A PRAC T IC A L INT RO D UC T IO N TO C O MPO S IT IO N

H A RM O NY S IMPL IFIED

FRA NC IS L . Y O RK, M. A .

RE VIS E D A ND E NL ARG ED E D IT IO N

F O UR TH E D I TI ON

BO S TO N O LIVER DITS O N C O MPANY NEW Y ORK C HIC AG O PHILA DELPHIA

H . D 8: . LY 8: H E Y J . E . D O . C H AS . ITSON CO ON AL ITSON C Co r i h t M D cc cx vn b py g , c , y

F . L . Y OR K

o r i t M C M b C p y gh , , y O LIVE R D ITS ON COM P A NY

o r i t C I b C p y gh , M M , y OLIVE R D ITS ON COM P A NY

C o r i h t C X b p y g , M M I . y OLIVE R D ITS ON COMP A NY TO FR IE N D ,

FRE DE RI C H . P E A SE ,

I C G N C O G E M HI AN STATE ORMAL LLE ,

TH IS LITTLE B OOK I S R E S P E CTFULLY

A TE D D E DIC .

I D T R Y N T R O U O O .

I N w n s s endeavor v in th e s m s the follo i g page I hall to gi e , i ple t

ss b m an n of n s of m n . I shall po i le for , outli e the pri ciple H ar o y make no attempt to give details or to deal with the s ubject

x us v b u t shall s n the n mb n ns nd e ha ti ely, I pre e t all to e co i atio fou in m s and v s n x n ns of u se n b u ic , gi e ufficie t e pla atio their to e a le the s tudent to recognize them in the works of others and u s e them

i n e en d ri d n correctly n his ow . The rul s giv are e ve e tirely from

n s s of w s of m s s and the a aly i the ork the great co p o er , are

ed b m in e m of s s m s b e follow y the the gr at ajority ca e . It u t

m mb d n ns no t m ws bu t s m re e ere that the ca o of art are oral la , i ply

i x d n in n V ns of state what s e pe ie t ge eral . iolatio the rules which occur frequently in the be st compositions do not concern u s and x ns do not m w n s s . Irregularitie e ceptio co e ithi the cope

w b n ss to n of this work . I t ill therefore e ece ary leave u touched m n n s n and ns v n s b u t is d b a y i tere ti g i tructi e poi t , it hope that y omitting all detail the s tudent will gain a clearer insight into the

n n s n n d es se tials of musical compositio . A ufficie t k owle ge of piano playing to enable the s tudent to play an ordinary hym n n i d tu e s pres upp os e .

s w in its n n ed in 1 895 in s m in Thi ork, i cep tio , appear erial for

one m si di s . d m nd for was so of the u cal perio cal The e a it great,

b m n e ss s n b m that it eca e ec ary to gather the chapter i to a ook for , and s ss of e w d s b the great ucce the latt r, together ith the e ira ility of m i n m d cl ear b its u se in nds of s a pl ficatio a e y the ha teacher , l n nd n n ed to the pre s e t revised a e larged editio .

F RA N S L . Y RK CI O .

D A u ust 1 9 00 . ETROIT , g ,

T E N T S O O N .

C HAPTER PA G E

f r m n 1 . D efin on o a o hor d Tr a d Ton and D om nan iti H y , C , i ; ic i t Ch or ds ; Char acter of th e Tones o f the Scal e Fou r -voiced C o m positi on D ou bling Open a nd Cl o se Pos ition ar mon a nd od n II . H y Mel y Vo ic e Pr ogr essi o ; Par a ll el Fifths and Octaves ; Lea di ng Tone ; The S ub - D o minant ; Nor m al P r ogr es sion

n r va s r m a r m n sh d I 2 . e . o a o nor A u men ed and e III I t l N l M j , Mi , g t , Di i i A u hen ad en es a r a e on r ar and b ue o on I n IV . t tic C c ; P ll l , C t y , O liq M ti ;

ver s ions ; I c

D ssonan e Reso u on r e ar a on D om nan even h e od V . i c l ti P p ti i t S t M th o f W r iting E xer ci ses Use o f h or ds in ar o us os ons nver s ons VI . C V i P iti (I i ) w V I I . R evi e .

a or and nor h o r ds u er -Ton VIII . M j Mi C ; S p ic R e a on o f nor h or ds ed an and S ub d n I X . l ti Mi C ; M i t Me i a t m r n r r d n n X . a e e a a a d u se a e es o ea ed hs H lf , I p f ct , Pl g l , S p i C c C c l Fift a nd Octaves he D m n s hed 1 1a d h nd s ns of n r hor XI . T i i i T T e b a 0 Po iti o Mi o C d s nor a nd m n s hed h or d s w h nor even h XII. Mi Di i i C it Mi S t

. a or hor ds w h a or even h hor ds of the n h even h XIII M j C it M j S t C Ni t , El t , and Th ir teenth

r r e u r nd a v o r s o ns B — one s XIV . I g l a a P ss i e Pr g e s i y T R ev ew XV . i nor ode 1 W and V XVI . Mi M , , V, 7

n n n d . r h r d X VII . M i or Mod e C o ti ue Seconda y C o s

no r ode on uded . even h h0 1 ds XVIII . Mi M C cl S t C m r . Tr a ns on or odu a on a ss n o e e . r d e ho d XIX iti M l ti P i g, C pl t B i g C f n r n t h K A er ed h or ds XX . Use o To es Fo eig o t e ey lt C hr m r d s n n b e ween r ans ona A er ed and . T XXI C o a tic C ho s ; D i ti cti o t iti l , lt , Ch r om atic Chor ds

m n h r f h . xed h or ds The F r en h a an a nd Ger a o ds o t e XXII Mi C ; c , It li , C Sixth For ms of th e D iminished Seventh Th x n on of o me rr e u ar XXIII . e Fl a tted VI a nd Fl atted II ; E pl a a ti S I g l

- m n h n n o a ur as I . Non ar o Tones a ss n a A XX V H ic P i g, C gi g, pp ggi t

XXV . A nticipa t ory Tones Peda l Point

. n r r d n u n XXVI Suspens io s o R eta ati ons . C o cl s io X X VII Figur ed or Thor o ugh B a s s

A X A h a r a er s e of E a h Tone PPENDI . C ct i tic Eff ct c

d n x r s es A P P E NDIX B . A diti o al E e ci

H A R M ON Y I M P L I F I E D S .

CHA PTE R I .

m D efinitio ns . Th e Tonic a nd D o ina n C h o r d s t .

H a r m o ny is the science of tone combinations and the a r t of n n us ing s uch combi atio s . A ch o r d is a combination of tone s that give s the b ear er u ni nd c o m e en s s i n n an impress ion of ty a p l t e . It s ot ece ssary that the tones of a chord b e s ounded together ; they m ay appear ' s ss v a s s x n n s in r 1 a m n w ucce i ely, the i tee th ote Figu e , , for i g hat

. b r oken c h o r n n is known as a d . The combi atio s given in n d m b u i d e 1 b and c ot ds . C s d b Figur , , are chor hor are for e y l in u h ir d s a s o r D 1 d e g p t ; C , E , G , G , B , , F , Figure , , . n n r a s Chords of three (differe t) to e s are called t i d .

a . b .

n m I co p l ete .

Tr i a d .

C hords ar e numbered by the R o m a n nu m er a l s corre s pond ing to the degree of the s cale on which they are based : thus the

d on s d of s D oh M e is nu m chor the fir t egree the cale , , , Soh , ( 1) 2 HARMONY SIMPLIFIED.

h b d on s S o Ra is n mb ed V . ere I the fifth of the cale , , Te , y, u er The I is called the tonic c h o r d ; the V is called the d o mi

r na nt ch o d . Each chord has a character of its own which is derived largely

m of n on w is b s d r o o fro the character the to e hich it a e (the t) , and par tly from the character of its other tones (the third and , of n i the fifth above the root) . The characte r each to e s a s fol

ws : D oh fir m n of s m n . Ra s n ex lo , , to e re t, ho e to e y, a piri g,

i . mn d M n v u s s . ec tant. e p , plai ti e , q et Fah , ole , e olate Soh , * d w . n e s s n w d . b b . s ol , right Lah , orro ful Te , pierci g, pr i g up ar n d and The mos t importa t chor s are the I the V . The I

m d on D oh is the d w d w all ds nd (for e ) chor to ar hich the chor te , V m and in which they all finally come to re s t. The (for ed o n S oh ) domina tes the key ; it demands that the I follow imme di ately. I n the case of each chord notice the effect of the component

’ n m d o f D oh M e and is d of s . s to e The I , co po e , , S oh , the chor

h f M e a nd is br d ch s D o o S . re t ( ) , quiet ( ) , yet it a ight chor ( )

V m s d of S oh a nd Ra is b d S ch x n The , co po e , Te , y ol ( ) , e pecta t

Ra and s ss ff of d d nds s m ( y ) , re tle (Te) the e ect the chor epe o e

w o u the n in the s . e 2 a b. hat to e highe t part See Figur , , E a c h ch o r d ex c e th e I h a s a m o r e o r l e s s s r o n , p t , t g tend ency to m ov e to s o m e s p ec ia l o ne o f th e o th er ch or d s — u s u all y to th a t c h o r d W h o s e r o ot is fiv e tone s

l o w er . A s V the 2 e. the to I , Figure ,

R oo t . R o o t . I I I V V V ‘ V I I I I

* F o r ill u s t r a ti o ns o f th e u s e th a t c o mp o s er s mak e o f th es e c h ar ac te r is

nd x . 109 tic s , s ee A pp e i , p . HARMONY SIMPLIFIED. 3

A s m s n is b s d on fo u r -v o ic ed - w n co po itio a e (four part) riti g , our x s s w ll be wri t n a s if for s n s s n e erci e i all t e four i ger , opra o,

n and b ss . A s m s ds n n b u t dif alto , te or, a o t chor co tai three ( f r ent n s one n d m s in two v s e ) to e , to e of the chor u t appear oice at

is n is d o u b l ed . once ; that , that to e

e 1 . I n d o b n th e b e s o ne is th e o o th e ne x b e s Rul u li g , t t r t , t t "6 s th e h a nd th e o o e s is th e d . 3 a . I n i fift , p r t thir Figure , the

s d s n and b ss v s d b in fir t chor the op ra o the a each ha e C , thu ou l g d d has d b d b n the root. The thir chor the fifth , G, ou le y the te or n s six ds n n d b d and the s opra o . The la t chor all co tai the ou le f i m ss s n d and s . S ee s 46 a . thir , the e fect uch le plea a t al o Figure ,

o . o o . L ess o o ? B a d . B a d Go d G d g d Z . r r 3 2 b u t co ect . 6 - 1

n r e vo es s n al to and en Whe the th e upper ic , opra o, , t or, are w n an v m n is s d to be c o s e ds ithi octa e , the har o y ai l , or the chor

s d b e in c o s e o s o n . A ll the ds in 3 b are ai to l p iti chor Figure , ,

n s n n e e is n of the d m d are i clos e p o itio . Whe th r a to e chor o itte

m b we n two the s d is s d be in fro et e of up per p art , the chor ai to

o e n o s i io n . I n 3 a s d is in n s p p t Figure , , the fir t chor ope po i

n b s G mi v b n ed b w n s n tio , ecau e a ght ha e ee plac et ee the opra o h a nd b n n the nes w in a n v . A ll t e the alto , ri gi g three to ith octa e ? ds in 3 a x o ne w a r e in n s n. chor Figure , , e ce pt ( hich ) ope po itio

th h r m e ub e b d n a de d ed b e e r ead n Still e t i d a y b do l d , i f y s o o i g ci ly tt l i g o f th e p ar t s is s e c u r ed . 4 HARMONY SIMPLIFIED .

s u 1 3 1 0 in w m s of ds in See al o Fig re , page , hich o t the chor are n clos e positio .

s n x s s be w n in For the pre e t all e erci e are to ritte the key of C .

E x er c is e .

s . e I a nd d s in v a s o m s d o b n th e Fir t Writ V chor riou f r , u li g d in ul e 1 a nd s n e s e o ne s a o th o s o n . t cc r g to R , u i g clo p iti b e o S e nd . e a s s n n th e e n o s o n . co Writ efor , u i g ly Op p iti

Th e b a s s m s in a ll a s e s a v e th e o and v d s d u t c h ro t , e ery chor houl have underneath it its proper numeral .

T d — v e s o m e e nd a th e d s in th e e x e s e s hir . H a fri pl y chor rci s w en a nd w h o o n na m e e a d a s is thu ritt , , it ut l oki g, ch chor it a e d pl y .

I n the following chant by Tallis (trans posed) all the chords bu t one are I or V T T . I A LL S .

I

’ The following ( trans pos ed) from M endels s ohn s “ S ong with ” d ds . 41 is m n of es two ds . out W or , No , a e e tirely th e chor M ENDELSSOHN . HARMONY SIMPLIFIED .

a n h o d s n h e o n M ark th e I d V c r i t f llow i g .

KUH L A U.

CLEMENTI . 6 HARMONY SIMPLIFIED .

CHAP TER II .

- M ov em ent o f V o ice s . Th e S u b D o m ina n C h ord t . N o r m a l P r o r s s o n g e i .

I n writing mu sic there a r e two mos t imp ortant things to c on s d s r o r es s ion m ov em ent d a s i er. Fir t, the p g or of each chor a W h ol e and s nd m v m n ea ch tone in d , , eco , the o e e t of the chor .

I n w ds we m s x m n o u r w er endicul a r l other or , u t e a i e ork p p y for

m d h o r zo n al m od n a n . har o y , i t ly for el y

ul e — e n o e e n o d a a n o R 2 . Wh tw d iff r t ch r s ( s I d V ) fo ll w o ne a no th e r d ir e ctly a nd conta in a to ne th a t is c o m m o n to e a ch (a s S in th e nd I h s o m m o n o ne s d em n in th e s a m e oh V a ), t i c t houl r ai o a and 6 v e o r a . 7 . ic p rt Figure ,

— Ru le E ach to ne s hould pro g r e s s to th e ne a re s t to ne p o s nd e 7 a a 6. s ib l . Figure ,

oo . o o . oo G o od . G d G d G d .

Ob servance of the s e two rules give s s m oothnes s to a composi tion a nd avoids the jerky effect produced by voice s skipping abo ut . — TW O o e s s d no t m e th e s a m e r o e s s n Rul e 4 . v ic houl ak p gr io r o r s w h en th e y ar e e ith e r a fifth o r a n o ct a v e a p a rt . Such a p g e " d a r a ll e fif h s or o cta v e s fi u e 8 a . sion is calle p l t Fig r ,

* r o s f end h e ear u if w Par all el octaves do not se i u ly o f t , b t t o vo ices move in octaves the r esul t is th a t we r eally d r op out one vo ice and ar e wr iting in thr ee

s n e one ar os es its nde enden e and s m do u b es ano her ar at p ar ts , i c p t l i p c i ply l t p t H A RM ON Y SIMPLIFIED .

— ul e 5 . Th e s ev en h o f th e s a e Te s a d l e a R t c l , (al o c lle the d in to ne m s m v e w a r d t o th e e h D o h th e o l g ) , u t o up ig ht , , if f l o w

in h o d n a ins D o h . 8 b is g c r co t Figure , . It the character of Te

d m nd D oh a s w n n and s d m nd to e a the follo i g to e , thi e a should be d n m in w * s s o v m a be . ati fie , atter hich oice Te y

I n dis b n n s of d m n v s tri uti g the to e a chor a o g the four oice ,

d n a s keep the voice s as nearly equi is ta t possible . No two adja cent parts (except the te nor and bass) s hould b e over a n octave

s two ds 9 a w n d apart. The fir t chor , Figure , , are ell arra ge , the

n a nd ne xt two are badly dis tributed . The te or bass may be any

s n b d s a n 9 a d . rea o a le i t ce apart, Figure , , the fifth chor

Th e r o o t m a b e r eb l ed is m a in y t , that , y appear three

n 9 b b n n m e d Th e s as . part at o ce ( at Figure , ) , the fifth ei g the o itt

thir d m u s t not b e o m i ted . 9 b. d m s t Figure - , The thir u t be pre sent o r the chord lacks the necess ary elem ent of complete ne ss ;

see d n n d s 1 b. efi itio of chor , al o Figure ,

h n r a e fi h s sound ver b ad . L et he t e dis ta ce of an octave . Pa ll l ft y ly t s tudent

h w n w - n wn me od w h th e se ond vo e a fi h o wer as wr pl ay t e foll o i g ell k o l y it c ic ft l , it h f e s n his m s ten nd h wi n t r to n r odu e su e o o o ons . , a e ll o ca e i t c c f ct i t c p iti

*‘ d m o v n do wn to S oh when is in an inner Te is not inf r equ ently foun i g , it

vo ice and the b as s m oves in contr ar y mo tion . 8 HA RMONY SIMPLIFIED .

d n x in m a n is I V d s u b The chor e t i p ort ce the , calle the d o mina n nd -d m n n md on be . e . t (i , u er o i a t) , for e Fah the fifth l ow D oh s as d m n n is m d on b v , ju t the o i a t for e Soh the fifth a o e

D oh . I V n ns no n nd in V n c on The co tai to e fou the , he ce it

r a s n i s mn s t st s w . I ts s tro gly ith it character ole ( Fah) , re tful “ m D oh and n n d s dn ss . m A n ( ) , i cli e to a e ( Lah) Co pare the e ” 1 s in m s 0. Clo e church u ic . Figure

m n. A en. A me A men.

ds V I V n n all n s of The three chor , I , , , co tai the to e the s cale ;

n s D oh and n in two ds as s wn two of the to e , S oh , appeari g chor , ho in the following .

Fah Lah D oh M e S oh Te Ray IV A E G B D — in F C the key of C .

We have said that a chord us ually progre s ses to a chord

fif w is is d n whose root is a perfect th belo . Th calle the o r m al

r o r es s ion . I V nn m s ss n as p g The ca ot ake thi progre io , the per

10 HARMONY SIMPLIFIED .

. C o . 37 No . 1 . F HOPIN , p ,

e h e e n n e e e A f L t t s tud t firs t a m th s e ch o rd s fro m th p a p e r . te r w a r d th e te a ch e r s h o uld pla y th e m a t th e pia n o a nd a s k th e s d e n to na m e a s m a n th e d s a s h e c a n b th e s o nd tu t y of chor y u , he s d n d b u t t o m d houl k ow all the chor s the w arke with a cross .

x E er c i s e .

— Fi r s t Writ e tw o o r m o r e e x e r cis e s in th e ke y O f C u s ing th e o w n o d s b s e v n a ll th e u e s s fa r v e n I foll i g ch r , O r i g r l thu g i , V , V , m m o m e I I I I V I I V I . e in n a ll a no e s , V , V, , , , , , V . Writ co ti , h lf t 1—1 b u t th e la s t w h ich is a w h o le no t e . Figure s ho ws s ome things

b e m d n m n b v ded m a b n to i itate a d s o e thi gs to e a oi . Fro to o i m A 6 . 0 d s d : error . t parallel octaves A t the thir o itte c to d

A t Te doe s no parallel fifth s ( between alto a nd bas s ) . f t g o to

D oh .

I V V I V V I I I V I I V V I

e o n — L e t th e s d e d s o e fo r m e e e r S c d . tu nt i c v r hi s lf th ro rs in th e o o w a nd w e th e e x a m e in o e e o f ll ing rit out pl c rr ct d f rm .

e e s n v ns of s s o n Th r are at lea t fiftee iolatio the rule far gi ve . HARMONY SIMPLIFIE D . 11

T d — M a th e I a nd I V o d s in the fo o w n Fi hir rk , V , ch r ll i g , g u r 1 6 n s in n s s do not be n a m n e . The ote pare the i lo g to the h r o y .

” G or a in x l i E cel si s .

— F o urth Th e m e lo dy in Fig ur e 17 is t o b e h a r m o niz e d w ith th e o o w n o d s : I I V I I I I I V I f ll i g ch r , , V, , , V. . . . V , f e 1 2 E HARMONY SIMPLIFI D.

CHAP TE R III .

I nte r v a l s .

A n inte r v a l is di fer enc e in c h b w n tw n s the f p it et ee o to e . If the tones are s ounded together the interval is h a r m o n i c ; if m e nd d in s ss n n v is o d c . 1 s ou e ucce io the i ter al l i Figure 8.

n H a r m o ic .

S S x f h . Th r Th r . Th S x h . h . . r o u r h . S o n . e e n h . i t i t Fi t i d i d i d . F t ec d v t

M e l o dic .

h . h r h r S h x h . T . T Th r . r S S x . S . o u h ec o n . e n h i t i t Fift i d i d i d F t . d e v t .

I n reckoning intervals c ou nt a l l th e l e tter s contained in the

m D 0 11 M a C to n d n v . s e s e s e i ter al Thu fro to , E , i clu the thre n d s D E . S O e v is hi we a s s v letter , C , , the i t r al a t r , though p o er

n s n n Ra D . m C A is six e s C D o ly a i gle to e , y or Fro to lett r , ,

A en is a s x . E , F , G , , h ce i th I nter v a l s a r e a lw a y s r e c ko ned u p w a r d unle s s the c o n tr ar y is di s tinctly s tated ; by a third from C we always m ean E the third above .

we n n v s m s n of s a s If recko i ter al fro the fir t to e a cale , C ,

be m a o r in erv a s x and they will all j t l , e cept the fourth , fifth , o v w s d er fe c . n v s med cta e , hich are u ually calle p t The i ter al for

n he s of n w b e o t cale C , the , ill ,

a o r . M a 0 1 . e r e . e r e . M a o r . M a o r . e r ec . M a o r M j j P f ct P f ct j j P f t j .

S Th u r h h S x h S n h o nd. r . o . . . e e a e . N n h . ec i d F t Fift i t v t . Oct v i t When two tone s s tand o n the sam e degre e there is re ally no HARMONY SIMPLIFIED.

m d b m bu t is s m m r im e interval for e y the , it cu to ary to call the a p

u n s o n and ss m as m n n v . or i , cla ify the for i g a perfect i ter al

n e v s n d as a s the n n The i t r al are recko e far i th , although that

n he d n f n is b u t the repeti tion of the seco d at t ista ce o a octave . * The wider intervals are u sually reckoned without regard to the

ve s n is n d a s d v n a s octa ; thu the te th cou te a thir , the ele e th a

f f 20. w as . fourth , the t el th a fi th Figure

er e M a o r . er e . er ec . M a o r . P f ct . j P f ct P f t j

6 -6 I T enth o r E l e enth o r Twelfth o r Th i r teenth o r 0 1 o r v hi r . o u r h . f h . T d F t Fi t Si xth . 5331;

n v s so s d d a r e m d w n The i ter al far tu ie all for e ithi the key,

b s s e en h n s n n a s . t e u i g the key ote a a i Th y are , th , atural or

no r m a l in er val s . m s e nds of n v s m a t Fro the e , oth r ki i ter al y be formed :

n s of an n m n Firs t. If we i crea e the size y or al i terval by a

l s b mes a n a u m e n ed n e r v a l . s m a be ha f tep , it eco g t i t Thi y done in e ither of tw o ways : by raising th e upper tone o r by de

n h n e 1 9 nd ss t e w e . w a s pre i g lo er to If take Figure , harp the

s nd n or the s n in e mea s n v s eco to e flat fir t to e ach ure , the i ter al

m n r e 21 produced will be all aug e ted. Figu .

A u m e n e n e r v a s g t d I t l .

e o n Th r o u r h . Fi h s . s s . S c ds . i d F t ft

S x hs . e en h s . c a e s . N n h i t S v t O t v i t s .

nd m n va s a r e m de s s ma Seco . If the ajor i ter l a a half tep ller m r i n m m n v they be come ino . It s o ly fro ajor i te r als that mi nor n e v s c an be m d n v m n v l s . 22 i t r al a e , e er fro perfect i ter a Figure .

N ot a w a S ee h a er . l y s . C pt XIII M 1 4 HAR ONY SIMPLIFIED.

o M i n r Int e r v a l s .

n h r S eco ds . T i ds .

— I f o r m n n v s n d Third . the perfect the i or i ter al are co tracte

st b m dim n s h ed . I n 23 di by a half ep they eco e i i Figure , the minished intervals are formed from the minor intervals of Figure

22 b s n w n b w n o n , y rai i g the lo er to e or y lo eri g the upper t e a half s tep .

Dim i ni s h e d Int e r v a l s .

h r T i ds .

W n we v C — D b is an he ha e fi , although there theoretically n v is d f n in is n n i ter al (that , a i fere ce pitch) , practically there o e , a nd the two letters are nothing more than two ways of writing enh a r m o nic the s ame pitch : s uch a n interval is called . The diminished inte rvals in Figure 24 are all formed from perfect intervals .

m n s h e n e r a s Di i i d I t v l .

f h a Fi t s . Oct ves .

To d e e m ne w e e a n n e v al is m a o m no r a m e n e d t r i h th r i t r j r , i , ug t ,

o r d m n s e d w e r o e e d a s o o w s . o ns d e th e w e r no e i i i h , p c f ll C i r lo t o e e I f h e e n o f th e int e rv a l t b th ke y no t e o f a s c al e . t upp r o te l e s in th e s a e O f s ke th e n er v a is no m al is e h e i c l thi y , i t l r , that , it r

. a m a j o r o r p e rfe ct I f it is a h a lf s te p la rg e r it is a ug m e nt e d . I f e r a n a a o r I f a a l s e s m a e h a lf s te p s m a ll th m j it is m ino r . h f t p ll r

F o r x a n a m no o r a e e n e v a is d m n s e d . e th i r p rf ct i t r l , it i i i h

find n m es o f in n v m we w w s . a ple , ill the a the follo g i ter al HARMONY SIMPLIFIED . 15

n First count the letters contained in each i terval . The first

n ns s ix s D E A B I and so is s x of s m co tai letter , , , F , G , , ) , a i th o e

ind . s w n in 25 s v s x k Tho e follo i g Figure are re pecti ely i th ,

N u t s v n and . o w w o e fourth , e e th , fourth , fourth, fifth rite ach interval in the key of the lower tone (Figure This give s u s the normal intervals corre sponding to the given intervals of 2 Figure 5 .

K e o f D K of E K e of . K e of E . K e of . K o f y . ey . y F y b y G ey B .

m n we find the s nt v 25 b e By co pari g, fir t i er al ( Figure ) to a half s tep le ss than the normal major sixth ( Figure and nd i m n x hence i s a niinor sixth . The s eco s a i or s i th for a s imilar

s n d is an m n d m n rea o ; the thir aug e te fourth , the fourth a i or s v n s x a n m n d e e th , the fifth a perfect fourth , the i th aug e te fourth ,

- n n and the s e venth a diminished fifth . O ly o e augmented a nd one dimini shed interval c an be formed within the s cale : Fah to

an m n d t and d m n s d Te , aug e te four h , Te to Fah , a i i i he fifth .

25 3 and 7. Figure , It is important to rememb er that an interval is reckoned by the s m s n and not b its n on the letter co po i g it, y appeara ce key h d i b d. s m to is b s s d n oar Thu fro C E a t ir , ecau e E the thir to e in s of v n we s and n E the cale C , e e though harp the C flatte the . S C E i) is d m n s d d w m C D is o, # to a i i i he thir , hile fro # to i; a m s nd tw o n v s s m on ajor eco , though the i ter al are the a e the key d boar .

E x er c is e .

— " Fir s t Wr ite o u t o n e v e ry t o ne O f t h e s c al e o f C a l l th e m a o r n e e a m e n e d a nd d m n s e d in e va m s . j , i or , p rf ct , ug t , i i i h t r l P 16 HARMONY SIM LIFIED .

— S e cond A na ly s e t h e fo llo w ing fro m Ch O p in (Fig ur e

o n n w d o m th e o w e n o e a nd m a n th e r e ck i g up ar fr l r t , rki g inte r — th e m a r w h a a a M th e m no w v a l s thu s j o it c pit l , i r ith a s m a ll m th e e e w h P , th e a g m e n e d w A . a nd th e d m n s e d , p rf ct it u t ith i i i h w ith D .

M a in th e s a m e w a th e o o w n . Th ird . rk y f ll i g

— e n e al s nd a e d n h e . Fo u rth . Write th i t rv i ic t i t fo llo w ing

m th M . 6th . A . . 4th . 111 th M . 3r d . . 6 . . 7 . A . r P 3 d .

18 HARMONY SIMPLIFIED .

I V C HAPTE R .

s h tio ns C a d enc e s . M o o n o f P a r . T e a b a nd c P o s i . ti t , ,

A c a d enc e is a progre ss ion of chords that give s the b ea r er n cl o s e m m a m ore o r le ss complete feeli g of . The os t co plete

d n is V d a u h en ic c a d e nce . ca e ce the to the I , calle the t t It is er fec w n b o ds v s in b ss a nd p t he oth ch r ha e their root the a , the

s nds on D oh . 31 a . I n an s highe t voice e Figure , y other ca e it

im er fec . 31 6. is p t Figure ,

r m r m r m r e e . I e ec e ec . I er e . Pe fect . P f ct p f t . I p f t p f ct

n of de n is w e e n o f The s tre gth a ca ce , that , heth r the fe li g

s is s n o r not de nds d on its o s n in clo e tro g , pe a great eal p itio the n compos itio . By p a r a l l e l m o tio n is meant the m ovement of two voices

n C o n r a r m o io n is m v m n in in the s ame dire ctio . t y t o e e t oppo

I n ob i u e m o io n one m ns s n s ite dir ection. l q t voice re ai tatio ary n and the other m ove s e ither u p or dow .

B ad . C on r a r . u t y Obliq e . HARMONY SIMPLI FIED . 19

n Contrary and oblique m otion are better tha parallel . A large proportion of the mistakes made by young writers come s o m n P l m n in from a too frequent u se f parallel otio . aral el otio all the parts at once is e specially to be avoided . When the root is in the bas s the chord is u ninv e r te d or in ” “ o n a o s i o n a s I d n a o s i . F 33 a . the p ti , a , rea to ic p ti igure ,

a w n is s m d in wri n and is s d The belo the li e u ually o itte ti g, u e only whe n it is ne ce ssary to dis tinguish b e tween different pos i

n n n i in b s s n . n a s tio s Whe y to e other tha the root the a , the in er ed o s on chord is said to be v t or in a new p iti . When the

d of d is in ba ss d is in b o s i o n thir the chor the , the chor the p ti , n n as I d n 6 n b r the s v s s . 33 . o fir t i er io , , h, rea to ic p o itio Figure ,

n the is in b ss d is in the 0 o s io n Whe fifth the a , the chor p it , or ”

s nd nve s n a s d n 0 s n. 33 c the eco i r io , I rea to ic po itio Figure , .

a a a b b b c c

n nv d d we w u se es n is the I The o ly i erte chor that ill at p r e t C , x d n This chord is s eldom u sed e cept at the ca e ce . — e Th e I m s o t o th e . 34 a . Rul 7 . c u t g V Figure , — e 8 . Th e I m s b e s e d o n o n th e a e n e d a o f th e Rul c u t u ly cc t p rt m e a r e a nd h e h not m s b e d o b e d s t . u , fift ( the root) u t u l Figure 4 3 , 6.

oo oo . Un o m m o n. G d . G d c

R K is not al wa s oss b e to ob ser ve R ul es 2 and . . EMAR . It y p i l 3 We Will h er e r r h m s ommend ns r a her h an s w afte r ega d t e a r ec ati o t t a l a s . 20 HARMONY SIMPLIFIED.

E x er c is e .

— Firs t Write th e follo w ing s ucc e s s i o n o f ch o rd s in th e key

o f . I I V I I I I I I V I V 1 I . e in d e C , , , V, , , V , V, , , , , 0 , V, Writ upl tim e . e o n — e l o S c d Fil l in th al to a nd t e no r O f th e fo l w ing .

E v e ry ex e rcis e w h en c o m ple t e s hould b e pl a y e d o v e r b y s o m e e s n no t th e w e a nd th e e w s e e n e e p r o rit r , latt r , ithout i g ith r

th e no e s th e e s s d nam e th e h d s a s h e a r e la e d . t or k y , houl c or t y p y HARMONY SIMPLIFIED . 21

CHAP TER V .

m ina n v n D is s o na nc e s . Th e D o e e h t S t .

A dis s o na nc e is a combination of tone s that gives the b ear e r a feeling of u nr e s t and a desire that s ome oth e r combination fol

I n 36 th e ds m d d s s n n R e s s . l ow. Figure chor arke are i o a ce ol u tio n is going fro m dis s onance to cons onance — from unres t to

6 nm ed d a r e n n n s . I n 3 s s r e re t Figure the u ark chor co o a t, the p

n solv n m c eding dis s onant chords havi g r e ed i to the .

A diss onance is p r ep a r ed when the diss onant tone is firs t heard

r 37 b the d n s . A d ss n n is as a cons onance . Figu e , , tie ote i o a ce n n n s with rd u np r ep a r e d when the diss o a t to e appear the cho .

n is d the ef is sm w n When the diss ona ce prepare fect oother, he m d n d is b o d . F e 37 0 . s ss n s unprepare it l er igur , With o t i o a ce

either way m ay be used . The d o m ina nt s ev enth is the mos t comm on diss onant is m d b dd n n e d b v d m n n chord . It for e y a i g a oth r thir a o e the o i a t

d s : S oh Ra F o r in of C : , , D , F . tria , thu , Te , y, ah , , the key G B

ne b n d s n s ven m The new to , ei g at the i ta ce of a e th fro the root, . n d n m d . is s e b V . e 37 gives the a e to the chor It repre e t y 7 Figur , I n nd F 36 s and ds . b e d a , a igure , the fir t eighth chor the cele rat ’ H unting Chorus from V on Weber s D er F r eischiitz there

- n i a nd V d s m d s . are twenty four meas ure a e e t rely of I 7 chor Fig

ure 38. 22 HARMONY SIMPLIFIED .

r a r Un r e a r ed . P ep ed . p p

n n h r us u r F r ei h z. H ti g C o . D e s c iit

— h e V m s r o r e s s t o th e I Te n o D o h a n l e 9 . T t d Ru 7 u t p g , g oi g

e 37 b and 0 . F a h t o M . Figure ,

m s m d in th is s m e e V . Te o eti e though rarely o itt 7 O n n of its s n end n to the V s c c accou t tro g t e cy I , the 7 u ually s es s f o f d i d curs a t the cade nce . The re tl e fect this chor s produce

d of n s m n by the contra ictory character the to e co pos i g it . We have added the s olem n and depre ssing Fah to a chord that is

b b d and s n . n of s two e s right, ol , a piri g The co flict the e charact r make s the hearer res tle ss until the sharp upward-thrus ting Te

m to s in D oh a nd the d s n s co e s re t the p eaceful , e olate Fah cha ge

s d n is n ned to ns de s fa nci to the quiet M e . If the tu e t i cli co i r thi

l et him is V d on n few m s v n ful , play th 7 chor the pia o a ti e , lea i g

n s v d a nd w n s ee h ow u ns s n ff it u re ol e , he ill at o ce ati fyi g the e ect

18 .

x r s E e c i e .

— s t e th e o o w n o d s e s s o n . I I Fir Writ f ll i g ch r ucc i , , V , V, I Th di n I I I I I V I V I I II. e n s , , I V, , , I IV , , o , 7 . perpe cular li e

h m r . ri in d s w t e e s s W e me . N e e I ho a u e t uple ti otic that her the Q m s V . s is v n e mm n n the ss o n goe to the 7 Thi e e or co o tha progre i I HARMONY SIMPL IF ED .

to the V w th s n nd i e e ve a s s n es s n. ithout th , a tro ger progr io It

s m s s m e es s n for v s a s can al o ake a ooth r p rogr io the oice , they mo ve m o r b de s e . 39 e y gr e Figure .

’ “ The w n m end of b e s m m o 90 follo i g fro the Schu rt I pro ptu, p . ,

o . 1 is m d e n of s s s n. how N , a e tirely thi progre io Notice carefully he has do b ed the of the I and l ed Te and u l fifth c , Fah properly

in the V . A he has s ed m n v s 7 lthough u ore tha four oice , at the third chor d from the end he ha s omitted the G purposely that we m the F ha s n E ay b e s ure that go e to .

The following is the method of wr iting exercises that the stu dent is advised to u se .

s t — e th e v e n n m e l s nd e th e o w e r s a Fir Writ g i u ra u r l t ff . Se o n — e th e b a s s no e s nd a e d b th e n m e al s c d Writ t i ic t y u r ,

o o s n s h o s o ns a s w v e th e b e s t m e d S ee i ch i g uc p iti ill g i lo y . F g ur e 41 b s s , a . 24 HARMONY SIMPLIFIED.

— e n th e s n a no e e a b as s no e h o o s Th ird Writ i opra o t for ch t , c

ne s b e n n th e d nd e d m a n th e m e o d ing to lo g i g to chor i icat , ki g l y a s e a s n a s o s s b e s n n a m o n th e b a s s m e pl i g p i l , u i g co tr ry tio to or t han p a ra lle l m o tio n . h — A d d a o a nd e n o b s e v n th e l e s fo r d o b F ourt lt t or , r i g ru u

n o e s s o n o f d s a nd o f v o e s a nd th e d s b n li g , pr g r i chor ic , i tri utio of v o ic e s . Fifth — Th e c o m p a s s of th e pa rts o r v o ic e s s h o uld b e ab out a s o o w s : S o a no a n v e a nd a a u w a r d s o m m id f ll pr , o cta h lf p fr

’ d o w nw a r d a n a v e a nd a a s m m id dl e C . dl e . B a s s C , oct h lf fro

A o a o o w e a n th e s o a n . Te n a e lt , f urth l r th pr o or , fourth hig h r

s s th a n th e b a . — e em s o f h e no e n e S ix th Turn th s t t t s a s i Fig ur 4 1 . — e e e n S e v e nth Fig ure 4 1 m a y b us e d a s a m o d l . Th e s tud t s h o d s C th e b a s s a nd th e s o a n e e v en a dd h is ul al o opy pr o h r gi ,

o w n en a nd a o a nd w h e n d o ne o m a e h is w o w h th e t or lt , c p r rk it m od e l .

E x r c s e i e .

S e o nd — m n e th e m e d v n in e 4 2 s n c H ar o iz lo y g i e Figur , u i g

th e ch o rd s ind icate d .

V I V I I I V IV I I I V I I V I V I 7 7 O 7

26 HARMONY SIMPLIFIED .

VI CHAP TE R .

i o n o r F r s I nv er s io n Th e b P o s ti i t . Th e 0 a nd d P o s o ns iti .

Each of the chords so far s tudied m ay no w b e us ed with the

f d ns d of in b ss b o s io n third o the chor i tea the root, the a ( p it “ r nv er s o n b u t v s l es mus be w d fi s . o r t i i ) , all pre iou ru t follo e

ves u s Te in the b s s and Te m s o h F e x m , V , D o or a ple ,D gi a u t g to ,

in a n v e . r e 45 the s am e a s if it were upper oic Figu .

I V I V b b Vb Vb — h e u e 10 . e n a h o d is in t b o s o n d o no t d o b e R l Wh c r p iti , u l

th e third .

hi d is the e s d s b ne to d b a nd w en The t r l a t e ira le to ou le , h the

s m nen m s be m t d in the o e bas s give it pro i ce it u t o it e th r p arts .

46 a in w a ll ds ar e ha d or v See Figure , , hich the chor either ery

The u se of 6 s n v s m ea e doub tful . the p o itio gi e uch gr t r fre e

do m to b s s a s we m a no w u se a n ne of the s e x the a , y y to cale , cept 46 b x d Ra in b ss . F b s s on ne of y, the a igure , , e hi it chor each to e x Ra b u t of s is no t to be e ded as the scale ce pt y, cour e r gar a

s n in harm oni zation of a s cale progre s io the bass .

i I V v I I V v h b b H A BAI ON Y S L MP L I F I E D .

A n d in the 0 s n s nd nv s n es y tria po itio ( eco i er io ) , pecially w en en n on a n d b a of m s s v s s h teri g the cce te e t a ea ure , tri e to as ert

l is a n r a d in th e 0 o s i o n s u n s a s . , y p o d s like it elf a o That t i ti a new o ni in s n a nd r e es new d m n n t c that p o itio , quir a o i a t to

w s n n n e ke . If the s d n w follo , thu goi g i to a oth r y tu e t ill play

ve r e 47 a a nd b a t the s e nd d in e x m e o r Figu , , co chor ach e a pl he will feel the de ma nd for the chord that carries u s into the new key .

K f K e O f 0 . ey o C . V y I V I c I c

f K e o f . K ey o G . l I y F I o o

n he u s e o f the V a nd I f r W e w a v d, e , t V , o o ne ill oi th c the O would te nd to carry u s into the key of the domina nt and the

- m n o ther into the key of the su b do i ant .

I t is w v ss b u se se ds a nd s t l e m n in , ho e er, po i le to the chor i l r ai

I n d to do s we m s e the o w n the original key. or er thi u t tak foll i g W e m a u s e th e V if is u t o n th e u n ns . precautio y c it p

a n a r o f th e m ea s u r e w h en th e b a s s h a s th e r o ~ c c e ted p t , p r s io n D o h R a M e o r M e R a D oh — h a is m o v es g es , y , , , y , t t , s s u se of the d r is b s b y d e g r ee . Thi chor though co rect at e t a

m es and is n to be s d in a n n m n e . ak hift, o ly u e u i porta t plac

48 a e . Figur , Th e I v m a b e u s ed w ve d ef if we c y ith ry goo fect take care m to pu t it o n th e u na c c ented p a r t of th e e a s u r e b etw een tw o I c h o r d s s is d n b s s is of s s n . If thi o e the a cour e tatio ary. 48 b Figure , . 28 HARMONY SIMPL IFIED .

49 b nn n o f w - n wn mn- n b Figure , the egi i g a ell k o hy tu e y

s a es t s . P ortogallo , illu tr t hi

P O R T M. O G A

The Chopin s tudy known as the Black Key E tude begins

I V ed . 50 . A s s is w en in with I , , I , repeat Figure thi ritt the c h I the is a nd t e V is fia t. I n s nd key of G fl at I G flat, C the eco

is d b d a nd s o is meas ure the G flat hel through y the pe al, the real bas s .

IV I P ed . IV HA RMONY SIMPLIFIED . 2 9

Th e V m a b e u s ed fr ee b n n 7 0 y ly , care ei g take that each v ss s . V d in b ss m a oice progre e properly The 7b (the thir the a ) y s be s d as w as V s n in h , v t e b ss . F al o u e ell the 7d (the e e th a ) ig

51 . V mu st I and V mu st the ure The go to the a the M go to VVh ? I E y

V I 7d h

5 2 - n of mn . m s Figure , part the hy tu e , St Tho a illustra te s s m of d L et den m em o e the s e chor s . the s tu t ark th with the nu mer als and s n m n d al o a e them whe playe .

h St . T oma s .

A ' MEN .

“ The following from B ee thoven ( Sonata A ppassionata is m s d n e of I and V ds in v s s ns ; b n co po e e tir ly 7 chor ariou p o itio ei g

w n in D is D and the V is A . ritte flat, the I flat, flat

V V I I V I V v v. 70 N b 7 c , d 3 0 HARMONY SIMPLIFIED.

I v I v v v , c 7d

The s tudent s hould h a ve this played to him a nd na m e the

c ds a s a r e a d b s nd n . hor they pl ye , y the ou o ly

x er c E i s e .

th e a r s a t a r e w a nt n in th e o o Fir s t . S upp ly p t th i g f ll w ing

Se o n — a m o n e th e m e o d v e n in u re Th e c d H r iz l y g i Fig 5 5 . l o w n o r d s a r e s e s e d b u t th e s d e n s o d h a r fo l i g ch ug g t , tu t h ul m o nize th e m e d in s ev e r a w a s u s n d e e n o d s lo y l y , i g iff r t ch r

w h e re pr a ctic a b le . I V I I I V I V 1 V I I V 1 l I V I : 7 » I : h » I : b a I " I ; 7 , I : 9 b , I C ’ 7 , I II

— m o n e th e o o w n b a s s d . H a r Thir iz f ll i g . R N H A IWO Y SIMPLIFIED . 31

C HAPTE R VII .

R ev iew .

We have now s ufficient m us ical material to harmonize any

in an one of s and in m n s s we tone of the s cale y the part , a y ca e

d e w v n n s of ha ve a choice of s e veral chor s . B lo are gi e all the to e

of w ss b m n ns s o the scale C , together ith all the po i le har o izatio far

d s d n s d m e s b for m s and s tudie . The tu e t houl ak uch a ta le hi elf

e for en dd n to a s ne w m e is s d d . I n ke p it refer ce , a i g it at rial tu ie this wa y he c a n tell at a glance what ha rm onies ar e p oss ible for

n v n n . O s no t m n s v n a s ss a y gi e to e f cour e , all the har o ie gi e po i d s Us u a b u t one ch o r d w l b ble are equally e irable . lly i l e

fo u nd s u a b e fo r a n v en l a c e . n is it l y g i p Whe there a choice , the proper chord will b e determined by the chord before and af

b the s n in m s a nd b ss n a nd ter, y po itio the ea ure , y the progre io distrib ution of the voice s . When the note to be harmonized is in the s oprano we may

I r I V a b o r c a , b o r c a , b o c a o r c a o r c v a b c r d a b o r c a b o r c a , b o r c 7 , , o 7 , , 7 a , c o r d V a b r 7 , , c o d

When the note to be harm onized is in the bass we may u s e

V 7 V

By this it is se e n that we have m uch greater freedom when v n n w n b ss is v n the soprano is gi e tha he the a gi e . 32 HARMONY SIMPLIFIED .

It cannot be too strongly impre ssed on the s tudent that these three chords in their various positions are the framework of all n n n r im compos ition. For thi s reas o they are k ow a s the p a r y d s tr ia . O ther chords which we shall next proceed to s tudy

” ( s ec o nd a r y tr i a d s ) are more or le ss exce ptional in their us e : th e I V I V a nd V c ons u e n ne- en h s of th e ch or d s , , , tit t i t t in c o m m on u s e .

u r x s s v b n in of S o far all o e erci e ha e ee the key C . When we write in any other key we shall find the chords of the key of C

vin n m s and s . s ha g other a e character Thu C , E , G , the I of C b m s I V and V eco e the of the key of G , the of the key of F. W

Key o f C F A C E G B D I V I v

Key of G c E e B D F1; A v

Key of F ' BI7 D F A o E G

E x er c s e i .

— a nd w e o Fir s t Re turn to Ch a pte r I I . rit ne ex e rcis e from e a ch e r to th e e s e n in th e e s o f G a nd A a nd h n h ar ch a pt pr t k y , F , , t e

e n 1 7 be m m o niz s w ith th e ch o rd s g iv . Figure co es

I n A . In I n G . F .

etc . etc . I IV V I IV V I IV V etc .

34 HARMONY SIMPLIFIED .

C HA P TE R VIII .

- M ino r C h o r d s . Th e u er To nic S p .

A ll the chords so far studied a r e comp osed of a major third

s m n d and d m a o r c h o r d s . o w plu a i or thir , are calle j N if the

s t rd is m n a nd the d is m s d of m n d fir t hi i or, chor co p o e a i or thir

s m d d is d m no r c h o r d a s D plu a ajor thir , the chor calle a i , , F , M n d m a A o r A . s s n d b s , , C , E i or chor are repre e te y the ll m er s II I R o m a n nu a l a s 11 VI . 6 2 . e n we , , , Figure Wh hear a m n d d b s s a s w n we s d d a s i or chor , a ou t ari e to hich to e houl regar

s o r d for s s n i d in m n the root, the fir t the thir ; thi rea o the th r i or chords is frequently doubled ins tead of the root e ven in the 6

3 a d a nd n n d n 6 s . po sitio . Figure , , the thir i th chor

M 3d + m 3d M 3d + m 3d m 3d + M 3d m 3d + M 3d m 3d + M 3d

V I

M a o r Ch o r s . M no r h r j d i C o ds .

The m ost comm on mi nor chord is the one formed o n Ray ; it

s n d b I I and is d the s u er - on c s n e is is repre e te y , calle p t i , i c it the

d u s a b v n . the d a s i chor j t o e the to ic The character of chor , s s wn b nes of w i is m sed is x e n Ra ho y the to h ch it co po , e p cta t ( y) ,

mn and s m w s wf L ab . The is s d s ole ( Fah) , o e hat orro ul ( ) II u e

n 1) s n n w o o in more often i the p o itio tha ith the r t the bass .

m s o e s s t o th e o r ul e 11 Th e 11 I . R . u t pr g r V , C

ss n of I I is the n m ss n is to The progre io the or al p rogre io , that ,

V b u t a s I d m nds V s n ear s the , the c e a the tro gly , the accept the

n d n o f s n f n I a s b in s or o e d . A s c e g o ly a elayi g the progre io chor V n ns F d I I ss n V the 7 co tai ah , the thir of the , the progre io to the 7 n m is smoother than to the V alo e . Co pare the p rogression o f the

I F 39 . c to the igure HARMONY SIMPLIFIED . 35

u I The n e in The following illus trate s the s e of the I . ot s

en e s s as we s n e do no t b n m n par th e , hall lear lat r, elo g to the har o y at all . m A er ic a .

l i T V b e 7

B 4 I . 2 . O o . EETH VEN , p , NO

' “ W S C H I B E R T . a z O 9 lt , p . .

E x e r c is e .

— h e o a no v e n in e r s a m o n e t s 6 4 . Fi t . H r iz p r g i Fig ur Se o nd — e a ne w a r m o n a o n o f th e s a m e m e o d c Writ h iz ti l y ,

a fte r h a v ing tra ns po s e d it into th e ke y o f A . 36 HA RMONY SIMPLIFIED .

— Th i d T e th e b a s s h s o m e d in th e ke o f A w i e r ak t u f r y , r t a

ne w s n t o a nd a d d th e n a nd a l . opra o it , te or to

V V b 7b

m n e th e b a s s v e n in e o h A l s o h a 6 . F urt . r o iz g i Figur 5

L e t th e s tud ent cons ta ntly b e o n th e lo o kout fo r th e chord s h e h a s e a ne d n t o e o n e h em in th e m s c h e a s l r , try i g r c g iz t u i pl y ’ e s h l d h a v e h is o w n a nd h is e w s d en s e x er o r h e a r s . H ou f llo tu t

s e s a e d to h im a nd nam e th e o d s b th e s nd . ci pl y , ch r y ou HARMONY SIMPLIFIED. 37

CHAPTE R I X .

h a n a n u - n h r T e M edi t d S b M edia t C o d s .

A s h r ee m a or ch o r d s in ke one b s d on there are t j each y, a e

-n s b s d on b v a nd on the key ote , the other a e the fifth a o e the fifth b w -n e V s o h r ee m ino r ch or d s elo the key ot ( I , , IV) , there are t w nd in m hich s ta the sa e relation to each other. If we take the s x d a s s n n we find d i th egree , Lah , a tarti g p oi t , that the chor b s d on is m n d D oh M e and ds b s d a e it a i or chor ( Lah , , ) , the chor a e o n the fifth above ( M e) a nd on the fifth below ( Ray) are each

m n ds . s n m s d v s s i or chor Thi relatio , if e pha ize , gi e ri e to the m n m d whi we s i or o e , ch hall treat later .

R ay Fah Lah o r in the key of C

I I

A s in s e m ds s ds the ca e of the thr e ajor chor , the e three chor n n n s of s two n s A and E n co tai all the to e the cale , to e ( ) occurri g

n s we v now tw o ss b wa s i i two chords . Thu ha e po i le y of ha m o nizin an n s and ss b w s b m g y to e of the cale , three p o i le ay of ar o

nizin n s D oh S oh L ab and M e . his d s not g the four to e , , , , T oe

n de u se V or of a n nv s n. i clu the of the 7 y i er io The chord o n the s i xth degree is c a lled the s u b -m edia nt ” s u b m n n b w a nd medi n m n n -wa b s ea i g elo a t ea i g half y, ecau e this chord is half-way betwee n the roots of the tonic a nd the s ub

d m n n is s n d b VI . r of d is o i a t . It repre e te y The cha acter the chor

of s dn s s n v M e n ns in and s that a e ( Lah) , the plai ti e i te ify g the re t D h in n n m s w n ss of ful o tak g othi g fro the orro ful e the root Lah . 38 HARMONY SIMPLIFIED .

d i m s d m m s in s s . s s Thi chor uch u e It occur o eti e place of the I, a nd s m m s in I V as n ns two n s a o eti e place of the , it co tai to e of e ch o f s ds D oh a nd M e of and L ab and D oh the e chor the I , of the

I V . 6 6 6. I ts ss n is n m one is Figure , progre io the or al , that , to

6 6 0 . the II . Figure ,

v i IV

1 1 I I 1) c V7

d on b w I I has d b n The chor the fifth elo Lah , the , alrea y ee

d on b v L ab is l d m ed S poken of. The chor the fifth a o e cal e the i

nt s it is w mid-wa be w n and h a becau e half ay ( y) t ee the I t e V . f h d i d It is the lea st u s eful o all t e chor s . This s u e to two

s s : s t of d nd its em n ss cau e Fir t, the charac er the chor ; Seco , r ote e

e of d s l d be o r n from the I . The charact r the chor hou quiet plai

ve b n b sed on M e b u t es ssnes s of e a nd b d ti , ei g a , the r tle T the ol n ne ss o f S oh do no t combi e well with this . S o the chord h as a n

n e n v n s s to be of u se u c rtai , acillati g character that cau e it little

’ d m en ss m i where progre ss is de sire . By re ot e fro the I s meant

’ we w the n m a s s n of d s w that if follo or l progre io the chor , it ill

ss ns to e . s : II I VI I I V . take four progre io r ach the I Thu , , , , I The relationship betwe e n the me diant and the I is not readily

d and s o d is not m s d . A s s nd e d gras pe , the chor uch u e ju t i icat , d i m n s o n of s s n o e to W . o the progre s i thi chor the or al , the N tice that the farther we go from the I the weaker the p rogre ssion

d des of I I I for VI a nd of VI o f the chor ; the ire th e the , the for the

I I is m ss n of V V . for o r uch le tha that the or , the I , of the II for

n of ds . I l l vi I I or V V . o m , , I the The c plete chai chor 7 , , n give s the stronge s t pos s ible progre ssio . n s e s u se of ds I I The followi g illu trat the the three chor , III,

and VI . HARMONY SIMPLIFIED . 39

M A N T e ond ona a fo r r an. GUI L . S c S t O g

G : V 1 1 V I v1 I I v i v 1 vr 1 1 1 v 1 I h V

6 8 and 69 a s n n x m es of e d Figure s l o co tai e a pl th se chor s . d en a na s e th e m m a n a ll th e L e t th e s o r d s in e a h . tu t ly , rki g ch c ld O Ch ant .

W r ” G . da h or u s r om Loh en r n A NER B i l C f g i .

A very beautiful u se of the media nt chor d is found in ’

n s P na s O . 26 No . 2 . e e v s s in Chopi olo i e , p , H r it gi e a topp g , — he sita ting effect it sugge sts being plucked back by the clothing

as one is b to w d s e F jus t a out take a for ar t p . igure 70 .

V ' r. I III O 40 HARM NY SIMPLIFIED .

E x er c s e i .

— m n e th e l o w n d s . r e Fir t H ar o iz fo l i g chor prog ss ion . Wr ite

in d e m e . I V 1 V . I I V I I I I upl ti , b , , VI , V , , d , l , , h , ,

V I K I . II , b , a b e s e d a s th e s a no a Fig ur e 7 1 m y u opr p rt .

Th e b p o s ition o f th es e m ino r ch o r d s m a y b e u s ed fr ee b u t th e 0 o s i io n is v er r a r e a nd h a d es t b e ly , p t y b a v o id ed .

— in th e a s w a n n in e S e c o nd Fill p rt ti g Figur 7 2 . The stu dent ha s now a s ufficient knowledge of chords to analyse a ny ordi ” mn n him a e th e ne s O l d nd e d a n nary hy tu e . Let t k tu Hu r d ” e b b a nd m a a ll th e h d s n ws a nd s n m W rk c or he k o , al o a e the him chords when played to .

E 42 HARMONY SIMPLIFI D.

“ ” M E O . Or an S ona a NDE LSS HN g t VI.

S U LLIVAN .

Half cadences (es pecially to the V) us ually occur in the middl e of a pe riod of eight or m ore measure s as a contras t to the n d n h nd authe tic ca e ce at t e e . — m n d n f . The i perfect authe tic ca e ce (See Chapter I V) is used to avoid a complete clos e in positions where a tonic cadence i x d r 6 . s e pecte . Figu e 7

“ M E N D E L ssO H N . r an ona O g S ta V .

The s urprise cadence is an e xam ple of an irregular progre ssion is s d in m of the which will b e treate d later . It u e uch the

m a m n s a e w y a s the i perfect authe tic . E HARMONY SIMPLIFI D . 43

TA I N R h r a e S R . C o l . R I M B A UL T .

r n S u p r is e ca de c e .

When two voice s move in parallel motion from another inter

o r a n v ss n is d c on e a ed val to a fifth octa e , the progre io calle c l

fifth s o r o c a v e s . n m i t (Notice the plural a e , although there s

bu t one ve . ss ns not d s b e b u t fifth or octa ) Such progre io are e ira l ,

A d m e n are unavoidable at time s . voi the b twee outer voices ( S oprano and b ass) ; when the voices m ake a skip or otherwi se call attention to them sel ves or when for a ny reason the pr ogr es n d a s is d s ion is in other re spects ot as goo esirable . The followi ng d progres sions are all ba .

E x er cis e .

A d d th e a s t a a r e w a n n to e 9 Firs t . p rt h t ti g Fig ur 7 . — Se cond Write a ne w s o pr a no to th e s a m e b a s s a nd a dd

- a s . e is is m s d of two m s s s p rt Notic that th co po e four ea ure phra e , ndin w d n V a nd the firs t e g ith a half ca e ce to the , the s econd with n ad n a very s trong perfect authe tic c e ce . 4 4 HARMONY SIMPLIFIED .

I I V l h I b

- a a r e w n n o T d . A d d th e a s t 8 0 hir p rt th t a ti g Fig ure . Thjs

‘ is composed of four four-meas ure phrase s with the following

n s : s a n m n s nd an m cade ce fir t, i perfect authe tic eco , i perfect half V d s s d n u n cadence to thir , urpri e ca e ce ; fo rth , perfect authe tic n cade ce .

V V Vb ,. I D HARMONY SIMPLIFIE . 45

XI C HAP TER .

Th e S u b -To nic o r D imin s h ed C h o r d i .

We have now formed triads on each degree of the scale

x s v n . is no t ss b m w n e cept the e e th , Te It p o i le to for ithi the

m m n d on is d as n v key either a ajor or a i or chor th egree , the i ter al

- is m s d w m n d d m Te Fah co po e of t o i or thir s . The tria for ed dim inis h c h or d s u - oni here is a ed . It is called the b t c (below ni nd i I ° nd a s d V I . s m the to c) , lettere The cypher i icate the s all

o r d m n s d . A d is b s d on Te has i i i he fifth lthough the chor a e , it

i no n n no true root . It s t of freque t occurre ce in modern four v d w n and w n s d is n d as w oice riti g , he u e ge erally treate if it ere a m d w d . o h 6 V e ss s t t e . 7 chor ith the root o itt It progre e I The

s n is m s mm n and s o- d is not po itio the o t co o , the calle root, Te , to Th s n i n be doubled . e rea o that Te s ot to b e doubled is that Te is no t the real root ; al s o being the leading tone of the scale with

de n s s n w d d b d b n b a fi ite progre io , it oul , if ou le , ri g a out paral

v s . n is d b d two ahs m s lel octa e Whe the fifth , Fah , ou le , the F u t

ss in n m n. ess n o f D oh progre co trary otio The progr io the fifth ,

to d m n s d - is w d bu t ve s S oh , the i i i he fifth , Te Fah , allo e , the re r e

s s n w d be an v e d s of n d s and progre io oul aggra at ca e co ceale fifth , d d 1 e v 8 . d m n s d had be s t b a oi e . Figure The i i i he fifth is shown ° by 5 th

o o . o o D o u u o G d G d . btf l . G o d .

5th° 5th 5th 5th° D 46 HARMONY SIMPLIFIE .

° 82 n b D s s ws vn wi h Figure , a cha t y upui , ho the firs t th t e

d a nd n w d b d . s r 5 2 thir , the ith the fifth ou le See al o Figu e , the d s e venth chor .

T. S . D or m s .

The character of the chord is what we should e xpect would b e the res ult of taking the strong s teady S oh away from the n n a nd leaving the co tradictory Te a d Fah . A lthough the pr o

r ession d is s n h d ts is w . g of the chor tro g, the c or i elf eak What v s n it ha s d v s m s n e er tre gth , it eri e fro the tro g progressive f nd te ndency o Te a Fah . A l l th e ch o r d s l a s s tu died is I I VI I I I VII ° t , that , the , , , , th i i n Th e b o s i n m a y b e u s ed in e b p o s t o . p tio is ev en m o r e c om m on h a n th e a o s tio n s in I I I t p i e pecially the II , , " Th e c o s i io n is v er r a r e in all o f h em I . and W p t y t , and e ven when found should rather be regarded as an accidental c om bination of tones brou ght about by the melodic progressi on of the

s n as d m t n. part , tha a real chor for a io

E x er c is e .

a m n e th e b s s ve n in e 8 3 . Firs t . H r o iz a g i Figur

S o n A dd th e en a nd b s s e 8 4 . e c d . t or a to Figur HARMONY SIMPLIFIED. 47

o V I I V . b , c

o o a a n a s s t o th e o l w n e . Th d . A d d s an d b o n r ir pr , lto , f l i g t o

Firs t tra ns p o s e to th e ke y o f D .

V 1 11 V I II v1 IV I I h 43 HARMONY SIMPLIFIED.

CHAP TE R XII .

0 Th e I I I I I VI a nd VII w i h th e ev en h . , , , t S t

V is n d of its nd is ss b in The ,. the o ly chor ki that po i le a key ;

is it is th e on m a o r c h o r d w h m no r s ev en h that , ly j it i t that n m d n n n w n c a b e for e without u si g to es foreig to the key . S o he we e s kn n w i h ar uch a chord we ow at o ce hat the key s .

But othe r kinds of s eve nth chords m a y be form ed on the other

six ne s of s e . m s mm n of s is to the cal The o t co o the e the II7

s u er -to n c s ev en h m d b dd n s ven D oh ( p i t ) , for e y a i g the e th , , to d f m n 8 . s is o se d the I I chor . Figure 7 Thi cour a i or chor with

m n n ts n is s m as a i or se ve th . I progressio the a e that of the II

d is V T b ut d m nds s s s n chor , that , to the , or 0 , it e a thi progre io

ven m s n n d es ne . Th e s ev en h D oh e ore tro gly tha o the I I alo t , ,

S h o u l d o to Te . II s to D oh is s n g If the goe the I the tatio ary , b u t g o es to Te in th e fo ll o w ing c h o r d (V or a nd the Te m e t D oh e 87. in turn co s back o . Figur

1 1 I 1 1 I V I I V ' I 7 V7 c 7 c 7 7b l d h

A ll the s eventh chords in this and the foll owing chapte rs

ff en i d hi will have the be s t e ect if the s e v th s prepare . T s is als o n d n n n the case with a y is s o a t to e .

I 50 HARMONY S I I I P L I FI FD .

- I n a ll s e v e n o d s th e s e v e n h s ul d r o e s s Rule 1 2 . th ch r t ho p g r o ne e e e o r re s o lv e d o w nw a rd d g r .

m M in in H x e V a nd D oh to . For e a ple , Fah to the 7 , Te the 7

ws m s th e s ev e n s h o d no t b e d b e d as It follo fro thi that th ul ou l , the result would be paralle l octave s . The same prohibition

s an n ha s d n s s n as . applie to y to e that a efi ite progre io , Te See

XL 45 . Chapter , page E a c h o f th e o th er m ino r c h o r d s (the VI and the 11 1) m a y w th s ev n h a dd ed i f n b e u s e d ith e e t . Neither s o freque t d n m 1 n n . 9 a w s ss . occurre ce ; he u e they progre or ally Figure ,

I n 89 d m d is 111 s s n nor Figure , the chor arke the 7 progre i g mi d w n m . I n s 11 1 i d is as e w is ally to the VI thi 7 the th r o tte , k o

s in n d s ometime s the ca e the s eve th chor s .

i A n h m ” S r S . J OHN TA INER t e .

1 1 1 v1 v 1 I I V 7 7b 7d 1 b

r 91 b m a n n m b J n n s Figu e , , fro a the y Sir oh Stai er, illu trates

u se of VI . I n s s I I s n ns s ven the the 7 thi ca e the al o co tai a e th . n n d mm n Such progre ssio s of s e ve th chor s are very co o . A c h o r d o f th e s ev en h is a l s o fo r m ed o n th e VI I O th e t , m a ns d s a s s v n d V11}5 . We y co i er thi either a true e e th chor on

or e b a s o f V . w dd d n n . I ts Te , , pr fera ly, a part the , ith a e i th

ss n is d to o r V progre io either irectly the I through the ., to the I .

h ab S oh and s to M s D o L e . its r o Te goe to , to , u ually Fah If p

r s sion is L ab is n n m g e to the the o ly to e to ove . Figure

a 9 2, . HARMONY SIMPLIFIE D . 5 1

au . M E NDELSSO HN . St . P l

6fk. 6th .

0 o o V V 1 1 I I V I I o I VII VI V c , , .9 , , , ,

s d is v n se d n ess n Thi chor ery freque tly u , ge erally p rogr i g to

I n ss n VII I d of the the progre io of 3, to the a either the thir the m s be d b d we v the s Ra -L ab I u t ou le or ha e parallel fifth y , a nd D h- i o s o ess n the V s d. S oh , the progr io to , preferre

s s ds of n en en a nd dd d The e la t chor are i frequ t occurr ce , the a e s eventh weakens rather than s tre ngthe ns the chord ; for it will be noticed that in each case the three upper tone s of the se ve nth

ds m ds s n es ds o f chor for tria that are the four tro g t chor the key .

- s VI su b m d n n d. I I Thu the , the e ia t to e the I chor The ,

s - n n V d 1 11 m d I . n the uper to ic to e the chor The , the e ia t

- n V d. V1 15 s u b n n I I to e the chor The ; the to ic to e the

d I n n t is n ss s as chor . each cas e the to e tha tryi g to a ert it elf

a nd b u n s a s d a nd s v n is root ear p the other to e thir , fifth , e e th , its elf the weake s t of the four. It will b e intere sting for the s tudent to follow o u t in the cas e of the se chords the method us ed with the chords studied pr e viou sl and d m n e m y, eter i e th ir character fro the character of the n h m m to es t at co p os e the . u in th a c an A ll th e a b ov e c h o r d s m a y b e s ed e , b , , d d p o s itions .

E x er c is e .

r — e al l th e s e v e n h h o d s s o fa r s d e d in Fi s t Writ out t c r tu i , v a riou s p o s itions and dis trib utio ns w ith th e ir na tu ral re s o lu tio ns (pro g r e s s io ns ) . 5 2 HARMONY SIMPLIFIED .

— S e c o nd Writ e o u t th e foll o w ing s ucc e s s ion o f ch ord s in I I a n ke e x e : I V , V I , I . I V . I I I I I y y c pt C I , I , , V , . V, , d . h , ,

V I I I 1 V . I V I I v I I 11 I I . II . I) . I 0 , , d , I h , c , I . e , , 7 , I 0 , I

— a m o n e h e s o a no o d v e n in e Third H r iz t pr m e l y gi Figur 9 3 . The s tude nt is again cautioned that he is not e x pected to u se

ds has s d d or v n m of m in all the chor that he tu ie , e e a ajority the ,

n x s v s d d ds in d writing a e erci e . We ha e tu ie the chor the or er of

n u s s t d n s d u se m in the freque cy of their e . The u e t houl the the m d s a e or er.

T ’ h n m n d O e w s . 38 s ws s s follo i g fro Chopi Balla e , p , ho a erie o f ds ss n n m b u t w v n dd d chor progre i g or ally ith the s e e th a e .

O . . CH PIN Op 38.

I I I V I b ? I HARMONY SIMPLIF ED . 5 3

C HAP TE R XIII .

Th e I a nd . C h o r d s o f th e N n h E ev en h , I V , i t , l t , a nd Th ir n h tee t .

S till another kind of se ve nth chord is the m a j o r ch o r d with

is m d on and on I V s m a j o r s ev enth . It for e the I the . The e

n d and x m d t n s s . chor s are o ofte u e are e tre ely har h Th e L, s to th e I V T o in d o w n a c c o r din to ul 1 g o e . e g g g R e 2 . t see 77 a d Th e I V 7 g o es o th e V 7 ( Figure , , fourth chor ) o r 1 I n s s ss n I s ven M e 0 . thi la t progre io (IV, to c ) the e th ( )

m ns s n and n s v s . u 95 . re ai tatio ary through the I c the re ol e Fig re

m s n I I T . Co pare the re olutio of the , to the e

I I V , IV I IV V

B y c ontinu ing to b u il d u p th ir d s o n th e V w e m a y h a v e th e a nd s two ca n d V , V 7 9 1 1 , The la t har ly ” , ’ be d ds as n ss m n of calle chor at all , they lack the ece ary ele e t

n see d n ti n of d . s d m u ity ( efi i o chor , Chapter I) They are el o or n v d n m m is w v n ss r to e er u se i their co plete for . It ho e er ece a y unders tand them as certain combinations of tone s are mos t natu

n ss of b i d n rally explai ed as being the se chords . The proce u l i g u ds m s s as s d n ns n s p thir u t top here , the la t chor co tai all the to e

- of the scale M the nex t third would be bu t the repetition of the

. 96 . root, S oh Figure 54 E HARMONY SIMPLIFI D .

Th e V w v is m u ch u s ed I n - v d writ 7 9 , ho e er, . fou r oice ’ in d is n ss i n m s g the chor ece ar ly i co plete , the fifth u ually be ing mi d. Te a nd F a h r o r es s a s in th e o tte p g V 7 , a nd L a b o es h in h u to S o . Th e n L a h m s al w a s b e a r u g t , t y t e nin h is m s n v be sec d bu t m s w s be t , that , it u t e er a m , u t al ay at nd n s m s an v a o e e . s v n lea t octa e t p fro the root, S oh The e e th m s w s be s n w n n and n n is s u t al ay pre e t ith the i th , the i th u ually

in s n . e and s ns ds is the opra o part The , f , 9 po itio of chor , that ,

ds w nin v n or e n in b s s chor ith the th , ele e th , thirt e th the a , are

r 96 s ws m s mm n wa n ne ver u sed. Figu e ho the o t co o y of usi g thes e chords .

V V7 V I V

The following are all from famou s compositions of acknowl

d d m s s . i s e u se V e ge a ter They llu trat the of the 9 , IV , , ’ , and V

“ ” U . To the unsh ne . B E V . . 14 No . 1 . S C H MANN S i E THO EN Op ,

I V I V I V ) I ”, ( c HARMONY SIMPLIFIED . 55

“ O . a ade in CH PIN B ll F .

s mor za ndo .

I V I V

o u r ne G a o r . N ct , M j

“ ” F aus . GOUNO D . t

E x er cis e .

a m o n e th e So a no m e d v e n in u r e 9 8 Fir s t . H r iz pr lo y g i Fig , o e us ing th e ch rd s ind ic a t d . S — te a s o a s e o nd a r m o n a n o f th e s am e e cond . Wri l c h iz tio m e o d s n m o r e s m e h d e s s o ns . l y , u i g i pl c or progr i

I V V I , , 5 6 HARM ONY SIMPLIFIED .

1V 7 b v

— e e Th ird Co m pl t Fig ure 9 9 .

I V “ V 7 7b 7d

1 1 1 v 1 1 1 V 7 , b 7 7 9 b

vr V I I o 1 1 V 1 1 1 I b , 7 b V ,

I n m m end in VI 1 d the fourth easure fro the , the 3 chor , the

m a be d b d in n S in ss s d wn Te y ou le the te or part, ce it progre e o w d s nd n D oh. ar , the eco Te goi g to

58 HAR M ONY SIMPLIFIED .

ins tead of

n Tw o ch or d s h a c on a in tw o tones S eco d . t t t in c o m m l r o r e s s to a h o h r o n al s o fr equ ent y p g e c t e . This has be e n r r i n well called the p a s s iv e p o g e s s o . Here one tone take s the

of n m m n and d dv n m n is place a other for the o e t, the i ea of a a ce e t

m s n s b din e . s n w . 101 u or at The illu tratio ill ake thi plai Figure .

m s n d s It was said in Chap ter II . that co po itio eal with voice

n I n s e x m progre ssion and with chord progre ssio . uch a ple s as

b v s n m v n v is in of n s . the a o e , the i gle o i g oice the po t i tere t The ’ following example from Wagner s Lohengrin is a wonderq y n is s d m m n be autiful u se of thi s simple progre ssio . It u e at the o e t when all action on the s tage ceas e s and Lohengrin bids farewell

1 02 b s w r n 1 02 a . s o r es to the swa . Figure , Figure , , ho the p g s n of II and I V. io to VI , VI to HARMONY SIMPLIFIED . 5 9

W G n ohen r . A NER . L g i

a r e we a r e wel m ea r est wan. F ll , f l , y d s

“ M . S t. aul ENDELSSOHN P .

H al

e m a a d d e n to th e o r e s s ns a e a d s d e d t h a t W y , th , pr g io lr y tu i

th e V o r v 1 th e t o 111 , th e I V to o r to th e vi t o I V of 7 V to , V II VI , 0 5 o r I th e I I I to I th e I I to V I1 V 11 o r to I V . fol to , to V or , , } , The lowing table give s the progre ssions of each chord in about the n order of the frequency of the ir occurre ce . o I to a ny ch rd . I V V I 10 V I 10 11 n m al . Al s o t o I . or to V o , , .

I I n m al to V I . A s o t o I . I or l V, or 11 v 1 I V to I , V . , .

m o I A s o t o V I I I I . n t . V or al l ,

V I no o 11 . A s o to I V o r I rm a l t l , V II° to I or H A RM Y 6 0 ON SIMPLIFIED .

Th e a d d iti on of th e s ev enth to any one of the se chords s tr en h ens its tend enc to m a ke th e nor m al r o r e s s io n g t y p g . Chords in the 1) position move much more easily to the unus ual

ss ns n W n in a or 0 s n progre io tha he they are either the the po itio . ev en h c h o r d s m a m o v e to o h e r s ev e n h c h o r S t y t t ds . W h en o ne v o ice m o v e s to s o m e o th er to ne of th e s a m e c h o r d th e o h er v o c es r em a in n s a tiona r s u c h n erh , t i i g t y , i t m ed a l - ne i te to ne is c a l ed a b y to . e — - o ne m s b e ne th e d n m e 13 . A b o t s Rul y t u t a to of chor , o new o ne a nd m s e o n th e na e n e d a o f th e b e t , u t app ar u cc t p rt at o r m e a 1 0 a c n s e . 3 d . so s d ur Figure , , , The figure freque tly u e “ ” in accompanime nts called broken chords is a common ex m a ple .

H ” F e us na . O MANN . M l i

UM M . 55 . H E L Op . H A RM ON Y SIMPLIFIED . 61

m h n i Z o n E . MO ART . Sy p y b

I n e 1 03 6 o the ne w ne e m s di Figur , , alth ugh to r ally for a ffer

n r d the i s m e d a b — n e t o V s s e . ch , 7 , it cu to ary to r gar it a y to The n tes m d w an in e 1 03 e and b - n s . o arke ith Figur , , f , y are all y to e

Tw o v es m a b - n s s m m v oic y take y to e at the a e ti e , the other oices

m n n n 1 04 a 6 w e ss . re ai i g ithout progr io Figure , , .

B a d . B a d .

A t r e 1 04 0 b n s and a r e in Figu , , although oth the to e F B the s m o d es s n of S n is not d a e ch r , the the progr io the opra o goo . n va is m n d a nd a n a u m en e d r The i ter l the aug e te fourth , y g t o dim inis h ed inte r v a l is not s u ita b le fo r a m el o di c p r o g r es s io n 104 d e : see s e . al o Figur , ,

E x e r c s e i .

— Firs t H a rm o niz e a g a in th e m e lo d y in Fig ur e 9 8 a nd m ak e th e s ev e n e e n a nd w e n -fir s t no e b - s o ne s . th , thirt th , t ty t y t S e o nd — o m e e e c C pl t Fig ur 10 5 . 6 2 H A RM ON Y SIMPLIFIED .

7 9 1 1 .

Notice ho w much greater freedom the u se of by-tone s gives

- I n s m s two b n s . nnin us . the fir t ea ure are y to e Begi g at the ninth meas ure the te nor im itate s the s oprano of the firs t four

Ineasu r es .

— u e 0 6 n m Th ird C o m ple te Fig r 1 . The ote s arked are by

tone s . M ON H A R Y SIMPLIFIED . 63

CH A P TE R XV

R ev iew .

n u the s d of m d s and s w be w Before taki g p tu y o e key , it ill ell f r u se e and ns d w m we d o s to pau her co i er hat aterial alrea y have . We have formed triads and se venth chords on e ach of the f n d e ven n s of s e v n u s s . E d s to e the cal , gi i g ourtee chor ach chor

h 6 n n u n m m a be s d in t e s v s . E y u e po itio , gi i g fourtee ore ach ma be s d in the 0 s n w m n s is y u e p o itio , though ith a y thi rare , m se v n d m a b e s d in giving fourteen ore . E ach e th chor y u e the d

s n v n s ven m . I n ddi n we v n n po itio , gi i g e ore a tio ha e the i th ,

v n a nd n ds in vaiiou s s ns and s the ele e th , thirtee th chor po itio , al o

- n s e n we ns d es d m u s e of by to e . Wh co i er that all th e chor s ay

w en in an one of w v s and in a n nd s s v of be ritt y t el e key , e le ariety d s b ns w be s e n we v d s f n m a i tri utio , it ill e that ha e alrea y u ficie t

d d s d n s d ter ial to enable u s to o a great eal . The tu e t houl read

n m s in e and n ev w agai the re ark Chapt r VII , the carefully r ie the hi m n following chapte rs u p to the pres ent. By t s ea s many points will becom e clearer .

E x e r c s e i .

s t — A s a n e x e s e a e th e m e d o f e 10 7 a nd Fir rci t k lo y Figur , s e i s a s a s a n en a s a n a o h en a s a e no a nd fi u t fir t opr o , th lt , t t r , na a s a b a s s a ns s n s o a s m a e th e o m a s s o f th e lly , tr po i g to k c p v o e s o nv e n e n a nd a d d th e e e e m a n n a s in e a ic c i t , thr r i i g p rt ch

- c a s e . e n s a s b n s m a be s d w e v ff v Quart r ote y to e y u e her er e ecti e . A RM ON Y 64 H SIMPLIFIED .

m n ns s d b e w n in s v w s in one The har o izatio houl ritte e eral ay ,

s n n s m s ds in n n d n s om not u i g o ly the i ple t chor , a other i tro uci g e , ' d nd m n of m or e u nu s u al s a s s ns . a y , the chor progre io Below are gi ven the p ossible harmonizations of e ach tone of

n is n ri the s cale wh e n the s opra o give . The va ous positions are omitted .

— S e cond Writ e o u t a s im ila r tab le o f th e p o s sib le b a r m o

iza tio ns o f th e o ne s o f th e s a e w e n th e b a s s is v e n n t c l h g i . m o n e e 10 9 I n o ne a e th e Thi r d . H ar iz Figur . pl c progre s s io n e is s d e e n o m h a v e n in th e e x ind icat d lig htly iff r t fr t t g i t t .

I v 1 I V V : 1 1 1 vx I 1 1 IV h 7d 7 V h

m ne a e o . A nal e th e n d M s s o na r m n F urth y z hy tu c ll i i y Hy , m a rking w ith th e pro pe r num e r a l s a ll th e ch o rd s th a t w e h a v e d e d s tu i .

A R D 6 6 H MONY SIMPLIFIE .

I I v v V I 1 10 III+ I v V VI vu °

A s is now n n we d a s n Lah the to ic to e , regar it the key ote of the m n m d s a s D oh is n m m d i or o e , ju t the key ote of the ajor o e . s if 0 is D oh is m m d A m n Thu , , our key either C ajor ( o e) or i or

m d d n as we u s D oh as n e . two ( o e) , accor i g or Lah to ic The

s w n w s m s n and s d be key are ritte ith the a e ig ature , are ai to each

r e a v e of a s A m v m of the l ti the other , flat ajor the relati e ajor

E m n or A m n v m n m or G the a i or, i or the relati e i or of C ajor, rel f E m n tive major o i or. The chords formed on the minor scale are u sed very nearly as

in s I on are the corre sponding chords the major s cale . Thu the (

is s d s a s on D oh . V V and I v Lah) u e preci ely the I ( ) The , I.

are used just a s the corre sponding chords in the major. The interval from Fah to S e is an augm ented second ; as m n d and d m n s d n v s s tated in Chapter XIV , aug e te i i i he i ter al are d m d n v s s o we w a vo id th e r o r es s ion not goo elo ic i ter al , ill p g

a h to S e . 110 0 . o f F Figure ,

E x er c is e .

a m n e th e o o w n b as s . h n c m e e c o m Fir s t . H r o iz f ll i g W e o pl t e e p a re th r e s ult w ith Fig ur 4 1 . A R H MONY SIMPLIFIED . 67

m e e e 111 b S e nd . o . c o C pl t Fig ur , T ns o s e th e b s s s o m e e d n 0 Third . ra p a thu c pl t i to m ino r a nd e e w e a s writ n upp r p rt .

111 . b .

Th e u s e of th e b a nd 0 p o s itio ns in th e m ino r m od e I s a m e a s in th e m a o r bu t a s I and I v th e s j , the are here minor

d m be d b d v n in 6 s n d a . chor s, the thir y ou le e e the po itio s 1 1 2 and 1 1 3 s I V and in Figure illu trate the , , IV the minor mode .

” . A s and Ga a a HANDEL ci l te .

G T UR L I T . . 1 17 Op .

M oder a te . 68 HA RMONY SIMPLIFIED.

A P R C H TE XVII .

Th e M ino r M o d e C o n nu ed ti .

It will be found that in the minor mode there is always a ten~

n m m d m n m d is m de cy to revert to the ajor o e . The i or o e ore

n m and m n ds w n artificial tha the ajor, the i or chor are eaker tha

m s o s ns n f to m m n the ajor, that it require a co ta t ef ort ake the i or o m nd mode appear the bas is f the co position. This is fou to be

s w n we tem u s e m d n sub-m d n e pecially true he at pt to the e ia t, e ia t, m ub - n s n oh n d of in m n m d s S s . ajor to ic ( u i g i tea S e) , the i or o e

s ds I V and V m m d a nd The e three chor are the I , , of the ajor o e , mu s t be u sed very sparingly o r the feeling of the minor m ode is 1 b fin i s . n 1 0 we d s s d lo t By referri g to Figure , , that if S e u e as s v n of s b m s m d the e e th the cale , the III eco e a ajor chor with augmented fifth ( the augmented fifth indicated by the

- s n and s ub ni b m s d m n s d d . A s is ig ) , the to c eco e a i i i he chor S e a n ss we v d n n ds as s wn ece ity if are to ha e a lea i g to e , the chor ho n n m B u t th e in Figure 1 1 0 are the us ual o e s in the mi or ode .

m i h oh ins e a of e al s o o c cu r s i for s w t S t d S . Thi s shown by m w n 1 14 . S oh is s w n the follo i g, Figure The o t likely to occur he

ss s to s m n n and n n d it progre e o e to e other tha Lah , he ce the ee of

d n n is s s . S ee a ls 1 29 c. a lea i g to e le felt o Figure ,

” G I G . o na a . 7. R E S t , Op A R H MONY SIM PLIFIE D . 6 9

M . . 1 . D er Kon in Th ul e . BRAH S Op Z E LTER . ig

a : I v VI

+ i - n en The III s rarely used in s im ple four part writi g. Wh

s d ss s to VI a in m m d h is u e it progre e the s the ajor o e , t at , the

m 1 1 6 a . n ess n. m . or al progr io Se ust progre s s to Lah Figure ,

d is n s d w the m d s v d n The chor ofte u e ith fifth o itte , thu e a i g the

d f . 1 1 7 d s . i ficulty See Figure , la t chor ° VI is m d sses 11 ] a s The here a ajor chor . It progre to the or I ? in m m d u es s n nn b e d n m the ajor o e , altho gh the progr io ca ot calle or al ° s n 11 is not b w VI . 1 6 b. i ce the a perfect fifth elo the Figure 1 ‘ ° m d VII se a s in m . 1 1 6 c . The preci ly the ajor o e Figure , ° I I on Te is e d m n s d d bu t is s The ( ) h re a i i i he chor , u ed just

a s I I on Ra in the m m d nl s s s a. s the ( y) ajor o e , u e perhap the po i A s is no n e din tion is more rare . Te lo g r the lea g tone it is free

m v u d wn o r b s . 1 16 b ( 0 o e either p or o y a kip Figure , .

HANDEL . Messi ah ;

d : 1 v VI I I ?c I 0 V

I II 111+ v1 VI 1 13 A R 70 H MONY SIMPLIFIED.

“ H aul M ENDE L S S O N . St . P .

E x e r c s e i .

— a m n ze th e o n b a F ir s t H r o i f llow i g s s .

VI I V

I I I v b

S e o nd " — a r m o n ze th e o w n s o no c H i f llo i g pra .

I I I+ I 1 1 1 I III V 8 e A R H MONY SIMPLIFIED. 71

A P E C H T R XVIII .

M ino r M o d e C o ncl u d e d .

The u se of the s e ve nth chords in the minor m ode varies b u t

e m u s e inthe m m d A ll m ni s on littl fro their ajor o e . the har o e

d m n n is the V n the o i a t, that , 7 9 1 1 ’ are o ly , , nd w n d m n n is m d m o and n s d a s in fou he the o i a t a e aj r, are the u e the m m d b u t ds m s v s s diff n ajor o e , the chor the el e are lightly ere t

in e m . The V is s m in b m d s and s th ir for 7 the a e oth o e , the re o l u tion d and the s v n Ra is s m of the thir ( Se) e e th ( y) the a e , n Ra m v s d wn whole s D oh w s in m o ly y o e o a tep to , herea the ajor m de s even of V m v s d wn ha s o the th the ,. ( Fah) o e o a lf tep to

M e .

V is s d as in m m d bu t n n is The ,. 9 u e the ajor o e , the i th ( Fah ) m n n n n d d s v wnw s . a i or i th , re ol i g o ar a half tep

V o r V is u t i s d a b s s in m m d . The ,. 1 1 ’ 7 9 1 1 ’ rare , u e the ajor o e ’ , V w is b n m in w d of The 7 1 3 ’ hich a out the o ly for hich the chor the en s is s d a s in the m a m d hi n thirte th occur , u e jor o e , the t rtee th b n m n n ei g here a i or i terval .

I I is ve n s d and in s m wa as in the The ? ry freque tly u e , the a e y

m m de 1 1 9 d . ajor o . Figure ,

VI a nd a r e s d a s s nd n ds The 7 the III; u e are the corre po i g chor

1 1 9 a b. in m m de . e the ajor o Figur , , The I is m n d on L w m ”, that , the i or chor ah ith the ajor s v n dd d is s o x me s a s not b e s d . e e th Se a e , e tre ly har h to u e The

1 w is sed r o r essm the I v. 7 ( ith S oh) u p g g to

The I v e e m n d w m n s v n is m 7 ( h r a i or chor ith i or e e th) uch m e e n s ed n the s nd n I V in m ore fr qu tly u tha corre po i g 7 the ajor m d is m m o e e s n and is ns d b o e . It uch r pl a a t to the ear, of co i era le

V r 1 . 1 1 c Im n e . ess s to o F 9 . porta c I t progr e the 7 0 igure , No

e its ne s s m a s s of I I in m tic that to are the a e tho e the 7 the ajor

m d Ra D o h . o e . ( y, Fah , Lah , ) 72 HA RMONY SIMPLIFIED .

a : v1 VI

VI 1 is s d a s s ndin d in m m d The 2 u e the corre po g chor the ajor o e , m n d i n wn as d bu t it is a much more i porta t chor . I t s k o the chor f dim in s h ed s ev en h b n n v m d b o the i t , that ei g the i ter al for e y

x m n s of d . 1 1 9 e. s find the e tre e to e the chor Figure , We hall

is b w d u se in m m d and is later that it orro e for the aj or o e , of the

n one n greates t u se in movi g from key to a other . The minor m ode is frequently a s ource of great trouble a nd

m nd nd n s u d n s of m n b ut if o w n isu ersta i g to t e t har o y, the f llo i g

n d e no principal facts are kept in mind there ee b trouble . Th e m no r m o d e is b u t a s h a d ow o r a n ec h o of F ir s t . i a or m o d e s nc e it is m a d e fr o m it a nd r es em b es it th e m j , i l l g r ea t y . n h e c h o r d s o f th e mino r m o d e h a v e th e s a m e S ec o d . T na m e s a nd a r e u s ed a l m o s t ex a ctly a s th e c o r r e s p onding

c h o r d s o f th e m a or . m o d e . I n A x m j the key of , for e a ple ,

m d b e m or m n d o n A is o n whether the o e ajor i or, the chor the t ic , — nd is so s d and s m is of m s of ds . a u e , the a e true o t the other chor I n m n m s ns wri e n in m m d w d be fact, a y co po itio tt the ajor o e oul jus t as correctly writte n if the signature were changed to that of

R VI N Y 74 H A I O SIMPLIFIED .

— e o o n a s S e co nd H a rm o niz e th f ll w i g b s .

0 0 V I I V V V V V " V " 1 V 7 7 I 3 7 7b 7 1 3 7 70 7d 7b 0 , ,

0 7 0 0 I l l V V I u V I V 1 1 V V O 7 b 7 1 3 7 b 7 7 7 7d ’

— Third H a rm o niz e th e fo llo w ing a c c o r d ing t o th e h a rm o ni c b a s is giv e n .

VI

o V I u 1 I 7 7 h b V V

— F o urth Write th e s a m e m e lo d y in A m a jo r a nd h a r m onize

m a n th e o d s in th e tw o m o d e s w e n o m e e . it , co p ri g ch r h c pl t The followi ng il lus trate s the u se o f s om e of the chords of the 1 23 m de . minor o . Figure

“ ” O I . o ur ne NO . 11 CH P N N ct , . A R I E H MONY S MPLIFI D . 75

O . 22 MENDELSSOHN . p

8 va .

her is r T e a G een . GO UNOD . Hill

H e e h a we m h b e fo r - en H e e to ma k u o o di d t t ig t giv , di d e s g d . H A R 76 MONY S IMPLIFIED.

P C HA TE R XI X .

Tr a ns o n o r M o d ul a o n iti ti .

ke is m ea n th e o ne o n w h ich th e o nic is b a s ed B y y t t t , d h n min m m D o i m d . s co m ln the ajor o e , ; the or o e , Lah Thu a pos ition is in the key of Cr m a jor if the to nic chord is ba s ed o n

and is a m a d . G , jor chor When a ny chor d other than th e original tonic as s umes the

of n we a ve r a ns o n o r m o du a o n s me character to ic , h a t iti l ti to o

d A a n of is d n other key or m o e . ch ge key properly calle a tra

and n e o f m d m d n bu t w d is s itiou , a cha g o e a o ulatio , the latter or d d freque ntly used to ex press eithe r i e a . If the i e a of the new

s f en s n e the old n m tonic is u fici tly tro g to replac to ic co pletely, the m h on is c o e e . t e new n is s m s s d tr a ns iti p l t If to ic i ply ugge te , n the tr a ns ition is p a s s i g .

d ns n d is nm s b in To pro uce a tra itio , a chor that u i taka ly the x new m s b e n d d. F or m new or A s key u t i tro uce e a ple , a I c

n of s ds is s d w n ds m s s oon as o e the e chor u e , all the follo i g chor u t

n A ns n i be treated a s belonging to the ew key . tra itio s brought

m s m d t is mm n to b e s about mos t s oothly, if o e chor tha co o oth k y (called a b r idg e ch o r d ) is used jus t before the characteri stic x m in n new . F o r e m ke o f chord of the key a ple , goi g fro the y C

of we ma u se VI of as b id - d and to the key G , y the C a r ge chor , of w b I o r V . of . F e 1 24 a . I n follo it y the c , the key G igur , this cas e the VI of C is com po sed of the s am e tone s a s the II o f

and we a s w I I . G , treat it if it ere a ’ 1 24 b m v n s n P " i we I n Figure , , fro Beetho e S o ata ath t que , f d have precisely the same u se o chor s . Here the transition is

of A ) the ke of E ) b d - d b n from the key i to y l , the ri ge chor ei g the

m inor chord on F . d — d is A n mm n b V s d a s 1 . S other co o ri ge chor the c u e 0 ee ”

D s den . A n d of s hymn tune uke S treet, fir t ca ce y tria the cale A R S I M P L I FI E D H MONY . 77

° ma be s d in s m wa S e “ n (except VI I ) y u e the a e y“ e Rege t

hi d d n fo r VI sed as I . Square , t r ca e ce 0 u o ” . o na a a h u BEETHOVEN S t P t "tiq e .

V V I 7 b b

V E b V 7 c I

— Th e h r o m a a l e r a t o n o f a t o ne m u s o in Rule 14 . c tic t i t ccur o r o e th e s a m e p a rt v ic .

is G is in s a n in one d and G That , if the opr o part chor , fl a s in n x d G m s s be in s no ap pe r the e t chor , the # u t al o the opra b l s of n 1 25 a . To s w ss s n . b part Figure , ho the p o i i itie tra itio y

m ns of b d d the d of C . s is i ea a ri ge chor , take chor Thi the I n

I V in the V in o r in F m n and VI in E C , the G , F i or, the

m n . H n e w e d u se in n to an of these ke s . i or e c coul it goi g y , y

ns ns s m d w the u s e of a brid d Tra itio are al o a e ithout ge chor , generally by u sing tw o to nes o r e ve n a s ing le to ne th a t is

c om m on to b o h ke s . x m we m a t y For e a ple , y go from the key

of C A ) b s n t n s as f to the key of i y u i g the o e C , fir t the root o

and n a s d o f h d on A ) and e s the I , the the thir the c or l , tr at thi b 1 2 . d a s . 5 las t chor a I Figure , 78 HA R M ONY SIMPLIFIED.

G o o d .

' C : a t : 1 I C

A nda n e a v r BEETHOVEN . t F o i .

: I V . I D D: F h , d h I

1 25 0 s ws s m ns n m D ) . Figure , , ho a i ilar tra itio fro F to i

E x er c is e .

— r m o n e th e o o w n . e s . a in d e Fi t H r iz f ll i g Writ upl tim e . 0 : I v I I I V I V I I I v r G : , , , h , , b , , , , , N r, 0 : I V , V . , I , I , a : V I , b v c : I v v i I v , c , , 1 , , , , | , ,

V V I : V I I I I V I . II b , 7b , I . C 7c , , , h , I 0 , 7 , I

I n di s n u is h in th e ke s 0 e m ea n s th ti g g y , (capital lett r) e r m a n th ke of C m a o . 0 s m e s e ke o f mino r y j ( all letter) y c . I n the ab ove exercise the s tudent will notice that there are five d n s the s in s nd in d in ca e ce ; fir t C , the eco G , the thir A m n u in a nd s in i C . s v mm i or, the fo rth F, the la t It ery co on to s n n de n in s wa is b m n s tre gthe a ca ce thi y, that , y aki g the la t nd n chord Of a cade nce s ou like a to ic . We thus contras t keys ins tead of single chords . I I A RIVI ON Y SIMPLIFIE D . 79

S — e e o n e x e r s e w r e a ne w e c o nd . A e r w r n th o r ft iti g f g i g ci , it o ne a s o o w s r s a s m e m e o d in a no e s a nd a r e f ll Fi t , i pl l y h lf t q u t r no e s s x e e n m e a s r e s o n in e e d u e o r r e m e t , i t u l g , ith r pl t ipl ti , c o m o s e d o f o r r a s e s o f o u m e a s u r e s e a a a d e n e a t p f u ph f r ch , c c d e e 1 2 m a b e s e d a s a m o . th e e nd o f e a r a s e . u r 0 b ch ph Fig , , y u l M a ke t h e fir s t c a d e nc e t o t h e I e ith e r p e r fe ct o r im p e r fe ct ; th e s e o nd to th e s n a r a ns t o n t o h a t ke th e r d a s im c V , u i g t i i t y thi , il a r tr a ns iti o na l c a d e nc e to th e I V ; a nd th e la s t a s tr o ng p e r fe ct a u th e nti c c a d e nc e to th e I . I n this ex ercise the s tudent for the

h m H e s u eed e first time furnishes all t e a teri a l . will cc b s t if he n f a im s at s im plicity ra ther th a at e fect .

24 b a n n he k of he V F e 1 s ws s to t e t . i Figur , , ho tra itio y g

u r e 1 25 0 ve s o ne to the ke of VI . e 1 26 a ves , , gi y the b Figur , , gi

o ne the ke o f the . e 1 26 I) v s one the o f to y III Figur , , gi e to key the I V

“ ” K UL L A K . a ve u d Oct St y .

—P fi -o

r n. SC H UM ANN . G ille A RM 80 H ONY SIMPLIFIED .

— e Th ird H arm oniz e th e fo llow ing . I t is th b as s o f a w ell - know n hy m n t une .

F : u I c c : V i 1 g I O V h

A R S I AI P I 8 2 H MONY L FI E D .

Th e I I m a y b e m a d e 11° a nd th e r e v e rs e wi thout change in 11 u se . S o to o w th e a nd th e 11 . 1 28 d their ith 7 9 Figure , . Th e I V m a y b e m ad e m ino r a nd th e I V m a d e m a j o r without

n in u s 1 2 a e . 8 . cha ge their Figure ,

Th e I V o r th e m a a v e th e f a m e n e d V y h fi th ug t , the fifth

- m ovi ng u p a half s te p .

Th e n n in th e V m a b e e i th 7 9 y fl a tt d in th e m a j o r m o d e o r , m no s h a e d in th e m o d e . Use d a s b n rp i r efore alteratio . Fig

u r 2 . e 1 8, e

Th e in th e V m a b e e e a s e d o r o w e e d a a - fifth 7 y ith r r i l r h lf s t e p . Th e V II? in th e m a j or m o d e a nd th e 119 in th e m ino r m o d e m a a v e th e s ev e n h fia tte d v n d of y h t , gi i g the chor the

ished s ve n . 1 28 . e th Figure , f

0 i v rr IV I gh V b’. V

This changing of major chords to minor and the re vers e pr o n n two m d M n d uc es the effe ct of mi gli g the o e s . a y beautiful ef

d d in is wa b m d n w s . r 1 29 feets are pro uce th y y o er riter Figu e . A H RMONY SIMPLIFIED . 83

“ ” ” m 8 ho n . o ur ne No . 11 . hub er . nu e r o o . 7 . C pi N ct , Sc t Mi t , f p

ud . CRA M ER . St y

“ a r o o . 22 . MENDE LSSOHN . C p icci , p HA RMONY SIMPLIFIED.

E x er cis e .

— o n Firs t H a rm o niz e th e foll w i g .

o V I V ' V I bI' d 7 9 b 7b “ V V+ 7b

— e o l o w n S e cond A ls o th f l i g .

+ 1 I V V . I I I V , I I I I

I V v 7

— e e r e Third Co m pl t Figu 13 2 .

G : V V 1 n V V F : V 7 7 9 b .,d 7b III V ’ 7d M HAR ONY SIMPLIFIED . 85

C : V 1+ i N I v u ,. V”, ; , 7 h I 86 HA RMONY SIMPLIF ED .

A P C H TE R XXI .

h r m i C h o r d s C o a t c .

I n a ch r om a ti c ch o r d both the formal and the degree char acte r of the chord have bee n changed s o that the chord appe ars a s if borrowed from s ome other key ; b u t it differs from a tran sitio nal chord in that it m u s t p r o gr es s to s o m e c h a r a c te r is ti c ina c h o r d of th e o r ig l key . The characteris tic chords of a key

s a b n nm s b n is I are tho e th t elo g u i taka ly to that key o ly, that , the c and Fo r x m is m d its a e b e a ple , if the II , a e II7 , char ct r oth

n s - n d is a s a m ino r chord a d a s a u per to ic chor lost . If it pro

r es ses V d s ff of new and we sa g to the it pro uce the e ect a key, y

b n s b ns n. w v s s s to that it ri g a out a tra itio If, ho e er, it progre e

o r s ds s n n d s an n the I c either of the e chor tro gly co tra ict y tra m i i nal nd n and we d ch r o a ic . I n s t o te e cy , call the chor t the

ds t d in new a is firs t case the chor are let ere the key (th t I) . n nd d d n 1 33 a . I s s s i Figure , the eco ca e the chor are lettere the

ri n is I V . F 1 33 b. o gi al key (that II7 , c or I) igure ,

’ C : VI A R E H MONY SIMPLIFI D. 87

0 : V I

r h a n e th e ke C h r o m a c h r s Tr a ns itiona l ch o d s c g y . ti c o d th e ke b u t a r e not a ow ed to o s o A 1 tr y to c h a ng e y ll d . r h o r d s c on a n tone s fo r e n to th e ke b u t no te ed c t i ig y ,

c h a n e o f ke is h o u h o f . 1 33 a b 0 s ws r e g y t g t Figure , , , , ho

s ec tivel ns n m a and d ds . p y tra itio al , chro tic , altere chor mm n m ds I I l The m s , II , II , vfl o t co o chro atic chor are , , 9 fi

l v l v i of w m s es s I or V . fi g, bi ’ all hich u t progr to the Q , The l fi ° fii v is the I V with its root rais ed a half step from Fah to F ' ‘ m a n d m n s d r d . rv v s u s n thus ki g a i i i he cho The fi b, gi e a other W e e m form of the diminished se ve nth chord . se fro the s e chords th a t the root Of a chord m ay be changed to produce a chr omatic d d is wa s no t s w an . w chord . Th the ca e ith altere chor The follo

m d s d n s d m ing shows various chro atic chor s . The tu e t houl c o

lete ss ns d . s x m p the progre io through to the I chor The la t e a ple , 134 s ws m m d n ss n s - n Figure , f , ho a ajor e ia t progre i g to a uper to ic ’ m b e n d as m d D nor d . s a c Thi y recko e a chro atic chor , for the b ,

n t nm s b in has v s n r o r es although o u i taka ly the key, a ery tro g p g

s n the e s ds I and V . io to charact ri tic chor C ,

“I O I I II I I V III b A R 88 H MONY SIMPLIFIED .

There is one clas s o f progres sions that seem to lie betwe en

n ns on o ne nd a nd m ds o n the tra s itio the ha chro atic chor other . ° A ny ch o rd o f th e key (e x cept the V II ) m a y b e pre c e d e d b y a m a j o r ch o r d ( with or without a minor s eve nth) fo r m e d o n th e

nd s no ns n b e d d a b o v e a . s the fifth , till real tra itio pro uce Thu

e ss n l wed mm d e b r r O progr io III , VI , if fol o i e iat ly y the p oper p f h f n r es s ion o t e w v v e e s n. g VI , ill gi e ery little f ct Of tra itio Such

o ess ns s m e as s s n ns ns n e a re s o pr gr io are the a pa i g tra itio , o ly th y ve ry fleeting that the re s ult is simply a s tre ngthening Of the

n u a i o n f origina l chord by gi vi g it a q s t ic e fe ct . Notice that the

i e h s m V o r o e ss n is n s t e e as V t . progr io each ca a , I or I Figure

1 35 a v s se ri s o f s es s ns . 1 35 b s ws , , gi e a e uch p rogr io Figure , , ho

m w s m ess n d v n s e v n a s o e hat i ilar progr io , each chor ha i g a e th

dd d in s a s no s ne is nd a d b V n a e ; thi c e oo r a key i ic te y a , tha it is n a d d b n e V v n s s i n of m n es co tr icte y a oth r , , gi i g uch a h fti g har o i

ns a s ma w be a ed e do s o a nd key relatio hips y ell c ll kal i c pic . The s x d is 11 in the of C a nd r ess s i th chor the 2 key p ogr e regularly,

d r ess es in ve e a w b u t the fifth chor prog to it a ry irr gul r ay . 14 . . 2 . BEETHOVEN Op , NO .

e : 0 : V V, I M I ” zur 1 N a a O . 7 o . 1 . M k , p ,

A R 90 H MONY SIMPLIFIED .

A P R C H TE XXII .

M ix ed C h o r d s .

M ix ed c h or ds are so called be cau se they contain an inte r — val — the augmented s ixth which cannot be formed in the mx n s of o ne b u t s of two s s . cale key, require the i i g cale There d n n n n e s s s v . are thr e of the e chor , all co tai i g thi i ter al Figure

n d ds a u 1 38 a b a. , , , They are ge erally calle the chor of the g m ented s ix h s e 1 38 a b n s o—c l d t , the fir t, Figur , , ei g the al e

F r ench s nd 6 s o- d I a l ia n and d c , the eco ( ) the calle t , the thir ( )

n ix h n f r i m the G er m a s t . The letteri g o the se chords s s o ewhat

d nd is a s s wn in e s ds complicate a ho the figur . The e chor origi nate in the minor mode where the H is by nature a dimini sh ed

d and I V m n d . mb n n w s two chor , the a i or chor By co i i g ith the e chords the characteri s tic tone Of the dominant key ( Fe) the

n n v of m n d chords are p roduced a s show . The i ter al the aug e te

x m s nv b s in v s si th al o t i aria ly appear the outer oice , though the

ds ma be s d in e s ns . e ss n m chor y u e oth r po itio Th y progre or ally,

V o r V . to the I , ,

”I v I or I g V 0 c V

a 31V O . 7 b A I E H RMONY S MPLIFI D . 91

h 1 38 s ws t e w s e ee ds . Figure , 9 , ho gro th Of the thr chor

0 1 1 H Q I I I v 31 V $ 1 v9 ? , ?c , ? ,b

a a n . r m n Fr ench . It li G e a .

0 ° A s the V11 Of the major m ode is the 11 Of the relative minor " ° m d s m ds m a b e b s d on W I 11 m n o e , i ilar chor y a e the ( Of the i or o 0 ” ” f he m n m d n n o t . 1 m d or o 38 d . o e) the ( IV i or o e) Figure , It is bes t to regard th ese as belonging to the m inor m ode and bor rowed for u se in the maj or m ode rather than as chor ds formed

d xam s of s n n in the m ajor mo e . They are really e p le pa si g tra

n I n the s m w a s me d is nd n sitio s . a e y the a chor fou appare tly

sed on d m n n b u t is no m e ke n ba the o i a t, it or a part of the y tha

m i or ns n d . 1 38 an e. y other chro at c tra itio al chor Figure , It w d weve be ss b to e d s a s a s an d d oul , ho r, po i le r gar thi l t altere chor , n d A d is V w the . e e of n s n. that , a , , ith fifth flatte e gr at al co fu io e x s s m n wr e s on m n e d n e se ds b u t i t a o g it r har o y r gar i g th chor , the s tudent m ay avoid it all by rem embering that th er e a r e b u t h r e e s u ch h o r d s o s s b e th e h r ee s h o w n in F u r e t c p i l , t ig

13 8 a b . A ll e s b w d m s and , , , c oth r are orro e fro other key

m m s o e n s d be s o e a ded . s w v ot n houl r g r So e co p o er , h e r, liki g to s ee the E for x m in s d 1 38 c flat ( e a ple) the fir t chor , Figure , ,

ss wa d v w n a s D . s n n s d progre up r , ha e ritte it fi Thi otatio houl be v d d a s r d is s m w e the E l r m a ns a oi e , the cho the a e heth r ) e i

n n the I o r ss es w d E n the s tatio ary i to progre up ar to atural Of I . O n account Of the similarity of the augme nted sixth and the min s v n b n v s be n e es n d b s m s or e e th , oth i ter al i g r pr e te y the a e key on e d ns m n e ar e s m mes sed inter chan a bl a k ye i tru e t, th y o eti u g y . Thus if the German chord of the augmented six th in the key of

b e w n as 1 38 ns d as 138 c C ritte at Figure , f , i tea Of at Figure , ,

we v V D n n n . s n e ha e the , Of flat, at o ce cha gi g the key Thi cha g nh a r m onic h a n e of Ffito Gi) l s c a lled an e c g . Such change s ns n m are made to effect quickly a tra itio to a re ote key. Figure

39 a . 1 , A R 9 2 H MONY SIMPLIFIED.

E b : 1v e bb db. c g , , ,

: fl xv I I g gb c V,

By the u s e o f the s ame e xpedie nt the chord of the dimini shed s v n ma be w en in w s and n d as be n e e th y ritt four ay , he ce treate lo g in in n n s ns lm s nd s g a y o e of four keys . Thi Ope up a o t e les possi d n 3 b ili i f n n nd m . 1 9 6 t es o s a . s tra itio o ulatio Figure , The e c ds h d s m on n in s hor alt ough playe the a e the p ia o, are the key

i nd D V w d m s nd n G E B a ) . of , , ) , i ie e fro the ta poi t of the key b d a r e b u t d ff en d min s d s v n ds oar there three i er t i i he e e th chor , m n f although they ay be writte n i twelve di ferent ways . Figure

0 .

E x er c s e i .

— Fir s t Writ e o u t th e thre e ch o rd s o f th e augm e nte d s ix th e in s ix d iffe re nt k y s .

- S e c o nd . Writ e o u t th e tw e lv e d im inis h e d s e v e nth ch o rd s

’ o n h o w e o n d e o n th e e b o a o ne fo r e a ke n d . ( ch y ), tici g th y c i ci k y r h e o n o a n a m n ze t o w s o . Third . H r o i f ll i g pr

I V I tv " 0 I 7 0

V I Vv i n , 0 1 I 7 7 b c — Fourth Write a s ix t e e n-m e a s ure e xe rcis e co ns is ting of o u o -m e a s r e a s e s n o d n a n a e e d o d a c h r o f r f ur u phr , i tr uci g lt r ch r , o na a d e n e a n m x e d o m a t d a a ns d a d . O ne ic chor , tr iti l c c , i ch r - e a s e m a b e w e n in th e e e n four m e a s ur phr y ritt r lativ m i or .

A R D 94 H MONY SIMPLIFIE .

A P R xx111 C H TE .

Th e Fl at S u b -M ed a n a nd F l a u er -T ni i t t S p o c .

T two ds n n here are chor that are of rather freque t occurre ce , neither of them s trictly new chords, bu t chords that a r e used in a

a s is fl atted V I s d m r new w y. The fir t the u e chro atically p o

ss n I V . s d b n s m n m d gre i g to the c or , Thi chor elo g to the i or o e , m m d d in . 14 2 u is s s a . s b t al o u e the aj or o e Figure , See al o J 1 24 c w d o n D is b d d b e Figure , , here the chor ? really a ri ge chor , n n h ing firs t the flat VI a d the t e I . The other chord is formed on the fl a tted s u p er -to ni c tone

m ed d of N ea o i a n s ix h and is someti e s call the chor the p l t t . It d in m o r m n m d n in 6 is use either the ajor the i or o e , ge erally the

s n and ss n as II I or to V . F po itio progre i g a to the o the , igure F 158 se nd m s 1 4 2 b a nd F 143. S ee s . , , igure al o igure , co ea ure

” . F u ner a ar h o . 26 . BEETHOVEN l M c , p H A RJII ON Y E SIMPLIFI D , 9 5

We have now s tudied all the chords used in musical compos i

n I n w n e s we s s d u se i tio . the follo i g chapt r hall tu y the that s

- ne s d n in made of non harmonic to s . The tu e t re ading mus ical comp ositions will no doubt find chords progre ssing differently n n in i from the progre s sio s give the se chapters . Th s is es pecially

m s ns m s m d n w « true of the co po itio Of the o t o er riters . Such p r O gr es sions need cau s e no s urprise . They hold the same position in m b s n b e s d in n usic that the li ertie take y p o t hol la guage . A s in d n s of mm s bse v d s o poetry the or i ary rule gra ar are u ually O r e , in m us ical compos ition the rule s of musical grammar a s given in i n these page s are us ually Observed . It s o ly for special effect

s e a nd ' ex r i that they m ay be violated . Ta t pe ence alone will de

f is a d o r bad n termine whether the e fect goo a o e . It will b e

nd in d s s ns no m e how b o r fou that all goo progre io , att r a rupt ir

m a se m e is w s s onre nn n regular they y e , th re al ay co ectio between

ds s m a s d is of s f n m n e the chor , or o e e thetic i ea that u ficie t i p orta c

v d n s s n d . F or ns n to o erri e the atural progre io Of the chor i ta ce , V O O m a o d to I of the , f the key f C y g irectly the Q the key Of B , n ap parently a most irregular progressio . But if ins tead o f the s v n F in the s d we w t m n ed s x E e e th fir t chor ri e the aug e t i th fi, o u r chord become s the German s ixth Of the key of B and pr o 144 gr esses regul arly . Figure .

O ther irregular progre ss ions ar e e xplained a s being delayed

had s m ex m ss ns of w we v e s . O rs a n progre io , hich ha e o e a pl the ag i , a r e produced by s ubs tituting a s imilar chord fo r the one ex . s m e b the e ss on o f nd v d pe cted . Still other co y progr i the i i i ual voice s which for the moment may be Of m ore impor tance than the harm onic progres sion. 9 A R S I AI I F I 6 H MONY P L E D .

I f ch o r d s al w a s foll o w ed h e r b en h a is al w a s y t i t , t t , y r o r es s ed no r m all w e s h o u l d b e c o ns ta n l h p g y , t y a ving c a d ences m u s ic c o u l d o s s e s s no v a r e a nd th ; p i ty , e ex p r e s s io n of m o od s feel in s a nd ex er i n , g , p e c e s w o ul d b e im p o s s ib l e . But with young writers the te ndency is u suall y to s trive ” s n n s ff s and - d n after tartli g cha ge , pretty e ect , far fetche harm o i z i n s n at o s . The tude t should try to se cure firs t a s mooth easily

fl owin s a nd n if his s t is n v s wi r un g tyle , the ta e for o eltie , he ll less ris k Of introducing them in s uch a way a s to m ake hims elf

d s ri iculou .

E x er c s i e .

— Firs t Fill in th e p a rts th a t a r e w a nting in Fig ure 14 5 a nd w rite th e num e ral s und e rne a th .

— Se o nd r e tw o s x e e n-m e a s r e o r - h a s e m o s c W it i t u , f u p r co p i ' J tio ns intr o d u c ing th e VI I a nd th e PVI a nd a ls o m a king s o m e u s e al e e d m x e d a nd a ns o nal o d s w e n e c a n b e e m of t r , i , tr iti ch r h th y e in s o m e ke o n a plo y e d natu ra ll y . Writ y c t ining m o re th an tw o o r l a s a nd in - o o r s ix -e h s h a rps f t four f ur ig t tim e .

A R 9 8 H MONY SIMPLIFIED .

147 a n t in s n is n n on Figure , , the fifth o e the opra o a cha gi g t e.

147 b i d no in S n is an Figure , , the th r te the opra o appoggiatura, 1 nd is s n n n . 47 c n s a the fifth al o a cha gi g to e Figure , , the ote n n marked with a cross are passi g to e s .

“ Rondo in BEETHOVEN . C .

NO . 3 . KUH L A U. . 55 Op ,

E x er c is e .

— ar m ni e e 14 8 e a n s o m e o f th e o ne s a s Fir s t . H o z Fig ur , tr ti g t

- no n h a rm o nic t o ne s .

S e o nd — Ta e a n e e o f th e e x e s e s ev o s w e n c k y thr rci pr i u ly ritt , a nd re w rit e th em intr o d ucing no n-harm o nic t o ne s w h e rev e r D o no t t th e y c a n b e e ffe ctiv e ly u s e d . ry t o u s e a s m a ny a s po s s i

b l e b u t a h e to u s e em a s w el a s o s s b . , r t r th l p i le HA RMONY SIMPLIFIED . 99

- o m e e e 14 9 . Th ird . C pl t Figur A R D 1 00 H MONY SIMPLIFIE .

A P R C H TE XXV .

A n c a o n . P ed a P oin ti ip ti l t .

—W n n b n n to one d i n d Fourth . he a to e elo gi g chor s i tro uced as non- m n n n din d is d an a har o ic to e i to the prece g chor , it calle

" a n c i a io n r n a n c a o r o ne . 1 is o ti p t o a ti ip t y t Figure 50. Th c

s n at end of d of w m s n cur freque tly the a perio or a hole co po itio . ’ M n nd nd s a s s e s . 1 1 2 a y Of H el piece thu See al o Figure .

V . . 49 No . 2 . BEETHO EN Op ,

” A n e s ever r h . HANDE L . g l B ig t

Fifth — By an ex tension of s uch pass ages as the one s hown at

146 c b ss n m a be d nd n and Figure , , the a to e y hel i efi itely quite

A R E 1 02 H MONY SIMPLIFI D .

” G . Th e ADE Crusa ders .

E x er cis e .

n H a rm oniz e th e follo w i g .

H V I V P eda l P oint.

V V H I ' VI ' V V 1 V 7e 7b bI c l 7 7b f 7c

1 1 B17 : V 1 H V I : V I IV"3 , d 7 9 1 1 b 7 9 o g 7 , HA RMONY

V V 7 1 3 7 , A RM 104 H ONY SIMPLIFIED .

T C HA P E R XXVI .

u s ens io ns o r R eta r i S p d a t o ns .

S ixth — By far the m os t important method of us ing non n n f d i harmonic tone s is as follows . Whe a to e o a chor s d d a nd is d in w n d as d ss n n is elaye hear the follo i g chor a i o a ce , it

d s u s ens o n o r r e a r d a on . 1 54 a a nd b. calle a p i t ti Figure ,

n is s d as ns n n and b m s non- The to e fir t hear a co o a ce , eco e a har n d f m onic tone by bei g hel while the re st o the chord change s . The dissonant tone m us t come to consonance du ring the se cond

d s s nd d no n- m n n s l m v s d wn chor . The u pe e ( har o ic) to e u ual y o e o o ne d e in s v n b u t ma be s s nd d b D oh egr e re ol i g, Te y u pe e efore . If the delayed tone does no t become a dis s onance in the s econd

d b u t s m m s new d is not d d as s u s chor , i ply for a chor , it regar e a

ns n. 154 d . A s s ns n d f s m dis s n n pe io Figure , u pe io i fer fro a o a t ~ chord in that th e s u s p end e d to ne is fir s t h e a r d a s a c o n s o na nc e a nd h en r es ol ves du r in th e c ontinu a ion o f th e , t g t nex c h o r d w diss n n s v s w d t ; hile the o a ce re ol e ith the chor .

m e 1 54 b a nd 154 c . I n w rds th e s u s Co pare Figur , , , other o p end ed tone is fo r e ig n to th e c h o r d ; the diss onant tone is a d part of the chor . The s uspe nsion us ually occurs on the accented p art of the

Th e o ne to w th e s s e nd e d o ne o e s b eat or meas ure . t hich u p t g s hould no t b e h e a r d w ith th e s us p e nd e d tone a t a l e s s d i s tanc e

- 1 54 e. I n w n t h a n a n o ct a v e b e lo w . Figure , four part riti g it is bes t that the tone to which th e s uspe nded tone goes should no t e d w the s s nd d n x m s b hear ith u pe e to e at all , though e a ple of s uch u se s ome time s occur .

s d n w find ss n n s r s a nd The tu e t ill that pa i g to e , app oggiatu a , s uspe nded tone s do not always go directly to the next degree o f

s b u t m v s n o ne d b v b w the cale , o e fir t to the to e egree a o e or elo ,

r n s s m n of d . 154 o e ve kip to o e other to e the chor Figure , , f , g,

106 HA RMONY SIMPLIFIED .

IV V

I P eda l P oint .

IV II

— e th e d e s e nd n a nd a s e d n Third . Writ c i g c n i g s ca le of in th e s o a no s n a n e n o f no e s d e s e d e n a m n e pr , u i g y l gth t ir , th h r o iz . S im ila r ly w rit e th e a s ce ndi ng a nd d e s c e nd ing s ca l e o f A b in th e s d s nd n b a s s a nd h a rm oniz e , Be e pecially careful of the e ce i g “ ” w n m n rin is b if u Te . The follo i g fro Lohe g a eaut l example of a n f d ndin s harm onizatio o the es ce g cale . The s tudent is now ss ns d familiar with all the progre io us e . HA RMONY SIMPLIFIED . 107

” W G . r e ude to Lohen r n A NER P l g i .

I 1 1 V h IV , 8 ,.

w n s ws d n d ds I I and The follo i g ho pe al poi t, altere chor , b ,

n ns suspe sio .

” Ro ss m r a a r . . St b t Mate

I S us . V I0 c

” B A C K . r an r e O g P l ude .

n d im of s b W e have ow reache the l it our u ject . The s tudent

is d ha s d n w d of m ri it hope , acquire a fair k o le ge all the ate al used in m s m s i n and of din m h ds u ical co po it o , the or ary et o Of using this 108 HA RMONY SIMPLIFIED .

A w n m s to v material . s this little ork o ly ai gi e the bare st ou t

n oi m n s d n is d n n s d of li e har o y, the tu e t urge to e ter upo the tu y s ome of the large r works which deal with the s ubject e xhaus t i e s few s v n n d an to m vely . If th e chapter ha e i flue ce y ake a

s d m s n b m ns a n thorough tu y Of co po itio , or if y their ea y have gained a clearer ins ight into the conte nts of musical compo s itio ns and the material us ed by all compos ers from the leas t to

s s has b n n d . the greate t, their purp o e ee fully attai e

A R I 1 10 H MONY S MPLIFIED.

is the s ame as

The number of note s writte n is of no 1mpor tance provided

we w s o ne . I n w ds rite at lea t for each figure other or , the

n is s m an n mb v s five figuri g the a e for y u er of oice , three , four , ,

m rd in w n v s ix or ore . The o er hich the i ter als appear above

m . the B a s s note . is i material Thus may be writte n in a ny of the following ways

The figures always refer to the intervals a s they s tand in the

mino r

7 7 7 7 the C a nd D bu t ma or 7th v E b. the , the j o er the I n order to s implify the writing of figure s it is cus tomary to

( n s w n no is w n is m n s . o it certai o e Thu , he figure at all ritte it

n d n v s d . e . w n n u ders too that the i ter al 3 are require , i , the ritte ote d in s n n n d I n is the Bas s of a common chor A po itio (u i verte ) . m d 8 i the form 3 the figure 3 is u sually o itte . The figure s al m n m s m s nd r nd n ways omitted unle ss s u ch o issio ight cau e i u e s ta i g. H A R MONY SIMPLIFIED . 111

mea ns mea ns implies b ut

is n s s an n v b an d n If it ece ary to affect y i ter al y acci e tal , the

s mb b . is ed b b u t a n proper y ol , fi, fi, etc , plac efore the figure , acci d en a lone tal always refers to the third above the Bass . Thus

b? 35 as it

If the B ass part move s by a pas s ing tone the other voice s are to remain s tationary ; ins tead of writing out the ne w figures to cor

s nd w ne w n v s m d b the n in ss re po ith the i ter al a e y cha ge the Ba ,

is s w n nes in the r s s it u ual to rite horizo tal li place of figu e , Thu

The line als o is u sed to indicate the continuance of any as figure , 1 12 A R H MONY SIMPLIFIED .

Thus the s tudent will notice that in s us pe nsions the left hand

e s nd t s s ns n nd s the s figur i ica e the u pe io , the right ha figure re olu n as tio , ,

if 3

When there is a ch ange in the u ppe r voice s while the B a s s n is d n d d s s w e s b s . ote hel the figure are ritt i e y i e Thu ,

o r a in n o n s the precedi g tw illus tratio s . It wa s formerly cu s tomary whe n a n interval wa s to be raised m n s e nd b s etc . a e ito to i icate it y a troke through the figure , 5, 6, This symbol is rarely found now e xcep t in the cas e of the 6

w is n s d m ns s s m a s 6 . hich ofte u e . 6 ea Of cour e the a e # I n order that the s tudent may become familiar with the fig

s is dv s d n b in his x s b and w ure , he a i e to tur ack e erci e ook rite d n n mb 83 1 0 21 3 ss d s 56 9 1 1 7. the proper figure Ba u er u er , , , ,

He should als o write o u t the proper note s for the following fig. u r ed Basse s a nd when comple te a dd the numeral s i ndicating the d chor s .

1 14 HA RMONY SIMPLIFIED .

A P P ENDIX A .

Below are given illus trations of the u se compos ers make of the characteristic effects of each tone Of the scale . nd n f al h R s m . x m . 1 . A s o D o . e t, ho e E a ple NO l o the e i g n m ost any comp ositio .

E l ah . MENDE LSSOHN . ij

A nd when h e h ad s a id this h e fell a s leep .

P n ss n w d. . 2 Of S av. Te . ierci g, pre i g up ar No , the cry the

n ss s ws v d m n f of iou r o the cro , ho ery ra atically the pierci g ef ect D h Te dying away into the re stful o .

NO D Go U . Redempti on .

n h h and m-mend m F h er I to T s co r . M y a t , y I y Spi it

3 ws w d s n ff . No . sho the up ar thru ti g e ect Of Te

“ fix ” . r u STAINE R C ci ion.

mu s the S on of M an b e f ed u t li t p .

w . s d in . 4 . A s in lm Lah . S orro ful Illu trate NO l o a ost any in m n w is piece wr itten a i or key, here Lah the root of the minor ni to c . ” ru fix n STAINER . C ci io .

m I a l one in deed . HA RMONY SIMPLIFIED . 1 15

n N . d s n . wn i os . 5 6 7 8. s is S oh B ol , rou i g Sho , , , Thi v mm n A b or m m s nv b m ery co o . ugle tru pet call al o t i aria ly ake s u se of it.

“ . . au MENDE LSSOHN St P l .

ee er s vo e Sl p , ic

” i ah MENDELSSOHN . El j .

im ud r C all h l o e .

r ova o r e . V ERDI . T t

- r u s e a - r ou se A o e y , y e "

“ ” Y r HA DN . C ea ti on.

L r d is r ea a nd r ea H i m The o s h . g t , g t ig t

ff n s i we s wn i 9 . A n mn. s o . e Fah . Sole Thi e ect ll ho N oth r example is the ordinary u se of this tone in the A m en Clos e of church mu sic .

“ ” A n h m . STAINER . t e

in n r m e h r w f Wh en s e s e t t ei a ul doom .

n . I n os . 10 and 11 M e . i v ef Qu et, plai ti e N the peculiar

d . 1 0 x ss s s a fect of M e is eas ily hear No . e pre e re t s no other 11 is nm n d and n v n ss . s b . to e coul , the plai ti e e of No u i taka le 1 16 HA RMONY SIMPLIFIED .

ah . MENDE LSSOHN . Elij

O r es t in th e Lor d .

” A n e s ever r h . HANDE L . g l B ig t

Ta e a e m e m a e me . k , 0 t k e, tak e, t k

m Ra x n . of Ra is s s y . E pecta t The character y the lea t i pre

s v bu t if s d n w two x m s Nos . 1 2 i e of all the tu e t ill try the e a ple , a nd 1 3 w s ee no n d be s d a s we — es , he ill that other to e coul u e ll pecially in s e parating the verb from its object by three meas ure s d n n s a s in . 1 3. s s . 1 3 s n D oh re t N O Let the tu e t i g N o , u i g

d for the w d b n and n efie s te a of Ray or ri g ote the ct.

u n . HO F M ANN . Mel s i a

r ise a r i se .

” H a n ANDE L . S ms o .

men of a z a hith er b r n Y e G , i g

1 18 HA R MONY SIMPLIFIED .

h C a p ter I I .

W A G NER . A rr .

h a C p te r I I I .

’ M ark the following interval s taken from Chopin s P olonaise ” m n in C# i or . I HA RMONY SIMPL FIED . 119

w n n e v s m d Write ab ove the follo i g the i t r al arke .

M . 3. I n. 3. A . 4 . D . 5 . M . 5 . D . 7. M . 6 . m . 6 . M . 2 . D . 3 . m . 6 .

C h a er p t I V .

A u d La n l g Syne . A R 120 H MONY SIMPLIFIED .

C h a p ter V .

U B SSLER .

C h a p te r V I .

I I V V I I V 1 V V I I V I I b I | b | b I 7b l c I "

V 7 0 7 b I V

1 22 HA RMONY SIMPLIFIED .

C h a e r I X p t .

l v 1 1 1 1 1 I I b b c V I)

r r CHOPIN . (A . )

. A MENDE LSSOHN ( r r . )

I I I I I 1 1 I V h Vb V7 b V, h V 0 V

n t m n e the D o o har o iz appoggiaturas . A R I IE . H MONY S MPLIF D 123.

h a r C p te X .

I V b Vb V, b IV Ih V

I I V I b V ,

I rI VI I V V b V,

V V I V A R 1 24 H MONY SIMPLIFIED .

C h a er p t X I .

V I I I h I I V I I g " b V b IV vr rg I

V I V I 1 I V V , d I I) 8 I V

VI I V, c V, I Ih IV VI VI V

I I r u V I I V I VI ?) h b IV b , d h Ih

B USSLER .

H UG O UN E NC .

V I 1 1 V V b 7 b

I I l r u I I V V I I O IV I IV I V b V b V b

A R 126 H MONY SIMPLIFIED .

C h a er p t XI I I .

I V 1 1 V 9 V, b

M 1 1 V V b , , 1 1 , V, I ’

V V 7 1 3 7 ,

V I I V I , c , V , b V, V, V,

C h a er p t X I V .

STAINER .

I V 1 1 1 I I Vb b b b

B USSLER .

’ v1 1 1 1 1 V I I E IV IV , HA R MONY SIMPLIFIED .

V I I I I VI IV 1 1

- I n N s 43 and 44 s s s m b n s . o . , the cro e ark the y to e

C h a er X V p t .

o on F lk S g . A R 1 8 H MONY SIMPLIFIED .

F INE .

v 1 V 1 0 ,

D u o b l e Chant .

a r C h p te X V I .

I V 1 V I v , d h , c

I V V 1 IV h c 7 0

F ' A rser .

A R Y 1 30 H MON SIMPLIFIED .

0 0 V I " V " I V " V ? 7c 7 1 1 ? 7 13 c , , 7 7

C h a e r x rx p t .

STAINER .

I l77 t> IV

n- Hym Tune .

v 1 v 1 V 1 v v , c , c , , , R HA MONY SIMPLIFIED . 13 1

GUI L M A N T .

B : V f) 7d H A R 132 MONY SIMPLIFIED .

C h a ter p X X .

I V V 1 1 1 V I I V I n , , 1) , c ;d L _J

1 r II 1 15 1 1 III h , b ; b V , V

III VI

I I + I V I V+ I I 11+ V I I I III III, V VI b V, I II

1 34 HA RMONY SIMPLIFIED .

C h a p te r XX I I .

I V V v I v v W 1 v x , 9 , b , b e b , l c c l

0 1 — I 1 1 11 : V I 1 1 firv V 1 F : 1 1 1 1 I I I u h 0 7 g c , d h , d Vb c V,

I V trv I v firv a : fl rv I v firv VI b g V V, VI b g V g V b g A R H MONY SIMPLIFIED . 135

d : “ V 0 : V I d : v 1 I I V firv V V ? , b , b I t? b h7d b g V V,

I I V my I V my ti v my V b ?) V V, VI b ?) V g V ?) V

I 1311 1 V 1 firv 1 V, V 9 I 0 gb 0

h r C a p te XX I I I . 136 HA RMONY SIMPLIFIED .

A . L rszr . ( rr )

v1 I IV I

bl7 : I V VI bu , IV b

d : 1 # 1v 1 1 V b $b 0 0 I I IV V V I V V I V I V I , , 9 , b , b c b

bVI I V 1 I b c , d 1) IV F : 1 1 V I | 7b I V, I ll

C h a er I p t X X V .

A R 138 H MONY SIMPLIFIED.

h a C p ter XX V .

IV 1 1 A R E H MONY SIMPLIFI D . 139

E x s 80 n d m C v s t s a d in erci e , arra ge fro hau et, illu tra e pe al the — v s d u b d . M s s 9 14 be w upper oice , al o a o le pe al ea ure are to rit n in ve s d s ta n b w n s n and n te fi voice . The i ce et ee opra o alto is i s n n s everal place greater tha a octave .

I STA NER .

C : IV A R 140 H MONY SIMPLIFIED .

The following from Bus sler shows a number Of s us pe ns ions m b In fro elow. the las t chord bu t one we have an example of s s ns n n n mi the u pe io of three to es at o ce . This ght als o be called an n n in b a ticipatory to e the ass .

r BA C H . (A r . )

R b ss m epeat the a of the firs t eight eas ures .