 (after the F♯4 eighth) is kept." }, { "id": "rh-112-ex07-note-1", "blocks": [ "rh-112-ex07" ], "status": "needs-review", "reason": "Bars 1 and 5: soprano and alto share one G4 head (stems up and down); encoded as a unison." }, { "id": "rh-112-ex07-note-2", "blocks": [ "rh-112-ex07" ], "status": "needs-review", "reason": "Bar 7: tenor and bass share one G3 head on beat 2; encoded as a unison." }, { "id": "rh-112-ex07-note-3", "blocks": [ "rh-112-ex07" ], "status": "needs-review", "reason": "Bar 7: the flat before the tenor head is read as A♭3 (A3 line) above bass F3." }, { "id": "rh-112-ex07-note-4", "blocks": [ "rh-112-ex07" ], "status": "needs-review", "reason": "The courtesy naturals on F4 (bars 2, 3, 6) and D3 (bars 2, 6) are kept as printed." }, { "id": "rh-112-ex07-note-5", "blocks": [ "rh-112-ex07" ], "status": "needs-review", "reason": "The closing barline before \"etc.\" is printed as a thin double bar." }, { "id": "rh-113-ex01-note-1", "blocks": [ "rh-113-ex01" ], "status": "needs-review", "reason": "The common-time signature C is printed on the first system only; it is written into the MusicXML of all five systems (rh-113-ex01…ex05) so each plays in 4/4." }, { "id": "rh-113-ex01-note-2", "blocks": [ "rh-113-ex01" ], "status": "needs-review", "reason": "Soprano tie A♭4 (bar 5) → A♭4 (bar 6) across the system break is not encoded in either MusicXML." }, { "id": "rh-113-ex01-note-3", "blocks": [ "rh-113-ex01" ], "status": "needs-review", "reason": "The prelude is split at the printed system breaks into five examples (bars 1–5, 6–10, 11–14, 15–19, 20–24); the part labels fall mid-system (IIe partie at bar 9, IIIe partie at bar 17)." }, { "id": "rh-113-ex02-note-1", "blocks": [ "rh-113-ex02" ], "status": "needs-review", "reason": "Bar 8, bass: the dotted half on the second line (B2) is printed without a flat, although the tenor has B♭3 and bar 6 had B♭2; probably a misprint for B♭2. Encoded as printed (B natural)." }, { "id": "rh-113-ex02-note-2", "blocks": [ "rh-113-ex02" ], "status": "needs-review", "reason": "Bar 6, soprano A♭4 carries a courtesy flat after the tie from bar 5; bar 9, alto A♭4 likewise carries a repeated flat after its tie from bar 8 (both forced visible)." }, { "id": "rh-113-ex02-note-3", "blocks": [ "rh-113-ex02" ], "status": "needs-review", "reason": "Bar 7, tenor beat 4: C♭4 with a printed flat (A♭ minor chord A♭2–C♭4–E♭5)." }, { "id": "rh-113-ex03-note-1", "blocks": [ "rh-113-ex03" ], "status": "needs-review", "reason": "Bar 12, beat 1: soprano G4 (dotted quarter) and alto E♭4 (first of four beamed eighths) share one stem cluster; read from a 5× JP2 crop." }, { "id": "rh-113-ex03-note-2", "blocks": [ "rh-113-ex03" ], "status": "needs-review", "reason": "Bar 13, alto: the B3 and A3 eighths carry printed naturals; bar 14 tenor E3 likewise carries a printed natural." }, { "id": "rh-113-ex03-note-3", "blocks": [ "rh-113-ex03" ], "status": "needs-review", "reason": "Bar 11, soprano A♭4 on beat 1 looks partly filled in the scan; read as a half note, which the bar requires." }, { "id": "rh-113-ex04-note-1", "blocks": [ "rh-113-ex04" ], "status": "needs-review", "reason": "Bar 16, bass G3 on beat 3 looks hollow in the scan; read as a quarter note, which the bar requires." }, { "id": "rh-113-ex04-note-2", "blocks": [ "rh-113-ex04" ], "status": "needs-review", "reason": "Bar 18, tenor: the accidental before the second eighth F3 is broken in the print; read as a sharp (F♯3), as the clean scan of the page shows." }, { "id": "rh-113-ex04-note-3", "blocks": [ "rh-113-ex04" ], "status": "needs-review", "reason": "Tenor tie C4 (bar 19) → C4 (bar 20) across the system break is not encoded in either MusicXML." }, { "id": "rh-113-ex05-note-1", "blocks": [ "rh-113-ex05" ], "status": "needs-review", "reason": "Final bar: the alto E4 has its own fermata printed below, and the lower-staff fermata is printed above the tenor G3; the MusicXML carries fermatas on the soprano C5 and the bass C3 only, the lower one rendered inverted below the staff." }, { "id": "rh-113-ex05-note-2", "blocks": [ "rh-113-ex05" ], "status": "needs-review", "reason": "Bar 21 soprano ends on A4 (no flat), where the parallel bar 5 has A♭4; encoded as printed. The alto G4 of bar 19 is not tied into bar 20 in the print (unlike bars 3–4)." }, { "id": "rh-120-ex01-note-1", "blocks": [ "rh-120-ex01" ], "status": "needs-review", "reason": "A short horizontal stroke after the second note of bar 2 (C5) is read as a printing speck, not a dot (a dotted half would overfill the cut-time bar)." }, { "id": "rh-120-ex02-note-1", "blocks": [ "rh-120-ex02" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of exercise 1 (the number appears only on the first line of each group)." }, { "id": "rh-120-ex03-note-1", "blocks": [ "rh-120-ex03" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of exercise 1 (the number appears only on the first line of each group)." }, { "id": "rh-120-ex04-note-1", "blocks": [ "rh-120-ex04" ], "status": "needs-review", "reason": "A small dot below the staff under the first note of bar 6 (D5) is read as a printing speck." }, { "id": "rh-120-ex04-note-2", "blocks": [ "rh-120-ex04" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of exercise 1 (the number appears only on the first line of each group)." }, { "id": "rh-120-ex05-note-1", "blocks": [ "rh-120-ex05" ], "status": "needs-review", "reason": "A short horizontal stroke on the middle line after the whole note of bar 6 (F3) is read as a printing speck, not a tie or ledger line." }, { "id": "rh-120-ex06-note-1", "blocks": [ "rh-120-ex06" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of exercise 2 (the number appears only on the first line of each group)." }, { "id": "rh-120-ex07-note-1", "blocks": [ "rh-120-ex07" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of exercise 2 (the number appears only on the first line of each group)." }, { "id": "rh-120-ex08-note-1", "blocks": [ "rh-120-ex08" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of exercise 2 (the number appears only on the first line of each group)." }, { "id": "rh-120-ex10-note-1", "blocks": [ "rh-120-ex10" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of exercise 3 (the number appears only on the first line of each group)." }, { "id": "rh-121-ex01-note-1", "blocks": [ "rh-121-ex01" ], "status": "needs-review", "reason": "Exercise numbering within each Devoir is editorial: only the Devoir number (4) and its caption are printed; Devoir 3's heading and given basses 1–2 are on p. 86." }, { "id": "rh-121-ex01-note-2", "blocks": [ "rh-121-ex01" ], "status": "needs-review", "reason": "A small dot printed just left of the first note (A2) is read as a stray mark." }, { "id": "rh-121-ex02-note-1", "blocks": [ "rh-121-ex02" ], "status": "needs-review", "reason": "Exercise numbering within each Devoir is editorial: only the Devoir number (4) and its caption are printed; Devoir 3's heading and given basses 1–2 are on p. 86." }, { "id": "rh-121-ex03-note-1", "blocks": [ "rh-121-ex03" ], "status": "needs-review", "reason": "Exercise numbering within each Devoir is editorial: only the Devoir number (4) and its caption are printed; Devoir 3's heading and given basses 1–2 are on p. 86." }, { "id": "rh-121-ex04-note-1", "blocks": [ "rh-121-ex04" ], "status": "needs-review", "reason": "Exercise numbering within each Devoir is editorial: only the Devoir number (4) and its caption are printed; Devoir 3's heading and given basses 1–2 are on p. 86." }, { "id": "rh-121-ex05-note-1", "blocks": [ "rh-121-ex05" ], "status": "needs-review", "reason": "The printed number 4 and the caption \"(Accords de 6te. (I–IV et I–V))\" stand above this line; the caption is the heading block rh-121-001 and the number is repeated as an above-staff label." }, { "id": "rh-121-ex06-note-1", "blocks": [ "rh-121-ex06" ], "status": "needs-review", "reason": "Exercise numbering within each Devoir is editorial: only the Devoir number (4) and its caption are printed; Devoir 3's heading and given basses 1–2 are on p. 86." }, { "id": "rh-121-ex07-note-1", "blocks": [ "rh-121-ex07" ], "status": "needs-review", "reason": "Exercise numbering within each Devoir is editorial: only the Devoir number (4) and its caption are printed; Devoir 3's heading and given basses 1–2 are on p. 86." }, { "id": "rh-121-ex08-note-1", "blocks": [ "rh-121-ex08" ], "status": "needs-review", "reason": "Exercise numbering within each Devoir is editorial: only the Devoir number (4) and its caption are printed; Devoir 3's heading and given basses 1–2 are on p. 86." }, { "id": "rh-121-ex09-note-1", "blocks": [ "rh-121-ex09" ], "status": "needs-review", "reason": "Exercise numbering within each Devoir is editorial: only the Devoir number (4) and its caption are printed; Devoir 3's heading and given basses 1–2 are on p. 86." }, { "id": "rh-121-ex10-note-1", "blocks": [ "rh-121-ex10" ], "status": "needs-review", "reason": "Exercise numbering within each Devoir is editorial: only the Devoir number (4) and its caption are printed; Devoir 3's heading and given basses 1–2 are on p. 86." }, { "id": "rh-121-ex11-note-1", "blocks": [ "rh-121-ex11" ], "status": "needs-review", "reason": "Exercise numbering within each Devoir is editorial: only the Devoir number (4) and its caption are printed; Devoir 3's heading and given basses 1–2 are on p. 86." }, { "id": "rh-121-ex12-note-1", "blocks": [ "rh-121-ex12" ], "status": "needs-review", "reason": "Exercise numbering within each Devoir is editorial: only the Devoir number (4) and its caption are printed; Devoir 3's heading and given basses 1–2 are on p. 86." }, { "id": "rh-123-ex01-note-1", "blocks": [ "rh-123-ex01" ], "status": "needs-review", "reason": "No number is printed on this line; it continues the given melodies of Devoir 6 (heading and first line on PDF 96, printed p. 88). Pencil tick marks in the left margin of this and the next three lines are not part of the print." }, { "id": "rh-123-ex02-note-1", "blocks": [ "rh-123-ex02" ], "status": "needs-review", "reason": "A small dot after C♯5 in bar 2 is read as a printing speck, not an augmentation dot (a dotted half would overfill the cut-time bar)." }, { "id": "rh-123-ex02-note-2", "blocks": [ "rh-123-ex02" ], "status": "needs-review", "reason": "The melody ends on C♯ under a three-sharp signature; encoded as printed." }, { "id": "rh-123-ex02-note-3", "blocks": [ "rh-123-ex02" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of the preceding exercise group (the number appears only on the first line of each group)." }, { "id": "rh-123-ex03-note-1", "blocks": [ "rh-123-ex03" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of the preceding exercise group (the number appears only on the first line of each group)." }, { "id": "rh-123-ex04-note-1", "blocks": [ "rh-123-ex04" ], "status": "needs-review", "reason": "A short horizontal stroke after D♯5 in bar 7 is read as a printing blemish (no tie or note follows)." }, { "id": "rh-123-ex04-note-2", "blocks": [ "rh-123-ex04" ], "status": "needs-review", "reason": "The melody ends on C♯ under a four-sharp signature (C♯ minor reading); encoded as printed." }, { "id": "rh-123-ex04-note-3", "blocks": [ "rh-123-ex04" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of the preceding exercise group (the number appears only on the first line of each group)." }, { "id": "rh-123-ex06-note-1", "blocks": [ "rh-123-ex06" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of the preceding exercise group (the number appears only on the first line of each group)." }, { "id": "rh-123-ex07-note-1", "blocks": [ "rh-123-ex07" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of the preceding exercise group (the number appears only on the first line of each group)." }, { "id": "rh-123-ex08-note-1", "blocks": [ "rh-123-ex08" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of the preceding exercise group (the number appears only on the first line of each group)." }, { "id": "rh-123-ex09-note-1", "blocks": [ "rh-123-ex09" ], "status": "needs-review", "reason": "A short horizontal stroke after B2 in bar 4 is read as a printing blemish, not a tie or extender." }, { "id": "rh-123-ex09-note-2", "blocks": [ "rh-123-ex09" ], "status": "needs-review", "reason": "The heading's 6/4 is printed as stacked figures (6 over 4)." }, { "id": "rh-123-ex10-note-1", "blocks": [ "rh-123-ex10" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of the preceding exercise group (the number appears only on the first line of each group)." }, { "id": "rh-123-ex11-note-1", "blocks": [ "rh-123-ex11" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of the preceding exercise group (the number appears only on the first line of each group)." }, { "id": "rh-123-ex12-note-1", "blocks": [ "rh-123-ex12" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of the preceding exercise group (the number appears only on the first line of each group)." }, { "id": "rh-124-ex05-note-1", "blocks": [ "rh-124-ex05" ], "status": "needs-review", "reason": "Bar 2: a short horizontal stroke follows the last half note (A4) and runs to the bar line, like a truncated tie, but no tie arrives at the A4 opening bar 3. Encoded without a tie; it may be a printed tie A4–A4 across the bar line or a plate blemish." }, { "id": "rh-124-ex12-note-1", "blocks": [ "rh-124-ex12" ], "status": "needs-review", "reason": "The key signature (two flats, B-flat and E-flat) is faintly printed in this line; confirmed on the JP2 master." }, { "id": "rh-125-ex03-note-1", "blocks": [ "rh-125-ex03" ], "status": "needs-review", "reason": "A small hook-shaped mark is printed below the staff under bar 7 (between the B-flat and A); read as a blemish, not encoded." }, { "id": "rh-125-ex07-note-1", "blocks": [ "rh-125-ex07" ], "status": "needs-review", "reason": "A dot is printed above the staff over the half-note A of bar 5 (above its stem); no staccato or other sign is meaningful here, so it is read as a stray mark and not encoded." }, { "id": "rh-125-ex09-note-1", "blocks": [ "rh-125-ex09" ], "status": "needs-review", "reason": "A dot is printed between the F-sharp and G-sharp of bar 4; a dotted half would overfill the 3/2 bar, so it is read as a stray mark and not encoded." }, { "id": "rh-125-ex10-note-1", "blocks": [ "rh-125-ex10" ], "status": "needs-review", "reason": "A small dot follows the second G of bar 3; read as a stray mark (a dotted half would overfill the bar), not encoded." }, { "id": "rh-126-ex01-note-1", "blocks": [ "rh-126-ex01" ], "status": "needs-review", "reason": "The caption prints \"IIIe\" with a superscript e (IIIᵉ, \"third\")." }, { "id": "rh-126-ex02-note-1", "blocks": [ "rh-126-ex02" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of exercise 15 (the number appears only on the first line of each group)." }, { "id": "rh-126-ex02-note-2", "blocks": [ "rh-126-ex02" ], "status": "needs-review", "reason": "The final note (G5) is printed as a dotted whole note in cut time, which overfills the 2/2 bar; encoded as printed (dotted whole)." }, { "id": "rh-126-ex03-note-1", "blocks": [ "rh-126-ex03" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of exercise 15 (the number appears only on the first line of each group)." }, { "id": "rh-126-ex05-note-1", "blocks": [ "rh-126-ex05" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of exercise 16 (the number appears only on the first line of each group)." }, { "id": "rh-126-ex06-note-1", "blocks": [ "rh-126-ex06" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of exercise 16 (the number appears only on the first line of each group)." }, { "id": "rh-126-ex06-note-2", "blocks": [ "rh-126-ex06" ], "status": "needs-review", "reason": "Bar 4 prints an explicit flat on the last note (E♭5), cancelling the E♮ of bar 3; encoded as E♭5 (the key-signature pitch)." }, { "id": "rh-126-ex08-note-1", "blocks": [ "rh-126-ex08" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of exercise 17 (the number appears only on the first line of each group)." }, { "id": "rh-126-ex09-note-1", "blocks": [ "rh-126-ex09" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of exercise 17 (the number appears only on the first line of each group)." }, { "id": "rh-126-ex10-note-1", "blocks": [ "rh-126-ex10" ], "status": "needs-review", "reason": "The melody runs over two printed systems; the second system repeats the key signature but not the time signature." }, { "id": "rh-126-ex11-note-1", "blocks": [ "rh-126-ex11" ], "status": "needs-review", "reason": "This chorale continues on the first system of PDF page 101 (printed p. 93); the continuation is block rh-126-ex12, because a scan crop can come from one page only." }, { "id": "rh-126-ex12-note-1", "blocks": [ "rh-126-ex12" ], "status": "needs-review", "reason": "Continuation of chorale 2 from PDF page 100 (block rh-126-ex11); the first system of PDF page 101 carries no number, key signature only (one sharp), no time signature. Page 101's worker should start after this system." }, { "id": "rh-127-ex01-note-1", "blocks": [ "rh-127-ex01" ], "status": "needs-review", "reason": "The chorale begins on a full bar (no upbeat); line 1 ends with a single bar line, line 2 with a double bar." }, { "id": "rh-127-ex02-note-1", "blocks": [ "rh-127-ex02" ], "status": "needs-review", "reason": "Begins on a full bar (no upbeat). E♮4 is printed with an explicit natural in bars 10 and 13." }, { "id": "rh-127-ex03-note-1", "blocks": [ "rh-127-ex03" ], "status": "needs-review", "reason": "Begins with a half-note upbeat; the final bar holds a single half note completing it. A short curved stroke printed just after the bar line before bar 4 (G4) is read as a damaged bar line, not a sign." }, { "id": "rh-127-ex04-note-1", "blocks": [ "rh-127-ex04" ], "status": "needs-review", "reason": "Begins with a half-note upbeat; the final bar holds a single half note. E♯4 (bars 6 and 11) is printed with a sharp." }, { "id": "rh-127-ex05-note-1", "blocks": [ "rh-127-ex05" ], "status": "needs-review", "reason": "Begins with a half-note upbeat; the final bar holds a single half note. Line 2 has nine bars against line 1's upbeat plus seven, so the melody has 15 full bars (as printed). A small vertical tick between F5 and E♭5 in bar 7 and a dot under the clef of line 2 are read as printing specks." }, { "id": "rh-127-ex06-note-1", "blocks": [ "rh-127-ex06" ], "status": "needs-review", "reason": "Begins on a full bar (no upbeat). G♯4 and A♯4 are printed with sharps (melodic minor ascent)." }, { "id": "rh-128-ex01-note-1", "blocks": [ "rh-128-ex01" ], "status": "needs-review", "reason": "The heading's closing parenthesis is not printed (it ends with a full stop)." }, { "id": "rh-128-ex01-note-2", "blocks": [ "rh-128-ex01" ], "status": "needs-review", "reason": "Figures: a ♭ above F3 (bar 4) and a ♭ below F2 (bar 6), i.e. a minor third (A♭) over the bass; encoded as labels 'b'." }, { "id": "rh-128-ex02-note-1", "blocks": [ "rh-128-ex02" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of exercise 19 (the number appears only on the first line of each group)." }, { "id": "rh-128-ex03-note-1", "blocks": [ "rh-128-ex03" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of exercise 19 (the number appears only on the first line of each group)." }, { "id": "rh-128-ex04-note-1", "blocks": [ "rh-128-ex04" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of exercise 19 (the number appears only on the first line of each group)." }, { "id": "rh-128-ex04-note-2", "blocks": [ "rh-128-ex04" ], "status": "needs-review", "reason": "The printed beamed pair of eighths in bar 2 is written as two eighths; the MusicXML renders them with flags rather than a beam." }, { "id": "rh-128-ex05-note-1", "blocks": [ "rh-128-ex05" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of exercise 19 (the number appears only on the first line of each group)." }, { "id": "rh-128-ex05-note-2", "blocks": [ "rh-128-ex05" ], "status": "needs-review", "reason": "Begins with a quarter-note upbeat; the final bar is a full dotted half note (the upbeat is not compensated)." }, { "id": "rh-128-ex06-note-1", "blocks": [ "rh-128-ex06" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of exercise 19 (the number appears only on the first line of each group)." }, { "id": "rh-128-ex06-note-2", "blocks": [ "rh-128-ex06" ], "status": "needs-review", "reason": "A short dash above the staff between the last two notes of bar 3 is read as a printing speck, not a tie or slur (the notes differ: G4, F4)." }, { "id": "rh-128-ex07-note-1", "blocks": [ "rh-128-ex07" ], "status": "needs-review", "reason": "Figure: a ♭ below C3 in bar 6 (minor third, E♭, over the bass); encoded as label 'b'." }, { "id": "rh-128-ex07-note-2", "blocks": [ "rh-128-ex07" ], "status": "needs-review", "reason": "The printed beamed pair of eighths in bar 2 is written as two eighths; the MusicXML renders them with flags rather than a beam." }, { "id": "rh-128-ex08-note-1", "blocks": [ "rh-128-ex08" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of exercise 20 (the number appears only on the first line of each group)." }, { "id": "rh-128-ex09-note-1", "blocks": [ "rh-128-ex09" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of exercise 20 (the number appears only on the first line of each group)." }, { "id": "rh-128-ex10-note-1", "blocks": [ "rh-128-ex10" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of exercise 20 (the number appears only on the first line of each group)." }, { "id": "rh-128-ex10-note-2", "blocks": [ "rh-128-ex10" ], "status": "needs-review", "reason": "Begins with a quarter-note upbeat; the last two bars are full dotted half notes (the upbeat is not compensated). E♯3 is printed with a sharp (bars 4 and 5)." }, { "id": "rh-128-ex11-note-1", "blocks": [ "rh-128-ex11" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of exercise 20 (the number appears only on the first line of each group)." }, { "id": "rh-128-ex11-note-2", "blocks": [ "rh-128-ex11" ], "status": "needs-review", "reason": "Begins with a quarter-note upbeat; the final bar holds a single quarter note completing it." }, { "id": "rh-128-ex12-note-1", "blocks": [ "rh-128-ex12" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of exercise 20 (the number appears only on the first line of each group)." }, { "id": "rh-129-ex01-note-1", "blocks": [ "rh-129-ex01" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of exercise 20 (the number appears only on the first line of each group). Exercise 20 (Inversions of the dominant seventh chord) begins on PDF page 102; this page continues its list of given lines." }, { "id": "rh-129-ex01-note-2", "blocks": [ "rh-129-ex01" ], "status": "needs-review", "reason": "Bar 4 ends with two beamed eighths (B♭4–A♭4)." }, { "id": "rh-129-ex02-note-1", "blocks": [ "rh-129-ex02" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of exercise 20 (the number appears only on the first line of each group)." }, { "id": "rh-129-ex03-note-1", "blocks": [ "rh-129-ex03" ], "status": "needs-review", "reason": "Figures: a ♭ under D♭3 in bars 2 and 5 (encoded as below-staff labels \"b\")." }, { "id": "rh-129-ex03-note-2", "blocks": [ "rh-129-ex03" ], "status": "needs-review", "reason": "Bar 7 has F♭3 with a printed flat (the lowered sixth degree of harmonic A♭ major)." }, { "id": "rh-129-ex04-note-1", "blocks": [ "rh-129-ex04" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of exercise 21 (the number appears only on the first line of each group)." }, { "id": "rh-129-ex04-note-2", "blocks": [ "rh-129-ex04" ], "status": "needs-review", "reason": "Begins with a quarter-note upbeat (first bar implicit); the final bar holds a full dotted half note, as printed. D♯3 is printed with a sharp each time (bars 2, 4 and 7, counting the upbeat as bar 1)." }, { "id": "rh-129-ex05-note-1", "blocks": [ "rh-129-ex05" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of exercise 21 (the number appears only on the first line of each group)." }, { "id": "rh-129-ex05-note-2", "blocks": [ "rh-129-ex05" ], "status": "needs-review", "reason": "B♮4 is printed with a natural in bars 5 and 7." }, { "id": "rh-129-ex06-note-1", "blocks": [ "rh-129-ex06" ], "status": "needs-review", "reason": "F♯3 in bar 5 is printed with a sharp." }, { "id": "rh-129-ex07-note-1", "blocks": [ "rh-129-ex07" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of exercise 22 (the number appears only on the first line of each group)." }, { "id": "rh-129-ex07-note-2", "blocks": [ "rh-129-ex07" ], "status": "needs-review", "reason": "Begins with a two-quarter upbeat (first bar implicit); the final bar holds a single half note completing it. C♯5 is printed with a sharp each time (bars 3, 6 and 8, counting the upbeat as bar 1)." }, { "id": "rh-129-ex08-note-1", "blocks": [ "rh-129-ex08" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of exercise 22 (the number appears only on the first line of each group)." }, { "id": "rh-129-ex09-note-1", "blocks": [ "rh-129-ex09" ], "status": "needs-review", "reason": "C♯3 (bar 4) and F♯3 (bar 5) come from the key signature; no accidentals are printed in the line." }, { "id": "rh-129-ex10-note-1", "blocks": [ "rh-129-ex10" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of exercise 23 (the number appears only on the first line of each group)." }, { "id": "rh-129-ex10-note-2", "blocks": [ "rh-129-ex10" ], "status": "needs-review", "reason": "Figure: a ♭ under the dotted-half E♭3 in bar 7 (encoded as a below-staff label \"b\")." }, { "id": "rh-129-ex10-note-3", "blocks": [ "rh-129-ex10" ], "status": "needs-review", "reason": "The third note of bar 3 (E♭3) has a lightly filled head; read as a quarter note, which the 3/4 bar requires." }, { "id": "rh-129-ex11-note-1", "blocks": [ "rh-129-ex11" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of exercise 23 (the number appears only on the first line of each group)." }, { "id": "rh-129-ex12-note-1", "blocks": [ "rh-129-ex12" ], "status": "needs-review", "reason": "No number is printed on this line; it is the next given line of exercise 23 (the number appears only on the first line of each group)." }, { "id": "rh-129-ex12-note-2", "blocks": [ "rh-129-ex12" ], "status": "needs-review", "reason": "The melody runs over two printed lines (bars 1–4 and 5–8); the second line has no time signature. D♮5 and E♮5 are printed with naturals in bars 2 and 3. Bar 4 contains two beamed eighths (C5–B♭4)." }, { "id": "rh-130-ex01-note-1", "blocks": [ "rh-130-ex01" ], "status": "needs-review", "reason": "The group number \"24\" is printed left of the first staff and the chorale number as \"(1\" above it; written here as one above-staff label \"24 (1)\". The upbeat half note is encoded as a short implicit first bar; the last line ends on a whole note (no compensating short bar is printed)." }, { "id": "rh-130-ex01-note-2", "blocks": [ "rh-130-ex01" ], "status": "needs-review", "reason": "Bar 6 is printed with E♭5 half followed by two filled (quarter) heads E♭5, D♭5 — the only quarter notes on the page." }, { "id": "rh-130-ex02-note-1", "blocks": [ "rh-130-ex02" ], "status": "needs-review", "reason": "No number is printed on this line; it is line 2 of chorale (1) of exercise 24, continuing the previous line (the number appears only on the first line of each chorale)." }, { "id": "rh-130-ex03-note-1", "blocks": [ "rh-130-ex03" ], "status": "needs-review", "reason": "No number is printed on this line; it is line 3 of chorale (1) of exercise 24, continuing the previous line (the number appears only on the first line of each chorale)." }, { "id": "rh-130-ex03-note-2", "blocks": [ "rh-130-ex03" ], "status": "needs-review", "reason": "A short horizontal stroke follows the final whole note A♭4 (as if a tie to nothing); read as a printing stroke and not encoded." }, { "id": "rh-130-ex03-note-3", "blocks": [ "rh-130-ex03" ], "status": "needs-review", "reason": "The closing double bar is written as a light-heavy final barline." }, { "id": "rh-130-ex04-note-1", "blocks": [ "rh-130-ex04" ], "status": "needs-review", "reason": "A short horizontal stroke right of D♯5 (bar 4, under the fermata) is read as a printing stroke, not an augmentation dot (a dotted half would overfill the bar)." }, { "id": "rh-130-ex04-note-2", "blocks": [ "rh-130-ex04" ], "status": "needs-review", "reason": "Bar 2: A♯4 and B♯4 carry printed sharps (leading-tone motion to C♯5); bar 8's A has no accidental and is read as A♮ by the key signature." }, { "id": "rh-130-ex05-note-1", "blocks": [ "rh-130-ex05" ], "status": "needs-review", "reason": "No number is printed on this line; it is line 2 of chorale (2) of exercise 24, continuing the previous line (the number appears only on the first line of each chorale)." }, { "id": "rh-130-ex05-note-2", "blocks": [ "rh-130-ex05" ], "status": "needs-review", "reason": "Bar 3: B4 carries a printed (cautionary) natural after the B♯4 of the previous line; encoded with an explicit natural." }, { "id": "rh-130-ex06-note-1", "blocks": [ "rh-130-ex06" ], "status": "needs-review", "reason": "No number is printed on this line; it is line 3 of chorale (2) of exercise 24, continuing the previous line (the number appears only on the first line of each chorale)." }, { "id": "rh-130-ex06-note-2", "blocks": [ "rh-130-ex06" ], "status": "needs-review", "reason": "Bar 4: the second note carries a sharp and sits on the B4 line: B♯4 (as in line 1, bar 2). Closing double bar written as light-heavy." }, { "id": "rh-130-ex07-note-1", "blocks": [ "rh-130-ex07" ], "status": "needs-review", "reason": "The upbeat half note G4 is encoded as a short implicit first bar; the chorale ends on a full bar (no compensating short bar printed)." }, { "id": "rh-130-ex08-note-1", "blocks": [ "rh-130-ex08" ], "status": "needs-review", "reason": "No number is printed on this line; it is line 2 of chorale (3) of exercise 24, continuing the previous line (the number appears only on the first line of each chorale)." }, { "id": "rh-130-ex09-note-1", "blocks": [ "rh-130-ex09" ], "status": "needs-review", "reason": "No number is printed on this line; it is line 3 of chorale (3) of exercise 24, continuing the previous line (the number appears only on the first line of each chorale)." }, { "id": "rh-130-ex09-note-2", "blocks": [ "rh-130-ex09" ], "status": "needs-review", "reason": "Closing double bar written as light-heavy." }, { "id": "rh-130-ex11-note-1", "blocks": [ "rh-130-ex11" ], "status": "needs-review", "reason": "No number is printed on this line; it is line 2 of chorale (4) of exercise 24, continuing the previous line (the number appears only on the first line of each chorale)." }, { "id": "rh-130-ex11-note-2", "blocks": [ "rh-130-ex11" ], "status": "needs-review", "reason": "Bar 6: E4 carries a printed natural (E♮4 against the key's E♭); bar 7 F♯4 whole note with a printed sharp." }, { "id": "rh-130-ex12-note-1", "blocks": [ "rh-130-ex12" ], "status": "needs-review", "reason": "No number is printed on this line; it is line 3 of chorale (4) of exercise 24, continuing the previous line (the number appears only on the first line of each chorale)." }, { "id": "rh-130-ex12-note-2", "blocks": [ "rh-130-ex12" ], "status": "needs-review", "reason": "Closing double bar written as light-heavy." }, { "id": "rh-131-ex02-note-1", "blocks": [ "rh-131-ex02" ], "status": "needs-review", "reason": "Chorale 1 ends at the double bar after bar 4; chorale 2 begins after it with a new printed key signature of two flats and a reprinted cut-time sign. In the MusicXML the key change is written at bar 5." }, { "id": "rh-131-ex02-note-2", "blocks": [ "rh-131-ex02" ], "status": "needs-review", "reason": "The first sign of the new key signature (on the B line) is blurred in the print and looks like a natural; it is read as the B flat of a two-flat signature (the next line prints two flats). No natural cancelling the F sharp is printed." }, { "id": "rh-131-ex03-note-1", "blocks": [ "rh-131-ex03" ], "status": "needs-review", "reason": "No number is printed on this line; it continues chorale 2." }, { "id": "rh-131-ex04-note-1", "blocks": [ "rh-131-ex04" ], "status": "needs-review", "reason": "No number is printed on this line; it continues and ends chorale 2 (final double bar)." }, { "id": "rh-131-ex06-note-1", "blocks": [ "rh-131-ex06" ], "status": "needs-review", "reason": "No number is printed on this line; it continues chorale 3." }, { "id": "rh-131-ex07-note-1", "blocks": [ "rh-131-ex07" ], "status": "needs-review", "reason": "Chorale 3 ends at the double bar after the single half note of bar 5 (completing its upbeat); chorale 4 begins after it with a one-sharp key signature, a reprinted cut-time sign and a half-note upbeat. In the MusicXML the key change is written at bar 6." }, { "id": "rh-131-ex08-note-1", "blocks": [ "rh-131-ex08" ], "status": "needs-review", "reason": "No number is printed on this line; it continues chorale 4." }, { "id": "rh-131-ex09-note-1", "blocks": [ "rh-131-ex09" ], "status": "needs-review", "reason": "No number is printed on this line; it continues chorale 4." }, { "id": "rh-131-ex10-note-1", "blocks": [ "rh-131-ex10" ], "status": "needs-review", "reason": "Chorale 4 ends at the double bar after the single half note of bar 4 (completing its upbeat); chorale 5 begins after it with a three-sharp key signature, a reprinted cut-time sign and a half-note upbeat. In the MusicXML the key change is written at bar 5." }, { "id": "rh-131-ex11-note-1", "blocks": [ "rh-131-ex11" ], "status": "needs-review", "reason": "No number is printed on this line; it continues chorale 5." }, { "id": "rh-131-ex12-note-1", "blocks": [ "rh-131-ex12" ], "status": "needs-review", "reason": "No number is printed on this line; it continues and ends chorale 5 with a single half note (completing its upbeat) and the final double bar." }, { "id": "rh-132-ex01-note-1", "blocks": [ "rh-132-ex01" ], "status": "needs-review", "reason": "The chorale begins with a half-note upbeat (E♭4)." }, { "id": "rh-132-ex01-note-2", "blocks": [ "rh-132-ex01" ], "status": "needs-review", "reason": "The printed D♮5 in the last bar (modulation to E♭) is encoded as printed." }, { "id": "rh-132-ex02-note-1", "blocks": [ "rh-132-ex02" ], "status": "needs-review", "reason": "Line numbering within chorale 6 is editorial: only \"(6\" is printed, on its first line; the group number 25 and the heading CHANTS CHORALS AVEC MODULATIONS are on p. 97 (PDF 105)." }, { "id": "rh-132-ex02-note-2", "blocks": [ "rh-132-ex02" ], "status": "needs-review", "reason": "The meter is printed only at the start of the chorale; it is restated in this line's MusicXML for playback." }, { "id": "rh-132-ex03-note-1", "blocks": [ "rh-132-ex03" ], "status": "needs-review", "reason": "Line numbering within chorale 6 is editorial: only \"(6\" is printed, on its first line; the group number 25 and the heading CHANTS CHORALS AVEC MODULATIONS are on p. 97 (PDF 105)." }, { "id": "rh-132-ex03-note-2", "blocks": [ "rh-132-ex03" ], "status": "needs-review", "reason": "The last bar holds a single half note (A♭4, fermata), completing the opening upbeat." }, { "id": "rh-132-ex03-note-3", "blocks": [ "rh-132-ex03" ], "status": "needs-review", "reason": "The meter is printed only at the start of the chorale; it is restated in this line's MusicXML for playback." }, { "id": "rh-132-ex04-note-1", "blocks": [ "rh-132-ex04" ], "status": "needs-review", "reason": "The chorale begins with a half-note upbeat (G♯4)." }, { "id": "rh-132-ex04-note-2", "blocks": [ "rh-132-ex04" ], "status": "needs-review", "reason": "The natural on A4 in bar 6 is printed (cancelling the A♯ of bar 4) and is encoded as a cautionary natural." }, { "id": "rh-132-ex05-note-1", "blocks": [ "rh-132-ex05" ], "status": "needs-review", "reason": "Line numbering within chorale 7 is editorial: only \"(7\" is printed, on its first line; the group number 25 and the heading CHANTS CHORALS AVEC MODULATIONS are on p. 97 (PDF 105)." }, { "id": "rh-132-ex05-note-2", "blocks": [ "rh-132-ex05" ], "status": "needs-review", "reason": "B♯4 in the last bar is printed with a sharp." }, { "id": "rh-132-ex05-note-3", "blocks": [ "rh-132-ex05" ], "status": "needs-review", "reason": "The meter is printed only at the start of the chorale; it is restated in this line's MusicXML for playback." }, { "id": "rh-132-ex06-note-1", "blocks": [ "rh-132-ex06" ], "status": "needs-review", "reason": "Line numbering within chorale 7 is editorial: only \"(7\" is printed, on its first line; the group number 25 and the heading CHANTS CHORALS AVEC MODULATIONS are on p. 97 (PDF 105)." }, { "id": "rh-132-ex06-note-2", "blocks": [ "rh-132-ex06" ], "status": "needs-review", "reason": "The chorale opens with a half-note upbeat but ends on a full whole-note bar (E4, fermata); encoded as printed." }, { "id": "rh-132-ex06-note-3", "blocks": [ "rh-132-ex06" ], "status": "needs-review", "reason": "The meter is printed only at the start of the chorale; it is restated in this line's MusicXML for playback." }, { "id": "rh-132-ex07-note-1", "blocks": [ "rh-132-ex07" ], "status": "needs-review", "reason": "This chorale carries no printed number (no \"(8\"), no time signature and no caption, though it follows chorale 7 after a final double bar with a fresh key signature (four naturals); the title \"Devoir 25, choral [8]\" is editorial. Cut time is carried over from chorale 7 (the meter is not restated) — editorial." }, { "id": "rh-132-ex07-note-2", "blocks": [ "rh-132-ex07" ], "status": "needs-review", "reason": "A short horizontal stroke at the height of C5 between the first two notes (G4–C5) and another at the top of the stem of A4 in bar 2 are read as printing marks, not ties or signs." }, { "id": "rh-132-ex08-note-1", "blocks": [ "rh-132-ex08" ], "status": "needs-review", "reason": "Title and line numbering editorial (see the first line of this chorale)." }, { "id": "rh-132-ex08-note-2", "blocks": [ "rh-132-ex08" ], "status": "needs-review", "reason": "Two thin horizontal strokes over bar 3 (A4–F♯4, at the B4/C5 level) are read as printing marks, not beams or slurs." }, { "id": "rh-132-ex08-note-3", "blocks": [ "rh-132-ex08" ], "status": "needs-review", "reason": "The meter is printed only at the start of the chorale; it is restated in this line's MusicXML for playback." }, { "id": "rh-132-ex09-note-1", "blocks": [ "rh-132-ex09" ], "status": "needs-review", "reason": "Title and line numbering editorial (see the first line of this chorale)." }, { "id": "rh-132-ex09-note-2", "blocks": [ "rh-132-ex09" ], "status": "needs-review", "reason": "The meter is printed only at the start of the chorale; it is restated in this line's MusicXML for playback." }, { "id": "rh-132-ex11-note-1", "blocks": [ "rh-132-ex11" ], "status": "needs-review", "reason": "Line numbering is editorial: only \"26\" and \"(1\" are printed, on the first line." }, { "id": "rh-132-ex11-note-2", "blocks": [ "rh-132-ex11" ], "status": "needs-review", "reason": "In bar 5 the second D5 carries no accidental and is read as D♯5 (the sharp of the preceding note holds through the bar)." }, { "id": "rh-132-ex11-note-3", "blocks": [ "rh-132-ex11" ], "status": "needs-review", "reason": "The meter is printed only at the start of the melody; it is restated in this line's MusicXML for playback. Beams are not encoded (eighths render flagged)." }, { "id": "rh-132-ex12-note-1", "blocks": [ "rh-132-ex12" ], "status": "needs-review", "reason": "Line numbering is editorial: only \"26\" and \"(1\" are printed, on the first line." }, { "id": "rh-132-ex12-note-2", "blocks": [ "rh-132-ex12" ], "status": "needs-review", "reason": "The natural on D5 in bar 1 is printed (cautionary after the D♯5 at the end of the previous line)." }, { "id": "rh-132-ex12-note-3", "blocks": [ "rh-132-ex12" ], "status": "needs-review", "reason": "A small dot to the right of the final G4 half note, near the bottom line, is read as a printing speck: a dotted half would overfill the 2/4 bar." }, { "id": "rh-132-ex12-note-4", "blocks": [ "rh-132-ex12" ], "status": "needs-review", "reason": "The meter is printed only at the start of the melody; it is restated in this line's MusicXML for playback. Beams are not encoded (eighths render flagged)." }, { "id": "rh-132-ex13-note-1", "blocks": [ "rh-132-ex13" ], "status": "needs-review", "reason": "Melody 2 starts after the double bar on the last line of p. 98 (new key signature, 3/4) and continues over the first two lines of p. 99 (PDF 107); the whole melody is owned by this batch." }, { "id": "rh-132-ex13-note-2", "blocks": [ "rh-132-ex13" ], "status": "needs-review", "reason": "Begins with a quarter-note upbeat (F♯4)." }, { "id": "rh-132-ex13-note-3", "blocks": [ "rh-132-ex13" ], "status": "needs-review", "reason": "The crop starts at the double bar, so it shows the new key signature and 3/4 but no clef (the treble clef is at the start of the printed line)." }, { "id": "rh-132-ex14-note-1", "blocks": [ "rh-132-ex14" ], "status": "needs-review", "reason": "Line numbering is editorial: only \"(2\" is printed, at the start of the melody on p. 98." }, { "id": "rh-132-ex14-note-2", "blocks": [ "rh-132-ex14" ], "status": "needs-review", "reason": "A short stroke after the opening C♯5 half note, at the C5 level, is read as a printing mark, not a tie (nothing tied precedes it on p. 98 either)." }, { "id": "rh-132-ex14-note-3", "blocks": [ "rh-132-ex14" ], "status": "needs-review", "reason": "The meter is printed only at the start of the melody; it is restated in this line's MusicXML for playback. Beams are not encoded (eighths render flagged)." }, { "id": "rh-132-ex15-note-1", "blocks": [ "rh-132-ex15" ], "status": "needs-review", "reason": "Line numbering is editorial: only \"(2\" is printed, at the start of the melody on p. 98." }, { "id": "rh-132-ex15-note-2", "blocks": [ "rh-132-ex15" ], "status": "needs-review", "reason": "In bar 1 the third note (A4) carries no accidental and is read as A♯4 (the sharp of the first note holds through the bar); E♯5 and D♯5 are printed with sharps." }, { "id": "rh-132-ex15-note-3", "blocks": [ "rh-132-ex15" ], "status": "needs-review", "reason": "The last bar holds a single half note (B4), completing the opening quarter upbeat; the melody modulates to B minor." }, { "id": "rh-132-ex15-note-4", "blocks": [ "rh-132-ex15" ], "status": "needs-review", "reason": "The meter is printed only at the start of the melody; it is restated in this line's MusicXML for playback. Beams are not encoded (eighths render flagged)." }, { "id": "rh-133-ex01-note-1", "blocks": [ "rh-133-ex01" ], "status": "needs-review", "reason": "The printed number 27 stands left of the staff and the caption “(Retards)” above it; the caption is the heading block rh-133-001 and the number is repeated as an above-staff label." }, { "id": "rh-133-ex01-note-2", "blocks": [ "rh-133-ex01" ], "status": "needs-review", "reason": "The D♭3 tied across the barline into bar 4 has its flat reprinted after the barline (courtesy accidental)." }, { "id": "rh-133-ex01-note-3", "blocks": [ "rh-133-ex01" ], "status": "needs-review", "reason": "A short horizontal stroke between the dotted whole B♭2 (bar 7) and the barline is read as a printing mark." }, { "id": "rh-133-ex02-note-1", "blocks": [ "rh-133-ex02" ], "status": "needs-review", "reason": "Exercise numbering within Devoir 27 is editorial: only the number 27 and the caption “(Retards)” are printed, above the first line; the four lines are numbered here in print order (two basses, then two melodies)." }, { "id": "rh-133-ex02-note-2", "blocks": [ "rh-133-ex02" ], "status": "needs-review", "reason": "Printed accidentals: E♯3 in bar 2, E♮3 in bar 3 (tied into bar 4)." }, { "id": "rh-133-ex03-note-1", "blocks": [ "rh-133-ex03" ], "status": "needs-review", "reason": "Exercise numbering within Devoir 27 is editorial: only the number 27 and the caption “(Retards)” are printed, above the first line; the four lines are numbered here in print order (two basses, then two melodies)." }, { "id": "rh-133-ex03-note-2", "blocks": [ "rh-133-ex03" ], "status": "needs-review", "reason": "No time signature is printed on this line (each bar holds two half notes, or one whole note, or two quarters and a half); the MusicXML is written unmetered rather than inventing a meter." }, { "id": "rh-133-ex04-note-1", "blocks": [ "rh-133-ex04" ], "status": "needs-review", "reason": "Exercise numbering within Devoir 27 is editorial: only the number 27 and the caption “(Retards)” are printed, above the first line; the four lines are numbered here in print order (two basses, then two melodies)." }, { "id": "rh-133-ex05-note-1", "blocks": [ "rh-133-ex05" ], "status": "needs-review", "reason": "The group number “28” is printed left of the first staff and the chorale number as “(1” above it; written here as one above-staff label “28 (1”. The caption is the heading block rh-133-002." }, { "id": "rh-133-ex05-note-2", "blocks": [ "rh-133-ex05" ], "status": "needs-review", "reason": "A small dot printed just below the D4 of bar 1 is read as a stray mark, not an articulation." }, { "id": "rh-133-ex06-note-1", "blocks": [ "rh-133-ex06" ], "status": "needs-review", "reason": "No number is printed on this line; it is line 2 of chorale (1) of exercise 28, continuing the previous line." }, { "id": "rh-133-ex07-note-1", "blocks": [ "rh-133-ex07" ], "status": "needs-review", "reason": "Chorale 1 ends at the double bar after bar 5 (whole D5 with fermata); chorale 2 begins after it with a new printed key signature of one sharp and a reprinted C. No natural cancelling the C sharp is printed. In the MusicXML the key change is written at bar 6." }, { "id": "rh-133-ex07-note-2", "blocks": [ "rh-133-ex07" ], "status": "needs-review", "reason": "Chorale 2 opens with a single half-note upbeat (B4), encoded as a short implicit bar 6; its last bar (p. 107, last line) is a full whole note, so the upbeat is not compensated." }, { "id": "rh-133-ex07-note-3", "blocks": [ "rh-133-ex07" ], "status": "needs-review", "reason": "Bar 3 begins with a printed half rest." }, { "id": "rh-133-ex08-note-1", "blocks": [ "rh-133-ex08" ], "status": "needs-review", "reason": "No number is printed on this line; it continues chorale (2) of exercise 28." }, { "id": "rh-133-ex08-note-2", "blocks": [ "rh-133-ex08" ], "status": "needs-review", "reason": "Printed C♯5 in bars 6 and 7." }, { "id": "rh-133-ex09-note-1", "blocks": [ "rh-133-ex09" ], "status": "needs-review", "reason": "No number is printed on this line; it continues chorale (2) of exercise 28." }, { "id": "rh-133-ex09-note-2", "blocks": [ "rh-133-ex09" ], "status": "needs-review", "reason": "Printed C♯5 in bars 1 and 2." }, { "id": "rh-133-ex10-note-1", "blocks": [ "rh-133-ex10" ], "status": "needs-review", "reason": "No number is printed on this line; it continues and ends chorale (2) of exercise 28 with the final double bar." }, { "id": "rh-134-ex02-note-1", "blocks": [ "rh-134-ex02" ], "status": "needs-review", "reason": "Editorial label: the line carries no printed number; it continues the chorale numbered above." }, { "id": "rh-134-ex03-note-1", "blocks": [ "rh-134-ex03" ], "status": "needs-review", "reason": "A dot printed below the staff under the time signature and a short dash above the B♮4 of bar 3 are read as stray marks." }, { "id": "rh-134-ex03-note-2", "blocks": [ "rh-134-ex03" ], "status": "needs-review", "reason": "Line ends on a plain bar line; the chorale continues on the next line." }, { "id": "rh-134-ex04-note-1", "blocks": [ "rh-134-ex04" ], "status": "needs-review", "reason": "Editorial label: the line carries no printed number; it continues the chorale numbered above." }, { "id": "rh-134-ex04-note-2", "blocks": [ "rh-134-ex04" ], "status": "needs-review", "reason": "The E on the bottom line at the second fermata (bar 5 of this line) has no accidental, so it is E♭4 under the key signature; encoded as printed." }, { "id": "rh-134-ex04-note-3", "blocks": [ "rh-134-ex04" ], "status": "needs-review", "reason": "A small dot printed after the last note (G4) lies off the note's space and would overfill the bar; read as a stray mark." }, { "id": "rh-134-ex05-note-1", "blocks": [ "rh-134-ex05" ], "status": "needs-review", "reason": "Editorial label: the line carries no printed number; it continues the chorale numbered above." }, { "id": "rh-134-ex05-note-2", "blocks": [ "rh-134-ex05" ], "status": "needs-review", "reason": "Only the first three bars of this printed line belong to chorale 4; the crop stops at the double bar before chorale 5." }, { "id": "rh-134-ex06-note-1", "blocks": [ "rh-134-ex06" ], "status": "needs-review", "reason": "Begins mid-line after a double bar, with four naturals cancelling the previous key signature, then C; the naturals are not encoded in the MusicXML (it simply has no key signature)." }, { "id": "rh-134-ex07-note-1", "blocks": [ "rh-134-ex07" ], "status": "needs-review", "reason": "Editorial label: the line carries no printed number; it continues the chorale numbered above." }, { "id": "rh-134-ex08-note-1", "blocks": [ "rh-134-ex08" ], "status": "needs-review", "reason": "Editorial label: the line carries no printed number; it continues the chorale numbered above." }, { "id": "rh-134-ex08-note-2", "blocks": [ "rh-134-ex08" ], "status": "needs-review", "reason": "The natural before the first note (F4) is printed although no key signature is in force (courtesy accidental after the F♯ of the previous line); kept." }, { "id": "rh-134-ex09-note-1", "blocks": [ "rh-134-ex09" ], "status": "needs-review", "reason": "Editorial label: the line carries no printed number; it continues the chorale numbered above." }, { "id": "rh-134-ex09-note-2", "blocks": [ "rh-134-ex09" ], "status": "needs-review", "reason": "Only the first two bars of this printed line belong to chorale 5; the last bar is a half note that completes the opening upbeat." }, { "id": "rh-134-ex10-note-1", "blocks": [ "rh-134-ex10" ], "status": "needs-review", "reason": "Begins mid-line after a double bar; a stray dot is printed in the right margin after the line." }, { "id": "rh-134-ex11-note-1", "blocks": [ "rh-134-ex11" ], "status": "needs-review", "reason": "Editorial label: the line carries no printed number; it continues the chorale numbered above." }, { "id": "rh-134-ex12-note-1", "blocks": [ "rh-134-ex12" ], "status": "needs-review", "reason": "Editorial label: the line carries no printed number; it continues the chorale numbered above." }, { "id": "rh-134-ex13-note-1", "blocks": [ "rh-134-ex13" ], "status": "needs-review", "reason": "Editorial label: the line carries no printed number; it continues the chorale numbered above." }, { "id": "rh-134-ex13-note-2", "blocks": [ "rh-134-ex13" ], "status": "needs-review", "reason": "A dot is printed after the B4 of bar 3 (below its line, level with the G line); as a dotted half the bar would hold five beats, so it is read as a stray mark and B4 is encoded as a plain half note." }, { "id": "rh-134-ex13-note-3", "blocks": [ "rh-134-ex13" ], "status": "needs-review", "reason": "The chorale opens with a half-note upbeat but ends on a full whole-note bar; encoded as printed." }, { "id": "rh-135-ex01-note-1", "blocks": [ "rh-135-ex01" ], "status": "needs-review", "reason": "Each given melody is one block, cropped across the printed lines it occupies; because melodies begin and end in mid-line, the crop also shows the neighbouring melody's bars on those lines." }, { "id": "rh-135-ex02-note-1", "blocks": [ "rh-135-ex02" ], "status": "needs-review", "reason": "Each given melody is one block, cropped across the printed lines it occupies; because melodies begin and end in mid-line, the crop also shows the neighbouring melody's bars on those lines." }, { "id": "rh-135-ex02-note-2", "blocks": [ "rh-135-ex02" ], "status": "needs-review", "reason": "The Devoir number (29) is printed only beside the first melody of the group; this chant number is printed in the source." }, { "id": "rh-135-ex03-note-1", "blocks": [ "rh-135-ex03" ], "status": "needs-review", "reason": "Each given melody is one block, cropped across the printed lines it occupies; because melodies begin and end in mid-line, the crop also shows the neighbouring melody's bars on those lines." }, { "id": "rh-135-ex03-note-2", "blocks": [ "rh-135-ex03" ], "status": "needs-review", "reason": "The Devoir number (29) is printed only beside the first melody of the group; this chant number is printed in the source." }, { "id": "rh-135-ex04-note-1", "blocks": [ "rh-135-ex04" ], "status": "needs-review", "reason": "Each given melody is one block, cropped across the printed lines it occupies; because melodies begin and end in mid-line, the crop also shows the neighbouring melody's bars on those lines." }, { "id": "rh-135-ex04-note-2", "blocks": [ "rh-135-ex04" ], "status": "needs-review", "reason": "The Devoir number (29) is printed only beside the first melody of the group; this chant number is printed in the source." }, { "id": "rh-135-ex04-note-3", "blocks": [ "rh-135-ex04" ], "status": "needs-review", "reason": "The melody is centred on D and ends F♯4 C4 D4 (C natural under a one-sharp signature); encoded as printed." }, { "id": "rh-135-ex05-note-1", "blocks": [ "rh-135-ex05" ], "status": "needs-review", "reason": "Each given melody is one block, cropped across the printed lines it occupies; because melodies begin and end in mid-line, the crop also shows the neighbouring melody's bars on those lines." }, { "id": "rh-135-ex05-note-2", "blocks": [ "rh-135-ex05" ], "status": "needs-review", "reason": "The Devoir number (29) is printed only beside the first melody of the group; this chant number is printed in the source." }, { "id": "rh-135-ex05-note-3", "blocks": [ "rh-135-ex05" ], "status": "needs-review", "reason": "The flat before B♭4 at the start of bar 4 is a printed courtesy accidental (after B♮4 in bar 3)." }, { "id": "rh-135-ex06-note-1", "blocks": [ "rh-135-ex06" ], "status": "needs-review", "reason": "Each given melody is one block, cropped across the printed lines it occupies; because melodies begin and end in mid-line, the crop also shows the neighbouring melody's bars on those lines." }, { "id": "rh-135-ex06-note-2", "blocks": [ "rh-135-ex06" ], "status": "needs-review", "reason": "The Devoir number (29) is printed only beside the first melody of the group; this chant number is printed in the source." }, { "id": "rh-135-ex07-note-1", "blocks": [ "rh-135-ex07" ], "status": "needs-review", "reason": "Each given melody is one block, cropped across the printed lines it occupies; because melodies begin and end in mid-line, the crop also shows the neighbouring melody's bars on those lines." }, { "id": "rh-135-ex07-note-2", "blocks": [ "rh-135-ex07" ], "status": "needs-review", "reason": "No bass staff is printed: the given bass is engraved on the treble staff with stems down, on ledger lines below it; encoded on one treble staff as two voices at the written pitches." }, { "id": "rh-135-ex07-note-3", "blocks": [ "rh-135-ex07" ], "status": "needs-review", "reason": "Bar 1, lower part: only G4 (beat 1) and F♯4 (beat 3) are printed, both filled quarter-note heads with nothing on beat 2 (perhaps a half-note G4 is meant); encoded as printed with an empty beat 2. Bars 1–2 and 6 have the lower part inside the staff (G4 F♯4 | G4; G4 G♯4 A♮4), elsewhere it lies on ledger lines." }, { "id": "rh-135-ex07-note-4", "blocks": [ "rh-135-ex07" ], "status": "needs-review", "reason": "Bar 3 prints a courtesy sharp on F♯5 (after F♮5 in bar 2); the parallel bar 7 prints none; both read F♯5 by the key signature." }, { "id": "rh-135-ex07-note-5", "blocks": [ "rh-135-ex07" ], "status": "needs-review", "reason": "Editorial layout: the source prints the given bass stems-down on the melody's treble staff (down to ledger lines). The playable score puts it on its own bass staff; pitches and rhythms are unchanged." }, { "id": "rh-135-ex08-note-1", "blocks": [ "rh-135-ex08" ], "status": "needs-review", "reason": "Each given melody is one block, cropped across the printed lines it occupies; because melodies begin and end in mid-line, the crop also shows the neighbouring melody's bars on those lines." }, { "id": "rh-135-ex08-note-2", "blocks": [ "rh-135-ex08" ], "status": "needs-review", "reason": "The Devoir number (30) is printed only beside the first melody of the group; this chant number is printed in the source." }, { "id": "rh-135-ex08-note-3", "blocks": [ "rh-135-ex08" ], "status": "needs-review", "reason": "No bass staff is printed: the given bass is engraved below the treble staff on ledger lines (down to D3); encoded on one treble staff as two voices at the written pitches." }, { "id": "rh-135-ex08-note-4", "blocks": [ "rh-135-ex08" ], "status": "needs-review", "reason": "No key signature follows the double bar (the one-sharp signature of (1) is dropped without cancellation naturals); read as no signature." }, { "id": "rh-135-ex08-note-5", "blocks": [ "rh-135-ex08" ], "status": "needs-review", "reason": "Editorial layout: the source prints the given bass stems-down on the melody's treble staff (down to ledger lines). The playable score puts it on its own bass staff; pitches and rhythms are unchanged." }, { "id": "rh-136-ex01-note-1", "blocks": [ "rh-136-ex01" ], "status": "needs-review", "reason": "The group number \"31\" is printed left of the staff and the melody number as \"(1\" above it; written as one above-staff label \"31 (1\"." }, { "id": "rh-136-ex01-note-2", "blocks": [ "rh-136-ex01" ], "status": "needs-review", "reason": "Bar 2: B4 is tied across the half bar (B4–B4), printed as a tie between the 4th and 5th eighths." }, { "id": "rh-136-ex02-note-1", "blocks": [ "rh-136-ex02" ], "status": "needs-review", "reason": "Melody 1 ends at the double bar after the third bar of this line (bar 8 of the melody, ending F♯4 half note); melody 2 begins after it with the label \"(2\"." }, { "id": "rh-136-ex02-note-2", "blocks": [ "rh-136-ex02" ], "status": "needs-review", "reason": "The printed key signature and meter change in mid-line after the double bar; in the MusicXML the new key and time signature are written at the first bar of the new melody, and accidentals there are shown against the new key." }, { "id": "rh-136-ex02-note-3", "blocks": [ "rh-136-ex02" ], "status": "needs-review", "reason": "Bar 7 of melody 1 begins with a printed natural on D5 (cancelling the D♯ of bar 6); bar 1 of melody 2 has printed naturals on A4 and B4, and C5 is tied into the next bar." }, { "id": "rh-136-ex03-note-1", "blocks": [ "rh-136-ex03" ], "status": "needs-review", "reason": "No number is printed on this line; it continues and ends melody 2 of exercise 31 (the number is printed only on the first line of each melody). The original \"Devoir 31, chant 2 (fin)\" is editorial." }, { "id": "rh-136-ex03-note-2", "blocks": [ "rh-136-ex03" ], "status": "needs-review", "reason": "Bar 2 (of this line): the high note after D5 is read as B♭5 (one ledger line, head above it), not C6." }, { "id": "rh-136-ex03-note-3", "blocks": [ "rh-136-ex03" ], "status": "needs-review", "reason": "Accidentals as printed: E♮5 (bar 1), courtesy ♭ on E♭5 (bar 2), E♮5 and ♭ on E♭5 (bar 4), B♮4 and F♯5 (bar 5), courtesy ♮ on F5 (bar 6)." }, { "id": "rh-136-ex04-note-1", "blocks": [ "rh-136-ex04" ], "status": "needs-review", "reason": "The group number \"32\" is printed left of the staff and \"(1\" above it; written as one above-staff label \"32 (1\"." }, { "id": "rh-136-ex04-note-2", "blocks": [ "rh-136-ex04" ], "status": "needs-review", "reason": "The arcs E♭5–E♭5 (bars 1–2) and A♭4–A♭4 (bar 5) join notes of the same pitch and are encoded as ties (the anticipations)." }, { "id": "rh-136-ex04-note-3", "blocks": [ "rh-136-ex04" ], "status": "needs-review", "reason": "A small hook printed against the head of B♭4 in bar 1 is read as a printing blemish." }, { "id": "rh-136-ex05-note-1", "blocks": [ "rh-136-ex05" ], "status": "needs-review", "reason": "Melody 1 ends at the double bar after the third bar of this line; melody 2 begins after it with \"(2\"." }, { "id": "rh-136-ex05-note-2", "blocks": [ "rh-136-ex05" ], "status": "needs-review", "reason": "The printed key signature and meter change in mid-line after the double bar; in the MusicXML the new key and time signature are written at the first bar of the new melody, and accidentals there are shown against the new key." }, { "id": "rh-136-ex05-note-3", "blocks": [ "rh-136-ex05" ], "status": "needs-review", "reason": "The anticipation figure is printed as eighth, dotted sixteenth and thirty-second (beamed 1+2+3). The shared score writer has no thirty-second notes, so fig-136.py writes this line at doubled values and halves them back in the MusicXML (divisions doubled, note types shifted one step); the MusicXML carries the printed values." }, { "id": "rh-136-ex05-note-4", "blocks": [ "rh-136-ex05" ], "status": "needs-review", "reason": "Bar 1: A♮4 carries a printed courtesy natural (after A♭4 in the previous bar)." }, { "id": "rh-136-ex06-note-1", "blocks": [ "rh-136-ex06" ], "status": "needs-review", "reason": "No number is printed on this line; it continues and ends melody 2 of exercise 32 (the number is printed only on the first line of each melody). The original \"Devoir 32, chant 2 (fin)\" is editorial." }, { "id": "rh-136-ex06-note-2", "blocks": [ "rh-136-ex06" ], "status": "needs-review", "reason": "The anticipation figure is printed as eighth, dotted sixteenth and thirty-second (beamed 1+2+3). The shared score writer has no thirty-second notes, so fig-136.py writes this line at doubled values and halves them back in the MusicXML (divisions doubled, note types shifted one step); the MusicXML carries the printed values." }, { "id": "rh-136-ex06-note-3", "blocks": [ "rh-136-ex06" ], "status": "needs-review", "reason": "Bar 1: the arc under G4–G4 is encoded as a tie." }, { "id": "rh-136-ex07-note-1", "blocks": [ "rh-136-ex07" ], "status": "needs-review", "reason": "The group number \"33\" is printed left of the staff and \"(1\" above it; written as one above-staff label \"33 (1\"." }, { "id": "rh-136-ex07-note-2", "blocks": [ "rh-136-ex07" ], "status": "needs-review", "reason": "The given bass is printed on the same treble staff as the melody (stems down, low notes on ledger lines); it is encoded as a second voice (stems down) on one treble staff." }, { "id": "rh-136-ex07-note-3", "blocks": [ "rh-136-ex07" ], "status": "needs-review", "reason": "Editorial layout: the source prints the given bass stems-down on the melody's treble staff. The playable score puts it on its own bass staff; pitches and rhythms are unchanged." }, { "id": "rh-136-ex08-note-1", "blocks": [ "rh-136-ex08" ], "status": "needs-review", "reason": "No number is printed on this line; it continues and ends melody 1 of exercise 33 (the number is printed only on the first line of each melody). The original \"Devoir 33, chant 1 (fin)\" is editorial." }, { "id": "rh-136-ex08-note-2", "blocks": [ "rh-136-ex08" ], "status": "needs-review", "reason": "The given bass is printed on the same treble staff as the melody (stems down, low notes on ledger lines); it is encoded as a second voice (stems down) on one treble staff." }, { "id": "rh-136-ex08-note-3", "blocks": [ "rh-136-ex08" ], "status": "needs-review", "reason": "Bar 4: a printed line joining B♭4 and C5 (voice-leading line) is omitted from the MusicXML." }, { "id": "rh-136-ex08-note-4", "blocks": [ "rh-136-ex08" ], "status": "needs-review", "reason": "Bar 7: a small dot between F5 and G5 (beamed plain eighths) is read as a printing speck." }, { "id": "rh-136-ex08-note-5", "blocks": [ "rh-136-ex08" ], "status": "needs-review", "reason": "Editorial layout: the source prints the given bass stems-down on the melody's treble staff. The playable score puts it on its own bass staff; pitches and rhythms are unchanged." }, { "id": "rh-136-ex09-note-1", "blocks": [ "rh-136-ex09" ], "status": "needs-review", "reason": "The given bass is printed on the same treble staff as the melody (stems down, low notes on ledger lines); it is encoded as a second voice (stems down) on one treble staff." }, { "id": "rh-136-ex09-note-2", "blocks": [ "rh-136-ex09" ], "status": "needs-review", "reason": "Bar 2: the bass E♯4 is printed with a sharp; bar 3: E♮4 with a natural. The final bass note is A3 (two ledger lines)." }, { "id": "rh-136-ex09-note-3", "blocks": [ "rh-136-ex09" ], "status": "needs-review", "reason": "Editorial layout: the source prints the given bass stems-down on the melody's treble staff. The playable score puts it on its own bass staff; pitches and rhythms are unchanged." }, { "id": "rh-136-ex10-note-1", "blocks": [ "rh-136-ex10" ], "status": "needs-review", "reason": "The given bass is printed on the same treble staff as the melody (stems down, low notes on ledger lines); it is encoded as a second voice (stems down) on one treble staff." }, { "id": "rh-136-ex10-note-2", "blocks": [ "rh-136-ex10" ], "status": "needs-review", "reason": "Short horizontal strokes printed before the first note (at F5 level) and at D5 level in bars 6 and 7 are read as voice-leading dashes and omitted." }, { "id": "rh-136-ex10-note-3", "blocks": [ "rh-136-ex10" ], "status": "needs-review", "reason": "Bar 6: the fourth eighth is read as G♭5 (head in the space above the staff), bar 7 rhythm F5 G♭5 (eighths), E♭5 (dotted eighth), D♭5 (sixteenth)." }, { "id": "rh-136-ex10-note-4", "blocks": [ "rh-136-ex10" ], "status": "needs-review", "reason": "Editorial layout: the source prints the given bass stems-down on the melody's treble staff. The playable score puts it on its own bass staff; pitches and rhythms are unchanged." }, { "id": "rh-136-ex11-note-1", "blocks": [ "rh-136-ex11" ], "status": "needs-review", "reason": "The given bass is printed on the same treble staff as the melody (stems down, low notes on ledger lines); it is encoded as a second voice (stems down) on one treble staff." }, { "id": "rh-136-ex11-note-2", "blocks": [ "rh-136-ex11" ], "status": "needs-review", "reason": "The line ends with a single bar line; the melody ends on the next line." }, { "id": "rh-136-ex11-note-3", "blocks": [ "rh-136-ex11" ], "status": "needs-review", "reason": "Editorial layout: the source prints the given bass stems-down on the melody's treble staff. The playable score puts it on its own bass staff; pitches and rhythms are unchanged." }, { "id": "rh-136-ex12-note-1", "blocks": [ "rh-136-ex12" ], "status": "needs-review", "reason": "The given bass is printed on the same treble staff as the melody (stems down, low notes on ledger lines); it is encoded as a second voice (stems down) on one treble staff." }, { "id": "rh-136-ex12-note-2", "blocks": [ "rh-136-ex12" ], "status": "needs-review", "reason": "Melody 4 ends at the double bar after the second bar of this line; melody 5 begins after it with \"(5\"." }, { "id": "rh-136-ex12-note-3", "blocks": [ "rh-136-ex12" ], "status": "needs-review", "reason": "The printed key signature and meter change in mid-line after the double bar; in the MusicXML the new key and time signature are written at the first bar of the new melody, and accidentals there are shown against the new key." }, { "id": "rh-136-ex12-note-4", "blocks": [ "rh-136-ex12" ], "status": "needs-review", "reason": "Bar 4 of melody 5: the upper voice is six sixteenths (A5 G♯5 E5 F♯5 G♮5 C♯5, under one double beam) followed by D5 dotted quarter." }, { "id": "rh-136-ex12-note-5", "blocks": [ "rh-136-ex12" ], "status": "needs-review", "reason": "Bar 2 of melody 5: the upper D♯5 and the bass C♮5 are printed side by side at the start of the bar (both on the downbeat)." }, { "id": "rh-136-ex12-note-6", "blocks": [ "rh-136-ex12" ], "status": "needs-review", "reason": "Editorial layout: the source prints the given bass stems-down on the melody's treble staff. The playable score puts it on its own bass staff; pitches and rhythms are unchanged." }, { "id": "rh-137-ex01-note-1", "blocks": [ "rh-137-ex01" ], "status": "needs-review", "reason": "Printed brackets above or below groups of notes (marking the polytonic successions) are omitted from the MusicXML." }, { "id": "rh-137-ex02-note-1", "blocks": [ "rh-137-ex02" ], "status": "needs-review", "reason": "Printed brackets above or below groups of notes (marking the polytonic successions) are omitted from the MusicXML." }, { "id": "rh-137-ex02-note-2", "blocks": [ "rh-137-ex02" ], "status": "needs-review", "reason": "Melody 1 ends at the double bar after bar 3; melody 2 begins after it with a new key signature of one flat (no naturals printed), 6/8 and an eighth-note upbeat (D5, tied into the next bar). In the MusicXML the key and time change is written at bar 4 and accidental display is recomputed for the new key." }, { "id": "rh-137-ex02-note-3", "blocks": [ "rh-137-ex02" ], "status": "needs-review", "reason": "Courtesy accidentals printed and kept: the flat on E♭5 at the start of bar 3 (after E♮ in the previous bar) and the natural on F5 in the last bar (after F♯ in the previous bar)." }, { "id": "rh-137-ex02-note-4", "blocks": [ "rh-137-ex02" ], "status": "needs-review", "reason": "The tie on B♭4 across the line break between rh-137-ex02 and rh-137-ex03 is printed but not encoded: each line is its own playable block." }, { "id": "rh-137-ex03-note-1", "blocks": [ "rh-137-ex03" ], "status": "needs-review", "reason": "Printed brackets above or below groups of notes (marking the polytonic successions) are omitted from the MusicXML." }, { "id": "rh-137-ex03-note-2", "blocks": [ "rh-137-ex03" ], "status": "needs-review", "reason": "No number is printed on this line; it continues and ends melody 2." }, { "id": "rh-137-ex03-note-3", "blocks": [ "rh-137-ex03" ], "status": "needs-review", "reason": "The final bar holds only five eighths (F5, dotted-eighth E5, sixteenth D5, quarter D5): it completes the eighth-note upbeat; no dot is printed after the last D5." }, { "id": "rh-137-ex03-note-4", "blocks": [ "rh-137-ex03" ], "status": "needs-review", "reason": "The tie on B♭4 across the line break between rh-137-ex02 and rh-137-ex03 is printed but not encoded: each line is its own playable block." }, { "id": "rh-137-ex04-note-1", "blocks": [ "rh-137-ex04" ], "status": "needs-review", "reason": "Printed brackets above or below groups of notes (marking the polytonic successions) are omitted from the MusicXML." }, { "id": "rh-137-ex04-note-2", "blocks": [ "rh-137-ex04" ], "status": "needs-review", "reason": "Bar 4: the seventh eighth (A4) has no accidental and so carries the A♯ printed earlier in the bar; the last eighth has a printed natural (A♮4). Encoded as printed." }, { "id": "rh-137-ex05-note-1", "blocks": [ "rh-137-ex05" ], "status": "needs-review", "reason": "Printed brackets above or below groups of notes (marking the polytonic successions) are omitted from the MusicXML." }, { "id": "rh-137-ex05-note-2", "blocks": [ "rh-137-ex05" ], "status": "needs-review", "reason": "No number is printed on this line; it continues and ends melody 3." }, { "id": "rh-137-ex05-note-3", "blocks": [ "rh-137-ex05" ], "status": "needs-review", "reason": "Last bar: a small acciaccatura (grace eighth A4, slurred) is printed before G♯4; grace notes are not supported by the score writer and it is omitted from the MusicXML." }, { "id": "rh-137-ex05-note-4", "blocks": [ "rh-137-ex05" ], "status": "needs-review", "reason": "Bar 3: the notehead of the sixth eighth (E5) is damaged in the print; read as E5 from its position." }, { "id": "rh-137-ex06-note-1", "blocks": [ "rh-137-ex06" ], "status": "needs-review", "reason": "Printed brackets above or below groups of notes (marking the polytonic successions) are omitted from the MusicXML." }, { "id": "rh-137-ex07-note-1", "blocks": [ "rh-137-ex07" ], "status": "needs-review", "reason": "Printed brackets above or below groups of notes (marking the polytonic successions) are omitted from the MusicXML." }, { "id": "rh-137-ex07-note-2", "blocks": [ "rh-137-ex07" ], "status": "needs-review", "reason": "No number is printed on this line; it continues and ends melody 4." }, { "id": "rh-137-ex09-note-1", "blocks": [ "rh-137-ex09" ], "status": "needs-review", "reason": "No number is printed on this line; it continues chorale 1." }, { "id": "rh-137-ex10-note-1", "blocks": [ "rh-137-ex10" ], "status": "needs-review", "reason": "Chorale 1 ends at the double bar after the single half note F4 of bar 3 (completing its upbeat); chorale 2 begins after it with a reprinted C (the key signature is not reprinted on this line). In the MusicXML the time signature is repeated at bar 4." }, { "id": "rh-137-ex11-note-1", "blocks": [ "rh-137-ex11" ], "status": "needs-review", "reason": "No number is printed on this line; it continues chorale 2." }, { "id": "rh-137-ex12-note-1", "blocks": [ "rh-137-ex12" ], "status": "needs-review", "reason": "No number is printed on this line; it continues and ends chorale 2 (final double bar)." }, { "id": "rh-138-ex01-note-1", "blocks": [ "rh-138-ex01" ], "status": "needs-review", "reason": "Each chorale begins with a half-note upbeat (implicit first bar) and ends on a half note. Printed meter is C (common time) although the melody moves in half notes." }, { "id": "rh-138-ex01-note-2", "blocks": [ "rh-138-ex01" ], "status": "needs-review", "reason": "The crop's second line also shows the opening of chorale (4) after the double bar." }, { "id": "rh-138-ex02-note-1", "blocks": [ "rh-138-ex02" ], "status": "needs-review", "reason": "Each chorale begins with a half-note upbeat (implicit first bar) and ends on a half note. Printed meter is C (common time) although the melody moves in half notes." }, { "id": "rh-138-ex02-note-2", "blocks": [ "rh-138-ex02" ], "status": "needs-review", "reason": "The key change is printed as three naturals cancelling E♭ major. The crop's first line also shows the end of chorale (3) and its last line the opening of chorale (5)." }, { "id": "rh-138-ex03-note-1", "blocks": [ "rh-138-ex03" ], "status": "needs-review", "reason": "Each chorale begins with a half-note upbeat (implicit first bar) and ends on a half note. Printed meter is C (common time) although the melody moves in half notes." }, { "id": "rh-138-ex03-note-2", "blocks": [ "rh-138-ex03" ], "status": "needs-review", "reason": "The sharp on F♯4 in bar 5 is printed only on the first note; the repeated F4 in the same bar is read as F♯4 (accidental carries through the bar). The crop's first line also shows the end of chorale (4) and its last line the opening of chorale (6)." }, { "id": "rh-138-ex04-note-1", "blocks": [ "rh-138-ex04" ], "status": "needs-review", "reason": "Each chorale begins with a half-note upbeat (implicit first bar) and ends on a half note. Printed meter is C (common time) although the melody moves in half notes." }, { "id": "rh-138-ex04-note-2", "blocks": [ "rh-138-ex04" ], "status": "needs-review", "reason": "A small stray mark beside the second A4 in bar 13 (line 2) is a print blemish, not an accidental. The crop's first line also shows the end of chorale (5) and its last line the opening of chorale (7)." }, { "id": "rh-138-ex05-note-1", "blocks": [ "rh-138-ex05" ], "status": "needs-review", "reason": "Each chorale begins with a half-note upbeat (implicit first bar) and ends on a half note. Printed meter is C (common time) although the melody moves in half notes." }, { "id": "rh-138-ex05-note-2", "blocks": [ "rh-138-ex05" ], "status": "needs-review", "reason": "The upbeat E4 leads into E4 again at the start of bar 2, as printed. The crop's first line also shows the end of chorale (6)." }, { "id": "rh-138-ex06-note-1", "blocks": [ "rh-138-ex06" ], "status": "needs-review", "reason": "Each chorale begins with a half-note upbeat (implicit first bar) and ends on a half note. Printed meter is C (common time) although the melody moves in half notes." }, { "id": "rh-138-ex06-note-2", "blocks": [ "rh-138-ex06" ], "status": "needs-review", "reason": "Chorale (8) continues on PDF 113 (printed p. 105); its last four bars are the next block. B♮4 is printed with a natural in bars 6, 7, 9 and 10; the B in bar 14 has none and reads B♭4. A dot printed above-right of the F4 in bar 16 sits at the height of the third line, not beside the note head, and the bar is complete without it: read as a blemish, not an augmentation dot." }, { "id": "rh-138-ex07-note-1", "blocks": [ "rh-138-ex07" ], "status": "needs-review", "reason": "No number is printed on this line; it is the end of chorale (8) carried over from the previous page, up to the double bar before chorale (9). The meter C is not reprinted here; the MusicXML repeats common time. The crop stops before the key signature and number of chorale (9)." }, { "id": "rh-139-ex01-note-1", "blocks": [ "rh-139-ex01" ], "status": "needs-review", "reason": "Devoir number not printed on this page: the chorales are taken to continue the numbered series (1), (2)… of Devoir 35 (chorale melodies), numbered on PDF 111 and continued on PDF 112 (batch 138)." }, { "id": "rh-139-ex01-note-2", "blocks": [ "rh-139-ex01" ], "status": "needs-review", "reason": "The crop starts at the double bar that ends chorale (8) (PDF 112 batch), so it shows the new key signature and C but no clef (treble clef as on the rest of the line)." }, { "id": "rh-139-ex01-note-3", "blocks": [ "rh-139-ex01" ], "status": "needs-review", "reason": "The time signature is a plain C (not barred), as on the other chorales of this page." }, { "id": "rh-139-ex02-note-1", "blocks": [ "rh-139-ex02" ], "status": "needs-review", "reason": "Editorial label: the line carries no printed number; it continues the chorale numbered above." }, { "id": "rh-139-ex02-note-2", "blocks": [ "rh-139-ex02" ], "status": "needs-review", "reason": "Bar 7 prints a natural on the A (A♮4) in the quarter-note run G–A♮–B♭–C. A small dot after the first C5 of bar 1 is read as a stray mark." }, { "id": "rh-139-ex03-note-1", "blocks": [ "rh-139-ex03" ], "status": "needs-review", "reason": "Editorial label: the line carries no printed number; it continues the chorale numbered above." }, { "id": "rh-139-ex03-note-2", "blocks": [ "rh-139-ex03" ], "status": "needs-review", "reason": "The final bar holds only a half note (completing the half-note upbeat); a double bar follows." }, { "id": "rh-139-ex04-note-1", "blocks": [ "rh-139-ex04" ], "status": "needs-review", "reason": "The crop starts after the double bar ending chorale (9), so it shows the new key signature (two flats) and C but no clef." }, { "id": "rh-139-ex04-note-2", "blocks": [ "rh-139-ex04" ], "status": "needs-review", "reason": "E♮5 is printed with an explicit natural in bars 2 and 3; C♯5 in bar 4." }, { "id": "rh-139-ex05-note-1", "blocks": [ "rh-139-ex05" ], "status": "needs-review", "reason": "Editorial label: the line carries no printed number; it continues the chorale numbered above." }, { "id": "rh-139-ex05-note-2", "blocks": [ "rh-139-ex05" ], "status": "needs-review", "reason": "Bar 5: E♮4 printed with a natural. The final bar holds only a half note (completing the upbeat); double bar." }, { "id": "rh-139-ex06-note-1", "blocks": [ "rh-139-ex06" ], "status": "needs-review", "reason": "Begins on a full bar (no upbeat). A♮4 (whole note, bar 4) is printed with a natural." }, { "id": "rh-139-ex07-note-1", "blocks": [ "rh-139-ex07" ], "status": "needs-review", "reason": "Editorial label: the line carries no printed number; it continues the chorale numbered above." }, { "id": "rh-139-ex07-note-2", "blocks": [ "rh-139-ex07" ], "status": "needs-review", "reason": "B♮4 (bar 9) printed with a natural. A short dash above the staff before the first note is read as a stray mark." }, { "id": "rh-139-ex08-note-1", "blocks": [ "rh-139-ex08" ], "status": "needs-review", "reason": "Editorial label: the line carries no printed number; it continues the chorale numbered above." }, { "id": "rh-139-ex08-note-2", "blocks": [ "rh-139-ex08" ], "status": "needs-review", "reason": "B♮4 in bar 3 printed with a natural; the chorale ends with a double bar mid-line." }, { "id": "rh-139-ex09-note-1", "blocks": [ "rh-139-ex09" ], "status": "needs-review", "reason": "The crop starts after the double bar ending chorale (11), so it shows the new key signature (two sharps) and C but no clef." }, { "id": "rh-139-ex09-note-2", "blocks": [ "rh-139-ex09" ], "status": "needs-review", "reason": "C♮5 in bar 3 is printed with a natural." }, { "id": "rh-139-ex10-note-1", "blocks": [ "rh-139-ex10" ], "status": "needs-review", "reason": "Editorial label: the line carries no printed number; it continues the chorale numbered above." }, { "id": "rh-139-ex10-note-2", "blocks": [ "rh-139-ex10" ], "status": "needs-review", "reason": "G♯4 in bar 2 is printed with a sharp." }, { "id": "rh-139-ex11-note-1", "blocks": [ "rh-139-ex11" ], "status": "needs-review", "reason": "Editorial label: the line carries no printed number; it continues the chorale numbered above." }, { "id": "rh-139-ex11-note-2", "blocks": [ "rh-139-ex11" ], "status": "needs-review", "reason": "The final bar holds only a half note (completing the upbeat); the line, the chorale series and the exercise section end with a double bar. The ornament (vignette) below the last staff is page decoration, not music." }, { "id": "rh-contents-114-note-1", "blocks": [ "rh-contents-114" ], "status": "needs-review", "reason": "Entry 'Accord parfait du VIIᵉ degré du mode majeur … 26' is clearly printed VII, but the section on printed page 26 is headed 'Accord parfait du IIIᵉ degré du mode majeur' (batch 018); likely misprint for III. Retained as printed." }, { "id": "rh-contents-114-note-2", "blocks": [ "rh-contents-114" ], "status": "needs-review", "reason": "'quinte diminué' printed (masculine) in 'Accords de sixte de l'accord de quinte diminué du VIIᵉ degré'; retained." }, { "id": "rh-contents-114-note-3", "blocks": [ "rh-contents-114" ], "status": "needs-review", "reason": "Chapter headings carry no page number in the source; Pages cell left empty. Printed caps/italics normalized to sentence case; printed line-end hyphenation joined." }, { "id": "rh-contents-115-note-1", "blocks": [ "rh-contents-115" ], "status": "needs-review", "reason": "'Modulation définive et passagère' is printed thus (misprint for 'définitive'; the body heading reads DÉFINITIVE). Retained as printed." }, { "id": "rh-contents-115-note-2", "blocks": [ "rh-contents-115" ], "status": "needs-review", "reason": "'Du choral figuré et realisation …' printed without accent on 'realisation'; retained." }, { "id": "rh-contents-115-note-3", "blocks": [ "rh-contents-115" ], "status": "needs-review", "reason": "'Enharmonie de l'accord de 7ᵉ' omits 'diminuée' (body heading: 'Enharmonie de l'accord de 7ᵐᵉ diminuée'); retained as printed and translated literally." }, { "id": "rh-contents-115-note-4", "blocks": [ "rh-contents-115" ], "status": "needs-review", "reason": "Chapter headings carry no page number in the source; Pages cell left empty." } ], "translator_notes": [], "source_pages": [ { "pdf_page": 1, "source_image": "source-pages/001.png", "dimensions_pixels": [ 1713, 2496 ], "raster_dpi": 300, "sha256": "85e73e51359701c6df0d670422f7bf2be782cb2b7f7607236555afdbc23fbb7d", "status": "source-preserved", "printed_label": null, "published": false }, { "pdf_page": 2, 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