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78 Extempore Playing
it may be in the bass, and, rarely, it may be doubled in both soprano and bass with an accompaniment in the middle;
(9) That, in general, for simple music the bass is the part that will claim most attention, assuming that the melody-line is already in evidence;
(10) That contrast between the upper and the lower parts of the united structure is generally advisable, i.e., that a rapidly moving melody needs a quiet accompaniment, but a sustained melody is best supported by a moving accompaniment.
(a) Play the I in C through four measures in duple and in triple time. Try numerous devices of repeated chords and broken chords as figures of accompaniment.
(b) Do this in every major and minor key.
(c) Take the succession I, IV, V, I, through four measures in duple and in triple time, in the keys of G, A, F, A flat, c minor, e minor, f minor and a minor, using the same devices.
(d) Play the I in C, D, and b minor, for four measures, in duple and in triple time, adding melodies above including chord-lines, scale-lines, neighbours, and repetitions. Display various types of rhythm.
(e) Play the I, IV, V, I, on the first beat of each measure, in duple and in triple time, in the keys of G. A, and e minor, adding melodies above of varying character.
(f) Play a melodic phrase in each of the twenty-four keys, in unison or in octaves, harmonizing only the cadences.
(g) Play the following melody
and then add accompaniments with the following devices:
(1) repeated chords;
(2) broken chords;