H A R MON Y :

[ TS TH E O R Y AN D PR A C TI C E .

EB EN EZ ER PR O U T B A L o n d , . . .

P f
ro e ssor o f H armony an d C om o si ti on at
p th e R oyal A cade my of M usi c, 69 °
C.

FIFTH EDI TI OZV .

LO N DO N

A U G EN ER CO .

[EN T ER ED AT S TA e
'
N R Rs
'
H A LL J
C O PY R I G H T FO R A LL C O UN T R m s J [Ru mr s
-
OF T R A NS LATI ON S R ED
RE E V .
 W
UN T IST IN G A L L TH E C H A IN S TH A T TIE

TH E H DD
I EN SO U L OF H A RM O N Y
.

M IL TON ,
 P R E FA C E .

SO l arg e a n umb e r of wo rk s o n H armo n y alre ady e xists th at th e

“

pub l icatio n of a n e w tre at i s e o n th e subj e ct s e e ms to cal l for

e xpl an at i o n if n o t for apo l ogy
, Th e pr e s e n t vo l um e is th e out
.

’
c om e of m an y y e ars e xp e ri e n c e i n t e achi n g th e th e ory of music ,

a n d th e author hop e s th at it co n t ai n s sufii ci e n t n ov e lty both i n

‘

p l an an d i n m att e r to pl e ad a j ustificatio n for its app e aran c e .

Most i n t e l l ig e n t stud e n ts of h armo n y h av e at tim e s b e e n p e r

l e x e d by th e ir i n ability to r e co n ci l e p ass ag e s th e y h av e fou n d i n
p
t h e works of th e gr e at m ast e rs with th e rul e s giv e n i n th e t e xt
books If th e y ask th e h e lp of th e ir t e ach e r i n th e ir di ffi culty
.
,

th e y are prob ably to l d “

B ach is wro n g or
,
“ ”
B e e thov e n is
,
” “
wro n g or at b e st This is a lice n c e
, , ,
”
N o doubt e xampl e s of
.

v e ry fre e p art writi n g m ay b e fou n d i n th e works of B ach an d

-

B e e thov e n or e v e n of H ayd n an d Mo z art ; s e ve ral such are

,

n ot e d an d e xpl ai n e d i n th e pr e s e n t work But th e pri n cip l e must

.

sure ly b e wro n g which pl ac e s th e rul e s of an e arly stage of musical

d e v e l opm e n t above th e i n spiratio n s of g e n ius " H ayd n wh e n ,
'

a sk e d accordi n g to wh at rul e h e h ad i n troduc e d a c e rtai n h ar mo n y ,

r e p l i e d th at th e rul e s w e re all his v e ry ob e di e n t humbl e s e rvan ts ;

“ ”

a n d wh e n w e fi n d th at i n our o wn tim e Wag n e r or Brahms or , ,

D vo rak bre aks som e ru l e give n i n old te xt books th e re is to say

'
-

th e l e ast a v e ry stro n g pr e sumptio n n o t th at th e compos e r is

, ,

wro n g but th at th e rul e n e e ds modifyi n g

,
In oth e r words .
,

practic e must pr e c e d e th e o ry Th e i n spire d c ompos e r go e s

.

first an d i n ve n ts n e w e ffe cts ; it is th e busi n e ss of th e th e orist

,

n o t to c avil at e v e ry n ov e lty but to follow mod e stly b e hi n d an d

, ,

m ak e his ru l e s co n form to th e practic e of th e m ast e r It is a .

sign ifican t fact th at e v e n i n th e most re c e n t d e ve l opm e n ts of th e

,

-
art n othi n g h as ye t b e e n writt e n by any compos e r of e mi n e n c e
,

which a sou n d th e ore tic al syst e m c an n ot s atisfactorily accou n t for ;

an d th e obj e ctio n s m ad e by musici an s of th e old school to th e

n ov e l h armo n ic progre ssio n s of Wag n e r are littl e more th an

r e p e titio n s of th e s e ve r e criticisms which i n th e e arly ye ars of th e
r e s e n t c e n tury w e r e l au n ch e d at th e work s of B e e thov e n
p .
iv PR EFA CE .

It is from this poi n t of vi e w th at th e pre s e n t volum e h as b e e n

'

writt e n Th e rul e s h e re i n giv e n though i n n o d e gr e e i n co n sist e n t

.
,

with th e th e ore tical syst e m e xpou n d e d are fou n d e d n o t upo n , ,

th at n o r o n an y oth e r abstract syst e m but upo n th e actu al

, ,

practic e of th e gr e at m ast e rs so th at e v e n thos e musici an s wh o

’
m ay di f fe r most wid e ly from th e author s th e or e tical vi e ws m ay
still b e dispos e d to admit th e forc e of practical rul e s support e d by
th e authority of B ach B e e thov e n Or S chum an n , , .

Th e syst e m of th e ory propou n d e d i n th e pr e s e n t volum e is

fou n d e d upo n th e dictum of H e lmholtz quot e d i n Ch apt e r I I , .

of this work th at th e syst e m of S c al e s Mod e s an d

“
, ,

H armo n ic Tissu e s do e s n o t r e st sol e ly upo n u n alt erabl e n atural

l aws but is at l e ast p artly also th e r e sult of ae sth e tical pri n cipl e s
, ,

which h av e al r e ady ch an ge d an d will still furth e r ch an g e with th e

,
”
progre ssive d e v e lopm e n t of hum an ity Whil e th e r e for e th e .
, ,

author follows Day an d O use l e y i n t aki n g th e h armo n ic s e ri e s as

th e b asis of his c alcul atio n s h e cl aims th e right to m ak e his o w n

,

s e l e ctio n o n ae sth e tic grou n ds from th e s e h arm o n ics an d to use

, , ,

o n ly such of th e m as app e ar n e e dful to e xpl ai n th e practice of th e

gr e at m ast e rs D ay s d e rivatio n of th e chords i n a k e y from th e
.
’

to n ic domi n an t an d sup e rto n ic is adh e r e d to but i n oth e r r e sp e cts

, , ,

his syst e m is e xt e n siv e ly modifi e d its pur e ly physical b as i s b e i n g ,

e n tire ly ab an do n e d I t will b e s e e n i n Ch apt e r I I

.
44 ) th at by .

r e j e cti n g altog e th e r th e e l e v e n th an d thirt e e n th n ot e s of th e h ar

mo n ic s e ri e s an d t aki n g i n th e ir pl ace oth e r n ot e s produc e d amo n g
,

th e s e co n d ary h armo n ics th e chi e f obj e ctio n m ad e by th e oppo

'

n e n ts of all sci e n tific d e rivatio n of h armo n y — th at two of th e most

import an t n ot e s of th e scal e th e fourth an d th e sixth are much , ,

out of tu n e —h as b e e n fully m e t In th e v e x e d qu e stio n of th e .

min or to n ic chord H e lmholt z is followe d to a co n sid e rabl e e xt e n t

,
’
but O use l e y s e xpl an atio n of th e h armo n ic origi n of th e mi n or
third is adopt e d .

Truth is m an y sid e d an d n o writ e r o n h armo n y is j ustifi e d i n

s ayi n g th at his vi e ws are th e o n ly corre ct o n e s an d th at all oth e rs ,

are wro n g N o such claim is m ade for th e syst e m h e re i n se t forth

.

but it is hop e d th at it will at l e ast b e fou n d to b e i n t e lligibl e ,

p e rfe ctly co n sist e n t with its e lf an d su ffici e n tly compr e h e n sive to

,

e xpl ai n th e progr e ssio n s of th e advan c e d mod e r n school of com

pos e rs .

It h as b e e n thought d e sirabl e to s e p ar at e as far as possibl e th e

practical from th e th e or e tical portio n s of this w o rk Th e l att e r f

are th e re for e pri n t e d i n sm alle r typ e ; an d it will b e fou n d

 PR EFA CE .

a dvis abl e for b e gi n n e rs who m ay t ak e up th i s w o rk without an y

,
’

pre vious k n owl e dge of th e subj e ct to omit at l e ast Chapt e rs II an d , .

I I I d e ali n g with th e H armo n ic S e ri e s an d K e y or To n ality u n til

.
, ,

som e co n sid e rabl e progre ss h as b e e n m ad e i n th e practical p art of

th e vo l um e Th e e x act poi n t at which th e stud e n t will do we l l to
.

r e turn to th e omitt e d portio n s will d e p e n d upo n his progr e ss an d

his g e n e ral i n t e l l ige n c e an d must b e l e ft to th e discr e tio n of th e
,

t e ach e r .

In th e practical p art of th e work an att e mpt h as b e e n m ad e to

simp l ify an d to codify th e l aws With a vi e w of e ffe cti n g th e s e .

obj e cts m an y rul e s n o w obsol e te an d co n trav e n e d by th e d ai l y

, ,

practic e of mod e rn writ e rs h av e b e e n altoge th e r omitt e d an d

, ,

oth e rs h ave b e e n gre atly modifi e d ; whil e th e l aws affe cti n g th e

chords e sp e cially th e high e r discords — th e n i n ths e l e v e n ths an d
, , ,

thirt e e n —
ths h av e b e e n cl assifi e d an d it is hop e d m at e ri ally sim, , ,

p l i fied . I t is of th e utmost importan ce th at stud e n ts who wish to

m ast e r th e subj e ct should proce e d st e adily an d d e lib e rat e l y For .

e x ampl e a prop e r u n d e rst an di n g of th e chords of th e e l e v e n th wi l l

,

b e impossib l e u n til th e stud e n t is quit e famili ar with th e chords of

th e n i n th which i n th e ir tur n must b e pr e c e d e d by th e chords of
,

th e s e v e n th Th e l e arn e r s motto must b e O n e thi n g at a tim e

’
.
, ,
”
an d th at do n e thoroughly .

In pre p ari n g th e e x e rcis e s a sp e ci al e n d e avour h as b e e n m ad e

to r e n d e r th e m i n t e r e st in g as far as possibl e from a musical poi n t
, ,

of vi e w With this obj e ct th e y are with a fe w e xc e ptio n s writt e n

.
, ,

i n th e form of short music al s e n t e n c e s mostly i n four b ar rhythm ,

-

il l ustrati n g th e various forms of c ad e n c e To stimulat e th e pupi l s .

’

im agi n atio n an d to e n courage att e mpts at compositio n m an y

, ,

e x e rcis e s are i n th e form of doub l e ch an ts or hym n tu n e s E ach .

b ass can of cours e b e h armon is e d i n s e v e ral di ffe r e n t positio n s

, ,

an d th e stud e n t s i n g e n uity will b e us e fu ll y e x e rc i s e d i n tryi n g to

’

writ e as m e lodious an upp e r p art as possib l e for th e s e littl e pie c e s .

N ot th e l e ast i n te re sti n g an d valu able fe ature of th e vo l um e

will it is b e l i e v e d b e fou n d i n th e i l lustrativ e e xampl e s co n sid e r
, , ,

ably mor e th an 3 0 0 i n n umb e r Th e s e h av e b e e n s e l e ct e d chi e fly

.
,

though n o t e xclusive ly from th e works of th e gre at e st m ast e rs

, ,

from B ach an d H an d e l dow n to th e pre s e n t day E arli e r e x ampl e s .

are n o t giv e n b e c aus e mod e rn h armo n y m ay b e s aid to b e g i n with

,

B ach an d H an d e l Whil e it h as b e e n impossibl e without e xc e e d

.

i n g r e aso n abl e l imits to i ll ustrat e a l l th e poi n ts m e n tio n e d it is ,

hop e d th at at l e ast n o rul e of importan c e h as b e e n give n without

quoti n g som e re cog n is e d author i n its support It m ay at all .
v1 PR EFA CE .

e v e n ts b e positiv e ly s aid th at h ad wan t of sp ace n o t pr e ve n t e d

,

th e ir quot atio n e xampl e s might h av e b e e n fou n d to illustrat e

,

e v e ry rul e l aid dow n i n th e volum e .

It was origi n al l y i n t e n d e d to h av e i n clu d e d i n th e pre s e n t work

ch apt e rs o n C ad e n c e s an d o n H arrn o n i sin g M e lodi e s Th e
,
.

volum e h as how e v e r e xt e n d ed to so much l arg e r dim e n sio n s th an

, ,

was at first co n t e mpl at e d th at th e s e ch apt e rs which b e lo n g rath e r

, ,

to pract i cal compositio n th an to h armo n y i n its strict s e n s e h ave ,

b e e n r e luct an tly omitt e d I t is i n t e n d e d to fo l low th e pr e s e n t

.

work by a tr e atis e o n Compositio n i n w hich th e s e an d similar ,

subj e cts will b e mor e appropri at e ly d e alt with .

Th e author d e sir e s to a ck n owl e dg e th e v alu abl e assistan c e h e

has r e c e iv e d i n th e pre p aratio n of his work first an d fore most from ,

his so n L ouis B Prout to whom h e is i n d e bt e d for a v e ry larg e

,
.
,

n umb e r of th e illustr ativ e e x ampl e s an d who h as also writt e n ,

m an y of th e e x e rcis e s Valu abl e aid ha s also b e e n r e ce iv e d from

.

th e l at e R e v S ir Fr e d e rick O use l e y with whom d ow n to th e tim e of

.
, ,

his l am e n t e d d e ath th e author was i n fre q u e n t corr e spo n d e n c e o n

,

th e subj e ct of this work To his fri e n d D r Ch arl e s W Pe arc e

.
,
. .
,

also th e author must e xpr e ss his th an ks for much g e n e rous i n t e r e st

,

an d m an y mo s t us e ful sugg e stio n s as w e ll as for his ki n d assist an c e

,

in r e visi n g th e proof sh e e ts of th e volum e

-
.

It would b e u n r e aso n abl e to e xp e ct th at th e pre s e n t work

will m e e t with u n iv e rs al approval ; but it m ay at l e ast cl aim to
app e al to t e ach e rs an d stud e n ts as an ho n e st a tt e mpt to simplify

th e study of h armo n y an d to bri n g it dow n to d at e

,
.

L O N DO N , j m e,
z 1 8 89 .
 TA B L E O F C O N T EN TS .

UV B . .
—T/ ze n u m bers re
fi r in e ve ry zn sfa n e e
‘

to Me se ct io n s, n ot to { b e pag es .
)

C H A P TER I —I D . N TRO UC TIO N

p g 13 a e

A m o t
un f k owl dg r o d — A m e i c l e o d — M l ly
e su d I us s un 2
h m o y d fi d 3 —I t rv l d fi d 4 —S m i to
o n se
p pp a e oc an
—
5 Di to i c
, ,

d
c h rom ti c m i to 6—A —
ar n e ne n e a e ne e ne , a n an
To — c l — d i to i c c l
, ,

S 8 Th
— 7
—
a se n e s, ne , a e s, e a n s a e

g N t r f h O ct
a u e v oTh c h ro m t et i c c l N m a e, f h Io e a s a e, II a es o t e
,

d— gr — f h d i to i—
e ee s o c cl t —
4 Co o
e a c d Di —o c d fi d
n s a e, 1 2 1 n s n an e an ss n an e e ne

5 7 Di cord S H ow i t rv l r cko d g Co m p o d i
-

1 1 s s, I n e a s are e ne I un h
—Di ff r t k i d f i t rv l — P rf ct m j or m i or
,

t le rva s, 20 e en n s o n e a s, 21 e e a n

gm t d d d im i i h d i t rv l — 5—I v r i o f i t rv l 6
au en e an n s e n e a s, 22 2 n e s n o
,

n e
,

a s, 2
,

— Co o t d o t t rv l — P r f ct d i m p r f ct
, ,

7 2 d i
n s n an i 8 an ss n an n e a s. 2 e e an e e co n
o c —
s n an —
9 Th c i ti fic d i t i ct i o b tw co o c d d i
e s, 2 e s en s n n e een n s n an e an s
o c 3 T bl fi t rv l 3
s n an e, o a e o n e a s, 1 .

C H AP TER II —T E H M SE E
. H AR p g 24 O N IC RI S a e

Th t r f H r m o i c — P i tc h d fi d —
3 5 Th H r mo ic
ti o f i t rv l 3 8—Com po d to — 4
3 3 34
e na u e o a n s, e ne e a n

S ri ro C 3 3 7 R — —
, ,

fe m es 6 a s o n e a s, un n e s, 0
S co d ry h r m o i c l ct io m d from th 43 Wh t
, ,

e n a 4 A a n s, I se e n a e e se , a

d ci d e ch o ic 44—Whi ch p ri m ry h rm o i c
e s o ur e
—
d
—
f c h ord a a n s a re use or s,
— C lc l t o r t o two t rv l C lc l t o
,

i
’

45 i f d i fi u af i f 4 7 4 9 i a ua
—
a n o e re n ce o a o n e a s, n

f co d ry h r m o i c 5 r o c d ”
o se n a5 T h a h m i ni i s, 5 0, x e en a n e s s, 2.

C H AP TER III —K E T L . Y, OR O N A ITY

D fi i t i o fK y 54 5
— 6 — D v lo m t f k f ro m i to i c 5 7 — A C h ord ts
—
e n
e n n o e p y e e en o
— jor co o c ord t l c ord
, , ,

8 T h m m m h 6 T h f d m h f h un o t e
v th 6 —Ch ord f h i th 6 63 —Ch o d f h— l v th d
5 e 59
a n , , o e a en a

se en I s o t e n n 2, r s o t e e e en an

th i rt th 64—Th com pl t f d m t l to i c ch ord 66 Th do—

e en
,

e mi
e e t un
,

a en a n e n an

f d m t l ch ord 6 7 68 —Th rto c d t l c ord

,

W
,

un i f m h 6 9 h y e su e un a en a

d 7 —Th m t ri l — f h k y f C 7
n
a en a p
bdo m i t i , , ,

h t e su n an s n o t use o e a e a s o t e e o 1

Di to i c d c h ro m t i c ot i h —k y 7 Th ch rom ti c c l , ,

a n an a n es n t e e 2 e a s a e,

73 — Th d i to i c c
e l f C m a jor 74 n A l l h tr i d
s a e o d r i v d fro m h a
,

t e a s e e t e

t h r f d—m t l c h ord 7 5 7 6 —— Th W h ol k y d v lo p d fro m h

,

ee un a en a s, e e e e e e t e
to —c 7 7 O th r k y t C 7 —7 9
i n h 8 T tre c h ord e 8 — sK y w ith h r p
an
,

e a s, 0 e s s a s,

8 8 3 —K y w i t h fl t 84 8 5 Th r l t i o h i p f k y to ch oth r
, , ,

I e s a s, e e a ns o e s ea e ,
,
vi i i C ON TE ATS ’
.

C H AP TER IV .
—TH E G EN ERA L LA W S OF P A RT -
W R ITIN G p ag e 42

D fi i ti o
f P oa p rt 8 8 —
a rtR l —Progrf m lod i c p rogr io
e ssi n o f a s, u es o e e ss n,
H rm o ic p rogr i o i mi l r obl i q
e n n o

89 9 — 2 a n d co tr ry m ot i o e ss n ; s a ue , an n a n,
— Fo r rt r o y vo c — l rt
-

93 p h m u; m f ha i 94 a R f
n p na es o t e e s, u es o a

wr—i t i g 95 — Co c t v o oct v Co c t i v fi ft h
-

n i i d 9 96 8
n se
— u e un s n s an a e s, n se u e s,
H dd oct v fi t Co c t v o rt
-

— — —
,

99 i 1 01 d f h 5 en i f a es h 6 an s, 1 02 10 n se u e u s, 10
Co c ti v co d v —th d i th 7 8 —Progr i o fro m
n se u e se n s , se en s, an n n s, 10 -
10 e ss n

a co d to
se i on g F i v r co m m d t i o a un s n , to p rt wri ti g lo e e en a ns as a -
n
—1 1 6
,

1 10 .

C H AP TER V .
—T HE DIATO N Ic TRIADS O F TH E M AJO R K EY
SEQU EN C ES p ag e 5 2

Diat on i c c ro t c ot
an d —
h m a i n e s i n a k e y, 1 1 7 Th e i a n i s a e , I IS A d to c c l —
c ord
h —r d
: i ts root, co o
1 19 T ia s an d mm n h s, Izo Ma an d c ord — jor
m in o r k j or —or c ord
M an d m i n h s : th e i m i n i sh e i d d—tr d
— o bl g
e y s 1 2 2 a a 1 2 3
ot Co — vo c Clo
.
, ,

D u in o n f 1 2 4 m pass o f th e i e s, 1 2 5 an d
—
e s, se
t d d o to
e x en e p s i i b t o to
n, 1 26 T h e es p s i i n o f h s 1 2 7 1 2 8 — Th e c ord
root o it o c ord — t ot do bl d
, ,
“
p s i n
”
o f a h 1 2 9 W h a n e s m ay b e u e ; 1 30
Progr o l d g ot — o ot
,

i f th i n 1 3 2 I 33 O m issi n o f a n e o f a
—
e ss n o e e a n e

c ord c ord r root — o to do bl d

, ,

E f h i i
'

h 1 34 fi t n t h i i 1 35 A u e
rt — q c
e c o s e p s n

q c
e ue n e , 1 3 7 —T n a1 se ue n e , I 3 S—R e a
o l q c
, ,

a , 1 36 S se ue n e , 1 3 9
p
rr g l rogr —
I e u ar p o j t fi d by q c
e ssi n s us i e se ue n e , 1 40 — a m n i si n a se H r —o g
q u e n ce , 1 4 1,ort cor
1 42 o S h s e an d p en s e, 1 4 3 A h e xe i se cor rc
work d 44 47 e ,
1 -
1 .

C H AP TER V I —T . H E IN V ERSIO N S O F TH E TR IADS O F A MAJO R KEY pag e 65

In v r i o f cho d —d fi d S —Th fi t i v r io —
e s n o a f tri d 5
r e ne I O e rs n e s n o a a 1 1
F i g r d b 5 F ig ri g—f fir t i v r i o 5 3 A ri f fir t
, ,

u e ass, 1 2 u 1
—
n o a s n e s n, se es o s

i v r io
n h w tr t d
e s 5 6 W
n s, hi c h ot to do bl
o
5 7 Th co
ea ed 1 n e u e, 1 e se n

i v r io tr i d 5 8—Th fo rth wi t h h b d i o c 59
,

n f e s n o a a 1 e u t e a ss a ss n an e, 1
E m pl co d i r i o 63 — R l ro c g
,

xa f es 6 o f se
pp h i n n ve s n s, 1 0 1 u es or a a n a

co d i v r io 64—R l f l vi g co d i v r i o 65—Wh i ch
-

se n n e s n, 1 u es or ea n a se n n e s n, 1
ot to do bl i
n e co d i v r i o 66
u e n a se n n e s n, 1 .

C H AP TER V IL—T E M K 1 g 74
H IN O R EY 54 ?

Diffic lty f c i t i fic
u l t
o i o f h s m i or k en6 8 — For m f h t 1 t e
6 9 7 —Si g t r
p ex an a
f h m i or k y 7 —R l t i v k y
n o e n e s o
y
m i or c l
,

— —
n s a e 1 1 1 na u e o t e n e 1 2 s,
—
e a e e
-

E h rm o i o c jor or k y
, ,

73 1
74 T i nm d
a m i 75
n e s, Th 1 l
—
n a an n e s, e
h rm o ic b i
a f h m i or k y
n
7 6 Th d ri v t i o
as s f i t d i to i
o t e n e 1 e e a n o s n c
tri d 7 7 , a
a s, 1 .
 C ON TEN TS . ix

C H AP TER V III .
—TH E DIATO N Ic T R IA DS OF A M IN O R K EY AN D

TH EIR IN V ER S IO N S
p ag e 7 9

Th e tri d f m i or—k y 8 8 —Th d iff r t ch r ct r f m jor d

a s o a n e 1 0, 1 1 e e en a a e o a
m i or k y Th d im i i h d tr i d p rto i c f h m i or
, an
n 8 e h
s, 1 2 e n s e a on t e su e n o t
k y 8 3 —Th
e
g m t d tr i d h m d i t 8 4 8 5 —Em p loy m t
n
e 1 e au en e a on t e e an 1 1 en
f m jor ch ord bdo m i t d p—rto i c 86 —Progr io
, , ,

o a h s on t e su n an an su e n 1 e ss n
b twe h dom i —t d b m d i t 8 7 Fi r t i v r io i h
een t e n an an su e an 1 s
,

n e s ns n t e
m i or k y 8 9 A fir t i v r i o m i or v t w
,

88 h 1 h h 1 t
d 9 —S co d i v i o 9 9 —Th Ti rc d Pi c rd i
n e , , s n e s n on e n se en , en
use 1 0
“ ”
, e n n e rs n s, 1 1 , 1 2 e e e e a e,
I 9S, 1 94 0

CH APTER IX —T E C D D . S H p g 87 HO R O F TH E O M IN A N T EV EN TH a e

M t l ff ct fto i c
en a e e d do m i ot h rm o y 95
—
n C f
an h d i f
f r c n an a n 1 ause o t e e en e
— f d m t l d i cord
, .

“ ”
f l d mi
’
9 6
1 Th / e c zora / o l io o n an t s e ve n t z, a un a en a s
— r ol t o 99 R ol t i o to i c ch ord
,

971 I i 98
ts — es hu n, 1 1 es u n on t e n 20 1
O r m t l r ol t i o R ol t i o b m d i t c h ord
, ,

na en a h
es u 3n, 2 02 es u n on t e su e an 20
R ol t i o bdo t c h ord —
4 F i r t i v r io
-

es h u mi n on t e f h su n an 20 s n e s n o t e
c h ord f h v t h 5— 8 —S co d i v r i o 9 —Thi rd i v r
-

o t e se en 20 20 e n n e s n , 20 21 2 n e
io 5 Ch g po i tio f c h ord f h v th 6
—
-

s 3 n, 21 i h 21 an es n t e s n o o t e se en 21

E c p t i o l r ol t i o — o f h i m port c f h c h ord f
-

x e 7 R
na es u n s, 2 1 e as n o t e an e o t e o
h do m i
t e t v th 9 n an se en , 21 .

CHAP TER X —K R L —M L . L EY E A T IO N SH IP O DU ATIO N To N EA R Y

L D K —F L R L
R E A TE p g 1 01
EY S A SE E A TIO N a e

M od l t i o
u a —Wh t co t i t t K y R l t i o h i p — 4—U r l t d 222 2 2
k y 5 —Th m o t rly r l t d k y 6 8 —H ow—to ff ct
n, 2 20 a ns u es e e a ns ,
n e a e

e s, 22 e s nea e a e e s, 22 22 e e a
m od l t i o 9 Im m d i t
— d gr d l m od l t i o M od l t i o
-

ua n, 223 e a e an a ua ua n, 2 I ua n
fro m m jor k y to h a
p rto i c m i or
a 3
—M od l t i o fro me m i or t e su e n n 2 2 ua n n

k y 3 3 —E m p l f m od l t i o 3 5—4 —W h i ch m od l t i o
,

e s, 2 xa es o u a n, 2 2 2 ua ns are
g r lly p r f r bl 43—F l R l tio 44
ene a e e a e, 2 a se e a n, 2 .

C H APTER XL —AUX ILIA RY N O TES, P A SSIN G N O TES, AN D AN

T IC IPAT IO N S p ag e 1 1 2

d fi d 46—H ow t k d l ft 47 Wh to
A ux i li a ry n o te s e — ne d 2 a en an e 2 en a ne an
w m to fro m h h r o y ot 4 Ch rom —
— tic il i ry
, ,

hen i m 8 t 2 aux

ot 49—A —i l i ry ot i m or th
a se ne e a n n e, a a

p rt
ux 5 E m pl 2 0
r f rr d to 5 A i l i ry ot q—i tt d by l p f th ird—C h— gi g
n e s, 2 a n es n e an one a ,
xa es

e e e 2 2 ux a n es u e ea o a an n

not 5 3 5 4—P i g
e s, 2 5 5 D
,

i tto i2 h m i or k y 5 6 T a ss n n o te s, 2 n t e n e 2 wo
cc i v p i g ot 5 7—P i g ot q i tt d by — l p 58
, ,

su u 2
C h rom t i c p i g ot 5 9 —E m p l r f rr d to 6 A —i l i ry
e ss e as s n n e s, 2 a ss n n es e ea ,

a ass n n e s, 2 xa es e e e 2 0 ux a

ot c ot m k f l r l tio 6 —A i p ti
,

n es an n 63
a 64 E
e a se e a n, 2 1 nl a a on 2 2 x

tr t t l ry ot
, ,

cep i l t ona m f i i 6 5 ea en o aux a n e s, 2 .

C H AP TER X II —TH E . C H RO M A T I C SC A E L —C H RO M ATIC TR IADS
IN A K EY p g e 1 21
a

Th e C h ro m t i c Sc l 66—H ow bt i d—from h m jor c l 6 7 —Th

a a e, 2 O a ne t e a s a e, 2 e
tr for m f h ch ro m t i c c l —68— Co v i t ot t i o 69—D
ue o t e a s a e, 2 n en en n a n, 2 e
fi i in f c h ro m t i c c h ord
t on o 7 7 4 C h ro m t i c tr i d i a h m i or s, 2 2 2 a a s n t e n
k y e Th / d / mi e d e zo r75 I — fir t i v r io
on h t ze n or se co n 2 ts s n e s n, t e
N p ol i t i th — co d v r o 7 7 I h rm o i c d
—
.
,
“ ”
ea 7 6 I an i s xi 2 ts se n n e s n, 2 ts
—
a n e

7 9 Tr t m t
,

i i
r vat o n 7 8 Tb / m i / M p i al o c zo ra
’
s u erto n c,

8 —
2 e c zro on e 2 ea en
f h t h i rd f t h i c h ord 8 —E m p l r io f
,

t 8 Th i 2 0, 2 1 e s, 2 2 n ve s

t h i ch ord 84—E m pl f h ch ord 8 5—I h rm o i c d riv t i o

o e o s , xa e ns o
2 t 2 ts
8 6—T/
s xa es o e a n e a n,
8 7 8 9— Ch ro m t i c tri d
, ,

2 i m j M " i
1e ton mi k y c a or ore n a n or e 2 2 a a s
m jor k y — bl c ro t c r d — M od l t i o by
-

i n a 9a 9 T f he m i t i2 9 0, 2 1 a e o a a s, 2 2 ua n
f c h ro m t i c c h o d
,

m e an s o 93 a r s, 2 .

C H AP TER X III —T . HE F U N DAM EN TA LC H O RDS O F TH E S EV EN T H

O N TH E S U PERTO N IC AN D TO N IC p ag e 1 34

Th e sup e rto i c d to—i c v th both ch rom t i c ch ord 94—Ta p

n an n se en s a s, 2 e su er

ton i / 95 H ow d i t i g i h d fro m
c s e ve n t z, do mi t 2v t h 96 s n u s e a n an se en 2
i v r io — o bl g v t 99 Progr
— io
,

I ts n 9 8
e s D i f h n s,h 2 f h u n o t e se en 2 e ss n o t e

c h ord 3 — Ch g f p o i t i o 3 —Th m i m jor d m i o

,

00 an e o s n, 01 e sa e n a an n r
k y 3 E m pl 3 3—3 6—T/ i d w i th
-

/ 3 7 —Wh y
,

e s, 02 xa e s, 0 0 ze ton e se ve n t z, 0 us e
m jor t h i rd i m i or k y 3 8 —Progr io f h t h i rd d v th 3 t e
—I r olv
a n n e 0 e ss n o an se en 10
oth r d i cord 3 —E m pl 3 — — —
3 3 7 M od l t i o
, ,

t es es on an e s 1 1 xa e s, 1 1 u a n
by ch ord f h p rto i c d to i c v th —3 8 G r l l — w f
,

s o t e su e n an n se en 1 e ne a a s or

h tr t m t f l l c h ord f h v t h 3 9 R ol t io 3 Pro
,

t e t 1 u 20
—
ea en o a s o e se en es n,

t rd Progr i o f h v th 3
,

g i f
re ss o n o h h i 3 t e , 21 e ss n o t e se en ,
22 .

C H APTER X IV —C . H O R DS OF TH E N IN TH —EN H A R M O N IC M O DU
a e 1 47
L A T IO N
p g
Th e ch ord f h i th 3 4—VVh i h ot o m itt d 3 5——Wh i ch ch ord t
s o t e n n 2 c n e e 2 s no
d i m i or k y 3 6—Fig ri g f h c h ord 3 7 I v r i o 3 8
, ,

use n n e s, 2 u n o t e 2 n e s n s, 2
H ow to d i t i g i h i v r i o f ch ord f h i th fro m c— h ord
,

s n us f h n e s ns o s o t e n n s o t e
se v th 33 —H ow to fi d h g r tor f ch ord —3 3 R ol ti o
en 0 7 n t e en e a o a 1 es u n
ch ord f th i t h i g r tor 3 3 338 R ol ti o
, ,

f ts o wn 2 u
oth r g r tor— 33—9 34 —F l ot ti o f h m i or —i t h 34
o a o e n n on ene a ,
-
es ns on
e ene a s, 0 a se n a n o t e n n n 1
E mpl Ch ord f h d i m i i h d v th—3 54 H ow d
, ,

xa
34 3 5 e s, 2 2 o t e n s e se en use
i m od l t i o 3 5 5 — E h r m o i c c h g f ot t io 35 6 1 5 / m i m
,

n u a n, n a n an e o n a n, n zar on e o

d l i 8
u a t on ,
35 3— 6 — A ly i fp g fro m B ch C h ro m t i c F t i ’ ”

—
0 na s so as sa e a s a a n as a ,

3 6 3 6
1, T h L d i g S v
2 t h 3 5 C h ord
6 — f h ei th with o t
“
ea n e en
”
s o t e n n u
g r tor or t hird 3 66 3 68—S m m ry f r l f tr t m t f ch ord f
,

e ne a u a o u es or ea en o o
i t h 3 6 9—
-

h
t e n 37
n , 1 .

C H AP TER X V —C D EL . HO R s O F TH E EV EN TH

Th c h ord f h
e l v o t h 3 7 —VV h i h ot
t e m o tly o m i tt d 3 7 5 —F i g r i g
e e en 2 c n es s e u n
— ol t o — F r t v r o —
3 7 9 S co d i v r i o
, , ,

37 6 R i 37 7es i iu i n,
38 s n e s n, e n n e s n, 0
Th i rd i v r i o C h ord f h A dd d Si t h 8 — Fo rt h i v r io t
”
u
—
n e s n, 1
3 o e e x n e s n,
8 — F i t i v r o S mm ry f r l f tr t m t fdo m i t ,

l v t h 38 7 3 88 —
3 5 f h i 3 8 6 n e s n, u u es
to i c l v t h 3 9 —39 —Th p rto i c
a o or ea en o n an
e e en Th e n e e en 0 2 e su e n
l v th 393 395
, , ,

e e en ,
-
 C ON TEN TS .
1: i
C H AP TER XV I C D E T E .
-

p g 1 73
HOR S O F TH H IR TE N TH a e

Th m jor
e
d m i or t h i rt
a t h an
3 9 6 — W hi ch v i l bl n i m i or k y e en s, un a a a
— or c ord
e n a
—
n

3 99 Th t h i rt t co o c
e ,
8
T

39 I m f m f h \u h e ro us h t e
r tor 4 ——R ol tio f h c h ord 4 —Tr t m t f
s o e een
W it h h g
, a ns n an e
t e ene a 00 es u n o t e 02
h t h i rt th 4 4 4—5 Th i v r io 4 7 —H to r cog i ch ord
, , ea en o
t e een 0 0 e n e s n s, 0 ow
f h t h irt th 4 8 C l— i / / g G r tor
, , e n se s
’
o t e een 0 w tt t e n e ra to r re se n t
p to ras ze

t h i rd d t hi rt t h 4 F l ot t i o fm i or t hi rt t h wh d
, e ne a ,
an een 10 a se n a n o n
G r tor t h ird fi fth d th irt th 4 7 G r tor:
, , een , e n use
e ne a an een 1
t h ird v th — d th irt h 8 G r tor i th l v t h d
, , , , e ne a
se en an e ent 41 ene a n n
t h irt t h 4 3 C /
, , ,
, , e e en , an

f i
’
l /
'

een i / 2 h g 4 4
zo ra s o t le t zzrte e n t z w t zo n t t e e n e ra to r, 2
( 5 ) Th i rd m i or i t h d t h i rt th 4 5 Th i rd fi ft h i th
,

n n n d an een 2 n n
t hi rt t h 4 8 F ifth v th i th d t h irt th 4 9 Th i rd
, , , , , , an
ee n 2 se en n n an e en 2
fi ft h v t h i th d t h irt th 4 3 F ifth i t h l v th d
, , , , , ,

se en n n an een 0 n n e e en
t h i rt th 43 S v th i th l v t d t h i rt t
, , , , , , , an
een h 1 h 43 e en n n e e en an een 2
N i th l v th d t h irt th 435 —U d form f h ch ord 436
, , , , ,

n e e en an een n use o t e
Th c h ord i i co m p l t for m 4 3 7 U f h c h ord i m od l t i o
, , , ,

e n ts e e se o t e n ua
— l —
n,
S m m ry f tr t m t f h c h ord 44 44 5
-

43 8 E m p 43 9 44 xa e s, -
1 u a o ea en o t e , 2 -

C H AP TER XV II —T E C A M E S p g 1 97
. H H O R D O F TH E UG EN T D IXTH a e

Th ch ord f h A g m t d Si t h m d fro m h d o m i t t d rto

u i c t su e
v t h 448 —Il m i d—r i v tio f h c h ord 45 —
e o e en e x a e e n an an
p n
se en s, 45
— Th c h ord-

ar on c e a n o t e 0 2 e
i lw y ch rom t i c 4 53 I r ol t i o 454—O w h ich d gr f
s a a s a ts es u n,
,

u e ees o
c l d 4 5 5—Th I l i— Si / 4 5 7—I r ol—t io 45 8 —I
,

h t e s a e us e e ta an x t t, ts es u n s, ts
i v r io 459 E m pl
— I r ol t i o
,

46 Th F / Si / 46 x t z, ts
‘

n e s n s, xa e s, 0 e re n e z 1 es u n s,

4 6 — I i v r
2 i o 6
4 3
— E m p lts — n—
4 4 4 7 Th G m
6 6 e S i / 46 8
s n s, xa e s, e er an x t z,

I i v r io
ts 6
4 9
— E nm p l 4 7
e s4 7 5 — R r r for
n s.m f h c h ord f xa e s, 0 a e s o t e o

gm t d i t h 4 76—M od l ti o by m f t h i c h ord 47 7 48 4
-

th e au en e s x ,
u a n e an s o s ,
-

C H APTER XV IIIE—
TH E So C LLED “
D D p g 21 4 -
A IATO N Ic ISC O R DS a e

Th erlyea f d i cord use4 86 — All o t i l d i cord s b d w i th o t s, e sse n a s s can e use u

r
p p r t ieo 8
4 7
a a — D i t i ct i o b
n, tw h root d h g r tor f s n n e een t e an t e ene a o a

ch ord 488—D fi i i fd i to i c d i cord 489—Di to — e ic

n v th th i r
t on o a n s s, a n se en s e

d r i v t io 49 —Th old r l f t h i r tr t m t 49— E m pl 493

,

e a n, 0 e u e or e ea en 2 xa e s,
— r g rd r l by old t r od r r ct c , ,

494 D i f h s e m
a 4 95 4 96
o M p t i e ue as e s , e n a e
— G r l r c l — to c t
, ,

4 97 p i i p 49
ene a 8 D i i i h 499 n e s, a n n n s, .

C H A P TER X IX —S E . p g
USP N SIO N S a e

D fi it io f —Diff r c b tw i o d d i to i c e e n sus
—
ens n s an a n
e n n o a p e en e e

di cord 5 s — W h i c h ots, b 02 p d d 5 4 R l f p r p r n e s can e sus en e 0 u es or e a a

ti o f o — Po t o o
,

i 5 5 i i
sus i h b
ens f p i
n, 5 6 0 s n n t e ar o a sus ens n, 0
n
p o a
gth f i p r p r ti o 5 7—V h i m y b —o d d w i th h ot
.

V
L en o ts e a a n, 0 en t a e s un e t e n e

fi o r ol ti o S S—I corr ct p rogr io 5 9— A lw y r olv d

ts es u n, O n e e ss n s, 0 a s es e on

h tm c h ord 5
— Pr ct i c l l i m i t t i o 5 F i g r i g 105 3 5 6 a n s, 1 1 u n 1 1
o r olv g
a a
-

e sa
— —
e
r t l r ol t o — l
, ,

O m i 5 9 E m p 5 5 4 S pu i i 1 xa e s, 21 2 us e n s ns es n

o
na en a es n s,

p w rd
u 5 5 53 a — D o bl
s, p 2 i o 5 33 5 34 S p
2 i f m u e s us e ns n s,
-
us e n s ns o co

p i t c h ord
-

e e 5 35 s, .
 C ON TEN TS .

C H APTER XX —P E L . DA S p g 23 7 a e

A P d l d fi d 5 3 6 Wh c
e a e — nei h ot d P d l 5 3 T— 8 — r tm t f n e s are use as e a s, ea en o

h h rm o y w h h P d l i ot f h ch ord 5 4 E m pl
,

t e s not a n t e
—
t e a n en e a e o 0 xa es

f do m i —
t p d l 54 — o c p d l 54 v rt d p d l 5 43 P d l
—
,

o n an T i e I a s, 1 n e a 2 n e e e a s, e a

bov d b low 544 P d l i m iddl vo i— c 54 5 G r lly d

,

a e an e e a n a e e, ene a en s
w it h c h ord f wh i ch h p d l i p rt 5 46 M— od l t i o p d l
-

a o t e e a s a a u a n on a e a
— d l ot do bl d l
, ,

5 7
—5 5 O m 0m i f p 5 5 Th e n tat o n
p o a e a n e, 1 e u e e a
—
4 a

A c rio p d l 5 53
,

55 2 u us e a , .

C HAPTER XXI —H M F EW E D M E AR ONY F IN R AN OR TH A N O UR

P A RTS p g 2 45 a e

H r m o y wh olly i fo r p rt r r 5 54 —
a n n Th r
u p rt h r m o y
a s
555 a e, ee a a n

C h r ct ri t i c ot to b r t i d — — B rok c ord —
5 5 7 Po i t i o
-

a a e s n 55 6
es h e e a ne en s, s n
f c h ord i t h r rt r o y c d c —
5 5 9 Th m ot i o
,

h m 55 8 T h f
— —
o s p n ee a a n e a en e, e n o
r t rt l Tw p rt h r m o y 5 6
-

ht e p se pa a e 5 6 E m pa 5 6 s, 0 xa e s, 1 o a a n 2
E m pl r f rr d to 5 63—E m pl gi v 5 64 5 6 7—H r m o y i
-

xa es e e e xa es e n, a n n
m or t h fo r p rt G r t r fr do m f p rt wr i t i g llo d
-

e an
5 6 8 —u a s, ea e ee o a n a we
F v rt r o y rt r o y — v rt
-

— —
,

5 6 9 i h m 5 7 Si h m 5 7 S oh 2
m o y 5 7 4—Ei gh t p rt h r m o y 5 7 5 —Co cl i o
p e a a n a a n
p p x e en a ar
- - -

, ,

n ,
-
a a n , n us n,
 HARMO NY:
I TS TH EOR Y A N D PR A C TI C E .

C H A PT E R I .

IN TR O D UC TIO N .

1 .A c e rt ai n amou n t of e l e m e n t ary k n owl e dge of mus i c will

b e n e c e ss ary to th e stud e n t b e for e b e gi n n i n g th e study of th e
pre s e n t work It will b e assum e d th at h e is ac qu ai n t e d with th e
.

n am e s of th e n ot e s th e m e an i n gs of th e various music al s ig n s
‘

( a ccid e n t als t
,
h e r e l ativ e tim e v a lu e s of n ot e s of di ffe re n t
l e n gths an d s uch oth e r m att e rs as are tre at e d of i n ordi n ary t e xt
,

books o n th e El e m e n ts of Music .

2 .A musical sou n d is produce d by th e p e riodic vibratio n of

th e ai r th at is to say its motio n at a u n iform r at e
, , Wh e n th e .

ai r movi n g at a u n iform rat e com e s i n co n t act with th e n e rv e s of

h e ari n g th e r e is produc e d provid e d th e motio n is suffici e n tly

, ,

rapid wh at is cal l e d a musical sou n d or n ot e Th e p i te/z of

, , .

a sou n d ( th at is its b e i n g wh at is c al l e d a b ig/ z or a l o w n ot e

, )
d e p e n ds upo n th e rapidity of th e vibratio n This wi l l b e s e e n
,

l at e r ( se e Ch apt e r I I all th at is n e e d e d n o w is th at th e
.
,

stud e n t sh all u n d e rst an d wh at is m e an t wh e n we sp e ak of a

musical sou n d .

If sou n d s of di f fe r e n t pitch are h e a rd o e a ft r oth r w

3 . n e an e e ,

g e t wh at is c all e d M EL O D Y ; if sou n ds of di f fe r e n t pitch a re h e ard

toge th e r w e ge t H A R M O N Y It is th e l aws of h armo n y th at we
,
.

Sh all e xp l ai n i n this book but it will b e s e e n as we proc e e d th at

th e qu e stio n of m e lody is oft e n so clos e ly co n n e ct e d wi th th at of
h armo n y th at it is impossibl e to tr e at of o n e without also p ayi n g
,

som e att e n tio n to th e oth e r .

4 .If two di f
fe r e n t n ot e s a re sou n d e d e ith e r i n s ucc e ssio n or
,

toge th e r it is cl e ar th at o n e of th e two must b e th e high e r an d

, ,

th e oth e r th e low e r Th e di f fe re n c e i n pitch b e twe e n two sou n ds

.

is calle d th e In terva l b e twe e n th e m ; This di ffe re n c e m ay b e so

sm all as to b e h ardly r e cog n is abl e by th e e ar ; or it m ay b e as
gr e at as b e tw e e n th e lowe st an d high e st n ot e s i n a larg e organ ,

or an ythi n g b e tw e e n th e two An i n fi n it e n umb e r of i n t e rval s is .

possibl e ; but i n music w e m ak e a s e l e ctio n th e n atur e of which ,

wi l l b e e xp l ai n e d l at e r For th e pre s e n t we are m e r e l y d e fi n in g

.

th e m e an i n g of th e wor d I n te rv al .
x4 H A R M ON Y Lch ap 1 . .

*
5 sm all e st i n t e rval us e d i n music is c all e d a SEM ITO N E
. Th e .

We m ay d e fin e a S e mito n e as th e distan ce be tw ee n a ny on e n ote , ,

th e to i t, a b o ve o r i n strume n t w h i ch
be l ow ,
’
an a n e are st n o te y on an

h as on ly tw e l ve soun ds in th e octa ve For e x amp e , o n th e pian o ,

. l
th e r st n ot e to C is
nea e l “
B o n th e o n e sid e ( b e ow) , an d C 1) o n
th e oth e r sid e ( abov e ) . From B to C, an d from C to C l; are
th e r e for e both s e mito n e s S l fi . imilarly from F Il to Ffi, an d from F
to G Wi ll b e s e mito n e s but from G to A wi l l n o t b e a s e mito n e
for A is n o t th e n e ar e st n ot e to G ; G # ( or A b ) com e s b e twe e n ,

th e m
6 If th e s e mito n e s o n e ach si d e of C b e comp ar e d
.

. ,

it will b e s e e n th at th e re is a diffe r e n c e b e twe e n th e m C an d B .

are o n two di f fe r e n t pl ac e s of th e st af f; o n e is o n a li n e an d th e
oth e r o n a Sp ac e ; but C an d C 11: are both o n th e s am e pl ac e i n
th e sta ff ; but th e l att e r n ot e h as an accid e n t al b e for e it A .

s e mito n e of which th e two n ot e s are o n di ffe re n t d e gre e s of th e

“ ”
staff is c al l e d a di a ton i c s e mito n e th e word di ato n ic m e an s
“ ”
through th e to n e s or d e gr e e s of th e scal e A s e co n d m e an i n g
,
.

which is attach e d to th e word will b e e xpl ai n e d lat e r

Wh e n th e two n ot e s of th e s e mito n e are o n th e s am e d e gre e of th e
st aff an d o n e of th e two is alt e re d by an accid e n tal
,
C to C it)
th e s e mito n e is c all e d ch ro m ati c a word l i t e rall y m e an i n g ,
“
This use of th e word wil l b e furth e r e xp l ai n e d l at e r
”
coloure d . .

7 As t
.h e word se m i to n e m e an s h alf to n e it is e vid e n t th a t two ,

s e mito n e s toge th e r will m ak e a ton e Thus i n th e e xampl e give n .

in 6 as we fi n d a s e mito n e from B to C an d an oth e r s e mito n e

, ,

from C to C it th e whol e i n t e rval from B to C l}: is a to n e But as

,
.

a to n e is always compos e d of two n ot e s o n adj ac e n t d e gr e e s of th e

staff o n e b e i n g always o n a li n e an d th e oth e r o n th e n e xt sp ac e ,

, ,

abov e or b e low it is n e c e ss ary th at of th e tw o se m i ton es o n e m ust

’

,
’
be a i a ton i c a n a on e ch ro m a ti c ] For if w e t ak e two di ato n ic s e mi
’ L

to n e s o n e above th e r e sulti n g i n t e rv al
will b e from B which is n o t a to n e
as th e two n ot e s o n th e n e xt d e gr e e s of
th e scal e to o n e an oth e r An d if we t ak e two chrom atic s e m i to n e s
.
,

it is e qu al l y cl e ar th at th e y w i l l n o t m ak e a to n e
for n o w th e r e sulti n g n ot e s C l? an d C l?are both
o n th e s am e d e gre e of th e staf f .

In th i t t m t i tri ctly cc r t h h rm o i c not s u a e, t e

om tim d i m o d l ti o For or d i y p p o h ow v r
o ne se n se s s a e en s a as en a n
di i es s 5 ) i 2 s s e e s use n ua n. na r ur se s ,
t t m t i h t t i corr ct
e e ,

h
t e s a e en n t e ex s e
I Th two m i to m p mg o f ctly h m i I t ne are n o t o t e sa t
l t r 5 ) th t d i to i c m i to i l rg r h ch rom t i c
‘ ‘
e se n e s co os a e xa
will b
e s ze
e se e n 0 a ah a se t an a n e It e r
m i to i t h r for ctly h lf h to b
a e n ne s a e a
h d if
f r c i f p r ct c t e ut as t e i al

c i h rm o y h t d t d r g r d i I i o ly m ti o d h r
se ne s e e e e xa a ne s o no
i m p ort
e en e a
an e n a n t e s u en ne e not t t s
k f cc cy , e a . n en ne e e
for h
t e sa e o a ura .
Ch ap . 1 ] I TS TH EO R Y AN D PR A C TICE .
I5

A S CA L E is a succe ssio n of n ot e s arran ge d accordi n g to

8 .

som e re gular p l an M an y di ffe r e n t ki n ds of scal e s h av e b e e n

.

us e d at various tim e s an d i n diffe r e n t p arts of th e wor l d i n

mod e rn Europ e an music o n ly two are e mp l oy e d which are call e d ,

th e ai a ton i c a n d th e ch ro m a ti c scal e
’
.

”
9 Th e word
. di ato n ic h as b e e n alre ady e xpl ai n e d i n 6 as
“ ”
m e an i n g through th e d e gre e s A diato n ic scal e is a succ e ss i o n .

of n ot e s i n which th e r e is o n e n ot e n e ith e r mor e n o r l e ss o n e ach

—
, ,

d gr of
e e e th e staff th at is to say o n e ach li n e an d sp ac e Th e ,

way i n which th e scal e s are co n struct e d wi l l b e e xp l ai n e d l at e r

.

( se e Ch apt e r I I I
) at pr e s e n t w e simp l.y giv e th e forms of th e m .

Th e re are two vari e ti e s of th e di ato n ic scal e k n own as major ( or ,

gr e at e r) an d mi n or ( or l e ss ) scal e from th e n atur e of th e i n t e rval

b e twe e n th e first an d third n ot e s of th e scal e .

M AJO R S C A E L .

M IN O R SC A L E .

O th e r
forms of th e mi n or scal e fre qu e n tly to b e m e t with will
b e e xplai n e d l at e r It will b e s e e n th at e ach of th e s e scal e s co n
.

t ai n s o n ly s e v e n diffe re n t n ot e s This is b e caus e th e e ighth n ot e ,

“
or octave ( L a ti n octavu s e ighth ) is a r e p e titio n of th e first
,
”
,

n ot e at a di f fe r e n t pitch an d from this n ot e th e s e ri e s t e

c omm e n c e s
—Th c i t ific r o
.

10 oct v r m bl ch oth r m ch m or
e s en e as n why a es e se e ea e so u e
clo ly th two ot ot t rv l t t r two ot
.

se
y h ani i h
n h pp f
e s at an er n e a s a t e u e o n e s at a
d i t c f oct v fro m
s an e o oth r i h fir t pp r p rti l to
an a e 36)
o n e an e s t e s
“
u e a a ne

f h low r d th t ll i h rm o i c l o h rm o i c f h low r ot ;
-

o t e e an a a ts a n s are a s a n s o t e e n e
t h r for h co m p o d to ( Ch p t r II 4 ) f h h igh r ot
,

e e e t e un ne a e 0 o t e e n e
co t i o d w h i ch i l o i h co m po d to f h low r
, .
,

n a ns no ne w s un s n ot a s n t e un ne o t e e

n ot Th h igh r ot i m r ly h r i forc m t f c rt i pp r p rti l f

e. e e n
,

e s e e t e e n e en o e a n u e a a s o

h low r ot t hi i h c w i th two ot ot r t rv l
-

t e b e n e ut y h is s n ot t e ase n e s a t an e n e a

th h oct v
an or fco r h do bl oct v &
t e a e, , o u se , t e u e a e , c.

A h m ti sc l is
II . sc l co sisti g
c ro a tir l y of
c a e a a e n n en e

s mito s
e d it is c ll d chrom tic b c us som of its ot s
ne ,
an a e a e a e e n e

r quir ccid t ls ( fl ts or sh rps ) b for th m

e e a en a a a e e e

AS will b e e xpl ai n e d l at e r th e chrom atic scal e is fre qu e n tly ,

writt e n i n a di ffe re n t w ay from th at h e r e give n ; but howe v e r ,

writt e n it e qu all y co n sists of s e mito n e s

,
.
l 6 H A R M ON Y ( Ch ap . I.

1 2 di ffe r e n t d e gr e e s of th e diato n ic scal e

. Th e 9) ar e
k n ow n by di ffe r e n t n am e s with which it is n e c e ss ary th at th e ,

stud e n t shou l d b e p e rfe ct l y fami l iar as th e y are of co n st an t occur ,

r e n c e Th e first n ot e of th e scal e is c al l e d th e T O N IC or K EY
.
,

N O TE This is th e n ot e which giv e s its n am e to th e scal e an d

.

key Th e sc al e s i n § 9 for i n st an c e are th e scal e s of C m aj or

.
, ,

an d C mi n or an d it wi l l b e s e e n th at th e y both b e gi n with th e
,
“
n ot e C Th e t e rm to n ic is u s e d i n h armo n y much mor e
.

“ ”
fr e qu e n tly th an k e y n ot e Th e most importan t n ot e i n a k e y
-
.

aft e r th e to n ic is th e fifth n ot e of th e sc al e For this r e aso n it is .

ca ll e d th e D O M IN AN T or ru l i n g n ot e of th e k e y Th e fourth n ot e
,
.

of th e scal e li e s at th e s am e d i st an c e be l ow th e to n ic th at th e fifth
n ot e l i e s a bo ve it This will b e s e e n at o n c e by b e gi n n i n g at th e
.

top of th e scal e an d d e sc e n di n g This fourth n ot e is th e r e for e .

c al l e d th e SUB DO M IN AN T or low e r domi n an t We h av e n o w got , .

appropri at e n am e s for thr e e of th e chi e f n ot e s i n th e k e y .

1 3 About midway b e tw e e n to n ic an d domi n an t li e s th e third

.

n ot e of th e sc a l e We sh all se e pr e s e n tly th at i n th e m aj or scal e

.

it is rath e r n e ar e r to th e domi n an t an d i n th e mi n or rath e r n e ar e r ,

to th e to n ic ; but roughly sp e aki n g it is i n th e middl e b e twe e n

, ,

th e two It is th e r e fore c al l e d th e M EDIAN T th at is th e midd l e

’

.
, ,

n ot e Th e s ixth d e gr e e of th e s c al e li e s midway b e twe e n th e

.

to n i c an d subdomi n an t j ust as th e third li e s b e twe e n to n ic an d

,

domi n an t We th e r e for e c all this sixth n ot e th e SUB M EDIAN T or

.
,

low e r m e di an t S om e writ e rs o n h armo n y c all this n ot e th e

.

“
S up e rdomi n an t or n ot e abov e th e domi n an t ; but th e n am e
,

S ubm e dian t is much mor e usu al an d i n e ve ry way pre fe rabl e , .

Th e s e co n d n ot e of th e scal e is c all e d th e SU PER TO N IC .

,

i e th e n ot e abov e th e to n ic an d th e s e v e n th n ot e of th e sc al e
. .
, ,

wh i ch it wi l l b e s e e n l at e r h as a v e ry stro n g t e n d e n cy to l e ad up,

or ris e to th e to n ic is o n th at accou n t cal l e d th e L EA DIN G N O TE

, ,

It is som e tim e s though r are ly c al l e d th e S ubto n ic from its

, ,
‘
,
’

positio n as th e n e xt n ot e b e low th e to n ic .

1 4 H avi n g shown th e origi n an d m e an i n g of th e s e d i ffe re n t

.

n am e s w e wi ll n o w t abul at e th e m
,
.

F i r t D gr
s e e e o f th e S cl a e o c ( K y ot )
T ni e n e

S co d rto i c
-
.

e n Supe n
Thi rd M di t
.

e an

Fo r h S bdo m i t
.

u t u n an

Fif h Dom i t
.

t n an

Si t h S b m d i t ( S p rdo m i
.

x u e an u e n an t)
S v th L d i g N ot ( S bto i c )
.

e en ea n e u n .

B e fore proc e e di n g to tre at of th e n am e s an d cl assificatio n

I5 .

of I n t e rv al s it wi l l b e n e e dful to d e fi n e an d e xpl ai n two t e rms

,

which w e sh all v e ry fr e qu e n tly h av e to use i n sp e aki n g of th e m .

Th e s e are th e t e rms C O N SO N AN C E an d D ISSO N AN C E .

1 6 A co n so n an t i n t e rval or C O N SO N AN C E is a combi n atio n of

.
, ,

two sou n ds which by its e lf produc e s a more or l e ss compl e t e an d

,
,
C ha p L] I TS TH EOR Y AN D PR A C TICE
7
.
.
1

s atisfactory e ffe ct i e which do e s n o t n e ce ss arily re quir e to b e

,
. .
,

fo ll owe d by som e oth e r combi n atio n For e x amp l e if th e stud e n t .

w i ll strike o n th e pi an o an y of th e fo l lowi n g p ai rs of n ote s p ausi n g

,

,
b e twe e n e ach ,

he wi l l fi n d th at e ach is mor e or l e ss s atisfactory A co n so n an t .

c hord is a chord of which all th e n ot e s m ak e co n so n an t i n t e rval s

with o n e an oth e r .

L e t th e stud e n t pl ay e ach of th e s e chords s e p arat e ly o n th e p ian o

th e y are n o t i n t e n d e d to b e co n n e ct e d — an d h e wi ll fi n d th at
e ach by its e lf produc e s a s atisfactory e ffe ct Wh e n h e h as l e arn e d .

l at e r i n this ch apt e r which are th e co n so n an t i n t e rvals h e wi ll se e

,

, ,

th at n o oth e rs h ave b e e n us e d i n th e s e chords .

1 7 A d i sso n an t i n t e rval or D ISSO N AN C E is a combi n at i o n of

.
, ,

two n o te s which by its e l f produc e s an impre ss i o n of i n compl e t e

n e ss so th at th e mi n d urg e n t l y fe e ls th e n e e d of som e thi n g e l s e to
,

fo ll ow L e t th e stud e n t stri ke o n th e pian o th e followi n g p airs

.

of n ot e s p ausi n g as b e for e aft e r e ach

, , ,
.

Eve ryo n e wi ll fe e l th e i n comp l e t e e ffe ct of th e s e combi n at i o n s

an d th a t th e y r e quir e to b e fo ll ow e d by som e th i n g e l s e
,

to b e
s at i sfactory L e t us try . We w i ll put aft e r e ach of th e s e d isso n
.

a n ce s a co n so n an c e an d it w i ll b e at o n c e fe l t th at th e comp l e t e
,

n e ss which was b e for e wan ti n g h as n o w b e e n obt ai n e d .

Th eco n so n an c e which fo ll ows th e d i sso n an c e is c all e d th e

R ESO LU TIO N of th e d i sso n an c e Th e l aws accord i n g to wh i ch .

d i sso n an c e s are re solve d wi ll b e l e ar n e d l at e r .

1 8 A d i sso n an t chord or D ISC O R D is a chord which co n

.
*
, ,

t ai n s at l e ast o n e disso n an c e amo n g th e i n t e rv al s m ad e b e twe e n

th e various n ot e s L i k e a d i sso n an t i n t e rval a d i sso n an t chord
.
,

Th e t e rm
"
Di s cord ”
is l o om t m s e i es ap p li d
e me r ly to
e th e di o t
ss n an

ot i t l
a s
n e se f .

B
1 8 H A R M ON Y . [Ch ap . 1 .

h as by its e lf an i n compl e t e e ffe ct Le t th e s tud e n t pl ay . th e

followi n g disso n an t chords an d h e will fe e l this ,
.

N ow b e fore with th e disso n an t i n t e rv als l e t us put aft e r

,
as ,

e ach chord a co n so n an t chord for its r e solut i o n Th e s at i sfactory .

e ffe ct is fe l t at o n c e In g e n e ral it m ay b e s aid th at co n so n an c e

.
,

is a positio n of r e st an d disso n an c e a positio n of u n re st , .

19 I n t e rvals are always r e cko n e d upwards u n l e ss th e co n trary

.

b e e xpr e ssly st at e d Thus th e third of C al ways m e an s th e

“
.

third abov e C ; if th e third b e low is i n t e n d e d it must b e so ,

d e scrib e d Th e n umb e r of an i n t e rval is al ways comput e d accord

.

i n g to th e n umb e r of d e gr e e s of th e scal e th at it co n t ai n s i n cludi n g ,

both th e n ot e s formi n g th e i n t e rv al Thus from C to E is c all e d .

se it co n t ai n s thr e e d e gr e e s of th e scal e C D E
.

a th i rcl b e c au , , , , .

B e gi n n e rs are ap t to ge t co n fus e d o n this poi n t an d to thi n k of D ,

as th e fi rst n ot e abov e C an d E as th e s e co n d But th e n ot e C

’

.
,
.

is its el f cou n t e d as th e first n ot e of th e i n t e rval S imi l arly from

,

.
,

G to D is a fifth from F to D a sixth an d so o n i n al l oth e r, ,

cas e s Th e s am e r e cko n i n g but i n th e r e ve rs e dire ctio n app l i e s

.
, ,

to th e i n t e rvals b e low Thus A is th e third b e low C D is th e .

,

fourth b e low G 81 0 L e t th e stud e n t e x ami n e th e m aj or scal e of

,
.

C i n 9 an d h e will fi n d withi n th e comp ass of th e oct av e th e re

,

give n two 7 ths thr e e 6 ths four 5 ths fi ve 4 ths six 3 rds an d
, , , , ,

s e v e n 2 n ds It wi l l b e a us e ful e x e rcis e for him to d i scov e r

.

th e m for hims e lf .

A n i n t e rval l arg e r th an an oct ave is c all e d a co mp oun a

’
20 .

i n t e rval . Thus th e i n t e rval is compou n d e d of th e

oct ave C to C an d th e third C to E ( Th e oct ave i s

, , ,
.

pri n t e d h e re as a sm all n ot e ) O bviously i n additio n to th e .

,

third at th e top th e i n t e rval co n tai n s th e s e v e n n ot e s of th e

,

lowe r oct av e from C to B Th e upp e r C is al re ady cou n t e d as p art .

o f th e third Thus th e n umb e r of a compou n d i n t e rv al is alway s

.

mor th th t of th simpl i n t e rval to which th e oct av e i s

7 e a n a e e

add e d Th e r e fore
.
,
Ch a p. L] I TS TH EOR Y AN D PR A C T1 C E .
1 9

A Com p o d un 2n d

3 rd
4 th
5 1h
6 th
7 th

We v e r sp e ak of a compou n d oct av e
ne S “
uch an i n t e rval .

wou l d b e c all e d a doubl e oct av e

“
Exc e pt i n g th e 9th 1 1 th an d .
”

1 3 th with which w e sh a l l pr e s e n t l y m ak e clos e r acqu ai n t an c e al l

, ,

compou n d i n t e rval s are for purpos e s of harmo n y id e n tical with

,

, ,

th e simpl e i n t e rv al s to which th e y corr e spo n d Th e re is n o .

di ffe re n c e i n th e tr e atm e n t of a 3 rd an d a ro th a sth an d a 1 2 th , ,

or a 1 4 th an d a 7 th We th e re fore n e v e r use th e n am e s of th e s e
.
, ,

compou n d i n t e rvals i n h armo n y .

21 If th e stud e n t wi l l e xami n e th e i n t e rvals co n t ai n e d amo n g

.

th e n ot e s of th e di ato n ic sc al e ( as w e r e comm e n d e d i n he
will se e th at thos e which hav e th e s am e n am e are n o t al ways of th e
s am e si z e From C to E for i n st an ce is a third an d so is from D
.
, , ,

to F but th e form e r co n t ai n s two to n e s ( C to D an d D to E) an d ,

th e l att e r o n ly o n e to n e ( D to E ) an d a s e mito n e ( E to F ) S imilarly .

th e fourth from C to F is sm al l e r th an th e fourth from F to B an d ,

th e sixth from C to A is l arg e r th an th e sixth from E to C A n d if .

w e put acc i d e n t als b e for e som e of th e n ot e s w e sh all ge t stil l ,

furth e r diffe re n c e s It is cl e ar th e re for e th at th e g e n e ral

.
, ,

d e scriptio n of an i n t e rv al as a s e co n d third fourth & c is n o t , , ,

.
,

su ffi ci e n t l y pr e cis e to show its e x act n atur e In ord e r to obtai n .

gr e at e r accuracy i n t e rvals are d e scrib e d by o n e or oth e r of th e

,

followi n g adj e ctive s z—p e eyfect m ajor mi n or a ug m e n tea an d , , ,

’
,

d i m i n i sh e d T h e s e t e rms w e sh all n o w e xp l ai n
. .

22 As a b asis for our cl assificatio n w e t ak e th e m aj or scal e

.
, ,

an d first r e cko n all th e i n t e rv al s upwards from th e t o n ic th at is , ,

t aki n g th e to n ic i n e ach c as e as th e lowe r n ot e of th e i n t e rval I t .

is e vid e n t th at w e sh all obtai n i n succ e ssio n a z ud a 3 rd a 4 th , , ,

a 5 th a 6 th a 7 th an d an oct av e
, ,
To th e s e m ay b e add e d th e
,
.

u n i so n which though n o t strictly sp e aki n g an i n t e rval is r e cko n e d

, , ,

as such O f th e s e i n t e rv al s th e u n iso n 4 th sth an d 8 th are

.
, , , , ,

t e rm e d p e rfect an d th e 2 n d 3 rd 6 th an d 7 th major
, , , ,
.

4
3
1
W
B
w
e
d
e
5
9 W N 4
9
1
p 1
'
'
l f
3 3 3
3 O o o 9 9
3
1
J
z
I.
£ m 0
1
3
1

m
n u a t S s
u p p t I
1
°
q q
°
s ‘

o
u
°

Th e r e aso n why som e of th e s e i n t e rvals are cal l e d p e rfe ct an d ,

oth e rs m aj or wi l l b e e xp l ai n e d pre s e n t l y
,
Th e compou n d
 O H A R M ON Y : [Ch ap . 1 .

i n t e rvals h av e th e s am e pre fix e s as th e simpl e o n e s thus C to Db]

wi l l b e a m ajor n i n th C to F a p e rfe ct r 1 th an d s o o n
, , .

23 An i n t e rval which is a chrom atic s e mito n e l e ss th an a

.

m aj or is c al le d a mi n or i n t e rval A m aj or i n t e rval can b e ch an g e d

,
.

i n to a mi n or e ith e r by r aisi n g th e low e r n ot e a s e m i to n e by an

,

accid e n t al or low e ri n g th e upp e r o n e al so by an acc i d e n t al

, , .

Thus from C to E is a m aj or third If w e rais e th e lowe r n ot e .

to Gill th e i n t e rval C itto E is a mi n or third O r if w e l e av e th e

,
.

C al o n e an d low e r th e E to EP w e al so ge t a mi n or third from C

, ,

to ED But if w e al t e r e ith e r n ot e a di aton i c s e mito n e w e ch an g e

.
,

th e n am e of th e n ot e an d th e r e fore of th e i n t e rv al
,
Thus C to .
,

E b e i n g a m ajor 3 rd if w e rais e C to Di? i n st e ad of to C it th e

.

, ,

i n te rval from Di? to E is n o lo n g e r a thi rd at all but a s e co n d of , ,

a ki n d which w e sh al l e xpl ai n dire ctly S imilarly if we lowe r E to .

Di?i n st e ad of E7 C to D3: is a s e co n d ; for th e two n ot e s are

,

o n adj ac e n t d e gr e e s of th e st aff .

24 . An
i n t e rval which is a chrom atic s e mito n e l arge r th an a
p e rfe ct or a m aj or i n t e rval is c al l e d a ug me n te d H e r e w e r e ve rs e .

th e proc e ss of m aki n g th e mi n or i n t e rv al s an d w e e ith e r r ai s e th e ,

upp e r n ot e or lowe r th e low e r n ot e by m e an s of an accid e n t al

, , .

Thus C to F b e i n g a p e rfe ct 4 th C to Fit; or C l? to Ft] will b e an ,

augm e n t e d 4 th Agai n C to A is a m aj or 6 th ; an d C to Al; or

.

C l? to A h is an augm e n t e d 6 th Th e augm e n t e d 3 rds an d 7 ths

.

are n o t us e d i n h armo n y ; augm e n t e d 2 n d s 4 ths an d 6 ths are , ,

fre qu e n tly an d augm e n t e d 5 ths occ asio n ally to b e m e t with

, .

25 An i n t e rva l which is a chrom atic s e mito n e l e ss th an a

.

p e rfe ct or a mi n or i n t e rv al is cal l e d di m i n i sh e d A S i n th e c as e s .

j ust sp ok e n of it is imm at e r ial to th e n ature of th e i n t e rval which

,

of th e two n ot e s composi n g it b e al t e re d L e t th e stud e n t r e fe r .

to th e t ab l e of mi n or i n t e rvals i n 23 We obviously c an n ot .

dimi n ish th e mi n or z ud for if we lowe r Dl7 to D b b or rais e C to

, ,

C fi we sh all i n e ith e r cas e g e t an i n t e rval sm all e r th an a s e mito n e

—
,

2 — an d it h as
“
5 )
”
wh at is call e d an e n h armo n ic i n t e rv al
b e e n al re ady s aid 5) th at th e s e mito n e is th e sm all e st i n t e rv al

us e d i n music Th e s am e obj e ctio n wi l l app l y to a d imi n ish e d

.

9 t h . But dim i n ish e d 3 rds 4 ths 5 ths an d 7 ths,

e sp e ci a
,
ll y th e l as t , ,

are of v e ry fr e qu e n t occurr e n c e .

26 Wh e n th e two n ot e s composi n g an i n t e rv al ch an g e th e ir
.

r e l ativ e positio n th e low e r o n e b e comi n g th e upp e r an d th e upp e r

, ,

th e low e r; th e i n t e rv a l is s aid to b e i n ve rte d .

Ch ap . L] I TS TH EOR Y AND PR A C TI CE .
21

H e r e th e first i n t e rv al i s a p e rfe ct fifth if C b e plac e d above G

th e i n t e rval is i n v e rt e d an d its i n v e rsio n is a p e rfe ct fourth Th e ,

n um be r of th e i n v e rsio n of an i n t e rva l can always b

.

e fou n d by
subtracti n g th e n umb e r of th e i n t e rval from 9 In th e above .

e x ampl e it is s e e n th at an i n v e rt e d h b com s
s t e e a 4 th
( 9 5 4)
i n th e s am e way a 3 rd b e com e s a 6 th a 2 n d a th 81 0 A
7 ,

u n iso n can n ot strict l y sp e ak i n g b e i n v e rt e d as it h as n o high e r or

, .

low e r n ot e but it is s aid to b e i n v e rt e d wh e n o n e of th e two n ot e s

is put an oct av e high e r or low e r S im i l arly an octave r e duce d to a .
,

u n iso n is g e n e ral ly s ai d to b e i n v e rt e d Pe rfe ct i n t e rv als r e m ai n .

p e rfe ct wh e n i n v e rt e d ; m aj or i n t e rv al s b e com e m i n or an d mi n or
m aj or ; augm e n t e d i n t e rv al s b e com e dimi n ish e d an d dimi n ish e d
,

augm e n t e d .

27 r o f h r l j g i w ill b co m cl r to h t d t i f
Th e e as n o t e u e ust
'

ve n e e ea t e s u en
h ob rv t h t h i v r i o f y im pl i t rv l i h d iff r c b tw
.

e se es a t e n e s n o an s e n e a s t e e en e e e en
th t i t rv l d oct v Th m jor 3 d C to E d i i v r io
a n e a an an a e us a a r an ts n e s n,
m i or 6 h E to C w i ll tog t h r m k oct v i th r C to C or E to E
.
, ,

a n t , , e e a e an a e e e

ccord i g to h ot f h 3 d fwh ich h po iti o

, , ,

a n t e n e o t e r o t e s n

i ch g d A t h i rd f y ki d t k fro m s an e . o an n a en an

oct v m t l v i th d i f l g ( m jor ) third b t k

a e us ea e a s x m ll an a ar e r a e a e n o ut, a s a er

( m i or ) i t h w i ll b l ft
n s x d co v r ly i f m ll r ( m i or ) t hi rd b t k
e e an n e se a s a e n e a en
fro m h oct v l rg r (m jor) i th w i ll b l ft Evid tly h m
,

t e a e a a e a s x e e en t e sa e
r o i g will pply to gm t d d d im i i h d i t rv l
, .

e as n n a au en e an n s e n e a s.

I n t e rvals are divid e d i n to two cl ass e s co n so n an t an d

28 .
,

disso n an t Th e s e t e rms h av e b e e n al r e ady e xplai n e d i n

. 1 6 1 7 ,
.

Th e co n so n an t i n t e rv als are th e u n i so n oct av e p e rfe ct fifth , , ,

p e rfe ct fourth m ajor an d mi n or third an d m ajor an d mi n or sixth

, , .

Al l oth e r i n t e rvals of e v e ry ki n d — all s e co n ds s e v e n ths n i n ths , , ,

*
e l e v e n ths an d thirt e e n ths , an d all augm e n t e d an d dimi n ish e d ,

i n t e rval s — are d i sso n an t .

T h co n so n an t i n t e rv als are furth e r subdivid e d i n to p e eyect

‘
2 e
9 .

an d i mpe r f e ct co n so n an c e s T h e u n iso n oct av e p e rfe ct fourt h .

, , ,

an d p e rfe ct fifth are th e p e rfe ct an d th e m aj or an d mi n or thirds ,

an d m aj or an d mi n or sixths are th e imp e rfe ct co n so n an ce s .

N e ith e r n ote of a p e rfe ct co n so n an ce can b e alt e re d by an acci

d e n tal —th at is rais e d or low e r e d a chrom atic s e mito n e
,
23)

without ch an gi n g th e i n t e rval i n to a disso n an c e But a m aj or .

third or sixth can b e chan ge d to a mi n or or vi e v c e r sa — a mi n or ,

i n to a m ajor — an d stil l r e m ai n a co n so n an ce This is o n e di ffe r .

e n c e b e tw e e n p e rfe ct an d imp e rfe ct co n so n an c e s .

30 rch f H l mh olt h v p rov d th t h d i t i ct io b tw

Th e r e se a es o e z a e e a t e s n n e e en

co o t d d i o t i t rv l i m r ly rb i tr y b h r lt f
.

n s n an an i ss n an n e a s s n ot e e a ar ut s t e e su o

t r f h i t rv l t h m lv I h t h p t r w h ll th t
,

th e na u e o t e n e a s e se es n t e nex C a e e s a se e a a

m i c l to i m o tly co m p o d to co t i i g b i d i p ri ci p l to
.

us a ne s s a un ne, n a n n es es ts n a ne

oth r to b ri g fi d r l ti o to h low t ot d c ll d h rm o ic
e nes e a ns t e es n e , an a e a n s,

or pp r p rt i l H l mh olt h h ow th t wh two f h rli r

ea n xe
“ o t e ea e
u e a a s. e z as s n a e n

Th t h i rt th b i g h oct v f h i th i it l f co o ft b t e s n s n an ut
c i h ch ord Wt h I t o d (S
t a e o x s se
l y tr t d di o
e een , e n e ,

i i
t s a wa s as a ss n an e n t e s In 15 un ee

C h pt r X V I )
ea e .

a e .
22 H A R M ON Y [C ha p . 1 .

rod c d d
u e tro g r f t h p p r
s p rt i l to n co
e i c i d i
o two ot e se u e a a nes n e n n es

o d d tog t h r h r lti g to i p r d fr fro m h i q l iti

an
p
s un e e e t e e su n ne s u e an ee t e ne ua es

t ch i c lly k ow b
e n a Wh th i i
n nh c
,

as h pr e a ts. c f th en s s not t e ase , t e e se n e o e se

b t gi v ro gh to h to w hi ch i k ow d i o c Th m o t
ea s es a u n e ss t e ne s n n as ss n an e e s

r ct co o c t o w c r rt l oo t co c d
.

f h i hi h h p p p
e s arei i i
se n t e u e a a s s n es n e

w ith h oct v fo rth d fi fth f h m jor c l W i th

e e n s n an
p
h c
.

Th i i s s t e ase t e a e, u an o t e a s a e

i o f co r r rt l b ol t ly d t c l pl
.
,

t h e un s n o th pp p i u se i i e u T h e a a s are a s u e en a e ex an a

t i o f h h r m o i c r i gi v i h t ch p t r w i ll i i h op d m k
.

n o t e a n se es en n t e nex a e t s e a e

th i cl r to h t d t I pr cti c l work l ik h p r t i i i m p o ibl

, ,

s ea t e s u en n a a a e t e e se n t s ss e

to t r f lly i to h ci c f co t i c w o ly to ch p o i f
.

en e u n t e s en e o a us s e can n u u n t as ar as

i i
t s need d i i co ct i o wi th h r m o y Th t d t h wi h f f ll
e n ts nne n a n e s u en w o s es or u

i for m t i o th i bj ct h o ld co lt H l mh olt bo k Th S t i o
.

’
n a n on s su e s u n su e z s o e e n sa ns

f To
,
”
o ne .

3 1 . We sh all co n clud e this ch apt e r by givi n g a tabl e of al l th e

i n t e rval s an d th e ir i n v e rsio n s withi n an oct av e from th e n ot e C .

xt p g stud e n t is advis e d to m ak e simi l ar t abl e s for

( S e e n e a e ) T h e .

hims e l f from oth e r n ot e s I n t e rvals abov e an oct av e can o n ly b e .

i n v e rt e d in th e 1 sth or doubl e octav e I t wi l l b e s e e n th at th e ,

.

i n v e rsio n of a co n so n an c e is always a co n so n an c e an d of a dl S ,

so n an c e al ways a disso n an c e .

EX ER C ISES O N C H APTER I .

( ) Writ e th Ie n am e s of th e followi n g i n t e rvals i n dicati n g thos e ,

th at are co n so n an t by ( C ) an d thos e th at are disso n an t by ( D )

( ) a ( b) (t) (d ) (e) (f) ( a) ( ll ) ( 5) ( f) ( h)

( )
2 Writ e t h e followi n g i n t e rv als — A mi n or s e co n d of Bb an d

D# ; a m ajor s e co n d of B tl an d G b a mi n or third of G il an d C b
a m ajor third of Ab Fb an d Dll ; a p e rfe ct fourth of B b G t , ] an d , , ,

an augm e n t e d fourth of D b , F ii an d C 3
?
A
b b
.
,

( 3) Writ e t h e p e rfe ct fifth of P U B tl E b D it F x B Eb b ; th e , , , , , ,

augm e n t e d fifth of El] A b C ll G t ] d B b h mi n or sixth of

'
a n t e , , , ,

Db Gilt Eb an d G D th e m aj or six th o f Ab B ltl Eh o f an d

, , , , , , ,

e dimi n ish e d
.

C o ; th e augm e n t e d Sixth of E b O an d A
h h
n t , ,

s e v e n th of Ej i F x All an d C h ; th e mi n or s e v e n th of B tj A b
'
, , ’ , ,

E
’

an d F
fi th e m aj or s e v e n th of C
it q it l
F G ) a n d B k] an d t h e , , , ,

d i m i n ish e d octav e of DuB a an d F x

O

.
, ,

( 4 ) Writ e th e mi n or n in th o fFfi Bb Dfi G il an d El ; th e m ajor r

b
, , , ,

n i n th of F b l A E ll
i G Kan d Db ; th e e l e ve n th of E b All C # an d
, , , , , , ,

F4 th e mi n or thirt e e n th o f Eb G it Db G b Eh an d D b ; an d , , , , ,

th e m aj or thirt e e n th of G b C V A b E b an d B i]
'

, , .
, ,

( 5 ) Writ e th e i n ve rsio n s of all th e i n t e rvals (a ) to ( u) i n

Ex e rcis e I an d n am e e ach addi n g ( C) or ( D ) accordi n g to
, , ,

wh e th e r th e y are co n so n an t or disso n an t .
Ch ap . L] I TS TH EOR Y AND PR A C TIC E
.
23
24 H A R M ON Y [Ch ap . 11.

C H APTE R I I .

TH E H A R M O N I C SER IES .

32 l o gh i t wo ld t b corr ct to y th t m od r h rm o y r t
A th u u no e e sa a e n a n es s

ol ly t r l l w i i v rth l tr th t c rt i m o t f k ow
.

s e on na u a a s, t s ne e e e ss ue a a e a n a un o n

l dg i h ph o m f h p rod ct i o f m i c l o d i f h t m o t
e e o t e en e na o t e u n o us a s un s s o t e u s

i t
as s s an c to h t d t i e bl i g h i m to d r t d h d ri v ti o f h
t e s u en n e na n un e s an t e e a n o t e
v ri o ch ord wh i ch form h m t r i l f wh i ch m i c i co tr ct d W
a us s t e a e a o us s ns u e e

h ll t h r for p roc d to lp i th o l w i f i w i ll b c ry
.

s a e e e ee ex a n se a s n so a r as t e ne e ssa to
a pp ly t h m b q e tly W h t i
su se w to b ue n t t d i i h t r f a s no e s a e s not n t e na u e o

th ory b t f ph y i c l f ct d i p r f ctly f m i l i r to t d t f t r l
.

e u o s a a an s e e a a s u en s o na u a

lo o p y
, ,

p h i h s .

3 3 Th g r l l r g l t i g th p od cti o f H r m o ic m y b t h
e e ne a aw e u a n e r u n o a n s a e us
tt A o oro body c h h tri g f p i o or viol i vibr t
.

s a ed s n us su as t e s n o a an n, a es

o ly th ro gh o t i w h ol l gt h b i li q p f t h t l gt h
-

,
n ot n u u ts e en ut n a uot a rts o a en
i h lv t h ird fo rth fi ft h & d h m i c l to p rod c d by
, ,

e. g n a e s, s, u s, s, C ; an t e us a nes u e
h v i br t i o f h dif f r t l i q ot p rt w i ll lw y b r th m r l tio
.
,

t e a n o t e e en a u a s a a s ea e sa e e a n
to o n e anoth r d to h ot p rod c d by h v i br ti o f h wh ol tri g
e , an t e n e u e t e a n o t e e s n .

Th i f h w h ol
us, tri g o d h ot
t e e s c h h l f wi ll o d h
n s un t e n e ea a s un t e

oct v bov a e a Si m i l rly i f h: w h l

e , Viz tri g o d d th i l t a , t o e s n s un e s as

C h h l f f thi tr i g ( d th r for h q rt r f h lo g r tri g fir t

, t e a o s s n , an e e e t e ua e o t e n e s n s

t k ) wi ll giv E
a en , h i gh t h w i ll g i v
e h C i h t h i rd S p c ; t f h e e e t e n t e a e o t e

tr bl t ff d
e e s a If h wh ol an tri g o d G h h l f w i ll gi v G
so o n t e e s n s un s a t e a e
h oct v bov h q rt r h G two oct v bov & Th d i vi i o f
, .
,

t e a e a e t e ua e t e a es a e, c. e s n o

an y tr i g i to h lv
s n q rt r igh t h or i t t h g iv h v ri o p p r
n a
,

e s, ua e s, e s, s x een s, es t e a us u e

oct v f h g r tor or f d m t l to t h t i h ot p rod c d

a es o t e
“
ene a
” “
un a en a ne , a s t e n e u e
by h v i br ti o f h wh ol l gt h f h tri g
t e a n o t e
,

e en o t e s n

y tri g w i ll v i br t o ly i h lv q rt r & b i y
.

34 B ut an s n a e not n n a e s, ua e s, c ut n an
oth r l i q ot p rt If tr i g v i br t i th i rd i t p rod c h tw l fth f h
. .
,

e a u a s. a s n a e n s, u es t e e o t e
f d m t l to
un a i
en a h p r f ct fi ft h i ne , h .co d oct v T k i g
e .
, t e e e n t e se n a e. a n , as

f h f d m t l to i w i ll b fo d t h t
or t e un th i rd f
a en a ne, t e un a one o

th e tri g g i v
s n O bv i o ly es i th i h l f f th ird d us o ne s x s a o o ne ,
an ,

as it h b lr dy as th t h h l f f tri g lw y gi v h oct v
een a ea se e n a t e a o a s n a a s es t e a e

a bov h wh ol i i cl r th h i th p rt f h tr i g w ill g iv
e t e e, t s ea at t e s x a o t e s n e

an d h tw l ftht e e

3 5 H r i t m t b i d
e e t h t h p i h f us ot d d
e sa t i r l y p o h a t e tc o a n e e en s en e u n t e

p idity f i
p
ra vi br t i o Wh t c ll low ot
o ts a
p r d c d by m c h
n. a we a u e u
low r b i t h h igh ot A i m port t l w f t r b ri g
n es are o
.

s e w rat o n s an n es n an a o na u e as ea n on
th i poi t i th t p d i y f i b i
.
.

s n s a i i ra i ly h l g h f h
t o v g ra t o n var e s n ve rs e as t e en t o t e s trzn ;
th t to y t h t ctly h l gth f h tri g d cr
a Is sa a e xa h r pi d i ty f
as t e en o t e s n e e as e s , t e a o

ibr tio i cr V i br t i o i p r i od i c o ci ll t i o w i t h pe d l m
,

V a n n e ase s a n s a e s a n , as a n u u
h diff r c b tw d l c l tr g b g t t or
.
,

t e e en
p m
e d e m ieen a i i h en h f m
u u an a us a s n e n a t e er
15 fr d whil
e e at o n e e n h tri g i fi d both d h m iddl f h tri g e t e s n s xe at an t e e o t e s n
wh r h d v i t i o fro m p o i t io f r t i gr t t corr p o d to th b b
, , ,

e e t e e a n a s n o es s e a es , es n s e o
C h ap . I TS TH EOR Y AND PR A C TI CE .
5

of dl
th e p e n u um Th l fv i br t i o g i v bov b S h o w by
e v ry
aw o a n en a e can e n a e
i m pl r t b ll t d to t i g d h tri g
.

s p i m
e ex If b
e f en d f a a e as e n e one e n o a s rn an t e s n
b h ld by h ot h r d th b ll llow d to w i g l ik d l w ll
.
,

e e d t e e en
p m i an i e a a e s n e a en u u t
m ov r t wh i ch w i ll d p d h l gth f tri g N i f h tri g
, ,

e at a a e e en on t e en o s n ow t e s n
b h ld i h m i ddl v ryo k ow t h t h b ll w ill w i g m ch f t r
.

e e n t e e, e e ne n s a t e a s n u as e

t h e h ort r h
s tri g h m or r pi d h vi br t io A d th i r l t i o f
e t e s n t e e a t e a n. n s e a n
l gt h to v i br t i o i i v r i bl h lo g tr i g C t h t h v
, o
en Th a i n s n a a e us n t e n s n a we
ok bov v ry v br t o wh ol tr i g th r wi ll b i h
.
, a e
s p f en o f i a i f e h or e e a n o t e e s n e e e n t
m t i m two v i br t i o f ch h l f t h r f c h t h i rd fo r f ch fo rth
, e
sa e e a ns o ea a , ee o ea , u o ea u ,

& & c c
o d lp i i g l l for m d by p rt f h w h ol
. .

36 A h s t e s un s we are ex a n n are a e a s o t e e
tri g d t h r for h v m or r pi d v i br t i o h igh r p i tc h h
.

s n an e e e d a e h e a a n s , an a e t an t e
g r or t h y
e n e at
,

om t i m c ll d pp r p rt i l to
e are s or ov rto
e es a e
“
u e a a nes
”
e n e s.
”

A m or co m m o m f t h m t h o gh l tri ctly cc r t
,

e n na e ori H e u a e ss s a u a e on e , s ar
m o ic b c t h o fi r t prod c—d i h ri t h t i by h v ibr t io f
,
”
n s, e ause se s u e n t e se es a s t e a n
h l rg r l i q ot p rt
o
tr i g b lo g to h h r m o i f h g r tor
-

t e a e f h a u a so t e s n e n t e a n es o t e ene a
Am o g h h igh r p p r p rt i l m y o d w hi ch v i l bl
.

t e u s un
‘

n e e a a s are an s are un a a a e
f h r m o i c p r po word h rm o i c i co v i t d “ ”
or a b n h u se s ; ut a s t e a n s s n en en an
g r lly d r tood w h ll r t i i i Sp k i g f th p rt i l to
e ne a un e s e s a e a n t n ea n o e se a a
,

Wh t h ot
n e s.
t b l t d i h ord r i w h i ch t h y prod c d
,

en e se n e s are a u a e n t e e n e are u e
we g h teti c ll
w d h h
a r m o s i c r i a W
e h ll w gi v h fir t p rt
t e a n se es e s a no e t e s a
,

f thi ri from C I w i ll b th t ll h v m b r f h ri
.

o s se es t e se e n a a t e e en nu e s o t e se es
oct v f om low r m b r b c ( h b h ow bov ) h h l f
.

a re a es o s e e nu e e ause as as een s n a e t e a

tri g lw y o d h oct v f wh ol tr i g th h t th h rm o i c
,

o f a s n a a s s un s t e a e o a e s n us t e en a n

wi ll b h oct v f h filth h fo rt th f h v th d
e t e a e o t e (S t e u e en o t e se en an so o n ee
Di gr m
, , .

a
p a on

3 7 I t h i d i gr m th ot prod c d by h v ibr t io f h l i q ot
.

n s a a e n es u e t e a n o t e a u
rt tr g g v r ct o b low ot S ow l q ot
.

p a f s o i ia s T h f n i are h h h en i e a ns e t e n es t e a u

p rt f h w h ol tri g wh i ch p rod c y giv o d d h vibr t i o

.

a o t e e s n u e s an en s un an t e a n
r tio d r th i h p ro port i o f vi br t io i h m t im f h
,

a s
fr ct i o l p rt
a na
un e nea ve t e n o a ns n t e sa e e o t e
ft wh ol tri g I wi ll b
a s o t h t h h rm o ic fir t
e e s n t e se e n a t e a n s s

p rod c d l l co o t to h f d m t l to ; b fro m h v th ot
.

u e are a n s n an t e un a en a ne ut t e se en n e
o f h ri i cl i v ll th w ot p rod c d
t e se e s, n us ll h
e, a v m e ne n es u e a t e un e e n n u
b r ) d i o t Th 7 h h 3 h d 4 h ot f h ri
e s are ss n an e t 1 1 t 1 t an 1 t n es o t e se es are

clo d i br ck t b c th h rm o i c ctly i t i h
.
, , ,

en se n a e s t e ause e se a n s a re no e xa n un e n t e
k y f h g
e o r tor h 7 h ( d f co r i oct v h 4 h ) w ll
t e ene a t e t an o u se ts a e, t e 1 t as e as

3 h b i g o m wh t too fl h d c id dly too h r p

,

th e 1 t e n d h s e a Th 9 h at, an t e 1 1 t e e s a e t
r b r t t to t y bt d by
.
,

an d 5 h 1 t p i m arem not h i y h i e nu e s, a s sa e are O a ne

m lt i p lyi g m ll r m b r tog t h r
,

u n s a e 3 d nu 5 Th e s e e x an x e se are

th r for c ll d co d ry h rm o i c h ll h v m or to y bo t
.
,
“
e e e a e d w
se n a a n s an e s a a e e sa a u
th m d i r ctly
e e

3 8 A v ry i m p ort t f th i ri i t h t i bl to c lc l t h
.

e an use o s se es s a t ena es us a u a e t e
t io fvibr t i o f d iff r t m i c l i t rv l w i th cc r cy Th b tw
.

ra s o a n o e en us a n e a s a u a us e een

mb r ri i i t rv l f oct v ; t h r for i v ry
.

nu de s 1 an f h 2 o t e se es s an n e a o an a e e e e n e e

oct v t h r a e two vibr t i o f h pp r ot to

e e are f h low r i a h ns o t e u e n e one o t e e n t e

sa m t im e Si m i l rly w g e h i t rv l f p r f ct fi fth b tw
a eh co d et t e n e a o a e e e een t e se n

d th i rd ot f p r f ct fo rt h b tw h t h i rd d fo rt h & H c
.

an n e s, o a e e u e een t e an u c. en e
h follow i g r t i o f th p ri ci p l m i c l i t rv l
,

w g e et t e n a s or e n a us a n e a s

I N R AL TE V
O ct v
.

a e
P rf ct fi fth e e
P rf ct fo rth e e u
M jor t h i rd a

M i o t hi rd n r
M jor i t h a s x
M i or i th n s x
M jor to a ne

M i or to n ne
M jor d i to i c m ito a a n se ne

M i or d i to i c m i to n a n se ne
26 H A R M ON Y Lch ap II .

Min or thi rd .

n
M in o r n i n th .
i

Mi n or v th se en .

Ma jo thi rd
r .

P r f ct fi fth
e e .

r tor
Ge ne a
d t l to
Fun ame n a ne ) .

In t v l from th g r to
er a e e ne a r

( or i p p r oct v )
ts u e a es .
Ch ap . I TS TH EO R Y AND PR A C T1 CE . 27

Th e d t ct o b tw
i s in i h m jor d m i or to
n e d m i to
een t e a an n nes an se n e s,
tog
h u h i t e x is t i f pr ct ic l i m p ort c i co ct i o wi t h h rm o y i
s, s o no a a an e n nne n a t
gi v i h bov l i t f h k fco m pl t
n ;
is en n t e a e s or t e sa e o e e n e ss
td tm t ppo t h t h h rm o i c r i t m i t
.

3 9 Th e s u en us no t su se a t e a n se es er n a e s at
ot I m igh t b c rri d m ch f rth r ; b r b r
.

t h e h 2 0t n e. t
p i m m e a e u u e ut n o e nu e s
a bov v i l bl f h rm o i c p r po
e 2 0 a re a a a e or a n u se s
b h ow th t pp r p rt i l to b obt i d by c
.

4 I h 0 t as een s i g n a u e a a n e s can e a ne aus n

tr i g to v i br t i l iq ot p rt A m tt r f f ct m y f t h to
.
.

a s n a e n a u a s s a a e o a an o e se nes

p rod c d tog t h r w i t h h f d m t l to wh tri g i tr ck If

.

a re so u e e e t e un a en a ne en a s n s s u
t d t w i l l tr ik f h b ot f pi o d l i t c r f lly h
, .

t h e s u en s e on e o t e ass n es o a an an s en a e u e
w ill h r fir t h f d m t l to th m or f i tly h oct v tw l fth
, ,

ea s t e un a en a ne, en, e a n t e a e e
do bl oct v d d r f vo r bl c irc m t c v h m jor th i rd bov
, , ,

u e a e , an un e a u a e u s an e s, e en t e a

t hi W h t t k pl c i th t h tri g oo i b gi tovibr t d i vi d
, a e
s. a a es a e s a t e s n as s n as t e ns a e, es
fi t l fi to i l i q ot p rt ch gi vi g h ot p rop r to i t l f d r l t d
,

o se n ts a u a s, e a n t e n e e se an e a e
h ow bov to h f d m t l to B h h igh r h rm o ic ith r
, ,

as s n a e, t e un a en a ne ut t e e a n s are e e
rod c d or t t t h c ot d i t i g i h th m w ith o t
.

n ot p ll u e f i h at a are s o a n a t e e ar an n s n u s e u
rtific i l id I h b h ow by h r rch f H l m h olt th t good
,

a a a t as een s n t e e se a es o e z a a
m i c l to d to t h—t i co t i i g om pp r p rti l
.

us i
a mp ne s a co o un ne a s, o n e n a n n s e u e a a s

tog th r wi th i f d m t l to d t h t h d i ff r t q lity f v ri o
-

e e ts un a en a ne an a t e e en ua o a us
i tr m t d p d
ns u en s h pr c i v ryi g tr gth f th
e en s on
pp r t e e se n e n a n s en s o e se u e

p i l
art a s

w p roc d t p f rth r I w ill b vid t th t j t h

.

4 N 1 ow e ee one s e u e t e e en a us as t e
f d m t l ot C g r t i ri fh r m o i c ch f th h r mo i c
. .

un a en a n e e ne a e s ts se es o a n s, e a o e se a n s
i t l f b co m h g r tor f r i If w t k h t hi rd ot ( G ) i
t t
ri f C — h fir t w ot p rod c d — g r tor i wi ll giv
c an se e e e e ne a o a se e s. e a e e n e n

t h e se es o t e s ne n e u e as a e ne a t e a
ri f pp r p rti l b ri g h m r t i o to th i r f d m t l to
,

se es o u e a a s dea n t e sa e a e un a en a ne, an

b i g h m d i t c fro m i
e n at t e sah r i w i t h w h i ch
e lr dy
s an e t, as t e se es w e are a ea
a cq i t d I w i ll b
ua n e d f l to gi v h w h ol ri p to h h
t no t e nee u e t e e se es u t e 20 t
ot di d fro m C i w i ll i c to g i v h fir t f w ot
.

n e , as we f
f d h t su e e t e s e n e s, an t e
td t
s u en d d m or ifh d i r
can a e e es e s.

1 2 3 4 6 6
B y com p ri g th i ri w i th a ri f h r m o i c f C i wi ll b
n s se es th e se es o a n s o t e se e n
t h t h i ot h r gi v l l i cl d d i th t r i wh r t h y w i ll
,

a t e s x n es e e en are a n u e n a se e s, e e e
b foe d un mb r 3 6 9 as n u 5 d 8 th t i e s mb r to 6 m lti pl i d 1 2, I an 1 a s, n u e s 1 u e

For G i h th i rd h rm o i c f C d ll h h rm o i c f G
-

, , , ,

by 3 s t e a n o an a t e a n s o are

h r for h m i C w t t r co d ry
.
,
“ e
t e e
f
e h mar i f T h
o n cs o i i h ma ar on c o s s a we e s n a

h rm o ic D i h t h i rd h r m o i c f h t h i rd h r m o i c f C
.

”
a Th n s us s t d e a n o t e a n o an

l rly B r o c C b g G; d
,
.

3 x S i m i i h 5 h h m i a f i h 5 h f
s t e 1 t a n o e n t e t o an

t h i ot m igh t l o b d riv d h t h ird h rm o i c f E h fi fth ot i

,

s n e a s e e e as t e a n o t e n e n

ri f C S co d ry h rm o ic p l y v ry i mport t p rt i h
,

t eh se es o e n a a n s a a e an a n t e
for m t i o f m y c h ord h ll m t w i t h m y ot h r b id th o
.

a n o d an s, an we s a ee an e s es es se

h r giv
e e w p roc d e n as F h pr t
e lp t io f t h i r t r wi ll
ee or t e e se n an e x an a n o e na u e
fi c
.

su f e

t r b c o c or to r o c r g v
.

4 L 2 k
e t us m h h
u n m i i a i i 3 6 n e e t e a n se es en n

t d t wi ll t h t w c d h h rm o ic f ll co t i lly
. .

Th e s u en se e a as e as e n t e a n s a n n ua

clo r d clo r tog th r It h b h ow th t h oct v f h f d

,

se an se e e as een s n a t e a es o t e un a

t l to— mb r r low— t
.

m en a ne 4 8 6are 3 & nuf h i I

e s 2, h 1 2, c o t e se es n t e es

oct v th r i i t rm d i t h rm o ic i h co d oct—v
.
, , , .
,

a e, 1 2, e e s no 4
n e e a e a n n t e se n a e, 2

th r i e e i h oct v 4 8 h
s o ne , n th r t e d i h oct v 8
a e 6 v t e re are e e , an
,

n t e a e 1 se en
,

i t r m d i t h rm o i c d th q l d i t c b— co t tly d m g
-

n e e a e a n s an e s e n o t at e ua s an e s, ut n s an raw

r r d r r Evid tly i h fi fth oct v 6 3 t h r m t b

;
n ea e an nea e en n t e a e, 1 2, e e us e

fi ft i t r m d i t h rm o i c or m or ot t h d i m od r
.

een n e e a e b a n s, e n es an can e use n e n

m i c w h i ch co t i
us ,
o ly tw lv ot to h oct v For t hi r
n a ns n It e e n es t e a e.
* s e aso n Is

e vi d Th e
e n tl y l n o te s o f
be v ll
th e tw e
g ll ll
th e se ri e s n e x t fo
T
fth ab o ill F lig il o w in 20 wi i us tra te th i s
h e re fo re
. NO
W
. at o f th e
be
se ri e s
h tl y t oo
w l
e N o 7 , b e ca use
. x 7 . 21 , s
28 H AR M ON Y [Ch ap . 11 .

ne c ry to m k
e ssa l ct i o from h h rm o i c o ff r d by t r A
a e a se e n t e a n s e e us na u e s a
m tt r f f ct d if
fr t l ct i o h v b m d d i ff r t p r iod d
.

a e o a e en se e ns a e een a e at e en e s, an

e v h pr
e n at t t i m h m ic fl rti ti c lly dv c d t i o co t i
t e e se n e t e us o e ss a s a a an e na ns n a ns

f w r ot
e e i nk y c l es f o ly fi
n a ot b i g fo d m o g h C h i
e s a es o n ve n es e n un a n t e n e se ,

M l y d ot h r O r i t l r c h il h ot h r h d i Ar bic d
,

a a s, an e en a a es ; w e , on t e e an n a an

P r i m i c h oct v i d i i d d i to 6 i t r l Fro m th i
,

e s an us t e a e s v e n 1 n e va s s we se e ,

h word f H l m h olt t h t h y t m f Sc l M od d H rm o ic
.

in t e s o e z, a t e s s e o a e s, e s, an a n

Ti do
ssue s r t ol ly po lt r bl t r l l w b i l t p rtly
e s not es s e u n un a e a e na u a a s, ut s at e as a

l o h r lt f th t ic l p ri c ip l w h i ch h v lr dy ch g d d w i ll
a s t e e su o ae s e a n e s, a e a ea an e an
t ill f rth r ch g w i th h p rogr i v d v lopm t fh m i ty ( S i
,
”
s u e an e t e e ss e e e en o u an e n s a t on s

of To n e , p .

43 t q t o t t r t t l w t co d r t o
Th e n e x ue s i n h a p e se n s i se f i s, to ha n si e a i n s a re

d k g l ct o ro r o c r lo r
.

g u i e u s i n m a in o ur s e e i n s f m th e h a m n i s e i e s ? In th e we
oct v rt l to
a e s , th e
pa ia rod c d nes
p u e brt t
are so f ve w i n n um e h a w e h a e no

c oc tk t to
h i e ; w e a e h e m al l up r o c t obt
th e 8 th h a m n i We h us a i n al l th e

co o t t rv l w ll by r rr g to r t o
.

a s ( as
n s n an i n e i b e se e n ef e in th e a i s i n 3 8 ) an d o n e
d o c or v t or d by
i ss n an e , th e m i n se e n h , f m ev t ot r t h e se e n h n e o fth e se i e s Th i s
v t o t c ll d r o c or v t lr dy d
.

“ ”
se e n h , fe n a e th e ha m ni min se e n h i s, as a e a sai ,

l g tly b g l ttl or t
s i h flat, e i n a i e m e h an atr jor to b low g t ot
ue m a ne e th e e i h h n e
r
o fth e se i e s ; fr too r i ts a iw l is 7 jor to
8, di r
h i e th e m a n e is 8 9 Th e ffe
c tc ow v r ll b g o ly t t d r g rd d
.

e n e o fp i h, h e e , i s s o sm a , e in n h a i t m ay b e i s e a e
t o t ort d by t or ty H l olt y
.

O n h i s p i n w e are sup p e th e au h i of e mh z , w h o sa s th e
m in or v t ro c
se e n h a p rly to r t o
p a h e s so n e a w c th e co ra i 7 4 [ h i h i s, o f u se ,
t h e sa m e as 7 tr o g 8, an s
p r ot oct v t t
si n th e u pp e n e an a e ], h a it m a
y i n a n y
c v t rt l to
as e p as s as th e s e e n h
p a ia co o d n e o f th e m p un
”
( Sen sati on s of To n e , .

44 T h t
u s f a r h e t cl
n o u r
p a h i s e a r t oct v co t g
b u t i n th e n e x a e n ai n i n th e
r rt l b tw t w t two ot w c
.
, ,

upp e p a i a s e e e n 8 an d 1 6 , w e m e e i h n e s, 1 1 an d 1 3 , hi h
are p e rc t bly
ep i t wt
o ut o f un e ot r ot w c
i h th e lr dy v
he n e s hi h w e a e a ha e O ur
obj ct to y co o c o bl to k
.

e is g e t a s m an n s n an e s a s p ssi e in th e k e y fo r th e sa e o f
k g
m a i n o ur h c ord w ll
s, as ow i b e sh tc tr
n i n th e n e x h ap e N o w th e 1 1 th
r o c F d t ctly too r to d r ct o rt to C
.

ha m n i , , is
is i n sh a p b e use a s a p e fe fu h fo r th e
r to
a i is 8 l t t
1 1 , whi e r ct o rt
h a o f th e p e fe fu h Hr 38 ) i s 3 4 e e th e

d r c tc c or co d r bl t c
.

iffe e n e i n p i h i s m u h m e n si e a e h an i n th e ase o f th e 7 th
h r o c b g
a m n i , e in
1
ct ; i n f a r o c l g tly r r to
th e 1 1 th h a m ni i s s i h nea e F it
t to a For t r o t 3 3
r o c v l bl
,

h an F his e as n h is h a m n i i s n o t a ai a e fo r th e
r o r co d ry r o c S ok bov
.

h a m n i e s o f th e k e y B ut h e e th e s e n a ha m ni s p e n of a e
co to oot ot to ow t t fit
.

me o ur ai d In th e f n e 4 2 , i t w as sh n h a i n th e fh
oct v t r lt rb oct v
-
.

h e e w e re tw o F s, N o s 2 1 an d 2 2 Th e a t e , e i n g th e a e of
'
’
a e

w ll v d tly q lly t t r or o
. .

1 1 i e i en b e e ua o ut o f un e , an d h e e f e un avai ab l e b ut N
b g tw l t or w c r o c lly t g
. .

21 e in th e e fh ( h i h is h a m n i a th e sam e h in th e
r ct fi t ot w c v lr dy d bl
,

p e fe fh ) o f N o 7 , a n e h i h , as w e h a e a e a s e e n i s a m i ssi e,

w ll q lly d bl r F d r g ro r ct o rt
.

i e ua b e a m i ssi e , an d w e h e e g e t an iffe i n f m a p e fe fu h
o ly by
n
3
1
r ct o w c
1 , a fa i n hi h w e c l rly
an d i s re g ard s l S i m i a A , th e 1 3 th
'

r o c wt C r to
h a m n i , h as i h th e a i 8 w c 1 3, tt r t
h i h is tr f la e jor h an th e ue m a
6 th , 3 5 by t k g
B ut co d ry r o c
a in th e se n a t oct v
h a m n i , 2 7 , o fth e n e x a e

t d oot ot
i n s e a o f 2 6 , ( see f n e, obt 4 2) w e r to ai n th e
-
w c d r
a i 16 2 7, h i h iffe s
ro
f m 3 5 n o ly by 3
3 5 ot ob o ly c b tt r t t r or
Thi s n e i s vi us m u h e e i n un e , h e e f e
k g l ct o j ct bc b tt r ot
.

i n m a i n o ur se e i n w e re e 1 1 an d 1 3 , e ause w e can fi n d e e n es

t F ED l g l
fla b e cau s e
, ll v d = ) g v
i s s i h t y to o flat B ut 2 2 w i b e th e o cta e o f 1 1 1 1 x 2 2 2 , w h i ch i e s
l l ll g ( .

d
an o th e r s o m e w h a t t o o s h arp
k Si m i ar y 2 6 a n d 2 7 w i fe re n t p i tch e s fo r A , a s
i ve tw o if

vl l
,

t h e S tu e n t c a n e as i ly w o r
b e a a i a b e i n th e sa m e k e y
l
o u t fo r h i m s e f l .

In t h e se ca se s i t i s c e ar tha t b o t h n o te s ca n n o t
.

H l l k g d d g v l G
.

li i i d
e m h o tz i s s p e a i n
to F q i
i n th e
. g
uo ta t o n
o f th e
fich o r o f th e o m i n an t 7 th , co n tai n i n th e i n te r a
A S t h e l a w 1 5 o f e n e ral ap p cat o n th e sp e ci c re fe re n ce t o th e s e t w o n o te s 15 o m t t e

k F r fi d
.

1 “
Th e re a s o n w hy w e do C ill n o t ta e as th e p e fe ct fth be lo w w be e xp lain e i n th e
n e x t ch a p te r (6
Ch a p. IL J I TS TH EO R Y AN D PR A C T1 C E .

t r l c Th
in he i p a e e se se co d ry h r m o ic
n a a n s, it w i ll b ot i c d e n e are com p d d o un e
ri lr dy i ri
.
,
o fp m e s a ea n th e se e s.
21 3 x
7
I

27 3 x
3 x
3
I

Th e l tt r i trictly p k i g
a e s, s i y h r m o i c b t i w i ll b th t i
s ea n a te rt ar a n u t e se e n a t
lti m t ly d riv d fro m h m f d m t l to h ot h r ot
,

is u a e e e t e sa e un a en a n e as t e e n es

4 5 W h v t h r for o ly two m or p r i m mb r d 9 to
.

e a e 7 e e e n e e nu e s, 1 an 1 co n
id r Th for m r f t h giv i g h m i or i t h to h g r tor i
.
,

s e e e o e se , n t e n n n t e e ne a s one
f h m o t i m p ort t ot f h r i f i m ploy m t i h r m o y h
.
,

o t e s an n es o t e se es or ts e en n a n t e
1 9 h h r m o i c w h i ch g i v
t a h m i or th i rd i o ly
n di co m bi t io es t e n s n use n one na n,

w h i ch w i ll b d lt w i th l t r ( S Ch pt V II ) Wh i h t
, ,

e ea a e ee a er en n t e ne x
c h pt r w b ild p h ch ord f k y h o ly p ri m ry pp r p rt i l to
. .

a e e u u t e s o a e t e n a u e a a ne s
h ll r q i r to wi ll b
,

w e s a e u e use e

N 3 g i v i g h p r f ct fi fth t h g r to o. n t e e e o t e e ne a r.

5 m jor t h i rd a

7 m i or v th n se en

7 m i or i t h 1 n n n

Th ot th t m y r q i r wh i ch
e n es a m o g th
we p r im ry h r m o i c
a e u e are n o t a n e se a a n s
w i ll b f i h d by co d ry h r m o ic
e urn s e se n a a n s.

N E To C H PTE I I OT A R .

Th e ca lcu l a ti o n ofh arm on i c rati os.

b t o g t d t to r l
46 It h as n o t e e n h u h e x p e i e n td t t c tr
p e p e x th e s u e n o f h i s h ap e
by c lc l t o rov g corr ct r to gv
.

al l th e a u a i ns p in th e e n e ss o f th e a i s i e n in 4 3 , 44
b l ty to c lc l t c r t o w t cc r cy w ll o d v ry
b ut, as th e a i i a u a e su h a i s i h a u a i b e f un e

v l bl to t o
a ua e w to d r t d
h se w h o i sh bj ct t oro g ly
un e s a n th e su e g rl h u h , a few ene a

r l w ll r
u es i h e e b e g i ve n
v ry r t o r d by v lg r r ct o v br t o
.

47 I E e a i can b e e x p e ss e a u a f a i n , th e i a i n
br g r two ot b g r tor t t
. .

n um e o f th e h i h e o f th e n es e in th e n um e a an d h a o f th e

low r d o tor r to gv g t wr tt
,

e th e e n min a Th us th e a i s i e n i n 38 m i h b e i e n as .

51
1 ,
35
2, fi A
} , &c
th e d f
i f e f
re n ce o
. th e ra ti os of tw o i n te rva l s , re duce
To nd

th e fra cti o n s w h i ch e x pre ss th e m to a co m m on n u m e rato r if th e p i tch of th e

h igh e r n ote of ea ch i s to b e th e s a m e , a n d to a co m m o n de n o m i n ato r if th e pi tch
f
o i
th e l o w er n ote of e achs to b e th e sa me To i us a e h i s , l e t us a e th e ll tr t t tk
to r o c to d bov b g
.

ra i s o f th e 7 th , 1 1 th an d 1 3 th h a m n i s m e n i n e a e as e in not

tr ctly t
s i i n un e i n th e k e y, an d m pa e h e m i h th e e n e a s co r t w t corr ct i t rv l to
w c t y ro t
h i h h e ap p x im a e Th e h a m n i 7 th B b , as W b e s e e n f m th e r o c C ill ro
t bl r o c r r to tr or
.

e o f th e h a m n i se i e s i n 6 h th i B ut a ue m i n 7 th
a 3 , as e a

w i ll b fo d b tw D d th
e un e e en an e C bov i h r t i o b i
a e t, t e a e n g T co m p r
1 6
3 o a e

th two r t i o
.

e se a s
1 °
{ d 7 an 3
w r d c t h m to co m m o d
e e u e om i tor by m ltip lyi g h two d om i tor
e a n en na u n t e en na s

tog th r f d om i tor d ch d o m i to by h oppo it m r tor

,

e e or a n ew en na an ea en na r t e s e nu e a

m r tor
,

f w
or a n e nu e a ,

4 x 9
9 x 7
4 x 16

r ct o w ill t h r for b
Th e f a i ns e e e e

d an

th t i to y f v ry 6 3 vibr t io f h h rm o i c 7 h th r wi ll b i h t n t e e e n t e

t t
a s sa or e e a ns o e a

sam t i m 64 e f h tr m ei or 7 h p rov
,

i
o g w h t t i d i 43
e h h ue n t ,
n a w as sa n ,
a t e

h rm o i c 7 h i too fl t s
1
at.
rt r ll tr t o t r l w ll t k
a n 3;
A f h i i f h i i h h d 3 h u e we t 1 l t an 1 t
48 s u e us a ns o s a e e .

Th for m r h to th to i c h r ti o wh i l h p r f ct 4 h h 3
—
.

e e
— as e n t e a
1 1
e t e e e t as
4
8 ,
I I 3 3 4 L
3 _
2
S
" ”

n 2 4. 2 4
30 H A R M ON Y : [C h a p . 11 .

r for h h h rm o i c i l rg r ( or rp r) t h r f ct 4 h
1
Th e e e t e 1 1t a n s 3 ; a e sh a e an th e pe e t .

Th e 3 h g i h h r
1 t i o 5 wth i l h a a n as t e a
1
e t e m jor i t h
a s x h as th e r tio } a i
R d ci g b for to comm o d o m i tor
.
,

e u n as e e, a n en na ,

3 9
8 2 4:

Th e r for h 3 h i too fl f tr m jor i th L tly

e e t e ttd
1 t s 3 3
1
at or a ue a s x . as , we s a e

t h t h 7 h h rm o ic o ly too h r p f tr m jor 6 h Th i
a t e 2 t a
'

n w as n
1
s a or a ue a t s c an

b p rov d i r o c y ri m t li b tw
35 3 .

e h m y Th e7 h h m i fn t e sa e wa e 2 t a n o an se es us e e een

h two oct v f h f d m t l to bov h for m r d

.

t e 6 d 3a es o t e un a en a ne I an 2 ; a e t e e an

b low h l tt r I r ti o to h f d m t l to b low m t b th r for

e t e a e ts a t e un a en a ne e us e e e e

w k ow h m j or 6 h h
.

d an ,
h r tio
as e n , t e a t as t e a

if
? if
r for h 7 h h rm o i c i h rp r th tr m jor 6 h 1
Th e e e t e 2 t a n s 3 3 s a e an a ue a t
bov m p l w i ll i i h o p d ffic i tly pl i h m th od
.

4 9 Th e a e e xa es t s e su en ex a n t e e

f c lc l t i g t h r t io A t i ll im pl r m t h od fco m p ri g th i to
.
, ,

o a u a n e se -
a s s s e e o a n e se s
h ow v r i
.

m l iply
u t h m by h
e ac h nu d mi Th i
e rator t t e ot er en o n a to r s, e e s no

ffic i t by i t l f to bl h t d t to t ll by h w m c h f h two
.
,

su en se e na e t e s u en e o u one o t e
i t rv l i h f
n e a s l tt r or h rp rs t e a e s a e .

5 T 0 fi d h mo b f y
n ht g h h
e h n h u i h h m
er o i an n ote i er t an t e 2 0t n t e ar on c

p r i m ry h r m o i c bov h h m p loy d i h r m o y
—A
.

se m en S no a a n s a e t e 20 t are e e n a n

t h o w h ich se m p loy d m t b co d ry i p rim ry h

are so e e us e se n a e a ar

f h h rm o i c f h g r tor A ll t h t i d d i to
, . .
,

m o n i cs of one o t e a n s o t e ene a a s nee e s

k ow h i h i m di ot to l ct fw h i ch h ot r q i r d i p rim ry
.

n w c n te r e ate n e se e o t e n e e u e s a a

h rm o i c Th followi g i m pl r l w i ll g id h t d
.

a n e n s e u es u e t e s u ent

ot fwh i c h h m b r i d i r d b i h m j l f
.

R l If h
u e 1 t e n e o t e nu e s es e e n t e a o r sca e o

v br t o b r r ct fi t b lo
.

its g fi d
e n e ra tor, h i i m n f h p t f fe h i d a n nu e o t e e e e w t, an

m lt i p ly by 3
u For m p l A h i i h m jor c l f C Th p r f ct e xa e : s n t e a s a e o e e e

fi fth b low A i D h 9 h h rm o i c f C t h r for A i 9 3 7 h h

. .

e s t e 1 a n o e e e s x : 2 t ar

m o ic
,

n .

R l If h
u e 2 ot d i r d b h p h t e n f h mj e l
es tk e e s ar er t a n a n ote o t e a or sca e , a e
h v i br t i o m b r f h m jor _ hi rd b lo w i d m lt i p ly by 5 For
.

t e
m pl
a n t
nu

to fi d G # i h r i fro m C B i g h rp r t h G t] h ot
e o t e a e t, an u .

e xa e n n t e se es e n s a e an t e n e
f h m jor c l t k E h m jor th i rd b lo i E i h 5 h h
,

o t e a s a e, we a e t e a e w t s t e t ar

m o i c f C t h r for G i h 5 5 h h rm o i c
, .

n o
# eh 5 e e s t e x : t e 2 t a n

ot d i r d b fl l t k
.

R l 3 If h u e t h e n f h mj e es e e a t/er t an a n ote o t e a o r sca e , a e

h v i br t i o m b r f h m i or 9 h b low i d m lt i p ly by 7 For
.

t e a n nu e o t e n t e t, an u 1
m pl to fi d Ab fro m C Th m i or i th b lo Ab i G h t h ird
.

e xa e : n e n n n e w s t e
h r m o i c f C t h r for A b i 3 h rm o i c
.
,

a n o 7 h 5 e e e s x 1 : t e 15t a n .

5 If h m j or t h i rd or m i or i th b low h r q i r d
1 t e a ot b n n n e t e e u e n e e not
fo d m o g h fir t t ty h r m o i c fi d h vi br t i o mb r f h
.

un a n t e s we n a n s, n t e a n nu e o t e
i t rm d i t
n e ot fir t For i t c to fi d All from C Th m jor t h i rd
e a e n e s n s an e, n e a

b low A 1; i F it w h ich i m o g h fir t t ty h r m o i c A F1:i

. .

e s , s not a n t e s we n a n s. s s

s h rp r t h
a e ot f h m jor c l w t k i m jo hi rd b low i D
an a n e o t e a s a e, e a e ts a rt e v z
h 9 h h rmo ic f C F if; i th r for 9 5 = h 45 h h rm o i c d A# i
.
, , ,

t e t a n o s e e e x t e t a n an s

5 h h r m o ic fro m C ldo m d f l to c lc l t ch
.
,

5 45X = h t e 22 t It i a n s se nee u a u a e su
h igh r t i o th
.

a s as e se .

5 Th r i
2 i t rv l y to b m t i o d wh i ch
e e s on e w i ll b
n e i a et e en ne as e se e n n
t c h p t r i f co id r bl i mp ort c Th i i h tr m ly
.
, ,
th e n ex a e s o ns e a e an e; s s t e ex e e
m ll i t rv l b tw two ot wh ich h rm o i oth r
,
“ ”
s a n e a e een f n es a re en a n es o one an
t h t i to y two ot r p r t d by h m o d i tr m t h vi g
e ,
a s sa n es e e se n e t e sa e s un on ns u en s
o ly tw lv o d i h oct v g G il: d Ab I i o ft pp o d t h t
a n
n e e s un s n t e a e, e . . , an . t s e n su se a

G 1 i h h igh r f t h two ot tt r ct low r

;
Th i Wil b
s t
i ly
e

by d r v g
;e

bot
b
ot
o m
ro
f f
g
i
e se

r
i
tor
h
C
n es ut a s a a e o a t s t e e .

s
l e i i e as h f m h
se e n W e n n es t e
h ow d j t
ene a e
t h t G 1; w h 5 h h r m o i c f C d l o th t Ab
.

s e us now a as t e 2 t a n o an a s a

w as h 5 t e h rm o i c 15t O bv i o ly h oct v
a n bo h s h h r m o i c us t e a e a ve t e 2 t a n
W ill b h s h e tth r for i h ri fro m C G fi= 5 d Ab 5 or h
e ot e e e n t e se es , 0 , an 1, t e
Ch ap . IL ] I TS TH EOR Y AN D PR A C T1 C E .
3 1

nex t h igh r h rm o i c Th two ot

e a v r di h m b f
n e se n e s are n e e use n t e sa e oy , or no
i t rv l m ll r t h m i to d i m ic l com p o it i o b w ill
.

n e a s i a e an a se ne s use n us a s n ut, as
b e l t r h two ot
se e n a eo ft tr t d i d tic l d h
t e n i es are en ea e as en a an t e on e s
b t i t t d f h oth r f h p rpo f m od l tio Th m ll i t rv l
su s u e or
,

t e e or t e u se s o ua n
,

e s a n e
G r k word
a
b tw h two ot i c ll d h h rm o i c d i i fro m
.

e een t e n es s a e t e en a n e s s, a ee
m i g di i i
e an n v s on *

5 3 For h k f i for mi ty w h v i th i ch pt r r cko d ll h

.

t e sa e o un e a e n s a e e ne a t e
h r m o i c fro m h m g r tor C Th t d t m t forg t th t
.

a n s t e sa e ene a e s u en us n ot e a a
im il r ri b for m d fro m y oth r ot d i w i ll b w ll f h i m
.
,

s a se e s can e e an e n e an t e e or
to cc tom h i m l f to work h rm o i c c lc l t i o ch th o h r giv
a us se o ut a n a ua n s su as se e e en
fro m ot h r g r tor Th e rci w to b
ene g iva w i ll b f m t ri l
s. e e xe se s n o e en e o a e a
i t c to h i m i t h i r p ct
ass s an e n s es e .

EX ER C ISES TO C H A PTER I I .

armo n ic S e ri e s up to N o 2 0 from th e follow

( ) WritI e t h.e H .

i n g g e n e rators disti n gu i shi n g th e s e co n d ary h armo n ics by a x

,

an d e n c l osi n g i n brack e ts thos e h armo n ics wh i ch are out of tu n e .

(5)

( ) Fi n d th e r atio of th e i n t e rv al of th e augm e n
2

d e rivi n g both th e n ot e s of th e i n t e rval from D as a g e n e rator .

F bl b e i n g th e n i n th h armo n ic of ED comp are th e p i tch of ,

th e n ot e B b wh e n d e riv e d as th e p e rfe ct fifth of E9 with th e

, ,

pitch of th e s am e n ot e d e riv e d through F ( a ) as a primary ,

harmo n ic (b ) as a s e co n d ary h armo n ic

, .

Give th e n umb e r of e ach of th e fo l lowi n g n ot e s i n th e

‘

harmo n ic s e ri e s of th e g e n e rator n am e d b e low it

(6) (a (e) ( f)
'

HA R M ON I C .

G N RA O R
E E T . Eb Bb C 3:
( N O T E —Ex e rci se s 2 to 4 b i g o m wh t d iffic lt Sh o ld t b tt m pt d
e n s e a u u no e a e e
t d t ti l co t t fth i c h pt r th oro gh ly m t r d )
, ,

b y th e s u en un th e n en s o s a e are u as e e .

ab o v Th e
e viz
e nha rm o n ic
. by re c
d
k g o n in
lj
i e si s i s usua l y calcu a te i n ra th e r a i f
id l d
fe re n t w ay f o m th a
th re e m a o r th r s o n e ab o e a n o th e r, e g , v d . .
r tgv i en

E G
# ilB -l;

Gi
l
C B
As th e o cta v e —wi
— ll l l c e ar y be it fo ll ows th a t th e ra ti o wi ll be H3 .

Th i s i s th e
ra ti o 251 4
i gv ra t i o u sua
en in
C

t h e te x t.
ll g v
y i en , an d i t wi ll b e fo un d to be a l t d
mo s i e n ti ca l w i th th e S i mp l er

1
3 2 H A R M ON Y [Ch ap . 1 11 .

C H A PTE R I II .

L TY K EY, OR TO NA I .

54 O f h fir t t h i g w h i
ne o ch i i c try t h teh t d t h o ld
s d f n s t s ne e ss a a t e s u en s u un e

t d i wh t i m t wh p k f h Ky f pi c f m ic
.

a s e an I en we s ea O t e e o a e e o us n

ord r th t m i c Sh o ld p rod c
s an s
t i f ctory ff ct i i c ry th t h
.

e a us u u e a sa s a e e t s ne e ssa a t e

ot wh th r t k i gly i m lody or com bi d i h rm o y

,

n e s, e e a en s n as n a e ne as n a n

h o ld h v o m d fi i t d cl rly r cog i bl r l t i o to oth r

, , , ,

s u a e s e e n e an ea e n sa e e a n one an e

For m pl i f h fir t h l f f G d v h Q pl y d
.

“
e xa e tb e h s a o o sa e t e ue e n e a e on t e
o
,

p i an

e v ryo
e h r wh t i co m m o ly c ll d h
ne can —t h t i ea f l th t a s n a e t e tun e a s, can ee a
t h ot follow i g ch ot h r h v om d fi i t r l ti o to h fir t d l t
e n es n ea e a e s e e n e e a n t e s an as

n ot d to e , an oth r B i f t k h v ry m ot
one h t ff
an e ut we a e t e e sa e n e s on t e s a

d lt r v r l fth m by h dd i tio f fl t d h rp t h
.
,

an a e se e a o e t e a n o a s an s a s, us

we o ly d i tort h m lody b yo d r cog i ti o b t i c

not n s to b m i t e e e n e n n, u t e a se s e us c
ll f
at a h ot th y follow
or t e oth r h v co ct io
n co m m o
e s as e o n e an e a e no nne n, no n

bo d f i o to p k I oth r word th y i h y
n o un n, so s ea n e s, e are n no e

Fro v ry cy c h c i ty f h r l ti o h ip f
. .

55 m h i f f m i t e e n an o us t e ne e ss or t e e a ns o
ot to oth r h lw y b f lt th o gh h d gr f r l ti o hip
.
,

n es o n e an e as a a s een e u t e e ee o e a ns

t r h v d i ff r d h p rogr d I i m od r
,

and i ts na u e h a e e e as t e art as e sse n ts e n s e ns e

K y m y b th dfi d
.

e a e us e ne

A coll ecti on of tw e l ve n ote s w i th i n th e compass of a n octa ve , of w h i ch th e fi rst

i s cal l ed th e TO N I C , or KE Y N O TE, to w h i ch n ote th e o th e r e l eve n be ar a fi x e d -

a n d defi n i te re l ati o n sh ip

td t tr b r t t t d fi t o do ly t t
.

5 6 Th e s u e n m us e m e m e ha hi s e n i i n e s n o t im
p h a

c t wt co oct v o ly t t
.

al l m usi i n o n e k e y m us l i e i h i n th e m p ass o fan a e , b ut n h a al l

ot d w t t t co C
,

th e n e s use i n o n e k e y can be fo u n d i h i n h a m p ass In th e k e y o f ,

t c ot C to c q lly to c w t r
.

fo r i n s an e , th e n e i s th e n i , b ut i t i s e ua th e ni h e h e i t b e th e
low t or
es g tC
th e h i h e s k ybo rd or C ly g b tw
o n th e e a an y in twoe e e n th e

d tl r c l d v lo t od r c
.
,

5 7 Th e fun am e n a p i n i p e fo r th e e e m
p en of m e n m usi
c ot b tt r t t d t word H l olt
.

be h an i n th e s of z ( S e n sati o n s o T
an n e e s a e e mh
f o ne,

p 38 3 ) wo to
Th e h l e m ass o f n e s a n d th e co ct o r o
nne t
i n o f h a m n i e s m us
t d clo lw y d t ctly rc t bl r l t o to o
.

s an in a se an d a a s is in pe e p i e e a i n sh i
p s me
arb tr r ly l ct d to c
i a i se e e ni to w c or
an d th e m ass o f ne w ol
h i h f m s th e h e co m
o to t d v lo d o to c t fi lly r t r to
,
”
p s i i n m u s b e e e p e fr m th i s n i , an d m us na e u n it
co b t o or t two ot rr g d
.

58 A m i n a i n o f m e h an n e s i n th e sam e k e y, a an e

c rt fi d r c l to l d c ll d C v y
.

on e ai n xe
p i n i
p es no w b e e x p ain e , i s a e a H O RD E er
c ord d by l c g w r t t r ot bov ot r
.

h is m a e p a i n n o t fe e h an h e e n e s o n e a e an h e at an
t rv l t rd t r jor or or
in e a o f a h i , e i h e m a m in low t ot o w c
Th e es n e , up n hi h th e
c ord b lt c ll d o ly two t rd lcd bov
.

h i s ui , i s a e i ts If n h i s a re p a e o n e a e

M
—
l uch tro ub e
l d d d d g
i s so m e tim e s dd
fro m th e w o r R o o t b e i n use i n tw o se n s e s
l ca use t o s tu e n ts
b y th e o ri sts a s th e o w e s t n o t e o f a n y co m b i n a ti o n o fth ir s, a n d a l s o as th e fun am e n t a t o n e

d ll k l ll
d d v d d v
i n th e k e y fro m w h ich th e co m b i n a t i o n i s h a rm o n i ca y e ri e d In o r e r to a o i co n fus i o n . ,

th e w o r R oo t w i

il q i dd
i n th i s b o o

l l d
w i ch th e co m b i n a t i o n i s u ti m a te y e ri ve
h
W l b e co m e u te cle ar as w e p ro ce e
d
a w ays b e e m p l o y e
l w i ll b e ca l e i d
i n th e fo rm e r se n s e a n d t h e n o te fro m
i ts Ge n e ra to r Th s is ti n ctio n
.
,

.
Ch ap . III ] . I TS TH EO R Y AND PR A C TI CE .
33

an oth r m k i g i ll th r ot h ch ord i c ll d T i d I h b
e a n n a id
ee n e s, t e s a e a r a t as e e n sa
t h t h w h ol co t t f k y d v lop d fro m h to ic or k y ot
.
,

a t e e n en s o a e are e e e t e n e n e.
W t h r for b g i by m k i g ch ord h to i c d h ll ch oo
-

e e e e e n h k y a n a on t e n an s a se t
r q iri g fl t or h rp
e e
f C m jor
,

o a as e u n no a s s a s

t k C root t rd jor or or bov t

.
,

5 9 If we d p a h i ( m
e m i ) i
as a h an ut a a n a e t, at
ot w i ll b i h Eqor Eb A oth r th i rd bov Ehwi ll giv ith r G hor
.
,

n e e e t er . n e a e e e e

d bov E7 w h ll g G b or G h H to k ow
'

Gi
t an a i h e w e s a et e t er ow are e n

v ri o ot to l ct H r — t r h r l fi — g id W
.

w hi ch f t h
,

us n es se e ? e e na u e e se s o ur u
o e se a e e
h v l r dy t t r c t c G b d h m j or
.

a e a 3 6
ea) h h p f t fi f
se e n h i h i a t e e e t h s ase an t e a

th i rd ( Eh) h fir t w o d g r t d from C h oct v b i g

are t e s ne s un s en e a e , t e a es e n

m r ly r p t i t i o
e e f he m eo d d iff r t p i tch I t r h fi fth
ns o t e sa e s un at a e en n na u e t e
i p rod c d fir t d th h th ird
.

s u e s , an en t e

I 8 5

b ut as a ch ord i s ma d by p l c i g th i rd
e a n s one a bov e an oth r w e rr g th e te a an e e se
ot pl c t h m y pi tch lo g t h i r r l t i v p o i ti o t
-

n e s. We can a e e at a n so n as e e a e s ns o
root d i t rb d g
,

th e are n o t s u e , e . .

At w i ll b (a ) h c h ord f C i i t clo t p o i ti o Th t d t
e se e n t e o n s se s s n. e s u en
w il l oti c t h t h ch ord m rk d co t i h 4 h 5 h d 6 h ot f h
n e a t e a e n a ns t e t t an t n es o t e
h rm o i c ri giv i 36 A ll t h p o i ti o ( wi ll b h ow l t r )
, ,

a n se es en n e se s ns as e s n a e are
q lly good b t h ch ord i h m i ch i t c At (b) w ill b
.

not e ua u t e s t e sa e n ea n s an e. e
se e n w i d r p o i t io f h m ch ord It w ill b r m m b r d th t h
e s ns o t e sa e e e e e e a t e
i t rv l fro m C to G i lw y p rf ct fi fth d fro m C to E m jor th ird
.

n e a s a a s a e e an a a

m tt r h w m y oct v p rt t h ot m y b S lo g t h r
, ,

no a e o an a es a a e se n es a e o n e e
for G d E a both p l c d b C h ch ord i ti ll com m o ch ord
e as an re a e a ove t e s s a n

d i c ll d ft r i root h ch ord f C i f i t h r E or G w pl c d
, ,

an s a e aB e ts t e o ut e e e re a e
b l w C w h o ld g i v r io f h c h ord w hi ch w i ll b ok l t r
.
, ,

e o e s u
p f et n e s ns o t e e s en o a e
th i c h ord f C m jor l i ttl clo r
, , .

6 N w l0. mi o e t us e x a ne s o a a e se .

w ll
It i b e se e n h a th e t t
3 rd s two of wh i ch i t i compo d t f th e
sam e ze Si i
Th s i s o e cause th e fifth
.

o f y mm
e ve r h d m b p f co
s
on c or
se are n o
ust e a
o
e r e ct
jor th ird bov oth r w Sh ll
.

rom ”
Q

fifffi f 1 8 t 00f If ’

a s one a e an e e a

ge t t h co m b i t i o
e na n if w t k i t d f two m jore a e, ns ea o a ,

two m i or th i rd w n B ot h th ch ord w ill b m t w ith

s e e se s e e

l t b i th r f t
a e r, ut n e h d H c g oth r r l to
e o c or en e we e t an e u e
h lp
.

e mm h d i
us mpa cod of m j d mi h i d pl
on c or d s co a a or a n a n or t ace o ne

h m j or t h i rd i
o se r

b h
a o ve a n ot e r If i h pr tc h low r i as n t e e se n a se t e a s t e e e

t bov h root h c h ord i c ll d m jor c h ord If h m i or t hi rd i

.
, , , . .
,
ne x a e t e , t e s a e a a . t e n s

h c h ord i c ll d mi or c h ord Th t rm m jor t e s a e a n . e e s a

i d to k y i d i c t h t r f h ch ord th to i e e s n a e t e na u e o t e on e n c.
34 H A R M ON Y [C h ap . III .

For m rly th k y th t w w c ll C m jor d C m i or w r d crib d

e e e s a e no a a an n e e es e as
“
h k y f C w i t h h gr t r t h i rd h k y f C w ith h l r “
”
t e e o d t e ea e an t e e o t e e sse
th ird A pr t co c r d o ly wi th h m jor k y i w h i ch h
t e se n we are n e ne n t e a e n t e
ch ord f h to i c i lw y m jor
.
,

o t e n s a a s a

t— d t w i ll ot i c t h t i th i ch ord f C m jor th ot C i
.

6 Th 1 e s u en n e a n s o a e n e s not
o ly h th t i h low t f h t h r ot rr g d i t h i rd —b
.
,

n t e root a s, t e es o t e ee n es a an e n s ut
a slo h g t e th t i h ot f w h i ch h oth r two E d G
e ne rato r a s, t e n e o t e e an a re
u pp r pe rt i l A ah w h ol f
a s k y i d v lo p d fro m
s h t e
pp r i l e o o ur e s e e e t
,

e u e
,

art a s

( or h rm o i c ) f h to i c w h v to look t o h rm o i c ri ( 3 6) to
.

a n s o t e n e a e o ur a n se es
t thi rd bov G Sh ll w t k B b or B W l ct B ?
,

fi d h
n t e nex a e . a e a e e se e

b c i i th t w to g r t d from C i 7 h rm o i f t h i
e ause t s e nex ne ne e ne a e as ts t a n e or s
r o i t k p r c d c f B i} w h i ch i t fo d t i ll h 5 h ot f h
,

e as n t a es e e en e o , s no un t e 1 t n e o t e
h rm o ic
a ri wh r n se i h l t c h p t r i i h fi ft h h r m o i c
e s, e e , as w as se e n n t e as a e t s t e a n

f G th r for— o ly co d ry h rm o i c f C Th f
,

o d i an s e e e n a se n a a n o us ar o ur
f d m t l ch ord th—t i ch ord co m p o d f h h rm o i c fi f d
.
,
“
un a en a a s, a se o t e a n s o ts un a
m t l to
en a or g r tor i lw y h m to h i t rv l i co t i
ne, ene a s a a s t e sa e as t e n e a s t n a n s,

th e se b i g i v ri bly m j h i d p y fifi h d m i
e n n a a h fro m h
a a or t r e r e ct
‘
an n or se ve n t t e
f d m t l to i t rv l c ot b too cl rly d tro gly
, ,

un a Th
en a ne e se n e a s an n e ea an s n

imp r d h mi d f h t d t
.

e sse on t e n o t e s u en

Wh w co m to dd oth r th i rd bov th 7 th ch oi c o ff r
.

6 2 en e e a an e a e e a e e s
it lf W i th r t k m i or 3 d ( Db h 7 h h r m o i c ) or m jor
.
,

se e ca n e e a e a n r t e 1 t a n a a
i th h rm o i c ) If bot h t h ot w r p i m y h r m o i c
.
,

3 d ( DU h
r , t e n n a n . e se n es e e r ar a n s,

h o ld h v h i t t i o i ch oo i g D b c rl i r h h rm o i c
w e s u a e no
H h es a n n s n , e ause t e ea e t e a n s

a re p rod c d h tro g r th y t r lly

u e t d t h r for
e s h m or cl i m
n e e na u a are , an e e e t e e a
t h y h v to p l c i h k y B h l t ch pt r 3 7 ) th t
,

e a e a w i a e n t e e ut w e sa n t e as a e a

d y h r m o i c b i g h t h i rd h r m o i c f G cl i m
.

Dbw as a secon ar a d i n , e n t e a n o an ts a s

m y t h r for b r g rd d b l c d by h f ct th Db th o gh p rod c d
,

a e e e e e a e as a an e t e a at u u e
m ch h i gh r p h ri i p i m y h r m o i c d p r i g fi f d
,

u e u t e se e s, s a r ar a n an s n s o ut o ts un a

m t l to wi th— o t th i t rv ti o f y oth ot W t h r for t k

,

en a ne u e n e en n o an er n e e can e e e a e
i th Db or D n h m i or or h m j or i t h fro m C lt r t iv ly ; b
.

e er t e n t e a n n -
a e na e ut w e

c ot t k both i th m ch ord Thi wo ld p rod c d i cord t ch i c lly

an n a e n e sa e s u u e a
-

s e n a

k ow fl r l t i o by wh i ch i h r m t t h t two ot ch ro m ti c
.

”
n n as a se e a n, s e e e an a n es a a

se m i to di t t from ne oth r c ot b d i h m ch ord

s an o n e an e an n e use n t e sa e .

63 . look t th i ch ord f w h v m d it
Le t us n o w a s as ar as e a e a e

T fir t ch ord ( ) i th ch ord f h m i
he s i h co i t i g f h s h
a s e o t e n or n nt ns s n o t e t
d 7 h h rm o i c ( ll p i m y ) f h g r tor Th co d
, ,

3 d 7 h
r , t an 1 t a n s a r ar o t e e ne a e se n

ch ord ( b) i h ch ord f h m j i h com po d l ik th t f h m i or

.
,

s t e o t e a or n n t se e a o t e n

i th d 7 h h rm o i c f h g r tor ( h i ) b t l o
, ,

n n f h 5 h 3 d o t e t r an t a n s o t e e ne a t e to n c u a s

co t i i g co d ry h rm o i c—DHh th i rd h rm o i c f h dom i t Th
, , , ,

n a n n a se n a a n , t e a n o t e n an . e

r o w hy h r m o i c f h do m i t r th th f y oth r ot i t k
e as n a a n o t e n an a er an o an e n e, s a en,

i b c h do m i t i h fir t w ot g r t d from h to i c I h
,

s e ause t e n an s t e s ne n e e ne a e t e n n t e
ch ord ( b) h p rim ry h r m o i c f h g r tor p ri t d m i br v
.

t e a a n s o t e e ne a are n e as se e e s,

an d crotch t h d ( ) i d to i d ic t co d ry h rm o i c
a e ea a s use n a e a se n a a n
*

vi d t th t i fw co t i to b i ld p ch ord by thi rd th
.

6 4 It i s e en a e n n ue u u o ur s, e
t ot bov D w ill b F d h t ot bov F wi ll b
.

nex n e a e A e an an t e nex n e a e e an

i th l t c h p t 44 ) t h t h p r i m ry h r m o i c F
.
,

B i w
ut t as s e e n n e d
as a er a t e a a n s, an

an d A ( h h d 3 h pp r p rt i l
t e 1 1t f C ) w r bot h too m ch
an I t ft u e a a s o e e u o ut o un e
to b v i l bl i h c h ord f h k y I w l o h ow th t h co d ry
,

e a a a e n t e s o t e e t as a s s n a t e se n a

h r m o i c d ri v d p r im fro m G w r ffic i tly i t to w r

.

a n s, e e as es e e su en n un e an s e o ur

p r
u p o Th r f
se .or w t h t h v oe ec b g ( w i t h h
e, no m jor 9 h ) to a we a e
,

n e e un t e a t
emp loy co d ry h rm o ic w w i ll co t i w i t h th m For h i t rv l f
se n a a n s, e n n ue e . t e n e a o

fi l r d d Q
l d g d l d d
It h as b e e n al e a y sa i i n 40 th a t th e se h i h e r h arm o n i cs can o n y b e h e ar , i f at al l ,
b y arti c ia a i d It m us t th e re fo re b e cle ar y un e rs to o th a t t h e se n i n th s a re use b y co m
o se rs n o t f l
o r p h ys i ca b ut f
g
.

q
o r aes th e ti c re aso n s se e t h e
(
l H l l i Q
g
uo ta ti o n fro m
l e m h o tz n

h e e x p la n ati o n o f th e ir h a rm o n i c o ri i n i s n o t o n t h at a cco un t th e e ss us e fu , as s h o w in th e
i r
re la t o n to o n e an o th e v
o ft h e t i
a ri o us n o e s n a k e y .
 Ch ap . [7 5 TH EOR Y A ND PR A CTI CE .
35

th e 1 1 th w e r o c G tk
a e FU th e 7 th h a m n i o f , an d n o t F‘l , th e i sth , fo r th e
R
’

m r o f w c took p
sa e e as n or hi h we v t CB? an d n o t B t fo r th e se e n h o f
) Th e
t h irt th f h to ic A i vid tly h i th f h do mi t d l ik h
.

een o t e n s e en t e n n o t e n an an e t e
i t rv l f h 9 h fro m h to i c i i t h r m i or or m jor h for m r
, , , ,

n e a o t e b t t e n t can e e e n a t e e

( Ab) b i g h 7 h h r m o i c f h do m i t d h l tt r (A h) b i g
, ,

e n t e 1 t a n o t e n an an t e a e e n a

co d ry h r m o i c f h do mi t d t h r for i y h rmo ic f h
,

se n a a n o t e n an an e e e a te rt ar a o t e
to i c , n
n
t th i rd bov A wi ll cl rly b C I i i mpo ibl to h v C 1;
.

6 5 Th . e nex a e ea e . t s ss e a e

or C b b c i wo ld m k e fl
aus e r l ti o w ith h g r tor Th
t u a e a se e a n t e ene a
ot m t th r for b C t r l d h r i ft h ird w i ll b gi ov r g i
, . e
n e us e e e e na u a an t e se es o s e n e a
For th i r o h t h i rt t h i h h igh t i t rv l th t b p l c d ov r
, a n .

s e as n, t e een s t e es n e a a can e

yf d m t l to
a e e
an un a en a ne.

66 W h v w co m p l t d th
e to i c ch ord by b ild i g p ov r i
a e no e e e n u n u e ts
f d m t l to y th i rd ot h r W w gi v
.

un a m en a b p n e as an s a s ca n e ut o n e o n an e e no e
h co m p l t c h ord p tt i g h lt r t i v m jor d m i or 9 h d 3 h
.

t e e e u n t e a e na e a an n t s an 1 t s
i d by i d d d i t i g i h i g p r i m ry co d ry h rm o i c by w hi t d
,

s e s e , an d s n us n a an se n a a n s e an
bl ck h d
a ea s.

w ll w ll to r
It i b e e b r t t v ry t rv l t c ord to
eme m e ha e e i n e a o f hi s h cl d g up an d i n u in
th e m i nor t d by r ry r o c
n in h i s m a e a p im a d t l to
h a m n i o f th e fun a m e n a n e , an d

t t t rv l bov
h a al l th e i n e a s a or t
e th e m i n or d by co d ry r o c
n i n h are f m e se n a ha m n i s
v ry d t l c ord r ry r o c co
.

In e e fun am e n a h ( se e th e p i m a ha m ni s m e i n th e
sam e ord r e —5 , 3 , 7 , 1 7 co d ry r o c do
an d th e s e n a ha m n i sc t g th e sa m e , e x e p i n
t t fir t t
h a th e ot
s o f h e se n r o c
e s—th e sth h a m n i r d t l to
o f th e upp e fun a m e n a ne

c ot
an n d bc
b e us e , e ause i t wo ld k u l r l to wt
ma e fa s e e a i nr ry i h th e 7 th p i m a
r o c w c
ha m ni , lr dy
h i h is a e a c ord
in th e h ow t t t
It w as sh n in 6 1 h a in h is
c ord C c v b b ld g r o c C took
.

h of w hi h w e ha e e en ui i n up , B b , th e 7 th h a m n i o f
rcd c r o c G b g lr dy c ord
,

p e e e n e o fEh, th e sth h a m n i o f an d B b e in a ea i n th e h
h Hv g r
B i s p e m an e n tly cl dexd ro
u e f m it
t d v l bl r o c r o rc C d tl
.

67 a in e x h aus e th e a ai a e h a m n i es u e s of as a f un am e n a
to t look l w r t r l to co l t
.

n e , w e m us e se h e e fo r th e m a e i a s m p e e o ur k e y It h as
b lr dy d t t w ol r g to c t r or
.

e en a ea sai h a th e h e k e y s p i n s o ut o fi ts ni h e e f e w e co n
t wt
in n e r o c do
i h th e h a m n i s o fth e t G t b g fir t
m i n an , ot
hi s e in th e s new n e
g r t d ro d t l to C t r or r t r l t d to C
,

e ne a e f m th e fun am e n a ne , an d
h e e f e th e n e a e s e a e
v d tly by t k g G g r tor ll obt c ord co t g
.

E i en a in as a e ne a w e sh a ai n a h n ai n i n

r c ly
p e i se t rv l ro G t o co t d
th e sam e i n e a s f m as h se c ord C w c
n ai n e i n th e h of hi h
v lr dy co tr ct d dl to go g t by t t ro g
,

w e ha e a ea ns u e It i s n e e e ss a ai n s e p s ep h u h
roc b ld g t c ord t t C bc
.

th e p e ss o f ui in up h i s h , as w e d id h a o f , e ause a l l th e

r o g r lt w ll r c ly l r
e as n i n s an d al l th e e su s ll
i b e p e i se si m i a b orWe sh a fi n d , as e f e ,
t t t rv l to or w ll r ry r o c G
.

h a all th e i n e a s up th e m i n 9th i b e p i m a h a m n i s o f , a nd
al l abov or w ll
e th e m i n 9 th co d ry r o c t t to
i b e se n a h a m r o c
n i s, h a i s say, h a m n i s

o f D, th e fit G fh o f w ol do
Th e h e o fth e t c ord w ll t r or t
m i n an
. h i h e e f e b e h is

Th e lt r t i v 9th d 3 th
a e na b for p t id by id
e s an 1 s are as e e, u s e s e.
6 8 I w i ll b t h t v r l f h ot fth i ch ord h v b lr dy
,

t e se e n a se e a o t e n es o s a e een a ea

w i th i h to i c c h ord co d ry h rm o ic Th r i f ct o ly
.

m et n t e n as se n a a n s. e e are , n a n

two ot Eh d Eb wh ich b ol t ly w b i w i ll b h ow l t r
,

n e s, an are a s u e ne ut t e s n a e

wh h bj ct f h tr t m t f th ch ord i d lt w i th t h t h ff ct , ,

en t e su e o t e ea en o e se s s ea a t e e e

f ot wh ic h look h m p p r m y d iff r t ir ly ccordi g to th ir

,

o n es t e sa e on a e a e en e a n e

surro d i g un n s

k y d fi d coll ct o ot w t
.

69 I 5 5 w n i f wal i
e h i h as e ne as a e n o t e ve n es n t e
com p f oct v If h t d t w i ll m i h co m pl t c h ord f h
.
,
”
as s o an a e t e s u en e xa ne t e e e s o t e

to i c d do m i t wh ich w h v b co tr ct i g h Will t h t h v
.

n an n an e a e een ns u n , e se e a we a e
36 H A R M ON Y [Ch ap . 111 .

as o ly l v W h ll h v to t k om oth r f d m t l to t
ye t n e e en e s a a e a e s e e un a en a ne o
obt i th dd iti o l ot J t w took h domi t ft r h to i c
.

an e a na n e us as e t e n an a e t e n as
th fir t ot pr i gi g from t h t g r tor w w t k h p i
.
,

e s ne w n e s n n a e ne a so e no a e t e s u e rton c,

h fi ft h f h do mi t f h m r o Som f h p ri m ry h m o i c
,

t e o t e n an or t e sa e e as n . e o t e a ar n s

p rto i c h v lr dy b m w i th co d ry h rm o i c i h
,

ofh t e su e n a e a ea een et as se n a a n s n t e
domi t ch ord j t h h r m o ic f h domi t w r
n an i hus pp r as t e a n s o t e n an e e se e n n t e u e

p rt f h to i c c h ord p rto i c c h ord w i ll b co tr ct d i p

,

a o A h t e n s t e su e n e ns u e n re

r h to i c d domi t ch o d i t i cl th t i w i l l
.

i ly th
c se m m e sa e an n e as t e n an n an r s, s e ar a t
c t i ctly th m i t v l
on a n e x a e sa e n e r a s.

H w fid e re ot (Ffl) wh i ch w t i i th fth pr i o ly co t uct d

e n one n e as n o n e e ro e ev us ns r e

ch ord d wh i ch comp l t h tw lv ot q i r d f h m t ri l f h
s, an e es t e e e n e s re u e or t e a e a o t e
k y e W c ot t k y ot h
e f d m t l to
an n th t h th r i k y
a e an er un a en a ne an e se ee n a e

w i th o t g tti g m th tw lv ot i h k y For i c w h v o ly
.

u e n ore an e e n es n t e e s n e e a e n

tw lv mito i h oct v d th lr dy giv from or oth

.

e e se nes n t e a e an e se a re a ea en o ne er

f h th r g r tor w h v t k i i cl r th t y w ot i trod c d
,

o t e ee ene a s e a e a en, t s ea a an ne n e n u e
i to h k y m t b
n t e ot d i t t by l t h
e us m i to fro m o m
e a n ot e s an e ss an a se ne s e n e
a lr dy i h k y If f m pl w t k A h s h fD
ea n t e e g r tor o r e xa e, e a e t e t o as a e ne a

i m jo t hi rd w i ll b C w h v l dy Db i h k y h m i o
.
, , , ,

ts a r B e ut e a e a re a n t e e as t e n r
i th f C; d b tw h rmo ic d i i
,
“
C it d Db i
”
n n o an h e een an s t e en a n es s

Th i i t rv l b i g m ll
s n e th a m i to c ot b d Th g r l r l
e n s a er an a s e ne, an n e use e e ne a u e
m y b th ttd N
.
,

a e hi h
us s a e h m i f h ob htw o n ote s w c a re e n ar o n cs o on e an ot e r ca n ot

b e used i h h d fth n m h y fi“ H c t h o gh w
t e c or s o d do m p loy o m
e sa f e e en e, u e can an e s e o

t eh h rm o i c fA
a co d ry h r m o i c f h p rto i c D A c ot b
n s o as s e n a a n s o t e su e n an n e
m p loy d g r tor i h k y f i wo ld b i m p o ibl to b i ld
, ,

e e as a e ne a n t e e ; or t u e ss e u a

f d m t l c h ord p o i wi t h o t i trod c i g th m jor 3 d C fi w h i ch i

un a en a u n t u n u n e a r s

cl d d by h Db lr dy i h k y I h m y E g r tor
, ,

ex u e t e a ea n t e e n t e sa e wa as a e ne a

wo ld giv G it h h rm o i c f Ab f h p r i m ry h r m o i c fG
.
, ,

u e t e en a n o on e o t e a a n s o

Th i i h r o h y w t k D h t g r tor ft r G lth o gh E
.
, ,

s s t e e as n w e a e as t e nex ene a a e a u as

h s h h r m o i c i d r i v d fro m h to i c m c h rl i r t h D h 9 h h
, ,

t e t a n s e e t e n u ea e an t e t ar

mo ic h ot h r h d i f t k F h bdo mi t g r tor i
, ,

nO n t e e an we a e t e su n an as a ene a ts
m i or i th G b i h h rm o i c f F h m j or t h i rd f D I i th r
.
, , , ,

n n n ,
it , s t e en a n o , t e a o . t s e e

for obvio ly i mpo ibl to co ti h i f g tor by fi fth y

e us ss e n n ue t e se r e s o e n e ra s s an
f rt h
u i t h r p w rd or dow w rd
e r, e e u a s n a s.

7 H r i m y t r lly b k d Why t t k h fi fth b low h to i

0 e e t a na u a e as e no a e t e e t e n c

f h f d m t l to h k y i t d f h fi ft h bov
.
,

as o n e o t i e un a en a h ne s n t e e ns e a o t e a e t e
domi t h h vi g h to i c c tr w ith h dom i t fi fth b i
,

n an t us a n t e n as a en e, t e n an a a c t,
bdo mi t fi fth b low i ? Th r o w i ll b m or cl rly
,

an d h t e su n an a e t e e as n e e ea se e n
w h w co m l t r to co id r h d iff r t ch r ct r f to i c d do m i t
en e e a e ns e t e e en a a e o n an n an

h rmo y (
a C h p t r IX ) f h p t i w i ll fli to y th t h b
n se e a e or t e re se n t su ce sa a t e su

domi t w o ld b h f d m t l to fwh i ch h to i c p ri g i t h i rd
.

n an u e t e un a en a n e o ut o t e n s n s as ts
h mo i c t h t i to
ar n y h to i c h h am r l t i o
s to h bdo m
sai t t e n as t e sa e e a n t e su n an as

h do m i t h to h to i c d i f th bdo m i t b t k g r tor
,

t e n an as t e n an e su n an e a e n as a ene a
i n h k yt e h to i c o c i k i to
e t ebord i t p o i t ion ot at n e s n s n a su na e s n , as a n e

g rtd f h ot h r ot h k y i t d fb i g h o rc
,

e ne a e f o ut o i one o t e e n es n t e e ns e a o e n t e s u e
wh c h w h ol m t ri l f h k y i d ri v d
,

en e t e e a e a o t e e s e e
coll ct d d vo r to rr g i ord r h m t ri l f
.

7 L 1 e t us no w e an en ea u a an e n e t e a e a s o
k y f C m jor h v obt i d i fro m h t h r g r tor C G
.

o ur e w o a as e a e a ne t t e ee e ne a s

For t hi p rp o w hi bi t h t h r f d m t l c h ord i d by id
, , ,

an d D . s u se e ex t e ee un a en a s s e s e .

l
It wi l b e se e n ate r ha th e a p are n t i o l
i tt t v l ti ons o f this rl u e by co m p o se rs are me re y l
g
a
e xam p le s o fco n ve n e n t n o ati o n se e
(
C h ap . 173 TH EOR Y AND PR A C TI CE .
37

w ll ot c d t t do
It i b e n i e h a th e t c ord wr tt
m i n an h o rt b lo
is to c
i e n a f u h e w th e ni ,
t d fi t bov
i n s e a o fa fh a e ly co v c oct v w c
Thi s i s s i m p fo r n e n i e n e th e a e in hi h
c ord t k k d r c or g t l o ob rv d
.

a h is a e n ma e s n o iffe e n e i n i ts i in It m us a s b e
G
se e
t t g r ot C rto c c ord d r
.

h a th e h i h e n e s, E, an d Bb o f th e su e i h al l iffe
p n
l g tly tc ro corr o d g ot
,

to c c ord w t k
,

s i h i n p i h f m th e e sp n i n n e s o fth e ni h hen a e n
i n th e sa m e oct v By a e l r l gv
th e h e p o f th e u es td t ,

i e n i n § 4 7 , th e s u e n can
ly c rt o t d r c w c v ry c ll
.

e asi as e ai n th e am un o f th e i ffe e n e , hi h is in e e ase so sm a

t t
h a w e can a f ord to d r g rd
f is e a twoi t, th e b g ’ ’
r ct c l
C s, E s , & c , e in fo r al l p a i a
r o d tc l
.

p u p se s i e n i a
tw lv ot w c o t r c ord g v
.

7 2 If w e e x am i n e th e e e n es h i h f rm th e h e e h s i en
bov w ll t t v t v cc d t l b or t
.

a e , it i b e se e n h a se e n o f h e m h a e n o a i e n a s e f e h e m,
l
w h i e , o f th eot r o low r d
h e fi ve , f ur are to by
e e a se mi fit
ne a flat, an d th e fh i s
rai se d to by
a se m i ne r a sh a p v ot v g cc d t l c ll d
Th e se e n n e s h a i n n o a i e n a s are a e
ot by w c r t ot ccord c w t g tr
.

di a to n i c n e s, h i h i s h e e m e an n e s i n a an e i h th e si n a u e
o f th e k e y ; th e fi ve w c v cc d t l c ll d
h i h h a e a i e n a s are a e ot ch rom at i c n e s, i e ,
ot w c g v colo r lg t d to
. .

col o uri ng n e s, h i h i e th e u , th e i h a n d sh a e th e k e y As
v ry g rtd to c C
.

e e k e y is e n e a e o ut o f i ts ni i n th e sam e w ay as th e k e y o f , i t
f ollow t t s h a e ve ry hey con ta i n s seve n dia ton i c a n d fi ve ch ro m ati c n ote s
w ll rr g tw lv ot w c v — obt d
.

7 3 We i n o w a an e th e e e n es hi h w e ha e ai n e i n th e
C t r ord tc b g g w t to c t l ot
.

k e y o f in h e i e r o f pi h , e i n n in i h th e ni i se f C Th e n e
r t bov C v d tly v or t o c d t t
.

ne a e s a e is e i e n D b , an d w e h a e m e h an n e sai ha th e
oct v w c ot l d do
a e in h i h a n e i s p ace ct tr
e s n o t af fe t lt o g
i ts n a u e 8 0 h at a h u h
or t jor t C c ord
.

D b i s th e m i n n i n h an d Duth e m a n in h o f in h b ui l di n ye t, as
t ot o dwt l t oct v ro C i
-

h e se n e s can b e f un i h i n th e i m i o f an a e f m ( se e we
p lc t
a e h e m ad t c
t a i s an e o to
f a se m to r ct v ly ro
i n e a n d a n e to c
e s p e i e f m th e ni

roc d to g v tw lv ot t r r g l r ord r g bl ck
.

We n o w p e e i e th e e e n e s in he i e ua e , usi n a

d c ro t c ot l c g d r c ot l to
h e a s fo r th e h m a i n e s , an d p a i n un e e a h n e th e e x p an a i n o f
i ts or g i i n i n th e k e y .

9 l

m
6
3
1
1 l
i p o
o
u
0 0 i

y 3 3 o
1 q
0 o
0 n
5 t
3 g
1 u
a
n
i
“

w ll t t o t d l to r y
It i b e se e n th a all h e se n t e s are e i h e r fun am e n ta n e s, o r p i ma
r
ha mr o c i d t l to
f fu ttd
m n a n el j t
a s s a e i n § 45 T h e sc a e u s g i yen i s

j t
n s o a n a e
l d cl C co t t r ly to
.
,

th e ch ro m ati c s a e o f It n si s s e n i e o fse m i an d , us
ca l e ne s
as

t l co t v d to c c ro t c ot c ro tic
.

th e k ey i s e f n a i n s s e e n i a n i an d fi ve h m a i n e s so th e h m a

c l co t v d to c c ro t c ito
,

n ai n s s e e n i a n i an d fi ve h ma i se m nes

o t ro bov c l c ro tic ot
s a e
e s, w e g e t th e
.

I f w m i f m t h e a e s a e all th e h ma n
74 e

d to c c l C j or
.

ia n i s a e 9 ) o f m a .

Se mi to n e
—
.

Th i c l co i t
s s a e f cc i o fto ns s s od di a su e ss n o n e s an a to cni f h
se m i to fi nes ve o t e

for m r d two f h l tt r
e an Th m i to o t e a e e se n e s are fo d b tw
un h 3 d de een t e r an

d 8 h d gr cl d h p o mo mi
.

f h t e f h t e se
4 h
t d h 7 h t t t an s n o
an e t an e ees o e s a e ;
to w i ll b
n e s, as l t r wh w co m to he se e n a e en e e t e m i or k y d t m i
n h e ,
e er ne s t e

t r fh c l d fh k y
na u e o t e s a e an o t e e .
‘

A v
g s e e rydd r
to n e co n s i s ts o fa ia to n i c an d a ch o mat ic sem i to n e , ( Q i t i s clear t at th e
iv dimi iA t
“

e tw o ddi g h
d j fi h m
i
n
fi ve t o n e s to e t h e r co n t a i n fi ve i a t o n ic a d
n ve c ro at c s e to n e s .

scal e , w e g e t a to tal o f se e n a to n c an d fi ve ch ro ma t c
i ato n i c se m i to n e s
se m i t o n e s , as s ta te d o f th e
ab o ve .
ma o r
 3 8 HA R M ON Y ( C h ap . 1 1 1.

75 will w t b ck to h th r f d m t l ch ord g i v i 7
We no urn a t e ee un a en a s en n 1
tr m ly r r to fi d t h ch ord i th i r co m p l t h p p rtly b c
. .

I i t s ex e e a e n e se s n e e e s a e, a e aus e

som f h ot form h r h d i o c w i th—

e o t e n oth res h h a s ss n an es one an e t e 1 1t
w i th h 3 d or h m i o 3 h wi th h fi fh b p rtly l o b c m o t
t e r , t e n r 1 t t e t ut a a s e ause s

m i c i wr i tt
us i h r m o y ffo r p rt
s d co m p l t ch ord f h 3 h
en n a n o u a s, an as a e e o t e 1 t
co t i v ot i i cl r th t l t th r f th m t b om i tt d
n a n s se en n es t s ea a at e as ee o e se us e e

j t h v lr dy h ow th t l l h ot f h k y to b fo d
.

B ut us as we a e a ea s n a a t e n es o t e e are e un
i thn ch ord wi ll w h ow th t l l h h r m o i f h k y
e se s, we no s a a t e a n es o t e e a re
co t i d i t h m A h t r f ch rom ti c ch ord i h k y ( th t i to
n a ne n e s t e na u e o a s n t e e a s

y c h ord co t i i g o m f h c h ro m t i c ot ) h b l d
.

sa s n a n n
y p i s e o t e a n es as n o t e t een ex a ne

w will p k r t o ly d to c ch ord Th t d t w ill t h t

, ,

e p sf h i
ea i at e se n n o t e a n s e s u en se e a

wi th o t i g y f h fi ch rom ti c ot i h k y w h ll fi d m o g
.

u us n an o t e ve a n es n t e e e s a n a n

f d m t l h rm o i com m o ch ord v ry d gr f h c l ,

th e un a en a a n es a n on e e e ee o t e s a e
ex c p t i g h l d i g ot wh i ch b r tri d wh i ch w i ll pl i d i r ctly
e n t e ea n n e, ea s a a we ex a n e

I w i ll b fo d t h t ch co mmo c h o d i d ri v d from h h r m o ic f
.

t e un a ea n r s e e t e a n s o one
ofth t h r g r tor
e ee ene a s.

Th e ton i c ch ord ( , E, ) G co i t f th f d m t l to m j or th ird C ns s s o e un a en a ne, a

an d fit
f h o f th e ni to c ,

F A) i h fi fth v th d m j or i th f h
.

Th e s up e rton i c ch ord ( D, s t e se en an a n n o t e

dom i t
, , ,

n an

h d ( E G B) i h m j or t h i rt th f d m t l to
.

Th m di e e an t c or s t e a een un a en a ne ,

d m j or t h i rd f h do m i t
, , ,

an a o t e n an

h d ( F A C) i h v th m j or i th d l v t h
.

Th bd m i e su o n an
t
c or s t e se en a n n an e e en
f h do m i t
, , , ,

o t e n an

h d ( G B D) i h f d m t l to m j or t hi rd
.

Th d m i e o n a n t c or d s t e un a en a ne , a an
fi fth f h dom i t
, , ,

o t e n an

h d ( A C E) i h fi ft h v th d m j or i th f
.

Th b m di e su e an t c or s t e se en an a n n o
rto c
, , , ,

th e su e
p i n

( B D F ) d iff r fro m l l h ot h r
.

7 6 Th h d h l di g
e c or on t e ea n n o te e s a t e e

ch ord f t h i ri i m ch i do t co t i p rf ct fi fth fro m h

.
, ,

s o s se es n as u as t es no n a n a e e t e
root I i t h r for *
t s mm h d
e e Th i t rv l fro m B to F
e n o t a co on c o r e n e a
b i g d im i i h d fi fth h ch ord B D F i c ll d
. .

e n a n s e di mi i h d i d t e s a e a n s e tr a

ot f wh i ch i i co mp o d h m jor th i rd fi fth d v th f
, , ,

an d h t e n es o t s se are t e a an se en o
h do m i t
, ,

t e n an

7 7 I wo ld b y to h ow th t ll th ch rom t i c co cord i th k y
.

t u e e as s a a e a n s n e e as
w ll l l h di cord wh th r d i to i c or ch rom t i c to b fo d m o g
.
,

e as a t e s s, e e a n a are e un a n

h f d m t l ch ord f whi ch h v b p k i g I w i ll h ow v r
,

t e un a en a s o we a e een s ea n t e e
b m or co v i t to d f r t h i t i l com to d l wi th t h bj ct
.
, ,

e e n en en e e s un we e ea e se su e s.
From wh t h b lr dy id i i ll b r d i ly d r too d th t
a as een a ea k y sa tw e ea un e s a as n o e
co t i m or t h tw lv ot from wh i ch l l h h rm o i f th t k y
,

can n a n e an e e n e s, a t e a n es o a e

are m d d a ll t h
e , an tw lv ot as a d ri v d from f h
e se th r e e n e s are e e one o t e ee

g r tor f h k y h to ic dom i t or p rto ic l l h h rm o i

ene a s o t e e t e n n an su e n a t e a n es

m t l o b d r i v d fro m f th t h r g r tor I h f rth r b

, , , ,

us a s e e e on e o e se ee ene a s. t as u e ee n

se e n th t both h dom i t d p rto i c

a t e lt im t ly d ri v d fro m h
nan an su e n are u a e e e t e
to i c I i th r for from h to i c th t h wh ol m t ri l f h k y i
n t s e e e t e n a t e e a e a o t e e s

d v lop d ; d h v t h t bl i h d h corr ct f h d fi i t io
.

e e e an we a e fus e s a s e t e e n e ss o t e e n n o

{ fy g i v
e i 5 5 en d j t i fi
n d h p r i c i p l ,w h i c h
an w q ot d fro m
us H l m h olt e t e n e e u e e z
m s5 7
H t rto v t c t r ok o ly — t t C
.

7 8 i h w h i h ie h p p e f a k y e h nf s a e s en n o one e a o
l ct io f h to i c i t ir ly rb itr ry y oth r ot th C m y
.

b t u has t e se e n o t e n s en e a a an e n e an a

tk k y ot Th ot h r ot f h k y w i ll b r h
,

b e a en as a e n e m e e n es o t e e ea t e sa e
r l tio to th ir to i c wh t v r th t to i c m y b w h i c h h ot i h k y
-
.

e a n e n , a e e a n a e, t e n es n t e e

r v
As w e h a l y d g dl t
g
ul
e ca re f
d r
i s ti n ui s h e r g
b e w e e n th e t e m s
t g
(5 oo t an d
“
e n e rato r
5 8,

d )
n o te
oe s n o t
t h e e ca n
fi
b e ar a v b e n o o b je cti o n to a p p yi n
pe rfe ct ft h ab o e i t
th e w o r ro o
.
h e re to th e n o te B , th o u h i t
 Ch ap . 111 .
j I TS TH EO R Y AND PR A C TI CE .
39

of C b r to h to i c C W l ct d C to work w ith t fir t b c i th i
ea t e n e se e e a s e ause n s
lo f ll h m jor k y t h r fl t or h r p i h d i to i c c l
.

a ne , o a t e a e s, e e are n o a s s a s n t e a n s a e
d t h r for i h k y ig t r W w p roc d to h ow h i k y
,

an e e e n t e e s na u e e no ee s ow n e s
w i th y oth r to ic t h C h rp or fl t b co m c ry
-
.

an e n an s a s a s e e ne e ssa
d d c d d i to ic c l fro m h ch ord f h k y If
.

79 I 74 n we e u e o ur a n s a e t e s o t e e
t k oth r to i c w h ll v id tly g imil r c l r g rd h
. .

w e a e an e n e s a e en et a s a s a e as e a s t e
ord r f i t rv l t h t i to y h m ito wi ll com b tw h 3 d d
,

e o n e a s, a s sa t e se ne s e e een t e
c l Wh ll h ot
r an
d 8 h d gr trl
,

4 h t d h 7 h
an t f h
e t an t e ees o t e s a e. en a t e n e s are n a u a s,
h
t e se m i to h v l i b tw
n e s , as E d F wed b tw B dC
a e se e n , e e een an an e een an

i f y oth to i c t h C i t k E d F w i ll lo g r b h 3 d d 4 h
.

B ut an er n an s a en, an no n e e t e r an t
d B d C lo g r h 7 h d 8 h d gr f h c l t h r for i f h ,

an an no n e t e t an t e ees o t e s a e e e e, t e
n ot b l ft lt r d h m i to w i ll co m i h wro g p l c A
es e e un a e e t e se nes e n t e n a es s a
m tt r f f ct i h old r m i c ch c l w r d d h d iff r c
, .

a e o a n t e e us su s a es e e use ; an t e e en e
b tw ot h r d i ff r c i h pl c m i to
,

e k y
e en d one e an f h an e w as a e en e n t e a e o t e se n e s.
E c h m od
a i t rm d h d d i ff r t ord r fto
e,
”
as t w as d e e a a e en e o n e s an

I m od r m i c o ly two m od h m jor d m i or m p loy d

,

n e n us n d e s, t e a an n are e e an
h d if f r c b tw m jor k y oth r or mi o k y
,

t e e en e d e een oned a e an an e one n r e an

an oth r i ol ly d i ff r c fp itc h
e s s e a e en e o
,

h d i to i c m j or c l f igh t ot b gi i g from
, .

8 If 0 mi w e e xa ne t e a n a s a e o e n es e nn n
h to i c h ll th t i b d i v i d d i to two ct i o f fo r ot
.

t e n we s a se e a t can e e n se ns o u n es
ch d t h t t h two ct io i t h i r co tr ct i o p r c i ly i m i l r
,

ea an a e se se n s are n e ns u n e se s a
ch co t i i g h i t rv l f m ito b tw h two p p r ot
, ,

ea n a n n t e n e d a o a se ne e een t e u e n e s, an a
to b tw h oth r ot A ri f fo r ot t h rr g d i c ll d
ne e een t e e n e s. se es o u n es us a an e s
G r k word ig i fyi g fo r tri g d h c l co i t f
a e
a T h d
e trac o r a ee s n n u s n s an t e s a e ns s s o
two ch t tr ch ord pl c d bov h oth r w i th h i t rv l f to
-

su e a s a e on e a e t e e t e n e a o a ne
b tw e h h ig h t ot
een f h low r t tr ch ord
t e d h low t ot
es n f th
e o t e e e a an t e es n e o e

pp r Th i to p r ti g h two t tr ch ord i c ll d h to f
,

u “
e s ne, se a a n t e e a s, s a e t e ne o
d i j cti o
.

”
s un n.

ort t to ot c t t low r t tr c ord b g w t

It i s i mp an n i e h a th e
—
eto c
e a h e i ns i h th e ni ,
r wt
a n d th e u
pp e do
i h t
th e fir t
m i n ot
an v vrl
th e s new n e , as w e h a e se e a
t d r g g to c
i m e s s ai , sp i n i n o ut o f th e y t r or l o c ll d
ni Th e m ay h e e f e a s b e a e th e
to c do t t tr c ord
.

ni an d m i n an e a h s
tk G to c or ot r word k r t tr
.

8 1 If w e n o w a e as a ni , in he s m a e th e up p e e a
c ord C low r t tr c ord cl ll t t l v
.

h of th e e e a h o f a n e w s a e , w e sh a fin d h a i fw e e a e
ot
a l l th e n lt r d
e s un a e e r t tr c rd w ll v
th e up pe e to
a ho wro g
i h a e i ts se m i n e i n th e n
lp c a e

H r th m ito i b t
e e h co d d th ird ot f th pp r
e se ne s e we e n t e se n an n es o e u e
t tr ch ord i t d f b tw h t h ird d fo rth T corr ct th i F m t
e a ns e a o e een t e an u . o e s us

w h v m i to b tw l d i g ot
,

b r i d to F
“
e
if
a se d w h , an e no a e a se ne e een t e ea n n e

d C ll
If th e
o th e r n o t e s tha n
l v s tu
l i i l l
ent g wi
he
l
p y a a s ca e o n th e p i a n o , u s i n g o n ly w h i te h e i rs a n d co m m e n cin
,

w ill o b ta in th e ari o us fo rm s o ft h e o l d e cc e s as t ca sca e s .

on

,
4 o H A R M ON Y : tch ap 1 1 1 . .

3) 1 an d i n tth e
h e k e y oto i c
ort t to ot c
f C 3 n I t i s i
as m p an n i e h a th e "
t t
r d ot d g ot t t r bc
,

sh a p e n e n e i s th e l e a i n n e o f th e n e w k e y, an d h a th e sh a p , e ause
b lo g to
it e n s rk d o c
th e k e y, i s m a e g tr
n e f o r a l l i n th e k e y s i n a u e

co t to t k r t tr c or c obt
-
.

8 2 If w e n i n ue a e th e up p e e a h d o f e a h k e y as w e ai n
lo r t tr c ord k c do t to
.

i t as th e we e a h of a new key if w e m a e e a h m i n an i n
a new to c ll cl rly v to trod c r
n i , w e sh a ea ha e r
in u e a f e sh s h a p f o r e a h ne w c
l d g ot
e a in n e t d t r co d d to work
Th e s u e n i s e m m e n e cl o ut al l th e s a e s ri si n by g
fit t r tt r g v bov r lt w ll ollow g
.

f h s af e th e p a e n i e n a e Th e e su i b e th e f in .

It 83 wo ld
u o bl to co t t
b e p ssi e n i n ue r w c t to c
hi s se i e s, o f hi h th e n e x ni

wo ld t wo ld volv o bl r or
.

u be G
co v t t d it b ut as h i s
to t k
u in e th e use o f a d u
r o c
e sh a p , h i s m
c
A b, w h i h fo r al l
e -

n e n ie n i n s e a
r ct c l r o
i u
t
of G
: a e i ts

ot
s e s i s th e sam e n e W
e nh a m n i

v r t r or
e ne e h c c
e e f e fi n d a p i e e o f m usi
p a a p p
wr tt w t j or g tr tog occ o lly
.

i e n i h th e k e y o f ma a s a s i n a u e , h u h th e k e
y i s asi n a

use d i cid t lly i h co r f pi l

n en a n t e u se o a e ce
‘ '

8 4 Al l t h h rp k y h v b obt i d by m k i g h pp r t tr
.

e se s a e s a e ee n a ne a n t e u e e a
ch ord f k y h low r t tr ch ord f h t or i oth r word by
.

o o ne e t e e e a o t e ne x n e s,

m k i g h do m i t f k y h to i c f h followi g Ifw w r v r
, ,

a n t e n an o o ne e t e n o t e n e no e e se

h p roc d m k h low r t tr c h ord i to pp r

.

t e e ss , an a e f tw k y w
e e e a n an u e o ne o a ne e e
d r t r b or b g w t C
,

g te i f
f
a i A f
e en w ise i h h k
e s.y f s e e e e n t e e o .

85 low r t tr ch ord h r w
Ifw e e x am i n e th t i h th e mi e e a e e, e se e a t as n o se
to w l o e th t th r i o ly mi to b tw h two t tr ch ord
.

ne ; e a s se a e e s n a se ne e een t e e a s,
i t d f h to fdi j cti o I f ct h h igh t ot f h low
“ ”
ns e a o t e ne o s un n n a t e es n e o t e er
t tr ch ord i mi to too h igh W t h r for low r th i ot w i th fl
.

e a s a se ne e e e e e s n e a a t,
m ki g i B b c l fF i corr ct J t h c l f G h
.

a n d h t an t e s a e o s n ow e us as t e s a e o t e
fi fth b C r q i r h rp c l f F h fi ft h b l C r q i r
, .
,

a o ve h e u es a s a so t e s a e o t e e ow e u es a
dj t c h dom i t wh t k to i c r q i r d dd i t i o l
, , , ,

fl ; at an us as e a n an en a e n as a n e u e o ne a na
h r p i w i ll b vi d t t h t ch w bdom i t ( h fi fth b low h to i c )
,

s a , t e e en a ea ne su n an t e e t e n ,

O k t
fco urs e ifw e h ad ta dvl d t l v
G as a o n i c an d th e ma e ri a o f th e k e y, we ha
d ld v d jr d D F Fq
en e e o pe as e

one C w i th w e sh o u ha e o b tai n e as th e ma o 3 rd o f th e o m i n an t an d n o t

j l d
, , ,

C
wh i
O ur o b
ch t h e i d d e ct
i k
i n th e te x t i s to sh o w th e
sh arp s are n tro uce id i g
i n th e
c o n n e ct io n o f th e s ca e s o f
se r e s o f e ys we are n o w co n s
and
.

er n
G, an d th e o r er in

l l ll
.

1 Ifw e co n ti n ue th i s s e ri e s to D
# i ts e x tre me i m i t , th e t o n i c w il l be th e n w i l fo
'
ne xt , ow

W C
A
g vé l
it
B an d B
f ; furth e r tha n th i s, b e ca use B is th e e n h a rm o n ic o f
‘ '
e ca n go no an d

l d l fi r d g g g k
.
, , ,

d gfi
w e h a e n o w co m p e te
w i th asc e n i n
th e
v g
ci rc e o f fth s ,
.
as
ft h s Th e i n co n e n i e n ce o fw ri ti n k i t is te m e , o i n
i n th e se e x tre m e
t h ro u h th e s h arp e ys
e ys i s t ha t t h e
y n o ce ss i
 Ch ap . 1 TS TH EO R Y AN D PR A C TI CE .
1

wh tr t d to i c w ill r q i r
en ea e dd iti o l fl If h t d t h f lly
as a n e u e an a na at. t e s u en as u
un d r tood h pl t i o gi v bov i w i ll b
e s t e dl to r p t h p
ex an a ns en a e, t e ne e e ss e ea t
c ffor m i g h c l from h t tr ch ord Th ri fd c d i g fifth
e ro
e ss o n t e s a es t e e a s e se es o es en
wi th t h i r ig t r w i ll b follow
.
n s
e s na u e s e as s

Ton i c . S ig n a ture .

C N o ne .

F Bb .

B l?
Eb B b. Eb, A b .

Ab Bb Eb , . A b. D b .

Db Bb ,

o b B b, Eb. A b. D b. G b. Cb .

C b B b, Eb A b.

co r o bl to co t
It i s o f u se p ssi e r rt r w t
n i n ue th e se i e s f r ky
u h e , as i h th e sh a p e s ;
b ut as so do g wo ld volv
in u in do bl
e th e use o f g tr or
u e flats i n th e si n a u e , i t i s m e
co v t to r o c k y w c co t r For t c
-

n e nie n use th e e n h a m n i e s hi h n ai n sh a i n s an e ,
ps
t d F t t h tk wt ot r
.

i n s e a o fth e k e y o f b , h a o f E i s a e n , an d so o n i h th e he s
o ld ot c d t t g to r r tk g
.

8 6 It sh u b e n i e h a i n p assi n th e sh a p e k e y a in th e
do t to c lw y
n i —i t i s abdo t old w c
.

m i n an as a n e w a s th e su m i nan o f th e k e y h i h is
sh ar d to b co
pe n e e l d g ot co v r ly
m e th e n e w e a i n n e ; an d g to
n e se i n p assi n a
fl tt r
a e key t k g to c
a in th e do
ni t
as a n e w lw y l d g
m i n an , i t i s a a s th e e a i n
not old w c fl tt d to b co
e o f th e k e y hi h is a e n e ebdo t H c
m e th e n e w su m i n an en e
obt y r l fi d g to c or k y
or k e y —
.

we ai n th e e as u e fo r n i n th e ni o f an y m aj th e m i n e s
~

w ll l d l t r ro
i b e e x p ai n e g tr
a e —f m th e s i n a u e r ky l t r
In sh a p e s , th e as sh a p i s
lw y l d g ot ky l t lw y
.

a a s th e e a in n e , an d i n flat e s, th e as flat i s a a s th e s ub
do t
m i n an k ow l d g ot or
W h e n w e n th e e a i n n e bdo tth e su m i n an o f an y k e y,
tt r v ry l c lc l t o to to c
-
.

i t is a m a e o f e si m p e a u a i n fi n d th e ni

o t t ll r to ot c d co cl o v ry to c
.

8 7 O n e p in s i e m ai n s be n i e in n usi n As e e ni
g rt do t t rd r o c w ol r g
. .

e n e a e s i ts m i n an a s i ts hi h a m n i , an d as th e h e k e y sp i n s o u t
o fth e to c w ll v d t t t
ni , it i b e e i e n h a a ny hey i s th e g e n era tor of h ey s h a vi ng m ore
sh a rp s th a n i tse l , f
f t o r ht d r v d t ro g
e se m u s b e e i do
e h t
u h t h e m i n an A n d co n

v ry to c r g t rd r o c
.

ve rse ly, as e e ni sp i n s (a s a hi h a m n i ) o ut o f i ts o w n sub

do t w ll q lly cl r t t
m i n an , i t i b e e ua ea h a e ve ry hey m ust b e g e n e rate d o ut of h ey s
o t t t w ll
h avi ng m ore flats th a n i tself: Th i s i s a p i n to
ha gr t
i b e se e n b e of ea
i mp ort c wan e co to d l w t
he n we me r l to
ea od l t o
i h k e y e a i n sh ip an d m u a i n -
.

Ex n n msn s TO C H APTER I I I .

Writ e th e thre e fu n d am e n tal chords comple te i n th e ke ys

of D ,
E b Flt G b A uan d B b
, , , , .

Write m ajor sc al e s from th e followi n g n ot e s putti n g n o ,

k e y sig n ature but i n s e rti n g a flat or sh arp b e fore e ach n ot e that

-

re q uir e s o n e —E Ab Fit Fb G il B B 9
,

.
, , , , , ,
 42 H A R M ON Y [C hap 1 v .

C H A PTE R IV .

TH E G EN ER A L L W A S O F PA R T -
W R ITIN G .

88 . In H armo n y
umb e r of n ot e s from two upwards m ay
an y n , ,

b e sou n d e d at o n e tim e If e ach chord co n t ai n four n ot e s th e

.
,

h armo n y is s ai d to b e i n four p a rts if e ach co n tai n thr e e n ot e s , ,

th e h armo n y is i n thr e e p arts an d s o o n E ach p art i n th e, .

h armo n y h as ge n e rally th e s am e r e l ativ e positio n to all th e oth e r

p arts that is to say all th e upp e r n ot e s of th e h armo n y form o n e
,

p art all th e lowe st n ot e s an oth e r p art al l th e n ot e s n e xt abov e th e

, ,

low e st an oth e r & c Th e progr e ssio n of th e s e p arts m ay b e co n

,
.

si d e re d i n two asp e cts e ith e r as m e l odi c progr e ssio n th at is th e

, ,

mot i o n of e ach p art r e gard e d si n gly or as h a rm on i c progr e ssio n

th at is th e motio n of e ach p art with r e l atio n to all th e oth e r p arts
,

, .

Both th e s e ki n ds of progr e ssio n are gov e rn e d by c e rtain g e n e ral

l aws which will n o w b e e xp l ai n e d
, .

8 9 Th e. rul e s for me l odi c p rog ressi on are v e ry fe w an d simpl e .

A good m e l ody is o n e th at flows n atura ll y an d e asi l y it is th e re

for e b e st e ith e r to proc e e d by st e p of a s e co n d ( cal l e d co nju n ct
“

m otio n — th at is to th e n e xt n ot e abov e or b e l ow ; or by l e ap
,

o f a co n so n an t i n t e rval If as som e tim e s h app e n s it is , ,

n e c e ss ary to l e ap by a disso n an t i n t e rval a d i mi n ish e d i n t e rval is ,

to b e pre fe rre d to an a ugm e n t e d one .

b e tt e r th a e ith e r is possib l e . Th e form e r

is adim i n ish e d fifth an d th e l att e r an augm e n t e d fourth

( ,
.

90 If. a p art mov e s by a d i m i n ish e d i n t e rv al i t ought to r e tur n

to a n ot e w i th i n th e i n t e rval an d n o t co n ti n u e i n th e s am e
, ‘

dir e ct i o n Th e b e st progr e ss i o n for an y disso n an t i n t e rval is

.
,

th at th e s e co n d of th e two n ot e s form i n g th e i n t e rval should

proc e e d to th at n ot e wh i ch is th e r e so l ut i o n of th e d i sso n an c e
1 7
) m ad e if th e two n ot e s are sou n d e d tog e th e r
,
For i n st an c e .
,

th e stud e n t wi ll l e ar n l at e r ( Ch ap ix th at th e dimi n ish e d

. .
,

fifth j ust giv e n will r e solv e thus for e F ,

com i n g afte r B mov e s to th e E just as it wou l d do w e r e it

, ,

sou n d e d w i th B H ad F b e e n th e first n ot e an d B th e s e co n d
. .

B wou l d for ,
th e s am e r e aso n ,
ha

9 1 ugm e n t e d i n t e rv al should s e l d om b e us e d
. An a in m e lody
u n l e ss both th e n ot e s b e lo n g to th e s am e h armon y . But th e
 Chap . 1v] . [TS TH EOR Y AND PR A C TI CE .
43

i n t e rv al of th e augm e n t e d s e co n d which we sh all fi n d lat e r i n th e ,

m in or scal e 1 71
) b e twe e n th e sixth an d s e ve n th d e gre e s m ay b e
us e d more fr e e ly .

92 A l arg e i n t e rval i n th e m e lody is b e st appro ach e d an d

.

quitt e d i n th e opposit e dire ctio n to th at i n which it l e aps .

At (a ) will b e s e e n th e l e ap of an oct av e up w ards b e twe e n th e

s e co n d an d third n ot e s It is th e r e for e much b e tt e r that th e first
.

of th e two n ot e s shou l d b e appro ach e d down wards an d th e s e co n d ,

E l e ft down wards th an th at th e y should b e appro ach e d an d l e ft

,

i n th e s am e dir e ctio n as at ( b ) , .

93 By h a rm o n i c progr e ssio n as h as b e e n s aid above is m e an t

.
,

th e way i n which th e p arts mov e i n th e ir r e l atio n to o n e an oth e r

,

Th e r e are thre e ki n ds of motio n si m i l a r ( som e tim e s though l e ss

fr e qu e n t l y call e d p arall e l wh e n two or more p arts mov e i n th e
,
“
,

s m dir ctio
a e e n — up or down ; obl i que wh e n o n e p art mov e s up
,

or down whi l e an oth e r r e m ai n s stat i o n ary an d con tra ry wh e n o n e ,

p art asc e n ds whil e an oth e r d e sc e n ds .

Si m i l ar. Ob ilq ue C o n trary.

If th e music is i n mor e th an two p arts it is e vid e n t th at at ,

l e ast two of th e s e diffe re n t ki n ds of motio n must b e comb i n e d ,

e xc e pt wh e n all are movi n g i n simil ar motio n e g ,

. .
,

In this p ass age i n th e first b ar al l thre e p arts move i n similar

motio n B e t we e n th e l ast chord of th e first b ar an d th e first
.

chord of th e s e co n d th e r e is co n trary motio n b e tw e e n th e two

,

e xtr e m e p arts an d obli qu e motio n b e twe e n e ach of th e e xtr e m e

,

p arts an d th e middl e p art B e twe e n th e first an d s e co n d chords

.

of th e s e co n d b ar th e re is co n trary motio n b e twe e n th e upp e r p art

an d e ach of th e oth e rs an d th e re for e th e two low e r p arts move
,

by similar motio n Th e stud e n t can an alys e th e re st of th e

.

p ass ag e for hims e lf i n th e s am e way .

9 4 Most. music is writt e n i n four p art h armo n y a n d th e p arts -

are g e n e rally n am e d aft e r th e four vari e ti e s of th e hum an voic e ,

“
b e i n g i n fact oft e n c alle d voic e s
, ,
”
Th e h i gh e st p art i s call e d th e
.

tre bl e or sop ra n o
,
th e n e xt b e l o w th i s th e a l to th e th i rd p art
, , , ,

cou n ti n g down wards th e ten o r an d th e l owe st p art th e b ass

, ,
.

This r e fe rs to th e ir r e l ative rath e r th an th e ir a ctu al pos i tio n s an d

it is import an t to r e m e mb e r th at th e lowe st p art of th e h armo n y i s
44 H A R M ON Y : [Cha p . IV .

call e d th e b ass e ve n Wh e re (as i n th e e xampl e i n th e l ast par agraph )

,

it is writt e n i n th e tre bl e st aff .

95 W e .sh a l l n o w giv e th e rul e s which th e stud e n t mus t

obs e rv e i n p art writi n g I t is o n ly right to say th at th e s e rul e s are
-
.

n o t i n al l c as e s strictly adh e r e d to by th e gr e at m ast e rs ; th e

stud e n t will l e arn by e xp e ri e n ce as his k n owl e dge i n cre as e s wh e n

, ,

it is s afe to r e l ax th e m ; but it m ay b e l aid down as a g e n e ral

pri n cipl e that n obody can bre ak rul e s with good e ffe ct till h e kn ows
how to k e e p th e m For th e pre s e n t th e re fore n o lic e n c e s can b e
.
, ,

allowe d .

9 6 R .UL E I N o two p.a rts i n h armo n y m ay mov e i n u n iso n ,

or i n octave s with o n e an oth e r .

At ( a ) th e al to an d t e n or are movi n g i n u n iso n i n th e s e co n d ,

third an d fourth crotch e ts

,
At ( b ) th e t e n or an d b ass are
.

movi n g i n oct av e s b e twe e n th e first an d s e co n d crotch e ts ; th e

sopran o an d t e n or b e tw e e n th e third an d fourth ; an d th e '

al to an d b ass b e tw e e n th e fifth an d sixth S uch p assage s are .

cal l e d con secuti ve u n i so n s an d oct ave s It is im portan t to .

r e m e mb e r t hat th e r e p e tit i o n of th e sa me oct ave or u n iso n by

two p arts do e s n o t m ak e co n s e cutiv e s as th e p arts are n o t th e n ,

m o vi ng i n oct av e s or u n i so n s Th e s am e r e m ark app l i e s to th e

.

co n s e cutiv e fifths forbidd e n i n R u l e 2 N e ith e r is it co n sid e re d.

to m ak e co n s e cutiv e s if o n e p art l e aps an octav e ,

e g
. . :

b e caus e th e r e p e t i ti o n of th e s am e n ote at th e dist an c e of an

oct av e d o e s n é t ch an ge th e h armo n y
97 I t.must b e s a id h e r e th a t oct av e s will b e fou n d i n most
chords i n four p art h armo n y ; but th e y are n o t con secuti ve u n l e s s
-

th e y occur betw een th e same t a rts .

In this e x ampl e e ach chord co n tai n s an oct ave of th e b as s

n ot e but i n th e first chord th e octave is b e twe e n th e t e n or an d
b ass i n th e s e co n d b e tw e e n th e al to an d b ass i n th e thir d b e twe e n
, ,

th e Sopran o an d b ass an d i n th e fourth b e tw e e n th e t e n or an d b ass

,

ag ai n .N 0 two of th e s e octave s are the re fore co n s e cutive an d th e

’

p ass age is quit e corr ect

,

.
Ch ap . IV .
] 1 73 TH EOR Y AN D PR A C TI CE .
45

98 .rul e just giv e n do e s n o t app l y to th e doubl i n g of a

Th e
who l e pas s ag e i n oct av e s such as is fr e qu e n tly fou n d i n p i an oforte
,

an d orch e str al music n o r to p ass ag e s i n which all th e p arts move

,

i n u n iso n s an d octav e s For i n stan c e th e fam i l iar p ass age i n

.
,

H an d e l s H all e luj ah chorus to th e words

“ ’ ”
For th e L ord God
,

om n ipot e n t r e ig n e th is n o t co n s i d e re d as co n s e cutive octave s

Agai n i n M e n d e l ssoh n s S t Paul th e sopran o an d al to s i n g
.

“ ” ’
.
,

To Th e e O L ord I yi e ld my spirit i n u n iso n th e

,
“ ”
th e choral , , ,

h armo n y b e i n g i n thr e e p arts throughout But this is n o t cal le d .

co n s e cutive u n iso n s .

99 R UL.E I I Co n s e cutiv e
. p e rf e ct fifths a re n o t allow e d

b e twe e n an y two p arts Th e y are how e v e r much l e ss obj e ctio n

.
, ,

abl e wh e n ta k e n by co n tr ary th an by s i mil ar mot i o n e sp e ci all y if ,

o n e of th e p arts b e a midd l e p art an d th e progr e ssio n b e b e tw e e n

,

d omi n an t an d to n ic harmon y .

1 00 . This
rul e is much mor e fr e qu e n tly brok e n by gr e at
compos e rs th an th e rul e prohibit i n g co n s e cutive oct ave s C o n .

se cutive fifths b e tw e e n th e to n ic an d domi n an t chords are n o t

i n fr e qu e n tly m e t with as i n th e first an d third of th e followin g
,

e x ampl e s
B EETHO EN S V . o

K ULLAR . Fl e urs A n i m é e s, No . I.

At (a) will b e fou n d i n th e third b ar co n s e cutive fifths by co n

trary motio n b e tw e e n th e t e n or an d b ass ; an d from th e th i rd to
th e fourth b ar co n s e cutiv e fifths b e twe e n th e e xtr e m e p arts by
,

simi l ar mot i o n At th e s e co n d b ar of ( b ) are fifths b e twe e n al to

.

an d t e n or
)
at ( c are s e e n fifths by co n trary mot i o n b e twe e n t e n or

an d b ass an d at
( )
d , four co n s e cutiv e fifths b e tw e e n e xtr e m e
p arts Th e s e e x ampl e s are n o t g ive n for th e stud e n t s imitatio n
.
’
46 H A R M ON Y [Ch ap IV .

e xp e ri e n c e is r e quir e d to u n d e rstan d wh e n th e y m ay b e prop e rly

i n troduc e d ; b ut it is n e e dfu l to m e n tio n th e m h e r e for th e s ak e ,

of comp l e t e n e ss By b e gi n n e rs th e prohibitio n of co n s e cutiv e

.

fifths must b e strict l y atte n d e d to

‘

1 01 If o n e of th e two fifth s is dim i n ish e d th e rul e d o e s n o t ,

fect fifth comes first

.

apply p ro vi de d th a t th e p e r
,
.

This progr e ssio n is quit e corr e ct But a dimi n ish e d fifth .

fo l lowe d by a p e rfe ct fifth i s fo rbidde n be twe e n th e b ass an d an

upp e r p art but a l l ow e d b e tw e e n two upp e r or m i ddl e p arts pro
, ,

vi d e d th e low e r p art ris e s a s e m i to n e .

If two p arts go by simi l ar motio n to oct av e s or p e rfe ct

1 02 .

fifths such progr e ssio n s are c all e d hidd e n octav e s or fifths

,
“
.

At ( a) are two p arts movi n g to an octav e by simil ar motio n .

Th e lowe r p art i n l e api n g from G to C p a sses o ver th e i n te rm e di at e

n ot e s F E D as show n at
, , ()
c If
,
th e s e n ot e s are i n troduc e d
.
,

th e r e will b e c on s e cutive oct av e s

g 8
m S imil a rly at ( )
b th e two
p arts l e ap to a fifth by simi l ar m otio n . If th e i n t e rm e di at e n ot e s

gg 2
3
are i n s e rt e d ,
as at
( )
d ,
w e se e th e fifths . Th e s e octav e s
an d fifths b e i n g p ass e d ov e r i n st e ad of sou n d e d
, , ,
are s aid to b e

1 03 . ULE
I II H idd e n oct av e s are forbidd e n b e twe e n
R .

e xtr e m e p arts e xc e pt 1 st wh e n th e b ass ris e s a 4 th or falls a sth

, , ,

e ith e r from domi n an t to to n ic o r from to n ic to subdomin a nt an d

, ,

at th e sam e tim e th e upp e r p art mov e s by st e p ,

C hap . 1v]
.
I TS TH EOR Y AND PR A C TI CE .
47

z ud, wh e n th e s e co n d of th e two chords is a s e co n d i n ve rsio n

( 5 b
s 1 8

an d 3 rd, wh e n th e s e co n d chord is an oth e r positio n of th e first .

In oth e r cas e s th e y are n o t allowe d L e t th e stu de n t e xami n e

. th e
thre e b ad e x amp l e s of hidd e n oct av e s h e r e give n ,

an d he will se e th at th e y do n o t com e u n d e r an y of th e e xce ptio n s

j ust m e n tio n e d .

1 04 H idd e n octav e s are how e ve r allow e d b e twe e n an y oth e r

.
, ,

of th e p arts th an th e two e xtre m e p arts with o n e importan t ,

e xc e ptio n I t is strict l y forbidd e n to move from a 7 th or 9th to

.
,

an oct ave by simil ar motio n wh e n o n e p art move s a s e co n d an d

, ,

th e oth e r a third .

This is th e v e ry worst ki n d of hidd e n oct av e s an d must b e most .

ca r e fully avoid e d
U
.

1 0
5 R L
. E IV H idd e n fifths a
.re forbidd e n b e twe e n e x tre m e

parts ,
 48 H A R M ON Y [C h ap . IV .

exc e pt I st i n a progre ssio n from th e to n ic to th e domi n an t chord

, , ,

or from th e subdomi n an t to th e to n i c chord i n both which c as e s ,

th e upp e r p art must mov e by st e p of a s e co n d ,

2n d,from th e chord of th e sup e rto n ic with th e thir d i n th e upp e r

,

p art to th e chord of th e domi n an t wh e n th e b ass fal ls a fifth an d

, , ,

th e upp e r p art falls a third

an d 3 rd,
from o n e to an oth e r positio n of th e s am e chord e x actly
as Wi th h i dd e n oct av e s :
,

Exc e pt b e twe e n e xtre m e p arts hidd e n fifths , prohibit e d are n o t .

1 06 R UL E V Co n s e cut i v e fourths b e tw e e n th e b ass an d

. . an
upp e r p art are forbidd e n e xc e pt wh e n th e s e co n d of th e two is
,

augm e n t e d fourth .

B e tw e e n an y of th e upp e r p arts co n s e cutive fourths are n o t

I
prohibit e d Th e y are som e tim e s to b e fou n d b e tw e e n th e b ass
.

an d a middl e p art but e v e n th e s e are n o t advis ab l e .

1 07 R UL E VI Co n s e cutiv e s e co n ds s e ve n ths an d n i n ths are

. .
, ,

forbidd e n b e tw e e n a ny two p arts u n l e ss o n e of th e n ot e s b e a

,

p assi n g n ote i e a n ot e which do e s n o t b e l o n g to th e h armo n y

,
. .
,

( see Ev e n th e n it will b e b e tt e r for t h e stud e n t to

avoid th e m .

1 08 Th e re is o n e som e wh at importan t e xc e ptio n to this rul e

.
C hap . 1vJ
. I TS TH EOR Y AND PR A C TI CE .
49

to be fou n d i n t h e works of th e old m a st e rs Cor e lli H a n d e l .

, ,

and oth e rs som e tim e s fol l ow e d a dom i n an t s e v e n th by

an oth e r s v
e e n th o n th e b a ss n ot e n e xt b e low W e giv e two .

e x ampl e s from H an d e l s works

’
.

H AN D L E . Saul .
‘ J o sh ua.

In th e s e co n d of th e s e e x ampl e s is also s e e n i n th e t e n or an , ,

e xc e ptio n to th e ru l e giv e n i n 9 2 Th e s e p ass ag e s are n o t giv e n

.

’
for th e stud e n t s imit atio n but b e caus e if n o m e n tio n we re m ad e
,

of such e xce ptio n s h e might n aturally i n fe r if h e m e t with similar ,

p ass age s i n th e works of th e gre at m ast e rs th at th e rul e h e re give n ,

w as wro n g We h ave alre ady s aid th at h ard l y an y of th e rul e s

.

i n this ch apt e r are stri ctly adh e r e d to by g re at compos e rs ; bu t

th e y are n o n e th e l e ss us e ful an d e ve n n e ce ss ary for b e gi n n e rs
,
.

1 09 R UL E VI I I t is forbidd e n for two p arts to go from a

. .

s e co n d i n to a u n iso n .

This progre ssio n is som e tim e s us e d wh e n th e s e co n d is a p assi ng

n o te 2
5 as at but th e stud e n t is advis e d to avoid it e v e n

i n this c as e .

1 1 0 In additio n to th e above rul e s th e followi n g r e comm e n d

.
,

ati o n s will b e fou n d s e rvic e abl e to b e g i n n e rs Th e y n e e d n o t b e .

so stri n ge n tly e n forc e d as th e rul e s just give n ; but att e n tio n to

th e m wi l l i n m an y cas e s m ake th e h armo n i e s much smooth e r an d
th e p arts mor e flowi n g .

1 1 1 R eco mm e n da ti o n I It is n o t d e sirabl e to a l low two p arts

. .

to ov e rl ap th at is to l e t a high e r p art proce e d to a n ot e b e low

, ,

th at pr e vious l y sou n d e d i n a l ow e r p art or co n v e rs e ly to le t a , , ,

l ow e r p art proc e e d to a n ot e abov e th at pr e viously sou n d e d i n a

h i gh e r p art .

At (a ) th e upp e r p art l e aps from E to B a lowe r n ote th an C , ,

tak e n i n th e first chord by th e lowe r p art At ( b) th e lowe r .

rt l e aps to C which is h i gh e r th an th e A of th e upp e r p art i n

pa ,

D
5 0 H A R M ON Y : tch ap . iv
.

th e first chor d S uch progr e ssio n s are som e tim e s n e c e ss ary but it
.
,

is b e tt e r to avoid th e m if possibl e Th e crossi n g of two p arts

.

shoul d b e avoi d e d altog e th e r i n four p art writi n g In writi n g for

-

a l arg e n umb e r of p arts ( s e e Chapt e r XX L ) it is som e tim e s ,

n e c e ss ary .

1 1 2 .R e commen dati on Wh e n two n ote s m ak i n g a dis

so n an c e with o n e an oth e r ( such as a s e co n d s e v e n th or n i n th ) are, ,

tak e n without pre p ar atio n — th at is if n e ith e r of th e m h as b e e n

,

s ou n ed d i n th e s am e voic e i n th e pr e c e di n g chord — i t is b e tt e r
th at th e y should e n t e r by co n trary th an by similar motio n e sp e ci ally ,

in th e e xtre m e p arts .

3
1 1 . R e comme n da ti o n
Wh e n th e s am e n ot e occurs i n two

( )
s ucc e ssiv e chords it is g e n e rally though n o t i n vari ably b e tt e r to
,

k e e p it i n th e s am e voic e .

At (a ) th e two chor d s h ave th e n ot e C i n commo n We th e re fore .

k e e p it i n th e t e n or voic e Th e hidd e n octav e s b e twe e n e xtr e m e

.

p arts h e re are amo n g thos e th at are p e rmitt e d But if at

( )
b w e k e e p th e D i n th e t e n or w e sh all g,
e t o bjecti o n a b l e hidd e n

octave s b e twe e n th e e xtre m e parts In this cas e th e r e fore th e

.

positio n of th e s e co n d chord wi l l b e b e tt e r as at ( c) .

1 1 4 R ecom m e n da ti on I V E ach voice should g e n e rally go to

. .

th e n e are st n ote i n th e followi n g chor d

Inth i s e xampl e th e tr e bl e n ot e C can mov e e qu ally w e ll to D or

B e ach b e in g th e n e xt n ot e of th e scal e B ut if C move s to D
, .
,
Ch ap . i v)
. 1 TS TH EOR Y AND PR A C T1 C E
.
5 i

( )
b ,
th e t e n or E wil h l
av e to go to B, which 1 5 n o t its n e ar e st

n ot e i n th e n e xt chord It IS th e re for e b e tt e r to l e t C go to B , as
.

l
at ( a ) , which allows th e t e n or a so to go to its n e ar e st n ot e .

1 1 5 R e com me n da ti on V Wh e n th e b ass mov e s by ste p,

. .

l
upwards or down wards , it is g e n e ra ly b e st to l e t th e oth e r p arts
mov e i n co n trary motio n to it In som e cas e s , as will b e s e e n i n
.

th e n e xt ch a pt e r, this is absolut e ly n e c e ss ary to avoid co n s e cutiv e

fifths an d octav e s .

1 1 6 Th e stud e n t is advis e d to thoroughly m ast e r th e rul e s an d

.

re comm e n d atio n s giv e n i n this ch apt e r I f h e do e s so, h e wi l

. l
fi n d comparative ly littl e di ffi culty i n worki n g th e e x e rcis e s which h e
will shortly m e e t with .
5 2 . H AR M ON Y [C h ap v . .

C H A PTE R V .

TH E DIATO N IC TR IADS O F TH E M AJO R K EY —SEQU EN C ES .

N
[ O TE As Ch apt e rs I I an d I I I are n o t i n t e n d e d to b e s tudi e d
-
. .

by b e gi n n e rs it w ill b e n e ce ss ary i n this ch apt e r to r e p e at

,

som e of th e e xplan atio n s alr e ady give n .

7
“
1 1 . By th e word K e y a s h as b e e n alr e ady e xpl ai n e d i n
,

Ch apt e r I I I is m e an t a coll e ctio n of twe lve n ot e s withi n th e

.
,

comp ass of an oct av e all of which h av e a d e fi n it e r e l atio n ship to

,

th e first n ot e of th e s e ri e s which is call e d th e TO N IC or K EY

, ,

N O TE . As th e re are o n ly s e v e n d e gr e e s of th e st aff withi n th e

two n ot e s of th e octav e it follows th at fi ve out of th e s e s e ve n
,

d e gre e s must h av e two n ot e s upo n th e m if we are to obt ai n ,

twe l v e n ot e s In e ve ry k e y wh e n two n ot e s are fou n d o n th e

.
,

s am e d e gre e of th e st aff o n e of th e s e will b e i n accordan c e with

,

th e k e y sig n ature an d th e oth e r wi l l h av e an accid e n t al b e for e it

-

,
.

Th e re wi l l b e i n al l s e v e n n ote s i n accord an c e with th e k e y

sign ature o n e upo n e ach d e gr e e of th e st aff an d th e r e for e c all e d
, ,

di a ton i c n ot e s ( 5 9) an d th e r e will b e fi ve which will b e ar acc i

d e n tals an d which are th e re fore call e d ch romati c n ot e s

,
For
th e pr e s e n t w e co n c e rn ours e lv e s o n ly with th e di ato n ic n ot e s ,

r e s e rvi n g till lat e r th e tr e atm e n t of th e chrom atic .

1 1 8 A di a ton i c sc al e
.
9) is o n e which co n t ai n s s e v e n n ot e s

withi n th e octave o n e o n e ach d e gr e e of th e staff If th e

,
.

i n t e rval b e twe e n th e to n ic 1 2 ) an d th e m e di an t 1 3 ) 1 s a m ajor

third th e scal e is c al l e d a m aj or sc al e ; if it b e a mi n or
third it is c all e d a mi n or s cal e L e t th e sti ide n t comp are th e
,
.

i n t e rv als b e twe e n th e first an d third n ot e s of th e m aj or an d mi n or

scal e s giv e n i n 9 Exc e pt with two n ot e s of th e mi n or sc al e as
.
,

will b e s e e n l at e r a di ato n ic scal e n e v e r r e quir e s accid e n tals but

, ,

co n forms s trictly to th e k e y sign atur e -

1 1 9 A C H O R D is a combi n atio n of more th an two n ot e s

.

plac e d at th e i n t e rval of a thir d o n e above an oth e r Th e

low e st n ot e o n which a chord is built is call e d its roo t A chord
, ,
.

m ay co n sist of an y n umb e r of n ot e s from thr e e to s e v e n though it ,

is n o t n e c e ss ary that all should b e pr e s e n t at o n c e We sh al l se e .

shortly th at e v e n i n chords co n tai n i n g o n ly thre e n ot e s o n e is

ofte n omitte d
1 20 A chord m ad e by pl aci n g two thirds o n e abov e an oth e r
.
,

an d th e r e for e co n t ai n i n g o n l y thr e e n ot e s is call e d a T R IAD If ,

.
,

as is ge n e r ally though n o t always th e c as e th e upp e r n ot e of a ,

Ch ap . v)
. 1 TS TH EOR Y AND PR A C TI CE .

tri ad is a p e rfe ct fifth from th e root th e chord is c all e d a C O M M O N ,

C H O R D Ev e ry commo n chord is a tri ad but e ve ry tri ad is n o t a

.
,

commo n chord If th e third n e xt abov e th e root of a commo n

.

chord b e a m aj or third th e chord is c all e d a m aj or chord ; if it b e

,

a m i n or third abov e th e root i t wil l b e a mi n or chord , .

1 21 If we t ak e th e diato n ic sc al e of C m aj or
.
,

we sh all th at th e s e mito n e s fall b e twe e n th e third an d fourth

se e

an d th e s e v e n th an d e i ghth d e gr e e s of th e sc al e Th e posit i o n of .

th e s e mito n e s m ak e s th e di f
fe r e n c e b e tw e e n a m ajor an d a mi n or
scal e as will b e s e e n wh e n we com e to sp e ak of th e l att e r
,

If we t ak e e ach n ot e of th e abov e scal e as a root an d

.

1 22 .

p l ac e two thirds upo n it as e xpl ai n e d i n 1 2 0 we sh all ge t a tri ad

,

o n e ach d e gr e e O f th e sc al e As we sh al l use n o n ot e s e xc e pt
.

thos e of th e di ato n ic scal e its e lf we sh all h av e o n l y diato n ic tri ads

, .

It will b e s e e n th at all th e s e triads e xc e pt th at upo n th e l e adi n g ,

n ot e ,
co n t ai n a p e rfe ct fifth from th e root an d are th e re fore ,

commo n chords Th e chord upo n th e to n ic is a m ajor chord an d

.
,

th e n atur e of this chord d e t e rmi n e s th e n atur e of th e k e y A hey .

w h i ch h a s a m ajor ch ord o n i ts to n i c i s ca l l e d a M A 901? K E Y a n d a ,

hey w hi ch h as a m i n or ch ord on i ts ton i c i s cal l e d a M IN O R K E Y .

Th e n ot e t ak e n as th e to n ic giv e s its n am e to th e k e y; th e chords

giv e n abov e are th e re fore i n th e k e y of C m ajor A n y n ot e m ay .

b e chos e n as a to n ic ; but th e r e at i o n of th e oth e r n ot e s of th e l

scal e to th e to n ic s e l e ct e d must always b e th e s am e , that is , th e y
must b e at th e s am e distan c e from th e to n ic Th e i n t e rv a s . l
b e tw e e n th e to n ic an d th e oth e r n ot e s of a m aj or scal e h ave b e e n
gi ve n i n 22 We h ave tak e n C as a to n ic b e caus e its m aj or
.

scal e r e quir e s n e ith e r sh arps n o r fl ats .

1 23 By e xami n i n g th e chords giv e n above it wi l l b e fou n d

th at thr e e d e gr e e s of th e m ajor scal e —th e to n ic subdomi n an t an d
.
,

, ,

—
domi an t b e ar m aj or chords abov e th e m a d thr e e oth e rs th e
n n —
sup e rto n i c m e di an t an d subm e dian t —b e ar mi n or chords Th e
,

.
, ,

fifth abov e th e l e ad i n g n ot e i n st e ad of b e i n g lik e al l th e oth e rs a

, , ,

p e rfe ct fifth is a di mi n ish e d fifth

, Th e re i s th e r e for e n o
commo n chord 1 2 0 ) o n th e l e adi n g n ot e an d th e chord wh i ch ,

w e fi n d i n st e ad is ca ll e d th e D IM IN ISH ED T R IA D This chord i s .

v e ry rar e ly us e d with its root i n th e b ass .

1 24 It was s aid i n th e l ast ch apt e r 94 ) that most music is

.

writt e n i n four p art harmo n y We shal l th e r e fore i n futur e g ive

-
.

our e x ampl e s i n four p arts But to writ e a commo n chord or a

.
,

tri ad co n t ai n i n g o n l y thr e e n ot e s i n four p arts it wi ll e vid e n tly b e

, ,

n e c e ss ary to d o ubl e o n e of th e n ot e s th at is to th e s am e n ot e
put , ‘
54 H A R M ON Y te mp v . .

in two of th e p arts e ith e r i n u n iso n or at th e dist an c e of an

, ,

oct av e or e v e n two or thr e e octav e s It must b e r e m e mb e r e d

, .

th at this doubli n g of a n ot e do e s n o t alt e r th e n ature of th e chord .

“
Though th e word triad lit e rally m e an s a combi n atio n of thre e
n ot e s a tri ad do e s n o t c e as e to b e such i n how e v e r m an y p arts
, ,

th e h armo n y m ay b e u n l e ss som e a ddi ti o n a l n ote an d n o t a m e re

, ,

doub l i n g of n ot e s alr e ady pre s e n t b e i n troduce d i n to th e chord , .

We sh al l se e pre s e n tly which are th e b e st n ot e s to doub l e .

1 25 In writi n g four p art h armo n y th e four

. voic e p arts
-

,
-

sopran o alto t e n or an d b ass

, , , are k e pt b e st as far as possi

b l e wi thi n th e comp ass of th e voic e s aft e r which th e y are n am e d .

Th e g e n e ral comp ass of e ach voic e is about th e followi n g

So rR AN o . A LO
T . TE NOR . B a ss .

Th e s e limits should b e v e ry r ar e ly if e v e r e xc e e d e d ; an d e ve n , ,

within th e m it is b e st to k e e p n e ar th e middl e of th e comp ass ,

an d n o t to use mor e of th e e xtr e m e n ot e s e ith e r high or low , ,

than are abso l ut e l y n e e dful for a good progr e ssio n of th e p arts .

1 26 If i n four p art ha rmo n y th e thr e e upp e r p arts l ie clos e

-

—
.

toge th e r an d at a dist c from

,
an e th e b ss ln oth e r words if th e
a ,

sopran o an d t e n or are withi n an oct av e of o n e an oth e r ,

th e h rmo n y
a sai d to b e i n cl ose p os i ti o n
is '
I f th e p arts li e at .

mor e e qu al dis tan c e s an d th e t e n or is mor e th an an octave from

,

th e tr e bl e ,

th e h armo n y is s ai d to b e i n e x te n ded p osi ti on In most com .

positio n s a mixtur e of both positio n s will b e fou n d If th e tre bl e .

p art li e s low clos e positio n wi l l most lik e ly b e n e e dfu l to pre v e n t

, ,

th e t e n or p art from goi n g b e low its comp ass but if th e tre bl e is

high e xte n d e d positio n will ge n e rally b e advis abl e
, .

1 27 Th e b e st positio n of h armo n y is most l y th at wh ich allows

.

th e p arts to l ie at approxim at e l y e qu al dist an c e s wh e n this is ,

possi b le At e xampl e ( a ) i n th e l ast p aragraph i n th e first chord

.
,
Ch ap v J [Ts TH EOR Y AND PR A C TI CE 55
. .
.

th e r e is a t e n th b e twe e n b ass an d t e n or a third b e twe e n t e n or an d ,

alto an d a fourth b e tw e e n alto an d sopr an o

, This posit i o n is .

quit e corr e ct but th e positio n of th e s am e chord at (b ) is pre fe r

abl e ; for h e r e th e r e is a fifth b e tw e e n b ass an d t e n or a s ixth

b e twe e n t e n or an d al to an d a s i xth b e twe e n alto an d sopran o

,

, .

Th e i n t e rv als b e twe e n th e voic e s are much mor e e qu al

It will som e tim e s h app e n th at it is impossib l e to k e e p th e
.

1 28 .

voic e s at approxim at e ly e qu al dist an c e s without bre aki n g som e

rul e If th e re must b e a large i n t e rval b e tw e e n two voice s it
.
,

should with v e ry rare e xc e ptio n s b e b e twe e n th e two lowe st th e

, ,

Exce pti n g occasio n al ly for a s i n gl e chord th e re

,

te n or an d th e b ass .
,

should n e v e r b e a l arge r i n t e rv al th an an octav e b e twe e n Sopran o

an d alto or alto an d t e n or
, We give e xampl e s of good an d b ad .

positio n s of th e chord of C m ajor ; th e stud e n t can e asi l y fi n d out

from what h as b e e n s aid why e ach is good or b ad .

1 29 It will b e s e e n th at i n th e e x ampl e s just give n th e r e lative

.
,

positio n s of th e chords vary wid e ly som e tim e s th e root at oth e r ,

tim e s th e third or fifth is at th e top It m ust b e c l e arly u n d e r .

stood th at th e r e lativ e positio n s of th e upp e r n ot e s of a chord

m ak e n o diffe re n ce to its n ature p ro vi de d th e sam e n ote of the ,

ch o rd i s i n th e b ass H e r e th e root is i n th e b ass i n e ach i n st an c e

.
,
“ ”
an d th e chord is s aid to b e i n its root positio n But if th e .

third or fifth of th e chord we re i n th e b ass we should h ave ,

i n v e rsio n s of th e chord Th e s e wi l l b e tr e at e d of i n Ch apt e r VI

. .

1 30 With o n e importan t e xce ptio n to b e m e n tio n e d pr e s e n tly

.
,

it is possible to double an y of th e n ot e s of a commo n chord In .

g e n e ral th e root is th e b e st n ot e to doubl e though c as e s will b e ,

fr e qu e n tly m e t with i n which for th e s ak e of a good progre ssio n of ,

th e h armo n y it is e xp e di e n t or e ve n n e c e ss ary to doub l e o n e of

, , ,

th e oth e r n ot e s O f th e oth e r two n ot e s if th e chord b e m ajor i t

.
, ,

is most l y b e tt e r to doubl e th e fifth th an th e third but i n a mi n or

chord it is j ust as good an d som e tim e s b e tt e r to doubl e th e , ,

third .

1 31 r o wh y i i oft
Th e dvi bl to do bl h m jor t h i rd f
e as n t s en un a sa e u e t e a o a

ch ord i th t i third pp r p rt i l 36) i o ly m i to b low h root

.

s a ts u e a a s n a se ne e t e
o f h ch ord — f co r
t e pp r oct
o v f h root
u se A t h
an i tuh i rd p per p rti l a e o t e s s u e a a

lly r t h r tro g i h com p o d to f h ot i p ow r i i cr d

.

i
s usua a e s n n t e un ne o t e n e, ts e s so n e as e

by do bl i g to p rod c i om p o it i o d i t i ctly h r h ff ct g i t h
u n as u e n s e s ns a s n a s e e a a ns t e

root I i v rth l oft c ry to do bl i w h ll l t r

. t s ne e e e ss en ne e ssa u e t, as e s a se e a e .

3 1 T h 2 xc pt.i o r f rr
e ed to bov ie sp ki g
n of th doub l i g
e e e a e n ea n e n

of a n ot e was th at of th e l e ad in g n ote . This n ot e is th e thi rd of

56 H A R M ON Y : [C h ap v
. .

th e domi n an t chord an d is a s e mito n e b e lo w th e to n ic toward

'

, ,

which it h as th e stro n g upward t e n d e n cy which giv e s it its n am e .

If th e domi n an t chord b e followe d by th e to n ic chord th e l e adi n g ,

n ot e e sp e ci all y if i n th e upp e r p art must ris e

, , .

L e t th e stud e n t pl ay th e chords m ark e d ( a ) an d ( b ) . H e w i ll fe e l

th at th e progr e ssio n ( a) s atisfi e s th e e ar, whil e ( b ) do e s n o t do so .

Th e e ffe ct of th e l e adi n g n ot e falli n g is l e ss u n s atisfactory wh e n i t

l
is i n a midd e voic e , as at ( c) but this progr e ssio n , though
fre qu e n tly us e d by B ach , is n o t to b e r e comm e n d e d to b e g in n e rs .

Exc e pt i n g in th e r e p e titio n of a se que n ce i n th e v e ry rare

s e co n d i n ve rsio n of th e chord o n th e m e dian t or wh e n th e
n ot e s of th e domi n an t chord are t ak e n i n a r e i th t is i suc
p g o ,
a n

c e ss i o n w h il e th e h armo n y r e m ai n s th e s am e ,

th e l eadi ng must n eve r be do uble d ; a n d w h en th e domi n a n t

n o te

ch ord i s foll o w e d by th e to n i c ch ord th e n o te m ust a l w a s ri se a

y
se m i to n e It is e vid e n t th at if th e le adi n g n ot e is i n two voic e s,
.

an d both ris e a s e mito n e , co n s e cutiv e oct av e s will r sult

9 )
6 e .

1 33 . Th e
l e adi n g n ote is howe v e r fre e to
, fall wh e n th e
d om i n an t chord m e re ly chan ge s its positio n
,

or wh e n it is followe d by som e oth e r chord th an th e to n ic in ,

wh i ch cas e th e l e adi n g n ot e m ay e ith e r ris e or fall .

C hap v )
. . 1 TS TH EOR Y AN D PR A C TI CE .

At (b) () th e
domi n an t chord is follow e d by th e chord of th e
c

subm e dian t an d th e l e adi n g n ot e m ay e ith e r ris e to th e third or

,

fal l to th e root of th e n e xt chord th e form e r b e i n g slightly pre fe r

,

abl e . At (d ) (e ) th e domi n an t chord is fo ll ow e d by th e sup e rto n i c ;

an d e ith e r progr e ssio n is p ossi bl e though ( d is much b e tt e r n o t
) ,

o n l y b e caus e co n trary motio n is mostly to b e pr e fe rr e d to sim i l ar

,

but also b e caus e at ( e ) we h av e obj e ct i o n ab l e h i dd e n fifths

,

1 05
)
b e twe e n th e e xtr e m e p arts But if th e b ass rose from th e domi
.

n an t to th e sup e rto n ic as at
( f) (g )
, ,

it would b e n e e dful for th e l e adi n g n ot e to fal l as at (g ) for if it ,

“
ris e s as at (f) we sh all ge t b ad hidd e n oct av e s
, 1 03
) b e tw een
e xtr e m e p arts .

1 34 .It was said i n 1 1 9 th at o n e n ot e of a tri ad was

s om e t i m e s omitt e d Th i s is most l y th e fifth of th e chord
.

v e ry rar e l y th e third b e caus e th e latt e r n ot e s h ows wh e th e r th e

,

chord is m ajor or mi n or B ut it n o t i n fr e qu e n t l y b e com e s

.

n e c e ss ary to omit th e fifth i n ord e r to s e cur e a corr e ct pro

,

re i of th p rts For e x amp l e if w e h rmo n is i n g a

g ss o n e a . ar e a ,

m e lo dy i n th e k e y of C which,
e th e two
l ast chords must b e domi n an t an d to n ic i n th e ir root pos i tio n s .

Th e o n ly corr e ct way of h armo n i si n g th e s e chords will b e

H e r e th e m e lody d e sc e n ds to th e to n ic th e b ass also go e s to th e

to n ic ; an d th e l e adi n g n ot e must ris e to th e to n ic (5 1 3 2 ) th e r e
is th e re fore o n ly o n e p art th e alto r e m ai n i n g ; an d as th e third
, ,

is n e e d e d to fix th e n ature of th e chord this n ot e is tak e n an d th e , ,

fifth o m i tte dfi O ccas i o n all y al so though much more rar e ly th an

“
th e fifth th e root of th e chor d is th e n ot e omitt e d i n i n ve rsio n s
,

.
,

old c
In m usi , e sp e i al c ly
at th e clo of a pie c in m in or k e y, th e th i r d is
c o lly o tt d o rt R q i m
se e a
o c asi n a m i e , as a t th e e n d o f th e Kyr ie in M za
’
s e ue b ut
t c to l
hi s is e x e p i n a . as w e sh a se ell he n w tr ti g
ea n o f th e m i or k y
n e .
58 H AR M ON Y : [C ha p v
. .

135 . Commo n chords t ak e n i n th e ir root positio n h av e an

e ffe ct of gr e at e r firm n e ss an d stre n gth th an wh e n t ak e n i n th e

i n ve rsio n s to b e tre at e d of i n th e n e xt ch apte r B ut if o n ly root .

positio n s we re us e d t h e re would b e littl e v ari e ty i n th e h armo n y

, .

It is th e r e fore som e wh at r ar e to fi n d an e n tire p ass age co n tain i n g

th e s e alo n e We give a short o n e from Mo z art
. .

M OZAR T Di Z b flOt . e au er e .

Th e voic e p arts are omitt e d as th e y are i n u n iso n with th e e xtre m e

,

p arts of th e h armo n y .

1 36
. This short p ass age is full of i n structiv e n e ss for th e stu d e n t ,

an d should b e c are fully e x ami n e d L e t it b e first n otic e d th at

.

withi n th e sp ac e of two b ars w e fi n d all th e di ato n ic commo n

chords of th e m aj or k e y i n e ach c as e with th e root i n th e b ass
,

N e xt l e t it b e obs e rve d th at th e te n or doubl e s th e sopran o in th e

.

oct ave through th e whol e p ass age This illustrat e s what was s aid .

i n th e l ast ch apt e r Th e l aw agai n st co n s e cutive oct av e s is

n o t brok e n by such a progre ssio n as this though it would b e if ,

o n ly two or thr e e n ot e s of th e t e n or i n st e ad of all mov e d i n , ,

oct av e s with th e sopran o Though th e r e are four p arts movi n g

.

h e re th e p ass age is n o t i n four p art h armo n y but i n thre e p art

,
-

, '
-

h armo n y with o n e p art double d It will b e s e e n furth e r th at i n

.

e v e ry a l t e r n at e chord th e fifth is omitt e d This is b e caus e th e .

s e co n d an d third p airs of chords are e x act copi e s of th e first p air ,

but o n di ffe r e n t p arts of th e scal e .

1 37
. A p ass age co n struct e d aft e r a r e gul ar p att e rn of this
ki n d is call e d a S EQ U EN C E Wh e n an y progr e ssio n of th e b ass is
.

re p e at e d o n high e r or low e r d e gr e e s of th e scal e it should b e ,

accomp an i e d by h armo n y which is also e x actly r e p e at e d at cor

r e spo n di n g high e r o r low e r d e gr e e s In th e p ass age we are n o w
.

e x ami n i n g th e b ass of th e third an d fourth chords is th e s am e

,

as th at of th e first an d s e co n d a th i rd l o w e r an d e a ch of th e
, ,

oth e r p art s is a third lowe r th an it was at first Th e chords are i n .

corr e spo n di n g positio n s i n e ve ry r e sp e ct In th e first chord th e

, .

third i s at th e top an d i n th e s e co n d th e fifth ; th e third an d

,

fourth chords h av e pr e cis e ly th e s am e arr an ge m e n t an d so h ave ,

th e fifth an d sixth .

1 38
. Th e p att e rn se t for a s e qu e n c e m ay b e imit ate d at an y
i n t e rval abov e or b e l ow Practical ly howe ve r th e l imit of a third
.
, ,

is s e l dom i f e ve r e xc e e d e d as im i tatio n at a l arg e r i n t e rval woul d

,

s oo n c arry us b e yo n d th e r an g e of th e voic e s e g ,
. .
,
Ch ap . v] . [Ts TH EOR Y AND PR A C T1 C E .
59

A p att e rn m ay co n sist of an y n umb e r of n ot e s ; ge n e rally th e re

are two or at most thr e e
,
We wi ll n o w give a simpl e s e qu e n c e .
,

ficulty i n u n d e rst an di n g i t
an d th e s tud e n t will h av e n o di f .

H e re it will b e s e e n th at all th e p arts in th e s e co n d b ar are

o n e n ot e high e r th an i n th e first i n th e third b ar o n e n ot e high e r ,

th an i n th e s e co n d an d so o n to th e e n d A l l th e i n t e rval s in
, .

th e chords r e m ai n th e s am e a s to th e i r n a m e s but diffe r i n qu al i ty ,

accordi n g to th e i r positio n i n th e sc al e Thus th e first chord o f .

b ar 1 is m aj or of b ars 2 an d 3 mi n or an d of 4 an d 5 m aj or
, ,

agai n This is b e caus e th e music r e m ai n s i n o n e k e y S uch a

. .

s e qu e n c e is t e rm e d a to n al s e qu e n c e .

1 3
9 If o n t
.h e oth e r h an d th e q u al i ty of th e i n t e rv als is
e x act l y th e s am e i n th e imit atio n s as i n th e p att e rn th e s e qu e n c e ,

wi ll b e re a l th at is e x act ; but th e music will n o t re m ain i n th e

,

s am e k e y .

A re al s e q u e n ce is much r are r th an a to n al o n e .

1 40 At th e fourth b ar of th e s e qu e n c e give n i n 5 1 3 8 th e
.
,

se co n d chord m ark e d with , r e quire s sp e ci al n otic e It w i ll b e .

s e e n th at w e h av e h e r e th e dimi n ish e d tri ad i n its root posit i o n

( 5 It will also b e n otic e d th a t th e l e a di n g n ot e i s doub l e d
( 5 an d th a t b e tw e e n th e two n ot e s of th e b a ss i n this b ar is
s e e n th e u n m e lodic i n t e rval of th e augm e n t e d fourth ( 5
Th e s e d e p arture s from th e rul e s alr e ady g i v e n are o n l y j ust i fi e d
by th e fact th at th e y occur i n on e of th e rep e ti ti o n s of a s e qu e n c e .

H ad th e fourth b ar of th e e x amp l e b e e n give n as a pa tte rn it

would h av e b e e n i n corr e ct an d th e doubl e d l e adi n g n ote wou l d ,

n o t h av e b e e n al lowe d
*
.

1 41 Th e s e qu e n c e we are e x am i n i n g might h ave b e e n

.

wo l d h v b p o ib l i thi p g to h v h d B b i t d f Eh i
It u a e een ss e n s assa e a e a ns ea o n

h fo r h b
t e u tm ki g r iti o f m om t i to h k y f F Th p a t an s t e
wo l d th v b lo g o to h w ll k ow q c i H d l
ar, a n n or a en n e o . e ro
’
i ha t e ue n e
c or Th h or d h i ri d r i I r l i Egyp t q ot d i M f
gre ss o n u en e e e n an a us e -
n n se n an e s
“ ” ’
h
"
us , u ac arre n s
H rm o y p 6
e se an s ae n e n
Si L ct r
s e , n ,

x e u e s on a n , . 0.
60 H A R M ON Y [Ch ap v . .

h armo n is e d di ffe r e n tly We might for i n st an c e h ave put th e

.
, ,

first chord i n a di ffe re n t positio n sti ll r e t ai n in g th e s e co n d as we

,

h ave give n i t .

We pr e fe rre d to giv e first a positio n which allowe d strict

at

obs e rvan c e of th e r e comm e n d atio n s gi v e n i n Chapt e r IV at .

55 1 1 3 1 ,
1 4 But th e. e ffe ct of th e s e qu e n c e wi l l b e b e tt e r if
carri e d out aft e r th e p att e rn l ast i n dicat e d b e caus e as a ge n e ral
rul e co n trary motio n is pr e fe rabl e to simil ar .

1 42 It will i n m an y s e qu e n c e s b e fou n d impossibl e to att e n d

.

to th e r e comm e n d atio n s j ust r e fe rre d to For e x ampl e suppos e .

,

w e work a s e qu e n c e o n this p att e r n ,

if i n th e s e co n d b ar w e att e mpt to k e e p th e two n ot e s F an d A o f

th e chord of D i n th e s am e voic e s i n which th e y w e r e i n th e
pr e ce di n g chord as at ( a ) b e low it is cl e ar th at th e s e co n d b ar
, ,

will n o t corr e spo n d to th e p att e rn se t by th e first an d th e r e w i ll ,

b e n o se que n ce It will th e re fore b e n e c e ss ary to arran g e th e

.

upp e r p arts as at (b) .

1 43 Th e stud e n t can n o w b e gi n to writ e simpl e e x e rcis e s o n

.

co m m o n c h o rd s H e is advis e d to writ e th e m i n wh at is c a l e d l
short scor e —t h a t is , o n two stav e s : th e tre bl e an d a to o n
.

“
l
th e upp e r, an d th e t e n or an d b ass o n th e low e r, st aff In ord e r .

l
to d i st i n gu i sh cl e ar y th e progr e ss i o n of th e p arts , all th e n ot e s of
l
th e tre b e an d t e n or voic e s should h av e th e i r st e ms tur n e d
l
upwards, an d th e a to an d b ass should h av e th e ir st e ms down
wards If two p arts wr i tt e n o n th e s am e staff are i n u n iso n , this
.

is shown by th e n ot e h avi n g two st e ms , o n e upward an d th e

oth e r down ward or i n cas e ,
of a s e mibr e v e by putti n g
,

two n ot e s s i d e by s i d e If ,
how e v e r th e stud e n t i s
,

acqu ai n t e d with th e C cl e fs ( which it is most d e sirabl e th at h e

should b e ) w e stro n gly advis e h im as
,
soo n as possibl e to b e gi n
Ch ap. V .
] 1 TS TH EOR Y AN D PR A C TI CE .

writi n g his
x e rcis e s e in O p e n score givi n g a s e p arat e st aff
e ach vo i ce —thus
, to

This i s th e first b ar of th e e x e rcis e work e d in 5 1 4 5 writt e n i n

op e n scor e .

1 44 Th at th e m an n e r i n which th e e x e rcis e s are to b e do n e

.

m ay b e cl e arly u n d e rstood w e wi l l work a short p ass ag e as a

,

mod e l for th e stud e n t e xplai n i n g th e progr e ssio n of e v e ry n ot e i n

,

e ach chord an d givi n g th e r e aso n s for th e way i n which o n e

,

follows an oth e r I n st e ad of quoti n g th e ru l e s we sh all to s ave

.
, ,

sp ace simply r e fe r to th e p aragr aphs i n wh i ch th e y are give n

,
.

We will choos e th e followi n g simpl e b ass n umb e ri n g e ach n ote for ,

th e co n v e n i e n c e of r e fe r e n c e .

1 2 3 4 5 a 7
1 45 . Th e
positio n of th e first chord is optio n al we m ay h ave
e ith e r th e third th e fifth or th e oct ave of th e root at th e top
, , .

Th e positio n of th e follow i n g chords will d e p e n d upo n th e positio n

of th e first Le t us t ak e th e chord i n th e most usu al posit i o n
.
,

with th e oct ave of th e root at th e top It h as b e e n s aid (5 1 3 0 ) .

th at th e root is g e n e rally th e b e st n ot e to doubl e Th e first .

chord will th e n b e i n this positio n

Chord 2 will co n tai n th e n ote s G B D O f th e s e G was i n th e , , .

,

first chord ; we th e r e fore k e e p i t i n th e alto ( 5 an d put B i n

th e tre bl e an d D i n th e t e n or th e s e b e i n g th e n e ar e st n ote s ,

to thos e which th e y h ad i n th e first chord (5 Th e pro

gr e s si o n will th e r e for e b e

B e twe e n chor d s 2 an d 3 th e b ass move s by ste p . Th e third

 62 H A R M ON Y : [C h ap . v .

chord co n t ai n s th e n ot e s A C E O f th e s e th e n e are st n ot e
, ,
.
,

to th e G of th e alto in chord 2 is A ; but if we t ak e A i n th e

alto C i n th e tr e bl e an d E i n th e t e n or we sh all h av e co n s e cu tiv e
, , ,

p e rfe ct fifths an d octave s with th e b ass .

H e re th e
r e comm e n d atio n give n i n 5 1 1 5 com e s i n to
th e r e for e
forc e We can e ith e r m ak e all th e upp e r p arts move dow n wards
.

( i e. i n co n tr a ry motio n to th e b ass
) as at (d) or take o n ly th e ,

oct ave an d fifth of th e s e co n d chord down an d l e t th e l e ad i n g ,

n ot e ris e as at ( c)
,

Eith e r progr e ss i o n is corr e ct but as it i s ge n e rally b e st to l e t th e

l e adi n g n ot e ris e wh e n it can we sh all choos e ( e ) i n this chord it
,

will b e s e e n w e h av e dou b l e d th e third i n st e ad of th e root n ot e

th at it is a mi n or third ( 5
1 46 Th e chord of F ( N o 4 ) co n sists of th e n ot e s F A C
. .
, , .

O f th e s e C is s e e n both i n th e tre bl e an d t e n or of chord 3

,
In .

which of th e two voic e s sh all we r e t ai n it ? If we k e e p it i n th e

tr e ble as at ( a ) it will b e s e e n th at th e alto an d t e n or voic e s o ve r
, ,

lap ( 5 1 1 1 ) w e sh all th e r e for e k e e p it i n th e t e n or th e alto will

move to its n e are st n ot e F ; an d th e tre bl e w i l l fall to A
, .

Th e fourth an d
fifth chords h ave two n ote s A an d F i n commo n , ,

h e r e th e r e fore th e r e is n o di fficulty both r e m ai n i n th e s am e

voic e s i n which th e y w e re an d C i n th e t e n or go e s to D i n co n ,

trary motio n to th e b ass If it cam e down to A doublin g th e fifth

.
,

of th e chord we should e vid e n tly ge t co n s e cutiv e fifths

, .

We can put th e sixth chord ( G B , ,

D) i n one of two pos i t io n s .
Ch ap . v]
. [Ts TH EOR Y AND PR A C T1 CE . 63

We ith e r tak e th e thre e upp e r p arts i n co n trary motio n to th e

can e
bass as at ( d) or w e can k e e p th e D of th e chord i n th e s am e
, ,

voic e ( th e t e n or) wh i ch h ad it in th e l ast chord as at ( e)

, ,

5 o 5 6
In this cas e th e l att e r is pre fe rabl e b e caus e it is b e st if possibl e to
, , ,

fi n ish a pi e c e with th e octav e of th e root i n th e high e st voic e an d

if we tak e position (d) th e l e ad i n g n ot e i n th e t e n or must ris e to C
( 5 th e alto must ris e to E an d th e tr e bl e co
, n ti n u e o n G .

But aft e r positio n (e) th e progre ssio n of th e l ast two chords will b e
as at (f ) .

1 47 . We n ow give th e
whol e p ass age toge th e r an d th e stud e n t
is advis e d to tak e th e b ass i n 5 1 4 4 an d try to work th e e x e rc i s e i n
,

diffe r e n t positio n s If h e h as fo ll ow e d th e e xp l an atio n s just gi ve n

.
,

h e will fi n d littl e diffi culty i n varyi n g th e positio n s of th e chords .

1 2 8 4 5 6 7

1 All th e e xampl e s hith e rto giv e n h ave b e e n i n th e k e y of

48 .

C . This h as b e e n i n t e n tio n al as af fordi n g a s i mpl e r m e an s of

,

comp ari n g o n e chord with an oth e r ; but it is importan t th at th e

stud e n t should b e abl e to writ e with e qu al e as e i n an y k e y Th e .

e x e rcis e s n o w to b e giv e n will th e r e for e b e i n v arious k e ys In .

th e e arli e r o n e s th e tr e bl e as w e ll as th e b ass wi l l b e giv e n i n

, ,

ord e r to simplify th e l abour of th e b e gi n n e r ; but in th e lat e r

e x e rcis e s th e stud e n t must supply al l th e upp e r p arts .

EX ER C ISES TO C H APTER V .

Tr e bl e an d b ass give n . Add al to an d t e n or p arts .

64 H A R M ON Y : o mp
r . v .

B ass o n ly give n . Add th e thr e e upp e r p arts .

( vi 1 )
.

W
[ e giv e , as l ast e x e rcis e th e b ass for a D oubl e Ch an t Th e
th e , .

s tud e n t must e n d e avour to m ak e th e m e lody i n th e upp e r p art as

i n t e r e sti n g as h e can ]
Ch ap . VI .
)
'
1 T3 TH EOR Y AND PR A C TICE .

C H A PTE R VI .

TH E IN V ER SIO N S O F TH E TR IADS O F A M AJO R K EY .

1 49 . H ith e rto al l th e
chords we h av e us e d h ave b e e n in th e i r
root posit io n s but i n ord e r to obtai n gr e at e r vari e ty of h armo n y
, ,

th e y can b e an d fr e qu e n t l y are i n ve rted Th e i n ve rs i o n of an

, , .

i n t e rval w as d e fi n e d (5 2 6) as p l aci n g th e lowe r n ot e abov e th e

upp e r or th e upp e r b e l ow th e low e r But it is poss i b l e to i n ve rt
, .

som e of th e i n t e rval s of a chord w i thout i n v e rti n g th e chord its e lf .

Thu s if we comp are th e two positio n s

e sh all se e th at at a E is a third
( )
a an d of th e chord
( )
b of C w ( ) ,

b e l ow G an d at ( b) th e re lativ e positio n of th e two n ot e s is

ch an ge d an d E is a s i xth above G —th e i n ve rs i o n of a third
,

, .

But th e chord its e lf is n o t i n v e rt e d for th e root C i s i n th e b ass , , ,

i n both c as e s .

A ch o rd i s sa i d to b e i n ve rte d w h e n a ny o th e r n o te th a n th e
15 0 .

roo t i s p l a ce d i n th e b a ss A mom e n t s thought wi l show th e

.
’
l
stud e n t th at th e n umb e r of i n v e rsio n s of which an y chord i s
l
susc e ptib e must b e o n e l e ss than th e n umb e r of n ot e s which i t
co n tai n s Thus a tr iad, which co n s i sts of thre e n ot e s , h as two
.

i n ve rsio n s, b e caus e it co n t ai n s two n ot e s b e sid e s its root, an d

e i th e r of th e s e n ot e s can b e p ac e d i n th e b ass l
im i arly a chord . S l
of th e s e v e n th , b e caus e i t co n tai n s four n ot e s , h as thre e i n ve rsio n s ,
an d so o n If th e third of th e chord is i n th e b ass , we h ave th e
.

first i n v e rsio n , if th e fifth is i n th e b ass , th e s e co n d i n v e rs i o n , & c .

th e i n v e rsio n s b e i n g always r e cko n e d accord i n g to th e n umb e r i n

th e s e ri e s O f thirds abov e th e root of th e n ot e which is i n th e
b ass .

15 T h e
1 first
. i n v e rsio n of a chord , as w e h av e just s aid h as ,

th e third i n th e b ass As i n th e root pos i t i o n ,

. it m ak e s n o d i ffe r
e n c e to th e n atur e of th e chord which of th e oth e r n ot e s stan ds
n e xt above th e third .

Both ( a ) an d ( b ) are e qu al l y first i n ve rsio n s of th e chord of C .

Th e root which w as b e for e a third b e l ow E is n o w i n ve rt e d with

, ,

re sp e ct to th at n ot e an d i s a s i xth abov e it ; but th e fifth of th e

,
66 H A R M ON Y [C h ap vi . .

chor d G which i n th e root posit i o n was a third above E is sti l l a

, , ,

th i rd above it Th e first i n ve rsio n of a triad is th e r e for e cal l e d

.

th e chord of th e sixth an d third or mor e usu all y th e ch ord of th e , , ,

si x th ,
th e th i rd b e i n g always imp l i e d wh e n th e short e r n am e is
us e d .

1 52 In ord e r th at it m ay b e k n own wh e n o n l y th e b ass is

.
,

giv e n wh at h armo n y is to b e p l ac e d abov e i t— th at is wh e th e r th e

, ,

b ass n ot e is th e root of a cn o rd or o n e of th e oth e r n ot e s an d th e re , ,

for e wh e th e r w e h av e an i n ve rs i o n we use wh at was form e r l y call e d ,

Th oro ug h B ass but is n o w mor e usu ally spok e n of as Fig ured B a ss

, .

This is a k in d of musical short h an d which i n d i cat e s by o n e or -

, ,

mor e figur e s plac e d u n d e r ( or som e tim e s ov e r) th e b ass n ot e th e ,

n atur e of th e chord of which th e b ass is giv e n A commo n chord .

i n its root positio n as it co n t ai n s th e fifth an d third of th e b ass

,

n ot e would b e figur e d th e l arge r figur e wh e n th e r e is mor e

g ,

th an o n e b e i n g al most i n variably pl ac e d at th e top But as a

, .
,

m att e r of actu al practic e th e commo n chord i n its root positio n is ,

n o t figur e d at al l e xc e pt wh e n o n e of its n ot e s r e quir e s an acci

,
'

d e n t al b e for e it or wh e n two or more chords o n e of which is a

,

c ommo n chord are to follow o n e an oth e r o n th e s am e b ass n ot e

, .

( S ee 5
1 53 As a first i n v e rsio n h as th e i n t e rv als of a third an d sixth
.

a bov e th e b ass n ot e its full figuri n g would b e But just as w e

,
2
s p e ak of it m e r e ly a s a
“
chord of th e sixth we mostly figur e it o n l y ,

w i th a 6 In a chord of th e sixth th e th i rd i s a l w ay s i mp l i e d b ut it is
.
,

n o t sp e ci ally m ark e d e xc e pti n g wh e n it r e quir e s an accid e n t al an d

, ,

i n th at c as e th e accid e n t al ifor b is writt e n without th e figure 3 .

fig
.

An acci de n ta l w i th o ut a ure a t i ts si de a l w ay s re e rs to th e th i rd f
of th e bass n o te But if th e sixth r e quire d an accid e n tal this would
.

h av e to b e writt e n thus or b6 som e tim e s also 6 1l o r A ,

s h arp e n e d n ot e is fr e qu e n tly i n dic at e d by a strok e dr aw n through

t h e figur e thu s—6 Th e followi n g e x ampl e s wi ll m ak e this cl e ar

.

gene r a ) fi b
g g g
6
3
1 54 tri ads giv e n i n 5 1 2 2 can b e us e d i n th e ir first
. All th e
i n v e rs i o n ; an d we sh all thus h av e a chord of th e sixth o n e ve ry
d e gr e e of th e scal e .

In four p art h armo n y o n e of th e s e n ot e s must b e oubl e d , just as

-
d
i n th e root positio n th e g e n e ral rul e s with re gard to doub l i n g
ast ch apt e r 5 1 3 0 ) apply also h e r e
g iv e n i n th e l ( .

1 55 At .i n th e l ast e x ampl e will b e s e e n th e first i n v e rsio n

Ch ap . vi j . [Ts TH EO R Y AND PR A C TI CE . 67

of th e dimi n ish e d tri ad o n th e l e adin g n ot e Though this ch ord .

i s v e ry rare l y us e d i n its root pos i tio n ( 5 1 2 3 1 4 0 ) it is v e ry oft e n

5
,

to b e m e t with i n its first i n v e rsio n H e re though th e F an d B .

,

are sti ll d i sso n an t to o n e an oth e r th e y produc e a much l e ss h arsh

,

e ffe ct th an i n th e ir root positio n b e caus e n o w both th e n ot e s are

,

co n so n an t to th e b ass Gre at e r fre e dom is th e r e fore al l owe d i n

.

th e ir use an d i n th e ir progr e ssio n .

1 56 Provid e d th at th e ge n e ral l aws of p art writi n g giv e n i n

.
-

Ch apt e r IV are obs e rve d th e r e are n o sp e ci al r e strictio n s as to th e

.
,

tre atm e n t of first i n ve rsio n s wh e n th e y occur si n g l y th at is b e tw e e n ,

oth e r positio n s of chords But wh e n tw o or mor e first i n ve rsio n s

.

fo ll ow o n e an oth e r a litt l e c are is n e e d e d i n th e ir m an age m e n t

, .

If for i n st an c e i n th e s e ri e s of sixths give n i n 5 1 5 4 we p lace th e

, ,

fifth of e ach chord i n th e upp e r p art ,

it is cl e ar t hat w e sh all h av e a s e ri e s of co n s e cutiv e fifths with th e

roots H e n ce w e ge t th e fo l lowi n g import an t rul e Whe n tw o or
m o re first i n ve rsi on s fol l o w o n e a n o th e r th e si x th fro m th e b a ss
.

sh o ul d m ostly b e i n th e upp e r p a rt if th e b ass m ove s by step Th e .

fifth wi l l th e n b e a fourth b e lo w th e root an d co n s e cutiv e fourths ,

are n o t forbidd e n b e twe e n upp e r p arts ( 5

1 57 A n oth e r po i n t to b e att e n d e d to i n a s e ri e s of sixths is

.

th e doub l i n g of o n e of th e n ot e s of th e chords If e ith e r th e root .

,

th e th i rd or th e fifth b e doubl e d i n e ach chord

, ,

s l a g -

it is cl e ar th at th e r e will b e co n s e cutiv e octav e s som e tim e s al so as , ,

at ( a ) co n s e cutiv e fifths From this we d e duce an oth e r ru l e

Th e sa m e n o te of th e ch o rd m ust n o t b e do ubl e d i n tw o s ucce ssi ve first
.

i n ve rsi on s Th e usu al plan a dopt e d is to doub l e th e root an d th e

.

third of th e chord alt e rn at e ly as i n th e fo ll o wi n g e xample from

,

Mo zart
M OZ A R T M
,
N 5 . ass , O. 1 .

car e b e i n g of cours e t ak e n n o t to doubl e th e l e adi n g n ot e ( 5

but th e fifth m ay al so som e t i m e s b e doub l e d .
68 H A R M ON Y [C h a p vi .

1 5 8 . Th e s e co n d i n v e rsio n of a chord h as th e fifth in th e b ass .

In this chord both root an d third are abov e th e fifth an d are ,

th e re for e i n v e rt e d with r e sp e ct to it Th e root is n o w a fourth

.

an d th e third is a sixth abov e th e b ass n ot e Th i s i n ve rsio n .

is th e re fore call e d th e chord of th e sixth an d fourth or mor e ,

commo n l y th e chord of six four

“ -
”
It is figur e d 9
.

,
Th e low e r
figur e can n ot b e omitt e d or th e re would b e n o m e an s of dis
,

ti n g ui sh in g b e t w e e n this chord an d th e first i n v e rsio n .

If th stud n t wi l l pl ay this chord o n th e p i an o h e will

1
59 . e e ,

n otic e th at its e ffe ct is much mor e u n s atisfyi n g th an th at of e ith e r

th e root positio n or th e first i n v e rsio n ; it r e quir e s i n fact to b e , ,

followe d by som e oth e r chord such as a commo n chord i n its

,

root positio n o n th e s am e b ass n ot e This is b e caus e a fourth .

w i th th e b a ss ( though n o t b e tw e e n two upp e r p art s) p roduce s th e

eff ect of a d i sson a n ce . For this r e aso n th e s e co n d i n v e rsio n s of
chords r e quir e sp e ci al tre atm e n t as will b e s e e n dir e ct l y
, .

1 60 A n y tri ad m ay b e t ak e n i n its s e co n d i n v e rsio n

. S om e .

th e orists stat e th at o n l y th e to n ic domi n an t an d subdomi n an t

, ,

chords m ay b e so us e d but this is e rro n e ous as wi ll app e ar from ,

th e fo l lowi n g e x amp l e s from th e works of th e gr e at m ast e rs i n ,

which th e s e co n d i n v e rsio n of a chord o n e v e ry d e gre e of th e

scal e is given
H A YDN C ti . re a on .

ME ND ELSSOHN . St . Pau l
'
.

S C H U MA NN . d
Para i se an d th e Pe ri .
Ch ap . vi j . [Ts TH EO R Y A ND PR A C TI CE . 69

ME ND ELSSO H N . M arch , “
A th a i el .
”

S POHR .
“
L as t J dg
u me n t .

BAC H .
“
Daz u i st e rschi e n e n .

6
In ea ch e x ampl e th e chord is m ark e d with an a st e risk .

4
1 All th e s e e xtracts d e s e rv e a l i ttl e study ; an d an e x ami n a
61 .

tio n of th e m w i l l h e l p th e stud e n t to u n d e rst an d th e ru l e s we

sh al l pre s e n t l y giv e for th e tre atm e n t of th e chord At ( a ) is s e e n .

th e s e co n d i n v e rsio n of th e to n ic chord fo ll ow e d by an oth e r chord

o n th e s am e b ass n ot e Th i s i s by far th e commo n e st w ay of
.

usi n g a an d as i t most l y occurs at th e e n d of a phras e it m ay b e

6
1,
2

call e d a c ad e n ti al
2 At ( )
b w e fi n d th e s am e chord di f
fe r e n tly ,

fol l o we d vi a by a chord o n th e n e xt d e gr e e of th e scal e

, ,
.

1 62 Th e s e co n d i n v e rsio n s of chords o n th e sup e rto n ic an d

.

m e d ian t are v e ry rare At ( c) is th e sup e rto n ic chord i n th e

.
7 0 H A R M ON Y : [C h a p . V1 .

s e co n d i n v e rsio n th e b ass as usu al move s by st e p an d th e chord , , ,

is appro ach e d from an oth e r positio n of th e s am e h armo n y Th e .

s e co n d i n ve rsio n of th e m e dian t chord as at ( d ) is prob ab l y , ,

e ve n r ar e r Th e subdomi n an t chord is tol e rably commo n

. ,

e sp e ci all y wh e n us e d as at ( c) H e re it is c ad e n ti al l ik e th e to n ic .
,

chord at ( a) Th e domi n an t i n th e s e co n d i n v e rs i o n is al so
.

fr e qu e n t as at ( f ) but th i s chord c an n ot b e us e d lik e thos e of

,

th e to n ic an d subdomi n an t cade n ti all y .

1 63 Th e s e co n d i n v e rsio n of th e subm e d i an t chord (g ) is

.

an oth e r which is s e ldom m e t with but th e stud e n t can fi n d

an oth e r e x ampl e at th e n i n th b ar of th e first move m e n t of
B e e thove n s so n at a i n E mi n or O p 90 In th e p ass ag e giv e n from
’
,
. .

M e n d e lssoh n th e re will also b e s e e n a cad e n ti al 9 ,

of th e to n ic
chord Th e s e co n d i n ve rsio n of th e dimi n ish e d tri ad o n th e
.

l e adi n g n ot e (h ) is o n ly v e ry rare ly to b e fou n d i n four p art -

h armo n y O ur e xtract is from a Church C an t at a by B ach an d it

.
,

gi ve s an illustratio n of th e fre e dom of his p art writi n g In th e -

.

s e co n d b ar will b e s e e n co n s e cutive fifths b e twe e n th e tre bl e an d

te n or But h e re th e tr e bl e n ote ( Al?) is n o t a n ot e of th e h armo n y
.
,

but an a n ti cipati o n of a n ot e of th e n e xt chord as wi l l b e ,

e xpl ai n e d l at e r ( 5 Th e stud e n t is a dvis e d n o t to imit at e

such lice n c e s u n til h e h as ac quir e d th e skill i n p art writi n g which -

B ach poss e ss e d Th e progr e ssio n of th e al to at th e e n d of this

.

e x amp l e illustrat e s B ach s p artiality ( re fe rr e d to i n 5 1 3 2) for’

taki n g th e l e adi n g n ot e down to th e fifth of a chord i n a c ad e n c e .

1 64 In co n s e q u e n c e of th e disso n an t e ffe ct of th e fourth with

.

th e b ass it is n e c e ss ary to b e car e ful i n appro achi n g as w e ll as i n

, ,

q uitti n g a
6
4
chord . Th e rul e s for a ppro achi n g this chord which ,

are d e duce d from th e practic e of th e gr e at m ast e rs ,

an d which will
be all illustrat e d by th e e x amp l e s give n i n 5 1 6 0 ,
are th e fo l low
in
g
I A s e co n d i n ve rsio n
. m ay b e ppro ach e d e ith e r by l e ap as at
a ,

( )
a or, by st e p a s a t , ( ) (g )
d from th e
,
root pos i tio n of an oth e r

chord .

I I It m ay b e appro ach e d by l e ap as at ( c) ( e ) from an oth e r

.
, ,

positio n of th e s am e chord .

I I I It m ay b e appro ach e d by st e p ( b ut n ot by le ap ) from th e

.

in ve rsio n of an oth e r chord as at ( b ) ( f ) ( h ) ,

.

IV It m ay b e pr e c e d e d by a diffe re n t chord upo n th e s am e

.

b ass n ote as i n th e p ass age from B e e thov e n s O p 90 m e n tio n e d

,
’
.
,

in 5 1 6 3 Se e also e xample from th e

. S icilian M ari n e rs H ymn ’

in th e n e xt p aragr aph .

1 65 N o le ss importan t than th e rule s j ust give n are thos e

.

which r e gu l at e th e l e avi n g a s e co n d i n ve rsio n Th e s e rul e s are .

thre e i n n umb e r
I Th e b ass of an y s e co n d i n v e rsio n m ay move by st e p of a to n e
.
,
Ch ap . vi j . [Ts TH EOR Y AND PR A C TI CE .
71

as at ) () ( ) 1b
f of c
a di a to n ic s e mito n e
,
as at ( )( )
g h or of a , ,

chrom atic s e mito n e as at ( d ) upwards or down wards ; an d th e

, ,

fo ll owi n g chord m ay b e e i th e r a chord i n root positio n as at ( c) ,

(f ) or,a n i n v e rsio n as at ( b ) ( d (g ) ( h
) ),
.

I I Th e s e co n d i n v e rs i o n s of th e to n ic an d subdomi n an t
.

chords m ay b e fo l low e d by an oth e r chord o n th e s am e b ass n ot e

or its octav e as at ( a ) ( e ) In such cas e s i t w i l l b e n e e dful to
,

.
,

fig ur e th e commo n chord ( 5 Thus th e l ast b ass n ot e of

.

( )
a wou l d b e figur ed Th i s is wh E
at h as b e e n
6 5
.

4 3

d scrib e d as a cad e n tial

e
2 an d i n this c as e th e
2 m ay n o t b e o n
a w e ak e r a cc e n t th an th e chord which follows it This rul e how .
,

e v e r do e s n o t apply wh e n th e
,
2 chord h as its e lf b e e n pr e c e d e d by
an th e r chord o n th e s am e b ass n ot e as i n th e w e ll k n own
o
-

Sl C 1 li an M arm e rs H ym n ” ’

wh e r e th e
2 chords are on th e s e co n d h alf of th e b ar an d th e

followi n g 5 on th e first b e at Wh e n . th e b ass mov e s ,

as in rul e I,
.

3
th e r e i s n o r e strictio n as to th e positio n i n th e b ar of th e 2chord .

I I I Th e b ass of a s e co n d i n ve rsio n m ay l e ap to an oth e r n ot e

.

of th e s am e chord whi l e th e h armo n y r e m ai n s u n ch an ge d but it

is n o t al lowe d to l e ap i n an y oth e r c as e *
.

1 66 In th e s e co n d i n v e rsio n of an y chord th e b e st n ot e to
.
,

doub l e is n o t th e root as i n th e oth e r positio n s of a chord b e caus e

, ,

h e r e th e root b e i n g a fourth above th e b ass is th e disso n an t n ot e

, ,
.

Th e fifth of th e chord is th e b e st n ot e to doub l e b e i n g of cours e ,

th e oct av e of th e b ass n ot e It wi l l b e s e e n th at i n al l th e .

e x ampl e s ( a ) to ( f) of 5 1 6 0 th e b ass n ot e is th e o n e doubl e d ,

.

chor d
1 67 Th e rul e s j ust give n for th e tr e atm e n t of th e
.

2 ,

An r tb
ap p a e n ut n o t r l c p ti o to th i r l i wh
ea , ex e n s ue s en th e b ass o fa
2c h ord
v th to h ot b low g
,

i se s a se
r en t e octa ve o f h
t e n e e ; e. .

in s t d
ea of
7 2 H A R M ON Y : [C h ap v1
. .

b e i n g n e c e ss arily som e wh at mi n ut e will prob ably giv e b e gi n n e rs

,

a l i tt l e troubl e I t is how e v e r stro n g l y r e comm e n d e d th at th e y

shou l d b e thoroughl y m ast e r e d for th e r e is n o po i n t o n which
.

stud e n ts are mor e ap t to go wro n g or W i th r e gard to which th e ,

r e sults of mist ak e s are mor e dis astrous .

EX ER C ISES TO C H APTER VI .

Tre ble an d B ass giv e n . Add alto an d t e n or p arts .

B ass o n ly give n . Add th e thre e upp e r p arts

6 6 6 6 6 6 6
4 4 4 3

hass
( a) Th e t d t m t b c r flh r
s u en us e a e u e e not to ma k co c t iv
e n se u e 4th s wi th th e
.
Ch ap . v1 1 . I TS THEORY AND RA
P E
C TI C .
73

( IX ) Do ub. l e Ch an t.

6 6 6 6

( X ) H ym n Tun e ( C o m m o n M e tre )
. .
74 H A R MONY ch ap vr1
r . .

C H A PTE R VI I .

TH E M IN O R K EY .

r i h rdly yp o i t co ct d wit h h rm o y th ci t i fic p l
1 68 Th e e s a an n nne e a n e s en ex an a
t i o fwh i ch h g iv m c h tro bl to t h or i t t r f h m i or
.

n o as he n so u u e e s s as t e na u e o t e n
k y e Th d i ffic lty h ri m i ly fro m h f ct t h t h to i c c h ord
e u as a se n a n t e a a t e n
co t i ot ( h m i or th i rd ) w h i ch i rt co o d to
.

n a ns a n e t ep f h n m p s not a a o t e un ne

4 ) f h f d m
0 o t l D y i h i Tr t i
t e un a H rm o y y Th
en a a n s ea se on a n sa s
“
e
r l f ct i th t y m i or k y i rbi tr ry t r l ch g f h
.

ea a s, a an n e s an a a n ot a na u a an e o t e
m jor t h i rd d i th f h c l i to h m i or Si Fr d ri k O l y
, ,
”
a an s x o t e s a e n t e n r e e c use e
t k d iff r t v i d gi v h m i or t h i rd rbi tr ry lt r ti o
.

a es a e en e w, an es t e n n o t as an a a a e a n,

g h ot f h h rm o i c ri ( Th i c rt i ly p p r
,

b h
ut as t e l t n e o t e a n se es se e s e a n a ea s
a m or t i f ctory i w b i m t b ob rv d w i th r g rd to i t h t ( l ik
e sa s a V e ut t us e se e e a t a e
h
t e 7 h h r m o i c w hi c h g i v
1 t a h i t rv l f h m i or i th ) h
n
gh es t e n e a o t e n n n t e l t
h r m o i c i p ro d c d too h i g h p i r i to b r g rd d t r li /
,

a n s h u e u n t e se es e e a e as n a u a n t ze
sa m i w h i c h t h i word i
e se n se n d w i th r g rd to h p rf ct fi fth d m jor
s s use e a t e e e an a
t h i rd ; d g r tor v r g iv m i or t h i rd from i t l f p rt f i
an no ene a e e es a n se as a o ts
co m po d to i t d f m jor thi rd H r t h r for h p ri c ip l f
un ne ns e a o a a e e e e e t e n e o
th ti c l cti o r f rr d to i 4 5 co m i to p l y Th o ly m i or
.

ae s e se e n e e e n 2, 1 es n a e n n

t h i rd i h com p o d to f y ot i t h t to b fo d b tw h fi fth
.
,

n t e un ne o an n e s a e un e e en t e
an d i t h p rt i l to
s x H l m h olt y th t h m od r m i or m od i
a a n e s. e z sa s a t e e n n e s a
f io
us f th r n f h old
o ccl i t ic l m od h Dori o li
ee o t e de e s as a e s, t e an , an , an
Ph rygi S ti o f To p
an e n sa ns o ne,
”
.

1 6 9 In
ot e to 7 9 it was poi n t e d out th at if we com
. a n

m e n ce a scal e o n som e oth e r n ot e th an C an d use n o fl ats or ,

sh arps we sh al l obtai n various forms of th e old e ccl e si astica l

,
“ ”
scal e s If we b e gi n with th e n ot e A we shall h ave th e o lian
.
,

scal e .

If stud e n t w rll comp ar e this scale with th e mi n or scale give n

th e
i n Ch apt e r a n d will n otic e th e i n t e rv als b e twe e n e ach n ot e
9 , ,

h e wi l l se e th at th e o n ly n ot e i n th e [Eo l i an sc al e which di ffe rs

from th e mod e rn mi n or i s th e s e v e n th In fact th e o l ian scal e .
,

l ik e s e ve ral oth e r of th e old e r scal e s h as n o le adi n g n ot e th e , ,

s e ve n th b e i n g a to n e i n st e ad of a s e mito n e b e low th e to n ic S uch .

a sc a l e is to b e fou n d i n som e old n atio n al airs As mod e rn music .

d e v e lop e d th e fe e li n g of th e n e c e ssity for a l e adi n g n ot e b e cam e

,

stro n g e r It was fou n d th at a chord o n th e domi n an t w ith a

.

m i n or third produc e d a most u n pl e as an t e ffe ct b e fore th e to n ic ,

e .
g .
,
Ch ap . V II ] . 1 TS TH EOR Y AND PR A C TI CE .
75

H e re , with our mod e r n fe e li n g for music th e e ffe ct of th e fourth ,

chord is simply d e t e stabl e But if th e p ass age is pl ay e d again

.

substituti n g G il; for G hth e e ar is s atisfi e d at o n c e This al t e rat i o n .

of th e s e ve n th n ot e ch an ge s th e ZEo l ian scal e giv e n above i n to

our mod e rn mi n or scal e .

1 70 As a m att e r of history howe ve r this r e su l t was n o t

.
, ,

r e ach e d by a l e ap Th e old music was mostly writt e n for voice s

.
,

an d augm e n t e d i n t e rvals w e r e forbidd e n as b e i n g difficult to si n g ,

.

B ut from Fq to n i n th e n o w alt e re d scal e is an i n t e rval o f

an augm e n t e d s e co n d This n o t b e i n g all ow e d an d th e G ; b e i n g
.
,

fe lt i n d i sp e n s abl e it b e cam e n e ce ssary also to sh arp e n th e F

,
‘

. .

Thi s gav e an oth e r form of th e mi n or scal e ,

wh i ch is sti l l i n use for m e lodic though (as wi l l b e s e e n ,

lat e r ) rar e ly for h armo n ic pu rpos e s As th e n e ce ssity of th e .

i n t e rval of a s e mito n e b e tw e e n th e s e v e n th of th e sc al e an d th e
to n i c is n o t fe lt i n d e sc e n di n g th e form of scal e l ast giv e n is
,

chi e fly us e d i n asc e n di n g p ass age s th e old e r o l ian form give n ,

in 1 6 b e i n g g e n e rall y r e t ai n e d i n d e sc e n d i n g This w i l l b e
9 .

s e e n in th e two fo l lowi n g scal e s t ak e n from th e fi n al e of Mo z art s

,
’

co n c e rto i n C mi n or .

M OZ A R T C t i C mi . o n ce r o n n o r.

O cc asio n ally th e form of th e scal e with th e sh arp e n e d sixth an d

s e v e n th is fou n d al so i n d e sce n din g p ass age s as i n th e followi n g ,

p ass age from H an d e l s 7 th S uit e d e Pi ec e s

’
.

H A ND EL Sui t d Pie N 7 . e e ce s , o. .

1 form of mi n or scal e m ost us e d i n mod e rn music i s

71 . Th e
th at d e scr ib e d at th e e n d of 1 6 9 which is obt ai n e d from th e ,

ZEo l ian sca l e by sh arp e n i n g th e s e ve n th n ot e an d wh i ch h as th e ,

i n t e rval of an augm e n te d an d b e tw e e n its sixth an d s e v e n th

n ot e s .

It will b e s e e n th at this form of th e scal eh as thr e e s e mito n e s

vi z . b e twe e n th e 2 n d an d 3 rd th e sth ,
an d 6 th , an d th e 7 th an d
,
7 6 H A R 111 01VY Lch ap . V II .

8 th d e gr e e s Th e poi n t i n wh i ch al l thr e e forms of th e mi n or

scal e agr e e is th at th e y al l h av e a s e mito n e b e twe e n th e 2 n d an d
.

d d e gr e e s an d th e r e for e a mi n or third b e tw e e n tom e an d

3 r ,

m e di an t This l ast g iv e n form of scal e 1 8 v e ry commo n m

i n strum e n t a l music an d n o t i n fr e qu e n t i n mod e r n vocal m usrc
.
o

.
,

We g i ve o n e e x amp l e
B EET H O EN S Op N V . o n a ta . . 2, o . 1 .

1 7 2 As al l th e d iato n i c chords of th e mi n or k e y are m ad e with

n ot e s of th e sc al e l ast g i v e n
.

th i s form i s k n ow n as th e H a rm on i c
,

M i n or S cal e th e oth e r two b e i n g call e d Afe l oa zc Mi n or S cal e s ’

'

l ae
, .

Th e l e ad i n g n ot e of e ve ry m i n or sc al e is a l ways writt e n as an
a cc i d e n t al b e caus e i n th e k e y s ig n atur e (as Was s h ow n i n 82
-

, ,

8 5 ) th e sh arps or fl ats are al w ays p l ac e d i n th e s am e ord e r If .

th e l e ad i n g n ot e of A m i n or w e r e i n d i c at e d i n th e sig n atur e i t

wou l d b e writt e n thus a n d th e s i g n atur e of C mi n or

wou l d Th i s wou l d be e xtr e m e ly co n fus i n g ,

e sp e ci all y as th e sixth an d s e v e n th n ot e s of th e mi n or scal e are

so fr e qu e n t l y m e t w i th i n two forms an d wou l d i n an y cas e oft e n ,

r e quir e an accid e n t al w hich e ve r w ay th e y w e r e writt e n It is .

th e re for e mor e co n v e n i e n t to writ e th e l e ad i n g n ot e wi th an

accid e n t al ; but it must b e p a rt i cu l ar l y n otic e d th at th i s n ot e is

n e ve rth e l e ss co n sid e r e d a s a di a to n i c n ot e i n th e k e y an d n o t as ,

a cfi ro ma tzc n ot e
'

72 ,

1 73 If w e comp are th e h armo n ic form of th e scal e of A mi n or

just giv e n with th e scal e of C m aj or ( g 9) it wi l l b e s e e n th at si x of
.

its s e v e n n ot e s are th e s am e O n l y G is di ffe r e n t ; an d as this

.

n ot e is to b e writt e n as an accid e n t a l wh e n e v e r it occurs i t is c l e ar

,

th at th e k e ys of C m aj or an d A m i n or will h av e th e s am e sign atur e .

A m aj or an d a mi n or sc al e which h av e six n ot e s i n commo n w i ll

al ways h av e th e s am e k e sig n atur e ; for this r e a so n a n d also
y
-

b e caus e th e r e is n o oth e r mi n or scal e which poss e ss e s s o m an y

n ot e s i n commo n with a m aj or o n e such k e ys are c al l e d R EL ATIV E
,

m aj or an d mi n or k e ys Th e to n ic of th e r e l ativ e m in or of an y
.

m aj or k e y is al ways a mi n or third be l ow th e to n ic of th at m aj or ;
an d co n v e rs e l y th e to n ic of th e r e l at i v e m aj or of a mi n or k e is
y
al ways a mi n or third ( 1 5 071 5 th e to n ic of th at mi n or Th e m aj or .

to n ics h ave b e e n give n i n 82 85 th e ir r e lativ e mi n ors are th e

fo l lowi n g :
,

o w t r c ll t
S me or f h ri h e se f m s t e min or c l “
rb i tr ry — f un o r
d
e s a o s a e a a an
tu n a te
alt r t o
word
i
t y r lly,ol r form
as he are ea e s , an d by no m e an s m r ly rbi tr ry
e e a a
e a n s.
Ch ap . vr1 ] . [TS TH EO R Y AND PR A C TICE .

Si g tr
na u e .

Si g tr
na u e .

1 74 ro
It i b e s e e n f m th e aw ll
bov t bl t t w t c ll d
e a e ha tr
h a a re a e th e e x e me
“

ky t k y wt y fl t or r v r o c q vl t
.

e s, th a i s , th e e s i h m an a s sh a p s, h a e e n h a m n i e ui a e n s

ot d to
T w o n e s are sai r o c
be “
ot r w t y
e nha m n i o f o n e an he he n h e
arer r t d by
e p e se n e o tr t c o w c
th e sam e s un d o n i n s um e n s, s u h as th e p ian , hi h
v o ly t lv ot
ha e n oct v
w e e n e s i n th e tt r ct
a e A s a m a e o ffa bot Gj : an d A ? i f h
w r l y d ctly t wo l di r c
.

e e p a e e xa i n un e u d n o t b e th e sam e 5 )
2 b u t th e ffe e n e
tc ll t t
i n p i h i s so sm a ot d bot
h a o n e n e i s use ot fo r c wr tt
h M s m usi i s i en on
w t c ll d cl t t c l w c v ry t rv l
.

ha is a e th e te mpe re d s a e , h a i s, a s a e i n hi h e e in e a
c t g oct v
e x e p in th e l g tly
a e is s i h t l ttl t t ill rv to
o ut o f un e , b ut s o i e ha it W se e
r r t q lly w ll two or t r ot v ry l g tly d r g tc
e p e se n e ua e h ee n es e s i h iffe i n i n pi h Th us
t r ot
.

th e h e e n e s

are al l r pr t d by th m o d h p i o W c ot d i c
e e se n e e sa e s un on t e an e an n s uss at
l gth h q t i o f t m p r m t h c i ty f w h ich ri fro m h
.

en t e ue s n o e e a en t e ne e ss or a se s t e
f ct t h t h oct v do co t i ctly tw lv m i to ll th t h
,

a a t e a e es not n a n e xa e e se ne s ; a a t e
t d t p r t d to k ow i h m i g f h t rm h r m o i c
s u en at e se n nee s n s t e e an n o t e e en a n
”

h p r ct i c l pp l i c t i o f w h i c h w i ll b l t r I wil l b th t h ,

t e a a a a n o e se e n a e t e se e n a t e
k y fB i] d C D f Ff d G P d fC 1; d Db h rmo i
.

e s o an o an f an o an a re e n a n es o o ne
oth r ( S 8 3
.
, ,

an e . ee ,

75 A 1 m a jor an d
. a mi n or sc al e which b e g i n upo n th e s am e

k e y n ot e are c a l l e d To n i c M ajo r a n d M n or sca l es an d th e k e ys to

'

which th e s e sca l e s b e lo n g are c all e d To n ic M aj or an d M i n or k e ys

By e x am i n i n g th e t ab l e m g 1 73 th e stud e n t wi ll se e th at e ve ry
, .

m aj or sc al e h as thr e e sh arps more or ( which com e s to th e s am e ,

th i n g ) thre e fl ats fe w e r th an its to n ic m i n or an d co n ve rs e l y th at

,

e v e ry mi n or k e y h as thr e e fl ats mor e or thr e e sh arps fe we r th an i ts

to n ic m aj or It is obvious t hat taki n g away a sh arp an d putti n g
.
78 . HA R M O N Y : [Ch ap vrr . .

on a flat produce th e s am e —
r e sult th at of lowe ri n g a n ot e by a

s e mito n e
r g rd h h r mo i c b i f h k y th r i co ct i o wh t
.

1 76 As e a s t e a n as s o t e e s, e e s no nne n a

v r b tw jor or w h il t h r i v ry clo
.
.

e e y m e k y d i
een l i an m i a e an ts re a t ve n e e e s a e se

co ct io b tw m jor k y i m i or Th k y f C m i or f
,

nn e n d i e een a a e an ts to n c n e e o n or

i t c i d r i v d fro m h t h r g r tor C G D ctly l ik C m jor

.
,

n s an e s e e t e ee e ne a s e xa e a
d i ff r t l ct i o f h h r m o i c i m d f h d i to ic ot
, , , ,

b ut a e en se e n o t e a n s s a e or t e a n n es

o f h c l A h to i c i h fo d t io f h k y i wo ld b h rdly
t e s a e s t e n s t e un a n o t e e t u e a

r o bl to f h th i rd f i c h ord r mot pp r rt i l to
.
,

e as na e us e or t e o ts so e e an u e pa a n e as

h m i or i th f D ( h r o c C t r or t k
-

d h m i f ) h f f 1
'

t e n 5 3 n n o w t e 1 r a n o ; e e e e a e or 1 1 2s

/ d
c zo r ly h g h hon r m o i c E b (
t e l t bl 3 6 ) i
t t d fa h s h h rm o i c n se e a e ns ea o t e t a n

Eh I h b lr dy id 6 8 ) th t t h i i m tt r f c h oi c
t as een a ea f sa 1 a s s a a e o e not o
,

c ity I ll h ot h r h r m o i c com bi t i o f h m i or k y ,
.

ne e ss n a t e ie a n na ns o t e n e n

h do m i t d p rto i c d i cord to b tr t d l t r t k h m Eb
.

t e n an an su e n s s e ea e a e we a e t e sa e

r o c jor v h m th r
, ,

( ht e 17 h h m i f tD ) i h ma k y n A h
o as n t e a e s we a e t e sa e ee

g r tor i i vi d t t h t h ch rom t i c c l 7 3 ) w i ll b h m i C
.

ene a s, t s e en a t e a s a e e t e sa e as n

m jor ; b
a i l ct i g ut ot f h d i to i c c l w t k d iff r t
n se e n o ur n es or t e a n s a e e a e a e en

se r i From h t bl f r l t i v c l
es t et h t h ig t r f C m i o
a e o e a e s a es we se e a t e s na u e o n r
co t i th th r fl t B E d A O fth B fl i r i d to B k] f h
.

n a ns e ee a s , , an . e se at s a se or t e
l d i g ot b Eb d A b
ea n n e lw y d i to i c i h k y A b d Bb
; ut an are a a s a n n t e e an

l o d r c rt i c irc m t c to b l t r p l i d tr t d d i to ic
.

are a s un e e a n u s an es e a e ex a ne ea e as a n
h pr t w t k o ly h h r m o i c for m f h c l
, ,

i n h k y b
t e f e ; ut o r t e e se n e a e n t e a n o t e s a e
E? i i h c h ord f h to i c i g h h r m o i c i ot h r co m b i t i o
.
,

s, n t e o t h e n ts l t a n n e na ns t e
7 h h r m o ic f h p rto i c w h i l Ab i h 7 h h rm o i c f h
,

1 t a n o t e su e n e s t e 1 t a n o t e
dom i t n an

h ow d t h t v ry tr i d i m j or k y w fo d
.

77 I 1 7 5 76 n we s e a e e a n a a e as un
mo g h f d m t l h r m o i f h th r g r tor i t h t k y Th
.
, ,

a n t e un a en a a n es o t e ee e ne a s n a e e
m i tr f h tr i d f h m i or k y w h i ch h ll t
.

sa e s ue o t e a i h
s o t e n e as we s a se e n t e ne x
ch p t r d iff r i v r l r p ct fro m th o wh i ch h v m w ith i h
, ,

a e e n se e a es e s se we a e e t n t e
m jor W co cl d t h i c h pt r by h ow i g h ori g i f ch d i to i tr i d
,

a . e n u e s a e s n t e n o ea a n c a .

C Eb G ) co i t f h f d m t l to m i or th i rd
Th e ton i c ch o rd ( ns s s o t e un a en a ne , n

( g h h rm o i c ) d fi ft h f h to i c
, , ,

l t a n an o t e n
d ( D F A ?) co i t f h fift h v th d m i o
.
,

Th p i l e su e rto n c c zor ns s s o t e se en an n r
i t h f h do m i t
, , , ,

n n o t e n an

fi m ( Eb G E ) i th m i o th i rt t h f d m t l to
.

Th m di
h
’
e e an t c o s e n r een un a en a ne,
d m jor t h i rd f h do m i t
, , ,

an a o t e n an ”

Th ( F A7 C ) i h v th m i or i th d l v th ’
bd m i fi
e su o n a n t c o ra s t e se en n n n an e e en
f h do m i t
, , , ,

o t e n an

d (G B D) i th f d m t l to m jor t h i rd
.

b
'

Th d m i l e o n an t e zo r d s e un a en a ne , a an
fi fth f h dom i t
, , ,

o t e n an

d ( Ab C Eb) i h m i or i t h l v t h d mi o
.

Th bm di l e su e a n t e l or s t e n n n e e en an n 1
t hi rt t h f h do m i t
een o t e n an
, , , ,

( h D F ) i h m j or t h i rd fi ft h
.

Th d i i / d i d e k l di g
nn E n s ze tr a on t o ea n n ote s t e a
v th f h do m i t
, , , ,
an d se en o t e n an

7 8 I w i ll b t h t f l l th ch ord o ly two t h o h do m i
.

1 t e se e n a o a e se s n se o n t e
t d h l d i g ot i d t i c l w i t h h d i to i c c h ord f C m jo
.
,

n an an t e ea n n e a re en a t e a n s o a r

giv i § 7 5 Th i i b c t h y o ly two ch ord w h ich do

,

en n h s s e ause e are t e n s no t
co t i i t h r h t h ird or h i t h f th c l h two ot w h ic h
.

n a n e e t e t e s x o e s a e, t e n es
d i ff r t i t h m j or d m i or k y
e en a e t e a an n e .
Chap . V III ] . [Ts TH EOR Y AN D PR A C TJ CE .

C H A PTE R VI I I .

TH E DIATO N I C TR IADS O F A M IN O R K EY A N D TH EIR IN V ER SIO N S .

1 79 . l a st ch apt
In th e e r w e show e d th e v arious forms of th e

mi n or scal e an d it was s aid that th e di ato n ic h armo n i e s of th e k e y

.

we r e m ad e from that form of th e scal e giv e n i n 1 71 This .

st at e m e n t m ay b e acc e pt e d as corr e ct i n a ge n e ral s e n s e though ,

e xc e ptio n al ly an d e sp e ci al ly i n old e r music chords wi ll b e fou n d

, ,

co n tai n i n g th e m aj or sixth of th e scal e an d i n o n e cas e as wi l l ,

b e pr e s e n tly s e e n th e mi n or s e v e n th can b e us e d as p art of a

,

commo n chord But it is n o n e th e l e ss tru e th at a ll th e diato n ic

.

chords of th e m i n or k e y i n ge n e ral use are compos e d of n ot e s of

th e h armo n ic mi n or sc al e .

1 80 As i n th e m aj or k e y
. e ach n ot e of th e mi n or

scal e can b e tak e n as a root an d a di ato n ic tri ad pl ac e d abov e it

‘

, .

But if we do this w e sh al l fi n d th at th e s e ri e s of chords we sh al l

,

obtai n will di ffe r wid e l y from thos e o n th e corr e spo n di n g d e gr e e s

of th e m ajor s cal e .

1 81If this s e r i e s b e comp ar e d with th at of th e m aj or k e y

.

it wi l l b e s e e n th at th e o n l y chords which are id e n tical

are thos e of th e domi n an t an d l e adi n g n ot e B e s i d e s this whi l e .
,

th e m aj or k e y h as six commo n chords th e mi n or h as o n l y four ; of ,

which th e to n ic an d subdomi n an t which w e re m aj or i n th e m ajor k e y , ,

are n o w mi n or wh i l e th e subm e d i an t chord wh i ch was mi n or i n th e

, ,

m aj or k e y is n o w m ajor It wil l also b e n otic e d th at th e sup e rto n ic

,
.

n o w b e ars a dimi n ish e d tri ad lik e th e l e adi n g n ot e i n st e ad of a , ,

commo n chord an d th e m e d i an t h as a chord of a ki n d which w e

h av e n o t ye t m e t with co n t ai n i n g a m ajor th i rd an d an a ug me n ted
,

fifth For this r e aso n th e chord o n th e m e di an t is call e d an

.

a ug m e n te d tri ad As all augm e n t e d i n t e rvals are disso n an t

.

th e augm e n t e d tri ad o n th e m e d i an t is a discord but u n l ik e th e ,

dim i n ish e d tri ad it is as disso n an t i n its first i n ve rsio n as i n its root

,

positio n .

1 82 Th e disti n ctiv e e ffe ct of m aj or an d mi n or k e ys will b e

.

b e st p e rc e iv e d by th e fo ll owi n g e x ampl e of wh at is k n own as a

co n v e rtible chan t— that is o n e wh i ch can b e su n g i n e ith e r a ,

m ajor or mi n or k e y by m e r e ly alt e ri n g th e charact e r of th e

i n t e rvals .
80 H A R M ON Y ( C h ap vrn
. .

DRTC H A RD .

If th e s e two forms of th e ch an t are comp ar e d it will b e s e e n th at ,

e v e ry chord is id e n tic al but th at th e e ffe ct produc e d by th e two

,

v e rs i o n s is e n tir e ly diffe r e n t This b e i n g a m atte r wh i ch co n c e rn s

.
,

musical ae sth e tics r ath e r th an h armo n y n e e d n o t b e e n l arg e d upo n

,

h e r e but it is worth p assi n g m e n tio n .

1 83 L i k e th e dimi n ish e d tri ad o n th e l e adi n g n ot e of th e

.

m ajor k e y th e corr e spo n di n g chord i n th e mi n or k e y is rar e i n i ts

,

root positio n Th e dim i n ish e d tri ad o n th e sup e rto n ic is howe v e r

mor e fr e qu e n tly to b e fou n d i n this form as in th e followi n g
.

e xampl e s at ,

BAC H . To ccata i n F . M END ELSSO HN . St Paul

. .

Though both th e s e e xtracts are from pi e c e s i n m aj or k e ys it ,

h app e n s th at both are h e r e i n th e k e y of A m i n or It wi l l b e .

s e e n th at i n e ach c as e th e chord followi n g th e disso n an c e h as a

root a fourth abov e th at of th e disso n an c e its e lf We sh all fi n d .

l at e r wh e n we h av e to tre at of disso n an t chord s th at this is a

, ,

v e ry fr e qu e n t r e solutio n for a discord .

1 84 Th e augm e n t e d tr i ad o n th e m e di an t is i n r e ality an
.

i n ve rsio n of th e chord of th e domi n an t mi n or thirt e e n th

an d i ts h armo n ic orig i n h as b e e n show n i n th e l ast ch apt e r

Its sp e ci al tr e atm e n t will th e r e for e b e d e fe rr e d ti l l we com e to

tr e at of chords of th e thirt e e n th ; it wi l l b e su ffici e n t to say n o w
th at wh e n us e d m e r e ly as a m e dian t tri ad it is b e st fo l low e d by
th e chord of th e subm e di an t th e root ( as i n th e c as e of th e sup e r
,

to n ic tri ad m e n tio n e d i n th e l ast p aragraph ) risi n g a fourth to th e

root of its r e so l utio n
r o tr t t d t c ord rt
.

1 8 5 Th e e as n fo r th e ea men o f th e m e i an h as p a o f th e

do t r oyw l c ord bdo t b d t

.

m i n an h a m n h i e th e h s o f th e su m i n an an d su m e ian ,
w c
h i h are e ua q lly r v d ro
d e i e f m th e do tm i n an c r ly are n o t n e e ssa i co n

t r r l t o to t t ot rob bly r ro
sid e re d i n h e i e a i n ha n e , p a ct t t
a i s e s f m th e f a h a i n th e
C h a p V IIL ]
. I TS TH EOR Y AND PR A C TI CE . 81

d t ch ord h g r tor i lw y p r t wh i l h bdom i t d

me ian t e e ne a s a a s e se n e t e su n an an
bm d i t ch ord co t i o ly o m f h pp r p rt i l to w i th o t h
,

su e an s n a n n s e o t e u e a a ne s u t
g r tor
e
e ne a .

8 6 Th i t rv l of th
1 . ugm t d s co d b tw
e n e th sixth
a e a en e e n e een e
and s v th d gr s of th mi or sc l b i g co sid r d by th
e en e ee e n a e e n n e e e
old e r compos e rs to b e u n m e lodic w e fr e qu e n tly fi n d i n th e music ,

of th e l ast c e n tury th e m ajor sixth of th e scal e tre at e d as a

harmo n y n ot e an d us e d i n th e chord of th e subdomi n an t an d
,

mor e rar e l y i n th at of th e sup e rto n ic i n st e ad of th e m i n or sixth

,

, , .

BAC H . C an ta ta Ich b in e in g ute r H i rt .

”

At ( a ) are two e xampl e s of th e m ajor chord o n th e subdomi n an t ,

th e first i n thr e e an d th e s e co n d i n four p art h armo n y At ( ) is . O
th e first i n v e rs i o n of a mi n or commo n chord ( with th e m ajor sixth of
th e scal e ) o n th e sup e rto n ic Th e l ast chord of this e x amp e wi l b e
. l l
e xp l ai n e d pr e s e n tly Th e s e e x ampl e s are give n b e caus e
of th e ir historic al importan c e an d are n o t i n t e n d e d for th e imita ,

t i o n of th e stud e n t O ur fe e l in g of to n al i ty is so much more

.

d e fi n it e th an th at which e xist e d 1 5 0 y e ars ago at th e tim e th e ,

p ass age s just quot e d w e r e writt e n th at th e m ajor sixth of th e ,

scal e produc e s a disturbi n g e ffe ct o n th e k e y u n l e ss v e ry car e fu ll y

m an age d It is th e r e for e b e tt e r avoid e d an d it is e sp e ci ally un
.
,

ple as an t wh e n th e subdomi n an t chord com e s b e tw e e n th e to n ic

an d th e dom i n an t as at ( c) ,
.

8 7 Th e g e n e r al rul e s for th e progr e ss i o n o f p arts an d th e

1
l l l ll
. .

doub i n g of n ot e s a re ady giv e n app y e qu a y to th e mi n or an d to

th e m aj or k e y but th e r e is o n e v e ry importan t rul e i n add i tio n ,
whi ch co n c e r n s th e mi n or k e y e xc usiv e y We oft e n m e e t with l l .

th e progr e ss i o n from domi n an t to subm e d ian t , or th e r e v e rs e ,

from subm e di an t to domi n an t In 1 3 0 it was s aid th at th e root .

w as th e b e s t n ot e to doubl e ; but if w e doubl e th e root i n th e

F
82 H A R M ON Y [C h a p vm
.

subm e dian t chord of a mi n or k e y wh e n it is follow e d by th e

dom i n an t chord w e shall fi n d ours e lve s i n di ffi culti e s
,
.

We e vid e n tly c an n ot proc e e d ( ) for this giv

as at
e s co n s e cutiv e
a ,

fifths an d octave s ; n e ith e r can w e avoid th e s e as at ( O ) or ( e ) ,

b e caus e an augm e n t e d i n t e rval i n th e m e lody is s e ldom good

u n l e ss both th e n ot e s b e lo n g to th e s am e harmo n y which is n o t ,

th e c as e h e r e At ( d ) th e tr e bl e an d alto p arts cross which is

.
,

b ad an d b e sid e s this w e still h av e disti n ctly th e e ffe ct of fifths

,

an d octa v e s as at ( a ) Th e o n ly right way is to doubl e th e third

.

i n st e ad of th e root i n th e subm e di an t chord as at ( e ) In th e , .

s am e way if th e domi n an t chord com e s first as at (f ) ( g )

, , ,

it will e qu ally b e n e e dful to doubl e th e third i n th e s e co n d chord .

It wi l l som e tim e s b e fou n d e xp e di e n t wh e n th e first i n v e rsio n of

th e subdomi n an t chord ( h avi n g th e subm e di an t i n th e b ass )
pr e c e d e s or follows th e domi n an t chord also to doub l e th e third ,

a —
of t e b ss n ot e i n this cas e th e fifth from th e root Th e rul e
h .
,

which must b e most c ar e fully obs e rv e d is this : W/ze n e ve r i n a ,

m i n or k ey t/ze C/zo rd of t/ze dom i n a n t p rece des o r fb l l o w s t/za t of t/i e

s ub m e di a n t, t/ze t/zi rd ( an d n ot t/ze roo t
) m us t be do a OZe d i n til e
sub m e di a n t Mo rd .

1 88 . di ato n ic tri ads of th e mi n or k e y lik e thos e of th e

All th e , ,

m ajor can b e us e d i n th e ir first i n v e rsio n Th e ge n e ral rul e s

,
.

give n i n th e sixth ch apt e r )

1 5 6 1 5 7 are still to b e obs e rv e d
, ,

an d c ar e must b e t ak e n to avoid wh e r e v e r possibl e th e i n t e rval

, ,

of th e augm e n t e d s e co n d Thus th e fo ll owi n g progr e ssio n at ( a )

.

is faulty an d should b e corr e ct e d as at ( b)

, .

1 8 9 Th e
. chord of th e m e di an t is prob ably mor e commo n i n
its first i n v e rsio n th an i n its root positio n an d as al r e ady s aid , ,

wh e n n o t tr e at e d as a domi n an t thirt e e n th it is b e st ,

follow e d by th e chord of th e subm e di an t .

Ch ap . vr1 1 ] . [Ts TH EO R Y AND PR A C TI CE .

M END ELSSOHN . O ve rt ure “

Eli jah .
”

At is first i n v e rsio n of th e m e di an t chord i n D mi n or

th e ,

r e solv e d o n th e root positio n of th e subm e d i an t .

1 90 In additio n to th e first i n v e rsio n s of all th e tri ads give n

.

i n 5 1 8 0 th e r e is o n e first i n ve rsio n to b e m e t with u n d e r sp e ci al

,

co n ditio n s with which w e hav e n o t ye t m ad e acqu ai n tan c e If .

th e b ass mov e s by st e p from to n i c down to subm e di an t it som e

tim e s t ak e s th e m i n or re p en t/z of th e sc al e o n its way i n st e ad of
th e l e adi n g n ot e ; an d i n tlzi s e ase on ly but n o t i n th e r e v e rs e
(
d i re ctio n ) th e mi n or s e v e n th is allowe d to b e ar a first i n v e rsio n
This chord i n its root positio n wou l d b e a mi n or chord o n th e
.

domi n an t In such a form it is absolut e ly forbidd e n ; an d it is

.

o n l y all owe d wh e n pr e c e d e d by th e to n i c i n th e b ass an d al so

fo ll owe d by th e n ot e b e low ; e ith e r of th e s e n ot e s m ay howe ve r , ,

b e ar a chord e ith e r i n root positio n or i n an i n v e rsio n Th e .

followi n g is an e xc e l l e n t e xampl e of th e e mp l oym e n t of th i s chord .

It will b e s e e n th at o n th e s e co n d occurr e n c e of th e chord th e b ass

d e sc e n ds a s e mito n e i n st e ad of a to n e to a sup e rto n ic discord i n
, ,

th e s e co n d i n v e rsio n .

M END ELSSO H N O v tu R uy B l s . er re a .
”

1 9 1 All th e triads of th e mi n or k e y can b e us e d i n th e ir

.

s e co n d i n ve rsio n ; but as i n th e m ajor thos e of th e to n ic sub

, , ,

domi nan t an d domi n an t chords are by far th e most commo n It .

is n e e d l e ss to giv e a compl e t e se t of e xampl e s as we did with th e ,

m ajor k e y ; but a fe w of th e rar e r s e co n d i n ve rsio n s wi ll b e

i n t e r e sti n g .

M EN DL LSSO H N . St Pau
. l .
”
84 H A R M ON Y : ( C h ap vm
. .

At ( a ) is s e e n th e s e co n d i n v e rsio n of th e dimi n ish e d tri ad o n th e

sup e rto n ic of F sh arp mi n or Th e e xc e ptio n al l e ap of th e b ass
.

from this chord to th e n e xt is justifi e d by th e fact th at both

sup e rto n ic an d subdomi n an t chords are r e al ly p art of th e fu n d a
m e n tal h armo n y o f th e domi n an t ( g an d th e b ass of a s e co n d

in v e rsio n is al lowe d to l e ap to an oth e r n ot e of th e s am e h armo n y

1 65
Th e xampl e s at ( O ) of th e l ast p aragr aph will r e q uir e a
e

littl e e xpl an atio n It must b e poi n t e d out th at wh e n two or mor e

.

n ot e s of a chord are t ak e n i n arp e ggio as is so oft e n th e c as e i n

,

pian ofort e music th e h arm on y th e y produc e is th e s am e as if th e y

,

h ad b e e n sou n d e d tog e th e r In this p ass ag e th e G 1:an d B form

.

th e cho r d abov e D an d th e F an d A th at abov e C il just as if th e

, ,

upp e r n ot e s w e re pl ay e d tog e th e r as qu av e rs Th e chords m ark e d .

are th e r e for e th e s e co n d i n v e rsio n s o f th e tri ad o n th e l e adi n g

n ot e an d of th e commo n chord o n th e subm e di an t

,
It wi l l b e .

s e e n th at th e b ass of e ach s e co n d i n v e rsio n mov e s by st e p i n ,

co n formity to th e first rul e giv e n i n 1 6 5 Th e D# an d C l; i n .

th e b ass are both elzrom a ti e n ot e s i n th e k e y an d th e ir use wi l l ,

b e e xpl ai n e d l at e r .

1 93 . In old music it is comp arativ e ly rar e to fi n d a mi n or

chord at th e e n d of a move m e n t e v e n wh e n th at mov e m e n t is
,

writt e n i n a mi n or k e y Th e e ffe ct of such a clos e was co n sid e r e d

.

u n s atisfactory an d a major to n ic chord was substitut e d for a

,

mi n or to co n clud e th e pi e ce For som e r e aso n which it is i m

.

possibl e to asc e rt ai n with c e rt ai n ty th e m ajor third i n th e fi n al

,

chord of a mi n or mov e m e n t was c al l e d th e T IER C E DE PICAR DIE ,

“
or Pic ardy third ”
I t is still n o t i n fr e qu e n tly e mploy e d e s
.
,

p e c i al l y i n church music ; an d i n this co n n e

,
ctio n o n
ly th e m ajor ,

third is n o t co n sid e r e d as a chrom atic n ot e i n th e mi n or k e y .

Th e stud e n t will se e an e xc e ll e n t e x amp l e of th e e mploym e n t of

thi s chord i n th e e xtract from B ach giv e n at ( O) i n 1 8 6 O cca .

si o n al l y also th e third is omitt e d al tog e th e r an d th e pi e c e e n ds ,

with a b ar e fifth as i n th e followi n g e x ampl e s

,

M OZ A R T . R e qui e m .
Ch ap. V III ] . I TS TH EOR Y AND PR A CTI CE .

ME ND ELSSO H N .
“
R e fo rm atio n Sym p h o n y .
”

1 r l r o f h v r io f h old co m po r to d i g
94 Th e ea e as n o t e a e s n o t e se s en n a
c w t or t rd do btl t t rt co o d
.

p i e i eh m i h i a h n i p f h m
w as u e ss a as t 15 not a a o t un
b t w i t h h m j or t hi rd wh ich i o ft
p e
to 4 ) f h to i c i p rod c
,
.

ne 0 o t e n t u es ea s t e a s en
d i ti ctly d ibl i t h t com po d to If good p i o pl y h
, ,

s n au e n a un ne. on a an we a t e
s

n ot C i t h r oct v th E
e n ee d li t c r f lly h EH b
a es us, an s en a e u , t e can e

d i t i ctly h rd N ji f h m i or t h i rd bov h pp r f h th r C b
s n ea . o w, t e n a e t e u e o t e ee
’
s e
193
lo o dd E
a s s un h j rr i g f th
e , E b g i t h Eb i q i t t e a n o e a a ns t e s u e

p rc pt i bl to
e e yo w h o e i anl l tr i d to
ne ly i g o d Mod r
se e ar s at a a ne an a s n s un s. e n
m ic d l
us m c h m or fr ly w i t h d i o
e a s so u c t h did c i t t h t
e ee ss n an es an an en a o ur
r f l
e a s a re i t i v to h r m o i c i m p r i ty t h
ar e ss se n s h e r f for f t h r a n u an t e ea s o o ur
,

e a e s ;
hen c do f l h i ll ff ct f fi l m i or ch ord to h m t nt
e we not ee t e e e o a na n t e sa e ex e as
t h y di d
e .

EX ER C ISES TO C H APTER VII I .

Tr e bl e an d B ass give n . Add A l to an d Te n or .

B ass o n ly giv e n . Add thr e e upp e r p arts .

3 6 8 6 $ 6 36 6 6 6
86 H A R M ON Y r
e h ap . V III

( V III ) .

6 5 6 6 x x x5 6 6 5

IX .
) Do ub l e Ch an t.

( X ) H ym n Tun e
. .

as 6

( ) o g t rogr o
In h arm ni si n h is p c ry to t l d g
e ssi n i t wi ll b e n e e ssa ak e th e e a in
fi r t c ord d ow to fi t t d
a
ot e i n th e h o f th e b ar to to c or
th e f h , i n s e a o fup th e ni it
q c l d ot
n s n
w ll o l to r v t
.

i b e i m p ssi b e p e se r e th e se ue n e T h e e a i n g n e m us , o f
co r r rt
u se n o t b e i n th e up p e c t o l ll to fi tT h e e x e p i n a fa th e f h o f th e
to c c or d r t fi d by q t c r ct r
pa
.

ni h is h e e j
us i e th e s e ue n i al h a a e o f th e p ass ag e .
Ch ap . 1 11 4 [TS TH EO R Y AN D PR A C T/C E . 87

C H A PTE R IX .

TH E CHORD O F TH E DO M IN A N T SEV EN TH .

951 If th e stud e n t wi.l l t ak e a simp l e progr e ssio n of th e di ato n i c

tri ads with which h e is alr e ady acqu ai n t e d an d will obs e rv e th e ,

m e n t al e ffe ct which th e y produc e h e wi l l fi n d th at th e ch aract e r ,

of to n ic an d domi n an t h armo n y is quit e diffe r e n t L e t him for .

,

i n st an c e pl ay o n th e pi an o th e followi n g p ass age stopp i ng a t tne

, ,

fi rst don Ol e Oa r .

( a) ( 5)

It will b e fe lt that th e e ffe ct of th e alt e rn atio n of to n ic an d

domi n an t chords e n di ng zo i tlz a to n i c elzord is o n e of comp l e t e n e ss
we r e qu i r e n othi n g to fol l ow N ow le t him p l ay th e p ass age .

agai n add i n g th e chord at

( )
a T h e fe e l i n g of fi n ality is go n e
;
but if ( O) is p l ay e d aft e r
.

o n e re quir e s som e thi n g e ls e to succ e e d

( )
a ,
th e r e pos e fu l fe e li n g i s r e stor e d From th i s it w i ll b e s e e n .

that th e domi n an t chord of a k e y is n o t fitt e d for co n cludi n g a

pi e c e but th at as comp ar e d with th e to n ic chord its e ffe ct is
, , ,

o n e of i n comp l e t e n e ss In th e i r r e l atio n to o n e an oth e r w e m ay

.

say of th e s e two chords wh at w as s aid 1 8

) of co n so n an c e an d

d i sso n an c e — th at th e to n ic chord is a chord of r e st an d th e ,

domi n an t a chord of u n r e st
d i ff r c i h ch r ct r f t h two ch ord do bt r i
.

1 96 Th e e en e n t e a a e o e se s no u a se s
fro m h f ct t h t h do m i t c h ord i g r t d f h to i c
.

t e a a t e d n an s ene a e o ut o t e n an

has th r for e t r l t d cy to r t r fi lly to i ( Co m p r

e e a na u a en en e u n na t . a e

9 7 H i th rto l l th
1 . chords w h v us d h v b
e a t i d e e a e e a e een r a s,

th t is combi tio s of thr

a ,
ot s m d by p l ci g two thirds
na n ee n e a e a n

one bov a oth r If w p l c e an oth r th i rd

e .th top of e a e an e on e a
tri d it is vi d t th t this th i rd wi l l b
a ,
e s v th from th root
en a e a e en e .

S uch chord wi l l b c l l d C H D F H E S E E H O f ll
a e a e a OR O T V NT . a

th poss i b l
e chords of th s v th th t e th domi t is th e e en ,
a on e n an e

most fr qu t l y us d e d th most import t

en e ,
an e an .

In this chord th e domi n an t is n o t o n ly th e r oo t but also th e ,

ge n e rator n o te
) It will. b e n e c e ss ary as w e proc e e d to
88 H A R M ON Y [C h ap Ix
. .

co n sid e r it i n both th e s e asp e cts It is v e ry import an t th at th e

.

stud e n t shou l d thorough l y grasp th e fact that th e i n t e rvals of this

chord are a majo r tlzi rd a p e rfe ct fift/z an d a mi n or se ve n tlz from
, ,

th e g e n e r ator We h e re m e e t for th e first tim e with a fu n da

.
“

m e n t al discord th at is a discord compos e d of th e

,

harmo n ics of th e fu n d am e n t al to n e or g e n e ra tor Th e upp e r n ot e s

.

of a fu n dam e n t al discord are i n som e c as e s v ariabl e ; but e ve ry

such discord always co n t ai n s as its thirds n e xt ab ove th e ge n e rator
th e n ot e s which m ak e th e thr e e i n t e rval s just sp e cifi e d Th e chord .

of th e s e v e n th is s i mp l y figur e d 7 th e fifth an d third b e i n g i m

,

pli e d ( as ih th e commo n chord ) u n l e ss o n e of th e s e n ot e s r e quire s

an accid e n t al .

1 98 If we substitut e for o n e of th e domi n an t chords of th e

.

p ass age i n 1 95 a chord of th e domi n an t s e v e n th

th e fe e li n g of u n re st which w as b e for e to som e e xt e n t n otic e abl e

b e com e s i n t e n sifi e d It is n o l o n ge r possibl e to e n d o n i t
.
,

b e c aus e th e i n t e rval of a s e v e n th is always a d i sso n an c e

an d th e r e fore r e quir e s re sol uti on — th at is to b e follow e d by a c o n
,

so n an c e as at ( a ) abov e
,
.

1 99 .If w e e xam i n e th e chord of th e s e v e n th giv e n i n 1 9 7 ,

w e sh all se e th at i n additio n to th e s e v e n th from th e root th e r e i s

an oth e r disso n an c e i n th e chord n am e ly th e dimi n ish e d fifth
,

b e tw e e n th e third an d th e s e v e n th .

It is this i n t e rval which d e t e rmi n e s th e r e solutio n of th e discord ,

th at is th e way i n which th e s e two n ot e s shall mov e with re gard

,

to o n e an oth e r Th e ge n e ral rul e gov e r n i n g th e progr e ss i o n is

.

th at tw o n otes formi ng a di mi n i size d i n te r va l a o a te n de n cy to

l n o tne r In th e pr e s e n t ca s e th e third of th e chord
a
pp r oa e z o n e a .
,

b e i n g th e l e adi n g n ot e ris e s a s e co n d an d th e s e v e n th falls 3

, ,

s e co n d .

If th e k e y of th e pi e c e w e r e C mi n or th e s e v e n th would fall a
,

to n e to E b i n st e ad of o n l y a s e mito n e But if th e chord w e re

, ,
.

tak e n i n a d i ffe r e n t pos i tio n an d th e s e v e n th we r e b e l ow th e

,

third th e i n t e rv al of th e dimi n i sh e d fifth b e in g n o w i n ve rt e d

, , ,
Ch ap . IX .
) [7 3 TH EOR Y AND PR A C T1 CE . 89

would b e com e an a ugm e n t e d fourth an d tw o n o te s f

orm i ng

an a ug m e n te d i n te rva l lza ve a te n de n cy to d i ve rg e Th i s wi l l b e
.

se e n in th e tr e bl e an d alto p arts of th e l ast two chords of th e

p ass age in 1 98 .

2 00 . Th e chord of th e
s e v e n th is v e ry fre qu e n tly fou n d with
all its four n ot e s pr e s e n t but th e fifth is som e t i m e s omitt e d an d ,

i n th i s c as e th e root is doub l e d N e ith e r th e third n o r th e

.

s e v e n th of th e chord can b e doub l e d b e c aus e th e progr e ssio n of

,

both n ot e s is fix e d an d if o n e of th e m app e ar i n two voic e s we

, ,

sh al l e ith e r ge t co n s e cutiv e oct av e s or u n iso n s if both mov e ,

corr e ct l y or e ls e o n e of th e m must mov e wro n gly

,
.

20 1 Le t us n o w t ak e th e chord of th e dom i n an t s e v e n th an d ,

r e solv e it o n th e to n ic chord— its most usu al r e solut i o n

.

H e re th e root of th e chord e xc e pt at ( f ) falls a fifth ( or ris e s a

, ,

fourth ) to th e to n ic th e third ris e s a s e mito n e th e s e v e n th fal ls

o n e d e gr e e to th e th i rd of th e n e xt chord ; an d th e fifth e ith e r
ris e s or fal ls o n e d e gr e e —see ( a ) Wh e n th e root fal ls a fifth th e
.
,

fifth i n th e chord of th e s e v e n th c an n ot go to th e fifth of th e to n ic

chord or w e shall hav e co n s e cut i ve fifths e ith e r by sim i l ar ,

motio n as at ( O ) or by co n trary mot i o n as at ( c) H e n c e we ge t

,

.
, , ,

a rul e th at if tne fi/tlc i s p rese n t i n t/ze clzo rd of tlze do m i n a n t

s eve n tlz i t m ust Oe o m i tte d i n tlze fo l l o w i ng to n i c c/

,
zo rd If it is .

e sp e ci a l ly d e sire d to h av e th e fifth i n th e to n ic chord th e root ,

must b e doubl e d an d th e fifth omitt e d i n th e chord of th e

s e ve n th as at ( d ) ( e ) In th e n o t i n fr e qu e n t c as e w h e n th e
.

domi n an t s e v e n th r e so l ve s o n th e secon d i n ve rsi o n of th e to n ic

,

chord as at ( f ) th e fifth c an e vi d e n tl y b e pr e s e n t i n th e chord of

, ,
'

th e s e v e n th without produci n g co n s e cutiv e s H e r e th e rul e just .

giv e n do e s n o t app l y ; th e fourth or sixth m ay also b e som e tim e s

doub l e d Ex amp l e s of th e ordi n ar y r e so l utio n o n th e root positio n
of th e to n ic chord wi l l b e foun d at § 1 0 0 (c) 1 0 8 ( O ) an d 1 6 0 ( O)
.

.
, ,

20 2 It i s n o t u n commo n for an oth e r n ot e of th e chord

—
.

e ith e r th e root or th e fi t f h to b e i n t e rpos e d b e tw e e n th e s e ve n th

an d its r e so lutio n as i n th e followi n g e xampl e s
,

M e ssiah .
”
90 H A RM ON Y [C h ap . Ix .

H AND E L
. S a m so n .
”

WBR
E E . Euryan th e .

At ( a ) th e s e v e n th ris e s to th e root whil e th e h armo n y r e m ai n s

,

u n ch an ge d an d th e n d e sc e n ds to th e third of th e n e xt c h ord At
O
, .

( ) th e s e v e n th falls to th e fifth wh i l e th e root ris e s to th e third of

,

th e domi n an t chord th e fifth risi n g to th e third of th e to n ic

chord — th e r e gul ar r e solutio n of th e s e v e n th—o n th e ch an ge of
,

h armo n y S uch a progr e ssio n is c alle d an orn a me n ta l re so l u

.

t i o n of a disso n an c e . Th e e x ampl e ( c) shows at th e s am e

tre atm e n t of th e s e ve n th s e e n at ( a ) but it is a l so i n t e r e sti n g as
i l lustrati n g i n th e first two qu av e rs of th e s e co n d b ar th e r e solutio n
of th e chord o n th e s e co n d i n v e rsio n of th e to n ic chord r e fe rr e d ,

to i n th e l ast s e ctio n N otic e al so th at at th e third qu av e r of this

. .

b ar th e fifth of th e chord i s doubl e d an d th e third do e s n o t

,

app e ar ti l l th e or n am e n t al r e so l utio n of th e s e v e n th This is .

doubt l e ss for th e s ak e of m aki n g th e al to p art more m e lodious .

203 . In additio n to th e r e so l utio n of th e domi n an t s e v e n th o n

th e to n ic chord s e v e r al oth e r r e solutio n s are possib l e
,
Th e most .

commo n of th e s e is th e r e solutio n o n th e chord of th e suOm edi a n t .

In this c as e th e root ris e s o n e d e gre e i n st e ad of a fourth th e

, ,

third an d s e v e nth mov e as b e for e by st e p th e form e r upwards

, , ,

an d th e l att e r dow n w ards but th e fifth i n st e ad of b e i n g as b e for e

,

fre e to ris e or fall o n e d e gre e must fall to th e third as at

O
,

( )
a ,
or w e sh a l l h av e co n s e cut i v e fifths with th e roo t a s a t ( ) b e low , .

I f th e fifth of th e chord of th e s e v e n th b e omitt e d an d th e root

doub l e d it w i l l stil l b e b ad to doub l e th e fifth i n th e subm e dian t
,

chord as at ( c) b e low ; for this g iv e s th e worst ki n d of hidd e n

,

oct av e s b e tw e e n tre bl e an d t e n or ( se e I t is e qu all y

imposs ib l e to doub l e th e root for this wou l d m ak e co n s e cutive
,
C ha p . IX .
) [Ts TH EOR Y AND PR A C TI CE .
91

octave s with th e b ass . H e n ce a ge n e ral rule : Wnen eve r

'

tlze
do mi n a n t seve n tlz i s resol ved o n tlze sa Om edi a n t cnord ti i e tlzi rd o
, j
tlze l a tte r cOora m a st Oe do n Ol e d
'
This , of cours e , re fe rs , l ik e our
.

oth e r rul e s , to four p art harmo n y -

N
ot e that th e doubl e d third
.

of th e subm e di an t chord is th e Rey n ote -

This r e solutio n is of such fre qu e n t occurr e n c e th at we nee d o n ly

g i ve o n e e xampl e of it h e re .

H AV DN . Se aso ns .
”

204 An oth e r r e solutio n of th e chord of th e domi n an t s e ve n th

.

l e ss commo n than th e o n e just n otic e d but st i ll n o t so rar e as to ,

b e e xc e ptio n al is o n th e first i n v e rs i o n of th e chord of th e sub

,

domi n an t .

H e re th e s e v e n th i n st e ad of fal li n g as i n th e cas e s hith e rto

, ,

n otic e d r e m ai n s to b e th e root of th e n e xt chord ; th e third ris e s

,

by st e p as b e fore th e fifth fall s o n e d e gr e e an d th e root ris e s

, , ,

o n e d e gr e e to th e third of th e n e xt chord Th e followi n g is .

a good e xampl e of this r e solutio n

SC HU MA NN P di d th P . ara se an e en.

F t ?
20 5 As a chord of th e s e v e n th co n t ai n s thr e e n ot e s b e s i d e s
.

th e root it must of cours e b e susc e ptib l e of thr e e m ve rsro n s

,
.

Th e first i n v e rsio n h as th e third i n th e b ass .

It is e vid e n t th at th e root an d th e fifth of th e chor d will n ow be

92 H A R M ON Y [Cha p Ix . .

r e sp e ctiv e ly th e sixth an d th i rd abov e th e b ass as i n th e ,

first i n v e rsio n of a commo n chord Th e s e v e n th will b e a fifth

.

"
abov e th e b ass an d th e full figu ri n g of th e chord will b e
,
Th e 5 .

figur e 3 is how e v e r omitt e d as i n th e chord of th e sixth

,

e xc e pt wh e n it r e q u i r e s an accid e n t al an d th e chord is usu all y

,

figur e d o n ly 2 .

206 . In th e r e solutio n o f this i n v e rsio n th e disso n an t n ot e s

,

( th e th i rd a n d th e s e v e n th
) ob e y th e rul e s alr e ady giv e n If th e .

chord b e r e so l ve d o n th e to n i c chord th e b ass ( th e l e adi n g n ot e )

,

wi l l ris e a s e m i to n e th e s e v e n th wi ll fall o n e d e gr e e th e sixth

, ,

( th e root of th e chord ) wi l l r e m ai n as th e fifth of th e fo l lowi n g

chord an d th e third ( th e fifth of th e chord ) will e ith e r ris e or fal l

,

o n e d e gr e e .

If th e first In v e rsio n of th e domi n an t r e solv e upo n th e subm e dian t

chord th e l att e r must al so b e i n th e first i n v e rsio n b e caus e th e
, ,

l e adi n g n ot e i n th e b ass must ris e If it fal ls as at ( a ) b e low we

.
, ,

sh all h ave a d im in i sh e d fifth follow e d b ya p e rfe ct fifth — a progre ssio n

which is forbidd e n 1 01
) b e tw e e n th e b a ss an d an upp e r p art .

Th e s e ve n th wi ll fal l as b e for e th e root wi l l ris e o n e d e gr e e an d

th e fifth of th e chord if Oe l o w tlze roo t as at ( O ) m ay e ith e r ris e
, , ,

, , ,

or fal l o n e d e gr e e But if th e fifth b e abov e th e root it must

.
,

fal l as at ( d ) to avoid co n s e cutiv e fifths as at ( c)

,
.

This r e solutio n is much rare r th an wh e n th e chord of th e s e v e n th

is i n its root positio n whil e th e r e so l utio n of th e first i n ve rsio n
of th e s e v e n th o n th e chord of th e subdomi n an t is s e l dom to b e ‘

fou n d .

20 7 .If th e root of this chord which it must b e r e m e mb e r e d

,

is al so th e g e n e rator b e omitt e d which i n th e first i n ve rsio n

, ,

rar e ly h app e n s w e sh al l h av e th e root positio n of th e dimin ish e d

,

tri ad o n th e l e adi n g n ot e 1 2

This tri ad is th e r e for e i n r e al ity th e chord of th e domi n an t

s e v e n th w i t/zo a t tne g e n e ra tor ; an d it must b e re m e mb e r e d th at
,

it is still impossibl e to doubl e e ith e r th e root or th e fifth th e ,

 Ch ap . 1x .
[Ts TH Eo R Y AN D PR A C TI CE
93
.

form e r b e c aus e i t is th e l e adi n g n ot e of th e k e y an d th e l att e r ,

b e caus e b e i n g d i sso n an t wi th th e b ass of th e chord i t h as a fix e d

,

progre ssio n which was show n i n § 1 9 9 Th e ru l e s for th e tr e at

,

, .

m e n t of this disso n an c e app l y e qu all y wh e th e r th e ge n e rator b e

pre s e n t or abs e n t Th e o n l y n ot e which can b e doub l e d i n this
.

positio n will b e th e third above th e l e ad i n g n ot e — th e fifth of th e

origi n al chord .

20 8 We n o w give a fe w e xampl e s from th e gre at m ast e rs of

.

th e use of th e first i n v e rsio n of th e domi n an t s e v e n th both with

,
an d without th e g e n e r ator .

Te De um
”
.

H AYDN . Q ua rte t, Op . 20 , N0 5. .

BA C K . Si e h e w e l ch
’
c in e L
i e be .

BAC H .
“
J oh an n e s Pa ss i o n .

Th e first two of th e s e e xampl e s ( a ) an d ( O ) show th e usu al ,

form an d tre atm e n t of th e chord an d n e e d n o furth e r e xplan atio n

, .

At (c) is a rare r use th e g e n e rator b e in g omitt e d an d th e chord

, , ,
as s aid abov e app e ari n g as th e dim i n ish e d tri a d o n th e l
, e adi n g
n ot e It wi l l b e n otic e d th at both h e r e an d at (d ) th e third abov e
.

th e b ass is th e n ot e doub l e d Ex amp l e ( d ) is furth e r i n t e r e sti n g

.

as co n t ai n i n g i n its l ast chord a good e x ampl e of th e “ T i rc

e e de
Pic ardi e an d also as illustrati n g B ach s p art i ality r e fe rr e d
’

to i n § 1 3 2 to m aki n g th e l e adi n g n ot e wh e n i n a midd l e voic e

,

, ,

fall to th e fifth of th e fi n al chord n o doubt for th e s ak e of havi n g

,

th e l ast chord i n a compl e t e form Comp r

( a e .
04 H A R M ON Y lc h ap 1 x
. .

209 . Th e s e co n d i n v e rsio n of th e Chord of th e domin an t

s e v e n th h as th e fifth i n th e b ass .

Th e root an d third of th e chord are n o w ( as i n th e s e co n d i n v e r

sio n of a commo n chord ) th e fourth an d s i xth r e sp e ctiv e l y abov e
th e b ass an d th e s e v e n th is n o w th e third abov e th e b ass Th e .

chord wi l l th e r e fore b e figur e d

2 Evid e n tly th e figur e 3 ( th e
.

s e v e n th of th e chord ) c an n ot b e omitt e d or we sh all h ave n o ,

m e an s o f disti n g uishi n g th e chord from a g but th e 6 can b e dis

n se d with chord is oft e n figur e d
an d th e sixth b e i n g i m i th e
‘

p e , ,
S
p l i e d In a mi n or k e y i n which th e l e adi n g n ot e b e ars an acci
.
,

d e n t al th e sixth must always b e m ark e d an d is writt e n #6 or H 6 , ,

—
,

a ccordi n g to th e k e y som e tim e s a l so 6 .

21 0 . s e co n d i n v e rsio n lik e th e first is r ar e ly r e solv e d

Th e , ,

oth e rwis e th an o n th e to n ic chord It is most oft e n r e solv e d o n

.

th e root positio n of th at chord (

an d i n this c as e th e s e v e n th th e

third of th e chord ) falls o n e d e gr e e th e l e adi n g n ot e ( th e sixth of

,

th e chord ) ris e s a s e mito n e th e root r e m ai n s st atio n ary b e comi n g

, ,

th e fifth of th e n e xt chord an d th e b ass falls o n e d e gr e e

, .

21 1 Th e r e is an oth e r r e solutio n of this i n ve rsio n o n th e to n ic

.

cho rd Th e b ass , i n st e ad of falli n g to th e root of th e to n ic chord,

.

m ay ris e to its third, an d it is importan t to r e m e mb e r th at i n this

c as e th e s e ve n th ( th e third from th e b ass ) m ay e ith e r fall to th e
third , or ris e to th e fifth of th e to n ic Th e followin g e xampl e s
‘

will i ll ustrat e th e s e r e solutio n s .

C R AM ER . d
Stu io , N 0 3 3 . .
C h ap Ix
. . ) I TS TH EOR Y AN D PR A C TI CE .
95

H AYDN .
4 th M ass .

At ( a ) both tr e atm e n ts of th e i n v e rsio n are show n Th e first .

( )
at is i n th e k e
y of F th e b a ss
,
risi n g to th e third of th e to n ic an d ,

th e s e v e n th to th e fifth Th e orn am e n t atio n of th e C i n th e t e n or

.

by a ki n d of sh ak e with Eh do e s n o t affe ct th e h armo n y B l) is .

wh at is call e d an auxiliary n ot e as wi ll b e e xpl ai n e d i n a sub se

”
,

qu e n t ch apt e r At . is th e s e co n d i n v e rsio n of th e domi n an t

s e v e n th i n G mi n or H e r e th e b ass d e sc e n ds to th e root of th e
.

to n ic chord ; th e s e v e n th th e r e for e also d e sc e n ds to th e th i rd of

th e chord At ( O) an d (c) are two p ass age s chos e n from th e s am e
.

work to show th e di ffe r e n t tr e atm e n t of this i n ve rsio n accordi n g

,

to th e positio n of th e n ot e s In both c as e s th e b ass ris e s to th e

third of th e to n ic chord at ( O ) th e s e ve n th ris e s to th e fifth of th e
.
.

chord but at ( c) it fal ls to th e third If it ros e h e r e w e should

,
.
,

h ave th e obj e ctio n abl e progr e ssio n from th e s e co n d to th e u n iso n

b e twe e n al to an d tre bl e It is tru e that this progr e ss i o n
is n o t i n fr e qu e n tly m e t with i n this r e solutio n of th e s e co n d
‘

in v e rsio n but th e stud e n t wi l l do w e l l n o t to l e t th e s e ve n th ris e

e xc e pt wh e n it is at th e d i stan c e of at l e ast a s e v e n th from th e root
21 2 U n l ik e th e first i n v e rsio n th e s e co n d i n v e rsio n of th e
.
,

domi n an t s e v e n th is v e ry fr e qu e n t l y fou n d without th e ge n e rator .

It would i n d e e d b e h ard l y too much to say th at th e g e n e rator is

more oft e n omitt e d th an n o t In this form th e chord b e com e s
.

th e first i n v e rsio n of th e d imi n ish e d tri ad o n th e l e adi n g n ot e .

It is th e n m e r e ly figur e d 6 lik e an y oth e r first i n v e rsio n It was

, .

s aid i n 1 5 5 th at though th e F an d B are sti l l disso n an t to o n e

an oth e r th e y are both co n so n an t to th e b ass n ot e
,
As th e ge n e ra .

tor o f th e chord ( G ) toward which th e s e v e n th must fal l is n o

, ,

lo n ge r pr e s e n t th e s e v e n th is n o t r e strict e d i n its progr e ssio n an d

, ,

m ay e ith e r ri se or fal l It m ay also b e doubl e d i n which c as e

.
,

o n e of th e s e v e n ths ris e s and th e oth e r fall s

, Th e l e adi n g n ot e
.

can n ot of cours e b e doubl e d

, ,
.
96 H A R M ON Y : Lchap . 1x .

H AND L E . M e ss iah .
”

Th i s short e xtract co n t ai n s thr e e s e co n d i n v e rsi on s i n e ach c as e ,

without th e ge n e rator which H an d e l v e ry rar e ly i n troduc e s i n this

,

positio n of th e chord At ( a ) an d (c) th e b ass is doub l e d an d the ,

s e v e n th ris e s i n e ach c as e At ( O ) th e s e v e n th is doubl e d o n e

.
,

risi n g an d th e oth e r fall i n g O n e of th e s e v e n ths m ay also l e ap

.

to an oth e r n ot e of th e n e xt chord as i n th e fol l owi n g Th e D

,
.

h e r e is o n ly a p assi n g n ot e an d do e s n o t chan g e th e h armo n y

,
.

H A ND L E . M e s siah .
”

21 3 . Th e third an d l ast i n v e rsio n of

, ,
th e d omi n an t s e v e n th
h as th e s e v e n th i n th e b ass.

Th e root , third , an d fifth of th e origi n al chord are n o w r e sp e ctive ly

th e s e co n d , fourth , an d sixth abov e th e b ass an d this i n v e rsio n is

th e r e for e figur e d 2mor e fr e qu e n tly 1 an d occasio n ally o n ly

‘
, ,
2 .

Th e s e v e n th as i n oth e r c as e s d e sc e n ds o n e d e gr e e an d th e third
, , ,

as c e n ds .

21 4 . By far th e most fr e qu e n t r e solutio n of this i n v e rsio n is

o n th e first i n v ersio n of th e to n ic chord but it is also occ asio n al ly
r e solv e d o n th e s e co n d i n v e rsio n of th e subm e di an t chord .

H A D EL M i h ”
N . e ss a .

M EN DEL sso H N . St Pau

. l .
“
Ch ap . 1x .
] [Ts TH EO R Y AN D PR A C TI CE .
97

At ( a ) wi l l b e s e e n th e r e solutio n o n th e to n ic chord a r e st b e i n g ,

i n troduc e d b e tw e e n th e d i scord an d its r e solutio n Th e m e n t a l .

e ff e ct of r e sts must n e v e r b e forgott e n by th e stud e n t ; th e l ast

n ot e or l ast chord pr e c e di n g a r e st is r e t ai n e d by th e mi n d u n ti l

th e fo ll ow i n g n ot e of th e h armo n y At ( O ) this i n v e rsio n of th e

.

s e ve n th is fo ll ow e d by th e s e co n d i n v e rs i o n of th e subm e dian t ,

which it wi l l b e s e e n ob e ys th e l aw for th e tr e atm e n t of s e co n d

, ,

i n v e rsio n s giv e n i n 1 6 5 R ul e I ,
.

21 5 It is v e ry r ar e i n four p art h armo n y to fi n d th e ge n e rator

.
-

omitt e d i n th i s i n v e rsio n T h is wi l l giv e us th e s e co n d i n v e rs i o n

.

of th e d i m i n ish e d tri ad o n th e l e adi n g n ot e A n e x amp l e

of this form of th e chord h as al re ady b e e n giv e n at 1 6 0 ( ll ) .

21 6 A v e ry import an t po i n t to b e n ot i c e d w i th r e gard to th e
.

tr e atm e n t of fu n d am e n t al d i scords is th at th e disso n an t n ot e s m ay

b e tran sfe rr e d from o n e p art of th e h armo n y to an oth e r provid e d ,

th at th e y are prop e r l y r e solv e d i n th e p art i n which th e y l ast

app e ar In this c as e th e s e v e n th is n o t i n fr e qu e n tly doub l e d e ve n
.

wh e n th e g e n e rator is pr e s e n t o n e of th e s e v e n ths l e ap i n g to
,

an oth e r n ot e of th e chord an d th e oth e r r e c e ivi n g its r e gu l ar

r e so l utio n ( See ( a ) ( O ) b e low ) But it is b e st wh e n o n e of th e
,

. .

disso n an t n ot e s ( th e third or th e s e ve n th ) h as b e e n tran sfe rr e d to

th e O a ss n o t to ch an g e its positio n agai n but to r e solv e i t i n th at
, ,

voic e as at ( c) ( d) b e l ow ( Se e also i n i l lustratio n of this th e firs t

,
.

b ar of th e e xtract from S chum an n i n

B EETH O EN A d t i F
V . n an e n BEE H O EN Sym ph y i D
. T V . on n .

B EET HO EN
V . So n a ta , O p 3 0 , N O 3
. . .
9 8 H A R M ON Y : ( C hap . 1x .

217 c t o l r ol to
A fe w e x e p i n a e s u i n s o f th e h c ord do
o f th e t v t
m i n an se e n h
to o d c lly work H d l t w c
.

are b e f un , e s p e i a i n th e s of an e O n e o f h e se , i n h i h
c ord ollow d by c ord v t bdo t b
.

th e h is f e a h o f th e se e n h o n th e su m i n an , h as e e n
lr dy ot c d
a ea n i e l
1 0 8 ) an d e x am p e s gi ve n o f i t ot r r
We add a fe w h e s h e e
dl td t t to k co l t
.

o r th e s u e n s i mi a i n , b ut f o r th e sa e o f
’
n o t as m o e s f m p e e n e ss .

H A ND L M "
E . e s siah .

H A ND L E . Sam so n .

'

d t c ord w t
A t ( a ) th e m e i an h fi t o tt d
i h th e t r o d b tw
fh m i e , i s i n e p se e e e n th e
ord v t r g l r r ol t o b d t
,

ch o f th e s e e n h an d i ts e u a es u i n o n th e su m e i a n Th i s m ay
r g rd d k to or t l r ol t o ok
.

b e e a e as a i n th e n ame n a es u i n s sp e n o f in 202 A t ( O)
t rd v r o v t r olv d root o t o to c
.

th e hi i n e si n o f th e se e n h i s e s e o n th e p si i n o f th e ni
chord t d fir t v r o
i n s e a o f o n i ts s i n e si nv t rr g l rly
an d at ( c) th e s e e n h i s i e u a re
solv d by r g to root
e i si n th e rogr o Th e p r ly v
e ssi n s ( O) an d ( c) are ra e if e e r
wt c t g cco t r ct tv
.

m e t i h e x e p i n i n th e a m pan i m e n o f e i a i e .

21 As w e are at pr e s e n t tre ati n g o n ly of di ato n ic chords

8 .
,

w e d e fe r ti l l l at e r th e e xp l an atio n of th e various chrom atic r e solu

t i o n s of th e domi n an t s e v e n th i n which th e s e v e n th ris e s a
,

c hrom atic s e mito n e or th e third falls th e s am e i n t e rval S om e of

,
.

t h e s e progr e ssio n s wi l l b e d e alt with wh e n i n th e n e xt ch apt e r we

, ,

h av e to sp e ak of modu l atio n ; oth e rs wi l l b e mor e suit ably e x

a m i n e d i n co n n e ctio n with th e chrom at i c chords of a k e y .

2 1 9 Th e . gre at importan c e of th e chord of th e domi n an t

s e v e n th is l arg e ly d ue to th e fact th at w lze n fol l ow e d O tOe to n i c
y
clzo rd i t a Osol zcte ly defin es tlze Rey For i n tan c e th e two chords
.
s
,

might be e ith e r domi n an t an d to n ic in C or ( if th e y w e re

, not th e
Ch ap IX . J I TS TH EOR Y AND PR A C TI CE .
99

fi n al chords of a pi e c e ) to n ic an d subdomi n an t in G . But if we

add th e s e v e n th to th e fi rst chord ,

th e p ass age can o n ly b e i n C for though th e first chord might b e

a chroma tic chord i n G it would i n that c as e as wil l b e s e e n
, ,

l at e r hav e a d iffe r e n t r e soluti o n an d th e fact that it is follow e d

,

by th e chord of C prov e s that it is a domi n an t s e v e n th r e solv e d

o n th e to n ic We sh all l e arn mor e of this i n a l at e r ch apt e r
. .

EX ER C ISES To C H APTER I X .

W
[ e sh all futur e giv e o n ly th e b ass of th e e x e rcis e s Th e
in .

pup i l will by this tim e h av e gai n e d su ffici e n t e xp e ri e n c e to b e abl e

to disp e n s e with th e additio n al ai d afford e d by our givi n g th e
tr e bl e also ] .

4 6 6

6 4 6 7 6 6

6 6 8
fi — (
7
fl
)
6 6 6
4
54
2
1 00 H A R M ON Y : [C h a p . 1x .

7 6 4 6 4
4 2 8

( V II ) .

6 $6 6 5

7 6 $4 6 36 £
6 £
4 6
z 4 2 4

4 6 4 6

Tun e .

4 6 5 6 4 6 6
2 3

(a ) Al i p l c d ft r fig r h ow th t th ot i dic t d by th t
ne a e a e a u e s s a e n e n a e a

fig r i to b co t i d d ri g h followi g ot H r C i): m t b
u e s e n n ue u n t e n n e e e us e a

m i br v wh i l A d G (8 d 7 ) m i im Th l i i b 6 f t h i
.

se e e e an an are n s e nes n ar o s

rci I dic t t h t th wh ol c h ord i to b co t i d or r p t d ov r

, .

e xe se n a e a e e s e n n ue e ea e e
th t b ot
e n ex ass n e .
, ,
Ch ap . x .
1 I TS TH EOR Y AN D PR A C TI CE .

C H A PTE R X .

KEY R E ATIO N SH IP L —M ODUL T TO A IO N N EAR L Y R E ATED L KE YS

F L SE EL T O A R A I N .

If all music r e m ai n e d i n o n e k e y th e r e sourc e s at th e

2 20 .

dispos al of th e compos e r would b e v e ry limit e d an d th e e ffe ct ,

would soo n b e com e e xtr e m e l y mo n oto n ous In all pi e c e s th e r e .

for e of mor e th an a fe w b ars l e n gth ch an g e s of k e y are i n troduc e d ’

, ,

a n e w n ot e b e i n g t ak e n as th e to n ic for a tim e an d a r e tur n b e i n g ,

subs e qu e n t l y m ad e to th e origi n al k e y Ev e ry p i e c e must e n d .

with th e s am e n ot e as a to n ic with which it b e g i n s though th e ,

mode of th e k e y m ay b e an d oft e n is ch an ge d from m ajor , ,

to mi n or or vi ce ve rsd A ch an g e of k e y is c all e d a M O DUL ATIO N

,
. .

S om e writ e rs use th e t e rm Tran sitio n wh e n th e modu l atio n is

“ ”
,

to a r e mot e or u n re l at e d k e y but th e d i sti n ctio n is n o t

al ways m a d e an d th e word
“
Modulatio n wi ll su ffic e for al l
,

purpos e s .

221 Th e first qu e stio n to b e an sw e r e d is which k e ys are th e

.
,

b e st to modul at e i n to an d why do som e modul atio n s sou n d mor e ,

n atur a l th an oth e rs ? Th e an sw e r to this qu e stio n d e p e n ds o n

wh at i s k n own as K ey R e l a ti o n s/zip which we sh all n o w proc e e d ,

to e xpl ai n .

2 22 t t two ot
It w as co o t to
sai di n oth r wh 30 h a n e s are n s n an o n e an e en
two f t h ir rl i r pp r p rt i l to coi cid Th rl i r h co i ci d c
.

o e ea e u e a a nes n e e ea e t e n en e
f th rt l or r ct co o c y two
.

o p ie se h m a
p f h a s, I t h e m e e e t e n s n an e n t e sa e wa
com m o ch ord i d to b r l t d to ot h r wh th y h v ot
.
,

n s a re sa e e a e o n e an e en e a e one n e
i co mm o m om t th o gh t wi ll h ow t h t th i i o ly p o i bl w h ’
n B n ut a en s u s a s s n ss e en

h root f h two c h ord co o t For i fw t k two ot wh i ch

.

t e s o t e s are ns n an e a e n es are

d i o t to oth r (f i t c C d D or C d B ) i i q i t cl r
.

ss n an o n e an e or n s an e an an t s u e ea

th t th i r com m o ch ord m t co i t f t ir ly d i ff r t ot O h
, ,

a e n s us ns s o en e e en n es n t e
oth r h d y two ot wh ich co o t wi th ot h r w i ll h v
.

e an an n es are n s n an o ne an e a e a

ot f th i r ch ord ( i th r root th i rd or fi ft h ) i co m m o Th C d E
,

n e o e s e e n n us an

h v G rt t r co o c ord C h v C d C
.
, ,

fl at a
p e f h i m m as h daA fl o e d n s, an at a e an an

G h v G i co m m o
,

a e n n.

Two m aj or k e ys are s aid to b e r e l at e d to o n e an ot h e r

2 23 .
‘

wh e n th e ir to n i cs are co n so n an t an d th e mor e p e rfe ct th e ,

co n so n an ce th e n e ar e r th e r e latio n sh i p Thus F an d G are both

,
.

p e rfe ct fifths from C th e form e r b e l ow an d th e l att e r abov e , .

Th e s e th e r e for e are th e n e ar e st r e l at e d m ajor k e ys to C Th e .

imp e rfe ct co n so n an c e s th e m aj or an d mi n or thirds an d sixths are , ,

al so r e l at e d but mor e dist an t l y : th e y st an d i n th e s e co n d d e gr e e

,

of r e l at i o n sh i p For th e pr e s e n t w e d e al o n ly with th e most

.

n e arl y r e l at e d k e ys .
1 02 H A R M ON Y : [Cha p . x .

2 24 ow C t r
It w as sh n in h ap e s II an d III h a w as th e s ne w n t tGe fir t ot
g r t d ro C t t r o c w r co d ry r o c C
. . .

ene a e f m , an d h a all i ts h a m n i s e e se n a ha m ni s o f
t r or cl r t t tk G to c d v lo c ord
.

It i s h e e f e ea h a i fw e a e as a ni an d e e p th e h s o f a

ro ro C
k e y f m i t as w e d id f m , we
sh a ha e a ke y e i e ll v
i n th e se n d d rv d co
d gr ro C
ee f m l rly C b g t
Si m i a e in i s e fth e h i l t rd r o c
h a m n i o f i ts fh e fi t b low
d r v t v ro F H c t
e
ly F w ol C t , . ,

n am e th h k e o f m u s b e a e i a i e f m e n e h e se
e e y
ky r t r l t d to C do t g rt
.
,

e s are th e n e a e s e a e , th e
m i n an as a e n e a e d an d th e sub
do t g rt
m i n an as a e n e a i ng k e y .

2 25 . k e ys whos e to n ics are disso n an t with o n e an oth e r

Two
are s aid u n re l at e d ; an d if th e to n ics are a s e mito n e ap art
to b e ,

or are dist an t an augm e n t e d or dimi n ish e d i n t e rval from e ach

“ ”
oth e r such k e ys are oft e n Spok e n of as r e mot e
,
Modul atio n to .

u n r e l at e d or r e mot e k e ys will b e d e alt with l at e r .

2 26 If w e e xami n e two clos e ly r e l at e d m aj or k e ys

. C an d
G or C an d F ) w e sh al l se e th at e xc e pti n g i n o n e n ot e th e ir
, , , ,

d iato n ic scal e s are id e n tical Thus th e o n ly n ot e which di ffe rs i n

.
,

th e sc al e s of C an d G is F an d i n th e sc al e s of C an d F B , ,

(5 8 1 ,
Th e r e for e e v e ry commo n chord i n th e k e y of C
which do e s n o t co n t ai n th e n ot e F al so b e lo n gs to th e k e y of G ;
an d e v e ry chord i n th e k e y of C which do e s n o t co n t ai n B b e lo n gs

also to F A n e x ami n atio n of th e t ab l e of th e tri ads of C giv e n

.

i n § 1 2 2 will show us th at th e r e are four chords commo n to th e

ke ys of C an d G an d th at th e r e are also four commo n to th e k e ys
,

of C an d F .

227 If w e n o w comp ar e th e m ajor scal e of C i n

. 1 2 1 with

th e h armo n ic form of th e r e l ativ e mi n or ( A mi n or ) giv e n i n 1 71 ,

w e sh all se e th at h e r e also al l th e n ot e s of th e sc al e are id e n tic al

w ith o n e e xc e ptio n — G Th e k e y of A mi n or th e r e for e l ik e G
.
,

an d F co n t ai n s four chords i n commo n with th e k e y of C ; an d

,

for this r e aso n ( tho ugh n o n e of its chords e v e n though t h e y look ,

id e n tical are d e rive d from th e s am e g e n e rators ) a r e l ative mi n or

,

k e y is co n sid e re d to b e o n e of th e n e arly r e l at e d k e ys to its r e l a

tive m aj or S imi l arly th e r e l ativ e mi n ors of th e domi n an t an d
.
,

subdom i n an t k e ys b e i n g so clos e ly co n n e ct e d with th e i r r e l ative

,

m aj ors are r e gard e d as amo n g th e n e arly r e l at e d k e ys to th e to n ic

, .

We thus obtai n th e fo l lowi n g t abl e of n e arly re l at e d k e ys i n which , °

w e pl ac e th e sh arp e r k e ys to th e right an d th e fl att e r to th e l e ft o f

th e to n ic .

TaOl e of n ea rly re l a ted k eys .

C M AJO R G m aj or . .

A mi n or E mi n or . .

2 28 If w e t ak e an y mi n or k e y as a st arti n g poi n t we sh all ge t

.
,

a sim i l ar s e ri e s but with this di ffe re n c e that n e arly r e lat e d mi n or ,

k e ys h ave fe w e r n ot e s an d th e refor e fe we r chords i n commo n

, , ,

th an n e arly r e l at e d m aj or k e ys B ut th e r e l atio n s of th e ir to n ic s
.

to o n e an oth e r wi l l b e simi l ar ; an d th e n e ar l y r e l at e d k e ys to A
mi n or wi l l th e r e fore b e
D mi n or
F m aj or .
Ch ap . x ] 1 7 15 TH EO R Y AN D PR A C TI C E . 1 03

Putti n g th e m att e r co n cis e ly an d as a ge n e ral rul e it m ay b e s aid

, ,

th at ,
tlze kn e a res t re l a te d
ey s to a ny m aj or k ey a re i ts do m i n a n t a n a

s uOdo m i n a n t, a n d tlze re l a ti ve mi n o rs of tk ese tlzre e k eys; a n d fl u

n e a rest re l a te d k eys to a ny m i n or k ey a re i ts do m i n a n t a n d suO

do m i n a n t mi n o rs, a n d tk e re l a ti ve m ajors of tk ese tk re e k eys .

2 29 A modu l atio n to a n e ar l y r e l at e d k e y is e ffe ct e d b y

.

i n troduc i n g a chord co n t ai n i n g a n ot e b e l o n gi n g to th e n e w k e y
b ut for e ig n to th at wh i ch w e are l e avi n g an d by fol l owi n g th at
,

chord by oth e r chords d e fi n i n g an d fix i n g th e n e w k e y Th i s l ast

c o n d it i o n i s e ss e n ti al b e c aus e n o si n l e cl zo rd ca n e ver d fin e a k e
.

g , e y
S uppos e for i n stan c e that we wish to modul at e fro m C to G
.

, , .

N aturall y w e th in k of usi n g th e ch ord of D as

b e i n g th e dom i n an t chord o f th e n e w k e y But th e i n troductio n

. .

of th i s chord al o n e is quit e i n sufli ci e n t ; for th e s am e chord m ay

also b e th e domi n an t of G mi n or th e to n ic of D m aj or th e sub , ,

domi n an t of A m aj or or th e subm e d ian t of Fit mi n or ; an d it

,

would b e quit e poss i b l e to follow it by h armo n yi n an y of th e s e

k e ys If w e t ak e th e domi n an t 7 th o n D ( add in g C l) to th e above
.

chord ) w e r e strict our choice co n s i d e rab l y ; but t his chord m ay

,

still b e e ith e r i n G mi n or Or G m ajor an d o n ly th e co n t e xt wi ll ,

show us which To d e t e rmi n e an y k e y at l e ast two chords an d

.
, ,

som e tim e s mor e must b e r e gard e d i n th e ir r e l atio n to o n e

,

an oth e r .

230 It was s aid i n

. 1 5 2 th at a commo n c h ord i n i ts ro o t

pos itio n was n o t fi gure d u n l e ss o n e of th e n ote s r e qu i re d an

acc i d e n t al In th e c as e of a modu l at i o n w i thout a ch an g e of k e
y
.

sig n atur e it wou l d b e n e e dful to i n d i cat e th e chrom at i c al t e rat i o n

,

of th e third i n th e chord of th e n e w domi nan t S uppos i n g th e

k e y of th e pi e c e to b e C an d w e are modu l ati n g to G by m e an s
.

of th e chord of D m ajor as i n th e l ast p aragraph th e D i n th e , ,

b ass wou l d b e figure d thus E ( For th e e xpl anat i o n of

3
th e
fia i n e e e e e
w i thout a figur e at th e
, s i d e of it s e e I f th e ,

modu l t o w r ff ct d by m e an s of th e dom i n an t s e ve n th o f
th e n e w k e y th e b ass n ot e would b e figur e d QE E
,
G

7
3
23 1 A modul atio n can e ith e r b e e ffe ct e d i mm e di at e ly —
. th at
is to say by i n troduci n g a ch aract e ristic chord of th e n e w k e y
dir e ct l y aft e r a chord ch aract e ristic of th at which we are l e avi n g
or it can b e e ffe ct e d gradu ally— th at is by i n t e rposi n g b e tw e e n th e
ch aract e ristic chords of th e two k e ys chords which are commo n
to both If an abrupt e ffe ct is d e sire d th e form e r p l an w i ll b e
.
,

a dopt e d but th e l att e r is smooth e r an d som e tim e s mor e n atural .

Th e l arge r th e n umb e r of ambiguous chords ( th at is chords which

b e lo n g to both k e ys an d th e r e for e l e av e th e to n ality doubtfu l )
,
1 04 H A R M ON Y : [C h ap . x .

i n troduc e d th e more gr adu al will b e th e modul atio n Le t th e

'
-

.
,

stud e n t comp are th e fo ll owi n g p ass age s

Th e first b ar an d th e l ast two of e ach p ass age are id e n tical but

at ( a ) th e chord co n t ai n i n g F il l fo l lows imm e di at e ly o n o n e c o n
t ai n i n g Ft] wh i l e at ( O ) si x ambiguous chords b e l o n gi n g to both
, ,

th e k e ys of C an d G are i n troduc e d b e for e th e n e w k e y is e st ab

,
~

l i sh e d at at Th e e ffe ct of th e l att e r modul atio n is th e r e for e

.

smooth e r than th at of th e form e r .

232 In modul ati n g from a m aj or k e y to th e sup e rto n ic mi n or

.

it is n e c e ss ary to avoid putti n g th e domi n an t chords of th e two

k e ys too n e ar o n e an oth e r This is b e caus e th e domi n an t of th e
.

first k e y is th e subdomi n an t of th e s e co n d an d its chord would b e ,

a m aj or chord o n th e subdomi n an t of th e mi n or k e y If th e s e .

two chords com e n e xt to o n e an oth e r we sh al l h av e th e v e ry

u n pl e as an t progr e ssio n shown at ( c) 1 8 6 It is th e r e for e usu all y
.

advis abl e i n m ak i n g this modul at i o n to i n troduc e th e mi n or Sixth

of th e n e w k e y b e for e i n troduci n g its l e adi n g n ot e .

23 3 If w e comp ar e an y mi n or k e y with th e mi n or k e ys of its

.

dom i n an t an d subdom i n an t it wi l l b e s e e n th at of al l th e di ato n ic

,

tri ads th e r e i s o n l y o n e i n commo n to e ach p ai r of k e ys For .

i n st an c e th e o n l y chord commo n to C m i n or an d G mi n or is th e
,

to n i c chord of th e form e r whi l e th e o n l y chord commo n to C

,

m i n or an d F mi n or is th e to n ic chord of th e l att e r For this .

r e aso n whil e th e most fr e qu e n t modu l atio n s for a m aj or k e y are

,

to th e oth e r n e ar l y r e l at e d m aj or k e ys a mi n or k e y most oft e n

,

modu l at e s to o n e of th e r e l at e d m aj or k e ys e i th e r its r e l ativ e ,

m aj or with which it h as four chords i n commo n or its subm e di an t

, ,

m ajor ( th e r e l ativ e m aj or of its subdom i n an t ) w i th which it h as ,

thr e e.

234 Th e n umb e r of ch o rds commo n to two n e arly r e l at e d

.

k e ys i s l arg e l y i n cr e as e d by th e additio n of chrom at i c chords ,

wh i ch wi ll b e tr e at e d of i n subs e qu e n t ch apt e rs But e v e n with .

out usi n g th e s e co n sid e rabl e v ari e ty is poss i b l e si n c e th e di ato n i c

, ,

chords can b e e mploy e d i n th e ir i n v e rsio n s as w e ll as i n th e ir root

posit i o n s .

23
5 We sh all n o w giv e som e e x amp l e s from th e works of th e
.
,

gr e at m ast e rs of modu l atio n i n to n e ar l y r e l at e d k e ys with such

, ,

r e m arks a s m ay h e l p th e stud e n t to u n d e rst an d th e way i n which

th e y are m an ag e d .
Ch ap . x .
) I TS TH EOR Y AN D PR A CTI CE . 1 05

HA N DE L . So o monl .

This p ass age shows us at 1 ) a modul atio n to th e domi n an t e ffe ct e d

abruptly by i n troduci n g , C it
mus i c modul at e s to E mi n or
th e chord of E mi n or as th e sup e rto n ic of D an d l e av i n g it as th e ,

to n ic of th e n e w k e y fo l low i n g it by a c ad e n c e i n E m i n or with
,

, ,

th e chord of th e domi n an t s e v e n th fixi n g th e k e y On

th e r e p e titio n of th e phras e th e p ass ag e is v ari e d from th e fifth
,

b ar as at ( O) .

Th e music n o w r e m ai n s i n ,
comi n g to a fu l l clos D
e i n th at k e y,

an d th e r e tur n to G is m ad e by fl att e n i n g th e l e adi n g n ot e of D

at i ts a n d thus m aki n g it th e subdomi n an t of G ( g
236 l ll
Th e fo lowi n g e xtract i ustrat e s wh at w as s aid i n g 2 3 2
modu l at i o n to
.

with r e gard to th e th e sup e rto n i c m i n or k e y .

H A ND EL . Sau l .

H e r e th e modul atio n is e ffe ct e d by t ak i n g at th e fifth b ar th e

sup e rto n i c chord of A an d l e av i n g it as th e to n i c chord of B mi n or .

L e t i t b e n otic e d th at G lil th e m i n or sixth of th e n e w k e y i s i n tro

, ,

d uce d b e for e Ail i ts l e adi n g n ot e ,

.

23 7 In th e p ass ag e n o w to b e giv e n we fi n d som e oth e r

.

modu l atio n s
B EETH O E S t O p 4 N
.

V N. o n a a, . 1 , O . 2.

( 3)

At ( 1 ) is a modu l atio n to th e k e y of F ,
th e subdomi n an t by ,
1 06 H A R M ON Y : [Ch ap . 1:

fl att e n i n g th e l e adi n g n ot e of th e k e y of C At ( 2 ) th e domi n an t

.

of F is sh arp e n e d to b e com e th e l e adi n g n ot e of its r e l ativ e mi n or .

From D m i n or th e mus i c r e tur n s to C at ( 3 ) by t aki n g th e first

n ot e of th e b ar a s th e to n ic of D mi n or an d l e avi n g it as th e

sup e rto n ic of C thus r e v e rsi n g th e proc e ss shown i n 2 3 6 Th e

, .

s e co n d chord of this b ar is a chrom atic chord i n th e k e y of C

which wi l l b e e xp l ai n e d l at e r
,

23 8 A modulatio n from a m aj or k e y to its m e di an t mi n or is

.

usu all y m ad e by tr e ati n g th e to n ic chord of th e first k e y as th e

subm e di an t chord of th e s e co n d an d fo l lowi n g it accordi n gly as
, ,

b e low .

A U B ER M i ll
"
. asan e o.

23 9 . O ur xt illustratio n s show modul atio n s from a mi n or

ne

to n ic to th e domi n an t mi n or ( a ) an d th e subdomi n an t m i n dr ( O) .

Th e k e y is ch an g e d i n e ach c as e at th e third b ar of th e e xtract ;

at ( a ) by tr e ati n g th e pr e vious to n ic as a subdomi n an t an d at O
( )
by th e r e v e rs e proc e ss th e first i n v e rsio n of th e subdomi n an t
,

b e i n g h e re l e ft as th e first i n v e rsio n of th e n e w to n ic It should .

b e m e n tio n e d th at th e Ail: i n th e third b ar of ( O ) is n o t a h armo n y

n ot e but an auxili ary n ot e
, .

M END ELSSO HN . Im H e rb s t, O p 9, N o 5
. . .

H A
Y DN . So n ata i n A .

24 0 . O ur l ast e xampl e will show a modul atio n from a to n ic

Ch ap . x .
| 1 TS TH EOR Y AND PR A C TI CE . 1 07

mi n or to th e r e l ative m ajor of its domi n an —

t mi or i n t h is c as e from
n

D mi n or to C m aj or This modul atio n is n o t ve ry commo n an d i n

.
,

th e pr e s e n t i n st an c e C m aj or is quitt e d as soo n as it is e n t e r e d .

S C H U MAN N .
“
d
N o r is ch e s Ld
ie , Op 68 . .

Th e first chord of th e s e co n d b ar is t ak e n as th e to n ic of D
mi n or an d quitt e d as sup e rto n ic of C m ajor Th e s e co n d chord .

is a chrom atic chord i n th e k e y of C wh i ch wi l l b e spok e n of i n ,

th e twe l fth ch apt e r ; th e third chord is p art of th e domi n an t

e l e v e n th of C with which th e stud e n t is n o t ye t a cqu ai n t e d an d
, ,

at th e l ast chord of th e b ar th e mus i c modul at e s to A mi n or

, .

24 1 Th e g e n e ral rul e for modul ati n g to a n e ar l y r e l at e d k e y

.

which m ay b e gath e r e d from th e e x ami n atio n of th e e xtracts w e

h av e giv e n is th at th e modu l atio n m ay b e e ffe ct e d e i th e r by
imm e diat e l y alt e ri n g o n e of th e n ot e s of th e k e y we are l e avi n g
by m e an s of an accid e n t al ( as i n 23 5 or by t aki n g a ,

chord commo n to both k e ys an d l e avi n g i t as a co n stitu e n t of th e

,

n e w k e y as i n ,
236 2 8
3 2
3 9 24 0
,
A ll n e arly r e l at e d k e ys
, ,
.

co n t ai n at l e ast o n e chord i n commo n .

24 2 A n oth e r m e thod of modu l ati n g co n sists of irr e gu l arly

.

r e solvi n g th e chord of th e domi n an t s e ve n th by m aki n g its third

ris e a to n e or fall a s e mito n e or a to n e or its s e v e n th ris e a
, ,

s e mito n e An e x ampl e of e ach proc e d ur e wi l l m ak e th i s cl e ar

. .

H A ND EL . H e rcul e s .

S C H U MA NN . H um o re s k e , Up .
 WAG N R E . Die M e i ste rsi n g er

al ls a
A t at: i n ( ) a third of
th e th e domi n an t s e v e n th i n G f t
chrom atic s e mito n e to th e s e v e n th of th e domi n an t s e v e n th i n th e
subdomi n an t k e y which is fo l low e d by th e to n ic chord to
,
'

e st ab l ish th e k e y Th e irr e gul ar progr e ssio n of th e b ass i n th e

.

l ast two chords was spok e n of i n th e l ast chapt e r At ( O)

th e third i n th e chord of th e domi n an t s e v e n th i n B flat ri se s a
to n e to th e third of th e s am e chord i n th e k e y of C mi n or ( th e
sup e rto n ic mi n or ) an d th e mod ul atio n i s co n firm e d by th e to n i c
,

chord of th at k e y At (c) th e s e v e n th i n th e chord of th e domi n an t

.

s e ve n th of C ris e s a chrom atic s e mito n e an d b e com e s th e l e adi n g ,

n ot e of th e k e
y of G , to wh i ch a modu l atio n is m ad e T h e chord .

m ark e d is a domi n an t n i n th i n G a chord which will b e tr e at e d ,

of l at e r .

243 .Th e r e is ye t o n e mor e poi n t to b e co n sid e r e d i n th e

choic e of modu l atio n s As a g e n e ral ru l e a modu l atio n to th e
—
.
,

dom a t s d e of t e to ic th at is to a k e y co n t ai n i n g more
i n n i h n ,

sh arps or fe we r flats — is to b e pr e fe rre d to o n e to th e sub

,

dom i n an t sid e th at is a k e y havi n g mor e fl ats or fe we r Sh arps

-

, ,
.

Th e r e aso n of this is th at th e domi n an t is a k e y g e n e rat e d out of

th e to n i c as a l so are al l oth e r k e ys with mor e h arps than s

its e l f ( see Ch apt e r Wh e n th e r e for e w e modu l at e i n to o n e

, ,

of th e s e k e ys th e to n i c sti l l m ai n tai n s its pos i tio n as th e sourc e

,

wh e n c e th e who l e music spri n gs But th e to n ic its e lf is a d e riva

.

tiv e of k e ys h avi n g mor e fl ats th an its e l f —e g C is th e domi n an t ~

.

of F an d th e m e d i an t of A b an d wh e n w e modul at e i n to o n e of
.

th e s e k e ys th e orig i n al to n ic s i n ks i n to a subordi n at e pos i tio n as a

de ri ve d k e y If for i n st an c e w e modu l at e from C to F an d m ak e
.
, ,

a lo n g st ay i n th e l att e r k e y w e sh al l wh e n w e r e tur n to C most

,

l ik e l y ge t th e m e n tal impre ss i o n n o t of re turn i n g to th e k e y of th e

,

to n ic but of goi n g i n to a domi n an t k e y For this r e aso n th e

, .

fe e li n g of th e k e y is much mor e r e adi l y disturb e d an d much

soo n e r ob l i t e rat e d by a modu l atio n to th e subdom i n an t sid e of
th e k e y th an to th e domi n an t s i d e This appl i e s chi e fly to m aj or
.

k e ys i n mi n or k e ys owi n g to th e ir mor e artifici al orig i n gr e at e r

, ,

fr e e dom pr e vails an d th e s am e disturbi n g e ffe ct is n o t s o r e ad i l y

,

produc e d .

244 .Wh e n i n two co n s e cutiv e chords a n ot e formi n g p art of

th e first chord is chrom at i c al l y al t e r e d to b e com e a n ot e of th e
s e co n d chord it is fr e qu e n t l y b e st to k e e p it i n th e s am e voic e
,
.

Th i s is e sp e c ial l y th e cas e wh e n th e roots of th e two chords are

th e s am e .
Ch ap . x .
] [Ts TH EO R Y AN D PR A C TI CE .

Th e progr e ssio n at ( a ) is c all e d a Fa l se R e l a ti on ( A n oth e r use o f .

this t e rm is e xp l ai n e d i n Th e n ot e to b e al t e r e d should
th e r e for e b e k e pt i n th e s am e voic e as at ( O) If this b e do n e ,
.
,

n o fals e r e l atio n occurs by an oth e r voic e movi n g to th e s am e

e fals e r e l atio n is also n o t co n s i d e r e d to e xist
,

n ot e as at c, () T h .

wh e n th e alt e r e d n ot e forms p art of a fu n dam e n t al d i scord

For i n st an c e i n e xamp l e ( a ) of 2 3 5 th e first chord of th e th i rd ,

b ar h as C t] i n th e b ass an d th e s e co n d h as C il i n th e al to
, ‘
But .

th e l att e r is n o t obj e ctio n abl e b e c aus e it forms p art of a chord of,

th e domi n an t s e v e n th N e ith e r do th e chromat ic chords i n a k e y

.

( to b e e xp l ai n e d i n a l at e r ch apt e r
) g e n e ral ly c aus e fa l s e r e l atio n ,

b e c aus e th e e ss e n c e of fals e r e l atio n is th e co n fus i o n or obscurity

of k e y which it produc e s an d chrom atic chords if prop e rly tr e at e d
, , ,

h av e n o t this e ffe ct But e ve n i n this cas e wh e n th e chrom atic

.
,

chord h as th e s am e root as th e pr e c e di n g or succ e e di n g di ato n ic

chord th e al t e r e d n ot e shou l d b e k e pt i n th e s am e vo i c e Fal s e
, .

r e l atio n mor e ove r h as n o b ad e ffe ct wh e n th e third of th e first

, ,

chord is e ith e r th e root or th e fifth of th e s e co n d chor d .

At ( d) w e can modulat e from C m aj or to A mi n or with out b ad

e ffe ct b e c aus e E th e third of th e chord of C is th e root of th e
, ,

s e co n d chord At ( e ) we proc e e d to D mi n or th e third of th e

.
,

chord of C b e i n g th e fifth of th e chord of A It should b e add e d .

that th e i n t e rpositio n of o n e i n t e rm e d iat e chord will n o t d e stroy

th e e ffe ct of a b ad fal s e r e l at i o n e g ,
. .
,

Th e r e qu e stio n s o n which th e orists di ffe r mor e wid e l y

are fe w
th an th at of fals e r e l atio n m an y p ass i n g it ov e r without n otic e ;
,

an d th e r e is prob ably n o rul e to wh i ch th e r e are so m an y

e xc e ptio n s O n ly e xp e ri e n c e will e n abl e th e stu d e n t to k n ow
.

with c e rt ai n ty wh e n an app are n tly fals e r e l atio n is obj e ct i o n abl e ,

an d wh e n allowabl e .
1 1 o H A R M ON Y : [C hap X .

EX ER C ISES To C H APTER X .

[
In th ex e rcis e s h e n c e forth to b e giv e n modu l atio n s will b e
e
i n troduc e d an d gr e at e r vari e ty an d i n t e r e st obt ai n e d Th e
.

stud e n t must n ot i c e wh at accid e n t al s are e mploy e d ; this will

,

e n abl e him to d e t e rmi n e i n to wh at k e ys th e music modul at e s ]

H ym Tun e .

J - r

5 6 5 6
 r2 H A R M ON Y [C h ap . X1 .

C H A PTE R XI .

A UX L I IAR Y N O TES, PA SSIN G N O TES, C

A N D AN TI IPATIO N S .

xplInai n i n g th e v arious e x amp l e s quot e d from th e

5 24 . e

works of gr e at m ast e rs to ill ustrat e th e chords al re ady tr e at e d

th e
of it h as fr e qu e n t l y b e e n n e e dful to m e n tio n th at som e of th e
,

n ot e s i n th e e xtr acts w e r e n o t n ot e s of th e h armo n y but auxi l i ary ,

or p assi n g n ot e s It is n o w tim e to show th e n atur e of such n ot e s

. .

24 6 A n A U X IL IA RY N O TE is a n ot e pr e c e d i n g or fo ll owi n g a
.

n ot e of th e h armo n y at a dist an c e of a s e co n d abov e or b e l ow .

As all s e co n ds are discords th e auxi l i ary n ot e will al ways b e

,

d i sso n an t to at l e ast a p art of th e chord with which it is sou n d e d

but as it is n o t its e lf an e ss e n ti al p art of th e chord lik e th e d is
, ,

so n an t s e v en ths tr e at e d of i n Ch apt e r I X it is call e d an un esse n ti a l

.
,

24 7 uxili ary n ot e is fr e qu e n t l y t ak e n an d ( e xc e pt i n g In
. An a ,

c e rt ai n cas e s to b e sp e cifi e d pr e s e n t l y ) shou l d a l ways b e l e ft by ,

st e p of a s e co n d It m ay occur o n e i th e r a stro n g e r or a w e ak e r
.

a cc e n t th an th e h armo n y n ot e to which it b e lo n gs an d it m ay b e ,

at a d i st an c e from th at h armo n y n ot e of e ith e r a to n e or a di ato n ic

s e mito n e abov e or b e low .

248 Wh e n an auxi l i ary n ot e is a Oove th e h armo n y n ot e it

.
,

should b e th e n e xt n ot e of th e d iato n ic scal e of th e k e y i n which

th e music is w h e th e r th a t n ot e b e a to n e or a s e mito n e abov e ;
,

but if it b e Oe l ow th e h armo n y n ot e it should b e a s e mito n e b e low

,

it u n l e ss such h armo n y n ot e b e th e m aj or third of a chord i n

, ,

which c as e th e aux i l iary n ot e m ay b e e ith e r a to n e or a s e mito n e

b e l ow th e h armo n y n ot e .
Ch ap . XI ) . [Ts TH EOR Y AND PR A C TI CE . 1 1 3

At ( a ) are shown aux i l i ary n ot e s abov e th e h armo n y n ot e s an d at

O
,

n this e x amp l e th e y are both t ak e n

( ) th e y are giv e n b e low I .

an d l e ft by st e p but w e sh al l se e m an y c as e s l at e r i n th e chapt e r
i n which th e y are t ak e n by l e ap *

O
.

24
9 In e x a.mp l e ( ) of th e l ast p ar agr aph will b e s e e n th e n ot e

C iti n th e k e y of C A r e fe r e n c e to th e C hrom at i c scal e of C

.

give n i n 1 1 wi l l show th at this n ot e is n o t o n e of th e n ot e s of

that scal e ; it was al so e xp l ai n e d i n Chapt e r I II th at th e n ot e .

e mploy e d i n th e chords of th e k e y of C was D b an d th at

we c an n ot al so h av e its e n h armo n ic ,

than twe l v e n ot e s i n th e k e y
e m pl

n ot e a Se mito n e b e ow l D .Th e r e strict i o n as to th e tw e lv e n ot e s

i n th e k e y a pp l i e s o n l y to th e n ot e s of th e h armo n y i m i ar y . S l l
D# G ill us e d as aux il i ary n Ote s b e low E , A, an d B
,

r e sp e ct ive l y
,
an d

.
A
3) can be

250 Auxili ary n ot e s m ay b e t ak e n i n mor e th an o n e p art of

.

th e h armo n y simult an e ous l y p ro vi ded tk a t ck a ra cte ri sti c n otes of ,

tk e k a rmo ny re m a i n i n so m e of tlze p a rts .

At ( a ) is th e chord of C m ajor At ( O) an auxiliary n ot e is add e d .

i n th e tr e b l e at ( c) i n th e a l to an d at ( d ) i n th e b ass
, In e ach , .

c as e th e chord r e m ai n s th e chord of C If aux i l iary n ot e s are

"

t ak e n i n tr e b l e an d al to tog e th e r as at ( e ) th e C i n th e b ass st i ll , ,

pr e s e rv e s th e fe e l i n g of th e chord as do th e E i n th e al to of (f ) ,

an d th e C i n th e tr e bl e of (g ) But if all thr e e auxiliary n ot e s .

are t ak e n tog e th e r as at ( k ) th e fe e l i n g of th e chord of C is go n e

, , ,

an d w e h av e i n st e ad of it th e s e co n d i n v e rsio n of th e dom i n an t
s e ve n th o n G Th e n ot e s D F an d B are n o lo n g e r auxiliary but
.
, , ,

h armo n y n ot e s .

r l gi v i th i p r gr ph i l m o t i v r lly ob rv d by m od r
Th e u e en n s a a a s a s un e sa se e
com p o r B ch h ow v r fr q tly dh r to h d i to i c c l f
e n
se s a e e e ue n a e es t e a n s a e o r an
i l i ry ot b low w ll bov h h rm o y ot h two follow
.
, ,

aux a n e e i as e as a e t e a n n e , as n t e

i g fg bj ct from h W h l m p i Cl vi r
,
”
n u ue su e s t e o te e r rte a e .

In both th p g e se assa es a m od r com p o r wo ld h v q t i o bly wri tt

e n se u a e un ue s na en
th e i l i ry ot
aux a n es a se m i to d
n e , an to b low h dom i t
not a ne , e t e n an .

H
 1 4 H A R M ON Y : [C h ap . X1 .

It w s id i 2 4 8 th at th e auxi l i ary n ot e b e lo w a m aj or
5 2 as 1a . n

third might b e e ith e r a to n e or a s e mito n e b e l ow it If how e v e r .

, ,

th e fifth of th e chord h av e al so an auxil iary n ot e b e low it which ,

wi l l b e at th e dist an c e of a s e mito n e th e auxi l i ary n ot e of th e third

,

must al so b e a s e mito n e b e low .

2 L e t th e stud e n t n o w e x ami n e th e auxili ary n ot e s that

5 2 .

hav e b e e n m e t with i n som e of our e x ampl e s At § 2 0 2 , i n th e

O
.

s e co n d b ar of ( ) th e s e co n d qu av e r, C , is an auxi i ary n ot e to l D
t ak e n an d l e ft by st e p At . 208
( ) th O
e Eh i n b ar 1 is a n

auxili ary n ot e to F, t ak e n by e ap an d e ft by st e p l l In 21 1
( )
a .

th e B hs i n th e first b ar an d
C s il
i n th e s e co n d are auxil i ary n ot e s
to C an d D
r e sp e ctiv e ly S l
im i arly th e upp e r n ot e of an y sh ak e
.

an d th e upp e r an d low e r n ot e s of an
y tur n are always auxi i ary l
n ot e s In .23
9 i n th e third b ar of ( ) th e A O
: is an acc e n t e d ll
l
auxi i ary n ot e , t ak e n by l e ap of a third an d l e ft by st e p .

5
2 3 Th e r e ar
. e two c a s e s i n which a n a uxi i a ry n ot e can b e l
quitt e d by l e ap of a third i n st e ad of by st e p S uch a n ot e if
,
.
,

t ak e n by st e p of a s e co n d from a harmo n y n ot e m ay i n st e ad of , ,

r e tur n i n g dire ct to th at n ot e l e ap a third to an oth e r auxiliary n ot e

,

o n th e oppos i t e sid e provid e d th at this s e co n d n ot e r e turn at

o n c e to th e h armo n y n ot e from which th e first mov e d .

Two auxi l iary n ot e s us e d i n this m an n e r are usu ally cal l e d ck a ngi ng

n ote s An e xc e ll e n t e xampl e of th e m i n two p arts will b e fou n d
.

in H an d e l s chorus
”
For u n to us a child is born
’
.

H A ND L
E . M e ssiah .
”

This e xtract also fur n ish e s an e xc e ll e n t illustratio n of auxi l iary

n ot e s a to n e b e l ow th e third of th e chord an d a s e mito n e b e l ow ,

th e root an d fifth In th e th i rd crotch e t of th e s e co n d b ar is an

.

auxi l i ary n ot e a to n e i n st e ad of a s e mito n e b e l ow th e root

,
S uch .

di ato n i c progr e ssio n s w e r e mor e commo n i n th e last c e n tury th an

now .
( Comp ar e n ot e to
Ch ap . XL] [Ts TH EOR Y AND PR A C TI CE . 1 1 5

254 . Th e
s e co n d c as e i n which an auxili ary n ot e m ay b e
quitt e d by l e ap is wh e n th e h armo n y n ot e s mov e by st e p an d th e ,

first n ot e mov e s a s e co n d to an auxiliary n o te o n th e O pposit e sid e

to th e n e xt harmo n y n ot e to which it th e n l e aps a thi rd This
, .

progre ssio n is much mor e commo n wh e n th e st e p is upward an d

th e l e ap down ward th an i n th e r e ve rs e dir e ctio n .

M OZ AR T. Ro n d o in A mi n o r .

H A VE N . 2n d M ass .

At ( a) it is e vi d e n t th at D is n o t a p art of th e chor d of 2o n E
which is fo l low e d by an oth e r chord o n th e s am e b ass n ot e ; it
is an auxi l iary n ot e risin g a s e co n d to fal l a third At ( O) is a .

s e ri e s of simil ar n ot e s i n quick tim e Th e v e ry rar e r e ve rs e cas e

.

fall i n g s e co n d an d risi n g third is t ak en from a so n g by

( )
c t h e ,

H e n ry L aw e s giv e n by th e l at e D r H ull ah i n h i s
,
“
Tran s i t i o n
.

Pe riod of Music a l H istory

”
.

255 Wh e n an auxiliary n ot e proce e di n g by st e p from a h ar

.
,

mo n y n ot e mov e s to an oth e r n ot e of th e h armo n y i n st e ad of ,

r e turn i n g to th e first o n e it is cal l e d a PASSIN G N O TE The s e

,

.
,

n ot e s e xc e pti n g i n chrom atic p ass ag e s are al most i n vari ably tak e n

, ,

accord i n g to th e di ato n ic sc al e of th e p ass ag e i n wh i ch th e y occur .

For i n st an c e i n th e chord of C an auxiliary n ot e b e low G would

,

b e Flt

But if i n st e ad of r e tur n i n g to G
,
th e auxili ary ot e proc e e d s to E
n ,

it th e n b e com e s a p assi ng n ot e an d, if th e music at th e t i m e w e re

1 1 6 H A R M ON Y [C h ap . XI
.

i n th e k e y of C ,
an d n o t of G this p assi n g n ot e must b e Ft]
,
an d

n ot Fill .

256 .mi n or k e y in ord e r to avoid th e i n t e rval of th e

In th e ,

augm e n t e d s e co n d b e tw e e n th e Sixth an d s e v e n th d e gr e e s of th e
scal e it is custom ary to use for p assi n g n ot e s th e two m e l odi c forms
,

of th e scal e giv e n i n 1 6 9 1 7 0 i n st e ad of th e k a r mo n i c form

, ,

giv e n i n 1 7 1 Th e r e for e i n p assi n g from th e domi n an t to th e

.

l e adi n g n ot e of th e mi n or k e y or i n th e r e v e rs e dire ctio n from

,

l e adi n g n ot e to domi n an t th e major six tk of th e k e y is most l y

,

t ak e n as th e p ass i n g n ot e .

S imilrly i n p assi n g from subm e di an t to to n ic or from to n ic to

a , ,

subm e dian t th e m i n or s e v e n th of th e sc al e wi ll b e us e d
,
.

It is p ossi Ol e i n both th e s e c as e s to e mploy th e harmo n ic form of

th e sc al e but this is v e ry u n usu al .

25 7 If th e two h armo n y n ot e s are a fourth ap art as for

.
, ,

i n st an c e i n risi n g from th e fifth to th e root of a chord th e r e will

, ,

e vid e n tly b e two p assi n g n ot e s b e tw e e n th e m .

In such a cas e it is n o t good to r e tur n from th e s e co n d p assi n g

,

n ot e to th e first e v e n though by a ch an g e of th e h armo n y th e

,

first m ay h ave b e com e a h armo n y n ot e ,

but th e s e co n d n ot e must proc e e d i n th e s am e d ir e ctio n till it

r e ach e s th e n e xt n ot e of th e first chord .
 [Ts TH EOR Y AND PR A CTI CE . 1 1 7

If two p assi n g n ot e s follow o n e an oth e r i n risi n g from th e fifth to

th e root of th e to n ic chord i n a mi n or k e y it is usu al to e mp l oy ,

th e m e l o di c forms of th e m i n or scal e as i n 2 6 with th e m aj or

5 , ,

sixth an d s e v e n th i n asc e n d i n g an d th e min or s e v e n th an d sixth

,

i n d e sc e n di n g .

258 o n ly cas e i n which a p assi n g n ot e m ay b e quitt e d by

. Th e
l e ap i s wh e n th e two harmo n y n ot e s wh i ch it co n n e cts are at a
dist an c e of a third ap art an d th e p assi n g n ot e i n st e ad of goi n g
,

d i re ct to th e s e co n d harmo n y n ot e l e aps a third to th e oth e r side ,

of it an d th e n r e tur n s
,
.

’
This is oth e r vari e ty of th e ch an gi n g ot e s m e n tio n e d
‘
an n

in 5 2 5
Chrom atic n ot e s as w e ll as di ato n ic m ay b e us e d as
25 9 .
, ,

passi n g n ot e s ; but if a chrom at i c n ot e h as b e e n i n troduc e d it is

b e st to co n ti n u e th e progr e ssio n by s e mito n e s u n til th e n e xt
ha rmo n y n ot e is r e ach e d .

In this e x ampl e ot e s are writt e n as C it an d D13

th e chrom atic n

n o t as D b an d Eb ( see
,

This is b e caus e th e y are movi n g

upwards ; if th e y w e r e d e sc e n di n g it wou l d h ave b e e n b e tt e r to ,

writ e th e m as fl ats This poi n t wi l l b e more fu l ly e xp l ai n e d l at e r

. .

2 60 We wi l l n o w as with th e auxi l i ary n ot e s r e fe r to th e

.
, ,

p ass i n g n ot e s i n som e of th e e xtracts quot e d i n pr e vious p ara

'

gr aphs At ( d ) i n 1 5 7 we se e o n th e l ast qu av e r of th e s e co n d
.

b ar an e x ampl e of an acc e n t e d p assi n g n ot e E A still mor e ,

.

striki n g e xamp l e is shown at 1 6 0 (g ) wh e r e th e G 1; at th e ,

b e gi n n i n g of th e s e co n d b ar is n o t o n l y a p assi n g n ot e o n th e
first b e at of th e b ar but is of gr e at e r val u e th an th e harmo n y
,

n ot e s which pr e c e d e an d fo ll o v it Th e two sc al e s quot e d .

from H an d e l i n th e s e co n d e xamp l e of § 1 7 0 are i n structive ,

b e caus e though th e y co n t ain e xactly th e s am e n ot e s th e p ass i n g ,

n ot e s are diff e r e n t as th e are diffe r e n t l y a ccomp an i e d

,
In th e .

first scal e C B G an d E are p assi n g n ot e s an d i n th e s e co n d

, ,

C A F ii an d Eli] At 1 8 3 ( O) th e s e co n d qu av e r of th e b ar
, ,

, , , ,

S meo
c ti o l p rogr i o f
ex ep na e ss ns o aux i l i ry ot w i ll b h ow l
a n es e s n t
a er in
th is c t r b t h do i v l id t
h ap e ut e se not n a a e h g
t e r l r l h r gi v
ene a u es e e e n.
1 1 8 H A R M ON Y [C h ap X I
. .

C is an u n acc e n t e d p assi n g n ot e ; an d at § 2 1 7 ( O) th e qu av e r
,

B is an acc e n t e d p assi n g n ot e .

26 1 It is import an t to n otic e that auxili ary an d p assi n g

.

n ot e s c an n ot m ak e
“
fal s e r e l atio n 62 an d th at e v e n
”
,

th e i n t e rv al of th e dimi n i sh e d oct av e m ay b e som e tim e s us e d

with v e ry fi n e e ffe ct .

BEET H O EN M i D V . a ss n .

first b ar of this e x ampl e th e harmo n y n ot e of th e s e co n d

In th e
crotch e t of th e tr e bl e is B b th e chord b e i n g th e first i n ve rsro n of
,

th e domi n an t mi n or n i n th which wi ll b e e xpl ai n e d l at e r

, Th e .

C b is an auxili ary n ot e t ak e n by l e ap of a third ; th e G il: is

an oth e r auxili ary n ot e t ak e n al s o by l e ap but i n st e ad of goi n g at ,

o n c e to A it r e turn s to B b first th e l att e r n ot e thus produci n g ,

th e e f fe ct of a ch an gi n g n ot e In th e s e co n d b ar th e harmo n y
.
,

is that of th e to n ic chord of D min or ; C is an auxili ary n ot e

t ak e n by l e ap B b is an oth e r auxi l i ary n ot e r e s e mbli n g a p assi n g
,

n ot e fo ll owi n g th e first an d th e re for e movi n g i n th e s am e

, ,

dir e ctio n till it r e ach e s th e harmo n y n ot e an d G

il is
n o w a chan gi n g n ot e i n t e rpos e d b e for e th e h armo n y n ot e A .

It is rar e to fi n d a p assi n g n ot e t ak e n by l e ap as i n this s e co n d ,

b ar wh e n at th e dist an c e of a third from th e h armo n y n ot e ;

,

it is usu al l y a s e co n d abov e it .

262 A n oth e r curious e xampl e of an auxiliary n ot e at th e

.

distan c e of a dimi n ish e d oct av e from th e harmo n y n ot e is fou n d

i n o n e of B ach s Church C an t at as
’
.

J . S
. BA C H . H e rr G d l
o tt, ich ob e n a ll e wi r .
"

H e r e th e ef
fe
ct is much h arsh e r th an i n th e p ass age from B e e t
hov e n just quot e d an d th e e xtract is n o t giv e n for th e stud e n t s
,
’

imit atio n but to show its h armo n ic possibi l i ty

, .

26
3 B e sid e s th e two ki n ds of auxili ary n ot e s alr e ady spok e n
.

of th e r e is a third sp e ci e s som e wh at r e s e mb l i n g th e m though

, ,

poss e ssi n g fe atur e s of its o wn S om e tim e s o n e or mor e p arts .

of th e harmo n y proc e e d pr e m ature ly to th e ir n ot e s i n th e n e xt

chord wh i l e th e oth e rs r e m ai n This e ffe ct is k n own as an
, .

AN TIC IPA TIO N .

Chap . XL ] [Ts TH EOR Y AND PR A C TI CE . 1 1 9

H A ND E L. M e s siah .
”

S C HU B E T.R So n ata i n A m i n o r, O p 42 . .

ik i lG iK
- -
iK
-
fi

At ( a ) is an an t i cip atio n of th e fo ll owi n g h armo n y n ot e i n

th e tr e b l e an d at ( O ) i n both tr e b l e an d t e n or
,
S uch are to b e .

mostly fou n d as i n th e s e e x amp l e s i n c ad e n c e s ; but th e

, ,

pass age s at ( c) ( d) show that th e y can b e us e d al so i n oth e r

ways .At ( c) e ach h armo n y n ot e is an ticip at e d an d at (d ) ,

n o t o n ly h armo n y n ot e s but p assi n g n ot e s are thus tr e at e d .

2 64 O ccasio n ally though rar e l y a n ot e is an tic i p at e d i n o n e

.
, ,

voic e an d th e n t ak e n i n an oth e r as i n th e fo l lowi n g e x ampl e s

BA C H E i t di g gt
, ,
"
. s s r e sa .
1 20 H A R M ON Y : [Ch ap . XI
.

At ( a ) th e E of th e alto is an ticip at e d i n th e tre bl e an d ,

at ( O ) th e B of th e b ass is Si m i l ar l y tr e at e d .

2 65 Exc e pt i o n al tr e atm e n t of auxili ary n ot e s is som e tim e s

fou n d i n th e works of th e gr e at m ast e rs Th e fo ll owi n g p ass age s
.

must b e look e d upo n as l ic e n c e s as th e y c an n ot b e e xpl ai n e d by

,

an y of th e ru l e s giv e n i n this ch apt e r Th e y are th e r e for e n o t

.

r e comm e n d e d for im i t atio n .

BA C H . Was G t
o t th ut.

H A ND E L .
“
Ath a i ahl .

M OZ A RT . F an ta s i a in C mi n o r.

M OZ AR T . Sym p h o n y in E ll .

At ( a ) an d ( O ) will b e s e e n auxili ary n ot e s l e api n g a fourth an d

a dimi n ish e d fifth i n st e ad of a third to th e h armo n y n ot e
,
At .

O
,

h v ls o n e xc e ll e n t e x amp l e of th e an t i c i p at i o n s spok e n
( ) w e a e a a
of i n 2 6 3 Th e n ot e D at th e e n d of th e first b ar of e x amp l e
.

is cl rly n auxi l i ary n ot e b e c aus e th e h armo n y is d e fi n e d

()
c e a a ,

as b e i n g th a t of th e commo n chord of F by th e arp e ggio i n th e

b ass ( Se e §
. H e r e th e auxi l i ary n ot e l e aps a s i xth whil e ,

at ( d ) it l e aps a fifth . Th e F i n e x ampl e ( d ) m ay also b e co n

si de re d as an an tic i p at i o n of th e impli e d h armo n y of th e fo l lowi n g
chord ( th e domi n an t s e v e n th ) an d would thus pr e s e n t som e
an al ogy to e x amp l e ( O ) of § 2 6 4
,

.Th e stud e n t w i l l do w e ll to
co n form to th e ru l e s w e h av e giv e n ti ll h e h as gai n e d su ffi ci e n t
e xp e ri e n c e to k n ow wh e n th e y m ay b e s afe l y r e l ax e d .
C hap . X II ] . [Ts TH EOR Y AND PR A C TI CE . 1 21

C H APTE R X II .

TH E C H R O M ATIC SCA L E -
C H R O M ATIC T R IA DS IN A K EY .

266A chrom atic sc al e h as b e e n d e fi n e d 1 1 ) as a sc al e

.

co n sisti n g e n t i re l y of s e mito n e s ”
It co n t ai n s tw e lv e n ot e s withi n
.

th e oct av e whil e a di ato n ic sc al e co n t ai n s o n ly s e v e n

,
It w i ll b e .

r e m e mb e re d th at th e i n t e rval s b e tw e e n th e co n s e cutiv e n ot e s of
an y m aj or sc a l e are fi ve to n e s an d two s e mito n e s E ach to n e can .

b e divid e d i n to two s e mito n e s thus m aki n g tw e lv e s e mito n e s

,

in al l .

267 . To
obt ai n th e corr e ct h armo n ic form of an y chrom atic
scal e from its to n ic m aj or ( g w e divid e e ach to n e i n to i ts
co n stitu e n t p arts a di ato n ic an d a chrom atic s e mito n e
, Le t
us do this with th e scal e of C m ajor .

H e r e we h av e to n e s b e tw e e n C an d D D an d E F an d G G an d , , ,

A an d A an d B It is cl e ar th at e ach of the s e to n e s can b e

, .

divid e d i n two diffe r e n t ways Thus b e tw e e n C an d D w e can

.
,

put e ith e r C itor D b i n th e form e r cas e h avi n g th e chrom atic

,

s e m i to n e as th e l owe r o n e an d i n th e l att e r th e di ato n ic an d

,

simil arly w e can put e ith e r a sharp or a flat b e tw e e n e ach of th e

oth e r to n e s H o w sh al l w e kn ow wh i ch to t ak e
.

2 68 If w e r e fe r to th e thr e e fu n dam e n tal chords give n i n 7 1

.

which co n tai n th e whol e m at e ri al of th e k e y w e shall fi n d th e ,

n e c e ss ary guid an c e Th e r e is n o C 11 i n th e k e y at all but w e se e

. .

Db as th e mi n or n i n th of th e to n ic S im ilar l y w e fi n d E b ( n o t
.

D#) as th e mi n or n i n th of th e sup e rto n ic Fil ( n o t G b) as th e third ,

of th e sup e rto n ic A b ( n o t G ilt) as th e mi n or n i n th of th e dom i n an t

, ,

an d B b n o t A ) as th e s e v e n th of th e to n i c
( il As all th e h armo n i e s .

of th e k e y are m ad e from th e s e thr e e fuw m e n tal chords it fo ll ows ,

that th e corr e ct k a rmon ic form of th e chrom atic scal e of C wi l l b e

as give n i n 1 1 To writ e a corr e ct chrom atic scal e th e upp e r

.
,

n ot e of e ach to n e i n th e m aj or k e y e xc e pt th at b e tw e e n sub do m i
n an t an d domi n an t must b e fl a tt e n e d for th e i n t e rm e di at e s e mi

to n e an d th e subdom i n an t of th e scal e is th e o n ly n ot e sharp e n e d

,
.

To illustr at e this we giv e th e chrom atic sc al e s of A m ajor an d A

,
1 22 H A R M ON Y : [C l ta p . X II
.

flat m ajor . L e t th e stud e n t comp ar e th e m with th e scal e of C

giv e n above .

926 As a m att.e r of co n ve n i e n ce th e chrom at i c sc al e is oft e n

,

writt e n e sp e ci al ly i n asc e n di n g p as s age s with a diffe r e n t n otatio n

, ,

from th at just give n In th e chrom atic scal e of C for e x ampl e

.
, ,

i D ll
i ,
i a n d GI ; ar,
e oft e n substitut e d for D b E b a n d Ab som e ,

t i m e s also though mor e rar e l y

, , ,
of B b But .

F iji is almost i n v ari ably r e t ai n e d 1 th e n app e ar

i n th e fo l lowi n g form .

This form of th e sc al e is som e wh at e asi e r to r e ad e sp e ci ally i n ,

rapid music as it h as fe w e r accid e n tals This is prob ab l y th e

,
.

ch i e f r e aso n for its fr e qu e n t a doptio n b e caus e w e fi n d th at i n th e

d e sc e n d i n g chrom atic scal e th e corr e ct n ot atio n is usu all y adh e r e d
to — most l ik e ly for th e s am e caus e as it is n o t u n commo n i n this ,

form to fi n d th e fl att e n e d fifth i n st e ad of th e sh arp e n e d fourth ,

thus s avi n g an accid e n t al .

tr t g o t wort y
It i s an i n e e s i n p i n , an d
2 70 g ot c t t t r
h o fp assi n n i e , h a th e h e e
ot w c co v t t o g cc r t ot t o j t g v r d
.

n es h i h i n th e n e n ie n , h u h i n a u a e , n a i n us i e n are ai se
c d g or t
i n a s e n i n , are th e m i n t r g r tor
n i n h s o f th e W
h e e ene a s i n th e k e y he n
co to d l w t c ord or t w ll t tw r t t
.

we me ea i h h s o fth e m i n n in h i t i b e se e n h a he e ha
not r olv
e es r q tly do by r g c ro t c to
e s ( as i t f e ue n e s) i si n a l
h m a i s e m i n e , i t i s usua
to do t
a ot t o to wr t
p th e sam e n a i n , an d corr ctly co v tly
i e i t, i n e b ut n e ni e n as th e

r d oct v g r tor
,

sh a p e n e a e o f i ts e ne a .

7 A2l l th 1 hords
. of ith r m
e c j or or mi or k y with which
e e a a n e
th e stud e n t is at pr e s e n t acqu ai n t e d are di a ton i c chords that is ,

chords i n accord an c e with th e k e y sign atur e an d ( e xc e pti n g th e

l e ad i n g n ot e of th e mi n or k e y which 1 7 2] is n o t co n sid e r e d as
,

a chrom atic n ot e ) th e y r e qu i r e n o acc i d e n t als B ut th e chrom at i c .

n ot e s m a
y a lso b e us e d i n chords of th e k e y u n d e r c e rt ai n co n

di ti o n s n o w to b e e xplai n e d .

272 Wh e n tr e ati n g of modul atio n i n Ch apt e r X it was shown

. .
,

th at a ch an g e of k e y was e ffe ct e d by putti n g an accid e n t al b e for e

o n e of th e n ot e s of th e k e w e w e r e quitti n g th e a lt e r e d n ot e thus
y ,

b e comi n g a di ato n ic n ot e of th e n e w k e y Thus i n th e e xamp l e .

i n g 2 3 1 th e sh arp b e for e th e F i n th e t h ird chord of ( a ) t ak e s th e

music from C i n to th e k e y of G th e n e w k e y b e i n g e stab l ish e d by
,

th e chords th at fo l low But it was poi n t e d out i n 2 2 9 th at n o

.

si n g l e chord can e v e r d e fi n e a k e y As all music must b e i n som e .

k e y it fo ll ows th at e v e ry chord must b e e ith e r i n th e s am e k e y as

,
Ch ap. X II ]
. 1 TS TH EO R Y AND PR A C TI CE . 1 23

th e chords th at pr e c e d e it or i n th e s am e k e y as th e chords th at
,

fo l low it N ow if th e chords p re cedi ng an y o n e chord b e i n th e

.

s am e k e y as th e chords fol l o w i ng th at chord th e n if th e chord , ,

h ave o n e or mor e accid e n t als b e for e it it wi l l b e a C H R O M ATIC ,

C H O R D i n th e k e y .

2 73 To m ak e this cl e ar e r w e will vary th e e x ampl e giv e n i n

.
,

23 1
( )
a W e wi.l l t ak e th e first thr e e ch o rds as b e for e but wi l l ,

follow th e third chord diffe r e n tly .

Th e first two chords are , as b e for e , i n th e k e y of C , for th e r e is n o

B b to i n dicat e th e k e y of F Th e third chord . ooks as if w e l
we r e about to modul at e i n to th e k e y of G ; but th e fourth an d
fifth chords absolut e y d e fi n e th e k e y of C l Th e chords
pr e c e di n g an d followi n g th e chord m ark e d are th e r e for e al l i n
th e k e y of C co n s e qu e n t y th e chord l
must b e ck rom a ti c i n
that k e y .

2 74 L e t us t ak e an oth e r illustrat i o n , this tim e i n a mi n or k e y

. .

At of ( a ) th e r e is a modul atio n to A flat th e first i n v e rsio n of

th e chord of D flat is th e r e for e r e gard e d as di ato n i c i n its r e l at i o n
to th e n e w k e y an d h e r e it i s n o t co n s i d e r e d to b e lo n g to th e k e y
of C mi n or at all But th e s am e chord ( i t ) at ( O ) i s follow e d by
,

chords which d e fi n e th e k e y of C mi n or an d i n this l att e r c as e th e ,

fourth chord is a chrom atic chord i n C mi n or Wh e n e ve r a .

modulatio n t ak e s pl ac e th e n ot e i n fl e ct e d by an accid e n tal is

,

r e gard e d as b e lo n g in g to th e k e y i n wh i ch it is di ato n ic But if .

th e r e b e n o modu l at i o n such n ot e forms p art of a chrom atic chord .

H e n c e w e ge t th e fo ll owi n g d e fi n itio n — A clzro m a ti c clzo rd i n a

k ey i s o n e w k i ck co n ta i n s o n e or m ore n o tes fo re i gn to tlze s ig n a ture
of tk a t k ey Out w k i ck i n d uce s n o m odul a ti o n
, .

275 For a r e aso n which wi l l b e com e app ar e n t as w e proc e e d

.
,

w e wi ll first t ak e th e chrom at i c chords of a mi n or k e y Th e s e are .

thr e e i n n umb e r S p e aki n g first of thos e most fr e qu e n tly us e d

.
,

w e fi n d a chrom atic m aj or chord o n th e mi n or s e co n d of th e

scal e .

H e r e th e root is its e lf th e chrom atic n ot e ,

th e third an d fifth of
1 24 H A R M ON Y [Cha p X II . .

th e chord b e i n g r e sp e ctiv e ly th e subdomi n an t an d subm e di an t of

th e mi n or sc al e . Th i s is o n e of th e most import an t an d i n its ,

first i n v e rsio n o n e of th e most fr e qu e n t l y e mp l oy e d of th e ch ro ,

m atic chords Th e r e is n o r e stri ctio n as to th e chords which

sh all follow this chord if o n l y th e k e y r e m ai n th e s am e
.

.
,

B EET HO EN
V . So n ata , O p 5 7
. .

Th e s e two e xtr acts show th e chord i n its root positio n In ( a) it .

is i n th e k e y of G mi n or an d is follow e d by th e first i n v e rsio n of

th e domi n an t chord of th at k e y ; at ( O ) it is i n F mi n or an d is
,

follow e d by th e s e co n d i n ve rsio n of th e domi n an t mi n or n i n th .

2 76 .Th e first i n v e rsio n of this chord

is g e n e ral ly k n o wn as th e N e apolitan sixth a n am e for which it

,

is di fficult to giv e a s atisfactory r e aso n This form is much more

.

fr e qu e n t l y m e t with th an th e root positio n H e r e fo ll ow thr e e

.

e xa mpl e s of this chord il l ustr ati n g som e of its most usu al ro

p
~
,

gre ssro n s .

H AYDN . So n ata in C t mi n o r .
C h ap . X II ) . [Ts TH EOR Y AN D PR A C TI CE .
5

SC H U B ER I ' '
. M ass i n B b , O p . 1 41 .

At ( a ) th e N e apo l it an sixth is fo ll ow e d by ”
th e —
to ic chord h e r e
n

i n its s e co n d i n v e rsio n though th e b ass might also h av e d e sc e n d e d

to th e first i n ve rs i o n of th e to n ic ; at ( O ) th e chrom at i c chord is
,

follow e d by an oth e r chrom atic chord ( th e sup e rto n i c mi n or 9th )

i n th e s am e k e y an d at ( c) it is fo l low e d imm edi at e ly by th e root
positio n of th e domi n an t chord In th e s e co n d an d third b ars
from th e e n d th e stud e n t should n otic e th at th e ADi n th e tr e b l e
.

an d A t i n th e t e n or m ak e n o fals e r e l atio n
] 2 44

277 Th e s e co n d i n v e rsio n of this chord i s al so som e tim e s

. ,

though mor e rar e ly to b e fou n d ,

.

H A ND EL M i h . e ss a .

S CHUB E T R . So n g of M iriam .

At ( a ) th e chord is fo l low e d by a domi n an t s e v e n th an d at ( O ) by ,

s
th e e co n d i n v e rs i o n of th e to n ic chord T h e co n s e cutiv e fourths .

with th e b ass 1 0 6 ) do n o t h e r e produc e a b ad e ffe ct .

r o i c d ri v t io f h c h rom t i c ch ord h m i or co d
2 7 8 Th e h a m n e a n o t e a on t e n se n

w ll by r r c to co o d or
.

f h k y
t i b f 66
e se e n I i m p f
e e h m
en i 9eh t s se o t e n t
or to c low r ot b g r ry
o e e . ,

h d m i h f h i h t i t p i m n d h t e e n e e n a a an t e
1 1t an 3 n 1 o e

oth r two co d ry h rm o i c f h g r tor

, ,
,

e se n a a n s o t e e ne a .

279 A chrom .atic chord by n o m e a n s i n fe rior i n import an ce

to th at just tr e at e d of is th e m ajor commo n chord o n th e sup e r
to n ic o f th e m i n or scal e .

r both h third d h fifth chrom tic ot s n d th e

He e t e an t e are a n e a ,

chord is i ts e lf id e n tical with th e domi n an t chord of G m aj or or

min or from which how e v e r it is e asily to b e disti n guish e d by its
, , ,
1 26 H A R M ON Y fC h ap X II . .

tr e atm e n t Th e fifth of th i s chord is fr e e i n its progre ssio n but

.
,

th e third is subj e ct to sp e c ial ru l e s wh i ch w e must n o w e xp l ai n .

280 It wi l l b e n ot i c e d th at th e third of this chord is th e l e ad

.

i n g n ot e of th e domi n an t k e y ; a n d if it b e tr e at e d as such an d ,

r i s e a s e mito n e to th e to n ic chord of th at k e y w e sh al l e vid e n t l y ,

h av e a modu l atio n an d th e chord w i ll th e n b e n o t chrom atic i n C

,

m i n or but diato n ic i n G In ord e r to k e e p it i n C mi n or w e

,
.
,

must i f th e F1; ris e s a s e mito n e m ak e G p art of th e ton i c chord of

, ,

th e k e y follow i n g it by chords which are a l so cl e arly i n th at k e y

,
.

In g e n e ral t e rms if tk e tlzi rd of tk e sup e rto n i c ck ord ri se s i t s lzo uld

, ,

Oe fol l o w e d Oy som e fo rm of tlze ton i c clzord .

28 1 In tr e at i n g of modul atio n it w as show n how by l ow e ri n g

.
,

th e l e adi n g n ot e a chrom atic s e mito n e w e could p ass to th e sub

domi n an t k e y ( Examp l e ( a ) In th e chord w e are n o w
co n s i d e ri n g it is cl e ar th at if F ii; w e r e th e l e adi n g n ot e of G w e
, ,

cou l d modul at e to C by ch an gi n g it to Ft] Evid e n tly if as a .

, ,

co n stitu e n t of th e sup e rto n ic chord we low e r it to F q wh e n th e ,

chord chan ge s w e pr e v e n t an y impr e ssio n of th e chord b e i n g th e

,

domi n an t chord of G for it do e s n o t r e solv e i n th at k e y I t

,
.

m att e rs n o t what chord do e s fol l ow s o lo n g as Flt] is a p art of th at

,

chord Th e m aj or third of this chrom atic chord th e r e for e wh e n

.
, ,

it do e s n o t ris e sk o uld fa l l a se m i to n e a n d Oe fol l ow e d Oy som e ck ord

,

of w k i clz tk e s uOdo m i n an t of tk e k ey fo rms a p a rt It is v e ry i m .

port an t to r e m e mb e r th at as th e progr e ssio n of th e third of this

chord is fix e d it must n e v e r b e doub l e d ; for if it b e e ith e r o n e
, ,

of th e thirds must mov e i n corre ctly or th e r e will b e co n s e cutive ,

oct av e s .

28 2 Th e followi n g simpl e chord progr e ssio n s will s e rve to

.

illustrat e th e ru l e s j ust giv e n .

At ( a ) th e chrom atic chord o n th e sup e rto n ic h as its third

r i s i n g a s e mito n e it is th e r e for e follow e d by th e to n ic chord
h e r e i n its s e co n d i n v e rsio n L e t th e stud e n t obs e rv e th e way i n
.

which th e b ass e s are figur e d In th e s e co n d chord of ( a ) th e

.

s e co n d i n v e rsio n of th e domi n an t s e v e n th r e quir e s to b e fully

figur e d, b e ca us e th e 6 th b e ars an accid e n t al In th e
fourth chord it is n e e dful to figur e th e commo n chord fu ly b e caus e l
both 3 rd an d 5 th b e ar acc i d e n t a s l
At th e ast chord but l
o n e of a wi
( ) b e ll
fou n d a sig n which h a s n o t ye t b e e n e xp ai n e d l .

l l
A i n e p ac e d aft e r a; figur e or an accid e n t a ( as h e re , t) in l
d i cate s th at th e n ot e r e pr e s e n t e d by th e pr e c e di n g figur e is to b e
 C ha p X II ) [Ts TH EOR Y AND PR A C TI CE 7
. .
.

co n ti n u e d In th e pr e s e n t i n st an c e th e [
.

1 3 d ( Eh) is to b e h e ld o n
r

whi l e first th e 8 th an d th e n th e 7 th of th e b ass n ot e are sou n d e d .

28
3 Though it was s aid abov e th at this chrom at i c chord o n
.

th e sup e rto n ic was o n e of th e most import an t it i s comp arativ l y

e
s e l dom that it is fou n d i n th e simp l e form w e are n o w d e scri bi n g
,

G e n e ra l ly th e 7 th fr e qu e n t l y also th e 9th is add e d to i t as wi l l

.

b e s e e n i n th e fol lowi n g ch apt e rs

,

We sh all giv e dire ctly a fe w

.

e xampl e s of its e mp l oym e n t without th e s e d i sso n an t n ot s

e .

2 84 Wh e n us e d i n its first i n v e rsio n this chord is subj e ct to

.

th e s am e ru l e s a s r e gards its third as i n th e root positio

n
O bvious l y as its third is n o w i n th e b ass if this n ot e ris e s it must
.

, ,
b e fo l lowe d by th e s e co n d i n v e rsio n of th e to n i c chord
,
If th e
third fal ls th e r e is mor e choic e Th e s e co n d i n ve rsio n of th e
.

chord is v e ry r ar e .

28
5 We n o w giv e a fe w e xampl e s of th e use of this chord by
.

th e gr e at m ast e rs .

WAG N R
E . De r Fl g d
ie en e H o an ll d e r.

B EET HO E N
V . So n ata, O p 3 1 , N O. . 2.

M END ELSSO HN . So n ata , O p 6 . .

Th e first of th e s e e xtracts il l ustrat e s wh at was s aid of ambiguous

chords i n sp e aki n g of modul atio n 2 Imm e d iat e ly pre c e di n g
this quotat i o n is a cad e n c e i n th e k e y of F Th e first s e ve n chords
.

of ( a ) m ay b e e ith e r i n th at k e y or i n B flat ( th e k e y of th e pi e c e ) or
,
1 28 H A R MO N Y : [C h ap . X I1.

in D mi or ; th e chrom atic chord at cl e ar l y b e lo n gs to this l ast

n

k e y, as n e ith e r F n o r B flat co n t ai n s G # Th e chord of E m aj or .

must th e r e for e b e i n th e k e y of D m in or ; its third ( G il) ris e s a

s e mito n e an d th e chord is co n s e qu e n tly fo l low e d by th e t o n ic
,

chord of D mi n or l e adi n g dir e ct l y aft e rw ards to a full clos e i n that

Ex amp l e ( O ) giv e s us som e fre sh i n structio n In th e first
,

key .

b ar w e se e th e N e apo l i t an s i xth of A mi n or
.

2 76
) it is cl e ar that
if th e k e y w e r e D mi n or th e C of th e first chord would b e sh arp
,
.

Th e fourth b ar shows how o n e chrom at i c chord i n a k e y ( h e r e th e

N e apo l itan sixth agai n ) can b e fo ll owe d by an oth e r th e first ,
*
i n v e rsio n of th e m aj or chord o n th e sup e rto n i c th e third of this
chord ( D i? ris e s as b e for e but n o w b e i n g i n th e b ass i t is fo ll ow e d
) , , , ,

by th e s e co n d i n ve rsio n of th e to n ic chord At ( c) th e th i rd of .

th e first i n v e rsio n ( B il) falls a s e mito n e to th e s e v e n th i n th e chord

of th e domi n an t m i n or n i n th B b b e i n g an e ss e n ti al n ot e of th e ,

n e w chord Th e l ast e x ampl e ( d ) shows th e r ar e s e co n d i n v e r

.

s i o n th e b ass b e i n g qu i tt e d by st e p of a C hrom atic s e mito n e

,
.

Th e s e e x ampl e s wil l it is hop e d sufli cie n tly e xpl ai n th e tr e atm e n t

, ,

of this chord .

28 6 r o i c d riv t i o
Th e h a m n e a n th i ch ord i tr m ly im p l It i
of s s ex e e s e s

m r ly h g r tor m jor t h i rd d fi ft h f h p rto i c

. .

e e t e ene a a an o tI he su e n t as

b lr dy i d 7 6) th t h m i or k y i d r i v d fro m th th r
, ,

een a ea sa 1 a t e n e s m e e e sa e ee

g r tor i to i c m jor
ene a s as ts n a .

287 dditio
. In n toa th e two chrom a tic chords a lr e ady d e scrib e d
th e r e is an oth e r much l e ss fr e qu e n t l y us e d ye t too commo n to
, ,

a l low of our co n sid e ri n g it as an e xc e ptio n al progr e ssio n In 1 93 .

it was s aid that th e to n i c m aj or chord was oft e n us e d to co n c l ud e

a mi n or pi e c e an d th at i n this co n n e ctio n o n ly th e m aj or third
, ,

was n o t co n sid e r e d a chrom atic n ot e But th e m aj or to n ic chord .

can al so b e us e d as a chrom atic chord i n th e cours e of a mov e

m e n t i n th e mi n or k e y In th i s c as e how e v e r e sp e cial c ar e h as
.
, ,

to b e t ak e n to tr e at th e chord i n such a m an n e r as n o t to produc e

th e impr e ss i o n of a modul atio n Th e followi n g e x ampl e s will .

show how this Is e ffe ct e d

M END ELSSO H N P t Agi t t
.

. re s o a o.

Co mp r a e e x am p e l ( O) o f 2 76 .
Ch ap . X II ] . 1 TS TH EOR Y AND PR A C TI C E . 1 29

S C H UB R
E T . W t in e rre ise , No . 1 5 .

S POHR . C lv
a ary.

At th e th ird b ar of ( a ) th e first chord is th e first i n ve rsio n of th e

to n ic m ajor chord i n th e k e y of B mi n or ; th e first ch ord of th e
fourth b ar is th e s am e chord i n its root positio n This e xtract .

also fur n i sh e s i n th e third b ar an e x amp l e of th e sup e rto n ic e b ro

m atic chord i n root pos i tio n proc e e di n g to domi n an t harmo n y .

In th e e x amp l e of th e s am e posit i o n quot e d i n g 2 8 5 ( a ) th e

chord w as fo ll ow e d by th e to n ic chord Th e e xtract ( O) shows
.

th e first i n v e rs i o n of th e to n i c m aj or chord ; a n d also ( i n th e

th i rd an d fourth b ars ) th e root pos i t i o n an d first i n v e rsio n of th e
chord o n th e mi n or s e co n d of th e k e y Th e l ast i l lustrat i o n
.

()
c g i v e s th e s e co n d i n v e rs i o n of th e to n i c m aj or chord

288 If w e comp ar e th e s e thr e e e x amp l e s ( an d m an y simil ar

.
'
y

o n e s might b e g iv e n ) w e sh al l se e that th e tr e atm e n t of th e

,

chrom at i c n ot e ( th e m aj or third of th e chord ) is th e s am e i n

e ach i n st an c e It i s always appro ach e d an d qu itt e d by st e p of a
.

s e mito n e Th e p it i n th e b ass of th e third b ar of ( a ) is o n ly

app ar e n t l y n o t r e a ll y an e xc e ptio n to this ru l e ; for though it is
.

imm e di at e l y pr e c e d e d by Flt it wi ll b e n otic e d th at th i s n ot e

,

is o n l y an orn am e n t al r e so l ut i o n 202
) of th e E th e s e v e n th of
,

th e chord pr e c e di n g th e to n i c chord which r e al l y r e solv e s by

,

d e sc e n d i n g a s e mito n e to th e m ajor th i rd of th e to n i c chord To .

u n d e rst an d th e progre ssio n i n e xamp l e ( O) it is import an t to re

m e mb e r th at th e n ot e s of a chord t ak e n i n arp e ggio are i n h armo n y
to b e co n s i d e r e d as if sou n d e d toge th e r ( g Th e first two
b ars of th e l ow e r st aff of ( O) are th e re fore e quival e n t to
 3 0 H A R M ON Y : [C h ap X II
. .

wh e re it will b e cl e ar l y s e e n th at E h is appro ach e d fro m E b an d

p
roc e e ds to F H e r e th e .
progr e ssio n is upw a rds wh i l e at ( a
) ,

it was dow n wards At ( c) th e chrom at i c li e s b e tw e e n E an d Db .

l l
.

289 From th e s e a n d s i m i ar e x amp e s of th e pr a ctic e of th e

gr e at m ast e rs w e d e duc e th e fo ll owi n g ru l e for th e tr e atm e n t of

.

th i s chor d — A major cko rd o n tk e to n i c m ay Oe ta k e n a s a ck rom a

ti c clzord in a m i n or k ey , p ro v de di tk a t i ts tlzi rd i s a pp roa clze d f ro m

roce e ds to tk e se m i ton e o n tlze

tlze se m i to n e o n o n e s i de of i t, an d p
ze r si de
ot/ .

29 0 Ev e ry t ri a d i n a mi n or k e y wh e th e r di ato n ic or chrom ,
a

tic with th e e xc e ptio n of th e m i n or to n ic chord its e l f wh i ch

.

wou l d co n tradict th e m aj or k e y can b e us e d as a C hrom atic tri ad

,

i n th e to n i c m aj or of th at m i n or k e y
*
I t wi ll b e h ardly n e c e ss ary .

to r e mi n d th e stud e n t th at th e tri ads o n th e domi n an t an d l e adi n g

n ot e a re th e s a m e i n both m a jor a n d mi n or k e ys T h e m aj or .

to n ic chord which is chrom atic i n th e m i n or k e y

,
is Of
cours e al r e ady i n th e m aj or k e y a s a di ato n i c chord .

2 91 N o n e w rul e s n e e d b e give n for th e tre atm e n t of th e

.

chrom atic tri ads i n th e m aj or k e y Th e chrom atic chord o n th e .

sup e rto n ic is subj e ct to th e s am e r e strictio n s as r e g ards its third

as i n th e mi n or k e y 2 8 0 2 8 1
) but th e ,
oth e r chords ar e fr e e

in th e ir progr e ssio n provid e d a l w

,
a ys th a t th e y a re fo ll ow e d by
chords i n th e s am e k e y It w i ll b e u n n e c e ss ary to i ll ustrat e al l
.

th e positio n s of e ach chor d but a fe w e x ampl e s m ay b e giv e n .

SC HU MA NN N v ll tt O p N . o e e e , . 21 , o . 1 .

M END E LSSOHN . J gdl d

a ie , Op . 1 20 , NO . 1 .

We om tim m t i h m jor k y wi th ch ord co t i i g h i m foth

n t e n a n n t e sa e n es

h to c m or c h or d
es ee a e a
hi c h tr t m t p rog r o
s e
ni ini b ut t t e an d e ss n o t e
or d p rov i to b r lly h p r ort o f h ch or d f h p rto c l v th
as t e ; n s a se ea en

ch t e u pe i t t e su e ni e e en
t
d d
ea p n o e o

I wi ll th r for b c t r c or l v t
e e .

t e e p l i i
e h h p
e ex h a ne f h
n t e h a e on s o t e e e en
Ch ap . X II ) . [Ts TH EOR Y AND PR A C TI CE . 1
3 1

B HOEET VE N . Sy m p h o n y , N o 8 . .

B EET HO EN
V . M as s i n D .

P 1 47

Aft e r th e xplan atio n s al r e ady give n it wi l l n o t b e n e e dful to do

e ,

mor e th an to r e mi n d th e stud e n t of th e n ature of e ach of th e s e

chrom at i c chords At ( a ) is shown th e root posit i o n of th e chord
o n th e mi n or s e co n d of th e k e y of F an d at ( O ) th e first i n v e rsio n
.

of th e s am e chord ( th e N e apo l it an s i xth ) al so i n F Th e chrom a

‘
,
.

tic chord o n th e sup e rto n ic is s e e n at ( c) i n its root positio n ;

wh i l e ( d ) giv e s th e first i n v e rs i o n an d root posit i o n of th e
dimi n ish e d tri ad o n th e sup e rto n ic ; an d (e ) th e first i nv e rsio n of
th e mi n or chord o n th e subdomi n an t Last l y at (f) are show n
.

th e root positio n an d s e co n d i n v e rs i o n of th e chord o n th e m i n or

sixth of th e scal e —th e subm e di an t chord i n th e mi n or k e y .

2 92 We n o w give for r e fe re n c e a compl e t e t abl e of th e

.

chrom atic tr iads i n th e k e ys of C mi n or an d C m ajor .

It wi l l b e n otic e d th at though it was s aid i n § 2 90 that e v e ry

tria d of th e mi n or k e y e xc e pt th e to n ic chord can b e us e d
c h rom atical ly i n th e m ajor k e y w e hav e n o t i n clud e d th e aug
,

m e n te d tri ad o n th e m e di an t 1 8 4 ) i n th e abov e t abl e This is .

b e caus e wh e n e v e r th at chord is e mploy e d i n a m aj or k e y it is

a l ways i n its r e al ch aract e r as a chord of th e domi n an t mi n or
,

thirt e e n th ; it wil l th e r e for e b e tr e at e d of i n th at r e l atio n i n a

subs e qu e n t ch apt e r .

2 93 In Ch apt e r X it was show n how modul atio n w as fre

. .
e

qu e n tly e ffe ct e d by m e an s of som e chord commo n to th e k e y

which was quitt e d an d th at which was e n t e r e d By th e chords .
1 3 2 H A R M ON Y .
[Ch a p . X II.

tre at e d of i n this chapt e r th e m e an s of modul atio n are v e ry

,

l arge ly i n cr e as e d ; for a chord can b e t ak e n as chrom atic i n o n e

k e y an d quitt e d as di ato n i c i n an oth e r or co n v e rs e ly it m ay b e ,

t ak e n as di ato n ic i n o n e k e y an d quitt e d as chromatic i n an oth e r .

We will give o n e e xampl e of e ach m e thod .

B EE H O EN S t P h étiqu
T V . ona a at e .

H e re modulatio n is m ad e from C mi n or to A flat by t aki n g th e

a

chord as th e N e apo l it an sixth i n th e form e r k e y an d qu i tti n g it

,

as th e first i n v e rsio n of th e subdom i n an t chord i n th e l at te r .

3
In
this p ass age w e comm e n c e i n G flat m aj or At th e .

ch ord of G flat is t ak e n as th e to n ic chord i n th at k e an d quitt e d

y
as th e c h rom atic chord o n th e mi n or s e co n d of F to which k e
ya,

modul atio n is thus e ffe ct e d If th e stud e n t will accustom hims e lf

.

to an al ys e th e h armo n i e s i n th e works of th e gr e at m ast e rs h e ,

will fi n d o n n e ar l y e v e ry p age of th e ir works modul atio n s by

m e an s of chrom atic chords thus tre at e d .

EX ER C ISES To C H A PTER XI I .

[
Ith e s e e x e rcis e s occ asio n al p ass in g an d auxili ary n ot e s wil l
n

b e i n troduc e d . It is n o t usu al to figur e an u n acc e n t e d p assi n g or

auxi l i ary n ot e. Th e stud e n t m ay i n troduc e such n ot e s wh e r e h e
can l e av e th e m by st e p .A p assi n g n ot e i n th e b ass is i n dicat e d
by a li n e b e l ow it which h as b e e n co n tin u e d from th e pre c e di n g
h armo n y n ot e I f th e h armo n y n ot e h as o n ly a li n e b e l ow i t
.
,

w i th n o figure s it shows th at it is th e b ass of a tri ad i n ro o t

,

pos i tio n ]
Chap X . [Ts TH EOR Y AND PR A C TICE
. l 33

( IV ) H y mn Tun e . .

( V II ) .

( V III ) .

( IX ) H ym n Tun e . .

d
i s“N .

“f a ..
“ 1 C . 7.
 1 34 H A R M ON Y [C h ap X III . .

C H A PTE R X I II .

TH E FU N DAM EN TA L C H O R DS O F TH E SEV EN TH ON TH E S U PER

TO N IC A N D TO N I C .

2 94 .chord of th e domi n an t s e v e n th shown i n Ch apt e r

If th e
I X § 1 97 b e e x am i n e d it will b e fou n d to co n sist of th e four
.
,

low e st n ot e s of th e fu n d am e n t al chord of th e domi n an t give n i n

If i n th e s am e m an n e r t ak e th e four low e st n ot e s of th e
§ 76 . w e

fu n d am e n t al chords of th e oth e r two g e n e rators i n th e k e y th e ,

to n ic an d sup e rto n ic 66 w e sh al l obtai n chords of th e

,

s e v e n th o n thos e d e gr e e s of th e s c al e pr e cis e ly r e s e mbli n g th e

chord of th e domi n an t s e v e n th i n th e ir i n t e rv als but diffe ri n g ,

from th at chord i n th e fact th at th e y are both chrom atic th e ,

third ( an d i n mi n or k e ys th e fifth also ) of th e sup e rto n ic chord

r e quiri n g an accid e n t al as wil l also th e s e v e n th i n th e m aj or k e y
, ,

an d th e third i n th e mi n or k e y of th e chord of th e to n ic s e v e n th
,
.

H e r e th e re for e we h av e chrom atic discords i n th e k e y O f th e s e .

th e sup e rto n ic s e v e n th is much th e mor e fr e q u e n tly us e d an d th e

mor e import an t w e will th e r e for e d e al with it first .

TH E CH O RD O F TH E S U PE
R TO N I C SEV EN TH .

529 It h as b
. e e n mor e th an o n c e s aid 6 1 1
9 )
7 th a t th e ,

disti n guishi n g i n t e rvals of an y fu n d am e n t al discord are th e m ajor

tlzi rd p e rfect fiftk an d m i n o r se ve n tk from th e g e n e r ator
, , If w e .

add a s e v e n th to th e di ato n ic tri ad o n th e sup e rto n ic which c o n ,

tai n s both i n th e m aj or an d mi n or k e y a mi n or third from its

root it is c l e ar th at w e sh al l h ave a chord diffe ri n g i n its n atur e
,
“
from th e chord of th e domi n an t se ve nth fi In ord e r th e r e for e to
obt ai n a chord id e n tic a l i n its i n t e rvals with th e chord of th e
domi n an t s e v e n th w e add a s e v e n th to th e ck rom a ti c chord o n th e
,

sup e rto n ic In th e k e ys of C m aj or an d C mi n or th e
chord app e ars thus

It will b e s e e n that th e third of this chord is a chrom atic n ot e i n

th e m ajor k e y an d th at both third an d fifth are chrom atic i n th e
,

mi n or k e y .

2 96
Just as
. th e chrom atic commo n chord o n th e sup e rto n ic

It h
a b een a
s lr d y i th t h d i i ch ord h p r
t e a to n
or or m i or i th f h d o m i t
7 5, t e su e
fi th v th
ea se e n n 1
tom 77 a c on
e co n s1 s ts o f th e f , se en ,
an d m j a n n n o t e n an .
C h ap . X III ] . [Ts TH EOR Y AN D PR A C TI CE . 1 35

is id e n tical with th e domi n an t chord of th e domi n an t k e y th e ,

chord w e are n o w co n sid e ri n g is id e n tical with th e domi n an t

-

s e ve n th of th e domi n an t k e y b e i n g disti n guish e d from th e l att e r ,

by its tr e atm e n t It is figur e d like th e domi n an t s e ve n th but

.
,

with this diffe r e n c e th at th e chrom atic n ot e s ( th e third i n th e

,

m aj or an d th e third an d fifth i n th e mi n or k e y) must always b e

,

i n dicat e d Thus th e two chords Shown abov e would b e fi gure d

.

33 an d h] r e sp e ctive ly .

2 97 . modul atio n to th e domi n an t k e y b e e ffe ct e d by

a

m e an s of this chord it obvious l y c e as e s to b e a chrom atic chord

,

In ord e r to avoid a modul atio n th e rul e s for th e tr e at ,

m e n t of th e third of th e chord giv e n i n 28 1 must b e

strictly adh e r e d to Th e fifth of th e chord is fre e i n its pro
.

g r e ss i o n th e s e v e n th must e ith e r fall a s e mito n e to th e third o f

th e domi n an t chord or r e m ai n st atio n ary or ( i n two c as e s to b e
, ,

pr e s e n tly e xp l ai n e d ) l e ap to a n ot e of th e fo l lowi n g C hord .

2 98 As th e chord of th e sup e rto n ic s e v e n th co n tai n s th e

.

sam e n o te s as th e chord of th e dom i n an t s e v e n th it will e vid e n t l y ,

b e susc e pt i b l e of th e s am e i n ve rsio n s which will b e figure d i n

l

th e s am e w ay as th e i n v e rsio n s of th e domi n an t s e v e n th always ,

r e m e mb e ri n g that tlze ck ro m ati c n ote o r n otes of tlze ck o rd m ust i n

a ll cases Oe fig ure d e xc e pt i n th e first i n v e rsio n of th e chord i n
,

th e m ajor k e y wh e r e th e o n l y chrom atic n ot e is i n th e b ass an d

, ,

is of cours e i n d i cat e d by an accid e n t al .

2 99 In § 2 1 6 w e saw th at th e s e v e n th i n th e chord of th e
.

domi n an t s e ve n th cou l d som e tim e s b e doub l e d e ve n wh e n th e ,

ge n e rator was pr e s e n t o n e of th e s e v e n ths b e i n g th e n fr e e to l e ap

,

as if it w e r e a co n cord whil e th e oth e r r e c e i ve s its r e gul ar

,

r e solut i o n Th e s am e is th e c as e with th e sup e rto n ic s e ve n th

.
,

as i n th e followi n g e x ampl e .

H AYD N .

At s e v e n th is doubl e d an d th e fifth omitt e d Th e s e ve n th

th e .

i n th e tr e b l e l e aps to th e third of th e fo l lowi n g chord wh i l e th e ,

s e v e n th i n th e t e n or r e m ai n s st atio n ary .

Wh a t w as s aid i n th e l ast ch apt e r as to th e progr e ss i o n

3 0 0 .

of th e sup e rto n i c chrom atic chord without th e s e ve n th app l i e s

e qu all y wh e n th e s e v e n th is pr e s e n t If th e third ris e s a s e mi .

to n e ( as i n th e e xamp l e from H ayd n just quot e d) th e chord ,

 6 H A R M ON Y : [C h ap X III .

3
.

should b e followe d by som e positio n of th e to n ic chord ; if th e

third fall s a s e mito n e to th e subdom i n an t of th e k e y that sub ,
~

domi n an t must b e a n ot e of th e n e xt chord .

3 01 L ik e th e
.
s e v e n th i n t h e chord of th e dom i n an t s e v e n th ,

th e sup rto ic s v th m a b e tr an sfe rr e d to an oth e r p a rt of th e

e n e e n y
harmo n y e ith e r with or without a ch an ge of chord provid e d it IS ,

prop e rly r e so l ve d i n th e p art i n which it l ast app e ars Th e most

,
.

usu al form of this progr e ssio n is wh e n th e fifth of th e chord o f

th e s v
e e n th proc e e ds i n th e followi n g chord to th e n ot e which

was th e s e v e n th or to its octav e ,

.

As in th e cas e of th e domi n an t s e v e n th th e s e co n d i n v e r
sio n of th e sup e rto n ic s e v e n th is oft e n fou n d without th e g e n e rator ,

an d i n this c as e th e s e v e n th m ay ris e or fal l an d m ay b e doub l e d

,

fr e e ly . Th e prohibitio n of th e doubli n g of th e third 278

) ll
st i
holds good
l
.

This chord ik e th e chrom atic commo n chord o n th e

3 0 2 .
(
e s am e i n both m aj or an d
sup e rto n ic 285
( ) 9 ( ))
a 2 1 c is
,
th
mi n or k e ys an d th e rul e s g i ve n for its tr e atm e n t apply alik e to
,

both It is import an t to n ot i c e th at th e chord m ay b e r e solv e d

.

dire ct o n th e domi n an t chord without n e c e ss ari l y produci n g a

m odu l at i o n provid e d t h at th e subdomi n an t of th e k e y co n tradict
, ,

i n g th e chrom atic al ly sh arp e n e d third b e i n troduc e d imm e di at e l y

,

aft e r th e dom i n an t chord In this c as e th e thr e e chords toge th e r

.

must b e t ak e n as d e fi n i n g th e k e y
3 3
0 W e n.o w giv e a s e ri e s of e xampl e s of this chord i n al l ,

its positio n s from th e works of th e gr e at m ast e rs Its e mploy

,
.

m e n t is so fr e qu e n t that th e o n ly di fficulty is to m ak e th e b e st
s e l e ctio n .

SC HU M A NN “
P di d th P
. ara se a n e en .

M END E LSSOHN . L d au a Si o n .
C hap X l l l
.
]
. I TS TH EOR Y AND PR A C T1 CE .
t 37

S C H UB R
E T . O v
e rt ure , R o sam un d e.

S C H U MA NN . No v ll
e e tte , Op . 21 , No 6 . .

H AND L E . M e s siah .
”

M EN DE1 SSO H N "

. . A th al i e .
1 3 8 H A R M ON Y : ( C h ap . X III .

Th e s e xampl e s are full of i n structio n i n m an y r e sp e cts At ( a )

e .

is s e e n th e root positio n of th e chord r e so l v e d o n th e first i n ve r ,

sio n of th e domi n an t mi n or n i n th It will b e n otice d th at th e .

s e v e n th e xc e pt i o n all y ris e s b e caus e th e b ass go e s to th e n ote to

which i n th e ordi n ary cours e th e s e v e n th would fall At ( O) th e
,

chord is show n i n two forms first in its root positio n r e solv e d o n , ,

th e first i n v e rsio n of th e chrom atic chord of th e subdom i n an t an d ,

aft e rwards i n its first i n v e rsio n r e so l v e d o n th e third i n v e rsio n of ,

th e dom i n an t s e v e n th In e ach c as e th e thi rd of th e sup e rto n ic

”

chord fal l s a s e mito n e

3 0 4 Ex ampl .e s ()c an d
( )
d show oth e r r e solutio n s of th e first

i n ve rsio n of th i s chord At ( c) is an u n usu al r e solutio n Wh e n . .

th e th i rd of th e sup e rto n ic chord ris e s it is g e n e ral ly to som e ,

positio n of th e to n ic chord ; h e r e how e v e r it is to th e root posi , ,

tio n of th e domi n an t s e v e n th Th e C b i n th e t e n or is a p assi n g .

n ot e an d it shou l d b e obs e rv e d th a t th e Db i n th e s e co n d crotch e t

m ak e s n o fal s e r e l atio n with th e D b i n th e first b e c aus e th e l att e r ,

n ot e is p art of a chrom atic chord i n th e k e y Th e r e gul ar

r e solutio n of th e first i n v e rsio n wh e n th e b ass ris e s a s e m i to n e
( v i z o.n th e s e co n d i n v e rsio n of th e to n ic chord
, ) is s e e n at ( )
d .

305 . Th e
followi n g e xampl e s show th e diffe r e n t tr e atm e n ts o f
th e s e co n d i n v e rsio n of this chord At ( e ) it is r e solve d o n th e .

first i n v e rsio n of th e domi n an t s e v e n th H e r e th e s e ve n th of th e .

chord D l e aps dow n wards i n st e ad of st e ppi n g to avoid doublin g

, , , ,

ar e e x ampl e ( a ) wh e r e th e s e v e n th ris e s
th e l e adi n g n ot e ( Comp .
,

for th e s am e r e aso n ) Th e A i n th e l e ft h an d p art of th e pre s e n t

.

Pe d al n ot e
”
e xtract is n o t a p art of th e sup e rto n ic chord but a , ,

as w i ll b e l at e r e xpl ai n e d Examp l e (f) is i n t e re sti n g b e caus e

*
.

h e r e th e sup e rto n ic chord is pr e c e d e d by a chrom atic co n cord i n

th e k e y— th e chord o n th e mi n or sixth of th e m ajor k e y Th e .

F i n th e t e n or of th e s e co n d b ar is of cours e a p ass i n g n ot e In .

this e x amp l e th e third of th e sup e rto n ic s e v e n th ( Eb) ris e s an d ,

th e chord is r e solv e d o n th e s e co n d i n v e rsio n of th e to n ic chord .

Th e l ast b ar but o n e il l ustrat e s th e ch an g e i n th e positio n of th e

domi n an t s e v e n th r e fe rre d to i n 2 1 6 .

3 0 6 O ur n e xt e x amp l e ( g ) i ll ustrat e s wh at was s aid i n

.
3 0 2 ,

as to th e r e so l utio n of th e sup e rto n ic s e v e n th o n th e domi n an t

chord without n e c e ss ari l y produci n g a modul atio n Th e s e co n d .

b ar of this e xtract m ay of cours e b e r e gard e d as a tran si e n t , ,

modu l atio n to th e k e y of E ; but as this is imm e di at e ly co n tra

dict e d by th e Db at th e e n d of th e b ar th e m e n t al e ffe ct of th e ,

first chord is r ath e r th at of a sup e rto n ic chord i n A In th e l ast .

b ar of this e xamp l e th e s e co n d i n v e rsio n is r e solve d dire ct o n th e

,

root positio n of th e domi n an t s e v e n th At ( k ) is s e e n th e s e co n d .

A Pe dl "
is a sus t d ot ith r to ic or domi t h ld th ro gh
ai n e u
f w h ch i d o f oth r i d o
a n e e n an on
v ri o ch or f o m form p rt
. e n , e
a us ds i t e s, a n d o t es not
m p loy m t fp d l ot
o s e o e s a a
Th r l r g ti g h wi l l b g i v i C h p t r X X
, .

e u es e ula n t e e en o e a n es e en n a e .
Chap X III )
. . [Ts TH EO R Y AND PR A C TI CE .
39

i n v e rsio n without th e g e n e rator which as alre ady r e m ark e d 2 1 , ,

H an d e l v e ry s e ldom i n troduc e s i n th e s e co n d i n v e rsio n of a

s e v e n th H e re th e fifth r e m ai n s statio n ary an d th e chord is
.
,

r e solve d o n th e first i n v e rsio n of th e subdomi n an t Th e stud e n t .

wi l l also n otic e th e e xc e ptio n al skip from th e auxiliary n ot e B at

th e e n d of th e first b ar to E which m ay b e r e gard e d as a n ot e i n ,

te rp o se d b e tw e e n th e auxi l i ary n ot e an d th e h armo n y n ot e A at

th e e n d of th e b ar Th e third i n v e rsio n of th e sup e rto n ic s e v e n th
.

is som e wh at rare r th an th e oth e r positio n s of th e chord At ( i ) .

is a good e xampl e of its use ; it is h e re r e solv e d o n th e first i n ve r

sio n of th e domi n an t s e v e n th .

TH E C H O RD O F T H E TO N I C SEV EN TH .

3 7
0 chord of th e To n ic S e v e n th co n sists of th e m ajor
. Th e
commo n chord o n th e to n ic with th e additio n of th e mi n or
s e v e n th an d is compos e d of th e four low e st n ot e s of th e fu n d a
,

m e n t al chord o n th e to n ic giv e n i n 66 L i k e th e domi n an t an d .

sup e rto n ic s e v e n ths it co n t ai n s th e i n t e rv als from its ge n e rator

,

charact e ristic of e v e ry fu n d am e n tal discord th e m ajor third p e rfe ct , ,

fifth an d mi n or s e v e n th an d l i k e th e s e chords also it can , ,

b e us e d a l ik e i n th e m ajor an d mi n or k e y .

3 08 r o h y h ch ord f h o i c v th i h m i o k y h
Th e e as n w t e o t e t n se en n t e n r e as

th i rd l ik h to i c c h ord b m jor th i rd w i ll b d r tood

.

no t a mi n or e t e n ut a a e un e s

i fi i r m m b r d t h t h to i c co m m o c h ord i t i lly ch ord f r t

, , ,

t s e e e e a t e n n s e s se n a a o es
d t h r for h m i or t h i rd ( h g h h rm o ic ) m y b
,

an e e e b
t e n t e l t a n a e su

s tit t d f h m jor th ird ( h 5 h h r m o i c) b c i i ti ll co o t to

u e or t e a t e t a n e ause t s s ns n an

t h ot f h ch ord bov d b lo w i B h dd i ti o f—h v t h to

e n es o t e a e an e t ut t e a n o t e se en

h to i c ch ord ch g o c from co cord to d i cord fro m ch ord

.

t e n i an es t at n e a n a s a

o f r t to
es ch ord f r t W a i 99 t h t h c h r ct ri t i c i t rv l
o un e s e saw n 1 a t e a a e s n e a

f f d m t l v th d i m i i h d fi fth b tw h th i rd d h
.

o a un a h
en a se en w as t e n s e e een t e an t e

se v th f h ch ord B i f w dd h m i or v th to mi o ch ord
en o t e ut e a t e n se en a n r
i t d f to m j or
.

ns ea o a a one,

r ct i t d f d i m i i h d fi fth b tw th th i rd d th v th
w e g e t a p e fe ns ea o a n s e e een e an e se en
c ord Th i m port t i t rv l w h i ch b for
o f th e h di o c
e an n e a e e w as a ss n an e Is n o w a
co o c d h c h ord i lo g r f d m t l d i cord For t h i
.

ns n an e, an t e s no n e a un a en a s s
r o ( wi ll b fro m h mpl to b p r tly gi v ) h gr t
.

e as n as e se e n t e e xa es e e se n en t e
th y t hi ch ord i m i or k y i v ri bly r t i h m j or
ea
m t r wh
as e s en e use s n a n e n a a e a n t e a
th ird I IS p rob bly l o b c
t h to i c i t r lly ch ord f t h t
a a s e ause t e n s na u a a o rest, a

h gr t m t r to ic d i cord m ch m or r r ly th th o
.

t e ea as e s use h n s s so u e a e an se on t e
dom i t d p rto i c
n an an su e n .

3 9
0 . Th e chord of th e to n ic s e ve n th

is e vid e n tly chrom atic i n both m ajor an d mi n or k e ys th e s e ve n th ,

i n th e form e r an d th e third i n th e l att e r k e y r e quiri n g an accid e n t al .

As r e gards th e n ot e s of which it is compos e d it is ide n tical ,

w i th th e chord of th e domi n an t s e v e n th i n th e subdomi n an t

 1 40 H A R M ON Y : [Cha p . X III .

k e y, just as th e sup e rto n ic s e v e n th co n t ai n s th e s am e n ot e s as

th e domi n an t s e v e n th of th e domi n an t k e y Also , as i n th e c as e
‘

of th e dom i n an t an d sup e rto n i c s e v e n ths , th e two not e s of this

chord wh i ch r e quir e sp ecial tr e atm e n t are th e third an d th e
s e v e n th .

3 1 0 usu. a l progr
Th e e ssio n for th e third of this chord is th e
s am e as th at of th e th i rd i n th e sup e rto n ic s e v e n th— i t ris e s or
fal l s a s e m i to n e but it is possibl e for i t also to ris e or fal l a to n e *
,

or e ve n e xc e ptio n all y to r e m ai n st at i o n ary as a n ot e of th e n e xt

, ,

chord Th e s e v e n th must e ith e r ris e a chrom atic s e mito n e or fall

.
,

a s e mito n e or a to n e .

A import a n t disti n ctio n b e tw e e n th e to n ic s e v e n th an d

3 1 1 n .

thos e o n th e dom i n an t and sup e rto n ic is th at th e latt e r most

fre qu e n t l y r e solve o n a con cord whi l e a to n ic s e v e n th almost ,

i n vari ably r e solv e s o n e ith e r a domi n an t or a sup e rto n ic discord .

If th e s e v e n th ris e s a s e mito n e to th e l e ad i n g n ot e a domi n an t , ,

discord wi l l fo ll o w i if th e th ird ris e s a to n e to th e augm e n t e d

‘

fourth of th e scal e this n ot e forms n o p art of th e fu n dam e n t al

,

chord of th e domi n an t an d is fou n d i n th e k e y o n ly as th e third

,

of th e sup e rto n ic chord If o n th e oth e r h an d th e third ris e s a .

, ,

s e mito n e to th e subdomi n an t this n ot e w i l l b e n o p art of th e ,

sup e rto n ic chord an d must b e tr e at e d as th e s e v e n th of th e

,

domi n an t for if m ad e th e root of a subdomi n an t chord we shall

, ,

h av e a modu l atio n to th e subdomi n an t k e y an d th e pr e c e di n g ,

chord of th e s e v e n th will n o l o n g e r b e chrom atic .

3 1 2 Wh a t. w as s a id i n 2 9 6 2 98 about th e figuri n g an d th e ,

i n v e rsio n s of th e sup e rto n ic s e v e n th apply e qu all y to th e to n ic

s e v e n th ; th e chrom atic n ot e s must i n e v e ry cas e b e figure d .
.

As with th e oth e r two chords of th e s e ve n th also th e s e co n d i n v e r ,

sio n is som e tim e s to b e fou n d without th e ge n e rator .

1
3 3 As a g
. e n e r a l rul e to n ic discords are much l e ss fr e qu e n tly

us e d by compos e rs th an e ith e r thos e o n th e domi n an t or sup e r

to n ic . Th e followi n g e x ampl e s wi l l i ll ustrat e th e use of th e
various positio n s of th e to n ic s e v e n th It wil l b e obs e rv e d that .

n o fe w e r than four are from B ach whos e m arv e llous g e n ius an ti ,

cipate d n e arly al l th e r e sourc e s of mod e r n h armo n y .

B EET HO EN Q
V . uarte t, O p 5 9, N o 3
. . .

bvhi o ly h th ird f h d om i t d p rto i c v th c ot ri

O us t e t e
to Th ot to b ov th m wo l d b i k y
s o n an an su e n se en s an n se a
n e . as t e n e a ne a u not th e
d d d
e e
o l rto c cor co t i g l ot h v ry r r
e n e .

1 y e i i n sup e n i i n ai n n th e
i i v ry d o
s t e
m m or t i r t t f l wh t h r l
ea ng n e s e a e
sup e rt o c h h te e n ; an d
m ub
d f h to i c v th r olvi g th i ch or d
aj t
b
fo
y p s e u e e an e xa e ca n e
un o t e n se en es n on s .
Chap X III ]
. . [Ts TH EO R Y AND PR A C TIC E . 1 41

BAC K . Wo h l te m p e rirte Cl avi e r, B k

oo 1 , Pre ld
u e 21 .

M END ELSSOHN .
“
A th a he .
”

M END ELSSOH N .
3 rd Sy m ph o n y .

BAC H .
“
Wo h l te m pe ri rte Cl v
a i e r, B k Fg
oo 1 , u ue 2 2 .

BA C K . Wo hl te m pe ri rte Cl i
a v e r,

ata in F .
 1 42 H A R M ON Y X III
.

S C H U MA NN .
“
B un te Bl atte r, O p 99
. .

H A ND LE . l
H e rcu es .

3 1 4 At
.
( )
a is s e e n th e root positio n of th e to n ic s e v e n th .

H e r e th e s e v e n th ris e s a s e mito n e to th e third of th e domi n an t

chord an d th e third fall s a to n e to th e fifth Th e e xc e ptio n al
,
.

doub l i n g of th e l e adi n g n ot e at th e th i rd chord is d ue to th e fact

th at B e e thov e n h e r e wan ts a sp e c ial e ffe ct of ful n e ss an d powe r
At ( O) th e root positio n
,

an d th e r e for e us e s th e doubl e stri n g .

of th e to n ic s e v e n th is r e solve d o n a domi n an t m aj or thirt e e n th

( third i n v e rsio n
) ,
t h e third r e m ai n i n g to b e th e thirt e e n th of th e

fo ll owi n g chord which chord is i n turn r e solv e d o n a sup e rto n ic

,

mi n or n i n th At (c) th e root positio n of th e to n ic s e v e n th is re

.

solv e d dir e ct o n th e th i rd i n v e rsio n of th e sup e rto n ic mi n or n i n th .

Th e p ro gre ssi o n o f th e p arts is n o t c l e arly show n i n this e xtract

,

from th e pi an ofort e score an d a quot at i o n from th e ful l scor e

,

wou l d occupy too much sp ac e but i n th e full scor e th e s e v e n th

an d third e ach fall a s e m i to n e to th e fifth an d n i n th r e sp e ctiv e ly

of th e sup e rto n ic chord .

3 5
1 At
.
( ) ( )
d ,
e ,
a n d ( f) a r e s e e n th e first a n d s e co n d i n v e r
sio n s of th e to n ic s e v e n th i n e ach c as e r e solv e d o n a domi n an t
,

discord At ( d) th e first i n v e rsio n of th e to n i c s e v e n th r e solv e s

.

o n th e s e co n d i n v e rs i o n of th e dom i n an t s e v e n th th e third of th e ,

to n ic chord fall in g a to n e an d th e s e ve n th r i s i n g a s e mito n e In

, .

both th e oth e r i n st an c e s th e s e v e n th falls a to n e an d th e third

ris e s a s e mito n e Th e s e two e xampl e s also i ll ustrat e wh at was
.

s aid i n 3 0 8 as to th e e mploym e n t of th e m aj or third i n this

chord wh e n us e d i n a mi n or k e y N ot e also at ( f ) th e un o b
.

b f ls r l tio b tw e P an d F : i n th e fourth an d
je c ti o n a l e a e e a n e e e n t h
b )
j
fifth qu av e rs . Examp l e (g ) shows th e s e co n d i n v e rsio n of th e
C h ap . I TS TH EOR Y AN D PR A C TI CE . 1 43

chord r e solvi n g o n th e domi t se v n an en —

th th e s am e progr e ssio n
a s at ( a
) but i,
n a diffe r e n t pos i tio n .

3 1 6 Th .e e x amp l e ( )
12 is i n struct i v e a s th e first i n st an c e ye t

m e t w i th of i n corr e ct n otat i o n If th e stud e n t will p l ay th e

.

p ass age h e will fe e l at o n c e that it is i n th e k e y of F But D3

,
]
: is .

n o t a n ot e of th at k e
y at all T h e.mi n or s e v e n th of th e to n ic is

El) an d its e n h armo n ic can n ot b e lo n g to th e k e y

,
Th e
n ot e is th e r e for e r e al ly E b an d th e chord m ark e d
,
is prop e rly

b e i n g th e s e co n d i n v e rsio n of th e to n ic s e v e n th without th e
ge n e rator Th e r e aso n S chum an n h as us e d th e i n corr e ct n ot atio n
.

is b e caus e th e s e ve n th is r e solv e d a s e m i to n e upwards We sh all .

s e e i n th e n e xt ch apt e r th at this fals e n ot a tio n is v e ry commo n

with chords of th e mi n or n i n th but it is e xtr e m e ly rar e with

chords of th e s e v e n th .

3 7
1 At .
( i ) is s e e n th e l ast i n v e rsio n of th e chord of th e to n ic
s e v e n th Th e k e y of this e xtract is B flat mi n or but it was th e
.

custom i n H an d e l s tim e n o t to writ e mor e th an thr e e fl ats i n th e

’

sig n atur e an d to m ark th e oth e rs as accid e n t al s Th e chord is

,
.

h e r e r e solve d o n th e s e co n d i n ve rsio n of th e sup e rto n ic s e v e n th

th e third of th e chord e xc e ptio n al l y l e api n g i n st e ad of movi n g as ,

usu al by st e p In our l ast e xtract ( k ) th e th i rd i n v e rs i o n is re

.

so l ve d o n th e s e co n d i n v e rs i o n of a sup e rto n ic m ajor n i n th th e

third of th e first chord b e i n g st atio n ary as i n e xamp l e ( O )
,

.
,

3 1 8 In . 2 93 it w as show n how a chrom atic co n cord cou l d b e

us e d for th e purpos e s of modu l atio n Th e s e v e n ths tre at e d of i n
.

this ch apt e r can al so b e so e mp l oy e d O bviously if a sup e rto n ic

.

or to n ic s e ve n th b e quitt e d as a domi n an t s e v e n th it is to b e ,

r e gard e d n o t as a chrom atic chord but as d i ato n ic i n th e n e w

,

key But a sup e rto n ic s e ve n th m ay b e quitt e d as a to n ic

s e v e n th or vi ce ve rsci th e chord b e i n g c h rom atic i n both k e ys
, ,

This m e thod of modulati n g i s n o t commo n as it bri n gs tog e th e r ,

two u n r e lat e d k e ys 2 2 but it is occasio n al ly to b e m e t wit h ,

as i n th e followi n g e x ampl e .

WAG NER Di M i t i g . e e s e rs n e r.

H e re wh at pr e c e d e s shows th at th e first b ar is i n th e k e y of G
m ajor Th e chord
. is t ak e n as the s e co n d i n v e rsio n of th e
to n ic s e v e n th i n th at k e y an d l e ft as th e s e co n d i n v e rsio n of th e
,

su pe rto n ic s e v e n th i n F m aj or .
 We shall co n c l ud e this C h apt e r by an att e mpt to
n ow
3 91
cod ify th e l aws gov e rn i n g all th e chords of th e s e v e n th As th e
.

chords of th e n i n th e l e ve n th an d thirt e e n th are m ad e by add i n g

, ,

n e w n ot e s to th i s chord an d th e n ot e s thus a dd e d do n o t aff

,
e ct

th e progr e ssio n of th e n ot e s Oe l ow th e m i n th e chord but o n l y of ,

thos e a Oove th e m th e stud e n t will s av e hims e l f much troub l e

,

h e re aft e r if h e thoroughly m ast e rs th e rul e s for th e tr e atm e n t of

th e chords of th e s e v e n th ; for h e wi ll th e n o n l y h av e to l e arn i n
additio n th e l aws for th e tr e atm e n t of th e n e w n ot e s which are ,

n o t i n th e ms e lv e s di f ficult .

3 2 0 I . R ES O
. LU TIO N O F A C O H R D o r T H E S EV EN T H — N O .

chord of th e s e v e n th e v e r r e solv e s o n its o w n root *

Th e‘

do mi n a n t se ve n tk r e solv e s o n th e t o n ic subm e di an t or sub , ,

domi n an t chord or o n a sup e rto n ic discord

,
Th e s up e rton i c .

seve n tk r e solv e s o n a to n i c sud m i n an t or domi n an t chordi

, ,

Th e ton i c se ve n tk r e solv e s o n e ith e r a domi n an t or a sup e rto n ic

d iscord .

3 2 1 I I. PR O G R E
.SSIO N O F TH E T H I R D — T h e third i n a chord

of th e s e v e n th must n e v e r b e doubl e d In a do m i n an t se ven tk it .

must e ith e r ris e a s e mito n e or fall a s e mito n e or a to n e In a

,
.

s up e rton i c se ve n tlz it must ris e or fall a s e mito n e In a ton i c .

se ve n tk it m ay e ith e r ris e or fall a to n e or a s e mito n e or it

, ,

m ay r e m ai n to b e a n ot e of th e n e xt chord .

3 2 2 I I I
. PR O G R ESS.IO N O F T H E SE V EN T H — In th e domi n a n t .

seve n tlz th e s e v e n th m ay ris e or fal l a s e mito n e or a to n e or i t

, ,

m ay r e m ai n to b e a n ot e of th e n e xt chord In a s up e rto n i c .

se ve n tlz it must fall a s e mito n e ris e a to n e or r e m ai n st atio n ary

, , ,
.

In a ton i c se ve n tk it m ay e ith e r ris e a s e mito n e or fall a to n e or ,

s e mito n e U n lik e th e s e v e n ths o n th e domi n an t an d sup e rto n ic

. ,

th e s e v e n th o n th e to n ic m ay n e v e r b e doubl e d .

T h e root an d fifth i n a chord of th e s e v e n th are both um

3 3
2 .

r e strict e d i n th e ir progr e ssio n an d it must n o t b e forgott e n th at

th e chord m ay ch an g e its positio n b e for e b e i n g r e solv e d wh e n th e ,

third an d s e ve n th must b e prop e rly r e solve d i n th e positio n i n

which th e y last app e ar .

EX ER C ISES To C H APTER X II I .

Th e r ol ti o from H d l giv
es u n an e en in 21 7 ( ) c is q t ui e c o l
e x e p ti n a an d

i rr g l r
e ua .
Ch ap . X IIL ] ITS TH EOR Y AND PR A C TI CE . x4 s

6 36 u6 $ # 5
I:
6 6
4
1:

3 4 4 3;

3 3
0 0 o
1
5 o
0 0 c

6 7 9
4 4
1 46 H AR M ON Y [Ch ap . X III
.

6 7
b l"

( V III ) H ymn Tune

. .
Ch ap . mm 1 TS TH EOR Y AN D PR A C TI CE .
47

C H A PTE R X IV .

C H O R DS O F T H E N IN TH . EN H A R M O N IC M O D UL ATIO N .

3 4
2 If to th e fu n d am e n t al chords of th e s e v e n th o n th e
.

domi n an t sup e rto n ic an d to n ic an oth e r third e ith e r m aj or or

, , , ,

mi n or b e add e d above th e s e v e n th w e sh al l h av e a chord of th e

, ,

m aj or or mi n or n i n th o n th e s e thr e e d e gr e e s of th e scal e ) “
,

Th e dditio n of a n e w n ot e at th e top of a chord do e s n o t affe ct

a

th e pr o gr e ssio n of th e low e r n ot e s though its o w n progr e ssio n ,

w ill b e l arg e ly affe ct e d by th e m Th e ru l e s for th e tr e atm e n t of

.

chords of th e s e v e n th giv e n i n 3 2 1 3 2 2 are th e r e for e sti l l to b e ,

obs e rv e d an d th e o n ly n e w rul e s to b e l e arn e d wi l l r e fe r to th e

,

n i n th its e lf .

3 5
2 It will
. b e s e e n th at a chord of th e n i n th co n t ai n s fi ve

n ot e s .As most music is writt e n i n four p arts o n e n ot e must ,

e vid e n tly b e omitt e d Th e s e v e n th is al most always e i th e r

.

pr e s e n t i n th e chord or if n Ot it is add e d wh e n th e n i n th is
, ,

r e solve d ( Se e e xampl e s ( O ) to § 3 3 5 an d ( e) to § 3 44 l at e r i n
,

.
,

this ch apt e r ) Iri th e root positio n it is ge n e ral ly th e fifth of th e

.
,

chord th at is abs e n t but i n th e i n ve rsio n s th e root ( which is a l so

th e g e n e rator) is most l y omitt e d though occ asio n all y it is i h ,

tro duce d e v e n i n th e i n v e rsio n s .

6 As th e h a rmo n ic d e riv atio n of to n ic m ajor an d mi n or

3 2 .

k e ys is id e n tical it i s cl e ar th at th e s e fu n d am e n t al chords
o f th e n i n th wi l l b e th e s am e i n both k e ys But as a m att e r of .
,

a ctu al practic e though all th e si x chords show n i n

, 3 2 4 can b e
us e d i n th e m aj or k e y th e m aj or n i n ths of th e domi n an t an d
,

sup e rto n ic c an n ot b e us e d i n a mi n or k e y b e caus e th e n i n ths of ,

th e s e chords are th e m aj or sixth an d m ajor third of th e scal e ,

which n ot e s i n mod e r n music are o n l y us e d i n a mi n or k e y wh e n

th e form e r is p art of th e sup e rto n ic an d th e l att e r is p art of th e ,

to n ic fu n d am e n t al h armo n y .

3 27 T h e. chord of th e n i n th i n its root posit i o n 1 5 srm l

p y
figure d 9 wh e n di ato n ic ; but as with al l chrom atic chords an y , ,

chrom atic n ot e s r e quire accid e n tals to i n dicat e th e ir pre s e n c e .

Th e h a m r o i c d i v tio
n er a n of th ch ord from th ir g r tor i
e se s e e ne a s e x p la i n e d in
1 48 H A R M ON Y Ch ap . X IV .

To m ak e this cl e ar, w e giv e th e who e of th e chor s of th e n i n th l d

i n th e k e ys of C m aj or an d C mi n or, with th e ir corr e ct figuri n g .

In C m in o r .

ba
i
9 9
I n as
,
We h av e give n th e s e chords p arts an d h av e i n th e in fi ve ,

last chord i n clud e d th e fifth wh i ch is g e n e rally omitt e d to , ,

r e mi n d th e stud e n t of th e n e c e ssity for figuri n g th at n ot e i n th e

fu n dam e n t al sup e rto n ic chord of th e mi n or k e y Though s e ldom .

fou n d in th e root positio n th e fifth is fr e qu e n tly pr e s e n t as a

,

chrom atic n ot e i n th e i n v e rsio n s of th e sup e rto n ic mi n or n i n th .

3 2 8 It
. w a s s aid i n 3 2 5 th at i n th e i n v e rsio n s of chords of

th e n i n th th e root w as g e n e rally omitt e d As th e chord co n t ai n s .

four n ot e s b e sid e s its root it is e vid e n tly susc e ptibl e of four i n

v e rsio n s As al l chords of th e m aj or n i n th r e s e mbl e e ach oth e r
.

as to i n t e rvals an d lik e wis e al l chords of th e mi n or n i n th it i s

, ,

n e e d l e ss to show e a ch i n v e rsio n of al l th e s e chords We will t ak e .

th e i n v e rsio n s of th e m aj or an d mi n or n i n ths o n th e domi n an t ,

an d th e stud e n t will b e abl e to writ e simil ar In ve rsIo n s of th e

sup e rto n ic an d to n ic chords for hims e lf .

In v
e r.

3 9
2 j
. ust a s e ve ry tri a d i n a mi n or k e
y e xc e pti n g th e mi n or ,
.

to n ic chord can b e us e d as a chrom atic chord i n a m aj or k e y

'

e v e ry d i scord of a mi n or k e y can b e us e d as chrom atic i n

a m aj or k e y though th e co n v e rs e as m e n tio n e d i n 5 3 2 6 is n o t
, , ,

th e c as e Thus th e first four chords of th e l ast e xampl e can n ot

.

'

b e us e d i n th e k e y of C mi n or ; but th e l ast four chords can b e

e mploy e d e ith e r i n C mi n or or C m aj or .

33 0 It wi l l b e s e e n th at th e figuri n g of th e four i n v e rsio n s of

.

th e chord of th e n i n th is id e n tic al with th at of th e chord of th e

s e v e n th an d its thr e e i n v e rsio n s ( Chapt e r It is import an t to
r e m e mb e r th at figur e s do n o t n e c e ss ari ly Show th e n ature of a
chord ; th e y simp l y i n dic at e th e dist an c e of th e upp e r n ot e s of
th e chord from th e b ass Th e 5 an d 3 are always impli e d with a
.

7 an d o n ly m ark e d wh e n an accid e n t al is r e quire d

, S imilar l y a .

6 4 4
3 is impli e d with a , an d a 6 with a an d , as was s e e n with
3 2

th e chords of th e s e v e n th But th e stud e n t n e e d n e ve r b e i n

‘

doubt as to wh e th e r th e s e ) figur e s i n dicat e chords of th e s e v e n th

or chords of th e n i n th if h e n otic e s th e i n te rva ls b e tw e e n th e
,

d iffe re n t n ot e s Thus if th e first chord of th e e xampl e i n 3 2 8

.

we r e a chord of th e s e v e n th o n B it would h av e a major third , ,

Ch ap . X IV .
] [Ts TH EOR Y AND PR A C TIC E . 1 49

an d fifth T h f ct th t it h as a mi n or third an d a
p f e r ect e a a

d i m i n i sh e d fifth shows th at B is n o t th e g e n e rator but th at it is ,

a first i n v e rsio n of a n i n th .

33 1 To. fi n d th e g e n e rator of an y chord such as th at n o w

u n d e r co n sid e rat i o n w e must r e m e mb e r th at all chords are

, .

d e riv e d e i th e r from th e to n i c sup e rto n i c or dom i n an t e ach of

, , ,

which b e ars a m ajor th i rd p e rfe ct fifth an d mi n or s e v e n th as th e

, ,

first n ot e s of its fu n d am e n tal chord Th e chord . can n ot

be d e riv e d from C b e c aus e th e s e v e n th i n th e chord of C is B b

, ,

n o t B b ; n e ith e r ca n it b e d e riv e d from D for th e third of th e ,

chord of D is F b n o t F b It can th e re for e o n l y b e p art of th e

, .

fu n d am e n t al chord of G .

33 2 U n lik
. e th e chords of th e s e v e n th a ll chords of th e n i n th,

can r e solv e upo n th e ir o w n g e n e rator In this c as e whil e th e.

,

n i n th fa ll s o n e d e gr e e th e s e v e n th usu ally though n o t i n vari ably

, ( )
r e m ai n s to form p art of a chord of th e s e v e n th an d is r e solv e d ,

l at e r A good i n stan ce of this will b e s e e n i n 2 8 7 e xampl e (c)

.
, ,

wh e r e at th e e n d th e domi n an t mi n or n i n th in th e k e y of B mi n or
d e sc e n ds a s e mito n e to th e root whil e th e s e v e n th r e m ai n s an d
, ,

is r e so l v e d i n th e n e xt b ar .

3 33 Th e
. domi n an t n i n th wh e th e r m a
,
jor or m i ri o r is a lso ,

allow e d to proc e e d to th e third of its o w n chord e ith e r by risi n g ,

a s e co n d or falli n g a s e v e n th as i n th e fo ll owi n g e x ampl e s

-

, ,

B EET HO EN
V . S o n ata , O p
h
5 3.

BEET H o vEN . Co n ce rto in C mi n o r.

At ( a ) s e e n th e root positio n s of th e m ajor n i n th i n th e first

are

b ar an d th e m i n or n i n th i n th e third th e n i n th i n e ach c as e risi n g

,

to th e third of th e chor d Th e i n t e rval o f th e augm e n t e d s e co n d

.
1 5 0 H A R M ON Y : [Ch ap . X IV .

i n th e l ast b ar 9 1 ) is n o t h e r e obj e ctio n abl e H e r e th e mi n or

.

n i n th is chrom atic i n th e k e y of C m ajor At ( O ) th e s am e n ot e .

is di ato n i c i n th e k e y of C mi n or an d it is r e so l v e d by l e ap i n g
,

down to th e third of i ts chord At ( c) is th e domi n an t m ajor

.

n i n th i n th e k e y of D flat simil arly tr e at e d

,
.

3 34 .It w as s aid i n 3 5
2 th at i n th e root positio n of thi s
chord th e fifth was g e n e rall y omitt e d But i n all th e e xamp l e s .

just giv e n th e th ird is omitt e d This is always th e c as e wh e n

'
.

th e n i n th r e so l v e s o n th e thir d i n accord an c e with a bro ad

,

g e n e ral pri n c ipl e th at tk e n ote on w /zi clz a di sso n a n ce resol ves sk o ul d

n o t Oe so un de d w i t/i tlza t d i sso n a n ce e x cep ti ng o n ly t/
,
ze roo t w i t/
z tk e

n i utk , w lzi clz i s a l w a ys a l l o w e d.

In th echords of th domi n an t n i n th w e som e tim e s fi n d

335 . e

th e n i n th r e solv e d fr e e ly by l e api n g to an oth e r n ot e of th e s am e

h armo n y .

SC H UB ER T O v tu Fi b . er re , e rra ras.

At of ( a ) th e domi n an t mi n or n i n th i n F mi n or r e solv e s o n th e
s e v e n th of th e s am e chord ; whil e at ( O ) th e domi n an t m aj or n i n th
i n E flat r e solv e s o n its fifth .

33 6 .As th e m ajor n i n th if pl ac e d b e low th e third of th e chord

will b e a m aj or s e co n d b e low th at n ot e it will fr e qu e n tly sou n d
,

h arsh i n that positio n It is th e r e for e ge n e rally b e tt e r to put th e

.

n i n th abov e th e third But to this ru l e th e r e is o n e e xc e ptio n of

.

som e import an c e A domi n an t m aj or n i n th can al ways b e

.

pl ac e d imm e di at e ly b e low th e third provid e d th at th e n i n th,

proc e e d d i re ct to th e g e n e rator whil e th e third r e m ai n s st atio n ary ,

as i n th e followi n g e x ampl e

D O RAK St b t M t
"
V a a a er.
Ch ap . X IV .
) [Ts TH EO R Y AN D PR A C TI CE .
51

B e tw e e n th e first an d s e co n d b ars of th e abov e will b e s e e n i n

th e Sopran o an d t e n or p arts hidd e n oct av e s of a k i n d th at are
sp e ci all y prohibit e d Th e i n fractio n of th e ru l e h e re is
’

pall i at e d if n o t justifi e d b y th e t e n or i n th e first h alf of th e

'

, ,

E
e co n d b ar imit ati n g th e first h alf of th e sopr an o of th e pr e vious
‘

ar .

3 3 7 We . n ow give a fe w e xampl e s of various positio n s of chords

of th e n i n th r e solv e d o n th e ir o wn g e n e rators .

S C HU B R E T. Imp ro mp tu, O p 90, N o 4

. . .

B EET HO EN
V . A dl d
i
e a e.
"

Ex ampl e ( a ) shows first i n v e rsio n of th e d omi n an t mi n or

th e
n i n th r e so l vi n g o n its g e n e rator Th e m e n t al e ffe ct of th e C f an d
.
;
B il; i n th e b ass must n o t b e ov e rlook e d E ach n ot e is co n sid e re d
.

as th e r e al b ass of th e h armo n y for two b ars H e re th e g e n e rator

.

is e xc e pt i o n al l y pr e s e n t i n th e i n ve rsio n .

is shown th e
are s e e n th e third an d fourth i n v e rsio n s of th e domi n an t mi n or

th e s e v e n th risi n g to th e g e n e rator wh e n th e n i n th fal ls

‘

n i n th

g(
,

In th e s e co n d b ar of this e x ampl e th e l ast i n v e rsio n of

th e domi n an t n i n th is r e solv e d o n a di f fe r e n t chord as will ,

b e e xp l ai n e d dire ct l y .

3 3 8 Th e to n ic an d sup e rto n ic n i n ths are l e ss fre qu e n tly

.

r e so l v e d o n th e ir o wn ge n e rators th an th e domi n an t n i n th At
e x amp l e ( O ) of
.

0
3 3 i n th e
,
fifth b ar th e first i n
,
v e rsio n of th e
sup e rto n i c m ajor n i n th is thus tr e at e d We add o n e e x ampl e of a
.

to n i c mi n or n i n th also i n th e first i n v e rsio n

,
.
 H A R M ON Y ( Ch ap X IV
. .

Th e k e y of this p ass age is u n qu e stio n ably B flat mi n or Th at .

th e re is n o modu l atio n to E flat mi n or is prov e d by th e co n tra

dictio n i n th e s e co n d chord of th e s e co n d b ar of th e chrom atic
Db ( Compare 3 0 2 .

n a chor d of th e n i n th d o e s n o t r e solv e o n its o w n

.

339 Wh e
ge n e rator ( or root which i n this c as e is i d e n tical ) it always
.

re solve s o n o n e of th e two oth e r fu n d am e n t al chords of th e s am e

k e y u n l e ss it is followe d by a modul atio n
,
Thus a domi n an t .

n i n th r e solv e s o n e ith e r a to n ic or sup e rto n ic chord a sup e rto n ic ,

o n a domi n an t or to n ic an d a to n ic o n a sup e rto n ic or domi n an t

,

chord Th e sup e rto n ic chrom atic tri ad 2 7 9) is how e v e r rare ly

.
, ,

if e ve r us e d a sup e rto n ic discord b e i n g al most i n vari ably e m

,

ploy e d whil e th e commo n chord of th e domi n an t can o n ly fol l ow

,

th e sup e rto n ic n i n th if th e chrom atic third of th e l att e r chord is

imm e diat e ly aft e rwards co n tradict e d oth e rwis e th e re woul d b e a
mo d ulatio n th e two chords b e i n g th e domi n an t n i n th an d to n ic
,

of th e domi n an t k e y .

3 4 0 In r
. e solvi n g th e chor d of th e n i n th o n a chord with a
di ffe re n t ge n e rator th e rul e s give n i n th e l ast ch apt e r for th e tr e at
,
.

m e n t of th e third an d th e s e v e n th must b e obs e rv e d If th e fifth .

is pr e s e n t i n a chord of th e m ajor n i n th car e must b e t ak e n that ,

it do e s n o t mov e so as to m ak e co n s e cutiv e fifths with th at n ot e .

Wh e n r e solve d o n a di ffe r e n t ge n e rator th e n i n th may n o t o n ly ,

ris e or fal l but u n d e r som e co n ditio n s r e m ai n to b e a n ot e of th e

,

n e xt chord If for i n stan c e th e sup e rto n ic n i n th r e solv e s o n th e

.
, ,

to n ic chord th e mi n or n i n th In a m i n or k e y an d th e m ajor n i n th
,

i n th e m aj or k e y will re m ai n as th e third of th e followi n g chor d .

3 4 1 . Wh e n a mi n or
i th is t ak e n as a chrom atic n ot e of a
n n

chord i n a m ajor k e y an d r e solv e s Oy ri si ng a se m i ton e it is usu al

to e te th e n i n th as an augm e n t e d oct av e of its ge n e rator—cg
, ,

This th e ore tically In a ccurat e but co n v e n i e n t n otatio n is th e

Ch ap . X IV .
) [Ts TH EOR Y AND PR A C TICE . 1 53

prob abl e e xpl an atio n of th e commo n m e thod of writi n g th e

chrom atic scal e which was show n i n
34 2 W e n o w giv e som e e x amp l e s of chords of th e n i n th

r e so l vi n g o n oth e r th an th e ir o w n roots Wh e n it is r e m e mb e r e d
.

th at th e re are six of th e s e chords e ach of wh i ch h as fi ve positio n s

, ,

an d e ach positio n s e v e ra l r e so l utio n s it wi l l b e s e e n th at it is i m

,

poss i bl e withi n r e aso n ab l e limits to giv e an e xh austive s e ri e s of

i ll ustratio n s A ll th at can b e do n e is to giv e a fe w ch aract e ristic
progre ssio n s th e stud e n t if h e wi l l an al ys e th e works of th e gr e at
.

m ast e rs will fi n d pl e n ty of oth e rs for hims e l f

,
.

GRAU N . Te Drum .
”

S PO H R . Do ub l e Q uarte t, Op . 1 36 .

Th e i re gu r l ri ty i th e not tio
a n o f th e m in or i th wh i i r olv d by i i
n n en t s es e r s ng
m to w ll h ow ollowi g tr ct from B th ov
a n
th e f
’
ch ro m an c se i ne is e s n in n ex a ee en s
o t
a
:

”
S na a i n E flat. O p 3 1 .
, NO 3
.
1 54 H A R M ON Y ( Chap X IV . .

3 43 . Th e s e
thr e e e xtr acts sh o w som e of th e most fr e qu e n t

progr e ssio n s of th e root posit i o n of th e ch ord of th e n i n th : At ( a )

is s e e n first th e s e co n d i n v e rs i o n an d th e n th e root positio n of th e
domi n an t m i n or n i n th of C m i n or r e solv e d o n th e root positio n
,

of th e to n ic At ( O) is th e domi n an t m ajor n i n th al so r e solv e d o n

.

th e root positio n of th e to n ic At ( c) is a fi n e e x ampl e of th e first

.

i n v e rs i o n of th e domi n an t m ajor n i n th r e solve d o n th e chord of

,

th e to n i c In ord e r to avoid th e co n s e cutiv e fifths which wou l d

.

occur b e twe e n th e fifth an d n i n th of this chord if both w e r e

r e solv e d at o n c e th e th i rd an d fifth of th e to n ic chord are
d e l ay e d by auxil iary n ot e s At ( d ) w e fi n d first th e s e co n d i n v e r
sio n of th e domi n an t mi n or n i n th r e solv e d o n th e first i n ve rsi on
.

of th e to n ic chord to avoid bre aki n g th e rul e giv e n i n 1 0 1

,
In .

th e s e co n d b ar of thi s e x amp l e is a s e co n d i n v e rsio n of a sup e r

to n ic m ajor n i n th fo l low e d by th e root posi tio n of th e s am e chord
, ,

an d r e so l v e d o n a domi n an t thirt e e n th N ot e th e progre ssio n of

.

th e third of th e sup e rto n ic chord

3 44 . We n ow give som e e x ampl e s of th e first i n v e rsio n s of

chords of th e n i n th .

H A N DRL . H e rcu e s l .

H AND L E . l
Isra e in E yp t g .
"

B A CI
-
I. W rli
“ ah ch i ch sa g e Euch .
”

S PO H R . t
N o n e to , O p 3 1 . .
Chap . X IV .
) [Ts TH EOR Y AND PR A C TIC E .

S C H UB RE T .
‘
N
So n ata, O p . 1 64 .

At ( a) is s e e n th e sup e rto n ic mi n or n i n th of E mi n or r e solv e d o n

,

th e t h ird i n v e rsio n of th e domi n an t s e v e n th of th e s am e k e y At .

O
( ) is a b e aut i ful e x ampl e of th e sup e rto n ic m ajor n i n th r e solv e d

on th e to n ic c h ord H e r e th e s e v e n th an d n i n th are both

.

s tatio n ary Comp ar e th e auxi l i ary n ot e D b i n th e third b ar

.

( m ak i n g a dimi n ish e d oct av e with th e

Db of th e h a rmo n y ) with
th e e x ampl e from B e e thov e n i n 26 1 .

3 4 5 Th e quot atio n s ( c) an d ( d) Show how a chord of th e

.

n i n th m ay b e us e d for th e purpos e of modu l atio n Th e first b ar .

of ( c) is e vid e n tly i n th e k e y of E m aj or an d th e s e co n d b ar n o ,

l e ss cl e arly i n F b mi n or Th e chord i n th e n ot at i o n h e re give n

.

do e s n o t b e l o n g to E m ajor at all as E b is n o t a n ot e i n th at k e y
, .

But i n e ffe cti n g a modul atio n th e r e should always b e a co n n e cti n g

l i n k b e twe e n th e two k e ys In th e pre s e n t cas e th e chord is take n
.

'

as th e l ast i n v e rsio n of th e to n ic m i n or n i n th of E th e b ass n ot e ,

b e i n g r e al ly F b for this Fb its e n h armo n ic E b is su b stitut e d , , ,

wh e re by th e chord is ch an g e d to th e first i n v e rsio n of a mi n or

n i n th o n
Cb t h e domi n an t of F
, b m i n or an d it i s r e solv e d o n th e
,

t o n ic of th at k e y H e re is an i n st an c e of e n k a rm on i c modul a ti on
.
,

of which w e Sh all h av e mor e to say l at e r i n this ch apt e r .

3 4 6 T .h e e x ampl e a t ( )
d is som e wh at diff e r e n t H e r e th e r e .

is n o e n h armo n ic ch an g e but th e first chord of th e s e co n d b ar is

,

t ak e n as a domi n an t n i n th i n B b an d quitt e d as a to n ic n i n th i n
,

F b e i n g r e so l v e d o n th e sup e rto n i c n i n th of th at k e y In e x
, .

a mpl e ( c) of 33 7 w e se e a domi n an t n i n th r e so l vi n g o n a sup e r

to n ic n i n th .

3 74 O .u r l a st e xtr a ct ( )
e shows a b e autiful a n d som e wh a t
u n usu al r e solut i o n of th e sup e rto n ic n i n th o n th e third i n v e rsio n
of a domi n an t e l e v e n th M an y oth e r r e so l utio n s could b e giv e n
.

did sp ac e all ow .

3 4 8 T .h e s e co n d i n v e rsio n of chords of th e n i n th is som e wh a t

l e ss fre qu e n tly us e d th an th e first ; still it can h ardly b e call e d
rar e Th e followi n g e xampl e s will illustrat e its tre atm e n t
. .

ME ND ELSSOHN . V aria tio n s, O p 8 2 . .

1 5 6 H A R M ON Y [Ch ap . X 1v .

M OZ AR T . Qu arte tt in G .

M END E LSSOHN .
“
El i ah j .
”

S PO H R . F ll B l
a of a by on.
"

At (a) is th e s e co n d i n v e rsio n of a domi n an t m aj or n i n th r e solv e d

o n th e first i n v e rsio n of to n ic h armo n y . At ( O ) th e s e co n d i n v e r
s i o n of th e sup e rto n ic m i n or n i n th is r e solv e d o n th e s e co n d i h
v e rsio n of th e to n ic chord At (c) th e s e co n d i n v e rsio n of a sup e r
.
,

to n ic m ajor n i n th is r e solv e d o n th e first i n v e rsio n of th e dom i n an t

mi n or n i n th ; an d l astly at ( d ) th e s e co n d i n v e rsio n of th e to n ic
mi n or n i n th is r e solve d o n th e root positio n of th e domi n an t
s e ve n th N otic e i n this l ast e x amp l e th at th e mi n or n i n th Fb is
. , ,

writt e n as Eb b e caus e it r e solv e s a s e mito n e upw ards

Th e stud e n t shou l d c are ful l y e xam i n e th e progr e ssio n s of th e third ,

s e ve n th an d n i n th i n all th e s e e xamp l e s
,
.

349. T h e e x ampl e s n o w to b e giv e n of third i n v e rsio n s of

n i n ths will r e p ay c ar e ful study .

b o n y in D .

M END ELSSOHN . St Pa u
. l .
Ch ap X IV .
) [Ts TH EOR Y AN D PR A C TI CE . 1 57

M OZ AR T
. Q uar e ttt in B D .

WAG N ER . Das R h e i n g ld o .

S C H U MA NN . Sch On e Wg ie e , Op . 2 4, No 5 . .

At ( a ) ot e D i n th e chord is n o t a n ot e of th e h armo ny
th e n .

b ut a p e d al n ot e ( se e n ot e to In th e third i n v e rsio n of a
d omi n an t mi n or n i n th it is by n o m e an s u n commo n for th e
,

,
1 5 8 H A R M ON Y [C h ap . x rv
.

s e ve n th of th e chord to l e ap dow n as h e re to th e to n ic: i n st e ad

of d e sc e n di n g by st e p to th e third of th e chord At ( O ) i s s e e n
, ,

th e usu al r e solutio n of th e third i n v e rsio n of th e domi n an t m aj or

n i n th o n th e first i n v e rsio n of th e to n ic chord whi l e at ( c) is ,

show n th e s am e r e solut i o n but with this diffe r e n c e th at ( as i n

,

e x ampl e ( a ) of § 3 3 7 ) th e root is e xc e ptio n a ll y r e t ai n e d i n th e

i n v e rsio n Ex amp l e ( d ) giv e s th e third i n v e rsio n of a domi n an t
.

mi n or n i n th r e solv e d o n th e first i n v e rsio n of a sup e rto n i c mi n or

n i n th wh i ch i n its tur n r e so l v e s o n th e to n ic chord
,
.

35 0 Ex
. a mpl e s ( e
) a n d ( f ) show oth e r r e solutio n s of t h e
sup e rto n ic mi n or n i n th At (c) th e third i n ve rsio n is r e solv e d o n
.

th e first i n v e rsio n of a domi n an t s e v e n th an d at ( f ) o n th e root ,

p ositio n of th e to n ic chord T .h e third i n v e rsio n s of th e to n ic

mi n or an d m ajor n i n ths are s e e n at ( g ) an d ( li ) At ( g ) th e .

s e v e n th an d n i n th of th e chord El) an d D b are wr i tt e n as A b

, ,

an d C ) b e c aus e of th e ir r e solvi n g upwards ) ch g of

1; 3 4 1 th e an e

n otatio n is much l e ss fr e qu e n t with th e s e v e n th th an with th e

n i n th .H e r e th e chord r e solv e s o n th e first i n v e rsio n of th e

domi n an t s e ve n th At (lz) th e third i n v e rsio n of th e to n ic m ajor
.

n i n th r e solv e s o n th e s e co n d i n v e rsio n of th e sup e rto n ic mi n or

n i n th an d this chord o n th e fourth i n v e rsio n of th e domi n an t

,

e l e v e n th In this e xampl e A
.

# th e third of th e sup e rto n ic ch ord

,

is quit e e xc e ptio n ally writt e n as B b b e caus e it r e solv e s dow n

,

wards .
( Comp ar e § 9
2 6 a
,
t th e e n d ) .

35 1 Th e fourth i n v e rs i o n of a chord of th e n i n th wi l l e vid e n tly

.

hav e th e n i n th i n th e b ass b e caus e that is th e fourth n ot e above

,

th e g e n e rator Th e m aj or n i n th is s e l dom if e v e r us e d i n
this positio n b e caus e of th e h arsh n e ss of th e n i n th b e low th e
,

third We h ave giv e n an e x amp l e of th e fourth i n v e rsio n of th e

.

domi n an t mi n or n i n th at ( c) 3 3 7 w e n o w add a fe w sp e cim e n s

,

o f sup e rto n ic an d to n ic n i n ths thus e mploy e d .

M END ELSSOHN O t tt . c e .

B EET HO EN Q u
V . arte t t, Op . 1 8, N o 3 . .
C hap . X IV .
) [Ts TH EO R Y AN D PR A C TI CE .
59

S PO H R .
“
Fl
a l of B l ab y o n .

In th e v e ry fi n e progr e ssio n at ( a ) th e l ast i n v e rsio n of a sup e r

to n ic mi n or n i n th i s r e solv e d o n th e s e co n d i n v e rsio n of a
domi n an t m ajor n i n th th e l att e r r e solvi n g upo n i ts o wn g e n e rator .

At ( O ) we h av e th e l ast i n v e rsio n s of a to n ic mi n or n i n th i n th e
,

s e co n d an d of a sup e rto n ic mi n or n i n th i n th e third b ar In both

,
.

chords w e fi n d e xampl e s of th e th e ore tical ly i n accurat e but co n ,

ve n i e n t n ot atio n m e n tio n e d i n § 3 4 1 Th e to n ic n i n th i n th e.

s e co n d b ar a s w ri tte n cou l d o n l y b e d e riv e d from Euas a

ge n e rator ; but if it w e r e so d e r iv e d it could n o t possib l y r e solv e
o n a chord of th e s e v e n th of F ; for E an d F n o t o n l y are n o t
b
g e n e r ators i n th e s am e k e y but th e y are n o t e v e n g e n e rators i n
,

r e l at e d k e ys In all chords of th e n i n th ( as w e ll as i n thos e of

.

th e e l e v e n th an d thirt e e n th to b e subs e qu e n tly d e scrib e d ) th e

, ,

stud e n t must car e fully e x ami n e th e n ot atio n b e fore h e can d e cid e

o n th e n atur e of th e chord .

35 2 A .n oth e r i n st an c e of fal s e n ot atio n e x act l y simil ar to ,

th at just spok e n of is s e e n at e x amp l e (c) H e r e both th e s e v e n th

,
.

an d n i n th of th e to n ic n i n th are writt e n i n accurat e ly p art l y ,

b e c aus e both r e solv e upwards p art l y also n o doubt b e caus e th e

, , ,

p ass age occurs i n a c horus an d is far e asi e r to s i n g with th e

,

n ot atio n giv e n th an if it h ad b e e n corr e ctly writt e n thus :

353 . Lik th chords of th s v th

e e chords of th e e en e
"

i th can an e
n n ch g th ir positio b i g r solv d i th positio i
e n e n e e n ,
e n n

which th e a a e a y l st pp r Th fo l lowi g x mpl shows ll th i

e n . e a e a e n

v e rsio n s o f th e chord of th e domi n an t m i n or n i n th .

M OZ A R T K i g Th . n a m os.

354 Th e
first i n v e rsio n of th e chord of th e mi n or n i n th th e ,

ge n e rator b e i n g omitt e d is commo n l y k n ow n as th e ck ord of tlze

,

d i mi n isk e d seve n tlz It is c l e ar th at th e r e are thr e e of th e s e

.

chords i n e ve ry k e y an d it is by n o m e an s u n commo n to fi n d a
,
 1 60 H A R M ON Y [Ch ap X IV. .

succ e ssio n of th e m , ea ch p art movi n g a s e mito n e with o ut pro ,

d uci n g a modu l atio n ,

as i n th e fo l lowi n g e x amp l e

M EYER B EER Di h . n o ra .
”

In ord e r to m ak e th e progr e ssio n of th e h armo n y i n th e s e co n d

b ar e asi e r to th e stud e n t w e h av e giv e n e ach chord with its ,

corr e ct n ot atio n M e y e rb e e r h as writt e n th e m i n a v e ry promis

.

c uo us m an n e r Th e first dimi n ish e d s e v e n th is th e first i n ve rsio n

.

of th e domi n an t mi n or n i n th this r e solve s o n th e third i n v e rsio n

of th e to n ic mi n or n i n th which agai n is follow e d by th e s e co n d ,

i n ve rsio n of th e sup e rto n ic mi n or n i n th ; th e n th e s e ri e s

( domi n a n t to n ic sup
,
e rto n ic ) r e comm
,
e n c e s but e a ch tim e with a ,

diffe r e n t i n ve rsio n Th e music co n ti n u e s i n A mi n or throughout

. .

3 5 5 But th e chord of th e dimi n ish e d s e v e n th i s of gr e at

.

import an c e from its use i n modul atio n We h ave alre ady s e e n .

23 5 23 6 ,3 1 8 & c ) how to modu l at e by t aki n g a chord as

, , .

b e lo n gi n g to o n e k e y an d quitti n g it as a di ffe r e n t chord of

,

an oth e r k e
y C l e ar l y we can app l y th e s am e m e thod to th e
.

chord n o w u n d e r co n sid e ratio n For i n stan .

m ay b e th e first i n v e rsio n of a domi n an t mi n or n i n th i n C m aj or

or mi n or of a sup e rto n ic mi n or n i n th i n F m aj or or mi n or or of
, ,

a to n ic mi n or n i n th i n G m ajor or mi n or It is e vid e n t that it m ay .

b e tak e n i n an y o n e of th e s e k e ys an d l e ft i n an y oth e r of th e s ix ,
.

But its utility for th e purp os e s of modul atio n by n o m e an s e n ds

h e r e A littl e e xpl an atio n is n e c e ss ary to e n abl e us to u n d e rst an d
.

its furth e r use .

35 6 It h.as b e e n alr e ady s aid 5 )

2 th a t two n ot e s which are

e n ha rmo n i e s of o n e an oth e r ( c g G : an d A b ) can n e v e r both b e

3]
us e d i n th e s am e k e y it was also m e n tio n e d 8 3 ) th at to avoid
.
,

th e use of doubl e sh arps an d doubl e fl ats an e n h armo n ic ch an ge ,

of n ot atio n was n o t i n fr e qu e n tly e mploy e d e sp e ci ally i n e xtr e m e

“
,
”
k e ys that is k e ys with m an y fl ats or sh arps i n th e sign atur e If
, ,
.
,

for i n st an c e b e i n g i n th e k e y of F it m ajor we wish to modul at e

, ,

to th e m e di an t of th at k e y ( A ) which woul d h av e te n sharp s

#
Ch ap. X IV .
) [Ts TH EOR Y AND PR A C TI CE . 1 61

( thre e doubl e sh arps ) i n th e s ig n ature it would m ak e , th e music

difficul t to r e ad w e re it writt e n thus

Ev e n an e xp e ri e n c e d pl ay e r might stumbl e at first s ight ov e r such

a p ass ag e It is th e re for e much mor e co n v e n i e n t to m ark a
.

chan g e of sign atur e an d substitut e for th e k e y of A b its e n

,

h armo n ic B b as follows
, ,

Th e p ass ag e is n o w p e rfe ctly e asy to r e ad .

3 5 7 I t must b e e sp e ci al l y n otic e d th at h e r e th e ch an ge of
.

n ot atio n m ak e s n o diffe r e n c e wh at e v e r i n th e pro r e ssio n of th e

g
h armo n i e s Ev e ry chord is e x actly th e s am e as b e fore If th e
. .

stud e n t will tran spos e th e abov e p ass ag e a s e m i to n e h igh e r

or low e r h e wi ll fi n d that n o ch an ge is r e quire d We h ave h e re
, .

th e re fore s i mp l y an e n lzarmo n i c elza ng e of n ota ti on .

35 8. If how e v e r by
, e n h armo n ically al t e ri n g o n e or more of
,

th e n ot e s of a chord w e ch an g e th e h arm o n ic origi n of th e chord ,

so th at its alt e re d n ot atio n i n duc e s a diffe re n t progr e ssio n of th e

h armo n y w e ge t an e n lza rmo n i c m odul a ti on We h av e al re ady
, .

m e t with o n e c as e of this i n e x amp l e ( c) of 3 44 an d th e chord

of th e mi n or n i n th l e n ds its e l f to this proc e ss more r e adi l y than
an y oth e r If for i n st an c e we t ak e th e chord giv e n i n 3 5 5 w e
.
, , ,

can ch an g e an y of its n ot e s e n h armo n ic al ly e ach ch an g e alt e rs

th e n atur e of th e chord an d giv e s it a n e w ge n e rator
, .

We h ave alre ady s e e n th at chord at ( a ) is th e first i n v e rsio n of

th e
th e mi n or n i n th of G an d b e lo n gs to th e k e ys of C m aj or
, ,

C mi n or F m aj or F min or G m ajor an d G mi n or If n o w fo r
A b w e substitut e G b—as at ( O)
, , , , .

th e n atur e of th e chord is-

ch an g e d It is n o lo n ge r d e riv e d from G but it is th e s e co n d

.
,

i n v e rsio n of the mi n or n i n th of E an d is domi n an t i n A m ajor

,

an d A mi n or sup e rto n ic i n D m ajor an d D mi n or an d to n ic i n

, ,

E m aj or an d E mi n or .

K
1 62 H A R M ON Y [C h a p . X IV .

3 5 9 Now
. t ak e Eb i n st e ad of Fb as at ( c) an d t h e chord , ,

b e com e s th e third i n v e rsio n of th e m i n or n i n th of C b an d ,

e vid e n t l y b e l o n gs to th e k e ys of Pb m aj or an d mi n or B m ajor ,

an d mi n or an d C b m aj or an d mi n or
,
Agai n ch an gi n g Dbto C x
.

th e chord is th e fourth i n v e rsio n of th e mi n or n i n th of A b ( d) ,

.

I t n o w b e lo n gs to th e k e ys of Db m aj or an d mi n or G b m aj or an d ,

mi n or an d Ab m aj or an d mi n or As th e s e thre e m aj or k e ys are
.

v e ry rare ly us e d th e ir e n h armo n i e s E b A b an d B b b e i n g e m
,

, , , , ,

ploy e d i n st e ad th e chord is for th e s e k e ys writt e n as at ( e ) wh e re

,

it is th e l ast i n v e rsio n of th e mi n or n i n th of B b It should b e

n otic e d th at whil e b e tw e e n e ach of th e chords ( a ) ( O ) ( c) an d ( d )
.

th e re is an e n h armo n ic m odul a ti on th e re is o n ly an e n h armo n ic

,

clza ng e of n o ta ti o n b e tw e e n ( d) an d ( e ) as th e g e n e r ator A b of ( d)

is th e e n h armo n ic of th e g e n e rator B b of (e ) .

6 It will thus b s th t chord of th dimi n ish e d

‘

3 0. e e e n a an
y e
s e v e n th can b e us e d by e n harmo n ic modul atio n i n e v e ry k e y
, ,

b e i n g t ak e n i n its r e l atio n to th e k e y quitt e d an d r e solv e d ,

( a s domi n an t,
sup e rto n ic or ,
to n ic
) i n th e n e w k e y e n t e re d .

Wh e n a modul atio n is thus e ffe ct e d it is usu al to writ e th e chord

,

i n th e n ot atio n of th e k e y which is b e i n g approach e d as i n 3 4 4 ,

()c ,
wh e r e th e chord w as t a k e n a s a to n ic n i n th an d r e solv e d as a ,

domi n an t n i n th b e i n g writt e n i n th e n otatio n of F b mi n or ,

an d n o t of E m aj or . In this e x ampl e it is us e d to modul at e to a

n e arly r e l at e d k e but it is fr e qu e n tly also e mploy e d for
y
modulatio n s to more r e mot e k e ys A famili ar e x ampl e of this .

wi l l b e s e e n i n th e r e cit ative “
Thy r e buk e h ath brok e n his
” “ ”
h e art i n th e M e ssi ah Th e p ass ag e is too lo n g to quot e ;
.
.

but if th e stud e n t will r e fe r to it h e wi l l fi n d i n th e sixth b ar a

,

modul atio n from G mi n or to E mi n or an d at th e thirt e e n th b ar a ,

modu l atio n from D mi n or to B mi n or by m e an s of a dimi n ish e d

s e v e n th t ak e n i n e ach c as e as a l ast i n v e rsio n an d quitt e d as a
, ,

fi r t i n ve rsio n of a n i n th B b b e i n g i n both p ass ag e s ch an g e d to

é
,

A
3 6 1 Th e followi n g m agn ific e n t progre ssio n is o n e of th e fi n e st
.

e xisti n g e x ampl e s of e n h armo n ic modul atio n by m e an s of th e

chord of th e dimi n ish e d s e v e n th an d d e s e rv e s c ar e ful an alysis

,
.

Th e b ars are n umb e re d for co n v e n i e n c e of r e fe re n c e

,
.

B A C H C h m ti F t i . ro a c an as a.
“

Th e first b ar giv e s th e first i n ve rsio n s of th e domi n an t s e v e n th

an d domi n an t mi n or n i n th i n th e k e y of E mi n or Th e first .

chord of th e s e co n d b ar is t ak e n as th e l ast i n v e rs i o n of a sup e r

to n ic m i n or n i n th ( with A b ) i n E mi n or an d quitt e d as th e third ,
Ch ap . X IV .
] [Ts TH EOR Y AND PR A CTI CE . 1 63

i n v e rsio n of a to n ic n i n th i n A mi n or r e solvi n g o n th e first i n ve r

,

sio n of th e dom i n an t n i n th i n th e s am e k e y Th e third b ar co n .

e

t i n ue s i n A mi n or th e first chord b e i n g th e l ast i n v e rsio n of a

,

domi n an t mi n or thirt e e n th ( as wi l l b e e xpl ai n e d l at e r ) an d th e ,

s e co n d b e i n g th e first i n v e rsio n of th e to n ic mi n or tri ad .

3 6 2 At th e b e gi n n i n g of th e fourth b ar th e r e is cl e arl y a
.

modulatio n for th e n ote s E b an d G b i n th e first chord are n o t i n

,

th e k e y of A mi n or at all This chord as writt e n can o n l y b e

.

d e riv e d from F ; th e re fore th e chord is t ak e n ( with Pb an d D b )

as th e s e co n d i n v e rsio n of a sup e rto n ic mi n or n i n th i n A mi n or ,

th e n ch an ge d e n h armo n ical ly to th e l ast i n v e rsio n of th e mi n or

n i n th of F But wh e th e r F is a to n ic sup e rto n ic or domi n an t
.
, ,

can o n l y b e s e e n from th e co n t e xt Th e first chord of b ar 5 is th e

.

domi n an t s e ve n th of B flat w e th e re for e l ook o n b ar 4 as b e i n g

i n th i s k e y Th e first chord is th e l ast i n v e rsio n of th e domi n an t
.

mi n or n i n th whi l e th e s e co n d is th e s e co n d i n v e rsio n of th e sup e r

,

to n i c mi n or n i n th Th e l ast two chords of our e xamp l e are

.

domi n an t mi n or thirt e e n th an d to n ic of D mi n or ; th e s e co n d
chord of b ar 5 is t ak e n ( with D b ) as th e s e co n d i n v e rsio n of a
sup e rto n i c n i n th i n B flat ( F b e i n g a p e d al n ot e an d n o t a p art of ,

th e h armo n y ) an d quitt e d as just s ai d as a domi n an t thirt e e n th

, , , ,

i n which F i s a n ot e of th e chord .

3 6 3 T h
. e stud e n t w i ll prob ably fi n d this a n alysis som e wh a t
di fficu l t to fo l low ; but it is so i n st ructive as showi n g th e n ature ,

of e n h armo n i c modul atio n th at it is w e l l worth care ful study It

,
.

ought to b e add e d that B ach s p art writ i n g is h e r e as i n most of

’
-

his works som e what fr e e ,

We wi l l n o w give a more mode rn
.

e x amp l e of th e s am e m e thod showi n g how e n h armo n ic modul a

,

tio n can b e us e d to co n n e ct two v e ry r e mot e k e ys .

B EET HO EN
V .
7 0, N 0 . 1 .

This p ass age b e gi n s i n B b mi n or At th e first chord is .

tak e n ( with D b ) as th e s e co n d i n ve rsio n of th e sup e rto n ic mi n or

n i n th i n th at k e y ( g e n e rator C ) th e n by th e e n h armo n ic ch an ge
from D b to C b th e g e n e rator ch an ge s to A an d th e ch ord ,

b e com e s th e third i n v e rsio n of th e domi n an t m i n or n in th of D

Th e n i n th r e solv e s o n its root i n th e fol l owi n g b ar an d th e ,
1 64 H A R M ON Y [C h ap . X IV .

domi n an t s e v e n th which r e m ai n s is r e solve d aft e r s e v e ral ch an ge s ,

of positio n o n th e to n ic chord
,
.

6 Whil e th e chord u n d e r co n sid e ratio n o fle rs an e asy

3 4 .

m e an s of modul atio n to an y k e y it is w e l l to warn you n g ,

compos e rs n o t to use i t too fre e l y for this purpos e A modul atio n .

to a re mot e k e y can oft e n b e quit e as w e ll e ffe ct e d by som e oth e r

m e an s an d th e too fr e qu e n t use of dimi n ish e d s e v e n ths soo n b e
,

com e s mo n oto n ous an d p alls o n th e e ar To modul at e almost

,
.

e xclusiv e ly by this chord would show gr e at pov e rty of i n v e n tio n .

6
3 5 T h.e first i n v e rsio n of th e domi n an t m aj or n i n th is som e
“ ”
tim e s c all e d th e Chord of th e s e v e n th o n th e l e adi n g n ot e an d ,

som e tim e s simply th e Le adi n g S e v e n th

“ ”
It is a far l e ss i m
.

port an t chord than th e chord of th e mi n or n i n th An e xampl e of .

its use h as b e e n giv e n i n 3 4 2 ( c) .

3 66 If both root an d third are omitt e d i n th e chord of th e

.

domi n an t major n i n th th e r e m ai n i n g n ot e s ( th e fifth s e v e n th

, , ,

an d n i n th ) form th e di ato n ic chord o n th e sup e rto n ic of th e

m aj o r k e y 7

This chor d is n o w co n cord for th e root an d third are th e o n ly

a
n ot e s with which th e s e v e n th an d n i n th are disso n an t an d i n ,

con si d e ri ng tk e p rog ressi on of tlze upp e r n otes ofa fun da me n ta l ck o rd ,

o n ly s uck n otes to Oe tak e n i n to a cco un t a s a re a ctua l ly re se n t

a re
p
i n tk e ck ord We sh al l
this pri n cipl e mor e fully illustrat e d
’

. se e

wh e n we com e to chords of th e e l e ve n th an d thirt e en th .

3 6 7 If th.e root an d third are omitt e d i n th e chord of th e

domi n an t mi n or n i n th w e sh all hav e th e sup e rto n ic triad of th e
,

mi n or k e y

which though disso n an t i n its root positio n is co n so n an t i n its

, ,

first In ve rsio n .

3 68 If th e root an d third of th e sup e rto n ic m ajor n i n th b e

.

omitt e d ,

we sh all h av e an oth e r co n so n an c e — th e chord of th e subm e di an t

i n th e m aj or k e y What was s aid i n § 3 66 appli e s e qu ally h e r e
. .

3 6 9 As with th e chords of th e s e v e n th i n th e l ast ch apt e r

.
,

w e sh all co n clud e w i th summ arisi n g th e rul e s for th e tr e atm e n t of

th e chords of th e n i n th .

I R ESO LU TIO N O F TH E C H O R D —A chord of th e n i n th m ay

.

r e solve o n its o wn ge n e rator or o n On e of th e oth e r two g e n e r

,

ato rs i n th e s am e k e y Th e third an d s e v e n th of th e chord

.

fo ll ow th e rul e s r e l ati n g to chords of th e s e v e n th th e fifth is fre e .

Ch ap . X IV .
) [Ts TH EOR Y AN D PR A C TI CE . 1 65

3 70I I P R O G. . a chord of th e
RESSIO N o r T H E N IN TH .
—Wh e n
n i n th r e so l v e s o n its o wn g e n e rator th e n i n th d e sc e n ds o n e ,

d e gr e e to th e octave of th e ge n e rator or if it b e a domi n an t , ,

n i n th m ay proc e e d to an y oth e r n ot e of th e s am e chord

,
If th e .

chord r e so l v e o n a chord h avi n g a diffe r e n t g e n e rator th e n i n th ,

,

m ay e ith e r ris e or fall a s e co n d or it m ay r e m ai n to b e a n ot e of ,

th e n e xt chord .

37 1 I II In th
. e i n v e rsio n.s of chords of th e n i n th th e root is ,

ge n e rally omitt e d Th e first i n v e rsio n of a chord of th e m i n or

.

n i n th is g e n e rally c all e d th e chord of th e D imi n ish e d S e v e n th ,

an d diff e rs from al l oth e r chords i n th e fact th at by m e an s of e m

harmo n ical ly Ch an gi n g o n e or mor e of its n ot e s it can b e us e d for
modulatio n b e tw e e n an y two k e ys .

EX ER C ISES To C H APTER X IV .

6 e
m

7
7
5
6 6
4
b7
1: if
( ) For h ot t i o f t h i c h or d §3 l o m l ( d ) f § 8 I h n t e

rci h mi or i th will fr q tly h wr tt th t h 3

t e n p se e 41 a s e xa e o 4
m i i g
a a n o s , ,
.

ue n b e t us a t e
t d t m y b co m cc tom d to h f l ot ti o oft
t e e i en,

d by h g r t
re a n n e xe se s n n n

s u a e e a us e t e a se n a n so e n use t e ea

m t r
en

as e s .

( III ) .
1 66 H A R M ON Y ( Ch ap . X IV .

6 7
5 5
Ch ap . X1V .
] [Ts TH EOR Y AND PR A C TI CE
. 1 67

th efo ll owi n g e x e rcis e s e n h armo n i c modulatio n s by m e an s

chord of th e dimi n ish e d s e v e n th 35 8 3 5 9)
, are i n tro

4 b6 4 bs

( IX ) .

03 5
“
-
E a ai' -
m
44 5 6 4 6 6 7 7 n6 u6 b 5
a r r 4 M u

6 6 7

( X ) H ym n Tun e
. .
1 68 H A R M ON Y [C hap . xv .

C H A PTE R XV .

C H O RDS O F TH E ELE E V N TH .

372 If we proc e e d still furth e r to d e v e lop th e fu n d am e n t al

.

h armo n i e s of a k e y by addi n g an oth e r thi rd to th e chords of th e

n i n th tr e at e d of i n th e l a st ch apt e r w e sh all obt ai n a s e ri e s of
,

chords of th e e l e ve n th Th e n e w n ot e n o w to b e add e d is always

.

a p e rfe ct e l e v e n th ( th e octav e abov e th e p e rfe ct fourth ) abov e th e

g e n e rator 6 4) but as th e chord of th e n i n th m ay b e e ith e r
m ajor or mi n or th e re will b e six vari e ti e s of th e chord of th e
,

e l e v e n th thr e e of which will co n t ai n m aj or an d thr e e mi n or

,

n i n ths .

All th e s e chor d s are possi Ole i n a m ajor k e y ; but th e prohibitio n

of th e domi n an t an d sup e rto n ic m aj or n i n ths i n a mi n or k e y
( 5 3 2 6 ) appli e s e q u a l ly to thos e forms of th e chord of th e e l e v e n th
which co n tai n a m aj or n i n th from th e s e two ge n e rators .

t or t d y o t c f ch ord f h l v th lto
3 73 S m e h e is s e n th e e x i s e n e o s o t e e e en a
gt r t r y co b t o c lly od r c w c
.

e he b ut h e e are m an p i m
m i n a i n s,
i m i hi h
es e a n e n us
q t o bl to l t ctori ly d cl rly y ot h r
,

it is ui e i m p ssi e e x p ai n sa i sfa an ea on an e
y ot
h p h e si s .

3 74 Although w e h ave giv e n abov e six possibl e chords of th e

.

e l e v e n th o n ly thos e o n th e domi n an t are i n fr e qu e n t use

,
(
A fe w .

e xc e ptio n al c a s e s of th e e mp l oym e n t of to n ic an d sup e rto n ic

e l e v e n ths will b e giv e n l at e r i n this ch apt e r .

3 7 5 Th e chord of th e e l e v e n th i n its compl e t e form co n t ai n s

.

six n ot e s ; it will th e r e for e b e n e c e ss ary i n four p art writ i n g to -

omit at l e ast two of th e s e n ot e s As th e e l e v e n th is a disso n an c e

.
,

th e usu al r e solutio n of which is by d e sc e n t of a s e co n d th e third ,

is mostly omitt e d i n accord an c e with th e ge n e ral pri n cip l e g i v e n

in 3 3 4 Eith e r th e fifth or n i n th of th e chord is al so g e n e ral l y
.

om i tt e d ; but th e s e ve n th is usu ally pre s e n t though occasio n ally ,

th i s n ot e is o n ly add e d wh e n th e e l e v e n th is r e so l v e d as i n th e ,

e x amp l e to § 2 4 0 at th e l ast chord of th e s e co n d b ar

, .

37 6 U n l ik e th e n i n th which s e l dom app e ars at a l e ss dist an c e

.
,

th an a n i n th from its ge n e rator— n e v e r i n d e e d e xc e pt i n g occa

, ,

si o n al l y wh e n it i s r e so l v e d o n its third — th e e l e v e n th m a
y an d ,

oft e n do e s occur at th e i n t e rv al of a fourth above its ge n e rator

, .
Chap xv ) . [Ts TH EOR Y A ND PR A C T1 C E . 1 69

It is th e n som e tim e s figur e d 1 1 but more fre qu e n tly 4 an d th e , ,

r e m ai n i n g figur e s of th e h armo n y i n dicat e th e tru e n ature of th e

chord As an i n stan c e of th is l e t th e stud e n t r e fe r to e xampl e ( O )
.
,

of 3 3 7 wh e r e th e chord i n th e s e co n d b ar is a domi n an t e l e v e n th
,

i n its root positio n with th e 7 th an d 9th Th e b ass would b e .

figur e d thus

It h as b e e n al r e ady s aid th at i n figuri n g a chord th e l arge st

n umb e rs are g e n e rall y p l ac e d at th e top

L
.

37 7 . ik e t h e chords of th e n i n th th e chord of th e e l e v e n th ,

m ay e ith e r r e solv e o n its o w n g e n e rato rfi as i n th e e x amp l e just

f

r e fe rre d to wh e r e th e e l e v e n th r e solve s b e for e th e r e st of th e

,

chord or o n o n e of th e oth e r ge n e rators i n th e k e y Wh e n th e

,
.

ge n e rator is pre s e n t th e chord s e l dom r e so l v e s o n a di ffe re n t

,

g e n e rator though e v e n i n this c as e th e domi n an t e l e v e n th occ a

,

s i o n al l y r e solv e s o n a to n ic chord as i n th e followi n g e xampl e ,

SC HU M A NN N v l l tt Op N .8 o e e e, . 21 , o. .

H e r e th e th i rd chord from th e e n d is a sup e rto n ic mi n or n i n th ,

th e A i n th e b ass b e i n g a domi n an t p e d al 3 0 5 N ot e ) ; th e ,

chord is a domi n an t e l e v e n th with th e third an d n i n th omitt e d ,

.

In this c as e th e e l e v e n th r e m ai n s to b e a n ot e of th e fo ll owi n g
chord ( comp ar e Wh e n th e e l e v e n th move s it will go ,

e ith e r o n e d e gr e e dow n to th e third or o n e d e gre e up to th e

, , ,

fifth of its o w n ge n e rator Wh e n i n th e root positio n of th i s

.

chord th e e l e v e n th ris e s to th e fifth th e n i n th is usu all y also ,

pr e s e n t an d ris e s to th e third as b e low ( Se e also Ex e rcis e VI

,
. .
,

at th e e n d of th e ch apt e r at ,

\V E B F R Due t , Se i l m i o b e n
( O)
. . .

Of co r i i u se t not m e ant b y th i th a t h t e n o te l v th ) ll
i tse lf ( th e e e fa
follow d
s s en s
a fo rth to
u g r tor
th e ene a b ut o ly h t i
n t a t is e ot r r o y h
b y an h e h a m n on t e
sa m g
e r tor
e ne a .
,
1 70 H A R M ON Y Ich a p X V .

3 78 .
chord of th e e l e v e n th as it co n sists of six n ot e s can
Th e , ,

of cours e h ave fi ve i n v e rs i o n s AS th e s e are som e wh at mor e com

.

p l e x th an th e i n v e rs i o n s of th e n i n th w e sh all tr e at th e m s e p arat e ly
,
.

O wi n g to th e h arsh d i sso n an c e of th e third ag ai n st th e

3 79 .

e l e v e n th th e first i n v e rsio n of this chord is rar e ly us e d

,
We gi v e .

two e xampl e s .

C P E BA C H F t i i C m i
. . . . an as a n n o r.

WAG N R
E . Pars ifa l .

At ( a) is th e first i n v e rsio n of th e e l e v e n th o n F th e e l e v e n th ,

risi n g to th e fifth of th e chord I t wi l l b e s e e n th at th e ge n e rator

.

is pr e s e n t this is much mor e fr e qu e n t with i n v e rsio n s of chords

of th e e l e v e n th th an of th e n i n th At ( O ) is a p e cul iarly h arsh
.

first i n v e rsio n of th e e l e v e n th of C th e e l e v e n th r e solvin g o n th e

,

third an d thus br e aki n g th e rul e giv e n i n § 3 3 4 This is n o t

,
.

re comm e n d e d for imit at i o n ; Wagn e r h as n o doubt i n troduc e d

this v e ry rough disso n an c e for th e s ak e of th e dram atic e ffe ct .

Th e Eb an d D at th e b e gi n n i n g of th e l ast b ar are chrom atic

p assi n g n ot e s .

3 8 0 Th
. e s e co n d i n v e rsio n of this chord is to b e fou n d both
w ith an d without its g e n e rator In th e fo l lowi n g e xampl e
.

b
fi BA C K . Or g an Pre ld
u e in Eb

th e ge n e rator an d th e s e ve n th are both pr e s e n t an d th e e l e ve n th ,

re so l ve s o n th e third of th e chord We h av e give n th e .

figuri n g b e low th e chord It n e e d h ard l y b e s aid th at th e m an n e r

.

i n which th e chord is fi gur e d wil l d e p e n d o n th e n ot e s which are

pr e s e n t An e xamp l e of th e s e co n d i n v e rsio n without th e g e n e r
.
C hap . xv) . [Ts TH EOR Y A ND PR A C TI CE . 1 7 1

a tor w i l l b e s e e n at 1 6 0 e xampl e (g ) i n th e fourth qu av e r of th e

third b ar H e re th e chord o n th e b ass n ot e B co n t ai n s th e
.

m i n o r third p e rfe ct fifth an d mi n or s e v e n th

, L ik e a chord of
, .

th e s e v e n th it wou l d b e figur e d 7 o n ly
, but th e fact th at th e third
from th e root B is mi n or an d n o t m ajor prove s th at B i s n o t th e
ge n e ra to r of th e C hord but o n l y th e root Th e s e co n d i n v e rsio n
, .

of th e e l e v e n th wh e n th e ge n e rator is abs e n t is l ik e a chord of

th e s e v e n th w i th a mi n or th i rd —an d i n a mi n or k e y with a d i mi n
i sh e d fifth also .

3 8 1 Th e third i n v e rsio n of th e chord of th e e l e v e n th h avi n g

.
,

th e s e v e n th i n th e b ass is i n fr e qu e n t use Th e g e n e rator is

, .

rare l y us e d with this i n ve rs i o n In th e followi n g e xampl e .

SC H B ER I R mu d O
' ‘
. o sa n e.

5 3
th e ge n e rator is cl e arly tre at e d as a peda l n ot e above th e oth e r
p arts ; for if S chub e rt h ad look e d upo n th e n ot e as a p art of th e
chord th e B i n th e b ass would h av e fall e n i n st e ad of r i s i n g Th e
, , .

more usu al form of this i n v e rsio n co n t ai n s o n l y th e fifth s e ve n th , ,

n i n th an d e l e v e n th of th e chord
, .

As th e chord i n this sh ap e r e s e mb l e s th e commo n chord o n th e

subdomi n an t with th e sixth add e d to it it is g e n e ral ly calle d th e ,

Chord of th e Add e d S ixth It is figure d 6 lik e th e first

.
”
,

i n v e rsio n of a chord of th e s e v e n th from which it m ay b e ,

disti n guish e d by th e fact th at it h as a m ajor sixth above th e b ass

n ot e whi l e th e first i n v e rsio n of a chord of th e s e v e n th h as always
,

a m i n o r sixth .

3 8tr
2 T dd d t
h e e m a o wh t m i l d i g Cl rly h c h ord
e s i x h i s
“
s me
”
a s ea n ea t e
c ot d r v d ro bdo t b c t hi ot i g r to
. .

an n b e e i e f m th e su m i n an ; e ause s n e s not a e ne a r

i n th e k e y bdo t c ord i t l f i m r ly p orti o f h

an d th e su m i n an h se s e e a n o t e
d t l c ord
fun am e n a h do t
o n th e m i n an

3 83 third i n v e rs i o n of th e domi n an t e l e v e n th can re solve

. Th e
e ith e r o n its o wn g e n e rator or o n o n e of th e oth e r two g e n e rators

i n th e k e y In th e form n o w u n d e r co n sid e ratio n ( with both

.

g e n e rator an d third abs e n t ) th e s e v e n th is n o lo n ge r a disso n an c e

,

is fr to ris or f ll A n e x amp l e of th e chord

3 6 6 ) an d e e e a .

re solvi n g o n its o wn ge n e rator h as alre ady b e e n give n i n 3 44 at

th e third b ar of th e e xtract ( c) ; w e n o w add two short e xampl e s
of r e solutio n s o n th e oth e r ge n e rators .
 1 7 2 H A R M ON Y : [C ha p X V

B E T EHO V EN . So n ata, O p . 1 4, N O . 2.

B EET HO EN
V . So n ata, O p 5 3 .

At ( a) th e chor d d
is th e thir i n v e rsio n of th e omi n an t e l e v e n th d
i n G r e solv e d o n th e first i n v e rsio n of th e sup e rto n ic mi n or th
9
at O
( ) th e s am e chord i n th e k e y of E is r e solv e d o n th e s e co n d
i n ve rsio n of th e to n ic chord .

8
3 4 . L
ik e th e third i n v e rsio n of th e domi n an t n i n th
th e third i n v e rsio n of th e e l e v e n th can b e r e s o v e d o n th e root l
positio n of th e to n ic chord , th e s e v e n th b e i n g fr e e to l e ap, as i n
th e followi n g e x amp e l
C HOP I N . N o c turn e , O p 3 2 , N o . . 2.

8
3 5 . Th efourth i n v e rsio n of th e domi n an t e l e v e n th which
n i n th i n th e b ass is sc arc e l y e v e r fou n d with th e g e n r tor
,
h as th e , e a
pre s e n t owi n g to th e h arsh n e ss of th e e ffe ct of th at n ot e above
,

th e n i n th
'

.
Its most usu al form i s with th e fifth s e v e n th an d , ,
e l e v e n th abov e th e n i n th as i n th e followi n g e x ampl e :
,

H A V DN . I st M as s .

It will b e s e e n th at th e figu ri n g of this chord is id e n tical with

th at of a s e co n d i n v e rsio n of a c h ord of th e s e v e n th from which
d i stIn gui sh e d by th e n ature of th e i n t e rval s
,
It m a b e Comp r
y
( a e .

A oth e r e x ampl e of this i n v e rsio n m ay b e s e e n i n th e

n
l ast b ar of e xtr act O i n
( ) 2 75 .
Chap . XV .
) [Ts TH EOR Y AND PR A C TI CE . 1 73

3 8 6 T h .e l ast i n v e rsio n of this C hord ,

with th e e l e v e n th i n th e
b ass , h as g e n e rally th e fifth, s e v e n th , an d n i n th abov e it though ,

o ccasio n al ly th e g e n e rator is us e d i n st e ad of th e n i n th .

This i n ve rsio n is s e ldom r e solve d on an y but its o wn ge n e rator .

O n e e x ampl e of its use will su ffic e .

We sh all n o w, as with th e chords of th e s e v e n th an d n i n th sum ,

up th e rul e s for th e tre atm e n t of th e chord of th e domi n an t

e l e v e n th .

38 7 . I R ESO LU TIO N
. A chord of th e domi n an t e l e v e n th
.

r e so l v e s e ith e r o n its o wn ge n e rator or o n o n e of th e two oth e r ,

ge n e rators i n th e s am e k e y In its root positio n an d i n its fourth

.
,

an d fifth i n v e rsio n s i t mostly r e so l v e s o n its o wn g e n e rator Th e .

first i n v e rsio n is v e ry rar e ly m e t with

G
.

3 8 8 .I I P R. O R E S S IO N All th e n ot e s of th.e chord up to an d

i n cludi n g th e n i n th fo l low th e rul e s for th e ir progr e ssio n give n i n
pre vious ch apt e rs Th e s e v e n th an d n i n th are fre e i n th e ir pro
.

g r e ss i o n wh e n n o n e of th e low e r n ot e s of th e chord with which

th e y m ak e disso n an c e s are pre s e n t If th e chord r e solv e o n its .

o w n g e n e r ator th e e l e v e n th e ith e r fal ls to th e third or ris e s to th e

,

fifth of th e chord If it r e solve o n a di ffe re n t ge n e rator th e

.
,

e l e v e n th most l y r e m ai n s to b e a n ot e of th e n e xt chord .

3 98 .If t h e g e n e r a tor third a n d fifth ,

of th e chord a
,re a l l
abs e n t ,
th e s e v e n th n i n th an d e l e v e n th giv e th e tri ad o n th e
, ,

subdomi n an t 75 ,

As n o n e of th e s e n ot e s are disso n an t with o n e an oth e r th e chord ,

is a co n cord an d th e e l e v e n th ( th e fifth of th e chord ) is n o w fre e

,

i n its progr e ssio n .

39 0 T. h e chords of th e e l e v e n th o n th e to n ic an d sup e rto n ic

are v e ry rar e an d far l e ss importan t th an th at o n th e dom i n an t

, .

Th e y are s e ldom if e v e r fou n d with th e ge n e rator pr e s e n t an d

, , ,

are g e n e ral l y us e d e ith e r with th e s e v e n th n i n th an d e l e v e n th , ,

o n l y i n which c as e th e chord is a co n so n an c e or with th e fifth

, , ,

s e v e n th n i n th an d e l e v e n th wh e n th e e l e v e n th is a disso n an ce
, , ,

with th e fifth A fe w i ll ustratio n s of th e ir e mploym e n t are all

.

t h at w i l l b e n e e d e d h e r e .
1 74 H A R M ON Y ( C ha p . xv .

SPO IIR .
“
L t J dg
as u me n t .

At ( a ) is show n i n th e third b ar th e third i n v e rsio n of th e to n ic

e l e v e n th with th e m i n o r n i n th . Th e co n t e xt u n mistak ably sho w
. s
th e k e y of th e p ass ag e to b e D .But i n this k e y th e re is n o D b
this n ot e th e r e for e is c l e ar l y th e mi n or n i n th of th e to n ic ( E b ) ,

writt e n as an augm e n t e d octav e b e caus e its r e solut i o n i s a s e mi

to n e upwards I t is also e vid e n t th at th e ge n e rator of this
chord must b e D s i n c e n e ith e r of th e oth e r ge n e rators i n th e k e y
an g i v e E b as o n e of th e ir h armo n i cs
,

( E a nd A
) c T h e chord .

th e r e for e is a to n ic e l e v e n th
.

39 1 At. O
( ) is s e e n th e fourth i n v e rsio n of th e to n ic e l e v e n th

with th e m ajo r n i n th All th at pr e c e d e s th e chord

. is e vi d
e n tly i n th e k e y of C as a l so is al l th at fol l ows it ; th e r e for e th e
,

chord must b e i n C As e v e ry chord i n a k e y must

b e d e riv e d from o n e of th e thr e e g e n e rators of th at k e y it ,

follows that th e chord i n qu e stio n must b e d e riv e d e ith e r

from C D or G th e thre e ge n e rators of th e k e y of C
, , ,
AS .

e ach g e n e rator produc e s its major third it fo l lows th at th e ,

chord can n o t b e d e riv e d from D or it w ould h av e F b n o t

, ,

N e ith e r can it b e d e rive d from G for it wou l d th e n h av e B b n o t B

, ,

It can th e r e for e o n l y b e d e riv e d from C from which ge n e rator D

,

is th e m ajor n i n th B b th e s e v e n th an d F th e e l e v e n th
, ,
.

39 2 . two illustratio n s n o w to b e giv e n diffe r

Th e in som e
r e sp e cts from thos e al r e ady quot e d .

SC IIU M A N N
-
. C o n ce rt o i n A m i n o r, O p 5 4 . .
Ch ap. XV .
) ITS TH EOR Y AN D PR A C TICE . 1 75

WAG N E R .
“
Di e M e is t e rs i n g e r.

At ( a) is s e e n th e s am e combi n atio n of th e to n ic e l e ve n th as th at
show n i n § 3 90 ( a ) ; but i n th i s c as e i t i s appro ach e d from th e
s e co n d i n ve rs i o n of th e sup e rto n i c s e v e n th of th e s am e k e y At
O
.

n d th e s e co n d i n v e rs i o n of th e to n ic e l e v e n th r e solv e d o n
( ) w e fi
th e root pos i tio n of th e dom i n an t s e v e n th .

3 93 .T h e chord of th e e l e v e n th o n th e sup e rto n ic is e v e n

rar e r th an th at o n th e to n ic It can b e so s e ldom e mp l oy e d that
.

it is n e e d l e ss to give ru l e s for its use Th e followi n g e xampl e s .

wi l l suffice as i l lustratio n s
SC H B ER I M i Eb O
’ ‘
. ass n .

ME ND ELSSO H N . St Pau
. l .

( c) J . S . BAC H . l
A :h , ie b e n Ch ri s te n , s e i dg e tro s t.

Th e chord at ( a) is e vid e n tly n o t a domi n an t chord i n C mi n or

b e caus e th e m aj or n i n th is n o t al lowe d i n th i s chord i n a mi n o r
,

ke y 3 7 2 ) n e i th e r i s it a to n ic chord b e c aus e it co n t ai n s E b , ,

an d all to n i c discords h av e a m aj or th i rd th e chord 1 1 :

must th e re for e b e a sup e rto n i c e l e v e n th

O
.

394 T h
. e chord of e x amp l e
( ) r e quir e s a littl e e xpl an atio n .

It can n ot b e a mi n or chord o n th e to n ic ; b e c aus e if th e r e w e r e a

modu l atio n to th e mi n or k e y th e B b of th e pr e c e di n g chord
wou l d c e rtai n ly h ave b e e n B b ; n e ith e r can it b e d e riv e d as a
chord of th e domi n an t mi n or th i rt e e n th ; for a chord of th e
1 76 H A R M ON Y [C hap . XV .

thirt e e n th is n e v e r fou n d with o n l y th e ge n e rator e l e ve n th an d , ,

thirt e e n th pre s e n t as wi l l b e s e e n i n th e n e xt ch apt e r th e chord

,

i n qu e stio n th e r e fore co n sists of th e s e v e n th m i n or n i n th an d , ,

e l e v e n th of th e sup e rto n ic h e r e r e solv e d upo n its o wn g e n e r ato r

,

( s e e n ot e to
3 95
. In e x ampl e ()
c t h e form of th e chord is th e s am e a s a t
( )
a ; but it is h e r e pr e c e d e d by a domi n an t n i n th an d r e solv e d ,

on th e first i n ve rs i o n of th e dom i n an t s e v e n th without th e

ge n e rator i e th e root positio n of th e dim i n ish e d tri ad o n th e
,
. .
,

l e adi n g n ot e Th e s e e xampl e s wi l l su ffici e n tly show

th e tr e atm e n t of this chord .

EX ER C ISES TO C H APTER XV .

[
In th e e to b e give n m an y n e w combi n atio n s o f
x e rcis e s n ow

figure s wi ll b e m e t with Th e s e wi l l Show which n ot e s of th e

.

chord of th e e l e ve n th are pr e s e n t Th e stud e n t must r e m e mb e r .

wh at h as so oft e n b e e n s aid— th at figure s o n ly Show th e i n t e rvals

m ad e by th e upp e r p arts with th e b as s ]

6 117
4 4 1:

— 6 6 7 — 6
b 5 b5 11 4 3 5

H ymn Tun e .

6 7 b6 6
5 — 3 3 3

3 t:

6 4 6 4 6
5 2
h
z b
Ch ap . xv) . I TS TH EOR Y AN D PR A C TI CE . 1 77

7 4 6 5

6 7

( V I ) H ymn Tun e
. .

6 — 6 6 6 7

6 4 4 6 6
2 2 4

5 4 7
4 5
( )
a Th e un usua l or d r
e o fth e fig r
u es r
he e ( 3) sh ow th t
s th e 9th o fth e l t ch ord
as
r olv
a
es es on th e 3 rd an d th e r1 th o n th e 5 th .

( V IL )
1 78 H A R M ON Y ( Ch ap . XV I.

C H A PTE R XVI .

C H O RDS O F TH E TH IR TEEN TH .

3 96 . chor d s of th e e l e v e n th tr e at e d o r i n th e l ast
To th e
ch apt e r an oth e r third e ith e r m aj or or mi n or can b e add e d This
, ,
.

wi ll giv e th e chords of th e m aj or an d mi n or thirt e e n th o n e ach o f

th e g e n e rators i n th e k e y Th e chor d s i n th e ir compl e t e form
.

will b e th e followi n g

As e ach m ajor an d e ach mi n or thirt e e n th can h av e e ith e r a m aj or

or mi n or n i n th with it it follows that th e r e are twe lv e vari e ti e s of
,

th e chord as show n i n th e abov e t abl e

,
.

3 97 Th .e s e formid a bl e looki n g groups of n ot e s a re as a ,

m att e r of fact of th e rar e st possibl e occu rr e n c e i n th e ir comp l e t e

,

form In four p art harmo n y thr e e at l e ast of th e ir n ot e s must b e

.
-

omitt e d ; an d w e sh all fi n d s e v e ral forms of th e chord as w e ,

proc e e d i n which o n ly thr e e of its n ot e s are pr e s e n t

,
.

8 It h a s b e e n alr e ady s aid th a t i n a mi n or k e th e m aj or

39 .
y
third of th e scal e can o n ly b e us e d i n to n ic h armo n y an d th e ,

m aj or sixth o n ly i n sup e rto n ic harmo n y Th e r e for e both

forms of th e t o n ic m ajor thirt e e n th both forms of th e domi n an t
'

m ajor thirt e e n th th e domi n an t mi n or thirt e e n th wh e n it co n tai n s

,

a m aj or n i n th an d both forms of th e sup e rto n ic thirt e e n th wh e n

,

th e y co n t ai n a m aj or n i n th are u n availab l e in a mi n or k e y
, .

3 99 O wi
. n g to th e l arge n umb e r of n ot e s which it co n tai n s o f
which s e ldom more th an four are us e d at o n c e th e chord of th e
,

thirt e e n th di ffe rs wid e l y from th e chords hith e rto spok e n of for it

app e ars i n so m an y forms th at it is impossibl e to tr e at it i n th e

s am e m an n e r i n which we h av e tr e at e d th e chords of th e s e ve n th ,

n i n th an d e l e v e n th
, Wh e n w e com e to e xami n e th e various
.

e xampl e s to b e giv e n it will b e s e e n th at th e n ot e s s e l e ct e d

,

l arge l y d e p e n d upo n th e ge n e ral pri n cipl e give n i n 3 3 4 Thus .

,

if th e thirt e e n th is r e solv e d o n th e fifth th e fifth wi l l b e abs e n t ,

from th e chord ; simil arly th e third an d e l e v e n th are h ard l y e ve r

us e d toge th e r an d in m an y c as e s all th e low e r p art of th e chor d
,

Is wan ti n g .
 Ch ap . XV I ) . [Ts TH EOR Y AN D PR A C TI CE . 1 79

40 0 . importan t diffe r e n c e b e tw e e n th e thirt e e n th an d th e

An
o th e r high e r n ot e s of a fu n d am e n ta l chord is th at whi l e th e ,

s e ve n th m aj or an d mi n or n i n th an d e l e v e n th are al l disso n an t
, ,

w i th th e ir g e n e rators th e i n t e rv als of th e m aj or an d m i n or
,

thirt e e n th ( b e i n g th e oct ave s of th e m ajor an d mi n or sixth ) are

th e ms e lv e s co n so n an t to th e ir g e n e rators though i n chords of th e ,

thirt e e n th disso n an t i n t e rvals are usu ally fou n d b e tw e e n som e of

th e n ot e s .

4 0 1 All th e n ot e s of this chord up to an d i n cludi n g th e

.
,

e l e v e n th are bou n d by th e rul e s for th e ir tr e atm e n t giv e n

,
in
pre vious ch apt e rs ; it b e i n g always r e m e mb e r e d th at accou n t h as
o n l y to b e t ak e n of such n ot e s as are actu all y pr e s e n t i n th e chord
I t will o n ly b e n e e dful n o w to giv e th e rul e s r e gul ati n g
th e tr e atm e n t of th e th i rt e e n th its e l f .

4 0 2 L ik e th e chords of th e n i n th an d e l e v e n th th e chord of
.
,

th e thirt e e n th m ay r e solv e e ith e r upo n its o w n g e n e r ator or o n o n e ,

of th e oth e r g e n e r ators i n th e k e y As a m att e r of actu al practic e

.
,

how e v e r th e chords of th e to n ic an d sup e rto n ic thirt e e n th ( wh i ch

,

a re f ar l e ss fr e qu e n t l y m e t with th an thos e of th e domi n an t )

s e l dom r e solve o n th e i r o wn g e n e rator .

4 0 3 If th e chords shown i n § 3 96 are e xami n e d it will b e

.
,

se e n th at th e mi n or n i n th is a p e rfe ct fifth b e l ow th e mi n or
thirt e e n th an d th e m aj or n i n th is a p e rfe ct fifth b e low th e m ajor
,

thirt e e n th Wh e n th e re for e th e s e n ot e s are both fou n d i n th e

.

c hord ,
c ar e must b e t ak e n i n th e r e solutio n to avoid possib l e
c o n s e cutiv e fifths .

4 0 4 Wh e n a chord of th e thirt e e n th r e solv e s o n its o w n

.

g e n e rator it usu al ly d e sc e n ds o n e d e gr e e to th e fifth but it m ay

,

occasio n ally ris e to th e s e v e n th or e ve n l e ap to th e third of its

,

o w n chord It is m ost l y also r e solve d soo n e r th an th e low e r n ot e s

.

of its chord as w e h av e al r e ady s e e n with th e n i n th 3 3 2 ) an d

,

e l e v e n th

4 0 5 If a chord of th e thirt e e n th is r e solv e d upo n o n e of th e

.

oth e r g e n e rators i n th e k e y th e thirt e e n th m ay e ith e r r e m ai n to b e

,

a n ot e of th e n e xt chord or it m ay fall a s e co n d or a third

,
A .

mi n or thirt e e n th m ay al so ( lik e a mi n or n i n th ) b e r e solve d by

risi n g a chrom atic s e mito n e ; an d i n this c as e it is v e ry oft e n
wri tt e n as an augm e n t e d fifth from its g e n erator just as th e mi n or ,

n i n th u n d e r th e s am e co n ditio n s is writt e n as an augm e n t e d

oct av e
4 0 6 Wh e n it is s aid th at th e r e are about 1 8 0 p ossi Ol e com
.

b i n ati o n s of four n ot e s i n th e various chords of th e thirt e e n th to ,

s ay n othi n g of th e comb i n atio n s of thr e e an d fi ve n ot e s a n d th a t ,

e ach comb i n atio n h as at l e ast two or thr e e poss i bl e r e solutio n s it ,

is e vid e n t th at w e c an n ot giv e a fe w simpl e ru l e s for th e tr e atm e n t

o f th e s e chords as with th e chords d i scuss e d i n pr e vious ch apt e rs
, .

In truth how e ve r th e m att e r is far l e ss compl e x th an wou l d

, ,

app e ar from th e abov e r e m ark ; fo r m an y of th e combi n atio n s

I80 H A R M ON Y . [C h a p X V I .

which are possib l e are owi n g to t h e ir h arsh n e ss s e ldom or n e v e r

, ,

e mp l oy e d Th e r e al d i fficu l ty with th e s e chords for b e gi n n e rs

.

aris e s from th e fact th at th e y are to b e m e t w ith i n such wid e l y

diffe r e n t forms th at it is impossib l e to give an y g e n e ral pri n cip l e
for th e i r figuri n g e i th e r i n th e ir root pos i t i o n or i n an y of th e ir
, ,

i n ve rsio n s It must n e v e r b e forgott e n th at figur e s al o n e are n o t

.

su ffici e n t to i n dicat e th e tru e n atur e of a C hord but o n ly s e rv e to ,

Show th e dist an c e of th e upp e r n ot e s from which e v e r n ot e of th e

chord m ay h app e n to b e i n th e b ass .

4 70 As a
. comp l e t e chord of th e thirt e e n th co n t ai n s six n ot e s
b e sid e s its g e n e rator it can of cours e h av e six i n v e rsio n s O f
, . .

th e s e th e fifth h avi n g th e e l e v e n th i n th e b ass is r are ; all th e

, ,

oth e rs are mor e or l e ss commo n We sh all giv e e xampl e s of e ach

.

i n ve rsio n as w e proc e e d .

4 0 8 In discuss i n g th e chords of th e to n ic an d sup e rto n ic

.

e l e v e n th th e d e rivatio n o f th e s e chords w a s prov e d by a proc e ss

,

of wh at m ay b e c al l e d d e structiv e criticism
“ ”
For e x amp l e i n .

39 1 3 93 3 9
, 4 it w ,
a s prov e,d th a t th e chords a n a l ys e d w e re
o n ly c ap abl e of d e rivatio n from o n e of th e thr e e g e n e rators i n th e
key . A simil ar m e thod of r e aso n i n g wi l l oft e n assist th e stud e n t
to d e t e rmi n e th e n atur e of a chord of th e thirt e e n th but h e must
i n th e first p l ac e b e sur e of th e k e y i n which th e music is an d ,

th e n se e wh e th e r an y of th e n ot e s of th e chord are i n corr e ctly

writt e n accordi n g to th e chrom atic scal e of th at k e y If so .
,

h e must subst i tut e for th e m th e ir tru e e n h armo n ic e quival e n ts

b e fore proc e e di n g to r e aso n from th e m Th e n ot e s which can b e .

i n corre ctly writt e n are th e s e v e n ths th e mi n or n i n ths an d mi n or

, ,

thirt e e n ths We sh all follow this m e thod of an al ysis i n th e chords

.

n o w to b e e x ami n e d an d if th e g e n e r al pri n cip l e is gr asp e d th e ,

stud e n t wi l l soo n gai n th e n e e dful e xp e ri e n c e for m aki n g similar

an a l ys e s for hims e l f .

4 0 9 We sh all n o w giv e e x ampl e s of v arious forms of th e

.

chord of th e thirt e e n th cl assifyi n g th e m accordi n g to t h e n ot e s

,

which t h e y co n t ai n d e ali n g chi e fly with thos e most commo n ly

,

us e d but i n cludi n g also som e of th e rar e r combi n atio n s which

,

poss e ss sp e cial fe ature s of i n t e r e st .

C H O RDS O F TH E TH IR TEEN TH IN CL UD IN G TH E G EN ERATO R .

41 0 . I
G e n e ra to r, tlzi rd, a n d tlzi rte e n tk
. This is th e simpl e st .

form of th e chord, an d is rar e ly fou n d e xc e pt o n th e domi n an t .

d
In its root positio n it is i e n tic al with th e first i n v e rsio n of th e
tri ad o n th e m e dian t .

It will obviously h av e a m aj or thirt e e n th i n th e m aj or k e y an d a ,

m In o r thirt e e n th i n th e mi n or k e y wh i ch l att e r can also b e us e d

o

,
Ch ap . XV I ) . [Ts TH EOR Y AND PR A CTI CE . 1 81

as a chrom atic chord i n th e m ajor k e y though ,

th e m ajor
thirt e e n th c an n ot b e us e d i n th e mi n or k e y .

4 1 1 Th e followi n g e x amp l e s show this form of

. th e ch ord
both i n m aj or an d mi n or k e ys .

p 8 2, N o 6
. . .

DV O RAK . Stab at M a te r .

VERI D . q
R e ui e m .

At (a ) is shown th e domi n an t majo r thirt e e n th with its ge n e rator

a n d third r e so l vi n g o n th e root positio n of th e to n ic chord
, Th e .

B flat is of cours e th e r e al b ass n ot e of th e l ast chord H e re th e .

th irt e e n th l e aps a third to th e n e xt h armo n y n ot e th e first s e mi

Examp l e ( O )
,

qu av e r C b e i n g an acc e n t e d p assi n g n ot e
, ,

shows th e dom i n an t m i n or thirt e e n th l e api n g to th e g e n e rator ( C )

,

of th e followi n g chord In both th e s e p ass age s th e chord is

.

r e so l ve d o n a d i ffe r e n t g e n e rator At ( c) it is r e solv e d o n its o wn

.

ge n e rator th e thirt e e n th fall i n g to th e fifth whil e th e oct av e of

, ,

th e g e n e rator falls to th e s e v e n th .

4 1 2 O ur n e xt i l lustratio n is som e wh at di ffe r e n t

G OUNOD M t V it
.
.

”
. o rs e a.

H e re we se e th e sixth i n v e rsio n of th e domi n an t m aj or thirt e e n th .

As all th e n ot e s pr e s e n t are co n so n an t with o n e an oth e r it is ,

1 82 H A R M ON Y : [Ch ap X V I
. .

a llow e d to doubl e th e th i rt e e n th ( g H e r e o n e of th e

thirt e e n ths mov e s dow n by st e p to th e fifth of th e chord wh i l e th e ,

oth e r r e m ai n s We th e n h av e th e s e co n d i n v e rs i o n of th e chord
. ,

with th e ge n e rator third fifth an d thirt e e n th which is i n its turn

, , , ,

r e solv e d o n th e root posit i o n of th e to n ic chord .

1
4 3 T h e chord of th e mi n or thirt e e n th is oft e n us e d as

a chrom atic chord i n th e m ajor k e y wh e n it mostly r e so l v e s o n

.

th e to n ic chord th e thirt e e n th risi n g a chrom atic s e mito n e to th e

,

third of th e to n i c In this c as e th e n ot e is mostly writt e n as an

.

augm e n t e d fifth
B EET HO EN S t O p 3 NV . o n a a, . 0, o . 2.

Th e k e y of this e xtract is cl e arly Ab ; but th e n ot e B b do e s n o t

b e l o n g to th at k e y ; it must th e r e for e b e i n r e ality C b th e mi n or ,

thirt e e n th of th e domi n an t .

4 41 .In th e followi n g i n t e r e sti n g p ass ag e

WAG N ER Di M i t i g . e e s e rs n e r.

we r e solutio n of th e chord Th e co n t e xt shows th e k e y

se e a n e w .

of th e e xtract to b e G m aj or Th e chord
. is th e r e for e th e
chrom atic domi n an t mi n or thirt e e n th ; o n its first an d s e co n d
app e ar an c e s it is r e solv e d o n a chord of th e augm e n t e d sixth ,

which will b e e xp l ai n e d i n th e n e xt ch apt e r ; but th e third tim e it

is r e solv e d o n th e s e co n d i n v e rsio n of th e to n ic chord .

4 1 5 Th e e x amp l e j ust quot e d illustrat e s wh at was s aid i n

.

§ 9
2 2 a s to th e e mploym e n t of th e a ugm e n t e d tri a d o n th e
m e d ian t of th e mi n or k e y as a chrom atic chord i n a m aj or k e y .

4 1 6 O ur n e xt illustr atio n shows thre e diffe r e n t forms of th e

.

zh o rd of th e thirt e e n th .

WAG N ER T i t u d I ld . r s an n so e .
Ch ap . XV I ) . I TS TH EOR Y AND PR A C TI CE . 1 83

b
AS th e p ass ag e is cl e arly i n E , th e F of th e s e co n d b ar must b e b
G b, an d th e chord o n th e s e co n d crotch e t is th e sixth i n v e rsio n o f
th e domi n an t mi n or thirt e e n th ( th e g e n e rator an d third b e i n g
abov e th e thirt e e n th ) th e chord r e solv i n g o n th e first i n v e rsio n of

th e to n i c Th e chord i n th e third b ar looks at first sight lik e a

.

modul atio n i n to C mi n or ; but as th e r e is n othi n g i n wh at fo ows ll

l
to co n firm this V i e w, whi e th e whol e m e n t al e ffe ct of th e p ass ag e
b l
is th at of E , it is c e ar th at th e chord is th e first i n v e rsio n of th e
sup e rto n ic chord as i n th e n e xt b ar, an d th at B b an d
“
are D
chan gi n g n ot e s Th e chord at th e e n d of th e fourth
l
b ar can o n y b e a sup e rto n ic chord , b e c aus e th e augm e n t e d
b
fourth of th e k e y ( A ) can b e d e riv e d from n o oth e r g e n e rator ;
it is th e re for e th e root positio n of th e rath e r r ar e sup e rto n ic mi n or
thirt e e n th , r e solv e d o n a domi n an t n i n th , th e thirt e e n th risi n g a
chrom atic s e mito n e At th e s e co n d crotch e t of th e fifth b ar is th e
.

root positio n of th e domi n an t m aj or thirt e e n th, with a s e ve n th

an d m aj or n i n th .

4 1 7 I I G e n era to r, t/zi rd, fiftlz, a n d tlzi rtee n tk

. . This form of .

th e chord is much r ar e r th an th at l ast giv e n We h av e s e e n o n e .

i n st an c e i n 4 1 2 It is , how e v e r, mostly to b e fou n d with a m i n or

.

thirt e e n th , an d i n th e l ast i n v e rsio n A v e ry fi n e e x ampl e of this .

l
form wil b e s e e n at ( a ) i n 0 , i n th e first b ar
3 3 W e giv e a .

som e wh at di ffe r e n t i ustratio n ll

B AC H g d
.

. Or an Pre l u e in D min o r .

4 8 I1I I G .e n era to r,
tk i r
.d,
se ve n tlz, a n d tk i rte e n tlz This is On e .

ll
of th e commo n e st, as w e as o n e of th e most us e ful forms of this
chord It is fou n d i n both m aj or an d mi n or k e ys , an d it must b e
.

r e m e mb e r e d th at t/ze tk i rtee n t/z slzo uld al w ays Oe a Oove t/ze se ven tk ,

b e c aus e of th e h arsh n e ss of th e disso n an c e of th e s e co n d which it
w i ll m ak e if b e low th at n ot e Th e chord of th e m aj or thirt e e n th
.

i n this form usu ally , though by n o m e an s i n vari ably, r e solve s o n

its o w n ge n e rator ; th e mi n or thirt e e n th uit e as oft e n r e solv e s o n q
a diffe re n t g e n e rator .

4 1 9 Th e fo ll owi n g p ass ag e s show th e tr e atm e n t of this form

.

o f th e m aj or thirt e e n th
SC HU M A NN B u t Blti tt Op 99 N
.

. n e e r, .
, O. 1 .
1 84 H A R M ON Y : [Cha p XV I
.

4 3

S POHR . So nata, O p . 1 25 .

At ( a) E is th e r e al b ass throughout th e b ar ; w e h av e th e r e for e

th e root positio n of th e chord r e solv e d o n th e root positio n of th e
to n ic chord In 3 4 2 at th e s e co n d b ar of (d) will b e s e e n th e
.

s am e positio n of th e chord r e solv e d o n its o wn g e n e rator O ur

n e xt e x ampl e s ( O ) an d ( c) Show th e first an d third i n v e rsio n s of
.

this chord th e thirt e e n th i n e ach c as e falli n g to th e fifth an d th e

, ,

chord r e solvi n g o n its o wn ge n e rator an d b e comin g a chord of

,

th e s e v e n th .

4 2 0 Th e chor d of th e mi n or thirt e e n th with th e third an d

.

s e v e n th is oft e n us e d i n th e m aj or k e y as i n th e followi n g
,

p ass age s
C HOP I N V l O p 34 N
. a se , .
, O. 2.

In first e x ampl e th e domi n an t mi n or thirt e e n th ( fo r th e

th e
n otatio n comp ar e 4 1 3 ) r e solv e s o n th e to n ic chord whi l e at ( O ) ,

th e chord of th e domi n an t mi n or thirt e e n th is h e ld ov e r th e b ass

of th e to n ic chord o n which it r e so l v e s .
Ch ap . XVI .
| [Ts TH EOR Y AND PR A C TI CE .
5

4 1
2 . O ur n e xt e xampl e shows th e s am e chord us e d in a min or

S C H U MA NN . F asch i n g ssch w an k aus W ie n .

Th e k e y of this e xtract is F mi n or ; th e thirt e e n th at l e aps to

th e third of th e s am e chord i n st e ad of ( as usu al ) to th e root o f
,

th e to n ic chord wh e n th e h armo n y ch an g e s In th e co n ti n u atio n .

o f th e p ass ag e h e r e give n wi ll b e fou n d th e third i n v e rsio n s both o f

th e m aj or an d mi n or thirt e e n th th e thirt e e n th i n e ach c as e,

l e api n g to th e third of its o wn g e n e rator .

4 2 2 It h as b e e n alr e ady r e m ark e d th at chords of th e

.

thirt e e n th are much mor e commo n o n th e domi n an t th an o n

e ith e r th e to n ic or th e sup e rto n ic We subj oi n a ve ry good .

e xampl e of a to n ic mi n or thirt e e n th .

S C H U MA NN W d l. an e r ust, Op 35 , N O 3
. . .

This chord r e solve s on th e chord of E b for it is cl e ar th at th e

I
; at th e fifth qu av e r of th e b ar are a cc e n t e d uxi l i ary
a n ot e s .

With this r e solutio n th e chord of th e mi n or thirt e e n th o n B b

,

w ou l d most l y b e a domi n an t C hord i n E flat but th a t it is n o t so

i n th e pr e s e n t c as e is show n by th e fact th at th e auxili ary n ot e of
G is A b n o t A b an d an auxi l iary n ot e a Oo ve a h armo n y n ot e is
, ,

a lways i n th e d iato n ic scal e of th e k e y i n which th e mus i c is

Th e p ass age is th e r e for e i n B b an d th e chord is a ,

to n ic mi n or thirt e e n th .

4 3
2 IV
. G e n.e ra to r n i n tk e l
,
e ve n tlz a n d tl nrtee n tk
, This ,
.
,

though n o t o n e of th e most commo n forms is importan t e n ough ,

to d e s e rve a word of m e n tio n .

1 86 H A R M ON Y : ( C hap XV I
. .

B EET HO EN
V . M as s i n D .

At t: is th e fourth i n v e rsio n of th e domi n an t m aj or thirt e e n th

a ,

r e solvi n g o n its o w n g e n e rator Th e m aj or n i n th i n th e b ass ris e s

.

to th e third whi l e th e g e n e rator falls to th e s e v e n th th e e l e ve n t h

, ,

ris e s to th e fifth an d th e thirt e e n th falls to th e fifth

,
.

C H O R DS O F TH E TH IR TEEN TH W TH O UT
I TH E GE N ER ATO R .

4 24Thos e forms of th e chord of th e thirt e e n th i n which th e

.

ge n e rator is abs e n t are fr e qu e n tly mor e di fficult to r e cog n is e an d

id e n tify th an thos e i n which it is pre s e n t Th e e xpl an atio n o f .

th e e xamp l e s n o w to b e giv e n will it is hop e d assist th e stud e n t

, ,

i n this m att e r .

4 5
2 V . T k i rd m.i n o r n i utk a n d tlzi rte e n tk
,
T,his tol e rably .

commo n form is mostly fou n d if th e thirt e e n th is m ajor with a

, ,

disguis e d n ot atio n th e mi n or n i n th b e i n g writt e n as an augm e n t e d

,

oct av e of th e g e n e rator In this sh ap e it looks lik e a m aj or tri ad

.

o n th e m e d i an t .

B EETHO EN S t O p 8 V . o n a a, . 1

In this p ass ag e th e r e solutio n of th e chord shows th at i t is n o t

—
wh at at first Sight it wou l d app e ar to b e th e first i n v e rsio n of th e
domi n an t tri ad of C mi n or for it r e solv e s o n a chord which
,

c an n ot b e i n C mi n or but which ( l ik e th e chords pr e c e di n g ) i s

,

disti n ct l y i n th e k e y of E b Th e chord is th e r e for e chrom atic

.

i n E b an d its r e al n ot atio n is
,

426 .l ast i n v e rsio n of this chor d is som e tim e s fou n d

Th e in
cad e n c e s writt e n as a m aj or chord o n th e m e dian t .

A UB ER L Di u t l B y d e
,

. e e e a a a re .
C h ap X V I )
. . I TS TH EOR Y AND PR A C TICE 87

LI SZ T . Die I d e al e .
”

In th e s e co n d an d third b ars of (a ) th e r e is cl e arly a t e mporary

modu l atio n to B mi n or ; but th e l ast chord ( which is th e c l os e of
th e ov e rtur e — th e k e y of th e whol e b e i n g D m aj or ) is e v i d e n tly
n o t i n B m i n or at all .N o o n e chord can e ve r e stablish a k e y
2 2 9) th e r e for e i n this p ass ag e th e chord must b e t ak e n as th e
dom i n an t of B mi n or an d quitt e d ( with th e e n h armo n ic ch an ge
,

of A 17 to B b) as th e l ast i n v e rsio n of a dom i n an t m aj or thirt e e n th

'

i n D with a mi n or n i n th an d third Th e s am e r e aso n i n g appli e s

to e xampl e ( O ) but h e r e n o pr e vious modu l atio n i n to th e r e l ative
.

mi n or h as b e e n e st ab l ish e d th e chord i n th e first b ar is th e to n ic

of F an d is fol l ow e d by th e dom i n an t m aj or thirt e e n th writt e n as
,

a m e di an t tri ad R e p e titio n s of th e chord of F co n clud e th e

.

mov e m e n t .

4 2 7 Though th e form of th e chord n o w u n d e r n otic e is most

.

commo n as a domi n an t it is al so fou n d d e riv e d from oth e r

,

g e n e rators as i n th e followi n g b e autiful e x ampl e s

SC H B ER I
.
,

S t i A mi Op 4
' ‘
O . ona a n n o r, . 2.

Th e chord at ( a ) sugg e sts a modu l atio n to E mi n or ; but its

r e so l utio n o n th e domi n an t s e v e n th of C Shows th at th e chord
its e l f b e lo n gs to th at k e y D b n o t b e i n g a n ot e i n th e k e y of C
.

m ust b e i n r e ality E b whil e F b can o n ly b e d e riv e d from D as a

1 88 H AR M ON Y [C h ap X V I . .

ge n e rator ; an d th e chord is compos e d of th e s am e i n t e rv als as th e

two show n i n § 4 2 6 but d e riv e d from th e sup e rto n i c i n st e ad of th e
domin an t At ( O) is show n th e s am e chord but with a mi n or
,

. ,

thirt e e n th writt e n i n its corr e ct n ot atio n with th e third i n th e ,

b ass Th e p ass age is e vid e n t l y i n B flat mi n or i n wh ich k e y Eb

,

. , ,

Ab a n d Db a re r e sp e ctiv e ly th e third mi n or thirt e e n th an d , ,

mi n or n i n th of th e sup e rto n ic Th e chord h e r e r e so l v e s o n a

,

dom i n an t tri ad th e n i n th l e api n g to th e root of th e n e xt chord

, ,

b e for e d e sc e n di n g to its r e gul ar n ot e of r e solutio n th e fifth an d ,

th e thirt e e n th risi n g a chrom atic s e mito n e to th e third of th e

domi n an t
N
.

4 2 8 .VI T k i
. rd fifllz n i n tlz a n d tk i rtee n tk
, ,
ot
,
v e ry commo n .
,

but striki n g i n its e ffe ct as th e followi n g e xampl e s show

,

WAG NER T i t u d I m . r s an n so e.

B EET HO EN V . So n ata Pa th éti que ,

”
Op . 1 3
.

Th e chord at ( a ) is writt e n i n its tru e n ot atio n an d is th e fourth ,

i n v e rsio n of th e domi n an t m aj or thirt e e n th with a mi n or n i n th ,

th e chord r e solvi n g o n its o w n ge n e rator Th e w e ll k n own -

p ass age at ( O) can b e i n n o oth e r k e y th an C mi n or ; th e C b i n

.

th e chord no t mus t th e r e for e b e D b which can o n ly b e d e riv e d from

,

th e to n ic Th e chord is th e r e for e th e s e co n d i n v e rsio n of a to n ic

.

mi n or thirt e e n th with third an d mi n or n i n th r e solv e d o n th e root

, ,

positio n of th e domi n an t mi n or n i n th It would also b e possibl e .

h e r e to co n sid e r G as a domi n an t p e d al ; i n which c as e th e chord

b e lo n gs to form V .

4 2 9 VII
. Fifi /z se ve n tk n i utk a n d tk i rtee n tlz Th e rar e
.
, , ,
.

e x ampl e of this form of th e chord giv e n h e r e

B EE H O EN S t O p T V . o n a a, . 2 2.
Ch ap . XV I ) . 1 TS TH EOR Y AND PR A C T1 C E . 1 89

d e s e rv e s quot atio n for mor e th an o n e r e aso n Th e B b i n th e .

b ass is r e al ly C b th e mi n or n i n th of th e to n i c which th e re fore

, ,

d e t e rmi n e s th e d e rivatio n of th e chord as it can com e from n o ,

oth e r ge n e r ator i n th e k e y Th e m ajor thirt e e n th ( G ) l e aps to th e

.

third of th e chord th e n r e turn s to th e fifth wh e n c e it go e s ,

to th e e l e v e n th an d th e chord ultim at e ly r e solv e s o n th e domi n an t

,

tri ad .

VII I lz n i n t/z a n d tk i rte e n tlz

43 0 . T k i rd
.
fif tk s e ve n t , , , ,
.

B R AHM S D ut h R qui m . e sc es e e .

Th e k e y of this p ass ag e is D m aj or Th e first b ar giv e s th e first .

i n ve rsio n of th e to n ic tri ad Th e s e co n d b ar so un ds l i k e th e root

.

positio n of th e domi n an t mi n or n i n th of B mi n or but its r e solu ‘

tio n i n th e third b ar o n th e chord of D shows th at th e B b of th e

t e n or is th e mi n or n i n th from A an d th at th e chord is th e l ast ,

i n v e rsio n of a domi n an t m aj or thirte e n th Th e first chord i n th e .

third b ar is th e first i n v e rsio n of a to n ic mi n or thirt e e n th i n th e

form spok e n of i n § 4 1 0 th e thirt e e n th falli n g to th e fifth at th e
,

s e co n d mi n im of th e b ar .

43 1 I X. F f
i t
.l z n i utk e l e ve n tk
,
a n d tk i rte e n tk
,
A v e ry r ar e ,
.

form of th e chord of a p e culiarly poign an t e ffe ct

,
.

Stab at M ate r .

Th e first two b ars i n dicat e th e k e y of G m aj or as do th e fifth an d ,

fo ll owi n g b ars Th e discord i n th e third an d fourth b ars c o n se

.

qu e n t l y b e l o n gs to th at k e y G b must th e re fore b e r e al l y A b
. ,

which i n this k e y can o n ly b e th e mi n or n i n th of th e to n ic ; an d

th e chord is a s e co n d i n v e rsio n of a to n ic m aj or thirt e e n th ,

r e solv e d o n th e third i n v e rsio n of th e domi n an t s e v e n th Th e .

mi n or n i n th ( as usu al wh e n it i s writt e n as an augm e n t e d oct av e )

ris e s a chrom atic s e mito n e an d th e e l e v e n th an d thirt e e n th e ach
,

ris e s o n e d e gre e Th e s am e chord simi l arly r e solv e d m ay b e

.
, ,

s e e n i n th e third b ar of Wag n e r s pre lud e to Di e M e ist e rsi n ge r ’ ”

X Se ve n tlz n i n tlz e l e ve n tk a n d tk i rtee n t/z A ve ry

.

43 2 . .
, , , .

c ommo n form of th e chord usu all y d e scrib e d by th e orists as a ,

1 90 H A R M ON Y [C h ap . XV I .

chord of th e s e ve n th o n th e subdomi n an t In this form of th e .

chord th e s e v e n th n i n th an d e l e v e n th are all fre e i n th e ir pro

, ,

g r e ss i o n b e i n g co n so n an t to o n e an oth e r
,
T h e thirt e e n th m ak e s
.

with th e s e ve n th th e disso n an c e of th e s e v e n th an d r e quir e s to b e ,

r e solv e d accordi n g l y If th e chord r e solv e s o n its o wn g e n e rator

.
,

th e s e v e n th usu ally ris e s o n e d e gr e e an d th e thirt e e n th falls

, .

H A ND E L . J ud as M accab ae us .

B AC I I.
-
Va t e r un se r.

In both th e s e e xampl e s th e thirt e e n th which is mi n or at ( a) an d

m aj or at ( O ) falls to th e fifth of th e n e xt chord wh e n th e s e v e n th
,

ris e s to th e ge n e rator .

4 3 3 L ik e th e third i n v e rsio n s of th e domi n an t m i n or n i n th

.

3 4 9) an d e l e ve n th this form of th e domi n an t mi n or

t hirt e e n th wh e n th e s e ve n th is in th e b ass can r e so l ve o n th e
, ,

root positio n of th e to n ic chord as i n th e followi n g c ad e n c e

,

E . G RI EG . L
yris ch e Stuck ch e n , O p , 43 . N o 6 . .

434 . Th e
xt e x ampl e s Show this form of th e to n ic thirte e n th
ne ,

which ( as alre ady s aid s e l d om r e solv e s o u its o wn g e n e rator

'

) .

SC H U EER T . R o sam un d e .
"
Ch ap . XV I ) . [Ts TH EOR Y AN D PR A C TI CE . 1

S HE
. LLER Etud, e , O p 90 , N o
. . 1 .

p ass age quot e d at ( a ) is i n th e k e y of B m ajor ; th e G I

'

Th e J shows
th at th e chord i t c an n ot b e d e riv e d from th e sup e rto n ic C b an d , ,

th e A Shows th at it c an n ot b e d e riv e d from th e domi n an t F

b
it must th e r e fore b e a to n ic chord an d is th e third i n v e rsio n of a
b ,

mi n or thirt e e n th with a m ajor n i n th r e so l ve d o n th e first i n ve rsio n

of a domi n an t s e v e n th At ( O ) we h av e th e sixth i n v e rsio n of
,

th e s am e chord r e solv e d o n th e root positio n of th e domi n an t

s e v e n th .

43 5 XI lVi n t/z e l e ve n tk a n d tki rte e n tlz This form of th e

. . .
, ,
.

chord is by n o m e an s u n commo n but as n o n e of th e n ot e s are , ,

disso n an t to o n e an oth e r wh e n th e n i n t h an d thirt e e n th are both

mi n or or both m ajor it is usu all y tr e at e d as a co n cord Th e
, ,
.

mi n or n i n th e l e v e n th an d mi n or thirt e e n th of th e domi n an t
, ,

chord give th e tri ad o n th e subm e dian t of th e mi n or k e y

an d th e s am e n ot e s of th e to n ic chord g i v e th e chrom atic chord

o n th e mi n or s e co n d of th e sc a l e A n e x amp l e of th e
s am e combi n atio n of th e sup e rto n i c h armo n i e s i n th e fifth i n
v e rsio n r e solvi n g o u th e domi n an t is worth quoti n g .

WAG N E R . Tan n h ii use r .

43 6 . combi n atio n of th e ge n e rator e l e v e n t h an d

Th e , ,

thirt e e n th ( e ith e r m ajor or mi n or) is n e v e r us e d b e caus e th e s e ,

forms wou l d simply giv e ordi n ary s e co n d i n v e rsio n s of co n cords .

Th e m aj or th l v th d m jor t h i rt t b i g ll co d ry h
n in h,
d om i t h rmh o y i h fiffth v t d
e e en an a een e n a se n a ar

moi th e se n o te s o
,

f h t e
,

t e h,
rto c lr d y g v d ri v t o h ch ord f h
n an a n are se en an
or t
n es ,

m j n in h o f th e sup e ni a ea i en as t e e a n o t e o t e
bm di t i or k y
a ,

su e an n th e m j
a e
1 9 2 H A R M ON Y : LC h ap . XV I
.

O n th e domi n an t w e should ge t th e s e co n d i n v e rs i o n o f_th e to n ic -

chord o n th e to n ic th e s e co n d i n v e rsio n of th e subdomi n an t an d

, ,

o n th e sup e rto n ic th e s e co n d i n v e rsio n of th e domi n an t .

43 7 It w a s s aid i n 3 9 7 th a t th e chord of th e thirt e e n th w as

scarc e ly e v e r fou n d i n its comp l e t e form

.

As e xc e ptio n al i n .

st an c e s we giv e two e xampl e s .

J . S . BAC H . Parti ta 6 .

At ( a ) th e chor d is th e fifth i n v e rsio n of a domi n an t mi n or

thirt e e n th i n E mi n or with all th e n ot e s pr e s e n t e xc e pt th e n i n th
,

At ( O) is th e l ast i n v e rsio n of th e domi n an t min or thirt e e n th i n

.

D mi n or e ve ry n ot e of th e chord b e i n g pre s e n t We v e ry rare ly

, .

fi n d th e disso n an t n ot e s tog e th e r with th e n ot e s of th e ir r e solutio n ,

as h e r e an d it is o n ly right to add th at both th e s e combi n atio n s

m ay also b e e xpl ai n e d as to n ic chords with th e n ot e s of th e

domi n an t h armo n y sou n d e d ov e r th e m as auxili ary n ot e s ( Se e .

Ch apt e r X I ) .

43 8 As. all fu n d am e n t al d i scords can b e d e riv e d from an y o n e

of th e thr e e g e n e rators i n th e k e y it is e vid e n t th at th e chords o f

,

th e thirt e e n th can b e us e d for th e purpos e s of modu l atio n ; for

th e y can b e t ak e n as d e riv e d from th e domi n an t an d quitt ed ,

as d e riv e d from th e to n i c or sup e rton ic an d vi ce ve rsa ,

But th e i r .

use m ay b e sti l l furth e r e xt e n d e d by e n h armo n ic m o d ul atIo n ,

as with th e chords of th e n i n th For e xamp l e th e domi n an t

. ,

mi n or ith o n ly g e n e rator third an d , ,

thirt e e n th pr e s e n t ch an gi n g E b to D b b e com e ,

th e l ast i n v e rsio n o hord d e riv e d from B

if i n st e ad of this ch an g e we substitut e C b for B
chor d will b e com e a first i n v e rsio n of a mi n or thirt e e n th o n
th e
Eb In th e s e c as e s th e chord can b e quitt e d i n an y of th e k e ys
.
Ch ap . XV I ) . 1 TS TH EOR Y AND PR A C TI CE . 1 93

in which th e new ge n e rator is e ith e r to n ic , sup e rto n ic or

domi n an t .

43 9 . We h ave
lre ady m e t with o n e i n st an c e of an e n
a
h armo n ic modu l atio n by m e an s o f this chord at e xampl e ( a ) of
§ 4 2 6 w e n o w a dd a fe w curiositi e s of a simi l ar ki n d which will ,

r e p ay c ar e ful study .

M END ELSSO H N F t i O p 6 N . an as a , . 1 , o. 1 .

This p ass age b e gi n s i n A mi n or : th e chord is th e augm e n t e d

s ixth ( se e n e xt ch apt e r) i n th at k e y but it is r e solv e d i n th e k e y
of C th e l ast chord but o n e must th e r e for e b e i n th e k e y of C ,

si n c e i n m aki n g a modul atio n th e re must always b e a co n n e cti n g

l i n k Th e D b of th e chord is tr e at e d as an E b an d th e chord
.
,

its e l f thus b e com e s th e form X of th e thirt e e n th . th e

s e v e n th i n th e b ass l e api n g to th e ge n e rator of th e to n ic chord as ,

i n th e p ass age quot e d i n § 4 3 3 It wi l l b e obs e rv e d th at h e re th e

.

g e n e ral ru l e as to writi n g th e chord i n which an e n h armo n ic

ch an ge is m ad e i n th e n otatio n of th e n e w k e y is n o t
obs e rv e d
d
.

44 0 T h
. e two p a ss ag e s from W ag n e r n e xt to b e quot e ar e
e v e n mor e curious

WAG NER T hii . an n us e r.

“
In this w e ll k n own progr e ssio n from th e ove rture to
-

Tan n
”
h zi use r, th e firs t b ars are c e arly i n E mi n or
‘

l
Th e first chord of .

th e s e co n d b ar i s th e to n ic chord of th at k e y it is fo lowe d by l
th e chord of th e sixth o n th e mi n or s e v e n th of th e sc al e
which d e sc e n ds a s e mito n e to th e s e co n d i n v e rsio n of th e
chrom atic chord o n th e sup e rto n ic To e ffe ct th e modu atio n . l
D
i n to , th e A is e n h armo n ica y ch an ge d to B b, an d w e ge t
b ll
form V .
5) of t h e domi n an t thirt e e n th i n r e solv e d o n th e D
to n i c chord of th at k e y Th e modul atio n two b ars l at e r is p re
.

c i se l y simi ar, th e
C b l
e i n g quitt e d a s a
b Db .

44 1 In.th e p a ss a g e just a n alys e d t h e e n h armo n ic ch an g e

m ad e th e chord i n to a chord of th e thirt e e n th ; i n th at n o w to
b e giv e n th e proc e ss is r e ve rs e d, a chord of th e thirt e e n th b e i n g
ch an g e d i n to som e thi n g d i ffe r e n t .

M
 H A R M ON Y Lch ap X V I
. .

WAG N R
E . Di e M e is te rs i n g e r.
”

At th e first b ar of this p ass age th e chord is th e third i n v e rsio n o f

“
th e domi n an t e l e v e n th ( th e chord of th e add e d sixth ) i n B b
”
.

At th e fifth ris e s to th e mi n or thirt e e n th of th e s am e chord .

As it r e solv e s i n th e n e xt b ar o n th e domi n an t s e v e n th of G it IS ,

cl e ar that th e r e must b e h e r e a doubl e e n h armo n ic ch an g e ; G b

an d D b b e i n g ch an g e d i n to be ing
quitt e d as an u n usu al form of
44 2 To
. d e a l e xh austiv e ly with a chord so full of vari e d pos
si b il i ti e s as th e thirt e e n th wi l l b e s e e n to b e would r e quir e n o t ,

a ch apt e r but a sm all volum e It is hop e d th at th e e xp l an atio n s

.

th at h av e b e e n giv e n will assist th e stud e n t to u n d e rst an d th e

n atur e of th e chord an d to an alys e simi l ar p ass ag e s for hims e lf
,
.

We sh al l co n clud e as i n pr e vious ch apt e rs with a g e n e ral

, ,

summ ary .

44 3 I R ESO LU TIO N
. . L ik e th e chords of th e n i n th an d
.

e l e v e n th a chord of th e thirt e e n th can e ith e r r e so l v e o n its o w n

,

g e n e rator or o n o n e of th e oth e r g e n e rators i n th e k e y Th e .

chords of th e to n ic an d sup e rto n ic thirt e e n ths how e v e r are , ,

s e ldom r e solve d o n th e ir o wn ge n e rators .

4 44 I I PR O G R ESSIO N O F TH E N O TES o r TH E C H O R D All th e

. . .

n ot e s pr e s e n t i n th e chord up to an d i n cludi n g th e e l e v e n th fol l ow

, ,

th e ru l e s giv e n i n pr e vious ch apt e rs Wh e n th e chord r e solv e s o n

.

its o wn ge n e rator th e thirt e e n th mov e s to an oth e r n ot e of th e

,

chord mostly to th e fifth or s e v e n th Wh e n th e chord is r e solv e d

,
.

o n a diffe r e n t g e n e rator th e thirt e e n th r e m ai n s falls a s e co n d

, ,

or a third or ris e s a Chrom atic s e mito n e

,
.

44 5 I II F O R M S O F TH E C H O R D
. . O f th e m an y possib l e forms
.

of th i s chord thos e most fre qu e n t l y m e t with are ( I ) g e n e rator

, ,

third an d thirt e e n th ( 2 ) g e n e r ator third s e v e n th an d thirt e e n th

, , , , , ,

( 3) s e v e n th n i n th e l e,
v e n th ,
a n d thirt e e n th a n,
d ( )
4 n i n th , ,

e l e v e n th an d thirt e e n th
,
This l ast combi n atio n is a co n so n an t
.

tri ad an d is mostly tr e at e d as such

, In all chords of th e .

thirt e e n th an y n ot e m ay b e tre at e d as a co n so n an c e provid e d ,

th at n o l ow e r n ot e of th e comple t e chord with which it would

form a disso n an c e b e pr e s e n t .

446 t rd t bov
As th e h i t rt t
nex a do bl oct v
e th e hi e e n h i s th e u e a e o f th e
g r tor vd t t t r d t l c ord w c v
.

e ne a , it is e i en h a th e se i e s o f fun am e n a h s hi h w e ha e
b b ld g by t rd
een ui i n upt r c ord to tr t d
h i s m us e n d h e e Th e h s be ea e i n th e
tc tr or d w l d r t r
.

nex h ap e are f m e , as i l b e se e n , i n a i ffe e n m an n e Al l th e

co b t o t rto tr t d o d tr d t l c ord
.

m in a i n s h i h e ea e o f are f un i n th e h e e fun am e n a h s
ow
o f th e k e y sh n in 71 .
 EX ER C ISES To C H APTER XVI .

4 3 3 5

a6 6 a7 ”6 7 6 7 5 — 6 6 7 7
5 4 6 5

b7 —4 6 6 6 b7 n6 6 6 7 7
6 5 2 a s

b 7
6 6 6 6 6 5 6 34 6 56 56 5 5 5 .

N 5 2 35 4 5 3;
1 96 H A R M ON Y [C h ap X V I
. .

6 7 6 36 6

( V III ) H ym n Tun e
.

IX .
) H y m n Tun e .
Ch ap . XV II | . [Ts TH EOR Y AN D PR A C TI CE .
97

C H A PTE R X VI I .

TH E C H O RD O F TH E A UGM E N TED S I TH X .

44 7 . In
dditio n to th e s e ri e s of fu n dam e n t al chords alr e ady e x
a

pl ai n e d th e r e is o n e chord of gre at importan c e an d of fr e qu e n t

,

use st i l l to b e n ot i c e d which is form e d i n a diffe r e n t m an n e r from

,

an y of th e chords e t show n an d which co n t ai n s an i n t e rv al which

y ,

w e h av e n o t ye t m e t with This is th e C k ord of tk e A ug me n ted

.

448 If we t ak e th e s e co n d i n ve rsio n of a chord of th e s e v e n th

.
,

or of a chord of th e mi n or n i n th o n e ith e r th e domi n an t or sup e r

to n ic an d low e r th e b ass n ot e a chrom atic s e mito n e we shal l
, ,

obt ai n a n e w combi n atio n .

( a) I

At ( a) 1 2 are s e e n th e s e co n d i n v e rsio n s of th e chord of th e

, ,

sup e rto n ic s e v e n th both with an d without th e g e n e rator an d at

, ,

( ) 3
a th e s a m e positio n of t h e mi n or n i n th of th at chord but i n

z tk e O ass n ote l o w e re d a se mi to n e At ( O ) 1 2 3 are

, ,

e a clz ca se w i t/ .
, , ,

corre spo n di n g positio n s of th e domi n an t chord s i m i l ar l y al t e re d .

Th e chords of th e s e v e n th an d n i n th o n th e to n ic c an n ot b e
tr e at e d i n th e s am e way b e caus e th e dimi n ish e d fifth of th e to n ic
,

is n o t a n ot e i n th e k e y .

449 I
. t wi ll b e obvious th a t th e alt e r atio n of th e b a ss n ot e s
ch an ge s th e n atur e of th e chords Th e thr e e chords at ( a ) are .

n o w n o lo n g e r sup e rto n ic chords b e caus e A b can n ot b e d e riv e d

from D as a g e n e rator N e ith e r for th e s am e r e aso n are th e
chords at ( O) domi n an t chords We must s e e k an oth e r e xp l an a
.
, ,

tio n .

4 5 0 If th e stud e n t r e fe rs to th e d e rivatio n of th e n ot e s of th e
.

chrom atic scal e giv e n i n § 7 3 h e will se e th at A b is th e mi n or

,

n i n th of th e domi n an t an d th at D b is th e mi n or n i n th of th e
,

to n ic Th e thre e chords at (a ) are th e r e for e domi n an t chords of

h av e n o t ye t m e t with an d th e chords at ( O ) are
.

a ki n d w e ,

simi l arly to n ic chords .

4 5 1 As o n l y th e low e r n ot e of e ach chord h as b e e n ch an g e d

.
,

it wou l d s e e m at first sight as if th e chords w e r e d e ri v e d from two

g e n e rators Thus all th e upp e r n ot e s of th e chords at ( a ) are
.

sti l l p art of th e sup e rto n ic chord an d al l th e upp e r n ot e s of th e

,
 98 H A R M ON Y ( C ha p . X V II .

chords at ( O ) are st i l l p art of th e domi n an t chord As a m att e r of .

”
fac t m an y th e orists sp e ak of th e s e chords as doubl e root chords
,
-

But it is importan t to r e m e mb e r that th e sup e rto n ic is its e l f d e

rive d from th e domi n an t an d th e domi n an t is d e riv e d from th e
,

to n i c th e r e for e al l th e h armo n ics of th e sup e rto n ic are d e riv e d i n

th e s e co n d d e gr e e of d e sc e n t as s e co n d ary h armo n ics se e ,

§ )
4 1 from th e domi n an t an d al l th e n ot e s of th
,
e domi n an t chord

are s e co n d ary h armo n ics of th e to n ic It will b e co n v e n i e n t to .

sp e ak of th e n ot e s of this chord as d e riv e d from th e upp e r or

low e r ge n e rator ; an d it must n o t b e forgott e n th at th e upp e r
g e n e rator is its e lf d e rive d from th e low e r o n e .

45 2 t t
It w as se e n i n § 6 6 h a i n al l fun am e n a d t l c ord
h s al l th e n e s at a ot
r t r d t c ro g r tor t or t w r co d ry
.

g ea e i s an e f m th e e ne a h an a m i n n in h e e se n a

r o c C ord
h a m n i s th e h s n o w un e n d r ot c
i e a re si m i a l rly co o d d
m p un e th e n o ly
p r i m arr o cg
y h a m n i e n e a us e e i r lly d b g b ot
n th e a ss n e ( th e m i n or n i n h ) , an d t
ot r ot
al l th e h e n e s o f th e h e in g s e c ord b
n a co d ry r o c
ha m ni s Th e i m p an ort t
t ct o b tw t c ord ot r t t t c ord lo
.

d is i n i n e een h is h an d al l h e s i s h a i n h is h a n e th e

v t
m ajo r s e e n h o f th e ene a g r tor r o c
( th e 1 5 th h a m n i ) i s use d Of u se i t co r
b ol t ly cl d v t
.

a s u e ex u e s th e m i n or se e n h .

45 3 . From th e tur e of
na th e i n t e rval b e tw e e n th e m i n or n i n th
an d maj or s e v e n th of th e g e n e ra
i n wh at e v e r form it m ay app e ar, is c all e d th e Chord of th e Aug
m e n te d ixth S l
It is a ways chrom atic, th e m aj or s e v e n th of th e
.

domi n an t, an d th e mi n or n i n th of th e to n ic b e i n g chrom atic both

i n m ajor an d mi n or k e ys Th e chord is by n o m e an s of mod e r n
.

i n troductio n ; it is to b e fou n d i n th e works of compos e rs of th e

1 7 th c e n tury, such as Purc e l , Pe lh am H umphr e ys , an d C aris l
*
simi .

45 4 g e n e.r a l tTh e
e n d e n cy of th e n ot e s of a n augm e n t e d i n

te rval b e i n g to div e rg e th e most fr e qu e n t r e so l ut i o n s of

th e augm e n t e d sixth are thos e i n which th e two n ot e s mov e e ach
a s e mito n e i n co n trary motio n as at ( a b e low
) Mor e rar e ly e ach
, .

d e sc e n ds a s e mito n e as at ( O) ; or o n e r e m ai n s statio n ary wh i l e

,

th e oth e r mov e s a s e mito n e as at ( c) ( d ) It is e v e n possibl e

,
.
,

t h ough rare for both to appro ach e ach oth e r by st e p of a s e mito n e

, ,

as at ( e ) .

455 o n ly two n ot e s of a k e y o n wh i ch th e i n t e rval of th e

. Th e
au gm e n t e d sixth can b e fou n d are th e mi n or s e co n d a n d mi n or

sixth of th e scal e I t h as just b e e n shown th at th e chord o n th e

.

mi n or s e co n d of th e scal e is d e riv e d from th e to n ic an d th at o n ,

th e mi n or Sixth from th e domi n an t Th e l att e r chord is much th e .

o tr t g l c or d to
S m e i n e e s i n e x a m p e s o f th e h S c ro b e se e n i n th e p e i m e n s f m
t o r od c l H ory
are
th e se co o r v
m p s e s g i e n i n H ull ah s “
Tran si i n Pe i o f M us i a
'
i st an d
od r c W t c r v t t r q ot t o r
,

H 1 s to ry o f M e n M usi ”
an o f s p a e p e e n s h e i
. u a i n he e .
Ch ap . X V II ) . [Ts TH EO R Y AND PR A C TI CE .
99

more fre qu e n tly us e d w e h ave s e e n i n e arli e r ch apt e rs that to n ic

d Isco rd s are of far rare r occurr e n c e th an domi n an t an d th e pre s e n t ,

IS n o e xc e ptio n .

4 5 6 Th e chord of th e augm e n t e d sixth is most co mmo n l y

.

fou n d i n o n e of th e thr e e forms Show n i n § 4 4 8 We shall sp e ak .

of th e s e first comm e n ci n g with th e simpl e st

, .

45 7 . I . C k ord f
o tii e A ug m e n te d Si x tlz w i t/z tk e T/zi rd
o n ly This form of th e chord co n s i sts of th e

mi n or n i n th o f th e low e r an d th ird an d s e v e n th of th e upp e r

,

ge n e rator an d is g e n e rall y call e d th e It ali an S ixth

,
“
As it .

co n tai n s o n l y thre e n ot e s o n e must b e doubl e d in four p art ,

-

h armo n y As w i th oth e r discords n e ith e r of th e disso n an t n ot e s

.
,

of th e augm e n t e d s i xth can b e doub l e d ; th e third from th e b ass

n ot e th e r e for e app e ars i n two p arts Th e chord is figur e d lik e an .

ordi n ary first i n v e rsio n of a triad but th e sixth b e i n g a chrom atic

n ot e i n th e domi n an t chord will re quir e to b e i n dicat e d ac ,

c o rd i n gl y—
b 6 or
b 6 W e n o w giv e this chord with its pri n cip al
.

re solutio n s pu tti n g th e commo n e st progr e ssio n s first

,
.

45 8 At ( a ) th e chord is r e solve d o n th e root positio n of th e

domi n an t chord an d at ( O ) ( c) o n th e s e co n d i n v e rsio n of th e
.

to n ic ; th e s e are th e most usu al r e solutio n s At ( d) th e b ass .

re m ai n s an d th e chord r e solv e s o n a domi n an t discord at ( 6 ) th e

,

s i xth r e m ai n s as th e third of a sup e rto n ic discord Th e r e solutio n .

at f ) is v e ry r are
( .

459 . Th i s form of th e chord is susc e pt i b l e of t wo i n ve r

O f th e s e th e first is i n fr e qu e n t , an d

34 b3
th e latt e r e xtre m e l y rar e .

4 6 0 We n o w giv e a
. fe w e xampl e s of th e use of this form of

th e chor d .

( a) H A ND L
E . l
H e rcu e s .
2 00 H A R M ON Y ( C ha p . X V II .

B HO
EET VE N .
“
Pro me th e us
.
”

( c) S P HR
O . F all o f B l ab y o n .
”

S C H U M A NN . H um o re s k e,

n th e It ali an sixth o n th e mi n or sixth of th e k e y of

At ( )
a is show
D min or re solve d o n th e domin an t s e ve n th with th e u n usu al
, ,

progr e ssio n of th e n ot e s of th e augm e n t e d sixth by simi l ar motio n .

At ( O) an d ( c) w e se e th e s am e chor d i n th e k e ys of C an d F
m ajor with th e ir usu al r e solutio n o n th e domi n an t chord At (d)
,
.

is th e chord o n th e mi n or s e co n d of B b r e solv e d o n th e to n ic ,

chord Th e D at th e e n d of th e first b ar is of cours e an an ti

.
, ,

ci p ati o n Th e l e ss usu al r e solutio n s giv e n at ( d ) ( e ) ( f ) of § 4 5 7

.

are n o t oft e n fou n d with this form of th e chord .

46 1 I I
'

. C k o rd of t/ze A ugm e n te d S i x tlz w i t/z tlze Tk i rd a n d

.
-

Fo urtk This form of th e chord co n sists of th e mi n or n i n th of

.

th e l owe r g e n e rator an d th e s e v e n th octav e an d third of th e

, , ,

upp r ; d s commo n l y k n ow n as th e “ Fr e n ch S ixth ”

e an It I .

I t is figure d lik e th e s e co n d i n v e rsio n of a

4
8

chord of th e s e v e n th ; but th e chrom atic n ot e must of cours e b e

i n dicat e d wh e n n o t i n th e b ass .

4 6 2 Th e pri n cip al r e so l utio n s of this chor d are th e followi n g

.
Ch ap . x vu .
) [Ts THEOR Y AND PR A C TI CE . 1

Aft e r th e e xpl an atio n s al re ady giv e n th e stud e n t will h av e no

d i fficulty i n an al ysi n g th e s e progre ssio n s for h i ms e l f .

4 6 3 Th e r e are thr e e i n v e rsio n s of this chord

.

17 5 6
8 b

Th e l ast i n v e rsio n is so h arsh i n e ffe ct th at though possibl e it is , ,

s e ldom us e d It m ay b e s aid that i n g e n e ral it is b e tt e r n o t

.

to i n v e rt th e i n t e rval of th e augm e n t e d sixth th e r e by m akin g it a ,

d imi n ish e d third e xc e pti n g i n th e third form of th e chord n e xt to

,

b e co n sid e re d It is n e e d l e ss to show all th e r e so l utio n s of th e s e

.

i n v e rsio n s as th e progr e ssio n of th e disso n an t n ot e s is gove rn e d

,

by th e rul e s with which th e stud e n t m ay b e r e aso n ab l y pre sum e d

to b e by this tim e quit e familiar .

4 6 4 Th e followi n g e xampl e s of this form of th e chor d will

.

su ffici e n tly illustrat e its use

H A ND EL Su . san n a.
”

M OZ AR T . Sym ph o n y i n G min o r .

SCH U B R
E T . R o samun d e.

In e a ch of th e s e e x ampl e s t h e Fr e n ch sixth r e solv e s o n a positio n

of th e to n ic chord This is a v e ry fr e qu e n t though ( as w e shall

.
,

s e e dir e ctly ) by n o m e an s an i n vari abl e progr e ssio n for this form

of th e augm e n t e d sixth At ( a ) th e root positio n of th e chord o n
.

th e mi n or sixth i n A mi n or is r e solv e d o n th e s e co n d i n v e rsio n o f

to ic At is s co d i v rsio of h s m chord i
th e n ( )6 th e e n n e n t e a e n

th e k e y of G m i n or r e so l v e d o n th e first i n v e rsio n of th e to n ic
.

chord Th e G i n th e b ass at th e e n d of th e p ass age is th e e n try

.
 20 2 H A R M ON Y [Ch ap x vu

of a n e w voic e an d d o e s n o t affe ct th e progre ssio n of th e discord

,
.

At (5 ) is th e root posit i o n of th e s am e chord i n th e k e y of G

m ajor r e solv e d lik e e xamp l e ( a ) o n th e s e co n d i n v e rsio n of th e
,

to n ic chord N ot e th at i n th e m aj or k e y both th e n ot e s formi n g

.

th e augm e n t e d sixth i n th i s chord are chrom atic .

4 6 5 Th e e xampl e s n o w to b e giv e n i l lustrat e oth e r r e solut i o n s

. .

M a n n e rss o u x .
“
t l
A h a ie .
”

S C H U M A NN ’
. d
Para ise an d th e Pe ri .
”

( c) \V AG N R
E . Die M e iste rs i n g e r.

O ur first e xtract ( a ) shows an irr e gular r e solutio n of th e chord .

I n st e ad of r e solvi n g o n th e root positio n of th e domi n an t th e ,

augm e n t e d sixth h e r e r e solv e s o n th e first i n v e rsio n of th e

domi n an t s e ve n th At ( 6) th e chord o n th e mi n or s e co n d of
.

B flat mi n or is r e solve d o n th e to n ic chord We th e n se e th e .

s am e chord o n th e mi n or sixth of th e scal e th e oct av e of th e

’

upp e r ge n e rator fall i n g to th e s e v e n th thus ch an gi n g th e form of ,

th e chord to th e It al i an sixth which is r e solv e d i n th e l ast b ar

, .

A chord of th e augm e n t e d sixth oft e n ch an ge s its form i n th i s

w ay b e for e b e i n g r e solv e d Th e p ass ag e at ( c) b e g i n s i n F i n
.
,

which k e y th e Fr e n ch sixth is r e solve d q uit e r e gu l arly o n th e , ,

domi n an t In th e s e co n d b ar th e re is a modu l atio n to G th e

.
,

chord of C b e i n g quitt e d as th e subdomi n an t of that k e y Th e .

chord at th e e n d of th e s e co n d b ar is th e s e co n d i n v e rsio n of th e
augm e n t e d sixth o n th e mi n or sixth of th e k e r e solv e d irr gul rly
y e a
o n th e first i n v e rsio n of th e domi n an t .

4 6 6 It is import an t to n ot i c e th at as this p articul ar chord is

.

n o t m ad e lik e all which h av e b e e n pr e vious l y studi e d by pl aci n g

, ,

th i rds o n e above an oth e r th e s e co n d i n v e rsio n of a Fr e n ch sixth

,

h as th e fo zzrflz i n th e b ass i n st e ad of th e fifth .

Ch ap . x vu .
] [TS T[IEOR YA ND PR A C T1 CE .
3

4 6 7 Th e . l ast e xamp l e to b e g iv e n of this chord offe rs som e

n e w fe atur e s .

VE RD I . Re q ui e m .

H e re shown two positio n s of th e chord We fi n d first th e rare

are .

l ast i n v e rsio n with a dimi n ish e d third abov e th e b ass n ot e Th e

, .

l ast chord of this b ar is c l e ar l y an augm e n t e d sixth for C f is n o t , .

i n th e k e y ; th e D b is i n corr e ctly writt e n b e c aus e of its r e so l vi n g

.

upwards l i k e th e mi n or n i n ths an d thirt e e n ths which h ave b e e n

,

a l r e ady m e t with Th e p ass ag e is furth e r i n t e r e sti n g as furn ish i n g

.

an e x ampl e of th e r ar e progr e ssio n of th e n ot e s of th e augm e n t e d

s ixth shown at § 4 5 4 (e ) wh e r e th e y appro ach e ach oth e r by st e p ,

of a s e mito n e Th e chord i n th e p ass age n o w u n d e r n otic e t e

.

solve s o n th e fourth i n v e rsio n of a domi n an t e l e v e n th .

4 6 8 I I I C /zom of flu: A ug /Jze fl fe d S zx zlz w i t/z t/ze Tfi zm a n d

’ '
‘
’
’
. .

Eftfz This form of th e chord co n sists of th e mi n or n i n th of th

.

low e r g e n e rator an d th e s e v e n th mi n or n i n th an d third of th e

, , ,

upp e r ; an d it is g e n e r all y c all e d th e G e rm an S ixth

“
.
”

[
35 b5

Th e r e solutio n s of this chord are th e s am e as thos e of th e oth e r

two forms e xc e pti n g that wh e n th e b ass fall s a s e mito n e it usu all y
,

r e solve s o n a s e co n d i n v e rsio n .

H e re fifth of th e chord ( th e mi n or n i n th of th e upp e r ge n e r

th e
ator ) ris e s a chrom atic s e m i to n e i n th e m ajor k e y an d r e m ai n s ,

As t d t v ry p to co f h m f th th r for m f h
s u e n s are e a t n use t e n a es o e se ee s o t e
au gm t d i t h h follow i g rt ific i l d to m m ory m y b fo d
en e s x t e n a a ai e
”
a e un
fl — Th t h r for m corr p o d to h c h r ct r f h m i c f h t h r
,

use u e ee s es n t e a a e o t e us o t e ee

co tr i —It l i m i c i h im pl t d h It l i i th i h i m
un es a an us s t e s es ; an t e a an s x
”
s t e s

p l e stfor m f th c h ord o Fr ceh m i c i h m o t p i q t d en us s t e s uan ,

an

so i h s t Fr ch i th w i th h d i cord b tw h pp r g r tor d
e en s x , t e s e een t e u e e ne a ,
an

i v th
ts s e e n L tly G r m m ic i h ri c h t d f ll t i as , e an us s t e es an u es n

ch r ct r
a a e rich r i i ff ct th 5 e n ts e e an

i t h r f h ot h r U
e e o t e
M e s.
L N Q . 3 t
a“
A W e .
204 H A R M ON Y [C h ap x vu
. .

statio n ary i n th e mi n or Evid e n tly if th e chord is r e s o lv e d dire ct

.
,

o n th e domi n an t th e fifth wi l l fall a s e m i to n e m aki n g co n s e cutiv e

, ,

fifths with th e b ass S uch fifths ( as will b e s e e n pr e s e n t l y ) are

.

n o t always obj e ctio n abl e .

6
4 9 . L ik e th e Fr e n ch sixth this form of th e chord
, h as thr ee

i n ve rsio n s.

Th e l ast i n ve rsio n co n t ai n i n g th e i n t e rval of a dim i n ish e d thir d

,

from th e b ass is much mor e fr e qu e n tly us e d th an th e l ast i n v e r

,

sio n of th e Fr e n ch sixth b e i n g much l e ss h arsh i n this form of th e

,

chord .

4 7 0 Th e G e rm an sixth is mor e commo n th an e ith e r th e

.

I tal ian or Fr e n ch an d it will b e n e e dful to giv e a l arg e r n umb e r

,

of illustratio n s to show its use .

H A YDN C ti . re a on.

M OZ AR
T . Qu arte tt in Eb .

B EET HO EN
V . So n a ta, O p 5 7 . .

—
At ( a ) is th e comm o n e st r e solutio n of th e chord o u th e
s e co n d i n v e rsio n of th e to n ic though H ayd n h as first ch an ge d
,

th e chord to th e It al i an sixth ( Comp ar e Ex amp l e ( 5 )

shows th e s am e r e solutio n but with a fr e e dom —n o t to say l i c e n c e
.

—i n th e p art writi n g by n o m e an s usu a l with Mo z art an d which

,

we do n o t r e comm e n d for th e stud e n t s imit atio n Th e d ott e d

’
.
Ch ap . X V II ). 1 TS THEOR Y AN D PR A C TICE . 205

li n e s show th e progr e ssio n of th e s e p arat e p arts i n th e scor e Th e .

n e xt e x amp l e
()
5 shows th e r e solutio n of th e chord o n domi n an t

h armo n y— i n this c as e o n a domi n an t e l e v e n th th e two n ot e s of

th e augm e n t e d sixth mov e i n simil ar mot i o n Fb th e mi n or n i n th ,

of th e upp e r ge n e rator is writt e n as Eh an d mov e s i n co n s e cutive ,

fifths ( g 4 68 ) with th e b ass

,

47 1 In .t h e fo ll owi n g p ass age th e chord as is writt e n as if it

w e r e a domi n an t s e v e n th i n E flat .

B EET HO EN
V . Sym p h o n y i n D .

Its r e solutio n shows it to b e th e l ast i n ve rsio n of th e Ge rm an sixth

o n th e mi n or sixth of th e k e y of D In this k e y Al? is n o t a n ot e
.

its tru e n otatio n is G lj .

4 7 2 Th e comm e n c e m e n t of S chub e rt s fi n e so n g Am M e e re ’
.

gi ve s an e xc e l l e n t e x amp l e of th e first i n v e rsio n of this chord ,

r e solve d o n th e root positio n of th e to n ic .

S C HU B
E T R .
“
Am M e e re .
”

473 . p ass ag
Th e
e s ne xt to b e giv e n show som e oth e r re solu
ti o n s of this chord .

M A C IéEN Z IE . C l
o o m b a.
20 6 H A R MO NY : [C h ap . x vi r
.

B RA HM S .
“
Sch ic k l l ed
sa s i .

Th e first of th e s e p ass ag e s giv e s th e chord o n th e mi n or s e co n d of

G r e solve d o n th e chord of th e domi n an t s e v e n th th e upp e r n ote ,

of th e augm e n t e d sixth r e m ai n i n g to b e th e third of th e followi n g

chord At ( O) is th e l ast i n v e rsio n of th e chord ( comp ar e
.

r e solv e d o n th th e chord o n th e
mi n or sixth of i n st e ad of C D ) is
re solve d o n a sup e rto n ic s e v e n th .

simil ar th e augm e n t e d sixth b e i n g r e solv e d o n th e sup e rto n ic

,

chord ; but h e r e it is t ak e n abov e a domi n an t p e d al an d th e ,

mi n or n i n ths from th e g e n e rators are writt e n a s augm e n t e d

octav e s Th e r e al n ot atio n of th e chor d is of cours e

4 74 . S chum an n s music is fu l l of i n t e r e sti n g e xampl e s of thi s

’

chord . W s l ct
e e e a fe w typic al sp e cim e n s .

S C H U MA N N . No v ll
e e tte , Op . 21 , No 7 . .

S C H U MA NN . K re i sl e ri an a , O p . 1 6, N o .
Ch ap . X V II ] . [TS THEOR Y AND PR A C TI C E . 20 7

At ( a ) chord
th e is th e augm e n t e d sixth o n th e mi n or s e co n d
i n th e k e y of A Th e n otatio n is e vid e n t l y i n accurat e as B ; an d ,

Th e Ell is r e a ll y Fb
.

an n ot possib l y b e l o n g to th e s am e k e y
E l. c
an d th e r e solutio n of th e chord is u n usu al
.

b e i n g o n th e first
,

i n v e rsio n of th e subm e di an t tr iad Examp l e ( O) —in wh i ch to m ak e

.
,

th e progr e ssio n c l e ar e r th e d i stributio n of th e first chords b e tw e e n

,

th e two h an ds h as b e e n alt e r e d — i s an oth e r i ll ustratio n of fal s e

n ota tio n C fi an d G I
. ? c an n ot b e l o n g to th e s am e k e y Th e .

who l e p ass ag e is i n Bo an d th e C iti n th e s e co n d b ar is r e ally D17

,
.

Th e chord is th e s e co n d i n v e rs i o n of th e augm e n t e d s i xth o n

G b ( with a dimi n ish e d third ) r e solv e d o n th e root positio n of a
,

sup e rto n ic s e v e n th .

475 T h e. followi n g p a ss ag e

SC H U MA NN B u t Blatt O p 99 . n e e r, . .

is prob ably u n iqu e as co n t ai n i n g four chords of th e augm e n t e d sixth

,

i n as m an y co n s e cut i v e b ars Th e first two b ars are o n a doub l e

.

”
p e d al ( se e Ch apt e r Th e first chord of th e s e co n d b ar is th e
s e co n d i n v e r sio n of th e G e rm an sixth o n th e mi n or s e co n d of th e
k e y r e so l v e d o n a m i n or to n i c chord This is a v e ry rare r e so l u
.

tio n th e augm e n t e d sixth o n th e mi n or s e co n d of th e k e y wh e n ,

r e so l v e d o n a to n i c chord mostly r e so l v e s o n a m ajor chord

A n oth e r e xamp l e of its r e solut i o n o n a m i n or chord is s e e n at ( O )
.
,

4 65 . Th e third b ar of our pr e s e n t illustratio n shows th e l ast i n

v e rs i o n o f th e G e rm an s i xth r e so l v e d o n th e dom i n an t of C m i n or
4 7 3 at ( O ) th e fourth b ar g i v e s th e s e co n d i n v e rsio n of th e
, ,

as i n ,

s am e chord o n th e mi n or s e co n d of C m in or h e re r e solve d o n a ,

m ajo r chord ; an d th e fifth b ar co n t ai n s th e first i n v e rs i o n of th e

chord o n th e m i n or s e co n d of G mi n or th e mi n or n i n th of th e low e r
,

g e n e rator risi n g a chrom atic s e mito n e an d th e chord b e in g thus ,

r e so l v e d o n th e third i n v e rsio n of a domi n an t mi n or n i n th .

4 7 6 Th e thr e e forms of th e chord of th e augm e n t e d sixth

.

alr e ady e xpl ai n e d are by f ar th e most commo n but by n o m e an s ,

th e o n l y o n e s t o b e fou n d We giv e a fe w of th e rar e r forms

. .

H A YD N C ti . re a on.
20 8 H A R MONY : La m p . X V II .

‘V AG N E R . Tri s tan un d Is old e .

"

VE RD I . R e qui e m .
”

E PRO
. U T . O ve rture Ro k e b y.

At (a ) wi l l b e s e e n a ch ord i n which B L
T th e t h ird of th e low e r ,

g e n e rator is substitut e d for C th e s e v e n th of th e upp e r Th e

, ,
.

ch or d is th e first i n v e rsio n of An oth e r pos i t i o n of th e

s am e chor d is s e e n at ( O) At ( o) a b e autiful e ffe ct is obt ain e d by
.

th e substitutio n of th e m ajor for th e mi n or n i n th of th e u pp e r

ge n e rator Th e l ast e xampl e ( O ) shows th e chord o n th e mi n or
.
’

s e co n d of th e k e y with th e min or n i n th of th e lowe r g e n e rator

, ,

an d th e oct av e third an d mi n or thirt e e n th ( i n st e a d of th e s e v e n th )

, ,

of th e upp e r It m ay b e s aid i n g e n e ral t e rms th at an y combi n a

tio n of th e h armo n ics of th e two g e n e rators is possib l e for this
.

chord so lo n g as th e mi n or n in th o f th e low e r an d th e third of th e

,

upp e r ge n e rator are pre s e n t an d th at n o fals e r e l atio n is i n duc e d

,

b e tw e e n th e n ot e s e mploy e d .

477 . L ik oth e r fu n d am e n t al chords th e chord of th e aug

e ,

m e n te d sixth can b e fre e ly us e d for th e purpos e s of modul atio n .

As it can b e t ak e n i n e ith e r a m ajor or mi n or k e y o n e ith e r th e

mi n or sixth or mi n or s e co n d of th e sc al e it can e vid e n tly b e tak e n ,

i n an y o n e of fo ur k e ys an d quitt e d i n an y oth e r of th e s am e four

without an e n h armo n ic chan ge But it is al so l arg e ly availab l e
.

for e n h armo n ic modul atio n Wh e n thus e mploy e d th e upp e r n ot e

.
,

of th e augm e n t e d sixth b e in g e n h armo n ic al l y ch an ge d b e com e s a

, ,

mi n or s e v e n th of which th e low e r n ote of th e i n te rval is th e

,

ge n e rator .
Ch ap. X V II 1
. [Ts THEO R Y AND PR A C T1 C E .
9

This ch an g e e vid e n tly co n v e rts th e chord i n to a fu n d am e n tal

s e v e n th .

4 7 8 A littl e thought will show th e stud e n t th at it is o n ly th e

.

G e rm a n sixth th at can b e thus co n v e rt e d ; for th e Fr e n ch sixth

co n t ai n s a n ot e which will n o t b e a p art of a chord of th e s e v e n th .

at all ; whil e th e It ali an sixth wi l l b e impossibl e as a s e v e n th i n .

four p art h armo n y owi n g to th e doubli n g of th e third

-

,
.

4 7 9 This e n h armo n ic ch an ge of an augm e n t e d sixth to a

.

domi n an t s e ve n th an d vi ce ve rsa is mostly us e d wh e n a modu l a

, ,

t i o n is d e sire d to a k e y a s e mito n e up or down If for i n st an c e .

, ,

i n C th e chord of th e augm e n t e d sixth o n A Dis t ak e n an d th e F it

“
,
,

ch an ge d to G b th e chord b e com e s th e domi n an t s e v e n th in DI

, ) ,

an d can b e r e solv e d i n th at k e y It might also b e quitt e d as th e

.

sup e rto n ic s e v e n th of G b or th e to n ic s e v e n th of Ah but th e s e

, ,

r e solutio n s th e l att e r e sp e ci all y are s e ldom if e ve r to b e m e t with

, ,

Co n v e rs e ly if w e t ak e th e domi n an t s e v e n th i n th e k e y of C an d
, ,
}

ch an g e th e F to Ell th e chord b e com e s an augm e n t e d sixth i n

,

B m ajor or mi n or— possib l y e v e n i n F ifm ajor o r mi n or We

, ,
. .

sh all se e dir e ctly th at som e oth e r e n h armo n ic ch an g e s are possibl e ;

but th e abov e are by far th e most usu al .

4 8 0 W
. e sh all co n c l ud e this ch a pt e r with a fe w e x ampl e s of

e n h armo n ic modul atio n b y m e an s of this chord O ur first e xtract .

/

SC H UBER I ' ‘
. So n ata, O p . 1 64
.

illustrat e s wh at h as b e e n s aid i n th e l ast p aragraph At th e thir d .

an d fourth b ars is th e chord of th e domi n an t s e v e n th i n F m ajor .

In th e fifth b ar B l? is ch an g e d to A an d th e chord b e com e s th e

ll ,

l ast i n ve rsio n of th e Ge rman sixth in E m aj or i n which k e y it ,

is re solv e d at th e s e v e n th b ar .

4 81 O ur n e xt i l lustratio n will b e fou n d r ath e r more di fficult

.

to fo l l ow .
 BA C K
. Ch ro m ati c F an tasi a.
”

Th e first b ar of t his p ass ag e is cl e arly i n B b mi n or ; as th e n ot e

Fb i n th e b ass of th e s e co n d b ar is n o t i n th at k e y it is e vid e n t
,

th at th e r e is h e re an e n h armo n ic modul atio n th e chord b e i n g

,

writt e n i n th e n ot atio n of th e n e w k e y Th e chord in B b mi n or

.

w ill h av e E an d will b e th e l ast i n v e rsio n of th e G e rm an sixth

,b .

Th e modulatio n as prov e d by th e l ast h alf of th e s e co n d an d th e

,

first h alf of th e third b ar is to A b mi n or In this k e y th e chord

, .

c an n ot b e domi n an t b e caus e of th e G b n o r sup e rto n ic b e caus e of

, ,

th e D b it must th e r e for e b e th e l ast i n v e rsio n of th e to n ic mi n or

thirt e e n th.

4 8 2 Th e progr e ssio n of th e h armo n y i n th e fourth an d fifth

.

b ars is th e s am e as that j ust an alys e d Th e chord i n th e fourth

.

b ar is t ak e n as th e l as t i n v e rsio n of a G e rm an sixth in A flat ( th e

n ot atio n of thre e n ot e s b e i n g e n h armo n ic ally ch an g e d quitt d
) an d e ,

as th e l ast i n v e rsio n of a to n ic thirt e e n th i n F sh a rp mi n or which ,

is r e solv e d i n th e n e xt b ar o n th e domi n an t h armo n y of th at k e y .

At first sight th e chords m ark e d i n th e s e co n d an d fourth

b ars of this e xtract look lik e third i n v e rsio n s of domi n an t
s e v e n ths i n C b an d A ; but th e y can n ot b e so r e gard e d b e caus e ,

th e s e k e ys are n e ve r e stablish e d Th e chords i n qu e stio n must

.

th e r e for e b e tak e n i n th e ir r e l atio n to th e k e ys n e xt fo l lowi n g .

O n e of th e most b e autiful an d n ov e l h armo n ic p ro g re s

s io n s e v e r writt e n will b e s e e n i n our n e xt e x ampl e .

Dvo liAK . Spe ctre

’
s Bd ri e.
”
C h ap X V IIJ
. [Ts THEOR Y AN D PR A C TI CE . 21 1

This p ass ag e comm e n c e s i n C mi n or an d p ass e s r apidly to C b ,

m aj or wh e n c e by a simpl e but most u n e xp e ct e d e n harmo n ic

, , ,

c h an g e a r e turn is m ad e at o n c e to C
, b m ajor Th e chord is .

t ak e n as th e augm e n t e d sixth i n C b its n otatio n i n th at k e y b e ing ,

If th e chords in th e third an d fourth b ars b e writt e n i n B q m aj or '

( th e e n h armo n ic of C b
) e stud e n t wi l l follow th e prog r e ssion
th ,

mor e e asi l y as th e n o n ly o n e n ot e wi l l n e e d to b e ch an ge d for th e

,

k e y of C I t will b e a us e ful e x e rcis e for him to do th i s for him

.

s e l f ; w e sh all th e r e for e n o t do it for him In this p ass ag e w e se e .

th e co n v e rs e of th e modul atio n shown i n § 4 8 0 .

4 8 4 O ur l ast e x amp l e is chos e n to sho w th e stud e n t how to

.

o v e rcom e som e of th e di f ficulti e s arisi n g from i n corr e ct n ot atio n

i n th e e xtr e m e k e ys as w e ll as from i n compl e t e or m e re ly
, ,

s ugg e st e d h armo n i e s .

SC HU M A N N R m Op 8 N . o an z e , . 2 , O . 2.

Th e first chord b e i n g a chord of th e dimin ish e d s e ve n th can b e

, ,

( a s w e a lr e a dy k n ow i n a ny k e y,
W e look a t th e n e xt .

b ar to se e wh at k e y th e music go e s i n to an d w e fi n d C b mi n or , ,

c l e ar l y i n dicat e d by th e A B
it an d F x Th e fourth qu av e r of
,

th e b ar is an outli n e chor of th e augm e n t e d sixth i n its l ast i n

'

v e rsio n with th e dimi n ish e d third for this i n t e rv al occurs i n n o

, ,

o th e r chord Th e G x must b e of n e c e ssity a fal s e n otatio n for

.

A b e c aus e of th e Eh i n th e upp e r p art at th e b e gi n n i n g of th e

b
,

l ast b ar ; for n o chord which co n tai n s Eb as o n e of its n ot e s can

possibly also co n t ai n G x Th e chord at th e e n d of th e b ar is
.

th e r e for e th e augm e n t e d sixth A b Cit F x th e l ast n ot e is e n , ,

h armo n ically ch an ge d to G b th e ch an g e b e i n g e xc e ptio n ally

,

writt e n an d th e chord is l e ft as a to n ic mi n or thirt e e n th i n B

,

m aj or an d re solv e d o n th e domi n an t of th at k e y
, ,
Th e e n .

h armo n ic ch an ge is th e s am e as i n th e p ass ag e from B ach give n

i n § 4 8 1 an d th e G x w as e vid e n t l y writt e n by S chum an n i n st e ad
of A t] b e c aus e of th e n ot e r e solvi n g by ris e of a s e mito n e —as w e
h ave s o oft e n s e e n to b e th e cas e with th e mi n or n i n ths an d
thirt e e n ths .

4 8 5 Th e stud e n t will n o d oubt fi n d th e an alys e s just giv e n

.

som e wh at difficult to follow S uch p ass ag e s r e quire but th e y wi ll

.
,
21 2 HA R MO NY : [C h ap . XV II
.

c e rt ai n ly r e p ay care ful study I t must n o t b e suppos e d th at w e

,
.

h ave g i v e n all th e possibl e e x ampl e s of such modul atio n s This .

our sp ac e will n o t allow ; w e can o n ly give a fe w r e pr e s e n t ativ e

sp e cim e n s B e sid e s this th e r e sourc e s of art are n o t ye t e x
.
,

h an st e d ; n e w combin atio n s are co n st an tly b e i n g discove re d an d ,

it is c e rt ain th at wh e n e v e r such combi n atio n s are good th e y will ,

b e c ap abl e of a s atisfactory th e or e tical e xpl an atio n .

EX ER C ISES TO C H APTER X VI I .

f
v
‘
u n
)
0

m- v
,
'a

7
. .

6
m
6 E
4

16
m
6
—
g g
m
a
- u‘

D6
5
6 6
4 05 5 5 4
2

6 6 34 6 36 6 7
$4 2 5 4 z
Ch ap . XV II ]
. I TS THEOR Y AND P R E
A CTIC . 21 3

6 6 5 — 4 6 56 b6 6 5

( V I ) H ym n Tun e
. .

3
0
9
0
[

( V IL)

36 36 a:
"
6 6

a Se e 47 7
—
47 9.
 14 HA RM O NY: [Ch ap . x vrII
.

C H A PTER XVI I I .

TH E SO -

C A LL ED DIA TO N IC DISC O R DS .
”

Th e d e v e lopm e n t of h armo n y h as b e e n v e ry gradu al, an d

48 6 .

m an y of th e progr e ssio n s which h av e b e e n m e t with i n pr e c e di n g

ch apt e rs are of comp arative ly r e c e n t i n troductio n Th e e arli e st .

mod e rn music co n sist e d of co n cords o n ly ; an d discords , wh e n

first e mploy e d ( u n l e ss th e y w e r e p assi n g n ot e s ) w e r e always co n ,

si de re d to r e quir e Prep a ra ti on By th e pre p aratio n of a discord

.

is m e an t th e app e aran c e of th e disso n an t n ot e as a co n so n an c e i n

th e pr e c e di n g chord an d i n th e s am e voic e i n which it is to b e
,

h e ard as a disso n an c e .

4 8 7 But about th e b e gi n n i n g of th e 1 7 th c e n tury Cl audi o

.

Mo n t e v e rd e v e n tur e d to i n troduc e th e domi n an t s e v e n th i n to his

music without pre p aratio n Th e bold i n n ovatio n rais e d an outcry
.

i n his day just as th e h armo n ic e xp e rim e n ts of S chum an n an d

,

Wagn e r hav e do n e i n our o wn tim e s ; but it soo n b e gan to b e

r e alis e d that th e e ffe ct was good an d b e for e lo n g th e use of th e , ,

u n pre p ar e d domi n an t s e v e n th b e cam e g e n e ral It was prob ab l y .

n e arly a c e n tury l at e r b e for e an y o n e v e n tur e d to use an y oth e r

discord without pr e p aratio n B ach w h o an ticip at e d n e ar l y all

.
,

mod e rn h armo n ic progre ssio n s was o n e of th e first to use oth e r

,

chords of th e s e v e n th th an th at o n th e domi n an t i n this m an n e r ;

an d at th e pr e s e n t tim e it is allow e d to use an e sse n ti a l discord
y
th at is a discord i n which th e disso n an t n ot e is its e lf an e ss e n ti al
p art of th e cho rd—without pr e p aratio n
,

4 8 8 In ord e r th at th e e xp l an atio n s n o w to b e gi ve n m ay b e
.

cl e ar l y u n d e rstood it is v e ry import an t to r e mi n d th e stud e n t of

,

th e d i sti n ctio n m ad e i n th e foot n o te to 8 b tw e e n th e R o o t

5 e -

an d th e G e n e ra to r of a chord By th e l att e r t e rm is m e an t th at
o n e of th e th re e n ot e s i n a k e —to n ic domi n an t or sup rto n i c
.
'

y e ,

from wh i ch th e chord i s h armo n icall y d e ri ve d ; by th e word R oot

,

Is m e an t th e low e st of th e s e ri e s of thirds wh i ch h pp
a e n s a t th e
tim e to b e pr e s e n t i n th e chord S om e tim e s as for i n st an c e i n.
,
th e tr i ad o n th e dom i n an t th e root an d g e n e rator are th e s am e
,

but v e ry oft e n th e two n ot e s are diffe r e n t Thus i n th e k e y of .

,

C m ajor , th e di ato n ic tri ad on th e sup e rto n ic is d e rive d

from th e dom i n an t as its fifth s e ve n th an d m ajor n i n th
,

of th e chord but D is its roo t

,

h e re G Is th e g e n era to r .
Ch ap . XV III ) . [Ts THEORY AN D P R A C TI C E . 21 5

“
489 . By
t e rm di ato n ic discords are m e an t all discords
th e
which are i n accord an c e w i th th e k e y sig n atur e an d co n t ai n an y -

oth e r i n t e rv als from th e ir root th an a m ajor third p e rfe ct fifth an d , ,

mi n or s e v e n th which as we h av e alr e ady s e e n are th e ch aract e r

, , ,

i stic i n t e rva l s of a fu n d am e n t al discord For e xampl e if w e add .

,

a s e v e n th to th e sup e rto n ic tri ad giv e n abov e it will b e a di ato n i c ,

discord for though it co n t ai n s a p e rfe ct fifth an d m i n or s e ve n th

, , ,

i t do e s n o t co n t ai n a m ajor third S imil arly if w e add B u to th e .

,

to n ic chord of C w e sh all h av e a diato n ic discord with a m ajor

, ,

i n st e ad of a mi n or s e v e n th S om e th e oris t s c all such chords .

“ ”
s e co n d ary s e v e n ths to disti n guish th e m from th e domi n an t
,

s e ve n ths .

4 90 If w e pl ac e a s e v e n th i n accor d an c e with th e k e y sig n a

-

.
,

tur e abov e e ach of th e tri ads of th e m ajor k e y give n i n 7 5 w e

, ,

sh all obtai n a s e ri e s of di ato n ic s e v e n ths .

If th e stud e n t will e x ami n e th e fu n d am e n t al chor d of th e d omi

n an t show n i n § 6 7 h e wi l l s e e th at e ach of th e chords of th e
,

s e v e n th give n abov e is a p art of th at fu n d am e n t al chord

Th e to n i c seve n tlz is th e e l e ve n th m aj or thirt e e n th g e n e rator , , ,

an d third .

Th e supe rton i c se ve n tlz is th e fifth s e v e n th m aj or n i n th an d , , ,

e l e v e n th .

Th e m e ai a n t seve n tlz is th e m aj or thirt e e n th g e n e rator third

’
, , ,

an d fifth .

Th e sn Oa om i n a n t se ven tlz is th e s e v e n th m aj or n i n th e l e v e n th ,
’

, ,

an d m aj or thirt e e n th .

Th e dom i n a n t se z e n t/z is alre ady k n own It is o n ly d i ato n ic

'
.

i n th e s e n s e of co n t ai n i n g n o n ot e for e ign to th e k e y sig n atur e -

an d is n o t i n clud e d amo n g th e di ato n ic discords .

Th e sn Ome a i a n t se ve n th is th e m aj or n i n th e l e v e n th m aj or
’
, ,

thirt e e n th an d g e n e rator
,
.

Th e s e v e n th o n th e l e adi n g n ot e som e tim e s c all e d th e l e a di ng ,

se ve n tO is th e first i n v e rsio n of th e domi n an t m aj or n i n th without

, ,

th e g e n e rator .

4 91 Th e tri ads of th e mi n or k e y
. can b e simil arl
y
tr e at e d an d th e d i ato n ic s e v e n ths thus obtai n e d can e qu al ly b e
,

d e riv e d from th e fu n d am e n t al chord o n th e domi n an t with th e

m i n o r n i n th an d thirt e e n th Th e to n ic s e v e n th i n th e mi n or k e y
.

is fou n d in two

mi n or s e v e n th can o n ly b e us e d wh e n th e s e v e n th d e sc e n d s i n th e
 2 I6 H A MON
R Y: C
( h ap . XV III .

ne xt chord ; an d i n t h is form it 1 5 us e d to avoid an augm e n t e d

s e co n d an d must b e co n s i d e r e d as an arbitrary al t e rat i o n of th e
,

m ajor third of th e domi n an t to a mi n or third such as h as b e e n

s e e n i n 1 90 As al l th e oth e r d e rivatio n s are pre cis e l y th e s am e
,

as i n th e m aj or k e with th e substitutio n of m i n or for m aj or n i n ths

y ,

a n d thirt e e n ths it is n e e d l e ss to giv e th e l ist i n fu ll

, .

4 92 . Th e
old rul e for th e tre atm e n t of di ato n ic discords was
th at th e s e v e n th must b e pr e p ar e d an d th at th e chord
must r e solv e o n an oth e r chord th e root of which was a fourth
abov e its o wn Th e e xtracts giv e n i n pre vious chapt e rs will
.

furn i sh i l lustratio n s of this At § 2 0 2 ( O ) th e first chord of th e

.

s e co n d b ar is a di ato n ic s e v e n th th e root is B th e s e v e n th A is
pr e p ar e d i n th e pr e c e di n g chord an d is r e so l v e d o n th e third of
, ,

th e chord of E—a fourth abov e B

,

At ( a ) of g 2 0 8 is s e e n o n
.
’

,
th e third crotch e t of th e b ar th e s am e chord i n a mi n or k e
y Th e .

root of th e chord is B q ( th e g e n e rator is E ) ; th e s e v e n th A, ,

app e ars i n th e t e n or of th e pr e c e di n g chord an d th e di ato n ic
,

s e v e n th o n th e sup e rto n ic is r e solve d o n th e domi n an t th e root , ,

as b e f or e risi n g a fourth In th e e x amp l e at 3 0 1 th e s am e rul e
, .

is obs e rv e d H e r e th e sixth chord i n th e e xtract is a di ato n ic

.

s e v e n th o n th e subm e di an t ; th e s e v e n th is pr e p ar e d an d th e
chord is r e solve d o n a sup e rto n ic s e v e n th th e root of which is th e
,

,
fourth abov e A .

4 93 . Th e followi n g p ass age

H A ND L
E . J o sh ua.

shows a s e qu e n c e 1 37
) of di ato n ic s e v e n ths i n th e ir third
i n v e rsio n e ach b e i n g r e solve d ( l ik e th e third i n v e rsio n of th e
,

dom in an t s e v e n th ) o n th e first i n ve rsio n of th e chord whos e root

is a fourth abov e th e ir o wn Th e first chord m ark e d. is th e
third i n v e rsio n of th e sup e rto n ic ( th e s e v e n th b e i n g pr e p ar e d i n
th e pre c e di n g chord ) r e solv e d o n th e first i n v e rs io n of th e
Ch ap . XV III ) . [Ts THEOR Y AN D P RA C TI CE . 2 r7

domi n an t th e to n ic s e ve n th ,

r e so l v e d o n th e dom i n an t ; an d so o n to
th e e n d of th e b e i n g th e third i n v e rsio n
of th e d th e r e for e a fu n d am e n t al chord .

4 94 In a progr e ss i o n of this ki n d a s e qu e n c e of s e v e n ths

.
,

is oft e n m e t with as i n th e e xampl e n o w to b e giv e n

,

M OZ AR LT. i tany i n El) .

7 — 7 7 7 7 7

H e r e is fin e
s e qu e n c e of s e v e n ths comm e n ci n g at th e s e co n d
a ,

b ar, th e third of e ach s e v e n th r e m ai n i n g to b e th e s e v e n th of th e

n e xt chord an d th e s e v e n th of e a ch chord d e sc e n d i n g a n ot e to
,

b e th e th i rd of th e fol l owi n g Th e roots i n e v e ry i n st an c e r i s e a

.

fourth .

4 95 H avi n g giv e n e x ampl e s of th e obs e rvan c e of th e o l d rul e

.

r e fe rre d to i n § 4 92 w e sh all n o w show c as e s i n which it was

In g 3 1 3 at ( O) wi l l b e
,

d i sr e gard e d e v e n by th e o l d m ast e rs
, .

s e e n a diato n ic chord of th e s e v e n th o n th e subdomi n an t H e r e .

th e s e v e n th is duly pr e p ar e d but i n st e ad of b e i n g re solv e d o n a

chord of th e l e adi n g n ot e ( w hich would b e th e fourth above th e
subdomi n an t ) it is re so l v e d o n th e first i n v e rs i o n of a sup e rto n ic
,

mi n or n i n th Agai n i n th e e x ampl e at 3 6 1 th e first chord of

.
, ,

th e third b ar is a di ato n ic n i n th o n th e m e di an t of A m i n or ( i n
r e ality as was th e re show n a l ast i n v e rsio n of a domi n an t mi n or
, ,

th irt e e n th ) an d it is r e solve d n o t accordi n g to th e law of di ato n ic

, , ,

d iscords o n th e subm e di an t but o n th e to n ic

,
Agai n at § 4 3 2
,
.
, ,

e x ampl e ( a ) is a subdomi n an t mi n or s e v e n th n o t pr e p ar e d an d

r e so l v e d o n a domi n an t chord wh i le at g4 3 2 ( O ) is a subdomi n an t

, ,

m ajor s e v e n th h e re pre p are d but r e so l v e d al so o n a domi n an t

, ,

chord th e root of which is a s e co n d an d n o t a fourth abov e th e

, ,

root of th e discord .

4 96 Th e s e e x ampl e s show th at i n m an y c as e s th e strict rul e

.

w as n o t obs e rv e d e v e n by th e old m ast e rs Wh e re disre gard e d .

It app e ars to h av e b e e n th at th e chords w e r e look e d at accord i n g

to th e ir tru e d e rivatio n which h as b e e n s e e n to b e as p art of th e

,

domi n an t h armo n y A fe w mor e e xamp l e s m ay b e give n

. .

( a) J . S BA C K
. .
“
0 Ew i gk e i t, d u Do n n e rw o rt .
‘
21 8 H A R MONY Lch ap X V III
. .

J . S . B AC H . Ich arme r M e n sch ,

li h
i ch S n de nk n e c t ”
.

At ( )a is s e e n th e chord of th e m e di an t s e v e n th with th e s e v e n th ,

pre p ar e d r e so l vi n g o n th e subm e dian t s e v e n th H e r e th e root

,
.

ris e s a fourth accordi n g to rul e ; but th e subm e di an t s e v e n th is

,

re solve d o n th e first i n v e rsio n of th e tri ad o n th e l e adi n g n ot e th e ,

*
root risi n g o n ly a s e co n d i n st e ad of a fourth At ( O) th e sup e r
. .

to n ic s e v e n th is t ak e n without pre p aratio n an d r e solv e d o n th e ,

s e co n d i n v e rsio n of th e to n ic Th e chord . at th e e n d of th e

first b ar of ( e ) is a p ar all e l cas e to th e s e co n d at ( a ) but i n th e

third b ar of this p ass ag e is a m e dian t s e v e n th with an orn am e n tal
r e solutio n th e s e v e n th goi n g to th e fifth of th e chord
,
2 0 2)

b e fore th e ch an g e of h armo n y an d th e chord its e lf b e i n g r e solve d

,

o n th e first i n v e rsio n of a subdomi n an t tri ad .

4 9 7 Th e s e e xampl e s which might b e i n cr e as e d to an y e xt e n t

.
, ,

show th at e v e n i n th e l ast c e n tury th e old l aw as to th e pre p ara

tio n an d progre ssio n of th e s e chords was oft e n disr e gard e d ; an d
it would b e absurd to fe tt e r ours e lv e s n o w by an y su ch rul e L e t .

it th e r e for e b e cl e arly s ai d th at a ny esse n ti a l a i seora ca n Oe tak e n ’ ’

w i t/zo n t prep a rati on N o n e th e l e ss can we d e duc e from th e

.

e x ampl e s h e r e giv e n som e g e n e ral pri n cipl e s for our gu id an c e i n

th e tr e atm e n t of th e s e discords .

4 98 I t h as b e e n s e v e r al t i m e s s aid i n sp e aki n g of th e fu n d a
.
,

m e n t al discords i n pr e c e di n g ch apt e rs th at accou n t h as o n l y to b e

,

tak e n of such n ot e s as are actu al ly pre s e n t i n th e chords We .

adopt th e s am e cours e i n d e ali n g w i th th e s e di ato n ic discords ,

which as h as b e e n s e e n are p arts of fu n d am e n t al domi n an t

, ,

h armo n y For e x ampl e i n th e chords shown i n § 4 90 th e upp e r

.
, ,

n ot e of e ach chord is th e s e v e n th abov e th e low e st n ot e which i s ,

i n e ach c as e th e ro o t an d th e s e v e n th of e ach chord should fall

t t o F co d r d
In h i s e x pl an a i n th e is n si e e o ow v r fi r t
as a susp e n si n If, h th e
q vr r rd d rto c v t w t o t fi t ol d r l
e e . s ,

ua e o f th e b ar b e e g a ni se e n h i h u th e f h , th e u e
t c or d r olv
a s a su p e
t ll rok fir t v r o
e
is s i b e n , as h i s h e s o n th e tr l d
s i n e si n o f a i a d o n th e e a i n g
ot ll g t r d t d r o rt
es
n e , th e 1 00 fa i n a hi i n s e a o f i si n g a f u h .
C ha p . X V III ). 1 TS THEO R Y AND PR A C TI CE . 21
9

one d e gr e e This rul e lik e all oth e r rul e s give n i n this volum e
.
, ,

i s fou n d e d upo n th e practic e of th e b e st m ast e rs an d is illustrat e d ,

in all th e e xampl e s w e h ave quot e d It is also ge n e rally advis able

.

if th e s e v e n th of th e s e chords h as app e are d i n th e pr e c e di n g

chord to p rep a re i t — th at is to say to r e t ai n it i n th e s am e vo i c e
, , ,

i n which it first app e ar e d ( Comp ar e . It wi l l also b e v e ry

oft e n e xp e di e n t to follow such a chord accordi n g to th e old rul e , ,

by an oth e r chord th e root of which is a fourth abov e its o wn

,
.

4 99 D i ato n ic n i n ths are much rar e r th an di ato n ic s e v e n ths

.
,

but are tr e at e d i n th e s am e m an n e r th e n i n th falli n g o n e d e gr e e

, ,

an d th e root g e n e r ally risi n g a fourth We give o n e e xampl e

. .

C H ERU B I N I . M ass i n F .

EX ER C ISES on C H APTER XVIII .

( L ) H ymn Tun e .

II ) . H ym n Tun e .
2 20 A R MO
H NY : [Ch ap . XV III
.

( V ) H ym n Tun e
. .
C ha p X IX ]
. I TS THEORY AND PR A C T1 C E . 221

C H A PTE R X IX .

S U SPE N S IO N S .

With xc e ptio n of th e aux i li ary n ot e s e xp l ai n e d i n

th e e
5 00 .

Ch apt e r al l th e d i scords hith e rto tr e at e d of h av e b e e n

discords — th at is to say d i scords i n which th e disso n an t
n ot e s h av e b e e n e ss e n ti al p arts of th e h armo n y But th e r e is a .

large an d import an t c l ass of discords i n which th e d i sso n an t n ot e s

are u n e ss e n t i al to th e chord an d i n fact do n o t b e lo n g to it at al l ,

but are m e r e l y h e l d o n from th e pr e c e di n g chord S uch d i scords .

are t e rm e d SU SPEN S IO N S .

A susp e n sio n m ay b e v e ry Simply d e fi n e d as a n ote of

5 01 .

o n e efi o ra l ze l a o ve r a n o t/ f fi i elz i t fo rm s n o pa rt Th e
’ ’
ze r O w .

s ou n di n g of such a n ot e as a n ot e of a chord is c al l e d th e pre

a ra l i on of th e susp e n sio n ( comp ar e th e ho l d i n g of th e
p
n ot e ov e r th e followi n g chord to which i t do e s n o t b e lo n g is th e ,

s usp e n si o n its e lf ; an d th e ultim at e progr e ssio n of th e susp e n d e d

,

n ot e to its p l ac e i n th e chord is c all e d its re sol uti o n

’
*
.

At first s i ght a susp e n sio n wou l d s e e m to h av e co n sid e r

5 02 .

abl e r e s e mbl an c e to th e pr e p ar e d di ato n ic discords spok e n of i n

th e l ast ch apt e r ; but it d i ffe rs from th e m i n two v e ry import an t

re sp e cts In th e first pl ac e a pre p are d di ato n ic discord is al ways
.

an e ss e n ti al n ot e of th e chord an d a susp e n s i o n n e v e r is ; an d , ,

s e co n d l y a d iato n ic discord m ay b e us e d o n an y p art of a b ar

, ,

whi l e a susp e n sio n can o n ly b e i n troduc e d o n an acc e n t e d b e at

th e first or third b e at of a b ar of commo n t i m e ( or if th e p ass age ,

b e In qu av e rs o n th e first h alf of e ach crotch e t ) or o n th e first or

, ,

se co n d b e at of th e b ar i n trip l e tim e .

T h e g e n e ral rul e s gov e r n i n g th e tr e atm e n t of susp e n sio n s

5 03 .

are e xtr e m e ly simpl e It will b e co n v e n i e n t first to e n u n ci at e

.

th e m as c l e ar l y as possibl e an d th e n to giv e e xampl e s e n forci n g

,

th e rul e s from th e works of th e gr e at m ast e rs .

I A ot e of o n e chord m ay b e susp e n d e d ov e r th e
5 04 . n y n .

fol l owi n g chord provid e d th at it is abl e to mov e by st e p of a

,

s e co n d upward or down ward to o n e of th e n ot e s of th at chord .

For e xampl e
v d tly
Ei sus pe n s i o c ot b p r p r d by p assi n g ot fo r th t
o ld p r c d i g ch ord
en a n an n e e a e a n e,
ot
a
w u n ot be a n e o f th e e e n .
222 HA R MON Y [Chap . X IX
.

at ( )a th e ofDt h e first chord is h e ld ov e r th e chord of C an d

move s dow n by st e p to th e octav e of th e root an d ( O ) It u s e s by
,

st e p to th e third of th e chord But at ( C) th e r e is n o susp e n s i o n

.

b e c au s e th e D is a n ot e of th e s e co n d chord an d mov e s by l e ap ,

of a third b e sid e s which a susp e n sio n can n ot for m a p art of th e

chor d ove r which it is h e ld .

5 05 .I I T.h e pr e p a ratio n of a susp e n sio n

( th at Is th e ,

sou n di n g i n th e pr e c e di n g chord of a n ot e to b e susp e n d e d ) must

b e i n th e s am e voic e an d m ay n o t b e o n a stro n g e r acc e n t th an
,

th e susp e n sio n its e lf Thus if we alt e r th e positio n of th e b ars i n

.
,

a an d O of th e abov e e x ampl e
( ) () ,

th ep ass age is faulty b e caus e th e susp e n sio n is pr e p ar e d o n th e

,

first b e at of th e b ar an d app e ars o n th e s e co n d It is how e v e r

, .
, ,
possibl e for th e pre p aratio n also to b e o n a stro n g b e at

5 06I II Th e susp e n sio n must always b e o n an acc e n t e d

. .

b e at of a b ar th e susp e n d e d n ot e m ay b e e ith e r ti e d or r e p e at e d
an d th e r e sol utio n of th e susp e n sio n should b e o n a l e ss stro n gly

acc e n t e d b e at th an th e susp e n sio n its e lf .

5 07 IV If th e susp e n sio n b e ti e d to its pr e p aratio n th e

. . (

latt e r should b e of at l e ast e qu al l e n gth with th e susp e n sio n it

m ay b e lo n g e r but it should n o t b e short e r
, Wh e n th e sus
p e n d e d n ot e is sou n d e d agai n this rul e is n o t so strictly obs e rv e d ;
.

,
e g
.

( a) H A ND LE . Samso n .

H e r e th e B flat i n th e s e co n d chord is n o t a p art of th e domi n an t

tri ad ; n e ith e r h ave w e h e r e a chord of th e e l e v e n th for that ,

chord is n o t us e d without th e s e v e n th Th e n ot e B i s
Ch ap . X IX .
1 [Ts THEOR Y AND PR A C TICE . 2 23

th e r e fore a susp e n sio n of th e v al u e of a dott e d mi n im ; but its

pre p aratio n is o n ly a crotch e t O cc asio n al e xc e ptio n s from this
.

rul e are to b e fou n d as i n th e followi n g p ass ag e

,

B EET HO EN
V . M ass in D
.

wh e r e a susp e n d e d crotch e t is pr e p ar e d by a qu av e r but th e ,

stud e n t is advis e d to adh e r e strict l y to th e rul e h e r e g iv e n .

5 8 V Th e n ot e o n which a susp e n sio n r e so l v e s m ay b e

0 . .

sou n d e d at a dist an c e of at l e ast an octav e b e low th e susp e n sio n

but should n o t b e h e ard abov e it e xc e pti n g som e tim e s i n th e ,

susp e n sio n of a whol e chord as w e sh all se e l at e r wh e n al l th e

, ,

p arts move by st e p of a s e co n d 5 51 Th i s e xc e pt i o n is
i l lustrat e d at e x ampl e ( O) abov e wh e r e D is h e ard abov e its sus
,

p e n sio n E all th e p arts movi n g by st e p

, .

5 9
0 VI
. As a susp .e n s i o n is o n l y a t e mporary substitut e for
th e h armo n y n ot e which fo l lows it a progr e ssio n which would b e ,

i n corre ct without a susp e n sio n is n o t j ustifi e d th e re by .

For e xampl e ,

th e susp e n sio n ( a) i n volv e s th e s am e co n s e cutive oct ave s as are

s e e n at ( t ) an d ( O ) th e s am e co n s e cutiv e fifths as at Th i s
rul e howe v e r is n o t always stri ct l y obs e rv e d by th e o l d m ast e rs
, ,

i n th e c as e of fifths wh e r e th e progr e ssio n is l e ss u n p l e asi n g th an

,

with th e oct av e s .

H A YDN C ti . re a on.
’

fifths b e tw e e n th e two upp e r p arts but the e ffe ct of th e p ass age is

quit e u n obj e ction abl e .

5 1 0 VI I A susp e n sio n always r e solv e s o n th e chord ove r

. .

which it is susp e n d e d ; an d it is by n o m e an s u n usu al for th e

2 24 H A R MONY fC h ap . X IX
.

chord to chan g e its positio n on th e r e solutio n of th e su sp e n sio n ,

as i n th e fo ll owi n g e x amp l e

BA C K . M a tth aus Pas s io n .

H e re th e G i n th e l ast b ar of th e alto is a n i n th susp e n d e d ov e r

th e root positio n of th e chord of F mi n or At th e m ome n t of
.

r e so l utio n th e b ass go e s to A flat an d th e susp e n sio n is r e solv e d

,

Th e stud e n t will h ard l y

,

o n th e first i n v e rsio n of th e s am e chord .

n e e d to b e r e mi n d e d th at G an d B i n th e b ass are p assi n g n ot e s .

But if th e root of th e chord chan ge s at th e mom e n t of r e solutio n ,

th e pr e c e di n g chord is n o t r e al l y a susp e n sio n .

H AYDN . Cr e a ti o n .
”

M EN DELs so n N . St Pau
. l
.
“

Th e E i n th e s e co n d b ar of e xampl e ( O) would b e a susp e n sio n of

th e oct av e by th e n i n th if th e s e co n d chord of th at b ar w e r e th e
,

chord of D ; th e fact th at th e root ch an ge s to B prov e s th at th e

first chord is a di ato n ic n i n th S imilarly at (o) th e B b i n th e
. .

t e n or of th e chord c an n ot b e a susp e n sio n of th e n i n th ; for th e ~

root ris e s a fourth to D b wh e n th e B r e solv e s ; w e h ave h e re an

,

i n compl e t e chord of th e diato n ic n i n th with o n ly root third an d

, , ,

n i n th pr e s e n t. A som e wh at diffe re n t e xampl e will b e s e e n at 1 9 1

a l to of th e s e co n d chord looks lik e a fourth
( )
a . T h e E i n th e

susp e n di n g th e third of B b ut th e r e solutio n o n a diffe re n t root

,

shows th at it is r e ally an i n compl e t e chord of th e domi n an t

e l e v e n th . Wh e n th e n i n th an d e l e v e n th r e solv e o n th e ir o wn
roots:th e y are v e ry rare ly fou n d without th e s e v e n th .

5 1 1. It w a s s aid just n ow
5 )
0 4 th at an
y n ot e of a chor d can

b e susp e n d e d ov e r th e n e xt chord provi d e d it can mov e by st e p

,
Ch ap . X IX .
j [Ts THEOR Y AND PR A C TI CE . 225

to a n ot e of th at chord . But to this ge n e ral rul e th are are c e rt ain

practical limitatio n s .

At root is susp e n d e d by th e n i n th an d at ( O) by th e s e v e n th
th e
at th e third of th e chord is susp e n d e d by th e fourth an d ,

by th e s e co n d At ( e ) th e fifth is susp e n d e d by th e sixth

.
,

an d at ( f by th e fourth
) Th e s e l ast susp
. e n sio n s are v e ry s e ldom

us e d th at at (e ) is ambiguous as th e first chord i n th e b ar m ay ,

b e r e gard e d as a chord of th e thirt e e n th with o n ly g e n e rator third

an d thirt e e n th pr e s e n t ( g
, ,

r e solvi n g upo n its o wn ge n e rator .

It m ay b e re m ark e d h e re th at e xc e pti n g th e susp e n sio n of th e

l e adi n g n ot e ov e r th e to n ic chord as at ( O ) th e susp e n sio n s
,

, ,

r e solvi n g upwards are much rare r than thos e r e solvi n g down

wards .

5 1 2 T h e. pr a ctic al limit a tio n s just r e fe rr e d to are s e e n as soo n

as w e try to susp e n d an y of th e high e r n ot e s of a fu n d am e n t al

chord Th e s e v e n th c an n ot b e d e l ay e d by a susp e n sio n b e caus e

.
,

th e n ot e b e low it is th e thirt e e n th from its g e n e rator an d th e n ot e ,

abov e it is th e octav e ; simi l arly th e n ot e s abov e an d b e low th e

n i n th e l e v e n th an d thirt e en th are all n ot e s of th e s am e h armo n y ;

, ,

an d a susp e n sio n h as b e e n d e fi n e d as a n ot e h e ld ov e r a chord If

w /zi e/z i tfo rm s n o p a rt In practic e th e r e fore th e o n ly avail abl e

.
,

susp e n sio n s are thos e giv e n above but th e s e m ay b e t ak e n i n an y

p art of th e h armo n y and e v e n as w e sh all se e pre s e n tly i n two
, , ,

or thre e p arts at o n c e .

T h figuri n g of susp e n sio n s will giv e th e stud e n t littl e

5 3
1 e.

troubl e if h e wi ll b e ar i n m i n d th e oft e n r e p e at e d rul e th at th e

,

figur e s simp l y i n dic at e th e distan c e of c e rt ai n of th e upp e r n ot e s

fro m th e b ass But i n asmuch as som e susp e n sio n s b e ar th e s am e
.
,

figuri n g as som e of th e chords which h av e alre ady b e e n studi e d it ,

is v e ry import an t to k n ow how to disti n guish b e tw e e n a susp e n s i o n

an d a chord which Is figur e d In th e s am e way .

5 41 If w e look
. a t e x ampl e ( )
a of 5 1 1 w e sh all se e th a t it,
Is

figur e d lik e a chord of th e n i n th But if this w e re re ally a cho rd .

of th e n in th r e solve d o n its o wn g e n e rator th e s e v e n th would b e ,

pre s e n t or if n o t wou l d c e rt ai n ly b e i n troduc e d wh e n th e n i n th

, ,

r e solv e d 3 2 T h e r e solutio n a n d th e form of th e chord

th e r e for e prov e th e 9 to b e h e r e a susp e n sio n .

If w t k th i v rsio n s of th e s am e chord still r e t ai n i n g

5 51 e . a e e n e ,

th e susp e n sio n ,

0
2 26 H A R MONY : r
e h ap . X IX .

we sh all fi n d th at th e first i n v e rsio n (a ) is figure d lik e a chord of

th e s e v e n th But if it w e re a fu n d am e n t al s e v e n th it would h av e
.

a m aj or n o t a mi n or third an d it could n o t possibly r e solv e o n

'

, ,

th e chord of C If it w e re a di ato n ic s e v e n th ( se e Ch
. it .

would r e solve o n a root a fourth or a s e co n d abov e its o wn Th e , .

r e solutio n prov e s it to b e a susp e n sio n Wh e n e v e r th e figure 7 is .

fo l lowe d by 6 o n th e s am e b ass n ot e 7 i n dicat e s a susp e n sio n of ,

th e sixth n o t a chord of th e s e v e n th
,
Th e re is n o mist ak e which .

stud e n ts are more ap t to m ak e th an to co n fou n d th e two

m e an i n gs of th e figure 7 Wh e n e v e r it is a susp e n sio n of 6
.

( which impli es ) O
g
seve n tl z m ust n ot Oe aeeo m a n i ea O
fif ;
l
’
t e , p y tO e t z

b e caus e th e fifth is n o t a n ot e of th e chord of th e Sixth ov e r which

th e s e v e n th is susp e n d e d .

5 1 6 T
. h e s am e r e aso n i n g appli e s to e x ampl e s O
( ) and
()t .

3
Th e an d
4
figure s are th e s am e as for th e first an d third i n v e r
2

sio n s of a chord of a s e v e n th ; but th e r e solutio n in ea ch c as e

6
shows th at we h av e h e r e o n ly susp e n sio n s . If th e at O
( ) we re
th e first i n v e rsio n of a s e v e n th it could n o t r e solve o n its o wn ,

b ass n ot e but would r e solv e o n th e chord of A mi n or ; as would

,

also
g
th e ( ) w e r e it r at
e ally th e l
C ast i n v e rsio n of a s e v e n th . As
th e chords are o n ly susp e n sio n s th e must co n t ai n n o third , , an d
5
th e
2 no sixth ; th e s e n ot e s b e i n g no p art of th e h armo n y on

which th e
susp e n sio n i s r e solv e d .

5 7
1 It
. h a s b e e n s aid abov e th at th e r e solutio n of a
susp e n sio n should n o t g e n e rally app e ar abov e it In ord e r to .

()
avoid this th e l e adi n g n ot e at C l e aps upwards to th e third of th e
,

n e xt chord In this c as e how e v e r it would b e possibl e ( though

.
, ,

l e ss usu al ) for th e r e so l utio n to app e ar abov e th e susp e n sio n as ,

at S uch a progre ssio n is allowe d wh e n all th e p arts move as ,

7
h e r e by st e p
, . This susp e n sio n woul d b e figure d 4, an d th e re is
2

no d an ge r h e r e of co n fou n di n g it with an i n v e rsio n of a s e v e n th .

5 8 For th e s ak e of compl e t e n e ss w e n o w giv e th e i n v e rsio n s

1 .
,

of th e susp e n d e d fourth shown in (e) 5 1 1 with th e figuri n g of ,

Ch ap . X IX .
) [Ts THEORY AND PR A C TI CE . 227

ea ch Th e susp e n d e d fourth is disti n guish e d from

. a chord of th e
e l e ve n th by th e abs e n c e of th e s e v e n th
(5

Aft e r wh at h as alr e ady b e e n s aid th e stud e n t will h av e n o diffi

,

culty i n u n d e rst an di n g th e s e i n ve rsio n s .

5 1 9 L i k e th e chord of th e s e v e n th
. a susp e n sio n can
h av e an orn am e n t al r e solutio n This is e ffe ct e d by givi n g th e
.

susp e n d e d n ot e o n ly h al f its prop e r l e n gth an d i n t e rposi n g b e ,

twe e n i t an d th e n ot e of its r e solutio n e ith e r a n ot e of th e chord

tak e n by st e p or l e ap ,

or n ot e s of short e r valu e which m ay b e e ith e r h armo n y n ot e s or

,

a mixtur e of th e s e with auxili a ry n ot e s th e l att e r b e i n g of cours e

,

subj e ct to th e rul e s giv e n i n Chapt e r X I .

Th e e r solutio n s at ( )
a an d O
( ) ar e v e ry commo n ; th at at ( o) is
rar e r an d l e ss advis abl e In e xamp l e ( O) it must b e r e m ark e d
,
.

th at although th e susp e n sio n t ake s th e n ot e of its r e solutio n ,

C o n th e s e co n d crotch e t of th e b ar this is n o t cou n t e d as its

, ,

a ctu a l r e solutio n b e ca us e ,
it do e s n o t r e m ai n th e r e If a ft e r .

d e sce n di n g to C we h ad r e turn e d to D for th e s e co n d qu ave r ,

th e progr e ssio n wou l d h a v e b e e n mo n oto n ous a n d w e a k .

5 20 O cc asio n a ll y i n th e c a s e of a n o rn a m e n ta l r e so l u ti o n of

W l n l y of
.

a susp en sio n th e pr e p a r a tio n of t h e susp e n s i o n i l b e o

,

th e s a m e l en gth a s th e susp e n sio n without its or n a m e n

t a t i o n .

Though e xamp l e s of this are n o t i n fr e qu e n t th e m e thod 1 5 n o t ,

’
r e comm e n d e d for th e stud e n t s imit atio n .

5 2 1 W e sh. all no w giv e a s e ri e s of e x a mpl e s illustr a ti n g th e

tre atm e n t of susp e n sio n s by th e gr e at m ast e rs O ur first e xtract .

wi ll b e a w e l l k n own p ass age from th e M e ssi ah

- .
2 28 HA R MO N Y ( ch ap . X IX

H A ND L E . M e ss iah .

6 8 7 4 3 6 5

We h ave h e r e som e of th e most fr e qu e n tly us e d susp e n sio n s At .

th e first crotch e t of th e b ar is 4 3 at th e s e co n d an d third 7 6

, ,

first i n v e rsio n of th e susp e n sio n 9 Th e r e is n o sus

( th e
p e n sio n at th e l ast crotch e t of th e first b ar b e caus e th e qu av e r C
,

is a n ot e of th e h armo n y Th e s e co n d crotch e t of th e s e co n d
.

b ar shows th e som e wh at r ar e an d always ambiguous 5 1 1 )

susp e n sio n 6 5 .

O ur n e xt illustratio n s
5 22
.

S C H U BER T R mu d . o sa n e .

BA C H . Or g Fg
an u ue in C mi n o r.

show th e n i n th susp e n di n g th e octav e At ( a) th e oct ave is th e

.

root of th e ch ord at th e l ast b ar of ( O) it is th e third of th e chord

th e 9 is th e r e for e accomp an i e d by 6 an d w e se e h e r e as at
, 5 1 8 ,

first i n v e rsio n of th e susp e n d e d fourth T h e s e co n d b ar

( )
a ,
th e .

of this e xtract shows th e l ast i n v e rsio n of th e s am e susp e n sio n

( comp ar e (e) ,

5 3
2 . W e sh a ll n o w se e th e two susp e n sio n s 9 8 an d 4 3 i n

th e ir s e co n d i n v e rsio ns
.

M END ELSSOH N St P ul . . a .
Ch ap . X IX .
) [Ts THEORY AND PR A C T1 C E . 2 29

B HO
EET VE N . M ass i n D .

4 8

Th e chord x at ( a ) is th e s e co n d i n ve rsio n of 9 8 as will b e s e e n

"

by r e fe r e n c e to ( O ) 5 1 5 At ( O) th e third crotch e t is th e s e co n d
,

i v e rsio of 4 3 comp ar e g5 1 8 ( O ) Th e l ast b ar of this e xamp l e

n n — .

also shows th e r ar e first i n v e rsio n of th e susp e n sio n 6 5 .

I n th e fo ll owi n g e x ampl e
5 24 .
,

M END ELSSOHN St P ul . . a .
"

is s e e n i n th e s e co n d b ar th e l ast i n v e rsio n of th e susp e n sio n 9 8 ,

th e third an d fifth of th e chord b e i n g at a dist an c e r e sp e ctiv e l y of

th e s e co n d an d fourth abov e th e n i n th Th e root pos i tio n of th e
.

susp e n sio n 4 3 wi l l al so b e s e e n i n th e last b ar .

W n o w giv e e x amp l e s of susp e n sio n s r e solvi n g upwards

5 5
2 e .

S om e th e orists cal l th e s e R e tardatio n s but th e re s e e ms n o

.

r e aso n for givi n g a diffe r e n t n am e to th e m By far th e most .

commo n upward susp e sio is 7 n n 8 — th e susp e n sio n of th e root of a

chord by th e n ot e b e l ow it .

BAC K . Or g an Pre ld
u e in E m in o r .

B HOEET V E N .
’

So n ata, O p . 1 0, N0 .
23 0 H A R MONY : [C h ap . X IX .

Th e first of th e s e p ass age s is too simpl e to r e quire e xpl an atio n

Exampl e ( O) is i n t e r e sti n g n o t o n ly for th e 7 8 i n th e s e co n d b ar
.

but b e caus e i n th e first b ar w e se e th e s e co n d i n ve rsio n of a

dom in an t e l e v e n th looki n g lik e a susp e n d e d fourth
, n ot ,

as b e for e i n a tri ad but i n a chord of th e domi n an t s e v e n th

, Th e
last b ar also co n t ain s a v e ry r are i n v e rsio n — 9 8 as th e s e co n d
.

i n v e rsio n of 6 5 .

5 2
. 6 W e h ardly e v e r fi nd a
7 8 susp e n sio n e xc e pt o n th e
to n ic of th e k e y Th e fo l lowi n g p ass ag e th e r e for e d e s e rv e s
.
, ,
n otin g for its rarity .

WAG NER Di M i t i g . e e s e rs n e r.
”

H e re th e subm e dian t of th e k e y is susp e n d e d by th e d omi n an t .

5 2 7
. T h e two e x ampl e s n e xt to b e giv e n show th e first in
v e rsio n of th e susp e n sio n 7 8 .

( a) BAC K . G o tt d e r V a te r w o h n
'
un s b eI .

7 6 9 8 7 6 5 6 9 8 6 —
8 7
6 5 4 4 3

BAC K .
“
W a ch e t a uf ruft un s

Th e first of th e s e e xtracts is v e ry rich i n susp e n sio n s th e stu d e n t

h as alr e ady m e t w i th al l of th e m e xc e pti n g th e o n e m ark e d
This at first sight looks like th e tri ad o n th e m e di an t ; th at it is
n o t so is prov e d by th e pr e c e di n g chord ; for a s e co n d i n v e rsio n

of a dom i n an t s e v e n th n e ve r r e solve s o n a m e dian t chord ( se e

'

Ch apt e r Th e C is th e r e fore th e susp e n sio n of th e fol l owi n g

D
xtract ( O ) is rath e r diffe r e n t H e r e th e root of th e
.

5 28 Th e e .

d omi
.

n an t chord , G is susp e n d e d by a n ot e a to n e
,
i n st e ad of a ,

s e mito n e b e low it If w e h ad h e r e a chord of th e s e v e n th with

, .
Ch ap . X IX .
) 1 TS THEOR Y AN D PR A C TI C E . 1

anorn am e n t al r e so l utio n th e F of th e al to aft e r risi n g to

G would fal l to E .

5 9
2 T h e. fo ll owi n g e xampl e s show th e oth e r i n v e rsio n s of 78 .

e Cl vr B k
a ie ,
oo 2, Pre l u d e 1 .

B AC K . Wo h l te m p e rirte Cl av i e r, B k
oo 2, Pre ld
u e 11 .

In th e l ast crotch e t of ( a ) th e h armo n y is that of th e chord of A

mi n or i n th e s e co n d i n v e rsio n th e root i n th e upp e r p art b e i n g
,

susp e n d e d by th e l e adi n g n ot e Th e chord . looks lik e th e root

pos i ti o n of a domi n an t mi n or thirt e e n th but as at 5 2 7 ( a ) this , , ,

would b e n o prop e r r e solutio n of th e pr e c e di n g domi n an t s e v e n th ;

th e chord is th e r e for e a susp e n sio n Th e l ast i n v e rsio n of th e
s am e chord is show n at ( O) ; an d it will b e obs e rv e d that both
.

th e susp e n sio n s at ( a ) an d ( O ) h av e or n am e n t al r e solutio n s .

53 0 .Though t h e 7 8 is th e most commo n of th e upw ard

susp e n sio n s it is by n o m e an s th e o n ly o n e It is n o t rar e t0 fi n d ‘

, .

th e third susp e n d e d by th e s e co n d M an y e xampl e s of this

.

m i ght b e quot e d from B ach but as al l o ur l ast e xtracts h ave b e e n

’

tak e n from that compos e r we s e l e ct two mor e mod e rn p ass age s

, .

Dvo fl x. Stab at M ate r .

232 HA R MO NY [C h ap X IX . .

At ( a ) th e third of th e sup e rto n ic chrom atic mi n or 9th is s usp e n d e d

ove r th e first i n ve rsio n of th e to n ic chord an d ris e s a s e mito n e
at ( O ) th e s e co n d of th e chord is susp e n d e d ov e r th e third
,

Th e .

l ast b ar of this p ass age shows a v e ry curious doub l i n g of a sus

p e n sio n ; th e C is susp e n d e d both i n al to an d t e n or o n e p art
fal l i n g an d th e oth e r ris i n g to th e n ot e of th e h armo n y
,

53.1 T h e susp e n sio n 4 5 is e xtr e m e ly r ar e though tol e rably ,

commo n in its i n v e rsio n

2 an e xampl e of which is s e e n at ( )
a

53 0 . We give an i n st an c e of th e 4 5 in its l e ss usu al form .

BAC K . Wo hl te m pe rirte C avi e l r B k , oo 2, Pre ld u e 1 1 .

53 2 . We h ave alre ady m e t with a fe w c as e s of orn am e n t al

r e solutio n we ad d two more .

M OZ AR T . So n ata in A mi n o r
.

C H ERU BI N I . M ass in F , No .

At ( a) th e r e solutio n is appro ach e d by l e ap of a thir d from a

h armo n y n ot e a s e co n d from th e susp e n sio n In th e l ast b ar of .

( )
a th e r e is n o susp e n sio n ; th e stud e n t will e a si l y se e why At .

O( ) is th e v e ry commo n orn am e n tal r e solutio n whe re th e susp e n sio n

l e aps to an oth e r n ot e of th e h armo n y b e for e r e turn i n g to its n ot e
of r e solutio n .

5 33 . Two or mor e n ot e s of a chord m ay b e susp e n d e d at th e

s am e tim e or a who l e chord m ay b e susp e n d e d ove r th e fo ll owi n g

,

one . If two n ot e s are susp e n d e d this is Call e d a D oubl e ,

S usp“e n sio n if thre e or more are susp e n d e d it is usu ally calle d

”
,

th e S usp e n sio n of a compl e te chor d .

”
Chap X IX .
) [Ts TH EO R Y AN D PR A C TI CE .
33

ME ND E S L SOHN .
“
St Pa u
. l.
’

C H ER UB I N I . Mas s
A
in C , No 4
. .

We se e h e re e xamp l e s of doubl e susp e n sio n s which will r e quir e ,

no furth e r e xplan atio n .

5 3 4 Th e followi n g e xamp l e is rath e r mor e i n tric at e

.

M OZ AR T. So n ata i n F .

H e re is s e ri e s of doub l e susp e n sio n s i n e v e ry c as e with an

a ,

orn am e n tal r e so l utio n which is fre qu e n tly chrom atic In th e first .

thr e e b ars th e two lowe r p arts are susp e n d e d an d i n th e fourth ,

an d fifth b ars th e two upp e r p arts We h ave n o t figure d th e b ass

.

of this e x ampl e b e caus e n o ordi n ary syst e m of figure d b ass wi l l

,

app l y to such u n usu al an d chrom atic progr e ssio n s It is of cours e .

ossi O l to figur th m but h stud n t wou l d b e mor e p e rp l e x e d

p e e e,
t e e

th an assist e d by th e stran ge combi n atio n s wh i ch wou l d b e

n e c e ss ary .

535 W
. e co n c l ud e this ch apt e r by a fe w e x ampl e s of t h e
susp e n sio n s of comp l e t e chords Aft e r th e e xpl an atio n s al r e ady
.

give n th e stud e n t wi l l h av e n o difficulty i n an al ysin g th e m for

,

hims e lf .
234 H A R M ON Y : [C h ap . X IX .

H A ND L E . Samso n .
"

9 8 6
4 3 7 6
4 3

HE LL R
E .
“
Pro m e n a d es d
’
un l
So i tai re , O p 7 8, N o 5
. . .

f
s B HO
EET VE N . So n ata, O p . 1 4, N O . 2.

EX ER C ISES TO C H APTER X I X .

[In th e s e e x e rcis e s m an y e ss e n ti al discords looki n g lik e sus

p e n sio n s are i n troduc e d th at th e stud e n t m ay l e arn to disti n guish

,

b e tw e e n th e two Se e 5 1 2 5 2
.
,

7
5 1

9 8 4 5 6 6 4 6 4 3 0 0
5 0
i 6
Ch ap. X IX .
) I TS TH EOR Y AN D PR A C T1 C E . 23 5

2 2

6 7 4 7 8 7 6 4 8 4 6
2 5 6 4

— n4 3 6 5 6 5 6 5 6 5 6 — 3

—8
7
4 —3
6 7 n6 9
6
8 9 8 6 5 6
4
7
5
6
—
6
5
5
4
6 57 4 3

fi
( a) r r d c t io
Th e g u e s h e e i n i af co m p l t c h or d a sus an d or d r
th e
c d ow p e e ns n o
wm c t y wh ich ot ch p io r olv d
a e e , e
i
n hi h h e are p la e sh sus is
Co r E rci V I to C h t r XV
s on n e ea ens n es e .

pa e xe se . ap e .

( VI) .

4 3 9 8 7 6 6 6

4 _ 6 5 4 4 8

( V III ) .
 H A R M ON Y [Cha p . X IX .

7 6 7 6 7 6 7 8 2 3 6 7
4 — 5 — 6 4 a

4 5 —4 3 9 3 n 6 9 8
'
4 3 9 8 6 8
2 2 7 8 5 sha o
4

6 4 4 35 7 6 6 6 5 — 7 6 7 4 3 x6 6
5 33 335 ll 5 4

9 8 n6 —6 — 9 8 0 6 7 6 6 6
Ch ap . XX ) . [Ts TH EOR Y AND PR A C TIC E . 23 7

C H A PTE R XX .

PEDA S L .

A PEDA L is a n ot e sustai n e d by o n e p art ( ge n e ral l y

5 36 .
,

though n o t i n variably th e b ass ) through a succ e ssio n of h armo n i e s

,

of som e of which it do e s an d of oth e rs it do e s n o t form a p art , , .

Th e n am e is n o doubt d e riv e d from th e p e d al s of th e organ ,

which are us e d to pl ay th e b ass of th e h armo n y as is e vid e n t from ,

th e fact th at wh at w e c all a p e d al is c all e d i n Fr an c e an d G e rm an y

“ ”
an O rgan poi n t -
.

537 r f p o i t i co
Th e ct i o w ith h rm o y i w h i ch h r l
e are ew n s n nne n a n n t e u es
giv i old tr ti d iff r m or w i d ly fro m h pr ct i c fm od r co m po r
.

en n ea se s e e e t e a e o e n se s
I w i ll t h r for b c ry i t h i ch pt r to m od ify v ry co id r bly h
.

t e e e e ne e ssa n s a e e ns e a t e
pr pt
e ce f h old t h ori t
s o Th m or i m p ort t f
t e ech m od ific t io wi ll
s s. e e an o su a ns

be n ot d th y p r t th m lv
e as e e se n e se e s.

5 3 8 T h ot. us d p d l
e n is l most i ev ri bly e ith r th as a e a a n a a e e e
To ic or th D omi
n t th l tt r b i g th mor commo
e n an ,
A e a e e n e e n .

to ic p d l is most l y fou d tow rd th

n e a d of mov m t though n a e en a e en ,

i t is som tim s m t with t th b g i

e e i g A w l l k ow i st c
e a e e nn n . e -
n n n an e
of this is th op i g of th P stor l S ympho y i th
e en n M ssi h e a a n n e e a .
”

539 is. n o t u
It n usu al for th e s am e p i e c e to co n t ai n tow ard

th e e n d both a domi n an t an d a to n i c p e d al ; wh e n th i s is th e c as e ,

th e domi n an t p e d al al most always com e s first th e to n ic p e dal ,

b e i n g r e s e rv e d for th e c l os e A v e ry good e xamp l e of this m ay b e .

s e e n i n th e l ast te n b ars of th e gr e at fi ve p art fu gu e i n C ); mi n or -

i n th e first book of B ach s

“
Wo h l te m p e rirte C l avi e r ’
.
”

5 4 0 Wh e.n th e p e d al n ot e forms n o p a rt of th e chord abov e .

it th e n ot e n e xt above th e p e d al is co n sid e re d as th e r e al b ass of

,

th e h armo n y for th e tim e b e i n g an d is n o t a ll ow e d to mov e i n a ,

w ay i n which it could n o t mov e w e r e it a b ass n ot e An e xampl e .

will m ak e this c l e ar .

At th e third crotch e t of ( a ) is th e s e co n d i n ve rs i o n of th e
domi n an t chord ove r a to n ic p e d al Th e p e d al n ot e is n o t a p art .

of th e chord th e re fore D th e b ass for th e t im e b e i n g m ay n o t ,

But th e progr e ssio n at ( O) is quit e corr e ct

,

le ap to A .
238 H A R M ON Y : [C h ap XX .

5 4 1 . Th e followi n g e xampl e s of d omi n an t p e d als r e q uir e littl e

C H ER UB I N I . M as s i n F .

At ( a ) is a domi n an t p e d al i n th e k e y of B flat mi n or an d at ( O ) ,

a d om i n an t p e d al i n th e k e y of D m aj or N ot e that at th e b e
gi n n i n g O fth e s e co n d b ar of ( O) th e r e is a mom e n t ary modulatio n to
.

E mi n or an d at th e e n d a modul atio n to A m aj or th e domi n an t

, ,

p e d al thus b e comi n g for th e tim e a to n ic p e d al .

“
Th d of h s co d fugu of B ch s F ight ’

5 4 2 . e e n t e e n e a o rty e -

giv e s an e xc e l l e n t e xampl e of a to n ic p e d al e n d i n g with a Ti e rc e

,

d e Pic ardi e
1, F guu e 2.

This p ass age illustrat e s a poi n t of som e import an c e which must

h e r e b e n ot e d Th e fugu e from which it is t ak e n is for thr e e voic e s
’

or p arts ) but th e p e d al n ot e its e lf is n o t r e cko n e d a s o n e ; it

( ,

wi l l b e s e e n th at i n th e l ast b ar of th e e xtract th e r e are thr e e p arts

e xclusiv e of th e p e d al This is a c as e of v e ry fr e qu e n t occurr e n c e
.
,

both i n thr e e an d four p art harmo n y .

5 4 3 .Though a p e d a l n ot e is most oft e n fou n d i n th e b a ss it ,

is by n o m e an s u n usu al to m e e t with it i n an upp e r p art In .

such a c as e it is cal l e d an I n v e rt e d Pe d al .
”

a( )
B EE HO EN M i C T V . ass n .
Chap XX )
. . [Ts TH EOR Y AND PR A C TI CE . 23 9

At ( a) of which th e voice p arts o n l y are giv e n is s e e n th e domi

, ,

n an t i n th e upp e r p art of th e h armo n y sustai n e d a s a p e d al n ot e

an d at ( O ) is th e to n ic also i n th e upp e r p art sim i l ar l y tr e at e d

, ,

, , .

5 44 S. om e tim e s a p e d al n ot e is fou n d at th e s am e tim e a bov e

an d b e low as i n th e followi n g e x amp l e s
,

M OZ AR T. So n ata in D .

B EET HO EN
V . So n ata, O p . 1 0, N O 3.
.

Th e stud e n t will r e m e mb e r wh at h as so oft e n b e e n i n sist e d upo n

th at brok e n chords ( as i n th e b ass of e x ampl e ( a ) are harmo n ical ly
th e s am e as if al l th e n ot e s w e r e struck tog e th e r At ( a )
we se e a domi n an t p e d al an d at ( O ) a to n ic p e d al i n th e h i gh e st
at ( O ) th e p e d al
,

an d low e st p art of th e h armo n y at th e s am e t i m e

n ot e is al so i n th e middl e .

5 5
4 A
. p e d a l n ot e i n a middl e voic e is som e wh at r a r e r Two .

e x amp l e s h av e alr e ady b e e n s e e n i n § 3 o 3 ( e ) an d 3 4 9 ( )

a W e .

add an oth e r of a som e wh at diff e r e n t ch aract e r .

240 H A R M ON Y .
[C h ap . XX .

B HO
EET VE N . So n ata , O p . 27 , NO . 1 .

Th e fifth qu ave r of th e s e co n d b ar is h e r e e vid e n tly th e firs t

i n ve rsio n O f th e chord O f F mi n or an d th e B is a domi n an t ,

p e d al Th e sp e ci al i n t e re st of th e p ass age aris e s from th e fact o f

.

th e p e d al n ot e b e i n g so c l os e to th e oth e r n ot e s of th e h armo n y .

In th e orch e stra with diffe r e n t qu aliti e s of to n e such combi n atio n s

, ,

are commo n e n ough o n th e pi an o th e y are v e ry r ar e .

5 4 6 A p e.d a l p ass ag e oft e n b e gi n s an d g e n e r al l y e n ds with a , ,

chord of which th e p e d al n ot e its e l f forms a p art This h as b e e n .

th e c as e i n al l th e e x ampl e s hith e rto giv e n but it is by n o

m e an s i n v ari abl e as th e fo l lowi n g p ass age s prov e
,

BEETH O EN S t O p 4 N V . o n a a, . 1 , O . 2.

AuB ER . M asan ie ll o.
’

WAG N E R . Di e M e is te rsi n g er
.

S o much judgm t an d e xp e ri e n c e are r e quir e d to k n ow w h e n it

en
is advis abl e to quit a p e d al i n this m an n e r th at th e stud e n t is ,

a dv i s e d to a dh e r e to th e g e n e r al pr actic e rath e r th an to imit at e

th e s e som e what rar e e xc e ptio n s .

5 4 7 Th e O l d m ast e rs s e ldom modul at e d much o n a p e d al ;

.

b e yo n d th e k e ys i n which th e p e d al w as to n ic or domi n an t th e y
r ar e ly v e n tur e d e xc e pti n g i n to th e k e y of th e sup e rto n ic mi n or
, ,

ol d th ori t giv i
Th e i v ri b l r l th t p d l p oi t m t d
t as an u e us
ch or d f w i ch h p d l i ot b i h l g h t f m o d r
e s s e n a a e a a e a n en
0

W h It h
f h t e t e n ut t e i
r ctic th i m t b r g r d d r com m d ti o r th r th
a o e a s o ne O es ; n o e n
p a e s us e e a le as a e en a n a e an as a aw .
Ch ap XX )
. . [Ts TH EO R Y AND PR A C TICE . 24 1

as i n th e p ass age from H ayd n 5 4 1 ( O ) Mod e r n compos e rs

,
.
,

how e v e r r e cog n i s e n o such r e strict i o n ; an d almost an y modula

,

tio n m ay n o w b e us e d o n a p e d al It is how e v e r v e ry rare to

.
, ,

fi n d much modul atio n o n an i n verte d p e dal .

54 8 . T h e fo ll owi n g e xampl e s of fr e e mo d u l atio n o n a p e d al

will b e i n structiv e
M END ELSSOH N V i ti
.

Op 8 . ar a o n s, . 2.

H e re w e se e a d omit p e dal i n E fl at ; at th e thir d b ar a modu

n an

latio n is m ad e to G mi n or an d th e music co n ti n u e s i n that k e y to

,

th e e n d of th e e xtract .

5 9
4 . O ur n e xt p ass ag e s are mor e curious .

SC K UM A N N . Para ise d an d th e Pe ri .
”

We h ave h e re domin an t p e dal i n B mi n or with a disti n ct

a ,

modulatio n to G m aj or ; i n th e co n ti n u atio n of th e p ass age a ,

furth e r mo dulatio n is m ade to E min or

k
.

S C R U M A NN . H um o re s e, Op . 20.
24 2 H A R M ON Y [C hap . XX .

On this d o mi n an t p e d al i n B flat is a modul atio n to th e v e ry

r e mot e k e y of E mi n or th e music r e tur n i n g at o n c e to th e k e y o f
,

B flat
n clu d e our
.

Two e x ampl e s by livi n g compos e rs will co

55 0 .

illustratio n s of this poi n t .

DV O RAR
‘
. St . Ld l
u mi a.

H e re is s e e n a to n ic p e dal in D mi n or , on which is a mo d ul atio n

to th e k e ys of C an d B flat .

N Z IE. J aso n .

In this p ass age th e re is a omi n an t d p e dal in D ,

with a mo d ul atio n
i n th e third b ar to th e k e y of F *
.

55 It
1 is
. possibl e though r ar e to i n troduc e or n am e n t atio n
, ,

o n a p e d al n ot e In his organ fugu e i n D mi n or i n th e D ori an

.

mod e B ach h as a sh ak e o n a p e d al ; an d towards th e clos e of th e

,

fi n al e of his sympho n y i n A B e e thov e n i n troduc e s a p e dal E ,

alt e r n ati n g with an auxili ary n ot e .

55 2 A doubl e p e dal with both domi n an t an d to n ic sust ai n e d

.
, ,

i s som e tim e s to b e m e t with ; but in this c as e th e to n ic must b e

b e low th e / do m i n an t oth e rwis e th e fourth above th e b ass Will
,

o th ori t trictly forb i d

S me m o d l ti o
ua d l c p t th o se
r f rr d to i § 5 b p rovi d d h
e s s s an y ns on a pe a ex e
e e e n 47 ; ut, e t e m od l t i o
ua ns are p ro rly m
pe g d h an a e t e
tri ctio pp r c y
,

re s n a e a s un n e e ssar
C ha p . XX ) . [Ts TH EO R Y AN D PR A C TICE . 24 3

produce an u n pl e as an t e ffe ct An e xampl e w i l l b e s e e n i n § 4 7 5 . .

With a doub l e p e dal it is r ar e to fi n d chords of wh ich n e ith e r

p e d al n ot e forms a p art A v e ry fi n e e xamp l e of a doub l e p e d al
.
,

which is u n fortu n at e ly far too lo n g to quot e wi l l b e fou n d at th e ,

e n d of N o 2 of Brahms s D e utsch e s R e qu ie m ’
. .

553 S chum a
. n n i n th e s e co n d mov e m e n t of his sympho n y i n
,

E flat h as tri e d a n ov e l e xp e rim e n t which ( so far as we are aware )

, ,

h as n e ve r b e e n imit at e d In th e e p i sod e i n A mi n or of th at .

mov e m e n t h e h as us e d th e m e di an t C as a p e d al n ot e A fe w
, , ,
.

b ars would n o t b e suffici e n t to giv e a fai r id e a of th e p ass age w e

must th e re for e r e fe r our r e ad e rs to th e work its e l f .

EX ER C ISES TO C H APTER XX .

[
T h e figur e s i n th e s e e x e rcis e s wi l l r e qu ir e car e ful att e n tio n as ,

n um e rous combi n at i o n s wi ll b e fou n d n o t hith e rto m e t w i th In .

a f e w c as e s wh e r e four figur e s are pl ace d u n d e r a p e d al it i n di ,

c at e s th at th e r e is to b e four p art harmo n y e xc l usiv e of th e p e d al

-

n ot e its e l f
]
( L)

8 7 7 6 06 7 7
6
—
5 6 6 8 7 6 5
34
3
4 4 5 3 5 34 54 3 4 4 5 55 6 3
2 4 2 b3 b 2 2 2 3 4
n

— 7 8 — 134
5 6 7
—35 6 —3 2 7 6 5
3 34 5
2 —b 3 n _4 .
5
3
35 4 8

5 58 6 7 8 7 6 7 5 6
6
3
4
2
5
4
5
3
35
—1 [5
2
a s

D4 D b —h7 6
6
b
4 6
52
54
32
5
9. — 5 54 u7
5 4
5
3
6 6

2 2

4 6 4 6 4 6 4 6
2 2 2 2

6 8 9 3 8 .
l7 7 6 n7 8 b6 5 7 5
8 57 b7 n4 o 6 5 4 3 b6 3
6 06 5 4
2

( a ) Fro m th i s p i n o t th r e e sh o ld b fo r p rt b v
u e u a s a o e th e pe dl
a .
2 44 H AR M ON Y : ge nap x x . .

6 5 7 5 6 6 336 7 6 7 6
3 4 3

8 8
5 [
2”
3
7
l 1l
g
-

b 2

[
T h efollowi n g e x e rcis e will b e fou n d mor e di ffi cult th an an y
of th e pr e c e di n g At th e third an d fourth b ars an i n v e rt e d p e d al
.

5 43 ) is i n troduc e d ; whil e th e l ast two b ars h av e a p e d al n ot e

both abov e an d b e low

6 6 6 6 6 6 6 6 6

4 2 4 5 5

3 5 7
4
6
4
fl3 7 7
5
6
4
6
3
7
5
7
3
5
3
7
4
6
4
n7
3
fi7
5
6
4
fl7 9
6
8
5
h
7

2 2 2 2 2 4 3
Ch ap . XXI .
) [Ts TH EOR Y AN D PR A C TICE .

C H A PTE R XX I .

H AR M O N Y IN F EWE R A N D M O R E TH A N F OU R PARTS .

Though four p art writin g is justly co n sid e re d th e fo un da

5 54 .
-

tio n of h armo n y it is ve ry s e ldom that a compositio n of an y

,

gr e at e r dim e n sio n s than a hym n tu n e is fou n d i n whi ch th e -

h armo n y is in four p arts throughout Eve n i n a qu art e tt o n e .

,

p art an d som e tim e s tw o ofte n h av e r e sts whi l e i n i n strum e n t al

, ,

compositio n s w e fr e qu e n t l y m e e t with p ass age s i n fi ve six an d , ,

e v e n mor e p arts We sh al l th e re fore co n clud e this book with a

.

ch apt e r e xp l ai n i n g th e ge n e ral pri n cipl e s by which a compos e r is

to b e guid e d wh e n writi n g i n fe we r or more than th e four p arts
hith e rto tr e at e d .

TH R EE PART H AR M O N Y
-

555 writi
. nIng i n thr e e p arts it is cl e ar th at if all th e n ot e s of
,

a tri a d are pr e s e n t n o n e can b e doubl e d It is advis abl e wh e r e .

,

practicabl e to i n troduc e all th e n ot e s of th e triad but it fr e qu e n t l y

,

b e com e s n e e dful to om i t th e fifth e g , . .

,

If th e chord of C b e followe d by th e chord of A mi n or both ,

b e i n g i n root positio n an d with th e third of e ach chord at th e

,

top i t is cl e ar th at if we i n troduc e th e fifth i n both chords as at

, ,

( a ) w e sh all h av e co n s e cutiv e s it will th e r e for e b e n e c e ss ary to

d oubl e e ith e r th e root as at ( O) or th e third as at ( t ) i n th e

,

, , , ,

s e co n d chord th e form e r b e i n g pr e fe rabl e

,
.

55 6 I n chords
. co n t ai n i n g mor e th an thr e e n ot e s th e most ,

ch aracte ristic n ot e s of th e chord shou l d b e r e tai n e d Thus i n a .

chord O f th e s e v e n th if th e root b e pr e s e n t th e fifth shou l d b e

, ,

omitte d so as to k e e p th e third an d s e v e n th ; Simi l arly i n a root

, ,

positio n of a chord of th e n i n th e ith e r th e third or s e ve n th an d , ,

i n an i n v e rsio n of th e n i n th both th e s e n ot e s should b e r e tai n e d .

N ot s e ldom howe ve r o n e of th e p arts tak e s two n ote s of th e

, ,

h armo n y i n succ e ssio n as i n th e l ast b ar of th e e xampl e 4 2 5

, ,

wh e r e th e upp e r p art mov e s from th e s e v e n th to th e fifth an d th e ,

middle p art from th e fifth to th e third of th e chord In this .

p ass age though th e r e are four n ot e s w e h ave o n ly thr e e p art

, ,
-

h armo n y with o n e p art doubl e d i n th e octave

,

55 7 In i
. n strum e n t a l music thr e e p art h armo n y is O
,
ft e n V i r -

tual ly i n four p arts b e c aus e of o n e of th e p arts movi n g i n arp e ggio .

246 H A R M ON Y : [C h ap . XXI .

For i n s tan c e at e x ampl e ( a ) of 4 1 9 th e r e are n ev e r mor e ,

th an thre e n ot e s sou n d e d at o n ce but th e midd l e p art b e i n g i n

,

a rp e ggio th r
e e is pr a ctic
,
a ll y four p a rt h armo n y throughout
-
Th i s .

is n o t thre e p art writ i n g i n th e s e n s e i n which we are tr e ati n g of it

-

n ow .

55 8 rul e s for th e positio n of th e chords giv e n i n

Th e 1 27 ,

l
.

1 28 a pp y n o l e ss to thr e e p a rt-

th a n to four p a rt h a rmo
-
n y T h e .

p arts should e ith e r b e at approxim at e ly e qu al distan c e s as at ,

e x ampl e ( e ) or t h e l arg e st i n t e rv al should b e b e tw e e n th e

5 1 0 , ,

b ass an d th e p art n e xt abov e it as at 5 0 9 B ut i n vocal music

,
.

h
t e comp a ss of t h e voic e s m a y r e n d e r it n e c e ss ary to br e a k thi s

rul e C h e rub in i s first m ass is writt e n for thr e e voic e s sopran o

’ — ,

t e n or an d b ass an d at 5 3 2 ( O) wil l b e s e e n an e xtract i n which

.

it would b e imposs ibl e to pl ac e th e t e n or n e ar e r th e sopran o th an

th e b ass At 5 3 2 ( a ) th e rul e just giv e n is obs e rv e d
.
.

559 I n a fu l l c ad e n c e i n thr e e p arts it is d e sir abl e th at th e

p e n u l tim at e chord ( th e domi n an t i n its root positio n ) should b e i n
.

as compl e t e a form a s possib l e e v,

e n i f this i n volv e s l e a vi n g th e

fi n al chord i n comp l e t e Thus i n th e e xampl e just r e fe rr e d to

. ,

l ast chord but o n e co n t ai n s root third an d s e v e n th ;

5 1 0
()
e t h e , , ,

a d t
n h e fifth is omitt e d i n th e to n ic chord I n t.h e fi n a l c a d e n ce
O f th e s am e mov e m e n t
St P ul
,
M END ELSSOHN “
. a .

th e to n ic app e ars without e ith e r third or fifth .

6 Th clos e of th e e x amp l e just giv e n illustr at e s an oth e r

5 0 e
import an t pr i n cipl e — th at th e p art writi n g should h ave sp e cial
.

re gard to th e mot i o n of th e s e p arat e p arts Th e fe w e r th e p arts .

,

th e mor e cl e ar l y e ach is i n dividu al is e d H ad M e n d e l ssoh n m ad e

.

h i s t e n or l e ap to A b for th e s ak e of h avi n g th e third i n th e l ast

chord th e purity of th e p art writi n g would h av e b e e n imp air e d
-
.

e x am p l e s o n e voc al an d o n e i n stru
,

5 6 1 W e n o w g
.
iv e two ,

m e n tal to illustrat e th e pri n cipl e s l ai d dow n .

M EYER B EER
,

R b t l Di b l . o er e a e.
Ch ap . XXI ) . [Ts TH EOR Y AN D PR A C TICE . 24 7

This p ass age is th e op e n i n g of th e u n accomp an i e d trio i n th e

th i rd act of th e op e ra N otic e how th e chords are most l y com
.

p l e te a n d obs e rv e th e r e aso n s for th e e xc e ptio n s

, .

B EET IIOV EN . Trio , O p 8 7 . .

H e re is a pi e c e of imitatio n b e twe e n th e outsid e p arts i n th e first

four b ars In th e fifth b ar it wi l l b e s e e n that for th e s ak e of an
.

e a sy flow of th e p arts th e two l e adi n g n ot e s which are imp l i e d

, ,

F
( g i: i n th e fourth qu av e r an d D 1} i n th e e ighth ) a re om i tt e d , , ,

though th e y are import an t n ot e s of th e chord As an e xc e l l e n t .

sp e ci m e n of pur e thr e e p art h armo n y th e stud e n t is r e comm e n d e d

-

to an al ys e th e trio L ift thi n e e y e s i n Elij ah

“ “
,
.

TWO PART H AR M O N Y
-
.

5 6 2 . o n ly two p arts diffe rs i n o n e v e ry e ss e n ti al

H armo n y i n
r e sp e ct from h armo n y i n thr e e or four As e ve ry chord co n sists .

of at l e ast thr e e n ot e s it is obviously impossib l e h e r e to h ave an y

,

chord i n a compl e t e form In two p art writi n g th e r e for e th e .

-

, ,

h armo n y is m e r e l y sugge st e d or i n d i cat e d an d th e chords are ,

o n l y outli n e or sk e l e to n chords
,
.

5 36 G e n ui n e two p a rt h armo n y is
-
som e wh at r ar e ; but w e

v e ry oft e n i n i n strum e n t al mus i c fi n d p ass age s wr i tt e n i n o n l y two

.

p arts but of which o n e b e i n g i n arp e ggio i n d i cat e s i n r e al ity

, , ,

thr e e or e v e n four p art h armo n y -

To r e fe r to som e of th e
O
.

l
,

e xtr a cts a lr e a dy quot e d i n this vo um e a t 1 9 ( )

1 2 6 5 ( )
d 2 9 1
, ,

O
,

( f) a n
,
d 3 33 ( ) a thr e
,
e p a rt h a rmo n y is e vid e n tly pr e s e n t though
-

th e n ot e s of two of t h e thr e e p a rts a re sou n d e d i n succ e ssio n ,

i n st e ad of toge th e r wh i l e th e p ass ag e s at 2 6 5 (e) an d 4 2 8 ( O) n o

l e ss c l e arly i n dicat e four p art harmo n y -
.

6 It i commo n e v e n i n th e strict e st two p art writi n g ( which

5 4 s
-

is fou n d mor e fr e qu e n t l y i n i n strum e n t al th an i n vocal mus i c ) to

.

fin d brok e n chords a s i n th e e x amp l e s a bov e r e fe rr e d to Th e r e .

is n o t th e l e ast obj e ct i o n to th e s e th e importan t poi n t i s that th e

,

sugge st e d h armo n y sh al l b e p e rfe ct l y cl e ar S om e of th e most .

m ast e r l y sp e c im e n s of two p art h armo n y e v e r writt e n are B ach s

’
-

1 5 I n ve n ti o n s th e op e n i n g of th e first is giv e n h e r e
”
.
2 48 H A R M ON Y [Chap . XX I .

BA C K . In v e n ti o , NO . 1 .

L e t th e stud e n t e xami n e this p ass age car e fully an d n otic e how,

disti n ct is th e i n dicatio n of e v e ry chord Th e a dditio n of middle

.

p arts h e r e would i n cr e as e th e ful n e ss but n o t th e cl e arn e ss of th e

,

h armo n y .

6
5 5 O u
.r n e xt e x ampl e will b e of l at e r d at e .

M OZ AR T. Due t fo r V i o inl an d V i o la.

H e re ,whil e w e h ave s e ve ral brok e n chor d s a gr e at p art of th e

,

h armo n y is strictly i n two p arts an additio n al p art b e i n g scarc e ly

,

sugge st e d .

5 6 6 .Two p art h armo n y co n ti n u e d for an y l e n gth of tim e is

-

comp arativ e ly rar e i n vocal music ; e v e n i n du e ts for voic e s th e

h armo n y is mostly compl e t e d by th e accomp an im e n t As an .

e xamp l e of this l e t th e stud e n t r e fe r to th e e xtr act from th e du e t

,
“
Th e L ord is a m an of war quot e d i n 3 4 4 at ( O )
”
H e re t h e .

two voice p arts which are pri n t e d o n th e upp e r st aff are suppl e
-

, ,
C hap . X XI ) . [Ts TH EOR Y AN D PR A CTI CE . 24
9

m e n te d by th e orch e stra Th e rul e i n such. cas e s

this is t h at as
th e V O Ice p arts must m ak e corr e ct though
, n o t n e c e ss ari l y com
l
p e teharmo n y by th e ms e lve s . A progr e ssio n of two vo i c e s i n
fourths thus

would th e r e for e b e i n corr e ct eve n although an i n str um e n t pl aye d

,

i n thirds b e low th e lowe r voic e If an oth e r voic e adds th e th i rds

.

b e low th e harmo n y will b e corr e ct Th e p ass ag e just give n is

,

t ak e n from th e trio L ift thi n e e y e s i n E l ij ah omittin g th e

.

“ “ ”
,

low e st voic e p art .

5 7 We n o w give two e xampl e s of vocal two p art h armo n y

6 .
-

T h e fi rst
H A ND L
E . Jud as M accab a as -
.
”

i s th e comm e n c e m e n t of a d oubl e fugu e give n out by th e alto an d

t e n or voic e s Th e s e co n d
.

F g d
li e en e H o ll n de r
li "
.

is fo r u n accomp an i e d solo voic e s

a cade n z a Th e fact of its b e i n g
.

a c ad e n z a is i n dicat e d i n th e origi n al by its b e i n g pri n t e d i n sm a l l

n ot e s l l l
this a so e xp ai n s th e irr e gu ar tim e of th e first thre e b ars .

l
It wi l b e s e e n that th e outli n e of th e harmo n y i n this p ass age is
p e rfe ctly cl e ar .
 5 0 H A R M ON Y [Ch ap . XXI .

H A R M O N Y IN M O R E TH A N FOU R PA R TS .

5 6 8Th e r e is h ard l y an y lim i t to th e possibl e n umb e r O f p art s

.

i n which h armo n y m ay b e writt e n O raz io B e n e vo l i an It al i an

.
,

musici an of th e 1 7 th c e n tury compos e d m an y m ass e s an d ,

an th e ms for sixt e e n an d e v e n for tw e n ty four voic e p arts

,
But -
.

th e most asto n ish i n g fe ats i n p art writi n g are prob ably T al l is s

’
-

F o rty p art S o n g an d th e K yri e an d Glori a i n 4 8 r e al p arts

-

,
”

by Gr e gorio B allab e n e S uch pi e c e s are m e re ly i n ge n iou s

.

curiositi e s but h armo n y i n te n twe l v e an d mor e p arts is by n o , ,

m e an s u n commo n i n th e works of B ach Th e op e n i n g chorus of .

“
his can t at a H e rr Gott dich lob e n all e w ir ( fou n d e d o n th e
,
”

choral k n ow n i n th i s cou n try as th e ro o th Ps al m ) is mostly i n

fift e e n r e al p arts ; an d m an y simil ar i n st an c e s might b e giv e n .

Amo n g mod e r n compos e rs Brahms an d Wag n e r are e sp e cially ,

“
disti n guish e d for t h e ir skill i n polypho n ic ( m an y p art ) writi n g ;
”

whil e of our o wn cou n trym e n th e p l ac e of ho n our i n this d e p art

m e n t is prob ab l y due to th e l at e R e v S ir Fr e d e rick O use l e y . .

5 6 9 It wi. l l r e a dily b e u n d e rstood th at e v e ry p art abov e four

add e d to th e h armo n y i n cr e as e s th e di f ficulty of th e t ask b e caus e ,

O f th e d an g e r of i n corr e ct progr e ssio n s co n s e cutiv e s & c which it , ,

.
,

is n e e dful to avoid But i n proportio n as th e n umb e r of p arts

.
,

an d th e r e for e th e di f ficulty i n cre as e s th e stri n ge n cy of th e rul e s

, ,

r e l ax e s Thus hidd e n fifths an d oct av e s are all ow e d e v e n wh e n

.
, ,

both voic e s l e ap ; co n s e cutiv e oct av e s an d fifths by co n trary

motio n m ay b e us e d fr e e ly ; we e v e n m e e t i n th e works of th e
gr e at m ast e rs with e xamp l e s of a doubl e d l e adi n g n ot e though it i s ,

b e tt e r to avoid this if poss ib l e N o n e w rul e s n e e d b e giv e n fo r

,
.

writi n g i n mor e th an four p arts th e practic e of th e b e st compos e r s

wi l l b e most c l e arly u n d e rstood by a c ar e ful study of th e e xampl e s
n o w to b e giv e n of h armo n y i n fi ve six s e v e n an d e ight p arts , , ,
.

B e yo n d this n umb e r i t is n o t n e e dfu l to go .

57 0 In a.ddi n g to th e four voic e p a rts it is imm a t e ri al w hich ,

voic e i s th e n e w o n e In fi ve p art h armo n y th e fifth voic e i s

.
-

usu al ly e ith e r a s e co n d s0p ran o ( as i n th e e xampl e s to b e giv e n

b e low ) or a s e co n d t e n or as i n th e fi ve p art chorus e s of H an d e l s
,
-
’

Acis an d Gal at e a but i n st an c e s m ay al so b e fou n d of a s e co n d

alto or s e co n d b ass p art .

BAC K . We r w ei ss wi e n ah e m ir m e i n En d e .

This p ass age from o n e of B ach s c an t at as is for two tr e bl e s alto

,
’
, , ,

t e n or an d b ass We h av e p l ac e d th e alto p art o n th e low e r st aff

,
.
,
Ch ap . XXI ) . I TS TH EO R Y AN D PR A C TI CE .
5 1

in st e ad of th e upp e r as usu al b e c aus e it m ak e s

, ,
th e p ass ag e
cl e are r to r e ad .

5 7 1 O ur n e xt e x amp l e is arran g e d i n th e usu al

. way, th e tw o
tre b l e s an d th e alto b e i n g o n th e upp e r stafi "
.

ME ND ELSSO H N .
"
Tu e s Pe trus .

It will b e s e e n th at i n th e l ast b ar but o n e th e A an d G o n th e

upp e r staff are pri n t e d i n sm al l n ot e s Th e th i rd of th e chord
.
,

G cou l d n o t w e ll b e omitt e d an d M e n d e l ssoh n h as th e r e fore

, ,

add e d i t i n th e orch e stra as h e h ad l e ft n o vo i c e avai l ab l e

,
He .

m ight how e ve r h av e e asi l y m an age d it h ad h e arran ge d th e

, , ,

upp e r p arts i n th e third b ar t As this wou l d h av e

b e e n a mor e usu al positio n for th e chord it is d ifii cul t to se e why ,

h e did n o t adopt it .

O u n e xt illustr atio n will b e i n six p arts

57 2 r . .

H A ND EL Blh . e s azzar.

This p ass age is writt e n for two tr e bl e s alto two t e n ors an d b ass
, , ,
.

Th e dott e d l i n e s o n th e low e r st aff i n d i c at e th at th e t e n or p arts

cross e ach oth e r In th e fifth an d sixth b ars th e first t e n or h as B
.

throughout In more th an fi ve p arts an d som e tim e s e v e n with

.
,

fi ve it b e com e s n e e dful to cross th e p arts i n ord e r to avoid co n

,

se cuti ve fifths or oct av e s This is n o t th e c as e i n this p articular

.

p ass age wh e r e th e crossi n g s e e ms to b e th e r e sult of a wish to

,

give m e lod i c i n t e r e st to th e s e co n d t e n or p art ; but In th e p ass ag e s

i n s e v e n an d e ight p arts to b e quot e d shortly such a proc e dur e ,

O ft e n b e com e s absolut e l y n e c e ss ary .

5 73 Th e followi n g e xtr act

B RAHM S G g d P
.
,
“ ”
. e san er arze n .
25 2 H A R M ON Y [C h ap X X I
. .

which is writt e n for tr e bl e two altos t e n or an d two b ass e s afford s

, , , ,

illustratio n O f som e oth e r poi n ts N otic e i n th e first chord th e

.

crossi n g of th e t e n or b e low th e first b ass to avoid co n s e cutive

oct ave s with th e first al to At th e third crotch e t of th e s e co n d
.

b ar is an i n st an c e of a doubl e d l e adi n g n ot e an d i n th e

l ast crotch e t of th e followi n g b ar is a doub l e d e l e v e n th o n e F ,

risi n g to G an d th e oth e r fal l i n g to E i n th e followi n g chord

,
.

5 7 4 S e v e n p
. art h armo n
-
y is comp a r ativ e ly r a r e In th e .

e x amp l e we giv e w e h av e pri n t e d th e p ass ag e i n s cor e as it wou l d ,

h av e b e e n impossibl e h ad it b e e n co n d e n s e d o n two stave s to

, ,

show cl e arly th e progr e ssio n of th e di ffe r e n t voic e s .

H A ND EL P i F t
’
. arn asso n e s a.

SOP . 1 , 2

AL T O 1 ,
2.

TEN . 1 , 2.

In this p ass age will b e s e e n n um e rous crossi n gs of th e p art s an d

th e l e adi n g n ot e doubl e d i n e v e ry b ar— at th e e n d of th e fourth
b ar it e ve n app e ars i n thr e e p arts B e twe e n th e l ast chord of th e
‘

fourth b ar an d th e first of th e fifth are fou n d co n s e cutive p e rfe ct

fifths b e tw e e n th e first t e n or an d th e b ass This is of cours e a .

sl i p of th e p e n , prob ably th e re sult of th e h ast e with which it i s

n otoriou s th at H an d e l compos e d
; but such s ips a re by n o m l
e an s
u n commo n i n his s e v e n an d e ight p art writi n g .

5 7 5 Chorus e s i n e ight p arts are much more commo n th an In

.

s e ve n . S
om e tim e s th e y t ak e th e form of doubl e chorus e s , that Is
“
for two s e p arat e choirs , as i n H an d e s Israe i n Egypt an d
“
l ’ ”
l
Passio n accordi n g to M atth e w ;
’
B ach s ”
at oth e rs as in
Ch a p . X XI ) .
[Ts TH EOR Y AND PR A CTI CE . 25 3

“
H an d e l ’
Ath ali a an d M e n d e lssoh n s 1 1 4 th Ps alm we
s ’
, fin d
o n l y o n e choir but with al l th e vo i c e s divid e d We giv e
, one
e xa mp l e of e ach a rr an g e m e n t
.

C H ERU B I N I C d b 8V . re o . oe t.

“
H e r e we hav e pri n t e d e ach choir i n short scor e as i n
pre vious e xampl e s Th e p art writi n g h e r e is r e m arkably pur e an d
.
-

wil l re p ay clos e study .

57 6 In our s e co n.d illustr atio n

LSSOH N
MEND E .
“
Am H im m e ls fah rts tag e ,
”
O p 79, N o 3
. . .

SO P . 1 , 2.

A LTO 1 ,
2.

TEN . 1 , 2.

B AS S 1 , 2 .

we h ave o n ly one choir i n st e ad of two ; th e voic e s are th e re fore

2
54 H A R M ON Y : [Ts TH EOR Y AND PR A C TICE .
[C h a p X X I
. .

a rran g e d diffe r e n t l y It will b e s e e n th at aft e r th e first two b ar s

.

th e h armo n y is o n l y i n s e v e n p arts .

Much of wh t is c all e d e ight p art writi n g is n o t r e all y

5 77 a -

’
such For i n st an c e i n M e n d e lssoh n s O ct e tt for e ight stri n ge d
.

i n strum e n ts wh e n al l are e mploy e d at o n c e som e of th e p arts are

,

mostly doubl e d i n th e oct av e or u n iso n This can b e s e e n i n th e .

quotatio n giv e n from this work at ( a ) § 3 5 1 Though th e r e are .

e ight n ot e s th e h armo n y is n o t i n mor e th an fi ve p arts som e of

, ,

which are doubl e d Ev e n i n th e strict e st writi n g it is fr e qu e n t l y

.

e xp e di e n t for th e s ak e of v ari e ty an d co n tr ast to giv e r e sts to

, ,

som e of th e voic e s as gr e at ful n e ss of h armo n y if too lo n g co n

, ,

ti n n e d b e com e s t e dious
,
.

57 8 In.co n cludi n g this work w e offe r o n,

e pi e c e of a dvic e to

th e stud e n t Much but n o t all can b e l e arn e d from a t e xt book

.
, ,
-

if th e pri n cipl e s u n d e rlyi n g th e sci e n c e of h armo n y are thoroughly

grasp e d e n dl e ss i n structio n is to b e gai n e d from th e study of th e
,

gr e at m ast e rs It is from th e ir works th at th e rul e s l aid down i n

.

this volum e h av e b e e n d e duc e d ; th e b e st th e ory is th at which

agr e e s m ost clos e ly with th e ir pr actic e It is impossib l e to m ak e
.

an y t e xt book absolut e ly e xh austiv e

-
for art is always progr e ssi n g .

L e t th e e ar n e st stud e n t th e r e fore whil e fou n di n g his practic e

, ,

m ai n ly o n th e e x ampl e of th e ack n owl e dge d m ast e rs of th e p ast ,

n o t n e gl e ct to acqu ai n t hims e lf with th e mor e mod e r n d e v e lop

m e n ts of music ; l e t him w e lcom e wh at is e xc e ll e n t from wh e re so ,

“
e v e r it m ay com e ; an d l e t his motto b e Prov e ( i e t e st ) al l
,
. .

”
thi n gs hold fast th at which is good .
EB EN EZ ER PR O U T S
’

Theoretical Works in Augeners E

dition
’

De m y 8 vo .

ARMO NY : ITS T H EO R Y A N D PR A C TICE .

By E B EN EZ ER PRO U T, B A . .
, L odn

Profe ssor 0“H a rm o n y a nd C om p os i ti o n a t Me R oy a l A ca d e my of M usIc, 67°C

d B d
.

A ug e n e r s E i tio n , N 0
'
. o un , n e t, 53 .

S eco n d Ed i ti o n .

BY TO “
HA RMO NY : IT S T H EO R Y
AN D PRACTIC E ”

d B d
.

Aug e n e r s E i tio n , N o 9, 1 82 a
'
. . o un , n e t, 2 5 .

S e co n d Ed i ti on .

DDI T I O N A L EX ER C I S ES TO E PR O U TS
A H
’

H EO RY
.

“
A RM O N Y : ITS T AN D PRA TIC E C
d B d
.

Aug e n e r s E i ti o n , N o 9, 1 8 2O
'
. . o un ,
ne t, rs. 6d .

EY TO T H E A DDI T I O N A L EX ER C I S ES TO
E PRO U TS
’
“
HARMO N Y "

d B d
. .

Aug e n e r s E i ti o n , N o
’
.
9, 1 8 2O . o un ,
ne t, 25 . 6d .

T/Ii rd Ed i ti on .

T ER PO I N T TRICT AND FR E E
C OUN
By EB EN EZ ER PRO T , B A L n
: S
U . . od
.

Profe sso r of H a rm ony a n d C f M us ic, fr o

o mp o s i ti o n a t ti re R oy a l A ca d e my o

d B d
.

Aug e ne r s E i ti o n , N o
’
. o un ,
n e t, 55 .

DDITIO N A L EX ER C I S ES TO E PR O U T S
’
.

“
C O U N TER PO IN T : ST RI T C AN D FR EE wi th ,
”
Me lo d i es an d

U nfi gure d Ba sse s fo r H arrn o n i si n g .

Aug e n e r s E i ti o n , N o
'
B dd .
9, 1 8 3 a . o un , n e t, 25 . 6d .

O UBLE C O U N T ER PO I N T AND CA N O N .

By EB EN EZ ER PR O UT , B A . . L o nd .
,
°

Profe sso r of H a rm ony and C om p os i ti o n at th e R oy a l A ca d e my of M us i c 62

°
C

d B d
.
,

Aug e n e r s E i ti o n , N o
’
. o un , n e t, 55 .

UG U E . B
By E EN EZ ER PR O UT , B A . . L od n .
,

Profe sso r of H a rm o ny an d C om p osi ti on a t tlce R oy a l A ca d e my of M us ic 67 4

C.

d B d
,

Aug e n e r s E i ti o n , N o
’
. o un , n e t, 55 .

F
“
U G A L A N A LY S I S : a C o m p an i o n to Fu g ue Be i n g
Coll ctio Fg to Scor ly d
.

a e n of u ue s p ut i n e an d An a se .

By EB EN EZ ER PRO U T, B A . Lo d n .
,

Profe ssor of H a rm o ny and C om p o si ti o n a t til e R oy a l A ca d e my o f M us i c 67°

C

d B d
, .

A ug e n e r s E i ti o n , N O
’
. o un ,
n e t, 55 .

A U G EN ER CO 86 , N e wg t Str t a e ee , EC . 1 , Fo ub e rt s Pa ’
l c W Lo do
e, . n n.
 A U G EN ER C O .

GA
8 6 , N EW TE ST R EET , EC
. . A ND 1 . FO U B ERT ’
s LAC
P E, W
.
, L ONDON