Richters Manual of Harmony 1000100996

2012-09-27 00:19:50 UTC

50632a7b06977 190.160.147.91 Chile

OF

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];rTBODUGnoN."

OF

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"

CONTENTS.

I.

PAKT

HE

FUM)AMEin?AL

AM)

HABMONIES

18

"

"

"

THE

THEM.

FROM

DEBITED

CHOBDS

OBAPTKB

I.

"

n.

"

III. IV. V. VI.

VII.

"

Triads

of

the

Majob

Scale,

21

^The

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of

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MmoB

Scale,

40

^The

Inversion

^Harmonies

"

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The

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IX."

X."

of

^The

Chords

of

of

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"

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54

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69

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64

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Chords

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of

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of

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47

Triads,

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connection

in

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with

7?

.

of

81

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the

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88

.

Harmonies.

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FOBMATIONS.

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.103

II.

PABT

OOIDEKTAL

"

TO

THE

HABMONT.

105

.

Stationary

FOBEIGN

Voices

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CONTENTS.

n

PAOV

APTSS

XIV." XV."

PAssma

Notes.

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fob

APPLICATION

ill.

of

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XXI.

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.

of

176

188

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195

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187

193

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a

157

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173

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STEUCTUIUB.

Accompanying

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HARMONIC

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188

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PUBE

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206

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213

INTRODUCTION.

Op

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elementary

Intervals.

The

f

is called

pitch, The

to

espect

s reckoned

as

to

ccording Eemakk.

any

egree,

raajor

then

for

the

still, upon

to differenos*

in respect

another,

degrees

the

a

first degree,

lying

the

two

tones

that

the

higher

the

and

degrees

is understood

manner

to

according

the

in

stand, lowest

tone

is determined

between.

or

series

progression

tones

of

pre"

scale.

example,

being

the

the

determined

which

in such

rule,

of diatonic

minor

a,

is directly

staff, upon a

upon

number

or

as

and,

standing

take,

we

igher

other,

the

the

of

^By diatonic

"

by

nted

degrees

each

to

stands

difference

the

of

the

of

tone

one

Interval.

greatness

umber

If

in which

relation

sixth

g the

as

lower

higher,

tone,

will

situated

and

oome

the

upon

firs

the

upon

the

second,

0,

degriu .

6^

J^.

m The

numbers

of

manner

:

ollowing

the

12

*is: ig

.ig

degrees

produced

34

I % or

Prime.

Second.

"*""

Third.

thus,

"o.

-r^

Fourth.

"^

be

will

5

:8" Vnison

1^

6

78

-SL

"" "

-ftfc

F{fth"

in

expressed

"

-6^-

SiaOh.

-6^

Seventh,

'^

Octave*

the

As

a

tones

he

just

armony

however,

in

theory

and

tones

The

the

again

the

in

the

with

that

so

tho

fourth^

^

eleventh

octave^

now

then

and

the

sixteenth

from

the

designation

Eleventh.

the

octave

o

ing designat-

for

number

actual

o

upwards

fore, will, there-

FaurUenth.

Fifteenth.

:

ThirUenOi.

Twe^^

^

^

^

^

^

principles

occasion to

according

intervals

TsntK,

Mnth.

Octave.

explanation

octave,

double

following

the

receive

the of

series

their

give

general,

lie above

which

degrees.

:s:

lower

in the

^Particular

It is easy

to

that

see

diatonic

the

the

same

order

to

at

nd In

old

one

series

of

the

a

gain

of

of

Evert/

lter

their

them

Thus,

rela

be

of

well

to

first

the

in

forms

of

in

matter,

in

the

which

altered, appear.

mani :

principles

the lowest

intervals

These

intervals.

following

ure pleas-

these

of

midst

itself serves

series

at

be

would

rega

scale

themselves

the

the

carefully

above,

degrees

are

diatonic

be taken

can

degrees

the

they

the

of

tones

the

of

manner,

scale

the

of

the

tone

the

of

relations

like

In

thereby.

note

shown

that

is based

intervals,

the

the

tone

any

view

scale, which

is

tone as

are

firs

foundation called

majori

perfect.

alteration

chromatic

the lower,

their

IntervalSm

the

C, and

differences

intervals

major

them

-^

Octave.

to

reduced

of

the numbers

small

or all determinations

ome

simply

of

upon

that

clear

it will

variations,

Tlie

are

presentation

affected

whereby

time,

of

scale

based

as

tone,

above

not

it is conceivable lower

as

the

are

throughout,

hereas,

tones,

Determination

major

lie between

hich

two

-rt*-

S"oenih.

Siseih,

Fifth.

octave.

Mare

pon

between

distances

-^

-^

Fourth.

Third.

Second.

Greater

-^

-i^-

'^

"^

iun

of

the

series

octave,

thirds

a

becomes

find

which

$

of

fifteenth

the

new

each

with

tenth

the

second^

the

so

on

begin

and

octave^

so

and

above, a

the

again.

Keasons,

he

lie

to

only

becomes

;

on

so

cond

reckon

which

degree

inth

nd

we

rule,

not

these

the number

changing

designation,

of

but

only

tones,

of the a

renders

of

the upper

degrees,

more

tone

consequently

particular

as

well does

as

not

determination

necessary.

for

example,

if to

the

fifth

^

a

sharp

is in

any

way

attached,

i

:

ioD,

It has

unce

become

evidently

different fifth from

a

it

what

was

ig

of

nally. Or,

I

^fci^

i

Since

now

such

1. Seconds, scale,

thirds^ taking

If

If

upper

alf-step,

use

made

through

place

various

cally chromati-

definitely

more

and

of: and

sevenths

ninths^

for lower

tone,

from

the

which

result

called

major;

primes,

small

half-step,

are

perfect.

of

the

tone

of

intervals

major

[most]

diminished

major

intervals

augmented

lower

If the

following

take

be

lowered

a

result.

half-step,

mall 4.

the

tone

upper

intervals

inor

3.

the

the

Jlrst tone

ourths, fifths 2LTid octaves 2.

intervals

are

sixths,

its

of the

them,

designations

eterminative

ajor

lowering

or

raising

alterations

tone

of

most

intervals

and

intervals

perfect

be raised^

result.

intervals

minor

and

perfect

be

raised

result.

Tol. Major

Fer/eet

Major

I

Major

Perfect

-69-

-o-

^^

i^

^^

Second,

Third.

Fourth.

^^

^^

.^^

Siath.

F^th,

Seventh,

^^

if^

Octave,

ITinth,

2. Minor

Minor

I

Minor

;s 'l^

"^

Minor

"^"-

SMh,

Third,

Second,

Seventh.

mnth.

3. *

Atiffmented

Augmented

Augmented

I

Augmented

Prime,

Second,

Fourth,

Diminished

Diminished

Diminished

Augmented

""m

*

4* To

Major

:sz

Minor

To

Major

Perfect

12?: PHme,

To

Perfect

Fifth.

Siaih,

4. Diminished

'"^6

1^

M

r

JTiird,

^Augmented

Diminished

Fourth,

thirds, sevenths

Seventh,

F\fth.

and

ninths

do

r/"t

occur

in harmonic

Octave.

relations.

Aug

Rexabk.

oeivable,

^Dimimsbed

"

they

although

intervals,

progressing

reason

not

aised,

that

notwithstanding lies in the

will be

spoken

farther

View

General

a

of

of

Diminished

the

lower

the

if the

in regard

intervals

Classification

to

their

been

has

tone tone

upper

Most

the

of

P"XXB8.

lowered

were

inversion,

which

Intervals*

Used

Skookds. Minor,

Major.

Auffmented,

AufftnentecU

I

I ^

I DiminUhed,

3(inor,

$

m

"-

"?:

m

S

:ar

:^

Diminiahed,

Augmented,

PerfecL

3

"^

F

Sixths.

Fifths. Diminiahed,

Augmented,

Perfect,

I*-

Foubtos.

Thirds.

Ma^or,

i

Minor,

Major,

Attgmented,

"q=F==

I'-

I

i

Diminiahed,

Perfect,

m

"i.

of the

we

thereby, by

xpressed

tand

ertain

in

a

these

pure,

farther

indicate

atisfying

not

well two

of or

^=\ 3

connection a

farther

Consonances

into

consonant

I

but

relation

with

ones,

by

to

other

progression,

the

each

intervals, to

which, first,

other,

we.

be

we

does

the

without

stand undercan

be

such

as

sure,

understand

which ; by

intervals

and

Dissonancesm

and

dissonant

and

ill sounding

words,

satisfying

Minor,

r

Intervals

in music

speak

Major,

ISi

1^ JHvision

Ninths.

Ootavbb.

Diminiahed,

Minor.

m

:ki

.or.

Sf.ventus.

Major,

The

t

reference

on.

and

Per/set,

If

in

e.,

inoon

Intervale,

intervals, result,

would

all the

u

relations,

melodic

diminished

interval

harmonically

are

ninths,

and

together.

sound

the

of

like

relations

peculiar of

which

formation

in

of

Formation

the

on

sizihs

conceived

those

to

in the

why,

be

can

Remark The

seconds,

primes,

not

last, such

it would

a

require as

have

nitel defino

sense.

consonances

comprise

all those

intervals

called

perfect,and,

in ad"

The

first

The

dissonances

are

the

are

eventh,

and

all augmented

From

this

we

derive

following

second^

and

major

minwr

intervals.

diminished

and the

minor

and

m^jor

?ast incomplete.

the

consonances,

complete

called

:

plan

general

I. CONSONANCES.

Complete.

a.

The

perfect

fourth,

perfect

prim"j

5

octam.

perfect

jfifthand

perfect

8

I

i h. Incomplete.

The

major

and

third,

minor

I augmented

iminished

nd

ahed

diminished seventh,

the

ffth, the

diminished

^u(7m"n"""{

the

augmented

Minor.

JHmin,

major

and

|!?i." 2"imin.

^k(7.

second, the

5

dimin

and

minor

ninth.

3

i

^|g:-'Iti^.

the

augmented

minor

JHmin,

2

""

=5^r

4-

6

l^^^|^^^3

%=^ Major,

1 Minor,

Dimin,

r|"i

^i

"

I* in the

major,

Aug,

"

""".

^t"^.

*LBter

the

and

fourth,

the

sixth,

octave,

augmented

I "-^

I

and

diminished

and

"

i

minor

major,

Major,

1

I

DISSONANCES.

augmented the

sixth.

I

E

prim^e,

third,

minor

and

major

t. 5g" II.

The

the

and

iDstruction

in harmony,

7

Dimin,

8

Major,

Minor.

pZE

j=a

9

"

i* follows

a

fiEirther explanation

9f the

peooliar

Inversion

As a

s

was

rule,

he

of

d

he

called

intervals

lower

is dj

to

the

as

to

starting

fifth from

the

that

see

form

determine

the

point,

g^ however,

g ;

interval

the

an

interval

upper

particular

means

be

cannot

te al

this inversion

follow

inversion,

this

below

removed to

it may

of

of

be

is had

reference

explanation

will, by

scale

major

here.

the

assume

:

4

3

1

above:

I

Since

composition,

of

diatonic

if the

however,

tone.

kinds

n various

ntervals

tone

begin

we

bdow.

is easy

It

is occasion

there

upper

^^

'''

different,

original

ollowing

the

intervals

the

this.

becomes

The

are

fifth hdow.

the

by It

taking

Intervals,

determining

If, however,

tone.

tones,

for examp

in

above,

two

found

Thus,

rom

lower

the

with

relation

ntervals

indicated

already

tlie

(Venetssung) of

5

6

8

^^

3^.

gg^B

."fis: ""-

tervals

i^oto

There

:

7

8

result

thus,

6

the

following

12

is, through

:

numbers

4

5

6

7

8

7

6

5

4

3

2

1

inversion,

the

becomes

prime

an

the

octave,

a

second

"c.

eventh, The

of

3

8

hat

series

inversion

ollowing 1. All

the

of

in respect

to

forming

we

must

note

the

in

the

:

in

perfect

remain

basis,

the

intervals

all intermediate

intervals

PERFECT

scale

major

inversion

the

ctave,

2.

All

MINISHED,

In

the

become

intervals

MAJOR

and

the

following

diminished

table

bcinor,

aU

a

view

Pbuieb.

OBionvAi.

blTBBTALS.

biTSBSIOV.

I

jEs:

I

of

all the

inversions

:

Seconds. Augmented,

rziE

^

Minor,

Major. 122:

Augmented,

*

M

amzt'rziizrQ-

E Sktentds.

OOTATBS.

Perfeek

augmented

augmented.

is exhibited

Perfect

the

major,

minor

Diminished,

Minor,

Major, 3:

Diminished, lesn

V

m

FOUBTHS.

Thirds.

Diminished,

Minor,

Major,

Attffmented,

Fer/sct,

;tei

FUTTHS.

Diminished,

Perfect

Augmented,

3E*

pi

Auffmented,

-:sz

:;;"a

* 31

^

is:

Sixths.

FiKTus.

Diminished,

Augmented.

Minor.

Major,

uftf^mentad

^-

i

G-

i^-

-fi-

Sixths.

Major,

Perfect.

Diminished,

;e

ig:

I

.-".

Thibds.

Foctbths.

G-

Minor,

Augmented.

Diminished.

Perfect,

I

:""= i^^i

"

.-Q.

Major, ..O-

i^

:W

Sbvknths.

OOTATBS.

Minor.

Major,

Diminished,

Diminished,

P"}:Ak;"

Diminished.

K

ji

:":

II

""=^-1t Pbuibs.

Srconds. J^ftor.

l=? An

exact,

not

alone

acilitates

A

few

The

y

he

he

j^=^l^^

p"-

knowledge

certain important

their

more

s

;;a-

remarks

lowering

the

Since

by

upper,

the

fourth

augmented

:

#

to

here

follow

raising

is clearly

octave,

in

be

be

intervals

harmonic

must

greatly

for

structure,

recommended.

tone

seen

result

this formation

jj^z^giz

but

counterpoint,

simple

intervals

the

of

:

lower

the to

in double

of intervals,

first table

diminished

in the

inversion

fifth

in the

formed

were

insight,

is urgently may

inversion

this essential

exercises

and

study

why,

of

for the

comprehension

reason

ntervals

Augmented,

T

reason

hich

Major.

(page 16), all a

from from comes

of necessity

small the

above

the

of

half

diminished

step, and

table

through

augmented

itself;

give

of

not

sions. inver-

for

example.

the following

inish dim-

MANUAL

0

y

inversion

he

perfect

it is converted fifth

a

dissonance

ention

is made

oes

issonances, as

imply

kinds

no

Since

a

the

perfect

the

perfect

inversion

from

the

this

here

because,

the

fourth

be

fifth, in

the

fourth, of

in

a

theorists

manner

in the

cases

men

some

with to

times,

case

octav^

are

which

treatment

earlier

as

in any

never

consonance

similar

in

same

and

particular a

requires

some

different upon

complete

and

"

which

never

ezerM^rd

as

may

next

i

explain

be

t^nth over

passed

the

ninth,

helow.

intervals

in the

also

twelfth,

and here,

since

which

they

exerc

studies. ki"owledge

stadies,

Intervals, """

become

those

as

octave,

augmented can

such

certain

given

the

results,

our

harmonic

of

that

they

inversions,

influence

oral solution

clear

since

of

following

rolnpsiqn^

produce

HARMONY

dissonance.

entirely

roduce

into

induced

inverted,

Other

or the

on,

likewise

be

only

of

which a

It will

annot

can

result

farther

ioned

OF

the

will t^* ^e

of

all intervals

practice

of

facilitate

repeatedly

them much

is indispensable

in writing, their

employed.

correct

as

als" com-

HARMONY.

Combinations to

ccording

The

he

n

doctrine

kinds

of

right

and

the

ith

fundamental

certain

formed

tones,

simultaneous

are

principles,

different

from

in

called

intervalfl

chords,

the

us

makes

of

resolution,

the

This

treatment.

natural the

connection

different

the

with

acquainted

their

shows

and

natural,

transition,

the

harmony

of

chords

one

of

Among

the

oundation

of

AND

HARMONIES

those

a

definite

a

not

into

and

THE

CHORDS

DERIVED

a

plainly

ll remaining

two

chords

the

most

kinds

dent^ indepen-

as

distinguished

easily

other

harmonic

chords,

and

are

form

of

the

the

triads,

is formed is

called

by

the

to

fundamental

last the

chords

harmonies,

from

of the which

derived.

are

Triads

The

lowest

with

connection

I.

CHAPTER

triad

be

can

others,

with

the

themselves

present

which

for

serve

can

which

independent.

These

eventh.

those

connection

indicate

first belong

the

e,

is

THEM.

chords

of

composition,

which

herefore

kinds

various

without

dded,

that

I.

FROM

he

in

following.

FUNDAMENTAL

To

consists

chord

HE

oih

species

themselves,

among

commingling

PAET

A

Harmo*

general,

Chords,

ies^

nd

of

a

of

combination

fundamental

g.

"-l *

the

of tone,

Scale.

Major three to

different

which

tones.

its third

and

Of

these,

fifth are

triads, formed

These

intervals.

heir

hirds

c,

upon

While

the

triads

perfect jifths^the

2MdL

a,

g and

triad

c

of a

of

however,

present,

formed

are

g

and

a

contains

difference

a

here

by

majof

tJiirdBXi^

minor

U

as

perfec

ffth. A

triad

with

third

major

MAJOR

K

trisA

w\^

third

minor

As

^The

"

perfectfifth 9i,

9kvA

diatonic

the

oundation the

pon

the

of

scale

The

triad

mportant,

In

ts

until farther

key,

a

of

form

the

od.

forms

and

triads, which

the

also

will

follow

cannot

content so

scale,

Connection

the

one

the

connection

natural

the

founded

are

essential

of the

part

as

with

fifth

the

highest

as

meet

others

its position.

clear

tone,

the

however,

stand,

in thirds,

triad

the

of

is indeed

key,

a

; there

make

Key*

a

of

of

key

the

it, which

presentation

fundamental,

first step

the

determines

which

Triads

the

of

upon

rests

which

nearest

tself

the

up

the

of

triads

of

content.

Natural

n the

kinds

other

successions,

steps

,

TRIAD.

makes

melodic

different

armonic

of

explanation

a

TRIAD.

MINOR

REiCAaK.

is called

perfect ffth

zxA

lowest

the

shows

same

time

as

the

chord,

or

the

at

and

tone

culmination.

ft.

^fo^

*;

'"i

FundamsntaL

Each

farther tones

resent with

still, however,

ss,

be

nly

s

here

tanding

ifth of The

he

the

the

other,

connection

following

c

while

form

thus will

these

interval

would

The

next

in the

three

the

of

the same

chord,

in

c

and

of

form

the

would

which

chords

be

can

This

tones.

:

be most

its tone*

lie outside

fundamental

can

G, which

g.

the

tone

one

nearest

the

culmination,

F. plainly

presented

in

JQ.. .-t.

9.m F

connection,

viz

manner

of

its

of

in connection

standing

chord,

one

_,

losest

triad

alter

:

manner

It is especially

either

independent

an

itself upon

fundamental

the of

as

limits

outer

fifth, will

triad,

sure,

support

in the

found

be

to

new

doubled.

there,

already

this must,

a

of

addition

to

be remarked

that

their

tones

a

of these contaih

a

three

triads

all the

tones

which of

stand the

scale

in the ; that

lie those

itself clear

On

frequently

most

importance

their

of

The

them.

key

if the

practice,

to

is

piesent

distinct.

and

account

in

employed

first found,

one

been

first degree

the

upon

standing

have

names

also, especial

to

given

the scale, i

of

called THE

The

second,

fifth degree,

the

upon

third, upon

THE

If

we

they

three to

themselves

present

TRIAD.

SUB-DOMINANT

these

arrange

degree,

fourth

the

TRIAD.

DOMINANT

THE

The

TRIAD.

TOKTIO

chords thus

us

:

-"-

themselves

the

urselves Reuakk. in

oiced

theoretical

vement

for this

will

always

three,

be

maintain

Discovered*

be

can

a

its importance

well

detain

however,

reserved

later

of

we

chords,

ftvaU

writing.

combination

for

as

well

of

It would,

reason,

as

manner

chord

relation.

manifold

may,

and

im,

^The

"

four-voiced

the

of

these

of

triads.

major

Harmonies

the

of

application

as

collectively,

Application

In

v

IV

I

show

in the soalei

order

-"-

-""

they

their

I

4.

nd

to

according

longer

us

from

foundation

the

our

practieal

four-voieed

all kinds

of

thre^

sure,

The

presentation.

special as

to be

presented,

of

oom*

osition.

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or the

our

piano-forte

alled

often

harmony

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them,

present

tho

The the

the

Bass, of

arrangement triad

:

voices

outer

above

Soprano,

is called

upper

next

nd

each

as

divide

but

mass,

mere

a

as

compositions

its component

parts

two

together

into

differentvoices.

The

ne

however,

regard,

may

be

the

voice

Tenor; these

exhibited

the

lowest

next

below

these

voices

thus

two

in the :

Bass, the

together manner

these

Soprano are

of

is called cslled

a

score

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are

the

middle-voices. is

as

follows^

MANUAL

24 For

the, upper

to their

spoken

next

The

are

especial clefs

above* used

we

exercises,

bettei

confoxm

used, which

[G] clef, and

violin

staff for

for the piano,

(upon two

distribution

for the

select

separate

a

not

writing

the

HARMONY.

which

will

bo

later.

our

whole,

voices

than

compass

of

For

three

OF

voice, but will

each

of the

easier view the

use

form

usual

of

staves).

in No.

of voices

an

of

sake

5, may

be exhibited

thus

:

6.

^

bopraito. Alto.

TSNOR.

i^^i^^^^ j^~j_"^Zg

Bais. "

A

X.

ft-

-^

twofold

of these

consideration

relation to the progression to

voices, both

the remaining

The

ing

of each

of which

be pure

must

two

first in

:

place

in its relation

voice for itself alone, then

of the fulfillment of these

result

will take

voices

various

well-constructed

and

is called pure

conditions

lead

the voices.

of

This

out

seeking

harmony

of the

purity

and

the

practicing

is

its progression

and

natural

legitimate

and

through

attained of harmonic

com-

bination. Hereby style, which

later free

harmonic and

would sense,

Inasmuch

"

means

more

nearly

structure^

speaking,

as

the taste

and

term

under and better

harmonic indicated

antithesis

can

of the pure

By

the

for

sense

as

the

be used structure,

therefron^

resulting

harmonic

being

a we

matter

as,

in

of

a

In

cuarse.

of like

in distinction

is (pui-ity

struuiure

understand

expression

such

thxt"ugh

jsell^

As

of the pure was

of

for

a

the true

mous synony-

general a

more

\x)free"^^/tf,whereas,

perhaps,

correct

sense,

narrow

Htrict harmonic

meaning,

impure

a

here

farther, which

something

structure,

it were the latter in fact may occur, since, as frequently as assumed, be free designated 2A false, structure essentially founded might while the mate

nature

the pure

%n

exercises

exhibit

should

pure

structure

by

the

purified.

the purity

explanation,

called strict

also from

proceed

sharpened,

composition

every

strict style, since this no

judgment

expression), pure

which

for composition.

the

farther

no

require however,

and

at command

natural

with

is

formed,

correct

of all

is the

structure^

will afford the safest foundation

of which

materials

structure

Remark. use

of the

use

laws

rules and

prescribes

itself, the observance

music

harmonic

arises the so-called pure

properly is to be

certainly to be upon the Ugiii^

structure.

indicated

above,

by pure

harmonic

structureia

understood

in

a

narrower

sensi^

aoD

a

If,

in

still its boundaries

ay,

are

ater

to omit

ones,

ents.

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tself with

ature,

all who

ill

have

to go

to

onformed

so

be

much

the The

morbidity

of

justifiedin making

n the

of the

works

o produce

masters,

not

busy

willingly before

creation,

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the

really

of mind. to

given

where

the

the

principles, is

nde

done

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to

lawless

concerned

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;

out

apparent

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any

cannot

found

be

perhaps in

or,

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may

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upon

the

as

them,

itself

hand,

other

them,

for future

to

power,

to make

able

most

On

freedom

forbidden

living

more

to

studies

their

is

which a

ever

whereas

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assured,

with

has

thing

the

when

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from

produce

conform

that

of

mastery

of exceptions

greatest

compositions,

school,

weakness

and

use

be

means

bounds,

prescribed

can

creation,

and

fully, and

real

living

some

style ; indeed,

strict

does

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bj

especially

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premature

for

this book

by

more

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genera

determined

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rise to th

giyes

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laws

in

here.

strict

lost

yery

impatience,

towards

of

a

point which

many

the

teach

capability

a

so

fundamentaJL

is determined

construction,

pure

youthful

views

means

within

proof

the

through

nature.

genially

urnish

no

itself

unfold

st

follow

are

occasioned

and

investigated

further

who

will

to

itself to the

be

by

of

inclination

this

abstract,

not

those

reation

indulgence

developed

need

Let

speak

the

composition,

with

this

the

has

rganic

lso

entirely

immediately

begin

o

to

is essential^

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this is

fetoestdigressions

the

allows

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just

and

;

difficulty has

This

that

touch

boundaries

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as

relations,

harmonic

yet drawn

not

themselves.

theorists

he

do not

pure

of

beginner,

difficulties for the

re

idea

the

all tone

of

as

such

only

and

precedes,

-what

development

the natural

the legitimate^

rom

e

in

aa

une

case,

to wish

theoretically

exercises

elL

The

three

ovement,

will

give

Since

the

triads

hereof,

must

be

The

dapted

atter, in many In

order

s to be

If

a

cases

to

tone

o be retained

which

7.

to

will

be

one

be

Triad

the shown

connection

part

in four-voiced

be

presents

itself

two

writing.

to

triads,

the

as

third,

and

(interva

Doubled,

later, is not of

which

established.

can

fifth

from

observations,

component

used

four-voice*

the

and,

be the

tone

most

indeed,

doubled following

at

the

all

rule

;

in

occurs in

tones,

usually rarely

the

accomplish

observed

the

of

more

are

be

to

are

in

applied and

remarks

three

however,

doubling,

being

rules

and

if they

doubled,

fundamental, for

for

contain

only

Interval

Any

known,

occasion features

fundamental

ertain

far

thus

chords

the

both same

of voice,

two

chords e.

g.

which

are

to he cminected,

it

ti

Id the Example

hich

n

t

Example The

in

in

In

two

OCTAVES.

order

to

to

nce

each

tone

appears,

none

the

Movement

the

of

can

voice

with

progress

of

we

exactly, the

of

parallel

motion,

S.

in

Voices

the

Hespect

{motus

rectus),

{motus

contrarius) and

voices

or

rise

fall at the

15"

g:

I

one

rises and

the other

falls,

g

i 22:

^ f

r

r

motion

the

if the

motion

IJ

Z=5t=I^.

oblique

".

-"-

"

-l

""I

y

I

in contrary

4

",

St

t=F

f

-"-

progress

to

time,

same

-"-

while

in refer*

voices

{m^tu^ obliquus).

motion,

g-

"

-"

They

firs

mast

4-

"

I ^.

in

other

in

another

arises, if two

motion

parallel

4

10.

independently

are

other.

[direct]motion

Obliqice

one

movement

as

other.

Contrary

The

any

more

to them^

"c.

voices

with

progression of

F,

so

connection.

lie nearest

the

appears

explanation

Parallel

The

to

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chord.

next

the

which E

from

each

One

tones

the

the

afiects

Tenor

fanlty

this

explain

Relation

Ttie

the

that

necessary

to

common

munner,

or

the

ake

a

A,

to

Alto

of

; the Soprano^

tone

common

as

fifth

as

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proceed

no

chords

such

IFTHS

G

triads

it also

O

the

voices

from

Alto

the

If

ed

in which

b^

remaining

a

in both

occurs

first C, retains

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gare

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a^

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on,

e,

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^

f-fone

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i=J: 2^,

:y

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"

"

3

a

:e:

f

i ISi'.

ik^^

I

-"-

^

same

These

kinds

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vkmixed

tself between

enor

ng

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Bass,

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in Example

Thus,

manner.

Tenor,

and the

and

the

of

movement

of

7, ", the

No. the

oblique

motion

faulty

movement

in chord

occur

voices

contrary

parallel

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the

shows

motion

between

motion

between

connections

Soprano, the

and

remain*

voices.

The

mentioned

above

fifths^ can

nd

oices

only

by

progress

in

appear

degrees

or

in the

if, for

:

following

I

two

:

"

-G-

-Q-

octaves

example,

manner

-JS?.

11

in parallel

voices

motion

parallel

skips

the

of

"1^^^ favilt \%

This The

as

regarded

following

for all voices.

such

connections

harmony

of

both

contain

faults

:

b.

"h

i

^^^E

12.

9i:

In

Example

xample

Tenor

enor,

as

The

best

;

oices

hord

on

ve

the

pplied,

the

the

Cf e,

voice

tone,

same

tones

contrary

of the

12,

a,

motion

of

and

found

in

motion

all voices

13.

JS. Q

an

~^~~^

Soprano

and

or,

other

in respect

to to

Ij^j ^

one

the

following

voices

to

the

fifth with

if the

lie nearest

in respect

is, for

of

or

octave

The

2$

c,

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movement

g.

I

between

a,

progressions,

mction^

which

in Example

in

Bass.

oblique

stationary.

Bass';

and

between

faulty

forms

harmony

oblique

Bass,

and

and

it in contrary remain

Soprano

in c,

similar

already

new

the

and

contrary

which

with

and

Soprano

between

the

of

move

in Example

Thus and

to

the

either

contains

use

and to be

are

Bass,

these

avoid

Alto

fifths and

time

same

the

is,

that

Parallel

between

skips

between

Tenor

to

meansj

must

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the

cases,

above

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between

at

also

octave

parallel

progressions

and

; in b,

Bass

he

are

b, octave

etween

nd

a,

m

m^:

then

them. voice,

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and

at

\a to be

Rehabk.

he

^The

"

in unison,

progression

t is

the

as

w,

much

pains

following

he

If

each

in a

circle^

hat

so

two

ach

This

be

itself

for

is bounded as

seventh,

of

the

and

of

On

o

the

voices

in

fift

times

earliest

definitely.

are

placed if

observed

we

separate it

as

something

unti

point, le

this

can

only

itself into

resolves

by

side, will

here

be

produced

by

this

the

not

^h

and

int

taken that

:

it is

; then

other

one

evident,

int

themselves

resolve

to

relation

without

appear

following

the

compare

cannot

fifth, do

fifth after

side

be

formed

its fundamental

by

were,

let it be

which,

whole^

additional

harmony

boundaries,

their

a

mainly,

into and

over

goes

if they

can

express

presents

connections

with

but,

other,

each

:

examples

a.

The

however,

sevenths, idea the

ntimate

a

of

now,

boundary

; the

chords,

the

where

circle of the to

and

do

nor

chords,

original

the

make

ttoo

of

the

as

additional,

succession

perfect

only

(aoeordi

cate indi

to

serve

harmonies

the

of

lie,

they

and

chord,

connections

it will

fifth appears, the

of

constituents

remaining

anything the

of

two

of

new

properly,

of the

S

t^

more

firmer.

and

Everywhere

ss

form,

neither

seventh),outside

relations

ifth),or

I

p

""

o the

n

speak,

chords

ther.

f

to

of

from

that

ected

of the progression

it ; and

it clearly

ton*

independence

necessary

prohibition

necessity

is

whi"!h

examined.

(the

if the

the

of

in the

for the

ground

to

taken

respects,

other

ccount),and

hord,

be

view

by

as

been

chord-formation

it may

ifth,

has

the

with

octaves^

of

found

easily

be

may

conviction

prohibition

be

can

discover

difficult to

more

trong

for the

reason

seventh,

chord,

may

perfectfifths will

(as

lie above

be

always

in itself its character

carry it

the

were

below

or

discoverable

of

content

it ; the

in

the

unpleasant'

deficien

the

connection.

Since

hat

have

we

in the

case

in

of

onnection e.

be

be

to

one

perfect to

perfect

part, of

rogression

ollowing

here

spoken

fifths

sure,

fifths of

which

arise

since

this

will

from

forms

which

last

the

cause

lies only

a

the

in the

it may

triads

only,

added

sevenths,

fifths, of

parallel

prevents

seventh,

such

fifth, this heard,

the

of

the

itself;

fifth, which

remarked, their

of

however,

another

enters

par pre

in

withe

the to

voice,

deficiency

and

unpleasantness

second

rule

that,

fifth with

perfect

still be

of

the

conai{ nect

g.

^PE I 15.

I

I

As

eventh

llels,

ths

eoncems can

enter

diminished

free

imder

justifiescompletely

fifth, however,

certain the

above

conditions, expressed

which its free view,

in

the

even

entrance

since,

dominant

so

soon

chord

in the as

case

it appears

of

tho

of par^

afte

ifth, leaving

out

teps

of

outside

Compare

the

of

the

circle

following

the

of

latter

the

progression,

immidiatel^

harmonies.

both

of

connection

of

laws

its farther

account

examples. h.

a*

J

e.

J

I

^.

gizzig

"

ig:

r"

1

3C^

a:

^-

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6.

ii

|zig

"s-

t

I^ however,

he stricter

instances

following

of the

I

a: ""-

in

found

frequently

are

sort

composiUons

a

style:

I

A

'9-

I -"-

J-^-

IT.

i

::3:

t

he

the

of

ression

same,

that

and

diminished

the

of

following

the

fifth is

fifth-succession

the

however,

; that,

voices

middle

doubling

the

that

assume

may

1 (the/,) requires

double

a

because justified,

thereby

progression

be called

not

could

pr^

it lies i

pore^

18.

because

artly

he

above

16.

n many

c,

do

cases

theorists

any

of are

many

duration

ufficient

also, so

them

of

them

of

the

voice

upper

is wanting,

progression

beoatibe

partly

;

instance!

although

heard. such

why

based

it is not the

those at

; which,

upon be

to

fifths

parallel as

faultless

are

same,

in the

prominently

double

unpleasant as

fifths), and

covered

ie, upon

be

to

sound

not

too

necessary

clear,

recognize

since

dmitted,

the often

it becomes

Hereby

forward

come

condition No.

as

uch

they

other

denied,

arise

spoken

false that

of

rate,

any

from

be

cannot

a

(for exam^ position

open

very

reason

unconditionally

voice-progressions, with

noti^

passing

for which

above,

their

of

unpleasantness

as

operation

and

becomes

per

there

would

eptibl^ It is not

e

much

f

the

the

place

to say

augmented

ndividual

cases

on

here,

treat ;

points

many chord

will

to

of

bring

the us

at greater as

length

for example,

sixth back

and to

of

these

concerning

fifth, which

this

point

relations, the

would in

and

progressiop here

connection

fift

too

far

us

carry with

?f the

our

practical

If the

r,

sense

more

with

yet the

f

faulty

ctave

representation

knowledge,

advanced

harmonic

entire

The

foregoing

the

of

the

system,

and

exercises,

comprehension

far

thus

progression,

still be

should

and

frequent

is

mentioned,

be

long

not

the

to

obscure

necessary

it wiU

of

too

called

be^i^

repetitioni

wanting.

fifth

(ypen

and

progression.

They

are

orms

if, in

covered^

fifth or

2i"

e,

octave,

^m

""-

"^m fifth

inadmissible

lways

farther

e

left to

f

the

not

exercises,

Kemask.

; the

beginner and

hem,

frequently

orse

faults

more

fifths

; for

the

will be

correct

matter

cuss dismust

comprehension

for

offered

be

will

this

present, a

combinations

octaves

and

with

general,

opportunity

making

unsuit*

arise. the

of

be

subject will

lead

will

a

too

are

chord-connection follows

which

in

since,

first examples,

the

out

working

unnoticed,

principles Much

in

well,

entirely

first

insight,

do

will

octaves

the

easily

mature

since,

much

^The

overed

in

harmonic

for

covered

XVII.)

i

"

octaves.

"

fifths

of

worth

instruction,

oral

interval

second

""

remain,

parallels

(in Chapter

on

fifths and

ble

octave

and

the

voices,

g.

:^2

Open

of two

motion

parallel

avoidance

anxious

and

violated, back

us

to

leave

to

other

this point,

o much

and

with

discussed.

particularly

Eocerfdses.

bring

To

the

of

observance We

into

musically

far established,

thus

rules

for this purpose

select

the

connection

following

the

three will be

Bass

20

next

exercise. :

progression

1

B^

'.Qi

-jsz:. C:

the

with

2.

1.

.^^

triads,

primary

IV

4.

8. 8*

251 is:

Rku

AUK.

long

as

The

^These, our

manner

and

"

the

well

point

under

of

will yet

as

all subsequent

exercises

practical

situation

be added,

as

consideration

the

give

251

ro:

upper us

will

proceed.

makes

three

occasion

exercises, They

give are

an

g^-^

indication

always

to

in what

be

continued

way

so

it necessary.

voices

of

the

for important

first

chord,

remarks.

which

are

to

We

have

be

can

bord

position

the

of

This

different.

very

o

chord

each

an

in

appears

that

other

e.

emoved,

situation the

of

situation

of the

roiooB

is

called

voices

in

the

if the

close position^

Soprano

the two

the

Position.

Open

and

neither

between

appear

the

chord.

Close

A

5, that

in Example

seen

already

other

three

upper

Tenor,

nor

if transposed

near

so

an

is

Bass

if the

even

voices,

lie

voices

octave,

somewhat

g.

e.

a.

i

:e

132.

f:

I

i

-G-

31.

i^i^N^N^ first position

The

Tenor

he

being

is the

se

of

he

same,

with

is the

which

lto

he

Tenor,

and close

position

but

Tenor

results,

e.

so

E

;

the

close

Soprano

the

o

the

in ef^ the

transpositions

position.

(also called be

can

Alto

between

these

E

;' in c,

hand,

other

all

former

the

Soprano

the

the

In

in open

appears

to

on

lower.

not

that

altered,

is given

and

octave

chord

the

or

an

if either

case

G

tones

altered,

if the

higher

octave

is placed

It is otherwise

is in "

a

chord

two

the

is indeed

situation

an

placed

Soprano

the

the

of

dispersed) position,

Soprano,

and

between

placed

that

so

the

thereby

g.

23.

?"=?=t==E^^E^^ At

etween G

he

lto

the

a,

the of the

and

In

this

ould

not

chord Alto

and

Soprano

in open

appears

Soprano of the

position

in close chord

e,

m

.a.

; by

position

is placed

bf an

a

transposition

just so octave

at c

lower

and

G

of

the

d"

At

between

/

the

Tenor. sense,

be

however, open

the

position,

following for

by

the

situation

of

transposition

the of

voices the

(No. 23) Tenor,

the

ransposition

Soprano

the

of

the

produce

would

open

real

of

position

thf

c.

hordy

""

"t*

o*

33.

g^gp^t^^ if the

Even

ot

always

he

view

Rema"k.

lose

nd

and

third

part

the

pupil,

be

always to

only

in the

the

for

first exercises,

the

use

be

cannot

in

begianing

the

later,

to

the

now

object,and

positiou. the

out

examples

then

upon

the

of

second

ning, begin-

the

difficulties, t

b

better

therefore

had

which

i

examples

In

themselves.

and

t

enough

clear

in close work

from

position, stumbles

immediate

is not

present

necessarily

fuller, still it i

appear

them

write

position

open

open

our

chord

present,

last they

of the

use

our

hetter

in which

onward,

which

and,

to

allows

will for the

we

^It 'will

position,

position

applied,

that

so

"

ercome

be

to

;

open

vaded*

The

various

ined,

the

position

longer

o

free,

so

of

the

as

to

it is regulated

ut

lready

This

20,

No.

to

com

occur

requires.

for

rules

the

leading

be

can

each

the

following

the

the

chosen

chords at

ai

pleasure,

connection

of

chords

26.

and

follow

may

that

position,

chords

of

voices

is determined,

chord

their

25

connection

xercise.

first

but

single,

appear

generally of the

according

pages

given,

not

leading

the

as

according

If

do

positions

and thus

of

the

voices

firs

the

of

:

ia^rf^

El

34. :s:

1

__Q_

I

0:

The

he

natural

above

specially,

the

eturn,

dapts

ant

mutual of

them chord,

relation

simple

from

the of

completiug of

the

resolved

to

chords we

two

itself into

does

become

This the

their

accurately

lies

which

becomes

another

chords

another,

close.

one

observe

last

one

satisfaction,

for forming

which

if

example,

however,

rest,

these

of

in

form

tonic

the

close

plain. this

of

connection

by

connection; connection, feeling of

o

chords

the

domi*

is called, if the

latte

close

triad,

The

clear

through

P

S

1

":

35.

Another

form

No.

bove,

of

by

is formed

close, which

Example

20,

"

ro:

=t

4, is called

the plagal

the

triad|

subdominant

close.

i

m

m

J:

26.

m ^\

1^

"0'.

E IV

Of

these

and

order

to

kinds

other

of

cannot

we

close,

more

speak

length,

at

nntiJ

ater.

In

e

Bass

if the

curs

to

the

Note."

note

other

The

All one

the

a

at

to

degree

one

of

the

triads

the

nexty

he

are

and

chords F

which

G),

"

V-IV,

it will

in various

remaining

but

key,

of

chords

called,

situated

as

to

elsewhere

by

skips,

I"egree8

Remaining

the

are

distinction

in similar

oonnectioii,

yiz., from

one

degree

to

degrees

of

not

indicate

will

upon

the

a

of scale it

so

the

will, to

be

decisively

sure, as,

belong

for example,

V-I. distinguish

from

them

the

primary

triads,

seventh

degrees

TRIADS.

third,

second,

sixth,

and

I nVu

The

riadsy

triads since

of

their

the

second,

thirds

ti

Scale.

Mc0or

scale. 27.

U

^Ed.

the

same

here,

is used in

SECONDARY

They

IV-V

successions

of 24,

"

of

combination

These

to

distance.

greater

triads

degrees

by

expression

Triads

and

the

write

succession

(as in Example

degrees,

by

the

keys.

The

from

in writing

expert

progresses

purpose

and

sitions

become

are

III

third, minor

VI

and and

sixth their

vno

degrees,

appear

fifthsperfect.

as

mtnor

of

because

this

it

third,

minor

We

for in

anner

All

triads

the

the

which the

of

degree

the

of

G.

can

scale

the

upon

triad,

theorist,

major

for

sign,

diminished

the

of

writing

fo

TRIAD.

distinguishing

designation

case

fifth;

the

easy

the

the

of

an

as

select

diminished

a

contains

DIMINISHED

hich,

has

Weber,

be

now

0,

a

add

a

small

it is situated,

which

we

triad)

minor

as

t

vu^,

above

introduced. thus

exhibited

:

""if^i^ IV

in

Rkitabk.

The

"

ombinations

F, D,

long

as

Hereby

ach

an

not

to

careful

long

As

no

the

VI

to

not

C

as

various

made

G

of

into

key,

ruling

degrees

major,

at thei

chords,

insight

is the

the

of

these

of

renders

major

be

will

the

chords,

keys.

The

triad

major

be

should

which

of F

the

this

major,

harmooio triads hey d

o

of

minor,

C

of

can

noticed

particuwly be

:

I

^m^m

29.

conceive

independent.

as

of

yvfi

which

chords

mention

appear

various

V

misunderstanding

than

else

ambiguity

belong

can

very

difficult.

do

keys

these

a

to it, and

belonging

arises

triad

triads,

nothing

are

etc.,

be

must

more

much

and

ajor,

beginner

all tonic

as

ppearance,

f=t=|F

H

ues

in respect

therefore, use

of

language),

this chord, b

this

; in all other

degree

the^r"^

to

F:

I

C:

eneral

true cases,

V

IV

G:

0

major

only

in

however,

is spoken

first

the

of

(ezpresfdng if the

case,

G

the key

major

the

m

triad

oeca

it is incorrect

Application.

In

the

found

hich

are

In

the

bring

will, can

first

onsecutive

ontrary

before,

new

Bass

The

of these

connection

hose

o

the

it is called

reason

umeral

,

beside

that,

case

out

the

rule

however,

move

either

there

chords) ; motion,

new

no

chords,

in the

according inner

will

is at

appear

by

last the

connection

a

rule of

well

present

or

be

by

aUu

with

Several

things

(like tones

in two

necessary.

with

as

it.

degrees.*

connecting

progression mentioned the

themselves

among

in connection

skijffs

always

to

as

chords.

tones

of

the

above,

voices

must

(page 26), in

be

i

order

The

a.

Bass

by skips.

progresses

NB.

b.

a.

i^p^}

laun

i^^^m

0

3"

i

in this

een

treated, tones

this

In

Example

the

there

30,

to

the

Tenor

the

hereby

o.

31

chords

is

and

if, in the

a

an

is present, as

conceived

same

so

voice.

D

doubled

becomes

of the

of

the

through

the

tones

i

Soprano

lower

as

apparent,

following

the

connection

the

octave

covered

by

improved

since

formed

voices

unpleasant

local

the

the

the

of

progression

case,

degrees,

all other in

hare

exceptions.

is certainly

immediately

connection

cases,

degree

second

from

remain

contains

last

connection

easily be

can

always

found

which

the

beginning

in many

rule, which

Bass,

inner

first chord

NB.,

above

Even the

two

from

Bass

treated

however,

are,

at

and

rogression.

ails, still

be

can

same

in the

skips

to the

rule

ccording

the

example,

common

To

he

"C.

VI

As

etween

I

-"-"

II

"

u

hat

-"-

IV

11

"i=

281

^^mi

-G-"-

in

octave,

Example

:

^P

1

31. la:

9: Rev

nce

ABE.

"

^The

this could

t is ^Q

The

however,

reason,

also

be

fundamental,

the

the

unpleasantness that

otioeable

the

upper

case

with

tone

of

why

which

the voice

if it is contained

this tone

exactly

any gives

covered

g

tone

at

to

the

octave

outer

whole

voices,

i^^^^

as

upon

double,

as

the

fact that

its determination.

chord

mentioned, a

b.

32.

whole

be conceived

is founded

pleasure,

progresses

in the

should

step,

lies in the and

in Example

stance, circum-

is yet 32

at

morf

a"

By

the be

n

improved here

lthough

See

the

ich

"

^In

leading

or

mprovement

vered

The

he

the

a

Example

other

fifth in No.

82

c^

farther

of

P

for

a

from

a

:fe

the

the

of

voieet

Example

in

motion

Soprano

i

e,

-Ct.

speak

and

Cf

Tenor

treatment

of is

No.

avoided,

firmuB^

eantus

of The

unavoidable.

stand-point. at

be

can

a

faults.

absolute

of

much

composition,

follows

step,

not

control,

theoretical

Concerning

the

34.

of

spoken

octaves

covered half

our

the

explanation

the

progresses

voice

into

in

do

we

above,

given

important presented

a

contrary

itself between

for example,

only

unpleasantness

upper

forward

ia entirely

grounds

leading

the

34).

brought

voices

b,

at

the

fifth shows

circumstances,

is here

by

manner,

covered

cases

the

of

on

in like

on

other

under

tive,

also

Eemark

Remabk. the

;

Bass

the

of

motion

contrary

ceases

at

onoe

i

g.

^^iS

33. 's::

ii

"G--

1l. Here

the

motion

contrary

NB.

The

I

Bass

hy degrees*

progresses

should

always

be

applied,

e,

g.

hett^:

1.

4.

9!=^z:g=:jzrtfzjz=gij" onjzigzz^^^ II

^ g5=^

NE.

hetter:

hetter:

:^

12?:

-"-

jSL

m

-"-

I

-G-

2.

i^^^^l

"4'-^

-"-

UI

U

-"-

IV

IV

I

I

Memarks

In

Bimilar

to

in open

appear

The

If

leading these

the

of

third

the

of

e,

second

is

unpleasantness

position,

voices

fifths

covered

because

more

subsequen

in ordef

chord,

noticeable

if the

g.

they

b

at

is to be

in the

occur

preferred.

are

be

2, the

34,

the

Concerning

B

the

iiUer discussion

able, allow-

^-^jo.

doubliug

general,

the

of

second

treatment

will be

the

of

in

since

applied,

moru

s

I

ii^ NB.

are

less perceptible.

36.

At

they

voices,

middle

11

xample

third

of

the

of

the

is to

chord), tone,

be

to Ife Worked

seventh

is called

with

always

degree

(i

avoided.

which

in connection

given

the

of

is not

chord

second

doubling

this

Exercises

leading

following

the

tone,

exercises

a "

Out,

1.

2.

IliEftEfeS

^-".

sr:

"jr

.

-G-

-"-

8. :SL

isBfE

n

the

1, and

NB.

at

used

35.

o

S?

Their

fifths.

covered

double

to

that

as

such

voices

it is better

places,

avoid

chords

7,

of

all progressions

Chord-connections.

these

on

^3$-2EElg

I -d-

NB.

4.

nil"

5.

-f2-

fS-l

-"-

"""

^

T-"-

jgg^fi

-fS-

The

fourth

The

progression

a

regular,

exercise of

consequent

gives the

occasion

Bass manner.

takes

for

a

few here

place

Such

a

T^^^

t

remarks. in the first four

regular

harmonic

measureS|

or

melo

lie

This

consequent

eading

the

of

The

remaining

treatment

down

laid

ection

occasions

like

a

also

rcgalai

voices. this

of

Bass,

the

of

progression

example,

by

above,

to

according tones,

sustained

e,

chord-con*

of

principles

g..

4-

I

^

S

fi"

"

"

B.-

-fi"

38.

"0. ""-

B

2iz=?stzx:

ould

not

ather

follow

in

into

rought

a

such

the

the

hereby

the

of

admit

same

attainment

that

position

which

tone

connecting

the

manner,

D,

this

of

chord

that

does

end

not

the

of

second

in the

remain

must

progression

first

the

of

the

;

measure

same

i

measure

occupied^ voice.

NB.

3

T

I

a

i5

i

g"

-g=--g"

i^: ^^

39. ""-

2Z

"3

-^

7-T9

t=::

"

i

3i?i:

^

:c VI

u

In

first

the

of

poken

uter

on

example,

be

the

viio

the

sequence, if they

allowable,

covered

are

octaves

found

not

i

voices.

In

third

the

far

hus

measure

have

we

of

not

It rests than

the

upon

the

hich The

natural

onceived, upper

kind

of

found

either

progression

we

meet

a

with

chord,

which

of

both tone

by

the the

tones

of

the

only

it plainly the

diminished

alone

becomes

indicates

each

other

over

against

plain

through

by

progression,

fifth. in

can

dependent

more

a

diminished

intervals

approach

is

scale, and

major

dissonance,

progresses

which

Triad*

far, since

thus

progression

lower

or

degree

is effected

that

4,

Diminished

seventh

triads

indication

No.

Exercise

used.

The

he

of

likewise

will

above

account

in

a

the

general

degree, other,

actual

be

(a), or

(", c)

chord-con"

ection. h.

a.

"g

V.

e.

e,

^

'jGT.

s

JnverftioiK

The

following

third

irst degree

Since,

efore

(C)

the

to

according

18,

(page

fundamental

tone

dominant

41.

the in

UBLED

Just

the

following

ext

This

V

to

if the

riad,

fifth in the

triad

2, operates

111

it stands

lies in the

melodic

half- step

before

as

is noticeable

leading more

in the

b and

than

satisfyingly,

not

if the

effected,

fundamental

the the

case

tone

in

a

as

of

dominant

the

of

voice,

upper

leading

of the

character

Example

c*

'

""

A.

in

particularly

is contained

tone

be

can

upwards

step

it is

distinctly,

tone.

this

progression

as

This

scale.

half

one

contains

chord

inasmuch

he

c

is called

rests,

as

very out of itself comes harmonic four-voiced movement.

simply

tendency

one,

triad, and

tone

leading

its progression

so

triad

40

eSi^J

viio

Since

See

order.

TONE.

in the

third

in inverted

diminished

the

degree.

third

the

f

as

again

the

to inversion

from

results

diminished

the

LEADING

It is found

in respect

fourth

appear

also

triad of

the

fifth.

the

intervals

augmented

which

upon

of

the

of

19,)an must

(c?),exhibits

triad

omission

relations

fifth, its progression

The

by

incomplete,

as

explained,

dimiijished

the

e*

e"

"t"

2.

This

inclination

Most

intolerable

pper

voice

(at e) In

the

of

the

n

to

are

the

39, third tone,

sequence

position

in many

or

page

formation 32,

in such

cases,

the

on

Bass

contrary

the

contained

in

the

the

more

of

of

progression

the

(the authentic

is led in

example,

the

are

in

skips

contrary a

the

as

at

d,

in the

skips

middle

voices

motion.

doubling

rule.

above

voices,

middle

chord-connections,

contrary,

Both

which

and took

place no

allowed

o

progression on

account

alteration

chord.

Extended

close

less in the

is found

measure,

to

Concerning

The

itself

shows

(at c), whereas, be used, if the

Example

leading

upwards

through

close),shows

Formation

the

chord

itself in

of of a

the

still

the

Close*

dominant, more

noticed

definite

maiX'

o

As

the

natural

a

he

two

the

renders

ominant,

formation

the

which

in which

the

in

latter

the

of

the

the so

tonic in

to

triad,

e.

the

triad,

these

examp

the

triad

chord

of

through

relation tonic

the

to

stands

same

to

close,

it is noticeable,

of

stands

dominant

the

of

chord

preparation

degree,

o

the

g,

4"

I

'ST.

-"

"

J-

S^i

"Cf

"t43.

is^i^i Besides

"^-

u

of the

triad

the

g

-"-'

n

degree,

second

for this formation

lso adapted

of the

triad

the e,

close,

i

the sub-dominant

of

g,

X

i^^j^f^ 44. :5iE"t "

"

P^

"

1

IV

The

form

definite

more

by

(cadences)produced

formvUm

closing

assume

ill

through

the

chord-connection, the

of

application

to be

chords

II.

CHAPTER Triads

The

The

fifth the

The

hord,

triads

primary

Primary

however,

relation, that

is,

as

in which

it becomes

renders

the

ihe

upon

find also

we

dominant the

through

plain

the

first fourth ^

triads

xhe primary

chromatic

triad formation of

alteration

one

to

stands of

the

tone

of

tonic

the close

the

previou

minor

necessary.

Its seventh

tone-degree^

cale, is always

distant

ally

degrees

same

found

were

scale

major

the

Triads,

scale.

shown,

ale

Upon

degrees.

minor

the

of

Scale*

Minor

the

of

a.

i^

this

later.

hown

f

to

adapted

still farther

second

of the

relation

raised

a

half-step,

a

whole so

to

according

which,

step

that

it

from

the

acquires

the

signature

eighth the

degree,

o'laracter

of

the

minor

is chromati-

of

a

leading

"-9

i

"7^"i^"^zzo"^-

45.

fr^^g" g=g By

this

like that

xactly

formation

the

means

in

i

thus

major,

A

dominant

the

of

A

minor.

mc0or.

A

of

comparison

V

A:

V

:

in

triad

dominant

become!

" "^a:

The

minor,

:

46.

briefly expressed

in

triad

the

form

O

and

major

of

close

both

of

O

major.

^

is always

minor

a

thb

shows

modes

triad,

m^jor

plainly

minor.

rtzrb-

'^^m

"l"Q-

47.

m however,

That,

nse,

s often

hich

of

capable

the any

necessary

be

cannot

i

m degree

sixth

the

of

the

melodically,

conceived

of

at

all

by

alteration

chromatic

such

scale

minor

close

plagal as

is not,

elevation proves

a

in a

a

harmonic

half-step,

(see

page

as

83)

b"

at

In

A

minor.

f^iSt

".

o:

The

elation

three

IT

triads

primary

according

to

in minor

previous

49.

i!

can

be thus

explanation

rsrrns

:

exhilited

in their natora

The

ill

be

therefore

it forms

as

scale,

mioor

following

the

basis

the

for

formabion

the

of

harmoniei

: 1

1

1

1^

7

2

:^fe:^!

50

.m Reicabk.^A11

forms

other

the

of

minor

as

scale, such

:

lfe=te 51

"P

descending

:

fed^ 53

epend

ram

the

to the

sixth

have

forms

influence

no

armonic

foundation,

ollowing

examples

degree,

seventh

however, show

do

-which

conditions,

melodic

upon

These

P

"

found

has

a

reflex

the

allow

step

of

an

augmented

second

60.

harmonic

the

upon

not

in No.

formation

influence

the

upon

in

itself considered scale

minor

; the

itself

as

the

:

I^^^^^^^s^ 53.

"c.

J.I

k

9i3i S:^ The

last B-^

econd

to

not

hrough

lready

b.

A,

B

that

destroy

the

minor

Triads

as

of the

character

through

scale,

the

(in

minor

the Remaining

in the

the

establishment

following

54.

form

:

^z=

of

the

shall

part

passage, first

third,

the

exhibits we

component

SECONDARY

After

even

scale

in chord-connections

ascending

of

-^#-

descending

necessary

secured

perfectly

The

was

in the

while,

the

in future,

b, which

tself thereby,

rder

in which

case,

iJE m

-"-

t

which

of

carefully the

of

step

example),

this

augmented

avoid,

A^,

chord, is done

an

very

explains

however,

perceptibly

(minor character)

Eb.

Degrees

of

the Minor

Scale.

TRIADS.

the

minor

scale,

the

secondary

triads

appear

i

The

degree

second

egree

the

of

the

pon

The

degree

third

It contains

The

degree.

seventh

a

third

chords

ther

armony

the

of

forced

to

this

prove

the

of

a

found

is

triad.

m"aior

triad. is therefore

connection

it seldom

the

of

called

to

chord

following

The

with

fundamental

as

appear

scale.

minor

this

of

examples

:

h"

a,

seventh

TRIAD.

allows

degree

the triad

fifth, and

augmented

character

key,

same

the third

of

serve

ay

or

constrained

the

of

AUGMENTED

THE

The

an

here

forms

degree

before

as

diminished

a

form

new

and

triad,

manner

sixth

a

exhibits

major

like

; in

scale

major

diminished

a

gives

d*

o*

f"

""

5. 0

6

^"-iSfzi^z:\zzis^z:^zJi^ IlO

Of

these

those

examples,

introduction

The

c

under

this

of

V

IV

""

best

will be

itself to be

shows

chord

e

and

VI

TIlO

for

adapted

use.

difficult stilL

more

d"9

C"

6. 6

6

6

ii=^p^^g^g^^EP^g I

Its introduction is, exists

hat

ng

ell

of

"

the

imply

as

ively

wiih

Most

ther

[triad

A^hich

ltered

already

major

of

as

of

the

the

same

as

voice

chords,

therefore

practicable

relations,

not

and

is prepared,

fifth

augmented constituent

part

in the

of

much

harmonies^

used

the

allow

in

which

of the

the

later

will be

chord

harmony,

difficult

very

seldom

this

the

of

precede

to

the

even

connect

third when

naturally

degree, it

as

appears

and

effec

occurs.

chord-connections

degree

the] third

is

scale,

that

so

scale,

major

and

foreign

peculiarly

minor

in the

triad

other

is

in the

is somethiDg

^There

minor

of

if the

tolerable,

most

VI

(at d).

chord,

Remabk.

is

V

IV

11"

exhibited to

triad

augmented

The

minor

scale.

music,

belongs

explained

above

later

to

under

be

will

the

as

recognized

augmented the

i

occur

triad,

chromatically name

Altered

Application*

The

oices,

n

bout

ince

the

etween

sixth

and

leading

the

tone

be

an

comes

as

as

avoided

second,

augmented

view

minor

scale

tones,

th which

differentharmonies,

to

e.

g

h.

a.

k:

I

sai

into

between

if both

unmelodious,

belong

the

descending,

as

was

what

in

th

of

particularl

distinctly

very

well

and

minor,

occurring

second,

degrees,

here,

in

chords

I leading

an

application

fundamental

seventh

is to

step of

have

augmented

and

sixth,

the

ontain

an

of

step

the

eventh

of

progression

harmonies

of

will also

the

of

connection the

connection

developed,

already

the

the

of

principles

^^m

e"-^^r

57.

3L^^g4^jigE{^ VI

in the

Hence,

ixth

degrees,

pwards,

oubled,

often

the

e.

triad

the

of

leading

of the

progression

whereby,

connection

recurring

in

VI

the

of

the

of

chords

fifth and

the

will be necessarily

tone

degree

sixth

the

always

third

appear

g.

M:

^i^i^^bi -fe-

^^^^m

jSiQ.

".

"C.

ii-

\^m

-fl"

""

Thus,

iven

xample

it would

not

67

No.

under

VI

VI

VI

6,

be

to

possible

unless

we

use

make

of

i

.Ol.

a

a

s

VI

VI

in

exhibit

m

-"

JQ"

correct

form

the

tone,

mediating

example

such

as,

fo

:

I

"

eg-

-G

S

Q"

59.

ii RsMARK.^The

e

he

well, more,

racf^re

practice

however, as

is and

we

to

must

should

deviates,

not

be

in certain

ourselves

accustom

overlook only

a

i

."2-

well

the

to

and the

especial leading

fact, that

founded

every

exception^

of

cases,

from

the

voices

deviation "whereas

this rule. above

from the

It wil

and

shown,

the rules

observance

in

th

of

th*

irp

Exercises

Triads

the

connecting

1.

Scaler

2.

m

IS-

0

^

.^m

-"-p.

4.

3.

%

3

5S

"3

is:

-"p-

:^=3i:

\

-"-

i^

X=X

s-

6.

6.

6S i:=5:

Remarks

n the

third

measure

This

ften

in minor,

The

ass

triad

is,

a

as

the

contains

by 3, 5, 8,

raising

of

not

in the

triad,

tone

in the

to

always

dominant

leading

spoken

of

occurs

the

very

(page 40).

of,

reasons

example,,

third

the

which

thorough-bass

especial

unless

in full, by

refers

for

figure^ as,

a

without

the

marked

fundamental,

% or

or

third

rule,

note

if the

notation, exist

for

indicating

5

^

3

One

ises.

as

is the

Exercises.

first exercise,

the

of

raising

Bass

the

of

^

tliese

on

a

over

sign

ass.

^^^E

"6K-

-"-

chromatic

1

42-

ja.

A

t

Minor

the

of

Here

been

s raised, The

for indicating

reason

introduction

the

attempted,

figure

ts position.

3

or

See,

5 in

the

of

the

seventh

of

this, the

indicate

to

degree some

third third

the

necessary

first chord to

regard

was

in

found triad

the

it

forms the

over

6, is

of

whereby

it likewise

since

it by

of the

of

to

remarks

the

and

degree that

minor

examples^ the

sixth

exer*

in minof

fifth

the scale.

indicates

next

exercises,

fundamental

features

page 50). The

itherto

working

out

developed.

an

of

We

exercise

select

will

the

confirm

for this purpose

the

first exercise.

NB.

61.

The

first principle

of

the

connection

of

chords

(by

connection

of

tones

Alto,

hi the

Becond

from

In

F

the

fault

this

from

progress

Tenor

the fanUy

makes

step

an

of

aixgrnented

G||.

avoid

Alto

(at NB.),

measure

to

to

order

io let the

while

third

from

skips

(accordingto E, and

F to

D

to

lead

to

in the

B,

44), it

page

will be from

Soprano

the

following

necessary

B

to

6^

*

manner

69.

(a

connection the

where

he

retains

tones

the

B

to

E,

harmony

following

has

which

of

F

from

Alto

the

nd

chords,

connection

Soprano

G^, the

of

and

been

already

does

not

the

Tenor

take

whereby

the

appear

in open

in the

place from

goes close

in

explained

D

81

same

voice),or,

downward

to

is forsaken,

position

No.

and

the

this

:

position

63.

Farther

eference

cale

remarks, to

render

Before

ollowing

Jlajor

the

of

chords

are

necessary,

we

to

proceed the

manner

View

of

the

the farther

the

of

to

cases

the

of

of

degrees

sixth

the voices of

be left to practical triads,

discovered

Major

leading

the

fifth and

use

hitherto

Triads

all

fourth,

in especial

chords

in

difficulties

the

which

we

the

will exhibit,

Minor

ScaleSm

Major.

p

"*"

%-

gl

"

n

a

111

flZZZ.?!

"

"-

-ix

V

IV

VI

vn"

Minor,

I

=it

:^=!fi:i5^i= I

nO

III'

V

IT

in

triads

are

I

r^^

EI5

found

Major:

VI

thO

in

minor

guidance.

:

and

i

Minott

in the

HARMOKT.

OF

MANUAL

Major

m

Minor

"fi

?^::^

:S=B:

f n

Major

in Minor

:

in

The

The

not as

Chord

of

Minor:

to

that

in all previous

the fundamental which

Inversions

the Sixths

the Chord

the

Hereby

chord.

Triads.

of the

indeed

Bass

the Sixth

of

in which

of them

use

examples;

are

III.

of the triads, and

appplication

limited

chords,

iio

triad

CHAPTER

The

:

mi vnO

Augmented

1

IT

n

ni

^

triads

Diminished

in Minor:

:

:sz

m

triads

47

the can

of

and

Fourth. chords', if

all fundamental

lies in the Bassj

fundamental

the third

also receive

arise transformations

of

or

fifth of

the fundamental

called INVERSIONS

of the chord. RjSMARK.

interyttl

It ehould

"

here

are

"vroicesinto

close

be well of, and

spoken

and

open

that only

remarked, that

position, and

before

the

to various

trantpositions

of the

Bass

transpositions

mentioned intervals, by

no

means

to anotli!Br

of the other

essentially alter

the chord,*

OF

Two

of the inversions

a.

If

THE

the

Bass

are

receives

the triad

possible with the third

of

the triady

:

there arises the

SIXTH.

Ihmdamental

66.

p

chord,

Chjord

of the aimth.

s

*

Third

ef

the

fimdamewtaZ

chord.

CH0X9

b.

F

If

THB

Bass

the

SIXTH

the

receives

the

fifth of

chord

aixth

^

Fifih

the

fourth,

is indicated

sixth

by

e.

;

^

fimdamental

ihs

of

of

JburffL

and

===g

fall

66.

ixth and

the

arises

Chord

(^ the

chord,

chord

there

FOURTH*

AND

Fundamental

The

triad,

by

6

chord.

Bass

the

over

of the

that

note,

g. 6 4

"!^E^^^g^B

67.

COO

Os

The

letter

before,

s

the

xample

nto

in future

shall

67,

only

consideration,

Rehare.

ourth

ot

lie

ormed

chords^

erived

chords.

Every

not,

however,

third

but

triad

only

can

the

not

chorda Bass

^r"^

the

upon

be

tone

and,

be

can

i

seen

taken

Bass.

E

degree,

into

in such

inversions.

another

the

of

notes

brought

chords

appear

the the

tone,

can

as

whereby,

fundamental

casual

of

C, and

fifth, but

or

the

fundamental

the

degree,

the

of

tone

67, is always

the

upon

situation

fundamental

the

"

^As in Example

for indicating

indicate

the

I

I

sorve

to

numeral

I

and

and

of

G,

the

chord

so

in fact, these

since,

by

position

the

sixth

Bass,

the

nxih

and

itself will

are

no

netely

therefore

and

Application^

By

the

use

harmony

he

(that is,

ixth

the

of

That

his

the

so,

voices

above

the

tone,

may

it needs

is

be

rules

be

also

better to

doubling

it,

or

merely

conditioned

if

thereby

remarked to

be only

the take

if it lies

even

yet

of

third),can

original

requires

thereby

noticed

in

after

mentioned,

by

not

chords,

but

movement,

the

and

leading

doubling,

Just

hree

voices

the

four-voiced

the

chords

riginal

becomes

25), it will

(page

in

ixth,

to

the

of

variety,

Bass,

the

of

According triad

more

receive

articularly

he

inversions

the

of

the

the

does

only

movement

the

of

voices,

o

and

flowing.

more

for

leading

the

doubling

the

in the

case

of

double

the

Bass

tone

the

if

the

Bass,

what

was

said the

leading

of

chord

be on

of

o

of

the

of

the

of

the

leading avoided.

excluded page

position the

be

can

is to

that

chord

the natural

faults

certain

interval

an

fundamental in the

only

place

of

from

39. the

voio"3S, and

upper

aside

The

chord

of

the sixth

therefore

can

in the

occur

following

forms

:

jQ.

i

w

:2r

1122:

-"-

-"9-

I^Fa

6".

""

The

the

use

chord

tone,

chord

We

and

will

requires

original

in the

appear

is

fourth

and

it oftenest

meet

fifth of the

the

^^P^t

the sixth

of

q/" if)^"sirc^A,

later.

the

EEg=a

the

of

cAorc?

Bass

more

certain

conditions

in

formations

the

is best

chord,

following

and

which

v""

o

mentione

The

close.

for doublivg,

adapted

similar

shall

of the

forms

hmt

than

rare

and

:

i^ei^e^^UME 69.

"c. 'jq:

I

.GL

In

the

connection

are

rules

these

judged

of

two

or

image

the

to

three

pieces

of

in relation

given

a

the

chords, of

whole,

likewise

we

;

farther

no

others,

with

already

in small

chords

still contain

better

O.

derived

chords

those

of

combination

11^

.a.

these

of

beyond

necessary

mechanical

f

S=""

^:"

music,

which,

the

mere

application

however

individual

whereby

the

omit

show

and

mechanical

cases

cant, insignifican

be

whole.

Exercises. 1.

6

6

^^EJ^ 6

3^3

n

ist

-SL

8.

6 r~

"-

"

4.

3

^fe

t

6

6

6

:-^=zsr~:

r

6

6

-"-

.Q.

6 4

6

'^-

:^

"

-"

iizpzz: t: 6 4

6

3

3

-G-

"fS-

2.

'^^.

6 4

6

t

3

6

6

a=i-

6 43

6

1

^5 -"g"

g^ 75*"

6.

^ 6

6

6

6

6

6.

i

""-

-"-

^ 6

6

1

6

6

i

i

b

m.

"6h

1125:

X^

-g-

a

6

d-

6

6

3

6

6

-6^

^

^^

1=3:

-"-

:3t

6 6

jBT

10.

6

6

41

3=t

IS.

-S

^

^s'rr

ft

fS-

"

i^;

i

6

u.

4

4_i

?E

isI:

""-

JRemarks

indication

The

first

the

the

eceive

The

Bass

It

triad

occurs

one,

oubling The

of

the

undamental

In

of

progression

eading

the

Bass.

second

If

of

figure

no

Soprano

the

third

the

leading

of

the

as

exercise

It may

situation.

the

diminished

here

because

The

natural

cases

usual

m

ri.

of

progression

z=i=d:

^:'%=^

best

can

of

be

chord

voices

occasions,

of

of to

called

the

mind

Bass

the

sixth

ihs

leading

the

sometimes,

also

direction

given,

the

the

is always

the

of

of

Bass

the

t=t

voices

is

as

follows

i

iz-

remaining

triad

6

6

X Tj:tz:

diminished

38.

page

progression

-"-

by

conditioned

thus

:

-"

-g^~g

a. 6

the

stands

chord

its being

(in the

triad

6

the

the

doubled,

is not

is already

position most

situation

fifth.

the

of

the

that

Example,

second

chord.

assumed,

in

this

cases,

The

doubled.

tone) is

in

tone

in most

whereas,

be

to

denote

first

of the

the

of

future,

the

appears

oftenest

diat its fundamental

measure

Bass.

the

of

octave

first

position it is

note,

diminished

ixth.

the

therewith

and

in

indications

Exercises.

these

on

fifth in the

the

of

all similar

also

ver

I

.^::^

^-

oprano,

nd

6 13

6

6

9-

"

^s

s

6

6

6

6

6 666666 6

6

6

66

*

the

in it

It is eyident

shed

fifth,

from

the

viz., the

have

ovement^

8.

We

lto

progress

the

0

to

fourth,

augmented same

in the

see,

first example

?he

similarity

p"

to

t^eith

be

; this,

* roJV/ly lies ahove following

f th\

if it has

even

fourth

and

others,

";

S

in

chord,

B

above, F

and

dimio*

m

four

-voided

two-voiced^

pag

Soprano

of the

an

the

as

to

sound,

converted

itself

examples

above

dominant

the

beginners

fundamental

the

i

induces

later, often

shown

ittiido'jmwardsy

en'^:^

this

of

necessarily,

given

the

of

G-.

and

n

not

was

as

inversion

the

that will

progression

Ts.

"

Examples,

above

to

lead

the

inversion

by

the

only

fifth, and

a

the

of

diminished

into

is necessary

show,

diminished

as

chord

aug-

in

caoe

progression

:

sort

jQ.

i

i

74. 6

6

"

ii faulty

on

Remark.

"

iminished

of the

account It may

the

and

but not eetjifth^

be

yet other

vice

here,

remarked

perfect,

versa,

e,

fifths.

parallel

be

to

are

that

parallel

allowed

fifths,

if

the

not

good.

the

of which

diminished

one

folhwt

fifth i Otepev

g.

good.

good. ""-

I

I

-fiL

a

-"f: 4 3

/5* 6

6

6

I

pz=ffl:

ompi^^e

The

riad,

also

the

Remark,

progression

if the

Bass

hord-connections

28.

page

of goes

may

m

the

takes

voices to

over

follow

a

here

tonic

the

diminished

triad.

"

mm

m

-jz:

6. 6

6

"

"-

-"-

A

pure, "

-"-^-

I

the

in

:

not

i

than

other

chord,

form

another

6

^^^m

6

few

leiUr:

not:

not: ^

^

1^

-G-

6

6

6

"^

diminished

reatment,

triad

The

Bass

ecessary

by

degrees,

one

or

or

the

I

6

i

""-

second

degree

be

doubled.

can

more

in

as

more

6

6

1 IF

"

-"

-"-

and

of

two

of

succession

6

-"-

its fundamental

since

6

U

TIlO

he

6

m

The

^^m

:^

chords

of

Exercise

the

Minor

sixth,

No.

70, in

moving

voices

in

3,

contrary

allows

a

with

othert.

another

progression

and

others,

motion

to

will

o

render

Bass,

the

"

e,

g.

^^^^^^^m r. 6

to

n,

-^"z'S

(^^

6

6

sure,

be

of

the

the

of

I

in various

Bass

is retained

;$^

5th

of the

sixth

6th

and

m

~"

however,

; best,

ways

also in the

rizd-

Exercises

Si

t:4

i

ia^

NGLE

to

as

octaves,

be

avoided

progressions

mportance

No,

m

voices,

70

consequ

$.

g

i

-s-

ko.

6

not

I

if the

remaining

t".

re

6

^^F=t

out

carried

succession

Covered

6

6

^pfEl^^B^^

of chords

series be

6

6

6

-G-

^

The

6

6

6

is not

in the in such

2d

and

It

cases.

the voices

he attached,

3d

which in

I

f

-fi?-=^

of to

6

between

measures can are

opposmoN

be

deduced

contrary to

Tenor from

to rule, the

and

BasS|

this, that

that

consequence

to

especial op

to

te

that

Remark.

by

sunderstood

ese

things,

and

be

been

to

avoid

sul Drdi-

not

t

decision

m

was

that

error,

h

easily

principle

fuUy

judgment

a

can

above

the

of

possible

a

by

matured

rienc expe-

the

A

of

levation

owever,

a

will

they

the

chords

of

interval

the

70,

No.

of

find

their

the

and

sixth the

a

set

of

later

chromatic

; instead

{e.g,, 6Jt or

in

a

connection

6tJ,

of

which,

5tl.) the

with

was

in the

example,

0), if

:

necessary

figure

fourth

and

(for 6

the

in minor.

often

sixth

is used,

through

the

explanation

the

sig^

have

them

of

very

occurring

becomes

after

Soipe

Ed.]

figure

stroke

half-step

a

t| is often

Jt or

sign

in general

called

are

"

chromatic

through

stroke

8, 9, 10,

Signaturen.

as

Notation.

Thorough-Bass

the

Thorough-Bass

the

works

explained,

48.

xercises

hich

German

of

page

igures

to

only

of

of

signs

and

notation

iven,

down

laying

order

down

laid

principle

the

belongs

Signs

the

[in

atures^

he

he

will always

possihle,

practice.

numhers

lready

the

in

here,

added instance,

last

that

however,

beginner;

Concerning

The

as

perfect

ignored,

be

to

the

in the

as

whole.

it may

and

evaded,

the

of

It is not

"

he

it must

etails, although

Other chords

concern.

ormation

Close

tlie

of

through

Chord

tlie

of

Sixth

the

and

Fourth.

In

the

Exercises

he

formation

uch

more

and

ixth

of

the

close

definite fourth

decidedly

of

the

70

No.

of

see,

previously

We

shape. the

we

coniing

inversion

the

mentioned,

discover,

triad,

tonic

through

namely,

before

extended that

the

the

of

put

and the

dominant

chord

triad, into of

a

the

cates triad, indi-

close.

i:

pzzzg;=g: 6 4

79.

Iff

1

-fflL

O:

The

chord

f the fourth

"0.

of or

the

sixth

second

and

degree.

I

fourth

is frequently

preceded

by

the

triad

MANUAL

64 decidedly

As

close, having

justso

weak

proper

use

now

OF

the

as

HARMONY.

fourth indicates ^c of the sixth and influence in the modulation into foreign keys,

chord

also a decided is the effect of its entrance

is

subjectto

certain

under

conditions,

The from

harmonies

of the seventh

the addition from

seventh

of

the

only

ievenths

excellent

result forms a [third]

triad, which

of triads, but also the harmonies of the seventh.

Properties

General

in connection

hand,

closer and

They

the triads.

upon

kinds

various

of the

chords of the seventh triads, but indicate definitely

the other

founded

to the fifth of the

The

only

are

( Vierklange).

p=f =i^^i^S

"

will afford manifold

The

Seventh

the fundamentaL

81.

Not

third

a

that it

so

IT. the

of

relations,

will be treated of later

which

CHAPTER Harmonies

other

more

with

they

a

triads,

the relations

connection

of chords

to

of the chords

and

for

of the

finished.

of this quality furnish

means

o/

alone, but

never

or

complete

afford anything

the most

as

they

that

so

kinds

Seventh.

of the

independent

progression,

will

the

so

not

render intimate, and by for

means

are

Chords

yarioos

each

other

in particular

leading

the

On

of the

voices. The

The

Dominant

chord

of the

Chord

seventh

of the

Seventh

which

is most

in

Major

important,

and

and

occurs

Minor,

ofteneiE

is the DOMINANT

CHORD

SEVENTH.

THE

OF

chord of the seventh. is formed dominant the fifth degree, and triad, upon alike in major and minor, that is, from the major triad and mimof

also called primary It rests, like the xactly

eventh*

dz 82. C:

V

V", 7

o:

V

V^

7

In

n

fundamental

the

our

by

indicated

notation,

of

method

by

it is marked

position

Y

7

a

Bass

the

oyer

note,

and

7 7

t

^

i^

83

.

V.

0:

The

in which

relation

riad,

has

hown

before,

hrough

become

the

The

the

following

dominant

the

of

close

of

will the

of

chords

to

stands formation

the

through

chord

combination

dominant

the

of

The

33).

(see page

use

triad

principally

clear

V.

G:

come

out

of

the

tonio

the

close

more

still

clearl;'

seventh.

formation

the

show

will

of

the

:

lose

84.

Rkicabk.

"

; in both

t incomplete from

ppear

The

^It 18 to be

-what

striving

esulting

union

the

ollows

in the

the

a

after

triad,

a

with

of

point

OF

hord

of

We

manner

THE

CHORD

chord seventh,

he

fundamental,

he

Bass,

regression

which

of

the

is wanting.

the

of

will

first

of

the the

the

as

OF

in

chord

The

of the eeyentb

of this will

reason

closing

essential

the

the

seventh

No.

the

84,

seventh in

or

a

the

and

(Cadence). the

with

way,

similar

of

progression

important

tonic

it is

triad,

ealled

intervals

the

of

the

of

the

its relation

to

progression

ol

observations. as

cadence

a

interval definite

of

the

regular

will appear

the

chord,

resolution

is regarded

impossible

is, by

If

progression.

fundamental,

:

h.

a.

JQ-

85.

chords,

especially.

seventh

contains

these

SEVENTH,

THE

of

the

furnish

to

in

CADENCE.

voices,

confined

inherent

chord

exhibited

seventh

observe

ominant The

the

follo-wiDg

is called

dominant

the

leading

the

triad

rest,

CLOSING

For

triad

follows.

of

union

the

that

fifth of

the

cases

RESOLUTION

If

here,

remarked

m

as

the

given,

an

upward

MANUAL

66 if, as

ftyen

at

6^

a

^ fe

8^-

or

the progression

downward

third The tone

step of

ffth

and

third

of

-gf

will follow a

a

progressioB

s

,^.2^Sii

-""

of ihe fundamental by an fifth is already determined, of the seventh

of the chord

of

":^

VS:

g=;

"

the dominant

said before concerning

has been

as

a

its downward

; whereas

:

scale ; its natural

the

HARMONY.

third voice is added

affords full satisfaction

Since

OF

upward

step of

fourth

a

the progression to be

remains

of the

considered.

the leading chord of the seventh is always direction is therefore determined by what the leading tone, (page 39) ; its progression

half-step upwards,

and

b will, therefore, not

appear

so

natural

:

5.

|=-

I

JQ

^"-

'jGL

i

W. :a:

"1

87, 6, the third, is given

In the Example

the unpleasantness

becomes

^^m

of its progression

quite in

tolerable if the third is found

a

upper

This

perceptible.

middle

render

voice, which

voice,

e,

leadinj

g.

b.

a.

I

to the

^^1

-"-

8",

i

^

This applied a"

downward under

If it

leading

the following does not

of the

third

(leadingtone)is

hut in ^

seldom

i 89.

J: 15?:

jSl

^:

therefore

:

conditions

lie in the upper

-g-

a

middle

pracUcabU,

voice^

e,

g.

to

be

b"

the Baas

If

contrary

I

e.

motion,

".

a.

g.

not:

If:

90.

^^^^^E The

reason

of

fifths in the The

leading

or the

ay

most

exist

we

Example

to

these

condense

the

of

Example

as

of

the

88

b

is free.

seventh

downwards

leading

the

by

the

for

voices,

covered

While, reasons

seventh,

it to

allowing

D

the

where

shows,

the

observe

Bass.

and the

of

chord

degree

a

Alto

we

gres pro-

the

of

pra So-

E.

the

chord

find

we

remarks,

the

of

following

the

seventh,

for the

and

for

rules

closing

the

regular

i

cadence

:

The

seventh

The

fundamental

ards

the

of

if

evident,

hf between

it is crowded

with

becomes

rule

fifth

the

upwards,

resolution

a

progresses

a

makes

skip

downwards^

degree

diatonic

of

fourth

a

while or

upwards

fifth

a

dovm

;

Just

the

so

The

fifth

Remark. was

8).

Both

a

he led by

can

said

is led

third

By

"

hat

progression

of the

fundamental

found

are

degree

degrees,

the

intervals

fifth in the

dominant

in the

seventh

tJie seventh,

diminished

the

and again

towards

third

the

while

j

downward.

or

upward

the

of

toward

upwards

of

chord

are

we

reminded

dimmished

the

triad,

o

(page

seventh.

Application.

Except

in the

s, in the

o

last

part,

is lead

If

second

of

degree

a

the

connected

articular

us,

he

the

ominant

upper

voice,

thesis), since

in

(See

page

Besides an

hirdy

while

the

employed

in

in

position

only

place,

the dominant

closes,

seldom

a

of the

chord

thus

the usage

whereby

seventh known

far

feeling

the

of

produced.

whereby seventh

the

complete

in

cases

the

close

falls upon

close

the

where

the

chord

or,

if the

incomplete,

becomes

the

of

seventh

accented

part

tonic

(cadence) the

of

the

triad

measure

must

fal

33).

this, the

interval.

the

particularly

of the

chord

here.

take

place

of

piece,

is not

close

takes

in

a

of

if it does

and,

This

formation

middle

complete

ies

f

in

progresses

This

chord

often

interval,

omission

of the

incomplete

appears however,

can

fundamental

only or

through

be

the

the

the

omission

fifth, seldom

seventh,

would

the

entirely

6.

e*

d,

rardy:

g;

"

,

"

fi^-

"

"^^^E^4^^wm^m

""

r

-""

91.

m

In

he

hf

a,

df

is allowed

which

ollowing

hich

We

fifth is

the

doubled

fundamental

one

chord,

was

not

add

the

2s:

^

remain

in the

case

following

Cf

the

stationary, tonic

closest

the

by

means

of

with

(See

the

84).

in the

interval

an

of

the

complete,

again

No.

oas6

each

connection

appear

omission

in

and

affords,

resolution.

upon

i

third,

to

triad

previous

remark

the

doubling

which

the

allows

and the

instead,

to

in

omitted,

I

:

hord

Through

mitted

the leading

of

will, in

interval

the voices cases

most

a

chord

he the

can

fifth of

^

incomplete

appear

the

fundamental

; the

chord.

Exerdsesm

1.

6

7

:?c

ifE^

a.

6 4

6

i

t

-t=?i 2.

6

!36^

6

6

7 ?"

"

-"

-"-

g--^^

""

""-

-^"

8.

6

i9'

-4SIZ.

-g

Hi

iiS^ 7

^3

6 47

^JL

"s-

-/a-.

t

-^

6 43

6

6

7

^

"

5.

6 4

6

6

is:.

(fi-

-"

1=^

:t

F=t

6

6 4

6 4

6

6

-"-

7

t

q=::f

"^E

^^

jSL

t

T

O

I

-*""

67 6.

^-^

6

6

jy

""-

^

"""

t=l:

These

exercises

require

V=t

no

farther

4"

li

^

explanation.

It

has

been

already

to

Bass

inversions

The

Like

the

that

The

triad,

the

Bass

the

Chord

the

arises,

general, have

them,

al

refer

55.)

than

other Bass

if the

be

can

Seventh*

the

of

seventh

interval

an

receives

to

opposite

in

or

V.

the

of

it,

under

(See page

tone.

of

chord

first inversion

in

altered the

a

man*

fundamentaL

the

receives

such

third

the

mental funda-

Bass,

and

of

;

The

if the

second^

The

if the

thirds

In

close

A

comparison

hose

of

original the

position

the

fifth of

of

triad,

fundamental

the

seventh

inversions

of

their

plainly

to

given

lower

the

the

voice.

thus

themselves

present

inversions

these

shows

is

lies in the

chord

chord

of

the

position

analogous

:

with

seventh|

:

6 4

i 6

6

94.

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Kt)

J:

;="-] -"-

1

G.

These

heir

f

figures

without

the

found

sharp

CHAPTER

r,

f

occur

from

third

the

the

that

which

signs

hromatic

nce

7, also

by

indicated

derived

intervals

'^he

The the The

designation

from

the

position

of

:

first inversion ; the

second

fourth third

their

receive

chords

:

and

the

is called

chord

of

the

the

chord

sixth,

of the fourth,

sixth and

and

third,

fifth. or

briefly, chord

third. chord

of

the sixth,

fourths,and

second,

or

briefly,

chord

the second. Their

designation

in the

Thorough-Bass

notation

is to be

seen

above,

in

It needs

efore

in

distributed

usly

that

and

the

among

triad,

the

of

is essential,

voice

here,

remembered

inversions

the

lowest

he

be

to

only

the

only

the

e,

2?:

-o-

""-

of

Bass

the

intervals

just

ns,

or

be

can

ai

o

vari

g.

* ^:

inyersi.

position

remaining

voices,

upper

in these

that

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If, in its

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the

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cue

lso

fundamental

the

of

in

*xi"t

to

chords

the

cither

seventh,

the

conditioned

seventh,

derived

the

of

the

and

the

tendency

case

derived

these

is founded

chord.

dissonance,

the

the

undamental

(resolution)of

progression

regular

same

(resolution), will

progression in which

chords,

again,

appear

progression

the

two

become

or

tones,

the

seconds

by

version. or:

^^t=^

""

:s:

Progression

Since

in the

ne

he

he

the

of

original

progression

of

the

place

thus

of

sixth was

which

97

resolution

the

seventh

of

chord

im^

the

Cliord

of itself

shows

fifth,

and

discussed

as

"^"^

^

-g

g)-

of

the

sixth

ii^^=[f

Sixth

likewise,

Fifth.

and

over

dissonance^

above,

:

9H.

tJie

.

chord

K

-Qg

Iffi^

against

as

the

diminished

Bass

Jlfth

(page 38),

I and

fifth

will

naturally

taktf

The

here, since

the

fifth.

the

G

upper

is, however,

This

this connection

of

the

of

fundamental,

the

of

progression

is sustained

voice

the

marking

does

given,

that

not

it forms

below

G7

voice,

cannot

foundation

the

C, of

appeal

itself into

transforms

and

for

apparent,

only

harmony,

of

before

as

Example

98

proves. That

however,

the

ut

progression

in

in mediation

ore

foundation, Remark.

eading be

of

belongs

^Deviating

"

the

^Progression

of

We

here,

ifth

find

again

its inversion,

or

99.

The

of the

are

give,

not

is to

which

othe7

be

found

laying

in

than

these

cases,

hereby

such

excluded,

their

as

a

only

freer there

Third.

and

its inversion,

and

fourth

the

diminished'

:

ES^

g

^m3/-

Fourth,

Sixth,

the

seventh

augmented

g--

follows

this chord

of

resolution

carry

chords.

beside

the

in

fandamental

would

Chord

the

harmonies,

the

the

of

the

voices,

notes

lies, beside

cases,

such

these

in

Bass.

relations

of

in

of

of

the

progressions

connection

middle

character

to

in certain

voices

inner

an

the

connection

and

which

a

or

fundamental

the

of

immediately

easons,

ust

Soprano,

the

thus

:

^"^^

91=^^1^^^^^

100

0

Giy

The

Bass,

the

original

fifth,

Progression

This

The

the

and

eventh

econd

has

chord

below ^

the

and

of

Chord

the

that

fourth

this

is

chord 2

as

of

given

dissonant

original

in

occur

only

the

ways.

Second*

the

of

the

fifths can

0

in both

progress

peculiarity,

augmented

progression

can

of

diminished

Oi^

their

intervals, inversions,

the m

below. follows

6

:

2

6

101 ^

a G^

C

"^

G^

C

7

Thus

he

the

chord

We

can

of

resolution

of

the

the. chord

of

the second

is effected

here

thiougli

sixth.

perceive

in

these

resolutions,

that

they

are

all based

upon

the

MANUAL

62

as

G7

mental

o

These

C

a

so

adences^

sort

these

The

those

as

the

everywhere

same

marking

are

above,

by

the

Progression

of

Sixth

the

of

the

form

themselves

mentioned

designated

Chord

Chord

HARMONY.

the

of

fanda*

I.

Natural

of the inant

a.

V7

or

find

we

res^^lutions will, therefore,

complete

View

for

cadence^

called

or

name,

of aU

Seventh

in

and

as

onlj

cadences^

those

imperfect

Inversions

are

called

not

perfec

cadences.

of

the

Dom*

positions,

various

Fifth.

and

02.

i

i b.

The

Chord

of

the

Sixth,

Fourth,

and

Third.

or:

CT

^az^tr^

as

I

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4

4

"s-

--^:g: 6

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4 3

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4 3

^m

o

Chord

The

C"

in

Exercises

the

6 6

Chords,

these

of

6 47

326

66

t

i"

103.

Use

Second.

the

of

rsi

:5=^

^

i

2.

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Observation.

econd,

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6

fourth,

4

3f

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67 4S

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8 7 in the

Examples,

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to

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last

the

seventh

measure

pf

should

tlj not

CHAPTER

Secondary

While

in the

eeded

enders

riad

same

6

tones

(as tonic

ssential

rom

chord

the

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ase

the

of

amental

indeed

to

be

one

primary

which

i

chords

alone to

which

of

in

but

already the

tonio

the

no

relation

of

common

called

the

centre,

be

of

relation

formed

which

decided

so

means

or

primary can

seventh

the

minor,

their

seventh

3).

also the

the

of

to

in the

as

called THE

OF

by the

SEVENTH.

a

of

addition

seventh

of

the

fun-

:

In

Major:

In

IV

ni"y

Ttp*

6.

page

of

by

CHORDS

simply

22,

seventh,

and

are

triads),to

above,

the

chord

triad, renders

dominant

(See

major They

formed,

dominant

the

of

harmonies

seventh,

chord.

triads

the

of

t

requisite

point),there

central

progression

the

of

undeniable,

a.

Minor

"VTy

T

Til" Tll^iy

w

:

NB.

NB.

N Ij

"We

here

come

other

ith

e

to

as

content

subdominant

of

chord

triads

primary

are

triad

only

seyenth

the

clear.

SECONDARY

They

the

of

entirely

the

of

is

are

chords

seventh,

the

natural

(as fundamentals

remaining

efinite

the

of

the

and

dominant

this

tonic

seventh,

fact, that

triad),already

Beside

the

chords

fundamental

F,

and

to

primary

key.

manifest

time

three

Seventh.

the

of

triads,

the

df

the

^The

"

s at the

the

of

certain,

represents

Remark.

wo

key

the

of

chord

the

Harmonies

(the relation

case

dominant

he

case

key,

the

establish

,

the

in

VI.

was

chords,

already

decided

to

and

Among

these

and

that

as

be

harsh, their

above,

remarked

will, therefore, variety

very

sound

in

which,

relation

dominant

the

rare,

coloring

to

chords

for

and,

more

part

especial

secondary

of

VI

IViy

formations,

chord

clear

Hl'-y

l^rj

of

the

in

the

of the

harmonic

the

the less

because, key

fundamental

a

not

seventh,

oonnectioB

foreign,

reason,

chord

but

without

part,

this to

TnO|y

jy

is not

Their

seventh.

adapted

for impar

succession.

following

kinds

may

"n

triads

Major

v)ith

major

in

Major:

1

at

|^*

^

seventh,

0:

NB.

the

f

triads

Major

minor

with

JAfkM*:

seventh

VI-

IV

dominant

form

always

chords

seventh. in

!)"

Minor

triad

vnth

-j-^ "

:

Minor

triads

seventh.

in

Major:

triads

iti^

i"

M(dor:

Minor

m

minor

with

a:

Vliy

niiy

niy

""

Diminished

Minor:

g C:

d*

harmony.

I

minor

with

fundamental

as

x"

in

C,

used

not

w-

seventh,

major

Minor:

seventh.

;B TU0|

nOi

a:

in

Diminished

The

f"

from

ery

before

reasons

seldom

Remabk.

pplication

(which

or

to

elation This

eventh,

oves

If

that

than

other

Yiz,

by

the

concerns

accordingly

or

the

sure,

not

useless,

i

triad,

augmented

as

with

the case

or

of

to

secondary

of

toward

downward

progression

dissonance

major,

Major* ished, dimin-

minor,

always

in it

progression.

chords

the

the

a

X.

in

; it will

only) augmented

in

found

be

may

in Chapter

Seventh

tJie

of

of

dominant

the

seventh,

of the

chord

fundamental,

if the

latter

upward.

the

principal

ound, 3:

106.

be

the

of

foundation,

second,

second

downwards

fourths,

another

the

J

fifths

case

Chorits

is,

already

degree

one

is, to

minor,

the

with

press

progression

natural

again,

Secondary

fundamental

the

in

its inversion,

or

seventh

seventh.

ambiguous.

the

of

in

.*

seventh.

m"ajor

degree

developed

find this chord

^We

"

The

and

used,

with

third

the

upon

diminished

with

triad

augmented

it is found

ut

triad

il/in*f

*

intervals

of

the

chord

i

OF

MANUAL

66 for led

the

intervals,

remaining degree

one

rule is necessary

new

no

third

; the

ffth

of the

the progression

while

upward^

HARMONY.

be

can

be

will

in either

direction. fit.

i

,^j^U^^^^^^^\l

107.

m

I C:

I

-"-

IV

ni

deviation

REUARE.^The

107 bf is occasioned in the regular atcennon

by

firom this

the

f^^i

-^

iSZ

that

circumstance,

of the

third

a

^T"

in the progreBeion

rule

the

step,

whole

octave,

covered

e,

of the

third in Example

which

appeal

would

g.^

^zp"=a

108.

I^^B

^=^ was

avoided

See

thereby. however,

Whether,

succeeding

Example

in Example

as

following

the

or

chord,

85,

page

107

covered

32.

the

c^

leading

tone

should

in th*

be doubled

fifths be preferred,

:e

p 1"0.

m will depend

diBular

Natural

upon

circumstances

1

I which

ean

only be

m\

judged

of in the

application

to p"r

cases.

(Oadeneing)

Progression

Seventh a*

of

the

first

Secondary

of

the

in

Major.

~".

the

I

not:

3;

110.

^t=SL

of

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by

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false, the

In

the

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others,

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has

found

takes

and

harmonic

occurring

and

this

as

cases,

only

in the

ones

similar be

often

not,**

(inasmuch

in many

faults,)are, cases

as

such

judged

according

53).

in furnishing

edv4:ation

in

and

a

for all

rules

positive

inadmissible

and

Progression the

led place,

No. to as

110, the

of

this

can

respect,

really

musically

of the

cases

only

be

tin dis ear.

educated

of that

third

with

the

Chord

the

of

the

Seventh

Degree.

seventh

collection

under

been

(pages

above, Bass,

the

of

must

structure,

52

added

such

while

ones.

possible

frequently

the

i

neither

later.

especial

major,

pointy

harmonic

admissible

of complete

the

stand

are

^

are

these

produces

seventh

only

in

only

leading

the

the

as

also, which to

succeeded

yet

of

eventh

he

expressed,

this follows

oncerning

part,

refer

pure

so-called

has

theory

and

remarks

theoretical

a

before

true

most

lies

the

of

exhibited

progressions

the

voice-progressions,

from

principle

Since

octaves.

necessary

even

such

All

for the

understood

ractice,

nor

been

they

all chords

of

progressions have

forming

of

which,

good"

found

above

exhaustive,

difficulty

The

overed

o

degree.

seventh

the

progressions

of the degree^ other

chords

all

degree^

seventh that

of

is, the of

the

chords

of

analogous

progression seventh,

the

with of

the

through

ore

armony

oftener,

to

upon

a

most

(see page

triads

6.

Ck

to

the

1^

3@ Wz

the

tonic

triad.

I

i ."_.

Sr

11.

i

m

11

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The

Example

the

tonic

the

to

vnOi

viio

above

riad

It is likewise

otherwise,

by

altered

addition

if the

that,

remarked,

triad

fifths would

perfect

the

the

of

diminished

the

of

relation

I

but

seventh,

decided.

more

of the following

third

the

osition,

be

to

"II*

the

that

plainly,

is not

triad

.(2.

VIlO

shows

becomes

contrary,

ecause

seventh

6.

a.

1

the

of

progression

here

which

to

leading

a

That

-

50), viz., that

and

in

used

(sequence).

the diminished

38

only

part,

formula

certain

which

is based,

added,

is, for the

and

according

curs

8

one,

unusual

chord be

must

112

No.

the

(seeNo.

doubled,

(See

;

arise

in

appears

above

Ill

6)

a),

6.

a.

I 1=1f=^^^^E^

S

112.

m

ii

a

ound,

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and

in

lies

positions,

as

used,

in spite

which,

is peculiar

eventh

ther

be

must

skip

to

this

the

at

of

chord, voice

upper

b^

a

i

r

leading

that

of

octave,

covered only

that a

produces

impracticable,

if not

I

the

i

-"-

-^

Tenor

the is

very

position

effective.

it in which

of

satisfactory

still appear

is often

which

effect,

the

the

while

less clear.

"^

1

"

"OP

-"-

6 4

13. 2

m

Ml

.GL

IIexark.

"

rogression,

hord

hich,

of

the

though

the

^Whether the

charaoter

seventh,

similar

with to

reason

of

the

of

added that

of

ninth

lies,

ninth, the

is, that

this

(as

is the

seventh,

in

sevtenth

theorists

some

hasis is

the

of

this

still much

with

assert,

that

its above the

its

used

dominan

chord

with

more

comprehensive,

resolution and

Treatment

Freer

The

Various

connections

likewise,

third

o,

Where

still other

make

an

becomes

ften

Sevenths

The^;^^

goes

degree

This

all took

do

progressions by

steps,

means

sometimes

makes

in reference

freer,

e.

third

the

leading

the

which

ft.

|ii s"^

downwards,

principally

place

in thi

nsed

and

and

interfere,

not

a,

upwards

of

octaves.

of

and

Chord

the

been

already

upwards,

fifths and

independent

more

have

a

in

Fifth

and

intervals

goes

of, covered

faulty

these

the

chords.

sometimes

in avoidance

and

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ree

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M

119

3

7

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2.

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6

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POSITION,

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1.

6

6 5

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6 4

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pplication

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Chords

chords

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133.

to

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as

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the

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ii

hardly

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of

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6

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as

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of

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nd

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a

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progression

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the

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second

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used.

35.

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.

136.

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eading

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than

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upon

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68), is

(see page

tone^

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as

SEVENTH.

manner

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THE

OF

above

in

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necessarily

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progressions

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CHORD

THE

already

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ths

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sion progres-

natural

:

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I

139 -O*"'

As

led

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so

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to,

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chord

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with

(No.

because

chords

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130

the

seventh

leading

the

must

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130.

m

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positions

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whereby

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the

^The

arose

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at

position

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of ninth

chords

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c

progression

major,

to

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(major of

the

the

gives

to

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chord,

tonic,

minor)

seventh

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third

as

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degree.

well

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freedom.

of the chord the

occasioned

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dominant or

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older

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of the teachers

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fundamental

seventii of

mony har-

conceived omitted

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For

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The

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of

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of

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observe

seventh,

:

the

as

seventh^

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all, needs

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mildest

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72).

page

Exercises. 7 1.

6

6

%

9

2:".r

31.

6

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7 2.

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The

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7,

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sure,

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chords

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the

fundamental

o

position

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number

great

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upon

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122

tone

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perfectly could

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exercise

progression

regular

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in

stationary,

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131,

and

stationary, in

seen

of the

measure

:

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of Nos.

fourth

them

of

of

fifth, as

exercise

contained The

explanation

these

fourth

In

however, D7.

the

laid

course,

of

which,

mechanically

them

of

many

use

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chapter,

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structure,

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us

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only

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hords:

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adencing

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chord

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mental funda-

the

two

because

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easure

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undamental

In

the

A7-D

takes

Exercise

minor

is

t will not

appear

place

unnatural

131

Inversions

Through

erived

inversions

the

ominant

be assumed,

ourth

third,

and

The

variousness

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lthough

econd,

in the

nsue

same

into has

an

There

he

is

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as

open

ccurring

Somewhat Progression

no

of

new

-"

rule

that

before

was

before

same

with

the

the

sixthy

of

"

the the

fundamental

mony har-

inversions.

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through

inversion,

augmented,

its

been

still explained

y

into

a

minor

will

progression

above.

2 "g

"

"

g

-"

"G

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,,

IV

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seventh.

equires,

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of

4 3

r

the

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fifth, of

and

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6 5 "

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of

sixth

treatment

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changes,

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the

of

in

as

introduction

Seventh.

the

themselves

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fifth and

third,

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with

thira

the

of

second.

diminished

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and

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seventh

of

chords

already

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alteration

major

secondary

have

the

of no

occasions

of

and

that

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Secondary

the

viz.,

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of

VII.

of the

which

arise,

chords

th

harsh.

and

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of

of

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Bass.

chord

CHAPTER

The

the

where

stationary the

it may

and,

131,

a

with

of No.

used,

No.

of

exercise

second

in

egree

third

for the

the

of

in

little caution

all these

of

degree

seventh a

remarked,

progression

on

major account

chords

and of

^

minor

the

easily

fifths. more

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concerning

of

the

Chord

of

treatment

the

Seventh

follow

may

of

the

here.

Seventh

Degree

in

Major. 6 5

6

4 3

not:

6

2

6 4

f. _

All

these

inversions

of

the

chord

may

be

used,

only

the

last, the

chord

of the

chord

s

passing

We

by

sixth

must

not

allow

crowded

ourselves

to

It

is only

omes

to

lie

following

important,

in

occur

only

the

of

be

cases,

rare

was

before,

fundamental

(see

fifth, and

and

to

are

chords

mentioned

the

sixth

in respect

misled

these

which

as

below

or

above

chords

in

position

133.

the

oonld

at

and

most

chord.

the

of

fourth

and

of

their

in

exhibited the

whether

positions

third

and

No

seventh

69), and

page

fourth

the

usefulness

of

the

sort,

134.

more

appear The

chord

the

the diminished

of

foregoing

the

to

similar

because

satisfying,

e.

lies

seventh

a

requires

seventh

fundamental.

the

above

manner

of

progression

g.

35

That

least

hat

the

reatment,

f

the

sixth

concerning

sixth

fourth,

which

of

a

the

chord

unsatisfying which

arise

through

into a

requires follows

resolution

third,

and

will be

second,

resolution

always

is necessary

fourth

the

of

what

chord,

of

the

chord

fifths, which

fifth, and

and

by

the

in this

the

careful

later. of

the

chords

:

manner

136.

to

e

be

regarded

oncerning

the

6, 17, and

18.

With

espects

f

is shown

use,

and

successions

inversion,

the third

for

adapted

of

hord

That

likewise

here

the

this the

inor

third,

faulty,

degree

pliant

in

chord,

already of

the

mentioned

position

such

material

major

; the

seventh

of

impart

sound much

of

above,

fifths, compare

no

similarity

will always

been

this sort

produces

seventh

the

has

of

succession

exceedingly

seventh

undamental,

as

the

mildness

of

also page

lie

as

abov$

augmented to

the

Nos.

29,

fundamental

the

difference, can

(page 76)

chord

with or

the

chord

below

the

to

the

second and

as

ca

ase

tlu

80

OF

MANUAL

HARMONY.

Exercises*

1.

2.

6 5

6 5

6

i

r-g-

4 3

6 6

3

8.

6 6

2

Wl

iS$:

6

2

6

6

73

s:

^

7

l^^isr.

6 5

6

6

jSl

6 5

-jsr.

X -flL

7

6

2

4

6 5

6

6

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2

:^

igB3

2

^S

6 6

6

1^=t 4 3

t

I

-"-

"g

g

7

^^^T=F

4.

6 5

6

2s:

g^

1S7 """"

6

:1=i

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5.

:$

6 6

6

7

7

T

iit^Eg 6.

6

2

6

2

^=^

3

6

2

2

^

12^^

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6 4

6

^r=^:zs

2

I

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6 6

6

7

7

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f

6 5

7.

-"-

I

6

6

jar

7

7

3

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6 5

6

3

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f

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F=f

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f 8.

3

6

2

7

6

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f

6 5

6

s; -^-

9.

3

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7

B

6

6 6

jt

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7

7

6

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6

7

4$

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4

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6

2

E

6

1

jar

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t

"iB-i

g

SI

VIII.

CHAPTER

he

Chords

tone-degrees

varlotis

The

known

egree

that

rule,

chords

previously

else which,

under

hord

connections,

is

sort,

rogression

ress

the

of Decep^

used.

it

and

any

of

satisfying

thing every-

second,

If

is

this

of

downward

the

be

would

result

full application.

have

however,

either

the

that without

shown,

will

can

as

variousness

great

fundamental.

the

of

fundamental,

seventh; e,

upwards^

rule

the

connections

authority

inversion,

its

of

intelligible

above

in the

alterations.

hitherto

no

in

one

progress

resolution,

little positive and

or

seventh

the

completely,

as

necessary

cases

the

of

the

of

the

the

also

to

in

sure,

conditions,

progression

seventh

progression

irection

the

the

all

the

then

roduced, The

in of

other

of

upon

as

be

it has

but

subject

movement

depends

uch

far

thus

those

must,

seventh

shown,

hing

the

the

verifies itself, to

dovmwards^

In

than

otiier

Chorda

with

connection

Cadences.

tive

f

in

Seventh

the

of

can

remain

set

entirely

or

stationary

thi"

aside even

pro-

g,

9f

i3S.

i^:E^S^=j5=^;^g=3 This

ith

leads

chords

inds

to

us

the

possibility

tone-degrees,

of

chord-connections

of

n attempts

formations

new

at

follow

now

kind,

chord

of

that

the

to

of

in order

proceed

the

A

used.

remarks,

with

the

of

chords

hitherto

those

than

other

the

connecting

of

seventh

few to

known

be

to

according

able,

critical

rinciples.

We

begin

It has

been in

eventh

the

with

the

hitherto

manner

chord

of

If

chord

other

he

t

seventh,

before,

mentioned

ominant any

dominant

the

the

seventh than

natural

the

is

used

inclination

seventh.

called

the

of

resolution

cadence,

chords

and

that

of

the

of

the

cadence.

closing tonic

the

triad to

a

follows

the

is either

close

dominant

chord

delayed

or

of

entirely

aside.

The

e:!Cpectation

H"intment,

and

the

of

for this

natural

reason

these

succession connections

ominant

arise thus

cadences

chord

of

the

seventh

of

chords

are

a

disap-

called

CADENCES.

DECEPTIVE

Deceptive

hereby

experiences

everywhere,

does

not

where

result

the

in the

progression

tonio

triad, but

of

the

leadf

Some 1.

The

grees

connection

Connection In

a

with

the

of

progression

with

seventh the

of

seventh

trictds

by

de

degree.

the sixth

with

In

Major.

Minor. ^

li^^i^P^^^^^

This

^

V

V"

C:

effect

chord

77

this

of

(deceptivecadence)

of

the

seventh,

Jn

is not

progression and

occurs

more

%

the

with

/"

"

4 3 36

-"

o

Minor,

6 4

24

inversions

:

rare

Major.

^

frequently.

very

decided

so

is therefore

VI

V.

a:

VI

chord-connection

The

the

tonic,

chord

downwards,

a*

"""""

explained.

dominant

the

the

of

be

will next

of

that

than

other

them

of

varieties

6 56

^^ 0:

b"

V.y

Connection

the

with

better

""i^ Remabk.

ollows

^The

"

; they

This

are

g:^^^;5

easily

the

"

;[E

g

iDversions

of

the

chord

are

here

omitted

and

in what

of

lation modu-

made.

becomes

progression

r

m

with

attempts

6

6

-""

:t V.

:

position

7

f:

VI

degree.

third

6

0:

Vir

a:

VI

more

decided

under

the

application

:

7

6

7_

6

^6

143.

Viy

0:

The

inor,

connection

but

farther

this

a:V

the

with as

dissonant

triad chord

of

the

third

(through the

degree

is

also

fifth)will

augmented

necessary.

succession

6

7

t

143.

-

-"5-

a:

V.

IIF

%

i; VI

1^

.".

f-

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possible

^1

make

in

With

degree.

the second

impracUtxtbU

not:

in

Minor,

6

^=iEeJ^^I

P

144.

-^ Vi

C:

||"

With

the

/"

no

degree.

fourth

Major

V^

a:

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:

6

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:

6

6

6

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f

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IV

connection

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few

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ible.

of

of

chord

beside

degrees

here

follow

them

Degree

6^

dominant

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other

of

seventh

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before

those

:

with is

used,

harmonies

likewise

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or:

pos*

Sd

Degree,

6 5

6 5

2

seventh

:

8(2 Degree

:

the

of

IT

TT. "

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1

C:

we

Viy

itself

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a"

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into e,

greatly, a

Viy

viiy

other

keys,

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progression better

afc=

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possibility

of

III'Y

new

VI

oonneotiivu

of

the seventh.

:

P^^^^g^^f VlyD^Vr

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modulate

xtends

z::^=5=:z:g=H:

"

-d 77

If

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The

C:

seventh

remaining

Viy

a:

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V"y

A:ViyO:TlI""

stationary.

14".

C:

8.

The

V^EbtV^

connection

C:VyB|7:V7

of

the chords

a;

Vi^

through

an

C:

Viy

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upward

progression

cventh. This

case

can

occur

with

the

common

cadence

(V

"

I).

ofthi

not:

^^^^^^^^^^^

49. 6

7

7

Ih^ Through

":

the

step

third,

a

of

becomes

he seventh

6

^ 35:

impossible,

Bass,

the

of

since

I

the

6

IB

^-"^

downward

the

octave

covered

progression

occurring

o

thereby

i

-"-

150.

m

s in any

In

the

case

1

faulty. voices

remaining

this

progression

of

the

fundamental

cannot

]m

ntroduced.

-9-

I

SJ^^9-

151. .O-".

Si All

these

b"

The

5=g"

s:

Examples

are

fundamental

^^It

faulty.

stationary:

remaining not:

"^^="2.

152.

E^^Hp^^H The

rgan

fundamental

point).

he following

serves

It must

progression

153.

here

as

however would

so-called lie at

be

faulty

stationary distance

a

:

firom

voice, the

(See later Beventhy

and

Through

""

and

alteration

chromatic

f

f

6 5

3

"^ jg

"

154

"

"^

0:

Ti"

modulation.

with

4 3

f

"

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Ti

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6 6

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P

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d*

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contrary

motion

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the Bass

of

into

modulation

with

other

eys.

p^l

65.

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V"y

C:

0:

7r

d:

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V"y

a:

Bjj: vnOiy

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0:

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(See

The

f

foregoing

of

of

object

harmonic

of

manifoldness

chord-connections

The

combinations.

possible

he

catalogue

them

its

and

progression

to

was

No.

above.

only

gives

V.y

call

an

149.)

indication

to

attention

capability

for

con*

truction.

Concerning

n

decide

only

nly

a

with

like,

the

of can

; in short,

lead

to to

original,

appear

ntention

would

such

not

new

of

of

of harmony

in

the a

forms

instances

few

7

6

so

7

7

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56.

X

-

u

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3t

2.

!^^

6

f^

4 3

6 4

:x::q: -^-^

6 6

6 4

2

6

or

in any

Eocercises.

8

peculiarly

apply

apparent.

6 6

possible their

succession,

motive ; to

strange

and

6

becomes

their

music,

application

probably

use

right

situation.

piece

combinations

would

be

a

the

produce

their

whole

criticism

chord-combinations,

introduction,

their

of

through

similar

since

their

character

speculation,

pon

to

attention

voices

and

cases,

especial

proper

particular

eading

he

in

these

of

worth

weight

ythmical The

the

6

7

formed

thought,

them, case,

succeed,

and

however,

in ordei that

the

-*

3.

6

3

7

6 4

6

7

6 5

2

ti

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t=f 5

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6

6

7

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6

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3

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6

4"

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tl

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dduced

; farther

84

page

Secondary

more

here

be

With

a*

on,

To

without

regular

5th

be

can

exercise

abandoned

has

of

chords

adduce

to

reference

a

leading

Connected or

with

cases

all

i of the

of

Keys*

secondary the

Chorda

with

kind

chords

of

be

would

as

the

seventh

impossible

object. progression

the

of

seventh.

"-

57.

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letter: "

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Toices

agaia

Tone-Degrees

other

7

-ti-e"-

Seventh

the

of

connections

follow.

it would

it

Harrmynies

of few

of the

position

"^en

IF

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The

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6 4

6

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reason

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last

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The

IV

Uff

progression

hord

the

of often

lso

Iliy

last chord-succession

ing

The

sixth

appears

chord

of

fourth

between

called

erost*

this

chord

the diminished

-""-

delay

is often

used

the

of

oaden-

inserted

the

Its chord

its resolution,

and

seventh

a

triad.

tonic

the

of

^E

gg^^^g

fifth, through

the

to

6 4

III

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used.

degree

second

and

so

6 6

III

TI

is often

the

of

the

stationary. 6

C:

in

tiiOi

later.

5.

a.

d:

niy

lies

good,

follows

which

of

V.

a:

is not

example

explanation

remaining

seventh

C:

viiO,y

o:

the

why

found,

therein

doHoti

the

of

as

in like

sixth

Example

in

c" :

manner

en 4

Tb

o:

Here

he

the

also

sixth

The

fact, stand

owers, It

and

eventh the

161.

the

through

the

chord

the

of used

the

in

appear

o

its progression

before

for particular

the

out

technical

representati

and

the

possible.

addition,

If

combination.

be

to

skill, educate

and

aptness

lie in the

[practice]will as

bringing

left to

is not

; this

composition,

practical

productions

and

the

to

produce

remarked

above

none

be

to

Both

fundamental

form can

be

first

at

relation

exercises,

only

of

might

it will

therefore

and

be

may

of

advantage

chords,

of

same

intellectual

render

criterion

ombination

it

works.

musical

to the

voices

delayed

chord-successions

The

relations as

in about

here

may

the

preparatory

of

such

of

investigation.

insignificant

and

is only

progression

and into

gained so

V

combination

practice

steemed

tudies

natural

mechanical

nsight

I

vuo^O:

fourth.

and

ersonal

n

The

"

C:

V.y

G:

Tiff

^E^pi^p

that must

the

always

this is pure

faults,

mentioned

relation

and then

be

of

the

regarded

the

the

remaining

chord-

cases.

Exercises* 6

"1^

7 5

6 6

6 -9-

6 4

i

6 5

2.

6 6

7

6

-^

53

'9-

1

"

SL

-"-

-fS=:~"

r-

"f9-

8.

6

5

4 3

7

7 5

6

7 5

6

2

6 4

6

6 5

^

^g$^^

r-"

^5^="-

is:

i

t=t -"-

:SL

.t"ii

4.

6 5

5

6 4

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7

7

7

i

T:E^

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6

6 4

6

6

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t

5.

6 5

3

6 4

7

T-"-

:?z: -g-

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+"

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6

6

5

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7

6

6

7

1=?

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i^

-

ij-

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3i

7

6.

3

6 4

f

6

51

fc^

S

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6

6

H-

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6,

5

ft

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6

87 "

6

675427

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8.

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T5"

AT

^

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7

41

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:5^::a

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f

4 3

6

6 5

Vt

IS-.

^"p$E^^Eg

i

t=:a :""

Rehark.

ecause

^liiaDy of

"

they

also

would

the

based

are

The sixth exercise

f

6

cases

upon a

makes have

adduced

above

modulation,

little

become

smoother

is not

which of

application

and

not

could

be

taken

particularly

modulation.)

less stiff and

up

in these

explained Many

strange,

the

of

by

the

exercises, until above

later

amp Ex-

applicatioD

modulation.

CHAPTER On

In most

Chords

text-books

of are

the

Ninth,

found

IX. Eleventh

extended

and

discussions

Thirteenth*

respecting

these

chords

ormations. The

views

which

can

be

plausibly

maintained

respecting

them

are

vajA

Either^

6

real

that

J

they, or

ensions,

nversions,

ecause the

ystem,

their

case

of

without

thereby

and

treated

and

regarded

as

doctrine,

the

which

it might

many

fond an

as

of

harmony

of

conceiving

especial

chord

a

reli every

taught

and

under

definite

difficult and

more

much

a

are

named,

chord-phenomena of

omitted

simple.

afterwards

was

be,

chance

doctrine

whole

more

much

those

as

well

four-

the

be

must

their

chords.

becomes

accidental

the

made

for other

sris

through

(since in

intervals

the

stationary.

especially

obscure,

or

to

remaining

voice

also

belong

either

y

use,

tones

their

ninth,

arranging

their

and

mistaken

the

of

;

a

of

of

explanation

however

tones,

account

of

thorough-bass

so-called

ombination

more

easily

chords

ts treatment,

on

extended

or

then

are

second

old

be

chord-formations

explanation

very one

RBMARK.^The

f

the

case,

becomes

they

the

unessential

accidentally

movement

oiced

In

as

arise

first

the

is to

intervals

of

combination

;

chords

Or

In

this

that

iffuse.

Without

harmonic

the

to

the

order

to

once

t

In

be

ill

If

and a

add

is known

a

the

to

ninth

the

ones,

simplificatio

disadvantages,

formation

determines

us

II.)

these

of

class

which

possible

this in Part

respecting the

reasons

unessential

chord

added.

dominant

the

the

under

theoretic

real practical

view,

remarks

the

accidental

(More

clear

into

enter

without

last view. gain

to

with

system

shown,

we

hich

here

able

of formations

kind

his

of

being

name

of the

chord

dominant

the

of

a

seventh,

chord

of

chord

arises

the seventh

and

inth. In

This

the

nter

re

chord

dominant

the

of

major

we

find the is used

chord

in minor

major,

in the

pure

of

the

seventh

;

and

fundamental

In

:

Minor

:

i^i^li

162.

In

Major

cases

the

harmonic

minor structure,

itself, with of

the

ninth. as

preparation

following

sort,

in similar of where

the

relations ninth

both

tones

free

1^1^^ 163. ""*"

^

^^^m to be

censured

on

account

of

their

stiffness and

want

of

or

conneotioiii

better:

64.

far the

How

first

examples last

to

ensions,

and

the

xplained

until

later, in Part

Remark. the

f

From

"

heir

cadencing

the

the

the

of

in

that

the

sus-

be

cannot

of

chord

which

chords

the

of

form

to

chords

of the

the

seventh^

of

e.

seventh

able

other

is omitted,

the

ch.ord

be

to

the

of

of

the

order

dominant

themselves

are

fundamental

in

minor, to

the

; likewise

before

analogous

chords the

and

of

derive

they

fully

ninth

manner

these

that

is added,

to

chord-formations,

major

treated

chord a

in

ninth

bave

in

accidental

belonging

as

reckoned

II. the

we

progression

ninth

other

of

wliich

it is said,

since

which

chord

from

seventh

eventh,

o

degree^

seventh

iminished

the

be

to

are

g.

65.

Through

f the

this

seventh

ollowing

he

arises,

first, the

the

with

the

of

Viy

o:

^7

7

in

degree

seventh

Viy

that

complication

major

;

the

one,

we

must

natural

accept

two

of

chorda

is the

of which

cadence

:

as

other

to

way^

from

derived to

refer

i

p

166.

the dominant

chord

character

the

the

of

of

the

seventh,

leading

tone

it remains

while

upon

the

which

the

above

ples sim-

chords

est

That

many and

eventh

till

more

ones

are

to

which,

simplified

succession,

strange

applies to

and

the

they

to

chords

frightful

16T.

p

also

explanation

just

as

without

to

according

theory, measure

is

and

introduced

be

accept

the

renders

ninth,

and

That

The

text-books

complicated,

reatment

greater

musical

no

chords

of the form

of

secondary

necessary,

of

eleventh these

V

13 11 9

7

7

Ji

from as

well

the

the

those is the

i

will of

of

the

formations none

in

these

of their

whole

suspensions. to

according

ninth,

and

chords

since

whereby,

respect as

chords

harmonic

many

preparation,

practice,

the

of

little

differ in

the

of

in

apply the

following

a

more

stil

thirteenth* :

In

four-voiced

\h{\ pure

the

through

ince,

as

imply

e.

can,

of

omission

necessary

suspensions,

they

movement^

of

course,

never

intervals,

many

they

be

applied,

will

appear

g..

i^^^^^^ 16S.

s

I even

nd

in the

polyphonic

their

character,

from

appear

without

all, in

t

they

here

hanging

also

they

movement

the

will not

suspensions

preparation,

distinguish

; in

the

they

can

themselves free

more

be

style,

as

regarded

notes.

X.

CHAPTEK Alteration

hromatic

Fundamental

the

of

Altered

Marmoniea*

Chords.

The

armonies

has

Either

Or,

double

a

it produces

it gives

to

the

Modulations

a.

Through

major

formation

new

a

is altered

triad

the

diminished degree

second

triad

B

in

El?, the

C

Through

El? and

61?, the diminished

b"

and last

keys, New

lYO

."E

minor, two

viz.,

or

minor

the

"

second

alterations

Cl? major

are

and

triad

not

hitherto

in this

used

by

tw.

there

manner,

arise

seventh

degree

in

^a

major

or

;

triad of

of

the

seventh

degree

of

DJ

Bj? minor.

transpositions

of

the

same

Cj|major.

Formations:

:Sr

D

;

degree mere

the

of minor

Through

ther

fundamental

of the

:

Cj|,the or

minor,

The

intervals

i^^NM^^^s^pSg^^

.69.

ajor

several

modulation,

the chord

If, for example,

or

:

effect

a

one

of

alteration

chromatic

i=^{^gi

chord

into

OF

MANUAL

92

hy

through

lly

HARMONY.

(passing tones) ;

-tones

have,

they

however,

harmonie

n:

value.

It is otherwise

formations

the

with

c

at

e^

and

which

harmoni

maintain

(accordliche)significance. first form

The

THE

This

43)

; it appears

n

major,

from as

xplanation,

the

in

tone

third

of

degree

in minor has

as

situation,

first fourth

the

of

been

previously fifth degrees

and

j

(see page

fifth.

(G^) to

its progression,

also

the

following

next

is determined

which

(A)

through

is easy this

o

tone

interval.

augmented

p^^S

"""

this

raised

passing

the

upon

triad

as

often

chromatically

with

Its origin

(Gj()as

more

name

TRIAD.

however,

seldom,

but

entioned,

before

the

under

AUGMENTED

found

was

chord

known

(c) is

triad

the

of

i

'h^^ s~^

f

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1

The

inversions

this chord

of

6

also be

can

used.

6 4

I

6

6 t

t

l^^^^^^l ^

C:

Although

IV

these

change

of

IV

chords

the

of

reparation

apid

I

the most

fourth,

augmented

harmony

the

for

appeared

they

in passing,

part

can

viio

free

enter

also

or

in

through case

of

:

i

lj

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t

r

f-

"

f

1^3. 6

3t]

P To

the

hich

occurs

ourth

degrees.

SI.

174.

triad

augmented

The

most

triad 6

7

b%

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be

can

frequently,

augmented

1

"EEt=E

but

in

not

added also

the

connection

6

6 6

%

%

the

only

4 36362626

of

seventh

major with

dominant

the 4

dominant

seventh^ the

first

seventh

fS

9S

4

4

and

:

b.

In

connection

of the first degree

the seventh

with

jlrp

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ftp

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the

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6"

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triad

of the fourth

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6

6

g

r

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g"

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r

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these

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has

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chords

S

;;"

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of

progression

the

: some

used

be

also

however,

examples,

of

chords

with

used

Bass

cadencing

sion, progresmay

show,

degrees^

other

Bass.

the

of

far,

thus

chord-connections

(e.^., V-I these

-C

I

C:

a

1

k^ "^

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the augmented

4 3

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176.

hat

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:

^

^

to

seventh

aiiz^nx

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*^

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egree

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6 6

7

7

6$6

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ni

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cquire

occasionally significance

specially,

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ach

i

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a

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province

of

formations,

o:

viiOi

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jOl.

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hi

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I

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degree a

an

text-book it is also

inner to

harmonic

leads

call attention

its duty

to

they

which

necessity

warn

combinations

to

the

to

the

occupy,

and

them.

possibility

beginner

o

against

io

himself

occupy in

versed

out

the

clear

A

and

turn

speculations,

difficult, and

render

into sense

the

of

therewith,

occupation

the

simple,

from

the

he

until

harmonies

simplest

will

the

away

and

early

insight

the

and

harmony,

too

effects

of especial

view,

the

of

structure,

seeking

things

such

treatment

the

harmonic

with

fttU pure

simple

intentional

and

impossible

probably

fundamental

features to

thing

chief

is

o

secondary

matters.

Exercises* 6

1*

m

17".

5

5

6it

3

61

6

2

6 5

6t

6

61

-"9-

H

6t

""-

-G-.

ti

X 6 6 8.

6

6

isz:^

X TSl"^

%

7

-tir.

"^-

3

7 6

6S

6

NB.

3

6

"

6

6"

^=f

triad

seen

be

from

sed,

the

second

would

with

the

the

viz

formation

e

double

name,

the

which

this

formation

leading

natural

in

/

the

of

been

used, does

connection

in

before

voices,

even

with

not

sound

Example new

many

No.

the uih

I

110.

chord-formations

1

of example

70:^ .

diminished

triad),arises

(which

^

harmony

a

also

which

occurs

is much

:

THE

The

a

fifth has

augmented

(at NB), to

correspond

this, that

the

exercise degree

gained.

From

under

of

This

atural

fourth

i

:sL

-^

js:

^In the

6 6

6

i

-^

"

7

="

"

6

7

6

^

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6

6 4

6 6

7

1-jGIZ

inor

6

2

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t=^

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6

:"=?^

6 6

grl ?ie?

an

6

3=^

6

3

^m

s

I

V

2.

i3

5

"

6

CHORD

AUGMENTED

first inversion

of

the

above

chord

OF

gives

THE

it

SIXTR :

""-|^^i^^si According

ixth,

the

hich,

G

its

to

original minor,

chord

with

which

progression,

a

belongs raising

here

of the

is determined to

G

minor,

fundamental,

by

augmented

fourth

the

goes

the

to

the

degree

of

fifth degree.

xample

No.

roof

he

179,

this lies in

of

the

sixth,

ugmented

chord

Remakk.

oticed

of

fourth

sixths

fifth, the

and

chord

augmented third,

and

the

and

basis

the

of

explanation

o

o

on.

in which

chord

(the fifth

the

The

dominant.

as

like the

formed

of

sixth

its origin

augmented

nly

the

relation,

allows

chords,

The

of

farther

^The

"

chord

itself

shows

chord

harmonies

few

a

augmented

follows

hich

last

the

the

the

be

to

of

augmented to

referred

the

has

the sixth

original

chord

in

doubled

jus

later.

its

that

peculiarity,

be

can

chord)

See

the

to

fiizth stands

source.

same

the

the

of

third

four-voiced

the

:

oYcment

jsr.

180.

pI^^^^^pF=i^

f

the

remaining

iminished

owever,

original

(the

chord

in

a

open

very

in the

ained

ust

The

"

four-voiced,

the

BO

major,

better:

triads,

minor

or

169

of

an

mterval

170,

and

and

interval

an

formations

of

of thus

already

Thus

formation

the

in 0

major

of the

in No.

triad

1*70, d

produce

either

will

above

in

the

place

chord

inderter

ntervals

the

following,

which

i

in

open

posUian:

^

^ vno

in

bears,

many

text-books,

the

name

:

harsh

triad,

(hart ver*

accidentally,

in pass-

diminished

Dreiklang).

like chords,

ffy and

like

:

C:

This

be

will

hett"r

The

triad

found

coo-

investigation.

farther

no

needs

is already

triad

minor

diminished

the are

which

the

to.

eferred

ound

or

Nos.

alteration

chromatic

of

alteration

of

only

position.

chromatic

formations

three-

used

not:

Remark.

double

so-called be

triad),the first (fundamental position)can the third (second inversion), very seldom, also

but

oiced,

the

of

positions

their

if they

progression

progress

be

.may

one

proceeds

degree

so

called, appear in accordance

upvoards^

diminished

generally with

their

intervals

only

intervals,

downwards.

that

is, augmented

een, in part, already

he

was

seventh

also

mentioned,

to

where

This

(page 92).

added

the

chromatically

the

with

occurred

triad

altered

augmented

riad. Among

the

lteration

one

of

the seventh

of

an

receives

of

much

chord-formations

roduces The

inversions

Of

fc"

he

inversions,

these are

rest

The

ame

/on"i

s iPiy

:

f

6 6

1"4.

Jhord

used.

a:

the following

ihe

in the following

which,

j

p

I"8.

ives

minor

chrtMiatio

is

This

its third

of

raising

chromatic

in

the

seventh^

importance.

especial

degree

the second

of the

chords

secondary

remaining

1"^

q

the

f

3

is the

second

?^

IP

important

most

is much

and

used,

unusual.

chord

from

resulting

the

inversion

second

is

known

the

xmder

of

is based

Its progression

the

chord

the

dominant^

of

the so

of the

'^

1"5

FOURTH

SIXTH,

of

fundamental

the

degree

second

sixth,

hereby

r,

187.

fundamental

already

explained,

this

is omitted,

chord

the

arises,

(seepage

the of

progression

augmented

J^ with

FundOTnental

chord

179,

Chro,

of

the

in G

omission IhnndamentcU

dominant

the

the

i

of :

raising Viird

I

:

minor Aug.

of ihe

chord

fourth

:

I :g

of

nOi

nPi

No.

:

chord

i^

a:

for comparisor

to

which

With

I

t

94) ; the

186.

immediately

as

mm^

'k-

.a:

of

found,

most

is,

that

ii".

a;

the

THIRD.

chord,

leads

"P If

AND

this.

will

also

that

upon

seventh

THE

OF

CHORD

AUGMENTED

THE

te0^-

""

and

third

sixlh, :

Aug. the

"ii

chord siasth

:

i

*? ^5"

-~ff^-

BaicARK." the

f

Instead ean

hord

be

can

that

abeadj

however,

become

must

this is found

while

fundamental

of

the

be

added,

the

upon

this

of

the

of

through

96,

to which

one,

since

a

diminished is

seyenth

that

chord

augmented

harsh

the

was

triaa

that

added; to

considered

be

on

second.

the

chord,

tiie fondamental

of

ninth

the

whereby

SIXTH

THE

OF

CHORD

AUGMENTED

page different

a

formation

the

reached

Dreiklang) mentioned

degree^

seventh

here,

mentioned third

and

verminderter

reeoluiion,

he

be

may

fourth

sixth,

(hari

he

It

FIFTH

AND

rises.

Its origin

is

follows

as

: Fund"Mnental

vfUhcttt

Fundamental

v"Uh

:

ninth.

with

:

Of

2J

e.

3

^faEJig^^

iiOi

these

ented

^

5

i;

I

"*'|

:

b"

jf

a,

o/the

chord:

"

Inversions

:

etevation third:

the

chords,

chord

of

one

the

from

resulting

is best

fifth,

and

sixth

first inyersion

the

for

adapted

the

a,

the

use,

aiig-

others

rare.

e

Its natural

ffths

araUd

is likewise

progression

to

dominant,

the

but

always

produces

:

1"0.

These

e

boYC-mentioned

hrough

a

the

sixth

here

be

n

90.

and

regarded

into

as

the

and

the

is inserted a

third,

of

of

most

the

third

(the original,

Example

(a)^ or

augmented and

progress,

the

resolution

the

suspension.

ones,

unpleasant fifth

the

the

whereby

tone

before

the

following

in the

by

Bass

prolongation

to

resolution

frequently,

most

sixth

fourth

earlier

belong

of

chord

fifth

remaining the

whereby

(c)^ which

chord

chord

2

Behabk.

ord

the

or

do not

suspension), as

same

(b),

while

tationary

f

of the

results

an

as

ninth

skip

sixth

through

either

avoided

he

fifths, which

progressing

of

"

the

^The

addition

ninth;

the

of the ninth

has

ninth here,

does as

not

harmony

justifyexplaining

this

the

character

everywhere,

same

as

as

suspen-

a

answers

a

hord) requires

connection the

use

he

from

of the

the

of

was

origin to

view,

expressed

it

suspensions,

however

(asfifth

a

generally

into

taken

to

necessary

discusuon,

under

oppose

be

should

was

in the

ahoT"

it

and

received

it

mention

was

firs

oonsideration

be

intention,

the

not

here,

by

appellation.

ExerciseSm I.

3^

6 5

2

it

6)9^

6

6

2

s

-"-

f

7

3

6

6 4

t

6

sp

6

t

5

?c=i: t=2i

ISt

2.

7 7

-"-

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6 4

3

i

i

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f 8.

2

^m

7

3

I

6

f

I

f 3

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3-

8

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6 5

3

6

J

I

6

t

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--"-

li:

At

s

the

this chapter ":"f in it for harmonic

close

opened

known

enerally

or

use

and

and

sense,

refer

had

long

A

discovered,

re

which

uch,

ut,

in the

iscovery from

Smce

that

verload

the

the

the

is unadapted

for

inner

healthy

forms,

on

use,

op

the

desire

immoderate

tion, condiin

a

occasion

transformations property

be

time

be

not

us

gives

common

with

may

of

unadapted

93.

page

became

may

germ

us

alteration,

harmonic

they

effort, out

whole

an

i

which

lost,

developed,

we

cannot

for originality, use

of them

vis adto

the

tion devia-

and

primitive. transfprmations

all these

venture

before

much to

the original

these

still longer,

field whieh

itself in its original

remarked

before

elapsed,

the

of

was

found

experienced of

broad

appeared

showed

forsaking

which

harmonic

new

e said, for the may

now

direction of

a

and

until

order

that

Much

use.

addition,

This

indeed

time

an

have

We

however

received

to

more

for

the

more

once

survey

formations.

Nothing

adornment.

once

we

adapted

worthless.

everything

ertain

o

it alsc

as

suspe^ions,

harmony

this

this, that

the

with

question

above

treatment

the

preparation.

follow

It would

n

to

completely

more

to

work

elegant use

of

them art,

serve

carrying

only and

with

thereby

more

out

of

for the

adornment,

ourselves

fundamental

simple

discrimination

if

be

and

we

do

reckoned

not as

it

migbfc

idea, wish without

to

At

the

close

mmediate

the

of

use,

of

exhibition still follow

may

brief

a

harmooies

all essential view

their

them,

of

and

their

varieties

erivatives.

View

of

belonging

Chords

aU

L

to

77^

""

TriadU

The

McyoTj

varieties

Minor,

Ths

Major Boole

Major

Of the Minor

:

IV

V

A!

Minor Cfthe Major

Scale

Of

:

II

m

the

a:

Scale

0/the

:

vno

a:

Triad

a:

augmented

Inversions o*

7%e

chord

triads

of

the

Minor

SeaU:

I

IT

SeeOef

Minor

under

IL

vn"

tfi

Scale.

Wf

see

(Versetzungen) of

0/ the eiwth. 6

Minor

w

Augmented

remaining

71

Triads.

^^^ 0:

the

Yi

Major

V

$

Diminished

The

:

Triads.

"E:^^M

B/"

8eaU

I

3

Cf

tffh^ MftmUlL

Triads.

i

0:

chord

Augmented,

Diminiihed,

Oftht

Key.

Minor

Triad:

the

of

or

i

^^= A"

Major

HARMONIES.

FUNDAMENTAL

a.

a

6.

The

:

the

Altered

Ckefdt,

Triads

chorda/

the

"

siathiindJourtA, 6 4

most

a^d

The

Varieties

of the Chord

"

The

dominant

chord

b.

"

Domiruint

of

the

Secondary

chord

of

chords

the seventh

Formed

alike

m Secondary

1^1

with In

chords

Viy

of

In

^

the seventh

In

8. Diminished

:

minor

lnMUfm\

m Uliy

triad

with

Til

minor

Major:

triad

vn"i

with

diminished

erenth) In

Minor:

m a:

6. Augmented

it"

In

Minor

a:

n^i

:

i 0:

Diminished

a:

seventh

i 4.

VIj

seventh

Major,

n"y

In

Minor,

P

I 0:

serenlliV

Vi

a:

Mafor,

with

minor

with

(ffi"

IV-

triad

seventh

seventh

major

i

2. Minor

the

Minor:

and

o!

of

the seventh.

of

Major

Seventh.

chord

(major triad

V.

b* triad

in

primary

yb 0:

1. Major

or

seventh

the

of

iriad

with

major

seventh In

$

ru9$f

Minor:

seventh

(chord of

the

diminialied

"

"" "" -"

OF

MANUAL

Inversions

ihs

h,

chord

of andJUlh

9iath

T%"

Hasth^

:

chord

fourth

of

ihs

c

third

and

the Seventh.

of The

chord

qf

ths

second

:

:

I 2

3

^^

"m

^

'JBL

aS:

changed) from

formed

triads

augmented

I

^

(oh"ohatigallt

ALTERED

The

Chords

the

6 5

n.

Ml

UARMONT.

(Yersetzungen) of

Th6

Om

w

OHORDS.

the

major triad

InMa^or:

m T

C:

The

!"" 1. From

the

iminished

augmented triad

minor

From

the

he following

he

The

chord

chord

of

raised

with

the sixths

formed

(so-oalleddouble

fundamental

of

the

augmented

augmented

of

:^u^_^ seventh

the

of

second

in minor.

degree

the

chord chord

seventh

of

of

of the

the

the sixth

and

fifth,

and

degree

second

fourth

sixthj

"

in minor

the

or

nfi*

third:

of

Second

Inversion

:

aug,

of

formed

the :

and

the ninth Fundamental toithqtU

f

the

from latter.

I

"^m

w

from

:

Without

Fundamental, the HfBth citord

third;

^both

With RaiHng

^pi

(Se

chords) : The

C"

d.

chord

triad):

i 2.

V

IV

i

102

MANUAL

OF

HARMONT.

CHAPTER Modulation

On

The

term

modulation the

thereby is arranged

to

from

a

the

of

According to

into

has

a

various

In

The

no

(einet Tomaitm). Formerly

signification.

later

the

another.

be

of Music

in which

manner

would

import

the

recognize

will be

Passage

the

digressive

pleonasm

to

according'

stood under-

harmonies

of

succession

is understood

sense

name,

was

sion digres-

the

modulation^

which

the

fication signi-

original

word. to

foreign

a

a

part

into

found,

of

and

vocal

key

one

is sometimes

rightly

way

XI.

of the

determine

and

farther

key) ;

discussed,

it will next

term,

each

occurring

in Chapter

on,

the

whereby

be important,

of

capability

(digression

modulation

XYI.,

the

learn

to

for modulation

means

latter is

the

recognizing

fully supplied.

more

A

if

arises,

modulation

harmony

a

to the

foreign

key

previous

ap-^

'pears.

The

to

reckoned

which

the a

effects

Thus

key

previous

in the

is then key,

new

now

long

so

forsaken,

wholly

harmony,

no

as

harmonies

the

and

again

be

must

to it, appears,

foreign

modulation.

Example

following

:

I

E^ "

^^

-"-^

4-

J=i

I

m

-fi^

'

o

o

192. 6

7b

6

^-

1=

J

"

7"-gOx

"^

or

is

a

belongs fourth previous

no

longer

seventh,

the

the

dominant are,

remaining

C

major,

(D minor),is

while

The

to

in

minor

it is doubtful

measure

key

D

to

modulation

as

to

chord the

chords

of

chief are

the

but

to

A

to

C

also the

of modulation,

ambiguous,

that

to

chord to

never

can

whereas is foreign

fifth

is, they

C|-E-G^Bl2,

minor,

major, or

in the

minor

as

D

C triad, which

the

be reckoned

because

measure,

undeniably

the seventh, means

G.

third

whether

to

modulation

e.

0:

d:

?^

the

be

to

the

lowing major folis unmistakable.

measure

of

G

in the

the diminished mistaken

belong

to

; all

several

Thns

G

the

to

ub-dominant This

"om

D

often

e formed

first through

in

as

fact,

be

to

decided

the

is

bat

major,

aisc

minor.

modulation

harmony

dominant

the

B

to

G

to

exclusively

degree

the

allows

chords,

succeeding

not

sixth

and

major

ambiguity the

belongs

triad

major

itself

modulation

of

firs

recognized

the

can

it

with

seventh

erivatives.

The

hat

he

it

:

odulation key,

itself proceeds

ear

musical

always

foreign

to

related

the

the

apprehension

hanrs\"r

belonging

as

a

of

to

one.

ruling

-"-

193.

triad

major ; in

ajor

key

follow

G

to

becomes

here

with

C

major,

and

the

^be key

to

it will be

following

the

D

of

ircv"5diately

most

first

chords

can

ter de-

out

IV

one.

for practice

exercises

discussion

farther

belong

would

major,

ruling

more

some

; for the

odulations

itself considered,

however,

dominant

which There

in

D

of

connection, as

ecognized

this

of

in searching

subject

see

Chapter

XY/

Exercises,

f 3

6 6

6Q

6 6

6

7b

a: z

94

.iS^

-^ 0:

G:

I

jOl

^^^

7:t-^

V.

0:

V.

IV

6 6

2.

6 -12-

3S:

J^-

I

6

^^Ip^. b

7b X

6

6b

4.

6

J

6

V

ISL

f

f

6

73

6

t

i

7

4"

niy

is:

f

S

-"-

35";y.

0:1

m

6

6 8.

I

TuOf

d;

"

t=t

6 6

6 4

6

t

:t

a

-2=25!:

6

7b

-

-G

"xt

6 6

6

I

|2-

^

g

the

in

in

for example,

Thus,

simply

apprehends

is nearest

which

very

9

msL

1S=^-

t

geij

^^

f

6

6-7 4-J

6.

."-i

^S

ejBT

MANUAL

104

OF

EARMONT.

6 6

6

6 4

6

7

X

m

-ill

ISL

"~ii" -49-

32!:

:"zr^

4 6.

3

fe

v=^

6

6

en

)B^ 6t)

31]

3

4

6

8

7

4:

iS """

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f

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t=:F

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4b

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2

4 3

6 5

6b 4

6 4

6 5

1=1 fel^

^

9

fg

g-

gj^

g

=f^ 6 6

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^

g^

g

-"

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6

6 4

fib

t

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3t

6 5

4 2

3

iioQ rest

6

6

7

I

#

aec"iding

nombeM^

be

can

moiSuI"tion

oman

t 32

3fclj^

=5:

i^^

xercises,

6

6b

f

The

32

7

):=;;:t

i^n:

6

3= -"-

-"-

T=t

-^

6

:e

if^ 6 6

8.

6 5

fth

to ^^v)

indicated the

which

know,

the

in

the

same

letters

degrees

apon

manner

indicate

which

as

the

the

in

key,

chords

the

firs

and

the

in qmes*

PART

ACdDEKTAL

II.

CHORD-FORMATIONS."

FOREIGN

TONES

TIIB

TO

HARMONY.

XII.

CHAPTER Suspensions.

The

if,

etrical

nd

variety

monotony

A

new

our

the

of

places,

binding

and

harmonic

while

others

a

takes

chord,

particu

through

place

Measured

certain

the

of

connections ; if

simultaneously

progress

it

produces

following

the

no

character

sentences..

musical

of

change

verywhere

movement,

together

to

all voices examples,

previous

the

of

chaining

nteresting

heir

in

as

of

progression

simvltaneous

form

already

chords,

if the

arises,

one

or

the

several

component

thereby

a

and

of

do

voices

not

linger

them

parts

more

the

of

in

next

armony.

e

The

important

most

be

to

manner

linking

thus

of

harmonies

together,

the

and

is the

preferred

SUSPENSION.

This

arises at

oice,

which

in

osition

hord,

while

into

er

In

a

the

definite has

to

delaying

the

through

time,

or

the

others

tlie harmony

following

to

progress

connection

i

the

still upon

second^

later.

of

":

harmony

:g:

195. an

in such

and

downwards^

lingers

:

a

of

progression

degree

chord,

until

a

necessary,

one

progress

foUowiog

the

even

of

and

voice, a

the

that

manner,

in order tone

this voice

is pec ex-

which

to

occupy

of

does

the

it

the

firs

not

past

Soprano

the

later

oyer

pass

and

to

upon

tlie C

daring

B

in the

following

the

pi^"

of the

the entrance

chord,

second

:

manner

I

s'zzrirjiza ""

196.

^

Si^ Just

so

a

delaying

the

Tenor

^ ":

W;^s^

as

ct

a

means

two

of

elations

they

this respect

s

The

dissonant in the

ne

of

can

the

other

through

only

where triad

he

The

have

the

a

similarity

where

voices,

but

unusual degree,

the

[in of

in

the

common

as

well

be

sure,

chord] and as

combined

with

well the

a

not

In which|

contain

always

any

particular

interval

with

suspension

chord

the

as

necessary

resolution.

progression

as

in Exampl

the

of

entire

sixth,

situation

of

no

appears

;

progression

forms

suspension

as

with

of the

thereby

with

as

dis*

a

expected.

resolution

disagrees

character

the

render

harmonically

suspension

the

the

O4

Tenor,

suspension. the

give

they

is, to

appearance,

the

that

the sevenths^

disagrees

tone

and

preparation

where

the

form

they

since

suspension

the

they

rules

necessary

in

the

formation

of

the

:

degrees f

under

can

the

he

formed

2.

will, therefore, :

with

following 1. Be

uspension

the

position

examples

suspension

There

th"

through

is, that

appear,

through

require of

of

they

which

with

of it which

third

suspensions

intimate

they

character

above

196,

^

connection,

occur,

the

of

with

character

only

of the

more

chords

where

uspensions

A

harmonic

197,

the

roduces

for

situation,

No.

nd

harmony

interval

cases

voice;

the

intervals,

connecting

^

"a-

is characteristic

against

:f

No.

rT

197.

which

Example

:

i

That

from

be formed

can

suspension

of

onance

by

linger

can

be

its preparation^

a

descending

Resolve

three the

of

c*

voice

it must

conditions;

prepared^

progression

and

itself things

to

suspension

observe

in connection

itselfand

with

its position,

tha

and

The

a*

The

part

a

of

The

are

dominant

the

throngh

place

also

sevenths

often

; most

rarely

take

ean

suspension

triad.

a

of more

lthough

107

PreparoMon,

preparation

ent

HARMOSr

OF

MANUAL

either for

used

compo*

preparatioii|

seventh.

Prepa/raiion the

through

Through

Fandamental:

of the

octave

ti

^

*

i!

-

6

3

:g

"^

7

6

i^;

p 6

^-

I

I

C:

^r:^

m

"-""

"

^

0". 5 4

tr

"J" -JSZ

third:

the

Through

I

C:

A:vnOi

TI

the

./l^:

)

u

I

."-

3:

*

^

Ljfs: 8

J: ^1

"-

a:

6

I

^1

.

0:

V

O:

I

Through

the

dominant

I

i

-Q-

'M

0:

Tl

IV

I

5 4

I

m 6 6

-

3

.

5

6

^m

The

Yfv

I

takes

preparation

nters

at

viz., that

lieS)

the

suspension,

The

b* The

ts position

of

in other

suspension "

not

the

upon

this, the

arsis^

rule

be

may

preparation

but

IV

of

the

before

mentioned

duration

a

stesp^nsicm

(page 71) or

with

equal

itsel

ap-

longer

shorter.

Suspension,

entrance

The

the

a:V

place

Besides

thesis.

the

i

3?s:

tO-

Y^

x:tuOi

4

A

i 0:

I

.01

:

etvetUh

^.

6 6

3"

8

I

-"-

O"

riads

^

-O-

9

han

-G.

J

-O-

before the

the

suspension

respects can

should

appear

seventh^

only

the

at

in

in

be any rare

thesis

still

more

voice^ cases.

has

just been

particularly

before

an

mentlouc^! explalnc^^

interval

of ih

before

Bu"p"ntion%

Octave

the

Fandamental:

of the

-^

6 6

8

4 3

6

at

I 0:

4 2

^

H

V^

-

-

I

'"^"9-

J "7

"7

Belbrethefik^d;

"

""

32

IV

C-

Before

the

j{^

Concerning

irst and

third

hile

the

dded

to

That

the

act, that

it

owing

and

is not as

to

in

immediately seventh

can

be the

can

Example

which

never

come

6,

where

into

a

the

the

Thus

197. the

of

If

all.

the

suspension, seventh

i

character

o

a

dissonant

to

made

itself.

seldom

in and

at

suspension

be

may

No.

character

example,

second

shows

but

in the

a

called

Example

with

entirely

[the suspension]would octave,

perfect

will be

fifth, reference

of the

case

in connection

examples

chord,

suspension

poeitiona:

in

suspensions

remarked

fourth the

In certain

4

tbe was

which

only

rarely, '

hat

he

9

":

6

7

99.

he

I^

*

have

a

necessarily for itself

dissonant

suspension, be

is only

position

appears

formed an

in most

interval

(a)^

except

is diminished.

octave

".

i^^j^il

^

900. 8JJ

7b

r

7b

from cases

the

by

of

tion, reduplica-

as

in the

foL

In

first

the

The

C.

The

the

case

hy

voice,

Remark.

the

of a

^Ways

"

Here

a

one.

passing

tone

of in

ontained

t unthout

be

to

resolution

no

observed

that

(thetone

which

voice;

other

was

lefore,

remarked

is delayed

in

tht

by

can

he

a

suspension)

the lowest

or

later.

shown

voice

can

receive

harmony, better:

b.

not:

be

this will

Bass

the

only

to the

disadvantage

a,

as

from

deviate

which

resolution

of

ensues,

suspension

downwards.

step

it is further

The

be

will always

Resolution.

resolution

ame

seventh

e,

d,

not:

NB.

1-

J

01.

In

Example

a

s suspended

lto,

has

by the

they

use

B.,

the

he

Tenor

the

D;

in Example A.

suspension

reduplication is better,

effect

it

ecessitates

as

Both

in the

takes

place

Tenor

fifth

last, in the

faulty,

are

In

chord.

Example

In

of the leading

consistency

in the

be*

especially

fundamental.

the

Soprano^

G-, which,

the

receives

the

of

with

if the

following

C, which

to

reduplications

and

especially

A

the

c

third

the

concern

from

steps

c? at this

case

of the voices

:

movement

Third:

Fundamental:

202.

Remark.

^ays

ulty,

e

"

It

assumes e,

The

the

the

still be distance

remarked of

at

least

here, an

the

that

octave^

doubling that

and

the

the

of

doubling

fundamenlal in

is

tmison

g.^

suspension

th

may

voice

lowest

can

which

indeed

appear

lies next

voice,

to

commonly

in such the

proximity,

only

between

Bass

and

Tencr,

or

lowest.

the

Bass,

has,

however,

as

the

one

which

the

of

based

;

suspeDsion a

upon

leading

good

of

therefore

are

reduplications the

e.

voices,

if

admissible,

they

g,

art

,

fautty:

03.

The

oice,

faulty

progression

clear,

if the

is taken

f

delay

mere

the

of

the

means

which

in the

open

last example

the

of

progression

octaves

com be-

:

appear

1

204.

i

Si The

is the

relation the

same

fifth-successions,

the

with

are

which

covered

:

suspension

A

U-r

jOl

205.

"

^y however,

Here, the

case

of

can

the

the

in

fifths leading

such

1 are

will rule, which

considerations

covered

permit

We

condense

The

suspension

progression

these

of

does

the

unpleasant

into

remarks remove

not

will, therefore,

fifths of this kind

f through

ositive

the

-""-

since

general, the

position, the

without

voices,

to

be had

in view

situation,

gress pro-

unpleasantness

fifths appearing.

arallel

he

through

Bass

and

|i

hrough

n

as

suspension

away,

Soprano

the

of

movement

succession,

directions

are

of so

regarding

the

following

parallel

be

not,

faulty

other

that

they

them

octaves

:

fifths,'

and

the

ing follow-

:

however,

the

rule

voices do

be

to

not

a

unconditionally

is impossible

made

plainly.

To

compensation

appear

; to

too

rejected is

reject

them

for give

always

OF

MANUAL

The

he

the

sixth

the Bass,

is the

(or,which

chord

f

in

suspensions

same

fifth), allow

and

which

occur

thing,

before

no

of

HARMONY.

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before the

oftenest the

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and

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207. 6 2

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examples.

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chord

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resolution,

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where

chord

its interval

voices,

upper

the

with

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sixth

three

the

of

same

the

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in

suspensions

previous

figures

remaining

1^

lies in

suspension

Bass

he

in the

contained

art,

the

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chance e.

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g.^

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the case

o"

the

f

chord

of

the

seventh

dashes

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4"

follow

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denote

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the

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oices

retain

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suspension

the

nd

their

lainer

tones

in the

concerns

the

Bass

is also

chord

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during

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by

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MANUAL

each

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ore

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preparatory

reading.

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n the

clefs

hich

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n

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reading

various

to

scores,

of

write

the

be conceived

of

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every

by

to

allotted

be

to

sung,

knowledge

the

o

these

of

through

and

in the

which,

voices

knowledge

practice,

attentive

as

them,

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musician.

voices,

clef

comparison

known.

knowledge

The

always

always

attained

already

in these

itten

ith

soon

very

Remark.

and

have

which

to

necessary

must

structure,

indispensable

those

ith

it becomes

however,

harmonic

ure

g

is in general

and

Yoice,

113

HARMONY.

of

instruments,

Soprano

the

is requisite

clefs

instruments

and

are

itself which,

clef in

tuned

are

which

Tenor

and

voices

many

since

and

clefs,

Alto

the

a

understand or

exclusively

occurs

more

an

way,

particular

Cur the

partially

affbroi

rarely,

facility

es^^ecial

i

eading.

The

enor, For

clef

is called the

for

is used

which

three

upper

Soprano,

voices,

Alto,

and

G-def,

the

lowest

the

Bass,

the

part,

vocal

F-clef

the

Bass

or

clef

before

used

s still applied. The

arked

ound

kQ

of

situation

[middle] upon

fourth

the line^

the

C, and

lowest^ e.

C-clef in

a

such

for the

indicates

always

Alto

that

manner,

the

upon

the for

third^

place

Soprano

the

for

and

the

this Tenor

C

i

upon

Tenor-d^,

AUo-eleft.

1:^^^

-or"

-or.

The

onc"

g.

Soprano-clefs.

w

the

of

(-r-

"II"

-or

common

most

compass

of

the

voices

itself in

exhibits

these

cle"

hus* 0

-a

-F

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EARMONY.

OF

MANUAL

114

^The origin of these rarious olefs from the most simple foundatioii, from th" (commonly a system of ten lines, upon ^hich all the voices were so-called Tablature written, with especial designation of the lines upon which the principal tones, F, C, G,

REifi'AK.

interesting, its farther

stand)is

to

oAme

"

here, however,

explanation would

lead

us

too far.

The

of impressing

easiest method

probably,

to

observe the

voices, whereby found out.

Thus

tones

the position of the and which lie between

will be

C-triad, with

complete

the

clefs npon

accurately

the position of the

mental,

these

memory,

ia

C-triad in the various on

each

are

side

easily

doubling of the fonda-.

:

^-0 "-::G-

In tkt Soprano:

|F=S=?o 0

JniMAUo:

In ths Tenor^ '

\^

dest in ihs position eiath and fourth

the "^tordof the ofthe

The

J -0 """

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(JIZH

in these

carrying out of the first exercise of No. 210

olefs follows

here: 211. ^

BOFSANO.

"

^

jS.

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Alto.

-"-

4Z.

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6 5

6 -

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The

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IV

0 I

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requires, with all observance of the a skillful and a freer leading of the voices in relation to their position, since the necessity of a better position of the suspension working

out

examples

rules thus far given,

an often renders necessary even alteration of the position of the voices, to make as which we have hitherto always endeavored uniform as ppssibleIn this manner the open position of the voices will come, of itself,and for the close position where again be necessarily exchanged necessity

and

conformity

with the end in view

require it.

In tluB ezchangd

e obs^ryad Hie

can

never

j

the

of

i:% the

cates

simultaneously,

from

pf"Qkion

idwU

position

voices,

following

the

must

rules

:

voices

ecessary

the

of

one

by degrees

move

to

chord

transposition

one

skij: out

of

same

the

and

into

chord

thei

in indi-

(foreign one), except

another

of

or

j"the

ositions. Any

its position^

voice

if

canf"K*r:ahe

or

one

more

stationary

remain

upon

tonA,

ne

The

following

lainer

carrying

czt

of

Exercise

8

No.

of

210,

will

this

make

.

212.

8

fes

-"-

8

NB

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GO

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explanation this

example

begins,

and

ly

I

of

f{

AOiy

D

llOX-

V

7 7

G I

this treatment.

begins, remains

is forsaken

until

in

in the the

fift

eleventh

This

he

was

first makes

a

"b

lready

present

nto

better

a

better

he

skip

it forsakes

manner

the

; most

such

bove, a

ith

are

progressions

before

treated

farther

succession

kind

this

of

of, through in

a

fundamental

i

in the

F

by

the

tenth

Bass)

; in

skip

into

a

comes

suspension

is attained

through

again

measure.

isolated out

arise

to

cases

the

of

be regarded

direction,

e,

from

suspensions

(abbreviation)of

contraction

upward

the

Upward.

few

a

into

measure,

whereby

in the

in

only

the

Below

front

below

from

here

position

Tenor

the

of

close

if the

seventh

stationary,

Suspensions

Suspensions

in the

last the

leading

free

(as

place

Tenor.

and

its position

of

out

stationary

Soprano

the

of

take

can

position

At

leading measure,

which

remaining

chord

position.

and

fifth

the

remains

and

fifth, G, the

he

a

freer

a

in

skip,

(at NB.),

eventh,

ike

through

effected

the

sam^

g.

from:

i

4-4

S

313.

P=^ The

from

suspension

ression

the

of

-"-

below

leading

tone

take

can

in connection

place

the

with

pro

:

214.

lso

ith

with

intervals,

several

those

chords,

altered e.

levation,

which

half-step

a

progress

which

receive

upwards,

especially

intervals

augmented

through

g.

l=d:

"

31

15.

igE^

I 1^-:

g Observe

iiust

be

Remark

hich

here, in

"

no

^The

presented

inor,

and

4).

That,

which

that

other last itself was

in tiie above

as

voice of

the

before

explained

before, with above

the

the

application,

unfit

of

exception

as

chord for

of

use

it is to be

of as

(harmonic tone

resolution

brings

examples

(page 64) as

tone

us

the

Bass.

the

the seventh

fundamental

considered

as

tone-combinatioa

same

of

the

harmony. suspension

degree

first

(See of

the

i

page

leading

Of

those

especially

suspensions,

other

whicli

a

progress

step

whole

upwards:

b.

1U

^. -""

ai6.p

'

"ffgfe

*-

eg

^

^ "

"rt*-

me

theory

the

me

armonic

f

false

iously

they

1T.

however

are

be

should

(No. 213), faulty based

they

find

may

progressions

use

in

place

out

after

would

show

carried

progression

unfit for

and

genuine,

often

suspensions

shown

hich

not

their

of

unnaturalness

pronounce

must

structure,

these

the

themselves,

of

show,

;

and

for the

pure

the

the

practice.

manner

pre"

themselves,

upon

:

".

Suspensions

Suspensions

two

The

e.

uspension,

than

more

one

Voice.

one

at

voice

In

three

the

*

voices:

the

sixth

fourth

and

frequently

itself

shows

double

as

g, I

"s=d

219.

Movement

of

J

Pi^^iB

is^E8^^g=: I*!

=

reer

time

same

"z^"=^z:^l=::5:i=S=:zt=g=t:i^ of

chord

than

more

voices:

^^^^

is.

in

occur

can

Ib

in

in

Voices

the

Resolution

the

Sus*

the

of

pensions*

Preparation,

revious

ake

lso

he

he

in

of

takes

remaining

the

voices

place, voices,

since

stationary

during

its

chords,

becomes

one,

the

the

whereby still richer

and

resolution

of

usually

the

took

suspension

chords,

of

if, during or

of the

two

means

three

with

resolution

and

it remained

place

leading

This

by

examples

part

take

entrance,

Bass,

the

voices

The

interchange

of

the

did

which

resolution.

more

in the

place

not can

same

chords

and

manifold. suspension,

progress

at

the

several same

of

time,

For

by

example,

progression

Bass

the

of

:

930.

I

By

than

more

of

progression

one

Tii"^i

":

:

voioe

31.

0:

In

all these

uring

he

the

he

in

easily

mples,

present

JSuepeMion i^ith

a

the

same

view

of which

of

with

result^

the

occors,

in

the

seventh

of

three

as

all

with

and

could

and

chorda

o

above

F-B

progression the

use

and,

chords

ninth

explained

Bass

chord

conceroLog the

be

can

cadencing

ninth

the

to

the

in which

ninth,

secondary

a

of

harmony,

new

ninth, were

not

subsequent

es

:

three

with

m

^in^-i" *~o

"

j-|_g=i:g-^--g-T-jS "

^^

"

'

ninth

enters

which

better:

chords:

"

o"

'

^fly

"

"

o

"^

"

-a-

f

.^

f

I

free,

we

of

what

will

in

speak

later

said

in Chapter

oonne"jtion

tht

with

rgan-point It may

gainst

nto

still be

added

independent

such

inversion

i

ninth

J

"i^^

of

manner

same

chords:

33

lead

not

the a

of

places

the

of

where

a

regularly

part.

many

chords

h^

tuipendon

did

-""

oncerning

a

of

that

progression

itself in the

of two

many

the

and

simple

as

to

in explanation

IX,

ensuci

suspension

voices

component

remarked,

221

as

explanation

more

uch

by

Example

explained

above

be

remaining a

in Chapter

recognized as

anner;

here

^It may

expressed

are

hich

he

is, itself,

the

of

resolution

the

of

progression

"

ninth

the

examples

resolution-tone

Remabk.

e

I

as

chords with

completion of the

the

ninth,

the

fundamental^

was

impossibility that

the

latter

may is

IX,

apply, brought

t};^t of

as

a

bringing

into

reason

them

immediate-

-'-^^m f

aa"-^^^^ In

the

before

t stands e.

oices,

four

manner

same

I

tone,

I

r

be

can

chords

harmonic

a

^

the

with

applied

is not

which

I

in

contained

i

suspension, the

remaining

g. 2

m

gg

-2

3

4

1

3

2

4

i

-Gfi^-

-iS-""-

f

I 6

5 4

9

331.

6

i is:

-^

^M

-"-

IV

0:

n

i

1

-Q.

VI

vno

Exercises, 6 4

"

1.

7

6

9

6 4.7

5 4

6

7

6

7

"7

ii3i

35.

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following

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:

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(No. 3)

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MANUAL

OF

EARMOSY

XIII.

CHAPTER

Hie

An

especial

by

rises

manifold

means

even

or

tone,

one

upon

tationary

of the harmonies,

character

one

of

than

more

by

and

Voices.

Stationary

JPoinU

Organ

128

means

one

the

of

a

and

the

of

voices

remaining

thereby

chords

of them,

mingling

accidentally

ormed.

We

frequently

a

f

the

cadence

ontinuance

of

t, continue

their

If

the

the

which

middle

begin,

should

harmonic

tones

prolonged

^Many

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The

tones,

ominant

;^ they

it is

in the

Rema"k.

by

stituted

The

oices

ules, in

nd

34.

many

takes

general we

some

a*

the

always,

without enter

the

third

without

may

Organpoint

npon

lattei

the

the

t

reference

are

called

TONES.

Organ-Point,

plainly

voice to

follow.

the

the

as

the

the

particularly

examples

voices,

STATIONARY

name

well

during

regard

more

other

of

too

as

lower

next

point

during

tone,

sustained

for remaining

betray

connection,

the

that

so

the

at

but

station'ary

inoorreotly.

the

are

tonic

and

have

been

together,

occur

with

place,

conclusion,

called

oa

also

adapted

composers,

harmonic

Before

oint,

Attempts

"

last

these

also

beginning

the

at

[Pedal Point] ;

occur

are

which

well

apparently

voices,

VOICES

give

as

movement.

Bass,

STATIONARY Remake.

long

a

with

the

at

ORGAN-POINT

f such

Bass)

the

and

remaining

lies in the

tone

this

in

as

composition,

here

in (particularly

meet

tonic:

triad, to

the

the

ear

the

stationary into

the

the

later

times

unnatural

progrsssion

organ-point,

assumes

in

which

of

the to

according conduct

and

of

the

far sought.

remaining the

known

harmony,

tone. manner

of treating

the

organ*

b,

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or:

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Upon

In

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following

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1.

the

at

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:

chords

marked

by

remarks

entrance

time

same

those

examples,

belong, The

^

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to

the

treatment

for

takes

the organ-point

of

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does

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moni har-

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cross.

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serve

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place

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of a

at

organ-point

dejlni

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;

2.

By

3.

The

ith

one,

f

the

means

hrough

last

to

chord

chord

first takes

the

which

the

of

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harmonically

tone

belongs

harmony

he in

likewise

must

organ-point

fundamental the

not

succeed

hords orier

to

be

is only

to

the

;

triad,

the

as

sixth

organ-point

digressions

be

found

in

that

the

chords

but

harmonically

the

third No.

a

of

by

commonly

234

a,

C,

division

or

period

d^

mean?

or

b^

at

fourth.

violating

in

close

and

Example

frequently,

too

or

second

and

further,

other

the

avoid

a

taken,

each

which to

of

chord

should

thesis of

beginning

the

at

place the

upon

and

Care

hich

a

of

it,

Tho

f

n

dominant:

the

3i:

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%me

o

upon

the

holding

are

foreign often

firmly

the

Bass

interchanged

belongs. character

to

This of

the

together

tone

with

is necessary, organ-point

of

various

Thus

following

the

be

would

organ-point

in this regard

faulty

:

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U-i-^X:^

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35.

1^ ""-

The

ecomes,

in

eading.

o

case

Alto

the

organ-point

measure) by

not

and

the

234

progression

by

is determined

is seventh

it

that

circumstance

of

leading

the

conditioned

belong

also, accidentally, the

a,

be

will

progressions

Tenor,

harmonic

of the

voice

should

No.

the

movement,

fundamental

harmonic

in Example

first

the

voices,

emaining

even

four-voiced

a

the

necessary if the

Thus,

(in

in

Bass,

organ-point,

all

this voice,

harmony.

the

the

of

the

to

next

Therefore,

by

n

lying

voice

the

Bb

of

the

to

the

ass. If

the

lose,

hird

organ-point

no

plagal the

of

above

be

can

close

adduced

dominant,

the

upon

stands

formed e.

rules,

it,

upon

is often

as

as

the

cas6"

from

already

appears

at

the

the

g.

36.

The

plagal

however,

can,

close

ensue

the

with

tonic-:

the

of

organ-point

37.

fe

i^

The

end

of

ts entrance.

lace

arlier

In

through

nstances

such to

the

the

a

as

is

organ-point the

at

No.

harmonic

brought

eicamples

cadence.

In 236.

indeed

this

The

leading,

and

case

to

7esz

be

forward

as

carefully

above,

this

it presents

organ-point then

just

the

can,

third

no

treated

always

difficulty,

however, rule

E

G-"

also

is to be

ab

takes

iq

except pass

over

carefullj

OF

MANUAL

126

j

I

"

-)

BARMOSY.

J -^ Lj-^-4" l-H

,

I

.

I

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3S.

d^CL

9i^

r?: jfi.

Breaking

off in the

^

following

manner

T

howeyer,

not,

would

be

g;ood

:

4--L

1^i^ "e.

39.

9.^

*^^ A"

Stationary

Upper of

or

the

atter, and

Sustained

tones

if chords

oices

them,

ith

gainst

not

foreign

Thus

pper

the

voice,

kind

this

belonging

such

since

only to

voices

do

which

is

chords,

determining

he

of

in their

caution

greater

require

are

not

to

the

possess to

the

very

appear

peculiar

ner man-

than

rare

the

treatment.

conform

them

more

much

in the

tone,

one

upon

stationary

described,

before

organ-point

Voices.

remaining

voices

middle

I

E

X_^

"-

""-

the

in

rarely

of

power

Bass

of

character

or

the

these

connection

counterweight lower

voice

a

one.

organ-point

will

of

Example

last

in the

No.

measures,

234

sound

a^

very

being

transposed

unpleasant

into

the

:

40.

while

hords

41.

JiE^^I^^^ the of

following the

example

tone,

as

prolonged

belong

to

it

:

dominant,

is better

because

the

las

As

example for their

ind

the

hile

treatment,

Mass

ubini's

icular

in

choir

o

taking

harmonic to

he

Stationary

re,

lways

appear

oiced

movement

A-major,

in

in

the

the

they

the

occur

In

rarely

I

t has

be as

as

he

occur

only

character

the

case

so

of

with

in

and

middle

throughout

of the

case

no

relations

which

is, however,

following

in

there

ninth,

; in

length,

great

"^

I

I

they

the

e.

four

g.

I

I

to

the

regarding

found,

also

they

to

viz., in

bear

ninth can

them

of

the

as

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into

together

a

with

chrrd

of

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sions inver-

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chords, stationary

the

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943.

at

it, as,

to

resolution. their

that

independent

connection

forms

regular

ninth,

occur

following

[in the reckoning]

brought

are

the

ninth,

with'

position

harmonies

certainly

which

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of

included

he

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f^=^

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s

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That

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in the

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with

KB.

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furnishes

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A

the

"

stationary

is found

ninth

remarked

in the

above,

the

of

hoven' Beet-

of

compositions

^

was

if the

treated

. I

i

what

h^

Example

heen

already cannot

hey

in too

not

1"

of

be

circumstances

ffi"

^As completion still find place :

roximity,

the

n

chord

found,

upon

serves

and

instrumental

to

and

!

I

I

I

"

complete

violins

be

can

upper

par

Fahrt

Scherzo

the

in the

to

^

foregoing

the

gliickliche

throughout

voice,

are

voices

according

*

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In

it their

of

chords

of

tone

lowest

in the

42.

ay

Trio

is based

stationary

P^

here

harmonic. the

voice.

upper

a.

Rkmark.

be

which

middle

strengthened

^

few

but

not

as

und

cases

reckoned

organ-point

tones

those

as

Meeresstiile

D

the

so

of time,

basis.

as

piece

be

just

;

Che-

of

length

a

below

out

"

Gloria

"

for

A]?

carry

part,

both

would

sometimes as

sometimes

whole

Tn

also

in

itself

shows

oices,

overture

tone

may

Symphony

hich

the

prolonged

this head

Under

"

in the

hold

violins

tones

prolonged

and

voices

adduced

progressions

Bartholdy.

the

which

be

can

place

instruments

and

Mendelssohn

f

stationary

the

introduction

n the

a

of

C-major, where

and

melodic

use

efTective

of

tan dis

since tone,

for example^

ninth.

g

MANUAL

128

If

we

by

mark

they

organ-point,

Bass,

to

wish

must

HARMONY

have the

cases

barmonio

tbe

numbers

always

in many

whereby

OF

to

reference

otherwise

progression the

in tbe

tone

stationary

the

of

marking

general

th"

abord

chords

s altered. Thus

the

fotmd

organ-point

J

9 ^ 5

=

No.

tmder

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6

3b

4

4

I

234

h, could

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7

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be marked

8 4 2

6 4

4

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:

7

i

944.^

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ount

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of

manner

scores

ustomary

of

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Among

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tones

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find

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notes.

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to

we

ac*

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Notes*

changing

first arise

f greater

e

the

CHAPTER

JPassing

its incompleteness,

indicates

which only

accompaniment,

organ

also

on

purposes,

especial

is introduced,

figuring

tasio

words

for

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where

the

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in

eason,

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q.

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a

C

or

OF

UANUAL

129

EARMOHTT.

^ i=*

H9-

r

2.16.

(9-

i^

The

onic,

those

Th)B

note

onic

notes

they

;

it, upon

fter

hy

Changing

he

accented

ote

(No.

ented

247

the

at

iatura

or,

not

are

the

to

over

note

with

the

of

dior

called

chord,

but

introduced

be

can

and

har-

another

of the

entrance

measure,

the

the

manner

the

of

melodic

(thus in

of

this

the

mony har-

appog^

sense

upon

harmonic the

upon

like

two

the or

to

notes

passing

adornment

to

suspension

themselves

attach

and

a

harmony

of the

measure), the

of

character

entrance

foreign

tones

those

are

contrary,

in

after

for

serve

part,

the

of

a)^

the

of the

time

part

247

therefore,

appear

either

which

245

degrees.

on

notes,

harmonic

one

divisions

smaller

No.

Example

of

i

F

passes.

from

go

appear,

in progression

nly

a

under

b chromatic

under

passing

i

found

notes

passing

i

1

p

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(No.

notes,

").

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oined It

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otes

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note,

The

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as

to

of

peculiarity

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he formation

be

well

as

from the

one

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appoggiatura,

that

tones

arise,

like the

as

that

note,

a

minor

is to

following

be

chani^ing th^

if it enter

of the

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to

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in

a

"

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6

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require

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305.

modulation

No.

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;

i

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:

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i

G

from

modulation

in this position

adence

^

X

-^

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to

to

B

of the

use

with

t

cadence

under

No.

303

h

Cadence:

B:

306.

307.

^t 3

6

i^^^^^S To

close, From

we

present

Gh through

z

an

example

minor,

i

w=^

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of

major,

a

and

more

extended

b{^minor -I

problem

A[^ major.

to

:

Cadence:

1-

wm^^m t^

fc^t^irfe These

indications

will be

sufficient

to

enable

us

to

form

for

ourselves

Through

hints

following

the

of the harmonies,

n the

use

me

time,

more

still

individual

this end,

the principles

cases

the

furnish

It

Harmonic

Simply

first be

may

be

will

voice its

purpose

will be, at

and

the

complete.

made

for farther

opportunity

Accampanim^ent

here,

that

remarked,

discussed

; all

and

rytlunical

metrical

developed

now

the

remarks.

XVII.

CHAPTER

The

to

most

extended,

explained, will

manner

until

EXERCISES

STRUCTURE.

HARMONIC

respecting

exactly

THE

HARMONIES."

PURE

THE

IN

USE

THEIR

IN

THE

OP

APPLICATION

RACTICAL

o

III.

PART

other

to

only

simply

elements

melodic a

of

development,

progression as,

melody,

be

will

Voice.

Given

a

for

o

for example,

the

present

"*

xcluded. 1. Harmonic

We

to

(Accompaniment

the

select

following

simple

a

Soprano,

exercise

:

3r

m

^

309.

P To

facilitate

the

foundation,

iarmonic

those

work,

be

will

fundamental

added

in the

tones,

which

maimer

used

can

serve

as

the

before.

o

$

310

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js:

s-

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i

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11

With

every

mportant

We

turn

harmonic

progression^

the leading

of

the Bass

is the

most

point. our

attention

therefore

first to this, and

write

its

progression,

o

W: 6

6

"

a:

in the

r

following

:

way

6 4

6

T=25:

313

The

"

the

of

addition

"9-

is:

J.

.il

middle

will

O

O

now

O

G

D

2s=r

I

m

s

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difficulties

no

present

a

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2s:

Toices

O

313.

2E

3::(fe Tbnob.

6

6

3=1

m:

BaS8.

^

Let

S-i

this working of

The

he

n

G

D

the

next

a

of far

so

Examples

the

in

a

of

Bass,

the

of

harmonic

simplest

indication

with

for the explanation

present,

faulty the

0

as

well

can

fundamentals

acquainted

as

of

melodic

best

serve

:

o

0

IS-

la.

^ RncABK."

rin

lef for the

ersonal

ation

sake

work

used

of

saving

of the

in No.

of this

treatment

the

813.

pupil,

room,

however,

and we

and

the

write

the

voices

this end.

ix

314.

with

requires.

progression

manner

o.

becoming

for

opportunity

give

leading

out

worked

Exercise

will

good

as

for the

serve,

exercise

themselves.

exercises

general

of the

out

exercises

principles

G

following voices

recommend,

examples

together most

on

earnestly,

we

two

the

i use

the violin

staves

; for

manner

of

the

no*

OF

MANUAL

m

158

HARMONY.

^

-G-

" -"-

315.

^

"a -fi-"-

There

appears

rogression

he

ass

y

the

of which

The

the

use

Of

the

First,

ormer

us

its

any

on

account

still,

rejected

o

rule

ot

entirely.

harmonic

leading

continuity

is conditioned

by

for

compensated

the

has

the

contains

to

opportunity

this peculiar

of

and

Chord

the

its

chord

decided

a

the

of

progress

is farther

fourth

and

sixth

concern

necessary

difi"cult chord.

of

in

reason

the

of

what

add

Sixth

the

inversion

second

it oftenest

of

Fourth.

and

the

triad,

the

chord

its appearance

this, that

of

depends

th

upon

in

it appears

connection

like

character

vnth

the

formations,

cadence

as

a

in

connection

modulation,

with

143).

page can

in

show.

examples

also

probably as

not

egarded

Except

in

a

a.

If

the

fourth

b*

If

the

Bass

chord,

but

it appears

cases,

triad,

in both

free

enter

passing

these

ub-dominant

16.

or

be

good

if

only

tone,

a

also

of

find

we

Then,

The

a

and

of

voices.

Use

use

it is to

organ-pointy

of

give of

far known,

Bass,

stationary

transgression

a

conditions.

ertain

emains

the

example

fourth,

and

of

other

may

rare

ixth

It

the

previous

wice,

See

case

6

example

thus

powerless

preparation

necessary

The

and

it to remain

allows

4

chord-connection

stiff, uncertain, in

6

4

in this

nowhere

and

Except

6

under

the

progresses

always most

following

is prepared

cases,

it must

appear

naturally conditions

examples

show

be

the thesis.

tonic^

dominant,

or

:

;

by

degrees

to the

stationary

following

upon as

however,

then,

the

application

:

following

new

chord,

or

=m^i=s r^n 6 4

I In

Examples

the

dominant

onio,

feeling

the

roduces

Used

lso

and

the

upon

with

appear

i

-"-

t

it appears

a^

at

6 6

a

arsis

because

natorallj,

while

sub-dominant, of

most

degrees

other

upon

it rests

(")

upon

it easily

modulation.

(beside appearing

preparation

of

under

it

the above

conditions),

can

the Bass.

817.

The

ither

chord as

passing

uspension

the

fourth

and

sixth

(upon

chord

upon

t appears

the

of

thesis

;

the

shows or,

arsis),

as

preparation

with

itself in above,

in the

examples,

of the

character

Bass

the

of

all these

upon

the

thesis,

weaker.

much

i

S

^

t^E^.

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p

r

1 "

rS

fP

31".

SEE

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I

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6 4

Not

unfrequently

it

the

fourth

of

reparation

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6 4

4 3

appear

is perfectly

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r "!

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as

itself

a

6

suspension,

whereby

justified.

^y^S3 f^^"^=^

i

the

In

the

case

second

ccurring

(that of

chord

That

the

onnection

ivisions,

in passing,

however,

fourth,

and

by

it

because

arises

a

witli

rarely

degree).

third

sixth

leading,

a

with

the

the

of

chord

decidedly,

more

still

degrees,

the

of

can

smaller

of

voices

free

enter

also

in

measurat

:

as

^M^TEt^^^ ..7

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m^^

ill

chords,

passing

Remark.

ixth

and

In

the

farther

no

require

he

6

6 4-

-"H

E"

6 4

330.

The

"

often

has

fourth,

6), it is introduced

Decessary

led

introduction

the

after

to this

the

among

and

consonances;

XY.,

o

chord

of

the

dissonances.

the

division

of

(page 20) the

also

in the

fourth

perfect

in the

harmony,

of

system

in Chapter

279.

276,

it among

to reckon

theorists

many

the

of

m.

said

Nos.

examples,

preparation

was

what

after

explanation

and

I

intervals

the

reason

(page

this view

of

i

ven.

doubtful

The

nly

nd

over

only,

With

just as the

any

the

of its pre]i*ration

necessity in

and,

sixth, fourth

; between

is not

this

sixth

the

below,

above,

appear

the

for

e appropriate

voice,

the

of

the

and

fact, in

third,

and

other

the

the

voices

chor4

of

itself, tbi*

occurs

the

sixth

necessity

o

5mrth

is to be

chftra^ter

where, every-

perfect

consonance.

other

of

lowest

chord found

always

they

chord

in the

fourth,

perfect the

or

dissonances

real

whether

The

since

is not

reparation

the

of

the Bass,

against

fourth

reated

relation

four-voiced,

use

in the

or

fourth

and

for these

case,

of

fei

their

middle.

diminished

the

because

retain

it appears

triad

will fioldom

incompletes

too

^

E^:

:a. I

331.

6 4

6

1

"9-

On

the

ften

takes

oiced

place

of

the

occur

chord

in of

three-voiced the

second.

composition,

(See

later,

where the

i

thr"ie-

movement).

Besides

tself

the

it will

hand,

other

the

should

equirement

condition form

is,

a

of

good

a

good and

harmonic

progression,

intelligible

foundation

viz., that for

it, the

the Bt seooi

"

AmoDg

the

ertain

nnmelodio

have

progressions

beei

always

**iglitlj reckoned

skips.

The

g;^

22.

These

fourths

two

of

succession

improyed

are

fifths in the

thus

direction,

same

m

m

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skips

and

e,

g.

i

izs: -"-

: x^

glzz

23.

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better

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of

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situation skips

and a.

of

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compass

of

in

contrary

third

a

hetUr,

admits

voices movement:

hetUr: JQ.

i

24.

I

IE

i

:a:

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interval-steps

iminished

however,

are,

as

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good. better:

not:

S'-r"

25.

to be

are

skips

and

better:

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fe

"-

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H"4:

Deviations

of

The

hole.

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from

formation

this

are

rule

in the

or

melody,

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of

observance

found

especial

rule

; they

character

in

find their of the

i

explanation as

composition

labors

theoretical

w

1:^^

It

be

always

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ery

The

he

^

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9"

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nci:

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skip

seventh

minor

me

the can

major

be

is to he

seventh

but

used,

only

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case

of

inversion

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into

that

avoided;

entirely

of

the

chord. not:

not:

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last, perhaps,

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izrrfc

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very

of

progression good

:

not

:

not

:

:

"

1

*

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27.

harmony

6

"

t2"2-

ils: .ba-

ell

few

These

leading

elodic

alone

given

under

for

especially

and

It

the

still be

Bass,

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of

a

of

good

(simply harmonic)

next

should

leading

for the

features

principal

sufficient.

not

apply,

rules

voices,

themselves

prove

xercises,

hese

of the

the

contain

observations

that

remarked, in

but

general

for

progression

of

ll voices. The

exercise

Bass,

he

be

out

worked

314

No.

can,

in this

something

iraproved

an

with

:

manner

fe^J^

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8

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s

and

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of

explanation leading

of

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Qtj

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impor"

an

voices.

Exercise. C

bO

329.

The

^

A

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following

faulty

work

serve

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for illustration

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158

The

faults

doubling

the

of

occasion,

third

and

last

measure.

only

second

chord

through

fifth

covered

the

of

seventh

place

an

which,

awkward

a

skip,

with

the

in

J

the

out with-

position;

to the fifth

the

measure) to

next

dominant

the

seventh

(prepared). (See

present

already

Bass,

the

fourth

by

firstly, in

consist,

harmony

(from the

take

can

being

exercise

the following

and

last, this

fundamental

the

the

of

introduction

the

concerns

"

this

indicated

lastly, in the

As

the

of

to

gives

in the

secondly,

treatment

this

of

page

70)

i

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"-

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#

i

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(

i

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t=F More

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and

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irst example

revious

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333,

the

to be

favorable

seventh,

rejected entirely,

(G)

or

and

of

is already

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only

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in another

although

the

of

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free entrance

;

moHon

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p

333.

first of

The

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eneral COVERED

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the

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e

more

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voices

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are

harmony

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of more

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refecte

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39. 6 p

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36

and

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to

337

those

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in which

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What

tolerable. for d octaves

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^

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half-step

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same

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ave

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llows

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the

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the

situation, greater

the

freedom

; this

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be

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good

for

the

; with

all

harmony.

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sake

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A

to

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just

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if only

called

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must

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which

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not

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voices

middle

octaves

voices,

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Fifths

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s between

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the

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considerations

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are

to

be taken

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with

harmony,

onneotion

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al rules.

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some

are

i

than

rather

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the

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of

voice-movement,

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much otherwise

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manifold

adduce

following

the

who

stil

mechanically-harmonic

requirements

an

so

to

beginners

those

properly

as

are

possible, add

covered

themselves.

appear,

we

entirely, as

of the voices

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avoided

regarded

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in

were,

octaves

and

be

octaves

written

higher

the

to

chord

may

or

are

are

if it

not

technical,

regarding

harmony

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sure,

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as

fifths

observations

the

with

they

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be

to

84.)

page

also to covered

applies

latter

of the

postion

covered

be

octaves,

however,

the

to

without

however,

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and

Bass,

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and

The

all.

ave

Alto

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remarked

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etween

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168

After

this digression,

correction

ategory

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if the

even

the

both

where

ecause,

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to

return

330,

No.

in order

to

before

the

correct

fault.

entioned A

we

voices

skip,

in

found

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be

hardly

will

Bass-progression

itself again

evil presents

fifth

covered

in

proceed e,

place,

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belongs

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contrary

in

in

thai

this

case,

movement,

g.

i

pi 345.

ggg^g^ Thus

it only

nother

marking

The

to

remains

fundamental

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following

alter, in this

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I

harmony

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OF

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64

HARMONY.

8.

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40.

t

F

:

exercise e

F

O

D

6 4

4.

6.

6 6

8

"^ faults

The

movement

No.

1, is not

this work

of

third

voice

armonic No.

ecause

It has the

seventh

already Thus,

none

that

one

and

only can

skips

first

take

can

or

stationary

by

-""

free

enter

(pages place

by 72

without stationary

examples

here

which

is crowded

remain

following

ices.

50.

the

hy skips,

fault,

same

mentioned

take

of the

~--G

by

voices,

in parallel

principles

of

motion,

moni all har-

necessary.

fundamental

so

can

present,

figures.

against

means

voices^

the

been

already

by

place a

if through

only

motion), the

contrary

is preserved.

and

position,

no

remaining

contains

seventh

wkward

f

tone

connection 2 also

two

or

three

it offends

is by

and

indicated

upper

since

good,

of one (by a

are

all the

of

connection

leading

m

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The

A

7

the

and

becomes

thereby

come

harshness,

in the

exhibit

into

an

other.

158), that

and

still harsher

a

free

the

if the

same

superior

entrance

fundamental

voice.

leading

of

the

few

Probably

important

re

The

of

still

mB.j

examples

fundamental

the

would

be

completion

of

contrary

motion,

instances

similar

and

for

excusable

reasons.

melodic

following

uction

these

of

as

serve

in

the seventh

and

intro-

free

the

mentioned

158.

page

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9sh

toiitzSzi^^^intE

51

s^m The

to

the

No.

Example

2, of

No.

down

laid

rule

he

chord

of

the

sixth

and

fourth,

he

chord

of

the

sixth

and

fourth.

of

Example

The

s tho

fault

third more

The

ot

as

the

; that

leading

following

The

:g=^

of

the

Alto,

the

will be

a

is

5 as

better

with

be

the

in

the

; it

as

of

out

working

Bass

the

the

in the voices. it

that

ground in

motion.

No.

348.

i

s-

rg:

"

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was

connection

in contrary

Exercise

of

the

of

place

from

skip

Soprano

the

with

fifth, which

leading

take

can

not

covered

of

on

condemned,

31

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skip

connection

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6

6

%

8

7

Mxerdses. 1. .^L

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I

this, another

should

scattered

better well

Bass

consists

general

4 is to

No.

at

(page 163), in

viz., that

349

besides

contains

above

No.

in

as

well

349,

connection

fifth in No.

covered

necessary

ith

in

prominent

direction,

ame

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instance

ault, contrary

m

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166

HARMONY.

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ith

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following

the

B

"

exercise^ B

53.

Bi

"

treatment

:

^

HEg

^Ei

J\

54. ^1

^-^^

i lis

ves

to

opportunity

speak

progressions,

mmediately

In

order

to

lone

Notwithstanding of

rinciples to

e,

For

this

has

rought

this

so

forward

natural

books

the

without

a

55.

of them

will be

here

tone

in

in the

of

practice

tons

one

raised

Bass.

in

applied

degree,

can

reason

to

that

voic"^

all theoretical

is hardly

there

be

later

cross-

cross

the

:

of

the

unharmonic

adduced

the

the

:

he

to

great

instruction

examining

G||of

progression,

of

upon

to

before occurs.

so

and

belongs

chromatically

rule

are

immediately

aulty.

Some

the

following

the

doctrine

the

upon

Alto

the

of

exceptions

in which

manner,

of

voice,

another

answers,

rule

in the cast

name,

in this ; that

in general m

connection

many

reason,

been

G

the

unaltered

harmonic

which

tone

alterations

tone

the

same

this fault, note

chromatic

which

consists

upon

avoid

Immediate in

here

as

and

the

follows

depressed^

the

harmonica)

{relationon

cross-relation

unharmonic

mmelodic

bears

which

OROSS-BELATIOK.

UNHARMONIO

The

fault

a

of

shown.

methods,

relation, relations

why

any

great

and o^cur

they

do

suspici

instances in not

a

fect per-

sound

167

h.

ff*

m it^^iit-^ Ie^^ -fS^

'^ p^^

".^f X

In

all these

the

character

first needs

hat

this kind

ivisions

herefore

hich

original are

the

proof,

at

for

the

because

of

above

the

contraction,

d^

the

is the

E^ ^

P

]

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^

above :

^

"-

eg

^

j^ h.

I

#

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m

1 T

f

smaller rare

and

cross-relations,

^

^^

Let

g

added,

foundation

:tf5=3=n:

6.

J

the

4^=^4 ifi:

is

be

for embellishment.

"Li Jsi

with

notes

harmonic

following

e.

to

mostly

serve

with

cir*

Jl.

in half

which

too

constrvAytion^

occur

simple

the

contraction

observation

notation

voices

through

or

f^

e^

through

either

metrical

it the

elements, of

progression

the

probably

through

tonic

b^ g^

a^

is only

would

but

voices,

c^

at

j

there

and

and

those

result

notes

connections

measure,

not

and

the

j

cross-relations

unsuitable,

pressed, The

of the

of

no

of

hut

natural

harmonic

mstantial

forward

formed

not

appears,

relation

changing

of

drawing together)of The

cross

leading

imply-harmonic In

the

oases

rJr

m No.

355,

i

All

re

these

through

conditions, in the

wanting

following

which

cases,

similar

and

are

cross-relations

most

faultj

tl^erefore

are

which

cndurahla

57.

In

the

all

from

he

their

tempo,

ical

the

which

make

will

the

added

brought

whole

all

separat

consideration

by

out

formations

these

the

is reckoned

TrUomLS^

name

the

and

Of tritonus

istance

from

means

not

o

of

ryth"

unpleasant,

but

This

fourth

the

to

progression of

explanation

follows

which

is known

which

here

:

Tritonus.

the

in the

is contained

a

also

diatonic

the

seventh

embraces

three

degree

(in

the

0

the

embraces

scale, and

major

major

scale

th

fourth F-B.)

ugmented

from

step

s derived

F

to B

It is held especial

to

W:

p

be

unmelodic

progression,

voices

and

the

s transferred

because

each

appear

properly

name

of

its tones

assigned

to

requires two

fer dif

:

^p^.

one

to

mnst one

disregarded

remain

voice

its progression,

1.-

t

I

1=t melodic

in

:

360.

the

its

whence

I

unvocal tones

which

"*""

f which

tone-steps^

whole

:

358.

nless

a

of

cross-relations

The

n

consistency

be

still to

but

practice,

precise.

Among

nder

is

from

taken

are

which

connection,

the

of

divisions,

ather,

instances,

above

succession

be

formed

thus

:

i

if the step

That

interval-step,

his

hich

is

jusb

Remabk.

That

triad

this

armonic

easy

and

samOj

s

42.

f=* of

the

as

performance,

in this

remarked,

formerly

was

step

in

that

coimection,

becomes

as

plain

of

the

tritonus

appears

from

depends

tritonus

Example

Ko.

as

avoided

which,

things

ts situation can

one

Upon

two

manner

based

occur,

Upon

its

and

upon

862

above.

chords

of

itself. simply

is to be

the

At

only

the

simple augmented

day,

with

the

among

the

ment aug-

this

leading

with

had

in

customary

reckoned

harmonic

least, used

at

formed

lay

the

of

voices,

are

tritonus,

are

caution.

in the

use

of the

appearance.

either

{a)

chord

in ajjwre

reference

which

it is

means,

or

unmelodic,

to

exhibited

faulty,

as

up

otherwise

it

tone-compositions,

artistic

progressions,

the

with

diatonically

all

held

especially

connection

of

which use

xtended

s

of

progression,

^F=t

its progression,

and

that,

rogression

It

voiced

used

the

4

I

formation

The

two

often

inversion

o

effect

unpleasant

38).

page

be

very

the

of

is:

still be

^It may

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ircumstance,

o

the

a

reason

only

refractory.

diminished

See

by

require

intelligible

as

the

shown

likewise

would

ifficult and

he

is

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nd

is not

this, however,

or

(")^ e.

g.

363.

If

it

occurs

in

prepared;

orced

the

which

one

chord,

connection

is easily

progression

Formerly

hirds^

upon

prohibition

follow

each

its entrance two

with

is not

chords,

and

unexpected,

however,

the

the

ear

feeling

of

two

maj(r

a

produced. of

other

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tritonus the

was

distance

extended of

a

not

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whole however

to

the

step, :

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MANUAL

170

ame

not

in the

appear

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^l"

inor

former

he

return

step

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g

from

this step, to

again

*

our

fourth

not

the

to

the

Exercise

353,

No.

is:

""

-"-

-"-

366.

Ao.

"^-

ii^ 6

treatment

I

I ":

^

same.

better

a

attempt

upon

nies. its harmo-

the

remains

and

of the

founded

itself, and

scale

minor

is

tri tonus,

as

degree

seventh

it is augmented,

since

^f

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reckoned

of

milder.

much

i

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the

G^, was

to

effect of

is rendered

/

representation

usual

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We

the

g,^ D

e,

scale,

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and

1^-7^^ 3

365.

formerly

three

same

voices,

outer

4

That

HARMONY

the

effect, whereas

nnpleasant

f it does

OF

i

6 6

Exercises* 1.

66

ft.

-^

-"-

la:

I

:sl

t^ .^^ F

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bO

7 2. le: -^

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f?^ E

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f^ * 2.

Harmonic

This

egin

exercise, too

early.

to

accompaniment

which

belongs

a

given

properly

It is introduced,

to

for the

middle the

voice.

contrapuntal

present,

with

the

labors,

addition

cannot

of the

Exercise. Alto

0

^^'M"L

In

O

F

G

A

C

G

Oiy

S

"9-

treatment

the

be

again,

"

Soprano,

the

of this exercise,

the most

as

Bass.

the

of

sketching

first and

the

prominent

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the

be

can

voice,

important

most

time,

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The

ion

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can

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movement

the

addi-

:

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69.

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three-voiced

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6 6 6

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^S Tenor

voice

be

would

1

Bb

-7

A

F=T^

in like

treated

manner.

Eocercise. c

Tenob.

|l"5EE

370.

Sketcli of

01

c

the

Bass

i Soprano

and

:

m

m 371.

ill

Jl

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6

4

Four-voiced

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394.

ake;

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XX.

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sucl

probablj

seen.

X

P

The

for

calculated

the

npper

the

lower

voice:

voice:

voices:

figuration

in

the

four-voiced

movement,

after

the^e

attempts

witl

Instead

he

of

following

this

we

passage

to

prefer from

as

select, the

an

above

example

quoted

figuraticm,

of manifold

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quartette

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ery

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being

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leading

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with

8

i?p

XXI.

tlie

four-voiced

form it

the

7

voices

more

ird: 3= M

the

and

three-voiced

especially

skillful

and

many-sided.

lated calcu-

Basses.

figured

0

for

used

completeness,

greater

are

with

%l

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problems

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writing

connections,

advantage,

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of

affords

harmonic

the

Movement.

Three^aiced

although

for

adapted are

ovements

in

exceptions,

exercises

"""

leading

compositions,

elaborated

harmonic

CHAPTER

We

the

Nos.

own*

our

r

in

enters,

change

into such

insight

clear

compositions

; industry

many

the

given

observed.

understanding to

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oundation

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to

upon

wherever

foundation

the

rests

4

6

S

4 3

6

6

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The

;

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the

case

rule, the fifth

which

The

fundamental

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the

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will be added

the

can

can

mode,

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a

is the

exercise

following,

naturally

itself.

the

as

few

to which

cases,

As

a

movement,

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without

few

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remarks

:

NB

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6 sn

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must

emptiness.

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4

%

; the

cases

the

its intervals

of

in the four-voiced

be omitted

only

one

of

be the seventh

occurred

in many

also

triad, but

the

interval

one

never

has already

as

omission

the seventh

of

chords

be omitted,

in

result

this, however,

;

determines

producing

will often the

for

is sufficient, indeed,

moyement

of

can

the

and

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voices

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always

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leading

6 5

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m 8

the

second,

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6 6

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triad,

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voices, this place

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thus

i^

at

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the

stands

fundamental :

f

12

11

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9

NB.

In the fourth of

7

chord

of the sixth and

instead

of

the

chord

C is here omitted.

For

fourth of

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four'

OF

MANUAL

189

HARMONY,

404.

Oonceniing In

can

ave

n

ng

used

upon

third

of

the

emains,

the

the

lace

of

voices)

in

the

fundamental

here,

of

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fourth

and

the

that

the

original

the

the

sixth

better

lead

fourth

alon"

chord.

case

of

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take

occasionally

will

can

chord

a

of

yet,

sixth,

passing

sake so

in

movement,

probably

the

fifth of

especially

second,

as

three-voiced,

the

movement,

chord

(for

and

third

movement,

can

chord

omitted

two-voiced

e.

eventh,

be

and

sixth

the

a

although

two-voiced

fourth

four-voiced

the

fundamental

the

the

in

arsis

the

Now,

chord.

can

as

155.

page

in the

nor

chord,

complete

of

the

represents

three-voiced

chord

the

marking,

In

fourth

the a

of

worth where

of

in

is mentioned

what

compare a

measure

neither

the cases

e

fifth

the

ourth

this chord,

the

passing:

g.

J

I

405.

Four-voiced,

the

I

""-

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a:

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No.

in Example

place

above

403

would,

complete,

stan^

the

sixtb,

hus:

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6 5

6b 4

i9r

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In

the

ourth The

eighth

measure

third

is, by

and tenth

measure

undamentally,

ourth,

third.

which

Four-

the here,

of the

of

exhibits

however,

No.

Example

skip

fifth here

I

p

the

403, formed

Alto,

apparently

a

nothing

else

is

through

this becomes

the

chord than

progression :

the

chord

of

complete. of the

of

the

sixth

suspension

the

Bass,

and

fifth of

the

becomes

407.

The

that

triad

the

That

the

the

of

measure

closing

can

of appear,

omission

voices,

is

of

in such the

403

cases,

even

first

the

and

third

and

by

conditioned

second

th*

through

shows, without

is often

third

by

shown

No.

Example

octb^if

fifth.

leading

the

measures

t

of

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next

example.

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40".

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ast

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7

366

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the

division

measure), the

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^

in

third

to

are

the

A-fiH-'

place

the

thesis,

should

be

i

6

takes

; upon

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exercises

Exercises

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.a_".

measural

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r

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be

left to

best

upon

the

arsis,

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the

atf

here

in the

beginning

o

wanting.

the

especial

Movement

Three-voiced

guidance

to

a

[of the teacher given

Upper

Voice.

The

following

exercise,

with

indication

of the

fundamental

tones,

is l

Q

e.

F

"

-9-

I

09

"p TrBoiment:

10.

fundamenUU,

This

treatment

The

choice

the

f

in

chords

oice,

will

lower

For

simple

in

Ga

i"fj "3t

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13.

to

more

just

the Tenor

so

the position

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the

position,

more

as

be

can

middle

selected

on

while

harmonic

D

middle

since

voice,

the

Land

other

itself, isolated.

of

a

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.

as

selected

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the

extended GO

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is

appears,

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11

Alto,

Tenor

the

Soprano

Exercise

previous

low

npon

Bass.

the

itself

the

will depend

voices a

the

than

example

of

song

in

Thus,

of

attaches

lower

and

suitable

following

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The

middle

instead

voice

explanation.

general.

more

ts movement

he

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of

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no

needs

treatment s

D

D

: c

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In

he

the

fifth

position

etween

of

Tenor

at

the

voices),as

and

econd-suspension

ion

of

the

NB.

measure

seventh,

Bass. cannot

and

appears

second, In

this

real

connection

itself

the

seldom,

very

it is to be

depends

second

according

(through

ninth-suspension

occurs

which

exist, because governs

the

to

the

and

remarked, upon

the

progression

only

that

a

inver*

of the

IwfertUm

or:

.*

in

Exercise TsiroB.

14.

I^^^Pt

p

413.

a

keEEEEbsiEE^I rf

middle

voice.

A

Bt^C

"D

fekt^=^"g-|

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upper

Toice,

L

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g

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is here

to

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16

17.

same

Exercise D

%

o

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with K"rj

the

determination

following

BI^GCFBbOi^D

of

A

BI^FoxOd

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t

198 The

be

to

next

the

last

measure

the

affords

farther

practice,

voiced

movement,

may

former

exercises,

great

point

of

view,

allows

If,

in

even

applied

in

ble,

still the

rom

the

must

The

of

in connection

fifth or

the

hen,

of

be

the

successions

completeness,

one

or

the

metrically

the

two-voiced

of

two

of

thirds

and

contrapuntal

comes

to

bo

rhythmically

and

toler^

movement can

voices and

every

which

introduced, in

egularly

stand,

a

free

alone

sixths,

other

or

will, in every

With

witli this movement. fundamental.

since

few

intervals

more

the seventh

course,

dmitted

age

makes

development

many

significance

than

^., in fugues.

e.

use,

voices

harmonic

purely

and

them

this

give

polyphonic

movement

possess.

omission

lace

the

a

for other

adapted

actual

movements,

in

movement,

appear

harmonic

individual

that

to

it first receives

contrapuntal of

Movement.

two-voiced

rarely

simply of

monotony

ovement

it

polyphonic

formation

arious

of the

which

for

indeed,

for the fovi^

given

XXII.

Two-Voiced

the

meagreness

labors,

cases

if it

If chords

they

appear

empty

the

chord

instead

of

where occurs

too

of

the

it

and

; the

fourth

chord

sixth of

will generally to be

are

Octaves

the

take

necessarily

triads,

of the seventh

be omitted.

cannot

the

case,

the

fifths

are

could and

applied, seldomr only

fourth

second.

be can

(See

188). P

BtoampU:

i^="

1"

19.

can

sixth

be used.

On

The

were

which

CHAPTER

o

the

eyen

suspension.

For

e

that

proof,

"p^

B"

0

-jO.

i

MANUAL

194

The

omission

amental be

ill

ts situation,

i.

same

^.,

is

Example

of

in connection

rare

The

interyals

of

tones

OF

through

exercise

the

F"

of

this, since

each

preceding

and

0

G

.

a

Want

418.

the following

with

o

through

plain

No. with

HARMONY.

harmony.

following :

marking

0

G

Oa

-s:

^

itself through

explains

chord

fim"

harmony

the

of

clearness

la:

m

2s:

;$:

30.

of the

comparison

Trealmmii:

fJ .^ 6 3

31. 6

6

6

I

-

-

"-"-

1-^

3^^

E -"-

i

13^ 6

4 2

6 P^"y

;}s

Most

of

harmony

the

The

as

well

[^

therefore, as

they to

also

the in

be

afford

consists

at

its

the

is

our

labors

own as

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to

remains

exercises

the

assumed,

so

form

knowledge that

the

the

o

success

choice. a

time

same

upon

in this, viz. ; that here,

it only

and

use,

trespass

part only

contrapuntal

left to

these

regard

third

the

is prescribed,

certainty can

in

difference

in

while

harmonies

useful an

exercise

preparatory

insight

into

the

relation

counterpoint.

exercises

in

drop

the

they

chords

voices,

the

may,

or those,

The

the as

of

We

exhibited

exercises

of

succession

armony,

noe

the

of

of counterpoint.

eading

f

E

:f:

omain

he

"-

liis:

tne

next

above

chapter

limitation

are

of

also a

to

be

prescribed

considered succession

in this lighi| of chordAi

XXIII.

CHAPTER

annanie

JElabaratian

a

of

Voice

given

Melodic

in

Develop*

mentm

By

development

melodic

icher

ornamentation, variety our

of

better

the

be

understood

exhibited.

Through

to

the

alone

will be avoided,

exercises

develop

to

here

XIX.

measural-divisions

earlier

learn

to

iven

is not

voice

Chapter

as

such

their

of

a

of

voices

thereby

gres pro-

be

opportunity

harmonic

the

of

metrica

choral-like

simple,

and

that

ment accompani-

also.

The

following

this plainer

will make

exercise

:

23. 1^

42-H9-

fe

"*"

-t

*

^

The

of

choice

Even

if the

elodic

leading

e given

n

i^

t

t

s:

the

to

a

the kind

measure

of

the

of

of if

chapters,

previous

be

elaborated,

them,

according

to

free,

a

itself.

treatment

the

itself, produce

will, of

selected

voices

leading

good

is left to

chord-succession

still especial to

the

attention

is

them

of

must

developed

principles

treatment

skillful

like

a

to

be

ttained. This

first in three-voiced

will follow,

exercise

treatment.

33. -"

42h9

3:

ISI :gl

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It

^^"

:sri

w "

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t

6

6 3

The

harmonic

6

7

7

order

to

be

able

to

6 4

6 5

^=^^

:^

has

of

be

been farther

no

needs

may

0

g

.

what

treatment

and

i ^

:t

n

-F

after

movement,

any-sidedness,

In

6

7

-I"

"t

hree-voiced

P*-

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-o-

treatment,

"

X

s^s This

(

X

8

9

I

._(SL".

'^

i

this

retain

the

Alto

with

connection

the

explanation. as

melody

recommended

in

remarked

as

voice,

a

middle useful we

will

voice

show

iti

exercise.

transpose

the

melody,

foi

24.

^

^M5

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p-g.^rrrTFPr ^ift^

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7

The

fourth

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Y.

the

the

of

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the

of

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sixth

in

found

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la:

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degrees,

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fourth

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passing

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of

s

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measure,

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rogression

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of

6

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explanation

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6

6

583984

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n

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in

remarked

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enters

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the

of

place

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treatment

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of

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to

transferred

eantusfirmus

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nless

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troduce

96.

of

to

passing e.

it

develop and

4 36

6

A

of the

is

a

very

as

a

passing

the

changing

leading notes

6

-

3b

2

"

4

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g

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in the

weakness

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to

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a

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measure

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wish

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G-

exhibits

harmonizing

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he

o

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third

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imperfect

and In

fourth like

i

in

measures,

bare

the

manner

representatiye

a

of

chord,

note.

of

the

Toices

interchangeably,

still farther, into

the

we

two

c^n

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g. c./.

1^

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jQ^LfL.

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OF

MANUAL

HARMONY.

197

""fa "*"

t^

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ZCZT

p-

1

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":.^z 6 5

oices

the

treatments,

remaining

will here

be

SEE

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7

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Of

3

6

given

s

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that

the

of

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in the

middle

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37.

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6

7

6

9

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As 438"

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examples

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foar-voiced

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the following

treatment,

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t

may

stand

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:

OF

MANUAL

98

iT^n^f-

t^-

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HARMONY.

^ESE

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6

6

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In

ot

fifth

the

measure,

because

good,

cuse

In

this the

The

same

at

the

same

G

Tenor

the

of

skip

fundamental

is found

the

in the

here

Chap.

the

measure

triad,

t stands

the

time,

; only

into a

makes

the

position

the

long

in the

skip

the

of

i

seventh

Alto

can

case.

same

ugmented

NB.,

Soprano,

the

into

direction,

me

at

XII.,

original character

the

of

which

is prepared

suspension

from

fifth of of

a

the

chord

sixth

fourth

and

(pages 91 below.

of

and

the

92)

sions, Suspen-

(See

116).

page

cantusfirmus

in the

Alto,

to

transposed

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in

suspensions

three

from

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to

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of

position

(see page

voices

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:

31.

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Besides the

hords The

the

chord not

(See

seventh.

the

but

tone,

seventh

treatments

of

:

in

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of

the

same

not

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canius

here

firmus

pages with

68 a

to

according as

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Cjf07 FJ|. (See

this

imme-

lies

fondamentar

the

in

degree,

seventh

69).

page

does

the

of

seventh

because

clear,

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leading of

is

measure,

above

the

of

and

the

with

leading

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other

69).

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upward

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33.

is conditioned

treatment

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of

progression

of

the

by

the

cantus

3="^^3

the

seventh

movement

jirmus

in the of

in the

the

to

next

the

Soprano.

Tenor

last

(See

measure

page

84)

follows:

n

3:

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e

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motion;

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those

7th

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true

from

sion fifth-succes-

and

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following

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and motion,

parallel

much which

other,

make

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ever, how-

the

contrary

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approach

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also

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that

fifth-succcessions,

the

those

it is to

and

octave-successions,

rendered

(See

Tenor

the

; with

of

27

page

with

is

perceptible.

following

of

voices

separation

between

on

connection

progress

more

the

those

as

particularly

measures,

Compare

in

of

which

connection

and

faulty

as

movement

is

developed

principle

remarked free

the

confine

the

just

are

especially

octave

of

speak

motion.

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to

opportunity

gives

i

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ssence

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with

the a

given

labors

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the

distinction the

harmonic

in this

from freer

laws,

we

chapter,

voices, ; for

-G-

and

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lies the ground

in

consists

exactly

the

the

monic rhythmical-har-

leading latter

which

this

purely

melodic

fail to

cannot

of

form,

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voices,

it

as

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substance. in

now

in quarter thus

contrapuntal

of the

observance

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and

of

it conditions

viz., that

its innermost

ove

as

development

counterpoint,

form,

found

treatments

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glance

ecognize

of

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they

the

notes, serve

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these

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more

simply

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between

examples, harmonic

purpose, simply

particular

in

even

for

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structure

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present,

harmonic

discussion

of

the

where

making

of

this

can

us

stand under-

treatment

contrapuntal

and

voices

be demonstrated,

only

be

takes

XXiy.

CHAPTER Five-Voiced

The

As

doubliDg

the

four-y Diced

becomes

the

a

the

of

chords

Since

in

the

doubling,

lers

this

Farther

sake

than

five- voiced

degree,

except

this

and

a

each

be

sure,

which

in

even

ih"

i

movements

in

even

take

can

; the

of

admit

place

the

case

o

as,

for

double

a

with

sion, progres-

capable

least in

of

interval

each

example,

it

maintain

be

will be

seventh

leading,

melodic

must

voice

independence,

this

attaining

circumstances

where

adapted

passing,

o

for ren-

necessary.

reduplication

follow

remarks

movement,

especially

of to

certain

under

chord

intervals

This,

eduplication.

is necessary

more

still greater

harmonic

pure

those for

a

triad

seventh.

the

independence, will,

in

a

of

in five and

so

moyement,

necessity

intervals

the

of

Movement.

in connection

with

the examples

^iven.

Fxerdse. 6 5

6

485.

In

the

ither

two

^

""g

^

:s:

treatment,

t

can

we

Sopranos,

two

select, according

Altos

4 3

2

6

or

^tt

g

5=F

to

the

position

of

the

Tenors.

two

436. SOPBANa

l

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exercise

in

out

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manner

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437. tOrSAlTO

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also

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this

Soprano leaves

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or

in

case

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voices,

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first

the but

Tenor,

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tone

one

upon

second

following

independence

the

example,

chord

is:-

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stationary

the

he

I

v

3

2

here

if

the

voices

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faulty,

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for

is exchanged

no

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chords

second

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two

because

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:

43".

ould

be

corrected

thus

:

P

Q.

439.

!

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honic

That

eading

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movements,

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is shown

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voices

the

Tenor.

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third

will

present

also

measure

ezoeptioDS

with

polj-

themselves.

admit of

in connection

of

Example

the

doubling No.

487,

of the between

204

five and

fifths, octaves

must

in

voices

The

unisons

and

progress

middle

five-voiced

than

more

pure

only,

following

movement,

tbe

appear.

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will

a

and

relations,

be mentioned

may

contains

example

nnavoidableness

greater

here

the

also

be

freedom

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covered

outer

voices to

allowed

tbe

again.

various

of

progressions

this sort

:

440 BOPBANO

IL

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Bass

seventh

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3

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progressions

fifth in

the

be

avoided,

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with

eighth

since

in

this

measure,

example

are

between

the

tbe

polyphonically

difficulty, be

made

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chord

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The

first and

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eighth

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rs

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441. 31

a=^r

That

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Toices,

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particularly

the

middle

the

Alto

and

second

voices, Tenor

must

in

cross

often

the

second

each

third

and

easures.

For

in the

practice

five-voiced

movement,

chorals

be

can

especially

used

o advantage.

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following

Choral:

^

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in

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der

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clearer

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the

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the

and

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more

this exercise

the

requires

succession

free

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of

easily

since movement

arise.

:

443.

r

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; this

chords

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five-voiced

than

more

and

Bass-progression,

natural

itself

ullness

in

6

of

mony har-

with

the

of

th*

444.

CHAPTER

The

oices

are

which

harmonic

simplest

undamental

nner

o

be

a

of

definite

ltered A

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because

the

and

Progression

to

the

the

second

not

0

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chords

are

not as

a

the

follow

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as,

movements,

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at

they

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this

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for example,

the

seventh. here.

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triad

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nd

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specially

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four-voiced,

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suspensions

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and

to

and

the

clear

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447.

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voices,

voices

two

ovement

twice,

used

independent

ight

for which,

ohorus-movements,

eighirvoiced

are

not

two

in

Basses

which

We work

the

found too

cause

six-voiced.

choirs,

rule,

customary

as

employed

but

fullness,

great

in unison

employed and

a

always

easily

would

five and

different

two

are

as

(forexample, unison), so find

each

also

tw"

that the

the

eight

for itself, and

together. the

beginning

particular of

the

progression

choral

given

which

above

many may

of

these

follow

voices

here

for

449.

PKAHO

Auo

Tterom

Boi

L

I. A

L

1. *

II.

A

IL

A

IL

U.

m

MANUAL

12

HARMONT

OF

^

^

rss

#=q

""-"

^"=t=t J

4"4.

*

1

"ss-

f^ i

"

"-

-"

Ptrf:

^Ts:

32"

I

2S"

i

^

"t=F "-

H

^

s

331:

t=F

J

i

J

I "

1

iS f

t

I

The

difficulty

vements

two

or

ifference,

be

o

but

is generally

een-voiced

choruses,

found,

voices hints

These

he

rest,

onal

ts

are

ation

the

and

and

g.j in orchestral

ufficient,

the

in

still be

will

majority the

subject

us

of

cases,

farther

(even other

to

can

if often

which,

here

may

six only

instru

shown,

the

suppose) the

four-voiced of

information,

the

have

compass

only

since manner

appli

so

of

part

th"

however man}

adduced

will be

movement

which

per

of

music,

taking

in the

use

will

instrumental

(as the

to

Concerninj,/

movements.

above

; in

suffice, sinc%

left

be

can

that

approaching

principles.

Bach

of

however,

remark

treatment

give

or

obligate.

polyphonic

find place

allows

in th

place

of twelve

pieces

harmony,

of

choirs

not

; it is alway

takes

single

movement

farther

for

kinds

to

treated

for may

tonicai

the

voices

speak

(among

of treatment

instrumentation

of reduplication

and

polyphonic

manner

works,

concerning

nstruction

ost

its

we

the

we

when

voices

inclination

of varioui

last, in

etc.,

knowledge

in compositions

mostly

or this

the

by this, that

changes.

reckoned), are

however,

form

nstruments

be

polyphonic

met

succession

understood

more

and

thorough

application,

olyphonic

be

movements,

concerning

with

study

to

in rapid to

eight

where

harmonic

the

of

altogether

separates

which

case

choirs,

it is not

together,

that

the

different

two

metrical,

never

and

above

ental

the

is, in

writing

into

work

however,

manner,

The

choirs

often

presumed,

implest

e

more

of

manner

divided

are

which

here

this

of

the

here

shown

actiuU

th^ relations

aboTe)

XXVI.

CHAPTER On

Several

n

kinds to

relation

53 ; in the

nd

has

hese

been

forms

The

authentic

The

plagalic

V-i,

:

Both

ut

If

the

treatise,

the

however, that

subject, so here

may

follow

fuller

40

pages

farther

no a

on

opportunity

qf

explanation

:

divided

into

e.

parts,

discussion

a

it

piece,

(or in

in

compositions,

whole

the

this

page

seldom

composition

of

of

of to,

referred a

concludes

close ; in

lY-I

close

plagal

conclusions

principal

book

the

the

at

particular

(See

the

remarked.

only

the

of

more

authentio

major,

not

Y-I,

formula

the

before

was

close

close

plagal

to

whole

followed

83)

and

close.

has

used

Form.

of

the

eads

are

The

octrine

flsu'ther remarks

up

(pages 32

mentioned

close,

immediately

plagal

close

the

ivisions.

Close.

of

been

already

close

are

iv-i),as

at

also

Forms

close and or

kinds

take of

close

authentic

inor

to

kinds

of

the

of

given

The

The

authentio

course

other

and

have

close

of

the

Musical

the

periods,

and

belongs

point

their to

the

142). stands

alone,

it also

minor

but

succeeds

frequently

g.

avih,

plaffol

close

close

450.

In

last

the

case,

as

in the

example,

above

it is introduced

by

a

means

of

half

closes

odulation. The

closes

(cadences)are

divided

also

into

and

whole

'^cadences). By

the

uthentic

s again

first is understood cadences.

made

between

In

the

the case

perfect and

same

of

which the whole

imperfect

is

comprehended

cadences ones.

a

farther

under

the

distinction

andamentals tonic,

the

f

e,

dominant

the

of

tonio,

and

Soprano

the

and

fondamental

the

g, not:

451.

I

^ ""-

If this is not

tlie

they

case,

are

imperfect, e.

called

g.

i:

I

":

-"-

"t 6 6

53. 6

^F=g=

wO"

Bass

the

alled

from

progresses

deceptive

i

M=fN'=J

2s: jO-

If

"

dominant

the

to

another

degree,

they

are

cadences.

i

m

"

-"

-^

453. 6

^^1

^^

See The

the

examples,

82

pages

half-cadences have

the

to

85.

formula

I-V,

e.

g.

g^Ej^Eg

454.

7y

V

They

therefore

consist

in

this ; that

dominant

the

triad

completes

the

precede

the

ovement.

Besides

ominant

the

tonic

triad,

formation

in the

n

V

other of

a

niy

chords half-close,

V

degrees

other

of e,

IV

can

g.

V

"""" VI

w

tyminani

owever,

the

its

degree,

eventh

e.

in

definite

a

same

the

; with

manner,

the

of

chord

which^ through

effected

harmony

dominant

through

or

the

the

of

but

seventh,

of

seventh

Q:

I

vn"iy

is, however,

This

mmediately For

farther

hich

are

In

No.

ormed

in or

Example

key

the

adence,

the

No.

is

key,

ruling

has

which

kinds

third

fourth

and the

close

half

a

measures

cadence

first division

the

of

of

however,

measures,

eighth

and

those

compare

cadences,

of

book.

this

of

found

I-V,

dominant

half- cadence,

a

a

and the

at

in

perfect whole the

of

the or

third

the

find

we

seventh

fourth

and

cadence

authentic

(Thus

conclusion.

harmony

dominant

the

since

the

ii^i^

cadence.

through the

of

to

o:

of.

seventh

392

V

C:

relation

effects

which

Ad

vii^iy

of these

the

authentic

formed

asures,

use

examples in

n-V,

perfect whole

in

only

made

is found

period;

In

been

in the

through

hole

case

understanding

found 388

o:

"

the

before

the

the

g.

i^i^^ji^^Ega

"..

n

inversions

into

modulation

the

of

position

through

ither

a

itself is not,

modulation

fundamental

he

by

formed

are

which

216

HARMONY.

OF

MANUAL

this

is

half

no

tiie modulation

renders

decided). In

the

mperfect

hird

under

No.

whole

cadence,

the

second

AaZ/'-cadence in G-

cadence

sixth

perfect The

re

f

treated

a

with

hole

he

choral

with whole

the

a

herefore

to

art of the

in Q-

cadence the

of

as

be used

well with

Form-construction

as

ends

an

with

a

2i

perfect whole

cadence

in

the

seventh

(iv-V), and

minor

a

minor, with

major.

various

they

e

first strophe

the cadence, perfect whole (iv-V), the fourth with a perfec

minor

in

the

with

the fifth with

pieces

smallest,

e

major, half cadence

application

extended

to

446,

cadences

form of

the the

of

a

means

more

care,

much

is easily of

piece.

boundary

extended

because

found

upon

in and

chorals;

connection

movements,

tiiem

for

depends

and a

are

great

INDEI

^""

fig^urated,

^campanimenit

lto,

23

harmonio

rHs,

138,

107,

adence,

81

65,

as

hord,

hal( 178,

208.

218;

imperfect^

perfect^

62, 218;

aonneetioii

m

160.

149,

196.

206.

175,

exercises,

21.

h^rd'/omiations,

hords,

^iord

the

of

sixth

with

nection

of the

hord

sixth

triad,

of

second,

of

the

sixths

of

the

seventh,

fourth

diminished,

of

the

of

the

sixth,

of of

the eleventh,

ontrary

fourth tones,

alteration,

87,

m

158.

188.

189

; augmented,

97;

the

67, 61, 82, 144;

6ft

78, 90,

200.

second). seventh,

64,

188. 68,

in connection

90;

of the 81,

with

146;

in

the

phoni poly-

78 ; in oonnectioD

with

modulation,

88, 54

26,

same

86

; view

of the

themselves, same,

100.

94.

of

the sixth,

fourth

90.

(see chord

of the

seventh).

91.

186.

among

90.

third, chord

and

17 ; complete, motion,

triad,

same,

155,

suspension,

of the

of

chord

major,

degrees,

88,

thirteenth,

the

onsonance,

in

47 ; augmented,

the

of four

dominant

79,

tone

of

hromatic

54;

connection

seventh,

of other

chords

of the

use

63 ;

204.

movement,

hords

as

same

(see Chord

in passing,

76,

;

dose,

68.

degree

seventh

189

diminished

of the

147.

second

same

the

formation

chord,

of the

62;

and

21,

; the

64

61,

59,

passing

60,

in the

same

198;

modulation,

with

seyenth.

as

92,

99.

same,

yiewof

; the

48 *,

fifth,69,

and

the

of the

143

modulation,

in connection

sential,

of the

fourth,

and

188;

passing,

Chords

augmented

the

of

101;

91,

Triads,

also

106.

accidental,

48,

altered, see

hord

168,

86,

118.

horals,

hord

34,

same,

148.

antutJirmuSf

hord

of the

128.

formuloB,

eUf,

elet, 118.

progression

; whole,

modulation,

adence

hord

roioe^ 151 ; 17S;

giren

174.

harmonic,

y-tones,

hord

a

121.

Bass, 23 ; movement,

hord

to

aooompaniment

121.

tooes,

alto

notes,

; alto

nticipation,

hord

; hannomo

188

195.

fter-striking of

hord

SUBJECTS.

OF

incomplete,

17.

and

third, 69, 60^ t%

MANUAL

onnection

lose^

82

; authentic, see

losing

losing

also

ross-relation,

eceptive

cadeDe"b

149.

41,

166^

unharmonifl^ 81.

diatonic,

igression

18.

(see Modulation).

issonance,

17.

ominant

harmony,

leventh,

G-triad,

of the

chord

in connection

seyenth

with

144.

modulatioii,

14.

xercises,

for

of the

the

practice

78 ; of

seventh,

connection

; of other

112,

163,

altered

166,

187, to

accompaniment voiced

a

202,

movement,

192;

191,

ke3rs,

or

out

development

of the

two-voiced

in melodic

chords

of the

of the

augmented

87 ;

108

modulation, to

a

development,

196,

sions, suspen-

200

167,

162,

in the

193;

movement,

triad

in the

;

i

seventh

161,

177

melody,

o

of th9

the

; of

voice,

given

of

inversions

the

of

chord

themselves,

among

seventh

8^

chords

secondary

.the

77 ;

major,

dominant

; of the

secondary

in the

voice

given

; of the

accompaniment

173;

172,

in minor,

; in searching

harmonic

171,

chords

degrees

tone

98

chords,

170,

86

; of

of the

in

all triads

of

;

triads, 49 68

same,

seventh

cadences,

of other

the

of

movement,

voiced

of the

30

major, of the

of the of the

connection

chords

chords

119;

164,

inversions

deceptive

with

inversions

; of the

the

secondary

80 ; of the

same,

46

in

triads

primary

; of the

68

seventh,

*IA:\ of the

the

of

in minor,

triads

of the

94

40,

cadence^

egrees,

deceptive

half dose,

dose,

whole

81.

66,

ccidence,

85.

umer,

88.

82,

plagal,

cadence,

fomvidcB,

local,

78, 81;

26,

of chordBf

217

HARMONY.

;

thre^harmonic

in the

five

60

fift

206 .

ifteenth^ 14

ifth, 18,

22

in the

16,

; perfect,

of the

chord

16

48,

44,

ourteenth,

ourth,

68,

166;

the

of

undamental

same

as

28,

with

79, 97 ;

61,

passing

and

111,

15,

16,

88,

;

80,

open,

changing

78 ;

notes,

covered,

138;

in

80,

87

contrary

128.

189,

chord,

21

; in the

armony,

tones

foreign

division

see

also

13

;

steps

of)

major, and

above,

18.

of the

chord

184,

186.

alterations seventh,

of the

91"

same^

57.

106.

of the

same,

16, 18 ; inversion

of the

reduplication.

18.

perfect,

skips,

perfect

218.

to the,

omission,

doctrine

of the

preparation

196.

; chromatic

of, 17 ; view

16;

16,

56.

68,

(half cadence), 178, 21.

ntervals,

diminished,

(fourth parallels)in passing,

21

close

ntervals

68,

augmented,

harmonies,

armony,

nterval

68,

the close, 89,

undam"ntal,

nterval,

connection

64,

perfect,

ormation

ntervals,

; diminished,

14.

13;

ourth-progressions

alf

76

201.

motion,

iguring,

in

204;

168,

16,

67, 70.

seventh,

ifth-progressions(parallelfifths),26, 110,

15,

; augmented,

14;

augmented

minor,

and

augmented,

dimimshed,

diminished, 156.

ICu

same,

lH

fo1lrtl

Invenion^

of the triadi, 4*7 ; of the

47;

Leading

ST, 89,

tone,

Major

22,

triads

Melody

76, 116,

66,

its development,

22,

88,

102

; means

triad,

Modulation^

Movement,

202

parallel,

NaehaatZj

177. 14

Ninth,

chord

;

18

168,

oblique,

and

148.

completion,

four-voiced,

187;

three-voiced,

28;

Art*

80^ 86^

ft

206.

15.

118,

127.

11.

voices,

diminished,

in contrary

208;

123.

188,

16.

16,

26,

28;

110,

30,

open,

188;

oorered,

201.

motion,

78,

67,

198.

184.

128,

notes,

passing

138.

chords, 177.

lagal

41,

close, 38,

osition

the

of

reparation,

rime,

of

triads,

unison,

in

33

chords

of

(in major)

39,

40.

156.

the

70,

68,

96,

seventh, of the

73, 81 ; of the

""c. ; connection 48,

(in minor) 74;

66;

66,

seventh,

dominant

of the

107.

suspension,

; in minor,

fifth progressions

chord

114

82,

16.

166,

26,

81,

64.

unmelodic,

of intervals,

seventh

64,

28,

major,

octave,

of the

of the 16,

seventh,

secondary

eduplication,

esolution,

70;

augmented, the

melodic,

of the

dispersed,

open,

seventh,

perfect,

rogression,

close,

chord,

chord

rimary

218.

of the

13;

rimary

cale

1*77*

26.

(octave parallels),

Outer

enod,

198;

eight-voiced,

and

augmented,

of intervals,

assing

I t

26.

Organ-point,

tiss;

also

118.

; perfect,

Omission

seven

88,

of the,

Octave^rogreasions 84,

formatioii,

; its extension

141

same^

two-voiced,

184;

minor,

major,

movement,

Octave,

for the

contrary,

Ninth'SuepenHon,

Oblique

(see

65.

; six,

Movement,

Ninths

19

208.

176 ; its rhythmioal

one-voiced,

voiced,

62,

28.

voices^

Minor

69,

seventh,

66.

y

Middle

169,

of the

chords

109,

66,

111,

see

also

chords. 182,

202,

; of the

60

basi

resolution,

chords

secondary

106,

suspension,

206.

109,

116,

of the

120.

(see Triads).

econdary

triads, in

econdary

chords

econd,

13

;

econd,

of the

step

equence,

the

of

major,

econd-progressions

major,

ignatures,

78, 86. 16,

augmented,

(second

16.

in passing, paralleb),

augmented,

184;

with

changing

notes,

180.

44.

(seventh parallels),in

major,

without 13

64,

42.

37.

13;

same

ixth,

; in minor,

seventh.

minor,

eventh-progressions

eventh,

33

;

major, 63.

minor,

preparation, minor,

diminished,

16,

72, 77,

augmented,

168,

16,

16.

passing, 16; 164.

184;

passing,

with

changing

72, 176;

notes,

preparation,

136.

70;

the

OF

MANUAL

toHonafy

voices, 123,

trttcture,

tyle,

ttbdominant

117, 14.

enor,

28

; tenor

diminished,

21 ;

major, minor (in connection 34,

with

in the

chord

of the

166,

seyenth,

57

28

(in major)

142

;

; subdominant

; harsh-diminished,

96,

96

(in minor)

triad,

40

; tonie

triad

28.

48,

; augmented,

66,

92

ished, ; dimin-

66. 21,

major

scale,

of the

minor

scale,

43,

88,

40,

42,

99.

46,

99

; natural

connection

of the

22

same,

; view

99.

46,

same,

triad

modulation) 94

60,

48,

88,

; dominant

22

;

of the

the

16;

142.

double-diminished,

Hade^

16,

(see Figuring).

notation

triady 23,

28

Toieei|

14.

horough-base

Had,

in sereral

116;

upwards,

cle^ 113.

major, minor, (see Leading tone).

hirteenth,

onic

tenor

notes,

22;

18,

70

below

from

111;

138.

107,

hird,

bass.

199.

hith,

%e8is,

187.

pure,

; in the

108

106,

24;

28.

triad,

ttepension,

187,

24,

strict, free,

pure,

J19

126.

harmonic,

pure

HARMONY.

70, 169.

ritonue,

ioelfth,14.

nison^

18.

nison

progressionSj

oices,

movemeot

oices,

of the,

compass

of the,

oices,

relation

of the,

oices,

outer,

ordenatz,

23

;

161,

27 ; covered, 26,

206.

;' (see Progression,

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