PRACTICE OF HARMONY PETER SPENCER ) fd e O Oo fd . Oo e fd ° . fd Cr Cd cf cf . r cd ct r ) t ° CJTHE PRACTICE OF HARMONY third edition Peter Spencer “The Florida State University Uy PRENTICE HALL Upper Saale River, New Jersey 07458Liar of Cngs Catlegng in Pabcation Data i Spencer Peter ‘The practice of harmony / Peter Spence, ~ Bre « ¢ etd dex, ISBN O-18=10559-9, ¢ 1 Harmony. 1 Tie, aitsasi ie | « ‘aizo-deed 948595 cP MN ( ud heen \ Eileen proicion apervson and dns ety Cyalkee Si See \ wee Tr Anon ese aon Coie tart Sse tec hanet ‘ Conroe ‘te ee Soc eon ne AL4b- oreo ( ‘¢ 10 190,198 Prete, ( Sion eScney7A Vaca Cope Upper Sa Rice New Jone a ‘ Allsghts reserved, No part ofthis book may be reproduced, in any form or by any means, without perinission in writing from the publisher, ‘ Printed in the United States of America woe 765 4 8k ISBN 0-33-2a2553-9 ( Prentice Hal! Inernational (UK) Limited, London & Prentice Hall of Australia Pry, Lite, Syne Prentice Hall Gaal ley Toronto < ‘reotice Fal Hispanoamerican, S.A. Meio Prentice Hall of India Private Limited, New Deli Prentice Hal of apa, ney Tatyo ‘Simon & Schuster Asa Pe” Lady Si ‘ Editora Prentice Hall do Brasil, ida, Ris de Janie uContents PART ONE 1 2 Preface FOUNDATIONS Clefs and Basie Pitch Notation Scales Key Signatures and Seale Degrees Intervals TWHEQUALTVOFWTENAS 59 COMPOUND TERS 8 Triads TWres OF TADS 65 29 49‘conrewrs PART TWO. “I 10 1 ‘The Notation of Rhythm NoTEVAWWES 7 PaIciPLES OFNoTATION 79 Flags and Boonie 7 Dots andes at Borrowed Divslons 92 ‘Augmentation and inintion 83 Rese HARMONY IN COMMON PRACTICE The Diatnic Vocabulary FourPart Vocal Writing Primary ‘Triads in Root Position RESTRICTIONS I VOICELEADING 107 PRIMARY TIAOSIM.COMBINATION 108 Inversions of the Primary Triads ono svmsouzaTION: URED BASS 18 PRMAAY TAROSINFRST WERSION 117 PRM TADS SECOND VERSION 28 The Cacomal Chard 125 The Passing $ Cord 128 Tho Ania’ § Chord 20 Secondary Triads "HE SIXTH AND SEVENTH SCALE DEGREES WOR kes 108 The Harmonization of Melodies I "7 101 101 105 us 133, 14312 13 14 15 16 PART THREE. 17 18 Nonchord Tones: Passing Tones, 151 Neighboring Tones, Changing Tones, ‘Appoggiaturas, Eseape Tones, Anticipations Nonchord Tones: Suspensions 165 Diatonic Seventh Chords 17 riouneD BASS SYAUOLS FOR SEVENTH CHORDS. 172 {THE SEVENTH CHORD IN FOURPART WAITING. 172 ‘The Harmonization of Melodies It 185 Writing for the Piano 193 HARMONY IN COMMON 209 PRACTICE ‘The Chromatic Vocabulary Secondary Dominants 209 DECEPTIVE RESOLUTIONS OF SECONDARY Secondary Diminished Seventh Chords 223 “THE FUNCTION OF SECONDARY IMNSHED SEVENTH InneaULAR RESOLUTIONS OF DNARISHED SevENTHvith 19 20 21 22 23 PART FOUR 24 25 26 ‘Augmented Sixth Chords ‘OTWER USES OF AUGMENTED SIXTH CHORDS. 247 Borrowed Chords ‘The Neapolitan {WE NEAPOLITAN STH CHORD 250 Pedal Point Modulation POST-COMMON PRACTICE HARMONY Ninth, Eleventh, and Thirteenth Chords "MNTH ELEVENTH, AND THIRTEENTH CHORDS Chord Symbols Modal Harmony 237 251 259 269 281 317 3 7 333 343,27 28 29 30 Nonfunctional Harmony FOOT MOVEMENTS BASED OM THE CHROMATIC. ‘9H0RoS OF ADDITION 357 brrowaury 358 Artificial Scales TWEOCTATONICSCALE 368 Nontertian Harmony NONTERTIN PROLECTIONS 376 Harmonie Procedures in Twelve'Tone Serialism ‘Te CONSTRUCTION OF THE BASIC SET Appendix MUSICAL CALLIGRAPHY 205 Index contents 355 367 395 387 409Preface [Almost all use majors in colleges and universes inthe United States are Fesuired to study music theory. A large portion of music theory involes the Study oftertan harmony, tht i, the general harmonic practice of compose from about 1700 to 1900. A thorough grasp of the basle principles of this practice # a prerequisite to the full appreciation aid comprehension of the fwotks of every composer from Bach to Brahms. One should not forget, however, that almost'a hundred years have elapsed since Brahim's death and that In that time a timber of harmonic practices have grown that demand tention, allet tan elementary level. The object ofthe third edition of The Practice of Harmony is, therefore, ge the music student, regardless of his or ‘her major, thorough understanding ofthe base materials of harmony, “The book is vide nt four pats: ‘Past One: Foundations—Designed to ensure thatthe stent has a slid {grasp of fandamentala before advancing o subject matter in which these FRndamentals are ured aa the bases for further development. These ealy ‘chapters establish the pedagogical strategy that Is employed throoghowt ‘most of the remainder of the book. ‘The materials are presented in an !Mlditive manner 0 thatthe student ses what was Learned in one chapter to comprehend the materials inthe next. Such an approach allows overage of not only the rudiments of music theory, but also the principles beind the rudiments, Because the author i convinced that Understanding is most effectively reached by doing each chapter contains flange number of exercises, most of which have time goals designed to foyce the student to operate qulekj~indeed automaticaly. ‘Upon socessfuly completing this portion ofthe Book, the student I bein a position to make automatic esponses to questions related to eading in GF and cles, major ane minor seaes, key signacares and Seale degrees, all interval, this, and principles of shythmie notation. Parts Teo and Thve: Harmony in Connon Prcice-Designed to develop a ‘complete understanding of the prineples of tertian harmony as they pon complain a a po ner the preceding el oy ot a long inset ston moan practic. Parts Two and Three, “The Diatonie he Chromatic Vocabulary” respectively, contin to sires learning by doing. Afer each new concept has een inoscet, several pgs of carey grated caress fllon te ensure tthe side ‘compltly estas that concep bere appronhing new ne. This method fs wrt ove analy, for understanding kes move than the ability merely to analyze, involves avon morking Knowledge of te probes that ae nevaly encountered when mas Pitches are committed to paper. One canot begin to Teach 2 ie indestanding of a Beethoven sonata, for Instance, unless one es ‘ested, even ata very low level, withthe same Kind of harmon Problems thie confronted Beethoven himself, “Analysis can be !ivminating only wo the tude who understands some ofthe reasons fr the notes Inthe fist pce. Not that analysis has been ignored i ‘tonto examples for anal a the text, tore elaborate sea for Analysis are incuded." These exercises call forthe tae of Charles Buokhaw’s Anil for Muse! Ants ith edition (Fort Worth, TX Harcourt Brace, 1084); Ralph Taret’s Aneel Aatoog of Mure second edition (New Yorks McCraw Hil, 19925 Mary Neer Anthalgy of scat Sirucare and Sg (Englewood Clif Nf Prentoe fa 1980) Part Four: Pst-Comaon Practice Harmony-Designed to introduce the Student to some of the moe Inportam harmon procedures tat hive citer eyed trom or developed at teaton to common prec, Tt keeping with the philosophy embraced In the previous parts the satis in Pat Fear presented cnc an fnncd yw ‘arity of exercises. The absence of conning “common rae ation to several of these materia, however, precides the possi forthe same kind of stepiystep development af conceps tht sets sounter in theater parts the tet, Nonethclewy nthe spt of the Fest ofthe bok, the emphasis in Pare Far yal othe exposition of theoretical provedires rather than om individual composes Jexpretations of them. ‘The pursit of jie conseations i yond the eopeo tention of The Pcs of Harmony, for nth sonst fal more naturally i the purview f advanced eared, 1m summation, The Pratce of Harmony is designed for students of base theory: The author ha given considerable thought to the kind of people for ‘whom this book would be valuable and consequently has endeavored to resent the material in an enirey systematic manner, simply and logical atthe subject matter is not only comprehensible tothe students but also easily aught by the intron PETER SPENCERPART ONE FOUNDATIONS Clefs and Basic 1 Pitch Notation* Four clefs are in common use ae Nate: 4. The able cles called 6 elf because the symbol i a 1 eter Srthe second line ofthe or middle € le are led Cf case the spt (he sane tion ofthe leer C, the center of which 6, the third line of the staff fr Use alk tenor det «The bass clef called an F lf boca fourth tne for the a of {hes leer By the “enter® of which ence the forth ine of the all.44. The term pitch las is used to describe a clase of pitches with the same letter name. ‘Thus all (G,¢, otc) ate members ofthe same pitch ‘dass_In addition, all ptches and thei enharmonic epualents belong to the same pitch cass (or example, Hand 2, of and P). Because there are only seve letter names for pitches (AB CD EF 6), but atleast seven audible octate transpositions of any given pitch, each piteh has ts own special designation, Notes he shortest movement from ane pitch to another, called aha step of semitone, sometimes involves a ange in leter name and sometimes docs not. i, When a change of name is not involved the pitch i aed or lowered ‘half step by the use of either a sharp () or'a flat (The pteh may so be changed by two half steps without altering the leter name by the use ofa double sharp (3 ora deuble fat). «©: Eto Fand B to Cave the only unaltered pitches that are one half step apart. ‘G0 D, D to ¥, Fo G, Go A, and A to Bate two ball steps apart this space or interval iealled a whole step ora whole tone.nmrnnayunanan4corrsmoasC meHNornON EXERCISES: A. Write the leter name for eich note in the manner indicated, Time {goal AB seconds per lin (middle G= 6). 1 2lecusrssapaascemcnnornon =ues ESC RICHNORTON 9g 1B. Notate the specified pitehes. Ti (nile Ce!) fe goal—A5 seconds per line10 cuersanp arsine norsnoncLersanpaAscrmennoranoN 4412 alersawoanscercne7 G._Notate the speci Noe te pce hes, Tne goal seconds peeCEP AD aASCRTOHNOTATON 4344 cisesanoaasc rc NorATOW2 Scales Strictly speaking, a scale isan ascending, ordered arrangement of pitches. In the tertian harmonie system, which is basic in the study of music Cheory, OHO scale types oceut: the major srle and the minor sel. The tlio seale has {three variants: the natal miner, the nlaie minor andthe harmonté minor major seale satura minor eae melodie minor scale ach sae consis of eight pitches the fst and Ist being an ete apart ', Tecate any one of the scales may be bile upon ay given pitch, each scale has its own characteristic organleation. In each case, this ‘organization is most clearly seen when one examines not the pitches "hemseles, but the intervals between the pitches, 616 seas «In all the scales, che interval between adjacent pitches is called a second, Iki a major svond ifthe ingerval between the pitches Is wo Fall steps ane a minor second ifthe interval Is one hal step. (In the Iharmode winor sale, there is one itera of thee hall steps. Thi lier is calle an egnented second) ‘THE MAJOR SCALE “The major scale may be viewed as consisting of two tetrachords(four-note grep) separate! byt hal steps. Each tetrachord contains five half steps, Qe tet it Mt ete is Notes ach tetvachord has the same intervallic properties-two hal€ steps, followed by two half steps, flloved by one hall step. ‘Thus, the major sale maybe expressed 35 2Q1BP22 ‘THE MINOR SCALE “The minor scale may ako be viewed as consisting of two tetrachords separated by'two Dall steps. ‘The upper tetrachord, however, differs for exch Variant ike the major scale, eal fetrachord eontans five half steps. é ~ 2 2 2 1 8 @ 1 melodic ®@ 2 2 1 @ 1 8 1 Notes ‘Allee variants have the same lower tetrachord: 212 ‘The upper tetrachord of the netwal minor sale isthe rerograe of the major tetrachord (ie, the major tetrachord written backward). ‘The seal, therefore, may be expressed as B1-2GH122sous a7 «The upper tetrachor of the melodic minor scale isthe same as that of the major tetrachord. The seal, therefore, may be expresied 95 BRL 4. “The upper tetrachord of the harmonic minor sae is idromi (Le, Ic reads the same forward and backward), The sale, therefore, may be cexpresed se 2LR@hIsL NAMING SCALES A scale fs named by identifying its lowest note and by describing its type, that |s, major or variety of minor. Thus the following sale @ Sn os “The major sale, by convention, is assigned an uppercase letter (eq. A), and the minora lowereate letter (eg) SCALES IN DESCENT In this chapter each sce has heen presented as an ascending series of pitches. n addition, a sale may be written as a descencing series without altering ts ‘ntcryallic organization, excep in the ease ofthe meladie minot- ‘The descending melodie minor seale has exactly the same intervalic “organization asthe ascending (and descending) natural mina, 2 1 2 @ 2 2 1 2 2 1 @ 2 1 2 amelie minoe ascending and descending) ‘THE SYNTHETIC MINOR SCALE No effort has been made inthis par of che text explain when and why the varus forms of the minor seale ave used. In Chapter 10, the vest showsscaues that the minor sce my, for practical purposes, be considered a syothesis of ll hree forms, containing ten pitches Note: ‘4. The upper part of the sale, now 1 hexachord (site group), has an intervie organtzation eniely of half steps Considerations of yoice leading and melodic activity wil determine which pitches from the hexachord are appropriately employed in a isn unset station. “Thexeisues ave discussed in Part Tw, moDes “The study of the scalar stricture of modes isnot a necessary foundation for ‘the majority of the chapters inthis book; however, the fat chat modes maybe Aesived fiom the major scale maker an nrodactory study of chem possible at this point, ‘The reader may wish to refer, therefore, to the beginning of ‘Chapter 25 in which the derivation ofthe seven modes from the major scale is shown, followed by exch mode's essential characterstick.sous 49 EXERCISES |A. Identity each seae by analyzing its tetrachord structure. Time goal-20 Seconds per sale. 1 2 Fimajor20 somes22 somes B. Identity the errors) in each scale and write the scale cored, Time oal-AB second per scl 1 Natusal minor 4 Hsemonie minor 8 Melodie minor 0. Harmonie minor10 Natural minor 12 Harmonie minor 13, Natura minor 16 Harmonie minor 18 Harmonic minor 19 Melodie minor2a somes 21 Harmonie minor 22 Major 23 Natural minor 2 Melodie minor 25 Natural minor 26 Harmonie minor o 28 Melodie minor 29. Natural minorseues 25 30° Harmonie minor 81. Melodic minor 232 Melodic minor = 3 Harmonie minor 35. Harmonie minor 36. Melodie 88 Natural minor 80° Melodic minor 40 Natural minorWhite shespecitiod scales, Time goal-20 seconds per seal, 1 Major 2 Melodic minor 3 Natural minor 4 Harmonie minor 5 Melodie minor 6 Harmonie minor 7. Melodic minor 8 Natural minor 9 Natural minor 10 Harmonie minor 1 Major 12, Harmonie minor 13, Harmonie minor 14 Melodic minor 15 Natural minor 16, Major V7 Natural 18 Melodie minor 19, Harmonie minor 20 Harmonie minorsous 27 21, Melodic minor 22, Major 28 Natural minor 24 Harmonie minor 25 Major 26, Natural minor 7 27 Major 28 Natural minor 29. Melodic minor 80, Harmonie minor be 31 Major 32 Natal minor 38, Major 34 Melodie minor 35. Melodie minor 36 Natural minor 37. Major 38, Harmonie minor 39. Melodic minor 40. MajorAL Major 42 Major 45. Harmonie minor 46 Natural minor 47 Melodie minor 48 Major 49. Harmonic minor 50 Harmonic minor 51 Natural minor 52, Major 53. Melodie minor 54 Natural minor 55 Major 156. Major 57. Melodie minor 58 Natal minor 59. Harmonie minor 60, MajorKey Signatures and Scale Degrees ‘A hey signature, whieh sppeats to the right ofthe elf sign a8 am arrangement of ‘Sharps or flnts, gives two essential pieces of information to de musician, 1 tells the performer which pitches are to be raised by a sharp, or lowered by 2 at 2 Iindeats (by impliation) that there is «central pitch around whit the other pitches ate organlzed. This pitch isthe lowest member of the teal (he scale may be major or minor, elle the tani, and is the pitch after which the hey Is named. For example, ifthe tonic is Ay the key Is ether A'major or 8 minor, depending on the number of accidental ‘Key signatures are all derived ftom the major scale ina completely logical manner Let us examine key signatures made up of sharps C major G amjor Dimjor A sngjor30 keySicuarunes wo soa pesnees Nate: 1 Hach scale begins withthe second tetrachord ofthe prevus scale by In each case a new accidental i invodced to the scale a8 resul of| having to sharp the thi pitch of the scond tetachord, ‘6 The key signatures show an “aceumlation® of accidental, B always appearing frst, Cl second, and 20-08. ‘The remainder of the major scales with sharps and their derived hey maior gee min B= b= “The key signatures with flats are dered from the major scale tn a ‘manner sini othe derivation of key signatures with sharps Note 1. Hach scale ends wih the fist tetrachord ofthe previous see, and the Jas pitch ofthat tetrachor gives dhe new toni.kovsscuarones ano scalconanees 34 se result of ‘Dy Im each ease a new accidental is introduced tothe 6 having ¢o flat the fourth pitch ofthe ist etrachord. As with the sharp, the flat key signatures show an accumulation of ‘cekdentals, I alrays appeatng first, D second, and soon. ‘The remainder of the major signatures are “The writing ofa key signature renders it unnecessary to put an accidental beside ench altered pte in the scale. ‘Thus, with a key signature, the AP major scale appeasas Each major key has compatsion minor key with the same signature. ‘The ‘companion key is known a8 the tlatve minor. The toni ofthe relative minor isthe sith pte ofthe major key’ scale. I, therefore, the major Key is A, the in ha key “The sath pitch (or sale step, or degree) I and so the relative minor key of A major is minor. The key signatures — Indicate a tonie of A or Fh. Examination of the organization of the music ‘quickly reveals whic one of the twos the tonic,‘ey seuarunes Ano sos ocanees “The key signatures forthe major scales an thei relative © major minor 6 major Damajor minor A major ff minor Enajor cf minor PERRET B major Db major sf minor Bb minor Ff major Gh major «tf sninor eb minor 4 major (> major af minor ab minor or each toni there are, of course, three minor scales; however, the key signature is not affected by this variation, Ifthe natural savor seal is being sed the accidentals in the key signature ensuse the correct formation of the scale. In the ese of the harmonie minor the seventh degree of | to be raised a half step by an accidental plied bese it and both the sth and seventh degrees have tobe raised similay ithe melodie minor is being sed,AEYSIGNATURESAND SOULE DEGAEES 38 Key: g minor Inarmonie melodie Each seale degree, irrespective of key, has both a name and a number (orien in Roman) by which to identify i (Roman numerals are sometimes ‘oven in Tonerease levers: see Chapter 8). C aajor minor (eseoatic) {aero i i submediane aane ‘The natural minor has no leading tone because the leading cone: muse always be a al step below the tonic. "The reventh scale degree inthe natural led the subonc.EY SIGHATURES AND SCALE DEGREES 35 EXERCISES, A. Ientiy the major key signatures, Tne goal-20 seconds per lne36 REY SGMATURES AMO SeALE one B, Identity the minor key signatures, Time goal-20 seconds per line,eYSIGHATURES AND SCALE DEGREES 37 G._Supply the specified maior key signatores. Time goa!-60 seconds per fine.28 MEY SGUATURES AND soMLE oECReES D. Supply the specified minor key signatures. Time goal~B0 seconds per linerevsenaniesano scaLe cones 39 E, Using accidentals where necessary, write the specified scales withou key signatures. Then write the key signature, as shown. Time goal-0 seconds per cae, 1 d'melodie minor 2) eharmonie minor 3g melodie minor 4 brnatural minor 6 A¥harmonie minor 7b harmonic minor 8 ab melodic minor 9 af harmonic minor40 Nersicuarunes avo seaueoeaneES 10 anatual minor 11, Phiarmonie minor 12. bb melodie minor 14 gharmonie minor 15 _ x harmonic minor 16 emelodie minor 17 eb melodic minor 18 Bimajor 19 ef harmonic minorEY SONATURES ANDSCALEDEGHEES AA 20, df melodic minor 21g natural minor 22 af harmonic minor 23 Db major 24 amelodic minor 25 FH major 27 dharmonie minor 28 cmelodie 29. bb harmonic minor42—_Aersurunes avo sewe oesnees 80, AF natural minor 1a melodie minor 88 CF major 34, ef melodie minor 85d natural minor 37 ff melodic minor 88 Fmatural minor 40 melodie minorEYSIGHATURES ANDSCALEOEGREES A, White the signatures of the given keys a scale degrees, Time goal-40 seconds per ine. the piteh(es) or te specitied ‘subd ‘dominant ‘Ab superton leading tone ‘ob subdominant Db submediant —— D median mbtonie ‘gsubmediant Ff subdominant amedtant Esupertonle eonie ableading tone gf subdominant dominant ‘superionic Gb mediant ef tone af leading tone Bb supertonic ‘tonic ‘emediant ‘Cb dominant Baubdominant dl supertonic Bhsubmediant ——Gleading tone Db toni sf submediant F mediant “leading tone ‘af dominant a a PRINCIPLES OF NOTATION “The procedure forthe notation of rbythm in musle Is very diffielt to codify because a given rule frequently has exceptions. One reason fr these frequent ‘exceptions i that a common practice has evolved that is not necessarily the ‘outcome ofa strict log another, that vsval considerations overcome, in some ‘cases, procedures that may be theoretically more correct. ‘What follows, thevefore, i an explanation oft mutnber of principles that consti the bass for the notation of thydhis, One should remember that generally speaking, music is notated in such a way thatthe oxganietion of the beat and its subdivisions s clear to the performer, Flags and Booms Al pitches ofa duration less than & quarter note are made up of note Incas (stems (I), and Flags (9) The stem attached tothe right of the note hhead ad points up i the note head is placed below the middle line of the staf, and to the lef, pointing dowa, i the note head i on ar above the middle ine ‘The flags always placed onthe right ofthe end ofthe stm, 980 He norAnON OF wT In instrumental asic (and in some editions of vocal musi), Flags ave replaced by beams For example: grouped in ingle beats srouped in two Beats Notice that when groups of notes are embraced by a single beam, the stems always go in the tame dircetion, the direction being determined by the placement ofthe note heads. ‘A beam is used for the duration of a fraction of a beat only if the inder ofthe beats occupied bya rest, =e a beam crosses beat, ether it mas span te measure completely or t must spn a whole number of beats completely. For example: ‘is udessable because the beaming inthe first measure obscures the fact that ei the fir note ofthe second bea. The comeet notation is sini, BES P| o Is unstsfetry fortwo reasons: 1. The fis eighth note should be beamed to the sateenth notes, 2 Heats two and three should not be beamed together without beaming the whole measure togetherTHE NOTAMON OF NTE Of the three possible solutions that follow, the fist isthe most common and the lst the least common. Since trple-meter measures cannot be divided in half without breaking imo the beat, the Fist and second, or second isd thitd, beats are oceasionally beamed together Dots and Ties Dots and ties are used to extend the duration of given note values Dotted notes may be used any where within a measure provided thatthe bea is not obscured. For example: Ss Js acceptable because the performer as no difficulty in understan temporal organization, but is unaccepuable because the performer would have dificuly in sexing where the seconds tied eat il "Ties ae used within a measuve when the use of dots would exeate contusion. ‘The example directly abowe, for nstanee, canbe rewritten wih Ges 50 thar thebeats may be leavly seen82 MeNorAnowWor nome “Ties are also used to extend a note value across a bar line "Notice thatthe te symbol (J) always connects nae eds Borrowed Divisions Simple meter is ured when the beat is divided ino suis of two. 11s posible, however, to insert compound divisions of the heat into rose writen fn simple metes, and shnple divisions into musie writen in compound mete, For example: 5 In the example above, three eighth notes occupy the duration of two in the thie beat, This a forrowe desion. "Notice that the three eighth notes are connected by a singe beam and ttsat a smal "3 written Delow the beam forthe sake of clarification. This {gmp oftnee i called «ple, ‘Sty the borrowed division in the flloving examplesMenoranoworawmm = 8B ‘Augmentation and Diminution ‘The duration of a piteh is augmented by doubling its value and lminished by halving its wa, "Thus, apiece of music in may be rewritten ofeach ofthe original notes and vets For example: 1 by outing the value may be rewritten in fas Stay, becomes, in diminution, oats {In any messuve each beat, or part of each beat, must be accounted for by note ova rest. The principles for wetng rest, therefore, are very slat {hose for writing notes, with some exceptions. 1. Rests may not be tied, 2 Itisnotthe common practice to follow a rest wth a dot. For example, 1d ylspreferable wf 8. Alwhole rests used to indicate an empty measure, segondless of the metergoal-90 é 6 6 8 6 ee ieee ee hen ar a RSA A444 ee OE SS | Piddd tl blr? tt So bo oS I So 6S oA 8 8 & oo ow oa Se Rc ee cc se mee Pld Prt ttl Pliod Some by Ee EA Pe ee eee a ee86 MiEWorATON oF RMT 1B. Revite the given melodies in the specified meters, using shythmic augmentation oF dininution.ENoMnOWOrRHTN 8yaming proce ty? LD ny pity FeBeeh $—— + + BTA ipgay Byler ddlchihd oe sper tay @$— ++ — 4 Rep yt Hype garter i +—4—4 Bp De MN Deer TT erie leper = t |terete Dealer reer $— +} — + — + Herter tier rete rte peer ore rr Fetter Seeriee te pp et be —}— ++ + 4 ere tee rte pete Atty e—_| — + Bp Dep De De ele De crete ee ++ ++ + 490 Teworanowor muvee bhp Upp IICCRESTTIIITT pT) opel eretee to} 4 ‘eter aie $44 tp Tiere iepernrie ee eer jp 8 Fee Frterererleccererier ter icereeelMEMorATOW OFA 9 D. Correct the errors of notation inthe following melodies982 mewonnOW or AHImienoranowormuma — 93‘todies with bar Tins, and correct ervars ofTHENOIATONOF RTI 996 eNoTATOW oF ANEMMenomnONoF ITM 8798 THE WorATOW oF uve Aetna ial Jet JpPART TWO, HARMONY IN COMMON PRACTICE The Diatonic Vocabulary 7 Four-Part Vocal Writing Although composers write harmonic music for voice oF Instruments, bot Jina wide variety of pars, students customarily begin the study of harmony by writing for voices in four parts. "There are three good seasons for this approach. Fst, by writing for yoices rather than for instruments, the student learns to be sensitive to finer problems that atise in individual parts, for singers cannot depress key or cover ole to make thei pitch; they must reate their own. Second, the Four yoiees~soprano, alto, tenor, and bast (SATB)-enbrace a thee octave range over which the ear has relatively Iie dlfficulty in distinguishing between one piteh and another, ‘Third, the Inajority of chords in common usage have either three or four different pitches “The ranges ofthe four voices are Notice tht the roprano and ako ranges are duplicated an octave lower by the tenor and bat, Because tds have only thce different pitches, in «fourpart setting one of those pitches has to be doubled. ‘The problem of doubling ik one that as plagued writers of musi theory books for the better part of a century. Roles for the doubling of certain snembers of the triad vary from book to book, ad some ate so complex that the stadent steal erifed to commit pte to PP Fr over nee eenunies composers have treated the problem of doubling with such considerable freedomn that a series of elaborate rules is at best “unrealistic, at worst sling. ‘The guidelines betxewill help the student 101102 Foureser voces vis develop an approach to doubling that is not only simple and practic, but also 2s representative of comporers practices as anyother approach, 1. In major andl minor tad, the most commonly doubled pitch is the 2. IF the root cannot be doubled, the third or the fifth is doubled, “depending on which produces the more desirable woice leading 3, Pitches that have strong resolution tendencies are not doubled, for ‘example, the leading tone. Such pitches ate called soso pitches. ‘Tads may be written in close or ope structure, In lose struct in four parts, the soprano, alto, and tenor woes are placed st close together asthe ‘hord tones Willow, ate 4. The stems are writen above the note head for the soprano ad tenor _and below the note head for the alto and bass, epee 1. "There iano retriton upon he dance between the tenor an bas. The ads ae sald 1 in ro potion Bee the rons ae inthe a In open structure, the soprano, allo, and tenor voices ate not placed as close together as posible, d Note: 4 Thete is a space of an octave between the soprano and alta in the thirel example. Except for the tenor and bas, adjacent voies should ‘ot exceed this interval . In the same example, the fifth is doubled, Although this is not Incorrect, its not the most common doubling Inthe same example, the inthe soprano i extremely high fr that voice.rounpanrvoca. anne — 108 EXERCISES: A. ‘The key, trad soprano part and structure (close or open) are giver, Adel dio, tenor, and ass part, and then rewrite each chord in dhe stitute that ‘lier from the one given, being careful to pay attention to voce ranges . a. a. 1 0p. 4.0 op. op. a.104 rouneuarvooa. ves B. All ofthe chords below ave toni, dominant, or subdominant triads For fesch one identify the key, tia, and structrePrimary Triads in Root Position ‘The tone, subsiominant, and dominant tad are called the prvary triad, In the major keys, the primary teads ave all major (I, 1, V), whereas the mir es, only the dominant tia ie major Gf, V). CADENCES The word cadence is devived from the Latin ver caer, which means "eo fll” CCadences in manic ae analogons to those punctuation marks in English that subdivide sentences ino phraves ane causes, Ths, cadences occ at pois Of relative repose. A complete musical sentence is reerred 1 38 perio, ad teach major subivsion 83 rae. 1. ‘The authentic cater iethe cadence that most decisively terminates the last phrase of a petiod. It is represented by the harmonic progression a 2. "The plagt cadence, IV-I, also used 3 the end of «period fut more savely than the authentic cadence because itis harmonically less decisive. Ie is sometimes desevibed a8 the "amen cadence” de to ie tue atthe end of hymn 5. The Half endenee, analogous to a comina, occurs in the middle of a ‘musical period and typically teraninates an iternal phrase, ‘This faudence Is represented by several harmonie progressions sich a6 I-V, IV-N, iV, and vi-¥. "The essence of the hal alence ix arial atthe dominant 4. The deceptive cadence is most commonly represented by the progression V-v,althoigh V may he followed by ether chords, Since this cadence imotves the movement to 3 chord that fs not primary tv wll be discussed ater Aeadence docs not occur every time one of the progressions described above is encountered. For a listener to perecive a exenee, the nus niet create # feeling of repose. Such a feeling ls frequently achieved by a coincidental relaxation of harmonic, melodic, nl rhythmic motion, 108PRIMARY TANDS M ROOT POSTON ROOTS A FOURTH AND FIFTH APART “Three procedures are common to al ofthe following progressions: 1. The wot is doubled in both chords. 2 Two pitches in each progression move in parallel stepwise motion, 13. There is one common tone (a pitch common to both chords, and it remains in the same rice e Voie i V gw i Note 4 In the V-Tand V-1 progressions, de leading tne moves up tothe oni. ‘This movement ite natural tendency bi, Hach progression is provided with a harmonic analysis that includes the key of the excerpt and the scale degree and quality ofeach triad, Students are encouraged to use this standard format to check the sccracy oftheir answers tothe exercises. 1, inthe soprano woice in a V-I progression, the fith of the dominant triad moves tothe root of the tonle tad, the tonic tad will be incomplete, Thaving three roots and a third, ‘This voicing i acceptable.Ppancanr Anes m ROOT ROSTON — 107 ROOTS A SECOND APART “Two procedures are common to the fllowing progresions 1. The wot Is doubled in both chords. 2 ‘The top three voices move in contrary motion to the bass. RV oVvoo@w voo@v ov RESTRICTIONS IN VOICE LEADING ‘The contents of Part Teo of this book represent a synthesis of harmonic techniques commonly practiced by composers over period of about three hundred years, from 1600 through 1900. Composers throughout this period were usually careful, particularly In choral writing, to avoid the following, movements ofthe voices 1. Parallel or consecutive movement between ay two woes in octaves 1! oer In the first example, paral cave are caused by the stepwise motion ‘of the alto and bass vies,108 i, In the second example, consecutive actoves are caused by the soprano nd bass vices, whic leap in opposite directions frome! tog and ¢ tog respectively. 2, Parallel or consecutive movement between to voices in perfect fifths, Nate: 1 In the frst example, porate ts are caused by tenor and bass voices, ‘whch after leap inthe sime direction, emain a perfect fith apart by In the second example, consecutiv ifs are caused by the soprano and bass voies, which, ater a leap in opposite directions, remain a compomnd) perfet Fifth apart 8. Hidden octaves or fifths-the leap in the sume direction by outer voces toa perfect octave o fifth Nite both examples, hidden acta ana fits are ens by the soprano and bass voices, which leap to (competing) perfet octaves an ith, ', The condition for hidden octaves or fifths exists ony i both outer voees leap toa (compound) octave or ith.paneer aos w ROOTPOSTION — 108 4. The overlapping or erossing of voices, Jd Note: Tin the first example, the allo and tenor voices quite properly double ‘The motion of the alto te! while the tenor sustains the higher ‘eases the overlapping (or crossing) of wees, ', Tn the second example, the tenor an bass voices move in the sane slirection to mide € “The bass, however, "pases through the tenor’ to arrive at middle c and in doing #0 fauses the overlapping of {Asa general prinlple, mation inthe inner parts should be as smooth a6 possible. Tagge leaps and diminished and agnented intervals should be treated with great care, beeause they are difficult to sing. In fact, good harmony is very often the result of combining good harmonic motion with ood linear movement of the indivi vices, IMARY TRIADS IN COMBINATION ‘Study the following examples. ‘They show hove primary triads in soot position ‘are gpically used in a simple fourvolce texture110 puny mas AOOT PaSITON Note ‘& In both examples, the principle of eoicing vera stationary bass note (Gee asterisk) is exemplified. Two or thee of the upper voices move In such away thatthe dosbling ie not altered ‘The subdominant Wiad follows the tonic in both examples, Rarely ‘does the subdominant follow the dominant tad ‘The fina chord of the cadence fills on a strong be «, Exch of the examples terminates with pye! authentic edence, For a authentic eadence to be cassfed as perfect, the penultimate chord tus be a dominant in root position and the final chord must be & tonie in 100¢ position with the tonie note in the soprano wiee. All ‘other dominant to tonic cadences a calle poe aon cadens ‘THE FUNCTION OF PRIMARY TRIADS “The main function of the primary wads i to establish the key of a piece of tusie. ‘The composer realizes thit goal by judiciously using the tonie, ‘dominant, and slidominant tvads atthe beginning of a composition and by ‘exploiting one ofthe four eadence types the end of phrases. Music in which these two conditions are not reallzed is typically nebulous from a tonal standpoint.‘PuncanymvoswAoorrosmON 444 ' EXERCISES: ‘A. Add parts for ato and tenor. (The student should begin by making a Roman numeral analysis of each progression.) B. Add parts for soprano, alto, and tenor. B & Db: Add parts for alto, tenor, and bass.112 Panay enosm noorPosmON D. Ad pats for ako ad tenor, (The stent eae to dternine the Keyineacc ‘ase before proceeding)PancanrinansivpoorrasmoN — 448 : E, Add part for soprano, alto, and tenor. enor, and bass,114 Prarrtmuos w oor Posmow G. Make x harmonie analysis of the following phrases (ee noteb on page 106).9 Inversions of the Primary Triads A trad is sald to hich the tind ted when a pitch ether than its rot (he piteh on ted) Is nthe bat voice, When the hints ind is in inser = d fe ‘When the hs the bass the tia i fn second iverson,16 I HSIONS OF me Pasay TADS CHORD SYMBOLIZATION: FIGURED BASS Figured bass i a musical shorthand that originated in the sisteenth century. ‘Tose time, x composer, instead of writing a compte score, would provide ‘eyboard player in an ensemble with a bass line underneath whieh various Arabic nutnerals were writen. The numeral (or numeral) under each bass rote indicated to the performer which intervals above the bass were to be played. Untaly the numeral was expressed as a simple interval, although the performer was liberty to pertoren cha interval in ay octave he wished. ‘Bxamine the following example: sleyple realization fof figured asses (a) and () below fully igure a) abeviated (b) “The figures under bas in (a) show al of the intervals chat appear inthe realization, But in practice this would be an extremely cumbersome form of Shorthand, ‘Thus, (bi weiten, fom which the performer may deduce that 1. The absence of any figures indicates rind 09t position 2. G indicates s chord in first Inversion. “This ciord fr commonly selered to asa chord 58. Gindicnten' chore in seeond inversion, ‘This chord is commonly fefered asa § chow Each interval is considered to be diatonic unless altered by placing an accidental in font of the figure. Occasionally, a figure has a diagonal tine through it, which indicates tht the interval is valed bya alfstep. A slated ‘ecient indicate thatthe thin shove the bas is raized or lowered,INVERSIONS OF Me RMAnYMuCS «447118 versionsor me pmuener macs te 1 The introduction ofthe primary triad in is inversion allows notes to ‘be writen on the thir, sisth, and seventh scale degrees, in adition to the frst, fourth, and fifth, Ths, a bassline that i more melodic than ‘vas previously posible can be crested. i, The figured bass and the lurmonic analysis indicate when a tiad ie inverted. «Atleast one ofthe upper voices tends to move in contrary motion to the bass, ‘The exercises that follow are associated! with triads i ot position and fest inversion, “The discusion of triads in second inversion begins om page 12s,InvensioNs OF TE Rawat TAOS «AB EXERCISES: A. Ada pats for slo and tenor B. Add parts for soprano, alto, and tenor.120. AWeRsioNs oF me PRIMARY miAOS Add parts for alto ana tenor:wensowsormepanusnrmucs 424 D._Adt pants for soprano, at, and tenor, 1, Add parts for alto, tenor, and bass, using suitable frst inversions122 snensonsoF me ran macs . Using the given progressions, invent fourmeasuve phrases for soprano, alto, tenor, and bats. The chords should be distributed evenly and logialy, with particule stention tothe thle orgenation af the cadence (se model- 1G: -V-116-V=V-1 (worked below as mode!) 2d PVG Liv6 iV 3A: 8g Vote tv-ive-v64 fe GB ev iievvesversus or mermivanvimecs 428 G._ Make a harmonie analysis ofthe following phrases. Indicate Hrs inversions ‘wih dhe appropriate symbol.IWERSIONS OF Me PRIMARY TADS 426 PRIMARY TRIADS IN SECOND INVERSION Primary triads in second Inversion are used far less frequently han primary {vias in root position and frst inversion, because in second inversion the imerval of the fourth occurs between the bass and an upper voice. This Sinners although technically a consonanee s considered tobe sensitive in this Inversion, and ths, compete feedom in the use of the chor is prohibited. ‘The § chord has three common wes. ‘The Cadentiat § Chord ‘As the til agents, the eadentiat chord occurs at cadence points. say the folowing examples “The bases doubled. by. The chor occurs in a metrically strong poston. «6. The chord root and tied resolve by step,126 swensos oF mie ramsey manos “he Pssng § Chord ‘The passing § cord is wed when the bs ine moves stepie. st commonly separits ih in oot potion fom fst nvr, the came shone 4, The ass i doubled. by The chord occurs oth accented and wnaccented,akhough the later «One of the upper woes proces in contrary mation othe bass The Aus § Chon ‘The soiliny § chord is purely decorative aid curs when the bass i stationary, did |e ‘4 The basis doubled, . The chord is unacented, © The bass note remains stationary during the approach to, and ddepartace fem, the chorwvensons oF mac pnivanymmuios 427 EXERCISES: A. Ada pats for ato and tenor © 6 $ 5 5 4 ‘ 4 1B. Ada pars for soprano, ato, and tenor Bb: 6 Not ‘When the figured bass syinbols indicate the use of a cadential § chord, the igutes3or orf follow ther. ‘These figures are included show thelinermoson of to ofthe upper pats 6 5 #6 ¢ 63 ‘ a128 vcRsons oF rie pram TaKOS G. Ada parts for alto sn tenor: D. Aad parts for soprano, alto, and tenorInvensONs oF He pAIUARY TANS — 428 FB, Add parts for alto, tenor, and bass, (Use first and second inversions.)120 avensons oF mac omnenny mines . Using the given progressions, invent fourmeasure phases for soprano, alto, tenor and bus. Be Pv y-tvt v4 2h ev Hieieitneinwift 8. Te Pev-EVg vl A gh WV EieivinetvIWeRSONSOF ME PANMAAYTaADS A134 G,_ Make a harmonic analysis of the following phrases. Indicate al inversions ‘wth the propriate symbols10 Secondary Triads The superionic, median, subwedian,subtonc, and fading one ivads are the secondary tla ‘Unlike the primary triads, which ae elther major ot minor, dhe secondary lads include major, minor, gmented, and diminished triad, depending on the scale degree and scale type. Refer to page 67 for listing of tris qualities in major and minor keys, The table below shows the usage and principal doublings of the secondary tds. 1394 Nite: ‘a Secondary triads ate not used in second inversion, '. Tn minor keys the minor form of the supertonic tris is not use o0e position an is rarely wed in Firat inversion, ‘Where the root is the principally doubled pitch (ie, in major ane ‘minor wads), doubling procedures are the sume ay those forthe primary wade, 4. The diminished and augmented triads are used in first inversion only. «© Neither the root nor the fifth is doubled in the diiinished or the tngmented ia, Tn both cases the interval between the two pitches is unstable (dissonant), and thus the pitches are xensitive, In particular, the fifth of each triad has & strong tendency toward resolution downward in the ditnnished trad, and upward in the ageted iad, ‘The addition of the secondary tds to the primary trade glves the student the potential to use a different chord on every scale degree. To do 10 indiscriminately, however, would certainly proce onsatsfctory snus, snd yeti often dificult 0 exercise discrimination when such x wide variety of resources exists The following absesvations wil help the stent in this vespeet. CHORD RELATIONSHIPS: Harmonie movement may be considered song, neutal, oF weak, depending ‘upon (1) oot movement and (2) bass movement. For a given harmonic progression, movement in root position (assuming diminished and augunnd vias are not employed) tend tbe stronger than thoee that iyole inversions. Since, however, inversions create melodie interest inthe bass, 8 successful monization is the result of a proper balance between root and bass 1. ‘The strongest harmonic movement occurs when foots are separated by ascending fourths or descending Tithe. Partiewary strong, 8 progression that makes use of consecutive chords in ay prt of the following chord sequence: IV-VICII-VI-U-V-, Movement in the opposite direction, descending fourths or ascendingseconoammaos 138 Shs, also produces strong harmonic motion but tends 0 lead away from, rather than toward, eadence pots The term sogresion Is oten applied wo this bind f motion. A Sequence of revogresive harmonies, Fe commonly followed by movement im ascending fourths to terminate a phrase or peviod. G@itwe wie vy 4 2. Chord third apart progress weakly in a harmonic sense because there ‘are alvays to common tones. They may be used effectively, howeve, inrmaintsining 8 smooth motion in preparation for eadence e iow ey reo!) difers litle between chords in Harmonie strength (or lack sscenling ov descending thirds 5% Chords» second apart lack the harmonie delve of thos a fourth oF fth part, but because no common tones exist, they give & greater ‘impression of harmonic motion than do thoaea third apart.130 4. The deceptive catence, V-vi or V-VI (when the dominant is followed by the submediant in a cadental situation), is said be deceptive ‘eeause the eat, which expects a tonic chord after the dominant s deceive by the sibiediant chord, This cadence is used to prolong musical sci, since the composer mist reach a cadence terminating ‘vith the toni fo conchae the pase susie mn fh AT ow aw 5. “The ending tone wad, ftlowed bythe toni ri, 6-1 said to have "dominant function, and xo the progression below maybe considered ‘weak form of an authentic edence a we bw vim ‘THE SIXTH AND SEVENTH SCALE DEGREES. IN MINOR KEYS {In Chapter 2 the concept of a minor sale consisting of a minor tetrachord and x ehvomatic hecho as introduced. Certain problems in partwriting ily solved by using ths seale as a point of reference than by uying to determine which of the three forms of the traditional minor seale (© employ.” The fact ie that under a wide varlety of elreumstances, a Inarmonization will contain elements of more than one of the forms of the zoe scale—in othr words wil be based upon the sythetie minor see ‘Generally speaking, when the lower note of eltherof the chromatie scale sdogrees (sh and seventh) is employed, ifthe voice which contains that note Inones by step, it il do so downsad Conversely, when the higher note is ‘employed, stepvise motion wl be nansecounanvmans 437 Study the following examples cave: a » a —— ivi6 WV a 1 VG VG Note ‘armonically,c)dtfers ftom b) only in the substitution oF 16 for i, As ‘reault of the altered pitch, however, the subwequent voiceteading fn the Ini voices is quite diferentseeovonavmucs 139 EXERCISES, AL Add parts for alto and tenor, B. Aad parts for soprano alto, and tenor.140 seconoanr nua G. Ada parts for alto and tenor. D. Adel parts for soprano alto, and tenorsrooumnnvrmvos 144 . Using the given progressions, vent fourmeasure phrstes for soprano lo, teooe ad bast. Df bare t46.4v- be fm iv-V-V6-Vi6406-¥ th 2B VOY S66 i6-i-V-vt 1 2 3 Aah EVOLVE W-V-VLa2 seconoanr anos FF. Make complete harmonic analysis ofthe following phrases.The Harmonization 1 1 of Melodies I the last chapter it was emphasized thatthe Sntraduction of secondary triads «reated the potential fora wide variety of harmonie progressions; se real ‘musical problems nisy be encountered, These problems are brought into particularly sharp focus when students are contented with « melody to harmonize; they face what seems toe a bewildering array of posite, ‘onseqquety they have dificult in deciding where to begin, Using the melody below as a model, the author describes method that can be effectively applied to the harmonization of melodies in general ‘Students should follow the steps carefully and should routinely put the steps Jno practic when they begin their own harmonization, 1. Determination of key ‘he possibilities are F major and d minor: ‘The key is F major for at least two reasons: 4, The metody begins and ends on f (although this fact docs not automatically preciude dsinor) + the dominant in F, appears frequently, Ifthe melody were in d, one would expect cf (the leading tone) rather than C8 (the subtonic) to predominate 13a14a THe HanMoMZATON OF MELODIES 2, Analysis of phrase strctre leading to identification of cadences Gaudences, whieh are points of relative repose, serve to terminate phrases (see Chapter 8). Cleavy, the melody comes to rest in two placeson the deted half note ein measure 4, and on the final "The arrival at ct trongly suggests half cadence (conchasion on Vs and one would expect an authentic cadence (VT) (0 concide on the final toni noe ‘This melody, in fet, exhibits two very common characteristics vith expect to phrase structures fa Fach phrase s four measures long. “The frst phrase (antcecent) ens wi a alfcadence; the second phrase (consequent) ends with an ahentic cadence 4 8 Antecedent Consequent en Keep a mental picture ofthis diagram wil be encountered frequently 8, Working backward from cadences, assignation of chords whose {elatiouships represent strong harmonte motion (descending ffs, ascending seconeds)Uhis phase ends When such motion is no Tonger possible. ‘Since the harmonic goa for each phrase is now known, ft makes sense to ty to each the final cadence a clearly as possible. SEA tt onc SH esa BEN, Jowh tte nly Tens a diate ha ory facoding sro Meet ae ot er mony 3 4 3 4 w ev o wy srmonie motion, 1V should be b. To continue to achieve strong ‘or by i (ascending seconds) preceded by I (descending fit ‘Rie latter fits the melody. In fact, ascending seconds may be projected back to ¢ in the second measure before the pattern breaks down, Thins, the solution tothe end of phrase ane I 2 3 4Phoase Tu: Strong authentic cadence: V-L ‘To continue to achieve strong harmonic motion, V should be preceded by if (escending ith, or by TV ascending seconds). In {his case, descending fifths may be effectively projected back to the beginning ofthe seventh measure, and ths, the soliton is He YL 4. Assgnation of chords from the begining of phrases to Hak with horas already sssigned-—avengtvof havinonte movement Te “sical ns pase than eaabmnent of onal “The harmon eas or the phrases cant be effectively realized unles the tonality (ey) in eleur inthe first place. Thus, the hharmonieation of the remaining piches ln the melody should reinforce the hey, inthis ease Fj. Primary tad seve th Purpose very well 2 3 yvouw oi mw wiv 4 In the beginning ofeach pirate, the rte of change of harmony s relay slow compared wih hich he end ofeach phase The thythmie configuration that emeges from these changes of harmony Called the harmon yt. Brenly armani i aster the end of pase thar atthe beginning b. In measure 6, the fist and second notes have Been assigned a subdominant ad tone triad expectivey the third and ounth have been signed x median an! leading tone ti, This harmonization Jn been chosen to exploit the modi pater when te second Par of notes represents transposition, by 2 step down, of the fs Pri. ‘The repetition of pater adie ph level erates wha Ee Known asa sguone‘Atention has been drawn to this melodie sequence by the rnoni sequence tat acompanies149 Me HanwoUzaTON OF MELODIES! 5. Construction of bass line with concentration on melodic interest, sccomplised by appropriate use of inversions. wv og N66 ie vite wovoo4 Several diferent basslines could obviously be written. ‘The previously ‘established progressions to the exdences suggested largely conjunet {by sep) motion inthe First phrase and rather more isnt (by Teap) Inotion in the second, Contry ation between the evo voces Is used woughout. Although atch motion is noc always manageable, i Is Uesirabe because it gives the outer voices melodie independence and tesualyfacitate the partvriting i the inner voices.THE NARMOMZADON OF MELODIES! 447 8. Addition of inner voices to complete harmonization, wovou 1 complete harmonization, an effort has been mad to give the inner voices, aswell asthe outs, an interesting melodic tie, Alou itis not always possible to achieve such a line eg, the ato voice in the second phrase), linear considerations should not be ignored, ‘The combination {oF a logical harmonie progresion an Tui linear activity pial to an effective musical setting.METMnMONeAMOWOrMELODES! — 449, EXERCISES A. Harmonize the folowing onephrase melodies, 1B. Harmonize the following two-phrase melodiesNonchord Tones Passing ‘Tones, Neighboring Tones, Changing Tones, Appoggiaturas, Escape Tones, Anticipations ‘A nonchord fone it tone that docs not belong tothe prevailing harmony. Te ‘nay be distonie (belonging to the key o chromatic (not belonging tothe ey) ‘THE PASSING TONE Te passing tone (P) Is a nonchord tone that is approached by step and resoled by sep in the same direction, A ste is ypicallyan augmented unison, ‘or major or minor second, ‘a The Of and the Eb are chromatic passing tones because they ate not ditonte notes in the key of . , The last example contains two adjacent passing tones. Such a procedure fs common.182 NoNowoRo7oNes ‘THE NEIGHBORING TONE ‘The neighboring tone (N) is a nonchord tone that fs approached by sep and resolted by step in the opponite direction, N Notes 2 Upper neighboring tones ae shove inthe fst ad third examples; a lower nejghboring tone shown nthe econ 1 The Df represents a domi neighboring tn Passing tones and neighboring tones are wausly unaecented but they do ot have tobe. They occur all vice, “The following examples show them both unaceented and accented.NoNcwOROTONES 463184 NowcHonO roves CHANGING TONES Changing tones (CT) are nonchord tones thai occur in pairs and separate @ ‘chord tone from its repetition. ‘The fest is approached By sep; the second i anpvoaced by leap at ese yap, In etch ovens ter change ‘Changing tones may be accented or unaccented and occur in all voces. ‘They are more frequently used, however, in inatramenta than vocal mst, cr \ cr Note: ‘The firat changing tone may be above or below the chord tone that precedes by. A changing tone may be dlatoni or chromatic pte. ‘A pai of changing tones may be regarded as the combination of an upper and lover neighboring one. ‘THE APPOGGIATURA ‘The appoggiatura (Ap) is a nonchord tone that is approached by leap and resolved by step, usually in the opposite diection, ts typically accented ane most frequently occurs nthe soprano (o tp) vole, Ap Ap [Asthesecond example shows, the appogglaturs may be a chromatic pte,NoNeHORD TOMES 488 ‘THE ESCAPE TONE ‘The escape tone (ET) is a nonchord tone that is appronched by step and resolved by lap, usally In the opposite direction. Ils typically tnaccented and mvos requently occurs in the soprano (oF top) voice, er Note: As the frst example shows, the escape tone may be of shorter duration ‘ham the pitch that precedes i. ‘THE ANTICIPATION ‘The anticipation (An) isa nonchord tone that is approached by step or leap, and it becomes a chord tone with a subsequent ehange in harmony, Ie i ‘unaccented and usally occur in the soprano (or tp) vce. yy An an Note: “The anticipation i gene precedes it ‘of shorter duration than the chow tone thatEXERCISES, A188 NoKcHOHD TONES B. Addl parts for avo and tenor, introducing passing tor tones where appropriate and neighboring. G._ Add parts for soprano, alto, and tenor.Nowcwono Tons 168 1D. Harmonize the following melodies, introducing passing tones and neighboring tones where appropriate160 HowconD rons 1. Add pars for alto and tenor. In the space provided, wite an elaborated version introducing changing tones, appogiauras, escape tones ad Antiipations.162 "oNovono roNes Make a complete harmonic analysis ofthe following phrases. Circle and Ihbel all nonchord tones, — ; - lL. PSE SS £Nonchord Tones 1 Suspensions “The suspension ita nonchord tone that the raul of retaining a tone from a previous harmony andl dha exaves downward by sep. His accented ® wi) Note ‘a, A suspension f described by the intervals i an its resolution ‘vith the bass For example, (0) i said to be a 4-8 suspension, ‘9-8 suspension, and s0 om. 'b A suspension may oecur in any voice. IFit occurs inthe bass, however, itis descelbed by the interval that forms a dissonance with it as shown q in 165166 AoHcHoR rou of ©. Bxcept in the eases of the 9-8 and 2-1 suspension, the pit resoltion i not clonbled. 4. The suspended pitch may be tied ta the previous one oF may be sounded again, If sounded again, ifs known as a articulated sapension «The suspension sin swonger positon metrically than i resohution, Aauspension may be written to resole upwards by sep, Suspensions of| this kind ate usually called tadations When working with suspensions, che suident should get weed ¢o thinking in terms of three events: preparation (consonance)-suspension (issonance)-esoltion (consonance) ‘Usually, only two harmonies are involved; the suspension delays the completion ofthe second one. It is possible (though rare), for the resoitlon tw eolnelde with x change of harmony, thus, Br ov 6 Gt ow ov Note: 2. The change in harmony may or ay not involve motion i the bass, nthe second example, the figured bass syubols (7-8) suggest a tea inthe suspensions resolution. ‘The uns figures ave produced by the ascending has Hine; the stspenced b resolves normalywonciono rons 167 EXERCISES [AL Add tothe given voice a second one so thatthe inccated suspensions are created. (Observe that the fist interval in each example fx consonant as 8 result of writing the suspension corey)4168 novovoRD somes 1B, Add parts for ako and tenor, G. Ada parts for soprano, alto, an tenor 643 166 43 9843oNoHoRO TONES 409 D._ Add parts for alto, tenor, and hess, All ied notes should be treated a sspensions a E, Adal parts for alto, tenor, and bass. Use suspensions in the middle parts, ‘where appropriate.4170, WoNcvoH roves FF, Make a complete harmonic analysis ofthe following phrases. Clrele and Tabet all nonehorl tones,Diatonic Seventh 1 4 Chords A seventh chord is constructed by acing to trad pitch that fsa seventh above ts root, “The reslt Is sonoriy (chor) with four pitches stacked jn thirds, The ‘quality ofthe seventh varies with the eale degree upon which itis bull, a8 foe # Ed = ee oo om om Um Om yA = —f§—f = ee ee | The diagram shows the seventh chords in the major and harmon minor scales, Notice that under the Roman numerals, the quslites ofthe seventh chords are described. Te first symbol shows the quslity of the triad, and the second symbol shows the quality af the interval ofthe seventh, m172 burrow seven croRoS ev FIGURED BASS SYMBOLS FOR SEVENTH CHORDS: ‘The example below shows a seventh chord in root postion and in its three For each one, the complete figured bass is given, and the most ‘commonly wsed abbreviation. Seventh chords in ro0t postion and in inversion are figured bass symbols For example, seventh chard in Fist inversion i asetive chore.” scribed by their led ‘THE SEVENTH CHORD IN FOUR-PART WRITING ‘The seventh inthe seventh chord is neatly always treated in one of two ways 1. resolves dounard by step, This ists most natural revolution and the one most frequently encountered, 2 Te remains as a common tone. Such a resolution is referred to as passive Study the following example carefully:purosic sevewmcvonos 473 ad lsd ddd a Cn Note: ‘a. The seventh is never doubled tis a senie pitch, 'b, Occasionally the ith is omsted from the seventh chord, asin 4. By doings, parallel ith are prevented, «. In some examples (see 2, 4, and 7), the seventh is "prepared" and treated in a manner similar a Suspension. This is a common, procedure in parcwsting the chord. 4. The seventh chord usually resolves by a root movement of a descending fith. With the exception of vil, thle the chores ‘most natural resolution, and the one most frequently encountered, {The seventh chord is used freely in all inversions ‘THE FUNCTION OF DIATONIC SEVENTH CHORDS Because seventh chords are dissonant sonoxitles, they should be used sparingly. ‘They have two important functions: 1. ‘To ald intensity to harmonic motion, particularly at cadence points. 2. Tocreatehatmonic coor.