2012-09-27 00:19:50 UTC

50632a7b06977 190.160.147.91 Chile

MANUAL

OF

HARMONY:

PRACTICAL

GUDE

TO

ITS

STUDY

FBEPABBD

KSPEOIAIXT

FOB

THl

CONSERVATORY

OF

MUSIC

AT

LEIPSIO.

BX

EENST
mnYEBSITY
UT7ST0-DTBE0T0B,

FEIEDRICH
ORGANIST
m
THB OF THB

EICHTER,
CHUBOH OF

OF

ST.

NIOOLAI,

AlTD

tW"

STBUOTOR

OONSEBYATOBY

KUSIO.

TRANSLATED

U-ROM

THE

LATEST

GERMAN

EDITION

By
ALUMNUS
OF
THB LEIPSIO

JOHN
OONSEBYATOBY

P.

MOKGAN,
OF MUSIC,
AND

PUPIL

OF

THB

AUTHOR

FOURTEENTH
". "
"

EDITION.

"

"

"

"

"

^
"

"

""*""

'

-J

""

"

NEW

YORK:

G.

ScHiEMER,

35

Union

Squat?e

(West

Side).

'.r-r\

.n
1

"\
year

Bntered,

aooordlng

to

Act

of Congress,

in

the

18#ft

Of

G.

SCHIRMER,
the

tlie

Clerk*s

Office

of

the

District

Goart

of

United

Stotes

for

the

Northern

Distrtet

of New

628951

TBANSLATOR'S

PRBFAOB.

In offering

to the
we

American
need have best

pnbKc
no

this

translation
in

of

Biohteb's
that
we

Harmonielehbb
a

hesitation

saying, which

offer

translation given
kaows
a

of
to

the

text-hook

of Harmony

has,

as

et,

been
one

the

world.
than

No

better

its

author
;

the

road
no one

which has

one

must
more

ake

to become

practical

harmonist
to real

and

been

uccessful
The

in leading

pupils

success.

Manual itself the

contains,
best

the

outUnes his
many

of

the

course

which

has
as

roved

during

years

of

efficient labor
;

nstructor
sale

in Harmony
the

in the Conservatory
has

of Leipsic
shows

and

mens the im-

work

had

in Europe,

in what

estimation

t is held A few

by

the

musical
as

public.
the

remarks with
a

to

translation
knows how

"

^Every

one

who

is at

al

cquainted

the

matter,

exceedingly
in and
an

difficult

it is

do

justice to
no

German
is the
of

scientific
poverty music.
to

work

English

translation English
terms

nd

in

science

of exact

definite

reater The
the

than

in that
has

translator

striven
any

give,

throughout,
for the

the
sake

exact

sense

original,
and has

without
always

embellishment
a

of

attractiveness

preferred in

square-cut
more

sentence

containing
one

he

idea

of the

original
or

fuU,

to

smoothly-rounded

hich A

would
few
been

omit
or

add words

something. which

clauses enclosed
work

seemed

necessary

for clearness,

ave The

in square has

brackets.

whole

been

performed

as

pleasant

duty

to

tbanslatob's

preface.

eacher

to whom

the

translator

owes

all gratitude,

and

in behall out with-

f the
an

many

earnest

students

in this country,
of Harmony

who

are

utterly

adequate^

pradiml

Manual

and

Introduction

to

oimterpoint.
Thanks D. which, in
are

especially
of Oberlin

due

to

his for

revered
his

father,

Bev.

JoHK

organ,

D.,

College, aid of
of
the his

kind

assistance knowledge
must

in the

ork,

without

the

comprehensive ia

o
have

anguage
done

general,

and

German

particular,

een

much

less accurately.
JOHN
P.

MOBaAN.

New

York,

June

IH,

1867.

FROM

THE

PREFACE

TO

THE

FIRST

EDmON.

The

most

immediate

occasion
in
the

for title.
of

pubEshing
It
was

this
desirable,

text

boot
connection

armony
with
put

is indicated
the the practical

in
of

course

studies
a

in

the

theory

music,

into

hands

of

the

pupils
and author

help

for

the

explanation The
:

he

doctrines

brought
a

forward,
the

for their believes

part

repetition.
to

quali"
It must
eoo

ies of

such

man^al, essential^

be

these

ontain

the most

fundamental
hut
as

of
as

the

musical
;

theory
must

ressed

in

manner

irief

complete

possible
by
to

there

hese

fundamental
to

features

always

accompanied
in

reference

and

uidance

the

practical

application^

order

qualify for
treatise
any

late

ttempts

at

composition. contains although

no

The

book

scientifically
far
upon
as

theoretic
case

on

mony har-

but,

as

is
a

the firm

with
is

system

armony,

it is

supported

basis,

only
now

dedicated

to

he practical be
very

object, which
difficult to

with
attain

the in
a
an

scanty

means

accessible,
way. after youth,

would
There

abstractly disposition rules, would

scientific
to

has,

indeed,

ever

been
in

inquire
especially
have

athematical
to

definiteness the
no

musical

and

pposed
clear

belief

in authority,
would

like to
much
as

everything
on

that

doubt

be
means

possible,
of the

it shrinks
knife,
to be

the

ther

side,from

learning,
the

by

anatomical
it is not

to know

nd

understand
in this
one

blooming
a

hfe of is foimd

art ; and

denied
which

hat

respect
as

want

in

musical

literature,

has

yet

entirely

succeeded

in

supplying.

All

attempts

the

sort

have

as

yet

failed

to

create

really
through

tenable
orm

cally scientifi-

musical

system,

according

to which,

fundamental exhibited

rinciple always

all phenomena
necessary

in the
consequences,

musical

realm what

are

foimd

and

philosophers,
in
too

mathematician

and
worthy portions

physicists of

have
but
the

accomplished in
easy

this

regard,

ndeed

attention,
to

part,

much

divided
the

into

solated

allow

discovery in part, with

of
too

connecting serving

inks

for the

completion than

of the other

whole,

abstract,

usic

itself less

objects, and
in is, after

all the
little
most

understanding
to

musical

things
musical,

shown which

it, still having

all, of

reference

the

roperly

the is

immediate
down
in

impor

with books
of
a

the

musician. basis,
as

What
has
not,

laid

musical
verified

ext

scientific

however, single

hitherto learned
complete

tself, because
was

it in part
as

application
to create

of
a

tions, investiga-

just

little able
conclusions, scientific

system
as
a

in itself
structure,

ith

indubitable
utterly without

and

in part,
*

fanciful

basis.

Still, rightly and

regarded,

this

deficiency
who likes
to must

is perceptible
to busy

only with

to

the

iper

educated
so

musician,
disadvantageous education
#

himself

theory,

ot,

however, his

the

advancing

student

of

music

hat

immediate

suffer

in consequence be
compared

of it ; and

his

scepticism, with

referred
that would
can

to

above, mode
at the

might of origin

in

certain
over

asure,

childish
get

procedure,

which

from

reat

curiosity,
which

of all things
comprehensibly

through
enough

questions

seldom

be
of

answered

for

he

questioner's

stage

education.
power

The
to

advancing technical enough

greater
to
ease

student

of

usic

has

to

apply
cost

his

whole time

his

education,
attain

ecause

it will

him from
of
a

and he

trouble
can

the

tand-point, the

starting

which
real

with

advance
to

owards

position

artist.

Here

the

question

be

;sked

is not

Why

the inquiry

of immediate

application

is. How

It may
a

here

be

permitted
Die

to

call

attention

to

work

which

might M.

be

adapted

Natur

der Harmonik

Metrih

hy

Hauptmann,

he

thing

to be
not

done
to

is, from
calculate,
acquirements,

experience,
the

from
of and

the

hsst

models,
principles
require

nderstand,

necessity
capability the
an

certain calling
and

ater, if education,
be
time

it

t will

enough

to

investigate
will of

why,

all

edge knowl-

obtained
discovering practical
of and
the

from
also aim

experience the
laws

be

aid

not

to be to

despised,

or

nature

pertaining
was

music.
to

This

in view, aud
in

the

author the

at

pains

give

the from

xhibition

harmony,
experience,

of
a

propositions and
clear

resulting
manner,

bservation

simple

and

since

e destined

book

for study

to let the
,

truths, wishing,

perhaps
through

contained
an

n it, work

through
dress

themselves
or an

; without

especially
an

learned drde
with

attractive It contains

form,
the

to

obtain

for of

them

xtended

of
hints

readers.
a

doctrine

harmony
exercises,
out

omplete,

.for

rational

method
for the

of performing

or the

fixing

of

the

whole, These
; the

and

ready

carrying
to

of

al

armonic

principles.

exercises

extend

the

beginning
itself

ontrapuntal
however,
In closing,

studies
in
a

doctrine
after

of

counterpoint
same

low will fol

later
a

volume
to

the

plan.
art
;
an

still

word

the

disciple

of

earnest

one,

ndeed,
It is

but
our

well

meant. to reach
a

object

distant this
a

goal

; this goal

is the

actual

product

of works
is

of art.
to

For

vigorously the into

exercised,

enduring

ctivity that

necessary, which will

great the is
won

comprehend recognized

musical
structures

principles, capable

to

orm

and

of

ife.

Those of
our

bitterly
masters,

deceive gifted
without

themselves,

who,

filled with think

to

the
to

orks

with

poetic

mind,

be

ble

to pluck

blossoms,

learning
are

thoroughly
the
erroneous

know

nd

prove

the

technical
of

aids
beauty

; who

of

opinion

hat

the

consecration under

which
of

extends
the

itself
or

over

the
the

work

art

suffers

the

dissection
the

material,
never

that

first

atural

formations requisite knowledge

to the

of

latter

could

develop
has be

themselves
ever,

o that

beauty.

No
attain

person

of

talent

without easier

horough than

(to

which

was,

to

sure,

to

im

less

ill

PBEFAOE.

the

achievements
artistic make thought

of

art

thrive.

Exercise

without
of
the

consciousness instinct,
sensible. it is this
comes

s not

skill, it is only the

want

the
a

working

which The which

ill always

of

complete

education form,
and

piritual be

cannot

do

without

the Even

ust

recognized
of

and

learned.

if it often
more

with

the

onception

itself, still, with

as

music,

than

with
the

anything
thought, manifold

lse, it is of importance,

it

were,

logically
transform

to dissect

remodel

it iato The

new

forms, of

to

it

iq

the

most

nner.

knowledge by the
person

these

things

and

skill
this

in

them
can

must

acquired

of

talent

also,

and

only and

be

ttained

by

taking
to

pains
and

to

recognize

the

musical
have

laws,

endea

imitate

extend

what

others

already above the

long

Qce

discovered.
method for

Earnest, the

persevering of

activity,
maturity,

and for

all, tion forma-

ational

development
of hf
e,

of works

of art

capable lead

wiU,

in connection

with

musical

apacity,

certainly

to the

goaL

FROM

THE

PREFACE

TO

THE

THHID

EDITION.

Although
former

in
ones

the
has

present
been

edition

also,

the

methodical received

order

the

retained,
for
where
many

still it has

mateiial hare

additions.

The

exercises

subjects
have

of

instruction

been

increased
concerns

in number,
the last,
some

it seemed

necessary. appeared

As
in

books
present

lately
:

which

re

measure

related Kurzen

to the

manual,

viz

OefneraUxisS'

Vebungen

nebst
zum

Erlauterungen

by
und

Benedict

WmMANN, Contrapunhtes,

and
by

Uebungen

Stvdium

der

Harmonie

des

eed.

Hiller.
this
is not
me

Although
works,

the

place

to

speak

more

particularly
these
authors

of

hese

still let

here

be

permitted work,
to

to thank

or their

friendly
remarks

reference

to my

and

to

make
the

the

following of

dditional
of since
as

in

respect

it.

Although

study

the has

heory

music

through
to to
a

the

so-called

thorough-bass
still the

doctrine
thorough-bass

ong

yielded
means

more

rational end,
has
to

method,
me

iguring,

the using

proved

itself too
in

excellent,
harmonic

admit

of

my
as

not

it for
for the

the

first exercises applications

use

onnections,

in

general
more

first

of
has

harmonic
not

nowledge.
in
my

farther,
text

extended itself,
for

of

this
first

been
works follow

ade

book

but

in

the

of in

the

bove

referred
course

to, and,

indeed, book,

exercises

which,
other

part

he

of

my

text

in part

aim

at

practice.

The

PBEFAOE.

work

of

HiLLER,
coiunse

however,
of of my

besides
text

the

exercises

which
a

professedly rich material

follow

the

book,
most

ofiEers in general

for

elaborations
exercises,

the
bnt

manifold

kind,

not

alone

fox

harmonic

for all branches

of

theoretic

musical

cati edu-

Since

the

exercises and
are,

in

my

text
most

book
part,

could
given

not

of
in
a

course

be

exhaustive,

for the

only

suggestive

ay

in order, here be

when

needed,

to design

others

after them,

both

works

ay

highly

recommended

for this

object.

PREFACE

TO

THE

FIFTH

EDITION.

It

has

been

my

endeavor
a

in
time

this
after

fifth
the

edition,
fourth,

also, through
to

which

ecame

necessary

in

short

additions, that

in

part

through
a

altered
text

verbal of
this

expression,

attain

erspicuity^ its end has

which

book If

kind

must

possess,
to

if it fulfill
that
use,

completely.

may

also

venture

hope

the I
am

ook

been

in that which

many

directions
order
to
"

serviceable

and

of

till conscious,

in

reach
many

the
an

simple
improvement
not

atd

luminous

epresentation
introduced.
the

is my

ideal,

is still to

This

edition,

however,

does beside

differ

essentially

rom

preceding,
may

and

I wish,

that
new

the

old

friends,

this

edition

gain

for itself

ones.

EENST
liEiPsro,

FEIEDB.

KICHTEB.

December^

1863.

TABLE

OF

CONTENTS.

];rTBODUGnoN."

in^en^

"

"

"

"

18

PAKT

I.

HE

FUM)AMEin?AL

HABMONIES

AM)

THE

CHOBDS

DEBITED

FROM

THEM.

OBAPTKB

I.

"

The ^The ^The

Triads Triads Inversion

of

of

the

Majob MmoB
the

Scale, Scale,

21 40 47

n.

"

of

the

III. IV.
V.
VI.

"

of

Triads,

"

^Harmonies The

the

Seventh
of the

{yi"rldang^,
of
the

"

"

"

"

54

"

Inversions

Chord
of the

Seventh,

...

69
64

"

Secondary
^The ^The Inversion

Harmonies
of

Seventh,
.....

VII.

"

the

Secondary

Chords
in connection

of

the

Seventh,
Chords
of

7?

ViU.

"

Chords

of

the

Seventh

with

Other

Tone-degrees,
of

81
Eleventh
and

IX."

On

Chords

the

Ninth,
of

Thirteenth,

88

X."

Chromatic

Alteration

the

Fundamental

Harmonies.

tered Al-

Chords,

91
of

XL"

On

Modulation

Passage

of

Musio,

"

"

"

.103

PABT
OHOBD

II.
TO
THE HABMONT.

OOIDEKTAL

FOBMATIONS.

TONES

FOBEIGN

Xn."

Suspensions,
.

105

Xm."

The

Organ-Point

Stationary

Voices

^sa^

CONTENTS.

APTSS

PAOV

XIV." XV."

PAssma
Passing

Notes. Chobds,

CHANama

Noms,

"

"

"

"

128

"

"

"

"

188

XVL"

On

the

Means

fob

Modulation.
"

"

"

"

.141

PAET

III.

BAOnOAL

APPLICATION
THEIR USE

OP IN
THE

THE

HARMONIES. HARMONIC

THE

EXEBCISES

PUBE

STEUCTUIUB.

XVII.^Thb ill.

Simfly
of

Habmonic
the

Accompanimbnt Habmonic
of

to

Given

Voice,

157

"

Accompaniment,

173
.
. .

^Extension

XIX."
XX.

On On
The On

the

Development
of

Melody,

176
Voices,
Movement,

"

Development

the

Accompanying
Thbbe-voiced

188
. . .

XXI.

"

Exebcises
the

in

the

"

"

187

XXn.

"

Two-voiced Elabobation

Movement,
of

193

XIII."

Habmonic

Given

Voice

in

IlIelodic

Devel-

opment,

....

195

XIV.

"

^The

Five-voiced

Movement,
and

203

XXV."

The

Six,
the

Seven
Musical

Eight-voiced
of

Movement,

"

206

XVI."
of

On

Fobms

Close,

"

"

"

"

"

213

ndex

Subjects^

"""i.S16

INTRODUCTION.

Op

the

elementary
and
of

knowledge
with harmony,

for

wliicli

general be
which
will

instruction
presupposed stands treated

in

mnsit

rovides,

acquaintance
the study
:

which
the

must

at

the

eginning

of

portion

in the

nearest

elation in
a

to

it, viz

The

Theory

of
manner.

Intervals^

be

of

rily prelimina-

brief

and

condensed

Intervals.

The

relation

in which

one

tone

stands

to

another,

in respect

to differenos*

pitch,
The

is called
greatness

Interval.
of the

difference
of the
as
a

is directly

determined
the
two

according
tones

to

the

umber

of
to

the each
as

degrees
other,

staff, upon rule, in such

which
a manner

stand,
lowest

in

espect

and,
upon

that the higher

the

tone

s reckoned
to

standing
the

the

first degree,

and

is determined

ccording
Eemakk.

number

of diatonic
degrees

degrees

lying

between.

"

^By diatonic

is understood

the

series

or

progression

of

tones

pre"

nted

by

any

raajor
for

or

minor

scale.

If

we

take, then

example,
a,

g the

as

lower

tone,

and

situated
upon

upon

the

firs
the

egree,

the

being sixth

higher,
.

will

oome

the

second,

0,

igher

still, upon

the

degriu
6^

m
The

J^.
*is:
.ig

ig

1^

"o.

numbers
manner

of
:

the

degrees

produced

thus,

will

be

expressed

in

the

ollowing

12

34

78

I
%
Vnison
or

:8"
"*"" -r^

"^

""
"

-SL
-6^

"

-ftfc

-6^-

'^

Prime.

Second.

Third.

Fourth.

F{fth"

SiaOh.

Seventh,

Octave*

As

rule,

we

reckon
lie

only

to

the
so

octave^
on

and

begin
new

the

series
so

again
that
^

with

he

tones

which

above,
a

and

with

each
a

octave,

tho

inth
so

degree
on

becomes

second^

the

tenth

thirds
the

the

eleventh
the

fourth^

nd

just
however,

so

the

fifteenth

becomes

octave^

sixteenth

the

cond

again.

Keasons, and

which
in

find

their
now

explanation and
according
from the
:

in

the

principles
for

armony
tones

theory

general, the
of

give
octave,

then
to
octave

occasion the

ing designatnumber

which
The the

lie above

actual

he

degrees.
receive

series
following

intervals

upwards

fore, will, there-

double

designation

Octave.

Mnth.

TsntK,

Eleventh.

Twe^^
^

ThirUenOi.
^

FaurUenth.
^

Fifteenth.

$
"^

:s:

'^

-i^-

-^

-^

-^

-rt*-

-^

Second.

Third.

Fourth.

Fifth.

Siseih,

S"oenih.

Octave.

Greater
in the

distances
lower

between

two

tones,

are

simply

reduced

to

their

rela

iun

octave.

Mare

^Particular

Determination

of

the

IntervalSm

It is easy
the

to

see

that

the

above
of

presentation

of
the

the

intervals, of

is based
the
tones
are

pon

diatonic

major
are
as

scale

C, and
thereby.
the
tone

that

relations
manner,

hich

lie between
throughout,

not

affected
upon any

In

like

they

rega

based
that

first
of of in the the the

tone

of
can

the

diatonic
at

scale

hereas,
as

it is conceivable lower
the
same

scale

be taken would
themselves

ure pleas-

tone,

whereby
small clear

the numbers

degrees

be

altered,
appear.

nd In

at

time,

differences
view of
to

degrees
in
the the

order

to

gain

the

matter,

midst

of

these

mani
:

old

variations,

it will

be

well

note

carefully

following

principles

Tlie

series the

of

intervals

shown

above,
the

in

which

the lowest
as

tone

is

firs

one

of

major

scale, which

forms

series

itself serves
intervals
are

foundation
called
majori

or all determinations

of

intervals.

These

ome

of
Evert/

them

perfect.

chromatic
not

alteration

of
only

these

tones,

of

the upper

tone

as

well
does

as

of

the lower, their

changing

the number

of the
a
more

degrees,

consequently

not

lter

designation,

but

renders

particular

determination

of

them

necessary.

Thus,

for

example,

if to

the

fifth

sharp

is in

any

way

attached,

ioD,

unce

It has

evidently

become

different fifth from

Or,

what

it

was

of

ig

nally.

I
Since
now

^fci^
of the
the intervals

i
take
place through
and
more

such
or

alterations
lowering

cally chromati-

raising

them,
are

following
use

various

definitely

eterminative
1. Seconds,
scale,

designations thirds^
taking

made
sevenths

of: and

sixths,

ninths^
tone,
are

which called

result
major;

from

the

ajor
2.

its

Jlrst tone
perfect.

for lower

primes,

ourths, fifths 2LTid octaves

If
the
upper
tone

of

the

major

intervals

be

lowered

small

half-step,

inor

intervals

result.
tone

3.

If

the

upper

of

[most]

major

and

perfect
minor

intervals

be raised^

mall
4.

half-step,

augmented
tone

intervals

result. and

If the

lower

of

most

perfect
result.

intervals

be

raised

alf-step,

diminished

intervals

Tol.
Fer/eet
Major

Major

Perfect

Perfect

Major

Major

Perfect

Major

I
^^
PHme,

:sz
12?:
-o-

-69^^ ^^

i^
Third.

^^

^^

.^^

if^

Second,

Fourth.

F^th,

Siath.

Seventh,

Octave,

ITinth,

To

2.
Minor

Minor

Minor

Minor

Minor

I
'l^
Second,
Third,

;s

"^"Seventh.

"^

SMh,

mnth.

To

3.
Augmented
Atiffmented
*

Augmented

Augmented

Augmented

I
4*
Prime,

*
Second,
Fourth,

""m
Fifth.
Siaih,

To

4.
Diminished Diminished Diminished Diminished
Diminished

'"^6

M
Octave.

1^
JTiird,
Fourth,

r
F\fth.
Seventh,

^Augmented

thirds, sevenths

and

ninths

do

r/"t

occur

in harmonic

relations.

Aug

Rexabk.

"

^Dimimsbed
they
not

primes,
can

seconds,
conceived

sizihs
of

and
melodic

ninths,

are

harmonically
u
e.,

inoon

oeivable,

although

be those the

in

relations,

in

reference

progressing

intervals, Remark

to

which

sound

together. the

on

Formation
the

of

Diminished

Intervale,
the lower
tone
tone

The

reason

why,

in the

formation
a

of

diminished

intervals,
result,

has
were

been

aised,

notwithstanding lies in the

that

like

interval of
all the

would
intervals

if the
to

upper
their

lowered

peculiar
of

relations
on.

in regard

inversion,

which

will be

spoken

farther

General

View

and

Classification

of

the

Most

Used

Intervals*

P"XXB8.

Skookds. Auffmented,

Per/set,

Major.

Minor,

AufftnentecU

I
I
Thirds. 3(inor,

I
^

I*-

Foubtos.

Ma^or,

DiminUhed,

PerfecL

Augmented,

Diminiahed,

$
Fifths.

3
"?:

"-

:^

:ar

S
Sixths.

m
F
"^

Perfect,

Augmented,

Diminiahed,

Major,

Minor,

Attgmented,

i
Sf.ventus.

"q=F==

I
Major,
Minor.

I'-

.or.

:ki

m
Ninths.

Ootavbb.

Diminiahed,

Perfect,
ISi

Diminiahed,

Major,

Minor,

i
JHvision

"i.

m
1^
into

^=\ 3

r
Consonances
and

of the
speak

Intervals

Dissonancesm

If

we

in music
not

of
or

consonant

and

dissonant
ones,

intervals,
to

we

stand undercan

thereby, by
a

well
two

ill sounding but

to

which, first,
we.

be

sure,

be
as a

xpressed in

these

words,

by
each

the

understand

such

tand

pure,

satisfying
connection
a

relation

other,

which ; by
the

does

not

require
as

ertain

farther

with

other

intervals

last, such

nitel defino

indicate
sense.

farther

progression,

and

without

it would

have

atisfying

The

consonances

comprise

all those

intervals

called

perfect,and,

in ad"

The
The

first

are

called
are

complete
the

consonances,

the
minor

?ast incomplete.
second^

dissonances
and this

m^jor and

and

major

and

minwr

eventh, From

all augmented
we

diminished general

intervals. plan
:

derive

the

following

I. CONSONANCES.

a.

Complete.

The

perfect

prim"j

perfect

fourth,

perfect
5

and jfifth
8

perfect

octam.

I
h. Incomplete.

The

major

and

minor

third,

and

the

major

and

minor

sixth.

I
II.

t. 5g"
DISSONANCES.

The

augmented third,

prim^e,

the

major,
and

minor

and

augmented

second, the

the

iminished

the

augmented
the

diminished

fourth,
major,
and

augmented
and

nd

diminished seventh,

ffth,
the

augmented
octave,

sixth,
and the

the

minor
minor

dimin

ahed

diminished

major
Aug,

ninth.

^u(7m"n"""{

Major,

Minor.

JHmin,

I
"-^
^t"^.

I
"

""".

=5^r
^k(7.

"

|!?i."
2"imin.

""

^|g:-'Iti^.

JHmin,

4-

%=^
Major,
Minor,
Dimin,

l^^^|^^^3
1
7
Dimin,

Major,

Minor.

I
*LBter
in the

r|"i

^i

"

j=a
i*
follows
a

pZE

"

I*
iDstruction in harmony,

fiEirther explanation

9f the

peooliar

Inversion

(Venetssung) of
above,
in

tlie

Intervals,

As
a

was

already
with of
the
two
are

indicated
lower
tones,
tone.

determining there
tone
as

the

intervals
to

we

begin

rule,

If, however,
the
upper

is occasion

determine
point,

he

relation

taking

the

starting

the

ntervals

found

called
'''

intervals

bdow.

Thus,

for examp
the

^^
It
is easy however,

is dj

the

fifth from

g ;

g^ however,

rom

fifth hdow.

to

see

that

the

interval

cannot

be

te al

by
It

this.

becomes

different,
lower
tone.

if the particular
an

upper

interval

be

removed
to

below

he

original

Since

reference

is had

this inversion

n various
The

kinds

of

composition, scale

explanation
means

of

it may

follow

here.
assume

diatonic form
:

major

will, by

of

this

inversion,

the

ollowing

ntervals

above:

I
i^oto

3^.
."fis:
"":

^^

gg^B

tervals

There

result

thus,

the

following

series
4 5 5 4

of
6

numbers
7
2 8

12

hat

is, through
"c. inversion

inversion,

the

prime

becomes

an

octave,

the

second

eventh,
The

of

the
to

major

scale

forming

the
:

basis,

we

must

note

the

ollowing
1. All

in respect
PERFECT

all intermediate
remain

intervals
perfect

intervals

in

the

inversion

in

the

ctave,

2.

All

MAJOR

intervals

become

bcinor,

aU

minor

major,

the

augmented

MINISHED,

and

the

diminished

augmented.
a

In

the

following

table

is exhibited

view

of

all the

inversions

Pbuieb.

Seconds.
Augmented,

Perfect
OBionvAi.

Major.
122:

Minor,

Augmented,

blTBBTALS.

I I

jEs:

rziE

amzt'rziizrQ-

E
Sktentds.
Minor,

M
Diminished,
lesn

OOTATBS.

Perfeek

Diminished,

Major,
3:

biTSBSIOV.

Thirds.

FOUBTHS.

Major,

Minor,

Diminished,

Fer/sct,

Attffmented,

Diminished,

;tei
Sixths.

-fi-

i^Auffmented,

FUTTHS.

Major,

Augmented,

Perfect

Diminished,

3E*

pi

-:sz

:;;"a
is:

* 31

FiKTus.

Sixths.

Perfect.
G-

Augmented.

Diminished,

Major,

Minor.

uftf^mentad

i
ig:
.-".

^;e
Thibds.

I
Major,
..O-

Foctbths.

Perfect,

Diminished.
G"

Augmented.

Minor,

Diminished,

.-Q.

:""= i^^i

:W

i^

Sbvknths.

OOTATBS.
Diminished,

Major,

Minor.

P"}:Ak;"

Diminished.

K
:":

ji
Major.
Augmented,

II

""=^-1t
Pbuibs.

Srconds. J^ftor.

l=?
An
not

p"-

j^=^l^^
this essential
in double

;;a-

s
intervals
greatly

exact,

certain
important

knowledge
for the

of

inversion

of

the

alone

exercises
insight,
to

counterpoint,

but

acilitates
reason

comprehension their

and

in

simple

harmonic

structure,

for

hich A

study

is urgently
may

be
:

recommended.

few

more

remarks why,

follow
first table

here

The

reason

in the

of intervals, lower
tone
a

(page 16), all

small
the the

diminished
not

ntervals

were

formed
the
upper,

by

raising

the
to

half

step, and
of

lowering

is clearly

be

seen

from
from
comes

above

table

sions. inver-

Since
inversion

the

diminished
octave,

intervals

result

augmented

through for example.

he

in the

this formation

of

itself;

he

augmented

fourth

jj^z^giz

must

of necessity

give

the following

inish dim-

fifth

MANUAL

OF

HARMONY

inversion
perfect
a

it is converted
fifth
can

into produce

the the

perfect
perfect of

fifth, in
fourth,
a

the

same never

manner

as

he

only

and

in any in the

case

oes

dissonance is made
farther

result of
on,

from

the

inversion
in

consonance
cases

octav^
men

ention

this

here fourth

because,
requires

particular
a

which

are

ioned

the

similar

treatment

with
to

some

issonances,
as
a

which

induced

some

theorists

in

earlier

times,

explain

imply

dissonance.

It will

likewise inverted,

be

clear

that

the

augmented
can

octave,

as

also

the

ninth,

annot

be

since

they

never

become
in the

intervals t^nth
over

helow.
twelfth, since

Other

kinds

of

inversions,

such

as

those

and here,

which

roduce
no

entirely
influence
a

different
upon
our

results,
next

may

be

passed

they

exerc

studies. ki"owledge
the

Since

complete

and
harmonic

certain

of

all intervals
of

is indispensable
as

or the

following

stadies,

practice

them much

in writing, their
correct

als"
com-

oral solution
"

of

given
ezerM^rd

Intervals,
"""

will
t^* ^e

facilitate

rolnpsiqn^

which

repeatedly

employed.

HARMONY.

Combinations
to

of
certain

simultaneous fundamental

tones,

formed
are

from

different
in

intervalfl
Harmo*

ccording

principles,

called

general,

ies^ The

Chords,
doctrine
of

of

harmony

makes
shows

us

acquainted natural
the

with

the

different
This

species

nd

kinds

chords,
natural,

and

their
of

treatment.

consists that

in

he

right
the

and

connection

chords

among of

themselves,
one

is and

transition,

the

resolution,

the

commingling

chord

into

ith

the

following.

PAET
FUNDAMENTAL HARMONIES
FROM

I.
AND
THEM. THE

CHORDS

HE

DERIVED

Among

the of

various
a

kinds

of

chords

which

can

serve

for

the
as

harmonic dent^ indepen-

oundation
without
those

composition, definite

those

which
with
a

present others,
can

themselves be
easily

connection plainly

distinguished
and
are

oih

which
not

indicate

connection

with

other

chords,

herefore To
the

independent.

first belong

the kinds
are

most

of

the

triads,

to

the

last the harmonies,

chords
from

of the
which

eventh.

These

two

form

the

fundamental

ll remaining

chords

derived.

CHAPTER
The Triads

I.
the

of

Major
three
to

Scale.

triad
lowest
e,

is formed is

by

combination

of
tone,

different

tones.

Of

these,

he

called

fundamental

which

its third

and

fifth are

dded,

g.

"-l *

These

triads, formed
While

upon

c,

g and

a,
c

present, and g

however,
are
a

difference
here by

as

heir

intervals. 2MdL

the

triads
triad

of

formed
minor

majof

hirds

perfect jifths^the
with

of

contains

tJiirdBXi^

perfec

ffth.
A

triad

major

third

zxA

perfect ffth
TRIAD.

is called

MAJOR

trisA

w\^

minor

third

9kvA
MINOR

perfectfifth 9i,
TRIAD.

REiCAaK.

"

^The

explanation

of

other

kinds

of

triads content

cannot

follow
a

until farther

od.

As

the

diatonic
of the

scale

makes

up

the
so

of the

key,

and
are

forms

the

oundation
the

melodic
steps

successions,

also

triads, which the essential

founded

pon

different
content.

of

the

scale,

will

form

part

of the

armonic

Natural

Connection
rests

of
the

the

Triads
a

of
key,

Key*

The

triad

which
one

upon

first step

of

is indeed however,

the

meet

mportant,

the

which

determines
with

the

key
make

; there clear

stand,

others

n the

nearest

connection

it, which of
as

its position.

In

the
as

natural

presentation the

the

triad

in thirds,
tone,

the
at

lowest the
same

tone

shows
time

tself

fundamental,

fifth

highest

and

as

ts

culmination.

ft.

'"i
new
as an

*;

^fo^

FundamsntaL

Each

farther
tones

addition
already
to

of

interval
The

would
next

either triad chord,

alter

the

chord,
in connection

or

resent
with

there, be
sure,

doubled.

standing lie outside

this must,

independent
one

its tone*
tone
can

ss,

still, however,

support
outer

itself upon limits of the

of

its

tones.

This
and
the g.
one

nly

be

found
the

in the

chord,

viz

in

G, which
nearest

here

fifth, will

thus will

form
in the

the
same

fundamental
manner

of
the

tanding

triad, the

while
the of

form
would

culmination,

the

ifth of
The

other,

fundamental these
:

of
chords

which
can

be
most

F.
plainly

connection
manner

three

be

presented

in

he

following

_,

9.m
F

JQ.. .-t.

It is especially
connection,

to

be remarked
their
tones

of these
contaih

three

triads
tones

which
of the

stand
scale

in the
; that

losest

that

all the

lie those

most

frequently
distinct.
of

employed

in

practice,

if the

key

is

to

piesent

itself clear

and

On

account

their

importance standing

also, especial
upon the

names

have

been
of

given

to

them.

The

one

first found,

first degree

the scale, i

called
THE TOKTIO

TRIAD.

The

second,

upon

the
THE

fifth degree,
DOMINANT

TRIAD.

The

third, upon

the
THE

fourth

degree,
TRIAD.

SUB-DOMINANT

If

we

arrange

these

three
to
us

chords
thus
:

according

to

their

order

in the soalei

they

present

themselves

4.

I
-""
-"-

-"-

IV

nd

they

show

themselves

collectively,
the

as

major

triads.

Application

of
of
these

Harmonies
as

Discovered*

In

the

application
of
"

three,
manner

well

as

of

later

chords,

we

ftvaU

urselves
Reuakk.
in

the

four-voiced
chord

of

writing.
can

^The

theoretical relation.
reason,

combination however, for

a

be

well
us

presented,
longer

to be

sure,

thre^

oiced

manifold

It would,

detain
special
as

from
The

our

practieal

im,

and

may,
will

for this

be

reserved

presentation.

four-voieed
of
oom*

vement

always

maintain

its importance

the

foundation

of

all kinds

osition.

We

regard,

however,
often

each

harmony
them,

not

as

mere

mass,

as

compositions
parts into

or the

piano-forte

present

but

divide

its component

our

differentvoices.
upper
tho
outer

The

is called
voices the
:

Soprano,
the voice

the
next

lowest

Bass,
the

these

two

together Alto,

are

alled

below
two

Soprano
are

is called cslled

the

ne

next

above

Bass,
of

Tenor;
these

these

together
manner

middle-voices. is
as

The
the

arrangement
triad
may

voices

in the
:

of

score

follows^

nd

be

exhibited

thus

24 For
the, upper
compass

MANUAL

OF

HARMONY.

three than

voices
the

especial clefs

are

used, which

confoxm which

bettei
will

to their

above* used

violin

[G] clef, and

of
an

bo

spoken

of
our

later.
next
a

For
whole, writing

exercises,

we

select each

for the

sake

easier view
the

of the form

not

separate

staff for

voice, but will

use

usual

of

for the piano,

(upon two

staves).
5, may be exhibited
thus
:

The

distribution

of voices

in No.

6.
bopraito.
Alto.

TSNOR.

^
"

i^^i^^^^
ft-

Bais.

-^

X.

j^~j_"^Zg

twofold

consideration

of these of each

various

voices

will take

place

first in

relation to the progression

to

voice for itself alone, then

must

in its relation

the remaining

voices, both

of which

be pure
conditions

and

well-constructed

The

result

of the fulfillment of these

two

is called pure

lead

ing

of

the voices.
purity
out

This

of the

harmony
the

and

its progression

is

attained
of harmonic

through
com-

seeking

and

practicing

natural

and

legitimate

bination.
Hereby
style, which
music

arises the so-called pure

harmonic
laws

structure^

also
from

called strict
the
nature

prescribes

rules and

which

proceed

of

itself, the observance

use

of which

will afford the safest foundation

for

later free

of the

materials is the
and

for composition.

By

exercises
sense

%n

the pure the true

harmonic
and
correct

structure

judgment

sharpened,

the

for

formed,

the taste

purified.
should resulting
exhibit
therefron^

Remark.
use

"

Inasmuch

as

every
and

composition
the purity
term
as

jsell^
in

thxt"ugh

correct

of all

means

at command

is (pui-ity
a

here

mous synonysense,

with

natural
no

expression),
farther

the

pure being

harmonic
a we

struuiure

general
a more

would
sense,

require
however,

explanation,

matter

of

cuarse.

In

narrow

is

more

nearly

under and better

pure

harmonic indicated
can

structure

understand
of like

something meaning,

farther, which
Htrict harmonic

by

the

expression

structure^

strict style, since this

no

be used
structure,

in distinction
such
as,

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

impure
structure,

properly
is to be

speaking,

antithesis

of the pure

perhaps,

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

certainly to be upon the Ugiii^

of the pure
was

structure.

As

indicated

above,

by pure

harmonic

structureia

understood

in

narrower

sensi^

aoD

une

aa

in

the natural
and
only

development
such
as

of
do not

all tone touch

relations,

allows

the

digressions fetoest

rom
If,

the legitimate^
in

that

which

is essential^

fundamentaJL
in
a

-what

precedes,

the
are

idea
not

of

pure

harmonic
;

Btructure

is determined
a

genera

ay,

still its boundaries

yet drawn
as

and

just

this is
are so

point which Tariously

of of
of them,
the

giyes

rise to th

re

difficulties for the theorists

ones,

beginner, This
to

the

boundaries

yery

determined
especially
some

bj

he

themselves.

difficulty has
of
the

occasioned

many

ater

to omit

entirely
with

speak

pure

construction,
the laws

strict

style ; indeed,
from

begin

immediately
Whether the this

composition,
to

and

teach

harmony

its inci

ents.

indulgence
this

youthful

impatience, premature creation,

which

does

not

willingly
before

busy

tself with
has

abstract,

inclination

towards for

living
can

creation,

the

rganic

developed
not

itself to the
further
the

capability
here.

produce

anything,

really

ature,

need
those

be

investigated
views
a

Let

who have

follow
to go
no

of

this book
school, of

and be

conform
that

their

studies freedom
to

to

them,

as

lso

all who
will

through be the The

strict

assured,

their

for future them,

a

reation

by

means

lost
more

by

means

that
a

which
more

is

forbidden
power,

but

ill

unfold

itself
to

so

much

fully, and

with
ever

living able

upon

basis

onformed

nature.

real

mastery bounds,

has
whereas

been
the
most

to make

itself

apparent

st

genially proof

within of

prescribed
and

lawless other which

;

conceits
the

frequently

urnish

morbidity
use

weakness
to

of mind.

On

the

hand, may
or,

pupil
be

cannot

in justified making
works

of exceptions
masters,

given
the

principles,
nde
is

perhaps
in

found

n the

of the

greatest

where

concerned
out

any

case,

to wish

o produce

compositions,

when

the

thing

to

be

done

is to work

exercises

theoretically

elL

The

three

chords
give

thus

far

known,
for

being and
to

applied

in

the

four-voice*
from

ovement,

will

occasion
features

remarks
are

observations,

which

ertain

fundamental
the
must

and

rules

be

established.
component

Since

triads

only

contain if they

three
are

tones,
to

one

part

(interva

hereof,

be

doubled,

be

used

in four-voiced

writing.

Any

Interval

of

the

Triad

can

be

Doubled,

The

fundamental,
for

however,
more

usually
rarely

presents fifth

itself

as

the

tone

most

dapted

doubling,
cases

the
shown

and

third,
to

and,

indeed,
at

the

atter, in many In
order
to

which

will

be

later, is not of
two

be
the

doubled following

all

accomplish
;

the

connection

triads,

rule

s to be

observed
tone
occurs
in

If

in
the

both
same

of
voice,

two
e.

chords
g.

which

are

to he cminected,

it

ti

o be retained

7.

Id the Example
gare

a^

occurs

in both
it also of the
to

triads
as

as

common

tone next

; the Soprano^ chord.

hich

the

first C, retains

fifth

of

the
the

Jnst

so

Example The
a

b^

in which
voices

the

Alto

afiects

connection.

remaining
the

proceed

the

tones

which
E
to

lie nearest
F,
"c.
are

to them^

as

Alto
two

from

G
no

to

A,

the

Tenor
tone

from
appears,

If
in

in

chords
a munner,

common

the with

voices any

independently
in
parallel

ed

such
or

that

none

appears

other

IFTHS

OCTAVES.

In

order
the
to

to

explain

this

fanlty

progression
of

more

exactly, of
the

we

mast

firs

ake

necessary

explanation

the

movement

voices

in refer*

nce

each

other.

Ttie

Relation

of

the

Movement each

of
other.

the

Voices

in

Hespect

to

One

voice

can

progress

with

another

in

Parallel

[direct] motion
motion, motion,

{motus
{motus

rectus),

Contrary

contrarius) and

Obliqice

{m^tu^ obliquus).
voices rise
or

The

parallel

motion

arises, if two

fall at the

same

time,

",

4
"
"

4g-"-

S.

-"

15"

g:
-"-

-"-

f
in contrary

t=F

St
I
one

They

progress

motion

if the

rises and

the other

falls,

".

IJ
"

i
22:

-l

""I
The
oblique
the while

Z=5t=I^.

^
f
arises,

^
npon

r
motion

f-fvoices
one

if, of
e,

two

remains

the

same

one

other

moves

on,

g.

10.

i=J:
2^,
:e:
:y
" "

:e:

-"-

i
ISi'.

I ^.

ik^^

These

three
manner.

kinds

of

movement

of

the

voices

occur

in chord
parallel

connections shows

vkmixed

Thus,

in Example

No.
the

7, ", the

motion

tself between
and

Soprano
and the

and

Tenor,

contrary

motion the

between
and the

Soprano,
remain*

enor

Bass,

oblique

motion

between

Alto

ng

voices.

The

above

mentioned only

faulty
appear
or

movement

of

the

voices
:

in parallel example,
:

octaves
two

nd

fifths^ can
progress

in

parallel
in the

motion

if, for
manner

oices

by

degrees

skips

following

11
-Q-

-JS?.

-G-

"

"1^^^
This
The

favilt \%
following

regarded
connections

as

such
of

for all voices. contain

harmony

both

faults

"h

b.

i
12.

^^^E
m^:
parallel
octave

9i:

m
between
and
to be

In

Example

a,

are

skips

Soprano
Bass,
found

and

Bass';

in

xample

b, octave
Tenor
and

progressions

between
fifths
and

Alto
are

and in
a,

in Example

c,

etween
Bass
as

Bass.

Parallel Tenor
time

between

Alto

nd

; in b, also
at

between
the
same

Bass,

and

in c,

between
Bass.

Soprano

and

enor,

between
these

Soprano
similar
and

and

The

best

meansj cases,

to

avoid
use

and

faulty

progressions,
movement
or

is, for

he

above
;

the
the

of

the
which

contrary

oblique
an

of

the

oices

that
must

is,

voice
move

already
it in contrary

forms

octave
or,

fifth with
following
then

nother,

either the
tones

with
tone,

mction^

if the other
to
one

hord

contains
on

same

remain harmony

stationary.

The
lie nearest
to to

voices them.
voice,

ve

to

the

of the

new

which

Thus
and
Cf

in Example

12,

a,

the

oblique
of

motion

in respect

and

at

the
e,

contrary

motion

all voices

in respect

the

Bass,

\a to be

pplied,

g.

I
13.

JS.
Q

Ij^j
2$
^

~^~~^

Rehabk.

"

^The

reason

for the
can

prohibition easily
ground of
to

of
for the

octaves^

with

whi"!h

is

ton*

ected

that

he

progression
more

in unison,

be
the

found

in the

necessary

independence

of

the in

voices

t is

difficult to
as

discover

prohibition
of

of the progression

fift

trong

the

conviction
has be been

may

be

the

necessity

it ; and

from

the

earliest

times

unti

w,

much

pains view

taken

express

it clearly

and

definitely.

On

this

point, le

he

following
If each

examined.

chord-formation
in other
a

presents

for

itself

separate
as

whole^
were,

which,

let it be

formed
and

it may
as

respects,

is bounded
as

mainly, something

it

by

its fundamental

^h

ifth,

by

circle^ if the speak,

(the

seventh,

additional
can

cannot

here

be
this

taken
:

int
one

ccount),and
so

connections
goes
over

of

harmony
resolves

only

be

produced
the

by
; then

that

hord,

to

into and boundaries,

itself into

other
not

it is

evident,

hat

two

chords but,
can

with

their
are

fifth after

fifth, do

resolve

themselves

int
to

ach

other,

if they

placed
if
we

side

by

side, will
the

appear

without
:

relation

each

ther.

This

be

observed

compare

following

examples

a.

""

p
neither
form, of the

I
properly,
new

t^

S
nor

The

sevenths, idea
the of
a

however,

chords,

do
and

they

lie,
serve

(aoeordi
to

o the

outside seventh),
of
two

circle of the
to

original

chord,
of

only

cate indi
more

relations

chords,

and

make

the

connections

the

harmonies

ntimate

and

firmer.
now,

Everywhere

where

the

perfect
the

fifth appears,
of the

it will

carry
it
or were

in itself its character the

content

boundary

; the

remaining additional,
of
ttoo

constituents
as

chord,

(as

of

the

or ifth),

anything
the

seventh,

may

lie above

below

it ; the

unpleasant'

ss

of

succession

perfectfifths will
of
the

always

be

discoverable

in

the

deficien

connection.

Since

we

have
case

spoken
of

here

fifths of arise

the

triads added

only,

it may
the

still be
rule

remarked,
their

hat

in the

perfect
to

fifths

which prevents which will

from

sevenths,

of

par pre

in

part,
of
one

be

sure,

parallel
forms
cause
a

fifths, of perfect

itself; fifth with

that,

however,

in

the
to

rogression

such

seventh,

another

voice,
of

ollowing

perfect
to
e.

fifth, this heard,

since

last this

the

unpleasantness

and

deficiency
enters

the

onnection

be

lies only

in the

second

fifth, which

withe

ai{ connect

g.

^PE
I
15.

As

eoncems
can

ths
enter

diminished
imder

fifth, however, conditions, expressed

which its free

view,

in

the

dominant
even

chord
case

of

tho

eventh

free

certain
the above

entrance

in the
as

of par^

llels,

justifiescompletely

since,

so

soon

it appears

afte

ifth, leaving
outside

out

of

the

account

its farther
of

laws both

of

progression,

the

latter

immidiatel^

teps

of

the

circle

of

connection

harmonies.

Compare

the

following

examples.
h.
e.

a*

J
"

I
ig:
r"

J
^.

gizzig

a:
-""-

3C^

^-

1
I

6.

ii
t

"s-

|zig
of the following

a:
""-

I^ however,

instances
style:

sort

are

frequently

found

in

composiUons

he stricter

I
'9-

I
-"-

IT.

J-^i
::3:

1
fifth

may

assume

that
same,

the

doubling
that however,

of

the

diminished
is

(the/,) requires

double

pr^

ression

of

the

and

the

fifth-succession
the

thereby

b justified,ecause could
not

it lies i

he

middle

voices

; that,

following

progression

be called

pore^

18.

artly

because

they

come

forward
the

too

prominently

in the

upper

voice

partly

beoatibe
instance!

he

above
as

condition
No.
16.
c,
are

of

necessary
to

double

progression

is wanting,

although

uch

often

be

heard. why
such parallel
as

Hereby

it becomes
cases

clear, sound
them

also,
so
as

fifths spoken

as

arise
of

from

passing

noti^
reason

n many

do

not

unpleasant
faultless

those
at

above,
cannot

for which be

any

theorists
since

recognize many

; which,

any
false
that of

rate,

unconditionally

dmitted,

of

them

are

based
to

upon be

other

voice-progressions, with
a

(for exam^
position becomes

ie, upon

covered

fifths),nd a
of the
same,

it is not the

denied,

very

open

and
per

ufficient

duration

unpleasantness

their

operation

eptibl^
It is not much
the

the

place
on

here,

to

treat
;
as

at greater

length

of

these

relations,
the

and

there

would

to say

many
chord

points
of

for example,

concerning

progressiop
here

?f the
us

fift

augmented
cases

the
us

sixth back

and
to

fifth, which

would
in

carry with
our

too

far

ndividual

will

bring

this

point

connection

practical

If the
yet
the

sense

of
more

the

foregoing

representation
and

should
exercises,
of

still be and
it wiU

too

obscure

to

the

be^i^

r,

with

advanced

knowledge, the

necessary
not

frequent
be

repetitioni

entire

harmonic

system,

comprehension

long

wanting.

The

faulty

progression,

thus

far

mentioned,

is

called

(ypen

fifth

and

ctave

progression.
are
2i"

They

covered^

if, in
e,

parallel g.

motion

of two

voices,

the

second

interval

orms

fifth or

octave,

:^2

"^m
Open

""-

^m
remain,
covered

"

""

i
combinations
will
matter

fifth

and

octave

parallels

for
fifths the

harmonic
and
octaves

lways

inadmissible
farther
on

; the

worth

of

be

cuss dismust

(in Chapter

XVII.)
in

; for

present,
a

this

left to
the

oral

instruction,
not
octaves.

since,

general,

with

correct

comprehension making

exercises,

much

opportunity

will be

offered

for

unsuit*

ble

fifths and

Kemask.

"

beginner
^The

will

do

well,

in

working
since,

out

the
a
are us

first examples,
too

to

leave

overed

fifths

and
the

octaves

entirely

unnoticed,
of

in

anxious

avoidance other
and

o
much

hem,

frequently
faults
mature

first

principles
Much

chord-connection
follows will

violated, back
to

and

orse

easily

arise.
the

which

lead

this point,

with

more

insight,

subject will

be

particularly

discussed.

Eocerfdses.

To

bring
of

musically
the

into thus

connection

the

three
will be

primary
the
next
:

triads,
exercise.

with

observance We
select

rules

far established,

for this purpose

the

following

Bass

progression

1.

2.

20

-jsz:.

'.Qi

B^

.^^
8.
8*

C:

IV

4.
251
is:
ro:

251

g^-^
in what
continued

Rku

AUK.

"

^These,
our

as

well

as

all subsequent
will

exercises,
They

give
are

an

indication
to

way

and

manner

practical under

exercises

proceed.

always

be

so

long

as

the

point

consideration

makes

it necessary.

The

situation

of

the

upper
us

three

voices

of

the

first

chord,

which

are

to

be added,

will yet

give

occasion

for important

remarks.

We

have
can

already be
very

seen

in Example This

5, that
situation

the

situation of the

of the is

roiooB

in

bord

different.

voices

called

the

position

of

the

chord.

Close

and

Open

Position.

chord

appears

in

close position^
the
two

if the
nor

upper

three

voices

lie
an

so

near

each

other

that

neither

Soprano

Tenor,
even

if transposed if the

octave,

an

appear
e.

between
g.

the

other

voices,

Bass

is

somewhat

emoved,

a.

e.

i
31.

132.

:e
-G-

f:

i^i^N^N^
The first position
of

the
an

chord
octave

is in "

so

altered,
to

that

the

former ;' in c,

he

Tenor
is the

being
same,

placed with

higher

is given

the

Soprano
hand,

the

se

the

two
an

tones

and

on

the
all

other

in ef^ the

of

the

Soprano

is placed

octave

lower.

In

these

transpositions

he

situation

is indeed

altered, chord if either Tenor

e.

but

not

the

close

position.

It is otherwise
which is the

if the
case or

appears the

in open

(also called
can

dispersed) position,
between
so

Soprano
Alto

be

placed

the

lto

and close

Tenor,
position

the

between
g.

and

Soprano,

that

thereby

he

results,

23.

?"=?=t==E^^E^^
At
a,

.a.

m
of

the
the

chord Alto

appears

in open

position

; by

transposition

the At

etween G

and

Soprano
of the

in close chord
e,

position

bf
an

just so
octave

at c

and

d"

he

of the

Soprano

is placed

lower

between

the

lto

and

Tenor.
sense,

In

this
not

however,
open

the

following
for

situation

of

the of

voices
the

(No. 23)
Tenor,

ould

be

position,

by

the

transposition

the

ransposition
c.

of

the

Soprano

would

produce

the

real

open

position

of

thf

hordy

"t*

""

o*

33.

g^gp^t^^
Even
always view
;
"

if the
to
so

open

position
and,

allows
for
our

the

chord

to

appear

fuller, still it i
clear

ot

be
that

applied,
we

first exercises, write

begianing
later, from

is not

enough

he

will for the

be
use

present,
in
the

them
to

in close
work
out

positiou.
the

Rema"k.

^It 'will

always
to

hetter

examples
of the the

lose

position,

and

only

the

open

position

the

examples

second

nd

third
the

part pupil,
which

onward, in the
cannot

in which
use

last they open

necessarily

present
now

themselves.

In

ning, begin-

of the

position, stumbles

and

then

upon

difficulties, t
better

ercome

be

our

immediate

object,and

which

had

therefore

vaded*

The

various according
the

positions
as

do
leading
first

not

generally of the
voices

appear

single,

but

occur

com

ined,
If

the
the
to

requires. the
can

position
so

of
as

chord

is determined, that

following
chosen

chords
at

ai

longer

free,

their

position,
to

each
for

be

pleasure,
of

ut

it is regulated given,
pages

according

the

rules

the

connection

chords

lready

25
of

and
chords

26.

This

connection

and
thus
:

the

leading

of

the

voices

of

the

firs

xercise.

No.

20,

may

follow

ia^rf^
34.
:s:

El
__Q_

1
becomes
their

0:

The

natural

relation

of

these

chords
we

to

one

another

clear

by

he

above

simple
however,

example,
from

if

observe
two

accurately
does
the

connection;
connection, feeling of the

specially,
mutual of

the
of
one

last

chords

close

the

completiug
rest,

another,

become
lies
in this

plain.

The

eturn,

of

satisfaction,
the

which This

connection

chords domi*

dapts

them chord,

for forming

close.

form

of

close

through

ant

which

resolved

itself into

the

tonic

triad,

is called, if the

latte

P
35.

":

=t

ro:

"
by
the close.

Another
No.

form
20,

of

close, which

is formed
the plagal

subdominant

triad|

bove,

Example

4, is called

m
26.

J:

m ^\
Of
these

"0'.

E
IV

1^
we

and

other

kinds

of

close,

cannot

speak

more

at

length,

nntiJ

ater.

In

order
if the

to

become

expert

in writing

the

succession

of 24,

chords F
"

which

curs

Bass

progresses
to

by
the

degrees,

(as in Example
IV-V
and

G),

it will

to

the

purpose

write

successions

V-IV,

in various

sitions
Note."

and
The

keys.
by
to

expression
one

degrees
nexty

is used
in

here,

as

elsewhere

in similar yiz., from

oonnectioii,
one

note

from
at
a

degree

the
"

distinction

to

by

skips,

degree

ti

other

greater

distance.

^Ed.

The

Triads

of
of

the

Remaining

I"egree8

of
scale it
so

the

Mc0or
be

Scale.

All
one

triads
and the

the

remaining
key,

degrees will
not

of

will, to

sure,
as,

belong

same

but
chords
to

indicate

decisively

for example,

the These

combination
triads
are

of

V-I.
distinguish
them
TRIADS.

called,

from

the

primary

triads,

SECONDARY

They

are

situated

upon

the

second,

third,

sixth,

and

seventh

degrees

of

he

scale.
27.

I
nVu

III

VI

vno

The

triads
since

of

the

second,
are

third,
minor

and and

sixth
their

degrees,

appear

as

mtnor

riadsy

their

thirds

fifthsperfect.

because
reason

that,

beside

the

minor

third,

it

contains

diminished

fifth;

fo

this

it is called

the

DIMINISHED

TRIAD.

We

select

as

an

easy

distinguishing of
the

sign, degree triad,

for
upon
we

the

minor

triad)

small

umeral in

for
the

the
case

designation of
the

which add has

a

it is situated, 0,
as

hich,

diminished
the

above

vu^,

anner

of
the

writing
triads

which

theorist, scale
can

G.
now

Weber,

introduced.
thus
:

All

of

the

major

be

exhibited

f^i^ ""i
in

IV

VI

yvfi

Rkitabk.

"

The
as

beginner

must
a

be

very

careful

not

to

conceive
renders is the

of

these

chords,
into
the

at thei

ppearance,

all tonic much

more

triads,

misunderstanding
As the

which
as

insight
ruling key,

harmooio triads hey

d

ombinations

difficult.
else
than
no

long

major
the made

F, D,

etc.,

are

nothing

chords
will

of
be

various

degrees

of
F

this

of

ajor,
long

and
as

belonging these keys

an

to it, and

mention
as

of

major,
be

major,

minor,

do

not

appear
of

independent. chords,
The

Hereby triad

arises
can

ambiguity
to

the

which

should of

particuwly
be
:

noticed

ach

belong

various

keys.

major

triad

can

29.

^m^m
C: I F:

I
G:

f=t=|F
V

IV

therefore,
use

in respect

to

this chord,
b
true
cases,

major
in

is spoken

of

(ezpresfdng
if the
G

the key

the
oeca

eneral

of

language),

this

only

the

first

case,

major

triad

ues

the^r"^

degree

; in all other

however,

it is incorrect

Application.

In

the

connection

of these
no

chords,
rule

as

well

among

themselves

as

aUu

with
things

hose

found
are new

before,
will,
can

new

is at

present

necessary.

Several
it.

hich

however,
either

appear

in connection
or

with

The

Bass
the

move

by

skijffs

by

degrees.*
tones

In

first

case

there

will

always
last the
to
a

be

connecting

(like tones
voices
must

in two be

onsecutive

chords) ;
motion,
out

in the

progression mentioned the chords.

of

the

ontrary

according
inner

rule
of

above,

(page 26), in

order

bring

the

connection

a.
a.

The

Bass

progresses

by skips.
b.

NB.

laun

i^p^}
3"
-G-"-

i^^^m
^^mi
281
-"-

-"-"

11

IV

II

"i=
As

"

i
VI

"C.

in this

example,
the
same

the
can

skips

in the treated

Bass

from

the
from

second all other

in

degree

hare

een

treated,
tones
common

be
two

beginning
always

degrees,
voice.

so

hat To In

to the

chords

remain
cases,

the

same

this

rule

there

are,

however,
is

in many
a

exceptions. of

Example
to

30,
the

at

NB.,

found

progression
an

the

voices
covered

formed
octave

ccording

above

rule, which and which

last

contains

unpleasant improved

etween

Tenor

and

Bass,

is certainly
case,

by

the

following

rogression. the

Even
inner
can

if, in the
connection

the

local
since

connection

of
the

the

tones

ails, still

is present,
as

the

of

Soprano
octave,

he

first chord

easily be

conceived

doubled

through

the
as

lower in

hereby
31
:

the

connection

immediately

becomes

apparent,

Example

o.

^P
31.

1
la:

9:
Rev
ABE.
"

g
should

^The

reason,

however, the
case

why
with

exactly
tone at

this tone

be conceived
upon
the

as

double,

nce

this could

also

be

any
gives

pleasure,
whole

is founded

fact that

t is ^Q

fundamental,
unpleasantness that

the

tone

which

to

the

chord

its determination.

The

of

the voice

covered

octave
a

mentioned,

lies in the and

stance, circummorf

the

upper

progresses

whole
as

step,

is yet 32
at

otioeable

if it is contained

in the
b.

outer

voices,

in Example

a"

i^^^^
32.

By
be

the

contrary
;

motion
in like
a

of
manner,

the

Bass

at

b,

the

leading
motion
in

of

the

voieet

improved
here

by

the

contrary

Example
and Tenor

Cf

lthough
the

also
on

covered

fifth shows

itself between

Soprano

See

Eemark
the

Example
brought

34).
forward
given above,
into
we

Remabk.
the

"

^In

cases

do

not

speak

of

absolute
can

faults.
avoided, of The

leading under
or

of
other

the

voices

ia entirely

our

control,
treatment

much
of is
a

be

ich

circumstances,
grounds only
c^
a

for example,

in
the

the

eantus

firmuB^

tive,

on

other

important presented
farther from

for
a

composition,

unavoidable.

mprovement

is here
82

theoretical follows
at

stand-point. No.
34.

Concerning

the

vered

fifth in No.

explanation

The

unpleasantness voice

of

the
a

covered
half

octaves
e,

spoken

of

ceases

at

onoe

he

upper

progresses

step,

g.

P
33.

:fe
's::
"G--

-Ct.

^^iS

ii

I
progresses

1l.
Here
the
contrary

The

Bass

hy degrees*
be
applied,
e,

motion

should

always

g.

NB.

1.

hett^:

4.

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

UI

hetter:

hetter:

NE.

2.

^
g5=^

:^

12?:

"4'-^

i^^^^l
-"-"-

-"-

jSL

IV

IV

-"-

-G-

Memarks

on

these

Chord-connections.

In

all progressions
places,

of

voices
to

such

as

that third

used
of

at

NB.

1, and

subsequen

Bimilar

it is better fifths.

double

the

the
is

second
more

chord,

in ordef

to

avoid

covered

Their
e,

unpleasantness

noticeable

if the

chords

appear

in open

position,

g.

35.

The

leading
these

of

the

voices
occur

at

is to be

preferred.
voices,

If

covered
they

fifths
are

in the

middle

they

are

moru

able, allow-

because

less perceptible.

11
36.

s
^-^jo.

ii^
At

I
of

NB.

2, the

doubliug
in

of

the

third the

the

second
of

chord

is not

always

be

applied,
34,

since
the

general, second of

doubling
is to

the

seventh

degree

(i

xample

of

the

chord),
this
tone,

be

avoided. is called the

leading
tone,
"

Concerning

the

treatment

which

iiUer discussion

will be

given

in connection

with

following

exercises

Exercises
1.

to Ife Worked

Out,
2.

7,

IliEftEfeS
.

sr:

"jr
8.

-G-

^-".

-"-

isBfE
4.

:SL

^3$-2EElg
-dNB.
-f2-"-

I
5.

S?

nil"

fS-l

"""

-fS-

jgg^fi
a

T-"-

T^^^

The The
a

fourth

exercise of

gives
the

occasion

for

few
here
a

remarks. in the first four

measureS|

progression

Bass
manner.

takes

place

regular,

consequent

Such

regular

harmonic

or

melo

lie

This

consequent
of the

progression voices. this

of

the

Bass,

occasions

also

like

rcgalai

eading
The

remaining

treatment

of

example,

according
tones,
e,

to

principles

of

chord-con*

ection

laid

down

above,

by

sustained

g..

4-

I
38.

"

fi"
-fi"

"

S
B.-

^
"0.
""-

2iz=?stzx:

B
end of
the
;

ould

not

admit
in

of
such
same

the
a

attainment

of
the

this

the
the

progression
second
measure measure

must

ather

follow into

manner,

that

chord of

rought

the

position
tone

which
does

that
not

first

occupied^ voice.

hereby

the

connecting

D,

remain

in the

same

NB.

3
i5

-g=--g"
39.

g"

i^:
^^

a
i
the
are

"3

2Z

"""

-^

7-T9

t=::

3i?i:
:c
VI
in

viio

In

the

first

example,

on

account

of

the

sequence,
if they

covered
not

octaves

poken

of

above

will

likewise

be

allowable,

found

uter

voices.
the

In

third
we

measure

of used.

Exercise

No.

4,

we

meet

with

chord,

which

hus

far

have

not

The

Diminished

Triad*

It rests
than

upon

the triads

seventh found

degree
thus

of

the

major
it plainly
the

scale, and indicates

diminished
can

is
a

more

dependent

the

far, since

progression,

hich
The

indication natural
that
or

is effected

by
of

the
the

dissonance, diminished
approach

fifth. in general

progression
either

intervals

be

onceived,
upper

both
tone

tones

each
over

other
against

by

degree,
other,

(a), or

he

lower

progresses

alone

the

(", c)

kind ection.

of

progression

which

only

becomes

plain

through

actual

chord-con"

a.

h.
"g
V.
^

e.

e,

JnverftioiK

'jGT.

The

third

following

the

dimiijished

triad
of

(c?), exhibits
the fifth.

the

triad of

the

irst degree

(C)

as

incomplete,
to

by

omission

Since,

according

the

relations

of

the

intervals
fourth

in respect results
from

to inversion

efore

explained,

(page
tone

18,

19,)an
must

augmented
appear

the

diminished

fifth, its progression

also which

in inverted diminished

order.
rests,

See

40

The

fundamental

upon
LEADING

the

triad

is called

TONE.

It is found the
third

again

as

third

in the

dominant

triad, and

as

fifth in the

triad

degree.

41.
viio

eSi^J
V

111

Since

the
in
so

leading

tone

UBLED

the

simply

very out of itself comes harmonic four-voiced movement.

one

distinctly,

it is

not

Just

its progression

half
this

step

upwards

can

be

effected,

if the

ext

following
tendency

chord
to
as

contains
progression

tone.

This

lies in the
as

melodic

character
the the
case

of the

leading
tone

one,

inasmuch scale. if the

it stands is noticeable
tone

half- step

before
in

fundamental of
as

of

he

This
leading
more

particularly in the

the
a

dominant

riad,

is contained

upper

voice,

in

Example

2, operates

satisfyingly,
""

than
'

b and
e*

c*

A.

"t"

e"

2.

This

inclination

upwards in many

shows
cases, on

itself
in such

less in the

middle

voices,
are

as

at

d,

Most

intolerable
voice
are

chord-connections, skips in

skips

in the
voices

pper

(at e)
In

to

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

39, third
tone,

the

contrary,

the

middle

Bass

is led in is found

contrary
a

motion. and took

progression
on

Example

measure,

doubling
Both

the

leading

contrary

to

the the

above

rule.

place
no

account

of

the

sequence
or

contained

in

example,

which

allowed

alteration

the

position

the

progression

of

the

chord.

Concerning

more

Extended

Formation

of
of
a

the

Close*

The
page

formation
32,

of

the

close

through

the

chord

the

dominant,
more

noticed
maiX'

(the authentic

shows close),

itself in

still

definite

As

the

natural
the
two

relation

of the
to

chord

of

the of

dominant

to

the
so

tonic
in

triad,

renders
a

adapted

the

formation
of

the

close,

these

examp

still farther degree, in which

preparation stands
latter

it is noticeable, the
to
same

through
to
e.

the

triad

he

second

which
the

in

relation tonic

the g,

chord

of

the

ominant,

stands

the

triad,

4"

I
43.

-"

'ST.

S^i
"t-

J"Cf

"
g

is^i^i
n

-"-'

"^triad g, of

Besides

the

triad

of the

second

degree,

the
e,

the sub-dominant

lso adapted

for this formation

of the

close,

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

"

"

P^

1
by
this
of

IV

The

closing
more

formvUm
definite

(cadences)produced
form
through the

chord-connection,
the

ill

assume

application

chords

to be

hown

later.

CHAPTER
The
Triads the Minor

II.

of

Scale*

a.

Primary

Triads,
were

The

primary

triads

of

the the

major
same

scale
degrees

found

upon

ihe

first fourth
^

i^

fifth
the

degrees. scale.

Upon

we

find also

xhe primary

triads

minor

The

relation,
that

however,
as

in which
plain
chromatic

the

dominant the

triad
formation
of
one

stands
of
tone

to

the
close

tonic

hord,

is,

it becomes the

through

the

previou

shown,
necessary.

renders

alteration

of

the

minor

ale

Its seventh

tone-degree^ distant
a

which, whole
so

according
step it
from

to

the

signature degree,

of

the

minor

cale, is always

the

eighth the

is chromati-

ally

raised

half-step,

that

acquires

o'laracter

of

leading

"-9

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

45.

fr^^g" g=g
By
this
means

i
of
:

the
in

formation

the

dominant

triad

in

minor,

become!

xactly

like that

major,

thus

minor.

mc0or.

46.
"^a:

"
V
A:

briefly expressed
The
A
dominant
comparison

triad

in

major

and

minor of

is always
modes

m^jor
thb

triad,
plainly

of

the

form

of

close

both

shows

major.
"l"Q-

minor.

^
47.

rtzrb-

'^^m
i
minor scale

m
That,
however,

m
sixth such

the
any

degree chromatic
the
at

of

the

is not,

in
a

harmonic

nse,

capable

of

alteration plagal
as

by

elevation proves
a

half-step, page

as

s often

necessary

melodically,

close

(see

83)

hich

cannot

be

conceived

of

all

at

b"
In

minor.

f^iSt
o:
IT

".

The

three

primary
to

triads

in minor

can

be thus
:

exhilited

in their natora

elation

according

previous

explanation

49.

i!

rsrrns

The

mioor

scale, be
the

as

it forms
following
1

the
:

basis

for

the

formabion

of

harmoniei

ill

therefore

1^

50

:^fe:^!
.m
other
forms

Reicabk.^A11

of

the

minor

scale, such

as

lfe=te
51 descending
:

"P
fed^

53

"

P
conditions,
seventh
no

epend
the

upon
sixth

melodic
to the

-which

do

not

allow
60.

the

step

of
in

an

augmented

second

ram

degree,

found
the

in No.

These

forms

have

influence

upon
has
a

harmonic

formation upon
the

itself considered
scale

; the
as

armonic

foundation,

however, show
:

reflex

influence

minor

itself

the

ollowing

examples

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

J.I

"c.

9i3i S:^
t
-^#-

-"-

iJE m
the

The

last
B-^

case,

in which

the

descending

scale

even

exhibits
we

step

of

an

augmented

econd

b, which
that
B

in future,
was

in chord-connections
as

shall

carefully
the

avoid,

explains

tself thereby,
not to

necessary minor

component
of the

part

of which

chord,
is done this

A^,
very

however,

rder

destroy
while,

the

character

passage, first

perceptibly

hrough

A,

in the

ascending
through

scale,

(in

the

example),

(minor character)

lready

perfectly

secured

the

minor

third,

Eb.

b.

The

Triads

of

the Remaining

Degrees
TRIADS.

of

the Minor

Scale.

SECONDARY

After

the

establishment
form
:

of

the

minor

scale,

the

secondary

triads

appear

in the

following

54.

^z=

The

second of the

degree

gives
scale
; in

diminished
like
manner

triad,
a

as

before

the triad

seventh
is

egree

major
degree
a

diminished
here
a

found

pon

the

seventh

degree.
exhibits third

The
a

sixth
new
an

degree
of

forms the

m"aior

triad.

The

third

form

triad.
fifth, and

It contains

major
THE

and

augmented

is therefore

called

AUGMENTED

TRIAD.

The

constrained chords
of the

or

forced

character

of

the

connection
to

of
as

this

chord

with

ther

same

key,

allows
of

it seldom
minor

appear

fundamental
examples

armony
serve

of
to

the third
prove

degree
:

the

scale.

The

following

ay

this

a,

h"

o*

d*

""

f"

5.
6

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

VI

TIlO

Of
The

these

examples,

those

under chord

and

will be

best
more

adapted

for

use.

introduction

of

this

shows

itself to be

difficult stilL

""

C"

d"9

6.
6 6

ii=^p^^g^g^^EP^g
I
11"

IV

VI

Its introduction
is, exists

is

most

tolerable,
same

if the
as

augmented
constituent

fifth
part

is prepared,
the

hat

already

in the

voice

of

precede

ng

chord,
"

(at d).
^There

Remabk. of
the
as

is somethiDg
as

peculiarly
scale, scale,
so

foreign
that

in the this

chord

of
even

the

third
when

degree, it

as

ell

major
other

of

the

minor

harmony,
to
connect

appears

imply

minor

triad

in the

major

is

very

difficult
occurs.

naturally

and

effec

ively

wiih

chords,

and

therefore

seldom

Most

of

the

practicable
and
not

chord-connections
allow
the

exhibited triad
scale.
to

above
be

will

occur

ther

relations, of

augmented
minor

recognized

as

[triad

the] third
much used

degree

of
the

the

The
to

augmented the

triad,

A^hich

is

in

later

music,

belongs
later

chromatically
name

ltered

harmonies^

which

will be

explained

under

the

Altered

Application*

The

principles already

of

the

connection

of
have

harmonies
application chords

an

I leading
and

of

th

oices,
the

developed,
of

will also

here,
minor,

particularl
was

connection the the

the
of

fundamental the leading

tone

in

what

sai

bout

progression
step

comes

very

distinctly
in

into
minor

view

ince

of

an

augmented
seventh

second,
as

occurring well
as

the

scale

etween

the
and
the

sixth sixth, step of

and

degrees,

descending,
if both

between
tones,

th which
e.

eventh

is to
an

be

avoided

as

unmelodious,

ontain

augmented
a.

second,

belong
h.

to

differentharmonies,

I
57.

k:

^^m

e"-^^r

3L^^g4^jigE{^
VI VI

Hence,

in the
the

often

recurring

connection
of the

of

the

chords

of

the

fifth and
always
appear

ixth

degrees,

progression

leading the

tone

will be necessarily

pwards,
e.

whereby,
g.

in

the

triad

of

sixth

degree

the

third

oubled,

^i^i^^bi
-fe-

M:
jSiQ.

^^^^m
"C.
-"

".

ii-

-fl"

\^m
VI
VI

""

JQ"

m
i

.Ol.

VI

VI

VI

Thus,

it would
No.

not

be

possible
we

to

exhibit
use

in
of
a

correct

form
tone,

the

example
as,

iven

under
:

67

6,

unless

make

mediating

such

fo

xample

I
-G
eg-

"
Q"

59.

ii
RsMARK.^The
well,
more,

."2-

i
cases,

practice
to

deviates,

in certain
to

and
the

especial
leading
every

from voices

this rule.
above
shown,

It wil

however,
as we

accustom
not

ourselves overlook

of

the

and
in of

he

must

the

fact, that

deviation
"whereas

from
the

the rules

th

racf^re

is and

should

be

only

well

founded

exception^

observance

th*

Exercises
1.

irp

connecting

the

Triads
2.

of

the

Minor

Scaler

IS-

.^m
3.
4.

-"-p.

5S

3
-"p-

%
-"-

"3
6.

:^=3i:

is:

X=X

i^

s-

\
1

6.

6S
ja. 42"6K-

i:=5:
-"-

^^^E

Remarks

on

tliese

Exercises.

chromatic
third This
measure

sign

over

Bass

note

without
refers

figure^ as,
to

for

example,, of

n the

of of

the

first exercise,

always

the

third
occurs

the

ass.

raising is the
as a

the

third of

in
the

the

dominant
tone

triad,
spoken

which
of,

very

ften

in minor,

raising
not

leading
in the

(page 40).
notation,
for

The

triad
contains

is,

rule,

marked unless

thorough-bass
reasons

if the

ass

the

fundamental,

especial

exist

indicating

by 3, 5, 8,

or

% or
^

in full, by

5
3

One

reason

for indicating
the

it by of

6, is
the
was

found
triad

in of

the
the
to

third
third

and

sixth

exer*

ises.

Here

introduction

degree
that

in minof
the scale.

as

been

attempted, since
3

whereby
forms the

it

necessary

indicate

fifth

s raised, The

it likewise
or

the

seventh

degree
some

of
the
to

the

minor

figure

5
in

over

first chord
to

of

of

examples^ the
next

indicates
exercises,

ts position.

See,

regard

this, the

remarks

page 50).
The working
out

of

an

exercise

will

confirm

the the

fundamental
first exercise.

features

itherto

developed.

We

select

for this purpose

NB.

61.

The

first principle

of

the

connection

of

chords

(by

connection

of

tones

Alto,

hi the
from
order

third F
to

measure

(at NB.),
fault
from
from

makes

the fanUy

step

of

an

aixgrnented

Becond

to

G||.
this

In

avoid

(accordingto
E, and
in the
to

page

44), it
the

will be
from
*

necessary

io let the

Alto

progress
skips

F to

lead

Soprano
manner

to

6^

while

the

Tenor

to

B,

following

69.

(a

connection
the

of

chords,
of

which
tones

has
does
the

already
not

been place from

explained
in the
same

in

No.

81

where

connection
retains

take goes
close

voice),or,
to

he

Soprano
Alto

the

and

Tenor
the

downward

the

G^, the
the

from

to

E,

whereby appear

position
:

is forsaken,

and

this

nd

following

harmony

in open

position

63.

Farther
to

remarks, the

which
of
are

the the

difficulties
fourth,

in

the

leading

of

the voices of
the

eference

chords

fifth and
cases

sixth

degrees

minor

cale

render
we

necessary,

in especial
use

to

be left to practical
triads,
:
we

guidance.

Before

proceed the

to

the farther
hitherto

of

the

will exhibit,

in the

ollowing

manner

chords

discovered

View

of

all

Triads Major.

of

the

Major

and

Minor

ScaleSm

"*"

%"

gl
n

flZZZ.?!
IV V
VI

"

"-

-ix
vn"

111

Minor,

I
triads
are

EI5

r^^
IT

=it

I
thO

:^=!fi:i5^i=
I nO

III'

VI

in

Major:

in

Minott

Jlajor

found

MANUAL

OF

HARMOKT.

47
:

Major

in Minor:

Minor

triads

m
"fi

:sz

f
n

:S=B:
ni

?^::^
n

IT

Major

in Minor

Diminished

triads

^
vnO
iio

mi
in
Minor:

Augmented

triad

CHAPTER
The Inversions

III.
of the
Triads.

The
The
not
as

Chord

of

the Sixths

the Chord

of

the Sixth
of

and

Fourth.
chords', if

appplication
to

of the triads, and

use

indeed
the
can

all fundamental

limited

that

of them

in which

fundamental
of

lies in the Bassj

or

in all previous

examples;
chord.

the

Bass

also receive

the third

fifth of

the fundamental chords,

which
are

Hereby

arise transformations

the fundamental

called
INVERSIONS

of the chord.
RjSMARK.
"

It ehould
here close

be well
of, and

remarked,
that
the

that only before

trantpositions

of the
means

Bass

to anotli!Br

interyttl

are

spoken

mentioned intervals, by

transpositions
no

of the other

"vroicesinto
the chord,*

and

open

position, and

to various

essentially alter

Two
a.
OF THE

of the inversions

are

possible with
the third

the triad

If

the

Bass

receives

of

the triady

there arises the

CH0X9

SIXTH.

Ihmdamental

chord,

Chjord

of the aimth.

66.

*
ef
the

s
Third

fimdamewtaZ

chord.

b.
THB

If
SIXTH

the

Bass
AND

receives
FOURTH*

the

fifth of

the

triad,

there

arises

the

chord

Fundamental
chord,

Chord

(^ the

aixth

and

JburffL

66.

fall

===g

^
of
ihs

Fifih

fimdamental

chord.

The

chord

of

the

sixth
^

is indicated

by

over

the

Bass

note,

that

of the

ixth and

fourth,

by

e.

g.
6 4

67.

"!^E^^^g^B
COO

Os

The

letter
the

shall

in future
to

sorve

for indicating
the

the

fundamental
as can can

tone,

and,

before,

numeral only

indicate

degree,

whereby,

be

seen

xample

67,

the
not,

situation however,

of
the

the

fundamental
Bass.

tone

be

taken

nto

consideration,
the

casual
the
the

Rehare.

"

fundamental

ourth
lie

^As in Example

tone

of
not

chorda
Bass
notes

of
E

the

sixth
G,
so

and
the

of

the

nxih

and

67, is always

C, and

and

chord
are

itself will
no

ot

upon

the

third
only

or

fifth, but chords

upon

the

^r"^

degree,

since,

in fact, these

netely

ormed

chords^ chords.

but

brought

into

another

position

by

the

Bass,

and

therefore

erived

Every

triad

can

appear

in such

inversions.

Application^

By

the

use

of

the

inversions
more

of

the

chords,
the
more

not
movement

only

does
of

the
the

leading
voices,

he

harmony

receive
of
to

variety,

but

and

articularly
According
triad
in

the
the

Bass, above

becomes
noticed
also

thereby
rules

flowing. the

for

doubling
case

of
the

an

interval

he

(page
the

25), it will
the

be

better
to

in the double

of

chord

of
of of

the

ixth,

four-voiced

movement,

the
tone

fundamental
in the

the

riginal

chords

and
the

doubling
can third),

of

the take

Bass
place

chord

the

ixth

(that is,
voices

original
it,
even

only

if

the natural
can

leading avoided.
from

of

the

requires
tone,

or

if

thereby
in

certain

faults
is to

be

That

the

leading may

if it lies

the
what

Bass,
was

be
on

excluded page
of 39.
the

his

doubling,
so,

be

yet

remarked
to

after

said
the

Just

it needs

merely

be
only

mentioned,

that

position the

upper

hree

voices

is

conditioned

by

the

leading

of

voio"3S, and

aside

The

chord

of

the sixth

can

therefore

occur

in the

following

forms

jQ.

w
^:"
S=""

i
EEg=a

:2r
-"-

1122:
-"9-

I^Fa
""

6".

^^P^t
and

The

use

of

the

chord

of
and

the sixth
requires

fourth

is

more

rare

than shall

hmt
v""

the

cAorc?

sirc^A, q/" if)^"

certain in
the

conditions
formations

which of the

mentione

later.
tone,

We

meet

it oftenest

close.

The and

Bass

the will

fifth of the
appear

original

chord, and

is best

adapted
forms
:

for doublivg,

the

chord

in the

following

similar

i^ei^e^^UME
69.
'jq:
.GL

"c.

I
chords
already
or

.a.

11^
farther

In

the
are

connection necessary

of

these
those

with

others,
;
we

no

mechanical
the
mere

rules

beyond
of

given

likewise

omit the

mechanical
these

combination
derived chords
the

two

three of

chords,
music,

and

show

application

in small image
to

pieces
a

which,

however
cases

cant, insignifican

still contain

of

whole, whole.

whereby

individual

be

better

judged

of

in relation

the

Exercises.
1.
6 6
-G-

6 4

O.

^^EJ^
2.

"fS-

3
6

3^3
-SL

-"-

ist

n
6 6 6 4
"

.Q.

8.
r~

6
"-

'^^.
4.

:^

'^-"

:-^=zsr~:

"
6

iizpzz: t:
6 4

t
6 43

a=i-

^fe
6.

t
-"g"

^5
g^
75*"

1
""-"-

^ 6 6 6 6
6

6.

^
6

6
"6h

6 13

i
X^
a
6

"

9-

1125:
-g-

m.
6

d-

3
-6^

6
-"-

^s
jBT
6 6

^^

^
10.
"

1=3:
:3t

6
fS-

ft

41

i^;
u.

^s'rr

^
6

-S
3=t
IS.

4
?E
^-

4_i
.^::^
""-

isI:

JRemarks

on

these

Exercises.

The
also

indication

of

the

fifth in the
in

first

measure

of

the
the

second

Example,
of

all similar
and
first

indications
the

the

future,

denote

situation
no

the

oprano,
the

therewith

position
it is
to

of the

first

chord.
that

If
the

figure
can

stands

ver

Bass
of

note,

be

assumed,

Soprano

best

eceive

the

octave

the

Bass.
appears

The

diminished It
occurs

triad

in

the

second

exercise here
of

as

chord
called
the

of
to

ihs

ixth.

oftenest
tone
cases,

in

this

situation.

It may
because

be

mind

diat its fundamental

whereas,

is not the

doubled,
third

its being

leading

one,

in most

(in the
voices

chord

of

the

sixth

the

Bass
also

tone) is
The

doubled.
of
the

The fifth.
of

leading

of

the

occasions,

sometimes,

oubling

progression
of

the

diminished
natural

triad
direction page
of

is always of

conditioned

by

the

eading

the

Bass.

The

the

diminished

triad

in it

undamental

position
most

is already
cases

given,

38.
the

In

the

usual

the

progression

Bass

is

as

follows

ri.

iz-"-

Tj:tz:

t=t

i
:

nd

the

progression

of

the

remaining

voices

thus

^: '%=^
6

z=i=d:

-"

-g^~g
6 6
6 666666 6

a.
6 6

66

It is eyident
fifth,

from

the

above

Examples,
fourth, will
as

that
not

the

inversion

of
m

the

dimio*
-voided pag
an

shed

viz., the

augmented
same

necessarily,

four

ovement^

have
see,

the

progression

was

given B

above,
F

two-voiced^

8.

We

in the
to

first example

and

others,

and

of the

Soprano

lto

progress

and

G-.

Ts.

p"
chord,

";
in

S
sound,

i
to

"

?he

similarity
to

of

this

the

dominant
to

chord
the

of

the

t^eith

be

shown
even

later, often

induces converted

beginners
itself

lead

diminished
the

ittiido'jmwardsy fourth

if it has
as

by

inversion is necessary

into only
a

augcaoe

en'^:^

; this,

the

above

examples
as

show,

in

* roJV/ly lies ahove following

sort

the
:

fundamental

diminished

fifth, and

progression

f th\

i
74.
6

jQ.

i
6

ii
faulty
Remark.

"
fifths.
that

on

account
It may

of the
yet
other
versa,

parallel

"

be

remarked
are

here,
to

parallel

fifths,
the

of which

the

one

fifth i
Otepev

iminished

and

the

perfect,
e,

be

allowed

if

diminished

folhwt

b eetjifth^ut not

vice

g.

good.
""-

good.

not

good.

-fiL

I
-"f:
4 3

/5*
6 6 6

pz=ffl:

I
page
28.

ompi^^e

also

the

Remark,

The

progression

of goes

the
over

voices
to
a

takes
chord,
:

another
other

form the

in

the

diminished A

riad,

if the

Bass

than

tonic

triad.

few

hord-connections

may

follow

here

not

pure,
"

I
6
-""

-"-^-

"

mm
6 6

-jz:

6.
6

"-

^^^m

leiUr:

not:

not:
^

1^
6

-G-

:^
6 6 6 6 6
""-

^^m
6
6
"

"^
TIlO

m
U

-"-

I
degree

-"

-"-

1
IF

"

and

othert.

The

diminished
since
succession

triad

of

the

second
can

in

Minor

allows

another

reatment,

its fundamental
of
two
as
or

be

doubled.

The

more

chords

of
70,

the
No.

sixth,
3,

with

progression will

he

Bass

by
one

degrees,
or

in

Exercise

and motion

others,
to

render
e,

ecessary

more

voices

moving

in

contrary

the

Bass,

g.

^^^^^^^m
r.
6
6 6

6
-G-

-^"z'S

(^^

^pfEl^^B^^
of

^^F=t

I
No,

The
to

series be

of chords

the
out

sixth

of the

5th
ways

and

6th

Exercises however,

70

n,

sure,

be

carried of

in various

; best,

if the

consequ

succession

the

Bass

is retained

also in the

remaining

voices,

$.

I
t".

;$^

rizd~"

Si

t:4
-s-

i
6

i
ko.

ia^

-fi?-=^

f
measures can
are

I
between
Tenor
from
to rule,
the

Covered
not to

octaves,

as

in the
in such

2d

and

3d It

and

BasS|

re

be

avoided

cases.

be

deduced

this, that

to

NGLE

progressions
is not
to

of

the voices

which
in

contrary
to

that

especial
op

mportance

he attached,

opposmoN

consequence

etails, although
to

it must
the

he

as

perfect

as

possihle,

will always

he

sul Drdi-

te

that
"

of

whole.
to

Remark.

It is not by and
the

be

ignored,

that

the
the

principle
laying
to

laid
down

down
of
the

above

can

easily
was

h
t
m

sunderstood evaded,

beginner; be
last

however,
here,

principle
that
a

not

it may in the

added
instance,

in

order

avoid
a

possible

error,

decision by

ese

things,

belongs

only

to

judgment

fuUy

matured

rienc expe-

and

practice.

Concerning

the

Signs

of
the

the

Thorough-Bass

Notation.

The

numhers

and

signs

of

Thorough-Bass
"

are

called

in general
of
often

sig^

atures^

[in
been

German

works
as

Signaturen.
chromatic the

Ed.]
occurring
of
the

Soipe
very

them

have

lready

explained,
of the

the of

sign and figure

in minor. fourth
was

he

notation page

chords
stroke
of

sixth
the stroke

sixth

and

iven,

48.

through

is used,

(for
6
:

example,
a

in the

xercises

8, 9, 10,
of
a

No.
a

70,

through

the

0), if
; instead

chromatic of which,

levation

the

interval

half-step
set

becomes
the figure in

necessary

owever,

Jt or
find
concern.

t| is often
their

after

{e.g,, 6Jt or
connection

6tJ,
with

5tl.)
the

Other chords

igures

will

explanation

later

hich

they

ormation

of

tlie

Close

through

tlie

Chord

of

the

Sixth

and

Fourth.

In

the

Exercises
of the

of

No.
close

70

we

see,

through mentioned,

the

inversion

of
and

the
put

triad,
into of

he

formation
more

previously

extended
that

uch

definite fourth
of

shape.
the

We
triad,

discover,

namely,

the

chord

the

ixth

and

tonic

coniing

before

the

dominant

cates triad, indi-

decidedly

the

close.

i:
=g: pzzzg;
79.
6 4

1
O:

Iff
-fflL

The

chord

of
or

the

sixth

and

fourth

is frequently

preceded

by

the

triad

f the fourth

second

degree.

"0.

64
As

MANUAL

OF

HARMONY.

decidedly

now

as

the

close, having

justso
proper

weak
use

also a decided is the effect of its entrance

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

chord

under

other

relations,

so

that it

is

subjectto

certain

conditions,

which

will be treated of later

CHAPTER
Harmonies

IT.
the

of

Seventh

( Vierklange).
upon

The
from

harmonies
the addition from

of the seventh
of
a

are

founded

the triads.

third

to the fifth of the

triad, which

result forms a [third]

They

seventh

the fundamentaL

81.

"

p=f =i^^i^S
kinds

Not
ievenths

only

the

various

will afford manifold

General

of triads, but also the harmonies of the seventh.

yarioos

kinds

o/

The

Properties
are
a

of the
not
so

Chords

of the
as

Seventh. the most

never

chords of the seventh triads, but indicate definitely

only
in connection

The

independent
so

of the

progression,

that

they

alone, but

with

triads,

afford anything
the relations
means

complete

or

finished.
to

On

the other closer and excellent voices.

The

hand,
more means

render intimate, and by

for

they

will

of the chords

each

other

of this quality furnish

in particular

the

connection

of chords

and

for

the

leading

of the

Dominant

Chord

of the
which

Seventh

in

Major

and

Minor,

The
is the

chord

of the

seventh

is most

important,

and

occurs

ofteneiE

DOMINANT

CHORD

OF

THE

SEVENTH.

also called primary It rests, like the

xactly

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

eventh*

dz
82.
C:

V", 7

o:

V^

In
our

the

fundamental
of

position

it is marked

by
7
7

oyer

the

Bass

note,

and

method

notation,

indicated

by

83

i^
.

^
V. G: V.

0:

The

relation
has

in which
clear

the

triad

of

the

dominant
the
come

stands
formation
out

to

the
the

tonio

riad,

become

principally

through close
of will
the

of
more

close

hown

before,
the
use

(see page
of the

33).
dominant

The

still

clearl;'

hrough The
:

chord of

seventh.

following

combination

chords

will

show

the

formation

of

the

lose

84.

Rkicabk.

"

^It 18 to be
; in both

remarked
cases

here,

that the

the

triad

follo-wiDg

the The

chord
reason

of the eeyentb

t incomplete
from

the

fifth of

triad

is wanting.

of this will

ppear

-what

follows.

The

striving union

after

a a

point

of

rest,

inherent

in

these

chords,

and

the

esulting

with

triad,
THE

is called
CHORD OF
THE

RESOLUTION

OF

SEVENTH,

(Cadence).
with
the

If

the

union

of
manner

the

dominant

chord
in

of

the
or

seventh
in
a

tonic

triad,

ollows

in the

exhibited
CLOSING

No.

84,

similar

way,

it is

ealled

CADENCE.

For

the
of
the

leading
seventh
first

of

the

voices,
furnish

the

progression

of

the

intervals

of

the

hord

will
the the

important cadence especially.

as

observations. the regular

We

observe
chord
seventh,

closing seventh

resolution

of

the

ominant
The

of
as

the

essential
to
a

interval
definite

of

the

chord,

is, by

its relation
progression
an

to

he

fundamental,

confined
contains

progression. is regarded

If
as

the

ol

he

Bass,

which

the

fundamental,

given,

upward

regression

of

the

seventh

will appear

impossible

a.

h.
JQ-

85.

66
ftyen

MANUAL

OF

HARMONY.

if, as

at

6^

third voice is added

:

; whereas

its downward

progressioB

affords full satisfaction

8^-

^ fe

-gf
"

VS:

":^
,^.2^Sii

g=;

-""

s
upward
step of
a

Since
or

the progression step of

a

downward and

of ihe fundamental by an fifth is already determined,

of the seventh
remains

fourth

the progression
to be

of the

third
The
tone

ffth
of

of the chord

considered.

third

the dominant

of

the

scale ; its natural

has been

said before concerning

a

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

will follow
as

half-step upwards,

b will, therefore, not

appear

so

natural

5.

|=W.

JQ

'jGL

^"-

"1

:a:

^^m
to the

In the Example

87, 6, the third, is given

of its progression in

upper

voice, which

render

the unpleasantness

quite
a

perceptible.
voice,
e,

This g.

leadinj

becomes

tolerable if the third is found

middle

a.

b.

I
8",

-"-

^^1
i
-g-

This
applied
a"

downward
under

leading

of the

third
:

is (leading tone)

therefore

to

be

the following
does not

conditions
^

If it

lie in the upper

hut in

middle

voice^

e,

g.

seldom

pracUcabU,

i
89.

J:
15?:

jSl

^:

b"

If

the Baas

progresses

in

contrary

motion,

e.

g.

a.

".

not:

I
90.

If:

^^^^^E
The
reason

of

the
last the

second
Example

rule

becomes

evident,

if

we

observe

the

covered

fifths in the The leading

most

hf between
of the
a

Alto
of

and
the

Bass.
is free. seventh,

of

fifth
the
as

chord

seventh
by
for the

While,
reasons

or the

part,
connected

it is crowded

degree

downwards
of

ay

exist
a

with

leading Example

the

voices,

allowing

it to

gres pro-

degree
to

upwards,

88

shows,

where

the

of

the

pra So-

is lead

the

E.
remarks,
we

If

we

condense

these the

find

the

following
and for the

rules

for

the

regular

resolution
:

of

chord

of

the

seventh,

closing

cadence

articular

The The

seventh

progresses makes

diatonic
a

degree

downwards^
upwards

while
or a

fundamental
;
so

skip

of

fourth

fifth

dovm

ards

Just

the
can

third

is led

degree

upwards
upward
third
or

toward
downward.

the

seventh

while

The

fifth
"

he led by
the

degrees,
the

Remark.
was

By

progression
fundamental
are

of

towards

tJie seventh,

we

are

reminded
triad,

hat

said

of the

and
again

the

diminished dominant

fifth in the chord

of
the

dimmished
seventh.

(page

8).

Both

intervals

found

in the

Application.

Except

in the

formation
of
a

of

the

closes,

the dominant
in

chord

of the thus

seventh
known

s, in the
us,

middle

piece,

seldom

employed
in
a

the usage

far

and,

if it does close place

take

place,

only

position

whereby

the

feeling

of

he

complete

is not

produced.
in
the
cases

This
in

takes

particularly

where

the

seventh

of

the
or,

chord

ies

the

upper

voice,

whereby seventh

close

becomes accented

incomplete,
part

if the

ominant

chord

of the
in
the

falls upon

the

of

the

measure

thesis),ince s
(See
Besides
an

complete

close

(cadence) the
incomplete
can

tonic

triad

must

fal

here.

page

33).
chord
often

this, the

appears
however,

through

the

omission

interval. while
the

This

interval,
of the

only
or

be

the

fifth, seldom
would

the

hirdy

omission

fundamental

the

seventh,

entirely

6.

e*

rardy:

d,
,

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

g;

"

"

""

"

-""

fi^-

91.

^
df
the fifth is in

2s:

I
the third,
in
means

In

a,

hf

omitted,
which

Cf

and

each
of

oas6

he

fundamental which

doubled
to

instead,
remain

doubling
the

affords,
closest

by

the

one

is allowed chord,
not

stationary, tonic

connection

with

the

ollowing
was

and
the
case

allows in the

the

triad

to

appear

again

complete,

hich

previous upon

resolution.

(See
of

No.

84).
interval

We

add
:

the

following

remark

the

omission

an

in the

hord

Through

the leading
will, in

of

the voices
cases
^

chord

can

appear

incomplete

; the

mitted

interval

most

he the

fifth of

the

fundamental

chord.

Exerdsesm
6 4

1.

a.

ifE^
-t=?i
2.
-"""

:?c

i
is:.

6
"

7
?"
-"

!36^
8.

""-

-^"

g--^^

F=t
6
"

:t

i9'
-"

6 ^

6 4

(fi-

1=^

-4SIZ.

-g

Hi

-^

6 43

6 47

iiS^
7

-/a-.

"s-

^JL
6 6 4

5.

6
-"-

6 4

^3
6.

q=::f

"^E
jy
6
""-

^^
6

jSL

t
-*""

67

4"

^-^
These

"""

t=l:

V=t

li
It
has

exercises

require

no

farther

explanation.

been

already

indicated

by
signs

7, also
which from

that
occur

the

sharp

found

under
opposite

it,
to

or

in

general,
have

al

hromatic
to

without

figures

them,

refer

nce

the

third

the

Bass

tone.

(See page

55.)

CHAPTER
The

V.
Chord
Seventh*

inversions
the chord
an

of
of

the

of
can

the

Like
that

the
the

triad, Bass

the

seventh

be

altered the

in

such

man*

r,

receives

interval

other Bass

than
receives

fundamentaL
third
of

The

first inversion
;

arises,

if the

the

the

mental funda-

The
The
In

second^

if the if the

fifth of original

the

fundamental
is

chord
to

lies in the lower thus

voice.
:

Bass,

and

thirds
close

seventh

given

the

position

the

inversions

present

themselves

comparison of the triad,

of

these

inversions

of

the

chord

of

the
:

seventh|

with

hose

shows

plainly

their

analogous
6 4

position

i
6 6

94.

Kt)
;="-]
-"-

^i"")
J:
G.

1
from the

These

derived
:

chords

receive

their

designation

position

of

heir

intervals

'^he

first inversion
second
; the

is called

the

chord

The the
The

chord
third. chord

of of

the

sixth,

of the fourth,

sixth
and

and

fifth.
or

third,

briefly, chord

fourth
third
:

and

the

the sixth,

fourths, and

second,

or

briefly,

chord

the second.
Their

designation

in the

Thorough-Bass

notation

is to be

seen

above,

in

It needs
in

only
the

to

be

remembered
of

here, triad, that

that
the

in these

inyersi.
of the

ns,

just
or

ai

efore

inversions

the and
upper

only

position

Bass
can

he

lowest

voice

is essential,

the

remaining
e,

intervals

be

vari

usly

distributed

among

the

voices,

g.

*
^:
2?:

"^-

^^

r"5L=:ti38^

5.
G-

"9

-o-

""-

-9

6 6

6 6
.GL ^

4 3

4 3

I
^

i
"C.

-%^
'"^^

9-

IE

A'pplication.

The

regular
that

progression the fundamental

the
the
case

(resolution) of
chord. the
to

these

derived

chords

is founded

pon

of

If, in its
cue

case,

dissonance,

seventh,
same

conditioned
progression in which

the

progression

direction, *xi"t
in the

tendency of

the

(resolution), will
the
two

lso

the

derived cither

chords, appear

tones,

the

undamental

and

the

seventh,

again,

or

become

seconds

by

version.
or:

""

^^t=^
Progression

:s:

im^
-Qg

Iffi^

K
Fifth.

of

the

Cliord

of
itself

tJie

Sixth

and

Since

the

original
chord of of

seventh
the
sixth
was

shows and

likewise,
dissonance^

over
as

against

the

Bass

ne

in the

fifth,

as

diminished

Jlfth

he

progression

which

discussed

above,

(page 38),

97

^
.

"^"^

-g

g)-

I
and

he

resolution

of

the

chord

of

the

sixth

fifth

will

naturally

taktf

place

thus

9H.

ii^^=[f

The

progression
the

of of
the

the

fundamental,
voice

as

before
and
that

given,

does

not

appeal

here, since
fifth.

upper

is sustained
for

transforms
it forms

itself into

the

This

is, however, of

only

apparent,

the

foundation

of

this connection

harmony,

the

marking

below

G7

C, of

Example

98

proves. That the however,

progression

the

Soprano,
of
in

or

middle
in

voice, such

cannot
cases,

in

notes

carry

ut

the the

fundamental
character of of the

lies, beside

othe7 found

easons,

immediately in mediation
and

these

voices,

which
than

is to

be

ore

connection
to

harmonies,

in

laying

their

foundation,
Remark.
of
an
"

which
^Deviating
voices

belongs

the
of

Bass.
the

progressions in certain
of

fandamental
give,
are

in
not

these

cases,

such

as

freer
there

eading
be

the

relations

would

hereby

excluded,

only

ust

inner

connection

the

chords.

^Progression

of

the

Chord

of
the

the

Sixth,

Fourth,

and

Third.

We
or

find

again

here,

beside

seventh fourth

and
:

its inversion,

the

diminished'

ifth

its inversion,

the

augmented

99.

^m3/-

ES^

g--

The

resolution

of

this chord

follows

thus

^"^^
100

91=^^1^^^^^
Giy

Oi^

The

Bass,

the

original

fifth,

can

progress
Chord

in both

of

the

given

ways.

Progression

of

the

of

the

Second*

This

chord
and

has
the
^

the

peculiarity,

that

the

original
occur

dissonant
in

intervals, inversions,

the
m

eventh

diminished
augmented of

fifths can
fourth
chord
2 6

only

their

econd

below

and

below.
follows
2
:

The

progression

this

is

as

101
^

a G^

"^

G^

Thus chord
can

the

resolution

of

the. chord

of

the second

is effected

here

thiougli

he

of

the

sixth.
in these

We

perceive

resolutions,

that

they

are

all based

upon

the

62

MANUAL

or

HARMONY.

as

called

cadence^

for I.

we

find

everywhere

the

same

marking

of

the

fanda*

mental

G7

or

V7

These
complete

res^^lutions will, therefore,

a

themselves

form and
as

cadences^

onlj called

not

sort

as

those

mentioned

above,
the
name,

those

are

perfec

adences^

so

these

are

designated

by

imperfect

cadences.

View

of the
inant

Natural

Progression

of aU
in

Inversions
various

of
positions,

the

Dom*

Chord

of

the

Seventh

a.

The

Chord

of

the

Sixth

and

Fifth.

02.

i
b.
The

Chord

of

the
or:

Sixth,

Fourth,

and

Third.

CT

^az^tr^
4

as
--^:g:
6 4

"G'jrr

\^m
4 3

"s-

xzTfird^J
4 3
4 3

"^
G. 0

^m

C"

The

Chord

of

the

Second.

Exercises
6 6

in

the
66

Use

of

these
326

Chords,
6 47
rsi

103.

i"
2.

t
i

:5=^

X
4 3

sL

6
6
6
6

87

i:3fe
1

"

^
-St
-5/ ^

c.

-"

:f=t
8.

3
-S

4 3

6 6

6 4

7
-"-

ip
4.

i
6

:?s:
ipz

f
4 3 6
6 4

6
:aL

87
"-

SIS
5.

SSL

-"-

"

-51

6 6

f
6
-"-

3
g-

87 %

^"
6.

izni
"

^^
-"-

-c"

2i
6 6

67

4"
rsi:

i:^^:
f
7.
3

-"-'

2S:

1^=1^

1^

i^

6
--"-

6 6
^51

67 6
g-

4"

^P3

1=^

:?2=

^
6

"

1^
6 67 4S

f
8.

6
-"-

4
r

3f

PiiE^:

EE:

Observation.
fourth,

"

The

marking

8 7 in the
denotes

next

to

the
the

last

measure

pf

tlj
not

econd,

and

fifth

Examples,

that

seventh

should

CHAPTER

VI.

Secondary

Harmonies

of
three
tonic

the

Seventh.

While

in

the

case

of

the

triads,
to

primary

chords
as

are

requisite

establish

the in the

key,
case

(the relation
of the

the
of

triad

central
one

there point),
primary

eeded

chords

the the

seventh,
content

only of

chords
already
the

he

dominant
the

chord key

df
key.

the
and

seventh,
the

which of which

alone
to

enders

certain,

natural

progression

tonio

riad

represents
^The time

the

Remark.

"

manifest

fact, that
of

the the
of

seyenth

of

the

dominant

chord
the

of

the

seventh
of

s at the
tones

same

fundamental
(as fundamentals
entirely

subdominant
the

triad, renders
to triads),

relation
common

the

wo

and

F,

dominant above,

their

centre,

(as tonic
Beside

triad),already
this

clear.

(See
the

page

22,

3).
called
can

dominant

chord

of

seventh,
of
minor, the

also

primary

or

ssential

chord
remaining

of
indeed

the

seventh,
in

harmonies

seventh relation
so

be

formed
to

rom

the

triads

major
They
CHORDS
are

and

the
means

of

which
as

efinite of

key the

is

undeniable,
chord.

but

by

no

decided

in the

ase

primary

called
OF
THE

SECONDARY

SEVENTH.

They

are

to
to

be

formed, triads
In :

simply

by the

addition

of

seventh

of

the

fun-

amental

the

a.

Major:

Ttp*

ni"y

IV

"VTy

Til" Tll^iy

6.

In

Minor

NB.

NB.

N
Ij
l^rj

Hl'-y

IViy

VI

jy

TnO|y

"We

come

here chords,

to

chord

formations,
very

which,
and,

in
this
to
a

part,
reason,

without

oonnectioB
because,
key is not

ith
was

other

sound

harsh,
their the
more

for

foreign,

already
and

remarked
clear
as

above,
that in

relation

fundamental
of the the less seventh.

decided

of

dominant
rare,

chord

Their

will, therefore, variety Among these and

be

part

but
the

not

adapted

for impar

especial

coloring

to

harmonic

succession.

secondary

chords

of

the

seventh,

the

following

kinds

may

"n

Major:

in

JAfkM*:

Major

triads

v)ith

major

|^*

at

seventh,

^
0: IV VI-

1
always

NB.

Major
seventh.

triads

with

minor

seventh

form

dominant

chords

the

in

Minor:

!)"

Minor

triad

vnth

-j-^
w-

major

seventh,

not

used

as

fundamental

harmony.

"

x"

in

Major:

in

Minor:

C,

Minor

triads

with

minor

seventh.

I
C:

g
niy niiy
""

Vliy M(dor:

a:

iti^
Minor

i"

d*

Diminished

triads

with

minor

seventh.

m
TU0|

;B
a:
nOi

in

il/in*f

.*

Diminished

triad

with

diminished

seventh.

f"

The

augmented

triad

with

m"ajor

seventh.

it is found
from
reasons

upon

the

third

degree
in

in

minor,
case

is, to of the

be

sure,

not

useless, triad,

ut

before and

developed

the

augmented

ery

seldom
"

used,
^We

ambiguous.
again,
with
another

Remabk.

find this chord

foundation,

in Chapter

X.

pplication

of
or

the

Secondary

Chorits

of
may

tJie

Seventh

in

Major*
ished, dimin-

The
or

seventh

its inversion, the

the

second,

be

major,
; it will

minor,

(which
to

concerns

second
as

only) augmented
dissonance
the in
case

always

in it

elation This

the

fundamental
progression

press is,

to

progression.

natural

with

secondary

chords
dominant

of

the

seventh,

other

than
Yiz,
J

that
one

already

found
downward of

of
the upward.

the

chord
if the

of the

eventh,

degree
or

downwards

toward
or

fundamental,

latter

oves

by

fifths

fourths,

If

accordingly

the

progression

the

principal

intervals

of

the

chord

ound,
3:

106.

66
for led

MANUAL

OF

HARMONY.

the
one

remaining
degree

intervals, while

no

new

rule is necessary

; the
can

third

will

be

upward^

the progression

of the

ffth

be

in either

direction.
fit.

i
107.

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

m
C:
I

I
IV

-^

iSZ

-"ni

f^^i
of the

REUARE.^The

deviation
by
the

firom this

rule

in the progreBeion
the
e,

third in Example
would

107 bf is occasioned in the regular atcennon

circumstance,

that

covered
g.^

octave,

which

appeal

of the

third

whole

step,

^T"
108.

^zp"=a I^^B

^=^
was

avoided
Whether,

thereby.
however,
as

See

page

85,

Example
107
c^

32.

in Example
following

the

leading

tone

should

be doubled

in th*

succeeding

chord,

or

the

covered

fifths be preferred,

p
1"0.

:e
1

m
will depend

I
which
ean

m\
of in the

upon

circumstances

only be

judged

application

to p"r

diBular

cases.

Natural

(Oadeneing)

Progression

of
in

the

Secondary

Chords

of

the

Seventh
a*

Major.
not:

of

the

first

degree,
or:

I
110.

~".

3;

"^^

^t=SL

\=^.=X^^

meUh

omission

of

the

J^/th :

=:iF-6^

-fiffl-

I
-"-

-"
5^--"
"

p~

:b:zs^

mm
or

""

(/

tA"

Moond

deffrse.

without

J^fth

"?:

-fiL

:^:

"O"

":

not:

iip^i^
e,

-^
-"J
"

"-

of

the

third

degree:
2

r^^f^^
T
-n:
not; not:

:5a:
J

"

".

"7g"~~r

T~s~r

I ~oiJb:

r~tf~r

T~"g~j
no";

0:

llliy

VI

"l.

of the

fburth

degree

(seldom

with

this

resdlvUon),

i:

":
32:

1 ;S5S
not

pi
go.

JSL

.J

^
jQ.

'good:
a.
"

1
-g-

not.*

0:

IV

ir

vn'

1^
=
-g-

I
_3.

I
-"-

":

5-.

^m
f,o/th6
seventh degree.
not

good:
i9jO.

better:

$
s
not:
ni

ig
II

Z^

3:

-"-

-6f-

3E3
"r-^

JQ.

I
P
.G_^

=g:
-"-

3^:

3"'

^ i

-G-

-*""

not:

Bemark.

"

^The

above

found
nor

progressions
have such they

of

all chords

of
as

the

seventh

are

neither
ones.

heir The

positions

exhaustive,
of

been

exhibited lies

the

only
the

possible

difficulty
fifths

forming

progressions
remarks

only
are

in

frequently
above,
such

occurring
^

overed
not

and

octaves.

All
most

the

also, which
to the

added
the

as as

not,**

good"
other

which, necessary

for the

part,

refer

leading
these

of

Bass,

(inasmuch
cases,

this

ith be

voice-progressions,
a

produces
pointy

faults,)are,
cases

in many similar be

only

understood
even

from

theoretical

stand

while

such
must

and
often

ones

in the

ractice,

in

the

so-called

pure

harmonic

structure,

judged

according

o the

principle
the

before
has

expressed,
not

(pages

52

and

53).
positive in
a

Since
the

theory

yet

succeeded
and

in furnishing

rules

for all
can

cases

of the

ind,

true

and
means

false, the

admissible harmonic

inadmissible edv4:ation
and

this

respect,

only

be

tin dis
ear.

by
about

of complete
later.

really

musically

educated

ore

this follows

oncerning

the

especial

Progression

of

the

Chord

of

the

Seventh

of In
the
in

the

seventh

Degree.

above

found
under

collection

of that

the

progressions

of

all

chords analogous

of

the

eventh

major,
has takes

No.
to
as

110, the

of the degree^ other

seventh
that

degree^

with
of the

he

others,

been

led
place,

third
the

is, the of the

progression
seventh,

undamental

with

chords

through

ore

unusual

one,

and
to

is, for the

a

most

part,

only

used
-

in

leading

of

the

armony

according
oftener,
upon

certain

formula

(sequence).
triads
to to

That

progression

curs

which

the diminished

which

here
tonic

the

seventh

added,

is based,

(see page
6.

38

and

50), viz., that

a.

the

triad.

Ck

6.

1^
C:
viio

3@ Wz

I
Sr
."_.

i
.Q-.

11.

m
vnOi

i
.(2.
"II*
I

11
the
the

VIlO

The

above
to

Example
tonic triad

shows is not
more

plainly, altered

that by

the

relation

of
of

diminished
seventh,

riad the

the

the

addition

but

contrary,

becomes
to

decided.
that, if the
must

It is likewise
the

be

remarked,

chord
be
;

appears

in

the

above

osition,

third

of the following
perfect

triad

doubled, No.
112

(seeNo.
a),

Ill

6)

ecause

otherwise,

fifths would

arise

(See

a.

6.

I 1=1 f=^^^^E^
112.

S
-"-

ii
-^

m
as

i
of the
is

skip and

must

be

used,

at

b^

leading

Tenor
very

which

is often

ound,

which,

in spite
to

of

the

covered that only

octave,

effective.

'It

is peculiar
lies in

this
upper

chord, voice

that
a

position

of

it in which
while

the

eventh

the

produces

satisfactory

effect,

the

ther

positions,

if not

impracticable,

still appear

less clear.

I
m

"^
-"-

"

"OP

13.
2

6 4

.GL

Ml
reason

IIexark.

"

^Whether the
charaoter

the

of
ninth

this
lies,

is, that

in

the

sevtenth

with
that

its above
the

used

rogression,
of
the

of

the

(as

some

theorists of
this

assert,

dominan

hord

seventh,

with
to

added
that
of

ninth,
the

is the

hasis
is

chord
more

with

its

resolution
and

hich,

though

similar

seventh,

still much

comprehensive,

The

Freer

Treatment

of

the the

Third Sevenths

and

Fifth

in

the

Chord

of

Various

progressions
connections

of

these

intervals

have goes

already
upwards

been
and

nsed

in thi

revious

of

chords.
goes

The^;^^
a

downwards,
makes

he

third
of

likewise,
a

sometimes

degree all took

upwards,
place

and

sometimes

skip and

third

downwards.
of, covered

This

principally

in reference

o,

in avoidance

fifths and

octaves.

Where
make

these

faulty

progressions
steps,

do

not

interfere,

the

third
of

especially,

an

still other
more

by

means

of

which
e.

the

leading

the

voices

ften

becomes

independent

and

freer,

g,

a,

ft.

not

goo4^

""

|ii s"^

-CL

^g"-=j^=^

114.

^^^m^^^^^m
That this
of leading
is

also
at
e"

possible

in

the

middle

voices,

if the

position

dmits The

it, is shown of
the

leading

Soprano

at

is not

good,

because

skip

of

an

ugmented

fourth
skip
from

occurs

in consequence.
to

The

the

fourth
it

the

seventh
three whole

degree, steps.

(F-B),
More

is
of

called

the

ritonus^

because

contains

this subsequ

different
deviates in general,
out

leading from
the

of

the

fifth is possible
progression,

only

if the of

Bass
a

at

the

same

ime

above

which
voices

is that

fundamental

still other

leading

of

the

will

present

itself, if

we

earch

other

than

the

chord-connections

hitherto

used.

OOhe

Preparation

of
chords

the

Seventh*

Thus

far the nothing harsh of

a

progression

of
said

the of

of

the

seventh

has

been

spoken

f, but

has

been
the

their introduction.
of
many

The
most

effect of the

entrance

dissonances^

and

particularly
renderti pre-

sevenths

in

the

secondary
of

chords
which

of

the

seventh^
in

ecessary

careful

introduction

them,

consists

their

aration,

tone
THE

is
SAME

prepared,
VOICE,

if
and

it
as

exists

already
tone^

in
so

the
that

foregoing
it
can

chord

onh

harmonic

be

connected

by

Suoli preparation
previously

of

tone
e.

is contained

already

in tlie first connectiou

f chords

shown,

g.

"g--

f:
11".

*"

o-

^
It
can

T=2E
GL

s
the

be by

said

here,
of

that

of

the

Soprano
; likewise

in

second
the

chord
Alto

is pre*
in the

ared

the

the

first chord

the

Q- of

xample

following. necessity alone

from

The

of

the

preparation
effect

of of

the

sevenths,

however,
are

does struck

not

esult

the

harsh

their
from

entrance

if they

/r"",
con-

enter unprepared], but

and

particularly of
two

the

character
chords,

of
which

harmonic
is

lection

binding
of

consecutive

especially would

haracteristic
appear.

the

sevenths,

and

which,

without

the

preparation,

The

preparation

of

the

seventh

can

now

take

place

in

the

following-

nner:

^ii^^^s
g^^gg
C: V

"=F

16.

m
IV IV IV
n.

~cr=^^^^
"9-

"

I
"

^Si^---a

"

EgEE^E?
-""

v^^

m
I 1
"e.

[=js:

giz"-F=Ez=gz:i
0:
in

^E

11
F
VI
vi"

-""

m
"

"|
IV
TllOi

IV-rvn"

niiy

In

all these

Examples,
forms of

the

tone

which

is connected

by

tie with

the

followi

like tone,

the preparation

of

the seventh.
the following rules
are

In

the
:

formation

such

preparation,

to

b"

bserved
a*

The

preparation
must

takes

place

upon

the

unaccented

part

of
/

th$

asure

(arsis) and
at

!)"

least
f

he

of

as

long

duration

as

the succeeeding

seventh

it

can

fiol;

117.

Remark. doctrine

"

The
of

preparation and
most

of

the sewetUhe be carried part

forms

one

of

the

mofit

important
with
much

parts

he

harmony,
the

is to

through of the inner

and and

practiced
most

car"^

ecause

upon

it rests

essential

intimate

connection

harmony. If

here

also that

exceptions
are
even

in

the

practice
else

can

be

adduced,
which
can

we

may prove

still again nothing

be

remi

they of
the

nothing

than

exeepHone^ but

against and

the

mportance
as

principle
a

of

harmonic

connection,

only

be intended

judged
those of

called

for in

concrete
occur

case

by with

the
the
VA

position

and

relations.
as

(Page
less

44

"

Remark).
as

These

exceptions

mostly degree,

minor
then

eeventhe^

th"

harsh,

he

second

and

seventh

and

always

softened

by

good

leading

the

oices.

An
the

especial

exception,

howerer,
dominant

to

the

necessary

preparation

is formed

seventh
one,

of
least

the

fihord, also
its relation
to

called
the

the

essential

seventh

his

is the

which, harsh

through
and
cases.

tonic

triad, enters key, and

[wit

the effect]

foreign

to

the

fundamental

does

not

equire

preparation its farther

use

in all the

Of 7%#

following
does notj

may
to

be
he

remarked
require

dominant

seventh
demands
uure

sure^

preparation,

yet

it

ree

ejitrance

the presence and

without

of

the

fundamental^

if the

leading

he

voices

is to be

harshness.

118.

Remark."

The

so-called
rules
see

passing of
the

sevenths,

which
which

of

course,
are

as

such,

cannot

be

pre*

Nired, conform passing

to the

passing

notes,

explained

later

Concerning

he

sevenths,

Chapter

XYIIL
*

The

seventh the

also of

of

the

seventh

degree

in

major
by

and

minor

(in the last

their

se,

chord

the

diminished

seventh),

reason

of

espeoial

Exercises*
1.

0 4

119

^^

"^

"

i t

m
t
6
6 6 4

^
7

2.

6
-^

6 6

^^
.^"G.

-"-

6
-"-

6 6

6 4

^-

:?"

32:

6 6
"

7
"-

6 6

IS

1=3:

4-

t=t

"

"-"s'

^^-"-

7i6

Connection

of
or

the

Chords

of
of
the

the

Seventh

among

themselves*

The
the

progression former
or,
a

resolution always

chords
the

of triad

the

seyenth,

took

place
degree

Examples,
is

through

of
also

the

fourth
Instead

bove,

which

equivalent, seventh
the

of
of

the

ffth

degree
can

helotv.

of

the

riad,

chord

of
of

the

the

same

degree

follow. only, the

The

progression the

of
the

voices

suffers

hereby
seventh

no

alteration,
serve
as

in this

se

third

first chord

of the

will

necessary

reparation

of

the
e.

following
g.

seventh,

and

will

therefore

not

progress,

but

emain

stationary,

1=1 ^^s ^
120.

":
G:

-"2"G"

-^z
IV

Here

the

third

of

the

dominant

chord,

the

B,

forms

the

preparation

"A

he

following

seventh.

The

peculiarity of
the

in

this the

connection

of harmony

is, that

in

one

of

th

hords

seventh,

ffth
has

will always

he wanting.
out.

In
several

Example chords of

120,

he

fifth

of

the

first chord

been

left

If

the

eventh

succeed

each

other,

the

ffth

will

always

be

wanting

in

each

131.

IV

"r

ToPpf

lUiy lUm

Tl Tim

Urn

The

following
:
or

rule

may

therefore

apply

for

connections

of

harmony

his kind

If

two

more

chords
the

ENTAL

POSITION,

of fifth is

the

seventh
in

follow
each

each

oih^

the

funba'

Omitted

alternate

chord.

Exercises*
1. 4 3 6 5

32.

ii^ 2-gs:
2.

i^

6 4

^^=F
4.

:^
"^

^
4 3

iS^

22:

3?:

-ci""-

:s=il:?
6 6

-G-

'SL

2:

1
Minor*

pplication

of
of

the

Secondary

Chords

of

the

Seventh

in

The

rise

the
of

secondary

chords

of
as

the
to

seventh

in

minor
or

is

more

ited lim-

Many

them

show

themselves,

be
were

incapable, applied

indefinite
in

and

mbiguous,

for

chord-connections
progressions, formed
to

they

major,
of the

others

orm,

in their

cadencing the

heavy,
as

unmelodic degree

steps

voices.

chord

of

seventh

the

frst

gives

it,

can

afford

progression

analogous

the

above,

since

the following

chord

connection

is not

conceivable.

133.

Rkkakk.

"

^EVen
as

if irith
:

the

above

combtnaivm

of

interval!,

progrMi*.

cmied,

such

perliapg

fe^E^I
134.

ii

-It
71

:=f:
6

g
have

till tbis would

of
the

hardly
seventh

be
of

admissible

as

proof

that

we

in this

progression

of f

hord

the

first degree

in minor.

The

resolution

of

the

chord

of

the

second

degree

is into

the

daminani

nd

is very

frequently

used.

35.

"".

^m^
not:
"

-a.

jss:
-"-

l^^^ilf
of
the

""*" not:
;
nOi

progression

of

the

chord

of

the

seventh

third

degree

is no(

npossible,

ifg

^^
.

ffs

I
136.

ii
a:

:a:

igs:
7"not; not;

rfsr

IIIV

VI

t is

ambiguous^

however, Altered

and

might

be better

adapted

to

major
this

than

to

minor.

(See
be

Chords),
here,
in

It

may

remarked will

addition, go
upward

that
one

the

ffth

in

chord,

aa

ugmented

interval^
chords

always and

degree.
are

The

of

the

fourth
in their

sixth

degrees

unusual,
inconvenient

because
and

the
un-

eading

of

the

voices

resolution

becomes

elodic.
^
^ good:

P^i
m
#

^9gi
y^

97.
7 7

i
iiS:

|s

f=gE3Hf=E^j^g^j^
^EgEj^i^^^Si^g

19"

The

forced

character their

of

most
use.

of

the

above

progressions

is

unmistakable^

and

prevents The

frequent

seventh

degree
the

in minor
name

brings

an

important

chord,

which

is generally

known

under
THE

of
OF THE

CHORD

DIMINISHED

SEVENTH.

resolution
it would

of

this chord

in the

manner

of

all

the

rest

is

impossible,
which
was

since

necessarily

result
as

in the

triad and

of the

third

degree,

already

represented
of

above

doubtful
as

ambiguous.

Instead

this, its progression,

in

with

the chord
based
upon
rests

of
the
:

the

seventh

of

ths

seventh

degree

major
tone^

(see page
upon

68), is

natural

sion progres-

of

the

leading

which

this chord

* '^
"O"

139
-O*"'
A a:
"

I
o:
viiOi

.JQ.

m
half

viiOi VIlO

As
the

the

fundamental
also
moves as

of this
a

chord

(leadingtone), progresses
while
of the

st^,
are

so

seventh

half-step downwards,
the
other

third
seventh of

and

fifth
third
:

led

just as
in

regularly many

with

chords
must

; especially, the

however,

positions
to,

(No.

130

a)

the

leading

be

accurately

attended

because

it easily

produces

faulty

progression

a*

not:

K.-

-"S^

p-

130.

mM
h and

^m^^
tf
gives
of this

irhereas
Remark.

the

position
^The

at

to

the

third

greater

freedom.

"

natural

progression

chord,
has

as

well

as

of the chord
the

of the
teachers

seventii
of

of

the

seventh
to

degree
basis
a

in of ninth chords

major,

to

the

tonic,

occasioned

older

mony har-

find the chord

arose

it in the

dominant
or

hannony

of
to

the

seventh. the

They

conceived
omitted

of

this

with

(major
of
the

minor)

added

it, and

fundamental

whereby

both

seventh

degree.

ean

only of of

bring
the

forward
ninth

here

as

reason

for

the

view and
to

offered,
that
the

that

this assumption
purposes,

he

chord

is needless system

and
has

far-fetched,

for
more

practical excursive

the

implicity
it

the

harmonic

been

preferred

explanatio"i

For

the

application following

of
:

the

chord

of

the

diminished

seventh,

observe

in

ddition

the

The

diminished page

seventh^

as

the

mildest

of

all, needs

no

preparation

See

72).
Exercises.
7

1.

6
9

31.

.r 2:"

i:t

-^=^-

sS""

(S-

3
X.".
6 6 6 4 7

7
2.

3
""

its:

i^:

i
fS
6

3
"

'^"
-+*"

-"--

-"

I
6 4

1-

tizsL
^
2 6

1^
7

7
8.

7
1
"

"
G-

"i^
4.

-(S-

I
6 5 6
6 4

-"-

f
t

7 6
"

7
(S2

7
Tsr.

It
-P"
T

9i^^^

^ife^i^^
of this
to
use

The

foregoing have far the

and

all previous
to

exercises
in learoing

chapter,

which,

of the have

course,

nly

object

assist
to

us

mechanically
laid the

chorda
something

hus

explained,
and

and

test

the
their

rules

and

remarks

down, great

inflexible
of the

stiflf in

structure,

because
in the them

number
position

hords

seventh
the

could

only

appear

here
of

fundamental
upon
means, our

nd

because
which
only

introduction
not

of
the

many selection

present
was

stand

oint,

did
appear

allow

us

of other

difficult,

and

ould

forced. may
serve as

What The

follows

explanation
chords of

of
the

them

fundamental
skip

of

these
or

seventh
seen

makes

everywhere
the

the

adencing
only,
an

of

fourth

fifth, as
of Nos.
measure

is to be

from 131, third

leading is found, of No. of the

of the

ass,

in the

third

exercise

122

and
of the the

there

seemingly,

exception.
tone,
to

In be
sure,

the

fourth

exercise

122,

he

Bass

remains
in
tone

stationary,
a

progression
manner

mental fundatwo

is,
a

however, D7.

contained
The

perfectly could
here

regular
remain

in

the

hords:
have

7,

Bass the

stationary, chord

because

already

learned

inversions

of

the

dominant

of

the

easure

of

the

third
takes

exercise
place

of with

No.
a

131,

where

the
Bass.

progression

of

th

undamental

A7-D

stationary the

In

the in

second
minor

Exercise
is

of No. and,

131

chord

of

the

seventh
with

of

the

thira

egree

used,

it may

be assumed,

that

thb

introduction

t will not

appear

unnatural

and

harsh.

CHAPTER

VII.

The

Inversions

of

the

Secondary

Chords

of
of

the

Seventh.

Through

the

inversions
arise,

of the
have

secondary
already

chords
shown

the

seventh

the
with

same

erived

chords

which the

themselves
and

before

the

ominant
and

seventh, third,

viz.,

chord
second.

of

the

sixth

fifth, of
the
the

the

sixthy

ourth
The

and
of

of

the

variousness occasions
no

the

third,
in

fifth and

seventh

of of

fundamental inversions.
into
a

mony harFor
minor

alteration

the

treatment

lthough
and

the the
same

major
manner

seventh

changes,

through augmented,

inversion, still explained

its

econd,

diminished
as

into
has

an

progression

will

nsue

in the

already
4 3

been

above.

6 5
"

2
"

-j
!:

::=:

-"

"

"g

"

-"

"

"G

,,

T"i

IV

There

is

need

of

no

new

rule

for the
seventh
a

progression
degree
on

of
in

all these

chords
minor

he

seventh.
as

Only,
was

that

of

the

major
account

and
of

equires,

before

remarked,

little caution

the

easily

ccurring

open

fifths.
more

Somewhat
Progression

concerning

their

treatment

may

follow

here.

of

the

Chord

of

the

Seventh

of
4 3

the

Seventh

Degree

in

Major.
6 5
f.
_

not:

6 4

All

these

inversions

of

the

chord

may

be

used,

only

the

last, the

chord

chord

of the

sixth

and

fourth

oonld

only

occur

in

rare

cases,

and

at

most

passing

chord.
not

We
the

must

allow

ourselves
in
as

to

be

misled

in respect

to

their

usefulness in

by

crowded It
to

position

which
was

these
mentioned

chords

are

exhibited
whether
the

No

133.

is only lie

important,
or

before,

seventh
positions

omes

above
of

below
sixth

the

fundamental fifth, and of

(see
the

page

69), and
and

of

the

chords
sort,

the

and

fourth

third

of

the

following

134.

appear The

more

satisfying,

because

the

seventh

lies

above
a

the

fundamental. of progression

chord
to

of

the diminished
e.

seventh

requires

manner

similar

the

foregoing

g.

35

That

here

likewise
for

the third
use,

inversion,

the

chord

of

the

second,

will be
into
a

hat

least
of

adapted
the

is shown fourth,
a

by

the

unsatisfying which always

resolution requires follows

the

hord

sixth

and

chord
what arise

careful

reatment,

concerning successions

which

chord,

is necessary

later. of the
:

That
the

of

fifths, which of

through
and third,

resolution

chords

sixth

and

fifth, and

the

fourth

in this

manner

136.

to

be

regarded
the

as

faulty, of

has

been

already of

mentioned

above,
also page

(page 76)
29,

oncerning

succession

this sort

fifths, compare

Nos.

6, 17, and
With
this the

18.
exceedingly seventh degree pliant
no

chord,
such ; the sound much

the

position

of

the
as

fundamental
with
or

as

espects

produces
in

material

difference,
can

the

chord the
the

the

seventh

major
of impart

seventh of
the

lie

abov$

below
to
ca ase

undamental,
third,

the

similarity

augmented
to

second and

inor

will always

mildness

the

chord

tlu

80

MANUAL

OF

HARMONY.

Exercises*
6 5 6 5

1.

6
g "g

6 5
2s:
-"-

1S7 """"

g^

r-g-

i
6 6 4 3
7

1^=t
4 3

2.

^^^T=F
8.

^S
2
s:

-"""-

jSl

6 6

6 6

6
-jsr.

6 5

Wl

igB3
4.

:^

^
6

l^^isr.

6
-flL

6 5

73

6 5

iS$:
5.

:?^
-g-

:1=i
-s^-^-"-

6 6

iit^Eg
6. 3

^=^
2
6 2 6 6 4 2 6

"g-

-""(2-

I
7

6 6

:$

12^^

^
6 5

^r=^:zs

:4--i::t

:5=?2:

=f=t

-"-

f
I
6

7.
-"-

jar

6 5

ii^

-s"-^

3
f

'^s^^^
.ZSL

F=f
6 5

8.

6 .7

m^

^^

s;
-^-""

:"=??:

^
B

^^"

f
6 7 7 7
6

?=t:
6

9.

f
1S=^
-"-

jt

6 6

$4

4$
"-

,1
-fs:

^^
10.

:^|"p
4

33; S:"z:3:
.a.

--

ja^

^6

^3^

jar

i^^^ff^fft

:^

"iB-i

SI

CHAPTER
Chords
varlotis tive

VIII.
in
than

he

of

the

Seventh
otiier

connection

with
thus

Chorda
used.

of
Decep^

the

tone-degrees

those

far

Cadences.

The

known

rule,

that

the

seventh

must,

in

the

resolution,
in the

progress

one

egree

dovmwards^

verifies itself, to

be

sure,

completely,

connections
as

chords

previously

shown,
other

but

it has

as

little positive and

in
the

authority

any

hing

else which, connections, the

movement

under is

conditions,
to

great

variousness

of

hord

subject
of the the
the

necessary
or

alterations.
of its

In

seventh

inversion,

the

second,

thing everyis

depends
sort,
as

upon

progression
cases

of

the

fundamental.
that without

If
the

this

of

uch

in
of

all

hitherto

shown, and

downward would

rogression

the also

seventh the
of

no

intelligible
rule will have

satisfying
can

result

be

roduced,
The

then

above

full application.

progression of

the

fundamental, it
can

however,
remain

entirely

set
or

aside
even

thi"

irection

the
e,

seventh;
g,

either

stationary

pro-

ress

upwards^

9f

i3S.

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

to

the

possibility

of

connecting
those with kind,
to

the
hitherto
remarks,

chords used.

of

the
few
to to

seventh

ith

chords of

of

tone-degrees,

other
now

than

known

inds

chord-connections
at
new

follow of the

in order

be

able,

n attempts

formations

proceed

according

critical

rinciples.

We

begin
been
in

with

the

dominant

chord
that

of
the is

the

seventh.
of
the chords of of the
the

It has

mentioned
manner

before,
hitherto

resolution called

eventh

the

used
closing

cadence,

and

that

ominant
If
any

chord

of

the

seventh than
the

cadence.

chord
the

other

tonic

triad
to
a

follows

the

dominant delayed
or

chord

of

he

seventh,
aside.

natural

inclination

close

is either

entirely

The

e:!Cpectation
and

of

the
reason

natural
these

succession connections
CADENCES.

experiences
of chords

hereby
are

disap-

H"intment,

for this

called

DECEPTIVE

Deceptive

cadences

arise thus
the

everywhere,

where

the

progression triad, but

of

the

ominant

chord

of

seventh

does

not

result

in the

tonio

leadf

Some
1.

varieties

of

them

will next

be

explained. chord

The
than

connection

of of
the

the

dominant

of

the

seventh

with

trictds

other

that

tonic,

with

progression

of

the

seventh

by

de

grees
a*

downwards,

Connection
In

with

the sixth

degree.
In
Minor.
^

Major.

"""""

li^^i^P^^^^^
C:
V"
V
VI

77
a:

V.

VI

This

chord-connection
effect

(deceptivecadence)
progression and is not is therefore
so more

occurs

very with
: /"

frequently.
the inversions

The

of the
Jn

this

decided
rare

the

chord

of

seventh,
Major.
"
-"

Minor,

4 36 3

24

6 4

6 56

^^
0:

V.y

VI

a:

Vir

VI

b"

Connection

with

the

third

degree.
better
position
:

""i^
0: V.

f:
m

-""

:t

g:^^^;5

"

;[E
here
in what

Remabk.

"

^The
are

attempts easily

with
made.

the

iDversions

of

the

chord

are

omitted

and

ollows

; they

This
:

progression

becomes

more

decided

under

the

application

of

lation modu-

7_

^6

143.

0:

Viy

a:V

The

connection

with
as

the

triad chord

of

the

third

degree augmented

is

also

possible
make

in

inor,

but

this

dissonant

(through the

fifth) will

farther

succession

necessary.
7

6
-

1^

.".

143.

-"5-

i;
VI

f-

3SSr

^1

a:

V.

IIF

With

the second

degree.
not:

impracUtxtbU

in

Minor,

144.

P
-^
C:

^=iEeJ^^I
Vi
a:

V^

no

||"

With
/"

the
Major

fourth
:

degree.
In
Minor
:

Jg-"

"'"pi
Ci

:^=s
-.^cTisr
1^

-f
a:

:^:^^Viy
IT

V.

IV

The the

connection

of
other them
:

the

dominant

chord

of

the

seventh used,

with is

harmonies

seventh
A
few
6^

of of

degrees follow

beside
here
:

those

before

likewise

pos*

ible.

Degree

8(2 Degree

or:

Minor:

Sd

Degree,

6 5

6 5
TT.

"""I
C:

-i"

1
-d
-"^
^

"M I"Dfl
z::^=5=:z:g=H:
AlViy III'Y
VI

-^Q

"

77

TT

Viy

viiy

Viy

Wliy

Vy

A:Viy

If

we

modulate
itself

into
e,

other g,

keys,

the

possibility

of

new

oonneotiivu

xtends
a"

greatly,
a

With

doumward

progression
better
:

of

the seventh.

not:

".

afc=

P^^^^g^^f
VlyD^Vr
C: Viy
BIYIlOry

C:

a:

Viy

F:

V"y

A:ViyO:TlI""

ll"

The

seventh

remaining

stationary.

14".

C:

V^EbtV^

C:VyB|7:V7

a;

Vi^

C:

Viy

ArV^OrViy

8.

The

connection

of

the chords

through

an

upward

progression

ofthi

cventh. This
case

can

occur

with

the

common

cadence

(V

"

I).

not:

^^^^^^^^^^^
7
6 7

49.

^
":

6
35:
^-"^

Ih^
Through
the
step

IB
progression

of

third,

of

the

Bass,

the

downward
octave

he seventh

becomes

impossible,

since

the

covered

occurring

thereby

I
150.

-"-

i
1

m
case

s in any

faulty. voices this progression

of

In

the

remaining

the

fundamental

cannot

]m

ntroduced.

-9-

SJ^^9-

I
^^It

151.

Si
All

.O-".

s:

5=g"

these The

Examples

are

faulty. remaining
not:
"^^="2.

b"

fundamental

stationary:

152.

E^^Hp^^H
The
fundamental
serves

here however would

as

so-called
lie at
a

stationary
distance

voice, the

(See later
Beventhy

rgan

point).

It must

firom

and

he following

progression

be

faulty

153.

""

Through

chromatic

alteration

and

with
6 5

modulation.

f
"

f
3
" "

4 3

154

"

"^ jg
G:

"^
^=Z1^
=3E":

0:

Ti"

Ti

6
6

*
-JK

"^
V"y
G:

P
0:

C:

V.

vnOiy

Yrj

F":

Viy

d*

Through

contrary

motion

of

the Bass

with

modulation

into

other

eys.

65.

p^l
C:

'i*'
d:

V"y

7r

0:

V^

Bjj: vnOiy

a:

V"y

d:

vii0.y

0:

V"y

F:

V.y
No.

(See

above.

149.)

The

foregoing

catalogue

of

chord-connections

gives
was

only
to

an

indication

possible

combinations. of

The

object

of

them

call

attention for

to
con*

he

manifoldness

harmonic

progression

and

its

capability

truction.

Concerning
only
with

the

worth
in

of

these
cases,

and

similar

chord-combinations,
right
use

criticism

decide
a

especial attention

since

their

becomes

possible
their

nly

proper

to

their
whole
a

introduction,

their

succession,

ythmical
The

weight
particular
of
can

; in short,

their of

situation.
of music, the
a

character

piece

peculiarly
or

formed

eading like,

the

voices
to to

through
such

the

application

of

motive
; to

thought,

and

he

lead

combinations
new

of harmony strange

apply in any
so

them,
case,

however,

pon

speculation,

produce

and

forms

in ordei that the

appear

original,

would

probably
apparent.

in

few

instances

succeed,

ntention

would

not

be

Eocercises.
6 6

-S"-|2-

56.

X
3t
4 3 6 4
6 6

-"-

2.

f^
-^-^

6 4

!^^

:x::q:

3.

-*

6 4

6 5

\%~w^-^"^-

ti

t=f
5 6 6 5 6 5 6 6 6
6

-^

iS
6.

^C

-9-P-

-JpL
""-

-"

It
6 5

"SL

openpotition,

6
-"--

7
^
10-

6 47

ia
67 6. 3

5::?i":

2s:

"F

f
6
-"-

4"
let

6 4

6 5

7 "

Pi^i

3=4

3t
-g'-'C^

--"
6 6 5

I^

iiaJ

7.

6 4

tl

jy

6 4

IF

g!Efe
8.
t"
"

^n=
22:
-s"~^

H:

1^
6
5

1^=?:
6 4

6 6
s-

iiB

1=3:
-"-(a-

i3:
-ti-e"-

3S:i."?:

i
to
a

Remabk.

"

The
84

"^en

position
on,

of the

5th

exercise

has

reference

leading

of the

Toices

dduced

page

; farther

it

can

be

abandoned

agaia

he

Secondary

Harrmynies

of

the

Seventh
or

Connected
Keys*

with

Chorda

of
A
few
here
more

other

Tone-Degrees

connections

of

chords

with of

secondary the

chords would

of

the

seventh

ay

follow.

To

adduce

all

cases

kind

be

as

impossible

it would
a*

be

without

object.
progression

With

regular

of

the

seventh.

"-

57.

,g^
C:

im
m

^^fef^^^l^i^i^p
"

-o

fe

"

iii^

n.y

ui^

BrViy

0:

Tlliy

IV

not:
"

letter:
"
.

a:

IlOpy

IIP

VI

IT.y

IViy

VI'rGiViy

A!

nf*fr

":

mOi

not:

""*"

i=i^P
C:
Tiff

^E^pi^p
C:
niy

G:

V.y

o:

viiO,y

C:

uiy

a:

V.

C:

niy

d:

tiiOi

Remark.

"

The

reason

why
the

the

last

example
of

is not
follows

good,
later.

lies

in

the

so

called

erost*

doHoti
C.

therein

found,

explanation

which

The
a.

seventh

remaining
5.

stationary.
d.

6 6

6 4

^ZEJ^S
C:
Uff

gg^^^g
-""-

^E

IV

Iliy

TI

III

III

The

last chord-succession
progression

is often

used.
to

It forms
the

delay

of

the

oaden-

ing

of

the

second
fourth
this of

degree
the

fifth, through

the
of

inserted the

hord

of
often

the

sixth

and

tonic

triad.

Its chord
as

sixth

lso

appears

between

chord

and

its resolution,

in

Example
:

c"

The

chord

of

the diminished
en

seventh
4

is often

used

in like

manner

Tb

o:

vuo^O:

Here
sixth

also and

the

natural

progression

is only

delayed

through

the

chord

he

fourth.

The

mechanical
practice

combination
and into

of

such

chord-successions
advantage

may it will

be

left to

ersonal

investigation.

The of

of

lie in the
to

nsight

gained
so

the

relations
as

chords,
at

and
appear

therefore
; this

is not

be

steemed

insignificant
in about

it
same

might

first
to

[practice] will
as

fact, stand
and

the

relation
to

composition,

the

technical

tudies

preparatory

exercises, works.

the

practical
aptness

bringing
and

out

and

representati

of

musical render

Both

produce

skill, educate

the

owers, It
may

and

intellectual

productions in

possible.
that
must

here
to the

only

be

remarked
and

addition,

the

relation

of

the

eventh
the

fundamental
of

its progression

always and then

be
the

regarded
remaining

criterion form
can

the
none

above
of
the

combination.

If
mentioned
cases.

this is pure

voices

before

faults,

the

chord-

ombination

be

used

for particular
Exercises*
6 7 5

6 6

6
-9-

6 4

161.

"1^

2.
-^

6 5

6 6

53
1
"

'9-

r-

-fS=:~"

-""f9-

SL

8.

7
^

4 3
r-"

7 5

7 5

6 4

6
5

^g$^^
4. 5

^5^="-

is:
-"-

t=t
.t"ii

i
:SL
6 4
T-"-

6 5

6 4

6
-"-

"

=d=a:
-9-

:?z:
-g+"

-"

T:E^
7

-""

5.

6 5

6 4

4S

"
6. 3

1=?
-

-""

ij-

i^
f
-""

:s:

3i
6 4
H-

51

6
-""-

41

fc^
"t 2in:

:5^::a

^1^
AT

T5"

."-

ft

"y.

6,

2itit2

675427

87 "

il^Zi
8.

^E
6 5

^.-.-.i^siz:^. :i=P

^^
4 3 6 5

Vt
:""

^"p$E^^Eg
Rehark.
"

IS-.

t=:a

i
until
above

^liiaDy of
are

the

cases

above

adduced
which

could
is not of

not

be

taken

up

in these

exercises,

ecause

they

based
makes have

upon
a

modulation,

particularly

explained
Many
of
the

later

The sixth exercise

would
also

little

application
smoother

modulation.)

amp Ex-

become

and

less stiff and

strange,

by

the

applicatioD

modulation.

CHAPTER
On Chords
the Ninth,
Eleventh

IX.
Thirteenth*

of
are

and

In most

text-books

found

extended

discussions

respecting

these

chords

ormations. The
views

which

can

be

plausibly

maintained

respecting

them

are

vajA

Either^
real

that
;

this

combination

of

intervals

is to

be

regarded

and

treated

chords
that
or

Or
J

they, arise

as

unessential

chord-formations
on

either

belong

to

the

sris

ensions,

accidentally the

account

of

voice
use,

remaining

stationary. through

In

the

first

case,

explanation

of
;

their also

especially

their

nversions,

becomes
one

very
or

extended
more

and

obscure,
intervals chords. much
more

(since in
must

the

four-

oiced

movement

of

their

tones

or

be

omitted

ecause
In
the

they

are

then
case

easily

mistaken

for other

second

their

explanation

becomes

simple.
are

RBMARK.^The
the

chords
so-called
of
tones,

of

the

ninth,

as

well

as

those
was

afterwards
fond
an

named,
conceiving
chord under
more

reli every

old

thorough-bass
however

doctrine,

which be,

of

of

ombination

accidental
the

it might
chance

as

especial

and
a

taught

ts treatment,
and

without

arranging made
the

many

chord-phenomena of harmony
much

definite

ystem,

thereby

whole

doctrine

difficult and

iffuse.

Without
kind

being

able

here

to

enter

into

the

theoretic
the

reasons

which

class

his

of formations system

with

the

accidental

ones,

possible

simplificatio
determines

of

the
once

harmonic
to

without

real practical
respecting the formation

disadvantages,
this in Part of these

us

the
to

last view.
gain
a

(More
view,

II.)
unessential chord

In

order

clear

ill

be
we

shown, add
a

and ninth

remarks
to

added.

If

the

dominant
of the

chord

of the

seventh,

chord

arises and

hich

is known

under

the

name

dominant

chord

of

the seventh

inth.
In

Major

In

Minor

162.

i^i^li
major,
pure

In

major
chord

we

find the
is used

in minor
harmonic

the

minor
structure,

ninth.
as

This

in the
of ;

in similar of where
the

relations
ninth

the

dominant
the

chord

the and

seventh
cases

itself, with
of the

preparation
sort,

or

of

fundamental
free

following

both

tones

nter

1^1^^
163.
""*" ^

^^^m
to be

re

censured

on

account

of

their

stiffness and

want

of

conneotioiii

better:

64.

How

far the
and

first

examples
last
to

are

to

be

reckoned

as

belonging

to

the

sus-

ensions,

the

other

accidental

chord-formations,

cannot

be

xplained
Remark. the
"

until
From

later, in Part
the

II.
the

chord
we

of

ninth

in

major
of in

they

derive

the

chord
the
to

of
be

the

seventh

seventh

degree^

wliich the

bave

treated
of
the

fully

before minor,
to

; likewise

ch.ord
able

of
to

the

iminished

seventh

from

chord in
a

ninth

in

order
of the

form

heir

cadencing
since
the

progression
it is said, ninth
that

manner

analogous
are

that

other

chords

of the

eventh,

these

chords
the

themselves

dominant

chords
e.

of
g.

the

seventh^

which

is added,

and

fundamental

of

which

is omitted,

65.
7
^7
o:

Viy

Viy

Through

this

arises, of the

with
seventh

the

first, the
degree
in

complication

that the

we

must

accept

of

two

chorda

f the

seventh
:

major

one,

natural

cadence

of which

is the

ollowing

166.

p
chord
of
the of

i
the seventh,
tone

he

other

as

derived
refer
to

from
the

the dominant
character

while
which

it remains the

the

ples sim-

way^

to

leading

upon

above

chords

est

That

many
and

musical

text-books
the

accept

also

of

secondary harmonic

chords

of
of

the

eventh
more

ninth,
complicated,
to

renders and

explanation
as

of

many

formations
none

till

is

just
without

little

necessary,

since

these whole

ones

are

be

introduced
they
to
to

preparation,
no

whereby,
from
as

in

their

reatment

and which,

succession, according applies

to

differ in

respect
as

the

suspensions.
to
a

That

the
the

practice,

well

according
will
of

more

simplified

theory,
measure

chords

of

the and

ninth,
those is the

apply
the

in

stil

greater

the

chords

of the
form
of

eleventh
these

thirteenth*
:

The

strange

and

frightful

chords
13 11 9

following

V
7

16T.

Ji

In

\h{\ pure
through
as

four-voiced
the
necessary
e.

movement^

they
of

can,

of

course,

never

be
will

applied,
appear

ince,

omission

many

intervals,

they

imply

suspensions,

g..

i^^^^^^
16S.

I
even

s
will not
; in

nd

in the

polyphonic
character,

movement

they

distinguish
the
can

themselves
free

all, in

their also

from

the

suspensions

more

style,

here

they

appear

without

preparation,

they

be

regarded

as

hanging

notes.

CHAPTEK
Alteration
the Fundamental

X.
Marmoniea*

hromatic

of

Altered

Chords.

The

chromatic
has
a

alteration

of
:

one

or

several

intervals

of the

fundamental

armonies
Either

double
a

effect

it produces
to

modulation,
a
new

Or,

it gives

the chord
the
:

formation
is altered

not

hitherto
manner,

used

by

tw.

If, for example,

a.

major

triad

in this

there

arise

Modulations

.69.

i^^NM^^^s^pSg^^
the Cj|,
or

Through
minor,

diminished
degree minor
"

triad
in

of minor

the
;

seventh

degree

in

major

or

the

second

Through
Through
and last

El?, the

triad

;
triad of

El? and
minor,
two
or

61?, the diminished

the second
are

of

the

seventh

degree

of

DJ

ajor
The

degree
mere

Bj? minor.
of
the
same

alterations

transpositions

chord

into

ther

keys,
New

viz.,

Cl? major

and

Cj|major.

b"

Formations:

lYO

."E

:Sr

^a

i=^{^gi

92

MANUAL

OF

HARMONY.

lly

through

hy

-tones

(passing tones) ;
the formations

they

have,

however,

n:

harmonie

value.

It is otherwise

with

at

and

e^

which

maintain

harmoni

(accordliche) significance.
The
first form

of

the

triad

(c) is

known

under

the

name

of

THE

AUGMENTED

TRIAD.

This

chord

was

found
seldom,
more

before
however,
often
as

upon

the

third

degree
as

in minor
has

(see page
previously

43)

; it appears

in triad

this
of

situation, the
j

been
and

entioned,

but with

first fourth

fifth degrees

major,

chromatically
the

raised
tone

fifth.

Its origin

from
as

passing

(G^) to
which

the

next

following

(A)

is easy
this

xplanation,

also

its progression, interval.

is determined

through

tone

as (Gj()

augmented

"""

p^^S
f
1

'h^^ s~^
can

i
used.
6 t 6

*a

The

inversions
6

of

this chord
6 4

also be

l^^^^^^l
^

C:

IV

IV

viio

Although

these
of

chords

appeared

for

the most they

can

part also

in passing,
enter

or

through
case

reparation change

the
the

augmented

fourth,
:

free

in

of

apid

of

harmony

"" (I
1^3.

lj
t
6

"

f-

f
3t]

P
To
the
occurs

"EEt=E
can

1
not

augmented
most

triad

be but

added also

only

the

dominant

seventh^
the first

hich

frequently,

the

major
with

seventh

of

and

ourth
SI.

degrees.

The

augmented
6

triad
6
"

in
6 6

connection

the
4

dominant
fS
4

seventh
9S
4

b%

4 36362626

174.

b.

In

connection
___^_

with

the seventh
',

of the first degree

ftp
^"^

jlrp

"^

Y5.

^
C: I-r

fe*

I
to

*^

-C

IV

C.

egree

j?%" addition is very rare

7

of
:

the

seventh
6 6

the augmented

triad

of the fourth

jy
4 3
"

6"
"

"
"

4 2

aiiz^nx
^
"

g
"

r
"

g
"

"

-^

"

i"

o~:zg

g"

s
-C

:sr:

176.

k^
"^
C:

I
IV/r
viio

;;"

S
cadencing
Bass
may

In

all

these

chord-connections

thus
used also

far,

the

sion, progresshow,

(e.^., V-I
these
a

I-IV)
treated

has
of

been
can

: some

examples, with

however, of

hat

chords

be

used

chords

other

degrees^

tnd

various

progression
or:

of

the

Bass.

6 6 698

6 4

6 3

6^
t' "
:

6$6

6"6

If
ggi-gggg:
I

.1

fi^^e
IP
?"o:
viiOi

77.

rJrzJ:
O:

I :*=ita
Ypf
a:V

s-1
0:

V.

ni

V.v

d:vuo

C:

V^

6 5

6 6

i I^-zijjgi^g: 12
^
.-CL

-"-

^S^^i
i

jOl.

2s:

^^E
harmonic which

C:V^e:V^

C:

I^^'DiV

C:

hi

Ij^'GrV^

These

occasionally
significance

strange
only

and

rough

sounding
situation

combinations
they
to

cquire

through
degree
a an

the
inner

occupy,

and

specially,

if in

certain

necessity

leads
to

them.

If

it is the harmonic

province

of

text-book
it is also

to

call attention
to
warn

the

possibility

ach

formations,

its duty

the

beginner

against

io

occupy
in

himself
the

with

such

things
the

and

speculations,

until

he

is

fttU
pure

versed

treatment

of
A
too

simplest

harmonies

of

the
and

simple

harmonic
out

structure,

early

occupation

therewith,

intentional
impossible features

seeking

of especial

effects

will

render the
from

difficult, and simple, the

probably

the

clear

view,

and
turn

the

insight
the

into
sense

fundamental

harmony,

and

away

chief

thing

to

secondary

matters.

Exercises*
6
"

1*

6it

61

17".

m
2.

3=^

:"=?^

3
-G-.

6t

6 5
""-

6 6

6t

61

*7

^m
8.

X
6 6

ti
B%
4 2 6 7
6 6 6 4

-"9-

H
6

X
TSl"^

7
^

i3
4.

t=^
isz:^
1-jGIZ
"

'JSOZ.

-tir.
-"

"^-

"^^
7 6

="
6

6
"

NB.

6S

6
-^

6"

6 6

grl ?ie?

i
js:

^=f
-^

:sL

i
even

Remabk.

"

^In the
of
the

fourth

exercise
degree

the

augmented
which

fifth has
in
this

been

used,
does

with

the
uih

inor

triad

second

(at NB),
to

connection

not

sound 110.

atural
seen

This
from

would

correspond
with
a

the

formation of
the

before

in

Example
new

No.

this, that

natural

leading

voices,

many

chord-formations

an

be

gained.

From

the

formation

of example

70:^
.

(which

also

occurs

under

the

name,

double

diminished

triad), arises
CHORD

harmony

which

is much

sed,

viz

THE

AUGMENTED

OF

THE

SIXTR
:

The

first inversion

of

the

above

chord

gives

it

""-|^^i^^si
According
the
to

its

progression, belongs
raising

which
here

is determined
to

by
the

the
fourth

augmented
degree

ixth,

original
minor,

chord
a

minor,

of

hich,

with

of the

fundamental,

goes

to

the

fifth degree.

xample
of

No.

179,
a

the
few

last

chord

shows
formed

itself
like the

as

dominant. augmented
and

The
chord
and

roof

this lies in
the

harmonies

he

sixth,

augmented

chord sixth

of
and

the

sixths

fourth

third,
of

the

ugmented

chord

of

the
on.

fifth, the

explanation

the

basis

hich
Remakk.

follows
^The

farther

"

relation,

in which
to

the

augmented referred
to

chord
the
same

of

the

fiizth stands
See
later.

to

the

jus

oticed

chords,

allows

its origin

be

source.

The

augmented

chord
of the

of

the sixth

has
can

the

peculiarity,

that the

its

third

nly

(the fifth
:

original

chord)

be

doubled

in

four-voiced

oYcment

jsr.

180.

pI^^^^^pF=i^
the
remaining positions

of

the

original

chord

(the

so-called be
used

double
three-

iminished

oiced,

but
in

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

four-voiced,

only

owever,

very

open

position.
not:

better:

Remark.

"

The

chromatic of

alteration
Nos.
169

of

an

mterval

of
thus

the

minor
no

triad
farther

is already

coo-

ained
BO

in the
the

formations

and
an

170,

and
of

needs

investigation.
will
either the

ust

chromatic
or

alteration

of

interval
which

the
are

diminished

triad
above

produce place

major,
to.

minor

triads,

or

formations

already

found

in

eferred
Thus

the

formation

of the

triad

in No.

1*70, d

will

be

like

the

following,

which

ound

in 0

major

hett"r

in

open

posUian:

C:

^
vno

This

chord

bears,

in

many

text-books,

the

name

harsh

diminished

triad,

(hart ver*

inderter
The

Dreiklang).
if they

like chords, their

be

so

.may proceeds
degree

called, appear
in accordance
diminished

generally
with their

only

accidentally,
that

in pass-

ffy and

progression
one

intervals,

is, augmented

ntervals

progress

upvoards^

intervals

downwards.

een, in part, already

seventh
was

mentioned,

where

to

the

chromatically
with

altered
the

triad

he

also

added

(page 92).

This

occurred

augmented

riad. Among the of remaining

one

secondary
an

chords

of the
which,

seventh^
This

the
is

chrtMiatio

lteration

receives

especial
in

importance. minor
j

ihe

Jhord

of

the seventh

of

the second

degree much

in the following

/on"i

roduces
The

chord-formations chromatic raising

used.

of

its third

I"8.

p
a:

s
iPiy :

ives

the following

inversions

6 6

f
3

f
?^

1"4.

fc"

1"^

IP

Of

these
are

inversions, unusual.
resulting

the

second

is the

most

important

and

is much

used,

he

rest

The of
THE

chord

from

the

second

inversion

is

known

xmder

the

ame

AUGMENTED

CHORD

OF

THE

SIXTH,

FOURTH

AND

THIRD.

Its progression
chord of the
so

is based
seventh also

upon

that

of

the

fundamental

chord,
most

that

is,

as

the

of the
this.

second

degree

leads

immediately

the

dominant^

will

1"5

'^

.a:

'k-

"P
a;
ii".

mm^
the
of

If

the

fundamental found,

of

this

chord

is omitted,

augmented
to

chord
the

of

the

sixth,

already

arises,

the

progression

which

dominant

hereby

explained,

(seepage

94) ;
With
the

omission IhnndamentcU

of
:

186.

J^
a:

i^
nPi
nOi

r,

for comparisor
FundOTnental

with
chord

No.

179,

in G

minor
Aug.

:
chord
and

Chro,
:

of

the

raising Viird

of ihe
third

sixlh,
:

Aug.
the

chord
siasth
:

"ii

fourth

187.

I
:g

te-

*?
^5"

""

0^-

i
-~ff^-

BaicARK."
the sixth,

It

may
and

be

mentioned
third
can

here,
be abeadj

that

the

formation
through
to which

of
the
a

the

augmented
diminished
is

chord

fourth

reached

harsh
seyenth
was

triaa

(hari

verminderter

Dreiklang) mentioned
must

page
different the

96,
one,

added;
to

that

he

reeoluiion,
seventh

however,

become

since

that

considered

be

on

he

degree^

while

this is found

upon

second.

Instead
ean

of

the

fundamental whereby
CHORD

of the

this

chord,

the

ninth

of

tiie fondamental

hord

be

added,

AUGMENTED

OF

THE

SIXTH

AND

FIFTH

rises.

Its origin

is

as

follows

:
vfUhcttt

Fund"Mnental
etevation third:

:
a,

Inversions

Fundamental
chord:

v"Uh

ninth.

with

jf
5

b"

^
3

e.

2J

o/the

"*'|
"

I
iiOi

i;
one

^faEJig^^
from the first inyersion
a,

Of

these

chords,

the the

resulting
and

the the

aiig-

ented
rare.

chord

of

sixth

fifth,
to

is best

adapted

for

use,

others

Its natural

progression
:

is likewise

the

dominant,

but

always

produces

araUd

ffths

1"0.

These

progressing
either

fifths, which
through
an

do not
earlier

belong
resolution
in the

to

the
of

most

unpleasant fifth

ones,

avoided

the

(the original, (a)^ or

chord remaining the chord

boYC-mentioned
a

ninth
of the

as
same or

suspension), as
into
most

following
the third

Example

hrough
sixth

skip results

the

third,

whereby by
tone

augmented and
fifth

of

he

(b),
the
fourth

frequently,
the Bass

the

tationary
the

while

sixth

and

progress,

whereby

sixth

and

is inserted
a

before
of

the

resolution

(c)^ which

chord

be

here

regarded

as

prolongation

the

suspension.

90.

Behabk. of

"

^The

addition the

of the
ninth
has

ninth
here,

does
as

not

justifyexplaining
the
same

this

harmony
as

as

ord

the

ninth;

everywhere,

character

suspen-

answers

completely
a

to

the

treatment

of the

suspe^ions,

as

it alsc

(asfifth

in the

ahoT"

hord) requires
It would
connection
the

preparation.
from
the of the

follow

this, that

this

harmony
it
was

should
however

be

taken

into
to

oonsideration
it here,

firs

with

suspensions, origin
to
was

necessary and
it
was

mention
not

be

use

question

under
a

discusuon,

the

intention,

by

he

above

expressed

view,

oppose

generally

received

appellation.

ExerciseSm
I. 3^

6 5
-"-

7
6

6
5

6)9^

it

191.^
f
2.

-"-

s
ISt

?c=i: t=2i

'jq:

7 6

6 4

6 4

sp
'O

i
f
8. 2 7 3
6

:a.

f
t

I
^.

J
-"-

^m

"*r;)":

-"-

f
"*. 3

3-

6 5

i!^^'
At the
opened close

--"-

li:

this chapter ":"f in it for harmonic

and adapted

we

survey

once

more

the

broad

field whieh
which

formations. for
use.

We
Much
showed

have

found
to

much
us

enerally
use

known

appeared

unadapted tion, condiin

or

and

worthless.

Nothing
received
an

however

itself in its original

an

everything
sense, once

had

addition,
forsaking
was

experienced
of the original
on

alteration,

ertain

adornment.
more

This
that

gives

us

occasion

refer

to

which elapsed,

remarked these they

use,

page

93.

long

time

indeed and
now
a

before
before
for germ

harmonic

transformations
common

re

discovered, which in the order

still longer,

became
with
not

property

uch,

until
that

is unadapted healthy
the whole forms, inner

may may

time

be
we

developed,
cannot

ut,

the of

be

lost,

vis adto

direction
of
the
new

effort, out
op

of

desire

for originality,
use

the

iscovery
from

harmonic

the

immoderate

of them

and

tion devia-

primitive. transfprmations
more

Smce

all these

serve

more

for
the

adornment,
simple
if

and

it

migbfc

e said, for the

may
venture

elegant
use

carrying

out

of

fundamental
we

idea,
wish without

to

them
art,

only and

with

discrimination ourselves

do

not
as

to

verload

the

work

of

thereby

be

reckoned

At

the

close
use,

of

the

exhibition
still follow

of
a

all essential
view

harmooies
them,

and

their

most

mmediate

may

brief

of

their

varieties

a^d

erivatives.

View

of

aU

Chords

belonging

to

Major

or

Minor

Key.

FUNDAMENTAL
77^ TriadU

HARMONIES.
"" Ths

a.

chord

tffh^ MftmUlL

^^=
A"
McyoTj

i
the
Triad:
Augmented,

The

varieties

of

Minor,

Diminiihed,

Major
Oftht

Triads.
Of the Minor
8eaU
:

Major

Boole

I
IV
V
A!

71

Minor
Cfthe Major
Scale
:

Triads.
Of
the

Minor

SeaU:

"E:^^M
0:
II

$
a:
I

Yi

IT

Diminished
Cf
the

Triads.
0/the
Minor

Major

Scale

SeeOef

^^^
0:
vno

w
a:

tfi

vn"

Augmented

Triad

of

the

Minor

Scale.

a:

Wf

B/"

The

remaining

augmented

triads

see

under

IL

Altered

Ckefdt,

Inversions
o*

(Versetzungen) of
6.

the

Triads
the

"

7%e

chord

0/ the eiwth.
6

The

chorda/

siathiindJourtA,
6 4

The
"

Varieties

of the Chord
seventh
chords
or

of

the

Seventh.

The

dominant

chord

of

the

primary

chord

of

the

seventh

b.
Domiruint
chord

Secondary

of

the seventh.
with

"

of

the seventh
alike in

(major triad
Major
and Minor:

minor

serenlliV

Formed

m
0: V.

yb
o!

1^1
Viy
a:

(ffi"
Vi

b*
1. Major
triad

Secondary

chords
seventh

of

the seventh

with
In

major
Mafor,

In

Minor,

i
IV-

P
:

VIj

2. Minor

triad

with
In

minor

seventh
lnMUfm\

Major,

^
0:

I
n"y Uliy

m
Til

a:

it"

8. Diminished

triad
In

with

minor

seventh
In Minor
:

Major:

i
0:
vn"i

i
a:
n^i

4.

Diminished

triad

with

diminished

seventh

(chord of

the

diminialied

erenth)
In
Minor:

m
a:

ru9$f

6. Augmented

iriad

with

major
In

seventh
Minor:

"

""
"" -"

MANUAL

OF

UARMONT.

Ml

Inversions
Om

(Yersetzungen) of
chord

the
of
ihs

Chords
c
:

of
The

the Seventh.
chord

Th6 ihs

9iath

of andJUlh
6 5

h,
:

T%"

chord

qf
:

Hasth^

fourth

and

third

ths

second

I
3

^^
n. ALTERED

"m

aS:

'JBL

(oh"ohatigallt
triads

changed)
from

OHORDS.

The

augmented
InMa^or:

formed

the

major triad

m
C:

IV

!""
1. From
the

The
minor

augmented triad with

chord

of

the sixths fundamental

formed

raised

double (so-oalled

iminished

triad):

i
2.

:^u^_^
seventh

From

the

chord

of

the

of

the

second

degree

in minor.

(Se

he following
C"

chords) :
The
augmented

chord chord
of

of

the

sixthj
and

fourth

and

third;
formed from

d.

The
of

augmented

of
the

the sixth

fifth,
"

^both
:

he

chord

the

seventh

second

degree

in minor

With RaiHng
the third:

of

Second

Without
:

Inversion

aug,

Fundamental, the HfBth citord

the
:

the ninth Fundamental toithqtU the

from
latter.

of

and

^pi
or

"^m
f
i

nfi*

102

MANUAL

OF

HARMONT.

CHAPTER
Modulation

XI.

On

of
has and
part

Passage

of Music
signification. the

(einet Tomaitm).
Formerly
succession
of
was

The

term

modulation the
a

various

stood under-

thereby
is arranged
to
one

way

manner

in which the later

name,

harmonies the
sion digres-

vocal
into

In

sense

is understood

from
is sometimes of

key found,

another.

The

digressive

modulation^
the
original

which

would

be

no

pleonasm

according'

to

fication signi-

the

word.
to

According rightly
to

the

import

of the

term,

it will next
occurring

be important,
modulation

to

learn

recognize

and

determine
on,

each

(digression
for modulation

into

foreign

key) ;

farther

in Chapter the

XYI.,
of

the

means

will be
more

discussed,

whereby

capability

recognizing

the

latter is

fully supplied.

A
'pears.

modulation

arises,

if

harmony

foreign

to the

previous

key

ap-^

The
reckoned

previous
to

key
new

is then
key,
so

wholly

forsaken,
no

and

the

harmonies
foreign

must

be

the
a

long

as

harmony,

again

to it, appears,

which

effects

now

modulation.

Thus

in the

following

Example

E^ "
-^

-"-fi^

^^
m
7b

4o
'

J=i
o

192.
6
6

1=

7"-gOx

"
d:

"^
0:
or

^e.

?^

G.

is

modulation
no
measure

to

D
to

minor

in

the

third

measure,

because D
minor,

C|-E-G^Bl2,
whereas is foreign in the
to

belongs
fourth previous

longer

major,
to

but

undeniably
the
to

to

it is doubtful
is (D minor), the

whether

C triad, which
C

the

key
while

be reckoned
to

major, or
fifth

to

the

lowing major folis unmistakable.

modulation

minor

in the

measure

The
seventh,
the

dominant
are,
as

chord
the

of
are

the seventh,
means

as

also the

chord
to
can

of
be

the diminished
mistaken
to

chief

of modulation, that

never

; all

remaining

chords

ambiguous,

is, they

belong

several

Thns

the

major
to

triad

belongs
and sixth

not

exclusively
to

to

major,

bat

is

aisc

ub-dominant
This
the

major
often

degree

minor.
to

ambiguity
succeeding

allows
as

the in

modulation
the

be

recognized
itself with

firs
can

"om

chords,
the

fact,

decided

modulation

e formed

first through

dominant

harmony

of
in

the

seventh

it

erivatives.

The

musical
:

ear

itself proceeds apprehends related

to

very the

simply
foreign

the

apprehension
as

of

odulation
key,

it

always is nearest in

hanrs\"r
one.

belonging

to

hat

which

the

ruling

Thus,

for example,

-"-

193.

he

major
; in

triad

of

in

itself considered,
with

would

belong

to

^be key

of

ajor

connection,
as

however,
to

C
and

major,
the
one.

it will be

most

ircv"5diately
first
can

ecognized

dominant key here

major,
the

following

chords

ter de-

which
There follow

becomes
some

ruling

more

exercises

for practice

in searching
see

out

IV

odulations

; for the

farther

discussion

of

this

subject

Chapter

XY/

Exercises,

f
3

6Q
z

6 6

7b

6
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6 6
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104

MANUAL

OF

EARMONT.

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same manner

#
can

moiSuI"tion aec"iding
fth

be
to

indicated which
the

in

the

as

in

the

firs

xercises,

letters

indicate

the

key,

and

the

oman

nombeM^

^^v)

know,

the

degrees

apon

which

the

chords

in qmes*

iioQ rest

PART

II.

ACdDEKTAL

CHORD-FORMATIONS."
HARMONY.

TONES

FOREIGN

TO

TIIB

CHAPTER
Suspensions.

XII.

The

simvltaneous
if,
as

progression
our

of

all voices examples, produces

a

to

the

following
place

chord,
through

particu
no

in

previous
movement,

it

takes

etrical

variety

of of

the

certain

Measured

character

nd

monotony

the

musical

sentences..

new

chaining

together
of

and

binding

of

the

chords,
arises,

and if the of

thereby
voices

more

nteresting

change
progress

harmonic

connections
; if
one

do
linger the

not

verywhere
places,

simultaneously
others

or

several

them of

in

heir

while

already

form

the

component

parts

next

armony. The
to most

important

manner

of

thus

linking

harmonies

together,

and

the

be

preferred

is the
SUSPENSION.

This

arises
at
a

through

the
or

delaying
even one

of

progression and

of
in such

voice,
a

which

is expec
that

definite has
the
to

time,

necessary,

manner,

the

oice,

which

progress

degree lingers
to

downwards^

in order
the
tone

to

occupy

it

osition

in
while

foUowiog others

chord,
progress

still upon
and

of

the
not

firs

hord,

the

the

second^

this voice

does

past

er

into

tlie harmony

until connection

later.

In

the

following

of

harmony

i
195.

":

:g:

an

the

Soprano
pass
oyer

can

linger
to

upon

tlie C
in the

daring

the entrance
manner

of the
:

second

chord,

and

later

the

following

pi^"
196.

s'zzrirjiza ""

Si^
Just

^
be formed
from

so

suspension
the

can

Example

No.

196,

through

th"

delaying

of

Tenor

i
197.

^
":

:f

rT
"a-

W;^s^
That
which
against
as

^
is, that they that

is characteristic
the
for
two

of the
with

suspensions
they

form
they
the

dis*

onance

harmony

which

appear,

and

thereby

ct

means

harmonic
more
a

connection, intimate
with

since

they
the

render

necessary

elations

of

chords have

through

resolution in
as

expected.

In
which|

this respect connecting

they

similarity
they

the sevenths^
preparation

common as

with

intervals,

require of
the

well
sure,

resolution.

The

dissonant in the
cases

character

suspension

is, to

be

not

always

contain

interval
can occur, voices,

of it which
where

disagrees

harmonically disagrees

with
as

any

particular with
no

voice;
of

the
where

suspension

interval

ne

the

other

but

the

character

of the

suspension
;
as

appears

only

through

situation, 197,
only
where

position the
tone

[in
of

the

chord] and
forms
as as

progression
a

in Exampl

No.
where triad

suspension well the

chord
entire

of

the

sixth,

nd

the

unusual
degree, of
the

appearance,

the

situation

O4

he

of the

the

third

combined
suspension.
the rules

with

progression

of

the

Tenor,

roduces The

character examples

above
:

give

necessary

in

the

formation

of

the

uspensions

suspension degrees
f

can

he

formed

with

descending
it must

progression

of

c*

voice

by

under

the

following
1. Be
2.

conditions;

prepared^

and

Resolve

itself
things
to

There

will, therefore,
:

be

three the

observe

in connection

with

tha

uspension

its preparation^

suspension

itselfand

its position,

and

MANUAL

OF

HARMOSr

107

a*

The

PreparoMon,
of
a
a

The

preparation
part
more

suspension

ean

take

place
are

throngh used
for

either

compo*

ent

of

triad.

The
often

sevenths the

also

preparatioii|

lthough

rarely

; most

dominant

seventh.

Prepa/raiion

through

the

octave

of the

Fandamental:

Through

the

third:

ti
*
5 4

^
-

"J"
-JSZ

tr
"-""

"

m
6

^r:^

p
6

0".
3 6

i!
^A:vnOi

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C:
I

:g

i^;
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C:

TI

Through

the

./l^:

I
^1

u
Ljfs:
9

J
-G. -O"-

-O."-

^
a:

3:

^1
3"
-Q-

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'M

J:
O"
.

-"-

I
0:

.01

0:

O:

Tl

IV

x:tuOi

Through

the

dominant

etvetUh

I
^.

i
6 6
0: Y^

A
m
-

4
3?s:

5 4

6 6

. 6

i
tO-

^m
a:V
IV

Yfv

The

preparation
at

takes

place

upon

the
rule

arsis^
mentioned

the

stesp^nsicm

itsel

nters

the

thesis.
the

Besides
preparation

this, the
may

before
equal

(page 71)
or

ap-

lieS)

viz., that

be

of

duration

with

longer

han

the

suspension,

but

not

shorter.

b*
The

The

Suspension,

entrance

of

the

suspension

at

the

thesis
more

has

just been

mentlouc^!
explalnc^^

ts position The
"

in other

respects
can

should
in

be
any
rare

still

particularly

suspension

appear

voice^
cases.

before

an

interval

of ih

riads

before the

seventh^

only

in

Bu"p"ntion%

before

the

Octave

of the

Fandamental:

*
-^

I^
6
4 3

":
4 2
-

99.
6 6

7 9 8 6

at
0:

I
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"7

^
"7

'"^"9-

Belbrethefik^d;

"

""

32

C-

IV

Before

the

j{^

rarely,
'

only

In certain

poeitiona:

Concerning
which
was

tbe

suspensions

in

case

of the
with

fifth, reference
Example

may

be

made
Thus

to

hat

remarked examples
is not
as

in connection will be
to

No.
of

197.
the

the

irst and the

to

third

entirely called
a

in the

character
at

suspension,
a

hile

fourth
the

be
the

suspension example,

all.

If

seventh

dded

chord,

in

second

the

dissonant

character

he

suspension

immediately seventh
can

shows

itself.

That

the

but

seldom

have

suspension, be
formed
an

appears in most

from
cases

the

act, that
perfect

it

[the suspension]would
octave,

necessarily
for itself

by

he

which
come

in and into
a

is only

interval
except

of
as

tion, reduplica-

and

can

never

dissonant
octave

position

(a)^

in the

foL

owing

Example

6,

where

the

is diminished.

".

^
7b

i^^j^il
8JJ

900. 7b

In
C.

the

first

case

the

seventh

will always

be

passing

one.

The

Resolution.
of
a

The

resolution voice,
"

the

suspension

ensues,

as

was

remarked

lefore,

in

tht

ame

hy
^Ways

step
of

downwards.
which

Remark.

resolution

deviate

from

this will

be

shown

later.

Here
The

it is further
tone

to

be

observed

that
which is delayed

of
in
no

resolution

(thetone
only
to the
b.

by

suspension)
voice
can

can

he

ontained

other

voice;

the

Bass

or

the lowest

receive

t unthout
a,

disadvantage

harmony,
better:
e,

not:

not:

d,

NB.

1-

01.

In

Example

the

Tenor

steps
c

from
the

to

C, which
receives
are

last, in the
the

Soprano^
in the

s suspended
has

by
the

D;

in Example A.

Tenor

G-, which,

lto,

suspension the

Both and place

if the

reduplications

faulty,

especially

be*

use

they the effect

concern

third
takes

fifth
with

of

the

chord.

In

Example

c? at
this
case

B.,

reduplication
is better,

the

fundamental.
of the leading

In

he

especially

consistency
:

of the voices

ecessitates

it

as

in the
Fundamental:

following

movement

Third:

202.

Remark.

"

It

may
the

still be distance

remarked
of
at

here,
an

that

the and

doubling
that
the

of

the

fundamenlal
in
tmison

^ays

assumes
e,

least

octave^

doubling

is

ulty,

g.^

suspension
the

can

indeed

appear
to

in such
the

proximity,

only

between

Bass

and

Tencr,

or

th

voice

which

lies next

lowest.

The

lowest

voice,

commonly

the

Bass,

has,

however,

as

the

one

which

of

the

suspeDsion upon
a

reduplications
of the

are

therefore
e.

admissible,

if

they
,

art

based

good

leading

voices,

g,
fautty:

03.

The

faulty
clear,

progression

of

the

Soprano
as

and delay
the

Bass
of
open

in the
the

last example
of
:

com be-

if the

suspension
through

mere means

progression appear

the

oice,

is taken

away,

which

octaves

|i
204.

1 i

Si
The

relation
the

is the

same

with

the

fifth-successions,

which

are

covered

hrough

suspension

A
jOl

U-r

205.

^y
Here,
the

"

-""-

1
are

however,
case
can

the

considerations

will rule, which

in of

to

be had

in view

of

the

covered

fifths
leading

general,
the

since

position,
the

situation,

gress pro-

permit

such

voices,

without

unpleasantness

the

fifths appearing.
condense suspension
these does

We
The

remarks
not
remove

into

the

following
octaves

rule

parallel

and

fifths,'

the

ing follow-

progression

will, therefore,

be

faulty

arallel

fifths of this kind

the
movement

are

not,

however,
other

to
a

be

unconditionally
is

rejected
made To
give

f through
unpleasant

of
so

the

voices
do
not

compensation
too

for

he

succession,

that them

they

appear

plainly.
them

ositive

directions

regarding

is impossible

; to

reject

always

MANUAL

OF

HARMONY.

Ill

The

suspensions

in

the Bass,
same

which thing,
no

occur

oftenest
the

before the
of

third

of

he

chord

(or,which
and

is the

before

chords
in

the

sixth

and

the

sixth

fifth), allow

of
not:

reduplication

the other

voices,

s
6 2
-

I ^z::r^.
6 4 2
"
"
-

'\~G "^-

^
6 4 2
-

If
"

207.
-

"

X
The before
the

5
-"-^=*""-

"""
fifth rarely

"~zi-

suspensions

fundamental

and

the

show

selves them-

practicable.
fuii:

'JSZ
IoIsq a:

d:=d:
-^1
-JC
-"

ig:
4 2
-

0".

"~T"

"-

""g

1^
suspensions in the

^m
notation

The

indication

of

the

Thorough-Bass

is, in

art, If

contained
the

in the

previous
one

examples.

suspension is given
at

lies in
the

of

the

three

upper

voices,
""

its interval
^'-j

from
g

he

Bass

same

time

with

the

resolution,

3*

75

he

remaining ^., the

7 6 4-.

figures of
the

determine sixth

the

chord chord

where
of the

it becomes sixth

necessary, fourth

chord

|
the

"

the

and

|^
the
case

If

the

suspension voices of
are

lies

in

lower

voice,

the

chance
e.

intervals
g.^
or |ll"

of in

emaining

likewise
o"

indicated
; the

by
dashes

numbers,
which

the

chord
retain

the

seventh
tones

4"
2-'

follow

denote

that

the

oices

their

during

the

resolution

of

the
a

suspension.
stroke

The

suspension

in the

Bass chord

is also
set
e.

marked
the

by
tone

diagonal of

above
which

it,

nd

the
as

corresponding
concerns

over

resolution,

ia

lainer

the

latter,

g.
O^"

i
6
isr

I
6
6 5

s
""-

B
6 5

09.

liSir^" =d^g::^^^3

tmc^

In

the

examples

the

first

manner

is

chosen,

as

the

most

^kcercises*
76
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It will

be

to
to

the

purpose
the

in

the

working

out

of each

these
upon

and
an

the

succeed-i
staiE

ng

exercises,

separate

voices

and

write

especial

MANUAL

OF

HARMONY.

113

each

particular

Yoice,

and

is in general

useful

preparatory

exercise

ore

reading.

Here,

however,

it becomes
must

necessary always

to

write

the
of
them,

voices,
as

which,
to

in the

ure

harmonic
clefs

structure,

be conceived
allotted
to

voices

be

sung,

n the

which

have

always
to

been

the

knowledge of
these

hich
be

is

indispensable
soon

every

musician.

The practice,

knowledge

clef

very

attained
known.
of since

by

attentive

and

through

comparison

ith

those
"

already
The

Remark.

knowledge
of
scores,

the

Alto

and

Tenor

clefs

is requisite
are
occurs

Cur the

understand
or

and

reading
in these

many

voices

and

instruments

exclusively
more

partially

itten

clefs,

and

the

Soprano
are

clef in

itself which,
a

rarely,

affbroi

ith

various

instruments,

which

tuned

particular

way,

an

es^^ecial

facility

eading.

The

clef

which the

is used

for

the

upper

three

voices,

Soprano,

Alto,

and

enor, For

is called the lowest

G-def,
part, the

vocal

Bass,

the

F-clef

or

Bass

clef

used

before

s still applied. The

situation

of

the

C-clef
in such

always
a manner,

indicates
that
for

the the and

place

of

the

onc"

arked

[middle]
upon

C, and

Soprano
for

this
Tenor

C
upon

ound

the
line^

lowest^
e.

for the

Alto

upon

the

third^

the

kQ

fourth

g.
AUo-eleft.
(-r-

Soprano-clefs.

Tenor-d^,
-or-

1:^^^

-or.

"

w
The

-or

"II"

most

common

compass

of

the

voices

exhibits

itself in

these

cle"

hus*
-a

0
"

"

^
1

[=11=4:

psn"p^
I

-F

I
q=q:
Z^HiF.

Boprano-d^,

^
AUo-cuf,

3=i^^"
:#"

I" U
!
P#-^

pEj=j=^E^r-r^
=#=ii:

Itm"r'eU/,

:W:

W3e^S

114
REifi'AK.
"

MANUAL

OF

EARMONY.

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

to

stand)is

interesting, its farther

explanation would

here, however,

lead

us

too far.

The

easiest method
to

of impressing

these

clefs npon

the

memory,

ia

probably,

observe
the

accurately
tones

voices, whereby found out.

the position of the and which lie between

C-triad in the various

on

each

side

are

easily

Thus mental,

the position of the

complete

C-triad, with
^-0 "-::G-

doubling of the fonda-.

will be

In tkt Soprano:

|F=S=?o
0

JniMAUo:

\^

In ths Tenor^
'

the ofthe "^tordof the

dest in ihs position eiath and fourth

-0 J """

"

#-o"

(JIZH

The here:
211.

carrying out of the first exercise of No. 210

in these

olefs follows

BOFSANO.

"
Alto.

^
-Q-"-

jS.

-ffl.

i
-P-

r-'S-

4Z.

;;5^:
Sxte \
6 4
"

-"

TnroB.

-"-

TI22:

-"--

i
6
-

6 5

7 5
9

5 4

7 3

Bass.

i:^^
0:
0 I

SL

i
6iy
O

G V

o.

IV

0 I

^7
II

1^

^7

rules thus far given,

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

The

of these

examples

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

and

conformity

with the end in view

require it.

In tluB ezchangd
:
can never

of

the

position

of

the

voices,

the

following

rules

must

e obs^ryad
Hie
voices

simultaneously,
one

move

by degrees

or

skij: out

of

thei

ecessary

pf"Qkion
cates

from

chord

to

another
one

(foreign one), except

the same

in indi-

idwU

i:% the

transposition

of

and

chord

into

j"the

ositions. Any
tonA,

voice

canf"K*r:ahe
carrying

its position^

if

one

or

more

remain

stationary

upon

ne

The

following
.

czt

of

Exercise

of

No.

210,

will

make

this

lainer
212.

NB

fes

-"-

=P=s:

e
ra:

Si "el^
ALTIi.

^
:";

:?ii=h

s"^
v^m.

?!="

Tbnob.

jrff^
6

-^

TSi
2:

i^^
6
6 4

6 6

6
"""

6 6

3
-^

Babp

3^:
F7

fia:

:^^3
D

"

"

O
IT

"

o:

"

"

7 7

AOiy

Bk

D)

Bh I

Ciy

7
V.

no^Bbim

V4

IV

F:

V^

IBf,:

f-^*="" |IE^
7 6-3

-h-

"

a.
1
"

:?s:

-|o

"-

?:t:
4 3

E3
6

^1

6
7
s:

6_

6-6 4

6
T

6 6
1-

9
g

is^
Diy
o:
G
I

-"-

.o_".

eJ

i^
-"

0
IV

GO

ViJ

Bly:V^
serve
as

g:

ly

f{

AOiy

llOX-

7 7

G
I

The
The

following
close
in

may

explanation this
example and

of

this treatment.
is forsaken

position which

in which

begins,
remains

in the
the

fift

asure,

the

open

begins,

until

in

eleventh

This

was

effected
a

through
in skip
the

freer

leading
measure,

of
out

the
of

Soprano

and

Tenor.
into

he

first makes

skip,
a

fifth

its position

the

eventh,

"b

(at NB.),
and
it forsakes

which

can

take

place

if the the F

fundamental
in the

lready
manner

present

remains

stationary position

(as

here

Bass)
a

; in

ike

the

in the

seventh

measure,

by

skip

into

he

fifth, G, the
a

chord

remaining
At

stationary,

whereby

the

suspension

comes

nto

better and

position. free

last the of

close

position

is attained tenth
measure.

again

through

he

better

leading

the

Tenor

in the

Suspensions

front
are

Below

Upward.

Suspensions
such
; most

from

below

only
this

in kind

few
arise

isolated
out

cases

to

be regarded
from

progressions treated succession

of

of

the

suspensions
the

bove,
a

before
farther

of, through
in
a

contraction

(abbreviation) of
e,

sam^

ith

upward

direction,
from:

g.

4-4
313.

P=^
The
suspension
of

-"-

S
take
place in connection

from leading

below
tone
:

can

with

the

pro

ression

the

214.

lso

with
those

several

intervals,
chords,

which
which

progress receive

half-step

upwards,
intervals

especially
through

ith

altered
e.

augmented

levation,

g.

"

15.

31

igE^

l=d:
1^-:

g
Observe
be
in

here,
no

that

as

before,
with
above

the

tone

of of

resolution
the
us

(harmonic tone

iiust

other
last itself
was

voice
of the

the

exception

Bass.
the

Remark

"

^The

examples
as

brings of
as

same

tone-combinatioa
the

hich

presented and
That, which

before

(page 64)
as

chord
for
use

the

seventh

of

first

degree

inor,

explained

unfit

fundamental
as

harmony. suspension
of

(See
the

page

4).

in tiie above

application,

it is to be

considered

leading

Of

other

suspensions,
1U

especially
b.

those

whicli

progress

whole

step

upwards:

^.
-""
'

ai6.p
show, of

"ffgfe

eg

*"

"rt*-

me

themselves,
must

the

unnaturalness
not

of
and

their

progression
use

and
pure

me

the

theory

pronounce however

genuine,

unfit for place after show

for the

armonic these

structure,

often should

they

may

find
out

in

the
manner

practice.

false shown

suspensions

be

carried

the

pre" upon

iously

(No. 213), faulty

based
:

progressions

would

themselves,

hich

they
".

are

1T.

Suspensions

in

more

than

one

Voice.

Suspensions

can

occur

in

more

than

one

voice

at

the

same

time

Ib

two

voices:

In

three

voices:

is.

^^^^
chord
e.

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

The

sixth

and

fourth

frequently

shows

itself

as

double

uspension,

g,

I
219.

"s=d

is^E8^^g=:
=

Pi^^iB
in

I*!

reer

Movement

of

the

Voices

the

Resolution

of

the

Sus*

pensions*

Preparation,
examples in

entrance,

and
means

resolution of
two

of the

suspension the

took

place

in the

revious
part

by

chords,

since
its the

voices

which The of

did
same

not
can

ake

it remained

stationary chords,

during

resolution.

lso

take

place

with

three
voices

whereby
still richer

interchange
more

chords

and

he

leading

of

the

becomes
the

and of

manifold.
suspension,
at

This

takes

place,
voices,

if, during
or

resolution

the

several
same

of

he

remaining

one,

usually

the

Bass,

progress

the

time,

For

example,

by

progression

of

the

Bass

930.

":

Tii"^i

By

progression

of

more

than

one

voioe

31.

0:

In

all these
the

examples

the of the

resolution
remaining
a

of

the

suspension
to
a

ensuci

regularly
of which

uring

progression

voices

new

harmony,

he

resolution-tone
"

is, itself,
here be

component

part.
of the
view

Remabk.
ninth
are as

^It may

remarked,
IX,
as

in explanation
that

conceroLog
the

chords
occors,

he

expressed

in Chapter
by

many
of
the
a

places ninth,

in which
can

ninth
in

and
above

hich

recognized
in

many
221

chords
where

the

be
Bass of
use as

explained

the F-B

anner;

Example
as

h^

cadencing chord
with the

progression
the seventh three

could
ninth,

easily
above
more

explained

the of
a

progression
tuipendon
not
same

of

secondary
ninth
same

and

he

explanation simple present

and

of
to

of
with

chorda

were

not
es

uch

did

lead

the
:

result^

and,

all

subsequent

mples,

itself in the

manner

JSuepeMion
i^ith
two

of

ninth
with three

chords:

chords:

better:

J
-""

^in^-i"
"

33

"i^^
the
It may

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

*~o

"

^^

o"

^fly
.^

'
"

"

"^

"

'

f
we

-a-

oncerning

ninth

which

enters

free,

will

speak

later

in

oonne"jtion

with

tht

rgan-point
still be

added

as

completion
of the
the

of

what
the

was

said

in Chapter may
is

IX,

t};^t of

as

reason

gainst

independent
inversion

chords with

ninth,

impossibility
that the

apply, brought

bringing

them

nto

such

fundamental^

latter

into

immediate-

aa"-^^^^
In
the
same
manner a

-'-^^m f
I

I
the
in

four

chords
tone,

can

be

applied

with

suspension,
the

t stands
e.

before
g.

harmonic

which

is not

contained

remaining

oices,

m
-2
331.

gg

-Gfi^-

i
-""-

-iS-

I
6 9
5 4

f
i

^M
0:

-^
-"-

is:
-Q.

IV

vno

VI

Exercises,
"

1.

6 4

6 4.7

5 4

6 "7

35.

ii3i
-Q-

-""

t=" r-te*
+

6 2.

82

6-4

7 6 "-

6 "

6 46(O-

4 3

6 4

^iiif=^-=^
6 4

?Srl7(0

g-

"q:
6
7

i^Wp
3.

S^J
9 6 4-

6 73 4-

6 4

ilt

is:

::*
^-i.

if
6
5 4 2

s
le:
9 7

^
6 6

:^

-;*"

JBT
4 3

^
4^
_8 7

m
6

1:

JBT

5 4

f
X

71]

6 4

22:

jt:

^"i
"
t

6 4

Lx

6.

6-

6 4

"

ii
t
6

IIP
It
6 4
6. 7 4 2

-I"

x"\

"

6 4

66

tT=?2:

6
-""-

7 4

ie

i^
6

"fs:

3^

6 6

5 4

"y.

5 4

7
4S-

i2^ffi=

i
0 3 2
6 5

f"-

s
8.

7 4 3

-6-43
#--P-"9

Sttz"
7 4 6
"

iprzr^

"P
5-

:t=F
76

ifi^T
7 4
-

6 3
JQ.

9
.3

43$

f=^
f
and

^^ "i=;=J:
tones
can

^
he inserted
in

Between
voice.

stispensian

resolution^

other

ths

me

These
1.

can

be

Tones

which

belong

to

the

chord,

e.

g.

1"

4-^-i
-"u-

26.

-U?"

^iijs!:

ro

^
changing

rJ=it4 g^-ra: ": ^

notes,
e.

-o

**

2.

Tones

foreign

to

the

harmony,

g,

27.

^
explanation of
the also

isl"
-"-

ti^g
"

:
"

rft

to:

:o2:

The

of

these
and

and

similar

instances
notes

is completed
farther receives
on. no

through

the

xhibition

passing
occur,

changing

found

Instances
all,
e.

in

which

the

suspension

resolution

g.
Usually
in

this

tnanner

"^
33".

i
"2?^
"

I
-"-X

-s^
-

^^5

"

r
^^

^^

29.

Anticipation*

(Vbrausnahme.)
is and
more

The

anticipation
is

of

tone,

which
latter,
next

rarely
in

used

than

the
one

sutspen*
or

ion,

the

opposite
some

of

the of

consists

this, that
to
us

more

oices

allow others,
notes

tones

the

following
division in
not
a

chord
allows

be

heard

earlier

han

and of

before
long
occurs

the

metrical
and
or

to

expect

them.
manner

With

duration, seldom
here
measures

slow

movement,

this

o
of

eading

the

voices

at amount
are

all, since
to

the

harshness

the

issonances

which

appear of
in
the

would which

unintelligibleness;
e.

it i

ostly

shorter

parts

anticipated,
:

g.
SMferal
I

Anticipation

Bass

In

the

Soprano

In

voicea:

30

""

W^

"

"egg

g"

-4.
-^

1-^

if"

j=.

J-J-

"
r
g""

3zs^ =33?p"

fgg- -g"

CI

rTrTf

T=t ^^

f=t
The similarity
which

of

this

movement

of

the

voices

in its metrical

form,
the

with
name

hat

general
notes,

musical
to

instruction mistaken

comprehends
latter,

under
are

yncopated

is not of the merely

of the
a

be

; the

however,

formed

not

anticipation
or

chords,

but

by

after-striking (Nachschlagen)
also
can

of

hem,
The

they

have

rythmical
voices
can

significance.
here
tone

movement

be

freer

under

some

stances circumthan

for

example,
at

harmonic
entrance

be

anticipated,
as

other known

that

hich

is
:

intended

the

of

the

chord,

in the

closing

ormula

:{:

or:

:{:

231.

i^
rsc:

Ja.

J.

I
ZSi

W^As
antithesis
tones,

^
be

"
to

anticipation has
a

may

yet

adduced
the

the

aftev'strikingof
in
so

armonic

which

similarity

with

suspensions,

far,

as

ially

as

its character
for which
; the

expresses
reason

itself

more

in

the

metrical
in
more

and

rythmical
suo*

ovement,

it also

always

appears

extended other

essions
or

suspensions,

however,

^ppear

under

entirely

conditions,

ingly

in greater

numbers.
would

The

following
Allegro,

Bass

be

succession

of

such

after-struck

tones

92.

lj.^AAj,Al
P
i
;#=?2-

t"r

Here
Leonore

would
"

also

belong
of

that
:

unison

passage

from

the

overture

to

(No. 3)

Beethoven

"

r
"

.T"

i33.

erese.

I
"

"

"I

I 11 I
"

-a-

;imj

V.

i^Efe^
"BPrr"
"

fe"
"rn

1
"

_I

(_ f==F

te

"

Ste

dEO.

^~.

P^^

"

^i

MANUAL

OF

EARMOSY

128

CHAPTER

XIII.

Hie

Organ

JPoinU

Stationary

Voices.

An

especial

manifold
of
one

character
or even

of the harmonies,
more
means

and
of

mingling
voices

of them,
remaining

rises

by

means

one

than of the

one

the

tationary

upon

tone,

and

by

chords

thereby

accidentally

ormed.

We
a

frequently
composition, the

meet
as

in (particularly
in the

the

Bass)
at

as

well

at

the
at

beginning
the point

middle

and
with
a

the

conclusion, sustained
tone,

here

cadence
of which

should
the

begin,
remaining
movement.

long

during
reference

the

ontinuance

voices,

apparently

without

t, continue

their
tone

harmonic

If

this

lies in the

Bass,

it is

called

ORGAN-POINT

[Pedal Point] ;
in the
VOICES

f such

prolonged

tones

occur

other
oa

voices,

the

lattei
TONES. but

are

called

STATIONARY
Remake.

STATIONARY Organ-Point,

"

^Many

give

these

last

also

the

name

inoorreotly.

The

tones,

which

are

adapted
occur

for remaining

station'ary

are

the

tonic

and

ominant

;^ they
Attempts

also

together,
in
the

Rema"k.

"

with

the

third
too

of

the

triad,
to

which
ear

later
unnatural

times
and

have

been

stituted

by

many

composers,

betray

plainly

the

far sought.

The

harmonic takes
so

connection, always,
next

as

well
the

as

the

progrsssion

of

the
to

remaining
the

oices

place, the

during
voice
to

organ-point,

according conduct
of

known

ules,
in

that

lower regard

assumes

the

the

harmony,

nd

general
we

without
enter
more

the

stationary into

tone.
manner

Before
some

particularly
may

the

of treating

the

organ*

oint,

examples

follow.

a*

Organpoint

npon

the

tonic:

34.

b,

upon

the

dominant:

SiE

3i:
MSE
-"-"-

or:

|^f_#sS^^
9J"e;
.-sr

:t

-0-

I-

n:o:

f^

"^"

"-

Upon

both

at

the

same

time

In

these

examples,

those

chords

to
cross.

which

the

Bass

tone

does

not

moni har-

belong,
The
1.

are

marked
may

by
serve

following

remarks

for

the

treatment

of
a

the

organ-point

The
;

entrance

of

the organ-point

takes

place

at

rythmically

dejlni
belongs

%me

2.

By

means

of
chord

chord

to

which

the

Bass
must

tone

harmonically
likewise

3.

The
it,

last

of
at

the

organ-point

he in

harmony

ith Tho
one,

first takes and

upon

place
the of of

the
;

beginning
second in Example fourth.
the

or

close

of

period

or

division
mean?

thesis
a

the
as

and

third No.
234

commonly
a, C,

by

the

fundamental
the

triad, sixth

d^

or

at

b^

hrough

chord

the

and

Care
not

should succeed
to

be

taken, other

further,
too

that

chords

foreign
often

to

the

Bass

tone

each
the

frequently,

but

are

interchanged

with

hords
orier

which
to

organ-point

harmonically violating
the

belongs.
character

This
of the

is necessary, organ-point

avoid
to

digressions

hich

is only

be

found

in

the

holding

firmly

together

of

various

Thus

the

following
* ^

organ-point

would

be

faulty

in this regard

U-i-^X:^

|i^^^#|p^S
1^
""-

35.

The

voice in

lying
case

next

to

the

Bass,

in
the

four-voiced fundamental

movement,

the
of the

Tenor,

ecomes,

of

the

organ-point,
necessary
if the

voice

harmonic

eading.
by
the

Therefore,
this voice,

all
even

harmonic

progressions

will

be

conditioned

organ-point

should
234
a,

also, accidentally,
the

belong
the
of
to

harmony. Alto

Thus,

in Example

No.

progression

of

Bb

the

(in
voices,

the

first
not

measure)
by
the

is determined

by
that

the it

leading

the

emaining

and

circumstance

is seventh

the

ass.
If the
no

organ-point plagal the

stands
can

upon

the

dominant,
upon g. it,

as

is often appears

the already

cas6"

at

the

lose,

close

be

formed
e.

as

from

the

hird

of

above

adduced

rules,

36.

The

plagal

close

can,

however,

ensue

with

the

organ-point

of

the

tonic-:

37.

i^

fe
of the organ-point
the eicamples

7esz

G-"

The

end

is

indeed

to

be

just

as

carefully this

treated

ab

ts entrance.
through such
to

In
a

brought
this
case

forward
it presents
can,

above,
no

always

takes

lace

cadence.
at

In
236.

difficulty,
also

except
pass
over

iq

nstances

as

No.

The
and

organ-point then

however, rule

arlier

the

harmonic

leading,

the

third

is to be

carefullj

126

MANUAL

OF

BARMOSY.

"

-)

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

3S.

d^CL

9i^
jfi.

r?:

^
manner

Breaking

off in the

following

would 4--L

not,

howeyer,

be

g;ood

1^i^
"e.

39.

9.^
A"

*^^
"""X_^

Stationary

Voices.
one
more

Upper
of

or

middle

voices

remaining
before

stationary
are

upon

tone,
rare

in the
than

ner man-

the

organ-point require
tones not

described,
in their
only
to

much

the

atter, and

greater of

caution

treatment.
to

Sustained

this

kind

conform

the

character
rarely

of

these

oices

if chords them, since

belonging
voices

them
not

appear
possess
to

very the

in

connection

ith

such
chords,
one.

do
is

power
or

of the

counterweight
lower voice

gainst

foreign

which

peculiar

the

Bass

he

determining Thus
the

organ-point

of last

Example
measures,

No.

234

a^

being

transposed
:

into

the

pper

voice,

will

in the

sound

very

unpleasant

40.

JiE^^I^^^
the of

while

following the example

tone,

prolonged
to

as

dominant,

is better

because

the

las

hords

belong

it

41.

As

example for their Mass

choir

of

efTective
a

use

of
can

stationary

voices

and
"

prolonged
Gloria
a
"

tones

ind

treatment,

place

be

adduced
hold

in the

of

Che-

ubini's
the

in

C-major, where
instruments
harmonic
to

the

violins part,

A]?
out
so

for

length

of time,
par

hile

and and

taking

carry

below
the

it their

icular

melodic
introduction

progressions
"

just

of

the

violins

n the

the

overture

Meeresstiile
cases

und

gliickliche

Fahrt

Mendelssohn
which
the

Bartholdy.

Tn would be

both
not

but

few

chords

can

be

found,

prolonged
may in

tone

be

harmonic.
the

Under

this head

also

reckoned
which

Trio

of

the

Scherzo
upon and

of

hoven' Beetthe

Symphony
shows

A-major,
as

is based
tone

throughout
in the upper
serves

hich

itself
as as

sometimes

stationary in the

middle

oices,

sometimes piece

organ-point

lowest

voice,

and

throughout

he

whole

basis.
in the

Stationary
as

tones

the
upper

middle
voice.

voices In
to

are

to

be

treated

with

the

same

re,

those
appear
movement

in

instrumental the

compositions
; in
e.

they
four

lways

strengthened they
occur

according
rarely

circumstances great

the

oiced

and

not

in too

length,

g.

a.

^
. I

KB.
"

P^
I
I

42.

"^

i
ffi"

n
of
what
was

"

1"

f^=^
of

HI
the

Rkmark.
here the

ay
In

^As completion still find place :

"

said

of

the

chorda

the

ninth,

following

foregoing
chord

Example
of
the
ninth

h^

if the

stationary
in
an

voice

he

included
with' ninth,

[in the reckoning]

regular
that

complete

is found

inverted
to

position
of
are
occur as

resolution. their

t has

already
cannot
as

heen be
so

remarked used
case

in
that

objection
fundamental

the

chords ninth
can

the

sions inver-

and
That

brought
together

into
at

inmiediato
greater

roximity,
as
occur

in the

of the
no

sevenths. for

they

tan dis

above,

furnishes in the which

the

groimd
there

regarding viz., in

them

independent
with
to
a

chords, stationary

since
tone,

hey

only
of

relations

found,
to

connection

he

character
case

is, however, ninth,

also

bear

harmonies forms

foreign
no

it, as,
the

for example^

the

with

following

which

certainly

chrrd

of

ninth.

-I-""
#-

Eg

rr
943.
^^0

128

MANUAL

OF

HARMONY

If

we

wish

to

mark
must

by

numbers
have the

tbe

barmonio
to

progression
the stationary

abord
tone

th"

organ-point,

they

always
cases

reference

in tbe
chords

Bass,

whereby

in many

otherwise

general

marking

of

the

s altered. Thus
the

organ-point

fotmd

tmder

No.

234

h, could

be marked

thus

9 ^ 5

"

?
4

6
4

3b

'
4

6 4

8 4 2

944.^

i
a

Such
of

manner

of

marking

is only

used
also

for

especial

purposes,

on

ac*

ount

the

difficulty
where

of
a

reading figuring
soh,

it and

its incompleteness,
we

for which

eason,

in

scores

is introduced,

often

find the

with

the

organ-point

the

words

tasio

which only

indicates the

that,

with

otherwise

ustomary

organ

accompaniment,

organ-point

itself is to

be given.

CHAPTER

Xiy.

JPassing

Notes*

Changing

Notes,

Among

the

tones

foreign

to

the

harmony

are

especially

to

be reckoned

be passing

and

changing
through

notes.

The

first arise
or

the

filling out,
voice-steps,

by

means e.

of

tones

lying

betweeni

f greater

smaller

harmonic

g.

a.

b.

IS.

\
I

i
*-2
J-r-J

g
"

45.

\-A
msn
:z^(52

J
"-e"L

a*^

^gg^grjgEg
form
so

The

notes

marked

by

cross

the pass^ far

as

those

marked

with
a

O
or

harmonic
can

hy-tones^

that
#.

is, in

with

the

first note

-triad

be conceived,

q.

UANUAL

OF

EARMOHTT.

129

^
i=*

p
2.16.

1
H9-

i
(9-

i^

i
under
a

i
245
are

The

passing
those

notes

found

of

Example

No.

called

dior

onic,

under

b chromatic
notes

passes.
one

Th)B

passing
note

go

from

harmonic
not

note

over

to

another
chord,

har-

onic

they

appear,

therefore,

with

the

entrance

of the
can

but

fter

it, upon

smaller

divisions
degrees.

of

the

measure,

and

be

introduced

nly

in progression
notes,

hy
on

Changing
which
at

the

contrary,

are

those

tones

foreign
suspension

to
or

the

mony har-

either
the
time

appear
of the

in
entrance

the

character
of the

of

appog^
upon

iatura

harmony

(thus in

this

sense

he

accented

part

of
or,

the

measure),
the
manner

and

attach
of

themselves

to

the

harmonic the
unao*

ote

(No.

247

a)^
serve

after

the

passing

notes

upon

ented

part,

for

the

melodic

adornment

of

two

like

notes,

(No.

247

").

*^*
^^

"SHm
The
changing
closely
note to the
to
can

i
it must
in

therefore appear
note,
as

in

skips,

however
show.

6a

oined
It

har^nonic
be
seen

the

examples examples,

No.
that

247 the

is further
can

from the the

note
one

the

above
lies

chani^ing
th^

otes

be
as

formed well
note
an

by
as

which
which

immediately

helow
above.

moni har-

note,

by

lies immediately
note,

The
manner

changing
of

helow

the

harmonic
upon
to

especially
part second
seen

if it enter
measure,

after has

he

appoggiatura, it inclines
tones

the
a

accented
minor

of the
to

he

peculiarity

that

form
as

the

principal
hence,
:

ote,

whereby

chromatic

arise,

is to

be

from

No.

247,

he formation

like the

following

be

J J

J-/ i J j I

I
This
applies

f
the in

particularly
if they
of

to

changing
a

notes

introduced
series,

bj

skipa
they

It is otherwise
the
notes

appear passing

progressing

whereby

take

character
at
a

the

notes.

Thus

the

following
as

ing series of chang-

would

not,

of

necessity,

be

so

formed

at

""

f
Those
changing
the
notes

r
below,
which Thus,
in

I
fall upon

f
the unaccented
the
c

part, require No.

only

partially

minor

second.

Example
is not
so

250
as

"1^

the

ormation

will not
""

necessarily
^I
^
.

be like b^ while
^'^

good

c{.

":

^ J

"*"

350.

^^^^^^
r

,U

f
r
be
given

^
i
; it is also unnecessary,

r r
this
ear

Definite
as

rules

on

head

cannot

in

/iHoh

every
"

musical
third
of

will certainly
triad
the

find that
changing changing

which
note
note
as

is right.
whole
can

Remark. fifth and

as

^The
octave.
so

the

bears
latter

the

step

better
at

than
same

Since
that

with

the
can

appear
to

the

une

seventh,

the

stiecession

only

determine note,

in respect

it.

Changing

notes

above
manner

the of No.

harmonic

whether

they
or

enter

free
seconds

(by

or gkips),

in the

250,
are

can

form

major

minor

to

he

chord-tone

because
to

they the

always

formed

diatonically,

and

govern

hemselves

according

key

and

modulation.

51.

^-fZZM^

iJ^t^J^

mmi
above
and

-j=;=ti^!
We
often
meet
are

with
made

figures,
use

in which
one
^

changing
the
ik

notes
e.

below

he

chord

note
^

of

after
^

other,
X

g.
^ ^
^
*

52.
"

SDrSQ=,-M
S
"
" "

s^

^^mM r

MANUAL

OF

HARMONY.

131

Upon

this is founded

also the

following

often

occurriig

manner

of

eni'

bellishment:

958.

fefe=#^ i^ii;^^
r
I

I
f
If
this takes

Passing

and

changing
in the
ow^

notes

can

occur

in all voices.
one a

place,

preference,

voice

alone,

this

will become
concerting

prominent character,
not

in comparison

with

others,
serve

and

receive

while

the
case,

emaining

voices voices

for accompaniment.

If this should

be the
such

ll the

can

be

made
in

prominent, significance.

interchangeably, Wherever
introduction melodic
the

by

byand it

ones,

and

gain

thereby
voice

position

rogression by
also of

of

adapts of
must

it for
more

the

of such

by-tones,

ill

this
the

means

admit
mean

significant

development
over

; but

ere

proper

be found,

since, otherwise,

fullness

and

lack Tho

clearness

can

easily arise.

following

simply

harmonic

movement,

54.

i
jS"

LJJ.
*
I
"

i
assume

ight,

by the

use

of the above

by-tones,

the following

form

=|^:z"z:tT=:^-+-^-Lrl

55.

-^--f-^s^a

U
-"-

isr.

^=SEi

182

m
2^

tn
"

"p

r.

The

passing

and

changing
copious from

notes
use

are

here
tones

marked
foreign

by
to

crosses

X-

That
can

through
easily

such
suffer

of

the

harmony,

the

pas*

age

OTcrloading, rapid

is to tempo

be
;
a

seen

in the
moTcment

above

example

f it is executed
to

in
manner

somewhat

slow

is better

dapted In
the

this

of of

writing.
the

introduction

changing
with the

notes,

care

is to

be
no

taken,
voice
a

as

was

efore

remarked

in connection
tone

suspensions,
is introduced

ihai

receiver

he

Jiarmonic
e,
J

which

in

another

through

changing

ote

g.

This

can

only the

occur

if the

distance least
one

of

the

harmonic
e,

tone

from

the

tono

oreign

to

harmony

is at

octaye,

g.

^ *'''i
This
reduplication, take
the

4"1.
"s-

I
-*"

I #"

according

to

the

principles fundamental

of
or

reduplication
fifth, than

in general

will
of
a

place

better

with

the

with

the

hird

fundamental
movement,

chord.

In

rapid
formed

however,
changing
; this
:

and
notes,

more

extended other
cannot

carrying

out

of
as

such

igures

through shows

considerations

arise, of
as

the

ollowing

passage

to

be

sure,

be

conceived

four-

oiced

vocal

movement

I5".

\
In
the
case

of the
to

regular

passing
tones,

notes,

like regard
such

is to
as

be had
259
a^

to

theii

pproximation

harmonic

and

figures

No.

hf d"

a.

".

More

rapid

figures

allow

this approximation
I
""

more

readily,

e.

g.

4.
-^:

J_..

la:

fi
-"-

-^n
"

es Cg-^ttTfr^
:r-f.
-0-F-[ I
-I
-I
" "
"

60.
#
I

"

"

#-^-^
J
"

"

I
"

("

1
with Passing and

'aulty

Progressions

in

Connection
Notes*

Changing

Since
of

it is the the

proyince

of

the

passing
we no

notes mnst

to

fill out
care

the
in

movement

in

kips

harmonic
of the

progression,
that

take

connection
as

with

he

change

harmony,
from

false

progressions
ones

arise,
:

in the

low fol

examples,

covered

fifths open

arise

Open
them

octayes

formed
harmonic

with
as

passing much
as

tones

cannot

occur,

because

the

firs

will be

the

second.

J:

868.^^ S0
On
the

I
f^
instances,

other
open

hand,
octayes,

in the
and

following consequently

the

passing

notes
as

will not
'

ver

the

will be
I

considered

faulty

"| r

863.

p=_^^
find application

Bbxabk.

"

^The

last kind

of ootaves

would

in inatrumerUal

movemenitf

In

like

maimer

the
is to

entrance

or

progression faulty

of

the

changing
in the

note

ia

arallel

movement
:

be

called

if it takes

place

following

anner

letUr
I 1
I

:
1

64.

^=fi?:
"

"-

3^

ii.

ii^fe^E^g
The
last

I
is

it
because
the
octaye

i
appears

example

better

progression

overed.

P"issing

and

Changing

Notes
same

in

more

than

one

Voice

at

the

time*

The

moTcment

of
adapted,

the

passing

notes

in

more

than the

one

Toice of

at

the

same

ime

is best
e.

in parallel

motion,

to

successions

thirds

and

ixths,

g.
I

w
IS.

^^T^S
i
t

^f-

65.

Jl

i
use

The

free

moTcment

of

the

Toices

with

the

of

the

passing of

notes

can

lso

produce require

parallel
great
effect
are

seconds,
caution

fourths, in their

fifths, and
treatment,

seyenths,

all
of

kinds,
their

hich

and and

on

account
a

isagreeable

only

to

be

allowed

singly^

in

very

favorable

osition. Progressions
:

in

fourths

are

good

if

third

voice

is

added

as

third

elow

366.

m=:*-s:S-t*^^=^z=^l
from

Single

fiffch-successions

arising

passing

notes

are

occasionally

mei

MANUAL

OF

HARMONY.

185

them

as

faultless.
and
what

(See

that

which

is

said

concerning

fifbh-sttccessiont

age

27

follows).
of

Just

so

the

harshness

the

seventh-successions

can

only voices

be

alleyiated

hrough

favorable
through
contrary

position

and

good
etc.

leading

of

the

throughout;

ndeed,

tempo,
movement
an

movement,

In

the

various

intervals
coloring,
must

of

the

passing

notes

often

i^e

to

the

passage

especial,
the voices,
at

peculiar

and

contribute
too

much

to

he

independence in too
many

of

but
same

thej
time.

not

appear

numerously

nd

voices

the

67.

J:^rj3J
^

_4rri3U5^j *?="^^5^ "^ ^^

it will be
found,

Here

also

that
lying

those
at

passing the

notes,

which,
with
are

outside
others,
more

of the
as

imply
a

harmonic
most

structure
new

basis,

form leading,

re,

intimate,

(passing)harmonic
whose collocation

natural

nd

milder
for.

than

those

cannot

be

harmonically

accou

judgment
at
case

concerning

the
into

worth

of

such

movements

can,

however,

be

rrived

only
of
at

by

taking

consideration progressions,
g.

their several

character

and
can

tempo.

In

regular the
same

harmonic time,
e.

voices

receive

passing

tones

^^
"*-"^4u"

68.

In

all such

places

everything
the

depends
voices
are

upon

the
a

question,

whether
allows

at

the

hange
form

of

the

harmony
progression
notes
can

in

position

which

theoi

their

regularly.
occur

Changing
a*

in various

voioeB

In

two

voices

In

paraUd

motion:

r$q"
Im
eon^ory mo^iofi.*

k.

970.

32:

1
:

-"-

3:

b"

In

^^r^e

Toioes

C"

In

four

"".|^^^i
voices
:

^fe^
372

"m^^
Bemark.
"

^The
the

most

of

the

above

examples

can

also

have

the

force

of

harmonie

proi

fessioDS

with

organ-point.

It becomes
of
two most

evident
voices

from

these

examples,
notes,

tliat also
progression

in
in

the

parallel

move*

ent

in changing

the

thirdi^ and

sixths

ppears

natural,
a

while

the parallel

seconds,

fourths,
no

fifths and
^ould

sevenths

lways

produce

very

disagreeable
of
the

eflfect.

Thus
sort,

one
:

be

likely

to

ronounce

changing

notes

following

good

good

-^^^^^pi
Changing
which they
notes
are
can

also

be
g.

of longer

duration,

than

the

harmonic

not

joined, e,

74.

:^="v g-f

The

significance,

in composition,
is great

of the
to

subjects
subject

explained
to
a

in Chapters
careful

II.,

XIII.
;
as

and
a

XIV.,

enough
of

them

investigatio
to

thorough
of

knowledge
inner harmonic
to

them
structure.

contributes

materially
have
"

th

nderstanding

the

We

still to the

speak

oncerning

their

relation

the

pure

harmonic

structure

object of
spoken
more

immediate Since
in
a on

studies.
page

24

the

term

"

pure

harmonic
to

"

structure

was

only question

general
and
to

way,

it

becomes

necessary

consider
manner

the

arrowly,

present

it something

in this

What

application

of

these

means

for

composition

does

our

immediate
? for

urpose^

{the

exercises

in

the pure
means

harmonic
ar^

allow structure),

It is undeniable
and

that
the

these

particularly

adapted

ing develop-

adorning
our

voices.

If, however,
of
simple
to

most

immediate

work
then,

is
to

the

recognition
sure,

and

carrying which
anything

ut

harmonic
develop only
for

formationsy
voices

be

everything used
; in

dapted

the

will

be
will

appropriately

; but

lse, serving

embellishment,
the

be excluded

brie^

the essential

ust

be

separate

from
to

unessential. will always

As

belonging

the

unessential

be

reckoned,

firstly
in
so

All

harmonic
upon

(Kunsteleien)in artificialities
no

general,

far

as

they

re

founded

inner

necessity

unnatural

introduction

of
weak

little

sed

harmonies.
passage,
than
to

They bear

easily

produce
rather

over-fullness,
to
a

swollen
or

over-loading

he

and

witness and

morbid

mentally

tion, condi;

originality

fresh,

free, powerfully

secure

movement

Then:
Irregular
and

introduction

of

the
and

suspensions;

the
tones
;

use

of

stationary

oices,

of

the anticipated
however
notes
:

after-struck

Especially, The
;

changing
in

which

are

struck

free

and

the

figuresformed
to
a

there"
simple,

from

short,

everything
song. composition
then

which

appears

inappropriate

ood

four-voiced

If, in is

fact, vocal

is received in
to

as

the

basis
it

upon

which

al

music

founded, which

much

connection

with

will of

itself remain

excluded, If
good also and

is appropriate
in the of
use

instrumental
of

compositions.

for practice pure

the

harmonies,
the

and

for

the

learning
or

leading
the
manner

the

voices,

elaboration

of

chorals
as

simple
to
as

ovements

in this

of

chorals

is directly
use

suggested
means

most

the

purpose,
not

also

will

not

exclude

the

of

those

in

so

far

they

erve

merely

for embellishment

but

for the

development

of

the

lead*

Among
regular

these

is especially

to be reckoned
notes.

the

use

of the

snsponsions

and

of

he

passing with

and

changing

In accordance
in connection
may
now

the foregoing,
the first

the

strictness
of

of the

pure

harmonic

struo-

ure

with

study

harmony,
many

and
things

later
the

contrapuntal

abors
use

be

judged,

which
as

forbids
not to

practice

like"

in

appropriate
from

places, the
of chief

the

purpose,

immaterial,

and

as

ausing The

deviation thorough
of

object.
compositions will
serre

study
all

good

for

the XIX;

complete
in

nderstanding
of this

subjects
we
our

thus
return

far

discussed.
to

Chapter

Part

II

book,

in which

this

subject,will

afford

nity opportu-

for attempts

of

own.

CHAPTER

Xy.

JPassing

Chords.

Those
the

are
manner

called
of
in

passing
the
the

chords,
notes

which
in

in

smaller

parts

of

measures,
as

fter

passing
entrance

several

voices, of

appear

actual

hord-formations,
is sometimes

and

treatment

which,

however,

nner

found

deviating

from

the

general

rules

of

chord-

onnection.

Of

these,
in three
so,

one

kind
voices,

has
as

appeared
take
on

already
chord
are

in
form,

such
e.

passing
g., in Nos.
over
an

and

changing and

otes

the

271

272.
can

ust
a

the

most
sense

of

the

chords

which

formed

organ-point

certain
are,

be

called

passing

chords. phenomena
of the

There

however,

still other

kind,

which

are

to

be

ere
As,

explained.
in

general, of
measure,

passing
it
cast
a

and

changing

notes

depend
for

principally

upon

the

elations

becomes
at

necessary the
even

the

explanation
of
measure.

of

the

assing

chords

to

glance
the

various

division

It is known,
rests

that
upon

in

simple,

varieties

of

measure^

the

natural

ccent

the

first measural-division,

while

the

second

receives

ess weight.
If
now

the
then

harmonic
the

progression harmonies, appear

as

be based
which
come
more

simply
upon

upon the

the two
accented
must

measuraldivision
always

ivisions,

(Thesis) will
of

always
as

the
the

weighty,
of

and
second

be

onceived

the

goal

to

whitsh

chords

the

divison

(Arsis

^^
^E]
In
this

-1-"-

i:^
:5t
KT

N^
f
I

75.

^=1:
:ozzi"!:

:^

SL

4:

.1^

sense,

the

chords

of the

second

measural-diyision
this

can

be called
of

assing
not

chords,
appear

although
so

in the

regular

movement

character

theirs

oes

plainly.
so

That

this has

been by

understood
the
fact

in the
at

theory,

eyen

if seldom
more care

plainly
has
ever

xpressed,

is shown
upon

that,
upon

their thesis
was

entrance,

een

bestowed
arsis, much

the chords been

the
are

the

\ and

in

case

of

those

upon

he

has
of
as

allowed passing assigned

:

which chords
to

not

conceded
however,

to
more

the

former.

The

character harmonies

appears,

plainly
measure,

with
as

uch

smaller

divisions

of

the

in

he

following

examples

76.

i
IZ.

a.

2rr.

I
^

fcrt
=!^=^ :g
I

I
^

=g:

rf

"^
"-#-

'JUL

p=t
The
the of

a
of
the
of

peculiar No.

manner

of
a

appearance
Cy
as

of
as

chord
the

sixth the

and

fourth
in c^

n Example

276

and

well

chord

seventh

the

passing
of the

notes) of oM
thesis
can

voices^

by

degrees^

to

theii

nearest

goal

"

the

hord

in the

following
more

measure.

These

voices
if
one

be

still is the

easily
to

recognized

in

theii*
for

character
example,

a9

assing,

voice
a,
or

allowed upper

remain

stationary,

the

ass
The

of No.

277
of

voices

6.
a,

(See
has

above,

No.

277).
the

leading modes.

the

voices

in No.

276

arisen

from

application

both

If

this condition
all chords
which
can

(the
enter

progression
free ;

of

the

voices

by

degrees) is
in the

fulfilled

hen

they

will find explanation

principal

hord

immediately

succeeds

them.

7".

flEMARK.

"

^In this

explanation
also
its

of the

passing

chords,

the

free treatment

of the

seventh,

ntioned

before,

finds

justification.(See NB.)
of
measure

In

the
first

simple

uneven

varieties

the
contain

accent

likewise

falls upon

he

measural-division,

whereas
will show

they

two

measural-divisions
following
manner

ot

ess weight.

Passing

chords

themselves

in the

79.
ft ft
R

I*

5k

2 8

J8^ 7 JB-T

5 6

g
:F=1
Smaller
no

measural-divisions
example
of
measure.

can

also

contain

passing
as

chords,

and the

after

the

bove,

is needed

for

it, and

just

little for

compound

arieties Here

also

the

study

of

good

compositions

will

be explanatory,

and

lead

advancement.

For

personal chords

attempts

the
as

following

remarks

may

still find place

All

designated
of

passing
of

wA\

either
or

progress

according
them.

to

tho the

nown

rules
case,

the
is

connection
more

harmony,
no

deviate

from

In

irst

which

frequent,

farther

remark

is necessary

; in the

last,

lelvcs, as

also

in relation

to
can

each
only

other,

whether
in

formations general,

of

this kind

are

o be

called

correct.

It
degrees

be remarked
also

that the progression

of

the

voices

hy

will

here
passages

determine
are

the
to

character
after

of

the

assing

chords^
the

and

tha,t all such

tempo

be

judged

taking

nto

account

rjthm,

and

character

of

the

composition.

CHAPTER
On
the Means

XYI.
for
been
each
Modulation.

The
There
to

term

modulation

has
to
means

already
determine
for

explained
modulation
a

in Chapter correctly

XI.
;
now
we

the

object
the

was

treat
art

of
of

best

effecting in

modulation.
out

The

modulation with
into
can

consists
two
or

finding

those

harmonies
means

which

tand

in connection from
one

more

keys,

in

order,

by

of these

to

ass

key

the

other.

Every

modulation It
: can.

be

effected

in various

ways,

and

will

serve

various

urposes.
Firstly

begin
:

abruptly^
more

be quickly
prepared

completed

and

pass out

5y,
new

or

Secondly
and

be

gradually
a

for^
as

seek

the

key

as

oal,

take
first with it to

it

for

length
avail
soon

of

time

basis.
the
new

In

the

case

it will

itself

of

simplest

means,

make
perhaps,

its ap*

earance
allow

decision,
attain
to

but
a

leave

the

key,

and

indeed
case

ot

definite
and

development
out

of itself;

in the
various

second
means,

t is commonly
to

prepared impress

worked key

gradually
the
ear,

by

and

ndeavoring
close.

the

new

upon

will probably

also

lead

tO

Thus,

in the

following

example;

I
i
"

J" J-^-

80.
6

0:

F:

Vi

he

modulation

will be

transient

and

frequently

charging,

without

forsaking

This

kind

of

modulation
distant

is
ones

only
can

adapted

for the reached

nearest

related

keys^

and

although

more

be

by
and

especial

and

decided

meanS}

still in
prevail,

their

development
are

very

natural

organic

combinations

must

if they

not

to

appear the

unintelligible.
more

In

the
is
one

next

example,
reached
:

however, ; the

distant

key

becomes
forsaken,

the and

goal,

which

gradually t"kes

original

key

is entirely

the

new

its place

i^sfe*

Ml.

B[": vno^Bbrl

Eb:

V7

This

example

shows
new

plainly,
as

how makes

the
use

extended of
was

modulation,
passing the

which

seta

for itself
to

the
reach

key

goal,
the

the
not

modulation,
to

order

it, and

this

rather,

as

it

object

reach

"b

major quickly.
Unless
we

wish
of in
a

to

use

such
keys,
manner, or

short
as

passages
exercises, upon
same

as

interlude
must

between
made
of
use

two

compositions

different
special
rests,

they
the

be

of

composition

since
at

formation

the

modula* of

tions

themselves
and

in

part,

the

time,
is
an

the

formation part

the

periods

their

divisions.
and

This,
to to

however,

important of

of

the

doctrine

of Form,

belongs
foreign

the
our

arrangement immediate

the

modulation

of

composition,
Remark. der
An

and

is thus

purpose.
"

"

elucidation

of

this

may
ihre

be

found
"

in the

author's

work

"

Die

Orund*

zuge

musikalischen

Formen

und

Analyse.^^

(Leipsic,G.
of

Wigand.)
modulations
as

We

make

use

at

present
to

of

the

formation

such
use

exer*

cises, in order
appropriate the will

thereby

promote

skil^

in

the

of

the

harmonies

and

their

connection.

While

means

for

modulation
to

are

being
modulation

searched used,

out,

no

immediate
same

attention

be the

paid

the

hind

of

since

the

can

erve

for both
first and

above

designated
means

kinds.

The

simplest
THE

will be
TRIAD
OF THE NEW

TOiaC

KEY

itself.

If, however,
succeeds

this triad
only, and

is already particularly

component

part

of

the

lirst

key,

then

what

the

subsequent

dominant

harmony

MANUAL

OF

HARMONY.

148

ollowing
of

example

at

a^

no

modulation
when
we

will be
come

felt, while
the

at

we
:

hear

the

ey

G-major

plainly

only

to

third

harmony

b.

":

-O-

^=*^
In
case

"

":

I
TTi^
as

of
a

more
more

distant
decided will itself
succeed

keys

the

minor

triad
sake

can,

to

be

sure,

tonio

riad, have

effect, still for the it

of

definiteness
triadj

the

inant dom-

harmony
to

(at a)
as

f the

major

howeyer,

will

ncline

make

understood

dominant

(")"

a.

us:

":

?^
6 5

jSZ

O-

83.

6 5

3C
0:

I
m

3r

f:

C:

I
b:

1^
3:q:

2:
-^-

a:

t="="^
6

i
t

I
G:

df?:
I
k:

1
shows

0:

a:

As
the

unsatisfying
way

as

the in

tonic
as

triad

itself to
has
of
one

be, for
of its

modulation,

used the

above,
and

great

degree

inversions

(th

hord

of

sixth
decided. pages

fourth)
For
49

the
as

quality
it
so

rendering takes part

at
manner

such
in

modulation the

articularly

just
and

naturally
it

closing
the

adence of

(see
a

53),

produces in
the

its

entrance

eeling

modulation,
enters at

if it is not
thesis.

used

of

the

passing

hords,

but

the

However,

in this

case

also, it is naturally

ollowed

by

the

dominant,

which

first completes

the

modulation.

84.

Upon

the

arsis it will

not

indicate

the

key

so

definitely

(p
(i
All

"
f:
6 4

m
T
"

^
s.

55=g
7

2t
I
6 4

^1
i

r
6 4

ft.

7b

"

^
given
vix^
THE

examples

abore,

however,

point

to

still

more

potent

meaiif

modulation,

DOMINANT

HARMONY.

The

triad,
as

as

well

as

the

chord and

of

the

seventh of

of

the

dominant,
since,

shows

tself

the

most

natnral
to

best

means

digression,
of

through

it

(which
The

applies

especially

the

dominant
:

harmony

the

seventh) the
the dominant

key

s most

nnmistakably
modnlation

determined
through the

chord

of

the

seventh following

of

can

e effected
According

without
to

intermediate the
principle

chord
that is
can

in the

manner.

ihat

connection

of

harmooy
like
or

will

be

ost

easily

comprehended,

which

effected be

through

stationary
dominant

ones

(preparation),modulations
of

effected triad and

except

through
into

the

hord

the

seventh,

from
minor
we

the

tonic

major

all

remaining the

keys,

xcept

the

keys

of

the

and
can

major

third,

that

of

augmented

ourth.

From

C-major
for

reach present

all keys, whether

E!^, E
or

and

(it Fj|, can

:

emain

undetermined

the

major
C
"

minor)
G:
O

thus

From

to

d:

"

F:

"

a:

86

w
"*"

^^

"

B:

"

Db:

"

Ab:

"p#^^^f^
C
-

'^

^tlS

Bb:

fe^^ '=*^=*
Everywhere
other
'

in these

examples
the

the

like

tones,
to tones

which
the

are

connected
of

ach
:

by
from

tie,

mediate
to

transition the

dominant

the

next

thus,

major

minor,

and

E,

which

become

Rexabe." other

It only

need
of

be
the
O

mentioned, chords,
"

that g,

these

modulationv

alBO

be

reached

through

positions

e,

o:

or:
^^^

If

we

wish

to

modulate
it
can a

in

the done

same

manner means

into
of
an

the three

keys chord

which

re

wanting

above,

be

by

inserted
the

(in the
conneo-

simplest
e,

manner,

by

triad), which

then

supplies

missing

tion

g,
"^om

to

Bb:

"

E:

"

FJ:

988.

"g"

"

"

^f^^
modulation
From
"

pb^jftei
WB
"-

fr

The

from
to
b:

the

minor
A
"

can

be formed
A
"

thus
x:

d:

"

F:

289.

-^=^"^
TT

i^^ife
"*"

"

G:

Bfe:

":2." 2.

I
To
the
: From
"

remaining

keys

C, D|?, E[?,F|| and

At^,by

means

of

connecting

hord

to

G:

"

"

Db: Db:

"

"

"|^:

^-

|E^p^HH^^^=pe^^
I*
-T-r"

n:

i^^^^^^^E
It is self evident
simplest should
principle^ always

that and
take
can

this
that

manner

of
no

modulation
means

is only
necessary

exhibited
that
a

as

he

it is by

modulation

place

in this way

; likewise,
a

that

as

simple
so

connecti

of harmony ;
as,

be produced

without

stationary
can

tone,

also

can

odulations

for example,

the following

modulations

be accomplished

From

to

E^:

"

s:

"

"

0:

391.

""-^^^^^^^^^^^
the
connection of great
to

for

harmonies
use

and
make

especially

of

the

keys,

it will, how-

Ter,

always

be

of

to

ourselves
down the

thoroughly

acquainted
from all keys,
as

with

this principle,
to

and

this end chords evident

to

write
into
to
us

modulations
most

and

therewith these

bring

the

yarious

positions,
upon

also

to

ake

connections

by

performance further

the

piano-forte. the
use

This
means

mechanical
of

proceeding

will

greatly

dexterity

in

til

composition.

Another
for

chord

shares

with

the

dominant

chord

of

the

seventh

the

bilit capa-

modulation,
THE

via.,
CHORD
OF THE
cases

DIMmiSHED

SEVENTH.

This

chord,

which

in

most
more

takes

the for

place

of

the

dominant
than
cases

har-

QOny,

will
its

frequently
is

be
much

adapted milder,

modulation in those

the
in

latter,

ince

entrance

particularly

which

evepth

and
tree at

fundamental
the
same

of

the

dominant

harmony

would

be

obliged

to

nter

time.

The

following
Prom 0
to

examples
B};:

present
C
"

the
B:

use

of
O

this
"

chord
d:

"

k:

Beside
a

this

application,
peculiar chords,

this

chord

shows,

by

means

of

its

enharmonic

ature,

farther,

capability.
entirely
like
as

The

following

to

sound,

but

variously

written

m.^^t^S=S
Jong
to

four
to

different
D
minor,

keys, in
the

viz.

in
to

the B

first form minor,

in

to

minor,
to

in

ik^^ second

third

the

fourth

At^

nor.

U^hrough
From

this
G
to

circumstance
f:

fourfold
d:

modulation
0
"

is possible
b:

"

"

^x

Since

now

all the

ohords

of

the

diminished

seventh

can

appear

in

ih"

395.

=1^ ^^^^^l="z=jj
enharmonic themselves interchange, for twelve harmony down in
as

nd

eaoh

of

them,

through
present

will

belong
in

to

four

eys,

modulations
in many
cases

all

twelve

keys
since

minor,

t
can

hich

we

can

add

the

in

major,
in

this chord

ften

be

used
also

instead
the

of

the

dominant writing

major.
manner

Here

industrious
to

of

this

of

modulation the

ill

tend

greatly
of all

advancement
as

the the

comprehension

of of

inner

onnection

keys,

well

of

multiplicity

harmonic

connect

Although
uses

this
in

manner

of

modulation

shows

itself to be

adapted
that

to

fold maninot

actual
often,

composition, since,

still it must applied

be

remarked

it should

e used

too

being

lightly,

its artistic

worth

becomes

ess.
A similar

application,

though

not

in

so

comprehensive

manner,

xhibited

by
THE

AUGMENTED
as

CHORD

OF

THE

SIXTH

AND

FIFTH.

Its

similarity*

regards

sound,

to

the

dominant

chord

of

the

seventh

996.^1^^^
enharmonic into
From

ith

change, keys,
b:

adapts
e.

it, in connection

with

the

latter, for modulati

certain
O
to

g"
"Eq
"

d:

C:

Viy

B.

iiOiy

EfesViy

d:

iiOiy

Although,
from
to

in the
one

above,
into
a

the the

means

were

sought

out

with
not

which

to

pass

uickly

key
out

other,

still

(since it
and

will

always

be
the
in

the

ntention

carry

modulation
c^

quickly

for decidedly),

ther fur-

of
manner one

skill
:

the

exercises

be

extended

and

given

out

the

ollowing

From

key
to

into

the

other
the

by

means

of
the

the triads
degree
:

of

various

degreeg

From

through

triad

of

third

298.

fej^-ir^
_

Cf IKs/ourth

d"ffrs6

Qflhejt/th

degree:

Of

the

aieUh

dsgree

"

99.

^ |jgr"
(Jfthe
seventh

degree

1=1^
"

":

"

S-"

(s^

m
E tliroagh
degree
:

1*
From

major
0/
the

to
second

the
Of

triad
the

fourth

degree

Qfiheffth

degree:

I
(y
(A"

"iMA

degree

Of

the

eenenXh

degree

$ pt^iSEt^l^
These
indications
to

m
for

may

suffice

learning

to

form

other/

modulations

ccording
Extension

the

same

principles.
Modulation
its

of

and

Completion

through

the

Cadence.

The

process
upon

shown
the
to

above,
and
more

for

passing

from
means.

one

key

into

the

other,

based
If
we
means

simplest
out

most

natural
a

wish

carry
to

at

length
to

digression they
are

into
not

new

key,

the

bove

must,

be

sure,

serve

this end,

however

applied

suddenly

and
the
new

directly, key

but

the

before
only
the

mentioned

passing

modulation of the
manner.
e.

sed,

and

introduced establish form

gradually.
key

The
in the

use

cadence-

ormulae To

will, however,
end
we
can

ultimate

best

this
a

for ourselves
made

the

following through

kind
d

of problems,

g.

Let

modulation
to
e

be
minor.

from

major

minor,

minor,

nd

major
problem

This

would

be solved

something

in this

manner

301.

^i
l-"
"

!l^

"

"
.f

In connection
:

with

the

addition

of

the

cadence,

the

following

is to

bo

bserved
If
the
the

modulation

takes
of

place
new

through

the
page

chord

of

the

sixth

and

fourth

tonic

triad

the
with
e,

key

(see

143), then
will

the

succession

of

he

dominant the

chord cadence,

its

natural

progression

be

sufficient

for

ffecting

g.

303.

I
extended

":
"^

^1
or

In

other

cases

the

cadence^

the

known the

closing final

formulaB
key.

will

requisite of

(see page
such
a.

40)

in

order the

to

determine

As
:

the

implest

closing

formulae

following

ajre commonly
In

used
:

other

poHUone

4.

4-

i
"1-

""

3!:

"=^
6

i^

i^^^
"=g:
6 6
-"-

la:

--gr

03.

^dS^:
b.

'-^

:s:

f
:2s:

S
6 6
-(9-

^3
S

?C

In

other

poHtione

WE
-o-

:2^

33?:

^^
"
6 6

=#
6 6

r*=t

"

is: t

m
added
then
to

i
modulation
itself,

If
the

these

3adence'formulaB
of the

be

the

according

position
may

last chord,

it is completed.
some

This

be

shown

in connection
from

with

former closes

examples.

The

modulation
To this

to

E{?,

No.

288,

with

the

fifth
answers

in

the

oprano.

is added

the

cadence

in the

position

which

to

From

Oio'E^i

Cadence

I
304.

e:

^^^^^^
b

5^
3^
-^

6b

^gE^
The following

-"-

X
^

^
"^-No.
286, would

=F
modulation
: Oadenee:

from

to

in

require

adence

in this position
From

to

J"

i
305.

t
""-

"

Mf
3

i^
.fit

1"6

I
t

l^^i
-"-

-6?-

T
B with
use

i
cadence under

The

modulation

from
From O

C
to

to
B:

of the

No.

303

Cadence:

306.

307.
6

^t 3
w=^
a

i^^^^^S
To close,
From
we

i
problem
:

present
z

an

example
C

of

more

extended
to

Gh through

minor,

major,

and

b{^minor
-I

A[^ major.

Cadence:

1-

wm^^m
fc^t^irfe
These
indications will be
sufficient
to

t^
for ourselves

enable

us

to

form

PART

III.

RACTICAL
IN

APPLICATION
THEIR

OP

THE PURE

HARMONIES."
HARMONIC

THE

EXERCISES

USE

IN

THE

STRUCTURE.

Through
use

the

following

hints

respecting

the

manner

most

to

the

purpose

n the

of the harmonies,

the principles
explained, will

until

now

developed and

will be, at made

the

me

time,

still

more

exactly
cases

extended, opportunity

complete.

this end,

individual

furnish

for farther

remarks.

CHAPTER

XVII.

The

Simply

Harmonic

Accampanim^ent

to

Given

Voice.

It

may

first be

remarked,

that
; all

here,

only

simply of
a

melodic melody,

progression
as,

voice
its

will

be

discussed and

other

elements

for example, present

metrical

rytlunical

development,
"*

will

be

for

the

xcluded.
1. Harmonic
(Accompaniment
to
a

Soprano,
:

We

select

the

following

simple

exercise

3r

309.

P
To facilitate
the work, those

m
tones,
maimer

fundamental
in the

which
used

can

serve

as

the

iarmonic

foundation,

will
o

be

added

before.

310
**

$
11

-fli

js:

s-

.a.

i
is the
most

With

every

harmonic

progression^

the leading

of

the Bass

mportant

point.
our

We

turn

attention

therefore

first to this, and

write

its

progression,

W:
6
a:

"

in the

following

way

6 4

T=25:

313

J.

.il
The
addition
of

"

is:

"9-

2s:

I
difficulties

the

middle

Toices

will

now

present

no

313.
BOPAAKa

^ 1!^s

2s=r

Aiao.

m
2E

3::(fe
Tbnob.

6
BaS8.

6
3=1

S-i

m:
present,

Let

this working
of the

out

of the

exercise

serve,

for the

for the explanation

exercises exercises of far

a
as

themselves. will
give opportunity

The

next

for
as

becoming
well
as

acquainted
of

with
voices

he

principles general
so

good
the
out

leading simplest
in
a

of

the

Bass,

melodic

harmonic
manner

progression
can

requires.
serve

Examples Exercise

worked with

faulty the

best
:

this end.

indication

of

fundamentals

o.

o
la.

IS-

314.

ix

^
RncABK."
rin
sake

i
use

the

treatment

of this
room,

and
write

the the

following
voices

examples
on

we

the violin
; for

lef for the

of

saving

and
we

together
most

two

staves
manner

the

ersonal

work

of the
813.

pupil,

however,

recommend,

earnestly,

the

of

no*

ation

used

in No.

MANUAL

OF

HARMONY.

158

m
315.

"
-"-

-G-

^
^

"a
-fi-"-

There

appears

nowhere

in this

example

transgression
and still,

of
on

any

rule

rogression

and

chord-connection and powerless

thus
Bass,

far known, it is to
a

account

ot

he

stiff, uncertain,
in

be

rejected
harmonic
continuity

entirely. leading

Except

the

case

of

the

organ-pointy
only
or

good

of

the

ass

allows

it to remain preparation

stationary

if

its

is conditioned

necessary

of
voices.
also
us

tone,

compensated

for
the

by

decided

progress

of
The
which

the

other
example give of

previous may
use

contains

the
to

chord
what

of

sixth

and

fourth

wice,

opportunity and

add

is farther

necessary

concern

the

this peculiar

difi"cult chord.

Of
The
rare

the

Use

of
the its

the

Chord

of

the

Sixth

and

Fourth.

use

of has

second
reason

inversion
in

of

the

triad,

the

chord depends

of

th

ixth

and

fourth,

this, that

its appearance

upon

ertain

conditions.
we

First,

find

it oftenest

in

connection

vnth

the

cadence

formations,

as

ormer Then,

examples it appears

show.
in
a

like

character

in

connection

with

modulation,

See
It

page
can

143).
probably
not
as a

also

enter

free

in both

cases,

it must
upon
as

then,

however,

be

egarded

passing
cases,

chord,

but

always
most

appear

the thesis.
dominant,
or

Except

in

these

it appears

naturally
conditions

tonic^

ub-dominant
a.

triad,

under

the

following
;

If If

the the

fourth
Bass

is prepared
progresses

b*

by

degrees

to the

following

new

chord,

or

emains

stationary

The

following

examples

show

the

application

16.

=m^i=s r^n
6 4 6 6

I
In
the

-"-

i
most

Examples
and
feeling
the

at

a^

it appears

natorallj,
upon

because
degrees

it rests

upon

onio,

dominant the
upon

sub-dominant,
of
a

while

other

(")

it easily

roduces

modulation. under the above

Used

arsis

(beside appearing

conditions),

it

can

lso

appear

with

preparation

of

the Bass.

817.

The
as

chord

of

the

sixth

and
the

fourth

shows
or, as

itself in above, of the

all these

examples,

ither

passing
upon

chord
the

(upon
;

arsis),

in the

character

of the

uspension

thesis

with

preparation

Bass

upon

the

thesis,

t appears

much

weaker.

i
31".

t^E^.

S
"

1
"

rS

fP

^
-C-

SEE
6 4

'JZ. I

4 3

6 4

Not

unfrequently of the

it

will

appear

as

itself

suspension,

whereby

the

reparation

fourth

is perfectly

justified.

%^-=^
"rt*-

^^"^

^y^S3 f^^"^=^

819.

r
"!
"O".
"

f
"-

In

the

second chord
the

case

still

more

decidedly,

because

it

arises

witli

rarely

ccurring

(that of
of
a

the

third
and

degree).
fourth, of

That

chord with

the

sixth

however,
the
voices

can

also

enter

free

in

onnection

leading,
as

by

degrees,

of

smaller

measurat

ivisions,

in passing,

^M^TEt^^^
330.
6 4 6 6 4-

..7

m^^
require
passing
"

-9-^

I
what

-"H

E"

m.
in Chapter

ill

no

farther

explanation
after

after examples,

was

said

XY.,

he

chords,
The often

and

the

Nos.
the

276,

279.
fourth
in the

Remark. and
the

Decessary
many

preparation theorists

of

perfect

chord

of

the

ixth
In

fourth,

has

led

to reckon

it among

the

dissonances. of
the

introduction

to this

system

of

harmony,
and

in the
also

division

intervals

(page

6), it is introduced
The

among

the

consonances;

(page 20) the

reason

of

this view

ven.

doubtful
over

relation

of

the
or

perfect
the

fourth,

and

the
and,

necessity
in
fact, in

of its pre]i*ration
the chor4 of

occurs

nly

against

the Bass, since

lowest

voice,

the

sixth

nd

fourth

only,

in the

chord
found

of

the

sixth, fourth
the other

and

third,
the

itself, tbi* perfect

necessity

reparation

is not any

always

; between

voices

5mrth

is to be

reated
With

just as
the

other

consonance.

real

dissonances

this

is not

the

case, or

for these

retain

their

chftra^ter

where, every-

whether

they

appear

above,

below,

in the

middle.

The

chord

of

the
use

sixth

and

fourth

of

the

diminished
too

triad

will fioldom

e appropriate

for

four-voiced,

because

it appears

incompletes

E^:
331.

fei
I

:a.

6 4
"9-

1
in

On

the
takes

other
the

hand,
place of

it will
the

occur

three-voiced
the

composition,

where the

ften

chord

of

second.

(See

later,

thr"ie-

oiced

movement).
the condition
form is,
a

Besides

of

good
and

harmonic intelligible

progression, foundation

viz., that for it, the

the Bt
seooi

"

tself

should

good

equirement

AmoDg

the skips. succession

nnmelodio

progressions

have

always

beei

**iglitlj reckoned

ertain

The

of

two

fourths

and

fifths in the

same

direction,

e,

g.

22.

g;^
skips
are

--"-

m
thus
:

m
^

izs:
-"-

These

improyed

x^

23.

glzz
e:

"--"-

-O-

i
admits

Even
it,
are

skips

of

sixth,

if the
out

situation skips
of
a.

and

compass

of

the

voices
movement:

better

carried

by
hetUr,

third

in

contrary

hetUr:
JQ.

24.

IE
:a:

I
interval-steps
and

i
as

Augmented
are,

skips

are

to be

avoided

unmehdic

iminished

however,

good.
better:
"-

not:

not:

better:

25.

S'-r"

"

fe

*
H"4:

better:

nci:

better:

9"

"^
from

""
this rule
or

It

1:^^
explanation
as

Deviations
formation The

are

often

found

; they

find their
of the

of

melody,
observance

in the of

especial

character theoretical

composition will
always

hole.

the

rule

in

labors

be

ery

improving.
skip into

The

the
can

major

seventh
used,

is to he
only in

entirely
case

avoided;
an

that

into

he

minor

seventh

be

but

of

inversion

of

the

me

chord.
not:
not: jG

M.

gjr
The

I
-"il-

-tsa..
-O-

-l?a.

-ST

^ff
:

last, perhaps,

with

the

following
not very

progression
good
:

of
:

harmony
not
:

not

izrrfc

-"

"

-"-

ell

27.

t2"2-

" ils: .ba-

These

few
leading
prove

observations
of the voices,

contain
and

the

principal
for the

features
next

of

good

elodic

especially It

(simply harmonic)
remarked,
in that

xercises, rules

themselves
not

sufficient. for the

should
of the

still be

hese

apply,

alone

leading

Bass,

but

general

for

ll voices. The
exercise given

under
out

No.

314

can,

with
manner

an

iraproved
:

progression

of

he

Bass,

be

worked

something

in this

fe^J^
328.
6

"^^-

""

i
-"7

i!ES

-js:

SSE.

EQC"rci8e80
1.
JQ-

28

b.

:sr.

-p-

"jf^
OOO
"

Jt^EEJ^S
O
"

FOGG

8.
"!5-"-"-

:sr

.Q-

ISi
_"5

fi__J._fi

I
0

^
"i

W
Qt

^7
4.
-fir-^

"

Oiy

-""r-"-

"3^
6.

%-o
"

m^:
G
"

s
Di^ Qtj
O

o.

Di^

The

next

example

will of

give

occasion

for

the
and

explanation
leading
of

of

an

impor"

ant

and

difficult part

harmonic

connection

voices.

Exercise.
bO

D^

G^

329.

^
following faulty

-O-

-"2-

\^
:

The

work

may
bo

serve

for illustration
n^

QtPj

(
830.

ps--^'^

"

1-"-

"ffi
-^

-^

.2-

1
I

i-^

^-

--0-

158

The

faults
of the

of

this

treatment

of second

the

exercise

consist,
the
an

firstly, in
which,

the

doubling

third
to

of

the and

chord

through harmony

Bass,

out with-

occasion,

gives

this

the following
fifth

awkward
to the fifth

position;

secondly,

in the

indicated

covered of

(from the
seventh

fourth
a

measure)
to

and

lastly, in the
measure. concerns

introduction

the

by

skip,

in

the

next

the

last As

the

last, this being

can

take

place

with

the

dominant

seventh
page

only

"

the

fundamental

already

present

(prepared). (See

70)

J
"

i
"-

5";

i
i
the

331.

(
t=F
More
tolerable
and fundamental
in contrary

'JS.
-"-

less harsh

is the
;

free entrance

of

seventh,

and

of

he

moHon

'^"$
motion^

""-

n parallel

however,

it is either

to be

rejected entirely,

or

only
as

applied

connection

with
of

especially

favorable
fundamental

progressions,

if, perhaps,
present

in the

irst example chord,

No.

333,

the

(G)

is already

in

the

revious

although

in another

voice.
^-

333.

p
the
more

-"

-^

.O-

is:

I
in what
to

The

first of

faults

instanced

above and
will

will be give

corrected
us

follows. speak

he

second

is

important,

occasion

in

eneral
OF
COVERED FIFTH

AND

OCTAVE

PROGRESSIONS.

The

nature

of fifths

these

progressions
octaves
parallel

has

already
two to
an

been

spoken
starting
or

of, page

29.

Covered

and
in

arise,
motion

if

voices^
octave

with
g.

differen

ntervals,

progress
Covered

fifth,e,

fifths :
:". -fi.

"*"

^IseI^-^
-^
Covered
"

1-r
-"-

f:
:t^

"

"

"

octaves:
""
'
-"

"

g-

^.-

-"._

i_tfr^__

i__

^p

These

fifths make,

and

octaves

become

open,
tones

if the

skip

which
as

one

or

both

voices

be

filled out

by

the

which

lie between,

is indicated

above

by

the

points. four-voiced which

movement

Since
occur,

in every without

certain
of

covered
as

fifths
well
as

and
the
others

octaves

an

the

choice

chords,

leading
are

the

voices,

would
it

be

very

much

limited,
to

and
a

also, since somewhat

to

to

be

avoided,
manner

becomes
their would

necessary

take
attempt

nearer

view

of

he

of

appearance.

An

give
not

positive yet

rules
success*

for

heir

use,

which
would

be

sufficient

for all

cases,

has

been
are,

ul, and

probably
observations

with

great

difficulty

succeed however,

; there

therefore,
a

nly

general

to be

made,

which,

will

furnish

standard

of

criticism
fifths
one

for especial

cases.

Covered
1.

and
moves

octaves

between
a

two

voices

can

occur

If
If
the

voice

hy

step

and

the

other

skips

2.

both
first
a a

voices
case

skip.
:

In
a.

By By

step

in in

the upper
the
cases

and
and

a
a

skip
step

in

the lower
the
lower

voice f
voice*
:

h.
In
R.

skip
to

upper,
as

in

regard

both
the
the
an

concerns

the kind

of

voices

Between Between

outer

voices, voices, and

b.
C.

middle
outer

Between

and

middle
Octaves

voice.
in

Covered

FiftJis
be
allowed,
Fifths:

and

the

Outer

Vbices.m

They

are

to

if
b.

the upper

voice
e.

progresses
d.

by

step.

a.

Oda/tM:

35.

Here

it

is
or

well, if
remain

one

voice

be
as

at

the

same

time No.

led 335

in
a^

the contrary

ovement
so

stationary,
go
above

in

Example

h,

""

It is

ot

well,
"

if all voices
Although
the

in parallel
rule No. will

motion
in
so

(c?).
many
cases,

Remark.
as

suffice
shows,

still it cannot
to be

always
among
from the

pply,

the

above
exhibit sixth,
c,

Example,
a

836

d^
of

which

is not since
the

reckoned

ose

which
of

first
a

rate

leading
one.

the

voices,

progression

ord
We

the

is

very what
36
over

forced
has
and

must

remember
the
or

also,

been

said

before covered
always

concerning
octaves
more

the

cadencing
pass
over

progress
the

of

Bass,

pages
general,

36,

viz., that

which

adinff tone^

in

the

are half-step,

tolerable

than

thost

In

the

exercises of the

exhibited
chord
;
cases

above,

the

octave

always
the
more

shows
of

itself
the

as

undamental
much
more

in which therefore

it forms
to

third

chord

questionable,

and

be used

cautiously.

not:

not:

836.

p
the

g .""-

3!:S: ^-

I
good*

Even

as

fifth of

chord

it is not

to

be

called

33T.

I^g^
fifth, the lower
voice

Remark.

"

With

the

covered

will

always

be

the

fundamental

he

chord.

C"yf;ered

fifths in

the outer

voices

are

to be

if refected

the

upper

voice

kips,
""
e"

ci"

""

P^

251

i^--

j^^

:^
a.
-^

i
Zr^

38.

m^^=\
Wherever
hf df
Cf
a

^
-"^

jte-

1
the

{"c^.-^
""0-

seventh

makes of

connection
more

of

the

harmony
and

firmer,

as

the progression
octaves

fifths appears
voices
are

covered

less harsh.

Covered

in

the outer

not

to be unconditionally

refecte

the

upper

voice

skips.
h, d,

nor*

not

g"^^

HfcJS^j5i""^E
p
"

=g:
6

^
r

39.
r
^
"

j^Nv^

p^

1
(jo)show
with

Here

also
to

those

cases

in which tolerable.

the

Bass
was

progresses

half-step

hemselves and

be

most

What
""

said

in connection

Nos

36

337

applies

for d
octaves

and
in

Covered

fifths and

the

outer

voices

are

to be

if rejected

both

I
"^
If, however,

^^
-"-

^Ea:
-0=4^=35-

Iz

-o-

J^
I
-"-

,"s^.

s
^"O^riO

40.

J^

"!*" -"^

"rt*-

rJ^

I
same

B
they
are

;^Aey only
as

form
since

inversions

of
case

the
they

chords
not

not

be

considered
octaves

faults,

in that

are

progressing

fifth

nd

at

all.

.c -"-

5"
341.

fi^

"?

-fi

^g
and

jO.

i
-fl-

Covered

Fiftlis
leading

Octaves

in

the

Middle

Voices.

Although
of the them

the
outer,

of

the

middle

voices which

must

be

just
by

as

pure

hat

still their
a

situation, greater
octaves
not

is much ; this

covered

the

latter,

llows

occasionally fifths. of

freedom
are,

particularly
for

applies

to

he

covered relation

Covered
the voices,
from

here,
called

if only

the

sake

of
to

the

ood

to

be

good

; with

respect

the

overed

fifths, upon
an

aside

the

above

observations,
of

all

will

immediately few
cases

epend

otherwise
:

good

connection

harmony.

may

ave

place

here

noti

js:

^
-g:

43.

-"--T

^{^g^l^tsj^,^

^^

=Ete

s
Octaves
between the

Covered

Fifths

and

Outer

and

Middle

Voices.

The

considerations

which

are

to

be taken

into

account

in connection

with

onneotion

of Here

harmony,
are some

rather

than
:

established

through

merely

meohani

al rules.

examples

i
9J

-tf?-

^^^^^^^^
1^=1
f-r^:
-G-

43.

-"g-^-g-r-^-^i^^T^'^r-^^T-g1
not

good:

not:

I
m.
.a.

-"-

^^^^1
-"^ 7^

rS:

m^
is

An
pass

especial
over

kind

of

covered
;

octaves

still to be
are

mentioned, avoided
as

viz., such

the

seventh

these,

in all voices,

to be

faulty.

44.

?"=*'-^.
a
'

"
"
"

IE
i?g^-pg^

e"^s?

"JSi
-"-

'

"?

11
"

Iee^I^^^
That
which
was

.-b:

h":
s:

-"-

HO-

i
page

(See

84.)

remarked
Alto

of

the

octaves,

applies
are

also to covered
to

unisons.

etween

Soprano,
Tenor
"

and

Tenor,

the they of the

latter
are

be

avoided
as

entirely,
covered

etween

and
to

Bass, the

however,
postion

to

be

regarded

taves

according
cases,

chord

and

of the voices
can

themselves.
are so

The

in which
it

covered

fifths

and if it may

octaves
were,

appear,

manifold

that

would

be

superfluous, observations
sure,

in

fact,
we

possible,
add
the

to

adduce

hem

all.

The

above
to

8u"Gice, if for properly those

following who

axim,
to

which,

be

is

not
or

written
the

beginners

stil

ave

do

with

the

technical, the
and
one
or

mechanically-harmonic
of
as

tructure,

without
indeed,
as

regarding
covered

higher
octaves

requirements
as

art

Avoid,

fifths
on

much otherwise

possible
natural,

consider
good
con^

hem,

however,

safe if
takes
as

the

hand,
on

an

ection

of

harmony

place,
melodic

the other,

considerations

of

higlver

ort

prevail;

such

voice-movement,

application

of definiU

168

After

this digression,
fault. of

we

return

to

No.

330,

in order

to

correct

the

before

entioned
A

correction where
even

the

covered
voices

fifth
skip,

found

there,

which

belongs
in

in

thai
case,

ategory

both
if the

will

be

hardly
in
e,

possible
the

this

ecause,

Bass-progression
in

proceed
place,

contrary

movement,

he

evil presents

itself again

another

g.

pi
345.

ggg^g^
Thus
it only
marking

remains

to

alter, in this

caise,

the

harmony

itself, and

select

nother

of the

fundamental
can

tones.

The

following

alteration
F

take

place
O

e"

:e:

I
^-

-"-"-

ISl

r
6 6 6
6
-"-

F
8

-*"

46.

"!3$:

is:

:
F
bo

e. a:
"TSL

P
as

2:

-9-

"

^
6 6
-"-

47.
6
-G-

Exercises*
1.
-^

47

ft

.=1 P
2.

s_.
-^

I
Cty
F

Bb

Bb

"ty

JO.

li^

3C
.a.

64

MANhAL

OF

HARMONY.

8.

=^-

iz
Bk
4.
.a.
-""

'jST.
IS.

"
Bfe
F

{ "^-zk
F

""-

i^O
D

i
F

The

following
e "^

exercise
o

D.^

48

""^te
work
out

:az
-^

-"9-

ZJSL

i
4.
6.

e.will

in this
1.

manner

2.

8.

40.

6 4

6
6

"^
The The No.

-"-

faults
movement

of

this work
of
good,

are

indicated
three

by

figures.

all the
since

upper

voices,

by

skips

in parallel of

motion,

1, is not connection

it offends
no
means

against

the

first

principles

moni all har-

and
or

is by
two

necessary.

leading voice

third

of one (by a

voices^

hy skips,
stationary

can

take
or

place
a

only

if through

tone

remaining

by

contrary

motion), the
still harsher

armonic
No.

connection 2 also contains

is preserved.

the

same

fault,
enter

which

here
and

becomes
come

ecause

seventh
position, already

and
so

fundamental
that
one

free
by
72
the

thereby

into

an

wkward

is crowded

other.

It has
the

been
can

mentioned
only
can

(pages
place

and

158), that
in the
a

the

free

entrance

seventh

take

without
stationary

harshness,
same

if the
voice.

fundamental

already
Thus,

present,
none

and

remain

of the

following

examples

exhibit

superior

leading

of

the

ices.

-""
~--G

50.

Probably

few

of

these

and

similar

instances

would

be

excusable

for

re

important The following

of the

melodic
examples

reasons.

mB.j and

still

serve

as

completion

of

the

free

intro-

uction
page

fundamental

the seventh

in

contrary

motion,

mentioned

158.

I^^S
s^m
The
instance

9sh

toiitzSzi^^^intE
-*

51

m
No.
349, down

:*i:"fe2_
21

:g=^

No.
to

2, of rule

Example
laid

contains

besides

this, another

ault, contrary chord

chord The
of of

the

above
viz., that

(page 163), in
the

connection
not

with
from

he

the the

sixth sixth
of

and
and

fourth,

Bass

should

skip

he

fourth.
No.

third
more

fault

Example
in
as

349

consists

in
skip

the
of

covered the

fifth, which

s tho

prominent
as

connection

with

the

Soprano
of

in the voices. it
was

ame

direction, The covered

well

in

the

general
be

scattered
on

leading
the

the
that

fifth in No.
; that
at

4 is to

condemned,
; it
can

ground in

ot

necessary
the

No. Alto,
a

5
as

is

better
well
as

take

place

connection

ith

leading

of

the

of

the
out

Bass of

in contrary No.

motion. 348.

The

following

will be

better

working

Exercise

31

s-

"

""-

rg:

i
zS:

59.

Aj
jSL

"lt^
6

-"

IS.

1
% 8 7

6 4

Mxerdses.
1.
.^L

31
ZOL

859.

h.

^p tt^

"

"

J"i^

2.

"

^
O

.JOt.

-"-

2s:

ISL

166

MANUAL

OF

HARMONY.

"

-G

r-Q.

^=m
G
~

^
The
next

^
"

"

Bi

D.

exercise^
B
~

E7

fr7

B.y

53.

I
the

ff iii f

3:
"a?
-"-

"

ith

following

treatment

^Ei

HEg

^
i

54. ^1

J\

^-^^

ves

lis

opportunity
UNHARMONIO

to

speak

of

fault

which

bears

the

name,

OROSS-BELATIOK.

The

unharmonic

cross-relation and
same

non {relatio

harmonica)
in this ; that
voice,

belongs
upon
one

to

the
tons

mmelodic

progressions,

consists
tone
m

in general
another

mmediately
depressed^

follows
as

the
upon

chromatically
the

raised

here

the

of

the the

Alto

the

of G|| rule
to
:

Bass.

In

order

to

avoid

this fault, note

alterations
unaltered

following
a

Immediate
in

chromatic

of

tone

are

he

applied

in

that

voic"^

lone

which

the

tone

immediately in
so

before occurs.
great

Notwithstanding
of

this

rule

answers,

degree,

to

all theoretical

rinciples
to

harmonic
so

connection

and
in the

progression,

there

is hardly

any

e,

which
this

many

exceptions

practice
of

can

be

shown.

For

reason,

in the
cast

books
the the

of

instruction

later

methods, and
o^cur

great

suspici

has

been

upon

doctrine unharmonic

of

the

cross-

relation, relations

instances in
not
a

rought

forward

in which

cross

fect per-

natural

manner,

without

examining

the

reason

why

they

do

sound

aulty.

Some

of them

will be

here

adduced

55.

167

ff*

h.

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

'^
".^f
X

p^^
cross

In

all these

oases

the

relation of
notes

appears,

not

formed
either

through

the

imply-harmonic
In

leading

forward
hut
j

the
at

voices,
a^

but
or

the

character

of

changing
natural

b^ g^
metrical
e^

through

contraction
too

drawing together)of
harmonic
no

for
j

the
c^

constrvAytion^

cir*

mstantial

connections

at

d^

f^

Jl.
observation
to

The

first needs

proof,

and

there would the

is only

the

be

added,
smaller

hat

this kind of

of the

cross-relations
measure,

probably
notation

occur

mostly
notes

with is

ivisions

and

above

in half

rare

and

herefore

unsuitable, and
not

because
those tonic

through

it the

simple
serve

harmonic

foundation

pressed, The

elements,
of the

which with

for embellishment.

original
are

progression
result of

voices

the
:

above

cross-relations,

hich

the

contraction,

is the

following

e.

"Li
Jsi
4^=^4
ifi:

^
eg

E^ ^
^
^

-'^

"-

:tf5=3=n:

6.

^^
J
I
h.

j^
#

P=t

m
T

1
rJr

f
Let

m
No.
355,

All

these

conditions,
in the

through
and

which similar

cross-relations
cases,

are are

most

cndurahla

re

wanting

following

which

tl^erefore

faultj

57.

In

all

the

above
their

instances,
connection,

which
is
of
a

are

taken

from

practice,
the

but

separat

from
tempo,

still to whole

be

added
out

consideration
means

he

of

the

consistency will

brought
formations

by
not

of

ryth"

ical

divisions,
precise.

which

make

all

these

unpleasant,

but

ather,

Among
the

the
name

cross-relations TrUomLS^

is reckoned

also

progression
of

which
follows

is known

nder

and

the

explanation

which

here

Of
The
tritonus
from

the

Tritonus.

is contained the fourth

to

in the

diatonic
seventh

major
degree

scale, and

embraces

the

istance

the

(in

the

major

scale

th

ugmented

fourth F-B.)
step
:

This

from

to B

embraces

three

whole

tone-steps^

whence

its

name

s derived

358.

p
unmelodic which

W:
and unvocal
tones

I
because
each

It is held
especial

to

be

of

its tones
to

requires
two

progression,
:

properly

appear

assigned

fer dif

voices

"*""

^p^.
disregarded
in its progression, t

f which

the

one

mnst
one

remain
:

if the step

s transferred

to

voice

360.

1=t
the melodic
succession

I
formed
thus
:

1.-

nless

be

That

this, however,
is

is not
shown

the

only
very

reason

of

the

unpleasant
inversion
of

effect the
samOj

his

interval-step,
would

by
a

the
two

often

used

hich

likewise

require

voiced

progression,

"62.

I
and
still be

4
is:
42.

^F=t
easy
of

f=*
performance,
as

s
the

nd

is

jusb

as

intelligible

tritonus

appears

ifficult and
Remabk.
"

refractory.
^It may

remarked,

in this
as

coimection,

that from

the

tritonus

depends
Ko.
862

upon
above.

he

diminished

triad

and

its progression,

becomes

plain

Example

See

page

38).
this
step
was

That

formerly
in

especially with

held
the it

up

as

faulty,
customary

lay

in

the

ircumstance,

that, formation
which

connection

otherwise

simple
augmented with the voices,

armonic

of

tone-compositions,

formed

the

only

rogression
use

diatonically

exhibited
means,

itself. simply

At

this

day,
among

the

xtended

of

all

artistic

it is

reckoned

ment augare

progressions,

which,

in ajjwre
or

harmonic

leading
caution.
use

of

the

be
The

avoided things

as

unmelodic,

at

least, used is to be

with

to

which
its
manner

reference

had

in the

of the

tritonus,

are

ts situation It
can occur,

and

of

appearance.

based
chord chords

either
or

Upon

one

{a)

Upon
363.

two

(")^ e.

g.

If

it

occurs

upon
in

one

chord,

its entrance
two

is not

unexpected,
the

and

the

ear

prepared;

connection

with

chords,

however,

feeling

of

orced

progression the

is easily

produced.
of

Formerly

prohibition
each

the
at

tritonus
the

was

extended
of
a

to

the

two
e,

maj(r

hirds^

which

follow

other

distance

whole
however

step,
:

g.^

not

^^"^^^^^^^^^

170

MANUAL

OF

HARMONY

ame

nnpleasant
not

effect, whereas

the

same

three

and

fonr-i oiced, espeeiallj much

f it does

appear

in the

outer

voices,

is rendered

milder.

365.

1^-7^^ 3
4
Q

i
""

^l"

^-^
fourth
reckoned
to
as

^f
seventh
is

That

formerly
scale,
e,

the
to

step

from

the
not

the

degree founded

of the
upon

inor

g,^ D

G^, was

tri tonus, scale

he

former

usual

representation this step,

to
our

of
since

the

minor

itself, and
remains the
a

nies. its harmosame.

The

effect of

it is augmented,

We

return

again

Exercise

No.

353,

and

attempt

better

treatment

*
366.

is:

^
-"-

I ":
-"-

I
""
Ao.

ii^
6

"^6 6

Exercises*
1.

66

ft.

-^

la:

-"-

:sl

t^ .^^
F
bO

"

7
2. le:

i '*
8.

-^

i:^
E

f?^
bO

i^
ii|i"
4. B.

rro:

fe:
Bi

^^ Hi
"-

is:
-"-

:~'g"

f^
*
2.

Harmonic
exercise,
too

accompaniment

to

given
to

middle the

voice.

This

which

belongs

properly

contrapuntal
with

labors,

cannot

egin

early.

It is introduced,

for the

present,

the

addition

of the

Exercise.
Alto
0 "
O F G
A
Oiy

^^'M"L

"9-

S
of this exercise, of
the

In

the

treatment

the

first and
At
can

most
same
e,

important time, g.

thing
however,

will

again,

be

the
as

sketching

Bass.
voice,

the

the

Soprano,

the most

prominent

be

added,

I
-p0
-"2-

ISI^i!!?^
"5

ra:
"-"-

36".

Diy

zza:
-"-

H-ffl.

1-^
6

jQ-

The
of

foregoing
the Tenor

can

answer

as

three-voiced
this form
:

movement

; through

the

addi-

ion

it will

assume

"O"

-JSl
-^

:s: -jz.

g:

221
""-

1
-"? "l"IT

69.
:-Ti="" "3 7~P^-

.IS.
-"""1"-

6
6 6

JE^6rci"68
1.

with

given

Alto.

""

*"

^^
Gty

3^
D

iffi:
-6?-

H
F

-^

ei^

Bb

3.
-"
^-

t^^
Bb
0

ZSl
::is:

is:

Ti??:

s
F

ZgE

4.
-^

te
e

:r^:zz:t
C

"

C^

^7

'*

6.
-"-

is:

50Ez

6.

^S
A
Tenor

r-"=i.
-7

3:

F=T^

Bb

voice

would

be

treated

in like

manner.

Eocercise.
Tenob.

01

370.

|l"5EE

i
Soprano
:

Sketcli of

the

Bass

and

m
371.

m
-Q2Zia.

ill
Four-voiced
:

Jl
6

^~ ^~g"^:ji^^:^^p=^372.

^sz

s:
-"-

"-.^-T^-"

^1
j-"-

6 4

JEkvercises
1.

with

given

Tenor.
2.

72

b.

$55^^
0

-Q

T-5"

T-^r-

-"-

.-(2.

"

-yfe

^
-G-

G7

6.

8.
-G--

l^^
0

*
0

-O-

G.y
4.

"

1^

"

fz^^Eg
E.

-"-

ill
"

^%^

".

These
as

exercises the

are

to

be

continued,

until

the
is

sketching

of
pure

the and

Bass,

as

ell At

leading
of

of
this

the

voices

in general,

perfectly

certain.
good
oar*

the

close

chapter

it should

be

remarked,

that

to

especially

necessary

the

boundaries
from
too
one

of

the

voices
to

themselves
other
must

must
not

not

be overstepped,
neither

the
must

distance it be

voice

the

be

toe

reat,

small
meet

this,
one

however,
tone.
:
one

does

not

apply

to

wo

voices,

which, relation
upper
one

for

example,

upon rule

In

this
the

let the
three
octave.

following
the

be

noted

Of

voices^

distance relation

from

to

the next
to

must
y

not

he

reater

than

The

of

the

Bass

the

Tenor

howevefy

dmits
Remabe.

of
"

exceptions,
^To set the

present in

exercises
the

in

the
manner,

Bass,
as

will

not

be

to the

purpose, They
can

since

hey

would
for

appear

exactly

former

figured

Basses.

only

set

free

harmonic

treatment.

CHAPTER

XVIII.

Extension

of

the

Harmonic

Accompaniment.

To

given

voice

iri whole
in

notes,

the

harmonic
This

accompaniment
can

in

half

otes

interchangeably
two

the other

voices.

take

place,

Through Through
Through

chords,

change

of
be

the

situation

of

one

chord,

suspensions.

The

exercises

will

marked

in the

same

manner

as

heretofore.

Exercise.
F"
bO

Giy

A"

Y
"G"

"^*-|
The
Bass
can

Jfl-

-G-

be sketched

in this

manner

74.

In

the

second

and

fourth

measures,

sevenths

of

secondary

chords

of

thi

174

MANUAL

GF

HARMONY.

Tt

iS

kind
chord,

are

called

passing
appear

sevenths.
upon the

They
arsis.

start

from
such

the fundamental
a manner

f th?
occur

and

always

In

they

an

in all voices.

The

addition

of

the

middle
movement

voices
.

to

the

above

sketch

of

Bass,

gives

he

following

four-voiced

-JSL
-"-

F=f
^,
-JST.

75.

i
3:
-""

^:3$^E

ifi^

-pIZ

i
7

The

same

exercise

with

richer

change

of

harmony

can

be given

in this

nner

:
G

Fij^Of^

GGt^ty

ACi^b
JSL

i"i"

c^7

376.

-"-

is:

.a:

TrsatmerU

i IS f-^
i3
Tiis:

""
-fi.

P"-

32:

9"s-

a:
^2-1-"-

^
'I

?s:

"a

77.

y.ii
te^g
4

"6

mk

7b

6-8

3b

The

next

exercise

nill exhibit

the

use

of

the

suspensions.

FBfxODoFBbOij'F

78.

"

-"9-

m.

-jSl

Treatment:

ia:

la: :2s:

la:

iizs:

f^r

:g

-g***^

79.

J.

""^

J:
"a

IS
^

^
f

:":

I
^

t
"

"G-

^ t-G.

-fl-

"

We
The

pass
using

over

the

exercises
simply place

in the

middle
progression

voices.
in whole viz., in
as

of the

melodic
for

notes,

as

exercises,

(cantus firmus) took

harmonic
to

this
measure,

purpose,
or,

order place

to

exhibit AUa-breve
the

the

imple

content

of its
then the
can

takes

in

asure,

exhibit

it in

principal chorals

divisions
can

If (half-notes).
selected
of for

exercise

is given For

in half-notes, practice
of chorals

be

the

purpose.

personal
treatments

fundamental

tones

existing off, and

the

good

moni har-

be very

easily

drawn

treatment

ttempted.

In

the

next

exercise

the

process

will be

be

shown.

Choral:

Hanpt

vol!
"

Blat A"y

nnd
D

Wunden.
/TS

JtPf D^

BOiy wr"

"

"

-,

80.

X
133^
-O"

f=F
0

^i:

B"

Tb

"

AFJO
"^

m
0-. 0
G
-"--

-g(-^

^
G 0

S
"s.

"

%
The

^
treatment

-"-

i
according
to

"Bl-

of

this

choral

can,

the

above

exercise,

be

fie f

"Uowing

/T\

1^
Sia
-G-

%
-c^-

A
St^SL

X
"

^
I

"

"-

I
I
"

;
I
""

"".
-"

f
t=x

it^
"

-fi) :^
4"^
"

"

J
ff-

vi/
/7\

^
I

:stz-:

J=i

T^:
gO

":
I

%
^
-^
Sb/

"

r
I

^
A

AAA
P
^

i 2i
:^

t:t=F

After

su"Gicient
we can

practice proceed of the

will

and
to
a

certainty
farther

in the

management of

of the

the

simple
of

armony,

development
notes.

leading

the

oices,

by

means

passing

and
in the

changing
next

For

this purpose and melodic

follow

chapter

the

farther

discussion

elody

progression.

CHAPTER

XIX.

On

the

jyevelopment

of Melody*
of
our a

"We

are

not

to

treat

here

of

the

invention
for

melody,

but

of

its devel
to

pment, it

and, in order and will

use

what
to

is most

important
the

harmonic

exercises,

treat

learn,

by

elaboration

and harmonic.

fashioning

of

melodies,

to

now

what

in them upon

is essentially the

All

here

depend

recognition

and

comprehension

of

the

Every

melody
as

however
^

extended
we

and

developed
as

it may

he^ has
in
our

founda

on

just

simple

as

those

have

used,

exercises,

last examples admits,

Every

harmonic
reduction
to

leading
to
a

of

the

voices,

however

complicated, harmony.
learn work.
to

herefore,of
In
order
notes

simple

connection
necessary

of
to

recognize from

this, it is

distinguish

tht

ssential

the
end

subordinate
the
we

and

accessory

We

select

to

this

analytic will with

method,
write

and
in

endeavor
the

to

develop
manner

the

ollowing

melody,
to

which
above
mode

down of

simplest

ccording

the

indication

the

fundamental

tones.

83.

"

Bb

Bb

--

Ciy

-"-

G"
-9.

-"-

-O-

jO.

.-a.

m
the

Both
carried

melody
out,

and

harmony

are,

as

selected,
manner

simple,
:

and

latter

may

four-voiced,

in the

following

I^^i
is ^
S:

3:
"-"JSt.

":
-G.

{83.

-fi-"-

z:jS^.
JQ.

I
9i
%""

:3a:

!^^E
igrdi^

G-

^
6 4

Before-

we

proceed
premise

to

farther is to

development mentioned

of this

movement,

it beoomefl

ccesary of

to
a

what

be

concerning

the

rythmical

mat for

melody.
can

melody

be
or

either

musical
.as

movement

without

definite
theme

boundary,
of

ontaining

more

less
can

measures,

it is often separated

found and

as

(motive
by
means

omposition), or
In
the

it

be

whole,

bounded

ntithesos.

last

case

it is

called

Period, divisions,
divisions

and

it

contains

then,
measures,
'^

as

rule

ight

measures,

which,
These

in

two
or

each
are

of

four

form

ntitheses.

antitheses

often

called

thesis

and

anti thes

The

more

complete

treatment

of

this

subject
a

belongs

to

the

doctrine

Form.*
That the the
whole,
of

above
and

movement

will
necessary,

form

period,

is

seen

in

the

close

of

it will be

above

all, to seek

out

the

separating

point
This

the
point

divisions.
of

separation

is very
or as

often

discovered
show

in the

cadences,
as

which

either

as

imperfect of

whole
movement.

half-cadences,

themselves

plagal

the

middle

the

Such

half-cadence (in general,

the

close
measures,

in the and
to

dominant)
the
at

is found

in
point

our

exercise

in

sixth
the

and periods

seventh may

separating

the

divisions

of

be

assumed

be

the

place

where

the

sign

t stands.
first
six

The

division,
measures, measures.

the
each

thesis, of
may

would
can

accordingly

receive

seven^

the
as

antithesis

which
take

be

rythmically

altered
manner

so

to

contain

four

This

place
T

in the

following

384.

fe5$--^bg:
we

O-g-"-

--fl-p-

m
za

If

add

the

harmonic

accompaniment

selected

above,

we

obtain

com

plete It

musical

period.
also,

needs,

only

glance, kinds

to

enable
measure,

us

to

see

that

all

farthei

transformations

into

various

of

e.

^., into

"

^'^

"

easure,

admit

of

easy

accomplishment,

e.

g.

385.

fc

^
"-i

"

irt

t
qc;i:4
i^
TJSf

F=^

-^

^^t^F

-0--W-

i
"e.

f=t
*

^^
We
and

:^=p:

p^
A"

t^t

*--"-!=

s
A".

^f=F=t^

proceed

now

to

the

tonic
e,

variations

of

the

melody,

and

add

to

passing

changing

notes,

g.

386.

fc

Ft!=F

^
t=f
"
"

^g

See

the work

of this author

Die

Onmdzuge

der muaikjiUiehen

Ibrmen/*

"

(Leiptk

-^'"-S^-J
Still riche.'
%-se

mmt^^^g
of all by-tonety cou]d give the

following

turibation

Adagio.

|ll^feS?^-S^
Origin"ilhf
:

:X^SEt""^

"7.

[^*

-ja.

m
^
^5,_..

%^J"(^i"jt^E!=.^E^S^^^
^"E

I EicEte
T-i^

ei; ^
melodic
voice.
to

1^
The

simple

progression

found however,

below,
the
will

will

be easily
melody

recognized
is carried

as

he

fundamental reference add

:

That,
original

above

out

ith
we

the

harmony,

immediately

become
by

evident,

the

other

voices

with

the few

deviations

conditioned

the

upper

oice

Adagio,
"

-B-:

hi

"

'^'^

"

F^

"

'

#"i

'-r-y"

^"^?*^"H

"

""H""^

f
J
i

"8.

^^m
"m

m
t

feEEl:

m ^
We be
may found
as

remark
in

concerning

the

octave

parallels
example,

in

the

middle they
are

voices,
to
as

the

third

measure

of do
not
a

this
occur

that

be

egarded of

faultless

if they strength, and

as

singly,

but

appear

only

eans

additional of
a

in

more

extended

succession,

for the

intensifica

harmonic

melodic

progression.

The

movement

is, in this

ase,

to

be

regarded

three-voiced.
worth
as

As

little

independent development

this

example

has, it still served,

and

here,

to

how

of

what

the

simplest

melodic

harmonic

movement

apable. The
advantage of the contemplation

and
allow
us

recognition
to

of

these

melodic another

nd

harmonic in the

relations

is too

great

to

forbear

to furnish

xample

following

interesting

movement.

The
efore.

fundamental

harmonic

progression

is

just

as

simple

as

that

shown

1:

-^"o~

rcSL

:g=:r^

^
T""-

"9.

^^ '*ii IPI

-G

T-"

-^

3:

-G-

g^T-g-Tp
j50-

il
G"'

m^^m
This
movement

s:
jQ.

1
middle
close

forms the

period
measure.

; the

is easily

found

in the

alf-cadence

of

seventh the

We

omit
:

here

various

kinds

of

measure,

and

select

the

following

ivision

i
"i::;2

:^.

90.

i^E^

The

de^relopment
reference

o^ the
being
had

upper
to

voice

may

take

place
:

in

the

following

anneii

the

harmonic

progression

91

fm^'K

ft

~rxr

'

Ms
~

""4

"J

"

f=?

"
^^

EliB

What

part

the

other
the

voices

can

take

in melodic
of

development, will

the

following

movement

from

El? major quartette

Beethoven

show:

393.

A(Uigw,

p 4

^
1"

^F"

r"

"1----'"

ViOLINO

:fe

ViOLEHO

II.

TlOLA..

OLONOJlLLO.

^ E"HS3^
[^

-^^

^-

^-"3p

l^edl

^ii^^^

^^
"

i^
A
comparison

S^i^FS^S^
"p
with

^
and harmonio

No.

390

will

show

the

melodic

ariations.

There

now

follows

still another

alteration

of

the

original

melody,

out

of

182

MANUAL

OF

HARMONY.

93.

te^^
a

"^T-* nx\'^Tj'i.
Ill)

l^^^^^^^^ij^^^^
The
other
Toices

show

themselves

in the

following

alteration

394.

These
left to

hints

in

reference practice

to
or

melodic special
in the that

development
guidance.

may,

here, suffice, and

personal
^The
so

Bemabk.

"

mechanical certain
above
as

element

whole

proceeding
one

should
does
not

not

occasion

mis*

ake;

for

just
shown

it is

in composition
in
the

always
of
a

proceed
these
was

he

way

(even

if Beethoven,

later

alterations
so

original

elodies, only

could

not,

sometimes,
to set

proceed
in the
to gain

otherwise),
light
the

in

even

great

degree

it here

objectnpartly,
side, and

right
a

relation into

of

our

previous

exercises

he

practical

partly,

clear

insight

complicated

compositions

theno-

elves.

As
the

concerns

the
manner

accompanying of
even

voices,

they required
still
not

arose

of

themselves
alteration,
account

out

simple

harmonizing,

little
on

and

howed

themselves,

if subordinate,

that

nifica insig-

It yet

remains

to

speak

concerning

other

kinds

of accompaniment,

whiot

ill be done

in the next

chapter.

CHAPTER
On

XX.
Voices.

JDevelopment

of
the

tJis

Accompanying

The

last examples
the

of

foregoing
voices

chapter
take
part

have

already

shown

in what and

nner

accompanying

in

harmonic,

metrical

elodic

development.
are,

There
the

however,
of
THE

still other

kinds

of accompaniment,

which

are

known

mder

name

FIGURATED

ACCOMPANIMENT.

This

is not
only

adapted in
a

to the

character
manner.

of the vocal

parts, and

may

be used

for

hem

very
only

limited
will

In
of.

the

following

investigation,

nstrumental By

music

be treated
is

figurated

accompaniment

understood

the

kind
of

of

accompaniment

rising
e.

through
g.
Simple

metrically

uniform

transformation

the

simple

chord-

ones,

harmony:
a.

FigwaUd

aceompaniment

"

i^"

^^mr"^5

^^fr^^^^
crf"lftt"#
The accompaniment
are

at a

is harmonically chords.

Jigurated.
That The
at

The

figures

arising

herefrom
that
the

called
c

also broken

6 is metrically
which

figurated
have

nd

at

is melodically
are

Jigurated,
changing

figures

arisen

rom
Any

last

formed

from
can

and
for

passing such

notes.

accompanying with
the

voice

be

used

figuration,

either

alone

or

connection

other

voices.

We

select

beginning

of

Example

No.

382,

in

order

to

attempt

soma

kinds
This

of

accompaniment.

may

be

preceded

by

the

following

remarks

184

MANUAL

OF

HARMOHTY.

ll the
CHANGE

rules
OF

of
not

the

harmonic
CHORDS, as

leading
Well
US

of
tu

the

voices

are

to he

ol served

ai

he

THE

the redupUcation.

We

must

write
T

:
or: ^
_^

h^

!_^^"J-_j"_^,

396.

9jm
somewhat
in this
manner

i
:

"

ut

Z4^J.J^J^

97.

I
-"

I
the
voice,
e,

At

the

change
next

of
must

the

harmony,
form
a

the

last note

of

one

figure
any

and

firs

ote

of

the

not

false progression
not:

with

other

not:

better:

-:^
izzrzL

9".

a
fu^
.0-f-y-

I
better:
js:

"

.A:
-Gl

i
figuration also affords the
means

The

harmonic

for forming

one-voiced
this
:

ovements

in greater
Ons
voiced:

perfection.

The

examples

will begin

with

99.

i^^^N^^^
^"LU
y-r

m^
4e.

^-fzfX=fl

zJt

That
a

these
or

movements

are

calculated
to

for

an

instrument,

probablj

sucl

violin

clarionet,
voiced:

is easy

be

seen.

00*

Two

t
-"-

"

:fcE

Three in
the

voiced:
voices:

middle

in

the

lower

voice:

in

the

npper

voice:

in

two

voices:

The

figuration

in

the

four-voiced

movement,

after

the^e

attempts

witl

Instead

of

this

we

prefer
from

to

select,
the

as

an

example

of manifold quartette

figuraticm,

he

following

passage

above

quoted

movement

eethoven.

i^-

""^-"^-fbg-f-y-f^g
piM.

01.

1^^^^
"%

:fl"=la

-$

-^^=F=^=^^:^^^^-^E^.

1=^^=^:
cre8C

I
"

I
,-

I"

T^^H^

n^ijii:

P:#=i=i

ii--r-jLj-j-

1^
#

^-

ii^^"=^M

If

^-

^^lE^Ig^-^l^feEg

This 391

whole and

rich 392,

development
and
wherever

rests

upon

the

foundation
enters,

given the

in

Nos.

90,

the

harmonic

change

leading

he
If

voices
we

is carefully
to

observed.
a

wish
at
an

obtain

clear

insight of their

into such
inner

elaborated

compositions, it their
of

and

rrive

understanding
to

harmonic this

structure,

will

be

ery

useful

reduce

compositions

of

kind

back

to

simple
knowledge

oundation of
our

; industry

in this
and

will
our

reward

itself

by

enrichment

many

kinds,

by

being

rendered

capable

of

formationfl

own*

CHAPTER

XXI.

The

Eocercises

in

tlie

Three^aiced

Movement.

With

few

exceptions, hitherto, adapted

are

the and for

four-voiced although the it

form

of

writing greater

has

been

used

for

exercises
most

affords

completeness, the

and

ppears

harmonic

connections,

three-voiced

ovements to

also

of much
of

advantage,

since
more

they

are

especially

lated calcu-

make

the
as

leading

the the

voices

skillful

and

many-sided.

We

begin,

before,

with

problems

with

figured

Basses.

%l
ird: 3=

"""

i?p

4 3

%
32:
-9"

6 5

m
-"

-"-

-^

-iS^

The

three-voiced
of the
in the voices
case

moyement

is sufficient, indeed,
result of

for

the of
one

triad, but
of

the

leading
;

will often
the

in

the

omission
one

its intervals naturally

of
;

chords

the seventh
can
never

interval

must

always

be wanting
can

this, however,
as

be the seventh

itself.

As
movement,

rule, the fifth

and which
the

be omitted,

has already
in many only

occurred
cases

in the four-voiced

fundamental
the mode,

also
can

; the

third, in
a

as

the
cases,

interval

determines
an

be omitted

few

without

producing The

especial

emptiness.

treatment
:

of the

exercise

is the

following,

to which

few

remarks

will be added

NB

i^B

6 sn
-""-

^
^a.

^^=^-

js:

-jBT.
-"-

w^^
403.

"^

;ti

-"

(^

^
6 6

-""

-P

"-T-^

":.m. 2^
8
7 6

6 4

i9r

m
8
NB.

ig"G2.:

]pi~

"+"

i^

10

11

12

In the fourth
of the

measure

is found,

at

NB.,
It

the

chord

of the sixth and

of the

fourth
of

diminished

triad,

E-G-Bi?.
the

stands

instead

chord

th^j

second,

Bb-C-E-G,

of which

fundamental
:

C is here omitted.

For

four'

voices, this place

would

stand

thus

MANUAL

OF

HARMONY,

189

404.

Oonceniing
In
the
can

this chord,
measure
a

compare

what

is mentioned the

page

155.
Now,

fifth

fourth

represents
nor

chord.

although
movement,

ourth

neither

in of
a

the

three-voiced
chord,

in the
can

two-voiced third
as

ave
cases

the

worth
where
upon

complete

as

the

and

sixth,

yet,
can

the

chord
arsis

of

the
the

sixth

and

fourth
movement,

passing

chord the

used third of
the

the
the

in

four-voiced
can

probably sake
so

sixth
lead
alon"

of

fundamental

chord
in the

(for
fifth of fourth

the

of

better
fourth

ng

voices)
two-voiced the

be

omitted

three-voiced, and

that

the

emains,

marking,

here,

fundamental
movement,

the

original

chord. take

In

the of

the

will

occasionally the
case

the

lace

chord

of

the

second,

especially

in

of

the

passing:

eventh,

e.

g.

J
405.

I
above

""-

a:

Isl

^t=F

Four-voiced,

the

place

in Example

No.

403

would,

complete,

stan^

hus:

W^^^
406.
i9r

6b
4

6 5

""

p
Example
No. 403, formed
a

I
the chord
of the

In

the
and

eighth third

measure

of the

sixtb,

ourth
The

is, by

skip

of

the

Alto,

complete.
of the the

tenth

measure

exhibits
fifth here however,
is

apparently

chord
than

sixth

and

fifth of

undamentally,
which

the here,

nothing
the

else

suspension

the

ourth,

through

progression
:

of

the

Bass,

becomes

third.

Four-

this becomes

407.

The

closing
triad the
voices,

measure
can

of
appear,

Example
in such
the

No.
cases,

403
even

shows,
without

through
third

th*
and

octb^if

that

the

fifth.
the

That the

omission is

of

third the

is often

conditioned

by

leading the
next

of

shown

by

first

and

second

measures

of

example.

"-5^

40".

I^E

T-^^""-

^^
r
6 43G-

^^sm^
#
7
-"-T

""
^
366

4-J

9^F
^?.a_".

"^:^t _prf_.-"_.

A-fiH-'

The

omission

of

the

third
; upon

takes
the
not

place
thesis,

best

upon

the

arsis, the

atf

here

in the

ast

measural

division third
are

(accordingly at

beginning

he

measure), the
exercises

should
to

be

wanting.

Farther

be

left to

the

especial

guidance

[of the teacher

given

Exercises

in

the

Three-voiced

Movement

to

Upper

Voice.

The

following

exercise,

with

indication

of the

fundamental

tones,

is l

"

e.

-9-

09

"p
TrBoiment:

10.

fundamenUU,

This
The
the

treatment

needs
of
in

no

explanation. and Thus,

than
lower

choice
chords will

the

middle

voices
a

will depend
position, the

npon

the position
as

general.

in the

low

Tenor
can

middle

oice,

be

more

suitable
of

Alto,

just
is

so

the Tenor

be

selected

lower

voice the

instead

the

Bass.
the
more

For

following
attaches

example

Tenor
to

selected

as

middle
on

voice,

since

ts movement simple

itself

the

Bass,

while

the

other

Land

he

song

of

the

Soprano
in
more

appears,

of

itself, isolated. harmonic

treatment
s D

The

previous
Ga

Exercise
i"fj "3t

extended
GO
D

""

qP^i
^
.

Gi^

11

"p^
Treatment:

i
Si
-"-

"a

-^V

n-

s:

m
ISl

13.

n^ B3: I
-"-

i
M

-"-

ISL

is:

-"-

"^

-"-

nms^

It
6 5
-6f~fS-

i^ iiafc
In
the

6.-57

^fa^rfpi^irjl^f
NB.

fifth
of

measure

at

NB.

appears

the
which

real

ninth-suspension
very

(through
and only

he

position

the

as voices),

second, In
this

occurs

seldom,

etween

Tenor

and

Bass.
cannot

connection

it is to be

remarked,
upon

that

econd-suspension
of

exist, because
governs

the

second
to

depends
the

the

inver*

ion

the

seventh,

and

itself

according

progression

of the

or:

IwfertUm
.*

413.

p
in
a

I^^^Pt

keEEEEbsiEE^I
rf

Exercise
TsiroB.

middle
A

voice.
Bt^C
"" gb*i"
"

"D

cf^w

"

14.

fekt^=^"g-|
.

1^^
of the Alto
is here
most

-"

"

As

upper

Toice,

the

selection

to

the

purpose.

^m

1-^

3E
-"""-

-s:

-"-

15.

^
3
6

"

-"""
"

"!

i^gj

^P
-fiL
-O-

:s:
"

-"

'"

i
of

The

same

Exercise
D

with
K"rj

the

following

determination
BI^FoxOd

chords
A

BI^GCFBbOi^D
2s:
-"-

16

I?-J

|?:i|iEJi|?

2s:
-"-

ig^

7V"a"m"nf.*

|"E^E

gS
ISt

5=P:

:^
:^

17.

BS'^EEji?
7

i^
-^

5_^P3E^
is:

St |^_J_^_^_

" -"-"-

:?5=":
"

.a

%
6
"

i
'"

-""

198
The

next

to

the

last

measure

affords

the

proof,

that

eyen

the

sixth

can

be

suspension.

For

farther
movement,

practice,

former

exercises,

which

were

given

for the fovi^

voiced

may

be used.

CHAPTER
On
the Two-Voiced

XXII.
Movement.

The

great
of

meagreness
allows
in

of the
it

two-voiced
to

movement,

in

purely

harmonic
contrapuntal to

point

view,

rarely

appear

adapted

for other

than
comes

labors,
even

which

it first receives
movements,

actual
e.

significance

and

bo

applied
If,

in

polyphonic
simply of

^., in fugues.

indeed,

for

harmonic
voices

use,

the
the of
two

metrically

and

rhythmically

arious

formation

the

makes

two-voiced
voices
and
can

movement

toler^
free them

ble,

still the
the

contrapuntal
of many

development
successions

alone

rom

monotony that

of

thirds
every

sixths,

and

give

this

ovement
must

individual

completeness,

which

other

polyphonic

movement

possess.

The

omission

of

one

or

more

intervals

will, in every

case,

necessarily
it
are

take

lace
the

in connection

witli this movement.

fundamental.
cannot

With

the

triads,

will generally
to be
are

fifth or
of
course,

the

If chords

of the seventh

applied, seldomr only

hen,

the seventh
since

be omitted.
too

Octaves
; the

and

fifths

be

introduced,
in
a

they

appear

empty
of

fourth sixth of
the

could
and

be
can

dmitted

few
or

cases

where
occurs

the instead

chord of

the

fourth

egularly

stand,

if it

the

chord

second.

(See

age

188).
P
B"

BtoampU:

1"

i^="

-jO.

"p^

19.

194

MANUAL

OF

HARMONY.

The

omission
tones
rare

of
of

interyals
Example

is No.

plain 418.

through

comparison
of

of the
the

fim"

amental be

Want
each

of

clearness
explains

harmony

ill

in connection
i. ^.,

with
the

this, since
preceding

chord
following
:

itself through

ts situation,

through with

and

harmony.

The

same

exercise

the following

marking

F"

Oa

-s:

la:

30.

;$:
Trealmmii:

2s:

fJ .^
6

31.
6
"-"-

6 3

I
3^^

1-^

E
-"-

13^
4 2

i
6

6
P^"y
"-

;}s

liis:

[^
in

:f:

Most

of

the

exercises

exhibited
The

the

third

part only

trespass

upon

the

omain

of counterpoint.

difference

consists

in this, viz. ; that here,

he

succession
of

of

the

chords
while

is prescribed,
in

and

it only

remains
the
so

to

form

the

eading

the
as

voices,

the
in

contrapuntal
its
use,

exercises is

knowledge
that the

armony,
of

well

as

certainty
can

assumed,
choice.

success

the

harmonies

be

left to

our

own
as a

We

may,
as

therefore, they
to

regard
afford
at

these
the

labors
same

useful
an

preparatory into the

exercise
relation

or those,
harmony

also

time

insight

counterpoint.

The

exercises

in

tne

next

chapter

are

also
a

to

be

considered
succession

in this lighi| of chordAi

noe

they

drop

the

above

limitation

of

prescribed

CHAPTER
JElabaratian

XXIII.
Voice

annanie

of

given
mentm

in

Melodic

Develop*

By

melodic

development
such

of
as

voice

is not

here

to

be

understood
Through
choral-like opportunity

that

icher

ornamentation, variety of
to
our

Chapter

XIX.
alone

exhibited.
the and simple,

metrica

of

their

measural-divisions
exercises

gres pro-

earlier
to

will be avoided,

thereby
harmonic

be

iven

learn

develop

better

the

voices

of

the

ment accompani-

also.

The

following

exercise

will make

this plainer

23.
42-H91^ "*"

fe
-t

s:

i^
the
treatment

The

choice

of

the kind
of

chord-succession
of
measure

is left to selected

itself.
a

Even

if the

will, of

itself, produce attention

like
must

elodic

leading
to
a

the

voices

to

be

elaborated,
according

still especial
to

e given
the

good

leading

of if
a

them, free,

the

principles

developed
is
to

previous

chapters,

skillful

treatment

of

them

be

ttained.
This
exercise

will follow,

first in three-voiced

treatment.

33.
ISI
:gl

3:

42h9

-"

-^^^

It

E"E

^^"

:sri

w
"

HP^
6 9

-P-"-

._(SL".

"

P*-

'^
-"-

X
6 3 7
-o-

i
^

6 4

6 5

s^s
"t
-I"
.

:^

^=^^

g
-F
been
remarked
explanation.
as

:t

n
the

This

treatment, movement,

after

what

has
no

in

connection

with

hree-voiced The

needs

farther
this

harmonic

treatment

of

melody
as

middle
useful
we

voice

will

show

iti

any-sidedness,

and

may
to

be

recommended
the Alto

exercise.

In

order

to

be

able

retain

voice,

transpose

the

melody,

foi

24.

^M5

'-"a.

H9-T-

11^
can^tM^rmtM.

^
,^"

""-^" -fi_".

3:

Sie

.a-T

:}sc:-"'-

p-g.^rrrTFPr
^ift^

"^^-^

-"-

7
""-S-

583984

987

9-^

:i"z
of
measure,

^P-^t
-"-i-

la:

1^
enters

The
the

explanation fourth

the

chord
is

of

the
in

sixth
what

and
was

fourth

which

free

found chords.

remarked
accidentally,

in

Chapter

Y.

concerning

the the

passing

It and

arose

through place of

the

rogression of
the

of

Bass

hy

degrees,

stands,

here,

in

the

the

hord The
435.

second.
of the
same

treatment

eantusfirmus
a=5^

transferred

to

the

Bass:

ferfiir

g=s:
-^-

HSL
t
"

It

.|_".._
^?"

"

a.

i
"*" .a-i

a:

IS.

mv-

Ie
ff
6

Ffe
4 36
iT
6
-

"

"./.

6
G-

3b

"

4
g

6-6

mt
This

-"-.""--

^-

G-

rG-

|2-r(a~^
-"2-

^
third

(O

-fi"-^

treatment

exhibits
of
the
measure

weakness A
a

in the of the

and In

fourth
like
manner

measures,

in

he

harmonizing
in the
we we

sustained
is it
as

Bass.

the of
a

bare

ourth

sixth
to

very

imperfect
note.

representatiye

chord,

nless

wish

explain develop and

passing
of

If

wish

to

the

leading
notes

the

Toices

still farther, into

the
two

we

c^n

troduce

passing
e.

changing

interchangeably,

Toices

be added,

g.
c./.
jQ^LfL.
1^

It

*-*-^-!y.

""

96.

!llg

E^
I

-O

r=f=f-"^ I i"i
I

MANUAL

OF

HARMONY.

197

""fa
"*"

t^

ZCZT

;#"

p-

"EE
":.^z
6 5

i
6

"
3
7

9i
li-*

-#"

^3Cir

"
treatments,

SEE

Of

the

remaining
be

that

of

the

cantus

firnvus

in the

middle

oices

will here

given

ip:
"f^

^-#
is:

-^^tf: Sl^
"a"
"9-

c./.

37.

|1E

^"^^

ar:

9
jO.

6 #-#"

#-?=^-#

m^^^

-p-

t^ifc

-"-

:c=t

l^^EE

-"-

gi^g^=i[i
"""
V-

"
6 9

3l
8

-(S-

r2E

:i=p:

^^M

13
of foar-voiced
treatment,

t
"e-

1
may

As
438"

examples
0"Mn"o{e".-

the following

stand

here

^^s-

w*

t:^

22=?

is.

""

e^-ffi t3
h

^^

98

MANUAL

OF

HARMONY.

"

^2-"-

^E^
'9-

"-^

t^-

^ESE

-"-

"
25=:i:

""-^

iT^n^fteEi?

isr"^

-o"^.

r"-^

.NB.
-"-

II
6 4

St

:?5=5:

F=?5:^

^F
9
3 6
'
_

8
6 7-4

6
3

"

6t)543

867

^"2"
-

a)

gJ-

i
the
at

"""

^
Tenor
makes

:t=:t
NB.

In

the good,

fifth

measure,

at

NB.,

skip
same

of

the
time,

into
a

the

seventh
skip

ot

because

the

Soprano,

the

long of

in the
can

me

direction,
this the
same
case.

into

the

fundamental

; only

the

position

the

Alto

cuse

In

measure

is found
original
character

the

chord
which

of

the

sixth

and

fourth

of

the

ugmented

triad,
here

the

fifth of of
a

is prepared from

(pages 91
below.

and

92)

t stands

in the

suspension

(See

sions, Suspen-

Chap.
The
same

XII.,

page

116).
in the

cantusfirmus

Alto,

transposed

to

majdr

NB.

"

fe" H
ft

i.

-""

1^-

(2.

(:=t

i
"-

c./.
""^

-"

:ai H^ m

r*

IS.

i
"=5t

-fS

nziii:

30.

f
5 4

?
3
6 6

8
6 4

iife S^E^
.""

A.

l^

f: I
'ft
j(2.
^

-"-r

I i
i

pS
m
f

-fl-

?2=5=

NB.

3=^
_fi"_".

^^1=^
In
the In fourtli
the
measure are

10
ng^.

found
measures

suspensions
the from
one

in

three
of

voices Alto

(see page
and
Tenor than
an

17).
not

fifth and

sixth

position
to

the

good^

because

the

distance

the

other

is

more

ctave.

Of

the

remaining
:

treatments,

that

of

the

cantus

firmus

in the

Bass

wiU

ere

follow

31.

^^.

fc*

JSl

'^'-^^

-o-

"-T

S
I"ferft
^

E
fi-i. -"-*"
""-

?5:?^

Hg^
6 4
"

E
6 4
3 6
-"-

-(a.

ife

"Tai
-"-

H
^

6^3116
6

6 .2

5^*

6 4

-^t^^^

4 3

s=tr

i
NB.

t
-"-i"

The

introduction
measure,

of

the
is

chord
not

of

the

seventh
the

of

the

seventh

degree, lies
imme-

in

he

fourth above

clear,

because

fondamentar

iately

the

seventh.

(See
in

page
not

69).
ensue

Besides
the

this, its progression

tone,

does

here

according
as

to

the

leading
other

leading of the

but
:

the

same

cadencing pages with

manner

with

the

hords The

seventh
of

Cjf07 FJ|. (See

canius

68
a

and

69).
of

treatments

this

firmus

leading

the

voices

in

00

"./.

I3e:
z:

11^
w

2=5

i
""-"-

IFE^
az

gZ^^e
5d:

sd.

Pfc-t=i

y?^#^

^
Ft
ti
6 5 6 4

6 4

-!^

=F

H
-"-

:r

J^l
fc=p:
."-.

32:

Hi
ff"

"=;

::lfc
KB.

^ ^1
7

^E^
6 5

:^

J(SL

"jflL

:t
2
6 6

4 3

^pi^

l=d:

^^^g
progression
of

3
-"-

i
the last

The

upward

the

seventh

in the of
the

next

to

measure

(at NB.),
The

is conditioned of

by

the

movement

Soprano.
follows:

(See

page

84)

treatment

the

cantus

jirmus

in the

Tenor

l^

3="^^3
t

3:

n
-"-

1^^
"
^"

3s:

^-0-W-

33.

^scz:^:

1-2"

a-^

iitt

:p:

?^

-"-

"JSL

"

-g

at-

:i^ 111^
m
fr

t
-"-

T=l^'

'-(s:

^-i.

-"-

-"-r

"

m
6 4

eTe
6

1^"9-

^1

6 4

m-"-i.

:|:

^r=X=^i

3=^-?

^
speak
of
octave

The
in

thijd

measure

gives
motion.

opportunity

to

and

sion fifth-succes-

contrary
to
are

According
they

the
as

principle
faulty in
as

developed
those of

on

page

27

and
motion,

the and

following

pages,

just

the

parallel

it is to

especially
the the

remarked free
movement

connection

with

octave-successions,
the much which make

that

they

confine

of

the

voices

; with

fifth-succcessions, milder approach the

ever, how-

character this is which

more

of

separation
true

is of each

rendered those

by

contrary
other
or
wan

motion;

particularly
progress

each

while

those

from
Tenor examples

other, also

separation

of

connection

perceptible.

(See
and
:

Example

No.

430

in

the

6th

and

7th

measures,

between
following

Bass).

Compare

the

la:
-"-

-jy

434.

-^

-bzP^^g"
G_.

J 2=^
""

^
-"-

:^
-G-

"*"

"

"6h

If

we

glance the

at

the

treatments

found
of
the

in this voices,
; for

chapter,

we

cannot

fail to

ecognize

melodic them
as

development contrapuntal

and

herein
in

lies the ground

consists

for regarding
of form,

labors

exactly

this

the

ssence

counterpoint, viz., that

in

distinction
the

from freer

the melodic which

purely
leading latter

monic rhythmical-harof
the
as

it conditions

voices,

but

with

observance

of the

harmonic

laws,

form,

it

were,

its innermost Everywhere

substance.
now

in

these
the

examples, harmonic
for

even

in
structure

those
can

where

the

voices

ove

in quarter thus the

a

notes,

simply

be demonstrated,
making
us

and

they

may

serve

the

purpose, simply

the

present,

of

stand under-

difference voice.

between
more

harmonic

and of

contrapuntal

treatment

of

given

The

particular

discussion

this

can

only

be

takes

CHAPTER
The
Five-Voiced

XXiy.
Movement.

As

the

doubliDg
moyement,

of

the
so

intervals

of
more

triad
than

is necessary five- voiced this

even

even

in

ih"

four-y Diced
a

in five and

movements

i
case

becomes
chords

necessity of
the

in

still greater

degree,

and

in

the

the

seventh.
pure

Since

in

the

harmonic
intervals

movement,

each

voice

must

maintain

it

independence,
will,
for

those
the

especially attaining
sure,
can

which

admit

of

double
be
each

sion, progresof

sake
to

of

this

independence,
place

capable
interval
adapted

eduplication.

This,
certain where

be

take

with
will be

chord

under
except

circumstances
a

; the

seventh
as,

least in

for
ren-

doubling,
this

melodic

leading,

for

example,

passing,

lers

reduplication remarks

necessary. in connection
Fxerdse.
6 5 4 3

Farther

follow

with

the examples

^iven.

2
^

485.

""g
treatment,

^
:s:

5=F

^tt
of

In

the
two

we

can

select, according
or

to

the

position

the

voisof^

ither

Sopranos,

two

Altos

two

Tenors.

436.
SOPBANa

fe-^C

-fl:

:5=^

W-Q"^AiffoL

;;o

;^
isiz.
-"--

"ltoII.

;;o

^"x-t\""^

TnroB.

l^\

?2=S:
1

6L

-"-

^
4

6 6^
221

S^

is:

The
437.

same

exercise

carried

out

in

another

manner

tOrSAlTO

I.

m
^
I

m.
1

-"

"-

"
:"_:

g
s
s

^"2^
tOPBAKOlL

?
""
"

!""

SL

ALTa

Ifo

TnroB.

"^

:^
-"-

^E
-F
6

^ ^
that the
two

6
Bass.

m
pertains
also

I
1-ZJS.

.6

is:-

'r-="-

t=F
the
voices,

It

to

the
upon

independence
one

of
in the

voices

d"

not

regain
the

stationary

tone

or
case

octave,

if
and
is

chords

change.
measures

In

above
the

example, second

this

is the

in

the but

first

second faulty,
no

between he
same

Soprano
leaves

and

Tenor,

here

not

because

chord

only
case,

its position,
:

but

is exchanged

for

other.

The

following

however

43".

ould

be

corrected

thus

P
439.

Q.

i^
!

^
:S
(2-

i'
-"

if3
RsvABK.
"

/_a:

t
however, other

;^
in connection

^This rale

admits,

of

frequent

ezoeptioDS

with

polj-

honic

movements,

because

there

relations

present

themselves.

That

the
tone,

leading
is shown

of

the

voices

will

also

admit of

of

the

doubling
No.
487,

of the
between

eading

by

the

third

measure

Example

he

second

Soprano

and

Tenor.

204

five and

more

than

five-voiced
unisons
pure

movement,

tbe
That
a

nnavoidableness
here
also

of
outer

covered

fifths, octaves
progress

and
in

will

appear.

the

voices
to

must

relations,

and

greater

freedom

be

allowed

tbe

middle The

voices

only,

may

be mentioned
contains

again.

following

example

various

progressions

of

this sort

440
BOPBANO
IL

Alto

I.

Alto

II.

U'

-^

^^
js:

-"-

Tbnob.

i^i
-"-

JSL -("-V-

xz::

m
7

6
Bam.

6 4
;i3L

8 t

6 4
251

Si^
?2=":

-"-

i^

:5=^

t^
-"-

jsl

/!!
::3::zs::

:t=i5F

jg^gj
-"-

l^-""-

Iffil

B
i

"
""

"

fS^*

"

Iffi.
--G

P"

isz.

ifz^
6 5

"^^
The
fifth, octave
strokes. and

?2:

covered

and
open
to
can,

unison fifth in

progressions the eighth

in
measure,

this

example

are

indicated

by

The
is not

between
tbe
to

the chord

second the

Alto

Bass

be

avoided,

since

polyphonically
made

of

diminished

seventh

only

with

difficulty, be

progress

otherwise.

The

first and

second

Altoh* in the

eighth

and

following

measurej

could

rs

g"

I
31
Of

-G-

441.
g

a=^r

"

^
must

That

the

Toices,

particularly
the

the
Alto

middle
and

voices, Tenor

often

cross

each

other

is shown

by

second

in

the

second

and

third

easures.

For

practice

in the

five-voiced

movement,

chorals

especially

can

be

used

o advantage.

The

following
AUein

may
Oott G

be
in

given
der
"

here

Choral:

Hdh'

set

Ehr*.

DODij'GDij'Os

Ga

"

-"

*""

-"

"-

-"-

'^

5iE"E?^BS P
" "

D.

"

El

bO

bOa*

"

I
G 0 D

'^-"-:

-fi

=F=t
A
B

s
B

^"

?5:=^

t=t
SI/

"

D.

:i=^

-"-

-g

O-

-"-

:^

X
VA/

-o-fi-

:F=t:=:

r:
\sy

The

work and
so

in

the

five

and

more

than

five-voiced
the

movement

requires
and

imple

natural

Bass-progression,
clearer

and
more

less artificial
the

difficult the
of

atter,

much

the

and

intelligible
the
more

succession
since
movement

mony harthe

itself of very

will become the chords

; this

is here

important,
the free

with
of

ullness

and

the

necessity
can

of

th*

oices,

unintelligible

progressions

easily here
:

arise.

The

beginning

of

this exercise

follows

443.

1
si

SL
*

J.
*

\" J

"

*^

a)

1=!
I
6

f
'

m
6
\"y

444.

CHAPTER

XXV.

The

Six,

Seven

and

Eight^oiced

MavemenU

The

necessity

of

doubliDg
it of

or

trebling
also

increases often
occur

with
in

the

number

of

the
with

oices

which

are

added; leading

will

connection
cross

independent

the

voices,

that

the here,

voices

each

other degree,

he

simplest

harmonic
condition

progressions
of the

become
of

in

still greater

undamental
it must
of

possibility
many

such
are

polyphonic

movements, at

nd

be

remarked,

that

chords

not
as

adapted
as

all for
are

this

nner

writing,

because
do

their
not

intervals,
allow

in

much

they

subject
the

definite chords

progression, and

of multiplication,

as,

for example,

ltered
A few

the

diminished
of

chord
may
:

of

the

seventh.
here.

progressions
to

the

triad
degree

follow

Progression

the

second

^-voiced:
._

thvoieed:
"

^"voiced:

"

i:
-g"

"-

3=^

a!

'=g

-ffi.
-o^

I
"-

45.
"*^
"

JSL
"

-*"
"

ig
-"-"-

^
"

-"-

(o:
"

-SL

l-ffoieed

8~9oiefd:
0

:g:

ifc

J:
-oar

^-_

^t

""-

Progression
4H"o{o0"t.*

to

the

ihird
5-w"ie"d:

degree

fk-fwleed:

7-iKneed:

6-9oic4d:

m
9 9

"

"

"-

'

g-

^r=^

I ^"

"jsr.

g^

W=^-^-{-^^-^r^
Progression
4Hooic6d:

I^I^g^^S
degree
:

to

the

fourth
t^-9"dced:

d-vaieed:

J-wdeed:

S-9aio"d:

^
9^

:s:

jsr.

"="":
g

^^
":

jGS.

1
^

::ss:

g
to

Progression

the

fifth degree
6-w"fced:

^t-fwiced:

^"wdecd:

l-voteid:

B'Votcsd:

I
-g9-

I
-gg-"-

i
-09tt.

i^

3::

1
-^-

12^:
-G

3C
-C-g-3-

js:

5152:
-OL

l^crScrt

1
with all inversions,

We

pass
great

over
nse.

f"rther

combinations

; to

try them,

will

e of
As

example
nnder

of
No.

the
442,

management may follow

of

the with

leading

of

the
:

voices,

the

choral

ound

here

six voices

440.

t4
I" "
II.

J:
~0

/TN

vmAKo

fS

!" 4-,-J "=?2 g:

P
Aiaok

'

S
""--^"^

^S
t

L_i
I. A

J
-"
"

imom

XL

v^

?5i:

3fc=t
-"-

3fe
:p

l=t

:?c:

6 6

"=!St

'"fH'-

"J-

d-J-"-J"

1=t

?
^

-"

"

f=F

J-4-mJ-s! f 1?:^
""-

::i

-"

3:

:S2=?2:

3^
^
-"-

t=P

^=i
:^

i
r-^~^
6
"

^bd
T

"=q
"-

r
6 4

f
3

-"sa/

^7\

S^ n

zt.

J*
r

1-

J=d:

v-

E
"^"

U^^
d=i
I
F=f
6

is:

4.

J"
-"

4.
!"-

I
"

ii;
r

"^

1
"

"-

:^

f
6

--

"-

5^1
s"/

f 3:

7 4

^:

^=F

i:
vj/

^i^
"

g-

-"-

EE

ti

(2

:g

6
6

7 6i]

7
6

IS.
-"-

tn

"l-^

\SJ

Since
the

in polyphonic
same

chorus-movements, in
a

all the the

an

voices
movement

do not

always
often

work
appears

time,

as

choral-treatment,
and

nly

three
accession

and

four-voiced,
of
a

receives
voices.

increase

of

intensity

through

he

number

of
will
that

The

following
serve can

examples
to

explain

this kind

of

chorus-movement
also,
suspensions
to

and and
clear

specially

show,
well

in

polyphonic

work without

assing
and

notes

very

be

introduced,

detriment

the

ess

intelligibility.

447.

ti
I
9
"

"""

Soprano
Iifcll.

2.

\^
;iii2=
J
""

1
"

f-"-

tM
"5
^-^
-9"

"uro.

-S--

lai
-"-

3C

SNOR

"

I
"at

IdsIL

ip-5

WS:

"^;^zr.

^:^;r=f-g
is:
T-g

W yg

abs.

9'g==

""-

"^^h
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s:

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210

MANUAL

OF

HARUONT.

44

".

BorxAvoI.

80FEAN0

II.

"lto.

AlvoIL

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feii
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ri

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tfe g

I
i

:??:

"-T-

:?5:

IE

E
In
for which,
are

eighirvoiced
voices
are

ohorus-movements, used twice,

voices,

as

rule,

the

customary

our

the
which

latter
would
are

not

always
cause

found
too

employed
fullness,

as

ight

independent
two two

easily

great

but
tw"

requently

voices Altos,

of like
or

kind Tenors

employed
and
two

in unison

(forexample,
unison), so
find
also

opranos,

two

Basses

in

that the

the

ovement

often

appears

four,

five and

six-voiced. which

We
work

eight

oices

divided
in single
an

into passages

two

different together.

choirs,

each

for itself, and

nly
As

example the
:

of

the

particular of

progression

which

many may

of

these

voices

ust

make,

beginning

the

choral

given

above

follow

here

for

ight

voices
449.
L

PKAHO

II.

Auo

I. A

IL

Tterom

IL

Boi

1. *

U.

12

MANUAL

OF

HARMONT

^
""-"

rss

#=q

"ss-

^"=t=t
*
4"4. J
-"
"

f^
i
"-

Ptrf:

^Ts:

32"

I i 1

"t=F

"-

s
J
I
"

331:

2S"

t=F

J
I

i
t

iS
f
The
difficulty

of

this
are

manner

of into

writing
two

is, in

the
choirs,

case

of

polyphonic

vements

which
two
or more

divided

different it is not separates

met

by this, that
the

here

choirs
the

work
metrical,

together,

altogether the
voices

tonicai

ifference,

but

often

which

; it is alway

be

presumed,
manner,

however,
and
never

that

the

harmonic changes. when

succession

takes

place

in th

implest The

in rapid
to

above

is generally
choruses, where
are

be

understood
etc.,

we

speak
pieces

of twelve

or

six only

een-voiced found,

movements,

and

single

of

Bach

eight
to

and

more

voices

(among

which,

however,

instru

ental

voices hints
with

be

reckoned), are
the

treated

obligate.
may
can

These
rest,

concerning

polyphonic of

movement

here

suffice, sinc%

he

thorough
the

knowledge
for
may

harmony,

be

left

to

per

onal

study

and

inclination
we
manner

polyphonic farther
remark

movements.

Concerninj,/
the will
music,
use

ts

application,
form

however, and its

that

of

th"

olyphonic

of treatment
for
not

above

shown,

have

appli

ation

mostly

in compositions

choirs

; in

instrumental

however
of
so

g.j in orchestral

works,

will

find place
us cases,

(as the

taking

part compass
movement

man}

nstruments

of varioui the

kinds

allows of

to

suppose)
the
of

in the

adduced

or this

last, in

majority
the

four-voiced which

will be the
actiuU

ufficient,

concerning in

farther
can

treatment

only

nstruction

instrumentation

give

information,

since
manner

here

th^ relations

of reduplication

(even
to

if often

approaching

the

shown

aboTe)

ost

still be

subject

other

principles.

CHAPTER
On
the Musical Forms

XXVI.
Close.

of

Several
relation

kinds
to

of

close

have

already
close,

been

mentioned

(pages 32
followed
no
on

and
pages

83)

the
course

authentio of
to

flsu'ther remarks treatise,

40

nd

53 ; in the
has

the

whole
up

however,
that
:
a

farther

opportunity

been
other

given kinds

take of
are

the
may

subject, so
here
follow

fuller

explanation

qf

hese

and

close

The
The The The
:

forms

of

close

immediately

divided

into

authentic
plagalic authentic
or

close and
plagal close.

close

has
was

the

formula
remarked.
at

Y-I,

the

plagal

close

lY-I

(or in

inor
Both

V-i,
kinds
at

as iv-i),
are

before
only

used
close
more

not

the

conclusions
parts,

of
the

whole

compositions, and their

to

ut

also

the
The

of

the

principal

of this

periods,

ivisions.
of

particular

discussion referred
a

of
to,

point

belongs

the

octrine If
the
the
to

Form. close

(See

the

book

page

142).
stands
alone,

plagal

concludes

piece,

it

seldom in

but

succeeds

authentio

close ; in

composition

minor

it also

frequently

eads

major,

e.

g.

avih,
close

plaffol
close

450.

In

the

last

case,

as

in the

above

example,

it is introduced

by

means

of

odulation.
The closes

(cadences)are

also

divided

into

whole

and

half

closes

'^cadences).
By the
first is understood
cadences.

the
case

same

which the whole

is

comprehended
a

under

the

uthentic

In

the

of

cadences
ones.

farther

distinction

s again

made

between

perfect and

imperfect

andamentals
the tonic,

of
e,

the

dominant

and

tonio,

and

the

Soprano

the

fondamental

g,
not:

451.

I
""-

^
imperfect, e.
g.

If this is not

tlie

case,

they

are

called

":

I
"t
6

i:
-"-

"

53.

6 6

wO"

^F=g=

2s:
jO-

M=fN'=J
the dominant
to

i
degree,
they

If

the

Bass

progresses
cadences.

from

another

are

alled

deceptive

i
453.
6

m
-"

"

-^

^^

^^1
pages

See The

the

examples,

82

to

85.

half-cadences have

the

formula

I-V,

e.

g.

454.

g^Ej^Eg
7y

They

consist

therefore

in

this ; that

the

dominant

triad

completes

the

ovement.

Besides

the

tonic

triad,

other
of
a

chords half-close,

of
e,

other
g.

degrees

can

precede

the

ominant

in the

formation

niy

IV

""""
VI

MANUAL

OF

HARMONY.

216

tyminani

which
the

are

formed

by

modulation
in
a

into

the

same

; with

which^
through

owever,

modulation
position

itself is not,
of

definite

manner,

effected of the

he

fundamental
through its
e.

the
or

dominant the

harmony chord of

seventh,

but

ither

inversions
g.

through

the

seventh

of

the

eventh

degree,

"..

i^i^^ji^^Ega
Q:

Ad

vn"iy

"

o:

vii^iy

C:

o:

ii^i^

This

is, however,

the

case

only
use

in

relation

to

the

ruling

key,

which

has

mmediately For
the
are

before
farther

been

made

of. of these
of this

understanding
in the

kinds

of

cadences,

compare

those

hich

found 388

examples in which the

book.
fourth of
measures
a

In

No.

is found

third

and
the

half

cadence
of
we

ormed

through period;

n-V,
in
or

effects

close

the

first division

the

hole

the

seventh

and

eighth

measures,

however,

find

perfect whole
In Example
formed
key
of

authentic

cadence. is

No.

392

found

half- cadence,
a

in
or

the

third

and

fourth
cadence

asures,

through the

I-V,
at

and
the

perfect whole
conclusion. of the

authentic
this is

the

dominant
dominant

(Thus

no

half

adence,

since

the

harmony

seventh

renders

tiie modulation

decided).
In
the

choral

treated
cadence,

under the
to
e

No.
second
minor

446,
with

the
a

first strophe

ends

with

an

mperfect
with

whole
a

hird

AaZ/'-cadence
in Ga

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

2i

hole

cadence

he

sixth

with whole

major, half cadence

in Q-

the fifth with

perfect whole

cadence

in

minor, with

in

minor

(iv-V), and
is easily
of

the

seventh

perfect
The

cadence
of
pieces
as

major.
cadences the the
care,
means

application

the

various form of

found

in and

chorals;

for

re

extended
the

they
as

boundary

connection

smallest,
to

well with

more

extended

movements,

and
a

are

herefore

be used

much of

because

upon

tiiem

depends

great

art of the

Form-construction

piece.

INDEI

OF

SUBJECTS.
^""

^campanimenit
195.

fig^urated,

188

; hannomo

aooompaniment

to

giren

roioe^ 151 ; 17S;

fter-striking of
23
; alto

harmonio
alto

tooes,

121.

lto,

notes,
121.

elet, 118.

nticipation,
107,

rHs,

138,

174.
progression
128.

Bass, 23 ; movement,
harmonic,
65,
81

of the

same,

34,

86,

168,

208.

y-tones,

adence,

; whole,

hal( 178,

218;

perfect^

imperfect^

62, 218;

aonneetioii

modulation,

148. 149,

adence

formuloB,

160.

antutJirmuSf
118.
as

196.

eUf,

horals,

exercises,

175,

206.

hord,

21.

h^rd'/omiations,
altered,
see

accidental,
91,

106.

hords,

48,

101;

passing, of the
48
*,

188;

yiewof

same,

99.

also

Triads,
and

Chords

seyenth.
same

^iord

of

the

sixth

fourth,
143

; the
as

in the chord,

formation
189
;
use

of the
of the
155,

dose,

63 ;

nection

with

modulation,

passing

same,

158.

of the

augmented
sixth

triad,

92,

198;

of the
the

diminished
as

triad,

188.
; augmented,

hord

of of of
of

the

and
with
59,

fifth,69,
modulation,
61,
68.

60,

62;

same

suspension,

189

97;

in connection
the the

147.

hord

second,
sixths

hord

fourth
21,
same

and
54;

second
dominant

(see Chord
chord
188. 68,

of the

second).
seventh,
64,

hord

the

seventh,
64
; the

of

the

67, 61, 82, 144;

6ft

sential,

in passing,
in

of the

seventh

degree

major,
90;

78, 90,

200.

diminished,
movement,

76,

79,
204.

87,

in connection

with

modulation,

146;

in

the

phoni poly-

hords

of

the

seventh,

connection
tone

of the
81,
86

same

among of the

themselves,
same,

78 ; in oonnectioD

with

chords

of other
the

degrees,

; view

100.

hord

of of of of

sixth,

47 ; augmented,
88,

94.

hord

the the

thirteenth,

90.

hord

fourth
tones,

and
88, 54

third, chord
90.

of

the sixth,

fourth

and

third, 69, 60^ t%

hord

the eleventh,

hord

of four

(see chord

of the

seventh).

hromatic

alteration,

91.

onsonance,

17 ; complete,
motion,
26,
186.

incomplete,

17.

ontrary

MANUAL

HARMONY.

217

onnection
82

of chordBf
; authentic,
see

26,

78, 81;
82,

local,
88.

umer,

85.

lose^

plagal,

also

cadence,
66, 40,

whole

dose,

half dose,

deceptive

cadeDe"b

losing

ccidence,

81.
41,

losing

fomvidcB,

149.

ross-relation,

unharmonifl^
81. 18.

166^

eceptive

cadence^ diatonic,

egrees,

igression

(see Modulation).
17.
harmony,
14.

issonance,

ominant

G-triad,

chord

of the

seyenth

in connection

with

modulatioii,

144.

leventh,

xercises,
of the of the

for

practice

of

the
46

primary
; of the

triads
inversions

in

major,
of the
same,

30

of

all triads
; of the

in

major,
chords

8^

triads
seventh,

in minor,
68

triads, 49
68
; of

dominant

chord

; of the

inversions

of the of the
seventh
86

.the

secondary
among

the

seventh,

78 ; of
secondary

the

connection

chords

of the

seventh

themselves,

*IA:\ of the
same,

chords

of the
cadences,
tone

in minor,

77 ;

of

the

inversions of the

of th9

80 ; of the

deceptive

; of the
or

secondary
ke3rs, 87 ;

chords
of the
108

seventh

connection
94

with

chords

of other
98

degrees

augmented
; of

triad
sions, suspen-

; of other

altered
119;

chords,
the

; in searching

out

modulation,
to
a

the

112,

of

harmonic

accompaniment
in the
of the

given

voice,

161,
;

162,

167,

163,

164,

166,

170,

171, 187,
to 202,
a

172,
191,

173;
192;

development

of

melody,

177
193;

in the

thre^harmonic

voiced

movement,

two-voiced

movement,

in the
;

accompaniment
voiced
movement,

given
206
.

voice

in melodic

development,

196,

200

in the

five

ifteenth^ 14
22

ifth, 18,
in the

; perfect,

16,

16

; augmented,

15,

16,

76

; diminished,

15,

16,

88,

60

fift

chord

of the

seventh,

67, 70.
28,
61,

26, ifth-progressions(parallelfifths),

79, 97 ;
and

open,

80,

78 ;

covered, in

80,

87

110,

168,

204;

in

connection

with

passing

changing

notes,

138;

contrary

motion,
44,

201. 48, 68,

iguring,

64,

68,

68,

111,

128.

ourteenth,
13;

14.

ourth,
166;

perfect,
same as

augmented, chord,
189,

diminished,
196.

16,

16;

preparation

of the

perfect

fo1lrtl

the

ourth-progressions

(fourth parallels)in passing,

68, 56.

184,

186.

ormation

of

the close, 89,

harmonies,
21 ; in the

undamental

21

; chromatic

alterations seventh,

of the

same^

91"

undam"ntal,
close

chord

of the
218.

57.

alf

(half cadence), 178,

21. tones

armony,

armony,

foreign

to the,

106.

ntervals,
see

division
also

of, 17 ; view

of the

same,

16, 18 ; inversion

of the

same,

lH

omission,

reduplication.

ntervals,

doctrine
13
;

of)

18.

nterval,

major,
and
18.

perfect,

14;

minor,

augmented,

diminished,
156.

ICu

nterval

steps

skips,

augmented

and

dimimshed,

ntervals

above,

Invenion^

47;

of the triadi, 4*7 ; of the

chords

of the

seventh,

69,

62,

19

(see

also

I t

Leading

tone,

ST, 89,
22,

66,

76, 116,

169,

208.

Major

triads
y

66.

Melody

its development,
voices^
28.
22,

176 ; its rhythmioal

formatioii,

1*77*

Middle

Minor

triad,

88,

65.

Modulation^

102

; means

for the
184;
seven

same^

141

; its extension

and

completion,
187;

148. 28;

Movement,

one-voiced,
202 ; six,

two-voiced,

198;

three-voiced,
206.

four-voiced,

Art*

voiced,

and

eight-voiced,
26.

Movement,

parallel,

contrary,

oblique,

NaehaatZj
14

177.
;

Ninths

major,

minor,
88,

15.

Ninth,

chord

of the,

118,

127.

Ninth'SuepenHon,
movement,

118.
26.

Oblique

Octave,

18

; perfect,

augmented,

diminished,
26,

16,

16.

Octave^rogreasions
84,
168,

(octave parallels),
in contrary 67,
78,

28;

open,

30,

110,

188;

oorered,

80^ 86^

ft

208;

motion,
188,

201.

Omission

of intervals,
123.
11.

198.

Organ-point,
voices,

Outer

tiss;

passing

notes,
138.

128,

184.

assing

chords, 177.
close, 38,

enod,

lagal

41,

218.

osition

of
13;

the

chord,

close,

open,
70;

dispersed,
of the
16,

81,

82,

114

reparation,

of the

seventh,

suspension,

107.

rime,

perfect,

augmented,
the

16.

rimary

chord
triads,

of
in

seventh,
28,

64,
33

64. 40.

rimary

major,

; in minor,

rogression,

melodic,

unmelodic, chords

166,

156.

of the unison,

secondary

of

the

seventh,

66,

73, 81 ;
of the
111, 60

see

also

resolution,

basi

octave,

fifth progressions
26, 39,

""c. ; connection
48,
68,

chords.
182,

eduplication,

of intervals,
of the

70,

96,

109,

202,

206.

esolution,
seventh

chord

of the
66;

dominant

seventh, of the

66,

; of the

secondary
109, 116,

chords
120.

of the

(in major)
triads, in chords

(in minor) 74;

33 ; in minor,
64,

suspension,

106,

cale

(see Triads).

econdary

major,
the

42.

econdary
13

of

seventh.

78, 86.
16,
16.

econd,

major,
of the

minor,

augmented,

econd-progressions
step
37.

(second
augmented,

in passing, paralleb),
44.

184;

with

changing

notes,

180.

econd,

equence,

eventh-progressions
13;

in (seventh parallels),
minor,

passing,
16; 164.

184;

with

changing

notes,

136.

eventh,
same

major,

diminished,

16, 168, 16.

passing,

72, 176;

preparation,

70;

the

without
13
;

preparation,
minor,

72, 77,

ixth,

major,
63.

augmented,

16,

ignatures,

MANUAL

OF

HARMONY.

J19

toHonafy

voices, 123,
pure harmonic,

126.
24, 24;

trttcture,
pure,

187, 187.

tyle,

strict, free, triad,

106,
28.

pure,

ttbdominant

ttepension, 117,
14.
28

108

; in the

bass.

111;

from

below

upwards,

116;

in sereral

Toieei|

199.

hith,

enor,

; tenor

notes,

tenor

cle^ 113.
diminished, in the
of the

%e8is,

107,
18,

138.

hird,

70

major, minor, (see Leading tone).

14.

22;

16,

16;

chord

seyenth,

166,

57

hirteenth,

horough-base
triady 23,
21

notation
142.

(see Figuring).
22 ; dominant

onic

Had,
28

major, minor (in connection

; 34, 88, 48,

triad
142

(in major)
; subdominant

28

(in minor)
28.

40

; tonie

triad

with

modulation)
94

triad,
; augmented,

double-diminished,
60,

; harsh-diminished,

96,

96

48,

66,

92

ished, ; dimin-

66. 21,

Hade^

of the
of the

major
minor
46,

scale,

88, 42,

43,

99. 99
; natural

scale,
99.

40,

46,

connection

of the

same,

22

; view

the

same,

ritonue,

70, 169.

14. ioelfth, 18.

nison^

nison

progressionSj
movemeot

27 ; covered,
of the,
26,

161,

206.

oices,

66

;' (see Progression,

Ae,),

oices,

compass
relation
outer,

of the, of the,
23
;

113.
113.

oices,

oices,

middle

Yoices,

28

; deyelopment

of the

accompanying

rmces,

14S.

ordenatz,

174.

NOW

IN

PRESS.

RICHTER'S
OF SIMPLE AND

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