A P RA C T IC A L I NT RO D UC T IO N

TO C O M PO S IT IO N

H A RM O NY S I M PL I F IE D

F RA NC I S L . Y O RK , M A. .

RE VIS E D A ND E NL A RG E D E D I T IO N

F O UR TH E D I TI O N

BO S TO N
O L IVE R D IT S O N C O M PANY
NEW Y ORK C H IC A G O PHILA DELPH IA
C H AS H
. . DIT S O N 8: C O . LY O N 8: H E ALY J . E DIT S O N
. CO .
 Co p y r igh t, M D cc c x cv n , b y
F L Y OR K
. .

C h t M CM b y
o p y r ig , ,

I
O L VE R D IT S O N C O M P A N Y

C ht MCM I b y
o p y r ig , ,

I
O L VE R D IT S O N C O M P A N Y

C o p y r igh t , MCMIX . by
I
O L VE R D IT S ON C OM P A N Y
 TO I
FR E N D ,

FR E D E R I C H . P E A SE ,

M I C H I G A N S TAT E N OR M A L CO LL EG E ,

I
TH S L ITT LE B OO K I S R E S P E C TF ULLY
I
D E D C A TE D .
 I N TR O D UO TO R Y .

IN the follo w i ng p age s I sh all e nde a vo r to gi ve in th e s i m ple s t

,

p o s s i b le for m ,a n outli ne o f the

p ri n ci p le s o f H ar m o n y I s h a ll .

m ake no atte m p t to gi v e d e tails o r to d eal w ith the s u bject

e x ha u s ti v ely b u t I sh a l l p re s e nt all th e tone c o m b i nations fou nd
,

in m u s ic a nd gi v e s ufficie nt e xp lanations o f their u s e to e na b le

,

the s tud e nt to rec og nize the m in the w ork s o f others a nd u s e the m

correctly in h is o w n The rul e s gi ve n are de ri ve d e ntirely from
.

the analy s i s of the w ork s o f the great com p o s er s a nd are ,

follow e d b y the m in the gre at m aj ori ty o f ca s e s I t m u s t b e .

re m e m b ere d that the canons of art are no t m oral laws b u t s i m p ly ,

s tate w hat is e x p e d ie nt in ge neral V iolatio ns o f the rule s

.

which occur freque ntly in the b e s t co m p o s itions d o no t c oncern

us . I rregularitie s a nd e x ce p tio ns d o n o t co m e w ithin the s cope
of thi s w ork I t w ill therefore b e nece s s ary to leave u ntouche d
.

m a ny i ntere s ti ng a nd i ns tructi v e p oi nts b u t it is ho p e d that by

,

o m it ting a ll d etail the s tu de nt will gai n a clearer i nsight i nt o the

e s s e ntial s o f m u s ical c o m o s itio n A s uffi cie n t k nowle dg e o f
p .

p ia n o p layi ng to e na b le the s tu d e n t to p lay a n or d i n ary hym n

tu ne is p re s u p p os e d .

Thi s w ork in its i nce p tio n app eare d in 1 8 9 5 in s erial form in

, ,

o ne of the m u sical peri o di cal s The d e m and fo r it w a s s o great

.
,

that it b ecam e nece s s ary to gather the cha p ters in to a b ook form ,

a nd the great s ucce s s o f the latt e r together w ith the d e s ira b ility
,

o f a m p lificatio n m a d e c l ea r b its u s e in the ha nd s o f teacher s

y ,

l ed to the p re s e nt re vi s e d a nd e nlarge d e ditio n .

F R A N C IS L Y O R K . .

D E TROIT , A u g us t, 1 9 00 .
 O O N TE N TS .

C H APTE R PAG E
1 . D efiniti o n o f Ha r m o ny C h o r d T r i a d ; T o nic a nd D o m i na nt
, ,

C h o r ds ; C h a r a ct er o f th e T o nes o f th e S c a l e F ou r vo ic ed C o m -

p o s iti on D o u b l i ng O p en a nd C l o s e P os iti o n
II . Ha r m o ny a nd Mel o d y V o ic e Pr o gr es s i o n ; Pa r a ll el F if t h s a nd
O ct a ves ; L ea d i ng T o ne ; Th e S ub D o m i na nt ; No r m a l P r ogr es
-

sion

III . I nter v a l s No r m a l Ma j or Mi nor A u gm ent ed a nd D i m i ni s h ed

.
, ,
I2 ,

IV . A u t h e ntic C ad e nc es ; P a r a ll el C o nt r a r y a nd O b l i qu e Mo ti o n ; I n
, ,

ve r s i o ns ; I c

V . D i s so na nc e R e s o l u ti o n Pr ep a r a ti o n D o m i na nt S eve nt h Met ho d
o f W r iti ng E x e r ci s e s

VI . Us e o f C h o r d s in V a r i o us P os iti o ns (I nver s i o ns )
V II . R evi e w .

VIII . Ma j o r a nd Mi no r C h o r d s ; S u p er T o nic -

IX . R el a ti o n o f Mi no r C h o r d s ; Me d i a nt a nd S ub Med i a nt
X . Ha l f I m p e r f ect P l aga l a nd S u r p r i se C ad enc es C o nc ea l ed F i ft hs
, , ,

a nd O ct a ve s

XI . T h e D i m i ni s h ed T1 1a d Th e b a nd 0 P o s iti o ns o f Mi no r C h o r d s
X II . Mino r a nd D i m i ni s h ed C h or d s w ith Mi nor S eventh
X III . Maj or C h o r d s w it h Ma j o r S eventh C h or d s o f th e Ni nth E l eventh , ,

a nd T h i r t ee nt h

X IV . I r r egu l ar a nd P a ss i ve Pr o gr e s s i o ns B y —T o ne s
XV . R e vi e w
XVI Mino r Mo d e 1 V W a nd V 7
Se c o nd ar y Ch o r d s
, , ,
.

X V II . M i no r Mod e C o nti nue d .

X V I II . Mi no r Mo d e C o ncl uded S eventh C h 0 1 d s

.

X IX . T r a ns iti o n o r Mo d u l a ti o n P a ss i ng C o m p l e t e B r i dge C h o r d
, .

XX . Us e o f T o nes F o r e i gn t o th e K ey A lt er ed C h o r d s
XX I . C h r o m a tic C h o r d s ; D i s ti ncti o n b e tween T r a ns iti o na l A lter e d a nd , ,

C h r o m a tic C h o r ds
X X II . Mi xed C h o r ds ; Th e F r enc h It al i a n a nd Ger m a n C h o r ds o f th e
, ,

S ix t h F o r m s o f th e D i m i ni s h ed S eventh
XX III . Th e F l a tt ed V I a nd F l a tt ed II ; E xp l a na ti o n o f S o me I rr egu l a r

XX I V Non Ha r m onic T o nes P a ss i ng C h angi ng

.
-
, , A pp ogg i a t ur as
XX V A ntici p a t o r y T o nes P eda l P o i nt
.

X X VI S u s p ens i o ns o r R e t a r d a ti ons C o ncl u s i o n

. .

X X VII F i gur ed o r Th o r o u gh B a s s
A PP EN D I X A C h a r a cter i s tic E ff e ct o f E a c h T o ne
.

A P P E ND IX B A d d iti o na l E xer ci s es
.
 H A R M ON Y SI M P L I F I E D .

C HA P T E R I .

D efin itio n s . Th e T o n ic a nd D o m ina n t C h o r d s .

H ar m o ny is the s cienc e o f to ne co mb i nati o ns a nd the ar t of

u s ing s uch c om b i nations .

A c h o r d is a co m b i nation o f to ne s that g i ve s the b ea r er

a n i m p re s s io n of u nit y a nd c o m p l e t e ne s s I t is no t nece s s ary .

that the tone s of a chord b e s ou nde d together ; they m ay a p p e a r '

s ucce s s i vely a s the s i x tee nth note s in F igur e 1 a for m i ng w hat

, , ,

is k no w n a s a b r o k e n c h o r d
.
The c o mb i nations gi ve n in
.

Figur e 1 b a nd c are no t chord s

, , C hords are for me d b y b u i l d
.

in g u p t h ir d s ; a s C E G o r G B D F F igure 1 d e
, , , , , , , , , .

Chords o f three ( d i ffere nt ) to ne s are calle d tr i a d s .

a . b .

I nc o m p l t e e.

Tr i a d .

C hords u m b ere d b y the R o m a n nu m e r a l s c orre s p o nd

ar e n

ing to the d egree of the s cal e o n whi ch they are b a s e d : thu s the
chord o n th e firs t degree of the s cale D oh M e S oh is nu m , , , ,

( 1)
2 HA RMONY SIMPLIFIED .

b ere d I on the fifth of the s cale , S oh , Te , R a y, is num b ere d V .

The I is ; the V is calle d the d o m i

calle d the t o nic c h o r d
n a nt c h o r d .

E ach chord h a s a character of its o wn which is deri ve d largely

fro m the characte r o f the to ne o n w hich it is b a s e d ( the r o o t ) ,

a nd pa r tly fro m the charac ter o f it s other to ne s ( the third a nd

,

the fifth a b o ve the root) The charac te r o f each to ne is a s fol .

lo ws : D o h fir m to ne o f re s t ho m e tone Ra y a sp iri ng e x
, , , .
, ,

p e c ta n t M e plai n
. ti ve q ui et F
,
ah s ole m n d e s olate S oh
,
.
, , .
,

b ol d b ri ght
,
L ah s orro wful . Te p ierci g p r s i g u p w ard
n e,
s n *
.
, , .

The m os t i m p ortant chord s are the I a nd the V The I .

( for m e d o n D o h ) is t h e chor d to w ar d w hich a ll the chord s te nd ,

a nd in which they all fi nally c o m e to re s t The V ( form e d o n .

S o h ) domina tes the key ; it d e m ands that the I follow i mm e

dia te l y .

the ca s e of e ach ch ord notice the e ff ec t o f the c omp o ne nt

In
tone s Th e I c om p o s e d o f D oh M e a nd S oh is the chord o f
’

.
, , , ,

re s t ( D oh ) o f quiet ( M e ) a nd yet it is a b r ight chord ( S c h )

, , .

The V c o m p o s e d o f S o h Te a nd Ray is b ol d ( S c h ) e x pecta nt

, , , ,

R a nd re s tle s s ( Te the e ff ect o f the chor d d e pe nd s s o m e

( ay
) , )
what o u th e to ne in the highe s t p art S e e F igur e 2 a b .
, , .

E a c h c h o r d e x c e p t th e I h a s a m o r e o r l e s s s tr o n g
, ,

t end e nc y to m o v e to s o m e s p e c i a l o n e o f th e o t h e r
c h o r d s — u s u a l l y t o t h a t c h o r d W h o s e r o o t i s fiv e t o n e s

l o w er A s the V to th e I F igure 2 e
.
, , .

R oo t R o o t
. .

I I I V V V ‘

V I I I I

*
F or i ll u s t r a ti o ns o f th e use th a t c o mp o s er s mak e of thes e c h ar ac te r is
tic s , s ee A pp e nd ix p 10 9 , . .
 HA RMON Y SIMPLIFIED .
3

A s co m po s itio n is b a s e d o n fo u r v o ic e d ( four p art ) writi ng - -

,

our e x erci s e s w ill all b e w ri t te n a s if fo r four s i nger s s opra no , ,

alto te n or a nd b a s s A s m o s t chords c o ntai n b u t three ( dif

, ,
.

fer e nt) to ne s o ne to ne of the chord m us t a pp ear in t wo v oice s at

,

once ; that is that to ne is d o u b l ed

, .

R ul e 1 I n d o u b li n g th e b e s t t o n e is t h e r o o t t h e n e x t b e s t
. , ,

is t h e fif t h a nd t h e p o o r e s t is t h e thir d F ig ure 3 a I n the

" 6
. .
, ,

firs t chord the s op rano a nd the b as s each ha ve C thu s d ou b ling ,

the root The third chord h a s the fifth G d ou b le d b y the te nor

.
, ,

a nd the s o p ra no The las t six chords all c ontai n the d ou b le d

.

thir d a nd the e ffec t is m uch le ss plea s ant S e e al s o F igure 4 6 a

,
.
, .

Go d G od d
o . o . L e ss g o o
c
b ut o r r e ct .
Z
6
?
-
3
1
2 Bad . Bad .

W he n the thr e e u p per ic e s s o p ra no a l to a nd t e nor are vo , , , ,

w ithi n a n octa v e the harm o ny is s ai d to b e c l o s e or the chords

, ,

are s aid to b e in c l o s e p o s iti o n A ll th e ch ords in F ig ure 3 b .

, ,

are in clo s e p os ition W he n th e re is a to ne o f the chord o m itte d

.

from b et we e n two of th e u p pe r p arts the ch ord is s ai d to be in ,

o p e n p o s it io n I n F i g ure 3 a the firs t chord is in o p e n p o s i

.
, ,

tion b ecau s e a G might ha ve bee n plac e d b etwee n the s o p ra no

,

a nd the alto b ri ngi ng th e three to ne s w ith in a n oc ta ve

,
A ll t h e .

chords in F igure 3 a e x ce p t o ne ( w hich ? ) a r e in op e n po sitio n

, ,
.

S till th eth i r d ma y b e d o u b l ed , if by so d o i ng a d e c i d e d l y b e tt e r l ea d i ng
of th e p ar t s is s e c u r ed .
4 HA RMONY SIMPL IFIED .

S ee al s o F igu re 1 3 p age 1 0 in w hich m o s t of the chords are in

, ,

clos e po s ition .

F or the pre s e nt all e x erci s e s are to be w ritte n in the key of C .

E x e r c is e .

F ir s t . Writ e I a nd V ch or d s in v a rio u s f o rm s d o u b li ng t h e ,

t o ne s a c c o r d ing t o R ul e 1 a nd u s i ng th e clo s e p o s iti o n

, .

S e co n d Writ e a s b e f or e u s i ng o nly th e O p e n p o s iti o n

.
, .

Th e b a s s m u s t in a l l c a s e s h a v e t h e ro o t a nd e very ch ord s houl d

,

have u nderneath it its proper nu m eral .

T hir d — H a v e s o m e f ri e nd p l a y t h e ch or d s in t h e e x e r ci s e s
.

t hu s w ritt e n a n d w it h o ut l o o k i ng na m e e a ch ch or d a s it is
, , ,

p la y e d .

In the follo wi ng cha nt by Talli s ( trans po s e d) al l the chords

bu t o ne are I o r V
T . T ALLIS .

I
The follow i ng ( tra ns p os e d) fro m M e ndel s s oh n s
’
“
S o ng w ith
”
out W ords N o 4 1 is m ad e e ntirely
, .
,
of th e s e tw o chords .

M ENDE L SS O H N .
 HA RMONY SIMPLIFIED .

M ar k th e I a nd V ch o r d s in t h e f o ll o w i n g .

K UH LA U .

C L E M EN TI .
6 HA RMON Y SIMPL IFIED .

C HA P T E R I I .

M o v e m e nt o f V o ic e s . Th e S u b -D o m in a n t C h or d .

N or m al P r o g r es s o n i .

I n w riti ng m u s ic there are tw o mo

t i m p ortant things to c o n s

s i d er F irs t th e p r o g r e s s io n or m o v e m e nt of each chord a s

.
,

a W h o l e a nd s ec o nd the m o ve m e nt of e a c h to ne in the chord

, , , .

I n other w ords w e m u s t e x a m i ne o u r w ork p er p e n dic u l a r l y for

,

h arm o ny a nd h o r i z o n t a l l y for m el o dy
, .

Rul e 2 — Wh e n t w o d i ff e r e n t ch o r d s (a s I a n d V ) f o ll o w o n e
.

a no th e r d i r e ctl y a n d c o n t a i n a t o n e th a t is c o m m o n t o e a ch (a s

S o h in t h e V an d I ) t h i s c o m m o n t o ne s h o ul d r e m ain in th e s a m e
,

v o ic e o r p a rt F igure 7 a a nd 6
.
, .

Ru l e — E ach t o ne s h oul d p r o g r e s s t o t h e ne a r e s t to n e os
p
s ib le . F igure 7, a a nd 6 .

Good . G oo d . G ood . G ood .

O b s er va nce of the s e two rule s gi ve s s m ooth ne s s to a c o m p os i

ti o n a nd a voi ds the jerky e ffec t p rod uce d b y v oice s s ki pp ing
ab o ut .

R ul e 4 — TW
. i c e s s h o ul d no t m a k e t h e s a m e p r o g r e s s io n
O vo

w h e n t h e y a r e e ith e r a fif th o r a n o ct a v e a p a r t S uch a p r o gr e s .

s io n is calle d p a r a ll e l tfif h s o r o c t a v e s fi"

F ig u re 8 a , .

* P ar a ll e l
ct a ves d o no t s er i o u sl y o ffend th e ear b u t if two vo ic es m o ve in
o ,

o ct a ves th e r es ul t is t h a t w e r ea ll y d r o p o u t o ne vo ic e a nd a r e wr iting in t hr ee

p ar ts s inc e o ne p a r t l o s e s its i nd ep end e nc e and s im p l y d o u b l es a no t h e r p ar t at

,
 H A RM ON Y SIMPL IFIED .

Ru l e 5 — Th e
. t h o f t h e s c a l e T e ( al s o c alle d the l e a d
s ev en ,

ing to ne ) m u s t m o v e u p w a r d t o t h e e i g ht h D o h i f th e f o ll o w
, , ,

ing c h o r d c o n t a in s D o h F igure 8 b . I t is the character o f Te, .

to de m and D oh a s the follo wi ng to ne and th i s de m and shoul d be ,

s ati s fie d no m atter in which v oice Te m a

y be
*
, .

the tone s of a ch ord am o ng the four v oice s

I n dis tri b uti ng ,

kee p the v oice s a s nearly equidi s tant a s p o s s i b le N o two adj a .

ce nt p arts ( e x ce p t the te nor a nd b a ss ) s houl d b e o ver a n octave

ap art The firs t tw o chord s F igure 9 a are w ell arra nge d the
.
, , , ,

ne xt tw o are b a d ly d i s tri b ute d The te nor a nd b a s s m ay b e a ny

.

reas ona b le di s ta nce ap art F igure 9 a the fifth chord

, , , .

T h e r o o t m a y b e tr eb l e d that is m ay a pp ear in three , ,

parts at once ( as at F igure 9 b) the fifth b ei ng the n o mitte d Th e

, , .

th ir d m u s t no t b e o m it ted F ig ure 9 b The third m u s t b e

. -
, .

re s e nt o r the chord lack s the nece s s ary ele m e nt o f c o m le te ne s s ;

p p
s ee defi nitio n of chord al s o F igure 1 b , , .

th e d i s ta nc e o f an o ctave P a r a ll e l fif th s s ou nd ver y b ad l y L et th e s t ud ent

. .

p l ay th e f o ll o wi ng w ell kno wn m e l o d y w ith th e s ec o nd vo ic e a fif th l o wer as wr it

-
,

ten a nd h e w ill no t c ar e to i nt r o d u c e s u c h e ffe ct s i nt o h is c o m p o s iti o ns

,
.

*‘ Te is no t inf r equ entl y f ou nd m o vi ng do wn to S o h , wh e n it is in an inner

vo ic e a nd th e b as s m o ves in c o nt r ar y m o ti o n .
8 HA RM O N Y SIMPL IFIED .

The chord ne x t in i m p orta nce is the I V calle d the s u b

d o m in a n t ( i e u nd er d o m i na nt ) for m
,

. .
,
- e d o n F ah the fifth b e
,

l o w D oh ju s t a s the d o m i nant is f or m e d o n S oh the fifth a b o ve

,

D oh . The I V c ontai ns no to ne fou nd in the V he nce it c on ,

tr a s ts s tro ngly w ith it I ts character is s ole m n ( F ah ) re s tf ul

.
,

( D o h ) , a nd i ncli ne d to s a d ne s s ( L ah ) Co m p are the “

A m e n .

”
Clo s e in church m u s ic F igure 1 0 . .

A m en . A me n. A me n .

The three chords I V I V co ntai n a l l the to ne s o f the s cale ;

, , , ,

two of the to ne s D oh a nd S oh appeari ng in two chords a s s ho wn

, , ,

in the follo wi ng .

F ah L ah D oh Me S oh Te R ay IV
F A C E G B D — in the key of C .

W e ha ve sai d th at a chord us ually progre s se s to a ch ord

who s e root is a perfect fif th b elo w This is calle d the no r m al
.

p r o g r e s s io n . The I V cann ot m ake thi s progre s s io n a s the per ,

10 HA RMONY SIMPLIFIED .

F . C H OPIN , op . 37 , N o . 1 .

L et tu d e n t fi r s t n a m e t h e s e ch o r d s f r o m th e p a p e r A f
th e s .

t e r w a r d t h e t e a ch e r s h o ul d p l a y t h e m a t t h e p i a n o a n d a s k t h e
s tu d e n t t o n a m e a s m a ny o f t h e ch or d s a s h e c a n b y t h e s o u nd ,

h e s houl d k no w all the chords b u t the two m arke d wi th a cro s s .

E x er c is e .

Firs t — Writ e t w o m o re
ci s e s in t h e ke y O f C u s i n g th e
or e xer

f oll o w i n g ch o r d s O b s e r v i n g a l l th e r u l e s thu s f a r g i v e n I V V
, , , ,

I V V I I IV I IV V I
, , , , , , , Writ e in c o m m o n tim e a ll h a lf n o t e s
, . .
,

b u t t h e l a s t w h i c h is a w h o l e n o t e F igure 1 — 1 s ho ws s o m e thi ng s
.

to b e i m itate d a nd s o m e thi ng s to b e a voi de d F ro m a to b no .

error A t 6 p arallel oc ta ve s A t 0 the third is o m itte d : c to d

. .

p arallel fifth s
( b e t w ee n alto a nd b a s s
) A t f T e d o e s no t
g
. o to

D oh .

I V V I V V I I IV I IV V I

S e c o nd — L .tu d e n t d i s c o v e r f o r hi m s e l f t h e e r r o r s in
et th e s

th e f o ll o w i ng a n d w rit e o ut th e e x a m p l e in c o rr e ct e d f o r m .

T h e r e are at le as t fiftee n v iolatio ns o f the rule s s o far

g i ven .
 HARMONY S I MPL I FIE D .
11

T hir d — M a r k th e I , V , a nd IV c h o rd s in t he fo ll o w i n g F ig ,

ure 16 . The n ote s in p are nthe s i s d o no t b e lo ng to the h a rm o ny .

G l o r i a in E x c el s i s .
”

F o urt h — Th e m e l o d y in F i g ur e 1 7 is t o b e h a r m o n iz e d w ith
t h e f o ll o w i n g ch o r d s : I I V V I I V
, , , , , . I. I. I V. V , I
e
f
12 HA RMONY SIMPLIFIE D .

C H A P T E R II I .

I nte r v a l s .

A n inte r v a l is the di ffe r e n c e in p it c h b etw ee n tw o tone s .

If the to ne s are s ou nd e d together the i nter val is h a r m o n i c ; if

s ou nd e d in s ucce ss io n the i nter v al is m e l o d i c F igure 1 8 . .

H ar mon ic .

S i x th . S i x th . F i f th . Th i r d . Th i r d . Th i r d . F o th
ur . S e c nd
o . Se v nth
e .

Me l dic
o .

S i xth . S i xth F i f th
. . Th i r d . Th ir d . Th i r d . Fo u th r . S ec o n d . Se v nth
e .

In recko ning i nterval s c o u n t a l l th e l e tt e r s c ontai ne d in the

i nter val Thu s from D 0 11 to M e a s C to E i nclu de s the thre e
.
, ,

letters C D E
, ,
S O the i nte r val is a t hi rd though w e p a s s o v er
,
.
,

o nly a s i ng le to ne Ra y or D F ro m C to A is s ix le tte r s C D
, .
, ,

E F G A h e nce is a s i x th
, , , ,
.

I nte r v a l s a r e a l w a y s r e c ko n e d u p w a r d u nle s s the c o n

tr a r y is di s ti nctly s tate d ; b y a third fro m C we al w ay s m e a n E
the third ab o ve .

I f w e recko n i nter val s fro m the firs t to ne o f a s cale a s C , ,

they w ill all be m a j o r in t er v a l s e x ce p t the fourth fifth a nd , , ,

o cta v e w hich are u s ually calle d p e r f e c t

,
The i nterval s form e d .

o n th e s cale o f C the n w ill b e , , ,

Ma j or . M a j0 1 . P f ct
er e . P f ct
er e . M aj or . M ajor . P f t
e r ec . M aj or .

Se c o nd. Th ir d . Fo r th
u . F i f th v nth O ct v N i nth
. S i x th . Se e . a e. .

W he n two to ne s s ta nd on the s a m e d egre e there is re ally no

 HA RMONY SIMPLIFIED .

interv al form e d b y the m b u t it is cu s to m ary to call the m a p r im e

,

or u n i s o n a nd cla s sify the m a s for m i ng a perfect i nter val

,
.

The i nte rval s are recko ne d a s far a s th e ni nth alth ough that ,

is b u t the repeti tio n o f the s eco nd at th e di s ta nce o f a n octa ve .

The w i der i nter val s are u s ually * recko ne d without re gard to the
octave ; th u s the te nth is c ou nte d a s a third the ele ve nth a s a ,

fourth the t w elf th a s a fif th F igure 2 0

, . .

P f ct
er e . M j
a or . P f ct
er e . P f ter ec . M j
a or .

6 -
6
I T e n th o r E l v enth
e or T we l f t h or T h i r t e e n th or
0 T hi r d F o th F i f th S i xth
533;
1 or . ur . . .

The i nte r val s s o far s tu d ie d a r e all form e d w ithi n the key ,

u s i ng the keyn ote a s a b a s i s Th ey are th e n the natural or .

, ,

no r m a l in t e r val s F rom the s e oth e r ki nd s o f i nter val s m ay b e

.
,

form e d :
F irs t
. I f w e i ncrea s e the s ize o f a ny norm al i nter val b y a
hal f s te p it b eco m e s a n a u g m e nt e d i n t e r v a l
, Thi s m a y be .

do ne in e ith e r o f tw o w ay s : b y rai s i ng th e u pp er tone o r b y de

p re s s i ng the lo w er to ne I f we take F igure 1 9 a nd s harp th e .

,

s eco nd to ne o r flat th e fir s t to ne in e ach m e a s ure the i nter v al s ,

prod uce d will b e all au g m e n te d F igu r e 2 1 . .

A u g m ente d Int e r va ls .

Se c n ds o . Th i r ds . F o u r th s . Fi f th s.

S i xths v n th . O t v N i nth
Se e s. c a es. s.

S eco nd I f the m aj or i n ter va l s a r e m a de a half s te p s m a ller

.

they b e co m e m ino r I t is o nly fro m m ajor i nte rval s that mi nor

.

inte rv al s c a n be m ade ne ver from perfect i nterval s F igure 2 2

, . .

No t a l w ay s . S ee C h a p t er X III .
14 HA R M O N Y SIMPLIFIED .

M i no r I nt e r v a l s .

Se c ndo s. T h i r ds .

Thi rd — I f the perfect o r the m i nor i nter val s are c o ntracte d

.

by a half s te p they b ec o m e dim i n i s h e d I n F igure 2 3 the d i .

,

m i ni s h e d i nter val s are form e d fro m the m i nor i nter val s o f F igure
22 b y rai s i ng the lo w er to ne or b y lo w eri ng the u p p er to ne a
,

half s te p .

D i m i ni h d I n t v l s e er a s .

Th i r d s .

W he n w e ha v e C
fi although there
— D b,
is theoretically a n
i nter val ( that is a differe nce in pitch ) practically there is no ne
, , ,

a nd the tw o letter s are n othi ng m ore tha n tw o w ay s of w ri ti ng

the s am e p i tch : s uch a n i nter val is calle d e nh a r m o n ic .

The di m i ni s he d i nte rv al s in F igure 2 4 are all form e d fro m

perfect i nterval s .

D i m ini h d Int v l s s e er a .

F i f th s . Oct v es
a .

To d e t e r m i n e w h e th e r i n t e rv al is m a j o r m ino r a u g m e n t e d
an , , ,

o r d i m i n i s h e d w e p r o c e e d a s f o ll o w s
, C o n s i d e r th e lo w e r n o t e
.

o f t h e i n t e r v a l t o b e th e k e y n o t e o f a s c al e I f t h e u pp e r n o t e .

l i e s in t h e s c a l e O f thi s k e y t h e i n t e r v a l is n o r m al th at is e it h e r
, , ,

m a j o r o r p e r f e ct I f it is a h a lf s t e p l a r g e r it is a u g m e n t e d I f a
. .

h a l f s t e p s m a ll e r th a n a m a j o r it is m i no r I f a h a l f s t e p s m a ll e r .

th a n a m i n o r o r a p e rf e ct i n t e rv a l it is d i m i ni s h e d , F or ex .

am p le we w ill find the na m e s o f the follo wing i nter val s

, .
 HA RM O N Y SIMPL IFIED .
15

F irs t c ount the letter s co ntai ne d in each i nterval The firs t .

co ntai ns s ix letters D E F G A B I) a nd s o is a s i x th of s om e
, , , , , , ,

kind . Tho s e followi ng in F igure 2 5 are re s pe cti vely s i x th ,

fourth s e v e nth fourth fourth a nd fifth No w w rite o u t e ach

, , , , .

i nter val in the key of th e lo wer to ne ( F igure Thi s gi ve s u s

the norm al i nterv al s corre spo nding to the gi ve n i nterval s of
F ig ure 25 .

K ey of D . K ey of E . K ey of F . K ey of Eb . K ey of G . K ey of B .

By co m p ari ng w e find th e firs t i nter v al ( F ig ure 2 5 ) to b e a

,

half s te p le s s than th e norm al m ajor s i x th ( F igure a nd

h e nc e i s a niino r s i x th The s econd is a m i nor s i x th for a s imilar

.

rea s o n ; the third is a n aug m e nte d fourth the fourth a m i nor ,

s e ve nth the fifth a perfect fourth the s i x th a n aug m e nte d fourth

, , ,

a nd the s e v e n th a d i m i ni s he d fifth
- O nly o ne aug me nte d a nd .

o ne d i m i ni s he d i nter val c a n b e for m e d w ithin the s cale : F ah to

Te a n aug m e nte d fourt h a nd Te to F ah a d i m i ni s he d fifth
, , , .

F igure 2 5 3 a nd 7 , .

I t is i m p ortan t to re m e m b e r that a n inter val is reckone d by

the letters c o m p o s i ng it a nd no t by its a pp eara nce o n th e key ,

b oard .Thu s from C to E is a third b e cau s e E is the third tone ,

in the s cale o f C e ve n though w e s harp the C a nd flatte n the E

, .

,
#
S o C to E i) is a d i mi ni s he d third w hile fro m C to D i is a
#
m ajor s eco nd though the tw o i nter val s are the s a m e o n the key
; ,

b oard .

E x e r c is e .

F ir s t — Wr it e o u t o n e v e ry t o n e O f t h e s c al e o f C a l l "

th e
major , m i n or p e rf e ct a u gm e n t e d a n d d i m i n i s h e d in t e r v a l s
, , , .
16 HA RMO N Y SIMP L IFI ED .

S e co nd — A n a ly s e th e f o ll o w i n g f r o m C h O p in ( F i g ur e
r e c k o n ing u p w ar d f r o m t h e l o w e r n o t e , a n d m a r k in g t h e i n t e r

v a l s th u s — t h e m a j o r w it h a c a p it a l M t h e , m i n o r w it h a s m a ll
m t h e p e r f e ct w it h P t h e a u g m e n t e d w ith A
, , . a nd th e d im i n i s h e d
w ith D .

Th ir d . M a r k in t h e sa m e w a y t h e f o ll o w i n g .

F o u rt h .
— Writ e th e i n t e rv al s i n d i c a t e d in th e f o l l o w i n g .

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

C HA P T E R IV .

C a d e nc e s . M o ti o n of P ar ts . Th e a ,
b ,
a nd c P o s itio ns .

A c a d e nc e rogre
is s s ioan o f chor ds that i v e s the b e a r e r
p g
a m ore o r le s s c om p le te feeli ng of c l o s e The m o s t c om ple te .

cad e nce is the V to the I calle d the a u t h e n t ic c a d e n c e I t

, .

is p e r fe c t whe n b oth ch o rds have their roots in the b a s s a nd the ,

highe s t voice e nds o n D o h F igure 3 1 a I n a ny other ca s e it

.
, .

is im p e r fe c t F igure 3 1 6
.
, .

P f ct
er e . P f ct
er e . I mp e r f t
ec . I m p e fe t
r c . I mp er f ct
e .

Th e s tre ngth o f a cade nce that is wheth e r the fe e li ng o f , ,

clo s e is s trong o r no t d e pe nds a great d eal o n its po s i tion in the

,

co m p o s ition .

By p a r a l l e l m o t io n is m e a nt the m o ve m e nt o f tw o v oice s
in the s a m e dir e ctio n C o n t r a r y m o t io n is m o ve m e nt in o p p o
.

s ite d i r ectio n . I n o b l iqu e m o t io n o ne voice re m ai ns s tatio nary

a nd the other m o v e s e ither u p o r d o w n .

B ad . C on t rar y . Ob li qu e .
 HARMONY SIMPL I FI ED .
19

Co ntrary a nd o blique m otio n are b etter tha n parallel A .

large pro p ortio n of the m i s tak es m a de by you ng w riters com e s

from a too freque nt u s e o f p arallel m otio n P arall el m otion in .

all the p arts at o nc e is e sp ecially to b e av oi de d .

W he n th e root is in the b a s s the chord is u n inv e r t e d o r in

”
the a p o s iti o n a s I read tonic a p o s iti o n
,
“
a,
F igure 33 a .
, .

The a b elow the line is u s ually o m itte d in wri ti ng a nd is u s e d ,

o nly w he n it is ne ce s s ary to di s ti ngui s h b e twee n di ffere nt p o s i

tions W he n a ny to ne other tha n the root is in the b as s th e
.
,

chord is s ai d to b e inv e r t e d o r in a ne w p o s iti o n W he n the .

third o f the chord is in the b a s s the chor d is in the b p o s i ti o n , ,

o r th e fir s t in v er s io n a s I h rea d tonic 6 p o s itio n

, , , F igure 3 3 b .
, .

W he n th e fifth is in the b a s s the ch ord is in th e 0 p o s it io n or , ,

”
the s ec o nd i nve rs io n a s I read to nic 0 po s itio n
, F ig ure 33 c .
, .

a a b b a c b c

The o nly i nverte d chord that w e w ill u s e at p re s e nt is the I C ,

Thi s ch ord is s el d o m u s e d e x ce p t at the cade nce .

R ul e 7 —Th e I m u s t g o t o t h e V
.
c F igure 34 a .
, .

R ul e 8 —Th e I m u s t b e u s e d o n l y o n t h e a c c e n t e d p a rt o f th e
.
c

m e a s u r e a n d t h e fif t h ( no t the root ) m u s t b e d o u b l e d
,
F i g ure .

34 , 6 .

G oo d . Good . Unco m m o n .

REMA RK . It is no t al wa y s p oss i b l e to o b s er ve R ul es 2 a nd 3 . We W ill h er e .

a f t er r e ga r d t h em as r e c o m m e nd a ti o ns r a t h er t h a n a s l a ws .
20 HA RMONY SIMPL IFIED .

E x er c is e .

F ir s t — Writ e t h e f o l l o w i ng s u c c e s s i o n o f ch o r d s in th e k e y
of C I I V I V I I V V I I I V , I V 1 0 V I Writ e in d u p l e
.
, , , , , , , , , , , , , .

ti m e .

S e c o nd — F il l in t h e al to a nd t e no r Of th e f o ll o w i n g .

E v e ry ex e r ci s e c o m p l e t e s h o ul d b e p l a y e d o v e r b y
w h en
s o m e p e r s o n n o t t h e w rit e r a n d t h e latt e r w ith o ut s e e in g e ith e r
, ,

t h e n o t e s o r t h e k e y s s h o ul d n a m e t h e c h or d s a s t h e y a r e p l a y e d
, .
 HARMONY S I MPLIFIED .
21

C HA P T E R V .

D is s o n a n c e s . Th e D o m in a n t S ev e n th .

A dis s o n a n c e is a c o m b i natio n of tone s that g i ve s the b e a r e r

a feeli ng of u n r e s t a nd a d e s ire that s o m e oth e r co m b i nation fol
l ow . I n F igure 36 th e chord s m arke d are di s s o na nce s R e s .

o l u t io n is g oi ng fr o m d i s s o na nce to co ns o na nce — f ro m u nr e s t to

re s t I n F i g ure 3 6 the u nm ark e d chords a r e co ns o nant the p r e

.
,

c e ding d i s s ona nt chords havi ng r eso lved i nto th e m .

A d i ss o nance is p r ep a r e d whe n the di s s onant to ne is firs t heard

as a co ns o nance F igur e 37, b, the tie d note s
. A d i ss ona nce is .

u np r e p a r e d w he n the d i s s o na nt to ne a p pear s with the cho r d .

W he n the di s s o nance is p re p are d the e ffect is s m oother w he n ,

u np re p are d it is b o l der F ig ure 3 7 0 W ith m o s t d i s s ona nce s

.
, .

either wa y m a y b e u s e d .

The d o m i n a n t s ev e n t h is the m o s t c o m m o n d i s s onant

chord I t is form e d b y a ddi ng a noth e r th ird ab o ve the d o m i nant
.

triad thu s : S oh Te R a y F ah o r in the key o f C : G B D F

, , , , , , , , , .

The ne w tone b ei ng at the di s ta nce of a s e ve nth fro m the root

, .
,

i ve s the na m e to the chord I t is re p re s e nte d b y V 7 F i g ur e 37

g
.
.
,

a a nd F igure 3 6 the firs t a nd eighth chords

, ,
I n the cele b rate d .

’
H u nti ng Choru s fro m V o n W e b er s D er F r e isc hiitz there
are t we nty four m ea s ure s m ade e nt irely of I a nd V7 chord s F ig
- .

ure 3 8 .
22 HA RMO N Y SIMPL IFIED .

P r ep a r e d . Unp r e p a r e d .

H nti ng C h o
u r us . D er F r e is c h iitz .

R ul e 9 — Th e V 7 m u s t
. pr o g r e s s t o th e I , Te g o in g to D o h a nd

F a h to M e . F igure 3 7 b , a nd 0 .

Te o m e ti m e s thoug h rarely o m itte d in th e V 7

is s .

O n accou nt o f its s tro ng te nde ncy to th e I the V 7 u s ually c c ,

curs a t the cade nce The re s tl e s s e ffec t o f thi s chord is p r od uce d

.

b y the c o ntradic tory character o f the to ne s co m p o s i ng it We .

have add e d the s ole m n a nd d e p re s s i ng F ah to a chord that is

b ri ght b ol d a nd a s piri ng
, ,
The c o nflict o f the s e two charact e rs
.

m ake s th e hearer re s tle s s u ntil th e s har p u p w ar d thru s ti ng Te -

c o m e s to re s t in the p eaceful D oh a nd th e de s olate F ah ch ange s ,

to th e quiet M e I f the s tude nt is i ncli ne d to co ns i de r thi s fa nc i

.

ful l e t h im p lay this V 7 chord o n the p iano a fe w ti m e s lea vi ng

, ,

it u nre s ol ve d a nd he w ill at o nce s ee h o w u ns ati s fyi ng the e ffect

,

18 .

E x er c s e i .

F ir s t — Writ e th e f o ll o w i ng ch o r d
u c c e s s io n I I V V I s . , , , ,

I, I IV,
I I I IV I V
, , I ,V 7 I I II Th e per pe ndi cular li ne s
, , o, . .

s ho w th e m e a s u r e s W ri te in d u ple ti m e N otic e that here the I

. .

oe s to the V Thi s is e ve n m ore c o m m o n tha n th e rogre s s i n

g 7
.
p o
 HA RMONY SIMPL I FI ED .

to th e V w ithout th e th a nd is a s tro nger p rogre s s io n

s e ve n , . It
al s o m ake s a s m ooth e r p rogres s io n f or the v oice s a s they , ca n

m o v e m o r e b y d eg r e e s
. F ig ure 3 9 .

The followi ng fro m the e nd o f S chub e rt s “ I m p rom p tu o p 90

’
, .
,

N o 1 is m ad e e ntirely o f thi s p rog re s s io n

.
, N otic e h ow carefully
.

h e h a s d o u b l e d th e fifth o f th e I a nd l ed Te a nd F ah p ro p erly
c,

in th e V 7 . A lthou g h h e h as u s ed m ore than four v oice s at the ,

third cho r d fro m the e nd h e h a s o mi tte d the G p urp os ely that w e

m a y b e s ure that th e F h a s g o ne to E .

The follo wi ng is the m etho d o f wr iti ng e x erci s e s that the s tu

d e nt is a dvi s e d to u se .

F ir s t — Writ e t h e g i v e n n um e r al s und e r t h e l o w e r s t a ff .

S e c o n d — Writ e t h e b a s s no t e s i n d i c a t e d b y t h e n u m e r a l s ,

ch o o s i ng s u c h p o s iti o ns a s w ill g i v e t h e b e s t m e l o d y S ee Fig

.

ur e 4 1 b as s
, .
24 HA RMO N Y SIMPL IFIED .

Th ir d — Writ e in t h e s o p ran o a no t e f or e a ch b a s s no t e c h o o s ,

ing t o ne s b e lo n g i ng t o th e ch or d i n d i c at e d m a k i n g t h e m e l o d y ,

a s p l e a s i n g a s p o s s i b l e u s i n g c o n tr a r y m o tio n t o t h e b a s s m or e
,

t h a n p a r a ll e l m o ti o n .

F o urt h — A d d a lt o a n d t e n or o b s e r v i n g t h e rul e s f o r d o ub
,

li ng p r o g r e s s i o n o f ch or d s a nd o f v o i c e s a nd th e d i s trib utio n o f
, ,

v o i ces .

F i f t h — Th e c o m p a s s o f th e pa rt s o r v o i c e s s h o ul d b e a b o ut
a s f o ll o w s : S o p r a n o a n o ct a v e a n d a h a l f u p w a r d s f r o m m id
,

B a s s a n o ct a v e a n d a h a l f d o w nw a r d s f ro m m id dl e C
’

dl e C .
,
.

A lt o a f o urth l o w e r th a n th e s o p r a n o
,
T e n or a f ourth hi g h e r
.
,

th a n t h e b a s s .

S i x t h — T ur n t h e s t e m s o f t h e n o t e s a s in F i g ur e 4 1 .

S e v e n t h — F i g ur e 4 1 m a y b e u s e d a s a m o d e l Th e s tu d e n t .

s h o ul d al s o C o p y th e b a s s a nd t h e s o p r a n o h e r e g i v e n a d d h is ,

o w n t e n or a n d a lt o a n d w h e n d o n e c o m p a r e h is w o r k w it h t h e
,

m od el .

E x er c i s e .

S e c o nd — H ar m o niz e t h e m e lo d y g i v e n in F i g ur e 42, u s i ng
th e ch o r d s i nd ic at e d .

V I V I I I V IV I I I V I IV I V I
7 7 O 7
26 HA RMONY SIMPL IFIED .

C HA P T E R VI .

Th e b P o s iti o n or F i r s t I nv e r s io n .

Th e 0 a nd d P o s iti o n s .

E achof the ch ord s s o far s tudie d m a y no w b e u s e d with the

third o f the chord i ns tead of the root in the b a s s ( b p o s i tio n
“
,

o r fir s t i nv e r s i o n ) b u t all p re viou s rul e s m u s t b e follo w e d

, .

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

th e s am e a s if it w ere in a n u p per v oic e F igur e 4 5 . .

IV I Vb
b Vb Vb
Ru l e 10 — . Wh e n a c h o r d is in t h e b p o s iti o n d o n o t
, d o ub le
th e thir d .

The thi rd is th e l e a s t d e s irab le to ne to d ou b le a nd w h e n the ,

b a s s g i v e s it p ro m i ne nce it m u s t b e o m it te d in th e o th e r p arts .

S ee F i g ure 46 a in w hich a l l the chord s a r e either ha d o r v ery

, ,

d ou b tful . Th e u s e o f the 6 p o s itio n gi ve s m uch gre a t e r fre e

d o m to the b a s s a s w e m a y no w u se a ny to ne o f th e s cale e xce p t
, ,

R a y in the b a s s
,
F igure 4 6 b e xh i b its ch ords o n each to ne o f
.
, ,

th e s cale e x ce p t R a y b u t o f cour s e is no t to b e r eg arde d a s a

,

harm o ni zatio n o f a s cal e p rog re s s ion in the b as s .

ih IV v I I Vb vb
 H A B AI ON Y S L MP L I F I E D .

A ny triad in the 0 p o s itio n ( s eco nd i nvers io n) e s p ecially ,

w h e n e n teri ng o n the a cce nte d b e a t o f a m ea s ure s tri ve s to a s s ert ,

its elf a s a l o That is a ny t r i a d in th e 0 p o s iti o n s o u n d s like

.
,

a n e w t o n i c in that p o s itio n a nd r e quir e s a ne w d o m i na nt to ,

follo w th u s goi ng i nto anoth e r ke y I f th e s tu d e nt will p lay

,
.

o ve r F ig u r e 4 7 a a nd b a t th e s e c ond ch ord in e ach e x a m p l e he

, ,

w ill f e el th e de m a nd for the chord that carrie s u s i nto the ne w

key .

K ey of C .
I Vc K ey Of 0 .
I IV
c
K ey of G .
l o
I K ey of F .
I
o

W e will a voi d th e n the u s e o f the Vc a nd the I VO f o r o ne

, , ,

w oul d te nd to carry u s i nto the key o f the d o m i na n t a nd the

o th e r i nto th e ke y of the s u b d o m i nant -
.

I t is ho w e v er p o s s i b le to u se the s e chords a nd s til l re m ai n in

, ,

the ori gi nal ke y I n order to d o thi s w e m u s t tak e the foll o w i ng

.

p recautio ns W e m a y u s e th e V
. if it i s p u t o n th e u n
c

a c c e n t e d p a r t o f th e m e a s u r e w h e n th e b a s s h a s th e p r o ,
~

g r e s s io n D o h R a y M e o r M e R,
a y D o h — t h a t is,
m o v e s , , , ,

b y d e g r ee s Thi s u se o f th e chord though c o r rect is at b e s t a

.

m ak e s hift a nd is o nly t o b e u s e d in a n u ni m p orta nt p lac e

,
.

F igure 4 8 a , .

Th e I v c m a y b e u s e d w ith ve ry g oo d e ffect if w e take care

to pu t it o n th e u n a c c e n t e d p a r t o f th e m e a s u r e b e t w e e n
tw o I c h o r d s I f thi s is d o ne the b as s is o f c ours e s tationary
. .

F ig ure 4 8 b , .
28 HA RMON Y SIMPL I FIED .

F igure 4 9 the b egi nni ng

,
of a w ell-k no w n hy m n tu ne
-
by
P ortogallo illu s tra t e s thi s
,
.

M . P O R TO G A

Th e Ch o pi n s tu d y k no wn a s the B lack Ke y E tu de begi ns

with I I Vc I re p eate d
, , ,
. F igure 5 0 A s thi s is w ritte n in the
.

key o f G fl a t th e I is G flat a nd th e I V is C fia t I n the s eco nd

, .

m eas ure the G flat is hel d throu g h b y the pe d al a nd s o is the ,

real b a s s.

IV I P ed . IV
 HA RMONY SIMPL I FIED .
29

Th e V 7 0 m a y b e u s ed fr ee l y ,
care b ei ng take n that each
voice p rogre s s e s p ro p erly The V 7 b ( the third in the b a s s) m ay
.

al s o b e u s e d a s w ell a s the V 7 d ( the s e ve nth in th e b a s s )

, F ig .

ure 5 1 The V mu st go to the I a nd the V M mu st go to the

.

IE VVh y ?

V Ih
7d

F igure 5 2 p art
, the hym n tu ne S t Thom as
of -
, . illu s tra te s
s o m e o f the s e ch ord s .L e t the s tu d e nt m ark th e m w ith the nu
mer al s a nd al s o nam e the m w he n p laye d .

St . Th om a s .

A '
M EN .

The followi ng fro m B ee tho ve n ( S onata A p pa ss io nata

“
is
com p o s e d e ntir e ly o f I a nd V7 ch ords in variou s p o s itions ; b ei ng
w ritte n in D flat the I is D flat a nd th e V is A flat
, ,
.

V V Ib I V I V v v
N ,d
.
70 7c
30 HARMO N Y SIMPL IFIED .

I v I v v v
,c 7d

The s tude n t s houl d h a ve thi s playe d to h im a nd na m e the

c hor d s a s they a r e p l a ye d b y the s ou nd o nly
, .

E x er c i s e .

F ir s t . S u p p ly t h e p a r t s th a t are w a nt i n g in th e f o ll o w i n g

S e c o nd — H a r m o n iz e t h e m e l o d y g i v e n in F i g u re 55 . Th e
f o l l o w i n g ch o r d s ar e ug g e s te d
s , b ut th e tu d e n t s h o ul d h a r
s

m o niz e t h e m e lo d y in s e v e r a l w ay s , u s i n g d iff e r e n t ch o r d s
w h e r e p r a cti c a b l e .

I : V7 II Ih IIV
» : » : I b a I V " I 1; V 7 , I I : I V 19 l b , IIC ’ V 7 I I II
,

T hir d — H . ar m o n iz e t h e f o ll o w i ng b a s s .
 H A RIWON Y SIMPL IFIED . 31

C HAP T E R VI I .

R e v ie w .

W e h a ve no w s u fficie nt to harm o nize a ny

m u s ical m aterial
to ne o f the s cale in a ny o ne o f the parts a nd in m a ny ca s e s we ,

h a ve a choice o f s e veral chords B e lo w are gi ve n all the tone s o f

.

the s cale o f C together with all the p os s i ble harm o nizations s o far
,

s tu d ie d
. The s tu d e nt s houl d m ak e s uch a ta b le fo r hi m s elf a nd
ke e p it fo r refere nce addi ng to it a s ne w m at e rial is s tu die d I n
, .

thi s wa y he c a n tell at a gla nce what h a rm o nie s a r e p os s i b le fo r

an i v e n to ne O f cour s e no t all the har m o nie s i v e n as o ss i
y g .
, g p
b l e are e qually de s irab le Us u a l l y b u t o n e c h o r d w il l b e
.

f o u n d s u it a b l e fo r a ny g i v e n p l a c e W he n there is a choice .
,

th e p ro p er chord will b e d eterm i ne d b y the chord b efore a nd a f

ter b y th e p o s itio n in the m eas ure a nd by the p rogre s s io n a nd
, ,

d i s tri b utio n o f the v oice s .

W he n the note to b e h arm o niz e d is in the s o p ra n o w e m a y

Ia b I Va
a b or c a, b or c , or c or c a or c

v
a, b or c 7a , b , c or d 7a, b or c a , b or c 7a , c or d
V
7a , b , c or d

W he n the n ote to b e harm o nize d is in the b as s w e m ay u se

V
7
V

By thi s it is s e e n that we hav e m uch g reater free d o m whe n

the s op ra no is gi ve n than w he n the b a s s is gi ve n .
32 HA RM ON Y SIMPL IFIED .

I t cannot be too s tro ngly i m p re s s e d the s tu de nt that th e s e

on

three chords in their vari ous p o s itio ns are the fram e w ork of a ll
co m p o s itio n F or thi s rea s o n they are kno wn a s the p r im a r y
.

t r ia d s . O ther ch ord s which we s hall ne x t p rocee d to s tu dy

o nd a r y tr i a d s are m ore r le s s e x ce ptio nal in their u s e :
”

( s e c
) o

th e I , V I V a n d V
, ,
c o n s tit u te n i n e t e n t h s o f th e c h o r d s
-

in com m on u s e .

S o far all e x erci s e s have bee n in the key of C W he n we

ou r .

write in a ny other key we s hall find the ch ords of the key o f C

h aving other na m e s a nd charac ters Thu s C E G the I o f C .
, , ,

b eco m e s the I V of the key of G and the V of the key of F , .

Ke y of C F A C E G B D
IV I v

Ke y of G c E e B D F
1; A
v

Ke y of F '
B I7 D F A o E G

E x er c is e .

F ir s t — R e tur n t o Ch a p t e r I I a n d w rit e o ne e x e rci s e f ro m e a c h

.

ch a p t e r t o th e p r e s e n t in th e k e y s o f G F a nd A a nd t h e n h a r
, , ,

m o n iz s w it h t h e ch o r d s g iv e n F ig ure 1 7 be co m e s
.

In G . InA . In F .

I IV V e tc . I IV V e tc . I IV V e tc .
34 HARMO N Y SIMPL IFIED .

C HA P T E R V II I .

M in o r C h o r d s . Th e Su p er -
T o n ic .

the chord s s o far s tu d ie d a r e co m p o s e d o f a m ajor third

A ll
plu s a m i nor third a nd are calle d m a j o r c h o r d s
, N o w if the .

firs t thi rd is m i nor a nd the chord is co m p o s e d o f a m i nor third

,

lu s a m ajor third the ch or d is calle d a m i n o r c h o r d as D F

p , , , ,

A , or A C E ,
M i nor chord s are re p re s e nte d b y the s m a l l
, .

R o m a n nu m e r a l s a s 11 II I VI F igure 6 2, W h e n w e hear a
, , . .

m i nor ch ord a d ou b t ari s e s a s to w hich to ne w e s houl d re g ard a s

,

the root the firs t o r the third ; fo r thi s rea s on the third in m i nor
,

chords is freque ntly d ou b le d i ns tead o f the root e ve n in the 6

po s itio n F igure 6 3 a the third a nd ni nth chords
.
, , .

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

VI
Ma j o r C h o ds r . i
M no r C h o r d s.

The m o s t c o m m o n m i nor ch ord is the o ne for m e d o n Ra y ; it

is re p re s e nte d b y I I a nd is calle d th e s u p e r t o n i c s i nc e it is the
,
-
,

ch ord j u s t a b o ve the to nic The character of the ch ord a s is .

,

s ho w n b y the to ne s o f w hi ch it is co m p o s e d is e x pe cta n t ( Ra y
) , ,

s ole m n ( F ah ) a nd s o m e w hat s orro wf ul ( L a b )

, Th e I I is u s e d .

m ore ofte n in th e 1) p o s itio n tha n with the r o o t in the b a s s .

R ul e 1 1 Th e 11 m u s t p r o g r e s s t o t h e V
. or I
C , .

The p rog re ss ion o f the I I is the norm al p rogre s s ion that is to , ,

the V b u t a s the I d e m ands the V s tro ng ly the e a r acce p ts the

, c ,

I a s b e ing o nly a d elayi ng o f the p rogre s s io n fo r o ne chord

c
As .

the V7 c o ntai ns F ah the th ird of the I I the p rog re s s ion to the V 7

, ,

is s m oother tha n to the V alone Co m pare the p rogre s s io n o f the .

I to the
c
F igure 3 9 .
 HA RMONY S I MPLIFIED .
35

Th e follo wi ng illu s trate s the u s e of the I I Th e not e s in

.

ar e n th e s e s as w e s hall lear n late r d o no t b elo ng to the har m o ny

p , ,

at all .

A m er ic a .

l i Te V
b 7

BEE T H O V EN , op . I 4, NO . 2 .

SC H '
I B E RT .
“
W a lt z , Op . 9 .

E x e r c is e .

F ir s t .
— H a r m o n iz e th e r a n o g i v e n in F i g ur e 6 4
sop .

S e c o nd — Writ e a n e w h a r m o n iz a ti o n o f t h e s a m e m e lo d y ,

a f t e r h a v i n g tr a n s p o s e d it i n t o t h e ke y o f A .
36 HA RMO N Y SIM PLIFIED .

Th ir d — T a k e t h e b ass t h u s f o r m e d in t h e ke y of A , w ri t e a

ne w s o p ran o to it , a nd a d d t h e t e n or a n d a l t o .

Vb V
7b

F o urt h . A l s o h a r m o n iz e t h e b ass i
g v e n in F i g ur e 65 .

L et th e tu d e n t c o ns t a n tly b e o n t h e l o o k o ut fo r th e ch or d s
s

h e h a s l e a r ne d try i n g t o r e c o g n iz e t h e m in t h e m u s i c h e p l a y s
,

o r h e a rs H e s h o ul d h a v e h is o w n a nd h is f e ll o w s tu d e n t s e x e r
’
.

ci s e s p l a y e d t o h im a nd n a m e th e ch o r d s b y t h e s o un d
, .
 HA RMONY SIMPLIFIED . 37

CHAPTE R IX .

Th e M e dia n t a nd S u b -M e dia n t C h or ds .

As there are t h r e e m a j o r c h o r d s in each ke y o ne b as e d o n ,

the key note the o thers b a s e d o n the fifth a b o ve a nd o n the fifth

-
,

b elo w the key note ( I V IV ) s o there are t h r e e m ino r c h o r d s

-
, , ,

w hich s tand in the s a m e relatio n to each other I f we take the .

s i x th d egree L ah a s a s tarti ng p oi nt we find that the ch ord

, , ,

b a s e d o n it is a m i nor chord ( L ah D oh M e ) a nd the chords b a s e d

, , ,

o n the fifth a b o v e
( M e) a nd o n the fifth b elo w ( R a y ) are each
mi nor ch ords Thi s relatio n if e m p ha s ize d gi ve s ri s e to the
.
, ,

mi nor m o de w hi ch we s h all tre at later

, .

R ay F ah L ah
or in the key of C
II

A s in the cas e of the thre e m ajor ch ord s the s e three chords ,

c o ntai n all the tone s of the s cale tw o tone s ( A a nd E ) occurri ng

,

in tw o chords Thu s we ha ve no w tw o p o s s i b le wa y s of ha im o
.

nizing a ny to ne of the s cale a nd three p o s s i b le w ay s of b arm o

,

nizing the four to ne s D o h S o h L a b a nd M e, , T his d oe s no t

, , .

i nclu d e the u s e of the V 7 o r o f a ny i nvers ion .

The chord o n the s i x th d egree is c a lle d the s u b -m e dia nt

”
s u b m ea ni ng belo w a nd m e di a nt m ea ni ng half way b ecau s e -
,

thi s ch ord is half way b etw ee n the roots of the to nic a nd the s u b
-

d o m i na nt .I t is re p re s e nte d by VI The cha r ac ter o f the chord is

.

that o f s adne s s ( L ah ) the p lai nti ve M e i nte ns ify ing a nd the re s t

,

ful D oh taking nothi ng fro m the s orro wful ne s s o f the root L ah .

38 HA RMO N Y SIMP L IFIED .

Thi s ch ord is m uch u s e d I t occurs s o m eti m e s in place of the I

.
,

a nd s o m e tim e s in place of the I V a s it c o ntai ns tw o to ne s of e a ch

,

o f the s e chord s D oh a nd M e of the I a nd L a b a nd D o h of the ,

IV . F igure 6 6 6 I ts p rogre s s io n is the norm al o ne that is to

, .
, ,

the I I F igure 6 6 0
.
, .

vi IV

11
1)
Ic V7 I

The chord o n the fifth b elo w L ah the I I h a s already b ee n , ,

S p oke n o f The ch ord on the fifth ab o ve L a b is call e d the m e d i

.

a nt b ecau s e it is half w ay ( m id w a y ) be t w ee n the I a nd the V

-
.

It is the lea s t u s eful o f all th e chord s Thi s is du e to tw o .

cau s e s : F irs t the charac ter o f the chord ; S eco nd its re m ote ne ss
, ,

fro m the I The characte r o f th e chord sh oul d be quiet o r p lai n

.

ti ve b ei ng ba s e d o n M e b u t the res tle s s n es s o f Te a nd the b ol d

, ,

ne s s o f S o h d o no t co m b i ne w ell wi th thi s S o the chor d h as a n .

u nc e rtai n v acillati ng character that cau s e s it to be o f little u se

,
’

w here p ro gr e s s is d e s ire d By re m ot e ne s s fro m the I is m e ant

.

that if w e follo w th e norm a l p rog re s s io n o f the ch ord s i t w ill ’

take four p rog re s s ions t o re ach the I Thu s : I I I VI I I V I .

, , , , .

The re latio ns hi p b et we e n the m e diant and the I is no t rea dily

gras pe d a nd s o the chord is no t m uch u s e d A s ju s t i ndicate d
,
.
,

the p rogre s s i o n of thi s chord is the nor m al o ne to the W No , .

tice that th e farther w e g o fro m the I the w eaker the p rogre s s ion
o f the ch ord ; the d e s ire o f th e I I I fo r the V I a nd o f the V I for the ,

I I is m uch le s s tha n that o f the V or V , fo r the I o r of the I I for . ,

the V The co m p lete chai n o f chords I l l vi I I

. or V
.

7
I , , , ,

i v e s the s tro n e s t po s s i b le p rogre s s io n

g g .

T h e follo w i ng illu s trate s the u s e o f the three ch ord s I I III , ,

a nd V I .
 HARMONY S I MPLIFI ED .
39

G UI L M A N T . S e c o nd S o na t a fo r O r ga n.

G: V I 11 VI v1 II vi v1 vr
h
111 v1 V
F igure s 6 8 a nd 69 l o c ontai n e x amp l e s o f th e s e chords
a s .

L et th e s tu d e n t a na ly s e th e m m a r k i n g a l l t h e ch o r d s in e a c h
, .

O ld C h a nt .

W A G NE R . B r i d a l Ch or u s fr om L o h e ngr i n .
”

A v e ry b eautiful u se of the m e d i a nt
cho r d is found in
Chopi n s P olona i s e O p 26 No 2 H e re it g i ve s a s to pp ing
’

, .
, . .
,

he s ita ti ng e ffect — it s ugge s t s b ei ng p lucke d b ack by the clothi ng

ju s t a s o ne is ab out to take a forw ard s tep F i g ure 70 . .

V.
r
I II I '
40 HA RM O N Y SIMPL IFIED .

E x er c i s e .

F ir s t —H ar m o n iz e th e f o l l o w i n g ch or d p ro gr e s s io n
. . W r it e
in d u p l e ti m e I Vb . 1 VI , V V,d
, , , l I IV , .
, , , Ih ,
III,

VI, K
b ,
I .
II
F i g ur e 7 1 m ay b e us ed as th e s o p r a no p a rt .

Th e b p o s it io n o f t h e s e m ino r ch o r ds m a y b e u s ed
fr ee l y , b u t th e 0 p o s it io n is v e r y r ar e a nd h a d b e s t b e

a v o id e d .

S e c o nd — F ill in t h e p a rt s w a n ti ng in F i g ur e 72 . The s tu

d e nt ha s a s u fficie nt k now le dge of chords to a naly s e a ny ord i

no w

nary hy m n tu ne L et him t a k e th e tun e s O l d H u nd r e d a nd

.
”

W e b b a nd m a r k a l l th e c h or d s he k no ws a nd al s o na m e the
”
,

chord s whe n playe d to h im .

42 HA RMON Y SIMPL IFIE D .

M E NDE L SS O H N .
“
Or ga n S o na t a VI ” .

S UL L IVA N .

H alf ca de nce s ( e s pecially to the V ) us ually occur in the

mi ddl e o f a pe ri o d o f eigh t or m ore m ea s ure s a s a co ntra s t to the
authe ntic cade nce at the e nd .

— The i m erfect authe ntic ca de nce I V ) is

f.
p ( S ee Chapter
u s e d to a v oi d a c o m plete clo s e in po s itio ns where a to nic cad e nce
is e xp ecte d. F igur e 76
.

M E N D E L ssO H N .
“
Org an S o na t a V .

The s ur p ri s e cade nc e is a n e x a m ple of a n irregular progre s s ion

o f the w hich w ill b e treate d later . I t is u s e d in m uch the
s a m e wa y a s the i m p erfect authe ntic .
 HA RMONY SIMPLIFIE D .
43

S TA I N R R . Ch or al e . R I M B A UL T .

S ur p r i s e c d e nc
a e.

W he n tw o oice s m o ve in p arallel m otion fro m a nother in te r

v

va l to a fifth o r a n octa ve the p rogre ss io n is calle d c o n c e a l e d

,

fift h s o r o c t a v e s ( N
. otice the p lural n a m e although there is ,

b u t o ne fifth or octa ve ) S uch p rogre s s io ns are no t d e s ira b l e b u t

.
,

are u nav oi dab le at ti m e s A v oi d the m b e t wee n outer v oice s

.

S o p ra no a nd b a s s ) ; whe n the v oice s m ake a s ki p o r other wi s e

(
call atte ntio n to the m s el ve s o r w he n fo r a ny rea s o n the p r o gr e s
s io n is in other re s p ect s n o t a s g oo d a s is d e s irab le The follo wi ng .

progre s s ions are all b a d .

E x e r c is e .

F ir s t A d d t h e p a rt s t h a t a r e w a n ti ng t o F i g ur e 7 9
. .

S e co nd — Writ e a n e w s o p r a n o t o t h e s a m e b a s s a nd a dd

p a rt s . N otic e that this is c o m p o s e d o f two four m ea s ure p hra s e s -

,

th efirs t e ndi ng with a half ca de nce to the V , a nd the s eco nd with

a very s trong perfect authe ntic c ad e nce .
44 HA RMONY SIMPLIFIED .

Ih IV Il
b

T hir d .
-
A d d th e p a rt s th a t ar e w a n ti n g t o F i g ur e 8 0 . Thjs
is co m p o s e d o f four four m ea s ure phra s e s with the follo w ing
‘
-

cade nce s : firs t a n i m perfec t authe ntic s ec ond a n i m p erfect h al f

, ,

cade nce to V third s urp ri s e ca de nce ; f o u rth p erfect authe ntic

, ,

cade nce .

Vb V. V I
,
 HARMON Y SIMPL IFIED .
45

C HAP T E R X I .

Th e S u b -To ni c or D im in i s h e d C h o r d .

W e have form e d triads o n each degree o f the s cale

no w

e x cept the s e ve nth Te I t is no t p o s si b le to form w ithin the

, .

key either a m aj or or a m i nor chord o n this d egree a s the i nter val ,

Te F ah is co m po s e d of t wo mi nor thir ds
-
The triad form e d .

here is a dim inis h ed c h o r d I t is calle d the s u b -t o nic ( b elo w

.

the to nic ) a nd is lettere d V I I

,
°
Th e cyp her i ndicate s the s m all
.

o r di m i ni s he d fifth A lthough the chord is b a s e d o n Te it h as

.
,

no true root I t is no t of freque nt occurre nce in m o d e r n four

.

v oice d w riti ng a nd w he n u s e d is ge nerally treate d a s if i t w ere a

,

V7 chord w ith the root o m itte d I t p rogre s s e s to th e I

. The 6 .

o s itio n is the m o s t c o m m o n a nd the s o calle d root Te is no t to -

p , , ,

b e d ou b le d Th e rea s o n that Te is no t to b e d ou b le d is that Te

.

is n o t th e r e al root ; al s o b ei ng the lead i ng to ne o f the s cal e with

a de fi nite p rogre s s io n i t woul d if d ou b le d b ri ng a b out p aral
, , ,

lel octave s W he n the fifth F ah is d ou b le d the tw o F a h s m u s t

.
, , ,

ro
p g re ss in co ntrary m otio n The r
p go r
. es s io n o f the fifth D oh ,

S oh to the d i m i ni she d fifth Te F ah is allo w e d b u t the re ve rs e

, ,
-
, ,

p rogre s s io n w oul d b e a n aggra v ate d ca s e o f co n ceale d fifth s a nd ,

ha d b e s t b e a v oi de d F ig ure 8 1
. The d i m ini s he d fifth is s hown
.

b y 5 th °

G d
oo . Go o d . D ou btf l
u . G odo .

5 th ° 5 th 5 th 5 th °
46 HA RMO N Y SIMPL IFIED .

°
F igure 8 2, a cha nt by D upui s , h o ws the vn firs t with thes

th ird a nd the n with the fifth d ou b le d

,
S ee al s o F igu r e 5 2 the .
,

s e ve nth chord .

T . S . D or m s .

The ch aracte r of the chord is w hat we s h oul d e xp ect w oul d

b e the re s ult o f tak ing the s tro ng s tea dy S oh a w ay fro m the
a nd lea v i ng the c o n tra d icto r y Te a nd F ah A lthough the p r o .

r e s sio n of the chord is s tro ng the c h or d i ts elf is w eak W hat

g , .

e ver s tre ngth it h a s it d eri ve s from the s trong progre ss i ve

,

te nd e ncy o f Te a nd F ah .

A l l th e c h o r d s l a s t s tu die d that is the I I VI I I I V I I

, ,
°
, , , ,

m a y b e u s e d in th e b p o s it io n T h e b p o s iti o n is e v e n
.

m o r e c o m m o n t h a n th e a p o s i tio n e sp ecially in the II I I I , ,

a nd W I
"
.T h e c p o s it io n is v e r y r a r e in a l l o f t h e m a nd ,

e ve n whe n fou nd s houl d rather b e regard e d a s a n acci de ntal c o m

b i natio n of to ne s b ro u ght ab out b y the m el odi c progre s si o n of the
part s than a s a real chord form a tion
,
.

E x e r c is e .

F ir s t . H a rm o n iz e th e b a s s g i v e n in F i g ur e 8 3 .

S e c o nd . A d d th e t e n or a nd b a s s t o F i g ur e 8 4 .
 HARMON Y SIMPL IFIED . 47

VI I o V. c
b ,

Th ir d . A dd so p r ano , a lt o , a nd b a s s t o th e fo ll o w in g t e n o r .

F ir s t tr a ns p o s e t o t h e ke y o fD .

v1 IV VI 111 VI I h II
43 HA RMONY SIMPL I FIED .

C HA P T E R X I I .

Th e I I , I I I , VI , a n d VI I 0 w it h t h e S e v e n t h .

The V , is the o nly chord o f its kind that is po s s i b le in a key ;

.

that is it is th e o n l y m a j o r c h o r d w ith m i no r s ev e nth that

,

c a n b e form e d without u s i ng to ne s foreig n to the key S o w he n .

w e h e ar s uch a chord w e kno w at o nce w hat the key is .

B ut oth e r ki nd s o f s e ve nth ch ords m a y be form e d o n the other

six to ne s o f the s cal e The m o s t c om m on o f the s e is the I I 7
.

( s u p e r to n i c s e v e n t h
-
) for m e d b
, y a dd in g the s e v e nth D o h to , ,

the I I ch ord F igure 8 7 Thi s is of c ours e a m i nor chord with

. .

a m i nor s e ve nth I ts p rogre s s io n is the s am e a s that of the II

.

chord that is to the V

, , or T b u t it d e m a nds thi s p rog re s s ion
, 0,

e ve n m ore s trongly tha n d o e s the I I alo ne Th e s e v en t h D o h .

, ,

S h o u l d g o to Te I f the II goe s to the I the D o h is s tationary

.
,

b u t g o e s to Te in th e fo ll o w in g c h o r d ( V o r a nd the Te

in turn c o m e s b ack to D o h F i g ur e 87 . .

11
7
V7 c
I 11
7
Ic V
7
II
7b
V'
l d
Ih

A ll the s e ve nth ch ords in thi s and the f oll o w ing cha p te rs

will ha ve the b e s t e ffec t if the s e ve nth is prepare d This is al s o .

th e ca s e w ith a ny d i s s o na n t tone .
50 HA RMONY S I II I P L I F I FD .

R ul e 12 .
-
In th ch o r d s th e s e v e n t h s h o ul d p r o g r e s s
a ll s e v e n

o r r e s o l v e d o w nw a r d o n e d e g r e e .

F or e x a m p le F ah to M e in the V 7 a nd D o h to Te in the H 7
, , .

I t foll o w s fro m thi s that t h e s e v e n th s h o ul d no t b e d o u b l e d a s ,

the r e s ult w oul d b e p arall e l octa ve s The s a m e p rohi b itio n .

ap plie s to a ny to ne that h a s a defi nite p rogre s s io n a s Te S ee , .

Chap ter X L p age 4 5 , .

E a c h o f th e o t h er m ino r c h o r d s ( the V I a nd the 11 1 ) m a y

b e u s e d w ith th e s ev e n t h a d d e d N either is o f freque nt .

occurre nce ; w he n u s e d they progre s s norm ally F igure 9 1 a .

, .

I n F igure 8 9 the ch ord m arke d

,
is the 1 11 7 progre s s i ng no r
m ally to the V I I n thi s 11 1 7 the th ird is o mi tte d as w e k no w is
.
,

s o m eti m e s the ca s e in the s e v e nth chords .

S ir J O H N S T A I NE R . A nt h em .
”

111 v1 v1 II V
7 7b 7d 1b

F igur e 9 1 b fro m , ,
a nthe m b y S ir J oh n S tai ner illu s trate s
an ,

the u s e of the VI 7 I n thi s cas e the I I al s o contai ns a s e ve nth

. .

S uch progre s s io ns of s e ve nth c hor ds are ve ry c o mm o n .

A c h o r d o f th e s e v e n t h is a l s o fo r m ed o n th e VI I th e O
,

V11 5
} . W e m a
y c o ns i d er thi s a s either a true s e ve nth chord o n

Te o r pre ferab ly a s a p art o f the V , with a dd e d ni nth

, , , I ts . .

p rogre s s io n is either d irectly to the I o r through the V , to the I . .

Te goe s to D oh L a b to S oh a nd u s ually F ah to M e I f its p r o

, , .

g r e s s io n is to the L a b is the o nly to ne to m o ve F igure .

9 2, a.
 HA RMONY SIMPLIFI E D .
51

M E NDE L SS O H N . S t Pa u l
. .

6 fk. 6 th .

VII ,0 V
, .9
V 11
o
,
I V I I o, V , VI I o
,c
I
Thi s chord is very freque ntly u s e d ge nerally p rogre s s i ng to ,

the I n the p rogre s s ion of V II 3 to the I either the third o f , a

the I m u s t b e d ou ble d or w e ha ve th e p arallel fifth s R ay L a b -

,

a nd D o h S oh s o the
p rogr e s s io n to th e V , is p referre d
-
, .

The s e las t chord s are o f i nfrequ e nt occurre nce a nd the adde d ,

s e v e n th w eake ns rather t ha n s tre ngthe ns the chord ; fo r it will b e

notice d that in each ca s e th e three u er to ne s o f the s e ve nth

pp
chords form triads that are the four s tronge s t chord s o f the key .

Thus the VI , the s u b m e d ia nt to ne -the I chord The I I , .

the s up er to nic tone

-
the I V chord The 1 11 , the m e dia nt .

to ne the V chord The V1 1 5; . the s u b tonic to ne the I I -

chord I n each cas e the to ne tha t is tryi ng to a s s ert its elf as

.

root a nd b ear u p the other tone s a s third fifth a nd s e ve nth is , , ,

its elf the w eake s t of the four .

I t will b e i ntere s ti ng for the s tud e nt to follo w o u t in the c as e

of the s e chords the m etho d u s e d w ith the ch ords s tu d ie d pr e
vio u s l a nd d eter m i ne th e ir character fro m the character of the
y ,

to ne s th at c o m p o s e the m .

A ll th e a b ov e ch or ds m ay b e u s ed in th e a , b, c , a nd d
p o s itio ns .

E x e r c is e .

F i r s t — W r it e o ut al l t h e s e v e n t h c h o r d s s o f a r s tu d i e d in ,

v a ri o u s p o s itio n s a n d dis tri b uti o ns w it h th e ir na t u r a l r e s o lu

ti o ns (p r o g r e s s i o n s ) .
52 HARMONY SIMPL IFIED .

S e c o nd — Writ e out th e f oll o w i n g s u c ces s i on of ch or d s in

a ny ke y e x ce pt C : II ,
VI, I V I, , II
,
. V , I. V V,d I Ih
,
.
. ,
III ,

V I . I I I) . I 10 V , d I I h V c I I I v e I I
,
.
, , , . , ,
11
7 , II0 , I I II
.

T hir d — H a rm o n iz e th e s o p r a n o m e l o d y g iv e n in F i g ur e 9 3 .

The s tud e nt is agai n cauti o ne d that he is no t e x pec te d to u s e

all the ch ords that he h a s s tu die d o r e ve n a m aj ority o f the m in
, ,

w ri ti ng a n e x erci s e W e ha ve s tud ie d th e chords in the order o f

.

the freque ncy of their u s e The s t u de n t s houl d u s e the m in the

.

s a m e or d er .

T
follo wi ng from Chop i n s B allad e O p 3 8 s h o ws a s e rie s
he
’
, .
,

o f chords progre s s i ng norm ally b u t w ith the s e ve nth ad d e d .

C H O PI N . Op . 38 .

III VI
b ?
 HARMONY SIMPLIFI ED .
53

C HA P T E R X II I .

Th e I , a nd I V, . C h or ds of th e N i n t h , E l ev e n th ,

a nd T h ir t ee n t h .

S till a nother kind o f s e ve nth chord is the m a j o r c h o r d w i t h

m a j o r s e v e nt h I t is form e d o n the I a nd o n the I V
. The s e .

ch ords are no t ofte n u s e d a nd are e x tre m ely hars h . Th e L,

g o e s to th e I V . Te g o in g d o w n a c c o r ding to R u l e 12 .

t o th e V 7 s e e F igure 77, a ,
fourth chord)
Th e I V 7 g o es (
or 1 0 .I n thi s las t prog re s s io n ( IV , to I ) the s e ve nth ( M e ) c

re m ai ns s tatio nary through the I a nd the n re s ol ve s Fig u re 95

c
. .

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

.

I
,
IV IV I IV V

By c on t inu in g t h ir d s o n th e V w e m a y
t o b u il d up

h a v e th e V ” V 7 9 1 1 a n d
, , ’ ,
The la s t two c a n hardly
b e calle d chord s at all a s they lack the nece s s ary ele m e nt o f
,

unity ( s ee defi ni t o n of chord Chap te r I )

i They are s el d o m or
,
.

ne ver u s e d in their c o m p lete for m I t is h o w e ver nece s s a r y to

.

unders tand the m as certai n c om b i nati o ns o f to ne s are m o s t natu

rally e x plai ne d a s b ei ng the s e chord s The proce s s of b uil d i ng .

u p thir ds m u s t s to here a s the la s t chor d c o ntai ns all the to ne s

p ,

o f the s cale the ne x t third w ould be b u t the re petition of the

-M

root S oh F igure 9 6
, . .
54 HA RMONY S I MPL I FI E D .

Th e V 7 ’
9, h o we ver is m u c h u s e d I n fou r v oice d writ
, .
-

ing the chord is nece s s ar ily i nc o m plete the fifth u s ually b e ing
,

o mitte d T e a nd F a h p r o g r e s s a s in th e V 7 a nd L a b
.
,

g o es to S o h Th e n in t h L a h
. m u s t al w a y s b e a t r u e
,

nin t h , that is it m u s t ne v er b e a s e c m d b u t m u s t al w ay s be at
, ,

lea s t a n octa ve a nd o ne s te p fro m the root S oh The s e v e nth , .

m u s t al way s b e p re s e nt with the ni nth a nd the ni nth is u s ually ,

in the s o p rano p art The e f a nd 9 p o s itio ns of chords that is

.
, , , ,

chords with the ninth ele ve nth o r thirte e nth in the ba s s are
, , ,

ne ver u s e d .F igur e 9 6 s ho ws the m o s t c o m m o n way of u s i ng

the s e chords .

V V7 V I V

The followi ng are all fro m fam ou s co m po sitio ns of a c kno w l

e dge d m a s ter s They illu s trate the u s e of the

. V, 9 , IV , ,
’

a nd V

S C H UM A N N S unsh i ne B E E T H OV E N Op
“ ”
. To th e . . . 1 4 , No . 1 .

IV I V ( I Vc ) I
”,
 HA RMONY SIMP L IFIED .
55

C HOP I N .
“
B a ll a d e in F .

s mo r za ndo .

I V I V
No ct u r ne , G Ma j o r.

G O UN O D .
“
F a us t .
”

E x e r c is e .

F ir s t H a rm o n iz e t h e S o p r a n o m e lo d y
. i
g v e n in Fig u r e 9 8,
u s ing th e c h o r d s i nd ic a t e d .

S e co n d — . Wri t e a l s o a s e c o nd h a r m o n iz a tio n o f th e sa me
m e lo d y ,
u s i n g m o r e s i m p l e c h or d p r o g r e s s i o ns .

IV V I
, ,
56 HA RM O N Y SIMPL IFIED .

1V
7b v

Th ir d — C o m p l e t e F i g ur e 99 .

IV “ V
7 7b 7d

111 v1 11 V b
7 ,b 7 7 9

I vr VI Io
b
11
,
V
7
111
b
V,

In the fourth m ea s ure fro m the end in the VI 13 chord th e , ,

Te m a y be d ou b le d in the te nor part S i nce it progre s s e s d o wn ,

ward the s ec ond Te goi ng to D oh

, .
58 HA R M O N Y SIMPL IFIED .

ins tea d o f

S e co nd . Tw o ch or ds th a t c o n a in t tw o to n es in co m
m o n a l s o fr e qu e n tl y p r o g r e s s to th e r ea c h o
This ha s be e n .

well calle d the p a s s iv e p r o g r e s s io n H ere o ne to ne take s the

.

place o f another for the m o me nt a nd the i dea of ad va nce m e nt is

,

s u b or dinate Th e illu s tration will m ake thi s plai n F igure 1 01

. . .

I t wa s s aid in C hap ter I I that co m p o s itio n d eal s with

. v oice
prog r e s s ion a nd with chord p rogre s s io n I n s uch e x am ple s a s
.

the ab o ve the s i ngle m o vi ng v oice is the po int o f i ntere s t The

, .

’
follo wi ng e x am p le fro m W ag ner s L ohe ngri n is a w o nder q y
b e autiful u s e o f thi s s i m ple progre s s io n I t is u s e d at th e m o m e nt
.

whe n all actio n o n th e s tage ceas e s a nd L ohe ngri n bids fare w ell
to the s w an F igure 1 0 2 a F igure 1 0 2 b sh o ws the p r o gr es
.
, .
, ,

s io n o f I I to VI a nd V I to I V
,
.
 HARMONY SIMPL IFIED .
59

W A G NE R . L o h e ngr i n .

Fa r e we ll , f ar e w el l , my d ea r es t s w a n.

M EN DE L SS O H N .
“
St . P a ul .

H al

W e m ay add, th e n , t o th e p r o g r e s s i o n s a lr e a d y s tu d i e d t h a t
o f th e V 7 o r V t o v 1 t h e V t o ,
111 t h e I V t o II o r t o V I th e v i t o I V
, ,

o r t o I th e I I I t o V o r t o I th e I I to V I 1
,
V 11 5
, } o r to I V The 0
, , . fo l
lo wi ng tab le gi ve s the p rogre s s io ns o f each chord in ab out th e
order o f the freque ncy o f th e ir occurre nce .

I t o a ny ch o r d .

1 1 n or m a l t o V Al s o to Io I V VI1 VI1 0 0
.
, , . .

I I I n or m a l t o V I A ls o t o V
. or I , .

I V to I , V . 11 , v 1 .

V n orm al t o I . A ls o to V I I I I , .

V I n o r m a l t o 11 . A l s o to I V o r I ,

V II t o I or
°
60 H A R M ON Y SIMPL IFIED .

Th e add i ti o n of th e s ev e n th to an
y o ne of the s e chords
s tr e n g t h en s its te nd enc y to m a ke th e no r m a l p r o g r e s s io n .

C hords in the 1) po s iti o n m o ve m uch m ore ea s ily to the u nu s ual

progre s s io ns than W he n they are in either the a o r the 0 p o s iti o n .

S ev e n th c h o r d s m a y m o v e to o t h e r s ev e nt h c h o rd s .

W h e n o ne v o ic e m o v e s to s o m e o t h e r to ne o f th e s a m e
c h o r d t h e o t h e r v o i c e s r e m a inin g s ta tio n a r y
, s u c h i nter ,
h

m e d i a t e to n e is c a l l e d a b y -to n e .

R ul e 13 — A b y t o ne m u s t b e a t o n e o f t h e ch or d n o t s o m e
.
-
,

n e w t o n e a n d m u s t a pp e ar o n t h e u n a c c e n t e d p a rt o f t h e b e at
,

o r m e a s ur e F igure 1 03 a c d
.
, ,The figure s o freque ntly u s e d
, .

”
in acco m p a ni m e nts calle d “
b roke n ch or ds is a c o m m o n e x
a m p le.

H O F M A NN . Me l u s i na .
”

HUM M E L . Op . 55 .
 H A R M ON Y S I MPLIFI ED .
61

MO A R T Z . Sy m p h o ny in E b .

I n F igure 1 03, 6,alth o ug h th e ne w to ne re ally form s a differ

e nt ch o r d th e V
, it is cu s to m ary to r e gard it a s a b y—
, to ne Th e .
7
no te s m arke d w ith a n in F igure 1 03 e f a nd y are all b y to ne s , , ,
-
.

Tw o v oic e s m a y take b y to ne s at the s a m e ti m e the other voice s

-
,

re m ai ni ng without progre s s io n F igure 1 04 a 6 .

, , .

Bad . B ad .

A t F igu r e 1 04 , although b oth the to ne s F a nd B a r e in the

0,

s a m e ch o rd the , the p rogre s s io n o f the S o p rano is no t g oo d .

The i nter va l is the aug m e nte d fourth a nd a ny a u g m e n te d o r ,

dim inis h e d in t e r v a l is n o t s u i t a b l e fo r a m e l o di c p r o g r e s
s io n : s e e al s o F i ur e 1 04 d e
g , , .

E x er i
c se .

F ir s t — H a rm o n iz e aga in th e m e lo dy in F i g ur e 98 a nd m ake
th e s ev e n th thirt e e n th a n d tw e n ty
, ,
-fir s t no t e s b y -t o n e s .

S e c o n d — C o m p l e t e F i g ur e 1 0 5 .
62 H A R M ON Y SIMPL IFIED .

7 9 11 .

N otice h o w m uch greater free d o m the u s e of

gi ve s b y- to ne s
us .I n the fir s t m ea s ure are tw o b y to ne s B eginning at the
-
.

ni nth m ea s ure the te nor i m itate s the s o p rano of the fir s t four

I ne a s u r e s .

Th ir d — Co m ple te F ig u re 10 6 . Th e n ote s m arke d are by

to ne s .
 H A R M ON Y SIMPLIFIED .
63

C H A P TE R X V

R e v ie w .

B efore taki ng u p th e s tu dy o f m od e s a nd keys it w ill b e w ell ,

fo r u s to p au s e here a nd c o ns i d er w hat m aterial w e alrea dy ha ve .

W e have for m e d tria ds a nd s e ve nth chords o n e ach o f the

s e ve n to ne s o f the s cal e gi v i ng u s f ourtee n chord s
, E ach chor d .

m a y b e u s e d in th e 6 p o s itio n gi vi ng u s fourtee n m ore

, E ach .

m a y b e u s e d in th e 0 p o s itio n though w ith m a ny thi s is rare

, ,

gi vi ng fourte e n m ore E ach s e ve nth chord m a y b e u s e d in the d

.

o s itio n gi vi n g s e ve n m ore I n a dditio n w e ha ve the ni nth

p ,
.
,

ele ve nth a nd thirtee nth chords in va ii ou s p o s itio ns a nd al s o th e

, ,

u se of b to-
n e s W h e n w e cons i d er that all th e s e ch ords m a
y .
y
b e w ritte n in a ny o ne o f t w el ve keys a nd in a n e ndle s s v ariety o f
,

d i s tri b utio ns it w ill b e s e e n that w e ha ve alrea dy s u fficie nt m a

,

ter ia l to e nab le u s t o d o a great d eal The s tu de nt s houl d read

.

agai n the re m ark s in Cha p te r VI I a nd the n carefully re vie w the

,

follo wi ng chap te rs u p to the p re s e nt B y t hi s m eans m a ny

.

poi nt s w ill b ecom e clearer .

E x er c s e i .

F ir s t — A s a n e x e r ci s e t a k e t h e m e lo d y of F i g ur e 10 7 , a nd

u s e i t fi r s t a s a s o p r a n o th e n a s
, lt o t h e n a s a t e no r a nd fi
an a , ,

n a ll y a s a b a s s tr a n s p o s i n g s o
,
a s t o m a k e t h e c o m p a s s o f th e

vo ic e s c o nv e n i e n t a nd
, a d d t h e thr e e r e m a i n i n g p a rt s in e a ch

c as e.
Q uarte r note s a s b y to ne s m a y b e u s e d w her e ver e ffecti ve
-
.
64 H A R M ON Y SIMPLIFIED .

The h arm o nizatio ns s houl d b e w ritte n in s e veral w ay s in o ne ,

u s i ng o nly th e s i m ple s t chords in another i ntro d uci ng s o m e no t

, ,

m any o f the m o r e u nu s u a l chord s a nd p rog re s s io ns

'

.
,

B elo w are gi ve n the p o ss i b le har m o nizatio ns o f e ach tone o f

the s cal e wh e n the s o p ra no is gi ve n The vari ou s p o s i tions are
.

o mitte d .

S e c o nd — Writ e o u t a s i m il a r t ab l e o f t h e p o s si b l e b a r m o
niz a t io n s o f t h e t o ne s o f t h e s c a l e w h e n t h e b a s s is g i v e n .

T hi r d H arm o n iz e F i g ur e 10 9 I n o ne p l a c e t h e p r o g r e s s i o n
. .

i nd ic at e d is s li g htl y d i ffer e n t f r o m t h a t g i v e n in th e t e x t .

IV
I

v1 Ih V
7d
V
7
V: 1 1 1 vx Ih 11

F o urth A n al y z e t h e h y m n tu n e c a ll e d M i s s i o n a r y H y m n
.
,

m a r k ing w ith t h e p r o p e r n u m e r a l s a ll t h e c h o r d s t h a t w e h a v e
s tu d i e d .
66 HA R MON Y SIMPL IFIED .

I Iv v V I 1 10 III+ Iv V VI vu °

A s L ah is the to nic to ne we regard it a s the key note of

no w ,

th e m i nor m o d e j us t a s D oh is the key note of the m ajor m o de

, .

Thu s if 0 is D o h o ur key is either C m aj or ( m ode ) or A m i nor

, ,

( m o d e ) ,accor d ing a s we u s e D o h or L ah a s to nic The tw o .

key s are w ritte n with the s am e s ig nature a nd are s ai d to b e each ,

the r e l a ti v e o f the other a s A flat m ajor the relati ve m ajor o f

,

E m i nor o r A m i nor the relati ve m i nor of C m ajor o r G th e rel a

, ,

ti ve m ajor o f E m in or .

The chords form e d on the mi nor s cale are u s e d very nearly a s

are the c orre spo ndi ng chords in the m aj or s cale Thu s the I ( o n .

L ah ) is u s e d preci s ely a s the I ( on D oh ) The V V I a nd I v .

, .

are u s e d ju s t a s the corr e sp o ndi ng chords in the m aj or .

The i nterv al fro m F ah to S e is a n augm e nte d s eco nd ; a s

s tate d in Chapter X IV aug m e nte d a nd d i m ini she d i nterv al s are
,

no t goo d m elo d ic i nter val s s o w e w ill a v o id th e p r o g r e s s io n

,

o f F a h to S e F igure 1 10 0
. , .

E x e r c is e .

F ir s t . H a rm o niz e th e fo ll o w i ng b as s . Wh e n c o m p l e t e c o m
pa re th e r e s ult w it h F i g ur e 41 .
 HA R MONY SIMPLIFI ED .
67

S e c o nd C o m p l e t e F i g ur e 111 b
.
, .

T h ir d T r a ns p o s e t h e b a s s thu s c o m p l e t e d i n to
. 0 m i no r a nd

w rit e n e w u pp e r p a rt s .

1 11 . b .

Th e use of th e b a nd 0 p o s it io n s in th e m ino r m o d e I s
th e s a m e as in th e m a j o r , b u t a s the I a nd I v are here m i nor
chords the third
,
m ay b e d ou ble d e ve n in the 6 po sitio n .

F igure s 1 1 2 a nd 113 illu s trate the I V , , a nd I V in the m i nor

m o de .

HA NDE L . A ci s a nd G a l a tea .
”

G UR L I TT . Op . 1 17 .

M oder a te .
68 HA R MON Y SIMPL IFIED .

C H A P T E R X VI I .

Th e M in o r M ode C o nti nu e d .

I t w ill be f ou nd that in the m i nor m o d e there is al w ays a te n

~

de ncy to re vert to the m aj or m o de The mi nor m o de is m ore

.

artificial than the m ajor a nd the m i nor chords are weaker tha n
,

the m ajor s o that it require s a cons ta nt effort to m ake the m i nor

,

m od e a pp ear the b a s i s o f the c o m po s itio n Thi s is fou nd to b e

.

e s pecially true w he n we attem pt to u s e the m e dia nt s u b m e dia nt ,

-
,

m ajor s u b to nic ( u s i ng S o h i ns tea d o f S e ) in the m inor m o de

-
, .

The s e three chord s are the I I V a nd V o f the m aj or m o de a nd

, , ,

m u s t be u s e d very s p ari ngly o r th e feeli ng of the m i nor m od e is

lo s t By referri ng to F igure 1 1 0 b w e find that if S e is u s e d
.
, ,

a s th e s e ve nth o f the s cale the I II b ec o m e s

, a m aj or chord
with aug m e nte d fifth ( the au g m e nte d fifth i nd icate d b y the
s ig n a nd the s u b to nic b eco m e s a di m i ni s he d ch ord A s S e is a
) ,
- .

nece s s ity if w e are to ha v e a lea d i ng to ne the chord s as s ho wn

,

in F igure 1 1 0 are the u s ual o ne s in the m in or m od e B u t th e .

fo r m s w it h S o h in s t e a d o f S e a l s o o c c u r This is s hown by
.

the f ollo wi ng F igure 1 1 4 The S oh is m o s t likely to occur whe n

, .

it progre s s e s to s o m e to ne other tha n L ah a nd he nce the nee d of

,

a lea d ing to ne is le s s felt S e e a l s o F igure 1 2 9 c

.
, .

GR I E G . S o na t a ,
”
Op . 7 .
 HA RMONY SIM PLIFIE D .
69

B RA H M S . Op . 1 . Z E LT E R . D er K oni g in T h ul e .

VI a : I v

The II I+ is rare ly u s e d in s im p le four p art w riti ng W h e n -

.

u s e d it progre s s e s to the V I a s in the m ajor m o de th at is the , ,

nor m al p rogr e s s io n S e m u s t p rogre s s to L ah

. F igure 1 1 6 a .
,
.

The ch ord is ofte n u s e d w ith the fifth o m itte d thu s e va di ng the ,

d i fficulty . S ee F igure 1 1 7 la s t chord , .

The V I is here a m ajor chord I t p rogre s s e s to the 11 or I ] ?a s

.
°

in the m ajor m o de altho u g h the p rogre s s io n ca nn ot b e calle d norm al

,

s i nce the 11
°
is no t a p erfect fifth b elo w the V I F ig ure 1 1 6 b .
‘
.

The VII p reci se ly a s in the m ajor m o de F igure 1 1 6 c

°
.
, .

The I I ( o n T e ) is h e re a di m i ni s he d chord b u t is u s e d ju s t
°
,

a s the I I ( o n R a y ) in t h e m aj or m o d e u nl e s s p erhap s the a o si

, p .

tio n is m ore rare A s Te is no lo ng e r the leadi ng to ne it is fre e

.

( 0 m ove either u p or d o w n o r b y a s ki p F igure 1 1 6 b .

, .

HA NDE L Mes s i a h . ;

d : 1v VI II
? c
I 0
V

I II 11 1+ v 1 VI 3
11
70 HA R MON Y SIMPL IFIED .

M E NDE L S S O H N .
“
St . P a ul .

E x er c is e .

F ir s t — H a rm o n i z e t h e f o llo w i n g b ass .

VI I V

I IIb v

S e c o nd " —
H a r m o n i z e th e f o ll o w i n g so p ran o .

I II I I I I+ VI 11
8 1
e
 HA R MONY SIMPL IFIED .
71

C H A P TE R X VI II .

M ino r M ode C o nc l u d e d .

The u se o f the s e ve nth chord s in the m inor m o de varie s b u t

littl e fro m their u s e inth e m ajor m ode A ll the harm o nie s o n .

the d om i nant that is the , V7 9 11 , are o nly ’

, ,

fou nd w he n the d o m i na nt is m ad e m aj o r a nd are the n u s e d a s in ,

th e m aj or m o de b u t the chord s the m s el ve s are s lightly differe nt

,

in th e ir form The V 7 is the s a m e in b oth m o de s a nd the re s o

.
,

l u tio n of the third ( S e ) a nd th e s e v e nth ( R a y) is the s a m e ,

only R ay m o ve s d own a who l e s te p to D oh w herea s in the m ajor ,

m ode the s e v e nth o f the V , ( F ah ) m o ve s d o wn a ha lf s tep to .

Me .

The V , 9 is u s e d a s in the m aj or m od e bu t the ni nth ( F ah ) is

.
,

a m i nor ni n th re s ol v i ng d o w nward a half s tep

, .

The V , 1 1 o r V 7 9 1 1 is rare b u t is u s e d a s in the m ajor m ode

. ’ ’ , .

The V 7 1 3 which is ab out the o nly form in wh ich the chord o f

’ ,

the thirte e n th occ urs is u s e d a s in the m a jor m o de the thirtee nth

, ,

b ei ng here a m i nor i nter val .

The I I ? is ve ry freque ntly u s e d a nd in the s a m e way a s in the ,

m ajor m ode . F igure 1 1 9 d , .

The V I 7 a nd the III ; a r e u s e d a s are the corre s p o nd ing chords

in the m ajor m o de F igure 1 1 9 a b
.
, , .

Th e I that is the m i nor chord o n L ah w ith the m ajor

” , ,

s e v e nth S e a d de d is s o e x tre m e ly har s h a s no t to b e u s e d

,
The .

w ith S oh is u s e d p r o r e s s m g to th e I v
7 ( ) g
1 .

Th e I v7 ( h e re a m i nor ch ord w ith m i nor s e v e nth ) is m uch

m ore fr e qu e ntly u s e d tha n th e c orre sp o nd i ng I V 7 in the major
m od e . I t is m uch m o re pl e a s an t to the ear a nd is of co ns i dera ble ,

I m p ortanc e . I t p rogre s s e s to the V 7 o r 1 F igure 1 1 9 c No 0

.
, .

tic e that its tone s are the s am e a s tho s e o f the I I 7 in the m ajor
m ode .
( yR a F ah,
L ah D oh
)
, , .
72 HA R MONY SIMPLIFIED .

a : v1 VI

The V I 12is u s e d a s the corre s p o ndi ng chord in the m ajor m o de ,

bu t it is a m uch m ore i mpor ta nt ch ord I t is kno wn a s th e chord

.

o f the dim in i s h e d s e v e n t h that b ei ng the i nterval form e d by

,

the e x tre m e to ne s o f the ch ord F igure 1 1 9 e W e s hall find

.
, .

later that it is b orro w e d for u se in the m aj or m od e a nd is of the ,

greate s t u s e in m o vi ng from o ne key to a nother .

The m i nor m o de is freque ntly a s ource of great trou b le a nd

m i s u nders ta ndi ng to s t u d e nt s o f harm o ny b u t if the f ollo wi ng
,

p ri nci pal fact s are ke p t in m i nd there nee d b e no trou b le .

F ir s t Th e m i n o r m o d e i s b u t a s h a d o w o r a n ec h o o f
.

th e m a j o r m o d e s i n c e it is m a d e fr o m it a n d r e s e m b l e s it
,

g r e a tl y .

S e c o nd . Th e ch or ds of th e m in o r m o d e h a v e t h e s am e

na m e s a nd a r e u s ed al mos
l y a s th e c o r r e s p o nding
t ex a c t

c h o r d s o f th e m a j o r m o d e I n the key of A for e x a m p le

. .
, ,

w hether the m o d e b e m aj or o r m i nor the chord o n A is the to nic

, ,

a nd is s o u s e d — a nd the s a m e is true o f m o s t o f the othe r ch ords .

,

I n fact m any c o m p o s itio ns w ri tte n in the m ajor m o de w oul d b e

,

ju s t a s correctly w ri tte n if the s ig nature w ere change d to that o f

74 I ON Y
H A R IV SIMPLIFIED .

S e c o n d — H a r m o n iz e t h e f o ll o w i n g b as s .

V I I0 V V V V V " 0 V " 1 V
7 7 ,I 3 7 7b 7 ,1 3 7 70 7d 7b 0

l l 0
V V 7
I u0 V IV 1 10 V V
I
O
7 b 7 ’1 3 7 b 7 7 7 7d

T h ir d — H a rm o n iz e th e f o ll o w i n g a c c o r d ing t o th e h a rm o n i c
b a s is g iv e n .

VI

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

F o urt h — Writ e th e s a m e m e l o d y in A m a j o r a n d h a r m o n i ze
it c o m p a ri ng th e ch o r d s in t h e t w o m o d e s w h e n c o m p l e te
, .

The follo w i ng il lus trate s the u se o f s om e of the ch ords of th e

m i nor m o d e F igure 1 2 3
. .

C HOP I N .
“
No ct ur ne ,
”
NO . 11 .
 HA R MONY SI MPLIFIE D .
75

ME NDE L SSOH N . Op . 22

8 va .

G O UN O D . T h e r e is a G r een Hill .

H e di e d th t
a we m i gh t b e f o r -g i v e n, H e di de to m a ke us go o d .
76 H AR MONY S I MPL IFIED .

C H A P TE R X I X .

Tr a n s iti o n or M o d ul a ti o n .

B y ke y is m e a n t th e t o n e o n w h ic h th e to nic is b a s e d ,
l n the m aj or m o d e , D o h ; in the minor m o d e , L ah Thu s a c o m .

pos itio n is in the key of Cr m a jor if the t o nic chord is b a s e d o n

G a nd is a m a jor ch ord
,
.

W he n a ny chor d other tha n th e o rig i nal to ni c a s s um e s the

character o f to nic we h a ve a t r a n s iti o n o r m o d u l a ti o n to s o m e
,

other ke y o r m ode A ch a nge o f key is p ro p erly calle d a tra n

.

s itiou a nd a cha ng e o f m o d e a m o d ulati o n b u t the latter w ord is

, ,

freque ntly u s e d to e x pre s s eith e r i d e a I f the i de a o f the ne w .

toni c is s u ffici e ntly s tro ng to re plac e th e o l d to nic c o m p letely th e ,

tr a n s iti o n is c o m p l e t e I f th e ne w to nic is s i mp ly s ugge s te d

.
,

the t r a n s iti o n is p a s s i n g .

To pro d uce a trans ition a chord that is u nm i s taka b ly in the

,

ne w key m u s t b e intro d uce d F o r e x a m p le a new I o r

. As , c

s oo n a s o ne o f the s e chords is u s e d all the follo w in g chor d s m u s t

,

b e treate d a s b e lo ngi ng to the ne w key A trans itio n is b rought

.

ab out m o s t s m oothly if s o m e chord tha t is co m m o n to b oth k ey s

,

ca l le d a b r i d g e c h o r d ) is u s e d j u s t b efore th e characteri s tic

(
ch ord o f the ne w key F o r e x am p le in goi ng fro m the key o f C
.
,

to the key o f G w e m a y u s e the V I o f C a s a b ridge chord a nd

,
-
,

f ollo w it b y the I o r V , o f the key o f G

c
. F igure 1 24 a In .
, .

thi s ca s e the V I o f C is c o m p o s e d o f the s am e tone s a s th e II o f

G a nd w e treat i t a s if it w ere a I I
,
.

I n F igure 1 2 4 b fro m B eetho v e n s

’
, , S o nata P ath "tique w e ,

ha ve p reci s e ly the s a m e u s e o f chords H ere the tra ns itio n is .

f rom the key o f A i) to th e key o f E l) the b ri dge chor d b ei ng the ,

-

m i nor ch ord o n F .

A n other co m m o n b ri d ge —
ch ord is the V u s e d a s 1 S ee .
c 0
”
hym n tun e D uke S treet firs t cade nce A ny tria d o f the s cale
, .
 HA R MONY S I M P L I FI E D .
77

e ce t m b u s e d in the s a m e w a y“ R ege nt
°
( x p V I I ) a
y e S ee “

S quare thi rd cad e nce fo r V I u s e d a s

, 0
Io .

B EE THO V E N . S o na t a Pa th "ti qu e .
”

V VI
7b b

V
Eb V I
7 c

R ul e 14 — Th e
. c h r o m a ti c a l t e r a t i o n o f a t o n e in m u s t o ccur
t h e s a m e p a r t o r v o ic e .

That is if G is in the s o p ra no p art in o ne chord a nd G

,
fl ,

art F igure 1 2 5 a T
#
ap pe a rs in the ne x t chord the G m u s t al s o b e in the s op ra no
,

o s h o w the p o s s i b il itie s o f tra ns itio n b

p .
,
.
y
m ea ns o f a b ri dge chord take th e chord of C , Thi s is the I in .

C the I V in G th e V in F o r in F m i nor a nd the V I in E

, , ,

m i nor H e nc e w e coul d u s e it in goi ng to a ny o f th es e keys

. ,
.

Trans itions are al s o m ad e without th e u s e o f a b ri dge chord ,

ge nerally by u s i ng tw o to n e s o r e ve n a s in g l e t o ne t h a t is
c o m m o n to b o t h ke y s F or e x a m ple we m ay go fro m the key
.
,

o f C to the key of A i ) b y u s i ng the t o ne C fir s t a s the root o f ,

the I a nd the n a s the third o f the c h ord o n A l) a nd tre at this

, ,

las t chord a s a I F igure 1 2 5 b .

, .
78 HA R M ONY S I MPLIFIED .

G d oo .

I a t : 1C
'

C :

B EE THO V E N . A nd a nt e F a vo r i .

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

F igure 1 2 5 , 0, s how s a s i m ilar trans iti o n fro m F to Di

) .

E x e r c is e .

F ir s t .
— H a r m o n iz e th e f o ll o w i n g . Writ e in d u p l e ti m e .

0 : I , v , I, Ih, I V, I Vb , I, I, I , v r, G :

r, 0 : IV, V,c , . I, I , a : VI ,, N
b , 1 v , c : I , v, , | v i, I v,
V b V 7b, , II . C: V 7c I , , I , I h , I I 0 , V 7, I I . II

I n di s ti ng u is h in g th e ke y s , 0 ( ca pital le tt e r) m e a n s th e
k ey o f C m a j o r 0 ( s m all letter ) m e a n s th e k e y o f c m in o r
. .

In the ab ove e x erci s e the s tu de nt w ill notice that there are

five cad e nce s ; th e fir s t in C the s ec ond in G the third in A , ,

m i nor the fo u rth in F a nd the la s t in C

, I t is very c o m m o n to
, .

s tre ngthe n a ca de nce in thi s w a

y that is b y m aki ng the la s t , ,

chord O f a cade nce s ou nd like a to nic W e thu s co ntra s t key s .

ins tead of s i ngle ch ord s .

 I ON Y
I I A R IV S I MPL I FIE D .
79

S e c o nd — A . f t e r w r iti n g t h e f o r e g o in g e x e r ci s e w r it e a n e w ,

o n e a s f o ll o w s F ir s t a s i m p l e m e l o d y in h a l f n o t e s a n d q u a r t e r
,

no te s , s ix t e e n m e a s ur e s l o ng in e ith e r d u p l e o r t r i p l e ti m e
, ,

c o m p o s e d o f f o u r p h r a s e s o f f o u r m e a s u r e s e a ch a ca d e n ce a t ,

t h e e n d o f e a ch p h r a s e F ig u r e 1 2 0 b m a y b e us e d a s a m o d e l
.
, ,
.

M a k e t h e fir s t c a d e n c e t o t h e I e i t h e r p e r f e c t o r i m p e r f e ct ; t h e
s e c o n d t o t h e V u s i n g a t r a ns i t i o n t o t h a t k e y
,
t h e thi r d a s im ,

il a r t r a n s iti o n a l c a d e n c e t o t h e I V ; a n d t h e l a s t a s t r o n g p e r f e ct
au th e n ti c c a d e n c e t o th e I I n thi s e x erci se the s tu de nt fo r th e
.

firs t ti m e furni s h e s all the m a te ri a l H e w ill s u cc e e d b e s t if h e

.

a i m s at s i m licity r a ther th a n at e ff e ct
p .

F i g ure 1 2 4 b s h o w s a tra ns itio n to th e ke y o f the V

, , F ig .

ur e 1 25 0 i ve s o ne to th e ke o f the bV I F igur e 1 26 a i
, g
, y .
g ve s , ,

o ne to th e ke y o f th e III F i g ur e 1 2 6 I) g i ve s o ne to th e key o f
.
, ,

the I V

K UL L A K .
“
O ct a ve S tu dy .
”

—
P fi -
o

S C H UM A NN . G r ill e n .
80 HA R M ON Y SIMPL IFIED .

Th ir d — H ar m o n iz e th e f o l lo w i ng . I t is t h e b as s of a w ell
k n o w n h y m n-t u n e .

c
F : u I
c

g : I O
V V i
h
1
82 HA R MONY S I AI P L I FI E D .

Th e II m ay b e m ade 11° a n d th e r e v e rs e wi th out change in

the ir u se . S o t o o w ith th e 11 7 a nd t h e 1 19 . Figure 1 28 d , .

Th e I V m a y b e m a d e m i n o r a nd th e I V m a d e m a j o r without
change in their u se . F igure 1 2 8 ,
a .

Th e I V or th e V m ay ha ve th e fif th a u g m e n t e d the fifth
,

m o vi ng p a
u half s te p
-
.

Th e n i n th in t h e V 7 9 m a y b e fl a t t e d in th e m a j o r m o d e o r
,

s h a r p e d in t h e m i n o r m o d e Use d a s b efore alterati o n F ig

. .

u re 1 2 8, e .

Th efif th in t h e V 7 m a y b e e ith e r r a i s e d o r l o w e r e d a h a lf-s t e p .

Th e V II? in t h e m a j or m o d e a n d t h e 1 19 in t h e m i no r m o d e

m ay h a v e t h e s e v e n t h fia tt e d gi v i ng the chord , of the

is h e d s e ve nth F igure 1 2 8 f
.
, .

0
IV I igh V v rr
b’ . V

Thi s changi ng of m aj or chords to m i nor a nd th e re vers e p r o

d uc e s the e ffe ct o f m i ngli ng the tw o m o d e s M any b eautiful e f .

feets are p rod uce d in this w a y by m o dern w riters F igur e 1 2 9 .

.
 HA RMONY SIMPLIFIED .
83

C hop in .
“
Noctur ne ,
”
No . 11 . S c h u b er t . Mi n e t u ,
”
fr o m op . 78 .

CRAM E R . S t u dy .

MENDE L SSOH N .
“
C a p r icci o ,
op . 22 .
 HA R MONY SIMPL IFIED .

E x e r c is e .

F ir s t — H a r m o niz e th e f oll o w in g .

o
V Vb
bI d 7 9
VI I ' '

7b
“ V V+
7b

S e co nd — A l s o t h e f o l l o w i ng .

1+ IV V .
,
I II III VI

IV v
7

T hir d — Co m ple te F i g ur e 13 2 .

G : V
7
V
7 ’9
1n
b
V
,d
. V
7 b
F : V
7d
I II V
 HAR M ONY SIMPL I FI ED . 85

C : V.
,
V
”
,
1+ i
;, N Iv
7
u
h
86 HA R MONY SIMPL IFI ED .

C H A P T E R XX I .

C h r o m a t ic C h o r d s .

In a c h r om a ti c c h o r d b oth the form al a nd the d egree char

ac te r of the chord ha ve b ee n ch a nge d s o that the chord app e ars
a s if b orro w e d fro m s o m e other key ; b u t i t differ s fro m a tra n

s itio na l chord in that it m u s t p r o g r e s s to s o m e c h a r a c te r i s ti c

c h o r d o f th e o r i g in a l k e y . The characteri s tic ch ord s o f a key

are th o s e th a t b elo ng u nm i s taka bly to that key o nly that is the I , ,
c

a nd F o r e x a m ple if the II , is m a d e I I 7 its char a cte r b oth

, ,

a s a m i no r chord a nd a s a s u per to nic chord is lo s t I f it pro

-
.

r es se s to the V it p ro d uce s the e ff ect o f a ne w key a nd w e s a

g y ,

that it b ri ng s ab out a trans ition I f h o we ver it p rogre s s e s to

.
, ,

the I o r
c
either of the s e ch or ds s trongly c ontrad ic ts a ny tra n
s itio nal te nd e ncy , a nd w e call the chor d c h r o m a t ic I n the .

firs t ca s e the ch ords are lettere d in the ne w key ( th a t is I) .

F igure 1 3 3 a,
. I n the s eco nd cas e the chor d s are lettere d in the
ori gi nal key ( that is I I7 I or V I )
, c
F igure 1 33 b
.
, .

’
C : VI
 HA R MON Y SIMPLIFIE D .
87

0 : VI

Tr a ns iti o n a l ch or ds th e ke y
c h a ng e C h r o m a t ic c h o r d s
.

tr y to c h a ng e th e key b u t a r e n o t a l l o w e d to d o s o A1 .

te r ed ch o r ds c o n t a i n t o n e s f o r e i g n to t h e k e y , b u t n o

c h a ng e of th o u g h t o f F i g ure 1 33 a b 0 sho w s r e
k e y is .
, , , ,

s pe c tive l y tra ns itio nal chro m a tic a nd altere d chor ds

, , .

Th e m o s t c o mm o n chro m atic chord s are I I I I , I I , 9

fi
l vfl , , ,

fi g bi
l
lv ,
fi
l v i all o f w hich m u s t p rogre s s to the I
’
or V
,
The Q
.

fi the I V w ith its root rai s e d a half s te p fro m F ah to F

°
iv is '

thu s m a ki ng a di m i ni she d chor d The fi rv

b, gi ve s u s a nother
.
‘

form o f the d i m ini she d s e ve nth chord W e se e fro m the s e ch ords .

th a t the root Of a ch ord m a y b e change d to p ro d uce a c hr om atic

chord This w a s no t the ca s e w ith a n altere d ch ord The follow
. .

ing s how s v ariou s chro m atic chord s The s tu de nt s houl d c om

.

l e te the p rogre s s io ns throu g h to the I chord The la s t e x a m le

p
p .
,

F ig ure 1 34 f s ho w s a m aj or m e d ia nt p rogre s s i ng to a s u p er to nic

, ,
-

c no r d
’ Thi s m a y b e reckone d a s a chro m atic chord for the D b
.
, ,

although no t u nm i s takab ly in the key h a s a very s tro ng p r o gr es ,

s io n to th e charac te ri s tic chor ds I a nd V .

, C

II I I “I V O III II
b
88 HA R MON Y SIMPLIFIED .

There is o ne clas s o f p rogre s s io ns t hat s ee m to lie b e t we e n

tra ns itions o n the o ne hand a nd chro m atic chords o n the other .

°
A ny ch o r d o f th e k e y ( e x cept the V II ) m a y b e p r e c e d e d b y
a m a j o r ch o r d ( w ith o r w ithout a m i nor s e ve nth f o r m e d o n th e
)
fif th a b o v e a nd s till no real tra ns itio n b e pro d uce d
, Thu s the
.

rogr e s s io n II I V I if foll o w e d i mm e d iat e ly b the r o er

p , , y p p p rO

r e s s io n o f th e V I w ill gi v e v e ry little e ff e c t O f tra ns itio n S uch

g , .

r o gre s s io ns are the s a m e a s p a s s i ng tra ns itio ns o nly th e y a r e s o

p ,

v e ry fleeti ng that th e re s ult is s i m p ly a s tre ng the ning O f the

origi na l ch ord b y g i vi ng it a qu a s i to nic e ffe ct N otic e that the

.

progre s s io n is in each cas e the s a m e a s V o r V, t o I or I F ig ure .

1 3 5 a g i ve s a s e ri e s o f s uch p rogre s s io ns
, ,
. F i g ure 1 3 5 b s ho ws , ,

a s o m e w hat s i m ilar p rog r e s s ion each chord ha vi ng a s e ve nth

,

adde d ; in thi s c a s e no s oo ne r is a key i nd ic a te d b y a V , tha n it

is co ntra d icte d by an oth e r V , gi vi ng s uch a s h ifti ng o f harm o n i e s
,

a nd ke y relatio ns hi p s a s m a y w ell b e c a ll e d kal e i d o s c o p ic The .

s i x th chor d is the 1 1 2 in th e key o f C a nd p r o g re s s e s re g ularly ,

b u t the fifth chord pro gr e s s e s to it in a ve ry irre gul a r w a y .

B E E T HO V E N O p 1 4 NO 2
. .
, . .

e : V, I 0: V
M
I
Ma k a
zu r ,
”
Op . 1 7, No . 1 .
90 HA R MONY SIMPLIFIED .

C H A P T E R XX II .

M ix e d C h o r d s .

M ix ed c h or ds
calle d b e cau s e they contain a n i nte r
are so

va l — the aug m e n te d s i x th — which ca nn ot b e form e d in the

s cale o f o ne key b u t require s the,

m
i x i ng o f two s cale s There .

are thre e of the s e chords all contai ning thi s i nter val F igure
, .

1 38 a b a
, ,
They are ge nerally calle d the chords of the a u g
, .

m e nte d s ix t h the firs t F igur e 1 3 8 a b ei ng the s o—c all e d

, , , ,

F r e n c h , the s ec ond ( 6) the s o calle d I t a l ia n a nd the third ( c )

-
,

the G e r m a n s ix th The letteri ng fo r the s e ch ord s is s o m e w hat

.

c o m plicate d a nd is a s s h o wn in the fi g ure The s e chords origi .

nate in the m i nor m o d e w here th e H is b y nature a d i m i ni s h e d

ch ord a nd the I V a m i nor chord By c o m b i ni ng w ith the s e tw o
,
.

chords the charac teri s tic tone O f the d o m i na nt key ( F e ) the

ch ord s are p ro duce d a s s ho w n The i nterval o f the aug m e nte d
.

s i x th al m o s t i nv aria b ly a pp ear s in the outer v oice s though the ,

chord s m a y b e u s e d in oth e r p o s itions Th e y p rogre s s norm ally , .

to the I V o r V , , .

”
Iv
g V I
0
or I
c
V

a 31 V O
7b
.
 HA R MON Y S I MPLIFIE D .
91

F ig ure 1 3 8 9 , , s ho ws th e gro wth Of the s e thre e chords .

31 V $ 1 v9
0 11
? HQ
,
II
?
c
Iv
, ? ,b
F r e nc h . It li
a a n. G e r m a n.

A s the V1 1 O f the m ajor m o de is the 11 O f the relati ve m i nor

0 °

m o d e s i m ilar chor ds m a y b e b a s e d on the W I ( 1 1 O f the m i nor

" °
,

m o d e the ” o ”I V o f th e m i nor m o d e F i ure

0
1 3 8 d
) o r o n n ( ) g .
, .

I t is b e s t to r eg ard th e s e a s b e lo ng ing to the m i nor m o d e a nd

b o r ro we d fo r u s e in th e m aj o r m o de rather than a s c h o r ds form e d
in the m ajor m ode They are really e x a m p le s o f p a s s i ng tra n
.

s itio ns . I n th e s am e w a y the s a m e chord is fou nd ap p are ntly

b a s ed o n the d o m i na nt b u t it is no m or e a p art of the key than,

an other chro m ati c o r tra ns itio nal chor d F igure 1 3 8 e I t

y .
, .

w oul d ho we v e r b e p o s s i b le to r e gard thi s l a s t a s a n altere d chord

, , ,

that is a V , w ith th e fifth flatte ne d A gre at d e al o f confu s io n

, ,
. .

e x i s ts a m o n w r ite r s o n har m o ny r e gar di ng th e s e chor d s b u t the

g ,

s tu d e n t m a y av oi d it all b y r e m e m b e ri ng that t h e r e a r e b u t
t h r e e s u c h c h o r d s p o s s i b l e th e th r ee s h o w n in F i g u r e ,

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

s houl d b e s o r e g a rd e d S om e co m p o s er s h o w e ve r no t liking to
.
, ,

s e e th e E flat ( fo r e x am p le ) in the firs t chord F i g ure 1 38 c , , ,

p gro re s s u p w a rd ha ve w ritte n it a s D
,
fi Thi s notatio n s houl d .

be a v oi de d a s the ch o r d is the s a m e w heth e r th e E l) r e m a i ns

,

s tatio n ary i nto th e I o r p rogre s s e s u p w ard to E natural O f the I .

O n acc ou nt O f th e s i m ilari ty o f the augm e nte d s i xth a nd th e

minor s e ve nth b oth i nter val s b e i ng r ep re s e nte d b y the s am e key s
,

o n a k e ye d i ns tru m e nt th e y a r e s o m eti m e s u s e d inter c h a n a bl

, g y .

Thu s if the Germ an chord o f th e au g m e nte d s i x th in the key o f

C b e w ritte n a s at F i g ure 1 3 8 f i ns tea d O f a s at F igure 1 38 c , , , ,

w e hav e the V , O f D flat at o nce chang i ng the key , Thi s chang e .

of F
fi to G i ) l s c a lle d a n e n h a r m o n ic c h a n g e

are m ade to effect quickly a trans itio n to a re m ote key F igure

S uch cha nge s .

1 39 , a .
92 HA R MONY SIMPL IFIED .

E b: 1 vc g, e, bb, db .

g : fl xv
gb I
c
V, I
By the u s e o f the s a m e e x p e d ie nt th e chord o f the d i m i ni she d
s e ve nth m a b e w ritte n in four w ay s a nd he nce treate d a s b e lo ng
y ,

ing in a ny o ne o f four key s Thi s O pe ns up al m o s t e ndle s s p o s s i

.

b ilitie s o f tra ns itio n a nd m o d ulation F igure 1 3 9 6 The s e .

, .

c hord s alth ough p laye d the s a m e o n the p ia n o are in the key s ,

of G E B i) a nd D i)
, , V ie w e d fro m the s ta nd poi nt of the key
, .

b oard there a r e b u t thre e d i ffere nt di m ini s he d s e ve nth chords ,

alth ough they m a y b e w ritte n in t w el ve di ffere nt w ays F igure .

0 .

E x er c i s e .

F ir s t — Writ e o u t th e thr e e ch o r d s of th e au gm e n t e d s i x th
in s ix d i ff e r e n t k e y s .

S e c o nd .
-
t w e lv e d i m i n i s h e d s e v e n th ch o r d s
Writ e ou t th e

(o ne f o r e a ch ke y ) n o tici ng h o w th e y c o i n ci d e o n t h e k e y b o a r d
’

.
,

Thir d H a r m o n i z e th e fo ll o w i n g s o p r a no
. .

IV It " 0
v
I
70

IV v

IV
7
in , 0
7b
1
c

F o urt h — Writ e a s ix t e e n m e a s ur e e x e r ci s e c o ns i s ti ng o f-

f o u r f o ur m e a s u r e p hr a s e s i n tr o d u ci ng a n a lt e r e d ch o r d a c h r o
-
, ,

m a t ic ch or d a tr a ns iti o n a l c a d e n c e a nd a m i x e d ch o r d
, , . O ne
f o ur -m e a s ur e p hr a s e m a y b e w ritt e n in t h e r e l ati v e m i n or .
94 HA R MONY SIMPL IFIED .

C H A P T E R xx 111 .

Th e F l a t S u b -M i
ed a n t a nd Fl at S u p e r -To nic .

T here are two chords that are of rather freque nt occurre nce ,

neith er o f the m s trictly ne w chord s , b u t chor d s that a r e u s e d in a

ne w w a y . The firs t is the fl atte d V I u s e d chrom atically p r o
gre s s i ng to the I or V , Thi s chord b elo ng s to the m i nor m o de
c
.
,

b u t is al s o u s e d in the m aj or m o de F igure 1 4 2 a
. S ee al s o , .

J
F igure 1 2 4 c where the ch ord o n D ? is really a b ri dg e chord b e
, , ,

ing firs t the flat V I a nd the n th e I .

The other chord is form e d o n the fl a tt e d s u p er t o n i c to ne -

a nd is s o m eti m e s c all e d the chor d o f the N e a p o l it a n s ix t h It .

is u s e d in either the m aj or o r th e m i nor m o d e ge nerally in the 6 ,

pos ition a nd progre s s i ng a s a II t o the I o r to the V, F igure

o
.

1 4 2 b a nd F ig ure 1 4 3
, , . S ee al s o F i g ure 1 5 8 s e c o nd m ea s ure
, .

B E E THO V E N . F u ne r a l Ma c h
r ,
”
op . 26 .
 H A RJII ON Y SIMPLIFI E D ,
95

W e have tu d ie d all the chords u s e d in m u s ical c o m po s i

no w s

tio n I n the foll owi ng chap te rs w e s hall s tud y the u s e that is

.

m ade of no n har m o nic to ne s

-
The s tu de nt in re ad i ng m u s ical
.

c o m p o s itio ns w ill no d ou b t find chord s p rog re s s i ng d i ffere ntly

from the p rogre s s io ns gi ve n in the s e chap ters This is e s pecially.

true of the co m p o s itio ns O f the m o s t m odern writers S uch p r O .

«

r e s s io ns nee d cau s e no s ur p ri s e They h ol d the sam e o s itio n

g .
p
in m u s ic that the li b ertie s take n b y p o e ts h ol d in la ng uag e As .

in p oetry the or di nary rule s o f gra mm ar are u s ually O b s e rve d s o ,

in m us ical c o mp o s ition the rule s o f m u s ical g ra m m ar a s gi v e n in

the s e p age s are u s ually O b s erve d I t is o nly for s p ec ial e ffe ct
.

that they m ay b e violate d Ta s te a nd e x p e r ie nc e alo ne w ill d e

.
'

term i ne w hether the e ffect is a goo d o r a ba d o ne I t w ill b e .

foun d that in all goo d p rog re s s ions no m atte r h o w a brup t o r ir

,

regular they m ay s e e m th e re is al w ay s s onre c o nnectio n b etw ee n

,

the chor ds or s o m e ae s thetic i dea that is o f s u fficie nt i mp ortanc e

,

to o verri d e the natural progre s s ion O f the ch ord F or i ns tance .

,

th e V , O f the key O f C m a y g o directly to the I o f the key O f B Q ,

ap p are ntly a m o s t irregular p rogre s s io n B ut if i ns tead o f the

.

s e v e nth F in th e fir s t ch ord w e w ri te the aug m e nt e d s i x th E

fi ,

o u r chor d b eco m e s the Ger m a n s i x th O f the ke y o f B a nd p r o

g r es s e s regul arly .F igure 144 .

O ther irregular p rogre s s io ns ar e e x p lai ne d a s b ei ng d elaye d

rogre s s io n s o f w hich w e ha v e h a d s o m e e x a m p l e s O the rs a a i n
p , g.
,

a r e p ro d uce d b y s u b s tituti ng a s i milar chord fo r the o ne e x

.

e c te d S till other s co m e b y th e p rog r e s s i o n o f the i ndi vi d ual

p .

v oice s which fo r the m o m e nt m ay b e O f m ore i m p o r t a nce tha n the

h arm onic p rogre s s io n .

96 HA R MONY S I AI P L I F I E D .

If ch or ds al w a y s fo ll o w e d th e ir b e nt ,
th a t is a l w a y s ,

p r o g r es s e d no r m a l l y , w e s h o u l d b e c o n s ta n tl y h a v in g c a
d e n c e s ; m u s ic c o u l d p o s s e s s no v a r i e t y a n d th e e x p r e s
,

s io n o f m o o d s , fe el in g s , a nd ex p er ie n c e s w o u l d b e im p o s
s ib l e . B ut with you ng w ri ters the te nd e ncy is u s uall y to s tri ve
”
after s tartli ng change s p retty e ff ects a nd far fetche d harm o ni
, ,
-

za tio ns The s tu de nt s houl d try to s e cure firs t a s m ooth ea s ily

.

fl o w ing s tyle a nd the n if his ta s te is for n o veltie s he w ill r u n

, ,

le s s ri s k Of i ntro d uci ng the m in s uch a wa y a s to m ake hi m s e lf

ri d iculou s .

E x er c s e i .

F ir s t — F ill in t h e p a rt s th a t ar e w a n ti n g in F i g ur e 14 5 a nd

w rit e t h e n u m e r al s u nd e r n e a th .

S e c o nd — W r it ei t e e n m e a s ur e fo u r ph r a s e c o m p o s i
tw o s x -
,
-

J
t io n s int r o d u c in g t h e V
'

I I a n d t h e PV I a n d a l s o m a k i ng s o m e u s e
o f al t e r e d m i x e d a nd tr a n s iti o n al ch o r d s w h e n th e y c a n b e e m
, ,

p l o y e d n at u r a ll y Writ e in s o m e k e y c o n t a i n i ng m o r e t h a n tw o
.

s h a r p s o r fl a t s a n d in f o ur f o ur o r s ix e i g h t ti m e
- -
.
98 HA R MONY SIMPL IFIED .

F igure 1 4 7,th e fifth no te in the s opra no is a cha nging to ne

a, .

F igure 1 4 7 b the third no te in the S opra no is a n a p poggiatura

, , ,

a nd the fifth is al s o a cha ngi ng to ne F igure 1 4 7 c the note s

.
, ,

m arke d with a cro s s are pa s s i ng to ne s .

B E E TH O V E N .
“
Ro nd o in C .

K UH LA U . Op . 5 5 , NO . 3 .

E x e r c is e .

F ir s t .
— H a r m o niz e F i g ur e 14 8 , tr e a ti ng so me of th e t o ne s as

n o n- h a r m o n i c t o ne s .

S e c o nd — T a k e thr e e o f t h e e x e r ci s e s p r e v i o u s l y w ritt e n
a ny ,

a n d r e w rit e th e m i n tr o d u ci n g no n h arm o ni c t o ne s w h e re v e r
-

th e y c a n b e e ffe cti v e ly u s e d D o n o t t r y t o u s e a s m a ny a s p o s s i
.

b l e b u t r a t h e r t o u s e th e m a s w e l l a s p o s s i b le
,
.
 HA R MONY SIMPLIFIED .
99

Th ir d .
- C o m p l e t e F i g ur e 14 9 .
1 00 HA R MON Y SIMPL IFIED .

C H A P T E R XX V .

A n ti c i p a ti o n . P ed a l P o in t .

F ourth .
—W he n
a tone b elo ngi ng to o ne chord is i ntro duce d
a s a no n harm o nic to ne i nto the p rece di ng chor d it is c alle d a n
-
,
"

a n ti c ip a t io n o r a n a n ti c i p a t o r y t o n e F igure 1 5 0 This o c
. .

curs freq ue ntly a t the end o f a perio d or of a whole c o m p o s iti on .

M any O f H and el s piece s e nd thu s S ee al s o F igure 1 1 2

’
. .

BE E THO V E N . Op . 49 , No 2
. .

HA NDE L . A ngel s ever B r i gh t .

”

F ifth — B y an e x te ns io n o f s uch pa ss age s a s the o ne s hown at

F igure 1 4 6 , c, the b a ss tone m ay be hel d i ndefi ni tely a nd q uite
1 02 HA R MONY SIMPL IFIE D .

G A DE . Th e C rusa d er s .
”

E x e r c is e .

H a r m o n iz e th e f oll o w i n g .

H V VI P eda l P oint .

V V b H Ib' c V I '
I
V V 1 f V
7e 7 l 7 7b 7c

I I V"3 11
,d
B17 : V 7 9 1 1 1H
b
V
7 ,9
I
o g : V
7
HA R MONY

V V
7,1 3 7
1 04 HA RM ONY SIMPLIFIED .

C H A P T E R X X VI .

S u s p e n s io n s or R e ta r d a t io n s .

S i x th — By far the m o s t
i m p orta nt m etho d of us i ng no n
har m o nic to ne s is a s follo w s W he n a to ne o f a chord is
.

d elaye d a nd is hear d in the follo w i ng chord a s a d i s s o na nce i t is ,

calle d a s u s p e n s i o n o r r e t a r d a ti o n F igure 1 5 4 a a nd b
.
, .

The to ne is firs t h eard as a c ons onance a nd b eco m e s a no n har ,

-

m o nic to ne by b ei ng hel d w hi le the re s t o f the chord cha nge s .

The d i s s o nant tone m u s t c o m e to co ns o na nce d u ri ng the s e cond

chord The s u s p e nde d ( no n har m o nic ) to ne u s uall y m o ve s d o wn
.
-

o ne d egr e e in re s ol vi ng b u t Te m a b e s u s pe nd e d b efore D o h
, y .

I f the d elaye d to ne d oe s no t b ec o m e a d is s ona nce in the s eco nd

chord b u t s i m p ly for m s a ne w chord it is no t regarde d a s a s u s
, ,

p e n s io n . F igure 1 5 4 d A ,s u s p e ns io n d i ffers fro m a d is s o na nt

.

ch ord in that th e s u s p e nd e d to ne is fir s t h e a r d a s a c o n
s o n a n c e a nd t h e n r e s o l v e s d u r ing th e c o ntinu a tio n o f th e
,

n e x t c h o r d ; w hile the di s s o na nce re s ol ve s w ith th e chord .

C o m p are F ig ure 1 5 4 b a nd 1 5 4 c I n other w o rd s th e s u s

, , , .

p e n d e d t o n e is fo r e i g n to th e c h o r d ; the di s s o na nt to ne is a
p art o f the chor d .

The s u s p e ns io n u s ually occurs o n the acce nte d p art of the

b eat or m ea s ure Th e t o n e t o w hich t h e s u s p e nd e d t o ne g o e s
.

s h o ul d n o t b e h e a r d w ith t h e s u s p e n d e d t o n e a t a l e s s d i s t a n c e

t h a n a n o ct a v e b e l o w F igure 1 5 4 e
.
I n four part w riti ng it
, .
-

is b e s t that the to ne to w hich th e s u s p e nde d tone goe s sh oul d

n o t b e heard with th e s u s pe nd e d to ne at all th ough e x a m p le s of ,

s uch u s e s o m e ti m e s occur .

The s tud e nt will find that p a ss i ng to ne s app oggiatur a s a nd , ,

s u s e nd e d to ne s d o no t al w ay s go directly to the ne x t d egree o f

p
the s cale b u t m o ve firs t to the to ne o ne d egree a b o ve or b elo w
, ,

o r e ve n s ki p to s o m e other to ne o f the chord F igure 1 5 4 f g .

, , , ,
1 06 HA R MONY SI MPLIFIED .

IV V

I
P ed a l P oint
.

IV II

T hir d —
. Writ e t h e d e s c e nd i ng a nd a s c e nd ing s c a l e o f in
t h e s o p r a n o u s i n g a ny l e ngth o f n o t e s d e s ir e d th e n h a r m o n iz e
, , .

S i m il a r ly w rit e t h e a s c e n di n g a n d d e s c e n d i n g s c a l e o f A b in t h e
b a s s a n d h a r m o n iz e , Be e s pecially careful of the de s ce ndi ng
”
Te . The foll ow i ng from L ohe ng ri n is a b eau tif u l e x amp le o f a
“

h arm o nizatio n of the d e s ce ndi ng s cale . The s tude nt is no w

fam i liar with all the p rogre s s ions us e d .
 HA R MONY SIMPLIFIED .
1 07

WAGN E R . Pr el u d e to L o h engr i n ” .

I
h
I V , 1 18 V.
,

The follow ing s h ows p e d al p oi nt,altere d chor ds bI I , , a nd

s u s pe ns io ns.

Ro ss m r . S ta b a t Ma t e r .
”

I0 I
c
S us V
.

BA CK . O r gan Pr e l u de .
”

W e hav e now re ache d the lim it of our s u b ject The s tu de n t .

it is hop e d h a s acquire d a fair k now le dge of all the m a te ri al u s e d

,

in m u s ic al c o m p o s itio n a nd o f the ordinary m e th o ds O f u s i ng this

,
1 08 HA R MON Y SIMPL IFIED .

m aterial . As thi s little w ork o nly ai m s to gi ve the b are s t ou t

li ne o i harm o ny the s tu de nt is urge d to e nter upo n the s tu dy o f
,

s o m e of the larg e r w ork s w hich d eal with the s u b ject e xhau s t

ivel y . I f th e s e fe w cha p ters ha ve i nflue nce d a ny to m ake a

th oroug h s tu dy Of co m p o s iti on or if by their m eans a ny h a ve
,

gai ne d a clearer i ns ig ht i nto the c o nte nts o f m u s ical co mp o

s itio ns a nd the m aterial u s e d by all c o m p o s ers fro m the lea s t to

the greate s t their purp o s e h a s b ee n fully attai ne d

, .
 1 10 HA R MONY S I MPL IFIED .

is th e s am e as

The nu m b er of note s w ritte n is of no 1 m p or ta nce pro vi d e d

we w rite at lea s t o ne for each figure I n other w ords the
.
,

figuri ng is the s a m e for a ny nu mb er of v oice s three four five , , , ,

s ix or m ore The o rd er in which the i nter val s appear a b o ve

.

the B a s s note is i m m ate rial Thu s

. . m ay be writte n in
a ny of the follo w i ng w ay s

The figure s al w ay s refer to the i nter val s as they s ta nd in the

mino r

7 7 7 7
the C
a the D b u t the maj or 7th o ver the E b
nd ,
.

I n order to s i m p lify the writi ng of figure s it is cu s to m ary to

o m it ce rtai n o ne s Thu s whe n no figure at all is w ritte n it is
(
.
,

u nders too d that the i nterval s 3 are require d i e the w ritte n note
, . .
,

is the Bas s of a c o mm o n ch ord in A po s itio n ( u ni nverte d ) In .

the for m 3 the figure 3 is u s ually o m itte d The figure 8 is al .

way s o mitte d u nle ss s u ch o m i ss io n might cau s e m i s u nd e r s ta ndi ng .

 HA R MONY SIMPLIFI E D .
1 11

mea ns mea ns i mp lie s b ut

I f it is ece s s ary to affec t a ny i nterv al b y a n acci d e ntal the

n ,

p roper s y m b ol b fifie tc is p lac e d b efore the fig ure b u t a n acci

, , , .
, ,

d e ntal a l one al w ays refer s to the third ab o v e the Ba ss Thu s .

b? 35 as it

I f the B a s s p art m o ve s b y a p a s s i ng to ne th e other

oice s are v

to re m ai n s tatio nary ; i ns tead o f w riti ng out the ne w figure s to c or

re s p ond w ith the ne w i nter val s m ade b y th e change in the B a s s ,

it is u s ual to write h orizo ntal li ne s in the p lace of figur e s Thu s ,

The li ne al s o is u s e d to i ndicate th e co nti nuance of a ny

fi g ure a s
,
1 12 HA R MONY SIMPL IFIED .

Thu s the s tude nt w ill notice that in s u s pe ns io ns the left ha nd

figure s i ndica te the s u s pe ns io n the ri g ht ha nd figure s the re s olu
,

tio n as
, ,

if 3

W h e n there is a c h a ng e in the u ppe r v oice s w hile th e B ass

n ote is hel d the fi g ure s are w ritt e n s ide by s ide .Thu s
,

o r as the prece di ng two illu s tratio ns

in .

I t w a s form erly cu s to m ary whe n a n i n te r val w a s to b e rai s e d

a s e m ito ne to i ndicate it b y a s troke through the fi g ure 5 6 e tc , , , .

Thi s sy m b ol is rare ly fou nd no w e x ce p t in th e ca s e o f the 6

which is ofte n u s e d 6 m ea.n s O f c our s e the s a m e a s
# 6 .

I n orde r that the s tu d e nt m a y b eco m e fa m iliar w ith th e fig

ure s he is advi s e d to turn b ack in h is e x erci s e b ook a nd w rite
,

the p roper figure d Ba s s u nde r nu m b ers 5 6 8 3 1 09 1 2 1 1 37 , , , , .

H e s houl d al s o w rite o u t the p roper note s for the follo w i ng fig .

u r e d Ba s s e s a nd w he n c o m p le te a dd th e nu m eral s i nd icati ng the

chords .
1 14 HA R MONY SIMPL IFIED .

A P P E NDI X A .

Below are gi ve n illu s trations of the u s e c om po s ers m ake of

t h e characteri s tic e ffec ts of each to ne O f the s cale .

D oh R e s t ho m e
.
,
E x a m ple N O 1
. A l s o the e nd i ng o f a l . .

m o s t a ny co mp o s ition .

ME NDE L SSO H N . E li j ah .

A nd wh en h e h ad sa id th i s he fell a l p
s ee .

Te . pre s s i ng up w ard N o 2 the cry Of the S a v

P ierci ng , . .
,
.

io u r o n the cro s s s how s very d ram atically the p ierc ing eff ect o f
,

Te dyi ng aw ay i nto the re s tful D oh .

G o UN O D . R ed em p ti o n .

My Fa t h er ,
I n to Th y h a nd s I c o m- m end my S p ir it .

N o 3 s ho w s the up ward thru s ting e ff ect O f Te

. .

S TA I NE R .
“
C r u ci fix i o n .
”

mu st th e S on of M an be lif t ed up .

L ah . I llu s trate d in N O 4 A l s o in al m o s t any

S orro wf ul . . .

piece wr itte n in a mi nor key where L ah is the root of th e minor

,

tonic .

S TA I NE R . C r u ci fix i on .
”

I am l o ne in d eed .
 HA R MONY S IMPL I FIED . 1 15

S oh B ol d rou s i ng
.
, . S h o w n in N o s 5 Thi s is
.
, 6 , 7, 8 .

very co m m o n A b ugle . or tru m p et call al m o s t i nvariab ly m ake s

u s e o f it .

ME NDE L SSOH N .
“
S t Pau l. .

S l e ep er s , vo i ce

ME NDE L SSOH N . E l ij a h .
”

C a ll h im l oud er .

V E RDI . T r o va to r e .

A -
r o u se y e, a - r ou se ye "

HA DN Y .
“
C r ea ti o n .
”

Th e L o r d is gr e a t , a nd gr e a t H is m i gh t .

F ah . Thi s e ff ect is w e ll s ho wn in N o 9 A noth e r

S ole m n . . .

e x am p le is the ordi nary u s e o f thi s tone in the A m e n Clo s e o f

church m u sic .

S T A I NE R .
“
A nt h em .
”

W h en s in ner s m ee t t h e ir aw fu l d o om .

Me .
Quiet plai nti ve
,
I n N os 1 0
the p eculiar ef
. . a nd 11
fec t o f M e is eas ily heard N o 1 0 e x pre s s e s re s t a s no other
. .

to ne coul d a nd the plai nti ve ne ss of N o 1 1 is u nm is taka b le

,
. .
116 HA R MONY SIMPL IFIED .

MENDE L SSOH N . E li j ah .

O r es t in th e L or d .

HA N D E L . A nge l s e ver B r i gh t .
”

Ta ke , 0 take me, ta ke m e, ta k e me .

R ay . E x pec ta n tThe ch aracter o f Ra y is the leas t i mp re s

.

s i ve of all b u t if the s tu de nt w ill try the t wo e x a m p le s N o s 1 2 , .

a nd 1 3 he w ill s e e that no other to ne c oul d b e u s e d a s w e ll —

, es

p e c iall y in s e p arating the verb fro m its ob jec t b y three m eas ure s
re s t a s in N O 1 3 L et the s tu de nt s i ng N o 1 3 u s i ng D oh
. . .
,

s te a d of R ay fo r th e w ord b ri ng a nd note the e fiec t .

HO FM A NN . Mel s i na
u .

i
r se a r sei .

H A NDE L . S a ms on .
”

Y e me n of Ga z a, h ith er b r ing
1 18 HA R MONY SIMPL IFIED .

C h a p te r II .

W A G NE R . A rr .

C h a p te r III .

M ark the follo wi ng i nter val s take n fro m Cho pi n s ’

P olo nais e

#
”
in C m i nor
.
 HA R MONY S I MPLI FI ED . 119

W ri te ab o ve the follo w i ng the i nte rval s m arke d .

M 3
. . I n. 3 . A . 4 . D. 5 . M . 5 . D . 7 . M 6
. . m 6
. . M 2
. . D . 3 . m 6
. .

C h a p ter IV .

A u l d L a ng Sy ne .
1 20 HA R MONY S I MPLIFIED .

C h a p te r V .

B USS L ER .

C h a p te r VI .

I Ib I V V | I IV
b | 1V V Ib I I V 7b I lIc I "

70
V
7b I V
1 22 HA R MONY SIMPL IFIED .

C h a p te r I X .

lb v1 11 11
b
I
c
V I I)

C HOP I N .
(A r r )
.

MENDE L SSOH N .
(A r r )
.

IV I
h Vb V 7b
V ,
I I
h
IV 11 I0 V
Do no t har m o niz e th e a p p oggiatura s .
 HA R MONY S I MPLIFI E D .
1 23 .

C h a p te r X .

I Vb Vb V, b IV Ih V

V I II
b
V,

V I rI
b
VI IV V,

V VI V
1 24 HA R MONY SIMPL IFIED .

C h a p te r XI .

I VI I
g I "h II
b
V Vb I IV vr r
g I

V V V d
, I I
I)
VI 1
8 I VI

V, V I Ic V, I Ih IV VI VI V

I V I I?
)
Ih ru
b
V
,d
I
h Ih IV I Vb

B USS L E R .

H UG O UN E N C .

VI 11 Vb V
7b

IV I IV I VI Il
b
V ru
b
VI IV
b
V I IO
12 6 HA R MONY SIMPL I FI ED .

C h a p ter XI I I .

IV V11
9 V, b

M
b
11
,
V
, ’1 1
V
,
V, I

V V
7 ,1 3 7

V
,c
I, IV V
,b
V, I V , V,

C h a p te r XIV .

S TA I NE R .

IV
Vb b
111
b
II
b

B USS L E R .

v1 IV 11 IV 11 ’
V I IE
,
 HA R MON Y SIMPL IFIED .

V III I VI IV 11

I n N o s 43
. a nd 44 , the cro s s e s m ark the b y-to ne s .

C h a p te r X V .

F o l k S o ng .
1 8 HA R MON Y SIMPLIFIED .

F I NE .

v 10 V 1
,

D ou b l e C h a nt .

C h a p t er XVI .

I I
v V
,d
1
h
V
,c

IV I
h
Vc V
70
1

F A rs e'r .
1 30 HA R MON Y SIMPL IFIED .

VI " 0 V " 0
? 7c 7 ,1 1 ?
I V7 " V
,
13 7c 7

C h a p te r x r x .

S TA I NE R .

I
l77 t>
IV

Hy mn T une - .

v 1c v 1c V 1 v v
, , , , ,
HA R MONY SIMPL IFIED .
13 1

G UI L M A N T .

Bf
) : V d
7
1 32 H AR MONY S I MPL IFI ED .

C h a p te r XX .

I V ,
V, 1 11
1)
V, I I Vc I n
;d
L _J

III 1r
h
II b
,
1 15
; b
V 11
,
V

III V I

I I + I V I V+ I I 11+ V III III , V I V I II

b
V, I II
1 34 HA RMONY S I MPLIFIED .

C h a p te r XX I I .

IV V
, ,9
v
,
I vb v b
,
W e
1 vx
b

c
l
c l

I V I 10 firv V d F: I V, I— u
1 h 1 0 11 :
g I
1 1 1
7 c , h 11 11
,d Vb c

VI IV
b
t rv
g V V, V I Iv
b
firv
g V a : fl r vg V Iv
b
firv
g
 HA R MONY SIMPLIFI ED .
1 35

V d : V “? V , b 0 : V b
,
I I t? d : vb 1 I
h7 d I V b firv
g V V,

VI IV
b m? V
y
)
V, V I IV
b my ? V
)
t i vg V m? V y
)

V, V I 131 1 19 IV 1
0
fir vgb 1
0

C h a p te r XXIII .
1 36 HA R MONY SIMPLIFIED .

L rs zr .
(A rr )
.

v1 I IV I

bl7 : I V VI IV bu
, b

d : 1
b
# 1v
$b 1
0
1
0 IV
I IV V
, ,9
V, I Vb V b I Vc
,
I VI
b

I bV I b I
c
V
,d
1
1)
IV
| F : 11 V
7b I I V, I ll

C h a p t er X XI V .
1 38 HA R MONY SIMPL IFIED .

C h a p te r X X V .

IV 11
 HA R MONY S I MPL I FI E D .
1 39

E x erci s e 8 0,
arrang e d fro m C hau vet illu s tra te s a pe d al in the
,

upper v oice al s o a dou ble pe dal M ea s ure s 9 —1 4 are to be w rit

, .

te n in five v oice s The di s ta nce b etw ee n s op rano a nd alto is in

.

s e veral place s greater tha n a n oc ta ve .

S TA I NE R .

C : IV
1 40 HA R MON Y SIMPL IFIED .

The f ollo w ing fro m B u s s ler s ho ws a nu mb er O f s us pe ns ions

f ro m b elo w . I n the la s t chord b u t o ne we have a n e x a m ple of
the s u s pe ns io n of three to ne s at o nce Thi s might al s o be calle d
.

a n a nticipatory to ne in the b a s s .

BA C H .
(A r r )
.

Re p eat the b a s s of the firs t eight m ea s ure s .