HARMONY SIMPLIFIED

2012-09-27 00:22:44 UTC

50632a7b06977 190.160.147.91 Chile

781.3

Bl8h

v.2

59-01J97

Baldwin Harmony

TSl.J

sinplified

BlSh.

Baldwin Harmony

simplified

v.2

59-01597

BOOK

DATE

PU

YORK L-16

II

Foreword

The to

in

course

an

satisfy

a

points

ration in

for

a

for

this

is

the

to

power

tion

a

odies The

subject before

teacher

rule

in

by

the

the

hands

the

of

to

teachers

eliminate

all

essential

As

subject. a

of

science

coverall

have

should

designed

of

the

on

to

time

chord

progressions

the

prepa

foundation

good

book.

deduction

each

from

and

lesson

makes

student

The

is

piano

of

more

harmoniza harmony,

of

phases

the

of

methodical

three

rec

harmonization

that of

mel

simultaneously. of

matter

the

practice

developed

the

than

The

paper.

the

on

to

ability

development

the

and

student

the

that

authors

hearing

keyboard be

should

of

on

melody

training,

ear

the

authors

same

student

through

to

value

of

is,

contention

play

practical

the

in

is

theory.

chords

ognize

the

understanding

course

elementary It

ter

practical

book

the

of

aim at

yet

this

treatise

concise

the

in

placing

and

been

details,

unnecessary

by

practical has

It

harmony.

presented

need

urgent

students

and

harmony

student

instances

should

should reference be

furnished

led

by

be

taught

to

the

to

formulate

by

the

THE

subject

the mat

each

teacher.

AUTHORS

five tone

The

chord is noted V

and

II

Chapter

XI

DOMINANT

THE CHORD

BOOK

erected

V

upon

3

NINTH as

the

CHORD is called the

root

DOMINANT

NINTH

.

Ex.51

G

The

the

Hence

it

comprising

notes

5, 7, 2, 4 and

are

of the

notes

melody

v

scale

6.

be

may

harmonized

as

follows:

1

I IV

VI

it is

As four the

er

a

The

V9

The

ninth

be omitted when writing of the notes must the third chord, 2, is usually omitted, rarely

for

one

of

inverted.

6, should

.

be written

at least

a

ninth

the root, 5, nev

above

above. may

V9

resolves

to

progress to

the

any

position

I, the

ninth,

of the V7 6,

or

vise

versa.

downward

either

resolving

to

5

or

up

1.

to

ward

of the V9,

V9

The

be

NOT

should

second

The

chord, of the

7.

chord,

a

five note FIFTH

The

voices.

Ex.52

"

G

Formulas:

8-7-6-5 1-2-5-1 I

I In major Ex.54

or

V7

V9

-

Vl~

I

V9-

I

minor

6543

432

Upper

voices 6 4

5

4

3i Inter

"'.'.'I'.'lJS,1.1 ijchange7

G M.W.

"

V^ TIL v** V7 n^ v7 Sons

19401-59

I i Pt.2

K

V9 IHi V7

I

-

-

-

3

-

-

7

-

Bass

5-5-5-1

Chords

V^SIj-V7-

-

2

-

7

-

-

liable

I

Ex.55 321

134

3

Upper

3-2-1

voices

#4

3

-

1-7-1

J 1.

t}4

-

*

I-

""

Bass Vy

G

V7

I

The V9 may

also be used

V9

g

(Dom)

f

V7

Chords

V9

G*") as

a

chord

-

V7

I

-

(Dom) (Tonic)

of modulation

as

follows:

Ex.56 ~l

u

o-

A

f.

^

6

2

1

3526

321

i

E

V9

D

Exercises

(v9)

V7

C

V9

V7

I

Chapter KEY key

A

CHORD

AND RELATED

is CLOSELY

"

XII RELATIONSHIP

to any

other

key

having

one

sharp

or

flat

more

less.

or

ALL

keys

other

REMOTELY

are

RELATED

The all the keys progression through is that is, counter clockwise, possible as

to the original key.

successively follows:

via the SUBDOMINANT

route,

Ex.57

'

Bt V7

I

C

Cfc Y7 By sions

B

Y7

omitting are

I

Y7

F

the

chord

voices

sing root

two

voices

sing

Dk

'G

19401-69

Y7

V7

Gt

only; scale downward.

Ct "V7 Pt.2

B V7

A

D Y7'

"7

T

I

of chord

chromatic

Y7

I

after each V7 chord, the following

'BIT7

I

" Soms

I

V7

of resolution 59, 60.)

{

'i

58, (Exs.

F M.W.

Y7

A

Two

C

At Y7 Et

I

possible:

'

i

C

V7

pr ogres

-

Two

voices

sing

two

voices

sing chromatic

root and

5th and root alternately; scale downward.

5th

or

Ex.60 ~*jr

rT

1

f T

T

y *ii S

J-

"tU

TF-

C

G1"V7

I F

E

V7.

C

V|

57, 58, 59, and 60 the notes to the notes of the key changed

In examples

monically

it will be

Hence

59 and 60

as

1. Roots

observed follows:

of the

chord

in which in succession, a perfect 5th. "When two

that

there

B

2

three

are

two

on

voices

by half downward move must voices 7 of the key in the first V7 chord moves

*"

V7

C V' G

of C flat

are

enhar-

involved in examples

processes

up

the chord perfect 4th or

sing

may

will move sing chord- roots they must

2. Two

ing

D V7

A

in the V7 of the key of B.

only. One voice or the progression case voices

V7

A A

a

move

in contrary

roots down

-

motion.

step progressions. The voice start downward a CHROMATIC half

step to 4 in the key of the next V7 chord. The voice starting on 4 of the key in downward half step to 7 in the key of the next V7 chord. first V7 moves a DIATONIC 3. Voices a.

The

b. The

2 of the key

starting V7 chord.

on

in the first V7 may

5 in the

first V7 repeats

move

and

as

downward starting on 2 in the first V7 moves V7 5 in the becomes next chord. step and

progression

thru

is possible

as

all the keys follows:

successively

via

the

DOMINANT

the

follows:

becomes

voice

whole

clockwise,

or

voice

next

The

5

on

starting

58,

a

2

in

the

DIATONIC

route, that is,

Ex.61

etc.

etc.

Jl progression of V7 chords in succession, omitting the chord ?, is impossible thru the dominant keys. Why?

-s"

'PL 2

of resolution

after

CHORD

RELATIONSHIP:

Ex. 62-

a

C

,

Ex. 62F

G

"

*

VI

IV

,

c

E",

vn

b

D

g

II"

-a.

II

Any

II

"

" TT"

major

triad

different minor

III

IY

vi

in

n

Ex. 62

vn

Ex. 62- d

Ex. 62- b

*

n

may keys,

found

be a

as

I,

a

different

in three

IV

or

a

major keys

V in the former

as

and

and a

V

two

in or

a

VI

in the latter.

triad may be found in three different major keys and Ex. 62 -b. Any minor keys, as a II, a III or a VI in the former and as different minor

Any

-

d. An

augmented

be found

triad may

diminished

different minor Ex. 62

a

I

or

a

in the latter.

IV Ex. 62-c.

in two

keys triad

as

a

must

II

or

a

in

one

major key

as

a

VII

or

in two

VII.

be the III of

one

minor

key

only.

Exercises

(2)

am

r ir r J

^ i

^

LjyUU"

3^ f M. W, " Sons

19401-59

^ I ^J tJ I J.

Pt.2

XIII

Chapter TO

MODULATION The

IX

rules In Chapter

general

KEYS

REMOTE

effective also in modulation

are

to remote

Ex.63 G

6

5 2

C

1

1 2

7

C

1

1 5

A

1

6

2

2 1

3171

,"321

C 5

2

5

3453

5653

keys.

2

7

1

G

1

d

7

1

3

1

4

2

7

1

8

,D

Ex. 6B

-

a.

Four tion

In each of these examples a modula of BLIND modulation. examples in indicative occurs the a "but no chromatic sign of melody

occurs

modulation. Ex. 63

-

In each of these of APPARENT examples modulation. is given of the new tonality by the chromatic sign.

b. Two

Blind modulation

Hence:

tion

appears

Apparent ulation

occurs

in the

occurs

in the

Ex.64

I4

3

no

chromatic

sign

indicative

of

a

clue

a

modula

of

a

melody.

modulation occurs

when

examples

a

when

chromatic

sign indicative

mod

melody.

3

5

1

7

1

|4431

171

fefei J J

i-JJ

^ r r rJhj r

.;.,

Bt

In Ex. 64 REMOTE Notice

that the

Hence

between

a

chord

modulation

the last chord

I G

modulations of resolution may

of

n v7 1 vi

C V7 I

one

D

V|

I

made by in each key

are

of the V7 in the falls upon the accent.

means

new

be made to any key provided no cross relation key and the first chord in the following key.

tonality.

occurs

Exercises

aHM

;JJJU,J in "

* Sow

1MU-

m

jjj

" Sons

19401-59

J-

Pt.2

10

XIV

Chapter

A

of the seventh

chord

minor

third above

7 of

on

erected

other, known

the

as

CHORD

SEVENTH

DIMINISHED

THE

a

key,

minor

comprises

four

SEVENTH

the DIMINISHED

notes,

each

CHORD.

a

It is

D7.

marked

Ex.65

D7

g It may

be

constructed

TO

RESOLUTION A D7 may

major

or

A

either upward

MAJOR

be constructed

on

triad, resolving

minor

OR

MINOR

the

note

to

from

downward

or

TRIAD

or

diatonic

a

note.

any

such

triads inverted.

half step below

the

root

of

any

this triad.

Ex.66

For the convenience

of the

student

a

chart

is given

following

each

method

of

resolution.

CHART:

For

determining

In the first column in the D7 chord

In the second

chord

choices.

is indicated

to its resolving and third columns

e. tlufcsecond the (i. chord),

the

nature

note

in the

is indicated

first chord

being

of the progression

second

one

note

chord.

the kind

always

from

a

of chord D7.

of resolution

11

Arabic

The

numbers

in the

second

and

(marked 3),or fifth (marked 5) of

third

the

third columns resolving

refer to the

root

(marked 13

chord.

Ex.69

Major Ex. 69 "

"

55

"

-

-

-

a a

b

Exercises

M.W.

" Sons

19401-59

Pt.2

triad

4

i

Minor

triad

12

RESOLUTION A

A

TO

D7 constructed

step of

a

minor

I2 in cadences. on

key

the

may

raised

second

resolve

also

to

step a

of

a

major

\% in that

key,

or

on

the raised fourth

key.

Ex.70

C

lo

c

I2

Ex. 71

CHART:

Major triad Ex. 71"

"

99

"

-

~

a

b

triad in second

inversion

of

a

triad is

a

weak

chord,

D7 should not be resolved

except to the I2 in cadences.

Exercises Cadences:

(T)

(2)

"

r ir

"

" S"i^

triad

a

Since the second inversion a

Minor

19401-59 Ft 2

to

13

TO

RESOLUTION A

be

D7 may

ly raised

sixth

A V7

its inversions.

or

constructed

step of

a

upon

minor

the

raised

sixth

key, resolving

step of

a

major key

to the V7 in that

or

on

key.

Ex.72 In

In minor

major

f

V7 in Ex. 74

-

a

-

a

'"

"

"

"

-

?"

"

-

a

b

Exercises

M.W.

" Sons

19401-59

Pi. 2

VI

major

V7 in minor

the doub

14

TO

RESOLUTION A

D7 may

be

III in that

the

THE

III

-

constructed

also

on

(in minor

TRIAD

AUGMENTED the

keys)

step in minor

seventh

resolving

to

key.

Ex. 75

III

c

Ex.76

e

HI

a

IH

III

a

CHART:

Augmented

Ex. 76

THREE

A

TONE D7 may

III

et

triad

-a

DIATONIC also be used

sion, the first tone

being

PROGRESSION

DOWNWARD.

effectively in any non-

three

tone

diatonic downward

progres

harmonic,

Ex. 77

The to

three tone

chart

progression

Ex. 69 for chord

Ex.78

jpt.2

may

choice.

occur

in

one

of the

lower

voices

as

follows: Refer

15

D7 is erected in minor

the

Since

thirds there

but

are

three D7 chords

differing

in sound.

Ex. 79

Note

the fourth

that

D7

The

A

D7 chord

The

may

to

Care

must

be

Accidentals

written

a

"

"

"

CHART

SUMMARIZED

to a-

as

other

any

same

as

in the

the

first chord but it is

"

"

below

for choice

"

with

no

be

followed

key.

new

of the tones

"

of D7

but should

chord in the

scale

triad.

D7

notation

half step above

diminished

a

modulatory

its identity

establish exercised

to

progress

progress

is useful

D7 chord in order

chord

never

should

chord

the

in its notation.

changed

enharmonically

in Ex. 79 sounds

chord

D7. tend to resolve "

voice

"

skips

"

UPWARD.

DOWNWARD.

in resolution.

Exercises

0

IfJ

"

^

M.W.

" Sons

19401-59

Pt.2

by

a

V7

16

lll'IM |J"JJIMififg

r'r

17

Chapter SECONDARY of the seventh

A chord

SEVENTH

be

may

XV

erected

CHORDS

upon

each

8

I

note of the

major scale.

Ex. 80

*#tt

I

it

in

Q

II'

As 1. To

these

the triad

I7

The

voices

resolves "

III7

"

IV7

"

=

or

to

the

"

"'

follows:

V

"

"

VI

"

"

VII

IV

II

VII7

III

may

VII7

fifth degree, below:

the

VI7

chord

VI7

as

resolve

above,

II7

seventh

of any

may

}] V7

IV7

they

degree

the fourth

on

III7

discords

are

chords

I

(Rare) (Rare) as

progress

follows:

Ex.81

2. To

the

chord

of

the

on

seventh

the

fourth

degree

below. I7

resolves

to the

IV7

H7

Voice

III7

"

VI7

IV7

"

VII7

VI7

"

H7

VII7

"

in7

progressions:

Ex.82

3.

To

the triad

on

the

diatonic

step above:

Ex.83

II M.W.

"S6as

19401-59

Pt.2

IV7

V

above

or

the

fifth degree

18

The

following

succession

of seventh

chords

is possible.

Ex.84

n7 r\^7vn7

n7 v7 vn7 1

i7 ni7 vi7

v7

i7 vn7

ix

Exercises

nrJ

rJ irJJj i-' JJ

J |J J J

j-^lff rrUJ3 "^nr

=e

^ ii

'

Pt,2

'I'ui

i h ,,

'

19

Chapter

SIXTH

AUGMENTED

(German,French (G)has (F)has The French The Italian Sixth Chord (T)has The German

A.

XVI

Sixth Chord

a

Sixth Chord

a a

and

CHORDS

Italian Sixth

Chords)

major third, a perfect fifth, an augmented sixth. major third, an augmented fourth,an augmented sixth. major third doubled and an augmented sixth.

chords resolve to a major or minor triad, the root of which chord. step below the root of the augmented

These

is

a

diatonic half

Ex. 85 F

G

i

,

I

^f=^ four of the chords resolve either to a major or minor triad, in the minor key and six in the key, follows: as major

the augmented

Since

series will be found

Ex

86

SE

t F

T

3GE

IV

T

IV

i

VI

F

^ li'lf

T

VI

I II

II

IV

IV

m III

III

f V

T

The Ex.87 a)

In

b.

The

all

cases,

resolution

M,W.

19401-59

rf)

c)

the root resolves

'[,*" T

VI

downward

a

diatonic

e)

half

step to the

root

of

chord.

third of the G and F major triad; or downward " Sons

i VI

Resolution Tendencies

A)

'

a.

V v

Pt.2

moves a

downward

diatonic whole

a

diatonic half step te the third of the step to the third of the minor triad.

20

One the

of the

major

thirds

triad;

or

of the T

downward

aad flis other third of the T resolving triad.

fifth of the G

The

c.

resolving

downward

moves

diatonic

half

downward

step

to the

third

of triadminor step to the fifth of the

step to the third of the

whole a diatonic whole upward

moves

moves

a

diatonic

a

a

diatonic

half

step

to

the

fifth of

the

triad.

the fifth of the resolving fourth of the F repeats and becomes augmented fourth in the bass, this triad; or when the chord is inverted, with the augmented to the the fifth a downward tone may move root of resolving chord. perfect

d.

The

e.

the augmented In all cases, the of resolving triad,

sixth

upward

moves

a

diatonic half step to the root

Inversions Any

inversion

The

T

F may be used but it should be noted that the second inversion of the resolving triad is generally it is better to avoid the weak, hence second inversion of the G and F augmented chords.

is seldom

can

of the G and

have

but

one

inversion,

since

it is

a

three

tone

chord, and this inversion

effective.

Examples Ez.88

G3

I

F3

I

Tl

G

IV

T

^ W.

I

21

of Chords

Choice in the

Taste

use

is largely

chords

of augmented

governed

by

the

the

chord

of

these

chords

resolution. In selecting

may

When

1

3

melody German the chord,

'

the

When

a

melody

without

modulation,

of the

When

of the 6. When

chord,

the

becomes melody

augmented the

chords a

may

descends

augmented

the melody

ing note 5. When

Sixth

a

diatonic half step to the root of the resolving may be used. (Ex 88

a

descends

melody it descends

when

or

descends

of the augmented the

When

one

4

the melody one

any 2

for

chords

augmented

be used:

a

-a.)

diatonic be used. diatonic

step to the fifth of (Ex.88

half

" Sons

resolving

-b.)

step to the. third of the major chord; step to the third of the minor chord, any

diatonic whole may be used.

chords

(Ex. 88 -c.)

repeats, the French Sixth may be used providing that the resolv fifth of the resolving chord. (Ex. 88 -d.) 'the to diatonic half a root of the chord, any one step ascends be used. (Ex.88 chords may

the

-e.)

a

ascends melody the Italian Sixth may

19401-69 Pt.2

the

half

diatonic whole be

used.

step to the

(Ex. 88

Exercises

M.W.

chord,

-

f.)

fifth of the

resolving

22

B.

chords also resolve to a second inversion of a major and a minor augmented is the third of the augmented triad, the root of which in each case chord.

The

Ex.89 pec

Since the second cept the I2 in connection

a

with

the resolution

inversion of both

final cadence the I2. Hence are

or

major and

in cadence-

the tendencies

of the tones as

Ex.90

Harmonize

TT

m

the following

cadence -groups:

'"

triads is generally weak

effects, this resolution

quite definitely prescribed

G

minor

ir

follows:

is used

of the augmented

ex

only

in

chords

in

23

Exercises

J J Uj

rtJ J Ui-iJ r

J J

rrrr

Uppi

r

J J|J

rrrr

JUjJ|J

"?

fr

rr

rfr

M. W. " Sons

19401-59

r

Ft.Z

r r

^^

24 is the third of the resolving" to a major or minor triad the root of which in be first and second in Sixth used may and French chord, the German augmented Sixth has but one inversion. versions. Since it is a three -tone chord, the Italian Sixth is German frequently the fifth for the chord of used, (Theenharmonic notation

When

as

at

a

and b

below).

Ex.91

In these inversions, with these resolutions, any of the chords listed under be used; that is, four in the minor key and six in the major key. above may

Exercises

"i i

11,1i

IK,WJfcflfw 3"40tr5" Pi 2

i;

.

.

(A)

25

C.

chords also resolve to a major triad the root below the root of the augmented chord, (Theresolution to the minor triad is not effective.)

The

augmented perfect fourth

of which

is

a

Ex.92

fe

"

~Ti-

#*P #8

**

1

#"

m

,

88* GF

Since

this

The

resolution

chords

augmented in the

T

GF

is effective

available

in the

GFT

T

to the

only

major

key.

major triad,

there

(Theseresolutions

are

but three

not effective

key.)

minor

chords

augmented

should be used

in fundamental

position for this resolution.

Ex. 93 re

|r*"#8 ife"

*#" 8

Irft \,ft

*[,*

8

GF

IT

II

FIVTIVIV

,G

Exercises

M

I' " Soas

are

19401-59

Pt.2

i

-*

G

FVTVV

26

Resume Each

augmented

chord

tlien has

five resolutions

as

follows:

same

key,

Ex. 94

Since serve

a

no

more

than

useful purpose

two

resolutions

are

in the

the

augmented

chords

in modulation.

Modulations Ex.95 Dominant

Subdominant

Supertonic

m

PPi Submediant

Mediant

Submediant,

half cadence

i

Pitt Mediant,

half cadence

Supertonic,

half cadence

Unrelated

key

i m Pt-2

27

Exercises

r

if

if

JUrJ

J I*if

J fJ

M.W.

" Soas

1940i-5"

Pt.2

28

Formulas French Sixth Chord Is effective when the soprano ascends tnelodically over the fourth of the chord or descends over those tones. Another third augmented and major tones in contrary the same motion to the soprano. voice will pass over five resolution chords as follows: There are 1. The

12345

12345

D

C. .-_.-

12345

Complete

the resolutions

In Example

C

major;

lowing

Ex.97

a

passages

96

-

B, C, D, E, F, above.

chord (Chord l)may be a VI in the key of I in a minor; a a IV in e minor. The fol major; illustrate cadences in those keys:

96 -A,

II in G

in Example.

the first resolution major; a HI in F

29

In Ex. 96

V in d

2 may

A, chord

-

a

I in A

major-,a

V in D

major; a

IV in E

major; a

minor.

Chord

3 is

a

Is in d minor.

Chord

4 is

a

I2 in D

Chord

5 may

In similar

play

be

cadences

be

a

manner,

major.

I in F

major; a

analyze

in the various

the

keys

V in Bt

major; a

IV in C

a V major,-

resolution chords in Examples as illustrated above.

in

bk minor.

B, C, D, E, F, and

Exercises

JXffj*P

' r r Mi'ITI ii i i i 'i i

M.W."So"s

19401-59

Ft.2

30

German

2. The a

H7

Sixth

Vj VII7

G

II7

The as

progression given in Example

This

chord

be used

may

between

effectively

(1)either

V7

a

a

VII7

and (2)a I.

formula

In that

case,

V7

(2

-

3l" 3^j of the

is also

in Example

scale

-

2 and

G

VII7 II7

effective

when

the scale progression

reversed,

i

that

is when

(5 6!" 6^ is often -

-

Exercises

Pt.2

1 is often altered to

(2-21-3)

3.

backward.

played

altered to

(5 5| -

-

6).

31

XVII

Chapter

The

(N)is

Chord

Sixth

Neapolitan

major key,

the

frequently

more

is frequently

chord

CHORD

the first inversion

the scale. It is used 2 of which is 1? of the in be used also major key.

In the

SIXTH

NEAPOLITAN

THE

with

used

of a in the

the

major triad, minor

third

the root key, but it may

doubled

in

the

soprano. The

French

A German also resolve directly to aV7 chord resolves to a I2. It may the Neapolitan Sixth and the I2. Sixth chord is frequently used between

or

Ex.99 ztorfe or

or

I N

I2

N

I2

N

V7

V^

m N

G

I2

N

Exercises

"=*!

r"rir"r Jr-g-g

M.W."

Sons

19401-59 Pt.2

I2

N

I2

N

I2

N

V7 V7

N

F

I2