Kitson's Little Book On Elementary Harmony.

/
ELEMENTARY
HARMONY
PAl^
III
BY
C.
H.
KITSON
M.A. Cantab., D.Mus. Oxon

PROFESSOR OF MUSIC, UNIVERSITY COLLEGE, DDlijUtN
SENIOR PROFESSOR OF THEORY, ROYAL IRISH
ACADEMY OF MUSIC, DUBLIN
OXFORD
AT THE CLARENDON
PRESS-
ffa^ 'C^K'-'ji
OXFORD UNIVERSITY PRESS

AMEN HOUSE, E.C. 4
London Edinburgh Glasgow New York
Toronto Melbourne Capetown Bombay
Calcutta Madras
GEOFFREY CUMBERLEGE
PtJBLISUER TO THE UNIVERSITY
50
V.
3
FIRST PUBLISHED I92O
REPRINTED 1922, I926, I929
1933. 1935. I94I. 1946
PRINTED IN GREAT BRITAIN
PREFACE
This part concludes the elementary survey of Harmony
as practised up to the time of Brahms. The student, of
course, knows that this technique is now practically
a dead language. But there are two valid reasons for
still
teaching
it
(i)
The new
technique
sufficiently settled for the formation of
theory;
(2)
is
not yet
any systematized
Students ought to understand the technique
of the various periods.
we now have
Broadly,
three
periods
(i)
The Polyphonic
is
Period
up to
1600
this
technique
or should be studied under the heading of Strict
Counterpoint.
(2)
The Homophonic Period, from 1600 up to Brahms.

The Modern New Music as seen in the works of
'
(3)
is
',
Debussy, Ravel, Scriabin, Delius, Schonberg, &c.

In the Polyphonic Period the contrapuntal aspect of music
chiefly revealed, for the simple reason that combined
sound
itself
styles,
was the
result of
combined melodies.
In later
we have
both the harmonic and the contrapuntal

and the second is always the later manifestation.
periods
For, obviously, a writer cannot
give
individuality of his various parts
conversant
with
the
harmonic
attention
he
till
basis
is
to
the
thoroughly
underlying their
combination.
This book has dealt with the purely harmonic side of

the period.
The
student's next step
is
to study the contra-
puntal phase.
It
may further be urged that the
attempting modern technique
is
best-equipped person for
he
who
understands the
whole process of development.

C. H.
A 2
KITSON.
CONTENTS
CHAPTER
PAGE
Chromatic Supertonic Common Chord and Seventh
16
CHAPTER n
Chromatic Supertonic Ninth and Thirteenth
CHAPTER
III
26
Chromatic Tonic Discords
CHAPTER
IV
Chief Chromatic Triads
34
CHAPTER V
Chords of the Augmented Sixth
CHAPTER
43
VI
Pedals
50
CHAPTER
VII
Additional Exercises
59
CHAPTER
VIII
Accompaniment Writing
CHAPTER
66
IX
Simple Variations for Pianoforte
Appendix
.75
.91
CHAPTER
CHROMATIC SUPERTONIC COMMON

CHORD AND SEVENTH
1.
is
One
of the best approaches to Cadences (except the Plagal)
obtained by employing Chord 11 a or

Ex.
b.
I.
,^=-=J-_pi^=p^
J J
'J
J
II
J-
J-
<-^
Ci>
i-r
By
sharpening the third in Chord H, a
to the resource of
x.
2.
new
colour
is
added
harmony.
î
-f-^-s>-
^^
-rfn
P^n=^
<n
-l^c
t-n
()
.^^
Hi
=!t=
-J-
pg-
J-
-f^
"
1
This chord is derived from the dominant key, being the

dominant of the dominant. Its natural tendency is to lead into
its own tonic, and thus to produce a modulation to the dominant.
Ex.
3.
=--:
^^
A
12:^
!-.
f^^^ m
A
F?=
CHROMATIC SUPERTONIC
be desired to prevent modulation, the chord must be

common chord or the dominant seventh.
In the latter case the chromatic note usually falls a chromatic
semitone (see Example 2 {b) ). But the following is also
If
it
followed by the tonic
common
Ex.
4.
J^=Jz
rS:i=S:
3EP
w=i^w2.
If the
seventh be added to the chord, a fundamental seventh

is formed.
It is in fact the
precisely like the dominant seventh
dominant seventh of the dominant key.
The
(a)
resolutions are as follows
On
to the
Ex.
The seventh
5.
in the supertonic
dominant chord,
dominant seventh.
if
the
fifth
latter.
Ex,
chord
may
rise to the fifth in the
in the former rise to the third in the
^
6.
-I
^
J
1-
-J-
COMMON CHORD AND SEVENTH

On
second inversion of the tonic chord, which

dominant seventh.
In this case the seventh of the supertonic will remain to be
a part of the tonic chord, and it is better that it should then fall.
(b)
to the
will itself resolve into the
Ex.
7.
J=A
?
^Ê^ m
^
r
^.J- A A
-7^-
*==
possible
J. J-
J_A
J-
<& p jp
Or
it
may
rise to the third of the tonic
chord as the
fifth
rises
to the root.
Ex.8.
A=d^
pf^
J-J.
^
This
is
merely a decoration of Ex.
6.
In these cases the supertonic seventh really resolves on to the
dominant seventh, as the six-four of the tonic is merely an

appoggiatura chord. But inasmuch as it gives the effect of
a cadence in the tonic, the addition of the seventh to the dominant chord is unnecessary.
Ex.
9.
dP-J =i^
o
U
taÛf ^^Jp:
i
22:
cL
lO
The major
third in the supertonic seventh
because of
its
3.
As
'
VIIZ> of the dominant key
supertonic seventh,
it
Ex. 10
The
Ex.
character.
incomplete-
^f^
^=Nr
J=J:
supertonic chromatic
also be used in the
really the
3S
is
may be added here
pfc^
4.
must not be doubled,
movement and leading
fixed
rrrr-^
common chord and
seventh
may
minor key.
II.
r^ F^V^
'-T
rJ
=ill
<s>-
J.
ri
^^r-f^- -r-^-
A.
A
p-
-1
*^
But care must be taken to avoid the melodic interval of the

augmented second, as for example Et^ to Y% in C minor.
5.
This chord may be decorated by appoggiatura or sus-
pension.
(a)
Ex.
Root decorated
la.
^
Êj^
-xii
i^p-Us,
J-
J-
^!-r^
li
The minor
ninth
may be
used in the major or minor key
but not the major ninth in the minor key.
II
f=^
X-
{b)
Ex.
Note the chord of the seventh may be used in any inversion.
Third, or root and third decorated
13.
^=^4-.^^ ^
-^
^^
-j^
-A, 221
WT^
i
g
m(c)
Fifth,
or
fifth
and
third decorated
Ex. 14.
-ct
I
T
Y
^711^3; a
Û=A
^
jiii:
:?a:
In the minor key the decoration of the

impracticable.
f
-s-
r
-e>-
?2:=o-
fifth
by the sixth
is
12
Ex.
15.
ugly
-
i r
Q-^
fac^.
i^-
^^^
J:
|g=fe:
For the same reason, the use of the minor
sixth of the root as
a decoration in the major key should be avoided.

6. Note that the resource discussed is best used as an approach
to any cadence except the plagal, or as a means of modulation
to the
7.
dominant key.
Use
the examples as ear-tests.
Abbreviations for these chords
Supertonic Chromatic Triad, II
Seventh, j^ (or
(1 3).
(J
3,
as the case
may be).
Exercises.
(i)
Harmonize the
supertonic
introducing
following,
common chord
r-f
(c)
chromatic
the
(cadences and their approach)
C'O^
-^^
:?3:
t=i
(2) Resolve the following chords in

adding the proper key-signatures
(*)
I
A
mr^
-)S>
(0
fep^=pqi^Ff^
()
r-f
major and
minor,

(3)
13
Resolve the following in three different ways
If
^
(See Ex,
irt
^
5,
6 and
8.)
Treat the notes over

(4) Add parts for alto and tenor.
which slurs are placed as decorated forms of the supertonic
seventh
(4)
()
-e>
--!
yd
rJ
tt=2:
-o-^
(rf)
J |W:;ui^=P^ "^î
^^b^-^
\-
tIÎt
jS^ n^'b
^^
(0.
=pz:
^dt
r-g,i>
^=FJ^
!-
-6'
ri-
t=^
Z!c^- o
::
hb
'""1^
1
LgJ-^^sJ-J -0
e*
14
At the points marked x
(5)
substitute double suspensions, or
appoggiaturas
(*)
()
#r^^-^=^^^0 =r
=^0
=s
-^
par. 5 (c)
par. 5(6)
1
%t=^= -r^
F^
l-n
*3
-0
-1
'
e>
(6)
Add
parts for S. A. T. to the following unfigured basses
^g-J^+3-^
(6)
S^
^^S
ypv=^
32:
(0
^^
Harmonize the following
for S. A. T. B.
()
-ri
-e>-^
gdt=t|Q==^
{7)
-JOL
?d
E^3!^
Ex.
^^=J-H-|j-^
Ex. 13.
2ir
8.
(*)
*fe
^-^.'
15
nr^^,^
Ex.
13.
u ^=N^fe^
#^4
Ex. 12.
I
(8)
n-f?itzit
fcit
Add
parts for A.
introducing
some
^
and T.
^-
in accordance with the figures,
unessential
notes
(the
may be
soprano
elaborated)
1-^
III
J-iJ=J^
i'^p^
^^
gg
65
ki
Q6
i
M-^
*
^>-r-
8975
6
.\
132
^
U
6
5^
b7
::
CHAPTER
II
CHROMATIC SUPERTONIC NINTH

AND THIRTEENTH
I. The major or minor ninth in the supertonic discord may
be used as an essential harmony note, without preparation.
The major or minor ninth can be used in the major key; only
the mino'r ninth in the minor key.
(a) The major ninth either falls one degree into the dominant seventh
Ex.
16.
$
J-.
1
V7.
,^T
3^
or remains to be the third 6r4he tonic chord, or thirteenth of

the dominant
Ex.
17.
i ^
^
fifth
23=^^1
zdjlcz:
ip:
4fS:
32:
-JzH
^tÊ^
^^--
The minor ninth in the minor key is treated in the same

Transpose the above examples into C minor.
(c) The minor ninth in the major key either falls to the
of the dominant or rises a chromatic semitone to the third
{b)
way.
22:
of the tonic.
NINTH AND THIRTEENTH
17
Ex. 18.
1
te=t
-jzt.
*f^
-J-
i=feJq:uJ-JL3i
|P=^
a J
-J-
JL J.
~q:
j^
^
minor ninth
In
sharpened root {D#).
the latter case (a) the
2.
In the inversions the root
is
is
often written as the
generally omitted, and the
chords are the Leading and Diminished Sevenths of the dominant key.
Ex. 19.
Q ~P'
^
1.1
^=^^^
m^
jj. 4
3::n
^T-p-lf?^
rj
An J.
z^-
j-_
A J- j.jAj.
^;~i
rtt-r::
(n
52
5
B3
J.
/^^ U ~
^~t~?2=Ss22:
-1
n1
?2: 1^-
2:i:
6
5
f6
i8
The major
ninth must be sounded above the third, hence the
inversion of the supertonic major ninth
last
this
chord the only really free note
the
is
fifth
is
not used.
In
from the funda-
mental.
3. Note the use of the diminished seventh of the dominant
key as a link between two statements of the tonic chord in root
position or first inversion
Ex. 20.
(A)
()
=P
nî:
W-
2Z
:#^
m S3
^=i
221
Another explanation of the combinations
at (a)
and
(b) is
that
they are auxiliary notes.

4.
Consecutive chords of the diminished seventh
1V=>~tt
j-
jsL
@=nii^pAt
(a)
5.
J >J
-xiii
--?2=^^^=2L
J-
il ^ r
?^
A*
may be used.
J^
32:
It
the seventh of the dominant rises a chromatic semitone.
The
only supertonic thirteenth that need be considered
the major form.
It is in
any case
rare.
It
the dominant seventh.

Ex. 22.
231
IpEd^p^^br^
m: T2L
must resolve
is
into
19
Chromatic supertonic harmony is very useful for purposes

It forms a strong approach to the new key, and
should generally be used as supertonic in reference to the new
6.
of modulation.
key.
Any
(a)
common chord can be

common chord in a new key.
diatonic major
a chromatic supertonic
Key C
quitted as
major.
quitted as Chromatic II in Bl? major or minor.
IV
Eb major or minor.
,,
F major
Key C
or minor.
minor.
F major
quitted as Chromatic II in
VI
G[?
or minor.
major or minor.
Ex. 23.
-^
^ J
^ -^
T2.
V C
Ch.
(b)
pEBÊEp^^
=s
II
J-
major
major
The dominant
iA.
?z:
ÊE
I
Ch.
II
C major
Bb major
)
\
seventh or ninth can be quitted as a
supertonic seventh or ninth of a
new
key.
Ex. 24.
jp~
J.'Â
1^
:p2:
zizH
Ch.
(c)
its
II
The chord
will obviously
^
C
F
A-i
f^rr^
A.
J_
major
major
J.
V9G
Ch.
-3=t.
II
major
C major
of the diminished seventh of the supertonic
be a very
enharmonic
fruitful
means of modulation, because of
possibilities.
B 2
20
We
may, of course, approach a fundamental discord as being

it as dominant in another.
It
is better to approach as dominant, and leave as supertonic.
But
the diminished seventh by enharmonic change can be supertonic
of the key quitted and also of the key approached.
Use the
notation of the latter. A few illustrations will make these points
supertonic in one key and leave
clear
Ex. 25.
î
=P=^j^^^=^'
J.
rj
t1
t>py
X2.
i^^^ |p=p^g=^: d:
?2=
"cr
V9C
C major
Ch. II 9
V9
major
C major
xiL
Ch.
II
major
9 F major
minor
^KrT
II
II
9
9
C major (D j = Eb), Root D.
A minor,
The enharmonic changes of the
Root B.
supertonic diminished seventh
are:
Ex.
26.
22:
ip=^
1231
jC21
-|cr
t-^-
w=^^^m
Root
The
Root
i^te:
Root
Root G5
^r^Root F
by remembering that
major third, perfect fifth,
correct notation can easily be found
tke sounds from the fundamental are
Al>
ZCZL
21
minor seventh, and minor ninth. Also bear in mind that the
harmonic chromatic scale has the following notation tonic and
dominant once, the rest twice.
:
Ex. 27.
C major or minor.
^^
i
The
-ff
rj
rj
bo
theoretical notation of these discords follows the scale of
the key used.
Use
7.
the examples as ear-tests.
Abbreviations
if
required
II
7
6.
8
8.
Compound Modulation.
with roots falling a

case no key
fifth
confirmed
is
series of
in succession
till
fundamental sevenths
may be
a concord
used. In this
used in cadential
is
idiom.
Ex. 28.
*J:
3:i:
:P2:
w4
^^
Tc^
'
i^^
=^
ifei:
^
V7C)V7F)V7Bb)V7Eb)V7Ab)VDb
II 7
II 7
Bb
II 7
Eb
II 7
Ab
II 7
Db
Exercises.
(i)
Give various resolutions of the following chords

()
(6)
S5
J.
(0
-\
-cL
te
"=^^
:e
IDb
22
Resolve the following chords
(2)
()
(0
(*)
EtSE
^.
*3=
Efe=
in the
key of
major
(d)
3^
i^
^_
lE
00
(3) Place a supertonic diminished seventh between the

lowing chords
()
fol-
(&)
E3E
S:
^
t-
(4)
Follow each of the following by a different diminished
seventh, and resolve the latter

()
(6)
-P^ X
^
^
^^^^4f
(5)
In four chords modulate
::P2I
from D major to G major by

chromatic common chord in G major.
{h) from D major to C major by
chromatic common chord in C major.
(c) from D major to G major by
chromatic seventh in G major.
{d) from D major to G major by
chromatic ninth in G major.
(a)
means of a supertonic
23
(6) Write the following chord with the correct notation for the
keys specified, and state whether it is dominant or supertonic
i
w
-^
&iz
major.
major.
{c)
Ai? major.
{g)
F# minor.
E9 major.
(d)
{h)
'
[e]
(/)
major.
Resolve the chord

(7)
Key A
Key D
(a)
{b)
major.
major.
in all these keys.
Harmonize the following fragments, introducing the super-
tonic ninth or diminished seventh
ft(l
-j:=t
f^
&^
I-
4\
*^vrW
-joL
W
ii*
i 't=F
^;CV
gy=Fj=îd^;E^^
I P^
^fe
X
w
*t:
:?2:
ff
^7
24
(8)
Add
parts for S. A. T. to the following basses, introducing
supertonic chromatic discords
SS
^^
^^p
vrxTY ^
=P2=&
(9)
for S.
A. T. B.
pBEtr=^-{^^^Tr^rf=h^
gTTf
i
(10)
Add
parts for S. A. T. (introduce
some unessential
maintain crotchet movement as a general feature
i^
p
5
3
53-
6
4
07
5
6
5
j^fe
notes)
23:
3
3-
5 6
5-
3 -
m=T- es^
7
(6)
b:
:c2i
5
:=
f^=^fe
ft'^Wr
354
2
5
3
66
-<9--
25
22:
jc:t
6
3-
5
3
J4
S2
i:2L
6 S8
5
(0
ja^H^-J=r
B6
87
5
3
CHAPTER
III
CHROMATIC TONIC DISCORDS

I. This chapter is concerned with the fundamental discords
derived from the dominant of the lower dominant or subdomiThese are termed Tonic Discords.
nant.
The following example gives the complete series of dominant,
supertonic,
and
tonic discords
Tonal Centres.
Ex. 29.
KeyC.
g
Dominant
Tonic
Lower Dominant
Fundamental Discords.
><=
:z2:
jd.
'H
Dominant of
Subdominant Key
11
Tonic Seventh.
must be followed by
2.
Dominant Chromatic
""
''""and'Diatoni'c"
and Diatonic
ixo:
Dominant of
Dominant Key
Dominant of Tonic Key
Tonic Chromatic
to.
Supertonic Chromatic
i|
In order to avoid modulation, this chord
dominant discord, the seventh of the tonic rising

^
a chromatic semitone
(a)
Ex. 30.
KeyC.
-Q
^r

or
27
a supertonic discord, the latter proceeding as explained in
{b)
the previous chapters.

Ex. 31.
P^
m
^^
f^-^r>J-
-JoH
:?2:
1^
!?3:
:S=:
third of the chord must not be doubled. It may rise a tone

or fall a chromatic semitone.
semitone
or
It will thus be seen that (a) supertonic discords resolve into
tonic concords or dominant discords, {b) tonic discords resolve
into dominant or supertonic discords, if modulation is to be
The
averted.
The use
of the tonic discord in the minor key
the major key, because
it
is
rarer than in
requires a chromatic alteration of the
third.
3.
The
lation,
tonic seventh is best used for the purpose of
modu-
being quitted as a dominant or supertonic seventh.

Ex. 32.
to
wP
it
to
Bb major.
2^=WE-^
-O"
-e>-
Or
major.
->-
C major
F major
may be approached
II 7
major
Bb major
ICL.
)
)
as a dominant or supertonic and quitted
as tonic, producing an abrupt modulation.
28
Ex. 33.
1-
-4
-jct.
^
4.
-e
F major
.*
If
^^
22:
II 7
major
The chord may be
Bb
major
decorated by suspension or appog-
giatura
(a)
decoration of root, by major or minor ninth in major or
minor key
-4^^
&c.
&c.
-rj
1
m
{b)
-feo-
^ i
decoration of third, or root and third
Ex. 35.
i=A
^.
-^
r^z
czpz:
-r^
&c.
'A
:g=>
221
32:
i
m^-
-1
d=j.
^^=^
X=^-
1321
122:
Jto-
33:

decoration of
{c)
or
fifth,
29
and third
fifth
Ex. 36.
r^
^
J20-
J20_
The major sixth may only decorate the fifth in the major key.
The minor sixth may decorate the fifth in both major and minor
keys.
5.
The
Tonic Ninth.
ninth
may be major
or minor in either
the major or minor key.
The
resolutions of the chord are, of course, the
same as those
of the tonic seventh.
The
(b) fall
ninth
may
one degree,
Ex. 37.
Key
(a)
remain
minor
to
be a part of the next chord,

chromatic semitone.
rise a
(c) if
C.
(0
(*)
r^
|r?iitl r7'
-fcsL
ll~ -
f-^
321
r^
m\-
^<j
J
11
fî
The diminished seventh
of the tonic fundamental
as a decoration of the dominant.

Ex. 38.
IS
-I
*+=^
Root C
AJ = Bb
CJ = Db
is
best used
30
Thus
the supertonic diminished seventh decorates tonic chord.

tonic
dominant
Ex. 39.
la?
^^
J=d=ri=^
P
lgF=^^
^ l^
?=i
These harmonies should be very sparingly used.

Tonic Thirteenth.
6.
The
same as those of the
tonic
(b) The major or minor thirteenth may be used

major key; only the minor thirteenth in the minor key.
in the
(a)
resolutions are the
seventh.
The major and minor
(c)
a part of the next chord, or
may
teenth
rise a
thirteenths either remain to be
fall
one degree.
The minor
thir-
chromatic semitone.
Ex. 40.
3^^
^
I
:lte
J.
'
I
JzJ-fe
22:
GJ = Ab
The examples should be used

Abbreviations
if
r^
u 1^^ 1^
as ear-tests.
required
Tonic seventh
ninth
thirteenth
I b
7 (or
I bT*
l^l.
t),
as the case
may
be).
31
Exercises.
(i)
lation,
Resolve the following chord in two ways without moduadding a few chords to form a cadence
^^
:?2:
J-
(2)
By means
of the above chord, modulate
{b)
(c)
D major
D major
G major
{d)
(a)
(3)
from
to
minor
major
D
D
major
major
major.
Decorate the fundamental sevenths in the following, by
suspension or appoggiatura
*:
^35
^--
22:
j-
(4) Precede and resolve the following chords in

adding a few more chords to form cadences
get
y^
major,
^ ^ (U
sj.
_Z2_
:i
"yp~
^P^
32
(5)
Add
parts for A. and T.
^V=^
Vw-^ Kj
1=^ -1
m *
=^
-=^
-=f=J
|-
--TT\=^
r^
-4i
-i
-73
\
^-^
:^
4-^^J-4-J-^-Û|^
i
->-
(6)
for S.
A. T. B.
tt
gifa^^#=^|^=^l^^:f^^
fet
3^^
^==p:
(*)
-#*-
^Î^^P^^
i
q=p:
ae
(7)
-ii
FT=^
=1:
#1
Harmonize the following unfigured basses
p:
:g
?^^ =S
for S. A. T. B.
()
fc
3a
(*)
Sê
si^
(8)
ici.
Add
J2I
parts for S. A. T., introducing unessential notes
is:
-<^#itp
:e2:
fe
r3:*:
iE
^
6
6
5
5
3
CHAPTER
IV
CHIEF CHROMATIC TRIADS

I.
The
following
triads of the
is
list
of the generally accepted chromatic
major and minor keys
Ex. 41.
Key C
Major
major.
I
series.
s^
i=t&
Minor
Diminished.
series.
i
Key C
minor.
tt
I
Only the
2.
chief of
them
will
be considered, and their best uses.
In the following examples
Ex. 42.
()
j^
r-TJ
^j-j
P ^f-^-f
^ ^-i-^Yi,','
22:
22:
35
im ^ s
m^
s
i:^
J-
r'r
-:gi-
f>
-g
22:
r-^
w
2:3= =2i:
:pz:
^5^y=^
@:
33:
zz:
C major
corresponding diatonic series in C minor
at {c) some of the chords from the minor key incorporated
in a passage in C major without producing modulation.
{c) only differs from {b) in the first and last chords, but it is in
note at
(a)
a series of diatonic chords in
at {b) the
major, not in
Note
in
{c)
minor.
new form
of the False Cadence in the major key
(at d).
3. Care must be taken not to follow I by IV (1? 3), else a
modulation to the subdominant minor is produced, unless of
But at the very outset of
course such modulation be desired.
a piece, this does not matter. The modulation is only theo-
retical.
Ex. 43.
li'
,JI
J-
^1
1
J.
IfM
i. J.
6>p
i
f^
-4
f"
C 2
<^
<^->
s>
"
-g1
,1
36
IV
(t>
used as a variation of the diatonic plagal
3) is often
cadence.
Ex, 44.
*S:
^J
But beware of such bad
iz?:
taste as the following
Ex. 45.
^^
J.
!<?)
4.
The chromatic
commonly used
J.
P-
on the minor second of the scale is

an approach to the half
both major and minor keys.
triad
in its first inversion as
or perfect cadence in
Ex. 46.
Diatonic procedure.
E^^g*
?
i^
Â
A^l
^
o
f-*
Chromatic substitution.
^^
g-
feS
tt^-
AAA
:.

Note
to
Bt\),
at (a) the
37
melodic interval of the diminished third (Dl?
and the permissible False Relation
of the chord should be doubled.
Dj?, Dt^.
This chord
is known as the Neapolitan sixth.

The chord is rare in its root position,
The
third
in the first inver-
sion
except as a means of
modulation.
c.
47.
F^=^F^^
_p<
1
t
&c.
t^
^f ^f
bll C major.
-i
VI F minor.
5.
The
simplest use of
many of these chords is to employ them
as auxiliary chords of the adjacent diatonic chords
(a
semitone
apart).
Ex. 48.
t^T>
^^
^
d-l -J l
'
Wf
6.
first
Another good use is to approach them as chromatic in the

key and quit them as diatonic in a new key.
Ex. 49.
^
*
jycr
i
M
&c.
g=2pr
33t
^^4^^-^.te
tes:
3lt
32:
^
fe
r
38
hn
Z3:
nrJ
izi:
:ig
:(M
^
They
rJ-
approached as diatonic in the

and quitted as chromatic in the second key.
can, of course, be
^
first
key
Ex. 50.
^t
fe^S^p::
î3
-f^
-&-T
g^^-^
Or
they can be approached as chromatic in the
first
key and
quitted as chromatic in the second key.

Ex. 51.
{a)
^tgsl^
The chord
at (a) is the
Neapolitan sixth in
major (chord of
B major.
however, for the sake of practice it be desired to approach them and quit them in the same key it is best to precede
and follow them by some diatonic chord a semitone above or
below, or by some diatonic chord having a note in common, but
not inducing modulation.
Dt?)
7.
and
is
quitted as the supertonic chromatic triad in
If,
Ex. 52,
?j=^=^
w4
A
32;
39
d:
=te=t|s.
jm- J.
But such examples as these are not given for imitation.

If a modulation to a key whose relationship is remote be
required, it is often best to do it by using a chromatic chord as
the beginning of a new phrase, and then treating it as diatonic
8.
in the
new
key.
For example, suppose the following
to
be a given start in
major
Ex. 53.
J d/J
r r
:?3:
in G major be required,
It would be advisable
major.
modulation
to
[?
followed by a
chord
of
the
phrase
with
the
E\f, and imitate the
start
new
to
and
also that
by bar 8 a Full Close
opening bars.
Ex. 54.
new
bar 7
A^J.
S^
phrase.
231
!g:
8cc.
I
:Bz
l2-
&=fc
te
Chr. b VI in G major.
Diatonic I in Eb major.
9.
had
The minor common chord on
the tonic in the major key
better be left alone in elementary work.
"
40
be observed that the chords of E major, A major,

major (as used in C major) contain notes foreign to the
harmonic chromatic scale of C major. That simply means that
the notation of this scale is inadequate to explain all the resource
of a key. For elementary work, however, it serves its purpose
lo. It will
and
well.
Exercises.
Write the following passage in D minor, then again in

major with some of the chords of the minor key retained
(i)
mi
(2)
J=d=
-CE
I; 33:
r^
AA
3=:
M--
*:
TT
Re-write the following passage, with chromatic chords
substituted for those
marked x
m
{3)
Re-write the following cadences, introducing the Neapoli-
tan sixth
P^
I
A
ffS^
fe:r
q=
J^.
-g..^.
m^
m^-(4)
-rj'fz.
Introduce auxiliary chromatic chords between two state-
ments of the following chords
(ft)
()
41
A:
i
A
m^
(5)
By means
r
-p^
of chords chromatic in the key quitted, diatonic
key approached, modulate

(a) from D major to F major
in the
(c)
{d)
(6)
late
By means
from
(7)
(a) Ei?
Bb major ;
'
major.
of the NeapoHtan sixth (in the
major
to
minor;
{b)
F major
to
key),
modu-
major.
fragments", involving modulation

^
()
new
J,
-rir
bo
bo
IZtL
XiP^
(0
t^CÎ
>'
f-
iOfi=.'^
(^
^^
7
r>
^te^^
2^
-j=t
22:
-f>-^.^
(/)
52:
^
~^v
42
^
(8)
Add
parts for A. and T.
figure the bass.
Explain the
modulations
PTF" r-rT^
I
(a)
J^
r5.
J-^H
-^^r
7as/o So/o.
mu::\n o
r^^^r^^^g
P
"^
ff3=f|J=5^
r^^XT
=F
^^^^
^33Sp
iaJ-i.^J=5
^4
S^^^^î
i
fc^rf^
'ua
H-|^<r^^
Jr=flp-
Hg
IS
rj-
âsto
?4
mkf^
r^
Solo.
jE *-3ZP=
1=ifl:
(a)
z:
i^p:
Tasto Solo = leave the bass unharmonized.
_Q-
CHAPTER V
CHORDS OF THE AUGMENTED SIXTH
I.
In the following examples three variants of the second
inversion of a supertonic fundamental discord are given

Ex.
55.
Key C
major or minor.
--^
()
(b) is
{c)
is
te
(*)
m
(a) is
ic)
:i22
^.
22:
the incomplete supertonic seventh
the complete
,,
,,
the supertonic diminished seventh,
the fundamental of each being D.
A is the
fifth
of the fundamental
augmented
flattened, the chords

forms the interval of an
if it is
are called augmented sixths, as Al? to
Fjj;
sixth.
Ex. 56.
=&
-#5=
CO
{e)
i<i)
:JS2:
is:
lirzî
S6
3
{d) is
termed the
Italian sixth
[e)
French
(/)
German
44
These chords resolve
dominant harmony,
into either tonic or
thus
Ex. 57.
*a=
TV rr
w^^
&EmFFr?
!=tS
r r r
(i)
t>
^p
Ryp
,.r
i^:
'r
At
;p3^Q
rr
^^
=*^=^t
^^=&'-
U:
:tS=
the consecutive fifths are unobjectionable, and are
commonly used.
2. As the Ai?
now
Formerly they were forbidden.

is
a substitution for Atf, they can both be used
while the other factors of the chord remain.

Ex. 58.
i1
mt
In case
At],,
tone
(A),
cr
33:
;^L-ÎZl]y-4^p-Lp
p^
where the augmented sixth
theorists state that the

;
or
^^m
when
Ft can then
_p
rises to its
fall
normal note
a chromatic semi-
the A|? remains to be the ninth of the dominant
fundamental.
Ex. 59.

But here
Al? is
merely a suspension, and
if this
45
procedure be
allowed, the following cannot logically be regarded as incorrect
Ex. 60.
However, it
mented sixth
3.
is
to
The chord
more usual
for the
sounds forming the aug-
proceed outwards.
commonly used
is
in
approaching the Half or
Full Close.
Ex. 61.
iz^
1^ *-
^^^g-,
^.,4dÂ,^
^
p
^ddd
it
,-g-^
<^
The German
lation.
1^
i^zzrpnzpzi:^
sixth
is
specially useful as a
For example,
in
modulating from
can be approached as tonic seventh
and quitted as German sixth
in
means of modu-
AQ major
(At?,
C,
El?,
to
G7)
major
A7,
in
major.
Ex. 62.
iB
g-vlb
It
'
X'
- i'ît^
:?2:
I-
izz:
can also be approached as supertonic seventh in
quitted as
German
sixth in
major.
Gj?,
and
46
Ex. 63,
A A
f^
ifl
ji.
*=
Or
can be approached as dominant seventh
it
German
as
sixth in
in Dt?
and quitted
major.
Ex. 64.
^M
m
Conversely, a
^
f=r
1 A
^^
32:
German
tonic, supertonic,
W af^
sixth in the first
key can be quitted as
or dominant seventh in a
new
key.
These modulations are both chromatic and enharmonic.

4.
similar series of chords of the
augmented sixth
is
used
as a variation of dominant harmony.

Ex. 65.
Key C
/
)
major.
s
()
//^^
((*; .
Vw^
^_
,_^
^_^
^^^
?T3
fj
i-D
V5
^^-
k^
[/C?
^..^
the
(a) is
^d)
(0
(*)
if)
.
:l/-o
*rj
k
^>
[7
UIa
[7C?
incomplete second inversion of the dominant
seventh
{b)
{c)
is
the complete
diminished seventh,
the fundamental of each being G.

Flattening the
{d) is
fifth
termed the
(e)
(D)
Italian sixth
French
47
German
,,
(/)
These chords resolve into tonic harmony.
Ex. 66.
^-
B^
jC2Z
1^-
42:
(i)
^^
(i) is
good
useful as a cadence.
The examples
5.
jTt:
should be used as ear-tests.
Exercises.
By
(i)
chromatic alteration of the bass turn the following
augmented sixth.
and resolve them
State which particular
into chords of the
forms they
are,
^()
(*)
Im
^^^^
(2)
-4i
id)
(e)
1
:g:
(/)
rrsi
:c2i
-O-
te-
32:
Introduce chords of the augmented sixth in the blank
spaces
i j
fe
^
g
r
^
iii^
sprp
;q=:
48
(rf)
C/)
4=A
^21
A-.AA
ii
Harmonize
(3)
following
the
T r ^^^mt
aa
d
fragments,
introducing
the
chord of the augmented sixth

X
()
(6)
j^sn -p*
p-
r^
h r^-
(<^)
(^)
i
Modulate from
Bt? major to D minor (by means of the German sixth in
second key);
{b) Al? major to D major
(c) El? major to D major
(d) C to D|? major (by means of the German sixth in the

.(4)
(a)
key)
first
(e)
(5)
Add
to Gt^
major
parts for A.
^
^m
and T.
"^
figure the bass
^g
S^
*
S-
1^21
liH-
-&-'--
s -^
it^'
'
>
4^.
(6)
^
..
^f=^
zz2r
:?2=
.!
:^
?=fc
Add
49
1^
parts for S. A. T., with unessential notes
JdTf)
|,J
Z^
^^!^-/J
^^
d
,136
b5
^^
'r^=^
FTr~^
6
4
(*)
^^
1S-
jO
J6
?^
6
ipz:
r^y
(w.
v.^
rJ
\
.\
^::>
r-j
CHAPTER
VI
PEDALS
1.
When
one part sustains a note while the others proceed

it may or may not be a factor, such note
with harmony of which

is
termed a pedal.
Pedals, or pedal points, are generally used in the bass.
When
upper parts they are said to be inverted.

The first and last chords over or under a pedal must
elementary work be chords of which the pedal is a factor.
used
2.
in
Bass pedal.
The bass
(a)
of the
first
chord must be the root or
in
fifth (in
elementary work).
{b)
The
pedal should only be the dominant or tonic note of
The
The
pedal should start on the first beat of the bar.

part next above the pedal is to be regarded as the
the key.
(c)
(d)
real bass, and it must proceed in accordance with the rules for
a bass part, except when the pedal is the root, third, or fifth of
any chord used.
Ex. 67.
At
{a)
the
fifth
of the root
is
approached by leap from an
inversion of another chord, but the pedal

3.
tonic
is
the root
itself.
Modulations are effective over a pedal. A return to the

key should be made before the pedal is quitted.
PEDALS
The
following are good modulations
On
I.
51
[a]
b)
[c]
d)
e)
dominant pedal
in
major
key,
Supertonic minor.
Tonic minor.
Subdominant major or minor.

Dominant major.
Submediant minor.
On
II.
a)
b)
c)
III.
a)
dominant pedal in minor key.

Tonic major.
Subdominant minor.
Dominant major or minor.
On
tonic pedal in
major
key.
Supertonic minor.
b)
Subdominant major or minor.
c)
Relative minor.
On tonic pedal in minor key.

Subdominant minor.
Examples of these are given below.
IV.
Ex.68.
1(a)
1(6)
-J-i-
^=^
?a=s:
ti'
.îAA
--ri
-^ c
~f^
'
I(rf)
1(c)
-!
*m-
-ff'fjV
~rzi
t"
'
^î^-^'
1221
i ^?=F
22r
D2
PEDALS
52
11(a)
U')
-It-* -H-z-
S-iL
r
J
r-
Hsfe
r^
....
<s>
ii
-:>
L.^9
d^
+a=4feM^
11(6)
^^
1^
^f=S
-jtzn^zit*:
Cj'^-cf
11(c)
::
F^^:3
III ()
w-
^=fe
m
in
III (6)
-<
1-
-i
F--"-
:g:
^îM^
IV
gJLj-Jljlj
4-r-4-
(c)
iT
^^
%p^
^ f^-^J
4.
PEDALS
53
A pedal may, of course, contain
any number of modulations.
Ex. 69.
I-
-^
m^
5.
:g=
j-
Miniature pedals are used as follows

(a) in
commencing a melody.
Ex, 70.
!-
-1
.piZiZ
itzt
In this case modulation would be injudicious.

(b)
on the bass of a Half Close.
j^
Ex. 71,
f^^M"
i-'
(c)
in the
See Ex.
(d)
68,
penultimate bar of the Full Close

I (a),
{c),
{e).
as a plagal extension of the Full Close.
i
m
â
w=w^
r'r
-^-
hJ
32:
22:
;j
PEDALS
54
Here the modulation to the subdommant is not followed by

a modulation back to the tonic, as another Full Close in the
would be redundant.
tonic
6.
Extended dominant pedals are used

(a) as an approach to the Recapitulation
:
phrase
{b)
as an extension of the last
(c)
as the coda of such things as
in
Ternary Form
Canons and Ground
Basses.
The extended tonic pedal is also used in case (c), or the coda
may be formed on a dominant followed by a tonic pedal.
These
7. Inverted pedals.
dominant in this chapter.
An
is
be confined to tonic and
will
much harmony
inverted pedal will not stand
of which
it
not a factor.
The
following
is
too harsh for use
Ex. 73.
4-
:ci
'r'r
s^J=J:
t-
Combinations of which the pedal is not a part should be

if they were unessential notes.
treated as
Ex. 74.
W iUdInverted pedals are used

(a) at
the start of a melody.
PEDALS
55
Ex. 75.
-^
-3:21
f^^-ar
r-fn^
&c.
* y4,i
(6)
is
at
the point of recapitulation in the top part, where
it
desired to give the actual repetition to another part.

Ex. 76.
Opening.
Recapitulation.
r-c ^^^^^^
i^-
J-
m-Tr
<
It will
-F
rjcr
be noted that the inverted pedal need not start on the
strong accent.
(c)
at
the end of a melody (coda).

Ex. 77.
iT
-r
0m
^^
F-*--*
22:
321
PEDALS
56
8.
Two
parts
may
use the same pedal at the same time.
Ex. 78.
1^31
m
Or two
parts
may combine
tonic being in the bass.

Ex.
the tonic and dominant pedal, the
This
is
termed a double pedal.
^m
79.
-*ii-
tJ r
'
jCJlL
Exercises.
(i)
Add
first
^^
(a)
(2)
(3)
Add
Add
uJ3
phrase of a sentence
parts for S. A. T. as the
-m
Modulate
to the
h-
dominant on the pedal.
parts for S. A. T. as the
first
phrase of a sentence
-jol.
parts for A. T. as the end of a sentence

I
=c
J
to
:?2:
2^
B minor
Plagal extension
JPSI
221
PEDALS
Harmonize
(4)
for S.
57
A. T. B. as the start of a piece
()
3^^
(6)
^ô
I
Taking
(5)
conclusion
(a)
-^-
-^
Ml
as the start of a piece, harmonize
(b)
as the
()
rs?
:^
u-^-m^
r
^^ ^
=F=r
&c.
rj
(*)
-j^T^-T
i
(6)
Add
US^
-te=j
parts for S. A. T, above the following pedals without
modulation
()
;t=p=
(6)
^Sfc=p:
-O
(&-
In separate examples, modulate on the following pedals as
(7)
under
()
W^
PEDALS
58
(a)
from Bb major to
{b)
,,
(c)
El?
major
major
minor
,,
(d)
(e)
,,
w^^
(a)
from
(b)
Bl?
:t=:
minor
to El?
minor and back.
B^ minor
minor and back.
F major
(7)
(a)
from
(b)
{c)
(8)
On
minor,
Bl?
major to
,j
the
minor and back.

minor
G minor
,,
El7
dominant pedal in the following, modulate to

back, and on the tonic pedal to D minor
F| minor and
and back
(9)
Add
parts for S. and A.

:s2z
IZ31
32:
CHAPTER
VII
ADDITIONAL EXERCISES
Following the procedure
at the
end of Part
II, this
chapter
gives additional exercises, including the resource discussed in
Part III.
There are no new points
to add,
and the types of question
are the same.
But the student should be warned against an undue use of

No attempt should be made to drag in chromaticisms on every available occasion.
They should only be
introduced when their use seems appropriate and inevitable.
Strong diatonic progressions should in the main predominate.
A very sparing use should be made of diminished sevenths.
In modulation they are apt to become the refuge of the destitute.
Always examine the end of a melody or bass before working it,
to make certain as to whether the key is major or relative minor.
A melody that is in the minor key can be made to look as if it
were in the relative major, and vice versa, and it is annoying to
find when the working is nearly completed, that from want of
foresight, the wrong key has been chosen, and that the problem
must be re-worked. No problem should be attempted till the
whole of the given part has been studied. And once having
begun, nothing should be written without consideration of what
has gone before and what is to come. Unless this is done, the
student will be constantly forming entanglements for himself
chromaticism.
(i)
Harmonize the following melodies
Is
for S. A. T. B.
^=ijJÛYT-^
s^
^m
^s^
ff^#
9
6o
(*)
^*^
li-fJI^-f^^ T-|f
I_J]
J -tf^r
^.J
-r^p
I'p
L
Jr
*-4^_^
P--J
-.|sJ
-1
^).
1=^
p_
^'
-rO-;
iS
^^g^^î
\-m-
-!S>
H^
g^^^^^^
id)
-w-rr
^^
'w-'-^
^ ^5^S
p g
-ef-^-
(^)
fi
^3:
ftpz^
^"^F=3|g^^
=^^
-
e>- .
P?=|^=fiq=ir^|g:
^"B-i
6i
(/)
-^:
b> J. Zgb3=g3Z
(2)
ie^
T21
Write
:?=:
each of the following examples two phrases in
in
four vocal parts (eight bars in

in
any time
and
value,
()
(0
yn
/l
fm
VM
in
all),
introducing the chords given
any order (no modulation)

(2)
(3)
<^->
r-j
jt
rj
k^
'^
<^
*-^
rri\'
,,
V.W .
(*)
a?^d^
IPZJ
(I)
(2)
(3)
m=^
W
(I)
ir
(2)
The same,
(3)
331
rilS:
(3)
lito:
_Q-
IQ-
but with appropriate modulation in the second
phrase, returning at the end to the tonic
62
(a)
(3)
(2)
(I)
:l^
b^
-HSi.
@ti=*(6)
lz=fe:
^^^=^-
s^
^
3s
3^1#:
Add
ll^
(3)
(2)
(I)
^
(4)
izz:
j^S=
^dt
(3)
(2)
(I)
^^
parts for S. A. T.
ii^^g^:
w
^ge^^^Êg^^
(')
^^ftâ?
-erf
->^-
^T^j"^
-g> .-r>
63
^-yjâ
^-t r >-^
b^û
^ ^â
i
tf
-w-rat
ai-
1^=]^
V^^-_f
(/)
^^
^H?-F-htr^=F^gta
it
^
(5')
(A)
?2=7t
h
"^
(W-.'p
'k'
^
:&>
-rr-rrg
(5)
/ V
L-o
L_e*
'1
^^^
^_
rj
<::.'
e,
Ground Basses
MRFh
:^b
fe
Izzl-
(*)
^B^
-4^:
iJ
(0
^-i jTTp
^^y
^^^j::^
=pc
12p-
._f___j_
(rf)
-JJ^
gl-l-d*-!
^S^
f<si-
:ito:
i.e)
^S
-SI
3==^
-<5---
11
64
(6)
Modulations.
(a)
Begin as follows, and modulate to

and back to F
Dl? major,
major,
minor,
major,
:&
4i:
Begin as follows, and modulate
major, and back to
to
fc
BEE3
=]=
S:
{c)
:SP~1"
sisdy^^
(6)
minor,
#^
W=5:
-f^'
Begin as follows, and modulate to

E major, and back to E!?
minor, Bt> major,
Gi? major,
^1
=a3:
i=|i=p:
idftig:b:z^!?-r
(7)
Add
S. T.
-4^=^---
to
to the following Alto parts
^^5ap^3p=
1^
1
3^ dzz
A minor
=1=
and B.
to
major
1^
Sup. 7th in
-o-^
e--
^^
65
(*)
;^
P'^TTi-
-^
*=fs:
lei:
-n
#^
^=^^3^^fda
S
rJ
{c)
$
^
-^
:n=T:
* ^ *
(8)
Add
ir*Tiir*-V^
S. A. B. to the following
()
^^
î-**-jt
fcl
^
to
4=-
F major
Tenor parts
t^
rf ^
==p Sfc
U^
Bo major
to
&^
SEEÊSi^Êfe=^te=^=F^
Bb
(6)
VF~1
to
fc
^" *1
U\-J.
minor
^^S3
s
^ ^ffl^t
to
:^
Eb major
%^
-Q-
-#- -s>-
xr:
-^^
-i-rP^
-fyT--^
-^
CHAPTER
VIII
ACCOMPANIMENT WRITING
To this
1. A short theme for voice or violin is given.
be added a simple accompaniment for the pianoforte.
2. Pianoforte Writing.
(a)
(6)
(c)
is to
Real parts are not required.

is often doubled in octaves in the left hand.
Any upper parts may be doubled in octaves, but no
The bass
upper part should move in consecutive octaves with the bass.

3. Solo and Accompaniment.
Any upper accompaniment
(a) The solo is not a real part.
part may move with it in octaves either momentarily or for some
But the bass must not do so.
time.
If
(b) The accompaniment should be complete in itself.
the leading note or a discord occur in the solo part, they mayi
be doubled in the accompaniment.
1
Ex. 80.
^^^^^^^
Violin.
Piano.
good
good
bad
^
The accompaniment should
not duplicate the solo part,

should confine itself to accompanying.
most that should be done is that the solo should be
(c)
except momentarily.
The
*
shadowed
'.
It
67
Ex. 81.
Jt
Violin.
Piano.
^^^fe
4.
je.
s=b:î^
feri
Types of Accompaniment.
(a) Broken chords.
The
following four-part passage
Ex. 82.
P
J:
ri
P=g^
J i ^ ^
ipz:
can be arranged as an arpeggio accompaniment, thus

Ex. 83.
:3=ti:
3~
Ft^=F
-y~r"
i^=3=
-^^-H^
!H^g=^H5J+kj
1
Note
^^^
that the rests in the bass are
merely ornamental.
note preceding the rest lasts in effect during the rests.

E 2
The
68
Various types of arpeggio, with or without unessential notes,

can be devised on the above basis.
Ex. 84,
^-^St
-F^^
LcP^-^J-^^
r
^-
lJ
1^
r-
(^
^glF^!^^^=F^^=^=^
^^
{b)
Detached chords formed into rhythmic
>
^^^.^.^c^^^
r^#
w
=p=r
figures.
Ex. 85.
r.
>
[^
69
that is figures that are not merely

{c) Melodic figures,
rhythmic or arpeggio, but which contain some melodic interest.
Ex. 86.
One chord each bar.
-^r^
3?^
()
^
,0
^s
=4:
f ^
^f
j=fa^
#=4=^^?^
>
>.
-1
^ ^
0j^ji
^
-*-
'
-^^
''
-r
^L_n
In such cases care must be taken not to repeat the figure bar
bar.
Rhythmic variety must be introduced, and relief
should be given specially at the cadences.
after
Suppose the following

Ex.
(^-iV
(CV.
v_^
to
be the basis of the
first
four bars
87.
rj
CJ
CJ
"-^
Bars three and four of the above examples would proceed

somewhat thus
Ex. 88.
frf
rTf
70
(jj
-1
S^=^
:SBti9=itz3i
(i)
^^^
And
.^^.a-^â-
rj-
then the ear would stand a return to the original formula.

(d)
combination of
{b)
and short figures based on decora-
tive resource (passing notes, auxiliary notes, &c.).

Ex. 89.
5.
These types of accompaniment
work.
will serve for elementary
All the types will not necessarily suit
Much depends upon

example,
if it
would not do
any one tune.

For
the harmonic pattern of the tune.
demanded
four chords in a bar the following
Ex. 90.
i
$
S:
LS
CJ
bad
m
i
t
If the figure chosen will fit most bars, but not all, it must be
modified in the bars that will not stand it. And this variety is
really a virtue.
71
Ex. gr.
m
mm
1ar-
:Uit
^^czt
J=p4
In any case, even

better to vary
^
i
it,
if
the figure can be kept
up
rigidly,
it
is
especially at the cadences.
Further, it is unnecessary to keep up one particular type of

accompaniment throughout a stanza. Sometimes the beginning
of the second half, or the middle requires a different figure,
a return being made to the original one towards the end.
Or again, two figures may alternate
^^
i
-^
ÊE
then they
may be used separately, and finally as

The two cardinal points are that
arrangement.
unity and at the
same time
in the original
there must be
variety.
6. The Introduction.
The accompaniment should have
a few bars of introduction.
It should give out (a) the accompaniment figure, or [b) the
opening phrase of the tune in addition to the accompaniment
figure.
72
The Ending.
7.
(a)
The
following are usual
means of ending
repetition of cadence chords with or without figure of
accompaniment.
{b)
a reference to some salient portion of the tune, generally
either the opening or the end,
used in the course of the
accompanied with the figures
setting.
Exercises.
(i)
Add accompaniments
for
pianoforte
the following
to
themes
(i)
Violin.
1^
-*
M-
1=^
ZP2Z
I
^rir
tr+ g
fc
liO-
S^=^ ynr^
f
Styles,
(a)
i 3S
Hz
(6)
^^^
^3-
t5
-JZZ
31=3:
:=r=i--
i^Ss
>-
'
;;
Soprano.
(a)
y-a
i=r--P^^^^
i
rr
i
iti=i:
73
F=t^
'
sqp^
-;.
*_^_zz:j.
9=^=Eg
()
1=^
f^
-s>-^
1^
(*)
-^
^îî
#-
iz*:
:**^
71
^^
=&
i ^^-j-^^^H
^dt^
r^=^
^=ii^3-*i-
j=5-m
' d
In each case start
new
figures at bar 9,
and return
to
the
original at bar 17.

(3)
(a)
Add
three varied accompaniments to each of the following
Voice.
P^^
tit
sgrzQ
74
-^ ^,
i &e t^
p=^^^
(b)
^^^n
111! \__\\
^^
Voice.
T^T^ Tnrji
^^3^ u ^pg^g^^
"^g
;=e^3
^^
i
T!X
-^^^
CI)
-ww-^
:ic=i|E
^feS3
i #
(i)
(c)
Treat
as an auxiliary note.
Violin.
^
p-^ r ^ *
r=^=^
-*
-iS>
-^f
*fr-=e^p^fe=Pm^-^|.f=!!^
^feP T'P
P^^S^
(rf)
F- r
p==zz:
Violin.
?^~^
Iirf ^
-1
:^=plr-=^ -^-FTj*-^-l
CHAPTER
IX
SIMPLE VARIATIONS FOR PIANOFORTE

1.
A simple
The
theme, harmonized,
is
given.
required to write elementary variants of this

original version, in accordance with the instructions given in
student
is
this chapter.
2. Method I.
Decoration of the theme, by florid passages.
This does not mean mere meandering by means of various sorts
of unessential notes.
(a) When one particular kind of figure is kept up throughout, it is only tolerable if it contain no variety of rhythm, except
possibly at the cadences.
Suppose the following
to
be the given theme
Ex. 93.
4=^
f^r^
-pz:
^^
:S^
:|t
^
r.
îr^^-U^
^ r
.Tn
A
^g^^ÊJPg
-^
n"j
I/
it
J-
M^^
v^^-g
fe*
^
f=t
It should be musically impossible for any one to think of

a variation of the sort that follows
:
76
It will
be shown
in
due course what
to
do
in
such a case.
In the particular case under consideration, a uniform rhythm,

variety must be obtained by variety of pattern, but according to
some
definite plan,
which should be obvious from the formation
of the theme.
It will be noted that the theme starts with two responsive
The variation should
phrases containing rhythmic variety.
therefore have corresponding responsive phrases, with variety
in curve.
The
following
is
poor, because
but start something else

cf. p.
when
it
it
leaves nothing to be done
has become wearisome (but
80)
Ex. 95.
This, however,
is
much
better,
because
it
contains two simple
germinal ideas, auxiliary notes and arpeggio
Ex. 96.
;fe=i:
^^^P)P=
When
this has been repeated once (bars 3 and 4) it is felt

development is a necessity.
The theme gives the cue. Bars 5 and 6 are shorter phrases,
so we can shorten the figure by using the auxiliary notes
that
pattern only.
Ex. 97.
i:
77
bars indicate and require change, but at the
The next two

same time some
uniformity.
So
hand can be given

hand returns to the
and the left hand takes the
the
left
the arpeggio figure, and finally the right

auxiliary note figure for one bar,
arpeggio for the next bar. Thus
we
get uniformity together
with variety.
Ex. 98
(I).
^fc
^^
m^
i
w
^^
^r=^^
?=^
I
j^
î^
m^
~
-
r^
The example
rigg
could also
be worked in triple time,

thus
:
78
Ex. 98
(2).
:fc
S^
r^^^m
&c.
m^
^3=^=r^ it
The important
curve
in
successful
two patterns of
for a really
method the theme itself should have
thing then
a figure that
is
use of this
is
to get at least
uniform in rhythm.
And
responsive phrases and development.

{b) The use of figuration containing rhythmic variety.
When
a figure containing rhythmic variety
is
used,
it
should
generally be of the same proportions as the phrase of the

original.
would be injudicious to use Ex. 94 as two statements of the

one phrase.
In considering what to use after
It
figure occur over
Ex. 99.
P^^
^T^^"
would be well
and introduce it
it
to think of
1^^^
what would be appropriate
in bar 7,
in bar 2 (refer to Ex. 93).
Ex. 100.
The
I
and
bar
2,
Bars 3 and 4 will respond to bars

use bar i only, and bars 7-8,
and the rest precisely as in the former example.
rest is plain sailing.
2.
Ex. loi.
Bars 5 and 6
will
rt
v^
m
3.
79
^^-
^^r
Method
II.
^^
^^^-
This consists of precisely the same principles,
except that the ornamentation does not follow the curve of the
The harmonic basis is retained, but the figures do not
tune.
*dog* the tune.

In the following example the first part of the figure is imitated in the left hand in bars 2 and 4, then a section of it in
bars 5 and 6 by inversion. In bar 8 the chord of the augmented
sixth was discarded as being impracticable with a scale passage.
Ex. 102.
i^^=^^^
Ê -^
^^P
^'-^^

8o
/*
"Nl
'Hf^
sgg
F-:-r-b
m-^^^^s^S^^^^
i
i'
P^
5:^
f^^^pî
^^
:^:
S
^?^
With
F^
^fe=J=
-^
5^
=^1
1^
^^-^
-T^-
theme it would be possible to work a

one rhythm and only one curve, without inducing monotony. This is because the theme is itself constructed
so as to give variety both harmonically and rhythmically sufficient
to prevent this fault.
The sub-phrases of bars 5 and 6, and the
extension of the last phrase are the factors of this result.
this particular
figure with only
Ex. 103.
^m
m^

M
\f
\
:f=m
f m W
-^-j f T T
m^
r-y^
-^
* bJ-lfc
8i
S-
!^^-^
-0-
B^^^ i^ nj-u^
\
j^
>
^m
. t
=g=
:l
"*
L
f
1
-.
-^
I
1
^^^-dy^-g^g^p^^S
f r f
r.
,^
But a tune with the harmony marching uniformly all the way,
and with the phrases all the same, would not stand such treatment.
If such a bad theme as the following were set for variations
Ex. 104.
$ ^^
m M
r^
=a^
Basis.
s^
r-i-rz-r-^
m^^^-^
'
3^^
E dtS:
-p
P==5=
La
I
I
82
its
grave
faults
would have
In elementary work,
portions, all
we
we can do
to
be minimized in the variations.
are not considering alteration of pro-
is to
relieve the
monotony of the rhythm.
Ex. 105.
:!:={:
:[=
TTTM-ES^
m^
=-^
^^^ ^
mji-Mî
^^
:S=&
tq
=^
m^
F^=^v^f^f~r t=t?
^^
^^
r_r
-^^^
In the above at (a) and (b) will be observed minor deviations

from the original harmony. This a common device.
Change of mode, from major to minor, or
4. Method III.
83
vice versa, with necessary deviations from the corresponding
harmony.
Ex. 106.
Adagio.
^J^
sj
accel. e cres.
P=
A
'
'
hr.
r-g-i-
m^^
S$
3
i
^^
I+SC^
Hf^
:^
33
a tempo.
i=5
tr^tyy' g
Q=
ff
33:
atnt.
mn^
'Trr^
^ ^^
-^til-
:gi
Utilizing the principles mentioned we can

5. Method rV.
use different keys, provided the keys follow on in some logical
way. And we can change the time-signature. For example,
figures could be
worked on the harmonic
basis turned into triple
time.
Ex. 107.
gya
m^
Cf.
-jp^
Ex. 98
(2).
-Mrijp-
'i
\
-&
^^
r~1
^^
1^
Method V.
The theme may be retained, but harmonized

and accompanied in a different way from that in the
original.
This treatment depends upon the harmonic possibilities of the theme.
The theme under consideration could
go into G minor in bars 3 and 4, Ej? major in bar 5, and C minor
6.
differently,
in bar 6.
F 2
84
Ex. ro8.
d^55:
--^
=^
--t^
2d:
Stacc.
^^
l*=^==
^
i^-
1^
^ ^ -}-:r=k- i^
-Ij_r^J,.,J
g=
pl^
g
|-
Method
:3:
f^=^^^-
7.
-^
VI.
If the
theme contain a
fair
amount of rhyth-
mic variety, and ideas that can be detached, some of these can
be used as figures for separate variations, and developed on the
harmonic basis of the theme.

Ex. 109.
Theme.
"P
.^
Basis.
:?2_
Here
W m
^ni^fjÊ^
&c.
IPC
in the first four bars are three ideas that could
be used
85
Ex. no.
Var.
(a)
I.
I -
i^^
5S
:3=t
A*
^^
Var.
2.
(6)
'\~
ESEEBE
E3
U-k4-
i^
L
3.
(c)
W^^
yifi'^zÂ^
'-^ppfi
-7^
#T
&i
f?3
There
P=t2=
Var.
S^
8.
are, of course, several other methods.
will suffice for
elementary work.
The examples
pretend to any value as composition.
It
But these
written do not
was thought
better to
write examples of this sort rather than quote classics, so that the
all that is required at present is some
and technique. Any average student ought to be able
write such examples as have been given in this chapter at
student might see that

facility
to
86
any hour in the day, and to an unlimited extent. If such work

does nothing else, it gives practice in the use of figuration, and
affords relief from other types of problems, besides calling forth
a certain amount of ingenuity and musical gumption.
(i)
Write a few variations on each of the following
(I)
Allesro.
rct
^-zE=f:
^=^=f
nt/
îznzs
-J
:Ji
liPOt
rr^
lE^
w^~=_
ffiit
J- '^^
"J-
^ '^
-fe.
2.
J:
3C=d
dint.
mr-w-
i
^^
r-
^F=f-^^-^
srir-i
:=^=fe:
:3"
87
(a)
Andante.
ie
P=
zi:
r^-j- ?
^T^^
:S=P=
i=5t|*
~w
-^
*-
T-TT
w-
f=f^
&^
e-=-
*r-r
cres.
t=;l
@=^
JÂ
(3)
Adagio.
--
ElEE^
J.'î
^^
Î
-
*=|:
88
a
= /
p^^fH^
-^1
1/
^
iS^
-q
==1
^^^
J^
^^^3^
(4)
Andante, ^^
^gg^
;fcs=^
?2:
â
y=^
r^
^
r3u
n:::
:lfit
-^
a^Q
tez
^jr>P-
^fe=t:
3fc
:^=q
rs:
:t=fe
89
(5)
Andante/
M * M ^ d
i
'
r~~^^tr
F^
fet
^^TI
^.
S ^gl
&
--i-
v^
iÊsS^y^
i
^=^
(6)
Leggiero. '%.
^n:^
i 4i=P
tXj
S^TIj^ 7^
JT^^Si
^^^^=^=S^-"1-J-^-^
PS^
^S:
7"-
s
-t>^
T!H^-^^--
90
Notes on the Exercises,

phrase, bars 1-2.
(i) ist
2nd
'
responsive bars 3-4 (get variety at the cadence).
Sub-phrases, bars 5 and 6 (new material).

Last phrase, bars 7-10 ; extended by sequence (bar 8) and
cadential extension, referring to the opening phrase.

This formation should be reproduced with variations, by
using the figures in a corresponding manner.
(2)
ist phrase, bars 1-2.
2nd
3rd
4th
3-4, contrasted.
5-6 (repetition of
7-8 (corresponding
(3) ist phrase, bars
1-2;
the
first
first
to
part of ist phrase).
2nd phrase).
half divisible into two
figures, the second half being one section.

2nd phrase, bars 3-5; extended by one bar, first half
divisible into two figures, second half extended by prolonging the chord (a). The normal form can be seen by
omitting bar
4.
bars 1-2;
(4) ist phrase,
divided into two sections (corre-
sponding).
2nd phrase, bars 3-4
5-6
3rd
(not divisible into sections).

;
same formation
as ist phrase.
7-9 ; same as 2nd phrase, with extension
caused by lengthening the cadence chords.
4th
(5)
ist phrase,
bar
i.
2nd
2; responsive.
3rd
4th
3-4
5-6
contrasted,
(cf.
and extended by
imitation.
ist phrase).
containing two responsive sections.

;
3-4* contrasted.
5-6; referring to ist phrase, but not
(Or, ist phrase, bars 1-2
2nd
3rd
divisible.)
(6)
Two
responsive phrases of two bars each.
paniment forms a canon
at
(The accom-
the octave at a quaver's
distance.)
All these several formations should be reproduced in the

figurations.
new
APPENDIX
PART
CHAPTER XI
I,
Add
Suppose a melody
in the
minor key contained the following
progression
Key
minor.
33
and it be intended to avoid modulation, the

as an accented passing note
Gt|
must be treated
i
For
(a) it is inartistic to
notes of short duration

(b)
mony
Gk] is only
note.
passing note,
for
harmonize both
and F, as they are
used as a harmony note to reach
Ft^,
a har-
were the harmony note, and F the

there would be no reason for substituting Gtj
If,
therefore,
G $.
m^
APPENDIX, PART
92
CHAPTER
I,
XI
If the progression occurred after the first phrase, and

modulation were available, the following would be correct
Modulation to
if
major.
^'-
m=jt -A
f^^
It is
not to be inferred from this that the following
is
incorrect
ir r
But
it
must be understood
Evolution of Harmony Chap.

zation of the minor scale.
y
PART
II,
that
II),
it
is modal harmony (see
and not a proper harmoni-
CHAPTER V
one particular key have not

For example, both
related
C
major, but G major
to
F
major
are
nearly
G major and
relationship.
major
not
this
have
and F
In this chapter the cycle of keys to which modulations are
made is confined to those nearly related to the tonic. But in
the course of the cycle, though consecutive keys may not be
nearly related to one another, no new principles of modulation
Keys
that are nearly related to
necessarily this relation to one another.
are involved.
INDEX
References to Part
II
have (2) placed after their page numbers.
'^'-
)>
\3)
>'
Accent affecting choice of chords,
22,
30, 36, 77affecting suspensions, 54 (2),

Accidental, 24,
Accompaniment, principles of, 66 (3).
Added sixth, 17 (2).
Altered chord, 96.
Anticipation, 27 (2).
Enharmonic change, 95 69 (2) 20 (3).

modulation, 69 (2).
Exposed consecutives, see Octave, Fifth.
;
Fifth,
63
or
inter-
rupted, 29, 34, 45, 52, 74, 95, 99
(2),
48
(2)
imperfect, 19
35
Figuring, 40, 67, 73, 86, 87
34
99
(2},
plagal, 19, 32, 45, 52.

notes, 24 (2).
17, 42,
54
(2),
(2).
17, 50.
Augmented
sixth, see
German
sixth, see
Interval,
sixth.
Augmented
compound,
consonant,
Changing
Chord, major common,
(3).
perfect, 7 et seq.
Fourths, consecutive, 89.
French
(3).
(2).
sixth.
8.
8.
dissonant, 8.
12.
harmonic,
mediant, 98.
minor common,
85
(2),
(2).
perfect, 18, 44, 52, 74, 95,
37
or parallel,
Form, binary, 46 (2).

Fourth, augmented, g,
(3).
false
62 ; 55 (2).
exposed, 18, 29.
74
Cadence, deceptive,
41 (2)
diminished, 10, 17, 42, 94.
augmented, 95.
Fifths, consecutive
Bass, ground, 92 (2)
)>
)j
False relation, 29
Appoggiatura, 74, 105 28 (2), 59 (2),

65 (2; 72 (2), 77 (2) 10 (3), 28 (3).
Auxiliary note, loi, 104; 28 (2), 56 (2).
,
>>
>
23, 28.
pivot, 35 {2).
Chords, chromatic common, 34 (3).
Close, false, 31
35 (a), 48 (2).
full, 18, 31, 34, 36; 38 (2), 46 (2),
49 (2) 45 (3);
7.
melodic, 7, 22, 50.

Inversion, first of triads, 39, 49.
second of triads, 73.
Inversions, consecutive first, 42, 51.
of augmented triad, 95.
Italian sixth, see
Augmented
sixth.
half, 19, 20, 28, 31, 33, 34, 45, 52,
74
35
(2),
48
(2)
45
C3)-
Keys nearly
Key-note,
related, 35 (2)
92
(3).
12.
plagal, 34, 74.
Consecutives, see Fifth and Octave.
Consonant
interval, 8.
Crossing of parts, 14.
Leading note,
8 (2).
7, 17
Leaps, forbidden, 17, 74.
Mediant,
Discord, 82, 86, 94; 7 (2), 17 (2), 89(2),
92
(2).
Dissonant interval,
8.
Dominant of scale,
7.
Doubling, 13, 33, 39, 42, 56, 57, 73,

94 8 (2) ; 27 (3), 37 (3).
;
7.
chord, 98.
Modulation, 34 (2) et seq., 69 (2), 92 (2),

93 (2) ; 12 (3), 19 C3), 27 (3), 37 (3)
et seq., 45 (3).
abrupt, 39 (2)
27 (3).compound, 21 (3").
Motion, contrary, 18, 33, 61, 64 54 (2).
similar, 18, 29, 86, 88 ; 67 (2), 68 (.2).
;
Eleventh, dominant, 72
(2).
INDEX
94
Neapolitan sixth, see Sixth.
Ninth, interval of, 8.
Sevenths, chain of, 8 (2).

Six-four, chord of, arpeggio, 75.
dominant, 65 (a) 19 (3).

supertonic, 16 (3).
tonic, 29 (3).
Notation, false, 75 (2) ; 17 (3), 29
auxiliary, 75.
cadential, 73 ; 10 (2).
passing, 74.
Six-fours, consecutive, 77.
Sixth, added, 17 (2).
(3)
Octave, 7, 10, 13, 17.

Octaves, parallel perfect, 17 ; 55 (2).
exposed, 18, 29, 62, 95 ; 76 (,2).
Overlapping, 16.
Passing notes, 60, 68, 82 28 (2), 48

86 (2). 87 (2).
Pedal, 50 (3).
Phrase, 19; 38 (2), 39 (2), 46 (2),92
;
augmented
leap
(2),
Repetition of note, affecting harmony,
36 59 (2), 89 (2) et seq.

Resolution of discord, 86, 87, 94, 95
;
7 (2), 9 (2) et seq., 17 (2) et seq.,

53 (2) et seq., 65 (2) etseq., 7a (2)
et seq. ; 8 (3) et seq., 16 (3), 18 (3),
Root
position,
39
(3),
47
harmonic chromatic, 21
(3),
Second, augmented, 23, 50
40
10
quitting of, 63.
Sentence, 46 (a).
Sequence, 94 7 (2), 16 (2), 40 (2).
Seventh, diatonic chords of, 7 (2),
;
17 (2).
diminished, 68 (a); 17 (3), 18 (3),

19 (3), 29 (3), 43 (3), 46 v3)dominant, 86; 19 (3), 46 (3).
exceptional resolution of, 87 ; 8 (3\
9(3).
fundamental 8 (3).
17 (3).
major, 7.
minor, 9, 10.
supertonic, 8 (3), 43
26
(3).
Subdominant, 7.
Submediant, 7,
Superdominant, 7.
Supertonic,
7.
chromatic common chord, 7 (3).

chromatic seventh, 8 (3), 43 (3).
chromatic ninth, 16 (3).
chromatic thirteenth, 18 (3).
Suspension, 53 (2) et seq., 65 (2), 72 (a),
10 (3), 38 (3).
77 (.2), 92 (2)
;
Third, diminished, 37 (3).

major, 9,
minor, 9.
Thirds, consecutive major, 29.
tonic,
(3).
(3,1.
major, 9.
minor, 9.
tonic,
29.
major, g.
minor, 9.
Neapolitan, 37 (3).
Thirteenth, dominant, 72 (a).

supertonic, 18 (3).
23, 49.
melodic minor, 56.
(3).
parallel, 61.
7.
harmonic minor,
leading, 19 (2)
leap of, 17, 93.
47
(3).
et seq., 51, 94, 98.
Scale, diatonic major,
(3),
Sixths, parallel, 61.

(2),
Pianoforte writing, 66 (3), 75 (3).

Preparation of discord, 94 ; 7 (2), 53 (2).
27 (3\ 29 (3\ 44
elision of, 74 (2).
Rhythm, 59 (2).
Root, 12.
of, 17,
German, and
(Italian,
French), 43
(3).
30
(3).
Tierce de Picardie, 24 42 (2).

Tonic, 7 ; 34 (2) et seq., 38 (a), 46 (2).
chromatic common chord, 39 (3).
chromatic seventh, 26 (3).
chromatic ninth, 29 (3).
chromatic thirteenth, 30 (3).
;
Transition, 39 (a).
Triad, 12.
augmented, 95.
diatonic, 12.
diminished, 28.
primary, 12, 23.
secondary, 28.
Tritone, 29.
Unessential notes, 60, xoi

Unison, 8, 62.
Variations, 75 (3).
Voices, compass of, 13.
34 (a).
PRINTED IN
GREAT BRITAIN
AT THE
UNIVERSITY PRESS
OXFORD
BY
JOHN JOHNSON
PRINTER
TO THE
DNIVSKSITY
MT
50
K57
1920
V.3
Kitson, Charles Herbert

Elementary harmony
TORONTO
TniVERSITY of
EDWARD JOH-ISON

Kitson's Little Book On Elementary Harmony.

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Kitson's Little Book On Elementary Harmony.

Uploaded by

Copyright:

Available Formats

/

M.A. Cantab., D.Mus. Oxon

OXFORD UNIVERSITY PRESS

PRINTED IN GREAT BRITAIN

sufficiently settled for the formation of

Students ought to understand the technique

of the various periods.

or should be studied under the heading of Strict

The Homophonic Period, from 1600 up to Brahms.

Debussy, Ravel, Scriabin, Delius, Schonberg, &c.

both the harmonic and the contrapuntal

For, obviously, a writer cannot

individuality of his various parts

This book has dealt with the purely harmonic side of

student's next step

to study the contra-

may further be urged that the

attempting modern technique

best-equipped person for

whole process of development.

Chromatic Supertonic Common Chord and Seventh

Chromatic Tonic Discords

Chief Chromatic Triads

Simple Variations for Pianoforte

CHROMATIC SUPERTONIC COMMON

of the best approaches to Cadences (except the Plagal)

obtained by employing Chord 11 a or

sharpening the third in Chord H, a

This chord is derived from the dominant key, being the

be desired to prevent modulation, the chord must be

followed by the tonic

seventh be added to the chord, a fundamental seventh

precisely like the dominant seventh

dominant seventh of the dominant key.

resolutions are as follows

rise to the fifth in the

in the former rise to the third in the

COMMON CHORD AND SEVENTH

second inversion of the tonic chord, which

will itself resolve into the

rise to the third of the tonic

merely a decoration of Ex.

In these cases the supertonic seventh really resolves on to the

dominant seventh, as the six-four of the tonic is merely an

third in the supertonic seventh

VIIZ> of the dominant key

also be used in the

may be added here

must not be doubled,

movement and leading

common chord and

But care must be taken to avoid the melodic interval of the

This chord may be decorated by appoggiatura or sus-

used in the major or minor key

but not the major ninth in the minor key.

COMMON CHORD AND SEVENTH

Note the chord of the seventh may be used in any inversion.

Third, or root and third decorated

In the minor key the decoration of the

For the same reason, the use of the minor

sixth of the root as

a decoration in the major key should be avoided.

the examples as ear-tests.