BOSTON

PUBLIC
LIBRARY

THEORY AND

PRACTICE

OF

MUSICAL COMPOSITION.
BY

ADOLPH BERNHARD MARX.

DOCTOR Or MUSIC, MUSICAL DIRECTOR OF THE UNIVERSITY OF BERLIN,

ETC.

TRANSLATED FROM THE THIRD GERMAN EDITION,

AND EDITED BY

HERRMAN

S.

SARONI.

FIFTH AMERICAN EDITION,

WITH AN APPENDIX AND NOTES,

BY EMILIUS GIRAC,
CONSERVATORY

OF PARTS,

NEW YORK:
PUBLISHED BY MASON BROTHERS.
1

856.

Entered, according to Act of Congress, in the year 1851, by

MASON

& LAW,

In the Clerk's Office of the District Court for the Southern District
of

New

York.

Entered, according to Act of Congress, in the year 1854, by

MASON BROTHERS,
In the Clerk's Office of the District Court for the Southern District

of

New

York.

PUBLISHERS' ADVERTISEMENT.

A. B.

Marx

holds such high rank in

the subject of Musical Composition, that

great

work

to those

who

thoroughly

work

It is

scientific,

upon

as a writer

any recommendation of

are at all acquainted with the musical

rature of the land which

be superfluous.

Germany

is

emphatically the

home

of music,

his

lite-

would

without a rival as a treatise upon this subject,

and yet adapted

to popular comprehension.

of this character in the English language has been so

much

sought after in vain, as to lead to the present translation, which embraces two books, viz.

Book

I.

Book

II.

The Elements

of Musical Composition.

The Accompaniment

of a given

reference to Chorals and People's Songs.

The

translation has been

edition,

made from

tion to the

American student,

pared by the Editor.

with especial

the third improved

and great care has been taken

closely as possible, securing, at the

Melody

(Volkslied.)

to

German

follow the original as

same time, the necessary adapta-

and

an Introduction has been

pre-

Extract of a Letter received from Dr. A. B. Maex,

by the Publishers.
Berlin, June 23, 1852.

Gentlemen,

Your

my

polite

communication, and the copy of a translation of

work on Musical Composition, have been received through

*****

Messrs. Edwards, Sandford,

thanks.

I find that

&

your translator

Co., for

which accept

(as far as I

am

my

warmest

able to judge from

a somewhat imperfect acquaintance with the English language)

has done his work very practically and successfully; and I beg

you to express
honored

my

to him, as

work with

also

to the eminent

their approval,

my

men who have

sincerest thanks,

and

also yourselves to accept the same, for the very elegant style of the
edition.

AUTHOR'S PREFACE.

The

true problem of a treatise on Art

That

thus expressed

should transmute the most thorough and comprehensive

it

knowledge of Art into

and immediately

pil,

may be

the consciousness

incite

him

and

of the pu-

sensibilities

to artistic activity.

Neither abstract knowledge nor technical instruction can ever

secure artistic culture, or even prepare the -way for

opposed

to the essence

teachers, as I

above

As

of Art

and

it

both are

tendency, or been willing to depart from

the achievement of the artist, born of his

is

have elsewhere proved, that they have not risen

this unartistic

vaded mind,

it

the fault of the old

is

own

not an abstract thought, but an embodied

spirit,

united in as intimate and inseparable a unity as the soul and

of man, so

must the science of Art continually

most

and impressive

way

living

to bolder

truths,

from which

it

and more joyous achievements.

it.

free, truth-per-

body

strive after the

should lead the

Both, however,

should be accompanied with that certainty, reposing on the convictions of experience,

and that ardent desire for new achieve-

ments and progress, which,

in

characteristics of a true artistic

my

opinion, are the conditions

and

life.

This principle, in connection with contemplation on the essence

of Art,

matured by observation and

period of youth, strengthened

lopment of
telligent
in

my

art,

artistic activity

by a view

and by the growing approbation of the most

and continually enlarging experience,

first

from an early

of the historical deve-

and second

treatises,

is still

my

law.

in-

this principle, as

That the

inter-

author's preface.

change of theory and

sence, of
traries,

though

mated, and

law and

practice, of

melody and harmony

liberty, of

as

still,

in reality united,

fertile of results,

form and es-

formerly,
may become more
my

was

principal

aim

called conliving, ani-

in the present

In this view, notwithstanding the gap in the formal, or

work.

rather merely nominal separation of the Elements from their ac-

companiments, I consider

an essential improvement

it

have

to

placed the further development of passes and harmonic figuration after the

and not before

and

all

where they are immediately applied,

choral,

and more copious treatment of the secular melodies,

for the freer

where they are not needed.

it,

further improvements are to be tested

This, however,

by the

intelligence of

the professor, and the experience of teachers and pupils.

would gladly

offer to

younger teachers, or to such as have

not yet had opportunity for extensive experience, an intimation of

my method

of teaching

certainly not with the presumption of

being able to say any thing

new

or important, but, as a duty, un-

assumingly to impart what I have to others.

however,

is

the insufficiency of

all

immediate intuition most strongly

cates

and only when

Precisely here,

writing to supply the place of

Not books, but

felt.

life,

edu-

quickened and wrought on by

life is

can books perform their mightiest and most beneficent

namely, to unite the experience and intelligence of

many

life,

office,

lives

to

give support and a rallying-point, so that every isolated existence

always most
whole may not

limited in

its

immediate

forever perish

activity in relation to the

that every worker, unadvised

and unquestioned by the mute Past and Present, may not be

forced either to begin his task anew, or follow in the gloomy path
of transmitted usage, in order to be not wholly without support.

Often and long enough has the want of

doctrine and
felt.

Even

in

our

in

life

our

own

ers attempting with

seurs, while their

the least

skill for

able composers

artistic science

times have

this reciprocal action of

made

we been

itself

words and books to form

own examples proved them

composition

who

most painfully

obliged to see teachartists or connois-

to be wanting in

and, on the other hand, there are

venture to neglect,

if

not to treat with dis-

author's preface.

dain, eveiy pedagogic, psychological, or other assistance, even to

own

explain the science of their

by

are easily recognized

prejudice

is

The former

execution.

skill in

their deficiency

not so the

only too widely diffused, that an able or even a dis-

must of

tinguished composer,

be also an able teacher

necessity,

and without further

ther qualifications in a teacher

proved, (as in the cases of

is

so easily seen, that pedagogic

W. A. Mozart and

and the capacity

that artistic ability

so necessarily united, that the one

L.

to teach are not so often or

may be

from

safely inferred

the cultivation, the spirit, and the soul of an artist,

has often

V. Beethoven,)

The teacher should, indeed, possess

the greatness of the other.

artist,

pains,

while yet the indispensableness of fur-

science long since offered to explain, and experience

himself an

The

latter.

should

be

but, besides this, he should not be wanting in

the full vocation, the dexterity, the experience, and the capacity

Seldom

of the pedagogue.

as this many-sided fitness

found or attained, reflection

make

will not fail to

either

is

us confess

its

necessity.

My
the

method

first

much

is

to acquaint the scholar with the

at first

From

assumes

While the scholar who

what

to observe

less

gifted

will

and

and what

is

peculiar

its

familiar witli

to miss in the

thus

the next necessary, or next possible point, or understand

his future

life.

in artistic activity,

The teacher

has no longer cause, either

The

work

with-

it

scholar

in the

also remains fresh

in his

pre-

almost of themselves grasp

out difficulty from the course of lectures.

kept from the beginning

direct

of notes,

first series

form of the tune, the more able and diligent scholars

pared among the

Of pure
necessary

is

instruction,

the

scale,) the instruction

and permanent character.

his teacher, perceives

premised as

method of

to the point of artistic effort.

(the major diatonic

practice, has from

conformity with these views.

in

verbal instruction only so

him

and

of teaching, both in theory

been directed

thus

is

atmosphere

and

active,

of"

and

or his meditations, to fear

the old disheartening dissension between Art and Science.

With

single scholars, or even with

teacher's side,

two or more, who

and watch the movements

of his pen, or

sit

at the

who

often

author's preface.

unexpectedly take the pen into their own hands,

teacher must give advice, or instruct

a work already begun

how

The more

sooner he
pedient

opinion,

is

whom

most agreeable and

the

more

The mistakes

the teacher's .work.

corrected at leisure, thus enabling

successful, in

him

may be

taken up and

at once to perceive the

discrepancy of his error with some part of his work.

where

individuality

and

tion give the last decision in the

He

it

its

my

of the scholar, es-

fugue and sonata forms, pro-

vided they have but one tenable position,

not hold

the

able of himself to discover an explanation or an ex-

pecially in the greater tasks of the

science,

the

fertile of

the scholar can anticipate the teacher,

to accelerate his progress

is

to

for all these purposes this sys-

instruction has been proved

results.

to proceed with

to explain, to improve, or to avoid

such and such a dubious point,

tem of

them how

subjective sensation

moment

In

artistic

and

voli-

of artistic creation, I do

advisable that the scholar should wholly avoid errors.

should be thoroughly tried and tested, and have opportunity

to conquer himself

progress

by

his

own

might.

A vanquished

error

an error merely suppressed threatens a return.

is

TABLE OF CONTENTS.
i

MUSICAL NOTATION.

nm
..16

bmoDCcnoff

fctiUffly ^ **BX F1B8r-^TONE8 AND NOTES.

Chapter
Chapter
Chapter
Chapter
Chapter
Chapter
Chapter
Chapter

0.

The Tone System

The Note System

III.

Abbreviations and other accidental Characters in Music

I.

18
19

IV.

Elevation and Depression

V.

Tho Measuring of Tone-relations

The Tone Species, Sexes, or Modes
The Keys

VI.
VII.

VIII. Relation of

....
.

28
36
41

.......

Koys

24

44
46

BOOK FIRST.
ELEMENTS OF MUSICAL COMPOSITION.
PART FIRST.-COMPOSITION FOR SINGLE PARTS (MONOPIIONIC
COMPOSITION),
Chapter

ulation,

53.

The first Formations L The Tone-chain, with its Species, 53 Tone Reg54
The Major Scale, ib. Analysis of the Scale, 55 2. Rhythmical form-

I.

ation of the Tone-chain, 56

Retrospection, 59.

Chapter II. Invention of Monophonic Phrases, 61; 1. The Design and its Efficacy,
2. Formation of Passages, 63
3. Formation of Phrases, 64
4. Periods, 66.
Chapter III. Discovery of New Means, 67.
;

PART SECOND.-COMPOSITION FOR TWO PARTS (DUOPHONIC

COMPOSITION).
Chapter L The Duophonic Composition, derived from the Monophonic, 72.
Chapter II. The Duophonic Composition, derived from Natural Harmony, 74 I. Manner of arriving at it, ib. 2. Application, 77 Melodic Application, ib. Harmonic
;

Application,
dence,

Chapter

ib.

3.

Harmonic Designs, 73

t"6.

III.

The Duophonic Composition,

81.

4.

Tho Cadence,

79

5.

The

Half-Ca-

10

TABLE OF CONTENTS.

Chapter IV.

Compositions of two and three parts, 84

Retrospection, 87

Composi-

tions of three parts, 89.

The Double Duophonic

Chapter V.

Composition, 90

Application, 93.

PART THIRD.HARMONY OF THE MAJOR SCALE.

Chapter
Chapter

Examination and Justification of the Harmony, 99

II.

The Connection

B.

ib.;

Discover}' of the necessary Harmonies, 94.

I.

gressions, 101;

1.

of Chords, LOO; C.

Octave Succession (Consecutive Octaves),

Succession (Consecutive Fifths), 102

of the Dominant,

E.

The Four Voices,

A.

Harmonic Designs,
ib.

The Dominant Chord,

ib.

D. Faulty Pro-

2.

103

Quint or Fifth
F.

The Triad

10-5.

Chapter III. The Accompaniment of given Melodies, 107 A. Limitation to those

means which were found in the Ascending Scale, ib. B. The Descending Scale, 109.
;

PART FOURTH. THE FREER USE OF THE CHORDS IN OUR POSSESSION,

113.

Harmonic Designs, 114 A. Development of a Single Chord, ib. B. Combination of Major Triads, 115 1. Designs of Nearest Connection, ib. 2. Designs of
Remote Connection, ib. C. The Combination of Minor Triads, and of Minor and
Major Triads, 116 D. Harmonic Designs from adding the Dominant Chord, 117
1. The Dominant Chord preparing the end, ib.
2. Other Chords in connection with
the Dominant Chord, 118
E. Extension of the Harmonic Designs by means of
Rhythm, 118 F. Formation of Harmonic Passages or Sequences, 119 Prelude, 120.

Chapter

I.

ib.

Freer Harmonization of given Melodies, 122

B. Free introduction of the Dominant Chord, 125

Chapter

II.

Dominant Chord, 127 Doubling of

Octaves and Fifths, 129.
;

intervals in the

A. Freer use of Triads.

Freer Treatment of the

Dominant Chord, 128

PART FIFTH.INVERSION OF CHORDS,

Chapter
Chapter

I.

Enumeration and Appellation of the Inversions, 132

Free use of the Inversions, 136

II.

B. Combination of Inversions with

A.

New

Covered

131.

Figuring, 134.

Designs and Passages,

Fundamental Chords, 138

C. Preludes

ib.

and Final

Cadences, 140; D. Avoiding faulty progressions, 141; E. The Diminished Triads,

Chapter III. Employment of Inversions, &c, 143.
Chapter IV. Close and dispersed Harmony, 144 RetrospectionModulation, 147

ib.

PART SIXTH.HARMONY OF THE MINOR SCALE.

Chapter
Chapter

I.

Formation of the Minor Scale,

149.

Harmonization of the Minor Scale, 151

II.

Nona- Chord (Chord of the

Ninth), 152.

Chapter

III.

Nona-Chord,

ished Septime Chord,

continued, 154

Chapter IV. Freer use of the

Melodies,

ib.

3.

Inversions of the Nona-Chord, 155

163

2.

Dimin-

New

Chords, 157

1.

Major Melodies, 158

2.

Minor

Licenses of the Dominant Chord, 160.

PART SEVENTH. MODULATION INTO FOREIGN KEYS,

Chapter

ib.

161.

Modulation from one Key into another, 162 1. The Dominant Chord,
The Nona-Chords, 168 3. The Septime Chord, ib. 4. The Diminished

I.

TABLE OF CONTEXTS.
Septime Chord,
7.

The Minor

Chapter

1C9

5.

The Diminished

ib.

6.

The Dominant

Triad, 170

Triad, 171.

Introduction of

II.

Triad,

11

new means

Ascertainment of Digressive Melody,

ternal Characteristics, 174

to the
ib.

1.

Harmonization of Melodies, 173

External Characteristics,

B. Discovery of all eligible Chords, 175

ib.

2.

A.
In

C. Application

of these means to Indigenous or Digressive Melodies, 177.

Chatter

III.

Formation of new passages with the aid of Foreign Chords, 186

sages of Dominant Chords, 189

Chords, 191;

4.

Indigenous Passage, 190

2.

Indigenous Passage of Nona-Chords, 192

5.

3.

1.

Pas-

Successions of Nona

Successions of derived

Septime Chords, 192.

A. The Diminished Septime Chord, ib.
Chapter IV. Variable modulations, 196
B. The Dominant Chord, 199.
Chapter V. General Order of Construction, 201 A. The first perfect Construction of
;

a two-part Composition,

ib.

tension of Modulation, 204

B.

Second two-part Construction, 203

D.

The

C. Further in-

Interrupted Cadence, 205.

Chapter VI. Abrupt Modulation, 207.

Chapter VII. Order of Modulation for more extended Compositions,

211; Passages or

Phrases, 213.

Chapter
Chapter

VIII.

The

Pedal-point, 215.

IX. Retrospection, 220

A. Development of Harmony, w.

PART EIGHTH. -DISPLACEMENT OF CHORDS,

228.

Chapter I. Suspensions from above, 228 Suspensions of fundamental Tones, 234.

Chapter II. Suspensions from below, 236 A means of Connection, 233 Fifths miti
gated by Suspensions, 244 Octaves covered by Suspensions, 245.
Chapter III. Anticipated Tones, 246.
;

PART NINTH. THE

Chapter
Chapter
B.

The

Chapter

The

I.

Diatonic Pass, 249

PA88, 248.

Participant Tone, 250.

Chromatic Passes and Assistant- tones, 253; A. The Chromatic Pass

II.

uS.

Assistant-tone, 256.

The

III.

results of Passes, 253

The Superfluous

Triad, 260.

PART TENTH.-THE TREATMENT OF MORE OR LESS THAN FOUR

VOICES,
I.

Chapter

II.

tion,

ib.

266.

Triphonic, Duophonic. and Monophonic Compositions, 266.

Chapter

More-than-tetraphonic Compositions, 271; A.

B.

The Double-choired,

The Polyphonic

Coipo=ii-

or Poly-choired Composition, 276.

BOOK SECOND.
THE ACCOMPANIMENT OF GIVEN MELODIES.
Isthodcctio:*, 281.

PART
Chapter

I.

FIRST. THE

ACCOMPANIMENT OF THE CHORAL, 283.

General Conception of the Melody, 285

the principal points of Modulation,

Chapter

II.

Disposition of the

ib.

Harmony,

B.
297.

A. Confirmation of the Key, and

Summary

of Cadences, 290.

TABLE OF CONTENTS.
Chapter III. Simple treatment of the Choral, 305.
Chapter IV. Higher treatment of the Choral, 310
B. Application to the Choral, 314
tion,

ib.

B. Phrase-repetition,

ib.

1.

2.

Technical

A. Character of the Voices,

Difficulties, 318

aim of Choral treatment,

Artistic

311;

A. Tone-repeti-

319.

Chapter V. The Cantus Firmus in other Voices, 321; A. The Cantus Firmus in the
Alto, 322
B. The Cantus Firmus in the Tenor, 323 C. The Cantus Firmus in the
;

Bass, 324.

Chapter VI. More and

less

than four Voices,

less

treatment, 328

Chapter

1.

The Duophonic

The Choral with more than

B.

How

voiced treatment of the Choral, 327

ib.

treatment,

A. The Choral with

ib.

The Triphonic

2.

four Voices, 330.

Harmonization of the Choral,

331.

PART SECOND.-CHORALS IN THE ECCLESIASTICAL KEYS,

338.

-hapter
monic

VII.

The

I.

Ecclesiastical Keys, 341; A.

Foint, 342

foreign Tones,

to acquire facility in the

C.

ib.

The

The Melodic

Point, ib.; B.

Essential Tones of every Key, 344

E. Transposition and Signature,

ib.

The Har-

D. Admissibility ot

F. Modulation into other

Keys, 346.

Chapter
Chapter
Chapter
Chapter
Chapter
Chapter

The Ionian Key, 347.

The Mixolydian Key, 349.
IV. The Dorian Key, 350.
V. The ^Eolian Key, 352.
VI. The Phrygian Key, 354.
VII. The Lydian Key, 356.
II.

III.

PART THIRD.THE SECULAR NATIONAL SONG,

Chapter
6.

2.

General Conception of the Melody, 300

I.

Character of Keys,

1.

358.

Consideration of Voice- region,

ib.

Chapter II. Plan of the Harmony, 361; 1. The Measure or the Quantity of the Har3. The Form of the Harmony, ib. 2. Number of accompanying Voices, 364
mony, 366.
Chapter III. Harmonic Figuration, 367; Discovery of its Designs, ib. 1. Monophonic
Designs, ib. 2. Duophonic and Polyphonic Designs, 363.
Chapter IV. Execution of the Harmonic Figuration, 370 A. The Harmonic Point of
2. Octave and Quint-Succession, 371;
1. Retarded Resolution, ib.
View, ib.
;

1. Consistency of ExecuB. The Melodic Point of View, ib.

Firm Connection, ib.
Chapter V. The Exercise of Harmonic Figuration in Passages and given Melodies,
375 1. Passages reduced to Harmonic Figuration, ib. 2. Accompaniment of given

3.

Passing-tones, 372

tion, 373

2.

Melodies, 377.

Chapter VI. Passing-Tone and Bye-Tone, 379

332

Help Tones, 381;

Turns, &c,

Trills,

Passing or Transient Chords, 384.

Chapter VII. Introduction of Passes and Help-tones into Figuration, 385 A. FiguraB. Figuration of the Bass, 387
C. Figuration of &
tion of the Upper Voice, ib.
;

Middle Voice, 389

Chapter

Application, 390.

VIII. Application of these

means

to Artistic

APPENDIX.
The Figural Prelude,

401.

Accompaniments,

392.

BLBMENT8 OF MUSICAL NOTATION.

BY

TI1E

TRANSLATOR.

PREFACE TO THE ELEMENTARY PART.

The

indefiniteness of the English language, in everything

concerning Music, makes

it

a task of extreme

difficulty to

write an Elementary Treatise, corresponding to a theoretical

work of any

foreign,

and particularly German author.

German musicians have made Music

that

is

it

absolutely impossible to do

lating their

The

so thorough a study,

them

justice in trans-

works with general terms, which at every step

are subject to modifications and contradictions.

It is this consideration

of this
tise,

work

which has induced the Translator

by an Elementary Trea-

to prepare the student

the chief object of which

such terms as

may

is to

give exact definitions of

occur in this or other works of the same

author, and the exact meaning of which

it

is

absolutely ne-

cessary for the student to know.

In order to avoid the introduction of indefinite terms, or

arguments upon them, as much as possible, the Translator has

thought

it

best to convey the necessary information in regu-

lar didactic

form ; and

if

comparisons and arguments cannot

be absolutely avoided, they will be made at least as brief as

possible.

INTRODUCTION.

" Music
ear,"

is

is

the art of combining sounds agreeable to the

the general definition given of the word.

Not every sound, however agreeable

cal

sound

sic.

nor

to the ear, is a

musi-

a combination of such sounds always

is

our

It follows, then, that

first

Mu-

task must be to distin-

guish musical sounds, or sounds agreeable to the car, from

such sounds as constitute Music.

We

know

affected

that the ear

is

the organ which

Every vibration of

by Music.

means,

lision of bodies, or other

we designate by the general

air

is

most directly

caused by a

col-

sufficient to affect the ear,

name

of

SOUND.

We

know,

also, that

voice, as well as

Music

is

produced by the human

by instruments of various kinds

Trumpets, Violins,

Flutes,

These instruments distinguish

&c.

themselves from each other by the quality of their sounds.

Finally,

we perceive on one and

the sounds produced upon

it

for instance, are the sounds

of a

Harp more

string.
call it

When we

the

same instrument, that

vary in regard to pitch.

Thus,

produced on the shorter strings

acute than those produced on a longer

consider a sound in this respect,

we must

16

TONE.

We

have, therefore,

many

The

different tones.

tones of

the longer or thicker strings are called low ; those of the

shorter or thinner strings are called high.
voices,

we

Thus

of

human

say that the tones of a man's voice, in general,

are lower than those of a boy's or girl's voice

the Flute, Violin, Trumpet,

we

the tones of

say, are higher than those

We

of the Bassoon, Double-bass, and Horn.

say " in ge-

neral ;" for since every voice and every instrument can pro-

duce many tones,

it

can occur that the highest tones of a

man's voice, for instance, are higher than the lowest tones
of a girl's voice, &c.

Every tone or sound

to

be produced, must be produced

within a certain time, therefore must

time,

longer or

shorter

fill

a certain space of

space, definite

or

indefinite.

This time, or space of time, accorded to a tone or sound,

is

called its

DURATION.

We

say, therefore, of a tone

it

has a definite or inde

finite duration.

If

we cause

the gradual production of a series of tones or

sounds of certain duration, according to some regulating

law, in any fixed and continued,

ments,

we

i.e.

repeated, time-mo-

call this regulation of time-succession,

RHYTHM.
Where such regulation

does not take place, the tones have

either no certain duration, or follow in no regular succes-

sion

we say

that such tone-succession

A succession

of tones, which

is

is

unrhythmical.

formed according

to

any

17
particular plan, and at the

same time rhythmically regulated,

(whether agreeably, expressively,

&c,

or not,)

is

called a

MELODY.*

piec of

Music can

consist of a single tone-series,

it

then called

is

Monophonic,

Or

it

one voice.)

(for

can consist of two, three, four, or more, simulta-

neously progressing tone-series

Duophonic
Tctraphonic

(for
(for

two voices)

it is

then called

Tri phonic (for three voices)

four voices)

or Polyphonic (for

many

voices.)

Each

series of tones, however,

upon some instrument,

is

called

whether sung or produced

VOICE.
The simultaneously-meeting

tones of different voices must

stand to each other in some reasonable, corresponding relation.

This relation

is

called

HARMONY.
And

of

all

these essentials

tones and sounds, tone-suc-

cession and rhythm, melody and harmony, does

MUSIC
consist.

A mire

concise definition of

Melody

will be given at a later pcrio**

FIEST PAET.

TONES AND NOTES.

CHAPTEE L

THE TONE SYSTEM.

Tone

We

is

a sound of certain height or depth, (pitch.)

know already

that there are

of the various tone-gradations

Music, however, not

of.

all

is

many

tones

the mass

absolutely innumerable.

these tone-gradations are

In

made use

part merely of these tones are actually and fixedly

employed.

These tones constitute what

is

called the

TONE SYSTEM.
This tone-system contains above one hundred tones.

would have occasioned much

name

for each of

them

and

classification of these tones

difficulty to fix

this

It

& particular

has been the cause of the

under seven

DEGREES.
These degrees have been named

C
And

all

them.

D E F G A B

tones have one of these names, or one derived from

'

CHAPTER

H.

THE NOTE SYSTEM.

For

the designation of tones,

we make use

of a series of

characters, called

NOTES.
It

would be tedious for us

sical Notation.

We

Mu-

must content ourselves with communi-

cating the facts, that after

five lines

to enter into the history of

many changes and

modifications,

have been fixed upon, on which, or between which,

the tones are indicated

by open or

filled circles,

or ovals, ac-

cording to their pitch and duration.

1.

Where

these five lines are not sufficient, additional line

:
.

called

LEGER LINES
are introduced, which, not being continuous, are easily dis-

tinguished from the lines of the stave.

2.

wo have introduced

Here

r f f

the leger lines, in order to designate

20
those high or low tones, which are above the highest or the

lowest tones capable of being designated within the stave.

We

might now read and write

what meaning
words,

to attach to

we must

sponding

to

fix

all notes, if

we only knew

any particular note.

upon some

point, or

In other

some note corre-

a certain tone, by which we can be guided in the

designation of the others.

For

this

purpose we have certain characters, called

CLEFS,
Of such

which indicate the tone represented by them.

there are three in use

The

G-clef, or Treble-clef

The

C-clef,

The

-F-clef, or Bass-clef.

1.

clefs

and

THE G-CLEF

has this form,

and indicates that upon the

the tone g, (the lowest

line inclosed

by

its

lower circle,

of the Oboe, or the fourth

of a

six-octave Piano-forte, counting from the left to the right,)

shall be represented.

French composers of former times,

placed this clef upon the

it

first line

of the stave, thus

imperative to consider the note upon

tive of the tone g.

At

it

making

as the representa-

present the G-clef

is

invariably

placed upon the second line of the stave, and the notes pre-

ceded by

it

would accordingly be named thus

3:
J-

-9-

m E F G A

GAB CD

C D E F

G A

C D E F

21

By means
many

we might designate

of additional leger-lines,

upon

additional tones

this stave

but since the read-

ing of such notes would be a very troublesome task, another

character has been invented, in the shape of a wave, or dotted line

or 8

which, with the figure 8 before

marked

indicates that the passage thus

sung an octave higher than

The
sary,

and the ^succeeding

it,

it is

it,

to be played or

is

written.

leger lines below the stave can be avoided, if neces-

by substituting another

More

clef.

of this, however,

anon.

2
Its

most usual form

is

HE C-CLEF.
|zj

this

|,

and

use

its

is

a three-

fold one.

Indicating the tone

A,
in

which case

the

it is

placed upon the

it is

used

as Soprano-clef;

names of the notes succeeding

mm.

*,

first line
it

D E F G A

of the stave, and

are fixed accordingly

C D E F

G A

B, as Alto-clef.

As such

it

is

placed upon the third line of the stave, and

the notes succeeding

5.

it

are called

22
C, as Tenor-clef.

As such

is

it

placed upon the fourth line of the stave, and

the notes succeeding

it

are called

6.

w 0-

1!
-

^- Q-

It

A
It is

j-*^
D E

-4-

G A B

C D

G A

hardly necessary to add, that additional leger-lines

can be employed in the C-clef, as well as in the

3

It has generally this

and indicates the tone

exclusively

G or

F-clef.

HE F-CLEF.

5^,

upon the fourth

or

some other similar form,

Pi

and thus gives

line of the stave,

to the notes succeeding it the following

now placed

It is

names

SEsl

CD

The

E F

GAB CDE

attentive student will have divined, ere this,

these different clefs are used for.

Bass and Treble

clefs

what
even

are not sufficiently convenient for all tone-series and voices.

The

F-clef, for instance,

would be too low

for a

Tenor or

Alto voice, while the Treble, or G-clef, would be just as

much

too high:

The former would

leger-lines above the stave,

low the stave.

is

and the

How much more

the Alto and the Tenor clef

require, at least, four

latter just as

many be-

convenient in this respect

23
8.

*
u

The above

passage, if written in the Treble-clef, would

appear ihus

i
and in the Bass-clef thus

^ i - -

10.

These
sive

different clefs are also

used in passages of exten-

compass, for which a single clef would not be

sufficient.

Here, for instance,

11.

3E

^
is

-4

E3:
w

a passage, which, by means of changing the

made readable
made

it

clefs,

has been

while the use of a single clef would have

almost unintelligible.

When

several voices combine in one composition, they are

written upon separate, parallel staves, and each voice*

ceded by

its

proper clef

for instance, the*

higher voices, the F-clef for the lower ones.

each clef

is

valid until replaced

by another.

is

pre-

G-clef for the

In such case

CHAPTER

in.

ABBREVIATIONS AND OTHER ACCIDENTAL CHARACTERS

IN MUSIC.

We

have already mentioned the character which trans-

poses a tone-series to the octave above.

ter is

charac-

used for the transposition of a passage into a lower ocIn such case the wave-line

tave.
to

The same

be transposed.

For

is

placed below the notes

single notes the figure 8 will be

suffi-

cient.

similar facilitation consists in

aW-ottava, or a/Z'8

va
,

which,

if

employing the words

placed above the notes, in-

dicates that the higher octave is to be added to the notes

thus marked
intended.

if

Thus

placed below the notes, the lower octave

the following passages.

12.

3 5

might be expressed in

this

manner

is

Sza

(ter ), alia 61? (sista),

25
Other abbreviations,

&c,

will

like alia

need no further explanation.

Finally, there are certain characters intended to save the

notation of a passage partly.

If a passage
is

is

to be repeated two, three, or four times, it

written but once, and the words

bis,

are placed above

to

it.

quater,
ter,

In addition to the above, the passages

be repeated are often inclosed by curves, or dots

If a

more extensive passage, or perhaps a

a composition,

is to

two perpendicular

made use

of

distinct part of

be repeated, the repeat, consisting of

lines,

with dots on one or both sides,

is

11

If the dots are placed on both sides, the repeat refers to

the part just played, as well as to the succeeding part,

which latter must be terminated by another repeat with dots

on one side.

If a part is to be repeated
position, a repeat with dots

from the beginning of a com-

on one side only

is

necessary

26
If a passage

to be repeated, the

is

end of which expe-

riences an alteration in its repeat, the part to be altered

enclosed by a curve, and the words

placed above

1=

marked

omitted, and the player has to pass on beyond

the repeat, where the words

to guide

(prima volta), are

In the repetition of such part, the passage

it.

is

is

him.

2=

(seconda), should be placed

The words prima

volta,

and seconda

volta,

stand here for 1st and 2d time, and thus explain the mystery.

The words Da

capo, (D.

similar meaning,

C,

or

D. c,

or d.

c.,)

"to repeat."

i. e.,

If the repetition goes merely to a certain point,

piece

is

have a

to be ended, the point is

where the

marked by the word

Fine, (end,)

and

is

D.

for the sake of clearness a pause

placed above the end note

C,

the

words B. C.

and instead of the simple

al fine (from the commencement to

the end), are placed at the point where the repetition

is to

take place.
If the repetition

is

to begin at a certain point in the

dle of the piece, that point is

mid-

marked thus

and instead of
sign, are used.

d.

c, the words

d. s., (dal segno,)

from the

27

There are
facilitation,

in use

still

we might

more characters of abbreviation and

say, but these not being absolutely ne-

cessary for our immediate purpose,

ing

when they

occur.

we

shall give their

mean-

CHAPTER

IY.

ELEVATION AND DEPKESSION.

When we

compare our notes and tones, as far as we know

them at present, with the key-board of a Piano-forte, we

find that

we do not know

yet

all

the tones of our system,

and that consequently we cannot represent them by notes.

We

have reference to the upper keys, or black keys of the

Piano-forte.

We

have permitted

pleteness, in order to obtain a basis

sily arrive at the

Our

c,

for instance,

we

between the two, however, there

The same

relation exists

other.

arrive at the next tone d ;

is

room

for another tone.

between d and e,/and g,

g and

a,

b.

diagram of these relations

achieving our object.

c as the first tone
its

from which we can ea-

wanting tones and characters.

by no means equidistant from each

Beginning from

temporary incom-

tones, thus far, if succeeding each other in regular

rotation, are

a and

this

will

We have here

aid us materially in

accidentally mentioned

and on examination the

series

from c

octave, will be found so satisfactory to the ear, that

to

we

shall adopt it at once as the

normal tone-series for our ana-

lysis, being, in addition to

the above, the only one of the

seven tone-series at present within our reach, which

pletely satisfactory.

Here, then,

possible intermediate tones are

is

is

com-

a diagram in which the

marked by a mere

dot, for

29

we have no other means

the simple reason that, at present,

them

of designating

C^-d-^e f-Lg-La^-b

We

repeat, again, that this succession of tones

and since we ascend, as

satisfactory to the ear

from one

we

c to the other,

will call the

for

" Ladder,"

(scala,)

we

we should

call the

were,

from the Latin

will call it

SCALE.

Having once adopted the term " scale,"

that

it

whole diagram a lad-

der, or to use a technical expression derived

word

perfectly

is

it is

but natural

intermediate tones

DEGREES,
and the distances from tone

to tone, or

from degree to de-

gree,

STEPS.

When we now

compare the

different steps,

we

find that

those admitting of an intermediate tone are larger,

must be

larger,

than those which do not admit of an intermediate

tone.

We

will distinguish these different species of steps

by the terms " whole steps," or " steps," and " half steps."

We

find, further, that

our scale contains

five steps,

and

two half steps, distributed in such a manner, that from the

first to

the second, from the second to the third, from the

fourth to the

fifth,

from the

fifth to

the sixth, and from the

sixth to the seventh degree, are steps

to the fourth,

and from the seventh

and from the third

to the eighth degree, are

half steps, as in the following diagram

d1*111*

i

16, c

e-f

b-c.


30

We

stated in a former paragraph that our taking c as the

was merely

basis of a scale,

We will

accidental.

that a succession of tones, in order to be a scale,

remember

must be

regular succession, in which the steps and half steps are

And now we

distributed according to the above diagram.

will

attempt to form a scale from any other tone.

We

may

take g, which the student

accidental

again consider merely

the reason, whereof, however, will soon become

The regular

apparent to him.

when we take the

5, c, d,

EH

thus

to

; or thus,

e,f,

attended to

is

degrees, as they follow from

g a,
9

succession

but on striking these notes on the Piano, and comparing them

we soon

with our last diagram (No. 16),

steps

from the sixth

and

are correct, but the

/degree

is

necessary to

And now we
we could

find

we

distinguish

it

is

The

from our diagram.

we want.

not what

make our

to
e

Yet the

scale complete.

return to those intermediate tones, for which

There

no name.

between the/ and g.

pensable,

and from the seventh

to the seventh,

the eighth degree, are different

discover that the

place this

is

the very tone

The f degree being

new

tone upon

from the original/,

we

it

we need

absolutely indis-

and

place this

in order to

mark

I
before

it.

This character

is

called a

" sharp," and conveys

the idea, that the tone before the representative of which

it

31
placed, had been

is

as

it

aide more

sharpened*

acute, elevated

were.

The

scale of

G, with

this

amendment, would present the

following appearance

18,

now a

It is

correct scale in every particular, differing from

C in bat one point,

the scale of
It is time

now

to give the reasons for taking the tone

The

experiment upon.

one more sharp will be

the scale of

all

fifth

that

tone of our new

is requisite

Thus

G.

We

sion.

bors, if

to

make

the stu-

his course, adding sharp to sharp, while

begin at a different point, probably to meet

point where

to

the fifth tone of onr ori-

D correspond with that of

may pursue

dent

G was

and in taking again the

ginal scale,

student will perceive that one tone

only required an alteration.

scale, 6%

that of pitch.

we can explain Ids

we

him at some

doubts, or remove his indeci-

have simply to add, that in the course of his la-

he pannes Iks plan we nwBcatfd,

t. e~,

always re-

suming his task from the fifth tone of the Imst scale, he

will

soon discover tones which are not in onr original scale;

but in following the above directions, he cannot

fail in

com-

pleting his scale.

We
on

have succeeded so well in constructing a seals upthe fifth tone abort c, that

we

are warranted by

it.

at least, in attempting the formation of a scale

fifth

tone below

c.

Let us again write onr degrees in regular succession, beginning with f.


32

19.

Comparing the steps of

gram No. 16, we

this tone-succession

with our dia-

find that while in the scale of

G,

it

was

the seventh tone which required being replaced by another,

it is

now

the fourth tone which

We

demands a modification.

bear again in mind, that we must preserve the regular succession of the degrees, and b being too high,

course to the intermediate tone below

tinguish

from the original

it

6,

we

it,

and

we have

re-

in order to dis

place a

b
before

This character

it.

is

called a

flat,"

and conveys

the idea, that the tone before the representative of which

is

placed has been lowered, depressed-flattened, as

With

it

pearance

the scale of

F would

it

it

were.

present the following ap-

20.

-f

te=

The elevated tones have

asy sharp, g

Taking

the word

" sharp"

afiixed to

flat,

fifth

tones have the

flat,

above

name "flat"

affixed

fifth

tone to construct our scales upon,

C, G, D, A, E, B, Ffl,
fifth

below

to

&c.

would give us the scales of

Taking

them,

sharp, &c.

The depressed
them, as b

fifth,

C#,&c.

would give us the scales of

33

That some of these

different in appearance,

we know when

to

remember that we

scales should be alike in sound, yet

Enough

need not trouble us.

that

use the one or the other, and enough

issued from the

same point

in

two

to

differ-

ent directions, and that our impulse has carried us over

ground previously gone over from the other point.

21.

2 SCAMPS

4'SHARM

FILATTS

]Q)r*^^rfi!SRPs
s flats
I?

SMARM

(LAYS

In order to avoid the unnecessary accumulation of characters in the notation of a piece of music, the sharps or flats

incident to the scale or key in which a composition has been

written, are merely placed at the beginning of the piece, or
at the beginning of

of a scale or key.

each stave, and are called the signature

This signature

is

valid until

it is

recalled

by certain characters, (of which we shall speak directly,) or

until another signature occurs.

of music,
flats its

we have then

to

During the course of a piece

remember how many sharps or

key requires, and what tones have been thus modi-

fied.

2*

34

The

fact of there being in existence incidental flats

and

sharps, leads us to suppose that there are also accidental

and

sic,

These occur in almost every piece of mu-

and sharps.

flats

piece

is

arise

when

the composer leaves the key in which the

written, either temporarily or permanently, without

changing the signature, or when a tone of a foreign scale

introduced without affecting the regular key.
the sharp or flat

good until

it is

is

is

In such case

always placed before the tone, and holds

recalled

until the modified tone is re-

i. e.,

placed by the original one, or until the end of the measure

in

which the accidental occurs.

neutralizing a sharp or
this

The

called

flat is

character used for

a " natural," and has

form
H

It is placed before the note to

be neutralized, and holds

good to the end of the measure* in which

There are

also instances in

or depression of a tone
point of pitch.

is

it

occurs.

which the incident elevation

not sufficient to reach the desired

Double sharps (X) and double

have been introduced in such cases.

flats,

The former

the tone an additional half step, the latter depresses

the

same

tural

ratio.

(tjbj) is

We need hardly mention

(bh,)

elevates
it in

that a double na-

required to neutralize the effect of either.

If the intermediate tones of which

we have spoken, can

occur in the course of a composition, they can also occur in

a scale.

Here

* The word measure signifies a musical

More of this in the
"bars."

lines, called

division

marked by perpendicular
Rhythm.

chapter on

35

ML

is

the scale of C, with all

its

intermediate tones.

We have

written the ascending scale with sharps, and the descending

scale with flats, in order to avoid the introduction of natu-

rals.

better reason for

"Theory

A
is

of

it,

however, will be given in the

Music."

scale, in

which the intermediate tones are introduced,

called a

Chromatic Scale.
In contradistinction to

it

the original scale

is

called the

Diatonic Scale.

Tones which
c*

and d

!>

differ in
,

e I

name but not

and /,

&c,

are called

Enharmonic,

More

cf this hereafter.

in sound, like b

and

CHAPTEE

V.

THE MEASURING OF TONE-EELATIONS.

Since Music

know

is

a combination of tones,

it is

necessary to

the relations of these tones to each other.

We

can designate

one tone

is

it

superficially,

by merely

higher than another, for instance,

higher than the d of the same octave.

is

by no means

But

many lower and

above each tone there are

statement

stating that

we

as exact as

or a

since under

is

and

higher ones, this

should desire

it.

Counting the degrees would be already much more exact.

Beginning from any one which we
call the

next above

it

call the first degree,

the second, third, &c.

the Latin numerals are used for this purpose

they will occur even in our work,

and English names.

in

some instances

Thus we have

Frequently
;

and since

will give both the

Latin

There are then

The first degree,

The second
The third,
The fourth,
The fifth,
The sixth,
The seventh,

And

we

we

it

or First,

or Prima.

" Second, or Secunda,

" Third,

or Tertia.

" Fourth, or Quarta.

Fifth,

or Quinta.

" Sixth,

or Sexta.

" Seventh, or Septima.

is

necessary to go even further.

37

The eighth
The ninth
The tenth
The eleventh
The twelfth
The thirteenth
The fourteenth

We

degree, or Octave,

or Octava.

degree,

" Ninth,

or Nona.

degree,

" Tenth,

or Decima.

degree,

" Eleventh,

or Undecima.

degree,

" Twelfth,

or Duodecimo.

degree,

" Thirteenth, or

degree,

" Fourteenth, or Decima quarta.

Decima

tertia.

perceive at once that Octave, Ninth, Tenth,

nothing but the

that there

arc

second, third, and fourth degree, in a

first,

Yet, at a later period,

higher octave-

&c,

we

shall discover

a difference, sometimes, between these degrees.

is

When we now
spective pitch,

This relation

compare two tones

we place them

is

in regard to their re-

in a relation to each other.

called

INTERVAL.

We

say, therefore,

a second,

But even

know

and

and

D form together the interval of

D the interval of a fifth,

we

that each of our degrees embraces five different tones.

Which

of those five

is

now

in reality intended ?

mand, for instance, the fifth of C,

#X,

&c.

this designation is not sufficiently exact, for

or

or gbb.

They

all

from C, and consequently are

it

may be

stand upon the

If

g, or
fifth

we de-

#1

or

degree

all fifths.

We require, therefore, a more exact tone-measure, and for

it

we take

the smallest measures of our tone-system, the

HALF-STEP,
and the

STEP.

We

are

now enabled

tone-relations of

the steps

to give

an exact statement of the

any possible interval, by merely counting

and half-steps therein contained.

Thus

the second

38
c

d, for instance, contains

or c
c

&

and d

and d

and d H

But

it

e,

two half-steps,

The

third c

or four half-steps, c

cI

and

c8

d,

contains two steps,

cI

d,

6.

would be too troublesome always to give the exact

measure of an interval

many

steps

and

half-steps,

and

have been distinguished four classes of

for this reason there

intervals,

in so

which in themselves at once express the exact

measure of the

relation.

Each

interval can be

Major, or

Minor, or
Diminished, or
Superfluous.

Each minor

interval arises from the diminution of a

jor one, or in other words,

same major

a half-step smaller than the

interval.

Each diminished
minor

it is

ma-

interval, or

interval is a half-step smaller than the

two half-steps smaller than the same ma-

jor interval.

Each superfluous

interval is a half-step larger than the

major interval.

When we
tervals are,

once know, therefore,

it

will

be easy to make

ished, or superfluous intervals.

tion of the

how

major intervals

of

And

large the major in-

them minor, diminthe best representa-

is

our scale itself;

for each tone in it forms with the
interval.

Consequently

fundamental tone a major

39
c

cf

is

a major second,

"

a major third,

11

a major fourth,

" a major

a " a major

c
c

it

will

be easy

"
"

an octave,
a major ninth *
that

contains 1 step,

third
fourth,
fifth,

sixth,

seventh,
octave,
ninth,

steps,

steps,

of

it

the major fifth c

i. e.,

5 steps,

must bear

in

If, for

into a

it

be easy to

will

b,

b,

cf
c
g

b,

b,

b,

mind

b,

we wish

to

change

to

Cg*

is

a minor

c are therefore

the minor second,

third,

fourth,
fifth,

sixth,

seventh.

that these intervals are merely major, as related

fundamental tone of the scale

nor a major fourth, &c.

instance,

minor one, we must subtract a

from

intervals

selves form various intervals

is

intervals.

interval,

half-steps (by depression or ele-

change the

The minor

We

to the

1 half-step,

and 1 half-step,
and 2 half-steps,
and 2 half-steps,

6 steps,

many

vation) as are requisite.

fifth.

1 half-step,

a minor, diminished, or superfluous one, by add-

ing or subtracting as

half-step,

and

steps,

5 steps,

measure the other

to

and

3 steps, and 1 half-step,

Having once obtained a major

make

sixth,

" a major seventh,

When we remember now

The major second

fifth,

thus

(c)

The

df and

other degrees amongst them-

g are not major thirds

fb

40

In order to change c

jor seventh c

if

a minor seventh, b

minor seventh

c I

In this manner

it is

c8

the

of the

ma-

must be depressed

In order to make of the

b a diminished seventh, b

pressed an additional half-step

venth.

fifth,

make

In order to

a half-step, and must become b

a superfluous

into

must be elevated a half-step.

is

must be de-

a diminished se-

very easy to represent any mi-

nor, diminished, or superfluous interval.

In the last chapter we

we

find

now

intervals,

made mention

of enharmonic tones

which though of equal height in re-

gard to the tones constituting them, have different names,

and which, therefore, are called

Enharmonic

Intervals.

Thus, for instance, the minor third

with the superfluous second c
c

g1

is

<2$;

l>

enharmonic

is

the superfluous

enharmonic with the minor sixth

t>

&c.

fifth

CHAPTER
THE TONE

We
grees,

VI.

SPECIES, SEXES,

have seen that Music has at

its

OR MODES.
command seven

de-

upon which, however, can be constructed a great num-

ber of tones and tone-relations.

It

is

possible that

these tones and relations can occur in one composition.

work of

since every

tendency, since
sensations,

it

is

it

art has

certain limits of

all

But

design and

expresses a certain round of ideas and

natural that the tones and tone-relations

should be limited in the same manner

that for each composi-

tion there should be a certain circle of tones

and

relations,

within which the composition should exclusively or principally

move.
This circumstance

facilitates the task of introducing the

Btudent into the empire of tone-formations, without the risk

of his losing himself in the infinity of manifold forms.

The seven

degrees, so lately mentioned, form the basis of

every composition.
five different
sibilities

But each degree can be represented

in

manners, and thus there are innumerable pos-

of combination.

But of

all

these possibilities, the system of

modern Music

has selected two as the only essential ones.

called

Tone Species, or Modes,

and are either major or minor.

They

are

42
In both are the seven degrees, and they are distinguished
relation of the degrees to each other

from each other by the

and by the
the

size of the interval

which each degree forms with

first tone.

THE MAJOR MODE

has exclusively major intervals.

we formed
to the

Consequently

in the fourth chapter are

major

all

scales,

the scales

and belong

major mode.

THE MINOR MODE

contains also major intervals, with the exception of the

Third and Sixth, which are minor.

change major intervals into minor,

we know how

Since
it

change a major mode into a minor.

to

will be easy for us to

We have but to

depress

the third and sixth to change C-major,

c

d efga
b

c,

for instance, into C-minor,

c

Thus we

d -fga b
e

find that the

c

t>

minor scale has the following steps

d fga
11
e

i*

The most

c.

|}

conspicuous step in this scale,

to 6, a step of a superfluous second.

c.

is

Like

the one from a

all

t>

other super-

fluous intervals, this progression in the course of the scale,

affects us disagreeably.

43
This, however,

is

not the case in every tone-succession

for instance, not in the following

where the superfluous second has been avoided, and

it is

not

our object to obtain a mild tone-succession, but a firm basis

for our compositions.

CHAPTER

VII.

THE KEYS.
In the fourth chapter we have been taught the number of the

major

and how they can be formed.

scales or keys,

now form as many minor

we have

also learned

scales or keys.

what signature

scale or key.

The

different law.

Their signature

it,

We can

In the same chapter

to give to each

major

signatures of the minor keys follow a

is

not as the scale demands

but each minor key has the signature of that major key

which

lies

The

a minor third above

signature of ,/2-minor

it.

is

not, as one

would expect,

a sharp before g, nor does that of D-minor consist of a c

and

but

A-wmor

has the signature of C-major, and

D-minor has the signature of .F-major.

Here

are the signatures of the most usual minor keys.

Two

keys, (a major and a minor key,) which have the

same signature, are called

PARALLEL KEYS, Or PARALLEL TONES.

The

parallel-tone of a minor key, as

we have

seen, lies a

45
minor third above
a major key

We

lies

it,

and, vice versa, the parallel-tone of

a minor third below

it.

can now more fully understand the object of the

It tells us

nature.
elevated

2, it serves us as

the token of the key in which

But we know

the composition has been written.

such signature can belong to two different keys

der to ascertain exactly in what key a piece

must turn
point,

we

to

will

its

But

harmony.

if it

until

we

is

also that

and

in or-

written,

we

arrive at that

remember that generally

the last tone

and

sig-

1, what degrees are to be depressed or

of a piece,

ends with a chord,

the lowest tone

in connection

the key.

If,

of that chord,

with the signature, will be a sure indicator of

for instance, the signature consisted of

sharps, and the lowest tone of the last chord were

would know at once that the piece

is

composed

in

two

6,

we

5-minor,

the parallel tone of D-major.

But what of those degrees

signature

is

not suitable

in the

The

minor keys for which the

or

t>

belonging to them

is

placed before the respective notes as often as they occur,

thus making these elevations or depressions almost accidental.

CHAPTER VHL
RELATION OF KEYS.

When

we compare

the different keys with each other,

find that

each deviates from the other to a greater or

degree.

Thus C-major and G-major

tone,

f and/f

with .E-major,

Two

less

deviate but in one

Comparing, however, the scale of C-major

we

find that

tones from each other

has/t, ci

we

g it,

the two scales differ in four

C-major has

c,

g, d ; .E-major

keys which have several tones in common are said to

be

RELATED.

We

have just now seen that

this relationship

place in a greater or less degree, according to the

tones which the two have in

common.

There

can take

number

of

are, conse-

quently, different

DEGREES OF RELATIONSHIP.
Finally,
tion

we have already

between

different

keys

seen several manners of connec;

the major keys were connected

in the form of the Quint-circle

parallel

the minor keys, with the

major keys, and with their own major keys.

are, therefore, three kinds of relationship.

There

47
Relation of Major Keys.

1.

Here the Quint-circle

The keys

degrees.

indicates the relationship with its

lying close together in the Quint-circle,

deviate from each other in but one tone, and stand in the

degree of relationship to each other.

first

the Quint-circle before us thus

4

spread

10123456

When we

G b D b A b E b B\> F C GDA EB Fjf

we

key has

find that each

its

bors to the right and to the

two nearest relations as neigh-

left.

Relatives of the second degree are those which differ in

Thus D-major on one

two tones.

side,

and

t>

-major on the

other, stand in the second degree of relationship to C-major.

2.

The

Relationship of Parallel Keys.

parallel keys are related to each other in the first

degree^ for they differ from each other in but one tone.

C-major and
of the

first

combine

perceive a

We have

its Parallel

this

new kind

stand again in the

of relationship between the keys.

for

first

instance,

2, with

and

degree of relationship with their Paral

Consequently we can con

minor tones as relatives of the second degree to

major key (C-major.)

hibits to us

major keys

C-major with G-major,

But now the major keys

E-minor and D-minor.

sider these
first

-major, are relatives

kind of relationship with the other,

1, with its neighboring

key,

F-major, and j?-minor.

the

found that each major key stands in relationship of

the first degree

lei tones,

(7-minor and

degree.

When we
we

A -minor,

Thus

The

following diagram ex-

48
C-major,

F-major, ^-minor, 6r-major, as relatives of the

degree.

first

J-minor, as relatives of the second degree.

D-minor,

We might pursue these

ther, but this

degrees of relationship

much

far-

would be but an unnecessary waste of time and

paper.
3.

Relationship of

Minor Keys with

Major Keys,

their

and amongst themselves.

We know
grees from

we should

already that each minor key deviates in two de-

its

major key, in Third and Sixth.

consider

them

Consequently

as relatives of the second degree.

But a singular coincidence draws

this

bond of union

together.

The

fifth tone,)

and the Sub -dominant, (the fourth

Tonic, (the

scale are its principal

first tone,)

the Dominant, (the

tone,) of each

moments, and these three moments be-

long to the major scale as well as to the minor

communism

of tones

later period,) that

finally

so influential, (as

is

we can

tone as relatives of the

And

closer

we

and

this

shall see at a

consider the two modes of the same

first

degree.

we consider those minor tones which stand

the relation of Tonic, Dominant,

and Sub-dominant

other, as relatives of the first degree.

12-minor and D-minor as

Thus we

to

in

each

consider

relatives of the first degree

to

j?-minor, though their scales deviate in two and three points

Defga6b c|
a

b~

g a
ef
efgf a

d
d

ef$g

When we

a^-bcdle

combine these relationships with those found

49

under
first

2,

we can form a

similar diagram of relationships of

and second degree.

^4-minor,

D-minor, i-major, E-mmor.

J'-major,

It

(kmajor.

remains now for the student to form similar diagrams

of other major and minor keys.

First Part.
Composition for Single Parts, (ATonophonic Composition).

CHAPTER

THE FIRST FORMATIONS.

THE TONE-CHAIN, WITH

A Musical composition

ITS SPECIE8.

consists of one or

more

successions of

tones (tone-chains) which progress simultaneously, and which aro

intended for one or more instruments

one or more voices

for

or for instruments and voices together.

Beginning with the most simple

the

have already to make a distinction.

we

single tone-chain

For a

tone-chain does not

contain merely sounds, which succeed each other, but that sue
cession

is

by

regulated

certain laws

when one sound should succeed the

sound

is

(Rhythm), which indicate

other,

and how long each

we

will, for the present,

to continue.

But regardless of

rhythmical laws,

all

analyze the mere tonical contents of a tone-chain.

These tones can succeed each other in various manners.

They

can progress from low to high, from high to low, or these two
directions can

and descending

be mixed.

We distinguish therefore ascending

(b), tone-chains,

descend, and which

we

(a),

and those, which both ascend and

will designate as vague (c).

The

repeti-

and the same tone, too, might inappropriately be

and finally the tones can succeed each
called a tone-chain (d)
other by regular degrees, as in a, b, and c, or by irregular degrees
tion of one

as in e.

is
I

-0

54
It is

effect

easily perceived that ascending tone-chains produce the

of exaltation, elevation, tension, while, on the contrary,

scending ones produce the effect of relaxation, or return

de-

to repose.

Vague tone-chains awake neither the one nor the other sensation
but with a certain indecision remain between the two

distinctly,

and have a share of

either.

Yet with

all their

deviation in detail

they can, in general, belong to one of the two principal species.

Ascending.

We have now only

Descending.

add that the motion of u step by step

is more quiet and even, while the skipping irregular motion i*
restless, unsteady, and nervous. But more of that anon.
1

to

Tone Eegulation.
The vast resources which music has

at its

command make

if

absolutely necessary that, in our attempts to produce or invent

we should observe a certain order and limit, in ordei

way amidst the enormous mass of tone-formations
We require a foundation upon which we can construct our forma
tions, and from which we can derive them.

tone-chains,
to find our

We will select
since

even

them the

the diatonic scale as our

first

this scale has its different species,

original

But

will select from

and most satisfactory one

The Major

The reasons

foundation.

we

Scale.

for this choice will in a future chapter

become

ap-

parent of themselves.

The major

scale,

from

its

Tonic to

its

octave, rests

upon the

i
Tonic,

moves thence through the remaining degrees (d to b), and

upon the Tonic, or its octave. All
perfectly agreeable to our feelings, and the more so when

closes, satisfactorily, again

this is

we compare

it

to other tone-chains

for instance,

with

55

or with imperfect tone-chains (not beginning, or not ending with

the Tonic).

We recognize
The

the scale.

the Tonic, therefore, as the beginning and end of

latter originates

the
last

from the Tonic and returns to

it.

moment of repose, the scale

formed. Here we have discovered at

In juxta-position to the Tonic

the

moment of motion, is
an antithesis which runs through the whole science of music

Repose and Motion, Toxic and

Scjlle.

Analysis of the Scale.

When we
that

it

examine the scale in

its single

halves, exactly alike in steps

and one

t.

e.

we

find

consists of

two

progressions

contains steps and half-steps, and that

it

each half containing two steps

half-step.

E F

C
one

one

G
one

half

one

C*
half

* "We suppose that every student of composition is familiar with th

major scales but in case of the student's not being able to represent to himself such a scale at once, we refer him to the above measurement of the
;

scale for assistance.

We know that

on every tone of our tone-system we can construct a major

and that all major scales have like proportions they all progress like
ihe above c major

scale,

1 step,

1 step,

step,

1 step,

1 step,

1 step,

step.

In order then to construct a major scale on any particular tone, we have

but to write the seven degrees from it to the octave, and justify it afterwards, by means of flats or sharps, according to the above diagram. In
constructing the scale on a, for instance, we first write the seven degrees

ABCDEFGA

and measure each step. A to 6, a whole step, agrees with the diagram
6 to c ought to be a whole step, and consequently will have to be enlarged
by changing e into cj c\ to d is now a half-step, d to e a whole step both
in accordance with our model: etof however, is merely a half-step when
it ought to be a whole one; consequently /has to be changed into /$, and,
for the same reason, g into g\.
In constructing the scale of db major, we would first write the degrees
;

thus:

Db

E F

G A B C

D'y

and then regulate the distances from one degree to the other by means of
sharps or flats, whichever is wanted.

56

The one of these tone-chains

other leads to

originates in

the Tonic ; both find in

c,

c,

the Tonic; th

c their centre

and

jun<

tional point.

Even in this formation of the scale we find the Tonic the ell
point from which the other tones advance, to which they retur;
and around which they move.

Rhythmical Formation of the Tone-Chain.

2.

We have until now considered the

we

tone-chain and scale, and

happen at equal and unequal intervals of time

most

particularly, in a

of

infinitely varied

manner.

and the

t}

to?

This resounding, however,

another should resound.

after

tonical contents only

have tacitly admitted that one

ci

latt

We will the

fore begin again with the most simple, and imagine a regular sicession, each tone of equal value; for instance, the scale
i

crotchets (quarter-notes)

1.

I
form does

us,

because one tone lo

the other passes by, without distinction.

The longer we wo>i

more fatiguing a 1

But

this

not

satisfy

continue this chain of equi-long sounds, the

confusing would

it

be to

Our

us.

feeling urges us to distingnh

and to regulate we must divide this chain to make

Admitting the division by two as the
conception.
;

would begin perhaps

and

thus

arrive

at

in this

easier>f

it

easiest, e

manner

the simplest regulation

of time,

Sink

Measure.

This regulation, at present, exists only in our imaginatioi

on paper; but to

make

it

of a measure (marked A )

reality

by a

we

distinguish every

stronger accentuation.

makes every beginning of a measure

Thisac<

it

first

perceptible, and

by

r>7

means we have introduced

into our scale a variety to which de-

cided and absolute necessity has led us.

Our
and

now well regulated in regard to time,

made perceptible by the alternate
and weak intonation in short, it has been made

tone-chain appears

this regulation

change of strong
rhythmical

A
the

has received the Riiytkm.

it

has been

Rhythmical Tone-Chain

first

a Melody, and a melody

is called

Already

we

attempt

in our first

found

necessary to begin

it

and end with the Tonic as the most important tone, and
pleteness and perfection

was

in

owing to

fact

this

rhythmically important and unimportant tones.

we

now be round and

will find

its

com-

beginning and

But now we have learned also to distinguish

ending thus.

shall

is

and simplest creation of art.

If

our melodies

perfect, rhythmically as well as tonically,

desirable that they should have rhythmical chief

it

notes for the beginning and for the end.

We

experience an unsatisfactory feeling in the above melody,

because, though beginning on a principal part

portant one

and the melody

is lost,

as

it

ends on an unim-

were, because the end-

it

note has no weight.

We

will therefore re-form our scale in this

The beginning has

but the succeeding notes

lost its emphasis,

and the satisfactory end remunerate us

But perhaps we prefer not being

beginning

it

may be

manner

for

it.

tied to this particular

form of

possible to have a beginning and ending

alike satisfactory.

And

here

is

all

appears to us imperfect in
sible,

remember a

the time to

accompany us through

our labors.
its parts,

principle which should

"

Whenever

a formation

or not clear and comprehen-

we should always retain of it whatever we have found good

necessary

to supply

let it

what

be found wherever
is

wanting."

In this instance

we know,

that

it

it is

may

and

or

afterwards try

our object to place the be-

ginning and ending of our melody on an accented part of the

measure.

We

also

know, that the eight notes of our scale have

58
to appear in four

part

must be

it

measures

at least

we know

Finally, if the last tone has to

other form.

fall

no
on an accented

at present -of

either in the shape of a half-note, or a quarter-

by a quarter-rest.
down would give us a

note, succeeded

This noted

lowing

figure

something like the

fol-

and we see at once clearly what has to be done.

The three
The first of
the other two have

wanting notes have to enter the vacant measure.

these can do so in the form of a quarter note

become eighth

to

-6

We have now arrived

all

notes.

our demands.

at a formation

which corresponds with

It is

In regard to tone-succession, beginning

1.

and ending on

the Tonic.
It is

2.

3. In

rhythmically well regulated.

regard to accentuation of beginning and end-note,

distinct

But

at the

4.

and well closed

and thus

itself at the

A means

and eighth-notes

and

half-notes,

this variety

proves

same time,

of promoting our object

for,

the end-note, th<

aim of the whole, has the longest duration; and

eighth-notes,

it is

satisfactory.

same time we have obtained

of rhythm three species of notes

A variety

quarter-notes,

5.

off,

immediately before

it,

the

serve to accelerate

the movement towards it, and to make the end-note

more characteristic. We have now a gradation of rhythm
as well as of melody.

Thus

far

ascending.

one

we have inadvertently represented all our tone-chains as

Nothing prevents us now from attempting a descending

50
exhibits a steady and satisfactory return to repose

It

the begin-

ning of all our tone movements.

But both formations have a very one-sided

elevation

is all

the other

is

character.

exclusively relaxation.

The one
Only tho

combination of the two in a larger whole can in every respect

satisfy us.
]3

%J

We

-0-

have

now

arrived at a tone formation which, issuing from

rhythm to the Tonic of a higher ocmarks this point by a rhythmical pause, and then returns
the same steady manner to the repose of the first tone.
We perceive also that this formation is composed of two halves (a and b)
which, each by itself perfect, combine to make the perfect whole-,
But though each
a whole consisting of two subordinate wholes.
the Tonic, rises in pitch and

tave,

of these parts or phrases resembles the other in rhythmical formation and tone-contents, the direction in the tone succession

each

is

exactly opposite

the one forming the reversed counterpart

of the other.

Such formation, consisting of two perfect phrases,

thesis and

antithesis, is called a Period.

Formations which lack the satisfactory ending of a period or

phrase are called passages.

Retrospection.

We
realized
1.

have now conceived the

first

ideas of composition, and

them in tones. They were

The tone-chain, with its different

directions

and progres-

sions.
2.

The

first

foundation of

all

tone succession

the

diator.ii-

scale.
3.

4.

between repose and motion in the scale.

and simplest rhythmical order, by the aid of
which a mere tone-chain became a melody.

The
The

distinction
first

60
5.

The

fixed

division,
6.

and manifold valuation of sounds, mensural

and accent.

The melody

strove to acquire a rhythmical

marked point

of beginning and ending and became a phrase.

7.

This brought us to a variety of rhythmical motion.

8.

The invented phrase (thesis) demanded a counterpart

(antithesis), and the two together formed a Period.
A formation of a new nature the passage was indi-

9.

cated.

And

thus

we have

arrived at the three fundamental formations

of all musical constructions

Phrase
and have recognized the

PeriodPassage

characteristics of their construction.

CHAPTER

II.

INVENTION OF MONOPHONIC PHRASES.

THE. DESIGN

1.

In order to arrive at

our

first

new

AND

ITS EFFICACY.

progressions

different parts

in the first

we

We

satisfactory phrase (No. 5).

measures a

will return

see

it

series of quarter-notes

and eighth-notes, which lead to the

the latter quarter

now

Thus we can distinguish various tone-groups ;

to

constructed of
;

in

final note.

for instance, a tone-

chain of quarter-notes.

9.

A group

ending more satisfactorily

is

in the latter measures.

10.

If
still

we

are willing to resign a satisfactory ending,

we

can select

more groups.

-+

11,

Such forms which contain the germ and the impulse of longer

Each junction of two or more notes

Every composition consists of such de-

phrases are called designs.

can serve as a design.

signs,

how

and

it is

for

us to consider

to apply them,

continually at

new

of these designs
scale has given

how we

are to nurse these germs,

and how to multiply them, in order to arrive

The invention
The simple
prepared.

phrases, passages, and periods.

is

us

already sufficiently
six,

and every new formation adds to that

number.

Every design can be applied by

itself

By

].

repetition on the

same

degrees,

12.

2.

By

repetition in a higher or lower range,

si
3.

By

repetition in opposite direction,

-1?

4.

By

repetition in notes of longer or shorter duration (aug

mentation and diminution).

Augmented.

Original design.

Diminished.

13.

5.

By

changing of thesis (weak, unaccented part of a measure)

into arsis (accented part of a measure), or vice versa.

IE5
6.

By

expanding or contracting the design

i.

e.,

by changing

a smaller for a larger interval, or vice versa.

-ft-

14.

7.

By combining

one design with another, or more to a phrase

We need not mention

that these different

tion can change with each other, or

We

can already see

formation
signs,

is.

We

and leave

it

how

manners of applica-

combine to a greater whole.

inexhaustible the field of musical

need therefore only show a few of these deto the industry of the student to invent others.

63

But to return again to our actual task, we will begin this

time with the most subordinate of our formations the passages.
say most subordinate, because they do not even end within

We

themselves.

-FORMATION OF PASSAGES.
repetition of a design produces a

Each

passage.

Thus the

repetition of the third design, in No. 11, gives us the following

passage

The same design reversed would give us the following

16.

Were
we

it

our object to

could do so

measure

make No. 15

by beginning with

still

more

light

and

flighty,

the unaccented part of the

(thesis).

fl^li=glli

17
-

Availing ourselves again of the

new ending and

beginning,

we

would be led to the following

35

18.

is

combination of designs No. 15 and 18 would form an en-

tirely

new

design,

and consequently a new passage.

19.

The

further practice of these forms and designs remains

for the student.

The advantage of

now

this exercise consists in the

winning from every formation a new aspect or feature

and in the student's proper progression not confusedly, according

facility of

64
to his

humor, design, and inclination

necessary, and not seizing the

3.

Here, too,

we

the smaller ones

but retaining the good

new without

and

absolute necessity.

FORMATION OF PHRASES.

begin with the third design in No. 11, because of

it is

the most conspicuous.

But

only in the third measure.

it

In No. 5 it appeared
might appear as well in any

other measure.

20.

We might now attempt

to repeat the

most animated part

21.

fc3

This would leave us only one tone to

and while the beginning of

this

fill

the third measure,

phrase would appear very ani-

mated, the latter part would be the more dragging.

new formation in which the

would be more equally distributed.
a

us, then, to

notes

22
'

This leads

different species

of

III 3

new to consider. The rhythtwo different parts which are

alike different from the phrases and from the halves of a period
But while their rhythmical formation is
thesis and antithesis.
Tins phrase gives us something

mical formation has divided

it

into

satisfactory, their tonical formation is not;

not begin or do not end in the tonic.

ations Sections,

for either

We will

and thus we have to distinguish

call

they do

these form-

in a period

which

No. 22 would give us

23.

fJ

-m-

and

not only the thesis and antithesis a and

c,

d, also.

b,

but the sections

a, b t

65

now

Let us

return to No. 21, and repeat the principal design

1?-

24.

The same reversed would give us

-9

Hi

25.

=fc:

4
In the one

we have ascended above

have descended below

it,

to the Tonic, deviations

and

the Tonic, in the other

in thus starting

we

from and returning

from the general direction have appeared.

This can take place at any other point as well,

A
926.

and since

we have

well go back

27.

But

here, at a,

two or

here, in

No. 27, we have already

out arriving at the Tonic.

phrases
this

gone back one note, we might as

three.

we

take four

We

filled four

measures with-

find it necessary to enlarge our

more measures and

continue, perhaps in

manner:
28.

We need not
A

defend the slight variation in the sixth measure.

adherence to the design would have led us beyond the

proposed number of measures. The dragging of the above might
strict

be corrected by the substitution of a short note

1?-

29.

for a long one,

06

and

this

would lead us to end the above phrase perhaps

like this

30.

We have now arrived

different parts

at a greater liberty of formation.

The

need no longer be of the same length, but require

merely being balanced

two

two measures each are

sections of

succeeded by a third one which has four measures and deviates in

its

form by being more animated.

we have now abandoned the division by 2, we might

tempt slow phrases of three equal sections or divisions.
Since

We have introduced this merely

common law

able the

is

in order to

at-

show how unten

that each phrase or period ought to

two or more measures. We shall give more instances

for with the same right with which we have introduced
the figure 3 here, we shall introduce other deviations from the
consist of
in future

primitive proportions.

4.

PERIODS.

We

have formed our first period of thesis and antithesis, and

both parts were perfectly corresponding with each other, only that
This is
the tone-chains were conducted into opposite directions.
the simplest formation

but No. 30 teaches us to give to the antiThus we might form

more animated, different formation.

No. 23 into a period by enlarging it thus

thesis a

32.

It will

the

be advisable to observe at

first,

in these important parts

and antithesis equality in the number of measures,

and to accustom the mind to order and symmetry, before attemptthesis

ing other,

more

free formations.

CHAPTER

NEW

DISCOVERY OF

We

now

have

discovered

III.

MEANS.

the fundamental forms of musical

all

The forms were

construction, together with their characteristics.

the Design,

HLb.

the Section,

the Phrase,

the Passage,

the Period

We

will

analyze

its

now

with

and

thesis

antithesis.

again return to the third design of No. 11, and

contents.

It consists

of three notes

one

quarter note

and two eighth notes, or together, a 2-4 measure.

But the three notes might

we would be

case

led to a

also have equal value,

new

and

in that

design which would give us the

following phrase,

33.

and with

The

it

" the Triple Time."

difference

between

former ones every

first

this

and former designs

same proportions can be represented

means we obtain a new formation.

34.

in Triple time,

ii

that in the

and by

The
this

SI

was as long as the two followHere it is of twice the length. To give it thrice
length would lead us from Triple time to Common time, oi

In our first design the first note

ing together.
the

is,

note was longer than the following.

trom

to

=t

Ui=


68

We might have obtained the same result in ^

doubled the length of the

first

In the latter case

into one.

we had

time, if

note or contracted two measures

we

should have obtained periods of

ABA BAB

twice two measures,

36.

closing with

what was once a chief

but otherwise regularly

part,

built.

But,
pear,
1.

it

little

between No. 36 and No. 7

as the difference

reveals to us

We perceive

what

in future will

that No.

36 not merely originated

but has also the same tonical content and the

accented notes in No.

marked

laotes.

have at

least

2.

a,

but more than

4.2

will

We

still

be

Even

one into a ^_ one.

of a small phrase should

it

7,

of

chief notes or

all

fall

if

Those
less ac-

the remaining

We can, therefore, unhesitatingly change a ^

4 one, and a

36,

No.

in

and have remained so in No. 36.

been chief notes, and have here

than those marked

cent

b,

7,

ap-

same rhythm

The notes here marked with a have been

notes.

may

be very important.

phrase into

the

end note

upon a former chief part, as

in

No.

marked.

sufficiently

perceive in the prolongation of the No. 33

strengthening of the accent in one and the

same

design,

35, a

by

en

largement of the time species,

37.

a
in

means of expression which

vocal composition.

ted notes

many more

will

It is clear

become particularly important

by means of ties and dot-

that

gradations can be obtained.

38.

When we now
perceive that the

return to No. 34, and analyze the design,

first

note contains, or

is

we

equal to, two quarters,

consequently could be reduced into two quarter-notes

69

39.

we might

or

continue the division

quarter-note into

two

still

further,

and reduce each

eighth-notes.

-S
Here we

arrive at a class of

new

designs which consist of tht

repetition of one note,

41.

Such designs

are,

of course, of rhythmical nature, and serve to

animate a phrase when

we

are limited to few tones.

But we return to No. 40.

If we are not pleased with the
frequent repetition of one and the same tone, we can easily exchange

it

neighboring one

for a

either the higher one,

or the lower one,

ta

llr"

Why

have we taken

1
ajf

intead of a ?

Because

in all the

former

measures the interval from the third to the fourth note was
only a half-step, and because this smaller interval of a half-step
leads

more flowingly upward.

first time, have we introduced a foreign tone, and

we have perceived at the same time that with the aid of such a
one we can ascend more flowingly than with the whole step.
We can now introduce the neighboring tone much sooner, and

Here, for the

introduce the assistant-note

is

still

later

We have to

repeat the b in the third measure, because there

no room

an intermediate tone between

b and c.
Perhaps the continual motion in quarter-r.otes might appear

for

70
monotonous and trifling

We can avoid

to us.

it

by

leaving out the

second assistant note

If

we were

spicuous,

make

inclined to

we might change

it

tins interruption still

more

con-

^ time.

into

<6.

two last phrases we arrive

The tone-chain is divided by

In the
tion.

at a

new conspicuous forma

rests into small tone-groups.

They are not as important as the sections, but nevertheless of

some consequence.
We will call them Links. Such links
might have been obtained much sooner by the prolonging of
notes.

47.

And

thus a period

S1E

3ti

might be divided,
into
f,

g,

two sections
h, and I)

Small

1,

into thesis

(a, b).

3,

and

antithesis (a, b.) 2, the thesis

each section into two links,

as the results of Part

the works of our great masters,

I.

may

it

will

(c, d, e,

appear in comparison with

be

still

advisable for the

71
student not to disdain or neglect these

first

The

attempts.

ad-

vantages to be derived from them are many.

First of all, the student will acquire that systematic and analogical

mode

of proceeding which

is

so absolutely necessary to the

mastering of any subject.

He

will learn to limit himself,

and to derive from any given

To show
subject the most manifold developments and results.
how important such faculties are to the composer, we need but
refer to the first

Allegro of Beethoven's

Symphony

in

which grows almost entirely from a design of four notes,

minor,

four

notes which do not even distinctlv indicate any particular key.

O
and yet these few notes have given
will

composition which

rise to a

claim the admiration of centuries to come.

But these simple formations serve also

to facilitate the indis-

pensable acquirement of composing without the aid of any instru

ment.

It

himself,

by

less

force of imagination only, tone-formations of

completeness.

We
one

here where the student can learn to represent to

is

is

warn the

At

pupil,

a later point,

it is

more or

impossible.

however, to guard against two

The

faults.

the deserting of the analogous proceeding, so strenuously

recommended, and the other, the

losing sight of his object.

had produced No. 46 immediately after No. 31 or No.

should probably have obtained a good phrase
ness of the

how and

wherefore,

If
5,

we
we

but the conscious-

and the inexhaustible source of

analogous and legitimate formations would have been lost to us.

The second

fault exhibits itself generally in the fact, that the

pupil, in consequence of impatience, or

having exhausted the

scale,

under the impression of

proceeds to harmonic formations

for

instance

We

finally advise the pupil not to confine his exercises to the

key of c major, but to attempt them in every major key and if

he has once seized a design, never to rest until he has formed a
;

Period or Phrase.

72

Second Part.
Composition for

Two

Parts, {Duophonic Composition).

CHAPTER

I.

THE DUOPHONIC COMPOSITION, DERIVED FROM THE

MONOPHONIC.

The more we extend our monophonic

baseless

must they appear

tone-chains, the

more

not alone because, however interest-

mere tone-thread without volume,

ing their contents, they are a

but because the Tonic, as the

first

and

last note, offers too little

weight against the more richly developed

scale.

Let us attempt, therefore, the duophonic composition.

It lies

nearest to add a similar tone-chain in a higher or lowei

No. 5 treated in

octave

this

manner would give us the follow

ing:

49.

is duophonic, it employs
The consequence of this is a

not to be denied that this phrase

It is

two voices

in different tone-regions.

broader tone-volume

larger,

particularly appropriate

for

massive

effects.

But two such voices are mentally equal to one only ; for, though
both have the same rhythm and

in different tone-regions, they

tone-succession.

Yet

many monophonio

We can transfer the tone-chain of two voices to a single

Thus No. 49 would give us the following phrase

one.

50.

proceeding can form the basis of

this

phrases.

We

rr-

divided the last half-note into eighths and quarter-notes,

73
because the transition from the sixteenth notes
would have been too abrupt and violent.

When we now
melody
(as

first

proceeding to this

new

basis for

combine the former designs with the octave-designs

i. f.,

we might

apply our

to quarter notes

we open

again a new and inWithout entering into any

or gradual development we will give a few as

call the

present ones),

exhaustible source of formations.

further details

models, and leave

it

to the student to practice others.

Three or four tone-chains in

different regions

might be treated

same manner, and give rise to many new designs. But

such phrases would partake of such vagueness of character that
in the

they could only be used in extraordinary cases, and do not require

any special practising.

Finally, we might attempt to gain a species of ji>se?/cfo-duophonic
composition by means of embellishing or circumscribing the one
or the other.

-1

Such apparent polyphony

tral

will

be particularly useful

in orches

composition and in the accompaniment of vocal music, but

will not benefit us

much

at present.

74

CHAPTER
THE DUOPHONIC

1.

However much
signs,

II.

DERIVED FROM NATURAL

HARMONY.

COMPOSITION",

MANNER OF ARRIVING AT

we

or little

IT.

develope from these octave de-

our actual object, a real Duophony, in which each voice has

a different fundamental melody, cannot be obtained from them.

We

require for this another basis showing us

different voices,

what sounds of two

according to the nature of the tone-world, ac-

tually belong together.

Let our ear be the

other

judge of a tone which agrees with

first

say, for instance, with the tonic

c.

It is

certainly not

and.

But the following, e, answers our purpose. To these, again, we

can only add g, and after that none will answer but the octave c.

What we
by the

have here accidentally discovered

The

science of acoustics.

is fully

confirmed

latter tells us that the following

sounds belong together

54.

/%

The Tonic is the basis, fundamental to?ie, of the whole mass.

The ear acknowledges in this combination the most perfect conWe will call such tone-mass " Harmony," or " Harmonic
cord.
mass," and

its

lowest tone

The above combination

is

we

will call the

therefore our

first

fundamental

tone.

harmonic mass.

Following the sounds which acoustics designate as the next

succeeding,

we meet with

a sound not exactly belonging to oui

75
scale

we

shall

speak of

a part of the scale makes

Of these,
cr,

c, ,

in future

it

and

immediately

and g belong to the first mass

its fundamental tone.

tone at least of

it

it,

d and f, howev.
The two latter,

do not agree with

exiled as they are from the

aftei

appearance.

its

first

mass, unite very well with one

and form with

a second harmonic mass.

it

5G.

Our

DO

ear tells us that these belong together,' and in the course

of our investigations

When we now

be proved

will

it

in another

way.

we

consider our present tone-group

Ill

llll

find

57.

g1.

That only the

five last tones are in the regular succession

of the scale ; a and b and the higher

c,

are wanting

for

the six preceding notes have neither the form nor connection of the scale.
2.

That nine notes (those marked 1) belong to the first harmonic mass, but passing all repetitions, the latter consists
only of the notes

c, e,

already chosen for us.

ularly

each one a

and g ; the same which our ear has

These notes are placed very reg-

third

from the

others.

The Tonic

is

the fundamental note.

3.

Five other notes (marked 2) form the second harmonic

mass, which is not alone inferior in number of sounds constituting

it,

but

is

damental note of
tone which

we

also

formed

mass

less regularly.

The

fun-

the thrice-repeated g ; a
have discovered in our first mass. Addthis

is

ing to this fundamental tone the highest tone, f,

er the boundary-tones (p. 56) of the scale

around the Tonic, and of which

they are related to

it.

we know

we

discov-

which move
already that

76

We have long designated the fundamental tone of the first

mass by the word Tonic. We will now distinguish the fundamental tone of the second mass by the word Dominant. The
why of

For the present

else, at least for

and

is

Dominant

calling this tone the

future time.

the fact that

be shown

is

at

some

nothing

if for

the basis of the second mass,

it is

the junctional point of the

This tone, the " Dominant,"

will

deserves that name,

it

two masses.
the

fifth

note of every

scale, or

words, the Fifth of the Tonic.

in other

Formerly we placed
Tonic and Scale
in juxtaposition,

because the former was the origin of the

and was the beginning and end of the

Tonic again in the same capacity
not only

by

by

octaves, but

shall therefore call " tonical

scale.

Here we

but this time

the whole

first

it is

latter,

find the

supported

mass, which latter

we

mass," or " tonical harmony."

mass we find, now, the second mass,

first, whence it originated.
And this
The fundamental note of
is done in the most simple manner.
if an octhe second mass goes to that of the first (the tonic)

Opposed to

this tonical

which latter returns to the

tave of the dominant

is

existing

it

remains as the

fifth

of the to

mass /proceeds into the nearest tone of the first mass, e,

and d can do nothing better than to follow this direction, and,
nical

consequently, goes to

c.

tJ~\

-0-

ii

-9i

This inclination of the second mass towards the

first becomes
most prominent when the tone /is in existence. It is less
prominent when the two others only, <7, c?, are used. For these
two form a fifth exactly like one in the first mass (c g), and
can partake, as it were, of the nature of the first mass, and form
The same / as we have seen, is also
a momentary point of repose.
quite distant from the first harmonic combination which nature

the

has given us (No. 57), and in which the interval of the seventh
(

gf)

is

not contained.

2. APPLICATION'.

We can
1.

apply our present tone-group.

new

Melodically, for

tone-chains.*

Harmonically in the two masses, and upon the two together

we can base the composition of duophonic phrases.
2.

Melodic Application.
It is

not merely the

imperfect scale,

still

serve as a basis for our melody, but

we can

c,

d, e,f, g,

which can

also use the succession

of all tones belonging to one and the same mass.

-0
r><>

It is

plain that the

struction

and

its

first

number of

mass, on account of
tones, is

regular con-

its

much more

productive and

But

appropriate for a melodic foundation, than the second mass.

in reality the

melody of

either

mass

consists of only three tones,

with their repetitions.

i.

In

No. 59 these masses have been used

c.,

either ascending or descending.

them

in

vague directions

60.

for instance, the first

4=!

3
+

find that repetition of tone or design

Rhythm

will

mass

But the limitedness of our tone-group

we

in their regular order,

This leads us to attempt

is

always

in

&&

our way, and

and the development of

be necessary to produce variety of invention from

such insufficient means.

Harmonic Application.
Having achieved thus much, for the proper estimation of our
means, nothing remains but to apply them in the formation of
duophonic phrases.

In this

we must

consider the upper voice as

the principal, and the lower as subordinate voice, or accompani* Our first foundation for melody was the MajorScale here we have
covered the second foundation, the harmony, or the harmonic masses.
;

dis-

7S

ment ;

for,

much

therefore our present object to

It is

tone-chain
i.

by a

have a choice of several notes,

accompaniment

for

accompany each tone of our

But

we

will

since in either

Below

is

first,

mass we

always choose the nearest

reserving, however, the right to

whenever necessary.

tions

better connected (No. 57.).

second, lower tone, which agrees with the

belongs to the same mass.

e.,

more

the higher sounds are, agreeably to their nature,

prominent, and are melodieally

make

excep-

the fundamental form of

Duophony.
A

In the

of

first

the

eight

first

accompaniments we see the alternate change

and second mass, and

first

mass

though the g

after this they

at the

belong exclusively to

end might belong also to the

second mass.

Why
e?
of

at

a have we not taken g, the nearest tone, instead of

g had but just been used, and the repetition

Firstly, because
it

voice

would have caused an unnecessary stoppage

;

secondly, because e in connection with

mass much
masses. The repetition

more distinctly than the

g,

in the seeonn

designate the

first

which belongs to both

does take place in the very next

mo-

happens at places where the first mass, under

any circumstances, remains stationary, and where it can be done
without injuring that change of masses which we had in view.
ment, but then

Why

have

eighth tone

and because

it

we commenced our accompaniment only with the

Because then only we could safely decide upon it.
we have made it our principle, always in doubtful

cases, to retain that

it

which

is

undoubted, and from this certainty

was easy afterwards, (from a

to the end) to regulate whatever

was uncertain.
3.

HARMONIC DESIGNS.

We recognize now more

distinctly

what we can

effect

with ou?

79
present material.

now we have

Until

of designs and formations,

We can add

now

a third

known two

only

classes

and rhythmical designs.

harmonic designs, which we

viz., tonical

class, viz.,

can produce

(b)

from the first mass exclusively.

from the second mass exclusively.

(c)

from the alternate

(a)

use, or

THE CADENCE.

4.

We

from the mixture of the two.

have discovered already that the

place of the Tonic, or the

Moment

principal tone of this mass,

We

voice.

shall

effect

and

mass has taken the

The Tonic is the

first

of Repose.

is

most

effective in the

mass, and most appropriately in the position of

we

unless

resign the

upper

our cadences, therefore, with the

first

a.

harmony and

both voices into tho

lead

Tonic, as at b.

We
the

have, further, placed the second

first

taposition
effect

exactly as
;

we

mass

in juxtaposition to

formerly placed Tonic and Scale in jux-

and as formerly the scale moved into the Tonic to

an ending (cadence), thus will the second mass

into the first (c), in order to accomplish the

same

third tone only is thereby inadmissible, because (d)

move now

object.
it

would

The
pre-

vent the resolving of the upper voice into the Tonic, in order

t<>

end there.
5.

THE HALF CADENCE.

Simultaneously with the former

that the second

mass without

its

we

have, however, discovered

third tone

serve as a temporary point of repose.

We

longer limited to the single point of repose

is

appropriate to

are,

therefore,

the Tonicbut

nc

we

80
have a second one, however imperfect.

This latter

we

will ap-

ply in the ending of the thesis,

4
and

call it

designated

&
&

=*= &

&

G
&

a Half-cadence, while the first will be appropriately

by Whole cadence, Full Cadence, or simply " Cadence.''''

81

CHAPTER

III.

THE DUOPHONIC COMPOSITION.

Now,
ject to
to us

at last,

we

can resume our actual work.

in the

First of

our ob-

form of a Period.

all, let

us regulate our two masses into a Period.

& m
65.

It is

form tone-chains of the most perfect form at present known

<5?

The beginning with the first mass lies probably nearest.

The thesis (a) makes its cadence from the first into the second
mass. The antithesis (b) makes its cadence from the second
mass into the first. The vacant space can be filled out according
to the general laws of Tone-succession, Progression, Harmony,
and Phraseology which

And

we have

learned.

here begins again the practice, and with

it

the industry of

the student.

We might
66.

fill

the thesis with the notes with which

ii

ii

it

began,

but that would be insupportable monotony.

Therefore

retain for the present the first mass, but not the

we

will

same notes

perhaps in this manner

2d

67.

r
This attempt
acter of the

is an improvement upon the

melody is vague, and the rhythm

We intend to

animate the

latter,

first

is

but the char-

very monotonous.

and the melody ought to have

82

more decided

we have been

direction, as

formations of Phrases and Periods.

taught in our

again the melodic gradations of thesis and antithesis,

probably form the following

first

In order, then, to produce

we

should

68.

9r

Here the

but descends again to make the half

thesis ascends,

cadence more

The

satisfactory.

antithesis takes the opposite

and the Rhythm corresponds with the gradation of

In order to retain the characteristic movement of
the melody.
the thesis even in the second voice, we have given to the c of

direction

the second voice a

But

as accompaniment.

we

in the antithesis

find that the second

appropriate to form a phrase

mixture of the two masses.

this

mass

is

but

little

by itself. This leads us now to a

The antithesis might be formed in

manner

69.

would nevertheless consist principally of the second mass, and

But with this we have refirst would be merely passing.
turned from the emptiness of what we might call harmonic

it

the

more closely-connected
The mixture of the two masses offers us,
melodies, to the

thesis.

We need not

diatonic tone-succession.
also,

remain so long in the

new means
first

mass,

for the

we

can

touch the second:

The ascending of the

third measure,

fore the half-cadence.

cal division, the

separate links ;
flowingly.

thesis is here already exhausted

and the second mass

We

two
the

At

the

is

with the

touched, immediately be-

same time, by means of rhythmi-

measures of the thesis appear as two

antithesis, without such links, ends more

first

perceive

how

the

first

design originated from

83
No. 68, and

how

is

repeated in the second measure.

the design of the third measure

(at least rhythmically).

is

We perceive, also

repeated in the

Were we in possession

of the tone

fifth,

b,

the

melody of the seventh measure would probably be, e?, c, b.

The further development and practice is left to the student, but
he will perceive more and more distinctly, that with our present
poverty of tones, a careful employment of rhythm and a clear
distribution of it, will lead him to an animated and effective arrangement of the whole. Thus No. 68 led to the last phras*
which, again, might lead to the following

Andante.

We

perceive here, that the thesis

which the

first

falls into

two

sections,

(a) belongs entirely to the first mass,

of

merely

touches the second mass, and thus melodically and rhythmically

forms an imperfect cadence, because the end note does not

upon a rhythmical

chief-part.

end of the phrase

but

this

The same cadence appears

time

it is

perfect.

fall

at the

84

CHAPTER
COMPOSITIONS OF

When we now

TWO AM) THKEE PARTS *

how

consider

IV.

distinctly, in

our previous forma-

by means of
mass on a rhythmical chief-part, and how
much more satisfactory a whole it forms, it leads us to form from
tions, the

separated from the antithesis,

thesis

entering the second

Thesis and Antithesis,

a First and Second part,

which parts for

the present, are distinguished

from a

single Period,

merely by the even more distant separation, and by the

fact that

each strives to be considered as a different whole.

This leads us, then, to the simplest

TWO-PART FORM,
of composition, as

we

find

it

in

We have formerly already

many

Marches, Songs, Dances, &c.

found phrases of a greater number

Let us employ them

of measures (No. 30).

for the two-part

form.

Each part

strives to

be an independent whole; each ought to

have, therefore, at least the length of a Period

eight measures.

These are the regular dimensions, but we know already that they
can be larger or smaller.
If the first part

is

intended to be an independent whole,

ought to have the most perfect form

with thesis and antithesis.

it

the form of the Period,

But nevertheless,

the

part

is

merely

part of a larger whole, and, therefore, cannot have a perfect ca-

dence, but

We

must

let

us expect the second part.

It ends, therefore,

the attention of the student to a distinction which we have

of which, in other theoretical works, has been the
source of much confusion.
refer to the use of the word " part."
If using
it in relation to number of voices, we speak of compositions for one, two, or
more parts. If using it in relation to Rhythm, or form in general, we speak
of compositions of one, two, or more parts.
As we advance further we shall
employ the words monophonic, duophonic, triphonic, tetraphonic, pentaphonic, &c, (fee, to designate compositions for one, two, three, four, five,
<fec, <fec, parts, and endeavor to cenfine the word "part" exclusively to
Rhythm and form.

made

draw

here,

and the lack

We

S5

Were we now

as formerly the thesis, with a half-cadence.

end the thesis of the

first

to

same manner, the same

part in the

ending would appear twice in succession

consequently, the half-

and the formation of

would be monotonous. The thesis can therefore
only be marked by a step from the second into the first mass.
cadence of the Part would lose

its strength,

the whole part

This

is

full

make

cadence, but in order to

it

less important,

advisable to represent this cadence imperfectly,

position to a former chief-tone (a) or
the lower voice (b) or

mass

(c)

by an

either

by placing

by

it is

trans-

the Tonic into

insignificant touching of the

second

which leads to the actual cadence.

r
If the first part has

now become

Ft?

a perfectly-closed phrase, the

second part has the same right, only that the latter makes a

and perfect cadence from the second mass into the

first.

tend to give to this second part also a perfect thesis,

by means of a

so

half-cadence,

which can

now be

If

we

full

we

in-

can do

succeeded by

the full cadence, without deducting from the strength of either.

But

this perfect thesis is

first

part has already had so distinct an organization.

not absolutely necessary, because the

of a two-part piece would therefore be like this

The plan

73.

1
The further practice of this can again be left to the student.
But why can the second part continue any longer without
terruption than the

first part,

and

why

is

the thesis of the

part a fitter place for Sections than the antithesis

the

commencement

decisively,

in-

first

Because

at

the contents ought to be given distinctly and

and because in proceeding towards the end, the motion

ought to be accelerated, and therefore progress more connectedly.

No. 71 would be an example of a two-part phrase, of twice four

But we can also go beyond

(instead of twice eight) measures.

the original dimensions of twice eight measures,

we would

again have to depend upon the

and

rhythm

for

in that case

our means.

SO
Jt

becomes then our object to multiply our tonical means, as it

by means of rhythmical tone-repetitions, tone-figuration, &c,

were,

&c

The following

74'

mm
phrase

may

serve as example of a

measures, which has chiefly

the variety of the
bearable.

made

first

part of three times four

use of tone-repetition.

Rhythm makes

It is easily

seen that the

Only

such extension possible and

first

eight measures contain

melody, from g up to c, e,
only a decided and distinct grouping which can make

in reality nothing but the steps of the

and

g.

It is

numerous a tone-repetition comprehensible. We see that the

whole phrase falls into sections of three times four measures, a
and b, c and d, and e, f, and g.
J udging this phrase according to the acknowledged fundamental
form of a periodically-constructed first part, we would have to
so

consider the ending of d as the end of the thesis, and e,

aa antithesis.

In that case the thesis

length of the antithesis.

But

visions are so well separated,

quence of

this,

its

f, and g
would have double the

two halves with

their subdi-

and so regular, that exactly in conse-

no misproportion

is

experienced in the unequal

manner we might prolong the

antithesis, by either composing it of equal sections, or, by giving
The folit an Appendix (Coda), i. e., repeating the last section.
lowing little phrase in which, by the bye, we have not observed
length of the two parts.

In like

of a gentle relaxation may serve as example.

the original melodical direction of the thesis, and have

made

use

ST

Hie

thesis closes at

in the fourth measure.

to close in the eighth measure at b.

The whole ougk;

Instead of this, the voices

proceed immediately, without giving the end-note

and with the ninth measure

tithesis.

The

its

proper

begins a repetition of the

rest,

whole an-

merely, might have been repeated

final link,

L#

5^

<

a figured re-formation of the repetitions would also have been admissible.

finally, the junction of the two or more repetitions

might also be possible.

To

favor such Codas,

cadence imperfect,

it

either

is

advisable to

by means of

ation or abridgment of rhythmical quantity

made

use cf in the above.

make

the preceding

tone-position, or

by

vari-

the latter has been

The comprehensibtlity and

simplicity

of the whole has permitted us to deviate from the strict proporhave also introduced a kind of * leader* to the Coda.
tion.

We

Such Coda, however, premising the good proportions of all

parts, is not alone admissible at the end of the antithesis, or second part, but it can also be employed at the end of a thesis.
This requires neither example nor instruction.

Rt tro*psrfi on

At

the very beginning

of iranophonic composition we have rep-

resented the fundamental form of all tone-formations

Beginning,

Progress,

End.

Kepose,

Motion,

Repose.

Tonic,

Scale.

Took.

or

Our monophonic phrases corresponded perfectly with these

Hie form of the Period obeyed the same laws. But when
we now examine our former (monophoaic) Periods, we see that
but a feeble tie connected thesis and antithesis. For generally, each
ideas.

was

because thesis and antithesis led from the

sufficient in itself

Tonic through the

scale,

back to the Tonic

ing or descending direction

and only the aseend-

marked the one or the

other.

two harmonic masses and the two different

cadences we have perfected the periodic form. The fundamental

With

the aid of the

forms
Repose,

Motion,

Repose,

Tonic,

Scale,

Tonic,

might thus be represented in the harmonic Period

Motion,

Repose,

Motion,

Repose,
Tonic,

Repose,

Tonic Scale,

Tonic 8va.

Motion,

Half-cadence,

Tonic Mass,

Repose.

\.

Motion,

Repose,
Tonic.

Scale,

Motion, Full Cadence.

j

Motion,

Repose,

Repose.

This more perfect periodical construction led us to the two-

same conceptions and

part form, which again corresponds with the

fundamental features

Tonic Mass. Motion, Half Cadence, Motion, Full Cadence.

If we represent its external construction

of two parts of twice

eight measures, with periodical formation of each part into thesis

and antithesis
First Part
8 measures.

8 measures.

Antithesis.

Thesis,

4 measures.

4 measures.

we

Second Part.

find,

that the

first

Thesis,

whole tone-development

of the

first part,

form the Motion.

The

It is

the beginning of the

therefore the place where the design

its designs,

have called Repose.

4 measures.

thesis belongs chiefly to the tonic mass,

and ends regularly in the same mass.

of the Period, or

Antithesis.

4 measures.

are settled

first antithesis,

the

moment which we

with the half-cadence

together with the thesis of the second part,

In the antithesis of the second part, the

first

89

mass ought now again

dence of this part

is

We have

this rule strictly.

as

predominant

to be

but since the

we need

of itself decisive enough,

permitted ourselves even to solder,

were, the thesis and antithesis of the second part.

it

mis the end should

still

ca

full

not follow

If after

be unsatisfactory, we can prolong

by

it

and thus strengthen the tonic mass.

eodas,

Compositions of Three Parts.

The

view we have taken of the two parts in one mass,

last

shows

us, that in spite

of the separation of the

We

istence.

part by means
moments in ex-

first

of a cadence, there are in reality three principal

might therefore easily divide the two parts into

three

Repose.

Motion,

Repose,

Second Part.

First Part.
Antithesis,

Thesis,

4 measures.

4 measures.

Antithesis.

4 measures

4 measures.

Second Part.

Third Part.

8 or 16 measures,

8 measures.

Motion.

Repose.

First Part.

8 measures.

Thesis,

Repose.

Here we have again formed a Part from a mere

ing to the

first

thesis (belong-

part of a two-part composition), which part can

have a thesis and antithesis, and end most properly with a

cadence

we have

given

it,

part begins with the second

The

full

double dimensions.

The second

mass and ends with a

half-cadence.

also,

third part is an exact, or similar

complete or abridged

repetition of the first part, ending, probably, with a coda.

There

is

an imperfection in

dence of the

first part,

this three-part

winch in reality

form

is in itself

in the full ca-

perfectly satis-

factory, instead of leading us to expect a continuation.

It is

of importance that

proportions
facilitate
object,

our

for

we

should clearly comprehend these

they guard us against confusion, and direct and

own

invention

and breaking the way to

exhibiting to us continually the

it.

When we

have once seized a

design and do not lose sight of these proportions, a safe progress

will

never be wanting.

many ways, and

On

the contrary,

we

shall rather see too

require quick decision and determination to

break through our hindering doubts.

00

CHAPTER

V.

THE DOUBLE DUOPHONIC COMPOSITION.

We

cannot, with our natural notes as means, extend the duo

phonic composition any further, without falling into undue repe

tition

We can conclude this from

and losing sight of perspicuity.

the fact that

we have

different cadences,

only two masses, and only two essentially

which latter had to be repeated once already in

a composition of merely

two parts

when with

codas,

still

oftener.

We

experienced this imperfection in the three part form, and in

still

more extended forms

there

would certainly be too much

repetition.

But the question is

means

increase of onr

we could not obtain an intrinsic

As soon as we add new notes, our pres-

whether

ent system will no longer be sufficient.

Such acquisition

re-

For the present we have

mains, therefore, for a later chapter.

nothing but
the increase

of the number of voices.

Since the two voices which

we have used

until

now

agree so

well with each other, the double duophonic composition seems

to

be much more convenient than the triphonic.

double our voices without confusion,

a different tone-region.

77.

volume of

But

in order to

them

will give to each of

Here, then, are our present means

What do we

we

V 1

gain

by

it

all,

a larger and broader

move

in parallel directions.

First of

tone, if our voice-couples

This certainly makes our whole tone-mass less susceptible of light

motion, and besides

this,

we

Ireve gained nothing absolutely

new

91
for the

two couples move

this leads us to
1,

in equal intervals

and direction

but

attempt

opposite directions,

2, different intervals

of the voice-couples.

Wherever the masses change

unhesitatingly

We will

move

call this

regularly, our voice-couples can

in opposite directions.

kind of motion, Contrary

Motion.''''

This and the former application of the double duophonic manner are the most natural, because they are based upon the gen-

most natural form of accompaniment (No. 61) of the duoIn single instances, however, the two voicecouples might combine together in arbitrary intervals.

erally

phonic composition.

-^j=

w
Bz*m

Since

we have

the second

*
h

further discovered that the fundamental note of

mass belongs

to the

first,

two voices might sustain this

mutual tone in various manners, while the others might move

the two masses at pleasure.

in

We will call such tones, which contiuue throughout the move,

ment of the other voices, " Sustaining tones" for they give to the
whole tone-movement a material and bodily connection.
But since

all

our tones and masses originate in the Tonic,

can bodily realize this intellectual unity

by

we

leading our upper

92
voices through the

two masses and

their different intervals, while

the lower voices sustain the mutual

fundamental tone, "the

Tonic."

mm

81.

These sustaining-tones can be animated by rhythmization of va-

which either strengthens the rhythm of other voices,

rious kinds,

or enters into a juxtaposition to

other moves, or

it

remaining stationary where the

moving where the other remains

stationary.

82.

id

ii

I**

r,

rn

S.j

''" I.
>
i

Sv'a

When we
1.

2.
3.
4.

add to these new formations

The doubled voices (No. 77).

The contrary motion (No. 78).
The arbitrarily-composed masses (No. 79), and,
The sustaining-notes (Nos. 80 and 81) the double duo-

phonic and the single duophonic compost,

whole material before

It

with

gives us a
it

we have

our

us.

new juxtaposition

of greater and

a third class of gradation, which until

lesser

now

mass, and

could only ob-

by the direction of tone-succession, and by the rhythm. In

new juxtaposition we find, also, the means of more characteristically representing the more animated or light, and the more
But
firm or heavier character, than by mere rhythmical accent.
even our former means of gradation find a new sphere in the astain
this

cending of our voice-couples.

83.

93

These are the nearest formations of the double duophonic composition

they give

sufficient

material for the exercise of the fun-

damental forms of all musical construction.

They only

require a

few directions in regard to

Application.

Formerly we had only two voices

at our

command, which we

never separated, in order to have always Harmony.

now

out of which
is

We

have

twice two voices, but can get along with a single voice-couple,

we gained the just-mentioned juxtaposition. But it

we employ our means in a clear order, and ac-

advisable that

cording to a consistent plan.

The former

requires that

we do not

arbitrarily cause the be-

ginning and ceasing of a voice-couple, but rather follow the idea

of the whole, as
struction.

we have

The change,

seen

at a rhythmical section, as in
cal link, as in

it

indicated in our rhythmical con-

therefore, ought invariably to take place

No.

83, or at least with a rhythmi-

No. 82.

The consistency permits no general

rule

it

can only arise from

the contents of every phrase.

With

the following

Part begins a

series of analyzations

and

exercises which will exclude, for a time at least, all free formation.

But we advise the student to keep up the practice of the

duophonic, or double duophonic composition, in order to preserve

the susceptibility of his

mind

have their turn in future.

to

melody and rhythm, which

will

94

Third Fart.
The Harmony of the Major

Scale.

However diversified our tone-world has been thus far devei

we can clearly see the insufficiency of everything discov
ered.
At first we had the complete diatonic scale, with the
license, even, of admitting foreign tones, but we could only move
in it monophonically.
Afterwards we gained the harmonic massoped,

es,

and the possibility of combining simultaneously two or four

but they were insufficient for the complete scale.

voice-parts

The next step is obvious

"We must learn to use the complete
:

scale in the

polyphonous

combination of the harmonic masses.

"We resume

at once, therefore, the

polyphonous composition,

and begin with the Tetraphonic composition.

CHAPTER

DISCOVERY OF THE NECESSARY HARMONIES.

Our

first

object is

now

to find harmonies for the complete

scale.

Here we

are directed at once to the

importance and regularity of which

first

we have

harmonic mass, the

already seen.

regularity consists in the position of its three tones

(c, e,

g),

This

which

are placed in thirds, one above the other.

The combination of three or more tones

to a

Harmony

is

called

Fundamental

tone.''

a " Chord."

The lowest tone

It is

most important tone of the chord, because it serves as

Therefore the proportions of
the whole construction.

the

basis for

in such chord (c) is called "

95
the other tones of the chord are regulated and designated by
(e) is called the " Third" and the next one

The next note

called the " Fifth"

i.

it.

is

of the fundamental tone.

<?.,

No. 79 we have perceived that the tones of a chord

do not always appear in their original position. The very first
mass showed itself in No. 54 in the following manner first the
Already

in

fundamental note, then the Octave, then the Fifth, then again the
Octave, and after that only came the Third, and again the Fifth.

Doubling of the Chord-tones.

At

same time we
more than once

see that every note of the chord can be

the

applied

either in different octaves (as in

or (as can easily be imagined)

by

different voices

No. 54),

on the same

Both proceedings are called "Doubling" of the chord-

place.

notes.

We shall
we

require this doubling of chord notes immediately

for

intend to write tetraphonic, and have but three tones in the

Which

chord.

But, if no other reason prevent us,

tone first, because

Nature

itself

the

it is

has used

we

it

formation.
ular concord,

have based

Our

After this

is

we

shall

The Third,

the least appropriate to be

upon imitation of our natural

as the most beautiful and reg-

this rule

ear confirms this

and the Third as the most piercing and perspicuous

interval of the chord,

easily

double the fundamental

appeared originally twice.

which originally appears but once,

We

shall

most important tone of the chord, and

oftenest (No. 54).

it

double the Fifth, because

doubled.

now be doubled 1 We
make use of this license.

of these three tones shall

are at liberty to double either, and shall

which in doubling, for instance,

drowns the other

intervals.

Transposition of the Chord Tones.

We have already
means always

seen that the tones of a chord appear

in their regular position.

voluntarily resigned

it.

In

by no

No. 79 we have even

But these transpositions

require, for the

96

"We

present, no particular consideration.

now

will

place our

tones as near as possible to the upper voice, unless particular

reasons lead us to a different formation
shall

always retain

cause

it is

its original

but the fundamental tone

position as the lowest tone, be-

always the basis of the chord, and by

But

recognize and designate the chord.

we can easiest
we can place all

it

since

our other tones at pleasure, the Octave, Third, or Fifth are placed
occasionally in the upper voice.

We will

call

these different placements of the

Harmony,

" the

position of the chord"

Thus much of the first harmonic mass. The second harmonic

mass contains also three tones, but not in regular succession it
can, therefore, in its present form, give us no chord.
Let us now see what application this one chord permits us, to
;

which tones of the scale

it

can be used as harmonic.

&
Only

to those tones which are contained in

We place the fundamental tone always

it

to

c, e,

g,

and

c.

on the lowest place, and

the other tones as near as possible to the upper voice; thus

doubling the fundamental tone always

Where do we

find

new harmonies

by

its

scale ?

Let us return to our second mass.

was not

as regular as the

first

mass,

viz.

leaving out
(g,

viz., b,

our present material

three tones, g,
is to

yet

we have

of the

This second mass

already used

it

as a

in the half-cadence of a thesis, or a first part,

its third tone.

d) a Third,

first,

octave.

for the other tones

6, d,

We will

by

add now to that formation

which exists under any circumstances

in

the Scaleand we have a regular chord of

resembling that of the

accompany again a part of the

scale.

first

mass, and assisting


97

it

87.

a
Q

i%
I

Here, too,

we have

*
Q

placed our chord tones as near as possible

upper voice.

to the

The same chord might

also have

accompanied the

fifth

tone of

the scale, if this tone had not already received a chord of the

nied tones remaining.

as

we

unite

Let us merely attempt an accompaniment

did in the discovery of the second harmonic mass.

/ and

and add to

first

F and A are now the only unaccompa-

mass as accompaniment.

it

the third tone,

We

and thus gain a third

c,

chord, which is formed like the former chords, and can serve us
as

accompaniment to the tones / and a of the

scale.

<'<

88.

We might
tone,

c,

also use this chord as

accompaniment of the

had not been occupied already by the

if it

We have now achieved

scale are provided

all

first

chord.

the tones of the

with harmony.

our nearest object

first

g8

&

89.

rHS
o
"

Qo

Q
&

&

Before we enter, however, any further upon these results, we

must examine our three chords more closely. It is still the question whether the chords g-b-d and f-a-c are as apt and useful as
t

the chord of the

first

mass.

The three chords are exactly alike in all their proportions.

They consist each of three tones the fundamental tone, its third,
4
:

98
and
each

The

its fifth.
is

a perfect

major

third in each is a

fifth.

third,

The chords on / and g

and the

fifth in

are therefore per-

one on c.
But we know already, from the Introduction, that we can build
a major scale upon every tone of our whole system, and that all
major scales have like proportions. Consequently the chords
fectly like the

alike.

We

can therefore find our chords f-a-c, and g-b-d on the Tonic of

F and

upon the Tonic of every major scale must be exactly

major, though they are also domesticated, as

We

jor.

and

it

ma-

were, in

can consider these two chords as reminiscences of

major, or

as

borrowed from those keys.

stand to the one in which

we

actually are

These keys

(C major)

in the first

and thus we come to the conviction

that the harmony of the major scale consists of the tonic chord
of the same, and of the tonic chords of the two nearest related
degree of relationship*;

major

scales.

Therefore
scales

as every major scale has its nearest related major

on the nearest

fifth

above and below the Tonic

each major scale also, besides

own

its

chords of the nearest related major scales within

we have

This double point of view which

thus has

tonic chords, the tonic

it.

taken of our second

and third chords

1, as harmonies constructed from domestic tones (tones belonging to the scale)
2, as

Tonic chords of the two nearest related major

scales,

which we have borrowed from these, and which remind us

of them
will, in future,

hend

it

be of the greatest importance.

clearly, therefore,

and retain

We must compre-

it.

* Nearest related or related in the first degree, are such major keys as
major ; for inmajor and
deviate in but one tone from each other.
stance
,

c, d, e,

g, a, b,

differ

c,

d, e,

f, g, a,
g.

b,

from each other merely in they and

c,

d, e,

f, g, a,

c.

f\,

b,

/, g, a, bb,

C major

and

F major

c.
c, d, e,

are distinguished merely by one b, consequently they are nearest related.

In the quint-circle, Gb, Db, Ab, Eb, Bb, F, 0, G, D, E, A, B, F%, the nearOf course, the more
est-related keys are at each side of any particular one.
two keys deviate from each other, the less are they related.

09

CHAPTER

II.

EXAMINATION AND JUSTIFICATION OF THE HARMONY.

The Four

A.

Voices.

We return now to our last harmonic formation,

merly

we had

No. 89. Forupon the chords

from another point

directed our attention merely

which existed in

"We

it.

will

now

look at

it

of view.

We began with the scale which as

we

Each tone of

placed highest.

second, and then a third tone under

all

the

first (c,

chains,

we

&c),

e,

&c), and

(e,

all

all

first

it.

the second

the fourth

tone-chain or "voice;

this scale has first one,

(c,

g,

When we now

then a

consider

&c), all the third

&c), as separate tone-

(<7, b, c,

c,

find a phrase of

Four simultaneously-sounding

voices.

These four voices are called

Treble

Soprano)

Alto

or

first

voice.

or second voice.

Tenor

or third voice.

Bass

or fourth voice.

In order to recognize distinctly the different voices and their

progression,
Treble.
(1st voice.

Alto.
(2d voice.)

Tenor.
(3d voice.)

Bass.
(4th voice.)

we

i
i

will repeat

No. 89 in

score.

100

The

highest and lowest voice

(Treble and Bass) are called

'outer voices" the other intermediate voices (Alto

and Tenor)

are called " inner voices"

B.

But

it is

formed

not

The Connection of Chords.

sufficient that

together

became a melodic whole.

scale

by

each chord

should be veil

itself

they ought to form a harmonic whole, as the

They must have

connection and

unity.
Is this

the case in No. 89

superficial unity exists already in the fact, that all the notes

of these harmonies exist in one and the same scale.

not

sufficient, for

we know

merely borrowed from other

A more

But

this is

that our second and third chords are

scales.

which each of

distinct tie exists in the connecting notes

common with its neighbors.

Thus we have seen

hat our two harmonic masses were connected by a mutual tone,
g, and thus are here our first, second, and third chords connected
our chords has in
1

by the mutual
mutual

c,

the

g,

the

third, fourth, fifth,

seventh and eighth again

and sixth chords by the

by

the mutual g.

tween the sixth and seventh chords only this connection

The connection of

is

the second, third, and fourth chords

perceptible in the following

Be-

wanting.
is

best

c as

the

\o

,?
,.

90.

&

Again, the three important notes,

9cf,
of page 55

meet our

eyes,

and again we

find our

Tonic

centre which connects these chords, and around which they move.

But they are no longer the single notes of a

scale

they are the

harmonies from which our whole harmonic development

is

de-

rived.

C.

Before

we

Harmonic Designs.

return to our subject (connection of chords)

we must

&

101
take into consideration the harmonic designs which

covered thus
a, the
b,

we have

dis-

There are two

far.

progression from one position of a chord to another

the combination of

two chords which stand to each other

in

the relation of tonic and dominant harmonies.

The chords of the Dominant and the Subdominant (/) have

no connection with each other.
This cannot well be otherwise, for

we know

that these

two

chords have been borrowed from keys which, though each related
to the principal key, C,

have no connection with each other.

D.
Examining the
enth degree,

we

Faulty Progressions.

deficient progression

find still

Firstly
;

each of our four voices takes throughout an independ

in the beginning, the first goes

second from g to b and

repeated

proportions.

OCTAVE-SUCCESSION.

1.

ent path

from the sixth to the sev-

more undesirable

from

c to

d and

e ;

the

the third from e to g, which latter

the sixth to the seventh degree, bass and alto

92.

is

Only from
proceed from / to g.

the fourth goes from c to g, and back to

c.

The alto says nothing different from the bass. Neither is

mere doubling or strengthening, as we have seen it in our

it

first

attempts at duophonic composition (No. 49) ; for it is right in the

midst of the other parts, and, like them, claims to be a separate
voice.

In this very ambiguity lies the fault

the alto

is

neither

102
a separate voice nor a mere doubling,

lowing

as, for instance, in

the

fol-

9i
4

-):

Progressions like those of alto and bass in No. 92, are called
false or consecutive octaves

they give to the phrase an ambigu-

ous appearance, sound hollow from the tone-web, and rob

full

it

of its

For the present we will absolutely avoid

though the time will come when we learn to make the right

variety of voices.

i,hem,

use of them.

But how can we obviate the consecutive octaves in No. 92 %

The bass was indispensable we had for a and b no other harmonies than the chords of / and g. The fault, then, lies in the alto,
because the alto, like the bass, proceeds from /to g ; this must
:

not be.

We

now remember

that the chord g-b-d,

nothing else than our former second mass,

therefore retain the

/ of the

first

in reality

We

might

chord in the second chord

?=*

'

t.

is

g-d-f.

The alto progresses no longer in octaves with the bass, and these
two chords have now a mutual connecting-note, /.

2.

QUINT OR FIFTH-SUCCESSION (CONSECUTIVE FIFTHS.)

But there

is

We

Two

voices

consecutive

fifths.

another misproportion in this place.

progress simultaneously in

fifths,

i.

e.,

make

see that tenor and bass form a fifth in the

as in the second, and

we

experience from

it

the

first

chord, as well

same hollowness of

sound .which we discovered in the consecutive octaves.

This

niis<

103
proportion
voices

is

when it is unhidden by other

No. 94, with alto or treble left out.
these successions sometimes admissible

particularly obnoxions

as, for instance, in

we shall find
we will avoid them.

In future

In the above case the fault

for the present

The bass goes from

consists in the progression of bass and tenor.

/to

ff y

while the tenor goes from

this fault

by

letting the first note of the tenor

clear that the c cannot remain, for

ing harmony.

But

down

solutely go

In the octaves

to d.

But the note d

if it

it

remain

here,

it is

forms no part of the succeed

it must abharmony (b).

can neither ascend nor remain,

into the nearest note of the next

now wanting

is

we avoided
;

let

us distribute, therefore, the

time-space of the chord between b and

d.

0
i;
95.

A
.)

We

have

now avoided

the

fifths,

and gained, besides, the com-

The former we have gained by contrary motion,

the latter has given us opportunity to give to one voice two notes
of the same chord, and thus to obtain greater animation.
We
plete

harmony.

will call such notes,

"harmonic

which enter

after the other notes of a chord,

bt/e-notes."

There arc

many

as, for instance, at

other

ways of obviating

a and b

the above difficulty,

9G.

at
but for the present
because

it is

we

will

adopt the one illustrated in No. 95,

within bounds ^of our present knowledge.

E.

The Dominant Chord.

This has involuntarily led us to a

new

chord, consisting offour

104
notes

The

g, b, d, f.

fourth note

is

the seventh of the funda-

mental tone.

We
"

will call our

Triads" of which

former chords, consisting of three notes,

we have

at present three

Triad of the Tonic,

viz.,

c-e-g ;

"

"

Dominant,

g-b-d ;

"

"

Subdominant,

f-a-c.

be called chords of the Seventh,

"Septime chords," because the added seventh distinguishes
them from the triads. The one we have just now discovered
upon the Dominant, will be of special importance, and to distinguish it from others, less important, we will call it the " Dominant
Tlie chords of four notes will

or

Chord:'
This Dominant Chord requires a more particular explanation.
It

1.

exists

on the Dominant of each key, and

at

no other

place.
2.

The dominant chord of each key

Consequently, this chord

most

no other key
marks

distinctly

Thus the chord g-b-d-f, indicates at once the key of C.

it would be c-e-g-b\>, in the key of G it would be

a key.
In the

exists in

the one which

is

key of

d-fl-a-c.
3.

This chord reminds us of the second mass, and with

Tonic and the around-it-moving

scale.

It is

which was merely indicated in former formations

G,
G,
G,
Its

destination

is

a,

B,

(7,

d,

e,

DZ>,

third leads to the Tonic

Its
;

is

F.

F.

first

mass, and

all its

fundamental note goes to the Tonic,

its

seventh leads towards the Tonic,

and enters upon the note of the tonic harmony

its fifth

the

F.

to resolve into the

notes follow this current.

its

5,

it,

the completion of that

in its

way

goes most naturally to the Tonic, though the tonic third

quite as near.

But we prefer the former, because we do not

105
like

No. 98 a

double the third.

to

No. 98

therefore better than

is

b.

98.

This proceeding of the dominant chord

is

called its " resolution?

and of any chord that absolutely draws after

it

another harmony,

we say, " it resolves into such chord or harmony.

With this we have at last accomplished the faultless harmoni1

zing of the scale.

<J

-Gh

uum
^

-43-

e 55
1

It is

a natural consequence of the regular resolution of the dom-

inant chord, that the last chord remains incomplete

We will

fifth.
is

it

lacks the

submit, for the present, to this imperfection

not disagreeable, and will soon be justified or avoided.

there were

seems, further, as

if

two

g-b-d-f

last chords,

tual tone.

But

this is

and

now no

c-e

connection between the

they have in No. 99 no mu-

only because the last chord was incom-

plete; the connective-tone (g) exists, but

to introduce

it,

it

It

we have

not been able

because each of our voices had to follow a certain

prescribed direction.

F.

The Triad of

We

the

Dominant submitting
Dominant Chord.

to

the rules

of

the

have given, above, the most natural progressions of the

Their current, and particularly that of the third,

dominant chord.
is

so strong, that

it.

Whenever

it

actually drags the dominant-triad along with

the latter

fer leading the third

some other tone

(b).

is

we
down

succeeded by the tonic triad,

up into the Tonic

(a) to leading

it

pre-

into

106

i=4
100.

We

i t

involuntarily consider the dominant triad as dominant

chord, and feel in a degree the effects of the seventh, though

not heard.

with
(c).

its

We

third as the highest note goes into the

An

exception will illustrate this rule

stance, in a chorus

from "

Mr

Subdominant

still

often leads the third of the dominant triad

101.

it is

have the same sensation when the tonic triad

triad

Handel

better.

downwards

for in-

Egypt :"

Israel in

f-

iA

and thus obtains a strange, piercing expression, which makes

perceptible that he departs from the natural way.

This

is

it

by no

means the only instance of great masters deviating from any

given rules. Music as an art would be fettered indeed if her devotees were confined to the rules laid

down

for the

guidance of

The master knows well when a deviation is admissible or inadmissible

and his taste and intelligence are the only
judges whom he has to consult. Thus can we see numerous illustrations of the above in the works of Haydn, Mozart, Beethoven,
Mendelssohn Bartholdy, and a hundred others. But they are the
the student.

masters

we, the students, true to our principle, without calling

this deviation

wrong, will at present abstain from using

it.

107

CHAPTER

III.

THE ACCOMPANIMENT OF GIVEN MELODIES.

A.

Limitation

to those

means which were found in

the

Ascending

Scale.

Our

melodies, for the present, will have to be very simple and

To each note of the

we have found for it in No. 89,
tones of the scale we shall always

contain the notes of but one major scale.

melody we give

that chord which

9Mb, to the

third,

give

first,

the tonic triad

and
;

fifth

and seventh that of the

to the second

dominant; and to the fourth and sixth the

But when the sixth note

dominant.

we

shall avoid the threatening faults

is

of the sub-

triad

succeeded by the seventh,

by

the introduction of the

dominant chord.
In order to facilitate the finding of the chords,

by

figures

how

We

be found.
for

far

a fundamental note the lower octave, and mark

fundamental notes

The second note of

five

degrees below

cording to this proceeding the scale of

is

to

it

therefore

by

the scale

(d ) has

its

we mark

C major

by

it

5.

Ac-

would be marked

85385338

thus

We

shall indicate

have seen in Nos. 89 and 99, that the Tonic has

above the melody.

8,

we

below the fundamental note of the chord

see that the figures 8, 5, 3 are regularly repeated, with the

marked
same point where we have discovered the differ

exception of the sixth and seventh degrees, which are both

by

3.

It is

the

ent misproportions in the progressions of our chords.

for the present,

mark

it

by

of consecutive octaves and

nection.

f , in
fifths,

order to

remember

We

will,

the avoiding

and the strengthening of the con

108
After this

we

find

and place the fundamental notes, and then

As example we

the middle voices.

give the following

This melody

85

103.

83

3+3

a
has

first

We have also remembered

where
are likely to encounter
we
f
Then we write the fundamental tones ;
been provided with

the dangers

them.

by

figures.

placing a

104.

= *4
=3

1>
- -<s>\

Why

does the bass in the

stead of remaining on the

the

first

same

T
i

measure descend an octave

in-

Partly in order to animate

c ?

somewhat monotonous movement of the whole, and partly in

more decisive direction from the lower c, past /

order to obtain a

and

to the higher

Finally

we add

c.

the middle voices, always as near as possible to

the upper voice, and avoiding, at f the consecutive octaves and

,

fifths.

105. 8

~i

&- n

83

3fc-

55

=f^^

\=\

tzz-z

meet on the same tone. But

two voices have a difBut if we were to unite them repeatedly in
ferent progression.
succession, we would reduce our phrase for the time to a triphonic one. Not that this is wrong, but it is a deviation from our

In the sixth measure, tenor and bass

it is

easily perceived that, nevertheless, the

object.

Much more

important

is

the

which

we have made

the following observation upon

Half-Cadence

in the fourth measure.

Our composition

100
appears to us as a Period, with thesis and antithesis.

We

have
always ended our thesis with a half-cadence, or a step from the
first

mass;

into the second

dominant

triad.

mit the tonic

But

i.

here, the

triad, c-e-g.

We

e.,

from the tonic triad into the

tone/ of the melody does not

per-

have therefore seized the next im

portant chord, " the triad of the subdominant," and have gained

two forms of the Half-cadence.

from the tonic triad into the dom-

The one

consists of the step

inant triad

the other of the step of the subdominant triad into

the dominant triad.

The Descending

B.

We

now attempt

will

to find an

Scale.

accompaniment

for the de-

scending scale, in the same manner as the ascending one.

We

place our figures above the upper voice, and in accordance with

we

find bass

it

and middle voices.

8

10(5.

Everything

is

right with the exception of that dangerous step

from

con-

the seventh to the sixth degree (b

nection

is

wanting, and where

utive octaves and

It is

a),

we meet

where, again,

all

as heretofore with consec-

fifths.

clear that the

dominant chord can aid us no longer.

not even applicable without falling into

new

It is

For if we
would have to
We must find

faults.

were to change g-b-d into a dominant chord, c-e-g

and b would have to go to c instead of a.

follow,

other means.
In order to avoid consecutive fifths and octaves,

contrary motion in the middle voices.

8

107.

we will attempt


110

The

and meet with the treble,

But this would render the
chord incomplete, and tenor and bass would make consecutive ocalto

would have

to ascend to a

and the tenor would have to take /.

taves from the third to the fourth chord (page 101).

The Major and Minor Triad.

A second attempt
It is

self.

the middle voice, that the faults

must therefore ascend

this

made with

can therefore only be

the bass

it-

because the bass follows the downward direction of

new fundamental

come

The bass

into existence.

Trusting to chance

to a.

we

construct upon

tone a triad.
8

3
8

y-e
o

t-3

e>

e
e>

108.

ri-

***ri

We

have deviated from our

chord by 8 instead of
avoided, but

we

3.

rule,

and must therefore mark the

Consecutive octaves and

lack the connection of this

fifths

are

new chord with

by means of a mutual tone.

This improvement leads us to a third attempt.

now
the

preceding one

Suppose we

were to retain the /triad which we resigned just now %

case the alteration

The following would be an

chord.
sition

would have to take place

*
we

illustration of our present po-

t Jg

If

In that

in the preceding

<>

considered g as the fundamental tone of the second chord,

we should

fall

back into the old

fault of

No. 106.

We

must

therefore choose a fundamental tone which ascends to f.

This
would be e, and upon it we construct a triad, as we have already

done on

a.

111
a
o

^
o

110.

** 5
we have

h
|

altered our figures, avoided the

wrong

gressions, but lost the elose connection of the chords.

This

Here, too,

proloss,

however, considering the otherwise excellent connection of the

may be

chords and the good progressions of the voices,

easily

borne.

Comparing our new chords with the old

though they are also

triads, their

we

ones,

find

The former

they consist) arc by no means alike.

triads consisted

new

of fundamental tone, major third, and perfect fifth; the

(E and A)

that

contents (the intervals of which

consist of fundamental tone,

ones

minor third and perfect

We will call the former major triads, the latter minor triads.
We have now three species of chords, viz.,

fifth.

upon the Tonic, Dominant, and Subdomiupon C, G, and F.

Minor triads, upon the third and sixth degrees of the scale
in C major, on j&and A.
The Dominant chord, upon the Dominant in C major
upon G.
Major

1.

nant

2.

triads

in

C major,

3.

We

now

can

already see one of the reasons which permitted us

to leave the triad after the

out
l

The

fifth.

riad

the

fifth,

dominant chord incomplete,

third suffices to indicate that the chord

which

is

i. e.,

is

with-

a major

no distinctive mark, can be most

easily

dispensed with.

With

this

our actual mission

is fulfilled.

We

can harmonize

the scale in every direction, and, cousequently, every

which contains no foreign notes.

Here

111. 8 3+3

3 f3

is

melody

another example
8

3+3

3+3

112

The treatment of the second and seventh measures

which

we have

the sixth measure

we have made

same

The chords from the

well-established,

we

fourth to the fifth measure have no con-

can

In the second measure

Why %

is

otherwise

let it pass.

we permit

the d of the dominant chord

Because, since the melody ascends,

we should

have been forced to make consecutive octaves (a) or to use a

Whenever the melody

always use the same proceeding.

ferent progression of the voices (b).

cends

by

degrees,

we

In

use of the proceeding in No. 110.

necting tone, but since the connection of the chords

to ascend.

the

is

learned in No. 95, and applied in No. 105.

will

dif-

as-

==
-4

V)

In the course of our last remarks

word "note"
confusion,

for ''tone."

we wish them

until in a future chapter

tinction

J-

we have

frequently used the

Since there can be no possibility of

to

we

be considered as synonymes
shall

between " tone" and

its

at least

be forced to preserve the

representative " note."

dis-

113

Fourth Part.
The freer use of the chords at present in our possession.
Until

now we have

used our chords merely for the accompani-

ment of given melodies.

Let us now see how we can apply them

independently.

Animated

phrases, like those of the

monophonic and duophonic

compositions (Nos. 5 to 74) would here be out of place.

present,

we know nothing

For, at

better than to write exclusively in tet-

raphonic chords (in masses) and this does not agree with an
intellectually-animated

movement.

A phrase

like the following

Allegro
113.

will do very well for one or two voices (a or b) but it would be

drowned under the tone-mass of four voices, with their bass walk-

ing along in wide steps (a).

The addition of a dominant chord would even make it worse (b).

We have to be limited, therefore, to quiet and simple harmonies which develope themselves but slowly.

114

CHAPTER

I.

HARMONIC DESIGNS.

A.

Development of a single chord.

We have already seen chords in different positions

among
fifth

others the major triad of

in the

upper voice.

leading of a chord through

115.

id

c,

This leads us to the

i=i

g
J-GO

The same proceeding can be applied

116.

also.

Sr

first

third, or

design

the

all its positions.

dominant chord

(No. 105)

with either octave,

"2?"

g
&

S&~
Q

to every triad, to the

"sr

At a first glance the design of the last chord seems to be faulty,

for we have admitted that the dominant chord must resolve into
the tonic triad.
But we can soon perceive that the moment of
proper progression has merely not yet arrived.
third,

The

and fourth chords are merely repetitions of the

second,

first,

and

only the last repetition ought to resolve according to rule.

9
117.

We see, also, that the last repetition is imperfect we have

employed two voices for the fundamental tone and its octave, and consequently have but two left for the most important
The fifth is omitintervals of the chord the third and seventh.
ted, unless we give to one voice two notes in succession, as we
;

have already done at No. 95.

115

The Combination of Ifitjor Triads.

B.

We are in possession of three

inant,

and Subdominant.

major Triads, on the Tonic, Dom-

All these are contained in one and the

same key, but the tonic triad alone indicates to us this key. A\
have borrowed the dominant triad of the key of the Dominant

<

and we have borrowed the subdominant triad from the key of the
Subdominant. Thus, though these three triads belong to one
key, they indicate three different keys.

These chords stand

keys.

C major

and

same

in the

major, and

relation to each other as the

C major and
C and

est related, consequently the triads of

same degree of

>tand in the

relation.

F major are nearG, and

The keys of

C and

F,

major and

F major do not stand in nearest relation, consequently the triads

of G and F lack also this nearest connection.
Premising

this

1.

which

we

we

find, therefore,

Designs of Nearest Connection

can represent in

all

the different positions of the chords,

between the triads of the Tonic and the Dominant

betweeen the triads of the Tonic and the Subdominant

&c, &c.
2.

Designs of More Distant Connection.

between the triads of the Dominant and the Subdominant, or

versa

vice

116

C.

The combination of Minor

Triads,

and of Minor and Major

Triads.

We have found two minor triads,

one upon the

sixth,

and

an-

When we

examine the
minor
triad
upon
the second
a
construct
scale, we find that we can
upon
d:
major
Thus we
in
C
instance,
df-a.
for
degree also;
other upon the third degree of

have now three major triads

the scale.

upon the

first,

and

fourth,

fifth

de-

and three .minor triads: upon the second, third, and sixth
Upon the seventh degree we can construct
degrees of the scale.

grees

neither major nor

It is

now

minor

triad, for

the perfect

these chords, of which,

now,

till

wanting.

fifth is

we

the question what independent use

we have used but

can

make

of

two, and these

only from necessity.

In order to arrive at the solution of this question,

we must first

examine their relation to each other.

It is clear

that all the notes belong to

one and the same key,

and that some have mutual notes among them, others not.

The

thus related with those off, g, e, and a; each of the

remaining chords is only related with three others by means of

triad of

is

mutual notes.

As

the three major triads represented the three major keys,

thus the three minor triads represent three minor keys, which on

examination will be found to be the parallel keys* of the above

three major keys.

Each minor key, however, stands

in the first degree of relation

to its parallel key (they differ only in one note)

major and

minor,

major and

consequently,

E minor, F major and D minor,

are nearest related, and thus the triads of

the

first

and

sixth,

the

fifth

and

third,

and

the fourth and second degrees

belong together.

We have,
1.

therefore, again,

Designs of nearest connection, or such as are connected by

the relation of the keys they represent.

* Parallel
for instance,
minor.

keys are those major and minor keys having the same signatures
G major and minor, G major and minor, major and

117
:

;5

122.

Designs of more distant connection, or such which, though

having mutual notes, do not represent nearest-related

2.

keys.

o
5

123.

3.

1 1

Designs without mutual notes.

124.

D.

Harmonic Designs from

Till

now we have used

avoid faulty progressions.

As

dependently.

it

adding of

the

The dominant

chord, as

dominant chord.

the dominant chord only in order to

We will
meets us

attempt, now, to use

in

we know

and according to

its

already,

the end.

is

the best decisive

nature resolves into the tonic

In connection, therefore, with the latter,

triad.

most decisive cadence.

it in-

a very important relation

The Dominant chord preparing

1.

sign of a key,

such

the

Let us observe

it

now how

serves as the

in its four po-

sitions it resolves into the tonic triad.

125.

In
In

a the

last

b the third

chord appears with

is

above.

only perfect when the

its

fifth

in the

upper voice.

Such cadences are imperfect

fuial

they are

chord has the Tonic in the upper

118
In the above cases

voice.

whenever

fore

in the

we

could not well do differently, there-

dominant chord the octave or third are

in

have an imperfect cadence.

in the upper voice, it can either ascend into the third of

the upper voice,

If it is

we

shall

the tonic triad as in (c), or

In the

octave of the same.

can descend, as in (d), into the

it

first

dominant chord

we have again an imperfect,

when the third of the
upper voice, we obtain, again,

case

Finally,

in the second, a perfect cadence.

(as in e) is in the

a perfect cadence, aud a stronger and a more satisfactory one

than in d

for the third

must ascend into the octave, while the

fifth can either ascend or descend.

Other Chords in connection with the

2.

The

Dominant

nearest relation of the dominant chord

chord.

the dominant

is

triad

A
127.

by adding the seventh becomes a dominant

(a) which

The next

is

the tonic triad (b), on account of

its intrinsic

chord.

connec-

tion with the dominant chord.

After

this, all

the remaining triads (with the exception of the

one on the sixth degree) stand in close connection to the dominant

chord, thus

making

this

chord the animating agent of

all

our har-

monies.

&

?
J

&

28.

E.

Extension of

Every

the

Harmonic Designs by means of Rhythm.

chord, or every pair of connected chords, can serve us

according to the above, as harmonic design

and consequently

every harmonic design can, by means of rhythm, be carried out.

Thus a
or

by

single triad could,

the use of

IS

by means of rhythmical repetition

be made a design.

its different positions,

B
I

(a),

119

The same could be done with two or more connected chords

for instance.

YTT

or alternating chords might be led through their different positions, as in

one phrase

No. 119,

if

we wanted

to

employ

all

the chords in

or they might be employed as here

131.

in various rhythmical forms.

Such formations are to be

no further instructions.
Far more important is
F.

effected so easily that they require

The Fonnation of Harmonic Passages or Sequences,

as they might better be called here.

Every succession of chords which does not end

of a period or a phrase,

is

manner
Thus the

in the

called a harmonic Sequence,

following part of a harmonized scale,

might already be called one.

No. 126 gives ns another,

consist

ing of the dominant chord and the tonic triad with their positions.

The design of No. 119

gives us a third and fourth.

We

connect

120
the tonic
this

and dominant harmonies, and write the

bass, perhaps, in

manner

_j,

134.
,

_C^_

<3

or in this

2?

135.

as far as

it

is

convenient (the * marks the point where

forced to leave the design),

and

effect

the end

we

by means of

are

near-

related chords.

The formation of such sequences is absolutely necessary to the

who should practice them in all positions and in all keys,
perhaps in the following manner also
student,

136.

fa

P
1

T
f

Such designs and sequences receive a special destination, when

as

Prelude,

they serve as introduction to a key, or the performance of a

composition.
tion for

These introductions, perhaps intended as prepara

a singer to begin on the right note, &c., can be limited to

the simple tonic harmony, or a connection of tonic and

harmonies in their different positions.

dominant

More complete would be

the combination of tonic, dominant, and subdominant harmonies,

121

13 7*

1e

22.

or the addition of minor triads

138.

for instance,

~o

ii

zg.

HH

Each design can be the germ of greater formations.

The com

bination of the tonic and dominant triads, for instance (119), can

be continued through

all

positions

it

can be repeated

it

presents

to us the appearance of two triads whose fundamental tones are a

Are

fourth distant from each other.

this

as

kind

we have

We

will

attempt

there not other triads of

ascending (a) or descending

u
it

already done in No. 13G.

(b),

Let us continue each de-

us more at home in
The number of such designs is great, and
recommended of the greatest use in our future exer-

sign through all positions,

and

it

will

make

our harmonic means.

the practice
cises.

We

must remark that here, and in most of the following illustrations

contracted our examples on one stave, thus impairing their effect.
But the pupil should practice and write them with lower basses, or in lower
tone-regions, and double the former; for instance, instead of No. 138 he

we have

should write thus

139.

122

CHAPTER

II.

THE FREER HARMONIZATION OF GIVEN MELODIES.

We have formerly

said that the third,

fifth,

octave, or seventh

Let us now reverse

of any chord can be laid in the upper voice.
it, and say that
Each tone of a melody can be either third, fifth, octave, or seventh of a chord.
Until

now we have had

a choice of

harmony

take for b the triad of either g or

/or a (108 and

But

110).

our object

it is

A.

We

ascertain

first

first

1.

any of our

Third ;

in that case

the chord would be

Fifth

nied

by

c-e-g,

fundamental tone would be

we have

(7,

tone,

c?,

make

it

a,

and

to seek the fundamental tone five

it isf and the chord fa-c.

which was formerly always accompa

can be

Octave; which would

2. Fifth ;

c,

to seek the fundamental

This would

three different chords.

The second
1.

to

can be

c-e-g.

degrees below; consequently

Thus we can take

it

a-c-e.

we have now

to choose oui

our material.

triads.

tone three degrees below.

3.

now

will divide

be

in that case the

and the chord would be

2.

we

of every tone of the scale whether

tone, C, can

Octave

could

Freer use of the Triads.

third, fifth, or octave of

The

but two de-

or for a the triads of eithei

e;

In order to secure safety

chords.

for

C major, we

In descending the scale, for instance,

grees.

make

the chord d-fa.

and the chord would be

g-b-d.

123

We

cannot consider

the fundamental tone

6,

have had no such chord,

this has a

minor

it

as Third, because this

and the chord

for all

would give us

But

b-d-f.

until

our chords have major

now we

fifths,

while

fifth.

continued examination gives us the entire tones of the scale,

with their respective harmonies at present

known

to us.

141.

Each tone has received three chords

could not be used as third, nor
note, because this

the present,

/as

as accompaniment.
fifth,

would have given us the chord

not know.

b-d-f,

which, for

we do

Accidentally, this phrase gives us a

four, at

D only

nor b as fundamental

new

design.

We

see at

b and c six triads whose fundamental tones form a design

like the following

us.

m
9

But to return to our work. Let us attempt the second kind

We are no longer tied to those chords which

of harmonization.

were formerly indicated by figures above the melody, but at every note

we

ask

"

what chord agrees with

it

V*

But with every chord we introduce we have

to ascertain wheth-

er in relation with the preceding or succeeding chords it does not

cause faulty progressions.

It will

be best to write now every chord at once complete, in

order to have the progression of every single voice in view.

will also, as

much

voice if they shonld happen to

while
it

we

We

same notes to the same

occur in two successive chords

as possible, give the

shall give

every

most conveniently.

new

tone to that voice which can reach

124

By

movement of our

this the

voices will

be surer and more

quiet.

The advantage of this new mode of treatment

melodies in which

tible in those

many

is

most percep-

tone-repetitions occur.

These (as in a) cause repetitions of chords, and make the accompaniment monotonous, while the new mode (b) gives variety to

838 538

883

Below we give some melodies on which

3 3+3

this

883

new mode

it.

can be

practiced.

144.

145.

0-0-

3Zt

EE
But the student's object ought not
duce as

many

repetition.

After

this,

He

chords as possible,
should

first

as

to

be so much to

to

avoid

intro-

troublesome

think of the nearest-related chords.

such successions as carry a harmonic or melodic de-

125
sign consistently

through, deserve the

most consideration;

for

instance,

147.

must take

Finally, he

particular care that these novelties

do

not destroy the forms of phrases or periods.

In this respect

we know

has to end with a perfect

and every period

that every phrase

full

cadence

for instance, in

major,

with

or

148.^
<
r

Str*

7
further

F"

that every thesis has to end with a half-cadence, like

or perhaps

149.

li

Jar

or with

150.

-0
It

h=4r ~G

BL

These rules must

still

&?

be respected, and in No. 143

attended to in a as well as in

After the harmonization

is

we

find

them

b.

thus completed,

ascertain whether, with the introduction of the

progressions have not foimd their

way

into

it,

it

will

new
and

be well to

chords, faulty
after this, the

whole should be played through.

B.

But

little

The free introduction of the Dominant Chord.

remains to be

said.

Like every

triad, the

dominant

126
chord can be used for every note contained in it
be taken not to cause faulty progressions by it.

but care must

We know that the dominant chord must resolve into

triad

that the third ascends one step,

scends one step.

We

can therefore introduce

these conditions can be

fulfilled.

Thus

following phrase, to consider the b

the tonic

and that the seventh

it

only where

would be wrong,
of the first measure as
it

deall

in the
third,

or the /of the second measure as seventh, or the g of the third

measure as octave of the dominant chord.

-4^^=3=-h

1
1

si

-=M-=
Let us

now attempt

another harmonization of No. 111.

BCD

The

three chords at

a have

little

or no connection

they have

only been selected in order to have the dominant chord succeed

the triad of
it

d.

The two are related through d and /;

succeed the triad of the subdominant, with which

it

at e

we see

is

related

At c it is introduced to d. The melody ascends from

and the seventh of the dominant chord descends to e.

through /.

to

e,

Thus the succeeding

two thirds which are very perspicThe latter is not of much importance,
and against the double third we have at present no help. We
uous, and lacks the

triad has

fifth.

could have avoided this

if it

had not been our object to introduce

the dominant chord as often as possible.

tage of our

new

principle.

We have not

At d we

ces in closest proximity to the upper voice, but

give

them the nearest

see the advan-

placed the middle voi-

have preferred to

interval of the next chord, because the for-

1-27

mer proceeding would have caused an inconvenient

progression

of the voices (a).

153.

is
more convenient would have been

Still

though by

we

it

should have lost the

fifth

We

Thus much of the dominant chord.

effect

our

full

cadence by

the progression of

b,

of the dominant chord.

will

make

it

a rule to

it.

Freer treatment of the Dominant Chord.

Until

now we have always

according to rule.
it,

invariably lost

treated the dominant chord strictly

The consequence was, that the

Now, when we have
the fifth.

frequently, and particularly for our cadences,

slight,

tonic triad after

to use

it

more

we can permit some

imperceptible deviations from our rules.

Formerly we have

now

step;

we

when

the seventh

will

insisted

upon the seventh descending one

occasionally permit ourselves

(particularly

one of the middle voices, and another voice

is in

takes the tone into which the seventh ought to resolve), to let

the seventh ascend.

154.

Here the seventh, / goes

to y, but the tenor has the e which

ought to have succeeded the seventh in the alto; this deviation,

however,

is

hidden, and

we have

gained by

it

a complete

final

chord.

The

third ascends one degree.

Here we

see

it

descend

two

degrees
155.

$=A

1-

ii
but the tone

c,

into which the third

would have

led, is

alreadv

128
taken

by

the treble, and

we

by

gain,

this slight deviation, the

completeness of the second chord.

r?
This deviation, however,

r r
f
not

so admissible

is

lies

when

the tone

dominant chord properly resolves

into which an interval of the

not alone in another voice, but in another octave also.

f
Here the seventh

in a

middle voice ascends

also.

But the deand the

viation is not hidden, because the voices are too far apart,
e

which we expect in the alto

is

given to another octave.

DOUBLING OF INTERVALS IN THE DOMINANT CHORD.

The

intervals of the

dominant chord most proper

for doubling

are,
1,

the fundamental tone, and

2, the fifth

but,

the third and seventh cannot be doubled without falling into

For we know

faulty progressions.

regular progression

that both intervals have a

the third ascends a degree, the seventh des-

cends a degree.
If,

now, two voices take the third or seventh, both will have to

resolve in octaves (or unison).

unless

thus

^
MM
r

we

-8-

y
r

proceed against the nature of the chord and have

it

We

have to mention here a relation which, in the old school,

has created

much

We

confusion and trouble.

refer to the pro

gressions which as

COVERED FIFTHS
were more or

Two

voices can progress in such manner, that without actually

making consecutive
effect

COVERED OCTAVES, &C,

less strictly forbidden.

fifths

or octaves, they

still

produce the same

for instance,

22

It is

undeniable that at

a, e, b,

# are somewhat conspicuous

ff, and

and

c,

the fifths

c,

a,

and

likewise at d and f the octaves

e.

Whenever such fifths or octaves appeared in voices which proceeded in the same direction, they were called "covered fifths
or octaves," and the misfortune
that the faults

were not

in

was

said to consist in the

The above

mounded, but in those which were merely passed.

instances

would be understood

fact,

those tones which were actually

in this

manner

4-4

I
it

was

fifth,

said that (a) not the sounded note

but the tone

e,

which

is

d with

made

the

between d and / and which, though

not audible, could be imagined.

If the voices led in opposite directions to a fifth or octave, as

at

e and

r,

name was

the above explanation would not answer, and another

invented.

130

Here was material enough

tion if

all,

bidden

to puzzle the student with the ques-

or any, and which of these cases were allowed or for-

for

some of

these successions occur in the

most simple

and indispensable progressions of harmony for instance, in the

natural harmonies and the necessary cadences.
;

making

it

absolutely impossible to write a harmonic phrase with-

out such progressions.

But with the same right they might, under similar circumstanhave forbidden the use of thirds, sixths, and sevenths, which

ces,

can also become very conspicuous

rf-

<5>

for instance,

&

rp

This very fact leads us to the solution of the whole question.

Such progressions are only conspicuous and disagreeable when

they occur between unconnected chords, or when they are caused

by unmelodious, unnatural progressing of one or more voices:

when a voice instead of the nearest interval takes a more distant
one of the next chord. Under such circumstances every interval
becomes conspicuous.

131

Fifth Part.
The Inversion of Chords.
Until now we have principally thought of the discovery and
we have paid but little attention to

connection of chords, while

the melodious progression of every single voice.

We

middle voices as near as possible to the upper voice

in

No. 143 we have deviated from

that interval of the next chord

Our bass always seemed

ageable, because

we had

harmonies to give to

this rule

placed the

but already

by giving

which was nearest to

to a voice

it.

the least flowing and most unman-

nothing but the fundamental notes of our

it.

we will now extend the

we have given to the upper

In order to obviate this awkwardness

same

privilege to the bass which

voices

we will take third, fifth, or seventh of a chord in the bass,

we give the fundamental note, or rather its octave, to an-

while

other voice.

This proceeding does, not of course, influence the character of

the chord.

It is

a mere exchange of one or

more

intervals of one

and the same chord, and has assisted us already in developing

our melodic element of the upper voices.

Such chord, the fundamental tone of which has been transposed

an inverted chord, and the proceeding

to another voice, is called

is

called inversion.

will call the

In juxtaposition

to the inverted chords

uninverted ones "fundamental chords."

we

132

CHAPTER

ENUMERATION AND APPELLATION OF THE INVERSIONS.

When

a fundamental tone leaves

chord has to become the lowest.

not fundamental tone

for

another tone of the

its place,

But

it

becomes only

fundamental

tone

we

lowest tone,

only called that

one which in the original construction (by thirds), was the lowest.
This one remains the fundamental tone, whether

it

be above, be-

low, or in the middle.

There are as

many

inversions as (besides the fundamental tone)

there are tones in the chord

consequently every triad has two }

and every septime chord three inversions.

2.

1.

l.

3.

2.

These inverted chords are so important, that they have

ceived particular names.

Thus the

first

re-

inversion of a triad

called the chord of the sixth, or Sext chord as

we

is

shall call it for

brevity's sake.

It

has received this name, beeause the most im-

portant notes of

it,

the third and fundamental note, form

interval of a sixth.

The second inversion of a

chord of the fourth and

call

sixth, or

now

the

triad is called the

Quart-sext chord, as

we

shall

it.

In the dominant chord the fundamental tone

important tone, but next to

it

in

importance

is

is

again the most

the seventh.

Con-

name

to the

sequently the position of these two tones gives the

inversions of the chord.

Thus the

nal third in the bass,

called chord of the fifth

QvAnt-sext chord, as

is

we

inversion, with the origi-

and

sixth, or

The second inversion is

and fourth, Terz-quart chord. The

shall call

called the chord of the third

first

it.

third inversion, in which the seventh itself is in the bass,

the intervals from the latter, and call

it

we count

the chord of the second,

or Secunda chord.

* See Appendix A. f See Appendix B.

133

The names thus obtained

are not influenced

The two

position in the upper voices.

first

by any change of

chords of the follow-

ing are both called sext-chords, and the others are

all called terz-

quart chords.

This addition to our chords, though of great advantage, gives us

no new

For

difficulty.

all

same rules
Thus when

inverted chords follow the

which govern the original and fundamental chords.

we

said of the

and that
still

its

dominant chord, that

its

third ascends one step,

descends or ascends one step

fifth

the

same

rules

hold good in the different inversions.

rr
There

Why,

r r

Mf

but one thing which might appear strange to us.

is

in the above, for instance, does the

fundamental tone g re

main instead of going to the Tome, according to the

Because

we

progression

consider
is

it

voices permits

original rule

prevented by the surrounding voices.

it,

we

as octave of the fundamental tone, and its

the Tonic is otherwise represented.

the

can

still

If the position

Besides this

of

<the

other

go from the fundamental tone of

dominant chord to the Tonic.

though this proceeding

is

always most proper when done in the

lowest voice.

When we
by them

analyze the effects of these inversions,

we

find that

the chords are taken from their original position, from

their proper

and firm foundation, and that they lose

clearness and security in the

same degree

as

we

their natural

increase the dis-

y
134
tance of the lowest note from the fundamental
same degree they partake of a mobility which

But

tone.

in the

foreign to the

is

original chords.

Therefore the sext and quart-sext chords are not

The

chords.

a position, that

we

will only

employ

when we

it

when we have
some in future.

the drift of the bass, or

we shall
same
the
For

of which

learn

must resolve

are led to

it

particular reasons for

fit

by
it,

Though they

to prepare the end.

from

into the Tonic, the strength of the step

fundamental tone to fundamental tone in the bass

some even

to be final

reason neither quint-sext chord, nor terz-quart

chord, nor secunda chord, are

all

fit

latter particularly brings the tonic triad in so strange

forbid the Tonic in the upper

wanting

is

and lower voices.

NECESSITY OF A DIFFERENT FIGURING.

Before

we

we must

return to our practice,

take a precautionary

measure which becomes particularly necessary on account of the

inverted chords.

As
at

long as

we placed

harmony made

it

every chord there where our

necessary,

we

But we have not merely the choice of

of chords.

for every tone of the

the

It is clear

melody

that the figures

are no longer sufficient.

what chords we have to carry out

called

we have

the inver-

"We require now a

in notes.

The composer

figuring.

different triads

which we formerly placed above

kind of signs which remind us what chords

is

attempts

melody, but we can also introduce the dom-

inant chord arbitrarily, and in addition to this

sions.

first

could hardly speak of a choice

different

we have chosen, and

This new proceeding

in his sketches often

makes

use of this figuring in order to contrast the most essential points

of his work.

For

giving

it

would suffice to a degree, but it is imwhat we express in notes, and instead of

this it

possible to express in

it

many
we want it.

that importance which

will only introduce

We are already

it

as

accustomed

first

to

theorists attach to

it,

we

remember the bass and

then to add the middle voices ; the bass aids us to find our way
in the harmonic mass.
Over or under the bass we place, therefore, this so-called

remarks will be

figuring.

sufficient.

For the present the few following

135
Triads generally have no

1.

figuring,

simpler chords in existence.

passage to be unaccompanied,
alone,

we

will

mark

it

with

t.

because there are no

if

if

Every other chord

.

with

is

indicated

we

will

by

mark

figures

marked by
"
by
"
by
the Quart-sext chord
is

the Sext chord

3.

as

the Quint-sext chord

"

by

the Terz-quart chord

"

by

the Second-chord

"

The dominant

it is

it

by

is in-

a.

which correspond

Therefore

its principal intervals.

the Septime chord

all

marked alV

it is

a single tone in the bass

tended to be unaccompanied
2.

When

(tasto solo).

s.

intend a

the bass shall go on

voices proceed in unison, or in octaves,

unisono, or alV ottava

we

however,

If,

by

7.
e.

J
J

or
J.

or

J.

or
J.

2-

chord, if before the end, requires no figuring,

too important to be forgotten, even without them.

We will

make use of

memoranda, as

it

these

were, of what

figurings,

we

and consider them as

are going to do, as

we

are not

yet able to represent to ourselves a whole scries of chords with

all

their different

voices.

For the

merely write down the bass and

voices afterwards.

present, therefore,

figurings,

we

will

and add the other

136

CHAPTER

If.

THE FREE USE OF THE INVERSIONS.

New

A.

Designs and Passages.

As we formerly passed through

1.

cannow combine a chord with

its

the positions of a chord,

inversions

we

for instance a triad,

164.

r Y

The quart-sext chord is here introduced, but we have been led

it by the bass which passes through all the intervals of a chord.
The same proceeding can take place with the dominant chord,
to

165.

&

4d

Gr

6
5

and with every other triad and septime chord.

2. Formerly we dared not attempt a succession of triads in
parallel direction, on account of the consecutive fifths and octaves
which would make their appearance,

166.

l-ir-I-

Z3

&

&

but the more mobile sext chord permits us to

make

such succes-

and to employ them for new designs and passages and at

the same time gives us means for the accompaniment of the

sions

scale.

9
i
1

=3=5
1

167.

F=t

-g

137

None of
tones with

these sext chords,

its

neighbor

new and

all the voices serves as a

The strong

link.

drift

is

it

have any connecting-

true,

but the flowing diatonic movement of

quite satisfactory connecting

of the voices gives us no time to perceive

the lack of internal connection.

3.

Such successions can be made tetraphonic, either by adding

the octave of the lower voice,

or

voice alternately doubling the third and funda-

by a middle

mental tone of the chords.

Tf
It is

-J-

is

also flowing, but the zigzag

voice in No. 169

makes

f f f f r

apparent that the manner of No. 167

No. 168

it

is

the lightest; that of

movement of

the middle

heavier and only appropriate for slow

movements.
4.

The

quart-sext chord can also be

employed

in

a small suc-

cession, like,

but a longer continuation of

The

figuring

it

of the above

constant repetition of the

gives a very unsatisfactory

is

same

figures,

dashes placed under or over the bass.

result.'

we dislike the
we can mark them by

easily found.

If

Thus the following

* See Appendix A.

figuring

138
us that to each tone of the lower voice

tells

we

are to take a

sext chord.

Combination ef Inversions with Fundamental chords.

B.

The
In the above we have used the inversions independently.
combination of inversions and fundamental chords gives us a much
need not mention that every
more extensive source of designs.

We

combined with every fundamental chord, as long'

But the nearest-related
as they do not cause faulty progressions.
chords enter most conveniently into combinations, be they now
inversion can be

fundamental chords or inversions.

Therefore the chords of the

Dominant, and Subdominant or Parallels are most easily

Tonic,

combined in

their inversions

more convenient

In fact, the

much

combinations

for instance,

position of the tones

makes some

easier than in the fundamental position

thus

the following chord-successions

173.

v
are

11

much more

f-

flowing than the

same

in their fundamental posi-

where the bass has to take such wide

tion,

r
Still

T y T f

more important

is the formation of new harmonic passawhat we have said of them will be comparatively
Only as examples we give a few passages, produced from

which

easy.

steps.

t=t

ges,

mm f y

after

our present means.

In No. 167

we

of sext chords.
chord

this

first

saw an ascending and descending passage

Each

sext chord reminds us of

prompts us to mix the two
:

its

fundamental

139

11

175.

The

-ppc

irftip

rr

"f

11 J

l-J- -U

anticipating of the sext chord

would give us a second passage,

5t
170.

We

H
H

P
1

can descend in similar manner,

177.

li

or
I

178.

r
The addition of a third chord gives us

still

more

variety, which,

together with the thorough practice of every design through all

positions,

instance,

we

leave to the industry of the pupil.

<te.

179.

No. 173,

for

might be carried out thus

33

thus

I
I

rrfr<fce.

180.

P
See Appendix C.

140
These inversions give us additional means

for the formation

of

Preludes and Final Cadences.

C.

We have already

seen one of the simplest preludes, consisting

of tonic triad, dominant chord, and tonic triad.

181.

Now

=i=f

we have a

that

progression of the

same

Leading the

awkward.

z z_

better control of the bass, though the

is

vigorous and decided,

first

chord through

its

it is

nevertheless

inversions,

ZZ

182.

we

arrive at the quart-sext chord, the lowest tone of which is at

the

same time the fundamental tone of the dominant chord, thus

much more flowing connection. We will prepare

offering ua a

our
is

full

cadences, therefore, with the quart-sext chord, though

it

not absolutely necessary, as long as the fundamental triad gives

us an awkward, but
183.

more vigorous

preparation.

BE

We have also employed the subdominant

perfect decision of key and oadence.

For

chord for the more

it,

too, the quart-sext

chord serves as a more flowing progression in the bass.

184.

141

D.

The inversions
progressions

Avoiding Faulty Progressions.

furnish us also with

new

forcing us to substitute a

faulty

chord.

185.

nfc

new means of avoiding

for they permit that the bass avoid a fault, without

&a

'

&g

e?

^i-S-

g fs-

3
4

r-j

!^

P -s-S11

Tl-&-\

Here we have avoided the faults attendant upon the sixth and
not by alteration of the middle voices, nor by
the addition of a new harmony, but simply by means of inversion.
seventh degrees

E.

new

chord, the

Here something new

Diminished Triad.

offers itself to

our consideration.

.eaping progression of the tenor in No. 185,

jisplease us.

tenor to the

Trusting to chance,

d of the next

we

b,

might

in

some

The
cases

lead, therefore, the c of the

chord.

p-j=f=H
This brings us to a chord

the dominant chord without

its fun-

damental tone, reduced to three tones, and having the appearance

of a triad. This triad (we have often met it without knowing

what use to make of it) distinguishes

itself

from the former;

it

consists of

Fundamental
It

tone,

minor

third,

contains less than the minor triad, and

the

Like every other triad

it

and minor
is called,

fifth.

therefore,

Diminished Triad.
has

its

sext chord and quart-sext chord.

142

new chord

But, in reality, this

Its

ascends one degree to

one degree to

its fifth,

c ;

e ; its third

scend.

But

viations

from these

in Nos.

nothing else than an imperfect

its

same

tones follow the

laws.

former third of the dominant chord)

tone b (the

fundamental

is

Consequently,

dominant chord.

/ (the former septime),

only (the former

fifth)

descends

can ascend or de-

152 and 153, already, we have permitted deand we may therefore admit them in

rules,

the diminished triad.*

A
J

&

1^1

2?

&
&

4
Here, at
sionally

a, b,

may be

of the voices.

and

c,

we

see the seventh doubled, which occa-

In order to avoid consecutive octaves

enths to ascend.

This

occurs in a middle voice

is
;

and permit one of the

done best at

at b

it is

more

a,

where

we must

de-

original sevthis deviation

perceptible,

and

at c

it

disagreeable on account of its being in the upper voice.

It is

not to be denied that this diminished chord lacks the

ness and firmness of the dominant chord

to

n-

necessary in order to obtain a flowing progression

viate from the original law,

is

employ

it

but

we

full-

are often fbrced

where the dominant chord would only disturb the

movement of our

voices

for instance,

* See Appendix D.

143

CHAPTER

III.

EMPLOYMENT OF THE INVERSIONS IN THE HARMONIZATION

OF GIVEN MELODIES.

As

we cannot introduce any chord in a

And we must consider as faulty the entrance of
which we have no reasons, or which does not aj<-

a matter of course,

faulty manner.

every chord for

pear in proper connection.

In this third
seize

tant

what

lies

manner of harmonization

therefore, too,

nearest to us, and thence arrive at the

but we will not pass over the former without

we must
more dissufficient

reason.

We

will therefore generally

chords.

think

first

of the fundamental

Nearest to these fundamental chords are

its inversions.

when we remain longer in the harmony of the

fundamental chord. Moving from one harmony into the other

These we

we

will use

will again seize the

fundamental chord of

this latter, unless its

inversions serve to avoid faults (No. 185), or unless the current

of the bass, or of the middle voices (No. 189), or the object of

writing flowingly (No. 186), or fear of crowding severe succes-

&c, induce us to employ the inversions.

The method of practice for this third species of harmonization
is the same as that for the second.
Another treatment of No.
147 may serve as example
sions,

J"

is

rwii
=
66

iippm
6

6^67
4


144

CHAPTER
CLOSE

The

IV.

AND DISPERSED HARMONY.

inversions have given us the possibility of giving to the

bass a more flowing melody

the other voices, also, have gener-

ally received a better connection, and for this purpose have often

place next to the upper .voice.

left their

now remains with

It

us voluntarily to resign this close connec-

We know

whole phrases.

tion of the voices throughout

already

that the inversion of the different intervals of a chord are permitted,

and that they neither disturb nor change the inner character-

istics

of such intervals.

Thus the chords

as those at b.

O
^

/"

&

193.

<9

a are

at

as admissible

g&G

r\.
9

We have
What

occasionally
is it

employed them.

now we have done

of the chords apart.

This

is

at

We have drawn the tones

externally true, and corresponds with

They seem no longer pressed closely upon each

and have thus become softer and more

our sensation.

other, they are extended

transparent.

more

It is evident, also, that in this

play, and can

move more

This form of representation

form the voices have

independently.

is

called the

dispersed position, or dispersed

harmony.

We know already

where the close and where the dispersed harmony has the advantage. We shall, at least, never employ it where
it

leads us into unnecessary difficulties.

with the

whether

latter,

we can

we must do
continue

it,

troduce the close harmony.

If

we

begin, therefore,

so only after having ascertained

or whether there

is

fit

place to

in-

145

The moment we desert the

ible field

But not

all

of these positions are suitable.

tervals too far,

we

If

we

an almost inexhaust-

all

for us.

spread the

in-

the intervals in the higher regions, the

will lack fullness.

If

we

place

regions, they will lose their distinctness.

own harmony,

open

lies

we

If

disturb the material connection of the chord.

some or

place

harmony

close position,

of different positions of our intervals

has given us a model which

A
i

them

in the

all

lower

Nature, however, in

we may

it>

safely follow.

g
1

194.

The above,

as the student will

remember, has been the

dation of our harmonic element.

When we now

positions and distances of the different tones of

we

foun-

consider the

which

it

consists,

find that
1.

The lower

the tones, the

more

distant from each other are

they.
2.
3.

The
The

actual diatonic
full

melody begins with

and close harmony

lies in the

the highest

e.

middle tones, be

tween the lowest g and the highest c of our model.

lower region there is only a doubling of octaves.

4. In the
5. If

we wish

to double the

whole chord, or some intervals

of the same, this can better be done in the higher than in

the lower region.

(Compare

b.)

These observations indicate to us our

not follow
application

195.

them too

rules.

Only

strictly or too pedantically.

that

Now

we

will

for the

146

v |.ri.....|.....'l ...l,;'f

;t < ..|.

But
ing

first

we must

263

6-7

4-

observe, that horizontal dashes in the figur-

signify continuation of the

same harmony

as in the second

chord of the penultimate measure, where they stand instead of the

repetition of

J.

The above, for comparison's sake, is treated at a in the first

manner. At b we have treated it in the third manner, with employment of the inversions, but in dispersed harmony.
Above all, we perceive at b the transparency of the voices and
Only at the close of the thesis and
the evenness of distances.
of the antithesis the bass is rather more distant from the othei
voices.
But this happens only on unconnected parts, and the
immediate preceding of the higher octave.
This

new manner

dent on

all

of treatment should be practiced

the former phrases, and on melodies of his

by the stuown inven-

tion;
1.

According to the fit si manner of harmonization.

2.

According to the second manner of harmonization, and

with arbitrarily-chosen chords.

3.

According to the third manner, in

4. In dispetsed

close

harmony, and

harmony.

Finally, he should practice the dispersed

passages, of which

we have had

harmony in harmonic
Each passage

several already.

can be represented in more than one position ; for instance, the

one of No. 179 thus:

197.

4^4 3

or thus
* See Appendix C.


147

At*

rr-TTJ

1.

Ls>
193.

tf

J|

||

p r

RETROSPECTION.

With
scale.

we

this

It

Triads

1.

harmonic development of our major

close the

has given us
:

versions

the major, minor, and diminished, with their

:

The dominant chord with

2.

quart,

We have

its

inversions:

Quint-sext, Terz-

and Secunda chords.

learned to combine these chords in various manners,

and to form with them phrases, passages, and periods.

velopment of the harmony

or periods,

in-

Sext chord and Quart-sex t chord.

we

will

now

in

The

de-

accompaniments, phrases, passages,

call

MODULATION.

We

had to resign the invention of periodical compositions,

be-

cause our tetraphonous formations were not sufficiently free to

permit us the equal consideration of

period, such as

all

the requirements of a

Melody, Rhythm, Construction, Harmony, and

Voice-progression.

But instead of this we have learned how to find for one given
melody three accompanying voices.
We must attach one more observation to all our former results.

We

have obtained the justification of the major

accepted

it

as

justification;

custom has given

We

to us.

scale.

At

first

we

This serves already as

but since we have arrived at harmony, the question

whether our major scale

ance.

it

is

well formed gains additional import-

have to consider whether

monic treatment, whether

modulation, whether

it

it

it is

well formed for har-

contains the material for satisfactory

can close harmonically as well as melo-

dically.

We

can

now answer

these questions in the affirmative.

Three

148
major, three minor, one diminished triad and the dominant chord,
together with all the inversions arising therefrom, are sufficient
to harmonize the scale, and all the melodies therein con-

means

The dominant chord gives us a perfect cadence, the maand minor chords remind us of the nearest-related keys, and
we have sufficient means for half cadences and imperfect cadences.
We can now confirm the conception of a Icey, that such a one

tained.

jor

must be

fit

melodically and harmonically as well, for the forma-

and periods.
But we must not close this chapter without drawing the atten-

tion of phrases

tion of the student to the fact that it is absolutely necessary for

him

to play over all his compositions and exercises.

harmony, particularly,

it

will require

tice to the different voices.

some

In dispersed

practice to

These voices are

all alike

do

full jus-

important,

and should be played with precision and equality of strength.

When

thus practising, the student should watch the effect of

every chord, and the results of this attention will be a better com-

mand

of means than can be acquired in any other way.

149

Sixth Part.
The Harmony of the Minor

CHAPTER

Scale.

I.

THE FORMATION OF THE MINOR

We

have

justified

the major

chord was a major triad.

we found

also

major

SCALE.

scale harmonically.

Its tonic

Upon

the dominant and subdominant

and

in the tones of these three triads

triads,

e-g

C-

g -

- d..

f- a fg a b

'.

d
was contained the complete major scale.
scale we found some minor triads.

But already

in the

major

We ought

therefore to admit that as the major scale

had ma-

jor triads upon the Tonic, Dominant, and Subdominant, the minor
scale

ought to have minor triads upon the same points.

chords, in

A minor,

These

would be

- g -

-f-

a.

This would give us the scale

e,

c,

af% 9,

But in that case the minor scale would lose that most important
of all chords, the dominant chord; for the latter is based upon a
major

triad.

Consequently

we must change

the dominant into a major chord

e-g-b,

For

this proceeding

only

the minor triad of

for instance in

A minor,

into e-g$-b.

we have

sufficient

reason

for the rest

150
above analogous formation. Were we to
subdominant also into a major one (d-f-a
into d-fjf-a), the minor scale would differ in but one chord and
tone from the major scale.
A, b, c, d, e,f, g$, a,
must therefore be our minor scale. Its character, in regard to

we

will retain the

change the triad of the

harmonic treatment requires it so.

In this manner, it is true, it contains a conspicuous progression,
but at the same time

from /to

it is

also clear that

destroyed.

minor

It

by

substi-

almost completely

tuting /j( for /, the distinction of tone-sexes is

has therefore been concluded to write the ascending

scale,

and the descending one,

A. g,f,

e, d, c, b, a.

two different minor scales; or a

which two degrees are contained doubly

There, however, are in reality

minor

scale in

b , c>

9> ffl

and which appears in every way unsystematic.

We shall therefore, without further explanation, take the above

systematical one as foundation.

If the harshness of the superflu-

ous second does not agree with our melodies,

we need

not use

it
?

a g$ a-f, &c), or
but place another tone between (fe
we take the g$ an octave lower, as seventh from / Later we
shall find

means

and tones.
progression,
gree.

But

discoveries,

to introduce in major or

It will

by

raising the sixth, or

for the present

and even

that on account of
too,

minor foreign chords

then depend upon us to avoid this obnoxious

we

in future

its

shall

we

harshness

by lowering the
win from

it

cannot so easily be convinced,

it is

inadmissible.

must have a corresponding representative

A
G.

seventh de-

several important

Harshness,

in sounds.

Note. The student is here advised again to read over carefully the Appendixes
and B, that he may have a clear understanding of the whole
subject.

151

CHAPTER

II.

HARMONIZATION OF THE MINOR SCALE.

We have now to find harmonics

manner
at

first

as

we

for

new

same

scale in the

We will

follow our figures above the melody, and avoid the

8

>00.

3+3

-&

<s> 4-g
L-<9

'

i<5>
1

faults

our

formerly found them for the major scale.

&

J2.

between the sixth and seventh degrees as formerly.

Here

is

again the beginning of our Jirst manner of harmoni-

zation.

But the succession of the sixth and seventh degrees becomes

more difficult in the descending scale for in addition to all former difficulties we have now the harshness of progression in the
;

scale

itself.

We might

change (as before in No. 108) the second

chord, and thus avoid consecutive octaves and

201

fifths,

but in that case the harmony has no connection, and that, too, at
a point where the harsh progression of the melody breaks, as
were, the thread of the melody.

connection of these two degrees

therefore, to retain as

many

We
by

it

ought rather to double the

their chords.

We

tones as possible of the

or perhaps the whole chord for the succeeding degree

attempt,

first

chord,

202.

SE
but in order to

make room

for the succeeding tone of the

melody,

152

we

Here we

lower octave.

in a

two upper tones

will place the

have a new harmony before

us,

e-gl-bf,
which even exhibits the normal construction, with the exception
Our second harmonic mass has
of the vacuum between b and /.
already exhibited to us such a vacuum, by the filling of which we

Here

gained the dominant chord.

vacuum with the intermediate

we

too, therefore,

third

c?,

will

fill

the

and have thus a new chord

ofJive tones
e-ffl-b-d-f

before us, which

we

place at once into the succession of chords

which accompany the descending minor

-s1

r-G
1

object

is

now

r-G

o
a

achieved, only that

we have

into a tetraphonic phrase a chord of jive tones.

to a further consideration of the

The

fifth tone,

new

which distinguishes

Apart from

the

from

Ninth. Ninth-chord, or

this ninth

and progression of which

all

former chords,

Nona

it

we have a dominant chord, the

We
is already known to us.

This additional interval

highest interval of the

first

is

is

name

the

chord.

gine the nona chord, therefore, as a dominant chord

ninth.

introduced

This leads us

chord.
it

the ninth from the fundamental tone, and gives to

Chord of

-G-

-_G-

Our main

-G

r-G

scale.

character

can ima-

w ith added

nothing but an addition to the

chord (the seventh) and consequently

follows the progression of that interval.

In the nona chord,

therefore,

The
The
The
The
The

Fundamental tone proceeds to the Tonic;

Third ascends one degree,

Seventh descends one degree,

Ninth also descends one degree, and
Fifth

may

either ascend or descend.

In the following

153

SEE**
204.

is

a?

3
the progressions can be seen

the

fifth

consecutive
It

we

descend,

it

distinctly

only that in having

above the ninth, in order to avoid

(Compare a and

fifths.

now remains

place

more

b.)

nonachord to four voices,

for us to reduce the

because a pentaphonic (five-voiced) harmony

a tetraphonic phrase, and

tory to give

two tones

Which

to one voice, as

now

tone here can

Fundamental

and the ninth

inadmissible in

is

at all times

we have

is

practice

best be omitted

tone, third, seventh

be

satisfac-

formerly done.

all

Undoubtedly the

are too significant,

decidedly the most characteristic tone.

The harmonization of

we can

might not

fey
frVf

205.

fifth.

it

it

the minor scale

in the following,

and

is

thus completed, and

in the

melodies given

below.
5 5 8

5 3 8
8

206.

3 8

3+9

Jl

5
,

6
5 3 8

5 3+3

154

CHAPTER

III.

THE NONACHORD. CONTINUED.

Our new
gladly win
seen, of the

chord

it

for

is

so conspicuous a formation that

our major scale

dominant chord with an additional

nor, for instance,

as

It consists,

also.

third.

we would
we have
In

mi-

would be

it

g-b-d-f-ab.

If

we now add

another third to our dominant chord in

C major, it

would be
g-b-d-f-a ;

and thus we have obtained a nonachord in major, constructed

from the tones of the major scale. It is only distinguished from
the nonachord in minor

while in the former

by the

ninth,

major.

it is

which

We will

the major nonachord, and the other the

But

in the latter is minor,

therefore call the one

minor nonachord.

since the major nonachord, is constructed exactly as the

minor nona chord,

it

follows the

same

rules.

207.

-or

The
The
The
The
The

Fundamental tone goes to the Tonic

Third ascends

Seventh descends

Ninth descends

and

Fifth, if below the ninth,

would create consecutive

this rule falls to the

fifths.

ground

(b)

must ascend

(a),

otherwise

it

If above the ninth, the reason of

and

it

can consequently eithei

ascend or descend.
E)i passant,

chord

is

we must

marked

9,

state that in thoroughbass

from

its

most important

figuring

interval.

this

155
Inversions of the

Nonachord*

Examining the usefulness of the nonachord, we enquire

once for

But the

the above.

way.

inversions ; its positions

its

we have

at

seen already in

tone-riches of the chord stand here in our

oversteps the boundary of the octave, and no sooner do

It

we attempt an

inversion, than the

whole construction

falls into

confusion.

208

In particular positions only are these inversions of the nona-

chord possible, and even then only under

209.

3E

troubles and
carefully,

many

much

hesitation.

We

omission of the

fifth

them
Even the

shall therefore only use

and require no particular names

gives us here no

for

relief.

them.

For the

collision

takes place between seventh, ninth, and fundamental tone, which

latter in

an inversion steps right between the two former.

This leads us to another manner of relieving the chord of

tone-burthen,

We

new chords of four

its

omit the fundamental tone, and thus gain two

tones, therefore

new Sep time

chords.

same manner we gained formerly the diminished triad

from the dominant chord. Below are the two new septime
chords, as the issue from the nonachord.
In the

The latter only deserves a new name, because by and by it will

become important and since the diminished triad is contained
;

therein,

we

will call

it

Diminished Septime chord.

We need hardly

mtntion that the intervals of this chord follow the same laws as those of the original nonachord, t. e., the
* See Appendix E.

156
fundamental tone b (former third) ascends, the

fifth

(former sev-

enth) descends, the seventh (former ninth) descends, and the

third (former fifth) can either ascend or descend.

These new septime chords can be inverted without

and without requiring further rules.

difficulty,

211.

What

intervals,

we

ask now, can be omitted or doubled?

According to former rules the third

omitted or doubled

is

the one which can best be

the latter, because

it is

the only one which

can either ascend or descend.

212.

r
Former

theorists

ent of inventing

have prided themselves no

names

little

for every insignificant

on their

new

tal-

formation.

This served only to confuse the mind of the student, without in

the least facilitating his labors.

most important chords.

the

be

We

Any

sufficiently designated in the

have only given names to

little

variation from these can

figuring.

We

know

that the

ninth and seventh are the most important intervals of these chords,

and

if

we

represent

them

in our figuring it will

be

all-sufficient.

157

CHAPTER

IV.

THE FREER USE OF THE NEW CHORDS.

We
cies

are

now

in possession of three species of triads, three spe-

of septime chords, and two species of nonachords.

two of the septime chords and one of

triads,

are applicable in major as well as in minor.

rules according to

mer

us, therefore,

new harmonic

instructions can

ted here

We

also

know

the

which they are applied.

Each new chord gives

tion with others,

All the

the nonachords

by

itself,

and

in combina-

designs, which according to for-

One only

be easily found.

shall

be indica-

the combination of those chords which have arisen from

either omission or addition of intervals.

These chords give us the best harmonic connection possible,

except the combinations of positions and inversions of one and
the

same chord.

We

also discover here a

new manner of

avoid-

ing the resolution of those intervals which are bound to a certain

In No. 160 the third b went to d, the seventh,/,
went to <7, because the same chord remained, and these tones
were represented by other voices. Here

progression.

r
/goes

to a instead of

a nonachord.

r
e,

because the chord remains and becomes

Then again a to/ and / to

chord remains, but because

whence

it

it

b ;

not because the nona-

goes back into the dominant chord

issued.

However

brief

we

can

make our

instructions

by

reference to

15S
the preceding,

it is still

necessary for the student to continue his

practice of harmonic combinations, in all inversions and positions,

and to employ them in the formation of sequences and preludes,

and particular attention should be given to the harmonization of
given melodies.

To

this

we add

the following remarks

1.

We

have found two

Major Melodies.

new

chords for them

the major nona-

chord and the septime chord arising therefrom, with

its inversions.

Both chords may be applied to all the tones contained therein, if

it can be done without causing confusion and faulty progressions,
for instance,

6
7

2.

"VVe

5726

require a

5
6

Minor Melodies.

have occupied ourselves so

we now

more thorough

little

with the minor

scale, that

practicing of formations in its

compass.

As introduction it would be well for the student to construct

from the chords of the minor scale harmonic designs and sequences, as many as he possibly can.
Then he ought to treat every

159
First according to the first man-

given melody in two manners.

ner of harmonization, and right below

and third manners

ft.

e.,

by choosing

according to the second

it,

his chords

and using them

in their inversions.

We

give here an example of the last

manner

for the first

we

have no room.

57

S3
7

U6

We

find in the

fc|6

5 6

H6

of the above some new signs which

figuring

require an explanation.

65

Until

now we have

taken

all

our chords

as the ordinary key-signature (the sharps or flats placed at the be-

ginning of a composition) indicated them.

very well.

Bnt

in

minor

In major this answered

this key-signature

does not correspond

and we have to make use of accidentals.

The same has to be done in the thoroughbass figuring.
In C miwith the actual

scale,

above d would indicate the sext chord

nor, for instance, a 6

But there

is

must place a
If

bass,

no
fc]

b'7

always refers to the

is

b\,

into b%.

placed above or below the

Thus the

third.

d-f-b*>.

minor, and we, therefore,

before the 6, in order to change the

an accidental without figure

it

in our scale of

fc;

under the second

note of the bass in No. 217, indicates that the triad g-b%-d (not
g-bj-d) is

wanted.

would indicate the

If the

key were

triad d-f$-a.

instead of placing a

jf

before

minor, a

j(

above the a

Frequently the figures are crossed

them

0, 4, 0,

jff,

X.

160
Additional Licenses of the Dominant chord.

3.

We

now completed

have

immediately from the

first

the circle of harmonies developed

fundamental harmony and the tones

of the major and minor scales.

Among

all,

the dominant chord has proved itself the

ductive, having given birth to the diminished triad

two nonachords with

their septime chords.

we have permitted this chord a

its third, if covered by the middle

occasion
sion;

descend, while the seventh

make

It is

fundamental tone, therefore, to remain as

tone (b)

if it
;

or

Already on a former

voices, was allowed to

was permitted to ascend, in order to

the succeeding chord complete.

chord (a) as

pro-

less restricted progres-

to favor the better connection of chords.

tal

most

and to the

now

our next object

We

will permit the

fifth

of the succeeding

were merely the octave of an omitted fundamenit

may

descend into the third of the succeeding

chord, instead of its fundamental tone (c), while the seventh (cov-

ered

by

taves,

the other voices) ascends, in order to avoid covered oc-

which might be obnoxious, particularly when in the outer

voices (d).

The fundamental tones of

the nonachord

may

also participate

in the first license

but the second

is less

admissible, because the accompanying ninth

forces the seventh to follow its natural laws.*

* See Appendix F.

161

SeYenth Part.
Modulation into Foreign Keys.

All our formations thus

moved

far

within the compass of any

one particular major or minor key, and contained neither tones

But in order to extend the sphere

nor chords foreign to that key.

we
we must

of our labors, and to add to our melodic and harmonic means,

must

other tones and other chords into action,

call

i.

e.,

combine the tones and harmonies of two or more keys

The

composition.
late into

term

technical

foreign keys" or "

to

for this proceeding is " to

in

one

modu-

modulate."

This combination of several keys in one phrase can take place

in

two

different

remain in

it

ways.

We can

key into the other

called a "

is

Or we can merely touch

or even a sequence.
therefore, in a

form

in it

In such case the step from the one

an essential part of the same.

If,

modulate into another key and

to the end of the composition, or at least

transition.''''

new key, use one or a few chords,

In that case we have a mere " digression."
composition in C major we would introduce
the

passages and phrases like the following,

ff

T rT

which are not indigenous to that key, but which would have been
touched merely accidentally, without actually exchanging C major for another key, these foreign chords
sions."

how

How

to arrive at such chords,

to construct them, requires

would be

how

no particular

called " digres-

to classify

them, or

instruction, as the

results of the rules of transition will furnish all the requisites.

Transition, then, according to the above,

in the course of a composition,

and to

one, in order to construct, or execute in

whole.

is

to leave one key,

seize distinctly another

it

an essential part of the

162

CHAPTER

I.

MODULATION FROM ONE KEY INTO ANOTHER.

We

modulate from one key into another by exchanging the

tones and harmonies of the one

instead of

c> d> e, fi 9,

with

for those of another

c,

three major triads (C, G, F),

its

for instance,

C major,

a, 6, eg,

c?,

e,

&c, we take

major:

/jf , g$, a,

This would be the

its three major triads (A, E, D), &c.
most complete, but also the most troublesome mamier of modu-

with

lating.

But we perceive immediately that much is here mixed up which

The two keys, however distant from

might be called superfluous.

common

each other, have several tones in

tones, therefore, they are not distinguished

in

which we do not perceive that

for

major,

therefore,

(a, 5, d, c), in

major has been exchanged

These mutual non-distinguishing tones need not,

be touched.

The remaining

three, /jf,

cjj,

g, indicate the transition.

even in our monophonic phrases

we have

This

more

we

distinct sign of transition than

mere

We

first

we have dis-

conception and the foundation of keys.

But which are the harmonies which serve us as the

of a transition 1 Those which surest indicate their key.
the dominant chord with the nonachords derived from
triads contained in

it

are the ones.

its

Therefore
it,

and the

we

say that

we

key.

We attach all further observations at once to

chord, the "

surest sign

The moment one of these

chords appears in the course of our modulation,

have entered

re-

single tones.

can only expect from that harmony in which

covered the

But

already used foreign

tones without exactly exchanging one key for another.

quire a

which

from each other, and

the

first transition-

dominant chord," and then pass on to the others.

163

THE DOMINANT CHORD.

1.

Wc
its

know already that every dominant chord can only exist in

own key and in no other. If, therefore, in one modulation a

foreign

dominant chord makes

major, the chord e-g$-b-d,

appearance, for instance, in

its

we

at once impossible that

it is

can

C major, or in any key but A.

The dominant chord is the distinct sign of the introduction oi
But it is no sign for the tone-sex for in major and miits key.
nor it is exactly alike. The above dominant chord tells us disbe in

tinctly that

whether

we

we

the following chord

we

are in

C major,

are no longer in

are in

major or

we have gone

if a-c%-e,

but

This

minor.

is

it

to

is

undecided

only decided by
major,

if a-c-e.

A minor.

Since the dominant chord

is

the decisive sign of its key,

it

must

be the decisive means to modulate into its key. If we

tend to modulate therefore into any other key we have but to
also

troduce the dominant chord of the latter.

to

modulate from any key into

but to introduce the chord

e-g$-b-d,

major and minor are exactly

major or minor.

We

in-

major or

minor,

we have

and since the dominant chords

alike,

in-

In order, for instance-,

we

oi

are at liberty to go to

need, therefore, only to

know

the domi-

nant chord of a key, and the proper manner of its introduction, to

modulate into the same.

But

this

modulation must be effected in the course of a compo-

Not alone that faulty

must be avoided, but the chords shall also appeal
connected.
We must bring the transition-chord (the domi-

sition,

according to the rules of harmony.

progressions
well

nant chord of the

new key)

of the preceding key

into connection with the last chord

both chords must be connected by mutual

tones.
It is

necessary,

first

of

all,

ding key was last touched.

to

It

know which chord of

nor a nonachord, nor a diminished triad

to return to the tonic triad.

Our

be attached to major or minor

major triads and three minor

major and two minor

triads.

the prece-

cannot have been a dominant chord,

;

for

all

of these have

transitions can therefore only

triads.
triads.

Here

We

have in major three

we have twe

In minor

104

::-S:

we

a the six triads of C major, and at b the four

minor to which a transition-chord could be attached.
see at

It is clear

that

we

can attach to each of these chords any tran-

sition-chord which has one or

With

the chord

triads of

more tones

instance,

c-e-g, for

we

in

common

with

it.

can connect the following

dominant chords
A

---

Deducting the dominant chord at

the preceding

F,

D,

D\>,

tion that

key,

B\>,

G,

we have

A, B, and

we have used

h,

still

because

it

brings us back to

eight actual transitions

We

A\>.

to

need hardly men-

the inversions of the dominant chord, in

order to effect the transitions as fluently as possible.

we

If

intend

stance from

c-e-g,

now

to

make

C major

b-di-f$-a,
first

is

to E, for instance,

which has no mutual tone with

to another chord in

mon

dominant chord of which

we make use of a mediator. In

we would require the

connected with the former,

from

a transition from a chord, for

into a key, the

c-e-g.

is

in-

not

going
chord

"We, therefore, go

C major which has one or more tones in com-

with the dominant chord of U, and which at the same time

connected with the chord

c-e-g.

Of

such chords there are sev-

and every other chord in C major can here accidentally be

the mediator between c-e-g and b~d-f-a.
eral,

165
It is

lies

easily perceptible, however, that one of these

nearer than the other

the one at e

the mediating chord has no tone in

and

common

only related to a degree, because

is

mediations

the loosest, because

is

with the

chord,

first

belongs to the same

it

key.

However, the connection by means of tones in common, (as

A more intimate relation
already know) is merely external.

we

between

exists

such chords

as

keys.

nearly-related

indicate

Since a major or minor triad always reminds of that key in which

it is

we must

the tonic chord,

mind us of

nearer than the other.

at

by

b reminds us

i. e.

keys with

ation, while at

At

b,

d and e we

we must

Finally

tones

we

afterwards find the key of

we

therefore,

find the

most

may

major

to minor,
:

we

Therefore

shall

and

ay-c-eb-gb,

chord by means of

c,

was

a-c-e in a-c$-e.

stance, at

we

arbitrarily changing
;

for instance,

in

Thus, in No. 224,

C major,

too distant from

ab-sb-g'j.

c,

the

on

ac-

In order to effect a bet-

interpose another chord as mediator; as for in-

a
A

by

less foreign

use also of

though connected with the previous

still

count of the three foreign tones

ter connection

foreign tones

now make

and minor to major triads

c-e-g in c-e'y-g,

dominant chord

many

contain so

foreign chords to prepare the transition,

major

see the nearest medi-

distant ones.

by means of interposed chords with

is desirable.

direction,

consider that a transition-chord, though con-

taining one connective tone,

that a mediation

as

it,

of the key of E, and prepares us best

however we are led into an opposite

flats.

to

the chords at c and a, indicate at least

the direction, following which

and e

way

In No. 223, for instance, the chord e-g-b

itself

for the transition into

at d

consider those chords which re-

the to-be-expected key, or indicate the

166
the chord

(we change the major chord into minor) and thus

c-e\,-g,

gain not merely an additional mutual tone, (c-e\>) but obtain

also a harmony which reminds us of C minor, and brings us

At b and c we find other

nearer to Bb major than C major.
mediations of the same transition ; at d and e we find a mediator for the abrupt transition of No. 222, g.
In order, then, to

proceeding

is,

modulate into any key, the most practical

to write

some

down

first

the chord from which

late

and

key

into

which we wish to modulate.

ting

from

C to

B, the

first

For

instance,

in

Then we must examine whether these two chords have

sufficient con-

In the above case the tone e is the connective tone, but

the remaining tones are in absolute contradiction to the

and to

modula-

sketch would be the one at a.

nection.

we modu-

distance from this the dominant chord of the

at

C major.

If the connection

of the two

is

first

chord

not satisfactory,

a glance at the chords will soon suggest a harmony which con-

Thus in the above (b), we have first interposed the minor triad a-c-e, then the major chord, a-cjf-c, and finally
have taken the dominant chord of B.
nects the two chords.

We must be careful,
voice which can take

however, to place the foreign tones in that

most conveniently, i. e. which has formerly had the same degree now to be raised or lowered.
Thus in No. 225, a, we have given cjf to the upper voice which
had c and ajj to the lower voice which had a. A strict adherence
it

to this rule will be our best safeguard against harsh progressions.

According to the above developments, the dominant chord

gives us the following modulations or transitions into all the dif
ferent degrees of our tone system.

From C to

167

Do

227.

We have here
chords.
to

only employed the nearest and best mediating

Mediating

for

every particular case and

minor keys, and the exercise

other keys

Each of

is left

Eb

its

application

indifferent positions of chords

and

to the pupil.

these modulations, as

we know

already, can lead to

minor as well as to major and, as a matter of course, the keys

of Zty, E'9l F%, &c., can be exchanged at any time for their enharmonic representatives Cjf,
G\>, &c.
We must now speak of a modulation which does not strictly
deserve that name, and for which our ordinary transition-chord
(dominant chord) does not suffice. We have reference to the
;

major and minor of the tonic, (for instance, C major and C minor.)
The dominant chord which the two keys have in common is certainly the nearest mediator

we

could

seize,

o
1

<

but exactly because of

these keys,
sign

is

it

its

being a chord belonging to either of

can no longer be the sign of a transition.

required, the

minor

triad of the

If such

subdominant would be

the nearest indication of our going to minor, (a)

168

and the major triad of the subdominant, perhaps preceded by the

tonir, triad, (b) would indicate the transition from minor to

major

major.

THE NONACHORDS.

2.

Since these chords

contain

the

complete

they must be capable of having the same

into a key,

and characterizing the same.

nish us the

same

transitions,

modulating

And, indeed, they

demand and find

only that on account of their

difficult

dominant chord,

facilities for

fur

same mediation,
tone-bulk they are somewhat more
the

to manage.

But on account of their nature they have the additional advantage of being at the same time indicators of the tone species
which

into

we modulate.

The major nonachord

leads us to

expect major (a), the minor nonachord indicates minor (b).

r

-si

230.

u^-^=k

Owing, however, to the just-mentioned existence of the dominant

chord in

we

either,

of considering

take occasionally the liberty

every nonachord as a mere dominant chord, and resolve them in

either

major or minor.

-<9-

That the resolution (a) No. 231, is less satisfactory than the
one of (b) 231, is apparent, and that the one of 231 (c) is more
satisfactory than the one

3.

231

(b), is apparent.

THE SEPTIME CHORD OF THE MAJOR NONACHORD.

We know that

this

chord originates from the nonachord, and

consequently indicates that chord and the dominant chord as well

as the key.

Nevertheless

cision of others

for,

well in the parallel

well as in

major.

it

has not the perfect characteristic de-

according to

key

But

its

tone-contents,

for instance b-d-f-a can

this insignificant

it

be in

doubt

is

can exist as

minor as

soon silenced

169
chord, while our

by the succeeding

own

feeling anticipates already

Thus, for

the signification and the progression of the chord.

stance

the

resolution

of

into

b-d-f-a

and yet the one at b

fectly satisfactory,

major, as at a,

is

in-

per-

not exactly inadmis-

is

sible,

but requires a certain confirmation as at

c.

Independent of these deviations, however, the septime chord

furnishes its series of modulations with or without mediation, for

instance to

(1

Ab
l-/=3'

233.

simply lacking the vigorous step from fundamental tone to fun-

damental tone, or from dominant to

TnE DIMINISHED SEPTIME CHORD.

4.

We

know

that

chord

this

chord, and with the latter

it

must share the

is

derived from the minor nona-

from the dominant chord.

the original

minor nonachord,

the minor species, but like the former

tr

.0.

If this deviation
its

were not so

it

*~

trivial,

it

belongs to

used in major.

it is

.0.

it

.0.

would, according to

But

in re-

Ac-

cording to

one key

its

minor key

has none of the vagueness of our last septime chord.

original position, indicate the

turn

Consequently

faculty of either, in effecting and characterizing

With

modulations.

tonic.

derivation and tone-contents

for instance the chord b-d-f-a?

at once.

it

can only belong to

can only be found in

minor.

5.

We

have

first

THE DIMINISHED TRIAD.

considered this chord as a dominant chord with

170
omitted fundamental note

b-d-f

for instance,

But

the incomplete dominant chord of C.

diminished septime chord, consists of thirds, placed

triad, like the

we

one above the other,

omitting

can also derive

it

fundamental tone and retrace

its

appeared to us as

since the diminished

from
it

chord by

this

key of the

to the

For instance, b-d-f referred to g-b-d-f

minor. In the other case
would indicate the key of C major or
it would refer to g\-b-d-f therefore to e-g\-b-d-f or in other words
to the key of A minor.
We see by this that the diminished triad, though sharing
diminished septime chord.

the modulating faculties of the dominant chord, modulates with

less decision.

indicated keys

The succeeding chord only tells us which of the two

was meant. The following modulations, for in-

stance,

-3z

235.

can be based on the dominant chords of and lead to F, B\>, A,

major or minor

ished septime chords,

dingly to

Z>,

6r,

but they might also be based upon the dimincjf

/$ efo, and we might

lead

them

accor-

minor (or major.)

jpfl,

236.

4
Only the

final

ft

chords in each of these examples tell us

what key

follows in reality.

Our

ear,

key which

however, always expects after a diminished triad that

is

nearest related to the previous one.

major, for instance, the chord b-df occurs,

and expect
than
it

C major,

minor.

to g\-b-d-f

nearer to

because this .key

But

if

the

and expect

E minor than
6.

is

we

trace

it

if in

to g-b-d-f

nearer related to

same chord occurs in

A minor,

Thus

G major

E minor, we trace

because this latter key

is

much

C major.
THE DOMINANT TRIAD.

This chord evidently lacks the decision of characterization which

the dominant septime chord with its sub-species

is

in possession

171

The chord

of.

D major,

g-b-d. for instance,

C major,

can belong to either

major,

C minor.

Yet we have observed already,*

that the dominant triad, if succeeded by the tonic triad, will be
treated as an imperfect dominant chord, and be resolved accordingly.
Therefore a mere triad can also become a sign and means
of modulation

or

if it is

distinguished sufficiently from the until-then

prevailing key, and if

resolves like an imperfect dominant

it

chord into the tonic harmony of

is

its

fundamental tone.

Thus

it

here at a

The phrase according

to the first chord

is

in

the triad g-b-d disagrees with this key, and since

it

minor.

But

resolves im-

harmony, it indicates sufficiently the

minor to C major. Certainly it might also
as at b have been led to G major or even D, and this is exactly the
lack of decision which we have mentioned.
But even here, our
mediately into

its

modulation from

tonic

ear anticipates the decision

major, because

nearest relation, while

tion to

minor and

or

it

expects the

C major

first

modulation to

stand as parallel keys in

D stand only in

more

distant rela-

it.

7.

THE MINOR TRIAD.

Finally this chord can also be the sign and means of a modulation,
it

provided

it

contains one or

indicates at least that for the

more

moment

foreign tones.

no longer, and we expect either a return into that key

actual modulation into a

nous

(b).

By

this

the original key reigns

key to which the new chord

(a), or

an

is indige-

L72

We need not

add that our former mediating chords with

for-

eign tones belong to this category.

In regard to the succeeding chapter, the application of these

new means, we have now to remark, that we have to consider

them in three different views, each of which is so productive
that we have to consider each one by itself.
1.

We consider the modulation

means

to

into foreign keys,

combine the harmonies of several keys

in

merely as

one compo-

sition.

2.
3.

tions.

We construct with them, independently, new formations.

We use them in more extended and well constructed forma-

173

CHAPTER

1L

INTRODUCTION OF THE NEW MEANS INTO THE HARMONIZATION OF GIVEN MELODIES.

We

have now, therefore, before us the

combining

ability of

one phrase, in a single melody, two or more keys.

in

tinction arises

must

now, which formerly we had not to make.

dis-

We

melodies which absolutely require modula-

distinguish

tion into foreign keys,

from such melodies as merely permit,

We might call

without absolutely requiring them.

them

indi

genous and digressive melodies.

The

digressive melodies will always lead us for

Our harmony,

time into foreign keys.

be constructed so that
the

new

How

key.

it

faciliates

this is to

and

effects this

It

modulation into

we have already learned

the new key we treat it for

in

the time as an original key and require for

tion.

or less

have tc

be done

Once arrived

in the last chapter.

more

therefore, will

it

no further instruc

remains only for us to ascertain

Whether a melody requires a modulation, and where

1.

modulation leads to

Whether

2.

the

this

or

melody admits of one or more

digres-

sions.

In the latter cate

and

shall rather

we

shall

always prefer that which lies nearer,

modulate into nearest-related keys, (the keys of

the dominant, subdominant and the three parallel keys), than

into

more

distant keys.

Having arrived

ceed again on the same principle,

to unnecessarily seizing another

A.

The

i.

e.,

new

we

in the

new key we

pro-

prefer remaining in

it

key.

The Ascertainment of Digressive Melody.

characteristics of a digression can

be external or internal

the former actually exhibited, the latter merely indicated in the

melody.
1.

EXTERNAL CHARACTERISTICS.

These consist in the foreign tone of a melody.

If in a

melody

^
174
in C major the tone /$ makes its appearance, we consider it as
no longer in C; for the tone /jj is foreign to the key of major.
Having arrived now by means of this tone at another key, G
major, for instance, and the tone /fcj makes its appearance, we have

to consider the

there

is

again as a sign of digression, for in

major

no /.

But to what key does

this foreign tone of the

melody lead

us

we cannot answer with complete certainty. We

suppose at first we have arrived in the key in which the foreign
tone first appears. Proceeding from C major, for instance, we
This question

would consider

not as leading to

/jj,

major,

minor, &c,

major, as the key in which /jj first appears.

major, we do not consider as belonging to
major or

but to

but as belonging to

major, as the

first

A in C
B minor,
cjf

key to which the

cjf

is

indigenous.

But these are

all

mere suppositions

f-f=i

4
can be conducted from

can also be conducted to

At some
viz.

future time

indicates neither

we

can

make

quite differ-

major to

major

(a), it is true,

but

it

E minor (b).

we shall even

that a foreign tone belongs to

This melody, for instance,

ent uses of such tones.

discover another possibility,

no harmony, and consequently

harmony, nor modulation, nor digression.

This insecurity of external characteristics leads us to

INTERNAL CHARACTERISTIC?.

2.

These are based upon the regular progression of

tion,

To
sion,

all

modula-

and upon the principles therein developed.

wit

we

as soon as

interpret

modulation, and

which

is

it

we

find a doubtful external sign

of digres-

according to the principles which guide our

among

the probable keys

we

select that

one

the nearest to the principal tone, or which otherwise cor-

175
Accordingly

responds with the laws of construction.

lead the phrase No. 239 from

and not to

est related,

melody the

if

major to

minor.

again appears,

nearest key to

Even

If

we

we would

major as the near-

then in the course of the

should go to

major, as the

containing an f, in preference to any other.

a melody contained no foreign tone,

we would

ask

whether internal signs would not make a digression advisable,

if, for instance,
nay, preferable to the retaining of the same key
;

the

melody of a

part in

first

C major

should end thus

or

211.

h-

>-

we would
242.

ij".

Ht4t

consider

it

as a cadence in

7 ;=IE15
\

r-

major,

-&&
i

and not as a half cadence wrth the dominant chord, and as a forced
modulation in the principal key.

And

No. 242 would not be consid-

thus, vice versa, the phrase

ered as a modulation into

another key, say

major, the continuation proving that

E minor,
or

rgJ

243.

was meant as the goal of the modulation

to consider the first

the second /jj into

This will

f$

as leading to

though

it is

admissible

major, and turn only at

E minor.

suffice, for

the present at least, to ascertain the har-

monization of digressive melodies

by and by we

shall arrive at a

more thorough understanding.

B-

Discovery of all possibly eligible chords.

Already in our second manner of harmonization we enquired

what chords could possibly be chosen to a tone of the melody.

176

We ascertained still later,

mental tone,

third,

fifth,

that every tone can

be either a funda-

seventh, or ninth of a chord.

But at

we were limited to the indigenous chords.

have now a much larger field for such investigation

that time

We

every tone of a melody can be not alone,

of a

triad,

for

third, fifth, seventh,

&c.

septime or nonahchord of the key in which the melody

any key which contains that particular

be
1. Fundamental tone of a major, minor, or diminished
three septime chords, and two nonachords.

is

written, but in

Thus the tone

(7,

tone.

for instance, can

triad,

244.

i
2.

Third of three

triads, three

septime chords and two nona-

chords.

245.

tr W.3.

rgr

Fifth of three

W W

triads, three septime chords, and

two nona

chords.

246.

-f>z-i

4.

mm

Seventh of three septime and two nonachords.

5.

Ninth of two nonachords.

We have
monies
sions.

discovered, according to the above, one and thirty har-

for

every single tone, independent of the different inver-

177
Application of these means

C.

We have now

indigenous or digressive melodies.

to

how many chords can

ascertained

possibly be

used for every tone of a melody, and the question arises which of

them we have
will

be

to choose, or which to exclude.

Our

general rules

No chord should be

sufficient for the present.

chosen, the

introduction of which would cause faulty progressions

nection of the

harmony must be

retained,

and

each,

The

ducted conveniently (fluently) and intelligibly.

develope

Our

itself in the

first

the con-

must be

con-

rest will

course of our labors.

care next to this, will be to preserve the unity of key,

We

and the turning points of the modulation.

end with the dominant chord and the tonic
begin with the latter, while

we

shall

mark

therefore,

shall,

triad,

and generally

the thesis of a phrase

vith the triad of the dominant, or with a modulation to the key

of the dominant.
shall

always think

course of a composition

in the

Finally,

we

of those chords which belong to next-re-

first

lated or near-related keys, in preference to chords of

more

distant

keys.

Let us attempt

now

new means

to apply our

to one of oui

former melodies (No. 195).

t?6

6 $6

ft

The

first

as fifth of a

triad

we

4- 7

6-

The second tone we consider

which brings us to A minor. The d imme-

consider as

fifth

of a diminished septime chord,

which forces the tonic triad of

sixth chord brings us

chord

chord remains unchanged.

diately after,
(g$-b-d-f)

b5

g-b-d.

back to

We can

C major.

either consider

minor upon

The
it

us.

The

thesis closes with the

as dominant triad in

we accompany the preceding e with the

or we can consider it as tonic triad
chord c-e-g, (vide No. 195)
Acof
in consequence of which we have to modulate into it.
cordingly we treat the tone e as ninth of the chord d-f$-a-c-e, or
major, and in that case

as seventh off-a-c-e.

We have preferred

easier for the bass to proceed

Having occupied the

from

parallel

the former, because

to d, than

from

it is

to /$.

and dominant principally in the

178
first

part

we

turn

now

some other

to

There remains

modulate.

related keys into which to

of the dominant,

for us the parallel

would require the chord

6-e?j}/jj-a, or some harmony derived from it to get into the first of
the above mentioned keys but all these chords are too foreign

the subdominant and

parallel.

its

It

We are limited, therefore,

to the last four

measures of the melody.

to the keys of

F major and D minor, if we insist upon introducing

modulations into foreign keys.

Therefore,
a-c-e-g,

minor,

chord

its

consider the second tone e as

but since

a-c-e ;

modulate into

we might accompany

tone into

by

we

in order to

our object to go with the next

it is

a-c-e,

because

it

The remaining chords

modulation.

the e of the sixth measure with the

F major, we prefer the chord

c this

of the chord

fifth

Being once in

minor.

prepares

require

no

further explanation.

The chords which we have chosen

trary.

No. 255, as at

a,

by no means

here, are

arbi-

we might have treated the fifth measure,

Thus, for instance,

256 or continued

it

as at b or

The reasons for

c.

our present selection will become apparent at a future time.

^^^^
'

b7

b7

iJj

b7

b5

THE COMPLETING OF OUR WORKS.

We will now place our

phrase completely before us, in order

to attach our further remarks to

it.

mm

present a form

257.

somewhat

No. 255 would perhaps

like this

*u4

Looking

at the

observe, that

harmonic contents of our phrase, we cannot but

we devote more

than to the principal key.

space and time to the foreign keys

We cannot justify this proceeding which

170

way

takes

ft

the unity and firmness of the whole structure, except

with the plea that

was our

it

many keys as

object to introduce as

possible.

We

must further remark

we have observed

that in finding these foreign chords

At

a two-fold proceeding.

which chord was suitable to

melody, and retained the key into which

lected chord.

we had

keys

Then again

we

first

enquired

particular tone of the

this or that

we were led by the sewe consulted what

in the antithesis,

already employed, and selected those harmonic*

which would bring us into the other nearest-related keys.

Finally,

it

is

With

inversions, the harmonization

It is

above treatment

clear that the

the only one possible.

not easy to introduce a

by no mean>

is

the aid of foreign chords and their

might be varied almost to

new

chord, without

the treatment of the whole phrase.

infinity.

influencing

its

Here, for instance

we

giye

treatment which docs not even begin with the tonic triad.
259.

a
(

mr
i

4
7

b7

6 3 H

4 5

>d J

jjj

b7

m Ml
7

b5

$ 5 &7

9 3

b7

H
No

sooner had

we touched

the keys with

(2d measure)

flats

The

than our whole thoughts turned to these.

thesis closed

upon the dominant it is true, but not before a chord from

minor found room, and the antithesis touched upon G minor,
minor, and

The

F major.

third tone of the second

sequently two

figurings)

measure has two chords (and con-

beneath

it,

This

no

is

can rhythmically dissect every tone and treat

it

fault,

for

we

as tone-repeti-

tion.

The penultimate chord had

necessarily to be a triad, because

the resolution of the preceding chord required such a one.

order not to lose the dominant chord for our

final

But

cadence,

in

wo

180
have led one of the intervals of the triad into the seventh (/),
and thus satisfactorily ended the phrase.
Figuring of two or more chords.

How

can

harmonies

we

two or more
For

indicate that a bass tone contains

By

double or triple

figuring

in succession.

distinctness sake the triads, on such occasions, are also indicated

5 8

(by

3,

3,

though they do not absolutely require

We have already,

at a

it.

former opportunity drawn the attention

of the pupil to a false relation, which, with foreign tones often

finds its
It is

way

into our harmonies.

(Page 166.)
(mi contra fa), and has

technically called cross relation

given ample opportunity for the writing of volumes.

Though the pupil who follows our

principles in the conducting

of his voices need not fear the occurrence of such relation,

not pass this subject without devoting to

it

we

can-

a few remarks.

Proceeding from one chord to another which has one or more

notes in

common with

the

first

one,

it

has generally been our rule

to retain such notes in that or those voices in which

first

appeared.

Thus, for instance,

we

consider

it

it

or they

better to write

as at a,

than to write as at

Now,

if

b.

the succeeding chord brings us a degree which already

existed in the former chord, save that

pressed

by

rr
we

it is

now

raised or de-

accidentals,

also consider

it

best to give such an altered degree to that

voice which had formerly the original degree.

For

this reason

181
appear in the same voices (treble and
e'y /j), e and c
j},
notes *,/, e), and c.
the
had
formerly
which
alto)
But the moment we deviate from this natural proceeding, and
give the altered degree to a different voice from the one which
the notes

had the

original,

the voices have

no longer a flowing and natural progression,

Thus at a and
in an unnatural relation.

and stand to each other

b the treble seems to stand in

At

minor.
in

or

c the treble stands in

At

major.

major, while the bass

d the treble indicates

while the bass stands perhaps in

Former

theories have laid

C and

minor,

much

called

is

stress

upon

matter and have earnestly and anxiously warned against

merely because our manner of conducting voices avoids such

may have

reasons occasionally

These reasons we will

cross-relation

is

now

we never

this

We,

it.

however, need attach no such importance to this matter

lations of itself, but also because

major.

Such equivocal relation of one voice to another

cross relation.

is in

minor, while the bass stands

not
re-

decide one-sidedly, and

to permit such

cross-relation.

point out.

disagreeable, because the voices do not pro-

gress flowingly and naturally, and because the key of the one

Whenever such is not the

when the harshness of this relation corresponds to our
design, or, finally, when by the passing annoyance we gain a greater
advantage, we shall unhesitatingly permit such cross-relation.
In pointing out the admissible cross-relations, we meet first
those cases in which the degree to be altered exists in two voices

contradicts that of the other voice.

case, or

at once,
tion.

and consequently can submit

Here,
* J

at a, the

B
.

in

one only to the

altera-

for instance,

-UJ

upper voice cannot go to

out making octaves.

-y a j

/jj

d-

with the lower voice, with-

Having once admitted the doubling of / in

182
the

first

we must of necessity lead the two fs

The same is the case at b, c, and d. But

chord

directions.

in different

exactly

it is

because of this necessity and because the voices are led as naturally

and

easily as possible, that this progression is permitted

ind can hardly be counted

among

the cross-relations.

smoothed over, when the conradictory tone has the appearance of a newly entering voice,
This relation

is

also covered or

as at a,

when

>r

two opposed voices

the

tones, as at b.
relations can

At

c,

however,

indicate different, but near-related

we

can see

how

easily such cross-

be avoided and how much milder and flowing the

modulation can be made.

similar state of things

is,

when

the cross-relation occurs in

chords which belong to different phrases or sections.

Here, in the

first

example, four and four chords constitute a phrase,

and consequently the cross-relation of

and

cause they belong to different sections.

cj}

is

admissible, be-

example
two chords as different links, and permit
the cjf of the second link as a newly entering voice.
If in either
case the rebellious tone is conceived more distinctly, it serves
only to more plainly distinguish the sections. The same occurs

we

In the second

consider two and

in the following phrases

IjiJ

it

*T

We have now proved

ness, can

be even

T"

that a cross-relation, with all

"i

its

desirable, as the only right expression,

harsh-

when

it


183
is

our object to introduce a voice decisively.

tion,

we quote

As

a further illustra*

here a passage from Mozart's Quatuor in

major

which of late has been the theme of earnest discussion among

German and French theorists. Mozart commences thus
:

in

a mysterious, gloomy manner, before entering the fresh

C ma-

The second entering voice leaves us uncertain whether c-f-a\>

(F minor), or c-eb-a!> (A\> major) will appear. The succeeding

jor.

voice decides for the latter, and with the next voice (the treble)

Mozart breaks

this

harmony

at once,

and keeps us

in anxious

uncertainty, until with the sixth quarter-note he turns decidedly

to

major, the dominant of the principal tone, and then con-

Who

tinues.

perceives not that this piercing tone

forms a
abso-

cross-relation with the preceding a of the second voice

it

is

lutely proper and indispensable to the idea of the composer'?

Mozart had resigned the a? or the

acter of his phrase,

would have been

aty

If

of the higher voice, the char-

and the analogous succession of

his voices

lost.

For the same reasons cross-relations are well applied, when

we use them in slow harmonic sequences and sharp and weighty
modulations, for instance,

'jMa'

*"1

-3- . a

..

11
1

In rapidly succeeding modulations, also, particularly in a flowing

progression of the voices, the cross-relation seems to lose

its

harshness,
I

g
-

&

ftg

fa

fife

because the change of modulation occupies the hearer, and such

184
progressions (which are based upon the omission of the resolution-

chords) have of themselves a certain strangeness which well

-f
corresponds to the character of the cross-relation.

And

thus

we

which, considered
dictory, but

understand

why

by themselves,

cross-relations

are permitted

are actually strange and contra-

which are the unavoidable consequences of a proper

and well constructed progression of the different voices.

of

many

minor,

instances,

we

by Sebastian Bach.

*f

Ty
,

It is

As one

give here a passage from a fugue in

11

the

I*Tt*

marked f could not be

upward pressure from d to

evident that the cross-relations

avoided without sacrificing

-*l

and again from g to ab, a, b\), b, in the lower and middle

upper voice.
Until now we have only spoken of cross-relations between two
chords in immediate succession but the same relation can extend
eb,

e,f,f$,

voices, or the spoiling of the

above the second to a third chord, and in such case

indirect cross-relation.

Here

it is

called an

185

we

see a series of such

lations,

at c

movements which act upon us as cross-refirst (xandB) are less distinct than those

and of which the

and

d,

because the cross-relation in the latter

is in

the outer

voices.

Why does

not the intermediate chord destroy the harshness of

the cross-relation?
Firstly,

because the flowing voices

e'y-d-c,

g-f-e,

&c,

arc recog-

nized at once as phrases belonging together, and because

well as formerly,

belongs to

is

C major.

considered as a melody of

e?-d-c,

as

C minor, while g-f-e

For the same reason the phrases e and

f, in

which passing-notes take the place of intermediate chords, make

no favorable impression.
Secondly, because the dominant chord
tinguish major

and minor, belonging as

it

is

not sufficient to

dis-

docs to both modes.

186

CHAPTER

III.

FORMATION OF NEW PASSAGES WITH THE AH) OF FOREIGN

CHORDS.

Every introduction of a foreign chord can be considered as a

new harmonic design, and can be employed by itself, or in connection with other chords, for the formation of new passages.

how

We

work and we require only a practice of the same, in order to become familiar with the various
chords.
For this purpose only we give below a few examples.

know

already

to go to

We have already been made

in the

dominant.

Continuing

acquainted with the modulation

it,

we

4J
259.

ascend from every

with

this,

new key

into its dominant.

Simultaneously

the chords change in positions and inversions, and

easily seen that the

same can be done

in various

it is

manners.

The modulation into the key of the minor third above, issuing
lead us to U\>, Go, or F$, A, and back to C.
(7, would
The modulation into thfc minor third below,
from

260.

8va.

would lead us from C to A,

E\> or
, and back to C.
The modulation to the key of the major second above, would
give us
261.

187
In the fourth measure the dominant chord ought to have been
d$-fx -ojMt wkkh would have led us to G$ major; the continuation would have been thus

262.

and would have brought us

ten,

an

B% major

infinity

6'j}

Instead of this

of signatures.

changed the above chord into

keys with

major with

A\ major

eight,

with

with twelve sharps, and would have involved us

less signatures.

ey-g-bv-d?,

we have

in

enharmonicall

which has brought us into

The same occurs

in the

modulation to

the sub-second

263.
\

The beginning of No. 263, and the ending of the last passage
remind us of our first harmonic lesson the accompaniment of the
;

ascending and descending major scale.

moved

voluntarily into any key,

we

can

While

now

now we have

until

consider the degrees

many tonics into which we modulate. In

we go from C major to D major, E major,

of the scale as just so

other words,

F major,

&c.

<fce.

264.

or, vice

versa,

either in the

from

to B,

A, G, F, &c, placing these tones

upper voice, (as in No. 264) or

in the

lower voice, as

below

<$rc.

188
or into another voice, and regulate the remaining voices ac
cordingly.

Or,

we

take the ascending and descending chromatic

scale,

JDb

&c.

~~

266.

and write our chords now with sharps, now with

be most convenient to us.
It is clear

may

that such exercises can be extended infinitely, and to

exhaust them

is

But we recommend the

almost impossible.

pupil to practice these modulations and passages as

sible in all positions,

The

as

flats,

much

as pos

on paper and (improvising) on the piano.

different positions will often

present

difficulties

to him, be-

some of the tones strive downward, and vice versa. Thus No. 261 and 264 were comparatively
easy, because we always returned to the same position, and a
cause in ascending modulations

single design sufficed to carry us through.

could have finished as

we

began, and

we

In No. 265, too,

tion (2d measure) in order to get along with one stave.

was

No. 266

it

position,

we

different.

Placing the

we

only changed the posi-

first

But

in

triad in a different

are absolutely forced to place the second triad again

in a different position.

267.

Jr3

r r

If our former advice (the consistent continuation of

now heeded, the very

furnish new designs.
As an

design to a well formed whole)

ing of those difficulties will
tion

268.

we

is

give here No. 266 in other positions.

every
masterillustra-


189

Here

are the beginnings of the

It
which, like

same

in dispersed

II
the

all

we

former,

harmonies,

leave

to the

pupil

to

earn-

through.

The

practice of these passages

must not be

dominant chord, but should include

to the

all

limited, however,

the other transition-

chords.

Thus far, though we have discovered extended combinations,

we have obtained nothing essentially new. We will now proceed to the actual

1.

new

formations.

PASSAGES OF DOMINANT CHORDS.

We can consider the dominant chord as a major triad with

added minor seventh, and consequently can change every triad
into a

dominant chord.

Here

we have

regularly resolved every dominant chord into the triad of

its tonic,

and every triad has been changed into a dominant chord

a passage which

we owe

to the introduction of foreign chords.

But since every dominant chord contains within

a triad,

we can

reject all the triads of

itself ajready

No. 270, and have the

dom

inant chords follow each other immediately.

&~ a -hr-r&

ig--gi

if

be

271.

rs

&

or
b<S>

fee

9e>

4*

[jO

-b-

190

fete
It

Here we

see every tone follow its regular progression, with the

exception of the third, which descends a semitone, and becomes

the seventh of the following chord.*
for five voices, in

We have written the above

order to avoid the irregularities which

we

en-

countered on former occasions, and yet to obtain perfect chords.

If it were our object to have the above passage tetraphonous,
would be best to omit either the third or fourth voice.

it

INDIGENOUS PASSAGE, DERIVED FROM THE ABOVE.

2.

The above passage drives us from dominant chord to dominant

it from one key to another, in rapid progress, but

chord, and with

without unity of key.

Strictly speaking,

foreign tones which occur at every

unity.

new

it

is

nothing but the

chord, which destroy this

Let us attempt, then, to retain the passage, at the same

time voluntarily rejecting the foreign tones, by omitting the

ac-

cidentals.

* The above results of the analogous development of the harmonic

ment are already indicated in the natural development of the tonic

ele-

ele-

ment.

Already (page 75) we noticed that after the first six tones which nature
had given us, and which stood in the simplest relations to each other,
(1, 2, 3, 4, 6,) for

instance,
c,

a seventh tone made

after

which

its

e g,

c,

7,

g,

appearance, for which then

we had no name, and

only, the other tones,

% % %

<fec,

made

their appearance.
This seventh tone, (the tone relation

6, 7,), though lower than our bb, an

must and can serve us as bb.
we know that the second harmonic mass, or the dominant chor 1

higher than

Now

a,

has a predisposition to resolve into the first harmonic mass, or th e

c-e-g.
But in the same instant, by means of the just-mentioned
6b, the chord becomes anew a dominant chord, (c-e-g-bb,) which resolves into
a new tonic, (F-c-a.) Thus the nature of the tonic element strives of itself
downwards, in the same manner as we have illustrated it in No. 271.
g-b-d-f,

tonic triad,

191

272.

Here, amidst familiar chords,

Familiar to

we

also discover

some new ones.

us, besides the final chord, are

No. 1 and 8, dominant chords, with major third, major fifth, and
minor seventh.
No. 4, a chord which at a first glance might be taken for a nonachord with omitted fundamental tone.

would have resolved into

c-e-rj,note-(/-b,

has taught us already that

it is

dominant chord, and as such

No. 272

is

If such

were the

or e-g^-b-d.

case, it

But No. 270

nothing but a voluntarily-altered

its

progression, as

it

appears in

perfectly proper.

New, beside this one, are

No. 2, and 3, two chords with major

third,

major

fifth,

and ma-

jor seventh, and

No. 5 and 6, two chords with minor

minor seventh.

third,

major

fifth,

Being nothing but voluntarily-altered dominant chords,

and

theii

progressions are those of dominant chords.

SUCCESSION OF NONACHORDS AND SEPTIME CHORDS,

3.

OR NO

NACHORDS ONLY.
According to the above,
nonachords

also, instead

dominant chords,

273.

or even into nonachords

it

requires but the mentioning, thai

of resolving into triads, can resolve into

192

274.

The

latter

-p-

can take place, either in major and minor nonachords

alternately, (as in the above) or in a steady succession of either

major or minor nonachords, which

is left for

the student to prac-

tice.

INDIGENOUS PASSAGE OF NONACHORDS.

4.

we formerly gained an indigenous

we can here, by omission of acci-

In the same manner in which

succession of septime chords,
dentals,

form an indigenous succession of nonachords.

r r

275.

r*r
<

=?^c

Amidst two familiar nonachords, Nos. 1 and 8 we find here

new ones, viz.
Nos. 2 and 3, consisting exclusively of major intervals.

several

No.

4, exclusively

No.

5,

of minor intervals.

with minor third, major

fifth,

minor seventh, and minor

ninth.

Nos. 6 and

7,

with minor third and seventh, and major

fifth

and

ninth.

These chords require no additional rules.

major and minor nonachords.

They

are treated

we

can develope

like unaltered

From

each of the above nonachord successions,

5.

SUCCESSIONS OF DERIVED SEPTIME CHORDS.

Thus from No. 274, we gain

193

the passage a

from

from a succession of major nonachords the

from the indigenous passage No. 275, we

which, however, as

How

passage.

a succession of minor nonachords the passage c

is

easily to

be seen, brings us nothing new.*

to despoil all these passages,

and particularly those of

the nonachords, of their superfluous tones, and

through their various positions,

and

gain the following

is left

how

to carry

to the student's

them

own indus-

try.

But
the

let

many

more that all the above passages, and

be developed from them with so many new

us consider once
that might

chords have

all

arisen

* Here, at last, we have an opportunity to introduce an appendix to the

passages discovered.
(Page 119.) Then, particularly in Nos. 134 and 135
we took the step into the dominant as basis ; now we take the step into the
subdominant as design. Here,

fBut is it proper at a, p, c,
carried the design straight through.
and d, to deviate from the rules of the dominant chord and the dominant
triad? to omit the resolution of f%-a-c into g-b-d? to have the seventh c ascend to d ? to double the third, or to lead it now above, then below ?
These deviations, too, like those in No. 271, and similar ones formerly
mentioned, are hidden and justified by the analogy and the firm progression
of the whole passage.
At a and b the actual resolution-chord occurs merely
later and in a different position
and we shall soon learn that this is the
case too at c and d.

we have

'

194

FROM A SINGLE DESIGN,

t.

e.

or

from succession of two dominant chords

from the passing over a single tone

of taking

b\>

as at a,

we have taken

that, in

more properly

No. 271, instead

bb at once, as at b,

a
T; t ^ar'
<s

&

280.

i
;

and we have again an illustration of the infinity of that tonical

development in which every step brings us a new series of formaConsidering again that so

tions.

many

septime and nonachords,

together with the diminished triad, obey

A SINGLE LAW,
which, though given only with the dominant chord, was already
indicated in the second harmonic

the scale,

we

mass and the second position of

cannot but acknowledge the intrinsic unity which

runs through the whole tone-development.

We can,

therefore, justly call the

dominant chord

THE ORIGIN OF HARMONIC MOTION.

Its first inclination is

nachords and

all

towards the tonic, to which

the derived chords

appendix from one key into the other

nouncing the return into

its tonic, its

then,

it

it

drags the no-

leads us with its

finally, after its

motion

each of the passages originating from

it,

is

once

unbounded

re-

for

finds in its elements

neither rest nor end, but drives us incessantly through all the

degrees of the scale, until

mony.

Equally just

is

we

arbitrarily rest, or seize a tonic har-

the designation of the tonic triads

AS SEAT OF REPOSE.

They

are the goal, the actual end of

all

harmonic motion, as

they (particularly the major triad) were the beginning.

for themselves, have no stimulus for motion

by

itself,

They,

each stands there

without the necessity of moving into another chord.

Therefore, with the exception of the dominant chord, they pro-

duce no new chords, and no necessarily connected harmonic passages

their

most flowing combination, the sext chords are merely

most voices), nofc

melodically (by the parallel direction of all or

195
harmonically connected

mon with
Now,

for

none of

its

chords has a tone in com-

the next succeeding one.

for the first time,

we

can fully appreciate the

name

DOMINANT.

The tone so called reigns over, and leads every tone-combination

and tone-motion ; it is the centre around which from the two first
harmonies to the end of all tone-motion, harmonic sequences and
modulations turn.

The greatest motion of the triad we can oppose to it and

harmony would be a succession of sext chords, diatonic as

it^

in

No. 167, or chromatic, as here

281.

evident that the stimulus of this mo-

But

in the latter case

tion

is

c-e-g

has no relation to f-a\>-d\>; consequently no inclination to

it is

not properly harmonic, but merely melodic.

The chord

move

The separate voices only move diatonically

or chromatically up and down ; but exactly because of the regular manner in which this is done, the chords which they form are
into or towards

it.

at least melodically connected.

196

CHAPTER

IV.

VARIABLE MODULATIONS. *

By

this

name we

shall designate such

means of modulation

as

can lead into more than one key, according to the view which

we

We

take of their relation.

ticularly to

two

A.

Of

this

chord

we

est designation of a

cause

it

our attention here par-

turn

chords.

The diminished septime

chord.

said already, (page 169) that

key

clearer than the

it is

the clear-

dominant chord be-

designates even the species of key, (major or minor)

while the dominant chord leaves the species undecided.

But owing to a peculiarity of which we

we

very chord becomes what

shall

just designated a

speak now, this

means of variable

modulation.

The diminished septime

chord, as

When we
the

we know, consists exclusively

of minor thirds, for instance, in

minor of

two tones form the

interval of a superfluous second,

equivalent to a minor third.

Now, when

succession of three minor thirds,

consequently a

d-f, f-a\>,

new diminished septime

tinguished from the inversion of the

name of one

tone, but

And since

like
2.

first

by no means

this

inished septime chord,

1.

and

it

and

we have
a\>-c\>

f-a\>.
a[?),

which

this inverted tone,

enharmonically changed into a minor third

contents.

b-d, d-f,

invert this chord, (for instance, place the b above

is

b is

again a

instead of b

chord, which is only dis(quint-sext chord)

by the

in the actual pitch or tone-

proceeding can be applied to every dimfollows,

That the inversions of the diminished septime chords sound

a fundamental chord.

That every inversion of it can be considered as a new dimin-

ished septime chord.

3.

That every diminished septime chord contains

in its tones

three others, that consequently there are only three tonically

dif-

ferent septime chords in our system, while of every other species

of chords can be found twelve.

* See Appendix G.

197

The

first

can be said of no other chord

the second causes that

with every inversion, by merely changing a name,

new

key.

Here, at

we

arrive in a

a,

or

D\>

JBb

C\

we see the diminished septime chord, b-d-f-a\>, leading to C minor.

At b we see the quint-sext chord of the same, d-f-a\>-b, by the enharmonic change of a single note b in cfe, assume the form of a new
diminished septime chord

The

chord of the

first) is

minor.

But

which leads us to E\> minor

new septime chord

(or the terz-quart

again (at c) enharmonically changed into a

new diminished septime

G\>

(d-f-a'p-cb),

quint-sext chord of this

chord, fiak-cb-eWv, which

would lead us to

in order to facilitate the writing of

we change

it,

the whole chord enharmonically into e$-g$-b-d, and arrive thus in

F$ minor. At

we

take the quint-sext chord, g\-b-d-e, (sounding

like the second inversion of our first chord)

/,

change the

and thus obtain the fourth septime chord,

us to

Now,

g\-b-d-f^

eft

again into

which leads

minor.
since neither

change of name nor inversion alter the

we can represent the same results at

actual effect of the chord,

once, thus

We need hardly
in

mention that these modulations can be

effected

every inversion and every position, and that each of these sep-

time chords can lead to major as well as minor.

student will practice

To

The industrious

all.

the above three observations

we

will

now add a

fourth one,

equally simple and productive

" The seventh of the diminished septime chord (the

of the nonachord), has

its

therefore, if it descends

minor ninth

position a half-step above the octave

a half-step

it

would

fall

into the oc-

tave."

Consequently every diminished septime chord can, by means of

198
the descension of the seventh, be changed into a dominant chord,
(or rather a quint-sext chord of the same), for instance

b-d-f-a\>

in b-d-f-g.

This gives us the above four modulations with a circuitous

course of the dominant chords,

Here we have obtained the above

results

by lowering one tone

of the chord, consequently increased the distance of

much from

But the same

the other tones.

retain one tone

is

the case

and elevate the three others a

it

just so

when we

half-step.

This

gives us four modulations,

G, and B\> major or minor.

to Z>b,

Here we have
will

led

now attempt

it

upwards three tones of the chord; we

with

four tones down or upwards,

all
&c.

&c.

1-1*32

fcjfe

tJ

to the student to carry

leaving

it

tions.

Here, be

it

observed,

it

out through the various posi-

we meet

again upon harmonic pas-

sages or sequences, the single chords of which have as

to each other as those of

little relation

No. 167 and which are admissible on

ac-

count of the then-mentioned melodic connection.

With every
this

were the

we arrive here at
we can repeat the

step

chord, with which

case, the

new diminished septime

operation of

No. 281.

If

seventh would twice descend a half-step,

(once according to No. 286, and again as in No. 284), the other
tones would follow as in No. 286.

Let us do

this all at once

The seventh may descend a whole step, and other tones a half
step
this gives us four new modulations to B, J), F, and A\>
;

major or minor.

199

Of course

the

same proceeding can be

may

direction; one tone

cend a whole

carried out in an opposite

a half-step while

ascend

others

as

step.

i=jr*-s

288.

Here we have again

four

and

the student to carry

it

remains

for

new modulations

to
it

D, F,

A\>,

and G,

out in other,

per-

haps more favorable positions.

Thus the simple diminished septime chord leads us immediby means of an assistant chord into all twelve major or
minor keys, and to most of them in more than one way.

ately, or

B.

The dominant

chord.

Already in Nos. 154, 155, and 1S8, our third and seventh of the
dominant chord have risked, under cover of the remaining voices,

some deviating

steps

at

No. 271 we have

arbitrarily

the resolution of the third, and thus have arrived at a

inant chord, and consequently at a

new key

changed

new dom-

(that of the

subdom-

inant).

Let us

now

We

pursue the opposite.

one dominant chord into another,

viz.

proceed (at a) from

that of the dominant.

289.

The third pursued here its natural course, but the seventh
was elevated, and the fifth and fundamental tone have also pursued a different course. This proceeding is based more upon our
pleasure than any law of nature, and

of the near relation of key.

of the same (as at b)

But we

is

It

is

is

only admissible because

but rarely that a continuation

applicable.

will attach to these

some other nearer

deviation.

300

At a
as

goes properly to

/
of

instead

tual

the

tonic

c-e-g.

we have

triad,

perhaps, remains

which,

us,

modulation to A. minor.

c,

we

of

c-e^-g.

resolve the

d to c or e; it seems
c,
But g goes to a, and' in-

b to

e,

were going to be

if it

the

of a before

triad

major,

perhaps causes an

In the

same manner

dominant chord into

or

c-eb-a\>

at b

a,

instead

We might excuse these deviations by imagining

as omissions of
relation of the

c-e-g,

keys

or

c-e)>-g,

as illustrated

justifies this

We will now add to

by d

proceeding in

ac-

and

them

but the near

itself.

these deviations a few free resolutions of

the dominant chord and the diminished septime chord, which

might have been mentioned

comprehended
A
<g

292. ^

earlier,

but will certainly be better

here.

(S

CO

&

hs>

=*ft

fii

b%
Eg

I
At a

the seventh of the

other tones pursuing their

g
*
e

dominant cho rd remains, while t lie

regular course, form with it another

chord, until finally in the last chord the seventh obtains its due.

At b we

neglect even this

nor, while in reality

At

c.

d and

pursue

its

e,

the

fifth

for g-b-d-f apparently proceeds to i^mi-

By

to the subdominant of

C minor.

(the seventh in the nonachord) does not

natural course

fundamental tone.
it.

we merely go
to

this

e,

but goes

means we

far

beyond

into the

are enabled to double

(e)?
* See Appendix H.

201

CHAPTER

V.

GENERAL ORDER OF CONSTRUCTION.

The

last

and most important use of modulation into foreign

form more firm and more

keys, consists in its enabling us to

tended constructions, than

single key.

Though

tions which require a

we

this is rather too

more

ex-

could formerly, in the compass of a

soon to think of composi-

firm and extended modulation,

take the opportunity of exhibiting at least

we

will

its principles.

The harmonies of one single key permitted us in reality nothmore than to form a period of thesis and anti-thesis and coda

ing

In the duophonic composition

or codas.

and

anti-thesis to a first

and second part

elevated this thesis

this, in reality, is

it

we had merely

the half cadence on the

first

in tonical respect

constructed, for its end

we
but

was only rhythmiwas by no means so well

mere extension of compass.

cally satisfactory

The

part

second harmonic mass.

But

this

second mass has long since become the triad of the

dominant which reminded us of the key of the dominant and

served as close of the thesis. There remains now for us but one
step

we

take instead of the mere triad of the dominant, the key

of the dominant for the close of our

Thus

first part.

anticipating,

we have

already, in No. 257, closed the thesis with a modulation

into the

dominant

but the close was rhythmically imperfect.

Here we have then

The first perfect construction of a two-part composition.

A.

The

first part, as a whole,

cadence

is

and thus with

end

ends with a

full

cadence; but this

not in the principal tone, but altogether in another key

all its

satisfactorily,

completeness at the close,

it

still

does not

and leads us to expect a return to the principal

tone.

And now comes

the second part as something expected, and

leads us back to the principal tone, in order, there to end the

whole

satisfactorily.

202

The

first is

progression, elevation into a higher key

part has the return to the principal key.

It is

the second

therefore again the

fundamental form of page 81, though carried out with higher and
richer

means.

The above

the general rule for major.

is

a composition in
est,

and

C major

sufficient

will

end in

and

larger

until

Thus the first part of

major.

freer

This

is

the near-

formations

lead us

further.

In minor,

gloom

to

modulation from minor to minor would add

minor triad, as we have seen already,

this

gloom

for the

neither clear nor sure like the major triad, but as

is

has been developed from the latter

That which characterises the triad

third.

key

also.

Nor

is

it

were,

by the depression of the

is

characteristic of the

the minor key so intimately connected with

dominant as the major key. For instance, in V major, the

dominant triad g-b-d indicates at once the key of G major. Not
so with minor; for the actual triad of the dominant in minor,
'

its

(for instance in

mode

minor

e-g-b)

by no means

indicates the

minor

of the dominant.

Therefore, the modulation in minor

does not generally turn

minor mode of the dominant, but prefers to go into the

nearest-related major key
for instance, from A minor to C mainto the

jor.

This

is

the regular progression of the modulation, which

shall follow until

justify us in deviating

two parts would

For major

from

this rule.

Our

first

construction in

therefore be represented in the following sketches

293.

-pI

and

for minor-

we

weighty reasons and more extended formations

203

The two parts appear here

sures each

first is

we know

second

The

the

in the original length of

8 mea-

divided into thesis and antithesis, of the

not yet whether to give

it

such a division or not.

harmony begins here the first part: it is needless

repeat that we might also commence with another.
The the-

to
sis

tonic

of the

first part,

After that

key

we

which the part

in

We have now,
part.

But

uous elevation

move towards a

higher

to end.

by means of a

this

is

Second two-part construction.

B.

first

according to rule, ends in the principal tone.

leave the principal tone and

whole, in

start, as it

full

cadence,

its nature,

is

made a whole
one-sided

of the

a contin-

were up to the final point. It is true

motion ; i. e. back to the quiet

the second part brings a second

of the

But the second part is to a degree sepThus the character of the first part
disagrees with the meaning of a close, which ought to be quieting
first

arated

beginning.

from the

first.

and soothing.

How

can

we now

the first part

unite these

two

the

essentials

and yet a satisfactory close

*?

elevation of

According to the fun-

damental principles of all tone-motion, the close ought to fall into

a tone lower than the one in which the movement led it.
But

we cannot

alter the close, without falling back upon the principal

Consequently the alteration must take place in the movement of the first part.

tone.

We lead the

movement
BEYOND

ITS

ACTUAL GOAL,

C major, for instance, to D major; and now we can fall

upon the actually wanted key of the dominant, and have thus

from

204
united elevation and depression, and gain a perfectly quieting,
soothing close.

same proceeding should be applied in minor, the modulamust first be led into the dominant of the parallel key, and

If the

tion

in A minor, for instance, first to G major

But this impulse seems here to be less forfor the elevation in minor rests less upon the elevation into
cible
a higher key, than upon the transition into the clearer and more
finally into the latter

and then to Cmajor.

;

vigorous major.
In the second part, also,

ment towards the end.

we discover now an unsatisfactory move-

The second part

follows its original des-

But

tination, to the quiet of the principal tone.

ter

if,

and

as the actual ending of a whole,

decision.

It

it

would be bet-

it

had somewhat more vigor

ought to contain an elevation and

still fall

upon

the principal tone.

In order to achieve this
low, in fact)

we

and now we can

pass on to the subdominant, (too

an elevation into the

effect

Below we give a modulatory sketch

pal tone.

princi-

for constructions

in major,

295.

H:

2Z
2

b7

4
TPb5

and
296.

i>7

in

ei
6

s
6

C.

Until

ft

Further extension of modulation.

now we have combined

the principal key with the key of

205
the dominant, or with the parallel key, as the nearest

we

Afterwards

appropriate steps.

and most

introduced the dominant key

of the dominant, or of the parallel, and the subdominant.

If

we were

related keys

to go

still

we would

further,

again seize the nearest

these are the parallel keys of the principal tones

But we know already that we

and of the two dominants.

can choose more distant keys without touching upon the nearer
ones.

Our present means

are

by no means

so profuse that they should

The second manner

require a further extension of modulation.

be perfectly

of construction, or even the

first,

will

we

shall

be able to use richer and more

in

passages (sequences)

extended modulations.

sufficient

only

The unity of our well-rounded phrases

would be destroyed by too great an abundance of modulation

into distant keys.

But

if it is

our object to give to these phrases a richer and more

extensive modulation, at the

we have but

vagueness,

to

same time avoiding the danger of

remember the already mentioned

codas, (page 86) which might repeat the final phrase, with or

By such a proceeding we not only gain

on space, but the very repetition serves to strengthen the ending.

without alteration.

In that case a

more

digressive modulation is less objectionable,

because whatever in

made harmless by
makes the

it

leads

away from

principal tone again

is

Formerly we had

more conspicuous.

The interrupted

D.

cadence.

for our codas (page 86)

connection than to represent the

the licenses of the

the principal tone,

the repetition of the ending, which of course

first

no other means of

ending imperfectly.

Now,

dominant chord give us new means to avoid

the actual close in the principal tone,

and to introduce the coda,

we end with a full and perfect cadence. For

purpose we make use .of one or the other of the free resolu-

or codas, until finally

this

tions of the

dominant chord.

paration of a close in

c,

Thus, for instance, after a

full pre-

206

297.

3s:

+ 77 77
we could go
bring with

to the triad of

it

or

A\>,

or to any chord which would

a coda, and finally a principal cadence.

we can apply two or more

they can be effected hy renewed

We know

already (page 86) that

codas in suc-

and that

avoidance of

cession,

the final cadence.

Such preventive cadences are called " Interrup-

The imperfect cadences, too, which we have formerly (page 118) seen, belonging to this category, when they take
the place of a perfect cadence and cause the addition of a coda.
ted cadences."

*07

CHAPTER

VI.

ABRUPT MODULATION.
The
thus

different

far,

manners of modulating which we have learned

are fully sufficient for all the constructions

being formed with our present means.

But

capable of

since our object for

present is to prepare means and foundations for future,

more extensive formations, we will pass our self-proposed boun-

the

daries

in

order to produce such

we have

be derived from what

Until
signified

now we have
more

new

formations as

can easily

learned.

effected our

modulations by chords which

or less distinctly, that

we had

left

the one key and

modulated into another. By the transitive chord we renounced,

as it were, the key which until then was the field of modulation
at the

same time our

first piece,

transitive chord

had always more or less

If we had ended the

with the preceeding chords.

connection

we could have
any other key without the necessity of a

instead of modulating into another key,

begun a second piece

in

modulation.

From

the above

we

conclude that

were, a succeeding phrase, as if

transition,

it

when a phrase ends, as

were a new one,

can,

it

without

begin in another key.

Here we have a phrase

,4 r
298.^

which ends in

,-

j j- A

One

major.

rhythmical form or other

the end, a continuation, a
tion of the former one,

voice only retains a tone in

in other words,

new

we have

some

to expect after

phrase, or perhaps a

mere

repeti-

and the retained tone is the connecting link

between the two phrases. This tone, without reference to its former harmonic relation, can now become a fundamental tone.

208
third, fifth, seventh,

nachord

which

in

it

major or minor ninth, of any septime or nois inherent, and consequently can prepare

six different modulations, each to major or

299.

Ab

minor

Bb

or

or

or

B.

-MM
At No. 29S we

retained the fundamental tone

also have retained the third or

one

for the fifth considered as

since

we

become fundamental
a

it

could

same

key.

considered the phrase No. 298 as concluded,

require no transition

new

we

in the

but

fundamental tone of the dom-

new

inant or nonachord leads into no

But

and applied

This gives for the three tones eighteen modulations,

manner.
less

fifth,

we

the retained tone can immediately again

tone, third or fifth of a

new

tonic triad, in

key.

E minor

G minor

E\>

ftf

ft?
B major

C minor

9-

B minor

I 'Mr-

r~

E major D minor D major.

B\>

:ft?:

This gives us again twelve modulations .(not counting the repetitions of those already counted) into

In

all

these cases,

it is

true, the

necting link of the harmony.

major or minor.

remaining tone was the con-

But we have depended more on

was closed, and that the har-

the fact that the previous phrase

mony had

ceased.

We will now in reality depart for a time from

We will change No. 298 into the following,

the harmoin

301.

4f

209
and

after the perfect ending

of the harmony

we

continue in a

monophonic or octave passage up to any particular tone, in this

case it would perhaps be /.
This / can again be part of a dominant chord, a nonachord, or any chord derived from the former

two

and thus we could have

into six different

302.

Or

the

Bb

above passage transitions

at once

F major F minor
n G

Eb

Gb

same tone can

303."

after the

major or minor keys.

Ab

be part of a new tonic

triad,

jDminor

Db major

-S
22

and, therefore, again lead into three major or minor keys,

which there are four which

we

we have

among

not reached in No. 302.

And

bound to attach our new phrase to

the tonej^ since we can stop at any tone of our tone-system, it
is evident that there exists no key which could not in this manner be attached to the preceding one.
But all these harmonies
and keys, at which we arrived in Nos. 300 and 302, have not the
since

slightest

They

are not absolutely

harmonic connection with the preceding chord

g-b-d.

very disconnection, by our purposely

resigning the harmonic connection, and they are connected with
are justified

by

this

what preceded by the mere thin thread of the melody.

At
this

last
last

we have

arrived at the point where

we

can resign even

connecting link, and enter a foreign key without any

mediation..

Here

is

an

illustration.

304.

Jr

Jr

J*

The second measure closes in C. The cadence is full and perfect

the rhythm only leads us to expect a continuation.
And immediately

we

continue, without preparation, in a foreign key.

By

210
-what right
it

were

Because

new

this continuation is

piece which takes

a phrase by

itself,

And

phrase at a different place, and perhaps in a different sense.

it is

exactly because the continuation in the third measure

sidered as a
at

new phrase,

that

we

as

up the thread of the previous

consider the

new chord

once as a tonic chord, though the key of

jE'b

is

is

con-

J5V<7-&b

only

indi-

cated by the dominant chord b^-d-f-a^ which occurs three notes later.
If the continuation should

we should

305.

major.

if

and turned to
tonic

not correspond with our expectation,

continue thus

JB\f

major,

we

should

still

consider the

first

chord as

of i?b> and the second as a second modulation into 2?b

211

CHAPTER

VII.

ORDER OF MODULATION FOR MORE EXTENDED COMPOSITIONS

One more

rule can

be derived so easily from the previous

ciples of modulation, that

we retain

though

prin-

its full

im-

portance will only become evident in more extended forms.

It

it

at once,

has reference to the order of modulation which should be observed

forms which combine several phrases in various keys into one

in

whole, and

a continuation of the

is

fifth

chapter, in which

we men-

tioned the order of construction for compositions of two parts.

At

that time the transition in major into the

key of the domi-

nant or parallel was the means and sign of the close of a part.

The
or

and combining of various keys gains additional im-

seizing

portance,

when

when

several phrases are to be connected in one piece,

others have to be repeated in a different sense.

In such

a case every key mentioned in the laws of construction becomes

in

time the field for a new phrase, and influences

At

first

development.
necessary

its

relative keys.

appears the actual principal key, and demands

If the association

we must

with another key

is

room

for

absolutely

take the subdominant, for the dominant will

soon be a principal sphere.

After this comes the dominant as principal sphere of modula-

preceded by

tion,

pal

key

end

at the

its

dominant.

Its

subdominant

is

the princi-

which has just been passed, and will return again

and consequently would be altogether unnecessary

itself,
;

we must extend our modulation we shall

have to select the parallel of the dominant, as its nearest reTherefore, if

here.

lation.

The
nant,

third principal sphere belongs to the

which prepares (page 200) the

close.

key of the subdomi

An extension of mod-

ulation in this third sphere

would lead us to its parallel for, its

dominant would be the principal key, which must follow soon after
under any circumstances, and its subdominant would lead us off
too

far,

allel

without bringing anything new.

And now

occur before or after the subdominant.

shall this par-

212

We
allel

would prefer the

latter,

we cannot

because

reach the par-

without passing through the subdopuinant, and can only be

comprehended as belonging to the latter. But this analogical powould place a new key where we want it least where the
elevation from the subdominant to the principal key is of imporAnd this must decide us to have the subdominant precetance.

sition

ded by

The

its parallel.

of course,

close,

made

is

in the principal key.

but one relative key which

There

is

the

parallel of the principal key.

far

attach

we have
It

forgotten thus

would be proper to

to the principal key, either at the beginning or at the

it

between the subdominant and the principal key. At either

Its best poplace it would stand in the way of proper elevation.
sition would, therefore, be where all the parallel keys meet here
we find a mass of minor modulations which, by the intervention
close

of the principal parallel, becomes

As

summary

of

the above

all

first

we

duly organised.
give

now

a diagram for the

order of modulation in major.

Minor.

Major.
\

Major.

A.
(

G major, E minor, A minor, D minor, F major, Cmajor.

Everywhere we have an analogical progression, sufficient con-

C major, D

major,

nection, and, in the combination of major

vigorous distribution of masses.

jor and

and minor, a simple and

Were we

to break

minor masses, and intersperse them

at

up these ma-

random, none of

the keys would achieve its full efficacy, and the modulation would
become unstable and restless.
The order of modulation in minor, naturally resists such a sure

and simple combination, corresponding thus perfectly with the

gloomy and undecided character of the minor keys (page 202.)

The cause of this

lies in

the

fact, that,

immediately after the prin-

by a key of a different
key we could attach the dominant, (or
of the principal key's dominant) and afterwards

cipal key, the second sphere is occupied

mode.

To

this parallel

rather the parallel

the dominant of the principal key

subdominant and

its

parallel

Then the key of the

itself.
would naturally follow, and we

would have the following diagram

A minor, C major, G major, E minor\, F major, D minor, A minor,

in which

we

perceive at once that the parallel of the sub-domi-

213
(at f ) does

nant
this

not attach itself as easily as the others

might be obviated by placing between them the principal

key, or

by omitting

altogether the disturbing key, or in various

other ways.

Both these orders of modulation have another property, which

gives freshness and decision to their

Each

key, with the exception

effect.

of the principal key, appears but

once.
It

follows from the whole tendency of our work, that these or-

by no means absolute

ders of modulation are

The

remain the same throughout.

petition of a key, can rarely

we

vantage.

If

any key a

different

first

from the above, and give to

we must

position,
If,

will

last particularly, the non-re-

be neglected without serious disad-

deviate, therefore,

other keys accordingly.

laws, but that other,

But the principle

deviating orders can also be attempted.

take care to adjust the

for instance,

we

concluded to end a

part of major in the parallel instead of the dominant of the

principal key, that parallel

must not occur again

afterwards,

though the dominant would find a position at some other place.

The following order would perhaps come

C major, A minor, D

minor,

Passages, whose object

is

into existence

G major, E minor, F major, C major.

merely to touch the harmonies of

dif-

ferent keys, as a matter of course, are not tied to this order of

modulation.
at

any

Keys, too, which are merely passed over can occur

place.

But let us consider now from a different point of view what

we have achieved by our order of modulation. Not merely the
passages lead us through different keys, but the actual spheres of

modulation are different keys, and each one

fills

part of the composition

and the anti-thesis

of the
it

first

were,

is

or

the thesis of the

second part,

&c.

first,

an important

The whole composition,

simply its aim

merely an extensive passage

as
is

fixed.

PASSAGES OF PHRASES.
In reality, No. 266

is

already such a passage

it

consists not

No. 270), of a series of well connected

single chords, but of two and two harmonies the dominant chord
and the succeeding triad. In like manner each phrase, by repeti-

like others, (for instance,

214
tion on different degrees, can be

Here, for instance at a and

made

a passage, or a phrase chain.

b.

we

'

have such chains before us, each consisting of a combination

Phrases of greater length, as a -matter of

of four chords.

Thus we have

course, can also serve as designs for such chains.

fit

a passage before us, the phrase of which originated

sign,

No. 306

even here we

a,

and which regularly descends a

see, already, that

from the dethird.

But

phrases which are well rounded in

The phrases
and only
The phrase
whole.

themselves, do not require a frequent repetition.

(No. 306

a and

b),

were

insignificant in themselves,

made them a more significant

is in itself more rounded and satisfactory
repetition makes it moie vigorous, and accidentally rep-

the repetition
in

No. 307, however,

the

first

resents

in

it

minor ; the second repetition

will already

sidered superfluous, and in order to invigorate

placed

it

in a higher octave.

It is

it

anew,

be con-

we have

also apparent, that passages, if

formed of more extended phrases, are apt to get too broad and
expanded.

215

CHAPTER

VIII.

THE PEDAL POINT.

-

We have now developed a mass of

harmonies, and perceived

the possibility of combining any keys with

into a single

whole without destroying

its

all their

unity.

modulations

But even making

but a limited use of these means, there comes into existence a

balance of motive power against the calming mass of the principal tone, which

is

much stronger than that of the

At that time we found in

the tonic (page 72).

scale

the

against

first

har-

we
now find a similar succor for the principal tone.
Where is, in reality, the beginning and origin of all motion 1
we have perceived this in our deIt is in the dominant chord

monic mass a succor

for the tonic.

It

necessary that

is

should

velopment and have distinctly acknowledged

it

(page 194).^

But the dominant is not merely the basis of the dominant chord,
the nonachords and the derived septime chords, but it is also the
fundamental tone of that triad which

harmony of the
it

can be

fifth

consider at one time as a

harmony

of the tonic triad of the principal key, or the basis

of a quart-sext
chords

we

principal key, at another time as a tonic

chord.

It

could bear, at

least,

the following

Such an accumulation of harmonies would furnish a much more

weighty

return to

the

principal

key,

than

the

mere domi-

But we must proceed.

nothing but an issue from the

nant chord, however long continued.

The dominant chord

tonic (page 76)

resting

itself is

upon a tone of

its

harmony.

At page

we have already learned to express this origin

and to introduce the dominant chord simultaneously with the

91

tonic:

in tones,

210

-8

309.

*
But

&

every tone can become a

since

sider our dominant, too, as

new

tonic,

new

tonic,

we

and build upon

it

can cona domi-

nant chord.

310.

Only now the dominant has

combine

of

it

in this capacity,

really

and

become a

tonic,

and we can

in its original capacity (g as tonic

major, and g as dominant of

major,) in the following

harmonic formation

or with the addition of the already

cessions in a

still

known septime and nona

suc-

richer formation,

312.

in

which the most essential of

all

modulations,

The tonic triad as quart-sext chord,

The dominant chord of the principal key,
The dominant triad as harmony of the principal key,
The dominant triad as tonic harmony of another key
have been combined.

But we have seen already in our order of construction, how

when it becomes the tonic of a new key, (page
103) brings with it the key of its own dominant and having
just now considered the dominant G, as a new key, we can open

the dominant,

the

way

for its

dominant.

217

U-s

313.

And thus, chord after chord is drawn into the whirlpool of the
dominant chord, and ascending and descending

314.

passages which are a condensed recapitulation of the whole modulation are built

upon the

single

dominant, and are thus led

harmony of the principal key.*

Such chain of harmony is called a

into the tonic

PEDAL POINT,
and

is

the last and strongest

means

to

make

a decisive and vigor-

ous return to a principal key, after a rich and extensive modula

tion has led us far from

While

it.

in the pedal-point the chain of chords returns to the prin-

cipal tone, the sustained bass serves to connect the chords built

Thus we see in the pedal-point, in two respects, one of

it.
energetic
tone formations firstly as the basis of a wellmost
the
closed series of chords, working towards a certain aim, and secondly as the connecting link and support of these chords.
upon

It is

exactly for this, that the pedal point

right place,

when

it

is

is

only then in

its

intended to counterbalance a rich and ex-

tended modulation ; then only the sustained bass serves as a rest

ing place for the

mind and

for the tones.

But as every dominant can stand as tonic, every tonic can stand
consequently w e can develope a pedal-point upon
as dominant
r

the tonic.

Uniting, then, the pedal points of

dominant and

tonic,

How

*
can we explain the chord a-c\-e-g in Iso. 314? By itself, alone, it
certainly does not agree with the pedal tone g ; we can, therefore, only
speak of its position in the above modulation.
major ; consequently
have considered the first chord as the tonic of
the modulation into the dominant of
(d) was near at hand, and for this
we have introduced the chord a-c$-c-g. This chord had necessarily to resolve into d-f%-a, or d-f-a.
have selected the latter, the g in the bass

We

We

still

remaining, and thus the chord g-b-d-f-a was naturally presented to us.

218
i

315.

"

(9

J
_

!_<=

^fc22

t
1

1*1 -J.

rl

*
&

'

-&
_

J-

""""

ive

:j.

have at once the

::

-<9-^

-^-^

fullest

-"g

1
F

8va.

and most majestic end.

In the above

example, in consequence of the profuse employment of the dominant harmony,

we have

called

on the harmony of the subdomi-

nant for aid.

This reminds us of that deviation from our principles of modulation (page 211)

on the strength of which we placed the subdomgood foot-

inant at the beginning of a phrase, in order to obtain a

hold for an elevation and a richer tone development.

Thus the

pedal-point, too, can be placed at the beginning of a composition

for

which we have a rich modulation in view.

We will now

set aside object

and origin of the pedal-point and

confine ourselves to the analyzation of its contents.

take a two-fold view of

it.

It is, firstly,

and successively developed chords, and

We

can

a series of analogically
it is,

pendent, sustained tone, which at one time

is

secondly,

an inde-

an essential of the

219
chords while at another time

it is

not.

Since,

when standing by

an independent voice, we can also double it by means

of octaves, without regard to the web of the other voices.

itself, it is

All these octaves are independent of the harmony, but stand

merely as a duplication of the original fundamental tone, which,

as tonic, reigns quietly over the whole movement.

And thus is the inversion of a pedal-point also fully justified.

By inversion we mean here that combination in which the original
fundamental tone resigns

its

position in the bass, and occupies the

place of a middle voice,

The pedal-point can be employed

less extent,

and

in such a case

the place of the tonic or dominant,

pedal-point.
will

be

Below

will

in every

form to more or

every tone of the scale can take

and become the basis of a

be found a few such applications, which

sufficient to serve the

student as guides.

See Appendix G.

220

CHAPTER

IX.

RETROSPECTION.
A.

We

Development of Harmony.

stand again at the boundaries of a vast

important part of tonical development

The two

is

field.

A rich

and

spread before us.

tone-species and their scales have been firmly estab-

lished.

The melody has been developed upon a diatonic and harmonic

by means of rhythm and the first principles of musical con-

basis,

struction.

The fundamental forms of musical construction have been

in-

dicated.

But most important of all is the development of the chords,

it was effected by the triple structure itself, or by such
alterations of degrees as were originated by modulation.
This
as far as

development of harmony led us to modulation into foreign keys.

The two together engaged us so much that the melodic element,
the guidance of voices, had to become subordinate and also
the further development of rhythm and construction had to be
;

neglected.

Let us now glance at our

results.

Our rapidly increasing richness has furnished us with innumeraWe should

ble means and ways for the most manifold objects.
not like to lose any part of them. But the power of our first
formations

the meaning and importance of each

None of all

succeeding harmonies

and strength to that

first

is

the parent and

exist

still.

equal in clearness, dignity,

harmony,

321. f);

which

is

fg=z=n

modePof proportion

for all the others.

221

The depression of its third has given us the minor triad. Its
was the basis of the dominant chord with all its variations
and descendants. And thus, gradually, have we been led to the
modulation into foreign keys, and have gained means for more
fifth

extensive compositions.

remains

It

now

on paper as well as

for the student to practice

at the piano-forte, everything he has learned thus far.

Having arrived at this point of harmonic development, we

must look back once more and consider the relation of voices in
their progressions with each other.

We

have already observed that two voices cannot well pro-

gress in octaves or fifths with each other, without injuring the

At

proportions of the whole tone-web.

we have

the

order to arrive at these objects

fifths

to say they

do not sound well.

we must

In

what such

It is not enough
Such principles would degrade

and soul from taking any but the most

If the progression is

must be interpreted
that

ascertain

first

music to a mere slave of the senses, while

then,

time, however,

or octaves in reality express.

consecutive

idea

same

indicated their admissibility for particular objects.

consecutive

it

would prevent mind

superficial interest in

it.

intended to convey an idea to us, that

This proves,

either rightly or wrongly.

octaves

or

however disagreeone place, and wrong at

fifths,

able in their effect, can be right at

another.

In order to ascertain where such progressions are

rightly

or wrongly,

stated, first

we must

therefore,

know what such momentary

as

employed

we have

already

parallelism of voices in

general expresses.

This
for

is

us to

not the place to exhaust such a subject.

know

It is sufficient

two voices makes

establishes a unity between

that the parallel progression of

those voices resemble each other,

them, to a greater degree than progressions in different directions.

Therefore,

two or more voices progressing

in octaves

222
are considered as a monophonic

mass

and

for the

same reason

have consecutive octaves in tetraphonic phrases been condemned.

For the same reason are the parallel progressions in sixths

thirds (as we find them often in duetts) so well calculated

or
to

cement the unity of voices.

In polyphonic phrases, too, these parallel progressions preserve

same

the

Thus we perceive

characteristics.

in the following, for

instance,

ffil

JT'

two upper voices seem to lean on each other, as if they

were determined to be reckoned as but one. Therefore all paral-

that the

voices are capable of leading us past such progressions as

lel

by themselves would be offensive.

gressions justified

by the

Thus are the following protwo or more of the

parallel directions of

voices.

-0i
i

But

On

this unity

the contrary,

and similarity cannot always be welcome to

we would probably

prefer,

us.

particularly in the

outer voices, a characteristically-different progression of voices.

Besides

this,

a too great extent or accumulation of parallelisms

is

apt to produce monotony instead of unity.

For

former theorists established the

bass and treble, or

rule, that

this reason

have

lower and upper voice in chorals, should not progress in parallel

sixths or thirds.

Thus much of the parallelism of voices in general. We have

to consider the effect of two voices, according to the inter-

now

vals in which they progress.

the

The

first

of these are

Octave Parallels,

of which everything most necessary has been said, (page 101, ex-

ample No. 92.)

223

We

convinced ourselves at that place, that octaves as mere

mere reinforcement, as it were, are admissible

duplications or

but that

it

was quite a

formed by such voices,

different affair

^hen

the octaves were

according to their position, were ev-

as,

idently intended for an independent path in the harmony.

the alto in No. 92, took

Thus,

place between the essential voices of

its

the harmony, and though until then an essential voice

came merely a duplication of the bass

itself,

or in other words

be-

made

consecutive octaves with that voice.

Here

d_i-^2fc^
1'"'
H -=p-

t-

is

\^

*Hr

a phrase in which the third and fourth voices proceed in oc-

taves throughout.

The one

is

mere reinforcement of the other

both in reality form but one voice or melody, and answer their
purpose

full

well

if it

was the composer's object to obtain a broad-

ness of volume which could not be effected

by mere stronger enun-

ciation of a single voice.

From

we

the octave parallels

turn

now

to

the Fifths, or Quint-parallels,

of which, too,

we have spoken

already, (page 102) and select ot

them the succession of

Two

We remember

or more

Major

No. 54 the

Fifths.

was the first new tone

developed from the fundamental tone, and that the interval of
the

fifth,

that in

for instance,
c

was the

fifth

first

and

dawn of harmony

g,

the, as it were, still

uncompleted

triad,
c-g

and

e.

Without entering more deeply upon the meaning and

teristic

of this interval,

we

perceive at least that

" the triad" to a certain degree.

it

charac-

represents

Consequently a succession of two

224

two

represents to us a succession of

fifths

manner of the

ing exactly in the

other.

triads, the

must be already displeasing to us when we compare

normal development of our harmony,

one appear

This hollow repetition

it

with the

Oh
no triad appears

in which

diately preceding one

repetition,

instance,

when

still

same position

in the

more

so,

when we

as the

imme-

meet, with such

ingredients belong to non-related chords

its

dominant and subdominant.

This explains, then,

for

why

one quint-succession can be more disagreeable than another.

Fifths, indicating or belonging to non-related chords

DM

>:?
(like those at

a and

b), are

1|

iff*

more conspicuous

arid

more

disagree-

able than others, indicating or belonging to related chords,

particularly

when

the faulty chords are separated

belong to different rhythmical links

tion of the delinquent
for their progression.

voices, is

(e).

Even

sometimes a

by a

the contrary
sufficient

Thus has Haydn introduced them

Overture to " the Seasons

:"

when the two lower voices have the notes

a and dg
a d and g

c.

(c, d,)

pause, or

mo-

excuse
in the

225

An

interruption of the quint-succession

by means of

Jinstead ofgj

-0-

r
tends also to indemnify us for the fault, as
in

rests

it

a degree the connection of the harmony.

interrupts or hides

Intermediate tones,

too, tend to mitigate the effects of such succession,

and particularly when the

fifths fall

the measure, as in the following

Another kind of mitigation

that not the chords indicated

nected, succeed each other.

sures

a and b of the

on the unaccented parts of

is

by

when
the

the other voices insure us

fifths,

but others, well con-

Thus, the unpleasantness of the mea-

following,

is

considerably softened

r
Still less

when they appear

r
r

unpleasant are such successions

thus

r
when they

are hidden


226

by

a flowing progression of the voices (a), or

can be considered as essentials of one chord

tF~i-

*.
'

we

This,

the

two

fifths

*^g.

when

(b).

hope, will be sufficient for a subject which for years

has set our theorists at loggerheads, and has caused the most con-

We have perceived that the prohibition has

good reason, and that we are always able to avoid consecutive
fifths, if we wish to.
But we must always remember, that an abtradictory rules.

its

much mischief, and that quint-successions

sometimes admissible, but actually the only right

stract rule can spread

are not only

way

We shall,

of expression.

therefore, attend for the time to

these prohibitions, if for no other purpose, merely to practice the

But this shall not prevent us from using these

moment, when we have some particular expres-

avoiding of fifths.
fifths at

a later

sion in view.

SUCCESSIONS OF MINOR FIFTHS,

(a),

and SUCCESSIONS OF MIXED

FIFTHS,
i.

e.

of major and minor, (b) or minor and major

fifths,

(c) are not

included
1

in the prohibition,

G&

from the very

IT

FT

r T

minor

fifths

do not des-

when a major

fifth

succeeds a

fact that

ignate any original chord, though,

id

minor, the succession partakes, in a degree, of the disagreeable

character of major

The

fifths.

inversion of a

fifth results in

a fourth.

It is

sequence, therefore, that fourths, too, should share

the inconvenience of quint-successions.

made

It is

true

a natural con-

somewhat

we have

in

often

use of consecutive fourths, but never without hiding the

obnoxious tones between the parallel progression of the outer

voices.

227
Successions of sevenths and seconds can only occur

septime chord leads into another

when one

for instance

Successions of thirds and sixths are the most unobjectionable.

But we must warn against a too frequent and too long use of
them, as they are apt to give to the music an effeminate character.

succession of major thirds, as

we have had

monization of the sixth and seventh degrees of the

it

in

our har-

scale,

V
z

f
lias

also

been thought objectionable by former theorists

cannot be denied that there

is

something harsh in

and

it

this succession.

But if the chords are otherwise well-connected, this harshness becomes much less perceptible, and often, too, such harshness can
be the very representative of an
In short,

we

will

artistic idea.

always guard against that effeminacy of mind

which makes us hesitate at every full and vigorous expression,

and which always deceives itself, because the anxious listening to
every strange tone or chord leads us to suspect something wrong
or bad, which in reality does not exist.

228

Eighth Part.
Displacement of Chords.

CHAPTER

SUSPENSIONS FROM ABOVE.

However

richly our

there remains
is

still

harmony has been thus

far developed,

a certain monotony in our compositions, which

owing to our close adhesion

to regularly-built chords.

Every

tone of our melodies belonged to such a chord, and every chord

stands there, independent and well rounded.

we had

of this was that

zation,

The consequence

and animated rhythmiwhich enlivened our monophonic and duophonic composito resign all free

One voice was chained to

new harmony, the others were

tions.

the other, and

sure to follow.

It is clear that the

this evil

new

remedy

chords must again be constructed

But we must take a different view of the harwe must look upon it as a combination of difFrom this point of view we discover the cause of

of three tones.

ferent voices.

our

invention of new harmonies does not

for each of these

monic element

when one entered

difficulty in the fact that

All our voices progress simultaneously from one chord to

another
In the following phrase, for instance,

Pi

CL

ST

g goes to /, all the other tones of the first

upon an interval of the second chord, and thus it

as soon as the first

chord, too, enter

continues to the end.

It is

now our

object to attempt the reverse \ the different voices

229

The upper

not progress simultaneously.

shall

shall not progress

The succession of chords remains here

third,

first,

and

fifth

lower voices are the same throughout.

holds on to the

to the
fore,

same

chord,

The
The three

essentially the same.

chords are absolutely unchanged.

voices progress from the

still

voice, for instance,

with the others.

is

first

But while these three

chord to the second, the upper voice

chord upon g.

first

This g does not belong

absolutely discrepant to

then the discrepancy ceases.

this discrepant tone, if it

and must,

it still

there-

f; and

But we should not have introduced

had not remained from the

and thus become bearable.

has prepared us to find

it,

the proper tone of the chord

finally resolve into

Its

existence

in the second.

in

the

first
first

chord

chord

The same can be

said of the e in the fourth chord.

from one chord to another, to which

tone, thus stretching

does not belong,

is

it

called

SUSPENSION.*

Thus the nature of the suspension

suspension

is

Firstly, the suspension

tone

must

itself teaches

us when such

admissible.

must be prepared ; i. e., the discrepant

and must be given to the

exist in the preceding chord,

same voice which forms the suspension.

Secondly, the suspension must be resolved ; i. e., the discrepancy between it and the chord must cease, the suspending
voice must finally enter upon the proper tone of the chord.
Yet the discrepancy between suspension and chord is not justified; in spite

of preparation and resolution,

we

still

strange tone instead of the proper tone of the chord.

hear a
Strictly

speaking, the discrepancy exists between the suspension-tone and

that interval of the chord which has
fore, in

order not to

troduce the
ously.

If,

make

it

been retarded by

too harsh,

it is

suspension and the retarded

for instance,

we were

interval

to represent the

thus:
* See Appendix

it.

There-

advisable not to insimultane-

above phrase

230

JJ

EMM

324.

g
1
1

'4

--<s>

'

Lr=p

L<5>0

?=

BL

the octave of the fundamental tone (in the second chord) would

be suspended, while the same interval would be introduced simIn the same
ultaneously with its suspension, in the upper voice.
manner, in the fourth chord, the upper voice has the

fundamental tone,
to
if

it.

d,

fifth

of the

while the fourth voice has the suspension

The discrepancy of these tones would be

still

greater,

the disagreeing tones were close together.

We have to make a distinction here between fundamental tone

and octave.

The octave can be suspended, without

interfering

with the simultaneously-entering fundamental tone.

Where, now, can suspensions be employed?

where we can

fulfil

the above conditions

Everywhere
and with observation

of these conditions
1, in

every voice.

2, in

every chord.

3, for

every tone of a chord.

The preceding attempt (No. 323)

pension which

we

leads us to one species of sus-

shall call

Suspensions from Above.

This suspension-tone

is

one which must descend a degree, in

order to resolve into the proper tone of the chord.

Consequently

every tone of a chord which descends a degree, can be employed

for

such a suspension.

Let us attempt
the upper voice.

this in

our descending

scale,

and

at

first

with

231

ad

JIM

326.
i,

3
_.

And now we

/n

the suspensions possible with

will introduce all

these chords.

327.

7 LUX

^a

-O

_Q

_Q

<9

rff^y

&

U-

The bass could nowhere become a suspension, because it nowhere

descends a degree. For the same reason the alto had to wait
until the seventh

We perceive
into existence
as, for

measure.

here harmonic formations which, though called

by suspensions, resemble some of our former chords

instance, the second chord, which resembles a quart-sext

we

chord, while

intended quite a different harmony

chord or triad of

d.

It is

such formations as chords or suspensions.

we know them, and can

quite immaterial whether

them

call

It

is

the septime

we

consider

sufficient

that

existence whenever

into

we

want them.

But there are other suspensions which, though resembling

still treated very differently.
Thus we might

former chords, are

consider the

nonachord,
f-a-c,

first

tone-mass of the

But

c-e-g-b-d.

in

instead of resolving into

need not stand in our

allows us

way

to consider this

fifth

measure as an incomplete

that case
c-e-g.

nay,

mass

it is

it

ought to resolve into

Here, too, this ambiguity

an actual advantage, for

it

either as one formation or as

another.

The introduction of suspensions, thus far, gave us no trouble,

all our voices descended, and were all appropriate for
preparation and resolution of suspensions.
But how is it with asbecause

cending successions

Here, for instance,


2&S

"ST
a suspension from above seems impossible, because none of the

voices descend.

But

if

look upon the contents of the chords, suspen-

we merely

In the second chord

sions are quite practicable.

be suspended by
fortunately

it is

This

c.

c exists in

in the treble,

Here, as formerly in No. 95,

The

voice.

alto,

we

b.

of the third chord by

give the two tones to one

for instance, takes first

We have now two

which might

and the treble goes to d instead of

same manner we might suspend the

but the d is again in another voice.

In the
df

is b,

the previous chord, but un-

g and then goes

to

c.

voices which have the tone c ; but the one

and the other forms the suspension and goes to

goes to

d,

Leading

this b again

up

to

d,

we

d goes to
Here
into c.

suspension, because the one

suspension and resolves

make

are again enabled to

e,

b.

while the other forms a

329.

is

an illustration of the proceeding.

ing scale, harmonized in the

sions

first

Here, now,

manner, with

is

all

the ascend-

suspen-

its

330.
44-

...

'

JJ
22

BEg-: o
HS>

The
If,

alto, alone,

'
1

&

: r
-<s>

~e>

'

was able

in the third measure,

in this succession to

we had changed

form suspensions*

the triad into & domi-

233
nant chord, the tenor would have had opportunity to form a suspension.

.:

331.

made

tenor could have

In the penultimate measure, too, the

was not already in the upper voice.

What have we now gained by these suspensions ?

suspension, if the b

First of
indicate

all,

many new harmonic formations. If we wish to

figures, we must write the suspension and the

them by

succession would then be

The above

resolution under the bass.

marked thus
332.

HG

-<?

a
L<s

4
Still better

tory interval,

333.

H:

-O

'

v-ould

t lis

8
figu ring

t >e if

wc

indica ted the prepara-

t( )o

_c

-<s>

35

perhaps, as in the

or,

fifth

5
4
8

35

3
9
5

3
7

and sixth measures, the progression of

each voice.

But
the

far

more important

is

the just-beginning liberation from

normal construction of the chords, and the necessity of

ing every tone of the

melody

treat-

as a part of such a construction.

"We have now achieved the possibility of making a tone of a

melody somewhat independent of the accompanying chord.

At

the

same time the voice containing the suspensions has ob-

we had
much more

tained a mobility which

this

mobility

is

to resign for a long time.

intellectual

And

than the mere har-

monic figuration of the chord-tones.

Again, the individuality of our voices

not merely

by

is

much more developed

by

the diatonic progression or rhythmization, but

the incongruity of the suspension-tones, and the chord-tones of the

other voices.'

234
It is

now

necessary, above

all,

to acquire the greatest facility

of constructing suspensions, such as

we have had

ercise

may

or

first

and
No. 195

together.

finally
b, (2),

all

Every ex

one voice after the other in

be advisable to treat
ner,

we know now.

write, can serve us as basis.

As an example we

with simultaneous suspensions in

will

It

this

give

manhere,

the voices,

all

as far as they are possible without change of harmony.

335.

ry
1

r-i

L-

?j

-9-

.-

-jrJ

IIP

'A

-9-J-9*

j J,
-9- -9~
A
*
rw

'

tp

J
P

i
9m

a
p

'i

-p-i

lf-L-41

J
1

howev er
by no means as free as we should
like to be, and for this reason we had to introduce the suspensions
wherever we could and as many as we could, without having it in
But, however, gref it the mobility of our voices, and

extensive our means,

we

are

our power to obviate the harshness of one, or the meagreness of

another.

mand

But on the whole we have gained considerably

in

com-

of our different voices and their characterization.

Suspension of Fundamental

tones.

The suspensions of the fundamental tone of a chord in the

bass seem so harsh, that we must enquire whether it is at all admissible to make use of them.
The suspension of the fundamental

tone in the bass shakes, as

upon

it.

which

is

Nor does

it

the bass at

were, the whole formation based

all

require

necessary for the other voices.

cisive steps, particularly

when

the

melodic

The bass

finish

prefers de-

progressing in fundamental tones.

235
But

in this

very consideration

above question.

lies

the proper answer to the

When we

wish to express a deep emotion, &c,

the harsh suspension of the fundamental tone in the bass will be
just

the thing.

Or, if in an excited, agitated mood, the bass

should happen to take charge of the melody, as in Beethoven's

Finale of the Cjj minor Sonata,

335

it

would be cowardly to retreat before a momentarily harsh com-

bination.*
* See Appendix

J.

236

CHAPTER

II.

SUSPENSIONS FROM BELOW.

We only acted arbitrarily when we attached our suspensions to

tones which descended.

It

was not

in this that the nature of the

suspension lay, but merely in the fact that a tone of one chord
stretched over into another to which

But

this

it

was not indigenous.

can also be the case when the preparatory and sus-

pension-tone

lower, and resolves into the next higher degree.

is

Here

336

we

see the b of the

first

and third chords resolve into the higher

c;

and again we see the b and d of the penultimate chord resolve

These are the suspensions which, in
into the higher c and e.

we call suspensions from

They require no further explanation. The ascending
with employment of these suspensions would present an

contradistinction to our former ones,

below.
scale,

appearance like the following:

337.

fliiPIPl?
03

JrJ-

i
4

The necessary

9
7

figuring

10

4 5

10

3
7

has been added according to

known prin-

ciples.

In the descending scale, too,

sions,

we

can introduce these suspen-

with proper regard of the necessary preparation, as indica-

ted in No. 330.

237

338.

Here, too,

we meet

our former chords.

with suspensions which resemble some of

Their treatment, however, proves them to be

suspensions.

Having become

familiar with these

two

species of suspensions,

nothing need prevent us from attempting the two simultaneously.

mm
I

339.

Here we have combined suspensions from above and below, and

have attached them to our septime and nonachords. By doubling

we have suspended

the intervals

the whole chords, as

it

were,

and the fundamental bass only progresses unobstructedly.

Seventh and ninth become suspensions from above.

The
The

becomes a suspension from below.

its. nature, and by means of duplicabecomes simultaneously a suspension from above

third
fifth,

tion,

according to

and below.
The octave, as future fifth, remains.
"We need not add that such an accumulation of tones and suspensions may appear overloaded, and we can but rarely employ
them as we have done here, but using them partly, as here.

340.

=F

H=l

U-

they will be of vast advantage to

us.

238

And now we must

return to the heading of the whole pari,

DISPLACEMENT OF CHORDS.

Formerly we have looked upon the suspensions in a literally

melodic point of view, as the most important, and have acciden-

some new harmonic formations. Now that we can

them fully, and observe their effects upon the harmony,
in them

tally acquired

reconnoitre

we

can see

new means, and

the strongest

means of harmonic connection.

most general connection which chords have on

account of their intervals belonging to one and the same scale,
there were two means of bringing them in a harmonic relation to
Next

to that

each other.

Firstly, the mutual tones.

are actually the

most

But as

far as

new

ineffective in the

we have

seen, they

For, on ac-

chord.

count of their having been in the previous chord, they are>less

new

conspicuous than the

tones.

Secondly, the necessary progressions to another chord which

nature has given to the dominant chord and

though

we have

occasionally permitted

some

all

its

sub-species,

deviations from the

natural progression.

The Suspension combines both

ens

them

too.

The

the previous chord

chord,
its

it

but since

decided progression

the resolution

new

absolutely disagrees with the

The

suspension-tone, too, has

but in consequence of

as far as

the nature of the suspension

;

it

monopolizes the attention.

with the whole new chord

poned

of these means, and strength-

suspension-tone, also, has been retained from

we

its

disagreement

can judge at present from

this progression

cannot be post-

must follow while the new chord

is

still

in existence.

Thus,

by means

of suspensions,

we

can form harmonic succes-

sions firm, unseparable, soldered one to another,

city they will

be of vast service to

and in

this capa-

us.

In the course of our instruction we have only spoken of what

was absolutely necessary for the occupation of the student we
have not even drawn attention to the fact, that the tone of a melody need no longer be considered as an independent tone of the
;

chord, and that, now,

it

might be considered and treated as a

sus-

239
pension.
But now, that we have done justice to the nearest and
most practical object of our instruction, we must not fail to
draw the attention of the student to some peculiarities.
The resolution of the suspension was necessary, in order to explain and justify the discrepancy between the suspension-tone and
But this justification can be postponed, by plathe new chord.
cing between suspension and resolution another, or more chord-

Thus, here

tones.

is

'JO.
1

ff

at a, the suspended e reaches correctly into d, but not before the

new chord found its way between suspension and resAt b, in the above, we find even three tones between

third of the
olution.

the suspension and its resolutions.

Op. 101, has gone even

The

first

Beethoven, in his Sonata

farther.

-jSl

measure closes with the quart-sext chord

ceeding measure begins with the dominant chord

the a of the

first

chord

is

retained,

before doing this the a goes

and

finally to g$.

If

it

first

were at

e-a-c\

the suc-

e-g$-b-d, in

and must resolve into

which

g.

But

to the foreign tone /jf then to

,

all

b,

important to reduce every

new formation to fundamental forms, we might easily explain the

above by imagining the chord /J-a-cjf-e, but the explanation of
that /jj

is

here of minor importance, the retarded resolution of

the suspension

is

our chief topic.

The whole reminds us of the retarded resolution of the

third, seventh, and ninth, in the septime and nonachords.
Thus much of the resolution of suspensions. In regard to their
* See Appendix

240
preparation

we must remember

that a succession can only be un-

derstood, inasmuch as its tone or tones have appeared as harmonic

tones in a former chord, and have stretched over, as

into the

new

mitted that

This was in

one.

it

fact,

its

we said before,
and we ad-

resolution,

had to take place in the same voice

preparation,

suspension, and resolution are in reality nothing else but the pe-

But now we can derive from

Here

culiar progression of a voice.

many new and

at A,
first

we

see the chord g-b-d with a suspended

chord, even in the

suspension-tone at b

At

lower one.
first

same

is

c ;

was

in the

The

not even in the same octave, but in a

c the suspension-tone does not even exist in the

and sensation lead us to imagine

c-e-g.

It is easily

seen that in

all

these cases the preparation of the

suspension does exist, though only in imagination.

say that such formations are inadmissible or

must admit
finally,

it

octave, but in a different voice.

chord, but our experience

the chord

ii

freer formations.

We

that there is something estranging in them.

we might

cannot

wrong; but we
And.

allow a suspension without any preparation,

if we aimed at all at a decisive, startling combination of tones.

These unprepared suspensions might serve also for a milder,

anxious expression

for instance,

241

But often the apparent

writing

it.

ijp^scrtP-

"-p

W=M-

irregularity lies only in the

manner of

Phrases like the following,

containing apparently unprepared suspensions, might have been

written thus

n
>

~~y

St

J*

Ira

-n

e>

1-=)

tt=t=i
-s>

&

and can

in that manner be easily explained.

But we must return again to the resolution of the suspension.

It

ought to take place while the chord into which the suspension

way

has.

found

we

see the resolution take place on a different chord.

its

is still in

existence.

the treble ought to resolve into the

like

manner should the

Both tones pursue

Here, however,

of the chord

resolve into the

their prescribed course,

The

c-e-g,

/ of

and

in

d of the chord g-b-d.

but in the meantime

the chords c-e-g and g-b-d have changed into a-c-e and

b-d-f.

It is

on the proper

tone.

The

sufficient that the resolution is effected

chord does not influence

But there are

We know

still

it.

more

peculiar formations.

already of two ways in which to retain a chord while

one or two voices progress:

I,

the suspension, and

2,

the pro-

gression of a voice from one chord-tone to another, (No?. 59 and

95.)

We need not hesitate to

employ the two

in succession, as

242
long as either of them, particularly the suspension, obtains
due.

its

Here, for instance,

the suspension of the treble at a, b,

solved into the next tone

c,

and

d,

is

correctly re-

but immediately after the resolution

the voice passes through several tones of the chord.

responds perfectly to our rules, but since

diffused,

we

it

will here

This cor-

might often be too

hi

i
K

F
at once seize the last tone to which the

omit the middle tones.

omitted the resolution

It is true,
;

by

harmonic tones lead and

this omission,

instead of the tones

c-e-g,

we have also
we must be

243
contented with the

still

the resolution-tone, has

sounding chord, which though containing

it

the discrepancy between

But

in another voice.

serves only to isolate the suspension-tone

it

still

very defect

this

more, and to make

and the harmony either milder or

stronger.

In the above

it is

not only better to introduce the suspended

chord-tone simultaneously with the suspension

make

the accompaniment of the above thus

for

instance, to

-a.
HS>-

but the chord-tone in another voice can serve in a degree as the

expected tone of the resolution.

Here we

see again a deviation from the

We

pension.

see the suspension-tone

one and the same time, though in

rules of the susat

different voices.

first

and the suspended tone

^4

CJ.

The
ate

distance modifies the disagreement, if

it

does not obvi-

it.

Finally
logically

we must mention an ambiguous form which

from the suspension.

arises ana-

Here

i
we

see this

the chord

us.
The g of the treble remains
same manner does the b remain with

form twice before

with the chord

c-e-g.

a-c-e ; in

the

Were we

to consider these tones as suspensions,

they could only be from below

into

c,

g would resolve

into a,

and

though the resolution of g would be an octave lower, and

244
that of b retarded

by two intermediate

tones.

But

in that case

these suspensions

*-4

i
1

would be nothing but octaves of another voice dragging after it,

and suspension-tone and suspended tone would meet in the same
moment. A regular explanation of these tones is absolutely imBut we need not bestow too much time or thought
possible.

upon these formations.

It is sufficient if

we have

a perfect control

over them.

Thus much of the suspensions themselves.

that in all their forms they have the effect of

But we have seen

making the single

chord less clear and distinct, because they unite or solder

another.
as,

when given

able

it

to

Therefore, they serve as modifications of such relations

effect.

in their nudity, as it were, produce a disagree-

This last remark reminds us of the reputed octave-

and quint-successions.

Let us glance

first at

FIFTHS MITIGATED BY SUSPENSIONS.

Here

at a,

mm

a
*

;:

1
1

we

&s

see an evident quint-succession

it

belongs to the less objec-

tionable class, on account of the seventh therein contained, and

at b

it is still

less objectionable

on account of the suspension. The

following succession

would be absolutely wrong,

if

written as at a ; but the suspen-

245
sions at b, soften

employ

it

to such a degree that

we need not

hesitate to

it.

It is different

with

OCTAVES COVERED BY SUSPENSIONS.

Here,
worse.

it

may

Thus

often happen, that suspensions

at a, the octaves

are objectionable

the meeting of suspension-tone

more

so.

make

the evil

if here,

those at

b,

on account of

and suspended tone are

still

246

CHAPTER

III.

ANTICIPATION (ANTICIPATED TONES).

What made
The

fact

the suspension comprehensible and sufferable"?

of its having been a part of the preceding chord.

and

words,

it

and

one that has already been heard.

in

finds its explanation

To attempt
which

it

now

the reverse, let us

In other

justification in another chord,

lead a tone into a chord to

does not belong, and with which

disagrees.

it

But the

tone has not remained from a former chord, but has been antici-

pated from a future chord.

-A
L

*z

~i

85=

A
1

We see here that the tone c appears in

total

the chord g-b-d, without any justification of

tone

d appears

in like

ing chords, only,

/jj-o-c

contradiction to

a-c-e.

which

is

It is

not even prepared, must pro-

effect

than the prepared suspen-

have to consider well, therefore,

if

corresponds with the object

tion of such effects

The
The succeed-

appearance.

and g$-b-d explain the contradiction.

duce a more harsh and decisive

We

its

manner with the chord

clear that such discrepancy,

sion.

the introduc-

we have

in

view.

Sometimes
voices,

it

is

the consistency in the progression of our

which leads us to anticipating tones, as

for instance in the

following

s<
r

r r r

where the upper voice pursues

its

own

course,

and thus blunders

247

upon the tone

e,

which belongs to the succeeding chord,

stead of the dominant chord which accompanies

Sometimes the anticipated tone

c-e-g, in-

it.

merely intended to add

is

rhythmical vigor to the succeeding one, and cannot be considered

as belonging to the chord

which

in

it

appears.

Thus, in the

ancient cadences,

343.
<

&

&

*-

k>

-L

-g-

f
which the anticipatory c acts merely rhythmically. Or, by
means of anticipation, the figuration of a melody may become
more animated, as in the following
in

J344.

And

r
.

again these anticipated tones arc used,

makes a
his opera,

La

D minor,

anticipates a tone (6),

Vestale, after

when one voice

Thus, Spontini, in the overture to

decisive entrance.

having closed in

F and modulated to

4BE

345.

full

two chords, and only justifies

is no need of searching

There

covering
is

all

possible liberties

it

in the third chord.

for such formations, or of dis-

we might

take with these tones.

best to trust to our inspiration for their development.

It

248

Ninth Part.
The Pass.

The

suspensions and anticipations were the

first

step towards

the liberation from the triple nature of our chords, and the de-

pendency of every tone of the melody upon the harmony beneath

But in reality this dependency of the melody has not ceased.
it.

For

if

neath

have

the tone of our

it, it

now

melody does not belong

belongs to either the one before

at least a choice,

harmonic element

it

to the chord be-

or after

it.

Yet we

and this new liberty has arisen from the

itself, or,

to speak strictly,

FROM THE CONNECTION OF THE CHORDS.

But we know that in every single chord lies the element of
melody ; that we can introduce its tones in melodic form, one
And this new view of harmonic formations
after the other.
must open to us a new melodic sphere. Here

we

see the treble pass through all the tones of the chord.

It

pro-

But knowing that the third is in

degree, and that another degree lies

ceeds, consequently, in thirds.

reality nothing

between

it

but the third

and the fundamental tone, can we not include

termediate degree in our melody

We go from c through d to
Thus we see

e.

at once the nature of the pass.

does not belong to the harmony

the preceding, nor to a future one.

stance, a filling of the
(c

and

e).

It

this in-

The passing-tone

neither to the present, nor to

It

is

simply a melodic sub-

melody, a mediation between two tones

agrees with the harmony, because

harmonic tone to another harmonic tone.

it

leads from one

249

CHAPTER
THE DIATONIC

We are already
in

familiar with

it.

L
PASS.

We might

No. 346 a second passing-tone, from

have introduced

to g.

348.

we might have

Instead of the prolonged tones of the chord

re-

peated them thus

We

see that the chords

melody.
the

Thus we are

fall

always upon a harmonic tone of the

led to place the whole scale

upon one and

same chord

the repetitions of the chord have also been here employed.

This leads us to something entirely new.

last

chord does not

We

see that the

upon a harmonic tone of the melody,

fall

but upon a passing tone,

b.

This

is

not as satisfactory as the

former arrangement, though the fourth chord

is in reality

nothing

but a continuation of the same harmony which did not displease

us to the tone
be, if a

d, /,

and

a.

Still

more strange would

new chord should meet with

the foreign tone

this

form

250
but the immediately following harmonic tone

(c)

balances every-

thing in either case.

A
chord

passing tone,
itself, is

when happening upon the entrance of

the

called

a Participant Tone.

Thus

in the following example,

the two/jfs are passing-tones, while the

tones, a distinction, however, which

Had we

two

e's

we consider

tried to avoid the participant-tones,

achieved the same object

by a

are participant-

as unessential.

we might have

different rhythmization,

perhaps

like the following

This has led us to employ two passing tones in succession.

reality

we have done

this already in

trast the repetitions of

No. 349.

Let us

In

now con

one and the same chord

nothing essentially different from No. 350, and we see the

whole scale accompanied by one single chord, in which we consider d, f, a, and b as passing tones.
But we are by no means
it is

confined to the tonic triad.

is

Here,

the ascending and descending scale with the accompaniment of

251
the subdominant and dominant chords, in which

we have only

taken care to begin and end on a harmonic tone.

Thus
scale.

far

we have taken

all

our passing-tones from the reigning

These are called

Diatonic Passes,

and well deserve a thorough practice before we proceed.

Above all we must remember that it is immaterial in which
Like the suspensions, they can
voice we introduce the pass.
occur in every voice, and consequently in different voices simultaneously.

The above

tells

us that every third can be

with one passing tone, and every fourth with two,

strictly,

our melody of No. 255 as basis, harmonize

B we

filled

up

to speak

with one passing-tone and one participant-tone.

Let us now employ them as often as possible,

at

or,

it

as

We take again
A simply, and

introduce our passing-tones.

357. A.

Why,

at a,

have we not

filled

out the bass

nave produced a peculiar kind of octaves,

358.

Because

it

would

252
(1) which are even worse than the

case

would have happened

Why,

at b, have

we not

at

open octaves at

e between bass and

filled

out the bass

It

A similar

2.

alto.

would not have

been wrong

but the seventh-succession between alto and bass, and the accu-

mulation of passing-tones in the three voices, would have given a

dragging character to the whole phrase.

"Why, at c and o have

the

first

treble

case

and

and in the

we

we

not

filled

out the alto

should have caused consecutive

alto,

latter case

between

alto

and tenor.

Because in

fifths

between

253

CHAPTER
CHROMATIC

II.

AND

PASSES

ASSISTANT-TONES.

The Chromatic Pass.

Our

present means enable us to

every third and every

fill

larger interval with passing-tones.

But

With

attempt to

let us

the

same

diate tone

cf,

we can now

between d and

c?#

fill

right that

we

out a smaller interval, the second.

seized

between

take the tone

cj(

and

the interme-

between

and

c?,

or

e.

361.

This gives us

much

Firstly,

we

to consider.

see passing tones employed, which are foreign to

the key.

Secondly,

we

see the small space of a third filled

by

three

passing tones, and thus are led to take the whole chromatic scale

upon a single chord.

3G2.

Thirdly,

we

see

among

the passing-tones raised degrees which

are in the chord in their original form

<7j(

against g.

Of course we can

for instance,

against

c,

also introduce depressed degrees

against natural, or natural degrees against pressed or raised degrees.

254

These formations remind us of our former

such a

momentary

cession, can

produce no disagreeable

of the melody, and by

effects

But

cross-relations.

an analogical suc-

cross-relation, appearing in

it is

merely a part

it justified.

This teaches us also the proper manner of writing passing-tones.

A passing-tone, for instance

but a leader from one tone

say

it

the cj at a,

(c) into

is

nothing

the next one (d)

raises itself until it reaches the d.

the passing-tone

harmonic tone,
sequently

we might

according to

Con-

should, of course, be called accordingly.

c raised

to

cjf,

in order to lead to

d; and

in

same manner, at b, d descends to cfy, in order to lead to c.

But why, in No. 362, have we written
instead of ajj,
ought to be according to the above rule

have we taken /jj instead of

Because the

strict

this,

nothing but a continuation of the preceding

is

it

If}

or

g?

and

cjf

or

why

instead of

in

the

as

it

No. 363
and d^%

observance of this rule would lead us to tones

too foreign to the original key, and would

make

the reading of

more difficult.
What we have just now shown in the upper voice can also be
done in every other voice. But we must look out, particularly
in the middle voices, whether there is room for these passing tones.
notes

And

since these passes are practicable in every voice, they

must be practicable

also

255
in

two voices

voices

simultaneously,

or

even

in

three

or

more

But, of course, the

more passing tones we introduce above

below the harmonic tones, the more are the latter placed
the shade, and the more danger is there of causing confusion.
And again we return to our phrase of No. 357, in order to

or
in

in-

troduce the chromatic passes too.

In order to

make this phrase richer, we have introduced some

we have by no means exhausted all possible

suspensions, but
passing-tones.

For

this

would lead us

into false progressions, and

would overload the phrase with foreign

the thesis

may

serve as an example.

tones.

The treatment of

256

-*

r^r

bt

r-J

_jt_2*

r-

With

the introduction of the diatonic passes

spoiling an originally correct phrase

other bad relations.

we

=\i

ran the risk of

by consecutive

fifths

and

The chromatic passes add another danger

that of accumulation of foreign tones and cross relations.

The Assistant Tone.

B.

A pass supposes always a vacuum,

a step in the melody wide

Between c and e we
and d we had room at least for cjf

enough to admit of an intermediate tone.

could place the d; between

between

and

there

cjj

a tone ; the very

effects

no vacuum to be

is

we can have no pass.

And yet there may be

filled,

consequently

at such places a necessity of interposing

of the pass would lead us to think of this.

We gain by the pass, as we have just explained, the possibility

of filling up larger intervals by interposing smaller ones.

But these passes serve

tion.

also to increase the rhythmical anima-

Here, for instance,

a are resolved into quarter-notes at b, and into

But between e and / we can gain no such animation by the mere passing-tone, because there is not room for

the -half notes of

eighth-notes at

one.

c.

It is true,

we might

avail ourselves of tone repetition, or of

a harmonic by-tone

But
use.

for

many

reasons neither of these expedients might be of any

The first might seem

poor, and the second might be preven-

257
ted

by

c to

the progression of the bass, which, too, might go from

For such cases we require a

The phrase a

We derive

particular aid.

it

thus

371.

r
372-

is filled up by passing-tones at b.
But must we absolutely go to el

return before

made

we

The d

We

led to e and back to

get there, as at c and d.

use of half steps.

c.

can change our mind and

At e and f we have

Such tones are called

Assistant-tones.

They can be either steps or half steps, ascending or descending.

Half steps are generally best for ascending.
We shall have more use for these assistant-tones at a future
time.

At

present

it

will

be

sufficient for the student to practice

chromatic passes, with the occasional introduction of assistanttones.

258

CHAPTER

III.

THE RESULTS OF

The

PASSES.

results of these passes consist principally in the additional

means acquired then in the capability of making our voices more

connected and more flowing than we were able since we deserted
our monophony. It is true that by a too frequent application of the
;

passes, our melodies can

now become

too

round and polished, as

they were formerly too angular and rough.

for. the

we

time

present,
shall

is

to practice

But our only

object,

these passes, and at a future

be able to to judge to what degree we can make

use of them.

But the greatest advantage obtained

is

that

we

are no longer

melody ; and
yoke of harmony. Our
harmony is now dissolved into four voices, each of which developes itself melodically ; based upon harmony, but not chained

forced to construct a chord for every tone of the

thus

to

we

are liberated at once from the

it.

This melodic relation can even sometimes be predominant over

Mozart, in the "Magic Flute," in a light

the harmonic element.

and animated triphonic phrase, writes thus

373.

It is easily

perceived that the two-eighth-notes of the second

measure are in reality nothing but the chord

the upper voices

d of the next

by

chord.

g-b-d,

suspended in

and the lower voice parsing from

The phrase, originally, was

a-c

b to the

259
and according to rule as written at b or c ; but Mozart
wanted a more flowing progression and he mixed up suspension,
and harmonic-tone and passing-tone. A similar proceeding has
at a,

been applied in the following

375.

I
w

!IEEgE5E=i

~
r rr

"7*2"

where the simultaneous application of suspension and pass has

preserved the flowing progression of

all

the voices and the dia

tonic progression of the bass.

But

since the passing-tones

now

actually begin to play a part,

harmony itself, to which, originally, they did not belong,

they are ako applied, though merely
in the

pseudo-harmonic

as suspension-tones,

1,

by making of
at b

tones,

We use them

as real harmonic tones.

the passing-tones at a, for instance, suspensions as

and c

the preparation of which suspensions does not even exist in the

chord

c-e-g.

tions.

It

will not

Two more

be

difficult to

construct similar illustra-

illustrations here,

377.

22
-3>-

-er

merely to remind us that even cross-related passes can becom<

suspensions.
The passes can also become
2,
or,

new

chords,

they can at least disfigure well-known chords to such a

260
degree, that

we

can use them independently, without regard to

their origin.

The
in the

first

new

of these

major

chords arises from the pass of the

fifth

triad.

378.

start

r
The

triad has

now

stance this chord

is

a superfluous

fifth,

and owing to

this circum-

called

THE SUPERFLUOUS TRIAD.

It is
It

the only passing-chord which boasts of a particular name.

can be introduced whenever

its

superfluous

fifth

has not ap-

peared as a previous passing-tone,

379.

and

it

new

can be used in

all its inversions,

and

for the formation of

sequences.
I

380

is

and use the new chord

nothing but a major triad with

added seventh, we can embody with

(a),

ft ft

Since the dominant chord

it,

g-h-d$-f

also, this superfluous fifth

independently

(b).

It fol-

lows, as a matter of course, the rules of the dominant chord, with

the exception of

its fifth,

which, owing to

its

origin,

must

as-

cend.

381.

Knowing,

further, that

with added seventh,

major septime chord.

every septime-chord

we might apply
Here

the

is

nothing but a triad

same proceeding

to the

261

UL
m r
_

382.

9-

Fp

ft

'

we have made from

by adding

the seventh,

it

which we might

c-e-g$-b,
it

to

the chord

were at

all

c-e-g,

call

and

the passing-chord

we have

obtained the septime-chord,

the superfluous septime chord,

necessary to have a

name

for

if

every new forma-

tion.

Formerly
tion of the

in

No. 378, we altered the dominant chord by

Let us now attempt it by depression.

eleva-

fifth.

4-

We

have done

it

at

at b

we have

placed the passing-tone at

once on the place of the proper harmonic tone, and thus formed a

new

chord, g-b-d^-f, which differs from the dominant chord

depressed
interval.

fifth,

by

its

and by the absolutely necessary descension of that

And

as

we

formerly

made

a diminished triad from the

dominant chord, we can now make a triad from our new septimechord (f) which

is

even smaller than the diminished

triad,

and

which might, therefore, be called the double-diminished

triad, if

we were

is

in

want of a new name.*

If this

new chord

to

be

* The chord db-g-b-f (c) boasted formerly of a high-sounding name. Just

because the superfluous sixth, db-b attracted principal attention, it was called
the chord of the superfluous sixth, r some similar name
and not satisfied
with this, the same name was given to another chord, db-f-ah-b, which had
altogether a different origin, and thus, sext-chords, terz-quart chords, and
quint-sext chords were all thrown into one category.
This name is not
only superfluous, but it is absolutely unsystematical and confusing.
;

::

262
used tetraphonically,

seventh, as at

But

it

can only be done by the doubling of the

can easily be seen that not every position of these chords

All those positions in which the conspicuous

appears favorably.
tone

it

in the above.

(d\>) is

close to the third (b) are unfavorable, because after

once exciting our expectation by

'.nto

its

strange appearance,

it

resolves

a tone which has already been obtained otherwise, and thus

deceives us.

Chords like these, which take their intervals from

different keys,

become new means of modulation, or mediation, by transferring to them the freer resolutions of the dominant chord
for
can

instance, thus

384.
1

The minor

l.U

J J,

triad, too, has a

to it the elevation of the

fifth,

major

we

and by
new chord

fifth,

obtain a

transferring

T
{g-bk-d) which resembles a well

which

differs

from

it

known

in its progression,

sext chord

(ff-b\>-e\>),

but

and even leads to a new

septime chord

386,

Finally.

we

are led to harmonic formations, in which the for-

merly unlawful quint-succession appears purposely and with good

efFect.

387.
D

.2.

ST

We know that the

"3T32T

1ST

diminished septime chord (b) arises from

263

We

the dominant chord (a).

cession of heterogeneous

have also submitted to the

Here now,

fifths.

at c,

we have

suc-

intro-

ab, and at d follows the chord, /jf-a?-c-e[>,

formed by it. The lower voices form here consecutive fifths,
which are by no means disagreeable or inapplicable nay, which
can even be used, as Mozart has done, and with good effect, in

duced the passing-tone

slow movement.

388.

^2-~

b=r.
i

But we are led here

dent has probably

to an observation which the attentive stu-

made

before us, viz

tion of the chord-tones does

much

that the peculiar posi-

to favor the admissibility and

the comprehensibility of these successions.

If the foreign

too close upon another tone of the harmony,

if

the

tone

two resolve

is

in

one and the same tone, the resolution of the chord brings about
something so forced and confused that it can almost become in-

The successions of No. 3S3 and 386 are well

But the same successions in a different position

comprehensible.
admissible.

389.

ff

are useless and wrong.

Thus,

is

the passing-chord d^-f-a

389.

quite correct at

But

let

Why are we
we

a and

b,

while at c

it is

spoiled

by

the position.

us return to No. 388.

justified

now

in

making use of progressions which

formerly denied ourselves?

Not merely because we now

264

them agreeable and fit for use, but because we have now
been led to them consistently, analogically, instead of owing them
consider

to accident.

Here

is

the point whence arises often the greatest error.

say the greatest, because active minds often seize the

We

new and

ir-

regular instead of the nearest, and thus cut off at once every fur-

But we must warn,

ther development.

also, against slavish obe-

Every artistic nature has within it the imitself and to become independent
but reason must

dience to the letter.

pulse to free
decide

how

And,

a deviation

far

we

finally,

least,

admissible.

see in the passing-tones

3,

at

or,

is

the

means of modulation,
and preparation of

the introduction

transitions.

Here

we

see a phrase beginning decisively in

in the third

measure into

major.

measure does the passing-tone

major, so that

sol.

it

/jj

C major,

but modulating

But already

in the second

indicate the subsequent

hardly requires the dominant chord.

^^E^E^U^^h
^

i
r
r
r
Here we see both dominant and subdominant defend and maintain the C major, and yet, from the sixth measure, everybody
will imagine himself in G major, though the dominant chord of
that key does not make its appearance even at the end.
The
passing-tone /fc| would have as surely indicated and retained the
1

key of

instead of G.

This leads us to a very important observation.

taken the passing-tone

/,

we

If

we had

should not have been prepared for

265

G
we

major but rather confirmed

in

major.

In

future, therefore,

will construct the pass before a modulation, so

that

reason, if

been

we intended

to remain in

unfit,

^
and the tone

/ft the right one.

it

pre-

For this very

the tone /jj would have

pares rather than contradicts the subsequent key.

ir

266

Tenth Part.
The Treatment of More or Less than Four

Voices.

Lately we have limited ourselves to the tetraphonio composi

and only occasionally represented one thing or the other
with more or less voices. It requires now but a brief considera
tion,

tion of the more-or-less-voiced composition.

CHAPTER

I.

THE TRLPHONIC, DUOPHONIC, AND MONOPHONIC COMPOSITIONS.

We have perceived that not even four voices .were sufficient to

by making use of har
monic bye-tones. Complete nonachords were altogether impossiSeptime chords could only be carried out completely with
ble.
five voices, and faults could only be avoided at the expense of
give us always complete chords, unless

the completeness of the chords.

It is

natural that this incompleteness of chords should happen

more frequently with less than four voices, or we should still

These, however, if we
oftener make use of harmonic bye-tones.
still

wish to avoid a certain emptiness and

to

make

use of passing-tones

and

it

superficiality, will force us

may

not always suit our

purpose to overload our voices with harmonic and non-harmonic

additional tones.

must

first

What
The

Before making use of the

latter, therefore,

harmonies

triads require

we

can best represent without imperfection.

but three voices, and consequently can some-

times be better applied triphonically than tetraphonically.

we know

we

consider

But

already, that the progression of the voices often pre-

vents our directly reaching those tones which

seem

desirable to

207
Therefore, even in triads,

us.

we

shall

have to resign

many

position, in order to represent our chords as completely as possible.

If,

we were

for instance,

accompany the first tones of

a and b would be preferable

to

the scale with triads, the position at

o that

at c,
-

though

we had

But even

A
jS-

-p-

g-f-

-&

-<5-

::

to introduce sext-chords in the former.

always be

this precaution will not

we

sufficient;

must, for the sake of flowing progression, leave some chords

complete.

It is

now

necessary to

We

best be omitted.

know what

have given

all

in-

tones of a chord can

necessary information on

that point.

The dominant-chord cannot be represented completely without

The fifth is the interval in it which can best

harmonic bye-tones.

We

be omitted.

know,

omitted, in which case

too, that the

we have

fundamental tone can be

a diminished triad

left

make

gression of the voices will often force us to

the pro-

use of this

chord.

Let us now attempt the accompaniment of the scale according

to our

first

manner of harmonization, with employment, howev-

of the inversions, wherever they seem preferable.

er,

We

perceive that the final chord of b has lost the

third, unless

we

fifth

and

prefer to end with a sext-chord.

The duophonic accompaniment would be

could employ the natural harmony,

still

more meagre.

We

0*

or,

J J J

J J J

I,,

take a mere succession of sixths, or pursue any other course.

268

The nonachords would have to resign third and fifth, unless

preferred to exchange them for derived septime-chords, in

we

which

latter case the third

had best be omitted.

According to these principles, No. 217 would be harmonized

triphonically, perhaps thus

396.

In duophonic composition
to the

and

we

should have to cling

model of natural harmony, and

sixths, for instance

still

closer

to successions of thirds

397.

We know,
tones the

mm

by means of added bye-tones and passingharmony can be completed, and the voices made more
too, that

flowing or animated.

Instead of

all

further explanation

give here a single illustration,

398.

we merely

may

which the student

tion.

This was our

This, of course,

analyze for himself.

way in which the

And, finally, we must return

not the only

is

phrase can be carried out.

again to the monophonic composi-

first lesson,

but

we resume

it,

having in our

possession the means of a fully-developed harmony, and the tone-

formations attached thereto.

We must now confess that the mere

most necessary, is but a meagre basis

scale,

for

though the

melody.

first

and

Our phrases

have long broken through the limits of a single scale the thesis
no longer end upon the tonic, but strives towards the domi;

will

nant, or has

harmony and the

all this

we have

latter strives again for

sion^, passing-tones,

Can

part and ends in the key of the

become a separate

dominant, or the parallel, &c.

a continual longing for

embellishment by suspen-

&c.

be done

in a single voice ?

Beyond doubt.

We know already that chords can be melodically represented, in

part or entirely,

by a

single voice.

Then we can

easily see that

suspensions, passing-tones, &c.

399.

can easily be mixed with the harmonic tones.

fore in reality, the

means

for every

We have,

there-

harmonic form, and conse-

quently can distinctly express every turn of the modulation.

Thus wc see

in the following

monophonical ritornel of a concerto

by Sebastian Bach:
Tutti unis.

270

that

it

contains all essential points of an energetic modulation

tonic chord at the beginning

sure 2 to 5)

the

the turning to the dominant (mta-

the modulation into the subdominant (measure

">

to 6), and the modulation to the dominant.

It will

be

sufficient for

as the student of
illustrations.

us to indicate the means and possibility,

harmony

will

have no

difficulty in writing such

271

CHAPTER

II.

THE MORE-THAX-TETRAPHONIC COMPOSITION.

We must here distinguish whether all

single body, one choir, or to

connected,

The

form separate choirs among themselves.

still

first is in

preference called many-voiced, or polyphonic.

The Polyphonic Composition

A.
In

it

the voices belong to one

two or more bodies, which, though

the necessity of leaving harmonies incomplete will occur

but instead of

less frequently,

ble one or

more

tones, in

it

we

shall often

be forced to dou-

consequence of which

we must be

careful to arrange our voices so that they are not in each other's

way.

Above

we must

all,

think of those harmonies and those re-

sources which permit each voice to pursue

Nevertheless

ent course.

it

will

We shall

the voices clear through the throng.

all

and independ-

its free

not always be possible to lead

have to choose

occasionally between a greater and less evil, and

we

shall

even

be forced to employ duplications and progressions which are contrary to rule

the greater

number of voices

forces

them upon us

and covers them.

we must

think of procuring more space for the

The bass must go lower, must take the fundamental tones more frequently, in order to give a firm basis to the
numerous voices. The middle voices, in turn, must cling to one

Next

to this,

middle-voices.

position as long as possible,

for,

and only progress

in small steps

when a numerous mass of voices once happens upon

harmony,
Finally,

it is

very

difficult to

control

it

dispersed

and to avoid confusion.

we must always remember in the right place, to extend

(i. e. to make of the triad a septime chord,

every chord internally,

and of the
tity of

latter a

nonachord) in order to find the greatest quan-

matter for the

many

voices.

All these rules are so clear and consistent, and have been pre-

pared so

much

already, that they require no particular practice,

272
save a few attempts to apply our acquired information even

under

difficulties.

We

add the subsequent remarks, but warn

expressly against a too-great extent of these attempts, as this manis of but little importance, save in extraordinary
and leads the student to ponderousness and affectation.
The polyphony in the orchestral composition is something based

ner of writing

cases,

upon entirely different principles.

The student ought to begin with very simple
Here
test of how many voices they admit.

successions,

and

401.

we have written a simple melody with an accompaniment of

At b we have arranged it octaphonically, and have
introduced a somewhat richer modulation. At c and d are two
at a,

six voices.

We have everyfor seven voices.

where taken as many voices as we could introduce without diffi-

more treatments of the same

iulty.
ire

It is

practicable enough to

imve here

add

still

more

voices.

Thus,

273

arranged the melody of No. 401 for ten voices, or eleven,

it is

undeniable that the ninth and tenth voices find their

only with

difficulty,

which have been

we

if

But, independent of single inconveniences,

count the pedal-tone.

way

and even then have to cross between tones

much

by other voices.
amount of clearness and care in
always best to have two or three

better represented

In order to obtain the greatest

polyphonic compositions,

it

is

voices progress in thirds and sixths, and to place these parallel

voices so close together, that they form

independent, separate choir.

among themselves

In a, b, and d of

voices 1, 3, and 4, formed such a choir; in c

and

There

consisting of the voices

1, 6,

by the voices 5 and 6

and the voices

3.

is

is

an

No. 401, the

a similar choir

another in

a,

formed

and 6 have another

in b.
Wherever such choirs occur they ought to be placed as
soon as possible after the upper and bass voices.
In

No. 401,

after having written

diately written the voices 3

voice,
this it

and

4,

8, 5,

the bass,

we have imme-

which, together with the upper

form sext-chords and appear as a well-closed mass. After

was desirable to have a second mass, proceeding in a con-

trary direction, which formed itself in the voices 5, 6, and 7,

though much less connected.

as

we

could.

The other

voices were added as well

As a matter of course, we cannot always

finish

one

274
>r

two voices before beginning the

others.

It

can only be done

where a voice seerns particularly apt to such treatment, as, for instance, the voice 8 in No. 401, or, when the general arrangement
of the voices permits

23

1=
403.

gf

it,

as in the following

J
gc

EE

1-6'

2s:

In conclusion,

we

will

ment of No. 396, with

404.

now give a hexaphonic

slight alterations of the

(six-voiced) treat-

upper voice.

275

IN]

U jgj

fi-J
i-P-Mi=

r
It

cannot be denied that the whole appears overloaded, and

though at some places

we have

former treatment.

obtained a greater volume of tone,

by no means an improvement on the

But this is much less owing to the manner of

the phrase, as a whole,

is

execution, than to the forcedness of the task.

ject to

make

a work of

art,

but simply to

It

was not our ob-

illustrate the possibility

and the manner of writing polyphonically. But even admitting

that the phrase had been treated with an artistic object, the result

would teach us
that even in the

number of

voices

simplicity and

ciency are always best, and that every excess

Not

easily will a

composer overload

out a particular and sufficient reason.

is

suffi-

injurious.

work with voices, withBut even under the exis-

his

tence of a reason, he will not treat everything polyphonically,

but only appropriate phrases, or parts of phrases, particularly in

simple, slowly-developed harmony and quiet, steady melody,
while the remainder will have to be satisfied with a less
of voices.

Several choruses in this

ferent voices,

is

manner

sometimes forming

times dissolving two or

There

number

Handel, in his oratorio "Israel in Egypt," has treated

more

sometimes employing eight

different

choirs,

dif-

and at other

voices in one.

an apparent or pseudo-polyphony which

is

effected

by

doubling some real independent voices, bass or treble, or perhaps

all voices.

We

have had such cases in the double-duophonic

composition, (page 90) and have decided that these duplications

cannot be considered as actual voices.

consider the following phrase

For

this reason

we

can

276

merely as pentaphonic, though

it

selves, the phrase

would

bellishment of one

still

Even if
among them-

contains nine voices.

these assistant-voices should exchange their parts

Not even

be pentaphonic.

the em-

or the other of these assistant-voices,

by

means of bye-tones or passing-tones would change it into a real

voice and if we were to write the highest voice of the above,
;

thus,

for instance, it

would

still

be a mere duplication of another voice,

(page 72).

The Double-choired, or Polychoired Composition.

B.

This
cal

and

is

the

more customary manner, because

it is

more

practi

useful.

Dividing the voices contained therein into two or more masses,

we can employ one or several of these masses by themselves, or,
we can unite them in real polyphony. The first manner, particularly,

which

is

not limited to periods or phrases, but which can

be employed in even the closest interchange of choirs, gives to the

whole manner a mobility, transparency and

clearness,

of which

manner is absolutely incapable.

There are various ways in which this manner can be em-

the real polyphonic

ployed.

We can form two or more choirs of voices.

277

The

choirs can have equal or unequal

number of voices and

position.

The

different

connected choirs can be employed differently

one choir can be treated simply, another can be more

ted,

figura-

&c.

All this demands no

eration,

new

law, and requires but a simple consid-

which then, of course,

refers to the real

polyphonic

com

position, also.

The united

choirs

must appear

gether, but each choir separately,

as a whole

and

not merely

all

to-

at every separation of the

single choirs, the fact of each one being a whole, even

when they

are all combined into one grand whole, causes us to conceive

each one separately, as long as

we

can distinguish

it

from the

others.

From

this it follows that

pendent whole, characterize

we must
it

treat each choir as

an inde-

by good upper and lower

voices,

and make the harmony as complete and clear as possible, while

we

are at liberty to permit between

all

those relations and progressions which the real polyphony

two voices of different choirs

upon us.
But as soon as we consider every choir as a separate whole, the
most manifold applications are open to us. While we give the
harmony to one choir, the other can proceed in unison, octaves,
or take the pedal-tones, or contribute in various ways to the effect
forces

of the whole.
All these formations will be reconsidered in the orchestral and
vocal composition.

They do

particular practice.

It is sufficient

not, for the present, require

to have indicated them.

even a

SECOND BOOK.
THE ACCOMPANIMENT OF GIVEN MELODIES.

281

INTRODUCTION.

Jn the
cal

first

book we have acquired the means

and rhythmical elements

shall

now proceed

offer

"which the toni-

us for artistic objects.

to the application of these

means

We

for artistic

objects.

Though we have already constructed compositions with the

mere natural harmony, which in their sphere were probably satisfactory, we were always restricted in our means, and these compoOur future labors are
sitions were merely the means of practice.
also merely devoted to the practice and development of our
means, but they can already be considered as independent works
of art.

Beginning again with the most simple task,

we

are led at

once to

THE ACCOMPANIMENT OF GIVEN MELODIES.

There are two species of melodies, the accompaniment of
which can be demanded of the composer

1,

the choral melodies, and

2,

the secular melodies of the people.

Other melodies are generally provided with an accompaniment

by

their composer.*

* [The chorals and national melodies, or melodies of the people, form a

music peculiar to Germany and to German composers, and, owing
to their importance, German theorists have attached to them all those rules
of composition which perhaps could have been attached to other musical
forms. The translator had no alternative before him, but either to give the
information embodied in these important branches as he found it, and to

style of

give a literal translation of the work before him, or to reduce this information to mere principles and to adapt them to other cosmopolitan forms.
The translator of this work has chosen the former, because, independent of
the correct conveyance of the author's ideas, he thought it too good an opportunity of acquainting the student with these peculiar musical forms,
to let it pass for mere brevity's sake, or for other equally unimportant
reasons.]-Ed.

283

First Part.
The Accompaniment of the Choral.

The

choral melodies, as

embodied

at present into our

worship, furnish us, because of their simplicity, the

est task for the practice of
erally, is

accompaniment.

first

mode
and

of

easi-

Their compass, gen-

not too extended, their melodic progression

is

generally

quiet and steady, and their measural construction is very simple,

for

with the exception of a few passing-tones, their melody pro-

gresses generally in measural parts,* interrupted but rarely

The

notes of longer duration.

(phrases), each of which, as

their internal

by

division into single, short strophes

it

were, forms a whole, facilitates

arrangements, the treatment, and the survey of

them.

Even

the adaptation of words to

them

is

very simple ; each

syllable has, generally, one tone, to which, occasionally, a passing-

tone

Thus, in every respect, the choral forms one of

attached.

is

the simplest lessons for accompaniment.

But in other respects it can also be called one of the richest.

For the noble simplicity of its melody makes it appropriate for
the most manifold harmonization and accompaniments aye, most
;

of the chords have so general a destination, that from various

points of view they admit of various accompaniments, which

each in

its

place and for

object can be considered the best,

its

while none can be called the only correct one.

Added

to this

the lesson.

The

is

now

choral

the religious and artistic importance of

was always, and

is

now an

essential part

of Christian, particularly evangelical worship, and will remain so

for all time.

Many

of these melodies have been transmitted to

us from our fathers and forefathers ; for centuries past they have

been the voice of the people,

their consolation

* Measural parts are such parts of a measure

rhythmical signature of a piece
notes,

in \ time

all

and

their strength

as are indicated

by

the

thus, for instance, in \ time, all the half

the quarter-notes,

<fcc.

284
they have been the armor of the church at the time of the Reforma-

and with

tion,

will pass

all

these reminiscences, with all this power, they

on to posterity, perhaps

Even now, and

for centuries to

come.

ever after they are mixed up with our

by the

as people's song, led

life,

organ,

as organ-piece, of deep significance, and

as chorus, in simple majesty.

Thus

all

But besides
of the

our ideas connected with the choral are elevating.

this the

official

treatment of the choral

is

an important part

duties of every organist, a highly productive matter

and even

for sacred music,

for secular music, a highly

important

form.

Points of View for the Treatment of the Choral

We have alieady said that one and the

of

many

different treatments, each of

same

choral can admit

which from

its

respective

But there are three points in parfrom which we have to consider our Jesson and to decide

point of view can be correct.

ticular,

upon the treatment of the choral.

Firstly, it may be our object merely to accompany the choral
melody in the simplest manner. In this case we should choose
such harmonies as are most easily attached to, and best support
the melody.
Secondly,

it

will soon

be perceived, that every good choral

melody expresses a more or

has a typical significance.
character the

less decided character,

To make

and therefore

the exposition of this typical

aim of harmonic treatment,

is

an

artistically higher

task.

Thirdly,

we can make

it

our object, not merely to have our

treatment correspond with the general character of the choral and

the words, but to take into consideration, also, the character of

each single verse.

From every point

lesson.
we can accomplish our object in various manners. We can make it
1, more or less voiced; we shall generally prefer tetraThus much as an explanation of our

of view, in material respect,

2,
3,

phony
more or
more or

less rich in

harmony

less melodically developed.

285

CHAPTER

GENERAL CONCEPTION OF THE MELODY.

A.

Confirmation of

the

Key and

the

Principal Points of

Modulation.

As

we have

melody for treatment

upon the key in which it is written.
We know, already, that the signature and close are the first characteristics of a key
we also know what are the nearest modulations
of each key. These marks, in most cases, -will be sufficient to guide
us safely.
But we have to encounter a peculiar difficulty in the
Many of them originate from former centuries, (or are,
chorals.
at least, conceived in the style of those centuries,) and belong
neither to our major nor to our minor keys, but to keys en
tirely different from either, and which we shall call ecclesiastical

we

soon as

have, above

all,

selected a choral

to decide

keys.

All our former principles are by no means immediately appli

cable to these ecclesiastical keys.

We

meet with

chorals which

have no signature, and which according to our former ideas would

be either in

major or

in

minor, and end accordingly.

But

they end upon G, begin, perhaps, with G, and yet do not belong
to

major, because, instead of /#, fa predominates throughout

(d-f^-a-c), they

and instead of closing with the dominant chord

close with the triad of the subdominant.

Other chorals, again, seem to belong to

D minor, but they have

not the signature of that key, and instead of by

out, to say nothing of other deviations.
chorals, which,

keys,

still

we

find

Finally,

b'$

through-

we meet with

though having the signature and close of our modern

different treatment, "if we would produce a

demand a

characteristic effect.
It is clear,

tion

will

that under such circumstances our present informa-

not

suffice for

a proper conception of these chorals.

286

They demand a

better information on the character of the keys

in which they have

been composed, and

it

is

exactly this

in-

formation which will form the contents of the second part of this

book.

But

it is

formation,

also clear, that before having obtained the

we

shall

above

in-

not always be able to decide whether a choral

belongs to one of our modern keys, or has the mere appearance

of

it,

and

We have,

is

in reality written in

therefore,

as belonging to
practice.

one of the

ecclesiastical

keys.

annexed a few melodies, which can be treated

modern

keys, and which will serve at least for

287

288

289

Having once decided upon

is how to arrange the

question

the key of a melody, the next

Many

not distinctly marked, but

the whole.

This

is

it is

the case here

first

!2_

xL

.cL

xL

as, for in-

by the arrangement of

indicated

J.

-St

In others again, this division

ESQ
i

rhyth-

guide.

two parts

chorals are actually divided into

stance, the first four of the above.

is

The

general modulation.

mical construction of the chorals, must be our

xL

290

The second part

repeats the

first

two strophes of the beginning,

and thus causes another beginning, while

it

indicates at once a

division of the choral into twice three strophes.

If a choral has this two-part form,

mits

we

close, if the

melody

per-

the major melodies in the dominant, the minor melodies

it,

in the parallel.

Each single strophe of a choral has again its close, which by

means of pause or interlude, or voluntary retardation, separates
Thus we have to treat each
that strophe from the remainder.
strophe as a separate part of the whole, and to close
either a half cadence, or a full cadence

we

it

the end of each strophe as a resting-point of the modulation

which the latter breaks

off,

more

with

consider, therefore,

upon

or less satisfactorily.

We must reflect well, therefore, at the end of each strophe

what conclusion of the modulation is possible and which is the
nearest and most natural, and most appropriate for the progres:

sion of

the.

whole

and, finally, which conclusion

would be most

keeping with the character of the choral, and consequently the

in

most

preferable.

Summary

B.

The importance which

of Cadences,

these strophe-cadences, as chief moments

and end-points of the modulation, have

ful

preparation

demand

choral

What

the

so

more

so, since

demands a

for us,

care-

the numerous strophes of a

many different cadences.

we now at our command ?

cadences have

The

1.

full

cadence, from the dominant chord to the tonic triad.

we might

Instead of the dominant chord

also use the.

major or

minor nonachord, or the derived septime chords, (these, however,

form but imperfect cadences) ; even the dominant triad is admis
sible,

2.

except in the last strophe.

We

shall require occasionally another species of full ca

dence, which passes from the triad of the subdominant to the

tonic triad,

C major.

kJ

and

is

called

&

N Ha

&

-<s>-

"ecclesiastical cadence."

It is

-P
1

0=t
-0-

evident that this

291
cadence closes not as satisfactorily as the pre per full cadence
two chords do not even designate the key with decision, (the

the

major), and the

forms of No. 407, could also be half-cadences in
subdominant does not so well prepare the final chord,

triad of the

because
into

it

has not the impulse of the dominant chord to resolve

Yet, in choral treatment

it.

we cannot

well do without

and we need not care how much or how

it

little

it,

satisfactory

is.

Full cadence and ecclesiastical cadence, can at

ployed

for single strophes, in

of the whole, and of the

first

an imperfect form
part (if there

events be em-

all
;

merely the end

any) demand a

is

per--

feet full cadence.

3.

The

This, as

half-cadence.

we know,

formed by the

is

progression of the tonic triad into the triad of the dominant.

But we cannot always employ

or replace

it

by another

it

astical keys, or the will of the

in this form, in the chorals,

The

cadence.

after-effect

of the

ecclesi-

composer, necessitate occasionally

a second species of half-cadence, which

is

formed of the triads of

subdominant and dominant

consequently of two chords which are not even harmonically connected.

However, imperfect such cadence may

ployed occasionally

when

we have employed

it

be,

it

must be em-

already in No. 105,

was of minor importance, and

the periodical construction

we have employed it on different occasions to close the thesis.

All we have to remember is, that the final chord of the halfpence, whether in major or minor, must be a major triad, because

both tone-species have upon their dominants a major

triad.

And now we have

to enquire at every choral, which of the

enumerated cadences are possibly applicable in

Most of the

choral strophes end

degree of either a step or half-step.

would go from

c to d,

or from

it 1

by ascending or descending one

In

to c ;

major, for instance,

from

to

b,

or from b to

it
c.

292

The

must be part of a
and we know that the last chord of the
Let us now survey all possible
half-cadence must be major.
cases, considering the last tone either as fundamental tone, minor
last tone

of the

final strophe, at all events,

major or minor triad

or major third (in the half-cadences exclusively as major third)

or

fifth.

409.
Maj. Min.

C*

F.

"

E. C.

= = g = c 6=1 =
min. 3 =
min. 3
a
1

" maj.

"

" min. 3

3
5

min. 3

maj. 3

" maj.

6=1 =

" maj. 3

H.C.

same manner can we derive here

dences with c, d and d, c.
In the

&
410.

E
G

all

C C

E
E

a b

maj. 3

6=1 =

d g

'

"

maj. 3

= =

Maj. Min.

the possible ca-

&

*->

F. C.

" min. 3

d
1
"min. 3
" maj. 3
"

H.C. d

c
c

G G
G Gc

f9

"

C C
a c

full

C. "half cadence;" min.

Min

c c

3,

cadence

cf
d a

= =
1

min. 3

a\>b],

F. C. indicates here

min. 3

maj. 3

9
d

min. 3

5
*

= =

" maj. 3
a

Maj.

5.

maj. 3

H.

=/ =
5
= =

"maj. 3
E. C.

Maj. Min.

...

5
E. C.

bbc

F
F

bbf.

"ecclesiastical cadence

"minor third;" maj.

3,

"major third;"

293
There are other closings of strophes which exhibit a repetition
last tone, or the descension of the third ; in such case it

of the

depends upon the student, and upon the adjudging of each

ular case, whether to treat the last
final

two tones

partic-

as belonging to the

chord and to place the preparative chord upon the previous

tone, as here

411

at a, or to attach

the whole cadence to the last

two

tones, as

at b.

And now

only,

we

ask which of

all

the possible cadences

is

preferable in each particular case.

Let us

now

analyze a few chorals.

4 P-

41-

'

%
t

R
?rb

rT P

-#

-4-1

#-

#
i

1-

Signature and end-tone indicate here the key of B'j major

the

stands for " fundamental tone ;" 5 stands for "Fifth." The formula is thus
If "we take c as fundamental tone, we can make a full cadence with g-b-d-f
to c in C major or C minor.
Instead of the indicated nonachords, we can
also take derived septime chords, and instead of fundamental chords we can
take inversions.
As a matter of course we need not absolutely use the triad c-e-g or c-eb-g
to go to d, but we can also substitute the sext chord e-g-c or eh-g-c. Whether
all these cadences, as enumerated here, are appropriate or not, is a question
:

to

be decided in future.

294
close can

be accomplished with the dominant chord, in regular

We

manner.

would be imperfect, and

in the

instead of the

The above

minor, without having the

but in that case the

it

with

might also close in

signature interfere with

/# of

final

cadence

melody we should always meet

minor.

choral contains four

two of which

strophes,

re-

semble each other in length as well as in tone-succession. Now,

since the second strophe admits of a close in the dominant, we
can consider the two

The

first

first

strophes as the

G
(

might also end in the parallel

but

little

first

part of the choral.

strophe admits of a like close in the principal key.

that the cadence

minor), and

would be imperfect.

It

would matter

it

But, according to

our principles of modulation, this digression into the parallel comes

too soon.

The second strophe

closes, as

first part,

nonachord f-a-c-e^-g would enable us to close

pal

key

it,

The

too, as the princi-

from the opportunity to end the second part

but, apart

satisfactorily,

in the dominant.

a repetition of the close in the principal key would

have been lame, and would have confused the harmony, which
evidently inclines towards

F major.

The third strophe, too, might be ended with a full cadence mF,
by means of the nonachord e-g-b\>-d, but here, too, it would be a
mere repetition of one and the same cadence. We might close

in

minor, or even

A$

major, but for so small a phrase this

is

far too distant.

But have we not already considered the first strophes as a whole,

first part which ends on the dominant %
Consequently we
can consider the last two strophes as a second part which returns
from the dominant key into the principal. The beginning of the
as a

We perceive now

third strophe corresponds to such conception.

that the third strophe, as thesis,

tonic

upon the dominant

more

satisfactory.

Her.i

is

418.$
n

/TV
,

U_

t |t=^-L-|-l

half cadence from the

the full cadence at the end will be

another example

makes a

piM

295
This choral

whole

is

is

really constructed in

evidently

would be the

minor

parallel, B)y

two

The key of the

parts.

the nearest modulation, therefore,

major

and such modulation corresponds

We

have now decided the two

most important points of the modulation, to which everything
else must be subordinate.
The first strophe, too, might be led into 2?b major, but this
would be anticipating and injuring the effect of the just-mentioned
and we prefer, therefore, to emfull cadence of the whole part
to the ending of the

first

part.

ploy the half-cadence from the subdominant to the dominant.

The third strophe can make a full cadence in I) major, by

means of an actual modulation, or can make a half-cadence upon
The following choral
the triad of the dominant.

414.

IS

may

3=4
serve as third and last example.

This melody offers

slight difficulty, because five of its strophes turn

in the tonic,

retain

and always

same manner, by

In order to

a, g.

always the most simple, we should have to remain contin-

ually in

major

even the penultimate strophe

for a half-cadence in G,

But

in the

some

towards a close

it is

is

appropriate

though inclined to modulate into

clear that simplicity

D major.

would here lead to monotony.

Let us admit at once, then, that the penultimate strophe leads to

D major
five

and the question

in
in
in

is,

how

shall

we make

the other

The a, g can be employed for a close

G major, by means of the dominant chord d-f\-a-c ;
C major, by means of the nonachord g-b-d-f-a ;
E minor, by means of the dominant chord b-d$-f\-a ;

cadences

and consequently gives

us, in addition to the principal

key and

the dominant, the keys of the subdominant and the parallel.

are

now prepared

for all the nearest modulations.

We

296

We close the first

latter.

The

strophe in the principal key, to confirm the

last strophe

We place

belongs already to this key.

the cadence of the subdominant, according to

character, as near as possible to the

end

consequently

its

in the

fourth strophe.

The second and

third strophes, consequently, belong to the

parallel.
It is easily

seen that

could have been

made

for instance, in

again in

E minor

more than one deviating arrangement

we might have ended the

minor, the third in

or

we might have

second strophe,

major, and the fourth

closed the third in

major.

would have been the steady mass in E,

which we gained in the above % And where would have been
the decisive juxtaposition of subdominant and dominant %
But
in return we should have fallen again upon former keys
But where

in that case

E minor,
we

major,

E minor,

major,

E minor,

major,

should have modulated in a vague manner, and deadened the

of former keys by returning to them.

For two strophes we might have chosen,

effect

the key of the

But in that case the
decline of the modulation in the subdominant would have been
too conspicuous and with five major strophes, we should have
had but one minor strophe, while in the above sketch there reigns
a better symmetry, i. e. two minor strophes against four major

subdominant,

also,

E major, instead of E minor.

;

two strophes for the principal key, two for the maminor modulations.
Thus much of the sketch of choral music. But when we re-

strophes
jor,

or

and two

for the

consider the principles which have led us, we see that our actual
aim was merely a general appropriateness, a natural, fresh, and

analogically-developed modulation, without regard to the single

moments of the melody, to the meaning of the words, and to the

we would like to give to one or the other phrase.
We must remember, therefore, that the above sketches or plans

color which

of modulation are subject to

priate they

We

may

many

alterations,

however appro-

have appeared from our present point of view.

must permit such alterations, nay, consider them as newhen the melodic contents of a strophe would not agree

cessary,

with the harmonies of the pre-destined key.

AFTER

II.

DISPOSITION OF THE HARMONY.

As

soon as the strophe-cadences are decided upon, the harmony

of each strophe has received

that destination,

it

with due regard of

therefore,

chords,

we

has

when

look then to succession and

the

and, according to

We

Again,

of the nearest and most appropriate

first

losing sight of our aim,

every wavering.

arranged decisively and steadily,

the principles heretofore mentioned.

all

think

destination

its

now to be

we

and without

connection,

avoid every unnecessary repetition and

bear variety in mind, too

melody might lead us

to

particularly

monotony, and we

shall gen-

and dignified modulations, corresponding

to religious dignity and elevation, to those of an effeminate, triverally prefer vigorous

ial

character.

We shall also avoid

The

sext chords.

too frequent inversions, particularly quart-

latter,

which formerly seemed so appropriate

would here make the harmony

monotonous and weak, in consequence of our having so many
endings and such short strophes.
For the same reason we shall generally avoid those harmonic
successions in which bass and treble progress in thirds or sixths,
for the preparation of the ending,

for instance

For, owing to the preponderance of the outer voices, such succes-

298
sions are apt to produce monotony and effeminacy in the harmony, however vigorously the latter may be organized in itself.

We need not here repeat that,

in the proper place,

we may

devi-

ate from this rule as well as from every general rule.

The whole

disposition of the choral

that each tone of the

melody ought

melody

tells

us already

own chord,
But we must add

to have its

other words ought to be a harmonic tone.

in

to

this the following

1.

To give each tone of the melody

its

own chord

is

the

most

but often, as in No. 417, a chord can be

tained for several tones of the melody.
simple,

it is

true,

re-

2. A tone of the melody can also be considered as suspension,

and consequently as a part of the preceding chord. Thus, for in-

stance, the last strophe of the choral,

treated in this

manner

No.

1,

page 287, might be

2Z
416.

3.

tone.

The tone of the melody can be considered as mere passingTor instance, the ending of the third strophe in No. 414,

might be treated thus

417.

m
Neither of the above are, however, as vigorous as the employ-

ment of a separate chord for each tone of the melody.

4. We meet occasionally, as in the third and fifth strophes of
No. 414, instead of equi-long measural parts, notes of longer
duration for one syllable.
It depends then upon us to give such
a tone one single chord, or to give a separate chord to each mea-

299
sural part therein contained

for

instance, the third strophe of

No. 414, which might be treated thus

418.

When a

or thus,

syllable has

(for instance

ond strophe
But

in

two measural

parts, but different, tied notes

the penultimate measure of the

first

and

sec-

No. 414,) these two tones can have a single chord.

more customary and vigorous, to give a separate chord

it is

in

to each tone.

We

5.

find occasionally

sure of the

members

same

penultimate mea-

two-eighth-notes instead of a quarter

in such a case, treat the

we

(for instance in the

choral) a measural part divided into

two measural

note.

We can,

one or the other tone as passing-tone, or

can give a separate harmony to each of them.

tioned instance might be treated, therefore, thus

The just-men-

419.

PP

BE

Each of these conceptions can be right in its place, though the

is more common
but the question is

treatment as at a or b

which of the tones

monic tone

shall

If the

be the passing-tone, and which the har-

progression of the

melody does not

the one as essential, the other as added,

sion of our

harmony and consider

we

that one as harmonic, which,

according to the connection of the modulation,

'or

indicate

follow the progres-

is

most appropriate

it.

It is less

usual to treat each measural

member

as harmonic,

300
because

it is

mony and

apt to interrupt the steady progression of the harTherefore, if we are once

ought to prefer the closest
though the treatment at d may be

to overload the modulation.

determined to employ two chords,

connection of chords, as at

c,

we

appropriate for a particular expression.

After these observations, let us

to our

Its first

We know,

now turn

we have

strophe

itself,

i. e.

decided to end in the principal key.

two tones must be accompait is also most natto begin with the tonic chord, and to the first /of the melody
therefore, that the last

nied with the dominant and the tonic chord

ural

we

to the task

No. 412.

first choral,

shall take, therefore, the

chord

b\>-d-f.

And now we

have

harmony between these fixed points.

Three times more does the / appear in the melody, and we
shall find the mere repetition of the same chord too monototo find the

nous

1 1
420.

jL

-V-

EEE
6

4
or its inversions too trivial for the chorals.

We must then intro-

duce new chords.

The nearest, and, therefore, best, is the triad of the dominant.

The nearest step, now, is the changing of the dominant triad into
the dominant chord, which, then, leads back to the tonic triad.

We have now found the following

v* HP=h

fundamental bass,

but shall prefer a more pliant inversion,

422.

SEE

probably the one at

c,

because those at a and b end with the same

tone with which they began.

There remain now only the tones

b\>

and

c ; the

former might

301

we had not

just had that

were not too soon for
therefore, the triad of g, which reminds

be accompanied with the tonic triad,

if

chord, or with the subdominant e'o-g-b^ if

We prefer,

that chord.

same time of the

us at the

reminiscence,

we

it

And

parallel.

exactly because of this

attach the subsequent chord to this

harmony

and accompany the following tone of the melody with the triad
of c, the subdominant of g. Thus, the first strophe would have
this

form

9-b

r-r

hr

1rr

-]

n
rtui

We see

<*

_J

here, in addition to other observations, that the bass as-

cends and descends in a decisive direction

cension

is

the elevation or as-

accomplished by quart-steps, therefore uniform, and

would be an additional reason for choosing no other chord for

b$.
The subsequent sext-chord gently prepares the descent of the bass a triad would cause here a stiff progression

this

the tone

in that voice.

If in

the bass,

this

harmonic disposition we have specially

we have

a good reason for

voice, consequently

We

can

it,

in its

regarded

being an outer

more conspicuous and more important.

now understand why

the beginning could not have

been made with a quart-sext chord, or a terz-quart chord on the

second tone of the melody

UU,
3

J.,.
#-

How

weak and inappropriate would the succession at a have

and how insignificant at b the two inversions of one and
the same chord
But the greatest loss would have been in the
been

sacrificing of the consistent progression

tained

The next strophe we intend

ural to turn

the

of the bass, as

we

ob-

it.

towards

new key with

it

to end in

F;

it is,

therefore, nat-

as soon as possible, in order to introduce

decision.

Its

first

tone,

c,

yields under

any

h
:

302
circumstances no nearer harmony than the triad of the dominant,

which we employ as sext-chord, so as to avoid the repetition of

/ in the bass. But we consider this dominant triad as

the tone
if it

were a tonic harmony, and follow

new

key, oe-g.

It

sufficient for the transition,

and

triad of the

is
it

it

up with the dominant

clear that this

triad is quite

enables us, besides, to preserve

the freshness of the dominant chord for the cadence of the stronatural that the dominant triad, like the dominant

phe.

It is

chord

itself,

should lead to the tonic triad, f-a-c.

One more
chord

The

tone,

the

longs to

<jr,

demands

its

harmony,

What

dominant chord.

other

for the

be-

can this g be in any

triad of the

new dominant

have but just employed

it,

is

again the nearest

but

we

and the subsequent dominant chord

would appear weak and a mere repetition. The triad of el?, which
we might choose, lays even beyond B\> major, while we are proBut we have the minor triad of g, or to
ceeding towards F.
still more, the major triad or sepstrengthen the modulation to

time chord of g.

But
in

is it

worth while,

for so short a strophe is intended to

F major, to go as far out of the way

ticular reasons

we

shall

be

In the absence of par

avoid the modulation to

C;

it lies

now

nearest to change the foreign chord g-b-d-f into an indigenous one,

g-bb-d-f,

as

we have

learned already,

strophe of our choral would

r\

now be

The second

i-

;atQ
!

fclLJczH ~*

-J

=^=

Here

(page 190.)

thus

are the last strophes with three different basses,

303
/Ts

/TV

"111

-c^

Ft-

F-

19

-H

^6

=b=::
r

f
1

will require

3*

'

which

!>7

5P=F=I
some few remarks

that there are

still

other

harmonizations possible need not here be added.

At

the secunda chord

a,

preceding

final

e'y-f-a-c

issues

immediately from the

chord, f-a-c, and in accordance with the nature ot

inversions gives a greater mobilty to the harmony.

ously

most decisively

The subsequent

the principal key.

into

monies which seem as

1

Simultane-

has been the means of our returning most rapidly and

it

har-

conceived for horns, or a more frequent

if

and untimely employment of them, might easily disagree with

the religious dignity of the choral, and
otherwise, the treatment of
the words admit of a

At

b,

more

it

upholds

we must

consider

this dignity,

how

and how

far
far

light conception.

the return to the principal key, in the

first

part of the

strophe, has remained undecided, contrary to the general rula

given on page 301.

cause

we

But

cend to the principal tone.

sure,

At

when
c,

it is

here

now

this principal

It is

more

the

modulate into the subdominant,

decided, be-

major, and thus

as-

only in the penultimate mea-

key becomes decided.

the bass tried to avoid the return to its

therefore the sext-chord.

take the triad of

b?,

but in

first tone, (/ g,f);

would have been nearest, now, to
that case the bass would have proceed-

It

ed in thirds with the upper voice, three or four times in succession.

We

parallel

introduced, therefore, an actual modulation into the

of the

principal

key.

This has caused a cross-rela-

304
tion in the

harmony, which, however, by means of a passing-

tone,

f?

*~

could be easily mitigated.

We might have

l
|

avoided

it

altogether

alteration of the bass (fffa instead of a /$), but we should

have lost by it the symmetrical progression of the bass.

by an

We

might, also, change this obnoxious /jj into /, or, in other words,
change the major sext-chord into minor; this would give a more
serious turn to the whole strophe,
in the
triad,

manner of

we might

a,

than that of

also turn to

and would be better concluded

Prompted by the

c.

foreign

minor, and conclude the choral

thus

4
1

6
5

-P

BP

\n

(!

-4-

..

3
5

if this foreign

any

and serious ending corresponded to the words or to

particular intention.

In that case

we

should have

made

modulation into the parallel of the subdominant, and at a point

when
in

foreign modulations, according to rule (page 211), are not

their place.

This makes

it

advisable, in the penultimate

measure, to touch once more upon the key of the dominant, and
thus to return gently and quietly into the principal key to end
there.

305

CHAPTER

III.

SIMPLE TREATMENT OF THE CHORAL.

TnE

reflections in the previous chapter

We

tory.

same time
and

now harmonize one

will

indicate that

were merely prepara-

or two chorals, and at the

method which has proved

itself the best

safest.

The following

choral,

which

we

select for this purpose, is

of the most insignificant and unchurchlike melodies, but this

moment

slight

to us, as long as

method of our

illustrate the

EE

it

one
is

of

gives us an opportunity to

labor.

-#

II.

III.

Signature and end tone of the melody indicate the key of

jor;

we

as at

I.

key, as

minor

decide, therefore, first of

it

all,

upon the

C ma-

close of the whole,

The first strophe, too, demands a close in the principal

would be injudicious to end already the first strophe in

and, accordingly,

fixed point.

we

write this close at

Finally, as third point, at

III.,

we

II.,

as a second

write the close of

"We have thus three-end points for

G.
and instead of one single task, we have now

the second strophe in

the modulation,

By this proceeding we have first fixed the

most certain and necessary, then the most important, and afterwards the more distant steps.

three smaller ones.

And now comes

the arranging of the harmony.

see the weakness of the

third strophe

wanders about

that intrinsic strength

from a

rich

melody

Here we can

the beginning of the

in the tonic triad,

first

and

by no means with

and dignity which sacred melody obtains

harmonic development.

306

We

Yet,

us.

But we

are not responsible, however, for the melody.

must hasten

to its assistance, as far, at least, as

we

shall find that the

of the melody makes

we

for instance,

it

very

difficult

for us.

If,

major

in

the above,

triad,

which

is

by the melody,

-9-

'

permit

distinctly-expressed character

should try to avoid the

so forcibly indicated

will

it

-#-

V-9-

430.

""6

mask the key in the very beginning and

would be placed in the shade, because we
have first introduced the distant chords and afterwards turned to
This treatment
the immediate proximity.

we should

disfigure, or

the further harmonies

431.

ffrW
J9-VJJ
h-J-

is,

therefore, preferable.

VJ
We

in

the

first

strophe with

The second strophe,

key, but with its minor triads re-

such harmonies as the melody admitted

The

at least for the first four steps,

and have confirmed the principal key

too, clings to the principal

rU

have here submitted to the har-

mony, as indicated by the melody,

minds us of the two

fWfff
i v lj_J

of.

parallels, and, finally, confirms the

dominant.

third strophe turns again towards the tonic of the principal

key, but leaves us ample

room for

other harmonies.

The arrange-

307

ment of the harmony

is

as simple as possible, only towards the

end we see the voices become more animated.

the cadences could only be mitigated

the

quart-sext

chord,

in

this

by

The monotony

the suspensions

connection,

of

even

could not well be

avoided.

As

second illustration,

we

will take the following choral,

IIL

IV.

the

first

bb

H.

eb

bb

two strophes of which form a

first part,

eb

bb

bb

eb

and are repeated

as such.

We first fix

the key,

the close of the whole.

the

first

part at

II.,

and

Eb

major, and in accordance with

After this
fix it

we

it

at

1..

decide upon the close of

also in the principal key.

For

it is

impossible to have the cadence in the dominant, the subdominant

would be out of place, and the parallel would appear strange and
gloomy. But we now discover that the same cadence is requisite for the first strophe, and we shall consequently fix upon the
parallel after all.

We

decide

now upon

the third strophe ; if the

308
key had preceded

principal

have been best to end

cumstances,

instead of the parallel,

would

it

under existing

cir-

be best, perhaps, to adopt the arrangement

will

it

it,

in the dominant, but

it

of No. 433.

Here, in the
gree,

we have

place,

first

liberated ourselves, in a de-

from the close position of the harmony

and more dispersed, and

freer and more mobile.

the chords are clearer

for this reason, already, the voices are

The observations made formerly upon the monotony of the cathey have prompted
dences have not been made without results
intrinsically,
to
touch
upon the submodulation
enrich
the
us to
;

dominant in the very beginning, and the parallel of the same in

It would have been equally easy to en-

the second strophe, &c.

hance the modulation in the beginning,

the

fifth

lowing choral, by Graun,

the

by touching

chord might have been a-c^-g, instead

is

the dominant;

The folGraun repeats

e'v-g-bj.

treated in this manner.

two strophes which form a first part, with different harthe words of the last strophe, too, are repeated in a
and in both repetitions the composer clings to the harmonic

first

monization
coda,

ecclesiastical keys, to

system of the

we have

belongs, and with which

which

his choral in reality,

at present nothing to do.

But

the remainder confirms the just-mentioned principles.

~9-fr

ri

J
1 tt=
r
0- 7 b

-Qj
P

r'l-H
were flow
Thou, whose

"

tears

-g

When

ing,

p- 1

HWr-fs-^f

1HI'

was

in

'

sight,

Re - selved on deeds

of

on

rrP^

$P~

Zi

^4

vil,

Ap-

'

309
I

id

I'll

proach-ing

iU

Where

de-cline.

is

4-

the cave, the

val

^9H J
r1
J. ^. a*

That

ley

hides thee,

Je

fij

now

thirst

Lord

And ye

J
fit-

ing.

Ib

his

blood

on

T
J.

EE

: :# fid

ez

soul

Is

his

for

1
blood

sus,

blood on

your

soul

your

310

CHAPTER

IV.

THE HIGHER TREATMENT OF THE CHORAL.

In the preceding chapter

The

manner.

plest

the representation of the

the harmony,
as

it

itself,

we have

executed our task in the sim-

voices were employed, almost exclusively, in

harmony, rarely

in suspensions or passes

kept as close to the requisites of the melody

possibly could, without becoming meagre and weak.

The

principles of modulation will of course remain the same,

even in a higher conception, for they are based upon the very
elements of harmony

but

we have

already been taught to

power of the harmony, becombination the harmony is formed.

Suspen-

consider the voices as the motive

cause

by

their

sions, passing-tones, assistant tones,

&c, have

also furnished us

with the means to give to our voices the necessary melodic connection, flow,

And
chorals.

and pliancy.

this is

what we miss

Let us compare,

in the former treatment of our

for instance, the

treatment of the last

(No. 433) with the treatment below,

i:

434.

mm
I-I

V:'!'

r r

and we

see,

FrTr Ittrftf*

with almost the identical harmonies, a higher anima

tion of the voices,

and through them of the

choral.

311
This

is

the higher character at which

we aim

for

the present.

We

no longer conceive the choral as a congregational song, but

conceive it as an artistic work, to be executed by four animated,
melodically-expressive voices.
Though our present means
do not always permit us to elevate the voices to an animate
melody, without dimming the choral melody, we shall endeavor
not to neglect any voice entirely, or more than is absolutely net.

cessary.

For

purpose

this

we must now bestow some

attention

upon the

vocal element.

The Characters of

A.

we

Since

the

Voices.

purpose, however, to elevate the accompaniment-

voices to animate song,

what we might

it

will

be appropriate here, to speak of

call

THE CANT ABILITY OF VOICE8.

With this

expression

we

shall designate, firstly, the position

and

human vocal organ to exSecondly, we understand by it

progression of voices, which enables the

ecute easily and conveniently.

the quality of a voice of being conceivable, comprehensible, and

the quality arising therefrom of being easily represented, be

now
It

it

in vocal or instrumental music.

is

clear that

comprehensibility and representableness can

exist in a voice in different degrees,

possible to designate to
hensible.

It is

and that

it is

what degree a melody ought

more important

to

know on what

absolutely imto be compre-

basis the

com-

prehensibility of a voice rests.

It

can have a physical or a mental reason.

A physical

reason of incomprehensibleness, or a less degree of

comprehensibility, can only

lie

in the impossibility or difficulty

which meets a voice or instrument, to reach a tone or a toneit.

Thus, some tones are too high
some tones cannot be reached on some

combination, and to represent

for a voice, others too

instruments

low

some combinations cannot be represented,

at least only represented

with

difficulty.

or are

Such considerations,

however, do not belong here, but will be treated of in the science

of vocal and instrumental composition.

sufficient to

generally

know

difficult.

that intervals extending

For the present it is

beyond the octave are

312

The mental reason of comprehensibility or incomprehensibility

upon the consistency of a tone-proportion. Tone-propor-

rests

and representable as soon as we

tions are comprehensible

con-

them and the more so the clearer and surer we conceive

them. For this reason there are no more comprehensible toneceive

proportions than those of the major scale and the

therefore, the

more

is

minor

difficult to

and particularly

scale,

comprehend.

And thus we

developments must necessarily be more

sion, for

first

chords

superfluous second,

its

say that the latter

difficult

of comprehen-

they are based upon more or less intricate suppositions.

Thus, the development of the tone and harmonic system proves

on one side the progressive

the other side

it

tion of the whole, to

mations as easily as the

Therefore,

is

comprehension, while on

difficulty of

him who has comprehended the conneccomprehend the more distant and last for-

enables

first.

a voice most comprehensible and " singable"

when

progresses in the order of the scale, or in thirds, or from one to

it

another connected chord, particularly in

voice proceeds also, generally,

monies of the same

latter,

scale,

of

harmony and
The

its

nearest intervals.

more

we need but

connected har-

easily to

than to foreign tones

sooner to nearest-related than to

perceive now, already, that

easily

more

and, if to the

distant tones.

We

follow our previous rules

progression, in order to write that which

may

be sung.
characterization of the voices is justly based

upon the

tetraphonic composition, as the juste milieu, which has sufficient

means

for

most and the most important harmonies, without add-

ing difficulties to the treatment

these reasons that

But the

we can

by being overloaded.

call it the

four voices are not

It is for

normal composition.

merely called

after

the four princi-

pal voices of the vocal chorus, but they are characterized accord-

ingly too.

If

we

exceed this number of voices, one or more of

more times.
more than duophonic composition, we distinguish now,

the principal voices are taken one, two, or

In every
first

of

all,

outer voices, and

MIDDLE VOICES.
Treble and Bass are outer voices, Alto and Tenor are middle

313
If there are several trebles

voices.

and the lowest bass are the outer

and basses, the highest treble

voices.

The outer voices, in the first place, have the most space for
movements the treble above, the bass below. They are,
therefore, most capable of rich development, wide passages and
their

intervals.
In the choral, as

we

melody.

This melody

religious

service

treat
is

it

at present, the

must not be

it

upper voice has the

the property of the church, and of the

altered,

and

is

therefore

called

CANTUS FIRMUS.

position,

is the most effective and imBoth of these outer voices, on account of their
are also the most conspicuous.
We must bestow,

therefore,

more

Next

to

it,

however, the bass

portant voice.

it

care upon their progression than upon that of the

any one voice has occasionally to be sacrificed,

must not be one of the outer voices, unless for some very im-

other voices.

If

portant object.

The middle voices

are enclosed on both sides, the alto

and tenor, the tenor by alto and bass.

fore, less free, their

Their character

movement must be

quiet,

suspensions are principally their property

When we now

treble

is,

there-

and their progres-

Sustained tones and

sion rather in smaller than in larger steps.

steps should not be suffered, except for

by

progressions in large

some

particular reason.

approach the particular character of each voice,

and bear in mind the representation of the four principal voices, we

perceive that the

couples

four

voices form, as

it

were, two

separate

Treble and Alto, the female (or boys') voices, and

Tenor and Bass, the male voices.
The Treble is the upper voice of the first couple, the Tenor
upper voice of the second couple.
to enter

more deeply

the

This observation enables us

into the actual character of the

middle

voices.

The Tenor, the

lost the free

original upper voice of the

movement of an upper

existence of a higher voice-couple, which

But

even

often,

cadences,

it

if

likes to

but

made

free

it

a middle-voice.

and particularly in
movement of an upper voice,

for a short phrase,

assume the

male voice-couple, has

voice, in consequence of the

314
and instead of seizing upon the nearest,

departs from the higher

it

more than necessary, or ascends beyond the alto.

The Alto is the lower voice of the upper voice-couple, but it
lacks the manly vigor of the bass, and the space for its free
movement. Thus, it is absolutely middle-voice, and preserves a
certain passiveness against the inroads of the tenor, clings more
to the upper voice, and moves more quietly and cautiously thai)
voices

any.

The Bass, on the contrary,

and loves a

under-voice,

such
tion,

is

free,

dignified,

and manly, and vigorous

often bold progression.

we have known it in our very first attempt

and as such we have tried to preserve it. It,

breaks in upon the other voices, but then

with

its character, in

bold, decisive,

it is

and large

As

at harmonizatoo,

sometimes

done in keeping

by

steps,

itself, in

juxtaposition to all the other voices.

Thus much,

for the present, of the character of the voices.

plying the above to the string-quartett,

we would

Ap-

give the tenor

part to the viola, the alto to the second violin, while

first

violin

and contra-basso, or violoncello, would represent the outer

voices.

Applying

it

to bassoons

and

clarinetts,

the

bassoon would

first

have the character of the tenor, and the other instruments share
in the remaining voices.
It is different

with the piano forte

for,

apart from the general

character of higher and lower tones, the different tone-regions of

this instrument

have

all

the same, or rather, no particular char

acter.

But

tically,

the listener will inadvertently transfer the character of

if

a composer has constructed his voices characteris-

the construction to the tones of the instrument.

The

organ,

by means of the

'

pedals, is enabled to represent the

bass at least characteristically.

B.

Application

to

the

Choral.

In our future treatments of the choral,

we

shall

endeavor,

firstly, to give our voices a higher melodic animation.

know

that the strength

We

and the merit of a melody do not de-

pend upon the number of

its notes.

On

the contrary, an accu-

mulation of smaller measural parts would deduct from the rhythmical strength of a melody, instead of adding to

it.

It is

the

mix

315
ture and contrast of slow and rapid steps, and their
for designs,

which gives

significance, animation,

employment

and variety to the

rhythm.

We

shall endeavor,

teristically.

We

secondly, to lead our three voices charac-

have to bear in mind here, not merely the

rhythm, but the tone-contents also

as

tion and position have left undecided.

quiet

ones

moments appertain
we shall give to the

far,

at least, as modula-

The more vigorous and

generally to the bass

and the alto

tenor,

the passionate

will cling to

one or

the other of its neighbors.

Nor must we
upon

it,

too,

forget the

compass of the

different voices,

depends the characteristic of the voices.

We

aa

shall

lead

the Treble not lower than

^^

the Alto not lower than

nor higher than

^EzEEElZZ

nor higher than

jt

the Tenor not lower than

OEEErE nor higher

the Bass not lower than

'.

nor higher than 3E

when the bass ascends or descends by octaves, or whenever

we can unhesitatingly take the higher for the lower octave, we

only,

shall

permit ourselves to use lower tones.

This restriction will

also have the advantage of guarding us against too great disper-

sion of the voices.

But since the higher animation of the voices tends greatly to

increase the tension of the choral,

we

shall at first lead our voices

and moderate the use of bye-tones, so as to enable us to

sustain the uniform movement of the whole, and to increase the

quietly,

animation rather than decrease

For the same reason, and

obscuring the harmony, we

it.

in order to avoid the overloading or

shall

but rarely give a richer

treat-

316

ment
Here

two simultaneous

to

voices,

and

more

still

rarely to three.

^l-r
435.
;

*
f
r

-i-i

Ji.

as
i

choral treated according to these principles.

most conspicuous moment of the above

second strophe, which strophe
strophe.

t*J

ji.

first

ffff:

0-

the

is

ill!

111
: j1 jL

is

is

The

the end-tone of the

afterwards repeated as third

This end-tone lasts three beats, and a single harmony,

however much varied by suspensions or other means (as in No.

431) would not satisfy us; we had to employ different chords, and
reserve the cadence for the last beats.

The modulation of the

nearest.

of a repetition or a halt,
jor as

dominant of

principal key,
inant),

first

two strophes

is

the one which was

In the third strophe, in order to avoid the

we

we
but

preferred

and resigned even

In the last strophe

thought at

this

we have

first

monotony
A ma-

of the key of

major being too distant from the

minor (the

key

parallel of the

subdom-

in the very next chord, e-g-b.

touched upon the subdominant.

317

is

The examination of

the voices

least favored in the

middle voices.

is left

to the student

the tenor

Below will be found two more chorals which the student will
do well to examine attentively. The deviations from general
rules have not been made therein without some particular reason,
and

at every such point, the student should not rest until the de-

viation has been sufficiently justified.

/rs

436.

*r rLr

[Al

l
1

rim

LT

>

JJ
i

Jl^

J IbJ

rrp

r,

\\

*j

**-

J L1

J J
i

=M
f

437.

^rifrfr r

gMf;

r.r4=#
I

111!

HE
i

r r

318

Mj

ym

The importance of the

student,

turn to

,irrui^i

choral, as

it

medium

an educational

and as a part of the religious

for the

prompts us to

service,

re-

once more, and to direct attention to two different

points.

TECHNICAL DIFFICULTIES.

1.

These can only exist in the melody when

lar execution of the

harmony, or where

good progression of the

tone or a phrase
it

is

it

it

The former

voices.

requires a particu-

stands in the
is

way

the case

repeated several times in succession,

of a

when a
or when

takes a turn which prohibits a dignified and rich development

of the harmony.
restlessly

about,

movement

is

The latter is the case in melodies which skip

when it often happens that this unsteady

communicated to the other voices, or causes a colliIt will be best to consider the single

sion with the melody.

cases.

A. Tone-repetition.
can be

made

surmounting

Those who know

how many harmonies

subservient to one tone, will have no difficulty in

this

obstacle

they will merely have to care for a

consistent arrangement of these different harmonies.

Phrase-repetition.

B.

This

is

of

frequent

occurrence in

and requires an attentive consideration. Sometimes the

intent of the choral is such that the modulation of such a repetiFrequently
tion should not be varied, or, at least, but slightly.
chorals,

a good arrangement of a few near harmonies can do

the

roaming in the most manifold,

chords.

On

the following page

is

more than

and unexpected

distant,

the second part of a choral, as

illustration.
It

can be seen at once

and richer treatments

ment

but

that
it

this phrase

would be

admits of

difficult

many

to find a treat-

better in keeping with the intent of this choral.

319

*J

438.

Ill

-<S>

:
Unfavorable to dignified, ecclesiastical harmony, arc such melodies or parts of melodies as cling too firmly to one single chord,

Here

and thus threaten to exclude other harmonies.

rzi

Ff-r
J3

439.

jjf

f-df.

rf

I,

-h-h:

cally,

At a we have treated the first measure triphoniand the tetraphonic harmony of the next measure is the

more

effective.

is

such a case.

ness of the

At

we have balanced

melody by the calm

ARTISTIC AIM OF CHORAL TREATMENT.

2.

Harmony and melody

what moves our
in the hearts

In

the skipping unsteadi-

steadiness of the harmony.

soul,

are merely the

and what the choral

means of expressing
is

intended to arouse

of the singers and listeners.

works of unrestricted

promptings and conviction

art

it is

the

to seize

aim of the artist

what

is

right

directly assist his prompting, and his conviction

is

of

his inner

science cannot

not a subject

for a musical theory.

But the treatment of a choral

stricted art, for

the artist.

The

it

we

not a work of free or unre-

principal matter (the

fluences everything else

such case

is

does not issue from the unfettered spirit of

melody)

is

given, and in-

rhythm and harmony, more

or less.

In

can only express what the cantus firmus permits or

occasions.

Therefore,

we

advise the student

first

to investigate the

mean-

ing of every single choral, to seize the current which issues from

320
the

melody and

influences the other voices

and the modulation.

This current cannot be seized by touching upon

monies, but

all

possible har-

by a steady development. We must consult what

the first upon which the melody insists, and thence we

harmony

is

move on

steadily, without rest, never

remaining stationary with-

out sufficient reason, or returning to something previous, but

never passing the nearest to seize something strange or new.

Oddity and unexpectedness belong to the dilletante ; that

is truly proper which strictly appertains to the object.

only
This

course will indicate to us the proper modulation, and the progression of the voices.

321

CHAPTER

V.

THE CANTUS FIKMUS IN OTHER

VOICES.

Until now we have always employed the upper voice as abode

but it is also possible to make one of
;

of the principal melody

the other voices the abode of the melody, and in that case

we

have to consider two points.

The cantus Jirmus

1.

as in the upper voice,

voices in such a

same

will not appear with the

and we

clearness

have to arrange the other

shall

manner that the cantus Jirmus can be distinguished

from them.

The upper

2.

melody, will

though no longer containing the principal

voice,

still

absorb considerable attention, and

therefore, develope its

melody with great care

we must,
make it

in order to

In bass and

satisfactory as the conspicuous part of a whole.

we can permit occasionally an unmelodious

upper voice we must not do it.

middle voices
sion, in the

On

reconsideration of the

voice, as given in

quite sufficient.

means

for the formation

the last chapter,

we

find that

The accompanying voices move

eighth notes, exactly like the principal melody.

progres-

of an upper
they are not

in quarter

and

This similarity,

and the manner of our present treatment, (the simultaneous beginning of

all

the voices) give us but little hope to distinguish the

cantus Jirmus from the other voices, as soon as

the upper voices.
shall

Only with more means, and

we be enabled

But

this later

this practice

fully to

we

it

from

in a later

form

take

accomplish this object.

form requires some preliminary

can best be introduced here, where

cantus Jirmus in the upper voice.

It

practice,

we speak

and

of the

requires but little instruc-

tion.
If it

depends upon

us, to

give the cantus Jirmus,

If

a melody

which of the three lower voices we

we have

lies high, it will

than for alto or bass, unless

tone.

to consider the tone-region

be more appropriate

we

for

shall
first.

the tenor

transpose the choral to another

322

Then we have
moving upwards,
wide

One

to consider the character of the melody.

quickly progressing, will be more appropriate for the alto

will

steps, inclining

be better

for the tenor

one
one progressing in
;

towards below, will be better for the bass.

The tenor, in general, is most suitable to take the cantus firmus.

Having made our choice, or having a choice made for us, we
first fix upon the plan of modulation, sketch the harmony, and
attempt,

first

of

all,

to

make

the

new upper

voice as consistent

Where, with one harmony, this is not

possible, we select another, or a more favorable position of the
same, and finally we complete the work by carrying out the
and flowing as possible.

other voices.

As

A.

illustration,

we

take, here,

The cantus firmus in

the Alto.

323

We

perceive,

of all, that on account of

first

propriate for the alto

particularly ap-

Considering the whole, \vc

we have so lately
of our means for the proper

confirmed what

ciency

is

the seventh and eighth measures only de-

part from the character of the alto.

find

tone-region and

its

moderate movement of steps, the cantus Jirmus

said,

namely

the

insuffi-

distinction of the cantus

Jirmus in the lower voices. Here, evidently, every other voice

more richly developed than the cantus Jirmus. If we were to

is

avoid

this, for instance, thus,

mm

441.

i*l*l.AMl i .i'

X j

r
all

become an

the voices would

mass, whether

we

select the

indifferent, uncharacteristic tone-

Nothing

above harmonies or others.

but a doubling of the cantus Jirmus, or a conspicuous tone-me-

dium would serve us

is

to distinguish

it

from the

rest

this,

however,

not our purpose at present.

B.

We know
choir,

now

is

The cantus Jirmus in

the Tenor.

already, that the tenor, as upper-voice of the

more appropriate

to

the cantus Jirmus.

the relations which are called into existence

of the cantus Jirmus,

we

perceive that

it

by

male

Considering
this position

separates the bass from

the other voices, while the higher voice couple, treble and alto,
still

remain intimately connected.

This teaches us, then, that

the bass, being sole and independent, will have to be constructed

with particular care, because,

conspicuous.
other,

its

The two higher

isolated position

makes

it

and mutually support each other by means of suspensions,

progressions in thirds and sixth, or. at least, close position.

this is

merely intended to

d guide our

facilitate a'

Most melodies are

those moving in high

suitable

invention.

for the tenor,

but particularly so

tone-regions, or inclining upwards.

a former melody, the cantus Jirmus

We

not an absolute law, but

need hardly repeat here, that

is

more

voices, however, will cling to each

in the tenor.

Here

324

fc

*^

J-

.1

T '|

^i^j

1 4

BEfc

C.

fTTrtfT

TAe cantus firmus

in the Bass.

The introduction of the cantus firmus in the bass, brings with

in most cases, an inconvenience which can only be hidden,
not avoided. The reason of this lies in the fact that most meloit,

dies are conceived for the treble

and tenor, and that consequently

the above, for instance, with

they end with the step of a second

very rarely with the step of a fourth or fifth. It

therefore, be frequently impossible to form a perfect ca

c-d, c-bj, a-g,

will,

This will be

dence.

still

more

inconvenient,

when

the imperfect

cadence occurs at the the end of a part or the whole.

How

we now make amends for the weakness of our caThe nearest would be a prolongation then we have
But of either means we must make but a limpedal point.

dences
the

can

ited use, or the

whole will be overloaded and spread.

a former choral as illustration.

Its

high tone-region

We

take

makes

it

325
perhaps, less appropriate for our object, and

we must,

therefore,

think of avoiding this inconvenience.

First of

all

we have

reinforced the cantus Jirmus with a lower

octave, an addition which does not change

The plan of the modulation

ter

is

that

it

materially.

mentioned

in the first chap-

the third strophe only had to submit to a slight alteration.

This strophe, according to

known

principles, should

have closed

with a half-cadence in B\j major, or with a modulation to

jor.

But

this

was not practicable

closing tone of the cantus Jirmus

end with a quart-sext chord.

F ma-

in the present instance, for the

(c),

We

would have forced us

had to consider

it

to

as funda-

mental tone, and to close in the parallel of the subdominant.

We

are

now

at the point

of the whole proceeding.

from which we can give a clear view

It is clear

the cantus Jirmus in the bass

gives us nothing but a melodically-regulated series of tones,

upon

326
which we have to construct chords, and above which we have
to

lead

above

the other voices as melodically as possible.

ail,

shall

we now

take the chords

Each bass-tone can be fundamental tone of a

chord, and a nonachord
chord,

it

then

What

first,

we

it

what

shall
is

we

most necessary

Thus, our

bass, the

a septime

first

pass, anti-

We

select

for the plan of modulation,

most appropriate

for the

strophe closes with the dominant

chord, (inversion) and the tonic triad

nant triad (apparently in

suspension,

choose from the above

think of the nearest, or of the

particular case.

triad,

can be another interval in an inverted

can be a tone foreign to a chord

cipation.

again,

"Whence

it

begins with the domi-

F major), then follows,

dominant chord of the same key, and

with remaining
finally it passes

with dominant chord and triad into the principal tone, B\) major.

The remainder needs no explanation

the pedal-point, indicates the end.

the beginning, resembling

Let us now turn to the char

acter of the voices.

The high

region,

and the ascending character of the cantus

firmus press the other voices upwards, and limit them to a

small space. They have, therefore, formed themselves melodically simple.

327

CHAPTER VL
MORE AND LESS VOICED TREATMENT OF THE CHORAL.

We have
choral for

add a few words

to

more

in regard to the treatment of the

or less than four voices, though the most neces-

sary facts have been given already in the tenth part of the

first

book.

A.

The

THE CHORAL WITH LESS THAN FOUR VOICES.

we know

choral, as

at least tetraphonic, the

compositions,

and

it

so

much

The simple

variety.

at present, requires full

lacks melodical

tones,

in short strophes,

mere

it

harmony,

more, since in comparison with other

volume and rhythmical

generally of equal measural value

without harmonic volume would be but a

Therefore a triphonic, or perhaps duophonic

thin thread.

treatment can only be justified by particular reasons, and with

many

chorals

be absolutely impossible to render them

will

it

satis-

factory duophonically.

The reasons for triphonic or duophonic treatment are either exwhen we have not more voices: or internal, when this sim

ternal,

pier

treatment conveys a particular expression

for

instance,

when we intend to represent the whole in a light, free, and transparent manner or when we have in view a combination of particular voices, for instance, two female voices and a bass, two
;

male voices and a

treble,

In all these cases

for a

&c.

we must

select such

duophonic or triphonic treatment.

tions will

have to be

sacrificed,

priate harmonies will have to

melody

harmonies as are suitable

Many good

and many otherwise

be

seized.

But

combina-

less appro-

in either case the

of the voices requires particular care, because the less

voices, the

more

distinctly will

the faults and merits of each be

preserved.
1.

The Duophonic

Treatment.

In duophonic composition it will be necessary to construct the

accompanying voice as simply as possible. It is best to keep

328
and to limit them to the most necessary inThus the following choral might be treated in this

the voices together,

tervals.

manner

444.

r-r

=t=t
-b8- l
I

V
I

The second and third strophes begin with a suspension, under the
supposition that there
If,

is

but a small or no pause between.

for particular reasons,

two more

distant voices are taken,

it

be better to give to the accompanying voice a peculiar characteristic ; for the two voices, under any circumstance, will not be

will

The above phrase would,

well connected.

therefore,

be more ap-

propriate for treble and alto, or tenor and bass, than for treble

and bass.

In the latter case

it

would be better

to construct the

bass perhaps in this manner.

445.

W,::XM* ? p^|e^S^"[3
The Triphonic Treatment.

2.

This treatment

but

it

is

not merely richer in tones and harmonies,

admits also of a freer and richer development of the voices.

For the two voices

sufficient to give

at its

command

are

by themselves already
we should go

a character to the whole, in case

beyond what is absolutely necessary. And since a richer development of the voices is permitted, we have also the means to
make up in melodical volume and fullness of the single voices
what we lack in numbers of chord-tones. Harmonic bye-tones,
suspensions, and passing-tones will do justice to our harmonies,
and at the same time melodically perfect our voices.

But we must not

lose sight of the character of the choral.

triphonic treatment of the last choral is given here,

remind us that the greatest simplicity can often be

merely to

sufficient.

The voices

in the following are

developed in a richer and more

mobile manner.

447.

I
^1

The

triphonic choral

is

also well

Jirmus in the lower or middle voice.

tion,

fitted

ti

to

have the cantus

This requires no instruc-

and simply as example we give here the above choral with

the cantus Jirmus in the tenor.

330

B.

We

The choral with more than four

are convinced that the tetraphonic choral

voices.
is

tory in regard to harmonic volume and fullness.

shall

quite satisfac-

Therefore

we

never write a choral for more than four voices, except for

particular reasons

sometimes only we add to the

or to the last chords

tain a full ending.

last

strophe,

of a choral, another voice, in order to ob-

For

either case the information given in the

second chapter, tenth part, of the last book, will be

sufficient.

331

CHAPTER
HOW

We

VII.

TO ACQUIRE FACILITY IN THE HARMONIZATION

OF THE CHORAL.

have always maintained that a choral (or any melody)

can be treated in various ways, and that there

is

no absolutely

treatment possible, but that object and circumstances give

best

preference at one time to one, at another time to another treat-

We

ment.

require, therefore, the capability

harmonize a given melody

We

in various

and the

facility to

ways.

have given the means in former chapters, and can add

nothing new, but

we

repeat here that the practice

scious of our powers, and

we now merely

indicate

makes us

how

the

con-

most

manifold treatments can be obtained from a single melody.

There

The

is

an

external

and internal variety of treatment.

external variety consists in the fact that a choral can be

treated duophonically, triphonically, tetraphonically, and poly-

phonically
voice, the

that the can tits Jirmus can be placed in the upper

middle voices, or the lower voice.

ternal forms of choral-treatment, as far as

ent.
ifold

These are the ex-

we know them

at pres-

Each of them, however, can be carried out in the most manmanners we can make use at the same time of different har;

we can

trans-

pose the cantus Jirmus as well in the triphonic as in the

tetra-

monies, and different construction of the voices

phonic and polyphonic choral.

forms,

we

But placing aside

all

these various

will limit ourselves to the tetraphonic treatment,

and

to the cantus Jirmus in the upper voice.

The
is

internal variety, to which

of voices which

we can

tion of the voices

us

we have

thus limited ourselves,

based upon the different modulation, harmony, and construction

it is

is

give to a choral melody.

The

construc-

the easiest, and therefore least important to

by the choice of chords.

make them as melodious as possi-

conditioned, essentially at least,

We shall merely

remember

to

ble.

But the modulatory and harmonic design or sketch are the


332
most important for us. How can we always find new modulations and harmonies, without trusting to chance %
The reply to
this question and the necessary instruction, constitute the contents of this chapter.
In general

we

We

ascertain the key,

first

can only repeat what

and

we know

fix

already.

upon the

principal

mo-

ments, the ending and turning-points of the modulation, accordingly.

Next

to the principal

key we must ascertain of what

modulation the close of each strophe admits.

Here we take

the

and pass thence to the more distant. And to these

end-points we lead our harmony, employing first the nearest, then
the most appropriate, and finally those in general admissible,
nearest

first,

taking advantage, however, of the slightest alteration which opens

to

us a

new way.

This will result, also, in designs and direc-

which we have to consult how they can be

employed in one or the other manner.
But now to work. We take the following choral, and simply
tions of the bass, at

because it contains the greatest

number of repetitions

in the small-

est space.

We shall merely give beginning and indication,

for

the student to carry

The

first

strophe

it

it

remains

the most naturally in the principal key.

is

14
-i1--4--rf
J

and

out.

=|

----

-----

mm

r
J

We have taken the

tonic chord for the

the bass in a higher octave.

bass in an opposite direction.

first

two

tones,

and led

Let us now attempt to lead the

333

X*

^7?
BiN=j
9
-

jl

-#-

ltd.

***

f
1

The bass ascends rather

and forces the middle voice to an

far,

we were to begin in this manwould have to avoid such exaggeration,

ner, the following strophe

stead

"II
1

equally passionate ascension.

its

cxr
3

451.

but in

we might

If

exhibit a

more marked

direction.

It

might, perhaps, be thus

L

JL

452.

"*r
But

let

tin\bji

us return to No. 451.

The exaggeration of the bass

step upwards

lies particularly in its last

to ascend so high, because they have

us a

new

the middle voices have

begun too low.

This gives

treatment.

mm
f=f=F

453.

The bass, from

manner

the fourth tone, might also have proceeded in

this

46

but in

all

these cases

7
it

would be advisable to employ

second strophe a less extended progression of the voices.

for

the

334
Both these fundament.il forms exhibited a bass progressing in
wide steps. Let us now attempt a more quiet melody for this
voice.

:]

i-i

455.

We might

continue the diatonic

movement

of the bass, perhaps

thus

.J

r
456.

The bass descends here chromatically, and ascends again diatonically.

But there was no need of discontinuing the chromatic progression ;

we might have

457.

and

this

continued thus

a
would have enabled us to close

modulating at so early a
to continue either of the

in the tonic, instead of

moment to the parallel.

above, we should prefer a

gression, because the chromatic progression

by

the smallness of the steps, and

unlike.

We

by

we were

would embarrass us

their being harmonically so

should, perhaps, continue thus

458

If

diatonic pro-

335

We

must break off here, in order not to anticipate too much

mere indications. All these formations are based upon the
first two chords, being the triad of G, or perhaps an inversion of
it.
Let us now depart from this first harmonization. We retain
the tonic chord for the first tone, but we must find a different
harmony for the second. What now can the tone g be % We
for

have already considered

be third or

The

fifth.

principal tone,

and

it

as fundamental tone, but

therefore,

is,

it

can also

subdominant of the

latter leads us to the

the nearest.

Sebastian Bach

has solved the question for us in four different manners.

Here

they are

We

leave

it

to

the

student to

analyze

and examine the

above, and turn at once to the second g as third.

of cor^?

The

cause b preceded

latter
it

Of what 1

would not remind us of E\> major

and soon follows), but of

that this tone is rather distant

E minor.

It is

(be-

true

from our melody, and cannot well

be justified in connection with the whole.

But such treatment

is

not absolutely impossible or useless, and we, therefore, give here

an illustration.

33C

But
such

it

it lies

much

nearer to consider the g as third of

leads us to the parallel of the principal tone.

Sometimes

(at a, d, e,)

Aa

he has actually modulated to U, and

closed with the major triad.

from

e.

Here

At

other times he has merely passed

E minor to A minor.

In the above

we have always begun with

the sext chord.

might, also, begin with the fundamental chord.

We

337

We

have attempted

it

here twice.

a consistent progression in the bass.

At a we have developed
At b we have retained the

tone b in the bass, and the middle voices were consequently

fluenced in like manner,

in-

and from the chord b-d$-f$ we have been

led to the superfluous triad g-b-d, or rather its sext chord.

But we have gained enough from

trospection upon our

anatomist,

formations

who was

this

simple melody.

work would give us the

feeling of the

forced to bury his knife in the

of nature.

He

A reyoung

most charming

followed the path of reason and

searched for knowledge.

We have only been able to indicate rules and facts. Everybody who has followed us attentively thus far, will see at once
that we have exhausted nothing.
But we hope we have gone far
enough to indicate how important this practice is, and that though
succeeded by other exercises, it is in fact the cap stone of the
practical contents of the

whole First Part.

338

Second Part.
The Chorals in
It has

the Ecclesiastical

Keys.

already been stated (last part, chapter

I.)

that

many

major nor minor modes, but to a

former system of keys, and that they cannot well be treated acchorals belong neither to our

cording to our
different

modern system of modulation.

modulation and harmonization,

i. e.,

They

require a

one corresponding to

Their melodies even, independent of harmony,

that old system.

do not agree with our principles.

To

treat such chorals properly,

the keys in which they are written

of and select the harmony.

the history of music ;

first

at least

be familiar with

enough so to judge

This study belongs perhaps more to

but we cannot well comprehend an

subject, without having at least

The

we must

historical

an outline of its history before us.

familiarization with the ecclesiastical, or antique keys, ae

they are sometimes called, will bring with

it

another advantage.

These keys have been developed long before our present system
of keys and modulation was in existence ; they have finally led
to the latter.
in,

They liad

or submit to

more general
sible.

it

truth

Considering

to lead into our

for in our

and

it

in

from

it

system and to be

system there

lives

lost

a higher and

only was a progress of music pos-

this point

of view, the former system

does not merely appear deviating from, but- preparatory to our

present system.

There were then other ways of modulation

and as we analyze the points to which these ways have

gain a

new view and

latter gives us for

led,

confirmation of our present system.

every general purpose the nearest means.

tells us, for instance, that

a perfect

full

we
The
It

cadence (with tonic in

the highest and lowest voices, and the final chord upon a rhythmi-

forms the most satisfactory ending of a composiBut the antique melodies exhibit attempts of not ending
with the dominant chord, or not upon the tonic harmony. Nay,
the tonic and its harmony is often not even the basis, the begincal chief-part)
tion.

ning and end of the whole tone-movement.

339
These attempts are the results of an intellectual conception of
the tone-element, the births of a truly inspired, songful period,

they are opinions

stand firm,

of truth,

full

though

w Inch stands and

truth

will

they have been unable to establish them-

They

selves as general laws.

are not the arbitrary attempts of a

and experiences brought down to us

from one of the most eventful and important epochs in the history
few, but they are results

of art, and as such,

ciples,

in

if

they otherwise agree with our present prin-

they form an important confirmation of the

latter.

But this confirmation and agreement is exhibited, not merely

what the ancients did according to our manner, but also in

what they deviated from

Thus they

it.

deviate, for instance, in

wherein they had a different object;

their cadences,

and

after-

wards they achieve that object exactly according to our present

general laws.

The most

essential point of our theory is

oM

to follow the

masters in their ideas, to obtain from them the truth therein contained, to conceive their melodies in

them according

in the old chorals

it

was not conditioned by the

To

fact,

possess.

to harmonize

spirit,
this,

which has ceased to be essential

influenced their works.

the

their

Independent of

to their ideas.

there

is

much

for us, because

ideas which led the ancients and

among

the latter,

others, belongs

that their system did not contain all the tones which

At

first

we

they had only the scales

f, 9, ,

*>,

c,

and

The tone chain

4 *
d

came

into existence at a

much

*
a

c,

later period.

But the steps and half steps were not of

f\ and g\ could not serve for
ferent

from

aj[

and

d$.

time did not permit

it,

efy,

g? and

a{?

like proportions
;

b\>

and

e\>

The temperament of the organs of

and though,

at

were

cjf,

dif-

that

later period, additional

upper keys were introduced for these tones, which led to the even

temperament, the principles of the old system retained their hold,

and reigned until gradually the modern system became predominant.

340
It is also

known

that the ancients did not

chords, suspensions, passing tones,

&c,

make use of so many

that their voices were not

generally carried out so richly and perfectly as those of our time.

But

since

we

shall see that the

element of their system did not

consist in this, their proceedings will not

shall write,

be binding upon us

we

with due regard to their essential laws, as our object

permits us, or prompts us

to.

We merely add, that we have not retained their often effective

rhythm, but have adopted for our theory the melodies, as they
are sung at present in our churches.

341

CHAPTER

THE ECCLESIASTICAL KEYS IN GENERAL.

The

keys can be regarded from a two-fold point

from a melodic point, as mere scales, and 2nd, from

ecclesiastical

of view:

1st,

a harmonic point, as scales intended for the basis of harmony

own

(therefore actual keys in our

sense of the word.)

The Melodic Point.

A.

The succession of seven degrees belongs to

Former

keys.

scale a tonic,

theorists

all

ecclesiastical

attempt to make every degree of the

and to build upon it, without depression or

Thus they obtained the scales

eleva-

tion of a tone, a scale.

1>) c>

2, ) d,
3, )

e,

>

?>>

c;

a, b, c,

d;

e,f, 9, j

e,f,g,

/, g, a, 5,

c, d,

5, ) g, a, b,

6, ) a, 5,

c, d,

e,f,g;

d,

c,

e ;

d ej;

a, b, c,

e,f, g,

a;

as the first of which, however, they considered the scale of 2),

(here the second).

b to b

They might have added a seventh

scale,

from

c>

e ,f, 9, a,

but this scale not even admitting a tonic

come a key.

The names of the above

1. Ionian, from

triad, it

six

to c ;

2.

Dorian, from

3.

Phrygian, from

to

d;

e to e ;

4.

Lydian, from / to f

5.

Mixolydian, from g to g ;
iEolian, from a to a.

6.

could not be-

keys were

These theorists acknowledged, in melodic respect, two

positions for each of their keys.

Their melody

throughout, or principally, from tonic to tonic,

different

moved

or

either

in other

342
words

from the fundamental tone to its return in another octave.

These melodies they called "authentic ;" even the whole scale,
if moving from tonic to tonic, had that name.
From such au:

thentic melodies they expected the character of decision, firmness,

t

ranscendant joy, &c.

Or, the melody moved around the tonic, perhaps from the
dominant to its octave. Such melodies they called " plagalic ;"
the scale, if represented in this form,

From

this

was

also

called

plagalic.

melodic form they expected a milder, more animated,

softer character.
It is

not our object, however, to invent melodies according to

the ancient system, but merely to learn the treatment of those in

Yet we cannot

existence.

fail

to perceive, that all the melodies

based upon the tonic are in possession of a certain authentic

strength, while those
plagalic mildness

and

which move around the tonic, have a certain

flexibility.

The Harmonic Point.

B.

Of the

upon the seven degrees of the scale,

become keys which admitted of a tonic chord.

tone-chains based

those only could

The tone-chain of B admits of neither major nor minor

the triad upon

its

tonic

(b-d-f

being

diminished

triad,

and

conse-

quently could not become a key.

Of the remaining

six scales three

the Ionian,

the Lydian,

admit of major

triads, viz:

c-e-g,

f-e-c,

the Mixolydian, g-b-d.

They can

therefore be

compared to our " Major."

upon their Tonic, viz

The

other

three scales have minor triads

the Dorian,

d-f-a,

the Phrygian,

the iEolian,

e-g-b.

a-c-e,

and might be compared with our " Minor."

Soon, however,

we

find, that

only the Ionian scale actually

re-

The others deviate

al-

sembles our scales of major or minor.

ready melodically, and consequently cause deviations in the har-

mony

also.

Leaving aside the Lydian key, and attaching our observations

343
key (the Ionian) which

to that
find

upon

of the
gian,

its

latter,

really resembles our

major,

we

dominant the Mixolydian key, upon the dominant

the Dorian, then the iEolian, and finally the Phry-

always based upon the dominant of the preceding one.

Thus we see, as in our Quint-circle, a progression of keys

ways a fifth distant from each other

al-

Ionian, Mixolydian, Dorian, ^Eolian,

Phrygian,

which must necessarily end with E, because the next tone, B,

does not admit of a key being built upon

The Lydian key,

if

en-

closed in this circle, should find a place before C, Ionian, upon

its

it.

subdominant.

But

this progression

difference

of ancient

from our own

keys exhibits an important

the latter

In

quint-circle.

we always

progress from one key to another similarly constructed one, from

D in

C to

G,

same

contents, the

short to all major keys, and they

same

intervals.

The

all

have the

othei- progression,

how-

ever, leads us every time to a differently constructed key.

The Ionian, exactly like our major, has major triads upon the
dominant and subdominant, and upon the former the dominant
chord.

Next comes the Mixolydian.

mit of a major triad;

its

Its

tonic and

subdominant ad-

dominant, however, has a minor

triad,

On the other side

and consequently has no dominant chord.
again, this scale admits vpon its tonic, of a dominant chord,
which however leads to the Ionian tonic (c ).
Upon the dominant of the Mixolydian, is based the Dorian
key.

nor

It is

a minor key, for

(as far as

we can

nant triad, however,

its tonic

is

major.

Upon

The jEolian key, which has minor

and the

and dominant triad are mi-

see, for the present

its

at least) its

dominant

triads

is

subdomi-

based

upon both dominants

tonic.

Finally follows the Phrygian key, which upon subdominant

and tonic has minor triads, while its dominant has neither major
nor minor triad, but a diminished one, which, as it were, cripples
the whole key.

The Lydian key

is

similarly crippled

which admits of neither major nor minor

dominant have major

triads.

by
triad,

its

subdominant,

while tonic and

344

The Essential Tones of every Key.

C.

now to

It is easy

discover which tones are essential in an eccleThose tones are essential which distinguish one key

siastical key.

from another

it is

we

natural that

begin with those keys which

resemble each other.

Which

tones are

Mixolydian

minor Seventh,

Which

and characteristic of the

essential to,

stamps the key major;

for it distinguishes it

stamps the key minor

it

distinguishes this

2, the

the

1,

major Sixth,

for

key from the subsequent one, the jEolian.

we must

In the jEolian
characteristic of

2, the

from the Ionian^

are the characteristic tones of the Dorian'?

Third, because
it

now

the Third, for it

1,

minor

consider as essential

2, the

Third, as

1, the

minor Sixth, which distinguishes it

from the Dorian.

The Phrygian
the other keys

is

by

The Ionian has

distinguished from the iEolian, and from

its

its

Second, which

it

all

minor.

Third, the sign of major, and

Seventh, which distinguishes

The Lydian has the

is

major

its

from the Mixolydian.

superfluous Fourth to distinguish

it

from

the Ionian.

D.
Thus
But

it

Admissibility of Foreign Tones.

far the ancient

system

strictly follows the original scales.

permits also the use of foreign tones,

if

they do not destroy

Thus the ancients intro

the Dorian and jEoTIan keys (c(( and

the essential characteristics of the key.

duced the major seventh in

<7j(),

for third

and

sixth,

but not the seventh, are the essential

characteristics of those keys.

E.

Transposition and Signature.

These foreign tones permitted also a second application, by

means of which each

scale could also

other than the original degree.

the dominant and

We

see

a signature
ly

How

by the above
;

for

accidental.

the key

was a

sometimes one

subdominant, and

degrees higher or lower.

be represented upon an-

This was done particularly upon

was

or

two

this transposition effected

none of the ancient keys required

the foreign tones, if there were any, were merethat

They had only

fifth

lower

to

instead of

substitute

Ionian

b\>,

it

for

was

b%,

and

F Ionian,

345
and the Mixolydian was then upon
scales

a,

Fi ft

The keys
called genus

In the

G,

a,

b\>,

d, e, f.

c,

b\,,

d,

9, a

d,

c,

originating in this

contradistinction

molle, in

all

Dorian upon G; the

C, the

were

e,

c-

f, g,

&c.

transposition were called genus

the

to

original

which were

keys,

durum.

same manner, the

the keys a

Mixolydian upon

The keys

substitution of /jj for

the

the Dorian upon A,

2>,

G,

a, b,

D,

b,

c,

e y /jf, g,

tf,

/fi 9i a
Pi

ft

b>

>

*i

/if, 9,

<*,

designated by adding to them the word

'

&c.

from transposition into the

arising

transposed

/'fl

The Ionian was thus upon G,

above.

fifth

above were

fifth

"Hypo ;"

for instance

Hypo-Ionian, Hypo-mixolydian, &c.

modern system we have but two keys without signature:

A minor. If we meet with melodies, which, without signature, belong to the tone-chain of 2), E, or G, we must
consider them as belonging to the Dorian, Phrygian, or MixolyThe signature of one flat ( f>) indicates to
dian of the ancients.
us the key of F major, or D minor, but if we meet with melodies
In our

C major

and

which, though having a signature of one

G. or A,

the tone-chain of C,
lydian,

Dorian or

we must

Phrygian.

flat

\>)

consider

belong to

still

them

as

C mixo-

The signature of one sharp

(#)

key of G major or
minor. Meeting, however, with a melody under this signature which belongs to the
Mixolydian,
tone-chain of D, A, or B, we must consider it as
indicates to us the

Dorian or

We have

Phrygian.

thus exhibited the general rule of ancient signature

in transposed keys.

It is

immaterial to us that not

transposed in this manner, as

we have only

all

keys were

to do with the

we find them.
now be easy to understand the signature of other transpositions.
To represent, for instance, the Phrygian key in the

melodies as
It will

tone-chain of

D or

C,

346
e>

9, a > h ,

d,

e\>,

c,

4,

/, g,
<?b,

c>

a,

e>

>

&b,

c,

d,

f, 9, ab, &b,

required in the one case two, in the other case four

melody
flats,

of the tone-chain

D,

or of the tone-chain C, with four

flats, is

flats.

two

therefore, with a signature of

to be considered as

a transposed Phrygian.

Thus we see a

keys before us

series of different

mit foreign tones in

its

melodies and harmonies

each can ad-

each, also, can

be represented by means of foreign tones, in more than one toneand though until now we have only observed the external

chain,

it is clear that these must also have given

them a different internal character, which we shall endeavor, at
some future time, to comprehend.

deviations of these keys,

Modulation into other Keyi.

F.

In order to complete our analysis of the ancient system,

must add, finally, that like our own system

powerful means of modulation from one key

it

possesses the

we
all

into the other, and

the combination of different keys in one composition.

We

know

ways of modulating.

of two

1.

We follow the path

cf the quint-circle, and pass from one major tone to another,

ry

means of the

major key, and

minor

The
sion

2.

We

or,

a minor key to another

substitute,

on the same

tonic,

for minor.

modulated according to

in still different progressions

new key on

tonic

major

ancients, too,

and

we go from

vice versa.

for major, or

different keys.

parallel,

their quint-succes-

but they always found

by means of tone-transposition, they formed

same tonic modulated without leaving the

Or,
the

but, here too, they

had a vastly greater variety than we

with our major and minor.

On

the other side again, the

more

of their different keys conditioned

it

decided, peculiar character

that certain digressions or

modulations were absolutely inadmissible, while we, though generally seizing the nearest related key, are not prevented

from

modulating into every possible key.

Thus much

in general of the ancient

rate consideration of each,

and

its

keys

treatment.

and now

for a sepa-

347

CHAPTER

H.

THE IONIAN KEY.

We

know

already that the Ionian key

is

among
modern keys

the only one

the ecclesiastical keys resembling one of our

major.

But

all

our major keys have the same construction, while

the ancients, in their Mixolydian, and, if they chose, in

their

Lydian key, had two more, differently constructed major keys.

Thus the character of each, and consequently that of the Ionian
also,

became

We

peculiarly distinct.

can see this at once in the order of the modulation.

cording to the principles of our

in

major goes almost invariably

for instance

in

to

reason also the most

first

this

common,

to the

is

key of the dominant,

the nearest,

but

liked, it

But

was

least

was not high-minded, not

festal,

it

not exalting enough.

could hardly stand for an actual modulation.

it

do we

find

on the Ionian dominant %

chain, (hypo-Ionian) or the

In

For, what

Either another Ionian tone-

Mixolydian key, which,

be afterwards explained, was as

for that

least exalting modulation.

very reason, in the ancient church-melodies,

for this

fact

G;

Ac-

modern system the modulation

little sufficient

for reasons to

to rise

from the

Ionian tonic.
Therefore, in the reign of the ancient system,

we find

the

modu-

dominant either entirely avoided, by means of cathe principal key or the subdominant, or retarded upon

lation into the

dences in

the parallel of the subdominant, if not an actual modulation into

that

key

(^1 ^Eolian).

Thus Sebastian Bach,

in three different

treatments of a choral with the following strophe

461.

forms

3.

its

and on

WZ

cadence, the

its

first

time with the subdominant and

recurrence he treats

it

thus

tonic,

348

349

CHAPTER

IE.

THE MIXOLYDIAN KEY.

We know of
therefore with a

that it is a major scale with minor Seventh, and

minor triad on the dominant. It lacks therefore

it,

the possibility of a perfect cadence, according to our principles.

We

make our cadence by means

we have used occasionally
as a half-cadence, and which is generally known under the name
of ecclesiastical cadence. This is by no means, however, the only
ecclesiastical cadence, and we shall soon arrive at others. Neverhave nothing

left,

then, but to

of the subdominant ; a cadence which

key a dominant chord, but it

For this
on the tonic and points towards the Ionian scale.
reason has the Mixolydian key a peculiar inclination to modulate
Mixolydian is in fact Ionian in its origin,
into the Ionian.

theless there is in the Mixolydian

is

therefore

it

takes part in the transpositions of the Ionian.

Mixolydian (originally C Ionian), like C Ionian goes into

Ionian
a modulation which lies very far from our G major.

In order to exhibit the peculiar characteristics of this

give here a

Bohemian

choral.

key we

350

CHAPTER

IV.

THE DORIAN KEY.

The Dorian is the first minor key of the ancient system. We
know already that it has a major triad upon the subdominant,
and that

can change the triad of the dominant into a major,

it

by introducing cj(. Thus the major element is predominant, and

the minor of the tonic cannot impress us sadly, but merely with
This

a deep earnestness.

and

strict,

but not sad,

it

the character of this key.

is

was the key

to

Severe

which the ancients en-

most solemn music, for instance the Credo, and in

most of their ecclesiastical songs. The authentic character
and the low region of most of the Dorian melodies corresponds
trusted their
short

with this character.

The Dorian makes

its

nearest modulation into

the iEolian. or represents this key upon

genus molle

(c?,

e,

/,

a, by

c,

d).

But

its

it is

own

its

dominant,

tonic in the

frequently the case

that other modulations precede this one.

The intimate connection with the Mixolydian, with which the

Dorian has the subdominant chord and the two characteristic
tones

(/and

Mixolydian.

b)

in

With

with the Ionian

it

common, prompts
the Mixolydian

it

it

to modulate into the

goes into the Ionian, and

goes to the subdominant of the

latter,

Lydian.

Again we give here a Dorian choral which exhibits that key

most distant and rare turns.

its

in

351

352

CHAPTER

V.

THE JEOLIAN KEY.

Upon

the dominant of the Dorian rises the iEolian key.

characteristic tones are c

and

Its

the minor Third and minor Sixth.

The seventh, however, not being a

characteristic tone, is often

changed into a major seventh, and thus makes

it

possible to have

the triad of the dominant major, and the cadence of the iEolian

key

decisive.

This key, softer and gentler than

its

predecessors, does

modulate into the minor or major key of

its

not

dominant, for this

would require the major triad or septime chord 6, c?jj, /((; or 6,

But the ancient system has no c?jj, and / being in the
d$, /Jj, a.

Nor can the

jEolian an essential tone, /j( is not permitted.
Dorian, for this would require the tone cjf, and
iEolian go to

is

ctl

another essential tone.

The

iEolian, instead of

tions, is satisfied

making use of these striking modulaits dominant (without

with half cadences upon

modulation), or turns to the Phrygian (which can hardly be called

a modulation) and through that into the Ionian.

When we

take into consideration, now, that the ^Eolian melo-

dies are invariably plagalic,

we

see that everything combines to

give this key a quiet, gentle, suffering, passive character, the sadness of which

the dominant.
its

inclination

is

only relieved by the frequent half-cadences upon

Here

is

an ^Eolian melody, which in keeping with

merely passingly touches upon the Ionian.

353

469.

li

354

CHAPTER

VI.

THE PHRYGIAN KEY.

This

is

the last of the ecclesiastical keys, and with

Third and minor Sixth,

by

its

it

The

minor Second.

minor seventh,

This, however, naturally conditions

even apart from the

c?,

had no major seventh (d jf) from

diatonic scales,

For

e.

and consequently of

all

9, , h , c

d $>

fact that the ancients

it is

characteristic of all

ecclesiastical scales, that

two half steps never succeed each other.

to give to the Phrygian scale a d jj,
,f,

If therefore,

we were

& c.

two half steps would appear in succession, and the

time,

minor

latter, /, is therefore its characteristic

tone and cannot be changed.

the

its

distinguishes itself from all other keys

scale, for the

would be chromatic.

From

this follows then, that the

which we should consider perfect

Phrygian key has no cadence

it form any
would require the
tones b, d
Thus it is entirely dependent upon the ^Eolian,
/
from which it originated, and can close in no other way but upon
i. e. with the use of a foreign
the dominant of the same, e, #jj, b,
tone; the half cadence ofthejEolian (from A to E) serves in

cadence with tones belonging to

jj,

nor, in fact, can

it,

for this

jj.

this instance as full cadence.

We perceive here in two minor tones, again, the same reversion

of the order of modulation which

major

tones,

Phrygian cadence
because in

its

Ionian

the

is still less

very

final

we

formerly noticed in two

and the Mixolydian

only that the

independent than the Mixolydian,

chord

it

requires a foreign tone.

It was effected
its cadence.
by introducing in this preparatory harmony the characteror in addition to them the minor third oi
istic tones, d and /,
Thus have we two Phrygian cadences
the tonic, g.

This led to the strengthening of

either

355
which are peculiar to
satisfactory as our

this key,

own

but by no means as decisive and

cadences.

In consequence of the relation

between the Phrygian and the

jEolian keys the former likes the modulation in the latter, as well
as the latter inclines towards the former.

Weak

and helpless as the Phrygian stands

there,

it is

really as-

tonishing that in connection with the Ionian, which can be placed

under

it

without hesitation,
.Phrygian.

ill!

Ionian.

we

should obtain so significant a result.

We

see here a close intimate connection with the Ionian, the

firmest and clearest major tone, and through

to the Hypo-Ionian G.

and

its

it

we

are led at once

The dependant nature of the Phrygian,

relation to an almost opposite major key, causes that its

melodies often begin in tones of one of these related keys, so that

it is
is

almost impossible to know at once in which key the melody

written.

the

first

Here

strophe points distinctly to the Dorian key

next strophe having a modulation to the Ionian

the former cannot be the reigning key.

we

recognize the Phrygian distinctly.

(7,

but the

proves that

Only towards the end

356

CHAPTER

VII.

THE LYDIAN KEY.

We have reserved
One reason

the analyzation of this key for the

for this rather irregular proceeding

is,

key has never been able

the ancient system, this

last.

even in

that

to acquire an

independent and rich application, and that, since the reformation,

it

has vanished entirely.

find

Lydian melodies

at

Only in Bohemian collections do we

and in others the Lydian appears

all,

merely passingly in other keys, particularly

Its characteristic is

b,

in

Dorian melodies.

the superfluous fourth

This one tone only, distinguishes

of the tonic.

from the Ionian and from

it

all

must not be altered as long as the

key is intended to be Lydian. The fact of this tone's making a
dominant chord impossible (c-e-g-b\>) would not have mattered
much for most of the cadences were prepared, not by the dominant chord, but by the triad of the dominant.
Nor would it

the other keys

b,

therefore,

have made much difference that the superfluous fourth

(f-

b)

is

was easy enough to avoid this

step wherever it disagreed with the melody.
But in other respects this tone b,
the only characteristic of the key,
was the

an unmelodious proportion

for it

cause of the decline of this key.

In the

first

place the Lydian scales resembled another

more apt and

useful scale (the Ionian in the genus molle

/, g, a, bb,

c,

d,

e,

/,)

to such a degree that it could not well escape being

with

it.

very

6,

much

mixed up

In the second place the Lydian, in consequence of this

lacked the tonic harmony of the subdominant, and conse-

quently could not modulate there, and was thus crippled on one

And,

side.

loss

thirdly, there

was nothing to indemnify us

for this b could only lead to a

for this

modulation into the domi-

a modulation

at once characteristic of nothing and the most

Every single key, except the Phrygian, had it,
and without demanding a sacrifice. These are the causes of the

nant

commonplace.

357
Lydian's never obtaining any extensive
for

our separating

it

from the other

efficacy,

and the reasons

ecclesiastical keys.

The deep meaning of the ancient system could not be denied,

in many instances we had to accord to it more subtle distinctions and better characteristics than our own.
But it would be
and

a misunderstanding and an unartistic roaming,

if

we were

to en-

deavor, in our labors, to return to the rule of the ancient system.

Every form of expression which the ancient system

offers to us,

we have in our own system, with the additional advantage that

while we can make a free use of them, the ancients were restricted by regulations and rules.
These, for the standard of modern

art,

are no longer necessary

nay, such oppression would be insupportable to the tone-artist

he wants

liberty.

And

in the

same degree

as this liberty

was

achieved, the directions which the ancient system gave for certain
objects had necessarily to

become

inefficient.

358

Third Part.
The Secular National Song.*

We need hardly mention that by

" national songs "

those melodies which have really lived

more

those which

strictly,

among

we mean

the people

not

should be called patriotic songs, nor

do we speak of those which one composer or another has invented

in the

may

manner of the people.

have

song), but they have not lived

become

its

Such manufactured national songs

merit (perhaps more than an actual national

artistical

among

the people, they have not

property, they have not been attuned to the people's

sense or voices

Only where

that has

been done

where

the

song has ceased to be the work of an individual, a composition,

where

as such

become the property,

has

it

the people

only

there

we

the organic word, the voice of

see the national song before us.

And

the most vivid characteristic of a nation, one of the

it is

most invaluable vibrations, in which every nation unconsciously

exhibits the enigma of its existence and of its sensations.
This is the deep meaning of the national song, and by it it becomes deeply significant to the musician, who is probably the
most capable of taking in and comprehending the simple melody.
Whatever the real national song teaches him of his art is true
and genuine perhaps not for general purposes, but always in the
sense of the nation from which it originates.
But for this very
reason it must not be judged by general principles, but in the
;

sense of

We
rules

its

parents.

have always avoided the abstract application of made

if

we do
we search for the particular
The people who invented them have

a formation does not correspond to general rules,

not pronounce

it

wrong

reasons of the deviation.

for that, but

not known those rules, they have only unconsciously carried them
within them.

But present above all and nearest to

their hearts

was

* This word does not exactly express the meaning of the author, but as
the translator could not find a better one, and as the true meaning of it will
become apparent to the reader in the course of his studies, the translator has
thought

it

best to retain this word.

moment, of the conditions under w hich the song

Here must we look for the nearest and
reasons for the melody of the song, and the deviation from

the feeling of the

became
truest

their property.

general law.

Thus much of the interest which the national songs have for
They are so important and so instructive that no musician
should neglect to make himself familiar with them
not to imitate them, (that would be vain) nor to employ them in his own
works, (that would be little) but to enter more deeply into the
us.

soul of art.

This occupation can be limited, as can

every other work, to

the mere performing, or meditating upon the form and the contents of the song, or
i.

e,

it

can consist of an independent treatment,

invention of an accompaniment, or perhaps the representation

of a national song as an independent composition (without words,

upon the Piano, or by a combination of other instruFor the national song, as such, is sung by the people,

for instance

ments).

sometimes unaccompanied and monophonic, sometimes the singers

construct,

from

it

by

ear,

and without regard to rule or

a duophonic, or triphonic phrase

often

it is

principle,

accompanied by a pe

culiarly national instrument.

If the musician,

do

now, has to invent an accompaniment, he can

so, either in the style

of the people, in which case his accom-

paniment

will

ject,

by means of his accompaniment, and by

ft.

f.,

be subordinate

or he can accomplish a higher obits

manner, he

can increase the expression of the song, and thus elevate the work
itself,

and the hearer, into a higher sphere.

song remains in
tional

its

In the

first

case the

natural sphere, expressive of a popular na-

word or sentiment.

In the other case

it

becomes an

inde-

pendent work of art and can no longer be considered as a mere

national song.

Scotch songs,"
friend,"

by

To the latter
by Beethoven.

class belongs

"

the " collection of

cyclus of songs to a distant

the same author, might also be included here

like-

wise the arrangement by Liszt of Schubert's songs.

"VVe shall begin with the

most simple, and make

consider the Pianoforte as accompaning instrument.

it

a rule to

360

CHAPTER

GENERAL CONCEPTION OF THE MELODY.

The

first

task in the treatment of a national song

nation of its key

people a song

for

it

is

sung in one key or another, just as

1.

CONSIDERATION OF VOICE-REGION.

the desig-

is

among

can easily be imagined that

it

the

suits the

singer.

In this selection

we must

of tones for the voice.

think above all of a proper position

The national song is intended

to be sung

many, and must not exceed the ordinary compass

Though it is impossible to give the exact points to
compass might extend, as one nation sings higher or
another, it will still be well to confine ourselves to
drf: a tone-chain which
least in reach of the

lies

by

of voices.

which the
lower than
the tenth

convenient for high voices and

is at

lower ones.

2.

CHARACTER OF KEYS.

The next important point is the character of the key which we

Every musician knows, or ought to know, that every
key, apart from height or depth, and apart from the peculiar
select.

character of different instruments, has a character of its own,

now

warm, now

cool,

character

transmitted to the listener.

is

now

sad and gentle,

perceived this difference of character,

should select,

if possible, that

the character of the song.

it

If
is

now

firm,

which

we have now

at all

clear

and

but natural that

we

key which corresponds best with

361

CHAPTER

II.

PLAN OF THE HARMONY.

work of the composer begins but now, with the seharmony and the modulation. Though we shall be
guided by the same principles which assisted us in our former labors, we shall, in two respects, go farther than in the choral.
Firstly, the national songs in general differ more from each

The

actual

lection of the

other than the chorals, for in the one

all

we

humanity

the various conditions of

see a representation of

in all

their variety

the

various sensations are represented in the most peculiar, finest and

sharpest features, while in the choral, everything
to the general

Secondly, in the choral, we have

subordinate

in addition to the uniformity

of rhythm a uniform distribution of harmony,

for each

is

form and character of devotion.

measural part or syllable,

and

generally a chord

in order to

avoid under

monotony and weakness, we have made our

harmonies energetic, and our voices as melodious as possible. But
The variety of
this is altogether different in our secular songs.
those circumstances

their contents

and their predominating mood has given us a variety

of rhythm, and has characterized each melody distinctly.

We

no longer speak of a uniform or impartial distribuThe harmony has no longer the obligation to intion of chords.
demnify us by variety and vigor for the monotony of the rhythm,

can, therefore,

it

intends only to support the

melody of the

song, and the accom-

panying voices become subordinate to the melody.

In the treatment of such melodies

above

all,

1.

we must

decide therefore,

upon

The Measure

or the Quantity of the

But according to which law %

According

Harmony.

to one already

known

to us.

Already

in the first chapter of the eighth part,

to consider the chords as so

many spaces in which

we have

learned

the various voices

362

move

In going

about.

from one chord to another,

therefore, the

move from one space into another.

In the same manner we have considered the various keys
through which we pass in the course of a composition as so many
voices merely

spaces,

but

larger

and more important than the former.

It is clear, therefore,

space as an important
contents of one space

that we
moment

more or

consider every step into another

of the whole, which separates the

less distinctly

from that of another.

Consequently

we must keep
ic or

much

together as

as possible, in one harmon-

modulatonic space, those tones of the melody which be-

long together.

The rhythmic-melodic construction of a song decides generally

what tones belong together.
To begin then with our labor,

let

well-known, " God save the Queen

us take the melody of the

:"

473.

The whole formation

tells

us at once that the melody consists

of three sections of two measures each.

progression of this
since

it

melody

in the

would be unnatural to

tion under one chord,

we

most

and simple manner,

force all the six tones of each sec-

will at least designate the

section with a harmonic point of rest.

companiment

In order to represent the

clear

end of each

This would give us an ac-

like the following

474.

pin

BEfa?

But we see already that there can be more than one division
of spaces, and that the necessity of supporting the sectional points
of the melody

melody,

is

not always alike pressing.

we might have embraced

the

first

Thus, in the above

two tones of the

and third measures, and the three tones of the

fifth

first

measure, in

363
and vice versa, we might
b, d, and c?, /jj, a, c) ;
( g,
have given the tones of the second and fourth measures to two or
The decision in such case depends upon the charthree chords.
one chord

acter of the song, or the object of our treatment

but

will al-

it

ways be seen, that, the more changing of chords we permit, the

more weighty, and the more tones we comprehend under few
chords, the more light and animated will be the song.
But returning to our national song we see, that however clear
and simple the above treatment, it by no means corresponds to
The following would be far more
the weight of such a song.
suitable

ii'

-*
i

475.

mm
The

Italian

sanctissima,'

Andante.

vir

prayer "

go Ma-

sane-

ri

tis

si

ma

pi

Ma

a!

ter a

is -

ma

si-

ma

ta,

Dul

In

cis

teme-

ii
ra

ra,

should be treated in like manner.

had best remain on one chord.

pro no

bb.

The second and fourth measures

The second part would perhaps

begin thus

477.

ill
E

1C32:

ii
:==r>

ii

A.

-#- -#-

G^ff

364
2.

Number of Accompanying

we must

Voices.*

number of voices
The more tones we combine,
the more full and heavy will be the mass of the accompaniment
the less voices we employ, the more mobile and light will be the
Next

to the chords

decide upon the

which are to accompany the song.

whole.

The above

Two

is

how many

judge

so clear that

it

will

be comparatively easy to

voices are requisite for one song

or the other.

be made

effective if ju-

voices, three, four, or five voices can

diciously employed.

Until

now we have

only considered what number of voices is

more appropriate for this or the other song we have
add two other considerations which were not requisite in

in general

now

to

the chorals

We shall

soon perceive that in one and the same song

sometimes a section which demands a stronger emphasis
than another sometimes in consequence of the words, sometimes
1st,

there

is

on account of the musical contents of the song itself. The mere

change of forte and piano is often insufficient for such purpose ;

now and then be

But the alternate use of few and many
Thus the following
often produce the desired effect.

even the peculiar treatment of the harmony will

unable to accomplish
voices will

it.

song

might be treated with

full

harmony in the longer tones, while

more lightly, perhaps thus

the shorter tones might be treated

* As a matter of course we have no reference here to the number of singers,

nor to the forte and piano of instruments, but merely to the number of
voices constituting the harmony.

f
365

ttTlT

-i

# T

ip

tJe.b

But we will remember the advice given on former occasions,

(Book L, first part, chapter II.) and effect this change in the num

new rhythmical

ber of voices only at the beginning of

would be

In the chorals such change

even

effective,

but as a general thing

sections.

and occasionally

possible,

absolutely unnecessary,

it is

upon the typical character of the choral,

which, altogether independent from the number of voices, demands
the first and only consideration.
as

it

depends above

2nd,

We

shall

all,

make

use

particularly

on instruments

inca*

pable of forte and piano, or sustaining the tones, like the organ
or pianoforte, or for the accomplishment of particular effects
the polyphony for single moments, while otherwise

with one or two voices.

known

military song

As

we

illustration

we

ol

proceed

give here a well-

'

ir

1
i

d==d
-rHfe
r

arf
L-W

~m

~id

<~z^

Li such cases the decision depends

upon the rhythmical construe*

words and

tion or accents which the particular character of the

melody demands.

Every other

direction

is

superfluous.

366
Occasionally the number of voices
companiment more practicable.
Finally we must consider

reduced to

make

the ac-

The Form of the Harmony.

3.

Until

is

now we have used

the chords in different positions,

&c,

but always so that the tones belonging to them generally entered

But in this very simultaneous sounding of three

more tones there was an unwieldiness and awkwardness which
was long a stumbling-block to us, and which we must now try to
simultaneously.

or

overcome.

The means

were always at our command.

for it

We have

seen already that the tones of a harmony can be introduce

not merely simultaneously, but also one after the other

first

in the

harmony appears in harmonic form, in the latter

Between the two stand the well-known
which one or two voices of the harmony anticipate the

case the

case in melodic form.

figures in

others, like
'

"

481.

Tti& melodic

form of the harmony gives us

formations, which are called

shall

now

consider.

many

ingenious

harmonic figurations, and which we

367

CHAPTER

III.

HARMONIC FIGURATION.

Discovery of its Designs.

"We know already

we

that with the

name

designate the representation of the

" harmonic figurations"

harmony

in

melodic form.

The tones of a chord are not sounded simultaneously but one afBut in what succession] Here are three tones
ter the other.

which give us already six different forms.

Four tones give us

twenty-four forms, independent of the variations which might be

produced by change of rhythm.

Even now we

see that

it is

next

to impossible to exhaust the forms of harmonic figuration, and

that

we merely

all let

can give an insight into this element.

First of

us glance at the designs.

Monophonic Designs.

1.

In No. 482 we have been made acquainted with the designs

arising from three tones, without taking into consideration toneOf course, every other three tones, or
repetition and rhythm.
three differently-situated tones give us six other designs, and

every four tones give us twenty-four designs.

its

The nonachord

in

primitive form would give us one hundred and twenty-five deIf

signs.

we add

to this the rhythmical variety

9
483.

and tone-repeti-

No. 482.

tion, a single design of

368

numbers of other

gives us endless
is

designs.

In short this element

absolutely inexhaustible.

Duophonic and Polyphonic Designs.

2.

In the above we have resolved a whole chord in melodic form.

But we can retain a part of it, and figurate the other thus wo
;

have here
484.

A^

^tiJ Cjj

tfj tij

4-4

f f

"
I

flgurated four chords in such manner, that at

a we

retained the

upper voice, at b the lower voice, and at c the upper and lower
voices, while the

middle voice

we have made from

nic succession

is

flgurated.

In the former cases

a triphonic or tetraphonic chord a monopho-

in this case

we make

a tetraphonic phrase duo-

phonic or triphonic ; but in the figural voice there are contained

two harmonic voices.

But such duophonic or triphonic phrases can again be made

three or

tetraphonic or polyphonic

by

the addition of new voices

d:

-*=*=*

485.

-Jj

2=3
3!

i
f

:jz*zj:i_-HJ:

TTTTj

369
It is clear,

however, from the above, that such phrases,

if re-

duced to the harmonic form, are not triphonic or tetraphonic, but

pentaphonic, hexaphonic.

ance

&c, and

in reality present this appear-

Mf
c

p
w
e g e= :->=l

We

p
ii

leave the student to practice such figuration.

here only seized the nearest.

It will

not be

difficult

We

have

to find more.

370

CHAPTER

IV.

EXECUTION OF THE HARMONIC FIGURATION.

It will require

but few observations to guide us merely in the

They fall into two halves,

them from a harmonic or melodic point of

execution of the harmonic figuration.

we

just as

consider

view.

A.

THE HARMONIC POINT OF VIEW.

The harmonic figuration

is

in reality nothing but an actual har

mony, but represented partly or

sequently
in our

it

has to submit to

harmony

in general.

all
If,

entirely in melodic form.

Con-

those rules which have guided us

therefore,

we

start

from a previ-

ously fixed harmony, as in No. 482, or imagine at least such a

harmony

as in Nos.

484 and 487, we

proper observance of those rules.

to

are involuntarily led to a

This will give

rise,

however,

their

harmonic

some points worth mentioning.

1.

Retarded Resolution.

Let us reconsider the figurations of No. 484 and

basis.

In the simple

solved

goes to

harmony the septime chords

c,

f descends to

at a, the seventh goes not to

terwards that
is

e,

follows in the

a similar case at

b.

e.

are properly re-

In the figuration, however,

but ascends to g.

same

voice,

and

It is

finally

only

Are these tones treated wrongly

af-

There

e.

No

371
the figural voice contains three harmonic voices, the tones of

which do not enter simultaneously, but one after the other.

is

This

called a " retarded resolution."

The same takes place

as in the following

It is

if there

undeniable that the immediate resolution gives the quick-

est satisfaction,

and

is

therefore the mildest formation.

retarded resolution can exercise

more tones a

many

by

peculiar charm, and

Octave

The

absolutely indispensable, in

is

figural design.

and Quint- Succession.

and

e,

at a, octave-

Are such
!

No. 485,

there have occurred octave-successions which in

No. 486 have been made apparent.

No

of a

attentive reader will already have noticed that in

c, d,

But the

very retarding of one or

its

cases, to the consistent execution

2.

at A,

are suspensions in the harmony,

Thus we see

here,

and quint-successions which appear at b uncovered.

successions

wrong

In harmonic respect they are

those of our former harmonic forms

by no means

as distinct as

for the figural voice hides

in such a manner, and is

mobile and flowing melody that the suspicious

and covers them with melodic bye-tones

in itself such a

successions are only the consequences of the doubling of

voices.

But even

if

of a figurated phrase

all

the

an actual faulty succession forms the basis

;

for instance, here

372

rp

rjT3-

llJJ=

490.

the melodic form and the intermediate steps (here a sixth between

every two

fifths)

would mitigate the bad

effects

of such succes-

sions considerably.

Passing- Tones.

3.

Though the passing-tones do not belong

to the harmony, they

and we have .often considered them
Therefore it is evident that they
as actual tones of the harmony.
can be introduced into the harmonic figuration as if they were
ent er simultaneously with

essential tones of the

lowing

little

it,

harmony.

This has been done in the

fol-

phrase

491.

~d

~i
B

Hi
The d
measure

in the first
is first

measure

is

a passing-tone

the

of the second

a suspension and becomes afterwards a passing-

tone to the expected

d.

The same takes

place in the third and

fourth measures.

B.

Each

THE MELODIC POINT OF VIEW.

figural voice represents,

above

all,

a melody, and as far

as its contents and its relations to the other voices permit,

it

373

must follow the laws of melody.

particular which

1.

We

Of these laws

two

there are

ic

demand mention.

Consistency of Execution.

have always endeavored to retain the designs and direcand we have not passed on to others without good

tions once seized,

reasons

we

a design,
shall

will not depart

we must

let it

not depart from

it

from

work

it

now.

If

we have once

seized

powers.

Wo

to the best of

its

without good reason, and

haps occasionally return to

it.

An unnecessary,

we

shall per-

aimless changing

of design would only cause confusion and restlessness.

Firm

2.

Each measure

is

Connection.

from tone to

a progression closed in itself

tone, in which the relation of each tone to the following is ex-

pressed.

The

closer this relation of tones

does the relation become

is,

more apparent

the

therefore have tones which succeed

each other diatonically or chromatically, or which belong to the

same harmony, the

closest relation to each other.

Therefore, in harmonic figuration, the melodic connection will

be the stronger, the closer the tones of a chord

lie

to each other.

Here, for instance,

4L

? 3 *
the figure a will be the

connected.

The

expansive than
easily

a,

most

figure b

and

less

firmly, the figure c the least firmly

stands between the two.

vague than

c.

It is

more

These two merits might

be combined by intermediate tones,

as, for

instance

374

^^^^^
Thus far rests the internal connection of the figural melody
upon the power or formation of the design. But the close union
of the isolated tone-groups to a flowing figural voice
important.
tal

harmony

indicates, or the last tone of the first

brought in diatonic connection with the

group.

is

equally

This connection takes place, either aa the fundamen-

first

group can be

tone of the second

375

CHAPTER

V.

THE EXERCISE OF HARMONIC FIGURATION IN PASSAGES

AND GIVEN MELODIES.
It is

time

now

haps this practice

to
is

resume the practice of our new means.

Per-

not absolutely necessary for the mere accom-

panying of national songs, but these exercises tend so much to

the development of our musical powers, and will be of so much
advantage

in later exercises, that

1.

This

is

Passages reduced

to

we must

not omit them.

Harmonic Figuration.

a comparatively easy task, because the uniformity of

the passage, and the liberty to select, close, and rhythmize ac-

cording to our pleasure, cannot but greatly assist us.

need but few

Here

illustrations,

are a few of the

and begin with the following

most simple beginnings

We
:

shall

At A we
first

see the

melody of the upper voice indicated by the

At b and c the melody is still

tones of the figural design.

visible,

while here

496.

it

vanishes altogether.

An

extension of our chords would give us an enlarged arena for

our designs and the carrying out of them.

tt-tF

t=g^P^
Con

fuoco.

i
sve

Here

F-

have given a half-measure to each chord.

Teneramente.

Here

498.

we have no

longer repeated the design slavishly exact, but intro-

duced at the same time an accidental suspension.

377

Accompaniment of Given Melodies.

2.

All our former melodies give us opportunities to practice on

them the harmonic figuration. Only the irregular progression

of these phrases makes the task somewhat difficult we must oc;

casionally relinquish strict adhesion to the design, in order to

keep up with the melody.

we

In the following fragment

C the same accompaniment in three different

accompaniment threatens to overpower the melody we can easily add an harmonic accompaniment.
see at A, B, and

designs.

If this

TV
[?*

ii

||jj|
If in
it

the above

we have

with a middle voice.

figurated the bass,

we

can

now attempt

378

The

might be expected, causes a

But the
tones on rhythmical chief-parts can soon balance

figuration of the upper voice, as

greater or lesser deviation from the principal melody.

placing of

its

this slight defect.

The

further practice of this figuration presents

and we pass on

no

at once, therefore, to the next chapter.

difficulty,

379

CHAPTER

VI.

PASSING-TONE AND BYE-TONE.

The harmonic
mobility, but

it

figuration developes before us a picture of great

suffers

from the monotony and emptiness which

are always the companions of the

mere harmonic element, and

which have driven us already to the invention of suspensions and

passing-tones (Parts Eighth and Ninth).
It lies near, therefore,

harmonic

figurations.

at c'and d

we have

to introduce these passing-tones in our

Thus

here,

enriched the designs of a and b

diatonic and chromatic passing-tones, and have

by means of

made them more

connected.

But

it

cannot always suit us to introduce the whole series of

diatonic or chromatic intermediate tones, to

or

out every third

fill

fifth

h^r&m

But we must remember that the very step of a third or fifth

was nothing but the progression from one degree to the third or
fifth,

with omission of the intermediate tones.

can omit any or

all

Consequently

the intermediate tones in the above.

we

380

505.

Instead of the three intermediate tones of a third we need take

but two, and the only question arising then would be, which are

The

best omitted?

the subsequent one,

tone, join

must

is

to lead us intc

therefore lean towards the subsequent

closely, as it were.

it

The

above.

object of the passing-tone

it

This

the case at a in the

is

passing-tones at b are less satisfactory, because they

keep distant, as

The

were, from their actual goal.

it

passing-

tones at c are in direct contradiction to the supposed key, and

sound strange.

With

the

same

we

right

and in that case we

can retain but one of the passing-tones,

one nearest to the subsequent

shall select the

tone.
b

506.

The one

at

a or b

better than the one at c

is

for the

cj(

does

same in descending. Of the

intermediate tones between a tone and its third or fifth below we

not lead

to.

e,

but to

d.

the

It is

Of

can select or omit at pleasure.

the following diatonic and

chromatic passing-tones,
507. a

i
we

b
j

..I.I

rfc*

can chose these

508.

||[

*-!

t tfEl

But we must here add a few remarks. The pass is a flowing

movement, having in its completeness a softening influence upon
the melody, which, without it, must necessarily progress in wide
steps.

S81
In incomplete passes the whole influence of the pass
trated

is

concen-

upon

509.

the remaining tone, which leads smoothly into the next one,
it has no connection with the preceding one.
Such isolated tones of a pass are called

while

HELP TONES.

Embodying them

in

our harmonic figurations

successions, for instance

we gain new tone-

510.

They

are so simple and satisfactory an addition that

we

can even

begin with them without preparation,

511.

or introduce

them simultaneously with the

"

chord, without regard

r-ii->- B -ar#

J* J

7
to its contents,

and without

f-lh

fearing, even, the effect of false-rela-

tions (by against b in the above) provided always that the help-

tone leads to a chord-tone,

After this

we need

not hesitate to introduce descending help-

tones in ascending passages, and vice versa, ascending help-tones

in descending passages,

382
or to employ either or both in vague tone-chains of harmonic
figuration.

One

step farther.

It arises

from the above that

tion of a

harmonic tone we can give

as well as

below

it

(a),

and consequently we can also introduce the two

Each of

succession (b).

the chief-tone.

in the repeti-

a help-tone from above

in

immediate

the passing-tones finds its resolution in

Consequently

we might omit

the latter the

first

time, and unite the help-tones and let their resolution follow

af-

terward.

B as
of the

well as
first

are here resolved in c ; only that the resolution

tone

is

somewhat

retarded.

The

attentive student

will here perceive at once that all our musical ornaments, such as

TRILLS,

TURNS,

DOUBLE TURNS, &C.,

are in reality nothing but an accumulation of help-tones.
In the form of help-tones, too, passing-tones can be introduced
in false relations.

some

justification,

reason.

Here

The introduction of them demands, however,

and should not be permitted without

sufficient

ii

LJ
~\=-\=:

517.

*z
at a,

we

see a

ejj

against a

eft

at b /j} against/!;.

This

secure a flowing progression of the different voices.

is

done to

For the

same reason we have here

.18.

t
9-

taken g instead of ft.

519.

similar passage from "

Don

Giovanni'

E2I

can be explained in like manner.

Until

now we have merely treated of the passing-tones by

If we mix, now, the designs obtained from them

themselves.

with a pure harmonic figuration

for instance,

520.

we can

see the resolution of the passing-tones and help-tones at

once.

But we have already seen

in

No. 516, that help-tones do not

resolve immediately into a harmonic tone.

not hesitate to lead the help-tones

first

We

shall,

therefore,

into other harmonic tones,

before the tone of the actual resolution appears.

384

Not always, however, will such mixture be good, and least so

when the two elements fall confusedly, one into the other. This
would be the case
manner

if

we were

to remodel 520, for instance, in this

522.

The design

is

clear

enough in the

first

and

last quarters

but

and third the impression that the two help-tones,

relate to g and d, is almost entirely effaced.

in the second
/jj

and

c$

Finally

we must add

that these real and apparent passing-tones

and help-tones can occur simultaneously in two or more voices.

This can lead to harmonic formations which were not in the least
intended, and which,

by persons fond of

technical terms, are

called

Passing-chords or Transient chords.

Their treatment requires no particular directions, as their origin
will indicate the rules to
fore the

be observed

each help-tone

and
must

there-

whole passing-chord consisting of such help-tones

return to the originally-intended

main tone or chord.

Thus we

find here

523.

at a, within the chord c-e-g

and

a-rfjj-/jf

(bb-c-e-g)

their

at b

we

and

b}>

the groups

G?j(,/jf,

c/jf,

see actually all the four voices of a chord

proceed to help-tones which seem to form a chord of

own

(b-d-f-a).

however,

tells

that case

its

The

resolution of this accidental formation,

us at once that the chord

resolution

would have been

is

not a real one, for in

far different.

385

CHAPTER

VII.

INTRODUCTION OF PASSES AND HELP-TONES INTO

FIGUKATION.

The

help-tones have stepped out, as

it

were, from the diatonic

and chromatic passes, and thence have found their way into harmonic figuration. Their practice, therefore, must be attached to
This will have the additional
the diatonic and chromatic passes.
advantage of reminding us of the application of the passes.

The

may

and the following phrase

directions needed are but few,

serve as a basis

We begin

our task with the

FIGURATION OF THE UPPER VOICE,

A.
and at

first

with the diatonic passes and help-tones.

1

-G

&
1

:#4d=l=EE=N=iN=
iflL^
The

first, fifth,

and sixth measures need no explanation,

contain nothing new.

The movement

measure, yiduced us to continue

it

became absolutely necessary

whole phrase.
times

-h a

3r^

'

it

for

c,

another measure, and

to continue

In the third measure

and then

as they

in quarter notes of the first

it

now

throughout the

we might have written three

made it less monotonous.

but the help-tone

386
Thus we have accidentally arrived

at a figuration of a single

tone, consisting of its repetition and a help-tone.

Follow ing up the idea of figurating a single tone,

to

No. 525 a more animated formation

Let us turn

to the

we might give

perhaps like this

harmonic figuration

let

us introduce

upper voice tones from the fundamental harmony.

Into the

nearest

now

would probably be

*J

The

this

ill

i=1^
containing harmonic bye-tones and diatonic passes.
will

proceed to the chromatic passes.

we have

arrived, for the first time, at a

And now we

Here

somewhat- varied rhythmi-

Merely passingly do we remember here the rich and

powerful means which rhythm offers us, and which until now were

zation.

laying idle.

We

might combine the chromatic passes of No. 520 with the

harmonic bye-tones and the uniform movement of No. 527. Ths

would give us formations

or of greater compass

tj

like this

Si

B.

FIGURATION OF THE BASS.

we

Returning to No. 524

bass so meagre, that at
except, perhaps, to give

533.

S~

Ig

rr
The

it

find the

melodic movement of the

know what to do with

more animated rhythmization.

first

hardly

it,

J,

rrrrrfr

introduction of a help-tone instead of a

mere

tone-repeti-

3S8

ri

534.

tion (a), or with

upon the

f f r
(c),

first

OT" r

J.'

<JM

upon the second part of the measure, oi

would do away, to a great degree, with this

it (b),

monotony. The design c would lead

us, perhaps, to the following

show how

In order to

those in No.

534 can

rich a

furnish,

development a simple design

we merely

4i=^
leaving

it

to the student to follow

Were we

at all inclined to

up

this exercise.

change the melodic basis in the bass

of No. 525, the harmonic figuration would

arriving at a richer foundation.
in this

like

give one here,

At

first

offer

we might

us the means of
sketch the bass

manner

537. <7'

'S

j
I

'

and by means of the

different passes, for instance

538.

we would soon
tions.

arrive at

more

interesting

It is easily seen that the

and extended forma-

above figuration originated

in

389
No. 537
which in

539.

not, however, without a change of the melodic basis,

this case

would have been

Bi

much

nearer to No. 537 b, would have been a development like

the following.

C.

The

little

FIGURATION OF A MIDDLE VOICE.

space at our

and we must

command

is

here greatly in our

must combine the two middle voices

into one.

The former

ceeding will call into existence formations like this

the latter

many

way
we
;

therefore either lay the voices farther apart, or

would lead from formations

like

pro-

to such as b and

others.

These directions will be

sufficient to practice all

forms of the pass in connection with the harmonic

the different

figuration,

and

stimulate the inventive faculties of the student.

Yet we would recommend

to the zealous pupil a last exercise,

which in his future polyphonic labors will be of much advantage

to him.

We have reference

to

390

THE APPLICATION OF HARMONIC FIGURATION,

CONNECTION WITH PASSES, HELP-TONES, AND
SUSPENSIONS TO HARMONIC PASSAGES.
The task
ficient.

is

We

IN

an easy one, and a few illustrations will be

return again to the passage 136.

Here

suf-

the basa

descends alternately a fourth, and the third voice, in like manner

third.

The other

voices proceed diatonically.

Let us now

fill

the wider steps with diatonic passes.

Mr

543.

fr

be!
Why have we,

at a, introduced suspensions in the

upper voice?

In order to avoid the consecutive fifths which the passes

pended

all

three of the upper voices.

introduction of passes in the upper voice

they can only be chromatic.

would

At b we have
Let us now attempt

otherwise have formed with the upper voice.

sus-

the

as a matter of course

544.

as*

As a

last illustration

of the rich and varied developments which

the industrious student can derive

from the simplest designs, we

give the following

545.

The

first

four notes of the treble can be considered as the prin-

cipal design, which will

in the tenor, alto,

be found in a more or

less similar form,

and bass.

But though we have given here a somewhat complicated illustration, the pupil must not fail to begin with the most simple
designs.

392

CHAPTER

VIII.

APPLICATION OF THESE NEW MEANS TO ARTISTIC

ACCOMPANIMENTS.

We are at last fully prepared for every kind

of accompaniment

which the character of our national songs might demand.

now

represent the

endless forms, as

most

volatile

we formerly

We can

and flowing accompaniments

constructed accompaniments of

in

full

and firm chords, only occasionally interspersed with harmonic bytones &c., &c. (vide Nos. 475, 477, 479.)

Casually

we

learn now,

some of the tones in No. 477, which we could not explain at the
Our labor now is but trifling.
time, are nothing but help-tones.
We have the necessary means in hand we have practised their
application, and it only depends now upon our selecting the right
means for every particular task, to judge which form of accompaniment or representation is most in keeping with the character
that

of each song.

The great

similarity of

ferent conceptions of

makes

many

of our present forms, and the

which most or

all

impossible to point to any one

it

right one.

Yet we can be guided by

dif-

of our songs are capable,

form as the only

certain general principles

which will always indicate to us the proper direction, and guard

js against aberration.
1.

strictly

harmonic accompaniment, like that of No. 475,

produces the most firm, meaning, and heavy

2.

The

effect.

more interwoven those

by means of suspensions, passes, &c. &c, the

richer the change of chords, the

chords are,

more conspicuous

will

be the character of

accompaniment, (Nos. 476 and 479.)

the change of chords (No. 475,) or the

are separated

by

rests

this

harmonic

The milder and

more

rarer

these chords

(No. 480,) the lighter will be the

accompaniment.
3. In juxtaposition

to the

harmonic accompaniment,

we have

393
the harmonic figuration, the fundamental character of which
is

animation, lightness, grace, and a certain transparent con-

nection of tones.
4.

The

apart these

farther

more

figures, the

will this

tones,

more extended

the

the

movement, the more conspicuous

rapid the

fundamental character become; the more simul-

taneous voices share in this movement, (No. 485 d and

the

more do we approach again

e,)

to the fullness

and firmness

make

the harmonic

of massive motion.
5.

Passing-tones or help-tones are apt to

more connected,

figuration

full,

melodically satiated, as

it

were.
6.

The more firmly the melodic connection of an accompanyby means of passing-tones, the
more independent a melody will this voice become, and the
more attention will it detract from the principal melody.
ing voice has been developed

After these observations

for

we

each song according to

the

will construct our

its

form of accompaniment,

if

contents

we

accompaniment
even change

will

prompted by the deviating

dency of single verses or parts.

But

in every case

we

ten-

will en-

deavor to keep in view the general character of the song.

It is

necessary, also, to ascertain whether the

melody

is

to

sung, or to be played in connection with the accompaniment.

the former case

accompaniment
paniment

so

it
;

but

it

by

be well to construct the accom-

will
itself,

it

affords

a certain

and contains at least no disagreeable passages

quart-successions to which the

IS

satisfaction

for

melody would form

instance,

the

Voice.

646.

In

not necessary to place the melody in the

is

that,

be

Accompaniment.

m.

sixth,

394
But these considera-

irregular steps in the upper voice, &c. &c.

be treated more

tions will

ment of vocal music.

to such treatments in

fully in the chapter

on the accompani-

Here we shall confine ourselves principally

which melody and accompaniment are per-

formed on one instrument

the pianoforte.

Let us begin our labors with the following song

which, in

its

simple construction, resembles our

As

formations.

This treatment
ter.

to

If

it

is

above,

it

first

periodical

sung duophonically by the people.

is

perfectly in keeping with its object

and charac-

were intended to be accompanied by the pianoforte,

01

be played without being sung, a few simple chords, supporting

the rhythm,

#
V

548.

would be

sufficient.

answer to the
final verse,

The

d=J-

iH
first

of these accompaniments would

light verses, the second to the

and the coda might designate

characteristically

by means

of a

11

T r

-00->-

Hi

more

serious and sad

this latter

mood more

more developed harmony

395

549.
s

If this

PS

form of accompaniment should be deemed too simple,

we were to give an indication of the suppressed emotion of the

singer, we might form a more animated middle voice.
This has

if

been done here, in the most simple manner

Pin animato.

*^
550.
do.

396

The design

consists of the second voice of the national song,

combined with the

fifth

of the chord.

It is

deserted in the close

indicated again at the end of the whole.

The
made itself more independent from the design, and
assumes a more complicated form, which might have been differof the thesis, and

is

antithesis has

ent and simpler

for instance

but which departs altogether from the simple character of a

national song.

Let us imagine one of these representations employed for the

second verse, and we might give the third one a more anxious,
excited character, though

448

;)

perhaps thus

still

resembling our first conception (No.

397
But

if

we were

simplicity, if the

to depart

we might surround

it

Marc.

c.

more from the character of rural

by like a mere recollection,

to pass

with accompanying reminiscences,

i|r

jtft r
553.

still

melody were

VJB

igi'-'lTr

espr.

*!

Ped. piano.

I)

Marc.

espr.

:r
\

~t

3
^81
Fed.

or other nearer or

more

distant formations.

Franz Liszt has

been peculiarly fortunate in the production of such forms.

f^^^^ ^^T^
Massig.

554.

r*

0*

ili

/ x

t=EEE

-rP

398
Finally,
is less

we

throw a hasty glance upon the above song.

will

simple than the former, but admits of

We see in

ceptions.

many harmonic

two particularly conspicuous points

it

pause in the third measure from the end,

merely a repetition of the same.

the

same

the song

object,
is

the

for the rest

whom

We shall have to make use of interrupted

and imperfect cadences,

Shall

the

Both points have one and

expression of the longing for her to

addressed.

gentle, restless desire

and the imperfect

cadence of the second part, two measures previous

is

It

con-

we harmonize

manner which corresponds

in a

to this

perhaps thus

the beginning thus

>

k
1

r-

556.

^-f =^=p

H-~
41
F
'

C
1

s.-.-

.~ h
1

M-

H-

*~

11

399
It

would appear too unsteady and assuming.

The

latter refers

particularly to the painfully anxious chromatic progression of the

bass.

We

should prefer a

full

and gentle figuration of simple

harmonies

p-^-p

and with the following measure we would return the

the beginning (as at a or p,) and the second time

over to the second part, as at

c.

first

time to

we would

pass

400
Or, if

we

conceived this song in a more restless mood,

we

might form a more animated accompaniment, perhaps thus

559.

h
We leave the student to practise
and

exercises.

these and other analyzations

401

APPENDIX.

THE FIGURAL PRELUDE.

In the first chapter of the

Fourth Part we have already men-

tioned the prelude with which a piece of music can be introduced

Our prelude

to the singers or listeners.

at that time

tremely meagre, on account of lack of means

new

socn after gained

varied harmonic

was

chords, and were able to construct

passages,

yet

monotony and dryness of our

we

first

ex-

and though we

could not

attempts, until

more

overcome the

we

arrived at

the harmonic figuration, with or without the passing tones and

help-tones.

even

Nor does
theory.
is.

true

we now return to the prelude, and

be limited to the most subordinate forms.

It is for this that

now we have

to

this subject actually

We

but

to treat of

consider

it

belong to this branch of musical

merely as an appendix, dispensable

so easy of attainment, that

we

it

shall not hesitate

it.

The prelude

is

intended to prepare us for the key of the subse-

quent composition, either by indicating

it,

or

by

actually sounding

the essential harmonies, and in addition to these, perhaps other

near related harmonies.

p. 120.

Passages like

Thus much we have learned already

this,

I
560.

3=g

at

402
or these,

~o

are quite appropriate for purely harmonic preludes.

We have already learned to develop such passages more firmly

and melodiously, by means of suspensions and passes.
We
might therefore give to the prelude No. 560

this

or any other form.

But such formations are

less appropriate for preludes,

the presumptuous development

plicity of the task

is

because

not in keeping with the sim-

and the harmonic foundation.

403

IKre again we discover in the figural forms the proper

They mitigate the stiffness of the chords, and with all their

unas.

sumingness give us the possibility of volatile formations, without

preventing us from elevating ourselves to more energetic, flowing

and melodious ones

stiffness

and as they do away with the monotonous

of the chords, they permit us at the time to remain

longer with every single chord.

Thus, by means of harmonic figuration,

we might form from

one single chord a prelude,

which, in

its

mobility and variation of form, remunerates us most

amply for its lack of harmonic variety.

It would be already a progress if we employed
for the

after

the figuration

dominant chord, and closed with the tonic

triad, or

if,

any one figurated chord we introduced the harmonies essen-

tial to

the designation of a key, as

we have done

here

404

3lgg

-p 4-#-J- -J

Leggiero.

~
r

This, too, should

be

practised, first

on paper, and then at the

pianoforte.

We
by

can obtain a richer formation, and one of a higher order,

selecting an

harmonic succession, in the manner of our

preludes, and afterwards carrying

it

first

out according to a fixed

figural design.

The

following phrase

rrl

565.

r-

|_1L

may

serve as an illustration of such foundation.

monic

figuration

simple har-

405

gives

it

already mobility and variety, and

steady progression, to obtain from

formations, particularly after
tones, change of design,

We

we have

two designs

fied

series

(triplets

we have

and

and eighth-notes.)

in c

new

a single

we have employed

In continuing

this,

how-

seen in a,) our designs would have to be modi-

or divided, because the foundation assumes a

necessary

of

introduced passes, help-

and rhythmical form.

progression after the third measure.

thus

requires merely a

and

have made but sparing use of these means

help-tone has been introduced in b

ever, as

it

series

it

we might omit

more rapid

In c, too, this would be

the second design, and form the

first

Or

567.

^f?-#

t^F-tt^i
Thus much of
it,

the student

exercise

his

this

may

by no means

difficult exercise.

Guided by

venture beyond the limits of the phrase, and

invention in free harmonic formations, either on

paper, or improvising on the pianoforte.

APPENDIX AND NOTES

TO

MARX'S THEORY
OF

MUSICAL COMPOSITION.

E. GIRAC,
OF TBI CONSERVATORY OP PARIS.

BY

NEW YORK:
PUBLISHED BY MASON BROTHERS.
1

85

6.

Entered, according to Act of Congress, in the year 1854, by

MASON BROTHERS,
In the Clork's Office of the District Court for the Southern District

of

New

York.

INTRODUCTION.
My

object in writing the following Appendixes has been to con-

dense and abridge matters which, in the author, are too prolix, and

mingled with secondary considerations of the subject, which oftentimes obscure the practical rules.

In instruction books, precepts

much

brevity as possible; definitions

ought

to be

unfolded with as

be clear and comprehensive

the developments strictly confined to

points immediately connected with the rules or definitions.

will,

no doubt, be

and a/gunients

It is

The

quite a different thing to write for learners, or learned.

latter

with philosophical views, with reasonings

satisfied

one

skillfully linked

to

another

they will follow,

with interest, thoughts developed with a wonderful abundance of expressions, and sometimes with

brilliant figures

former

will, after all,

derive but

little

This

of speech.

does very well with readers conversant with the subject.

But the

from those evidences

benefit

of learning, from that fecundity of thought and richness of expression

paraded by the writer.

The

practical

of precepts must say to the pupil,

you have

how

to

to avoid.'

observe

this,

He must

subjoined to every precept.

greatest theorist

man who was

early German

still

and how

who ever

to

laying

a code

avoid that, by numerous examples

to

existed

to

do Cherubini, perhaps the

so did Reicha, the most practical

ever seated on the professor's pulpit.

theorists,

down

this

So used

So did the

such as Fuchs, Marpurg, Albrechtberger,

many

and the Italian padre, Martini, and

be too long

man

you have to practise, that

do better, he must show the pupil
'

give here the names.

others, of

Nothing

is

whom

more

it

would

apt to give an

idea of the soundness of judgment of Beethoven, than the concise-

ness with which he has developed the rules of Counterpoint and

Fugue

in

his

musical studies.

The

paucity of precepts contrasts

wonderfully with the number of examples.

was influenced by
These few
been written.

this,

we

think he

his master, Albrechtberger.

lines serve to
I

In

show

in

what

spirit the

Appendixes have

have given compressed and short

rules, but

sup

iv

ported and illustrated by

I

he rules in practice, and

numerous
to

exercises, intended both to put

serve the student as models of work for

himself.

Though

these Appendixes have been composed to be explanatory

large treatise of Marx, yet they form a whole

commentaries

to the

in themselves,

and from the treatment of the

ing-notes,

where they break

off,

down

triad

to the pass-

they form a compendium of the

matters contained in them, in which nothing necessary to the instruction of the pupil

has been omitted.

They have

another advantage

they offer the teacher of harmony a text-book in which the funda-

mental laws of harmony have been laid down, so that he will have
no other task
his pupil,

to

perform than

to direct

and superintend the work of

being thus relieved from giving, himself, but very few

directions.

But how must these Appendixes be used

The

student will

first

In the following manner.

read attentively, and endeavor

thoroughly the work of Marx, from page 94

to 113.

put aside the author, and begin the Appendixes

on the pedal-point.
the text of

to

understand

Next, he should

down

to the

When reaching this part of my work,

chapter

he will take

Marx, where the fundamental principles of the pedal are

At

given (page 215).

the page 219, of the author, he

must

resort

Appendixes (page 128), in which the manner of framing

a pedal and some other developments are given. At this part of his
work he will have to finish the Appendixes. I have confined my work
again

to the

to the suspensions,

shown than

in

but they are fully developed, and more completely

Marx.

If the

student be aptly possessed of the

matters treated in the Appendixes, he will be able to understand and

practise the chapter on passing -notes, and the following of our author.

When reading through the Appendixes for the

have

first

time, the pupil will

mere observations on the text, such as

and App. K. When the Appendixes have been

to neglect those that are

App. H, App.

I,

once read through, and studied carefully, the pupil will take the
text a second time,

and then read the Appendixes

in connection

with the text in the order in which they are referred to by numbers
inserted in the book of our author.

addressed to students

These

directions are particularly

left to self-instruction,

or amateurs living in the

country, deprived of any assistance from professional men.

As

pupils enjoying oral teaching, they will use both the text and

Appendixes, as directed by their teacher.

tc

my

few words now on the exercises, especially

students

for the benefit of

left to self-instruction.

After reading the rules and explanations, the pupil should copy

coming

the base of the exercises

after

This being done, he will

the figuring of the base.

mony

according

to

fill

up the har-

figures written carefully under the base.

to the

Before commencing

every rule or explanation,

Particular care must be given to

without looking at the upper parts.

fill

up the harmony, he ought

to read over

and over again the rules on the three musical motions, and watch

work with utmost

his

hidden or

care, in order to avoid fifths and octaves either

After

real.

he will compare his work with the upper

it,

parts written above the base in the Appendixes.

If he discover

faulty successions, or mistakes in contradiction to the figuring, he

should recommence his task, until, by comparing

it

he finds no fault with his own arrangement.

When

triads,

which

with the exercises,

studying the

consider the most difficult labor of the pupil, particu-

lar attention ought to be paid to the connection of chords

most of

the faulty successions arise from breaking this connection.

work

the student has succeeded in writing his

succeed in

this,

it is

When

correctly, (and to

not necessary to arrange the parts just as they

are in the Appendixes,) then he must create a base for himself, and

up the harmony.

fill

to the preparation,

In the discords, particular care

when

required

These exercises are carefully

is to

be given

next, to the resolution.

figured.

The

figuring

is

that

adopted in the Conservatory, and, generally, by the French school,

of which

it is

necessary

to

give the pupil a proper notion and view.

The triad is figured thus, 5.

The diminished triad, thus, -5-.
The augmented triad, thus, $5 or

When

cidental, this accidental

or

g.

fcs.

the third of a chord or triad

showing

is

is

suddenly altered by an ac-

placed above the figure

that the third is affected

by

5,

thus,

{,

or

|,

it.

The dominant triad is sometimes designated by the signature

which constitutes the leading note in the minor key, thus, # or tj,
This applies only to minor keys.
according to the key.
The dominant seventh, whatever may be the mode, is figured,
The seventh, arising from the suppression of the fundamental
.he

dominant seventh,

The

is

figured thus,

diminished seventh

is

figured thus,

-5-.

in

vi

All the other sevenths, major or minor,

7.

The major dominant ninth, |.

The minor dominant ninth, '? or tlj.
The third is seldom figured, except when
1

the dominant seventh

resolves incompletely on the third of the tonic.

The perfect fourth is figured 4.

The augmented, extended, or sharp fourth, +4.
The diminished fourth, -4-.
The sixth, both major and minor, 6.
But when the sixth is suddenly altered by signatures
ing to the principal key, the accidental or signature
the figure, thus,

tye

The diminished
The augmented

or

sixth, -e

sixth is figured

by prefixing the accidental which

second, both major and minor,

is

figured thus, +2.

The augmented or extended second,

I give this figuring as the

these Appendixes

trary in

this,

ing which

who

pupil

exercises,
it.

may

tj6.

2.

second, arising from the third inversion of the dominant

seventh, in both modes,

to

prefixed to

b6.

affects the sixth to the figure, thus, #s or

The
The

not belong-

is

and

thus, #3 or

(|2.

one used in a great school, and applied

though,

confess, there is

much

that

is

arbi-

do not disapprove of any other method of figur-

may convey

an exact notion of the harmony.

But the

studies alone, being necessitated to submit to that of the

it

was incumbent upon me

have now given

all

derive from these Appendixes

when they were

written, and,

certain,

student

if the

to

make him acquainted

all

the advantages contemplated

have no doubt, these advantages are

be a careful

observer of

all

the given

directions.

EM. GIRAC.
New-York, July, 1854.

with

the directions necessary, that the student

APPENDIX

A.

TREATMENT OF THE TRIADS.

The Triads, to be treated properly, require much skill and art
The preparation of the dissonant chords is not a difficult matter
and each of their constitutive tones

is

called to

its

proper place by

the laws of their resolution.

Here

the pupil

nection which

he must look

mean

between the chords

exist

step,

a connection which

and the discovery of which depends entirely upon

Besides, there

his care.

every

for,

alone, having no other guide than the con-

is left

may

is

a difficulty which he meets with at

and which must be carefully guarded against

we

the faulty successions of real or covered fifths or octaves.

On

pages 101 and 102,

we

have, by our author, been

made

acquainted with octave and fifth-successions; on page 129, with

covered

fifths

again.

Our

We

cessions.

and covered octaves.

We

refer the pupil to

also learned, on

page 100, that the connection of

chords consists in the mutual tones of the chords.

Connection of chords

But

is

is the

In other words,

mutuality of their tones.

there some method to follow in order to obtain this con-

nection without mistake

tion of the

certainly there

is

it

consists in the

mo-

fundamental tone in the base.

The fundamental

tone of a chord

fourth, fifth, or sixth ;

or sixth.

them

care, at present, will be to avoid these obnoxious suc-

These

it

may

may

descend a second,

ascend a second,

different motions of the

third,

third, fourth, fifth,

fundamental tone of the

chords are called by theorists, Progressions of the fundamental.

They have, also, admitted two sorts of Progressions the Regular?
:

and the Irregular.

The

Progression by a third, fourth, and fifth below, and

sion of a sixth, fifth, and fourth above,

sion.

is

its

inver-

called the Regular Progres-

The

Progression of a second below and a second above, and the

corresponding seventh,

The descending

The

is

called Irregular Progression.

progression by a third, gives two mutual tones.

Progression, a fourth down, affords us one mutual tone.

I
The

Progression by a fifth gives one mutual tone.

m
The same number

of

common

these progressions; that

sixth, fifth,

As

is,

tones

and fourth above

found in the inversion of

fundamental

and they are equally good.

motion a third above,

to the

is

in the progressions of the

it

cannot be used but under

more than one progression of

Such succession by thirds above as this,

certain conditions, and no

admissible.

this

kind

is

&c.

is

not very desirable.

is

received,

is this

The

condition under which this progression

the fundamental, after skipping a third above,

must be brought downward & fifth, and the

third of the second triad

may

triad, as,

be made the leading tone of the third

m
Hence,

more

it

would appear

that this progression

by a

third above,

is

when leading from a major to a minor triad, which

made the dominant of a transient minor key by the

satisfactory

at its turn, is

elevation of

its third.

All the regular progressions afford us some

common

tones.

But

the progression, a third and a fifth below, contains the fifth of the

following chord.

In such

progression,

we say

that the fifth

prepared

and whenever

this preparation occurs, we ought to avail

Hence we will make it a rule, that all the tones
which a chord has in common with the following chord, must be pro
;

ourselves of

longed into

it.

as,

it,

*
we

In our following exercises

mutual tones of

will designate the

^ or

to

the chords by this sign -

Previous

IT

placed over or below them.

our explanations of the irregular progression,

obliged to give a

full

we

feel

account of the three harmonic motions, whicli

have only been hinted

Theorists

at on pages 90 and 91.

acknowledge three kinds of motions

in

harmony

the

Direct or Parallel, Oblique, and Contrary.

The Direct or Parallel motion takes place when two or more

more than three) ascend or descend simultaneously, as,

parts (never

The

Oblique motion takes place

when one

or more parts or voices

keep on the same tone, whilst one or more ascend or descend.

a.

,__

The Contrary

motion takes place

when one

voices lead in opposite direction to one or

the

same time

more

or

more

voices,

parts or

moving

at

1FT
The

first

of these motions

compositions, but

The second

is

when used

is

especially admissable in two part

alone,

affords but

it

far richer than the first

few resources.

the contrary motion

most serviceable, on account of the variety of combinations

it

gives

rise.

The power and beauty

of

harmony

lie in

to

is

the

which

the proper

and

employment of these motions combined together ; and

skilful

from their motion, the theorists have fixed the following rules

Two

1st.

and two octaves, prohibited in the direct motion,

fifths

are allowed in the contrary one.

No more

2d.

when they

Four

3d.

than three parts can move in direct motion

thus move, they are liable to give

moving simultaneously

parts

fifths

and

motion,

fall

or octaves.

in parallel

inevitably into faulty successions of fifths or octaves, and most of

the time into both of them.

Let us now come

have
is

such a progression,

tone,

For the

no connection between them.

tones, in

Here

to the Irregular progression.

and cannot have any common

not,

we

the chords

and consequently there

distribution of the chord-

are under the necessity of

making

use of the contrary motion in order to avoid the parallel succession

of

As an example

or octaves.

fifths

the

two triads/,

and g,

a, c,

following combination of notes

of that progression,

which

b, d,

let

us take

in the staff will give us the

4=1 EfE=
It suffices to

look at these chords to perceive that no

between them, and therefore no connection.

exists

hand, if

we

consider the tones of the chord

each of them goes up

that

ing

is,

we

a, c,

discover that

to

second rule of the motions, there be not here some of the

errors mentioned in

In

it.

effect, the treble part

while the base part moves from

fifths in
fifths,

meet the nearest tone of the chord g, b, d,

three parts move up in direct motion. Let us see if, accord-

to the

to d,

common tone
On the other

parallel motion.

to g,

not in our

is

It

progresses from c

and thus gives us two

power

since the tones are essential to both chords

to avoid these

but

we can

avoid

having them progress in parallel motion, by giving the chord-tones

of the chord/,

All

now

is

a, c,

right.

another construction, as in the following

We

have obtained the

causing the third of the chord

fundamental tone, f, goes up

a, c, to

to g.

fifth

descend

of g,

b,

d,

by

to d, whilst the

But as we have adopted the

four part writing in our exercises,

chords in this

way

we

shall construct again our

m
A=

which

is

It is

equally satisfactory.

worth the while

to advise the pupil that, to

avoid faulty suc-

many instances, it does not suffice to take the contrary

much however depends upon the position of the chord-

cessions, in

motion;

Here, for example,

tones.
c,

if instead

in the outer regions of the

of placing the third of f,

harmony, we had placed

middle ones, another error awaited us.

it

a,

in the

Thus here

Pt
the third of f, a, c, is given to the tenor, and the doubled fundamenBoth follow a descending motion, and progress
the treble.

tal, to

simultaneously in
d)

fifths,

the one covered

and yet we lead the parts

(a,

e),

the other real (g,

in opposite directions.

This we have

avoided above, (at A,) by inverting the intervals.

We

deem

pupil every

much

it

way

proper to enter upon these particulars

to

show

of keeping from faulty successions, and with

the

how

care he must guard against them.

Finally,

we cannot

close our illustrations

upon the subject of con-

down a last observation, which is this

by an awkward arrangement of the chord tones, the

nection, without laying

to destroy,

nection which exists between the chords.

not

con-

Here,

an improper use of the contrary motion, has not only destroyed the
connection of the chords, but has led us into the very fault of coverAs both chords
ed fifths and octaves, which we intended to avoid.

have the tone

c in

common,

would have prompted us

f, a,

c,

thus

the proper arrangement of the voices

to tie

them, by continuing
_

I t3?

c in the

chord

The connection being thus observed, all the other tones, c, e, g,

move easily to the nearest intervals of the following chord. This
observation is of the greatest moment in filling up the harmony.
Exercises on the Regular Progressions.
49>

3:

EE
No.

T Y

S
No.

2.

is

555 555

In these examples

which

we meet

with a kind of

They

call the attention of the student.

hidden

fifth

and octaves,

fifths

are called hidden.

or octave is that which takes place between two parts,

one of which proceeds upwards or downwards, one or more degrees,

By filling up the skips,
while the other skips to the same intervals.
the hidden interval appears real to the eye, as,

-&>

6*

Hidden

Real

5th.

5th.

Hidden

Real 8va.

8va.

In Nos. 1 and 2 there are several instances of hidden fifths and

octaves.

There are instances of hidden octaves in No. 1, from

in No. 2, from 2 to 3,
to 5, 5 to 6, 1 to 8, and 9 to 10

measures 4

to 6,

upper

8 to

9,

and 9

parts.

to

10

in both between the base and one of the

Instances of hidden fifths are found from 1 to 2,

to 7,

and 7

base and one of the upper parts, in No. 2.

But

between the tenor and treble

sions are permitted

from 6

to 8,

between the

all

these succes-

whenever the upper part moves

to the fifth or

octave by a single step, and the lower part skips to the same intervals, as in

Nos.

and

2.

second measure of No.

We direct the attention of the

pupil to the

which the connection

occasionally

2, in

is

broken

in

raised

parts

easily,

and their progression

order to raise the harmony.

page 130.

lead

opposite

in

In the present instance, tne

direction
is

to

the

base

they move

natural according to the rules on

These conditions ought

break the connection of the chords

to

be attended to whenever

for the

we

sake of raising or depress-

ing the pitch of the voices.

The

irregular progression

regular one

and

two or three chords, except

writing.
to

We

would say,

be more suited for

it

Thus,

too, that the

two to three, from Jive to

and from Jive

latter

to six,

cannot

scale

in

six.

and
be

which

it

breaking into the major mode.

to two,

in

The

irregular

The

4=z

t t
5

also cer-

to Jive ;

from

other degrees of the

progressions

without

following exercises will serve

a.

4.

There are

from four

Major Scale.

No.

three-part-

seems more admissible.

as illustrations of the foregoing remarks:

No.

in

In the minor mode, from four to Jive*

vice versa.

used

and

ascending movement seems

than the descending.

major scale, from one

in the

cannot be carried on beyond

it

in the first inversion

degrees of both scales

tain

not so satisfactory to the ear as the

is

that reason,

for

Minor Scale.

10
In both exercises, the irregular progressions produce consecutive

by contrary motion, and, in both scales, go through the aboveAs the minor scales afford but few indigenous
c hords, it is always advisable, in their treatment, to get them, now
and then, into the triads of the major mode.
So we have done
fifths

mentioned degrees.

here, at the star (*),

of

where the minor

dominant

tonic joins the

triad

c.

SEQUENCES, OR PASSAGES OF TRIADS.

We

by

call

term certain motions of the fundamental tone,

this

stepping according to an " adopted model."

a certain

number of

This model consists of

which regulate the steps of all the fol-

tones,

lowing, as

m-^
^
Here
latter

the

first

tone goes

goes up a fourth

i
5*

down

five steps to the second,

and so on

to the third,

to the

and the

end.

These

sequences depend entirely on the will or fancy of the composer.

They may occur

in

any

strain of a piece of

music or exercise

the

beginning, middle, end, are equally suited for them.

The one most

commonly found

theorists

is

the above mentioned,

which some

have

styled eventh-progression, as being that of the chords of the seventh.

No.

=A

5.
,

t$,*

(2_L

m
1

R'.j^
\3~d
I

^
p
>

si

=1

&~-

: -j

i
i

..

-4-

sJ

11

^
F f fF

'

FT
o

-t-r
i
i

<5>

There are
which

is

harmony

in

No. 5 three instances of sequences, the model of

by this dotted curve * *
At a, b, c, too, the

indicated
is

made

to

ascend

to

a higher pitch, in order to give the

a regular position in the uniform steps of the progressions.

diminished triad

stars, the

(this is

always the case

diminished

common

triad,

triads,

damentals

;)

and

is

in these

losing

its

its

usual

way

sequences or passages,

own

character,

is

the

of resolution
in

which the

assimilated to

the

and forced into the current of the surrounding fun

this

treatment

One example more, and we

No.

led out of

part;,

At

is

shall

quite satifactory.

have done with the progression^

Minor Scale.

6.

1-9-

iL 1

T r
&

p-i

12

In the minor scale the sequences are treated in the same manner
as in the major

note

is

with this one but material difference, the leading

disregarded and restored to the major mode.

reinstated at the first opportunity, as can be seen in

But

it

must be

No. 6 above,

at

A, where the g reappears after having been depressed at the sixth

measure. So, at B, the dominant triad is introduced again, after
having been made the

fifth

of the chord

fundamental of the chord g,

to

e,

at the

b, d,

g,

two

b, at

the star;

stars.

We

and the

come now

the
1.

chord

is

Inversion of the Triads.

whenever any other tone but the funda-

inverted

the inversion of chords the funda-

mental

is

in the base

mental

is

placed in the upper parts, and the tone given to the base

is

i.

e.

in

the lowest tone of the chord, but not

denomination belongs only

to that tone

original construction of the chord

by

fundamental, as such a

its

which was the lowest

There are as many inversions as there are tones

not counting the fundamental.

in the

thirds.

According

in the chord,

to this principle, there

are but two inversions in the triads.

The
chord

first
is

inversion takes place,

in the base

it

when

the third of the primitive

consists of a third

chord of the sixth, and figured

In the second inversion, the

and sixth

it is

called

6.

fifth

of the chord

is in

the base

it

13
consists of a perfect fourth

and sixth

it

is

called the chord of the

fourth and sixth, and figured |.

First Inversion.

2.

When

explaining the irregular progression,

we

stated (Appendix,

page 9) that it cannot be carried beyond two or three chords,

most.
Thus, a progression like this

at

though the

fifths

follow the contrary motion,

satisfactory to the ear

tionable,

when

is

neither clear nor

but the same progression becomes unexcep-

the chords are put in the

first

inversion, as

This progression might have been longer and equally good, as

this

example

The

contrary motion

But

faulty interval.

we must

in

is

even unnecessary, since there

we

if

desired to have

is

not

more than three

any

parts,

use either the contrary motion, or double one of the upper

parts, thus

gg

>

&

ii

~%

rr

* ^ *
When

used

in three-part-writing, the succession

ject to another condition.

damental tone
sixth then

may

is

given

The

to the

of sixths

is

sub-

third being in the base, the fun-

upper

The chord

parts.

occur with these two features

of

the

14
In the

case, the primitive fifth

first

the second,

it

remains unchanged.

sion of sixths

we

should take the

second, so as not to
parts,

changed

is

is

first

into a fourth

in

evident, that in a succes-

construction, and avoid the

faulty successions of fifths in the upper

fall into

which are not

It

less objectionable there

than

the

in

base.

Therefore, such a passage should be written thus

not in this manner,

i
All

these cautions

required

are

passages of a certain length

require so

much

care, and

Thus,

almost indifferent.

when

when

the

standing

sixth
alone,

used in

is
it

does not

the position of the primitive

fifth

is

in the following:

P
in

which the

which undergoes no other change than

fifth,

a higher position,

is

that of

as good as this

P
which the said

in

interval is

changed

into a fourth.

The chord

the sixth needs no further remarks.

of

Second Inversion.

3.

The second
preceding, be

inversion of

made

to

the triads ( chord) can not, as the

form any succession whatever.

So, if

we

are permitted to use such succession as this

i
we

are forbidden to use the

sion.

same chords

in their

Thus
even two consecutives

second

inver-

15

are not admitted, though hidden by the outer parts.

single instance, in

are allowed

it

is,

There is a
which two consecutive pure or perfect fourths
when the first fourth is followed by the second

inversion of the diminished triad,

or by the third inversion of the dominant seventh,

which cases the perfect fourth

in

fourth.

The

is

immediately followed by a sharp

six-four chord, even standing alone, cannot be used

except upon certain conditions, viz: Preparation and Resolution;

because, although the perfect fourth

yet

it is

considered, and really

denied that this interval

Preparation, here,
lie

is

is

somewhat

done as

in

over from the preceding chord

This preparation

the fourth.

is

the inversion of a concord,

a sort of discord, and

is,

may

it

cannot be

unsatisfactory.

the discords,

by making a tone

and the sustaining tone becomes

be effected either by the upper

parts,

or by the base

ill

At A,

itself,

the sustaining a of the chord

a, c,

and

at B, the tone e,

form the preparation of the fourth.

As

to the Resolution of the fourth,

it

sevenths, in which the resolving chord

fifth

differs

is,

below the fundamental of the seventh.

the perfect fourth,

whose resolution

the base resolve the fourth,

fourth continues on the

same

it

is

done

from that of the

with few exceptions, a

It is

not the

same with
way: if

in the following

ascends or descends a

step,

and the

tone, as:

i
If the resolution be effected in the the

upper

parts, the base, fol-

16

lowing a contrary course, keeps on the same tone, and the fourth

by ascending or descending a

resolves

step

=3E
*
either

made

resolution then, as well as the preparation, can be

The

by

the upper parts, or

Preparation

is

fourth, resulting

by the

base.

necessary only for the perfect fourth

the sharp

from the second inversion of the diminished

has no need of preparation

we may

strike these chords

triad,

imme-

diately, thus

In the cadences and half-cadences the perfect fourth requires no

preparation, as will be seen and exemplified in our further explanations.

Finally,

we make an

important observation

when

through several chord-tones of the same chord, the

bound

to the

foregoing rules

the base runs

chord,

is

not

then the following cannot be ob-

jected to

T3

because in
the

its

progression the base meets always with, and stops on

same harmony.

new

But

if,

after the fourth, the base entered

chord, the preceding example should close thus

upon

or differently, according to the ending harmony, and conformably to

the preceding rules of resolution.

17

Notice to the Student.

parts,

we

advise

him

octaves, either real or covered,

sions, and, in

We

many

now come

No.

In

the construction of the upper

look carefully at the consecutive fifths or

to

which are most obvious

instances, very difficult to be

to the

7.

exercises on inversions of the triads.

Uninverted Triads.

1.

ifr^ri

zr^n

fr

FT

73-^fi

p_

&

=b=f
1

l4:

_t

8.

4Ti J

rJ

_i

No.

in the inver-

guarded against.

W-i
f

3=1

:4- d
5

<

First Inversion.

2.

&

ra

5-

5-

5-

19

sU

&

&

We
1st,

We

73

<5

i
1

1-

&

have written the above exercises on the same harmony

uninverted chords; 2dly,

4thly,

&K

first

inversion

3dly, second inversion;

by using both inversions promiscuously.

did so, to

make

the student understand the difFerent features

with which the same harmony can be endowed, and induce him

compare the difference of construction of

cessary by each position of the chords.

advantages

from

this

different constructions,

comparison.

made

the upper parts

He may

After

so

we would induce him

derive

to

ne-

many

comparing these

to write

over again

several times these exercises as they are, and then transpose them
into

different

keys, both with

sharps and

fiats.

When

done, he should himself compose other exercises in the

all this is

same way,

by varying the same harmony. We warrant that he will immuch by so doing, and will be enabled to manage dexterously
the difficult work of part-building.

i.

e.

prove

APPENDIX

B.

The Dominant Seventh, and Dissonant Chords

The dominant

seventh has presented itself

us on page 102,

to

subdominant

94, as arising from the sustaining

No.

in general.

tone,

which

to

the dominant has been given to serve as the basis and fundamental

These two tones striking together have given rise to an inwhich we are unacquainted, an interval termed discord

tone.

terval, with

and

dissonance;

or

this

dissonance, in

the present

case,

is

seventh.

Theorists acknowledge two sorts of dissonances

improper.

The proper

the seventh, and ninth.

The improper

mented

fourth, the diminished

mented

sixth.

are

five,

is

The

fifths,

form but one interval,

we

ninth differs from them in this

These dissonances do not form a chord

ourselves will consider

it

cannot be inverted.

alone, but need the adjunc-

tion of two intermediate tones to the seventh,

and of three

ninth, as will be perceived from the explanations

of the dominant chord and

The consonant chord

ear,

its

which

nance, on the contrary,

it

to the

will be given

near-related nona-chord.

or consonance, is in itself satisfactory

and therefore can be used without preparation.

reason

and the aug-

the inversion of the other; but, in practice, they are

looked upon as different intervals, and so

them.

the proper, and

the perfect and aug-

and augmented

Strictly speaking, the seventh and second

since the one

dissonances are three in number, the second,

is not satisfactory to the

The

to the

disso-

car; and for that

can be used only under certain conditions, viz

the Pre-

paration and Resolution.

The improper

dissonances,

with the exception of the perfect

fourth, do not require preparation, but only resolution.

The dominant
style of
to

music

be prepared,

seventh does not require preparation in the free

yet, as there are

it

is

many

incumbent on us

instances in

to

which

it

ought

say what preparation

is

21

moreover, besides the dominant seventh, there are several other sevenths, the preparation for

Preparation

which belongs

which

is

a law that admits of no exception.

the introduction of a tone into a preceding chord,

is

succeeding one.

to the

This preparatory tone can be either equal

to

which

it

which

it

is

the seventh

d,f, a,

at B,

it is

is

but never shorter.

the preparatory tone of g,

At A,

prolonged.

The f of the chord

to

in length to the discord

serves as a preparation, or longer

the preparatory tone

longer; at

shorter,

and

this

b,

d,/, in-

equal

is

to

causes the

preparation to be objectionable.

The law

of resolution belongs to

dominant triad

is

subject to

all

it; this

sevenths in general, and the

resolution

is five

degrees below

the fundamental, or four degrees above.

Inversions of the Dominant Seventh.

When

a fundamental tone leaves

chord must become the lowest

and not the fundamental tone.

designate only that
thirds,
it

was

its

place, another tone of the

becomes only the

but

it

By

the term

tone which, in

lowest tone,

fundamental

the original

tone,

we

construction

by

the lowest. This remains the fundamental tone, whether

be above, below, or in the middle.

There are

as

many

inversions as there are tones in the chord (be-

sides the fundamental tone)

consequently, every seventh has three

inversions.

The dominant
sists

seventh, in

of a major third, perfect

with this (x) sign below,

other sevenths, which

is

its

original construction

fifth,

and a minor seventh.

to distinguish

7 simply.

it

by

thirds, con-

It is

figured

&

from the figuring of the

22
In the dominant seventh, the fundamental tone
tant

next to

it,

in importance, is the seventh.

name

position of these tones gives the

Thus, the

first

fifth,

As

and

and minor

In this inversion the

in the

the most impor-

Consequently, the

to the inversions of the chord.

inversion with the original third in the base,

the chord of the fifth

minished

is

sixth.

It

sixth.

fifth is

consists of a

It is

minor

is

called

third, di-

figured I

This

diminished.

fifth

occurs only

dominant seventh, being always perfect in the other sevenths.

the third of the dominant chord

moves upward

to the tonic, it

(now in the base) invariably

cannot be doubled in the upper parts?

without causing faulty successions of octaves.

The second

inversion (the

chord of the third and fourth.

fect fourth,

and major

sixth.

being in the base)

fifth

is

It is

composed of a minor

It is

figured f or

called the
third, per-

j.

Some theorists advise to prepare the fourth in this inversion, and

when it cannot be prepared to suppress it. Nevertheless, in practice
it occurs very often without preparation. In our exercises, we shall
have it prepared, and we counsel the student to do so, in his own,
especially when the opportunity presents itself.
In the third inversion, in which the seventh is in the base, we
count the intervals from the

latter,

and

call

it

the chord of the se-

composed of a major second, an augmented fourth or

cond.

It is

tritone,

and a major

sixth.

It is

This augmented fourth

is

figured

again the characteristic of the third

inversion of the dominant seventh

other sevenths this fourth

is

2.

perfect.

in the third inversion of all the

We

must likewise avoid dou-

23
bling the base in

any of the upper parts

descend one step in

as the second has to

for,

it would have to do
same in the upper parts, and then a faulty succession of octaves
would be unavoidable.
The names of these inversions are not influenced by any change

its

resolution, if doubled,

the

of portion in the upper parts.

Both of the

first

two chords of the

following are called chords of the sixth, and the others are called

chords of the third and fourth.

This addition
no new

to

our chords, though of great advantage, gives us

for all inverted chords follow the same rules,

which govern the original and fundamental chords. Thus, when
we said of the dominant seventh, that its third ascends one step, that
its seventh descends a half step only, and that its fifth descends or
difficulty,

ascends one step, the same rules

hold good in the different in-

still

versions.

natural consequence of the regular resolution of the dominant

chord
fifth.

is

that the chord of the tonic remains incomplete

Theorists have provided for

When

it.

verted, they advise us to double the fundamental

base goes

its

way

usual

(a fifth

down

only four
In

many

fifth.

But then there are

parts are required,

instances,

it is

f the fundamental.
the fifth a motion

We

down

it

allowed

is

to

In such an event,

in the
to

obtain a full resolution,

we must

not in-

of which
harmony ;

suppress the

have recourse

to the fifth of the tonic, as

lacks the
is

or a fourth up), the other, in

five parts

unnecessary

it

so that, while the

the upper parts, stretches over to the resolution chord,

forms the

the chord

to the

it

if

fifth.

doubling

by simply giving
:

-1

give the fundamental tone in the base

a motion contrary to that of the

fifth.

If the fifth cannot be used reg-

24

we must

ularly,

tone

avail ourselves of the doubling of the fundamental

as for the inversions,

it

is

always possible

to get

the resolu-

prolonging the fundamental tone

complete, by

tion-chord

to the

chord of the tonic.

Exercise,

which the

in

fifth

of the dominant seventh

is

left out,

and the fundamental doubled.

No. 12.

i
At

-6-

is

next chord.

upward

fifth

of the dominant

dropped, and the doubled fundamental tone stretches over

So

it is

Exercise, in which the

or

f-

19-

the beginning of the second measure, the

seventh
to the

t^}

to

at the ninth
fifth

is

measure.

preserved, and

moves downward

complete the chord of the tonic.

No. 13.

inn

-I

&

-1

[4-rh

-f

-S>

- f

..

5 -

At N, the fifth moves down to complete the tonic, at P, it

moves upward in both eases the fundamental tone, in the base,
;

takes the contrary motion.

25

No.

Exercises on the Inversions.

14.

J.

#44*

m m

ft

r r- r

'

-5

5-6

5-5

5-

B
r

No.

-a

r
i

6 -

5- 5

15.

m
3

11

No.

'

16.

-^~

Exercises in the Minor Scale.

26

-0

#-

i
At

the third

fourths, the

measure of this exercise, there

fourths in connection are prohibited in good

so,

when

the second

is

augmented

for the succession of fifths.

should observe that the

mark

that at

Two

is

better,

pure or perfect

harmony ; but

it is

not

the reverse likewise holds good,

In the present instance, the student

fourth

is

prepared

the 6th tone of the minor scale

mental of the chord/,

the former

first

a succession of two

is

one perfect, the other augmented.

a, c, rather

than the

first

he must,
is

made

inversion of d,f, a;

preparing a half-cadence, and

something more characteristic than the

latter.

sudden transition from the chord of

g,

e,

b,

also, re-

the funda-

is

possessed of

At B,
into

c,

there
e,

gtj;

is

this

change, from the dominant triad of the minor mode into the major
tonic,

produces a good

effect.

APPENDIX
Four

parts, progressing in parallel motion, give necessarily

real

or octaves, and sometimes both.

fifths,

To render

this evident,

we have

only

base from the fundamental to the

form

C.

this passage, in this

So

it

here, in

is

No. 175.

to

suppress the motion of the

first

inversion of the chord, and

way

&c.

m
Now,

p__

<2

12_

the consecutive fifths between the base and the alto part, and

the consecutive octaves between the base

this faulty progression

fundamental
mental

tone

and

treble, are tangible.

Is

avoided by the motion of the base from the

By

to the first inversion ?

being struck

forcibly in

The

no means.

the accented

funda-

part of the

measure, remains unshaken

in our ear for the whole measure

and
makes but little impression upon it. To get
such passage as given in No. 175 correctly written, every second
note in every measure ought to be the fundamental of a new chord,
;

1st inversion

the

thus:

J
^
-4 8F*q

'mm

J.

&c.

v-v

f-f

=t
&

instead of 5, 6, 5, 6,

because

it

&c.

contradicts the

But we cannot adopt such a

meaning of the author, which

correction,
is

a combi-

28
nation of the fundamental tone with that of the inversions.
is

be done, then

to

We

What

must keep from such combinations as

give unsatisfactory results.

No. 176
ence

is

not less faulty than the foregoing.

now

that the errors above mentioned

The

only

differ-

upper
where the consecutives take place between the tenor and
for the fifths, and between the same part and the treble, for
is,

exist in the

parts,
alto,

the octaves.

Again, No. 177

in

parts

moving

utives.

We

objectionable.

have established as a

motions (see appendix, page

that

6),

in parallel direction, are liable to fall

three

into consec-

From

see in this
to

is

musical

the

rule,

correct

the beginning of the second measure to the fourth, we

number a succession of hidden fifths. We will attempt
it
but to succeed in this, we are obliged to give up the
;

three-part writing of our author, and to adopt the four-part writing,

have a

in order to

fiJ

-a

full

harmony.

4WA -a

'

J
1

4-

-i
5

-5?

s>

G
-P
"
"

=4=

f5

5*?

-f-

Likewise, in numbers 179 and

180, the construction of the

upper parts adopted by the author, has led him

We

consecutives as in No. 177.

into

the

correct No. 179 in the

same
same

way, but with a closer harmony, thus

mm56565
- F
The

Eg- -

rt-

r12
6

656

pupil should bear in mind, and never forget, that in three

and four-part writing, the hidden

fifths

and octaves are

strictly

and

20
absolutely prohibited.

But

in compositions in

which more than

four parts are used, hidden consecutives are allowed.

for

such a

liberty,

it

would be almost impossible

Were

to write

it

not

any large

composition, in which grand choruses frequently unite with three or

scarcely need

to say, that real

and octaves, between the base and the upper

parts, are nevei

four solo singers, and orchestra.

fifths

allowed.

APPENDIX
The Diminished Triad
Our author
triad in the

D.

in the

Minor Scale.

us nothing of the employment of the diminished

tells

We

minor mode.

deem

proper

it

to

supply

this

defi-

ciency.

The

diminished triad

major scale, and

is

placed on the seventh

degree of the

considered as originating in the dominant chord,

is

and by Marx himself as an imperfect dominant chord, that

dominant chord without
chord
it

is

altogether correct.

same

gives the

scale

it

position

its

is

result,

i.

fundamental tone.

As
e.,

arises a different use of

because

it

it.

From

In the major scale

But

it.

in the

stands on the second degree, and therefore,

to

go

to the tonic.

On

the minor

this difference of
it

resolves

stands on the leading tone of the mode, and

for this reason, calls the tonic after

it

the

originating in the dominant chord,

resolves to the tonic.

placed on the second degree.

into the tonic,

is,

Such a view of this

The

minor scale

nothing

it

necessitates

celebrated Reicha, professor of musical

composition in the Conservatory of Paris, without forbidding absolutely the resolution of the chord to the

very seldom permitted his pupils

first

to avail

tone of the minor scale,

themselves of

it,

except in

the case of the half-cadences, Nas will be seen on page 71 and 72.

According

to the

principles of this great theorist,

forth the following rules

we

will set

on the use of the diminished triad in the

minor mode.

A.

The

diminished triad consists of a minor third and diminished

fifth.

and

is

Treatment of this Chord.

figured -5-.

31

The diminished

triad,

being a dissonant chord, requires resolu-

This resolution

dominant

tion,

but not preparation.

The

motions of the fundamental tone are the following

is

to the

triad.

A.

At A,

the

of moving
it

fifth

in the tenor part

downward

to e.

We

ascends a step

permits the fundamental in the alto part to

of the dominant, which

The
It is

Its

first

inversion

figured thus

>

is

is

to gj, instead

adopt such an arrangement, because

always

to

lie

over

be done, whenever

composed of a minor

third

to the triad
it

can be.

and major

sixth.

e.

combinations with the dominant triad are the following

B.

The combination

at

is

unsatisfactory, and

BAD.

must be avoided, on

account of the perfect fourth between the treble and base, which
not, and can not be prepared.

The second
is

inversion gives a sharp fourth and major sixth.

figured +|> or simply +4.

is

It

32

This fourth, on account of

tion.

It is

used as follows

its

being augmented, needs no prepara

C. BAD.

the

example

Since

this

is

wrong, on account of the consecutive fourths.

chord resolves

can most properly be led

and sometimes

to the

to the

to the

dominant

triad,

follows that

it

it

dominant seventh of the same mode,

diminished

arising from the suppression

fifth,

of the fundamental of that chord.

We

will give these combinations.

Resolution on the Dominant Seventh.

A.

sis

First Inversion.

mr
!

Vri

-X

-0
E

~f

*
-i

F~

"1

l:

S>

1I

g
*

-i

Y
j

J-

*
Second Inversion.
E.

-f-f-

gj

r-

33
Resolution on the Diminished Fifth on the Seventh Degree.

First Inversion.

r r

Second Inversion.

Of

the two foregoing resolutions,

reason
the

that the fifth

same

part

which sounds

ished fifth (Ex. B.) a

because here
triad of the
in

not

meets with
it.

we

We

downward

sight

lost

of,

that

fifth

the

(A), for this

have always given the dimin-

this fifth is a true seventh ;

major mode, the

first

motion, to the third of the tonic,

may

the upper parts, especially in the

be

prefer the

immediate resolution, and in

its

though in the diminished

be

first

made

to

ascend a step

But

inversion.

diminished triad of

must

it

the seventh

the major scale, is by itself a triad, which has an

employment and a treatment of its own ; and its resolution is
independent of that of the dominant seventh
a character which

decree in

diminished

from the sup-

does not belong

to the

pression of the

fundamental chord in the minor mode.

we

deem

diminished

it

better

triad

to

on the

lead

triad resulting

down

step,

seventh decree of

the fifth
the

minor

Hence,
of

the

scale,

34

when

combined

with

diminished

the

of

triad

second

the

degree.

Some Exceptional Resolutions.

B.

We

may

consider the above resolutions as the

for

common

We

of the diminished chord in the minor mode.

treatment

must now look

some other accidental uses which have been adopted by good

and which, by the way, are common to both modes. We

writers,
avail

ourselves of

the

down

opportunity to lay them

they have been omitted by our author,

when

here, as

giving the resolution

of this chord in the major scale.

1st.

The

diminished triad

sometimes followed by the chord of

is

the second degree, major scale, or fourth degree, minor, in instances

like these

9=
"tit

Here

the chords are well connected.

pared and duly resolved.

s/

The

perfect fourth

is

pre-

single glance at the motion of the

parts suffices to convince us that all the requisites of good

harmony

meet here.
2d.

It

can resolve

to the

major scale, or sixth minor,

first

inversion of the fourth degree,

as,

-o

35
in four part writing, the fifth can be doubled.
less satisfactory

than the preceding.

It

is

This result

owing

to the

is

not

smooth

stepping of the base that the above successions are satisfactory.

Suppose

that the

fundamental tone of the diminished

any other tone of the chords

longer admissible.

d, /, a, or /, a, ch

triad skips to

and they are no


35
3d.

the

We

first

find again the first inversion of this

chord followed by

inversion of the minor tonic.

This is, perhaps, the only instance in which the diminished triad
can be properly followed by the minor tonic chord. At least, we
can say that the other combinations (the half cadences excepted)
are very rare.
Finally, there

very obvious
sequences.

by any

in

is

another employment of the diminished triad

We

musical composition.

mean

the passages, or

In such instances, the diminished triad can be followed

whatever of the

triad

scale.

Examples.

mm*
r

r*

r
1

d!

"5-

P
_f2
H
5

'

C
!

sp--

s>

km
5

-5-

Here each tone of the diminished triad is carried forcibly down,

by the current of the harmony, and follows the motion of the parts,
These instances are enough to give a
such as given by the model.
proper notion of the subject.

APPENDIX

E.

THE NOIACHORD.
The Nonachord, whether major
nant seventh.

It is

which forms the

or minor, arises from the domi-

the dominant chord, with one superadded third,

These two chords, having the same fundasame resolution but although agreethere is between them one characteristic differ-

ninth.

mental, have, of course, the

ing in this point,

ence.

In the dominant chord, each tone can, at

the lowest tone in the inversions

which forms the ninth can never be placed

words, the ninth

is not susceptible

its

turn,

become

but in the nonachord, the tone

in the base.

of being inverted.

In other

This

is

damental law of harmony, which admits of no exception.

since the ninth cannot be inverted,

a fun-

Now,

follows that the nonachord

it

has only three inversions, the very same as the dominant seventh,
but somewhat modified in their figuring, on account of the added
ninth.

In the construction of the inversions, the fundamental and

ninth must always be

made

to

keep from each other, a distance of

nine degrees.

As
name

the position of the fundamental tone and seventh

to the inversions

gave the

of the dominant seventh, so here, the position

of the fundamental tone, and those of the seventh and ninth, give
their

name

to the inversions

A.

The major nonachord

minor seventh, and major

of the nonachord.

Major Nonachord.
consists of a
ninth.

It is

major

third,

figured |.

perfect

fifth,

37

The
minor

first

sixth,

inversion consists of a minor third, diminished

and minor seventh, figured

but in

j,

fifth,

effect,

r
The second

inversion

fourth, perfect fifth,

is

composed of a minor

and major

sixth, figured |

third, perfect

effect,

i
The
fourth,

third

inversion gives a major second, major

+14.
sixth, figured +
iffect,

third,

sharp

and major

We

shall

now

give this chord and

their respective resolutions.

dominant chord, needs not

lution,

to

The

its

inversions, together with

ninth, like the seventh in the

be prepared.

The

ninth, in

its

reso-

descends a step.

No. 18.

We

have nothing

the nonachord, since

to

say of the resolutions of the chord tones of

it

would be merely repeating what has been

said of the dominant seventh.

in the

We

have only

to state that the fifth

nonachord, whether in the inversions or not, must always be

38
led

up a

step, in

order to avoid the consecutive

which always descends a

glpllll and
hi this chord, both the seventh

same time

No.

as above, in

latter case, the ninth first

with the ninth,

not

g=||

and ninth can be resolved

18, or one after the other.

at the

In the

next, the seventh, whether the chord be

Example

inverted or not.

fifth

step, thus

No. 19.
i.

-
8

%3T Z

In four-part writing, the nonachord drops one of

usually the

fifth,

thus

pi
But there
this

is

chord of

its

chord-tones,

another form, more generally adopted, to disencumber

its

overburdening tones.

of the fundamental,

It

consists in the suppression

as,

5
-i-

In this case,

becomes a mere seventh, with a diminished fifth, as

it.
But it differs from a seventh, by the reso

it

the figuring exhibits

lution.

Here

the h

is

not a fundamental tone, but simply the third

of the nonachord, of which

up a half step

to c, the

it

follows the resolution, and then

moves

fundamental tone of the tonic chord, and

so forth, with the other tones,

which obtain the same resolution as

39
in the

nonachord, since, like the

by the chord of the

latter,

must always be followed

it

tonic, thus

7 T
-i-

We

have purposely omitted to give here the third inversion, as it

no satisfactory result, on account of the consecutive fourth,

affords
as,

i
Nevertheless, if ever used,

we would induce

descend a step

the student to cause

the seventh

to

changes

chord into the dominant seventh, thus

this

So much

for the

to the

major nonachord.

B.

The minor nonachord,

consists of the

ninth

We

is

same

Let us now pass

to

The Minor Nonachord.

like the major, has

on the dominant of the minor scale.

It

dominant, a process which

Like

it. it

its

fundamental tone

resolves to the tonic.

intervals, with the only exception, that the

minor.

find here three inversions, as the ninth cannot be inverted.

The

first

sixth,

and diminished seventh.

is

composed of a minor
Its

third,

figuring

diminished
is "J",

but

fifth,

minor
-1

its effect is

40
i

The second
diminished

The
fourth,

inversion consists of a minor third, perfect fourth,

fifth,

and major

third inversion gives a

and major

sixth, figured "|"

effect,

major second, minor

sixth, figured

effect, -f^

third,

sharp

rr
\

In the following example are given the resolutions of the minor

nonachord, and of
to the

its

The

inversions.

ninth descends a half step

octave of the dominant.

No. 20.

The remarks
to the

minor.

that

As

it

have been made on the major nonachord apply

would be superfluous

the pupil to the foregoing paragraph, A,

to repeat

down

the fundamental tone of the major nonachord.

characteristic differences,

which we

shall note

them,

we

reft

to the suppression of

down

Here

lie

some

in the follow-

ing paragraph.

C.

The Diminished Seventh.

The major nonachord, when used

us a seventh, which partakes with
tonic.

Nevertheless,

when we

itself to us, at first sight,

without
it

its

fundamental, affords

of the same resolution to the

look at

this seventh,

it

presents

with such a character of vagueness, as to

41
leave us in doubt as to the key to which
seventh,

b, d,

a,

may

f,
the dominant triad of the parallel key,

can give us a clear notion of

For instance, the chord, g>

seventh.

g,

b.

e,

c,

g, or

Its resolution

by

alone

not so with the diminished

is

It

it.

e,

Thus, the

belongs.

it

be followed by the chord,

b,

d,f, reminds us at once

of the key a minor.

Again, the seventh,

The

inversion.

d, f, a,

b,

the third inversion, as in the

peculiarities

in

is

diminished seventh

the

first

(e, a).

First,

in

the

third

commonly employed

use of this inversion.

would give consecutive

perfect

as

and second.

resolved directly to the tonic, as in the

it

desirable

not

is

first

in

But there are some

If the seventh were

and second inversions,

fourths, one extended

(f

b) }

the other

In order to keep from the second fourth

we cause

the seventh to descend a half step to the domi-

nant seventh, thus

we

Second,

Third,

it

lead

it

back

to the first inversion,

can descend seven degrees,

to the leading tone,

thus:

-7-

Again, the seventh,

c,

e,

g.

Thus,

The

after g.$ b } d,f,

a minor.

b,

d, f, a, resolves

diminished

we

seventh can

only
be

to the

led

to

major

tonic,

either modes.

are at liberty to go either to a major, or

42

Now

that the diminished seventh is well defined,

improper

to write

it

down, with

its

it

will not be

inversions.

No. 21.

P
E.

C.

+a

The

7+

+2

The

fifth

be seen at

must be taken

otherwise,
JB.

it

The
might

third,
fall

In the upper parts,

when

it

may

With such an arrangement, consecutive

first

of

in the base (A),

into consecutive fifths, as

descend

to place the seventh below the third, thus

which are not objectionable

inversion, the

to the fifth

(former seventh) descends also a step to the

third of the resolution chord.

should ascend

ff7-

seventh (former ninth) goes down a half step

the tonic.

may

$g

in the

way of resolution

but care

fourths are the result,

upper

parts.

(C)

by

is

As

to the third

far the best, the base

there allowing the upper tones of the chord to obtain, without any

interchange motion, their respective resolution.

It

two other instances, which, although admitted by

are by no

means unobjectionable.

is

not so in the

strict theorists,

No. 22.

Exercises on the Nonachords.

*
5

When more

-7

r
+2

'

7+

than one of the chord-tones are suppressed in the

nonachord, as here in the

fifth

measure, the third should not be

omitted.

No. 23.

-5-

-5-

APPENDIX
NEW CHORDS

1.

F.

OF SEVENTHS.

In the harmonization of the major scale, c, f, g, b, have been

taken as fundamental tones of major and diminished triads ; afterwards, d,

minor

came

a,

e,

We

triads.

into consideration, as

will

now

use d,

e, a,

fundamehtal tones of

as fundamentals of the

fol-

lowing seventh
d, f, , c,

a, c, e y g.

They

from the dominant seventh in this: that they are

differ

based on minor sevenths and require preparation.

In order to dis-

them from the dominant seventh, and to classify them properly, we will give them an appellation from the degrees they occupy in the major scale. So, we will call
tinguish

d, f, a, c, the
e,

g,

h, d,

o, c, e,

Of

the seventh of the sixth degree.

these, the first is the

attention

first,

seventh of the second degree

the seventh of the third degree

most conspicuous, and deserves a particular

because, like the dominant seventh,

used without preparation

secondly, because

it

perfect cadences, and sometimes the half cadences.

it

a rule to prepare

As

whenever

it

is

sometimes

We

will

make

occurs in our exercises.

the dominant seventh resolves into the tonic, the seventh of

the second

tone

it,

it

serves to prepare the

degree resolves into the dominant.

goes to the

dominant,
finally, its

its

fifth

dominant,
either

its

third

Its

fundamental

ascends one step

to

the*

ascends or descends one degree, and,

seventh descends one step, and enters upon the domi-

nant harmony.

In

its

original construction

a perfect

fifth,

by

thirds,

and minor seventh.

it

consists of a

minor

third,

47

figured

It is

Like the dominant, and

7.

all

the sevenths,

it

has

three inversions.

The

first

and

is

and minor
or

third, perfect fifth,

and major

j},

called chord of the

The second

f,

composed of a major

is

sixth, figured

fifth

and

sixth.

inversion consists of a minor third, perfect fourth,

sixth,

and

is

called chord of the third and fourth, figured

t-

The

third

inversion

fourth,

and major

figured

2.

No.

is

sixth.

composed of a major second, perfect

It

is

called chord of the second, and

Exercise.

27.

i
9-(

I
2

48
This seventh can also resolve directly into the dominant seventh,
thus

No.

28.

i
f

=i
a

-f

-I
Its third

can be elevated by an accidental

then

it

becomes a

transitory dominant seventh, and forms a slight digression into a new-

key,

as,

No. 29.

i
5

When

used with such an elevation of the

third,

of the third must be carefully avoided, because

to

would give either consecutive octaves, or a cross

base, as appears in the following example

the doubling

double the third

relation with the

49

At A,

same motion as

the treble necessarily follows the

the base,

and consecutive octaves ensue. At B, the treble gives up the /*,

to descend to d, and the base, progressing from
to f, causes a

f of

cross-relation with the former

Consequently,

the treble.

it is

advisable not to double the part progressing by chromatic steps.

Sevenths of the Third and Sixth Degrees.

2.

The

major scale

third degree of the

the seventh of the third degree,

b, d.

degree, and submits to preparation.

Its

its

third ascends

descends one

a;

step, to

The

step, to a.

The

inversions.

one

first

the fundamental tone of

is

g,

e,

its fifth

It

ascends one step,

seventh descends to

a chord of the

is

resolves into the sixth

fundamental goes

c.

It

and

fifth

to

to c,

m
No. 31.

In

2.

composed of a minor

its

sixth, f

this

f-f

inversions.

its

H
-si

J
P

and a minor seventh.

seventh with

A
1

&

8-

First inve sion.

rr
d

5-6

1_
5

I
Second Inversion.

the

or | ; and the third a

J,
original construction by thirds, it is

third, perfect fifth,

Example of

or

has three

second a chord of the third and fourth,

chord of the second,

a;

50

The

seventh of the sixth degree has

degree of the major scale.

minor

third, perfect fifth,

In

its

fundamental on the sixth

original form,

its

it

consists of

and minor seventh.

m
7

second degree of the scale, and has the same

It resolves into the

number of

inversions as the foregoing, and

is

same

subject to the

laws.

No. 32.

<J
i

=?

gf- -

-5

Sometimes, after a modulation

now

sl

:-f=::

f-

T
5

P7

"

ii

to the

6-

-#
5

dominant, the two sevenths

before us combine with the seventh of the second degree, to

form a sequence of sevenths, leading

to the primitive tonic, as,

No. 33.

I
p4-,i

\^-4

~m

M
5

S
:

51

The same

formula, with the

inversion of the one followed

first

by the third inversion of the other

No. 34.

mm

-4-.
&

\4=A rff:

The same

g 2

again by changing the order of the inversions.

No. 35.

mm

1
i
1

H--t
-o/

ftp^r
2

Let us now enter upon the development of the

Major Sevenths.

3.

Theorists give that

name

to the

sevenths whose fundamental

the tonic or the subdominant. Let the tonic be

nant f, and the

first

of these sevenths will be

is

and the subdomi-

c,

c,

e,

g,

b,

and the

second f, a, c, e.
As with the sevenths above, we shall style
the former the first major seventh, on account of its being placed

on the

first

degree of the scale

the latter the fourth major seventh,

being placed on the fourth degree of the scale.

for

They

are the

most discordant of the seventh chords, and of course they ought

to

be prepared.

ser, to

and

They

require an exquisite feeling in the compo-

be properly employed

skill, far

and when used with discernment

from being harsh and rough, they strike the ear not

unpleasantly.

In their original construction

major

third, a perfect fifth,

by

thirds,

they are composed of a

and a major seventh

52

Their

inversion consists of a minor third, a perfect

first

and a minor

and figured

sixth.

It

The second
and a major

inversion consists of a major third, a perfect fourth,

sixth.

and figured f or
,

It is

called the chord of the third and fourth,

for|
The

third

inversion

and a minor

fourth,

second, and figured

is

composed of a minor second, a perfect

sixth.

It

is

first

called the chord of the minor

mm
a

The

fifth,

called the chord of the fifth and sixth,

is

major seventh resolves

into the

subdominant,

as,

No. 36.

1st inversion.

2d inversion.

3d in version,

The
scale,

i.

fourth major seventh leads to the seventh degree of the

e., to

the

harmony of

the diminished triad, as,

No. 37.

53

The

seventh,

triad of the

c,

e,

resolves satisfactorily upon the major

b,

g,

But f,

subdominant.

a,

c,

e,

far

is

from leading

to

such a repose as might be expected, after so striking a discord as

f,

a, c, e.

Its

something

for

resolving into the diminished triad leaves us longing

fuller, at least for the

cannot be changed

The only way

abruptly.

minor

But

triad, b, d,

/j|

without dragging us to a foreign key too

to

us to resolve /, a, c, e, as satisfactodiminished triad after the

left

rily as c, e, g, b, is either to lead the

chord, /, a,

c, e,

to the

dominant

triad of the parallel key,

No. 38.
3*9-

(5

'

or to resolve the seventh,

reach the minor key,

seventh of the second

a, c, e, into the

degree of the minor scale

we

-5-

and then, by a sequence of sevenths,

as,

No. 39.

fS

Let us now pass

P-

r-

pp

to the

3.

Passages of Sevenths.

We

know now how to prepare and resolve every chord of the

seventh, and we are accustomed to the manner of placing them on
every degree of the major scale. It remains now to combine them
in

passages, or sequences

and

this, in

consequence of our being

practised in their treatment, will not be a hard task.

in this

to

prepare the

first

of these chords (unless

It

consists

we commence

dominant seventh) and to terminate the sequence with the

dominant seventh of some parallel or relative key.

at the

54

But what

a parallel or relative

is

key

parallel

is

that

key

major or minor having the same signa-

ture.
Thus, the parallel key of g is e, because both have the
same signature-f.
A relative key is that major or minor having an accidental more

Thus, the relatives of g, of which

or less than the principal key.

one sharp (/$), are, first,

and its parallel, a;
whose signature is
and c$, and its parallel b, and

the signature

secondly, d,

is

also the parallel

trfcj,

key of g,

e minor.

In the sevenths, the fundamental moves a

fourth upward.

tones

fifth

downward, or a

we meet with a series of

we can use them as funda-

Consequently, whenever

moving through such

mental tones for sevenths.

a motion,

Let each of the following tones

5
be taken for the fundamental tone of a seventh

which
first

every chord

in

be met with, will serve us for the preparation of the

c will

seventh,

whose fundamental

will be d.

our preparation chord,

for

we

If

shall

we

take the triad,

have the following

passage

No. 40.
-I-

f
As

it

results

from

this

example, the sustained third of the

seventh becomes the preparation to

to the third,

and so on to the

last,

its

which must be a dominant seventh

Likewise, such passages can take place with the inversions.

No. 41.

first

neighbor, that of the second

55
Here, there

is

an alternation of the

and third inversions.

first

following begins with the third inversion, mingling with the

alternately

The
first,

No. 42.

mi
EES

In successions of this kind, the second inversion

ble

as

the

on account of the

others,

quently, although regularly prepared and resolved.

it

may

poser.

is

not so desira-

fourth returning too fre-

Nevertheless,

be properly used to render some particular idea of the com-

The

following

is

an instance of

its

employment

No. 43.

"C*

i^C7

-CL-

In the minor scale, the passages of sevenths are treated in the

same manner as in
garded, by dropping

the major

that

is,

the leading note

is disre-

the accidental from the dominant tone of the

scale, thus:

No. 44.
t

At

the star, the

is

made

natural

here characterises' the mode

by leaving out

but at

the sharp,

accidental
(f), the

is

which

restored,

56
minor key

that the

may

The same

not be lost sight of.

rule holds

good in the inversions.

When

practising the inversions of such passages,

it

will be advis-

able for the student to look carefully at the fundamental tones.

As they should

step a fifth

downward, or a fourth upward, he has

nothing to do but to try every seventh, and examine whether each

fundamental keeps
sion

its

its

required step, by placing under each inver-

An

respective fundamental.

meaning.

Suppose that we have

to

example

will

explain our

put the following example to

test:

No. 45.

It is

plain that part of these inversions do not agree with the funda-

The

mentals beneath them.

necessarily to the

of the

fifth

and

sixth.

to their original

there

is

first

Now,

its

if

we

i.

e., to

the chords

recall the sevenths, at

construction by thirds,

we

A, B, C,

immediately find that

a foreign tone in each seventh, which does not agree with

the fundamentals below.

in

third inversion of a seventh leads

inversion of the next

If

we

stead double the fundamental,

succession, in

which every thing

away this foreign

we shall have the

take

is

tone,

and

following

correct.

No. 46.

For, every upper tone answers to

its

respective fundamental

We

57
Urge

this

He

practice upon the student.

will

avoid numberless

We

mistakes by attending to the regularity of the parts.

him, likewise, that

all

remind

the sevenths, except the dominant, ought to

be prepared, at the beginning of the passages

and that these pas-

sages must close with a dominant seventh, in order to rest upon a

tonic of one of the relative keys.

In conclusion,

we

propose

the following exercises on the sevenths in general, and

recommend him
presuming on
his

to transpose

them

we

his industry,

into several

him

advise

we

keys.

to write

to

him

strongly
Finally,

some others of

own.

\u

r~

rf
6

r
&

a
6

7+

No. 48.

^
(*7^fH=i=\

rJ
5

fcp-p?

Hp_ f*

.-^g

-s

III"5

1-

58

U
59

No.

51.

tor
r

m
y
y

7-

'

T
5

No. 52.

|=3E

r
1

7+

Passages of Sevenths.

^5

a
e i-

IB

3=

7+

No. 53.

* -

(P
I

e<

60

The Final Cadence.

The

cadence, or simply the cadence,

final

is

the conclusion of a

musical period, on the tonic, either of the principal or relative key,

or of
for

any

The dominant

other, properly settled.

the perfect cadence, but

chords, which serve to

make

it

the cadence plainer

This run of chords forms what

chord

is

necessary

must be preceded by some other

is

by

called

and more solemn.

theorists a

formula of

cadence.

In the beginning of this chapter,

the second degree
ous, because
shall

now

Used

thus,

after the

we

stated that the seventh of

dominant chord, the most conspicu-

serves to prepare the perfect or final cadences.

it

consider

of some of

is,

it

it

often undergoes several

tones,

its

We

as leading to such a result.

namely

changes

in the resolution

the third can either ascend to the

dominant, or descend to the sixth of the second inversion of the

tonic

chord.

When

to the said sixth,

The

seventh

is

its

fundamental

is

doubled,

and then the third goes upward

it

ascends a step

to the

dominant.

prolonged, and becomes the fourth of the second

inversion of the tonic

but finally,

it

must descend a step

to

the

61

way

The fundamental

dominant seventh.

third of the

follows

its

usual

of resolution.

No. 54.

-0-

Mee
Hi
^'
5

it

may

is

-a-

-<5>
i

.
1

This

HP

| 7+

an exception

| 7+

In the perfect cadences,

to its resolution.

also resolve immediately into the dominant seventh.

No. 55.

=T

BJ
S

(9

-f-

77+

fi>

(2

7+5

In tho second inversion, not only the seventh must be prepared,

but also the fourth, and it must directly resolve into the dominant
seventh, as,

No. 56.
.

62

Hence, the following

loo

many

fourths

is

not satisfactory, as

and yet the

first

it is

encumbered with

of the two fourths

is

prepared.

No. 57.
rl

si

~&1

Jr- p

1
1

The following
first

is

not only unsatisfactory, but even

wrong, the

fourth not being prepared.

No. 58.

-7sg
is
1

P-

i-

f-f

it
The same

7+

rules apply to the seventh of the second degree of the

minor key.

Exercises on

this Seventh, as

preparing the

final

cadence in both

modes
No. 59.

55

55

55

55

63

13
No. 60.

2Z

-1

r-<9

>

rt*

^=1
LL

-1.

IB

g>fs<-

33

64
No. 62.
ii

J "

(Mm

sjr

r
1

i
P

...

<5

J
5

'

5
1

6
's

In the following example, the seventh of the second degree resolves directly into the dominant seventh, without destroying the
fullness of the cadence.

65

The Diminished Seventh. on the Subdominant,

originating

the Seventh of the Second Degree.

in

final cadence, the seventh now before us

new diminished seventh, of which it is the fundaits minor third is made major, and the chord changes

preparing the

In

gives rise to a

mental tone
into a

But although resem-

minor nonachord of the minor key, g.

bling a minor nonachord as to

The fundamental

resolution.

only remain
resolution

is

is

its

form,

always

quite unlike

it is

left out,

and f,

it

in

a, c,

its
e|?,

t. e.,

a diminished seventh on the subdominant, whose

this:

the fundamental tone ascends one step to the

dominant, and the third descends one step; the

fifth lies

stationary;

the seventh ascends a chromatic step, and changes into the major
sixth

of the second inversion of the tonic, which finally resolves into

the dominant seventh, as,

As can be seen from

thirds, this
fifth,

the example, in

its

original construction

by

diminished seventh consists of a minor third, diminished

and a diminished seventh.

Of
dence.

its

inversions, the
It

consists of a

which occasionally

is

first

minor

alone
third,

is

used

to

diminished

made extended,

prepare the
fifth,

final ca-

and major

sixth,

as,

-5-

In order to give the voices a freer and easier motion, this dimin-

ished seventh

is

changed often

into

pup
5

"

an augmented

=rt

sixth, as,

Here,

represents

rfjf

cfe

and, no doubt,

an easier step

it is

for the

by
It becomes a kind of leading note,
which leads smoothly and unmistakably to
Here we think
treble than eb, followed

it
;

proper

student never to give the voices, especially

to advise the

n choruses, such intervals as require

H
j

whom

difficulty of intonation,

As we cannot

in the performers.

performance of choruses

the

and

look for great skill in those

entrusted,

is

advisable to avoid carefully the following intervals

it

will

be

sharp fourths,

diminished and superfluous sixths, and diminished and superfluous

fifths.

All these intervals are nothing but break-neck places for

chorus singers.

There

is,

minor

also, in the

scale, a diminished seventh,

on the

subdominant, originating from the seventh of the second degree,

which belong the developments we are now unfolding

lar attention

must be given

construction

by

when

the chord

is

elevated, in

in

its

original

degree of the minor scale,

and

IT This

f>

rr should be avoided thus

is

not admitted

as,

Such a caution is unnecessary when using the first inversion,

which the sixth can occasionally be made superfluous, as,

No. 64.

P
m

rr hi

p=fF
L_LL
1

ai|Ef=fc|
5

Some

to

but particu-

This diminished third arises from the eleva-

thirds.

tion of the fourth

which must be

to the third,

order to avoid the diminished third,

exercises will

now

illustrate the foregoing directions.

in

67
No. G5.

SI
5

r+

m
- -7-

fa

Hi

()

?==
5

-7-

P|

5-

-7-

The seventh of the second degree, in its first inversion, as well

as in cadences, can occasionally resolve into this diminished seventh,
as it results from a, in the preceding example.
The following gives
the

same

inversion, resolving into the diminished seventh,

paring the end.

No. 66.

v),

9i

3_g

rXTm

vjg

and pre-

68

The

diminished seventh preparing the final cadence in the minor

key.

No. 67.

JJLJ

G-

+2

J#J

L_

11

J 4
5
1

Example on

5-

II

sevenths, in general, and formulas of final ca-

dences.

No. 68.

3*

*r"rr

r
^

Pi

-tr
t

?!-

70

Half-Cadences.
In

foregoing chapter,

the

we have

fully unfolded

the whole

matter of the final cadences, and pointed out the chords preparing

We

them.

The

now come

half-cadence

to the

is

half-cadences.

a temporary form of repose of the whole

harmonic body, on the dominant

This repose

triad.

is

in

some

cases limited to a certain length.

$r-tt
IS

In others,

it is

indefinite, as for

or organ-point.

p
As

in the final

example, in the case of the pause,

.

cadences there are some chords especially appro-

priate to prepare the end, so also there are particular chords appropriate to prepare the half-cadences.

There are two ways

when

to

form a half cadence

the chord used to form a half cadence

the dominant triad

the other indirect,

when

is

"We can go

to the

triad.

firstly,

from the tonic

both scales.
Indirectly
I

*
rr E
c

J-4

f"

r5
Minor.

Directly.

ii

is

In the latter

any preparation.

half-cadence,

Directly.

the one direct,

the dominant triad

preceded by the second inversion of the tonic

case, the fourth does not need

followed directly by

Indirectly.

Ji

=2:

triad, in

71
Secondly, from the

first

inversion of the seventh of the second

degree, and from the uninverted chord

in both scales.

itself,

Major Key.

-5f-

ff

. I

as:

Minor Key.

'

9
t

i
r

Thirdly, from the chord of the second degree, in both scales,

Major Key.

Hi*
J

or

H
5

F=lJ

51

<*g

'5

Minor Key.

fc=fc

^
I

&

is
i

if

72
Fourthly, from the chord of the subdominant.

Major.

Minor.

-J-

9^
5

Fifthly,

from the chord on the sixth degree of the minor scale,

Sixthly, from the diminished seventh

its first

f-

as,

on the subdominant, and

inversion.

r-75-:

ri

f--7-

The
sion,

fifth

which

-7fig

5-

jg_

jig

measure (A) of the foregoing contains a

is

admitted

by some

theorists

superfluous sixth.

i
2L_f

r
53

fifth

as mitigated

succes-

by the

73

+
A

5S

At
in

there

is

50
o

fifth

T-

i-

succession, admitted for the

same reason as

A, above.
Besides these, there are two chords, chiefly used

half-cadences, viz.

and the chord of the augmented

The Chord

1.

This chord

fourth,

prepare the

and superfluous

sixth.

of the Fifth and Superfluous Sixth.

composed of a major

is

It stands

fluous sixth.

to

the chords of the fifth and superfluous sixth,

third, perfect fifth,

and super-

on the sixth degree of both major and minor

scales.

Major C

Minor A.

Pm

to be the first inversion of that diminished seventh,

subdominant, with which we are already acquainted
on
the
placed
but its perfect fifth forbids us to trace it to this seventh, of which
It

the
it

seems

first

inversion has a diminished

as standing
It

fifth.

We

will, then,

consider

itself.

has two ways of resolution.

In the

The

by

the fundamental descends one step to the dominant.

can either ascend or descend one step. The fifth de-

first,

third

scends one step, and forms a

fifth

succession, with the base.

But

mitigated
this fifth is generally permitted by the theorist, as being
or
conspicuous
nothing
it
has
effect,
In
sixth.
superfluous
the
by

disagreeable to the ear.

On

the other hand,

it

is

very easy to

74
avoid

it,

should any one consider

objectionable.

it

Finally, the

superfluous sixth leads forcibly up to the dominant

No. 69.

9^
H

In the second, the fundamental and superfluous sixth moves as

in the foregoing case

and forms with

third

it

but the third stretches over to the dominant,

The

of the dominant triad.

nant, forming with

chord

a perfect fourth, which changes finally into the

is

it

fifth

used in the major or minor scale.

No. 70.

continues to the domi-

a major or minor sixth, according as this

Major.
J

J
0-

-G

&C.

No. 71.

Us

Minor.
i

(I
&0

75

As can be seen from

these examples, thus resolved, the pro-

gression causes no consecutive

The Chord

2.

fifths.

of the Third and Fourth, with the

Superfluous Sixth.
This chord looks like the second inversion of the seventh of
second degree with the major third

by

itself.

dominant

Its

it is

fundamental moves down

triad

dominant triad

the

but

its

must descend

third

fourth

its

same chord. Finally,

is

the

considered as standing

to the

fundamental of the

same

to the third of the

prolonged, and becomes the

the sixth goes forcibly

up

to the

fifth

of

octave of

the fundamental of the dominant, thus

No. 72.

&c.

This fourth, being augmented, has no need of preparation.

Very
is,

often these

two chords (*g and J|) combine together

that

the fifth of the former resolves into the fourth of the latter,

which afterwards follows

combination

also

affords

its

way

usual

of resolution;

and

this

another means of avoiding consecutive

fifths.

No. 73.

,1*1
fedH

11

~i
f

m-^J

76

'

As can be

J
^

J
1

5-

-kJ-

-1

* *

7"

seen at A, the perfect

fifth

of the

fifth

and

sixth falls

on the sharp-fourth of the third and fourth, which resolves

triad of the dominant.

At B,

the

first

into the

inversion of the seventh of

the second degree changes into the diminished seventh, as

it

has

been intimated, on page 67.

We

cannot forbear

to

draw the

attention of the student to a

formula of half-cadence, which has been employed by Haydn, in

his

work, " The Seven Words."

the

diminished

We

have already

that

first

inversion, only, are used in the half-cadences.

inversion of this chord

over

to the

is

said,

seventh of the subdominant,

05,

often resolved thus

on page

and

its

The second

the base stretches

fundamental of the tonic chord, as

Sometimes the minor third

is

changed

into

an extended second,

thus

In the

last case, the resolution

ceding one

of the tonic.

that

is,

remains the same with the pre-

the diminished seventh resolves into the chord

77
in "

Haydn,

The Seven Words" deviating from the above

has made

lution,

jump down

reso-

dominant, thus:

to the

or

making

a formula of half cadence.

it

had made the second inversion of

usual
this

way

of resolution;

formula of cadence

however,

it is

very

is

Before him, no composer

seventh deviate from

this

notwithstanding

this

great

its

authority,

As employed by Haydn,

seldom used.

effective.

Exercise on the Half-Cadences.

No. 74.

1-*f-

yy r

[~]

-4

l
I

4
m

7+

fad
5

U44
r

rr

<S>

-1

-i

t1

79

N. B.

Here, again, we would advise

the pupil to transpose the

foregoing exercises into several keys; and, after looking at each

formula of half-cadence, and practising

whole of the
direction,

different instances.

we urge

it

Not

it

separately, to

make a

to repeat tediously the

same

as a great advantage in point of rapid improve-

ment, whenever every matter has been seriously thought of and

understood.

APPENDIX

G.

MODULATIOITS.
A

aaayilkm is grounded on a certain scale, or key,

by the s^naliin at the beginning. This is called the

mtsical

ascertained

may

principal scale, or key, in contradistinction to others, which

occasionally be introduced;

but a troublesome monotony would

same key were

carried out through the whole piece,

ensue, if the

from the beginning

aamnnras of scale,

to the end.

new keys

Therefore, in order to break this

are employed, whose effect

keep,

is to

by placing themselves
The introduction of a new key is technically called
in its stead.
a modulation. Modulating, then, is " to pass from the original key
into another, which is foreign to it."
for

a while, the principal key out of

Of the keys thai resorted

to,

sight,

some are

relative to the principal

key, others not. which, for that reason, are called remote keys.

A key is relative to the principal

number of accidentals, or one more or

remote key

that

is

or more accidentals.

which

one,

when

has the same

it

less,

differs

from the principal by two

Hence, two kinds of modulations

Relative

sad Remote,

The

Relative Modulations.

relative modulations are the

most obvious in a musical

There are whole quartettes and symphonies by

Haydn and Mozart, in which no other modulations are used but

composition.

those in the relative keys.

Rossini

the

melodious Rossini

in

the greater part of his airs, duets, and trios, and in several of his

most effective choruses, confines himself

There

is

to

the

relative

one of which he seems particularly fond, and

in

keys.

which

he has excelled, which might be styled the Rossini an modulation,

namely: the modulation from the principal key up

to the

minor

51

key of the

third degree.
In this he has concluded numbers of the
and most graceful periods. The celebrated Handel has
built his mightiest effects with the relative keys; so that the
occurrence of a remote modulation is, in his works, worthy of
finest

remark.

To modulate
made use

is

We

into a relative key, the

of,

since

hardly need say that

the

is

it

dominant seventh of that key

decisive sign of

immaterial whether

it is

own

its

it

key.

be inverted or

not.

Let us take an example of a

pal key.

Its relatives

g, with /jf, and its minor, e .

in the principal key, we add

we

As we have no

c, be

the princi-

tip

to

it,

which

is

its

next,

accident to suppress
the

thin g as if

same

suppressed one sharp, in a scale with sharps.

gives us the key of f, and

and

Let

relative key.

are a minor, with the same signature

This proceeding

minor, d, as relatives to

c,

next to g

e.

Recapitulation.
C, principal key
which three are minor, and two major.

^
5

=flP

11

Iff

II

As can

-g

II

"

Ml1

L
i

i5

^ IS
5+a

Ml

v
O

n
$
1

s
II

|3

Gnr

of

Example of Relative Modulation*.

No. 76.

relatives, a, g, e, f, d,

^flP

5
1^1
7

5
::

be perceived from the example, the dominant seventh of

has sometimes three, sometimes two, or one tone

these relatives

As we may
principal

between these
because

see from these examples, the tonic chord of the

key presents
c,

f,

itself,

different keys.

the

first,

most of the time, as the mediator

No. 2 has two intermediate chords,

gives no mutual tone to the dominant

seventh of the key, e minor ; therefore, the chord, g, h, d, has been

used to secure that mutual tone. In No. 3, the key, d minor,
gives three consecutive tones to the following dominant seventh of g

major.

we

If

we

consider that

d minor

is

a relative key

to

perceive that the dominant seventh of the latter key

adapted to modulate from d minor to

well

major, without any other

mediator, since after every dominant seventh

either into the major or minor key.

minor,
is

we

are free to pass

'

S4

By
from

the

same

g major

single mediator

In No.

reason,

are authorised, in Nos. 7 and 10, to go

e

minor

d minor, with a

to

the dominant seventh.

we

5,

we

d minor, and from

to

are justified in passing from the tome,

f (one

major, to

by the consideration that often

atonic may be considered as a dominant seventh, which may resolve
Then, in the present instance of No. 5,
into another dominant.

the dominant seventh of

flat),

we pass from major g to the dominant seventh of the major key,y.

The other Nos. require no particular observation ; and we shall put
the preceding

No. 77.

\*4

in practice.

Exercises on Relative Modulations.

F
1

remarks

0*00

j
-5

##

0~

3*

T-

-2

Jill

85

86

w
n

The preceding modulations have been performed by using only

but we can obtain the same result by the

the dominant sevenths

nonachord and the diminished

seventh.

their

relationship with

achords are seldom used

when

a major key

is

i.

new

the

e.,

wanted

key, and

The

reason
to

why

and when we intend

The

is,

It

will

is,

in this respect,

means of modulation, each

Occasionally,

but

it

we may

in their

be advisable to resolve them into the

dominant chord, before getting the new key,

the

touch

seventh, derived from the major nonachord, and the dimin-

respective modes.

to

to.

modulate with.

ished seventh, furnish us with

tions

it

partly, because of their being

This diminished triad

overloaded with tones.

to

used,

the nonachords are less suited than the dominant

perform the modulations

more convenient

when

major nonachord must be

a minor key, the minor nonachord should be resorted

chord

Notwith-

the dominant seventh, the non-

to settle a

must be with discernment,

used,

from the dominant

endowed with the faculty of modulating.

that they are

standing

triad, both arising

upon considering the origin of these chords,

evident,

It is

as,

use the dominant triad for our modula-

lacks that decision which the dominant seventh and

nonachord possess.

This lack of decision

is

owing

to

its

87
adaptability to the the major and minor mode.

major, the dominant triad,

d,f^a, reminds

and g minor ; and the tonic chord following

all

For

instance, in

us of the keys,

may

it

g
g major

alone remove

uncertainty of key.

many instances, can likewise assist

They enjoy the peculiarity of effacing entirely
the original key.
But if we design to confine ourselves to the
relative modulations, we must take care not to touch any minor
triad, which might lead us to remote keys.
Thus, in c major, we
must avoid the minor triads, c minor, and f minor. The former
Finally, the minor triads, in

us in modulating.

might lead us
a!?

triad

g,

b,

major, Vy major, or

efy

g minor

the latter into

But we can change the dominant

into a minor triad, and pass into a key of which the minor
Thus, in the case of c major, by changing
is relative.

major,

triad

into

f|?

major, or

d, into g,

b%

d,

minor.

we

d minor, which stand

are at liberty to modulate into

in near relation both to

major and

minor, and to the

principal key, c major, as,

mm
T|

II

1+

=^

p-ri- "J5

*r

-5-

or

(&

M
1

This minor
from one key
principal

/ major,

triad

may

to others

key;
thus

for

afford us a proper opportunity of

moving

not related to each other, but related to the

example, in the key of

c,

from

g major

to

Ju

88

No.

80.

iti

=s

#-

H
5

6
-5-

Or

to

<

minor, in the same key of

No.

81.

fjt

-5-

thus

c,

I
1

close the relative modulations,

by two

-5-

now

will

1
i

We

illustrations

One affords some instances of modulations by

The other is the "Wedding March," from

of the subject.

the

nonachords.

the

Iphigenia in Aulis, by Gluck.

No. 82.

y p-
1

1
1

t-ir
>

*#-*#

rF

1
i

-j

m
5

fe

rr
*

-7- .6

0-

fT

-
!

J r
-

U-4-f

-h
6

-j

.kp

+2

In

this

example, the nonachords resolve

seventh, before touching the

new key

into

the

dominant

except at +.

The Wedding March, from Gluck.

1st

Violtx.

2nd
Violin*.

k-K

IS

I
i
-

ST

15

Alto.

-
4+41

2T

^ ^

-s

# * *

i~r
Basso.

r ^

90

91

2
,

* 1

-0

tf

tr

H""*

H5

i
'
1

for r-

J
9

This piece

is

11

bt'r

-H

s
-

4t

admirable for

its

and remarkably

simplicity,

rr

fit

for

the circumstance in

which

smooth and quiet

motion something breathing of early music,

making

the listener's

it is

mind

performed.

feel the

Besides, there

is

in its

happiness the enamored couple

must have enjoyed upon the occasion.

The

student should notice the digressions into a minor and d

major, at

and

harmony moves

after which, at C, the

major, in which the composer concludes the

This affords an instance of what

sition.
i.

first

is

part of his

into

compo-

called a transition;

a modulation by which the writer ends an important part of

e.,

new

a piece of music in a

At

key.

the beginning of the second part (D),

Gluck again makes two

small modulations, one into a minor (E) and the other into d major

(F)

and

finally,

(G) a formula of cadence

in the principal

This

introduced, and the composition brought to an end.

specimen of relative modulations.

simplest melodies are

made

may

It

interesting

by a

be seen here

skilful blending

is

key

is

a fine

how

the

of these

keys.

We
vation,

cannot give up

this subject

ply modulations, so as " to take

the

without setting forth a

which should always be kept

whole structure

in

away

in other words,

view

that

is,

last obser-

not to multi-

the unity and firmness of

we must

use modulations

moderately, and allow the principal key to be predominant, what-

ever

may

be the length of the composition.

92

Remote Modulations.

2.

From
it

key, as

is

disagrees with

it

appear,

already given of Remote Modulations,

by so much more remote from the principal

definition

the

ensues that a key

at

the

brought about

yet

it

in its tones.

reading, to

first
it

is

Kremote modulation may

imply something

not always so.

difficult to

remote key

means a great deal harder to be got than a relative

down here some directions, which will enable

lay

is

We

one.

be

by no
will

the student to

They are many in

sum them up here, we could not

bring about the most used of those keys.

number

and were we able

to

boast of having given all the possible

many

others

may

dominion of the

Heaven,

in

art of

be discovered

means of modulating
by a man of genius

music being boundless

like the

which the astronomers, from time

some unsuspected
1.

still

for

the

canopy of

to time,

discover

star.

The same dominant

sevenths which have assisted us in

performing the relative modulations,

may

likewise serve us for the

purpose of modulating into the corresponding irrelative ones.

we can reach

For

minor and g minor,

through the very same dominant sevenths which have led us to their
instance, in c major

corresponding major keys.

the keys,

93

Moreover, in every scale there are three minor

after the principal tonic

we

use these triads

triads.

Then,

if

serve us as connect-

to

ive chords for the dominant seventh of their respective major

ones,
gain three remote major keys.
The minor triads in the key of

we

c are

f a e

df$<i eg$h a

c#

c e.

No. 85.
From C

to

Their corresponding major ones are

e.

Example.
From C

Major.

to

Major.

&5h

1
5

-&

G-

fa

PSEES
5

&C.

tff

Thus, every major scale gives us

five

modulations into remote

keys (three major, and two minor), which are based on the following degrees
the

the major on the second, third, and sixth degrees

minor on the fourth and

fifth

degrees.

We

perform these

94
modulations with the same transition chords which have enabled
us

to

modulate into their corresponding relative keys.

The minor

scale gives no keys different from the major.

The alteration which the third of a chord may undergo,

2.
when changed from major to minor, or from minor to major, can
more or less distant. This proceeding is frequently
Haydn, Mozart, Beethoven, Meyerbeer, and other cele-

lead us to keys

followed by

brated composers.

we change

major,

For instance,

reminds us immediately of
said

modulate from

to

the major triad, g,

all

its

d,

b,

relatives

g major

into g,

d,

b\>,

to e?

which

and we perform the

modulation thus:

No. 86.

fcp

>

&c.

m
We

might proceed

farther, as,

still

No. 87.

im

to

mm

&c.

The minor
us of

a[?,

to

triad g, Vp, d,

through

its

relative,

which we are led by changing

the dominant seventh of the key,

Now, if we intend to return

el?, we will have to follow the

a[?,

ej?,

g,

this triad,

b\r,

el?,

g,

reminds
b\?,

into

major.

to the key,

major, from the key,

contrary course

that

is,

to

change

95

some minor
c

minor,

triad,

is

triad into

and change

it

key,

to the

efc

for instance, the triad,

Let us then choose

Our return
following way

into c major.

surely accomplished in the

We

Here

major.

its

nearly related

must be careful, when we

affect

to

g major

this

will be

such changes in the third

of a chord, to place the accidentals in that voice which can takp

them most conveniently

that

is,

in that voice

which had formerly

same tones, without alteration. Thus, in the examples, A and

B, we have given hV to the alto, which had previously |j
and in
the

we have

the example, C,
strictly

adhering

given e

to this rule,

we

In the preceding examples,

and gone
direction

with

to those
;

i.

e.,

flats.

mind

that in

we have

We

into

The minor

eb.

By

into

started

from natural keys,

now

follow an opposite

to

to

go

to

keys with sharps;

minor ones, so now we

shall

But here the pupil must bear in

every scale there are three minor triads, those on the
into

which,

more or

are

from natural we intend

major

thirds.

second, third, and sixth degrees.

triads,

which had

shall avoid cross relations.

and as we changed major thirds

change minor

to the treble,

changed

less

into

remote keys.

He must

major, will

From

triad of the second degree

avail himself on these

help

him

to

modulate

major

may

lead to e major and a

major, thus

No. 88.

Major.


96

4=

4-

-I

s-

-a

Major.

5?:

The Minor Triad on

the third degree to major

e,

minor

c$,

and

minor f.

No. 89.
!

iuL

gi-

'I

Major.

fl-*

-2

f
c

Minor.

Minor.

S3
The minor Triad on

f minor.
No. 90.

the sixth degree to b major, a major, and

We
seventh

have here introduced such keys as have their dominant

connected with some preceding triad. Nevertheless, in

of this

spite

connection, such

modulations

are

as

require in practice a more extensive development.

is

given here,

The

following

a specimen of their treatment

No. 91.
Farewell, thou

bu

sy

world,

(A)

Fare-

-J-V-JP-^T
!

well, thou

bu

sy

world,

and

r7r

u
bu - sy world, fare-well,
I

Fare-well thou

may we

nev- er

meet a

gain,

98

mmrr
and

may we

nev

er

meet

gain.

meet

gain

r-l

(+)

may

we

nev

er

E=*=pz:
and

Here

meet

the alto part being stationary on

g( A)

for several

measures,

prepares the ear for the Coming key, and the major triad,
leads

most conveniently

it

key of c,

But the

in

a, cjh <\

key of e major. At the

us back again to the prin-

to the definitive

sign +, the minor triad a,

cipal

gain.

cjj,

which the

e,

final

calls

cadence

is

performed.

make such
new key, as

best course to take, in order to

previously to settle the dominant of the

modulations,
*

No. 92.
M.T.TGRO.

1.

AND

2.

VlOLEiS.

Cres.

YlOLOX.

J-#

D. B.
J

7-

F-Hf

>

is

99

This fragment

duced

to

two

is

an extract of an instrumental composition

so

as

design, the dominant

satisfy

to

going

to

remote

such

as

sonatas,

is

demands of

the

keys

is

very

re-

exemplifies

quartettes,

the

ear.
in

This method

instrumental

ot

music,

symphonies, &c, &c.

Haydn, Mozart, Beethoven,

quintettes,

The instrumental
Hummel, and Mendelssohn, abound
The cadences and

strongly and firmly decided.(_,)

common

compositons

3.

It

Before setting forth the new key with a

pretty well our meaning.

new melodic

and double bass.

violins, violoncello,

of

with such modulations.

half-cadences, also, furnish us with

means of modulations.
After every final cadence
the tonic, to
1st.

By

third of a

make

it

we

are free to keep on any tone ot

the preparation for a

new key.

keeping on the fundamental, and making

new

tonic,

we

key a major third downward from the preceding one.

major we modulate into a!? major, thus:

No.

93.

it

the major

are supplied with a modulation into the

Thus, from

100

>

fr-

2nd.

of a

new

By

keeping on the third and making

tonic,

we modulate

it

the fundamental

major third above the

into the key, a

preceding one, thus

No. 94.

JlJ

ift^fi

-J-J 9

Tl

r<9

r-

3rd.

a new

By

tonic,

keeping on the

we modulate

preceding one, thus

fifth,

and making

new key

into a

the major third of

it

a minor third above the

No. 95.

-s>

>

L^J
?

r r
-f5

s-

f
6

J
<g

trr

'

r
5

101
After a repose on the dominant,

4th.

key on the minor second above

we may

establish a

new

dominant, thus

this

No. 96.

Wf

"

5
g

-*
-Si

T'

ftl.b L.

5-7-

>e=a

5th.

No. 97.
.Ik

a.

we may get
new minor key, thus

After every major tonic

as the fundamental of a

**

the

fifth

downward

102

This modulation

is

natural,

At

and frequently used.

the

measure we use a proceeding already pointed out. We

change the preceding chord minor into major, in order to return
tenth

back

to the

6th.

keyg

major, in which the final cadence

After every tonic,

we may

start

is

from one of

concluded.

its

tones,

by a melodic design, or octave passage, reach any key we

as:

No. 98.

&c.

A 1 1 1 1
I

and

please,

103

The chromatic runs

7th.

mote modulations.

may

are frequently used to introduce re-

In such a case every tone of the tonic

serve as a starting point to get the

From d major we
which

modulation.
well have
or at

aty,

part

of

this

leave

repose on c

is

new

tonic,

and complete the

quite arbitrary.

We

might as

taken rest at e?, in the beginning of the third measure,

at the

for the run

new key

But

we

key, as

are led, by chromatic steps, into c major, in

the parts seize upon the

all

new

at the
it.

middle of the same measure, but not before e?\

would have been

It

too short:

is

advisable, moreover,

motion of the musical composition.

In

is

it

beginning of a measure, or

proper to

settle the

at least, at the accented

to

pay

attention

to

the

slow movement, four

be enough to determine the key ; on

the contrary, the quicker the motion, the longer ought to be the

or five chromatic steps

may

chromatic run.
8th.

The musical

rests

can become means of modulations,

104
without retaining any tone to serve us as a link between the aban-

doned key and the new one, as

No. 100.
S

J
-

Here we have a

phrase by

By what

key.
as

itself,

were

phrase

previous

of the

it

m-

>=

at

right

new

'

and perfect cadence.

full

leads us to expect a continuation

in a foreign

7^r-

#*Uj

The rhythm only

we continue

and immediately

Because

this

continuation

is

piece which takes up the thread

a different

place,

and perhaps

in a

different sense.

We

ought

may

There

selves.

happen, as

is

Observation.
preceded by a

finished,

third,

mental tone,

which

modulations in this

it

is

triad,

be introduced by the voices them-

in Nos. 1, 2,

this point.

and

3, the stationary

tone

cadence, and consequently, the musical period

required.

is

and

third, fifth,

inherent.

we have been
tonic

Since

full

to

any absolute rule on

not

no transition

fundamental,

to

to the

have exemplified them here in

occurrences

is

remark, with regard

which they are taken up by the singers or choruses.

this way.
Nevertheless, such

parts, after

We

to

they are generally introduced by the accompanying

section, that

fifth

The

tone retained can be the

of a tonic triad, and the

funda-

and seventh of any seventh or nonachord,

Again, in Nos. 6 and

led, beside

7, the tones to

being the fundamental, third, or

which

fifth

of a

can be a part of a dominant seventh or nonachord.

Nevertheless, those exemplified

in

this

paragraph are the more

usual, and deserve a special practice on the part of the student.

4.

We

Passages of Dominant Sevenths.

can consider the dominant seventh as a major

triad with

an

105
additional minor seventh, and

change every

triad into a

dominant

chord, as:

But, since every dominant seventh already contains within itself a

triad,

we

are free to reject the triad

seventh in the above example

and

which
to

follows the dominant

have the dominant sevenths

following each other immediately, as

No. 101.

rS^J-

J, J

UJ

=&h**k

-t-p-4-

C:r
s

--(=-

at

*- r

te

lull!

r|J

(J, J

U-

if

"t

This example affords us a specimen of remote modulations, as

given by the passages of dominant chords.
the close of the third measure, and

we

The succession

see in

it

begins

at

every tone follow the

regular progression, with the exception of the third, which descends

a chromatic step, and becomes the seventh of the following chord.

106

We
it

confined the above passage to major

would have led us

avoid this encumbrance,

we now

changes, which

because, if continued,

gfy,

encumbered with signatures, or to

would force us to call on enharmonic

to tonics
it

intend to avoid

as

it is

our design

to treat

separately the enharmonic modulations.

We will

now

lead these passages in an opposite direction.

foregoing example, by changing the resolution of the third,

new dominant

seventh and a

new

and as the subdominant has been successively changed

Our

object

now

is to

give the third

instead of progressing
the fifth

is

downward a

flat

at

into

every resolution.

usual ascending motion, and

step

fifth,

the fundamental tone,

has to

move up a

full step,

retained stationary on the following chord, and the seventh

moves up by a chromatic
a-

its

by a chromatic

elevate the seventh

get

key, that of the subdominant

dominant seventh, we have gained a new

to

In the

we

dominant seventh

second seventh

is

to

step.

At

this time, too,

a dominant seventh

the fundamental of the

inant seventh gives a

new

first,

we

proceed from

but the tonic of the

and every new dom-

sharp, as

No. 102.

-g-g-

&

Lastly

we

proceed

to

(2-

some other modulations, given by the dom-

inant seventh, deviating from

its

usual course of resolution, as

At A,

the dominant seventh resolves to /, a,

dominant seventh
led

it

to a, c,

moves up

e|?,

to the

key of lV major.

or to a, c,f.

to a, the third

At B,

c, efc

which

is

the

might as well have

In these resolutions, the fundamental

and the

stretches over to the next chord.

a step to

We

fifth

both to

In the case of

c,

and the seventh

a, c, efc

it

descends

el?.

the dominant seventh resolves to ak,

c, el?.

Here,

all

the

which goes
tones follow their usual course, except the fundamental,
motion.
downward
its
from
deviating
a%
up a minor second, to
nothProperly speaking, the modulations in this paragraph are
to foreign
lead
they
as
but,
cadences
interrupted
;
than
ing else

keys,

we had

to place

them under the head of modulations.

108

The Diminished Seventh.

5.

Our

design, here,

to

is

give a full account of the diminished

helps to carry out remote modulations.

seventh, as far as

it

another

place, in

the

different

view of

enharmonic modulations, we

In

shall give a

it.

We

have already remarked, on page 41, that this chord may

be used both in the major and minor modes.
Thus, the diminished
seventh

Every diminished

major, as well as to c minor.

belongs

to c

seventh,

by depressing the leading note by a chromatic

step,

may

be changed into the dominant seventh of the parallel major key.

Then,

in c major, if

seventh

major

b, d,

a*?,

f,

we lower

it

becomes

Thus, from

e?.

b a chromatic step in the diminished

b^,

d,f,

major we

the dominant seventh of

cfr,

may

suddenly pass

to

ej?

major

as,

l>,<9

1 ?a

If
1+

But since the diminished seventh can be converted

nant seventh, by depressing the leading note,

it

into a domi-

by

follows that

ele-

vating the fundamental of the dominant seventh, by a chromatic

step,

we convert

instance, such a

it

into a diminished seventh.

change enables us

to

Thus,

in the present

return to c major

as,

Let us now enter into some other interesting combinations of

this chord.
1st.

The

leading tone being unaltered,

if

we

step (chromatic or diatonic, according as the case

three other notes of the diminished seventh,

we

elevate a half

may

convert

be,) the
it

into a

109
dominant seventh, whose tonic

is

a third above the preceding one.

Example

11111111
We

go from

major

The

2d.

major.

to e

third being unaltered, if

we

elevate the leading tone,

and seventh, a half step (chromatic or diatonic), we obtain

a dominant seventh, whose tonic shall be a fourth below, or a fifth

the

fifth

above the preceding one

as:
.

From major
the

We

or major

fifth

we go

e|2,

tonic

is

to

being unaltered,

and seventh, a half

third

whose

c,

The

3d.

major g.

we elevate the leading note,

we gain a dominant seventh,

if

step,

a whole step below the former

as,

pass from major c to major bk.

4th.

The

shall be a half step

we

above the preceding one

we go

to cfy

First Alternative.
grees

v*

we have

regularly three tones

we have two

ascend, sometimes a whole

third.

alternatives.

All the tones ascend, but in different de-

the seventh three times, a half step

diminished

as,

a half step, while alternately another remains station-

In the following combination,

ary.

major.

In the foregoing combinations,

moving up

elevate the three

obtain a dominant seventh, whose tonic

M
From major

we

seventh being unaltered, if

other tones a half step,

while the three others

step, or a half step,

and sometimes a

110

The

1st.

seventh ascends a half step, and the three othei

tones a whole step

as,

t
From

major or minor we go

minor

d major.

to

All the parts ascend a half step, and lead from c major or

2d.
to

major.

In this example, the diminished seventh

is

transformed into

another diminished seventh, instead of changing into a dominant

There

seventh.
e)p,

is

also a slight blemish in the resolution, in

and d in the alto

Though

base.

as the first fifth

much

better to

part, step

by

real fifths with a and

which
of the

these consecutives are admitted by some theorists,

comes from a dissonant chord, yet we believe it is
avoid it, which is easily done, by causing the dimin-

ished seventh to resolve to the dominant seventh of the

mental, before reaching the tonic

thus

same funda-

VS.

M
3d.

The seventh ascends a whole

step,

the leading note a

diminished third (or enharmonic step), the third a half step, and
the fifth a

whole step

as,

lis
from major or minor
4th.

The

c to

major

a?.

seventh ascends a whole step, the leading note a

half step, and the third and

from major or minor

c to

fifth

a whole step;

f major or minor.

as,

Ill

Second Alternative.
three

All

the

tones descend

times a half step, and once a whole step

sometimes a whole
1st.

The

the third and

step, at other

note and

times a half step.

the seventh

the other tones

*

seventh a half step, the leading note a whole step,

fifth

a half step

from major or minor

2d.

as,

d major.

c to

The

seventh a half step, the third a whole step, the leading

fifth

a half step

as,

P
from major or minor
3d.

The

step, the fifth

We

c to

f major or minor.

seventh a half step, the leading note and third a half

a whole step;

go from major or minor

4th.

The seventh

as,

c to a\?

minor.

a whole step, the other tones a half step

from major or minor

Lastly,

sequences,
to

c to

5S

major

out with
ple

c?.

Nevertheless,

it

is

not usual

beyond three or four chromatic

flats,

when

it

is

as,

we can use the diminished seventh in passages

They may enable
as we did the dominant seventh.

run upward and downward, through

scale.

steps.

to

all

the semitones of the

carry such successions

These sequences are carried

intended to reach some

No. 104.
Upward.

or

us

flat-tonic.

Exam-

113

keep firmly to the pitch of the half-step progressing parts.

Of
course, they are but seldom employed in choruses,
except in the
high combinations of the stage music of the grand opera, in
which
all
is

the requisites of large performances are found abundantly.

the province of the

who

composer

to

know

It

well the ability of those

are to be entrusted with the care of

performing

his

compo-

sitions.

Enharmonic Modulations.
Sounds, which are identical in pitch, but placed on different
degrees, are called enharmonic.
as forming a uniform sound

Thus, c and

that

placed on two different degrees.

not identical

c$

<fy

are considered

equal as to pitch, although

is,

Mathematically, these tones are

somewhat higher than

d^.
But here theorists
have followed mathematicians, who, when they find in an operation
a fractional number so small as to make but an unimportant differ;

ence, neglect

Such

result.

it,

is

is

and proceed as
the case here.

enharmonic sounds
garded

is

and by doing

if

The

they had obtained an exact

difference in pitch between

so minute, that

it

is,

indeed, to be disre-

a small difference of pitch, which

so, for

is

overlooked, remarkable advantages have been gained, both in the

theoretical

monic

which

is

and practical departments of music.

The word

enhar-

derived from the Greek, enharmonikos, the meaning of

is, fitting,

According

in accord, or harmony.

to these notions of

enharmonic sounds, the following

changes take place

The Minor Third,

The Extended Second.

Enharmonicallv

The Diminished Third,

The Major
is

Second,

equal to
jj^j

The Diminished Fourth.

The Major Third,

IE

is

equal to


114
The Perfect Fourth.

The Extended Third,

===ft

k>r-+-s>

The Diminished Fourth,

The Major Third.

is

equal to

tec

^jy
The Extended Third.

The Perfect Fourth,

is

equal to

The Sharp Fourth,

The Diminished
is

The Diminished

equal to

is

equal 40

if*

equal 18

is

equal to

or~LL

The Major

Sixth,

The Extended

Sixth,

3=
Sixth.

P
Sixth.

}^
Fifth.

equal

The Extended

Sixth,
is

The Perfect

Sixth,
is

The Minor

The Minor

Fifth,

or-^

The Diminished

The Diminished
is

The Extended

^1

Fifth,

P
SEE*\&

The Extended Fourth.

Fifth,

or-

The Perfect

Fifth.

equal

SHk

Fifth.

orU

The Diminished Seventh.

The Minor Seventh.

'

;;

115

Of these enharmonic changes, the most used are those of the extended second, of the major sixth, and of the extended sixth ; the
first

being changed into a minor third, in the enharmonic combina-

tions of the diminished seventh

the second,

becoming a diminished

seventh, and the third being changed into a minor seventh in the

transformations of the extended sixth.

above

in the

list,

We have likewise mentioned,

the interval of the diminished third, so pleasing in

melody, and, perhaps, improperly banished from harmonic uses.

had two reasons

for

doing so:

first,

sometimes used enharmonically, and changed

second, because
in practice.

its

We

because the diminished third

into a

inversion, the extended sixth,

is

is

major second

frequently used

Moreover, one of the greatest composers of the day,

Rossini, notwithstanding the rule which prohibits the use of the dimin-

ished third in harmony, did not scruple to use

in his

Maometto Secondo,

The mischievous

several other works.

posely

mocked

sufficient, in

in the overture to

at the prohibition.

our opinion,

it,

and most happily,

La Gazza Ladra, and

Italian

seems

to

in

have pur-

So great an authority should be

to set aside,

as an antiquated rule, the

exclusion of the diminished third from harmony.

The two streams from which enharmonic changes

flow most

abundantly, are the diminished and dominant sevenths.

The Diminished Seventh.

A.

We

have already, on page 108, given a

treatise

on

when laying down the matter of remote modulations.

now finish up what has been partly done there.

this chord,

We

shall

diminished seventh consists exclusively of minor thirds

The

follows that every inversion contains an extended second

and by changing alternately this second into a minor third, such
inversion forms a new diminished seventh, affording the composer

hence,

the

it

means of getting three

Let us take,

The

first

for

different keys.

example, the diminished seventh

inversion,

mm

116

by the change of g

into

aty,

becomes a new seventh,

inpii
and enables us
seventh

is

to

able

modulate into

we

leading tone a half step,

the

minor

and, as every diminished

become a dominant seventh, by lowering

to

the

are subsequently enabled to enter upon

key of e? major.

No. 108.
C

&

W
A

Minor.

9- &
1

II

j
!

rrT
i^i

r-*i

0-

iMajo r.

J-J-J t- g

,
|

,> =j

,
1

Is
r

5
Bit
The second

rt

5
'jj

into

ct>,

inversion,

by the change of both

diminished seventh,

gjj into al?,

and of h

we

gain the

117

which

affords us

sequently

the modulation to t7 minor or major, and sub-

to the parallel

key,

No. 109.

major.
Eb Minor.

Till
1

>

wt

Major.

ha.

The

is

L L

1-

->

ft

'+

third inversion,

enharmonically

by which we

get the

major parallel key, a

way open

to /jf,

minor or major, or

major.

No. 110.

(HIs

Major.

IPiP

*-

If

l r

to the

118

It is

not always necessary to realize the

The composer very

modulation in view

often understands

but then

it

is

it,

enharmonic change.

and reaches directly the

necessary

to give the

seventh a

certain length, especially in the quick motions, that the hearer

comprehend the modulation

may

as,

No. 111.
MODEBATO.

^1
|
n

=^=
&c.

Here

ft
-

(at +) the d, f, g, b, is

supposed

to

be

d, f, df,

ct>,

and the

composer realizes immediately the transition from a minor into

minor.
He goes still farther, and closes with the major key, g?.

The

object of enharmonic changes

is

sometimes

to

avoid keys

119

encumbered with

accidentals.

passages, or sequences

No

This

is

particularly the

case

in

as,

112.

M,J

Jlf

Jl

the fourth measure, the dominant triad ought to have been

At

followed by the chord,

have involved us

g$ major, with

an

in

eight sharps,

infinity of signatures.

which would

Instead of

have enharmonically changed the above chord, d (at A)

I?, which has brought us into keys with less signatures.

this,

we

into eb, g,

Sometimes, however, the enharmonic changes increase the numIn general, the enharmonic

ber of signatures, as in Nos. 109, 110.

If the composer

modulations must carry a meaning with them.

wishes
sharps

give his

to

may

duce an

work a more

him

assist

in carrying out

opposite effect,

Let us now pass

mony.

lively character, the

keys with
Flats pro-

such a design.

by imparting a gloomy

tint

to

the har-

to

The Dominant Seventh.

B.

In the synoptical table (previously given) of the enharmonic

we have

changes,

On

seventh.
that

ox tended

the

seen that the extended sixth becomes a minor

the other hand,

perfect fifthjust the

seventh

we have been

sixth carries with

same

intervals

informed, on page 73,

itself a

which

major third and a

constitute the dominant

wherefore, the change of the dominant seventh into the

Of course, when thus
sixth, comes in quite naturally.

extended

laid down
changed, the dominant seventh follows the rules already
us many
affords
again
This
sixth.
this
concerning
(pp. 73 and 74)
modulations, if we consider that, besides the dominant

interesting

seventh

of

ones, and

the principal

key,

we may

change them enharmonically.

use those of the relative

120
In the following examples, the enharmonic note

according

to the directions

is

suppressed,

given above, No. Ill, on page 118.

No. 113.
From C

to

Minor.

or

From C Major to B

From C

i &
-J?

Major.

to AJ? Major.

*
-XL-

From C

to

Major.
rS

1i-

1
1

9:
l

II

121

d,

At A, the dominant seventh represents the extended sixth,

which resolves into the perfect cadence of minor b.

g, b,

At B, the same change has taken place, with this exception only,
that the extended sixth (minor seventh) resolves into
the perfect
cadence of b major.

At C, the harmony goes to the relative key, a minor, of which the

dominant seventh changes enharmonically into the extended sixth,
/fe, afe, cfc, d which, at the fourth measure, changes into
efe, afe, c,
y

followed by the dominant seventh of

At D,
ically

its

afc

major.

the harmony turns to

major, which, changed enharmondominant seventh, closes with the major key, e major, with

four sharps.

Now,
sixth,

it

turn, a

since the dominant seventh can be changed into an extended

follows that the latter also

dominant seventh.

is

capable of becoming, in

ceding key becomes the dominant of the following

No. 114.

its

In this case, the sixth degree of the pre-

122

the seventh measure, the extended sixth, after behj? heard in

At

the preceding measure, in

its

regular treatment, changes enharmoni-

cally,

and brings suddenly the harmony

This,

when

effect.

properly done,

is

into the

key of

These few examples are enough

to

give an exact and

above chords, so far as they

sufficient notion of the

major.

susceptible of producing a very good

performing enharmonic modulations.

They

may

be used in

are capable of produc-

ing a great variety of effective modulations, in the hands of an able

musician.
shall

We

need not dwell any longer on

this subject,

and we

now touch what may be called

C.

We

call so

Arbitrary Enharmonic Modulations.

such modulations as are not performed by the two

preceding chords, but merely depend on any other chord, or even

on any sharp or
so as to enable

flat

note which

him

to

quently, he takes this note,

time, and then changes

half-cadences

modulations.

No. 115.

afford

may

present itself to the composer,

carry out an enharmonic change.

it,

the

makes

it

according
best

Fre-

stationary a certain length of

to his

fancy.

opportunities

to

Cadences and

accomplish such

123

The

first

at the

same

remaining on

time, the whole

Sometimes
enharmonic

period of this example closes with a half-cadence.

part, of the

first

ajj,

finally gives

it

up

for b]?;

mass enters upon the chord,

the whole chord

is

transposed into

b\>,

d,

The
and,

fk.

corresponding

its

as,

No. 116

At

the end of the second measure, the three tones of the chord,

a[?, c,

take their corresponding enharmonics

a*?, c, efy,

becomes

harmony

the

i}j

gets into the

Unisons may,
ting

A,

in

many

all

key of major

Example

No. 117.
RO.
ALLEGRO

The

cjf

is,

the chord,

after which,

a.

means of opera-

composer, in such occurrences,

concern about harmony, takes hold of some melodic

design, and develops

tral blast.

that

instances, afford effective

enharmonic changes.

giving up

the dominant triad of

it

with the enharmony, in

full

vocal or orches-

'

124

We
after

have

on page 99. that after a

stated,

a repose on any

new

third of a

tonic

we can

tonic,

that

is,

modulate a major third below the

This modulation

preceding key.

responding enharmonic, in order

more variety

tures, or to impart

cadence, or even

final

take this tonic as the major

to

may

sometimes require the cor-

avoid an encumbrance of signa-

Example

to the composition.

Xo. IIS.

pf=i="h

t=

J!

~T
5

r
-

'

1
1

ujf

'

'

j-

'l

t>lt,
1

'

ah J

^__J

'lr
6

8-5

-8

J'Jii

J ,

4Rf-

fa

"I
i

6
4

n
6 7

125

As

it

to the

results

from

this

example, enharmony

preceding tonic again.

This

is

(ninth and tenth measures) g, of the tonic,

It

ered,

happens very often that a

and mentally changed into

really

For

flat-tonic is
its

may

lead us back

effected here
e,

into

by changing

a}?.

enharmonically consid.

corresponding sharp one, which

becomes the leading tone of the

tonic, a half step higher.

instance, from ab tonic (being mentally

changed into gfl) we

can immediately go into major ah (three sharps), from d? major to
d^ (two sharps), and-so-forth. An example will illustrate the subject.

No. 119.

This does very well

piece

it

would be proper

in instrumental compositions.
to

monically, becomes a sort of leading note

No. 120.

In a vocal

keep the tonic stationary, which, enhar;

thus

Here, the three tones, b ?, next

singer

never

who has

to

b.

In such occurrences, the

perform such a part as that of the treble here,

sing these three tones as a

fails to

measure, are really the

to the third

leading tone of the following key,

and then the partners

up the chord, counting the tone of the

of the dominant triad of b% major
the whole

of the treble mentally

treble as the third

fill

may

party doing

so, that

tive parts.

In the execution of enharmonic passages, good singers

they

not mistake the pitch of their respec-

realize in their singing the tone intended

The same modulation can

ways.

First, the flat tonic

by the composer.

be carried out in two other different

may

be

made

the third of a dominant;

second, the fundamental of a diminished seventh.

we

obtain the

same

tonic as in the

But

in both cases

two foregoing examples.

The

following will give an illustration of both cases

No. 121
God's word will

In

re

joice,

joice,

In

the

Lord's

In

God's

word will
.1

will

IkJL

M M
-M

comfort me,

tor

2r>

word

re

In the Lord's word will

C3

vnrr
J =4

In

is EE
the Lord's

word will

comfort me,

In the Lord's

comfort me,
,

word

will I

re

ft

In

comfort me, In

r
5

word

God's

the Lord's word

In

joice,

God's word will

.1

J-u
w i *\-

will

com- fort

will I

J J-4-j

-l

1
j

>

re

me,

In

In

joice,

the Lord's

word

the Lord's

At

the fourth
the

measure of

dominant

passes from eb to

from which
into

Ai

it

ej.

this

triad,

com-fort

example, the
b^,

The current

turns to a?.

com- fort

will I

In the Lord's word will I

me,

third of

word

will

mm.

-E-fI

--

&-

*m*

tonic,

f,jL

com -fort me.

efy,

becomes the

and the harmony

of chords leads back again

to

efy,

This tonic (thirteenth measure) changes

the fundamental of the diminished seventh,

gjjj,

f.Jj,

d, f,

which brings the harmony from a? to a minor. Finally, all the

parts verge to e^,and get the final cadence in the principal key.

The

foregoing remarks, with the examples, have unfolded the

whole matter of enharmonic modulations. For the practical use

of them, we refer the student to the works of the great writers.

128

They

will give

him more information on

heaped

tions in general, than

The

On

piles of

the subject, and modula-

volumes on harmony.

Pedal-Point.

pages 217 and 218 of our author, the origin and object of the

Pedal-point have been fully unfolded.

It remains now to say by

what proceeding we can procure a pedal-point. The proceeding
is this

the

harmony above

the sustained tone should be considered

Viewed

as an independent whole.

base as if

This
to

is

it

were

to

it

must have a regular

required, because the parts above contrast

the stillness of the

Now, from what source

if used, the

common

tion or depression.
first

and

last

shall the chords be

to the pedal,

their motion

drawn

From

those

avoiding those in which,

tone would have to be altered, either by eleva-

Usually, the sustained tone

chord of the harmony.

sample of a pedal-construction

No. 122.

by

immovable tone below.

keys that are nearest related

of the

thus,

be performed without the assisting pedal.

is

the fundamental

The

following

is

129

We

find

here

all

the requisites of a correct harmony, the tenor

part of the base.

fulfilling

the

the voice

building a

No. 123.

still

Now,

the pedal-point will add to

stronger link and support.

130

The
to the

pedal

same

may

rules

dominant.

also be properly placed on the tonic,

which have been

Enough has been

down

just laid

and submits

for that

of the

said on this subject to require no

further explanation.

Let us now come

to

another kind of sustained tone, which

called the inward or middle pedal.

tions,

It

ought

an essential part of the chords, which

outer pedal.

The

reason of this

is

to be,

is

is

with few excep-

not the case with the

obvious.

In the latter, the

remoteness of the sustained tone mitigates the harshness of the

tones foreign to the pedal

but in the former, the discords dash

closely against each other, and nothing indemnifies us for these

unpleasant intervals

so,

they must be avoided, unless they are

intended to express a design of the composer

case,

they must be removed as

tone,

and buried in the centre of the

The inward

pedal

commonly

far as possible

and even

in

such a

from the sustaining

parts.

stands upon the dominant

as,

In the following, we make the inward pedal partake of the chords

from the very beginning to the conclusion, by which we have
afforded to the pupil an instance of what

which

is

laid

called a plagal cadence,

is

on the subdominant, while the perfect cadence

placed on the dominant.

No. 125.

mm

-#

?-

d
^_

1^
-f

-
1

#
r-

#
1

is

132

At the seventh measure of No. 125,

subdominant

to the tonic,

the conclusion

from the dominant

is

the

harmony

is

We

to the tonic.

attention of the student to this kind of cadence,

the most able writers, and

leads from the

contrary to the perfect cadence, of which

which

is

call the

used by

sometimes most successful and

effec-

tive.

Sometimes, the pedal point consists of a single note.

In such

an occurrence, every step of the base leads to a new tonic or dominant, which becomes the basis of a pedal point.
It may serve, then,
to

develop a harmonic design

as,

No. 126.

We

have said that the inward pedal

Nos. 306 and 308 of our author,

seem

to

in

have the sustained tone upon the

316, and

spite of their

There

is

it

placed on the dominant.

tonic.

change these tonics

ending upon the tonic.
in 318,

But the

is (at

A)

l)?

in

No.

into real dominants, in

a conclusion of the final cadence very

composers, which must be referred

Here

is

consequence of the signature,

common among

to the pedal-point

on the tonic.

133

This
to the

is

nothing else than the dominant seventh stretching over

tonic.

Such a cadence

is

commonly made use of

Andante and Andantino, but seldom

motions.

in

in the

the Allegro, and the like

APPENDIX

H.

This treatment of the diminished seventh

The

below.

is

too loose, altogether.

(former seventh in the nonachord) should meet e a step

In the middle parts,

when

it is

sometimes made

to

ascend a step

must be resolved regularly.

such a resolution as given here by the author, occurs
but

in the base,

of good composers

but this

from books calculated

to

it

be taught according

for

is

a negligence

'292, at c, d, e,

we would

in the

works

The

student ought

of the severest discipline, which

he must never be allowed to break, before he

have mastered the highest

be, that

which must be removed

musical instruction.

to the rules

May

difficulties

is

acknowledged

of the counterpoint.

prefer to read thus

to

No.

APPENDIX
Suspension
First.

is

subject to the following conditions

must be prepared

It

I.

exist in the preceding chord,

i.

e.,

the dissonant tone must

and must be given

to the

same voice

or instrument which forms the suspension.

Second.
.

must be resolved

It

and the chord

to

which

it

voice or instrument finally

Third.

e., the discrepancy between it

must cease, and the suspending
enter upon the proper tone of the chord.
i.

stretches

The preparatory tone can be

than the suspension tone.

sometimes

fills

It

may

longer, but never shorter

be, too, equal to

the whole measure.

The

it.

latter

Accordingly, the following

suspensions are equally good

No. 128.

At D,
it is

is

the preparatory tone

equal

right.

F, the suspension

at

But

is

longer than the suspension

fills

here,

No. 129.

+
1

h
-

hr^i

at

the whole measure, and

16

E,
all

136
there

The

no suspension.

is

tones,

which are quite equivalent

giatures,

(at the signs +) being

c, d, e,

shorter than the tones following them, the

minims are merely appog-

to this,

No. 130.

impl
Fourth.

The

&c.

may

preparatory tone

be placed either on the

accented or unaccented part of the measure

must

tone

This

cented part.

but the suspension

on the accented one, and the resolution on the unac-

fall

is

peculiar to suspensions.

In

this, also,

they

disagree with the chords of the seventh, in which the dissonant tone

can be placed anywhere in the measure.

and the

pension,

in

which the preparatory tone

suspension
In the

falls

on the accented

lies

common

the

2> an(^ ^> me ^ rst Deat ls

jj?,
In the quadruple time, the first and

is not.

and fourth

compound measures,

with the simple ones, in quick motions

can be placed on quavers.

mon quadruple

time

When

i.

e.,

not.

the

first

In

&c,

and third are accented, the

J^-, in
iL, .6.,

division of quavers takes place,

time;

quavers are accented, the third

quavers applies, of course,
as

&

and

9.

to

in a

compound,

in

triple

them

they are in the com-

which the ternary

as

In

the suspension

there are four of

are

distributed

not.

same way
slow movements,

but in

j^, the accents are divided, as

and fourth are

is

the accents are distributed in the

such as Andante, Andantino, Grave, Adagio,

second

In triple time,

not.

and second beats are often accented, the third

measure, as in

and the

double time,

third beats are accented, the second

first

part,

on the second beat, and so escapes the accent.

accented, the second

the

Hence, the following sus-

wrong,

like, is

is

i.

e.,

not.

the

first

What

the crotchets in the

is

the accents

and second
said

of the

compounds, such

but they are less used than the former.

Examples

137
of suspension in compound

time will be given on

pages,

150,

161, 162, 163.

Fifth.

The

suspension tone must form a dissonance with one

of the tones of the suspension-chord.

This

is

the sequel of the preparation and resolution,

necessarily a dissonance

and

resolution.

for

Then, when there

not discord, there

is

Hence, the following passage,

pension.

discord, does not contain

which

imply-

dissonances alone need preparation

in

which there

is

not sus-

is

not

any

any suspension.

No. 131.

*J

5-

But the next

No. 132.

rH-i
*
7

is

an example of regular suspensions, and agrees with our direc-

tions

for

suspension does

not

lie

chord stretches over into another,

in the fact that a tone

to

which

it

is

of a

not indigenous,

but in the discord itself.*

rigorous application of the principle of resolution, which

The

peculiar
resolve

may

to

by an ascending

step;

e.,

is

such suspensions as

suspension from below.

It

be replied, that there are instances of suspension resolving

from below.

seem

dissonances, excludes forcibly

to

notions

There are indeed passages which, at the first sight,

but by referring them to the
;

contain such suspensions

now

suspensions.

familiar to us,

The

it

following

will be plain that they exclude

is

an instance of the kind

* Reicha's Treatise

on Harmony.

real

138

iii

Xo. 133.

J^J

9
1

There

is

no suspension in

At

this.

second, third, and fourth measures,

fc

9
7

'

the beginning of the

we have

first,

a short tonic pedal

rmed by the dominant seventh and nonachord major and minor,

following

way

usual

their

Ionic in the base.

of resolutions

above the sustaining

Here, again,

No. 134.
n

s~
5-

-s
5
1

m- -|

-a,

[J

37857859

at the

beginning of the

first

b forms an appoggiature

measure, no suspension can be found.

so does the

of the second measure, of

10

the

same tone

alto-part.

As

at the

beginning

to the last, there is

again a short tonic-pedal, with dominant triad.

The above exam-

ple could be changed, as follows

No. 135.

p
.

>

which represents exactly No. 134.

When

passages of ascending

dissonances cannot be traced either to the pedal or to the appoggiatures, they are inexplicable.

We

should remark here, that the

great masters, in the treatment of voices, have seldom indulged in

139
discords resolving from below.

Handel has not a single example

Mozart and Haydn have very

of suspension resolving from below.

few, if any.

It

is

true, that in their quartets, quintets,

phonies, such dissonances are found

now and

then

and sym-

but

all

these

instances can be referred either to the pedal-point, or to grace-notes.

Moreover, instrumental music

is

a free kind of style, which admits

of more liberty than the severe one which must

now be

the main

object of the student.

Sixth.

When

a tone of a chord

is

suspended,

it

can never be

introduced simultaneously with the suspension tone, except

it

when
when the fundamental is suspended in
And, even when the retarded interval should

forms a ninth with

the

upper

parts.

as

it,

have a necessary and determined stepping upwards or downwards,

(such as the leading note in the dominant seventh, or the diminished triad and the seventh in

never allowed

to

the chords of the seventh),

all

any

introduce, in

part whatever, the

it

is

retarded

interval simultaneously with the suspension tone.

No. 136.

1-

^
^

i*
At A,

the alto part (second measure)

introduces the

suspended

tone simultaneously with the suspension-tone, so as to form an

irregular and harsh interval.

But

introduced simultaneously with

suspended tone, though

at B, the

the suspension, gives

regular

interval of a ninth.

Seventh.

Suspensions

successions of

fifths

wrong when they

fall

on a faulty

they neither correct nor miti-

for

Hence, the following harmony

gate such successions.

able

are

and octaves,

is objection-

No. 137.
C
|

r-l
-6

z)

a.

^
f-

==}==ll 5

tV

for there exists a succession of fifths

SB

f f f f

between the tenor part and the

: :

141

When

the third

is

perfect fourth and

suspended,

fifth,

gives a chord consisting of a

it

called 3:

No. 141.

&

The fundamental can

be suspended in two ways

by the upper
suspended fundamental simultane-

parts, the base introducing the

ously with the suspension tone, or by the base itself.

In the first
case it forms a chord consisting of a third, fifth, and ninth, called

No. 142.

i
In the second case,

and perfect

it

forms a chord consisting of a major second

fourth, called f =

as

|,

No. 143.

f F
1-

When
is

the fundamental

is

suspended

in

one of the upper parts,

it

rarely allowed to omit the third of the suspension chord.

2.

The
third

suspension

First Inversion of the Triad.

of the sixth gives a chord

and seventh, called

- S, as
I

No. 144.

composed of the

142

The

third is not suspended in this inversion; for ihe suspension

would introduce a

may

base
itself,

chord instead of a real suspension.

The

tone-

be suspended, either by the upper parts, or by the base

when

upper

in the

ninth and sixth, called

parts,

it

gives a chord composed of a

No. 145.

When

the base-tone

retarded by the base

is

chord composed of a second and

fifth,

called %

itself,

it

forms a

jj

No. 146.
sj-T

3.

The

~Tf

i-

Second Inversion of the Triad.

suspension of the sixth in this inversion gives us a chord

composed of a fourth and seventh, called

No. 147.

-e

tThe
fifth

suspension

of the

and sixth called

fourth

forms a chord composed of a

i:

No. 148.

r-i
-

5
5

143

This suspension can take place only

tences, in which

in

cadences or half-ca-

the fourth does not need

preparation.

here

the upper parts.

In theother cases the preparation of the fourth excludes any suspension

whatever.

The
forms

base-tone

is

retarded only in

chord composed of a fourth, sixth,

and ninth.

It

It
is

called | 1

No. 149.

We

shall

now

give some

exercises on the

employment of

the

suspensions in the triads and their inversions, that the student may,
after them, exert his

own

industry.

144

"

i=F
|

T
3

Mr

j.

r*
t

f f
-si

rr
1

1
.

|T

J
i

-| -a

145

No. 151.

^
5

74

student
reading over these exercises on suspensions, the
already
directions
the
to
should trace every case of suspension
each suspengiven, and ascertain to what particular direction
his examinaending
before
certain,
be
sion belongs. He should also

When

(?)

146
tion

whether the suspension

And what

an inversion.

He must

point.

is

used on the uninverted chord, or on

In No. 150 there

inversion?

why ?

whether these be rightly applied, and

and where are they

in this pedal ?

will

make

is

a pedal-

know

look back at the rules of the pedal, and

are there suspensions

All these previous searches

his task of writing other exercises easier

and more

profit-

able for him.

2.

The chord
usually used,

Suspensions in the Dissonant Chords.

of this class, in
is

which the suspensions are most

the dominant seventh.

The fundamental

never retarded in the parts above the base

that

such a suspension

tone

and the reason of

it

is
is,

nothing but the former nonachord

is

i
But

resolved to the seventh.

the dominant seventh

is

the suspension of the fundamental in

sometimes used in the base itself, and

this is a

real suspension.

The
sixth,

suspension of the

and seventh.

It is

fifth

gives a chord composed of a third,

called a I chord.

In the construction of this suspension,

is

it

proper to remove the

suspension tone from the seventh in order to avoid the close dis-

sonances of

The
fifth,

e,

f, g, as in the above example.

suspension of the third gives a chord consisting of a fourth,

and seventh, called

chord

E
4

This suspension
nant seventh.

is

the one most usually employed in the domi-

147

The

suspension of the fundamental by the the base gives a chord

composed of a second,

fourth,

and

sixth, called

3Ht
t
First Inversion.

1.

The
the

inversion of the dominant seventh consists of a third,

first

diminished

fifth,

and

Only two suspensions are

sixth.

possible in

inversion of the dominant seventh, as the fundamental can

first

not be suspended in the upper parts, for the reason assigned in the

The

previous directions.
but seldom.

The

cautions.

suspension of the third takes place here

Nevertheless,

it

can occur, but with the following

close dissonances

e,

f, g,

t
should be avoided

for,

constructed as

But

would be hardly bearable.

to the

upper

if

is

it

here, this suspension

we remove

the suspension tone

parts,

1*
I

5
it

becomes

The

satisfactory,

and even

effective.

supension of the fundamental tone, (the primitive third of

the chord) by the base, gives a chord composed of a second, fourth,

and

fifth,

called 1

i
I.

This suspension
satisfactory to

the

is

more common than

ear.

It

the foregoing, and

more

does not require the same cautions

148
arrangement of

for the

tones, as the dissonances lie at a distance

its

from each other.

Second Inversion.

2.

This inversion
of the sixth

is

chord consisting of a

third, perfect fourth,

practicable, whatever

The

may

suspension
It

forms a

and seventh, called |

>

It is

The

a f chord with a major sixth.

is

of very frequent use, and effective.

be the arrangement of the parts.

suspension of the base-tone can only be done by the upper

parts.

It

forms a chord of a

third, perfect fourth, sixth,

and ninth,

called 2

sat

For the arrangement of the

be attended

The

-(2

parts, the directions

given in

suspension of the

seldom, if ever, used.

It

must

base- tone

by the base

is

very

Third Inversion.

This inversion consists of a second, augmented

Two

itself,

would be thus:

*
3.

sixth.

to.

effective suspensions

can be used

the suspension of the sixth and of the

fourth,

and major

in this inversion

augmented

fourth.

149

The

suspension of the sixth gives a chord consisting of a major

mmm

second, augmented fourth, and seventh, called \

The
fifth,

suspension of the fourth gives a chord consisting of a second,

and

sixth, called g

All the suspensions which can be formed in the dominant seventh

can likewise be used

that

in

the

in the other sevenths, with

latter the

upper parts and by the base

sevenths.

student

this difference,

itself.

So,

we do

not think

it

All

the

foregoing

to

use

the

We

seventh whatever.

directions

same
will

now

are

enough

suspensions (as

to

above)

No. 152.

^4

-I

j-j.

J\J
2

o
8

-5-

enable
in

any

give some exercises of the sus-

pensions in the sevenths in general.

neces-

upon any particular explanation concerning these

sary to enter

the

only

fundamental can be retarded, both by the

5
4

J J I
3
\j

No. 154.

r
5

-8

r r


151

'

7+

J,

4
1

8 4
+^*fTT^J
Si -*

f r

4-J
;7 :

We

refer the pupil to the

We

their inversions.

^
^
&

-1

6-

J f

remarks under No. 151, and exhort

here the suspensions

to ascertain

J
H

him

5-

f-r-

made

would induce him,

in the sevenths

also, before

and

he reads the

exercise No. 153, to look at the previous direction, No. 4th, on the

compound

time,

(page 136.)

Suspensions in the diminished seventh are not very common, save

that of the leading tone, the third of the

which

it is

There

derived.

Next

dominant seventh, from

an instance of

it

in the ninth

measure

This suspension can be used through

of No. 154, above.

inversions.

is

to

it,

the fifth

may

all

the

be successfully suspended,

if

done with discernment.

In the extended sixth, the sixth only

This suspension
it

is

is

even more elegant

is

apt to be suspended

very commonly found, and satisfactory;

to

use that chord with the suspension.

152

Double Suspensions.

3.

Thus

we have used our

far

exercises.

Now we

will

suspensions in only one part of our

have them in two parts simultaneously, in

we

other words, instead of one

together

but

no more

Of course,

time.
sion

is

have two suspensions meeting

be used at

conditions required

when a

same

the

single suspen-

to, when two occur simultaneously.

Pages 135, 137, 138, 139.

used must be attended

(Directions

As

all the

will

than two can

1, 2, 3, 4, 5, 6,)

to the resolution,

suspensions ought not

we must
to

observe that the resolution of both

be simultaneous

that

that suspension

which introduces a new dissonance.

the opinion of Reicha, in his treatise on harmony.
must resolve

Such

first

This suspension presents

itself to

is

us with two different features.

First,

we

The
a;

but the chord of the second vanishing gives us a

discover two discords, g, a, a ninth, and c, d, a second.

second feature gives us likewise two discords, the same ninth,

g,

sonance, viz

The
to

a seventh,

b, a,

new

ninth alone, combined with another discord, can give

double suspensions in the

dis-

with a in the treble.

triads.

In

all

room

the other instances there

can be no double suspensions, because only one dissonance can be

had.

Here,

we have two

tones stretching over from one chord to another.

the tone a, of the chord J\ a,

c,

prolonged to the following

e,

But

c,

continues only the whole chord f, a, c, on to the beginning of the

second chord ; and g, next to a, the intended suspension, instead of
introducing a

new

chord by resolving

an anticipation of the following

a, is,

by

its

shortness, rather

sixth chord than a suspension tone

153
over the base.

Nay,

the stretching a, of the triad

from giving anything striking or new

second

to the

suspension of the sixth chord by the base.

a, c,

far

triad, spoils the

This shows that real

suspensions are based on dissonances.

Double suspensions are more properly used in the chords of

three tones, than in those of four, that

With one

sevenths.

is,

in the triads than in the

has two dissonances,

suspension, a seventh

with a double suspension,

it

contains three dissonances.

almost an over-burden of discords to the ear.

For

This

double suspensions must be used moderately.

No. 155.

Exercises

on.

Double Suspensions

m
i

J~J.

F-TT

ll

14

"I"

?v

<

r
!

8
1

(7*)

is

this reason,

154

3.

In

A New

Feature of Resolution

in the Suspensions.

our preceding exercises, the resolution of the suspensions

takes place while the chord into which the suspension finds
is still

in existence.

on a different chord.

Now, we
Thus,

will

its

way-

have the resolution take place

in the following

No. 157.

the

/ (at A)

of the treble ought to resolve into e of the chord

c, e,

g;

155
and

in the like

chord g,

b, d.

manner should

the e (at B) resolve into d of the

Both tones pursue their prescribed course

meantime the chords

c, e, and b, d,
f; for it

g, and d,

the

c,

a,

is sufficient

in the

proper tone.

e,

The chords do

in the 4, in

which the

suspension

had

a,

but in

have changed into

that the resolution

not influence

third is retarded

to resolve

by the perfect

on the dominant triad

is

effected

Here, again,

it.

fourth, the

but the base,

under the very same resolution-tone, changes into the third inversion of the

dominant seventh.

The same

affords us a modulation into the parallel

tion

had

to take place

on g,

from the dominant triad of

b, d.
c,

suspension

minor key.

(4),

The

But the base changes

its

resolu-

course

into the first inversion of the

dom-

inant triad of a minor.

This resolution of the suspension gives room

ninths

to successions of

which are not practicable with the usual nonachords, on

account of the number of their tones, which prevents us from using

such passages as these

No. 158.

But with the supensions we can use the same succession, in which
the ninth occurs stripped of the sevenths, and steps more freely.

156

J.

-UJ

L^l

or

5-

or

<fec.

f-

Here the

resolution of the suspension

was expected

to

take place

on the sustaining-tone of the base, which introduces every measure.

But by the progressing of the base, a

at B,

fifth

and again a third below, but with a

below

at

A, a third below

different

harmony,

at C,

the resolution is performed on different chords throughout.

By

we can

obtain

resolution of the sevenths can also progress from major to

minor

resolving the suspensions on a different chord,

the following succession of sevenths

=t=g=l

The

or extended sixths

and from minor

to

major

f
sixths,

and

vice versa,

as:

m
5

From

the above examples,

it

i
results that the base can take

its

157

way through every

pension meets with

There are

still

succession in which the resolution of the susits

proper tone.

some

peculiarities

which regard the

resolution,

and which should be noticed here.

Firstly, the suspension-tone

can be permitted

or more chord-tones before obtaining

its

to pass

due, that

is,

through one

the resolution

can be postponed by placing, between the suspension and

one or more chord-tones.

Thus here

At A,

the suspended e resolves correctly into d, but not before

the third of the

resolution.

and

its

resolution,

new chord

At B, we

find

finds

its

way between

suspension and

even three tones between the suspension

resolution.

Secondly, by a contrary course, the voice or part which contains

the

suspension can, immediately after the

through several tones of the chord.

Here,

resolution, pass

for instance,

158

The
ample

suspension of the treble at A, B, C, D, of the preceding exis

correctly resolved into the next tone, but immediately after

the resolution the voice passes through several tones of the chord.
It

may

be proper sometimes to suppress the resolution-tone, and

some other intermediate one,

to

from an

avoid confusion arising

encumbrance of chord-tones, as here

No. 159.

jbsp

Fr

-1

2r>.

-<*-

1-

Ik-r
4L

But, as a general thing,

and

we ought

the chord-tones,
as

we

we

is

not correct to suppress the resolution,

doing this as

much

as possible.

many

are always allowed to cancel as

is

base, also, is allowed to step from

As

to

of them

one tone

to

another.

often necessary in order to preserve the certainty of time,

which must never be

sion.

it

i*tt

think proper.

The
This

to avoid

But

left

in doing so,

uncertain, especially in every

we

should take care

character of the suspension, and even destroy

lest

suspen-

we change

the

it.

No. 160.

B
-J

r
-w

v-

-f

v*

l/frjk

II

159

We

have here a

and slurs

The upper

g.

movement

strongly the

suspension, which

is

it

% at

move with suspensions

decided motion, marks

parts

meantime, the base, by

in the

its

preserves, too, the

A, and 1

at

character of the

At A, the

B.

base, before
passing through the chord-tones d, g, b, strikes g, the fundamental
of | ; at B, it strikes c, the fundamental of
, before moving
7,

through the chord-tones,

But now

c, e, c.

No. 161.

the character of the suspension

I -, into the I

the

rule

and

(at

D)

is

changed

the suspension

previously given, that the

(at
is

C) from the primitive

destroyed, according to

suspension

consists in

the

dissonance.

The
for

slur,

<

is

not essential to the suspension.

In the above,

example, the slurred minims might be changed into quavers,

thus

No. 162.
>

-J

without destroying the suspension.

as here

so as to receive words,

>

It

and yet preserve

->*7?

&

might likewise be modified

its

character of suspension,

But

in the last case, if there

instrument parts would have

were an orchestra, some of the wind

to restore the

suspension with the slur.

However different the No. 163 may

This has a good effect
be from No. 162. and the latter from No. 160, in all, the suspensions are equally maintained entire; and though, in the No. 163,
the

measure

is

changed, though the accompanying parts differ

the suspension is as genuine in it as in the preced-

materially,

still

ing ones.

This serves

to

show the student

be developed and varied in

the

harmony.

its

that a musical idea

can

form, and yet remain the same, as to

162

In the foregoing exercises on suspensions, particular attention has

been paid, especially

in

compound measure,

be carefully marked and distinct;

stretch

over

other parts

from one beat

move up

or

down

that

to another,
to

that each beat should

when one

the sustaining tones.

ceeding renders the whole composition easier

and more

intelligible to the hearers.

because

is

it

or two parts

one or even two of the

of the highest moment.

We

This pro

for the performers,

insist

upon

this point,

APPENDIX
No
tone

Suspension can be found

cjf,

at the

J.

in this Beethoven's fragment.

beginning of the second measure, and d,

The

at the be-

ginning of the third, do not form any suspension whatever.

If a

melody adorned with appoggiatures or grace-notes be reversed and

sent to the base, the same ornaments still remain in the base, and

To make

preserve the same character.

this

melodic design

to the treble part,

it

plain,

from which

we
it

will restore

has been de-

tached by Beethoven.

Hi
Ac.

w
For the eye, as well as

for the ear,

it

is

impossible to discover

any suspension.

The

tones c$ and

2$, the other

on

c$.

djjf

form evidently an appoggiature, the one on

The

figuring of this melody being the equiva-

lent to this

r&
K=

since the appoggiature takes

diately succeeds
tion

it.

Now

its

rr

time from the note which imme-

the melody does not undergo any altera-

by being reversed, and being transposed from

the treble to

the base.

To show

the difference

which

exists

between a real suspension

165
in the base,

and the fragment of Beethoven, above quoted, we

avail ourselves of a quotation from Mozart, in his opera, the

di Figaro.
in this

will

Nozze

Mozart introduces a duet between Suzanna and Figaro,

manner

-*>

SI

-#9

--

=ar-h-*-h
6

What
It

is

a difference between Beethoven's and Mozart's passage

impossible to mistake the suspension in the melodic design

entrusted by Mozart to the part of the base.

requisites of a suspension

We

find in

preparation, resolution,

&c,

it all

the

whereas,

nothing such can be found in Beethoven's example quoted by our

author.
If the student wish to study a beautiful specimen of suspensions
in the base, arising

from melodic designs, we refer him

dante introduction of Gluck's admirable overture

Aulide, in which the great

German master

to

to the

An-

Iphigenie en

indulges in suspensions,

passing from one part into another in a masterly manner.

APPENDIX
In his attempt

to

give an explanation of this quotation from

Beethoven, our author

ing e

is

K.

The

an evident mistake.

falls into

simply a pedal-point on the dominant of the tonic

part immediately above the pedal

is,

according

upper parts.

The

now and then

tones of a,

yjf,

b,

the

The

to the principles of

the pedal-framing, the regular base of the parts over

sustaining tone discharges

sustaina.

same

it,

office

though the
towards the

(beginning of the second

measure) belong, here, to the seventh of the second degree of major

a,

whose fundamental,

b, is

placed on the tenor.

solves into the dominant triad,

e,

g,

b.

This seventh

Accordingly, the tone

re-

a,

which begins the second measure, and arising from the retained a
of the preceding chords, does not form here any suspension ; it
is

the seventh of the mentioned

tone,

if

fragment,

any suspension
is

to

seventh.

be

found

the e of the treble part.

suspension, since
is

is

it

comes

in

But

The
in

this

Beethoven's
cannot

be a

suddenly without preparation, which

a fundamental law in matters of suspension.

mere grace-note.

only suspended

this

This

is

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