2012-09-27 00:22:44 UTC

50632a7b06977 190.160.147.91 Chile

781.3
Baldwin Harmony

Bl8h

v.2

59-01J97

sinplified

TSl.J
Baldwin
Harmony

BlSh.

v.2

59-01597

simplified

BOOK

II

DATE

PU

YORK
L-16

Foreword

The
to

course

in

harmony

presented by

in
in

this
the

book

is

designed
teachers

satisfy
students

an

urgent
a

need

placing
concise

hands
on

of

and

practical has
been

and

treatise the
authors time
to

the
to

science

of
all

harmony.

It

the
yet
at

aim
the

of
same

eliminate essential

unnecessary points for for

a

details, practical
course

coverall

understanding
the student

of should

the

subject.
a

As

prepa

ration
in

this

have

good

foundation

elementary
It

theory.
contention of
the

is

the

authors
and

that the
on

the

ability

to

rec

ognize
power practical tion is,
ear

chords
to

through chord
to

hearing

development

of is
of

the

play value

progressions
student

the

piano

more

the
on

than

the

methodical phases
of

harmoniza harmony, that

of
mel

of

melody

paper.

The practice

three and

training,
should
be

keyboard

harmonization

odies The teacher

ter

developed
matter

simultaneously.
of

subject
before

each

lesson

should
reference be led

be to to

taught
the

by

the
mat

the

student

makes should

subject

in

the

book.

The
from

student

formulate
the

each

rule

by

deduction

instances

furnished

by

teacher.

THE

AUTHORS

BOOK
Chapter
THE
The CHORD five tone
and chord is noted V
.

II
XI
NINTH

DOMINANT
upon
V
as

CHORD
is called the

erected

the

root

DOMINANT

NINTH

Ex.51

v
5, 7, 2, 4 and 6.

The
Hence

notes

comprising
melody
1
notes

it

are

the

of the

scale

may

be

harmonized

as

follows:

I
IV

VI

As four
the

it is
voices.

The
7.

five note FIFTH

chord, of the

one

be omitted when writing of the notes must the third chord, 2, is usually omitted, rarely

for of

chord, The The

V9

should

NOT

be

inverted.

ninth

of the V9,

6, should

be written

at least

ninth

above

the root, 5, nev

er

second V9
V9

above.
may

The The
ward
to

progress
to

to
the

any

position
ninth,

of the V7
6,

or

vise

versa.

resolves

I, the

resolving

either

downward

to

or

up

1.

Ex.52

"

Formulas:

8-7-6-5 1-2-5-1
I

Vl~

V9-

I
In major Ex.54
or

V7

V9

minor
432

6543

"'.'.'I'.'lJS,1.1 ijchange-

Upper

voices 6 4
7

3i Inter

liable

Bass

5-5-5-1

G
M.W.
"

v** n^ v7 V^ TIL V7
Sons

i I
Pt.2

V9 IHi V7

Chords

V^SIj-V7-

19401-59

Ex.55
321

134

Upper

voices

3-2-1

#4

t}4

J
1.

1-7-1
""

I-

Bass
G
Vy V7 I

(Dom)
The V9 may also be used
u
o-

g
as
a

V9

V7

Chords

V9

V7

G*")
chord
f.

(Dom) (Tonic)
as

of modulation
^

follows:

Ex.56
~l
A

3526

321

V7

V9

V7

V9

Exercises

(v9)

Chapter
KEY
A
or

XII
RELATIONSHIP
other

"

AND
RELATED

CHORD
to any

key

is CLOSELY

key

having

one

sharp

or

flat

more

less.

ALL

other

keys

are

REMOTELY

RELATED

to the original key.

The all the keys progression through is possible as that is, counter clockwise,

successively follows:

via the SUBDOMINANT

route,

Ex.57

'

I F Y7

Bt V7
I

i
Et

'

At Y7
Y7 I

'i

Gt
I

Y7

Dk

Y7

Cfc Y7
By sions

Y7
the

I
chord

A
of resolution 59, 60.)

V7

'G

V7

omitting
are

after each V7 chord, the following

pr ogres

possible:
voices
voices

5 (Exs.8,

Two
two

sing root
sing

of chord

chromatic

only; scale downward.

I F

'BIT7

Ct "V7
Pt.2

B V7

D Y7'

"7

V7

M.W.

" Soms

19401-69

Two
two

voices

sing

root and

5th

voices

sing chromatic

5th and root alternately; scale downward.

or

Ex.60
~*jr

rT

1
TF-

f T
JG1"V7

T
E

"tU

y *ii S
V7 D

A A
*"

I
F

V7 G

C V'

V|

V7.

V7

In examples

monically
Hence

57, 58, 59, and 60 the notes to the notes of the key changed

in the V7 of the key of B.

three

of C flat

are

enhar-

it will be
as

59 and 60

observed follows:
chord

that

there

are

processes

involved in examples

58,

1. Roots

of the

in which in succession, a perfect 5th. "When two

only. One voice or the progression case

voices

two

voices

may

sing
a

will move sing chord- roots they must

up
move

the chord perfect 4th or

roots down

in contrary

motion.

2. Two

ing

on

by half downward move must voices 7 of the key in the first V7 chord moves

step progressions. The voice start downward a CHROMATIC half

the

step to 4 in the key of the next V7 chord. The voice starting on 4 of the key in downward half step to 7 in the key of the next V7 chord. first V7 moves a DIATONIC
3. Voices
a.

starting

on

or

2 of the key
on

in the first V7 may

move

as

follows:
2

The

voice

next

starting V7 chord.

5 in the

first V7 repeats

and

becomes

in

the

b. The

voice

whole

downward starting on 2 in the first V7 moves 5 in the next V7 chord. becomes step and
all the keys follows:

DIATONIC

The

progression

thru
as

successively

via

the

DOMINANT

route, that is,

clockwise,

is possible

Ex.61

etc.

etc.

Jl progression of V7 chords in succession, omitting the chord ?, is impossible thru the dominant keys. Why?

of resolution

after

-s"

'PL 2

CHORD

RELATIONSHIP:
a
"

Ex. 62,

Ex. 62G
F
*
,

E",

IV

VI

vn

vn

Ex. 62- b
D

Ex. 62- d
b

g
n

II"
in

II

"
vi

II

" TT"
IY
III

Ex. 62

-a.

Any

major

triad

may
keys,

be
as
a

found

in three

different

major keys
and
as

and
a

in
or

two
a

different minor
in the latter.

I,

IV

or

V in the former

VI

triad may be found in three different major keys and Ex. 62 -b. Any minor keys, as a II, a III or a VI in the former and as different minor
IV
Ex. 62-c.
in the latter.

in two
a

or

Any

diminished

triad may keys

triad
as
a

be found
II
or
a

in

one

major key

as

VII

or

in two

different minor
Ex. 62
-

VII.
one

d. An

augmented

must

be the III of

minor

key

only.

Exercises

(2)

r ir r J

am

^
i
^

LjyUU"

3^
f
M. W, " Sons 19401-59
Pt.2

^
I ^J tJ I J.

Chapter
MODULATION
The general rules In Chapter IX
are

XIII
REMOTE
KEYS
to remote

TO

effective also in modulation C

keys.

Ex.63
G
5653
6

5 2

C
3453

1 2

1 5

A
3171

2 1

,"321

C
5 1 7

G d
3 1 4
8

,D

Ex. 6B

a.

Four
tion

occurs

In each of these examples a modula of BLIND modulation. examples in the melody indicative occurs a "but no chromatic sign of

modulation.
Ex. 63
-

b. Two

In each of these of APPARENT examples modulation. is given of the new tonality by the chromatic sign.

examples

clue

Hence:

Blind modulation
tion

occurs

when

no

chromatic

sign

indicative

of

modula

appears

in the

melody.
occurs

Apparent
ulation

modulation
occurs

when

chromatic

sign indicative

of

mod

in the
3

melody.
5

Ex.64

I4

|4431

171

fefei
.;.,

Jhj ^ r rr r
Bt
I G

J J

i-JJ
n v7 1 vi
D

C V7 I
are

V|

I
means

In Ex. 64 REMOTE
Notice
that the
a

modulations of resolution
may

chord

made by in each key

of the V7 in the falls upon the accent.

new

tonality.

Hence

modulation

between

the last chord

of

one

be made to any key provided no cross relation key and the first chord in the following key.

occurs

Exercises

aHM

;JJJU,J
in
"

* Sow

1MU-

jjj

J-

" Sons

19401-59

Pt.2

10

Chapter
THE
A minor of the seventh
the

XIV
SEVENTH

DIMINISHED
erected
on as

CHORD
comprises
SEVENTH
four
notes,

chord

7 of

minor

key,

each

third above

other, known

the DIMINISHED

CHORD.

It is

marked

D7.

Ex.65

g
It may

D7
or

be

constructed

either upward

downward

from
or

any

note.

RESOLUTION A D7 may

TO

MAJOR
on

OR
the
to

MINOR
note
a

TRIAD
diatonic

such

triads inverted.
the
root

be constructed

half step below

of

any

major

or

minor

triad, resolving

this triad.

Ex.66

For the convenience resolution.

of the

student

chart

is given

following

each

method

of

CHART:

For

determining

chord

choices.

In the first column

in the D7 chord

is indicated

the
note

nature

of the progression

from

one

note

to its resolving
and third columns

in the

second

chord.

In the second

is indicated being

the kind

e. the (i. tlufcsecond chord),

first chord

always

of chord D7.

of resolution

11

The

Arabic

numbers

in the

second

and
the

third columns
resolving

refer to the

root

(marked 13

third

(marked 3),or fifth (marked 5) of

chord.

Ex.69

Major
Ex. 69
"
"
-

triad

Minor

triad

a
a

55

"

Exercises

M.W.

" Sons

19401-59

Pt.2

12

RESOLUTION
A

TO

I2 in cadences.
on

D7 constructed
a

the

raised
also

second
to

step
a

of

major

key,

or

on

the raised fourth

step of

minor

key

may

resolve

\% in that

key.

Ex.70

lo

I2

Ex. 71

CHART:

Major triad
Ex. 71"
"
-

Minor

triad

99

"

Since the second inversion

a

of

triad is

weak

chord,

D7 should not be resolved

to

triad in second

inversion

except to the I2 in cadences.

Exercises
Cadences:

(T)

(2)

"

r ir

"

" S"i^

19401-59 Ft 2

13

RESOLUTION A
D7 may

TO
be

A V7

or

its inversions. the

constructed

upon

raised

sixth

step of

major key
key.

or

on

the doub

ly raised

sixth

step of

minor

key, resolving

to the V7 in that

Ex.72
In

major

In minor

VI

V7 in Ex. 74
'"
"
-

major

V7 in minor

a a a

"

"

?"

"

Exercises

M.W.

" Sons

19401-59

Pi. 2

14

RESOLUTION
A
the D7 may

TO
be

THE

III

AUGMENTED
also
on

TRIAD
the seventh

(in minor

keys)
resolving
to

constructed

step in minor

III in that

key.

Ex. 75

III

Ex.76

HI

IH

III

et

III

CHART:
Ex. 76

Augmented
-a

triad

THREE

TONE
D7 may

DIATONIC
also be used

PROGRESSION

DOWNWARD.
three
tone

effectively in any
non-

diatonic downward

progres

sion, the first tone

being

harmonic,

Ex. 77

The
to

three tone

progression

may

occur

in

one

of the

lower

voices

as

follows: Refer

chart

Ex. 69 for chord

choice.

Ex.78

jpt.2

15

Since
in sound.

the

D7 is erected in minor

thirds there

are

but

three D7 chords

differing

Ex. 79

Note

that

the fourth changed

chord

in Ex. 79 sounds

the

same

as

the

first chord but it is

enharmonically
The D7 chord

in its notation.
never

should

progress
to
a-

to

diminished

triad.

D7 chord D7 chord
in order
must

may

progress
as

any

other

D7

The
chord Care

is useful
to

modulatory

chord
in the
new

but should key.

D7.

be

followed

by

V7

establish
exercised
a
"

its identity in the

be

notation scale
"

of the
tones
"

Accidentals
"

written
"

half step above

"
"

tend to resolve
" "

UPWARD.

below

"

DOWNWARD.

SUMMARIZED

CHART

for choice

of D7

with

no

voice

skips

in resolution.

Exercises

If J

"

M.W.

" Sons

19401-59

Pt.2

16

lll'IM
JIM |J"J ififg

r'r

17

Chapter
SECONDARY
A chord
of the seventh may be

XV
CHORDS
each note of the

SEVENTH
erected

upon

major scale.

Ex. 80

*#tt

it

in
III7
they

8
IV7

}]
=

II'

V7
as

VI7

VII7

As
1. To

these

chords
on

are

discords

may

resolve
or

follows:

the triad

the fourth
I7

degree

above,
to
"

the

fifth degree, below:

resolves
"

the
"'

IV V VI

II7

III7
IV7 VI7

"

"

"

"

"

"

VII II III

(Rare) (Rare)
as

VII7

The

voices

of any

seventh

chord

may

progress

follows:

Ex.81

2. To

the

chord

of

the

seventh

on

the

fourth

degree

above

or

the

fifth degree

below.
I7 H7 III7
"

resolves

to the

IV7

VI7 VII7
H7

IV7
VI7

"

"

VII7

"

in7

Voice

progressions:

Ex.82

3.

To

the triad

on

the

diatonic

step above:

Ex.83

II
M.W.

IV7

"S6as

19401-59

Pt.2

18

The

following

succession

of seventh

chords

is possible.

Ex.84

vn7 n7 r\^7

n7 v7 vn7 1

v7

i7 ni7 vi7

i7 vn7

ix

Exercises

nrJ

rJ irJJj i-' JJ

J |J J J

j-^lff rrUJ3
"^nr

=e

^
ii

'I'ui

i h ,,

'

'

Pt,2

19

Chapter
AUGMENTED
French (German,

XVI
CHORDS

SIXTH
and

Italian Sixth

Chords)

(G)has (F)has The French The Italian Sixth Chord (T)has

The German
Sixth Chord

Sixth Chord

a
a

major third, a perfect fifth, an augmented sixth. major third, an augmented fourth,an augmented sixth. major third doubled and an augmented sixth.
is
a

A.

chords resolve to a major or minor triad, the root of which chord. step below the root of the augmented

These

diatonic half

Ex. 85
G
F

^f=^
Since
the augmented series will be found

four of the chords resolve either to a major or minor triad, in the minor key and six in the key, as follows: major

Ex

86

SE

t
T
F

IV

IV

3GE

VI

VI

^ li'lf
m

I
II
II

III

III

IV

IV

f
V
T

V v

i
VI

'[,*"
T

VI

The Ex.87 a)
'

Resolution Tendencies

A)

c)

rf)

e)

a.

In

all

cases,

the root resolves

chord.
moves
a

downward

diatonic

half

step to the

root

of

resolution b.

The

third of the G and F major triad; or downward

" Sons

downward

diatonic whole

diatonic half step te the third of the step to the third of the minor triad.

M,W.

19401-59

Pt.2

20

One
the

of the

thirds
or

of the T

moves
a

downward

diatonic

half

major

triad;

downward

diatonic

aad flis other third of the T resolving triad.

c.

moves

whole a diatonic whole upward

step to the third of the

of triadminor step to the fifth of the

step

to the

third

The

fifth of the G
triad.

moves

downward

diatonic

half

step

to

the

fifth of

the

resolving
d.

The

the fifth of the resolving fourth of the F repeats and becomes augmented fourth in the bass, this triad; or when the chord is inverted, with the augmented a perfect fifth to the root of the resolving downward tone may move chord.

e.

the augmented In all cases, the resolving triad, of

sixth

moves

upward

diatonic half step to the root

Inversions
F may be used but it should be noted that the second inversion of the resolving triad is generally it is better to avoid the weak, hence second inversion of the G and F augmented chords.
inversion of the G and The

Any

can

have

but

one

inversion,

since

it is

three

tone

chord, and this inversion

is seldom

effective.

Examples
Ez.88

G3

F3

Tl

IV

^ W.

21

Choice
Taste
in the
use

of Chords
is largely

of augmented

chords

governed

by

the

chord

of

the

resolution.
In selecting

augmented

chords

for

melody

without

modulation,

these

chords

may
1

be used: When
any
the melody
one

descends

of the augmented the

chords
a

diatonic half step to the root of the resolving may be used. (Ex 88

chord,

-a.)

When

melody the German chord,

the

descends
Sixth descends
a

diatonic be used. diatonic

half

may
a

step to the fifth of (Ex.88

the

resolving

-b.)

'

When
or

when

melody it descends

one

of the

augmented

chords

diatonic whole may be used.

step to the. third of the major chord; step to the third of the minor chord, any
half

(Ex. 88 -c.)

When

the melody

ing note 5. When

of the 6. When
the

becomes melody

the

augmented
the

repeats, the French Sixth may be used providing that the resolv fifth of the resolving chord. (Ex. 88 -d.) 'the diatonic half step to a root of the chord, any one ascends be used. (Ex.88 chords may

-e.)
f.)

chord,

ascends melody the Italian Sixth may

diatonic whole
be

step to the
-

fifth of the

resolving

used.

(Ex. 88

Exercises

M.W.

" Sons

19401-69 Pt.2

22

B.

The

chords also resolve to a second inversion of a major and a minor augmented is the third of the augmented triad, the root of which in each case chord.

Ex.89
pec

Since the second cept the I2 in

connection
a

inversion of both
or

major and

minor

triads is generally weak

is used

ex

final cadence the I2. Hence

are

in cadence-

effects, this resolution of the tones

as

only chords

in in

with

the tendencies

of the augmented

the resolution

quite definitely prescribed

follows:

Ex.90
G
TT

Harmonize

the following

cadence -groups:

'"

ir

23

Exercises

J J Uj

J J

J rtJ J Ui-i r

rr rr

Uppi

rrrr

J J|J

JUjJ|J

"?

fr

r r

^^

rfr

rr

M. W. " Sons

19401-59

Ft.Z

24
is the third of the resolving" to a major or minor triad the root of which Sixth may be used in first and second in and French chord, the German augmented inversion. the Italian Sixth has but one Since it is a three versions. -tone chord, Sixth chord is frequently used, for the fifth of the German (Theenharmonic notation

When

as

at

and b

below).

Ex.91

In these inversions, with these resolutions, any of the chords listed under be used; that is, four in the minor key and six in the major key. above may

(A)

Exercises

"i i

11,1i

i;

IK, WJfcflfw 3"40tr5" Pi 2

.
.

25

C.

The

chords also resolve to a major triad the root below the root of the augmented chord, (Theresolution to the minor triad is not effective.)
augmented perfect fourth

of which

is

Ex.92

fe
GF
Since augmented
in the

"

~Ti-

**
,

#*P #8

#"

88*
T

GF

GFT

this

resolution

is effective in the

only

to the

major triad,

there
are

are

but three

chords

available

major

key.

(These resolutions

not effective

minor

key.)
chords

The

augmented

should be used

in fundamental

position for this resolution.

Ex. 93
re

*#"
8
GF

|r*"#8 ife"
Irft \,ft

8
IT II

*[,*

-*

FIVTIVIV

FVTVV

,G

Exercises

I'
" Soas

19401-59

Pt.2

26

Resume
Each
chord

augmented

tlien has

five resolutions

as

follows:

Ex. 94

Since
serve
a

no

more

than

two

resolutions

are

in the

same

key,

the

augmented

chords

useful purpose

in modulation.

Modulations Ex.95
Dominant

Subdominant

Supertonic

PPi
Submediant Mediant Submediant,

m
half cadence

Pitt
Mediant, half cadence

i
Unrelated
key

Supertonic,

half cadence

i
m
Pt-2

27

Exercises

if

if

JUrJ

J I* if

J fJ

M.W.

" Soas

1940i-5"

Pt.2

28

Formulas
French Sixth Chord Is effective when the soprano ascends tnelodically over the fourth of the chord or descends over those tones. Another third and augmented major tones in contrary the same motion to the soprano. voice will pass over five resolution chords as follows: There are
1. The

12345

12345

C.
.-_.-

D
12345

Complete
In Example

the resolutions 96 -A,

in Example.

96

B, C, D, E, F, above.

major;

II in G

lowing

passages

chord (Chord may be a VI in the key of l) major; a I in a minor; a IV in e minor. The fol illustrate cadences in those keys:
the first resolution major; a HI in F

Ex.97

29

In Ex. 96

A, chord

2 may

be

I in A

a major-,

V in D

major; a

IV in E

major; a

V in d

minor.

Chord
Chord

3 is
4 is

Is in d minor. I2 in D

major.

Chord

5 may

be

I in F

major; a
the

V in Bt

major; a

IV in C

a major,- V

in

bk minor.

In similar

manner,

analyze

play

cadences

in the various

keys

resolution chords in Examples as illustrated above.

B, C, D, E, F, and

Exercises

JXffj*P

' r r Mi' ITI ii i i i 'i i

M.W."So"s

19401-59

Ft.2

30

2. The
a

German

Sixth

chord

may

be used

effectively

between

(1) either

V7

VII7

H7

and (2)a I.

Vj VII7
The
as

II7

V7

VII7 II7

progression given in Example

formula
case,

(2

3l" 3^j of the

-

scale

in Example

1 is often altered to

(2-21-3)

2 and

3. when

This

is also

effective

reversed,
-

that

is when

played
-

backward.
-

In that

the scale progression

(5 6!" 6^ is often

altered to

(5 5|

6).

Exercises

Pt.2

31

Chapter
THE
The

XVII
SIXTH CHORD
of a in the

NEAPOLITAN
Chord

Neapolitan

Sixth

(N)is

the first inversion

more

major triad,
minor

the scale. It is used 2 of which is 1? of in the major key. be used also

frequently

the root key, but it may

In the

major key,

the

chord

is frequently

used

with

the

third

doubled

in

the

soprano.
The

French

A German also resolve directly to aV7 chord resolves to a I2. It may the Neapolitan Sixth and the I2. Sixth chord is frequently used between

or

Ex.99
ztorfe
or
or

I
N

m
N G I2 N

I2

I2

V7

V^

I2

I2

I2

V7 V7

I2

Exercises

"=*!

r"rir"r
Jr-g-g

M.W."

Sons

19401-59 Pt.2