Gardner Music Composition

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MUSIC A

NEW

COMPOSITION METHOD

OF

HARMONY

BY

CARL

E.

GARDNER

Author of Essentialsof Musk

Theory,

of Rhythmicand Principles Tonal Notation, etc.

NEW

CARL

YORK

FISCHER

1918

N\uS

30b"3

OCT

2t

1918

y

Copyright,

191

8

BY

FISCHER

CARL New

International

York

Copyright

Secured

PREFACE.

the past few years

DuKiNG

the art creations

period in At

such

we

see

music; but of futility

this

many

Modem

of

the creators

among

teaching

method

the

"

with personality

enter

errors,

by academicians all spontaneityin the student.

"

himself,and guiding him not, in This

his set of

rules,and

of chords

result is

inclined

no

vitalityand not

an

The

artist,but

but when theorists,

a

in

order

who

pedagogy '^

make

matical" gram-

ously ingeni-

often inhibited

too

to express

old method

the

gave

disobeyed them

whether

or

artistic.

teaching harmony consists

student

in music

subject.

allowing the student

the expression,

to

another. above

in which

more infinitely

no

enlightened,

of the

formulating rules according

meaning, art

of

to him

correctness

learns all the forbidden

works

of

and

will be

musicallyinclined. there is

Instead

with almost

series of rules

series of don^ts which

of

and

age

endowed

would

a

the

seen

old ways

when, somewhat

student

and

art

irksome, sometimes

of the old

as

subject at hand.

are

persons

taught by

writes the chords

mechanical

a

a

progressionone

the student

given and

such

have

the

of the

into the attractiveness

woe

was

method

"indirect"

correct

to the

the time

to

in his self

doing, the result

so

construction

comes,

this

over

subject has been

made

the

few

very

conspicuous examples composition. For fear that a the

who

abandoned

have

of the most

is in music

those

of the mechanism

bridge

to

appreciateand

student

sciences.

and

arts

startingevery student, regardlessof

of

unintelligible, period of study One

reactionary

a

products of

futuristic

our

educators

recognized that

be

to

come

of

some

the rudiments

sufficient enthusiasm

which

teaching of,the

upheaval is encouraging to of our pedagogicalmethods.

and psychologists

they can

in the

and

beginningof

the

seen

time, it is to be expected that there will be extremists

a

It has

have

we

form, and are

removed

mechanician.

combinations

turning to

of the older masters,

and

the works

their

bass

matically" "grampart is

The

inevitable

the student

who

is mathematically

the

who

is

of chords

in

one

of relative values.

sense

and

than

after chain

the student

All

usuallybe^

Furthermore, the student progressionsof the of the modernists

he is confronted m

giving the

the bass.

chain no

to

Usually a

successful

writes

of

with

tive conserva-

and

even

parallelperfect

PREFACE.

iv

unresolved dissonances, cross-relations, augmented progressions, fifths, of a fourth or fifth in same ei cetera two or more direction, progressions ad infinUum, much by a studyof the changesgoing on Music pedagogs can profit of presenting other subjects;of the way many in the methods other subjectshave benefited by taking cognizanceof data which modem

psychologyand pedagogyhave The

"direct" method

in the

to offer.

teachingof music compositionis sure

to

is,allow and encourage the student to compose. We children to write letters until such would not think of forbidding our time as they had learned the entire contents of an imabridgedWebster Rather we encourage and had learned allthe rules of Englishgrammar.

come.

Our

thesis

the child to express himself with whatever vocabularyhe happens to have. Although there are approximately450,000 words in the English

language,Shakespeareused but 15,000 and Milton 10,000. The following thesis in mind. text has been written with the above Rules and don'ts have

been avoided in

indirect method

has been

believes that

such sacrificewill accrue.

so

far

as

seemed

possible.The

only where the direct method fails because in such placesthe personalfactor is often necessary. in print, be composers, but allcan be trained cannot All students of composition the works of composers. to appreciate, imderstand, and interpret Whether or not the study of music grammar, alone,will bringabout such has its place in any scheme of results will not be argued. Grammar be the initialpresentaprocedure;but its placeshould not necessarily tion, the most important. Spontaneity, and appreciation nor interest, the desired goalsand the prevalentmethod of teachingis a menace are and then a geniusescapes, but geniuses Now to these three qualities. in a startling are minority. In this method, the author hopes to make the studyof harmony not the dry and difficultsubject which so many proclaimit, but an attractive of presentation permit spontaneity subject.If the order and manner the objectof the work has been accomplished.Even and selfexpression, if,in this text, academic considerations are sacrificed to spontaneity, the work has not failed;but the author and appreciation, interest, The Dillon

no

resorted to

extends his gratitudeto his wife,Marion affectionately and suggestions. aid,criticism, Gardner, for her sympathetic author

C. E. G* Cambudge,

Mass.,

191 7

CONTENTS. PART

I. Paob """

Ul

To

THE

vii

Teaches

xiv

Introduction

xiv

of Chords

Vocabulary

CoD^Miss

of the Voices

in the Mixed

CoD^Miss

of the Voices

in the

Compass

of the Pianoforte

xvii

Quartet

xviii

String Quartet

xviii

Chapter I. Cadences II. The

Root

Elementary

and

Tonic

Position

The

Inversions. I

8

Qiord

Dominant

9

Triad, Seventh, Ninth, and 2

12

Exercises, Group

3

14

Exercises,Group

4

16

5

21

Chord

22

Melodic

Line

17

Exercises,Group The

SuiBDOMiNANT

Root

Position

and

Inversions.

Exercises, Group The V.

Inversions.

Exercises,Group

The

IV.

i

4

and

Exercises, Group ni.

Form

Triad

Major

Seventh

Sufertonic

The

6

28

Chords

29

Chord

30

Triad, Seventh, Ninth, and Inversions.

Exercises,Group VI.

The

7

35 Chord

Superdominant

36

Triad, Seventh, Ninth, and Inversions.

Exercises,Group Vn.

The

Mediant

8

40

Chord

42

Triad, Seventh, Ninth, and Inversions.

Exercises,Group Vni.

The

Subtonic

9

45

Chord

48

Triad, Seventh, and Inversions.

Exercises,Group DC. X.

Recapitulation The

Minor

10

52

Suggestions

and

54

Mode

Exercises,Group

r

58 62

11

y

CONTENTS.

vi

Chapter XI.

Paob

Non-Chosdal

Tones

64

Pasang, Appoggiatura, NeighboringTonej Anticipatory, Suspension, and Tones. Retardation,Organ Point, Compound Non-Chordal Exercises,Group 12 XII.

Alteked

Chords

Chords

with Altered Fifths

74

Italian Sixth Chord

76

Chord

Sixth

German

78

Sixth Chord

French

79

Additional Augmented

Sixth Chords

80

Neapolitan Sixth Chord Exercises,Group XIII.

82

Altered Chords

Other

Eleventh

83 8S

13

T^ikteenth

and

Chords

PART Xrv.

Modulation

Modernities

89

11.

^

14

Styles

Various

The

and

Transition

and

Exercises,Group XV.

72

73

.

.

97 100

op

Writing

loi

(Pianoforte, StringQuartet,Orchestra.) of Duplication

Factors

Exercises,Group Binary

XVI.

Exercises,Group XVII.

107

Forms

Ternary

and

107

15

16

116

Episode,

Introduction, Intermezzo, Group 17 Exercises, The

XVin.

Rondo

and

XIX.

The

Sonata

XX.

The

Mixed

and

Form

18

Forms

132

Pot-pourri,Fantasia,Program A.

Melodies

Appendix

B.

Miscellaneous

Appendix

C.

Exeroses

Triads Principal

125

128 Free

Appendix

117

127

Form and

Coda

125

Variation

the

Exercises,Group

107

Bach's

from

Music.

Chorals

Exercises

of the

Major

147

Bass

Figured

on

136 152

Mode

152

All the Triads of the Major Mode

152

Triads of the Minor

153

Mode

Inversions of the Triads Seventh

Chords

154

and Inversions

154

Transition

155

Altered Chords Miscellaneous Appendix

D.

156 156

Exercises

Definitions

of

Technical

Terms

159

TO author

The

realizes of

to the method

TEACHER.

THE

that,at firstglance,the

presentationin the opening chapters.

ear

should

other chord

some

be

no

tonic,but

than

objection for

followingresults obtained

first objection

the student's places in the exercises,

in certain

argued that

will desire

there The

be

The

object

given the student in the second chapter,

will be to the limited scope

it may

will

teacher

average

here

by

to the

the student

". W.

use

is

of other chords

assertinghimself.

Harrison, of Boston, show

the

in the material. possibilities (a.)

Exercise

(^^

8, harmonized

for four

voices

with

tonic chord.

i

i

J.

[m"SHf-

-"-

f

-"*

J.

-""-

i

i

i

n

^ -^-

(^.)

i, p.

The

same

-B"-

f

arranged

for solo voice

with

vu

accompaniment

(tonicchord).

I

TO

VIU

^^

TEACHER.

THE

x?-

S

:^

I

H:

J -^ :"(- -i

(S

m

trt

-"s^

,

I

1

I

1^

tlu' :g S*

ipittfe ^ c.

The

same

r

m

S-

r

r 1^

arrangedfor piano solo.

(^^^^^^^ 1^

I

J

1^=^

3i

E

fe

E ^

^^ i

(a.)

Exerdse

2, p.

8,harmonized

for four voices.

It Ex. 2.

-^^^^ifmri'\m'f} rfiri^^

TO

(^.)

The

same

amnged

THE

TEACHER.

for solo voice and

acoompaniment

"^H^H

(a,)

Exercise

3, p.

8, harmonized

for four voices.

(

"l ,i////v/fiMi'f

^I'lh'yi'j/ ^ J -J,^; J:; j V ^_:^ ^

TO

(5.)

The

(a.)

same

arrangedfor

Exercise 4, p.

m

TEACHER.

solo roice and

8,harmonized

f

Ex.

THE

accompaniment.

for four voices.

^

^^

4.

-U

^p ^

^ijW^: f=^

11 .

I

I

:

.

r

if

ir

r

f=f

W/'m^ ''i'(W^'i' ivM/^^f/^ LJ^ ^p

J J J

p

I

TO

i

I

I

^

J

THE

TEACHER.

I

XI

i

,

^^

"^

""5^

II

-(S2-

i

"

(?^

r

(5.)

ai

f5"

f" The

harmonized

same

#-

for solo voice with

accompaniment.

fc=t

M

-O.

^^

^

^=^

f

4^Jt

^ all*

-""i*"S"a"

I

"

I

"

"

"""""

TO

xu

THE

TEACHER.

The

with which Mr. Harrison handled this material ingeniousness the existence of the chapterin its present form. To be sure, justifies of the versions, non-chordal tones appear in some but these are spontaneous and their use should be encouragedeven before the student has such tones. reached the chapterwhich explains Mr. Harrison is a professional

and such

skilled instrumentalist and

results from satisfactory has obtained

whom

as

most.

the average

good comparatively

therefore cannot

expect ever, The author, how-

student.

results from

all students with

has been tried.

the method

A second

we

objection may

be advanced

that the method

This arises from the fact that most

triads in principal

the the firstchapter,

This

text books

is not

rapid

as

cover

the three

secondarytriads in

the second

by comparison. The average in from fifteen to chord structure and progression text book covers material is covered by this text in chapters. The same twenty-five lessons than a chapter each of which requires fourteen chapters, no more etc. chapter,

must objection

be met

in other text books. the economy in time of this method, the author gave an class the final examination paper set by Harvard College experimental To

prove

for the firstyear

The class at Harvard has 1914. of lectures. The author's class had

harmony class of

approximately seventy-two hours of hours of lectures. In spite thirty-five of lecture hours,the author's class as and was originality displayed It will be noticed that

rudiments of music such

as

no are

a

the difference in the number

whole

made

all the work

introductory pages found in most

few mistakes,considerable was are

logical. devoted

to

the

S3rstemsof harmony. The

composition alreadyhas or should rhythm,of scales (both theoretical and

author believes that the student of

thoroughknowledge of and of intervalsand their inversions. The author's Essen^ practitional), and the preparatory ground thoroughly tials of Music Theory covers have

a

of

within

material

such

the

TEACHER.

THE

TO

of

pages

xiii

book

text

a

of

composition

out

seems

place. Appendix

In

has

student

melodies

from worked

or

graded

bass

work.

Appendix

A

few

in

each

of

these

case,

foimd

exercises D terms

the

term

melodies

Chapter

the out

according

for

those

are

used

chosen

and

a

in is

list this

desire of

practically

B

to

used

will

be

which

composers

the

supplement

perhaps

with for

self-explanatory.

the

after found to

are

C

Appendix

terms

from

be

to

Appendix

technical

method

chosen

designed

directions.

to

who

of

various

harmonization are

In

14.

of

works

consists

for

graded

not

are

completed

chosen

harmonized

be

These

Chorals.

Bach's the

will

A

be

contains melodic

definitions. first

time;

INTRODUCTION. VOCABULARY

In

followingvocabulary, the chords

the

denote

numerals

triads.

Arabic

major triads; small

numeral

is affixed to

largeRoman

a

plus sign is interval.

are

of

factors

are

necessarilythe

Triads

to denote

triad. an

figuresand

minor

denote

cipher is affixed The

denotes

the

triad.

The

student

show

the

The

of the

changed

is not

expected

The

arrangements

such

as

most

effective factor distributions.

to

of the "spellings'*

chords

to

and

Major Mode.

of the

i

-^-^-

^ "22L

1^

CI

II

Triads

a

augmented

an

the alteration has

not

or

to

plus sign (+)

augmented triad.

vocabulary; it is given for reference.

the

not

numeral

regardlessof whether

formation

of the chord

A

factors.

Roman

figuringthe altered triads,the originalnumeration

triads is retained

memorize

numerals

Roman

diminished

Arabic

figured. Large

are

a

to denote

affixed to

also

In

normal

chord

figuresdenote

small Roman

the

CHORDS.

OF

of the Harmonic

i

III

Minor

IV

VI

^

1

I

VII"

Mode.

-*5"-

i

75

Triads

i

iiO

I

a

of the

Ascending

m+

fe

"^-

I

a

Triads

of the Melodic

Form

of the

Descending

Form

of the

^ a

Seventh

i

Chords

of the Major

III

h

"7

Minor.

ViO

IV Melodic

IV

vir

Minor.

i

^ SL

VI

vn

Mode.

^m

^m C

vir

i

^ ii"

I

VI

^

III+

II

V

IV

III7

1V7 xlv

# ^ Th,

V119

I

INTRODUCTION.

s"eventh Chords

of the Harmonic

Seventh

m+7

lA

17 Chords

i

of the

I7 Chords

Seventh

i Ninth

Chords

VI7

of the Melodic

i YVP,70

Minor.

I

II7

m+n

of the

DescendingForm

of the

VlO^

IV. of the Melodic

VHO7

Minor. h5^

I

11^7

I7

IJJ

i

I^ a

1^

1V7

Ascending Form

i a

Mode.

hi

I

i a

Minor

XV

Ig III7

II

Is

^-

IV7

V7

VI.

vn,

Major Mode. j22.

^m c

u9

Ninth

^

ii"

Chords

IV"

nil

of the Harmonic

I

Minor

vnOg

VI o

Mode. -^Sr

g

I

s^

^E

i

-"-

^ n^9

i"

a

Ninth

Chords

of the

in+

9

AscendingForm

IV

VI

o

of the Melodic

9

Minor. -"s-

i

m=m=x

1# a

I

Ninth

II

9

Chords

m+c

9

of the

DescendingForm

IV

I VjO 9

9

of the Melodic

vir

9

Minor.

^

i

i a

II*

i"

Eleventh

i

viiO 9

"49

Chords

.

of the

m.

9

vn.

Major Mode.

GL

t CIu

VI

IV.

nil

^ct.

rail

rvu

]^ Vu

-"s-

viu

^1 "nOii

xvi

INTRODUCTION. Eleventh

Chords

of the Harmonic

Minor

Mode

"

i a

""ii

III

Thirteenth

Chords

ni+^u

of the

^m

"" I,i"

Thirteenth

"i" Chords

rvia

"lis

of the Harmonic

^m

Minor

Vi,

VI

a

iiOi,

I IS

vnO

IS

IS

Mode.

A

H^l-^^

i

VIlOu

VIu

Major Mode

i C

Vu

ivu

i

m+is

Via

ivi.

vnOj,

Vli,

xst inversion.

2nd inversion.

i ^ Inversions

of

a

Triad: 2z:

ist inversion. 2nd inversion,

Inversions of

a

Seventh

Chord:

ist

i Inversions of

a

-yd inversion.

inversion.

2nd inversion.

i

f

3rd inversion. 4fh inversion.

i

s

^

Ninth Chord:

"^

3:

m

i

"i9-

-O. -"^

i

^

i

i

"z?"

c

*The

vx t

eleventh and thirteenthchords of the

1 two

forma

of melodic minor

1 are

1 omitted.

INTRODUCTION.

XVIU

Compass

VioUn

(ist

and

of

Voices

the

in

String

the

Quartet.

2nd)/:zz Viola

J52.

^

'CeUo

I

Compass

of

^^

Bva

alt.

the

Pianoforte.

COMPOSITION.

MUSIC

CHAPTER AND

CADENCES

The

1.

from

Authentic

dominant

in

both

soimds

factor

3

5 in the

or

effective The

2.

of the

use

Half

harmony

dominant

to

phrase other than The

3.

Deceptive

Cadencef) than

the last

is

a

use

period.

It

is at

is

of

a

dominant

use

False

harmony

end

phrase also

voice when

cadence

The

period.

a

subdominant

or

is at

the end

Cadence

the

effectivelyused

its

tonic

from

occasionallyIV preferablyin a

with

uppermost

of

and

of

arranged

of any

period.

(also called

Cadence

progression from

I, usually VI

effective

phrase

be

complete cadence.

Its effective

harmony.

may

authentic

is at the end

progression

a

is

progression

a

cadence

the

when

is called

cadence

is

chord

The

chord.

harmony

authentic

Cadence

imperfect

tonic

preceded by subdominant

authentic

tonic

the

voices, and

outer

FORM.

The

harmony.

imperfect* perfectwhen

perfector root

to

ELEMENTARY

(alsocalled Final Cadence) is

Cadence tonic

I.

other

to

extend

(also called

Church

than the

to

and

Avoided

chord

some

other

first inversion.

the

last

normal

Its

phrase of

a

length of

a

period. 4.

The

Plagal Cadence

Cadence, and Amen to

the

Cadence)

tonic chord.

This

is

a

Cadence,

progression of

the

subdominant

is effective after the

cadence

Ecclesiastical chord

final cadence

in

ecclesiastical music.

Elementary A

complete musical eight long measures or Periods

are

figures. The

not

divided

theorists call

t Some

theorists

be considered

sixteen

construction

*Soine

make here.

a

half a

is called

sentence

more

cadence

distinction

short

an

a

period and

usually consists

of

measures.

less

or

of

Form.

a

into sections,phrases and arbitrarily typicalfigurefollows:

imperfect cadence.

between

Deceptive Cadence

and

Avoided

Cadence, but

this

need

MUSIC

COMPOSITION.

Andante

by

Mazas.

Pniod* Section Fhiaae

i.

Phrase

i.

2,

^

Ex.

mftkW

6.

Figi3e. I Period

continued.

r

Section

2.

"

Phrase

ir

3.

Phrase

4.

i^-j,iij:^f"fnirpLU The

division of following

a

periodis sometimes

chosen

by

theorists:

Period.

Phrase

Semi-phrase

Period

Or

Section.

Semi-phrase.

continued. Phrase "

ic

i

periodmay

2.

\r

Semi-phrase.

A

i.

Semi-phrase.

i\^r:r\if!l^\^r^ oommence

fractional part of a measure. requiredfor the commencement

upon

The

a

fractional part of the measure is deducted from the last measure

of the

of

period.

T ^v

i

a

riod pe-

CADENCES

I*^,"u The

ELEMENTARY

AND

FORM.

^:f[^^^

divisions of such

t-^

u

simpleand typicalperiodsas

"^

1

1/

1

shown

are

f

i

in the

devices: preceding examplesare marked by either or allof the following the smaller and melodic line. Where cadence, rhythmic grouping, is fragmentary divisions are well marked the composition and therefore the smaller divisions should primitive.To avoid a fragmentaryefifect, coalesce to

some

in the harmonization

extent

and but

well marked

one

cadence,other than the final cadence, should appear.

The

following

diagramdemonstrates: Diagram

i.

Cadence, not final. Compares with semi-colon punctuation.

A

periodconstructed

follows is not

as

Diagram Period of

Division

Division

i.

5

"

12

A

"sy:

structure

the Minuet

in

period punctuation.

imcommon:

2.

Division 3.

2.

E7^

it

Cadence,

periodin

Compares

EBSO

^

"i

Fmal

Cadence,

(not final.)

of Sonata

I

but to this twelve-measure

the final cadence. repeating

Such

a

final.

with

measures.

(not final.)

A

Full Cadence in

by Beethoven

periodis added

Cadence.

shows two

the above

measures

by

device is called Extended Cadence.

COMPOSITION.

MUSIC

4

The

Scherzo from

periodconstructed

Beethoven's

Sonata

I

Period

t:itE3 The

Division

i.

^teen-measure

a

follows:

as

Diagram

Division

III shows

"

third division shows

measures.

Division

2.

?T: g

A

of 16

3.

"

"a

i"

3S

as

perfectcoalescence

a

3.

i"

of two

iK four-measure

groups.

Such

have

been

considered above

be varied

by and contraction. For an example expansion, interpolation of expansion, Beethoven's see Sonata,Op. 10, No. i. For an example of interpolation, see Beethoven's Sonata,Op. 10, No.'3.For an example of contraction see Liszt's Hungarian Rhapsodies. Like poetry, the divisions of a simplemusical periodare balanced one againstanother and the firstdivision is called antecedent and the following division consequent. These terms may be appliedto two balancingsmall to two balancinglargedivisions and even to two divisions, balancing these of in this sense must not be confused with terms periods. The use their use in the structure of the fugue. structures

as

may

the devices of

Exercises. The

teacher should

requirethe student marked

to

play several periodsof simpleconstruction between pointout the phrases,distinguish

well

and recognize various cadences. divisions,

The

and less marked

student should also be of

requiredto make various simpleperiods.

CHAPTER THE

TONIC

diagrams of

and

the construction

n. TRIAD.

its major major mode consists of the tonic {do), fifth {so). It is called a major triad. The third {mi),and its perfect The tonic triad in the

chord is consonant

and inactive in effect. Its root has

whollyinactive in this relationship. it is necessary to double one of the writingtriads for four voices, of the tones must be sounded by two voices. of the triad;i.e., one

but and fifthhave less finality In tones

itsthird finality;

are

THE

factor of the chord most

The

certain

TRIAD.

TONIC

frequentlydoubled is the root, but, with be doubled.

the other factors may restrictions, omitted in major and minor chords.

be

Factor five may In this case, the triad appears doubled root and doubled third.

with either tripled root,or Voice

affectsthe spacingmaterially

an

musical

and result,

beginnerto

use

because of the well established fact that the two can

ties, to avoid subtle-

close position;* an i.e., arrangement of voices in which the three upper voices do not exceed the compass Such an arrangement always results in good spacing octave.

itisadvisable for the

of

j

adjacentvoices which

best be

interval are tenor and bass. separatedby the largest for four voices Various ways of writingthe tonic triad in close position

with doubled

follow:

root

^

(I Root

:22:

-""

T

-"fi.a.

:i3

h"^

"

-^.

etc.

position:^

^

-tsl JQ.

ISL

Jo:.

Zl

:a-

jSf.

-"5"-

-fSr

"WPS"

jQ-"9-

r^-

"^-

jO-9-

etc.

First inversion: SL

-27-

-^ Second

sasL -^-

SL

=g=

-iz.

SCSL

^

^

inversion:

etc. 12L

rffi:

-w

22:

12L -^-

-"-

12 *

Some

writers

applythe followingterms

to

the

following arrangements

:

2z: 3S

Close:

la this text the term

etc.

"

Half-open:

" includes close position

or

etc.

Open

half-open position.

:

or

etc.

MUSIC

Some

ot the above the

readilyshow

COMPOSITION.

arrangements sound

thin.

desirable arrangements.

more

student's

The

above

the

Although

will

ear

arrangements of the six-fourchord have doubled root, the chord is more effectivewith doubled fifth. From

melodic

a

the standpoint,

two

outer

voices

the most

are

tant. impor-

^^Granrniatical" errors, such as consecutive and concealed filths and octaves, are more prominentin outer voices than in inner voices. Our first consideration is a

good soprano to which should be added a harmonic progressions and connections good bass. As we proceed,logical The method pursuedby this text of treating each chord be made. must of correlating the chords and placingthem in their proper separately, '^

families" will assist the student in these fundamental

of

connections.

and progressions

of voices is presentin crossing

not

Although

cross.

the works of great composers,

resorted to until

be

should not

Voices should

considerations

this device

in part writinghas experience

been

gained. chord gives A vocabularyof but a single yery littlematerial with which be done with this material than at first to work, but much more can of various melodic arrangements might be supposed. Motives consisting of the tones of the tonic chord may be found in the following quotations: Third

{a.)Beethoven, 1^^^

Ex.

I 1^

"

Symphony. r

I

8.

i^etc.

t

(B.)Beethoven,

^

Bach,

-^

unison. Stringsand Clarinet,

Invention,No. 8.

Weber,

^

i

(^.)

^

Sonata

Die Wacht

II. :etc.

am

$

(/)

Minor

Symphon

i

t

etc.

f

Banner. Star-Spangled

mr^4U

J ^ Weber,

Rhein

Sonata

"

letc.

I.

mt

t

p

the In all compositions,

use

of the tonic chord

of no however, consisting period,

be

G

{d.) Mozart,

l^yTFlt^ ^ m

Symphony. ^s,

'Cello.

(c.)

Fifth

monotonous.

predominates.An

entire

other chords than the tonic would often

MUSIC

8

COMPOSITION.

The

melodies should be sung usingthe sol-fa syllables after following tion which, theyshould be hannonized with the tonic chord. The harmonizabe for solo pianoforte, solo voice with pianoforte accompaniment, may on

for four voices.

ExERCTSES, Group

I.

1.

Folk

French

ifa if^f^^

f-J

i

p^"^

Song.

B^m English Game.

s[ny=E^^^ EnglishGame.

3.

iSfe

^

v^^^-

|"rTj

3E=p:

"*^'-it

German

^

(""

J

^

J

ts'

Song. -^

I

I

Xd

li

d

it

i9-

^

After the exercises have

the student should

Folk

1

t5"^

-$

ir"J

#

t=|:

^

1=t

4.

^

r r CI

lv^

been

criticizedand

^

corrected

I

#

by the teacher,

playeach exercise singingeach part in

turn.

student may compose melodies founded upon the tonic chord and harmonize them. The teacher's criticism of this original work will do The

much

to clear misunderstandings.

CHAPTER THE

All the tones triad

DOMINANT

CHORD.

of the scale other

active in their

are

in.

than

those

tendencytoward

which

one

or

constitute the tonic of the tones

more

of the

tonic triad. The

7th scale step (theleadingtone) has strong tendency diatonically to the tonic.

upward

4th scale step (thesubdominant) has strong tendency diatonically

The

downward The

to

the third of the tonic triad.

tendency downward The

2nd

Situated

to the tonic

the dominant dominant

chord

triad is

is characterless (the supertonic)

in

regards to

the tonic and mediant, it midway between Its progression final. to the tonic is more chord in importanceand frequency of occurrence

to either.

Next

superdominant)has strong

or

to the fifth of the tonic triad.

scale step

tendency. progress

(the submediant

scale step

6th

is foimded

which

may

is

the fifth scale step.

upon

its

The

major triad and is therefore formed like the tonic triad (with major third and perfectfifth).This chord is consonant but a

active,with tendency to the tonic chord. active factor in the chord

and

it progresses

fifth of the dominant

triad progresses supplyingthe third in the tonic triad. which

is inactive

as

The

the

a

chord

fifth,less frequentlyand

doubled

in four voice

triad,the The

second

root

The

the

inversion

be

thereby

of the dominant

root

assimies

root

mediant

dual character

a

the tonic

to

progresses

voice,it

upper

chord

may

remain

tone."

is the factor most

frequentlydoubled, third (leadingtone) is almost never factor five is omitted

writing. When must

the

to

is called "common

tone stationary

of the dominant

root

normally to the tonic.

the fifth of the tonic chord

chord; in the bass, the but in an (called"cadencing progression") The

most

upward

in the dominant

stationary Such

leadingtone is the

The

in the dominant

tripled.

of the

dominant

triad

occurs

less

frequently

than the I|. The

use

of the six-four chord

on

all

degrees of

the

scale should

be

restricted to the isL

of the 2nd. the

followingfour progressions: preceded and followed by root positionor

Where same

chord, ex.:

Where

I, I|,I; or I, le, IS, I", I, etc.

the tonic six-four chord

cadence, ex.:

first inversion

12, V, I.

precedesthe

dominant

chord

at

MUSIC

lO

yd. Where

COMPOSITION.

the bass of the six-four chord is approachedand

9*

ex. stepwise,

^^^^

g'

""

the six-four chord

4ih. Where over progressing

a

quitted

within

occurs

g^-

9:

stationary bass,ex.

a

succession of chords -^"

-V

n In

a

succession of chords in the firstinversion, it is usually advisable

to double the root in

chords* but the that the

chords and alternating

is not principle

leadingtone

must

the third in the

remaining the rule nullify

of sufficientimportance to

not be doubled.

of the dominant Various arrangements of the progression shown in the following are example.

triad to tonic

{b.)

^"

gp-

m

"iS-^-

i

or Jfi-

IZ. -TOr

I2Z:

1

w

i

('.)

I

m

32:

i

-V

"

etc.

te Many the mdodic

melodic

-7^

i

"i9-

m

imply certain progressions

at the progression

end of a

harmonic

3:

progressions.For example:

compositionoi it to All the

I

do

(thus

i

"i9-

)

harmonizations with triads of possible chromatic alterations) or the above are and vuMV. In the midst V-I, V-vi, vnM, ra-I, m-vi, vn**-vi,V-IV, m-IV the above melodic progression be harmonized V-i but V-vi is frequently of a period, may advisable. Progressions of less frequentoccurvnM, m-I and m:-vi are rence, and vn"-vi, V-IV, ra-IV and vn"-IV are rarelyused. In this chapter, the dominant implies

to

tonic harmonies.

melodic progression(without modulation

student should

use

milydominant and tonic harmonies.

THE

The and

DOMINANT

CHORD.

II

fifthscale step is a factor in both the tonic and dominant be harmonized therefore,

may,

with either chord.

chords

of Principles

and coherence usually variety govern the choice. of a tone in the melody,it is frequently advisable, Upon the repetition for the sake of variety, tone. to change the harmony upon the repeated A valuable last chord of

the third from the

of the tonic six-four chord is upon

use

periodif the melody permits.This chord is followed by

a

chord which progresses^ to the tonic triad in root six-fourchord may be called a "cadencial six-four."

the dominant Such

a

i

TSr

-Z5-

i

-JOr

i

"i9-

position*

Ex. 13.

i IJ The

six-four chord may

cadendal

I

V

be written without its root:

a:

*

^

"^"

etc or "^"

IJ This

chord,may, of

course, be

effectis that of the cadendal

IJ

V

analyzedas

a

The

page

mediant

sixth chord but its

six-four.

Parallel and consecutive fifthsand octaves

progressions.See

V

should be avoided in chord

23.

following exampleshould

be studied: 17th CenturyChoral.

r r

Ex. 16.

mil

J

\m^ G

I

J

rTT=rf I

Open position may

Ve

I

be used

I

loVjI

V

J

J i J

E

m v^

I

IJ

V

I

in the following exercises. occasionally

MUSIC

13

COMPOSITION.

Exercises, Group

2.

Folk

French

I.

h-FFr

2. "^-

E

y

"

^

75H-

k

French

Folk

Song.

French

Folk

Song.

-"^

i -1

J

i

lo:

'Tzr

5. Reharmonize as

I

t=t

:fc"

triad

L.

22.

j

ft f^*

f:

at"

4.

i

1^1

F. SCHUBBRT.

^^ i

Song.

well

as

the exercisesin

the tonic.

The

I

I -"-v

I

Group I,page 8, usingthe dominant

firstinversion of the dominant

triad will

be necessary in most placesbecause the nature of the melodies cause the dominant triad is used in root position. consecutive octaves when The

Vo should be used in the penultimatemeasure

The

Dominant

Seventh

of each exercise.

Chord.

triad may be added the seventh (ofthe root)and the resultant All seventh chords are dissonant and chord is called a seventh chord. To

any

dissonant

varyingdegreesaccordingto structure and character. The factors of a chord are best approachedby contrary motion.

The most

common

active in

seventh chord is the dominant.

THE

The

dominant

DOMINANT

CHORD.

seventh chord is fonned

13

with

major triad and minor

seventh,and isthe onlychord thus formed. The dominant seventh chord normallyresolves to the tonic triad. Its tendencyis greater than that of the dominant

triad because of the additional active factor,the dissonant

seventh. Sevenths in all chords seventh in the dominant

downward. normallyresolve diatonically

The

chord resolves to the third of the tonic triad.

The

The third fifthis free to resolve either up or down diatonically. The root in the bass tone) resolves upward diatonically. (leading

resolves to the tonic but in

an

voice,it may

upper

remain

-i9-(9-or

stationary.

^

isr

-^-

or .OL "w

-lar

m

student's attention is directed to the fact that

I

doublingof factors in a seventh chord is necessary in four voice writing. Attention from the is further directed to the fact that the tonic chord resulting above resolution is incomplete.The resolution is wholly satisfactory the missingfifthin the tonic triad. Notice however; the ear supplies The

the differencein effectbetween with doubled root.

The

the triad with

latter has

the former while the former is more

a

more

no

root tripled

and

characteristicthan plaintive

decided and final.

fifthin the seventh chord may be omitted and the root in which case the resultant tonic triad will be complete,thus: The

(3.)

{a,)

3:

the triad

doubled,

(d.)

ic.)

"V -9-

-"5"-

"i9-

-1^

tS?-

^ etc.

1^-fl.

T!^

-J5?-

-gy -"-

Not

cases infrequently,

of seventh

chords

-^-

with omitted thirds are

found in standard

by chords in which compositions.Such chords,however,lack the character possessed where improvedvoice leadingthereby the third is not omitted but their use is justified in part writing results. The student should avoid this arrangement until experience has been gained.

MUSIC

14

COMPOSITION.

the following Study carefully example.

i

125

T^TT 1 i

r

Ex.

"

18.

J

S t"-i

_a.

J

i

i

I

r

I

V",

;9-

"

T

VJ

1^

^-

^J

r

r

g r

J

J. ^

[

r

Jlj

n-i

"

i^

1"

'

I

J

PF

Vt

i

""-'

f

T

r

i

fe

fe

P

F=f n

12

le Group

ExERasES, Resolve

1.

I

f

the dominant

seventh chord

V,

3. to and incomplete) (complete

the tonic triad in all major keys. Fill in the upper

2.

voices in the

(c.)

(fi.)

(a.)

m CI|

dominant incomplete

^

g"-ig" "

C

4.

II

^ ..

.

tenor

D

I

V7

I|

g"-

g"-

chord:

seventh

(c.)

V7

Harmonize

seventh chord

mM

i

'^

w

-^-

Bb

I

V

usingthe following progressions,

in the

(b.)

(a.)

i

IJ

G

V,

Fill in the bass and

3.

a m

/9-

"i9 s"-

"

"

progressions: following

*

i "

a

G

h

"

I

V-

I

melodic fragmentsusing the dominant following completeor incomplete: the

^.o -

-

.

II

^'

.

.

II

i6

MUSIC

COMPOSITION.

Exercises, Group Resolve the dominant

1.

4.

ninth chord in open

or

close position to the

tonic triad in all major keys. Fillin the upper

2.

voices in the

following progressions:

(*)

I

g

1^

g

IJ V"

D

mm

the

C

and

figuredin

F

Vn

Dominant

the

of

Seventh

12

V.

Chord.

seventh chord has three inversions which

the

:

^^

I

V.

dominant

Vn

{^')

m

Inversions

The

C

I

(*.)

22:

12

I

following fragmentsusingthe dominant ninth chord

(tf.)

C

12 Vp

E

I

3. Harmonize

i

(":.)

are

notated

following example:

-(9iS"-

m

^m jOL

""- l-^-H vi

n A factor should seldom be omitted in The

firstinversion

is an

same

occurs. (VJ)frequently

(Vt) is less restricted upon a

inverted seventh chord.

factors resolve in the inversions in the

position.The of

an

approachthan

manner

as

in root

sion The second inver-

is the second inversion

triad and may resolve to either I or I". The third inversion (V2) effective upon effectivedissonant and resolves to le. It is more

pulse. The firstand second inversions used in may be used upon the finalcadence but they are less frequently sion style. The use of the third inverhomophonicstylethan in pol)rphonic a

strong pulsethan upon

a

weak

does noty of course, result in finality. The inversions of the ninth chord do not occur

theymay

be used

effectively.

conunonlyalthough

THE

(".)

CHORD.

DOMINANT

{b,) :sL

i

-jSL

-"-

"^-

inversion.

m

JQ.

'^-

-ZSL

Si

J^.

-^-

-"2.

avoid

student should

I

-"?-

IS

a dissonant resolving

i

etc.

-^9-

'O

The

I

inversion.

inversion. inversion.

jO^

4th

3rd

2nd

ist

w

{c.)

^^

11^.

17

to a fixed

unison:

i

:^ L

Ex.

Fixed

22.

unison.

-ffl.

^

Hence, the

use

of open

for inverted position

i

i

."i2-

-"?-

ninth chords

is desirable:

I

he: -"5"U3

Ex.

y

23. 5z:

^t

:s:

-^-

Composershave resolved must leading accompany

a

dissonant to

such

a

a

i

fixed unison but skillfulvoice

progression.

Bach.

Ex.

But

24.

The

Melodic

this is a

passingdissonant.

Line.

introduced with judiciously A good melodic lineis produced by diatonic progression ik^ and chromatic steps,devoid of monotony but uniformlyconstructed.

x8

MUSIC

COMPOSITION.

Smooth

the

use

melody is produced by diatonic or chromatic progression but such progression used exclusively becomes monotonous and should,therefore, be alleviated by of skips. The frequencyof the occurrence of skipsdependsupon the character

of the compositionas

a

whole,upon

the

rapidityof the melodic tones,upon

the desired

and effect,

voice part in hand. upon the particular Skipsin a melodic line produce a rugged and vigorous effect and

adapted to

a

strong bass

part in

a

therefore, composition,or to a opposed to a lyrical style. are,

rhythmicallywell-marked

thematic voice part when

a compositionis in rugged styleas good melodic line,the tendencies of the scale steps must be A downward borne in mind. the tendency of the seventh scale figuremay overcome the tendency of the sixth or fourth scale step and an upward scale figuremay overcome scale step. Sustentation, however, of the active scale steps normalizes their tendencies. On the other hand, the tendencies of active scale steps are increased when approached along the scale line in the same direction as their resolutions, an and, therefore, upward

When

scale

strivingfor

a

figureshould seldom

should seldom turn

on

turn

on

the sixth

or

the seventh

scale step and

a

downward

scale figure

fourth scale steps.

Skips to the leadingtone should seldom be made from below but from above. A skip from above increases the tendency of the leadingtone to resolve upward to the tonic. Skips from below will be found in compositionsbut these require careful manipulation. Skips to the sixth or fourth scale stepsare safer when made from below, in which case an increased tendency results. In general,wide leapsin any direction within the interval of the leap. and to any tone usuallyimply an obligation to return remarks and not to cases All the foregoing where apply only to harmonic progressions of the same skipsare made in a voice part during the repetitions harmony. of Quotations follow showing applications

the

tonic and

dominant

chords. From

Gounod's

Faust

from (trans,

orchestration). X

Ex. 25.

D

I

I^

I

^ fTTif J"IT-

f fi, f f

I t^

THE

DOMINANT

XX

dp W^

CHORD.

19

X

:^=?c

S

EH

t=t

( =T

o

i '^1

o

'

"te

I

r

^

c**it-"

iffrfi

J

i

i

From

^; J If

'

'

II

"

"

11

Mascagni's

CavalUria

from (trans,

orchestration).

Rusticana

MUSIC

30

COMPOSITION.

t=t

S

^^

""S*-r "^

"

^

^ O

O

d

"

ii

te From

Bizet's

^

cif^^

c r

It-

H

Carmen

^tf

(transcfrom orchestration).

Ex. 27.

'^

sfe^

i

i

^

^a

"

^

w

"

I==tI

"

I

""

b=^

"

^^\fl^^ P^N

[^t

?

"s'

1

"

fcrf: "X

b

"-

X

m|. ""11

THE

DOMINANT

From

CHORD.

BsLLiNi's

Norma

21

from orchestration). (transc.

Ex. 28.

ExERasES, Group f

.

Resolve the dominant

5.

seventh chord in its firstinversion

(VJ) to

the tonic triad in all major keys. 2.

Resolve the dominant

seventh chord in its second inversion

to the tonic triad in all major

keys.

3. Resolve the dominant seventh chord in its third inversion the tonic triad (lo)in all major keys. 4.

Fillin the upper

(")

voices in the

(Va) to

following progressions: {c.)

(*.)

^^^fi"

(Vf)

lt3E

-^Sh

^

im

o

-^-

"JBL

-^-

H

ISL -^-

Eb

Vo

ist inv.

I

Bb

Vg

lo

3rd inv.

C

Vg

4th inv.

L

Vji le

*

three-voice chords,add two more 5. To the following and bass)and resolve them to five-voicetonic chords:

I

V.

Vo

I

"

voices

(tenor

MUSIC

12

COMPOSITION.

(^0

(^)

(^0

^^ee\\ ^^-^^^=Mi C

C

Vq

3rd inv.

the exercises in

6. Rehannonize

seventh

ninth chord

or

C

Vq

root pos.

Vg

root

pos.

Group I,page 8;

in the firstinversion in the

use

the dominant

measure penultimate

of each exercise.

IV.

CHAPTER THE

SUBDOMINANT

CHORD.

The fourth and sixth scale stepsdo not, of course,

alwaysfollow their or theymay upward diatonically

tendency. They may progress nor progress by skip. Neither is it obligatory normal

harmonize

these tones

with dominant

sometimes

harmony

even

advisable to

they follow

when

their normal

tendency. There are two importantchords with which both the fourth and sixth scale steps may be harmonized,namely the subdominant chord and the chord, the firstof which is to be considered in this chapter. supertonic triad is,like the tonic and the dominant triads, The subdominant a major triad and consists of root (fourthscale step)its major third and chord but not final, fifth. It is a consonant its perfect althoughit has not

which the definite activity

root and

We

third

characterizes the dominant

the active fourth and sixth scale steps

are

triad. Its

respectively.

deduct that the logical of the subdominant would, therefore, progression

triad would be to the tonic

^

"s:

thus: triad,

^^

32:

^

-^-

To

or

i5"-

-^9-

IV

^d

root

: position

m

22:

IV IV

in the above The last progression

of use

hymns and called the

Amen

in other connections has

the above

example is often appended at the close Cadence or the PlagalClose. Common

giventhe

progressions are, by

no

subdominant

means,

the most

triad common.

and flexibility

COMPOSITION.

MUSIC

24

Concealed octaves, objectionaUebecause they soond similar to consecutive octaves, any two voices progress froin any interval other than an octave in paralld

arisewhen

motion to

octave, thus:

an

Ex.

etc

S3. ^

-"r

-^-

-i^

-jy

-^-

-jgr

Obviously,in orchestral writing,consecutive and concealed

octaves

and

unisons

through the reinforcement of melodies and chord factors by one or more The same is true, in a lesserdegree,of pianc^orte, sextet and quintet

abound

instruments.

composition. Concealed fifthsand dghths as

a

between chords having a common tone are not, arising advisable (where pracobjecticmable, although,for the present,it is usually rule, tical) to

compass

in outer avoid them, especially

spacing,vdce leadingand

voices. Harmonic

should not, however,be sacrificedto this principle.

Consecutive

fifths and

octaves

are

avoided

between

two

chords in

the roots of which are situated a second or a seventh apart, position, the upper voices in contrarymotion to the bass. Consecutive by leading fifthsand octaves may also be advantageously avoided by doubling some factor other than the root in one or both of the chords of the progression. Factors havingstrong tendencysuch as the leading tone, sevenths and root

ninths in chords,it will be

remembered,should

not

be doubled

in four-

part writing. Like the tonic and dominant

the subdominant triads,

triad has two

the firstinversion beingthe inversions,

one

second inversion is subject to the

restrictionsas the V2*

same

used. frequently

more

The three triads which have been considered

The

onlymajor triads in the major mode. They compriseallthe tones of the major scale and therefore sufficientto harmonize any diatonic melody. They are are Triads also the Primary Triads. Pages in often called the Principal standard works can be found containing few,and,in some cases, no other are

the

chords than those thus far considered. harmonizations of diatonic mekxiies with the vocabulary guidance to logical of chords thus far given, the following text will serve. with The tonic i^do) harmonized other the tonic or the subdominant triad. may be When the tonic is repeated the harmony may change. As firstor lasttone of a melody, As

a

do should be harmonized

with the tonic triad. It should

be harmonized with usually the tonic triad when itis precededby dominant harmony. This principle arisesfrom the fact that dominant harmony followed by subdominant harmony is seldom effective, is found in the works of standard writers. althoughsuch a progresaicm

THE

SUBDOMINANT

CHORD.

"S

Bach.

IVe

6

The supertonic (re)is harmonized The mediant The

(mi) is harmonized

subdominant seventh

dominant

or

(fa)wherever ninth chord

with dominant

triad,seventh

or

ninth chord.*

with tonic

harmony. it descends diatonically may

(seefootnote below). It

may

be harmonized

with

be harmonized

with

harmony in allits progressions. The dcmiinant (so)may be harmcmized with either tonic or dominant harmony. When so is repeatedthe harmony may change. be harmonized with The superdominant (la)wherever it descends diatonically may dominant ninth chord (seefootnote below). Otherwise it should be harmonized with subdominant harmony. is harmonized with dominant harmony. tone (tt) 1^ The leading Tones which skq" in a melody are usuallyharmonized with the same harmony subdominant

done althoughthis cannot now be as successfully oomplctevocabularyof chords.

C

In

cases

similar to the

as

later when

the student has the

IV-

following

an

exceptionis made.

Do may

be

melody because of the ineffectivenessof fragmentwould therefore be harmcmized as

with tonic harmony in the above

harmonized

V-IV. progression

The

above

mdodic

foflows: V-I-IV-IV.

^

^

^ Ex. or

i

J.

r

etc.

^ IV

a

"B"CMiM

praftnbloto

of tlM vm

fiaaUtyof tli*rvsolotioiito tonic of thi domiuint diord tpvinglyotoept as tliaponnltiaata

thatc diords

serath of

a

and

period.

ninth chorda^ It !"

MUSIC

26

COMPOSITION.

where all the tones of the skipsdo not belongto occur Passages with skipsfrequently in chord which be grouped logically.Principles of phrasing the same case, they must For example, the followingmelodic and good chord progressiongovern such passages.

fragment: If

a

m

can

be harmonized

as

follows: I-rV-IV-rV

I-I-IV-IV.

or

the second quarter note, the former harmonization phrase commences upon tion new phrase commences upon the third quarter, the latter harmoniza-

new

is available;if a is

if the fragment is in preferable;

available.

The

following melodic

the midst

fragment:

of

a

phrase,either

harmonization

is

-j)^r^J-

is governed not -only

by phrase consideration but by the consideration of chord progression. In the midst monized with tonic harmony if the preceding so is harof a phrase,do should be harmonized be harwith dominant, but if so is harmonized with tonic harmony, do may monized .with subdominant.

If

a

phrase chord, do may new

commences

on

do

and

so

finishes

a

with subdominant. be harmonized preceding phrase on the dominant In a progressionof successive sixth chords,it is usuallyadvisable to double the third be doubled Fifths may in alternatingchords and the root in the remaining chords. in such

The

a

if voice leadingprofitsthereby. progression

should followingquotations

be

studied. carefully Belli

Ni*s Norma,

Ex. 87.

etc.

SUBDOMINANT

THE

CHORD.

J7 J. S.

Bach.

At this time,it is advisable to write almost

alto,tenor,and bass. is available position)

In as

whollyfor voices, soprano, this styleof writing, dispersed harmony (open

well

as

The inner voices should be made

close

position(see footnote,page

interestingis melodically

as

as

$).

ble compati-

with

and coherence. The bass should be good chord progression "flowing,"that is,not too "skippy." This necessitates the frequent use

of

skips(^\

inversions. Augmented

J

-

for the present,avoided in all the parts; diminished

however,are good. resolve within the not

The

second

tone

skipstepwise:

retained unless desired.

be

Remember

of

a

diminished

^^Watch

The

\

-f9-

be.

^m

skips

skipshould usually common

for "fifths" and

that the root is the factor most

should

tone need

"octaves."

doubled,next frequently

the

then the third;the leadingtone, sevenths,and ninths are not to be fifth, doubled. The followingarrangement with doubled third is good:

i 9^

^ "

'

-^-

jSk. -"2-

nant

phrasesin a melody before it. A subdominant harmonizing phraseendingis not often able. desirable;tonic and dominant phrase endings are availBecause of the tonic chord,a domjof the finality It is advisable to mark

off the

where the melody permitsexcept, phraseending is usuallypreferable

phraseof a period. The dominant triad seventh or to the dominant phrase endingis usuallypreferable

of course, upon upon a ninth chord.

the last

music

a8

composition.

Exercises, Group t

Asoending major

"

^4

I

^

J

6.

scale.

J ^

fE.

o

^

II Transpose to

all major

Gemuui

French

3.

Jl| t l^fiX'J

ji'' f^ J

J

E

Jlr

^^^^^

Folk

Song.

Folk

Song.

I r f I

ii|J f J J ij -.N-f-J r J ^

H.

4.

Andante

keys.

BKRTtin.

espressivo.

\i

\" ^ .

English

l^t'jJiiNjjIr^

.

Folk

.

Song.

6. Write

The

the ninth. should

student

progressionwith melody

is

a

voice

chord

is

an

Be

etc.

should

then chord.

uncommon

I

each

that

sure

be harmonized. It is

a

major seventh satisfactory.

very

(^0

(^.)

''i

tion atten-

judiciousmixing of stepwise

the

compass,

(^.)

I

melodies, pa3dng

Its cadencing resolution is not

harsh dissonant.

i

diatonic to

melodies

These

seventh

and therefore

balance,

skips,to

"singable."

subdominant

The

several

compose

phrase grouping and

to

chord

(IV V I) in all major keys (seeCadences, the seventh, the dominant triad,sometimes

sometimes

sometimes

and

29

complete Cadence

the

i). Use

page

CHORD.

SUBDOMINANT

THE

\"

A''

H

'

"2^

Doubted etc.

Tone. leading Ton ^

1

h5"

VllO

IV7 is not

chord

This

chord

is constructed chord.

applicableto the tonic seventh

are

IV7

VllO

i

,5"-

IV7

VIlO

and

the above

available at present.

tonic seventh

The

YIlO

IV7

1

"9

like the subdominant Its

cadencing resdution, however,

remarks is

what some-

leas unsatisfactory.

^

gp

I

^

I

ej -fSr

-tS^

etc. -49-

ZSL

s

ja. -o

Major

seventh

tones

than

ninth

chords

The those

as

chords a are

occur

more

frequently as passing chords

part of the harmonic even

first seven

less useful than

exercises

desiringto work

with

in

architecture. the

seventh

Appendix given bass.

C

Unaltered

or

as

a

"

result of passing

tonic and

subdominant

chords.

may

now

be

worked

out

by

JO

CHAPTER SUPERTONIC

THE

In this chapterwe

V. CHORD.

the

enter upon

studyof the

firstchord

to belonging

the so-called "secondary"chords. The

secondarychords

be

may

the groupedinto three main "families," the three principal names as chords,

being called by the same namely, tonic,dominant, and subdominant. belongsto the subdominant family. The supertonic triad di"Fersin structure from three

It consists of root

considered.

fifthand is called

a

minor

The

fore the three triads hereto-

(re)its minor third and its perfect

triad. It is a consonant*

Like the

the fifthmay

the

may

the root or triads, preceding precedingtriads,factor three

chord supertonic

be

be

chord but active.

doubled,but unlike

freelydoubled.

thirds in minor triads are better than in major triads. The most

Doubled effective

is with the third in the soprano. would suppose we triad, Upon examiningthe factors of the supertonic that its natural tendencywould be to the tonic triad, thus: use

of the

chord supertonic

(".)

(^.)

(c.) z:

^

II

a

-9-

is-

I

II

I

i u

I"

student will notice that in the first progression, a paraUeloctave

The and

"V

m

^^

^

a

fifthresult, and parallel

doubled

in the second

third in the tonic triad

fifthand a parallel progression result. The third progression is not

faultyalthough it results in a doubled third in the tonic triad. The from Bach show good examplesof progression n-I. following quotations

*Tlie minor

triad ia

acceptedas

a consonance

by the

modern

ear.

MUSIC

32

monized

with

La

etc.

V79 Vo, IV

or

be harmonized

may

COMPOSITION.

its progression, position,

accordingto

n

with

Vq, IV

or

to according

n

its progression,

etc. position,

The

a

triad: supertonic

seventh of the root to the

dissonant and active chord.

chord

Its normal

its third diatonically; by the skq"of a third;itsroot

downward

but stationary

in the

bass^it makes

resolution is to the dominant

m

I

:^

upward diatonically

in an ui^r

voice may

remain

cadencingprogression. (^.)

i

#

22:

I

3:

-ZL

-a-

y,

^1

m

the

resolves

(^.)

(a.)

Ex.

It is

upon paper, looks no differentfrom the Its seventh resolves downward its fifth diatonically;*

resolves downward

46.

i

and (cadendngresolution)

resolution V7-I.

or

Chord.

commonly used chord is formed by addingthe

This very useful and minor

Seventh

Supertonic

etc.

or

jOL

2:

I

JOL.

i

-^-

117

"7

The supertonic seventh chord may

I

"7

also resolve to the dominant

seventh

ninth chord.

or

(^.)

g

Ig

w

ic.)

g;r+^

-""

%

I

9i

g

I etc

JSL.

I "7

The ninth. *

downward

to the

occurs

"7

than the dominant less frequently

and resolution follow.

chord is the inactivetonic bnt as a dissonant seventh in the tapertonic diatotdcallj immobilityis destroyed and it becomes an active tone with a tendency active leading tone.

Notice that the seventh in the

diord, its normal

chord

"^9-

II7

"7

ninth supertonic Its structure

I

"^9-

THE

SUPERTONIC

CHORD.

(*)

33

(":.)

z:

IS

W

Is

#

^ etc.

i

-"^

In

succession of dissonant chords

a

should

be usually

the strongest dissonant chord

the strongestbeat of the

on

measure

or

be

artificiall

accented. The inversions of the (a.) ist

s

seventh supertonic

inversion.

(d.)2nd

chord follow:

inversion.

(c.) 3rd inversion.

:^

^^

4S-

^

^

22:

Ex.

etc.

etc.

49.

etc.

JSL-

:

g

g

^ I

iijV The

^

^

^

"g

iiS Va

inversions of the

litV7

iijV

ninth supertonic

iiaVo

chord do not

ii^

Vg

occur. frequently

Resolutions follow: (a.) ist

{b.) 2nd inversion. (^.)3rd inversion. (^.)4th inversion.

inversion.

3:

-fS-Gh

-""""

s"Z?"

"Z?-

i n"IQ

The

chord supertonic

I-n and

ni-n

are

not

^S.

S

-^-

i5"III AIQ

Tfl

i

-^-

i

-"" ii( X*0

T

I

'e

i

-tf"-

III **0

i

^^

triad

althoughthe progressions IV-n is better than profrequent. Progression gression

may

follow any

n-I V.

Quotationsfollow:

^

^

Balfe's X

.

z " Bohemtan

,

XX

,/^ -u jx ^. ^ir/ (transcnbed).

MUSIC

34

A

COMPOSITION.

.

.

"

I

V,

?i

Ho

GavotU,CoULUi

W\M''S'i I

11J117V

THE

SUPERTONIC

CHORD.

Exercises, Group

35

7.

Adapted

K

t

J^ Itf^*^'

from

J

J

J I p

"^-

te

J

3

Bkbthovbn.

J Jll' J

s

g

Adapted

2.

from

J IJ

J

i

.n\i Adapted

Br/iHMS.

^s

^ ^ 1-^

^^

i

he

from

Schumann.

II

nr-^TrJ^TqiigJi^^ir^ J. Brahms.

i'i ijh^ii.

Write ist.

final cadences n-V-I.

2fid. Ht-V-I.

yd.

Ht-Vt-I.

4ih. Ht-Vo-I.

iz="

in all major

d

^

keys as follows:

f

^

(i

36

CHAPTER THE

SUPERDOMINANT

CHORD.

secondarytriad

The

upon the sixth scale step is,like the supertonic It belongsto the tonic family* and is very useful

a minor triad. triad,

the last chord of

as

VI.

a

phrase. ProgressionV-vi

'^

forms

a

Deceptive

Cadence." have

We

that the

seen

alwaysdesirable as

is not

V-I has finality and consequently progression a phrase endingexcq"tfor the last phrase. If,

however, a phrase ended heretofore necessary

it with

harmonize

to

V-IV progression

and

V-I

Now may

harmonize

^^

because

of the as

triad to superdominant

a

our

it

phraseending. we vocabulary, vi.

superdominanttriad

is with its

third in the soprano; the chord is weak with itsfifthin the soprano should seldom be used with its root in the soprano. Various

of progressions

V-vi

are

shown

in the

(c.)

(t.) qP ^ ^ ^

I

g"

I--"L " fi"s

was

of infrequency

phraseendingwith

the tonic in the above

effective position of the

most

follows:

the undesirableness of IV

with the addition of the

The

as

and

example. following id.)

rtf

is 1

^

SC^

:

II

^-

etc. .A.

jGL

V

VI

V

The resolutionof the dominant is the most

V7

VI

Vq

VI

seventh chord to the

VI

triad superdominant

importantnon-cadencingresolution of the

dominant

seventh

chord. *

triad is not restrictedto the above use. It occurs superdominant in the midst of phrases.A normal progression of vi is to n, frequently vi-V and vi-IV are available. vi-I should be avoided. and progressions be precededby I, n or V and occasionally gression VI may by m or IV. ProThe

I-vi is better than vi-I. *

A few theorists

placethis chord

in the subdomioant

for the tonic chord, it is herein '"stitute

placedin

that

bat funiljr,

family.

as

it is more

commooljrused

as "

THE

SUPERDOMINANT

CHORD.

37

The invendoiis of the

triad need no explanation. supertonic Progression V-vi isbest with both chords in root position. The superdominant less frequently than the ^venth chord occurs dominant and supertonic seventh chords. It is constructed like the seventh chord (minortriad and minor seventh). Because of supertonic the frequent use oLthis seventh chord formation as a supert"mic chord,its

tendency to suggest modulation. In where we hear the superdominant seventh chord,we hover, cases many as it were, between two to a majortriad keys. Its cadencing progression use

other scale

on

degreeshas

effectuatesa modulation

a

but its cadencing to progression

a

minor triad

be

in such a manner as to retain the original manipulated tonality. The cadencingprogression of the superdominant seventh chord is to the supertonic chord,thus: may

TL,

The

u

YI7

of the cadencing progression

VlJ A

u

YI7

II

II

Ex.

YI7

117

inversions foUow:

Yl|

II

VI,

of vi2 is quoted from non-cadendngprogression

66.

117

YI7

1% a

Bach

Choral:

A

COMPOSITION.

MUSIC

38

of VI9 cadencing progression

is.quotedfrom the

IlJ

VI,

ninth superdominant foUow: ingprogressions The

use

of the

same

choral:

V-

chord* is not

Cadenc-

common.

Ex.

VI,

The Their

II

Vli

"7

superdominantninth foUow: cadencingprogressions inversions of the

VI,

chord

II"

are

rarelyused.

(a.) ist inversion. (^.)and inversion, (c) 3rdinversion, (d,)4th inversion.

chord to our vocabuJary superdominant givesan additional chord for harmonizingthe first, third,and sixth scale steps the fifthscale stq" where it however),occasionally (seldomthe latter, and rarely the seventh scale stq" where it descends descends diatonically, diatonically. should be carefully studied. The foUowingquotations The

*Samt

addition of the

theoristscoosldNr tht tonic seventh

chord

t

sopefdominantninth chord without

root.

COMPOSITION.

MUSIC

Dachstbim

W.

(i6th Centmy).

/T\

i^i' f' J.

F

A

J.

i

r

j^' r

J.

A

I

'

r

I

r

f

r

A

J.

r

f

J.

^

i4

VI

Group

ExERasES,

' f' "

8. Franz

Schubb"t.

1.

i "! fir

jij

r

r

J|JJ

jN J J JM-

J

Ji*".JiJ^^

JiJ r r nr

r

).

r

Haydn.

SUP"RtK)MINANT

THE

CHORD.

41

F. BfKf dblssdhn-Baktholdt.

rir r -' 1

If rff JiJ J r

J. S. Bach.

4.

J'J l,J i "

5^^

M *

II.

g

feE ^ ijf"*JjmJ|.i,"ficiZf E

Jir ri^'^un Jir rM JiJ..''J|J BftAHMS.

JOHAMNKS

i4"j J j3iJ^Paa^-a f^^ i^"f^'Jir

tP-

m

i

Lr^r 01 ^iffcir r JJi

j3|J*rJiLrf

^^

J. S. Bach.

MUSIC

4"

COMPOSITION.

CHAPTER THE

The mediant

VII.

MEDIANT

CHORD.

triad is formed,like the two

preceding secondarytriads,

with minor

third and. perfect fifth. This minor

active.

use

triad is consonant

but

t^an that of the other triads. It belongs to the dominant familyand progresses normally to the tonic. It does the dominant chord at the finalcadence although not frequently displace it was used in this manner in the Romantic Period. Progressions to the tonic

Its

islessconmion

familyfollow: 25:

S

i etc.

-lo-

III

The

m

32: HI

i

VI

has tonal ambiguity;the key of the relative minor m-vi progressioii m elodic fonn. gestedin its descending

is 8ii|^-

THE

CHORD.

MEDIANT

43

The inversions of the triad follow: Bach.

i

I

1^

"x.

i iii2

"%

The

mediant

I

seventh chord

is formed

Vfl

with minor

V"

VI

ni"

seventh like the

and superdominant seventh chords. It is somewhat more supertonic useful than the superdominantseventh chord but does not occur as seventh chord. Its cadendng resolution commonly as the supertonic chord. IS to the superdominant (*.)

ia.y

(O

etc

1117

n

1117

VI

Yi

1117

resolution of the mediant A useful non-cadencing

seventh chord is to the

tonic. (*.)

(".)

(c.)

i

22: -^-

etc.

2:

s:

1117

1117

zz:

22:

i

1117

The inversionsof the mediant seventh chord with

resolution cadencing

follow:

*

m

^

-fi"

"J

etc.

s:

'i9-

:SL

ZSZ3

^^^"

!*"~^"W^BIP

i

MUSIC

44

COMPOSITION.

The mediant ninth chord is not

commonly used.

Its cadencing resolution

follows: (*.)

(a.)

ii\ 22

K.

(c)

fi\i..

'^

^

Ex. etc.

i

-g-

IIIq

vi

IIIo

TI

^1 IIIq

yi7

Its tonic resolution foUows:

i

221

i

^

"

etc.

i

22:

IIIq

The inversions of the mediant

I

ninth chord foUow: id)

-^-

"3^

"

^^ 2nd

ISt

Ex. 70.

fif

inversion.

inversion.

=^

I

rt

2:

I

IIIq

ViJ

^^

3rd

4th

inversion.

inversion.

y

m

I

5tlis. IIIq

vi

UIq

yi

IIIq

Tig

Study the foUowingquotations. Bach.

f'"^frTrr.^ V^ iii^vi

Bach.

THE

CHORD.

MEDIANT

45 Early

i 72.

J

i

Century

J J

P

f

nr J

Ex.

J U

^

3^

i8th

Choral.

i

3

f

f

^

(i

I

^

f"=f

1

r

"

Sfi/ III

II

VI

N.B.

(17th Century).

RoSENMULLER

m

r

Ex. "

73.

Ji

J

m.

J

j.j j,j j,j

jO. i^

/

=;^=^ 1 I

:^=sz:

^

r'r

i

I

g"

'I

"

.a.

"g

I

i

Sfi/

V"/ VI

by

n

chord

mediant

The or

IV.

to any

V"

VI

may

It progresses

III

be

II"

preceded by I, V,

or

vi

and

occasionally

gress prooccasionally best to vi, I, or IV and may V-ra is better than ra-V.

Progression

chord.

Exercises,

Groxtp

9. J. S. Bach.

^

^^ I

E

i J. S. Bach.

2.

^

I

f

^m

COMPOSITION.

MUSIC

46

m

r If

i iW\

rsf

r

r

r

r

rif

i=F

F

r

"rr

I

r r

ir*n

J. S. Bach.

4.

^AJ4J [f

r r

J

^^-4^

'

J Jij J J

^^

"'^^

r

Decius.

5. /C\

^^

J JJ J If''

t=t

t^

-"5ii-"fi

F=*

?!^

^

-tf*

i

3^

ROSENMULLB^.

6. /C\

i

I^xGll

3

tf^

3

3

-"s"-

-^"

:^

From

7.

E^

i

"^

?

at-

"

an

old choral.

i

-^-"S'-

-"!5"-

-""-

ns

^

19-

-^

^

""-

221

i

-^

From

8.

"

i9-

-"$^

-i9-

rg

lr-1" "g'

eJ

?

15"-

a

choral of the

17thCentury.

X

E

z^

/5N

t g; zz

^

E

i

CHAPTER THE

The

subtonic

chord

SUBTONIC

is

a

triad di"fers in formation and

and is called fifth, Notice

a

The

subtonic

of the triad seventh

are

chord

chord the and

same

useful

The

one.

by their thirds,major

minor, but that

or

by its fifths

belongs to tones

as

the

in the

progress

dominant

the three upper

theorists to call this triad

led many

a

triad. named

are

and

preceding six triads. It is dissonant its minor third,and its diminished (ti),

diminished

the subtonic triad is named

chord

the

of root

that the other triads

CHORD.

common

very

from

active,and consists

Vm.

a

''dominant

factors

factors of the dominant These

manner.

same

The

family.

seventh

facts have

chord

without

root." Unlike doubled The as

all the other

in four-voice

root

composition;it

fifth is frequentlydoubled

much

often find The

because possible

as a

doubled

normal

triad is

triads,the subtonic

fifth

is best with

but the doubled

written with

never

doubled

fifth should

it has definite tendency.

The

undesirable

root.

as

resolution of the subtonic

as

a

doubled

triad is

third.

be avoided

musician

non-cadendng

to

will

the

tonic triad.

VIlO

The root

I

firstinversion of the triad is

VIlO

I

considered,by

position.

-^"?y Tpr

32:

I i

TI18

many,

to preferable

SUBTONIC

THE

CHORD.

49

The second inversion of the triad is unusual. its use.

The

foUowingquotationfrom tones. however,of passing

I

The

Bach

Some

contains

a

theorists forbid

vn^

as

a

result,

(vii"2)I

IV

of sufficientimportanceto upset the

passingtones, however, are

plagaleffectwhich would be presentwith the passingtones removed, and is I-IV-V-I. the effect, in terms of families, A progression from a diminished fifth to a perfectfifth is usually undesirable. Ex. 77.

A

from progression

a

i

-9-

fifthto perfect

Ex. 78.

The

22:

-(9-

a

diminished

^

fifth, however,is good.

.^. -9-

Seventh

Subtonic

Chord.

The subtonic seventh chord is the mildest dissonant seventh chord of the

major mode.

Its factors

are

the

same

tones

factors of the dominant

ninth chord and is called

''dominant

without

like the

ninth chord

tones corresponding

root."

-r^-

VlA

2:

#

2z:

the upper some

four

theorists a

normally resolve, ninth chord,to the tonic

chord.

-19-

by

Its factors

in the dominant

l^S.

as

i I

MUSIC

so

COMPOSITION.

Notice that this nonnal resolution is non-cadendng. The

cadencingresolution of vn\

VlA

is not

III

common.

viA

III

Examples of the inversions of vn^7 with their resolutions

to

tonic

foUow.

Ex. 81.

vn^t

vn""2

Their

I^

viio,

H

cadencingresolutionsfcUow:

i

3:

zr

:Z2:

"i9-

jCL.

.^Z

"^"

13L

-^-

.^.

-.^

i

Ex. 82.

m

1.

-^-

subtonic chord in both modes

The

has suffered much

i criticism from

although it has been and is being used by masters. It is criticizedas being ''overworked" and that much can be accomplished

theorists

with it with as

a

minimum

well to the dominant

isan academicism.

of

technique.The

former criticismcould

apply

chord and

while true, others;the lattercriticbm, It is true,however,that too much subtonic harmony

and that where it b used- because proofof goodcraftsmanship, itisundesirable. of a lack of technique and not for effect, Quotationsfollow: is not

a

CHORD.

SUBTONIC

THE

SI ).S.

J

(^^r

f

^y 63.

r

f

IJ. J J I

n

f

m I

Vo

IVa

"

I

V

VI

of the

Choral

84.

^^^

frif

rij-

^

"

Bach.

T

"=^

IV

""

vnj

^

i

I

Early17 th Century.

-j.^^.^^j-i^.^-^^ s s 1 p ^ n^ N"/

I

Yi

Vo

I

Yi

IVYiigl

I

V

Choral

Voir(vii8)I V-7

of the

i^^

I

Earlyi6th Century.

2:

m

Ex. 85.

I

i ;i;;i;i'ii'iV r

IflJSIC

s"

COMPOSITION.

J. S. Bach.

Ex. 86.

fr

^

^

I

I

X

"""

VI

"

IVJ(ii|)

(3,

III

iiJ(Va)le

(VJ)

iiS117

V

Iv(viiD

I

I

Exercises, Group

10.

F. SCHUBKRT.

u

^^ I. ^

E s

^

s

f

r r

^

^

Mr' I^

G. DONIZBTTI.

7^rj-n

i

CHORD.

SUBTONIC

THE

Sl

^

r r I* "^ ^^

^

^

"":

f^

53

^

r r 1^^ ^JIJ AdesU

3.

m

I 3S==t:

""^

i*

J J ^

-^-

J J J "ij

^ij j,i^

^

^

^-

^

William

f

^ jiJ J j.if r -^-

J

g

4.

(Mf

Fideles,

1^

+^J

f J-

Byrdb.

3 -tf

J'J7777^I

^^

JTJ^IJ-JJJ.I 6.

Thbodors

Lack.

^^ fe^CJr rir rr^J j^j Pir j Ji

MUSIC

54

COMPOSITION.

BoiBLDIBtT.

J J J

J J .T^iJ

r

|J J

J

j^

^J r ^^ I

^

f

M^i

r

iJ

r

J

"

J

^

CHAPTER RECAPITULATION

J

fp^

II ffJTi

J I[.r LJ'

r

"

IX. AND

SUGGESTIONS.

All the diatonic

all the seventh chords,the practical ninth triads, chords and inversions in the major mode have been considered and the student

should

be

now

capableof harmonizingany major

diatonic

melody. A table follows showingthe chords with which each scale step may harmonized. Ex. 87.

g

"JBL SL "V

be

COMPOSITION.

MUSIC

S6 Avoid

writingfor Extremes

compass.

of any voice any lengthof time in the extremes of a voice compass are more intonated where easily

that each part is singable. the best chord factors to double. Doubled are, in general, usuaUy better than doubled thirds. It is better to double

approachedstepwise.Be Roots

fifths are

sure

thirds in minor chords than in

of doubling, major triads. These principles of good voice leading.The however, are subservient to principles of doubling; subtonic triad presentsan exception to the general principles the third in the subtonic triad is the best factor a

six-four chord is usuaUy the best factor to

six-four. cadencing The

Avoid

to

double.

The fifthin

in double,especially

the

doublingtendencyfactors.

best factor for omission is the

fifth. perfect

The

root

may

be

A tonic six-fourchord is sometimes

omitted in the tonic six-fourchord.

written at the cadence with omitted third. Factors

forminga dissonant

Diminished

best

are

intervals resolve

approachedin contrarymotion.

contraction:

by

i

"""-

and nine is tendency of chord factors seven as the case or inactivity stronger than the normal scale activity may be. In the dominant seventh and ninth chords,the mediant seventh and ninth chords,and the subtonic seventh chord,the resolution tendency of the sevenths and ninths is analogousto the scale tendencies of these The

downward

diatonic

tones.

In

some

or, which

chord is the

remain stationary factor seven or nine may progressions, changed,thus: same, be enharmonically

{a.) Stationary7th

i

\

"^-

IZL

Modulatory

Ex.

"

^s

Modulatory

Modulatory f

*

88.

ftg

? V7

"See

ChapterXIV.

tSee

Chapter* XII

lit

and XIV.

V7

a

I (^

^

V11O7 C V7 fS Vf

^ C

V,

b

iiOft V

etc.

RECAPITULATION

SUGGESTIONS.

AND

S7

(6.) Stationary9th

\4fil-\-^l^^ f i

Modulatory *

^^^

I

J C

V,

V7

VI

factor seven Occasionally, chromatically:

or

nine may

(a.) Modulatory * Ex.

B"V7

upward stepwise, usually

progress

(6.) Modulatory*

'iA=M=^ ^ ""

C

Rarely,factor seven onlybe used by one

V7

or

a: etc.

m=^

^ V"

ij

C

nine is

quittedby leap. Such

b

I

E

V,

device should

a

in composing. thoroughly experienced Most end with the tonic in the highestvoice and all compositions end with the tonic in the lowest voice (rootposition).! compositions The penultimate tone of a melody is usuallyeither ti or re, sometimes /a but seldom la, Schumann's Warum is quoted as an sOy occasionally example of a composition endingwith the third in the highestvoice:

Ex. 00.

Robert

Franz's GtUe NacM

endingwith the fifthin the "See

ChapterXIV.

tSMChapUrXIII.

is

quoted as

melody:

an

example of

a

composition

COMPOSITION.

MUSIC

58

plagaidose, when used,is in addition to the real ending. When as is keep the voices as nearlyequidistant usingopen position, Avoid groupingthe two upper voices and the two lower possible. The

voices with alto

a

wide interval between

the alto and

or

greaterthan

tenor

the two

The

soprano and be separatedby an interval

should seldom

groups.

octave.

an

is usually for strong dissonant chords. The preferable Open position be separatedfrom its root by an ninth in ninth chords should usually interval of at least a ninth.

A

dissonant should not

be resolved to

a

fixed unison. Voice

leading governs

the choice of omissions and

duplications, cially espe-

in ninth chords. Dissonant chords Avoid the

are

most

effectiveupon

of a harmony or repetition

a

strong pulse.

bass note from

a

weak

to a

strong

pulse. Exercises 8-16 in

AppendixC

are

now

CHAPTER THE

The modes

Major

MINOR

available.

X. MODE.

differencein the triad formations between may be Mode

Harmonic

seen

by a comparisonof

Minor

AscendingMelodic Minor DescendingMelodic Minor

the

the numerical

I,n,

m,

major and symbols:

minor

IV, V, vi, vn*^.

V, VI, vn". i, n^ III+,IV, V, vi",vi". (primitive) i, u**, HI, iv, v, VI, VH. i, n",01+, iv,

THE

MODE.

MINOR

59

composing,the hannonic fonn of the minor mode should be the and descending) used are workingbasis. The melodic forms (ascending for melodic purposes althoughadvantagesin part writing principally from the use of chords of melodic minor formation, accrue frequently vi^ and VII should be avoided where monotonality is desired. A comparisonof the triads of the major mode with those of the harmonic In

minor

shows

two

triads which

triadsdiffer. The harmonic

V and vn^. alike,

are

minor mode

All other

has two minor triads (iand

iv),

major triads (V and VI), two diminished triads (n" and vn^) and one augmented triad (III+). An augmented triad is formed with major third and augmentedfifth. two

Such

a

chord is dissonant and active.

Augmented intervals resolve by expansion. All that has been said of the chord

in major is applicable progressions

in the minor mode. More

augmented intervals are

found in the

major.

exists between

to be found in the minor

In the harmonic

scale steps six and

minor mode,

seven,

an

an

mode

than

are

augmentedsecond

augmented fifth between

three and seven, and an augmented fourth between four and seven. Melodic progressions of all augmented intervals should be avoided by those not

in part writing. experienced

The

avoided but some augmented fourth and fifthare easily difficulty is often experienced with the augmented second. The difficulty exists in progressions V-VI and n^-V. In

V~VI, progression

double the third in VI instead of the root,thus:

instead of n^-V, lead the upper voices downward progression voice. The bass should be led the common tone in the same retaining upward to avoid concealed fifthsand octaves. In

"

jg "

a

Ex. .a.

i

MUSIC

6o If a tone in the to

a

solutions are

^

(

r

"r '

^

-t

("" i

m

^P

.", A

The

T

student needs

''""-

etc.

J

I

to enable him

further comments

no

melodies in the melodic minor

mode.

to

correctly

Remember

by

the gressions proand logical leading

doubling. seventh and ninth chords in the harmonic

formation from

exceptionof modes.

foDowing

I

f

which should be avoided and avoid them factor

the

"

m

p^

f harmonize

V

i.

^=i

(g The

with

upward

possible:

i Ex. 04.

with n^ and progresses

melody is harmonized

is harmonized

which

tone

COMPOSITION.

the

minor mode

chords in the major mode corresponding seventh chord which

the dominant

Their treatment

is similar, however.

is the

The

same

differin with the in both

table following

shows

the construction of each. chords which (Parentheses signify never used.)

used. rarely

are

Brackets

chords which signify

are

almost

Triads

Seventh

plus n^ plus III+ plus IV plus V plus VI plus yifi plus

[major7th] minor 7th (major7th) minor 7th minor 7th (major7th) diminished 7th

I

The

dominant

chord of the minor

*

plus plus plus plus plus plus

[major9th] minor 9th (major9th) (major9th) minor 9th [augmented9th] minor 9th '

is called the ''chord of

used frequently

majordominant

should following quotations

ninth chord.

major mode

(flat

ninth.

be studied.

Coniectttivcfifths(incontrary motion) appear betwaan to ba avoidad bjrtha atadant far tha praaaot*

oouna,

Chords

ninth is often used in the

instead of the sixth scale step) The

plus

ninth chord in the minor mode

the minor ninth" and is the most The

Ninth

Chords

tanor

and basa*

Soeh aoDMcotivaa

ara"

cf

THE

MODE.

MINOR

Vt

6i

V5(viiO)i

I

ixr^r

'

I

V

J

f^=^ f A

v-ul t Ifl

i'"

m

I

iiO(iv)xj

VI

J. Crugbr.

Ex. 06.

I

v^""

i"Yii8

I

IV

V

i*5"-

I

I

viigi"

nia I [jr.B. Bble vi

VI

mvn

IV

I

iiiviiiv V

I

V

I

""--"

^

^^ VI

1V5V

I

"JJ|J ji^ 35

I

V

II

r

i^vi

iv

IV

II

vio

i

VI]

v

-7

i

COBfPOSITION.

MUSIC

6s

07.

io(iV7)V

I

VoVc7,i iiOoV

VI

I

-

i.4'~-n-i

I

""

1V5

viig V

ivo

[^.B.

Vn V

IV n

V7 1117

iig in Va viig I]

^^i|'

U^

I

C

iia

nio

VI

lo

rv

io(vii8)(ivt)V2

Exercises,

(i4) VJ

Group

I

VI(nOJ)V

j^4.

i E

I

ni^iv^

iig """

Ifl 117 vug

x

cu jvn(7,

~

!" -J

xi^J V

,

A

in

y"y

I

ii.

French

Folk

Song.

I

64

CHAPTER

XI.

NON-CHORDAL

Non-chordal

tones

which

tones

are

TONES.

factors of the chord

not

are

in

tones (accentedand as passing they sound. They are classified unaccented), tones, unresolved neighboring appoggiaturas, neighboring retardations, tones, suspensions, tones, anticipatory organ point and

which

various A

compoiuidnon-chordal

PASSING

TONE

in stepwise

the

IS a

tones.

non-chordal tone which is approached and direction. An

same

accented passing tone is one

quitted which

the factor of the chord to chord,therebydelaying effectivein a downward than scale figure which it progresses. It is more tone is one which is in an upward scale figure.An imaccented passing is attacked with the

sounded

of the chord. the latter portion

on

Between

separatedby the interval of

chordal tones

two

inserted a chromatic passingtone, hence: j /K X

fg

f

4 1' V *^

Between

chordal tones separatedby the interval of

two

may

I

-

V

third may

a

be

be embellished thus:

| may

^^

or

major second

a

be inserted

a

X

diatonic

passingtone,

hence:

may

be embellished thus:

M

*^CI or

4r

(accented)

Between

passingtones, ^hence:

it is not

be embellished

may

thus:

IV

accented passingtone as

The

conunon.

in

a

downward

is

more

effectivethan the unaccented

tonality.Passingtones

Notice that the

"

is

a

passingtone

but

chromatic

effectivein an upward passingtone is more Chromatic affect figure. passingtones do not necessarily r\

*

be inserted

fourth may

^iv

figurethan the

a

etc.

I The

#^ CI

m

t

separatedby the interval of

00*^

X

i

chordal tones

two

diatonic

two

cji"^

are

spmetimes repeated:

X

X

g^rrrrh^-

^ctor of the tonic chord and is therefore, ttrictly tpeaking,not

"

paaeingtoii9.

NON-CHORDAL

The

is an

afpoggiatura

chord and

TONES.

6S

accented non-chordal tone

downward resolving

with the occurring

to the or chromatically diatonically

chord

d'i, J nH

I

factor which it delays.

"^

(".)

m

( Ex.

f

"

i

J.

08.

(gf C

i

etc.

I

f=f

gJ*

Q!

-vs

I-

and the accented passing tone appoggiatnra is that the former is approached by leapand is consequently unprepared while the latter enters preparedalongthe scale line. The appoggiatura resolves upward (usually a minor second). occasionally Frequentlythe upper and lower adjacenttones precedea chordal and these non-chordal tones are called by most tone (unprepared) The

differencebetween

theoriststhe double

The

double

the

appoggiatura.

etc.

occurs appoggiatura frequently

A non-chordal tonq similar to the

as

an

AnscUag.

^m

is by most

following:

CI-

appoggiatura."Others preferto callit approachedby skip." The former name isfree from the

theoristscalled an tone ''passing ambiguitywhich a

A

NEIGHBORING

"unaccented

characterizes the latter name. TONE,

also Called ''auxilliaiy tone/'is an

non-chordal tone which embellishes chordal tone tone

and may

rarelyan

a

repeatedchordal

unaccented

tone.

This

non-

be the upper or lower adjacenttone to the chordal be at the distance of either a major or a minor second,

may

augmented second.

diatonic but the lower

The

upper

neighboringtone

second below the chordal tone.

tone neighboring

is

A chromatic

affect the tonality. necessarily

more

is

usually

frequentlya minor

tone neighboring

does not

HUSIC

66

COMPOSITION.

Bach.

Vt

GI" Tones Neighboring The

GruppeUoor X

Bach.

I

sometimes

are

v;

G

IV.

repeated.

isa group of chordal tones and non-chordal

turn

X

XX

/^

VI

/%

X

X

neighboring tones, X

,x

X

thus:

etc.

the praU-triUy and tnarderUf tones. neighboring The

An

unkesolved

the UriU

neighboring

are

tone

also ornamental

is

of the applications

unaccented

an

non-chordal

and quitted approacheddiatonically by skip,usuallyof

tone

(delayedresolution.)

a

third,

(unresolved.)

X

thus:

such

etc.

a

non-chordal

tone

because of the custom as

a

among

an

accented

passingtone.

An

ANTICIPATORY

TONE

which it soimds but

a

The

Some

theorists call

is

misleading other theoristsof defining a changingtone

"changingtone."

is an imaccented

tone

factor in the chord which

term

to foreign

follows.

the chord with It may

be approached

or by skip diatonically

A

SUSPENSION

chord following

is

a

chord

factor sustained from

of which it is not

a

chord

into the

ward downpart,and resolved diatonically

to a factor of the second chord

chord.

one

daringthe

sustenance

of the second

NON-CHORDAL

A

100.

A A

A

1f^n

TONES.

or

A A

A

etc.

Vic- r ir r

M

r

A

"

67

Less

the suspensionis resolved upward diatonicaUy.The frequently, a retardation. by some theorists, suspensionresolving upward is called, **

Grammatical

alleviated

the

suq)ensionexcept in the progression harmony which is explainedin Chapter 12. The suspensbn is figured the firstfigureshowing the bass with Arabic figures, over the interval which the suspensionforms with the bass and the second figureshowing The tone of su^)ension the chord factor which is delayedby the suq[)ension. ai^)ears and is sustained to the foUowing chord first as a chordal tone (calledpreparation) and progresses diatonicaUydownward (calledresolution)to the (calledpercussion) the ocmsonant tone of the second chord which was by delayed suspension. Preparavoice part. Percussion usually ticm,percussion,and resolution should be in the same cl the German

errors"

are

Sixth Chord

not

by

to dominant

delayed tone should

be present in any other voice part Various suspensions at the distance of the interval of a second. are duringpercussion occurs

on

shown

and

an

The

accent.

figuredin

the

not

foUowingexamples:

i

/^

-a^

Suspension9-8:

Ex.

1^

101.

J

^

ft o

C

m Stt^iension 4-3:

Ex.

T^

102.

"\

I

sr

IV

s

tei

8

V

i

-^

2:

4

C

i

IV

V

i 8

MUSIC

68

COMPOSITION.

^=^

I

Suspensibn6-5: -SL

i

o

0

I

V

[ N,B.

The

suq)eiision 6-5

form

does not

a

dissonant at

effectiveas suspensions 9-8 and 4-3. in any voice part and A suspension occur may voices simultaneously:

V]

iii^

and percussion

suspensions may

is therefore not

occur

in two

or

as

three

J

/^ Ex.

I

104.

1

m lie

The above

examplemay

analyzedas

be

in the bass anticipation

an

or

as

a

suspension

voices.

in the three upper

a dissonant factor is retained: Occasionally

1

i 106.

-(9-

'

m

The

A

jQ-

SL

is altered when the second chord of the suspension is of suspensions figuring becomes second The firstinversion of the su^)ension and the 9-8 7-^

inverted.

6-6

inversion becomes

.

^

The

.

suspension 4-3

with the second chord in itsfirstinversion

5 4

9^;second

is figured

inversion 6-6

^

.

The

6-5 with suspension ^*

6HS. firstmversion is figured ^^; second inversion,

the second chord in its

TONES.

NON-CHORDAL

C

II

69

I

II

[ALff.

Vo

VI,

iiij]

^^duAJ'^m H

TV

IVo

11

IJV.B,

Three

iij]

of the suspensionare irregular progressions

common:

the lower neighbor. it^. Interpolating X

and.

To

another

tone

of the chord.

The

same

with X

108.

C

V

passingtones. XX

MUSIC

70

COMPOSITION.

3rd.Changing the

chord at

"

Resolutioo."

i

I

I

Sh

f 109.

i ^^^

C

The

organ

retention of

or

IV

is a retained tone

point

in (usually

which,chords related and unrelated

firstand last chords must tonic

V

dominant

be related. The

and sometimes

both.*

bass)duringthe

to the tone

organ

The

the

occur;

the

pointis usuallythe

tone

may

be reiterated

sustained.

Schubert,in his Erl King, has produced a dramatic effect by usingthe dominant organ pointin upper voices: or

jij

^ 72nd

J. ;i.nj.jij j.ji

measure.

Ex. 110.

etc.

Non-chordal

form

of compodh important part of the majority tions, homophoniccompositions. especially ^Modern

conpoten

tones

use frequently

an

the submediant

as

an

organ

pofatf.

MUSIC

ya

COMPOSITION.

i^\r^ K*-^ JiJ.

AH

J

J i i J "g^ ^

i

I

rJJ;jijJ

3

i i i J. a;

"I

nrji^^fp

(B^ Review

t

Examples

51, 52,

i

60, 71, 83,86, 95, 0 and 97.

Exercises, Group

12.

J. S. Bach.

J J i^^f 2.

rif

fjrtJir j j ri^-S^^ J. S. Bach.

iSgiifii^ftifninu^ I

nj^u.ii M*gnjTr]ijTr]^jiJif F. SCHUBULT.

rrrifii^rir

ALTERED

CHORDS,

73 F.

4.

^m

"

"

Schubert.

^m

"

^-^^

rr n r r (^1 "

J. S. Bach.

J. S. Bach.

6. In a-minor

ncjf

f fir f

'

rjjifr'ii J. S.

7.

r r rirr ijjir

r ,"irr r

CHAPTER ALTERED

Tones

are

Bach.

Jirc;f i^^^

Xn. CHORDS.

altered for one chromatically

or

more

of four

reasons:

(ist)

(3rd)to produce smoother modulate,(2nd)to add esthetic interest, voice leading and (4th)to increase or alterthe tendencyof scale tones. to

Altered factors should seldom be doubled. The fifthof triads is frequently altered. The triad is more the

raised than frequently

major mode

lowered. purposes.

The

other

roots.

root of the subdominant

The sixth scale step in

and the second scale step in both modes are frequently third in a chord is frequentiy altered for modulatory

MUSIC

74 The most

COMPOSITION.

altered chords

common

are:

(i) Chord with raised fifth, (2) Italian Sixth Chord, (3) German Sixth Chord, (4) French Sixth Chord,

(5) NeapolitanSixth Chord. (i) Raised The

fifthmay

IV7,V, V7, Vo,

Fifth.

be raised one-half step in the following chords: I,IV, and no (without the 7th)in the major mode and iv, n

VI and VI7 in the minor mode.

The

mediant

triad in harmonic

minor

may be considered a normal scale chord. Raised fifthsin other chords result in modulation or faultyvoice leading.The raised factor has

strongtendencyupward chromatically.

If^H^^t^^

*

'*'^Ii^^ I"- II

-

Ex. 1 1 3,

a.

^

r

-"h

-^-

1" 1" I

1

0 I 6+

IVJ+

IV 5+

^^fe

1

rfO

Vft+

1

#0

VJ+

I

X

4C

Vg+

II 6-f

n?H

|tfe!I "^^^

Ex.

118,b.

I

"^"^-

a

"Wherever

a

scale tone

VI

iv"+

i VII

5+

6-f

is followed by itschromatic alteration, (chordalor noii-chordal)

the alterationshould take

placein

the

same

voice in which the unaltered tone

appears, otherwise a cross rekUian results. In allother from above.* be s^proacfaed

cases

an

augmented fifthshould

the sixth scale step, major mode, I5+ has tendencyto a chord containing the third scale step,and 05^ Vl+ and Vf + have tendencyto a chord containing Vs-f.} In the

and

n^

have tendency to

has tendencyto mode, iVft^.

a a

chord containingthe seventh scale step. In the minor the second scale step, and Vls+ "^"1 chord containing

the fourth scale step. VI5+ and YlJ^ Vl2+ have tendency to a chord containing ambiguous chords and have some tendency to changethe mode to tonic major. aie

The

dominant seventh chord and ninth chord with lowered fifthare

available: "See

ChapterXIII.

CHORDS.

ALTERED

(^.)

{b.)

(".)

75

^^(^^(^^1^^ Ex. 114.

^

jCL

fcfe

m

221

m

-T^-

Vjbl

C Brahms

made

vii,i

%'

VJ^i

effectiveuse of the dominaiit ninth cfaoid in major and minor with

altered fifth.

effectivealteredchords

The most the outer

augmented sixth. The majorare the following:

voices)form

sixths in the

key of

those in which two voices (usually

are

C

an

^

rVorii

following augmentedsixthin C major:

in

chord with doubled leadingtone.

a

the key of C

The

The

i

chord with

I

22:

following augmented sixth in

or

II"

minor:

c

V

common

and has

remainingsixths in the key of exeeptkm"example 136.

c

II

^ or

vii"

/kl"b-jtg

doubled leadingtone.

HtSL

*8ce the

are:

M

IV

is not

minor

m

m

a

c

}^

Ex.

d the

sixths in augmentationof the remaining

major normallyeffecta modulation.*

116.

m

otyvP

resultsby resolution

various augmented sixths in the key of

resolution in

i

m^K jta? normally

(^

The

Y

iiorV

The

augmented

i "tes"-

C

various

The

augmented sixth: following

tendencyto modulate.

minor

normallyresults by

The augmentaticm

normallyeffecta modulation.

(2)

Italian

the bass.

Sixth

Chord.

major third and augmented sixth reckoning

This chord consists of from

COMPOSITION.

MUSIC

76

Italian Sixth Chords

The

in the

major mode

are

as

follows:

m

^

-i9-

I

^-

I

dzzz C

The Italian Sixth Chords

IV0+

in the minor mode

(I Ex.

as

follows:

i

% 5="rz2E:

^

-"S"-

m

m "^"i+

Many theoristspresent the Italian Sixth Chord OriginalChord. Ex.

are

/"

118.

1 19.

T118+

110+

i

Same

i V118+ as

with raised root,

follows: ist inversion=Itatiaii

6th Chord

i

-WWSI

F C

II

a

IV

in both modes is not common. vii**of doubled. fifth(present The original third)isthe factor most frequently The

use

of

The normal resolutions of the Italian Sixth Chord

are

as

follows:

etc.

CIVo+V

iiq+Iq

^This chord is like the dominant theoristsit is considered

as

such.

iio^.iiiviig+ I seventh chord with lowered

ciVo+V fifthand

without

I viig^.

the root.

By

KMne

ALTERED

Other

CHORDS.

77

for txamfiti as well as other doubUngs, are possible non-modulatoiy piogressioiis

(*.)

g

(".)

I

bi

^E

tf"

i etc.

or

.a.

iw

""P-

C

12 ore

IVo+

Modernists would not scoffat the

Such

4

I

IVa+CorcV7

harsh but highlydramatic progression: following

not vocal. are instrumental, progressions

The student willnotice that the melodic linemay suggestthe use of the chords with to find the upper factorof an augmented augmented sixth, althoughitis not unoonunon sixth chord in Unless

care

vnS^ in both most

an

inner voice.

be taken in modes

(Seeexamples132 and 157.) using no+, a modulation to the relativeminor

has power

to

effecta modulation

characteristicItalian Sixth Chord

of

a

to

may

the subdominant

result.

key. The

key is therefore IVo^.

The root position and the second inversion of the ItalianSixth Chord are occasionally used, and such chords are often ambiguouslycalled "Italian Sixth Chord in Root Position *' and

"

ItalianSixth Chord in Second Inversion." In these two

the diminished third is found instead of the

augmented soth.

positions,

Diminished intervals

resolve by contraction.

or

The fifthsin the above

c

IV

0+

Jf"

p.V

fonn progressions

of the Italian Sixth Chord

IV0+

and

.

inv.

V"

the basis for academic

in other than itsnormal position.

to the objection

MUSIC

78

COMPOSITION.

(3) The This chord

Gebman

Chord.

is like the Italian Sixth Chord

fifthof the bass

as

chord

a

(a.)

with the addition of the

thus: factor,

(*.)

i

Sixth

w

(c.)

U

g

22.

^i^

(O

fc

I

\ \^

K^9-

Ex. 124.

JO.

\

^-

-^Sh

\^

-^

Jte

Doubling of factors in the German voice

OriginalChord.

125

fe

m

^

"

c

The

Sixth Chord

is not necessary in four

writing.

Many theoristspresent the Gennan

Ex.

i

-w-

Same

^

^

C IVJ+ and

follows:

1st. inversion

C vii**5+have

German

6th Chord.

1

e

ivj+

Altered iy7

IV7

"=

ite?

1"

characteristic Gennan

most

as

with raised root.

i

"

Sixth Chord

Notice is iv?"'".

Sixth Chord

augmented fifths. Some

that

theorists do

not

Sixth Chords.

consider these chords German Resolutions follow: {a.)

(^.)

(*.)

"i9-"-

m^^

g

jg

(rf.) -""g"

-09-

-9-

(/)

(*.)

(^.) (4.)

fc

H?1g-{H ^

t^^

^'

Ex. or

or

126.

-^9-

^ -2^^SL

is

or

jS.

zz:

x.g'

ClVg^VorlJ

|K,^"I^

ii|^-iiiorIo vii0|tl

"Wrg

'

Z

i

g

civJ+VoriJ viiOg+i

fifthsin the above progressions are coimtenanced,especially parallel resolved to II and ^ with suspension are frequently 6-5. IVSt and ivS''" the fifths in progressions to avoid the fifths. Similarly, respectively, nj^-in,vn^lt ~I and vn^l^ -I are tolerated. The

Like the Italian Sixth,the German

used in root Sixth Chord is occasionally

position

called the ''German and is ambiguously and in second inversion, also in third inversion, Sixth Chord *Uk"

in Root Position," etc.

V?. without

root and

is oontidcrsd

as

tach \i$aoms

thaorista.

MUSIC

8o

COMPOSITION.

firstinversion and third This chord may be used in root positipn, inversion and is ambiguouslycalled the "French Sixth Chord in Root etc. Position," Root

3rd inversion.

ist inversion.

position.

1

^

-v

I tfg^ ^

tg 1^

-V

k

22:

%

"*=:

"

-"-

I

"^-

lA

ifi 81

g -V

H

I

lA

of both the German and French Sixth Chords other than Progressions the normal progressions of the given are possible(seeprogressions ItalianSixth Chord). The Italian, German, and French Sixth Chords of the German Sixth to may progress one to another. The progression fifths the parallel the French Sixth Chords is another way of avoiding mentioned

heretofore.

P Ex. 132.

J-

of the

valuable in the as

same

"Chord

and Third"

^

:zl

I

^ 2:

B"

I

f"^ c

names

k^

"

^

The

i

"=p:

iv"+

ivj"

l^

V

-

7

but are preceding augmented sixth chords have littlesignificance way

that all names

are.

Some

text

books refer to them

of the Augmented Sixth/'"" Augmented Chord

and ''Augmented Chord of the Sixth- Fourth-

tively respec-

of the Sixth- Fifth-

and Third."

An effectiveaugmented sixth chord which is not included in the above groups isthe dominant seventh chord in the thus: in its third inversion,

"49-

majormode

i

,a-

I cvy

with raised fifth

ALTERED

The

CHORDS.

dominant chord in the minor

third inversion also forms sbts of

an

mode

8l

with lowered seventh in its

effectiveaugmented sixth chord.

It

con-

augmented second,doubly augmented fourth and augmented

thus: sixth, -/I

O.v

is:

i

V

I bo

"

"

"

1^

cvjt^. The

The

augmented sixth chord following

I

formation is available:

major third,double augmented fourth and augmented sixth. The chord is more useful as the sharpsupertoniq in the major mode than as the subtonic in the minor mode. This chord has been named the "American Sixth Chord/' by Mr. H. R. Palmer.* The mediant chord may be altered to an augmented sixth as follows: above

chord is formed

with

^

i^3 etc.

Ciii|tIV. The

tonic seventh chord may

augmented sixth appears of this chord is the most *Sm

V?

PaloMr't

between

etc.

mtj: ii| be altered in such two

a

manner

of itsfactors. The

satisfactory.

TJk40tyi/Mutic,publishedby The John Chofdi Co.

root

that

an

position

MUSIC

8a

COMPOSITION.

I*:

ig:

-8S^

z

i

!^

i

Tg-^-

crb

IV

5# Such

chords

approachand of the key are

in|tand litrequirecareful

as a

resolution. logical

treatment

Notice that the two most

"

a

smooth

salienttones

altered.

(5) The This chord is an

Sixth Chobd.

Neapolitan

altered

supertonicchord in the minor mode formed with minor third and minor sixth, thus:

{4 *f.

and is

II

Ex.

g

I

-9-

chord may be used in the major mode. thus: and in second inversion, root position

It is occasionally used in

The

Root

position.2nd -t^

IZ.

inversion.

^m

Ex. 139. -f9-

-b^a

Vifi

i

^^^(W

third is the factor most frequently doubled as in the above original jcxamples.The altered factor may be doubled and in this respect,the Sixth Chord differsfrom altered factors altered factor in the Neapolitan The

in other chords.

NeapolitanSixth Chord normallyprogresses ^'^minant harmony,thus: The

to tonic six-four or

ALTERED

Vocoul

CHORDS.

83

Potltkni.

Five vdoes.

(^.)

(*.)

^^

r"Hg~^+^i="-^^I^

etc

m aiiO

\^ Ob

"1^

ii^obV"

BootPMitlMi.

doubled

-^-

"""-

U

22:

g

I^

te

\

-JSl

i

no^,^ VJi, to French

root.

1'^

1

6th.

fe

H etc.

141.

l"g

a

I

""^

biio

b^

""

I

biio

V

IK

bg

-"^

biio

biio

i

V|t

Second Inrertioii.

ifg I ^

i

IK

etc.

I

-^r

"

"^t

vib

Factors three and five in the

2Z:

I

""3i, v.

chord supertonic

in the minor mode

may

be raised one-hslf step as follows:

a

iiog i,oj^ "#

Of the various inversions of the *Th"

aufmentod fourth in the but

i^j^ "#

chord,the firstis the

is poMiblein instrumental

vocal oonpoeition.See Chopini Prelodefnumber

so.

most

but oomposltion

practical.

should

be avoided in

MUSIC

84

COMPOSITION.

follow: Progressions (*.)

(a.)

W

(c.)

^j^

jg Itfg P li{g

^ *^^^ ^

|"" tTg

Ex. l^^.

^

"'^'

g/p

ji/g

n^

(*.)

ji/r"

n/Q

"t^"fe

-O.

""

"

I

"

"#

B#

Pint

Inrenioii.

(A.)

(I.)

etc.

11^8V ist. inv.

The

subdominant

and the

seventh chord in the

chord supertonic

inversion

are

in the minor

major mode

mode

with raised root

with raised third in first

useful chords: (".) 3:

(*.) "^-

i

^

-^-

Ex.

\

"

Tlie altered chord in the second written

as

an

"

.OL

\y

.a.

in the progression

augmented sixth chord:

Ex. 146.

..lOtt

above

i examplemay

be

ALTERED

The subdommant mode

CHORDS.

8S

seventh chord with raised root and third in the minor

is available:

^h in analyziiig altered chords is often experienced because of enharmonic Difficulty notation.*

and editors to notate in a way which It is customary among composers offersthe least difficulty to the instrumentalist and vocalistin reading. For example, the second progression in Example 144 is chosen; if the d-sharpin the tenor part be

approached from

The

e

the notation is likely to be

following quotationsshould

be

as

follows:

studied. carefully

TSCHAIKOWSKY,

IftvocoHon to

Slop,

etc.

bl^nr^n. "

Sec

ClnpCtrXIII

12

iioj la

MUSIC

86

Andante

Cantabile

from

COMPOSITION.

StringQuartet I

Tschaikowsky,

Op.

1 1.

J.'

"=*

" '

^_

r"

-

^

("

i

Ex. 160.

i

i

^

4::

i r

BtillVj

^

iiit

v"

J^

^^

"^

V

i"t f

^9 f

"

;

r

-^

s

^^ Ip^

^ "^ ^"+

"tb

fjiri^j-:^

J

etc

LOBSCHHORN,

Ex. 161.

Op. 52.

COMPOSITION.

MUSIC

88

Exercises, Group Notate

13.

indicated below; progressions

the

major I5+,vi, Us+, VI+, I. B major I,IV5+,V, V?+, I. d minor i, IV5+, V, VI, VI5+,V", i. F major I,IV, n, 1I5+ V, VIb, I. b minor i, IV5+, V, Vf bi i.

D

Resolve the

chords: following

* pzi

M

%

1^

^ D

IV0+

3. Resolve the

" ip^

G

iie+

4.

IVJt

Resolve the

\h

-

f# ITa+

n^o+

b

iV *,. i"*

,.

ti^

H

viio 0+

*

A

U*

i"

^ii

i" I

11J+ Bl^ n^"iX

PW^ ^

"""

d

g"TIlOJ+

nrj+

chords: following

^^

^

I*i; l"iiV II. iVt ilit^i^ F#

j^^

chords: following

t iii.' It E

Bl^

fli

e

b^l"

U^

^

tf

j^pp

ii|tG viiO|t

B

V|t

c"

..

1/

i".

II

iiO|t g V|t

chords in all major and minor keys; firstto 5. Resolve the following the dominant triad and second to the tonic six-four chord:

ELEVENTH

AND

Notate the

6.

indicated progressions

A

major iia+, !".

D

I. major vii**e+,

e

vii^o+, i.

E

d minor

F

MODERNITIES.

AND

CHORDS

THIRTEENTH

below:

I. major V|t,

f minor

bn^o^i2*

i. V|t,

g minor

V7. bn**e,

minor

I". major VS"*",

a

i. V|tH, IV". majorra|t,

minor

"

major nS^,I^.

b minor

G

G

major vn^^t,I.

A

b minor

vii^+,i.

C

a

B

minor

89

major I51,IV.

e

V. uPi\,

major #IV,V.

minor

V. #11", V. #iv2|y

J^. major VDP|t

Additional exercises on

altered chords

CHAPTER AND

ELEVENTH

THIRTEENTH

are

givenin Group 14.

XIII. CHORDS

AND

MODERNITIES.

admitted no such chord formation as Theorists of the past generation entered as a suspension that of a ninth. The factor of a ninth alwa3rs or other non-chordal tone and

analyzedas such. To-day,ninth chords and take an important used without preparation are freely placein the musician'svocabulary. admit of no such chord Some theorists of the present generation formations are

as

was

those of the eleventh and thirteenth.

usingthese

called ultra modem

posers comNevertheless,

intervals with

music

of

growingindependence.The soin to-day is opening new possibilities

structure,and onlytime can tellwhether or not the choidal of the criticism radicalismof thismusic willbecome established. In spite

harmonic

the best of the "ultra" finds its way conservative, halls, and, in many cases, to the hearts of the audience.

of the

The well

of identity

chords of the elventh and thirteenth

enough established

to be

whollysuccessful

to the concert

are

not, as ]ret,

in four voice

writing

because of the fact that too many chord factors must be omitted. itis not advisable of these chord formations, # Because of the immatiuity for the student to attempt to use them at the presenttime. chords which oplythe skilledcraftsman should use.

They

are

COMPOSITION.

MUSIC

90

eleventh and thirteenth chord follows:

The formation of the dominant

Quotationsfrom the avoided. average

modem

ultra of the modem

most

follow show

which

Those

166.

MacDowsll,

Op, 55, No.

t^

^^ "

examples which

(fe

t

!."

m

^

I

23rd measure

the

readily grasps.

ear

Edward

Ex.

music have been intention

;

^

I

N

etc.

ig6+ 6+

Tonic

organ

point or

I

""

example 155, factor eleven in the chord figured vi^Jmay be But the ''3"in the above suspension analyzedas a suspension 4-3. becomes an eleventh in the following dominant chord I The prc^pressions follow none of the academic rules for suspensions or other non-chordal these are eleventh chords. tones. Obviously, often result in an eleventh chord formation,for AfUicipaiians In

example:

C "PnUitlMd

bf

Arthur

P. Schmidl

V7

-

(capyrifht).

(II)

ELEVENTH

AND

THIRTEENTH

CHORDS

AND

MODERNITIES.

91

Godowsky in his free arrangement of Rameau's Sarabande uses the in the penultimatemeasure above anticipation with considerable suggestion of a dominant eleventh chord. Similarly, of an anticipation the mediant

in

progressionV-I

results in

dominant

a

13th chord

formation.

(op.58,no. 6) uses Sch3rtte

the

thirteenth chord formation: following

b

^

zg

Ex. 157.

This is followed tonic triad. ninth chord as readily

may the

by

Many

the dominant

seventh chord which

theorists would

analyze this chord

in the first inversion)but A

overtone.

an

tone

such

the

resolves to the as

a

mediant

accepts the d

ear

more "

is figured 13 " In other non-chordal tone. this which

as

also be

or analyzedas a neighboring Schyttenumber, the d has considerable chordal importanceand

will doubtless be in the

near

unhesitatingly analyzedas

a

dominant

chord

factor

future.

OUivier in his PhatUdsie

uses Wagner's Die Meisiersinger with considerable chordal significance, thus: poggiapura on

an

a^

i^^P Ex. 168.

"|

r

"

(g

i T c vf "

This choid

is

triad in root

-

"

precededby the tonic six-four and resolves to the tonic

posidon. MODEKNTtlES.

Modernities

in musical

differ so radically from the two composition established systems (polyphonyand homophony) that it is aiq"arent that an entirely new theorymust ensue. Many of the progressions,

COMPOSITION.

MUSIC

^2

be cannot compositions groupingsof the modem accounted for by the rules of polyphony or homopbony and in many ard A glanceat a page in a score the rules are broken. other cases by RichStrauss,Ravel,Sibelius, Elgar,Schdnberg,C3nJlScott,or Debussy for the time honored and a host of others,shows absolute disregard ''rules"of the academicians. Adverse criticism of modernists is,by far, itself. Bach, but this is simplyhistoryrepeating the more conunon, but Beethoven,Brahms, and Wagner, each in his time,suffered similarly of their critics. not, however, to the glorification The science of physicsas well as the growingfreedom in the use of chord formations

and

dissonant chords prove that it is oiur ears, not Nature,which dictate

our

ai^rovalor disapprovalof many acoustical phenomena. Consecutive fifthshave been the bugbearof theoristssince the formulation of rules of under justified is more

and coimterpoint,

while much

the diatonic system, the

newer

of the condenmation

is

methods, where tonality

and even demand such consecutives. Fifths justify have been used,and used effectively, by masters of the diatonic school, and effectively Beethoven,and are now being used freely including by who are infinitely and thinkers than their greater geniuses composers or

lessvague,

critics.

Augmented steps and skipsare also forbidden by academicians but used by composers. The principal to such beingfreely are now objection isfoimded upon the fact that an augmented interval melodic progressions is a difficultinterval to sing,and it is, restriction for a logical therefore, vocal composition. Unresolved dissonances are frequent in modem music and the treatment of dissonances is very free. Cross relation is also ignoredto a great extent.

Counterpointis a theory of ''horizontal" compositionrestricted, however,by certain "vertical" considerations. Harmony is a theoryof vertical composition certain horizontal considerations. The comprising serious compositions of the homophonic school draw considerably more and concepts of the contrapuntal school. The ultra iqx"n the princq"les takes a new modem road,and while drawingupon both the polyphonic and homq"honic concepts, it travels new at the paths. Theo;rizing present time upon which

are

herein set forth

of ultra modem as

modernities

seed for

are

but technique,

thought.

is,at best,hazardous. not are

The

few theories

intended to furnish rules or offeredonlyas

a

princq"les

solution possible

and

ELEVENTH

THIRTEENTH

AND

modernities

Many

of superposing

CHORDS

result from

equal division

an

intervals other than

MODERNITIES.

AND

of the octave, the

usual thirds in

our

formingchords,

and from horizontal concepts other than those of the older school. The whole-tone scale is popularwith

mw

Ex. 169.

2

S

contrapuntal

modernists:

^^ 1

The two

oiu:

93

2C

i

-p^ 5

4

6

above scales combined

6

giveus the chromatic scale. Notice the

ambiguity* any of the six tones in either of the above scales may be a tonic by proper manipulation hence, the modulatorypossibilities manifold. are Equal division of the octave in any manner alwaysoffers modulatory opportunities. tonal

"

Several

new

chords may

result from

the whole-tone scale.

For

ample, ex-

isin the key of C with a frequentuse of the composition whole-tone scale, in the place chords founded upon the g-sharp may serve of a diatonic dominant :t suppose

a

(^.)

W

(^.)

Tg-

-^'

-^-

*e:

lil|i% li II

I :S:

-""-

the diatonic

To

etc. tonic chord.

3:

The

above

iP"

exampleshows

:zt

P^

littleor

modem

music

music but have what

modem ears

np

will supplythe

2:

P

I

alterationsof diatonic chords

dictates of the whole-tone scale and willsoimd heard

I

we

to those who

and may

to the according ''impure"to allwho have

term

heard

have

"conservative"

perfectfifthin the tonic chords in

much

Many (a),(b) and (c) ears.

of the above

Great

example. difficulties in readingpresent

of the whole-tone scale which *The

tonal

to the diatonic

tThe

terms

modernities.

center

is

themselves in the

is also tme

maintained by frequently

the

use

other modernities.

of many

of such devices

prolongeduse

as

a

pedal and frequentreturn

system.

tonic,dominant,subdominant, etc.,will probablybe discarded

in

applyingtheoryto

COMPOSITION.

MUSIC

94

This would

to argue

seem

that

fonn of notation

new

some

by imknown Many worthy compositions because of been refused by publishers allprobability advisable.

A great many

old modal

other scales are

scales. The

composers have in these difficulties.*

of which

used,some

might be

are

similar to the

major diatonic scale with flatsixth is,perhaps, The sam^ with raised the least revolutionary.

frequentbut foiuth is also frequent. the most

of intervals other Superposition the octave

offer several

new

than of

a

third and

equaldivision of

chord formations other than those derived

from the whole-tone scale. In

oiur

present harmonic

three diatonic scale chords which divide the octave

system, we

have

evenly,namely: the

(n^ and vn^), the diminished seventh chord (vii^t, minor mode) and the augmented triad (III*^). The formation of the these chords, not "Nature's Generator."t major and minor scales justifies tions. chord formanew Undoubtedlynew scale formations will justify many diminished

triad

i

of Superposition

g^

4ths: perfect

I6i

"

^ "327

For

of perfect example of superposition

an

fourths

see

Rebikoff FeuiUe

d^Album:

of Superposition

augmented fourths:

^The "ff en reason onr

author hat devised from radically

a

^"2-

"f:

"6

1

offerfewer difBcultfet in the way of readinghut it the present system does from the Gregorian. For tUs can hope,however, for a solution more compatiblawith

Dotatkm which would

the present system its advocation would be useless. We

aa

m

ex.

as

prsisnt system. t Simikrly, the minor triad is justified. Our

ears

no

longerdemand

the 7lMr"r

de^ardit*

MUSIC

96

freedom.

more

tivdy

long of

Many horizontal

the

in

in

abnost

accepts

vertical

result

Two

or

well-handled

resultants

of

in

found

more

less

or

of

compaia-

accidentally

this

kind,

how

easily

through taneously simul-

occur

may

chromatic,

or

and scores.

lines

Note

diatonic

used

modem

melodic

more

resultant.

scales,

freely

veiy

progressions

vertical

any

be

will

chords

new

also

are

seconds

concq"tions. and

the

seconds

Major passages

COMPOSITION.

the

willingly

ear

the

accepts

ear

in

played

contrary

motion. Different radical is

while

wind

wood

low

the

and

strings

clash

elements

is

low

last

are

isolated

chord

of

has

This

is

one

from

no

this

as

time

doubt the

of

it should

chosen due other.

to

high

the

when

fact

IM^

and

and

from the alone

in

Very

poem.

the

the

c-natural

treating

that

high

registers

measure

c-natural

tone

sixth

X

strings

without

be

this

for

their

third

the

consist

unique

Strauss

in

b-natural

heard,

again

high

the

end,

In

measures

is

the

different

chord:

follows:K)*

as

most

the

At

following

rhythm

the

of

concurrence

Zaraihustra.

the

c-natural.

two

effect

noticeable.

from

is

chord

as

program

the

is

practice

a

Spake

sound

measures

sound

The

Thus

mark

major

The

Such

bassoons

the

b-natural

basses.

Strauss'

basses

which

combined,

modernists.

the

f oiuth

and

bass.

unique

end

S9und

the

end, in

fifth

the in

and

cellos

the

the

the

the

from

measure

of found

be

to

sometimes

are

innovation

keys

In

keys

cellos such

a

little

uiuelated

w

PART

11. XIV.

CHAPTER

TRANSITION.

AND

MODULATION

objectof the precedingchaptershas been to present the manner in which simplemelodies may be harmonized to which end all the chord formations togetherwith their logical have been given. The progressions characterized of the material has been a "monotonic" one presentation by simplephrase balance and periodconstruction. Obviously,the The

exercises have deals with

constructive monotony. Part n well as tonal variety.We enter,

resulted in tonal and

complex structure as actual composition and althoughmelodies

more

here,upon

monizati g^venfor har-

are

the student should compose melodies of his own, the structure of which should be decided by the particular form imder consideration. is called moduloHon transition. A or tonality new key isestablished for architectonic purposes modulation. A transitory change of key which exists to

to a new digression change of key in which a

A

constitutes add

a

varietyand

constitutes

exist for architectonic purposes

does not

a

transition.'*' The

most

are digressions

common

to the dominant

and subdominant

gression (superdomiiltot) keys.tDimode as the to the two former keysis usually made in the same made in to the latter two keys is usually original key whereas digression the q"posite mode from that of the original key.

keys and

The

name

and

submediant

modulaticm or tnmsition is to a key requiring the addition or subtraction simplest of but one sharpor flat. Such ke3rs called attendant keys. Some theorists are such a digression to a non-attendant key is a natural modukUian; a digression

called an

extraneous

modulation.

anthor has chosen titsM

*The

oi tlicsabjectand

entation The

to the mediant

terms

two

have become

and

transition to fiidUtatsthe pres* made. are dianges of tonality theorist has defined

as example:C major to c minor) and trtuuUwn theorist has stated that a diange of mode does not effect modulation. Another aniQthercontradiction by slatingthat a diange of mode is neidier a modulation nor no change of key takes place.

Horn

as

a

diange ci. mode

tpedficdefinitiontof modulatioii

differentiatethe two

for wliidi purposes extremelyambiguous among theorists. One

to

(for

to note t It is interesting

modulation to dominant

that in the

occurs

works eighty-one

in sonata

only three times,to subdominant

form

ci

diange

a

And a

one

mcduta^

tonality. might add

of

transition because

Beedioven, the axdiitectoidc

nineteen times,and

thirtytimes

to

tlie

MUSIC

98

COMPOSITION.

change of key is effected by the introduction of the dominant harmony of the new key. To establish a remote key, the dominant seventh or ninth or the subtonic seventh chord is frequently necessary. the new key,the more The more duce remote techniqueis necessary to introA

the

new

dominant

The tonic harmony in an unforced manner. the supertonic and the augmented triad, chords,

the subdominant six-four,

sixth chords of the subdominant in

the introducing

new

is not necessary when

familyof

all valuable

key are

new

modulatingchord (adominant) new phraseor periodis in an attendant key. also Ex. 182, page 112, togetherwith the

dominant. a

the

The

(See Ex. i8i, page no; paragraphof text which follows the latter example.) The

following exampleshows figuring:

allthe triads in C

I H

^

major with compound

I

i

I :' I : I

i

I "'^"

I

"

"ra?"

V

IV

VI

I

G

I

F

III

a

bI"v

D b

IV

G

II

0

VI

VI

a

I

b*"V

c

V

e

IV

g "

VI I

F

I

B

IV

C

IV

A

V

F

a

VIlO ifi VII"

A similar example in minor follows:

VI

V

Remember

that the mediant

and

bb

The

Italian and

German

seventh superdominant Sixth Chords

ft

VIl" IlO

b'' V

seventh chord and may constructed likethe supertonic chords.

V

are

become

chords

are

supertonic

analogous,enhar-

monically,in construction to the dominant seventh and may become iminant chords, althoughconsiderableskillis necessary to handle these this manner

successfully.

MODULATION

TRANSITION.

AND

diminished seventh chord offers rich

The

Because of the fact that the

purposes. soimd to the minor

99 for

resources

modulatory

augmentedsecond is analogousin

third, any diminished seventh chord isenharmonically

into three changeable

other

keys: (6,)

(c.)

i %_|_|g I ^^j^=|gz=i=|g i

"^a

vii^2

yi^7

"

""

I

-fSh

vii^l e*'vii^7

a

=

=

I

b^

I2z:

vii^^

M

(^.)

(^^^

f*

vii^a

a

I

^

""s"-

^ fi

I

i

^

Ex. 169.

^

Jk-

(s

I

^"^ vii^J (".)

#

i:^

b^ VM^I ci^vii"7

"

vii"7 bl"vii^a

"e

=

i

gv"^i

(^.)

(^.)

^ ?

I bg_U^

"^

^

.^-

s:

I

^-

^

":r

Ex. 170.

(af

32:

^m

fl^

2z:

I

f*

I

-"5"-

b

viiOJ

"

d

V11O7

b

All the diminished seventh chords The occurs

become

viiO| =

are

alteration of factor three in for

modulatorypurposes.

f

VHO7

shown

b

"

i

"3C"-

vii^a g* vii^^ "

in the above

examples. chords frequently

major and minor major triads may By this alteration,

minor and viceversa, dominant

seventh chords may

become

super-

tonic seventh chords and vice versa. It is frequently desirable when

to a remote key, especially modulating, of to introduce the salient tones of the new key (themost conspicuous which isthe leading tone)in an inconspicuous place. It iseven advisable at times to go beyond the objective key. Many methods have modulatoryformulae,but with the contributions of Beethoven to the evolution of music,such formulas became antiquated.

COMPOSITION,

MUSIC

lOO

although they serve statements

serve

a

as

a

mechanical

similar purpose and

as much originality

as

formulae

guide. The not

are

do. usually

Exercises, Group from C to

Modulate

1.

G; C

to

C, and

to

as

to F.

should possible The

2.

a

a melody as Secondly,

be written for each

modulation

following melody should be harmonized

transitionsare to be made the sparingly;

used.

14.

F; C to a; C to e; a to e; a to d; be done,at first, by writingthe bass

This work may in the upper voices. part and then filling a

precedingabstract to bind the student's likely

Some

and

with

ing interestthen harmonized.

simplechords;

where indicated.

star indicates where

Altered chords may be used altered chords may be effectively

of the notes should be treated

as

non-chordal. Tito

Mattel

g

'^Mr

i

t^Fff X

r

'i'U\[-1ti

bfrJ

^

minor

X"|xxiJ]r3j. HL-fr' ciT-'r

w; B

^

-transitional to" """-

^^irlf'TlLaT ^ A"^f\

i

^^

-tf'-y

B'"

--b^

"

THE

STYLES

VARIOUS

WRITING.

OF

lOI

C. Chaminadb.

3.

Andantt

d minor

?\ iM^ri\o^u^im i"f"j a

minor

C

CHAPTER VARIOUS

THB

The

student of free

XV.

STYLES

OP

will composition

WRITING.

be desirous of

writingin

the

particular stylein which he is most interested. one styleare obtained by some knowledge of

The best resultsin any all the styles, and it is

therefore desirable to be well informed

the

of the possibilities and the string human voice,the pianoforte, quartet. The knowledge is invaluable aid to composition of orchestration in any style, but for an a text devoted to this subject an adequateknowledgeof orchestration, is necessary as well as personal contact with orchestras in the capacity of listeneror performer.One of the best text books upon orchestration is Professor H. above

OrchesProHon and InskumefOaHan*

Sling'sModem

text book

upon

is also valuable to those interested in the wood

band. choir,the brass choir,and the military The The tonal compass

of the

Pianoforte.

follows: pianoforte Sva,

Ex. 171.

Chromatic.

/ 6"

.1

*

f

Ntw lagUth tfBBsUtkm pabUshed by Carl Fiidier,

York.

The wind

MUSIC

102

The

pianolends

parts are

not

itselfto

COMPOSITION.

of styles of writing.The voice great variety

a

well individualized and

care

must

therefore be taken to

write for this instrument with the individual voice parts in mind.

allel Par-

nant cross resolved dissofifths, relations, augmented leaps, incorrectly when chords,etc.,are often difficultto detect upon the pianoforte heard. broken chord styletogetherwith harmonic figuration rh3rthmic The following is particularly well adapted to the pianoforte. quotation The

demonstrates:

F. Chopin,

CantabiU

Moderate

4.

"

HyfaJ Ex.

Op. 66"No.

tr

^

I

172.

"5? #-i

I

I

"

"

"-

jt"t \\m

1

f

"^ Ped.

I Ped,

1 Ped_\

Ped.

Ped.^ Ped.

J

Ped.

I

Ped.^

Ped.^

Psd.^

MUSIC

I04

COMPOSITION.

but two voice parts,but apparently is not contrapuntal. the chords are well broughtout and die quotation The broken chord in the lefthand does duty for several voices and the harmonic effectis the same heard simultaneously. as thoughseveral voices were In the above

The

there quotation,

broken chord in

are

stylepermitsthe arpeggio

use

of many

voices:

Ex. 173.

Chopin's Etude,Op. lo, No. ii, from which is written throughout in arpeggio style. Without breakinga chord,as many which

case

one

as

the above

is taken, quotation

twelve voices may

in each hand playstwo finger

appear,

in

tones:

Ex. 174.

loco.

Voice parts upon the pianoforte may be added or discontinued at the pleasureof the composer and melodies and voice progressions may be in multiplied

octaves.

Parallel octaves

therefore abound

in

pianoforte

literature. The

Many and rich resources

are

Stiong

Quartet.

found in composingfor the

StringQuartet*

Greater scope as to voice compass and technicalitiesis offered in this in the vocal style.Chords are possible than is possible of writing style istherefore each of the instruments of the quartetand the composition not limited to four-part writing.Varied effects may be producedhy on

harmonics muted strings, introducing fizskaio,

and

ponHceUo.

THE

STYLES

quartet. The

lOS

viola and 'cello, constitute the string second), firstviolin corresponds to the sc^rano, the second violin

alto,the viola to the

tenor

and the 'celloto the bass.

The

The four

( cb

a

WRITING.

OF

violins(first and

Two

to the

VARIOUS

of the strings

""^

J ^^^

^

Violin.

violin are tuned to

f^\

J. The

gf

~Y

^

df-^

"

)"

of the instrument

compass

follows:

0 .

Ex. 176.

^=t Several tones the

higherthan

the above

may

be written for virtuosi.

By be produced.

of

harmonics,tones higherthan indicated may A tone producedupon an open stringis more than a tone sonorous which requires more fingering. Sharp keys are, therefore, frequently use

used in

flat keys.

than composingfor strings ^ the note. over designated by an Chords'*'of two,

three,and four

tones

are

Open

tones

possible upon

are

often

the violin.

Chords of two tones may be emplo3red pianoor forkfbut chords of three four tones for a singleperformershould only be employed in forte or passages. In writingchords of three should be sustained.

or

four tones, not

over

two

tones

not .O-

IBI

All chords below the d

instrument unless the

playedarpeggioor of which

are

string are, of course, impossible upon a single tuningof the stringsis lowered or the chord

tremoh.

to be sounded

Where

such chords

two simultaneously,

the part are necessary and the chords *

When

are

marked

written the tones

are or

more

divisi.

iattmiiieBti iIm ttadmrt tlMMld have wridng chords for dM ttrliif

reference. Such tables may for readjr

be foand faimost

performersto

tmblM

of

treatisesapoa iastrameatattOB.

phjpmblcdwrdi

MUSIC

io6

The case,

be

unison may

of the tones

one

COMPOSITION.

employed effectively upon d, a and e, in which will be produced upon an open string:

1V ""1^1

^' I

Other imisons offer technical difficulties.

Arpeggi,tremolos,rapid passages, effective upon

d

four

f IHI

of the viola strings

jiand

^

ornaments

are

the violin. The

The

all musical

and

a

f

Viola.

are

tuned to

j.The

|^[

c

f ment of the instru-

practical compass

follows:

Ex.

f-4"

1 78.

The

low and middle

the third line and the

of the viola are notated in the C-def registers in the G-clef. upper register

All that has been said of the different effects upon as

of the

techniqueof writingfor

this instrument

is

upon

the violin as well to applicable

the

viola. 'Cello

The

d

The four

of the 'celloare strings

(9

j,and

"g

a

f "9*

tuned

J. The

notated in the F-clef; the middle on on any staff degreebut usually is notated in the C-clef commencement

or

when

(Violoncello).

lower

c

( "9*

and

)"S ( 9'

middle

J

are registers

is also notated in the C-def register the fourth line;the upper register

the G-clef

or

to

The

.

notation in the G-clef at the

the F-clef indicates following

tones

an

octave

the C-clef the notation shows higherthan theysoimd, but when following the actual sounds. The practical compass of the instrument follows:

Ex. 179.

m

St -^-

^

BINARY

That

TERNARY

AND

FORMS.

107

that has been said of the violin is true of the 'cellowith the

modification that the 'cellodoes not lend itselfto

as

rapidpassages

as

the violin. Duplication

Factors.

of

omission of chord factors cannot be boimd by rules. or Duplication where many tive In orchestral composition are duplications necessary, effecand ingenuity of the composer as resultsdependupon the experience well as upon the character of the composition Some orchestral at hand. are adapted to three sectional arrangements, in which case compositions is duplicated voice chord for strings a four or more by wood wind and brass. Such an arrangement need not, necessarily, preponderatein orchestral composition, and, in fact,the so-called orchestral colorings obtained

are

by deviations from

exampleof

A remarkable

the above

arrangement.

is to be found in the last measure duplication

of Saint-Saens' ItUroductian and

for violin and Capriccioso

Rondo

and Here,the chord contains fifteenroots,one third,

not be

technical

Exercises, Group Harmonize

page'147.

BINARY

Tonal

15.

Exercises 1-3 in Appendix B, accordingto directions, The work in AppendixA should now be commenced.

CHAPTER

The

fifths.

of an instrument influence the possibilities of duplications, but artisticchord effects should and number sacrificedto techniques of an instrument.

the Occasionally manner

two

chestra. or-

AND

XVI. TERNARY

FORMS.

consists of two balancing simplest two-part composition periods. is obtained is modulation in shown the as variety by following

diagram: Diagram

i

A

ist Fteriod

IZZZZ8

or

May

I

or

may

if

not

rggMlar.~

repeat.

Key of C modulatingto G, F,

The second

||B

(Antecedent).

16 measures,

a

or

6.

e, etc.

2nd

I I

||

S or

Period

16 measures,

May

or

may

Modulatingback

three-part compositionconsists of simplest and part being a contrast after statement

restatement

after contrast.

The contrast

by

ri

repeat.

three the

|[

if regular.

not to and

is obtained

|

(Consequent).

endingin

C.

I

the divisions, third

beinga

the appearance

MUSIC

io8

of

a

the

COMPOSITION.

is obtained by the appearmotive,and tonal variety ance Tonal is of the second part in a new key. unity preservedby of the "home at restatement. The following key" reappearance theme

new

or

diagramillustrates: Diagram

ZI8

16 measures,

or

May

if regular.lJlS if regular.xl regu]ar.Ilt8 or 16 measures, or 16 measures, LI not repeat.ZztzMay repeat.ZljL_.May not repeat. or may or may

if

I in the key of

Theme

signature.Transitions

key.

Theme the

not

or may

be made.

may

Most

7.

II in

a

contrasting

Transitions

may

be

made.

dance

music

from

Recurrence

of Theme

verbatim,sometimes

the old dance

waltzes

varied.

of the Classical Suite to

in either two-part or three-part form. It will be remembered that in the division of a period, we

modem

I in the

Sometimes

key. original

our

are

had

thesis

antithesis, or, in other words, an antecedent division followed by tion consequent division. Two-part form often presents similar construc-

and a

antecedent

periodfollowed by a consequent period. In two-part and three-part well as modulation, as form, transition, ally may occur, but too much transitionand transitionto remote keys (especiin binaryform)Is likely main the in to obscure keys short or simple compositions. These two forms (binary and ternary) serve as the basis for the more elaborate forms. Frequently whole shows binary a as a composition shows one of or ternaryform also a well defined part of the composition these forms. (SeeBach, Gavotte,Ex. 183.) The classical and modem suites should be carefully studied and also the waltzes, marches,etc.,of modem analyzed, Many composers. of the songs of Schubert and Schumann valuable examplesof these are an

"

forms. The

quotationsshow two-part following

and

three-part compositions: Gavotte, Corelli.

(Binary) A

xst Period.

'\" |ii r

:i ,^^

'

Ex.

1

^u

180.

kw

s InF-

t

^

'^1^ I

A

BINARY

TERNARY

AND

FORMS.

InC-

109

In F-

^^

-InC-

B

m

2nd

Period.

UL

"A

f

^ 1 "

r

"

m

E="="

^^

""*-

I "

Ind-

^^

3=3:

11

t

I

In

^^ r

F-

t

V

MUSIC

no

COMPOSITION.

and

Period

repeated.

i44g3

/'^iUJjiJ (Ternary) A

Period in

"t

AlUgrocon

a

minor,

R.

Schumann,

Mo.

Ex. 181.

n

-S jiflIj jj-i "

"

Op. 68, No.

8.

MUSIC

no

COMPOSITION.

Iand

Period

repeated.

f^k

^ "

i

.^J

f

i

r

ti

if f f

i?

F-

(Ternary) A

ist Period

Allegro con

Ex. 181

in

a

brio.

minor.

R.

Schumann,

Op. 68, No.

8.

BINARY

B

A

2nd

Period

i

*)

3^^

Period

*l

in P

j

"

in

*1

a

AND

TERNARY

FORMS.

Ill

major.

*1

\

j'.'^-ij jT'iJT^

minor.

^^m\il'jj\ ^^\\^WMi 1^1

COMPOSITION.

MUSIC

112

". Grieg,

e

PH"!

i

I

^

12, No.

minor-

f

?

r

B

^5^

I

Op.

^^^^

? *'-J*=^

f

*

^

"

-X

^^

fr

r

"^

G major-

-b minor

V

1GV7

G major-

7.

BINARY

^m

AND

TERNARY

FORMS.

-54"

? HLi'

i

i fit 5 ";*."".

n-j

^

113

TT3i"^r!l. -e

vii" V e minor-

I^N=^i^^lr i r II. r

^^

f

"e minor-

tf

r

fj "

1"

"

fc

E

periodB The

ITTT

f I

firstperiod A is in the key of e minor. The second key of the relative major but ends in the originalkey, e minor. period (thesecond A) is in the key of e minor. The modulations are as

follows:from

e

to G

and from

G

to e.

At the fifteenth measure,

there is a transition

measure.

above

They are

quotationsexemplifysimplebinaryand ternary forms. of the terms and examplesof the forms in the strictapplication

coincide with

diagrams6

and 7. Many binaryand in less regular construction and many are more

is the

Ml^^

example,the

from G to b returningto G in the sixteenth

are

i

is in the

third

The

t

^X^XJ '

E

In the above

M

^^gj^T^^

key to

in these forms

success

are

in

varied.

the understanding

ways

ternarycompositions elaborate.

in which

Analysis

compositions

MUSIC

"4

COMPOSITION.

The

of two themes,both foUowingdiagramrepresentsa composition themes of which are in the same key but in which several other tonalities main key for both transitorily occur, hence the desirablenessof the same in three-part themes. A similar construction is possible form.

Diagram S. First Period.

iMay

or

may

B

(Theme i.) not

Second

IMay

repeat.1

Comnendng and ending in the key signature.One transition or

or

several are made.

and

One are

2.)

I

repeat.!

ending in

i.

several

foUowingdiagramshows

Tlieme

not

may

Commencing key as theme

of the

The

Period.

the

or

made.

ternaryconstruction.

a common

same

transition

Many

constructed may at firstsight similarly compositions appear too complex for three-part form, but a careful analysbwill show the means by which is gainedupon a basis of ternary fonn. complexity Diagram B

First Period.

UMay

may

or

of the ^lays

Period.

Third

Period.

I

repeat. Second

in presented

First theme one

not

Second

9.

previously one

described.

First theme verbatim tiieme presentedin be or may of the ways previously varied by contraction, expansion described. and in otiier means. end To the main

key of the composition

formal is its principal

of the simpleapplication

For

a

No.

20.

construction of Bach's

The

in the

is shown

tion

structure

Gavotte

from

see

the Sixth

a

form similar to Diagram three-part form. whole is in three-part Gavotte

A

188.

1

r r 11,,, irfjt

9 and the

comp"osi-

J. S. Bach.

I.

in d minor. tr

Ex.

English Suite

the upper voice part. This composition divisions called Gavotte i and Gavotte n (Musette).

division isin as

Schumann, Op. 68,

of following quotation

is in two Each

above

obligation.

t^fTr^g

;=t:

\3"

First theme

ending on

the dominant

of d-minor

BINARY

TERNARY

AND

FORMS.

"5

d V

"l^^

d

B

yarlo,"key..

ir

V Second tiieme made

up

of largely

material of the firsttheme

and

containing

ji.

i^,"^ri',rrr free transition

A

commencing in

a

minor

in d-minor

J

J P Ir'"/f r'r J-7-^" r'tUuili/'

^," XjH

-"-

I

r

JI First theme

(entersin

an

inner voioe) varied

tr

fiJ^ fW^ ji"

I

^ f I[lEr fry

/f\

i9-

I

Fine

I Gavotte

II

A

in

(Musette) D-major.

i I First

theme

of Gavotte

li

-COMPOSITION.

MUSIC

'ii6

V

1st

2nd

and G.-major. in-D-majdr

B

tr

Second

A

in

theme

of Gavotte

II

with

transition

D-major. tr

Mn^^^ w First theme

of Gavotte

II

varied slightly

jst

\2nd

Gavotte

I D,C, al Fine

.\

1

Notice that the first theme, A, of Gavotte

(Half Cadence) which themes

show

nineteenth

is

less contrast

and

twentieth

i

ends with dominant

irregular.Notice, too,

that the

than consequent

in most

themes

centuries;the motives

and

harmony consequent

music

of the

figuresof all the

considerable

ality, similarity althougheach theme has individucall a and the compositioncan hardlybe considered what we may monothematic composition. For such a compositionsee Schumann's rrawweref (AppendixB, No. 2). themes

show

Exercises, Group (Binary ) 1.

A

16. Menuet W.

from

Don

A. Mozart.

Juan,

MUSIC

ii8

key and

sometimes

the

are

measures

The tenn

may

In

case

that the

measures introductory simplyestabli^ the key,

often called prdudein contradistinction to itUroducUon.

which to oompofiitkms frdude isalso applied

and of the nature the teim

rhythm.

that that is to follow but

do not foreshadow such

COMPOSITION.

of free improvisatic"i but not

be found in

are

more

or

Such introductory.

lessfree in form of application

an

Chopin'sPrdudes,

of short introductionsand preludes foUow: Quotations Bkbthovbn,

Op. 46.

Ex. 184.

Voice.

^I^"?

etc.

^^^^^p

"""

F. Liszt, Du

^^m

--

Bist IVie Eine

Blume.

to

Voice.

Adagio

con

tenerezza.

etc.

^MfWtx

^^

INTRODUCTION

AND

INTERMEZZO.

F. ScHUBBRT,

Am

"9

Meer,

Ex. etc.

186.

examplesof longintroductions the student isreferred to the following compositions: JosephHaydn: S3rmphonyin G Major,first17 measures. first10 measures. Ludwig van Beethoven: Sonata Pathetique, For

W. A. Mozart:

Overtiue,The Magic Fluie,first15 measures. Johann Strauss' (n),Emil Waldteufel's and J. Gungl'sWaltzes. Inteiucezzo*

and of irregular construction* may be of any length It is characterized by the absence of definitemelody and usually consists The

of melodic passages

fragmentsin sequence, of scale passages,

of transitionalcharacter.

fimctions:

(i) as

interlude between

a

The

of broken chord

intermezzo has two

particular

theme and (2) as an contrasting themes. The following contrasting quotations

substitute for

two

or

a

exemplify. E. Grikg,

^U

*The

term

dances of the

movement.)

'

j

Op.

12, No.

3.

'ij

Is also applied to short compositions,to the entr'acte, inUrmeMM to the intermediate to a movement of a symphony. (See Goets's Syn^hony, second suite,and occasionally

Intennezzo

i

COMPOSITION.

MUSIC

320

I

(Substitute for contrasting division) *

*-"

% nty !=":

at^ ^t"

=^

^ -^.

r j-

j^

I

J 1^ 27-

/

//

3

"""

=^

i^

a *

^

1

X

" /J/

Y

^"//

INTRODUCTION

AND

INTERMEZZO.

12 k:.

^^^-i

T sa/

Notice the

two

less contrast

up

contrast.

the last half of the intermezzo,

of material from the first theme

than is usual between

furnishesvivid up

themes

is made

second theme

before the

The

themes.

restatement

of material from both' themes

The

thus

intermezzo, however

after the intermezzo is made

and is not unlike many

codas.

Fr. KuHLAU,

A

Theme

making^

Scherzo.

I in C-major.

Ex.

^

(^ {^m

I

^""

#-

i ^

^m

k

*.

I

I

^P"

^

#-

i \

MUSIC

133

B

Theme

II in

G-major

and

COMPOSITION.

A-minor.

Intermezzo

cadences

in

G-major

and

modulating

to

C-ma

ooolaining

jor.

transitional

8va.

If rtrtii 'frtH^m

I

*

Theme

I in

originalkey (C-major)

t

^

^*

material

over

CODA.

AND

EPISODE

THE

Theme

I

"3

repeatedan

octave

higher.

m "

Notice

that the second

Extended

Cadences

by

theorists.

The

"

m^

theme

of this type marked

measures

some

"

(inthis case,

^

leads into the intermezzo.

A

group

of

might well be analyzed as extension of Theme II) and is so called Intermezzo

has similar functions and is similar in character to the

Episode

Episode,however, is more melodious and partakesthe theme. character of a subsidiary Episodesoccur in Fugues and serve of a fugue theme. For an the repetitions as intermediate parts between from Mozart's String example of an Episode see the Slow Movement and extending Quartet in C major commencing at the thirteenth measure Theme at the twenty-sixth n commences through the twenty-fifth. Intermezzo.

The

measure.

The

Coda

termination

is a chordal of

or

thematic

appendageand

follows the natural

The functions of the coda period,form, or movement. are (i) to emphasize the motive, the final cadence, or other material, back to the main key where the finaltheme (2)to convey the composition ends in a different key,and (3) to summarize the material of a composition. a

MUSIC

124

COMPOSITION.

F.

|

of Theme

Termination

Liszt, Du

Bist

Wie

Eine

Blume,

Ex. 189.

"

TCTiination

ICoda

"

of Theme

(emphasizingthe motive).

Op. io6, No.

F. Schubert,

|

4.

F

Coda

Theme

ending

(emphasizingfinal cadence.)

in d-minor.

J. Brahms,

|

Op. io$,

No.

3.

*^

i

T"

i

Voice.

t

P^

^

m

n-

k

i aih^|i"Jiyir f ICoda

(conveyingback

to main

key, F-major).

[

MUSIC

136 The

COMPOSITION.

foUowingdiagramshows

Rondo; second

highlydeveloped 5iMiato PolAelJ^Me.

of Beethoven^s

movement

of

the structure

a more

II.

B measures. 8iiieasiifat(repeats).|| ||A

A

8

la

Subject in Ab. Principal Repeats 8va with varied accompaniment.

8

A

Episodein

f-minor.

li C

measures,

Recurrence

and

of

Subject. Principal

(repeats).

measures

\

CODA.

7

i4mBunn"

measures.

Episodein

abi B, and Ab.

11

subjectis not restricted principal that it occurs with the exception at least three times. The intervening sections may consist of contrasting or episodes.The themes,iniermezzi, each occurrence doses with a final cadence, on principal subject usually sections often lead into the principal whereas the intervening or subject The princqial varied subjectis occasionally pause on a semi-cadence. in its several recurrences, often appears with varied accompaniment, sometimes with changeof harmony,and is occasionally eictended. In the highly complex Rondo Form may be found transitional measures, The

number

of

of the

recurrences

and codas between the various passage work, elaborate extensions, divbions of the composition.The third movement of Beethoven's in structure shows great complexity Paihetique the harmonic and formal structure of should analyase Sonata

The

The or

more

Variation Form

Variation

is a term

themes ispresented and

and the student this movement.

Form.

in which one composition in variously re-presented di"fering styles.

ai^liedto

a

concerned examplesof the Variation Form were principally with a groundbass which served as a basis for building subsequentvafia" tions. The most highlydevel(^)ed exampleof this styleis to be found in J. S. Bach's Vanaiions on an Aria in G Major which is a Sarabande variations. Here, Bach used the harmonic structure of the with thirty Aria as a baas on which he built,contrapuntally, thirtycontrasting The

older

movements.

THE

Later,a theme variations

most

as

AND

well

as

built. In

were

Haydn'sAndanie is the

RONDO

THE

VARIATION

ground bass served

a some

importantand

137

basis upon which find contrasting themes (see

we

cases,

with Variations in F

FORM.

as

a

Minor) servingof which the first

therefore most

worked thorougjily

out.

sodes, Epi-

variations, cadenzas,intermezzi, etc.,made their appearance as well as elaborate codas,and to-daywe have a highly complex form which exists as a completeopus number or as a movement introductions to

of

a

Sonata

or

Rondo

The

Symphony. and Variation Forms

are

sometimes

combined.

For such

example,see Haydn's F Major Sonata for violin and clavier (slow movement) which should be analyzed. an

in which

of the

principal ways the styleof (i)by changing Some

a

theme

may

be varied follow:

acounpaniment;(2)by changingthe theme to the harmonization harmonization of the theme; (3)by writing a new of the principal theme; (4)by changingthe lengthof the various notes therebyobtaining a new rh3rthmand often a new metre; (5)by of certain notes which may or may not changethe metre; (6) repetition tones ornamental to the tones of the theme,scale passages, by introducing the passingtones between the tones of the theme,etc.; (7)by obscuring of the tones of the theme; (8)by inverting theme by arpeggio figuration the the intervals of the theme; and (9)by expandingor contracting the

intervals in the theme. to the Variation Form than an theme lends itselfless readily lyrical theme with potentialities. epic-like Contrapuntaltechniqueis necessary to successful results in many good resultsin the ways of varyinga theme such as are cases, but fairly listedabove may be obtained without such knowledge. of standard The work for this chaptershould consist of analyzation in the Rondo Form and in the Variation Form. A theme compositions

A

should

be chosen and

enumerated

in this

worked

in variations in the various

may

be done.

Exercises, Group I. a.

18.

Exercises 6, 7 and 8, AppendixB, pages 150 and 151. Compose a theme; harmonize and treat it in a manner

Diagram 10, page 125. 3. Compose a theme five

or

more

ways

work in the Rondo chapter.Originalcomposition

and Variation Form

Form

out

of at least eightmeasures;

variati("is.

harmonize

similar to

and write

lis

CHAPTER THE

XIX. FORM.

SONATA

the need of contrapuntal skill As the form grows more complicated, becomes more apparent and this need manifests itselfwhen considering the Sonata Form.

The Sonata Form

isthe most

complexof allthe forms of technique. Tliis chapter, therefore,

the greatestamount requires aims only to the equipping of the student with knowledgesufficientto and appreciation the analyzation of the Sonata Form. is applied in three (Merent ways. Previous to The term "Sonata" the term the work of PhilippEmanuel Bach (1714-1788), used was and meant almost any kind of a composition for instruments in loosely contradistinction to the cantata. nitely defiTo-day, the term is used more for solo instrument (usually in and is applied to a composition conventional lines. Thirdly, four separatemovements) based on more the term is applied in conjimction with the term "Form" (SonataForm) of one of the movements of a to signify a certain structure or more

and

Sonata. consists of four separatemovements, each usually of which is a completeform but allof which constitute a whole with more The common between the various movements. or less interrelationship of the movements is: ist movement. Allegro;2nd movement, disposition "Slow"; 3rd movement. Minuet or Scherzo; 4th movement. Allegro. The firstmovement is frequently precededby an introduction usuallyin The following is in Sonata Form. slow tempk). The first movement

I

The

modem

movements

may considered. A a

Sonata

be in Sonata

Form

or

in any

of the forms heretofore

for orchestra similar to the Sonata composition Symphony. The Sonata and Symphony sometimes consist

is called of three

movements.

The first is,in a broad sense, Three-Part Form. the second part (B),"Development," part (A) is called "Exposition," The Exposition consists of two and the third part (A) Recapitulation. themes in contrasting or more keys; the Development consists ot an in the motives of the themes in k of the lateht possibilities unfolding consists of a restat"ebitof Bie the Recapitulation transitionalmanner; with iemphasis themeis of the Exposition upbn the main key; A common tonal scheme of structure is shown in the following diagram: The

Sonata Form

THE

FORM.

SONATA

piagram

(A

f39

12.

|J"B D9TBlopiiiMit~ ifC

Exposition.

Recapitulation.

the Recapitulation Not infrequently Transitions, may, of course, occur. in the subdominant is in two contrasting of keys,the firsttheme usually the main key and the second theme in the main key. Notice that such results in the reappearance of both themes in different those in which they appear in the Exposition.The Development

tonal scheme

a

keysfrom

section is the most

and is the complicated part of the movement least rigid. Oftentimes it partakesthe character of a free fantasia. musical thoughtsgerminatefrom the original motives and Here, new and variety.The or lesschaotic tonality us contrast more occurs, giving form with emto the themes in their original return at Recapitulation phasis and givesus unity. upon the main key roimds up the movement themes, episodes, Subsidiary transitional, passage work of rhapsodical, cadencial

or

of themes (sometimesvaried, sometimes material, repetition

verbatim),conclusion themes

and

codas

found frequently

are

in the

movement.

and trios, quartets,quintets,

of

Overtures,movements

concertos

are

written in Sonata Form.

example of specific Beethoven's Symphony No. brief analysis.* For

the Sonata

a

3

of Form, the first movement in E-flat {Eroica^ Op. 55) is chosen for

In analyzingan orchestnd score, notice must be taken of the fact that the clarinets, instruments" and are written tran^"osed;for horns,and trumpets are "transposing

for the B-flat Clarinet

sounds

b-flat

J

than they actuallysound.

therefore the tones

The

written scale of

are

c

or

notated for

an

B*flat Trumpet

a

major

second

really higher

e-flatinstrument actually

the scale of e-flat, All strings, flutes (inorchestrations), etc. oboes,English cert," horns,bassoons,tubas,and trombones (when in the bass or c-defs)are written "conthat is,accordingto the tones they sound. written in the g-def, Trombones instruments in b-flat. however, are treated as tn^nsposing sounds

*The

orchestral score

the harmonic tore most

score

to

this

as progressions

is obtainable in the

largemusic dealecs.

Symphony

well

should

to assist him

be in the hands in his

of the student

that he may

analyze

of the Form. An inexpensivemtnia" analysis and is for sale by Payne Series publishedby Ernst Eulenberg,Leipxig, as

MUSIC

130 The

COMPOSITION.

Symphony (Eraica)is

scored for two

two flutes, oboes, two three horns (ine-flat, but changing)^ clarinets (inb-flat), two bassoons, double bass,and quartet of strings. two trumpets (ine-flat), t3anpani, is the chief theme is sounded by the cello piano but Theme i which

introduced

by

two

fortetonic

chords

by

full orchestra.

The

motive

is

of a among the different instruments until the entrance theme at the forty-fifth This theme starts with measure. subsidiary tossed around

harmony in the key of b-flat preceded in the forty-fourth of b-flat is only measure by augmented sixth chords. The tonality transitional measure a connecting vaguelyestablishedand at the sixty-fifth passage leads to the second theme proper (which is in the key of At the one hundred and ninth b-flatmajor)at the eighty-third measure. founded upon the rhythm and ideas of the princq"al a passage measure Notice at the one and subsidiary themes commences. hundred and the dissonant chords upon the weak beats which measure twenty-third until at the one hundred and twenty-eighth obscure the tonality measure dominant

the dominant

seventh chord in itsfirstinversion in the

is reiterated forzandofor four

measures.

The

key of f enters and rhythm in these four

in effect, two-four. At the end of the Exposition the material is, is foreshadowed. of the long coda which ends the movement The measures

now Exposition repeatsverbatim. The Exposition does not end with a finalcadence but coalesces with the Development. The Development consists of the unfolding of the The material of the firsttheme and the subsidiary theme. potentialities

of the second theme

is very littleused which is an

unusual circumstance

note, Development. The transitions are radical and interesting; 181 radical dissonances The also to deserve measures especially, 185. for but above all, 348 to 279 and elsewhere, example,measure study, measures 394 and 395 where the horn sounds the tonic chord in Eb major while the violins sound the dominant seventh chord. This placehas caused much discussion and many amusinganecdotes and mistakes on the part of musicians and publishers. An Episodein E-minor commences at measure 384. This episode 322 in E-flat minor. reappears at measure in

a

At

measure

338,theme

for further

developmentand evolves, climax for full orchestra at measure to a fortissimo transitionally, 362. Fragments of theme one are heard on a diminuendo until at measure 394,

theme above.

x

i

reappears

isheard in the horn with the radical accompanimentmentioned This is followed

modulation

F-major,the horn again soundingtheme i but this time in F (measure408). At measure 4x6 the firstviolin and flute sound theme x in D-flat (measure409).

by

a

to

THE

SONATA

FORM.

"31

coalesce and the firsttheme Development and Rec^"itulation differsin many respects appears in E-flat major. The Recapitulation from the Exposition but not sufficiently to destroyunity. The Subsidiary The

448 but this time on re^pears at measure in E-flat. The connecting transitionalpassage

theme

harmony

468 but this time

the dominant at

conunences

fifth lower than in the

Exposition.The second theme enters at measure 468 in E-flat. Compare the passage of dissonances conunendng at measure tion 526 with the passage in the Exposiat (commencing measure 123). The Coda commences with the Recapitulaat measure tion. 552 coalescing measure

It is an

a

example of one of Beethoven's contributions

and is not

termination

to the Sonata

appendagebut a complexpart of Notice that the principal the movement. theme is sounded firstupon the E-flat chordsthen upon the D-flat majorchord,and thirdly upon the C-major chord. No modulatingchords are used until measure 569. in Here the dominant harmony C-majoris insistedupon until measure itprogresses to the dominant harmony in 573) where instead of resolving, the key of F. At measure 595 a new melodious passage in chromatic and mencing styleenters,sounded by cello and bassoon in xmison. Comlyric-like Form

at the

and tonality,

a

mere

measure crescendo^

or

627,we

led back

are

from here to the end of the movement

to

the

main

the

key of

E-flat

onlyoccasional and temporary transitions. Notice the insistenceupon dominant harmony in the home key commencing at the measure 681, and continuing S3mcopation, throughthe fourth measure domineers with

from the end. A

diagrammaticillustrationof

the structure

follows:

of Eroka

Diagram 13.

tonic

Two cbords

introdttdng main

theme Principal

theme.

in

Bby Second

in Bb. and

theme

Development of and principal

the

subsidiarythemes.

Transitional

Episode.

Rhapsodical pas" (PluralTonaUty.)

igtB, with

The

in

("b) "b, Subsidiarytheme

ity (Dual Tonal-

Restatement themes of the

Further

of

and passages

Themes

in Eb.

themes

(Mono-Tonality with transitions.)

for this. These may

the to

sonatas pianoforte editions. inexpensive

The Beethoven

be obtained in

ing bringment movea

close

in"b.

analyzethe harmony and form of several

in Sonata Form.

statement re-

of

Exposition.

transitions).

student should

opment develand

are

ments move-

excellent

MUSIC

CX)MP09ITI0N.

CHAPTER THE

The

MIXED

XX. FREE

AND

or Medley consists of Poi-paurri

a

FORMS.

selection of themes

from

an

opera, folk songs, or national songs, etc.,strung togetherin contrast to another. Operaticmedleysusuallyconsist of a selection of the one finds one populartunes of a single opera althoughoccasionally selection consisting of times from various operas. The pot-pourri has

most a no

set form

and

no

value other than

a sensuous

one.*

in of the movements followingdiagram shows the disposition selection from Mascagni'sCavaUeria RusHcana with the key together The

a

scheme: Diagnun

14.

but in pot-pourri, Poei and this case the themes are original.Such an overture as Suppe's and folk national, however, than most operatic, Peasant has more unity, of the movements medleys. The followingdiagram shows the disposition The

popularoverture

in the is frequently

styleof

of Poet and Peasant, *The

lacks unitywhich pot-pourri

is

a

of all hecsstfryquality

arts..

a

MUSIC

134

COMPOSITION.

Symphony, Beethoven opened new paths and since its pxoductionthe listof programmatic music has grown, and much of the either realistic, best music is now or characteristic, descriptive. definite Modem to preler a to a more seem or inspiration composers less prosaicweaving of tones. They desire to express in their music the emoticms of their inner lifewhether kindled by literature, a mood, vision, a composition inspiration, object,event, philosophy,or picture. To a specific In the Pastoral

of this type

owes

its form.

bemg empiricaland governed by the specificinspiration necessitates concrete study,and no better examples for such study can be had than the Symphonic Poems of Liszt and his successors. obtain scores who For the benefit of those students of Sym" cannot phonic Poems, a brief analysisof a Symphonic Poem is given. The

form

Les Preludes

Liszt.

Fsanz J

a

The

compositionis founded

prose

translation of which

is our

What

lifebut

is the destiny where

Love

to

where

to cahn

the first joys of happiness

is the wounded

its memories

in the

that does spirit peacefullifeof

himself to the kindly monotony

Lamartine's

the unknown

is the enchanted are

whose fatal breath dissipatesits fair illusions,

whose And

portionof

which

not

song,

dawn

not

fatal

seek, when

the country?

firstcharmed

''the

the firstsolenm

of every

life;but

interruptedby lightningconsumes one

Yet

him

trumpet'sloud blast has called him in of the strife, of the nature point of danger, regardless his of strength. possession Nature, and when

MediiaUons^

follows:

series of Preludes

by death?

is sounded

of which

a

a

upon

storm,

some

its altar?

of its tempests is over, cannot

man

long resign

in his companionship to

note

what

arms," he rushes

order

to

with to

the

gain,by combat,

2 obpes, 2 clarinets,2 flutes, bassoons, 4 horns, 2 trumpets, 3 trombones, bass tuba, tympani, drums, cymbals,harp, and the usual strings. into six parts played, The compositionmay be divided arbitrarily Each part depictsa different phase of Lamarhowever, without pause. themes which two tine's poem, but the whole is founded principally upon and rhythmic guises. A diagram appear in various melodic, harmonic,

The

follows:

Symphonic

Poem

is scored

for 3

FREE

AMD

MIXED

THE

Theme

xsT

I).

Leads

(Andante and the

crescendo

a

upon

Leads

tuba.

in basses

and

E-major,

followed

bassoons

by and

nets, theme

and

horns

each

(C-V)*

violas

third

a

cellos

of

form

with

echo

an

Moduktes

phrase.

I

to

to

oboes, dari-

Rei4)pears: climax.

a

Reminiscences

of

darinets.

horns, flutes, and

in

z

to

and

bones, trom-

Theme

developed

bassoons;

of

theme

same

transition.

by

2ND

Sounded

violins

end

the

of

diminuendo

a

(Andante

wind

strings, bassoons,

bass

by

second the

at

form

new

a

upon

by

(f) sounded

theme

to

sounded

V)

maestoso

by wood

answered

Motive

for strings.

"35

t6.

Diagram

Recitative

FORMS.

Development

1;

PrincquJly

of

theme

V)-

tempestuoso

(Allegro

i

Suggests

(Quiets down

storm.

Allegro

leading

to

the

theme.

next

Theme

3BD

(Allegretto pastorale f).

of

Reappearance

of

theme

Restatement in

violins, then

In

Developed

horns.

trumpets, a

with

union

sounded

with

theme.

fortissimo by

traniriticms.

by

2nd

wood

Reappearance

basses, bassoons, full orchestra.

violas, followed

]). low

by

around;

wood

by the

to

wind

and

division.

next

Theme

sounded

i

strings and Theme

wind, of theme

trombones,

in

2

and

a

new

horn, z

in

tuba

former

CV).

and

Developed

rhythm

and a

horns

by

trombones.

violins.

and

mood Sudden

guise sounded Ends

h "

Recapftulation

(Allegro marziale, animato answered

first by

tossed

Theme

2Nd

transitionally leading Fkee

sounded

then

2.

of

and

horns

theme

clarinet, and

by

motive

the

of

Figures

followed

oboe,

then

horn,

to

| and

txoppo

non

ma

fortissimo

u

COMPO3IXI0N.,

HUSIC

13^

APPENDIX MELODmS

A. CHORALS.

BACH'S

FROM

1. /P\

m

Llii-U^

-""-

m /7\

Hif /T\

m

f5""a^

f

ndu

"*'

#

"

^^m n\

^M

J=rt

E

3 "^9-

^"^ IJ II f I**

/TV

^^

^^

"^

/TV

m

,

i^

tS*-

i

3.

IJ J 4*J

/TN

J J IJ~^ "^" /C\

^

^^

^gLgli-i ^ iff=d *

i

/T\

/TN

/TS

^^ /"IN

/f\

^^

"^-

P

MELODIES

CHbRALS.

BACH'S

FROlf

137

i,f J

I

J

^T\

ii^fjj jii

J

I

ijijji

i

6. /TS

^^

In

^^

/TS

r

r I

/T\ /T\

/f\

^

'hTj

J

J|JHI

7. /f\

P

I

!

J" #==?

^T\

^ir-q

m

"^"

f=f

3

/TN

/T\

/T\

j

J

J

ll

II

MUSIC

138

COMPOSITION.

1 1.

44 ^j

J

r

rxjJ^Tlrn

J J Ir r r

ra

12.

I' l(J''

'

'

III rjJ

J|X -fLcj

JJi-nTjjJ|J;j.]i 13.

MELODIES

FROM

BACH'S

CHORALS.

139

15.

J J

J Jij J J Jif r r

fi-'^'1

jij J /JJiJJ J a /f\

Lrr

^^irrmv^m

^^ r^-^lf:t\('ril r J

^';^iJ J

^N

J J I

MUSIC

I40

COMFOSlTK"N.

20.

Wt'.IJl^i ^

^

^S

22. /ts

^s

/^

^^ ^

fe 1=1:

^

i9-

t=^

^ T.iiT.ri^-^ e r..f

"

t=$

#

IP

#

'

if

m

1"-

^

23. /*N

^^

'^

3

g

T""-

^PP^^

^^ ^N

3=t

|j',i"jj9j-J|itJ_f^^^ g i ""^

i^

"J^

MUSIC

M^

COMPOSITION.

/T\

i

/TN

m

J

2Z

I

;jj|j 1=

/TN

i

fc

s

S

P

m

tt=t

/r\

^B

^

if

/"S

^

i W

SO. /TS

il^'Jir cj^

J

gJ

''

MELODIES

BACH'S

FROM

CHORALS.

US ^^

\^yi-i'!i\n S2. y?\

=t

m

?=lt^

"2^=

E

""^ Ty?T-

/r\

^

"

^ffl

?2=p:

:t

t=t

^

S4.

/T\

p

/TN

rifir T

?

/tS

f iri

/T\

2i

^

^^

J

MUSIC

"44

1 I nil |i 1 ii'ii'h II 1

I

lij '

COMPOSITION.

,

ll |l' HI

111|ii|ii|i IIIJl'll

If I 'li "Hi I iQi^i|ii||i II i||i|i

'

fiiiii 'illIiiiiiiI^'Ti||

ifiJa^ f|jjjj|jj 41.

FdWi

I

il'i11,^^

/T\

MELODIES

FROM

BACH'S

CHORALS.

"45

42.

(iJ |j J

J

^ i r If f

43.

rn-'niJJjJij.'irirr iijl'^ji^'

rir ririrrrifirrrM ij'/jffif 46.

ifr^rffiJrr^irfrrii-rr

fr 1^

"

^

"

"^

^^^iT^n ""-

"J"^if t" 11*r

/rs

3

^

-^"^ ^i*' n r^*^' ir!*"""*'

liffUSIC

146

COMPOSITION.

47. /FN

-J ^

*

-^

^\cfjir*^

fir r f ir r

rrTr r'rTff"^

"f.'''rrrrl^^rrJl'^ JJl^ 49.

J J Ji^JiJ J J ^S

^^

g ^^

/P\

i

TTN

-""-

lE

tS^

f

fir f

l-i^1

'^ '^11 iftifffl'^ 'fflfffl'^

EXERCISES.

MISCELLANEOUS

fj

J J

JiTT^r

r

^ffi'^^ ^i^iB.

APPENDIX

EXERCISES.

MISCELLANEOUS I

Harmonize

.

the

147

violinsolo with pianoforte accompaniment following P. Mascagni.

Andante.

ufarrT^fjiU pp 6

^ Id

y

"

rrf

f

^m /-("-

T

/

pp

^

"Hti-^ t-.f" cJiO

f^.ir fir

^^

^ a

r

^

|ff f |r~r|p"^

ifffW ffu f 1

MUSIC

148

COMPOSITION.

r m^'

!"f,r f

E

/

"'^^ ^1 '

fi^' iT" l1 CJLT Iji^r'

^/w.

2.

Harmonize

the

I'

^

ist following

A^

violinpart for string quartet: R. Schumann.

IJJH^ ||!,J__.^ iJKi

a

ijj:\r\^'m

tempo

i^^-^ri^^^^i^^^^i^ jTigf i5[[jlr -^

/TV

3. Harmonize Minuet.

the

solo: following melody for pianoforte Bkethoven.

Ugato,

[jicjrcjulu c^ rfjir''^:

COMPOSITION.

MUSIC

ISO

night,with wingsof Starry gloom, O'ershadows allthe earth and skies" Like some dark, beauteous bird,whose plume When

Is

with sparkling

That sacred

unnumbered

eyes. those fires divine, gloom,

Lord^are grand,so countless,

So

thine.

springaroimd us breathes. youthful her fragrant warms sigh; Thy spirit

When

And

every flower the

wreathes

summer

kindling eye. Where'er we turn, thyglories shine. thine. And all thingsfairand bright are Is bom

beneath that

the following song 5. Harmonize Introduction and Coda: Supplyan

with

accompaniment. pianoforte

H.

Allegretto, p

i^s.m.

.

KjERULF.

"

'^^

?r?

J JIJ J'li^l^^ riL

^f'^Jiljj^ a

r9\

^^m

tempo

I i ^\h^ \^^'j F i;Jf ir ^jj} r

,

motive. Add a melody foimded upon the following key and restate the first period. consequent periodin a contrasting Harmonize for (ist)pianoforte solo,(2nd) string quartet,and (3rd) 6.

Compose

a

Adagio, vocal quartet:

-_

1

jj^i.

"i9-

MISCELLANEOUS

EXERCISES.

"SX

three or more sections (themes,intermezzi or contrasting Ccftnpose to the following and supply episodes) subject.Harmonize for pianoforte 7.

a

Coda: W.

A. Mozart.

AlUgreitograzioso.

wm^

lfrgfJ#L;CfrrL;r^

8. Write four

or

more

solo or for pianoforte

variations on

the

theme. following

Harmonize

string quartet: John

Allegro,

^

^

/""^ F

^

s

t

Bull.

r

(g

r^ TTTT^

"11^\r "

1

r~~1

y

f

/

n^r

r

-C^

E

?=^

rg'i

rgt

tt=tt

I

COMPOSITION.

MUSIC

iS"

C

APPENDIX I. PRINCIPAL

TRIADS

THB

OP

ROOT

IN

MODE

MAJOR

POSITION. 1. 2z: -w

"^"

4:

I

2z:

2.

^

i

-^-

b

4

"g

"*^

3. t^-r

vmr-^

"f*-*-

riffn.-i

r

4.

^^

^

^s

i

"iSi-^

-Oh-r

6.

^

u.

"

"29-

-'Mrrii

a:

-*^

i

""-

i=t

T^

"?^

6.

^B

I

221

-^

s:

:2:

7.

II. ALL

^

^

^^=^M=i TRIADS

THB

OP

THB

Si

:^

MAJOR

MODB

IN

ROOT

POSITION. 8.

m

t

7SL

w

-^-

-BL

t

E

i

t

"A

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o. (^

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-*"

^=4: 3^

"""-

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ID.

^s

3

"""-

S

^m

3

^

"^"-

i

TRIADS

OF

THE

MODK

MINOR

153

11.

y-u

rir

fir ^irjT-j

i

12.

^

f

IHJ

J

i

^

f

i

^

^m

E

13.

i=t

^ ^^

3

^

I

14.

F^t'ij^r j-ij^YrYWfm^ r firjiJ "

15.

3

^^

p

III. THE

TRIADS

THE

OF

3

1^

MINOR

IN

MODE

ipi

3^

ROOT

POSITION.

17.

"I

S "^^f 3

8|

e^i

^^

2:

T^

I

18.

8Q

8Q

8Q

^

p

t

2z:

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ZZ

s

10.

8|

6|

31 19-

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8| ^-

t^

f5"

s

?

^

20.

8|

8"

^^

?"

^^

"I ^

s

8|

^-

E

i

COMPOSITION.

MUSIC

^54 21.

INVERSIONS

IV.

sf

31

81 51 a|

at

a|

TRIADS.

THE

OF

"!

22. 0

2

0

0

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pi^r

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CHORDS

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29. a

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51

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INVERSIONS.

AND a

a

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TRANSITION.

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31. 7

7

13

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TRANSITION.

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COMPOSITION.

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I

s

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i"JJiJ ^Jif fir ^'^ ^'^" 1^If t^6

36.

CHORDS.

ALTBRBD

VII.

i

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g^

i

t

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i

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f

4

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VIII.

X

CHORALS.

BACH'S

FROM

EXERCISES

MISCELLANEOUS

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6

eel

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C

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MUSIC

"S8

COMPOSITION.

S

t

7

U

X X

O

6

X

X

i JJ ^ ^!fjj m

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r

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fijfirrrirF'n^lir r^r A"IV

DEFINITIONS.

50.

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APPENDIX

D.

DEFINITIONS.

Of Active.

Technical

the

Terms

used

in

A tone which is not finaland when

"

to be desired.

An active tone

to progress to another tone

Cadence.

A

"

or

or

chord has

the

Text.

heard,leaves something

more

or

lessdefinitetendency

chord.

fallor close of

strain;inflectionof rhythmicflow.

a

Resolution under Resolution.) (SeeCadencing Chordal

Tone.

"

A tone which is a member

of the chord with which

it sounds. Concealed

a

Fifths.

The

A

"

Factor.

A

tone

a

minglingof two

or

more

the amount

which

tones

of

with unrestful effect.

inherent activity

and environment. culture, member of a chord; called in most

dependsupon "

ated situany two voices, motion to fifth, proceedin parallel

in progression

is comparative, and

term

dissonant

in any

era,

text books

interval.'* Unison.

Fixed a

A

any distance apart other than fifth. {SteParalld Fifths.) Dissonance.

"

"

"

The

result of the diatonic resolution to

a

unison of

voice part from the dissonant of the intervalof a second. Form. phrases, Arrangement of the parts and elements (rh3rthms, "

constituent sections, themes,and tonalities) periods,

of music

by

which

and unity. S3rmmetry of outline is obtained with variety of composition to that style havingone Pertaining predommatingmelody accompaniedby other parts which supplythe Harmony. Opposed to polyphonic. Homofhonic.

"

i6o

MUSIC

Idiomatic.

COMPOSITION.

to a progression or usage which has become Pertaining characteristicthroughconstant application the part of composers and on is often opposed to logical theory. Modulation. A consummate changeof key which enters into the architectureof a composition. MoNOTONic, Characterized by a single main key. A melodic germ. A group of notes from which a period, Motive. movement, or composition may be developed. "

"

"

"

N.B.

Take

"

notice.

NoN-CHORDAL

ToNE.

A tone

"

which

is not

a

member

of the chord

with which it sounds. denotes non-choidal tones. The symbol enThes3nnbol (X) placedovernotes dosed by parentheses a chordal tone havinga characteristicof a non-chordal signifies tone.

Parallel

in which progression

A

any two voices situated a fifth(ortwelfth, motion to another fifth. etc.)apart proceedin parallel sths.

CoNSEcnriVE

7-

Fifths.

A

progressionin which any two voices situated a fifth motion to another fifth. (ortwelfth, etc.)apart proceed in either contrary or parallel (SeeConcealed Fifths,) "

A progression in which any two voices situated an motion to another (doubleoctave, etc.)apart proceedin parallel

Parallel .

octave

8ths.

"

octave. Consecutive octave

Octaves.

A

"

in progression

which

any

two

(doubleoctave, etc.)apart proceed in either contrary

or

voices situated motion parallel

an

to

another octave.

completemusical sentence. A portion of a periodterminating with a cadence. Phrase. of composition Polyphonic. to that style Pertaining having two more independentmelodies simultaneously, harmonizingone with Period.

A

"

"

"

Opposed Resolution.

such

as

"

to

other. an-

homophonic.

The

permitsthe

or

of a progression

dissonant chord to another chord

factors of the former to

to their proceedaccording

tendencies. r Cadencing

Resolution.

"

The

resolution of

a

dissonant chord

to

the chord

whose root is situated a fourth above (ora fifthbelow)the root of the former chord. NoN-cADENcmG

RESOLUTION

OR

Progkession.

"

A

resolution

or

of progression

chord to any chord other than the one whose root is situated a fourth above fifthbebw) the root of the former chord. a

(ora

DEFINITIONS.

Tendency.

characteristic

A

"

A

Transition.

attribute

transient

change

"

A

Triad.

chord

of

three

perfect

Triad

consists

"

of

root

a

of

of

active

tones.

key.

tones.

"

Major

l6i

"

(or

fundamental)

tone;

its

major

srd

and

5th.

Minor

Triad

consists

of

a

root

.Diminished

Triad

consists

of

Augmented

Triad

consists

of

tone, a

root

a

root

its

minor

3rd

and

its

perfect

5th.

tone,

its

minor

3rd

and

its

diminished

5th.

tone,

its

major

3rd

and

its

augmented

5th.

its

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