A MA N UA L 0 F H ARM ONY

BY

S J A DA S SO H N
.

EA CHER
T IN TH E R O YAL CONS ER VA TORY OF M US IC A T L EIPS I C .

T R N SL T E D F R M
A A O TH E THI R D A U G E I ED
M N

A N D C A R EF U LL Y R E VIS E D
G E R M A N ED I T I O N

BY

DR . TH . BA KER .

N EW Y O R K :

G . S C H IR M ER , IN C .
Cop y rig h t, 1 8 9 3 , b y G SC H I
. RM E R ,
IN C
.

1 0 9 79

i n th e U . S . A .
 P R E F A C E TO TH E F IR ST E DIT IO N .

Y I E L D I N G to oft -repeated a n d u rg e n t reque sts fo r th e p ubl i cati o n

of th e m e th o d accord i n g to wh i c h I h ave for yea rs gi ve n i n s tr ucti o n
i n th e T h e o ry of M u si c I h a ve d ec i ded to p ubl i sh th e fru i ts of m y
,

pri v a te study a nd e xp e ri en ce i n tea ch i ng i n th e fo rm o f th r e e i n ,

struct i o n -b o o k s T h e rst o f th ese w i l l be en ti tled A M a n ua l of

.

H a rmo ny t be f l l wed s s o n s p oss ibl e by a seco nd o n S i n

o
,

o o a o a

gl e a n d D o ubl e C o u n t e rp o i n t a n d a th i rd o n
,

Ca n o n a n d

F ugue

.

A n a tte m pt to gi ve a n i dea of th e n ew featu res wh i ch I h ave i n

tr o d u c e d bot h a s rega rd s th e el u c i dati o n of th e c h o rd s a n d th e i r
,

c o m b i nati o n s a n d th e pla n of i n structi o n w o u l d ta ke too l o n g ; th e

, ,

m a tter i s ful l y set fo rth i n th e fol l o w i ng p a ges B u t I w i l l n ot n e .

gl eet to cal l a tten ti o n to th e a dd i ti o n al exa m pl e s gi ve n i n th e A p

p e n d i x w h i c h a re work ed o ut c o n for m ably to rul es fo u n d i n th e
,

corresp o n d i n g c ha pters I h a v e l ea rn ed fro m p racti ca l experi e n ce

.

i n tea c h i ng th at i t d oe s n ot su f ce i n m a ny ca ses , to sh ow th e
,

p u p i l h o w th e ru l es a re a pp l i ed i n i s o l ated i n sta n c e s i e o u t of a l l , . .

co n n e ct i o n w i th so m e p i ece of m u si c h ow e v e r s m a l l w h i c h for m s
, ,

a n orga n i c w h o l e A l m o st a ny p u p i l ca n l ea rn a ru le m ore ea si ly
.

a n d th o ro ugh ly w h e n i ts a p pl i ca ti o n i s cl ea rly i l l u strat e d i n th e

co m pa ct fo r m o f on e o r m ore l i ttle p i e ces o f m u si c T h e m a n i fol d .

a n d p e c u l i a r d i f c u l ti e s besetti n g i n str ucti o n i n m u si ca l th eory ren

d er th i s m e th o d a l m o st i n d i sp e n sabl e We d e ri ve w h at w e cal l
.

o u r ru l e s fro m th e work s o f th e cl a ssi c m a st e rs ; b ut a t th e sa m e

t i m e we fi n d s o grea t a n u m b e r o f ex cept i o n s to th e rul es th a t th e ,

l a tte r ofte n see m d o ubtfu l to th e p u p i l Ta ke o n e i n sta n ce : T h e

.

p u p i l l e a rn s a t rst th a t th e sev e n t h i n a c h o rd of th e seven th m u st

resol ve b y a ste p dow n wa rd Pres e n tly h e d i sc o v e rs th at i n very
.

m a ny c a ses i t m a y a l s o p r o gr e ss u p wa rd by a ste p o r b e h eld o r , ,

e n h a r m o n i ca l ly ch a ng e d o r eve n l e d d o w n by a sk i p to to n e s b e
,

l o ngi n g to oth e r ch o rd s T h u s n o th i ng i s l e ft h i m o f th e ru l e rst

.

l a i d d o w n b ut th e p ri n c i p l e th at th e sev e n th i s to b e l e d dow n
w a rd by a step w h e n th e fol l o w i n g c h ord a n d th e co rrect lea d i n g of
,

th e pa rts perm i t o f so d o i ng N o w i f o n e w e r e to sh ow th e p u p i l
.
,

exa m pl e s fro m cl a ssi c m a sters w h e n e ve r o ne of th e abov e -m e n

,

iii
rv PR E F A CE .

ti o n e d n u m erous excepti o n s turn e d up provi d i ng th at th e n e ce s

sa ry m a teri a l wa s al w ays at h a n d h e w o u ld h a rd ly b e ab l e at rst
to j udge o f a n d u n d e rsta n d su c h e xa m p l es ta ke n fro m l a rge com po

s i ti o n s a nd m igh t p o ss i bly be i n cl i n e d to rega rd th e m a s l i berti es

,

p e r m i t te d to gen i u s w h er e a s th e s e l i bert i es ta ke the i r r i se exactly

, ,

l i k e th e ru le i n th e n at u re of th e ca se It i s th er e fo re b e tter to
,
.

sh o w th e p up i l th e a p pl i cati o n of a n d th e exc e pti on s to th e rul e by

m ea n s o f e xa m p les sp e c i a l ly co n structed for th e p u rp o se ; a lth o ugh
su ch l i ttle p i eces wri tten m er e ly to t e ac h certa i n p o i nts p ossess
, ,

n e i the r th e v a l u e nor the ch ar m of a rti sti c c o m p o si ti on s .

Th o ugh I h ave term e d th e p resen t rst pa rt o f m y w ork co n ,

form ably to g e n eral u sage a M a n ua l of H a rm ony th e w ord s ,

,

h a rm ony a n d h a r m on i c a r e n ot u sed i n th e body o f th e book ;

th e ter m s ch o rd a n d ch orda l be i ng substi tuted fo r th e m

th ro ugh o ut T h i s step to o w a s d i ctated by exper i e n c e i n tea ch

.
, ,

i ng Befo re th e p u p i l enters o n th e stu dy o f th e o ry h e h a s b e co m e

.
,

fa m i l i a ri z ed w i th th e ter m ch o rd fro m th e begi n n i ng of h i s pra e

ti ca l study w h eth er i n stru m en ta l o r v o c a l Everyon e k now s w h a t

, .

th i s word m ea n s i n m u si c T h e ter m h ar m o ny i s m o stly k n own .

i n a sen s e d i ffe re n t fro m th at i n w h i c h i t i s u sed i n th e ea rl i er i n

structi on bo o ks T h e p u p i l n ds i t stra n ge th at d i ss o n a n t cl zor a s
- .
,

su ch a s th e a ugm en t e d a n d d i m i n i sh ed tri ad s a n d all ch ord s o f th e

s e venth a r e a l s o cal l e d h a rm o n i es
, H e n d s i t stra nge m ore

.

,

ov e r th at th e ter m h a r m ony i s em pl oyed on ly for ch ord s i n th e

,

fu n da m e nta l p osi ti on a n d th at th e i r i nve rsi o n s a re a l ways ca l l ed

,

ch ord s a n d n o t h a r m o n i es w h ereas both term s a re a p pl i ed i n j ust

,

th e sa m e se n s e to th e fu n d a m e nta l p o si ti o n of th e c hords Th e ex .

p r e ssi o n s ch o rd o f th e si xth

c hord o f th e fo u rth a n d si xth ,

,

ch ord of th e fth a n d si xth of th e th i rd a n d fo u rth of th e s ec , ,

on d a re a l l u sed a s tec h n i ca l ter m s

,

.

H ere w e n e ed n ot d i scu ss w h eth er a n d to w ha t exten t th e ter m s

h ar m ony a n d ch o rd a re i n terch ang e abl e ; m v s o l e object h a s

bee n to m ak e m y text-book a s s i m p l e cl e a r a n d i ntel l i gi bl e a s , ,

m igh t b e to th e p u p i l w i th o ut super u o u s v e rb i age a n d w i th ou t

, ,

regard to el ega n c e o f d i cti o n T h e n w hy u se two ter m s on e of .

,

wh i ch ca n b e e mp l o y e d o n ly w i th restri ct i o n s a n d i s stra nge a n d ,

i n de n i te to th e b e gi n n e r w h i l e th e o th er w h i c h h e k now s fr o m
, ,

th e o utset s u i c es i n e v e ry ca se
,
?

A n d n ow o n e wo rd to th e p u p i l Wh oev e r w i sh e s to get rea l .

bene t fro m th i s bo o k m u st n ot be sati s e d w i th m e r e ly l ea rn i ng

,
 P R E F A CE .

a n d u ndersta n d i n g th e pri n ci pl e s a n d ru l es gi ven i n i t H e m u st a l so .

l earn to a p p ly th e m pra c ti cal ly w i th th e freedo m o f a n a rti st F or .

th i s rea s o n I h ave p r o v i d ed th e b o o k w i th a very l a rge n u m ber o f

exe rci ses fo r pra cti ce a da a nc i ng i n e a ch i n d iv i d ua l ca se fro m s i m
,
'

p l e ea sy ta sk s to m o re co m p l i c a t e d a n d d i f c ul t o n es L et n o o n e
, .

be co nt e n t w i th w o rk i ng o u t o n ly a p a r t o f t h ese e xerc i ses ; ea c h

o f th e m i s so a rra nge d t ha t t h e p u p i l l ea rn s th e a p pl i c a ti on o f a
,

rul e i n a s m a ny a n d va ri o us to r m s a s p o ss i bl e A th oro ugh a n d .

co m p lete k n o w l e dg e o f th e c h ord s a n d th e i r i nt e r-c o m b i nat i on suc h ,

a s th e a rti st n e e d s n ot o n ly fo r o ri gi na l fr e e c o m posi t i o n b u t a l so ,

fo r p rel ud i n g a nd m od ul ati n g a n d fo r a c o rrect a n d i n tel l i ge n t ren

,

d i ti on of m a ste r -w ork s ca n b e atta i n e d s o l e ly by m ea n s of earn est ,

,

d i l i gen t a n d persever i ng work N o r sh o u l d t h e p u p i l b e co nten t

,
.

to trea t th e e xe rc i s e s fo r p racti ce a s d ry sch ool -ex e rc i ses a n d to ,

work th e m o ut m erely fr o m th i s po i n t o f v i e w ; for eve n i n t he m a

ta le nte d stude nt w i l l fi n d opportu n i ty to d i sp lay th e q u a l i ti e s o f a n
a rt i st su c h a s ta ste a n d re ne m e nt a stri v i n g a fter e up h o ny a n d a
, , ,

good l ea d i n g of th e m el ody It w i l l th erefo r e ofte n b e we l l to .

work over o n e a n d th e sa m e exe rci se severa l ti m es a n d i n d i ffe re n t

pos i ti o n s eve n i n ca ses w h ere a gi ve n p i tc h a ppea rs m ost con
,

v e n i e n t a n d su i tab le In th i s way a lo n e ca n th e pu p i l atta i n to a

.

s ur e a n d p e rfe ct m a stery o v e r th e tech n i ca l i ti e s i n th e i n ter-co n

n ec ti o n of ch ord s w h i ch for m th e gro u n d work of th e stu d i e s i n
,

c o u nterpo i nt a nd of a l l work i n co m pos i ti o n .

S J A D A S SO HN . .

L e i ps zc J u ly 1 8 83
'

.
, ,

P R E F A C E TO TH E S E C O N D E D IT IO N .

Th e seco n d ed i ti o n o f th e M a n ua l of H a rm ony h a s bee n ca re

fu l ly r e v i sed a n d a ug m e n ted by expl a na tory n otes a n d h i n ts for

,

w o rk i ng o u t th e exerc i se s c o nta i n e d i n th e b o o k T h ese ex pla n a .

ti on s h a ve be e n a dd ed i n th e sha pe of a s e con d A p p en d i x o f si x
tee n pages ; th ey w i l l e sse nt i a lly fa c i l i ta te th e t e a ch er s ta sk a nd b e
,

a wel co m e a i d to th e p u p i l w h e n a t work ; a n d w i l l p rove m ore ,

e spec i al ly a n e f ci e n t h el p to a n d a rel i ab le gu i d e fo r th e sel f

,

ta ugh t .

S J A DA S SO HN . .

J VIa r c/ 887
' '

L ez
p s zc , z, 1 .
 T A BL E O F CO N T E N T S .

C HA PT E R pp 1 9 I, . .

I N a tu r a l a n d d e riv a tiv e tones 2 In te rv a l s ; d i a tom c ma j o r s ca l e

. . . .

3 G r e te r a nd l e ss e r s em i ton e s 4 Exa c te r d e n i ti o n of th e i n te rv a l s
. a . . .

5 M e a s r e m e nt of th e i n te rv a l s u pwa rd
. u 6 V i ew of th e i n te rv a l s . . .

7 .M o d e s E n h a r m o n i c o c hr o ma ti c s c a l e
- .
8 Pe r fe ct a nd i mper fe ct con . .

s on a n ce s ; diss on a n ces .

C H A PT E R I I p p 9 , . 1 2 .

9 I nte rv a l s b oth
. ab o v e a nd b e l ow i n v e r te d ) .

CHA PT E R p p 1 2 2 4
III, . .

Io C l a ssi c a ti on o f th e c h o rds a s tri a ds a nd c h o rds of th e se v en th i n d e

.
,

p en d e n t a n d d e pen d en t c h o rds I I M a j o r a nd m i n o r tri a ds : fun d a men ta l . .

tri a ds i n m a j o r 1 2 In te r c o nn e c ti o n
. o f th e fu n d a m en ta l
. tri a ds i n fou r - a rt
p
wri ti n g ; c o m p a ss o f th e v o i ce s i n th e c h o r u s r3 Ex h i b i ti on o f th e tri a ds . .

i n th e fou r p a r t v oca l c h o r u s I 4 C omm on ton e s i n two c h o rds 1 5 Pr o . . . .

g e s s i o ns b etwe en th e tri a ds o n th e 4 th a nd sth d egr ees

r Pa r a ll el oc ta v e s a nd .

fths 1 6 Th e th r ee styl e s of m oti on I 7 Exe r c is es cl os e a nd open

. . . .
,

h a r m o ny I 8 F o r ms of th e c l o s e
. . .

C H A PT E R I V pp 4 35
, . 2 .

1 9 S b rdi n t tri ds i n m j o r D iss on a n t di m i n ish e d tri a d zo P o

. u o a e a a .
, . . r

g e i n b e tw n l l tri ds i n m j r
r ss o s 2 I C v e r e d p r l l l ct v es i n th
ee a a a o . . o a a e o a e

t r p r ts
ou e 2 C onn ec ti n f two n e igh b ri n g tri ds b y c on tr ry m ti on
a . 2 . o o o a a o .

3
2 T h e
. l e di n g n
- o te 24 Ex m p l es aE e r is s 5 S q en c es . . a . x c e . 2 . e u .

C H A P T E R V p p 3 5 4 5 , . .

6 T h m i r s a l e a n d i ts tri a ds D u a l fo r m o f th e m i n o r s ca l e
2 e n
. o c 27 ,
. . .

A u g m e n te d tri a d 8 S f h g m e n te d s ec on d C onn ec ti on
2 t e p o t e u .
2
9 . a . .

of th e tri a ds o n th e 5 th a n d 6 th d e gr ee s i n m i n o r T h o r ou gh -b ss n o ta
3 o . . a ~

ti on 3 I . Ex a mpl es E
. x e r c is e s V i e w of a l l tri a ds i n m a j o r a n d m i n o r
. . .

C H A P T E R V I pp 4 5 58 ,
. .

3 2 T h e i nv e rsi on s o f th e tri a d 3 3
. . . S u c ce ssi on s o f two o r m o re c h o rds
o f th e si x th 3 4 C h o rd of th e fo rt h . . u a nd si x th Ex a m p l e s Exe r c is e s
. . .

C H A P T E R V I I p p 5 9 - 70 , . .

3 5 C h o rds f th e s e v e n th D om i na n t c h o rd o f
. o . th e s e v en th 3 6 N a t . .

u r a l r e s o l u ti o n o f d o m i n a n t c h o rd o f th e s e v en th . C o v e r e d p a r a ll e l fths .

3 7 Pe r fe c t c a d enc e Exa m p l e s Exe r c is e s

. . . .

(Vi )
 TA B L E O F C O N TE N TS . v ii

CH A PT E R pp 70
VIII, 77 . .

3 8 T h e i n v e rsi on s of th e d o m i n a n t c h o rd of
. th e s e v enth , a nd t e h ir na t

u r a l r e s o l u ti on s Ex a m p l es Exe r c is e s
. . .

CHA P T ER I X , pp 7 7 86 . .

3 9 T h e s e con d a r y c h o rds of th e s e v en th i n m a j r a nd th e i r n a tur a l r es o o ,

l ti on s T h e tri ton e 4o Pr epa r a ti on of th e s e ven th Exe r c is es

u . . . . .

C H A P T ER X pp 8 6 89 ,
. .

4 I I nte r con n ec ti on o f th e s ec n d ry c h o rds o f th e s ev e n th i n m a j o r i n

. o a ,

th e fun d a m en ta l p o si ti o n th e i r i n v e rsi n s a n d p r o gr e ssi on s Exe r c i s es o . .

C H A P T E R X I p p 8 6 9 8 ,
. .

4 2 S e c on d a ry c h o rds o f th e s e v e n th i n
. mi n o r , h e i r i n v e rsi on s
a nd t .

4 3 D i m i n ish e d c h o rd of th e s e v en th a n d
.
, i ts n a tu r a l r es ol u ti on Ex er .
.

Ci s e s .

C H A PT E R X I I p p 98 1 0 8 , . .

-c a d en c e d
44 N n p r o gr e ssi on s b e tween th e c h o rds o f th e s e v en th o n
~
o.

o th e r d e gr ee s a n d i n o th e r k e ys D e ce pti v e c a d en c e s M o d l a ti on F r ee r . . u .

l e a di n g o f th e s e v en th 4 5 N e cess a ry l ea di n g of th e sev en th u pwa rd . . .

Ex e r c is e s .

C H A P T E R X I II pp 1 0 8 I I 7 , . .

4 6 Pr ogr e ssi on s b e tween th e s ec on d a ry c h o rds of th e s e v en th a nd c h o rds

.

o n o th e r d e gr e e s a n d i n o th e r k e ys Pe r m issi b l e s u c ce ssi on o f a pe r fe c t a nd .

a n a g m en te d fth
u 4 7 F r ee e n tr a n ce o f s e v e nth a nd r ot i n c on tr a ry mo
. . o

ti on Exe r c i s e s
. .

CHA P T E R X I V pp 1 1 8 1 2 8 , . .

4 8 A l te r e d c h o rds T ri a ds wi th a l te r e d fth
. . . Exer ci s e s .
49 .C h o rd s
o f th e s e v e n th wi th a l te r e d fi fth O pen h a r m o ny . . T he o l d c e fs l . Ex a m p l es .

Ex e r c is e s .

C H A P T E R X V p p 1 2 8 - 1 44 , . .

5 0 A g men te d c h o rds o f th e s i x th o f th e th i r d a nd fo u r th a nd thi rd fth

. u , , ,

a n d si x th a n d th e i r r e s l u ti on s i n m a j r a n d m i n r
, A ug m e n te d c h o rd o f th e
o o o .

si x th b e l on gs to two m a j r nd two m i n o r k eys Ex e r c is e s 5 L In di r ec t o a . .

r es o l u ti o ns f th e a g m en te d c h o rd f th e fth a n d si x th D i r e c t m o d l a to ry
o
.
u o . u

r e s o l ti on s Exe r c is es L ea di ng o f the p a r ts b y a ki p V i e w o f a l l c h o rds

u . . s . .

CHA P T E R X V I pp 1 4 3 1 6 4 , . .

5 2 () n s s pe n si n s
.
53 En tr n e a nd r e s l ti o n o f s s pe n si on s
u o . . a c o u u .

54. S s pe n si n i nu th e b a ss T h r gh -b a ss n o t ti n o f th e s u s en si on
o
p . o ou a o .

Ex m pl e s
a Ex e r c is e s . .

C H A P T ER X V I I pp 1 6 4 1 75 , . .

5 5 S s p e n si n s i n s e v e r a l p a r ts
. u o . U p wa rd r es o l uti o n . F r ee r p ro
gr e i o n o f c h o rds i n a s s pen si n
ss u o . 0 u s pp o si ti o u s c h o rd s
u of th e n i n th ,

e l e v en th a n d th i r teen th
,
Ex e r c is es . .
Vi ii TA B L E OF C O N TE N TS .

CHA P T E R X V II I , pp 1 75 1 8 2 . .

57 Pa
. ssi n g n
- o te s a n d p a ssi n g -
c h o rds C h a n gi n
ng- o te s Th e o rg a n - o i nt
p . . .

8 O rg - o i n t o n th e to n i c on th e d om i n a n t a n d o n ton i c a n d d om i n a n t
5 . n p a , ,

to g eth e r Ex a m p l e s
. Ex e r c is e s . .

CHA P T ER X I X pp 1 8 2 1 9 4 , . .

5 9 C o v e r e d pa r a l l e l octa v e s a nd fths ;
. r s r l i n
c o s- e a t o .
6o . C ov e r e d
ar a ll e l ft hs wi th a wh o l e-ton e s te p
p .

CHA P T E R XX pp 1 9 4 2 0 8 , . .

6 1 Em p l oy m e nt o f th e c h ords for a cco m pa nyi n g a ca n tus r m u s i n fou r

.

p a r t wri ti n g L e a di n g of th e b a ss
. In ne r p a r ts Exa m pl e s Exe r c is e s . . . .

6 2 T h e c a n t s r m u s i n a l to or ten o r M el o di c l ea di ng of th e s o p r a n o
. u . .

Exa m p l e s Ex e r c is es
. .

C H A P T ER XX I p p 2 0 8 2 2 1 , . .

6 3 M o d l ti on M ea ns of m o d u l a ti on D om i n a nt c h o rd of th e s e v en th
. u a . . .

6 4 A g m en te d c h o rd of th e th i rd fth a n d si x th T h e ? c h ord o n th e
. u , .

s tr n g b e a t 6 5 Th e di m i n ish e d c h o rd of th e s e v en th a s a c hi ef m ea n s of
o

. .

m o d u l a ti o n 66 T h e a u g m en te d c h o rd of th e si x th a nd o th e r me a n s of
. .
,

m od l a ti o n u M o r e ex ten d e d m o d u l a ti on s
. .

CHA P T E R XX I I pp 2 2 1 -2 3 3 ,
. .

6 7 C l o si ng c a d en ce 68 C h r om a ti c c h a ng e of ton e s i n th e c h o rd o n
. . .

th e z d d e gr ee i n th e c l o si n g c a d en ce
u 69 C h o rd of th e s e v en th on th e . .

z d d e gr ee a s i n tr o d u c i n g th e c l o si ng c a d e n c e
u T ri a d a n d c h o rd o f th e s e v .

e nth o n th e 4 th d e gr ee wi th c hr o m a ti c c h a n g e of th e s ev e r a l ton e s o n b egi n

,
.

n i n g c l o si n g c a d en ce 7 o C hr om a ti c a l te r a ti on of c h o rd of th e s e v en th on
. .

th e 4 th d e gr ee C on c l u di n g r e m rks
. a .

C H A P T E R XX I II pp 2 3 4 2 40 ,
. .

O n th e M si c a l H e a ri n g u .

C H A P T E R XX I V pp 2 4 0 2 6
4 ,
. .

S b j ect-m a tte r a nd F o r m
u .

A PP E N D I X 1 pp 2 4 7 2 7 2 ,
. .

Ex p l a n a to ry e x a m p l e s .

A PP E N D I X I I pp 2 8 8
,
. 2
73 .

I N D E X , pp . 289 292 .
 A M A N U A L O F HA R M O N Y .

P A R T TH E F IR ST .

CHA PT E R I .

The I nte rv a l s .

1 Th e n u m ber of p ri m a ry o r na tu ra l ton e s e m pl oye d a s th e

.

b u i l d i ng -m ateri al of m u s i c i s l i m i t e d to s e v e n fro m w h i c h w e d e ri v e
,

ve fu rth e r d e ri vati ve t o n e s Tak e n i n n a tu ra l succ e ssi o n th e seve n

.
,

n atu ra l tones for m th e D i ato n i c M aj or S ca le .

1 .

F ro m th e se n at ura l ton e s a re d eri ved by m ea n s of ra i si ng th e ,

rst secon d fo u rth fth a n d s i xt h to ne s by a se m i ton e ea c h th e

, , , , ,

deri vat i ve ton e s

2 .

ly i ng between th e n at u ra l s We ca n a l so get th e m by loweri ng th e

.

secon d th i rd fth si xth a n d seve n th n atu ra l to n e s by a se m i ton e

, , , ,

ea c h .

3 .

A ll
twel ve t o n e s m ay th erefore be w ri tte n i n ch ro m ati c su c

cess i o n e i th er w i th th e fo l low i n g s ign s :

,

4 .

o r w i th th ese oth e rs :

5 .

We a ssu m e th a t th e p u p i l a l r e ad y k n o w s tha t t o ne s ca n be e nh a r
m o n i c a l l y r e pres e n ted i n sti l l oth er ways w h i c h w e d o n ot requ i re
,

fo r o ur p resen t p u rp o se .

(1 )
2 A M AN UA L 0F H AR M ON Y.

2 . Th e d ifferen ce i n p i tch betwee n two ton e s w e ter m a n Ih

te rv a l W i th i n th e d i at o n i c m ajor scal e e recti ng th e i nte rva l s i n
.
,

every ca se o n th e rst or k ey-n o te ( ton i c ) th e seco n d note w i ll ,

for m th e i n terval o f a S ec o n d w i th th e k ey -n ote ; th e th i rd n ote th a t

of a T h i rd ; th e fo u rth n ote th at of a F o u rth ; th e fth tha t o f a
F i fth ; th e s i xth th a t o f a S i xth ; th e seve n th th at o f a S even th a n d
th e e i gh th th e i n terva l of a n O ctave
, Th e key -n o te i ts e l f w e ca l l .

a Pri m e .

Pri me , nd
S e co , T hird , F ou r th , F i fth , S i x th , S ev en th , O c ta ve .

A dva n ci ng furth er w e get th e N i nth Te n th El even th a n d

, , , ,

Twel fth w h i c h a re tra n s p os i ti on s o f th e Seco n d T h i rd F o urth ,

, , ,

a n d F i fth respect i vely i nto th e i r h i gher octave

, , .

N i n th , nh
Te t , El ev en th , T we ft l h .

Th e p ri m e fou rth fth a n d octave of th e m ajor scal e a re ter m ed

, , ,

p e rf e c t i n terval s th e seco n d th i rd si xth , a n d seven th be i ng m ajor

, ,

o nes T h e d i sta n ces b etw ee n n e i ghbori ng ton es i n th e m aj o r sca l e

.

a re a s fol l ow s : F ro m th e I st degree ( p ri m e ) to t h e z u d a w h o l e ,

ton e ; fro m th e z u d to th e gr d l i kew i se a w h ol e ton e ; fr o m th e grd

,

to th e 4 th a se m i ton e ; fro m th e 4 th to th e 5 th a w h ol e ton e ;

, ,

fro m th e sth to th e 6 th a n d fro m th e 6 th to th e 7th a w h ol e ton e ;

, ,

a n d fro m th e 7th to th e 8 th ( octave ) a s e m i t o n e ,

.

Pri m e, S e co n d , T h ird , F ou r th , x
F i fth , S i th , S ev e th , O n c ta ve .

A w h ol e ton e i s th er e fo re a n i n terva l betw e e n two n ei ghbori n g

ton es i n th e scal e betwee n w h i c h o n e i nter m e d ia te t o n e ca n be
,

o bta i ned by c h ro ma ti ca l ly ch a ngi n g e i th er of th e sa i d tw o to n es .

T h e n arrowest i nterva l betwee n two ton e s i s ca l l ed a se m i ton e

h a l f-ton e
3 . We d i sti ngu i sh between g r ea te r sem i ton es a n d l ess er se m i
ton es T h e g r ea te r se m i ton e a ri s e s fro m th e ch r o m a ti c ch a nge
.

b rough t abou t by a c h ro m a ti c si gn before a n ote T h u s fro m c to .

 A M A N UA L OF H AR M ON Y
. 3

th e n eare s t o r fro m g to th e g l: nex t above i t , is a g r e a te r

s e m i to n e .

r s e m tt - grea te r gre a te r gr ea te r s em i tone

rte , , , .

Th e i n te r v a l fro m a

to d l7 , e to e l7 , or
g to g l
7 , i s l i k e w i se a

r e a te r s e m i to n e
g .

T h e l ess e r se m i t o n e i s fo u n d o n ly betw e e n two n e i ghbo ri ng

degre e s T h u s th e i n terva l fro m c to th e d b n ex t ab o ve i t fro m
.
'

c to th e n e xt a fr o m cl to e h ; o r fro m (l itto e i s a l es s e r se m i

, , ,

to n e .

RE M A R K T h e fa l si ty o f th e c on tr a ry o p i n i o n ex p r ess e d b y e a rl i e r text-b oo ks
.
,

th a t th e c h n g e p r o d u c e d i n a n tu r a l ton e b y a c h r o m a ti c sign is th e l
a a s em i es se r

ton e f th e n a tu r a l ton e a n d th a t th e m i n o r s econ d i th e g e t

o ,
s em i tone will a t s r a er ,

on c e b e r e v e a l e d t th e p r a c ti c a l m u si c i n b y th e d i ff e r en t r e s o l u ti on s of th e l i k e

s oun di n g c h ord f n d f
o a

- eb s z c d li a a c .

E b b eing th e n ea r e r
n ds to D a nd D I: to E L ou is L o hs e i n his
to D , te ,
.
,

e ss a y C on tr a th e N e w Ke y b o a rd ( M si k a l is c h e s W o c h en b l a tt 1 88 3 N o

u ex , , .

p r e ss e s h is v i ews o u thi s h e d w i th gr a t c l e a r ne ss
a H e ob s e rv e s :
e The op in

i o n th a t
.

cll i s th e l ess e r s e m i to n e a nd -d b th e gr e a te r is d o ub tl ess p r o d u c ti v e

c , c ,

of s e ri o u s m is c h i e f T h e r ev e rs e is tr e
. A ss u m i n g a t 2 6 v i b r a ti on s
5 u an . c

,

a b s o l u te ly p r e d b h a s 2 68 0 4
u w hil e a p u r e ( 1! h a s
, v i b r a ti on s Th e .

m i n o r s econ d is th e r e fo r e m a te ri a l ly n rr o we r th a n th e a ug m e n te d p ri me
a .

Th i s observat i o n furn i sh e s a n ea sy exp l a nati o n of th e n atu ra l

progr e ssi o n o f th e l e ad i n g-n ote a n d a l so o f th e n at ura l r e sol uti on s
,

o f al l th e a l ter e d ch o rd s a n d ch o rd s o f th e seven th .

4 . T h e i nt e rva l s ly i ng w i th i n th e m ajor s c a le wh i c h w e ,

n a m ed a s e r e ct e d u p o n th e k ey -note th e S eco n d Th i rd F o u rth

, , , , ,

F i fth S i xth S e ven th O ctave a n d N i n th beco m e e sse nti a l ly d i f

, , , , ,

fe r e n t i n te rva l s w h e n e i th er of th e two to n e s form i ng ea c h i nte rva l

i s ra i sed o r l owere d a se m i ton e by m ea n s o f a ch ro m ati c s i gn .

Th e s i xth C - A for i n sta n ce a p pea rs n a rr o we r o r w i de r accord i ng

, ,

a s w e ch a nge 6 i nto or c l7 o r a i n to a t o r a b , .
4 A M A N UA L 0F H AR M ON Y .

T h ese ch a ng e s i n th e t o n e s o f a n i n t e rva l by ch r o m ati c al ly ra i si n g

o r l o w e ri n g e i th e r o r both o f th e t o n e s re n d e r n e c e ssa ry a p reci se r ,

n o m en clature o f th e i nterva ls so obta i n e d .

M e a s u r e m e nt of th e Inte rva l s U p wa rd .

5 . We n a med i nt e r v a l s o f th e m a j o r s c al e e i th e r p e rf e ct or
th e

m ajo r By ra i si ng th e h i gh e r t o n e o f a ny s u c h i nterva l by a
.

r e a te r c h r o m a ti c s e m i to n e th e p e r fe ct o r m ajo r i nt e rva l so
g ,

cha ng e d b e c o m e s a n a ug m e nt e d i n t e r v al Th i s a l s o h ol ds good o f .

th e Pri m e w h i ch i n i ts e l f i s no i n terva l b ut a u n i son

, , .

U n is n
o . I nt rv a l
e .

Pe r fec t Pri m e . A u g m en te d Pri m e .

By low e ri ng th e h i gh er t o n e of a ny m ajo r i nt e rva l by a g r e a ter

ch ro m at i c s e m i to n e w e c h a nge th e m ajor i n t e rva l i n to a m i n o r
,

one .

By ra i s i ng th e low e r t o n e o f a ny m i n o r i nt e rva l by a g r e a te r
ch r o m ati c s e m i t o n e w e ge t a d i m i n i sh e d i n terva l
, .

By ra i si ng th e l ow e r t o n e o f a perfe ct fo u rth fth o r o c ta v e by , ,

a g r e a te r ch r o m at i c se m i t o n e th e p e r fe ct i nte rva l i s c ha nge d to a

,

d i m i n i sh e d one .

6 We l i k e w i s e ge t th e d i m i n i sh e d fou r th a n d fth by l o w e ri ng
th e h i gh er ton e o f a p e r fe c t fo urth o r fth ; th e i nt e rva l c
.

g l
7 is

th u s exa ctly e q u i va l e n t t o c itg D i m i n i sh ed p ri m e s a n d o c

.

tav e s d o n o t o c c u r i n p u r e c h o rd s ; n e i th e r a re d i m i n i s h e d seco nd s
'

a ug m ented t h i rd s d i m i n i sh e d si xth s a ug m en ted seve n th s a n d d i

, , ,

m i n i sh ed n i n th s e m p l oyed i n b u i l d i n g u p c h o rd s .

V iew of th e In te rv a l s .

Pe r fe c t I n te rv a l s .

Pri m e (U n is o n ) , F ou t rh , i h
F ft , O c ta ve .

M a o j r I n te rv a l s .

l3 .

S eco nd ,
T hi rd , S i th ,x S e v e th , n N i n th .
 A M A N UA L H A R M ON Y
. 5

14 .

Pri me, S econ d , T h i rd , F ou r th , F i fth , x

S i th , O c ta ve , N i n th .

15 .

S ec o nd ,
T hi rd , S i x th , n
S e v e th , N i n th .

16 .

T hi rd . F ou r th , n th , O c ta ve .

R EMA RK
. In me l odi c s u c ce ssi on di m i n is h e d p ri me s a ls o
, oc c u r; a .
g .

Th e i nte rval s w h i ch m ay be u sed for th e e recti o n of ch o rd s or i n ,

occa si o na l ch ord -fo rm at i o n s a re gi ve n i n regu l a r order i n th e fol

,

low i ng
P RI M ES . S ECO DSN .

m a j o r, m in or , au
g m .

17

TH IR n s . F ouR TH s .

F IFT HS . S I X THS .

S E V E N THS .

7 . We h ave n ow l ea rn e d a l l th e i n terva l s n e cessa ry fo r b u i ld

i ng up c hord s a n d h av e e rected th e m o n a nd abov e th e to n e C
, .
6 A M A N UA L OF H A RM ON Y .

To th i s en d we ch ose th e d i a t o n i c sca l e of C-major a s a n or m a l

sca l e fo r o u r ba si s of operati o n s A l though w e m ay take i t fo r
.

gra nted th at th e stu de nt b egi n n i ng t h e th e o ry o f m u s 1 c i s p r a c ti

ca l ly a c qua i n ted w i th a l l th e scal es w e pa u se to r e m i n d h i m th at
,

we recogn i z e two m usi ca l gen e ra o r m od e s th e m aj o r a n d m i n or ,

m o des a n d two d i at o n i c s c a les c o rr e sp o n d i ng to th e m od es

, ,

cal led th e m ajor a n d m i n o r sca l es Th es e la tter a r e for m ed i n a c

.

c or d a n c e w i th de n i te l aw s a n d ca n be er e ct e d o n a ny t o n e wh at
,

eve r w i t h a prec i sely s i m i la r a rra nge m e n t o f th e i r tones T h i s .

arrang e men t we h ave a l rea dy l earn e d fro m th e C-m ajo r sca le

( co m p N
. o . Wh e n w e sta rt fro m a ny t o n e b u t C we h ave to ,

u se c h ro m ati c si gn s for b u i l d i ng u p th e scal e ; th us th e sca l e of G

takes on e sha rp th at of D tw o ; A th r e e ; E fo u r ; B ve ;
, , ,

a n d F 31 si x sh arps T h e sca l es of F E l) E l7 A l7 D I7 a n d G I7
,
.
, , , , ,

take fro m on e to si x fl ats (l7 ) r e s p e ct i vely C o n s e qu ently th e s c al es

.
,

h av i ng a sign atu re a re to b e r e gard e d s i m p ly a s tra n sp osi ti o n s o f

th e scales of C-m ajo r o r a -m i n or F o r sca l e s begi n n i n g a perfect
.

fth above o r bel o w C o r a w e requ i r e o n e ch ro mati c s ign to o b

ta i n a si m i l a r a rra nge m en t o f th e i n terva l s A dva n ci n g e i th er .

w a y by fth s to ge t k ey-n otes fo r begi n n i ng n ew s c a les a n a dd i

, ,

ti o n a l ch r o m at i c s ign m u st be a dd e d fo r ea ch sk i p of a fth i n ,

order to b u i l d u p scal e s exa c tly l i k e th e m odel sca l e T h i s i s i l .

l ustrate d i n th e gu r e w h i ch i s ca l l e d th e Ci rcl e o f F i fth s

,
.

Th e fo r m a ti o n of th e m i n or s c a l e wi ll be exp l a i n e d at l en gth fu rth e r on.

 A M AN UA L H A R M ON Y.
1

To get th e m ajor s i xth above F it w e h a ve to n d th e s i x th to ne

,

In th e sca l e o f F it -m ajor w h i ch i s D 3 , T h e m i no r s i x t h i s .

th erefore D a n d th e a ugm e nte d si xth D x

, .

ma j or si x th , m i n or s i x th ,
au g men te d si xth .

To get th e m ajor s i xth of A I? we h ave to n d th e si xt h t o n e i n

th e scal e o f A i7 -m ajo r w h i ch i s 1 7} th e m i nor s i xt h i s t h e r e f o re
,

F b, a n d t h e a ugm e nted si x th F i t .

maj or si xth , mi n o r s i xth , au g m ente d si xth .

F o r th e exact determ i nat i o n o f a l l th e i nte rval s w e h ave to e m

p l o y a l l th e c h ro ma ti c s i gn s th e D o ub l e -a t (M7 ), th e si mp le
F la t (I7) th e N a tu ra l (n) th e s i m pl e S h a rp a n d th e D o ubl e
sh a rp (x ) i n order to ra i se o r l ower th e to n e s c h ro m a ti ca l ly T o
, ,

sh ow th i s q u i te p la i n l y to th e p u p i l w e gi ve be low a v i ew o f th e
,

i nte rval s a s e rected o n th e to n es G l7 a n d F it F ro m th e sign atu res .

i t i s ev i de n t th at th e sca l e s of G I7 a n d F 1; a re tak e n a s a ba s i s .

PRI M ES . S Ec o a .

TH i R ns .

m i n o r, di m i n .

S i xT H s .
8 A M AN UA L OF H A R M ON Y .

S EV EN TH s . O cTA V Es .

m i n o r,

P RI M ES . SEC O N DS .

mi n r o , au
gm .

TH I R ns .
F ou R TH s .

F IF I H S
'
. S IX TH s .

S EV EN TH s

d o no t occ u r i n p r a c ti c e b e c a u s e we d o n o t w ri te i n k e ys h a vi ng m o r e th a n 6 a ts
,

i n th e sig na tu r e . T h e s a m e i s tr u e o f th e c o rr e s p on di n g i n te rv a ls e r e c te d o n th e
ton es Ev, EV , D b, a n d A D; b u t w h e n e re c te d o n a ny o th e r to n e , th e y o c c u r i n
h
c o rd s .
h r
T e e a r e c a s e s ,
h o w e v e r , i n w hi c h th e di m i n ish e d fth E ly- F l? c a n o cc u r
,

e g
.
i
.
n h
th e c o rds o f th e s e v en t h o n t h e s eco n d a n d s e v e n th d e gr e e s , i n (l b-m
ino r .

T h e a u g m en te d th i rd a n d di m i n ish e d si x th b a s e d o n th e ton e m a y a l s o pe rh a p s , ,

h gh r r ly b m t w i t h i l t r d h rds f th k y f C b -m a o r a nd
t ou a e , e e , e g n
. a .e e c o o e e s o
j
ell -
m i no r .

T h e rst ta sk to b e u n d ertak e n by th e p up i l i s to wr i te ou t a l l
th e i n terva l s fro m ea c h s i ngl e n ot e tak i ng sp e ci a l ca re to get th e
,

correct m usi ca l orth ograp hy of th e e n h ar m o n i c t o nes T o a i d h i m .

i n d o i ng so w e gi ve a v i e w of th e e n h a r m o n i c o-ch ro m ati c scal e ,

th e n otes ordered accord i ng to th e tru e p i tch .

 A AIA N U A L OF H A R / O N Y .
9

H ence w e se e th at th e m i n or secon d i s a n arrow e r i n terva l th a n

th e a ug m e nted p ri m e th at th e m i n o r th i rd C e I7 i s n a rr o we r th a n , ,

th e a ug m en ted sec o n d C a ; a n d th e d i m i n i sh e d fo u rth n arro wer

,

tha n th e m ajor th i rd etc , .

8 . F i na l ly w e w i l l obs e rve tha t th e i nterva l s a re cla ssi ed a s

,

perfect con s o na n ce s i m perfect co n s o n a n ces a n d d i ss o n a n ces T h e

, ,
.

pe rfect co n so n a n c e s a re th e p erfect pr i m e (u n i son ) th e perfect ,

fo u r th th e p erfe ct fth a n d th e p e rfe ct octa ve T h e i m perfect

, , .

co n son a n c e s a re th e m ajor a n d m i no r th i rd s a n d th e m aj o r a n d
m i n o r s i xth s T h e d i ss o n a n ces a re th e maj o r a n d m i n o r se c o n d s
.
,

m ajo r a n d m i no r s e v e n th s m ajo r a n d m i n or n i n th s a n d a ll a ug
, ,

m e n te d a n d d i m i n i sh e d i n te rva l s .

Pe r fe c t C on s on a n ce s .

I mpe r fect C on s on a n ces .

D i s s o n a n c es .

CHA PT ER II .

I nte r v a l s b oth A b o v e a n d Be l o w ( i n v e rte d )

.

9 . W e a re bl iged both i n th e th eory o f c h ord s a n d i n o u r

o ,

st ud i e s i n c o u nt e rp o i n t to co n si der th e relati on s o f tw o to n es co n
,

ta i n e d w i th i n a n o ctav e w h en e i th er o f th e sa i d ton e s i s u pp e r m o st .

F o r exa m pl e th e t o n e E ab o ve A form s th e i n ter v al o f a fth

,

0 w A th a t of a fo u rth
10 A M AN UA L OF H A R M ON Y .

By e r e cti ng th e i n t e rv a l s i n th e s c a l e o f C-m aj o r ab o v e C a nd ,

th e n i nv e rti n g th e i n ter v a l s so e r e c te d ab o v e two -l i n ed C by a n

o ctave w e obta i n th e fo l low i ng sch e m e
,

By i n v e rsi o n i n to th e l owe r octa ve th e perfect pri m e be co m e s a

p e rfe ct o ctav e ; th e m aj o r s e c o n d b e c o m e s a m i n o r seven th ; th e
m aj or th i rd a m i nor s i xth ; th e p er fe c t fou rth a per fect fth ; th e
, ,

per fec t fth a per fe ct fo u rth ; th e m ajo r si xth a m i n o r th i r d ; th e

, ,

m ajor sev e n th a m i n or s e c o n d ; a n d t h e per fe ct o ctave a p er fe ct

, ,

pri m e Th u s a l l per fe ct i nterva l s (p e r fe c t c o n son a n c e s ) r e m a i n

.

er fe ct after i n v e r s i o n to th e i r l o w e r o cta v e ; m ajor i nterval s b e

p
co m e m i nor ; a n d m i no r i nte rv a l s b e co m e m ajor .

A ll a ugm e nted i nt e rval s beco m e d i m i n i sh e d :

A ll d i m i n i sh e d i nt e rva l s b e c o m e a u g m e nt e d :

To ren d e r th e m atte r qu i te clear w e appen d a v i ew of al l th e

,

i nte rval s t o g e th e r w i th th e i r i n v e rs ion s to th e lower octa ve T h e

,
.

each of th e oth er el e v e n m a jor scal e s i n turn as a ba si s .

 A M A N UA L OF H A R /l/ O N Y .
1]

P R I M ES . S E CO N DS . I
ma j or , m i no r , a ug m .

I N T E R VA L S
A BO V E .

29 . O

C I A V ES . S E V E N THS .

m inor, ma j o r , di m i n .

I N T E R VA LS
BELO W .

'

IH IR D S . F O U R rH s
'

di m i n . e r fe c t, a ug m .
, di m i n .
, di m i n .

S I X I HS
'
. F IFTHS .

maj or, a u gm . r
p e fe c t, a ug m .

F IF THS . S I X THS .

e r fe c t, a ug m .
, di m i n .

F O U R THS . H I R DS
T .

a ug m . m i no r , ma j o r di m i n
, .
,
au
g m .

S EV EN rH s
'

. O C TA VE S .

ma j or, m in o r, di m i n . r
p e fe c t, d i min .

S EC O N DS . P RI M ES .

m i no r , maj r o , a ug m . r
p e fe c t, au
gm .
12 A M A N UA L 0F H A R M OA Y
'

T h e oth er i nvers i on s o f th e i nterval s by a te nth or tw e l fth c a n b e

p a ss e d o v e r fo r th e p r e s e n t Bu t fo r th e ex e rc i s e s i n d o u bl e c o u n
.

te r p o i nt w e sh al l be obl i ged to pay speci a l attenti o n to the m .

C H A PT ER III .

T h e o ry of th e C h o r d s .

TH E F U ND A M E N T A L C H O R D S A N D T H E I R I N V ER S I O N S A N D A L so ,

THE A L T E R ED C H O R D S D E R I V E D F R O M F U N D A M E N T A L O N E S .

10 . A ll
ch o rds a re cl a ssi e d e i th er a s Tri a d s i e th o s e c o m , . .

posed o f th r e e ton es ; or a s Ch ord s o f th e S even th w h i c h h ave fo ur ,

d i e r e n t to n e s .
E

We d i v i d e th e tri ad s to begi n w ith i n to i n d ep en d e n t a n d d e

, ,

e n d e n t C h o rd s
p .

We ca l l tri a d s i n d ep e n d e n t w h i ch a re c o m posed s o l e ly o f c o n
s o na n t i nt rval s h av i ng e i th er a m aj o r o r m i n o r th i rd a n d a p erfect
e ,

fth (reck o n i ng fr o m th e fu n da m e n tal ) O n th e o th er ha n d tri ad s .

,

a re d ep e n d e n t w h i ch co nta i n a d i sso na n t i nt e rva l a d i m i n i sh ed or ,

a ugm en t e d fth .

A l l C h o rd s o f th e sev e n th a re d ep e n d e n t .

Ev e ry d ep e n d e n t C h ord se e k s a n d ca l l s for progre ssi o n to a n i n

d epe n d e n t c h o r d sl

A s cc u p y o u rselves rst o f a l l w i th th e tri a d s we

w e h a v e to o ,

gi ve for th e pres e nt e x a m pl es of i n d e p e n d e n t a n d d e p en d e n t tri ad s

o nly .

l s
* A t th e c o e o f th e C h a p te r O n S u s pe nsi o ns we sh a l l ex pl a i n i n d e ta il wh y i t

is th a t a cc i d en ta l c h o rd-fo r ma ti on s whi c h e a rli e r text-b o o ks te r me d c h o rds o f th e

,

n i n th , o e v en C h o rds o f th e e l e v e nth a n d ftee nth

r c a nn o t b e tr e a te d a s dis
,

ti n c t c h o rds By th a t ti m e th e p p il will h a v e r ea c h e d a s ta n d p o i nt fr o m whi c h

. u

h e c a n i n tel l ig e n tly fo ll o w o r ex pl a n a ti on s
u .

I T wo or m o r e d e p en d en t c h o rds c n h o we v e r o c c u r i n s u ccess i on on ly th e
a , , ,

l a s t one m u s t r e s o lv e to a n i n de pen d ent c h ord .

 A M A N UA L H A RM ON Y . 13

a . H as a m ajor th i rd E a n d p e rfect ft h G recko ned fro m th e ,

root (i e . . th e t o ne o n w h i c h i t i s ba sed ) a n d i s a n i n depe ndent ,

tr i ad .

6 . H a s o n th e con tra ry th e d i sso na n t a ug m en t e d fth Gil to i ts .

root C a n d i s th e re fo re a d epe n de n t tri a d

,
.

c . H a s a m i n o r th i rd a n d p erfe ct fth reckon ed fro m th e root ,

th u s be i ng a n i n d e p e n d en t tri a d .

a

. T h o ugh h av i ng a m i no r th i rd F th i s tri a d i s co m p l eted by ,

a d i sson a n t d i m i n i sh ed fth A I 7 reck o n e d fro m th e root a nd i s

, ,

con seque n tly a depe n d e nt tr i a d .

II Every tr i a d i s fo r m e d by th e a dd i ti o n to i ts r o ot of th e
.

th i rd a n d fth ab o ve i t A cc o rd i ng a s th e th i rd i s m ajor o r m i n or
.

we obta i n p rov i ded th a t th e fth o f th e root i s p erfect e i th er th e

, ,

Ma j or T ria d ,

h av i n g a m ajo r th i rd a n d p e rfe ct fth r e ckon i ng up wa rd fro m , th e

root ; o r th e

M i nor T r i a d ,

h av i ng a m i nor th i rd a n d perfect fth .

M a j or T ri a ds .

B y a l teri ng th e r e l ati o n o f th e fth to th e root w e obta i n o th er

Va ri eti es of tri ad s w h i ch w e sh a l l ta ke u p furth e r on
, .

A tri a d ca n be ere c t e d o n a ny d egree of th e sca l e ; th e m ost i m

p o rta n t o n es th e F u nda m e n ta l Tri a d s a re fo u n d o n th e I st sth
, , , ,

a n d 4 th d egrees T h e above th ree d e grees of th e scal e i e th e

.
, . .

P ri m e F i fth a n d F o u rth have a l so rec e i ved th e sp e c i a l n a m es o f

, , ,

T o n i c D o m i n a nt a n d S ubdo m i na n t r e specti vely

, , .

To nic . D omi n a nt .

S u bd o m i n a n t .
14 A M AN UA L 0F H A R M ON Y.

Th e tri a d o n th e rst d egr e e i s th er e fo re cal led th e

T O N IC TR IA D
that on th e fth d e gree , th e

D O MIN A N T T R IA D ;

a n d th at o n th e fo urth d egr ee th e
S U B D O M I N A N T T RIA D .

Th e cl o sen ess o f th e i r re la ti on s to ea c h oth e r w i l l be se e n by th e

fol low i n g gr o up i n g .

S ub d o m i na t n T on i c D om i na n t
t ri a d . tri a d . tri a d .

F ro m th e a p e x o f th e to n i c tri a d th e fth G th e do m i n a n t tria d , ,

i s ev o lved u pwa rd w h i l e th e root of th e ton i c tri a d fo rm s th e a pex

or fth of th e subdo m i n a n t tri a d T hese th ree tri a ds co n ta i n a l l .

th e ton es of th e C-m aj o r sca l e a n d d i sp lay i n th e i r gr o u p i ng a n d

, ,

arti sti c co m b i nati o n th e ch a ra c te ri sti c s of th e key A l l th ree fu n

, .

d a m e nta l tri ad s a re m aj o r tri ad s .

12 F or e ffecti n g th e i nterc o n n e cti on of th ese tri ad s a ccord i ng

.

to th e rul es o f m u si cal a rt we tak e a m i x e d fo u r-p a rt voca l ch o ru s

,

a s th e m o st su i tabl e m ed i u m con si sti ng o f So p ra n o a n d A lto (fe

,

m al e vo i c e s ) a n d T e n o r a n d Ba ss (m al e
,

Th e c o m p a ss of th e h igh fe m a l e vo i ces (ca l l ed S op ra n o o r trebl e )

1
i n a ch o r u s m ay b e a ssu med i n gen era l a s reach i ng fro m c to g ,

or eve n to a T h e ra nge of th e l ow (a l to ) fe m a le vo i ces i s fro m

"
.

*O ur r ea s on for c h o osi ng a fou r-p a r t m i xe d v oc a l c h o r u s a s th e i ma gi n a ry exec ~

u ta n t o f th e s e a s we ll a s o f a l l fo ll o wi n g ex e r c is e s is e a si ly a pp a r en t A l l our , .

e x e r c is e s a re p r e p a r a to ry s tu di e s to C o un te r p o i n t C o unt e r po i n t h owe v e r r e .
, ,

q ir e s th e i n d e p en d ent l e a di n g of e a c h p a r t a nd i ts i nn e r m o s t ess en c e i s
u ,
l v oca .

In i t we h a v e n o thi n g to d o w i th h r m on i c ma ss es wi th c h o rds or wi th a p r e d om
a , ,

i n a ti ng p ri n c i p a l m e l o dy to wh i c h a l l th e r e s t oc c u p y th e s u b o rd i n a te p o si ti o n of a
c h o rd a cc m p a n i m e n t a s i s o ften th e c a s e i n m o d e r n com p os i ti o n s fo r th e p i a n o
- o ,

fo r te th e h a r p th e o rg a n o r o r c h e s tr a
, , ,
In l l con tr a p un ta l c om p o si ti on s o n
. a ,

th e con tr a ry e v e n i f n o t i n ten d e d fo si n gi n g e v e ry p a r t m u s t b e m l d i
,
r ,
a nd e o ou s
,

i ts l e a di n g g o v e rn e d a c c o rdi n gly A nd a s o r p r e p a r a to ry exe r c is e s i n th e i n te r

. u

c onn e c ti on of c h o rds a re i n c l o s e s t touc h w i th th e l a te r s tu di e s i n c o un te r p o i n t ,

e v e n c on ta i n i n g th o gh th e p p i l d oe s n o t r e a l i ze i t a t rs t a gr e a t d e a l o f c on
, u u ,

tra p u n ta l wo rk we a r e o b lig e d fr o m th e o ts e t to a ss u m e th e v o c a l c h o r u s a s th e
,
u

ex ec u ta n t of a l l o u r ex e r c is e s a n d to wo rk th em o u t i n th is s en s e
,
.
 A M AN UA L OF IIA R J V O N Y .
15

(or even g ) of th e s m al l o ctave u p to c o r d
'
a Th e h i gh m al e
, .

v o i ce s (t e n or ) co rrespon d to th e s o pra n o a n octave l o wer reach i ng ,

fro m c o f th e s m a l l octave u p to g o r a
T h e l o w m a l e v o i ce s
.

(bass ) h ave a co m pa ss fro m G o r eve n F of th e gr e at octave u p

to c o r o ccasi o n a l ly to d l) o r a of th e o n e -l i ned o ctave We
,
"
, .

te rm th e s o p ra no a n d ba ss th e o ute r pa rts a n d th e al to a n d t e n or
,

th e i n n er pa rts T h e ra n ge of t h e vo i ces o f a c h oru s m ay t h e refore

.

be ex h i b i ted th u s :

3 5
SO R
P A N O .

A LT O .

T EN O R .

BA SS .

I3 Wh . e n a tr i ad i s to be su ng by a fou r -pa rt ch or u s o n e of ,

i ts i nterva l s e v i den tly m u st b e d o ubl ed a n d su n g by tw o d i e r e n t

,

v o ca l p a rts e i th e r i n u n i so n o r i n th e octa ve (or do ubl e -octave ) .

Th e fo l l o w i n g ru l e s a pply to su ch d o ub l i n g :
A ny t o n e o f th e tri ad m a y be do ubl e d th e root i s best su i ted fo r
doub l i n g th e f t/z l e ss so a n d th e M i n i l e a st o f a l l beca u se th i s
, , ,

l atter a c c o rd i ng a s i t fo r m s a m aj o r o r m i n or th i rd w i th th e r o o t i s
, ,

m o st sh a rp ly p r o m i n e nt i n c h a ra ct e ri z i ng i ts tri a d a s m ajo r o r
m i no r .

W e c a n w ri t e th e t o n i c t ri a d o f C-m aj o r fo r a m i xed voca l C h o ru s

i n a gr e a t va ri e ty of for m s ; e g . .
16 A M AN UA L OF H A RM ON Y .

ati IL 5 . a dl 5 gm h . i h
a L nu

SO R
P A N O .

A LT O .

T EN O R .

BA SS .

C? I

Th i s styl e of notati on i n w h i c h ea ch pa rt h a s a sepa ra te sta fT i s

, ,

ca l led a Score B ut a s we d o n ot n eed i t fo r o u r rst a n d v ery

.

si mpl e exerc i ses we sh a l l ch o o se i n st e ad th e styl e o f n otati o n o n

,

two staves (sh ort sc o re ) w i th th e v i ol i n a n d ba ss-c l e fs w h i ch w i l l ,

afford th e p u p i l a m ore co nven i en t v i e w Wr i tte n th u s N O 3 6 a p.

,
.

pears a s fol low s

A t a th e root i s d o ubl ed i n th e sopra n o ; a t 6 a n d c i n th e al to ; at ,

e i n th e s o p ra n o ; at i n th e t e n o r ; at R a n d m i n th e a lt o ; at d
, g , ,

a n d l th e fth i s d o ubl e d w h i l e th e th i rd i s d o ub led a tf a n d i Th e .

tri ad s of t h e d o m i n a n t an d subd o m i n an t m ay b e w ri tte n o u t i n th e

sa m e way .

e tc . e tc .
 A [M A N UA L OF

IO N Y
H A R /V . 17

14 . I n order to e ffe ct th e i n terco n n ecti o n o f th ese th ree tri ad s

a c c ord i n g to th e ru l es o f stri ct c o m p o si ti o n th e rst an d l e ad i n g p ri n
,

c i l e to be kept i n v i ew i s to l e a d th e pa rts i n s uch a way a s to

p
rend er e x e cu ti o n a s e a sy c o n v e n i e n t a n d na t u ra l a s p o ssi bl e fo r
, ,

th e s i ngers F o r th i s r e a s o n w h e n o n e ton e b e l ongs to tw o s uc

.
,

c e ss i v e C h o rd s w e p r e fe r to k e e p th at t o n e i n th e s a m e p a r t a n d
, ,

l e a d th e o th e r pa rts to th os e t o n e s o f th e n e w ch o rd w h i ch l i e n e a r
e s t to th e m .

Th us Ex 3 9 sh o w s u s s o m e p r o gr e ssi o n s of th e ton i c tri a d to th e

.

d o m i na n t tri ad bo th b e i ng i n th e fu n da m e n t a l p o si ti o n i e th e
, , . .

p o si ti o n i n w h i c h th e r o ot o f th e C h o rd l i e s i n th e ba ss .

e tc .

C: I V
I n Ex 3 9 (a ) th e a lto h ol d s th e t o n e G w h i c h b e l o n gs
.
, to th e
t o n i c tri a d a s fth a n d to th e d o m i na n t tri a d a s ro o t I n Ex
, . . 6
39 ( )
th e t e n o r h ol d s G w h i c h th e s o p ra n o h o l d s i n 3 9 c e tc
, , .

Ex 4 0 . ex h i b i ts p rogress i o n s b e twee n th e tri a ds of th e t o n i c a n d

th e s u b d o m i na n t .

I C
. IV
15 B u t i f w e w i sh to l et th e tri a d s o f th e s ubd o m i na n t a n d
.

do m i n a n t fo l l o w i n suc c e ssi o n th e c o n n e c ti n g l i n k o f a t o n e co m
,

m o n to b o th i s l a ck i n g I n th i s ca se w e m u st l e a d th e t o n e s o f th e
.

rst c h o rd i n to th o se of th e seco n d i n s u c h a m a n ne r th a t no pa rt ,

sh al l pr o gr e ss i n u n i s o n w i th o r i n p a r a l l el f t/zs o r o c ta v es w i th
, ,

a ny oth e r Th e fo l l o w i n g p rogr e ssi o n s a re e n ti r ely w r o ng

. .
13 A M A N UA L 0F H A R M ON Y .

I n 4 1 (a ) th e ten or a n d bass p r o gre ss i n u n i son fr o m f to g a n d ,

a t th e sa m e ti me i n pa ra l l e l fth s w i th th e a lto w h i c h p ro gresse s ,

fro m c to a 1
A t 6 w e n d pa ra l l e l octaves b e twee n th e sop ra n o
"
.

a n d ba ss a nd para l le l fth s b e twee n th e bass a n d a l to ; a t c a re

,

p aral l e l octave s betw e e n th e ten or a n d b a ss ; besi d es both pa rts ,

p rogress i n para l l e l fth s w i th th e so p ran o F i n a l ly Ex 4 1 (a )

.
, .

sh ows para l lel o ctaves betwee n th e sop ra n o a n d bass a n d pa ra l lel ,

fth s be twe e n th e t e nor a n d ba ss .

O u r s o l e resou rce fo r av o i d i ng th ese gross m i stakes i s n o t to lea d ,

th e ba ss i n para l l el m oti o n to th e o th e r pa rts b ut i n c o n tra ry m o ,

.

ti on l ea d i ng th e h i gh e r pa rts to th e to n es of th e n ew ch ord w h i c l
,

l i e n ea rest th e m e g . .

C : IV V

Ex 4 2 (a )
. sh o w s c o rrect pr o gr e ssi o n s fro m th e tri a d of th e su b
do m i na nt to th a t of th e d o m i na n t ; Ex 4 2 (6) sh ow s l i ke p rogress i o n s
.

fr o m th e do m i nant to th e s ub do m i na n t tri a d .

16 T h e p up i l th erefore h a s to d i sti n gu i sh betw e e n th ree d i f

.

fe r e n t styl es of ch o rd -progre ssi o n n a m e ly : ,

a . Pa ra l l el m oti on ,
O l zga e m oti on , a n d
'

6 .

c. Con tr a ry m oti on .

Pa r a l l e lm oti on i s th e p r o gressi o n of two pa rts i n th e sa m e d i

recti on by e i th er a step o r a sk i p U n der certa i n c o n d i ti o n s even
.

th r e e parts ca n p rogress st e pw i s e i n th e sa m e d i rect i o n

, , .

I n th e i nt e rcon n e cti o n o f tri ad s th e l ead i ng o f fo u r p a rts i n pa r

,

a l le l m oti o n w i l l a lways y i e l d fa u lty p r o gr e ssi o n s a nd sh ou l d b e ,

ca re fully avoi ded l a ter w h e n e ffe cti ng p rogressi on s between oth e r

,

ch o rd s ; i t i s perm i ssib l e i n o n ly a few ra re ca ses Ex 43 sh o w s . .

pa ral l e l m o t i o n betwee n two pa rts .

e tc.
 A A IA N U A L OF H A R M ON Y . 19

44 sh o ws p a ra l l e l m oti o n b etw e en th ree pa rts .

O bl i q u e m oti o n i s b ro u gh t abo ut w h e n o n e p a rt a sc e n d s o r d e
s c en d s w h i l e
,
an o th e r pa rt r e m a i n s stat i on a ry T h u s i n Ex 4 5 . .

bot h th e h i gh e r a n d th e l owe r p arts p rogress i n ob l i qu e m oti on to

th e m i dd l e p a rt .

I n Exa m pl e s 4 2 (a ) a n d we h ave a l r e a dy h ad i n st a n c e s of co n
tr a ry m o ti o n . By e m p l o yi ng e i th e r obl i q u e o r c o n tr a ry m o ti o n we
ca n b e st av o i d fa ul ty p r o g r e ssi o n s i n u n i s o n o r i n pa ra l l e l fth s o r o c
,

ta v e s W e m u st a l s o a v o i d l e a d i n g th ree o r even a ll fo u r pa rts by

.
, .

a sk i p fro m o ne C h o rd to a noth e r 7 72 1 s i s a l l ow a bl e o n ly ta k e n a
.

tnc r e y
'

2s o ta zn e a
p os i ti o n of
'

tr a ns t/ze r s t el l o r d .

g oo d . ba d . ba d .

Cz I I C : V V C: I IV C: V I
Pa ra l le l u n i s o n s o ctaves a n d fth s ca n o ccu r o f c o u rse o nly
, , , ,

i n pa ra l l e l m o t i o n .

T h e ab o ve th r e e m o d e s o f p r o gr e ss i o n i n th e p a rts a r e c o m b i n ed
i n t h e fol low i ng e xa m p l e .
20 A M A N UA L 0F H A R M ON Y
.

H e r e th e s o p ra n o ( c ) a n d t e n o r ( e ) pr o gr e ss t o g e th e r i n par
a l le l m ot i o n b u t i n o b l i q u e m oti o n to th e a l to a n d i n c o ntra ry m o
,

ti o n to th e b a ss ; th e ba ss a t th e sa m e t i m e m o v i ng i n o bl i q u e m o
ti o n to th e a l to .

R E M A R K A n ex pl a n ti
. a o n of th e r ea s ons for p r o hi b i ti ng p a r a ll el un is on s , o co

ta v es a n d fths i n s tri c t c
, ,
o m p o si ti o n wo l d b e i n c o m p r e h e n si b l e to th e p p il
,
u u .

17 . Ex e r c i ses fo r th e
i nt e rc o n n e c ti o n o f th e fu n d a m e nta l tri ads
o f th e t o n i c d o m i n a n t a n d subd o m i n a n t
, , .

T o b e gi n w i th w e m a r k th e ba ss w i th th e d e g r e e -n u m bers I V
, , ,

a n d I V b e c a u s e th e tri a d s i n qu e s ti o n h av e th e i r s e a t o n th e 1 st 5 th
, , ,

a n d 4 th d e gr e e s o f th e s c a l e r e sp e c ti v e ly Th e A r a b i c n u m e ra l s .

ove r th e rst ba ss n o te i nd i c at e th e p l a c e o f th e s o p r a n o a s th e th i rd
o r fth o f th e c h o rd W h e n th e s o p r a n o 1 8 to ta k e th e o c ta v e or
.

d o u bl e -o c ta v e o f th e ba ss i t r e q u i r e s n o d i s ti ng u i sh i n g m a rk ;
,

th o ugh i n s o m e c a s e s w h e r e i t a pp e a r e d n e c e ssa ry o r d e si rabl e a

g u r e 8 i s w ri tt e n ab o v e th e rst ba s s n o t e .

C: I IV V I C: I IV V I

G : I IV E: I V IV I

T hen o tat i o n o f al l th e se e xa m pl e s i s s u c h th at th e th re e h i gh
est pa rts s o p ra n o a l t o a nd ten o r a re k e pt C l o se t o g e th er not
,

, , ,
 A M A IV U A L OF H AR M ON Y
. 21

s p read i n g beyo n d th e co m pa ss o f a n octave T h i s i s ca l led th e

.

c l os e Iza r m o n o f th e pa rts I n o u r rst e xerc i ses we sh a l l u se C l o se

y .

posi t i o n e xcl u s i vely O p posed to cl o se h a r m ony i s op e n Iza r m o ny

.
,

i n w h i c h th e th re e abov e -m en ti o n ed h i gh est pa rts a re sp r e a d o u t

be y on d th e c o m pa ss of a n octave T h e fol low i n g c h o rd s a re w ri t
.

te n i n ope n h a r m ony .

e tc .

O p en h arm o ny may be ch a nged to cl o se h a r mo ny w h e n a ny pa rt

c a n b e tra n spos e d by a n o c tave i n s u ch a way a s to b ri ng th e t h ree

h i gh est pa rts w i th i n th e co m pa ss o f a n o ctave T h u s th e ch o rd s

.

of Ex 4 9 may be b ro u gh t i nto cl o se h a rm o n y by tra n sp o si ng th e

.

s o pra n o i n to i ts l o wer o cta ve b e twee n th e a l to a n d ten o r

,
.

B y tra n spos i n g th e t e n o r i n t o i ts h i gh e r o c tave b etw e e n th e a lto

,

a n d So p ra n o,w e aga i n obta i n c l o se h a r m o ny .

22 A M A N UA L OF H A R M O /V Y .

Ex 4 8
. ca n b e wri tt e n o u t i n o p e n h a r m o n y as fo l l o w s , by tra n s
o si ng th e a lt o i n t o i ts l o w e r o c ta v e
p .

C: I IV V I C: I IV V

G : I IV V I F : I

6 l

O n th e ba sse s gi ve n bel o w w h i ch c on ta i n th e ro o ts o f th e fu n da
,

m en ta l t r i ad s i n d i ff e r e n t k e ys th e p up i l sh o u l d n o w w ri te ou t e x
,

e r c i s e s i n th e i n t e r c o n n e ct i o n o f th e t o n i c d o m i n a nt a n d s u b d o m i
, ,

n an t tri ad s i n c l o se h a r m o ny a fter th e m o d e l gi v e n i n Ex 4 8 U n
,
. .

d e r th e s e vera l ba ss n o t e s h e sh o ul d s e t th e g u r e s I V a n d I V , , ,

a s a c o n sta n t r e m i n d e r th at i n al l th e d i ffe r e n t k e y s h e s i m p ly h a s

to do w i t h th e tri ad s o n th e I st 5 th a n d 4 th d egr e e s F r o m th e
, ,
.

ve ry o uts e t h e o ugh t to a c c u sto m h i m s e l f to c o n si d e r w h e n w o rk ,

i ng i n C-m aj o r th e tri a d F L A,
C a s th e t r i a d o n th e 4 th d e gr e e ,

a n d n o t as th e t r i a d o n th e I st d e gre e i n F -m a j o r T h e t r i a d F .

A C b e co m e s i n F -m a jor th e ton i c tri a d ; i n L ? m aj o r th e d o m

"
, , ,

tri ad a n d i n C -m aj r h subd m i n n t i d I n F - m aj or
i n a nt ; o t e , o a t r a .

i t h a s i ts s e at o n th e I st d egr e e i n BI) m aj o r o n th e 5 th a n d i n
C
, ,

m aj o r o n th e 4 th .

1 8 . B e f or e tak i n g u
p t h e e xer c i s e s att e n ti o n m u st be c a l l e d
, to
th e d i ffe ren t for m s o f Cl o se to be e m p l o y e d i n t h e s e an d i n a l l su c
,

e e d i ng o n e s Th e c l osi n g c h ord o f a ny p i ec e m u st a lways fa l l o n

c
.
 A M A N UA L 0F H A R M ON Y . 23

a str o n g b e at j u st aft e r th e cl ose o f a m e tri ca l ph ra se o r p e ri od

, ,

a n d m u st c o n s e quently h av e th e e ffe c t b o th rhyth m i c a l ly a n d m e t

,

r i ca l l o f a b e gi n n i n g i n o rd e r to fo r m a c o m p l ete C l o s e a n d no t
y , , ,

a n i nc o m p l et e o r h al f-cl o se O n ly th u s w i l l th e b e a re r o bta i n th e
.

i
m pre ss i on o f a sat i sfactory c l ose .

Ex 5 3. sati s es u s b e ca u se fol l o w i ng a m etri ca l gro up of two

,

m e a sur e s th e C h o rd o f C-m aj o r e n ters o n th e rst o r stron g b e at of

,

a n e w gro u p Th e n e xt Exa m p l e e x h i bi ts th e d i rect opp o si te o f

.

th i s
.

H ere n o o n e ca n obta i n th e i m p r e ssi o n of a sat i s factory C l ose ,

beca u se th e l a st ch ord fa l l s o n th e seco n d o r w e a k bea t o f a tw o
m ea su r e m e tri ca l gr o u p .

I t i s sel f-e vi den t th a t th e cl osi n g ch o rd m u st a l ways b e th a t o f

th e ton i c I t m a y b e p repa re d (p r e c e d e d ) by e i the r th e do m i n a n t
.

o r s ubd o m i na n t c h ord .I n th e rst ca se w e ge t a n a u th e n ti c cl ose ,

i n th e s e con d a pl aga l cl o s e .

A ut h en ti c Cl o s e . Pl a g a l C l os e .

F u rth e r o n wh e n d i s c ussi ng
, th e a uth e n ti c cl o s e , we sh a l l tak e up
th i s p o i n t i n deta i l.
24 A M A N UA L H A RM ON Y.

I IV I V I

A l so t r a n s p os e i nto C an d F
.

A ls o tr a n s p s e i nto
o

A F a nd GF .

A ls o tr a n s p s e i n to
o

D , E l? a nd E .

A l l th e ex e rc i s e s are to b e w o rk e d o u t o n ly i n cl o s e h a r m ony .

L ater a fte r th e p u p i l h a s a t ta i n e d a c e rt a i n d e g r e e o f p ro c i e n c y i n
,

c o m b i n i ng th e c h o rd s a n d h a s b e c o m e fa m i l i a r w i t h th e o l d cl e fs
, ,

w e sh a l l fu rn i sh e x e r c i s e s to b e w o rk e d o u t i n o p en h a r m o ny .

U nd e r th e ba ss o f a l l th e e x e r ci s e s i n th i s M an u a l th e p up i l sh ou l d
wri te R o m a n n u m eral s to i n d i c at e th e s e v e ral degre e s .

C HA PT ER IV .

Th e S u b o r d i n a te T ria d s i nM a j o r .

I9 . We c a l l th e tri a d s o n th e 2 n d 3 r d 6 th a n d 7 th degr e e s
, , ,

o f th e m aj o r scal e s u Oo r cl zn a te tr i ad s Th e th r e e rst i n o rde r

'

p r o v e to be m i n o r tri ad s a s th ey h ave ( r e ckon i ng fro m th e r o o t

,

of eac h
) a m i nor th i rd a n d a p e rfe ct fth T h e t r i a d on th e
.
7th
d egre e h a s ( recko n i ng fro m i ts r o o t ) a m i n o r th i rd a n d a d i
m i n i sh ed fth ; we c al l i t th e d i m i n i sh e d tri a d A s i t c o n ta i n s a
.

d i ssonan t i n t e rval th e d i m i n i sh e d fth i t i s a d i sson a n t a n d d e p e nd

, ,

e nt ch ord T o d i sti ngu i sh th e th ree m i n o r tri ad s we e m p l oy s mal l e r

.
 A M A N UA L OF H A R /II O N Y
/
25

R o m a n n u m e ra l s add i ng to th e s ma l l n u m e ra l V II w h i ch i n d i c a tes
, ,

t e d i m i n i sh e d tri a d a c i p h e r th u s V II ) i n a ccord w i th g e n e ra l
O
h , , ,

u sag e B e l o w w e n o w gi ve a l l th e tr i ad s o f th e m aj o r scale a r
. .

ra nged i n regul a r o rd e r .

F n d a m en ta l tri a ds of
u

th e s b d o m i n a n t a n d
u

F und a m en ta l tri a d . S u b o rdi n a te tri a ds . d om i n nt a .

T on i c tri a d (ma j r ) o . M i no r tri a ds . M a j o r tri a ds .

S u b o rdi n a te tri a ds.

M i n o r tri a d . D i m i n ish e d tri a d .

V I IO

T/zes e a re tne tr i a d s p f
ro
p er Eac h o f
to t/ze k ey o C-m ajo r .

th es e ch ord s a l s o o cc u rs i n o th er k e vs Ea c h o f t h e m e xc e pt th e .
,

d i m i n i sh e d tri ad ca n be set a s th e rst o r to n i c tri ad of a n o th er k ey

, .

T h e m aj o r tri ad s fo u n d i n C-m aj o r m a y occ u r i n oth er keys a s

tri ad s o f th e d o m i n ant a n d subd o m i n a n t a n d a l so i n m i n o r k eys ) ,

a s tri ad s o n th e 6 th degr e e T h e d i m i n i sh e d tria d to o fo u n d i n C

.
, ,

maj o r o n th e 7 th d e gr e e ca n o ccu r i n oth e r k e ys (c -m i n o r a -m i n or )

, ,

I n su ch ca s e s a l l th ese ch o rd s b e l o ng to oth e r k eys o r fa m i l i es o f

ton e s a s w e w i l l t e r m th e m a n d ta k e o n a c h a n g e d sign i ca n ce a c
, ,

cord i ng to th e i r p o si ti o n i n th e k ey T h e p u p i l m u st ca reful ly n ote

.
,

th at th i s tr i a d a s gi ve n h er e i s not th e t o n i c tri a d i n th e

key o f e -m i n o r b ut th e tri a d o n th e 3 r d d egr e e i n C-m aj o r i t b e i ng

, ,

a c h o rd q u i t e a s p r o p er to th e l atter k ey a s to tha t o f G -m aj o r (6 th
d egre e ) I n n o o th e r k ey d o e s i t occu py a posi ti o n a s i m p o rta n t a s
.

i t ha s i n e-m i n o r ; fo r i n th i s key i t i s th e c h i ef m e m b e r w h erea s i n ,

th e o th e r fa m i l i e s of t o n e s i t i s a s ub o rd i n at e on e .

20 . N ow i n o rd e r to e ffe c t th e a rt i sti c i nt e rcon n ecti on o f th e

,

seve n t ri ad s w h i ch w e have lea rn e d We sha l l i n p rogress i on s , ,

b e tw e e n c h ord s p ossessi n g o n e o r tw o to n e s i n c o m m o n n ea rly ,

a l ways re ta i n th e s e c o m m o n t o n e s i n th e sa m e pa rts .

A l l tria d s t he r o ots o f w h i c h a re e i th er a th i rd o r a s i xth apar t

,
,

poss e ss tw o to n es i n c o m m o n ; e g . .
26 A M A N UA L OF H A R N/O N Y .

e tc .

C: I III 11 IV 11 v n

A lltri ads th e r o o ts o f w h i ch a re e i th e r a fo u rth o r a fth a pa rt

, ,

possess o n e t o n e i n c o m m o n I n o n e e x c e pti o n a l c a s e h o w ev e r w e
.
, ,

m u st fo rb i d th e h ol di ng o f th i s c o m m o n ton e a s th e fol low i ng e x ,

a m p l e sh ow s .

C: II V 111 v1

Th e l ea d i ng of th e o uter pa rts (s o prano a n d ba ss ) i n Ex 5 9 (a ) i s .

en ti rely u nal lowabl e T h es e two p a rts progr e ss i n so-ca l l e d

.

C o v e r e d Pa r a ll e l O c ta ve s .

21 . Cov er e d ar i s e wh e n tw o p ar ts p rogre ss fro m d iffer

oc ta v es

en t i nterva l s a n d i n p ara l lel m o ti o n to a n octave o r do ubl e -octave

, , .

I n o u r n ext exerc i s e s w e sh al l pro h i b i t th e p u p i l fro m w ri ti ng cov

ered o ctav e s o n ly b e tween th e o ut e r p a rts a nd i n ca s e o n e or both ,

pa rts p ro gress up wa rd by a w h o l e t o n e a s sh own i n Ex , .

In d w n w d p r o g e s si o n h o we e
o ar r th e u n p l ea s a n tn ess o f s c h c o v e r e d o c
, v r, u

ta v e s e v en i n th e oute r p a r ts is fa r l e ss a p p a r en t ; e g i n th e p r ogr essi on s giv en

, , . .

i n Ex 60 ,
.

no fa u l t ca n n d wi th th e m ; e v en th e u pwa rd p r ogr e ssi on i n Ex 59 (b) is p er

b e fo u
th e tri a d A -C
.

m iss i b l e b e c a us e th e n e r r e l a ti on sh i p o f th e two c h o rds

a E is th e
s u b d o m i n n t tri a d i n E -m i n o r m te ri a l ly s o ften s th e effe c t o f th e c o ve r e d o cta v e s
,

a a

Bu t th e tri a ds D F A a n d G B
.

D a re n o t dir e ctly r e l te d b ec a s e i n th e k ey o f
a u

- A is th e ton i c tri a d th e tri a d G B

.

d -m i n o r i n w hi c h D
, ,
D d oe s no t o c c u r ;
nei th e r i s th e tri a d D F -A fo un d i n G-m a j o r T his m a tte r a n d a l so th e s ub j ect
.
,

of c ov e r e d o c ta v e s wil l b e tr ea te d a t l e n g th i n th e S ec on d Pa r t of this b ook

,
.
 A M A N UA L OF H A RM ON Y
. 27

T h e abo v e -m e n ti o n ed cove red octaves are p e rm i tte d betwe en th e

ba ss a n d a n i n n er p art w h e n th e i n n e r pa rt rea ch e s th e octave of
,

th e ba ss by a step ; e g . .

Covered octa ve s h av i n g a n i l l e ffe ct ca n th e refore a ri se o n ly i n

ca se both pa rts r e ac h t h e octa v e by a sk i p fro m d i fferen t i n te rva l s ,

wh i ch i s e nti r el v u nal l o wabl e o r w h e n on e rea ch es th e octave by th e

,

st e p of a w h o l e t o ne a n d th e oth e r by a sk i p a s Ex 6 3 sh ow s
, ,
. .

O n th e co n tra ry a ny c o v e red octave i n w h i ch o ne pa rt e nters th e

,

octa ve by a sk i p w h i l e th e oth er r e ac h e s i t by th e ste p o f a s e m i t o n e

, ,

m ay be w ri tte n w i th o ut h esi tat i o n b e twee n a ny two parts eve n th e

,

ou ter pa rts S u ch a p rogr e ss i o n o f ch o rd s h a s n o h a rsh o r u n p l ea s

.

i ng e ffect b u t (e spec i a l ly u p wa rd s ) r a th e r a v e ry agr e eab l e a n d na t

,

ura l on e .
28 A M AN UA L OF H A R /V O N Y .

22 . Co m m o n
t o nes a re n e v e r fou n d i n two tri a d s on n ei gh bori n g
d e gre e s o f the sca l e a s w e h a v e a l ready se e n i n pr o gressi on s b e tween
,

th e tri ad s on th e 4 th a n d 5 th degr e e s I n su ch c a ses co ntra ry m o

.

ti o n m u st a l ways b e e m p l oy e d to av o i d o p en p a ra l l e l fth s a n d 0 C
,

taves A few p rogressi o n s o f th i s k i n d a re gi ve n bel o w

. .

C: I II II III

or h us
t :

III IV

VI V IIO V I IO

23 . In
p r o gressi o n s ma rk ed a 6 c a a n d e betw ee n th e
th e , , , , ,

tri ad s o n th e 6 th a n d o n th e 7 th a n d 8 th degrees i t w i l l be s e en t h a t ,

th e d o ubl i n g o f th e r o ot o f th e tri ad o n th e th d e gr e e i s i n tenti o n a l ly

7
a v o i d e d (I n C-m aj o r th i s t o n e i s B ) I n e very sca l e th e s e v e n th
. .
,

d e g r e e i s cal led th e l ea d i ng -note Th e e ffe ct o f th i s t o n e i s v e ry

.

m arked p arti c ul arly w h e n i t occ u rs e i th e r a s th i rd i n t h e d o m i na n t

,
 A M A N UA L OF H A R M ON Y
.
29

tri a d o r a s root i n th e tri a d o n th e 7th d e gree I ts n atu ra l p r og re s .

si o n (espec ia l ly i n th e o ut e r p a rts ) b e i ng u p wa rd s to th e o cta v e o f th e

key -n ote i n ca se th e n e x t C h o rd c o n ta i n s th i s to n e th e l e ad i ng -n o t e
, ,

ca n b e do ubl ed i n stri ct fo u r -p a rt w ri ti n g o n ly i n c a s e th e l e a d i ng o f
th e two l ea di ng-n o t e s to th e t o n es o f th e fo l l o w i n g ch o rd ca n be e f
fe c te d u n co n stra i n ed ly a n d w i th ou t a fa ul ty l e a d i ng o f th e parts (pa r
al l e l octa ve s ) .

I n th e fol l ow i ng exa m pl e a do ubl i n g o f th e l e ad i ng -n o t e o c c u rs i n ,

ch o rd 2 o f m e a su r e 6 w h i c h i s n o t m er e ly n o t i n c o r r e c t i n th i s
,

pl a c e b ut i s o n th e c o ntra ry th e tes t l ea d i n g o f th e pa rts i n v i e w of

, , , ,

th e i n terc o n n e cti o n o f th e tri a d s o n th e z o d 7th a n d 6 th d egr e e s , ,

c a l l e d fo r by th e ba ss T h e p u p i l sh o ul d ca r e ful ly stu dy th e th r e e
.

Exa m pl es 66 6 7 a n d 6 8 tak i ng th e m a s m o d e l s fo r th e e x e rc i ses

, , , ,

to b e w ri tte n o n th e ba sses gi v e n at 6 9 Exp la n ati on s o f th e s e .

exa m p l e s n ow fo l l o w .

66 .
D . E .

SO PR A N O .

ALTO .

TEN O R .

BA SS .

. I VI IV V 111 IV V I vi IV

II v uO v1

I n m ea su r e A w e s e e a p r o gr e ssi o n fr o m th e tri ad o n th e I st d e
gr e e to th a to n th e 6 i h T h e 8 o v e r th e rst ba ss n o t e sh o w s th a t
.

th e s o p ra n o ta k e s th e o cta v e o f th e k e y-n o t e B o th th i s t o n e a n d t h e .

E h e ld i n th e t e n o r a r e c o m mo n to b o th c h ord s W e t h ere fo r e r e .

ta i n t he m i n both pa rts a nd w r i t e th e m beca u s e we r e ga rd th e m

,

as h e ld c o nt i n uo u s v o ca l t o n e s
,
i n w h o l e n o tes ; w h erea s w e l e ad
th e a l to fr o m G to A th e n e a r e st t o n e i n th e t r i a d o n th e 6 th d e gr e e
, .

T h e p r o gr e ss i o n of th i s la tt e r C h o rd to th e fol l o w i ng tri a d o n th e 4 th
30 A M A N UA L OF H A R M ON Y .

degre e i n m ea su re B i s e ffected i n th e sa m e m a n n er Th e s o p ra no
, , .

a n d al t o h ol d C a n d A a n d th e t e n or i s l e d to F
, T h e n e xt -f ol l o w .

i ng pr o gr e ssi o n fr o m th e tr i a d o n th e 4 th d e gr e e to th at o n th e 5 th
ca n be exec uted o n ly by c o n tra ry m o ti o n i n th e th ree h i gh est p arts
aga i n st th e ba ss I n m e a su res C a n d D th e i nterc o n n e c ti on o f th e
.

tri a d s o n th e 3 r d 4 th a n d 5 th d e grees i s l i kew i se e ffect e d by c o n

, , ,

frary m o ti on i n th e th r e e h igh est p arts aga i n st th e ba ss w h i c h a s ,

c e n d s st e pw i se
. M ea su re E con ta i n s th e sa m e p r o gre ssi o n o f c h o rd s
w h i ch w e n ot i ced be fo re betwee n m ea s u res A a nd B w i th a d i ffer ,

e n t p o si ti o n o f th e h i gh e r pa rts M e a su re F s h o w s th e above -m e n
.

ti o n e d d o u bl i ng o f th e l ead i ng -note w h i ch i s c o rrect h er e, F ro m .

m e a s u r e F to m e a su re G w e m u st e m pl o y c o n tra ry m o ti o n aga i n st
th e bass w h i ch n ow d e sc e nd s stepw i se ; th u s w e c a n l e a d th e l e ad
,

i ng -n ote u pwa rd u n con stra i n e dly h Iea su r e H c o n ta i n s a p r o g res

.

si on si m i la r to th at i n m ea su re E .

C: I V VI IV 11 V 111 IV 11 I V IIO I

v1 IV V 1 11 I V

I n pa ssi n g fr o m th e s e c o n d to th e th i rd m e a su re of th i s Exa m pl e
w e h a v e c o vere d o ctav e s betw e e n a l to a n d ba ss \
w h i c h th e p up i l m a y h ow e v e r w ri t e f o r t/ze p r es e n t
, ,

w i th o ut h e si tati o n b e ca u se th ey o cc u r b e twe e n a n ou t
,

er a n d a n i n n er
p a rt . M e a su r e
5 sh ows a
p r o gr e ssi o n

fro m a p erfect fth to a d i m i n i sh e d fth d e s c e n d i ng i n th e ch o rd s

, ,

T h i s p r o gre ssi o n i s a g o o d o n e i n m o st ca s e s a n d ,

i s j u st h e r e d e c i d e dly pre fe rabl e to a d o ubl i ng o f

th e l e a d i ng -n o t e su c h a s w o u l d o c c u r i f th e al t o
,

w e r e l e d fr o m G u p to E a s fo l l o w s : ,
 A M A N UA L OF H A R AIO N Y . 31

B u t th e a scen d i n g progressi o n o f a d i m i n i sh ed fth to a perfect o ne

m u st a l way s b e avo i d e d F o r th i s r e a s o n th e al t o m u st b e l e d d o w n
.

wa rd a n d th e th i rd E i n th e tri a d o n th e I st d egre e do ubled by t h e

,

a l to a n d tenor .

I n Ex 6 7 m easu re before th e la st th e th ree h i gh est parts tak e th e

.
, ,

do m i n a n t tri a d i n a n o th er p osi t i o n by a sk i p T h i s i s u n n ecessa ry .

h ere fo r th e C lose of th e exa m pl e m i gh t h ave bee n w ri tte n i n stea d

, ,

of so :

N . B .

i n th is wa y :

l ett i ng th e s o p ra n o cl ose o n th e fth of th e ton i c tr i a d .

24 I n the seco n d m e a s ure o f Ex 6 8 we n d a n i n sta n ce o f co n

. .

tr a ry m oti o n i n th e p rogre ss i o n of th e tri a d o n th e z u d d e gree to th at

o n th e 5 th i n o rde r to av o i d cover e d octa v es w i th a s tep of a w ol e

,

to n e betwee n th e o ute r pa rts ( sopra n o a nd ba ss ) w h i c h octaves ,

wo u l d h ave b e en p rod uced by l e ad i ng th e two tri ad s i n stea d o f i n ,

c o ntra ry m o ti o n
N . B . Th e sk i p in h r ee p a r ts is en ti r e ly c o rr ec t i n th is
all t c as e , wh e r e m e r e l y
o n e a n d th e s a me c h o rd is tr a n s po s e d .
32 A M A N UA L OF H A R JV O N Y .

i n this wa y :

I n th e l atter ca s e th e s o pra n o a s c e n d s 6y a w /zol e to n e at 6 H e n ce .

th e c o vered o ctaves b e twee n th e ba ss an d s o pra n o ha v e a bad e ffe ct .

I n th e la st m ea su re b u t o n e th e t h ree h i gh est p arts a re h e l d w h i l e ,

th e ba ss sk i p s dow n by a n octav e :

A progressi on of th e h igh est pa rts i s qu i te u n n ecessa ry i n th i s ca se ,

a s th e ba ss i n th e l o w o ctav e aga i n ca l l s fo r th e sa m e ch o rd o n th e
sth d e gr e e . Th e l e ad i ng a t th e cl o s e i s such th at th e s o p ra n o takes,

th e th i rd o f th e tri a d Th u s th e p up i l w i l l p erc e i ve th a t th e s o pra n o

.

i s by n o m ea n s o bl i ged to C l o se o n th e octave of th e r o ot o f th e t o n i c
tri a d i n every ca s e a s m a ny b e gi n n ers w rongly suppose Th e
, .

S opra n o m ay a l so cl o se on th e th i rd o r fth of th e tr i ad .

H b: I 1 v 1: v I v1 u v

B e fore th e p u p i l b e gi n s work i ng o u t th e ex e rc i s e s a t N o 6 9 h e .
,

sh o u l d tra n s p o se Ex 6 6 i n t o E b A a nd A I7 -m aj o r a n d Ex 6 7
.
, , ,
.

i n t o D D 7 E l7 a n d B -m aj o r By th i s m e a n s h e w i l l l e a rn th e
, , ,
.

tri ad s o f th e m aj o r sca l e i n o th er k eys m u c h m o r e th o r o ugh ly tha n by

:n e r e l w ri ti ng b u t th e V i e w o f th e C h o rds gi v e n a t N o 5 7 i n C
y .

m ajor . I n N o 5 7 th e c h o rd s a re o n ly w ri t te n o ut d i sc o n ne c t e dly ;
.
 A N/A N U A L OF H A R /lI O N Y /
33

i n Ex 6 6 an d 6 7
. he s e e s th e m a s n atu ra l ly i n t e r -co n n ect e d T he .

e x e rc i s e s at N o . 6 9 a re l i k e w i se to b e tra n sp o sed i nto th e keys

I n d i cat e d .

Ex e r c i s e s .

69 .

A l s o tr a n s p o s e i n to D b .

A ls o tr a n s p o s i nto
e F , F it a n d C h .

A l s o tr a n s po s e i nto A , Eb a nd 8 .

A l s o tr ns p os e i n to D
a .

25 . l a st e xerc i s e i n N o 6 9 a t d ca l l s fo r a fe w ob serva
T he .
, ,

ti on s A t N B i n m e a su re 5 th e l e ad i n g -n o t e m u s t be d on Ol e d b e
. . .
,

ca u se th i s gi v e s th e b e st lea d i ng o f th e pa rts ab o ve th e ba ss w h i ch ,

conti n u e s th r o u gh s e vera l m ea su r e s i n S k i p s o f o ne a n d th e sa m e i n
te r v a l S u c h a n u n d e v i a ti ng l ea d i ng of th e ba ss to w h i c h th e l e ad
.
,

i ng o f th e h igh e st pa r ts m u st c o n for m i s t e r m e d a S e qu e n ce Ex , .

e r c i se d w o ul d th e r e fo re be w ri t te n th u s :

S e q e nc e u

69 d .

C: I V VI IV

V I IO V I VI 11
34 A M A N UA L H AR M ON Y
.

B y l etti n g th e sopra n o begi n o n th e fth of th e ton i c tri a d th i s e x ,

e r c i se m igh t a l so be w o rk ed o u t a s fo l l o w s

69 e. e tc.

th e p up i l m ay n i sh i t h i m s e l f I f we w e re to l et th e s o pra n o b e gi n
.

o n th e octa v e of th e key -n o te th i s exerci s e c o u l d n o t be w ri tt e n a s

,

a sequ e n c e c o n for m i n g to th e l ea d i n g of t h e ba s s o n accou n t of th e

,

cover e d o cta v e s w h i c h wo u l d th e n occu r between th e o ut e r pa rts ;

qu i t e a p art fro m th e fa ct th a t th e h i gh est pa rts wo u l d be force d to
,

ove rstep th e i r ra nge .

e tc.

E M A R K In ce r ta i n s e q en ce s we m a y for th e s a k e f th e s e q u en ce d ep a r t
R . u ,
o ,

fr m o r r l e o f r e ta i n i n g i n th e s a m e p a r ts th e to n e s c o mm on to two c h o rds
o u u . E
g th e fo l l o wi ng b a ss
.

S e q u e n ce

migh t be wo rk e d h s:
ou t t u
 A l I/IA N U A L OF H A RM ON Y . 35

or i n th i s way :

or i n
, G -m ajor , a s fo l l ow s :

C HA PT ER V .

Th e M i nor S c a l e a nd i ts Tria d s .

26 . T h e m i n or sca l e m ost n early rel ated to a ny m ajo r sca l e

h a s th e sa m e sign a ture a s th e l atte r ; i t beg i n s o n th e si xth of th e
m ajor sca le o r w h a t a m o u n ts to th e sa m e th i n g i ts key -n ote l i e s a
, , ,

m i no r th i rd bel ow th at o f i ts r el a ti v e m ajo r Th u s a -m i n or I S
.

th e rel at i ve m i n o r to C-m aj o r d -m i n o r to F -m ajor e -m i no r to G

, ,

m ajor g -m i no r to B b-m ajor e tc A ccord i n g to th e si gnatu re th e

, , .
,

to n es o f both scal e s w o ul d th e r e fo re be ju st a l i ke a n d th e p ec u l i ar ,

c h a racte r o f th e m i n o r sca l e w o u l d b e d u e si m ply to i ts begi n n i n g

th e sa m e se ri e s of to n es i n a d i fferen t pla ce i e o n th e 6 th d egre e
, . .

i n m ajo r .

Th i s ch a nge i n th e a rra nge m en t of th e to n es form i ng th e scal e o f

C-majo r l en d s to th e sca l e o f a -m i n or b e gi n n i n g o n th e ton e a a
, ,

tota l ly d i ffe re n t c ha racte r T h e i nterva l s betw een th e su ccessi ve

.
36 A M A N UA L H A RM ON Y
.

t o n es o f th i s ser i es a re fro m th e rst t o n e to th e secon d a w h ol e

,

ton e ; fro m th e sec o n d to th e th i rd a se m i t o n e ; fr o m th e th i rd to

,

th e fo urth a w h o l e ton e ; th e s a m e fr o m th e fo u rth to th e fth

, fro m
th e fth to th e s i xth a s e m i ton e ; a n d fro m th e si xth to th e s e v e nth
, ,

a n d seven th to e i ghth a w h ol e t o n e e a ch
, .

B ut a s th e a u th en ti c cl ose sh ow n i n Ex 5 5 ca n b e fo r m ed on ly
, .
,

by th e a i d of a m ajor do m i n a nt tri a d p re c e d i ng th e c l o si n g c ho rd ,

we co u l d e mp loy o n ly a p laga l cl ose ro r p i ece s i n

a : IV 1

m i no r k eys a ccord i n g to th e m i n o r sca l e a s e x h i b i t e d i n N o s 7 1 a n d

, .

To m ak e a m ajo r tri a d o f th i s d o m i n a n t tri a d s o a s to o bta i n

7 2 .
,

th e a uth e nti c cl o se i n m i nor by i ts a i d we r a i s e th e 7th d eg r e e by a

,

greater se m i ton e N o w th r o ugh i ts r e l at i o n a s a m i nor sec o n d

.
,

b e l o w th e o c tav e o f th e k ey-n ot e th i s t o n e ta kes o n th e ch a ract e r

,

o f a l e a d i ng -n o t e a n d m ak e s i ts e l f v e ry sh a rp l y fe l t a s s u c h i n th e
,

th re e tri a d s o f th e m i n o r sca l e i n w h i h i t i s
c c o n ta rn ed
*
.

T h u s th e m i n o r sca l e n e c e ssa ry fo r th e e recti o n o f th e ch o rd s i s

a s fo l l ow s th e i n terva l s betwee n th e severa l su cc e ss i ve to n es b e
,

In
g i n d i cated by gu r e s :

l i l l i l i

We ca l l th e above th e Iza r m on i c m i n o r sca l e to d i sti ngu i sh i t ,

fr o m th e m el od i c m i n or sca l e i n wh i ch fo r th e sak e o f m el od i c
, ,

*T h e c hr om a ti c r a isi ng of th e 7 th to ne of th e m i n o r s c a l e m s t b e s pe c i a l ly i u a

d i c a te d i n e a c h c a s e w h e r e this to n e o c c u rs T o wri te i t o n ce f r a l l a t th e h ea d
. o

o f th e p i e c e wo l d b e a t to giv e ris
u p e t , c o n tr a
o m is ta k e s a n d w o l d a l s o b e s e l f- u

di c to yr . M n o r k eys a l wa ys h a v e th e s a m e sig n tu r e s a s th e ir r e l a tiv e m a j o r k e y s

i a
 A M AN UA L 0F H A R M ON Y . 37

progre ssi on th e 6 th a n d 7th degree s

, a re ra i sed i n a sc e n d i ng a n d
low e red In d e scen d i n g .

T h e rea so n fo r n o t ra i si ng c h ro m ati ca l ly th e 6 th d e gree o f th e

h ar m o n i c m i n o r sca le w h i c h i s u se d i n erec ti ng th e c h o rd s i s
, ,

p la i n ly to be see n i n th e p l aga l C lose ; fo r t h i s cl o se c o u l d n ever be

for m e d i n m i n or w i th a m aj o r tr i a d p reced i ng th e to n i c tri ad T h e .

p rogress i o n a t 75

is u n n atu ral th at a t 76

natu ra l .

27 . T h e fun d a m e nta l tri ad s o f th e m i n or scal e a re fo u n d a s i n ,

m aj o r o n th e I st 4 th a n d 5 th d egrees
, , , T ho se o n th e I st a n d 4 th
.

d e gree s a re m i n or .

77 .

IV

T he d o m i na n t tri a d b e co m es th ro ugh ra i si n g th e 7th degree

, , a

m ajor tri a d .

I t th e r e fo r e i s fo r m ed exactly a l i ke i n major a n d m i n or ; E
G # B i s th e do m i na n t tri a d of both A -m ajor a n d a -m i nor T hese .
38 A M A N UA L O F H A R M ON Y

th ree fu n da m en ta l tri ad s i n m i no r rel a t e d i n j ust th e sa m e

a re wa y
a s th e fu n da m en ta l tri a d s i n m aj o r a s sh own i n Ex 3 4
, .

F u n d a m enta l tri a ds i n mi n or .

O th e re m a i n i n g d egr e e s
n of th e m i n or sca l e th e fo l l o w i ng tr i ad s
a re fo u n d .

a : 1 10 111
'
VI V I1 0

Th ose on th e 2 nd a n d 7th d egrees a re d i m i n i sh e d th at o n th e 6 th ,

d egree i s m aj o r . O n th e 3 rd d egree w e n d a n ew fo r m of ch ord ,

a tri a d h av i ng a m ajor th i rd a n d a n a u
g m e n te d fth .

Th i s w e ca l l th e a ug m e n te d tr i a d I t i s i n d i cated by a s wa s .

sh ow n i n Ex 79 . .

I n Ex 8 0 th e tri ad s o f th e m i nor sca l e a re gi v e n i n r egula r o rde r

. .

F u nd a menta l ri a d
t
of th e T on i c . S u b o rdi n a te tri a ds . F un d a m enta l tri a ds .

di m i n . a u gm . m i no r . ma j or .

a : I III
IV V

S u b o rdi na te tri a ds .

ma j o r . di m i n .

V II0

In th e m i nor m ode th e re a re on ly fo u r i n d ep e n d en t tri a d s ;

n a m ely th e th ree fu n da m en t a l tri ad s o n th e I st 4 th a n d 5 th de
, , ,

gr e es a n d th e sec o n da ry tri a d o n th e 6 th Th e d i ssona nt tri a ds

,
.

o n th e 2 n d rd a n d h d e gre e s a re d e e n d e n t o nes T h e greater

3 7 t p
n u m ber of d i ssona nt tri ad s i n m i no r th re e a s co m pared w i h th e
.
, ,

t
 39

o ne in
m ajor a ri se s fro m th e n ece s sa ry c h ro m ati c ra i si ng of th e 7 th
degree i n m i nor O n a cco u n t of th ese d e p en den t d i sson a nt c h ord s
.
,

a n d e spec i a l ly of th e i nterva l of a w h ol e ton e p l u s a se m i to n e b e

twee n th e 6 th a n d 7th degrees d i f cu l ti es a ri se i n th e i nterco nnec
,

t i o n of th e tr i ad s i n m i no r w h i c h w e sh a l l exa m i n e w i t h care
, .

P rogres s i on s betwee n tri a d s l i k e th o se In Ex 8 1 .

a : 1 10 III '
1 10 III '

1 1 III

wi l l occ u r i n n o n e of o u r e x erc i ses a l th o ugh i n t h e se ca s es no oh

,

e c ti o n to th e l ea d i ng of th e pa rts ca n be ra i sed
*
j .

28 Th e step of a n a ugm en ted seco n d betwee n th e 6 th a n d 7th

.
,

degree s o f th e m i no r sca l e i s a m el od i c p rogressi o n n ot ea sy tO

,

ta ke w i th p u ri ty a n d c o n d e nc e s l I t m u st th e re fo r e be ca refu l ly
'

a vo i ded i n progre ssi on s between t h e ch o rd s o n th e 6 th a n d 7th d e

grees a n d a l so i n a l l oth e r p rogressi o n s w h ere i t m igh t occu r

,
.

Th e fol l ow i n g progressi on s a re a l togeth e r w ron g .

a : 1 10 V 111
'
IV 111
'

VI VI V 1 1 V V VI

* In s t
ri ct com po si ti on th e r u l e ob ta i n s to p r epa r e dis son a nces a nd r e s ol v e th em
,

to co ns on a n ce s T h e s ucce ss i on o f s e v e r a l diss on a n t tri a ds th e rs t o f wh i c h is

.
,

n o t p r e pa r e d a nd th e s ec on d d oe s no t r e s o l v e to a con s on a n t c h o rd s h ou l d th e r e ,

fo re be a v o id e d a s tr a n sgr e ssi ng th e r u l e s o f s tri ct com po si ti on .

tTh e di f c u l ty is m o s t a ppa r e n t i n a s cen di n g p r o gr essi on wh en th e 7 th d egr ee ,

i s to be ta k e n as a p u r e a nd s tr o n gly a ccen te d l ea di ng -n ote fo l l o wi n g th e 6 th It is .

ea si e r to b e s u r e i n d e s cen di n g r o gr e ssi on w h n th t v e f th e k e -n o te
, , p e e o c a ,
o
y
i fo l l owe d rs t b y th e 7 th d egr ee a nd th e 6 th s u ng n ex t i n o rd e r
s Bu t we m u s t .

fo rb id th e p u p il to m a k e u se f e i th e r th e as cen di n g or th e d es ce ndi n g p r ogr e ssi on

o

i n the exe r cis es o f thi s text-b oo k .

40

29 Th e step of a n a ug me n te d secon d ca n be a vo i ded between

.
,

th e sth a n d 6 th d egre e s w h e n th e d o m i na n t tri ad i s fo l l o w e d by

,

that o n th e 6 th d e gr e e o n ly by do u bl i ng th e th i rd o f th e latter
,

Wh ere th e tri ad on th e 6 th d e gr e e co m es rst i ts th i rd sh oul d be ,

d o ubl ed A fe w e x a m p l es of su ch pr o gr e ssi o n s fol l ow

. .

a : V VI V VI V VI V VI V VI

a : VI V VI V VI V VI V VI V

Inca s e o f a p rogressi o n between th e tri a d s o n th e 2 nd a n d 3 r d

degre e s w h i c h h owever rar e ly o ccu rs th e S te p o f a n a ug m en te d
, ,

secon d i s to b e a v o i d e d by c o n tra ry m ot i on w h i c h th e stepw i se pro

,

gr essi on of th e bass ca l l s for at a ny rate .

e tc .

a : 1 Iv II 0 III '

F or progressi on s b e tw e en th e tri ad s o n th e zu d a n d 5 th degrees ,

an d those o n th e 4 th a n d 5 th c o n tra ry m oti on i s a l s o to b e e m

,

p l o yed al th ough open p a ra ll e l o c ta ves co ul d n ot a ri se i n pa ra l lel

,

m o t i o n between th e 2 n d a n d 5 th degrees .
 A M A N UA L OF H A R M ON Y .
4]

a : 1 1 V 1 1 V W V W V IV V

I n Ex 8 6 (a ) we h ave to depa rt fro m th e ru l e of l etti ng a to n e

.

c o m m o n to tw o ch ord s l i e i n th e sa m e pa rt ; for we ca n n ot (i n c l o se
h a r m o ny ) l e t th e to n e E l i e a n d l ead F to G 11 , .

P rogre ss i on s l i ke th i s m u st a l w a y s b e a vo i d e d *
.

8 7 . a .

30 . Ath e c h ro m a ti c a l te ra ti o n o f th e 7th d egree I n m i n o r

s

m u st b e i n d i ca t e d i n eac h sepa rate ca se w e sh a l l m a rk i t w h erever , ,

con ta i ned i n a c h o rd ca l l ed for by th e ba ss by w ri ti ng th e req u i r e d ,

si gn g o r ,
over th e ba ss n ot e th e S i gn th u s w r i t te n a l w ays r e ,

ferri ng to th e th i rd above th e ba ss n o te S h o ul d i t re fe r to s o m e .

oth e r i nt e rva l fr o m th e ba ss w h i c h i n o u r n ext e xe rci ses ca n be

o n ly th e fth w e w ri te t h e n u m ber of th e i nterva l ov e r th e ba ss
n ote a n d a d d to i t th e requ i red c h ro m a ti c si gn ; w h en th i s si gn i s
,

a s h a rp i t su f ce s to d ra w th rou gh th e gu re a stro ke sl a nti ng up

,

fro m l eft to ri gh t ; e g . .

87 . b .

a : I III '

1 11

A l th ough th e tri a d i n i ts fu n da m e n ta l pos i ti on i s n ot u sua l ly i h

d i ca te d i n th e gu ri ng i n th i s case i t beco mes n ecessa ry to i nd i ca t e
,

* Ta ki ng th e s a me in n h a r m on y 8 m igh t b e h el d i n th e s a m e p a rt ; e g
o pe , .

B t for th e p r e s en t th e p u p i l sh oul d wo rk o nl y i n c l o se h a r
u

m on y so a s n o t to b e p e r pl exe d b y th e di f c ul ti e s of l ea di n g th e
,

p a r ts i n o pen h a r m on y ; be sid e s we d o no t nee d the l a tte r for

,

o u r p r e s en t p u r p o s e s .
42 A MANUAL H A R M ON Y .

th e fth of th e ba ss to be ra i sed by a gu re a n d sig n or gu re a nd ,

stroke A s we h ave see n befo re i t may a l s o be n ecessa ry to gur e

.
,

th e rst tri ad i n order to show th e posi ti on of th e sop ra no a nd by

, ,

i mp l i cati on th at of th e oth er pa rts a s wel l We ca n u se th e s i ngle

, .

gu r e s 3 5 or 8 or th e co mb i n ati o n s g o r i n th e fol low i ng ca se

, , , ,
g
,

8 7 .

T h u s th e gur i ng of th e fol l o w i n g bass ca l l s fo r

IV V 1 11
'

VI 1 10 V

I A
a rra n gem e n t of th e h igh est pa rts i n w h i ch th e S op ra n o
n

takes th e a lto a a n d th e ten o r e F ro m th i s th e lea d i ng '

.

o f th e h i gh est pa rts ca n be ded uced a ccord i ng to th e ru les gi ve n

for th e l ea d i ng of th e pa rts .

2 Th e sh a rp over th e th i rd ba ss n ote E w h i c h h a s no
.
,

gure sh ow s tha t th e th i rd of t he bass n ote (i n th e do m i n a n t

,

tri a d ) i s to be c h ro m ati ca l ly ra i sed .

3 Th .e c rossed g ure 5 over th e fo u rth ba ss n ote sh ows

th a t th e fth of th e a ugm en t e d tri ad m u st be g .

Th e e x a m p l e i s work ed o ut be low .

IV V 11 1
'

VI 1 1 V
The p u p i l sh o ul d tra n spos e Ex 8 9 i n t o c-m i n o r 6-m i n o r 617
.
, ,

m i n or g ig -m i nor -m i no r m a n d -m i no r that h e m ay
, g ,fg i no r , fo

, ,

a l so b e co m e fa m i l i a r w i th th e tria d s o f th e m i n or sca l e i n oth er

k ey s . To th i s e n d w e w ri te o u t th e tra n spose d basses w i th th e ,

c h rom a ti c s ign s p roper to eac h key .

 A M AN U A 1 .
O F H A R M ON Y . 43

A ll gu re s a nd S i gn s w r i t te n a bo v e th e b a s s o
n te s b e l o ng to
T or oug - a ss N o ta ti o n .

3 I Th e fol low i n g ba ss requ i res i n m ea su re 2 a progre ssi o n

.
, ,

betwee n th e tr i a d s o n th e 6 th a n d sth degrees a n d i n m ea su re 5 a ,

p rogre ssi o n fro m th e do m i na n t tr i a d to th a t o n t h e 6 th d egree .

I n m ea s u re 2 th e gu re a n d ch ro m a ti c s i gn o ve r th e th i rd n ote F
m igh t be o m i tted a n d a l so th e si g n over th e se con d n ote A i n
,
44 A MANUAL 0F HARMON Y .

m ea su re 5 I n b o th ca ses th e ch r o m ati c ra i si n g o f th e 7th degr ee

.

of th e scal e h a d a l rea dy be e n i n d i cat e d We w i l l observe tha t i n .

,

th e s e ex e rci s e s w e fo l l o w th e u n i v e rsa l pra ct i ce o f letti ng ea ch

ch r o m ati c sign a ffe c t i ts n o t e th r o u gh o u t i ts m ea su re .

Two w o rk i n gs -o u t o f th e ba ss gi v e n at 9 1 n o w fo l l o w w h i ch th e ,

p up i l sh o ul d ca r e fu l ly stu dy a n d th e n tra n s p o se i n t o e h-m i n o r an d

c -m i nor be fore u n d e rtak i n g to w o rk o u t th e ba ss e s giv e n a t N o s
, .

93 94, ,a n d 9 5 ( C o m p a
. l s o A
p p I I. p .
, .

VI V 111

1 1 v 1 VI 1v 1 1

111
'
V VI '
IV 1 10 V '
1 III
'

III V VI 1v 11 V 1

1 1 v 1 VI N 1 1 111

V VI 1 v 1 1 V 1
 A MA NUAL 0F HARMON Y . 45

Ex e r c i s e s .

T he p o si ti o n o f th e rst S o p ra n o n o te i s to b e r e ta i n ed w h e n
tra n sp o s i ng th i s exa m p le i n t o c 6 6D g it g f $ a n d f -m i n o r
, , , , , .

5 I
:

Wh e n tra n sposi ng Ex 94 i n to c t a n d d -m i n o r th e s o p ran o sh o u ld

.

begi n o n th e o cta ve o f th e ba ss a n d o n th e ft h i n th e tra n spo s i ti o n

,

i nt o 6 a n d e h m i no r .

B e l ow i s a v i ew of a l l th e tr i ad s of th e m aj or and m i nor sca l es .

T ri a d s of th e Ma j or Sc a le .

Tria d s of th e M i no r S c a l e .

1 1 10 III
IV V VI 17 1 1 0

Th e s e tri a d s d i ffe r i n stru ctu re W e fo u n d m ajo r tr i ad s o n th e

.

I st 4 th a nd 5 th d e gr e e s i n m aj o r a n d o n th e 5 t h a n d 6 th i n m i n o r ;
, , ,

a n d m i n o r t r i a ds o n th e z u d 3 r d a n d 6 th d e gre e s i n m aj o r an d o n
'

, , ,

th e I st a n d 4 th i n m i n o r D zm tn zs l ze a tri ad s o cc ur o n th e 7 th
' '

d e g r e e i n m aj o r a n d th e z u d a n d 7th i n m i no r T h e a ug m e n te d .

tri a d i s o n th e 3 r d d e gre e i n m i n o r .

C H A PT E R VI .

I n v e r s i o n o f th e T ri a d s .

3 2 . T h e rea s o n tha t a l l th e ex e rc i ses h e r e tofo re gi ve n were

m o re o r l e ss c o n stra i n ed s ti ff o r a ct ua l ly for c e d ev e n w h e n w o rked
, , ,

o u t q u i te c o rrectly ,
wa s o n th e o n e ha n d b e ca u s e w e w ork e d w i t h
, ,
46 A MANUAL H A R M ON Y.

tri ad s only a n d o n th e oth er beca u se we cou l d u se th ese ch ord s

, ,

on ly i n t he i r f u n d a m e n ta l posi ti o n i e t h e p o s i ti o n i n w h i ch th e , . .

ba ss a l ways tak e s th e r o o t o f th e c h ord B u t th e bass m ay a l so

'

tak e th e th i rd o r fth o f th e tri a d T h e posi t i o n of th e ch o rd i s .

th e n n o l o ng e r th e fu nda me nta l o ne a n d w e ter m a c h o rd th u s a l ,

te r e d i n p o si ti on a n

I nv e rte d C h o rd , or a n I nv e r s i o n .

We cal l th e tw o pra cti cable i n v e rsi o n s o f th e tr i a d :

a Wh e n th e ba ss takes th e th i rd o f th e tri ad a
.
, c l zo r d o
f tl ze
s i x th .

6 . Wh e n th e bass ta kes th e fth o f th e tri a d a wor d of

, ti l e

f ou r t/z a nd s i xt .

A
y tri and ca n b e u sed i n th e pos i ti o n of a ch ord o f th e si xth o r ,

a s c h o rd of th e fo urth a n d s i xth Th ese a re of cou rse n o n ew .

ch o rd s b ut m erely d i ff eren t fo r m s o f o ne a n d th e sa m e ch o rd
, .

A s we k no w th e fun da m en ta l posi ti o n o f a tri a d i s m a rked by

g u r e s 3 5 8
,

g , o n ly,i n excepti
, on a l ca
,
gg
ses ,e g a t th e , . .

begi n n i ng o f a p i ece (to i n d i cate exa ctly th e posi ti o n of th e sop ran o

o r o f a l l th e p a rts ) i n th e m i dst of a p i ece such m a rk s h ave o c
cu rred o n ly i n th e sh ape of a c h ro m ati c si gn ov e r th e bass n ote fo r
th e th i rd a n d o f th e gu re 5 w i th a c h ro m a ti c s ign fo r th e fth
, ,

w h er e a ch r o m at i c a lterati o n of th e se i nterva l s (i n m i n o r ) wa s
n e ed fu l B u t w e m u st m a rk th e c h o rd o f th e s i xth w i th a gu re
.

6 o r w i th g or w i th a 6 a n d a ch ro m a ti c si gn bel ow i t refe rri n g to

, ,

th e th i rd above th e bass (i n ca se th e th i rd requ i res to be a l tered

ch r o ma ti ca l ly ) F o r t h e c h ord of th e fo u rth a n d si xth w e a l ways
.

wri t e 3 o ver th e ba ss n ote .

We n o w p ro cee d to erect o n th e n o te C (w i th o ut a gure o r ,

m a rk e d w i th a 3 5 8 etc ) th e tri a d of C i n i ts fun da m enta l p osi

, , ,
.

ti o n C E G C w i th a 6 (or 3 ) over i t cal l s fo r th e ch ord o f

.

th e si xth of taa t tr i a d i n th e f u n d a m e n ta l pos i ti o n of w h i ch th e

,

n o te C i s th e t/zi r d C m a r k e d 2 ca l l s fo r th e ch o rd o f th e fo u rth
.

a n d s i xth of tha t tri a d i n w ho se fun da m e n ta l posi ti o n C i s th e fth

, .

F u nda m .
po s . C h o rd o f th e si xth . C h o rd of th e fo u t rh a nd s i x th .
 A MA NUA L 0F HARMON Y 47

S u ppo si n g t h i s exa m p l e to be i n C-major th e C i n th e rs t
m ea s u re g i ves u s a s th e g u res u n der t h e ba ss i nd i ca te
,

th e
tri a d o n th e I st degree ; th e C i n th e sec o n d m ea su re th e ch o rd of ,

th e s i xth de ri ved fro m th e tri a d o n th e 6 th d e gree ; a n d th e C i n

th e th i rd m ea su re th e c h ord of th e fo u rt h a n d s i xth d eri ved fro m
,

th e tri ad o n th e 4 th degree .

T h e fol lo w i n g exa m p l e sh o ws a l l th ree tri ad s i n al l posi ti o n s .

C: I I I v1 v1 v1 IV IV I V

In th e c hord s of th e si xth w e i nten ti o n al ly n eglecte d to do ubl e

th e ba ss n ote th e th i rd o f th e fu nda m en ta l ch ord ; th i s w e sh a l l e x
,

pl a i n l ate r F i rst o f a l l t h e p up i l sh o u l d stu dy a tte nt i vely th e no

.
,

ta ti o n of th e ch o rds of th e si xt h i n th e V i e w g i ven below o f th e

tri ad s o n a l l degree s i n m ajo r a n d m i no r a n d i n a l l p o s i ti on s We
, .

h av e i ntenti o n al ly d o ubl ed th e ba ss n ote th e th i rd of th e fu nd a

,

m e n ta l c h o rd o n ly i n th e c h o rd s o f th e s i xth o n th e 7th d e gree (i n

,

m ajo r a n d m i n or ) A n exp la n ati o n fol l o w s d i rectly a fte r th e Vi e w

. .

C: I 11 11 11 1 11 111 111

IV IV IV V V V v1 v1 v1
43 A MANUA L 0F H A AM ON Y .

or : b ut not : N . B .

v 1 1 v 1 1 v 1 1 v 1 1 v 1 1 V I 1 v 1 1 v 1 1 v 1 1

r a re b e tte r :

5 s 2 3

a : 1 1 1 1 1 1 1 III '
III
III '
III

or t h s:u

V 1 IO V I 1

33 . p r e v i o u s re m a rk s
The p 1 5 ) on d o ubl i n g th e t o n es
.

of th e tri a d i n i ts fun da m e n ta l p o si ti o n a l s o h o l d g o o d fo r th e m o st ,

pa rt for th e i nv e rsi o n s o f th e tri a d T h e th i rd o f th e m aj o r a n d

,
.

m i nor tr iad s w h i c h cha ra ct e ri z e s th e m o d e b e i ng th e m o st p ro m i

, ,

uently fe l t i nterva l of th e tri ad g i v e s u s a sp e c i al rea son for n ot

,

do ubl i n g i t i n th e ch ord o f th e si xth b e c a use i t th en l i es i n th e ba ss

, ,

w h i ch a s a n o uter pa rt r e nders a ny i n t e r v al w h i ch i t take s p e c u

, ,

l i a r l y pr o m i n en t m u ch m o re so th a n th e i n ne r pa rts
,
Co u se .

quen tly w e d o ubl e th e th i rd i n th e c h o rd o f t h e si xth o nl y w h e n

,

we thereby
 A MANUA L 0F H A It / O IV Y

.
49

a . O bta i n a s m o o th er l e ad i ng of th e i n n e r parts by h o l d i ng a
ton e e . g .

is q i te
u as

10 1 .

g oo d as

C: I

H o we ve r w e m u st n o t fo rget to k e e p a sh a rp l o o k ou t fo r th e
,

l ea d i n g o f t h e l ead i ng n ote ; th u s th e fol low i ng p r o gress i o n i s not

-

to be reco m m e nd e d :

b e tte r .

10 2 .

a . F or th e sa m e r e aso n (p rogressi o n of l e a d i ng -n ote ) w e m u st

a vo i d i n c h ord s o f th e si xth d eri ved fr o m th e tri ad s o n th e 7 111 d e
,

gree i n m aj o r a n d m i n or d oubl i n g th e r o o t o f th e fu n d a m enta l

,

c h ord (th i s root be i ng th e l e a d i ng -n o t e o f th e k ey ) H e n ce th e .

ru le i n fo ur pa rt w ri ti n g tha t
,
-
,

I n ch o rd s of th e si xth d e ri ved fr o m th e tri a d o n th e 7th degree

e i th e r th e ba ss n ote (th e th i rd o f th e fu n da m e nt al ch o rd ) o r th e ,

th i rd ab o v e th e ba ss n ote ( fth of th e fu n da m en ta l ch o rd ) i s to be ,

do ubl ed ; e g . .

10 3 .

C : v 1 1 v 1 1 vi l a : v 1 1 v 1 1 v 1 1
50 A MA NUA L OF HARMON Y

c. B e s i de s th e th i rd of th e fu n da me n ta l ch ord m u st be do ubl ed
,

wh e n i n th e ca se of two o r m ore success i ve ch ord s of th e si xth

, ,

p a ra l l el fth s a nd octa ves ca n no t oth e rw i se be avo i d ed or wh e n a n ,

u n c o n stra i n ed l ead i ng of th e pa rts ren ders th e doubl i ng of th e th i r d

m ore natu ra l th a n th e d o ub l i n g of th e roo t .

C: I v 1 1 I

In m ea su res 2 a n d 3 of Ex 1 0 4 w e h ave i n s uccess i o n th e ch ord s

.

o f th e s i xth o n th e th a n d I s t degrees a n d both w i th do ubl ed

7 ,

th i rd T h e ch ord o f th e s i xt h deri ved fro m th e tri a d o n th e a nd

.

d egree (m ea s 4 ) co u l d n ot do ub l e i ts th i rd H e n ce th e fol low i ng

. .

rul e :
I n two o r m ore su ccessi ve ch ord s of t h e s i xth progressi ng by ,

steps th e th i rd of every sec o n d c h o rd m u st gen era l ly b e do ubl ed to

, ,

a vo i d fa u l ty p rogre ss i on s (pa ral le l fth s a nd octa ves ) .

10 5 .

11 V v1 v 1 1 I e : x v 1 1 1v III
'

S e q u e nc e of C h o rd s of th e S i x th .

10 6 .

C: I V 1 10 I v 1 1 I 11 I 11 111 11 111 IV
 A MANUAL HA RMO NY . 51

e tc .

34 . W i th c h o rd s of th e fo urth a n d si xt h i t i s u sual ly best to

d o ubl e th e ba ss n ote i e th e fth i n t h e fu n d a m e ntal ch ord th o ugh
, . .

th e fo u rth o f th e ba ss (r o o t o f th e tri ad ) ca n al so be do ub led The .

si xt h o f th e ba ss n o te (th i rd i n th e fu n da m e n ta l ch o rd ) c a n b e
d o ubl ed on ly i n very ra re ca ses (w h e re th e l ea d i ng of t h e pa rts de
m a n d s i t) .

r a r e ly r a rel y :

10 7
2 2 2 2 2 2

C: I I a 1 1 1 1 1

I n th e ca se of i nve rs i o n s of th e tr i a d th e h i gh est pa rt s may be

gro uped above th e ba ss a t p l ea sure j u st a s Ex 3 7,
sh ow s for
.

th e fu n d a m en ta l p o s i t i o n o f th e tr i a d I t fol l ow s th at i n ch o rds
.
,

of th e si xth a n d of th e fo u rth a n d s i xth th e h i gh est pa rts c a n a ssu m e

, ,

very d i ffe re n t po si t i o n s w i th refe re n ce to th e ba ss ; e g . .

C h o rd of th e S i x th .

Cl os e h a r mon y . O pen h a r m o ny .
52 A MANUAL OF HARMON Y .

C h o rd of th e F ou rth a nd S i x th .

C l o s e h r m o ny
a . O pe n h r m ny
a o .

10 9 .
e tc .

6 6 6 6 6 6 6
4 4 4 4 4 4 4

T h e exa m pl e s gi v e n i n th e V i e w a t 1 0 0 (O ) s h o w e d th a t th e c h r o ,

m ati c a l t e ra ti o n o f a n i nt e r va l i n a gi v e n ch o rd m u st be p r e c i s e ly
i n d i c a t e d fo r th e th i rd o f th e ba ss by th e c o rr e sp o n d i ng s i gn o v e r
th e ba ss n o t e a n d fo r any o th e r i n t e r va l by a c o r r e sp o nd i ng g u r e
,

c o u nt i ng fro m th e ba ss ) a n d th e p ro p er c h r o m ati c si gn ; a nd th a t
a ny c h r o m at i c si gn s o i n d i c at e d m u st b e w ri tt e n b e fo r e th e c o rr e
s o nd i n
p g n o t e i n th e h i gh e r
p art
W h e n tw o o r th re e g u r e s o r gr o u p s o i g u r e s a r e s e t s i d e by
, ,

s i d e ab o v e o n e ba ss n o te th i s i n d i c a t e s th a t th e c h o r d s c a ll e d fo r
,

by th e g u r e s d i v i d e th e v a l u e o f th e b a ss n o t e e q u a l ly b e t w e e n
th e m . I n su c h c a s e s th e fu n da m e n ta l p o sit i o n o f th e t r i a d m u st a l s o
b e m a rk e d by th e gu r e s 3 5 8 3 o r ; th u s th e fo l l o w i ng ba ss
, , , ,

8
3
6 6
4 3 4

C: I V I V I V
cal l s fo r th e se c h o rds :

110 e tc
3
. .

l i k e w i se :
l l
y
9 9

8 8 8
6 6
4 3 4 9
.,
6
4 3
 A M ANUAL 0F HARMONY . 53

T h u s w h e n th e gur e s 3 5 8
, f o c c u r o v e r a ha s : n ote i n th e
, , ,
3
,
3
ex e r c i s e th e y d o n o t r e fe r to th e p o si ti o n o f th e
co u r s e
f
o a n ,

s o p ra n o b ut s i m p ly c a l l fo r th e fu n da m en ta l p o s i ti o n of th e tri a d
,
.

C o m pa r e th e fo l l ow i ng e xa m pl e

F : I v1 1V 11 V I IV 11 v1 V I V

B el ow we gi v e a n o th e r e xa m p l e :

11 2

Bb '
I I V 1 11 v1 11 V I IV vu

Th e l e ad i ng o f th e pa rts fr o m mea s . 2 to m e as .
3 , a n d fro m m ea s .

3 to m e a s 4 a s b e l o w :
.
,

1 2 5 .
54 A M ANUAL OF HARMO N Y .

is be tt e r th a n th e fol l o w i n g :

113 .

or th u s :

114 .

In both th e l a st exa m p l es w e h av e c o v e r e d oc ta v es w i th a w h ol e
Io n e s te
p betwe e n th e ten o r a n d ba ss A l tho ugh w e h ave n ow h e re
.

forb i d de n th e p up i l to w ri te suc h paral l e l octave s betwee n a n ou te r

a n d a n i n n er pa rt w e a dv i se h i m to a vo i d th e m w h erever i t ca n b e
,

d o n e p roperly Con trary m oti on a s e m p loyed i n Ex 1 1 2 i n th e

.
, .

pl aces u n der con si dera t io n e ffects o u r object a n d i s l i kew i se fa r

, ,

m ore a pp rop ri ate to th e stri ct styl e Co n sequ ently w h e n th e h i gh

.
,

e st pa rts c o n ta i n th e d o ubl i ng o f th e to n e w h i c h a l so bel o ngs to th e

fol l o w i ng ch ord i t i s hes t i n m os t c a s es to r e ta i n th e sa i d ton e i n
,

s u ch a a r t th at a p rogr e ssi o n of th e h igh e st parts i n c on tr a r

p , y
m oti o n to th e ba ss c a n be e ffected .

Wh e n th e c h ord of th e fo u rth a n d s i xth der i ved fro m th e to n i c

tri a d o c curs a t th e c l os e o n th e s tr ong beat j u st before th e d o m i
,

n an t tri a d i n i ts fu n da m ental p osi t i on i t i s w e l l adapted to co n r m

,

th e feel i ng of a c o m p l e te close .

115 .

C : I V
 A MANUAL OF HA RMO N Y .
55

S u ch i s l e ss th e case w h e n t h e c hord of th e fo u rth a n d s i xt h o c

,
~

'

cu rs o n th e w e a h b e at a n d b e fo re a c h o rd o th e r th a n th e do m i na nt
,

tri ad ; even th o u gh i t be th e c h o rd o f t h e fo urth a n d si xth d e ri ved

fro m th e t o n i c tri a d I t i s st i l l l ess th e ca se w h e n th i s c h ord o f
.
,

th e fo u rth a n d si xth ( o n a w e a h hea t ) i s th e i nv e rsi o n of so m e

o th e r tri a d th a n th a t o n th e I st d e gree .

11 6
m
.
:
o o
s s 0
3
0 G W 0 M

C: I V I IV I IV V I V I v1 IV

6 6
4 e 3 4

11 111 v1 11 v1 11 V I IV

B u t a n a cc u m u l ati o n of ch ord s o f th e fo u rt h a n d s i xth l i k e th at

i n Ex 1 1 6 i s d i sagreeabl e M or e ov e r th e i n trod ucti o n of th i s
. .
,

c h o rd i n th e m i d st of a p i ece i n str i c t w ri ti n g i s depe nden t o n con

d i ti o n s w h i ch th e p u p i l w i l l l ear n fu rth er o n
, T h e ch ord o f th e .

fo u rth a n d s i xth w i l l a l ways be u sed m u ch l ess th a n th e fu n d a m e n

ta l posi ti o n a n d rst i nversi o n o f th e tri ad I n o u r ex e rci ses th e

ch ord of th e fo urth a n d si x th w i l l gen era l ly occ u r o n ly towa rd s th e

cl ose . R o m a n gu res to i nd i cat e th e d e gr e es fro m w h i ch th e
,

tri ad s i n th e i r va ri o u s p o si ti o n s a re d e ri ved sho u l d be c o n sc i e n ,

ti o u s l y se t u n der th e ba ss n o t e s o f th e fol l o w i ng e x e rc i se s a n d o f a l l ,

succeed i n g on e s b e fo re w o rk i ng th e m o ut
, By t h i s p roced ure .

th e p u p i l w i l l av o i d m a ny m i stakes b e i ng a l rea dy su re b e fo re , ,

wri t i ng o u t th e exerc i se i n n ot e s w i th w h a t ch o rd s h e h a s to d e al
,

e i th e r i n th e fu n d a m e n ta l p o si ti o n o r so m e i nversi o n H e m u st .

car e ful ly fol l ow th e m ode of m a rk i n g w i th R o m a n fi gu re s o bserved

Th e h o rd of th e si xth is c a l l e d th e /i n t i n v e rs i o n o f th e tri a d
c , h
a nd t a t of th e
fo u r th a nd si x th i ts s ec on d i n v e rs i on T RA N S L . .
56 A MANUA L OF

i n th e foreg o i ng exa m pl e s Th e ba sses of th e fo l l o w i ng ex e rci ses

.

a r e so arra nged th at th e p u p i l m a
y gi ve sp e ci al att e n ti on to a g o od
m el od i c l e ad i ng o f th e s o pra n o To th i s en d h e m a y o ccas i o nal ly
.

e m pl oy th e sk i p o f a fo u rth w h ere i t c o n d uces to a m o r e agr e e abl e

l e ad i ng o f th e S o p ra n o i n ca se i t d o es no t d i stu rb th e natu ra l an d
,

qu i e t l e a d i n g o f th e i n n er pa rts E g th e l e ad i ng o f th e S o p ra n o
. . .

a t 1 1 7 ( a ) i s p re ferabl e to th at a t 1 1 7 6

117 . e tc .

e tc .

IV v1 IV

Ea sy Ex e r c i s e s .

11 8

-
)
O
i
i i
 A MANUA L OF HARMON Y .
57

M o re D i ff i c u l t Ex e r c i s e s .

11 8

A ls o tr a n s po s e i nto D b , D , E b, a nd E .

A ls o tr a ns po s e i nto F 3, F ,
a nd E .

6 s
6 6 6 6 6 4 6 2 8

A ls o tr a n s pos e i n to B a nd C.

A l s o tr a n s po s e i n to B , E h, A , A b, a nd G .

N . B
.

T h e t a t N B s u f ces i n th i s cas e to i n d i cat e th e do m i n a n t tri a d

. .

wi t h ra i sed th i rd T h e fu l l guri ng of th i s l a st G wo u l d be o r
.

T h i s Exerc i se i s to b e tra n sp o sed i nto c5 d el? a n d e , , , .

Tra n s pos e i n to / a nd a b.

T r a n s po s e i nto e a nd c 3 .

T r a n s po s e i n to g 3 a nd a .
 58 A MANUAL OF HA RMO N Y .

Tra n s pos e i nto g 3 , g, a nd fg .

Tra n s pos e i n to/ 3 a nd g .

In work i n g o ut th ese exerc i ses th e p up i l w i l l so m et i m e s he

o hl z e d to do ubl e th e t h i rd o f th e tr i ad both i n i ts fu nda m en ta l p o
g ,

si ti o u a n d a s a c h o rd of th e si xth h e n eed n o t fe a r to d o so w h e r
ever a correct l ead i ng of th e pa rts requ i re s i t ; b u t w h e n th e th i r d
-
i s th e l e a d i ng n ote i t m u st n ever be d o u b l e d
,
"

*T h e j
ob e c t o i n u s u a ll y r a is ed a g a i n s t d ou bl i ng th e l ea di n g-n o te is th a t i t i s,

me l o di ca lly a ttr a c te d to th e ton i c a n d a p r o gr e ssi on o f b o th l ea di ng -n o te s to th e

,

to n i c wo u l d p r o d ce p r a ll e l o cta v e s
u a Bu t a s a l r ea dy ob s e rv e d i n my M a n u l of
. a

C o u n te r p o i n t ( p u b l ish e d b y G S c hi r m e r 1 8 8 7
. r e q u i r emen ts of t hi s m e
,

l o d i c a ttr a c ti on a r e a m p ly s a tis e d wh en on e of th e p a r ts h a v i n
; th e
dou b l e d thi rd p r ogr e ss e s to th e ton i c :

or e v en i f n ei th er o f h
t em p o r gr ess to th e to nic :

in oth e r wo rds th e r e is n o r ea l r ea s on why th e d omi n a nt th i rd sh o l d not b e

, u

d ou bl e d l ik e a ny oth e r m a j o r th i rd O f c o u rs e s o me of th e a b ov e ex a mpl e s a re

.
,

s o me wh a t a dv a n c e d fo r b egi nn e r s T RA N SL . .
 A MANUAL OF HA RMO N Y . 59

C H A PT ER V II .

C h o rd s of th e S e v e nth .

3 5 B y a dd i ng a th i rd to a tr i a d w e get a Ch ord of th e
.
,

S e ven th ; i e a ch ord i n w h i c h th e i nte rva l fro m th e root to i ts

. .

h igh e st n ote i s a seve nth A ccord i n g a s w e ad d a m ajor o r a .

m i n o r th i rd above th e fth of th e tri a d or bel ow i ts root w e obta i n , ,

d i fferen t ch ord s of th e seven th ; e g . .

119 .

Th ese a re a l l d i ss o n a n t d ep e n d e n t ch ord s T h e y ca n n ever a p

, .

p e a r al o n e b u t a l ways o n ly i n c o n n ecti o n w i th oth er ch ord s T h e

, .

seve n th a s th e d i ss o na n t i n terva l m u st be p r ep a r e d i n m o st 0 1
, ,

these ch o rd s ; a n d a l l ch o rd s of th e s e ve nt h m u st b e r es ol v e d .

We begi n w i th th e m ost i m p orta n t c h o rd o f th e s e ve nth , th e

D o m i n a nt C h o rd of th e S e v e nth ,

a l so ca l l ed pri n c i pa l c h o rd of th e seven th o r fo r sh ort d o m i

, , ,

n a n t ch ord .

Th e se v en th i n th i s m o st frequ e n tly u sed ch o rd of th e seve nth

n e ed s n o p repa rati o n ; fo r th e pr e sen t th erefo re w e sh a l l n o t e x , ,

p l a i n wh a t p r ep a r a ti on m e a n s o r h o w i t i s to be perfor m ed ,
.

T h e d o m i n a n t ch o rd of th e s e ven th i s for m ed by th e a d d i ti o n o f
a m i n o r th i rd above th e fth of th e d o m i n an t tr i a d .

a . D om i n a n t tri a d . 6 . D om i n a n t C h ord of v
th e S e en t h .

1 20 .

C: V

A s Ex .
) sh o ws
1 20 ( 6
w e i n d i cate th i s tri a d w i th V 7
, .

Th e d o m i n a n t tri a d b e i ng j u st th e sa m e i n m aj o r a n d m i n or th e ,

ch o rd o f th e do m i n a n t sev e n th i s al so form ed a l i h e i n 6o th m od es by
th e a d d i ti o n of a m i n o r th i rd abov e th e fth of th e m ajor d o m i
60 A MANUAL OF HA RMO N Y
.

na n t tri a d th i s m i n o r th i rd th en for m i n g th e i nte rv a l of a

, m i n orI
seventh w i th th e ro o t of th e ch o rd .

1 21 .

C (m a j o r )V 7 c: (mi n o r ) V 7

.

C: V7 I : V 7

A co m pl e t e g u r i ng of th e ba ss i s obta i n ed by w ri ti ng o u t ea c h
i nt e rva l i n th e ch o rd o f th e s e v e n th a s fo l l o ws : Th i s w i l l sel
,

d o m be n ecessary ; b u t i t m a y frequ e n tly h a ppe n th at su ch a ch o rd

h a s to b e i n d i cat e d by g or 35 F o r th e do m i na n t ch ord of th e
.

seven th i n m ajo r i t g e n e ra l ly su f c e s to w r i te a 7 ove r th e ba ss

n o te ; i n m i n or th e ch r o ma ti c si gn req u i r e d fo r ra i si ng th e th i rd

of th e ch ord ( l ea d i ng-n ote o f th e sca l e ) m u st be added bel ow th e 7 .

12 2 .

V7 g : V7 Eb: V7

e b: V 7 A b: V7 gg z v 7

W e h a rdly n e e d r e m a rk th at w i th refe re n ce to th e i r p osi ti on

, ,

abov e th e ba ss th e i n te rv a l s of th e ch o rd o f th e sev e nth ca n be d i s

,

tri but e d a t pl e a su re a m o ng th e th re e h igh est pa rts a s i n th e ca se of ,

th e tri a d a n d i ts i n v e rs i o n s I n th e fol l o w i n g pages th i s po i n t w i l l

.

no t be al l u ded to aga i n .
 A MA NUA L 0F HA RMO N Y .
51

N a tu r a l R l
e s o u t o n of i th e D o m i n a nt C h o rd of th e S e v e n th .

3 6 . T h o ugh th e d o m i n a n t c h ord of th e seve nt h n eed s no p re

p a r a ti o n a,n d ca n e nter freely e g , . .

123 .

C: VI V7

i t m u st n e verth el e ss be r es ol v e d Its n atu ra l resol uti o n i s to th e.

to n i c tri a d a n d i s e ffe cted th u s : T h e 6 a ss ( th e d o m i n a n t of th e

,

sc al e ) i s l e d u pwa rd s by th e sk i p o f a fo urth , o r dow n wa rd s by th e

s k i p of a fth to th e t o n i c ;
,

1 24 a.

C .

V7

th e s e v e n th i s l ed d ow n wa rd s by a se m i t o n e i n m ajor , a n d by a

w h ol e to n e i n m i no r ;

124

0 : V 7

th e th i r d w h i ch i s th e l ead i ng -n o t e p r o gr e ss e s
, , U pwa rd s by a

se m i t o n e to th e octave o f th e to n i c ;

1 24 e .

C : V-
7 I a : V7 I c : V7
62 A MAN UA L 0F HA RMO N Y .

w h i le th e f th m ay be l ed e i th er a step u pward s or a step dow n

wa rd s :

1 2 4 11
u n

V? C: V7

A I V7 V7 I : V7 I a

In th i s n atu ra l res o l u t i o n o f th e d o m i na nt ch o rd o f th e seven th

th e to n i c tr i a d a pp e a rs i n c o m pl e t e ; i ts ft h i s la ck i n g I n a ny .

tri a d o r c hord of th e s e v e n th th e f th m a y be d r o pped a n d s o m e ,

oth er i nterva l do ubl e d to r e pl ac e i t I n th e ca s e of tri ad s a s Ex

.
, .

1 2 4 sh o w s th i s d o ubl ed i nt e rva l m a y b e e i th er th e r oot or th e

,

th i r d ; i n fac t a ny i nt e rva l o f th e tri ad m a y b e d o ubl e d

,
I n c h o rd s .

of th e s e ven th o n ly th e r oo t c a n i n th e grea t m aj o r i ty o f cases , 6 e

,

d ou 6 l e d i n fo u r p art co m posi ti o n
- " s
.

* W i th c h o rds of th e s e v en th exc e p ti on a l c a s e s o cc u r th e thi rd a n d ev en th e

, ,

s ev en th b e i n g s o m eti m es d u b l d i n fou r -pa r t wri ti n g T h is m a y h a p p e n i n

,
o e .
,

p a r ti c u l a r w h e n s e v e r a l c h o rds o f th e s e v e n th fo l l o w e c h o th e r a s th e n e x t e x
,
a ,

a mp l e s h o ws .

I C
.II 7 V7
Ev e n th e th ird m a y s o m e ti m e s b e dr op p e d fr o m th e c h o rd of th e s e v e nth t h ou gh
,

v e ry r a r ely .
 A MANUA L OF HA RMON Y .
63

Th e ch o rd th e n a ss u m e s th e fo l l o w i ng fo r m s
'

125 .

C

. V7 V7 V7 V7 a V7 V7 V7

O n reso lv i n g su c h ch o rd s of th e sev nth th e r oot w h i ch i s e ,

doub l ed i n o ne o f th e h i gh e r pa r ts i s h e l d i n th e sa m e p a rt th u s
, .

b e c o m i ng th e f th o f th e to n i c tri a d T h e re s o l uti o n o f th e c h o rd s
.

at 1 2
5 I S g i v e n bel o w .

126 .

V7 1 a : V7 1 V7 V7

A tten ti o n to th e correct l e a d i ng o f th e pa rts ofte n ob l i ges u s eve n

to w ri te a c h o rd o f th e s e v e n th wh i c h h a s n o fth w i th a d o ubl ed
r oot ; th u s th e pr o gr e ssi o n o f th e tri ad o n th e fo urth degr e e i n ,

i ts fu nda m e n ta l po s i ti o n to th e d o m i n a n t c h o rd of th e s e v e n th i n
,

i ts fu n da m en ta l po si ti on i s b e st e ffe ct e d by d r o p p i n g th e fth o f
,

th e l atte r c h o rd an d d o ubl i ng i ts r o ot i n stea d Th e p r o g ressi on s .

betwe e n th ese ch o rd s a re fa r b e tte r at 1 2 7 t h a n a t 1 2 8 w h e re w e ,

64 A MANUAL OF HARMO N Y .

lea d th e h i gh est parts i n c o ntrary m oti o n to th e ba ss by a s k i p . in

o rd e r to a v o i d pa ral l el fth s .

b e tte r .

127 .

C: IV v7 1 v v7 1v V7 i v v7 a : 1v v7

not s o g ood .

128 .

C : 1v v, IV v7 IV v7 a : 1v v7 1v v7

Th ere i s o ne m ore way i n w h i c h we ca n obta i n th e ful l tri a d o n

reso lvi ng th e c h ord of th e seven th , tho ugh o n ly u n der c e rta i n c o n
d i ti o n s .

Wh e n th e th i rd of th e ch ord o f th e sev e nt h i s i n a n i n n er pa rt ,

a n d th e root ly i ng i n th e ba ss m ake s a sk i p o f a fo u rth u pwa rd o n

resol uti o n th e th i rd m a y be a l lo w ed to sk i p dow n by a th i rd i n
,

con tra ry m o ti o n to th e ba ss .

129 .

C: V7 0 V7 I

T h i s m u st n ot occ u r h o w e v e r w h e n , , th e th rd o f th e c h o rd
i
of

th e seven th i s i n th e sopra n o .

bad . v e ry ba d . not g oo d . v e ry bad .

13 0 .
 A MANUA L OF HA RMO N Y . 65

A bove we h ave a l rea dy r e m a rk e d o n th e n atu ra l ten den cy

of th e l ead i ng -n ote t o wa rd s th e o ctave of th e t o n i c i n ca se th e n ext ,

c h o rd con ta i n s th e l a tte r to n e T h i s i s m ost stro ngly fel t i n p r ogr e s

.

si on s fr o m th e d o m i na n t c h o rd to th at o f th e to n i c B u t th i s u p .

w a rd t e n d e ncy o f th e l e ad i ng -note i s l e ss stri k i ng i n th e i n n er pa rt s ,

b e ca u se th e l e a d i ng -n o te i s th e n pa rtly c o vered by th e o ute r p arts ,

a n d i s c o n s e quen tly l e ss sh a rpl y p ro m i n en t Th e p rogressi o n o f .

th e d o m i n a n t ch o rd ( w h e th er a s tri a d or c h ord o f th e seven th to

th e to n i c tri a d sh o ul d h ow e ver i n n o ca se b e e ffe cted by l e tti n g
, ,

th e ro o t a n d th i rd o f th e do m i na n t c h ord s h i p d ow n tog e th er to
th e ro o t a n d fth re spect i vely o f th e ton i c tri a d .

T h e pr o gressi o n o f th e th i rd a n d fth o f th e ch o rd of th e seventh

to th e fth a n d ro o t o f th e tri a d a s i n Ex I 3 O ( 6 ) a n d ( d ), i s
, .

th erefore do ubly i n c o rrect I n a l l th e se ca ses there a i s e

. t

C o v e r e d Pa ra llel F i fth s .

Th e se o cc u r w h e n two p a rts p rogress fro m d i ffe ren t i nterva l s ,

a n d i n para l l el m o t i on to a p erfect fth (o r twel ft h ) ; e g

, . .

13 1 .

S uch cove red pa ra l l el fth s (al so ca l led h i d d e n c o n cea l e d or , ,

co n s e cu ti v e fth s ) a re to be ca reful ly avo i ded a s i n correct p ro

g re s s ro n s
1 . A l w ay s w h en , as at 1 3 1 ( )
a both
, pa rts shi
p to th e per
feet fth
2 . G en e r a l lyw h e n a s at 1 3 1 , th e h i gh er p a rt p ro
g r e ss e s by a s h i p a nd th e l o wer by a s tep to th e perfect fth
, , .

O th e r c o vered fth s su ch a s t h o s e i n w h i ch th e h i g h e r pa rt
,

p ro gresse s 6y a s tep a n d th e l ow e r 6y a s h i p m a y b e pe rm i tted

, ,

fo r th e p r e sen t w i th o u t re se rv e p ro v i ded tha t th ey a re a cc o m pa n i ed

,

by no oth e r fa ul ty l ea d i ng F o r i n sta nce th e p ro gressi o n at 1 3 2 ( a )

. ,

is e n ti rely c o rrec t w h e r e a s 1 3 2 ( 6 ) i s utte rly w rong o n a cc o u n t o f

,
66 A MA NU AL OF H A R AI O N Y .

th e covered pa ra l l e l octaves i n two sk i p p i ng p a rts w h i c h acco m pa n y ,

t h e cov e red fth s a n d by r e a so n o f pa ra l l el m ot i o n i n a l l th e pa rts

, .

Co m pa re o n th i s h ead 2 1 a n d 1 6 .

a .
g ood . 6 . bad .

13 2 .

3 7 . A fter a l l w e h a v e sa i d i t i s n ot a m atter fo r s urp ri se tha t

, ,

i n p ra c ti c a l fo u r -pa rt w ri ti ng we m e et w i th th e do m i na n t ch ord o f
,

th e s e v en th o ften e r w i th o u t i ts f th a n d w i th d o u 6l ed r oot th an
, ,

w i th i ts fth I nd e e d i t i s c l ea r th a t th e c h o rd of th e s e ven th w i th
.
, ,

i ts fou r t o n es ca n b e tt e r s p a r e i ts ft h th a n th e tri ad wh i ch c o n ta i n s
, ,

bu t th r e e . I n closi n g th i s ch apt e r w e m a y a dd th a t th e n atu ral r e s ,

o l u ti o n o f th e d o m i n a nt c ho rd o f th e s e v e n th to th e ton i c tri a d i s

cal l ed a Ca d en ce W h e n i n th i s res o l uti o n a d o m i n an t c hord o f

.
, ,

th e seventh o n th e w e a h bea t i s fol l ow e d by th e ton i c tri a d o n a

s tr o ng b eat th i s p r o gressi o n for m s a Perfe ct C adence
, .

13 3 .

C: V7 I V7 I V7 I V7 I a V7 I
 A MA NUAL 0F HARMO NY .
67

I f w e d esi r e to l et th e do m i n a n t c h ord o f th e seve nth fo l l o w th e

do m i na n t tri a d w e gu re th e ch o rd s a s fo l l o w s :
,

1 .W h en th e o c ta v e of th e r o o t o f th e d o m i na n t tri ad i s to
p rogre ss to th e seve nth by a step w i th 8 7 ove r th e ba ss : ,

13 4 .
8
6 7
4 3

O 1 v v7 e: 1 v v7

T h e l i n e u n der th e 7 m ea n s th at th e c h ro ma ti c si gn co n
,

ti n u e s to a ffe c t th e th i rd of th e c h o rd of th e sev e nth Wi th i n

o n e a nd th e sa m e m ea su re h o w eve r th e l i n e m a y b e o m i tted
, , .

2 . Wh e n th e fth i s to sk i p to th e s e ven th w i th 5 7 : ,

13 5 a .
t
o
d
n I

D : V V7 6
. V

O cca si o na l ly ev e n th e th i rd may sk i p to th e s e ven th :

13 5 6 .

C
. V V7

T he fo l l o w i ng ba ss
68 A MANUAL 0F H A R M ON Y .

sh ou l d th e re fo re be w o rk e d out th u s :

13 6 .

C '
I IV V V7 I V! II V V7

T h e ex a m p les gi v e n i n A p p e n d i x I p 2 4 7 bear i n g o n th i s p oi nt , .
, ,

sh ou l d rst b e a na ly z ed a n d a cc u rat e ly gu red a s N o 1 3 6 sho ws , . .

A l s o c o m p A p p II p 2 75
. .
,
. .

Ex e r c i s e s .

13 7 .

N . B
. his exe r c is e th e p up i l m u s t ta k e c a r e no t to tre a t th e fth of th e
In t
tri a d o n th e 7 th d e gr e e a s i f i t w e r e th e s e v en th i n th e d o m i n a n t c h o rd o f th e

s ev enth a nd l e a d th e ton e C d o wnwa rds a c co rdi ngly T h e fth o f th e tri a d

, .

ca n b e l ed p
u j us t a s wel l as d ow n .

( In vx l i t is b e tte r
th e a b o e e a m p e to l ea d it up .
) The s ev en th of th e c h o rd
m us t h owe v e r b e l e d d
, ,
ow n wa rds .
 A MA NUA L H A R M ON Y
. 69

N . B
. t
In p r o gr e ss i o n s b e wee n th e tri a d o n th e 6 th d egr e e i n m i no r a nd th e
domin a n t c h o rd o f th e s e v e n th , th e fo r m e r c h o rd m u s t l i k ew is e d ou bl e i t: t/ ur d , to
'

a v o id i n co rr ec t p r o gr e ssi o n to th e d o m i n a n t c h o rd o f th e s e v en th (c o m p a r e

In th e m e a s u r e b e for e th e l a s t th e d own wa rd p a r a l l e l moti on i n a l l th e p a r ts is

,

n ot g oo d :

i t is be tte r to wri te th e d o m i na n t c h o rd of th e s ev e n th wi th ou t i ts fth :

The l ea di n g of th e pa r ts a t B wou l d a ls o b e p r efe r a b l e i f th e tone we r e h e ld i n

a

th e b a ss ; b e ca u s e th e si m u l ta n eo u s d w nwa rd p r o gr e ssi o n o f th e thr e e h igh e s t

o

p a r ts fr o m a pe rfe c t to a di m i ni s h e d fth h a s a n u n p l eas a nt e ffe c t wi th o ut co n

.

tr a ry m o ti o n i n th e b a ss .

no t s o g oo d . b e tte r .
70 A MANUA L 0F H A R M ON Y .

In th e l xe r c is e th e c h r o m a ti c r isi ng of th e s e v e n th d e gr ee is i n di ca te d
a st e a

thr o gh o u t b y
u d o b l e sh a r p (x ); th o gh a s tr k e thr o gh th e g r e s 5 a n d 6
a u - u o u u

(5 6 ) w ld h v e s i ce d B t for th e thi rd of th e d m i na nt c h rd o f th e s e v e nth

ou a u . u o o

a d o b l e-sh a r p h d to b e s e t b e c a s e i n this c a s e th e g r e 3 c o l d b e dr o pp ed
u a , u u u .

T h e a b o v e a nd a l l f ll o wi n g ex e r c i s e s i n th is b oo k a r e to b e tr a n s p o s e d i nto
,
o ,

o th e r k eys a n d wo rk e d o t i n th e m
,
u .

C HA PT ER V I II .

Th e l n v e rs i o ns of th e D o m i n a nt C h o rd of th e S e v e nth
a nd Th eir N a tu r a l R l
es o ut ons i .

73 8 . a s w e w ri t e th e tria d i n th ree fo r m s i h i ts fu n
Pr e ci s e ly
d a m e n ta l p o si ti o n a s ch ord o f th e s i xth a n d as c h o rd o f th e fo u rth
, ,

an d si x th ca n we w ri te a n d e m pl o y e a c h ch o rd o f th e s e v e n th i n
,

fo u r fo rm s c o rr e s p o n d i ng to th e n u m ber o f i ts i n t e rva l s
,
T h e se ar e .

th e fu n da m e n ta l p o si t i o n a n d th r e e i n versi o n s O n exa m i n i n g to .
,

b e gi n w i th th e i n v e rsi on s of th e d o m i n a nt c h o r d o f th e s e v e n th
, ,

th e fu n da m e n ta l posi ti o n of w h i ch w e h ave j u st l earn e d w e n d th e ,

fo l l ow i n g fo r m s

13 8 .

F un d a m en ta l F i rs t In v e rsi on . S e con d I n v e rsi on . T h ird I n v e rsi on .

p o si ti on .
 A MA NUAL 0F H A RM ON Y . 71

I n th e rst i nversi o n th e b a ss ta ke s th e th i rd of th e ori gi n al ch ord ,

a n d th e oth er to n es of th e i nvers i o n bea r to th i s n e w ba ss to n e th e

rela ti o n o f a th i rd fth a n d si xth respec ti vely We th erefo re ca l l

, ,
.

i t t h e ch ord of th e th i rd fth a n d si xth o r c hord o f th e fth a n d

, , ,

si xth for short a n d i n d i cate i t by th e g u re s or 2 ov er th e ba ss

,
g
n ote .

I n th e secon d i nversi o n th e bass takes th e fth of th e ori gi na l

c h o rd th e oth er to n es of th e i nve rsi o n bea r to th i s n ew ba ss ton e
th e rel ati o n of th e th i rd , fo u rth a n d si xth respect i vely T h i s , , .

ch ord i s cal le d th e c ho rd of th e th i rd , fo urth a n d s i xth o r for sh ort , , , ,

th e ch o rd o f th e th i rd a n d fo u rt h a n d i s i nd i ca ted by th e gu r e s g
,

or over t h e ba ss n ote

.

I n th e th i rd i nversi o n th e ba ss tak e s t h e seve nth o f th e origi n al

c h o rd ; t h e oth e r tone s o f th e i n vers i o n b e a r to t h i s n e w ba ss th e
r e lati o n o f th e sec o n d fo u rth a n d si xth res p e cti vely I t i s ca l l ed
, , , .

th e ch o rd o f th e sec o n d fo u rth a n d si xth o r fo r sh ort th e ch ord o f

, , , , ,

th e seco n d ; i t m a y be g u red e ith er i n ful l w i th

g o r w i th g or , ,

w i t h 2 a lo ne .

C HO RD O F THE F IF T H A N D I
S XTH .

C l os e h a rmon y . O pe n h a r m on y .

6
13 9
' '

.
e tc .

C HO R D O F TH E TH IR D A N D F O U RT H .

Cl o s e h a r mon y . O pe n h a r mony .

9 '

e tc.
12 A MANUAL 0 F H A R M ON Y .

C HO RD O F TH E S ECO N D .

Cl o s e h a r m o ny . O pen h a r m on y .

e tc .

C: V7 V7 V7 V7 V7

C om p a r e l s
c o e of 3 5 .

T he na tura l r e sol uti on o f th e s e i n v ers i o n s o f th e d o m i na n t ch o rd

of th e s e v e n th to th e t o n i c tri ad i s s u c h th a t th e r o o t o f th e o rigi nal
,

ch o rd i s el d i n t/ze s a m e p a r t; a l l th e o th e r i nt e r va l s p rogr e ss i n ,

th e r e s o l uti o n o f th e i n v e rsi o n s to th e t o n e s o f th e t o n i c t r i a d i n
,

r ec i s e l /ze s a m e m a n n e r that th e y d i d i n th e r e s o l u ti on s fr o m t h e
p y t
fu n da m e nta l p o si ti o n o f th e d o m i na n t c h o rd o f th e s e vent h It .

fol lows th at th e rst i nv e rs i o n o f th e d o m i na nt c h o rd o f th e s e v e n th

, ,

th e ch o rd o f th e fth a n d s i xth i n w h i c h th e th i rd o f th e ch o rd l i es
,

i n th e ba ss m u s t res o l ve to th e fu nda m e n ta l p o si ti o n o f th e t o n i c
,

tri ad .

C l o s e h a r m o ny . O pe n h a r m on y .

14 0 .

C V7 V7

e tc .

V7 V7 V7

T he p u p i l w i l l p e rc e i v e th at i n a l l th es e r e s o l u t i o n s th e r o o t
,
G)
o f th e o ri gi n a l c h o rd i s h e ld i n th e sa m e p a r t T h e ba ss n o te
. 8 of
 A [V A N U A Z 0F HARMON Y . T3

th e ch o rd of th e fth a n d sixth g o e s to C T h e seve n th (F ) o f .

the or i gi n a l ch o rd p r o g r e ss e s o n e st e p d o w n w a rd s ; w h i le th e fth ,

D m ay be l ed e i th e r a st e p d o w n wa rd s to C o r a step u pwa rd s
, ,

to E .

F or th i s r e aso n tha t th e fth i n th e do m i n a n t ch o rd of th e

s e v e n th ca n b e l e d by a st e p e i th e r up w a r d s o r d ow n w a r d s th e
s e con d i n versi o n o f tha t ch ord th e ch o rd o f th e th i rd fo u rth a n d
, , ,

si xth ad m i ts o f a d o u bl e r e s o l uti o n I t can r e s o lve ei t h e r to th e

,
.

fun da m e n ta l p o s i ti o n of th e t o n i c tri ad or to th e ch ord of th e si xth ,

d e ri ved fro m th e latte r a c c o rd i ng a s th e ba ss i s l e d u p o r d ow n by

,

a st e p T h e th i rd i n th e ch o r d of t/ze s zx t/Ederi v e d fro m th e t o n i c

'

tri ad m u s t th e n b e do ubl ed .

L et u s e xa m i n e th e r e s o l uti o n s o f th e c h o rd o f th e th i rd a n d fo urth
gi ve n bel ow .

C l os e h a r m on y .

14 1 .

ii a 3 e

: C:
C: V7 V7 I V7 I V7 V7

O pe n h a r m ony .

e tc .

V7

T h e th i rd i n versi o n o f th e d o m i na n t ch o rd o f th e seve n th th e ,

ch o rd o f th e seco n d i n w h i c h th e ba s s h a s th e s e ven th of th e o ri g
,

i n a l c h o rd m u st a l ways res o l ve to th e ch o rd o f th e si xth d e ri v e d

,

fr o m th e ton i c tri ad b e ca u se th e s e v e nth m u st be l e d d o w n b v a

,
74 A MANUAL 0F HARMON Y .

step . A fe w suc h p ro gre ssi on s a re give n bel ow .

(C o m p al so
.

A pp II, o p 2 75 )
.

14 2 .

C: V7

I n m i nor th e ch ord of th e th i rd fou rth , a nd si xth m u st a lways b e

,

gured i n ful l w i th
g
a n d th e c h ord of th e secon d w i th a t l ea st 3
,

o v er th e ba ss n o t e ; beca u s e th e si xth of th e fo r m e r a n d th e fo u rth

of th e l atter requ i re a s th e seve nth d e gr e e of th e m i n o r sca l e a si gn
, ,

that they a re c h ro m ati cal ly ra i sed C o n seque ntly th o ugh fo r m ed.

,

a l i k e i n m aj o r a nd m i n o r b o th i n i ts fu n da m e n ta l p o si ti o n
ex a ct
ly
a n d i ts i nversi o n s th e d o m i n a nt ch o rd of th e seven th r e qu i res a
,

m ore deta i led guri ng i n m i no r a s w e h ave a l rea dy se e n i n i ts fu n

,

d a m e nta l p o si ti o n Exa m pl e 1 4 3 o n th e d o m i n a n t ch o rd of th e
.
,

seve nth a n d i ts i nvers i on s i n m i n o r w i l l furn i sh a su f c i ent i l l u s

,

tra ti o n .

14 3 .
7
.
6 u

2 t 3
n

a : V7 V7 V7 V 7 5 V7 V7 V7 V7

N . B . his c a s e th e l e di ng-no te e e n th o gh i n a n i nne r

In t a , v u r
p a t, ca n ski p d own v

wa r d s , b e c a u s e p r a ll e l fths d o no t a ris e fr o m this l e a di ng

a .
 A MANUA L HA RMON Y .
75

3 V7 V7 V 7 V7

I n th e fol low i ng exerc i ses th e tri a d i s a l so spec i a l ly i n d i cated by

,

3 o r 3 w h en ever a seco n d c hord fol l o ws to th e sa m e ba ss n o te th u s

th e gu re s 3 2 s i de by si d e cal l fo r th e tri a d o f th e ba ss n o t e a n d
th e ch o rd o f th e s e co n d o n th e sa m e n o te ; 3 go r 5 3 fo r tri a d a n d
,

ch ord o f th e th i rd an d fo u rth 6 g fo r th e ch o rd o f th e si xth fo l l owed

by that o f th e fth a n d s i xth ; a s sh o w n i n Ex [ 44 . .

C tC .

V7 11 V7 V V7

Before work i n g o ut th e e x erc i ses th e exa m pl e s i n A p pen d i x I

, ,

p 2 48 bea ri ng o n th i s subj e ct sh o u l d be c a re ful ly a na ly z ed a n d a cc u

.
, ,

r a te l fi gu r e d both above a n d below th e ba ss ; th e sa m e obta i n s o f

y
al l su cceed i ng ex e rc i ses.
76 A MANUA L O F HARMO N Y .

Ex e r c i s e s .

4
6 6 2 6 3

14 5 .

) 0
0 0 a b 6
$ 6 l 3 6 5

f
8 6 6 3 2 6

0
+ 8 7

!
)
s
i
 A MA NU A L 0F

H A R M O IV Y . 77

C HA PT ER IX .

Th e S e c o n d a r y C h o r d s o f th e S e v e n t h in Ma j o r . a nd

T h e i r N a tu r a l R e s o l u ti o n s .

3 9 . Be s i des th e d o m i n a n t c h o rd o f th e s e ve n th w e n d sec ,

onda r
y c h o rd s of th e s e v e n th o n th e re m a i n i ng degrees o f th e m ajor

a n d m i no r sca l es T h e y a r e fo r m ed by a dd i n g to th e fth o f ea ch
.

tri a d th e th i rd ab o ve i t bel ong i ng to th e sa m e k ey We sha l l rst .

ta ke u p th e secon d a ry c h o rd s of th e sev e n th i n m ajor wri ti n g th e m ,

o ut i n C-maj o r a s below .

14 6 .

C: I7 1 1 17 IV , V vi7 V II?
78 A MA N UAL OF HARMON Y .

T h ey a re cl a ssed a cc o rd i ng to th e i r c o n str u ct i o n a s ch ord s of

, ,

th e s e ven th w i th m aj o r tr i a d a n d m ajor seve nth on th e rst a nd ,

fo u rth degrees of th e scal e :

C : I7 1V 7

as ch ords of th e seve nt h w i th m i n o r tri a d a n d m i nor seve nth , on

th e seco nd th i rd a n d s i xth degrees o f th e sca le :

, ,

C: 1 17 m7 V I7

an d a s th e ch ord o f th e seve nth w i th d i m i n i sh ed tr i a d an d m i no r

se ve n t h o n th e seven th degree :

C: v u 7

We m ay ob se rve h e re th at m aj o r tri ad s w i th a m i n or seventh

,

w i l l a l ways be do m i n a nt ch ord s o f th e seve nth ; e g . .

14 7 .

F : V7 0 : V7 A : V7 B h: V 7 C . V7 D 3 V7 E : V7

Th e n atu ra l resol uti o n of th e secon da ry ch ords o f th e s e ven t h i n

m ajo r i s e ffecte d i n a l l cas e s excepti n g tha t o n th e 7th d egree ,
w h i ch a d m i ts of a do ubl e resol uti o n i n p reci se l y th e sa m e way
a s th at of th e d o m i n a n t ch o rd of th e seven th Th e ro o t sk i p s u p .

wa rd by a fo u rth or dow nwa rd by a fth ; th e seve nth w h eth er ,

m ajor o r m i n or p rogress e s d o wnwa rd by a step Th e th i rd goes

, .

up a step i n ca se i t i s n ot p refe rabl e to l et i t sk i p d o w n a th i rd i n

,

opp o si t i o n to th e a s c en d i ng ba ss ; th e fth i n th e seco nd a ry ,

ch o rd s of th e seventh o n t h e I st 2 n d gr d 4 th a n d 6 th d egrees ,
, , , ,

m ay p rogr e ss i n res o l vi ng e i th e r a step d o w nwa rd s o r a step u p

wards at p l ea sure I t i s o n ly i n th e resol uti o n of th e secon da ry
, .

c hord of th e seve nt h o n th e
7th degree to th e ton i c tri a d fro m th e ,
 A MANUAL OF H A R NIO N Y .
79

u nda m e n ta l p o si ti o n th a t th e fth m u st a l ways b e l ed d o w n w a r d

f ,

a st e p A l l th e s e n a t u r a l re s o l u t i on s o f sec o n da ry ch o rd s of th e
.

s e v e n th a r e ca l l e d c a d e n c e -l i k e r es o l u ti on s .

To c l e arly i l l u str a t e th e ab o ve we a pp en d a V i ew o f th e s e c o nda ry

ch ord s o f t h e sev e n th i n m aj or , w i th th e i r cad e n ce l i ke (natu ra l )
r e sol u ti on s .

g oo d .

14 8 .

C: 17 I7 I7 I7

fth o m i tte d a n d r o ot

d bl ed
ou . ba d . bad .

I7 1V I7 IV I7 IV I7 IV

g oo d . l e ss g oo d . n ot g o od . ba d .

14 9 .

V 1 17 V 1 17 V 117 V

ba d . ba d . to l e r a b ly g o d o . g oo d .

I
80 A MANUAL on HA A M
ON Y .

15 0 .

C: 1 1 17 VI 1 1 17 VI 1 1 17 VI 1 1 17 VI 1 1 17 VI

l e ss g oo d . ba d . v e ry ha d .

1 1 17 VI 1 117 VI 1117 VI m7 VI 1 117 v1

ba d . to e l r bl y g d
a oo , b ut r a re .

15 1 .

C: I V 7 vuO IV 7 v 1 1 1 V7 v uO 1V 7 v i r 1V 7 vuO

N on e o f th e r e s o l ti o ns
u in I SI a r e g d
oo , o n a c co u n t o f th e d l d l e a di ng no te
o ub e -

i n th e t ri a d .

A cad en ce l i k e r e s o l u ti o n of thi s ch o rd of th e s e v e n th o n th e fou r th d egr ee

-

to th e tri a d o n th e s e v e n th d e g r e e o c c u r s b u t s e l d o m a n d a l wa ys h a s a r a th er ,

u n p l e a s a n t e ffe c t A ny s u c h r e s o l u ti o n n e c e s s i ta te s a d o u b l i n g of th e l ea d
.

i ng-n o te i n th e tr i a d o n th e fo u r th d eg r ee m o r e o v e r th e b a s s c a n b e l ed o n l y ,

d o wn wa r d b ec a u s e th e s k i p u p wa rd fr om F to B emb r a c e s th e i n te r v a l o f
,

a s o-c a l l e d T r i to n e a n i n te rv a l c o n ta i ni n
, g th r ee w l zol e to n e s [ Th e .

a u th o r te r m s th e i n te rv a l b e twe e n th e fo u r th a nd s e v e n th d e gr ee s i n e i th e r ,

d i r ec ti o n a tr i ton e Tr s N ote ] S u c h a tri ton e betw een two d i er en t e/zor d s

, . .

.

i s to b e a v o i d ed i n a s cen d i ng pr og r ess i on wh en i t fo r m s an a ug m en ted ,

ou r th ; b e c a u s e a l l a u gm en ted i n ter v a l s i n up w a r d p r og r es s i on a r e i na pp r d
f
r i a te to th e s tri c t s ty l e o f v oc a l c o mp o s i ti on b e i n g h a r d to s i n g c o r r e c tl y
p , ,

a nd n o t p r o p e rl y v o ca l O n th e o th e r h a n d i t i s e n ti r el y c o r r e c t w i t/zi n on e
.
,

a n d th e s a m e e/ zor d i n ei th er d i r ecti on ; i t m a y l i k e w i s e b e e m p l oy e d wi th o u t

h e s i ta ti o n i n d ow n wa r d p r ogr e s si on e v en w h e n th e c h o rd c h a nge s wh e th er
, ,

i n th e s h a pe o f a n a ug m en ted f ou r th o r d i m i n i s h ed f t/z A few exa mpl e s .

fo l l o w i n wh i ch i ts e m p l oym e n t b oth w i th i n a c h o rd a n d b e twee n two

, ,

d i ffe r en t c h o r d s i s e n ti r e l y a l l o wab l e a nd co r r e c t
,
.
 A M ANUA L 0F HA RMO N Y . 81

6
7 6 s 4 9 7 b

C: V V7 V V7 V7 11 V7 It V7 F : m V 7

15 3 .

C: V l7 II W7 11 vi7 II v s, II
bad .

v 17 1r vi7 1r

B e l o w a r e c ad e n c e -l i k e r e s o l u ti on s of th e c h of th e s e v e n th on

th e 7th d e gr e e w h i c h a re s e l d o m e m p l o y e d
, .

u s d
e . n o t to be u e s d .

15 4 .

v ri 7 m v 1 10 7 m v 1 10 7 m v u 7 III v n 7 m v u 7 i n

A noth e r a n d fa r m o r e fr e qu e n t r e s o l ut i o n o f th i s c h o rd i s th a t
l ea d i ng to th e tri a d o n th e I st d e gre e I t i s ba s e d on th e n a tu ra l .

ten d e n c y o f th e l e a d i ng n o t e th e r o o t o f th e c h o rd o f th e seven th o n
-
,

th e 7th d egre e t o wa rd s th e octav e o f th e t o n i c

, T h i s res o l uti o n .
,

h o w e ver i s de p en d e n t o n va ri o u s c o n d i ti o n s W h en th e root a s
, .

c e n d s a s e m i ton e to th e k e -n ote o f th e sca l e th e s e v e nth g o e s d o w n

y ,

i n w h i c h ca se th e th i rd of th e c h ord o f th e
82 A IIIA N U A L OF H A R I O N Y
/
.

sev e n th ca n p r o g r e ss a st e p u
p ward s to th e th i rd of th e t o ni c tri a d ,

b u t th e th i rd ca n al s o be l ed d o w n a st e p i n ca s e . th e

seventh i s n ot a fth ab o v e i t but a fo urth b e l o w i t

,

Wh en th e i n te rval b e tw e e n th i rd a n d s e ven th i s th at of a fth i t i s

,

i m p o ssi bl e to l e a d th e th i rd d o w n w a rd s o n a c c ou n t , o f th e p a ra ll e l

fth s th e n a ri si ng T he fth of th e ch o rd of th e

s e v e n th m u st a l w ay s b e l ed d o w n a st e p to th e th i rd o f th e t o n i c
tri a d I t ca n n o t p r o gr e ss u p w a r d s b e c a u s e th e i n t e r v a l o f a d i
.
,

m i n i sh e d fth s u bs i sti n g b e t w e e n i t a n d th e r o o t o f th e ch o r d o f th e
s e v e n th fo rb i d s th ei r p r o gre ssi o n to th e p e r fe ct fth o f th e t o n i c
tri (C om
pa re 2 3 ) T he r e s o l uti o n s o f th e c h ord
of th e seven th o n th e 7th degr e e to th e t o n i c tri a d m ay th er e fo re
be exh ib i t e d a s fo l l ow s
O pe n h rm ony
a .

15 5 .

C: v 1 10 7 vi l0 7 l v i r0 7 I v u 7 I

v i r0 7 v 1 10 7 v 1 10 7

A ll th e se r e s o l uti o n s a re g o o d a n d o ft e n occ u r i n p ra cti ce A s

, .

a g e n e ra l th i n g h o w e v e r th e e m pl o y m e n t of th e s e c o n d ary ch o rd s
, ,

o f th e s e v e n th m o r e p arti c ul arly i n th e cad e n c e -l i k e r e s o l u ti o n s to

,

tr i a d s sh o w n a b o v e i s v e ry m u c h rar e r th a n t h a t o f th e d o m i na n t
,

ch o rd o f th e s e v e nth We sha l l m e e t m ost fre quen tly w i th th e se c

e gre e s th e
.

o nd a r c h ord s o f th e se v e n th o n th e a n d a n d t h d
y 7 ,

latt e r ch o rd w i th th e r e s o l u ti o n to th e t o n i c tri ad S ti l l i n th e ex e r .
,

ci ses o n th e s e ch o rd s we sh a l l n o w a n d th e n i n tr o d u ce i ts cad e n ce
,

l i k e r e s o l uti o n to th e tri ad o n th e gr d d e gr e e .
 A MANUAL 0F H A R AI O N Y .
83

4o . A s m ost s e v e n th s e sp e c i a l ly th e m aj o r o n e s a re sh a rp l y
, ,

d i ss o n a n t i n te r v a l s th e y r e q u i re n o t o n ly r e s o l uti on b ut p r ep a
, ,

ra ti o n .

We say th a t a t o n e i s p r ep a r e d w h e n i t i s p re sen t i n th e sa m e ,

pa rt o f th e p reced i n g ch ord a s a t o n e p r o p e r to th at ch ord .

Th i s p r epa r a ti on m u st be a t l e a st a s l o n g a s th e fol low i n g d i s

so na n c e T h e p r e p a ri n g t o n e m a y h owev e r b e l o nger th a n th e
.
, ,

d i ss o na nt t o n e w h i c h i t p r e pa re s ; i t o cc u rs ve ry ra rely th at a d i s
son a n ce i s p r o perly p r e pa red by a t o ne o f s h ort e r d u rat i o n th a n i ts e l f .

g oo d . n ot g oo d .

15 6 .

C: I 1 17 V I I I 1 17 V 1

F orp r e pa ri ng a s e ve nth o r a ny o th e r d i ss o n an c e a ny i nt e rva l

, ,

o f a tri a d o r ch ord o f th e seve nth w i l l s e rve T h e seventh ca n .

,

th e refo r e a l th o ugh i tsel f a d i ss o n a n c e serve i n i ts tu rn a s a prepa

, ,

rat i n fo r a n ew d i ss o n a nc e w h e n i t h a s i tse lf bee n prepa red

o
.

We co n n e ct th e p repa ri n g n ote a n d th e d i sson a nce by a t i e a s ,

sh ow n i n th e forego i ng exa m p l e A p r e pa ri ng note ca n th e r e fo re .

a l way s be t i ed to a n ote o f e qua l va l u e o r to o n e o f sh o rt e r

d u rat i o n th a n i ts e l f a A J ; b u t w i th l e ss p r o pri ety to o n e o f l onger
; ,

d u rati o n J a J , a .

15 7 . e tc .

C: V i 1 17

* F or i n s ta nce e i th e r
, a ma j or or m i no r s e ven th m a y be em p o l yed r
to p e pa e a r
s us pen si on :

6 : I IV V I c : 1 n
7
v 1 1 .7
84 A A l A /V U A L OF H A R WO N
/ Y .

Th e preparati o n o f a s e v e n th o r o f a u v o th e r d i ss o na n ce m ay b e
, ,

e ffe c t e d o n a ny b e a t ; o n a str o n g b e a t q u i t e a s w e l l a s o n a weak

one .

Pr e p a r a ti o n o n a s tr on g b e a t .

15 8 .

C: V I7 V I1 0 7

Pr e p a r a ti o n on a we a k b e a t.

15 9 .

C: I v1 1 17 V m7 1 17 V

T h e s e ven th o f th e d o m i n a n t ch o rd o f th e sev e nth may e nt e r 6y

a s tep w i th o ut p r e pa rati o n .

16 0 .

C: VI V7 V V7

I t m ay enter si m i la rly 6y a s t i p : r

1 . W h e n th e sev e n th i s pr e ceded by so m e oth er i nterval of

th e do m i na n t tri a d a s th e o cta v e s o th a t t h e u n p r e pa r e d sk i p
, ,

p i ng s e ven th m e r e ly a m p l i es th e tri ad , a s i t w e r e by m a k i ng ,

i t a ful l c h o rd of th e seventh

16 1 .

V7
,

C V
 A MANUAL 0F HA RMONY . 8h

2 .Wh e n th e r oo t o f th e d om i n a n t c/zo r d of t/ze s e v e n t/

z is
p repa red by b e i ng p r e s e n t i n a ny o t/ze r p a r t:

16 2 .

e 3
s a e

C I v7 v7 v7

3 . Wh e n p r o gr e ss i ng i n c o n tr a r
y m o ti o n to th e ba ss :

16 3 .

G: H V7 V7

T h e seven th of th e ch o rd of th e se v e n th o n th e s e v e n th d egree
r e qu i re s n o p r e pa ra ti on a n d m ay e n te r f r e e ly
, .

C I v 1 17 - I v 1 10 7

Th e gu ri n g of th e s e c o nda ry ch o rd s o f th e sev e n th w i th R o m an
n u m e ra l s to w h i c h a n A rab i c gu r e 7 i s a d d e d m a y b e l e a rn e d ,

fro m th e fo regoi n g exerc i ses (A l s o c o mp A pp I p

. . .
, .
86 A l A N U A L OF l /A R ZII O N Y .

Ex e r c i s e s .

0 2
'
3 7 6 6 7 5 7

16 5 .

CHA PT ER X .

I nte r c o n n e c ti o n o f th e C h o r d s o f th e S e v e nth i n M a j o r in
th e i r F u n d a m e n ta l Po s i ti o n ; l n v e r s i o n s o f th e s e
C h o r d s a n d th e i r i n te r c o n n e c t i o n s
, .

4 I We h ave a l rea dy obs e rved th at ca d e n ce -l i k e res o l ut i on s of

.
,

th e secondary ch ord s of th e seve n th to tri a ds sel do m o c cu r Su ch .

p r o gress i on s a re o ft e n so m ewh a t sti ff Th e e ffect i s m u ch s m o o th e r

.

wh e n severa l successi ve ch ord s of th e seve n th a re w ri tt e n i n cad en c e

 A M ANUAL OF HARMONY 87

l i k e progress i on i e w h e n e a ch ch ord o f th e seve n th resol ve s to

, . .

a n o th er c h o rd o f th e s e ve n th o n th e degree a fo u rth ab o ve i t o r a

ft h bel o w i t Wh er e th e r e sol uti o n o f th e rst c h o rd o f the s e ve n th

.

to th e seco nd i s e ffe ct e d accord i ng to th e fa m i l i a r rul e tha t t h e ,

seve nth i s to b e l ed d o w n wa rds w e s i m ply h a ve to l et th e th i rd of

,

th e rs t c h o rd l i e th i s gi v i ng u s th e p re p a rati o n o f th e seve nth i n

,

th e s e con d c h ord Wh e n s e v e ra l ch ord s of th e s e ven th fo l low each

.

oth er i n su ch cad e nc e -l i k e p ro gr e ssi o n a seq uen ce o f ch ord s o f th e

,

se v enth a r i s e s i n w h i c h th e fth o f every o th er ch o rd w i l l b e

,

d ro p ped .

16 6 a .

C: I 1V 7 v a 1 1 17 V t; 1 17 V ,

or w i th th e sa m e c h ords
, ,

16 6 5 .

C: I IV 7 v r1 0 7 1 1 17 V t; 1 17 V I

I n Ex 1 6 6 a th e rst ch o rd o f th e seven th i n ea ch m ea su re a ppea rs

.

co m pl ete w i th i ts fth w h i l e i n th e seco n d c h o rd th e fth i s d ropped

,

th e l ead i n g of th e p arts at 1 66 5 gi ve s th e sa m e s e ri e s o f ch o rd s b ut ,

h ere th e rst ch ord o f th e sev e n th i n ea c h m ea su re i s i n co m pl ete

( w i th o ut a fth ) w h i l,e t h e secon d ch ord i s co m pl ete I n e i th e r .

ca se th e th i rd of o n e ch ord of th e seve n th w a s a l ways th e p re pa ri ng

ton e fo r t h e seventh o f th e n ext c h ord th e th i rd o f th i s latter th e n
,

p repa ri ng th e seven th of th e n ex t c h o rd etc , .

T h e ca de n ce -l i ke pro gressi o n s of th e s e c h ord s w h e th er w i th tri ad s ,

o r c h ord s o f th e s e ven th be co m e fa r m o re d i ve rsi ed by th e e m

,

pl oy m en t of th e i n v e r s i on s o f th e s e co n da ry ch o rd s o f th e se v e nth .

L i k e th e do m i n a n t c h ord o f th e s e ven th ea ch o f th e s e c ho rd s may

,

be w ri tte n i n th ree i nversi on s : A s a chord of t h e ft h a n d si x th , of

33 A MA NUA L HARMO N Y .

th e th i rd a n d fourth or ch ord of th e se co n d T h ese i nvers i on s a r e

, .

fo rmed i n t h e sa m e w ay a s th o s e o f th e do m i n a nt c h ord of th e
seventh th e ba ss ta k i ng i n th e c hord of th e fth a n d si xth th e th i rd
, , ,

of t h e fu nda m en tal c h ord ; i n th e ch o rd o f th e th i rd a n d fo u rth i ts ,

a n d i n th e c hord of th e seco n d , i ts seven th .

[6 7 .

e tc .

1 17 1 17 1 117 1117 1 1 17 1 1 17

T h e caden ce -l i ke resol uti on s of th ese i n vers i on s w h ethe r e ffe cted ,

co th e tri a d o r to th e ch o rd of th e seven th e i th e r a fo u rth h i g h e r o r

a fth lower w i l l i n every case y i el d ei th e r c h ord n a m ed co mp lete

,

w i th a l l i ts i nterva l s .

C a den ce-l i k e r esol uti ons of th e in v e rsi on s to th e t ri a d .

16 8 .

IV 17 IV I7 IV I7 IV I7 IV
 A M A A U A L OF HARMON Y .
89

C a d en ce-l i k e r e s ol uti on s o f th e i nv e rsi on s to th e c h o rd of th e s e v enth .

16 9 .

C
. 1 17 V7 1 17 V7 1 17 V7

( F or th e fol l ow i n g Ex erc i se s co m p . A pp . I p
, . 25 1 , an d A pp U .
,

p .

Ex e r c i s e s .

O
0 3 7

17 0 .

N . B
. T h e th r ee high est p a r ts ma y b e h el d to th e d es cen di n g b a ss of h is
t

meas u r e .

22 6 %
90 A MANUA L 0F HARMON Y .

C HA PT ER XI .

Th e S e c o n d a ry C h o rd s of th e S eve nth in Mi no r , a nd

Th ei r l nv e rs i o n s .

42 . T h e m o st
i m p o rta n t a n d m o st fr e qu e n tl y e m p l o y e d s e c o n
da ry c h o rd s o f th e sev e n th i n m i n o r a re th o se o n th e z u d a n d 7 th
d e gr e e s C h ord s o f th e seventh c a n to b e s u r e b e e r e c t e d o n th e
.
, ,

o th er d e gr e e s o f th e sca l e bu t th e y ca n sel d o m b e u s e d i n ca d e n c e
,

l i k e r e s o l u ti o n s O n exa m i n i ng th e fo l l ow i ng gr o u p o f s e c o n da ry
.

ch o rd s o f th e s e v e n th i n m i n or

17 1 .

a : 17 1 10 7 III '

7 1V 7 V I7 v nO 7

w e n d th r e e n e w fo r m s of th ese ch o rd s n a m e ly a m i n or tri a d , ,

W i th m ajo r s e ven th o n th e 1 s t d egr e e a n a ug m e n te d tri a d w i t h ,

majo r s e ven th o n th e 3 r d d egree a n d a d i m i n i s /ze d tri a d w i th d i ,

m i n i s /ze d s e v e n th o n th e 7th d egr e e .

Th e ch ord o n th e I st d e gree i s n ot a da p ted fo r r e sol uti o n a cc o rd i ng

to th e r u l e s we h av e h i th e rto l ea rn ed ; i ts se v e n th g it th e l e a d i ng ,

n ote o f th e scal e ca n not be l e d dow nwa rd by th e st e p of an a ug

,

m e n te d secon d .

F o r t h i s r e a s o n w e sha l l o m i t th i s c h o rd i n o u r p r e sen t e x e r c i s e s "

T h e ch ord o f th e s e v e nth o n th e zu d d e gree takes a ca d e n ce -l i ke
re sol uti o n to th e do m i na n t tri a d o r w i th th e th i rd h e ld to th e do m , ,

i na n t c h ord of t h e seventh I n th e se resol ut i on s th e fth of th e

.

ch ord of th e sev e n th o n th e 2 n d d egr e e m u st a l way s b e l ed dow n

wa rd s a n d th e u p w a rd step o f a n a ug m e n ted sec o n d a vo i d e d e g
,
. .

a : 11
9 V 11
9 V7 11
9 V7

* We sh a ll r etu r n s ec on d a ry c h o rd of th e s ev enth on th e I s t d egr ee i n

to th e
m i no r wh e n tr e a ti ng of th e fr e e r e s ol u ti o n s o f th e c h rds o f th e s e v en th F or i t o .

a d m i ts of a ca d e n ce -l ik e
p r o gr e ssi o n a l th o u gh no t wi th a d e s c e ndi n g s e e n th to
,
v ,

th e tri a d o n th e 4 th d e gr e e b th i n i ts f n d a m e n t l
p o si ti n a nd a s a c h o rd of th e
o u a o

si xth a s wel l a s of v a ri o u s o th e r n o n-c a d e nce d p r ogr e ssi ons ; i n m od u l a to ry r e o

, s

y a l s o b e l e d d o wn to G or F 3; (co m p a r e Ch a pte r X I II
l ti on s i ts s e v en th m a
u

46 , Ex . 1 99 a n d zoo .
)
 A [M ANUA L OF H A R NI O N Y .
91

17 2 .

T he ch o rd o f th e seven th o n th e gr d d e gree i s a l s o l i ttl e u sed I t .

m u st b e r e s o l v e d to th e tri ad o n th e 6 th d e gr e e i n s u c h a m a n ner
th a t i ts fth g it (th e l e ad i ng n o t e ) a l ways p r o gre ss e s u pwa rd
- .

17 3 .

a J II l
'

7 v1 vi
'
I II 7 VI VI

7 v1 Il l
'

7 vi VI

A ca d e nc e l i k e c o n n e c ti o n o f th e c h o rd o f th e se v en th o n th e 4 th
de gr e e W i th th e d i m i n i sh e d tri a d o n th e 7 th d e gr e e i s i m p ra cti cable
92 A MANUAL OF HARMO N Y .

o n a cco u n t o f th e c o n stra i n ed a n d i nc o rrect l e a d i ng of th e pa rts

n e c e ssi tated thereby .

17 4 . T ri to ne a s cen di ng . Sk p
'

o f a di m i n . nfth . etc.

a 1V7 vuO

O n th e oth e r h a n d a ca d e n c e -l i k e res o l uti o n o f th i s ch o rd o f th e

,
'

s e ven t h to th at o n th e 7th d e gr e e m a y b e e ffe c t e d by l e ad i n g th e ba ss

d o w n by a sk i p o f a d i m i n i sh e d fth A n u p w a rd sk i p i n th e ba ss
.

o f a n a ug m ente d z w o u l d gi v e u s a tri t o n e i n u pw a rd p ro
f o u r t/

re s s i o n (co m p a n d m u st con sequ e n tly b e a v o i d e d T h e p ro

g . .

r e ss i o n s b e twee n th ese two ch o r d s a re e a si es t w h e n th e fth o f th e

g ,

ch ord of th e seve nth o n th e 4 th degree i s o m i tt e d .

17 5 .

1V 7 v u7 1V7 v i r0 7 1V 7 v i r0 7

rv 7 v 1 1 7 v 1 10 7 v i r0 7

Ca r efully av o i d d o ubl i n g th e l e ad i ng-n ote i n th e ch o rd o f th e

s e v e n th o n th e 7th d e gr e e T h e i nversi o n s of b o th ch o rd s a re a l so
.

adapt e d fo r i nt e rc o n n e ct i o n .

17 6 .

a xv 7 v i r 7 iv v u7 1V 7 v 1 1,
 A MA NUAL OF HA RMO N Y .
93

A ca de n ce -l i ke p ro gr e ss i o n b e twe e n th e c h o rd of th e seventh o n
the 6 th d egre e a n d t h e tria d o n th e 2 n d d egr e e i s p o ssi b l e b u t o f ,

ra re o cc u rren c e ; th e ba ss (i n o rd e r to a v o i d th e tri t o n e ) ca n o n l y
sk i p dow n by a d i m i n i sh e d fth N everth e l e ss th e pr o gressi o n i s
.
,

m ore ea si ly e ff e cte d i n m i n o r th a n that of th e sa m e ch o rd s i n major

(4 th a n d 7 th d egrees ) F o r i n.m i n or th e ro o t of th e d i m i n i sh e d
tri a d o n t h e 2 n d d e gree i s n o t th e l ea d i ng -n ote of th e sca l e a n d ,

th erefo r e ca n b e do ubl e d (com p 3 9 Ex .

, .

17 7 .

a : VI7 1 10 VI7 1 10 V I7 1 1 VI7 1 10 V I7 1 10 VI 7 1 10

We m o re fr e q u e n tly m eet w i t h p rogressi on s b e tween th e c h ord

of th e sev e n th o n th e 6 th degre e a n d th a t o n th e 2 nd Th e y are .

e ffected i n m i no r both i n th e fu n da m enta l positi o n a n d i n th e i n

,
.

versi o n s p reci sely th e sa m e a s w i t h th e s i m i la r ch ord s o n t h e 4 th

,

a n d 7th d e gre e s i n m aj o r .

17 8 .

O
G

a : V I7 1 10 7 V I7 1 10 7 VI7 1 10 7 V I7 1 10 7 V I7 1 10 7

43 .Th e m ost fr e qu en tl y e m pl o y e d a n d m ost i m p o rta n t of th e

sec o n da ry c h ord s of th e seven th i n m i no r i s tha t o n th e 7th d e gree ,
ca l l ed

The D i m i ni s h ed C h o rd of th e S e v e n th .

beca u se i t h a s i n a d d i ti o n to a d i m i n i sh e d tri a d a d i m i n i sh ed
, ,

seventh (r e ckon i ng fro m th e ro o t I t ca n i n n o ca se p rogress i n

) .
94 A MA NUA L OF HARMON Y

c aden c e -l i k e r e s o l uti o n to th e tr i a d o r c h ord of th e s e ve n th on th e

r d d egr e e P r o gr e ssi o n s l i ke t h e fol low i ng
3 .

1 79 .

m
a

a: v 1 1 -
7 III

v i r0 7 v 1 10 7 III

V I1 0 7 v u 7 Il l
'

v i0 7
.

ca n n e ve r be rega rd ed a s res o l ut i o n s of th e ch ord o f th e s e v e n th o n

t h e
7 th d e gr e e to th e a ug m e nt e d tri a d o n th e g r d d e gree *
A r e s o .

l uti on to th i s tri a d i n i ts fu nd a m e n ta l p o si ti o n i s i m p ra cti c abl e o n ,

a ccou nt of th e ba d l ea d i ng o f th e pa rts i nv a r i a bl r e su lti ng

v
.

18 0 .

a : V I1 0 7 III
v 1 10 7 III '

vu 7 III

The a s ce n d i n
g sk i p of a d i m i n i sh ed fou rth is to b e

proh i b i t e d a s a n u n voca l i nt e rva l a s stri ctly a s th e a s c e n d i ng tri

, ,

ton e a nd th e st e p o f a n a ug m e nt e d s e c o n d ; w h ere a s i n d e scen d i ng ,

th e sk i p o f a d i m i n i sh ed fo u rth i s a l w ay s a l l ow a Ol e a n d of g ooa

e e ct E
. v e n w i th i n th e sa m e ch ord i t ca n h a rdly be sun g i n as

ce n d i ng p r o gressi o n .

T he n atura l r e sol uti o n o f th e ch o rd of th e sev e nt h o n th e 7th d e .

gre e i n m i n o r c a n l e a d on ly to t/ze tr i a d on tne I s t d eg r ee exa ctl y ,

a s i n m ajor (C o m p Ex 1 5 5
. . I ts reso l uti o n i s e ffe cted p r e
.
,
a

r h r o n we sh ll m et wi th th e s e p r gre ssi on s
*F u t e a e o un d e r th e n a me o f a cc i d e n taJ

c h o rd -fo r ma ti o n s (p a ss i n g c h o rds ) .
 A MANUAL OF HARMO N Y .
95

c i se l y a s i n Ex 1 5 5 I ts ro o t (th e l ead i ng to ne of th e sca l e ) p ro

. .
-

r e s s e s u pwa rd s by a se m i to n e i ts s e ven th dow n wa rd s i ts th i rd

g , ,

a sc e nd s a step w h en i t fo r m s a d i m i n i sh ed fth w i th th e s e ve n th
b ut ca n a l s o b e l ed d ow n w a r d s w h e n i t fo r m s a n

a ug m en ted fo ur th w i th th e se ve nth E T h e fth of th e

d i m i n i sh ed c h o rd o f th e seve n th m u st a l ways be l e d do wn wa rd s
(for r e a so n s c om
p , 39 a n d .T h e re so l ut i o n o f th e ch ord o f

th e s e v e n th o n th e 7th d egree i n m i n o r i s n ev e r i n ca d e n ce -fo r m .

C o m p Ex a n d 1 80 1 8 1 an d T h e d i m i n i sh e d s e ve n th
( .
7
1 9 .
, ,

of th e c h ord o f th e s e v e nth o n th e 7th degree i n m i n or requ i res n o

prepa rati o n th e c h o rd ca n a l ways ente r freely .

18 1 .

We h ardly n eed re m ark th at a r e s o l uti o n of th e d i m i n i sh ed c h ord

,

o f th e sev e n th to th e c / zo r d o
f tn z o n th e I s t d e gree i s i m
e s e v e n t/

po ssi bl e i n m i n o r a l th o ugh th e re sol uti o n to th e tr i a d o n th e I st

,

d egree i s so n atura l A few p rogress i on s of th e d i m i n i sh ed c h ord

.

of t he seve nth to th e tri ad o n th e I st d e gree n ow fol low .

18 2 .

a : v i r0 7 I v n7 1 v u 7 1 v i r0 7 1

e tc .

v 1 10 7 v u 7 1 v u7 1 v i r ? 1
96 A MANUAL OF HA RMO N Y

Th e seve nth of th e ch ord of th e seve n th o n th e z u d degree i n

m i n o r m ay a l s o en te r w i th o ut p reparati o n b e ca u se i t i s c o mb i n e d ,

wi th a d i m i n i sh ed tri ad .

Wh e n two or th r e e ch ord s o f th e seve n th occ u r i n succ e ssi on i n ,

m i n or a n d i n th e f u n d a m en ta l p os i ti on th e fth of every o th e r
, ,

c hord m ust be d ropp ed .

a IV 7 V I10 7 V I7 1 10 7 V7 V I7 1 10 7 V7

Wh e n a ch ord o f th e s e ven th i n th e fu n da m ental p o si ti o n i s fo l

lo w e d b y th e i n v ersi o n o f a n o th e r o r two o r m ore i n vers i o n s o cc u r
,

i n success i o n th e co m pl ete c hord s ca n a lw ay s be gi ve n :

,

0 : V IO 7 1 17 1V 7 V I10 7 V I7 1 10 7 V7

(F o r th e fol low i ng Ex e rc i s e s co m . A pp . I p , . 2
5 2 , and A pp 1 1 ,
.

p .

Ex e rc i s e s .
 A M ANUA L 0F H A R M ON Y .
97

Q
0
W

In th e ex e r c i s e b e fo r e t h e l a st w e h a ve a t N B th e c h o r d o f th e
, . .
,

s e v e nth o n th e gr d d eg re e w i th a c a d e nc e -l i k e res o l u ti o n to th e tr i a d
o n th e 6 th d egre e . T h e i nv e rs i o n s o f th i s c h o r d o f th e s e v e n th
p r o v e to be o f l i t t l e u se a n d l e a st o f a l l w i th a c a d e nc e -l i k e res o
,

l o ti o n P r o gress i o n s l i k e th e fo l l o w i n g
.
98 A MANUAL 0F H A l t M O /V Y

.

a re con s t r a i n e d a n d u n na t u r a l T h e r st i n v e r s i o n o f th i s c h o rd
. i s,
a o w e v e r m o r e m a n a ge ab l e a s th e fo l l o w i n g e x a m p l e s h o w s
, , .

e 4 2
5 2 1:

a : I 1V7 v 1 10 7 III

7 VI

T h e o pe n i ng m e a s r e s u of Ex . 1 84 (12) m a y b e w o r k ed out as
fo l l O W S '

1 1 1 1, VI 1V V7

C H A PT ER X II .

N o n -C a d e n c e d Pr o g r e s s i o n s b e tw e e n th e C h o r d s of th e

S e v e n th a nd C h ord s O n o th e r D eg re e s .

44 . a l l th e p r e c e d i n g e x e r c i ses a n d e x a m p l es w e h a v e a l w a ys
In
res o l v e d th e c h o r d s o f th e s e v e th a s f d a m e t a l s
n u n ,n o r i ve rs i s
n o n-
,

to c h o rds s i t ua ted a fo u r th ab o v e o r a ft h b e l o w t h e m To t h i s ..

p r o gr e ss i o n th e m o st n a t u r a l o n e i n p ri n c i p l e w e n o w a d d fr ee r a n d
, ,

no n -c a d e n c e d r e s o l u ti o n s S u c h p r o gress i o n s a r e c a l l e d
.

D e c e p ti v e C a d e n c e s ,

and ca n a ss u m e th e m o s t v a r i o u s fo r m s :
I By c o mb i n i n g c h o rd s o f th e s e v e n t h w i th c h o rd s 6 e
.

l o ng zng to M e s a m e k ey b u t o n d i ffe r e n t d eg r e e s fr o m th o s e
'

w h i c h fo r m th e c a d e n c e -l i k e p r o g r e ss i o n s ;
 A IV A /V U A L 0F H A R M ON Y .
99

By e c t i ng w nh
'

2. c onn c h o rd s of th e s ev e nth in o ne Ke v

d e r e m

a nd on
'

ch o rd s 5 e 10 7zg zng to / k ey s , e gr ee s

o t ze r d .

In t h e l a t te r c a s e w e o b t a i n a

M l
od u a t o n i .

A m o d u l a t i o n i s b r o u gh t ab o u t b y i n tro d u c i n g i nt o a p i e c e a c h o r d
n to th e k ey t i l l t h e n p r e d o m i n a n t i e a c h o rd b el o n g i n g to
f g
or e , . .

a n o th e r k ey .

18 6 .

I a : 1 10 7 V 1V 7 C : I [ 17 V 1

Thus pa sses i n t o g -m i no r i n th e th i r d m ea s u r e F m ajo r

Ex . I86 ,

i n th e fo u r th a n d a -m i n o r i n th e ft h n o t ret u r n i n g to C-m ajo r t i l l

, ,

th e sev e n th m ea s u r e M o d u l a t i n g a nd n o n-m o d u l a t i n g d e c ep t i v e
.

c a d e nc es m a y b e fo r m ed i n th re e w a ys :

a W i th th e r eg u l a r d o w n w a rd p r o g r e ss i o n o f th e sev
.

e n th ;
5 . W i th th e s e ve n th el d (o r e n h a r m o n i c a l l y c h a nged fo r
th e a u g m e n t e d
c W i th th e sev e n th a s c e n d i n g 5y a s tep
. .

We c o m m e n c e o u r e x a m i n a ti o n o f th e de c e p t i v e c a d enc e s w i th
T hi s ch ge f th e s e e th f th e g me t e d si th is i itsel f i p i t f f t
an o v n or au n x n , n o n o ac ,

a n u p w rd p r gressi
a f th e se e th b e
o s e th e m i r se e th f r m s
on o v n rr w er
, ca u no v n o a na o

in te r l w ith th e r t th n d e s th e g me t e d si th
va oo a o au n x .
100 A MANUA L H A R M ON Y .

th e d o m i n a nt h o r d o f t h e se v e n th s h o w i n g th e p up i l s o m e p ro
c ,

gr es s i o n s o f th i s c h o r d to tri a d s a n d c h o r d s o f th e sev e n th o n o t h e r
d e gre e s a nd i n o th e r k ey s ; a t rst w i th th e r eg u l a r d ow n w a r d
l e a d i ng qf t/ze s e v e n t (Co m p A p p II p . . .
, .

18 7 .

C .
0 V7 VI V7 II I V7 a : V C: V7 a : V7 C: V7 F '

V7

7 b
5 b g gb
7 ah 7 b 7 b

C: V7 d 3 V7 C : V-
I C : V7 0 b3 V IIO 7 C : V 7 di l l7 C: V7 f 2 V IIo 7

C : V7 d
. V I IO 7 C
. V 7 gl '

IIo C
. V 7 g: II 0
7 C : V7 V 7 C3 V 7 I

C : V7 I V7 1 1 C : V7 VI7 C
. V7 5 b: IIO '
C.

V 7 D) : V7

Th e e ti o n o f th e d o m i na n t c h o rds o f C-m a jo r
c o nn c a nd F -m ajo r i n th e f th
mea s u re m a r ke d N B i s a ca den ce d m o d u l a t i on
, . .
, .
 A MANUAL H A RM ON Y .
1 01

We a d d th e f o l l o w i ng r u l e :
r rt w r i t i g w h en th e d m i n nt h rd f th
In f o u -p a n , o a c o o e

se e th i its f d me t l p sit i n is f l l we d b y th e tri d th e 6 th degree th e

v n n un a n a o o o o a on ,

( r me r m st b w ri tt e
o u m p l e t e w i th l l its i t e r l s ; d i m i r th e third f
e n co , a n va an , n no ,
o

th e tri d th e 6 th degree m st b d b l e d ; e g
a on u e ou . .

C: V , U V, v1 v7 VI V, VI

Be l o w a r e g i v e n s o m e n o n -c a d e n c e d p r o gr e ss i o n s be t w ee n th e
d o m i n a n t c h o r d o f th e sev e n th a nd c h o rd s o n o th e r d egr ee s a n d i n
o th e r k e y s w i th th e s e v e n th e l d
, .

18 8 .

C: V7 C : V7 II 7 C
. V7 II C: V 7 f

I C
. V7 C

. IIO 7

En h rm i
a on c . En h rm i
a on c .

C
.

V7 0 : V 1 10 7 C : V 7 G b: V 7 C : V7 F 3: V7 C : V7 1 17

4 g
.

-
0
0
0 r
c
1 02 A MANUAL 0F HA RMON Y .

6 b 6 e tc
4 6 4 4
6 6
5 b 6 b 5 3 b

C: V7 ( b'
I IO 7 V 7 B bi v v
y C : V7 a : I IO 7 C
. V7 ( b2 I IO 7

Th e l a st c h o rd m r k e d N B is a n ew c h o rd fo r th e p p i l ; i t w i l l b e tre a t e d
, a . .
, u

a m o ng th e a l t e re d c h o rds a s th e a g me n t e d c h o rd o f t h e thi rd
u n d f o rth a u .

Pr o gr e ss i o n s b et w ee n th e d o m i n a n t h o rd o f th e seve n th a n d
c

c h o rd s on o th e r d e grees a n d i n o th er k e y s i n w h i c h th e sev e n th
,

a s c e n ds

n ot g d oo .

18 9 .

C: V7 0 : V II0 C V7 0 V C: V7 f II 9 C V7 5:

: : 7 1 . I

V7 g: V II
? C : V7 E : V7 C
. V 7 D .

I V 7 D b: V 7

etc .

C : V7 e : 1 10 7 C V : , c: N C : V7 c: 1V 7

T h e c h o r ds to w h i c h th e d o m i n a n t c h o rd o f th e s e ve n th p r o gr e ss e s
i n th e l a st tw o m e a s u r es w i l l a l s o be t r e a ted o f i n th e c h ap t e r o n
,

T h e a l te re d c h o r d s .

45 . T h e seve nth m u st b e l ed up w a d s e x c ep t i n th e r a r e st c a ses r , ,

w h e n u p o n th e res o l u ti o n o f th e c h r d o f th e s e v e n th a n o th e r i n
,
o ,

te r v a l o f th a t c h o r d t a k es i n des c e n d i n g p r o gr e ss i o n th e t o n e to
, ,

w h i c h th e seve n th p r o p e r ly a n d n a t u r a l ly res o l v e s T h i s c a se m a y .

o c c u r eve n i n th e s ua l c a de n e -l i k e res o l u t i o n o f th e c h o rd o f th e
u c
 A MANUA L H AR M ON Y
. 1 03

seve n th o n th e fth d egree to th e ton i c tr i a d . P rogr essi on s l i k e th e

fo l l o w i n g

19 0 .

C: V7

a re stri ctly pro h i b i ted und er a l l c i rc u m sta n c e s ; beca u se th e cove red

octa ve s th e n fo rm ed m u st b e c o n si d e red q u i t e a s i n c o rrect i n th e
stri ct styl e a s O p e n octaves a l th o ugh th e h i gh e r pa rt p rogr e ss e s on ly
,

a se m i t o n e Th i s ru l e h ol d s go o d fo r a l l pa rts ; c o n s e q u e ntly th e
.
,

p rogr e ssi o n s a t 1 90 a n d th o s e fo l l o w i ng a t 1 9 1 sh o u l d a l ways be

, ,

a v o i ded a s ba d a n d i n corre ct w h eth e r th e y a p p e a r a s ca den ce -l i ke

,

*
or o th e r r e sol uti o n s of a ny ch o rd o f th e sevent h .

19 1 .

C: V7 1 V7 VI 7 V d V7

4'
A s one o f th e fe w a nd ve ry r a r e exce pti on s to th is r u l e we a ppen d th e fo l l o wi ng
pr o gr essi o n

19 2 .

C
. V7 0 : V7

H r
e e th e b a s s 6 p r ogr e ss e s no t to th e th i rd b u t to th e r o o t E

, , of th e s econ d
ch o rd ; th e c o v e r e d o c ta v e s a re l i k e wis e s o ften e d b y th e c on tr a ry m o ti o n of th e
te n o r a n d th e h o l di n g o f th e a l to .
1 04 A M ANUAL 0F H AR M ON Y
.

Wh en a n i nterval o f th e ch ord of th e seven t h ta kes i n a s ce n d i ng ,

progressi on t h e t o n e to wh i c h th e sev e n th p r o perly r e s o l v e s a n u p

, ,

w a rd p rogressi o n of th e seventh i s a l s o d esi rabl e i n m a ny cas e s e g . .

19 3 a .

C: I V7 I G : I V7 I

B ut Ex 1 93 6 ca n n o t be a pproved of beca u se th e seve nth a nd root

.
,

of t h e c h o rd o f th e seven th l i e too cl os e t o g e th er .

19 3 b .

We m u st m enti o n na l ly tha t th e d o m i n a n t seventh m ay a l so be

, ,

l e d d o w n by a sk i p e g i n th e cad ence -l i k e r e s ol uti o n V - I

, . . .

C: V7 I

Th i s resol uti on h a s a b ette r e ffect w h e n th e fth of th e ch ord of th e

seve n th i s c h ro mati ca lly ra i sed ( Co m pa re
.
 A MANUA L 0F H A R M ON Y . 1 05

T h e sa m e ca n a l so occ u r i n m od u lato ry p h ra ses ; e g . .

C: I V7 F: V , I C: V7 d : v 1 17 I

To i l l u strate th e r u l e g i ve n a t th e begi n n i n g of 45 w e a d d a few ,

n o n -ca d en c e d pr o gressi o n s of th e d o m i na n t c h ord of th e seve n th to

ch ord s i n oth e r keys a n d o n oth er d egrees .

7 b 7 b
gb 7 ah 5 b

C: V7 F : V7 C: V7 f : V I1 0 7 C
. V7 A s 7 C '
. V7 5 b: 1 10 7

n o t to be r ecommen d e d .

g e tc.

C: V7 b b: v 1 1 ? C: V7 D b: V 7 C: V7 D : V,

T h e p rogre ssi on s of th e do m i na n t ch o rd of th e seve n th to oth e r

ch ords a s gi v e n i n
, a n d 4 5 w i l l g i ve th e p u p i l n ew i dea s abou t
,

c h ord -p rogressi o n s a t w h i c h w e ha ve m erely h i nted A nd i n th e .

sa m e w ay tha t n e w c rea ti on s h ave bee n a n d w i l l be c o nti n ua l ly s u p

pl i ed by gi fted a rt i sts th e supp ly o f ne w c h o rd progressi o n s w i l l
,

n ever fa i l.

I n th e fol low i ng e x erc i se s we sh a l l by n o m e a n s ex h a u st th e p ro .

gr essxo ns of th e d o m i na n t c h ord of th e seven th exp l a i ned i n th e

106 A MANUAL HARMON Y .

above A ch an ge o f k ey w i th i n a n e x e rc i s e w i l l be m a rk e d fo r
.
,

th e p res e n t by l a rg e R o m a n n u m eral s for m aj o r a n d s m a l l o n e s fo r

,

m i nor . I n a l l lat e r e xerc i s e s h ow e v e r th e p u p i l h i m s e l f sh o u l d

, ,

n o te th e p r o gre ss o f th e m od ul a ti o n i n th i s m a n n e r b e n e at h th e ba ss .

( Co m pa re a l so A p p I p .
, .

Ex e r c i s e s .

a 7
g
.

2 i:

19 5 .

C: I V7 II E b V 7 C: V 7
: v1 n7 V7 d : V7 VI C: V I IO 7 111V 7 I

5 2
(
e 7 g g 5 7

A b! I V7 I E b: V 7 V7 I V7

m G

A : I IV V7 zV7 b V 7.
. 1 v7

n
g
7
6
6 4

( it: v 1 1 7 I I) : v 1 10 7 I V7 I A : I

a 2
5 5 3
 4
. MA N UA L HA RMO N Y .
1 07

g
4

f 3 a o g e 2 7

G .

I ( 3 V7 I C

. V7 0 : V7 I V7 I G; I V7

VI II 7 V7 V7 0 II7 V V7 I

g .
i ma gu zb g a s 7 b 2

V7 B b: V 7 g : V 7 I d : V7 m V7 g : V7 1 d : v nO 7

A t N . ll . th e l ea di n g -ton e : 3 m u s t b e l e d d ow n wa r d to ( l .

5- 3 6 %

I 1 10 7 V V7 I g : 1 V7 III '

7 VI c

. V V7

E

:3 b .b 2 2

f : v i l0 7 I c
'
. V l I 7 I A b: V g: 1 1V7 d: V 7 g3 ! V7 1

z e a s "
3 3 b
:8 2 n

c I 1 1 7 V 7 E bz l V7 v u7 1 r I V I
v u o.

1 5 g g

/ : t V7 A s
'

7 I bb: v n7 x V 1 10 7 ! V7 VI 1 v V7 I
1 08 A MANUA L 0F H A R M ON Y .

V7 8 : V7 b: I B : V7 V7 I I 10 7 V7 I

u x V7 A : I b: v u o7 I E: V7 f3 : v 110
7 r C : V7 c 3: V

07

AtN . B , i n Exe r c is es m
. a nd n , th e to nes cit-d b, a nd c
bg , a re e n h a r m n i ca lly
o

c h a ng e d .

CHA PT ER X I II .

Pr o g r e s s i o n s B e twe e n th e S e c o nd a ry C h o rd s of th e S e v
e nth a nd C h ord s on O th e r D e g re e s a nd

i n O th e r Ke y s .

46 Th e secon da ry ch o rd s of th e seven th a l so a d m i t of very

.

va ri o us n o n -ca den ced progressi on s ; so m e of th e m w h i c h w e c a n ,

e m pl oy b ut l i ttl e o r n ot a t a l l i n cad en ce -l i ke p rogressi o n s p rove to ,

be a dapted fo r o th er p r o gr e ssi o n s T h i s we sh a l l i l l u strate to begi n

.
,

w i th i n th e c h ord of th e seven th o n th e I st degree i n m i nor w h i ch

, ,

occurs m o st se l do m a n d i s m ost d i f c ul t to m a nag e Its seven th .

,

bei n g th e l e ad i ng -note of th e key ca n n o t be l ed dow n wa rd s for th e,

speci al rea s o n th a t th e step of a n a ugm ent e d s e con d w h i ch i t w o u l d

,

ha v e to ta ke i s forb i dden a s u n m el od i c i n descen d i ng p ro gress i on ;

i t m i g h t b e h e l d or i n ca se of a m od u l a tory resol uti on b e l e d
, ,

d o wnwa rd to G or F 3 B ut th e n a tu r a l p rogressi o n o f th i s seven th

.
 A MANUAL HA RMON Y .
1 09

i s a l way s u pwa rd i n th i s ca s e to o i t i s possi bl e to e ffec t a ca de nce

, ,

l i k e res o l ut i o n o f th e ch o rd o f th e s e v e nth o n th e I s t degree i n m i n o r

to th e c or d of t/ze s e v e n tl z o n th e 4 th d egr e e i n i ts f u n d a m en ta l
posi ti on o r to th e c /Eor d of th e s i x t/z deri v e d fr o m th e tr i a d o n th e
,

4 t h d e gr e e ; i n w h i c h ca se w e a ssu m e , a s a m atter of co urse th, a t

th e c h ord o f th e s e ve nth o n th e I st d e gree i s c a r efu l ly p r ep a r e d

a n d th at th e c h o rd o f th e s e ven th o n th e 4 th degree i s p roperly r e
s o lv e d a s i n th e fo l l o w i ng e xa m pl e s ; i n w h i c h th e bass w a s
,

obl ig e d to p ro gress to th e l o w e r 0 3; o n acc o u n t o f th e ca d ence -l i ke

res o l ut i o n o f th e c h o rd of th e seve nth o n th e 4 th degree to th at
o n th e 7th d e gree ;

19 6 .

a : I 1 10 7 V v xx 7

or w i th th e re s o l u ti on o f th e ch ord o f th e sev e nth o n th e I st d egree

to the ch o rd o f th e si xt h de ri ve d fro m th e tr i a d o n th e 4 th d e gree .

19 7 .

a : I VI 1 10 7 V 17 IV

B e si d e s th ese ca dence -l i k e r e s o l ut i o n s o f th e ch o rd of th e seve nth

o n th e I st d e gr e e i n m i n o r, w e gi v e b e l o w a fe w o th e r p ro gressi o n s
w h i ch a p p e a r l ess co n stra i n e d th a n th e ca d e n ce -l i k e on e s . It is
110 A MANUA L 0 F HAR M O NY .

a lways a ssu m ed o f c o u rs e th at , , th e above -m e n t i on ed ch ord w i l l be

c r e fu lly p repar e d i n al l cases
a .

19 8 .

a : 17 VI 17 1 10 7 17 1 10 7 I7 a : V7

a : 17 E l) : V 7 0 : 17 t

. V I I 7 a : 17 G : V7 a : 1 17 V I7

e tc .

a : 17 g : 1 10 a : 17 d : V a : VI 17 G : v n

I n m o d u l at o ry p rogr e ss i o n s h owever w e a r e a l s o i n a p o si ti o n to
, ,

l e a d th e s e v e n th o f th e ab o v e c h o rd d o w n wa rd by a step (S ee .

N ote 4 2 C h x x)
, , . .

The w n tl z
: e d e s ce n ds a s em i ton e .

19 9 .

6 : I7 d : V7 a I7 f : V I IO 7 I7 [ 1 V7
'

0 : I7 E .
V I I0 1
 A MANUA L 0F [ J A R /V O N Y
. 111
N . B.

a : 17 A b: V 7 a : 17 0 : 17 g: I g : H O7

F ur th e r o n we b e c o m e a c q u a i nt d wi th th e c h o rd m a rk e d
e N . B . u n de r th e na m e

o f th e a u gm en te d c h o rd o f th e th ird fo r th a nd si x th , u , .

T h e rw m t/z
. d e s c en ds a wh o l e to ne .

5
5

7 8

a I,
!
G : vuO a 17 G :

a : I n,
m 0
7 a 17 1) 1 1 17

e tc .

a : 17 5 : V7 0 : 17 c: v 1 1 7 a : 17 e : V

T h e para l le l m oti o n between s o pra n o a n d ten or i s c overed a n d

co u n ter b a la n c e d by th e co ntra ry l ea d i ng o f th e ba ss ; sti l l w e d o ,

n o t w i sh to r e co m m e n d s u ch p r o gressi o n s to th e p u p i l a l th o ugh i n ,

th i s ca s e th e d o w n wa rd p ro gre ss i o n fr o m a n a ug m e n t e d fth to a
perfect o n e i s perm i ssi bl e by way o f exce p ti o n I t i s a d i ffere nt .

m atter w h e n th e per fect fth i s fo l l o wed by th e a ugm ented fi fth

bel ow

20 1 .

'
e: 1 17 1 11 V7
112 A MANUAL 0F H A RM ON Y
.

such p rogr e ssi o n s h av e b e e n wri tt e n by th e b e st m a sters i n th e stri ct

style an d a re a l way s a l l o wabl e w h e n th e ba ss p rogr e sses i n con
,

tra ry m oti o n .

go o d .

20 2 .

5 : IV 111
'

V7

B ut suc h a progress i o n o f fth s i s n ot to b e r e c o m m en ded i n th e

o ute r pa rts (C o m p A pp I I p
. . .
, .

not goo d .

20 3 .

Progressi on s o f th e h ord o f th e s e ven th o n th e I st d e gre e i n

c

m i n o r ca n a l s o be e ffe c t e d w h e n th e sev e nth i s h eld .

m
fg Q

a : 17 B: v r1 0 7 v 1 1 a : 17 V7

w
e tc .

a
 A IV A N U A L 0F H A R M ON Y .
113

47 S h o u l d m a ny o f th es e p r o gre ss i o n s so un d h a rsh a n d stra nge

. ,

i t m u st n o t be fo rg o tt e n th at th ey a re gi ve n h ere o u t of a l l c o n n ec
ti o n w i th a n y p r e c e d i n g o r fo l l o w i ng c h o rd s Th e y ca n a l l b e u sed ;
.

th e i r c ec t i n e a ch i n d i v i d ua l ca se w i l l d epen d o n h o w th e r s t
ch ord i s p re p a re d a n d h ow th e s e co n d p r o gre ss e s .

A ft e r th e se p ra c ti ca l i l l u str a ti o n s of th e m a n i fol d p rogr e ssi o n s

w h i c h m a y be e ffe cted w i th th e se c on da ry ch o rd o f th e seve n th o n
th e 1 st d e gr e e i n m i n o r th e l e a st u sed a n d h a rd est to m a n age of a l l
,

ch o rd s of i ts cl a ss w e sh a l l c l o s e th i s ch apt e r w i th a fe w re m a rks
,
.

Every sec o n da r y ch o rd o f th e s e ven th m ay be e m pl oy e d e i th e r

.
v i th th e r e gu l a r d o w n wa rd res o l u ti o n of th e seventh o r w i t h th e ,

-
4e v e n th h el d o r l e d u pwa rd s i n res o l uti o n s of a free o r ca de n ce l i ke

c ha ra cte r (d e ce pt i ve cad e nce s ) .

I t w o u l d fa r ex c e e d th e l i m i ts o f th i s book to i ntrod u ce a tabl e of

a l l possi bl e res o l uti o n s o f a l l th e seco n da ry ch ord s o f th e seven th .

In th e fo l l ow i n g e x erc i s e s th e p u p i l w i l l m eet w i th a n u m be r of d e
c e ti v e cad e n c e s H e ma a l s o try by h i m sel f to fo r m resol ut i o n s
p .
y
o f th e re m a i n i n g s e c o n d a ry c h o rd s o f th e seven th a fter th e pattern ,

of th o se sh own fo r th e d o m i na n t c h ord of th e sev e n th a n d fo r tha t

on t h e I st d e gr e e i n m i n or T o a ssi st h i s j udg m en t i n rega rd to th e
.

correctn e ss a n d u sefu l ne ss of suc h progressi on s a few suggesti o n s ,

fo l low :
I n gen e ra l a ny p r o gre ssi o n m a y be sa ncti on ed i n w h i ch o n e o r
,

two t o n e s c o m m o n to th e tw o ch ord s a re h el d i n th e sa m e pa rt or
pa rts B ut e v e n w i th o ut th i s natu ra l b ri dge o f a s u sta i n ed ton e th e
.
,

progr e ssi o n m a v b e g o od w h e n th e s e v e ra l pa rts a re l ed i n true vocal

sty l e fr o m th e t o n es of th e rst c h o rd to th ose of th e s e co n d .

20 5 .

g : v n 7 c
'

. V IV V C: I C : IV v 1 1 7 I

C: 1 17 i n V I C: v i l -
7 I C: V 7 a

.
'
II I V7
114 A MANUAL 0F HARMON Y .

V7 V7 V I1 0 7 V7 C : V I1 0 7 d : V I1 0 7

g : V IIO 7 C

. I C: V7 I C V7

. I C: V7 C : V 7 E h: I

F r o m Exa m pl es 2 0 5 d e f g k , 6 l m a n d 72 th e p up i l w i l l
, , , , ,
, , ,

perce i v e th a t e v e n th e fr e e progressi o n o f s e p a rat e i n t e rva l s i n

,

ch ord s o f th e s e ven th m a y be sa nct i on ed .

I t m u st b e b o rn e i n m i n d that th e e ntra n c e o f th e r oo t a nd s e v e n t
.

o f a ch o rd o f th e s e ven th i n p a r a l l el m o ti o n a l m o st a l way s h a s a

ba d e ffe ct a n d sh o u l d th ere fore b e car e fu l ly avo i ded

,
T h e n ext .

th ree e xa m p l es s h o w a bad l ea d i ng of th e pa rts .

20 6 .

H o wever i sol at e d ca s e s a re fo un d i n Exa m pl es 1 9 3 (c ) a n d

,

20 5 ( i n w h i ch h ntra n c e of r o ot a n d s e v e nth i n pa ral le l m o

f ) , t e e

ti o n ca n n o t b e fo u n d fa u l t w i th .
 A M ANUA L 0F H A RM ON Y .
115

Ex e r c i s e s .

In al l e xe r c is e s
il sh o u l d m a rk th e c h o rds b y R o m a n n u me r a ls be nea th
th e p u p

th e b a ss a n d th e c o u rs e f th e m d u l a ti on b y c a p i ta l l e tte rs i n m a j r a n d s m a l l n e s
, o o o o

i n m i n o r a s s h own i n th e rs t tw o exe r c i s e s
, (C o m pa r e a l s o A pp I p 2 5 5 a nd . .
, .
,

A pp I I p
.
,
.

20 7 .

C : I 1 17 I IV v u 7 IV v 1 1 7 m v 17 V v 17 II

a
5 5 3

V7 I 1 17 V I d I

a n 7 8 7 B
3 b 6 3 g 3" 3

VI 6 : V7 I g : I d : V7 I I IO 7 V7 I

7 7
6
6 6 3 4 6 3 6
5 6 3 z

u n 7 n
ib
e
1
7b
d s g 6 7 ga n z n z

6 4 n
3 27 2 5 2

7 7 8 7

7 H 2 7 e u 2:

N . B .

N . B . T h e i ne l un de r th e 7s h o ws th a t th e sh a r p (3) c on ti n ue s i n fo r ce whi c h is
wri tten un de r th e 8 for the th i rd of th e d o m i n a n t tri a d .
 1 16 4 MA N UAL 0F H A RM ON Y .

6 4
4 2 6 6

6 6
4 5 8 7

6
7 b 8 7 b 5

7
6
7 b 7 b 3 5
3 5 7 2 2 3

6
6
4 4 g 5 5 7

3 g 3 a 2 6 s 7 g n

6 6
3
6
a 5 b 5 2 5 7 b

AtN . B th e A b
.
. s e v e nth of th e s ec n d c h o rd m u s t ski p d wnwa rds a fo r th
th e o , o u

to 17 . T his l ea di n g is c rr ec t i n s p i te o f th e e ntr n c e f th e r o o t a nd s e v en th of
o ,
a o

th e c h o rd o f th e fth a n d si x th i n p a r a ll e l m o ti o n .

0
a 7 0 4
n
e n3 g u
1 o
a
8 6 7 6 2 5 5 l 7 b : s
 A MANUA L 0 F H A R M ON Y
.
117

7 O U
6 3 7 b 6 7 b 6

m 3 2: an z

32 x 6
g 1: 3 7 D

3 g 6 5
: 5 7 D 2 2:

5 . 23 2 E

7 6 5 2 e 7 3 g 7 8 7

N . B
. l i ne s o v e r th e q u a r te r -n o te g 8 i n di ca te th a t th e g u r es gcon ti n ue
The
i n fo r ce H en cefo r wa rd we sh a ll fr e q ue n tl y i n di c a te th e c on ti n ua n ce o f a fig u r e
.

b y a l i ne e v en wh e r e th e c h o rds c h a n g e th u s
,
gg gE or c a l ls for a c h o rd of th e

fth a nd s ix th fo l l o we d by a c h o rd o f th e thi rd a nd fo u r th .
118 A MANUAL 0F HARMO Y N .

CHA PT ER XIV .

The A l te red C h o rd s .

T RIA D S W IT H A L T E RE D F I FT H S .

48We ter m a ch ord a lt e re d i n w h i ch o ne or m ore t o n es a re

.

ch r m a ti cal ly c h anged
o
*
T h e c h ro m at i c a l tera ti o n o f a t o n e i n a
.

tr ia d m a y ch a ng e i t i n t o a n oth e r tri a d ; e g . .

210 .

C: I d : v 1 1 c: I ob: 1 10 ( 3: I a : 1 11

T h e ab o v e a re ch r o m ati c al tera ti o n s o f th e tri a d o n th e I st d e

gr e e i n C-m ajo r ; th e s e w e h ave al r e a dy m e t w i th a s n atu ra l
ch o rd s We th ere fo re d o n ot rega rd th e m a s a ltered c h o rds w i th
.
,

th e e xc e pti o n of th e la s Th i s ch o rd appea rs n ot o n ly ,

a s th e a ug m e n t e d tri ad o n th e 3 r d degree i n a -m i n o r an d b u t al s o
i n C
,

m aj o r a s th e tri a d o n th e 1 s t d e gr e e w i th al t e re d fth ; i t i s
e m pl o yed e v e n o ften er i n C-m aj o r th a n i n a -m i n o r T h e fth m a y .

b e a l t e r e d i n th e tri ad s o n th e I st z u d 4 th a n d 5 th d e gre e s i n , , ,

m ajo r a n d i n th ose o n th e 4 th a nd 6 th d e gr e e s i n m i n or
, .

21 1 .

212 .

a 1V

l h cr e a re ca s e s i n w hi c h two or hr e e ton e s of a c h o rd
t a re c h r o m a ti c a l ly a l te r e d ;
e g .

20 9 .

o
C : 1 1 17 d : 117
 A MANUAL 0F HARMO N Y 1 19

T h e a te r e d f t/z m u st a l ways

s be l ed u pwa rd s by a l e ss e r c h ro

m ati c sec o nd .

213 .

C: I v n 7

6
5 5 5

C I G
. V7 C I

e tc .

5 5 7 b

C : 1 8 b: V 7 C: I g : v 1 17 C: I a : 1 10 7

I V

5 5 g

C II n a V7

D : v i r0 7 C: 11
[ 3: V7
1 20 A MANUAL 0F HA RMON Y .

T h e p r o gr e ssi o n o f th e m ajor tr iad s w i th a l t e red fth o n th e 4 th

a n d sth d egr e es i n m aj o r a n d o n th e 6 th d egree i n m i n o r m a y be
, ,

e ffect e d i n a way s i m i la r to th a t show n fo r th e a l t e red tri ad o n th e

I st degree (Ex . T h e a lt e r e d tri a d o n th e 4 th degree i n m i n or ,

w h o se natura l p rogressi o n

a 1v V I1 0 7

is to th e d i m i n i sh ed ch ord of th e seven th o n th e 7th d egre e m a y ,

l i ke w i s e pr o gress s i m i l arly a s sh ow n a t 2 1 4
, .

I t i s n ot n ecessa ry th at th e altered t o n e th e a ugm e nted fth sh o u ld

, ,

i n va ri ably be p reced e d by th e n atu ra l to ne , th e perfect fth Th e .

r i a d w i th a l t e re d fth m a y en ter r e el
f

y .

C : Iv I IV IV I IV u v7

Th e i n vers i o n s of th e tri a d s w i th a l te r e d f th a re al s o e m p loyed ,

p a rti cu la rly th ose o f th e m ajor tri ad s Th

. e m i n o r tri ad s o n th e 2 n d

degr e e i n m aj o r a n d th e 4 th d e gree i n m i nor w i th a l t e red fth o cc u r

, ,

l ess fre qu en tly i n th e fo r m of ch ord s of th e si xth o r fo urth a n d si xth

, .

21 6 .

C: I IV I IV IV 11 IV V;
 A MANUAL 0F HA RMO N Y . 1 21

V I V I II V IIo II II V7

A m od u lat i o n i s n ot b rough t abo ut by th e i n trod u cti o n of a n a l

te r ed tr i a d al th ough th e c h ro m ati cal ly ra i sed fth i s a ton e fore i gn
,

to th e p r e do m i na n t key ( Co m pa re a l so A pp I p 2 5 7 a n d A pp
. .
, .
, .

II, p .

Ex e r c i s e s .

5 5 5 B 5 B 5 B 5 5

21 7 .

C: I IV II V I VI I1 7 V7 I

N . B . rs t 5 i n th is m ea s u re i n di c a tes a t on ce th e p o si ti on o f th e s op r a n o
T he
a nd th e n a tu r a l (pe r fe c t) fth p r ec e di n g th e a l te r e d fth A ny 5 0 cc ur r i ng i n th e .

fo ll o w i n g m ea s r e s wh i c h is no t c r o ss e d i n di ca te s i n a ny p a r t th e n a tu r al fth
u , , ,

p r ece di n g th e a l te r e d o ne .

a
o
a 5 5 5 7 n 5 5

5 8 8 7 6 7 5 5 5 8
1 22 A MA NUA L 0F HA RMO N Y .

C h o rd s of th e S e v e n th w i th A l te r e d F i fth .

49 .I n th e ch ord s of th e seventh o n th e I st 4 th a n d 5 th d egrees

, ,

i n majo r a n d o n th e 6 th degree i n m i nor w e m a y al so ra i se th e fth

,

by a se m i to n e ; i n th i s ca se a s i n a l l o th e rs th e a l t e r e d t o n e m ust
, ,

be l e d o n upwa rd s O f th e c h o rds of th e seventh a l te red i n th i s

.

m a n ne r

21 8 .

V7 0 V I7

on l y th e do m i n a n t ch ord of th e seven th i n major h owever o cc urs , ,

i n i ts fu n da m en ta l pos i ti o n a n d i n al l i nv e rsi o n s ; th e ch ord o f th e

th i rd a n d fou rth ca n be u sed b u t v ery r a r ely a n d on ly i n op e n h a r
,

m ony T h e ch ord of th e fth a n d si xth w i ll al s o be e ffe ctiv e o n ly i n

.

o e n h arm o ny , a n d i n a l l p osi t i on s of th i s c h o rd th e a ltered ft h

p
 A MA NUAL HARMON Y 1 23

m ust b e fa r away fro m th e seven th I t fo l l ow s tha t o n ly th e c h ord

.
,

of th e secon d ca n be u sed b o th i n ope n a n d cl ose h a r m o ny .

6
5

219 .

C
.

V7 V7 V7 V7

T h e i nversi o n s of th e s e cond ary c h o rd s o f th e seven th so u n d h a rsh ,

a re d i ffi c ul t o f i n tr o d ucti on a n d sh o u l d se l d o m be e m pl o y e d I n
, .

th e i r fu n da m en ta l p o si ti o n a l l th e se c h o rd s a r e freque ntly e m pl o y e d
3 0 th i n c aden ce -l i ke re s o l uti o n s a n d (sti l l o fte n er ) i n o th ers
'
.

2 20 .

e tc .

C : 17 VI C : IV , v no C : IV , II C : IV C: V C : IV , (I; IV

e tc .

C : [V C: IV 7 n I v7 u C: V 7 I v7 F : V7

e tc .

C : V7 III V a : V C: V d : [1

C: V7 d : v 1 1 7
1 24 A MANUAL HARMON Y .

I n m a ny c a s e s w h e re th es e ch ord s a re e m p l o yed i t w i l l b e fo u n d
n ecessa ry to w ri te th e m i n op en a r m o ny (co m p I 7 ) B ut th e . .

p up i l i s by n o m ea n s obl i ge d to e m p l o y e i th e r o pe n o r cl o se h a r
m ony excl u si v ely th r o ugh o u t a ny gi ven exerci se o n th e c o ntra ry h e ,

o ugh t a cc o rd i n g a s th e l ead i ng o f th e p a rts p e rm i ts w ri te i n e i th er

, ,

h a rm on y a l t e rn at e ly w i th th e oth e r a s i n th e n ext exa m p l e w h i c h

, ,

begi n s w i th op e n h a r mon y a n d e n ds wi th c l os e h a rm ony .

O pe n h a r m on y .

221

C: I v7 I IV 7 G: V I 1V 7 u

C l os e h a r mon y .

V7 I V7 I V V7 V7 I a : V7

I d : V7 C: II c : C : III V

Progressi on s l ik e tho se m a rked N B i n th e fo l l o w i ng Ex 2 2 1 6 ,

. . .

a re n o t to b e rega rded a s m v e r sro n s of th e sec o nda ry ch o rd s o f th e

se ve nth o n th e 4 th a n d I st degrees Th ese ch ord -form ati on s w i ll
.
 A MA NUAL 0F HARMO N Y . 1 25

be ex p la i n e d to th e p up i l fu rth e r o n a s acc i den ta l on es .

(C o mp .

55 7

2 21 o .

F orw ork i ng ou t th e fo l l o w i n g e xe rc i ses i n ope n h armon y th e i r ,

n otati o n i n fu l l sc o r e o n fo u r staves a n d i n fo u r d i ffer e nt cl e fs w i l l

, ,

be fo u n d m o re p ra cti ca l th a n th e m eth od h i th erto p u rsu e d A .

k nowledge o f a n d c o m p l e te fa m i l i a ri ty w i th th e s o -cal led ol d cl e fs

, ,

are i n a ny even t i n d i sp e n sabl e to th e stu den t of m us i c We th ere

, , .

fore u rgen tly reco m m e n d th e p u p i l to w ri t e o u t a l l e xerc i s e s tw i ce ;

th e rst ti m e i n th e v i o l i n a n d ba ss -cl efs o n tw o o r (sti l l better ) fou r
staves a n d th e sec o n d t i m e u n d e r th i s w i th th e th ree h i gh est parts
, ,

o n th ree sepa rate stave s i n th e C-cl e f T h e ba ss i s of co u rse al ways

.

w ri tten i n th e ba ss -cl ef a n d th e te n o r a n octave h i gh er th a n su n g

. .

Pra cti cal i l l u stra ti on s of th e ab o ve fo llow Th e C-c l ef a l ways .

i n d i cat e s on e -l i n e d c (th e so -ca l l e d M i d d le C) a n d i s set fo r th e

,

s o p ra n o o n th e rst l i n e fo r th e a l to o n th e th i rd l i n e a n d fo r th e
, ,

te n o r o n th e fo u rth l i n e Con form abl y to i ts d i ffe ren t posi ti o n o n

.

e i th er of th e se l i n e s o f t h e sta ff i t i s ca l l ed th e sop ra n o a l to or , ,

tenor-cl e f .

T h i s s i gn , or th i s on th e rst l i n e i s th e sopra n o -cl e f .

or on th e th i rd l i n e i s th e a lt o -cl ef .

%
1
or
1
on th e fo u rth l i n e i s th e ten o r-cl ef .

To give a cl e are r v i e w we a d d a s e ri e s o f n o t e s i n th e ol d cl efs ,

as c o m par e d w i th th e sa m e i n th e G
cl ef a n d F e l e f .
1 26 A [M ANUAL 0F H ARM ON Y .

V io l i n or G o ld .

S op r a n o-c l ef .

l
A to -C l ef .

T e no r -c l e f .

Ba ss or

F l
-c e f .

B e l o w w e gi v e Ex 2 2 1 a i n d o u bl e n o t a ti o n a ft e r th e p u p i l h a s
.

wri tt e n o u t h i s exer c i s e s fo r a ti m e i n th i s d o u bl e n o tati o n h e w i l l ,

atta i n th e sk i l l requ i si te for w ri ti n g i n th e o l d cl e fs (F o r Ex e r c i s e s.

N o 2 2 2 c o m pa re A p p I p 2 5 9 a nd A pp I I p
. .
, .
, .
, .

SO P R AN O .

A LT O .

T EN O R .

BA SS .

SO P R A N O .

A LT O .

T EN O R .

Ba s s .
 A MANUAL 0F HARMON Y . 1 27

V7 I a: V7 I d: V, C: II c: 11
0
7 C: III V

Ex e r c i s e s .

O pe n h a r mony .

a
o f: 5 5 3 3 6 6

222 .

C l o se h a r mony .

0 7 6
0
4 7
8 7 5 5 8 7
1
J

O pe n h r m ny
a o .

6 ? 5 5 a ?
1 28 A MANUAL 0 F HA RMO N Y .

Q
0 m I

7 5 , 6
5 8 7 D

O pe n h r m ony
a .

6 4 5 n
6 5 g6 1: Z 5 5 3 1

j: 1 ]

5
8
In a 3 it 3 5 a
7
u ? 2
7
a

Th e l s t exe r c is e m
a y be n w
a gi i th c l s e h r m o ny
o a i n th e rs t m ea s u r e, b u t is
ob lig e d to fo rs a k e i t i n th e e c o ns d .

C H A PT ER XV .

The A ug m e n te d C h o r d s S i x th th e T h i r d a n d F o u rth
of th e , ,

a nd th e T h i r d F i f t h a n d S i x t h w i t h th e i r R e s o
, ,

l u ti o n s i n M a j o r a n d M i n o r .

50 .I n th e fo regoi ng w e c h ro m at i ca l ly ra i sed th e fth i n tri a d s

an d ch o rd s o f th e seven th a n d by so d o i ng o bta i n e d a lt e r e d c h o rd s
, .

Bu t w e ca n i n l i k e m an n e r ra i s e t h e r o o t o f o n e tri ad a n d o n e ch ord
o f th e s e v e nth a n d th e th i rd o f on e c h ord o f th e s e v e n th W e a l te r
,
.

th e r o o t o f th e m i n o r tri ad fo u n d i n tw o d i fferen t m aj o r k eys o n th e

2 n d a n d 6 th d e gr e e s a n d on th e 4 th a n d I st d e gr e e s o f th e i r r e l ati ve
,

m i n o r k e ys .

Tak i n g th e tr i ad si t u at e d i n C
m ajor on th e zu d d e gre e ,

in F m a jo r on th e 6 th , in a -m i n or on th e 4 th , a nd i n d -m i n o r on th e

I st, we r a i s e i ts r o o t D to D 3 d n d i n th e ch o rd
, of th e
 A MA N UA L HA R MON Y. 1 29

si x t h d eri ve d fro m i t E ,
th e u n i versal ly k n ow n a nd often

e m p l oy e d tri a d ca l l ed th e

A ug m e nte d C h o r d of th e S i x th ,

w i th a ro o t c h ro mat i cal ly ra i se d . A l th o ugh th e fu n da m en ta l po si

t i o n o f th i s c h o r s occa si on a l ly e m p loyed a n d a l so t h e,

ch ord of th e fo u rth a n d si xth e n m o re ra rely ) w e sh a l l ,

for th e presen t o cc upy o u r se l v y w i th th e a ugm e n t e d c ho rd

of th e si xth a n d i ts res o l uti o n F ro m th e l atte r th e p r o gr e ssi o n s o f
.

th e c h o rd i n its fu n da m en ta l po si t i o n a n d a s a ch o rd of th e fo u rth
a n d si xth w i l l b e seen .

I n th e resol ut i o n of th e a ugm en ted c h ord of th e si xth w e sh a l l at

rst h o l d fa st to th e rul e th a t th e a l tered ton e i s to b e l e d u p ward s
,

a se m i t o n e
W h i le l ea d i n g th e root dow n wa rd s by a se m i ton e o r
.

by th e sk i p o f a fo u rth w e l ea d th e d i sson a n ce o f t h e a ugm e nted

,

s i xth e i th e r to th e c o m pl ete c o n son an ce o f th e per fec t octave o r to

th e i n co m pl e te c o n son a n ce o f th e m ajo r o r m i n o r tenth ; we ca n ,

h o weve r a l so l ea d th e root i n certa i n ca ses a step u pwa rd s to th e

, , ,

in co m plete co n son a nce of th e m ajor s i x th .

2 23 .

A th e a ugm en ted s i x th m u st a l way s p rogre ss a se m i ton e u pwa rd s

s ,

i t ca n n e v e r be d o ub l ed i n fo u r -pa rt w ri ti ng .

T h e t o n e be st ada pted fo r d o ubl i n g i n th i s ch ord i s th e th i rd th e

root i s a l so frequently d o ubl ed A fe w resol uti on s fo l low suc h a s .
,

*F or thi s r e a s on we l
c a n em p o y th e ri a d
t on th e 3 rd d eg ree i n Bb

ma j o r , wi th l te r e d r oo t n ei th e r i n i ts fun d a men ta l po s i ti on nor a s a n a u g men ted

an a ,

c h o rd o f th e si x th . T h e k ey o f Bb-ma j o r p o ss e ss e s n o E ; i t is th e r efo r e i m po ssi b l e

to l ea d th e a l te r e d t n e D : u p to E a s th e r e s o l u ti on of th e a u g men te d c h o rd of
o ,

re s , to a n o th e r c h o rd p r o pe r to th e k ey of m j
a o:
13 0 A MA NUAL 0F HA RMON Y .

m a y be e ff ected i n th e vari o u s keys accord i ng as th e ch o rd is in C

m ajor , a -m i n o r , d -m i no r , o r F -m ajo r .

2 24 .

C: II

N V 111
'
III '

0
7
<

VI V, VI V II 0 d : I 1 10 I v r1 0 7 I 1 1 0 e tc .

Of a l l th e se res o l ut i on s th a t l ead i n g to th e do m i n a n t tr i a d o f a
,

m i no r occ urs by fa r th e o fte n e st N ext i n fr e quen cy i s th e p ro

.

g ress i o n to th e ton i c tri a d o f C-m ajo r T h e r e s o l u ti o n s to th e

.

d om i n a n t ch ord of th e seve nth i n F m ajo r a re rar e r ; th e rarest o f

a l l a re th e r e s o l uti o n s l ead i ng to th e d i m i n i sh ed ch o rd s o f th e s e ve n th
a n d to th e tri a d o n th e 2 n d d egree i n d -m i n o r Bu t a l l th es e re so .

l uti o n s a re d efe n si bl e a n d occ ur i n p racti c e

, (C o m pare A p p I . .
,

p 2 6 1 a n d A pp I I p
.
, .
, .

Ex e rc i s e s .

n
t

0
2 b 6 2 0

2 25 .
A MANUAL H A R M O /v : .
131

6 5

0' e 6 2 6 5 5

I i . 2 23

5 5 5 6 7 I : 6 5

e 7 5 5

O D
13 2 A M A NUA I 0F HARMO N Y .

I t i s best to begi n th e th i rd of th e ab o ve e x e rc i s e s a s fo l l ow s :

T h e n ex t to th e la s t may begi n

T h e la st on e

e tc . or : e tc .

I n th es e exa m pl es ope n a n d close h ar m o ny m ust be e m pl oyed i n

al t e rnati o n O n ly th e c h o rd o f th e si xth deri v ed fro m th e tri ad w i th
.

a lt e red ro o t i s to b e e m pl oyed i n th e vari o u s res o l uti on s ; th e fun

d a m e n ta l po si ti o n a n d ch ord o f th e fou rth a n d s i xth o f th i s ch ord
, ,

a re better adap ted for th re e -pa rt th a n fo u r -part wri ti n g a n d a re at

a ny rate a s re m ark e d above
,

fa r sel do m er e mp loyed tha n th e

a ug m e nt e d ch ord o f th e si xth .

5 1
. By a ddi n g to th e tri a d o n th e 2 n d d egree i n m aj o r o r 4 th ,

i n m i n or a t h i rd e i th er b e low i ts root o r ab o ve i ts fth w e obta i n

, ,

two c hord s of th e seven th pro p er to th e key (co mp be i n g

.
 A MA NUA L O R HAR M O NY .
13 3

th o se si tuated o n th e 7 th and 2 nd d e gr e e s i n m aj o r or on the 2 nd

a n d 4 th i n m i no r .

2 26 .

C: V IIO 7 II
a : 1 10 7 Iv 17 7

O ra i si n g by a s e m i ton e th e r o o t D o f th e tri a d co m m o n to th e
n

tw o ch ord s o f th e s e v e n th w e o bta i n o n e c h o rd of th e s e ven th w i t h

,

a l tered t h i rd a n d a secon d w i th a l tered r o o t

, .

227 0

C: V IIO v
;
II
a : 11 3 Iv 1V 7

Th ese two al te red ch ord s o f th e seven th m ay i t i s tru e h e e rr , , :

p l o y e d b o th i n th e i r fu nda m e n ta l po s i t i o n a n d i n a l l i n v er s i o n s i n
, ,

th e two k e y s to w h i c h t h ey b o t h bel on g ; b ut i n th e ca se o f th e rst

ch o rd o f th e sev e n th a t 2 2 7 th e seco n d i nv e rs i o n i s th at m o st o fte n
,

u sed ; a n d w i th th e s e c o n d ch o rd th e rst i n v e rsi o n F ro m th e , .

ch ord th u s obta i n th e a u
g m e n te d c/
zo r d o
f t/ze t zr d .

f a n d s zx t ,
'

ou r t ,

a n d fro m th e ch o rd th e

a u
g m e n te d i or
c/ d f
o ti l e t zr d ,

a n d s zx ttz.
f t
'
'
,

We a l so cal l th e l a st ch ord , fo r sh o rt th e
, a ug m e n ted c / or E d f
o
'

M e f t/
z a n d s zx tl z .
13 4 A MA NUAL 0 F HA RMON Y .

Th e a ug m en ted ch ord o f th e th i rd fo u rth a n d s i x th re s o lv e s , ,

i n

maj o r to th e to n i c tri a d i n m i n o r to th e d o m i na nt tr i a d
, .

22 8 .

C: v 1 10 7 I V I1 0 7 I a 1 10 7 V

Th e se resol uti on s a re ba sed o n th e res o l uti o n s o f th e n atura l (n o t

a l ter e d ) c h o rd s of th e seve n th o n th e 7th degree i n m aj o r an d th e
2 n d i n m i n or (co m p 3 9 and .

2 29 .

C : V II0 7 I a : 1 10 7 V

Th e a ug m e nt e d ch o rd o f th e th i rd fo u rth a n d s i xth , , in m i n or
a l so h a s o th e r n o n -cad e n c e d r e s o l u ti on s ; e g
,
. .

23 0 .

1 10 7 I 1 10 7 III '
1 10 7 III

W h e n m o du l a ti o n i s e m pl oy e d m any oth er r e s o l u ti on s o f th i s
,

ch ord a re p o s s i bl e i n m aj o r a nd m i no r i n a l l o f w h i ch h owe v e r , , ,

w e m u st a d h e r e to th e ru l e th a t th e al t e red t o n e e spec i al ly w h e re
,

p rec e d e d by th e nat u r a l t o n e m u st a l ways b e l e d u p wa rd s .

etc
23 1
.

R E M A R K A r es o l uti on of a n a l te r e d c h o rd of th e si xth th e thi rd fou r th a nd

. . , ,

si x th o th e fth a nd si th e ffecte d b y l e di ng th e a l te r ed to ne d wnw rds is a ls o

, r x ,
a o a ,

p o ssi b l e i n c a s e th e n tu r a l to n e d o e s no t p r e ce d e th e a l te r e d one ; e g
a . .

23 2
 A MANUA L OF HARMO N Y .
135

b ut i n vi e w o f i ts c o ns tr a i ne d a nd un na tu r a l c h a r a cte r s uc h a p r ogr e ssi on ca n n ev e r

r d ce a l ea si n g e ffe c t F r m s uc h fo r ce d p r o gr e ssi on s th e p u p il wil l pe r ce i v e
o
p o u p .

h w C rr e c t a nd n a tu r a l o r r u l e i s a l wa ys to l e a d th e a l te r e d to ne u pwa rds
u It
c a n b e l e d d o wn wa rds or h e ld on ly wh en i t is en h a r mon i c a l ly c h a n g e d
o o , .

, , b u t th e n
i t c e a e s to b e a n a l te r e d ton e ; e g
s . .

Th e r e s o l u ti o n o f th e a ugm e n t e d c h o rd o f th e th i rd fth a n d , ,

si xth i n m i no r i s e ffe ct e d l i k e th a t o f th e a ug m e n t e d ch o rd of th e
,

th i rd fo u rth a n d si xth to th e t o n i c tri a d :

, , ,

3
23 3 .

C : II 7 1 17

In m i no r , th i s ch o rd c a n n e v e r res o lve d i rectly to th e do m i na n t

tri ad B ut a s th e do m i na n t tri a d i s th e c h o rd to w h i ch th e a ug
.

m e n te d ch o rd o f th e fth a n d s i xth na tu ra l l y resol ves w e m ak e u se ,

o f va ri o u s d e v i ce s to a v o i d th e pa ra l lel fth s a ri si ng fr o m a d i rect

res o l uti o n .

D I R E CT A N D I N C O RR ECT R E S O L U T IO N S .

4 9

IN D I R EC I

R ESO L U TI O N S .

i i i 5
'
. 3 W
23 5 .

(I : IV 7 I IO 7 V l V7 IV V V

'
[V 7 111 1V 7
 By em p l o y i ng m o d ulat io n, sti l l fu rth e r r e s o l u ti o n s f th i s h o rd
'

o c

23 6 .

C: 1 17 F : V7 C: 1 17 C : 1 17 A : III V7
a : 1V 7 a I v7 d : v 1 10 7 a : 1V 7

We obs e rv e d ab o v e th a t th e fu nd a m e n ta l p o si ti o n a n d th e o th e r
,

i nversi on s o f th e a u g m e n t e d ch o rd s o f th e th i rd a n d fo u r th a nd th e ,

fth a n d si xth al s o o c c u r i n p ra c ti c e T h e r e s o l u t i o n s re m a i n th e
, .

sa m e a s th o s e o f th e a ug m en t e d ch ord s o f th e th i r d a n d fo u rth a n d ,

o f th e fth a n d si xth A fe w s u c h fo l l o w h e r e F o r Ex 2 al s
.
( 39 o . .
,

co m p A pp I p 2 6 2 a n d A p p I I p
. .
,
.
, .
, .

F un d a m en t l a
po si ti on .

_
J a

23 7 .

C: V I1 0 7 I V I a : 1 19
, V

F i rs t I n v e rsi o n .

6
5

C: v r1 0 7 I V a : 1 10 7 I a : 1 10 7 A : III V7 I

T hi rd I nv e rsi on

C
. V I IO 7 III V IIO 7 I a: 1 10 7 V I1 0 7 111
'

V
 A MANUA L HARMON Y 137

F un d a m en ta l po si ti on .

23 8
g ;
.

c: u I a : i v7 v 1V 7 I V7 III
l\ 7
'
A '
. I

S ec o n d In v e rsi on .

C
. I I7 d

. IV 7 V7 II0 IV 7 f : V7

T hi rd In v e rsi on .

'
111 v7

I v7 . A
1 10 7 a : Iv7 f: V7 a : 1V 7 d: V
13 8 A MANUAL 0F HA RMON Y .

Ex e r c i s e s .

O pe n h a r m o ny
.

g
6
6 N . H a : 7 6 5

23 9 .

w
n
O a 4
3 2 :
0
5:

*
9
( O M 4
0
:
0
$ l

0
m
r
0 c 8 7 b

D e 7 u
 A MANUA L 0F H A R M ON Y
. 13 9

R e m a rk s on th e A b o v e Ex e r c i s e s .

It is b e st gi n th e rs t e xe rc i s e i n o pen h a r mon y wh i c h i s th er efo r e s pec i a ll y

to b e ,

m a rk e d . A t N B i n m ea s u r e 3 th e s o p r a n o s k i ps d o wn wa rds a f th
. . T h e be .

gi nn i n g s h ou l d b e th u s :

23 9 a .

1 17 I I V vi l v:
T h is giv e s ris e to th e fo l l owi n g r e m a rk :
T h e l e a di n g o f o ne o r two pa r ts b y a ski p is a l s o p r a c ti c a b l e wh e r e n ot si mpl y
th e tr a n s p o si ti on o f o n e a n d th e s a m e c h rd c o me s i n q u e s ti o n p r o vid e d th a t th e
o ,

l ea di ng o f th e pa r ts i s o th e r wis e g o o d a nd n a tu r a l T h e effec t o f s u c h a ski p i s

.

b e s t w h e n e i th e r s o m e o th e r p a r t p r o gr e ss e s i n c o n tr a ry m o ti o n
,
r o n e or two
,
o

a r ts a r e h e l d In E x 2 9 m e a s I th e ten o r ta ki n g the s e v en th o f th e s e c on d
p .
3 . .
,

c h o rd m s t ski p d o wn wa rds a t N
u B b y a fo u r th
. . Bo th th is s ki p a nd th e si mu l
.
,

ta ne ou s e ntr a n ce o f th e r o ot a n d s e v en th i n p a r a ll e l mo ti o n a r e pe r fec tly c o v e r ed ,

b y th e c o n tr a ry m o ti on o f th e b a ss .

N . B .

E b: I v 7 A b: v 7
140 A MA NUA L 0F H A R II O N Y .

A t N B m th e l a st m e a sure b u t
. . ch ord of th e fth a n d o ne th e
s i x th i s d e ri v e d fr o m th e ch o rd of th e seve nth o n th e z u d de ree
g
( w i th a l tered th i rd ) i n e -
D m i nor .

( b? 1 10 7

A tN B i n Ex
. . th e ch o r d o f th e s e con d o n A l) i s to b e deri ved
.

fro m th e ch o r d o f th e sev e n th o n th e 4 th d e gr e e (w i th r o o t eb ro
ma ti c a l l y ra i s e d ) i n f -m i n or .

(Co m p . Exa m pl es 23 7 and

A t th ecl o se o f th i s ch apter w h i c h i s l i k e w i se th e close of th e
,

rst Pa rt o f th i s M a n u a l w e n ow gi ve a v i e w of a l l th e c h ord s
,

wh i c h we have l e a rn e d a n d e m p loyed T hese a re .

l . F u nd a m e nta l C h o r d s .

A . T R IA D S IN MA J O R A N D M IN O R .

a . M A JO R TR IA D s .

in m in o r :
~9

C: I IV V 6 : V VI

b . M IN O R T R I DS
A .

i n ma j o r : i n mi no r :

C: u 11: v1 c : I

c. D I M IN I S H ED TR IA D s .

i n ma j o r i n mi n o r :

c: 1 10 7 v no
 A MA NUAL 0F H A R M ON Y . . 1 41

d . TH E A U G M EN r ED T RI D
A IN M IN O R .

'
c : 1 11

l nversi o n s o f a l l th e s e tri a d s a s c h ord s of th e s i xth a n d o f th e fo u r th

a n d si x th m ay occ u r .

F u n d a men ta l p os . C h o rd of th e 6 th . C h o rd of th e 4 th a nd 6 th .

B . C H O RD S O F T H E SE VEN T H .

a . TH E DoM IN A N r C HO RD O F TH E S EV EN TH .

i n ma j or : i n mi nor :
C: V7 C: V7

T h i s ch ord i s a l ways c o m posed of a m aj o r tri ad w i th m i n o r

s e ven th i s fo u n d o n th e 5 th d egree a n d i s a l i ke i n majo r a n d m i nor
, , .

5 . S COE N DA R Y CH O R Ds O F TH E EVE N T H H A VIN G

S , A M A JO R T R IA D A N D

A M A J O R S EV EN T H .

in ma j o r : in m inor :

C: I v7 c : V I7

c . S ECO N DA R Y C H O R DS O F TH E S E VE N T H H A V IN G , A M IN O R T RI D
A A N D

M I N O R S E V E N TH .

in ma j o r : i n mi nor :
1 42 A M A NUA L 0F HAR M ON Y .

d. S ECO N DA R Y C H O R DS or TH E S EV E N TH, H VIN G A A D I M IN I SH ED T R IA D

AN D M I N O R S E V E N TH .

i n ma j o r : i n m in o r :

V IIO 7 C: 1 10 7

c. D IM I N I SH E D C H O R D O F TH E S EVEN TH H A VIN G . A D I M IN IS H E D T R IA D
A N D D I M I N I SH E D S E V E N TH .

on ly i n m i no r :

c V I1 0 7

j: S ECO N DA R Y C H O R D O F T HE S E V E N TH H A V I N G
, A N AU G M EN T E D TR IA D
A N D M A J O R S E V EN T H .

o n ly i n mi no r :

6 III '

g . S ECO N D A RY C H O R D O F TH E S E V E N TH H A V I N G A M I N O R T R IA D , AN D

M A J O R S E V E N TH (B U T L I TT L E U S E D A N D TH E N IN ITs
, ,

F U N D A M E N T A L PO S I T I O N ) .

on ly i n mi no r :

I7

IN V ER S IO N s O F T H E C HO R D S O F TH E S EV E N T H .

of th e sth a nd 6 th . Ch . of th e 3 r d a nd 4 th . C h o rd of th e S e con d .

C: V7 v7

II . T h e A l te r e d C h o r d s .

A . T R IA D S W IT H A L T E RE D (C H R O M A T I C A LLY R A I S ED ) F I FT H .

M A J R I IA D s
'

a . O R .

i n m a jo r : i n m inor :

c : VI
 A AIA N U A L 0F H A R AI O N Y . 1 43

6 . M IN O R T R I DS
A .

i n m ino r :

C .

II

T R IA D W IT H A LT E R E D R O O T .

i n ma j o r : i n mi no r :

C: II

U s e d e spec ia l ly a s a ch ord of th e si xth .

B . CHO RD S O F T H E SE VEN TH W IT H A L T ERE D (C H R O M A T I C

A LL Y R A I S E D ) F I FT H .

o n ly i n m a j o r :

C 17 1V7 V7

S ECO N DA RY CHO RD O F T H E S E V E N T H w i T H A L T ERE D R O O T

O FT E N E ST U S E D A S A CHO RD O F TH E F IFT H A N D I
S XT H .

i n ma j o r : i n mi no r :

C .
o (
.
a

CHO RD O F T H E S EV EN T H W IT H A L T ER E D T H I RD .

O FT EN EST U S E D A S A C HO RD O F THE TH IRD , F O U RT H A N D I

S XTH .

i n ma j or : in mi nor :

C V I1 0 7 0 7
o
.
 P A R T TH E S E C O N D .

C HA PT ER XVI .

O n S u s p e ns i ons .

gz
'
. I n th e pr o gr e ssi o n s h i th e rt o e x h i b i t e d th e p a r ts a l way s
,

m o v ed fo rwa rd s i m u lta n e o u sly fro m th e t o n e s o f o ne c h o rd to th o se

O f th e n e xt B u t i f o n th e p r o g r e ssi o n O f o n e ch o rd to a n o th e r o n e
.
, ,

pa rt h o ld s a t o n e o f th e rst ch o rd W h il e th e o th e r pa rts progr e ss to

th e to ne s of th e n e w c h o rd th e pa rt so h el d th e n p r o gr e ssi ng a l o n e
,

to i ts p ro p e r i nte r v a l i n th e l atter th e t o n e th u s r e tarded p rod uce s

,

a s u sp e n s i on .

Th e p e cu l i a r n ature o f a s u s p en si o n c o n s i s ts i n i ts fo r m i ng a d i s
s o n a n c e to a ch o rd w h i c h i s n o t c la ss e d a m o n g th e d i ss o n a n t c /
zor d s ,

a nd do e s n o t e x h ib i t comp l e te ly i n a l l i ts i n te r v a l s th e fo r m o f an y
o f th e d i sson an t d e e n d e nt c h o rd s w h i c h w e h a v e a s
p ye t l e a rn e d .

We m u st th e r e fo r e rega rd th e fo l l o w i n g p rogre ssi o n O f th e t r i a d o n

th e I st d e gr e e to th at o n th e 7th a s a p r o gr e ssi o n r e ta rd e d by su s
pe n si on b e c a u s e th e ch o rd o f th e s e v e n th o n th e 2 n d d e g r e e d o es
,

not a p p ea r i n i ts c o mpl e te fo r m o n th e str o n g b e a t ; th e f f l /z o f th e

ch ord of th e sev e n t h i s wa n t i n g .

24 0 .

V l IO

C o ntrar i ly , Ex . 2
4 1 S h o ws a s u c c e ssi o n of tw o ch ord s of th e
s e v e nt h .

24 1 . Q
I

V 1 10 7
( 1 44 ) 7
 A MANUA L 0F H A R M ON Y .
1 45

R EMA RK . Ev e n h a ss
F C i n th e s e co n d m e a s u r e f Ex 2 4 0
u m i ng t a t th e D o .

we r e to b e r e g a rd e d a s a c h o rd O f th e s e v e n th w i th m i tte d l th this di ti n c ti n o ,
s o

wou l d m a k e n o di ffe r e n c e i n p r a c ti ce Bo th s v e n th a nd s u s p n d e d n te a e dis . e e o r .

s on a n t i n te rv a ls a nd a re s b j ec te d t l i k e c o n di ti on s ; b o th m s t b e p r e p a r d a nd
,
u o u e ,

b o th m u s t b e r e s o l v e d T h e e ss en ti a l c o n di ti on s o f a s s p en si o n a e f lll e d i n
. u r u

n t to c nf z p p i l we m u s t te r m a n
Ex 2 40 ; a n d i n o d
. re t/ er o o
y fo r m s s p n i n :
us e u us e s o

w hi c h d o n o t ex h i b i t mpl t ly a n d i n l l t/ i i n te
, co le es o me fa m il i a r fo r m of a ze r r va s,

c h rd M a n y y ea rs ex pe ri en c e i n te a c h i n g c on r m s o u r p r a c ti c e o f n o t ex p l a i n i ng

o .

i n d e ta il a t th e b gi n n i g o f th e c o rs e m a tte rs f sl igh t i m po r t nc e i n l a te r p c
, e n u ,
o a ra

ti a l W rk (a
c o th e si m il a ri ty i n s o un d b e twe e n th e a g m e n te d a n d a l te r d c h rds
s u e o ,

o r i n c m p l e te c h rds o f th e s e v e n th a n d s s p en si n s ) b t r th e r t
o o e x pl i n e a c h u o , u a o a

p o i n t q u i te a pa r t fr o m th e r e s t L a te r m a tu ri ty o f ex pe ri en c e wi l l giv e th e p p il
. u

th e i n sigh t n e c e ss a ry to dis ti n g ish wh a t p o i n ts s c h p h n m en u h a ve i n c m m n u e o a o o ,

a n d whi c h e p e c l i r to th e m
ar W e Sh a l l r e tu r n to this q e s ti n w h e n w ta k e
u a . u o e

u p th e M a n s f M d l a ti o n
e o o u .

24 2 7
e
.

9 8 7
6 5
4 3 6 4 3

~
6
C
. IV C: I a : 1 1 I V7
(1 . VI

Ex . 24 2 S h o w s a n u m b e r o f su sp e n s i on s for m i ng sh a rp d i ss o na n c e s
to th e c h o rd e n t e ri ng o n th e s e c o n d b e at C a s e s m a y a l s o o c cu r .
,

how e ver i n w h i c h th e p rogressi o n o f two i n dep e n d e nt c h o rd s m a y

,

a ssu m e th e c h a ra c t e r o f a su sp e n s i o n a lth o ugh n o d i ss o n a n c e , ,

pr o p e rly sp e ak i ng i s fo r m e d T h i s h a pp e n s m o st fre q u e n tl y w h e n
, .

such a p ro gressi o n occ u rs i n th e m i dst of a s e qu e n c e o f s us pe n s i o n s ,

e g . .

24 3 . etc .
1 46 A MA N UA L H A R M ON Y .

A t N B in
. . m ea s 4 th e s o pra no i s to
. be co n s i dered a su sp e n si o n ,

a lth ough w e m igh t a na ly z e th e ch o rd

o n th e stron g b e a t of th i s

m e a s ur e a s th e C h ord o f th e si xth der i ved fro m th e tri a d o n th e 6 th

degree i n C-m aj o r a n d th o ugh th e sopra n o i n n o way for m s a d i s
,

son an ce to th e oth er p a rts B y i ts p o s i ti o n h ere i n th e m i d st o f oth e r

.

gen u i n e a n d u n i m pea ch ab l e s u spen s i on s th e p rogress i o n i n th e fo u r th

m ea s ure takes on th e c h ara cter o f a su sp e n si on a n d p r o d uces j u s t ,

h e r e a n e ffect si m i la r to th at w h i c h a tru e d i sson a n t su sp en si o n

wo u ld prod uce ; e g . .

5 "
rv e tc
'

24 4
.

4 3 e
9 e 7
6
7
5 4 3
9
7
s

F : I V7 V I 0 V7

Th e rea s o n w h y certa i n n o n -d i sso na n t p rogressi o n s i n th e m i d st

of a n u m b e r o f suspen si on s a ssu m e th e ch ara ct e r o f s u spe n si o n s a n d
a re to be con si d er e d a s such th o u gh n o t ex h i b i ti ng th e e ss e n ti a l
ch a ract e r i st i c o f th e su spe n si o n th e d i sso na nce, i s e a sy to d i scov e r .

In th e p r e c e d i ng su sp e n si o n s w e rst h ea rd th e n i sh e d ch o rd o n th e
secon d bea t a n d con sequ e n tly exp e ct i n th e fo l l o w i ng p rogr e ssi on s
, ,

w h i c h a re fo rm ed i n l i k e m a n n e r n ot to h ea r th e a ct u a l fu n da m e nta l
,

ch o rd u n ti l th e secon d b e a t T h u s th e ch ord o n th e rst b ea t :1 1

.
,

th o ugh n ot d i ss o n a nt i s fe l t m erely a s a retarda ti o n o f th e p ri n c i p al

,

ch ord w h i c h i n con fo r m i ty w i th th e p reced i n g m e a su r e s begi n n i ng

, ,

w i th su spen si o n s we e x p e ct on th e s e c o n d b e a t T h e fo l l o w i ng
,
.

Ex 2 4 5 c o nta i n s tw o s u ch p r o gress io n s si de by s i d e i n m ea su r e s 4
.

a nd 5 .

F : I v N I v7 I v7 I
 A MANUA L H A R AI O N Y .
1 47

53 . F i n tr o d u cti o n a n d res o l u ti o n o f su sp en s i o n s w e gi ve
o r th e

th e fo l l o w i ng 5 rul e s .

I .T h e susp e n si o n (wh eth er i n d up le or tri p l e r hyth m s )

u sua l ly en t e rs o n th e s tr o ng ( rst ) de a l .

C: I V VI III IV I 1 17 V7

2 Th e su spen s i o n m u s t b e p r ep a r e d i n th e sa m e pa rt i n
.

w h i c h i t en t e rs .

T h e t o n e o f r e s o l uti o n i th a t i nt e rva l o f a ch ord

3 .
( e . .

w h o s e en tra n c e i s retard e d by th e su s p e n s i o n ) m u st be d o ubl ed

i n n o oth e r pa rt e xc e pti n g th e ba ss ; w h e n th e su s p e n si o n l i es
i n th e ba ss i ts e l f th e t o n e o f r e s o l uti o n m u st b e d o ub l e d i n n on e
,

O f th e o th e r p a rts .

T h e s u spe n s i o n m u st be res o l ved o n th e w e a k s e c o n d or

4 .
(
th i rd ) be a t a n d i n d o w n wa rd p r o gressi o n
,
.

5 A . s u sp e n s i o n does n o t n e u tra l i z e p ara l l el octav e s w h i ch

I t m e rely r e tard s
R E M A R K Th e fe w c a s s i n wh i c h
. e a s u s pen si on ca n be r e s ol v e d u p wa rd wil l be
dis c u ss d f r th e r o n
e u .

Prepa rat i o n (a s e x pl a i n ed i n th e c a se O f th e s e v e n th ) m u st begi n

o n th e w e a k (seco n d ) h e a t a n d be o f a t l ea st a s l o n g d u rati o n a s
,

th e su spen s i o n i tsel f .

S u spen si o n s m a y occ u r b e fo re th e th i rd a n d b e fo re th e o ctave (o f

th e root ) i n th e tri a d i n a l l th e pa rts ,
.

S u s pe n si on be fo r e th e octa v e o f th e r oot.

24 7 .

C: V
1 48 A MANUAL O F H A A AI O N Y

.

S u s pe n si o n b efo r e th e t/zzr d
'

24 8 .

C : IV

RE M A R K Be tween th e te no r a n d b a ss th e r e a ls o o cca si on a l ly o ccu rs a s

. su

pe n i n O i th e s c n d b e f r e th e p ri m e (2 I ) T h e x p l na ti n is si m p l e th e r ng
s o e o o . e a o ,
a e

of th e b a ss n o t b e i n g l ow e n o gh i n a v o c a l c h o r u s to f r m th e p r op e r s u s p en s i n
u o o

98 .

Atru e s u sp e n si o n ca n n o t be for m e d b e f ore th e fth of a tria d .

I r e g r e ssi on s l i k e th o se bel o w at 2 4 9 m a y to be s u r e (a s sh o w n i n,

Ex a m p l e s 2 43 a n d a ssu m e th e ch a ra ct e r o f suspe n si on s i n th e
m i d st o f a n u m b e r o f r e a l su spen s i o n s b u t w h e n a lo ne d o n ot h ave
,

th e e e et o f s u sp en s i o n s
'

24 9 .

C : IV 1e
. I I III IV IV VI VI

Th e s er o gr e ssi o n s w h i c h -a s th e g u r e s b e low th e m p r o v e
p ,

'
II C a l l c o m
'

p l e te ch o r d s w i th a l l th e i r i nt e rva l s lack th e ess e n ti al ,

fe a tu r e O f th e s u s p e n si o n th e d i s s a n a n ce
,
.

B e fo r e th e fth o f a c hord o f th e sev e n th h o w e ve r a su s p e n s i o n , ,

 A MANU AL OF H ARM ON Y. 1 49

ma y occ ur a s w e l l a s b e fo re i ts ro o t o r th i rd B e fo r e th e s e v e n th a
.

s us e n si o n may o c c u r s ol e /y m c a s e i t i s p r e c e d ed by a d i m i n i sh e d
p
octa v e or ( a s at 2 5 0 l ) by a n a u g m e n t e d o ne
c .

25 0 .

A r fe t o cta v e p r e c e d i ng a s e v e n th ca n n e ver fo rm a s u spe n si o n

e c
p
nev e r th e l e s s e v e n th e fo l l o w i ng p ro gr e ssi o n
,

ma v : n v er v i n a l c a s e s (l i k e th a t gi v e n i n
ex ce pt o Ex . 2 45 , meas 5 ) .

ass u me th e e a r a n c e o f a s u sp e n si o n
a
pp .

S u s p e n s i o n s b e f o r e th e O c t a v e o f th e R o o t th e T h i r d
, , a nd

th e F i f t h of th e C h o r d o f th e S e v e n t h .

S us pe n

si on b e fo r e t h e oc ta ve .

25 2 .

C: V7 V7 H V7 V7
150 A M A N UA L 0F H A R / O N Y .

S us p e n si on b efo r e th e t/ zzr d
'

25 3
I 5
7
4 3 e i 9

C: V7

S u s pen si on b e fo r e th e ft .

25 4 .

e
7
5

a I V7

A ll th e s e su spen si o n s m a y a l s o b e e m pl o y e d w i th th e s e c o nda ry
c h o r d s o f th e s e v e n th .

A ny i nterva l O f a tri a d o r c h ord O f th e s e venth m a y b e e m p loyed

to pr e pa r e a su s p e n si o n ; b u t th e d i m i n i sh ed s e v e n th i s l e a st a nd ,

th e d o m i na n t s e ven th best ada p t e d fo r th i s p u r p o se

, I n fact m i n o r
.
,

s e v e n th s a r e i n g e n e ra l bett e r a da pt e d for p r e pa r i n g su sp e n si o n s th an
maj o r s e v e n th s .
 A MANUA L OF H AR M ON Y .
151

Pr epa r a ti on b y th e
d omi na nt b y th e a nd di m i n .

s e v en th ,
m inor, ma j or , s e v en th .

3b 5

Ex 4
. to 2
2 54 i
2 n cl u si ve co nta i n p rep ar a ti on s of su sp en s i o n s by

th e octa ve of th e root , th e th i rd a n d th e fth i n tri ad s a n d c h ord s

, ,

of th e seve n th i t i s th erefore u n nece ssary to rep eat su c h e x a m pl e s

h ere T h e p u p i l sh o u l d , ho wever aga i n exa m i n e th e e x a m p l es i n
.
,

questi on th at h e m a y cl ea rly u n d e rsta n d p repa rat i o n by m ea n s o f

,

th e va ri o us i nt e rva l s of th e tri ad a n d ch o rd of th e seven th .

A s th e th i rd r ul e to b e observe d i n s uspe n si on s w e re m arke d

abov e th at th e ton e o f re sol ut i o n i n a s uspen si o n m u st be doub led
,

i n n o to ne b u t th e ba ss a n d i n ca se th e s u spe n s i o n i s i n th e ba ss
, ,

i tsel f n o n e of th e h i gh er pa rts m a y do ub l e th e ton e o f resol uti o n so

,

l on g a s th e l atte r i s i tsel f n ot resol ved A l l th e fo ll ow i ng exa m pl e s

.

are ba d .

25 6 .

C: IV V7 d : I V 1 10 a : II0 7 I V l I 7

T h i s fa ul ty exa m pl e n ow fo l low s i n c o rr e ct e d form .

25 7 a.

C: IV V, d z x V7 a

. Il 7 I
152 A MANUA L OF H A R M ON Y
.

In b ut a s i ng l e e x c ep ti on a l c a s e i s i t perm i ss ible fo r an i n n e r
pa rt i n a s e qu e n ce o f s u spen si on s to do ubl e th e to n e of r e s o l uti o n

In a s uspe n si o n n a m e ly w he n th i s ton e of su s p e n s io n 1 3 th e ro o t
, ,

of th e ton i c tri a d (o r o f s o m e oth er fu n da m enta l tri a d of th e key ) .

B ut th i s root m u st b e
I A l rea dy p repa red (p rese n t ) i n th e i n ne r pa rt i n questi o n ,

and
2 R e mote fro m th e su spen si o n
. .

25 7

C: I

g oo d .

V I Io

R E MA R K . r
Th e p a t a l re a dy h o l di n g th e r oo t (i n th is c a s e a s i n Ex 2 5 7 e a n d
, .

r c h a r a c te r o f 3 h e l d p a r t c on s e q u en tly th e s u s p en si on is

2 5 7 a , th e te n o ), h a s th e ,

pe r m i tte d .

H ere we a l s o gi ve a n exa m pl e o f a susp e n si o n b e for e th e r o o t O f

th e d o m i n a n t tr i ad w h i ch i s p rese n t a n d th u s p repa red i n th e t e n o r
,

w ith i n a s e qu e n c e o f su sp e n s i on s .

g oo d .

25 7 c .

C: I V V I7 V I 1 17 V7 I
 A M A N UA L 0F H A RM ON Y 1 53

T h i s for m O f su spe n si o n o ccu rs l ess freque ntly w i th th e tri a d of

th e subd o m i na nt b u t i t c a n occ u r u nd e r ce rt a i n co nd i t i o n s , a s
,

Ex 2 5 7 a sh ow s
. .

g o od .

25 7 d .

C: I V7 IV V7 IV I xx7 v7 I

54 . S u spen si on s i n th e ba ss u sual ly occ u r o nly before th e M i n !

o f a ch ord sel do m be fore th e f t/z of a enor a of t/ze s ev e n t/z a nd
,

,

sti l l m ore ra rely before th e r oot of a tri a d o r O f a c h o rd of th e seventh .

I n th e la st ca se th ey fo rm before th e tri ad a n i n co m pl ete c h ord o f

, ,

th e sec o n d w i th o m i tted fth a n d befo re th e c h o rd o f th e seventh a

,

ch ord of th e seco n d w i th a l l i ts i n te rva l s th u s a lways h av i n g a ,

do ubl e si gn i ca n ce .

S us p en si on b efo r e th e t/zzr d i n th e Ba ss
'

25 8 .
g
3 A

C: I V V7

Th e ch ord of r e s o l uti o n m u st t he n n ecessa ri ly be a ch ord of th e

S Ix th o r O f th e si xth a n d t/
f z .

S u s pe n si on i n b a ss b efo re ft/z ,

i n c h o rd of th e s e v e nth .

25 9 .

a : V l l oq
154 A JP
IA N UAL OF H A R AI O N Y .

T h e ch o rd of r e sol uti o n m u st a l ways b e a ch ord of th e th i h i -

o

fo u rt h a nd s i xth
,
.

n si on i n b a ss
S u s pe b e fo r e r oot.

C: V7 F : 1 17 V7

S u spen s i on s i n th e ba ss w i th th e ton e o f resol u ti on doubl ed by

,

o n e of th e h i gh est parts a re en ti rel y u n al l owabl e i n s tr i c t w ri ti ng

, .

A l l th e su spen si on s a t 2 6 1 are i ncorrect .

26 1 .

Th e p up i l sh o ul d o b serv e i n st udyi ng Ex 2 5 8 2 5 9 a n d 2 6 0 h o w
, .
, , ,

th e a nti c i pati o n o f th e ton e of r e s o l u ti o n i n a ny o f th e h igh e r pa rts

m ay b e a v o i d ed .

I n al l fo r e go i n g exa m p l es i n d u p l e rhyth m w e h ave seen that th e ,

su sp e n s i o n a l ways e nt e rs o n th e str o ng bea t T h e sa m e p ri n c i pl e .

m u st al s o b e ad h ered to i n tri pl e rhyth m a s Ex 2 4 6 sh owed ; b u t i n

, .

tr i p l e rhyth m excepti on s so m eti m es occur e g , . .

 A MANUAL OF H A R M ON Y .
155

A su s p n si o n d o e s n o t n eutral i z e p a ral l e l octav e s w h i ch

e a re m erel y
r e ta rd e d by i t con s e qu e n tly Ex 2 6 2 i s w rong
,
. .

26 2 .

O n th eth e r h a n d a g e n u i n e d i s s o n a n t s u spe n si o n c o m p l etely

o ,

n e u tra l i z e s pa r a l l e l fth s r e ta rd e d by i t betw ee n a l l pa rts e ven ,

b e t w e e n n e igh b o ri n g pa rts i n c a se th e l e ad i ng of th e oth er p a rts i s

,

oth erw i se cor rect .

26 3 .

C: 1V7 V7 (1 : V7

T he su sp e n s i o n s o f r e ta rded p a ra l l el fth s exh i b i ted a t 2 6 3 a re

c o r r e c t al th o ugh th e r e t a rd e d fth s o ccu r betw e e n n e i ghbo ri ng p arts
, .

S i m i la r pr o gressi o n s h a v e bee n w ri tten by th e b e st cla ssi c a uth o rs

I n stri c t fo u r - pa rt co m p o si t i o n .

Ev e n I n pr o gress i o n s b e ari n g th e ch a racter o f su sp e n si o n s reta rd e d ,

p a ral l e l fth s a re a l l o wabl e e sp e c i al ly w i th con tra ry m o ti o n i n th e

,

o th e r parts th e u n p l e a sa n t e t
, i e c t o f th e o p e n fth s be i n g co m pl et e ly
n e u tra l i z ed p art l y by th e re ta rd at i o n o f o n e pa rt pa rtly by th e su s
, ,

p e n si o n -l i k e c h a ra cter o f th e ch ord a n d i n pa rti cu la r by th e co n

,

tra ry moti on i n oth e r pa rts .

go d o . goo d . g oo d .

26 4 .

e; I v7 (m ) v a : VI (III )

v 1V 7 (III )
'

v
156 A M A N UA L O F H A R M ON Y .

B ut l i ttl e i s l e ft u s to say c o n c e rn i ng th e m a n n e r o f m a r ki n g th e
su sp e n si o n i n th o ro u gh -ba ss n o t a ti o n ; th i s th e p u p i l w i l l h ave
l e arn ed a l r e ady fr o m th e fo r e go i ng e xa m p l e s T he su sp e n si on 1 8 .

i nd i cated ab o v e th e ba ss n o t e by th e g u r e o f i ts i nt e rva l to th e ba ss
n ote ; 6 g we i n d ic a t e th e s u sp e n si o n O f th e n i n t/z b e fo r e th e octav e
. .

of th e ro o t by th e gu r e s 9 8 .

26 5 .

37 8
.

? E
.

g 9 e 7
r

C: V II7 V7 a : IV V7 .

We u sua l ly m a r k th e su s p e n si o n o f th e fo u rth b e fo r e th e th i rd o f
th e tri a d si m ply w i th 4 3 b e c a us e th e tri ad n e e d s n o s p e c i a l gu ri n g
,

i n i ts fu nda m e nta l p o s i ti o n I n a ch o r d O f th e s e v e n th w e g i v e for

.
,

th e su sp en si o n o f th e fo u rth b e fore th e th i rd th e g u res 1 3 : ,

26 6 .

F : I V7

B ut a ful l er gu ri ng may be e m p l oy e d fo r th e tri a d 8

, and fo r
a
th e ch o rd of th e s e ve nth
; 3

W e i nd i c ate su s p e n si o n O f th e s i xth be fo re th e fth i n th e

th e ,

fun da m e nta l p o s i ti o n o f th e ch o rd o f th e s e v e n th by Z 5 or i n fu ll , ,

2 i n h ch rd f th e fth a n d si xth by a n d i n th e h
E rd f
t
g

, 5 ; e o O ; c o o
8

th e secon d by e 7

26 7 .
g 7 Q
H
 A M ANU AL 0F H AR M ON Y [ 57

Th u s eve ry ca se th e suspe n s i o n I S i n d i cated a s a n a c c rd e nta i

in ,

i n terva l by i ts gu r e a s a n i n t e rva l a b ove th e b a ss ; b e si d e th e gure

,

for th e su spen si o n sta n d s th e gu r e I n d i ca ti ng th e r e s o l u ti o n O ver .

o r u nd er th e gu re m a rk i ng th e su spen s i o n a l so s ta n d th e gu re s

prec i sely i n d i ca t i ng th e ch ord ; e g a t a b e l ow th e gur e s 1 5 for

. .

th e tr i ad i n i ts fu n da m en ta l posi ti o n at O 3 9 fo r th e ch o r d of th e ,

S i xth a t e Z S a n d 2 1 fo r th e c h ord of th e fou rth a n d S i xt h ; a t a
, ,

fo r th e ch ord of th e th i rd fo urth a n d si x th wi th s uspen d ed

, .

s e v e nth e tc a s wa s a l so v a r i o u sly s h o w n i n th e preced i ng

,
.
,

e x a m p le s .

26 8 .

4
3
4

Wh ere th e su sp e n si o n l i e s i n th e ba ss th e a cc i den ta i i nterval s to

,

w h i ch th e su spend ed n ote g i ves ri se a re i n d i ca ted i n co rrespo n d i ng

gu res ab o ve th e note o f su spen s i o n e g g 2 ; A s th e d a sh e s
. .
,
g
ca l l fo r th e h ol d i n g of th e n otes a fter th e resol u ti o n of th e su spen si o n ,

i t m akes no d i ffere n ce w h et h er we wri te g 3 or 3 2 or o n ly

%g g

or o.

26 9

F orme r ly a s u spen s i o n in th e ba ss wa s i n d i ca te d Si m pi y by r
.
 158 A MANUAL OF H AR M ON Y

sl an ti ng strok e over th e su s p e nded n ote th e g u re d e s i gn at i ng th e ,

real ch ord be i n g set over th e n o te o f resol uti o n i n th e ba s s .

27 0 .

Th i s m od e of n oti ng su sp e n si on s i n th e ba ss w h i ch w a s a t bott o m ,

m uch si m p l er a n d cl ea rer i s n o w bu t l i ttl e e m p loyed I n a l l th e

, .

fol low i ng exa m pl es su spen si on s i n th e ba ss are i n d i ca ted by th e

gu res r e qu i red fo r th e acci den ta l i n t e rval s a bove th e ba ss a n d th e ,

con ti n uati o n of th ese to n es by m ea n s of da sh es over th e ba ss n o te of

resol uti o n a s al rea dy S h own at 2 6 9 (a ) a n d )e)
,
g I) We sh al l

e m pl oy t h e n o tati o n sh o w n a t 2 6 9 (O ) a n d (a ) o n ly i n ca se th e eb r o
mat i c a l terati o n of a n i nterva l o n r e sol uti o n i s desi red ; e g 3 gor . .

i g e tc .

2 3

27 1 .

3 6 3 E
3

8 ?
3 9 9 7 6 3 3 a ? 9 8 6 5 3 - 9 9 7 3 2
27 2 .

I n o rder n ot to con fu se th e p u p i l we sh a l l a l so occasi o na l ly m ark

: g
th e ch o rd of th e seven th i n i ts fu nd a m e nta l p o si ti on w i th ZZ 9 g;
i ,

a n d th e ch o rd o f th e fth a n d si xth w i th
E T h e gu re 7 b e fo re a .

6 i n d i cates o n th e co n tra ry o n ly th e su s p en s i o n of th e seven th

, ,

be fore th e s i xth i n a ch o rd o f th e si xth a s i n m e asure 3 o f Ex 2 72 , . .

Wh e n work i ng o ut th ese exerc i ses th e p up i l sh o u ld w ri te o u t th e

,
 A MA NUA L 0F H A R M ON Y. 159

degree -n u mbers of th e c h ord s w i th i n th e key i n l a rge a n d s m al l

R o m a n n u mera l s a n d th e cou rse o f th e m od u la ti on i n la rge a n d
,

sma l l ca p i ta l s b e n ea th th e ba ss a s w e sh a l l pro c e e d to sh ow i n
,

Ex 2 73 (w o r k i ng o u t 0 1 ba ss
.

A m ere m ech a n i cal tra n sfor

mati o n o f gu r e s a n d ch ro ma t i c s ign s i nt o n otes i s si mply w ri ti ng
ou t th e th o r o ugh ba ss notati o n i n n otes ; th i s a l on e ca n n ot pro :
-

m ote a cl e a r c o m p reh e n si o n o f th e ch ord s a n d th e i r p rogressi o n s .

T h r o ugh o ut h i s w o rk th e p up i l o ugh t co n sta n tly to k eep i n v i ew ,

i n wh a t k e y h e i s a n d w h i c h ch o rd of t h a t key h e h a s befo re h i m
,

a t a ny gi v e n mo m en t To fu rth e r th i s en d th e w o rk i n g-ou t o f th e
.
,

ba ss at 2 7 2 n ow fo l l o ws Th e p u p i l sh o ul d w ri te o u t h i s e x erc i se s
.

i n preci s e ly th e sa m e m a n n er bu t zn f o u r cl ef s
'

, .

9 8 7 e g 3 6 g 9 e

v 1 1 II a : V d : V7 H 11
7
V7

Th e p repa ra ti o n o f th e su spen si o n m u st a l ways be co n nected w i th

th e l atte r by a ti e T h e g u r i ng g 8 7 i n d u pl e rhy th m al ways
A
.

m ean s th at th e su spen si o n ll s o u t th e w h ol e rst b e at ; fo r th e r e s

,

o l u ti o n a n d th e succeed i ng seve n th th e seco n d h ea t i s le ft a s sh ow n ,

160 A MA N UAL 0 F H A RM ON Y.

i n Ex . 2
73 a t N B
I n tr i pl e rhyth m th e s u spe n si o n tri ad a n d
. .
, ,

ch ord of th e seven th d i v i d e th e m ea sure equa l ly b e twe e n the m .

D up e l rhy th m .

27 4 .

I n th i s case th e sev e nt h fol l ow i n g th e octave m u st n ot b e g ive n to

a noth er pa rt sti l l l e ss sh o u l d i t b e a l r e a dy p re s e n t i n a noth er p a rt
, .

I n m e a s 3 of Ex 2 73 w e h a v e a susp e n si o n o f th e seven th b e fo re
. .

th e c h o rd of t h e seve nth T h e acc i d e n tal ch o rd a ri s i n g fro m th e

.

su sp e n si o n m u st b e r e garde d a s a s u sp e ns i o n a n d n o t a s a c/zor a of
,

M e s e v e n tl z o n th e grd d egree be c a u se th e ba ss i s m a rk ed 7 a n d , ,

g
n ot zor th e exh i b i ti o n o f a ch ord of th e seven th w i th a l l i ts i nt e r
,

val s n ot be i n g d esi re d h ere .

(Co m p 5 2 .
; a l so A pp . I p
, . 26
4,
a n d A pp I I p .
, .

Ex e rc i s e s .

a 8
8 7
E
3
B

9 8
6
3
5

27 5 .

6 5
9 8 6 7
9 8 7 6 5 4 4 8

m
m Q 0 m
1
~
I
I

na l

wH l
 A Ill /{ N U A L 0F l /A R M O /V Y .
161

O pe n h a r m on y .

N B
9
2 9
gb
.

8 4 3 3 7 e 7 6

9 8

A t N . B i n Ex
. . c. me a s 4 , . com p . Ex . 2 5 7 c, m ea s 4 . .

3 7 b8 B 7 8
d : 4
d 4 : 3 4 3 8 7 3 4

V ' .

b
9b : 6 5
5 7
1 3 4 3 7 6 b '
1

4 1;

7
4 3 9 8 7 3 3

g 3 9 B 7
7 . 2 9 6 7
f 3 3
.

3 4 3 4 3 4 3 ~
6 8 3 7 8 4 : 4 3

O pe n h a r mo ny .

92 9 2
g
7

g 6
3 6
'

2 7 4 3 5 a

7
It 6 5
7 U "

3 n

5 5
8 7 7 6 s 4 1: 3 4 3
1 62 A MANUA L 0F HARMO N Y .

4
l

9
@ M
g
1

9
1 4 3 P
D
0
0
[

4 l

9 8 4
M
l

i
3 9
I
t

E
"
2 6

Q |
7 6 9
I

G
I

G 2 1
 A MANUAL H A R M ON Y .
1 63

9 8
6 6 9 8
9 8 5 u I: 5 9 8 7 7

b6 b6
7
5 Z 9 8 7 7 6 D i n

g;
7
5
b _
6
9
n
8 7
5
b 6
9 8 7 6 n 4 D

O
I

T he m a rk o pe n h a r mo ny o r c l o s e h a r mon y a t th e h e a d o f th es e a nd s u b s e

q uen t exe r c is es m u s t n ot b e ta k e n a s m e a n i ng th a t th e e nti r e ex e r c is e is to b e wo rk e d

o u t i n o en o r c l o s e h a r m on y w h i c h a l te r n a te a cco rdi n g to th e l ea di n g o f th e
p ,

parts .
 M A JV U A L

164 A 0F H A A ZV O N Y .

CHA PT ER X V II .

S u s p e ns i o n in S e v e ra l Pa r ts .

55 5 I
. n fo u r - a rt w ri ti ng su s en si o n s
p p ma y o cc u r s i m ulta neo u sl y
i n tw o o r even th ree parts ; e g . .

s
S u pe n s i on i n two p a r ts .

27 6 .
7
6 5
9 8
7 6

C: I vnO a : I V,

S u s pe n si on i n thr e e p a r ts .

27 7 9 8 9 8
7 7 6 4 7
6
4 3. 5 4 3 3

C: I v 1 1 a : 1 1 10 7 V7 I

T he a c c i d e nta l i nterva l s th en for m ed w i th th e ba ss by th e s u s

pen d e d t o n e s a r e to b e i n d i cated by corre spo nd i ng gu res i n su c h a
w a v th a t l a rg e r gu r e s a l ways st a n d ov e r s ma l l er o n es w hatever
, ,

:2g E
m a y b e th e m utua l po si t i o n of th e h i gh e r p arts ; t h u s
g e tc , .
,

a s i n th e e xa m pl e s above .

A l l su s p e n s i o n s h i th e rto sh own w e re r e sol ved down w ard s Thi s .

i s th e na tu r a l a n d co rrect p rogressi o n so th a t i n freer l ea d i n g s o f,

th e pa r ts (a s we sh al l see lat e r ) th e r c s ol u tzo n o f th e su s en s i o n

p
w i l l n o l ong e r b e i n d i c ated i t be i ng ta k e n for gra n ted tna t i t p r o
,

g r e s se s d o w nwa r d s . B ut t h er e i s on e ca se i n w h i ch th e su s p en s i o n
w i l l be r e solved u p wa rd s ; th i s m a y a l ways occ u r w h en th e su s
p e n d e d tone pro gress e s a l esser s e m i ton e u p ward s to th e ton e o f r es
o l u ti o n .
 A MA N UA L 0F HA RMONY . 1 65

T h i s res o l ut i on i s ex pl a i n ed by th e c k a r a cte r of a l e a d i ng -n ote

i m m a n en t to th e u pwa rd p rogre ssi on of a l e sser se m i ton e I nd e e d
.
,

su c h su spen s i on s g e n era l ly o c c u r fro m th e l ead i ng-n o te to th e o ctave

o f th e to n i c o r fr o m a n al t e r e d ton e to i ts n a tu ra l to ne of res o l uti o n
,

ab o v e T h ey a re sel do m fo u n d a l o n e
. .

27 8 .

S u spe n si o n s r e s o lv i ng up wa rd s a re m u ch o ften e r m et w i th in co m
b i nati on w i th oth er su sp en s i o n s res o lv i n g d ow n wa rd s .

27 9 .
4

Two s u spe n si o n s r e s o lv i n g u pwa rd s m ay occ u r e i th er i n c o m b i

n ati o n w i t h a n o th e r su spen si o n res o lv i ng d ow nwa rd s o r w i th out
.

th e l atter .

28 0 .
W

A su spen si o n reso lv i ng by a w /zO l e to n e u pwa rd s ca n n e v e r be

e m p loyed by i tsel f i n stri ct w ri ti ng S u spen s i o n s of th i s k i n d so u n d
.

st i ff a nd u n n atu ra l I f o n e were t o try to e x pl a i n th e m by a ssu m i ng

.
166 A MAN UA L 0F HARMONY .

tha t th e proper ton e of resol ut i o n lead i ng d o w nward s h a s b een

o m i tted v i olat i o n s of th e ru l es fo r res o lvi ng suspen si on s w o u l d
,

beco m e ap pa rent s u c h a s r e ta rd e d pa ral l el octa ves o r th e p resen ce

, ,

of th e prop er ton e of resol uti on i n a n i n n er pa rt .

28 1 .

28 2 .

Th e i n corr e ctn ess i n the p rogressi o n of th e su sp en si o n a t 2 8 1 (a ) i s

e x h i b i ted a t 2 8 1 (6 ) w h ere th e true ton e of th e dow nwa rd resol uti o n
i s a d ded i n pa r e n th eses . B ut th i s ton e i s al rea dy p resen t i n th e al to .

Th e su spen si o n a t 2 8 2 (c ) m akes th e i n correctn ess of i ts p rogressi o n

at (d ) apparen t Th e i nterpolated tru e ton e of resol uti on sh ow s th e
.

op en p aral l el octaves reta rded by th e s uspen si o n .

A su spe ns i on resolved by a scen d i ng a w ol e to n e m a y h owever , ,

be e m ploy e d i n stri ct co m p o si ti on i n conj u n cti o n w i th an oth e r s u s

p en s i o n resolved by a scen d i ng a se m i t o n e ; e g. .

28 3 9 3
g
1

9 1
3 g
.

Ex 3 ( )
. 28 shaow s such a do ubl e su sp en s i on res o lv i ng upwa rd s .

Ex 2 8 3 (6 ) sh ow s a do ubl e susp en si on res o lv i ng u pwa rd s co mb i n ed

.

w i t h one resol vi ng dow nwa r ds B ot h for m s a re correct

. .
 A MANUAL HARMO NY .
1 6?

T i l l n ow w e h a ve a l way s l et th e b a ss wa i t fo r th e resol uti o n o f

th e s u sp e n s i o n th e s u spen si o n a n d i ts r e s o l u t i o n th u s form i n g a
,

s i ng l e c / zo r rl Th e ba ss m a y h ow e v e r p r o g ress fu rt h e r s i m u l ta
.
, ,

ne o u s l y w i th th e res o l u ti o n o f th e su sp e n si o n e i th e r pa ssi n g to ,

a n oth er i n t e rva l of th e c h ord o f re sol ut i o n o r ca l l i ng by i ts p ro ,

'
g r e s s i o n fo r a n e w a n d d i f
f e re n t c h o rd I n e i th e r ca se o n
.
ly tl ze

s u sp e n s i o n i ts elf a n d n o t i ts res o l ut i o n i s i n d i ca ted i n th o r o ugh -ba ss

, ,

n o ta ti o n . Th e r e s o l ut i o n o f th e su sp e n si o n i s t h e n a ssu m ed to
b e th e r e gu la r d e sc e n d i ng o n e a n d m u st be e d e c te d a cc o rd i n gly
, .

E x 2 8 4 sh o w s s us p e n si o n s i n w h i ch t h e ba ss p r o gr e ss e s si m u l ta n e
.
,

o u sl
y w i t h th e res o l uti o n s t o so m e o th er to n e o f th e c ho rd of r es
,

o l u ti o n .

C: I a : W V V7 1 C: III 1 17 a : I V7 I

I n m ea s 6 o f th e ab o ve e xa m pl e w e a r e e n abl e d to m ark th e
.

su spen si on a n d i ts res o l uti o n a s o n e c h o rd o f th e s e v e n th w i th th e

root e n teri n g later ; th i s w e ca n do i n a l l s i m i la r ca s e s e g ,
. .

e tc .

C: I V7 vr v 1 10 7 V vi7

A lth ough i n Ex 2 8 4 a n d 2 8 5 th e i n n e r pa rts d o no t l eave th e i r

.

p o si ti o n s ca s e s m ay o ccu r i n w h i ch a m i dd le pa rt m u st l ea ve i ts
,

po si t i on si m u lta n eo u sly w i th th e resol uti o n of th e su spe n si o n w h e n ,

1 68 A MANUA L 0 F HARMONY .

th e ba ss progresses to so m e oth e r t o ne of the ch ord o f res o l uti o n ;

e g
. .

28 6 .

a

. l 1 V7

I n BX 2 8 6 (a ) th e ch o rd o f res o l uti o n w o u l d la ck i ts th i rd w i th o ut
.

th e pr o gress i o n o f th e t e n o r ; i n 2 8 6 (O ) th e th i rd o f th e c h o rd (th e
l ead i ng -not e ) w o ul d be do ubled w ere i t n o t for th e progressi o n 0 1
th e a lt o .

B ut w h e n th e ba ss si m ul ta n eo u sly w i th th e r e s o l uti on o f th e su s
,

p e n si o n passes to a ton e fo re i gn to th e tru e ch o rd o f r e s o l u ti o n a n d

,

ca l l i ng fo r a n ew c hord i t a l so fo rces o n e o r both of th e i n n e r pa rts

,

to p ro gress a t th e sa m e t i m e to th e to nes of th e n ew ch ord lyi ng

n ea rest th e m .

28 7 .

C: I II a : v u 7 C: I IV a : v n7 r

A su spen s i o n m ay a l so be h el d th rough s e vera l ch ord s ; i t m u st

th e n be i nd i cated i n eac h c ha ngi n g fo r m of th e c h o rd s by g ures
expressi ng i ts i nterva l to th e ba ss a t th e t i m e th e n e w ch ord fo r m s -

a ri si ng d u ri ng th e s u sp e n s i o n m u st a l so of c o u rs e b e prec i s e ly
, ,

i n d i cated by th e th oro ugh -ba ss guri ng Ex 2 8 8 show s a s u sp e n. .

s i o n h el d th ro ugh severa l c h ord s .

 A MANUA L H AR M ON Y . 1 69

28 8 .

C: I G: V7 C: V7 a : v 1 1
? I

C: 1 0 : V7 C : v7 a : v 1 10 7

R EM A RK . O n e or mo r e n s m a y a ls o b e i n te r po l a te d b etwe en th e s u s pen d e d
to e

ton e a n d i ts r e s o l u ti on ; s u c h i n te r p o l a te d to n e s m a y b e l on g to th e c h o rd o f r e s o

l u ti o n or be fo r e ign to i t a nd m a y p r o gr e ss to th e ton e o f r e s o l ti on b y a ski p o r

, , u

a s te ] th e p r o pe r ton e of r es o l u ti o n m a y s o m eti m e s b e en ti r e l y o m i tte d e g

,
. .

28 9 .

I n th e fo l l ow i n g ex e rc i ses th e p u p i l w i l l n d l i ttl e opportu n i ty to

w ri t e s u c h i nt e rp o l ate d n o te s before th e t o n e of res o l ut i o n ; n or
sh o ul d h e try to b ri ng th e m i n e v e ryw h e r e I n stu dy i ng Co u nte r
.

p o i n t h e w i l l l e a rn th e va l u e a n d i m p o rta n c e w h i ch suc h i nte rpo

l at e d n o t e s s o m e ti m e s poss e ss fo r th e m o ti o n a n d e m b e l l i sh m en t o f
a co m p o si ti o n F o r th e sak e o f c o m p l et e n e ss w e we re obl i ged to
.

m e nti on th e m h e r e .
[ 70 A MANUAL OF HARMONY .

I n th e exa m pl es a n d e x e rci s e s c o n ta i n ed i n Chapters X V I a nd

XV II th e guri ng 9 8 or $ 8 o r eve n
i g i s o fte n fo u n d ov e th e r
, ,

ba s s n ote to i n d i cat e th e s u spen s i on of th e n i n th b e fore th e o c ta v e

i n a tri a d or befo re a ch ord of t h e seven th
, .

Th i s i s th e e xact guri n g fo r th e ba ss w h i ch ea rl i er th e o ri sts u s e d

for th e ch o rd o f th e n i n th Th i s ch ord w a s gen era l ly er e ct e d on ly
.

on th e d om i na n t i n m ajor an d m i nor .

C : V9 6 : V9

So m e text -bo o k s al s o sp ea k of seco n da ry c h ord s of th e n i n th o n

o th er d e gre e s o f th e sca le We rega rd su ch ch o rd s a s a cc i d enta l
.

form s a r i si ng fro m th e suspen si o n of th e n i nth b e fore th e octave ,

an d loo k u p o n i t a s su p er u o u s to tea c h a fo rm of ch ord r ej e c te d by

s o m e th eor e ti c i an s ta ugh t by oth e rs o n on ly on e d e gree of th e sca l e
, ,

a n d e mpl oyabl e u sua l ly o n ly i n i ts fu n da m e ntal posi ti o n b ut n o t i n ,

its i nv e rsi on s Wh en u si ng th i s ch ord i n fo u r -pa rt w ri ti n g o n e

.
,

in terva l th e fth or s e ve n th m u st of co u rse b e d r o pp e d A s th e

, , .

n i n th b e i n g a d i ss o na nt i nterva l m u st a l ways b e prepa r e d e v e ry

, , ,

so - ca l l e d c h ord o f th e n i nth a l ways ap p ea rs a s th e sus p e n si o n o f a

ni nt h b e for e th e octave o f a tr ia d (wh en th e sev e nth i s d ro p ped ) o r ,

of a ch o rd of th e sev e n th (wh e n th e fth i s la ck i ng ) B ut w h e n a .

ch o rd of th e n i n th e n t e rs w i th o u t p rep a rat i o n o f th e n i n th i t a l w ay s ,

p r o ves to be a c h o rd o f th e s e ven th o n th e 7th d e gr e e i n m a j o r o r

m i n o r (th e se v e nth s o f w h i ch m a y e n ter freely ) over a n o rga n -p o i n t :
e g
. .

29 0 .

T h i s m att e r treated is of at l e n gth i n C h apte r X V I II , 5 8 ,

The
O rga n -p o i n t

.

O f l i k e ch a ra ct e r a nd si m i l a rl y expla i nab l e
, , is th e fre e e ntra n c e
 A IA N U A L OF H A R / O N Y .

of a n i nth by a sk i p o r st e p over a c h ord

, ,
of th e sev e nth or tr i a d in
g u ra te c o u n terp o i nt e g , . .

d : V 7 g: V7 C : V7 F : V7

S uc h n i nth s a re m o stly fo u n d o n ly o n th e w ea k beat ; a few u n

p r e pa r e d n i n th s oc ca s i o na l ly a p pea ri ng o n str o ng b e ats d o n o t j u st i fy

th e a ss u m pti o n th a t th e y a re tru e ch o rd s o f th e n i n th an d may ,

e a si ly b e exp l a i n e d fr o m th e fr e e r l e a d i ngs a l l o wabl e i n g u ra tc

c o u nt e r o i n t
p F.o r i n sta n c e n o o n e ca n w e l l se e
, i n Ex 2
9 2 a n
y , .
,

th i ng fu rth e r th a n a ch a ngi ng -n o t e D b e fo r e th e c h ord -n o te C w h i ch

D m a y e nt e r fr e e ly a n d sk i p w i th o u t to u c h i ng C to th e fth of th e
ch o rd o f th e s e ve n th .

29 2 .

F : 1v v7

S u ch l ib e rti e s i n th e l e ad i n g w i l l b e ful ly ex pl a i n ed to th e p u p i l
i n h i s c o u rse i n c o u n terp o i n t B e si d e s th e tru e s tr i c t styl e o f p u r e
.
,

c o ntra p u n t a l c o m posi ti o n d o e s n o t eve n per m i t su c h l ib e rti e s i n th e

l e ad i ng o f th e p a rts a s tha t sh o w n i n Ex 2 9 2 fo r th e c h a ngi ng -n o te

.
,

sh o u ld e n te r o n ly by a st e p befo r e th e p r o p e r ch o rd -n o te a s sh o wn ,

b e l ow

29 3 .
1 72 A MA NUA L 0F HA RMO NY .

I n th i s case , too i m pa rti a l j udg e s ca n se e o n ly ch a ngi ng -n otes

,

p reced i ng th e c h o rd -n o t e b u t n o t c h o rd s o f th e n i n th w h i c h m u st
, ,

always be p r e pa red H e re w e n e e d n o t d i s c u ss w h e th e r su c h l ea d
.

i ngs a s th ose i n Ex 2 93 a re real ly p e r m i ss ibl e i n th e stri c t styl e

. .

A l l th e o rigi n al ch o rds e n u m e rat e d by u s w h e th e r tri a ds or ch o rd s

,

of th e sev e n th c o ul d b e e r e ct e d o n a l l degr e e s o f th e m aj o r a n d
m i n o r sca l e s a n d u s e d b o t h i n th e i r fu nda m e n ta l p o si ti on s a n d a s
,

a genera l th i ng i h al l th e i r i n v e rsi o n s F i ve -t o n e S i x t o n e 0 1
,

-
.
, ,

eve n S e ve n -ton e c h o rd s (ch o rd s o f th e n i n th t e nth a nd e l e v e nth )

, , ,

occa si on al ly a ppeari ng a s acc i d e nta l ch o rd -fo rm s i n th e fre e m oder n

style e g
, . .

ca n n o t b e rega rded a s o ri gi na l ch ord s w h e th e r p rep are d o r not

, .

Ev n th e ab o ve a cc i d e nta l chord w h i ch w e c o n ce i ve a s a ch ord o f

e
,

th e s e ven ed above th e d o u bl e o r g a n -p o i n t E ,

ca n h ard ly b e su f c i e ntly p repa red ; st i l l l ess a ch o rd con si sti ng ot

seve n i n te rva l s l i ke th e fo l l o w i ng :

S u c h a co m b i nati o n o f i nterva l s i s n o t pro p e r for e m p loym e nt i n

stri c t w ri ti ng i f o n ly for th e r e aso n th a t th e ton e of resol uti o n o f
,

th e s usp e n ded t o ne i s fo u n d i n a n i n ner p a rt B ut eve n i n th e fol

.

low i n g for m
 A MANUA L OF H A R AI O N Y . 1 73

we ca n not ca l l th ese a cci den ta l form at i on s c h ord s of th e th i rteen th

w i th o m i tted n i n th w e m u st rath er c o n s i der th e m a s c h ord s o f th e
s e ven th o n t h e 7th degree over th e d o ubl e o rga n -p o i n t of th e to n i c a n d
d o m i na n t w i th th e p repa re d s u sp e n s i o n s B or B i? befo re A th i s A
, ,

b e i ng th e fou rth b ef ore th e th i rd o f th e sa i d c h o rd s of th e seve n th ,

th e seve n th of w h i ch (E o r E l?) ca n e n te r u n p repa red (Co mp . .

A pp I p 2 6 7 a n d A pp I I p
.
, . , .
, .

Ex e r c i s e s .

0
35 7
9 9 8 2
6
5 9

O pe n h r m ony
a .

a.

8 7
3 6 6 9 6 8 :

5
1
'
8 6
} 2 8b 3 5 3 6 8

3 % 8 8
4 s
7 7 b
g 6 2 6 Z 9
6
4
7
3

l aw
1 74 A MANUAL OF HARMONY .

7 N
3 it 3
I

5 3 I

9 8
6
23 5

O pe n h a r m on y .

:
) a
0
0

7
u _
_ 6

6
7
i
:
s

0
ms 9 8

%u i
7
N 1 . a. 2 Z?

9 8 7 $

8 3
0
2 5
3
 A [ YIA A VU A L OF H A R AI O N Y .
175

m 9 6 5 7 g 26 5 7 6

CHA PT ER X VI I I .

Pa s s i n g
n o te s a n d Pa s s i n g -c h o r d s ; Ch a i
ng n g n o te s ;

th e O rg a n
p i o nt .

5 7 . We a p p ly th e n a m e o f p a ss m g
-n o te s o r pa ss i ng -t o n e s to

ton e s i nterpol at e d a n d p r o gr e ss i n g by a s tep be tw e e n tw o t o n es

b e l o ngi ng to o ne o r tw o c h ord s w h i c h pa ss i n g -n o t e s m a y e i th e r
,

bel ong to th e rst o f th e se c h o rd s o r m a y tra n si e ntly fo r m i n c o m

, ,

b i n at i o n w i th i t a n e a r l yw e l a ted acc i d e n ta l c h o rd -fo rm n e w a n d ri ch

,

i n e ffe ct B u t th ey m ay a l s o be fo r e ign to th e sa i d rst c h o rd a nd

. ,

fo rm a d i ss o n a n c e w i th i t S u c h a d i ss o n a n t pa ssi ng -n o te m ust
.

p r o gress s tep w i s e to a t o n e bel o ngi ng to th e rst c h o rd o r i f a ,

sec o n d n e w ch o rd e n te rs to o ne o f i ts t o n e s
,
T/ze p a s s i ng -n o te
.

c a n n ev e r e n te r on M e s tr o n
g Oed t .

29 5 .

C : I
1 76 A MANUAL 0F HARMONY

I n Ex 2 95 th e n o tes D a n d F m a r k e d w i th a s te ri sk s a r e p a ssi ng
. .

n o te s w h i c h a r e fo r e i gn to th e ch o rd a nd a r e i nt e rp o la t e d between
th e to ne s C
, ,

E G o f th e C m aj o r tri a d .

29 6 .

Ex . 2
9 6 sh ow s us th e sa m e p a ssi ng-n ot e s b e tw e e n tw o ch ord s .

29 7 .

C: I IV v 1 1

Ex 97. sh2o ws u s pa ss i ng -n o t e s b e twee n th e c h o rd s o n th e I st ,

th th a n d st d e gr e e s i n C-maj o r ; th e y e i th e r fo r m n e w a c c i
4 7
, 1 ,

d e n ta l ch o rd s w i th th e ab o v e chord s o r bel o n g to th e tru e o ri gi na l

,

c h ord s We m i gh t gu re Ex 2 9 7 a s fo l low s :
. .

29 8
2
.

T h i s i s h o wev e r u n necessa ry ; i n fu tu re we sh a l l m ark pa ssi ng

, ,

n o tes i n th e b a ss o nly by a d ash ove r th e n o t e w h e th e r th e y fo r m o r

,

d o no t fo r m a n a c c i d e n ta l c h o rd W i th th e ba ss n o t e .

29 9 .
 A MANUA L 0 F HARMO N Y 1 77

T h e da sh ove r th e n o te sh o ws th a t n o tru e n ew ch ord i s for m ed

o v e r th e n ot e b u t th a t th e pr e ced i n g ch o rd i s to s o u n d on i n th e oth er
,

pa rts w i th the pa ssi ng -n o te .

Pa ssi ng -not e s i n tw o o r more p a rts m a y fo r m pa ssi n g ch ord s .

Pa ssi ng -n ote s m a y a l so be l ed ch ro m at i ca l ly .

3 01 .

Ch ro m ati c pa ssi ng-n otes m u st n ot h ow ever b e e m pl oyed

, , to o
frequen tl y Pr o gr e ssi o n s l i k e th e fol low i ng i n Ex 3 0 2 a re
. . n ot

a dapted for str i ct co m p osi ti on .

302 .

P a ssi ng-n ot e s a n d ch ord s i n th e l zg e r pa rts m u st be i n d i cat e d by

178 A MANUAL ON HARMON Y

th e c o rr e spon d i ng gur e s a n d si gn s of th o rough -bass n otati o n ove r

th e ba ss -n ote (Co m pa re 5 8 o n T h e O rga n
.

3 03 .
4 !
9 3
9 3
0

C: I

F iv e p a r ts .

m
n
o
l
~ o
l i

| l

C: V7 V7 C: V7 I

C a ng i ng -n otes a re n o tes fo rei gn to th e ch ord fa ll i ng o n th e ,

str o n g b e a t a n d reach i ng th e ch ord -n o te by th e s tep of a t o n e or

s e m i ton e w h i c h bea r th e ch aracter of a n u n prepared su spen si o n
, .

Th ey m a y en te r fro m above o r bel ow ei th e r by a step o r sk i p befo re

,

th e ch ord -n ote a n d w i th o ut p repa rati o n

, (Co m p Ex 2 93 m ea s 2. . .
, .

and

3 04 .

I n Ex 3 0 4 th e ch a ngi ng -n o tes a re m ark ed 0

. . .

Pa ss i n g a n d c h a ngi ng -n o t e s ca n b e e m p l oyed on ly i n g u r a te
co un t e rp o i n t a n d o n th e w ea ke r bea ts fo r th e a n i m ati o n o f t h e
,
 A MA NUA L OF HARMO NY .
1 79

rhyth m T h e form er o cc u r i n pra cti ce far often er th a n th e latter I n

. .

o u r O p i n i o n th e occa si on a l e mp loy m e n t o f c h a ng i ng m o te s i s n o t p r e
jud i c i a l to p u ri ty of styl e b u t th e i r ov e r-freq u e n t u se i s n o t to be r e
,

co m m en ded i n th e stri ct styl e I n h i s co u rse i n cou n te rpo i n t the

.

p up i l w i l l re ce i ve deta i led i n structi on s o n t h i s po i n t .

o h th e O r g a n -p o nt
i .

58 . A
o rga n -po i n t a r i se s w h e n th e ba ss be i ng h el d th ro ugh
n ,

o ut a m e tri cal ly a n d rhyth m i ca l ly w e l l -d e n e d po rti o n of a p i ece ,

form s th e ba si s for a se ri e s o f c h ord s w h i ch a fter th e rst c o n s o na n t

,

o n e a re i n pa rt co n so n a n t to th e ba ss a n d i n part ch a ngi ng ch o rd s
, ,

so m e t i m e s eve n h av i ng n o d i rect rel ati o n to th e ba ss to n e A n .

o rga n-po i nt m ay b e set a t th e beg i n n i n g of a co m posi ti on o n th e

to n i c i n i ts m i d st or t o wa rd s th e e nd o n e i th e r ton i c o r d o m i na nt
, ,

o r ev e n o n both ton i c a nd do m i n a n t a t on c e B oth th e rst a n d .

c losi n g c h ord o f a n o rga n po i nt sh ou l d be a co n so na n t i n d e p e n d e n t

-
,

ch o rd th o ugh a n orga n -po i n t o n th e d o m i n a n t m a y begi n w i th th e

d o m i n a n t c h o rd of th e s e ve nth O ve r th e o rga n . p o i n t c h ord s co n ,

sona n t a n d d i sso na n t to th e ba ss to n e sh o u l d a l te rnate A n exce ss .

of d i ssona nt ch o rd s ofte n o ut of a l l a cc o rd w i th th e ba ss h a s a ba d
, ,

e ffect I t i s a l so be st to fo r m th e c l o s e o f th e orga n -po i nt o n a r h yth

.

m i c a l l y a n d m etr i ca l ly wel l -d e n e d pa rt o f th e co m posi t i on A n .

a rbi tra ry b r ea k m g o of th e o rga n -p o i n t i s n ot to be a ppro ve d o f

Th e l o west pa rt a m on g th ose ov e r th e o rg an -p o i n t i e i n fo u r -pa rt , . .

w ri ti ng th e te nor form s a s i t w ere a n i nd epe n den t ba ss to th e oth er

,

pa rts above i t T h u s w h e n th e ch ord of th e seve n th o n th e 7th

.

degree a ppea rs ove r a n o rga n -po i n t o n th e d o m i n a n t w e get th e ,

a cc i de n ta l c h o rd for m ca l l ed by so m e th eo r eti c i a n s th e c h o rd of th e
-

n i nth (co m p 5 6 ) .

3 05 .

B el o w a re a few e x a m pl e s fro m w h i c h th e pu p i l w i l l p erce i ve

,

th at th e th oro ugh -ba ss gu ri n g of th e true o ri gi na l c h o rd s a nd o f th e

180 A MA NUAL 0F HARMONY .

pa ssi ng ch ord -for m s o v e r th e ba ss t o n e o f th e orga n -po i nt i s a p u rely

m ech a n i ca l o ne T h e gures exactly i n d i cate th e i n terva l s a s reck
.

o n e d fro m th e ba s s .

O RG A N I PO N T on THE To m c .

3 06
3
8 8 8
1
'

g 3
.
3 2 3 3 4 3 a 4 4 3 4 3 6

O R G A N -PO IN T O N THE DO M IN A N I
'
.

3 07 .
7 :7 7 n 7 9 b 9 7 9

3
2 3 2 2 3 3 3 2 2 3 3 2 3b

Q
g
9 6 6
g 6
3 4 8b 7 3 3 3 l5 8 7

O rga n -p o i n t o n ton i c a n d do m i na nt ; th e th oro ugh -ba ss gu ri n g

is recko n e d fro m th e ton i c (key -n ote ) .

e tc

w wE
e e .

a
N
o o 4 6 o
s n G . i

s
 A MANUAL 0F HA RMO NY .
181

A n orga n -p o i n t o c cu rr i n g i n a ny of th e h i gh e r pa rts i s te rm ed a n
i n v e r te d o rga n -p o i n t O th e r t e rm s u s e d fo r th e orga n -po i n t a re
.
'

ed a l - oi n t e d a l Iza r m o n o r si m ply ed a l
p p p , y , p .

O rga n -p o i nts i n th e h i gh e r pa rts h o wever ca n be e m pl o yed fa r

, ,

l e ss fr e qu e n tly th a n i n th e ba ss a n d a r e l e ss su i t e d to th e stri ct th a n
,

to th e free styl e (C o m p a l so A pp I p 2 6 9 a n d A pp II p
. . .
, .
, .
, .

Ex e r c i s e s .

8 7 7 6
6 3 7
u
g g i g gn g g g
3 09 .

7 9 6
%
3 3 2 3 3 n };

6 7 7 - g : 9 6

6
I M
i

0 i

!
m
.

5
a
 MANUAL HARMO NY

13 2 A OF .

6 7

6 3 5 6 6 3 3 3 6 4 1:

C H A PT ER X IX .

C o v e r e d Pa r a ll e l O c ta ves a nd F i f th s . C ro s s R l
e a t on.i
59 . I n p rev i o u s ch ap ters w e h a ve a l rea dy t o u ch ed u p o n th e
essen t i a l po i n ts con cern i ng fo rb i dde n octa v e s a n d fth s ; w e r e tu rn
to th e subj e c t i n o rde r to re m a rk tha t o u r for m er ob servati on s o n
,

covered octaves an d fth s were m a de pr i m a ri ly w i th re fe r e n ce to

fo u r-p art w r i ti ng T h e ca se i s d i ffe re n t wh ere m o re tha n fo u r pa rts
.

a r e p res e n t a larg e r n u mbe r of pa rts o ften so c o n c e a l i ng th e ab o ve

,

m enti o n ed progressi o n s th at the i r u n p l e a si ng e ffe ct i n fo u r -pa rt

,

co m posi t io n i s qu i te obv i ated I n two -part or th ree -pa rt w ri ti ng

.
 A l A N U A L OF HA RMONY . 1 83

in crea s e d ca uti o n i s n e c e ssa ry a n y covered i nc o rrect p ro gr e ssi o n

,

be i n g m uc h m o r e n o ti ceabl e i n th e sa m e .

Covere d o ctave s a n d fth s ca n a ri se a s th e p u p i l al ready k n ows

, ,

on ly i n p a r a l l el m o ti o n w h e n tw o parts pr o gr e ss fro m a ny two d i f

,

fe r e n t i n t e rva l s to a n octa v e o r d o ubl e o cta v e fth o r twelfth , .

C ov e red oc ta ves C o v er e d octa v es , o ne r

pa t p o e r gr ssi n g
by a s ki p . by a ski p , th e h r
o t e , by a te p s .

C o v e r e d fths .

T h e pa ral l el fth s a n d octaves c o m e to l igh t w h e n we l l o u t th e

sk i p s m a de by th e pa r ts w i th sm a l l n o tes .

I n fo u r -pa rt w ri ti ng o n th e ot her h a n d a n e a sy a n d n atu ra l p r o

, ,

r e s s i o n o f th e pa rts i s i m p ra cti cab l e w i th o ut covered fth s a nd

g
octav e s I t m u st b e o u r rst ca re to sh o w th e p u p i l wh a t fo r m s o f
.
,

c o ve red fth s a n d octa ves p rod u ce a ba d e ffect i n fo u r-pa rt w ri ti ng .

To th i s e n d we s h a l l n o w b ri e fl y revi e w th e for m s o f c o v e red

fth s a n d o ctave s to be avo i ded by th e p u p i l i n fo u r-pa rt c o m p o si ti o n .

B u t we a dv i s e h i m a t th e sa m e t i m e n ot to b e o ver-a n xi o u s to a vo i d
oth e r fo r m s o f covere d octaves a n d fth s besi de s th o se p ro h i b i ted
h e re F o r by try i ng to a v o i d i m agi na ry e rr o rs h e m igh t ea si ly go
.
,

to th e opp o si te extre m e of a sti ff a n d u n na tu ra l l ead i ng o f th e pa rts .

O n th e oth e r h a n d w e d e si r e h i m ca r e fu l ly to a v o i d i n e v e ry ca se
, ,

wh e re i t i s p o ssi bl e to d o s o th e p ro gr e ssi o n s o f fth s a n d o ctav e s

,

cen su r e d h e re no t o n ly a t pr e s e nt b u t a l s o i n th e m o st d i ffi cu l t c o n
, ,

tra p u nta l form s s uc h a s th e ca n on fu gu e a n d str e tto o f th e fugu e

, , , .
1 84 A MA NUA L 0F HARMONY .

C overed octave s a n d fth s a r e to b e av o i ded w h en th e two pa rts

,

sk i p to th e octave o r fth (t w el fth )f r om on e c/zor d to a n otk e r c/zor d

.

3 10 .

A l th ough som e of th ese p aral lel octaves a n d fth s h ere en teri ng

.

by a sk i p are i ntrod uc e d u n de r th e m o st favorab l e c i rc u m sta n ces

i magi nabl e a s at O c d f /z
, , , , , a n d R w h ere everyth i ng i s d on e
, ,

by th e a i d of co ntrary a n d (at /z) o bl i q ue m ot i on i n th e oth er pa rts

,

to softe n th e u n pl e a s i ng e ffect of t h e i n correct p rogressi o n s ea ch

a n d every o n e of th e m i s to be c o n de m ned .
 A MA NUAL 0F HARMO N Y .
1 85

B u t wh e n m e rel y a tra n sp o si ti o n o f o n e a n d t/ze s o m e c/i o r a is
e ffected p a ra l l e l octaves a n d fth s s o e nte ri ng by a sk i p
, a re
p er

mi tte d ; e g . .

3 11 .

Covered octa ves a re l i kew i se forb i dde n b etwee n o ute r pa rts wh e n ,

o n e pa rt p rogress e s u pwa rd s by a w h ol e ton e a n d t h e oth e r ta kes th e

oc tave by a sk i p (c o m p 2 r ).

3 12 .

Wh e n th e l ug/Be r of th e two pa rt s p rogress e s d ow n wa rd s by a

w h o l e t o n e to th e r oo t o f th e ch o rd to w h i c h th e o th e r o ut e r p a rt
sk i p s th e cove re d octaves a re p erm i tted rov i d i ng th a t th e l ea d i n
, p, g
186 A MA NUA L OF HA RMON Y .

of th e pa rts i n g e n era l i s no t i n c o rr e ct C o n sequ e n tly Ex 3 1 3 (a )

.
, .

i s go o d a n d (6 ) n ot good beca u se a l l fo u r pa rts p rogr e ss d own wa rd s

, , .

a . g oo d . O . ba d .

3 13 .

B ut w h e n th e l ow er of th e two o ute r parts p rogr e ss e s downwa rds

,

by a w h ol e ton e to th e r oot o f th a t c h ord to w h i ch th e h igh e r p a rt

,

sk i ps , th e pa ra l l e l o ctaves resu lti ng a re fa u l ty e g . .

n ot go do .

Wh e n o n e of th e o uter p a rts p ro gresses dow nwa rd s by a step to

th e th i rd o r fth of th e ch o rd a n d th e oth e r o u t e r pa rt tak e s th e
,

sa m e i nt e rva l by a sk i p th e e ffe c t i s e xtre mely u np l ea sa n t ; s uc h

,

covered octaves a re stri ctly forb i dde n .

3 15 .

A ll th e above covered paral l e l octav e s gi v e n un der Ex 3 1 7 a re .

bad a n d m ust be ca re ful ly av o i d e d ; ex c e p ti n g th a t m ark e d N B

, . .
,

w h i ch m a y b e p e rm i tted b e ca u s e i ts e ffe c t i s r e n dered l ess u np l ea si ng

,

by th e cl o se rel ati on sh i p of th e two c h ord s .

 A MA NUA L HA RMO NY .
1 87

Covered octa ve s betw e en o n e o uter a n d o n e i n n er pa rt a re l e ss

n o ti ceabl e w h e n t h e Izzg /ze r pa rt a scen d s step w i se by a w h ol e ton e
'

to th e r oo t o f th at c h ord to w h i ch th e l o w e r pa rt sk i ps .

H o wev e r p rogr e ssi o n s o f th i s k i n d h a v e a better e ffect w h en th e

,

ba ss p ro gre ss e s i n co n tra ry m o t i o n th a n w i th th e covered octaves

, ,

e spec i al ly i n th e ca ses a t 6 a n d d ; sti l l even the se a re n ot to be

,

c o nd e m n e d w h ere h i gh e r c o n si dera ti on s suc h a s stri ct i m i tati o n

, ,

a re i n v o lved .

Bu t w h e n th e zg/ze r pa rt sk i p s to th e r oot of th at c h ord to w h i c h

,

th e l o we r pa rt p rog re sse s by a w /zol e to n e th e e ffect i s u np l ea sa nte r

, .

P rogressi o n s o f th i s k i n d

3 17 .

m u st be ca reful ly a vo i ded .

W h e n on e of th e o u t e r pa rts sk i ps n ot to th e r oo t b ut to so m e
, ,

o t e r i n te r v a l o f th e ch o rd to w h i c h th e oth e r pa rt p rogress e s by

th e s tep o f a w l zol e ton e th e cove red o cta ves a ri s i ng h ave a n exce e d
,

i ng l y d i sagr e e abl e e ffe ct a n d m u st b e avo i d e d i n a l l ca ses

, P ro
.
~

g ress m n s l i k e th ese

3 18 .

m u st i n va ri ably be avo i ded .

1 88 A ,
MA NUA L 0F HARMO N Y .

T h e u n p l ea san t e ffect of a l l th ese covered octave s i s i m m ed i ately

n eutra l i z ed w h en th e p art a sce n d i n g or d escen d i ng by a step p ro
,
~

r e ss e s by a s e m i to n e to th e r oot of th at c h ord to wh i c h th e oth er

g ,

pa rt sk i ps I n th e ca se of oth er i nterva l s , h oweve r th e e ffect

.
,

rem a i n s bad a n d p rogressi o n s of th i s k i n d

,

3 19 .

a re n ot a l lowabl e desp i te th e step of a se m i ton e i n o n e pa rt Eve n

, .

i f on e part d es c e n d s to th e th i rd of th e ch ord by a se m i ton e p ro ,

g r es s i o n s l i ke th e fol low i ng

3 20 .

a re very h a rsh a n d u n pl ea si n g i f o n ly by rea so n of th e do ubl i ng of

,

th e l ead i ng-n ote fo r m e d th ereby .

O n th e oth er h an d covere d octave s i n w h i c h th e l owe r pa rt

,

descen d s a se m i ton e to th e f t/z of th e ch ord w h i l e t h e oth e r part

,

sk i ps to th e sa m e i n te rval m ay be wri tte n P rogressi on s of th i s

, .

ki nd

3 21 8 .

m ay be perm i tted u n re servedly .

 A MANUAL 0F HARM ONY .
1 89

P rogr ess i o n s l i ke th o s e j u st d e scri b e d m ay s o m e ti me s , h ow e v er ,

ha ve a d i sagr e e able e b c t, as Ex 3 2 1 6
. sh ow s .

no t g oo d .

3 21 b .

I t i s d i ffere n t aga i n w h e n th e ig e r pa rt step s by a se m i to ne to

, ,

th e f if t/z o f th e c h o rd a n d th e l o w er sk i p s to th e sa m e i n t e rva l
, .

A g o od e ffe ct ca n th e n b e s e l d o m o bta i n ed O f th e p rogressi on s a t.

3 2 2 o n ly th e th i rd , u nde r c c a n b e tol erate d ; t hose u n de r a a n d 6

, ,

a re to b e c o n de m ned .

5 .
(wil l pa ss .
) I
( n o t to be r ej ecte d )
.

3 22 .

F u rth e r a l l paral l el o cta ve s a ri s i ng fro m th e res o l ut i o n of a

,

seve nth w h eth er th e l att e r desce n d s by a w ol e to n e o r a s em i ton e

, ,

a re to b e c a r efu l l y a v oi d e d i n a l l p a r ts a s e n ti r e ly i n c or r e ct (co m p .

A l l p rogress i on s gi ve n a t N o 3 2 3 a re bad . .

3 23 .
[ 90 A MA N UAL OF HARMON Y .

A squ i t e i s o l at e d e x cepti o n s to th i s ru l e forb i d d i n g cov e red par

al lel oct aves fr o m th e sev e nth we ca n m e n ti o n o n ly a fe w pecu l i ar
, .

progressi o n s b e twe e n tw o ch ord s o f th e seven th I n s o m e suc h .

ca ses th e c o v e r e d octav e s ari s i ng m a y b e p e r m i tt e d w h en th e r e s o

,

l u ti o n i s e ff ected to th e fu n da m e n ta l p os i ti o n o f th e c h ord of th e
s e ve n th b e ca u se th e p r o gr e ssi o n d o e s n o t s o u n d ba d ly T h e p ro
, .

gr e ss i o n s at N o 3 2 4 for i n sta n ce a re n o t cen su rab l e

.
, ,
.

3 24 .

C: V7 a : V7 f : 1 10 7 A b: V 7 C: V I10 7 V7 V I1 0 7 V7

Eve n w h e n th e c o vered ctaves a re between a n i n n er a nd a n o ute r

o

part th e p ro gr e ssi o n b e twe e n two ch o rd s o f th e s e v e nth may h av e

,

a good e ffe c t a t t i m e s a n d m ay th en be p erm i tted ; e g

,
. .

3 25 .

F : V7 d : V7 A V I1 0 7 V7 (1 : V I1 0 7 V7

U nder certa i n c o n d i t i on s e v e n a r e s o l u ti o n to a tri ad m a y o c c u r ,

in case th e u n p l ea sa n t e ffect o f th e c o v e r e d octa ve i s n e utra l i z e d by

 A MA NUAL O F H A R NI O N Y 1 91

v igoro us co ntrary m o ti on th u s th e p r o gr e ss i o n a t 3 2 6 (a ) i s tol er

abl e ; tha t a t 5 m a y b e wri tte n u n h es i tati ngly ; tha t at c i s b o ld er .

3 26 .

A ll tha t we h ave sa i d co nce rn i n g c o ve red o ctave s h ol d s go o d of ,

cou rse fo r co ve red u n i son s w h i c h p rove a sti l l fa ul t i er l ead i ng of

, ,

th e pa rts th a n pa ra l lel o ctav e s .

6o .I n 5 9 w e re m ark e d th at covered pa ra l l el fth s a re to be

a vo i ded between a l l pa rts w h e n both pa rts sk i p W h e n th e h i gh e r
.

pa rt takes th e fth by a ste p w h i l e th e lower sk i p s to th e sa m e

,

i n terva l th e c o vered fth s a ri si ng a re per m i tted between a l l pa rts

, ,

p rov i ded th a t th e l ea d i n g of th e p a rts i s oth erw i se c o rrect .

d . ba d .

3 27 .

Th e p rogre ssi o n s a t 3 2 7 (a ) (6 ) a n d (c ) a re go od ; th at a t d i s al t o
,

geth er i nc o rr e ct a n d u na l l o wab l e b o t h o n a cco u n t o f th e pa ra l l e l

,

oc ta v e s ta k e n by a sk i p i n ten o r a n d ba ss a n d o f th e s i m ult a n eo u s
,

u pwa rd p rogre ssi o n of a l l th e pa rts T h e p r o gressi o n s a t 3 2 8 a re

.

qu i te co rrect .

3 28 .
192 A MANUAL 0F HARMO NY .

B u t i f th e l ug/ze r pa rt sk i ps to th e fth w h i l e th e l ow e r p rogresses

,

to th at i n te rval by a step th e p rogress i o n ca n b e sa n cti on ed o n ly

,

w h en th e l ower p art takes th e step of a s em i to n e Th e fol l owi ng .

c a ses a re correct :

3 29 .

T h e p rogressi ons a t N o 3 3 0 a re n ot a l l ow abl e beca u se th e l ower

.
,

pa rt ta kes th e step of a w h ol e ton e .

3 3 0 .

T h e above rul es for a n d p roh ib i ti on s o f certa i n covered p a ral lel

, ,

octave s a n d fth s a re i nten ded to i nd i cate to th e p up i l w h at m ay or

,

m a y n ot be w ri tten . I t wou l d sca rcely be possib l e to l ay dow n d e f

i n i te r ul es coveri n g al l ca se s i n w h i ch covered o cta ve s a n d fth s
m ay occ u r i n fou r -pa rt wri ti ng G en eral ly speak i n g th e l ead i ng of
.
,

th e pa rts w i l l for m th e p ri m e con s i d erati o n ; i n th e ca ses i n wh ich

w e p r oh i b i ted th ese pr o gressi o n s a s i n co rrect they gave ri se i n fact
, , ,

to a b a d l ea d i ng of th e pa rts a n d m a y b e avo i d ed by a b e tter l ead i n g

, .

O ne m i ght th erefo re si m ply l ay d o w n th e r u l e th a t co v ered octaves

,

a n d fth s a re n ot perm i tted wh e n a sti ff a n d aw k wa rd l ea d i ng of th e

parts a r i ses fr o m th i s p rogr e ssi on b ut i n o th er ca ses th ey m ay b e
wri tte n w i th th e l e ss h esi tati o n th a t th ro ugh stud i ed a v m d a n c e o f
,

a ny a n d a l l c o vered octave s a n d fth s i n fo u r -pa rt w ri ti n g o n e m i gh t

ea si ly fal l i nto th e m i stake o f gi v i ng u p a natu ra l a n d th oro ugh ly
correct l ea d i ng a n d sel ect i ng a w o rse on e i n stead M atu re e x per i
,
.

e n c e a rti sti c i n si gh t a n d g o o d ta ste w i l l sh ow th e a dva nced p up i l

, ,

l ater w h at i s to be d on e i n e ac h i n d i vi d ua l ca se .
 A MA NUAL OF HARMON Y .
1 93

T h e Cross R e l ati o n (al so cal l e d th e f a l s e or i n /za r m on i c rel a

-
ti o n ) ca n occ u r i n stri ct fo ur pa rt w r i ti ng o nly a t a m od u l ati o n
.

3 3 1 .

C: I I G : v7 I F : v r1 0 7

d : V7 I D : I C: I g : I
*T his r u l e h ol ds g oo d on ly for si m p l e fo u r-p a r t wri ti n g i n e q u a l c o un te r po i n t ,

i e c o un te r po i n t i n whi c h o nly n o te s of e q u a l d r a ti o n a re s et to a c a n tu s r m u s
. . u .

In gu a te c o u n te r po i n t th e b e s t m a s te rs wri te w i th th e gr e a tes t fr e e d o m ; Ba c h
r

wri te s wi th ou t p a yi n g th e l ea s t a tte n ti on to th e c r o ss r e l a ti on p a ss a g e s l ik e th e
, ,

fo l l o wi n g :

T he c o r ss r el ti on w ill
a r e a te d
be t of a t l en g th d u ri n g th e c ou rs e in cou n te r po i n t;
1 94 A MANUA L 0F HARMO NY .

T he free entra nce of th e ch ro m ati ca l ly ch a ng e d to n e i n a pa rt oth e r

th a n th at i n w h i c h th e n a tu ra l ton e wa s c o n ta i n ed i n th e p reced i ng
ch ord h a s a ve ry i l l e ffe ct T h e ch r o m ati c c ha ng e sh ou l d rath er
, .

be e ffe c t ed w i th i n o n e a n d th e sa m e m e a su r e i n t/ze s a m e p a r t Th e .

errors i n Ex 3 3 1 m a y b e avo i d e d i n the fo l l o w i ng way

.

3 3 2 .

C H A PT ER XX .

Em p l o y m e nt o f C h o r d s i n A c c o m p a ny n g a i C a n tu s F i r m u s
in F o u r -p a rt W r i t i n g .

61 .H i th erto th e p u p i l ha s e r e cted ch o rd s a n d e ff ected p ro g r e s

s i o n s o n ly over a gi ve n ba ss pa rt m a rk e d w i th th o r o ugh -ba ss gu ri n g .

I n s o do i ng h e h a s l e a rn ed th e p ri n ci p l e s a cc o rd i n g to w h i c h th e
l ead i ng of th e i n ne r pa rts ca n be e ff e ct e d i n fo u r -p a rt wri ti ng i n
, ,

th e m o st s m o o th a nd c o n n e cted m an n e r p o ssi bl e F o r th e l e ad i ng
.

of th e s o p ra n o o n ly th e g e n e ra l r ul e s fo r l e a d i n g th e pa rts h av e a s ye t
b e e n o bserved n o sp e c i a l a tt e n ti o n h a v i n g b e e n pa i d to th i s h i gh e st
,

part T h e p u p i l h a s h a d n o O p p o rt u n i ty to w ri te a n o r i gi n a l b a ss
. .

Now b e fo re p roce ed i n g to th e n ext exerci ses w h i ch fo rm th e tra n

, ,

s i ti o n to con tra p u n ta l stu d i e s , w e sh al l s e t forth a fe w ru l e s c o n

cern i ng th e styl e o f th e v o ca l ch oru s i ng e n eral a n d th e l e a d i ng o f
,

th e s o p ra n o a n d ba ss i n pa rti c u l a r .

A lth o ugh i n S tri ct c o m p o s i ti o n ea c h pa rt sh o u l d h ave a m e l o d i o u s

lea d i ng on e pa rt w i l l h ave i n pl a i n fou r -p a rt w ri ti n g a p re d o m i n a n t
, , ,

m e l o dy We c a l l th i s pr e d o m i na nt m e l o dy th e c a n tu s r m u s
.

I al i a n er m o To i t th e r e m a i n i n g parts m u st subord i n a te
( t c a n to
f .
)
th e m s e l ves a s a n a cc o m p a n i m e n t so fa r a s th ei r o w n fr e e a n d i nde
,
 A MANUA L 0F HARMO N Y . 1 95

pe n de nt lead i ng ad m i ts T h e ca n tu s r m u s m ay be gi v e n to a ny
.

pa rt If i t l i e i n th e ba ss or a n i n n e r p a rt we m ust ta k e th e h igh e st
.
,

part o r sop ra n o so fa r i nto co n si d e rati o n a s n o t to tre a t i t l i k e a

m i dd l e pa rt o r a m ere l l i ng A l th o ugh th e p ri n c i pa l m el o dy th e
,
.
,

c a n tu s
r nza s i s gi ve n,to a noth er pa rt th e sopra
, n o m u st a l so b e

l e d i n su ch a way a s n ot qu i te to lose th e ch ara cter o f a h igh est pa rt

w i th a l ead i ng m el ody Th e rst r u l e sh o ul d be n ot to l et th e
.
,

sop ra n o h o l d th e sa m e to ne th ro ugh m ore th a n th ree m ea su res a n d ,

to l e a d i t m e l o d io usly w h en e v e r p ossi bl e by step s o r by ea sy v o ca l

i n terval s We m u st tak e ca re , m o reover th a t th e i n n er pa rts a re
.
,

n o t sp rea d out too fa r eve n i n ope n po si t i o n

, T h e m ost pra cti ca l
.

pla n i s n ever to al l ow a w i de r i nt e rva l th a n a n octave between th e

,

a l t o a n d ten o r S h o ul d a w i d er i nte rva l occa si o na lly bec o m e nec es

.

sa ry i t m u st be for a s s li o r t a ti m e a s poss i bl e a n d i t i s best to n a rr o w

, ,

th e i n terva l a s so o n a s m a y be A p a ssage for voca l c h oru s l i k e th e

.

o ne a t
3 3 3 ca n n ot so u n d we l l b eca u se th e i n ner pa rts a re too fa r
,

a pa rt .

3 3 3 .

A l th o ugh ea c h i nd iv i d ua l part i n th i s exa m pl e i s correctly l e d a n d

,

th e p r o gr e ssi on s betw e e n th e c h ord s a re i n n o way c o n stra i n ed o r

u n na tu ra l th e e n ti re exa m p l e i s n everth el ess to be con de m ned
,

b e c a u se o f th e exce ssi vel y w i de i n terva l betwee n th e i n ner pa rts .

By i n terch a ng i ng th e i n n er pa rts we m ak e th e i m pr o ve m en t sh o w n
at 3 34

3 3 4 .

T h e i n terva l b e tw e e n th e s o pran o a n d a l to sh o u l d a l s o e xceed a n

o ctave o n ly i n very excepti ona l ca ses ; th e fol l o w i n g e xa m p l e i s
1 96 A MANUAL HA RMON Y .

co n sequ ently to be c o n de m ned th o ugh th e re i s n oth i ng a m i ss

, in th e
l ead i n g o f th e pa rts o r th e p rogressi o n o f th e ch ord s
.

3 35 .

By i n verti ng th e i n n er p a rts w e ob ta i n th e i m p rove d read i n g

,

gi ven bel ow .

3 3 6 .

T h e i n terval b e twee n t h e ten or a n d ba ss a n d th at of th e gro up

o f th e th ree h i gh e st pa rts fro m th e l owest th e ba ss ton e d eter
,

m i n i ng th e c hord m u st a l so n ot be very w i de for too l ong a ti m e

, .

3 3 7 .
 A MANUAL HARMO NY .
1 97

B y tra n sp o si n g th e bass i nt o th e h i gh e r oc ta ve , Ex 3 3 7
. w o ul d be
m ad e to s o u nd better .

3 3 8 .

T h e e ffe ct w o ul d b e sti l l fu rth e r i m p roved by exch a ngi ng th e

pos i t i on of th e i n n e r pa rts a t th e begi n n i n g ; i n stead of th e c h ord
of th e se v en th i n m ea su re 7 w e sh o u l d th en w ri te th e tri a d o n th e
sa m e degr ee th e i n n e r p a rts be i ng led th erea fter a s a t rst
, .

3 3 9 .

Of :
1 98 A M ANUAL 0F HARMO NY .

I n w ri ti ng fo r v o c al c h or u s th e fo l l o w i ng ru les a re th ere fo re to be
o bs e rv e d

1 . Do no t -
k e e p th e v o i ce pa rts l ong at e i th e r a v e ry b ig/2 '

or a v e ry l ow p i tch .

A t a v e ry h igh p i tc h th e v o i c e s of th e ch oru s n d i t h a rd a n d ,

u n d e r certa i n c o n d i t i on s i m p racti cabl e to sm g p i a n o o r p i a n i s s i m o

, .

Th e i ntonati o n th e n gen e r al ly gro w s u n c e rta i n a n d waveri ng eve n ,

w i th very good c h oru ses A t a very l o w p i tch a n e n erg e ti c f o r te

.

o r f o r ti ss i nzo ca n n o t be b ro ugh t o u t Wh e n th e pa rts a re to e nt e r

.

o n th e h i gh est t o n e s of thei r co m pa ss i t sh o u l d be requ i red on ly i n

,

fo r te o r f or ti ss i m o; i f o n t h e l owest ton es on ly i n p i a n o 0 1 ,

pi a n i s s i m o .

2 . Th e s e vera l v o i ce -parts of th e ch oru s m ust not be sp r e a d

toof pa r t

a r a .

Wh e n th e vo i ce -parts l i e fa r a pa rt th ey a r e u n abl e to p rod uc e ,

on e a n d th e sa m e n u a n ce (sha d e of e xpressi on ) t o g e th e r T h e fo l .

l ow i ng c h o rd ca n b e s u n g f o r te or f or ti ss i m o by th e th re e h igh est
pa rts at th e p i tch h ere gi ven bu t th e ba ss w i l l s o u n d w ea k i n c o m
pari son :

Th e e ffe c t i s st i l l w o rse w h e n th e re i s a wi d e i nterva l b e twe e n th e

i nn e r parts :

Wh e n th e i nterval s between th e ch oru s -p arts a re w i de th e v o i c e s ,

ca n n o t su p p o rt eac h o th er a n d c o n den ce a nd p uri ty of i ntonati o n

,

m u st su ffer i n con s e quen ce .

 A MANUAL 0F HARMO NY .
1 99

T h e l owest pa rt w h eth er i t be th e ba ss or so m e p a rt ta k i ng i ts
place i a fe m al e ch oru s th e a l to a n d i i i th re e -pa rt co m po si ti o n
,

, ,

a t t i me s the ten o r m u st al ways rece i ve pa rti c ul ar attenti on I t

,
.

ca n b e a r a prol onged dwel l i ng o n on e to n e sti l l l e ss th a n th e sop ra no .

Ex cepti n g i n a n o rga n -p o i nt a to n e sh o ul d be h el d o n ly w h e n i t
,

prepares a su spen si on a ch ord o f th e se con d o r a c h o rd of th e th i rd

, , ,

fo u rth a n d si xth ; a l so i n t h e cl o si ng ca den ce i n th e progressi o n o f

th e S c h o r d d er i ved fro m th e tri a d o n th e I st degree to th e d o m i n a n t
tria d or c h ord of th e seven th .

T h e 2 ch ord a l ways p rod u ces th e i m pre ssi o n of a close w h en i t

app e a rs u n p repa red o n th e stron g beat Except a t th e cl ose i t
.
,

sh ou l d th erefore be e m p l oyed on ly i n th e form of a p a ss i ng -clzor d

(co m p . S u c h i s th e ca se

1 Wh e n th e fou rt h of th e 2 ch ord i s prepared ;

.

2 Wh e n th e root of th e 2 ch o rd th at i s th e fth of th e
.
, ,

ori gi na l ch ord p rogre sses stepw i se a s a passi n g-n ote between

,

o th er ton es .

B ut both co n d i t i on s m ust be ful l l ed togeth er i n order to gi ve

,

th e 2 c h ord th e ch a racter of a passi ng -ch o rd e g . .

3 41 .

Th e p u p i l sh o u l d n ow a tte m pt to w ri t e to a c a n tu s r m u s (gi ve n
,

m e lod y ) i i i th e sop ra n o th e ch ord s m a rk ed ab o ve th e m el ody i n th e

,

th ree o th er pa rts e ffe cti n g th e p rogressi o n s of th e s e ch ord s a ccord

,

i n g to th e fa m i l i a r ru l es fo r t h e l ea d i n g o f th e parts We h av e
.
200 A MANUAL HA RMO NY .

m arked th e m ajor tri ad s o f th e k ey w i th cap i tal s a n d th e m i no r ,

tri ad s w i th s m a l l letters ; for ch ord s of th e s e venth th e gu re 7 i s

a dded to th e let ter .

Th e fol l o w i ng ca n tu s r m u s i n th e sopra no conta i n s i n m ea s ,

u re 1 th e octave o f th e root o f th e tri a d o n th e i st d egree i n C

,

m ajor ; i n m e a s 2 th e fth o f th e d o m i na n t tr i a d ; i n m e a s 3 a n d
.
, .

4 , th e th i rd a n d th e octave o f th e ro o t o f th e t o n i c tri a d I n th ese .

m ea su res th e ba ss m u st n e i th e r b e h e l d n or for m a 2 ch ord i n th e

,

secon d m ea sur e ; i n s u c h ca ses on ly th e fun da m e n ta l p o si ti o n a n d

,

th e ch o rd of th e s i xth ca n be e m p l o y e d I n m ea s 5 th e s o p ra n o . .

tak es th e octav e o f th e root o f th e subd o m i na n t tri a d ; i n m e a s 6 .

,

th e th i rd o f th e c h o rd o f th e sev e n th o n th e 2 nd degree i n m ea s 7 .
,

th e root o f th e do m i n a n t c h ord o f th e s e venth ; i n m e a s 8 th e th i rd .

,

of th e t o n i c tri a d ; i n m e a s 9 th e th i rd of th e tri a d o n th e 6 th de
.
,

gree ; i n m e a s 1 0 th e ro o t o f th e ch o rd of th e seven th o n th e 2 n d
.
,

d egree ; i n m ea s 1 1 th e fth o f th e do m i n a nt c h o rd o f th e s e venth

.
,

i n m ea s 1 2 th e octav e o f th e root o f th e to n i c tri ad ; i n m ea s 1 3

.
, .
,

th e th i rd o f th e tri a d o n t h e 6 th d e gre e ; i n m ea s 1 4 th e s e v e n th o f .
,

th e ch ord o f th e s e v e n th on th e 2 n d d e gree ; i n m ea s 1 5 th e th i rd .
,

of th e d o m i n a n t tri ad ; a n d i n th e la st m ea su re th e octave o f th e ,

root of th e t o n i c tri a d .

'
d7 G7 C G7
'
C O C F a o7 C a a7 G C

Th i s c a n tu s
r m ns m a y b e w o r ked o ut a s fo l l o w s :

G C

3 42 .

C: I IV 1 17 v7 I

1 17 V7 1 17 V
 A MANUAL 0F HA RMO NY .
20 1

F ro m th e l ead i ng of th e bass i n N o 3 4 2 th e p u p i l w i l l p erce i ve ,

.

tha t t h i s pa rt progre sses i n step s o r i n sk i p s of a th i rd fo urth fth

, , , ,

or si xth i n con tra st to th e qu i ete r l ea d i ng of th e i n n er pa rts A l l

, .

k i n d s o f sk i p s ea sy to ta ke w i th th e vo i ce m ay b e w r i tte n i n th e
ba ss ; w h e rea s a l l i nterva l s w h i ch a re d i ffi c u l t to ta ke a re forb i dd e n .

F o r i n sta nc e eve n a success i on o f two fo urth s i n d ow n wa rd p ro

,

g r e ss w n i s n ot good .

Th i s sh o u l d be a vo i d e d ; th e sk i p o f a fth fol l owed by a fo u rth ,

or v i ce v e r s d be i n g wr i tte n i n stea d
, .

T wo a s ce n d i n
sk i p s of perfect fou rth s l i ke th o se i n th e la st
g ,

m ea su res o f Ex 3 4 2 m ay b e w ri tten w i th o ut h esi tati o n a s th ey offe r

.
, ,

n o d i ffi c u lty w ha te ve r to th e si nger Ca re ful ly avo i d o n th e con

.
,

tr a ry tw o su cce ssi ve fth s w h eth er a sc e n d i ng o r descen d i n g

, , .

S uch sk i ps may be i mp rove d by c h a ngi ng on e of th e fth s to th e

sk i p o f a fou rth i n th e o p pos i te d i r e cti on ; e g . .

Th e a s c e n d i ng sk i p of a m i n or seve nth i s a l lowabl e on ly w h en

th e se v enth i s ad d e d th ereby to th e tri a d ; b ut i t s ho ul d n eve r be
w ri tte n betwee n two d ifferen t ch ord s .

go d
o . g oo d . ba d . ha d .

3 43 .
20 2 A MANUA L 0F HA RMO NY .

T h e d es c e n d i ng sk i p of a m i nor seven th i s n ot to be reco m m e n de d

even i n th e sa m e ch o rd .

Th e sk i p o f a m ajor seven th i n e i th er d i rect i on m u st be sed ulou sly

avoi ded . F u rth er a l l a ugm en ted i n terva l s m u st be av o i ded to
, ,

w h i ch e n d th ey sh o ul d b e ch a nged i n to d e scen d i ng d i m i n i sh ed o nes .

Th e p u p i l h a s th erefore to w ri te i n stea d of ,

3 45

th e a scen d i n g a ugm en ted secon d th e desc e nd i ng d i m i n i sh e d seventh

,

i n st e ad o f th e ascen d i ng a ugme nted fo u rth th e d e scen d i ng d i m i n

,

i sh e d fth ; i n stea d of th e a ug m en t e d si xt h th e d i m i n i sh ed th i rd
, .

T h e o n l y al l owabl e a ug m en t e d i nterva l i n m e l o d i c p r o gr e ssi o n i s

th e a ugm ented p ri m e T h e sk i p of a perfect octave i s

per m i tted i n ei th er d i r e cti o n .

Bel o w we gi ve th e work i n g-o u t o f th e fo l l ow i n g c a n tu s r m u s

i n a -m i nor .

a : 1

o ' o o
4 0 d7 57 a

v i r0 7 i v v i r0 7 1 1V 7 1 10 7 1

To th i s c a n tu s r m n s we h ave add ed th e degree -n u mbers of

th ose ch ord s w h i ch we p ropose to u se a ccord i ng to th e l e tt e rs set
,

above th e notes i n work i ng o ut th i s exerc i se T h e ch ro mati c ra i si ng

, .
 A MANUA L 0F HA RMO N Y .
20 3

of th e 7th degree i n m i nor i s i n d i cated on ly w h ere th at note is gi ve n

i n th e c a n tn s r m u s .

a E a

3 46 .

a 1 V iv 1 V7 1 1V 7

o o 0
3 7 1 a 1
7 57

v u 7 iv V i i 7 I 1V 7 1 10 7 1

T h e above exa m pl e sh ow s u s besi d es th e p repa red en tra nce of,

th e 2 ch ord s d erived fro m th e tri a d s o n th e I st a n d 4 th degrees

(m e a s 5 a n d . th e free e n tra nc e of th e 2 c h ord d eri ved fro m th e

tri a d o n th e I st d egree (clos i ng ca den ce i n m ea s I n m ea s 7 . .
,

th e C i n th e ba ss p repa res th e seve nth of th e ch ord o f th e seven th

o n th e
4 th d egree a n d fo r th i s rea so n i s h el d i n th e n ext m ea s u re
, .

Th e seven th C ta ke n by th e teno r i n m ea sure 1 3 m u st be l ed a ,

s tep u p wa rd s beca u se th e ba ss takes B th e p rop e r t o n e of reso

, ,

l u ti o n F i na l ly we n d i n th e ten or a n d ba ss betwee n th e two l a st

m ea sure s th e p ro gre ssi o n E - B to A
.
,

, E i n co n tra ry m oti o n
J
z
% Th i s p rogressi o n w h i c h i n pa ra l lel m oti o n w ou l d
,

p rod uce p a ra l le l perfect fth s i s al lowabl e betwee n a ny pa rts i n con

,

tr a ry m o ti o n We n d i t e m ployed by th e m o st e m i n e n t cla ss i c
.

m a sters I n two -pa rt w ri ti ng th i s p rogressi o n i s of co u rse p ro h i b

.
,
.

i te d e m pty fth s t h e n be i ng forb i dden

, B u t i n fo u r -pa rt o r th re e
.

pa rt w r i ti ng i t m ay o c c u f e v e n betwee n th e o ut e r pa rts .

i th th r ee p a r ts .

347 .
204 A MANUA L 0F H A RM ON Y .

Paral l el fth s ca n th u s b e avo i ded b y c o ntrary m oti on su ch pro ,

~

r e ss i o n s be i ng p erm i tt e d w h e n th e l ead i n g of th e o th er pa rts i s

g
n at ura l a n d correct Pa ral l el octaves h ow ever ca n i n n o ca se be
.
, ,

avo i ded by c o n tra ry moti o n a n d pr o gr e ssi o n s l i k e th e fo l low i ng at

,

N o 3 48 a re e nti rely i ncorrect (C o m p Ex 3 43 above )

. . . . .

348 .

Th e fo l l ow i n g exerc i ses i n work i ng ou t a c a n tu s r m u s a re n o w

to be w ri tt e n o ut i n a ccorda nce w i th th e suggesti on s gi ven fo r
Ex 3 4 2 a n d 3 4 6 e m p loy i ng fo u r d i fferen t cl e fs
.
, (Co m p A p p I . . .
,

p 2 70 a n d A pp I I p
. , .
, .

Ex e r c i s e s .

a . F Bb F Bb C B b C7 F g F g7 F g7 C7 F

3 49 .

6
. F 7 1% Eb Eh (7 F 7 B bq 17 7 0 9 BbF 7 Bb (7 F Eh

0 D7 0 a7 D 7 0 D G C D 7 (J 6 a7 0
.
7 G

d . Eb A b Eb c A b Bb 0 ,
f7 Eb f 7 Eh Eb
 A A IA N U A L 0F H A R M ON Y .
205

O pe n h a r mo ny .

Cb D b ( b bb ( b D b D b7 G b a b7 D b7 G b ( b a h7 D b7 G D

f. A E A D A b7 E7 7 b7 E7 A b-
7 A E7 A

( 3 A 3 7 E A f it? 3 7 6 3 7 13 7 5 13 7 E J 337 19 7 E

lz d A d $
.
7 d A g A 7 d c
9 d ( z o d eo A d

3
*
D 7 Eb 0
9 g B l" 0 7 g fg o
g a 0
g D7 g

O pe n h a r m ny o .

C7 f g

f

o
I. b t b a z b 6 3 F : G e 5 6 F 3 5

m . r
f c c / c A b d G c
20 6 A MANUAL 0F H A R M ON Y
.

62 T h e task p res e nts fa r great e r d i f c u l ti e s w h e n th e ca n tu s

.

r m u s i s ta k e n by o n e o f th e i n n e r pa r ts n w o rk i ng o u t such
I .

exerci ses th e s o pra n o r e qu i res v e ry sp e c i a l a tte n ti o n i t m u st n ever

,

b e tr e at e d l i ke a n i n n e r part I t sh ou l d a l ways h av e a s fa r a s may

.
,

be a l ead i ng m e lod i ou s pa rt si d e by si de w i t h th e c a n tu g r m u s
,

T h e fol low i ng c a n tu s r m u s wo u ld e n ti r e ly r o b th e s o p ra n o o f i ts
pecu l i a r c haracter i n th e work i ng-o u t gi v e n a t N o 3 5 0
, . .

3 5 0 .

B y gi v i n g th e ten or-p a rt to th e s o p ra n o a n d ta k i ng th e s o pra n o

,

a s ten or we obta i n a m uch m ore fa vorabl e res ul t th a n befo r e

, .

3 5 1 .

Th e fo l low i ng exerci ses ca n gen eral ly be worked out con ven i en tly
i n o pe n h a rm o ny w h e n th e c a n tu s r m u s i s gi v e n i n th e a lto I n
,
.

a si ngle ca se th e exerc i se ca n be begu n i n close h a r mony (Co m p

,
. .

A p p I p 2 7 1 , an d A p p I I , p
.
, .
. .
 A MANUA L 0F HA RMONY .
20 7

Ca n tu s Pi r m u s i n th e A l to .

3 5 2 .

O . F C7 F g7 C7 F 7 E h7 6
9 F g F C F

c. d A 7 a

g e A 7 d g A -
, Bb g 21 7 0'

Cl o s e h a r m on y .

d . F 7 F g d F X7 (7 F 7

e . E b B b7 b A b E h7 E b f7 3 1, E b7 A b7 d 9 g7 A b Eb E b B b E b

g . c G7 A b do 07 c 9
(1 c O9 c d9 6 1, :

Cl o s e h a r mony .

It . ( 8 f 1; ( 3 f 1; 6 3 c 3 53 : 3 f: c : A (1 3 ( 3 0 87 6 3
a . -Q
20 8 A MANUAL 0F HARMONY .

I n work i ng out th e fo l l ow i ng e xa m pl e s i n w h i ch th e t e no r ta k es ,

th e c a n tu s r m u s begi n i n c l os e h a r mo ny
, ( C o m p A p p I p 2
7 1 . . .
, .

a n d A pp II p.
, .

Ex e r c i s e s .

a . E l) d o Eb A D f7 f7 f7

3 5 3 .

b .
g f sg g c g c1 9 0 7 ?
. D Eb a
9 D7 g

C H A PT ER XX I .

O n M o d u l a ti o n .

Th e exe rci ses i n th i s text -book h ave m a de th e p u p i l fa m i l

63 .

i a r w i th a vari ety of m od ul atory tra n si t i on s H e k now s th at u n der .

th e ter m M o d u l ati o n a depa rture fro m th e k ey predo m i na nt i n

th e p i ece i s to b e u n derstood I n ca se th i s p ri n ci pa l k ey i s to be for

.

s ake n e nti rely a n d a m ove m e n t i n a n ew k ey fo l low

, i n wh i c h th i s ,
 A MANUA L 0F HARMON Y .
20 9

n ew key sh a l l be p r e d o m i n a n t th e n ew key m u st be t h o ro ugh l y

,

e s tabl i sh e d u n l e ss th e two k e ys a re very closely rel ated i e a m od

, . .

u l a ti o n to th e n ew k e
y m u st fi rst be e f
f e c ted We sh a l l n ow ad d a
.

fe w suggesti o n s o n m o d u la ti n g sh o w i n g th e p up i l
,

I H o w to rea c h a ny key fr o m a g i ven k ey ;

.

2 H o w to es tabl i sh th e for e i gn (n ew ) key r m ly i n o rd e r

.
,

to bri n g th e m od ulat i o n to a de n i te t e rm i n ati on .

A n ew key i s n ot fi r m ly e stabl i sh ed w h e n o n e h a s h ea rd m erely i ts

to n i c tri ad Th e s o u n d i ng of th i s c h o rd al o n e d oes n ot x th e k ey
. .

W h e n w e h ea r th e fol lo w i n g ch o rd s th ey a l l i mp re ss u s a s belo ngi ng

,

to C-m ajor .

3 5 4 .

C: I V I v1 I IV I II I 111

B ut eve n i n case a se c on d ch o rd ca n n o t be cla ssed a s b e l o ngi ng to

th e key i ts m e re e n tra n c e o n th e w e a k bea t w i l l n e ve r a wa k e n th e
,

i m p ressi o n tha t th e ch ord i s i nten ded a s th e to n i c tri a d o f a n ew key .

I t i m press e s u s fo r th e p resent a s a c h ord fore i gn to th e prev i ou s

, ,

key w h i c h b e gi n s a m od u lati o n ; b ut n ot a s th e ton i c tri a d o f a

,

n ew ly establ i shed key .

3 5 5 .

We ca n esta bl i sh a n ew key o n ly u n der th e two fo l l o w i n g con

d i ti o n s
II n d up l e rhyth m th e t o n i c tri a d
.
,
m ust fal l on th e rst or

strong b e at ;
21 0 A MANUAL 0F HARMONY .

I t m u s t a pp e a r a s a cad e nce -l i ke r e s o l ut i o n
2 . of th e dom
i na nt ch o rd o f th e s e ven th .

35 6 .

C : I D : V7 I V7

C: I a : V7 C: I 6 s 7

Tak i ng th e ton i c tr i ad of a ny k ey a s a sta rti ng-p o i n t o n e m i gh t ,

e a si ly reac h th e d o m i na nt ch o rd o f th e seven th i n a l m o st a ny k ey ,

th e t o n i c tri a d h avi ng i n n i n e ca s e s e i th er o n e or two ( i n o n e ca se

a s m a ny a s th ree ) to nes i n co m m on w i th th e 1 2 d o m i n an t ch o rds of

th e seven th w h i l e i n th e re ma i n i ng 3 ca ses a con n e cti o n ca n easi l y
,

be e ffected by sel f-e v i d e n t p rogr e ssi on s an d w i th c o rrect l e a d i ng s .

M ost of th ese pr o g r essi o n s h o w e ver w o u l d h a v e a m or e or l e s s

, ,

bru sque h arsh a n d i nap t e ff ect ev e n i n th e ca ses w h er e o n e co m m on

, , ,

h el d to n e a ppa ren tly for m s a na t u ra l bri dge between th e m T h e .

r ul e doe s n o t i nvari ably h ol d good th a t a ny p r o gressi o n b e tween ,

two ch ords havi ng on e ton e i n co m m o n i s a t a l l ti m e s a n d i n a l l cases

agr e eabl e a nd h a r m on i ou s w h e n th e co m mon t o n e i n qu e sti o n i s
,

h el d i n th e sa m e pa rt i n both ch o rds Th e pr o gressi o n s a t N o 3 5 7 . .

ca n n ot be con si dered go o d i n sp i te o f th e co m m o n t o n e h el d i n th e
,

sa m e part a n d a l th ough th e l e a d i ng o f th e pa rts a ppea rs c o rr e ct

, ,

beca u se n o r e l ati o n sh i p w hatev e r subsi sts b e twe e n th e ch ord s co n

nec te d i n th i s m a n n er .

85 7 .

f : I a : I (H I /3 : 1 f $: I O b: I O bz l c zz l
 A MANUAL 0F HARMO NY .
21 1

I t fo l l o ws th at a d i rect p r o gr e ssi o n o f t h e t o n i c tri a d i n C-m ajor

,

to a ny o f th e 1 2 d o m i n a n t c h o rd s o f th e s e ve n th a n d th e i r cad e nc e
,

l i ke res o l u ti o n i n th e i r resp e c ti ve 2 4 m aj o r a n d m i n o r keys w i l l n ot

,

su ffi ce i n m o st case s to establ i sh a n e w k ey T h e p r o gressi on s gi ven

.

u n d er 3 5 8 h ave w i th few exc e pti on s a fo rced a n d co n stra i n ed e ffect

, , .

3 5 8 .
21 2 A MANUA L OF HARMON Y .

I nd eed even th e sud de n su ccessi on of th e ton i c tri ad s of l i k e

,

n a m ed m aj o r a n d m i n or k eys desp i te th e fact tha t th ey possess two

,

tone s i n co m m o n h a s a so m ew h at si ngu la r e ff e ct wh i ch i s not a lways

, ,

n e utra l i z ed by th e m ed i ati o n of th e i r c o m m o n ch ord o f th e seventh ,

th e i nt e rval s of w h i ch a re p reci sely al i ke i n both ; e g . .

3 5 9 .

We sh al l th erefore d o we ll to i ntrod uce th e do m i na n t ch ord of th e

seventh b e longi n g to th e key w e desi re to r e ach a fter a noth er ch ord
, ,

w h i c h i s rel ated both to th e tri a d w i th w h i ch w e b e gi n a n d to th e

ch ord of th e seventh i n que sti o n Th i s we sh al l do i n a l l ca se s
.

w h ere th e key s to be con n ected by m od ulati o n a re n o t d i rectly r e

lated In order to m od u l ate fro m C-major to d
. m i n or we ca n take
,

th e dom i n ant ch o rd of th e seven th i n d m i n or d i r e ctl y a fter th e C

m aj o r tri a d a n d resol ve i t to th e ton i c tr i ad i n d
,
m i no r . Th i s pro
r e ss i o n w i l l n ot h ave a sp ec i al ly h a rsh e ffect s i mply beca u se th e
g ,
 A MA NUAL OF HA RMO NY .
21 ?

toni c tri a d of d -m i n o r i s al s o fo u n d o n th e zud d egree i n C-m a jor :

th i s form s th e i r relati o n sh i p .

3 60 .

T h e m od ula ti on to D -m aj o r i n l i k e m a n n e r wo u l d b e m u c h
harsh e r beca us e th e tri ad D
,
F - A i s n ot conta i n ed i n th e k ey o f
C -maj o r W e sh
. a l l d o b e tt e r to i n terp o l ate a fter th e C-m ajo r tri ad
, ,

so m e c hord co m m o n to both k eys .

3 61 .

C: I m D : V7 I C: I V
D '
II D : IV V ,

C : I 1 1 17

D : II 7 V7

We e ffect th e fol l o w i ng tra n si ti o n s i n th e sa m e way .

862 .

f : x D b: v 7 I C:
f .
21 4 A MA NUA L OF HARMO NY .

C: I l E b: V 7 C: I
E b: II V E b: u e b: v 7

C: I VI c : v7 E : I
e: IV E : V7

T h e l a st tra n si ti o n fro m C-m ajo r to f m i n or w i l l h av e a sti l l

m i ld e r e ffect i f we rst resol ve th e a ugmen ted c h o rd of th e fth a n d
,

s i xth to th e O m i n or tri a d
-
.

3 63 .

C: I V7 5 : IV 7

[3: IV

C: I V , b: m, 6: I f3 : V7 F g I
a : V7
 A M ANUA L OF HA RMON Y 21 5

Wh e n m od ula ti ng i n to re m o te k eys i t i s be st i n a ny even t to e m , ,

pl oy severa l ch o rd s a n d bri ng ab o ut th e tra n s i ti o n gra d ual ly

, .

C: I IV O bz l A b: V 7 g3 : V 7 g3 : I
bb: V A b: II

C: I f f l A b: II 7 V7 I C: I V7 5 : I V7 A : V7 I
f
. V A b: VI

C: I V7 12 : 1 v7 I

64 T h e la st m o d ula ti o n sh ow s u s
.

I Th e rese m bla n c e i n s o un d bet w ee n th e do m i na nt c ho rd of

.

th e seve nth a n d th e a ugm en ted c h o rd of th e th i rd fth a n d s i xth , , .

2 T h e en tra n ce of th e 2 ch ord o n t h e stro ng beat

. .

Th e en h a r m o n i c ch a nge o f th e do m i n a n t c h o rd of th e seventh for

th e a ug m ented ch o rd of th e th i rd fth a n d si xth y i el d s u s on e o f o u r
, ,

best a n d m ost n atu ra l r e s o u rce s o f m od u l ati o n A s w e use both .

ch o rd s i n m aj o r a n d m i n or a n d a r e abl e to res o l v e th e a ug m en ted

,

ch ord o f th e fth a n d si xth to th e 2 c h ord d er i v e d fro m th e ton i c

tri ad w e c a n ea si ly a n d agre eably c o n nect very re m ote k eys by
,

m ea n s o f a fe w ch ords .
21 6 A MANUAL OF HARMONY .

A r e m a rk e d above th e 2 c h ord p rod u c e s w h e n i t e nte r s o n th e

s , ,

strong b e a t a very stri k i ng i m p re ss i o n o f a cl ose A l th o ugh n ot

,
.

abs o l u t e ly i nd i sp e n sabl e i n th e a ctua l cl o si n g caden ce i t str e ngth en s ,

th e l att e r a n d m a te ri a l ly h e i gh t e n s th e fe e l i ng o f a c o m p l ete cl o s e
,
.

65 T h e m os t u n i versa l m e d i u m fo r m od u lati ng ea si l y a n d r a p
.

i dly fro m o n e k ey i n to a n oth e r i s th e c/
zo r a
, f
o

3 6 726 721 12 I t m a y en ter fre e ly a nywh e r e w i th o u t p repa ra ti o n of th e

.
,

seve n th I t a d m i ts of v e ry va ri o u s res o l ut i o n s a n d p rogressi o n s i n

.

maj o r a n d m i n o r a n d by m ea n s o f th e e n h a r m on i c c ha nge of o n e o r
,

s e v e ra l o r al l o f i ts t o n e s i t c a n pa ss o v e r to th e m o st d i vers e keys T o .

b e gi n w i th w e sha l l sh o w h o w ea s i ly i t m a y b e i ntrod u c e d a s i n
, ,

N O 3 65
. H ere we l et th e d i m i n i sh e d ch o rd s o f th e sevent h bel o ng
.

i ng to o m i n o r f -m i nor a n d O h-m i nor o n th e 7th d e gree i n th e s e

, , ,

k eys fo l l o w th e ton i c tri a d of C-m ajo r d i r e c tly

,
.

E
3 65 .
7 b

C: I c : V I1 0 7 C: I f : v 1 10 7 C: I O b: v 1 10 7

Ea ch th e se d i m i n i sh e d ch o rd s o f th e seven th m a y h o w e ve r
of , ,

b e a ssi gn ed to fo u r d i ff e ren t m i n o r k eys b v e n h a r m on i cal ly ch angi ng

i ts i nt e rval s a n d th e i r n a m e s .

b
a 5
g or
6

2X 3a
3 66 .

c V I1 0 7 a v 1 10 7 f3 : V I1 0 7 d3: v 1 10 7 a b: v 1 10 7

6 b
5
7 b 4 b
5 b 8b 5x or
2

3 67 .

vuO 7 d v x1 0 7 [2 V I10 7 v 1 10 7 b V I1 0 7
f : : : g3 : a :

e
4

3 68 .

g : vu 0 7 e : v r1 0 7 c
3 : v 1 17 -
 A MANUAL O F HARMO N Y .
21 7

A s eac h of th e se fu n da m e nta l po si t i o n s a n d i n versi o n s m ay be

re solved to th e t o ni c tri a d o f th a t m i n o r k ey to w h i c h i t bel ongs ,

a n d equa l ly wel l to th e t o n i c tri a d o f th e m ajo r k ey of th e sa m e

n a m e a s th a t m i n or k ey a n d a l s o to o th e r keys at pl ea su re a n d
, ,

a s a ny d i m i n i sh e d ch o rd o f th e s e v e n th m a y fo l low a tri ad (co m pa re

Ex 3 6 5 ) i t fol l o w s th a t th r e e for m s o f th e d i m i n i sh e d ch o rd o f
.
,

th e s e v e nth a ffo rd th e c u e to a l l m aj o r a n d m i n or k eys O n e x .

a m i ni n b u t a fe w o f th e p o ssi bl e r e s o l uti o n s o f th e d i m i n i sh e d
g
ch ord o f th e s e ven th o n th e 7th degr e e i n c-m i n or w e i n sta n tly per ,

c e i v e h ow fl ex i b l e a m ed i u m of m od ulati o n w e p ossess i n th e d i m i n

i s h e d ch ord s of th e seven th .

b 6 b
7 b 3 7 b 3
3 69 .

c : v 1 10 7 I c: v 1 1 0 7 C: I c V I1 0 7 IV c : v u 7 VI
f : I A b: I

b
6b 2 b
7 b 3b 7 b

c: v u 7 O bz l lo c: v 1 10 7 G b: V 7 c : v x1 0 7 D b: V 7 c : v u 7 V

G
7 b M 7 b 7 b 7 b

c : v 1 10 7 V7 c : V 1 10 7 f : 1 10 7 c: v 1 10 7 E b: V 7 c : V I1 0 7 d: 1 10 7

A b: v n7 F: v u 7

4 4 b 6 b
7 b b

c : v 1 1
f
, : v u 7 c : v 1 10 7 A s 7 c : v u7 a b: I c .

v 1 10 7 d: 1 v7

g 7 b

c : vu 7 d : 1 10 7 c : v 1 10 7 A : V, c : v 1 10 7 f3 : V c:

v 1 10 7 f
'

1V 7

A b: n 7
21 8 A M A N UA L 0F H A l r I O /V Y

.

6 a
4
b

c : v 1 1 -
7 a : 111
'

c : v 1 10 7 ( b: 1 10 7 c : v x1 0 7 B b: V 7

6

2 5
7 b 7 b b

c: V I1 0 7 F: I c : V I1 0 7 V7 c: V II0 7 a b:

b
6
7 b 4

c : v u 7 g : 1 10 c : v 110 7 d : I c: v 1 10 7 1 10 7 etc .

B y w ri t i ng th e c h ord B D F A Dw i th th e e n h arm on i c ch a nge s

of i ts ton es e x h i b i ted i n Ex 3 66 i ts p o ssi b i l i ti e s o f pr o gressi o n to
.
,

oth er k eys a r e sti l l fu rth e r i n cr e a s e d I t wo u l d l e a d u s to o far to .

i n d i ca te a l l th e s e p rogr e ssi o n s ; w e p r e fe r l eav i ng th i s to th e p up i l ,

s o th a t h e m a y beco m e fa m i l i a r w i th th e m a n i fo l d res o l ut i o n s o f th e

d i m i n i sh e d ch o rd s o f th e s e v e nth acc o rd i n g a s th ey a re w ri tten .

66 A furth e r m e a n s o f m o du la ti o n i s fo u n d i n th e a u g men ted

.

ch o rd of th e s i xth w h i ch a s i t b e l o ngs to four d i ffer e n t k eys (c o m p

, ,
.

ca n res o lv e a nd p rogress to th ese a s w el l a s v a ri o u s o th e rs ;

e g
. .

3 70 .

C : I a : IV f VI
: V d : I v 1 1
 A MAN UAL OF HARMO N Y .
21 9

a : W A : I a: W V a: IV A : m : 1:

W i th th e e n h a r m on i c c h a n g e .

C: It e bz x C: II E bz l C: II c :

I II d : 1 g: V d : t g : V7

d : I g : I d : 1 B b: I d : I E b: V 7 d : I c : V7

In th e freer resol uti on s o f th e ch ord s of th e seve n th th e p u p i l h a s

a l ready beco m e a cqua i n ted w i th a l a rge n u m b e r o f oth er m ea n s o f

m od ul ati o n A l l th e s e w i l l b e e m pl o y e d i n p ra cti ce : b u t th e p u p i l
.

sh o ul d co n ti n ua l ly bea r i n m i n d th a t i t i s best n ot to b ri n g i n th e
,

m od u lat i o n w i th to o great sudd en n e ss I n fre e c o m posi ti o n stri k i ng .

m od ul ati o n s m ay to be su re s o m eti m e s pr o d u ce a m o st extra o rd i n a ry

, ,

e ffe ct a s i n ten ded by th e c o m p o ser ; b u t w h e n w e d e si re to w ri te a n

,

i sol at e d m od ul ati o n o utsi de th e l i m i ts o f a l a rg e co m po si ti o n (such

a s a sh o rt i nterl ud e to c o n n ec t two p i ec e s o f m u s i c i n d i fferen t

k eys ) w e sh al l d o w e l l to ab st a i n fro m d i rect m o d ulat i on s o f ft c

,

que n tly r o ugh e ffe ct a n d rath e r to gra d ua l ly prepa r e th e n e w k ey

, .

Th e so ft e r a n d m o re grad ua l th e pa ssag e b e twe e n r e m ote keys c a n

be ma de th e b e tte r w i l l be th e e ffe ct A s h o rt e xa m p l e w i l l suf
,
.

ee to ren der th i s p o i nt cl e a r .
220 A M A NUA L OF HARMO N Y .

The keys of C-m ajor a n d c-m i no r h ave th e sa m e do m i n a nt ch o rd

of th e seventh W e re w e to e ffect th e tra n si ti o n fro m C-major to
.

c -m i nor sol ely by th e a i d of th i s ch ord i n c o mb i n ati o n w i th th e ton i c

tri ad th e ch ord s for m i ng th e a uth en ti c caden ce i n c-m i n or th e
h ea rer wou l d h ardly obta i n th e i m p re ss i o n of a m od u lat i o n to 6
m i n or ; e g
. .

3 71 .

C: I Ca n d o: v7 c: I

T h e fol l ow i n g m o d ul ati on i n 3 72 i s fa r m o re sati sfactory beca u se

begi n n i ng w i th C
, ,

m ajor i t e m p l oys ch ord s m ore n ea rly rel ated to

,

c-m i n or a nd of a natu re to e fface th e e f

f ect of C-m ajo r .
,

372 .

C: I O b: V I1 0 7 B b: I a b: V IIO 7 A b: I I V; I

In th e secon d a n d th i rd m ea su res o f Ex 3 72 w e h ave su sp en sion s . .

S u spen si o n s a re a l way s ad apted to ren d er th e co n n e cti o n of ch o rd s

m ore i nti mate We th e r e fore especi al ly reco m m en d th e i r e m p l o y
.

m en t i n m od u lati ng Wi th o ut th e su spen si on s th e pr o gre ssi o n s of

.
,

th e tri ad s of C, a n d A I? w o u l d app ea r l ess s m ooth .

B7 3 .
 '
A MANUA L 0F HARMON Y .
2 21

F i n a l ly i n Ex 3 7 2 a n d 3 73 th e m od u l ati o n to c-m i n o r i s n
,
.
,
:

i s h ed by a co m pl e te cl o si ng cad e n c e T h i s ca d e n c e i s n e cessa ry i n .

ord er to estab l i s h th e n e w key , a n d to b ri ng th e m od ulati o n to a

fi na l clo se .

CHA PT ER XX I I .

O n th e C l o s i n g C a d e n c e .

67 . Th e
for m s of cl ose n ecessary to n i sh a p i e ce of m u si c a r e
of a n extre m e ly si m p l e n atu re W e p o ss e ss i n fact o n ly tw o th e.
, , ,

fi rst o f wh i c h th e a u th en ti c cl os e i s by fa r th e m o st often e m ploy e d

, , ,

beca u s e i t p ro d uce s th e i m pressi o n of a c o m p lete cl o se m o re fu l ly

th a n th e p lagal close w h i c h i s th e secon d a n d l ess u sed fo r m
, .

C o mp I8 Th e a u th en ti c cl o se i s for m ed by th e su cc e ssi o n of
( .
) .

th e do m i na n t ch ord e i th er a s a tri a d o r ch o rd o f th e s e v e n th and

th e t o n i c tri ad th e d o m i n a nt c h o rd o ccu pyi n g th e wea k b e at w h i l e
, ,

th e to n i c tri a d en ters o n th e stron g b e a t Th i s fo r m o f cl ose i s .

m at e ri al ly strength e n ed by th e p re parati o n o f th e d o m i n a n t c h ord ,

w h i c h i s b ro ugh t ab o u t m ost n atu ral ly by th e ch o rd o n th e z u d de
gree th i s latt e r sta n d i n g i n a l i ke r e lati o n to th e d o m i n a n t c h ord i n
,

for m i ng a cad e n ce a s d o e s th e d o m i na n t c h o rd to th e t o n i c I t al so .

m akes l i ttl e d i ffe r e n ce i n g e n e ral w h e th er th i s p r e p a rat o ry ch ord

, ,

on th e z u d d egr e e i s a ch ord o f th e se v e n th o r a s i m pl e tri a d ; o n ly

th e ch ord of th e sev e nth o n th e z u d d e gr e e i f u s e d i tsel f requ i re s , ,

prepa ra ti o n T he tri a d o n th e 4 th d e gr e e o r e v e n th e ch o rd of th e
.
,

s eve nth d e r i ved fr o m i t a re a l s o o c c a si o na l ly e m pl o y e d a s p repa ra

,

to ry c h o rd s S u c h a fo rm o f th e cl o se i ntrod uc e d by th e c h ord s
.
,

on th e a b o ve d e gr e e s a n d frequ e n tly exte n d e d by th e i n t e rpol at i o n

,

of th e t o n i c tri a d e i th e r a s a ch o rd o f th e s i xth o r fo u rth a n d s i xth , ,

oefo re th e d o m i na n t ch ord i s te r m e d th e c l os i ng c a d e n c e
,
.

D es p i t e th e xed a n d u nc h a n geabl e fo r m of th i s e xtre m e ly si m pl e

seri e s of ch o rd s th e fa n cy of c o m p osers ha s va ri ed i t i n m a ny w ays
,
.

Th is c h a p te r l ik e th o s e fo ll o wi n g c on ta i n s i n p a r t exc e rp ts from a r ti c l e s a nd
, , ,

i n p a r t r ev i s e d a r ti c l e s p ub l ish e d a s e a rly a s 1 8 7 5 b y th e a th r of th is text-b o o k

,
u o ,

un d e r th e p s e u d on y m of L L ii be na u a s m on ogr a p hs i n th e M si k a l is c h es
.
,
u

Woc h en b l a tt .

222 A MA NUA L OF HA RMON Y .

T h e n eed of n ew p h ra ses of n ovel p e cu l i a r a n d stri k i ng form s o f

, , ,

exp ressi o n h a s sp u rred co m posers to a tt e m pts a t al t e r i ng a n d re

,

m o del l i ng th e c l os i ng cad e n ce A l l th ese atte m pts h ad o f c o urse ,

.
,

to b e con n ed to th e ch o rd s o n th e z u d a n d 4 th degre e s th e cl o si ng ,

c h ord s o n th e 5 th a n d I st d egr e es be i n g u n a l terably xed T h e .

atte m pts a t pr e s e nti ng th e ch o rd s o n th e z u d a n d 4 th degr e es i n d i f

fe re nt fo r m s h ave h owever m e t w i th su ch great succ e ss that w e
, , ,

a re oftti m e s i ncl i n ed to tak e th e c ho rd p reced i n g th e d o m i na n t ch ord ,

o r th e 2 ch ord d e r i ve d fro m th e to n i c tri a d fo r a ch ord r e m ot e fro m ,

a n d en ti r e ly fore i g n to th e rul i ng k ey We sh a l l n o w proce e d to

, .

prove h owev e r th a t suc h i s n o t th e ca s e -that h ow e ver stra nge

, , ,

th e ch ord m a y s o u n d we a l way s h av e to d o m e rely w i th th e ch ord

,

o n th e 2 n d o r 4 th d egree o f th e r ul i ng key w i th a tran si e n t ch ro m ati c

a l terati o n o f o n e o r m o re o f i ts i nterva l s a n d n o t w i th ch ord s o n
,

oth er d e gr e e s of oth er k ey s .

T o th i s e n d w e fi rst e x h ib i t th e cl osi n g ca de nce a s for m ed by th e

u na lter e d ch ord s o n th e z u d a n d 4 th degree s .

C l o si n g ca d en ce fo r med b y th e tri a ds on th e zu d an d sth d e gr ees .

C: n V I n V I II I V I

It . I V

e tc .

11 I V
 A MANUA L OF HARMO NY .
223

C l o si n g ca d en ce formed b y th e t ri a ds on th e 4 th a n d 5 th d e gre es .

BIC .

C l si n g
o ca d en ce fo r me d b y th e c h o rds o f th e s e v en th on th e z u d a nd
sth d egr ee s .

3 76 .

C: II 7 V7 I II7 V7 I II 7 V7 I

6
7 4 7

1 17 V7 I II 7 I V7 I II7 I V7 I

0
e tc .

1 17 I V7 1 17 I V7
224 A MANUAL OF HARMO NY .

Cl osi n g ca d en c e fo r me d by th e c h o rd of th e s e v en th on th e 4 th d egr e e .

3 77 .

C: I V7 V7 I 1V7 V7 I 1V7 V7

6 6 6
4: 5 4

I I V, v7 I I V7 I v7 1 I v7 I v7 I
Th e se cl o si ng cade n c e s w o u l d b e fo r m e d i n th e sa m e way i n
m i nor T o p u p i l s atte m pt i ng to i m i ta te t h e m i n m i n o r w e r e c o m
.
,

m e n d car e fu l att e n ti o n to th e corr e ct l e a d i ng o f th e pa rts .

68 .Tak i n g u p th e tri a d o n th e 2 nd degr e e w e sh a l l n o w c h r o ,

m a ti c a l l y a l t e r i ts ton es i n th e m o st va r i o u s m a n n e r a n d sh ow by , ,

m e a n s o f e n h a r m o n i c notati o n th e rese m bla n c e i n sou nd th u s a ri s i ng

,

to ch ord s o f for e i gn k ey s I n th e cas e of fa m i l i a r al te r ati o n s of th e

.

origi na l ch o rd i t w i l l be su p er uou s to p ro ve at l ength h o w n atu ra lly

th e ch o rd i n s p i te o f th e ch ro m a ti c a l t e rat i o n of o n e o r m o re o f i ts
,

ton e s ca n a lways be r e solved to th e d o m i n an t ch o rd o r to th e 2

, ,

ch ord of th e t o n i c tri a d p r e c e d i n g th e latte r W e h av e a d d e d th e .

fu rth er p rogr e ss i o n a n d co n cl u si o n o f th e cl o s i ng ca d e nce o n ly i n

th e ca se o f ch ord -fo r m s h av i ng a m o r e o r l e ss stra nge a p p e ara nce .

en h a r m . en h a r m .

8 h: V 7 E h: I

878 .
 A MANUAL OF HARMON Y . 225

e nh a r m . e nh a r m . en h a r m . en h a r m .

g : v u 7 O b2 V II 7 g : 111

:1 : III '

e nh a r m . en h a rm . e nh a r m .

a : v 1 10 7 A I

e nh a rm . en h a r m .

A : V7 D b: I D b: v 7
226 A MANUAL O F HA R M ON Y

en h a r m . e nh a r m .
m
e n h ar .

b: vuO a b: I

We by n o m ea n s d e si r e to reco m m en d a l these fo r m s o f th e cl o se .

a s suc h ,
sti l l l ess to a ss e rt th a al l ch ro m a ti c al terati on s o f th e i h
,
r

te r v a l s of th e tri ad o n th e a n d degree are n ecessari l y ad ap te d for

cl os i ng caden ces F or t h i ve y rea so n w e h ave o m i tte d ce rta i n
. s r

a ltere d fo r m s, su ch a s

B ut w h en ever suc h forma ti on s a ssu m e th e for m of a c

. h o r d h a v i ng ,

l i ke th e foll ow i n g a sc u n i si m i l ar to th at of th e 2 ch ord
deri ved fr o m th e m a jor tri a d i ts p r ogre ssi o n to th e do m i n a nt
,

c h ord of th e seve nth i n C m ajor ca n be read i ly e ffe c ted .

8 79 .

I n al l th ese pr o gr e ssi o n s o f t h e tri a d on th e zu d degre e i ts root .

D tak es th e cade nce -l i k e sk i p

D G w h en ever i t l i es i n th e ba ss .

w h eth er i t a ppea rs a s a n atu ra l to n e o r a s o ne ch ro m a ti cal ly al tered .

H e n ce i t i s ev i d e n t th at th e progr e ssi on i s ba sed on th e n atur a l l aw s

,

fo r th e c o n n e cti o n o f ch ord s eve n th o ugh th e e ffe c t h e so m e ti m e s

,

stra nge a n d u n exp ected Wh eth e r a n d to wh a t exten t su ch ch ord

.
, ,
 A MANUA L OF HA RMO NY .
227

form s ca n be e m p l oyed i n p rac ti c e d epen d s p ri m a ri ly o n th e i r

,

pr e pa rati on a n d i ntrod uct i o n .

69 . A s we k n ow th e s w e a t/2 i n a ch ord e ffects th e c o n n ecti o n
,

betwee n two c h o rd s i n a m o re den i te a n d su re r fa sh i o n o n a cco u n t ,

of i ts n e cess a ry resol uti o n th a n th e tr i a d ca n d o i n th e sa m e si t u

,

ati o n ; beca use th e latte r (u sual ly a n i n d e penden t ch o rd ) i s by n o

m ea n s subject i n th e sa m e d egre e a s th e c h o rd o f th e sev e nth to
, ,

th e c o m p u l si o n of fu rth er p r o gressi o n w h i ch i s i n m a ny ca se s xed

,

a n d p red et e rm i n ed F o r th i s rea son to o th e c h ord of th e s e v e nth

.
, ,

o n th e z u d d e gree i s e ve n m ore th a n th e tri a d o n th e sa m e p ec u

, ,

l i a r l y a dapt e d fo r i ntrod u c i ng th e cl o si n g cad e n c e e sp e c i a lly a s th e

,

natura l ca d en ce -l i ke res o l u ti o n o f th i s c h o rd o f th e se v en th fo rc e s i t
to resol ve to th e d o m i n a n t c h ord ; b e s i de s i t m ay ea s i ly be l ed to
,

th e ch ord of th e si xth o r fo u rth a n d si xth d e ri v e d fro m th e t o n i c

, ,

tri a d B el ow w e gi ve th e ch o rd of th e seve n th o n th e zu d d e gree

.

i n i ts n atura l a n d i n va ri o u sly al t e red fo rm s a n d a dd to ren de r th i s

, ,

po i n t c l earer , a few cl os i ng cade n ce s begi n n i n g w i th th i s c h ord .

e nh a r m .

3 80 .

en h a rm .
228 A MA NUA L OF H ARMON Y .

We ta k e i t for gr a n te d th a t th e p p il un d e rs ta n ds th e en h a r m on i c c h a ng e i n
, u

th es e fo r m s a nd th e i r f r th e r p r ogr essi o n to th e c a d en c e i n C-m a j o r a nd th e r e

, u ,

fo r e om i t th e i r n o ta ti on i n d eta il b o th h e r e a n d i n oth e r p l a ce s
.

e nh a r m .

e nh a r m
e nh a rm
'

.
 A MANUAL OF HARMON Y .
229

enh a rm . en h a rm . en h a r m .

e nh a r m . en h a r m . e nh a r m .
23 0 A MAN UAL OF HARMON Y .

en h a r m . en h a r m . e nh a rm .

Eve n n ow we h ave n ot ex h a u sted a l l th e possi b l e acci den ta l c h r o

m ati c al tera ti o n s o f th e ch ord D F - A C Th i s w ou l d l e a d too
fa r furth er th a n n ecessa ry for o u r p rese nt p u rp o s e I n s o m e ca ses
.

th e ab o ve ch r o m a ti c a lterati o n s o f th i s c h o rd s o u n d h a rs h i n o th e rs
,

s i ng u la r B ut th e p up i l m u st co n si d e r th a t i f even th e no t-a l ter e d

.
, ,

ch o rd of th e seven th o n th e z u d d e gree r equ i res prepa ra ti o n o n

a cco un t of i ts d i sson a nce i ts prepa rati o n beco m es fa r m ore n ec es
,

sa ry w h en o n e or m ore o f i ts t o n e s a re ch ro m a ti ca l l y al t e red I t .

m u st be p ro p e rly prepa r e d i n every ca se ; th e m o de o f p reparati on

m u st b e l e ft to th e k e en creat i v e i n si gh t of th e c o m p ose r I t sh o u l d
.

al s o b e c o n si d e red h ow gr e atly th e h a rsh sou n d o f m a ny p r o gr e s

,

s i o n s ca n be s o ft e n ed by th e e mp loy m en t of susp en s i o n s ; e g . .

3 81 .

Th e ch ro m ati c al terati on s of th e tri a d o n t h e 4 th d egree m ay b e

pa ssed over T h e t o n e s of th i s ch ord a re th e sa m e a s th e 3 h i gh est
.

i n th e ch ord of th e sev e nth o n th e z u d degree We sha l l m er e ly

.

ca l l attenti on i n Ex 3 8 2 to a fo rm very frequently m et w i th i n the

, .
,
 A l A N U A L OF HARMONY .
23 1

c l o si n g caden ce u nder th e n a m e of th e a ug m e n ted c h ord o f th e

s i x th .

3 82 .

C : IV IV v7

7o Th e ch ro m a ti c a l t e rat i o n o f th e seve ra l t o n e s of th e ch o rd
.

o f th e seven th o n th e 4 th degr e e w i l l y i e l d w i th fe w e xcepti on s

, ,

e ffect s of so u n d w i th w h i ch w e a re a l rea dy fa m i l i a r (eve n i f i n o th e r

n o ta t i on ) i n th e ca s e o f th e c h o rd of th e s e vent h o n th e z u d d egree .

O th er c h ord -for m s l i ke ,

3 83 .

I v7 v7 I
w e set a s i d e a s i d l e s p e cu l ati ve sup erfl u i ti es .

I n a ny e ven t h o w e v e r w e sha l l o bta i n by ch ro m at i cal ly a l te ri ng

, , ,

th e t o n e s o f th i s ch o rd a n ab u nd a n c e o f n e w c h o rd -for m s su i tabl e
,

fo r cad e nce -b u i l d i ng B e l o w w e gi ve a fe w exa m p l es o f suc h for

.

m at i on s .

3 84 .

C : IV 7 '
23 2 A IA N U A L OF H A R /VI O N Y .

W e l e a ve i t to th e rs to e xp eri m e n t a t p l ea su re w i th fu rth er
o

ch a n ge s o f th i s c h o rd Wi t h a p r o p e r pr e p a rati on o f i ts d i ss o n a n ce
.

i t w i l l l i k e w i s e p ro v e a da p t e d fo r i n tro d u c i ng th e d o m i n an t c h o rd
( o r th e tri a d o n th e I st d e g r e e a s ch ord o f th e si xth o r fo urth a n d

si xth a n d th u s fo r fo r m i n g th e c l o s e ; th o ugh i ts true natu r a l (c a

,

d e nce -l i k e ) r e s o l u ti o n l e a d s i t to th e ch ord o n th e 7th d egr e e n ot to ,

th at o n th e 5 th B u t j u st i n th i s fa ct l i e s th e r e a so n o f i ts u s e fu l ness
.

i n fo r m i ng th e c l o s i n g c a d e nc e ; fo r th e tri a d o n th e 7th degree i s

si m ply a d o m i na nt ch o r d o f th e s e ve n th m i n u s i ts root T h i s c h o rd .

i s e m ploy e d o fte n e n o u g h (e g i n stri c t th r e e -p art W ri ti ng ) i n ste a d

. .

o f th e d o m i na n t c h o rd o f th e se v e nth e spe c i a l ly a s a ch o rd o f th e
,

s i xth ; a n d i t i s p e r fe c tly w e l l a da p ted to tak e i ts pl a c e w h e n e ver i t

m a y b e c o m e n e cessa ry to o m i t th e r o ot o f th e d o m i na n t c h o rd o f
th e s e ven th , w h eth e r fr o m a n i n s u f c i e n t n u m b e r o f p a rts (a s i n
th ree -p a r t co m p os i ti o n ) o r fr o m exi g e n c i e s i n the i r l e ad i ng i n fo u r
,

c a r t wri ti ng ; e g . .

I n th e fo rego i ng exa m p l e s w e h ave by n o m ea n s exh a u sted th e

possi b i l i ti e s o f c h o rd -bu i l d i ng b ut th ey su ffi ce to p r o ve th at a great
,

n u mb e r o f ap p a r e n tly fo r e i gn ch o rd s w h i c h a p p e a r i n th e cl osi ng
,

cad en c e a re d e ri vab l e fr o m th e ch o rd s o n th e z u d a n d 4 th d e gr e e s
,

of th e ru l i n g k ey I m p r o babl e a s i t m a y a p p e a r th e p ro gr e ssi o n
.
,

b e l ow a t 3 8 5 i s i n rea l i ty fo u n d e d u pon th i s v e ry c h o rd o f th e s e v e n th
D F A C A b e i ng o m i tt e d a n d th e to n e s D F C c h r o m a ti c a l l y
, ,

a ltere d to D F a n d C 17
, , .

wi th o u t fth . w i th fth .
 A MANUA L OF HARMON Y 23 3

F orm s o f th e ca den ce l i k e th e fol low i n g

a re l i k ew i se deri vabl e fro m th e c h ro m ati cal ly a ltered tri ad on th e

4 th degree .

Th e ca d e nce frequ en tly m et w i t h

3 87 .

is a l so d eri vabl e fro m th e ch ord of th e seve nth o n th e 4 th degree

wi th att e d th i rd a n d seve n th (i n th e sec o n d e x 6 w i th o m i tted
.
,

root ) S u ch for m s of c h ord s m ay b e e m pl oyed to o a s a bri dge for

.
, ,

m o d u l ati ng fro m o n e fore i gn k ey to a n o th er ; u n d er certa i n con d i

t i o n s th e clo si ng cad en ce a l o n e m ay y i e l d a su ffi c i e n t m od ul ati o n
, .

Wi th t h i s ch apt e r cl o s e s th e th eo ry o f th e c ho rd s a n d th e i r i nte r
con n ecti o n T h e l a st c h a p ters of th i s b o o k con ta i n o n th e on e h a n d
.
, ,

p ra cti cal sugge sti o n s fo r th e student a n d a re i n ten ded o n th e oth er

, ,

h a n d to c la ri fy a n d ch a st e n h i s i d ea s co n ce rn i n g th e tru e n atu re o f
,

m u si ca l a rt M a y h e tak e th e i r con ten ts to h ea rt ; for i n t h e e nd

.
, ,

a th o ro ugh ly p ra cti sed ea r a n d a true recogn i t i o n o f th e a i m s of a rt

w i l l be h i s b e st i n stru ct o rs
.
23 4 A MANUAL OF HA RMON Y .

CHA PT ER XX II I .

O n th e M u s i c a l H e a r i ng .

Eve ryon e h ea rs m u si c a n d exp eri en c e s i ts e ff e ct Wi th b u t few

, .

ra re exc e pt i on s * h ow e v e r th e c a pa ci ty fo r h e a ri ng m u si c c o rres
, ,

p o n d s i n g e n er a l to th e i m p r e ssi o n ab l e n ess of th e i n d i v i d ua l ; a n d
, ,

th e great e r o r l e sser i nt e n si ty o f th e i n u e n c e o n var i o u s i n d i v i d u al s

o f a ny co m p o si ti o n w h i c h i s d e v e l o p e d a t l e ngth i s p ri m a r i ly d e ,

te r m i ne d by th e ca p a c i ty o f ea ch to tak e th e m u si c i n by h ea r i ng
( ) .

A sh ort p i e ce such a s a s o ng a da n ce o r a m a rch i s e a sy to fo l l o w

, , , ,

th roug h i ts e nti re co u r s e i t t h erefo re e ffe cts e v e ryon e a n d b e co m e s ,

Co m m o n D o ne r ty rea d i ly a n d ra p i d ly
r
I t i s d i ff e ren t i n th e ca se o f .

l a rger a nd m o re co m pl i c a t e d work s pa rti c u la rly i n s tru m e nt a l c o m ,

posi ti on s Th e se r e q u i r e to b e fo l l o wed a n d gr a s p e d i n a n d th r o ugh

.
,

th ei r w h o l e e xt e nt a fa r m o re th o ro ugh ly t ra i ned a nd c u lti va t e d

,

m u s i ca l e a r B u t w h a t i s m e a n t by a m usi ca l e a r o r m u si ca l
.

,

h ea ri ng ? R o b e r t S ch u m a n n i n h i s

M u si ka l i sch e H a u s u n d ,

L eben sreg e l n (M u si c a l M a x i m s fo r H o m e a n d L i fe ) descri b e s the

,

i dea l h ear e r a s fo l l o ws : So m e o ne h a s sa i d th a t a th o r o u g h m u

,

si c i a n o ugh t to b e abl e to se e a n o rch estra l W o rk h e a rd fo r th e rst

ti m e e ven a c o m pl i c a t e d o ne a s i f th e fu l l s c o r e l ay u n r o l l e d b e fo re
, ,

him .

Wi th th i s ab i l i ty to se e a s i f i n fu l l sc o re S ch u m a n n m e a n s tha t

th e l i stene r sh oul d a ct u a l ly h e a r ea c h a nd e v e ry t o n e p r e c i s e l y a s i t
i s w ri tt e n o u t i n th e s c o re I n o rd e r to d o th i s h e m u st cl e a rly a n d
.

d i sti n ctly r e cogn i z e e ac h i n d i vi d ua l t o n e a n d a l l p o ssi bl e c o m bi na ,

ti o n s o f to ne s b o th i n m el o dy a n d h ar m o ny ev e n i n th e b o l d e st ,

m o d u l ati o n s F urth er h e m ust be abl e i n sta n tly a n d a c c u ra t e ly to

.
,

r e cogn i z e th e t i m b r e o f ea c h si ngl e o rch e stra l i n stru m e n t a t a ny p i t c h

a n d i n a ny regi st e r a s w e l l a s a l l p o ssi bl e c o m b i n a ti o n s o f th e d i v e r s e
,

O s uc h ex ce pti o n a l c a s e m igh t b e th t of a n exce ll e n t m u si c i n wh e n l i s ten i g

ne a a r

to a trivi a l p i e c e wh i c h m a k e s l i ttl e i m p r e ssi o n o n h i m o r a l to g e th e r dis p l e e s ,

as

h i m ; wh e r s th e s a m e c o m p si ti o n m y a ff rd o n sid e r a b l e e n j y m e n t to a l is te n e r
ea o a o c o

l e ss q l i e d to j dg e O e l s e wh e n two l is ten e rs o f e q a l c a p a c i ty h e r th e p i e c e
ua u r u a

whi l e i n q u i te di ff e r e n t m o o ds
.

th e n e h e a l th y fr e sh a n d vig o r s th e o th e r
o , , ou ,

we a ri e d s u ffe ri ng n d n e rv o s
, , a a n d th s a l th o gh e qu lly m tc h e d i n m si c l
u , u ua a u a

c p c i ty c a p a b l e i n di ffe r en t d egr ee s o f b e n g s ti m u l a te d to n r m a l i m p r e ssi on

a a ,
i o

t h l e n e s s.
 A MANUAL OF H A R RI O N Y .
23 5

i n stru m en tal ton es T hat i s th e h i gh est fa cu l ty i m agi n abl e say s

.

,

S c h u m a n n i n c l o s i ng h i s m a x i m ; we say th at i s th e i d ea l of a ,

m u si ca l l i st e n e r

.

N o w eve n i f a gi ve n i n d i v i d ua l poss e ss th i s ca pa ci ty for h ear i ng

,

on ly i n e m bryo i f h e h av e b u t a c e rta i n g i ft i t ca n s u re ly be c u l
, ,

ti v a te d a n d devel o ped to a n extre m e ly h i gh d e gre e by p ersevera nce

a n d pra c ti ce M u si ca l h eari ng d o e s no t begi n i n o u r op i n i on u n ti l
.
, ,

th i s i s a cc o m pl i sh ed ; a n d eve n th e n th e m o st p ra cti s e d l i sten e r ,

th o u g h h e b e a g e n i us w i l l fe e l a ft e r h e a ri ng a co m pos i t i o n fo r th e
, ,

rst t i m e e spec i a l ly i n th e c a s e of r e a l ly n o tabl e a n d o ri gi n al wo rk s

, ,

th e n e cessi ty fo r a n oft r e p e at e d h ea ri n g a n d th i s th e m ore u rgently

-
, ,

th e gr e a t e r th e d i f c ul ti e s p res e nt e d for gra s p i ng th e w o rk i n i ts

e n ti rety by th e n o vel ty a n d ori gi na l i ty o f i ts c o nt e n ts I f u n abl e to .

h ea r i t frequ e ntly h e w i l l e n d e av o r to su p ply a ny m i ss i n g l i n k s by

,

a ca refu l a n d th o ro ugh st udy of th e sc o re a n d th u s a t l ength to ,

obta i n a sa ti sfacto ry i m pressi o n of th e w ork .

O ne m u st no t th i nk h o weve r tha t th i s r e sult ca n be atta i n ed o n

, , ,

h ea ri ng a work fo r th e rst t i m e by fo l l o w i ng th e score w i th th e

,

eye d u r i ng th e perfo r m a n ce We c o n si der th e fa sh i o n rece ntly

.

c o m e i n t o vogu e o f rea d i ng th e score d ur i ng m us i ca l p e rfo rm a n ces

, ,

to be sh eer n o n s e n s e a s c ul ti vat e d by stu de n ts of m u si c a n d by ,

c e rta i n d i l e tta nt i a n d m u si ca l p r o fe ss i o n a l s F o r w h e n such per .

,

s o n s a re con fro n ted by a n e w a nd e n ti re ly u n fa m i l i a r work th e si m u l ,

ta ne o u s a cti v i ty o f e ye a n d ea r w i l l ca u se m ut u a l d i stu rba nce .

Wh i l e th e eye fo l l o w s th e s c or e th e e a r c a n n o t y i e l d i tsel f up w h ol ly
,

a n d u n re s e rv e d ly to th e i m p re ssi o n o f th e m u si c n or ca n th e eye be ,

q u i te u ntra m m e l e d w h i l e th e h e a ri n g i s e n gaged F o r th i s th e .

ro uti n e of a n abl e co n d u c to r i s r e q u i s i t e a n d e ve n h e wo u l d sel d o m

,

e no ugh p la c e h i m se l f i n th e p r e d i ca m en t o f hav i ng to c o nd u ct p r i m a
v i s ta a t o ta l ly u n fa m i l i a r o r c h estra l co m p o si ti on .

O n ly o nce c o nte m pl a te th ese d i s c i pl e s o f a rt tu rn i n g ov e r w i th ,

a n xi o us s o l i c i tud e th e o c ta v e l ea e ts o f th e i r o rch e stra -sco re a m i d

th e o n w a rd swee p o f a n a l l eg r o m o v e m e n t an d j udge w h a t may be ,

th e k i n d a n d d e gree o f th e i m pr e ssi o n o bta i ned fro m th i s rst h ea r ,

i ng a n d r e ad i ng th ro u g h s uch m u si ca l ta sk i n g o f b o th fa c ul ti es A n d
, .

eve n a ssu m i n g th a t th e l i st e n i n g rea d e r i s p a rti a l ly o r th orough ly

fa m i l i a r w i th th e c o m p o si t i o n i n q u e s t i o n w e a sk : O f w h at a ssi st
.

a nce i s i t i n e n h a n c i n g th e i m p ressi o n to d i v i d e o n e s a ttent i o n
,

b e t w e e n th e c o l d d e a d si g n s o f s o u n d th e bl a ck n o te -h ead s a n d
, .
,

th e l i vi n g r e so u n d i ng t o n es ? Wh a t sh ou l d w e th i n k of a m a n wh o
, ,
23 6 A MAN UAL OF HARMONY .

d u ri ng a rep resentati o n o f Wa l l e ns te i n o r Egm o n t i n th e th eatre

sh o u ld keep h i s ey e s fast e n e d o n h i s vo l u m e o f S ch i l l e r o r G o e th e ?
A n d con si deri ng i t fro m th e p ra cti c al i n s tr u ct i ve s i de , we p e rce ive
,

q u i te a s l i ttle a dva n tage i n fol l o w i ng th e sco re F i rst h eari ng th e n .

,

read i ng th e n h e a ri n g aga i n i s th e best l esso n fo r th e p up i l i n In str u

, ,

m en ta ti o n A ft e r th e pe rfo r m a n c e o r fo r expert readers e v en

.
, ,

be fore a rst h ea ri n g a ca r e fu l st u dy of th e score i s c e rta i n ly to b e

,

rec o m m e n d e d to e v e ry c o n sc i enti ou s m u si c i a n ; b u t glan ci n g at o r

fol low i ng th e score d u ri ng th e p e r fo rm a n ce ca n be o f u ti l i ty o nly to
th e co nd u cto r o f th e lat te r fo r th e p u rpos e o f setti ng th e te m p i i n d i
, ,

cati ng th e e ntra nc e o f i nd i vi d ua l i n str u m e n ts o r v o i ces a n d gu i d i ng ,

th e per fo r m a n ce i n g e n e ra l S ti ll i n th i s ca se too a fol low i n g o f

.
, , ,

th e sc o r e b e c o m e s l e ss a n d l e ss n ece ssary th e m or e th e co n d uctor ,

beco m e s th e m a s te r of th e si tua ti on a n d th e mo re h e gra sp s a n d ,

a ssi m i l at e s th e w o rk i n h a n d i n i ts m i n ut e st deta i l s ; a con d u ctor

w h o s e e ye i s a nx i o usly fa st e n ed th r o ugh o ut o n th e o pen score h i m ,

sel f b e a r s w i tn ess to th e fact tha t h e h a s n o t ful ly gra sp ed th e c o m

posi ti o n to be p er fo r m ed .

D eci d e d ly a s w e d i ssuad e th e stud e n t fro m read i n g m u si c w h i l e

l i st e n i ng to i t j u st so d e c i d ed ly d o w e a dv i se h i m to rea d m usi c
,

w h i l e n ot l i st e n i ng to i t R e a d i n g m u si c
.

m ean s con c e i v i ng

,

wri tte n sign s a s so u n d i ng ton es T h i s fac u lty w i l l grow i n l i k e

.

rati o w i th th e ca p a ci ty fo r h ea r i ng m u si cal ly
I t e nabl e s o ne .

w h o p o ss e sses i t i n a h i gh ly devel o p ed degree to ob ta i n a m ore or

l e ss cl e a r i n s igh t a ccord i n g to th e degree o f h i s c a p a c rtv a n d p ra e
,

ti ce i n t o m u si ca l co m p o s i ti o ns w h i ch h e h a s no opport u n i ty o f
,

h eari n g F o r a n alysi s a n d th e a cc u ra te recogn i ti o n o f a l l d eta i l s

.
,
-
w hen studyi ng th e m a ste r work s o f m u s i ca l a rt th e atten t i v e a n d ,

i n tel l i ge nt peru sa l o f fa m i l i a r o r u n fa m i l i ar c o m pos i t i o n s W i l l a l so

be of gre a t s e rv i ce e i i /ze r O qf o r e or af te r H e a r i ng # 26 772
, .

W e ca n now tou ch on a n o th er p o i n t i n m u si ca l h ea ri ng : Con ce n

tr a ti o n i n h ea ri ng i e i n fo l l o w i ng a co m p o si ti o n o f so m e l e ngth
,
. . .

We assu red ly d o n ot go to o fa r i n asserti n g th at th e gre a t m aj o rity ,

i

of h ea rers o f m u si c a re actual ly i n ca pab l e o f fo l l o w i ng i n i ts e nt i r e ,

exten t o ne o f th e l a rger a n d m ore c o m p l i c at e d i n stru m enta l c o m

posi ti on s w h i le l i ste n i ng to i t espec i a l ly fo r th e rst ti m e ;
,

,
oi

gra s p i ng i t a s a w h ol e a n d i n deta i l a n d o bta i n i n g a c o rrect total

,

i m p re ssi o n of th e w o rk B ut we sh a l l go sti l l fu rth e r w i th th e a s

.

sert i on th at ev e n a ft e r re p e ated p erfo r m a n ces of th e sa m e m u si c th e

,

ord i na ry h ea rer s e l do m becom es t horough ly a cqua i n ted w i th i t H e .

 A MAN UAL OF HARMONY . 23 7

h a s gra s p ed l a rg e r o r s m a l l e r fra ct i o n s of th e w h o l e b u t for a l l th at ,

h e d o e s no t ye t k n o w th e w o rk i n i ts t o ta l i ty fro m th e rst t o n e to
the l a st
. A n d e v e n w h e n th e h e a re r h a s s u cce e d e d i n co m p re
h e n d i n g th e e n ti re s c op e o f a sy m p h o ny m o v e m e n t o r a sy m p h o ny , ,

o r a n exten d e d w o rk o f ch a m ber -un i s i c e i th e r by fr e q u e nt a nd a t

,

te n ti v e h eari ng o r by s tudy i n g i t i n th e s c o r e o r by th e a i d o f a
,

p i a n ofo rte a rra n ge m e nt i t i s by n o m e a n s su r e th a t h e i s rea l ly

,

ca pabl e o f h e a ri ng th e w h o l e i n u n i n te r r u p t e d su cc e ssi o n B u t i n .

th i s cas e a sl igh t b r e a k i n l i ste n i ng o r a bri e f i nt e rv a l o f i natt e nti o n

, ,

i s m u c h l ess l i kely to b ri ng m at e r i a l l o ss o r to b e o f r e a l d i sa d v a n
,

tag e to h i s c o n c e p ti o n o f th e w h o l e p r e c i s e ly b e ca u s e h e h a s a l r e a dy
,

m ad e h i m s e l f fa m i l i a r w i th th e e n ti r e c o n t e n ts o f th e w o rk H e ca n .

a ga i n q u i c kly s e i z e th e th rea d o f th e m u si c a l n a rrati v e (i f we m ay

be a l l o w e d to u se th i s exp r e ssi o n fo r wa n t o f a b e tt e r ) a n d ca n ,

su pp ly th e bri ef h i at u s fr o m m e m o r y a s h e k n o ws n o t o n ly th e pl o t
,

of th e p i e ce , b u t a l so a l l i ts d e ta i l s fr o m p r e v i o u s study We

, .

m u st l i kew i s e m e n ti o n th e m a n i fo l d tri fl i ng d i st u rba n c e s w h i ch d i s

c o m p o s e d u ri ng a co n cert th e l i st e n i ng atti t ud e of ev e n th e con sc i
, ,

e n ti o u s a ud i to r beca use o f h i s i n a b i l i ty to d e fe n d h i s e a r aga i n st

,

o th e r i m pr e ssi on s w h i l e th e m u si c i s
p e r fo r m i ng A sud d e n co ugh .

fro m h i s n e i gh bor th e sl i gh test a u d i ble a cc i d e n t m a y d i s tra ct h i s

, ,

attenti o n th o ugh b u t fo r a n i n ta n t
,
s .

T h u s i n o rd e r to fo l l o w a l o ng c o m p o si t i o n q u i t e w i th o ut i n t e r
,

rupt i o n i t i s a n e ss e n ti a l c o n d i ti o n th a t w e sh o u ld a s fa r a s p o ssi bl e
,

p u t a w ay a n d e xcl ud e fro m o u r c o n sc i o u sn e ss a l l o th e r i m p r e ssi o n s .

N o oth e r m enta l e o r t req u i r e s a n e q u a l ly h i gh d e gr e e o f v ig i l a n t

a n d u n c e a si n g a tt e n ti o n s u c h u t te r s e l f-si n k i ng a n d s e l f-fo rg e tfu l n e ss

, ,

so c o m l e te s e l f aba nd o n m e n t to a d e n i t e c o n c e pt i on w i th i n a gi ven
-
p
a n d stri ctly l i m i ted S p a ce o f t i m e a s th a t ca l l ed fo r d uri ng th e p er
,

fo r m a n c e o f a m u si ca l m o v e m e n t F o r th e p e r fo r m a n c e i ts e l f ca n
.

n o m o re b e i nt e rrupt e d w ith o u t d e str o y i ng i ts e ec t a s a w h o l e th an ,

ca n th e l i st e n e r r e st fr o m l i st e n i ng o r c e a s e to gi v e a tt e n ti o n w i th o u t
, ,

l o si n g th e t o ta l i m p r e ss i o n o f th e w o rk A m u si c a l w r k n e ver . o

c o n fr o nts th e b e a re r a l l a t o n c e i n i ts t o ta l i ty ; i t u n r o l l s i ts e l f be fo re
,

h i m a n d h e m u st h i m s e l f c o n struct i t o ut o f th e e v e r -gl i d i ng stre a m

,

of at o m s a n d b i n d th e m t o g e th e r by a n e b r t o f m e m o ry i n o rd er
, ,

th a t th e p i c t u re o f th e c o m p o s e r s fa n c y gra d u a l ly a ss u m i ng sha p e
,

by d i n t o f th e l i sten e r s u n r e m i t ti ng e n d e a v o r m a y a bc t h i m i n turn
'

, .

Wh i l e th e d i l ig e nt a n d i nt e l l ig e n t r e ad e r m a y t u rn o v e r i n m i n d th e
lofty th o ugh ts of a Pla t o S p i n o z a L e i bn i t z Ka n t o r S c h o pe n h a ue r
, , , ,
23 8 A MANUAL OF [ IA R M O N K

at fu l l est le i su re a n d w i th h i s ow n m e n tal e q u i p m en t a n d w h i le i t ,

ra re ly o r never h a p p e n s th at o u r ti m e fo r stu dy i ng a n d ta k i n g i n
a ny oth e r w o rk o f art i s l i m i ted to a c o m p a rati vely very b r i e f spa n ,

th e b e a re r m u st ta ke i n a n d be a e c te d by th e co m poser s w o rk

w i th i n a n d a t a gi ve n m o m e n t .

A ny o th e r a r t w o rk o f a rch i tecture scul pture o r pa i nti ng pres e nts

, ,

i ts e l f c o m p l e te a n d n i sh ed to th e b e h o l d e r a ffo rd i ng h i m n o t o n ly
,

th e a dva n ta ge o f a rst gra n d tota l i m p ress i o n b ut a lso p e r m i tti ng ,

a l e i surely exa m i nati o n of a l l deta i l s fo r th e en h a n ce m e n t of th e

t o ta l i m p r e ssi o n a l rea dy a cqu i red Poeti ca l work s a HO I d th e r e a d e r
.
'

a t l e a st th i s l a st n a m e d a dva n tage e ve n i f th ey ca n not be s urvey e d

o

a t a gla nc e a s a w h o l e fr o m th e v ery begi n n i ng O n ly th e p r o fes

, , .

s i o u a l m us i ci a n enj o ys a s i m i l i a r a dvan tage i n r e sp e ct to th e cr e a

t i o n s of m u si ca l a r t be i n g ab l e to p r e pa re fo r h e a ri ng a n orc h e stra l
,

w o rk by p re v i o u s study o f th e sc o r e o r to su p p ly by subsequen t , ,

read i n g o f th e lat ter w h atever wa s n o t w h o l ly gra sp ed d ur i ng th e

,

perfo r m a n ce .

We m u st sti l l m ore strongly e m p h a si z e th e d i st i n cti o n th a t a l l ,

th e W o rk s o f o th e r a r ts b o rr o w th e i r i d e a s fr o m l i fe fr o m N at ure ; ,

th e y al l p o ss e ss a subj e ct -m att e r w h i c h i s e i th er a n i d e a l i z e d r e pr o

d u c ti on o f actua l o c c urren ces o r a n i deal i z e d i m itati on of N at ur e .

W o rk s o f ab s o l ut e i n stru m enta l m u si c h ave n o suc h s u bj e c t -m att e r .

We m u st ch ara ct e r i z e an y att e m pt to fo i st up on o r attr i bu te to th e m

su ch a subje c t m a tter a s a m i sc o n c e p ti o n d e gra dat i o n a n d i gn o ri ng
, ,

o f th e i nn e r m o st e ss e n c e of m u si c Pu r e i n str u m en ta l m u si c h a s n o
.

m e a n i ng b ut a p u r e ly m u si ca l o n e a n d ca n b e gra sp e d by n o fa cu l ty
,

but th at o f m usi c a l i m p ressi o n ab i l i ty a nd se n si b i l i ty w h i ch facu l ty ,

i s n e c e ssa ri ly p r e c e d ed by th e ca pa c i ty o f h eari n g

N o w i f abs o l u t e i n stru m enta l m u s i c i s n e v e rth el e ss ca pabl e o f

,

prod u ci ng a n e ec t a n d i n m a ny ca s e s e v e n a n extra ord i na ry e ffe ct

, ,

o n v e r y m a ny p e rs o n s w h o a r e c e rta i n ly i nca pabl e o f h ea ri ng i n

o u r s e n s e w e m ust c a r e fu l ly d i s ti ngu i sh w h e th er th i s e ffe ct i s

, ,

br o ugh t ab o u t by a p art i a l o r fu l l a p preh e n si o n o f th e a rt i sti c i nte n

t i o n o f a c o m p o si ti o n o r i s p ro d u ced by so m e u l t e ri o r ca u s e Th i s
, .

* W e h a v e i nte nti on a l ly s p o k en n oth i ng b u t a b s o l te i n s tr men ta l m usi c b e

of u u ,

c a s e i n c a s e o f th e c
u p r a ti o n o f m u si c w i th o th e r a r ts e s p e c i l ly wi th p o try
oo e , a e

w h i h w e rec k n no t n l y v o c l m u si c i n th e r h r h -m u si c s o ngs e tc
(t o c o o a p e a c co , u , ,
.
,

bu t a l s o, i n a c r t i n s en s e th e s c a ll e d p r o gr m-m u si c ) a wh l l y a n d nd i i d d l v
e a , o- a ,
o u v e

m si c a l i m pr e ssi o n c a n n o l o ng e r b e c o n te d o n
u u F o r i n th is c a s e o th e r fa cto rs
.

a r e i n ten d e d to i n u en c e th e h ea r e r i n a gr e a te r o r l e ss e r d e gr e e .
 A IYIA N U A L OF H A R AI O N Y . 23 9

latte r w e sho ul d t e r m th e e l e m e n tary c h a racteri sti c o f m usi c i ts ,

s o u n d a n d rhyth m M a ny pers o n s m a y p art i a l ly grasp th e i n te n

.

t i o n o f a c o m po si ti o n fo r th e rea so n th at th e p ro m i nen t th e mes a n d

, ,

i s o l ated c ha ra ct e r i sti c tra i ts o f a m o ve m en t mak e a n i m pr e ssi o n o n

,

th e b ea r e r a n d i solated m e lod i c p h ra ses a ff e ct h i m by th e i r ch a r m

,

o r eve n i m p ress th e m sel ves o n h i s m e m o ry freq ue ntly e n o ugh , ,

w h e re by h i s d i m con c e pti o n of th e w h ol e i s i l l u m i n at e d so to spea k , ,

i n p la ce s B ut fo r th e m u si ca l h ea rer th e d e ta i l s of a c o m pos iti on

.

beco m e th e m or e e ffe ct i ve th e m o re cl ea rly th e n ecessa ry re lati o n

,

o f ea c h pa rt to th e w h ole i s recogn i z ed ; i n deed i t ofte n h ap pe n s ,

th a t so m e deta i l i s rst ren d ered i ntel l i gi bl e by sub s e que n t fe a tu res ,

a nd v i c e v e r s d I t fol low s th at we ca n n e ve r n d th e e ssen ti a l i n

.
,

t e n ti o n of a c o m pos i ti o n i n o ne si n gl e fea ture even th o ugh i t be ,

styl ed th e p r i n ci pa l th e m e o r th e fu n da m e n ta l i dea J u st i n o u r
, .

c h i e fest m a ster -w ork s i n th e gra n dest revelat i on s of H ayd n M o z a rt

, , ,

B eeth o ve n Ch erub i n i a n d oth e rs th ese p r i n c i pa l th e m e s a re ofte n

, , ,

a st o n i sh i ngly si m pl e a n d betray co n si dered by t h e m selves n oth i n g

, , ,

w h atev e r o f th e fo r m a fterwa rd s a ss u m ed by th e w h ol e p i e ce T h i s .

i s n o t a t a l l d u e to th e pecul i a r fru i tful n e ss o f th ese th e m es a s i f ,

su c h l a t e r d e vel op m en t natu ral ly a n d n ecessa r i ly resi d e d i n th e m ,

but si m p ly a n d s o lely to th e te e m i ng i magi nati o n w h i c h i s abl e to

b u i l d u p m a rv e l o u s w o rk s o u t o f th e v e ry s i m p l e st ma t e ri al s I n .

th e ca s e of o th e r a n d h u m bl e r c o m p o sers w e o fte n m ee t o n th e oth er ,

h a nd w i th b e a u ti ful o ri gi na l a n d ch a rm i ng th e m es w i th o ut fe e l i n g
, , , ,

sati sed w i th th e w o rk o r m o v e m en t a s a w h o l e ; s i m p l y b e c a u se

th e m utual relati o n s o f th e d e ta i l s of th e w o rk a re n o t sa ti s fa ct o ry to
us .

B ut a pa rt fro m th e i n d e n a b l e ch a rm o f certa i n m el od i es
, ,

w h i ch h ow e ver frequ e n tly l o s e s i ts s pe l l a n d va n i sh e s i n th e co urse

o f t i m e th e el e m e n ta ry ch a rac te ri sti c s c f m u si c a s w h i c h w e m e n
, ,

ti o n e d so un d a n d rhyth m w i l l a l ways s u i c e by a n d i n th e m sel ve s

,

to pr o d uc e a ve ry m ark e d i m p r e ssi o n A ny o n e w h e th er a m u si c i a n
.
,

o r n ot a n d e v e n so m e o f th e l o w e r a n i m al s ca n fe el th i s m ost pr i m
, ,

i ti v e o f a l l m u si ca l e b c ts a nd e v e n a s i ngl e t o n e o r a fe w ch o rd s
, ,

to w h i c h a ssuredly n o m u si ca l i d e a c a n b e attribu t e d m ay ca l l fo rth ,

a grea t e e c t u n de r c e r ta i n co n d i ti o n s by i n d uc i n g a m o o d B ut

ev e ry c o m p o si t i o n con ta i n s a grea t n u m ber o f d e ta i l s ca l cu lat e d to

i nd uce m o od s th es e d e ta i l s be i ng p ri m a ri ly to be su re th e m ateri al
, , ,

fo r th e r e p res e ntat i o n o f th e m u si ca l subj e ct -m a tte r By a n d i n .

th e m selve s too s uc h deta i l s a ffect th e n o n -m u si ca l h ea re r ; th ey a f

, ,
24 0 A MA NUA L OF HA RMO NY .

fe e t h i m each by i tsel f a n d a wak e n m ood s i n h i m ; n ot sel do m

, ,

i n deed th ey giv e ri se i n h i s fa ncy to e nti r e ly u n m u si ca l p i c ture s a n d

,

co n cepti o n s ca us i ng h i s i m agi n a ti o n to stray i n e l d s fa r re m ot e

,

fro m th e r e a l m u si ca l i nt e nti o n a n d co nten t o f th e co m p o si t i o n to

w h i ch h e i s l i sten i ng a n d h e fa n c i e s that h e ha s e x peri e n ced true
a n d deep m u s i ca l e m ot i o n i f h e h a s
i nt e n ti o na l ly o r o th e rw i se
th o ugh t o n a nyth i ng d u ri n g th e m us i c S uc h h e arers a n d th e v

.
,

un h a pp i ly for m th e great m ajori ty a l ways re m a i n i n th e vest i bu l e

,

o n ly of th e te m p l e of M u si c O th e rs su cc e e d i n n d i ng th e i r w ay
.
,

step by st e p i n t o i ts subl i m e i nt e ri o r ; few i n d e ed a re per m i tted to

,

e n t e r th e h ol i e st o f hol i e s i n m u si ca l a rt an d by atta i n i ng a c o m p re
, ,

h e n s i o n of th e i n n er m o st e ss e n c e o f m u si c to d i sc o ver al l i ts trea s
,

ures , a n d e njoy u na l loyed de l igh t i n th e i r m a rvelo u s ab u n da nce .

CHA PT ER XX I V .

S u b j e c t-m a tte r a nd F orm .

I t wa s l o n g befo re th e fa ct w a s ful ly r e c o gn i z ed th at th e subject ,

m att e r th e i nt e l l e ctua l s ubstrat u m o f i n stru m e n ta l art -work s i n

, ,

m usi c h a s n o p rot o typ e i n N at ur e ; th at m u si c u n l i ke th e oth er a rts .

,

do e s not b o rro w th e i d e a s for i ts creati o n s fro m N a ture o r l i fe ,

th a t i t i s a s i t w ere a p u re u n m ateri al sel f-sub si sti n g sp i ri t -w orl d

, , , , ,

ap art fro m a l l th a t i s o f th e ea rth ea rth ly a n d i n d ep en de n t of th e ,

i m i ta ti o n o r repeti t io n of a ny co n cepti o n d e ri ved fr o m th e th i ngs o f

ea rth .

I n th e i r so n ata s q ua rtets a n d sy m p h o n i es H ay d n M o z a rt
, , , ,

a n d B e e th oven cr e ated i n stru m enta l m u si c B efo re th ese gl o r i ou s .

rev ela ti on s of th e i n m ost e ssen ce o f m u si ca l art th e a sto u n d e d worl d ,

ben t i n de e p e m ot i o n I n th ese wo rk s w e re seen fo r th e rst t i m e

.
, ,

m u si ca l cr e at i o n s of a patt e rn a n d styl e qu i te e m a n c i pated fr o m th e

ri gi d co n v e n ti o na l ty p es e x e m pl i ed i n th e o p e ra l i br e tt o s a nd ch u rch
m u si c t e xts t i l l th e n i n vogu e a n d of th e gra n d e st a n d m o st p r e gna n t
,

fo r m s a n d d ev e l o p me n t M usi c w a s n o l o n ger th e co m pa n i o n th e
.
,

h a n d m a i d of Po e try ; sh e n o w a p pea red i n h e r fu l l m aj e sty a s a n

,

ab sol ute a n d i n d e p ende n t sovere ign N o o n e w a s abl e to d i scover

.

h o w i t c o uld be th at th i s sa m e p ure i n stru m e n ta l m u si c so m igh ti ly

,

sti rred ou r i n most be i ng th at w e a l l i n sta ntly u n derstood i ts la nguage ,

,
 A MANUA L O F HARMO NY .
24 1

c o m preh en ded i t so ful ly a n d p e rfe c tly a n d w e re n one th e l e s s o bl ig e d ,

to a ba n d o n a l l a tte m p ts l o o k i ng t o wa rd s a n a bs tra c t appr e h e n si o n o f

th i s i m m e d i a t e u nd e rsta nd i ng Ev e ry o n e s o ugh t th e c h a r m e d w o r d
.
,

th e o p e n s e s a m e I o f th e p r o bl e m th e p oe ti c a l c o n ten t of th e

,

m u si c N o o ne wo u l d a d m i t tha t suc h c o nt e n t m igh t be su p er u o u s ;

.

i ts den i a l wa s eve n h e ld to degra d e m usi c a l a rt B ut i n th e c o urs e o f .

ti m e i t wa s i nev i tabl e th a t th e i d e a of a con cepti ona l i n te n t o r c o n

te n t sh o u l d be g i v e n u p a n d th a t th e s u bject -m a tter o f a c o m pos i ti o n
,

sh o ul d be s o ught th rough o ut th e sa m e on ly i n i ts m u si ca l c o n s tr u c
ti o n i n i ts gr o u ps p eri o ds a n d su ccess i on s of ton es Th e gi fted
, , , .

th i nker A rth u r S c h o p e n h a u er w a s th e rst to p r o m ul gate th i s n o ti o n

, ,

i n h i s n o bl e work : D i e W e l t a l s W i l le u n d V orstel l u ng T h e

(

,

Wo rld a s W i l l a n d I d ea ) C h 3 9 Z u r M e ta physi k D e r M usi k

, .
,

(O n th e M e ta physi cs of M u si c )

B ut S c h o pen h a u e r s w ork s l o n g .

r e m a i n ed u n n o ti ced a n d n o t u n ti l m u c h l ater wa s th e sa m e c o n cl u
,

si o n a rri v e d a t by L a z a ru s i n h i s L eb e n de r S e e l e , (L i fe o f th e ,

S o ul ) a n d H a n s l i c k (sti l l l at e r ) i n h i s e ssay V o m M u si ka l i s c h
,

S c h ne n

(O n th e B ea uti fu l i n M u si c ) S ch open h a u er s re m a rk s

, .
,

p e n n ed i n 1 8 1 9 a re s o pl a i n a n d perti n e n t tha t w e ca n n o t r e fra i n

,

fr o m qu o ti n g th e m h e re Th e pa ssage i n q uesti o n r e ad s : O n ca st
.

i ng a gla n ce a t p u r e i n str u m e n ta l m u s ic a Beeth ove n sym p h ony e x ,

h i b i ts th e u tm o st co n fu si o n w h i c h i s n everth el e ss fo u n d e d o n th e
,

m o st perfe c t o rder th e m o st v i o l e n t c o n i ct w h i c h ch a ng e s i n a
, ,

m o m e n t to th e fa i rest h a r m o u v i t i s r e r u m c on cor d i a d i s cor s a tru e ,

a n d c o m pl e t e i m age of th e w orl d w h i c h r o l l s o nwa rd su sta i n i ng i n , ,

n u m erabl e for m s o f b e i n g i n a n i m m easu rabl e e n ta n gl e m en t a n d ,

su sta i n i n g i ts e l f by i n cessa n t d estr uct i on B ut th i s sy m p h o ny e x .

presses a t th e sa m e t i m e a l l h u m a n pa ssi on s a n d e moti o n s jo y

, , ,

sad n e ss l ov e h a te fe a r h o p e etc i n co u n tl e ss n ua n c e s yet a l l

, , , , , .
, ,

m e re ly i n a bs tr a c i o so to speak a n d qu i t e w i th o u t i n d iv i d ual i z a ti o n
, ,

i t i s th e i r m ere fo rm w i th o u t s ub sta n ce l i k e a S p i ri t-wo rl d w i th o ut ,

m att e r Tru e w e a re i ncl i n e d to m ateri a l i z e th e m w h e n h e a r i ng

.
,

th e m to cl o th e th e m i n i magi na ti o n w i th l i v i n g fra m es a n d to
, ,

fa n c y th e m i n a l l m a n n er of scen es p rope r to l i fe a n d natu re O n .

th e w h ol e h o wev e r th i s pro m ot e s n e i th e r o u r c o m preh en s i o n n o r

, ,

o u r e nj o y m en t of th e m b u t o n ly fu rn i sh es th e m w i th stra nge a n d
.

a rb i tra ry a ttri b ut e s ; th e refo re i t i s b e tter to c o n ce i ve th e m a s th ey

a re, w i th o u t s u ch m e d i a ti on .

T h e se re m a rk s gi v e a s fa r a s m e r e w o rd s ca n do i t a m o st
, ,

p o i nt e d a n d d i sti n cti ve c h a ra cteri z ati o n of th e na tu re of i n stru m e nta l

 A M A A U AL OF H A R /k/O N K
'

242

m u s i c T h at i t i s n o t a n e nti rely exh a u sti ve o n e , resi des i n th e i n

.

c o m pre h en s ibl e ness a n d i nexp l i c ab i l i ty o f m u si c i ts e l f a n d l i k e w i se ,

i n th e ci rc u m sta n ce th a t la nguag e d o e s not a or d w o rd s fu l ly ex p ress

,

i ng m a ny o f o ur s e n sati o n s a n d e m o ti o n s Th i s d i ffi c ul ty b e c o m e s .

stri k i ngly a p parent w h e nev e r w e a tte m pt to ta l k abo ut a given p i e c e

of m u si c We fe e l i m m e d i a t e ly th at w e a re u nab le to descr i be i t i n
.

w o rd s N ow i n order to gi v e a t l ea st a n a p prox i m ate i d ea o f a

.
,

p i ece o f m u s i c th e p ro fessi o n a l l anguage o f a r t h a s gra d ua lly a d o pt e d

,

n u m ero u s ter m s fo r th e d e si gn ati on o f c e rta i n pa ssages a n d p a rts o f

a co m p o s i ti on T h u s S ubj e ct -m a tt e r an d F or m a re two tech
.

n i c a l term s w h i c h we c o n ti n u a l l v m e e t w i th n o w -a -days i n m u si ca l

revi e w s T h e l atter u se th e m to d esi gn at e t h e stru ct ur e of th e sev

.

era l m o ve m en ts o f a w ork w h a t m i gh t b e cal l ed i ts a rch i tect o n i c

,

u n i ty i n con tra st to th e sti m u lati ng a n d exc i ti ng p ower exerc i sed

, ,

i n a greater o r l ess e r d e gre e ove r th e l i sten er by th e s e pa rate pa ss

,

ages w h e th e r th es e p assage s a re a l r e ady con ta i ned i n th e th e m es o f

,

th e co m pos i ti on or are b u i l t u p a n d devel op ed o ut of th e m We .

ha v e grow n acc u sto m ed to accepti ng th e ter m s s ubject -m at ter a nd

fo r m s o l e ly i n th i s se n se a n d th u s th ey s e rve b o th th e t e a c h er a n d
,

th e m u si ca l reporter a s a m a kesh i ft i n th e cri ti ca l a n a l v s i s o f a

p i e c e o f m u si c S ti l l o n exa m i n i ng th e m atter w i th cl o ser atte n

.
,

ti o n th e qu esti o n rst fo rc e s i ts e l f u p o n u s :
, Ca n th e fo r m

a n d th e subj e ct -m atter o f mu si c rea l ly b e d i st i ngu i sh e d i n th i s

m a n n e r a n d ca n w e c o n c e i ve th e ml et u s say a s s o m e th i ng ex te r n a l
, , ,

a n d i n te r n a l ? T h e a n s w e r w i l l o f c o u rse be i n th e n ega ti ve .

B o th n at ural ly b e l o n g t o g e th e r ; fo r h o w a n d w h ere ca n fo r m a n d
subject -m a tt e r be s e p a ra te d w h at m ak e s th e subj e ct -m atter w h at
, ,

i s th e fo r m i s th e s ubj e c t -m a tt e r n o t i ts e l f th e for m o r reversely

, , ,

i s th e for m n ot i ts e l f th e subj e ct -m a tt e r ?
We ca n h ard ly h o p e to n d a n a n sw e r g o i n g to th e ro o t o f th e
d i fc u l ty ; i n tr u th th e i n n e r m o st essen c e o f m u si c i s a n i n scrutabl e
,

m yst e ry a n d o u r p r e s e n t p u rp o s e i s si m p ly to e x p la i n th at th e c o h
, ,

c e p ti o n s fo r m a n d

s u bj e ct -m atter i n m u si c m u st n o t b e tak e n a s

th i ngs o uts i d e o f a n d besi d e e a c h oth e r O n th e c o ntra ry th ey a re .

,

so cl o s e ly u n i t e d th at th e i r bou n da ry ca n n o w h e re a n d n ev e r b e
p o i n t e d o ut I f w e s e e k to b e gi n w i th fo r th e subj e ct -m a tt e r of a
.
, ,

co m p o s it i o n w e ca n i n n o ca se n d i ts s p i ri tua l ess e n c e i n a ny
,

si ngl e d eta i l of th e w h ol e n ei th e r i n th e rst o r s e c o n d th e m e o f a

,

m ov e m e n t n o r i n a ny o th e r sp e c i a lly p r o m i n e n t a n d m a rk e d ly e e c

t i ve passage I n pro o f o f t h i s a sserti o n w e a dd uc e th fa ct th at

.
e
,
 A MANUA L OF HA RMO NY 24 3

th e th e m es of o ur m o st e m i n e nt co m posers exa m i n ed q u i te by ,

th e m s e l ve s a re i n m a ny ca s e s b y n o m ea n s s o p re c i o u s m a t e ri a l a s
,

i s g e n e ra lly a ssu m e d Ta k e fo r i n sta n c e th e p ri n c i pa l th e m e i n

.
, ,

th e rst m ov e m e n t o f B e eth o ve n s A -m aj o r sy m p hony I t b e gi n s .

o n th e a uf ta t i n th e fo u rth m ea s ure o f th e V i va ce a n d e n d s
,

w i th th e tw e l fth m ea s u r e O u t o f th e se e i gh t m ea su r e s th e e nti re
.

m o ve m e n t i s d ev el op e d w h i ch l i k e th e w h o l e sy m p h o ny i s o n e o f
, , ,

th e m ost m a rv e l o u s a n d pe rfe ct w o rk s o f m u si ca l a rt B u t i n a n d .

by th e m s e lves th ese e i gh t m ea su res c o n ta i n n o th i ng m arvel o u s w hat

,

ever o r a nyth i ng i n th e re m otest d e gr e e s u gge sti ng th e bea u ti e s to

,

fo l l o w Th ey i n n o w i se j u sti fy pa rti c u la rl y h i gh e xp e ct a ti o n s a n d
.
,

th e w h o l e v e ry si m p l e m elody w h i c h d oe s n o t o verst e p th e co m pa ss
,

o f a s e v e n th bea rs t h e h a rm l e ss i n n o cen t cha ra cter o f a pa st o ra l

, ,

i dyl (esp e c i a l ly i n i ts i n stru m e nta ti o n w i th s o ft w o o d -w i nd i nstr u

m ents tw o h orn s p rov i d i ng a ba ss a n d o n ly th e rhyth m su pp o rted
, ,

by th e str i ngs ) ; i t d o e s n o t a o r d th e sl i ght e st i nd ica ti o n o f th e

gran d e u r a nd m a gn i c e n c e o f th e co m i n g m o ve m en t We m i gh t .

bri ng fo rwa rd v e ry m a ny suc h i n sta n ces ; b u t p re fe r n ot to bec o m e

d i u se a n d c a n sa fe ly l e av e to th e s o u n d j udg m en t o f o u r r e a d e rs
,

th e a n sw e r to th e q u e sti o n W h e th e r i n p o i n t o f fa ct th e rst th e m e
, ,

n th e A l l e gr o o f B e e th o v en s

L eo n o re o v ert u r e o r th o s e o f th e ,

Er o i ca a n d th e E l? sy m p h o n y o r o f a ve r y con si d e rabl e n u m ber o f

,

th e m o st gl ori o u s cr e a ti o n s o f m u s i c a l a rt a re m a t e ri a l ly d i ffe ren t i n

, ,

res p e ct to th e i r i n t e l l e c tua l c o nt e n t fr o m th e th e m e s o f h u m b ler

,

wo rk s We by no m e a n s ign o r e th e fa c t tha t i n m a ny ca s e s th e
.
,

rst th e m e o r th e ve ry rst m o ti ve o f a c o m p o si ti o n m a y a wak e n

, ,

ve ry spe c i a l i n t e re st ; b u t w e a re th e l e ss abl e to attri bute p e c ul i a r

sign i ca n ce to th i s c i rc u m sta n c e fo r th e rea s o n th at o n th e o ne ,

h a n d w e h a v e seen th e gra n d e st m a ste rw o r k s a r i se fr o m th e h u m bl e st

,

b egi n n i ngs a n d o n th e o th er tha t a ne b e gi n n i ng o r a m o st c ha rm

, ,

i ng pri n c i pa l th e m e a n d eve n m a ny e xtr e m e ly i n teresti ng d e ta i l s

, ,

m ay be fo un d i n a m ov e m en t w i th o ut i ts i m p re ssi n g u s o n th e w h ol e
,

a s a n i sh e d w o rk o f a r t a n d w i th o u t ca u s i ng u s to sp e a k o f s u ch a
,

c o m po si ti o n a s i f i t w e re a n e m i n en t w o rk o f gen i u s o r a ttr i b u ti ng ,

to i t p e c ul i a r d e pth of m u si ca l m e a n i n g o n a cc o u n t o f i ts b e a ut i fu l
d eta i l s W e o n ly n e e d cal l a tt e nt i o n to certa i n o f Ch o p i n s c o m p o
.

s i ti o n s N o o n e w i l l d i spute th e bea uty o f th e th e m e s o f th e o pen

.

i n g m ove m en t i n th e E -m i no r c o n c e rt o ; yet s c a rc e ly o n e m u si c i a n
o f e v e n a ve rage ren e m e n t o f ta s te c o u l d be fo u nd w h o w o ul d a pp r o ve ,

o f th e m ove m en t a s a w h ol e I n i t eve ryth i ng w h i ch w e u nd ersta n d

.
24 4 A MANUA L OF HARMONY .

un der m us i ca l sy m m etry stru ctu ra l d e v e l o p m e n t th e desi gn o utl i n e

, , , ,

a rch i t e cto n i c u n i ty W h atever o n e m a y c h o o s e to ca l l i t i s t urn e d

fa i rly u psi de d o w n a n d w h i l e th e e n tra n ce o f th e seco n d p ri n c i p a l
th e m e fo r th e rst ti m e i n E -m aj o r h a s a si ngu l a r e ec t i ts l a ter r e ,

a pp e a ra n c e i n G -m aj o r i s p o si t i v ely d i sta ste ful des p i t e a l l th e b ea uty,

o f th e th e m e i tsel f .

H en ce w e m a y con c l ud e th at th e bea uty of a m u si ca l c o m posi ti o n

,

i s not by a ny m ea n s i nva ri ably a n d u n der a l l c i rcu m sta nc e s de p en den t

o n th e b e a uty o f i ts th e m e s ; b u t th at o n th e c o n tr a ry , very m a ny ,

most val uabl e m a st e r wo rk s possess a th e m a ti c m at e ri a l o f l i ttl e i nter

e st I n p a ssi ng we m erely re m i n d th e reader o f a gr e a t n u m b e r o f
.

H a v d n s qua rt e ts an d sy m p h o n i e s o f th e th e m e s i n C h e r u b i n i s ov e r

,

tu r e s o f cert a i n s o na ta s by B e ethov e n a n d o ther cla ssi ca l co mp o si

, ,

ti o n s F urth er th e con cl u si o n tha t th ere r e si d e s i n th es e i n s i gn i

.
, ,

ca n t th e m e s a n esp e c i a l ly fru i t fu l e m b ryo b e a ri ng i n i tsel f a s i t

, ,

w e re th e co n d i t i on s o f a gra n d d ev e l o p m e nt w o u l d be qu i t e w r o ng , .

W e cl ea rly se e th at s u ch i s n o t th e ca se w h e n tw o u nequa l ly gi fte d

m a sters e m pl o y a c c i d e n ta l ly o r i n t e nt i o n a l ly o n e a n d th e sa m e
, ,

m o ti v e o n e a n d th e sa m e m u si ca l th o ugh t as th e fu nda m e n ta l i d e a
, ,

o f th e i r c o m p o si ti on M o z art d e v e l o p e d th e A l legro of th e o v e r tu r e
.

to th e M agi c F l ut e fro m th e sa m e m oti v e th at C le m en t i u sed fo r th e

rst m o ve m en t of hi s B i) s o n ata B ut wh at a co ntra st b e tw e e n .

M o z a rt s sub l i m e pal ace a n d C l e m e n ti s w e ll -b u i l t ye t c o m m on

, ,

pl a ce d w e l l i ng -h o us e ! H u m m e l i n th e l a st m o v e m e nt o f h i s F
,

m i n o r s o nata u s e s th e sa m e fu ga l th e m e o u t o f w h i c h M o z a r t de
,

v e l o s th e gra n d fug u e of h i s C-m ajor s y m h o ny Th e fact i s s i m

p p .

p ly n ot th a t th e m a st e r ta kes fro m th e th e m e tha t w h i c h i t c o n ta i n s

, ,

b ut th at ea c h fr u c ti e s th e th e m e a ccord i ng to l zi s i n d i v i d ual i ty a n d
th e m i g h t o f H i s i m agi n ati on .

Th u s th e th e m e i s by n o m e a n s of s uch v i t a l i m p o rta n ce to th e
c o m posi ti o n a s to co nta i n i ts i nt e l le c t u al c on t e n t s o to s p e ak in , ,

n u ce ; sti l l l e ss ca n th i s i nt e l l e c tual c o n t e n t b e c o n ta i n e d i n a ny
9

oth e r deta i l O n e xa m i n i n g i n deta i l th e m ost e ec ti v e fe at u r e s o f a

.

c o m p osi ti o n a n d tak i ng t h e m o u t of a l l c o n n ecti on w i th th e r e st w e

, ,

n ea rly a l ways n d th a t i n a n d by th e m s e l v e s t h e y c o n ta i n n o th i ng
wh atev e r e m a rkabl e o r p e cul i a r or e xtra o rd i na ry Th e i r s i g n i
r .

ca n c e r e s i des w h ol ly i n th e i r ev o l u ti o n o u t o f w h a t p r e c e d e s a n d th e i r
c on n ecti o n w i th wh at fo l l ow s I n i ts p r o p e r pl ace th e r e fo r e a ny !
.
, ,

th i n g an d ev e r v th i n g w i l l h a v e i ts p r o p e r e e c t i n a w o rk o f a rt a n d ,

a si ngl e ton e s usta i n ed by o n e i n stru m e n t m a y a tta i n to e q u a l i m p o r

 A MANUAL OF HARMO NY .
245

ta n ce w i th th e m o st c o m pl i c at e d c o n tra p u nta l co mb i na t io n th e ,

u n i s o n d u ri n g a fe w p rogr e ss i o n s m a y be fu l ly a s m o v i ng a s th e
pr o l o ng e d swel l of a m elody w i th a n e lab o rate h a r m o n i c fo u n dati o n .

I t fo l l o w s th at w e s ha l l n d th e ess e nti a l i nte l l ect u a l con t e n t of a

,

c o m p o si ti o n n e i th er i n o n e n o r i n s e ve ra l o r m a ny o f i ts deta i l s ; i t
m u st b e s o ugh t o n l y i n th e w h o l e B u t th i s W h o l e i s term e d i n
.
,

co m m o n pa rl a n c e th e F o r m of th e co m p o si ti o n a n d th i s b e i ng s o
, ,

fo r m a n d s ubj e ct -m a tter wo u l d aga i n a p pea r to b e i d e n ti ca l i n m u s i

ca l a rt Th e y a re proved h o wever to b e n o t i d e n ti ca l by m a ny
.
, ,

w o rk s w i th w h o se m usi cal str uct ure w e ca n fi nd n o fa ul t w h o s e ,

sy m m e try sat i s es u s w h o se o rga n i c a rti c u la ti on a nd devel op m e nt

,

l eav e n oth i ng to b e desi red a n d w h i c h n everth e l e ss d esp i te th ei r fa ul t

, ,

l e ss m u si ca l c o n stru ct i on n ei th e r a ppea l to o u r e m oti o n s n o r sa ti sfy

,

o u r sen se of th e bea ut i fu l O n h ea ri n g suc h a p i ece a ny i ntel l i g e n t

.

m u s i c a n w i l l s a y th at i t i s extre m ely w e l l p ut t o geth e r yet su rpri s

, ,

i n gl y ted i o u s fo r a l l tha t H e r e w e se e a n i sh e d a rti sti c m u si ca l

.

fo r m w h i l e th e subj e ct -m att e r ca n n o t i n t e r e st u s i n th e l ea st o r
, ,

m o ve o r a ttract u s th e d i a m e tri ca l o pposi t e to th e ab o v e -m en ti on e d

C h op i n c o n cert o B u t i t m u st n o t be ass u m e d tha t th e c o m posi ti o n

i n qu e sti o n c o n si sts m er e ly o f fo r m w i th o u t subj e c t -m atter ;
.
,

i ts
subject -m att e r i s n e i th er n o ve l no r spec i a lly a ttra cti ve to u s ; a l l th at
i t ca n say to u s h a s been better sa i d be fore by o th ers con sequ e n tly ,

i t m ak e s n o i m p r e ssi o n o n u s B e si des i n v i ew of th e won d erful ly

.
,

ra p i d progress of m u s i ca l a rt th e m u s i ca l su bj ect -m atter of a w o rk

,

m a y h av e bee n very a ttra cti v e w h e n i t wa s w ri tten yet th i rty years ,

l ater i ts ch a r m h a s va n i sh ed T h e ravages o f ti m e do n ot spa re ev e n

.

work s of d ec i ded e m i n e n ce ; on ly th e creat i o n s of ge n i u s a re for a l l

ti m e a n d re m a i n u n t o uch ed by c h a n ge S u c h wo rk s a re gen era l ly
,
.

fa r i n adva n ce o f c o n te m p o ra ry u nd ersta n d i ng be i ng rst a p prec i ated

,

by l at e r gen e ra ti on s w h o m u st th e m sel ve s l ea rn to gra s p the se m i gh ty

,

creat i o n s by pati en t stu dy of th e sa m e .

A l l tha t n ow re ma i n s to be d o n e i s to a ssu m e that th e i n tel lectual

,

c o n t e n t o f a m u si ca l co m posi ti o n i s so m eth i ng u n k n ow n th e e ffe c t ,

of w h i c h we feel th o ugh u n abl e to gra sp i t a s a c o n cret e con cepti o n

Sti l l w e m a y v e n tu re to spea k of a n i n tel l ectua l n ota O e n e m u s i
.
,

, ,

ca l l
y i n tel l ectual subj ect -m atter o f a c o m p o si ti o n e ven i f we ca n ,

n ot de n e i t w i t h w ord s o r ex p la i n wh e re i n i t a ctu a l ly con si sts Th e

, .

la sti ng e ffe ct o f a co m p o si ti o n o n a m u si c a l ly ed ucated l i sten er i s th e

best m e a su r e of i ts i n t e l l e c tu a l c o n ten t F ro m th e e a rl i est ti m e s
.

m u si c h a s been ca ll ed th e l a nguage of th e feel i ngs p r o bably fo r the ,

24 6 A MANUA L OF HARMO NY .

rea s o n th a t o u r eve ry -d a y spee c h h o wever h igh ly d e vel o p e d i t m a y

,

be h a s n o w o rd s to e xpr e ss m a ny fe e l i ngs a n d pr e ci s e ly th e m os t
, ,

d e l i cate feel i n gs a n d e m o ti o n s We m a y th e r e fo r e be a l l o wed to say

.
,

th a t w e (i n sti ncti v e ly ) fe e l th e m u si ca l c o n t e nt i d e a o r th ough ts o f a , ,

w o rk ; b u t ju st a s we a re qu i te u nab l e to gra sp th i s m usi c a l c o n t e n t a s

a c o n crete co n ce pti o n so a l s o i s i t t o ta l ly i m p ra c ti c abl e to s e pa rat e
, , ,

th i s con t e nt or s ubject -m atte r fr o m i ts fo rm to extra ct i t fr o m i ts ,

fo r m a n d d e v e l op m en t l i k e th e k e rn e l fro m a n u tsh e ll I t i s si m p ly .

i m po ssi bl e to c o n c e i v e th e m u si c a l subj e c t m a tt e r i n i ts m u si c a l fo rm
-

l i ke a b ody i n a ga rm e n t a ke rn e l w i th i n a n ut a s a rst e ssen ti a l i n

, ,

s o m e th i n g l ess ess e nti a l a s i n t e rn a l i ty a n d extern al i ty Both c o n

, .

fron t u s r m ly a n d i n s e p a rab l y u n i t e d i n essen ti a l c c -dev e l op m e nt ,

th e rst a ri si n g w i th a n d fro m th e s e c o n d i ssu i ng fr o m i t l i ke th e ,

fra gra n c e fr o m th e ower l i k e s p e e c h fr o m th e h u m a n m i n d l ik e

, ,

th e sp i r i tua l fr o m th e c o rp o real l i fe We feel th e s u bj e ct -m atter i n

.

th e fo rm w e fe e l h o w th e fo r m i s l led b y the s u bject -m att e r yet

, ,

we ca n not d i su n i te th e m l i k e w i n e fro m a g l a ss N o r ca n w e say .

tha t th i s subj e ct -ma tt e r ta k e s o n a p e c u l ia r fo r m fo r th e n atu re o f ,

m u si c a l d e vel o p m e nt re m a i n s i n th e m a i n u n c h a nged i n s p i t e o f ,

n u m e ro u s va ri ati o n s S ti l l l ess co u l d i t be sa i d tha t a subj e ct -m att e r

.
,

ca n b e work e d i n t o a m u si c a l fo r m J ust a s a ny c o nc e p ti o n wh i ch
.

i s fu l l o f m e a n i ng a n d true to art i s a s p on ta n e o u s o n e i n th e a rt o f ,

m u si c to o subject -m att e r a n d fo r m sp o nta neo u sly c o a l e sc e a n d ca n

, , ,

th e re fo re no t b e d i su n i ted T h e y bel o ng to ea ch oth e r l i k e th e b o dy

.

a n d so ul of m a n th ey ca n ex i st a n d n d e xp r e ssi on o n ly w h e n u n i t e d
,
.

I m possi bl e a s i t wo ul d be to say w h ere th e d i v i d i ng l i n e i s i n m a n , ,

betw e e n b o dy a n d sou l j u st so i mp oss ibl e w i l l i t a lway s be fo r a ny

,

o n e to po i n t o u t wh ere i n a p i ece of m u si c th e l i n e of sepa ra ti o n

, ,

m ay b e d ra w n b e twee n fo r m a n d subj ect -m atter w h ere th e i r l i m i ts ,

a re , w h ere th e o ne b e gi n s a nd th e o th er e n d s wh ere i n th e so ul a n d ,

w h e r e i n th e body of th e m u si ca l orga n i s m con si sts B ut h e re o u r .

co m pari son h a lts ; fo r N at ure th row i ng o ff w hol esal e p rod ucts o n a

,

stu pen do u s scal e often e n o ugh w o r k s very i na rti sti ca l ly a n d a ssi gn s

, ,

a bea uti fu l sou l to a m ea n ugly or i n r m b o dy w h erea s gen i u s

, , ,

k n o w s n oth i n g o f su c h n a tu r a l a c c i d en ts ; i n th e wo rk s o f ou r s u b
.

l i m e m a ster s w e n ever n d a b e a uti ful subj e ct -m atter i n a n i n su f c i en t

fo r m b u t everyth i n g co mb i ne d i n m ost co m p l ete u n i ty a n d pe rfect
,

h a rm o n y .
 A P P E N D IX 1 .

T h e fol l ow i ng exa m pl e s w i th r e fe re n ce s to th e exerc i se s c on

,

ta i n e d i n th e body o f th i s work a n d work e d o u t by th e a u th or

,

a o r d ma ny sugge sti o n s for th e sol ut i o n of th e e x e rc i ses It will

be o f grea t a dva ntage to th e p up i l befo re begi n n i n g to work o ut

,

th e e xerc i ses gi ve n i n th e severa l secti o n s to a na ly z e ca r e fu l ly a n d

,

i n e ach ca se th e e x a m pl es gi v e n h er e b e a ri ng o n th e subject i n
h a n d Th e th or o ugh -ba ss n ota ti o n a n d a l so th e d e gre e -n u m b e rs
.
,

fo r th e ch o rd s a nd th e co urse o f th e m o d ul ati on a re to b e l l ed i n
,

by th e p u p i l i n th e spa ce l eft ab o ve a n d below th e b ass s ta ; th e

exa m pl e s w ri tte n o u t i n fo u r cl e fs sh o u l d be pl ay e d th ro ugh repea t
edl By th i s m e a n s th e p up i l w i l l s oon bec o m e th o ro ugh ly a t
y.

h o m e i n th i s w ork T h e exa m p l e s be i n g w ri tt e n w i th sp e c i a l r e f
.

ere nc e to ce rta i n rul e s th e y ca n of c o u rse l ay n o cl a i m to rea l

,

a rti sti c m e ri t ; th ey a re i n ten ded to se rv e o n ly a s a pra ct i ca l i ntr o

d u c t i o n a n d to th a t ext e n t for m a n i m p orta n t a d d i t i o n to th i s text
,
:

book .

Ex a m p l e s .

Exerc i ses 1 37 37
. .

( 247 )
24 8 A PPENDIX 1 .

To Ex erc i s e s N o . I
45 , 39 .
25 0 A PPENDIX I .

To Exerc i s e s N 0 . I6
5 , 40 .
 A PPE N D IX I .
25 1

To Ex e rc i ses N o. 1
70 , 4I .
25 2 A PPEND IX 1 .

To Ex erc i se s N o . I8
5 43
, .
A PPE N D IX 1 .
25 3
25 4 A PP EN D I X 1 .

To Ex e rc i ses No . 1
95 , 45 .
 A PPEND IX 1 .
25 5

To Exerc i ses N o . 20 7 47
, .
25 6 A PPEND IX 1 .
 A PPE NDIX 1 .
25 7

T o Ex e rc i s e s No . 21
7 , 48 .
A PPE N D I X 1 .
 A PPE N D IX 25 9

To Exerci ses No . 222 , 49 .

A P PE N D I X 1 .
 A PPENDIX 1 .
26 1

To Exerc i ses N o. 2 25 , 5o .
26 2 A PPENDIX 1 .

T o Ex e rc i ses N o . 23
9, 5 I .
A PP EN D I X 1 .
26 3
264 A PP E N D I X I .

To Exe rci ses N o . 2

75 , 54 .
A PP E N D I X 1 .
26 5
26 6 A P PE N D I X 1 .
 A PPE N D I X 1 .

To Exer c i ses No . 2
94, 5 6 .
288 A PPE N D I X

'

0
 A PPENDIX I
.
26 9

To Exe rc i ses No .
3 9 58
0 , .
27 0 A P PE N D I X 1 .

To E x e rc i s e s No .
3 49 , 6I . Th e ca n tu s r m u s i n th e
S o p ra n o .

C f. .
 A PPE N D I X 1 .
27 1

To Ex erc i ses N o .
3 5 2 , 62 . T h e Ca n tu s r m u s i n th e A l to .

Eb B b7 Eb A b B b7 Eb f7 E b7 E b7

A b f7 1 ) b7
'
)
6

To Exerc i se s N o .

3 53 , 62 . T h e Ca n tu s r m u s i n th e Te no r .
27 2 A PP E N D I X 1 .
 A P P E N D IX l l .

S u g g e s ti o n s fo r W o r k i n g o u t th e Ex e r c i s e s i n th e Ma nu a l
of H a r m o ny w i t h S p e c i a l R e fe r e nc e to
S e lf
,

i n s t ru c t i o n.

R epeat e d i n qu i ri e s fro m p ers o n s study i ng w i th o u t a tea ch e r c o n

cern i ng th e m o st d i i c u l t e x e rc i s e s i n th i s b o ok o c ca si o n ed m e to
,

w ri t e o u t th e fo l l o w i n g sugg e st i o n s ; th e y c o n ta i n suc h e xp l a na ti o n s
a n d h i nts a s I a m i n th e h a b i t o f gi v i ng m y p u p i l s i n ha r m o ny a t t h e
R o ya l Co n s e rvat o ry T h e s e s u gg e sti o n s w i l l ten d to fac i l i tate th e
.

te a c h e r s ta sk a n d p rove a w el co m e a i d to th e stu de n t
, .

To 3 l pa ge I n fo u r -pa rt co m p o si t i o n th e t ri a d m ay a l so
4 3 .

b e w ri tt e n w i th o u t a fth a s p r e v i o u sly sh ow n i n Ex 6 m ea s
,
7 .
5 , . .

Ex 9 2 m i gh t t h erefo re begi n a s fol low s :

.

e tc .

d : i

I n deed a c orrect lea d i ng o f th e pa rts o ft e n renders th i s n ecessa r y

,

(co m p Ex 6 7 m ea s 5 ) Ex 9 2 c o u l d n o t co n ta i n th e to n i c tri ad
. .
, . .

w i th i ts fth i f th e ba ss w e re to b e gi n o n h i gh D a n d th e octave
, ,

of th e ro o t h a d to a ppea r i n th e sop ra n o .

C IC .

( 27 3 )
27 4 A PPEND IX II .

To 3 4 , pa ge 5 7 .

D i ffi cu l t Exerc i s e s
, 1 1 86 . Th e sec o nd
of th e se exerc i ses ( ) i s to b e begu n as fol low s :

e tc .

G: I IV V II

N . B . Th e ski p o f th e s op r a n o a nd a l to i n m ea s . 2 is w i th i n th e s a me
c h o rd , a nd th e r efo r e a ll o wa b l e .

E xerc i se begi n s
'

e tc
(y)
.

E b: I II I V IIO I IV II V I IV v 1 1O

Exerc i s e m co m m en ces th u s :

e tc .

IV I IV V

T h e l a st Exer c i se (9 ) b e gi n s th u s :

e tc .
 A PPEN D IX 1 1 .
27 5

A l ways avo i d do u bl i ng th e th i rd i n th e ch ord of th e s i xt h w hen

i t i s th e l e a d i ng -n ot e
.

T o Ex e r c i s e s 1 3 7 3 7 p a g e 6 8
, , Ex e r c i se f m a y begi n a s
.

fol lows :

e tc
(f ) 7
. or : e tc.

VI V7 (1 : I V7

h s:
or t u e tc .

Exerc i se 72 m ay begi n

(lz ) e tc . or e tc .

I V V 7 I Iv
T h e l a st o f th ese Exerc i ses begi n s th u s

e tc .
5X 4
X

g3 : I III '
v 1 1 I IV

To 3 8 , pa ge 7 4 , Ex . 1 4 2 , m ea n 6 . . (f )
27 6 A PPEND IX II .

In th i s c a se th e l ead i n g-n o te w h e n i n a n i n ne r p a rt m a y a l so b e
, ,

le d d own wa rd s c o v e r e d pa ra l l e l fth s n o t a ri s i ng th e r e fr o m E)
, .

e r c i s e k o n pag e
77 m a
y th ere fore begi n a s fo l low s :

Etc .

111

V V7 I V7 I

A t th e r e sol ut i o n o f th e ch o rd of th e s e c o n d th e fth o f th e d o m i ,

n a nt c hord of th e seve n th m a y a l s o sk i p a fo u rt h u p wa rd s e g , . .

C : v7 I

T h e rst ex erc i se 1
45 ( ) a m ay th ere fo r e b e gi n th us :

e tc .

C: I v7 1 u v7 I

T o Ex e r c i s e s 1 7 0 , 4 l I n th e ca s e o f a l l t ri ad s
p a ge 8 9 .
,

t he s e vent h ca n e n t e r a fte r th e o ctav e o f th e r o ot w i th o u t furth e r

p repa ra ti o n ; Exerc i s e a m a y th ere fore b e gi n th u s :

G e tc .

C: I 1 17 V7 I I7

T o Ex e r c i s e s N o . 18 5 , I n Exerc i se s 6 a n d f ,
4 3 , pa ge 9 6 .

a t th e p lac e s m ark e d N B th e fth of th e d i m i n i sh ed c h ord of the

. .
,

seventh m ay p rogre ss u pwa rds b e ca u se b e i ng set b elow t h e root ,

, ,

i t form s a fo u rth w i th th i s l atter .

 A PPE ND IX 11 .
27 7

f gz i
!
VH S
,
I i v7 vi l
g I

bb z l V I 1v7 V H S
} I

To 4 4 , Ex . 18 7 , F r o m Ex 1 8 7 th e p u p i l w i l l
p a ge 10 0 . .

se e ,
th at th e d o m i n a n t c h ord o f th e sev e n th i n th e fun da m en ta l p o s

s i ti o u m ust a l ways be gi ve n W i tu a l l fo u r i nterva l s i n fo u r -pa rt

w ri ti n g wh e n i t i s to b e resol ve d to th e tri a d o n th e oth d e gre e
, .

I n pr o gr e ssi o n s betwe e n th e se tw o ch o rd s i n m i n o r th e th i rd o f th e ,

tri a d o n th e 6 th d egre e m u st t h e n a l w ay s b e do ubl ed .

In M j r:
a o In M i nor :

C: V7 VI C: V7

To 4 6 , Ex . 20 3 , pa ge 1 1 2 . M
o z a rt h o w ev e r w ri t e s su ch
, ,

para l l el fth s i n m e a s 8 o f th e fugue i n th e C-m aj o r F a nta sia e v e n

, .
,

i n th re e -pa rt co m p osi ti on w h i ch a s rega rd s su ch fo rb i dd e n pro

, ,

re ss i o n s r e qu i re s sti l l gr e ate r ca uti o n th a n fo u r -pa rt c o m po si ti o n

g , .

Co m pare th i s pa ssage i n th e above w ork :

27 8 A PPEND IX 11 .

i n w h i c h ca se th e e ec t of th e pa ra l lel fth s betw e e n th e s o pra n o

a n d ba ss i s by w ay of e x c ep ti o n a n a d m i rabl e o n e
, , .

H e n c e i t i s su fc i e ntly ev i dent th at pa ra l l el fth s l i ke th o se ex h i b ,

i te d i n Ex . 20 1 a n d 2 0 2 m a y be sa n ct i o n ed a t a ny ti m e
, H ere w e .

m u st tak e i nt o c o n si d e ra ti o n th at th e a ug m e n ted ft h i s a w i d e r i n
te r v a l th a n th e m i no r si xth E i th er i n terva l m ay fo l lo w th e p erfe ct
.

fth i n d o wn ward p rogressi o n a s m a y b e see n fro m th e exa m p l es

,

bel o w .

I:
!
IV 111
'
V7 I f : 1v a bzi v A b s : V 1 19
,
I

T o Ex e r c i s e s N o . 20 7 , 4 7 , pa ge 1 1 5 . Ex e rc i se 72 m ay be
gi n a s fo l low s

6 D 6 b
7
g
8 6
a h
g g

a bz I a b V7 I
: V7 a b z1 1
0
7 1 10
7 a s 7 I V7

Exerc i se may begi n a s fo l l ow s :

17 )
g 6

x
: I b: V7 I V IIo I D : V p
g 3 : V.7 I A : I g : V 7
 A PPEND IX 27 9

T o Ex e r c i s e s N o. 2 17 , 4 8 , pa ge 12 1 . Exerc i se 6 m ay be
w orked out as fo l low s :

or :

or in ope n h ar m on y :

G
7 1)
I

I V C: v .
7 F : V v7 1

T o Ex e r c i s e s N o . 2 2 2 , 4 9 , pa ge 1 2 7 . Exerc i se (1 m a y b e
g i n a s fo l l o w s :

E: I V7 I V7 I C9 3 V 7 I i v v
j I E V7

T o Ex e r c i s e s N o. 225 , 5 0 , pa ge 1 3 0 . Ex erc i se 6 m ay
co m m en ce th u s :

(5 ) e tc .
28 0 A PPEND IX 11 .

N . B .

or :
8 a a 7 a e tc
e 7 a e
g
:

In -
ca V H S W7
C: I II I 1 17
; II 1 17 V

N . B
. By th e r ry m o ti o n o f th e b a ss th e e ffe c t o f th e p a r a l l e l f ths i n
c o nt a

th e i nne r p a r ts i s c o ve r e d u p s o th a t th is p ro gr essi on c a n n t b e con s id e r e d wr o ng

, o

h e re .

Exerc i se 6 m ay b egi n as foll o ws :

I IV I IV v 1 1 v r V7 v u 7 I

Ex e rc i se d m a y co m m en ce th u s

W) e tc .

v 1 1
I R V V II
?

Ex er c i se g m a y b e gi n a s fo l l o w s :

O
l

e: I IV I 1 10 7 1 11
'
V .
 A PPE ND IX 11 . 28 1

or in op e n h arm ony :

Ex erc i se k m ay begi n as fo l l o w s :

e tc . or:

B bz I u I

o r i n ope n h a r m ony

B b zl u 1 IV v xg
-v u p
.

,
I F : V 13 w, I g: V

T o Ex e r c i s e s N o. 23 9 , 5 1 , pa ge 1 8 8 . Ex erc i se 5 sh ou l d
begi n

f : x 1V7 1 0 b: V 7 4 1: 1 V 7 x E b: V V V7
28 2 A PPENDIX II .

T o Ex e r c i s e s N o . 27 5 , 5 4 , pa ge 16 0 . Ex e r c i se g sh o u l d
begi n a s fo l l o ws :

g
6 5 e

3 I 3 g 3 e 9 a 7

D: I II 7 1 17 IV V, I IV IV ,

T o Ex e r c i s e s N o. 294 , 5 6 , pa ges 178 -

4 7 5 . Exerc i se 0

may begi n as fol l ow s :

F : I IV I IV v 1 10 v 1 V d: v 7 IR IV 117 V

Ex e r c i se f m ay begi n as fo l low s :

a: I V I I 7 I 0: V7 I b: 1 10 7 V I

6
7
A ; 5 5
6 1t 3

V; I D : V7 I v 1 1
f3 : V I1 0 7 b: V
 A PPE N D I X II .
28 3
Ex erc i se A m ay begi n

(5 !

IV E h:

e tc O r:
5 9 8 e tc.
.
7

g: V V7

T o Ex e r c i s e s N o. 3 09 , 5 8 , pa ge 18 1 . T he cl ose of

Ex erci se 6 m ay be wo rked o ut th us :

Exerci se 6 m ay be work ed o ut as fo l l ow s :
28 4 A PPE N D IX I I .

WM WM
! I I
C

2 %

T o Ex e r c i s e s N O . 8 49 , 6 1 , p p . 20 4
20 5 . Ex e rci se a m ay
b e gi n as fo l low s :

8 17 C7 IV

Ex erc i se c m ay begi n as fol low s :

 A PPEND IX II .
23 5

Ex erc i se e m ay be work ed o ut as fol l ow s

Gb Db a b bb N B . . e b D b 0 17 7 G !) (2 1
37

N . B C o m p Ex 5 9 b
. . . a nd R ema rk , on p . 26 .

D b7 ( l) 0 17 7 N . B D b?
. '
0b

5
2
:

N . B . O ne m ay i h e r l et th e o cta v e p r ece d e th e s ev enth

e t , or l et th e l a t
n r u n p r ep a r e d
ter e te by a s ki p i n con tr a ry m o ti on to th e b a s s .

Ex e r c i s e g m ay begi n as fol l ow s :
E B7 E 8 7 E f3 ? B7

A 8 7 E c 37 N B B
. . E E7 6 3 g: A

N . B . Th e T h ird in h rd of th e s ev en th
th e c o m a y be d o ub l e d , wh en i t
is n ot th e l ea di ng-n o te . C o mp . R e ma rk o n p a g e 6 2 .
28 6 A PPE ND IX 11 .

Ex erci se m ay b e gi n a s fol lows :

'

0
.
7 Eb 0 0 7 g

e tc .

9 e 7 3:

Exerci se 1 m ay b e gi n th u s :
5
0 3 ( 3

It i s bes t to W ri te di m i n ish e d tri a ds as c h o rds of th e si x th .

e tc .

Exerc i se m m i gh t b e worked out th u s :

'
6
 A PPENDIX 11 . 28 7

B A b d 0
c N . .

N . B
. T ri a d wi th ou t fth .

T o Ex e r c i s e s N o. 3 5 2 , 6 2 , pa ge 2 0 7 . Ex e r c i s e a may be
w o rk e d out as fo l l o w s :

G7
( )
a a

or :

C 0 7 C

o e o 6 o
e
28 8 A PPEND IX II .

T o Ex e r c i s e s N o . 3 5 3 , 56 2
, pa ge 2 0 8 . Exerc i se (1 may be
W o rk e d out as fo l l o w s

(d
 IN D E X .

A d en ta l c h o rd -fo r ms , 94 , 1 1 8 , I 60 , 1 6 4
cci .

n
A ccomp o .cb or d : to a c a tu s r m us , 1 94

A l ter ed c o rds , 1 4 2 ; i n m o d u l a ti o n , 2 2 2 2 3 2 .

n
A l to, 1 4 ; a s ca tu s fi r m us , 2 0 6 ; a l to-c l ef, 1 2 6 .

A ppen d i x , 2 4 7 I I I, 2 73 .

A mi: s tr o ng b ea t 2 2 1 .

A ufta k t fr a c ti o na l m e a s u r e b egi nni n a m o v e m e n t l i te r a ll y u p be a t, 2 4 3 o

.

x
A ug mented c or d o f th e si th , 1 2 9 ; o th e thi rd , fo u r th a nd si th , 1 2 8 , 1 3 3 ; of the x
thi rd , fth a n d si th , 1 2 8 , 1 3 3 x .

A u th en ti c c a d e ce , 2 3 n .

Ba n , I 4, 1 5; l ea di n g of, 1 99 .

Ca d en ce, a ut h enti c , 23 ; p l aga l , 23 ; d ece ptiv e , 98 ; p e rfect 66 ; , l s in g v a ri eti es of

c o , .

22 1 .

Ca d e n ce-l i k e p o e o , 8 6 -9
r gr ssi n .

C- f
cl e , 1 2 5 .

r m u s, 1 6 -8
Ca n tu :
f 9 4 , 2 0 .

C/za ngzng -n otes , I 78 .

l r d
C/zor d s, a te e , 1 1 8 .

c l a ssi c a ti on o f 1 2 , .

i n d e pen d en t a nd d ep en d en t I 2 , .

p a ssi n g 1 77 , .

v i e w of 1 40 , .

a ls o c o m p T ri a ds C h o rds o f th e s e v en th
.
, .

Cnor d o f th e a u gm si xth 1 2 9 .
, .

o f th e di m i n s e v en th
93 .
, .

o f th e fo u r th a n d si x th 4 6
56 ,
.

of th e s e v en th
5 9 ; i n v e rsi n s o f 7 c, o ,

of th e si x th 4 6 , .

Ch r om a ti c a l ter a ti on , 1 I 8 sem i ton e, 4 .

Ci r cl e of f t/zs , 6 .

Cl ef t , Vi
e w of, 1 2 6 .

Cl ose , Cl osi ng ca d e n ce, 2 2 , 66 , 2 2 1 .

v i s
Compa s s o f o ce , 1 4 - 1 5 .

Cov er ed f t/zr , 6 7 , 1 8 2 ; octa v es , 2 6 , 1 0 3 , 1 82 1 9 2 ; u n i s on s,

Cons ecu ti v er , see Pa a e ft , o c ta e r ll l hs v s .

r
Con son a n ces , pe fec t a nd mpe fec t, 9 i r .

Contr a ry m o t o , 1 8 , 54 i n .

Cou nte rp oi n t, 1 4 .

Cr oss -r el a ti on , 1 93 .

D ecepti v e ca d ence ,

D er i v a ti v e to e n s , 1 .

D i a ton i c s ca l e, 1 s em i ton e, 4 .

D i rn zn u lzed t a
'
ri d 2 5 , .

c h o rd of th e s ev en th , 93 ; i n m o d u l a ti o n , 216 .

D airson a n cec , 9 .

D om i n a n t, 1 3 ; d o m tri a d , 1 4 ; d o m c h o rd o f th e s e v e th , 5 9 ; i n m o d u l a ti o , 2 1 0
. . n n .

n
Dou bl i ng o f to e s , 1 5 , 1 , 5 8 , 6 2 ; o f th e thi rd i n th e c h o rd o f th e si th , 4 7 , 58 ; of x
n
th e s e v e th , 6 2 ; 0 r oo t, i n c h o rd of th e s ev e th , 6 2 ; of l ea di ng - o te , 58 , 8 0 n n .

( 28 9 )
29 0 IN D E X .

D ro pp i ng of i nte rv a ls , 62 3, 87 .

E l ev enth , 2 ; c h o rd o f th e, 1 7 2 .

E n h a r /n on i c c h a ng e , 2 1 5 , 2 2 4 .

E n h a r m on i co-ch r oma ti c s ca l e, 8 .

Ex er ci s es fo r p r a c ti ce ( f un d tri a ds i n m a j o r ), 2 4 ; ( a l l tri a ds i n m a j o r ), 3 ; .

tri a ds i n m i n o r 4 3 ; ( i n v e rsi o ns of tri a ds 5 6 , 5 7 ; ( d o mi n a n t c h o r o f

s ev enth 68 7 0 ; ( i n v e rsi on s of 7 6 ; s econ d a ry c h o rds of s ev enth i n ma j o r
8 6 ; i n v e rsi on s of 8 9 ; i n te r c onn ecti on o f c h o rds of s e v en th i n m a j o r 89 ;
( s ec o n d a ry c h o rds o f s e v en th i n m i n o r , a n d i n v e rsi o n s ) , 96 ; ( n o n-c a d e nc e d
r o f d o m c h o rd o f th e s e v en th
p r o gr e ssi on s o f s e co n d a ry
r o 1 0 6 -8
p g . .

c h o rds o f s e v e n th wi th c h o rds o f o th e r d e gr ee s a n d k eys 1 1 1 17 tri a ds

wi th a l te r e d fth 1 2 1 - 2 ; ( c h o rds o f s e v en th wi th a l te r e fth ), 1 2 7 - 8 ;

( a u g men te d c h o rd of th e si xth I 3 0 ; ( a ugm c h ord of th e fth a nd si x th a n d

.
.

th ird , fou rt h a n d s i xth I 3S ; ( si m pl e s u s p en si on ), 1 60 3 ; ( s u s pe nsi o n i n

s ev e r a l pa r ts ), 1 7 3 5 ; (p a ssi n g-c h o rds , o rg a n-po i n t 1 8 1 - 2 ; ( a ccomp of

.

a ca n tu s r m u s i n s o p r a n o 20 4 5 ; i n th e a l to o r te no r 20 7 8 .

F a l se i n h a r m on i c e a t on , 1 93
or r l i .

F igu r i ng o f c o , 43 h rds .

F i th , 2
f r
p e fe c t, a u gm , m , 5 ; o m tte i n c o o f th e .e e t di i n . i d h rd s v nh , 62, 8 7 ; l r d
a te e
in
t
he t a ri d
1 1 8 ; (i n c o of th e e e n t ), 1 2 2 h rd s v h .

F ifth a n d s i x th , c o of th e , 7 1 a u gm c oh rdo f th e , 1 2 8 , 1 3
3 . h rd .

F n r ll l
ifth s . O p e or p a a e , 1 7 , 1 3 5 ; c o e e , 6 7 i n c o nt a m o t o n, v r d r ry i 20 3 ; s u cc e ssi o n
of p e fe c t a n dr di i
m n ft , 3 o , 3 1 , 69 ; of pe fect a nd a u gm . hs r .
, 1 1 1 C i r cl e o f
hs
ft , 6 .

F or m, 2 40 .

F ou r - a r t
p w r i ti ng , 1 4 1 6 , 1 9 4 8 .

F ou r th , pe r fec t, 2 ; a u gm a n d . di m i n .
, 5 ; p r ep a r a ti on of , in c h o rd o f th e fo u r th a nd

si x th , 1 99 .

F ou r th a n d s i x th , c h o rd of th e , 4 6 56 l
e m p oy m e n t i n c a d e n c e, 1 99 , 21
5 , 222 as

pa ssi ng-c h o rd on we a k be a t , 1 99 ; a u gm . c h or d o f th e, 1 2 0 .

F u n da men ta l , s ee R oo t .

ch or d s , 1 4 0 ; tr i a d s ( i n ma j or ) ,
1 3 ; i n ( mino r ) , 38 .

H al f -
s te p, S e m i ton e
s ee .

H a r m ony , s tudy of, see Pr efa c e .

cl os e a n d op en , 2 1 , 1 2 4 .

I n ner p a r ts , 1 5 , 4 9 .

I n ter con necti on o f c h o rds , 1 7 , 8 6 , 98 , 1 0 1 , 1 0 8 , e tc .

I nte r v a l b e twe e p a r ts , 1 9 4 - 8 n .

I n terv a l s , p e r fe ct, 2 ; m a j o r , 2 ; m i no r , a ugm , di m i , 5 ; . n . V i ew of a l l , 7 i n v e rsi o n

o f, 9 ; o m issi o n o f, 6 2 - 3 , 8 7 .

I n ver si on o f c h o rds o f th e s e v e th , 7 o , 90 ; of i nte rv a ls , n a bo ve a nd b e l ow, 1 0 ; of

t ri a ds , 45 .

L ea d i ng -n ote l ea d i ng -ton e 2 8
, , , 4 9 ; i n th e i nn e r p a r ts , 6 5 ; d ou b l i ng o f, 2 9, 58 .

L ea d i ng o f p a r ts , 1 4 1 98 , 2 0 1 , of b a ss , 1 99, 20 1 o f s o p r a o , 1 9 5 , 2 0 6 ; o f i n e r p a r ts ,
n n

M el o dy s o p r a no 1 9 5 2 0 6
of , , .

M i d dl e p a r ts s ee Inn e r p a r ts
,
.

M od u l a ti on , 99 , 2 0 8 .

Ill a ti on ,
pa ral l l e , ob l iq u e , co n tr a ry ,
18

M u s i ca l h ea r i ng , 234 .

N a tu r a l to ne s I , .

N i n th , 2 ; m a j or a nd m inor , 5 ; c h o rd of , 2 70 2 ; s u s pen s i on o f, 1 56 , 1 70 .

O cta v e, p e r fec t di m i n
,
.
, 8 .

O cta v es . o pe n or p a ra l l e 1 7 ; co v ered , 2 6, 1 0 3 , 182 1 9 2 ; 1 n cc ntr a r y moti on .

20 4 .
 INDEX 29 ]
.

O m i ssi on of i n te rv a ls , 62 3 , 87 .

O rga n -
p oi n t, I 7 O , 1 79 .

O u ter p a t , 1 5 rs .

Pa r a l l el h s , 1 7 , 1 3 5 , 2 0 3 ; n e u tr a l i ze d b y con tr a ry mo ti o n, 2o3 ; b y s u s pen si on , 1 5 5 ;

octa v es , 1 7 , 1 0 3 ; i n s u s pen si on , 1 5 5 .

Pa ss i ng-n otes , 1 7 5 ; p a ssi ng -ch or d s , I 7 7

Ped a l , Ped a l - p oi n t 1 7 0 , 1 7 9 , .

Perf ect c a d en ce, 6 6 .

Pl ag a l cl ose or ca d en ce, 2 3 .

Posi ti on , c l o s e o r o pe n, se e H a r mony .

Pr ep a r a ti on o f th e s e v en th , 8 3 - 5 8 7 , 1 7 3 ; o f th e s u s pen si on , 1 4 7 , 1 50 , .

Pr i m e, pe r fe c t, 2 ; a u gm , 2 , 5 . .

Pr i ma r y tri a ds , s e e F u n d a m e n ta l tri a ds .

Pr i n cipa l c h o rd of th e s e v e nth , 5 9 .

Pr og r ess i on o f pa r ts , s ee L e a di n g .

Pr og r es s i on s, fo r b i dd en , 1 7 , 2 6 , 6 5 , 69 , 1 0 3 , 1 0 8 , 1 1 4 , 1 8 2 1 9 2 ; o f s e v en th b y ski p s ,
1 0 4 , 1 3 9 ; i n u n is on , 1 9 1 .

R esol u ti on , of dom . c h o rd
s e v en th 59 6 6 ; o f s eco n d a ry c h o rds of the s ev
of th e , ,

c u th ( i n m or - 8 6 ; i n m i n o r ) 0 ; c f a u m c h o rd o f th e si x th 1 2
(
'

7 2 a 9 g 9 ; of , .
,

a ugm c h o r o f th e thi rd fth a n d si x th a n d thi rd fo u r th a nd si x th

. 1 3 4 ; of
, , , ,

s u s pen si n s 1 4 7 1 5 1 2 1 5 3 4
o , , ,
.

R ot 3 ; d ou b l e d i n c h ord of th e s e v e n th 6 2
o , , .

S c a l e, m a j o r , I m i o r ( h a r mo i c a n d mel o di cn 35 n .

S cor e , 1 6 ; sh o rt, 1 6 .

n
S econ d , 2 ; m a j o r , m i o r , a ugm 5 ; s te p o f a ugm s e c o d , 3 9 . . n .

c h o rd o f th e , 7 1 fr e e r r e s o l u ti o n o f, 1 0 4 ; wi th a l te r e d si th , 1 2 3 x .

S econ d a ry or s u b o rdi a te n
tri a ds , i n ma j o r , 2 4 ; i n m i o r , 3 8 n .

c h o rds o f th e s ev en th i n m a j o r 7 8 ; i m i o r , 90 . . n n .

S em i ton e, gr e a te r a nd l e ss e r , 4
S equ en ce, 3 3 ; s e q u e c e o f s u s p e s i o ns , I 5 2 n n .

S ev en th , 2 ; m a j o r , m i no r , di m i , 5 ; p r e pa r a ti o of, 6 1 , 8 3 ; d o u b l e d , 6 2 ; u npr e n . n
n n
p a r e d e tr a ce o f, 6 1 r e s o l u ti o b y a s te p d o w wa rds , 6 1 by a s tep u pwa rds , n n
10 2 4 , 1 1s u s ta i n e d 1 0 1 ski pp i n g 1 0 4 1 3 9
3; h el d or , , , .

S ev en th c h o rd of th e 5 9 ; d o m i na n t c h o rd o f th e s e v en th 5 9 ; o n 7 th d egr ee i n
, , ,

m a j o r 7 8 ; o n 7 th d e gr e e i n m i n o r 9 2 9 3 ; this l a s t c h o rd i n m o d u l a ti o n 2 1 6 ;
, , , ,

i nte r c on ne cti on of c h o rds o f th e s ev en th 8 6 ; wi th c h o rds o f o th e r d e gr ee s ,

a nd k e ys 1 0 8 ; n o n- c a d en c e d p r o gr e ssi o n s 98 ; V i e w of a l l
, 141 , ,
.

S i x th 2 ; m a j o r m i n o r a ugm 5
, , , .
, .

c h o rd o f th e 4 6 ; a u gm ( a l te r e d ) c h o rd o f th e 1 2 9 ; th e l a tte r i n m o d u l a
,
.
,

ti o n 2 1 8 , .

S op r a n o 1 4 ; s o p r a n o-c l ef 1 2 6
, , .

p a r t me l o di c l e a di n g o f 1 9 5 2 0 6
, , , .

S teps a nd s h ips , 2 0 1 .

S u bd om i n a nt, I 3 .

S u bor d i n a te o r s eco n d a ry ri a ds t , i n ma j o r, 2 4 ; i n m i nor , 38 .

c h o rds of th e s e v en th , i n m a j o r , 78 ; i n m i nor , 90 .

S u bject-m a tter a n d F or m , 2 4 0 .

S u spen si on , 1 44 ; i n b a , 1 5 3 ; i n e e a p a t ss s v r l rs ,1 6 4 ; u pwa rd r es ol uti on of, 1 64 ; of

th e n in h
t , 1 5 6 ; e m p o me t i n m o u a t o l y n d l i n , 220 .

S u sta i n ed 0 1 h el d p a t, 1 5 2 , 1 7 9
'
18 1 r .

Te n or , I4 ; te n o r-cl ef , 1 26 .

Ten th , 2 .

Th es i s wea k b e a t ), 2 2 1 .

Th i r d , 2 ; m a j o r , m i n o r , d i m i n , 5 ; i n c h o rd . of th e s i xth , 47 ; i n c h or d o f th e s ev

c u th , 6 1 a s l e a di ng -to n e , 2 8 - 9 .

f ou r th a n d s i x th , c h o rd of th e 7 1 , .

Th i r teen th , c h o rd o f th e , 1 2 , 1 7 2 .

Th or ough -ha s s n o ta ti on , 4 3 .
29 2 IND EX .

Ton i c, 1 3 ; s ee T ri a d .

Tr a n s i ti on , see M o d u l a ti o n .

Tr ebl e, 1 4 ; tr eb l e-c l ef, 1 6 .

Tr i a d , 1 2 ; m a j o r a n d mi no r , 1 3 ; d om i a t t i a d i n ma j o r n n r
1 3 ; ( i n m i no r 3;
to i c tri a d , 1 3 ; i n mo d u l a ti o , 2 0 9 -2 1 2 ; s u b d om i a nt tri a d , 1 3 ; di m i is h e d,
n n n n
2 5 ; a u g m e nte d , 3 8 ; a l te r e d , 1 1 8 .

n s n n
Tr i a d s o f th e m a j o r a nd m i o r ca l e s , 4 5 fu d a m e ta l , 1 3 ; th e ir i nte r-r el a ti o n, I 4 ;
s ub o rdi na te tri a ds , 2 4, 3 8 ; V i ew of a l l tri a ds , 1 4o .

Twelf th , 2 .

Un i son , 4; p r ogr essi on i n , 1 8, 1 91 .

V i ew of th e c o h rds , 1 40 ; of l s
th e c ef ,
1 26 ; of th e in terv a l s , 9 1 1.

V oca l ch or u s , 1
4 I6 ; i n te rv a l
b e twe e n p a r ts i n , 1 -
94 8 .

V oi ces , c a l ssi c a ti on a nd c o mpas s o f, 1 4 1 5 ; l ea di n g of, 1 4, 1 9 5 , 1 99, 20 6

Wh ol e tone , 2 .