PR EFACE .

Dom e the past fewyears we have seenthe beginning ofa reactionary n f i eriod inthe art creations and inth e teachi o th e arts and sc ences. p g . At u a time it is to be ex ected t at t ere ill be extremists suc as s ch , p h h w h we see among the creators of some of our futuristic prod ucts of art and music ; but this upheaval is encouraging to those wh o have seenth e

futility of many of our pedagogical methods. Modernpsychologists and educators have abandoned th e old ways of th e me t od of startin ever student re ardless of a e and teaching h g y , g g nis n personality with the rudiments of th e mecha m of the subject at ha d . It has come to be recognized that very few persons are endowed with s ffi i nt en si sm to ri e over t is ir some sometimes almost u c e thu a b dg h k , unintelli i le eriod of stud to th e time ensome at enli tened g b , p y wh , wh gh , t e n r i n enter into th e attractiveness of th e su ect h y ca app ec ate a d bj . One of the most conspicuous examples of the old order inpedagogy is inm i om osi on For ear t at a student ould ma e r m us c c p ti . f h w k g a ” matical errors th e su ect h as eentau t a series of rules ineni , bj b gh by g ’ ously made by academicians a series ofdonts which too ofteninhibited en nstead ofallo in th e stu ent t ex ress allspontaneit y inth e stud t . I w g d o p imsel idin him inhis self ex ressionth e old met od ve th e h f , and gu g p , h ga student his set f rules and woe to him wh o diso e ed t em et er o o , b y h wh h r

not inso doin th e result was artistic . , g, This indirect method of teaching harmony consists of giving th e constructionof chords and formulating rules according to their gram l e t r r on ne to not e s ll matical y corr c p og essi o a h r. U ua y a bass part is iven n the student rites th e c ords a ve th e ass Th e inevi le g a d w h bo b . tab result is a mechanical correctness inwhich th e student wh o is mathe matica lly inclined will be infinitely more successful thanth e one wh o is Th e t ent ites c in e musically inclined . s ud wr ha aft r chainof chords in ic t ere is no meanin no orm and no sense of relative l All wh h h g, f , va ues. the vitality and art inmusic are removed and the student usually be com nt rtist but a mec anici n erm re es o ana a . urt o e st e , , h F h , th ud nt learns all the forbiddencombinations and progressions of th e conserva tive t rists but enturnin to th e or s of th e m e i heo , wh g w k od m sts and even to th e r of th e older m sters h e is conronte it wo ks a , f d w h parallel perfec t m PREFA iv CE.

fift s c ross- relations au mented ro ressions unresolved dissonances h , , g p g , , two or more ro ressions of a ourt or fift insame direc tionet cetera p g f h h ,

Music pedagogs canprofit much by a study of th e changes going on inth e methods of pres enting other subjects ; of th e way many other subjects have benefited by taking cognizance of data which modern c olo n eda o o o fer psy h gy a d p g gy have t f . Th e direct method inth e teaching of music compositionis sure to

e is is llow r he stud ent me . ur t s a a ou a e t co O nd enc to com ose. e h , g p W would not think of forbidding our childrento write letters until such time as they h ad learned th e entire contents of anunabridged Webster earned all th e rules of nlis r mm at er eno r e and h ad l E g h g a ar. R h we c u ag th e child to exp res s himself with what ever vocabulary h e happens to ve t ou t ere are a roximatel r e ha . Al h gh h pp y wo ds inth English lan a e a es eare used but and Milton gu g , Sh k p e ollo in text h as een ritten it th e a ove t i Th f w g b w w h b hes s inmind . ’ e and donts ave eenavoided inso far as seeme ossi l Th e Rul s h b d p b e . indirec t method h as beenresorted to only where the direct method fails in rint ecause insuc laces th e ersonal actor is tenne o cessar . p , b h p p f f y ll students ofcom ositioncannot be com osers but all canbe trained A p p , ne n n inter ret th e or t reciate u d rsta d a d s of com sers. o app , , p w k po h et er or not th e stud ofmusic rammar alone will rin t suc W h y g , , b g abou h t be ar rammar h as its l ce in e e f results will no gued . G p a any sch m o proced ure ; but its place should not necessarily be th e initial presenta th e o t im nt ontaneit interest n r i on tionnor m s orta . a d a ec ati , p Sp y, , pp are th e desired goals and th e prevalent method of teaching is a menace i ie ow and t ena enius esca e b t eni to t ese t ree ual t s. N s u uses h h q h g p , g in i are ina startling m or ty . Int is met od th e aut or o es to ma e th e stud of armon nt h h , h h p k y h y o th e dr and difficult su ect ic so man roclaim it but anatt active y bj wh h y p , r th e or e and manner of resentation ermit n neit subject . If d r p p spo ta y

n l ex ressionth e o ect of th e or h as eenaccom lis e ven se d . a d f p , bj w k b p h E if int is text academic considerations are sacrifi ced to s ontaneit , h , p y, inte e t and a reciation th e or h as not ailed but th e aut or r s , pp , w k f ; h i r e believes that no such sacrifice w ll ac c u . h e ut or afiectionatel extends his ratitude to his fe arion T a h y g wi , M r f r h er s m t etic id criticism e ar e o a a and s stions. DillonG dn , y p h , , ugg

C . E . G. m nmonMass 1 1 C , , 9 7 TE TS CON N .

PART 1.

xviii Compass of the Pianoforte .

I .

Tu m m; Tom . II . T e

Positionand Inversions Root .

nth Ninth Inv T e anersions. Sev d riad , , ,

d ne ons Root Positionan I v rsi . i Exerc ses, Group 6 The Major Seventh Chords

Tm: Sm mmc Cnonn. V . n

T v th inth Inversions n N an . riad , Se e , , d e ses Grou Ex rci , p 7 Tn urnamm m Cnonn VI . S

i Gro Exerc ses u . , p 8 Tm: Mnmm r Cnoxn

nd Seventh N inth and Inversions h i , , , . er ises G u Ex c , ro p 9 II TanS nr omc aoxn V I . u C

nth and Inversions Triad , Seve , . e Grou t o Ex rcises, p vi CON TEN TS .

Chap ter

- XI . N ON CEORDAL TONES

Passin A o iatura N ei h orin Tone Antici ator Sus ension g , pp gg , g b g , p y , p ,

Retardation Or anPoint and Com ound N ou- h ordal T ne , g , p C o s. 1 2 Exercises, Group . I A TERED HO S XI . L C RD

ItalianSixth Ch ord

GermanSixth Chord

French Sixth Ch ord Additional Augmented Sixth Chords N eapolitanSixth Ch ord h h Ot er Altered C ord s .

e i es 1 Ex rc s , Group 3 I E EVENTH AND THIRTEENTH GII ORDS AND MODE NITIES XII . L R

PA T II R .

MODU ATION AND TRANSITION XIV . L Exer ises Grou 1 c , p 4 .

THE VARIOUS STYLES OP WRITIN G

Pianofort e Strin uartet Orch estra . ( , g Q ) D uplicationOf Factors ro 1 Exercises , G up 5 BIN ARY AND TERNARY FORMS Exe ses rou 1 6 rci , G p EPISODE AND CODA X II . INT ODUCTION INTERuEzzo V R , ,

Exe ses Grou 1 . rci , p 7

XVIII .

s s ro 1 Exerci e , G up 8 X THE SONATA FORM IX .

THE MIXED AND FREE FORMS

- P t urri Fantasia Pro ram Music . o po , , g ’ ME ODIES F O BACII S CHO A S APPENDIX A. L R M R L MISCE LAN EO S EXE CISES APPEND IX B . L U R EXE CI SES ON R OURED BASS APPEND IX C . R Princip al Triad s of th e Major Mode All th e Triads Of th e Major Mod e Triads of th e Minor Mod e

Seventh Ch ords and Inversions

Transition

Altered Ch ord s

Miscellaneous Exercises .

IX D DEFINITION S or TECHNICA TE S APPEND . L RM I TO H TE CH E T E A R .

e ut or realizes t at t first lance th e avera e te c er ill Th a h h , a g , g a h w Object n nin c Th to th e method Of prese tationinth e ope g hapters . e first Objec ll be to th e limite o iventh e stu ent inth e c t r tionwi d sc pe g d second hap e . ’ It m be ar ued t at incertain laces inth e exercises th e student s ay g h p , e r ill esire some ot er c ord t antonic but to th e use Of ot er c ords a w d h h h , h h n f en there Should be o Objection or here th e stud t is asserting himself . ri nOf res O ine . nS o th Th e ollo in ults ta d W . ar so osto e f w g b by E H , B , h w h possibilities int e material.

ni e i 1 h r f r f r i i . a . Ex rc se . 8 a mo zed o ou vo ces with tonc chord ( ) , p ,

n for solo v i h m n h r Th e same arr ed o ce wit ccom ni ent to ic c o . (b. ) a g a pa ( d)

T TH E TEA H xii O C E R .

i rrison e ter l Th e ingenousness with which Mr. Ha handl d this ma ia i ter inits resen O be s re e x stence f th e a t orm. T u justifies th e O ch p p f , r ones a e r insome Of th e versions but t ese are s on noncho dal t pp a , h p taneous and their use should be encouraged evenbefore th e student has o reached th e chapter which explains such tones . Mr . Harrisonis a p r fessional and skilled instrumentalist and we therefore cannot expect h ow l rom th e avera e student . The aut or such satisfactory resu ts f g h , t ine com arativel ood results rom all students it ever, h as Ob a d p y g f w h whom th e method h as beentried . A second Objectionmay be advanced that th e method is not as rapid i ari es rom th e act t at most text ooks cover th e t ree as most . Th s s f f h b h t c a ter th e secondar triads inth e second principal triads inthe firs h p , y

is O ectionmust be met c om arison. Th e avera e chapter, etc . Th bj by p g text book covers chord structure and progressioninfrom fifteento

- r e s me material is covered t is text in twenty five chapte s . Th a by h r e c f ic re uires no more lessons t ana c a ter fourteenchapte s, a h O wh h q h h p inother text books . Of t is met od th e aut or ave an TO prove th e economy intime h h , h g experimental class th e final examinationpaper set by Harvard College 1 Th e class at arvard has for th e first year harmony class Of 1 9 4 . H ’ - Th e aut or s class h d approximately seventy two hours Of lectures. h a

- l Ins ite of th e difierence inth e num er thirty five hours Of ectures . p b ’ r e t or s class as a ole made fewmista es con Of lecture hou s, th au h wh k , i Siderable originality was displayed and all the work was log cal. It will be noticed that no introd uctory pages are devoted to th e f rmo The rudiments Ofmusic such as are found inmost systems O ha ny . author believes that th e student Of compositionalready h as or should t m Of scales ot t eoretical and have a thorough knowledge Of rhy h , (b h h ’ Th e ut or s Essen practitional) and of intervals and their inversions. a h l nd tials of Muric Theory covers th e p reparatory ground thorough y a TO THE TEACH ER xiii such material withinth e pages Of a text book Of compositionseems out ofplace . InAppendix A will be found melodies for harmonizationchosenfrom ’ ese are not raded and are desi ned to be Bach s Chorals . Th g g used after InA endix ill the student has completed Chapter 1 4 . pp B w be found melodies chosenfrom th e works Of various composers which are to be harmonized or worked out ac cording to directions . Appe ndix C contains graded bass exercises for those who desire to supplement th e melodic

or . A en D con l f l te i w k pp dix sists Of a ist o technica rms with definit ons. A few Of these terms are used inthis method pe rhaps for th e first time ; ine h c e he term c nis r i l l - ex l n ac as t ose c se tor . , h p a t cal y f p a a y N T TI N I R O D UC O .

V OCAB UL AR OF HOR S Y C D .

h ll in voc l r th e c r re r L e m n Int e o o a u a o ds a fi u ed . r o a f w g b y, h g a g R numerals denote major triads ; small Romannumerals denote minor n e ic fi res e ote c ord ct rs. A ci xe triads . Arab gu d h fa o ph r is afii d to a r l dente i i e t d small Romannume a to o a d minsh d ria . Th e plus Sign l e m nnumer t enote m ne r T e is affixed to a arg Ro a al o d anaug e t d t iad . h plus signis also affixed to Arabic figures and denotes anaugmented n l In rin h l ere f terva . fi u t e a t d triads the ori inal umerationO th e i g g , g n t riads is retained regardless Of whether or not th e alterationh as changed h nrm l rm i n f ri Th e t ent is not ex e t ed to t e o a fo at o O th e t ad . s ud p c e l i r n nements memorize th vocabu ary ; it is g venfo refere ce . Th e arra g Ofthe chord factors are such as to show th e spellings Ofthe chords and r nt ne e ril th e most effe ti e r is ri i a e o c ssa y c v facto d t but ons.

Triads Of th e Major Mode .

rm r M Triads Of the Ha onic Mino ode .

rm r Triads Of th e Descending Fo Of th e Melodic Mino .

Seventh Ch ords of th e Major Mode . xv; INTROD UCTION .

Eleventh Chords of the Harmonic Minor Mode .

o l i n

Thirteenth Chords of the Major Mode

Thirteenth Ch ords Of the Harmonic Minor Mode .

Inversions Of a Triad

r n 1 st inve sion. a d inversion. rd inversion g .

Inversions Of a Seventh Chord

I st inversi n n on. a d i version r invers inve . rs 3 d ion. ath ion.

Inversions Of a

” i vl Ii

‘ leventh and nh The e thirtee t chords Oi th e two forms of melodic minor are omitted .

IN TROD TION xviii UC .

S o r THE VOICES TH T I N G UA COMPA S E S R Q RTET.

COMPAS S OF TH E PIANOEORTE M P I TI O N M U S I C C O O S .

T CHAP ER I .

CADE N CE S AN D E L E ME N TAR Y FOR M .

ll inl ence is a ro ressi 1 . The Authentic Cadence (also ca ed F a Cad ) p g on r n Th e t enic cad ence ma be f om dominant to tonic harmo y . au h t y ‘ er ect or im er ect er ect enth e tonic c ord is arraned wit its p f p f , p f wh h g h root in ot outer voices and im er ec t enth e u ermost voice b h , p f wh pp h e enti en sounds factor 3 or 5 inth e tonic chord . T auth c cad ce when re rm n is ll m lete c n e p ceded by subdominant ha o y ca ed co p ade ce . Th effectiv O e nti dence is at th e en Of a erio e use f th authe c ca d p d . ro e si n ni 2 . The Half Cad ence is a p gr s o from to c or subdominant arm n to n rm Its effective se is at th e en f h o y domina t ha ony . u d O any r er se f e ph ase oth thanth e last phra O a p riod . 3 The Deceptive Cad ence (also called False Cadence and Avoided Cadence!) is a progressionfrom dominant harmony to some chord other t an ll nll r l usua and occasi a re in t ine i . h I, y VI o y IV p fe ab y firs v rs on Its efiective use is at th e end Of a phrase other thanth e last phrase Of a eri I is efi el e p od . t ectiv y used also to ext nd th e normal length Of a e p riod .

. The Pla al Cad ence also called urc adence c clesi s i l 4 g ( Ch h C , E a t ca adence and Amen ence is a ro r i n C , Cad ) p g es s o Of the subd ominant chord t o th e tonic chord . This cadence is effective after th e final cadence in

L TA E EMEN RY FORM.

A complete musical sentence is called a period and usually consists Of ei t l n me re e re gh o g asu s or sixteenshort m asu s . Periods are divided more or less ar itraril into secti ns r n b y o , ph ases a d fi res e constru ionOf t i l fi gu . Th ct a yp ca gure follows:

‘ n rf Some th eorists a ll a half cadence a imp e ect cadenc e .

Some th eorists mak e a distinctionbetwe enD ece tive d nce and A i 1 p Ca e vo ded Cadence, but this need not he considered h ere . MUS IC COMPOS ITION .

A t A ndane by M zAs.

Ph rase 3 .

Section2 .

Period .

nu Period conti ed .

fractional part Of th e measure required for the commencement Ofa pc CADEN CES AN D ELEMEN TARY FORM.

The divisions Of such simme and typical periods as are showninth e preceding examples are marked by either or all Of th e following devices : line ere e ene r t mic rou in and melodic . W th smaller cad c , hy h g p g, h divisions are well marked th e compositionis fragmenta ry and therefore i r menar effect th e sm ller visi ns l ti e . TO vo a a t a di o s ou d primi v a d f g y , h coales ce to some extent inth e harmonizationand but one well marked

ence ot er t anth e final cad ence S ould a ear. Th e ollo in cad , h h , h pp f w g diagram demonstrates :

Pe riod of 8 measures .

— 1 0

ures me asures . 4 meas . hi 4 l

n not fina Full Cade ce, l. Cadence final.

Compares with semi- colonin Compares with p eriod

A period constructed as follows is not uncommon

Dia m 2 gra .

Pe riod of me asures .

ivision2 . ivi i D D s on3.

n Cade ce .

A period inth e Minuet Of Sonata I by Beethovenshows th e above structure but to this twelve- measure period is added two measures by

i e ll Extene n e ene . ev is e repeating th final cad c Such a d c ca ed d d Cad ce. I M ITI MUS C CO POS ON .

’ Th e Scherzo from Beethovens Sonata III Shows a sixteen- measure period constructed as follows

Dia ram g 3.

m Period of 1 6 easures.

D ivisio n3.

Th e third divisionshows a perfect coalescence Of two four- measure groups. Such struc tures as have beenconsidered above may be varied by n i n n n ti F ex m le t e evi es Of ex ansioni ter olat o a d co trac on. or an a h d c p , p p ’ n n r ne m le f ex ansion see ee t ove s o ata . 1 0 N O . I Fo a xa O p , B h S , Op , p ’ ne le f inter lationsee eet ovens onata . 1 0 For a xam O po , B h S , Op , p ’ i z n Of contractionsee L s t s Hu garianRhapsodies. etr h e divisions Of a sim le musical eriod are alanced one Like po y, t p p b against another and th e first divisionis called antecedent and th e following es e terms ma be a lied to two alancin small divisionconseq uent. Th y pp b g i ns to two alancin lar e divisions and evento two alancin div sio , b g g b g ri h e e Of t ese terms inthis sense must not be conused it pe ods . T us h f w h h e their use inth e structure Of t e fugu .

E EX RCISES .

Th e teacher Should play several periods Of simple constructionand int out th e rases distinuis et een ell require th e student to po ph , g h b w w

ed divisions and reco nize various cadences . The marked and less mark , g student Should also be required to make diagrams Of th e construction i l eri Of various S mp e p ods.

CHAPTER II .

H E ON IC TR IA T T D.

i inth e ma or mode consists Of th e tonic do its ma or The tonic tr ad j ( ) , j

I is e ma or triad . The i n its er ect fift so . t call d a third (m ) , a d p f h ( ) j f root h s finlit its t ird chord is consonant and inactive inef ect . Its a a y ; h and fifth have less finat but are wholly inactive inthis relationship . i r voices it is necessar to dou le one Of th e Inwriting tr ads for fou , y b

i e Of the tones must be sounded two voices. i. . n tones Of th e tr ad ; e , o by HE RI T TON IC T AD. 5

Th e ac tor of the c ord most re uentl dou led is th e root but it f h f q y b , , w h m be certainrestrictions the ot er ac tors a dou led . ac tor five ma , h f y b F y n ri e omitte inm or an minor c ords . I t is case th e t e b d aj d h h , ad app ars l r n l hir it eith er tri led root or dou ed oot a d dou ed t d . w h p , b b oice s acin materiall af ects th e musical result an to avoi V p g y f , d d subtle e inner t i i ie i l f r e o cl s n i . n t s t is advisa e o th use ose o t o . e a arr ne , b b g p , a g ment Ofvoices inwhich the three upper voices do not exceed th e compass f n v uc narranement al a s results in s in o a octa e . S h a g w y good pac g because Of the well established fact that the two adjacent voices which e r e l r t interv r tenr n canbest b sepa ated by th a ges al a e o a d bass. Various ways Of writing the tonic triad inclose positionfor four voices with doubled root follow :

Root position

First inversion

Se cond inversion

Some writers app ly th e following terms to th e following arrangements

Ha - n Close c . lf Op e e tc . Op en

i i in - n ition Inthis text th e term close pos t on cludes half ope pos . IC OMPOS I 5 MUS C IT ON .

’ ements Some Of the above arrang sound thin. The student s ear will

readily Show the more desirable arrangements. Although the above

rr ements Of the six- our c ord h ave dou led root th e c r m a ang f h b , ho d is ore

efiective with doubled fifth . r m melodic stand oint the two outer voices are e m t r F o a p , th os impo ” r mmatical errors suc as conse cutive and concealed fi t s tant . G a , h f h e re r minnt ino ter v i es nd t ves ar mo o e u o c t anininner voices . a oc a , p h Our first considerationis a good SOp ranO to which should be added a s we roceed lo icalharmonic ro r ssions n conn ions . ect good bass A p , g p g e a d e met od ursued this text Of tre tin e must be made . Th h p by a g ach chord e r tel Of correlatin the c ords and lacin t em int eir ro er s pa a y, g h p g h h p p ‘ families will assist th e student inthese fundamental considerations

n nnec ti ns . ic l Of progressions a d c o o Vo es Should not cross. A though in Of voices is resent inth e or s Of reat com osers t is device cross g p w k g p , h should not be resorted to until exp erience inpart writing has been

A vocabulary ofbut a Single chord gives yery little material with which to or but muc more canbe done it t is material t anat first w k, h w h h h Mo iv s consistin of rio m l might be supposed . t e g va us e odic arrangements Of th e tones Of th e tonic chord may be found inthe following quotations :

BEETHOV EN Fifth S h o . , ymp ny

ntionN O . 8 . c . BAC K I nve ( ) , ,

W EBE S onata I I . R,

(32) Die W ach t am Rh ein.

ositions th e use Of th e tonic c or re ominat e Inall comp , h d p d es. Anntire ri o ever consistin Ofno ot er c ords t th e toni l pe od , h w , g h h han c wou d Often

be monotonous.

3 MUS IC COMPOS ITION .

Th e following melodies Should be sung using th e sol- fa syllables after w ic t e s o ld be armonized it th e toni r u c C o . T e h h , h y h h w h h d h harmoniza

tionma be for SOlO iano orte solo voice it iano orte a om y p f , w h p f cc p ani men n r o r i t o fo u vo ces. , f

XERCISES ROUP 1. E , G

Fre nch Folk Song.

Enlish g Game .

En h glis Game .

GermanFol S o n k g .

A ter he exercises ave eencriticized and corrected th e te c er f t h b by a h , h e s l la each exercise sinin eac rt int rn t tudent shou d p y g g h pa u . The student may compose melodies founded uponth e tonic chord and ’ e her riticism Of this ori in ll do harmonize them. Th e t ac s c g al work wi u r i ne t ndin m ch to clea m su d rs a gs. HAP C TER III .

TH E D OMIN AN T CHOR D.

All th e tones of th e scale other thanthose which constitute th e tonic t riad are active intheir tendency toward one or more Of th e tones Of th e ni t o c triad .

Th e 7th scale step (th e leading tone) has strong tendency diatonically r th t ni u pwa d to e o c . Th e 4th scale step (th e subdominant) has strong tendency diatonicallv d o n r to th e h e ri w wa d third Of t tonic t ad . Th e 6th scale step (th e submediant or superdominant) h as strong

t endenc do r o t e fift f th e ni ri y wnwa d t h h O to c t ad . Th e and sc ale step (th e supertonic) is characterles s inregards to its tenen i mi d c . tuated d a et eenth tonic and mediant it ma y S w y b w e , y ro r i er r ni ess t e t . I o r i nt th p g o h ts p g es s o o e to c is more final. Next to th e tonic chord inimportance and frequency Of oc currence is the dominant c ord ic is o n n fif l t Th e h wh h f u ded upo th e th sca e s ep . dominant triad is a major triad and is therefore formed like th e tonic triad wit ma or t ird and er ect fift c or is consonnt b t ( h j h p f h) . This h d a u active it tenenc to th e toni or h e le in t ne is th e ost d c . , w h y ch d T ad g o m a tive r int e r it r e i e c facto h cho d and p ogr sses normally to the tonc . Th fifth Of the dominant triad progresses upward to th e mediant thereby su l in h inth e ni ri e r t f th e n r pp y g t e third to c t ad . Th oo O domina t cho d which is inactive as th e fifth Of th e tonic chord assumes a dual character inth e dominant c ord inth e ass the root ro resses to th e tonic h ; b , p g called cadencin ro ression but inanu er voice it ma remain ( g p g pp , y “ ” stationar stationr n ne y Such a a y to e is called commonto . Th e root Of th e dominant c ord is th e actor most re uentl dou led h f f q y b , th e fift less re uentl and th e t ird le n tone is almost never h , f q y h ( adi g ) dou l in r vo e ri o t inthe omi b ed fou ic w ting. Whenfactor five is mit ed d nant tri d th e r ot must be tri l a o ed . , p Th e second inversionOf the dominant triad occurs less frequently

thanth e 12.

Th e use Of th e six- four chord onall degrees Of th e scale should be restricted to th e following four progressions : 1 st . Where preced ed and followed by root positionor first inversion of the s me rd ex : a c o . 1 1 or I 1 I etc . h , , 2, I ; I , o , 2, o , I ,

n - r a d . Where th e tonic six four chord precedes th e dominant cho d at h e c dene ex 1 t a c . : , 2, V, I . MUSI C C M m O POSITION .

r e - 3 d . Wh re th e has of th e six four chord is approach ed and quitted

x te e . s pwise , x

I V2 Io

t ere th e - o r c r 4 h . Wh six f u ho d occurs withina succes sionof chords

r in ver a stationar e o res s o ass x. p g g y b , E v rg v

Ina s cces sionof c ords inth e first inversionit u h , is usually advisable to double th e root inalternating chords and the third inth e remaining

ch ords, but th e principle is not ofsufiicient importance to nullify th e rule

that th e leading tone must not be doubled . Various arrangements of th e progres sionofth e dominant triad to tonic

are sh owninth e following em p le .

th e melodic p rogressionat th e end ofa compositionofti

th e above melodic p rogres sion(without modulationor ch romatic alterations) are ° ° ° — — — — - — — - - vn I m I m vr vn vr V IV m IV and vu I vr V. In e v I , V , , , , , th midst iod th e a ove melodic ro ressronma be harmonized V— I — of a p er , b p g y but V VI is ftc ° o s sions vn— I m - I and m— vr f l vi le. Pr re are o es s f q uently ad sab g , requent occur ° ° ' - - - and n- IV are rarel n nd vn vr V IV m IV v used . Inthis cha ter re ce , a , , y p , the inant and tonic harm ni student should use only dom o es . HE MI T DO N AN T CHORD . 1 1

The fifth scale step is a fac tor inboth the tonic and dominant chords ere re be h rm nize inci les of and ma t o a o d it eit er chord . Pr y , h f , w h h p et an co erence ll overnth e c oi vari y d h usua y g h ce . nthe re etitionof a tone inth e melod it is re uentl advisa le Upo p y, f q y b ,

for th e sa e of variet t c ane th e harmon u onth e re eated tone . k y , o h g y p p

A valuable use of th e tonic six- four chord is uponth e third from th e e or is ollowed last chord of a period if th e melody p rmits . This ch d f by r i the dominant chord which progresses to the tonic t iad inroot pos tion. ” - - Such a six four chord may be called a cadencial six four .

12

The cadencial six- four chord may be writtenwithout its root

This r ma of course be anal zed as a mediant sixth chord but its cho d , y , , y

e i - efi ct s that of th e cadencial six four . Parallel and consecutive fifths and octaves should be avoided inchord p rogres sions . See page 23 Th e following example should be studied

1 tur h o 7th Cen y C ral.

V G I 1 Vo l 1 1, n v 1 o l 12 V I

i l in he oll i exer i e Openp os tionmay be used occasional y t f owng c s s . M S m U I C COMPOS I TION .

XERCISES OUP 2 . E , GR

Fre nch Fol k Song .

nu aaa . F. S c r

Fre nch Folk S ong .

l Fre nc h Fo k S ong .

nize th xer i in rou a e 8 usin th e dominant . e r o e e c ses 5 R ha m G p I , p g , g e first inversionof th e ominnt ria will triad as well as th e tonic . Th d a t d be necessary inmost places because th e nature of th e melodies cause i i i n consecutive octaves whenth e dominant triad is used nroot pos t o .

The V, should be used inth e penultimate measure of each exercise .

THE OMIN AN T EVE TH H D S N C ORD .

To any t riad may be added th e seventh (of t h e root) and th e resultant h h All seventh c ords re di o nt nd chord is called a sevent c ord . h a ss na a in o r re n r er The active invarying degrees accord g t st uctu a d cha act . r c e co r r mo i dissonant factors of a chord are best app oa h d by nt a y t on. n The most commonseventh chord is the domina t . M N N T R D THE A HO . DO I C 1 3

Th e dominant seventh chord is formed with major triad and minor i sevent and s th e onl c ord t us ormed . Th e ominant sevent c or h , y h h f d h h d l e ol to e t t i I tenenc is r er normal y r s ves th onic r ad . ts d y g eat thanthat f th e dominant triad ecause of th e itional active ac tor h e O b add f , t dis sonant seventh . l or l l i r Sevenths inal chords n ma ly res o ve d atonically downwa d . Th e e omin l to th ir o i seventh inth d ant chord res o ves e th d f th e tonic tr ad . i o re i or ll Th i The fifth s free t solve e ther up downdiatonica y . e th rd e r l nic ll The root in h e (l ading tone) eso ves upward diato a y . t bass

resolv t th e tonic b t in n er voice it ma remainstationar . es o u a upp , y y

(a )

’ Th e student s attentionis direc ted to the fact that no doubling of Attention factors ina seventh chord is necessary infour voice writing. is further directed to th e fact that th e tonic chord resulting from th e i Th e o tioni oll satis actor above resolut onis incomplete . res lu s wh y f y i tice however ; th e ear supplies th e missing fifth inth e tonic tr ad . No th e difierence ineffect betweenth e triad with tripled root and th e t riad h or l ini e c r te i tic t an with doubled root . Th e latter as a m e p a t v ha ac r s h th e former while th e former is more decided and final. Th e t inth v n c or ma e omitted n th e root dou led fif h e se e th h d y b a d b , in ich case th e res lt nt tonic t riad will be com lete t us : wh u a p , h

t inf e uentl cases of seventh ch ords with omitted third s are found instandard No r q y , o s w c th e ch cter ossessed b ch ords inwhich cornositions. Such ch rd h o ever la ara p , , k p y the third is not omitted but th eir use is justified wh ere imp roved voice leading th ereby The student sh ould voi is nement until ex erience in art writin res ults . a d th arra g p p g MUS IC COM ITI 1 4 POS ON .

tud care ull th e ollo in ex l S y f y f w g amp e .

v: I.

XERCI SES ROUP . E , G 3

I Resolve th e dominant seventh chord (complete and incomplete) to th e toni ri l c t ad ina l major keys.

ill inth e r oic e ro 2 . F uppe v es inth following p gressions

(a . )

v G I2 7 D v v,

ill inth e r i in th e . ass and teno in e llo ro ress o us 3 F b th fo wing p g ns, g incomplete dominant seventh chord :

(a . ) an

0 13 v7 G I v,

z e r in th e i t 4 . Harmoni e th e following m lodic f agments us g dom nan seventh chord complete or incomplete :

(a.)

S I C COMP T 36 MU OS I ION .

XE RCI SE S OUP . E , GR 4

esol e th e dominant nint c h ord ino eno c l o i I . R v h p r ose p s tionto the tonic triad inall major keys . ill i t e e r voic es inth e ollo in ro r i n 2 . F nh upp f w g p g ess o s

E I V V D 13 v, I g 9 C 7 v,

armonize th e ollowin ra ments usin th e dominant nint c ord 3. H f g f g g h h

a (a . ) ( . )

P 1 0 12 V , 2 v,

INVERSION S or THE DOMIN AN T SEVE N TH CHORD .

The dominant seventh c hord h as three inversions which are notated and figured inth e following example

A fac tor should seldom be omitted inaninverted seventh chord . ' The factors resolve inth e inversions inthe same manner as inroot n first inversionV re uentl occurs. Th e second i ver position. The ( 2) f q y sion(Vi) is less res tric ted uponapproach thanis th e second inversion o i r or Th t ird inversion of a triad and may resolve t e the I L . e h (Va) r lv o 1 It is more efiective u on is aneffective dissonant and eso es t 5 . p fi t and sec ond inversions a strong pulse thanupona weak pulse . Th e rs l e in may be used uponth e final cadence but they are less frequent y us d Th e use of th e third inver h omOph onic style thaninpolyp honic style .

not of course res ult infinalit . siondoes , , y Th e inversions of th e ninth chord do not oc cur commonly although l they may be used effective y. THE DOMIN AN T CHORD . i !

nve rsion inve rsion. i . nv i n I ers o .

Th e student should avoid resolving a dissonant to a fixed unison

x ni n Fi ed u so .

the use of openpositionfor inve rted ninth chords is desirable

Composers have resolved a dissonant to a fixed unisonbut skillful voice leadin must cc om n s c ro re sion g a pa y u h a p g s .

BA CH .

nnt But this is a passing disso a .

LrNE THE MELODIC .

A good melodic line is p roduced by diatonic p rogres sionwith judiciously introduced

i l e and c ste ev o ot n uniforml constructed . e p chromati p s, d oid of m n o y but y 1 3 MUSIC COMPOSITION .

Smooth melody is produced by diatonic or chromatic p rogressionbut such p ro res sionused exclusivel ecomes monotonous and should therefore be v g y b , , alle iated by

th e use of skips. Th e freq uency of th e occurrence ofskips depends uponth e character ofthe com ositionas a whole u onth e ra idit ofth e melodic tones u n p , p p y , p o th e des ired and u on e r i ular voice rt in n efiect , p th pa t c p a ha d . S i s ina melodic line roduce a m ed and vi orous efiect and are th erefore k p p gg g , , ada ted to a stron ass art ina rh thmicall well- mar ed com osition or to a p g b p y y k p , th ematic voice art wh ena com ositionis inru e st le as o se to l ri l p p gg d y pp o d a y cal sty e. Whenstrivi for a ood melodic line th e tendencies of th e s le te e ng g , ca s p s must b min A do e ma ove e th e tenen borne in d . wnward scal fig ure y rcom d cy of the seventh scale step and anup ward scale figure may overcome the tend ency ofth e Sixth or fourth Susten n er f scale ste . tatio h owev o th e active le ste s normalizes th eir ten nies p , , sca p de c . Onthe oth er h and the tendencies of active scale ste s are increased wh ena e , p pp roach d alon th e sca le line inth e same directionas th eir resolutions and th erefore anu w rd g , , , p a scale fig ure sh ould seldom turnonth e seventh scale step and a downward scale figure sh o d seldom turnon th or fourth e te ul the six scal s p s. Ski s to th e leadin tone Sh ould seldom be made from elowbut from v A p g b abo e . skip from above increases th e tendency of th e leading tone to resolve upward to th e oni S i s from elow will be found incom ositions but th ese re uire reful t c . k p b p q ca tion i s to th e s or fourth s le ste s saf w enmade f lo mani ula . S ixth ca are er h rom e w p k p p b , n nen r sul n s inwhi case ani creased te d c e ts . I eneral wide lea inan di on ch y g , p y recti n to n tone usuall im l ano li ationto returnwithinth e interval of a d a y y p y b g the leap . All the foregoing remarks apply only to harmonic p rogressions and not to cases wh ere n voi e r d n th e re eti ions of h same h on Skips are made i a c p a t uri g p t t e arm y .

Quotations follow Showing applications of th e tonic and dominant s chord .

’ Fro m G o u N OD s Faust trans. fro m o rch e st tion ( ra ) .

A X X

THE IN A T CHORD DOM N . 3 1

’ F om I N I S orm . f m orch trat o r BELL N a (transe ro es i n) .

ExERCISES ROUP . , G 5

r e ol e th e ominnt sevent c ord inits first inversion V to . R s v d a h h ( 2) r th e tonic triad inall majo keys. l e e in t event c or inits sec ond inversion 2 . Reso v th dom an s h h d (Vt) to th e tonic triad inall major keys . e e t ent c ord inits t ir inversion V to 3. Resolv th dominan sev h h h d ( ,) the tonic triad (I, ) inall major keys . i h e i inth e ollo in ro ressions 4 . Fill nt upper vo ces f w g p g

I V I B b v Io 1 v , 9 2 , 3

To th e ollo in t ree - voice c ords ad d two more voices tenor 5 . f w g h h , ( and bass) and resolve them to five - voice tonic chords : MUSIC COMPO ITI 22 S ON .

e rmonize th e exercises in rou e 8 e th e min 6 . R ha G p I , pag ; us d o ant seventh or ninth chord inthe first inversioninth e penultimate measure i of each exerc se .

AP CH TER IV.

THE S UB DOMIN AN T CH R O D.

Th e ourt and sixt scale ste s do not of course al a s ollo t eir f h h p , , w y f w h e m r ress ar i r normal tendency . Th y ay p og upw d d atonically o they may ro ress s i eit er is it o li ator nor sometim i le p g by k p . N h b g y es adv sab to harmonize these tones with dominant harmony evenwhenthey follow ir rm l tendenc the no a y . There are two important chords with which both th e fourth and sixth le ste s ma be armonized namel th e su dominant c ord an h sca p y h , y b h d t e ertonic c ord th e first of ic is to be considered inthis c a ter sup h , wh h h p . Th e su d ominant triad is li e th e tonic and th e dominnt triads b , k a , a major triad and consists of root (fourth scale step) its major third and ect t t nsonnt c or b not finl alt i i er fi . I is a co a d ut a ou t h ts p f f h h , h gh as i i t ic r te iz mi i not th e definte act vi y wh h cha ac r es th e do nant tr ad . Its and third are th e active ourt and sixt scale ste s res ecti el root f h h p p v y . e ould t ere ore deduct t at th e lo ical ro ressionof th e s b i W w , h f , h g p g u dom nt t riad ould be to th e tonic riad t us na w t , h

To root position

Th e last progressioninth e above example is oftenappended at th e close mns nd called th e Amen adence or the Pla l lose o of hy a C ga C . C mmon use inother connections has giventh e subdominant triad flexibility and e r ressions are no means th e most mmon th e abov p og , by , co .

24 MUS IC COMPOSITION .

Concealed octaves ob ect iona le ecause the sound similar to consecutive octaves , j b b y , arise whenany two voices p rogress from any interval other thananoctave inparallel motionto noctave th us a ,

v no estral writin consecutive and concealed octaves and unisons Ob iously , i rch g , abound th rough th e reinfores ment of melodies and ch ord fac tors by one or more ins men Th same is true in lesser de ree of ianoforte sextet and uintet tru ts. e a , g , p , q

Concealed fths and ei hths arisin etweenchords havin a commontone are not fi g g b g , as a rule o ectiona le althou h for the resent it is usuall advisa le where rac , bj b , g , p , y b ( p ti to voi em es eciall inouter voi nic s cin voice leadin and cal) a d th , p y ces. Harmo pa g , g om s o no howev s c a s sh uld t er be acri ced to this rinci le . p , , fi p p

Consecutive fifths and octaves are avoided betweentwo chords in root ositionth roots of ic are situated a secon or a sevent a rt p , e wh h d h pa , he e voices inconr r m iono the onsec tive by leading t upp r t a y ot t bass. C u fifths and octaves may also be advantageously avoided by doubling some actor ot e he root inone or ot o the c or of the r ion f h r thant b h f h ds p ogres s . actors avin stron tendenc suc as the leadin tone sevent s and F h g g y h g , h nint s inc ords it ill be remem ere s o ld not be o e in o r h h , w b d , h u d ubl d f u

Like the toni t i e o innt triad has two c and dominan tr ads, th subd m a in o re e e versi ns ve o in e m re nt . th e fi in rsi n e e on o l used Th , rst b g th f qu y seco r i e me ri n nd inve s onis subjec t to th sa rest c tio s as the V2. The three triads which have beenconsidered are the only major t riads in e e com e the major mod . Th y prise all th tones of the major sc ale and are t ere ore ufi cient to armonize toni el e are h f s h any dia c m ody. Th y o tencalle th e rinci al ri also the Primar ri a es in f d P p T ads y T ads. P g standard or s canbe oun con inin few and insome se no ot er w k f d ta g , , ca s , h c or t ose t h ds hanth hus far considered .

As a guidance to logical harmonizations of diatonic melodies with the vocabulary o th ven oll win of ch rds us far gi , the f o g text will serve . wi The tonic (do) may be harmonized th either the tonic or the subdominant triad . henthe toni is e h rmonma t or l s nof m W c re eated th a chane . As rs a t to e a elod p y y g fi y , o th to us ll nized th do sh uld be harmonized wi the nic triad . It should ua y be harmo wi This f the tonic triad whenit is p receded by dominant harmony . p rinciple arises rom

h s ro ressionis found inthe works of st nd tive, althoug uch a p g a ard writers. THE S UBD OMIN AN T CHORD .

BACH .

W e ni i ‘ r nized with dom nant triad seventh or th . The sup e to c (re) is harmo , nin chord

The subdominant (fa) wherever it descends diatonically may be harmonized with ninth h l dominant seventh or c ord (see footnote be ow) . It may be harmonized with

dominant so ma be onized with ther ni r d n t The ( ) y harm ei to c o omi an harmony .

The sup erdominant (la) wherever it des cends diatonically may be harmonized with t l dominanninth chord (see footnote below) . Otherwise it shou d be harmonized with n subdomina t harmony . n tone ti i The leadi s harmonized witb dominant harmon. g. g ( ) y Tones which skip ina melody are usually harmonized with the same harmony although this cannot nowbe as successfully done as later whenthe student has the

be Incases similar to the following excep tionis made. Do may

harmonized with tonic harmony inth e above melody because of th e inefiectivenees of

- The a ove m c fr ent would therefore be harmonized as p rogressionV IV . b elodi agm

- - - follows: V I IV IV .

1 ” v I IV 0

O Beeanae of the finallty of the ru olutionto tonie of th e domhnnt eeventh and nlnth ehorb d t b r a rl d prefenble to - e theee chorde eparh gly eaeep t u the p - d dnau eho d ef pe o . MUS IC CO MP T N O S I IO .

P es assag with skip s frequently occur wh ere all th e tones of th e skip s do not belong to th e same ch ord inwhich case th e must be rou ed lo i P , y g p g cally . rinciples ofphrasing and ood ch ord ro ressi novern o such assa es. For exam le th e l g p g g p g p , fo lowing melodic

— fra ment harmonized s foll ws - - - - — g a o : I IV IV IV or I I IV IV.

If a new h rase commences u onth e second uarter note th e form p p q , er harmonization is availa le if a new hrase commences u onth e third uart er th e la h b ; p p q , tter armoniza tionis refera le if th e fra ment is inth e midst of a h rase eith p b ; g p , er harmonizationis

available . Th e following melodic fragment not o nly b hrase considerationbut b th e consi e t o h o I y p y d ra ion f c rd p rogression. nth e mid st of a h rase do should be ha rmonized wi n p , th tonic harmo y if th e p receding so is har monized with dominant but if so is harmonized with tonic harmon do ma be , y , y har ith su d omi I monized w b nant . f a new p h rase commences ondo and so finish es a di h onth e dominant ch ord ma e su rece n rase do b harmonized with dominant . p g p , y b Ina ro ressionofsuccessive sixth ch ords it is usuall ad visa le to dou le th e third p g , y b b in lternatin chords and the root inth e remainin ch o Fifths m be dou led a g g rds. ay b oni oi leadi r ts th ere insuch a p rogressi f v ce ng p ofi by .

ll in tions s ul be r Th e fo ow g quota ho d ca efully studied .

’ B ELLI N I S E B MIN AN CHORD . TH SU DO T y ,

BA J . S . C H .

J . S . BACH .

At t is time it is advisa le to rite almo t oll f ices so rano h , b w s wh y or vo , p , t r an Int i e o ri i mon o en alto eno d ass. s st l f t n dis ersed ar , , b h y w g, p h y ( p

osition is availa le as ell as close ition se ootnote a e p ) b w pos ( e f , p g Th e inner voic es should be made as melodically interesting as is compati h e ass s ould be ble with good chord progressionand coherence . T b h ” is ot t Ski ne it tes th e re uent flo in t at n oo . is cess a w g, h , ppy Th f q

of i ersions Au mented s i use nv . g k ps

or th e resent avoided inall th e arts diminis ed s i s f p , p ; h k p

e re o Th e se cond one of diminis ed s i s ould usuall ver od . how , a g t a h k p h y res olve withinth e skip stepwise Th e commontone need

n oc ves Watc for fi t s a d ta . not be retained unles s desired . h f h . or most re uentl dou led next th e Remember that th e root is th e fact f q y b , t enth e t ird th e leadin tone sevent s and nint s are not to be fif h , th h ; g , h , h h e ll in rr nement wit dou led third is ood : d oubled . T fo ow g a a g h b g

It is advisable to mark ofi the phrases ina melody before rm nizin it A su d ominant ras e endin is not o ten ha o g . b ph g f desirable ; tonic and dominant phrase endings are avail

use th e finalit of th e tonic c ord a d om able . Beca of y h , i nant phrase ending is usually preferable where th e melody permits ex minant triad ce t of co r onth e last h rase of a eriod . Th e do p , u se, up p p upona phrase ending is usually preferable to th e dominant seventh or ninth chord . 2 8 MUS IC COMPOS ITION .

XE CISES O P 6 . E R , GR U

rans o to T p se all major keys.

GermanFolk Song .

H . Baar rrrr. H R THE SUBD OMIN AN T C O D . 3 9

ete dence inallma or e s see Cadencos 6 . Write th e compl Ca (IV V I) j k y ( ,

I Use sometimes the ominant triad sometimes th e sevent page ) . d , h , etim e nin and som es th th . e student s oul com se several diatonic melodies a in atten Th h d po , p y g ionto rase rou in and alance to th e udicious mixin of ste t ph g p g b , j g p

ise ro ression it s i s to voice com ass etc . Be sure t at eac w p g w h k p , p , h . h ” e melodies s oul t en rmo ze . melody is singabl . These h d h be ha ni d

n on h t is r seventh The subdominant seventh chord is a uncomm c ord . I a majo ch ord and therefore a harsh dissonant . Its cadencing resolutionis not very satisfactory .

i v i l This chord s not a a lab e at p res ent . The tonic seventh ch ord is constructed lik e th e subdominant and th e above remarks l e on ven o I ts enin nh ow is a lica e to th t ic se th ch rd . cad c res olutio ever some are pp b g , , what lees unsatisfactory .

Major seventh chords occur more frequently as passing chords or as a result ofp assing on a o rmoni t es th anas a p rt f th e ha c architec ture . Unaltered tonic and subdominant ninth r s are evenless useful thanth e seventh cho cho d rds.

Th e first sevenexercises inAppendix C may nowbe worked out by r it v th ose des iring to wo k w h gi enbass. 30

AP CH TER V.

ER TON I R TH E S UP C CHO D.

Inthis chapter we enter uponth e study of the first chord belonging to

- th e SO called secondary chords . h e r or ma be rou ed int t ree main amilies T seconda y ch ds y g p o h f , the t ree e n called th e same names as th e th ree rinci al c or s h b i g by p p h d , i e e ni namel tonic dominant and su dom nant . Th su rto c ch ord y, , , b p belongs to th e subdominant family . Th e supertonic t riad difiers instructure from the three triads hereto i e It c nsists of root re its mino ir its rfect fore cons der d . o ( ) r th d and pe ‘ i ria It o n e is a c nso a t c or t ctive . fifth and is call d a m nor t d . n h d bu a Li e th e rece in triads th e root or th e fift ma be d ou led b t unli e k p d g , h y b , u k e re in tri ctor t ree m be eel e l th ced ads a a r dou l d . ou ed p g , f h y f y b D b t ir inminr ri re etter t ninm or t i Th e m t efiective h ds o t ads a b ha aj r ads. os e f h e o t the t ir e us o t supertonic ch rd is wi h h d inth soprano. U onexaminin th e actors of th e su ertonic triad we o l su p g f p , w u d ppose t at its natur l tendenc ould be to th e tonic tri t h a y w ad , hus :

(M (c )

ent will notice t at inth e first ro res sion a r Th e stud h p g , pa allel octave rallelfift result and inth e second ro ressio and a pa h , p g na p arallelfifth and

a doubled third inth e tonic triad result . Th e third progres sionis not

ult alt ou it results ina dou led t ird inthe tonic tri fa y h gh b h ad . The in uotations rom ac s o ood exam l r — follow g q f B h h w g p es of p ogressionII I .

I

‘ Th e minor triad is accepted as a consonance by th e modernear.

COMP ITI ON 32 MUSIC OS . monized it or II accordin to its ro res sion osition w h V7 , V9 , IV g p g , p , ma be armonized it V or II c or i etc . La a i to y h w h 9 , IV c d ng ts p rogres i io os tionetc . s n, p ,

E NI EVEN TH D THE SUP RTO C S CHOR .

This very useful and commonly used chord is formed by ad ding th e minor seventh of the root to th e supertonic

I norm l res ol o is to the o a dissonant and active chord . ts a uti n d minant r ade cin res olution and u on a er looks no difierent rom th cho d (c n g ) p p p , f e

- ent resolves o rd i oni l i res olutionV7 I . Its sev h d wnwa d at ca ly ts fifth res olves downward diatonically ; its third resolves upward diatonically or downward by th e skip ofa third ; its root inanupp er voice may remain

r inthe h ! it ma es the enin r r i t i b t o e . s at ona y u as , k cad c g p g s s on

The supertonic seventh chord may also resolve to the dominant seventh or ninth Chord .

Th e supertonic ninth chord oc curs less frequently thanthe dominant

int . io llo n h Its structure and res olut nfo w.

N otice th at the seventh inth e supertonic ch ord is th e inactive tonic but as a dissonant seventh inth e l i es v n wi h a n n ll chord , ite normal immobi ity is destroyed and t becom anacti e to e t te de cy dh toelce y r h i downwa d to t e active lead ng tone. THE SUPERTON IC CHORD .

Ina successionof dissonant chords th e strongest dissonant chord should usually be onthe strongest beat of th e measure or be artificially

accented . Th e inversions of th e supert onic seventh chord follow

rs inve i n. (a . ) t rs o

T 113 V 118 V , 112 V “3 V7 I QVO V!

he inversi ns f e nic nint r do not re uentl o r T o o the sup rto h cho d f q y ccu .

i n. d . th in rsi r . n nve an inversion. o r versio ve on a s i d d . ( . ) t rsion. (a. ) ( ) 3 ( ) 4

V 119 V5 V2

Th e supertonic chord may follow any triad although th e progressions — — Pro res sion — II is etter ro I nand III II are not frequent . g IV b thanp

’ ’ BALFE S B o/lm tanGir l ( transcribed ) .

THE E T N . SUP R O IC CHORD 35

XERCISES OUP . E , GR 7

t f m ‘ Adap ed ro BnrHOvnN .

A te m B dap d fro RAH MS.

Ada te d from CH U AN N p S M .

. B rm a J u .

ite final c ences inall ma or e s as ollo s 5 . Wr ad j k y f w

- — rst. II V I .

- - 2 1d . Hq V I .

“ “ 1 y d . 117 V7 .

n- - I 1 VQ . CHAPTER VI .

THE UPER OMIN AN T CH R S D O D.

The seconar triad u onthe sixt scale ste is li e the s ertonic d y p h p , k up ‘ lon to th e toni i l minor triad . It e s c am l an is ver use u triad , a b g f y d y f

r re ion - VI o tive as th e las t chord of a ph rase . P og s s V f rms a Decep ” Cadence . We have seenthat th e progressionV— I has finality and consequently e e n ex e t e is not al desira l as a h rase ndi c for th l t rase . ways b p g p as ph If,

ever rase ened ereto ore as ollo s how , a ph d h f f w

nec essary to harmonize it with V— I because of th e infrequency of — as r progressionV IV and th e undesirableness of IV a ph ase ending . o it the ditionof the su erdominant triad to our Voca ul r we N ww h ad p b a y, i may harmonize the tonic inth e above phrase ending w th VI . The most efiec tive positionof the superd ominant triad is with its third inth e soprano ; th e chord is weak with its fifth inthe Soprano and sel om be used it its root in e Should d w h th soprano . rio ro ressi of — VI re s in h e ll i x m le Va us p g ons V a hown t fo ow ng e a p .

(a

The resolutionofthe dominant seventh chord to the superdominant triad

is th e most important non- cadencing res olutionof the dominant seventh

chord . The s erdominant t riad is not res tricted to th ov It rs up e ab e use . occu i re uentl inth e m dst of rases. A no r i no VI is f q y ph rmal prog es s o f to II ,

— - re i I V d VI re i - I d ro ss ons V an a av le . VI s o v an p g IV a lab h uld be a oided . I ma be receded II or an occ i nll m or V d o . y p by I , V as a y by IV Pro

— ressionI - VI i e I I g s bett r thanV .

‘ ris l ord inthe su A fewth eo ts p ace this ch bdominant family, but as it is more commonly need as e “ i l stitute for th e tonic chord , t is he reinp aced inthat family . MIN H THE SUPERDO ANT C ORD. 37

i — VI i t ords in t si i s onV s bes with both ch roo po t on. The superdominant seventh chord oc curs less frequently thanthe i e e d om nant and sup ertonic s v nth chords. It is constructed like the

the re uent use o this sevent c ord for ion a s ertonic c ord its f q L h h mat as up h , se on t er s le ree ten t m tion In u o h ca deg s has a dency to sugges odula . man cases ere we e r the s erdo i t seven c ord we over y wh h a up m nan th h , h , s it ere et enwo e I nci r r ionto a ma or triad a s. c e n o e s w , b we t k y ts ad g p g s j effec tuates a modulationbut its cadencing progressionto a minor triad i i i l nlit may be manpulated insuch a manner as to retainthe or g na to a y . The cadencing progressionof the superd ominant seventh chord is to

vs, II “ 7 I I

V I, V T}

A non- cadencing progressionof VI!is quoted from a Bach Choral 3s MUSIC COMPOSITION.

A cadencing progressionof VI, is q uoted from th e same choral

"f

“ e c or n o The use of the sup rdominant ninth h d is ot c mmon. ing progressions follow

(d o)

ve ions of th e su erdominant ninth c ord are rarel se Th e in rs p h y u d . Their cadencing progres sions follow :

an inve n. d nversion. d rsio o. r inversion. . th inversion a . rst i d ( ) ( ) 3 ( ) a .

The additionof th e superdominant chord to our vocabulary gives an itional c ord for h armonizin the firs t third and sixt scale t add h g , , h s eps om the latter o ever oc casionall th e fi t scale t (seld , h w ) , y f h s ep where it ds tonicall nd rarel th e seve th scale ste e descen dia y, a y n p wh re it descends

tio ld be caref The following quota ns shou ully studied .

O Sm e mw nd der th e wnie u vmth chord a eup erdomimM nmth chord m

HE S UPE MIN AN T CH R T RDO O . D 4 ,

F. h u a n- B n m u r ou t .

. . Bu J S m.

a Iow n Bnmrs.

. BA J . S CK. MUSIC COMPOS ITION 4a .

CHAPTER VII .

TH E ME IAN T CH OR D D.

The me t ri d is ormed li e the two rece secondar tri diant a f , k p ding y ads, it minor t ir rfe minr ri i co n t but d and e ct fi t . his o t ad s nso an w h h . p f h T iv Its l n f e ot er ri . It e o act e. use is es s commo thanthat o th h t ads b l ngs I to the dominant family and progresses normally to th e tonic . t does not frequently displace th e dominant chord at th e final cadence although it w s u int m nner i i ro e ion o the a sed his a nth e Romant c Period . P gr ss s t tonic family follow

I In

i The p rogressionm- VI has tonal ambiguity ; the key of th e relative m nor is sug est ts ndin melodi f r g ed ini des ce g c o m. THE MED IAN T CHOR D. 43

BACH .

11 10 IS I V, 1110 V,

Th e mediant seventh chord is formed with minor seventh like th e s ic e t en r It is some h t more up erton and sup rdominan sev th cho ds . w a useful th anthe superdominant seventh c hord but does not oc cur as co ni i mmonly as the supertonic seventh chord . Its cade c ng resolut on is to the superdominant chord (m)

I I I-7 I I I7

A useful non- cadencing resolutionof th e mediant seventh chord is to the ni to c .

I,

Th e inversions ofthe mediant seventh chord with cadencing resolution MUSIC COMPOS ITION . 44

Its tonic resolutionfollows

The inversions of the mediant ninth chord follow

nv r on inversion inv n i e si . . ersio .

Study the following quotations.

BACH. BACH.

w V, mo TH E ME N C HORD T . DIA 45

E l I th ar y 8 Century Ch oral.

L E t tu ROSBN MU L R ( I 7 h Cen ry) .

vx V , V I

The mediant c ord ma be reced e or VI nd oc casionall h y p d by I, V, a y

II or . It ro resses est to VI or an ma oc casionall ro by IV p g b , I , IV d y y p

to n re i — i - re s ro o m etter . g s a y chord . P g ss nV s b thanIII V

XERCISE S RO P . E , G U 9

J. S . BACH.

S . BACH J . . C MP IT MUSIC O OS ION .

. BA . J . S CH

D sc ws.

From anold ch oral.

t tu From a c h oral of th e 1 7 h Cen ry.

AP II CH TER V I.

TH E S UB TON IC CH OR D .

The su tonic c ord is a ver commonc or an a use b h y h d d ful one . The ri difler inor ti i t ad s f ma onfrom th e preceding six tr ads. It is dissonant and active and consists of root ti its minor ir its imi , ( ) th d , and d nished i l dimin r fi t and s cal ed a ished t iad . f h,

N otice that the other triads are named b their thirds ma or or minor but that y , j , the su tonic triad is named b its fth b y fi ,

Th e subtonic chord belongs to the dominant family; Th e factors ofth e t riad are th e same tones as th e three upper fact ors ofth e dominant t c r nd ro re e r ve sevenh ho d a p g s s inth same manne . Thes e facts ha led many theorists to call this triad a dominant seventh chord without ’ root .

nli e ll the ot er tri th e s tonic tri i never ritten it U k a h ads, ub ad s w w h

- i t ir doubled root infour voice compos tion; it is bes t with doubled h d . The fifth is frequently doubled but th e doubled fifth should be avoided i The musician ill as much as possible because t h as definite tendency . w oftenfind a doubled fifth as undesirable as a doubled root .

The normal res olutionof th e subtonic triad is non- c adencing to the

tonic triad .

v i nof h e tri is considered man re er le to Th e first iners o t ad , by y, p f ab i root posit on. H TH E SUBTON IC C ORD . 49

Th n v i l e i e seco d inersionof th e triad s unusua . Som theorists forb d ° its use . Th e ollowin uotation rom ac contains a vu as a res ult f g q f B h z , h o ever of s in t w , pa s g ones .

IV (m og) I

Th e assin tones o ever are of suffi cient im ortance to u set p g , h w , p p th e la al efiec t ic ould be resent it th e assin tones removed an p g wh h w p w h p g , d e efie of milies is I— — V— I th ct interms a . , f , IV A progres sionfrom a diminished fifth to a perfect fifth is usually n i e u des rabl .

ro ressionrom a er ect fi t to a diminis ed fi t o ever is oo Ap g f p f f h h f h , h w , g d .

BTON IC EVEN TH THE SU S CHORD .

Th e subtonic seventh chord is th e mildest dissonant seventh chord I of th e major Inod e . ts factors are th e same tones as the upper four factors of th e dominant ninth chord and is called by some theorists a “ ” dominnt nin c r i I t norm ll resolve a o t o . rs th h d w thou ro t ts fac o a y , li e th e corres on n tone in h i nt nint c ord to th e tonic k p di g s t e dom na h h , chord . MUSIC COMPOSITION 5° .

otice t at t is normal resolutionis non- cadencin N h h g. ° Th e cadencin resolutionof vn is o n g 7 not c mmo .

° of th e of vn7 with their resolutions to tonic ollo f w.

° vrr 2 1,

Their cadencing resolutions follow

The subtonic chord inboth modes has sufiered much criticism from o it n d i ein r It i theorists alth ugh has bee an s b g used by maste s. s criticized as being overworked and that much canbe accomplished i Th with it with a minimum of technque . e former criticism could apply ell to th e dominant c ord and ot ers th e latter criticism ile true as w h h ; , wh , c mi i is true o ever c nic r on e c sm. It t at too mu su to a m is ana ad , h w , h h b h y

not f cra tsmanshi and t ere i is sed , ecause is a proof o good f p, hat wh t u b c f ni e not for efiect it i i le la o ec and s ra . of a k t h qu , undes b Quotations follow

M IC C MP S ITI US O O ON .

I. S . BACK.

7 ( a) 1 120 3 ) lo "ii "7 V

IVS (Hg) I I I (V3)

XERCISES 1 0 . E , GROUP

F. SCHUBI RT.

G . DON Ie TI . T E UBTON IC CHOR H S D . $3

I W LLIAM BYRD E.

THEODORE LACK. MUSIC COMP SITI 54 O ON .

BOI DI EL EU.

HAP C TER IX .

IO D S R ECAPITULAT N AN S UGGE STION .

nic triads all th e sevent c ords the ractical ninth All the diato , h h , p chords and inversions inth e major mode have beenconsidered and th e student should now be capable of harmonizing any major diatonic

A table follows showing the chords with which each scale step may be

MP 56 MUSI C CO OS ITION .

Avoid writing for any length of time inth e extremes of any voice xt reme of voice com ass re more e il in compass. E s a p a as y tonated where h t is in e te wise . Be sure t e art s l approach d s p a ach p gab e . in eneral th e est or f Ctor t oots are c d a s o do le . R , g , b h ub Doubled

fifths are usually bette r thandoubled thirds. It is better to double inminor or nin or ri nci l f lin t irds c ds t a ma t ads . es e ri es o dou h h h j Th p p b g, e er servien o rini l of i in e o v are su t t c es ood vo ce lead . Th h w , b p p g g subtonic triad presents anexceptionto th e general principles ofd oubling; in oni tri th e o to le in th e third th e subt c ad is best fact r doub . The fifth a six- our c ord is usuall th e est actor to dou le es eciall inth e f h y b f b , p y

enin six- r oi o lin tenen actor ca d d u d c s. d c g fou . Av b g y f t f o ioni h e erfe t t The best fac or or miss s t p c fif h . Th e root may be

t e th ni ix- or A tonic six- omi t d in e to c s four ch d . four chord is sometimes n i writte at th e cadence w th omitted third . ac tors ormin a dissonant are est a roac i n F f g b pp hed incontrary mot o .

Diminished intervals resolve by cont

Th e downward diatonic tendency of chord factors sevenand nine is troner n e nr i i as th e case ma be s g th a th o mal scale activ ty or inactiv ty y . Inth e dominant sevent an nint c or th e mediant sevent and h d h h ds , h nint c ords and th e su tonic sevent c ord the resolutiontendenc h h , b h h , y of th e sevenths and ninth s is analogous to th e scale tendencies of thes e

tones.

Insome c or ro ressions actor sevenor nine ma remainstationar h d p g , f y y or ic is th e same be enarmonicall c aned t us : , wh h , h y h g , h

a S ti n th ( . ) ta o ary 7

Mod ulatory Mod ulatory

O 3 V I 3 V 7 I 7 0 V7 I“. V3

“ r See Chapte XIV . I I 7 See Chapters XI and X V. RECAPITULATI N AN D S E T N O UGG S IO S .

Stationary 9th

Modulatory

V 7 13> V .,

ccasionall actor sevenor nine ma ro res s u ar ste ise us ll O y, f y p g pw d pw , ua y

' ‘ (a . ) Mod ulatory Mod ulatory

C V 7 b 12

n arel actor seve or nine is uitte lea . uc a e i e R y, f q d by p S h d v c should only be used by one thoroughly experienced incomposing . Most compositions end with th e tonic inth e highest voice and all compositions end with th e tonic inth e lowest voice (root position) Th e enultimate tone of a melod is usuall eit er ti or re sometime p y y h , s ’ i n l r i so oc cas o al a b t sel om Ia . c umanns Wa um s uoted an , y f u d S h q as example of a compositionending with th e third inth e highest voice :

’ Robert Franz s Gate N aoht is quoted as anexample of a composition ending with th e fifth inth e melody :

° See Chapter XIV. I C MP S I 53 MUS C O O TION .

l en e is in ition i l c ose us d ad d to real en . The p agal , wh , the d ng in O en osition ee th e voi e rl e ui i i Wh enus g p p , k p c s as nea y q d stant as s i oi rou in th e two u er voi th t poss ble . Av d g p g pp ces and e wo lower i it i e interv l et eenth e t Th vo cw w h a w d a b w wo groups. e soprano and alto or th e alto and tenor should seldom be separated by aninterval

en ositionis usuall re era le for st n disso or Op p y p f b ro g nant ch ds. The

‘ ninth inninth chords should usually be separated from its root by an t disson interval of at least a ninh . A ant should not be resolved to a

oice leadin overns th e c oice of omissions and lications es e V g g h dup , p cially inninth chords. ost efie ti Dissonant chords are m c ve upona strong pulse . Avoid th e repetitionofa harmony or bass note from a weak to a strong pulse . xercises 8— 1 6 inA endix are no a il le E pp C w va ab .

AP CH TER x .

TH E MIN OR MO DE .

The difierence inth e triad formations betweenthe major and minor modes may be seenby a c ompansonof the numeric al symbols : ° or ode H III VI VH Maj M I, , , IV, V, , . ° ° ino rmonic r . I n II Iv vn Ha M , , L , , V, VI, . l 5 " " endin e odic inor . I II VI VI Asc g M M , IV, V, , . ° i el i inr tiv n c o rimi e . es ce d n od . I n III Iv V D g M M (p ) , , , , , VI, VII . E MIN M TH OR ODE. 59

Incom osin th e armonic orm of th e minor m e sho d e p g, h f od ul be th r i i e mel c orms ascen i wo k ng bas s. Th odi f ( ding and descend ng) are used principally for melodic purposes although ad vantages inpart writing re entl c e th f r f i i r or f qu y a cru from e use o cho ds o melod c m no f mation. ° VI n o l v i re m t lit is a d VII sh u d be a o ded whe ono ona y des ired . A c omparisonof th e triads of th e major mode with those of th e har ° moni minr s tw ri i li n VII c o o s o t ads c are a e a . All ot r h w wh h k , V d he ri fi r Th h r nic min m h t o i t i t . r nor r I an ads di e e a mo o ode as w m ads ( d Iv) , ° ° two ma or triads V and two iminis ed triads 11 n VH j ( VI) , d h ( a d ) and one augmented triad (I IL) Ana ment tria is orm i ma or t ir n ug ed d f ed w th j h d a d augmented fifth . c a c or is onant an active Su h h d diss d . Au mented intervals resolve ex nion g by pa s . All that has beensaid of th e chord progressions inmajor is applicable i i nth e m nor mode . More augmented intervals are to be found inthe minor mode thanare o inthe m r Inth e rm ni i r m e en o und a o . a o c m no od na m sec n f j h , a ug ted d exists etweensc ale ste s Six and seven nau mented fi t etween b p , a g f h b t ree se en n an me e r n n and v a d au nt d ou t et ee our a d seven. h , g f h b w f Melodic progres sions of all augmented intervals should be avoided by t ose o ex erienc in rt ritin h nt p ed pa w g. Th e augmented fourth and fifth are easily avoided but some difi culty is o tenex erienc it th e Th e i ts f p ed w h augmented sec ond . d fi culty exis ° in ro ressions — and n— p g V VI V.

In ro res sion - dou le th e thir in i te of th e root t p g V VI , b d VI ns ad , hus

° In ro ressionII — lead th e u er voi p g V, pp ces downward instead of retainin the o ontone inth e e v ice e g c mm sam o . Th bass should be led ard to voi oncealed fift s an up w a d c h d octaves . 6° MUS I C COMPOS ITION .

° If a tone inth e melody is harmonized with 11 and progresses upward to a tone which is harmonized with V th e following solutions are possible

(a . )

Th e student needs no further comments to enable him to correctly harmonize melodies inth e melodic minor mode . Remember th e p ro gressions which should be avoided and avoid them by logical leading and r facto doubling . Th e seventh and ninth chords inth e harmonic minor mode difier in formationfrom th e corresponding chords inth e major mode with th e exceptionof th e dominant seventh chord which is th e same inboth eir m n i r e h ll i mil o ev r. T o o le modes. treat e t is s a n o s Th , h w e f w g tab sh w th e constructionof each .

(Parenth es es signify ch ords which are rarely used . Brackets signify ch ords which are almost never used . )

Triads Seventh Chords Ninth Chords I plus [major 7th] plus [major oth] ° 11 plus minor 7th plus minor oth III+ plus (major 7th ) plus (major oth) Iv plus minor 7th plus (major oth) V plus minor 7th plus minor oth VI plus (major 7th) plus [augmented 9th] " vn plus diminished 7th plus

Th e dominant ninth chord inth e minor mode is called th e ch ord of ” i r nint and is th e most re entl nint r the m no h f qu y used h cho d . Th e chord of th e minor ninth is oftenused inthe major mode (flat inste f m r i sixth scale step ) ad o the ajo dom nant ninth . llo in uo tions s o l be t i Th e fo w g q ta h u d s ud ed .

0 Consecutive fifths (incontrary motion) app ear betweentenor and here . Such eeneeeutivee are. 1! seem , to be welded by the student for th e p resent . THE MIN OR MOD E. 6 1

EACH. I. 8 .

° V3 I V, (vrI ) I

UGE CR R.

IV

- 7 I VI III, I VI III VII III VII IV I, VI I V I V I

vr IV I V I V rr vr, IV I I V I]

AP CH TER XI .

- N ON CH OR D AL TON E S .

Non- chordal tones are tones which are not factors of the chord in e r ifi which they sound . Th y a e class ed as passing tones (accented and n cented a o iaturas nei orin tones r lv nei rin u ac ) pp gg , ghb g , uneso ed ghbo g tones antici ator tones sus ensions retardations r an t n , p y , p , , o g p oin a d

n - o l various compou d nonch rda tones .

A PASSI NG TON E is a non- chordal tone which is approached and quitted inth e ire tion Anaccented assin tone is one ic stepwise e sam d c . p g wh h ttac ed it the c ord t ere dela in th e actor of th e c or to is a k w h h , h by y g f h d It is m re efiec tive ina n ard s le which it progresses . o dow w ca figure than sc le fi re Anunac cented ssin tone is on hi h is inanupward a gu . pa g e w c e l t r r of h e or sounded onth a te po tion t ch d .

Betweentwo chordal tones sep arated by th e interval of a major second may be

romati ssin tone h ence inserted a ch c p a g ,

I (accented)

Betweentwo ch ordal tones sep arated by th e interval ofa third may be inserted a

or (accented)

Betweentwo ch ordal tones sep arated by the interval of a fourth may be inserted

‘ ssi tones h ence lli th two diatonic p a ng , may be embe shed us

Th e accented passing tone is more effective thanthe unaccented passing tone but is n common The chromatic it ot as . passing tone is more efiective inanup ward ure ina own h ro fig than d ward figure . C matic passing tones do not neces sarily afiect

N otice thl t th e c is e factor ofth e tonic ch ord and is th er fore strictl s kin n in e , y pea g , ot e pass g m - L N N ON CHORDA TO ES . 55

THE APPOGGIATURA is anaccented non- chordal tone oc curring with the chord and res olving downward diatonically or chromatically to th e chord r i el facto which t d ays .

Th e difierence betweenth e appoggiatura and th e accented passing tone is that th e former is approached by leap and is consequently unprep ared r n r r r on th e line Th e a i while the latte e te s p epa ed al g e scal . ppogg atura ll minr occasionally res olves upward (usua y a o second) . Frequently the upper and lower adjacent tones precede a chordal tone (unprepared) and these non- chordal tones are called by most

e o ble a i r theorists th d u ppogg atu a .

i r re en r ld Th e double appogg atu a f qu tly oc cu s as anAmo ag.

A non- chordal tone Similar to th e following is by most

e r c theorists called an unaccented appoggiatura . Others pr fe to all it ” in tone r c s i Th e ormer n e i ree rom th e a pass g app oa hed by k p . f am s f f

A NEI HBORIN TONE also called auxilliar tone is anunaccented G G , y ,

n- r t ne em ellis es re e te c or t ne is non no cho dal o which b h a p a d h dal o . Th chordal tone may be th e upper or lower adjacent tone to th e chordal n m be at th e distance of eit er a m or or minor second to e and ay h aj a , ne Th e u r nei rin ne is uall rarely anaugme t d second . ppe ghbo g to us y diatonic but th e lower neighboring tone is more frequently a minor o l e A c r matic nei rin tone does not second below the ch rda ton. h o ghbo g th e nli necessarily afiect to a ty . 66 MUSIC COMPOSITION.

BACH. BACH.

The t or tum is a rou of hordal tones and nn- chordal nei orin tones Gruppc to g p c o ghb g ,

C I C I

AN UNRESOLVED N EI GHHORmG TONE is anunaccented non- chordal i tonic ll and itted s i usuall of a t ird tone approached d a a y qu by k p, y h ,

(delayed resolution

e c ome t eorists call t . S h

- i Th e term is misleadin such a nonchordal tone a chang ng tone . g because of th e custom among other theorists of defining a changing tone as anaccented passing tone . AN ANTICI PATORY TONE is anunac c ontod tone foreignto th e chord with It ma be a which it sounds but a factor inthe chord which follows. y p

i p roached diatonically or by sk p.

A SUSPEN SION is a chord factor sustained from one chord into the c i is not a art and res olved diatonicall do n following chord ofwhi h t p , y w ward to a factor ofth e second chord during th e sustenance of the second c or h d . - N ON CHORDAL TONES . 61

n nis re solved u r ni Less fre ue tl the s ensio a d diato call . The q y, usp pw y nsi n lvin rd is called some eorists a T ATI sus e o reso u wa t RE ARD ON . p g p , by h ,

Grammatical errors are not alleviated by the suspensionexcep t inth e p rogres sion

The sus ensionis fi ured over the bass with Ara ic fi ures th e rst ure showin p g b g , fi fig g the interval which th e susp ensionforms with th e bass and th e second fig ure showing si Th e tone of s ensiona the chord factor which is delayed by the susp enon. usp ppears first as a chordal tone (mlled preparation) and is sustained to th e following chord (fi lled M au rie! ) and p rogres ses diatonically downward (called resolution) to the consonant tone of the second chord which was delayed by th e suspension. Prep ara nth e same voi P r s ionus on res olutio should be i ce rt . e cu s tion, percussi , and n p a ually t should not be res ent inn oth er voi occurs onanaccen. The delayed tone p a y ce part

C I V 68 MUSIC COMPOSITION .

Susp ension6—5

. I I [ N B . I ,

— ve s sus ensio - efiecti a p ns 9 8 and 4 3.

Th e above examfl e may be analyzed as ananticip ationinthe has or as a susp ension i inth e three up per vo ces . Occasionally a dissonant factor is retained

The figuring of susp ensions is altered wh enth e second chord of th e suspensionis — The rst inversionof th e sus ension 8 ecomes - an inverted . fi p 9 b 7 6 d th e second

M — ecomes ' The susp ension4 3 with th e second chord inits rst inversion b - fi 5 4

— is fig ured second inversion The susp ension6 5 with th e second chord inits 9—8 — nd inversion6 6 . first inversionis figured seco , 4— 4 - T N ON CHORDAL ON ES .

l 0 8 .

V, V I,

B . 11 1 N . 3]

Three irregular p rogressions of the suspensionare common

rs Inter latin th e lower nei h bor t. po g g .

1 0 7 . e (7 )

an o no er ne f e r d T a th to o th cho d . The s me with s es . a pa sing ton .

‘0 8 10 MUSIC COMPOSITION .

" l at Resolution 3rd. C a nging the ch ord .

1 0 9 .

THE ORGAN POIN T is a retained tone (usually inthe has ) during the retentionof ic c ords related an lated to th e tone occur wh h, h d unre ; the r int is us fi st and last chords must be related . Th e organpo ually th e ‘ onic t Th e t n t or dominan and sometimes both. o e may be reiterated r i n Er!Kin r o susta ned . c u ert i his h as od uce dram ti e S h b , g, p d a a c fiect by using the dominant organpoint inupper voices :

I l O

Non- chordal tones form animportant part of the majority of compod

es eciall omo onic com ositions. tions, p y h ph p

°M eonpoeere b eq uently uee the eubmedlent u enorganpm

MUSIC COMPOSITION .

evi Ex m es 1 2 6o 1 8 8 e a 6 6 and . R w m 5 , 5 , , 7 , 3, , 95, 9 97

XERCISES ROUP 1 2 . E , G

BACH . ALTER ED CHORD S . 73

F. SCHUB E T R .

J . S . BACH .

. S . BA H J C .

. BACH . J S .

CHAPTER XII .

AL TE R E CHOR S D D .

Tones are chromatically altered for one or more offour reasons (rst) l t and t add est etic interes t rd to roduce smoot er to modu a e, ( ) o h , (3 ) p h f c le o e voice leading and (4th) to incre ase or alter the tendency o s a t ns. o el om dou le Altered factors sh uld s d be b d . i e l tere Th e root of th e su dominant Th e fifth of tr ads is frequ nt y al d . b Th sixth scale ste in triad is more frequently raised thanother roots. e p the major mod e and the second scale step inboth modes are frequently e t ird ina c ord is re uentl altered for modulator lowered . Th h h f q y y purposes. M IC COMPOSITION . 74 US

most commonaltered chords are rd it raised fi t (I ) Cho w h f h, 2 i ixt ord ( ) Ital anS h Ch , ixt ord (3) GermanS h Ch , c ixt ord (4) Frenh S h Ch , o (5) NeapolitanSixth Ch rd .

(I ) RAISED FIPTH.

Th e fi t ma be raised one- al ste inth e ollo in c ords : f h y h f p f w g h I , IV , IV V V II and II it out the th inth e ma or mode and IV 7 , V, 7 , 9 , , (w h 7 ) j , r e Th e e t i VI and VI! inth e mino mod . m diantr ad inharmonic minor l may be considered a normal sca e chord . Raised fifths inother chords l ti t v ic in i result inmodu a onor faul y o e lead g. The ra sed factor has ti ll strong tendency upward chroma ca y.

W W V V 5 4 14 s- I I4

7 a IV “ “ 5 + “ 5 +

Wh erever a scale tone (chordal or non- chordal) is followed by its ch romatic altera nthe alterationshould take lace inth e same voice inwhich the unaltered tone tio , p l nall other cases an u men f ears o elationresu ts. I a ted th should app , th erwise a cross r g fi

nthe ma r ode 1 has tendenc to a chord containin th e sixth scale ste I jo m , 5 + y g p ,

nainin second scale s e n I and od h tendenc to a chord co t the t a d V . m e, as y g p , “

ini f ur th e . I nd have tendency to a ch ord conta ng the o scale st p V “. a tenden to chane the mode to tonic o are ambig uous chords and have some cy g maj r.

Th e dominant seventh chord and ninth chord with lowered fifth are

° See Chapter XIII . ALTERED CHORDS . 75

C VZ b I

Brahms made efiective use of the dominant ninth ch ord inmajor and minor with al f tered fi th .

Th e most efiective altered chords are those inwhich two voices (usually th outer v i ented sixt e o c es ) form anaugm h . Th e various augmented

° C IV or II I I or V V or VI I

chord with do l in ton Th a ina ub ed lead g e. e ugmentationof the remaining sixths in ‘ the ke of ma or nor ll efiect a odula y C j ma y m tion. Th e various augmented sixths inthe key of c minor are

0 ° IV or 11 V or V I I

° 8 u flre m vd on. m lu sb M S IC COMPO ITI N 75 U S O .

2 TAL IXTH HO D ( ) I IAN S C R .

This Chord c onsists of major third and augmented sixth reckoning Th e lian ixt o s in e r e a from th e bass. Ita S h Ch rd th majo mod re as

C IV°+ V I IS+

Th e ItalianSixth Chords inth e minor mod e are as follows

Many th eorists p resent the ItalianSixth Ch ord as follows

wt r t r nv r = = t S ame i h raised oo . st i e ion a t Original Ch ord . s I lian6 h Chord

a IV

The use of inbOth modes is not common.

e ori inalfift resent t ir is e actor most re en o e Th g h (p h d) th f f qu tly d ubl d . Th e normal resolutions of the ItalianSixth Chord are as follows :

(a (M (4 )

v I c I 0 IV, + V I I, + I, rr2+ V°+ V vrrg

i dominant seventh ch ord with lowered fifth and wi o This ch ord is l ke th e th ut th e root . By some theorists it is considered as such . ALTERE C HO D RDS . 77

Other non- modulator ro ressions are ossi le as wellas oth er dou lins for e y p g p b b g , xample

1 2 1 .

C IV 1 I V C or c V “ . 2 “ . 7

Modernists would not scoff at the following harsh but highly dramatic p rogression

u ns are instrumental nt vocal S ch p rogressio , o . Th e student will notice that the melodic line may suggest the use ofthe chords with au mented six alth u h it is not uncommonto find th e r f n g th , o g upp e actor ofanaugme ted 2 sixth chord inaninner voice . (See examfl es 1 3 and

Unles s care be takeninusing a mod ulationto the relative minor may res ult. “ in w eff ulatio s o 18+ both modes has po er to ect a mod nto the ubd minant key . The most h r eristi l f k e o c a act c Ita ianSixth Chord o a ey is th ref re IV“ .

“ all used and such chords are oftenam i uousl called Italian ixth ord in y , b g y S Ch R t P ition n e oo os and Italian ixth in Inv rsion. w i S Chord Seco d Inthes e t o posit ons, the diminish third is f v ed ound instead of th e augmented sixth . Diminished inter als

N 20d . inv. V 04. a

of th e ItalianSixth Chord inoth er thanits normal ositi n p o . P 7s MUS IC COM OSITION .

E O (3) THE G RMAN e m CH RD.

This c hord is like th e ItalianSixth Chord with th e additionof the fift of th e ass as a c ord actor t us h b h f , h

(a. )

c we: we: c we we

Doubling of factors inth e GermanSixth Chord is not neces sary infour

Many th eorists p resent th e GermanSixth Ch ord as follows

ri inal h or . S a th raise r t r t . inv n== th O g C d me wi d oo . s ersio German6 Ch ord.

+ Altered IV7 Ivg

The most Ch aracteristic GermanSixth Chord is Notice that O - : e i ts C IVRI and C VII gi have augmented fifths . Som theor s do not e ixt or consider thes e chords G rmanS h Ch ds. Resolutions follow :

(a . )

1 2 6 .

+ + o r v V r " C 1nV or 12 112 I I I o 16 I c I g o 12 “ t ! x

h e a ve ro ressions are countenanced es eciall Th e parallel fifths int bo p g , p y + e i n IV and N are re uentl resolved to 1 and I with susp ns o 6 5. gi 2 f q y 2 ! mil rl th e fi t s in ro r i vel to void th e fi t s. i a ess ons respecti y , a f h S y, f h p g ° * - - - n I and vu I are tolerated . xiv I , 2

nSixth th e GermanSixth Ch ord is occasionall used inroot osition Like the Italia , y p n insecond inversionalso inthird inversionand is am i uousl called the German a d , , b g y ” o nRoot Position etc . Sixth Ch rd i ,

Oldi e V without root snd is sonsidered ss such by some theorists. fb

8 0 MUSIC COMPOSITION .

ord ma be used inroot iti n first inversionand t ird This ch y pos o , h inversionand is ambiguously called th e French Sixth Chord inRoot ” ition etc . Pos ,

v rd nv rsi n. rst inersion. 3 i e o

Progressions of both th e Germanand French Sixth Chords other than the normal progressions givenare possible (see progressions of th e ix rd Th e talian ermanan renc ix ords li n t o . Ita a S h Ch ) I , G , d F h S th Ch n n Th e ion f e ixt to may progres s o e to a other. progress o th GermanS h th e French Sixth Chords is another way of avoiding the parallel fifths i re ment oned heretofo .

C IV °+

The names ofthe p receding augmented sixth chord s have little significance but are tha er to th em valuable inthe same way t all names are . Some text books ref resp ec ” ord of th e A men Sixth A men o of th e Sixth Fifth tively as Ch ug ted , ug ted Ch rd ” “ ” n o f ix F and Third and Augme ted Ch rd o th e S th ourth and Third .

Anefiective augmented sixth chord which is not included inth e above groups is th e dominant seventh chord inth e major mode with raised fifth ALTERED CHORDS. 3,

Th e dominant chord inth e minor mode with lowered seventh inits

third inversionalso forms anefiec tive augmented sixth chord . It con Sists o con dou l au mented ourt and au mente f augmented se d , b y g f h g d

1 3 4 .

Th e following augmented sixth chord formationis available

1 8 5 .

0 m I a 7 1 y, : m

The a e is orme it ma or t ird dou le u mente bov chord f d w h j h , b a g d fourth an i Th or is more use ul as e d augmented s xth . e ch d f th sharp supertonic inth e r n th su tonic inth e minor m i majo mode tha as e b ode . Th s chord “ ” ‘ h i n ixt or as een e e A er c d Mr. . P l er th a . b nam d m S h Ch , by H R a m . Th e mediant chord may be altered to anaugmented sixth as follows

1 8 6 .

‘i‘

The tonic seventh chord may be altered insuch nte sixt a ear et eentwo of i act augme d h pp s b w ts f ors. t of this Chord is the most satisfac ory .

°S nPfl nnk 7 Wmvwfl fl h fi mmmd mnnTh Ud m CMt m MUSIC COMPO S ITIO N .

l Such chords as mi and Iii require careful treatment a smooth i l n oti approach and a log cal reso utio . N ce that the two most salient tones of the key are altered .

m EAPOLIT (5) N AN SIXTH CHORD .

This chord is analtered supertonic chord inth e minor mode and is ormed it minor t ird and minor sixt t f w h h h, hus

o a bl l o

m inth e ma or m e I The chord ay be used j od . t is occasionally used in ositionan insecond inversiont us : root p d , h

Root position. and inversion.

Th e original third is th e factor most frequently doubled as inthe above m exam les . The altered actor a be dou led and inthis res ect the . p f y b p , altered factor inth e NeapolitanSixth Chord difiers from altered factors c or inother h ds.

Th e NeapolitanSixth Ch ord normally progres ses to tonic six- four or

MUSIC COMPOSITION . 34

Th e subdominant seventh chord inthe major mode with raised root and the supertonic chord inth e minor mode with raised third infirst

O “N i, V 3

Th e altered chord inth e second progres sioninth e above examfl e may be writtenas anaugmented sixth chord : E C ALT RED HORDS . 35

a 1117 2“ V

Difi culty inanalyzing altered chords is oftenexperienced because of enharmonic ‘ n om osers editors to no te in otation. It is customary among c p and ta a way which

The f llo in uot tions should be care ull stu ie o w g q a f y d d .

TSCH AIxowsxv I nvocationto , Sleep .

5 b N “0 e t 12 2 lo

0 See Chapter XII I 8 6 MUSIC COMPOSITION .

An nte Canta ile m a fro n uartet. H d Stri TSC Arx . b g Q owsxv. Op 1 r.

xrr O 2 . Lo xsc rm o , p . 5

M SI COMPOSITION 33 U C .

XERCI SES ROUP 1 . E , G 3

1 Notate the progressions indicated below

ma or v1 V 1 D j , b . I m r I r - 3 a o V V . j , N a i s , 24 1 minor I I d I N V V . , 5 + , V, , 9 ,

ma or 11 V . F j I, IV, , V, b, I

minor 1 1 . b , V, V“,

Res olve th e following chords

0 f D Iv°+ G I lo+ B b " 1 0 + # " 0+ b

esolve th e ollo in c ords 3. R f w g h

+ 0 + ° + E IVSI A 112 B b 11 1 21: d “2 git v11 2

$ 1 9 31 e vil

esolv o 5 . R e th e f llowing chords inall major and minor keys ; first to th e dominant t riad and se cond to th e tonic six- four chord E LEVEN TH AN D THI RTEEN TH CHO RDS AN D MODERN ITIES . 8 9

6. Notate th e progressions indicated below

m i ° A a or . r ma o V . minor n 1 . j L F j i , I f b o , 2 ° ° ma or vn i . e minor I . V minor bn V . D j o+ , I i , g o , 7

minor I m or (1 . a V I . a minor E j T, o V.

ma or B “ or 14 min V I . m a or N . E j r , b 2 , G j # , V ° G ma or minor II j e b # , V. ° + nor vu I e minor a mi ma or . g , C j I: IV mu, V

Additional exercises onaltered c ords re i enin ro h a g v G up 1 4.

AP CH TER XIII .

E EV E N TH AN D THIRTE EN TH CHOR S AN D MO E R I I L D D N T ES .

Theorists of th e past generationadmitted no such chord formationas of that of a ninth. Th e factor a ninth always entered as a suspensionor

nn- c or l z - ot er o da tone and was anal ed as suc . To da nint h h y h y , h chords

Some theorists of the present generationadmit of no such chord n n ormations as t ose of the eleve t a d thirteent . evert eles s co f h h h N h , m e r in v l i r in n pos rs a e using these ter a s w th g ow g indepe dence . Th e so

called ultra modernmusic of to- day is Opennnew possibilities in armonic structur and onl time cantell et er or not the o h e, y wh h ch rd al

‘ th nservative the es t of the ultra finds its wa to th e conce of e co , b y rt

halls an inman cases to the earts of the audience . , d , y , h The identit of c ords of th e elventh and t irteent are not as et y h h h , y , well enough es tablished to be wholly successful infour voice writing c ord actors must be omitt because of the fact that too many h f ed . o rit ft es e c ord ormations it is no le Because ofth e immatu y o h h f , t advisab t em at the res ent tim e for th e student to attempt to use h p e . Th y are M I C COMPOSITION . 9 0 US

The formationof th e dominant eleventh and thirteenth chord follows

Quotations from th e most ultra of th e modernmusic have beenin tentionall avoi ose ic ollo s o exam les ic th e y ded . Th wh h f w h w p wh h ver e il a ag mod ernear read y grasp s.

’ M o r . EDW A D ACD OW RLL O N . R , p , 55,

Tonic organpoint ii" 1 n Inexam le 1 actor eleveninth e c ord fi ured VI ma be p 55, f h g i y i f 9 7 ° analyzed as a suspension4 3 But th e 3 Inth e above suspension becomes aneleventh inthe following dominant chord ! The progres sions follow none of th e academic rules for susp ensions or other non- chord al

nes . vio l to us t ese are ele n c r . Ob y, h ve th ho ds Antici ations o ten res ult in an elevent c or or ti n or p f h h d f ma o , f

C V,

MUSI C COMPOSITION . 9 3 chord formations and groupings of the moderncompositions cannot be accounted for by the rules of polyphony or homopbony and inmany A lance at a a e ina score Ric other cases the rules are broken. g p g by h trauss avel i elius l ar Schiinber ril Scott or e uss ard S , R , S b , E g , g, Cy , D b y ost of ot ers s o s solute disre ar for th e time onored and a h h , h w ab g d h f th i iti i m ofm erni ts is f r o e ac emic ans. A verse cr c s od s a rules ad d , by ,

the more commonbut t is is sim l istor re eat itsel . ac , h p y h y p n f B h, eet oven ra ms and a ner eac inhis time sufiered similarl but B h , B h , W g , h , y

t o ever to th l rific tionof t eir critics . no , h w , e g o a h The science of physics as well as the growing freedom inthe use of t c ords rove t at it is our ears not ature ic dictate our dissonan h p h , N , wh h or disa roval f m n ti approval pp o a y acous cal phenomena. Consecutive fifths have beenth e bugbear oftheorists since th e formula ionof rules of counter oint n il ti ni t p , a d wh e much of th e condemna o s ustified under the diatonic s stem the ne er met ere tonalit j y , w hods, wh y i more or les s va ue usti and even i i t s s g , j fy demand such consecut ves . F f h ave eenused and used efiectivel masters of th e diatonic sch oo h b , y , by l, includin eet ovenand re now ein reel l g B h , a b g used f y and effective y by composers who are infinitely greater geniuses and think ers thantheir

Augmented steps and skips are also forbiddenby acad emicians but in reel used com ose rini are nowbe g f y by p rs. Th e p c pal objectionto such melodic progres sions is founded uponthe fact that anaugmented interval i a difi cult interval to sin and it is t r re l i s g, , he efo , a og cal res trictionfor

ounter oin is a t eor of orizontal com i ion C p t h y h pos t restricted , h o ever certain vertical consider tions w , by a . Harmony is a theory of more serious compositions of th e homOphonic school draw considerably u onth e rinci les and conce ts of th e con n p p p p trapu tal school. The ultra modernta es a newroad and k , while drawing uponboth th e polyphonic and h omO honic conce ts it travels new p p , paths. Theorizing at th e res ent time u onmodernities is at est z o p p , b , ha ard us. The fewtheories which are hereinset forth are not intended to furnish rules or principles of ultra oderntechni ue but m q , are ofiered only as a possible solutionand ELEVEN TH AN D THI RTEEN TH CHO RD AN D MO ERN I I E S D T S . 93

an mod ernities result rom ane al divisionof th e oc t ve M y f q u a , the su er osin of intervals ot er t anour usual thirds in ormin c ords p p g h h f g h , and from horizontal concepts other thanthose of th e older contrapuntal school.

The whole- tone scale is popular with our modernists

2 3 4 5 6 2 3

The t o le ine ive the c ti l oti w above sca s comb d g us hroma c sca e . N ce the “ tonal ambiguity any ofth e six tones ineither of th e above scales may be a tonic r er mani ulation ence th e m r i liti by p op p h , odulato y poss bi es i l di i ion f th are manfo d . Equal v s o e oc tave inany manner always ofiers i mod ulatory opportunit es.

everal new c or s ma res t rom th e ole- ton le For ex S h d y ul f wh e sca . am le su ose a com ositionis inth e ke of it a re uent e ofthe p , pp p y C w h f q us

ole- tone scale c ord s ounded u onth e - s ar ma serve inth ce wh , h f p g h p y e pla

‘ of a diatonic dominant zl'

To th e diatonic

nic ch o to rd .

Th e above example shows alterations ofdiatonic chords ac cording to the ” dictates of th e whole- tone scale and will sound impure to all wh o have heard little or no mod ernmusic and to those wh o have heard much iv modernmusic but have what we may term conservat e ears. Many ears ill s l th e er ect fift inth e tonic c ord s in a and c w upp y p f h h ( ) , (b) ( ) le of th e above examp . Great difi culties inreading pres ent themselves inth e prolonged use

f th e ole- e sc ale ic is also rue of man ot er modernitie o wh ton wh h t y h s.

Th e tonal cente r is freq uently maintained by th e use of such devices as a p edal and freq uent return to th e diatonic system.

will robabl be is rd in l n Th e erms tonic ir u innt etc . d ed a i theor 1 t , dom nnt, s bdom a , , p y ca pp y g y to MUSI C COMPOS ITI ON . 94

This would seem to arg ue that some new form of notationmigh t be an ort com ositions unno ncom osers ave i advisable . M y w hy p by k w p h n ‘ ili eenre e u lis ers ecause of ifi c lti all probab ty b fus d by p b h b thes e d u es. re t man ot er scales are used some of ic are similar to th e A g a y h , wh h m r i nic sc le i t ix r l m cales . The a o d ato a t fl s t is e ha s o d odal s j w h a h , p p , re en e l ti nr i r i e th e most f qu t but the l ast revo u o a y. The same w th a s d

Superpositionof intervals other thanof a third and equal divisionof th e oc tave offer several newchord formations other thanthose derived

th ole- to e c l Inour nt monic s tem w a e m n e . rese ar s fro e wh s a p h y , e h v th ree at onic sc ale c ords ic divide th e octave evenl namel : the di h wh h y, y ° ° diminished triad (11 and th e diminished seventh ch ord (vn minor mode) and th e augmented triad The formationof the ’ ” n minor scales tifies t ese c o e tor ' ma or a d us rds t nr . j j h h , not Na ure s Ge a 1

Superpositionof perfec t 4ths

For anexample of superpositionof perfec t ’ ’ fourths see Rebikofi Fowlie d AIbum:

i Superpos tionof Ex .

1 2 . augmented fourths : 6

0 The auth or has devised a notationwhich would ofler fewer difficulties inth e way of reading but it difl ers as radicall from h or hi y t e p resent system as th e p resent system does from the Gregorian. F t s reasonits ad vocationwould u m om bl wi be useless . We canh Ope , h owever. for a sol tion ore c pati e th

' ' 1 Similarl th e minr riad is ustified r rs no loner th T r a Je sc s y, o t j . Ou ea g demand e ia f v d c .

M OM I 95 USIC C POS TION .

or l l more freedom. Maj seconds are a so very free y used and compara

Many of the new Chords result more or les s accidentally through

c t an vertical res t ote h oweasil the ear c t a cepts almos y ultan. N y a cep s the vertical res ultants ofscales diatonic or c romatic la ed incontr r , h , p y a y

Difierent e s re sometimes com in hic r ctic is th e m t k y a b ed , w h p a e os radical innovationof the modernists . Such a concurrence of difierent ’ e s be ound in trauss Thus a Z arathustra t i k y is to f S Sp ke . A th e s xth measure from th e end th e bassoons sound the following chord while th e c ellos and basses mark the rhythm as follows

e fif n o rt easures rom th e end th e hi Inth th a d f u h m f , gh strings and high wood wind sound th e major chord ofb - natural intheir high registers and

l - Inthe ir m the low strings sound ow c natural. th d easure from th e

d th e b - natural c ord is a ain eard this time it out the - en, h g h , w h c natural

t two measures consist of c - nt r l on inth e bass. The las a u a al e incellos h ec t is uni ue as it s ould be entreatin and basses. T e efi q h wh g such a i h en or tone oe unque program as Strauss as chos f this p m. Very little l i l is is no dou t due to th e act the c ash s noticeab e . Th b f that unrelated ne rom th t er elements are isolated o f e o h . T II PAR .

I CHAPTER X V .

A ITION MODULATION AN D TR N S .

Th e object of the preceding chapters has beento present the manner inwhich simple melodies may be harmonized to which end all th e chord v eeniven formations together with their logicalprogres sions ha e b g . The pres entationof th e material h as beena monotonic one Characterized

sim le hrase alance and eriod construction. viousl the by p p b p Ob y, m n P exercises have resulted intonal and constructive o otony . art II

deals it more com lex struc ture as ell as tonal variet . We enter w h p w y , ere u nactual com ositionand alt ou melodies are ivenfor h h , po p h gh g ar monizationth e student s ould com ose melodies ofhis ownthe structure , h p , f ic oul be eci ed th e rti or ner consi eration o wh h sh d d d by pa cular f m u d d . i i r A digress onto a new tonality s called modulationor t ansition. A change ofk ey inwhich a newkey is established for architec tonic purposes t nsitor c e o k ic exists t constitutes a modulation. A ra y hang f ey wh h o add variety and does not exist for architec tonic purposes constitutes a

Th e most commondigres sions are to th e dominant and subdominant keys and to th e mediant and submediant (superdominant) Di gres sionto th e two former keys is usually made inth e same mode as th e original key whereas digres sionto the latter two keys is usually made in e i ori i k th oppos te mode from that of the g nal ey .

of t o shar o fu ction bu ne p r flat . Such keys are called attenda nt keys. Some th eorists

nd o difi r n c itationof the subject a t e e th te th e two purposes tor which changes of tonality are made.

Th e two terms have become extremely ambiguous among th eorists . One theorist ins defined mod ula

' of d for le r h tronas a change mo e ( nu p : C majo to c minor) and tr ansitionas a c ange of tomlity .

Anoth er theorist ins stated that a ch ang e of mode does not efi ect modulation. And one might add another contradlctiou by stating that a ch ang e of mode is neither a modulationnor a transitionbecause no change of hey tah es plaee .

lt is intarestin to note tlnt inthe ei ht - one worhs insonata fornof B h venthe archi f g g y eet o , teetonie d ou dominaut ocu tnonl th ree dmu to subdo rt modtda to y , minant nineteendmu . md thi y times to the MUSIC COMPOSIT N 98 IO .

A change of key is efiected by th e introductionof the dominant rmon of th e ne a w ke . To esta lis a remote ke th e domi nt h y y b h y , na sevent or nint or the su tonic sevent c o i ue tl n h h b h h rd s freq ny ecessary. Th e more remote th e newke the more tec i n r y , hnique s eces sa y to intro duce the new dominnt harmon inan or er e ni a y unf ced mann . Th to c

six- our the su dominant triad th e s ertonic c ords an the a mene f , b , up h , d ug t d sixth chords of the subdominant family of the newkey are all valuable

is not n essar en n r or ri is i an tten n ec y wh a ew ph ase pe od n a da t key . e Ex 1 2 S e Ex. 1 8 1 a e 1 1 0 also . 8 1 1 2 to et er ith the ( , p g ; , page , g h w ara ra of text ic ollo s the latter exam le p g ph wh h f w p .) Th e following example shows all the triads inC major with compound

A similar examme inminor follows

g VI b 13 110 ° E l E l A vu B IV C IV v B b v

Remember that th e mediant and superdominant seventh chords are constructed like th e supertonic seventh chord and may bec ome supertonic h e talianand German ixt ords are analo ous enhat chords. T I S h Ch g , inconstructionto th e dominant sevent and ma ecome monically , h y b w alt o nsi era le s ill is neces sar to handle t ese minant chords , h ugh co d b k y h t er cce ll h is mann su ssfu y.

I m o MUS C COMPOS ITION.

e ni i e although they serve as a m cha cal gu d . The preceding abstract ’ statements serve a similar purpose and are not likely to bind th e student s

i i li orm usuall do. or g na ty as much as f ula. y

XERCISES OUP E , GR 1 4 .

Modulate from to G C to F C to a e e 1 . C ; ; ; C to ; a to ; a to d ; t his or ma be one n e a to and a o . d at first riti C , F T w k y , , by w g th bass

art and t enfillin inthe u er voices. econdl a melod interest p h g pp S y, y as ing as possible should be writtenfor each modulationand thenhar

monized . 2 Th e following melody should be harmonized with simple Chords ; e ere in c e e transitions are to be mad wh di at d . Alt red chords may be used sparingly ; th e star indicates where altered chords may be efiectively

- se . ome of the notes s ould be treated n c r l u d S h as on ho da . T E RIO S T E F RI H VA U S YL S O W TIN G . t o ;

C . CHAMIN ADE .

d minor

3 minor C

CHAPTER XV .

TH E V AR IOUS S TYL E S OF W R ITIN G .

. Th e student of free compositionwill be desirous of writing inthe e in i h e i e e particular styl wh ch s most interes t d . Th bes t results inany one st le are o tained some no led e of all th e st les n it y b by k w g y , a d is therefore des irable to be well informed uponth e possibilities of the v i e th e ianoforte n th e strin uarte h e human o c , p , a d g q t . T knowledge of orc es trationis aninvalua le aid to com ositioninan st le b t r h b p y y , u fo n e te no le e of orc es t tiona text evote t i a ad qua k w dg h ra , d d o th s subject is neces sary as well as personal contact with orches tras inthe cap acity of ne o th e t te listener or performer. O f bes xt books uponorches trationis The above text book is also valuable to those interes ted inth e wood wind ir nd the mili r c ir the rass c o a ta and . ho , b h , y b

THE I A P N OEORTE .

The tonal compass of th e pianoforte follows

Ex

‘ u li r N wYork h glish translationp b shed by Carl Fische , e . MUSI OMP T I o z C C OS I ION .

The iano lends itsel to a reat variet of st les of ritin p f g y y w g. The voice parts are not well individualized and care mus t therefore be takento rite for t is instrument wit th e individual voice arts inmin P w h h p d . ar llel fi t s cross relations au mented lea s incorrectl a f h , , g p , y resolved disso e en fficul t ete o nant c ords tC. are o t di t o d ct u nth e i h , , f p p anoforte when e r h a d . Th e rhyt hmic brokenchord style together with harmonic figuration i l r ell te to e iano orte Th e ll is part cu a ly w ad ap d th p f . fo owing quotation demonstrates :

F . CHOPIN O . 66 N o , p , . 4.

to Ca nta bile

MU IC COMPO 1 04 S SITION.

Inth e a ove uotationthere are a arentl but two voice b q , pp y parts but the c ords are ell rou t out and the uotationis not contr n h w b gh q apu tal. The brokenchord inth e left hand does duty for several voices and the harmonic efiect is th e same as though several voices were heard simul t ne l a ous y . The brokenchord inarpeggio style permits the use of many voices

m i th e ve o ra 5 t e 1 0 N o . 1 1 ro c a o uotationis ta e Ch p E ud , Op. , , f wh h b q k n, i e is writtenthroughout inarpegg o styl . Wit out rea in a c ord as man as twelve voices ma a ear in h b k g h , y y pp , which case one finger ineach hand plays two tones

Voice parts uponth e pianoforte may be added or discontinued at th e pleasure of th e composer and melodies and voice progressions may be

N T T THE STRI G QUAR E .

nd ric res ources are ound incom osinfor th e trin u e Many a h f p g S g Q art t . Greater scope as to voice comp ass and technicalities is ofiered inthis le itin i le inth e v e or i sty ofwr g thanis poss b ocal styl . Ch ds are poss ble oneach ofth e instruments ofthe quartet and the compositionis therefore not limite to o - ri ie effects ma be roduced b d f ur part w ting. Var d y p y THE V RI US ST LES OF W R ITIN G. A O Y 1 0 5

’ Two Violins first an second Viola and cello constitute th e ( d ), , string e e li re n e th e uart t . Th first Vio ncor s o ds to th So o secon li q p pran, d Vio n ’ t the e e n e e o alto th Viola to th tenor a th e ll t th ass. , d c o o b

The four strings of th e Violinare tuned to g

the instrument

ever l tones i er e o e ma be it e r r S a h gh thanth ab v y wr t nfo vi tuosi . By th e use of h oni t e i er indi te be r arm cs ons t an ca d ma . , h gh h y p od uced A tone produced uponanOpenstring is more sonorous thana tone ic re uires finerin r e s are t ere ore more e e wh h q g g. Sha p k y , h f , fr qu ntly used i om e e ne e e nc posing for strings thanfiat k ys. Op nto s ar oft n des i nated ver e nte g by an o th o . ‘ ords of wo t ree n our tones re i le e i t a d a oss u nth v olin. Ch , h , f p b po ords of t o t nes be em lo e no or or but f Ch w o may p y d pia f te, chords o th ree or four tones for a single performer should only be employed inforte s e i n e or o e e a sa s. In r ti c ords of thre ur tons not ov r t o tone p g w g h f , w s s ould be sus ed h tain .

All c ords elo the (1 strin are of course im ossi le i le h b w g , , p b upona s ng instrument unles s th e tuning of th e strings is lowered or th e chord l e io r r o o ere s c C ords re ritten e e p ay d arpegg o t em l . Wh u h h a w th tons of ic are to be sounded simultaneousl two or more er ormer wh h y, p f s to e re e r e o re r e th part a nec s sa y and th ch rds a ma k d divisi .

O Whenwrlting ehords for the strlng instrumeuts tha stsdsnt sh ould have tables of playable chords C m MUSI COMPOS ITION .

Th e unisonma be em lo ed efiectivel u on( 1 an e in ic y p y y p , a d , wh h case one of th e tones ill be r e n O enstrin: , w p od uc d upo an p g

i l i Other unisons ofier technca d fi culties . Ar e i tremolos ra id assa es an all musical ornaments re p gg , , p p g , d a efiective uponthe Violin.

THE VIOLA.

Th e four strings of th e viola are tuned to c g

Th e prac tical compass of th e instru

Th e lowand middle registers ofth e viola are notated inth e C- clef upon

n e i h - le th e third line a d th upper reg ster int e G c f . All that has beensaid of th e difierent efiects uponth e Violinas well as of th e technique of writing for this instrument is applicable to th e

Viola .

THE CELLO (Violoncello) .

’ The four strings of th e cello are tuned t o c g

l er mi n . e n e ters are d a d a (E ) Th ow a d ddl regis notated inthe F- clef the middle register is also notated inth e C- clef onany stafi degree but usually onth e fourth line ; th e u pper register i i - l Th e n ti i e - le t the s notated nth e O d d or th e G c ef . ota onnth G c f a commencement or whenfollowing the R eid indicates tones anoctave

i er t ant e b t enollo inth e C- cle th e notations o s h gh h h y sound , u wh f w g f h w the actual so e r cti l com ass of the instrument ollo s : unds. Th p a ca p f w

mg MUS IC COMPOS ITION .

e eme or motive and tonal variet is o t ine e e r of a nw th , y b a d by th app a e o l i ance of the second part ina nw key . T na unty is preserved by “ e r nce of th e ome ke t rest teme t oll the reapp a a h y a a n. Th e f owing diagram illustrates :

D iagram 7 .

Sta tement . ontrast ( ) (C ) .

1 6 m a ur if r ular 8 or 1 6 measures if re ular . 8 or 1 6 m asur s if re u lar . or e s es, eg . , g e e , g

r a t at . Ma r ma nt re at . a nt t May o m y no repe y o y o pe M y or may o re pea .

Most dance music from th e old dance of th e Classical Suite to our m ern l ze are ineit er o- r or t ree - rt or od wa t s h tw pa t h pa f m. It ill be remem ered t at inth e divisionof a eriod we t e is w b h p , had h s n antit es i or inot er or anantece en ivi io oll e a d h s, , h w ds, d t d s nf ow d by

one en i i n Two- r orm o en i a c s qu t div s o . pa t f ft presents sim lar construe tion n ntece ent eri ll e e e a a d p od fo ow d by a consequ nt p riod .

Intwo- art and t ree- art orm transition as ell as mod l tion p h p f , , w u a , occur but too muc t r nitionn transitiont o re te e e e i may , h a s a d mo k ys ( sp c

‘ ally inbinary form) is likely to obscure th e mainkeys inshort or simple

Thes e two forms (binary and ternary) serve as th e basis for th e more el o te or re uentl sition le i ab ra f ms . F q y a compo as a who shows b nary or ternary form also a well defined part of th e compositionshows one of

t es e ms. ee c v x or S a a otte E . h f ( B h , G , Th e Classical and modernsuites should be c arefully studied and l ze r m e ana d also th e ltzes m c es etc . of r M n wa a od n om osers. y , , h , , c p a y of the songs of Schubert and Schumannare valuable examples ofthes e

Th e following quotations show two- part and three - part compositions

Gavo tte CO E I (Binary) , R LL . F R MS . BIN AR Y AN D TERN AR Y O 1 09

Ind M T 1 I o MUSI C CO POSI ION .

R . SCHU AN N O . 8 N o . 8 M , p 6 . . l t o MUSIC COMPOS ITION .

R . SCHU AN N O . 8 N o . 8 M , p 6 , . BIN ARY AN D TERN ARY FORMS . 1 1 1 1 1 2 MUS IC COMPOS ITION .

E. IEG O . 1 2 N o G . . R , p , 7

USIC COMPOSITION 1 1 4 M .

The followin ia ram re res ents a com osition two them g d g p p of es , both themes ofwhich are inthe same key but inwhich several other tonalities transitoril occur ence the des ira lenes s o the e i y , h b f sam ma nkey for both

ia ram D g 8 .

several are made .

Th e ollo in dia ram s o s a commonternar constructio f w g g h w y n. Many compositions similarly constructed may at first sight appear too complex

im le a licationof th e a ove structure see c umann 6 For a s p pp b S h , Op . 8 ,

N O. 20 . ’ The constructionof Bach s Gavotte from the Sixth English Suite e i o tionof th e u er voice art i is showninth follow ng qu ta pp p . Th s com p ositionis intwo divisions called Gavotte 1 and Gavotte II (Musette)

Each divisionis inthree- part form similar to Diagram 9 and the composi

- tionas a whole is inthree part form.

. S . BA J CH. nor A ind mi . D A F RM . BIN ARY AN TERN RY O S 1 1 5

A ind- minor

FI N E

Gavotte I I (Musette )

- A inD major . I OMP I TI 4 1 6 MUS C C OS ON .

i —ma r A nD jo .

G avotte I D . C. a ! F ine

Notice t at th e first t eme A of avotte I en i m t r n h h , , G ds w th do inanha mo y i al adence ic is rre ular . otice too t h e e e (H f C ) wh h g N , , hat t cons qu nt themes show less contrast thanconsequent themes inmost music of the nineteenth and twentieth c enturies ; the motives and figures of all the themes show considerable similarity although each theme has individu alit and th e com ositioncan ardl be considered at we ma call y, p h y wh y a ’ ema ic m itio For suc a m ition monoth t co pos n. h co pos see Schumanns

r merei A e dix o . T au ( pp n B , N

XERCISES ROUP E , G 1 6.

Menue t from D on ua n (Binary ) j .

W . A MOZ ART. .

N 1 1 8 MUSIC COMPOSITIO .

ke me th e r thm Incase that th e intr tor y and so times hy . oduc y measures do not oreshado that t at is to ollo but sim l es ta lish th e ke f w h f w p y b y,

‘ e e re o encalled relud in nt tinc no r such m asur s a ft p e co radis tio t int oduction.

Quotations of short introductions and preludes follow

BRETHovaN O . , p . 46

Voice .

’

. LISZ T D u ritt m rne la me F , B : E B . N R ON RM zzo I T ODUCTI AN D INTE E . " 9

F. SCHUB aaT, Aer Herr .

For examples oflong introductions the student is referred to th e following

o e Ha dn: m ho i a or first 1 measures: Js ph y Sy p ny nG M j , 7 me r L i eeth en P th eti ue first 1 0 asu es . udwg vanB ov : Sonata a q ,

ozart : verture The Ma ic Flute first 1 measures . W. A. M O , g , 5 ’ ’ ’ e nl ltzes Wa . o n trauss II Emil ldteu l s and . Gu s Jha nS ( ) , Wa f J g

It is characterized by the absence ofdefinite melody and usually consists of mel ic ra ments in ence o scale assa es or of ro enc ord od f g sequ , f p g , b k h es of transiti ter Th e intermezzo has two rti r passag onal charac . pa cula functions (1 ) as a substitute for a contrasting th eme and (2) as an interlude betweentwo contrasting The following quotations

m . 1 2 . E. u O N o . G , p , 3

’ dan s of uite and ionll ce the s , occas a y to a movement of a symph ony . ( See Ge m s Symph ony, second movement .)

THE EPI SODE AND CODA. 1 33

otice that th e secon th eme leads into the interme N d zzo. A group of

THE EPISODE has similar functions and is similar incharacter to the

I ntermezzo. The i e o e er is mo e el o Ep sod , h w v , r m odi us and partakes th e c aracter f s sidi r t eme isodes occur in h o a ub a y h . Ep Fugues and serve as intermediate arts et eenth e re etitions of a u ue t eme p b w p f g h . For an ’ example of anEpisode see th e Slow Movement from Mozart s String Quartet inC major commencing at the thirteenth measure and extending t rou the t ent - fifth eme 11 th e e - h gh w y . Th commences at tw nty sixth

THE CODA is a chordal or thematic appendage and follows th e natural terminationof a eriod orm r e Th e ti of th e p , f , o mov ment . func ons coda are I to em asize th e motive th e final dence r ot er te i ( ) ph , ca , o h ma r al, (2) to convey th e compositionback to th e mainkey where th e final theme ends ina difierent ke and to t e y, (3) summarize h material of a com ‘ I M 1 2 4 MUS C CO POS ITION .

F . SCHUB E T O . 1 06 N o . R , p , . 4

B AH MS O . 10 N o . . J . R , p 5, 3

1 36 MUSIC COMPOSITION .

The following diagram shows the structure ofa more highly developed ’ i Rondo ; second movement of Beethovens Sonata Pathet q ue.

Th e number of recurrences of th e principal subject is not restricted i t l i e e with th e exceptionthat t occurs a east three t mes . Th int rvening ti ns ma consist of contrastin t emes internwzzi or e isode sec o y g h , , p s. The rinci al su ect oneac occurrence usuall closes it a final c en p p bj h y w h ad ce , whereas th e intervening sections oftenlead into th e principal subjec t or

inits several recurrences o tena ears it varied accom animent , f pp w h p , metimes it c ane of armon nd is occasionall ext e so w h h g h y, a y end d . Inth e highly complex Rondo Form may be found transitional meas r ssa e or ela orate extensions an c et u es , pa g w k, b , d odas b weenth e vari ’ i ions f th e m sition Th e thir mo ous div s o co po . d vement of Beethovens Sonata Pathetiq ue shows great complexity instruct ure and the st udent sh nal ze the armonic and ormal structure of ould a y h f this movement .

THE VARI ATION FORM.

Th e VariationForm is a term applied to a compositioninwhich one or more t emes is resented and re resented invariousl difierin st le h p p y g y s . The older examples of the VariationForm were principally concerned with a ground bass which served as a basis for building subsequent varia Th e ost i hl l le of tions. m h g y deve oped examp this style is to be found ’ a s riations onan r in Ma or inJ. S. B ch Va A ia G j which is a Sarabande

Aria as a asis onwhich he uilt contra untall thirt b b , p y , y contrasting THE R H V I ON DO AN D T E AR ATION FORM. " 1

theme as well r un ser e i Later, a as a g o d bass v d as a bas s up onwhich

is th e most im ortant nd t erefore most t orou hl r out E i p a h h g y wo ked . p

earance as well as ela orate codas an to - we i hl app b , d day have a h g y complex form which exists as a complete op us number or as a movement r of a Sonata o Symphony . e ondo an ri tion orms are sometime i e For Th R d Va a F s comb nd . such nexam le see Ha dns F Ma or S onata for violi l vier sl a p , y j nand c a ( ow e t l movem n) which should be ana yzed . Some of th e principal ways inwhich a theme may be varied follow (I ) by Changing the style of th e accompaniment ; (2) by ch anging the

izationof th e principal theme ; (4) by changing the length of th e various notes thereby obtaining a new rhyt hm and oftena newmetre ; (5) by rep etitionof certainnotes which may or may not change th e metre ; (6) troducin tones ornamentalto th e tones ofthe t eme c le ssa es by in g h , s a pa g , nes f th e t eme e i ones et ee th e o tc . rin the pass ng t b w n to h , ; (7) by obscu g theme by arpeggio figurationof th e tones of th e theme ; (8) by inverting the intervals of the theme ; and (9) by expanding or contracting the

The work for this chapter should consist of analyzationof standard i ns inth e n orm d inth e ri e composit o Ro do F an Va ationForm. A th me should be chosenand worked out invariations inthe vario us ways

ISEs OUP 1 Es C , GR 8 .

n x es 1 xer i 6 8 A endi a 1 0 an 1 . 1 . E c ses , 7 a d , pp B , p g 5 d 5 theme h rmo ize and treat it in er i il r 2 . Compose a ; a n a mann s m a to

1 0 e 1 2 . Diagram , pag 5 3 Compose a theme of at least eight measures; harmonize and write “ 1 68

CHAPTER XIX .

TH E S ON ATA FORM.

As the orm ro s more com licated th e need of contra untal s ill f g w p , p k becomes more apparent and th is need manifests itself whenconsidering he onata rm The nta orm is th e most com lex ofallth e or t S Fo . So a F p f ms i the re t ni e his ter t ere and requ res g a es t amount Of tech qu . T chap ,h fore aims only to th e equipping Of th e student with knowledge sufi cient to l z ti n re i ti O h e orm th e ana y a o and app c a on f t Sonata F . e term n is lie int ree ifi Previo t Th So ata app d h d erent ways. us o th e work of Philipp Emanuel Bach (1 7 1 4 th e term was used loosely and meant almost any kind Of a compositionfor instruments in

contradistinctionto th e cantata. o d a th e term is used more defi T y, nitely and is applied to a compositionfor solo instrument (usually in o t ements ased onmore conventi n ir ur se ra e mov o al lines. dl f pa ) b Th y, ” th e t erm is applied inconjunctionwith th e term Form (Sonata Form) to signify a certainstructure of one or more Of th e movements Of a nat So a. Th e mod ern onata usuall consists Of our se arate movements e c 3 S y f p , s h Ofwhich is a complete form but all Ofwhich constitute a whole with more in e h i e en Th e mm or les s terrelationship b tweent e var ous mov m ts . co on is ositionOfth e movements is : rst movement Alle ro and movement d p , g ; , ” M e or c erzo th m ement l low rd movement inu t ov Al e ro . S ; 3 , S h ; 4 , g Th e first movement is frequently preceded by anintrod uctionusually in e i in nt r ll i e first mo em nt s a a o m. Th e o o n slow tempo . Th v So F f w g movements may be inSonata Form or inany Of th e forms heretofore i e A com ositionfor orc es tra similar to th e onata is ‘ called cons d red . p h S The ona and m on sometimes consist of t ree a Symphony. S ta Sy ph y h n moveme ts .

i - Th e fi t nta orm s ina road sense ree Part orm. rs Th e So a F , b , Th F “ ” “ ” r A is called x osition th e second rt evelo ment p a t ( ) E p , pa (B) , D p , i l ti n The x iti nconsists Of wo and th e third part (A) Recap tu a o . E pos o t ! or more themes i ncontrast ing keys; th e Development consists Of an unfolding of the latent possibilities inth e motives Of the th emes ina " transitional manner ; th e Recapitulationconsists Of a res tat ement Ofthe tonal scheme Of structure is showninth e following diagram

MUSIC c oup osrr ron. 130

e h n Eroica is scored for two flutes two oboes t Th Symp o y ( ) , , wo

rinets inb- d t two assoons th ree horns ine- flat but c anin cla ( a ) b , ( , h g g) ,

- n tw trum ets ine fl t t m ni dou le ass a d uartet of trins. o p ( a ) , y pa , b b , q s g ' Theme 1 which rs th e chief theme is sounded by the cello piano but e r r t e ti i introduc d by two fo te tonic cho ds by full orches ra. Th mo ve s tossed around among th e different instruments until the entrance of a

dominant harmony inth e key Of b- flat preceded inth e forty- fourth

r m te ix r Th e tonlit f - d t is onl measu e by aug en d s th cho ds . a y O b a y ticanl passage leads to th e second theme proper (which is inth e key of

- i t - t ir r t e h i b dat major) at th e e gh y h d measu e . A th one undred and nnth measure a passage founded uponth e rhythm and ideas of th e princip al i i r t e mmen otice t th e one r and subs d a y h mes co ces . N a hund ed and twenty- third measure the dissonant chords uponthe weak beats which

Obscure th e tonality until at th e one hundred and twenty- eighth measure th e dominant seventh chord inits first inversioninth e key Off enters and i e r do for o Th r i is re terat d fo zan f ur measures . e hyt hm nthes e four

res is ineflec t two- our t th e en Ofth e x osi i nth e m ri l measu , f . A d E p t o ate a f th e l n coda ic en th e movement is res o e e O o g wh h ds fo had w d . Th iti e im Exp os onnowr p eats verbat . The Expositiondoes not end with a final cadence but coales c es with v ent Th e e elo ment consists of th e unfol in o th th e De elopm . D v p d g f e ti fth e firs t eme n th e su si i r t em e m i p otentiali es o t h a d b d a y h e . Th ater al Of th e second theme is very little used which is anunusual circumstance l i on e r i nte tin n in e e o men. Th e trans ti s ar c l nd i res a D v p t ad a a g ; ote,

es eciall measures 1 8 1 to 1 8 . Th e radi al dissonances also des erve p y, 5 c stud for exam le measure 2 8 to 2 and else ere but a ove ll y, p , 4 79 wh , b a , measures 394 and 395 where th e hornsounds th e tonic chord inEb major hile th e violins so the i t t or is l e h w und domnan sevenh ch d . Th p ac as

o i i n li i e - or th e part fmus c ans a d pub shers. AnEp sod inE min commences

m r 2 i e e r e r t m 2 2 in - easu e . s isod ea s a easure E d t i at 84 Th p pp a 3 a m nor. At measure t eme 1 rea ears for urt er develo ment nd evo 3 8 , h pp f h p a lves , transitionall to a ortissimo climax for ull orc es tra at measure 2 y, f f h 36 . ra ments Oft eme one are eard ona diminuendo until at measure F g h h 394, theme 1 is heard m th e hornwith the radical accompaniment mentioned

i m l i nt F- r a ove . his s ollowed a odu at o o ma o the bo b T f by j , rnagain sounding theme 1 but this time inF (measure At measure 416 th e

first violinand flute sound theme 1 inD - flat (measure THE N T RM. SO A A FO 1 3:

The Development and Recapitulationcoalesce and the first th eme

i t not sufi cientl to t The b from th e Expos tionbu y destroy uni y . Su sidiary theme reappears at measure 448 but this time onthe dominant

- Th e connectin tr ition e t harmony inE dat . g ans al passage comm nces a time i measure 468 but this a fifth lower thaninthe Exp os tion. Th e

r e r - e e f second theme ente s at m asu e 468 inE flat . Compare th passag O dissonances commencing at measure 526 with th e passage inthe Exposi

Th e Coda commences at measure 552 coalescing with the Recapitula ’ tion It x m le of ne of eet oven contri utions to the o . is ane a p o B h s b S nata Form and is not a mere terminationor appendage but a complex part of tice t th e rinci t eme is soune t n th e movement . No tha p pal h d d firs up o the E- fla c or t enu nthe D - flat ma or c ord and t irdl u nth e t h d , h po j h , h y po

- m in or un me c o ulat c e used til asure . C major hord . N od g h ds ar 569

Here th e dominant harmony inC- major is insisted uponuntil measure ere instead f resolvin it ro resses t the domin t armon in 573 wh O g, p g o anh y h e mel o e inc r tic n t e key ofF. At measure 595 a nw odi us passag h oma a d

i - i n m l r c li e st le enters so ed cello nd assooninunso . Co y k y , und by a b mencin at th e crescendo measure 62 we are led ac to th e mam g , 7, b k tonalit and rom ere to th e end Of the movement the ke Of E- flat y, f h y i iti tice th e dom neers with only occasional and temporary trans ons. No insistence upondominant harmony inthe home key commencing at the s nco tionmeasure 68 1 an continuin t rou th e ourt measure y pa , d g h gh f h n from th e e d . A diagrammatic illustrationof th e structure of Eroica follows

Diagram 1 3.

The student should analyze th e harmony and form of several move rm The eet oven iano orte sona ments inSonata Fo . B h p f tas are excellent s wa COMPO IT ,3, m S ION .

HE MIXED AN D F R EE T FOR MS .

The Pot- pom or Medley consists Of a selec tionof themes from an r l ns r ntio s et o o so o a nal son c . strun t pe a, f k g , g , , g ogether Incontrast to r ti m e a re anothe . Opera c edl ys usually consist of a selectionOf th e most popular tunes Of a single opera although occasionally one finds a selectionconsistin Of tunes rom v rious o e t - g f a peras. Th p o pourri has ‘ no set orm and no value ot er t ana senu e f h h s ous on.

the key

trodu tion. n n In c A da te sostenuto. i

rlude Tem o . Inte . p i Modulatory . n ll ro alse . a d Chorus. A eg fiocoso. V i }

’ Alle etto. Alfio s Song . gr 1

e an l ’ Church Sce n. Moderato assai. C d .

’ n ll r tto. Lola s So g . A eg e i

n tino sos mezzo Sinfonico. A dan tento ter F M or. In u . 1 aj

lle ro Mod erato . r Interlude . A g 1 Modulato y . h etto . D rinking Song . Larg

erminationendin th e select ionin G Ma or. T , g j

ar overture is re uentl inthe st le of a ot - ourri but in The popul f q y y p p , ’ this case the themes are original. Such anoverture as Suppe s Poet and it o ever t anmost o eratic national and ol Peasant has more uny, h w , h p , , f k e ollo in dia ram s o s the dis ositionof th e move medleys. Th f w g g h w p ments Of Poet and Peasant.

0 - r ualit of ll r The pot pourri lac ks unity wh ich is a necsss y q y a a ts.

MP T MUSIC CO SI ION . 1 34 O

r l m hon eet ovenO ene ne Inthe Pasto a Sy p y, B h p d wpaths and since its r ctionth e list of ro rammatic music has ro n mu f e p odu p g g w , and ch O th i is o either realistic characteristic or es cri ti e best mus c nw , , d p v . Moderncomposers seem to prefer a definite inspirationto a more or l c vin Of to e desire to x ress t eir m th es s prosai wea g nes. Th y e p inh usic e

o t event hiloso or icture TO a s ecific ins iration a com bjec , , p phy, p . p p ,

ne i tes ncrete stud and no etter exam les for suc stud can ces s ta co y, b p h y m onic P f Liszt n his successor be had thanth e Sy ph oems o a d s . For th e benefit Of those students wh o cannot Obtainscores of Sym a rief anal sis f a m onic Poem is iven phonic Poems, b y o Sy ph g .

n Pr ludes ANZ Ma . Les e , FR

’ is ounded u ona ortionofLamartine s Meditations The composition f p p , a p rose translationOf which follows

t series Of Preludes to th e unknownson th e first solemnnote What is our life bu a g , of which is sounded by death ! Love is the enchanted dawnof every life; but what here the rst o s of ha iness are not interru ted b some storm is the destiny w fi j y pp p y ,

irit that does not seek whenone of its tem s ts is over And wh ere is the wounded sp , pe , to calm its memories inth e peaceful life of the country! Yet mancannot long res ig n himself to th e kindly monotony which first charmed him inhis companionship with “ ’ ” nd when the trum et s loud last has called him to arms h e rush es to th e N ature , a p b , of daner re ardless of th e nature of the strife inorder to ainb com at p oint g , g , g , y b ,

Poem is scored for flutes 2 o es 2 clarinets 2 The Symphonic 3 , bo , , ons orns 2 trum ets trom ones ass tu a t m ani drums basso , 4 h , p , 3 b , b b , y p , ,

r and th e usual strins . cymbals, ha p , g be divided ar itraril into six arts la The compositionmay b y p p yed , r e icts a diflerent h Of mar it out ause . Eac a t d ase La however, w h p h p p p ’ t the ole is ounded rinci all u ontwo themes hich tine s poem, bu wh f p p y p w mi c armonic and r t c uises. A dia ram appear invarious melodi , h , hy h g g THE MIXED AN D FREE FORKS.

Diagnm 1 6. ’ MUSIC COMPOS I ION 1 36 . T

P D AP EN IX A.

’ ME L OD IE S F R O M B ACH S CHORAL S .

I FR M BA H ' CH ME O ES O C S ORA S . L D L ‘39

' MELODIES FR OM BACH S C HORALS .

MIS CELLAN E US EXERCISES . O 1 47

APPENDIX B .

MIS CE L L AN E OUS EXER CIS ES .

i e l i i ime I Harmonze th following violinso o wth p anoforte accompan nt.

. MASCAON I P . MPO TION . 1 48 MUS IC CO S I

onize the ollo in I st violin rt for strin uartet 2 . Harm f w g pa g q

R . SCHUMAN N .

3 Harmonize th e following melody for pianoforte solo

MI N UET.

M ITION MUSIC CO POS . 1 50

i t ith ins of starr loo Whenngh , w w g y g m, ’ th e earth and s ies O ersh adows all k , i me r eauteous ird ose lume L ke so da k , b b , wh p it um ered e es Is sparkling w h unn b y , cred loom t ose fires divine That sa g , h ,

rand so c ountles s Lord i at e t ine . SO g , , h

und us bre t es Whenyouthful Spring aro a h , Thy spirit warms h er fragrant sigh ; And every flower th e summer wreathes

Is bornbeneath that kindling eye . ’ re er we turnth lories s ine Whe , y g h ,

And all things fair and bright are thine .

n it i niment r nize th e ollo in so ano orte accom a . 5. Ha mo f w g g w h p f p Supply anIntrod uc tionand Coda :

H . KJERULF .

om ose a melod ounded u onth e ollo in motive . Add a 6 . C p y f p f w g ri consequent period ina contras ting key and restate the first pe od . rmonize for rst iano orte solo zud strin uartet and rd Ha ( ) p f , ( ) g q , (3 )

v ocal quartet MI E LAN SC EOUS EXERCI SES . L 1 5 1

ree r mor ntr i . Cornose t o e co as tin sect ons t emes i 7 p h g ( h , ntermezzi or i es t the llo in t armonize r ep sod ) o fo w g subjec . H fo pianofort e and supply a Coda :

W . A. M ozART.

i o r or more variations onth e ollowin t r te u eme . arm 8 . W f f g h H onize for pianoforte solo or string quartet

OH N BUL J L. MUSIC COMPOSITION . 1 52

APPENDIX C .

I PR IN CIP L TR IA OF TH E MA OR MOD E IN R OOT . A DS J

POS ITION .

II AL L TH E TR IAD S OF TH E A M D . M JOR O E IN R OOT

POS ITION .

M SI C C MP SITI N . 1 56 U O O O

V II A ERED H R . LT C O DS .

A minor

’ III MIS CE AN E OUS EXE RCIS E S FROM B ACH S CHORA S . V . LL L

E ITI N D FIN O S . ,59

P AP ENDIX D .

E FI ITION D N S .

OF TECHNICAL TERMS USED IN

A A to e hich is not final and en eard leaves somet in CTIVE . nw wh h , h g i i e tone r c h m re or less definite tendenc to be des red . Anact v o hord as o y r r n to p og ess to another to e or chord .

H tone hic is a mem er Of th e c ord it hic C ORDAI. TONE . A w h b h w h w h i s n t ou ds.

ED r r sioninwic an two voices situ CONCEAL m s. A p og es h h y , ated an distance a art other t ana fi t roceed in arallel motiont o y p h f h, p p

Par F ths. a fifth . (See allel if ) n rest eflect E minlin oftwo or more to es it un ul . DISSONANC . A g g w h f h rm is com rative and th e amount of activit inerent inan T e te pa , y h y environment ss nnt de ends u nera culture and . di o a p po , , A tone er of c ord called inmost text oo s F CTO R . A memb a h ; b k l interva .

e f nic resolutionto unisonOf FIxED UNISON . Th res ult o the diato a f n a voice part from the dissonant Of the interval O a seco d . eme t of th e rts an elements r t ms rases FORM. Arrang n pa d ( hy h , ph , e ions eriods t emes and tonalities constituent of music ic s ct , p , h , ) by wh h symmetry Of outline is Obtained with variety and unity . HO Pe inin to t at st le Of com osition avin one MOPHONIC . rta g h y p h g predominating melody accompanied by other parts which supply the

n osed to ol honic . Harmo y . Opp p yp 1 60 MUSIC COMPOSITION .

characteristic through constant applicationonthe part of composers and is ofteno sed t lo i r ppo o g cal theo y . D L o MO U ATI ON . A c nsummate change of key which enters into the arc itecture Of a com ition h pos . ONOT erize in e ONIC aract a sinle . M . Ch d by g ma k y A l i erm A r n OTIVE . e c of ote rom i m od . ou s c a eriod M g g p f wh h p , m m n r c m iti e el ove e t o o os onma be d v o ed . , p y p B e noti a e . N . T k c

- DAL tone ic is ot mem r of th N ON CHOR TONE . A wh h n a be e chord n with which it sou ds.

e l l tes d - h Th e s m l en Th symbo ( X) p aced over no enotes nonc ordal tones. y bo closed by parentheses signifies a chordal tone having a characteristic of a non- chordal

tone .

P E u m A ro ressionin ic an two voices situated a ARALL L s . 7 p g wh h y l moti er fi t or t el t etc . a art rocee in ralle onto not fift . f h ( w f h, ) p p d pa a h h

— re sion i n t f CONSECUTIVE FIFTHs . A p rog s inwh ch a y wo voices situated a fi th

o welfth et art r ineith er ont r o arallel motionto nother fifth . ( r t , c . ) ap p oceed c ra y r p a

(See Concealed Fifths . )

i PARALLEL 8m s. A progress oninwhich any two voices situated an

le octave et . a art rocee in r llel motionto anot er octave (doub , c ) p p d pa a h

octave .

A re onin t o voi es situa CONSECUTIVE OCTAVES . p rog ssi which any w c ted an

le ve etc . a art roceed ineith ntrar or arallel otionto octave (doub octa , ) p p er co y p m

c l sene A com lete musi a t nce. PERIOD . p i n f eriod termintin i ce SE A ort o o a a t a c den . PHRA . p p g w h a O I Pertainin to t at st le of com osition avin t wo or POLYPH N C . g h y p h g i enent melodies sim l armonizin one it ah more ndep d ultaneous y, h g w h

Th e ro ressionof a dissonnt c or to anot er c ord RESOLUTION . p g a h d h h such as permits th e factors Of th e former to proceed according to their

tendencies .

S I N h l nof rd the chord F CADENCINO RE OLUT O . T e reso utio a dissonant cho to

hord whose root is situated a fourth above (or a fifth below) th e root of the former c .

N - ENCINC RESO UTION OR PROORESSION A res olutionor ro res sionof N O CAD L . p g a ch ord to any chord oth er thanth e one whose root is situated a fourth above (or a l e t Of the fo er ho fifth be ow) th roo rm c rd .