Practical Harmony Stewart Macpherson

HAROLD B. LHE LIBRARY vERSITY BRIGHAMY PROVO, UTAH

(*

a:

:

?13 THIRD EDITION.

PRACTICAL HARMONY. A

TREATISE

CONCISE

(including the harmonization of melodies)

WITH PROGRESSIVE EXERCISES.

STEWART MACPHERSON (Professor of

Harmony and

Composition at the Royal Academy of Music,

London).

PRICE— Paper Limp

Covers, Three Shillings Cloth,

Four

Shillings

& Sixpence.

and Sixpence.

LONDON JOSEPH WILLIAMS,

32,

GREAT PORTLAND STREET,

W.

HAROLD B. LEE LIBRARY r

JRIGIL^'"

PROVO.UTAH

ERSITY

__,

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2012 with funding from

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PREFACE TO THE SECOND EDITION.

The

reception

cordial

Practical

accorded

work that endeavoured

for a

a concise

by teachers and students to the

Harmony^ has encouraged the Author to set

forth the

and straight-forward manner.

errors,

inseparable from a

made

to

the

text

first

which,

it

issue, is

have

hoped,

In

in

the

belief

principles of

this,

the Second

that

this

first

edition

there was

of

room

important study

in

Edition, certain slight

been corrected, and one or two additions will

contribute

to the

completeness

and

usefulness of the work.

London, 1895.

PREFACE TO THE THIRD EDITION.

In

this edition

that will

some

be useful

foot notes, etc.,

to the student in

have been added which contain points of information working the exercises in the volume.

.

PREFACE TO FIRST EDITION.

The

present work

is

an attempt

to set forth in a clear

and concise manner the

of harmonic combination and progression, as exemplified in the works

principles

of the

great

masters.

The

fact that so

explanation of

It

its

many

excellent books

on Harmony already

exist

makes some detailed

aims and scope necessary.

has seemed to the author that most of the works in circulation on this important

subject have either gone too

far,

or not far enough

that

;

to say,

is

have either been

beyond the requirements of the average student, or

elaborate theoretical treatises, quite

have been merely primers, with a more or

less

sketchy survey of the more important

branches of the study.

The need

for a

work

that should

be comprehensive and yet

terse in style,

and which,

moreover, should aim at making the student regard the subject as essentially practical, as bearing on his every-day music, has been his

own

pupils,

some degree

A

and the

result of this

is

felt for

some time

past by the author in teaching

the present endeavour on his part to meet in

that need.

few words must be said as to the order in which the several subjects are presented

to the student.

The

plan adopted has been to bring them before his notice as

possible in the order of their frequency in actual composition.

accuracy as to order

claimed

is

analogous to that pursued

;

No

much

but merely the practical one mentioned above

in teaching a language,

as

scientific or historical ;

one

where the learner would not be given

long dissertations on the etymology or the history of that language at the outset of his studies

;

but would

idioms, with as

first

much

have to become familiar with

of

its

grammar

Moreover (although the author avows system of

Harmony

first

his

its

common

words, phrases and

would be necessary to use these

as

adherence

in

most

correctly.

particulars to the beautiful

propounded by Day, and afterwards modified by Macfarren and upon the nature and origin of

Prout), the reader will here look in vain for arguments

chords, and indeed for theorizing in general.

A

knowledge of the Elements of Music

is

pre-supposed in the case ot a student

using this book, and that elementary branch of the subject, dealing with key-signatures,

the various kinds of time, intervals,

etc., is

not touched upon.

)

The

First Part of the

volume (Chapters

I.

to XIII. inclusive) deals exclusively with

harmonies founded upon the notes of the Diatonic scales only.

The Second Part Chromatic scale

(Chapters XIV. to

XXVIII.

inclusive) treats of the use of the

in chord-formation.

The Third Part (Chapters XXIX.

XXXV.

to

upon

inclusive) consists of remarks

the harmonization of melodies and unfigured basses, and should be studied concurrently with the First

and Second

Parts, since the student cannot too soon get into the habit of

imagining harmonies to fragments of tune, a power constituting one of the most important steps towards musicianship

bass the

is

whilst the adding of

melody and harmony above an unfigured

upon

memory.

The

figured-basses throughout the

and

to their melodic qualities,

Hymn-tunes,

ihythmical

possibility of writing

the

;

of the utmost value in impressing the situation of the various chords of a key

first

It

Chants,

s

especially designed with a view

have often been constructed

Minuets,

Bounces,

Gavottes,

shape of

in the

etc.

To show

something more than a dry succession of chords above the

one or two exercises

the student

book have been

to that end,

in

the bass,

each chapter have the top-part given, as a model for

imitation.

was the author's original intention to have included some chapters on Elementary

Counterpoint; but questions of space caused an abandonment of that idea.* Imperfections and shortcomings, no doubt, there are in the present volume claim to consideration and acceptance rests on the fact that

it

is

;

but

its

an honest attempt to

help the student to a practical understanding of the laws that have guided composers in their writing.

Those who may wish are strongly advised to

to

examine the

theoretical aspect

theory and practice"; Dr. Alfred Day's "Treatise on " Six Lectures

of the subject more deeply

study Dr. Ebenezer Prout's most admirable "

on Harmony,"

in all of

Harmony"; and

which works he

will find

Harmony

:

Its

Sir G. A. Macfarren's

food for

much

profitable

thought.

In conclusion, the Author desires to express his thanks to his old fellow-student,

Thomas

B.

Macpherson,

Knott, for

many

valuable suggestions

;

and to

his

brother,

Harold

E.

for his care in revising the proof-sheets of the work.

London, January, 1894. * This subject (Joseph Williams.

has since been exhaustively

treated

in

the

Author's " Practical

Counterpoint

—

TABLE OF CONTENTS, Part I.-DIATONIC

HARMONY.

CHAPTER.

I.— Triau: II.—The Triads of a Major key ... ... The Inversions of the Triads of a Major key III. IV. The Triads of a Major key continued ... V.—The Triads of a Minor key ... ...

— —

— On the particular treatment of — Sequences

VI.

VII.

VIII.— The Chord IX. The Chord X.

...

...

Dominant 7th

of the

...

— Modulation nearly related keys Diatonic) Chords of XII. — The Secondary XI.

to

(or

XIII.

—Suspensions

...

...

...

...

...

...

...

...

...

7

...

...

...

...

...

13

...

...

...

...

.

...

...

...

21

...

...

...

...

...

...

23

...

...

...

...

...

28

...

...

...

...

...

...

31

...

...

...

...

...

...

37

...

.».

...

...

...

43

...

...

...

...

...

46

...

Part II.— CHROMATIC HARMONY. — Genera'i remarks. —The Super-tonic Chromatic Concord XV— The Chromatic Chords of the 7th. XVI. — On the particular treatment of the Super-tonic Chromatic Chord of the 7th ...

...

...

...

...

...

57

...

...

...

...

61

...

..

62

...

..

67

...

...

...

...

...

...

...

76

...

...

...

...

82

—

XVII. On the particular treatment of the Tonic Chromatic Chord of the XVIII.— The Chord of the Dominant 9th ... ... ...

XX.

and Tonic 9th

of the

Dominant nth

— The Chords of Super-tonic and Tonic

XXIII.—The Chord of the Dominant 13th XXIV. — The Chords of Super-tonic and Tonic

XXV.—The XXVI.

...

— Chords of the 9th— continued. — Expedient False Notation

XXI. —The Chord XXII.

of Super-tonic

Chord

of the

Augmented

6th

1 1

7th

...

...

...

...

...

...

...

84

...

...

...

...

...

91

...

...

...

...

...

93

...

...

...

...

...

iqj.

...

...

...

...

13th ...

— Upon the Chromatic Concords not already treated of in Chapter XIV

...

...

I0 ,

...

...

107

...

...

M^

...

...

119

..

...

124 .__

„.,

— Enharmonic Modulation

...

Part III.— ON XXIX. '—Using

70

th

XXVII.— Pedals XXVIII.

19

..

...

XIV.

XIX.- -The Chords

16

...

..

the 7th

...

..

...

...

— of the Dominant 7th— continued — Passing-notes... ...

...

...

Diminished and Augmented Triads ...

2

...

only the

XXX.— Using a

Common

...

...

...

HARMONIZATION.

Chords of the Tonic, Dominant and Sub-dominant

gradually increased vocabulary of harmonies

XXXI. —On cadence -forms ... ... XXXII.— On expressed and implied Modulation XXXIII —On harmonizing with a freer harmonic XXXIV. — On free accompaniment ... XXXV. — On harmonizing an unfigured bass

NOTE.— References in the

text to

..

... ...

...

...

...

...

Mi

...

...

...

...

_

j,.

...

...

,_

.

...

j™

...

...

...

...

...

...

...

...

structure

any particular section always apply

to the

occur, unless otherwise specified.

Chapter

,. 2

— in

.

,.g

which such references

— ——

THE

DEFINITIONS NOT GIVEN LATER IN COURSE OF THE WORK. — Sounds in succession.

1.

Melody.

2.

Harmony.

3.

Chord.

4.

— Sounds combination. —Two or more notes sounded together. Part. — As much as performed by one voice in

is

by an instrument sounding only one

at a time, or

note at a time. 5.

Part-writing.

6.

Motion.

—The distribution of

—When parts move in the same direction.

Similar Motion.

— When (hey move in opposite directions.

Contrary Motion.

—When one part moves while another remains.

Oblique Motion. 7.

Bass.

the several parts in relation to one another.

— The progression of the several parts in relation to one another.

—The

note in a harmonic combination, however low

lowest

may

combination

— The note from which a chord —A combination satisfactory

8.

Root.

9.

Concord.

10.

Discord.-

is

—A

derived,

and from which

in itself, requiring

entire

discord

is

also applied to

takes

it

its

name.

no particular one to follow or precede it

combination requiring some particular one

The term

however high the

or

be.

and sometimes

follow,

to

to precede

it.

a single note of a chord, when that note requires a special

progression. 11.

Diatonic.

— Consisting of notes

The

according to the key signature.

notes, however, indicated by

accidentals in both forms of the minor scale are diatonic. 12.

Chromatic.

— Consisting

of notes foreign

The Major

key.

6th

to

the

key signature, but which do not change the

and Major 7th of a minor

scale

are,

however, not chromatic,

but diatonic. 13.

Enharmonic.

— Consisting of

The

intervals smaller than semitones.

same sound, but with

notes of the

different

names

(e.g.,

distinction, moreover,

BX, C$, Dfc),

is

between

said

be

to

enharmonic. 14.

Cadence,

or Close.

viz.

:

— The

There are four principal cadences,

completion of a musical sentence.

the Perfect Cadence, or Full Close (sometimes termed the Authentic Cadence)

Imperfect Cadence, or Half Close (A.

)

The

Perfect Cadence

the Interrupted Cadence

;

is

;

when a musical phrase ends with

the

;

and the Plagal Cadence

:

the chord of the Tonic

preceded by Dominant Harmony. (b.)

The

Imperfect, or

Half Cadence

is

when

a phrase terminates with the chord of the

Dominant.

The Interrupted Cadence

(c.)

expect a Perfect Cadence, but

takes place

when some

when

other chord

is

the course of the music leads one to

substituted for that of the Tonic

usually the Sub-mediant. (D.)

The Plagal Cadence

Dominant, precedes 15.

Modulation.

that of the

is

when

Tonic

the Sub-dominant chord, and not

of

that

the

in a final cadence.

— Change of Key.

NOTE. The

following technical 1st

degree, 6th,

names

Tonic

;

Sub-mediant

for the different degrees of the scale are

2nd, ;

Super-tonic

;

7th, Leading-note.

3rd,

Mediant

;

4th,

used in the present voiume

Sub-dominant

;

5th,

:

Dominant

J

'

PRACTICAL HARMONY, Part

I.

DIATONIC HARMONY. CHAPTER

I.

TRIADS. i.

its

—A

Triad

is

the simplest complete chord in use.

It consists

of a bass note, with

major or minor 3rd, and diminished, perfect, or augmented 5th.

2.

—Triads 1.

11.

are of

three kinds, each taking

The Diminished

—

name from

the quality of 5th

Triad, including a minor 3rd and diminished

The Common Chord, and perfect

in.

its

or

Perfect Triad, including

it

5th.

a minor or major 3rd

5 th.

The Augmented

Diminished Triad.

Triad, including a major 3rd and augmented

—

Common

5th.

r—' Augmented Triad.

Chords.

1 3.

—

It

should be carefully noted that a

according as

common 4-

it

has a minor or major 3rd,

common

it is

called a

chord must have a perfect

minor

common

5th,

and

chord or a major

chord.

— Common

Chords are termed Concordant Triads.

Diminished or Augmented

Triads are teimed Discordant, or Dissonant Triads.

EXERCISE.— Write

Triads of each description upon various bass notes. No. 9,716.

—

—

CHAPTER

II.

THE TRIADS OF A MAJOR i.

we

—

If

we take each note of a major

shall find that

dears a diminished Triad ;

2.

and three

3.

(viz.,

(viz.,

C)

:

— In

It

by

in four parts

will

may be will

be evident that

far

(i.e.,

common common chords, minor common chords.

be seen

said to be the

that,.

Sometimes, however,

its

most general and also the most

bear almost entirely upon this form of harmonic in

Harmony

root in the bass)

in the case of a it is

leading-note,

followed by the Tonic chord,

of four parts, one of the notes of a

(i.e.,

used twice

is

minor

the root,

common

e.g.

:

in the

it

whatever chord

it

—

occurs,

e.g.

is

merely that

it

be observed that the upper parts may be placed of a chord, provided that the bass remains unchanged. * It will

f At a perfect cadence, the leading-note

must thus

a chord

may never be

shall rise, in

when

is

in its

'.—-

should generally ascend a semitone

other chord, the usual requirement

same chord).

chord, especially that of the sub-

advisable to double the third,

in

of the six

are major

the majority of cases the best note to double

with

mediant of a major key,

— The

will

those upon the 2nd, 3rd, and 6th degrees) are

chord, or triad, will have to be doubled

direct position

it

and 5th degrees)

4th,

ist,

our remarks for the present

combination.

5.

in scale of

those upon the

— As Harmony

common 4.

{e.g.

and form a Triad upon each,

every degree except the leading note, which

— On further examining the above example,

chords, three

useful,

scale as a root,

we obtain a common chord on

KEY.

;

doubled.

f if followed

andYiot

fall

If

by any

:

any position, without affecting the nature

rise to the

keynote.

—

3

(

)

I

W^ Excctit (i) In a descending scale in any part

:-

g^§=fl (2)

in

When

it

re-appears in another part in the next succeeding chord

both of which cases 6.

may

it

—The 5th of

fall.

a chord

or the root used thrice; 7.

the

— When

harmony

may be

omitted,

be

said to

when both

root

lie

on the other hand, the

If,

harmony

is

some distance from

close together, at

in close position, e.g.

the bass,

:—

S another, the

and 3rd may be doubled,

but the 3rd should rarely be omitted.

the three upper parts

is

:

^H

parts are ranged at approximately equal distances from

said to be in extended position,

e.g.

:

—

one

-4-

8.

—This

in four parts,

latter distribution is generally the better

which should be regarded

one to adopt

and the lowest

or Soprano, the second for Alto, the third for Tenor,

following compass should not be exceeded in each voice .

Soprano or Treble.

_,

Alio.

writing exercises

in

as four voice-parts, the top part being for Treble

^

for

The

Bass.

:

Tsnnr.Q -

^

Bass.

„

s-L

*

The wide

Tenor and Alto,

between the Bass and Tenor is unobjectionable and Soprano, should not exceed an octave.

distance or Alto

:

the interval between the

—

—

—

—

4

(

)

PROGRESSION OF PARTS 9

— Before

the student can write even the simplest cxcicises on Triads the following

laws of part-writing

must be

learnt.

Melodic Progression, io.

— No single part should proceed by an augmented interval,

e.g.

:

^^^m the effect being generally rough

n.

and ungainly.

— A part may proceed by a diminished

within that interval,

e.g.

interval,

provided that

its

next note

is

one

:

| -No two

parts

Harmonic Progression. may proceed in perfect 5ths with one

^m^m^

gipj=i^=fl This

fault

is

called " Consecutive $ths."

interval of perfect 5th

may occur

in

another-

The

student should observe, however, that the

two or more succeeding chords without bad

provided that the 5ths do not appear between the same two parts

«

effect,

in succession, e.g.;

—

Good.

^—^—W) A

perfect 5th

A

diminished 5th

may

always be followed by a diminished 5th, as

may be

followed by a perfect 5th, provided that they do not occur

between the bass and one of the other two

m

:

*

some

The

is

parts,

and

that the perfect 5th

Bad.

is

Not

the upper of the

advisable.

m

rule against consecutive 5U1S

particular effect

:

-&T&Z&

is

always then intended

often broken by experienced writers with good results ; but the beginner should rigidly observe the above prohibition. ;

5

(