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Digitized by the Internet Archive

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http://www.archive.org/details/treatiseonharmonOOrich

X
%h$& k

goarb

of frofessors of

h fUM

College of

P.

TREATISE

HARMONY
TRANSLATED AND ADAPTED FROM THE GERMAN OF

ERNST FRIEDRICH EICHTER

(PROFESSOB AT THE
C

N SEE V ATO EI UM OF MUSIC, LEIPZIG),

BY

FRANKLIN TAYLOR.

PUBLISHED BY

J.

B.

LONDON CRAMER AND CO.,

201,

REGENT STREET, W.

SWIFT AND

CO.,

LONDON REGENT PRESS, KINQ STREET,

'.

REGENT STREET, W.

PREFACE.
This work
is

an adaptation of the Text- book in use

at the Leipzig

Conservatoriuni of Music

the " Lehrbuch der Harnionie," by Ernst

Having found, by personal experience,

F. Bichter, Professor at the Conservatorium, and Musical Director of

the University of Leipzig.

that the .above work not only contains

much

that

is

new

in its

manner

of treating certain subjects,

but moreover

is

based upon

a more complete and practical system than any other course of har-

mony

with which I

am

acquainted,

it

occurred to

me
it

while pursuing

my

studies at Leipzig that a literal translation of

into the English

language would be acceptable to English students and teachers, and

might occupy a similar position in England

has for some years held in Germany.

to that

which the original

In the course of
slight alterations

my

labour, however, I have found that certain

effected with

and omissions might be

advantage to

the practical employment of the work.

These alterations I have

endeavoured to carry out conscientiously, and to the best of

ability
;

my

and the

result is the

book in

its

present form.

It differs

from the original in the following particulars

Firstly.

The progressive order of the book with regard to

difficulty
all

has been slightly modified, with a view to the avoidance of

ex-

planatory matter not immediately bearing upon the subject in hand.

IV

PREFACE.

Secondly.

The chapters on Elaboration of Melody and of Accomfive, six,

paniment, and on the Harmonic Phrase in two, three,

seven,

and eight

parts,

have been omitted, as belonging rather to the study

of Counterpoint than that of

Harmony.
which in the original appear
to be

Thirdly.

Certain
;

subjects

inadequately explained, or even not mentioned, but which are nevertheless essential to the completeness of the work, have here been

enlarged upon

and

several

new examples and

exercises, as well as
illustra-

marginal notes for reference, have been added for the better
tion of the various chapters.

With these

exceptions, the present

work

is

a nearly literal trans-

lation of the original.

purpose to follow this treatise by a second, on " Counterpoint

shall contain those chapters of the "

and Fugue," which

der
also

Lehrbuch

Harmonie

"

which have been omitted in the present work, and

of

a translation

the

"Lehrbuch der Fuge," by the same

author.

In conclusion I have to express

my

thanks to Mr. E.

J.

Hopkins,

organist of the Temple, for his kind advice and assistance during the

progress of

my

work, as well as for

many

very valuable suggestions.

London, November, 1864.

INTRODUCTION.
OF SCALES.
Between any two
exist
;

different sounds a certain difference of pitch

must necessarily

this difference,

which may be greater or

other,
is

less

according as the sounds are

more

or less distant smallest

from each
interval

called

an

interval.
is

The
semitone.

employed in harmonic combinations

termed a

Semitones are called diatonic when they occur between two sounds of
different

names, chromatic when they are formed by the chromatic alteration

Chromatic semitones.
rp

of any one sound.

Diatonic semitones.

P
The
semitones.

ks>-

231

3te

interval next hi size to a semitone

is

called a tone,

and contains two

succession of sounds arranged in alphabetical order and extending to the

repetition or octave of the first note,

diatonic, scale.

thus

A B C D E F G A

is

called a

Formerly, diatonic scales were formed starting from each of the above sounds
(except

B)

at the present time,

however, two are found

sufficient, viz., those

commencing on C and on A. The diatonic scale commencing on the note

scale in the

is

called the major scale, or the

it is

major mode
-,

and

the!

sounds of which

composed are termed the

it

degrees of that scale, the lowest being called the first degree, the next above

the Degrees

of

second degree, and

If
scale,

the scale.

so on.

we examine the intervals which we find semitones between the

separate the different degrees of the major Place

third
all

of tha

and fourth, and between the seventh

other degrees.

aemltones.

and eighth degrees, and tones between

are divided into two semitones

This will be evident

from the following example, in which the

tones separating the different degrees

;

by means

of the black notes

the intervals between

the third and fourth and the seventh and eighth degrees do not, however, admit
of such division (since for
all

practical purposes

E$

is

identical with F,

and

BJ

with C)

these intervals are therefore semitones.

2

34
Semitone.

78

1 f~TL ~~--i^7^^^
J

Tone.

Tone.

'

Tone.

Tone.

LNTKODUCT10N.

A
Major
keys.
scales in different

major

scale

may

then be described as one in which the semitones

fall

between the third and fourth, and seventh and eighth degrees.
If

be taken for the

first

degree of the major

scale, the natural alphabetical

;

succession of notes will, as has been shown, form a correct major scale

if,

however, any other note be employed as the

first

degree, a chromatic alteration of

one or more notes

will

be found necessary to preserve the correct order of tones

and semitones.

Thus, in the scale of

G major, the

natural order of notes would

give a tone between the seventh and eighth, and a semitone between the sixth

and seventh degrees,

as will

be seen from the following example

6
7

i 9
Chromatic
alteration of

IZ2I

Tone.

Tone.

Semitone.

Tone.

Tone.

Semitone.

Tone.

It will, therefore,

be necessary to raise the seventh degree chromatically, in

it

the seventh degree.

order to bring

it

nearer to the eighth, from which

:

will

then be separated by a

semitone only, thus

1

4-5
Tone.

P
Minor
scale.

-A,
IZ2I
Tone.
Tone.
Semitone.

Tone.

Tone. Semitone.
is

The

diatonic scale

commencing on the note A,

If

called the minor scale, or

the scale in the minor mode.

formed of the natural alphabetical succession

example

of notes the semitones will be found between the second and third, and the fifth

and

sixth degrees, as in the following

12345678
:

P
Tone.

7Z2I
Semitone.

Tone.

Tone.

Tone.

Tone.

Semitone.

Chromatic
alteration of the sixth and

This
explained

is

the
(see

normal minor
p.

scale.

For reasons which

will

be hereafter

23)

it

has been found necessary to alter the sixth and

seventh
degrees of the

seventh degrees, by raising them chromatically one semitone.

The
:

ordinary

minor

scale.

form of the minor

12345678
scale at the present

day

is

therefore as follows

I wm
Tone.

"23"

"Cr
Semitone.

!!=
Tone.
Semitone.

Alterations

In the descending
they

scale,

the chromatic alterations are usually omitted, and the

omitted in
descending.

scale appears in its original form.

accidental,
i. e.,

87654321
are not expressed in the signature.
Tone.

On

this

account the alterations are always

i M==*SEE.te
Tone.
Semitone.
L

Tone.

Semltone.

Tone

INTRODUCTION.
The
signature of the scale of
it

A minor

will therefore

be the same as that of Signature

Bca l e-

of

major, namely,

will require neither sharps

nor

flats.

A minor
termed the

scale

which bears the same signature as any given major

minor of that
scale,

scale

is

Relative

relative

which

is

also called the relative

major of

the minor scale.

The
major
;

first

degree of a minor scale

is

always the sixth degree of

its

relative

thus, in the foregoing examples,

A will be

found

to

be the sixth degree of

This will at once be

the scale of seen

if

is

therefore the relative minor of C.

:

we compare

the relative major and minor scales

C major:

12346678 CDEFGABC
ABCDEPfGfA

A minor:
Or
expressed in notes

t
The same
the relative minor scale of
of the scale of
scale.

T=C
2

#^
thus,
its first

rule applies to scales

commencing on any note whatsoever;

will

major

have for
will

degree the sixth degree

major (namely, E), and

bear the same signature as that

8

Scale of

G major:
E
minor

1234567 GABCDEFfG
3

Scale of

E F| G A B Cf Df E
following example,
is

A scale composed entirely of semitones, as in the

a chromatic scale.
7
..
7

termed

Chromafcio
Bcale.

P
The
and the
interval

res:

7|i=^P=

ifg-^Hf^-^fr

OF INTEEVALS.
distance which separates

any two sounds

is

is

reckoned by diatonic degrees,

accordingly.

formed by those sounds

named

Thus,

if

be

the lower note,

and considered

as the first degree,

A will be
will

the second degree,

and the interval and the interval

G-A will be that of a second. E G-E will therefore be a sixth, &c.

be on the sixth degree,

=52=-

zz:

etc.

INTRODUCTION.
Counting then always from the lower note or
first

degree,

and employing
:

all

the notes of the scale as upper sounds, the following intervals will be found

P
The
degree
is

ZZ2Z

oo"
Unison.

-ef^
Second.

-&>Third.

-<S>-

-rS^
Fifth.

-IS 1

-&Seventh.

-&Octave.

Fourth.

Sixth.

intervals are generally only counted as far as the octave, the

;

same order

being repeated for those intervals which he beyond that compass

thus the ninth

considered as the second, the tenth as the third, and so on.

are,

There

however, reasons which will be perceived hereafter for giving

names

also to those intervals

which are greater than the octave.

:

All such will

therefore have two names, as follows

_
Octave.

Ninth.

Tenth.

Eleventh.

i
It will

zz:
Octave.

^3

m m Twelfth. Thirteenth. -^c^

,

Fourteenth. Fifteenth.

-C2-

--SZ

Second.

Third.

Fourth.

Fifth.

Sixth.

Seventh.

Octave.

be seen that the above

series of intervals

is

composed entirely of the

notes of the diatonic major scale, and has always the first degree of that scale
for the lower note of each interval.
It
is,

however, easy to understand that any

other degree of the scale would serve as the lower note of an interval, in which
case the numbers of the two sounds forming the interval will be changed (inas-

much
Classification of intervals.

as the lower note of

an interval

is

always considered as the

first

degree),

and other

slight differences will occur. to obtain a clear insight into these differences, the following principles

In order

must be borne
(a)

in

mm(j ._
series of intervals,

The above

in

which the lower note

is

the

first

degree of a major
as

scale,

while

all

the other degrees of the scale are employed

upper notes, serves

as the foundation of all intervals.

(b) All the intervals therein contained are

termed major, and some of

them perfect.
(e)

Any

chromatic alteration of either of the two notes which form an

neither the numbers of the degree, nor the

interval
interval,

alters

name
it

of the

but necessitates a more

exact definition.

If, for

example, a sharp

or flat be added to either of the notes forming the fifth,

fifth
still,

G-C,
it

remains a

but

is

evidently a very different fifth from what

originally was.

P
In order then
to distinguish

fe=fe
between the various chromatic alterations of
is

intervals, the following

nomenclature

used

INTRODUCTION.
(1) Unisons, fifths, fourths,

and

octaves,

which are formed of the notes

first

of the diatonic

major

scale,

and having the

degree of the scale for the

lower note, are called perfect.

called major.

All other intervals of the same scale are

Perfect.

Major.

Major.

Perfect.

Perfect

Major.

Major.

Perfect.

Major.

-1 f~ /
f( \

i)

Vz

-&&Unison.

-&CJ
Second.

rj

CJ
-Fifth.

-SThird.

-*5>-

Fourth.

-<S>Sixth.

-<S-

-Si-

-S>Ninth.

Seventh. Octave.

(2) If the

upper note of a major interval be chromatically lowered one

is

semitone, a minor interval

Minor.

formed.
Minor. Minor. Minor.

Minor.

i:

^
Second.

feg-

Sixth.

Third.

Seventh.

Ninth.

Other kinds of intervals may be formed by various other chromatic

tions
;

altera-

of these, however,

it

will not

be necessary to speak

at present.
:

Those which have already been mentioned may be

Unison.
Perfect.

classified as follows

Seconds.
Major. Minor.
Major.

Thirds.
Minor.

Fourth.
Perfect.

I w
Fifth.
Perfect.

^
Srxths.
Major.

&
Sevenths.
Major.

ZE
Octave.
Perfect

Minor.

Minor.

i w

ffi

DIVISION OF INTEEVALS INTO CONSONANT AND DISSONANT.

By
former

the expression consonant and dissonant intervals

we do

not understand

such as do or do not sound well, as the terms might seem to imply, but by the
is

meant those which when heard produce a

harmony, without which
their
effect

final

and complete

effect

on

the ear by themselves, and by the latter those which recpiire to be followed

by

another

would

be unsatisfactory and

incomplete.

Of
fifth,

those intervals with which

sixths

and the major and minor

and

are already acquainted, the perfect intervals, Consonant n*U thirds are consonances ; the unison, perfect ^tervaU octave are also termed perfect, and the thirds and sixths imperfect

we

and

consonances, as the effect of the former

is

the more complete of the two

the

major and minor seconds and sevenths are dissonances.

INTRODUCTION.

INVEESION OF INTERVALS.
As has
lower note
already been shown, the interval
;

is

usually counted

upward from the

should there be reasons, however, for reversing this principle and

it

counting downwards from the upper note,

deviation from rule

is

always necessary to express this

by saying a

fifth lower,

a sixth lower, &c.

say

Thus we should

is

the fifth of G,

is

a fifth lower than D, or a fifth below D.

1 W
It will readily be seen that the interval itself
Inversion of
is

unaltered by this proceeding.

is

It

is,

however, otherwise, when the upper note of an interval

transposed an
If,

octave lower,

and consequently below the note which was

originally lowest.

for example, the upper note

of the fifth

G-D
4

be transposed an octave lower,

the interval will not remain unchanged, but will become a fourth,
5

D-G.

P
This transposition of the upper note
is

termed an inversion of the

interval.

By
follows

means of
:

inversion, the intervals of the diatonic scale will be altered as

Original Intervals.

Inversions.

r^n
8

rJ->

23 3?^~
r*J

4
f-j

_|^

J2.

^
T^rzr
is

rj

2Z
*-.

rj c^

r? -^,

We see, then,
to a third,

that a second becomes

on.

by inversion a

seventh, a sixth

altered

and so

An

easy method of finding the inversion of any interval

is

to subtract the

sum of the degrees contained in the given interval from the number nine, the sum remaining will then give the name of the inversion. Thus to find the inversion of a fifth, subtract five from nine, and four
will

remain; the inversion required

is

therefore a fourth.

In inverting the various

intervals

which have hitherto been mentioned we

findFirstly, that all perfect intervals

remain perfect on their inversion

all

and

Secondly, that

all

major intervals become minor, and

minor intervals

major.

The

inversions of the intervals already mentioned are as follows

INTRODUCTION.
Seconds.
Major.

Thirds.
Minor.
Major.

Fourth.
Minor.
Perfect

Original
Intervals.

=fcp "g"

-jTXZ

IT
Sevenths.
Minor.
Major.

Sixths.
Minor.
Major.

Fifth.
Perfect.

Their
Inversions.

T^
Fifth.
Perfect.

ZZH.

Sixths.
Major.

Sevenths.
Minor.
Major.

Octave.
Perfect.

Minor.

IS2Z

^
Thirds.
Minor. Major. Minor.

rV-^
Seconds.
Major.

Fourth.
Perfect.

Unison.

a
An
simple accurate knowledge of the inversions of intervals
it is

&
is

Perfect.

rcesi

not only important for

the study of double counterpoint, but also because

renders the structure of

earnestly recom-

harmony much easier, for which reasons the student mended to master them thoroughly before proceeding farther.

From
is

the above table of inversions will be seen

why

the perfect fourth

must
alone,

Perfect fourtl
s aeredasa

be considered as a consonance, notwithstanding that

far

its effect,

when heard

from

satisfactory

it is

the inversion of a consonance,

inversion.

viz.,

the perfect fifth, consonance.

and a consonance can never form a dissonance by

note
transposed an octave lower.

All the above inversions are called inversions in the octave, that
is

is,

the upper

Other inversions, such

results,

as those in the tenth

and

twelfth,

which produce quite different

may be

neglected for the

studies.

present, as they

have no influence whatever on our immediate

HARMONY.
FUNDAMENTAL HARMONIES AND THEIR DERIVATIONS.
Among
it

the various chords which serve as the harmonic basis of a composition,

is

easy to distinguish between those which are independent, and those which

require a connection with preceding and

intelligible.

succeeding chords to render them

It

is

precisely the

same difference which has been noticed with

regard to consonant and dissonant intervals.

To

the

first class

belong most of the

common

the chords of the seventh.

These two

varieties of chords

chords (triads), to the second Fundamental form the fundamental narmoui eB

-

harmonies from which

all

others are derived.

CHAPTER
A common chord
the

I.

OF THE COMMON CHORDS OF THE MAJOR SCALE.

is

formed by a combination of
is,

three different

sounds (hence Common

is

name

triad,

which

however, rarely used).

The
fifth

lowest of these sounds

for

called the root, to

which are added the third and

example

These chords, formed on the

intervals.
fifths,

roots C,

G, and A, show a difference

of

in their

that
N.B.

While the chords of C and G are formed of A has a minor third and perfect fifth.

major thirds and perfect

When the word chord

is

used hereafter the common chord

is

is

understood.

A chord containing a major third and perfect fifth termed a major chord. fifth termed a minor chord. A chord with a minor third and perfect r
is

Different
varieties of

commOD

It is of course possible to

form a chord on every degree of the diatonic

scale, ehords.

and such chords form the principal harmonic contents of that

other words, a composition, in whichever key
principally
it

scale or hey.

In

may

be, will

be found to be

composed of the chords which are found on the various degrees of the

scale of that key.

10

OF THE COMMON CHORDS OF THE MAJOR SCALE.

NATUEAL CONNECTION OF THE CHOEDS OP A KEY.

That chord which
since
it is

based on the

first

degree of a scale

is

the most important,

determines the key.

in

There

are,

however, others which are nearly related

and next
note,

importance to

it.

In the natural position of the

and the

fifth

the highest.

common chord the root The addition of any new

its

is

the

first

or lowest
either

interval

would

alter the

chord or double some one of

component

parts.

flP^HP
Chords which

We

have now to find the two chords next in importance

to that of the first

lie

are nearly degree, and most closely related to it. related to the chord on the the compass of the first chord, and first degree.

These chords must necessarily

outside

yet have some connecting link therewith.

This link will be found in the extreme boundaries of the chord, namely in

and

G.

G
The

will therefore

form the root of the one chord, while

will serve as the

fifth of

the other, the root of which will necessarily be F.

relationship of these three chords
:

is

distinctly

shown

in the following

example

BE mt B
It will

be observed that these three nearly-related chords comprise

all

the

notes of the scale.

They form

the foundation of the key, and must be principally

is

employed
Names
chords.
of the

in practice if the

key

to

be distinctly recognised.

On
on the

account of their importance they have received special names.

first

The chord
degree the

principal

common

degree

is

called the chord of the tonic, that

on the

fifth

chord of the dominant, and that on the fourth degree the chord of the subdominant.

Then

place in the scale

is

as follows

Subdominant. Dominant.

I V
N.B.

-&-

s
IV.

ZZ3Z

V.

The

Roman numerals under

the chords signify, and will continue to do so in

is

this work, the degrees of the scale

on which the root

situated.

APPLICATION OP THE FOBEGOING HAEMONLES.

In the application of these three chords we
four-part phrase.
will

employ the four-voiced or

The four-part
phrase.
is

The

four-part phrase consists of four parts or voices, the upper one of which

called the soprano,

and the lowest the bass

the next voice under the soprano

AMPLICATION OF THE FOREGOING HARMONIES.

is

11

called the alto,

and that which

is

immediately above the bass

is

called the

tenor.

The soprano and

bass are also termed extreme voices, and the two others

middle voices.

For the three upper

suitable to their
after.

voices separate clefs are employed,

clef
(fo.

which are more

compass than the violin

will not

These

will

be treated of herevoice,

For the present we

employ a separate stave for each

but

for greater facility in reading the examples,

we

will

make

use of two, such as are

used for pianoforte music, thus

SOPBANO,

Alto.

In constructing the four-voiced phrase attention must be paid

firstly,

to two things Rules for constructing progression the of each voice as and to considered alone, secondly, to the the four-part

relationship of each voice to the three others, so that the whole

is

may form what

phrase.

termed pure harmonic progression.

The
As

application of the three chords already found will afford opportunity for

several observations

and

necessitate certain rules

and

principles.
of

the chord

is

only composed of three notes, one of these must necessarily be Doubling

is

doubled

when

the chord

to

be written in four parts.

The

root

is

the one

one of the parts of a

chord.

generally chosen for this purpose, though the others

may be

doubled, the fifth but common

all.

seldom, and there are cases in which the third cannot be doubled at

As

regards the connection of two chords one with another the following rule

must be observed.

When
remain in

any one note

the

is

contained in two successive chords

it

is

allowed to Harmonic
connection of

same

voice.
a.
b.

two chords.

^ tk=^= Or s
/iV vJ>
[<*)

CJ.

<s

CJ
<*J

rj

r-->

In example
soprano

a,

is

a note which

is

contained in both chords

it

it is

therefore
viz.,

retained in the same voice in which

;

appeared in the

first

chord,

the

in

example

b,

the note

is

retained in the alto of both chords.

lie

The remaining
the alto to A, &c.

voices proceed to those notes of the following chord which

nearest to them, as in

example

a,

the

in the tenor proceeds to F,

and the

of

12
Consecutive
fifths

OF THE COMMON CHORDS OF THE MAJOR SCALE.

When
parts

two consecutive chords are composed of entirely

in such a

different notes, the

and

octaves.

must proceed

manner

as to avoid

what are termed

which

consecutive

fifths or octaves.

In order to explain
in four-part writing,

this objectionable progression,

is

very apt to occur

against,

and on that account cannot be too carefully guarded

to consider

we

will

now proceed

THE KELATION OF ONE VOICE TO ANOTHER AS REGARDS

PROGRESSION.
Different

Any
ways,

two voices
:

may move

with

respect to each other in three different

kinds of motion

viz.

between two
voices.

(1) In similar motion (motus rectus). (2)

In contrary motion (motus contrarius).

(3) In oblique motion (motus obliquus).

When
motion.

two voices ascend or descend together they are said

to

move

in similar

d=3i
"ST"

:&

^
=^

ZZL

Contrary motion occurs

when one

voice ascends and the other descends

i w
descends.

22:

ri
,

^4
~Sl

-&-

tr
^
ZZ2T

~T3-

In oblique motion one part remains stationary while the other ascends or

m
9
is

T-

zz:

In four-part harmony a mixture of these three kinds of motion often occurs,

for example, in Ex. 6, at
b,

the soprano and tenor

move

in similar motion,

while contrary motion

found between soprano and

all

bass, or tenor

and

bass,

and

oblique motion between alto and

the other voices.

The already-mentioned

faulty progression of consecutive fifths or octaves can

only occur in similar motion,

when any two

parts, distant

from each other a

perfect fifth or octave, proceed simultaneously to such positions in the ensuing

chord that they are

still

separated by the same interval.

Octaves.
Fifths.

10.

"ST

n.p

rr?'

THE RELATION OF ONE VOICE TO ANOTHER.

The
following example contains both faults
:

18

7
12.
V

-^-^
'

BE g tr
<).

6.
1

1=g
-&-

/
>

s
<^>
/"-J
1

g -^

^'

(=
rj
'

iTJ

^
lines.

The
fifths

forbidden parallels are here indicated by the oblique

In example

a there are consecutive octaves between the soprano and bass, and consecutive

between the

alto

and bass and

in

consecutive fifths are also found in example b

}

between tenor and

bass,

example

c,

between soprano and

alto

bass,

and soprano
b,

and octaves are found between between tenor and bass in example c. and tenor
;

and bass

in

example

and

The
cases
voices

best

means

of avoiding such faults as the foregoing

likely to occur, contrary

is

to employ, in all Consecutive

where they are

and the

bass, or (if

motion between the three upper octaves how av01 there be a convenient note in the ensuing chord) the
a,

oblique motion.

Thus, in the following example, at

the bass moves in oblique

all

motion with the soprano, and at b and c in contrary motion with

parts
:

the upper

6.

13.

ZZ2Z

E5

~W
77" 321

IZ2I

The
by
has
cutive
its

musical ear will readily perceive that the foregoing rules are not dictated
it is

Why pro-

caprice, although
fifths.

difficult to

give any reason for the interdiction of conseis,

The

prohibition of the octaves

however, more

intelligible,
it

and

foundation in the fact that the doubling of a note, although

adds one

voice to the harmony, does not add

if

any new

interval to the chord,

and therefore

the same voice be doubled in two successive chords the effect of a four-part
is lost

phrase

as far as regards the

harmony.

3E
~tzr

In Ex. 14 the tenor forms consecutive octaves with the soprano, and
on
this

is

account useless, as the phrase contains precisely the same harmonies as

is

Ex. 15, which

written in three parts.

14

OF THE COMMON CHORDS OF THE MAJOR SCALE.

Another, though
less

Hidden fifths and octaves.

grave fault occurs when the second interval formed by

two voices moving

16

in similar

motion
zr:

is

a perfect

fifth or octave,

thus

...C3_

'P

2Z

zzz

rs:

Z^Z

^r
They
will

Such progressions are termed hidden

allowable and even advisable.
correctly conceived, offer
fifths or octaves.
little

or covered fifths and octaves.

be more particularly described hereafter, as there are cases in which they are

For the

present, however, the exercises will,

if

or no opportunity for

making objectionable hidden

Exercise for the employment of the

Our

next exercise will be to employ the three principal

strict

common

chords in
all

connection with each other, musically and with

foregoing rules.
bass.

observance of

the

common
chords.

For

this

purpose

we

will

employ the following (or any

similar)

Exercises.
1.

-IF7

*&* f 17. W^f\'

fj
:

&
f-J

2.

r^ V.
I.

e>
i*"j

C-^

rj

r "*

->

H ii H

C
3.

I.

I.

rv.

&^~
7^1
N.B.

rj
f->

r -t

rj

/~D

These

as well as all following exercises are to

exercises given in this

deemed necessary. The the manner in which the

be continued as long as it is boot are merely intended as indications of practical studies are to be pursued.

The Roman numerals under

which the
to be added by the pupil in
all

the examples signify the degrees of the scale on

roots of the various chords are situated (see p. 10).

They

are always

succeeding exercises.
is

The

letter followed

by a
It
is

colon, thus,

indicates that the phrase

in the

key of 0.

(N.B.

absolutely necessary for the plan of this

work

that these signs should be under-

stood

and adhered

to

from

the beginning).

CLOSE AND EXTENDED HAEMONY.

Cl ose

A chord
more or

is

said to be in close
i. e.

harmony when the

three upper parts are as close

harmony.

to one ano ther as possible,

less distant
:

within the compass of an octave, the bass being

a.
b.
c.

18.

m
nz

~g7~

Sz

:ez:

CLOSE AND EXTENDED HARMONY.

In the above example the same chord
in close
is

15

shown
to

in different positions, but always

harmony, there being no room

double or invert any one of the

intervals in the octave, without overstepping the boundaries of soprano

If,

and tenor.

for example, the tenor of the chord a be inverted in the octave,

b.

it

will pass the

soprano, and the chord will be altered as at

If,

on the other hand, the soprano

c.

be inverted in the octave, the chord will appear as at

which the Extended soprano and tenor are separated by a greater distance than an octave, and in harmony,
extended
is

By

harmony

meant an arrangement of a chord

in

which there

is

room

for the soprano and tenor to be inverted in the octave

without encroaching on each other.

c.

19.

i
ZZ3Z
first

-7rr

3E

32=

=S2=

In the

three bars of the above example the chord

b,

is

shown

in extended

harmony.
will

If in chords a and

the tenor be inverted in the octave, the soprano

e.

not be reached, and the chords will appear as at d and

If the soprano of

the chord c be inverted, the tenor will not be encroached upon,

and the

result of

the inversion will be the chord /.

These two kinds of harmony seldom appear

being generally employed.

alone, a combination of both The two kinds

For the

present, however, as the extended

harmony

generally used in combination.

presents more difficulties than the close,

latter.

we

will

make use
is

exclusively of the

The position

of the

first

chord of a harmonic phrase

is

decided by inclination,

that of the succeeding chords

then regulated by

it.

Nevertheless, for the sake

of facilitating the working of the exercises, the best position of the

will for the present

be

indicated as follows
fifth of the

If

the

first

chord The be figured bass-note

first

position
first

of the

with a

5, it is

intended that the

chord should be given to the soprano

chord indicated in the

a figure 3 over the bass-note shows that the chord requires the third to be placed examples.
at the top;

and

if

there be no figure whatever over the bass, the octave should be

placed at the top of the chord.

to,

This arrangement need not necessarily be adhered

as almost

any example

in close

harmony might be

written in three different

positions.

The

position irfdicated

by the

figure of the first bass-note will

however

be found best adapted to form good progressions, at least until the pupil has gained experience,

The

correct

working of Ex.

1,

No.

17, will therefore

be as follows:

16

OF THE COMMON CHORDS OF THE MAJOR SCALE.

\2
xJ. (jr

j -\3f~ mS^
<-*

c*t

-S

_ ^M ^ g*=
....

.j. _|

c*

^
/"J

20,
if ;.
\.

CJ
i-j

rj rj
IV. V.

C:

V.

The

natural relationship of these chords one to another wall readily be seen

Authentic
cadence.

(N.B. These connections should always be by observing the connections. indicated by the pupil by means of the slur """', as in the above example). From the feeling of rest and satisfaction induced by the concluding progression iu the above

example (that of V-I),

It
is

it

has been

named

the perfect

close,

or

authentic cadence.
Plagal cadence.

formed, as will be seen, by the chord of tonic, preceded

by

that of the dominant.

is

Another kind of cadence or

tonic,

close, called

the plagal

cadence,

formed by the chord of the

last

preceded by that of the subdominant.

falls

(N.B.

The

chord of a cadence always

on the accented part of the

Plagal Cadence.

bar.)

Authentic Cadence.
-jCZL

9:
22.

re2i

-=
21.
ez:
;z2:

w
IV.
I.

V.

These and other cadences

In order
to

will be more fully considered in a later chapter. become well acquainted with the peculiar progression between the
it

fourth and fifth chords in example 20,

similar

would be advisable
in

to write out several

progressions

of

IV-V and V-IV

various

keys and in close and

extended harmony.

OF THE OTHEE COMMON CHOEDS OF THE MAJOE SCALE.

Secondary

The common

chords situated on the other degrees of the major scale, although

scale,

common
chords of the

they certainly belong to that

already mentioned.

yet are not so closely related to

it

as those

major

scale.

To

distinguish

them from the

chords.

three principal

chords,

we

will

call

them

secondary

common

They

are found on the second, third, sixth, and

seventh degrees of the scale.

23

SE
n.

SEE^S
m.

OF THE OTHER COMMON CHORDS OF THE MAJOR SCALE.

The

17

chords on the second, third, and sixth degree are minor chords, being
fifth.

composed of a minor third and perfect

In order to distinguish between major and minor chords in the system of

Roman numerals under

the bass-notes,
latter.

former and a small one for the

any of these chords for chords

as in the above example, the

we will employ a large figure for tbe The beginner must beware of mistaking major, of the tonic. As long as the key remains of chords various chords of F, G, &c, are merely

the different degrees of

major, and cannot belong to the key of

or

G, unless

such keys are called forth and substantiated by modulation.

Hence
i. e., it

it

will

be easily seen that each chord

may have

several

significations,

Chords belong
different
scales.

may

belong at once to several different keys.

Thus, in the following example,

24.
-s^-

C:

I.

F:

V.

G:

IV.

the major chord of

is

shown

as belonging to three different keys, those of

0,

F, and G.

In the

first

of these keys

it

appears as tonic chord, in the second as dominant,

and

in the third as

subdominant.
are required for the connection of the secondary chords with

No new rules

each other, or with the three principal chords.

The

following remarks

may
of

however not be inappropriate

The
bass.

progression of the three upper parts will always depend on that of the Progression

This

latter

may

be of two kinds,

viz., firstly,

by

leaps of at least a third,

the bass.

in

which case a connecting link between two chords

will always

be found in some

note which belongs to both, and which will then be allowed to remain in the same
voice, according to the rule given at p.

11

and secondly by

degrees,

when

it

will

generally be advisable to employ contrary motion between the bass and the upper
parts as already explained at p. 13.

Better so.
c.

g
25.

ES
7Z2Z

!Sd

-<s>-

E5 H=S^E

llm

TV.

V.

In the above example the bass proceeds by leaps of various distances, the
upper parts being connected by notes which belong to both chords and which

18

OF THE COMMON CHORDS OF THE MAJOR SCALE.

remain in the same voice.

strict

adherence to
fifth degrees,

this

form of progression
as b, in the above ex-

between the chords of the second and

shown

ample, occasions hidden octaves between the bass and tenor, which are better
Objectionable

avoided by means of the progression given at

octaves are objectionable
effect
is

c.

The

reason

why

such hidden

hidden
octaves,

that the upper voice proceeds a ivhole tone,

if

and

their

would be
:

still

more unpleasant
a.

they occurred between the extreme

voices, thus

-&26.

_2_

b.

PThe
Allowable hidden
octaves.

progression

may
b.

be improved by employing contrary motion between

the extreme parts as at

Hidden octaves cease

to

have any unpleasant

:

effect

when

the upper voice

proceeds only a semitone, thus

27

P
in

rcrr.

ZZ21

m
be embe
a, it will

rszn

When
ployed
;

the bass proceeds diatonically, contrary motion will always

one position, however, shown in the following example at

advisable to double the third in the second chord in order to avoid the hidden
fifths

which would otherwise occur between soprano and tenor

Better so.

Jft^s^
28.
IT" ^-C:

m^f(*-->

-fcSr

fS-A

-c&&-

n & &
Z2~
V.
IV.
still
I.

rj
I.

fj

<"P

m.

Hidden

fifths.

Hidden
tible

fifths

such as occur at a in the above example are

more percep-

when the chord appears in an extended position.

a.

29.

=#=

r? -* CJ

"

n r?_ e
--

b.

rj

s
r^i
rz>

rr> <s>

j=
"g-

hH1=1
1

-<=21

VJ

-G3-

J2.

r^/

OF THE OTHER COMMON CHORDS OF THE MAJOR SCALE.

The
progression b
is

19

preferable.

If however the hidden fifths are between Allowable

hidden
fifths.

the middle voices, they are less objectionable.

30.

S
I

EXEKCISES.

2.

8L1 rlr

S
3.

p
1" 122

?=
4.

-(= -m-

-f=>

JPC^L
5.

C=

^ e&

ez

2=2

&

=g

g P3 a
first
is

a
bar
is

zz

The
will

fourth of the above exercises will require some

little

explanation.

It Sequence,

be observed that the progression of the bass in the

repeated in

the three succeeding bars.

Any

such regular progression

termed a sequence,
voices.

and demands a

like regularity in the progression of the

accompanying

This regularity could not be obtained by working exactly according to the rules
already given, thus
:

zzszz
32.
:<=z:
etc.

2=
It will therefore

=^=

be necessary to make a leap at the end of the

first bar,

in

order to bring the

first

chord of each bar into the same position, and thus preserve

the uniformity of the sequence.

33.

P
m

sk

-J
etc.

^
is

^=

-f=_ =2-

similar sequence

also contained in the first exercise of

Ex. 31.

It

is,

however, one which can be accompanied without any deviation from rule.

In the third bar of the fourth exercise we

considered, but which differs in

find a chord

which we have not yet chord of

all

many
fifth

important respects from

other chords,
find that
it is

g^^

This

is

the chord on the seventh degree.

third,

Upon examining
is

it

we

composed of a minor

and a

which

smaller by one semitone than the

20

OF THE COMMON CHORDS OF THE MAJOR SCALE.

perfect fifth.

On

this

account the

fifth is

termed diminished, and the chord

itself

has received the

fifth.

name

of the diminished

common

chord, or chord of the diminished

The

interval of a diminished fifth

:

may he formed from any

Diminished 5th.

perfect fifth

by

chromatically raising the root, thus

Perfect 5th.

34

-i
fifth is smaller

Inversion of the diminished fifth.

Since the diminished

follows that
its

by one semitone than the perfect

fifth, it

inversion will be one semitone larger than the perfect fourth.

This inversion

is

therefore termed the augmented fourth.

Perfect 4th.

Augmented

4th.

35.

zr
intervals

Require
resolution.

Both augmented and diminished

inteUigible.

are

dissonances,

and

as

such

invariably require to be followed by some other

harmony

in order to render

them

Resolution of diminished

The
It

progression of any dissonance into the following

harmony

is

called its

& augmented
intervals.

resolution.

may be
is

accepted as a rule, that the natural resolution of any note forming

is

a dhninished interval
interval
Resolution of the leading
note.

diatonically

downwards, while that of an augmented

on the

upwards.
is

This rule

observed in the resolution of the chord of diminished

scale,

fifth

seventh degree of the

this

but in addition to

this,

the progression of the root of

is

chord will require consideration.

The

seventh degree of the scale (which

the root of the chord in question) has always a strong tendency upward, towards

the tonic or

first

degree.

On

this

account

it is

called the leading note.

This upward tendency will be readily perceived in the following example

"s>~

36,

V.

which

is

more

satisfactory in

its effect

than

"E7

^-

37

Or,

V.

vx

~!rr

OF THE OTHER COMMON CHORDS OF THE MAJOR SCALE.

2.1

In accordance, then, with the upward tendency of the leading note, and

Resolution

oi

observing at the same time the rule for the progression of diminished intervals, diminished the natural resolution of the diminished fifth on the seventh degree will be as fiftiL
follows
:

Inversion.

38.

I 9

:2: ~a~

ZJC2Z

The chord
of the
first

of diminished fifth will therefore resolve itself into the chord

i. e.

degree, hut in an incomplete form,

without the

fifth

thus:

39.

I V
The

zasz:

In the system
chord
is

of

diminished thus will therefore be as follows

Roman numerals
viio.
;

a small o is added to the number, to denote that the correct figuring of all the chords of the major scale

The

resolution of the

two notes forming the interval of the diminished

it is

fifth

Doubling

of

being thus determined by rule,

both the note and
its

clear that if either of these notes be doubled intervals of

resolution, the result of

duplicate

must have the same

which ^imfnU haH01

would be consecutive octaves.

^h.

41.

ig=sj W
Or,

-s-

h
On
chord;
this
if,

IC2I

{In
it

account

it is

forbidden to double either the root or the fifth of this

will

therefore,

it is

used in four parts

be necessary to double the third,

which

is

then made both to ascend and descend.

42. J

P
S

=B=

OF THE COMMON CHORDS OF THE MAJOR SCALE.

The
by a
progression of the third of the chord of diminished fifth
;

is

not always

limited to a single degree

under certain circumstances

it

may

also descend

leap into the fifth of the ensuing chord.

43.

:22T
I

Or,

1
Free progression of the leading note.

P w

rules,

In the third bar of Ex. 33 we have already found an exception to the above both as regards the doubling and progression of the leading note. The
its

exception has the sequence.

Extended form of the
authentic cadence.

excuse in the necessity for preserving a regular progression of

The already-mentioned
in the preceding exercises.

authentic cadence (p. 16)

is

seen

still

more

distinctly

For, while the natural relationship of the chord of

dominant

to that of the tonic

makes these two chords the most

first

suitable for the

formation of a cadence, in the

and second

exercises of

Ex. 31

may

be

observed a preparation of the cadence by means of the chord of the second

degree, which bears the

same

relationship to the chord of

dominant

as this latter

does to that of the tonic.

=t
~cr
44.
3=z: 122"
n.

~cr

V.

V.

In addition

to the

chord of the second degree, the chord of subdominant may

also serve to prepare the authentic cadence.

45.
H=2-

IV.

V.

23

CHAPTEE

II.

OF THE COMMON CHOEDS OF THE MINOR SCALE.

The
and
three principal chords of the major scale were found on the
first,

fourth, The principal

chords of the

fifth degrees.

Those of the minor

scale

occupy the same

positions.
is

minor

scale.

The

peculiarly final feeling induced

hy the authentic cadence

minor
scale,

caused by

the fact that the last chord hut one contains the seventh degree of the scale,
or leading note.

According
is

to the signature of the

however, the

seventh degree

distant a whole tone

from the

tonic,

and therefore does not

possess the characteristics of the leading note.

In order, therefore, to make the authentic cadence

a minor key,

it is

necessary to raise the seventh degree chromatically one semitone, by which means degree of the
it

Alteration of the seventh

becomes the leading note of the

~?g~

scale.

minor

scale.

zzz:

46.

P P
A
47.

zzsz

In consequence of this alteration the chord of the dominant

is

precisely the Dominant

chord of the major and

same

in

major or minor

(i. e. it is

always a major chord).

_

Minor.

minor scales
Major.
identical.

Observe that just as the major or minor chords are expressed by large or small Eoman numerals, so are major or minor keys expressed by large or small letters. Thus a signifies A. minor, A: A major.
:

As

a proof, however, that a similar alteration of the sixth degree

it

is

not Alteration
of the sixth

allowable,

only necessary to examine the plagal cadence, shown at a in the degree not following example, which, it will readily be seen, could not possibly be formed possible.
is

as at b.
a.
b.

48.

E^

Sr

24

OF THE COMMON CHORDS OF THE MINOR SCALE.

The minor
scale in its correct

harmonic form,

in

which

it

serves as the
:

groundwork

for all the harmonies of a

minor key,

is

therefore as follows

49.

m-.

=8=2

All other forms of the minor scale, such as

CT

9*-**^

have their origin in rules relating to melody, which rules will he duly considered hereafter. It may, however, be here observed that their object is to avoid the progression of an augmented second, i. e., a second which is larger by one semitone than the major second (such as occurs between the sixth and seventh degrees of Ex. 49), which interval, on account of its harshness, and the difficulty of intonation it presents to the singer, ought seldom, if ever, to be introduced.

The

three principal chords of the minor scale

:

may be

thus represented in

*heir relation to each other

50.

Ml

OF THE SECONDARY CHORDS OF THE MINOR SCALE.

Secondary chords of the minor scale.

According
will

to the above explanation of the

:

minor

scale the secondary chords

appear as follows

51.

-#HI'.

S=gE
VI.
fifth,

Augmented

The second degree

chord
is

bears the same chord of diminished

which has

common
chord.

already been found on the seventh degree of the relative major scale.
also

A similar
common
this

found on the seventh degree.

the sixth degree
is

The chord on
and a
fifth
is

major, and the third degree bears a

chord which has not yet been met with.

This chord consists of a major third,

fifth,
is

which
called

is

larger

by one semitone than the perfect

fifth,

and on
as

account

an augmented

and the chord

itself

known

the

OF THE SECONDARY CHORDS OF THE MINOR SCALE.

augmented common chord, or chord of
the
is

25

augmented

fifth.

(In the system of

';

Roman numerals an
in question

augmented interval

expressed by a dash, thus

the chord

would therefore he figured III').

its

The

peculiar nature of this chord renders

It is

combination with other harmo-

its combina-

aies very difficult.

on

this

account very seldom used.

other"chords.

^3(9-

zj:

fgES3|iE:]^3EfctiE:
-tzt

6 ZZ2T
i.

jczrri

hi'.

n.

n.

nr.

iv.

rv.

nr.

VI.

v.

nr. vi.

vi. nr. n.

Of
d,

the above progressions, the most serviceable are those at c and d, the
(i. e.

preparation

the progression from the preceding chord) being least harsh at

interval of

where the note which forms the

an augmented

fifth {viz.,

the

G $)
is

appears as a consonance in the preceding chord.

The augmented common chord which

altered harmonies,

appears so often in modern music

however not the one just mentioned, but belongs

to the class of chromatically

and

will

be explained hereafter in the chapter on Altered

Chords.

The

rules relating to progression,

scale.

&c,

are

all to

be observed in the exercises

full application of

Progression

on the chords of the minor

the remarks which were
if

Here,
the

too, will

be seen the

u^m^ted
-

made on

upward tendency of the leading

note, since se c ud

the leading note of the minor scale were to descend to the sixth degree, the

result

would be the anti-melodic progression of the augmented

been observed,
to
is

second,

which

interval, as has already

better avoided (at least

when

the two

notes of which

it is

composed belong

two different harmonies).

53.

P
m
to will

bte

"%r

ES

Ssc

V.

VI.

VI.

In order, then,
sixth degrees,
it

form the connection between the chords of the

fifth

and

Progression
of the

be advisable to allow the leading note to ascend, which will chord

B
sixth.

have the

effect of

doubling the third in the chord of the sixth degree.

tottift

afWw

26

OF THE COMMON CHORDS OF THE MINOR SCALE.

-e-+3E

^33 SSs:

12222:

S
VI.
V.

:2222I
etc.

1
54.
~27~
I
a:

V.

VI.

V.

VI.

VI.

VI.

The

only means of correcting Ex. 53 b

(if it

were necessary to have the

first

chord in the position there given), would be to introduce a note in the soprano

between the two chords, thus

m
a:

VI.

Exercises.
i.

2.

3.

B#

56

.&
8

&
#

^db=dH

5=M

?Z^
j=t

rp

zz

Sf2
*=
6.

=2 :^

4.

3:

P=
z=

;<=="

1 a

go

P2-

rs

REMARKS ON THE ABOVE EXERCISES.

Methods
figuring
of

A chromatic
common chord

sign ($,

\j,

or

j|)

over a bass note without any figure (as in the

various chords.

third bar of exercise No. 1) has reference always to the third of the chord.
;

The
it

those bass notes, is seldom figured at all no figure are always accompanied by a common chord. Sometimes, however, this is done by means of the figures is necessary to figure the common chord

therefore, which bear

3,

Q
5, 8, \

or

5.

In the third and sixth exercises

of a 5.

it

was necessary

to indicate the

common chord by means

Here the augmented common chord has been

COMMON CHORDS OF THE MAJOR AND MINOR

sharpened.
If the sharp

SCALES.

27

introduced, and the sign 5 $ being placed over the bass note signifies that the
fifth
is

had been placed

or 5
is

alone,

it

would have affected the

third of the chord.

A figure 3

also

sometimes used to denote the position

of the

first

chord of an exercise.

(See

p. 15.)

If the rules relating to the progression of parts be strictly observed in accom- Progression

panying exercise No.

1,

the anti-melodic progression of an augmented second augmented

second.

of the

will occur in the alto in the third bar.

m
57.

:?5

=^= =9=

SE
=^t

p=i-

=&

^
e,

^2=
T2~

To

avoid

this,

it

will

be necessary to deviate slightly from rule, and to How avoided

allow the alto to descend from

to those

to

the soprano and tenor also decending

notes
b.

of

the succeeding

chord which He nearest to them, namely

g | and

58.

P^ m^
=S-

ZZ2Z

=P=

It

would

also

be possible to keep the connection of the b in the soprano, by

giving to the tenor a leap downwards from d to g.

position will be abandoned,

In

this case the close

and the two

last

chords will appear in extended

harmony.

=sfe

~T2-

=s :
59.

^H
common
chord,

Before proceeding to the farther employment of the

we

will

form a table of

all

those chords with which

we

are as yet acquainted.

28

COMMON CHORDS OF THE MAJOR AND MINOR

Major Scale.

SCALES.

1
60.

C:

I.

u.

m.

IV.

V.

vi.

vn"

Minor Scale.

a:
i.

Ej
ii".

pl
vu.

nr.

iv.

VI.

Major chords are foundIn Major.

In Minor.
=

1 9

^=s
I.

0:

IV.

V.

a:V.

VI.

Minor chords are found

In Major.
In Minor.

I
C

n.

ni.

vi.

rv.

Diminished chords are foundIn Major.

In Minor.

w
C
:

yd".

~-r

v1?

An

augmented chord

is

found
In Minor.

-fftS-

a:

HI'.

29

CHAPTER

III.

OF THE INVERSIONS OF THE COMMON CHORDS.

The
employment of the common chords
the original chord
is

not confined to the positions shown Inversions

is

of

in the foregoing examples,

fifth of

where the root alone

used as hass.

The

third or chord.

formed, derived from the

may also serve as bass, and thus new chords will be common chords, and termed inversions. Two inversions of the common chord are possible The chord thus (1). When the third of the chord is employed as bass.
formed
is

Chord of 6.

called the chord of the sixth.

,,. , Original Chord.
. . ,

Chord of the sixth, situated on the third of the

root.

61.

i v
the fifth of the chord
is

ZZ2Z

(2).

When
this

is

employed

as bass.

The chord

chord

of

formed by

means
_

called the chord of the sixth

.

and fourth.

Original Chord.

Chord of the sixth, and fourth, placed on the ftfth of the root.

62

P
:

ES

These two chords are distinguished by means of the signatures 6 (or sometimes
3)

and

4 placed over the bass thus

~J?ZL

63.

m
is

Observe that the

scale on

Roman

numerals continue to indicate the degree of the

situated,

which the root of a chord

and do not refer

all

to the position of
I.,

the bass.

Thus, in Ex. 63, the three chords are

is

figured

although the
all

bass of each

on a different degree of the scale

root,

because they are

derived

from one and the same

Similar inversions

namely, C.
derived from
all

may be

common

chords.

employment of the inversions of chords, the harmonic progression obtains greater variety, and the progression of individual parts, and
of the

By means

30

OF THE INVERSIONS OF THE COMMON CHORDS.

becomes more flowing.
According
to the rules relating to

Doubling of one of the

intervals of

especially of the bass,

the doubling of one interval of the

original chord, that
is,

common

chord, (see p. 11) the root of the

-will

the chord of
sixth.

the sixth in the chord of sixth,

be best doubled when

the chord of sixth

is

used in four parts.

The

bass of the chord of sixth

it

must

only be doubled

when
it

the natural progression of parts renders

necessary, or

when by

so

doing certain faults

may be

avoided.

The

leading note should never

be doubled, whether
the chord of sixth.
Good.

appears as third in the chord of dominant, or as bass of

_r2_

64.

i ~&r

s
65.

Bad.

-?

(n\

/l

5 T -^
1

W
J

v/

\&

rj

m
The
position of the three

fiV (W. v

&

b^-

upper parts of either of the inversions

is

determined
itself.
:

by the natural progression

of parts,

and has no influence on the chord

The chord

of sixth

is

therefore to be

met with

in the following forms

rs

66.

P
i: C:
I.

-j^r

etc.

2Z

-rj-

ESE

32=

Employment
of the

chord

The chord of sixth and fourth occurs less frequently than the chord of sixth, and depends on certain conditions which will be explained hereafter. It is most
frequently met with in the formation of cadences (closes).
fifth of the original

of.

The

bass note (the

will

chord)

is

most suitable for doubling, and the chord

:

be

found in the following and similar forms

67.

I w
SE
C:

BE

2Z
etc.

321
I.

zrzi

No new

mechanical rules are required for the connection of these chords

vrith the others;

we

therefore

now

proceed to show the application of the inver-

sions or derived chords in the following exercises.

REMARKS ON THE PRECEDING EXERCISES.

Exercises.
6

31

43

88.

zi

5=z

i=^=
3.

22:

I zz

^=

:=2=z5t

7rJ-

22:

=sfc

s 22=:
6

=pz

22:

B FEP?3f t=3
2=
6

sS
5.

221

=& 2=
6 6 6

4 3

22:

22:

22==^

jjJE
7.

221

22:

S: 22:

I& 22.

t4
6

4 3

F=^
6,

^
6

22=

F
zi

S^
3
6

7=2=^

t=t

22

E I rf-g-F
#
10.

22-

^ ?=

=&

22:

i
11.

P
221

22;

22:

E=f

^
6

tt

*=

22=

=^
22:

REMARKS ON THE PRECEDING EXERCISES.

/n the
first

bar of Ex.

2,

the position of the chord

is

indicated by the figure

5 being placed over the bass. in the soprano or

exercises.
shall

The chord

is

therefore to be written with the fifth

is

upper voice.
is

similar system
note,

observed in

all

following

If there

no figure over the bass

it is

understood that the octave

be given to the soprano.

fifth

In the second example the chord of diminished

appears in

its

inverted Inversion

of
'*

form

as

chord of the

sixth.

It is

most used in

this

form.

Its resolution
is

always

S^Xed
fifth -

depends on the progression of the bass, which in most cases

6,

as follows

69. (-

rv

r2

p
i

32

OF THE INVERSIONS OF THE COMMON

The upper
parts

CllOKij..*,.

may

then proceed thus

fesfe tozgi
70.
(1
-'

Z2t

d=
2=
it

=b d
i

.J

ii

J
3=t:

Je
itzz=t
-P2= -t

J
-23-

JT^-

^
and

-2=

=^

=Z2= :t

Free resolution of the

From
fifth,
i. e.,

the above example

will

be seen that the inversion of the diminished

strict

augmented
fourth.

the augmented fourth, does not require so

a resolution in four

parts as was given at p, 21, Ex. 38, for the same interval in two parts.

Thus

in

the

first

bar

we

see the fourth f-b in soprano

alto

proceed in similar motion

to the fourth g-c.

As

this

chord produces a somewhat similar effect on the ear to

the chord of dominant seventh (which will be mentioned hereafter) beginners

often feel constrained to resolve the diminished fifth strictly, even

when

it

has

become changed by inversion

necessary

into the
its

augmented fourth.
form

This

is,

however, only

when

it

appears in

original

as a real diminished fifth.

Such a

progression as the following

tive fifths.

is

therefore objectionable on account of the consecu-

IZ21

V
71.

S
I
fifths,

Allowable
consecutive
fifths.

It

may

here be observed that consecutive

when one

is

perfect

and the

other diminished, are allowable, provided always that the diminished fifth shall

follow the perfect, and not vice versa.

Thus, the following examples are good

:c2:

72.

P
6

:za:

4
e
1-=3>

6
""J

7mT'~~

\Fh

Various other
resolutions of

The
example

progression of the parts of a chord of diminished fifth (or

to the

its

inversion)

is

the diminished fifth.

however otherwise, when the bass does not proceed

:

chord of the tonic.

For

:c2:

22:
73.

a<=*=r

=8=

^^

E^
etc.

-
IV.

vn"

VI.

REMARKS ON THE PRECEDING EXAMPLES.

The chord
scale
is

S3

of

diminished

fifth

found on the second degree of the minor

capable of yet other resolutions, as in this chord the root

may be

doubled.

For example

:a_
74.

3:
~^r
11

Eg:

m
The
more
succession
of

fe

two or more
is

chords of

the

sixth

on a bass which

Sequence
or s

oi

proceeds diatonically (as

shown

in

Ex. 68, No. 3) requires that one or

in

of the upper parts shall

:

move

contrary motion with the bass.

For

example

75.

panied,

The sequence of chords of the sixth in Nos. 5 and when the regular progression of the bass is
:

6 of Ex. 68

is

best accom-

observed in

all

the other

parts, thus

76.

i 9

~^r.

-^Imlrnk
etc.

S3

-nr

^
;

&z

Covered octaves, such as occur between tenor and bass in the second and
third bars, cannot in such cases be avoided.

In fact exceptional progressions

to

like

the above

must sometimes be permitted, when

have adhered

strictly to rule

would be to mar the unity of the phrase

such exceptions are allowable.

experience alone will decide where

In Ex. 68 we find the cadence (already mentioned at p. 16) rendered clearer Anthentio and more decided by the chord of 4 it may then be accepted as a rule that the Spared by
;

second inversion of the chord of the tonic,

(i. e.

the chord of 4,)

when

followed the chord

of 5

54

OF THE INVERSIONS OF THE COMMON CHORDS.

of the dominant, has a strong tendency towards an authentic cadence

by the chord
or close.

77."

m
W=Fz
^=
by the chord on the fourth
or

The chord
degree.

of |

is

often preceded

second

78.

&&
C:

m
IV.
is

=&

fr
is

i s

=s=

^=
V.

Although the chord of 4

very effective in the above position, and also in

it is

modulations into foreign keys, yet under other circumstances

extremely weak,

and
of

its

employment

therefore subject to certain conditions, which will be treated

later.

A line through a figure thus,

is to

B, as seen in Ex. 68, Nos.

8, 9, 10,
j^

indicates that the interval

be raised chromatically one semitone. chromatic alteration.

Sometimes a J or

is

used to express the same

35

CHAPTER

IV.

OF THE CHORD OF THE SEVENTH.

The
new
chord of the seventh
is

founded on the common chord, and

is

formed by

the addition of a

new

third to those of

which the
root.

latter is already

composed.

The

of the of 7.

Construction chord

interval forms a seventh

from the

79.

M
On
this

The new chord

a
distinct

is

not so independent as most of the

common
it

chords, but has

Its charac-

tendency towards a resolution.

account

can never appear

except in conjunction with other harmonies.

of one chord to another closer
offers considerable

It serves to render the relationship

its

and more intimate, and

employment therefore

advantages with respect to harmonic connections.

THE CHORD OF THE DOMINANT SEVENTH IN MAJOR AND MINOR.

Of
minor,
all

the chords of the seventh, the most important

it

is

that found on the fifth The chord

7.

of

degree of the scale ;

viz.,

of the

intervals in major as in nant major common chord with the addition of a minor seventh.
is

formed of precisely the same

80,

mw^EM=
V.

0:

In figured bass
system of

it is

indicated by a 7 over the bass note, and in our present

Roman

numerals by V7.

81.

C:

<e V,

n
V,

G:

36

OF THE CHORD OF THE SEVENTH.

The
relation

which the chord of the dominant bears

;

to that of the tonic has

been already demonstrated by means of the cadence

still

it

will

however be rendered

clearer

by the use

of the dominant seventh.

F#
82.

w7

^-^ LfeJ
7

rj

a:

V,

Observe that the chord

in both cases the fifth
is

of tonic

which follows that

of

dominant seventh

is

incomplete

omitted, the reason of this will be perceived from the following

paragraph.

Its resolution.

The marked tendency towards a

the

resting-place
it

or close exhibited

by

this

chord and the consequent connection of

with a

common

chord,

is

called

RESOLUTION OF THE CHORD OF SEVENTH.

If the chord

is

resolved into the chord of the tonic as in Ex. 82,

it is

also

called the perfect close (authentic cadence).

this as the natural resolution of the

For the present we

shall consider

chord of the dominant seventh.

:

The The
will

resolution takes place as follows

progression of the bass being given, a resolution upwards of the seventh

its

be found impossible, while

descent will be in every respect satisfactory to

the ear.

83

P
is

EB
always the leading note of the

resolution

The
s

third of the chord of dominant seventh

inthecuordof scale; dominant 7. j

its

natural tendency
its

is

therefore

upward

thus in the following example a

more

satisfactory in

effect

than

b.

H # m3 H
:

a.

b.
1

rj

1 1

S
7

-r>

~
"
1

=-

& ,g

84.

RESOLUTION OF THE CHORD OF THE SEVENTH.

The
latter progression is

37

however

less

unpleasant

when

the third appears in a

middle part.
b.
:

rj

85,

zaz

conditions
1st.

The downward resolution of ,... :

2nd.

the third

is

therefore allowable under the following Downward

progression of

the third.

When it is in a middle part, and not at the top of WheD the bass moves in contrary motion with it.
Bad.

the chord

and

U
xJ 86.

In \J

/L

^
7

<->

rj

-~~

rj

g. rj
7
r-j

rj

S
~""

iVr (P).
^

s>

=>

-.

rj

--j

The
hidden

reason of the last rule

is

that

if

the two parts

move

in similar

motion

fifths will occur.

The
it

progression of the fifth of the chord of dominant seventh

;

is

free.

It Progression of
e

generally descends with the seventh

to ascend as in

the progression of parts

may however

require

Ex. 85

at b,

where the d

in the soprano proceeds to e in the next

chord.

The
seventh
,!

following then are the rules for the ordinary resolution of the dominant Resolution
:

of

the chord of

dominant

7.

The The The The

seventh descends one diatonic degree.

root proceeds a fourth

upward or a

fifth

downward.

third ascends one degree.

fifth

can either ascend or descend one degree.

The
(p.

relationship of the third

and

seventh to one another recalls

fifth, this

what has already been

and

said

21) on the resolution of the diminished

interval being again found

similarly-

resolved in the chord of the dominant seventh.

87.

The chord

of dominant seventh in

its

present

form seldom occurs

in the

Its employ-

middle of a composition, and when so employed the feeling of a perfect close

should be avoided.

men

'

38

OF THE CHORD OF THE SEVENTH.

This result

may

be attained in two ways

1st,

by giving the 7th

to the

soprano, which will render the close incomplete

^3
88.

22=3=

2nd, by allowing the dominant seventn to enter on the accented part of the
bar, while in the perfect cadence this position

must be occupied by the chord

of

the tonic.

Omission of one of the

intervals of

The chord
fifth.

also often appears

with omission of one interval, generally the

the chord
of 7.

The

third

is

seldom omitted, and omission of either the root or the seventh

characteristics of the chord.

would of course destroy the

a.

6.
/*T3

^ mS^ &vo
-#L
\y\)

S
i

^O-

S
r->
i

C.

& ^
7

53= & "

^;
1

?B

90.
7
7
C^d.

<> \<p). \js

'

->

rj

&

rj

-o-

r.j
li

I.

In the above example,

in every case
its

at a, b,

and d the

fifth is omitted, at c

the third, and

place

remains stationary,

is siipplied by doubling the root. and forms a very intimate connection

The new
witJi the

note then

next chord,
if

which then appears

in its complete form.

This could not be the case

the root

of the chord of 7 were not doubled.

(See Ex. 82.)

Exercises.

91.

US

=& ^

-psz

2E
--,.--

ri=

B ^=&z

RESOLUTION OF THE CHORD OF THE SEVENTH.

39

m :ot c=*
g?
4.

r->

G P S ^=
-

3.

&122:
B

-*=*

o-

r-j

122:

22-

221
6

(P$#

z:

22=

=22

^=t
6
7

zi

221

pi

_4

#_
T

22

"g7~rrF-f

*'

=sT22= S^EE t=E

s=2Z e

4 8

ICC

40

INVERSIONS OF CHORD OF THE SEVENTH.

CHAPTER

V.

OF THE INVERSIONS OF THE OHOED OF THE SEVENTH.

Inversions
of the of 7.

The
and

inversions of the chord of 7 are formed in the

same manner

as those of the
as bass-note,

chord

common
is

chord.

The

first

inversion

is

formed by using the third

;

called the chord of the sixth

and

fifth ( ) 5

the second by giving the fifth

.6
v

to the bass, this is called the

chord of the

sixth, fourth,

and third (4

41;
is

and

in the

V 3, 3'

third inversion the original seventh becomes the bass-note, the chord

then called

the chord of sixth, fourth, and second, or simply the chord of the second.

(4 4
x 2,
2,

).

2'
6

4
5 8

*3_

92.

HI

g ^=2=
v7

As

is

the case with the inversions ot the

bass, the

depend on the position of the

various ways, for example
:

common chord, these chords only upper parts may then be arranged in

1
I 1 1

U A
\\\l

g
t-rfij ~=*23"
'

m
f "V-j rj"
6
Ss?
|

nS> 1C=
'

iTJ

n S ^ g g^
6

93.
1
1
1

6
fm\> l"l" *'

4
8

4
8

CJ
4
a
etc.

4
a

r -'G

^3

*~

Their resoln
tion.

The
chord.

resolution of these

derived chords

is

founded on that of the original

RESOLUTION OF THE CHORD OF

Ch rdof 6
^ n *^ e cnor d f
5

jj.

the original seventh

still

forms a dissonance with the bass,

THEIR RESOLUTION.
but in this case
explained).
it is

41

a diminished

fifth (the resolution of

which has already been

94.

SE
be as follows
:

The

resolution of the complete chord will therefore

i*"j_

yj

95.

- ".ftG,

-&rr

That
had

is,

all

the parts (except the root

G)

will

have the same resolution as they

it

in the original chord.

The

root remains stationary, as

is

not in the

character of an upper or middle part to proceed

root did

by such

large intervals as the

when

it

appeared as bass of the original chord.

RESOLUTION OF THE CHORD OF

This chord contains between
seventh (or
its its

component parts not only the interval of a choidof 4

inversion, the second) but also that of a diminished fifth (or its

inversion, the

augmented fourth).

pO.96.

G^h
:

Its resolution is therefore as follows

97.

i=&

m
fifth, is

=a
V,

ss

C:

The

bass,

bemg

the original

freely resolved.

RESOLUTION OF THE CHORD OF

4
2.

This chord has the pecidiarity, that the dissonances of the original chord, viz. Chord of 4 a the seventh and the diminished fifth, can only appear in their inverted form as
second and augmented fourth.

42

INVERSIONS OF THE CHORD OF THE SEVENTH.

The
resolution of this chord
6.
is

the same as heretofore,

it

must therefore be

followed by the chord of

98.
C:

ES:

v7

I 9

IC2C2J

v,

TABLE OF THE NATURAL RESOLUTIONS OF ALL THE INVERSIONS OF THE CHORD OF THE DOMINANT SEVENTH IN DIFFERENT POSITIONS.

The Chord of
i(T

g.

A. , --K <*
>

1/

~^'^^rr
6
5

._

rj r5

2 cu

rj
"

r?-~ "^^O

99.
6 6

^j
e 5

2
6 5

-&CI CJ
*--""

^<S>
0:
V,

AV [W.

-OII II

rJ

rj

rj

rj

The Chord of

4.

I^
fe
C:
V,

33E

SE
~rT7~

Z2ZT 4
3

^3

Z22~

~r?~

The Chord of

4.

Exercises.
e

4
2.
3 6

4 7

100.

~-?=l

:?z:

r=t

zi

Il=

=J=:

O-PZ

EXERCISES ON CHORDS OF THE SEVENTH.

6
8 7 3. 3 2

3^ z=t m

3
6

F-nr ^=
-

22=^:

^
4

4 3

5.

=?Z
2=t

ZZ St
6.

r^-fs-

S
8
7

/-:

^ &zi ^=
4
3

6 7
J*

4
^

pt Ei

tzzz

3E
6 7

4=
1

-rz>-&

=?Z

f=P
4
3

?2=& ZZ g#=^
J
6 7 3

^ te

8.

#:

^t ~?^~

5j

=g=

Jf

:g=P=

44

CHAPTEE

VI.

OF SECOND AEY CHORDS OF THE SEVENTH.

Secondary chords of the
seventh.

Besides the chord

possible

of the

dominant seventh, other chords of the seventh are

scale.

on every degree of the major and minor

all

These are called

Their relationship to

secondary sevenths, and are

formed by adding a new

note, distant a seventh

from the

root, to
is

any of the common chords already found.

any given key

seventh.

certainly undeniable, but not so decided as that of the dominant

In Major.

EE
I7
ii,

m,

IV,

vi,

vn7

101.
In Minor.

P
I?

-St-

ill'*

rv 7

VI*

TO".

We

find here harmonies

which have a somewhat harsh and foreign

is

effect,

because, as has already been observed, their relationship to the scale

distinct as that of the

not so

dominant seventh.

They

are therefore less frequently

employed, but are nevertheless well adapted to give variety to the harmonic
progression.

The diminished
seventh.

One
seventh.

of the secondary sevenths, that on the seventh degree of the minor scale,

contains an interval which has not hitherto been spoken of, namely, the diminished

This interval

is

smaller

by one semitone than the minor seventh, from

(See p. 20.)

which

it

may

be formed by chromatically raising the root, in the same manner

fifth.

that the diminished fifth was formed from the perfect

Minor Seventh. Diminished Seventh.

j

102.

SECONDARY CHORDS OF THE SEVENTH.

Like
resolved.
all

45

diminished intervals

it is

a dissonance, and therefore requires to be

will

Its resolution

and treatment

be explained hereafter.
thus
:

The

secondary sevenths
1.

may be

classified

Major common chords with major sevenths

In Major.
In Minor.

103.
C:
1

IV,

VI 7

2.

Minor chord with major seventh

In Minor.

m
a:
i

Not used

in

its

fundamental form.

3.

Minor chords with minor sevenths

In Major.

:-

_
vi,

In Minor.

iv.

4.

Diminished chords (chords of diminished

In Major.

fifth)

with minor seventns:

In Minor.

i w
C
5.

VII,

Diminished chord with diminished sevenths

In Minor.

s>

8.

Augmented chord with major seventh

In Minor.

W
*a:

$ gl

Seldom used.

T?I'

46

OF SECONDARY CHORDS OF THE SEVENTH.

EMPLOYMENT OF THE SECONDARY SEVENTHS OF THE MAJOR

Resolution of the secondary
sevenths.

SCALE.

Whether
and
as

the interval of the seventh (or

it

its

inversion, the second) be major,

minor, diminished, or augmented,

will

always form a dissonance with the root,

such will require a resolution.

This resolution will be the same as that already given to thedominant seventh,
t. e.,

the seventh will descend one degree, while the root proceeds a fourth upwards

or fifth downwards.

The

progression of the principal notes of the chord being

thus found

104.

JizgZ^
new
rule
;

the remaining intervals require no

the third ascends one degree,

while the resolution of the fifth

is free.

^
105.
IZ2I

E3E

b-

c-

_ =ss=

ES

C:
Downward
resolution of

17

IV.

II,

V.
at b in the

The
and

exceptional progression of the third

shown

above example

is

the third.

in order to avoid the covered octaves

bass;

which would otherwise occur between tenor

at b proceeds

and which would be the more objectionable that the tenor

as at a. (see p. 18.) f-g, instead of half a tone
it

a whole tone,

Whether, however,
the following hidden

will

be preferable

to double the leading note in the

c

chord which follows the chord of the seventh, as at

fifths, will

in Ex. 105, or to employ

depend upon circumstances.

(S
~~

^~a ~~~& m if
Jt
106.
g-j cS
.

s>

&
r-'
1

VP

VL^

_-,

<->

1 1

n,

V.

The
scale
is

natural resolution of the secondary sevenths on each degree of the major

therefore as follows
:

With
omission of

On the

1st Degree. ~rzr

the 5th.

E2g 22=
107.

SE

^
etc.

W
it
IV.

32Z

CHORD OF SEVENTH ON THE SEVENTH DEGREE.

On the 2nd Degree.

47

With

omission of the 5th.

ii,

V.

On the 3rd Degree

-<-

With

omission of the 5th.

5E
etc.

HI,

On the 4th Degree

(This resolution
is

^
(?. <^

=J
e.

'S' -^>

seldom used.)

-F3
rS>
1

(S>

s s e
S>

Without the

5th.

e &

etc.

f3

e>

IV ?

vir

On the Gth Degree.

Without the

5th.

js:

fP
(In
"7

EH^S 3S Z
etc.

On the 7th Degree.

WiTnouT the

5th.

ON THE PECULIAR RESOLUTION OF THE CHORD OF SEVENTH ON THE SEVENTH DEGREE.

In the above table the same resolution has been given
seventh, including that on the seventh degree,
(i. e.,

to all the chords of chord of 7 on

leading
.

in each case the bass proceeds

a fourth upwards or a fifth downwards).

of
this

more usual
the

progression, however,

chord

is

that founded on the resolution of

chord of
is

diminished

fifth,

from which the chord of seventh now under consideration

derived.

48
Its resolution.

OF SECONDARY CHORDS OF THE SEVENTH.

The
following example will show that the tendency of the chord of diminished
is

fifth

towards that of the tonic

not only unaltered, but even rendered more

decided,

by the addition of the seventh.

a.

U
/] fa\

* '^

U
108.

1(11

rJ?-j

fj

---

~~irifTS
j.

T?

a.

b.

<J

& >

~~~

rj "- "-

--S-

CJ

S -

tm\' \r>\

&

<V 1*5
'

'

""

7 ^_i<Zl
.

Observe that when the chord appears in the above

position, either the third in

the succeeding chord must be doubled (see Ex. 108 b) to avoid the consecutive
fifths

shown

in

Ex. 109 at
b.

a,

or the third in the chord of seventh

must take a

leap as shown at

109.

The best
position of

This cnord has the peculiarity that the above

is its

only satisfactory position,

the chord of 7 on the leading note.

and that and

all others,

where the seventh

if

is

not at the top of the chord, are uncertain

indistinct in their effect,

not entirely useless

110.

p w

SE
ZZZ1

gzns

T^~

Free progressions of the

third and
fifth of

The

intervals of third

and

fifth in

the chord of the seventh can also have

other (free) progressions besides those already allotted to them.

A free progression

the
7.

of the third will often render the general progression of parts more independent.

chord of

For example

Bad.

_2_

~52l

111.

P
>g

13 z
ZZ2Z

S
r22i

PREPARATION OF THE SEVENTH.

The
is

49
is

progression of the soprano in the second bar of the above example

,
. .

not

Progression the tritone.

ol

good on account of the interval f-b forming an augmented fourth.

also called the tritone,

This interval

because

it

contains three whole tones.

It will be

more

fully mentioned hereafter.

A
bass

free progression of the fifth

differs

is

only possible

when

the progression of the

this

from that hitherto employed.

Examples of

will

be found

hereafter.

PREPARATION OF THE SEVENTH.

The harsh
of
effect

produced by the sudden appearance of

many

of the disso- Preparation

intervals.

nances, and especially of the secondary sevenths, renders a careful introduction

them necessary.
This introduction
is

called the preparation of a dissonance.

A note
is

is

said to

beprepared when

it

has already appeared as a consonance in the foregoing chord

and
the

in the

same

part.

The already-mentioned
is

connection of chords
it

therefore

nothing more than preparation, as in the following example

may
the

be said that
first.

C in

the soprano in the second chord

prepared by the

C in

112.

The preparation manner

:

of the seventh

may take

place in the following or any similar Preparation

of the seventh.

I
) 113,

-S^hidflife^y
=>

JTJ

li^gi

H
J
I

-J J*

e'c.

f=c
id
I,

?2
IV.

C: V.

V.

I,

IV.

IV.

ii,

V.

I.

ii.

V7
is

I.

I.

vijn.

IV.vu,I.

In each of the above examples the note which

bound

to the

next following

by means of a
observed
v

slur

'"""",

forms the preparation of the seventh.

of

In the construction
:

such preparations the

following rules must be Rules

for

Preparations.

l)

The

preparation must

fall

on the unaccented part of the bar

(arsis).

50
(2) It

OF SECONDARY CHORDS OF THE SEVENTH.

must be of
It

at least equal duration with the seventh

by which

it

is

followed.

may

also

be longer, but never shorter.

Bad.

Good.

114. )

i 9

st ~3SL
-*T
^2= =^=

m X
1

=P=C

Entrance of The chord of dominant seventh, however, being less foreign to the key than . the dominant , . , , , The note forming the seventh with- the other sevenths, does not always require preparation.
.

Son?"*""

interval of seventh in this chord

may

be freely introduced, but in

this case the

root of the chord should be already present in the previous chord, in order to

preserve the progression of parts pure and free from harshness.

115-

In each of the above examples the root of the chord of dominant seventh
present in the preceding chord (in the alto)
;

is

the seventh

is

therefore allowed to

appear without preparation.

Entrance of the chord of 7 on the leading note without preparation.

The chord

of seventh on the seventh degree of the major or minor scale

may

also

be used without preparation.

Exercises.
e

47
116.

ffls

^2=

r-:

==z
T=z-

Szzzlz

23i :trr

^=P=

fa-^^pit^=g- z2=^: M

i=t

?z:

^ m

=2-

=pr.

=&

-=$&-

CONNECTION OF CHORDS OF SEVENTH.

51

THE CONNECTION OF CHORDS OF THE SEVENTH ONE WITH ANOTHER

Hitherto every chord of seventh has been resolved into the J
the f ourth degree above
as
its its root.

common chord

of Resolution

of

A second chord of seventh may,

new
first

one chord of 7

however, serve

into another,

resolution, the root of the

first.

chord being likewise four degrees above that

of the

In

this

case the third in the

chord of seventh will remain

in the

stationary, in order to

form the necessary preparation of the seventh

:

succeeding chord.

For example
=15=

=2=

iSE
7

117.
=22=

=g=

22=

v7
Here the

IV.

third of the chord of dominant seventh remains stationary,

first

and How

effected,

prepares the seventh in the chord of seventh on the

intervals are resolved as usual.

degree.

All the other

The

peculiarity of this progression

is,

that in one of the two chords of seventh

i. e.,

the fifth will always be omitted, and in a sequence of sevenths,

when

several

chords of seventh follow each

other, this
:

omission of the fifth will take place in

every other chord.

For example

^S= =p=^sp
118,
I

22=

22Z
22;
I

C->

f=z

l teJ 22=

=!=#
etc.

3 22=

23=
3==="

=t=

22= =f^
I;;

J ^ =&

;j_

-
2==
in,
vl,

=J=
n,

H,

IV,

IV7 vn7

V7

Exercises.
1.

2.

119.

gg
6
6

2Z
=^:
3.

A- T3
;6z=

22:

4
2

=====ffi

'-22_l

St

22Z
6

=^=

IQ_

^=22:

22:

e2:

4.

E^=3

22:

6,

?3=g: ^t 33: ZZ t=t=:

ffi 3

52

OF SECONDARY CHORDS OF THE SEVENTH

EMPLOYMENT OF THE SECONDARY SEVENTHS OF THE MINOR SCALE

Secondary sevenths of the minor
scale.

The use

of the secondary sevenths of the

minor
of

scale

is

not so general as that

of the sevenths of the major scale.

Many

them

are either uncertain

and

ambiguous, or in their resolutions produce harsh anti-melodic progression of

parts.

The chord

of 7 on the first degree.

With

these last

may

be classed the chord of seventh on the

first

degree of

a minor scale, which, as will readily be seen from the following example, cannot
well be employed on account of the progression of an

augmented second caused

by

its

resolution.

120.

On

the second

The chord
dominant, and

of seventh on the second degree

is

is

resolved into the chord of the

degree.

very generally used.

I
1

-p

U
121.

Im \M)

~
<^ <V>

rj
ft ft-

g rJ ro
.

rjrj
+fc

r r>
/*.>

8S

<s rj

r-Ji
It,

etc

TC^

rfe?

J2.

C3

w. E-&

On

the third degree.

is

A resolution of

the chord of seventh on the third degree

to

is

not impossible;

it

however ambiguous, and belongs rather

major than

to

A minor.

(See

altered chords, p. 68.)

3
122.
a:
III'*

rr^

~
ES^

feZ2PI

VI.

On
d
d^

the fourth

The

chords of seventh on the fourth and sixth degrees are seldom employed,
occasions harsh progressions.
:

e^

M thei* resolution

This will be perceived from the

following examples

Good.

z
123.

s
vu

~&L

=3S

ZZ2Z.

=s=

=3-

"W-

EMPLOYMENT OF SECONDARY SEVENTHS OF MLNOR

~(T7~

SCALE.

as

i
f):

ESF

ESE

~cr

-Sz

o
VI,

a:

The

seventh degree of the minor scale carries a very important chord,

Its resolution, as in the case of the
is

known On
chord

the

as the chord of diminished seventh.

degree

of seventh on the seventh degree of the major scale (see p. 47),

the natural

founded on

^^hed
seventh.
Its resolution.

upward tendency of

its root,

which

is

the leading note of the scale.

124

m m
and the seventh
falls

Thus, while the root

rises

one degree, as

is

usual with

diminished intervals, (see p. 20), the third and

fifth

proceed as in other chords of

.

the seventh, and the resolution of the whole chord takes place as follows

5
f
125.

&Bad.

=g

W^
=
It
is

^
chord of diminished seventh to descend

also possible for the third of the

by a leap
diminished

into the fifth of the -ensuing chord, as in the case of the chord of
fifth (see p. 22).

126.

m
The chord The
which
sevenths, does not reqxure preparation.

:=?=

of diminished seventh, being the least harsh of all the secondary

student

is

chord of diminished
exists
its

here recommended to read over again the rules relating to the fifth (see p. 20, &c), on account of the great similarity

regards

position in the scale

between that chord and the chord of diminished seventh, both as and its treatment.

54

OF SECONDARY CHORDS OF THE SEVENTH.

Exercises.

127.

p^B
4
2
6.

2.

^: -&=i-n
6 6

&
7

-P2

--*-

Z2I

m
^
6

68

PZ

:&
7 6

z=
7

4 8 ig>- -

3.

iHl ^
e

1=2:

?=

4.

4
2

:&

S
introduced.

^21

3=z

^ ^
strictly prepared,

8 7

4 8

22:

In No. 2 of the above exercises the chord of seventh on the third degree of
the minor scale
is

It

is,

however,

and on that

account will not appear harsh or unnatural.

66

CHAPTER

VII.

OF THE INVERSIONS OF THE SECONDARY SEVENTHS.

The
inversions of the secondary sevenths
in

manor or minor give the same

viz.,

derived chords as those of the dominant seventh,

the

^ J? 5, 3,

and

Inversions of the secondary sevenths.

4
3

128.

i w
C:

-z?&-

Z
IV.

= SE

No new
tion

rules are required for the resolution of these chords.

In the resoluis

Their resolu-

of the inversions of the chord of seventh on the seventh degree, care

on*

necessary to avoid the consecutive fifths which are otherwise apt to occur.

129.
to

A
I.

-g^r

_g^

vn,

^
Bad.

:=z=cz:

221

m
a

All the above inversions are available, that of the

used, as
its

being however least

resolution, (the chord of 4 )

can be employed but seldom, and then

only as a passing chord.

The

inversions of the diminished seventh require

similar resolution to the foregoing.

4
3

130

i
IS
a:

~g&

se
resolution
this

4 2S

zSs;

u 2=C
into

LGL

E5S

The

imsatisfactory

the

chord of

of

the

inversion 4

again affords a reason

why

chord should seldom be employed (see preceding

paragraph).

56
Best position
sions of the 16
leadin*' note of the major
SCtllG,

OF THE INVERSIONS OF THE SECONDARY SEVENTHS.

It has already

been remarked

(p.

48) that the only satisfactory position of the

is

chord of seventh on the seventh degree in major

to P ^

that with the seventh at the

^e

cnor(l

tae following positions of

its

inversions are also

more
is

satis-

factory in their effect than those given in Ex. 129, because the seventh retained in
its

here

original position above the root instead of being inverted

and thus

forming a second.

^
131.
6
5

S
C
Position of the inversions of the diminished seventh.
:

IZ2Z

ESE

vn
in the

This
.
,

is

however not necessary in the case of the diminished seventh

inversions of this chord the seventh

.

may He

either above or below the root, the

..,

wiect in either case being similar.

...

Exercises.
e
e

132

-Hte
4

^-:-^-

=&
--

3=2:

pz

ffi^E
-^
rsz:

W=^f=\

3=^:
-?=

CJ (Ei

=^
[

-&-S

l=t
-2
6-2

=2-

\M
6

-rz)~

p==^T
5-6

=21

m
^4 g-g2 =z
a
:z=
8.

6,

rs:

E
6.

2Z

zi
6.

?=:

ri-&-

rt

s
2

?=
2=

S/-S2 22q:

-^>rr

S
g
4
3

z=fc

& ^
e

zz 22

3=

^
m, =&
10.
1

3 e
2=

ips:

JSC

S

tS>

J
=ci

H^
7 6

f^
6 7

Z!=t

^
1 I

e 5
1

E^
6
6
6

-f=-L-S>-l-(^

=pz

3^
6
1

^ Z
.

#4

4ff

^:
6 6
,-J
'

2Z

4
7 8

/v rj teJL- (?^-g>-1 ^-^p

'P
1

"p-

2 "

1
,

P"
J
1

f3
1

S_^ -sUJ^-^jc^ IS

-^

O f~

*
1

r-

i.r

y=H

s>

57

CHAPTEK

VIII.

OF THE CONNECTION OF THE CHOEDS OF THE SEVENTH WITH CHOEDS OF OTHEE DEGEEES.
The
progression of

the interval

of

the seventh depends entirely on that of Various

fifth

free

the root.

Hitherto the latter has always proceeded a fourth upwards or a

;

the seventh.

downwards

under these circumstances the seventh, as has already heen shown,

descends one degree.

The

progression of the root

may however
:

be such that the

seventh shall remain stationary, or even ascend, for example

133.

p
:

-^nztz

ES
The

* 3^
following are examples of

The above example

proves the possibility of connecting the chords of seventh

with other chords than those hitherto employed.

a few methods of effecting this

(1).

The

connection of the chord of dominant seventh with various The seventh

escen
"

common
(a)

chords (excepting that of the tonic,) the seventh always descending.

Connection with the chord of the sixth degree.

In Major.

134.

SE
is

Tg?:

SE

Tzr

S
=

In Minor.

^E h
VI.

~^

This progression

very often used.

The

effect of the inversions of the seventh

;

under similar circumstances

is

less

decided than that of the chord itself

e
6

they are therefore seldom used.

In Major.

135

I a
(b)

&&.

"Z3~

v7

^M
<S>-

In Mi>ior.

Connection with the chord of the third degree.

In Major.
rS2S2T
Better.

136.
C:

"

fc j

^g

C~

58

CONNECTION OF CHORDS OF SEVENTH WITk OTHER CHORDS.

This progression becomes
still

more

effective if a

modulation towards

A minor

be introduced.

137

m
C:

V7

\Pbe connected with the chord of the third chord, however, being itself a dissonance, will also
also

The dominant
degree in minor.

seventh

may

The

latter

require to be resolved.
In Minor.

~
138.

The seventh
remaining
stationary.

(2).

The

connection of the chord of dominant seventh with various

common

chords, the seventh remaining stationary.

(a) Connection with the second degree.
In Major.

Not used

in Minor.

139.

(b) Connection with the fourth degree.

In Major. In Minor.

140

=222;

IZ2I

w. C:

^3-

a
:

3E

ESE

V,

rv.

The chord

of dominant seventh

may

also

be connected with other chords o

the seventh on different degrees, for example

141.

Pi

E
VI 7

IZ2I

etc.

V,

ni 7

a:*V.

fe
of chords of the

With modulations.

If modulations are

introduced,

many new

connections
:

seventh with one another become possible, for example

(a)

With
<^J2.

the seventh descending.

142.

i 9
C:

m
C:

pg
V7
b: vu,
a:

=5

1
V7
F:

V7

a:

V7

G: vu

CONNECTION OF CHORDS OF SEVENTH WITH OTHER CHORDS.

(b)

59

With

the seventh remaining stationary.

143.
C:

&n
(3).

22

iEEf=p
C:V 7
Bb:

Eb:V 7
The

V7

a:

V7

C V7
:

a:

V7 G V7
:

connection of the chord of the dominant seventh with various The seventh
ascending.

other chords, the seventh ascending.

It will

be possible for the seventh to ascend

(a)

when

the root proceeds to that note into which the seventh would
itself,

ordinarily resolve

for example
b.

-Q
tr
144.
/m\' (rJ.

a.

Vif

fA

yr

G rj
.

i*j ,X ->

rj*>

Hi
7 6
IT?

7
f

6
<tj

i-J

VL>

Here the

root of the

dominant seventh proceeds

to

E, which would be the

ordinary resolution of the seventh

to avoid the covered octaves
(b)

this latter

must, therefore, ascend, in order

shown

at

Ex. 144

b.

When

the root remains stationary.

zt2i

m
3E
:S^B
lie at

145.
ZZ2Z

In

this case,

however, the seventh must

is

a distance from the root ; *he

following progression

therefore faulty.

^
146.
(c)

IZ2I

When

the seventh

itself is

chromatically raised for the purpose of

modulation.

147,

i
C
:

te
V,

1-

G V7
:

tr *SV7 G V7
:

V7

vn 7

60

CONNECTION OF CHORDS OF SEVENTH WITH OTHER CHORDS.

(d)

When,

in the case of

modulation, the

bass

moves

in

contrary

motion.
C2_

j=zk.

148.

SSEE
d: v 7

$
C:

i_
7

ggl^g^
a:v 7 d:vn7
C:

V7

b[?:vn

V7 F V 7
:

Jcceptive cadence (7kganno).

In all the above examples, the ear is as it were deceived by the substitution of some other chord for the chord of the tonic, which would be the natural resolu
tion of the

dominant seventh.
seventh
is

On

this account,

a progression in which the chord

of dominant
is

followed by some other chord than that of the tonic,

termed the deceptive cadence (Inganno).

Exercises.
6

47

149.

gig:

-T3~

?=

3=z

-g~

~rzr

:^=P2:

W^
g
ict

3.

^t Z2.

:^2=fc

2
4.
6 7
Jf

(h

fe
d Z 2i
z

^t

z
4
8

22. :s
6 7

=f=2

23;

3P

2^
:?=:

^
I

zi:
7

^d

^Eg?

4
iza=

1%

IZ2I

CONNECTION OF THE SECONDARY SEVENTHS WITH OTHER CHORDS OF VARIOUS DEGREES OR IN DIFFERENT KEYS.
It

would be equally impossible and unnecessary

to give

examples of

all the

Connection of connections of the secondary sevenths with other chords. J secondary sevenths with however, a few of the most useful.

The

following a are,

(a)

With

the seventh strictly resolved.

-s>-

-&The seventh
descending.

IZ2Z

150.

3SE _
23

*iEC
e
:

C:

n7

m.
==<

a:V

c:

n7

^
IV.

V,

i=iiO=s==ta 3-"
C: 1V 7

ISC
VI.

etc.

F:V 7

G:V 7

a: u 7

III'.

CONNECTION OF SECONDARY SEVENTHS WITH OTHER CHORDS.

(b)

61

With

the seventh freely resolved.

Bad.
*

151.
17
c:

5E
<-*

ito

TSL -cy
c

-feF
:

^ ^
n7

-J-

$
:

etc.

The

se^ euth ascending.

n7

o: vn. 7

"V 7 c

n7

a:vu,
and

TF

This example
bass.

is

objectionable on account of the so-called false relation between soprano

The

false relation will

be explained hereafter.

(c)

With

the seventh remaining stationary.

152.:

>=g=S
IV.
c
:

3E =3=
n7

32:

'-&-

^
c:

S
n7
is

The seventh
-<^?i
etc.

remaining
stationary.

V.

The

progression

shown

in the last bar of the above

example

often employed.

It can scarcely

be considered as a free resolution of the seventh, as the real

resolution

is

place in

its

merely delayed by the introduction of the chord of | and then takes ordinary form in the next chord.
is

In the same manner the resolution of the diminished seventh by

the interposition of the chord of 4
6 b
,
.

often delayed Delayed

reso-

thus

lution of the
:

diminished

8 1
.

seventh.

,7 b

1,4

153.

itetei ^iS^
ra,

221

*=fc

\rz,

^-

C:

I.

Exercises.
7

154.

gg^jE

^
v F
6
6
4,
|

6 8

=1=

:s=fc

T=
6 7 6

=^=

^ ^ ^=
2
6

w& Z2=t=
3.
8
!

^
7

rg:
:

g
B
,

fv.

e 7

7
|

7
' |

6
|

/v

<ZL

-S> -rJ-

=S) -1

r-

4--=* & =3- -rr^-<S^4

2

5.

4 #
<*->

4.

4 # =t

Many
and on

E^fe

3E

^=

of the above exercises

able to introduce modulations.

would have been smoother and more melodious had it been allowAt present, however, we have not treated of modulations,

this account many of the progressions exemplified in the foregoing chapter could not be introduced into the exercises.

62

CHAPTEK

IX.

OF CHORDS OF THE NINTH, ELEVENTH, AND

THIRTEENTH.
Chords 11, and
of 9,
13.

The
all

views which

may

he entertained of the ahove chords are various, hut they

It

tend to one practical result.

may

he taken for granted that these are

Their definition.

either real chords, such as the chord of seventh, in

which case they must be conlist

sidered and treated as such, or that they belong to the

of suspensions, or else

occur accidentally

when one
prolix,

or more parts remain stationary.

In the

first

case their explanation,

and

especially that of their inversions,

would be extremely
difficult to

and moreover the chords themselves would often be

as in four-part
If,

recognise,

inasmuch

harmony one or more

In order
to

of their

intervals

must always be omitted.

into
their

however, considered as suspensions or

to obtain

accidental chords, their explanation becomes very simple.

clear insight
struction, &c.
Construction of the chord
of 9.

nature,

we

will

now proceed

examine

their con-

By

adding to the chord of dominant seventh a new interval, distant a ninth

root,

from the

new chord
is

is

formed,

known

as the chord of dominant ninth.

In

the major scale the ninth

major, and in the minor scale minor.

In Major.
In Minor.

Q
i55.

a==i =H^ig^fl
it is

&

&

Ita preparation.

In pure harmonic progression

should be prepared
;

necessary that either the ninth or the root

the following example, therefore, in which both root and

objectionable on account of
its

ninth enter freely,

is

want of connection.

156.

J
ZE21

The

preparation

may

take place as follows

_g=T~
157
9

:9z

k
r=
=f===

^m

=P=

-<=>-

CHORDS OF NINTH, ELEVENTH, AND THIRTEENTH.

Whether the above combinations
are to be considered as suspensions, or other

accidental chords, will be considered in a later chapter.

Many

theoretical

works

treat also of the formation of other chords of the

;

Secondary
cessary.

ninth, called secondary ninths

this

is,

however, quite unnecessary, for inasmuch

as they can never appear without preparation, their treatment, resolution,

&c,

will

be in every respect similar to that of suspensions (see chapter on suspensions).

Chords of the eleventh and thirteenth are

real chords.

still

less

worthy

to

be considered Chorda
and }? 11
,

of

11

n
7

13
11
9
7

158,

P S
'&

-:-

It

is

evident that they can never be employed in pure four-part writing, since Cannot be emparts.

the necessary omission of some of their intervals would completely alter their
nature, and transform

them

into simple suspension, thus

or,

jZtl

:g=3 &
=St
1

&

3=

159

&.

And

even in compositions in
-

six or eight parts,

where they might appear

still

in their

complete form, then character and treatment will

while in
fcne

be that of a suspension,

free style,

where they may

also occur

without preparation, they must

be considered as passing notes (see chapter on suspensions).

64

CHAPTER

X.

OF THE CHROMATIC ALTERATION OF FUNDAMENTAL HARMONIES (ALTERED CHORDS).

Chromatic
alterations

The

chromatic alteration of one or more intervals of a fundamental chord pro:

producing modulations

duces one of two different effects

key, or gives an entirely

it

eitner ciuses a modulation into

some new
If, for

example, the major

new form aoa construction to the chord itself. common chord he chromatically altered, thu*-

16 -

^^pppEgf=B
means
of the chord of diminished fifth on
fifth

znodulations will be effected, at a ("by

the seventh degree) into

major or minor, or (by the chord of diminished

on the second degree) into

diminished
Chromatically altered fundafifth

minor; at b into

minor, and at

(by the chord of

on the seventh degree) into

T>\>

major or minor.
changed.

The
tions,

following chromatic alterations of the same chord will not effect modulaitself will

mental harmonies.

but the nature of the chord

be

totally

161.

l^^jgplgiigESgjggfei
contain several intervals which have not hitherto beui;

Various kinds
of intervals.

The above combinations

met
with.

It will therefore

be necessary, before proceeding farther, to consider

how many
value.

different kinds of intervals are possible,

and what

is

their

harmonic

It has

been stated in the chapter on intervals

(p. 5), lstly, that unisons,

fifths, fourths,

and

octaves,

which are formed of the notes of a diatonic major

degree of that scale for their lower note, are called

scale,

and which have the

;

first

perfect

2ndly, that seconds, thirds, sixths, and sevenths, formed in the same
conditions, are called

manner and under the same

intervals are

major

and

3rdly, that minor

formed from major by chromatically lowering the upper note one

these rules

semitone.

To

may now be added

the following

ALTERED CHORDS.
(1).

65

If the upper note of major and perfect intervals be chromatically Formation of augmented raised one semitone, augmented intervals are formed. intervals.

Augmented.

Augmented.

Augmented.

Augmented.

Augmented.

Augmented.

162.

^jsUnison.

| Z2

Fourth.

'
Fifth.

:=-

feE
Sixth.

Second.

Octave.

(2).

If the

lower note of most of the perfect and minor intervals be Of diminished

intervals.

chromatically raised one semitone, diminished intervals are formed.

Diminished.

Diminished.

Diminished.

Diminished.

Diminished.

I $=tpF
Third.

Ja:
Fourth.
Fifth.

Seventh.

Octave.

N.B.

Augmented thirds, sevenths, and

ninths', as well as

diminished unisons, seconds, sixths,

and ninths, have no harmonic value.

Of
met

the augmented intervals given in the above example two have already been

with, viz., the

augmented

fifth

(see p. 24)

and

(in the

form of an inversion

of the diminished fifth) the

augmented fourth

(see pp.

20 and 32).

Two
viz.,

also of the diminished intervals

shown above have already been employed,

the diminished fifth (see p. 20) and the diminished seventh (see p. 44).
are d ; s . sonances.

All augmented and d i minished intervals, as has already been observed, are They
dissonances.

tervals,

Augmented intervals, when inverted, become diminished and diminished by inversion, become augmented.
;

in-

Their inversions.

This will be clearly seen from the following Table of Inversions, which will
also serve as a recapitulation of
p. 6.

what has already been

said

on

this subject at

66

CHROMATIC ALTERATION OF FUNDAMENTAL HARMONIES.

00

o
'go

M c
H

CO CD

CS
a

ALTERED CHORUS.
The augmented
in the

67

octave,

and the major or minor ninth, have not been included The augmented octave and

abo\e table as they cannot be inverted in the octave, since in them the major and

upper note would never become lower than the lower note. be equally the case with
It will
all intervals

This

will, of course,

minor ninth
cannot be
inverted.

greater than a perfect octave.

fifth

be remembered that the climinished

was formed

(at p. 20)

by

Formation of
the diminished fifth.

chromatically raising the root of the perfect

note,

fifth,

and not by lowering the upper

which would appear

to

have a similar

effect.

The

reason of this

may now

be understood from the foregoing table of inversions.

fourth

For, since the augmented

C-F$

i
is

formed by chromatically raising the upper note, F,

fifth,

it

follows that

its

inversion,

the diminished

Ff-C

i p=p
will also contain a chromatically raised F, interval.

being in this case the lower note of the

Any

other diminished fifth in which the upper note should have been

lowered, such as

m
F
gr"Pi?

will therefore

belong to a different

scale, that of C[?,

and
thus

will in reality
:

have been

formed by raising the lower note

by means

of a

tj

fe

\rr
.

We may
Of
chords.
chords.

now

return to the chromatically altered chords shown in Ex. 161.

these combinations, the two

marked

and

can alone be considered as real

as passing

The

others have

no

harmonic value,

and can only be used

The chord shown

chord.
Its

in

Ex. 161

at c has already
is

been met with on the third chord

of the

degree of the minor scale (see p. 24), and

termed the augmented common

present position, as

j^

611

employment

is,

however,

much more

general in

its

common chord
The
fifth) is

of the

first,

fourth, or fifth degree, with

its

interval of fifth chro-

matically raised.
resolution of the dissonant interval of this chord (viz., the

augmented

Its resolution,

one degree upwards, as

is

the case with all

augmented

intervals (see

p. 20).

68

CHROMATIC ALTERATION OF FUNDAMENTAL HARMONIES.

The
following example will show the formation of the augmented conuacr.

chord by means of the passing note

G ,
b.

as well as

its

resolution

164.

SE

^S
:

3E

etc.

Its inversions.

The

inversions of this chord are also available

6

165.

m
r.

ES
IV.
IV.

3H
V*.

Eli:
IV.

TO"

Its appear-

Although these chords are generally used

Ex. 164 a) or with the
they
fifth strictly

either as passing chords (as in

preparation!

prepared, yet in rapid changes of harmony

may

also

appear without preparation.

J
166.

P w
is

W
4
first,

J ,K
-

The chord
fiftfi

of

To

the three

augmented common chords on the

fourth,

and

fifth

degrees
these

addlt

with the a

may

be added the respective sevenths belonging

to those degrees.

Of

tk

combinations the one most used

~rzr

the dominant seventh with augmented

fifth.

167.

P m
C:

IS:
7

fe

-?rr

a:

==SE
fc

S
~CTI

6S

zSz V,
I.

A combination

of the chord of seventh

on the

first

degree with the augmented

fifth is also possible.

(See p. 52.)

168.

CHROMATIC ALTERATION OF FUNDAMENTAL HARMONIES.

The augmented chord on
is,

69

the fourth degree with tie addition of the seventh

however, very seldom used.

jczi ZZ2Z
7
,5ft

~T7

1
169.

331

ZZ2Z

M
6
6

J&vn.

'HE
C
:

4
2

&.
Efe

1V 7

In

all

the above examples the ordinary progression of the bass a fourth

fifth

Its connection

upwards or a
serve to

downwards has been adopted.

The
and

with various

following example will other chords,

show

that the chords of

seventh with augmented fifth

may

also

be

with connected with other chords of various degrees

in different keys.

m
170.

~izr

^^sE135
5

jf^-Era U?-j Di g
>i?3

IE
-ftgI.

fe:

^EEH ^
etc.

S
8

4
sir

S
C:

E^E
V' 7 a :V. C
:

E
Y' 7 d
:

Z2ZZZZZ2:
i.

=^=

vu

g:

vn 7

C: ni.

I'

7 G:

vnV 7

Many of

the above combinations and progressions have been introduced in this

to

work merely

show that they are possible; the student

until

is,

however, strongly

recommended to abstain from employing them the simpler and more important forms of harmonic

he

is

thoroughly acquainted

progression.

Exercises.
e
6
Fig

e
6

53

ni.

Hi
6ft

?Z
6
6ft

2=<-.

zz ?Z^
1

:?=

He
?2=

T*i-<36

m ^

6 2

3.

4 26

3= 2=
7

^
4.

rcsrc^

&
6

Z
6

=?=Z

BRtp

2Z

6ft

7 6

?3
-^-

6ft

6z

1221

zartzi

^Ep

In the fifth bar of Ex. No. 4 the fifth of the minor chord on the second degree is chromatically augmented. The effect of this combination is in its present position not unpleasant. It will be seen from this that the natural progression of parts will often give rise to new combinations, which, however, are not of sufficient harmonic importance to require separate

consideration^

70
Chord of the augmented
sixth.

CHROMATIC ALTERATION OF FUNDAMENTAL HARMONIES.

The chord shown in Ex. 161 at e (known as the doubly-diminished chord) gives by means of inversion a chord which is very frequently used, called the
chord of the augmented (sometimes termed superfluous) sixth.

Its derivation.

The fundamental chord

of which this

is

the

first

inversion,

is

the chord on the

fourth degree of the minor scale, with the root chromatically raised.

172

P
at J in the

ffg #m

Its resolution.

Its resolution

(shown

above example)

is

determined by the rule

is,

that all

augmented

intervals

must ascend.
;

This chord
as in Ex. 172,

therefore, always

resolved into the chord on the dominant

where the chord of

superfluous sixth, being derived from the chord on the fourth degree of the scale
of

G minor,

resolves itself into the chord of the fifth degree,

D.

The

third of

In four parts the third only of

the chord
doubled.

173.

this

chord

may be

doubled.

rrS-

=fg:

8 ?=2"

Other

posi-

The chord The other

of

augmented

sixth

is

sometimes termed the Italian

sixth.

positions of the doubly diminished chord are also available.

The

tions of the

doubly diminished triad.

second inversion (chord of

4)

may

be employed in four parts, provided the

;

different parts lie at a distance

from each other

is

the fundamental position, how-

ever can only appear in three parts, and

very seldom employed.

Bad.
Better.

-J2Z

174

P flSs^F^p^iSi
common
chord.

w
scale,

oo
^g-

The augmented chord or

sixth, fourth,

The chromatic

alteration of one of the intervals of the chord of seventh has

already been noticed at p. 68, where the chord of seventh was found combined

with the augmented

Of

the remaining secondary sevenths, only

altered.

one

is

of

any harmonic importance when chromatically

This

is

the

cnord of seventh on the second degree of the minor

chromatically raised thus

which, with the third

175.

ft

CHROMATIC ALTERATION OF FUNDAMENTAL HARMONIES.

gives the following inversions
:

71

4t

nP
Of
augmented chord of
sixth. sixth, fourth,

Sz
and

fe=2=lg-
;a:
8
4)
is

these the second inversion (chord of

third,

most used;
also

it is

called the Its resolution,

and

is

known

as the Gei^man
as the

Its resolution is

founded on that of the fundamental chord ; thus,

itself

chord of seventh on the second degree resolves

into the chord of the

its

dominant (see

p. 52,

Ex. 121),

this

will also

be the ease with

inversions,

whether the third be chromatically raised or not.

177

%e> *&Tr>
Z.Q.

n
V.

Jet

If the root of this

found, thus explaining the natural tendency of the latter chord towards the dominant, into which it is always resolved (see p. 70).

chord be omitted, the already mentioned chord of augmented sixth will be Resolution of the chord of ented

Mxth

With omission of
the Root.

178.

Or transposed

into

G minor for the

sake of comparison with Ex. 172

6.

Fundamental Harmony.

With the Third chromatically raised.

With

179.

I^pi
g:

Inversion.

omission of the Root.

5tS3
v.

3SF

To

this

chord

may
itself

also

be added the ninth of the original

root, in

which case The augment

the^ixth and
fift

however the root

must be omitted.
sixth (), the derivation of

This combination gives by inversion a chord known as the augmented chord

of sixth

and

fifth,

and sometimes termed the French

:

which

is

as follows
Fundamental Harmony.

With

the Ninth

added.

With the Root omitted, and the Third sharpened.

Inversions.

4)

ft

180

ES
n 7

w
^ and 24 )

IjeePeII
are very seldom used.
* is

rcr

Its derivation.

The The

other inversions (the chords of

natural resolution of the augmented chord of

again the same as that

Its resolution.

of the fundamental chord, namely into the chord of dominant.

72
Causes consecutive
fifths.

CHROMATIC ALTERATION OF FUNDAMENTAL HARMONIES.

This resolution, however, always causes consecutive
fifths.

181.

.jm w

32:

iJr j=

-te-

How

avoided.

Such

fifths

may

be avoided in three ways,

viz., lstly,

by an anticipated resc
as at b

lution of the fifth

(i. e.,

the original ninth), as in Ex. 182 at a; 2ndly, by a

free progression of the fifth towards the third of the

3rdly,

same chord,

and
|
is

by delaying the

resolution of both third

|j

and and

fifth,
its

whereby the chord of

c.

introduced between the augmented chord of

resolution, as at

182.

^ p
Better.

J
IZ3Z
*s>

Bad.

Eg

a
-S3 Eg
?

=j

1 1

!gz^ za

^^^
Eg

U-

i w
Not to be considered a
chord of the
ninth.

4bz
v

SE
to

E^
zz

-J IZ2^

?=
sixth

Although in order

form the augmented chord of the

and

fifth

the

ninth was added to the chord of seventh on the second degree, yet this combination cannot be considered a chord of the ninth, but has the

same character of a

suspension which always belongs to the interval of a ninth, under whatever

circumstances

it

From
here,

this

may be employed. it may be argued that

is

the chord of ninth ought only to have been

;

treated under the head of suspensions

since
it

it

was, however, necessary to mention

it

often (though incorrectly) considered as a real fundamental

chord, and as such

must occupy

its

place in the

list

of chords.

In

its

correct

form

as a suspension, the ninth will

be more fully explained in Chapter XII.

Exercises.
7

183

1E
2.

Mr
4
3

b-

&E
6
7 6 6

t=t

?=-

-0-^223t
321
f

4
8 6

g 4

g^M-p
6

Z^
6

'21

m
2

48

4i

^2=

?Z :&

85 4 3

m
4
8

3Z

?2-

Jt=L

rzz

eS

TABLE OF CHORDS.

73

TABLE OF ALL THE CHORDS OF THE MAJOR OR MINOR SCALE.

I.

Fundamental Harmonies.
I.

a.

The Common Chord,

The Chord

of Seventh.

184.

w=^^^
jl
A.

I 9

THE VARIOUS KINDS OF COMMON CHORDS.

:

(1)

Major common chords

In the Major Scale.

In the Minor Scale.

P
C:
(2)

-WrI.

IV.

V.

I w

a:

V.

VI.

Minor chords

In the Major Scale.

In the Minor Scale.

ii.

in.

vi.

P
a:

-&=m-~
1
i.

IV.

(3)

Diminished chords
In the Major
Scale.

In the Minor Scale.

C:

vii

i V
a
:

nu

vn"

(4)

The augmented chord

of the minor scale

$=
1
1.

iir.

Inversions op the Common Chord.

Chord of the Sixth.
2.

Chord of the Sixth and Fourth

r.

m g 9

-&-

74

CHROMATIC ALTERATION OF FUNDAMENTAL HARMONIES.

B.
(a)

THE VARIOUS CHORDS OF THE SEVENTH.

of dominant seventh.
In the Minor Scale.

The chord

In the Major Scale.

P
(J)

1o

The secondary
(1)

seventh.

Major chords with major sevenths.

In the Major
Scale.

In the Minor Scale.

P
C:
(2)

g S
I7

IV 7
sevenths.

i ^
a:

=SH
VI T

Minor chords with minor

In the Major Scale.

In the Minor Scale.

(3).

C:

li 7

i w
a

s #
iv 7

Diminished chords with minor sevenths.

In the Major Scale.

In the Minsr Scale.

I w
(4)

C:

P
of diminished seventh.
In the Minor Scale.

n7

The chord

P
(5)

:s

The augmented

chord with major seventh.

In the Minor Scale.

I
Ill 7

Inveesions of the Chord of the Seventh.

Chord of the Sixth and Fifth.
Chord of the Sixth, Fourth, and Third.
Chord of the Sixth, Fourth, and Second. 6

^r

3*=

rc2i

TABLE OF CHORDS.

76

II.

Chromatically Altered Chords.

the major chord.

(a)

The augmented common chord formed from

F3j C:
(b)

I.

IV.

The chord
lstly.

of

augmented

(or superfluous) sixth (Italian sixth),

formed in

two ways.

From

the minor chord on the fourth degree of the minor scale,

with chromatically raised root (also

chord).

known

as the doubly diminished

common

i
g:

^=
r?.

J.

2ndly.

From

the chord of seventh on the second degree of the minor

scale (see the

(c)

two following chords).

of sixth, fourth,

(d)

The augmented chord The augmented chord

and third (German

sixth).

of sixth and fifth (French sixth), both formed

from

the chord of seventh on the second degree of the minor scale.

With

the Third

Second
Inversion.

With omission
the Root.

of

With

raised.

the Ninth added, and the Root omitted.

i w

m
n7

-%*-

^ESS,
3 8 , Augmented i

Hk

i*

Augmented $

Augmented

76

CHAPTEE

XI.

OF MODULATION.
Modulation.

By

modulation

is

understood the transition from one key to another.

Our

next

exercise will be to seek out

and correctly recognise the modulations

as they occur

in the examples given

in a later chapter

we

shall treat of the

means by which
foreign to the

modulations are effected.

Modulations
described.

A
key
in

modulation takes place whenever a chord appears which

is

which the composition

all

is

commenced.

The

original

key

is

then entirely

abandoned, and

the succeeding chords must be considered as belonging to the

foreign chord
is

new key, until another new modulation.

introduced, which will naturally cause a

185. <

es:

ZZZ1

$&
22:
"Gt

[bg

7fr

3=

^
orG:

m
G:
key of

*=

In the above example a chord appears in the third bar which cannot possibly
belong to the scale of C, in which key the example commences, but which
is

easily

recognised as the diminished seventh on the seventh degree of the scale of

minor.

It therefore indicates a modulation into the

will

minor, in which

key the phrase

of 0. It

remain until the appearance of another foreign chord.

This

takes place in the fourth bar,

is

where we find the

first

inversion of the major chord

evident that this chord does not belong to the scale of

is

new modulation

indicated, but

whether the key changes to

D minor, therefore unG or to

is

certain, as the

chord in question
it

may

belong to either of those keys.

It

is,

however, most probable that

this

belongs in this case to the key of

G major,

since

modulation

is

confirmed by the succeeding chord, which

is

the chord of
to

seventh on the seventh degree of that key.

The concluding modulation

A minor in the 'fifth bar

The chorda
most used
in

is

unmistakeable.
for purposes of modulation are the chord of

The most important chords

modulation.

dominant seventh and the chord of diminished seventh.

All other chords are

MODULATION.
ambiguous, and

77

may

belong to two or more scales at the same time, as was the

case with the chord of sixth in the fourth bar of Ex. 185.

This ambiguity often renders

it

necessary to examine not only the modulating Ambiguity

of

chord

itself, blit

several of the harmonies

by which

it is

followed, before the

new

01

key can be

distinctly recognised.

Very decided modulations can only be

its

effected

by means

of the chord of

dominant seventh or

inversions (see Chapter XIII).

Wherever a modulation occcurs in the following exercises the new key is to indication of 1 be indicated by the ehange of the letter under the bass note (a. capital letter ^^examples The succeeding signifying major and a small letter minor keys, as heretofore). chords must then be considered as having then foundation on the various
-

degrees of the

new

scale, until

another modulation takes place.

Exercises.

6
4
8
6fc|

6
5

186.g|<5
C:
I.

^=^
G:V 7
I.

3=^--

-r* 1st

W^
7
:?_

^2:

r-:

^=:

1-

X
:

ez
V.
3
I.

Bz

T>: -f=-

&

e??.
C:IV. V,
2
I.
:

d to",

i.

I.

n7

3.

zfEz

F=%F=m

^2:
It

=PZ
-T3-

$E
6 7

-&
6 -C2.

6
8
41

4
7 3

^3^

6f

Z_

=PZ

^
3.

4 8
-ri-

~e?~
41

e
6
6

g
5.
6.

4 2 qg=qc

7b

4
116

73:

?=
6 6
5.

zm
4

ft

4 7

~S=t

W- z
:c?'_

iifeP

6
\

61)

-Z

Si

i
4
3

4 8

5=21

a
-j-.

&
7.

B
4 _2k

4
8

?=

g=ZE2t

<gy^

W ^P^
q=^
4
S 2 6 6

yzH

H^
6

6
2fe

^a^^^^aa^^a

6b 4 2

8 6

^ IF

z2 ^

78

CHAPTER

XII.

OF SUSPENSIONS.
The
simultaneous progression of
is

all

the parts of a chord, especially when, as in

the foregoing examples, there

no variety of rhythm, occasions a certain monoall

tony and sameness.

Sometimes, however, instead of

the voices proceeding at

the same time from one chord to the next following, one or more of the parts will

remain stationary, while the remainder proceed to their respective positions in the

The most important of this class of progressions is termed A suspension occurs when a certain expected or even necessary the suspension. progression is delayed, in such a manner that a part which should descend one
succeeding chord.

degree in order to take up

its

position in the succeeding chord remains stationary,

it.

while the other voices proceed independently of

part proceeds to occupy
its

The delayed

or suspended

proper position later in the bar.

Thus, in the

following example

187.

P
m

ZZ2Z

~Z?zzzz

Suspensions,

the soprano

may remain on
;

C, while the other parts proceed to the chord of Gr

its

in the second bar

the suspended part being then resolved into

:

proper note

in the second half of the bar

188.

SUSPENSIONS.

79

In the same manner a suspension can be formed from Ex. 187 by delaying
the tenor

Definition of

the terra.

~v /[
(l\\

189.

U
I

nil

r -> f

e
7r>

rj

^
r->

f
R

&% E
The
appears; that this

suspension generally forms a dissonance with the chord in which

is,

it

The suspension forms a dissonance.

however, not always the case

is

the suspended note forms a chord of sixth on the bass note G.

shown by Ex. 189, in which In this case the

unusual appearance of the minor chord of the third degree between the chords
of the
first

and

fifth degrees, as well

all

as its peculiar position, together with the

to give the phrase the character of

delayed progression of the tenor,

the suspension.

combine

A suspension may be formed

be prepared.

by delaying the

progression of any voice which Suspensions

in different

would naturally descend one degree, provided the note which forms the suspension

The

suspension in

its

complete form

may

therefore be divided into three

itself,

subjects for consideration, viz., the preparation, the suspension

lution or progression thereof.

and the

reso-

The

preparation of a suspension
;

is

precisely similar to that of

any other

dissonance

it

may

be effected by means of any one of the parts of a

common
domi-

Preparation of a suspen-

chord, and also (though

more

rarely)

by means of a

seventh, generally the

nant seventh.
Preparation

M
6

by means

of the Octave of the Root.

By means
j

of the Third.

J3=l
7

N
48
-

2222

EBE

ES

ZDZZ.

*=
9 8

190.

IZ2T

^2:
C:
I.

~rzr

~T^T
I.

:z2i
n.
vi.
I.

a
G:V.
VI.

V.

I.

0:1.

By means

of the Fifth.

By means
>n

7 9-h TT t
[?)

-\

r^ ^
iv
I.

"7=U
rj
9

rj

r?

P^Mrj
7

1-^-1

pu
rJ~
6

of the

Dominant Seventh.

'&

~g=
6
b

=# EC?
2 #8

r^rj

JIV.

-&e^i r.)
I.
I.

48

ti-

--

fD rj
I.

6 S

rj
V.
<*->

4 S

"~

"C:

e:vn 7

C:V 7

I.

V7
The

a: V.

rv.

The
p.

preparation must take place on the unaccented part of the bar

itself

(arsis),

the

suspension

appearing on the accented part

(thesis).

rule given on

50 for the preparation of a dissonance will

also apply to the suspension, viz.,

*hat the preparation

must be of

at least equal duration

with the note prepared.

80
Entrance of
the suspension

SUSPENSIONS.

The
appear

suspension

itself

any

voice,

must enter on the accented part of the bar, and may and proceed to any interval of a common chord, or (though

very seldom) to the interval of a seventh.

Suspension proceeding to the Octave of the Root.

% 9
191.

z^zzz

JZ

:cz:

=
7

IZ2I

m
IL

"A J.
V7
32T
I.

4
2

1=?-

ZZ2Z

1.

V,

Suspension proceeding to the Third.

PS
C: IV.
a.

'J g.^gi
ea
B

__

z& zj^ - g 'O-^'

'

ES
6 5

_5_
221
IV.
d.

4 3

.4

ZZ2Z
~2_:
I.
I.

z=f=2:

Suspension proceeding to the Fifth (only admissible in certain positions)

"

b.

c.

ES
B 6

?=7

6 r

-Or
6
5

321 -o6 3-4

m
to

J2CZ^_

ZZ2T
C:
I.

3fe -P^

zz:
I.

C:

V.

I.

V.

The remarks on Ex. 189 (see p. 79) will apply to all suspensions proceeding the fifth. Thus in the above example the progressions a and c will have the
and
effect of suspensions, while that

entire character
Addition of a seventh to
the suspension.

shown

at d,

having no

dis-

sonant
into

effect,

cannot be considered as one.

is

If a seventh be added to the chord

which the suspension

resolved, as at b in the above example, the dissonance

of the suspension will immediately

become

perceptible.
is

Suspension of the seventh.

The

reason

why

the seventh can seldom be suspended,

that the suspension

would, in most cases, form a perfect octave, and as such would not have that
dissonant character which
is

essential to a suspension.

If,

however, the octave

is

be diminished instead of perfect, a suspension of the seventh

in the following

possible, as at b

example

-Q
f/\

r*

y^-A
/-J

1*-J

:sa;
1

zr
192.

sal

8
*-*

7[>

S
s

:{J=^J: M
8b
7J.

ES ESC

Ws&

("J iTJ

rJ

E^

SUSPENSIONS.

81
seventh, of

The
more

progression a in the above example

is

termed a passing

which

hereafter.

The
degree.

suspension

is

resolved, as has already been observed,

by descending one

.Resolution of

a aus P ension-

(Exceptional resolutions will be treated later.)

The

note into which a suspension

is

resolved
.

(i. e.
,

the note which has been Tne "sind.

, suspended or delayed) must not appear in any other voice at the same time, be

ed note not to
doubled.

except in the bass.

Bad.

^h^193.

^A u, -s> -sirj<s>
1

b.

Better.

c.

Bad.

-M- r^^i s>

l

2 1*3

rj

s>
rj

v^=H
<s
*

-g-

(b?es

(rnY

r^i

-0'"J

In Ex. a the tenor proceeds from

suspension in the soprano
;

to C,

which

latter note is contained in the

is

in

Ex.

the tenor takes the note G, which

already

suspended in the

alto.

Both these cases are

faulty, especially because the third

and fifth
is,

of the chord are doubled.

The

effect of

doubling the

root, as in

Ex.

d,

however, better, particularly

as in the following

when

the natural progression of parts requires

it,

example

S^M~ W~"
Rr?
s>

e
<?

rJ-rU
e>
rJ

194.

P
n
195.

-e^
rv

"Ns>-

-0r->

SI

It

may be
is

here observed, that

when

the root

is

doubled

it

should always be at Suspension

of

a distance of at least an octave from the suspended note, and that doubling in the
unison
to

be avoided.

^^
may be
during

Between bass and

possible.

tenor, however, such a progression as the above

Other

intervals besides the root

may, however, be doubled

in the bass

82

SUSPENSIONS.

a suspension, provided the interval so doubled be introduced by a good progres

sion of parts, for

example

196.

fcs= i
Wz

m
:

bad.
.-.
I
i

t2
9 e

:?s:

9
6

ZZ2Z

IS2T

Consecutive

The

fault contained in the last of the above examples will

be readily seen

if

bidden by tbe the

suspension.

suspension be omitted, in which case consecutive

octaves will be found

between soprano and bass

'Z^
197.

-r

w.
Hence
it

will

be seen that suspensions do not interfere with the rules against

:

consecutive fifths and octaves

198.

rJr

Nevertheless, consecutive fifths hidden

forbidden.
Suspension in the bass.

by suspensions are not unconditional!

The
chord

suspension in the bass, which usually occurs before the third of the

(or,

which

is

the same thing, before the chord of 6 or

jj)

does not allow the

note suspended to appear in any other voice.

Bad.

XT

-&>-

-&-

-<s-

199.

Suspensions of the root and

fifth are

seldom employed in the bass

Bad.

S
200.
I

ES
6 5

EZ

^2-

^=P=

^fi

SUSPENSIONS.

83

The method
r
.

of figuring the suspension has already been partly

n

shown

in the Figuring
s i on .

of

toregoing examples.

the suspenr
is

When
tion
;

the suspension

contained in one of the three upper parts, the interval

is

found between the suspension and the bass

for example
:

indicated, together with

its

resolu-

3,

8,

6.

Where

necessary, other figures are added to indicate the chord into which
is

the suspension

resolved, thus
6

8
-,

6 5

4,

6
-.

When

the suspension

lies

in the bass, the accidental intervals

:

occurring
5 _

5-

between the bass and the upper voices are indicated, for example

4 2 _ or

the horizontal hues in each case signifying that the accompanying voices remain
stationary during the resolution of the suspension.
iL suspension in the bass
is

also

sometimes indicated by an oblique fine over

for example

the suspending note, the ordinary figuring of the chord into which the suspension
is

resolved being then placed over the succeeding note

-Z-

s
:c
ZE=

201. <

m
\

=
Exercises.
6

IV.
5
6

4 3

-p-

7 6 6

6 7

4 3

2.

9 8

202.

gl SE
~c7
6 7

w
7

-t=t

V.

4
a.
|

9
|

5 8
7
1

i'

/V
If),

4 8

4 8

rj

r
p~
8 . ~7T3~

S>
t*^

^
;c2i

si

^t^ jp
^2;

I =|

r-i

4
3.

|| 4 ^E
6
5

-J r

s>-

EfpE
5

=
ZZ1

:2=fc

4 8

4.

4
2

6 2

c~;^
5.

*=*

3=^^=

PI

u
7
61)

SUSPENSIONS.
4 4
6 6

IZ2Z

_8_2_

5b

4 8

E
7

fe
4

32:
6
7 6
5

6
9 8
7

6 5
|

(^ ^^ CJ
/V
9
7.

5
1

4 4

8#
(Si1
.

gj
-|

gjfe^j 2
J^
6

s!_

C?

'

-ftj J
5
ah,

SiJ

J^
58
3
2

f
i"-J

8
-f=2-

S
from
Vocal
clefs.

^
7 6

^
8.

3=2-

3=^

i^EEE
~rr~

3=i

5
*=

P"

^=E

=i=z:

m^m
score.

7 8

4
8 2

4 8

^2=

321

^=

IZ2I

^
will

In accompanying the above exercises

on a separate
line or stave,

it

be advisable to write each voice

both in order to obtain a clearer view of the progres-

sion of every single part,

and

also

as a useful preparatory exercise in reading

Inasmuch

as the four different voices are always considered as vocal parts,

it
it,

will also be better to write each part in that clef

which originally belonged

the soprano,

to

instead of employing the violin clef as heretofore.

The
and

clef
is

which

is

used for the three upper vocal parts,

viz.,

alto,

tenor,

called the

clef,

For the lowest vocal

The C clefits

part, the bass, the

In order
will

to

show the relationship of

Fclef (j is employed. the C clef to the violin and bass

clefs,

we

relation to

the other
clefs.

make use

of a large stave of eleven lines.

two smaller staves already employed for

an intermediate
position
line,
first

Such a stave will be formed of the the violin and bass clefs, together with

on which

is

placed the

clef fen,

which thus occupies the

of the

ledger line above the bass or below the treble staves,

namely, 0.

FGABCDE FOAB
203.

DBF

ABODEFG

S*j|
-

g=

Of

these lines the lowest five are used for the bass or lowest voice, while for

SUSPENSIONS.

85

the three other voices different staves are selected, each consisting of fiv, lines, as Selection
follows
c
11

o.'

:
Bass.

small staves for the dif .

ferent voices.

Tenor.

Alto.

ooprano.

Violin.

204.

m
it

Hence
the
is

will

be seen that in consequence of different staves of

alto,

five lines

having been selected from the large stave for the soprano,

and tenor

Position of the C clef in voices, the various

each

clef will necessarily

occupy different positions in the various staves

it

staves.
;

that

to say, in the tenor stave

line,

will

be found on the fourth

its

line, in

the alto stave

first line.

on the third In
all

whde

in the soprano stave

it

place wdl be on the

viz.,

these cases

will,

however, be the same C,

the

on the

first

ledger line above the bass stave

Sjz
same
:

The

relative positions of the

notes, written in different clefs, will be best

shown by the following example

205.
Violin Clef

P =^3
Wt
ITTI

-!# '=m=- f*zJ=Mt ^=3L EEE

H*=e=
-m
i*-

Sopbano Clef

=J=*t
-**- :?*==

*=t

fee

->-

-m-

Alto Clef

u Tenor Clef m g^?=g? -+-?Bass Clef

fr)'

EE

t i-*-T^

?^e

JJ

ff^
somewhat
it

--t

The accompaniment

of the exercises given in p. 83, will require a

free treatment of the voices with respect to their progression, since in order to

obtain a good position of the suspensions

will often

be necessary

to alter the

form of the chords, and

close.

to

employ the extended

position alternately with the

In altering the position of the voices the following rules must be observed

Variety in
position
of voices.

A
the

simultaneous change of position on the part of all the voices

is

not allow- the

able, except in certain cases,

when they proceed

its

to different inversions of

one and

same chord.

Each

voice

may abandon

position at

any time, provided one or more parts

of the chord

remain stationary.

86

SUSPENSIONS.

The

following accompaniment of Ex.

:

8, p. 84, will

show the application of

the above rules

s
a
206.
\

o-i <s

EETzEEgEg

zzzz.

=fz=t

321

?=

^=P=:

_2_._i2-.

g:

iv.

n7 Bt?:ni.V 7
9

I.

IV.

I.

F:

V7

I.

Bt?:V7 g:

V7
12

i.

10

11

m
Description of Ex. 206.

J'-M'-rl-

:pz
4
3

=f=

^
3=
7

2
3

.y
Bi?:

V7

^
I.

n.

VI.

The

close position in

which the above example commences

is

is

abandoned in

the fifth bar, and the extended position

adopted, and employed until the

close position, in

eleventh bar,

when

this is again

exchanged for the

which the

phrase concludes.

This variety of position

is

effected in the first place

its

by a

free progression of

the soprano, which iu the fifth bar springs from

natural position into the

dominant seventh

\>,

a leap which

is

perfectly allowable when, as in the present

case, the root of the seventh is already present in the

preceding chord (see

position

p. 50).

Again, in the seventh bar, the soprano abandons

fifth,

its

and

leaps into the

G,

the other voices

remaining stationary, by which means the suspension

Finally, the close position
is

appears in a better position.

again attained at the

end of the tenth bar by means of a

Although, on account of
its

free progression of the tenor.

less space,
is

occupying

the violin clef for our examples, the student

we shall continue to employ strongly recommended to write all

RETARDATIONS.
future exercises in score and with the four vocal
clefs, in

87

the

manner shown in
clefs is

Ex. 206, since an intimate acquaintance with the various

indispensable to every musician.

absolutely

OF RETARDATIONS.

retardation

is

said to occur

retarded or delayed, in the same

progression.

when the upward progression manner that a suspension delays

of a voice
its

is

Retardations,

downward
general

Most progressions of

this

kind are caused by a shortening or contraction of an Their

:

ordinary suspension followed by an upward progression, for example

207

.i 9

A
^r
may however

Formed from

==

Keal retardations
leading-note

be formed by delaying the progression of the Real letard*.

tiona.

-?rr

208.

Sfc

H=tL

'T T
and
also of

many

other intervals which should have an

upward progression

-rf

a semitone, especially in tbe case of those chromatically altered chords which

contain augmented intervals.

209.

U^^B^JbS^,
is

Observe, that as in the case of the suspension, the note into which the The retarded
retardation

resolved

must not be contained

in

any other voice except the

bass.

note not to be doubled.

The

last of

the above examples gives us the combination which has already

been found

as a

chord of seventh on the

(as

first

degree of the minor scale (see

is

page 44), and which

form.
It
is

was stated on page 45)

it

unavailable in

its

fundamental
it is

however evident that as

appears in the above example,

not to

be considered as a fundamental harmony, but merely as a retardation of the

leading-note.

te8

SUSPENSIONS.
Suspensions

Double suapensions.

may

appear

in

two or more parts

at the

same time

In two parts.

In three parts.

210.

SESz

o^U
*

-;

v.

A a =>
-

1= -J-

s
:

g."~i

77"

ai^

?V

"ST"

The chord

of 4 often appears as a double suspension

Resolution of the suspension by

Hitherto only two chords have been employed for the preparation, entrance,

means and resolution of the suspension

The

progression of parts will however often

if three

chords

become richer and obtain more variety

This
at the
is

chords are introduced.

How

effected.

effected

by allowing one of the

to

voices (generally the bass), or even several

at the

same time,
is

proceed to a

new harmony

same moment that the

example

suspension

resolved.

The

note into which the suspension proceeds will always

for
:

form one of the component parts of such new harmony,

By

progression of the bass

rp

TCt
212.

~rr
-f=2e s

f In
m

*za:

T
221

SE
~?T7~

d=
=?=

^=pr

ESE

3=

7a.

^
Z2= ~22

By progression

of several voices

^
122:

-sb?-?^

l=S
6

213.
I22T 3=21

r
IZ2Z

S3=
8

-^s

J ^L Eg

i=2=

^=

=3:

Chords of the jn illustration of the views advanced in ninth treated as suspensions of the ninth, it may here be observed, that

of chords Chapter IX. on the subiect * r

many cases

in

which the ninth occurs,

of the

means

of

and which would be recognized and treated by many

theorists as chords

three chords.

SUSPENSIONS.
ninth,

89

may be much more

simply explained by considering them as suspensions

:

accompanied by three chords, thus

Suspension of the Ninth, with two Chords.

Suspension of the Ninth, with three Chords.

214.

p
like
.

-A

In
,

manner four chords may

j.
.
.

also

be employed for the preparation and

.

Suspensions
resolved

resolution or a suspension, provided the note into which the suspension

is

by

is

resolved means

of foui

not contained in any other voice.

215,

I ^E

:SE

2=s5

st
^2:
4

Without the Suspension. 1-

*~^%-

=&
TV.
n.

vn

VI.

Exercises.
1.

8 8 7

216.
2.

13L

S3
7 6

:="

&ZZ2I

-P2=-06 7

-P3I

~T}-

j=E5ij Ff7 ^E^ 3

aa
2
r,

r=>

^
6

ehe

1=2-

'ciz

3.

C=i= 3B
4
8

:J=F
:c
-E^-lfe
4
7
7

ai rt
4t

nzL
a
6
7tj

^= 2

z:

E
its

5t3t
resolution

*E
may

^2: -P2=

E
Notes introduced bethe suspension

Between the suspension and

sometimes be found notes tween

and

introduced for the sake of varying the melody.

its reso-

lution.

90

ANTICIPATIONS.
These notes may be
either notes belonging to the
*

harmony, for example

* *
I

217.

S
~es~
._C2

_#!

I-

S
:

rs

U^g:

or notes foreign to the harmony, for example :

~22!

218.

TX

Z2I

rz>-r* 32;

L^as 3
I

*,

"C-

The above and

passing notes.
Suspensions without resolution,

similar melodic progressions will be explained in the chapter on

Cases
whatever.

may

also

be met with in which the suspension has no resolution

Or more

frequently.

219.
-?=?&-

z^s ^P-S^-z^.

3t3t

r
of the following
oi

Such phrases
some

are formed
:

by the omission of one or more notes

similar phrase

220.
"2=;

^L

Or,

321
"22* -E2"

J-lIJ-

?
which
is

OF ANTICIPATIONS.
Anticipations.

The

anticipation of a note,

not so frequently employed as the suspen-

sion, occurs

when one

or

more

voices proceed to notes of the following chord

before they are required to do so

by the rhythmical formation

of the phrase.

When employed.

Progressions of this kind are seldom employed in slow tempo, or with long
notes.
Anticipation in the Bass.

In the Soprano.

In several voices.

221.

T2&-

3=fc

d=^H=^
EZi^:
I

S=xst

rr

3^ Hfe
1
'

-K-

ANTICIPATIONS.

91

The
which
is

note which forms the anticipation need not always be exactly the one Other notes

expected on the appearance of the second chord.

A different note,

if it

harmony used
*f

belongs to the

harmony

of the second chord,

may
:

also

be employed as an antici-

tlclI>a ~

pation, as in the following

much-used cadence

Or,

222.

=gt

y=^J,
:

&
all

Another kind of rhythmic variety occurs when one voice does not proceed
its

to Rhythmic
a

place in a chord until after

positions.

Such

the other voices have taken up their respective one v i^ progressions resemble suspensions, inasmuch as both preparation
place, but differ

and resolution take

from them

in the important particular, that

they are formed by rhythmic rather than harmonic variations, and cannot appear
singly,

but in sequences such as the following

Allegro.

223.

With such progressions must also be classed the unisono passage in the " Leonora " overture (No. 3) by Beethoven.

4^32
224.

^=3
-'-J-'lj-zd-

2
-"S-fl**-

N^^^ m^
2=P

-id-^;**--*'- -e*

92

ANTICIPATIONS.

W-

F J
ifr

W
r
I

^ F=^=F
=

it

^=t=M^fe
fc*-^v
;

-F-f t=f
-g-

r
fe=2

^
i

3<~

FT

3fe

93

CHAPTER

XIII.

OF THE MEANS OF MODULATION.

The
meaning of the term modulation has already been explained in Chapter XI. treat of the best means of effecting modulations.
art of

We have now to
The
key two or more

modulation consists in finding those harmonies which are related to The

object of

modulation.

scales or keys, in order

by

their aid to proceed satisfactorily

from one

to another.

Modulations
Firstly

They

may be may

of two kinds,

and have two

the

different objects in view.

appear abruptly, and

new key may

in

pass

away
scale

Transitory
linn lu hit
i

j ns.

quickly, or

Secondly

They may be more gradually prepared,

some time
case the modulation will be
it

which case the new

will serve for

as the foundation of the harmonies employed.

Gradual and permanent modulations

In the
will soon

first

introduced by the simplest and

quickest means, and although

may be

distinct

and unmistakeable, the new key

In the second case

be abandoned and a fresh modulation introduced. remain long enough to become familiar to the

the modulation will generally be gradually prepared by various means, and the

new key
Thus

will

ear,

and may even and the key

:

lead to a perfect close.

in the following example, the modulations are transitory,

changes rapidly without wandering far from the original key of

major

225,

r
4i-

3=J
C:
I.

F:V 7

IV.

G:V 7

I.

IV.a:V 7

I.

rv. C:I.

^
V
be seen how

This kind of modulation

is

most suitable for the more nearly related keys.

is

In the next example the more distant key of El?

sought by degrees, and

It will

when

it is

reached the original key

is

entirely abandoned.

94

THE MEANS OF MODULATION.

employed as means of introducing the
:

the transitory modulations are

final

modulation into

E|?,

which

is

the object of the phrase

F
226.

-p<&
7b 6"

=^

at

5 a^

1-

:fe

rct,

ffi

--m--

ji
bt>:

I.

vu7 bFTi.

VI.

f:V 7

Ef:

V7

i*:
I.

V.
will not

In considering the means by which modulations are effected

since the

it

be

necessary to distinguish between the above two different lands of modulation,

same means

will serve for both.

The means

of

modulation.

of

The first and most the new key itself.

If this chord
is

simple

means

of modulation will be the chord of the tonic

Employment
of the chords of tonic and dominant of

identical with one of the chords of the original scale,

it

will

only require the dominant harmony of the

plete.

new key

to

make

the modulation com-

the

new

Thus, in the following example, the chord of G, being already one of the
;

key.

chords of the scale of 0, requires no connecting link with the original scale

the

modulation will however not be perceptible until the third fundamental harmony
of the

new key be heard (namely,

the chord of the dominant), as shown at b

V
227. ffc 4B

^ <g

<s>
1

&>

fj <s -s--

S> s _2zr

<&

o
is

The

effect in

modulation of the minor chord of the tonic

certainly

more
to

decided, but even this chord requires the chord of dominant of the

new key

render the modulation unmistakeable.

228

I w

*
~-X2~

^
e

51=

m
The major chord
has
itself

5b

3iE
C:

3~?7

ZE2Z
f: i.

e:

i.

of the

new

key,

when not

followed by
:

its

dominant harmony,

somewhat of the

effect of a

229.

P ^

m
~CS7
a:

dominant chord
~Z2Z

=#=*

ZC2Z

3f^
'.:

_c^

V.

C:

I.

THE MEANS OF MODULATION.

The chord
modulation
of the tonic of the tonic
its
is

95

seldom employed in modulation in 1

"

its

fundamental Employment
of the of 6_

chord

form, since one of

inversions, the chord of 4 > has the property of rendering the

much more
is

decided than the root chord.

In

this case also the

chord

followed by that of the dominant, which completes the modulation.

ii
230.

m
-

3=_

a
v
i.

^-^J^r-4
-2:

g^s=g=i=gr-*
-dr
V.
d:i.

mt

-JZE.
I.

5
f

^
V.
I.

:czrri

r-r
V.

3Zzd

=e
V.

G:I.

C:I. a:u.

C:I.

If this chord be employed on the unaccented part of the bar, the modulation On the unac

...

will

not be so decided.

cented part of the bar.

f^i231.

3=t

^k
IS
7fr

ZQT

^z=

A
able.

still

more

effectual

means

of modidation

is

the chord of the dominant, and Employment

especially the dominant seventh, which renders the

new key

clear

and unmistake-

of the dominant seventh.

According to the principle that the connection of chords one with another Modulations by means of is best effected by means of notes belonging to two successive chords, and the dominant seventh into remaining in the same voice, modulations may be formed through the chord of
nearly
keys.
all

dominant seventh from the chord of the tonic of the original key to any other key Thus excepting those of the minor and major thirds and the augmented fourth.

from the key of

remain
stationaiy,

into all keys except E|?, E,

and F$, modulations may be formed

as follows, the connection being in each case observed

by means

of notes which

and indicated by means

C
to F.

of binds

C toG.

to a.

232.

it,

In order

to

modulate into the remaining three keys,

E|?,

E, and

J,

another

Modulation
ulto the remaining keys.

96

THE MEANS OF MODULATION.

common
chord) which will supply the desired

chord will be required (generally a

connection, for example
:

From C

to

E b-

CtoE.

to Ffl.

233.

jfel^ilfel

ESF=13
7ZJ

::=::

^
1

U ^- =:r c^

S=

ISlSfes ^r
:

Modulations from the minor similarly effected.

Similar modulations

may be formed from

a

the minor, as follows

234.

^^
a to F.
<=3

From a

to b.

to d.

a
-5 r

to e.

33FgfeE -e
a U
to G.

-, 'S'

^.

gj-

~22T
a U
'

to

B b.
1

*=3

C-*'

_ 2Z

__ 22T

*=3

~Z3~

^^=w
bc-i,=3

By means

of additional chords, modulations

:

may

be formed from

A minor to

the remaining keys as follows

to

D b.
Eft

235.

jE^^.^
a toEb.

From a

to C.

g:

g
a to

ks

to

A p.

F $.

^=&^gE&E3E^^&&&
>-j S-iS-

tion of

The connecmodulatmg chords not always

necessary.

It

is

of course understood that the above examples merely

it is

show the principle of

modulation, and that '

for modulations always to be effected in the not necessary ^

is

manner

there shown.

Nor

the above-mentioned connection of chords always

:

requisite, as will

be seen by the following example

C
236.

to

17.

to e.

to C.

I -7 ^^i^Eg^^3&^^p
student
is

3
-?

The
chords.

here recommended to write out modulations from and to

all

keys, major and minor, and in so doing to employ all the various positions of the

Employment
of the dimi-

Another equally important chord with the dominant seventh

diminished seventh, which
is

is

the chord of

nished

often

more

peculiarly suited for purposes of modulation

eventh.

THE MEANS OF MODULATION.

than the former, especially
in those cases in to enter

97

which the seventh and root of the

without preparation.
this

dominant harmony would be obliged

The following examples

C
to

will

show the application of

C
to B.

chord to modulation:
a
to o.
etc.

Bb.

to d.

237.

This chord

also possesses peculiar capabilities for modulation,

on account of

its

Enharmonic
modulation.

e?iharmonic qualities.

The
four

following chord, being written with a different notation, will belong to

different keys, although the

sound

will in

each case be the same

238.

\=$$%=E

m^M3 Y^n
s

In the

first

of the above cases, the chord belongs to

minor, in the second to

(7

minor, in the third to

minor, and in the fourth to

minor.
:

Thus, by means of one chord, four modulations are possible

tof.

Ctod.
ifcrg.

Ctob.

239

i
these

a:=flg3:=g =g?

fg &
~i

"feT"

fcs

~W
is

^m "sfww
to at>.

To

may be added
as the

four more modulations into the major keys of the

often used instead of the

same names

above (for the diminished seventh

seventh on the leading note of the major scale), thus giving eight modulations by

means of one chord. shown

in the following

The modulation
example
C
to
:

into

major by the diminished seventh

is

D.

C
-rs

to

B.
etc.

240,

i w

=fe
ITS-

fe

If

now we

consider the final chord of the above example as a chord of domitonic,

still

nant instead of a chord of

modulations will be rendered
4 (derived

new modulations become possible, and such more decided by the introduction of a chord of
its

from the new

tonic)

between the diminished seventh and

61, for example
:

resolution,

in the

manner shown on page

C
to G.

241.

t=s==

Jg=rg=fl=
ZZ2.Z.

m=m^^^ pppp s
I

c to

e.

z?

98

THE MEANS OF MODULATION.

Progressions similar to the above

may be formed from

in

each of the four posi

tions of the diminished seventh

lation

shown

Ex. 238

and

as in each case the

modu-

may be

either to a

major or a minor key,

it

follows that there are eight

more modulations making a total of

into

possible

by means

of the

sixteen modulations, of

same chord of diminished seventh, which eight are into major, and eight

minor keys.
be observed that the alteration of the notation necessarily changes the
will therefore

Enharmonic
alteration of a

It will intervals,

chord.

though not the sound, of the chord; the different notations

be in

reality inversions of the chord, for

example

242

-^g^^*^te P
c7
afl

S7

Enharmonic
modulation

A similar capability of enharmonic change

an extent, by the augmented chord of
5
.

is

possessed, though not to so great

by means

of

The resemblance which

the sound of this

the augment-

ed chord of

chord bears to that of the dominant seventh permits the one chord to be
substituted for the other,

~ 5.

and thus certain modulations may be

effected,

for

example

c tob.

\>

to

243.
b:n,

PEf

m
V.

1^^-

I.

-A

Ei?:V 7 d:n,

V.

I.

Exercises in modulation.

Hitherto
another.

we have

considered the means of modulating quickly from one key to

it is

Since, however,

not always an object to modulate as quickly and

:

distinctly as possible, the following will be a very useful exercise

To modulate from one key

different degrees
;

to another
:

by means
to

of the

for example

from

through the

common chords common chord

of the

Of the Third Degree.

Of the Fourth Degree.

244.

ZJCZl

:c3i

Eg^Sl
Of the Seventh Degree.

Of the Fifth Degree.

Of the Sixth Degree.

EXTENSION OF MODULATION.
/rom
to

99

through the
Of

common chord
Of the Fourth Degree.

the Second Degree.

245

321

P
Of the

32 _
T2T

fczi

=S-

fc
Of the Sixth Degree.
Z22C

Fifth Degree.

Of the Seventh Degree.

ESE

^=#teF

^ -#P*3
in

The above examples will he sufficient to indicate the manner modulations may he formed according to the same principles.

which othe?

OF THE EXTENSION OF THE MODULATION, AND OF ITS COMPLETION BY MEANS OF THE CADENCE.
In order to form a longer and more gradual modulation than any that have Gradual and permanent hitherto been met with, the same means will be employed, but not in so direct a modulations.
manner.

That

is

to say, instead of proceeding to the

new key by

the shortest
in-

and most direct means,

troduced by
degrees,

transitory modulations will be employed,

and the new key

and when reached, will be

as

it

were fixed and rendered

distinct

by means of the cadence.

Thus, in the following example,' the modulation from
takes place through

major
is

to

minor The modulation completed by tha cadence.

D
:

minor,

A minor,

and

major, and

completed by a

cadence in

minor

SESEl:
246

tUt

^rF=W^t

^t^S^a ^Fi^fS
>7-fi.

1^- f-fe
C
:

g
a
:

m^m
G:V 7
I.

^
V.

2P7
i.

I.

d vn 7
:

i.

vn 7

rv.

e:V,

If the modulation be effected

tonic chord of the

by means

of the chord of 4 derived from the The simplest

4 will

new key

(see

page 95), such chord of

its

only require to be

cadence,

followed by the chord of dominant with

cadence, for example
:

natural progression to complete the

247.

100
The extended

1HJS MKAi\S

OF MODULATION.

In other cases the extended or prepared cadences must be added to the modulation in order to confirm the

new

key.

The

following are the two simplest forms

of the extended cadence

Or

in other Positions

SF c=g=<=:
248.

J
~w
Or

wk M"J
6

-S3
7

6*7
^):

tg: 3Z

:22:

W^^g^ p^p IS 3=
=ii

in other Positions,

:BE ^EmEEEEgE)5^#

IS=EEg^l

35):

^3 feS
PI
by that of

J^

&g:

:&

zc2:

The position
Addition o
the cadence to the modula tion.

of the chords forming the cadence will be determined

the final chord of the modulation.

The

following examples will show the addition of the above two cadences t

am

, '

o to

some

or the examples already given

.
:

Ex. 233.

From C

to Et>.

Cadence

a.

cr
249.
eb

3
2a;
From C
to a.

ciz

H
^
fb

ffi
Ex. 232.

m
Cadence
a.

53:

1 idSE
3

b;

^L

If
^t:czr

:s2:

:e=L

:^=
to B.

3ir
Cadence
5.

^
E#E

~s^~

Ex. 232.

From C

N# ^^i^p^i^p.^^^
:|g:

:l^

EXTENSION OF MODULATION.
Ex. 232.

101

From C

to

\f.

Cadence

h.

:^^j^^^fe=g=^
&ib =tr
The
means
following
is

&2

=^
E

^
minor,

--&=L

an example of a modulation from

Q major to A\> major, by

Cadence.

of transitory modulations through

major, and B|? minor.

250.

gfc-r

nd t^k gu ^E5fc JN km l^fy&<^g-B&^i

e

232Z

PliP'TiF

3 *i

^m

--i^r-

103

HAEMONIC ACCOMPANIMENT TO A GIVEN

VOICi;

CHAPTER

XIV.

OF THE HARMONIC ACCOMPANIMENT TO A GIVEN VOICE

(CANTUS FIRMUS).
In
treating of the harmonic

accompaniment

to a given voice
all

we

shall consider the

simple melodic 2)rogression of each part, and

as metrical
question.

other elements of a melody, such

and rhythmical

variations, will

remain for the present out of the

THE HARMONIC ACCOMPANIMENT OF A GIVEN SOPRANO.

Progression
of baas.

In every harmonic phrase the progression of the bass

is

the most important.

The
Cantn3
firmus.

following simple melodic phrase being given as an exercise

251.

~r^~

and the

roots of the various

narmonies which

may

serve as

its

accompaniment

being indicated thus

252.

P^
.

G
IZ2I

we

direct our attention in the first place to the progression of the bass,

which

according to the roots indicated

may be

as follows

253.
Soprano.

w
I^rS

C
1Z2Z

G
rzz

Bass.

rzsi

1221

or thus

254.

~tj-

rs2i

HARMONIC ACCOMPANIMENT TO A GIVEN SOPRANO.

The
addition of the middle voices will then present no difficulty, they
is

103

may

proceed as in the following example, and the phrase

complete

Addition of the middle

voices.

255.
Soprano.

G
s> tS

C
n> <s
-S>-

C
t'j

Alto

i (h

S3

<S

H"

O
<S>

.2-

JZ2f-J

-s>-

Tenor.
fi^s-

tn
i

Bass.

\J> I

rj

Al

i*3

In order more clearly

to explain the principles of a

good progression both of

indifferently accompanied.

the bass and middle parts we shall

make use of examples

Exercise

C
.

F
/"j

G7
s>

\#

256.

-\

ttrt

G7
s>

Defective accompaniment to the above

257.

IZ2I

-&

~r?~ IZ2T

The above example

stiffness,

does not contain a single violation of any of the rules of Exampk

;

ci

progression, &c. hitherto advanced

nevertheless

it is

meagre on account of the

ari

incorrect

weakness, and insecurity of the bass.

for progression of

In a good harmonic progression of the bass, no note must remain stationary Rule
unless

required to do so in order to serve as the preparation of some dissonance, the or unless it is equalized and counterbalanced by a very decided progression of all
it is

baas.

the other parts.

Ex. 257

also contains in

two places the chord of

this

circumstance will Genera] employment

of
4.

afford an opportunity to speak of the

employment of

this

very peculiar chord.

It
is

the chord of

The
to

use of the chord of 4 depends on certain conditions.

most frequently
(See
p. 95.)

be met with in the formation of cadences, and also in modulations.

In both these cases

it

may

enter without preparation, but always on the

accented part of the bar (thesis).

It

may

also

appear under other circumstances

viz.,

when

the fourth

is

pre

104

HARMONIC ACCOMPANIMENT TO A GIVEN VOICE.

when the
bass proceeds by one degree to
:

pared, and

its

place in the next following

chord, or remains stationary, for example

U=^UA s s=g*=i
258.

3S

2^3=

W
^=

=5i r

^B s g
the
the

t=t

r^-p-

?=

zc2

?=g;

If used on the unaccented part of the bar (arsis),

it

same conditions as in the above example, and, in addition,

bass prepared instead of the fourth, for example
:

may appear under may be used with

259.

P
3

=L 3=
B
-<S>-

a
6

.a.

32T

Its effect

If the chord of 4 appears on the arsis

if

it

must be considered
;

as a passing chord,
will

ferent circumstances.

on tne

thesis
{{

it

will

have the character of a suspension

its effect

however

^ e yery weak
in Ex. 257)

introduced on the thesis with the bass prepared (as was the case

260.

P m
is

=23-

-rz)~

-PZZZL

SE

3=:
6

r^=

IC3I

Its appearance as a sus-

It also frequently appears as a real suspension, in

which case the preparation

pension.

of the fourth

fully explained

and

justified.

S
261.

^^ =
rz2i

3=f

r t
:2;

HARMONIC ACCOMPANIMENT TO A GIVEN SOPRANO.

105

the parts proceed by single degrees, and the notes are of short It3 appearr i r & ance without g preparation. duration, the chord of 4 may enter without preparation.
all
.

When

ESEEES
262.
_2

fe^E
_iv

=g=

&
is

-2

The chord

of 4 derived from the diminished

common chord

seldom used in The

second

inversion of

four-part harmony.

the diminish-

ed common

263.

P 2
.

-_

chord.

-A ~Sz

4-

E3E

^E
may be
employed, and frequently supplies

In the three-part phrase, however,

6

it

the place of the chord of

4.

(See the chapter on the three-part phrase in the

second part of this work.)

A correct and pure harmonic

form a
clear

progression not only requires that the bass shall

to the phrase,

and

intelligible

harmonic foundation

but also that each

shall

voice shall proceed according to certain melodic rules which

to consider.

we

now proceed
for example, Anti-melodio
progressions.

Certain progressions have always been considered anti-melodic

two consecutive leaps of a fourth or a

fifth

the same direction.

i-

264.

IP).

rj
r-i

&
:

1I

&

\,'

&
progressions

rJ

The above
265. (IS

may

be corrected as follows

r-J>

<s>
1

&
'

n
rJ
r->

<s

Even

leaps of a sixth are better avoided,

direction.
Better.

and the progression altered

to that of

a third in the contrary

_2_

Better.

266. =

izsr

~w

106
Progressions

HARMONIC ACCOMPANIMENT TO A GIVEN VOICE.

Progressions of augmented intervals are anti-melodic, and as such should not augmented i nr t i and diminish- be employed (see page 25) ; progressions of diminished intervals are however
of

ed intervals.

i,

allowable.
Bad.

9.R7.

f>:

m
.

>*3

Better.

Bad.

G>

&
Bad.

rj

D *"

Better.

r^

~~8S

Jr3

Bad.

Better.

Better.

ii

CJ.

__

rj

L#J
is

F+^fl

(S

=|e

Of a major seventh.

The

leap of a major seventh

Bad.

always to be avoided,

268.

m
^r
is

Bad. -2_

"W
allowable in two different positions of one and

Of a minor

The

leap of a minor seventh

the same chord, but not when the harmony changes.

269.

m
^
231
lie

Not

to be

S3
j-

recommended.
ZZ3Z IZ2I
e

Bad.

=33 -F^oi3g33S
K2
7b ~vrr

-=2_

j.

Exceptions to the above rules

excuse will
strict

may

often be met with

their explanation

and

in the peculiar character of the composition.

all

Nevertheless, the

observance of

rules will always be very advantageous in theoretical

studies.
Rules of

These few remarks

progression,

will

be found to contain the principles of a good melodic

It

melody

equally applicable to all that the

and

will suffice for the present simple exercises.

may

be observed

above rules of melody do not refer to the progression of the bass alone, but apply in general to that of all the voices.

The

correct

accompaniment of Ex. 257

will

be as follows

270.

I
1

3BE
i22r

-jzzi

f*=
jzi-

52:

Sf

221

HARMONIC ACCOMPANIMENT TO A GIVEN SOPKANO.

Exercises.
i.

107

271

I W

321
G.
C.

2Z
321

P
i ~ 9
4.
:

Ci_

G7
32T
G.

G7

G7

G7
37~
G.

321

S
P

321

XT
G7
321

c.

Bb

G7
~^~

32Z

32;

Bb
327
c.

F.

* Pi
7.

6.

32Z
g7
c.

F.

^=^

7t-i

W
d.

zz
Bb
321

32_

321
g7

^E
F.

33C 3z:
g7

g-

d.

Although the foregoing exercises are written

recommended, for the sake of

in the violin clef, the student is

exercise, to transpose

them

into the soprano clef,

in their respective

and

to write the

accompanying voices on separate

lines

and

clefs.

Exercise

272.

m
i

C.

a.

d7

G7

C.

321

7T
Exercise incorrectly

Incorrect accompaniment.

accompanied.

273.
-J-

HP

ZZZ1

A &

3 6
6

108

HARMONIC ACCOMPANIMENT TO A GIVEN VOICE.

The
faults of the

above example are three in number

viz., firstly,

the doubling

of the bass of the chord of sixth in the second bar, which being the third of the
original root should seldom be doubled
;

this

is

however a
error
is

slight fault,

and one

which can
example
;

easily be corrected.

much graver
hidden
fifths

the second in the above

this is the progression of

between bass and soprano in the

fourth and fifth bars.

The

third fault consists of the free entrance of the

dominant seventh
? fth ? nant seventh and its root. F
e tra ce

in the last bar but one.

to this last error,
it

With regard
t .
.

has already been stated on page 50 that the

dominant seventh

may J
..

only enter without preparation

.
, n
. .

when
.

the root

is

alreadv J

present in the preceding chord and remains in the same voice.

I

sfe
274.

33S2I

mA
275.

A.

I^T-

=&

2=fc

In contrary motion.

The
though

free entrance of both root

still

and seventh

is

less

harsh in contrary motion,

against the rules of harmonic connection.

rs

i w
it is

~^~
always to be avoided.

In similar motion.

In

similar motion, however,

276.

jiiEg
more

=i^

sar
~tz>-

The second and most important

of considering
fifths

fault in

Ex. 273

will afford

an opportunity

fully than has yet been done, the progression of hidden

Hidden fifths and octaves.

and octaves. Hidden fifths

or octaves occur

when two

voices proceed in similar motion

from

any
Rendered
visible.

interval to a perfect fifth or octave (see

page 14).
if

The
example

fifths

and octaves

will at

once become visible

the leap taken by one or

both of the voices be

:

filled

up by the intermediate

notes, as in the following

Hidden

Fifths.

277.
Hidden Octaves.

zzar

rczi

zza:

"22"

zz:
~Z?"

HIDDEN FIFTHS AND OCTAVES BETWEEN EXTREME VOICES.

Although certain hidden
would become extremely
fifths

109

and octaves should be avoided, yet

if

such pro-

gressions were entirely excluded

limited,

from the four-part phrase, the choice of chords

and the progression of parts very much confined.

We

shall therefore

proceed to

make some

observations on the

employment of
all cases,

these progressions, although positive rules, which should be applicable to

cannot be given.

Hidden
example
it,
:

fifths or octaves

may be

caused by various kinds of progressions

for Various kinds

si

one voice

may

proceed from any one degree to the next above or below

ns which

while the other voice leaps a greater or less distance (in which case the leap {^ddenfifths may be either hi the upper or lower voice) ; or again, both voices may proceed by or octaves,
leaps.

In either case the hidden progressions

between the middle
voices, or

may

occur between the extreme voices,

between an extreme and a middle voice.

HIDDEN FIFTHS AND OCTAVES BETWEEN THE EXTREME VOICES.

Hidden
fifths

and

octaves

between the extreme voices are allowable, when the

it.

Allowable

upper voice proceeds from one degree to the next above or below
Octaves.

and octavea" between the ex * reme

voices.

278.

At
all

the same time,

it

will

be advisable that one of the accompanying voices

a, b, c.

should proceed in contrary motion or remain stationary, as at

the parts proceed in similar motion,
is

Ex.

d,

where
Preferable

therefore not so good.

upper voice moves only
one semitone.

We

may

also

here repeat what was said at page 18, namely, that hidden when the

octaves are always preferable

when
will

the upper voice moves a semitone only.

In the above examples

octaves
in
is

it

be observed that the progression of hidden

always towards the root of the chord.

is

All those cases should be avoided Hidden

:

which the progression

towards the third ; for example

Bad.

Bad.

octaves proceeding towards the third of thu chord.

279.

SE

SE

110

HARMONIC ACCOMPANIMENT TO A GIVEN VOICE

Even
the
progression
of

Towards the

hidden

octaves

towards

the

fifth

cannot be

recommended.

280. ~7t Im l(|J

^^ '>
1

r-j

Objectionable

Hidden

hidden fifths between the extreme

voices.

fiftlis J J

between the extreme voices are

to

be avoided when the upper tr

voice proceeds by a leap,

, ,

o.

c.

a.

e.

2C
321
281.

sz:
S3rgr

322

dS:

\
Whenever
b, d, e,

the connection

is

rendered closer by means of a seventh, as at

fifth loses

in the

above example, the progression of the hidden

much

of
Allowable hidden octaves between the extreme
voices.

its

harshness.
octaves
.

Hidden

between the extreme voices are not unconditionally prohibited,

.

when

the upper voice proceeds by a leap.

Not good.
a.
b.

,,

Bad.

:C2~
282,

2a: z?

^m
~T3-"

=SF

-^r=r

32"
6

-m.

32Z

Here

also those progressions will

a.

be preferable in which the bass proceeds a

will apply to

semitone only, as at

The remarks made on Ex. 279 and 280

examples d and
Objectionable
3

e.

Hidden

fifths

and

octaves

between the extreme voices are to be avoided when

atd^taTes
between extreme voices.

both voices proceed by a leap.

283.

HIDDEN FIFTHS AND OCTAVES IN THE MIDDLE VOICES.

Such a progression
inversion of the
as the above
is

Ill
xce
P*J

however allowable, when formed by an

-^

on *

same chord.
~^^-&
s> rJ IS

rule.

w m o
284.

o
1 1

fr
<s>

p-=^S

S ^^-"
?-3
1

Og?
1

&r-j

sr-^3

HIDDEN FIFTHS AND OCTAVES IN THE MIDDLE VOICES.

Although the progression of the middle voices ought
the extreme parts,
to

be as pure as that of
it

the extreme voices, yet on account of their position, being as

were covered by

they

may

be allowed a greater freedom of progression,

especially with regard to hidden fifths.

Hidden octaves between the middle

voices are seldom allowable, on account of Hidden

fifths
8

the voices becoming separated by too great a distance; and with respect to hidden between fifths, their good or bad effect will depend on the good connection of the chords middle voices.
in other respects,

and

also

upon

their

agreement with the rules relating

to

hidden

fifths

between extreme

voices. 3-

-p

tr
285.

m
/l

r->
rzr
.

<*j

<s

c=-&
'j? "S

S
_
r-J

r^i

/v

*~~

"

"^
rJ

-&r'-*

S
_iO.

"

..2.

=*

r~-

Bad.

Bad.

IZi

^S

^Z22

fe^

~-&r

HIDDEN FD7THS AND OCTAVES BETWEEN AN EXTREME AND A MIDDLE

VOICE.
Here
also the conditions

under which such progressions may be employed, Between an

cannot be determined by merely mechanical rules, but must depend on a

^ddL'

112

HARMONIC ACCOMPANIMENT TO A GIVEN VOICE.

and natural connection of
:

good

the

harmony.

examples

The

following are

few

286.

m
r?

=&

~cr

gSa

=&

n
Not good
Z22T

izz

Bad.

3E 3E
rr?~

zS=n

St
~g?~

Hidden
passing over
of a chord.

One

peculiar kind of hidden octave has

the seventh of a chord,
b).

still

to

be mentioned, namely, that

itself is
is

which passes over

when

the seventh

already present

an ther voice (see page 59, Ex.144

This progression

always to be avoided.

fe
287.

3E

~trj-

s&

-fea_

ks>/3

^.

*
ESE

rS2i

^g= I 9 m
Hidden
unisons.

_ffi_

2Z

~rs~;.

zzzz

=&

I22T

All that has been said of hidden octaves applies equally to hidden unisons.

288.

ZZ20T
1

Such progressions are forbidden between

Correction of

soprano, alto,

and

tenor, but

may

occur between tenor and bass, where they are to be treated as hidden octaves.

We will now return to Ex.

Ezamp]e273.

273, in order to correct the faults it contains. rr^g hidden fifth which there occurs between the fourth and fifth bar can
if

however scarcely be remedied, since

we make

the bass proceed in contrary

it

motion, the same fault will appear in a different position, though

will

be

less

HIDDEN FIFTHS AND OCTAVES IN THE MIDDLE VOICES.

perceptible on account of
its

113

occurring between an extreme and a middle voice,

instead of between the extreme voices.

~v /\
\\\f

<~j

rj
"j

c
-s>/"J

289.
if?)*

^V
" "*"
-rzi

V.

to alter the

In such a case therefore we have no choice but

and to

harmony

itself,

make use

of a different root, thus

d7

G7

&
290,

S
22"

^^r -d
=&
22:
8
7

tff

Or

thus

m w
291.

e
22:

122:

221

-JL

^
8 7

221

t3f
Exercise.

221

G
292. \ fiir**-i

C
rj

D7
fj
'

G
.

a
<*2

D7
rj

G
*--^

?hm

s>
2.

3.

Defective accompaniment.
4.

fc

293.

^
it

~?7"

oo
221
221

22=

' rj EE
8 7

22"

Exercise incorrectly

accompanied.

221

The faults of the above example have been numbered for reference. The progression of the three upper voices by a leap upwards at No.
good, since
it

is

not Progression
is
i ea

deviates

from

all

the rules of harmonic connection, and moreover

1CeS

y*

not necessary.

114

HARMONIC ACCOMPANIMENT TO A GIVEN VOICE.

The
progression of one or two voices

by a

leap

is

only allowable

voice sustains the harmonic progression

by remaining stationary or
and
rendered

when a third by moving in

the contrary direction.

The same
Free appear-

fault

is

perceptible at

No.

2,

is

still

worse by the free

entrance of both root and seventh.

It has already

been shown that either the dominant seventh or the root ought page 108).
:

and\eventh.

to be prepared (see

The

following examples are therefore incorrect

294.

P
m

:?2j

ZE21

E
_C2_

Jte-

I
may however
occasionally find an excuse in
rules.

Progressions similar to the above

more important melodic

its effect,

If the free entrance of root

as has already

and seventh takes place

is less

in contrary motion,
:

been observed,

unpleasant

for example

m
295.
Progression by a leap of the bass of

321
::c7i

ZE21
ZZ3Z

<3-rr^-t-&-J&-

321

~^U
n-

Srz

the chord of

4.

Example No. 293 also contains another fault at No. 2 viz., a leap in the bass from the chord of 4 (see page 104). The third fault of Ex. No. 293 lies in the hidden fifth, which occurs between tenor and alto, and which is rendered more perceptible (because less hidden) by
the leap of the soprano.

The hidden
at

fifth at

No. 4

is

objectionable, because

it is

not necessary

that

No. 5

is,

however, better, on account of the progression of both alto and bass

being in contrary motion.

HIDDEN FIFTHS AND OCTAVES IN THE MIDDLE VOICES.

The
following will therefore be the correct accompaniment of Ex. 293

115

fc

Eg
I

es:
32.

ES

296.

.ca.

32.

=s
32;
ZZZZ

32=1

A J.

Exercises.

297.

P
2.

W=^=
F
Bt

32;

32; F

C7

r?

3E
G
3.

321

D
32T!

D
~rzr

D
321

D7

GL

G
4.
> <z

D7

D7
32;

e7

D7

P ?F^P=
G

327

D7

D7
321

P P
8.

32;
EfiE
b

p
293.

321
32;
d

The next

exercise

m.

W-

116

HARMONIC ACCOMPANIMENT TO A GIVEN VOICE.

:

with the following accompaniment

=3=
299.

I2I

22=q=2

rpz

*\
i

J&.

Ja_

The

false relation.

known by the name of the false relation. The false relation, which belongs to the anti-melodic progressions, occurs when any note is immediately followed by the same note chromatically altered in
contains an incorrect progression,

another voice

as in the second

and third bars of the above example, where the

G in
How avoided.

the alto

is

immediately followed by the

G$

in the bass.
:

In order to avoid this fault the following rule must be observed

When
voice.
Exceptions to the rule.

any note

is

to

be immediately followed by the same note chromatically

raised or lowered, such chromatic alteration

must take place

with

in one

and

the

same

Although

this rule is perfectly consistent

is

all

the theoretical principles of

harmony, there

perhaps none which admits of so

many

exceptions.

The

fol-

lowing are a few of the examples of false relations which have no unpleasant
effect
:

W^r^p
300.

M*l&k

Reason

of

the

In

all

these cases the false relation

is

is

not formed by essential notes of a simple

exceptions.

harmonic progression, but

natural progressions

the result of a contraction or abridgment of certain

which, had they been employed in their complete form,

would not have agreed with the metrical character of the phrase. The original progressions, by the contraction of which the above
relations

false

were formed, are

as follows

301.

THE FALSE RELATION.

These conditions, under which the
false relation
is

117

allowable, are

however not
:

Objectionable
false relations.

contained in the following and similar examples, which are therefore incorrect
Or,

302.

With the
is

false relations

is

also classed a progression r D

is

known
_

as the Tritone; this

_ _

Progression of the tritone.

the progression of an augmented fourth, and

contained in the diatonic scale

its

between the fourth and seventh degrees.

it

It derives

name from

the fact that

contains three whole tones

-^=303.

~T2~

Like
difficulty

all
it

augmented

intervals, the tritone should

be avoided on account of the Whyit

should
'

presents to the singer.

This

difficulty is doubtless

caused by the fact that the two notes of which

it is

composed require two

different resolutions

304.

g^^j=fl
the interval be given to one voice, for example

of

which one must be omitted

if

305.

ife

=st

That

this is

however not the only reason of the unpleasant

is

effect of the

augalso
its

Progression o
cd'fifth'aliow

mented fourth,
melodic form

proved by

its

inversion, the diminished fifth,

is

which would

require a two-fold resolution, but which

:

nevertheless constantly employed in

able *

^L
306.
--&T-

=t=*
The
sions

A
is

reason

why

the tritone has always been specially prohibited

in the simple
it is

that it

was the only augmented interval which occurred

formerly
in use.

harmonic progres-

At

the present time, however,

merely classed with

118

HARMONIC ACCOMPANIMENT TO A GIVEN VOICE.

the other augmented progressions, which in pure part-writing should be avoided

as anti-melodic, or at least
Different conditions under

employed with the greatest caution.

is

If the progression of the tritone

caused by an alteration of the position of

its

which the
tritone appears.

one and the same chord, as at a in the following example,

unexpected, and
is

appearance

is

not
it

its effect

much

less

unpleasant than

when

the notes of which

composed belong

to

two

different harmonies, as at b.

307.

Succession of

Formerly the prohibition of the

two consecutive major
example
,

tritone

was extended

to the progression of

two major
thirds for-

thirds, separated

by the interval or a major second, tor

merly

for-

bidden.

308.

ES^S

^m
parts,

and

it

cannot be denied that in two parts this progression has the same unpleaitself.

sant effect as the tritone

less harsh.

In three or four

however,

it is

considerably

-?"

~C3"

309.

Correction of

Ex

We
contains

now

return to

Ex. No. 299, in order to correct the

false relation

it

:-

310.

etc.

HARMONIC ACCOMPANIMENT TO A GIVEN MIDDLE VOICE.

119

THE HARMONIC ACCOMPANIMENT TO A GIVEN MIDDLE VOICE.

This exercise
is

extremely useful, aud cannot be begun too soon.

As

in the Cantus firmua in a middle

voice.

preceding examples, the roots which will serve as the foundations of the accom-

panying harmonies
Exercise
:

will

be indicated by means of

letters.

Alto.

G
In the
alto.

311.

P
P
&}
2Z: 73"
z=L

progression of the bass will as usual be the most important, and should Addition of soprano and be considered first ; at the same time, however, the soprano may be added. bass.

The

312.

G 22TT
~?y~

G
22:

C.

ESE 221

TT
the addition of the Addition
the tenor.
oi

The above phrase

tenor
it

will

be complete in three parts.

:

With

will

appear as follows

ft

zzzz^zzz.

22;

313.

-&-

-<=-

^T& EC
A given
Exercise

221

22:
221
-Z2I

^=A
221

dU.

5=

221

tenor will be similarly treated.

:

Cantus firm us
in the tenoi.

C
IUI 314. EH-? s

G
r"J
1

G7
rj

inR

s>

s>

With

addition of bass

and soprano

Accompanied by bass and

Boprano.

221
315.

221

33:
J2.

231
~n~

120

HARMONIC ACCOMPANIMENT TO A GIVEN VOICE.

In four parts
:

Addition of
the
alto.

316.

1 W
1

35C

:es:

rsz

I22Z

The
Position of
vuices.

student

is

reconunended

to

persevere in such exercises

as the above

until the progression of parts

It

becomes perfectly pure and unconstrained.

indispensable.

may

here be observed that in order to form a good four-part progression a

is

good position of the voices

position will

The

following rule with regard to

be found serviceable.

The

distance which separates any two of the three upper voices

must never

exceed an octave.
relationship of tenor

This

ride,

however, admits of exceptions as regards the

and bass

to

one another.
of a given
;

The harmonic accompaniment

will therefore

bass has been fully treated in

the foregoing chapters on figured basses

further consideration of this subject

be unnecessary.

Exercises.
Alto given.

T3~
S

2Z
St

zzzz

~P~ Bb

&
9

w
Bf?

Qt7

zzzz

m
9

^t
G

7=1

-rd-

rJ

d
G

..r j

r J.

T
a,

e-

HARMONIC ACCOMPANIMENT TO A GIVEN MIDDLE VOICE

121

Se

~^^^-

2=^:
Eb

^
D
:e=
f

**
T $ i
Bb

IS 9
y

2i=^I
Eb

m
10 HI

SC

^
Ab

Eb

Bb

Eb

Ab

=st Bb Eb

Eb

=s

S-

T ^

-c^

^t

-f-

Fd

Bb

pi
a*
U

iS=i=
f

zd st
G

g
D

3E

r j -|-

^
a

:e=t

F*i

Tenor given.

G7
2.

is
3*
4.

d
-S>-

WJ

IS:

221

321

-si-

zee

J
4UJ-

Ig2 s G

:&

ip=i

ice

q& *
C
(=2

^ZCipZ=f-T
F

G7

4UL

fe:
UJxb-

i^ i=g
E

^ ^P
:a=fE:
Bb 7

-1

X-

s
i&
^=i
Bb

S
F

fig
Bb
8

^
it
F

-ppz
F7
Bb Eb

Eb

^
Bb

UU>

=b=

2^1

^S*
G
=f=iip:

q& =&
f

^=-fez:
it

Gt
If=2I

i^l q& ^= ^
A7

i&

ig

ip:

122

HARMONIC ACCOMPANIMENT TO A GIVEN VOICE.

In the following exercises the
roots

have not been indicated, the choice

of

harmonies being

left to the taste of

the student.

Exekcises.
Soprano given.
1.
-)

318. f V
2.

-J '
>
I

r>

''->

rj

Ci

srj

i)

zcsz

-&-

zzzz

c_l_

ZZ21

$
4.

rs2i

~Z21

22Z

Vl f ftri v
*(//

rj

rj

ri

rj

rj

c)

W A^ tr
6.

m
S>

zzz:

22:

rjzn

rj

IS?

<s

fV

&
-&

<S>

e
8.

zzz.

22EI

^==T
:cc

s>-

221

221

_(2.-

y
Alto given.
9.

C
10.

'a

=5>=

-0

'

ozzaz

2Z
22Z

PP
11.

~?v~

~r^T
12.

jZT_

3221

HARMONIC ACCOMPANIMENT 10 A GIVEN MIDDLE VOICE.

Tenor given.
13.
-iUJ

123

SI
14.
II
1

--

^
~

~g^

H
J

fj
-*

cfi

&

fT>

*-""

C-

fj

15.
'J

_is_

aS
321
=S2I

ife

124

CHAPTER XV.

OF CADENCES.
this

Various kinds of cadences have already been mentioned work, but we have not hitherto had an opportunity of
is

at different parts of

considering them as

fully as
Different

necessary.

We shall

therefore proceed to do so in the present chapter.

authentic

There are two principal kinds of cadences, the

cadence
:

and the plagal

kinds of
cadences.

these are expressed

by the following formulae, the authentic cadence by

V-Ij and the plagal cadence by IV-I (or in minor by V-I and iv-l), as has
already been shown.
Their use.

Both these kinds of cadences are used not only

position,

at the

end of an entire com-

but also for the close of certain sections thereof, such as periods,

phrases, &c.

This part of the subject belongs, however, to the theory of Composition;

will therefore

it

be unnecessary to enter upon

is

it

here.
it

Employment
of the plagal cadence at the end of a

When

the plagal cadence

is

used at the end of a composition,

seldom

appears alone, but

generally preceded by the authentic cadence, and then

:

composition.

introduced by a modulation into the subdominant, thus

Authentic Cadence.

Plagal Cadence.

319.

The
Subdi visions
of authentic cadences into

plagal cadence often closes a minor composition with the major chord, as

in the above example.

Authentic cadences are also subdivided into two kinds,

imperfect.

viz.,

perfect

and

perfect and imperfect.

The
tonic

perfect authentic cadences are those in

which the bass contains the

roots

The

perfect cadence.

of both the dominant

is also

and tonic chords, and

in

which the root of the chord of

:

contained in the soprano, for example

zcz:

">*?-,

320.
3=2= ZZ2Z 7Z2T

CADENCES.
If this
is

125

not the case,

i. e.,

if

either of the

two chords be used in an inverted The

imper-

form, so that the root does not appear in the bass (as at a in the following example),
or
if

the root of the chord of tonic be not contained in the soprano (as at b), the
is

cadence

said to be imperfect.

!=&=
321.

S
*JGL
~f^~.

in

SE
~JZZZ

_^L

d
tonic, the

ZZZL

IZ2_

If the chord of dominant

is

followed by some other

harmony than
p. 60).

that of the The deceptive

PJUiAHitfL

cadence

is

termed deceptive or interrupted.

(See

rz2i -T3~

zSz

*=
\&etc.

322.

221

6 -<S>-

-~c?~

Another kind of cadence closing on the dominant, and expressed by the The
formula I-V,
is

called the half-close or semi-cadence.

send, 6U0e

323.

p=
V.

In the formation of the semi-cadence the chord of dominant

may

be preceded Other form*

eadenoe.

by other chords besides that of the

tonic, for

example

324.

:a:
1L

^S

r^r-

m
IV.
is

^&-

s
VI.

etc.

V.

Certain modulations into the dominant, which are not effected by means of
the dominant seventh, and the effect of which
also

undecided and transitory,

may

be classed with the semi-cadences.

22

325.

-<&=

3=

jSE

J ^

etc.

CADENCES.
Examples
of various

In the following four-voiced chorale

cadences.

will

be found examples of various

cadcncw.

The

first

line

ends with a half-cadence, the second with a perfect

cadence, the third with a plagal cadence in the relative major, the fourth with
the same cadence in the original key, the fifth with a perfect cadence in the

dominant of the
original key.

relative major,

and the

sixth

with a half-cadence in the

"

Haupt

voll

Blut und Wunden."

IE&
326.

3=

B=^ r^Ff-r
^=r1

jrJ

cJ.

J-rJ-U
~3=-

^
1

:&=

mE& *=t

J.

J-

f^
x
SE3
-^

E i P r ^^f vyT^f rr

bj *J=^ f^r^FI =F
i

y ^-^ff\
"B

s^ ^p
J T^To
r[
^l
-ci

jsi.

-d

adz

^ vr

4=f

Ff
:Z

^=H^T

:g=

^F

INDEX
n%:-**

Accompaniment
Alto, 11.

to a given voice, 102.

Enharmonic modulation,
Exercises
scale,

97. of the

Altered chords, 64.

On the common chords

14, 19
;

major

On

the
;

common
;

chords of

Alto

clef, 85.

the minor scale, 26

On

the inversions of

Anticipation, 90.

the
chord, 24, 67.

common

chords, 31
;

On
;

the chord of

Anti-melodic progressions, 105, 116.

the seventh, 38

On

the inversions of the

Augmented common Augmented

with seventh added, 68.

fourth, 20, 49, 117.
intervals, 65.

chord of the seventh, 42 On the secon lary sevenths, 50, 51, 54, 61 On the inversions of the secondary sevenths, 56 On
;

the deceptive cadence,

chords, 69, 72
;

60

On

alter
;

second, 25, 27.

sixth,

On

modulations, 77
;

On

chord

of, 70.

suspensions,
of,

83,

89

On

the harmonic

sixth

and

fifth,

chord

71.

accompaniment
of,

to a given soprano, 107,

sixth, fourth,

and

third,

chord

70.

115, 122;

On

the harmonic accompani;

Bass, 10.

ment
of,

to a given alto, 120, 122

On

the

harmonic accompaniment
progression
of,

120.

harmonic accompaniment to a given tenor

121, 123.

103.

Extreme

voices, 11.
fifths

Cadence, 16, 22, 33, 99, 124.

deceptive, 60, 125.

hidden

and octaves between, 109.

Cantus firmus, 102, 119.

Chorale, 126.

False relation, 116.

Fifths, 4.

Chords,

9. 9.

augmented, 24, 65, 67.

consecutive, 12, 32, 72, 82.

major and minor,

secondary, 16, 24.

of the seventh, connection of, 51.

diminished, 19, 41, 65, 67. hidden, 14, 18, 108.

Chromatic alteration of chords, 64.

scale, 3.

Figuring of chords, 26, 29, 34, 35, 40.

of suspensions, 83.

Clefs, vocal, 84.

Fourth,
72, 82.

4.

Consecutive
fifths,

fifths, 12,

allowable, 32.

augmented, 20. French sixth, 71.

octaves, 12, 82.

German
5.

sixth, 71.

Consonances, perfect and imperfect,

Half

close, 125.

Contrary motion, 12. Covered fifths, 14, 18, 108.

octaves, 14, 18, 33, 59, 108.

Deceptive cadence, 60, 125. Degrees of the scale, 1. Diminished fifth, 41', 65, 67. chord of, 44.
,

Harmonic accompaniment, 102. Harmony, close and extended, 14. Hidden fifths, 14, 18, 108. Hidden octaves, 14, 18, 33, 59, 108.
Imperfect cadence, 125. Inganno, 60, 125.
Intervals, 3.

intervals, 65.

seventh, chord

of,

44, 96.

augmented and diminished, 65

consonant and dissonant,
5.

Dissonances, 5.

Dominant, chord

major and
of, 10, 94.

perfect, 4.

in minor, 23.

minor, 5.
Italian sixth, 70.

seventh, 35, 50, 95, 108, 114.

Doubly-diminished chord, 70.

Eleventh, chord
of, 62.

Inversion of

common

chords, 29.

of intervals, 6.

of secondary sevenths, 55.

128

INDEX.
of the

augmented chord,

68.

Scale, chromatic, 3.

of the chord of diminished fifths, 31. of the chord of the seventh, 40.

diatonic major,l.

minor, 2.
Score, vocal, 86.

Leading note, 20, 36, 53, 87. chord of the seventh on

the, 47, 53.

Second, 4.

Major and minor

scales, 2.

intervals, 5.

augmented, 25, 27, 65. Second major and minor, 5.

Semi-cadence, 125. Semitones, 1.

chords, 9.

Major

Scale, chords of the, 9.

Middle voice, accompaniment to a, 119. Middle voices, 11. hidden fifths and octaves between,

Sequence, 19.
of sixths, 33.
11.

Seventh, 4

Minor

scale,

chords of the, 23.

chord

of, 35.

Modulation, 76, 93. Modulation enharmonic, 97.

extended, 99.

combined with the augmented chord,

diminished, 44, 53, 65, 96.

68.

Motion, similar, contrary, and oblique, 12.

Ninth, chord of the, 62, 72, 88.

dominant, 35, 50, 95, 108, 114. on the leading note, 47.
secondary chords
of,

44.

secondary, in minor, 52.

Oblique motion, 12. Octave, 4.

Similar motion, 12.

Sixth, 4.
65,

augmented and diminished,

Octaves, consecutive, 12, 82.
hidden, 14, 18, 33, 59, 108.

Passing notes, 90. Passing seventh, 81.

Perfect cadence, 124.

major and minor, 5. augmented, 65, augmented, chord of, 70. chord of, 29. and fifth, chord of, 49. and fourth, chord of, 29, 33, 88, 95, 97,
103, 114.

Plagal cadence, 16, 124. in minor, 23.

Position of voices, 15, 30, 31, 120.

fourth and second, chord fourth and third, chord

of,

40.

of, 40.

Preparation of the ninth, 62.

of the seventh, 49. of the sixth

Soprano, 10.

and fourth, 103.

of the suspension, 79.

Soprano clef, 85. harmonic accompaniment Subdominant, chord of, 10.

Suspensions, 63, 78, 104.
double, 88.

of,

102.

Relative scales,

3.

Resolution

Of

intervals,

augmented and diminished Of the leading note, 20 20

; ; ; ;

Table

of all the chords,

73

Of the chord of diminished fifth, 21, 32 Of the Of the augmented fourth, 32 Of the chord of dominant seventh, 36 Of the chord of the sixth and fifth, 40 Of the the sixth, fourth, and third, 41
;

of

common

chords, 28.

of inversions, 7, 66.

of

resolutions of the inversions of

the

dominant seventh, 42.

Tenor,
Third,
11.
clef, 85.

chord of the sixth, fourth, and second, 41

Of the secondary
chord
61
of
;

sevenths, 46

Of the

4.

the

seventh

on the leading
seventh, 53,

diminished, 65.

note, 47
;

Of the diminished
;

major and minor,

major, succession

5. of,

Of the

inversions of the secondary

;

118.

sevenths, 55

Of the seventh (free), 75 Of the Of the augmented chord, 67 Of the augmented augmented sixth, 70 Of the sixth, fourth, and third, 71 Of the augmented sixth and fifth, 71
; ; ; ;

Thirteenth, chord of, 62.

Tone,

Tonic, chord

of, 10, 94.

Tritone, 20,49, 117.

Unison,

4.

suspension, 81

88.

augmented,

65.

Retardation, 87.

Unisons, hidden, 112.

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