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fo r tho s e Who d e s i re
a be t t e r u n d e rs ta n d i n g o f mu s i c
i n c re a s e i n p o w e r o f
an
and

ex p re s s i o n
e i t he r i n p e rfo r m a n c e
o r c r ea t i v
e wor
t ex t

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$ 2 25
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Pub li s hed by

c hi n
C A Al
S ou th Hoover Stree t
Lo s An g eles
.

12 2 7

i fornia
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Co p y r i g h t , 1917
Co p y r i g h t , 192 1
b y Ca r o l y n A Al c h i n
.

AC K N O W LE D G M E NT S
Th e

a u th o r

is

i n d e b te d

ll o wi ng p u bli s h e r s fo r p e r
c o p y r i g h te d wo r k s : G S c h i r m e r
B o s to n ; No v e l l o P u b li s h i n g Co

to th e fo

m i s s i o n to u s e e x c e r p ts fr o m
N e w Y o r k ; O liv e r D i t s o n Co ,
.

Dr e a m o f G e r o n ti u s ;
Lo n d o n , for t h e e x c e r p ts fr o m El
gar s

D u r a nd
P e ll ea s e t M e li s a n d e ;
Co , P a r i s , f or th o s e f r o m
A r th u r S c h m i d t , o f Bo s to n for th o s e o f Ma c Do w e ll

m4
.

F O R E W O RD
t

a)

k
O

l )

'

"

5
d

purpo e o f this book i to p ovi d ea

be simp l e direct a n d from th e ou t et in ure a musi al under tanding
and mas te y o f the ma terial o f m sic ; a cours e that will teac h the
n za e o f m sic a n d through that lessen the burden o f rul e s and their
lo n g train o f e x cep tions ; a cours e that will cultivate th e imagination
wi th th e technical d e velopme n t ; that w ill awake n an d i n creas e a love
a cou se that will b e r l t d to
a nd appreciation f o r the best in mu ic ;
ue in e very line o f
l
l h nd l s of mu i c ea n a li on a nd of p a c ti c l v l
music study
a nd f e l
i ng
Thought wi th
Ther e is a constant appeal to the e
l
i
F eeli n g witho t thought can not b e i n te l
o u t feeling is to o cold
gen tl y ex pressed The high e st m usicia n shi p results from a union of

thought and f eling The late Judge Tr w r d said : Thought cre

ates form but it is feeling that gives vitali ty to thought Thought
without f eeling may be cons tructive but it can never be

Melo d y is the e ssenc e o f music

Mo z art said :
S i n ce there is
no melody without rhy thm and ha m n ic regu l a tion mu i c then i
Me u ni on f r hythm a nd t n a n d th e in tellige n t s tudy o f music i a
s tudy of thes e relations
O ur rst work in cultiva ti n g the feeling for rela tionship and i t

resultant qualities in key is through the principle o f To n al Mag ne t

ism a r e latio n ship that is the product o f nature F rom the relation
ship o f tones in scale and tones in chord w e pass to th e relationship
their relationship to accent a n d rhy thm and the
o f cho r ds in key
relation hip o f keys Rhythm i s a vil lf emr i n the s leli n of li
The

e a e

ar

o e,

moni es

e e

ar

material is in troduced progressi v ely and in the order mo t

frequently and natura ll y used
As e ach n e w factor is presen ted th e
stud e nt is rst mad e fami liar wi th i t b y a n a bgnd a nge o f ex cerp ts from
th e works o f th e best comp osers bo th o l
d and new f om which o ne
se e s thewa ri ou s relations o f the n e w material and the practical a p p l
i
cation o f th e fe w neces ary ru l es that ar e given
Th e a n l
i is l
zs through pa ttern s fo
keyboard
ed b ynt/
w
l
y
g
work th e us e o f th e n e w material in th e harmoni a tion o f melodies
and las tly original work e mbodying th e new material An oun e o f
ap l
i
c
a
p
t
n
is
worth
a
poun
d
o
f
theory
p
i
Th e lat e Julius K laus e r ( to whom I am grea tly indebte d fo r his
splendid instruc tion ) st d rew m y at tention to this princip l e of rela
ti ons h i p and the importanc e o f wor
h e melodic as
In

his book Th e Natur e o f Music h e says : Melody is the dir e ct

r e port e r o f fundamentals and chords F undamen tals and chords are
n o t r e port e rs o f m e lody though they may suggest them
It is a p s y
hol
o gi c a l e rror to suppos e that a n
y beginner howev er gi fted pos
s e sses the percepti v e power to gr a p the four v oic e mu sic thought
Th e

'

s s

zes

"

'

Th e

o re

Le c t u r e s

r n

r
i

Th e impos s ible bei n g dema n ded , the

l
i ass s

stud e nt s p e r fof mari c i s n ec e ssar ily mechanical an d musi c ally dead ,

f
i
l
i
t
call
e
d
into
r
e
quisi
ion
s inc e
a
c
e
n
o
s
s
t
r
i
l
c
a
u a :
t
e
g

Melody l
e and real f act in th e beginn e r s i n n er
e i ng the o n e si inpl
consciousness and ex p e ri e nce o f music , i t follows that the giv e n mel
o d y is th e o n e thing that his musical faculties can sei z e upon a n d b e
stirred by , th e o ne thi ng that lies within his inte l lectual grasp a nd a p
preciati on , th e o ne thing that he appreciates and rememb e rs as a whole ,
and in re l ation to which it is e asy for him to add som e thing e ls e , since
i t e x p l ains the musical what, h o w and why o f th e addition
e

in

mboilie d

ercises in the given bass owing to their arbitrary pr e scription

comple tely cut o ff th e
o f th e order and arrangement o f ma terial
student from that independ e nc e o f thought and j udgment in th e us e
e ction o f chor d material which is s o essential to its mastery
a nd se l
G iven a melody to harmoni e the stud ent sets o ut with th e o n e thing
he can men tally grasp ; h e per fectly compreh e n ds the subject o f his
work and ther e for e also i ts obj ect Havi n g a tangib l e subj ect h e has
a tangi b l e object ; his melody is his preceptor and guid e in his choice

o f harmonies
Th e melodi e s contained in this work have been chos e n with a
view o f developi ng taste also to provide every di fculty one i s li k ely
to meet i n creativ e work While original work i s requir e d at all
stages o f study un til a student can wri te a s well or as corr e ctly as the
composers from whos e works these melodies hav e been taken it will be
w ell to u s e more o f the b e st models
Unless otherwise stated the e x

P e ll eas e t Melisande
c e p ts by Debussy ar e taken from th e O per a

lo f thos e by E lgar are taken f rom his

Al
Dr e am o f Ge onti u s
It would be unreasonabl e to ex pect a work o f this natur e to be
with out de fects Th e pe fect te xt book will b e wri tt e n wh e n the per
feet teacher appears
Th e r e ar e som e teachers w h o seem to think
that they will be condemn e d for lack o f originali ty i f th e y us e a t ex t
book As a r e sult there is much valuable tim e lost in dictation and
the s tudent is at a disadvantage becaus e h e does not always r e member
what has been given to him in th e all to o brie f lesson p e riod There
is no ne w music mate ial but ther e are new combi n ations and r h yth
mic se ttings to be disco v ered There are large l y i ncr e asing numb e rs
o f peopl e who want to compose a n d their f utile attempts bring us to a
real i ation o f the fact that they n e ed trai ning in mus i a l
rather
ec ts
t han arbitrary rules that make li ttle o r no appeal to the music sense
A sys tem that
Broad basic pri n cip l es are needed at every step
leaves nothing for the student to discover and no oppor tuni ty to e x er
cise discrimi n ation does not d t
Ex pe ience has p o v en that wi th this system desired results are
acquired in less tim e and wi thout hampering th e f eedom of e xpression
by the many prohibitions Through the appeal to the nature o f th e
m sic material th e a ff rmati ve principle prevails ; the stud e nts becom e
d sc i mi n ti ng mus i c i ns n o t math e maticians
CARO LY N A AL C H I N
Los An g eles C ali fornia

Ex

e uc a e

ECT5
INDEX O F S UBJ

_
S CALES
I N TE RV ALS
C HAP T ER I
K e y Interva l s Maj or a n d Minor

a e
S cal e s Technical nam e s o f
scale degrees C hrom atic S cales Tonal Magnetism Interval s r e
la te d in ey Ear tes ts Review
C H O RD C O N S T RU C TI O N
23
C HA P T E R 11
C h ord rela tio n o f to n es Type s o f triads and their origin Open
posi tion Domin ant S eventh chord Dominant Ninth Inv e rsions
Analysis Triads a n d seventh chords with common tone Analysis
Revi e w F ac ts to complete
O f same
C H ORD RE LATI O N
32
C HA P T ER III
Ex amples for analysis and transposition
Authentic Cade n ce
Melodi c C adences Melody construction Harmoni atio n o f me l
odic cad e nces Doubling in four voice writing S ome rule s regard
i ng th e p rogressio n o f voic e s E x amples o f consecutive fth s a n d
oc tave s b y modern wri te rs U se O f second inversions and relation
to accent S ummary o f resolutions d emanded by inv e rsions Ana l
y
sis Review F acts to compl e te
MEL OD Y WR ITIN G
43
C HA P T E R I V
Rh yth m wav e s P roportion Relation o f quality to acc e nt Accent
U s e O f inversions Melo
s f acto r i n t h e selection o f harmonies
die s to h armoni z e C adenc e s with dominant nin ths for tra ns p os i
tion Melodi e s t o harmoni e r equiring domi n ant ni n th S equenc e s
Analysis
AR MO N Y
C HA PT ER V
S UB T O N I C H
52
S ub tonic triad and seve n th chor d Di fferent species o f se v e n th
c hords Analysis Reso l u tion o f diminished seventh chord Trans
formation o f diminished seve n th to dominan t seventh S equence
Ana l ysis Review
o f dominan t nin ths
B Y T O N ES
C HA P T E R V I
56
Au x iliary to n es P assing Anticipation Appoggiatura S u s p e n
sio n s Added S i x ths P edal P oint Analysis Melodies to harmon
i e Revie w
AR M O N Y
TH
C HA P T E R V II
E S U DO M I NANT H

Tierce de P icardie
Th e P lagal C adence An alysis
Modu
latio n by common chord C ho d groups for transposition S e
common chord and common tone Me l odi e s to harmon
u
n
e
c
e
s
q
i e Re v iew F acts to compl ete
TH
ARMONY
C HA P T E R V III
92
E S u P ERTO N I c H
S ubs ti tu tio n al harmonies S upe tonic chord in seque n ces An l
y
sis S uperto nic chord i s modu l ati ng fac tor Me l odie to harmo ni e

P g

'

TH
E S U B ED IANT
e
t
fo r t
,
, C
g

HA R M O N Y

e 104
onic D cep ive cadence Analysis S ubmedia n t
S u bs ti tute
chord i n sequences hord roup for t n 5 p mon Modulat o n
Melodies to harmoni z e
114
ARMONY
C HA P TE R X
TH
E MED IANT H
Th e mediant chord as subs titu te fo r th e dominant Modulatio n
Chord groups to tra n spose Ana l ysi s S eque n ces Melodies to
harmoni e
C H RO M ATI C C H ORD S
C HA P T ER X I
Altered chords B orro wed tones F alse relation Analysis
12 5
C HA PT ER X II
MODU LATI O N C O NTIN UED
Th e augmen ted four th o f the scale Analy s is with the augmen ted
fo ur th s root t h ird fth root o f augm e n ted si x th chord W h o l e
t on e scale Modulation Relationship o f keys Me lodies to b armo
ni e Modulation by trans formi n g the diminish e d sev e nth chord
TH
14 1
C HA P TE R X III
E S M ALL S C AL E S EV E NTH
Analysis sho w ing small se v en th as root third fth sevent h ;
In augmen te d si th chord Effec ting a modul a tion ; Melodies to
harmoni e
C HA P T ER X I V
TH
14 7
E AUG M ENT ED S EC O N D O F T H
E S C AL E
Th e augmen ted seco n d as component o f augmented si x th chord
roo t third fth and e mb e llis h mg tone ; Melodies to harmo ni e
C HA P T E R XV
TH
15 3
E AUG M ENT ED S C AL E F I F TH
Analysis showing augm e nt e d fth as roo t third fth and em b e l
i s h i ng ton e ; Modu l ating fac tor Me l odie s to ha moni e
l
TH
C HA P T ER XV I
161
E S M ALL S EC O N D O F T H
E S C AL E
Neapolitan si x th S mall second as component o f augme n ted
si x t h chord Analysis Modulatio n
TH
C HA P T ER XV II
168
E AUG M E NT E D TO N I C AN D S I X TH
Embellishing the dominan t chord Components o f augmen ted
s i x th chords
An aly s i s Modu l a tions Melodies to harmoni e
TH
17 6
C HA P T E R XV III
E D I M INI S H ED F I F TH O F TH
E S C AL E
Anal ysi s S um ma y o f the u e o f c h oma tic tones
MODU LATI O N S Y C O MM O N TO N E
C HA P T E R X I X
18 0
Decep tive cadence To nic to Dominant e v enth Dominant s e v
e n th to do m inan t se ve n th Domi n ant seven th to dominant sev e n th
w i th su pe n sions Dominant se v enth to Domi n an t ni n th Domi
nan t nin th to domi nan t ninth D ominant se v enth to diminished
seve nth D imi ni s hed se ve n th to diminished se v e nth Dimi n i hed
even th to dominant seventh Diminished seven th to domi nan t
Me l o d ies to harmo ni e Modulations by enharmonic
n inth
c hanges H
armoni ation o f the chromatic scale Co nclu ion
C H A P T ER I X

Pa g

os

ra

MUS ICAL ILLUS TRATIO NS

INDEX TO

nu mber s re f er

h
T
( e

e x a mple

to the

no t

the p ge )
a

ALAB I EFF
ALDR IC H
AR C H ER
AR M A N D

2 15
17 0
197
140 156

EAC H

14 7 0
100, 104 105 106 111, 112 11s
117 12 3 12 4, 12 8 148 158 160 166 17 0 18 3, 2 32 , 2 62
164
17 0
BAC O N
B A RRY
12 8
B EET H O VEN
60 7 4 116 12 0 12 3 124 148 15 1, 156, 160,
161 164 17 0, 188 197 2 18 2 2 5 2 39 2 52 , 2 54,
2 57 2 60 2 61, 2 65 , 2 68 2 74 2 7 5 2 7 8
168
B ERL I O Z
116
B O H EM I A N F O L K S O N GS
B RA HM s
8 0 94 12 8 164 18 9, 2 44 2 63 301, 303
160
B R U C K N ER
,

CH ABR I ER
C H A M I N AD E
C HA N T
CH ER U B I N I
C H O PI N

D Y K ES

28 6
2 65
141 301
2 01
148 2 10 2 2 4
2 5 1 2 62 2 7 1 2 97
301
,

7 3 104

114, 115 , 12 4 128 ,

2 34, 2 45
,

CH OR A LE

D EB U S S Y
D EL I U S
D U P O NT

40 7 5
,

17 8

18 0 2 10 2 62
,

2 69 2 8 6 2 8 8
,

294
2 29
17 0
2 93
2 32

EL G AR

8 7 , 12 8
2 37

EN G LI S H AI R S

148 , 160 17 7 , 2 08 , 2 11 2 18
2 49, 2 67 , 2 8 1 2 96, 2 99 300
156, 164, 197 , 2 43
,

F A U RE
F I N N IS H F OL K S O N GS
FRA N C K

115, 2 86, 300

156
2 07 , 2 34, 2 97
22 5
197 , 2 2 7 ,

F R EN C H F O L K S O N G S

GEO R G ES
GER M A N F O L K S O N G S

73 75
17 3 197 2 15
106 141 164 197 301
2 50 2 52 2 65
12 6 138
12 4 22 3 2 30 2 49 2 67
.

GL U C K
GO U N O D
GRA B EN H O F F M A N N

GR I EG

14

H A N DEL
H A YD N
H ELLER
H I LL ER
H I M MEL
HU M P ERD I N C K
H U N G A R IA N AI R S

109, 115 ,

100, 105, 12 8 , 141, 157 , 160 17 3 18 1 2 18

107 , 12 4, 12 8 , 14 1 156 17 5 2 01
12 8 , 2 2 2 , 2 2 8 , 2 7 2
2 66
197
2 35 2 7 8
197 , 301
,

I R I S H AI R S
I T A L IA N F

18 9
2 05

LI S Z T

2 97

OL K S O N G

MA C DO WELL
MEN D EL S S O H N

MO N TEM EZ Z I
MO R N I N G T O N
MO U S S O R G S K Y
MO Z A RT
MU LLER
NA G EL I
NoRwEGI A N AI R S

52

109, 12 8 , 17 0, 2 01, 2 13, 2 2 0, 2 36, 2 67

66, 111, 124, 12 8 , 144, 148 , 156,
159, 160, 164, 197 , 2 18 , 2 2 8 , 2 43, 2 66
167
73
148
8 6 160, 168 , 2 62 28 0, 2 89
8 7 107 115, 141, 149, 160 189,
,

107
156 2 43
,

O U S ELY

17 0

P ET ER S O N

197
22 7

PUCCI N I

18 5
17 0

PRO P ERT

RA C H M A N I N O F F

R A M EA U

RAv
EL

REIC H HA RDT
R EI N H O LD
R EI N EC K E

138

RO B I N S O N
R O S S EA U
R OS S I N I
RU B I N S TEI N
RU S S IA N F O L K
O

2 65, 2 91 2 97
2 33
287
107
16
0
18 9 197 , 2 15 2 2 7 301
2 97
150
180
17 3, 2 15 , 2 57 2 96
156
14 1, 2 15, 2 43, 2 58 , 301

115

156 164

S O N GS

107 ,

S A T IE
S A I N T S A EN S
S CA ND I NA VI A N AI R S
S C ARLATT I
S C H U B ERT

S C H U M AN N

14, 148 , 164, 2 57 ,

7 0 87

97
148 156
2 13 2 16
2 64
,

S C O T C H AI R S
S I B EL I U S
S I ND I N G
S PO H R
S TR A U S S
S U LL I VA N
S WED I S H F O L K S O N G S
O

113,
160
22 8 ,
2 65

12 0,
164,
2 36
2 66

12 3,
17 0,
248 ,
2 67 ,

300
2 18
243
60
2 58 , 2 7 0 301 302
,

136
18 3
2 57
301

135,
17 3
2 49
2 96

22 5, 2 65 ,

145
197
2 62
302 303
16
4 17 3
,

128
277
2 06
2 8 6 300
2 12
17 3, 2 43

TC H AI K O VS K Y
2 31

V ERD I
32 52 69 8 2
17 0 17 6 2 02 ,
2 19 2 2 5 2 31
2 62 2 65 2 67 ,

VVAGN ER

VVEB ER

WEL S H F O L K S O N G S

115
2 09
2 38 ,
2 7 1,
2 8 5,

12 8 ,
2 11,
247 ,
2 7 3,
2 94,

148 ,
2 13,
2 49,
2 7 5,
2 95
0

16
0
2 14,
2 56
2 80,
2 96
118
,

169,
2 17 ,
2 57
2 82 ,
2 99 300
7
17 3, 195
,

17 3 301
,

86

11

I NT E R V ALS ; S c

H AP TE R

R E LATI O N S HI P

K EY

ALE s ;

t u d y o f m u s i c i s th e s tu d y o f r e l a t i o n s h i p
Tones are rela ted in scal e and in chord ; chords are r el a ted in key
and a ll ar e related to th e accent
A K e y comprises all O f th e tones within th e octav e wi th a
de n it e relation to th e rst tone whic h is call ed the K eynote also
th e Tonic
A S c a l e is a group O f tones consecutively arrang ed accord
3
ing to a de nit e p l an that e s tab l ishes th e key Various kinds O f scales
hav e b ee n us ed at di fferent periods o f time ; this work will tr e at O f
two kinds o nly the g e n e rally acc e pt ed form known as th e D i tonic
and th e Ch oma ti c
A D i a t o n i c S c a l e has but o n e tone o n e ach degre e o f th e
4

sta ff with two mod s maj or and minor A C h r o m a t i c S c a l e i n

l udes e very ton e within the O ctav e
r
A
n
I
n
t
v
a
l
is
th
e
relation
w
ton
e
s
with
resp
e
ct
to
their
e
o
f
t
o
5
distance or di ffer e nce in pitch The name o f th e interval is d et e r
mined by the n umber o f sta ff de grees repr e sented including bo th o f
the tones forming th e in ter v al and they ar e always reckon e d u pwards
unless otherwis e s tated F or ex ample from C to F is a four th C
being count e d as the rst of th e interval
6 A S e m i t o n e also call ed a h l
f s t p is the small e st interval
used in notation S emi tones ar e wri tten in two di fferent ways o n
adjacent degrees o f the s ta ff as E to F a n d B to C Ex I ( a)or by
chromatic al t e ration ( b)
I

Th e

Ex

Wh e n th e tones o n adjace n t degrees b e long to a given diatonic

scale the interval is called a di a toni c s emi tone a l so a s m ll s nd
Ex 2 ( a ) I f o n e o f the two ton e s does n ot belo n g to a given diatonic
scale th e interval is called a c h oma ti c s mitone ( b)
,

Ex 2
.

ec o

W h o l e S t e p or L a r g e S e c o n d consists o f two hal f

steps E 3 (a)
A n A u g m e n t e d S e c o n d is a chromatic semitone l ger than a
whole step In other words thre e hal f steps within two d e gr ee s of
th e staff ( b) Obviously seconds must be on cons e cutiv e degr ee s
7

ar

Ex 3
.

Ex haustiv e

work with intervals is giv e n after th e scales s o that

th e y may be considered in their relation to th e key
8
Natur e has given us th e material O f m u sic in the over tone

also call e d th e Harmonic S eries som e of which are giv e n in th e

,

s,

l
fol
o wmg

Ex 4
.

F rom

th e u s e of this material various scales have be e n construct e d

i

h
c
S
c
M
t
e
p
e
o
d
e
f
l
e
rom
th
e
material
within
s
o
S
c
a
s
F
9
octav e a s found o n th e keyboard s e l e ctions hav e be en mad e for
various mod e s all b e ginning with the sam e note which is called th e
Tonic and usually a common D omi n nt th e scal e s th
In the O ld
G r ee k mod e s with one e x c e ption th e D ominant is always a pure fth
abov e th e Tonic
IO
A F i ft h is said to be p u e o r p e f ec t when the interval from
a glven ton e consists Of thre e large seco nds and on e smal l on e as f om
.

C to

G
II

of

Ex 4
.

is said to b e p u e or p e f ec t when it includ e s one

small second as from G up to C
1
F o r practical purposes consider I and 5 as the x ed to n es
for any mode o f scal e
O f the remaining mat e rial within th e octav e
ther e are two di ffer e nt pitches o f sound for e ach d egr ee of th e staff
from which to select what is known as a dia tonic sc ale
.

A F o u rth

Ex 5
.

k
k

De ta i l e d no wl e d g e o f t h i s ma y b e f ou n d i n s c i e n ti c wor
Mu s i c a l S o u n d s b y D a y to n Mi ll er i s a n a u t h e n ti c wo r
*

s.

Th e S c

en c e o f

13
o f a denite number o f vibrat i ons
tone
is
the
result
3
they should be name d and considered i n dividually rather than in the

rais e d and lower e d this o r that

familiar but incorrect terms

n ot
low e r e d s e cond
F or ex ampl e one should s a y s ma ll s e cond
and i f syllabl e s are us e d th e vow e l sounds changed : Mi to Me ( pro
K
e y r e lation
and
th
e
small
n ou nc e d may
s i x an d s e v e n Le and Te
)
ship inv e sts each ton e with a sp e ci c quali ty which must be known and
f
l
i
f
is
to
th
e
ma
t
erial
music
in
a
musicianly
way
e
t
n
e
u
s
e
o
o
f
In their relation to Tonic the larg e intervals ar e som e tim e s
4
called maj or and the small ones mi no
B e caus e it implies distanc e
th e writ e r pr e fers th e t e rms l ge and s ma l
lwhen r e fe rring to int e rv als
ec t O f a
and th e t e rms maj or and mi nor for th e collectiv e or moda le
scal e o r chord It is much easier and means more to those unfamiliar
with other te rminology
I 5 An interval o n e small second o r st e p l ge than p u e or l ge
is said to b e ugmented s o F# in Ex 5 is an augmented fourth above C
6 Th e small s e cond abov e Tonic is employ e d in o ne O f the
G r ee k modes and th e augmented fourth in the Hungarian scal e AS
th e y will not b e us e d here th e y will not b e discuss e d As state d b e
fore only the major and minor scales will b e considered in this t ex t
a
With th e small s e co n d and augm e nted fourth e liminat e d th
availabl e mat e rial for the major scal e and th e various forms o f the
minor mode ar e r e duced to th e following with I 2 4 and 5 n ec es s
rily common to both mo d es :
I

As e ach

ar

'

'

ar

ar

'

Ex 6
.

s e lection o f th e la ge and pur e intervals o f th e key group

7
form what is known a s t h e m a j o r s c a l e Ex 7 (a ) Th e s e l e ction
o f the s m l
l a n d p u e intervals (e x cepting the s e cond)form what is
known as the o r i g i n a l m i n or s c a l e
I

Th e

Ex 7
.

Wher e do small s e conds occur in the major scal e ? In th e minor ?

8
I f the scale is divided into two groups o f four tones e ach
those groups are call e d t e t r a c h o r d s I to 4 b e ing th e rst t e trachord
Comparing the rst t e trachor d s o f th e major and
5 to 8 th e s e con d
ma l mo de s O f a scale o n e obs e rv e s that th e only distinction is in th e
scal e 3r d In r e ferring to th e se typ e s for conv e ni e nce they may b e
c all ed maj or and minor t e trachords
1

'

14

e ore writi ng th e scale the s tude n t shou l d nd thes e two

te trachords on th e keyboard beg in n i n g wi th each le tter as Ton ic
and 4 of th e desired group
To s e e it quickly press down silen tly I
th e n large and small third alternately :
a

B f

s,

Ex

8
e tc

do w n
Ex

F inding
of
and
8
5

the two upper tetrachords o n th e keyboa d p e

the scal e then large and smal l 6o r 7 as follo w
r

ss

s :

the two tet achords o f the major scale on e sees

that they a e identical but those o f the minor mode di ffer
To d istinguish it from the others th e upper t e trachord o f the
d
origin a l form O f the minor mod e may be designat e d as the o i gi n l
This arrang e ment of material occurs in other ancie n t
tet ac hor d
modes but no oth e r scal e discusse d in this te x t These names for th e
di ffer e nt types O f tetrachords are not given or known as technical
t e rms but j ust as a matter o f convenience in re ferring to them
Beg i nning on various pitches sing the three types with a
e
n e utral syllabl e also S olF a scale degrees a nd le tters
c

Comparing

Ex 10
.

A form

19

inal form
I I ( a)

Ex

the minor mod e that came into use a fter the O rig
was a combination o f th e latter and th e major mod e Ex
Of

11
Anc i e n t f or m

15

Ml

e od c

Hm
ar

on c

7(
Ther e

Hm
2 0.

and

oni c

ar

f or m

o ther forms o f th e mi n or mode the M e l o d i c

'

a re

f or

two

n
t
h
m
i
o
r
m
o
d
e
h
a
s
ery f or m o
e
t
h
e
m
n
or
Ev
i
tetr a c hor d
f

rom
I
to
4

f
W hat is k n own as the M e lo d i c M i n o r has the major tetra
a
chord from 5 to 8 ascending and the original tetrachord descending
the

or

rst

Ex

I I,

a r m o n i c form is compose d O f the

What is known as th e H
small 6th a n d large 7 th for th e upper tetrachord which may be called
th e ha monic t t a c ho d b e caus e it distinguishes that form o f th e minor
m ode Ex I I
What is the interval bet w een 6 and 7 of this form o f the scale ?
e
Where do th e small secon ds occur ?
S ummari ing the thre e forms o f th e upper tetrachords observe
d
that in o ne 6 and 7 are both large ; in another both small ; and
another o ne small an d one large F ind th e s e on the keyboard :
.

e r

Ex

12
La r g e ,

Ex

13

Other help ful summaries

fo r

ma l l

On e

of e

the keyboard are as follows :

16

the fo m that p eceded the melodic

oth e rs a fe w e x cerpts ar e given here
As

th e

is

see n les

fr

eque n tl y than

Bac h : Bourr e

Gr i eg

O r i g i na l

Sc hube r t

Mi n or A s c e n d i n g

Ba c h

a
major
scal
e
dep
e
n
d
s
upon
th
e
number
g
ats necessary for i ts construction F is th e rst O f the
o f sharps o r
sharps Moving in a circl e o f pur e fths as at a x I 5 o n e has a
formula by which they ma y be remember ed also th e or der in which
th e y O ccur I n writing th e signature th e a rrang e m e nt i s s uch that
th e y wi l l allb e kept on th e staff ex cept Gilwhich is very clos e For
th e a t signatures begi n with B1
7 which is th e rst on e e mp loy d a n d
move down i n a circl e o f fths as at h This will also giv e th e order
in which th e y are us ed a nd placed o n th e sta ff for th e signature
T

e
he h y s i

2 1

na tu r e O f

Ex 15
.

technical n ames f r th e deg ees o f the scale

I st
Tonic
h
Domi
a
t
n
n
t
s
nd
S uper tonic
6th
S ubmedia n t o r S u
M
n
d
t
edia
m
i
n
e
d
o
n
a
t
3
p
S ubdominant
ubtonic
t
h
S
4 th
7
F or a test mark the f o l lowing te trachords by scale numbers
i n dica ti ng the k e ys in which they belo ng C api tal le tters are u ed f
th e major keys and small le tters for th e mi n or
Th e

are

'

or

Th e teacher should
modes o f the scale from

test the s tuden t s abili ty to name the di ff ere n t

hearing al s o F amili ar ity wi th th e scales and
the abi l ity to play them readily facilita tes the wo k in harmony and
without that knowledg e o ne always works at a di s ad v antage
A C h r o m a t i c S c a l e consi ts en ti e l y o f semi to n e o r ha l f
23
tep

s :

Ex

17

19

Theorists di ff er in
On e sees 61
and
?
5
$
O f a chord , 7 b a n d
4*

regar d to th e notation of th e chromatic

scale
in melodic relatio ns but rarely as compo
being pr eferred for the l a tter F or that
n e nts
reason also because of certain overto n e relations one sees the scale
written as at Ex I 7 with th e second o f the two n o tes in parentheses
instead o f the r t ; also with a small second as in Ex 5 instead of
augmented ton ic
6 An e asy way to write th e chromatic scales is to write the
major diatonic s t le vmg su ffi cient space fo r the chroma tic notes
that belong b e tween them
Wh e n employe d chromatically sharps are u p leaders
ats
c
down leaders ; generally moving a small second to th e ne x t d e gr e e
such mov e ment b e ing called the r s lution F or ex ample in th e key
is
writte
n instead o f F
becaus
e
th
e
f
ormer
is
an
u p l e ad e r
Of G
El
f
resol v ing on Fth e scale 7 th B ei n g a small 7 th in th e key O f G F
would naturally resolv e d ow n and for that r e ason would b e employe d
in the descendi n g chromatic scal e It is owing to these principl e s that
double ats and sh arps are sometimes employ ed
8 th e asc e ndi n g passage requires the double harp fo r
Ex
At
F (not G) and at h th e small 6th requires a double t :
a.
.

e o

a,

Ex

18

e tc

etc

r e two g e neral
o
f
T
a
the
result
relationship
to
onic
ther
e
4
quali ties O f to n e in key A c t i ve and P a s s i ve P r o g r e s s i o n and

T o n a l M a g n et
R e p o s e crea ti n g what has aptly been termed

the
scale
ar
e
th
e
magnets
repos e ton e s th e r e
n
O
f
is m
I a d 3
maining ones p ogression ton e s r e solving on the magn e ts
2

As

Ex

19
2

E x am ple
a
to ei ther I or 3

6 5

ud
19 shows that the natural resolution o f Re scale
and that F a scale 4th is a de cid e d down lea d er to
is
Mi scale 3 d S ing and name th e natural resol utions as given in th e
Wi th th e Tonic as a tone c enter
notic e th e t e n
foregoing e x ampl e
den e y o f the two t e trachords o f k e y Being th e ex tr e m e s o f th e t e tra
chords the 4th an d 5 th o f th e scale may b e considere d th e pivotal
tones O f th e scal e a nd key I 4 and 5 are t e chnically termed th e
,

m
ar
t
n
s
o
e
y
p
ri

-z

hey

20

This

principle O f resolution provides a working basis for part

leading that can be acquired in no oth er way s o it must be thoroughly
understood and f lt In the study o f harmo n y th re l ation to c h ord
root is e mphasi ed but this m e lodic relation is vas tly more i m
h

eling for hey c h d l tions hip and r hythm are th e th e

c
An i o l ated tone or chord means
es s enti lf a c to s in music educa tion
only s o much chord material ; the signicanc e o f e ither i s d eri v ed
I f a student does n t feel
from relationship to nal and rhyt h mical
and he r thes e relations he should take a course o f ear training to a c
s
a
f
or
b
e
t
e
c
e
s
s
quire it ; hearing is b olut l
the
r e sults This system
n
y
y
i s not for the tone deaf
I n t e r va l s As mentio n ed in the preceding lessons in ter
2 5
vals are described as P er fect o r P ure Large S mall Diminis h ed and
Aug mented
Th e y ar e me l odica l ly r e la ted when they occur co n secu tive l y;
harmonically related when they are sounded togeth e r

m
e
tw o mo te s o n the same degree
P
r
i
5
S trictly sp e aking a
is not an int e rval although It I s s o class e d
o f the sta ff
c
A P u r e P r i m e o r U n i s o n occurs when the two notes are
iden tical indicati ng that two vo i ces take the same tone as at
Th e fe

-r e

or

re

Ex

pa

ho

p ti n g th e S u b to n i c

r d -3r d

ma y

r ts

5 t h , 7 th

do p
l
u s ua l
y t
and

9t h

or

it

h e wi s e
r

it is

Ex

but

to t

wh e n t h

his p
e

r ee

r es o

in

m ov e m e n t

r ogr es s

to

i on

Th e

po i n t o f

re

ro

r es s

r es o u

re a t o

on

e nt

ee

on e

i c

mbo d

is

c a s es

as

ra

k
y i

u n d e r s to o d a n d

f e li

it

as

pl

r u es

pp l v

ts f r o m w

bu t

m ea n va s t l

h i c h th e

ym

r u es a r i s e.

c a

er

Of

to n e

r ea s on

th e s c

fo r th e

a e.

Th i s

r e po r t of

h o u l d b e ve r y f e w r u l e s e l ti n g t vo i c e l e a d
tt
tha n ul
b e c u s e i t a ppl i es t
ve y c s
h
th c l
nd
d r l ti n
Ru l e s a ppl y to S p e
t h e mu s i c s en s e
a ny t
G v n i n g p i n c i pl e s
b e c a u s e t h y i n c l u d e t h e r h y th m i c a n d t o n a l
s

Th e p r i n c i
e i s be
i g ed to th i n tone s i n b o
ob l
tt e , i f
ea
er
a nd a

a r e n e c es s a r

e ff e c

wou l d p p l y to a n y o t h er a c ti n
w e ll a s a p c ti lf a t s o t h e i s

u s tr a t i o n

ar

s a sc

If i t i s
and

20

i i l i ll
l i ni
i i
mm
f li g

c o

As m

i ng

k
v

r es o l es a c c o r d i n g

ot

r og r es s

ho d i s f
i n c i p le f p
l
v m ve

to n e o c c u r r i n g a s r oo t o f a c

h i s wa y M e a d i s ti n c ti n betw e n p g i o n a n d
l ti n
E a m p l e 2 0s h o w s t h e s c a l e 6th a s o t 3 d 5 th 7 t h a n d 9th i n e c h c s e r e s lv
n t h e s c a l e 5 th
At ( h )i t d o e s n ot re s o l v e b u t p og r e s es t o n t h e a c ti on to n e

s
o
e
p

i ng

2 1

Ex c

As

or e ,

er

a e a

es

or

e a

o e

o
.

er

e,

21
d

An A u g m e n t e d P r i m e

a c romat c semi to n e abo v e

h

Ex
e

6
.

one o f

oe

th e tw o n t s

21

W i te augme nted primes O f G B F 1

and
E
3
S e c o n d s are L a r g e S m a l l and A u g m e n t e d
,

Ex

is

th e

o curs w he n
o ther as at 5

Ex

2 2

22

note at 5 write small seconds in melodic relation

wherever they could occur in scale indicating both th e k e y and scale
degrees as illustrated in Ex 2 3 U s e th e ha rmonic form o f the minor
mode When th e last ton e o f th e interval is an action ton e resolve
it accor d ing to th e principle o f resolution given in Ex 19 The r e
l
a ti o ns h i
o
f
th
e
material
f
mu
ic
in
k
e
y
and
to
rhythm
is
that
which
o
p
giv e s to music its na ture U nrelated th e in tervals hav e n o more
u
t
o
n
meani ng than the unattached syllable
l
ut o
r
e
t
i
o
l
a
o
O
f
f
y
a

Abov e e ach

mus i c

Ex

23
Din e 4

bl
?

2 s

1
Gl
:
7
2
)

6 5

rom the construc tion o f the scales one knows that small n d
occur betwe e n 3 4 and 7 8 o f major scales nd 2 3 5 6 and
P l acing a gi v en inter v al in key it must necessarily
8 o f minors
7
b e o ne o f thes e Think th e int e rvals not on l y from th e tonic hutf om
a ny ton e i n h y
I f this is di ffi cult r e peat th e rst two ton es onc e o r
twic e to estab l ish rhythmic progr e ss; th e r e solution follows naturally
Th e only success f ul s tuden ts o f harmony and c omposition ar e they
b
who he r what they se e and thi nh ton s ela ti vel
not
n
e
c
e
ssarily
a
y
solute pitch
B oth
c
Two tones d o not establish a k e y o r mak e a m e lo d y
rhythmic and melodic progress an d resolution ar e necessary This
means at least two accents an d two di fferent qualiti e s o f harmony
uti on ;
Th e w e ak pulses movi n g to th e strong constitut e r hythmi c r e ol
th e ac tion tones moving to repose h moni c r es oluti on When th e s e
two coincid e th e e ffect is a we l l d e n e d paus e called C a d e n c e
d
To think or he ar an ascending small s e con d f rom F to GP
on e can s a
n
o t con
f
o
r
scale
but
th
e
eeling
key
is
f
o
f
that
it
is
8
7
y
Vi ne i n
un
il
rhy
hmic
progre
ssion
an
d
resolu
ion
are
establishe
d
by
t
t
t
g
5

ar

22

repea i g the 7 th; 7 7 1

by moving to the o ther ide f
in
the ex ample gi v e n
e
S ing th e third e x amp le in three pulse meas ure ins tead o f t w o
pulse as w itten and hear the undesirabl e e ff ect As scale sth has
th e natur e o f a repose to n e when beginni n g o n the accen t there is no
contrast o f quali ty between th e two acce nted to n es as there shou l d be
This would be good as a fragment o f a larger
o n th e nal cadence
whole but not for cadenc e As scal e 6th is a progr e ssion tone the
two puls e measure is better
ummari
e
th
e
points
o f th e lesso n by combining the in terva l s
S
f
i nto one m elody F or e x ample

t n

or

1,

1, a s

Ex

24

n
bserved
in
scal
e
structure
ther
e
is
only
o
e
place
where
7
an augmente d second occurs Write above th e following and resolve
t h em :
2

As

Ex

25
g

Thirds

Ex

are

La r g e , S m a l l

and

z 6

D i m i ni s h e d

26
L

in scale s t ucture a large third is a n in terval of

Writ e them above th e no tes t 5 E 6
tw o la ge steps or seco n ds
re o lv i n g the ac tion tones nd comp l e ti ng the cade n ces as i n E
7:
a

As Obse r ved

Ex

x.
x

27

#
Th e ea ie t way to do this is to begin with each d egree o f the
5
scale both modes an d mak e a memoran dum o f each p l ace as it is
As 1 a n d 3 are bo th repos e tones there is no thing to
fou n d in sca l e
resolve melodicall y Resolving S l scale 5th in 3 7 5 8 the latte r
may be ta k en ab o v e or fall back to its ge nerator as at h
A z5 7

B : 4 6
s

6 8

3 5

or

23

u ma i e th e la ge thi d i n t
mo n ic form o f the m n o r mode :
c

S m

r z

me l ody

o ne

i g

har

th e

us n

Ex

28

f
in
the
construction
o
scales
a
small
third
con
9
i ts O f one small second and o ne large o ne
Write abov e and below A an d Bi) resolvi ng as be fore and om
bi n ing into o ne melody
This work takes a co n siderable though t n d time but the resu l ts
j ti fy all o f the e ffo t necessary
F irst
it trains on e to think a n d feel melodic cadences nd
estab l ish key in the most simpl e d irect way
S econd it provi d es a revi e w o f key material a n d scale s truc ture
Third it develops an understandi n g an d f eeling fo th e N a t u r e
of M u s i c
F ourth it teaches the relationship o f harmo n y to accen t
nd o f
accent to accent essentials o f great impor tance
F i fth it provides a basis for part l e ading in the work that is to
fo l low not only r e ndering un n ecessary the c ustomary rules with their
multitudinous ex c e ptions but it makes tone thi nhi ng unavoidable
S i x th it is th e k e y to modulations
2

As O bs e rved

s s

us

semiton e smaller than small or pure is said

to be d i mi ni hed
A di mi ni s hed 3 d co n sist s o f small 2 n d s and is found
in a l tered chords only As thes e i n tervals do not O cur di toni c ll
y
t h ey may be O mitted until Chapt e r I X o r be writt e n without placing
in key Writ e abov e th e following
0
3

int e rval

An
s

one

Ea r

tests

I f o n e s o de s i r e s , the
ployed in c hor d r ela ti ons as given
i n the r s t pos i ti on o nl
y
1
3

in te vals O f a thi
in paragraph 4
r

0,

may now be em

44

a nd

di ng
4 5 , hu i l

24

After

the cho d
di fference in f th
r th s
u
F
o
3
r

is h e d

w i tte n by uperpo i n g

s a re

th e th

id
r

s,

o te

th e

are

e ( pe fect) A u g m e n t e d and D i m i n

Pur

co ns is t

A p ur e 4i h

s o f two

Ex

la ge
r

2 nd s a nd o n e s

"

29

ma l l

o ne

\
[

W i te pu e fou ths abo v e F Pi and Al

) pla e them in melodic
relation a nd re s olve a s in th e foregoing lesso n s
nter n ll
n
e
t
h
a
i
h
d
t
e
a
n
a
t
i
it
be
e
A
i
s
u
l
l
t
t
fo
g
y
f
33
y
th e par t to p oceed by leap o f a third o r in th e co n trary di e ti o n
nd
n o t by step as at a
r

ar

s ua

Ex 30
.

El

F: 1 4

Bad

re l at ion o f quali ty to acce nt a nd acce n t to accent is well

i ll us trated at h F th e scale u d naturally resolves o n E1
7 the tonic
7 th e scale 5th resol v e in th e u ualway u to the tonic
To hav e let Bl
p
woul d hav e re s ult e d in an unrelated o r irregu l ar connection o f th e
c
t w o accen ted tones The tonic gene at e s th e fth which n aturally
proceeds in th e sam e dir e ction to resolution but it is almos t i f not
equall y a s good to let th e fth fall back to its gen e rator and in this
case th e r e lation o f the acc e nted tones r e quired it
t
h
n
t
e
f
m
u
e
d
consists
thre
e
larg
e
degree
being
an
n
a
o
s
A
4
4
g
3
i n te v al o n e semi ton e la ger than a pure 4 th Wri te aug men ted 4 ths
This i n terval
? a n d A plac e in key and resolv e a s be for e
abo ve F C l

will fu nish a reason why the word usually was use d in paragrap h
t
f
t
Diatonically
the
augmen
ed
ou
h
o
ccurs
in
but
plac
e
s
w
t
o
un
33
l ess o ne S ho l d e mploy th e u n usual inter v al from scal e 3r d to 6th in
the melo dic form o f th e minor scale Employi n g an augment e d fourth
as 4 7 o f scal e th e nature o f the materia l sugg e sts the r e soluti on s ince
both to n es o f th e in terval have a x ed resolu tion o f o ne s tep to a point
Occurri ng as 6 2 of a harmo n ic minor scale because the
o f repos e
natur e o f th e material has a downward te ndency th e resolution i s likely
Emp l oyed in harmo n ic re l a tions th e tendency
to b e down a s at
is also down ( c )
Th e

-z

'

Ex 31
.

26
38

e ve n t h s

Ex

are

a ll

Sm

tests

Ea r

and D i m i n i s h e d

35

Wri te as i ndica ted

La r g e

L a r g e , S m a ll

D i mi n i h e d

O
t
a
v
e
ar
e
c
s
39
Writ e as indicated

P u r e , Au

g m e n t e d and D i m i n i s h e d

ur e

A u g me n

FA

An

CT S

interval one semi to ne

TO

D i mi n i s h e d

ed .

R E M E M BE R

maller

than

m all

or pure is said

to

be

di mi ni s hed

La rger

by

o ne

semi to n e tha n large or pure

R E VI E W

U
S
TI
O
N
S
E
Q

it is

m
ented
g

au

? m no
B nd
Writ e th e signature for C# mi nor D# mi n or El
? major
Cl
Nam e the le tters in th e upper tetrachor d of the G har mo ni
min r scale and the descendi ng f rm f Ab mel dic min r
Name the le tters f E major and F # chr ma tic scale
What acti n t nes are u p leaders ? D wn leaders ?
What is the di ff erence be tween chr matic and diat nic semi t ne ?
Writ e an e x ample f each
Wher e d small sec nds ccur I n th e harm nic min r scale ?
Where do the f llowing i n tervals ccur Diminished 4 th ? Au g
m e n te d z u d ? Diminished 7 th ? Augmented 4th ? D imi n ished 5 th ?
La ge 6th ?
Name i nterval s in selec ted t w o par t work b oth by sight and
und
,

r,

so

C H AP TE R
C H ORD S T RU
'

4O

ulius
J

K lauser

II

C T UR E

dened chords as

ec ti
S el

vcombi ations
n

of

H e coined the word Biad for a two tone chord by analogy

wi th t ia d In chord th e t erm i nt va lr efers to th e relation o f the
t_
he root Th e chord inter v als may b e distinguish e d from the
tone s to _
scale n umbe rs by designa ting th e former as chord 3 d chord 5 i h e tc
A chord 3r d is n o t n ecessarily the 3 d o f the scale
Chord 3 d o r
chord 5 th means that distance from root and has no re fer e nce to scale

er

i tio n

A Tr i a d

is a three tone _hor d c ons i s ting of a root (gene

rator) third and fth The simplest arrangement o f these chord de
x
h
re
e
is
when
they
app
e
ar
as
superposed
thirds
E
6
T
e chords
g
3
are then said to b e in the f u nd ment l o r oot posi tion
41

Ex

36

is constructed by sup e rposing an other

third upon triad 5 Ex 36 this note being a sev e nth above root
A N i n t h C h o r d is constr ucted by superposing bo th
43
seventh and ni nth upon triad as at c
I n th e arrangeme n t as given th e diatonic chords ar e con
44
structed o f large and small thirds only the mode o f the chord d e pend
n
pon
th
e
location
and
combi
ation
thirds
o
f
u
n
i g
a
A simpl e way o f nding all o f the possible combinations and
r e sultant modes is to represent the thirds by two si es o f blocks
2
4

A S e ve n t h C h o r d

Lar ge

mall

Maj or

S mall , Lar ge

Mi nor

Two s mall
Di mini s hed

Two

l arg e

Augmented

With this plan e v en childr e n can nd th e di ffe rent types on the

key board in a very fe w mi n utes they h ve f i t le n d thi ds
5
As the third and fth o f the major and minor chords a r e the
same as in the scales naturally the chords would b e s o d e scribed o r
c l a sied
,

Th e Na tu r e

of

us i c

rs

ar

28

co mb ination of two mall th i ds re u l t in a d i mini hed

a D im inis h ed
C hord s th a charac teris tic that d esc i b e
th e c h o d
Tria d
a
The two large thi ds make an aug mented chord s th o the
mode is described as an Au g m e n t e d T ri a d
E mploying each tone wi thin th e o c t ve a s root wri te play
45
and sing the four types o f triad indica ting the root and mode b y
capital let ters for the maj or and augmen ted wi th the acute sign fo
th e latter as shown in Ex 37
S mall letters are emp l oyed for th e
minor and diminished triads with the degree sign for the latter
Th e

as

'

s,

Ex

37
g

For drill in tone thinking the student should sing the vari
o u s chord degrees nami n g them and testing himself at the ke yb oard
In th e study o f music the rst commandment is : I 7 i n T ne and th e
second and third are like unto it
Adding a fourth part by repeating the root in the higher
47
octave one sees the interv a l o f a four th fro m th e cho d s th up to roo t ;
Ex 37 o What types o f fou ths are found ? They may also b e
represented by b l ocks for those who are he l ped by the de v ice
f
h
hen
the
relative
position
the
c
o
d
degrees
is
changed
8
W
4
by p l acing other than root in the lowest par t the chord is sai d to b
inver ted
46

Ex 38
.

When the chord gr d is in the lowest voice the position 18 said to

be the t i nvr ion which may be indicated by th e gur e 3 below
With the chord s th in the low voice we have the
o r th e letter b
s ec ond i nv
er s i on o f the chord which may be indicated by 5 or the
le tter c Theorists are not agreed o n the terminology r elating to i n
and pos i tions One idea is to use the term i nve s i n when
e i on :
v
referring to the lowest voice and pos i ti on with reference to th e upper
voice As this system is develope d o n the melodic basis there is li ttle
need o f the dis tinction ; n either is there occasion for the gured bas
foun d in many te x t
-

e s

rs

rs

d f or s o ma n y di ffe r e nt p u p o s e s i n mu s i c th a t th e r i s a l wa y s
m o r e o r l e s s c o n fu s i on i n t h e m i n d s f t h e s t u de n ts F i s t t h e y i n d i c a te r hy t h m i
d e ; t h a t i s t h e p u l s e s i n a m e a s u r e ; s e c o n d t h e y i n d i c a te s c a l e r e l a t i o n ; t h i r d t h e
i n t e r va l s o f h a r mo n i c r e l ti o n Wh y a d d to t h e c o n f u s i on by e mp l o y i n g a s e t o f
I f n u mbe s a r e u s e d t h r
r h a mo n i c r e l a t i o n ?
e
n u m be r s t h a t e x p e s s n e i t h e r s c a l
n d w i t h t h e h a r mo n i c r e l a t i o n s a n d i t i s
es
i s n o r e a s n wh y t h ey s h ou l d n t c o
I t th e s t u d e n t
m u ch mo e s i m p l e Le tte s t o i n di c a te t e ch o r d p o s i ti o n s a r e e a s
8 no o bj e c t i o n t
i s l e a d y f a m i li a wi t h t h e s y s t e m u s e d f o r t h e g u r d ba s s t h e r e y
v
i
d
i
h
y
i
d
i
c
o s i t i o n on l
a n d a e n ot the b a s i s o f th e w o r
Th e
n
a
t
n
e
t
e
r
o
y
th ir u s
g
p
p
n e e d a n d u s e f u l n e s s o f t h e s y s t e m n o l o n g e r e i s ts
*

Nu mbe r s

a re u se

or

rr

e,

k
,

29

I f o ne wishes to designate the chord degree o f both upp r and

owe r p arts i t may be s aid that chord is in the position o f the r i
l
and thi d iftl and thi d e tc mentioning the melody ton e rst o
vice versa as o ne chooses The impor tant thing is to n the rela
tion of this key materialand know how to u s e it
In th second and thi rd position s o f a triad the intervalof a 4th
is seen from s th to root A s that i s the only place in a triad where a

of
the
chord
but
s b e recogn i ed a s 5
appears
it
may
alway
t
h
4

not necessarily 5 1 o f s cale

t
E
mploying
each
tone
wi
hin the octave as 3 d and s th o f a
49
triad play and write the second and third position o f both major and
minor triads Take the third position rst because it is much easier
to think
e

oo

ea r

Ex

39

5 th

as

as

3r d

By all mean s learn to think and feel the chord relation fro m any
interval s o that recognition o f a chord may n ot depend u pon play
ing or seeing it in the rst position S pell the chords that is n ame
the letters sing the intervals and play them moving quickly from o ne
position to ano ther I f it is di fficult to think a fourth st repeat the
rst tone to establish rhythmic progress s suggested in the pr evious
lessons : 5
sl
s s/
Cho rd gt lc tur e is now reduced to the simple process of ombi n
i ng thi m
i atoni g th i r ds g aar ge a n d s mall ) o r a third and a fourth
o there is n o r e s o n w
t
shou
l
d
not
a
le
to
hink
every
type
b
e
b
e
o
y n
_ h
,

QLQhQ L

ln e

vef ypo s iti on .

'

Mark

the following indicating the root and type and name

the ame w h en p l ayed f r ear te t
0
5

Ex

s s :

40
E

bo

3O
ebus s y

Ad d

possi b l e

ano ther note

to th e

following making as many types as

,

Ex

41

parts o ne tone of a triad must neces arily

Nature gives us space relation in the over tones Ex 4
b e doub led
Beginning with the upper oc tave o f the root and generator there are
t wo roots wi th o n e fth and one third ; beginning with the fth the e
are two fths wi th o n e root and thi d each From this deduce a
working basis
t
Wi t/z t/ e t i n th b s o lowes t p t d ne/ th
1
5

E mploying four

r oo

as

ar

e r oo

When the tones o f a chord a e widely separated as at Ex

r
o
it
is
said
to
be
in
O
pen
e
x
tended
position
I
f
in
four
4
voice writing the soprano and tenor are within an octave the har

mony is said to be in close position

In O pen position the te n or
is generally more than an octave from the Soprano and the pa ts are
more evenly distri b u ted
r

Ex

42

For vocal music the alto should not be more than an octave from
ei ther the tenor o r Soprano A pas age may b egin in O pen posi tion
and some o f the cho ds change to close the position s interchanging
as the mo v em ents of the v01c es requ i re
.

81
C

aki
n g diffe ent pi tches as root w i te
n d p l ay major and
53
minor triad keeping the root in the bass and p l acing each deg ee o f
On account o f cer tain
th e chord in th e upper pa t as in Ex 4 3
acoustical la w s for vocal mug g i ng f th nd Mi n i s / uld be pt wit/ i n
This is no t always possi ble or desirable for ins trumental
music because the ou tside parts are s o often very far apart To avoid
the separation of the fth and third to more than an octave the third
is sometimes doubled as at o:
T

s,

zo

Ex

43

In relation to its fth the s m ll third of th e minor triad

stands as a generator s o the doub led third is o ften heard with good
e ff ect The small intervals a darker in hue another reason why
they are doubled more frequently than the large thirds
v The ls n o f the les son is to cultivate skill in the distribution
It is a delicate and su b tle art as the di fferent tone
o f the parts
comb inations ( inversions and spacing o f par ts)gi v e varied harmonic
e ffect and e x pressiveness
m
E
ploying
the
chord
s
th
in
the
bass
begin
in
close
pos
i
t
i
on
4
5
and write with each chor d degree in th e upper part as at Ex 4 3 e
O b er v e the unstable e ffect of chords in the sec on d inversion in con
trast to the stab le anchored e ffect o f the root b a ses
r d determines the mode o f the major and
As
the
chord
3
55

minor chords it may be termed the color element in dis tinc tion to

basic degrees
the root and fth
th e
S ince one is less likely to increase the color elements e s
a
o f the t hird and fth det e r
l
in
a
major
chord
t
i
o
n
i
l
a
e
c
l
a
t
h
w
y
p
mines to a certain e x tent the dou b ling o f parts in the rst in versio n
The melody tone is usually dou b l ed b u t no t always
Br a ch ord
In the low register 5 E x 44 the e ffect o f thirds is too thick s o
the dis t i b ution o f the parts at e is better al th ough the chord s th and
chord 3 d are more than an oc tave apart P i tch then is an i m
portant factor
a

re

e so

( b)

Ex

44

( 0)

82

v The patte ns o f

and 44 s h ould be p l ayed wi th many

Take t h em on consecu tive degrees rst then a pure
Ex

43

d i fferent roots
fourth apart

species to
5 6 S ome o f the French theori ts apply the term
th e various typ es o f chords th e species num b ers correspon d ing to th
o der given in Ex 37 It is a very p ti c l te m to apply to the
seventh and ninth cho ds
a
S uperposing a small se v enth upon each t iad the seventh "
chords may be designated as at Ex 4 5
o
What kind o f thirds are foun d b etween th e chord s th and
chord 7 th of the various species
What kind of a seventh is e mpl oyed in th e t three spec i es ?
e
In the four th ?
o

ra

rs

Ex

45

ls t 2 n d
.

3r d

4t h

Di m 7 th
.

ls t

2 nd

a small third upon the diminished triad there is

a diminished seven th ab o v e the root from which th e chord recei v es

i
n
h
D
m
e
its specic name the
i i s d S e ve n t h C h o r d e Ex 4 5
The
nin
t
h
chords
are

rst
and
second
species
only
8
;
5
57

S uperposing

7
(1
,

Ex

45

t
play
and
wri
e
the
various
species
o
seventh
and
f
59
ninth chords b uilding upon many di fferent roots P laced arpeggio
wise they make e x cel l ent patterns for technical drill keeping a gi v en
tone as root third fth etc
.

S ing

Ex

46

34

HA P TE R

II I

CH
O R D RE LAT I O N S H
IP

In Chapter I we considered the relation of t o n e s i n s c a l e

In Chapter II the relation o f t o n e s i n c h o r d In this chapter we
will consider the r e l a ti o n o f c h o r d s i n e y
I n the author s
judgment students should be prepared for the study o f harmony by
a course o f ear training su fcient to enable them to Mi nt mu ic an d
ne r what they s e e
S uch training is as necessar y as the study o f
grammar for on e who e x pects to write E ng l ish When s o prepare d
the student can begin the study o f ha rlnony at this poin t
Fully understanding chord structure the student is now ready to
leave the fundamental tone as a wo king basis and work from the
me l odic and rhy thmic basis only
M K lauser made a distinction between t im d and la m nie r e
the li r/nonie percept arising from a chord of d ni te key
l
a ti o n s
material F or e x ample G B D are components O f a G chord that
By itsel f it is nothing but s o much music
might belong to many keys
ma terial C onsidering the chord as I 3 5 o f key there is a quali ty
arising from the sc ale degrees which is more than mere chord relation
o f intervals ; there is a na n nonie p e e pt
Because the material o f each chord in key varies the laws
governing them apply only in the general way presented in the
previous chapter
E ach chord possesses certain specic qualities
re ul ting from the key material o f which it is composed s o it is very
impor tant that one should hear not only the relation to chord root
but also lea the s t le r el tion o f the ma terial employed That the
student may from the outset hear the scale material in its harmonic
aspect but two harmonies are emp l oyed in the beginning the others
being introduced progressively
G rouping together tones o f a similar quality we have a
6
t iad of the magnets (a)a nd a nin th chord of the action tones
60

'

z r

r e

(a)

Ex

(b)

(a )

(b)

47
1

9
V

vt
9

Do the tonic asserts itsel f as the root and harmonic generator

asserts itself as the root and
o f the 3 d and s th : S ol the dominant
harmonic gene ator o f llo f the ac tion tones
Referring to Ex 4 7 b egin o n each d e g e e o f the scale which
a
is he e placed chord wi e and name the type of triad b uilt on each
r

85

one

Obser v e in par ticu l a th loca tion of th aug men te d nd d im

ni s h e d triads
Beginning with the sca l e 5 th one sees that the st four tones
5
of the action group are identical with the rst species o f seventh
chords U nless formed o f the original minor scale the Dominant
Seventh chord is the rst species
The dominant harmony followed by the tonic makes what
62
is known as the A u t h e n t i c C a d e n c e P e fec t when the root o f the
tonic chord fal l s in the tw o outside parts with root b ass in the domi
nant chord ; i npe et when otherwise E x 4 8
As cadences make o r mar the artistic side of a composition
a
their importance cannot be over emphasi ed As o ne should think
and write phrase wise treating each part as an individual melody the
cadences are the obj eti ve p oi nts to which everything leads
While hearing the parts as superposed melodies as stated b e
b
fore each tone should be heard in relation to the root of the presiding
harmony For training in this play the patterns o f E x 4 8 sing and
name both the scale and chord relation o f every tone F or e x ample
taki ng the upper part o f No I I DO chord root to Re chord 5th
to Do
Bass : DO chord root to Ti chord 3 to Do Alto S ol
c h ord s th S ol chord root S ol Tenor : Mi chord 3 to Fa chord
h
M
t
to
i
7
S ometimes there is confusion about the s e venths S O notice
e
tha t the scale 7 th is not the domi nant 7 th Other relations will be em
ployed la ter ; the les on n w is to lz these two relations chord and
scal e s o that th e N a t u r e o f t h e M a t e r i a l may b e th e guide to all
art
leading
p
l

r,

ea r

Ex

48

36

The root o f the c h ord is indicated by a Roman numeral c o r

responding to the degree o f th e scale upon which the chord is c on
structed and the c h ord degree i s indica ted by the Arab ic n umeral b e
l ow the Roman From this time o n the harmonies will be s o indicated
w hen referring to them in the te x t
The cadence pat terns should be transposed to many keys and
e
played in both modes Transposition is very val uable for ear training
and tone thinking without which there is lit tle success in the study O f
harmony To wri te without hearing is as hopeless as painting by the
co l or b lind
63 The student should now construct cadences without help e x
cept that gi v en in the te x t Outline the musical picture by writing the
two outside parts before the middle parts a e considered As the b ass
i s second in importance to the melody acquire the habit O f giving
When a good bass is wri t
th ose parts the rst and most attention
ten three fourths o f the work is done
First decide upon the obj c ti ve p oi nt or nal tone for the c a
a
dence which will be I o r 3 o f the scale for the bass; because they are
d

37

on l y S tric tl y repose tones F om th e preceding wo k on e knows

that the root may b e dou bl ed s o it may b e se l ec ted for b o th of the o u t
side parts
5
It is not absolutely n e c e s s a r y to begin with a repose tone but
as it is easier do s o for the pr e sent Having selected the close as at ( a)
Ex 4 9 for the V ha mony take an y two paths that will lead to the
close selected as at
The essential thing is to s ee that both pa ts do
not take the same path as at (c) which would simply repeat the me l o d y
in another octave Th e idea and purpose o f harmony is to add color
and diversity to the parts so o f cour e the movement o f the parts w ill
not be identical
th e

'

Ex 49
.

Bad

By placing each melodic pattern in the upper pa t and putting

every possible bass wi th it o n can easily nd many interesting com
r

b i n a tio n s

These cadences are not necessarily what should be used at

the close of a composition but also what would be suitable for the close
This brings
o f any phrase and any tonic harmony within th e phrase
into use the inversions but with only t wo harmonies that is a simp l e
matter The practice o f writing and playing root basses persistently is
o n e o f the pitfa l ls o f the beginner and worse than time was ted because
it is a hab it di fcult to eradicate As there is no good music without
in v ersions the hab it is not only negatively bad b u t positively s o
Moving from 3 d to roo t the progression for the b ass at ( a)
64
Ex 50 would be better than at ( b)the small leap o f a third b eing pref
This does not ap pl y to the upper part which is
c rab le to the Si x th
e x pected to be more decorative in melodic line
,

38

If th e low B is desired another tone which wo l d al o lead to

t th e nal tonic could be inte po l ated as at ( c ) then th e l ong leap
f a
fth would b e from a t ne of the s me h m ny a regu l ar o v ertone leap
L ng l
e p s to the s me ha mony are good b u t to other harmonies must
b e made with care
S pecic c ases o f this will be discussed later At
the same action tone is taken for bo th parts b ut a s they are a p
p oa c h e d and left in contrary direction the e ffect is good
h
The bass o f ( a) Ex 5 1 is not good The interpolation o f G
d o es not erase the effect o f D and its relation to C in the following bar
To ha v e p l aced D o n the accented pulse with longer duration o f G
th e relation O f D to C is lost and the e ffect is good
O bservance o f
th e color principle for inversions o b vi at es these undesirable e ffects
a

ar

Ex 5 1
.

Bad

G ood

e
DO not add the middle parts until the two part work has been
co rec ted Take each path to cadence for bo th parts alternately
Pl ay them in many keys and Sing o ne part while playing the o ther
That the foregoing work may be corrected before doing any
65
more of it a revie w o f chord structure i s sugges ted he e
Mark the common tone in the following e x cerpts indicating the
c h o d degrees F o r e x ample B is s th 3r d etc
'

Wag ne

Ex 5 2
.

Ma c Dowe ll
.

89

Ma c Dowell:

Wa gner :

Par s i f al

a given tone in the upper voice employ it as I 3

the four types o f a triad; dominant and diminished seven th ;
large and small dominant ninth
66
and
of
5
.

K eeping

Op 5 5

Ex 5 3
.

Do th e

3r d ,

a s r o ot ,

same with a given tone in the rst a nd

A r oot , 3r d

5 th ,

r oot ,

3r d ,

7 th ,

5th ,

v oices :

s e c o nd

3r d

Beginning with S ol scale 5th and taking the various paths

to I observe the fo l lowing : U nless the movement o f the voice follows
the harmonic line (chord d egrees) a fter a leap larger than a 3r d the
r
F
o
f
progression is u u ll
i
n
a
direction
r
to
that
the
leap
c
o
n
t
a
o
y
y
e x ample as a t b it is be tter to let the D the second of the scale
"
move to E in preference to C the stronger magnet Af te long le ps
th e voice may move c ho d wi s e but not s tep w i s e
67

Ex 5 4
.

P oo

B e t er

40

Ex cep tions

to th is ru l e wi ll b e given later but none s h ould b e

made in th is les on
The scale n d ( V sth)might re o lv e o n Mi chord 3
68
in
Ex 5 5 Addi ng the b ass o ne shou l d not w ite as at ( a) In th e rst
b r the parts b o th l ea p the same dis tance in the same direc tion and
root and 5 th o f I and V
th ey
e b oth basic degrees of the ha mon y
Having the same cho d re l a tion and moving iden ticall y there is no
contrast The e x amp l e at (b)is top heavy b u t possi b le in the mid d le o f
a p hr a s e f l
At ( 0)there are two consecutive rst inversions which a e good
a
although th e par ts b oth mo v e b y leap the same distance in the sa me di
rection In this the relation o f the parts is 5th and 3 d b sic and
color n o t two b asic degrees as at (a) This cadence (a harmonic reso
l
u ti on only wou l d b e desirable only w i thi n a phrase not fo r a close
)
,

as

ar

<

Ex 5 5
.

Naturally the doubling cannot al ways be the same for con

rst inversio ns as consecutive oc ta v es would result With
s ec
more than two the root and 5 th would be dou bled alternately
D e d u c i n g R u l e s f o r t h i s C h o r d C o n n e c t i o n : O ts ide p ts
b
u ti v
e

ar

mov
l
d be
el moti on s houl
i ng i n p a r a l

c ol
or a nd

ba s i c ,

not

both ba s i c

As octa v es fths and fourths are all b asic relations they should
not be emp l oyed consecutive l y b tw n the outs ide p ts
At
and
e
O
f
Ex
the
e
is
a
basic
relation
between
the
parts
o
f
55
(
( )
V b ut they are n o t taken co nsecu ti v e l y b o th the preceding and fol
lowing chords having a b asic and co l or relation )
,

ee

ar

B a s ic

r el
a tions

may be

h
ta hen c ons ec u ti v
el
t
r
i
t
e
a
s
y f
p

mov
e in

c ontr a ry

Do not employ the melody 5 3 fo the bass but for the

present only the repose tones I a nd 3 for b oth b eginning and close
The scale s th may be emp l oyed in th e upper parts o f I wi thout de
stroying the distinc tive qual ity o f the harmony The chord degree in
the b ass greatl y in uences the nature of the harmony and there is a
69

c
h y
d
ch
d
ic c
c iv
i ci l
b di
l h
ll y i v
v ly
v i
f c
b v d
d l
c di i
h
h i d i bl
v
d
b y
bl i dl y h y h ld v
i
bi
il y
d d c d f
c id
i
Wh
l
hy h i c c
d
l
ic
h ic
i c
i c
ly
l ch
y
ic
v
c i d b y cc
l i f c
l
b
ic

fh

B e a u s e t e a r e u s e s o mu
ly i n m o e r n mu s , on s e u t e t s
c i al
. es
Th e p r n p e O f r e la t o n s h i p e m o e s a llO f t h e r u e s t a t a r e g e n
a r e n o t f or b i d d e n
ast
m o r e A s a r o u s e f e t s a r e o s e r e , t h e s tu e n t e a r n s t h e
or a
en a nd
g
ng
es r a
e or no t
As t h e a e r a g e s t u e n t o e s r u e s
on
t o n s t a t ma e a t
ro m a
ons
n e e r be g v
en a r
e u e
n
e
s ou
tr a r
er a t o n o f
, bu t
, t
a t i s n e e e d i s a n a p p ea
to t h e m u s
s en s e ; a n
t m
e n e te
th e to na a n d r
A ma s te r O f t h e ma te r a
r ea
tea
er
E x p e r en e i s t h e o n
e s t et
e x p er e n e
u m u a t n g a t s o r r u e s a o u t mu s
c a n n e er be a qu re
a
o f mu s
*

i l

42

Ex 5 7
.

the root provides the basic quality for a chord the fth
is sometimes omitted (a )Ex 5 8 The chord 7 th is often sub stitu ted
for the 5th and sometimes they are bo th employed as at (b)
a
For a closing cadence the fuller e ffect obtained by the pres
ence o f the fth is preferable for 1 Because o f this Ti chord 3 f e
quently falls to its generator the scale s th instead o f the natural reso
l
u ti o n
The full e ff ect of I is more important than the resolution o f
one tone in a middle part also o n a weak beat A characteristic o f
G i e g s was to let Ti chord 3 move through La to S o 7 65 when in a
middle part but he was quite likely to omi t the 6 in a descending mel
o d y an omission frequently found in Oriental music
72

AS

"

Ex

58

P lace

a bo e a nd

a given melody in the teno a l o the al to

r,

w ri ti ng both

ow i t
bel

In fo l lowing th e lines O f leas t resis tance from th e rst note to

th e las t the par ts will sel d om a l l leap a t th e same time neither are they
l ikely to all mo v e in the same direction by step
a
When the melody moves by leap Ex 5 9 it is well to begin
in close position unless very widely dispersed parts are desired for the
remaining harmonies In contrast to that if th e melody d s c ends b y
leap it may b e necessary to b egin in open position
73

Ex

59

48

is a tone gure repeated o n different degrees o f

the scale It may occur in harmony or in me l od y There are two
kinds Tona land Re l; the former remaining in the key (a) the latter
an e x act reproduction necessitating a modulation for each gure (b)
74

A S equence

S c arl a tti : P a s tor a l

e

(a )

tc

x.

Beethove n :

Tonal

Op 10
.

Rea l

h
By
adding
a
small
to
a
maj
or
triad
converting
it
into
a
t
7
75
dominant 7 th chord and making an enharmonic change f om Gb to
ats and
F a h armonic sequence o f V 7 I can be made through s i x
Si x sharps back to the key o f C
,

Ex 61
.

e tc

e tc

ma y b e e ff ected through a c o m
Another sequence
mon tone th e root of I being taken as 3 d o f V 7 (a) a l so a s 5 th of
V 7 (b )
a

f
V
o
7

( 5)

Ex 62
.

Another common change

roo t relations
b

Ex 63
.

V7

to

V7

O b serve the

C HA P T E R

ME LO D Y

WR I T IN G

AN D

HA

IV

M ON IZATI ON

LON G E R ME LO DIE S

OF

Longer

m e lodies may be constructed by employing two or

more tones o f the same qual ity in a bar S ome o f the leading theorists
use the term S ec tion for the metric group ne x t la ger than a bar
A s ec ti on m y be two o th ee b
n ot m e
Larger g oups become line
or verse which grouped toge ther make stan as or pe iods
a
The symmetrical proportionate grouping o f these factors is
the most important feature of a composi tion and constit utes the F o r m
of music
P hrase refers to content and is dened by cadence s o it may
77
be of varying leng ths This will be discussed in detail later The r e
lation o f harmony to section and phrase accents is o f great importance ;
in fact s o important that it seems impossi b le to emphasi e it s ufciently
in a te x t
a
The most essential factor in the harmoni ation o f melodies
is the selection o f harmonies to meet the metric and rhythmic needs
AS the harmonic regula tion is grea tl y in
uenced and largely de ter
mined by the section accents and their re l ation to the whole this must
be considered before any atten tion is give n to details
I n all rhythmic groups there are the strong and weak elements ;
b
not only strong and weak beats in a bar but strong a nd weak bars in
a section strong and weak sections in verse or line strong and weak
lines and the same o f stan z as The harmony must be selected to
amp l ify these effects s o after marking the close o f the various r h yth
mic groups the ne x t thing to do is to select the harmonic regulation
o f the enti melody As t h ere is generally more than o ne way o f treat
ing a me l ody especially the longer ones th e rst plan may be modi
h e d as the de tails are worked out but ther e mus t be a d ni te p l n befor e
76
.

a rs ,

or

re

a ny

deta i li s

c ons ider ed

The weak beat followed by strong constitutes a rhythmic c a

dence and when a harmonic cadence coincides wi th the rhythmic
a phrase is clearly dened At E x 66 No 4 the root o f the fourth
chord give s no feeling of repose because it falls o n rhythmic p r ogr es
sion The weak beats are relatively unimportant but the accented
As in all art Con
b eats are the pegs o n which decisive facts hang
trast U nity an d P roportion are essential elements
d
As state d before the purpose o f harmony is to strengthen
rhythmic and me l odic re l ations S ince harmony e x ists subj ect to these
relations it natural l y follows that a consideration O f the latter wou l d
Th e work o f this
b e th e rst step in the harmoni ation o f melodies
c

46

chapter has been planned to d eve l op and empha i e th e fac t tate d in

the foregoi n g paragraphs To do th a t to avoid no te by no te work
and form the hab it o f thinking section and phrase wise al so the rela
tion of o n e to the o th er the rst melodies have b een writ ten to require
but o ne harmony in a bar
s z

s s

ody l
i es
I n the mel
r hy thm gener a te ha r mony

'

d
al
l tha t s houl

be

a dded

to

Melody

it

'

a nd

Working o n that basis the e x ercise o f har

monic feeling i s unav oidable from the beginning and one is obliged to

From harmonic feeling springs harmonic per

hea a nd thi n mus i c

cept From percept concep t

Repl ying to th e th eadbare argument
that the student Should do the mechanical gured b ass work to acquire

a foundation not more than o n e i n ten thousand ever gets beyond

this s o called foundation because the rst impressions are the last
ing ones and they build o n rock that is too barren for real music
growth Music is a matter o f ea r and f ling C ulti v ate both
t
To
demons
rate
the
fact
that
accent
is
a
f
actor
in
the
selec
8
7
tion and that a tone does n o t necessari l y g e nerate i ts o wn harmony
play E x 64 and change the harmony o n the rst D instea d of the s e c
o nd o n e ( in the third measu e )
; then change to the dominant harmon y
as at ( b) Change on the accent fo r a s a t
o n the last o f the measure
i s fa c tor y result
r

ee

Ex 64
.

Bad

B ad

I f the me l ody b gi n n a weak pulse the same bass no te or the

harmon y can b e carried over in th e same posi tion without weaken
ing th e full measure or the harmony fall ing on the accent
e

Ex 65
.

s o

47

As nearly eve y principle o f w i ting can b l earned in deal

79
ing wi th I and V 7 it is b e tter to res trict the wo k to th e use o f those
two harmonies u n til the fundamentals are thoroughly mas tered Va
i e ty o f cho d positions and modes is more impor tant tha n the use o f
many harmonies E ach posi tion and inversion produces its o wn char
c te r i s ti c effect and the se l ec tion o f these to meet the Specic metric
and rhythmic de mands of a me l ody is an art that requires thought e x
i
and
good
taste
The
best
way
to
cultivate
good
taste
and
n
c
e
e
e
p
j udgment is to e x ercise it
80
U nless the tempo is very rapid the law of con t ast requires
the use o f an i nvers i on w h en t w o r mo e s uccess i ve b ars o f the same
harmon y occur
a
C onsidering each part as an individ u al melody inversions are
sometimes employed to make th e melodic line mo e interesting
E mploying o ne harmony successively the artistic law o f con
b
trast requires the movement o f at least o ne o f the ou tside parts The
correct d istribution o f the parts requires at least a change of a second
part
On general principles i f the upper part moves by leap the
c
lowest part remains static and vice versa Ex 66 Th e parts may all
mo v e b y lea p to o ther degrees of the same harmony as in the e x cerpt
fro m Mende l ssohn
I n the previous chapter attention was called to the fact that
8
oo t b as es were stronger in effect than inversions ; the former being

anchored while the latter augment the rhythmic continuity

us iv
e cl
o e the root bass o f both V a n d I Should be em
F or a c onc l
ployed With a slow tempo V ( the second inversion ) is sometimes
5
employed at the beginning o f the cadence section E x 66 No I
r

Ex 66
.

48

M endels s ohn

In th e second b a r o f No 4 Ex 66 th e root fal ls o n the

s o th e cho d 3 d in the b ass n o t on l y pro
c e n te d beat of the melody

vides a pleasing contrast with i t b u t al o wi th the root in the ba s of

T 0 continue the thi d when the soprano takes it
th e preceding b a r
etu n to the root
o n the second beat would be less pleasant than to
Because the entire section is tonic qual i ty and the change o f quali ty
Should occur at the ec ti n c c nt of the cadence I Shou l d not be em
5
ployed o n the fourth beat
d n t b
nti ip t d on a p ec d
i ty of n c c nt d p l c e s ho l
The qu l
The progression qual i ty o f I p ohi b i ts its u e
be t o b
i ng w
5
when strictly tonic quality is desired Because it d possess th e p o
qua
l
ity
it
I S in good taste to use I at the b eginning o f the c a
i
s
s
o
n
e
g
5
dence section as at No 6
The same principle applies to the second b a r O f No 5 AS
b
the chord 3 d occurs in th e me l ody the rst inversion would not be
desi ab le and as I would an ticipate the accent o f the cadence section
5
I i useful in a uccession of changing
i t should not be employed
5
posi tions Ex 67 S uch a p edominance o f tonic harmony in o ne
me l ody woul d b e very mono tono s we e t n t f th e varied positions
and inversions
a

ac

ar

ea

e a

a e

oes

or

Ex 67
.

I
5

I
3

The harmoni a tion indicat e d is not th e best possi ble b u t it i l lus

trates the point of the le on and is acceptab le b ecau e th e second i n
version o f the tonic harmony occu s whe e the progress i on qual ity is
needed t the beginning o f the cadence section
It is usually better to change the harmony for a tone r epeated
8
S ince the scal e 5 th is a c omp o n en t of both I and
o n an accented beat
V No o f Ex 67 Shou l d b e harmoni ed as suggested with contrast
While th e accented
o f quali ty b etween the weak and strong beats
z

ss

No 2 o f E x 7 0 Shows a repeated second inver ion o f V but the

seven th being present it does not assert itself as a n e w tonic As the
rhy thmic progress is to th e cadence a ction the third of I is doubled
in the outsid e parts Rhyth mical l y it falls on the weak part o f the
bar and section s o it is not objectionable
83
S econd in v ersions are rarely lef t by leap e x cept to the same
harmony Falling an octave is not considered a leap because it is the
same chord degree In Ex 7 0 the rst chord is left by leap of a pure
fth b ut the b ass is Do a tone that is free in i ts scale relation I ts
n ature as possessor o f the entire key group is a s tronger fac tor o r ele
ment than its chord relation The preparation o f the root o f the sec
o n d chord also modies the e ffect
.

S c humann

Bac h

Ex 7 0
.

Because the e ffect o f seco nd in v ersions is s o unstable they are

sel d om employed consecutively In the e x cerpt from Bach referre d
to in the prec eding paragraph the primary harmonies the rela tion o f
the out ide parts the doub l ing o f the tonic and assertion o f its har
mony on the accent all tend to preserve the tonality
b
I n the rst e x cerpt O f E x 2 0 7 there are thr ee consecuti v e
second inversions They a e j ustied b y the sequence but Ob ser v e
also the modied e ffect caused b y the dou bling none o f the chords
having the bass dou b led
c
The doubling of I is a ff ected by the duration If it occu
5
o n a wea
beat o r if the dura tion is sho t it is n o t so important that
the b ass should b e dou b l ed Du ation and accent are facto s never to
be ignored
a

rs

51

M o ve m e n t

In paragraph 63 it was said

that two par ts moving in unison ga v e a weaker effect because it prac
tically made on e part less I f all o f the parts are taken i n unison the
passage is stronger and parts are doubled (giving the appearance of
ve or more )when more strength o r harmonic weight is desired In
this case the re are consecutive octaves doub l ed thirds etc
a
Consecutive octaves are also allowed when the second chord
is another position o f the rst :
84

Th e

of

P a r ts

Hd l

Mes s i a h

an e :

Ex

71

Rememb er that consecutive octaves fths and four ths are s o

considered only when they occur between the s a me p a r ts C onsecut i ve
u ms o ns are cons i dered the same as consecut i ve octaves
85
In th e previous lessons consecutive pure fths between out
side parts were said to be u ndesirable They are not unusual between
middle parts o r be tween the two upper parts but between the outside
parts the lack o f contrast is undesirable and the tonality is obscure
unless the seven th is present With a succession like Ex 7 there i s
no feeling for key
b

Ex

72

consecutive octaves there is no O bjection to fths when

the second chord is another position o f the rst
b
Consecutive 5 ths are also considered good when moving b y
small nds or against a pedal point :
L
a

Like

Georges :

Ex 7 3
.

Hym

n to the

S un

52

M or et :

P r el
u d es

Ma z u r

ChOpi n:

k
a

In e x ample 3 the fths bet w een the bass and tenor are justi
The repetition o f a
e d by the common tone also by the sequence
seeming irregularity shows that the latter was n ot accidental but i n
te nti o na l
P lay this fo l lowing the sequence through the sharp keys
back to the key of C
d The fths between the bass a nd tenor o f Ex 7 4 No I produce
no disagreeab le e ffect b ecause the tonality is unmistakab le ; al so because
there is a common b asic tone and in the second chord the common
tone becomes chord 5 th secondary in impor tance to its use in the pre
ceding chord The ve parts o f the chord fall ing o n the accent cover
the thinness that would be heard between the al to and Soprano if the
e x tra A were not there
c

Ba c h

Bee hoven

Ex

74

the chord 5th is taken as root n the accen t b u t the

fths between the outside parts is e x ceptional S o c al led irregularities
are more often found in orchestral scores
e

At No

53

Again

and again they have been found wi th all o f

moving in the sam e direc tion and the last 5 th or the clo e
sage taken by leap :
s

th e

voices

o f th e

a
s
p

Deb us s y

A good composer employs anything that wil l e x press his ideas ;

but the student should st learn the natural l ogical u e o f hi s musi c
materi al and not t y to use for a simpl e te x t what e x perienced com
posers employ for tragic or lofty themes subtle e ffec ts and unusual
con di tions
These e x amples are given not for the student to imitate but to
Sho w that wi th all o f their lib erty good composers follow cer ta i n
p incip l es and have good reasons that a s tudent m i ght not understand
until after much work and the anal ysi s o f th e best music The best
working basis is the principle o f re l ationship especi a lly to the a c c ent
The e x amples have also been given f r the less e x perienced
teachers who have been taught to think that the rule s forbidding fths
were as binding as the ten commandments Nearly all o f the tradi
ti c h a lrules were made for vocal music
As a matter of course they
do not all apply to instrumen tal music The timb re of di ff erent i n s tr u
ments p oduces e ffects that would be unpleasant for voices
86
One should never lo e sight o f the relation bet ween the
metric accents o f the outside parts At Ex 7 6 the impression o f the
st chord is no t erased by the sho t duration o f the s t G in the mel
o d y and the fths between accents
If the second note fell o n the
econ d ary accent as at No 2 the impres ion o f the st would b e de
r

54

stroyed and there would be no e ffect

applies to the octaves o f No s 3 and 4
,

fth

of

The same princip l e

Ex 7 6
.

Bad

G ood

All theorists approve o f fths when the second one is dim

Ex 7 6 No 5 The tonal principle back o f the rule is that
i ni s h e d
the fths are not basic to basic but ba sic to color The fths between
the alto and Soprano o f the last two chords are good because the o u t
side parts are basic and color and th e seventh is present in the V
F or the approach to an accented I the contrary direction wi th
b
E x 7 6 Nos
t wo color o r two basic degrees is sometimes preferred
and
Remember
this
color
principle
applies
to
the
selection
f
o
8
7
parts for i nve s ions only I f the rhythm re q uires the s ta b ility of root
basses they should be employed regardless o f the color principle
In its relation to the whole a r hythmo melodic group may r e
c
quire the strength and conclusiveness o f root basses In contrast to
th at there are groups that require th e lighter e ff ect of inversions
el ti on f o i nv i ns
es s ta hen i n c ont a ry di ec ti on the b s i c a nd c ol
o
Unl
a

is

t
r
t
h
o
t
h
t
b
e
e
a
b
n
l

u s ua ly

c ol
or or

r r

both ba s i c

er s o

The chord 3r d i s rarely omitted but

sometimes replaced by the chord 7 th :
87

on

a weak b eat

it

is

Ex 7 7
.

P oo r

b s t t h e i t O f t h e d y h a ve o mi t te d ll e f e n c to c v d c t v s
b ec u s e t h e y w e c n f u s i n g Wi t h t h p i n c i p l f hy t h m i c n d t n l
a n d f t h s
l ti n s o n w h i ch t h i s s y te m i s b s d a n y u l t h t m i g h t h v s e m d n e c s
is
c v e e d o e mb d i e d i n p i n c p l t h t a m i c l n d m e f e a ch i ng t h i s
u si n
f c v e e d c ta v e s a n d f t h s i s q i t s u p u
S o me

of

th e

es

re a

er

or s

us

re

e o
a

er

uo

er

or

er e

a r -r

es

so

ar

55

Having h eard the chord 3r d o n the accent the ear i s satis ed

and the mental effect is carried over to the ne x t b e at because the latter
is weak Atten tion is drawn to the seventh which provides the color
If the metric arrangement were reversed th e e ff ect would not be satis
fac tory The accented beats demand the vital element of the harmony
An c r us i s is the technical term applied to that part o f a phrase
88
b eginning o n the fractional part o f a bar
I ts purpose is to throw
weight or emphasis o n the fol l owing accented beat For that reason
it i s in good tas te to emp l oy inversions for the anacrusis o r to leave it
unharmoni ed The contrast accentuates the strength of the accented
harmony
89
To avoid the heavy hymn l ike hab it O f writing fewer parts
rests and broken cho d accompaniment should b e frequen tl y employed
For e x ample No 3 of E x 7 9 As th e rst accented harmony is I
the anacrusis may b e left unharmon i ed That wou l d b ring out the
gure which is indicated b y the brackets

Ex

78

the anacrusis o f the rst gure is left unharmoni ed unify

the work b y treating the ne x t two in the same way Incidentally the
entire rst section is made ligh ter by the rests and inversion of V in
contrast to the duration and root basses of the cadence section T his
is an e x ample of the qu lit ti ve and qu nti t ti ve elements and their rela
tion to rhy thm
When the melody begins with a long note as in No 4 it is
b
well to let the o ther parts enter on the second beat If less harmonic
weight is desired for the rst section res ts may be employed on the
third b eat o f the bar In employing rests car e should b e taken that
When the parts enter after the begin
they do not impair the rhythm
ning as in the e x ample mentioned the metre i s estab l ished at once
When the rhy thmic movement and melodic line is varied as in
c
NO 6 and others o f a similar nature lit tle is required o f the harmony
which may enter on the second beat and remain for the o ne beat only
As stated before the se lection o f harmonies and their inver
d
sions depends u pon the rhythmic groups In contrast to the cadence
section that preceding may be made lighter by th e use o f inversions
writing in a higher register rests and fewer par ts
Harmoni ing the melodies o f Ex 7 9
e
First mark the sections
S econd nd the harmonies for each b
not each b eat
Third select the inversions for I
a

AS

a r,

56

Fo th select th e bass no tes for V th at wi ll l ea d t th ose chosen

for I and write the comple te bass part
Fifth add the middle parts to all of the tonic harmonies rs t then
f I as wri tten
to V again selec t ing the latter to lead to the pa ts
ur

e d egr ee oc c u r ri ng i n the mel

od , a l
m
s
o
c
o
e
s
t
h
e
l
Vi th the r ec ogni ti on of the s c a l
y
r d d e r ee a nd the c hoi c e o
h
e ba s s tone s houl
h
o
t
d
e
m
h
t
c
b
a
d
e
r ec ogni ti on o
e
f
f
g ,
ta neou s l
s i mul
y
.

Ex

79

Melodies

eight bars usually consist o f at le st tw o we ll

dened phrases termed nt dent nd s u b q ent alsof ph e and f te
ike
that
o f sec tions o n e is st onger t h an the o ther and s o
L
h
a
p
harmoni ed t hat there is more harmonic weight for the after phrase
b ecause it conrms or completes the idea
There are three primary elements o f contrast and unity
a
Rhythmic S etting Melodic Line and Harmonic Treatmen t In a
me l ody o f eight b ars or more these elements must al ways b e c on id
ered The cadences o f the sec tion groups Shou l d b e less deni te than
If the y are not s o in the melody then the
those o f the longer groups

harmony should produce that e ffect In distinc tion to the half

cadence
the section cadences are sometimes cal led quarter

cadences the terms showing the rela tive importance of the cadences
in their relation to the whole
Harmoni ing the lo nger melo d ie p oceed as before When
b
the V harmony fall s o n th e c l osing b eat of th e fore phrase it is some

times termed a half cadence also a i ing cadence as the e ffect

is equivalent to an interrogation point As a ru l e the root is preferred
for th e bass and as the pause s h o l d b e well marked th e chord should
be a t iad not a seventh chord which des troys the p ause
0
9

of

ec e

se

se u

ra s

or e

s,

r s

58

F ol

k
S ong

Br ahms

14

(T

r ee

p a r ts )
.

59
I
9

Do m i n a n t N i n t h

In

i ts

rela tion to S ol ( the gene ato o f

is a ninth ; Ex 4 7 What i th
r

action g oup ) La the sca l e 6th

na tural resolution o f scale 6
E mploying but four parts o n e o f the basic degrees o f a V 9
will be omitted If the root is presen t the fth wi l l be omitted and vi e
e
v
The root is fre q uently omit ted in the inversions
I nstead of resolving o n the root the chord 9th sometimes pro
b
r
e
N
O
Ex
8
In
such
a
ca
e
the
third
is
the
cho
d
s
s
e
t
o
d
s
;
9
3
g
3
not present with the nin th All chord degrees above the fth are said
to be di s s on nt When the resolution of a dissonance is a color degree
th e la tter should not be present with a dissonance
F or that reason
the chord 3r d is not heard with the ninth in the e x ample mentioned
c
The seventh should always be present with the ninth un l es
the ninth chord is follo wed by a seventh chord on the sam e degree as
at (a) Ex 8
th e

rsa

1:

Ex

81

Attention is called to the consecutive fths between the two

upper parts at ( c ) They are not o bj ec tionable because the tonal ity
is not o b scu e and the three color elements pre v ent any ba ren effect
that wou l d be present wi thout the seventh and ninth
In the outside
parts
they a e disagreeable
Wagner used the full V 9 for the motive o f the Rhein Maidens ;
e
Ex 8 2 ( a) In the second e x cerpt it will be o b ser v ed that at times
In addition to the sustained bass the me l ody
th e chord 3 d is ab sent
e x hi b its its harmonic source and the occurrence o f the chord 3 d on
the accented beat o f the second bar preserves the impression for the
remainder o f the bar ;
d

Wagner :

Ex 8 2
.

SM

Rhei ngold

60

Mark

h
the
chord
degrees
e
f
o
t
f
t anspo e the pa tte ns t th e key b oa d
.

Ex

o u ts i d e

par ts of Ex

8 3,

and

Harmoni ing 3 65 of scale there is no ques tion as to the

choice o f inversion f r V At (a) Ex 8 4 the outside par ts both leap
a four th in the same direction but having the re l ation o f color and
b asic the arrangement is good
At (b )the relation o f fth s taken in the
same direc tion is not desirab le especially wi th the large leap ab ove
the step wise progression
2
9

Ex

84

Because the nature of V 9 is what it is a longer duration is

mo e e ffec ti v e t h an th e short Ha moni e the fo ll owing employing
scal e 6th as a V 9
a

Ex

85

61

Note the common tone in these ninth chords and play them
wi tho t notes :
b

Ex 8 6
.

M ous s orgs

k
y

62

F ACT S T O R EM E M BE R
The melody itself e x hi b its its harmonic source
One must hear the differen t scal e degrees o f the melody
One must think and hear in nothing less than sec tion and com
pare section with section also phrase wi th ph rase for the in t l ligent
employment o f elemen ts of unity and c ont a t
The relation o f rhythmic group to the who l e
I possesses a dual nature
5
S econd inversions are e l d o m left b y leap e x cept to th e same
harmony
A secon d 1nve s n S a e l y approache d by leap from a n i nv i n
f ano ther harmony
The second inversion of a t iad fal l ing o n the accen t a erts i tse l f
a new tonic
The harmony falling o n an accent Should n o t b e anticipated o n
th e preceding weak bea t
Basic re l ations o f the outside par t should n t mo v e the same d i
tance in parallel mo tion
F o r inversions the relation of b asic and color deg ees is u ua ll y
better for the outside parts
C onsecutive fths are heard less w h en the se v enth is present and
when o ne part is the alto
Harmony falling o n the accented beats makes the d eepest i m p e
ion especially i f it is the b eginning o f a section o p h rase
.

r ro

er s o

as

ss

CHA P T E R

HA

TH
E S U B T O N I C AN D S U B DO M IN AN T

MONY

W
o
f
ha
t
type
t
riad
is
built
on
the
large
scale
the
u
t
h
b
s
7
93
tonic ? On the small sub tonic ? What s pecies of seventh chord is
found in the major key In the minor ?
a
As a tone generates a pure fth and large third before it gen
e r a te s a sma l l third it is evident that the root of a diminished triad is
not the harmonic generator b u t the thi d That is the reason the s ub
tonic chord in the diminished mode is so often c a lled a dominant with
out the root
Because the root a nd fth are disson ant they are rar ely doubled
b
in four part writi n g In relation to the harmonic generator th e root
and fth are the color degree s ( 3r d and 7 th ) and the doub l ed tone i s
fth from the generator
As the nature o f the sub tonic chord in a major key is the sam e
c
as V
it bear s the same relation to cadence
-

'

63

Mark

the out ide parts o f the follo w ing :

s

Elgar

Ex ; 8 7

ii

i ii

l
el
eten
S chumann : Nov

M oz ar t

ii
3

0
Take
each
tone
within
the
octave
as
root
f
vii
o
9 and resolve
94
to i ;
d d a di m inis h ed 7 th to that and ca y th e sequence th ough th e
oc tave making en h armonic changes where necessa y
.

rr

Ex

88

t
f
f
u
Ano
her
interesting
mean
o
ef
ecting
a
mod
l
a
t
ion
95
c nvert vii 9 to V 7 b y lo we ing o n e tone a s mal l n d re o lv i ng t

i s to

Ex

89

vi i i go

V7

Al
l:

1
.

64

state d before nearly every principle o f writing can b e

learned with the use o f V 7 and I For that reason also to deepen the
mental impression o f their va ious effects and to acquire the ab i l ity to
hear bo th the scale and chord relations of the material o f music no
other harmonies have been in troduced up to this time T 0 make an
eight b ar melody interesting wi th only two harmonies requires ski l l
and taste j ust what the student Should cul tivate rst las t and all of
the time
There is no reason why the non chordal tones should not be
a
considered befo e introducing another harmony but to vary the work
a little the S u b dominant harmony is introduced at this time

In
Ex
the
tonic
was
r
e
ferred
o
as
a
tone
center
As
t
9
97
such the te trachords move in contrary dir ection to that center Fol
lowing the same principle in ha monic relations assume as a matter o f
e x perience independently o f any theory that the generating circle of
fths applies in both directions as at E x 90 With the continuous
progress o f fths Obtained by considering each o n e as a generator we
have the series given in this ex ample the series b eing complete when
the fths meet enharmonically at F1
and
G
2
;
1
;
AS

6
9
.

Ex 90
.

I f instead o f the continuous progress any o ne o f these fths

s l
vd it would resol v e o n its generator u p o down a pure fourth
t
and
the
tonic
would
be
approached
from
O
pposite
direc
ions
as
in
b
( )
the tetrachords
As the third o f IV is also a down leader th e tonal ten d ency
b
o f the chord is unmistakable

The cadence IV I is called the P lagal Cadence in dis

c

tinction to the Authentic C adence V I

In class all sing the tonic and di ff erent me mbers the various
d
degrees an d the resolution o f IV as at Ex 9
If worki n g alone
play two parts and sing the other :
a

re o

Ex 91
.

C HA P TE R
B Y TO N ES

VI

The preceding me l odies were construc ted o f harmony tones

only ; that is eve y tone was a component o f th e underlying harmony
emp l oyed The b est music includes a free u s e o f n o n chordal tones

known as Byt nes

For e x ample Brahms employed the tonic h a r
mony for the entire scale
99

Br ahms : Op 117
.

Ex 94
.

The various kinds o f b ytone s are classed as A u x il i a r y

P a s s i n g A n t i c i p a t i o n A p p o g g i a t u r a and S u s p e n s i o n s
The author is well aware o f the di fference in termino logy respect
ing the non chordal tones especially in the use O f the word Appoggi a

tu
When Doctors disagree who shall decide
The most com
prehensive o r signicant term should be used but the main point is to
know the character and governing principle s o f the embel l ishments
They are introduced at this time because the y occur in simple
short melodies One should begin to u s e them while the harmony i s
easy and have the a dvantage o f using the m through the remainder o f
the work Allthere is to kno w about them can be learne d in connec
tion with the tonic and dominant harmony and it is much easier than
it would be later with more comple x harmony
The habit o f harmo ni ing every no te results in heavy uninterest
ing work that could never be used in a good composition s o it is a b d
Ev en i f rst impressions were not the most lasting it is a waste
h ab it
o f time to do any work that could not be embodied in something
larger and more important
The early use o f the embellishments o r non chordal tones is both
possible and natural when o ne works from the melodic and rhythmic
Intelligent desirable results necessitate thinking in large
b asis
All o f the great
r h yth mO melodic groups that must include b yto n e s
masters fro m P alestrina to De b ussy were tr ained in Counterpoint rst
The melody at ( ) contains harmony tones only ; at ( b)
10 1
there are b yto ne s in the rst two measures neither o f them distur bing
th e harmony in the least o r creating a feeling fo r a di ffere nt har mo ni
Ex
ti o n when sung at th e normal tem po
(
100 .

ra

za

68

Ex 95
.

A hytone returning to the same harmony tone that precedes

it like those o f the foregoing e x ample i s c lle d an Aux ilia ry When
it is a bove the harmony tone it is usually diatonic ; i f it i s b low the
harmony tone it is generally a semitone and may be either diatonic
If the au x iliary is an u p le a d e like ( c )o f E x 96 a
or ch omatic
chroma tic is unnecessary ; if the au x iliary is a down leader ( ) or a
repose tone (d ) a chromatic semitone may be employed to gi ve dir ec
tion to the melodic line s o to Speak ;
10 2

r,

( 0)

Ex 96
.

Au x iliary tones may be emplo yed in more than one part

pro v ided that characteris tic tones o f the harmony are retained in the
o ther parts In the S chumann e x ample the identity o f the chor d is
preserved by the root and third
103
.

S c humann

Ex 97
.

When an au x iliary tone leaps to another au x iliary on the

O pposite s ide o f the harmony tone and then returns to it the two are
calle d Cha ngi ng Tones
104.

Ex 98
.

note

Mark the au x iliaries in Ex

or

Ex 99
.

by the le tter a

99,

indicating with a dash through the

69

abundance o f good material may be found in Bac h Haydn

Mo z art Handel and o thers o f the classical period
Although it is a dissonance the 9th o f the dominant harmony
105
is not considered a b ytone because it is generated by the dominant root
As the ninth chord o f o ther harmonies does not correspond to the har
monic serie s given by nature when occurring in o ther than the d om
The small 9th in a
i na nt harmony the ninth is considered a h ytone
major key is regarded as chromatic but not in a minor key As the
6th o f the scale it is diatonic i n the minor mode
Reference has been made to the progression of a melody
106
after long leaps The suggestion does not apply to the i nterval between
two phras es or to a long leap followed by a h ytone F or e x amp l e in
the following D of the rst measure and E in the second are both au x
ia ry tones and as such t h e progressions are good :
il
An

k
,

100

Hd l
an e

d)

a leap which makes a cadence especial ly i f the latter is

sustained longer than a beat the n e w rhy thmic g oup may begin wi th
another leap in the same direction ( b ) Ex 100 Th e duration o f C
also the fact that both C and th e fol l owing F are taken o n accented
beats as well as belonging to di fferent sections changes the whole effect
I f the last note o f a leap is sustained for two or more beat s
b
the direction is then free Why ? S ome times the melody tone that
would logically occur i s taken in another O ctave (c)and ( d)
When a byton e moves by step to a noth harmony tone i h
10 7
stead of returning to the rst one it is called a P i ng T n It may
b e chroma tic or diatonic and may resolve on a tone o f the same h
mony or of another one :
a

After

Ba c h

er

Ex 101
.

ass

o e

ar

70

In the minor key the melodic form is generally used to

avoid the augmented 2 nd be tween th e 6th and 7 th o f the scale
10 8

Ex 102
.

The only c a se in which a passing tone may be left by leap

is when the two harmony tones which it c onnects are at a dis tance o f
a 3 d and the pas ing tone instead o f moving directly to the second
harmony tone leaps to the other side o f it and then resolves S ome
times there is a h elision of the scale 6uh in passing from 5 to 8
109

Ex 103
.

Both passing a nd au x iliary tones may fall o n the accented

In marking the chords for analysis
o r unaccented part o f the measu e
n o account is taken o f the b yto ne s : that is the let te s indicating the
chords are th e same as though there were no b ytones Mark both
passing and au x iliary tones o f the following :
1 10

Ex 104
.

Bac h : B ou rr e

71

P assing

tone s may occur in two or more part P assing

cho ds are those in which all o r enough o f the tones to give character
There are two kinds o f passing chords
to the chord are b yto n e s
those which might be considered independent chords Ex 0 5 (a)and
tho e w h ich would have a di fferent resolution if the y were i n d e p end
o
w
s
ent
u
s
t
hen
h

rst
kind
s
hould
be
considered is a matter
e
t
J
determined b y the tempo I f the tempo is s o fast that th e ha mony is
not distu b ed the chord is heard as a passing chord I f the tempo is
independent
O W enough for the chord to be heard as a denite
Sl
chord then it is no t c onsidered a passing cho d
11 1

Hd l
an e

Ex 105
.

Bac h: B ou rr ee

72

onsecutive fths are not conside ed objectionable b et w een

other than the ou tside pa ts when o ne tone of each is a bytone They
are f equen tl y found in the works o f the best composers and o n e will
notice t h at they are usually o f short duration and in the unaccented
places o f a phrase It has also been observed that they are more
agreeable in the lower register than in the higher where the e ffect is
to o thin
112

Gluc

Ba c h : B ou rr ee

k
:

Am i d e

Ex 106
.

Harmoni ing melodies rst hear the h armonic regulation

that is in the melody marking the sections as in the preceding lessons
not forgetting that the rhythmic accents are more important than any
individual tone o f the melody Byto nes occurring on the accent are
much more e ffective than o n the weak beats
Observe the general character o f the melody : vigorous light
a
serious etc also the tempo The longer on e harmony presi d es the
faster th e tempo ; conversely the slow tempo re quires more changes o f
harmony or o f positions
Write the nal cadence chords rst then with the use O f b y
b
tones each part can be o f melodic interest as it is directed to the c a
dence This will help to make phrase wise thinking unavoidab le
I n keeping with the spirit of the melody the accompaniments
c
can be varied by broken chords rests and fewer parts S ee Moz art
Mendelssohn and other classics for e x amples
Rhythmic and melodic imitation or repeti tion o f the parts is
d
always in g ood taste and provides practice in one o f the essen tials o f
composition Rests mark the rhythmic groups more denitely also
focus the attention o n the remaining parts I f there are rests o f mo e
than o ne beat in the melody at least o ne o f the other parts should be
wri tten with more melodic interest Rests after a clima x heighten
the e ffect
The greater the melodic interest the less necessity for variety
c
S ince embellishments are for decorati v e pur
o f harmonic treatment
pose the e ffect is lost if the remaining parts are n ot su ffi cien tly ob
It is very easy to
s cure and simple to form a background for them
over deco ate and overload with various harmonies
It
is
o t usual to dou b le a b yto n e but should it be necessary
n
f
let one o f them resolve regularly and the other I n a contrary direction
z

1 13
.

s,

,
.

74

A byton e taken by leap is cal l ed an App ggi tu

It m y
b e taken ab o v e o r below the harmony tone but in eit h er ca e m ove
b y step to resolu tion unless followed by a changing tone
1 14

"

ra

a:

Ex
1 15

cal l ed a

108

F r ee

t
b yto n e l
f
e by
Ton e

leap and f

or ei n

to the

Gr i eg: Op 6
.

Ex

ha r mony

l
ol
ow i ng

Ma c Dowell
.

109

When o ne o r more o f the voice s re s olves prematurely

e ff ect is kno w n as Anti c ipa ti on :
11

6
.

Ex

11 I

Bac h

th e

110

At ( )Ex
both root and
l
t
chord
is
anticipated
e
e
p

Ex

is

rd

anticipated ; at ( b)the com

(b)

M endel s s ohn

111

Occasionally a tone is anticipated in one voice

ano the
,

a nd

Ba c h

Ex

112

ta

k
en

in

75
1 17

When

th e

anticipation tone

is l
e
ft by l
eap ,

it may be termed
S chumann

(a )

Ex

113

? anticipates th 7 th o f the ne x t chord

At (a) the Bl
D the last
ton e of the st f ll measure is a f ee b yto ne since it does n ot occur
in the following chord The an ticipation tone is usually Shorter than
the tone that follows
8
The P e d a l P o i n t (also called Organ P oint)is a tone s u s
t i n e d by one part throug h a succession o f harmonies o f which it fo ms
no part I t may be o ther tones o f th e scale but it is oftener or 5
and sometimes bo th
a
A P edal P oint shou l d enter and close as a harmony tone and
it is b etter entered o n the accent a t the b eginning O f a p hrase It may
occ r in any part and in modern music is sometimes the only thread
that holds a passage toge ther
b
Occur ing in the bass i t produces a mo e t anquil e ff ect and
se ves as an e x cel l ent bac g ou n d f r an e l ab o ate me l ody o r on e wi th
wide leaps In orches t al composi tions on e hears the p ed l c h d
against w h ich t h emes are played
When the pedal forms n o part O f the cho d above it the ne x t
c
tone a b o v e th e pedal is rega ded as the bass and the chords are marked
w it h out reference to the pedal
Th e latter may be indicated by the
le tters T P (tonic pedal ) or D P ( dominant pedal) followed by a
line continuin g as long as the pedal lasts
e

11

k
.

or

Chopi n:

Ex

114

To n i c P e d

al

Maz ur

k
a.

76

Ma rk the variou s

bytones

in the following :
Mozar t :

Ex

115

Ba c h: B ou rr ee

Ra c hmani noff : Op 3
.

77
Ba c h

Chopin : Op 17
.

W gner
a

Although free tones are seen occasionally in the harmoni a

tion of melodies ton lft by l p l ger th n 3 d
bett t hen s h
I n o ther words b yton e s are b etter t hen b y
mony ton s not b ytone s
leap than lft s o
Harmoni e these and write others both modes including
12 0
various b ytones Write a b roken chord accompaniment for NO 6
1 19

es

ea

ar

a re

er

ar

Ex 116
.

Bohe mi an Ai r

F ol

k
Song

Bee hoven

is j ust the reverse o f anticipation being carried

Ov
er to another harmony in which it is foreign In othe r words the
anticipation tone enters bef e the chord to which it bel
ongs a nd th e

r
o
the
chord
which
it
belongs
be
ated
res
i
n
t
er
s
a
t
t
a
l
s u s p en s o n e
o
f
u ti o n as s een in the following e x amples
l
12 1.

S uspension

or

'

79

Ex 117
.

(C

Bac h

The foregoing e x cerpts Sho w that suspension s r es olve di a tonic ll

y
w
l
do
nward
The
upward
resolution
is
sometimes
termed
us ua l
y

r i ta r d a ti o n
Ri ta d a ti o n
S
ome
theorists
u s e the term
for
a
b
( )
suspension left by leap The upward a nd downward resolutions are

sometimes referred to as superior an d inferior resolutions

prolongation for a suspended dissonance

Lavignac uses the term
The e ffect o f a suspension is to broaden especial ly if the movement
i tself is digni e d and tranquil It sometimes adds a certain degree o f
severity Like other dissonances suspensions may occur in o ne o r
more voices ( a ) and there may be a hythmic s u p ens i on of the entire
chord
S ome theorists say that a suspension occurs over a triad only ;
that if the 7 th is present the dissonances above the triad are compo
neuts o f the chord and not suspensions In either case a harmony
tone carried over to another ch ord in which it is foreign produce s the
u
o
a
s
spension
and
must
be
considered
in
a
work
that
does
m
o
f
s
y
1 th s
n o t consider
and 3ths The important thing is to know
what to d o with material regardless o f its classication
A suspension should be a harmony tone in the preceding
1

chord such tone being called the P epa ti on

The preparat ion
must be in the s me voi c e as the suspension and on a we he p ule It
may be tied or repeated ; if tied it is usually as long as the suspension
In E x 1 8 the notes marked by the asterisk could not be p ep tion
tones be c ause they are bytones
a

2 2

ra

von Web er

Ex

118

a ra

80

stated in a previous paragraph a tone in the bass may

be carried from the weak pu l e to the accented when it becomes a
b yton e ; o r a dissonan t chord degree
12

As

Ex

119

suspension is rarely less in leng th th an the resolution

and should be s t onger r hythmi c ll
y
When a s us p ens IOn resolves oh the chord 3rd the latter Should
12

be

n ot

wi th the di ss ona nc e

r es ent

The ne x t e x ample ( )shows an e x ception to the rule because the

tw o voices are in unison ; at ( b) there is an e x ception because o f the
sequence in the alto All rules may be suspended in sequences
a

Ex 12 0
.

S chumann : Op 68
.

The root may always be present with the dissonance and occasion
ally the 5 th S ometimes the chord 3r d is dou b led in preference to the
reso l ution ( a ) The tone o n which a suspension resolves may b e h ear d
at a distance o f an octave belo w th e suspension but should not be
heard ab ove it unless approached by step in contrary motion :
,

G o od

Ex 12 1
.

82
.

Ex

No

ome ti me
.

12

th e

b yto n e s

em b el l ished

are

by

o ther

b yto n e s ,

as

S ince

a suspens i on 8 only a temporar y effect the esolu tion is

consid ered as though hea d wi th th e remaining parts of the harmony
The fths are not al w ays o bjec tionab le pu t it is b etter to avoid the
octaves
Mark the suspensions and other bytone s in the following
7
b

12

Gr i e g

Bee hoven :

Ex 12 4
.

Hyd
a

M endels s ohn

83
Beethoven

12

other keys

Ba ch : Chor a l
e

Describ e these sequences and play them beginning in

,

Ex 12 5
.

The ne x t one may be too di ffi cult for some students at this time ;
i f s o it may be studied later S equences are very he l pful in acquirin g

facility at the key board ; what o ne might term th e harmonic idiom

.

84

One o f the worst faults o f writing is the repeti tion o f a chord

on a strong bea t especially when the bass is the same as the preced
ing weak beat The melody tone should either be treated as a s u s pen
sion or a component of another harmony When the note is tied i f
possible harmoni e it with a chord that forces it to fall as most s u s
pensions do By planning the harmonic regulation rst places for by
tones occur that never would be found by the average student a t this
stage of the work
The use of certain gur e s rhythmic melodic and harmonic
gives organic uni ty to the w h ole and trains the student in the most i m
portant features o f composition the de velopment of material
12

9
.

MELODIE S T O

HA

M ON I ZE

F ol

Another species o f
d uc e d b y Rameau
130

S ong

12 6

Gr aben

Hff m

Gr a ben

Hffm

Ex

12 7
ii,

b yto n e s

is the

Added S ix th,

an.

an

rst intro

85

M ende l s s ohn

M endels s ohn

"
6

I f the tone which appears to be a chord 7 th reso l ves as a sev

Ex 1 7 ( a) th e chord is then consi d ered a
e nth naturally would
seventh chord but if what appears to be the se v enth remains s tatic
th e tone that moves is considered the dissonant one ; ( b)
I 32
The a dded Si x th is dissonant with the chord 5th and resolves
on the chord 3 d as at ( b) Like the chord 7 th it increases the c a d e nc
ing e ffect especially with IV Without the presence o f the chord s th
a tone cannot be considered an added 6th In his tex t Rameau
said that if the chord was followed by V it Should be considered a ii 7
S ince his tinie it has been employed with other harmonies with good
e ff ect It is one o f the devices that has n ot been o v erworked More
analysis and melodies for its use will be given in the ne x t chapter when
IV is used
I

13

C HA P T E R
S U B DO M IN AN T

HA

VII

M ONY

C O N T IN U ED

IV wi th the various b yton e s wi l l n w b consid ered and p

plied i h the harmoni ation o f me l odies
Mark the outside parts and all o f the b yto n es o f the fo l lo w i n g
noticing in particu l ar the re l ations o f IV how approached and l eft
o

133
.

M endel s s ohn

Ex

12 8

Ba c h

S i b el ius : Op 5 8

Br ahms : Op 117
.

No 8 is an e x ample o f the Tierce de P ica die

major cho d
in the nal cadence f a piece w i tten in the min r mo d e At No
occu s a tonic cho d wi th th e smal l 7 th creating a de man d for th e su b
dominant harmony

a
.

11

Ba ch

Mac Dowe ll
.

87

Hd l
an e

Barry

vi

Mendels s ohn :

Op 65
.

15

Wagn

er

Ba c h

Hll

15

er :

Op 45
.

Elg ar

The va ious chords wi th their conte x ts should be played in many

keys not only to acquire key b oar d faci l ity b u t to acqui e a tone c n
cept o f the chord e ff ects
P lay the two th ee and four chord cadences in di fferent
134
positions also the other cho d gro ps of the fo l lo wing in many keys
I IV I V I
I IV I
I IV V I
I IV I
I IV I V I
b th modes :
r

I 1v v 1
1-

I
I

i -V -i

5 3

3 3
3 5

IV IV I V
-

3 8

7 5

iv

I -I -

V,

i V i i v i V-i

I V IV I V
-

3
-

i -V i iv-i V 7 i

5 7
-I -

5
8

From the foregoing it is seen that IV demands I : IV I : I IV

5
3 5
7h 3
h
r ough the
M
emo
i
e
this
sequence
and
pla
t
a
keys
back
t
y
35
to the key o f C Th e tonic cho d o f o ne key is taken for the s u bd m
i n nt o f th e n e x t the n e w key being con med by the Seco nd inver
sion o f the tonic cho d o n the accen t :
-

r z

Ex

12 9

"

IV

Transitions o r modulations m y b e made through a common cho d

common tone One thing is nece sary : the new key mu t b e m d
a

or

90

tonic cho d with a small 7 th demands IV and is often u ed

w h en the tones of th e m e l ody a e not co m ponents o f IV b u t th e r h y thm
fav o s that se l ec tion ( ) The large 7 th may a l so move do wn w ar d
having the e ff ect o f a passing tone (b)
Th e

Ex

( b)

134

he e is a ve y co mmon use o f the sub dominant ha mony wi th

the root and 7 th chromaticall y altered leading to the dominan t :
T

Ex

135

In the h armoni a tion o f melodies the determining factors

in the c hoice O f ha monies (in addition to those already given )are
the melo d ic di ection the la w of con trast and th e necessi ty o f es tablish
ing the tonali ty Because i t co ntains the leading tone (scale 7 th) V is
oftener used in th e b eginning b ut not necessa i l y s o
If the melodic line is d w n to cadence I V will be employed
un l e s it has alrea d y been used to such an e x tent that V is needed fo
contra t One can al most make a rule that i f the bass mo v es down to
I or I I V will be employed Up to I or I V is likely to be empl oyed
3
8
b ecau e it is an u p leader
b
As IV possesses a darker more serious quality than V it is
u ed sparingly when the brig hter lig hter qual i ty is de ired S ome
ti mes IV is rese ved for th e afte phrase for both contrast and to add
harmonic weight to the after phrase
IV is rarely employed for the nal chord o f a cadence b e
c
cau e it is likely to b e prece d ed by I and the coinci d ence o f h a monic
and rh ythmic resolution with root b asses gives the imp ession o f a new
tonic for th e close :
14 0

r-

91
S c huma nn

Ex

136

P o or

When it is necessary to employ I IV for a cadence the tonality

shou l d b e preserved by the employment o f decisive chords o f the key
b o th preceding and fo l lowing the cadence
It is hoped th at the student has o b ser v ed th e use o f I a s a pass
d
5
ing chord b etween two positions o f IV ; also IV b etween two po s i tion s
5
Ex 137 shows I as a passing c h ord between V and IV and
of V
-

Ex 137
.

Connecting

V and IV care Should be taken that the basic de

grees o f the ou tside pa ts are no t moving in the same direction At
( c ) Ex 137 the consecutive fourths are very obj ectionab le When
IV follows V the o utside parts move in contrary direction a lmo t i n
o
n
and
very
often
part
mo
v
es
by
leap
e
v i bl
y
f
f
o
When
the
root
the
second
inversion
a chord other than
o
f
the tonic is prepared on a stronger h e t than the cho d in th e inversion
the latter is less assertive as a new I In E x 1 8 No the du ation
so the e ffect o f I V is that o f
o f the rst accented chord adds strength
5
a passing chord
The tones comprising the interval o f an augmented second
g
Shou l d both be in the same harmony s o the scale 6th must necessarily
be employed as a V 9 if the harmonic form o f the minor mode is in u s e
The location o f 7 1
h
7 at the side o f the Roman numeral indicates
that th e small se venth should b e used in on e o f the middle parts It
is to b e employed in the b ass when it is directly u nd the Roman gure
e

ar a

'

er

Ex

138

92

Hilm

Gr ab en-

Reinec

an

k
e

In composition to use inversions ski l lfully is considered

vastly more important and in better taste than to u s e many harmonies ;
so as each new harmony is int oduced the e ffect of the various inver
sions positions and rh ythmic relations sho l d b e thoroughly understood
heard and felt before taking another ha mony Ex 14 1 provides more
di fcult melodies
In these longer mel odies compare the cad ences to see if there
is sufcient con trast a l so the harmony of sect i ons for both contrast and
14 1

93

coherence C onsi d r th e plan o f th e w hole , j ust as an artis t plans a c

cording to the si e o f the canvas In an e i g ht b melody mark the
sections and learn what to e xpect in each
e

ar

F or e-p h r a s e

Ex

Af ter -p h r a s e

139

To

c a

d en c

es

ver s i on s

R oot b a s s es

Na turall y all me l odies cannot be treated in e x actly the same

way but there is a general p l an that the b eginner Shoul d follow
First section es tablish the key
The second section Should lead to the middle cadence
From the middle cadence the obj ective point is the nal cadence
to which the last section is u ual ly given
The harmonies o f the third section should not only lead to the
close but include the three things that contri b ute to harmonic light
ness in contrast with the closing section also the contrast o f quality
and quantity with the fore phrase The entire after phrase Shou l d fur
nish quan titative and qualitative contrast wi th the fore phrase In larger
forms and with a rapid tempo the proportions would natura l ly be on
a larger scale The same principles apply to melody writing In the
author s j udgment the fee l ing for harmonic regulation is an absolute
necessity for melodies worthy o f the n ame
A vital fact to be remembered is : Where the fo m requires c on
c
ti nu i ty it must be preserved by ei ther the rhythm o r the harmony
I may be employed on a progression beat or bar witho u t disturbing the
rhythmic flow b u t if it falls o n a normal rhythmic pause then there is
a cadence For continuity the progression harmony should b e em
ployed at points o f rhythmic pause In other words ei ther the har
mony or rhythm must produce the onwa d ow to the nal o bj ec tive
of a phrase
d
Look for a place for inversions in the third fth and Si x th
b ars because they mean continui ty in contrast to the stability o f the
nal cadence o f either phrase The student is again reminded that I
w i th root b ass does not produce a pause when it falls o n a weak beat
Rhythmic p ogress is a stronger force than the harmonic quality
I t is in good taste to let another part imi tate the rhythmic g
c
ure of the rst section For e x ample the rst gure of No 4
b

Ex

140

94
w
t
Because
they
are
harmonies
i
h
a
common
tone
con
ecu
t
i
v
f
pure fth s are often foun d b et ween mi d d l e pa ts o f IV nd I b u t s e l
d m b et w een IV and V b ecause the e is no common tone
m
After
a
clima
x
it
is
O
f
t
en
good
to
leave
the
melody
u nh
on
g
Try it
i d for two o r three n otes
t
Find
the
ha
monic
regula
t
ion
and
wri
e
the
ass
a
ll
f
b
t
o
4
x ercises b u t not th e mi d d l e pa ts for all
th
E mp l oy suspen ions in di ff e ent par ts and em b elli h th e b a s
with the various b yto n es as suggested in the previous work
r

e e

Ex

141

ar

ze

95

Ar mand

Rus s i an

F ol

k
S ong

Hd l
an e

14

Rus s i an

F ol

k
S ong

Br ahms

Rus s ia n F ol

Iri s h

k
S ong

Na tional S ong

98

ered as u b ti tut s
iii for V
s

fo r th e

majo

vi

th e

ub stitute

fo r

I ii for IV

a nd

Ex

143

v
7

vi

IV

ii

i ii

Again referring to the circle o f fths Since ii is in the direct

line of progress to I if a direct movement to cadence is de ired ii V I
is better t h an moving from ii to I V o n the O pposite side of the tone
center and then b ack again to V To delay the cadence this ma y be
done as in Ex 14 4 ii I gives the effect o f an imperfect P lagal c a
dence
G ood composers sometimes e mploy the supertonic chord
14 6
preceding the subdominant but the progression is less desirable and
should be avoided untilo ne is farther advanced and more accustomed
to e x cep tional progressions
a

'

Mendels s ohn :

Ex

Op 12 0
.

144

The supertonic chord is frequently altered to the major

mode w ithout e ff ecting a modulation If a c hord chromatical l y a l
te e d is preceded and follo w ed by a diatonic chord o f the key no
modulation takes place The e x cerpt from S chumann sho w s a small
t
r
wi
t
h
the
tonic
chord
and
an
augmen
ed
t
h
the
scale
as
of
h
o
f
d
t
4
7
3
th e supertonic chord altering the mode to major ; neither e ffecting a
modulation because they are not fol l owed b y a cadence o r chords that
conrm the suggested change o f key The tona l i ty is never obscure
when the chromatic alterations are chosen from both the atter and
s harper sides o f the key :
14 7

Ex

145

99

"

I n the anal ysis it i so me ti me di fcult to distinguish between

ii 7 and IV 6 As this was discussed in the chapter o n b yton s par
h
1
attention
is
ca
ll
ed
to
Ramea
n
s
statement
quoted
there
7
p
g
What is the species o f ii 7 ? Of i i g as foun d in the minor
m ode
Because o f b yton e s and th e omission f the root o ne cannot always
analy e correc tly b y arranging the tones in 3rds b t h d m y be i d n
tid by the r el ti n i n whi h i t pp
It may
nd by w h t i t d m nd
not pr gress to what it demands but the dem nd is one o f the charac
t i s ti c s by which it may be known
49
7 ths and 9ths are freely e mployed in the super tonic har
mony The large 3 d be tween the s th and 7 th o f the supertonic 7 th
in the minor key will distinguish it from the diminished 7 th chord
14 8

ra

o s

ea r s , a

a c

or

er

Ex 146
.

ii,

i es

s p ec

fo

ii V 7
-

IV

V7 I

-n-

V I

-l
l-

3
0 .

l ll

3 3

3 3

o-

V7

-n -

-I .

9 V7

1 11
-

- 1

1
.

V I

-ll
-

3 7

or

147
ii7

0- 1 1 1 V -1
7

-l

I -I

vn V
I

ar

o-

"
:

1
.

v V-1

0- -1
1 1 1 -1-

v io

th e

II V I

0 .

-1

On di ff erent no tes wri te and re olve

tonic 7 th ch ds in the four posi tion
Ex

s p e c i es

3r d

Three and four cho d cadence may be p l ayed by sub stitu ting
P lay them r h y th micall y a l way :
r IV
-

ii

,
i
ii ,

us s

pecies of supe r

100

Mark

the chords and their inversions in the follo w ing e x cerpts

and ob serve th approach of the super tonic chords
e

M orni ngton :

Ex

148

Bac h

M endel ss ohn

This e x ample s h ows ii following V

M oz ar t:

Ex

S ona ta

149

The ne x t e x ample Sho w s the altered supe tonic taken as a ne w

dominant th e n e w key conrmed b y th e secon d inve sion of the tonic
in th e si x th measure
r

a te Deo
Rob ins on : Ju bi l

Ex

15 0

Bb:

V7

103

Ex

shows the sub dominant chord taken th up t n ic in

the re l ative major Notice the su p nsion after a re t in

the key o f
the alto

e s

as

15 1

er o

Bee thoven ; 0p 13
.

Ex 15 1
.

Eb:

ii

I n the sequence s o f E x I 5 a t ( )I I , i s taken for V and

resolved At (b)I is changed to minor mode and taken as a new ii
and resolved At ( )th e transi tion is made t hrough the common tone
and is th e same a s Ex 3 with I V , replaced by ii 7 Play them
without notes in both modes :
15 0

1,

Ex 15 2
.

ii

ii

th cho d lo w er any two

Beginning
wi
h
a
diminis
ed
se
v
en
h
t
5
o r t h ee voices t h at w i l l con v e t the c h o d in to a seventh chord o f th e
second species and take it as a supertonic 7 th chord resolving in the
usual way :
1

Ex 1
53
.

"

vi i i 0

ii7 V7

104
h
f
t
W
e supertonic
hat
degree
triad
is
most
frequen
ly
o
t
5
doub l ed in four part wri ting ? Th e doub l ing o f the third is o wing to
th e nature o f Re scale z u d a l s o th e fact t h at the tonal force o f the
scale 4th inc r eases the strength o f the chord which is needed in the c a
dence which ii e x tends
The tonal power of second inversions prohibits a free use
15 3
wi th th e secondary harmonies especiall y o n the st r ong beats un l ess
the chord 7 th is present On th e weak b eats they are very useful as
passi n g chords Ex I 54 sh ows ii as a p a ssing chord :
1

Thi

another i ll u tra tion of

is

th e

p incip l e
r

ated in pa ag aph

st

14 0 ,
a

ted

U nlike th e

prima y harmonie
r

s,

th e

chord s th is e l dom o mi t
-

Why ?
As may be seen in the fo l lowing e x amples consecutive fths
154
are not unkno w n b u t o b e ve the g eat ski l l wi th which they are writ
ten a U n l es a student can do as we ll it would b e b etter to avoid them
.

IXL
N L
/

h
Ab

S pohr

Bac h

Ex 155
.

Harmoni ing the melodies for the employment o f the super

tonic harmony proceed as i n the preceding chapter rst nding the
rhythmic groups and selecting the phrase cadences ; decide the tempo
general character e tc Look for any rhythmo melodic gures that
might be employed in other parts
15 5

Ex 15 6
.

106
Nor weg i an S ong

S chumann

Reinec

k
e

Ar mand

M endel s s ohn

107
Engl i s h Na ti onal S ong

k
k

Fi nni s h Fol S ong

'

F i nni s h F ol

S ong

M endel s s ohn

After every new chord introduced original me l odies should be

written and harmoni ed Broken cho d accompanimen ts may be wri t
ten patte ns o f which may be found in various songs Mendelssohn s
S ongs Wi thout Words the easier works o f Beetho v en and ot h e s One
shou l d have a know l e d ge o f F orm before undertaking large or preten
tious things The Bach S uites Minuets and S chumann Op 68 5
and 1 5 a e good pat terns for small forms
z

108

Breaking th e four part work by unison rests two or th e e e parts

and various rhy thms tends to lightness and e x ibi l ity Avoid what
might be heaviness and monotony Where there is more motion in
the melody as in Nos 18 and 2 6 rests may occur i n some o r all of
the parts On the contrary where the melody lacks rh ythmic move
ment and variety more care must be g iven to the accompaniment
H o wever n o matter what the form o f e x pression allcomposition is
based o n the four part harmony and the principles o f harmonic regu
lation and relationship must be observed
This work o f harmoniz ing melodies should be continued until one
learn s to feel the r egnant harmony o f a melody the rst time it is sung
or heard also to anticipate the rhyth mic points where a change o f har
mony is likely to occur A melody that cannot be we l l harmoni ed
is not a good melody and should not be used for a ny purpose One
who understan d s this feeling for harmony wi ll observe that a class
reads very much better where the harmonic regulation o f a me l ody is
correct
,

C HA P T E R I X
TH
E S U B M ED IAN T

M ONY

vi AN D V I

T r i a d built on the si x th degree of the

scale is mi nor in a m j o key and m j or in a mi n r key I t may b e
use d as a substitute for the tonic harmony when a cadence should be

avoide d and whe n s o employed is sometimes c alled a deceptive c a

dence
In the Handel e x cerpt o f E x 15 7 to have emp l oyed a tonic
chord after the dominant in the second measure would have made a
perfect cadence and close before it was desire d
6
5

T h e S u b m e di a n t

HA

Ex

157

110

lowing V vi occurs as a sub s ti tute

,

vi z

Wi th

th e

root raised V de m ands

,

M oza rt

Ex 160
.

Wa gner :

W gn
a

er :

Tr i s ta n

a nd

P a r s if a l
.

I s ol
de

Reinhol d

M endel s s ohn

Ba c h : Ca n ta ta

111
Beethoven

Bac h

Wagner

Brahms : Op 45
.

Elg ar

S chumann : 0p 15
.

112
Bru c

This e x ample shows the submediant chord

taken as th e su b dominant of C

k
ner .

the small si x th

on

M ous s orgs

k
y

IV

Taking the submedian t chord in a minor key for a new tonic in

the major is a very common means o f modulating

Ex

161

i ii
7VI
l

S equences

Ex

162

to

be

c l
r: I

played beginning in di ff erent keys

114

Bee thoven

115

Sc o c h S ong

S c humann

P E Bac h
.

116

e S on g
Sc huber t : Cr a d l

Rei nec

k
e:

l
a bye
Dol
ls Lul

e Du s tma n
Br ahms : The Li ttl

Gluc

k
:

Orp heu s

Tr a d i ti ona lE ng l
is h

118

ne x t e xamp l e

sh

ow

th e

med i ant

o d b e tw ee n
r

odo mi

tw

n a n ts z

Ber li oz

Ex

Mous s or gs k y

16
8

s ho w s th e med i an t chord major mode taken as

7
t
c
e
o f a new key
C onti nue th e gu re on [
b
7
Ex

169

ton i c

th e

W agner :

Ex

Tr i s ta n

a nd

I sol
de

169

When p l aying the e x cerpt s fo r anal ysis note rst how man y o f
t hen conrm by the no tati on
th e cho ds can be recogn i ed by e
Note e s pec i all y how the med i ant ho d is approached and le ft
,

a r,

Beethoven :

Op

10
.

Ex 17 0
.

S c humann

119
Bac on : Cha n t

ey: Cha n t
Ous e l

Novello : Cha n t

12 0
Beethoven:

i i

Us ed b y p erm

ss on of

Mac Dowell: Op

Arth u r S c hm i d t Pu b l is h e
,

Op

r.

79

51
.

122

In ha mon i i ng melod i e the med i an t n d s bdomi nan t

ch o ds s h ou l d not be u ed con ecut i ve l y un l e s th e 7 th of the sca l e
w h i ch i s the 5 th o f th e median t is bo th t e n a n d left by s tep
S ub ti tu ti n g the media n t a n d submed i ant c h ords for th e dominan t and
t on i c re u l ts in man y compound cho ds nd in tere ting b yton es
After
th e me l od i es ha v e been har mo n i z ed in a simple way embel li h th e ba s
a n d employ s uspe n s i ons in other voices
Th e mediant t i ad is very
ati fa tory for one o f th e middl e cadences in melodies o f eight o
mo e measures
Ha mon i e th e sca l e ( both modes )with the outside
pa ts mov i ng in contrary d i ection 3 also beginn i ng on th e scal e g d in
the upper part an d th e I s t in th e bass major mode
l
I n Me or i g i n a lwor on e wou l
d c ons i der i ne o
or a d e r ee f l
g
163

s,

,
.

i ng

on

i mpor ta n t

Me mos t vi ta l wor d s of a
S trauss Elgar Mo ussorgsky a nd

n
t
/
zmi oa l oi n
t
s
y
p

a nd

Obs erv e th i s in th e songs of

the Wagner O pe as
Note e s pec i ally th e kind o f cadenc e employed for
various sentences : Declarativ e I nterrogativ e Exclamatory e tc
The do mi nant ha mo n y i s the bright e st in key
When th e
mediant is sub t i tu ted the major mod e is o ften employ e d to retain th e
br i ghtn ess I f a somber mood is desired th e mi nor mode of the
median t chord is some ti mes substituted for th e dominant Note t hi
in No 13 of Ex I 7 0 a nd in Ex 17 8
In look i ng for contrast and coherenc e in th e long melod i es om
pa e the p h a e cadences
C o n t r a s t p r o p o r t i o n a n d r h y th m will always be ele me n t
ic th e study of mate ial i n
o f art s o w h en w e ma k e t h e s t dy o f m
relati on to t he e thing we a e deali ng wi th vi tal la t i n g e l emen t
Ha monic t eatment has ch anged va tl y and w il l probab l y continue
to do s o
S e e how many di fferent harmo n i a tions can be made by taking
each ton e o f the following pattern as root chord 3r d and chord sth
not necessarily closi n g wi th a cadence Th e natur e o f G (scale s th)
n c )can b e employ e d as
h
t
e
C
ermits
its
use
as
a
chord
h
and
to
t
7
(
p
h
t
t
o
h
seventh
and
ninth
th
e
latter
wi
h
th
e
small
as root
7
b t
s ong

'

s,

us

Ex

17 3
I

vi V

vi

iii

vi

vi

iii

iii

vi

v bvr

iii

e tc

12 4

c :

III V I

III

S wedi s h S ong

Hd l
an e

W ebe r

S c humann:

W nd
a

er l
i ed .

12 6

K ey i s th e

t o
r es u l

ng l e c h o d can estab
and
no
si
p
wh i ch asserts
of a n
c c en ted tr i a d

r el
a ti ons /zi

li h i t except the s ec on d i n ver s i on

i tse l f as a new tonic

l
h
t
h
s ar e bor r ow ed chords
P
rout
says
A
l
c
roma
ic
c
ord
16
5
Ch omati c c h o ds may be u ed con e c utively w i thout obscuring the
tonal i ty i f the c h romat i c tones ar e borrowed from bot h the atter and
harper s i des of the key
s

Ex

17 5

There

was a t i me when it was not cons i de ed good w i ti ng to

borrow from any but nearly rela ted key
One has only to look
at a fe w pages o f the best modern mu ic to s e e that all of th e key
mate i al is u s ed when needed There a e se v enteen d i ff erent degrees
o f notation wi th i n t h e oc tave wh i ch composers us e accord i ng to the
des i ed e ffect and the melod ic or harmon i c rela tion in which the
mater i al appears Ev e y ton e within th e octave belongs to k e y and
what woul d be co nside ed c h omat i c in one mod e o f a scale m i ght be
d i atonic in anoth er Ev ery ton e o f the twel v e tone scale is cons idered
d i aton i c On t ha t bas i there a e no c h oma tic tones no such th i ng

n d man y aug m e n ted oth c h ords tha t ar e not con

as fal e relati on

bo ow i ng basis
s i d e e d po s i b l e o n the old
Le t the mode o f th e key be lost it has been considered b e tter
that m i nor keys should bo ow from minor o nly Major keys can bor
row f om both major and m i nor key
In E 1 7 5 H
a d yn bo
o wed
In E I 7 6
B q from th e dom i nan t key and A l
; f o m F m i nor
Wagner borrowed A ga nd F if f o m the k ey o f G m i nor the domi nan t
key which is o ffs e t by D b bor owed from F minor the s ubdominan t
key
W g
r

rr

rr

rr

a ner .

BX 17 6
.

mi

12 7

Ob s e ving the modu l at i ons o f th e ma ter compose on e s o

sees that the keys are selected f om th e t w o s i des of the or i g i nal k
Note t hi s par ti cul a l y in Bach
In th e fo l low i ng e xample the t p h a e e nd in th e key o f A;
in the second p hras e Chsuggests th e key of G th e atter s i de o f the
o ig i nal e y of D

rs ,

r s

rs

Ex 177
.

In E 17 8 note th e wi e d nes s p f the mediant chord

taken
as a sub ti tute for the dom i nan t which would natu al ly fol l ow the
uperton i c ha mony Bo th the med i ant and submediant c ho ds a e
bo owed from the key of C mi nor
x

rr

Debus s y

Ex

178

VI

a:

8 72 a

i i ,,

iii

a tone occurring i n two consecutive c hords is h o

be
t
to
keep
the
ma ti c a lly al tered in the s e cond one it is u s u a ll
y
altered tone in the same voice e s pecial ly i f both chord s hav e the
same roo t;
166
.

If

Ex

17 9

Th e p r ogre s s ion
s i d e r e d fa l se re l a tio n

d i ss onan t c ho d
r

at ( a) is cal led F ls R l ti on I t is not on

w hen th e al te ed ton e beco me a pa t o f a
a

e a

12 8

In
chords

Ex

18 0 ,

th e

al tered tones al l become compone nts

of

seventh

Debus s y

Rous s e a u

Ex 180
.

HAPTE R

MODU LAT IO N

XII

O NT I N U E D

In th e study of modulation one important factor is the

selection o f keys As seen in the pr e ceding less e ns the simp l est
mo du l ations ar e to th e keys whos e tonics are distant a pur e in terval
Th e nearest relat e d keys to any major key ar e i ts
from e ach other
dominant subdominant and the rela tiv e minors o f th e thr e e k e y s
The new key is generally co n sidered from th e beginning
68
F or e x amp l e in th e e x cerpt from Handel
o f a phras e or section
th e re is nothing to indicat e a chang e o f key until th e Gapp e ars b u t
the entir e phrase should be considered in the key o f B minor Not e
the means o f modulating i n the other ex cerp ts
67

Hd l
an e

Ex

18 1

When approaching the new key a v oid the use of a tone that
wi l l reafrm the Old key F or ex ample F whe n app oac h i n g the key
when approachi ng th e cadenc e in F
o f G and B
On general principles th e afrmation o f the n e w key is n t
b
heard u ntil the cade n ce sec tion but the re turn to th e to n ic key is usu
ally t th e b gi nni ng o f the phrase i ns tead o f the close
a

180
S c huma nn :

Op

68

I
u s ual
l
the
new
key
is
conrmed
by
V
th
e
latter
2
s
i
A
7
7
then the e sse ntial cho d to bear in mi d an d i f th e cadence is e x te n ded
also th e chords that lead to V
Ano ther principle o f importanc e is tha t o f wea k e n i n g th e to n
a
ality of the key that is being le ft This can be do n e by
U si ng substitutional ch ords (a) Ex 8 5
B orro w ing from th e mi n or mo d e o f the key ( b )
U se o f chroma tic al te ations (c )
1

Ex 18 5
.

Puc c i ni

v e ry frequent means of modulating by a common chord

is taking vi of th e original key for ii of th e new
A

17 3

Ex 18 6
.

131

modulation may b e e ff e cted by taking a ny chord in key

for an oth e r
Ex 18 7 shows th e C chord tak e n as an oth e r diatonic
for a c h ro matic cho d ( b )
17 4

Ex

I 87

C: i

Bl
? ii

EVv
i

A1
7 ii i

7 I II
A1

r
?
El

2 11
31
1

g:

iv

no VI I

r me d by th e us e o f a ton e charac
a
new
key
is
con

l
en tu a l
Ev
y,
teri s ti c o f that k e y , o r some ki n d o f a cadenc e that includes th e toni c
harmony of t hat k e y As s h own again and a gain in th e prec e ding les
.

sons th e second inv e rsion of a triad falling on th e accent alway

a
n
e
w
tonic
wh
i
ch
may
b
e
r m d by th e dominant 7 th o f
c n
a
m
i
r
s

th e n e w k e y Taking a substitutional chord for th e primary chord and

vi c e ver s a is both e asy and e ff ectiv e e s p e cially on th e subm ediant
chord a larg e third below Changes o f key by m e ans of a common
chord may b e e ff ect e d in the following way
Diatonic may be taken for another d i atonic
C hr omatic may b e tak e n for a diatonic
Diatonic may b e taken for a chromatic
Chromatic may b e tak e n for anoth e r chroma tic
Wor out th i s p inc i p l e at the keyboar d in many k e ys bot/l
s

18 2

Modulating

to
unrelat
ed
keys
the
change
is
some
t
imes
75
smooth e r by passing through another related key
Observe that the to nal re l ation of scale applies to key r e lationship
In Ex 8 8 E1
7
th e scale u d would natu
2 is IV o f B1
rally be taken on the way from scale 4 down to tonic j ust as B ee thoven
chose th e keys
B th v n
Op 7
I

ee

o e

Ex 188
.

IV does not contain Ti scale 7 th the us e of it do e s not

co n rm th e key as well as V 7 I f it is necessary to employ it make
up the lack in quality by quantity The me l ody by Reinecke No 8
Ex
8 9 illustrat e s this
F or th e r e turn to th e k e y o f G at bar nine
IV I is repeated in th e n ex t section This little melody is very inter
esting The rst sec tion requires th e three primary harmonies I IV
VI
Th e e mp l oyme n t o f their substitut e s in th e ne x t section provides
a pleasing contrast and by the repetition o f those harmonies in
the third s e ction the key o f e is conrmed This unies th e work
becau s e thes e harmonies are p imary in th e k e y o f e and th e melody
which is th e same as the rst section is harmoni e d in the same way
As th e n ex t two bars ( 7 th a n d 8 th )may b e in th e k e y o f D that illus
trates paragraph 17 5 In its relation to the original key o f G e is
the scal e 6th the natural resolution b e ing down to D and th e resolu
tion o f D up to G Notice the rhythmic proportion of keys
It has been said that it i s vastly mor e important and e ffe ctiv e to
e mploy various in v ersions an d chord positions than many harmonies
On th e sam e principl e it is more important that one should learn
to use th e various harmoni e s skil fully than it is to modulat e frequently
the latt e r being th e resort of the unskil ful U nl e ss th e id e a to b e ex
pressed r e quir e s a chang e o f key to one b e tt e r suited ther e should be
no mo d ulation The modulations required in th e following wer e writ
t e n to provide practice for the stud e nt and not becaus e it is considered
b e tter to hav e th e m in such short melodies
17

6
.

As

'

Ex

189
G il

134

Ii

r sh

Na ti onal Air

Br a hms : To

et
Vi ol

In th e larger forms unless t here is some gural work the

rst four bar phrase is generally in the to nic key It is easier to modu
la te i f the rst phrase clos e s with a to nic chord ; as it suggests a c om
l
n
e
f
e
e
idea
o
anticipates
a
n
w
key
o r the ne x t cadenc e
t
d
e
p
a
Us u l the rst two bars o f the phras e in the new key is made
o f material common to both keys the conrmation o f th e new key f all
ing in th e cade n ce section a s mentioned be fore I n No 2 o f E 197
th e melody modulates in the rst sec tion In that case it is in good
taste to use substitu tional ch o rds for th e n e x t o a passing modula tion
on th e way to th e old key That is much better than to reafrm th e
transi e nt key
In key relation the subdominant key is re trospective for that
b
r e ason it is not li k ely to be employ e d for the rst chang e o f k e y In
a Ternary form the third part is quit e likely to be in the s ubdominant
key and in sonatas o ne hears it in the recapi tulation possi bly in the
development group Because o f this very few m e lodies requi ing the
subdominant key hav e been included in this work
e
S pac e cannot be given to the amount o f a n alysis the stude n t
should d o be fore harmoni i ng the melodies o r pplyi n g th e princip l es
in composition S c h umann Op 68 and th e Bach Album furnish d e
light ful material that should be studied
17 7

"

135

Melodies

with c ha nges

of

key require less varie ty

harmo nic

of

treatment
Do not fo get to make the cha n ges o f key coincident wi th th
rhythmic groups
The te is o ne importan t thi n g that th e stude n t mu t remember
.

k
k
k

ze tones
Tl
ec u l
i
a r to tbc
n
e
w
ey s
p
c /zor ds ar m or c on r m tb c new
e

oul
d

not

be i ntr oduc ed be
r
o
f e t/ze

Ex 197
.

Mendels s ohn

Reinec k e

Hg

un a r an

S ong

Ar c her

138

Ex 2 00
'

As

As

ii

ii7

iv

As

v
#

As

VII
A6

V7

A6 A6

di ff er in their O pinion s as to th e deri vation of th e

S om e regard it as de ived f rom th e do minant
on l y others as a chord not built by supe po ed thirds As it is c on
tru ct e d wholly o f key material why rega d it as anythi n g but anoth e r
mod e o f th e c ho d built in th e usual way by s perposing t h i rds upon
a given root? In th e fundam ental pb s i ti on the only d i ff erence in th e
cho d structur e is the us e of a d i mi ni s /zed t/ i r d instead of a small one
At No 1 Ex 0 1 th e thi d chor d resolves on th e followi ng domi
nant an d appeals to th e ear as th e supertonic chord not another domi
nant Again in No 2 th e chords of th e thi d measu e demand th e
tonic s th just as any st inversion o f th e subdomi nan t harmo n y doe s
Wh y should the second meas e b e con s i de red subdominant a nd not
th e third? They a e simply d i ffe rent modes of th e chord Can one
h ear th e f ourth chord o f e xampl e th ee as any th i ng but the rst inv e
sion of a subdomi nant 7 th? Th e relations in wh i ch it appears conrm
i t as such In Ex 2 4 5 th e cho ds appeal to th e e ar as VII and V and
th e ela tions in which they appe a r ju ti f y th e classica tion as in d ica ted
Th e augm e nted scal e 4th may b e root o f th e subdom i nant c h o d
"
n
ff
t
or t hird of the supertonic and e mployed ( w i thout e ec i g a modula
h
th
t
e a gme n ted 6
udi n
ti o n )in various types o f chords i nc l
g
S ome times only o n e ton e of th e interval re olves th e other pr o
I
f
i
egula
ly
on e o f th e as er tiv e tone s re ol v e
ear
is
h
i
n
t
es
s
e
g
g
sati s ed Th i s may be seen in man y e xample
Th e p og es i on by leap is not u n u ual especially i f th e ton e
taken by leap is a root
In the fol lo w ing ex c e pts note bo th the approach a nd re oluti on
al o th e i nv e i ons Is the mental e ffect o ther t han t hat i n d i ated ?
The re l atio n s in which thes e cho ds appear co n m the appeal t o th e
ear a s IV o r I I
Th eo r ists
augm e n ted -6th cho r d
17 9

ur

rr

s,

rs

Ex 201
.

c :

1V 7 117

139

Mac Dowell: Op

55

Cher ubi ni

5
.

In the ne xt e xamp l e the augmented 6th chord is se e n betw een th e

t w o dominants a n d a t ( b )there are two s cces i v e 6th chords
-

W agner

( 6)

W agner

Ex 202
.

modulati on to th e key a small u d b e low may be e ff ected

e nha mon i c change of a do mi n ant 7 th to an augmen ted 6th o

18 0

by
w

th e

ce
er s a :

Ex

203

I
In harmon i i ng the followi ng melodies th e augmented 6th
18 1
mode of th e chord wi l l be fo med by the small scale 6th and aug
men te d 4th as compo n en ts o f e i ther the subdominant o r superto n ic h
mony a nd may be employed in the sa me relations as the diaton i c
chords of the same name The s tarred notes indicate where they can
b e e mp l oyed Wri te in t h ree or four parts
A

ar

Ex
5

34

204
6

I I A6

140

On e might ha rmoni e th e longer melod i e s of Ex 0 5 in th e usua l

way then s e e wh e r e th e augm e nt e d 6th form o f th e chords would be
poss i ble or better F or exampl e No 2 might be ha rmoni z ed IV l
vi
IV Ietc th e augm ented 6th making th e approach to ca d enc e in a con
Ad
tr y dir e ction
z

ar

Tb i s f or m of the s ubd omi n a nt ha r mony i s us ef u l i n appr oa c /z

s o to a d d
i ng c a d enc e by c ontr a ry moti on , a l
w
o
e
r
t
o
t
b
e p a s sa g e
p

IV I is a common m ea ns
-

A6 5

Ex

of

e xpr e ss i ng the hero i c e l em ent

205

Itali an F olk S ong

142

At (a )in

the followi n g e x amp l e bo th

cur in th e sam e chord
,

th e

l ar ge

W agner :

Ex

a nd s

Tri s ta n

ma ll 7 th
a nd

I s ol
de

2 09

Ar ens ky:

Op

occurs as roo t o f a c hord which is take n

to n ic i n the key o f F n d t ( b)it i roo t o f a domi n an t 9th
I n Ex

2 10 ,

In

Debus s y

Ex

oc

as

46
.

dia

Chopi n :

( b)

Op

37

2 10

In the ne x t e x ampl e b7 appears as chord s th 3 w i th the s mal l 3r d

7
At ( b)it b e
al s o the chord is taken as diato nic in the key o f E1
comes the 5 th o f a new to n ic
-

El g ar

Ex

2 11

E b:

IV

14 3

In this the small s e venth is taken

nant 7 th chord (b)

t
h
7

as

f
and
root
o
a
d
omi
( )
a

S ullivan

2 12

has troubl e in identi fying the chords in th e analys i s play

them without th e chromatic alterations
In l
e ar ning to us e c hr omatic ton e s the sam e principl e o f chord
relationship i s followed as with th e diatonic in the preceding lessons
each ton e tak e n as root third fth e tc also emb e llishing ton e
Not e th e use o f 1
2 7 in the following :
If

one

Ma c Dowe l
l
: Op :

51
.

2 13

By

pe

s s i on of

l h e r A t h u r S c h mi d t

th e p u b i s

Db;

ii
W ag ner :

Gbs n

P a rs if a l
.

:D bz r

I 44

Sc humann

ne x t ex ampl e is interesting no t only b e caus e o f its b e auty

but th e tonality is s o obsc ur e
Th e

Ex

2 14

46
1
Rus s i a n Folk S ong

Rei nec k e

Rus s i a n

H
ym

Ros s i ni

Al
a bi e
'

147

HAP TE R

XIV

E AU G M E NT E D S U P ER I O N I C
TH

aug mented seco nd o f a key is a compa nion ton e for

m
t
the
two
to
es
bei
g
ve
y
equen
t
l
y
u
ed
to
e
be
l
lish
a
onic
f
n
n
#4
chord E 2 8 ( a )

r
f
r
as
root
in
the
st
inversion
major
key
o
ms
an
aug
2
)
(
#
me nte d 6th cho d re s o lv i ng o n I I I sugges ti n g a modulation
18 4

Th e

S c huma nn

Ex

2 18

as a chord
m jor mode
2

d
g

with # 4 trans forms a subto n ic chord to the

W agner :

Ta nnha us er

Ex 2 17
.

2 as chord s th changes the mod e o f the dominant from major

#
to augm e nted Ex 2 8 No 4 In a l l chromatic chords the stud e n t
h ou l d not e the practic e o f great composers i n regard to doubling
-

S ai nt-S aens

H2 18

Mendel s s ohn

148

Mendels s ohn

Bee thoven

Hd l
an e

In this ex ampl e the Rh e ingold theme is given at ( ); lat e r wh e n

th e Rh e in Maidens had lost their gold it appeared as at ( b)3 s ti l l later
when they asked for th e return of the gold the them e appeare d as
at (c )
a

W agner

E 2 19
.

appears
as
root
I n Ex
#
o f a domina n t 9th chord
t
h
s
.

2 2 0

of

the augmen ted 6th chord and

-

Ex

2 20

s ed

by per m

s s i on of

th e p u b

l i s h er A
.

r th u r

Sc

h mi d t

Ma c Dowell: Op

51
.

15 0

h
t
5

No te the doub l y augmente d 4th

at ( b)

at

an
d
the
d
oubly
d
iminishe
d
( )
a

Beethoven

Ex 2 2 5
.

( b)

Fr anz

S tr aus s : Rev
er i e

W agner

Re d u c e d

In di fferent keys tak e # as root third n d fth 3 also resolve

the augme nted si x th o n a tone tak e n as r oot th rd fth seventh large
and small ninth
2

Ex

2 26

15 1

S ince the augmented f ourth and

o f th e subdominant and supertonic

small si x th are both components

chords it is easy to unders tand
why th e augm e nt e d s i x th is s ee n in both th e choice depending upon
th e r e lations in which they appear as with the diatonic typ e s
Th e
augmen ted si xth mode o f a chord may b e used whe n th e t ex t r e quire s
more brightn e ss also vari e ty o f to n e color
Harmoni e th e s e m e lodies o r write others in which # 2 may b e
employed wi th 4 as an e mbellishm e nt chord also as a component
si x th chor d
o f a n a ugmente
,

96

Ex

III I

VII7
5

iii
Rei nec k e

15 2

Poli s h

Nati onal Ai r

Frenc h S ong

15 4

No te

th e

di ffe e nt species
r

of

se v e n th cho ds in this
r

Gr i eg :

Ex

these #5 again app e ars as chord

,

r
d
3

without amodulatio n
W a gner :

2 30

In

Ex

Op

R he i ngold

2 31

Ver di :

Requ i em

8 6 When # 5 occurs as a chord 3r d a modulation may be

e ffec ted by taki ng the median t chord as a ne w dominant o f th e
re l ativ e minor key
1

Ba c h

Ex

2 32

a :

V7 i

o
: ii

105

Bac h

In this ex ampl e # 5 appears as a passi ng tone and as roo t o f a

chord taken as a diaton i c V Q
,

II

O:

Rame au Godows k y : Ri ga u d on

Ex

233

e:

V119

Modulation by means o f the submediant chord on the smal l

Ex 2 34 shows the
6th o f the scal e is very e ff ective a n d interesting
diatonic VI taken as a diatonic I also th e chromatic VI taken as a
n e w tonic
18 7

Ex

234

15 6
C s ar Fr anc

his e x am pl e

sh

ow

th e s e v
e n tl c
g

h or d

on

the

7 6 ta k e n
1

as

k
.

d om

i n a n t 7 th :

Hmp
u

Ex

i k

er d nc

2 35

Here a e other in teresting e x amples o f chromatic chord s taken as

diatonic chromatic as another chromatic and diato n ic fo r diatonic
r

Mac Dowell: Op

Ex

55

2 36

S c humann :

V%

Op

68

15 8
n
n
f
as
root
with
may
be
a
compo
e
t
o
an
augmen
ed
t
7
1
7
#5
al s o e ff ecting a modulation to th e key a large econ d above
s

Ex

6th

chord

2 41
(

: IV
r

A
i

or

A6

Although
c a te d ,

Ex

these would rarely be used harmoni e them as i ndi

e mploying an augmented 6th at th e starred notes
,

242

$9

In harmoni ing melodies lik e an y o th e r c hromatic tone

may
be
e
mployed
a
s
an
embellishm
e
nt
or
to
chang
e
th
e
mod
e
f
o
5
#
th e chord in which it appears
S can th e melodies through fi rst noting
th e modulations and oth e r unusual factors
188

Rus s i an

Ex

ym
H

n
.

243
g:

vi
iv

Swedis h Folk S ong

S wedi s h Air

15 9
S wedi s h Folk S ong

S c a ndi navi a n Ai r

Mendel s s ohn

Folk S ong

160

Mendels s ohn

d Engl is h
Ol

162

his is said to be an old melody of B it tany u ed by Wagner in

th e small
u d gives the s d
Tris tan n d Isolde
p l aintive character
n e eded for th e te x t in that particular part o f the drama
T

Ex 2 47
.

ne x t e x ampl e shows b as a compon e nt of an augmented 6th

chord and a doub l y augmented 4th
Th e

Ex

2 48

student should be able to nd the di fferent ways in which 1

7
has been used in th e following ex cerpts It is inte r e sting to note the
chord relations In th e majority of cas e s there ar e th e same p r ogr e s
sion s as with the diatonic chords al though the chromatic tones destroy
th e original character o f th e harmoni e s :
The

W agner

Ex

249

Re d u c e d

Gri eg

163

W agner

S c humann

W agner :

Rhei ngol
d

Gri eg :

Op

4
16
Ex ample

po itio n
s

hows n ( hidden )augmen ted 6th chord i n the roo t

and e x amp le 5 1 a N ea p olita n 6th over a tonic pedal
2

0
s
5

Ex 2 5 0
.

Ex

251

o
f
t
h
sh
ws
as
a
component
an
augmen
ed
chord
o
6
t
h
t
e
5
root
which b y enharmonic change becomes a dominant 7 th e f
fe c ti ng a modulation to th e key o f th e diminished 5 th
7 2 as
h
n
shows
d
f
an
augmented
6
t
h
chord
on
t
e
ubto
ic
b
o
1
3
( )
taken s th e sup e rtonic chord i n the key o f F
Ex
of

Bee hov
en

Ex

( b)

2 52

may be eff ected by taking any augmen ted 6th chord

formed wi th the small supertonic as 11 6 or I Va 6o f ano th er key
A modula tion

Ex

2 53
I

VI

VII

Al
z z ll

166

i n d the
f ollowi n g :
F

us e

a nd

o te

th e

e ff ect

of

the

m all

W agne r :

Ex

supe ton ic
r

Tr i s ta n

a nd

in

the

I s ol
de

257

Sc humann :

Sc huber t

Op

99
.

Ros s ini : S taba t Mate r

W agner :

Tr i s ta n

a nd

I s ol
de

167

Harmoni e th e following employing th e small scale u d as

a compo n e n t o f both the Neapolitan and augmented 6th chords :
191

-z

Ex

2 58

III

Ne
Sc hube rt

Russ i a n Folk Song

Rus s i an Folk Song

168

C H AP TE R

XVII

TH
E AUG MEN TE D T NI C A D S U B M E DIANT
N

the augmen ted to nic resolves on the sup ertonic it

may be employed when such a resolu tion is possible
192

S ince

EL ZS

f re qu e ntly us e d togeth e r
an
d
6
ar
e
#
#
ha mony
1

to

e mbellish

th e

d omI nan t

Ex 26
6
.

augm e nt ed tonic as root trans forms th e rst inve rsion

th chord
When so e m
o f th e minor chord int o an a ugm ent e d 6
p l oyed i t is gen e rally i f not always us e d as a modulating chord
163

The

Bee thoven:

Ex 261
.

C : I VA6

Op

101
.

17 0

How w ell Debussy e x presses the though t

when Melisand e drops her ri ng in th e water

of

e x pand i ng

i r cle s

Debus s y

er :

17 1

Th i s

e x cerpt f om Bach is a good e xample

matic tones with th e tona li ty remai n i ng clear
r

of

borrowed

hr o

Bac h :

Ma ss

in B

S c humann :

Mi nor

Op

23

Mous s orgs ky

Bac h : Joha nnes P ass i on

In this th e augm e nt e d
,

6th

chord

of

6 is

tak e n

as

K e y:

Br ahms : S ona ta

Ex 263
.

IV

of a

new

17 4

Rac hmani noff :

Op

3
.

e tc

W agner

W agner :

Tr i s ta n

a nd

I s ol
de

17 5

R S
.

Employ

# #
1,

6,

r aus s

or

Wa

ner

both in harmoni z ing th e following melodi e s

Ex 26
.

S c humann

17 6

Mendels s ohn

H
ill

er

HAP TER

XVIII
TH
E D I M INI S H ED D O M INANT
The d i minis hed scale s th is seen le s o ften than any o ther
194
ch omat i c Modern writers u e it mor e than the old composers did
becaus e th e y ar e more accurate in th e selection of symbol
In the pr e c ed i ng lessons th e small seventh was added to th e tonic
chord to creat e a demand for the subdominant I f a mo e somb e r
c haracter is desired th e diminished scale and c h ord 5 th may also be
employed This e ff ect is heighten e d i f th e resoluti on i s on the mino
mode of th e subdomin a nt c h o d
F rom th e choic e ex c e rpts th e s tudent has probably notic e d t hat
desc end i ng small s e conds e specially in the middl e or lower octav e s pro
duce s the e ff ect o f pat hos and gloom Wh e e t he sharper tones a e
also employed as in some of the e x c e p t the e ff e ct is m od i ed o
neutral i ed
The diminis h ed sca l e s th may appear as a b ytone or a harmony
o w ing e x cerp ts
The studen t can eas i ly s ee i ts u e in th e fol l
tone
C

s,

17 8

S c humann

il

E bi f

At ( a )th e

ch omatic V I is ta ken as th e dom i nant o f ano ther key

At ( b ) b5 again become
with 1
7 5 as th e diato n ic 7 th o f th e cho d
th e d ominant 7 th and aga i n th e chord p ogresses to a ch omatic s ub
med i ant which leads into a key e nharmonic wi th th e larg e 3 d above
r

o en :

Ex 268
.

Op

17 9

1: V 7

FA

Al
? .11,

VI

C TS

R EM EM B ER

TO

A chro ma ti c

ton e may occur

a hytone or as a harmon y ton e
changing the mode o f th e c h ord
A ch omatic tone may e ff ect a modulation but not n e c e ssar i ly s o
A modulat i on is e ff ected or complete w h en the al te ed chord r e
s o lv es in th e new key ; t/t e c /zr oma ti c t ne i l
t en bec o mes d i ton i c
As the co mponent o f a cho d th e chromatic ton e usually giv e s th e
t en d to the p og es s i on o f the c h ord
# 1 as root 3 d o s th creates the demand for th e supe tonic c h ord
n
h
f
a
cho
d
demandi
g
mediant
harmony
may
be
o
t
e
o
3
5
#
A c h ord w i th 2 as root is f ee in i ts r e olut i on
2 as 3r d usual l y occu s in an augmented 6th ch ord demanding th e
t o n ic
{2 3 changes the mod e o f th e key
As I 3 or 5 o f a c h ord # 4 c eates a demand fo r th e dom i nant
harmony As root of an augmented 6th c h ord for th e ton i c
as

1,

chord containing #5 demands th e subm e di an t harmony

b ytone
is
ra
e
ly
u
ed
e
x
cept
as
a
6
#
P6 suggests th e minor mod e o f th e key but doe s not n e cessarily
mak e it s o
As chord 3 d s th or 7 th
As root V7 is f ee in its progression
it creat e s a demand for th e subdominant harmony

w e mean th e natu al progr ession

As stated be for e by demand
Th e chromatic to n es a n d chords ma y
on th e li n e o f least resista nc e
and sometimes d o mo v e ot he rwis e but th e d ema n d is the same and
th e e ar ident i es them by t his quality rather than the actual p rogres
sions R e membering th e mental e ff ect one knows how and wh er e to
us e th e chords e ff ectively
A

18 0

HAP TER

MODU LATI O N B Y

CO

MM O N

XIX

TO N E C O NTI N U ED

ways o f modulating by m e ans of a common ton e ar e

almost numberl e ss wh e n one consid e rs both th e diatonic and c hro
matic ton e s in a key and the fact that a giv e n ton e may b e e mployed
as 1 3 5 7 or 9 o f a harmony any one of which may b e taken for th e
oth e r ; not on ly of th e sam e chord Bu t 1 3 5 7 9 o f other harmoni e s
in oth e r k e ys In th e rst e x c e rpt from D ebussy D is 7 th root
small 9th l arge 9th and 3r d In th e s e con d ex cerpt any one of th e
chromatic chords could be r e solved in the k e y of Bl
)
195

The

- - - -

Ex 2 69
.

In th e following e x ample the small

tonic :

E 270
.

6th

is taken as

S c huber

d
3
r

of

a new

S ymp hony i n B mi

W agner :

Ex

Ta nn ha us er

273

The only common

V 7 o f th e n ew k e y :

ton e in this is Db which is suspended over the

,

Beethoven

Ex

274

Note th e m e ans by which the following modulations are e ffected

re
W ag ner : Wa l il

Ex

27 5

18 3

Bee hoven

Wr i te and play a de c e ptiv e cadenc e by taking each ton e of

a d ominant 7 th chord as root 3r d an d s th o f a n e w tonic In moving
to th e r e mot e keys it is sometim e s smoother an d mor e satis factory to
employ a passing tone b e tw ee n th e t wo harmony ton e s
Do this in
di fferent k e ys
197 .

Ex

276

a s r oo

e:

184

S i ndi ng :

Ex

Op

24

277

S ometimes

the melody resolves as e x p e cted but the tone is taken

as a com ponent o f the tonic harmony o f an other key
,

Be e hoven

Hmp

i k

er d nc

Ex 2 7 8
.

In ex amples 7 and 7 3 a tone o f the tonic chord was taken

A gi v en tone may also be ta k en for a domi
for o n e o f the dominant
nant 7 th or 9th
198

Ex

27 9

as

7 th

0 a s 9t h

18 6

sugge ted ey
scale
th e

hese

ar e

good e x amples

of

the tw el v e tone
-

Elg ar

Ex

28 1

W agner :

Ex

Tr i s ta n

a nd

I s ol
de

2 82

various ton es
o f ano ther V :
Th e

of

V7

may be suspe nded over

th e

d
3
r

and

h
t
5

18 7
2 01

Wr i te

a nd

p l ay uc e i v e do mi n an t 7 th
s

ss

an

dom i n ant

h
s ;
t
9

Ex

284

a s r oot ,

5 th ,

7 th ,

Ex 2 8 5
.

W agner

D b ii 9

W agner :

P a r s if a l
.

re
Wagner : Wa l il

18 8

W agner :

2 02

Ex

Tr i s ta n

a nd

I s ol
de

D ominant 9th to dominant 9th is v e ry int er e sting :

-

286

a s r oo t ,

31d ,

5 th ,

7 th

Chabri er

"

vi i i 0 V

vi i QO vi i QO

"

vi i i 0

V9

Mous s orgs ky

2 06
.

Harmo ni e th e follo wing making modulations in each :

z

d Fr enc h S ong
Ol

Ex

2 90

191

Mull

er

d German S ong
Ol

H
i mm l
e

192
2 07

Mod ulations through e n harmonic changes

are

always

in

ter es ti ng

Not e esp e cially th e r e lationship of k e ys in th e following ex c e rpts :

At ( )th e small 3r d o f th e tonic harmony is taken enha rmonically for
th e larg e 3r d o f a dominant chord At (b)th e root o f th e tonic chord
is e nharmonically tak e n as th e small a dded 6th o f an oth e r tonic a di
minish e d 4th abov e th e original k e y
a

Rac hmani noff

2 91

E V,

0:

enharmonic chang e s a dominant 9th chord may appear in four

diffe r e nt keys ( b)
By

2 92

ne x t e x ample shows th e root

ha rmonically taken as a dominant 7 th
Th e

of

th e au gm e nt e d 6th chord
-

en

Dvor ak : Requi em

Eh 2 93
.

l
ow

shows on e o f Wagner s changes to th e larg e 3r d b e

and back again D ebussy ma k es an abrupt chang e to a large 3rd
This ex cerpt

194
Ros s ini :

Re d u c e d

S ta ba t

Ma ter

195
The augmented 4 th o f the
This e x ample ( a ) is very unusual
scal e resolves o n a tone enharmonically taken as th e third o f a new
ton ic and in th e new m e asure the 3 d is e nharmonically tak e n as a
new ton ic :
-

( a)

Ex

Rac hmaninoff

2 97

Ri es : Op 31
.

196
C s ar Fr anc k

2 08

Ex

enharmo n ic chan e of the augme nted 6th chord to a

ic e v
has b en given be fore Any o n e o f them
v
another and e ffect a modulatio n

Th e
t 7 th , a n d
k
for

domi nan
may be ta en

er s a ,

298

V7

IV

or

Harmo n i e the chro matic scale both asce n di ng and de

scending employing #4 in the latter
In th e follo w i ng e x cerpts a c h oma tlc passage 13 seen n th e upper
voice of o ne and in the lower voice o f the oth er ;
2 09

W agner :

Ex

2 99

II a l
/c ii r e

198

W agner :

Tr i s ta n

a nd

I s ol
de

Elgar

W agner :

P a r s if a l
.

El g ar

199

entary
em
S uppl

Materi alfor Modulati on

.

Ex 301
.

Hg

un ar a n

Air

Rus s i an Ai r

A ii

Chor a l e

2 00
Cha nt

Rus s i a n Folk S ong

Hg

un ar a n

Folk S ong

W els h Ai r

Rei nec k e

2 02
ds
Br a hms : I n S u mmer F ie l

Gluc k :

MO D U LATI O NS

Hym

m I p hi geni a

ro

BY CO MMO N TO NE

S c huma nn :

Ex

302

2 03
S c huma nn : I c h wa nd
'

r e ni c

ht

u me
S c humann : D i e Lotos bl

S c humann

E b:

ii i
S c huber t :

P or tr a i t

k
er

2 04

S c humann : Ra ths el
.

IN

C LU D I N G THE

NE APO LI T AN S I XT H
S c hube r

S c huber t : The

Mi ller

S p ri ng Dr ea ms

d the B r oo

an

2 06
BA OH C H O R A LE S

II

I II

Fl

a:

2 07

III a

2 08

the use o f gured bass h s been discontinued by

th e most progressive teachers n d there is never an occasion to use i t
in the p ac tice o f real music it is s till seen in some te x t boo k s I f o n
ca es to becom e familiar with it work that has been do n e o r some o f
th e e x cerpts might b e gured
F rom th e solution given at Ex 304 o n e will s e e that the gures
i n dicate the number o f degrees above the bass The basses at Ex 305
may be harmoni z ed in four parts employin g both cle fs
2 12

Al though

Ex

304

S olu t i

o; 1
r

( b)

Ex 305
.

F or

s u s p en

s i ns
o

2g

ecause it can be done s o mechanically without hearing

feeling o r the e x ercise o f music se n se this me thod has hampered
musical progress more than any o ne factor I n the hls tor y o f mus i c edu
cation Those who have succeeded in composition did so in S pite of
it rath e r than because of i t
On e thing is cer tain mo dern music cannot b e understood o
written on the narrow restricted systems of the past After all follow

Hun e ker s advice F or the rest trust to G od a n d B ach

B