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    (Walter Piston Mark Devoto Arthur Jannery) Harmony (BookFi) PDF

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    Thiago Nunes

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    © All Rights Reserved
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    ent aon opi 9 HW Narn BC Masical Mutations drawn by MARIO. CARMOSINO CONTENTS spersonucrios Ji Sones AxD INTERVALS Pe Tmn0s $. HARMONIC PROGRESSION {TE BNcoNPLETE MAJOR NINTH ‘THE SEQUENCE 9 a 6 0 8 8 163 ins 89 ns a9 255 br THE SAME AUTHOR: COUNTERPOINT Asay of comes from fie score ‘ue een baled by hae ORCHESTRATION 1 can my withoat the lightest doubt dat the main prt of the Wg Ray eee det a far and away beter than ath ESNe cen ele ‘Fit rate—allitsny ash praca al it in cutered SPSL tf arcu formation. 1 patulary ke the wide ‘Rage ef Msatins”—Eane Cdl varalable ain t the rary of works on thi object. The on and hak gent so develop what oily he as Oa ten nce be has taken 8 rm rap offandamental Guichen "br Gedo Jb My nt ee jet ays fr woul ave sed wang SE a ee et foe ler expeiion =. TY or Tre thtnmpany conduct, anger or et, howd al fd aaa examples woul alo find i fscnaing study Se ao aller io enlrgog his mil. Rorzon— “spt Post sek wonderful od tealy workmanlike job... 2 ook whieh 30 ‘mate oer ude of the obec REMC Un ReMi ec andthe clanty'o oe eae Teer Mae Teter praia ale 9 the sade vey igh, kee i alate book ampli Se (B.C ue HARMONY WALTER PISTON VICTOR GOLLANCZ LTD CONTENTS 24. AVOMENTED SIXTH CHORDS 65 293 307 INTRODUCTION ye fis important sep in the sd of harmony i that of ve I larfyingthe purpose of such study. Much confusion ex fas today as to why we sdy musial theory and what Awe dhould expect toler from it. Inthe presene write’ teaching Experience this confusion of ouslook furnishes the commonest and fies serious obracle co progres inal branches of musical theory "There ae those who Consider that studies in harmony, countet- Point ad fugue are che exclusive province ofthe inended com: Poser Bot if we reece that theory must follow practice, rarely Preceding ic except by chance, we must reaze that musical theory epoca sec of ditccrons fox composing mse, lis rather the col Tested and syscemaized dedictions gathered by observing the prac fice of composers over long tne, and iartemprs ro ve orth what Isorhis been thee common practice Ie tells not how asic will be Seren in the Faroe, but how music has been writen inthe pas. "The results of such 2 defi ofthe trae natre of musical the Gey are many and imporar, Fie of al cleat cha this know - tlge is indispensable o musicians inal elds of the are, whether they be composers, performers, conductors, critics, teachers, oF fosicoloyinn Indeed «secure grounding in theory ie wren A necesity to the musical solar than to the composer, since it forms the basis for any intelligent appraisal of individual sles of the pas or present ‘On the echer hand, the person gifted for creative musical eom- [Position staking «serio risk in assuming that his genius & great fnough to get along witht « deep knowledge of the common 2 INTRODUCTION practice of composers. Mastery of the technical or theoretical ect af ric thud be cred out By hi 252 e's work, are cult hs ere aavy Bue que separate frm In Theta he following common practice while inthe ater fe ‘Ripon solely tothe dictates of his own personal tastes and urge Tr the spect fd of harmony we moss seck the answer to two questons-whucare the harmoni matrals commonly used by hover and how have these mers been sed? We cannot Gon inthe fs nage of our study to become iaceresed in the Jhinideal composer the expense of concentration on exablshing the norm of eunmon practice. With such + norm ily in min the way willbe chart the investigation ofthe individual harmonic prctices of compas of sl periods and expecially co he scientific munation of te divergent practices noiceable inthe twentieth Hiseialy the perio in which this common practice may be detected inlades ‘oughly the eighteenth and nineteenth cere Daring har tine hee issurpeisingy Ble change i the harmonic Faerie used ann the manner of thei se The experimental pe- Thad of the early ewenceth cenrary will appear far kes reval Tony wea the ins of development from the practice of older Compass become clearer by fariarty wih the music. AS yet Tency the sof ths book st present a5 concely as posse the harmonic common practice of composts of the eighteenth ported, witht atempe at thei asifeation on asthetie grounds ras lows of naure, The written exercises should be performed fons erenve compostion, The author believes tha through these principle prone and logical grap ofthe subject wil Be achieved SCALES AND INTERVALS ye unit of harmony ithe interval. This nme ie given tothe sonorty resulting from the simulaneous sounding of wo ones though it ismore accurately applied ro desribe the “ditance” between the two tones, measured by their difference in Ditch. I the two tones are not heard atthe same time, but are eon ecutive tones of one melodic line, the interval is elled 2 melodie feerval 5 distinguished from the harmonic interval in which the two tones ate sounded togeie. “The tones which form the interval are draw from the scale ‘Tice scales are used as the bass af the music with which we are Here concered—the major sae, the minoe sale (with is harmonic and melodic forms), andthe chromatic sale Be aloe senio = SSS ee HARMONY SCALES AND INTERVALS s ms Ie iseacmay to refer tothe scale degres by Roman names as fnthecxmpe, well r by te flowing names ‘Toni (hekey-n0t2) A, Superene (the ne step above che tonic) LIL, Nein (hala from foie o dominant) I, Subdoninae (afar Below the toni athe dominan is owe) Daina (actully a dominant element inthe ey) Smee (hafway down fom tonic to subdominant) Si, Lenton (th melodic endeny toward the ronic) “rales lnnged by she diibuton of halone and whe cone pe ecopition of which is assumed on the par of sees eFesm bole The chromate scale, having origin inthe Saran of ono be ter ees, sown by de Roman manera a ntson of thin see (formance, wheter one shold see seh or Baa) i decried by meld and harmonic Trewewtanes tobe considered ler. “Fhe alec minor ale may Heese be looked upon variant of te Reon form n ssewning, he characteristic sith degre ones tae he tp geste than a wholetone between VI Ag UIs cininned, while preserving the halfone progresion rom leadingtone to toni. In desceoing she seventh degre 20 [ogee tning-tone so es lowered to ede the ep down forhe mmor sah Segre itor eo tice thatthe major and minor (harmonic) sedes die onl in shee Il and Vi “The general same of an interval is found by counring the ines and spoees clad by the ewo nots. Sarre Se eat a an is ah oor clo Heese crac! open aches treo nas a I gps ee smslc wah evr a QBS ey cof oven i four sd Mie ack abo pres el 4 Sy ite Sie berne eee tbe ted agg ln hE ea ad Mf he wpper noe doesnot coincide with a noe ofthe scale the Following cosiersine aero be appbed An imeral « halsone ser than ¢ mejor iver a Bh Aa cera half-oe larger than a major o a perfec in terval is “augrnented ® An nerve al tone male han a minor o pte in tera "ining ms Ee min Set aug fot oop 4) nT Inthe above cxampl, consider she iterel of» sith, Ea to Giactshe Cnt on rrr wld tse Elen she ae GEE fe jor sod the incr would ave besa major sth. The ha Byington at fe of ating mao ne ahacone larger. Therfore stcnent bin the pargraph hove is appli andthe nerve called an “augmented sith When the lower ate is receded by a sharp fa the nerve Bay be analyned ft with he sharp o fas and the res com Bit withthe original ins by reernce tothe above Fle 6 HARMONY For example, suppor the interval ro be fom D-sharp up oC. The en ee iach ware with nin sharps, i nok convenient 3 2 ean tg device. Taking the scale of Daj, we ind shat C82 re oof the seventh degree. The interval D to Cis thers- fale tons or seventh ‘The restoration of the sharp tothe [makes Eo tava staan smaller, by Fain the lower not; hence i isa diminished seventh Jar tadnt is ued to perfec himself, by exercises in dictation cor one proweses of ex-triing, inthe abiiy to recognize the actus by ea when they are played or sung, and to ear mentally Simervas written 0: printed ‘An interval grener than the octave may te reckoned by sub- ranting the octave. Such joteras are called compound intervals. SEE thee, however, for example che ninth, ae characteristic Fentecs of cerat harmonic forms and are usually called by the larger number. ee ‘ports mx 9th min Bed a Sede 0) [A consonan interval is one which sounds stable and complete, whereas the charicteristie ofthe disonant interval is its restlessness was neel for esoltion ino consonant interval. These qualities wT adctedly open to subjective, personal, and evolutionary inter- pretation bots ces hat inthe common practice of comporers the following clasification hols rue. ‘Consonsatethe perfect intervals and the major and minor thirds and schs. issonant-the aogmented and dimiished intervals and the inajor and minor seconds, sevenths, and niths (Exception the perfect fourth is dissonant when there 90 SCALES AND INTERVALS 7 tone below is lower tone. Ici consonant when there ia third or perfect fifth below it) aim Za Bie perfect irerals and ecrmod “imperfot consonaness” — on nineteenth centuries. Only the sixth, when in cer- Encl op hte oct he aby of Ife ples commons ard to need eolation to the fick. a Se 5e4 Muse without disonan: itera is often ile and segue, ree aed chyna serpy The tery of med eye Dn nec sh emporio disonaee Be cetlcay a tsnance nsw of ove ed fe sons roomy une gs of ween ‘Bion of this is what is called “mirror ” and i ots rp practice period ‘Ordinary contspuntal aversion, which is common, isa modifia- ‘lon ofthe misror type. Here the same scale is kept for both Forms, ‘ HARMONY so that while each interval and ics inversion have the same general sue the specie names may be dfferene on account ofthe place in the sale occupied by exch = Harmonic invesion i quit a different mate. In this procedure the names ofthe notes remain the sme, bu the lower of the so becomes the upper, oF vice vers, with the consequence that there ‘2 ually a change in both the general and spectic names of the interval exit —= = ima) bth inveraion (mis Br Tn our tempered sale sytem i often happens that two of mo incervls sound ake when played on the planofore, even though they are widely diferent in theic meaning. A good example isthe laugmented secon, which cannot be distinguished fom the minor ‘hind without farther evidence than the sound of the two tones. ‘One inceval i eiled the enharmonic equivalent of the other a sel When these intervals are hetd in their harmon context, how= ve, their difference becomes clay audible, - epee SCALES AND INTERVALS : EXERCISES, “The exer offered inthis book are inended = specs of dons for further exercises tobe invented by the teacher or bythe student himelf. They do noc pretend ro supply adequate jactice or tuning. It goes without saying chat the material in each Ehapeer mest be thoroughly asimalaed and mastered before pro- (ecding tothe next. The exercises mort be multiplied und char end achieved. 1 Name the following interval: wae Fo as With F-sharp as the lower tone, construct these inervals: min. sed aug. 6; dim. sth; est. qth; aug. and, maj. th; min. thi aug. sth 3+ With Deft asthe upper tone, construct these intervals: dim, ssa oth dm. ph, min and ag. th; ert. thy min. 6s dm aed. “4. Write enharmonic equivalent of the intervals in Ex. § From what sales aethe following fragments taken? 4 Conmrict sors in which Char she sich de Be Cares » docening mode minor sede with D ate Same ihe nel fom speni up 0 eet armonic minor scale. . ° Oy Wee sol nuns he cartier which ay be fore th oni nd cer one of thes of Eon, fe olsane Sern me hy befor th thd does and ae ton ofthe hans mot ‘scale of B-flat. ren ncoae TRIADS a4 Gg Ee EIR ‘A eriad with ts third as its owes tone said to bein the first eid with is fifth ats lowest tne sid ro be in the second “Taking the two sales, major and harmonic minor, of the tonie land using only che notes ofthese seals, superposition of thirds gives the following tis E16 major acele minor seals 8 apare a ey Ae rads formed on 2 gven scale dfer not ony in ich bu Bh depenig on te intervals in their make-up inthe quality of the sonocky ‘There are four Kinds of tra elasied according Tote acre ofthe intervals formed berween the rot and the eter fo tones Por tiad ix compet of major third and perfect fifth, Ainorwndconpc of minor thd and ere th augmented ad composed of major third and augmented ‘fifth. , ® A diminished wad is conpesed of minor hid and diminishes a . diminished he moder shold earn by practic to dsingush by ear the four types of triads. 2 o See ae The jor and minor rds ate consnan chords because they znsin only conenane ntcva. The diminished and aogented Sad on teeter han, we disonane Beene ofthe presence of thedisonant imcervaly, diminish and augmented Sh HARMONY ‘Roman numersb identify not only the seale degree but abo the chord constracted upon that scale degree as a root, whether the ‘chord fin root poson orn an inversion, Considering the entire group of triads the fllowing observations smay be made “The major triads ae: I, 1V, Vin the major mode; V, Vi in the minor mode “The minor eis ae: IL HL, VI inthe major mode; LIV’ in the minor mode "The diminished trade ate: VI in the major mode; VI, I in the minor mode. “There is tut one augmented triad—IIT inthe minor ‘mode. (Gr, from the point of view of che scale depres: Tis major wad in the major mode, minor in the minor mode, {Ss minor triad inthe major mode, diminished in the minor mode LIL 32 mis trad in the major mode, uginenced in the minor mode : IV is 2 jor triad in the major mode, minor in che minor mode V isa major triad in boch modes Vit niu tad isthe najor mode, major in the minor mode VII is diminished eid in both modes. Most masic of the eighteenth and nineteenth centuries is cone cxived on a harmonic bass of four-part weting. Tis means ver Sially four face in each chord, and horizontally four diferent tnelodie voice. The thee pat writing often observed in the clases frequently sugges four voices, whereas larger numbers of appar- TRIADS 5 lent parts, 2 for instance in an orchesl score, are usually the result fof reduplicition of one or more voices in a busically four-part tex- “The sudy of harmony is concerned with the principles under- Ing the consructon ofthis common basis of four-part wrikng. “The exrcns are ordinarily worked out in four voices The term Miyices” doc not necesriy mean that che parts are to be sing I docs suggest, however, thatthe separate pars proceed with a ‘ern ideal vocal quality vhich is posessed by all good melodie Imusic, whether intended fer human voices of for instruments, Tn order co define these four parts of voices, we shall follow the ‘asa exstom of naming shem forthe four clases of singing woes: feprena, alo, enor, and bas-somewhat arbitrarily restricting theit anges an approximation ofthe ranges of human voices. my Since the triad contains but three tones itis evden that another Bnecded for four-parc harmony. With triads in root poscon, the oars tone i customarily duplication ofthe root an oetave ot © Higher, or even athe unr. This is ealed doubling DOr ea her music ht is purl harmonic, in which the Metical effec is re for motiications due to horaontal, o me Bienes Thee cierto, the principles of vole alvaye le pecdince over considerations the cords Bh chord hemces hae the ong in Ue eoinedence Bec rover. Arte sane tne, the hare se Bison arangencs of the vero snaity which wil ge Ps HARMONY clarity and balance, and even on occasion such subjective qualities ts beauty, bilianee, or somberness The commonest arangement of a chord place the wide incrval a the borer, with the snallst intervals atthe cop. This bears a semilanee, a: hat often been pointed ou, ro the distribution of ‘oevtones in dhe Rarmonte sti but i muse be admited hat the Danllel berween the usage of composers and che “chord of mature” Jeops there. Compare, for instance, a riad in first inversion withthe Series of overtones generated by ks lowes: tone. Innervals wider than the octave are wsully avoided berween soprano and alto, and between ato and tenor, but ae considered quite satisfactory Between tenor and bus. When the three upper voices are as close together as posible, the spacing is deserbed sy lose poscion, Otherwise the chord isin open position, provide all four normal factors are present. Ie will be fotied that in cbse postion the three upper vices are all within the range of a single cctave, whereas i open poston there i dis- tance of more thin an octave between Soprano and tenor. In at= ‘anging2rocepstion erad in close position, having a given Soprano ote the alto wil take the next immediatly available chord note below the soprans If pen postion is desired the alto will not rake this fist avallable noe, but will take the next below. The tenor will TRIADS ry falhinto place with the only noe lft, a the bass will of couse tke the root. in whatever octave is convenient. {hoe and open poston eof equally common ue. The choice fone or the eee subi 0 various conditions, mong which tuloic progres of the pas priups the most important. An Tier the uestion of farges. fee soprano voice in a high fegiter for cumple cee ooon may een placing the eter Aras fo high The elo alnce na sngle chord would be to Tare al voices in coresponcing reget al ih, ll medi, oll Taw ur ths com pssleofschievenent Seca of melodic ction and other infenil considerations. (Ove shoul ten crfully to the reacve eet of vatous spa ings th sane chord nd oie the Kind of ping ed in mic Hed Theirs beter te voices ate an mporcant factor in Ghtextre and seal sound ofthe mas Inthe common-pracce Bid of harmonic wage hs at benlrgely a mater of eectve {rion of pren chord ony, bu, withthe treet conary, EGunpocrs have become mush more prenceoped with aera and the cntinaton ino ial snore EXERCISES. The teacher wil play aslo, major oe minor, and afterwarde A triad derived from that ele, The student will tll the kind of Wiad and the scale degree which i is root ‘One cannot overestimate the value ofthis type of ea-aining ‘exercise, Fuciliy can be gained only through regular practice, wich the sid of another person todo the playing. The mot satisfactory land feasble methou isco get together small group of inereted students and le each take s turn a the piano 2 Wentfy the following triads at kind (ma) minor, dimin- 6 HARMONY ished, or sugmente), and indicate by Roman numerals and key aaen eee derescone eto seals and degre. (For example, the ust iad given's major, IV of B major, or {of E major te.) 4. Write three different spacings in four pars of each of the following wads rr a a) “4. Weite in four part in both close and open position, the fo: lowing wads IV inBst minor V in C-sharp major Vin E major TLD minor Win minor Win A major Tin E-Aae minor Vin E minor i. VilinG major j. Min Aer major 4 By the use of accidental only (sharps flats, or naturals), write cach ofthe following wads in thfee2dionl ways, soa clus trate the four types major, minor, sogmented, and diminished: HARMONIC PROGRESSION ries chords are to be heard in succession there ate two main questions to be considered. The first isthe choice tof the chord to fellow a given harmony, andthe second [athe procedure in connecting the two chords. These are two aspects tf what i known as harmon progression. [though these ovo questions ae in a sense inseparable, the mat {erof succesion canbe regarded as independent ofthe Forms of the Ghords themselves. As more of thew forms are studied it willbe fore end more apparen tat che individual sonorty of the two {chords is of fa les importmce than the relation of the reo roots foreach other and tothe scale from which they are drawn. Chords fre identified primarily by thir siaaion in che eonaley or in other Sori by the scale degree erving 28 root. Hence chord succession Tea be reoced to root succesion (ot root progresion) which in fan be traslated into Roman numerals presenting a succes- Bion of scale degrees. The variety of chords baile upon these routs Fol secondary importance, and no change in the make-up of the thords can remedy an inappropriate root progression IP coves by 1 or Von Ve fe oe TALE fotowed by V, serine VI les often 1, or 1V TMs followed by Vi, sevecines 1, les often I or V. TY isftlowe by V,someines or Us often of VL DY i festowed by 1, somes VI or IV es often Tor I PMU foowed by thor, somesines I o IV, les ote FYI foiowed by I. (Vit rarely wedi rot poston) * HARMONY Ie is important to form an appreciation ofthe quale of these proprniton These alten dno realy lend themselves to de- reseeeby words ‘The dominaneaconicprogresion gecraly Sntidered the mo ststying. One ean ean sense the tepose of ths progresion by playing the bas alone. i ———— —LULUrlrTC—~—~— Cee oe heeds A. contrast to this isthe very soft effect of moving to a wad on root a third abo. or Gea gs “The triad on the seventh degree is rarely found in root postion and can safely be omitted from the dscusion of roor progresion. Te contain a dstnant interval, the diminished fifth che lower eone of which isthe lening-tome lf, with its strong tendency coward HARMONIC PROGRESSION 6 ‘the tonic. In its action and effect this triad i really an incomplete ominane seventh chord and it 0 treeed ‘Occasionally one finds the leadng-tone trad progressing to Il, ‘sully ina sequential psttem where the chord is wed in order to preserve the symmetry of the voices, 6 “The diminished triad formed on the second degre ofthe minor Seale has the same dissonant interval asthe leading-tone tia, the ininshed fieh. However, the lower of the two tones & notin fiself a tendency tone, and ithas been the practice of composers to Ie this chord quit feey in oot postion. may Another ind with disorat nerves thot on the third degree he mir soe (harmon). In thse thee i an arene Fh bewcn he roe nhc leading tne Te» onal te Cou her of ts ead, ht teng the Hh epee dominant of he vei, HARMONY ach progresion possets certain rhythmic values to be di cussed in ter chapter. Hiving decided what the root succession ito be the next ques: vio is bbw the wo chords are connected, that i how the voces move horizontally The flowing sbservations describe the procedure fllowed t0 ceonncct wo tat in toot poston, Notice that what sought par ‘icularly is smoot nes. TF the two trads have one of more notes in common, thes ire tepested in the same vice, the emining voice oF voices moving to the nearest avalable postion. 3S] In the example, G is common tone of orh triad, s0 ics re peated in the tre voice, the alt, The other two voces move to Fic neatest postin avalble~C dovn to B, Fro D. (The notes of the second chord sre GB, D, G. The two G's have been wsed, one bythe bassnce ha isthe rot, and the other bythe repeated ao. ‘Therefore B and D are the ony availble tones.) If C had gone to DE would have been forced to take B, the only note lft and this ‘would not have ben tothe nearest poston. ‘Exception: Inthe progression TICV, i is customary aoe t0 re peat the commun rane hat to move the three upper voiess down to the nexe availabe poston oe eae —— HARMONIC PROGRESSION n ‘Ifthe ewo triads have no tones in common, the upper three soices proceed in the opposite direction to the bass, always tothe et ercabte pansion 3 BBtestcn: Inthe progresion V-VI, te leading tone moves Be Gages 10 the toni, whik the other two volo descend tothe ese prion in the chord, doubling the third, intend of the {oor inthe triad on VI mest Boe ciesions given above are fllowed, the connection be- i coh wl conc coring tothe prt of ve in harmonic progresion. The purpie ofthis procedure is sh moses fonale oin of wo cr oh © ow int the net Continued spleton ofthe proc= ll, however, result in rather dull music. sa " E. 2 HARMONY culkvation and exercise of muses! este and judgment ae implicit SUR Ute to emule the practice of composers. It is never £00 iy conan on the constancseking for what is ruly musical. Even saith exerenes dling with such elementary material as co0t pos ‘lon teads there will aways exis the posslity of an arrangement tht ia ie more interesting and musical han another Th other words the set of rules s broken whenever greater mu: sical interes can be achieved by breaking them, and this will be fotieable fst of alin the soprano ine. The soprano, being the top Tesi inwinctively heard asa melody. and so most receive more tae in its constrction than the inside voies. "Whea the rors repeated it is advisable to change the position of the other voices for variety. ree ( t === [A change fram open to close postion, or vice ver, is often & good way to obtain 4 new soprano not. — t “The occasional use ofa triad without fifth, usually composed of hrc roots and one tied may help Free the soprano line. Kis ‘no in the syle ro omit the third, as that leaves the empty sound of the open ih x38 HARMONIC PROGRESSION ” Doubling ofthe thitd or fifth instead of the rot is another means ‘of making more nots available for the soprano par. ey le Ht # Rhythmic division of some notes of the soprano into salle time als 3 feequene resource i ehe making of 2 melody, a ike Ieee the eying over of possble repeated notes to make notes of Tagger time values. The sudent is advised to se this device spar fngly a fst, in order co gata experience in the vertical arrange: sent of the chords before adling Pythmie complietions 38 —. ai is = a = ae Baby rasows meant voces ae given mre freedom of more Bn este grenetne ways in tic thy my more Baths sguts vce ial mich and erate Blo pogresin The ees “cnn” and “june” en Aetused to describe the movement of single line by sep and by ship respecively . See et wei ine corn monly conjunc ton, wth he umn cd judul for vacyToo many mse fog rater tan fr the ed owing qo Teel Bete boca ikl wcnan meta ee TE wi nde sare ve fee soya He eet tn wing only nd oe potion eb wl Mee be nore hncean's ons dea 4 HARMONY “Two voices my move elatively in three ways in contrary mo- sion; in oblique notion oF in similar motion “Contrary mation, the voices moving in opposite diretions: ‘Oblique mocian, one voice level while the other moves: Sin moo, beh vies moving in these ron nn oie tail Tr vcs ming pre aa rage voce tin epics, Palle ee expen Othe epenth and och ce visto x43 HARMONIC PROGRESSION 5 “The relive moron ofthe voices planned to preserve chee Independence ox spare pars. The maximum of indepensence i Farmed by contrary meen, ba ki obviously not posse for our pars t0 move in four diferent dezions. Oblique motion & Aha oconra + moving vice wih one tha i sanding sl Tn Gila moon cae mor be ken tha the movements novo con” ir that one pans mercy 4 compation tothe othe tito ndvideaity of ts owe KCamposrs sem to hate been careful sbout any approach by Siilar oso ro the interes of ore and perfect Beh, While Pian are more in the domain ofthe dy of coumerpoint, the prominence of thee ners when berween te curse vos, He and soprano, necesita recognition ofthe procte Pasocare or perfec ifn aac usaly ppronched by silat Tasion, with sie in both voice Ths combroaton ws ote re Fete to hidden octave, hidden fhe oe the terms “diet Gexae” and "ics wl be employed here Tithe case of the drececctave, cis usually avoided in upward Imovemen: even when one part moves by sep, except when the Upper voice moves by a mine second, acting aa leading tone. Dart hr nd setae como, Palouse ed it spptel by pall thts Slow a S55 coe Bo Parl ican inva cern ein ccimaances rng from the we o contrapuntal noaharmonic tones and iregular res- lotions of dissonant chord & ree rarest interval of the augmeared fourth i called the ttone, fy wholexones.Iehas 2 peculiar kindof sound and i wae looked With disfavor inthe contapuntal era, when it was referred BS Aiholus in musics. The roughness ofits effect was softened 6 HARMONY sc avoided with consistent sil. In the period of common Karmonic oO atte wera 0 be bot one form of the ttone that wat Prey always shunned by composers. This iin the progresion Re ANSE postion. The leading-tone in V and the bass of 1V FAA Mason af eritone, and here dhe term “erose-eation,” of Ue rion” used eo expres the relationship between rwo suc TER Eane ‘which do not occur melodically in the same voice. The fae reltan of the titone i easly heard in V=1V when the qeeding-rone sin che soprano voice, proceding tothe tonic, but (Sasterly used when the leading one isin eter alto or tenor jane oa ‘eine vided eerie When two voices move upwards in similar motion, the lower voice not usally allowed to move to + posicon higher than chat jumlefeby che oper voice. Ths avoids ambiguity tothe ea, which tye follow at apparent relic progreson berween the to vekscs ‘The carresponding rule holds for descending movement. ex In writing exereses in four pats, sing evo staves the tenor sont he wien on the lower sf with the bas, so thar the four Rice ean be aly seen a inc. es also an ad to clarity to adopt The practice ef pointing the stems ofthe soprano and tenor parts up, tnd chove of so and bass down, “Atle ewo version should be made ofthe exercises which eal fora conidenble number of chords. The fist version should fol Tow closely the steps ontined under the heading of voice leading ‘hen chough she rel ise poor melodically asin Ex. 3. This will fp to famlarve che stadene with the principles of connection of HARMONIC PROGRESSION ” tains and wil then serve asx basis fr the departures necesary to bean better soprano line. "Phese deparvares need not be numerous or radical. =e ePri ce : Italogoes to II-V. . tes Ba is nie aed etn eter erm sof caer orm eF es ree Sl sare te Te EXERCISES. Wric, in four pars, fit in four pas vedere arangemens of ech of monic progresions 8 MARMONY 2. Y-V in E minor Een mar oEvtin Fajen VEVinc major © Vilia A ino §IeVin Ese noe EM in Bt mr TEV in Fs ar TIeVLin sharp minor i Vitin Dts major Weil sens af each of the following esi of ends in foot ion ‘The se version should comply sity with che I mer tn whe the second shold onan ea rine at order aba a god meade soprano Pa Comjor: IV, Vs LLY, VLIV IL V, VE 1 eae Peery, Viiv via Y Vive Wav.t¥ bran ay and tenor pars 0 he follwing Bases a aE a ponon ike to esos ofeach Bus in the preceding eer Pee Apa TONALITY AND MODALITY Births ones rasp of onsin mas. This [reir secon paso cmpuer the egheench and sinccenthceturn ws conceed in Pa ete one wes al cee Cones suppor or tending fer im on yo hr eed Soe sfx example the ence tove system of Arnold Schenbe Detheroc doh on ny een enone fice Far sys, base! en the moder antedate se prod we Moly ef Modal refers othe choice ofthe toes berween which this exits. Tol irsynonymons with ey modality ih ie lin ia casas nal chromate wale ca ee Teely large namter of mies can be consruced im any given Tonal. As ilsrcon afew re given hee on the key-maxeC mes Beran Bares Taine Mcivien froin Bra rd » HARMONY “These modes may be transposed iaro all conaies, simply by chamtg'the pich ofthe rome oote and preserving the interval relationships. ms Pir tzaien Th xobases Many modes taken from folksong and even oieatal eles have ‘been used acenionally by composer. Artificial scales have bee in- Need, contiing a disuibation of intervals noe Known befors Tara of dhese ost await iestigution until ehe frst task in the fly of hanminy is accomplished namely the clear and frm eab- Tahigent of dhe orm of common practice by reference to which thes extsordiary resources are to be appreciated, Ve limit our- ‘Sivas therefore, fo the three modes or seles described in Chapter ‘One major, minor, and chromati, the lst considered asa variant ofthe oher two. “The acknowledged superior authority of chee two modes over a pend of some three hundred yeas has given rise tothe expres see paeminor system” often applied to our music. We ate 90 EnDued with th eration that we tend co interpret music based on thor modes a being in either major or minor, usvally with some Sth uneatfctory results. How often itis thatthe ear accepts the impression of C major atthe opening of the second move: meat of Beshns's Fourth Symphony, only to find sooa afterward that Eis che ena center. sex 53. Beahe—Fourth Symphony TONALITY AND MODALITY Minne ie the sdove, of we of modes eter th . foe of modes ther than major and Bs fuety numerous during the harmonic period bur by po meat freqeene enough to be called commen practice, Sock Bites dese frm cre prods, were not ce paral ex Plted spinon the evens cena : [Pet hen, no ment a mater of ung jute ones of lar sal more rsa of eign he ognized tif ie nr one ong hn wich so he =o egress atin the scheme of tonality, Hs noc the place h © hereto attempt to outine the acoustic a chological gins of tac onal fri Let ital t report a eserce a viene the age of compar me at ad subdominant seem to give an inpreson of bal support ofthe ron, Hk wo ey spor of he on, He wo een weighs on eter above co represen the scheme of hams pe ior pte of mos he fictive being the coast oy eee i. m ‘onic, and then introduction of the sub~ 1 make the la tonic mere susyng an de apliy deere th eg eos nd hn cal etn pe, f the mainstay ofthe tonality. In a given tonality these emia the mae for bth modes, » HARMONY a | Mediane and sbmediant ae called the modal degreer. They have very lil effec on the tonality bue suggest che mode, since they be different im major and minor, ex s6 =p “The supertonc isos often eeated a dominant ofthe dominant. a ceed? B57 Harmonically, however, the supertonic often tends to become absorbed into the subdominant chord, especially in cerain pos tions ands sometimes spoken of asa substitute for the subdominant ms —— ® “The superoni shoud, eherefore, be included in the lit of tonal degrees, since t parakes of Both dominant and subdominant char- ctr burshould be distinguished from I, IV, and V, as having ‘much ess tonal strength “The seventh depres, leading-tone, for alls amportance as an indicator ofthe tonic through is melodic tendency, has not been treated as a basi sroctral factor in tonality. Ie remains a signf- {ane melodie tone, common to both modes Te seldom regarded 2a generator of harmony, but is usually absorbed ito the dominant Chord. The pogresson,leading-tone eo tonic, may be described as ‘melodically VIF and harmonically V-L Tn terms of harmonic roots, overemphasis onthe modal degres TONALITY AND MODALITY 53 tends ro give the effect of a node, and tonality, other than tha in tended. The modal degres, by their insistence, ate accepted by the (eras tonal degrees of another scale m9 @orw ¥ Mieetian Ic follows thatthe onal acre of mic consists mainly of Harmonies with onl dress ors (1,1. Vo and I) wih he toda degree chords (I snd V1) wed for vary. ei ineresing foot how ins single onc chord one shirt degrees vaticee fo Pender” any umber of deblings ofthe two taal degrees ad pan te r go pees 2.60 Tl | i Te {ii rong nl facorn msc ithe dominant effec San Bison, Sern ic hey much moe decsvly han te foe chord il. Ths fac ftps not spprem wih snp Mads ue sel be cae hwnd ought the sey of hs Bony. The alin of dmc sn hema srs ree tone which sve so ugmen he felng of tony Heine in the combination of lealing-one and dominant out ment of shy by mens of oe oe say form of dom Mant harmony isan everyday occurrence. 7 ” HARMONY x. 61, HaydoQuartet, op. 77,0. € re {ona q x. 62, Franch-Violin Sonata 1 — H— pI =5e = a inj hn tty eneloop ane tay which wil ler prove advantageous to the proc ‘ex ob modo ia greatly Iesened when two chords are heard i Satie propresen. The progrenions have in themselves impli ‘Sduoms of tonality althoog in varying degrees. ex 64 f — a ee ‘Thisambiguicy, TONALITY AND MODALITY 45 “The great engi of tonality in harmonic progecsons in Pong ny rads sin hve progresicns which combine dom: Tetctbrmaty win harmony fom the sobdominan sige (nad Gs soperonts ws paatng of both). Premnceof the tonic chord Peet oe necoary tothe seblshment of key. More inporant Gti dona. The progrcions 1V-V and IV camos be inter Pee ce an: wih na ara they do ao net te tome chor to show the Key. The Peoprsion V-VI although posible ro her ax the relive tn Ben progression i inthe dominne Key, aronglyindicave oh asinge omy ray be cco fra hid chord vo be heard if he hammonic isto defn the emai. By adding another chord co the Eiteson inthe above example they cn be rendered sos ne taka in C. 65 Gwviotnvv vum waov wav Similarly a third chord could be selected which would confirm the atemativeronalty given inthe orginal example. 65 Bi eencary ol sce rope of two or tee chords with inewning to ley nigh be reguded ss msl "words fear iss wo votes many of se formule ple Ins niook where hey vl be rll for consti begi. rth the commons ke W-V-l, LIV-V. ees and een some that he may inven. They sald then be sed Fenians car’ Senge of tonality and shythmie 6 HARMONY feeling, and notice shoud be taken oftheir frequence of use in music Sid of the varied forms in which they may appeat. "Varun of the formulae By diflereaces im doubling, spacing, and choice of soprano tone, are resources already available co the sent. 67 & change of mode from major to minor, or vice versa, does not fect the tonality ofthe formula, and is one of the important means Sf varucion Ex 66 could be writen as follows, the only change being inthe modes fee GTweREVIEW1VATNVSY #T “The study of harmony deals with the variants of these funda mental formule, or “words” Ke will be found that they exis inthe frost complex texture, and from the very begining much attention Thould be given to hirmoni analysis of standard works, (o bring Sue the endles capacity for vated creament of these harmonic Structural lemeoes, Compare these wo presentations ofthe formula 14 x. 69, Mozart-Pieno Sonata (ea Pact pad TONALITY AND MODALITY — 37 ‘ex 70. Chopin—Erude, op. 10, no. 6 a: 8 7. Beethoven-Sonats, op. 53 Aigo meterie A GEL, Get (ot (EGE Os et (ma In this example th smple the progression I-V is repeated with change of ode change involving bur ne noe-the hd dagree. The harmonic progression may itself cont prog y itself eontain chords from both 8 HARMONY tx. 72, Mendelsohn-Somg without Words, op: 108,02 pogo (ag iene “Tus we of th nh degre ofthe minor mode inthe mid of ch kc mode athe ineret of olor and reqoenhy da ee odominant and wperric with minor sch de- ee ecpand when he major the prvaing mode Sanne ate and the maar forms of hese horde (ith major se ce rd in conection with the ioe mode only ae ae Agee scence othe seventh, according € DE Tlie minor se 7 tne egheth cenery it wat alos manner ead om aaa est even though the movement ha been onisalaly ed the "oer de Tigo trou This major tra was called the Picardie” or Pedy hid tx 74: Bich-Well-tempered Clavichord ly Prelude no. 4 de RY te ise. ig CComporiions in large form, of several movements, the frst of seh Rin the minor modes more often than not change © major WS hc lnc movement whe Keping the sue ronal. Bee TONALITY AND MODALITY 9 horas Fh Symphony i avays referred to the Cir oy noe he sta sil oven oe Bett tat cms Mth serlopnens of ona reres inthe nine ce- ery ease ce enn oft to odes megs whe foe steal coped toes chr: Choma ones See inroeced ply by fh thd which bas jo peril Toile born Aran saan Cajon an ply By he Kerio of the doranss pce allow ether degre tan he ta powne shown darian. Stacy of he comple tlogs masa roan vanced ah cody of tanya oo pt of ich fhemuden sold be made sare on sb sre The fe hot Peete reer nd ed co eco change ren teh eds Els ron ea errr shoul noted sd Bester ee ce cleton of proprio tnceecrcse Bibs pce cogs end 1 can bs ted wih her major or fine dgrs athe mip ne andthe alone hd of hemor med may hae nj td endesood tae Beets teary ad scald nx teed too conten Sie econd impr pot tht sores oie the se oot Peeely ale he wliy. Ths pence may exe icy fics be nore cay oly cp the fae hac anes bythe pores of rot ached Fateh chord ve soph rps of heme tay comin al te oes fhe roma ee EXERCISES w ng eof she eninewithow In sgtr, ng ase esas when needed, shell for showing the sifferences in mode fet ie aio ges oj nd tor ee mie onic are ming i at they mggen mach more — ‘than actually exists, ‘s SF Wee the oda ges ofthe follwing eles: Bs Ata rinoe : Bef. Chupimayer Bc Danae HARMONY 4, Geahap minor fe Eis minor \ 2 Give the tomes and modes ofthe foowing progres { (ae 2 «g. Wte echt haloing harmon for fou ie nor VIL ieee bike aja vv Aone oe We cor par eons fc f flow Cr Bie eed Saal Bia aa ee 5. Write sre varies of a four-part setting ofthe following Key of @VEIV-I-V-iI-VIAV--Y- b. Key of Eotar-V-LIV-V-VEIV-LV-LIV-V- 6. Construct original chord successions, starting with a series ‘of Roman numerals arcanged with anton co the proper discribu- tion of modal nd tonal degrees and to the quality of the harmonic progressions involved. The series should finally be worked out in Four parts © HARMONIC RHYTHM rs asuned thatthe conceprions meter and shythm are under= ood. Mee issinply mesure. Meter has no yen, Bur muse fooften has hythnic ple with which the meter eincides st Gmporane point that we dea the meter is rhyhnie. We then Ipeskof ong sod wesk bests ofthe measur, forging hat the yt ofthe msc ere fie and that aferards eae the efore foplice the bar lin ar poinsofehynic rex. Obviouly,te ft Bore of + mesure shuld recive rhythmic sex only when the sical fori 30 noc bese happens ob the fin bes. MTbe rection of many intuenes, portant among them dance Iai and ance for, combined nthe eighteenth and nnecenth enue t ntl the eno reuse pve (recurring symm teats) ic ll mie. The ped of harmonic practice which we ae Studying i the same ine te period in which there eld sway the retet “tyranny of the barline.” Composers of eather centuries Pork wih free and fexle shyt le hese of fine prose and Bebe cri cerry thre hat bon an emp vo enor principle ofthat higher agazation of thy, but fom Bach Bf trons niet thr he tnd of messes That we ar sil far frm an appreciation of the subtleties and Aasteryofshychm even undsr our conventionalized system, shown ithe works of the bs composers is lrgely due to ur aceepance @hthe doctrine of song and weak beats ax vbwuce forthe Spevminded appraisal ofthe shythie valier ofeach individl ascal phx # HARMONY Ieis dificult go reconcile the rhythms of the following examples wii fain cacfcation of hear of che measure ito SOng, weak, and weaker. x75. Bach-Serabande from tbe Second English Suite == SS SS SSS Here sin mat stands the seston the sco bea of the ee had beatinenely wir acer the eft ofthe measure being tha: of ashore frst bea followed by a heavy second beat ating twice slong. x. 76. Mozart-Oo Aiegro ure tothe Magic Flute Here the only secent is onthe fourth quarter, the sx eghth-notes being lof equal iythmic valve, Mozart has underined the rural rhythm by marking the accented sateenth-note group fore Brahms apriccio, op. 116, 0.3, HARMONIC RHYTHM *. nizstotal effect onthe tener, che chythm of music derives tom foro main sources, melodic xd harmonic. We omit from this is feusion the percusive resource, exemplified by the bas-drum feroke, not because it has not been signfcanly employed, but be- (use its habitual role has ben to heighten of underline either Inelodic of harmonic chythns [Examination of the following example will show these ewo kinds of rhychm. Wf. BeethovenSones, op 31,90. 3 ——iars Prout wvmuyv t ‘The melodic rhythms here combined may be indicated thus: > > Tn chis example the strong accent inthe first measure comes on the second beat. Therein stress all om the first beat ofthe se fond menure and te thre quarters serve as up-beat (anacrusis) £0 the third measur, Te four pacers are clely notin agreement ato scent of PBifiiacue Br Taking he Roman omens ofthe harmonic analysis x indicat- Hag the docu of the rot changes inthe phrase, we can write the pattern ofthe hagronic yh ch Bo sis Mine fe “ HARMONY Admiting the iadeguacy ofthis merely quantitative notation of toh the are neveceles two sgificant observations £0 be ide The pattem of harmonic thythm, akhough fering from cexthof th puters of melodic yh the product of the combi Si of thee The san excellenrcorroborstion of the oftn- ‘Rpeated watement that chord are made by moving veces On the ‘Gher hand tb emirly feableto sever the proces. The com Dover nay have ted with the baron pattern and have derived From it the mode Tins Th The reue changes, which give the rythnie pattern of the fammony, ae ot regular in ie ike a regular pols nor are they fof ea yeh valu, quite spare from the unequal ime valves they poses Beth of thee aspect of harmon rhythm, fequency if change of root and the quality of thar change, mus eve at teovon ina study of harmony a wed by composer. “There need not be as much diversity in patterns as found in the Beethoven example, Ie is tree that thythmie independence of melodic lines ithe tet of good counterpoint, bt music isnot a ‘ways contraponal and the complesity ofits textore varies between, wide limits The rhythmic outline ofall the voices may coincide, in which ‘case the resultant armonie rhythm wil be in agreement with the melodic rhythm alchough not necessarily with the meter x. Br. Beethoven-Sonata,op. 53 HARMONIC RHYTHM a 1 82, Schumann—Symphony no. 1 —_—— Ta the above examples the top voice is heard as a melody. This is falled homophonic music, a diingushed from polyphonic music, inwhich two or more independent melodic linear Beard in combi- When all eke is subordinted to one melodic line we have melody. and accompanimen. The accompaniment is frequently Tacking in rhythmic interes, co avoid lewening the prominence of the melody $85. Chopin-Nocturne, op. 48, no. ¢ Inthe later part of the nneteenth century some compasers be- feuneintersaed in complicated parsing of cheomate nant, And in their efforts to cancel the underlying harmony and inerense he contrapuncal interest, obscured and even obliterated the feeling ff harmonic progression. Whether deliberate or inadvertent, ths mounted to an impoverisiment ofthe ehythmie life of the msc. safer ney of eoaparal ear one cha aroie mic background, the works of J. Bach remain the models (Of perfection throughout the period 6 HARMONY x. 84, Bach—IPall-tempered Clavichord I Fugue mo. re ins = — fA | Am Frequency of change and rhythmic quality of the change are then, the two min feares of harmonic rhythm. When the har- ‘mony changes ton often the effec is apt ro be one of reslesines and bustle. ‘ex.85. Chopin—Maaurke, op. 59, 00.2 ‘Mlegrao Ie Widely spaced change of harmony give the impression of breadth and relaxation. HARMONIC RHYTHM a x 86, Mocare-G-minor Symphony There are instances of complete absence of harmonic rhythm throughout whole sections of composition. One of the most famous examples ofthe effect of state harmony is the prelode to Wagner's music drama Dar Rheingold, where the chord of Eat major serves fas the unchanging backgroud ofthe entire prelude, one hundred land thirty-six measures in maderate empo. Static harmony, or absence of harmonic rhythm, is more often felear a defect in music by composers of inferior gift. Like all ther echnical resources, cs succesful when appropriate, and i bound tobe inefecive when the rsul of indiference oF unawareness on the par of che composer. “The rhythmic quality ofthe harmonic change is influenced by 4 imumber of factors, often of no litle subelery and open to differences ‘of opinion as to thie values but of prime importance tothe student {se apres roan insight nc the fnclon of harmony as a misc Fist among thes he agogic element, the effect of tie. 1g these factor che agogh “ ‘Long and shore values, i is generally agreed, are synonymous with heavy and light, serong and weak, hythmie quantities. Down and pn terms of beats, shoold nor be included in this parallel * HARMONY "gay poe “The applicator ofthe principle of long and shor values to chords on the same rooe ipa shythen, bu ths should act be thought of ss harmonic rhythm, which has to do with harmonic changes x. 88, Beechoven-Sympbony no. 7 Allegretto ‘atoonie ign * From a purely tarmonie standpoint, the basi factor i rhythm it the inherent shyshmie value ofeach harmonic progression. These ‘ales seldom exis in music without the inflence of other factors bur should be ely exablshed by playing the progzesons in thei simplest forms ‘A strong progresion is one which give the impression of weal (light) proceedrg to strong (hewwy). Using the barline for its teadtional parpon, we may say that a bare could properly be placed between rwo chords of a rong progresion. In general the progresions withroot moxing by fourth, Hlth, or second are Progresons. ex. (= Sees ie aS alo alelelol, HARMONIC RHYTHM * A progresion with roo moving up a third isa weak progression, Igiving + rhythmic impression of strong to weak "The har-line noe ‘rdinarily placed between evo chords of a weak progresion x ‘The progresions with root moving down a third are not def ttey echer weak or strong = enna When more than two chords are involved ie willbe noticed that, B strong progression is capable of becoming weak by asocintion With other song progresions. The following example shows (groupings of such progtesins, wih barline indicating rhythmic Interpretations o which chey are srcepible. Let ys repest thatthe Darline is bue an indicator of the inerptetation and nots enus of it. seo: i ab errr ty pre: Wi he nite mci ow at his command hese wi ot be expected to apply advanced principles of harmonic tye, Tei advinbie ats pon, however, to mention sme ther yt Mic nfuences which wil srely be present in alnst any muse thats examined. o HARMONY Disonance is contrapuntal in princple and an impor: ee ment in motion The dasonant chord and ts eolton may, how Ter compose strong ora weak progreson. The hamenic rhythm Treoncerned with root movement and is ether confirmed “rconvadcted by the polyphonic superstar 193 Directions for nuances of loud and soft, crescendi and dimimuend, accents, sfraand, and te like, are of course not elements of har~ monic shythm. The we i ordinarily to confiem and accentuate the natural shythnicfeling aleady present inthe musi, although Sometimes for particular expressive purpose the composer may employ them in # contrary vs. x 94. Beethoren-Sonats, 0p. 31,00. 3 Allegre ——~ DF py Inthe above example the second chord, although a dominant seventh chord ein 2 posiion and inversion which would allow fof is complete sbsorption into the tonic chord, the soprano and bas being pasing tones and the alto an ausliary. ‘The accent indi- ‘ested by Becthoren would never have occurred tothe player if no ‘dynamic signs had been given, HARMONIC RHYTHM st Te quesion mld by the Bethoven example, of whether + Beat Sena of coe oan ndopendenchod out soe Bcc cons which happen ohamotar athe mewsent depends aos conderaons nd an open to varying were Mos. Te wil have to be decded tainly to tyne trout ba fe shoul ale nc consent genta pac nd sila. = ahs cumple the spec of te mac juss a broader view af Bae harmony, so hatte hamnont mer foe chan per mesure een eacrble x. 95. Scarlanti—Sonata ‘On the other hand in alow tempo the passing chords are dwelt ‘pon ong enough to give cham harmonic significance 1B 96. HaydnSomats ‘The pedal effect, where atone, wally the basis held through which are foreign to itis shythmically stati, sine it s HARMONY Fae 44. The harmonic shythm may be syncopated, while the rhythm ofthe melody continues to agree with the established pulse. 1x 100. Chopin-Preude, op. 28, 0.4 Large Fee = (essetsidlatanaaas “The common term for ascrusisis up-beat, as opposed to thesis, meaning down-best. Up and dovn ate good descriptions of the thychmiceffeces produced by anacruss an thesis, probably because Wwe instncsively think of a condaceors stick, or a vieins's bow. Rhythmically, however chee terme should not be eaken to mean ‘weak and stoong, respectively. The up-beat may be strong, intro- acing 2 weak down best. ‘mx 101, Brahms-Imermense, op. 76, no. 6 a HARMONY (rit may be weak shythmiclly, the stres coming on the down heat 2x. 102, Schumann—Album forthe Young, no. 30 EXERCISES 1. Construct shor phrates of about four measures, in four-four ‘im, wing tins in r00e postion, according to che following vata ‘a With only one harmony per measure i. With two harmonies per measure : With tree harmonies pee measut, divided in various ime values 4. With four harmonies per measure 2. Arrange the fllowing series of chor into phrases, with es pecal attention to the placing of stong and weak progrenions. a Eat major: LV--V-AIVEL-IV-V-l chord progreson in as many diferent thythmie variations as possible, appying principles described in this chapters V-VEIV-, “+ Harmonize the following bases in four pars HARMONIC RHYTHM 8 THE HARMONIC STRUCTURE OF THE PHRASE ‘ony a theaverage harmony exerci, Temay be argued that ‘the purpose ofthe harmony exercise to teach the manipa- lation of chords, and that che more chord ic is made to contin the more practice he stent will ave, But here, asin ll other tages of tur sty, we mst continually recall he objective of harmonic the fry, mmely the eafieation ofthe practic of cormporers in the se Of chords. Harmonized chorales and hymn-tnes, with harmony changing more or les segularly on every beat, represent a very small pat of the lieature of music in che eightenth and nineteenth ‘centuries and, hovtever admirable and appropriate to thee purpose they may be, they ate not representative of the common practice ofthe period Jost a regularity and symmetry seem to have been sought in ith, thene quale are found to be much in evidence when we consider phrse sroctue. The great majority of phases, when they fave not undergone extension or developmen, ate of four and eight measures, In very dow movement a phe say’ contain only two rmeanures and in af tempo it may’ conain seen Since we are concemed primarily with noes we shall deal ac fist with four and eight measure phases. The stadent will noice, however, che added msca interest ofthe phrises he finds whieh donot agree withthe standard, These iregulae phrases wil fll nto two categorie For the most par chey willbe phrses which were ‘originally four or eght measures long in concepcon, but have been tae longer by one or more technical processes, sich asthe ‘quence o the decexive cadence, harmonic devices ro be examined AA test of mse som comin many hangs of HARMONIC STRUCTURE OF PHRASE 5; Incr in this book. The thes will have ovgnated with dh numbers uf measures (EX. 10)) ® = ¥x. 103, Brahms-Ballade, op. 18, no. 3 Alege eergieg Teis posible thatthe phrase be constructed on a static harmony, although there is wally some particular reason for this. The ex. ample bclow i ofa phrase which serves as inrodction tothe rin body ofthe pice, sing the stage for whac isto come. The same phrase is sed to close che pies, 104. Mendelsohn—Songs without Words, op. 62, mo. 4 Ategoo ah 5 Gr The one + etene ered by the following two examples fs very ests in fat tempo bi capable of dignity and sundance When te movements hersows em am 8 HARMONY 1x 10s. Schumamn—Sympbonic Studies, op. 13 Presto pomibite x, 106. Chopin Nocturne, op. 32,0. 1 Andante sostenuto, ; Ss wie twive Most pheass vill show a more balanced harmenic activity. The ‘chord changes ate designed to lend life and movement without drawing too much aention to themselves. No rule can be given, as all degrees of variation in the amount of harmonie change cia be found berween the two extremes, ‘The harmonic rhythm, or patern of the distribution of chord changes in the phrase, is of great importance inthe structure. This point should serve as a basis for extensive research during the study ‘of harmony, to bring out the great diversity of effect achieved by hharmonie means. ‘Changes of harmony recuring a regular intervals like a pulse se fairly commen. HARMONIC STRUCTURE OF PHRASE. 59 ‘ex 107. Brahms—Walts, op. jg,n0.1 oo 3 Usually, however, the changes will form a parern of shore and Tong tie values, 2s well as weik and strong chythnie progresions, Bx 108, Beethoven-Sonst, of 49,20. 1 © HARMONY Phrases do not necessarily begin with the tonic chord, nor do they necesarily begin on the it best ofa measure, Rhythmicaly, the sare may be either anacruis or ches Harmonialy, ic txsromary in the fist two or three chords, che fist harmonic formula, to make clear the tonality. As has been pointed out, this doesnot requte te presence ofthe tonic chord x. top, Morart-Sonats, K, no, 281 Hire the first chord is actually the dominant of C, bu, since the ey is Blac and Cis the second degree the chords propery called Vol Il a form of Vi “ per Tye end ofthe phrasal the cadence, aways marked by » cern contention harmonic formal I wil ufc hereto in tate the exe etre of ro types of cadence hese wl be ecto tate aly int ac shape The abe radence compare tefl tp or pid in puncrntion, nd coms of the progrenon V=L The bl cadece ie a containing» partial opin an unined eatement. Ie nie with the chord Wy however ap proxche. “The following xampe shows wo phrases theft ening with shal caence adhe second tha utenti exdoncs HARMONIC STRUCTURE OF PHRASE 6 x. 110. Morart-Sonat, K. 90.333 Allggreto er Inthe sore example the phrases end with the fn chord ofthe fxdenceshychncaly sre, the barlne beng placed jus before Vin the al cadence and before inthe authentic cadence, This falled the masculine ening, ot maeineexdence. In locating the Veco ince the tion fh dons ba ots taken. If here are frig tones above fe, they are tempat Giplacng notes ofthe V chord and will rele inc inthe half cadence stove ‘cadence in which the two final chords give the strong t- wea Ahiythmie progression i cals feminnecadeace, o emg en ing as inthe example blow: 11. Schumann—Harvet Song, op. 6,024 oon slegeerss) o HARMONY “The principles governing the selection and denibton of chords wihin the phrase are thst of unity and vay, condoned by zy speci purr for whch the phrase contrcted, Such + ‘pec porpne orate by En which the ation tra appropri forthe inoductory function ofthe phe. An dcher spec purpose would be tat of transion, i which the prs would ben sate of moving from one place to ancher, Tonal speaking. Another would be the preenation of 2 phrase previuly hear bt new form, with Yared harmony of with Uelopmens and extrions Before sch pects ar investigated, important vo know what the harmonic serie conus of in normel pres ving oo txtrordiary fins, bur whose re spy th of pres ton or xpnition of the musk! shoght without development or ‘maipulaton "Hamonicly «phrase cons of ste of harmonic pogres- sions o forme signed to mae cher and mann the tna, td to confim ind eohance the harmonic implication in the loc line. Thee ar principles of tnt. The harmony sone wil fen emo pose ra iy. th nay rept a he Sane root progresions. This balanced by other siguficat Feetres inthe pre vanes 15x 113, Beethoven Sonate, op 49, 0.2 | WaRMONIC STRUCTURE OF PHRASE 6 (Get ahoEs.107) petty be il ond sha res de of stein Haseena vo th anc of tlace becca ety and vary, Pint che of ross nici sync don Ta etipin of hs price athe woke of atten compe ie trey profit Stat ore view pricis of tarmonie vs, mch change ey (moduiien) sod Cieatcserason ofthe chord wl eile for aes texec. The progam of sy sche ple Ices he folowing expe Be Amiya of» given pts Serving athymic ater of one shows by Ronan mama Tecraacocinn of sfourpare himenic scheme showing the Bete of ce oigal eat othe crm ing bn the pater ned inthe ex ep, contac. Ii eet pens alk she gen pre “Ter flloe on asim of te spain ofthese ep BL I15. Schuberr—No. 1 of Three Grand Sonatas Adagio at 4. The pattern of rot changes is 8 follows my ee gad Te phrase begins wih onthe down- beat. The IV progreson fepesed in the second measure with rhythmic variton. The | Weed meare offers harmon vary by inroducing the medal Agree tiad VI preceded by I, altered in the orginal to become a Amina of VI The phrse ends with « masculine haf cadence With the progesion IV-V ss weakxo-strong (ehor-C-lng) Bs Using only eiads in roe postion, these being the materia a % HARMONY present available wo the student, che following harmonic scheme ‘would be derived ments wiovox ¥ imwe v Taking advanage of the slow tempo to gun variety in the melodic lines by moving about among the chord tones, # version like the one below can be made. Note als the organization of the snelodic rhythms mxH6 ‘Andante, EXERCISES 1. Treat the phrases given, following the thee steps as inthe ‘example above, 2. Derive the shythmic pater of the roots ofthe harmony. Construct che four-part harmonic scheme ©. Construct new phrase from the derived harmonic bass Mozare Sonus, Kono #84 HARMONIC STRUCTURE OF PHRASE 65 Schubere-Sonsts, of. 4 Handel Suite X, Memetio dd tn 4 Construct original phrses, four measures in length 4. Stating with anaruis and ending with feminine cadence b. Starting on down-baa and ending with masculine cadence With minimum of harmonic atvity balanced by melodie 4. With maximum of harmonie activity and. litle melodie movement 3: Consus phrase accoting tthe following patterns & A-flat major, two-four time, slow: ee (Gf Beethoven, Op. 13.) HARMONY b, Deamon, threeour time, fas (cf Beethoven. Op. 10, n0. 3.) ©. A-imjor,ewo-fout time, slow (cf, Schumann. Op. 68, 0.28.) HARMONIZATION OF A GIVEN PART of harmony the cqustion ofthe bility to harmonize mlo- ties That isan scconplchnene which ought natal 10 fame as» by-produc of de proper sckntife sudy of harmonic Tags bot an accomplishment singly lacking in opportunity ot Beceity for is application. Excepe in rece, specie fs Eiscan rarely called upon ofunsh harmony fora ley ‘The mental sep involved inthe proces of harmonization ake iy however, one ofthe mom alubleerercer inthe stay of Harmony, andi shouldbe vgerded always asa means rather than anend. The foncion of urmony exerci to lay principles by practical experience with the mae, The atempt to go over the ame ground o le the se problems asthe compost wll afford ano purely nail proces ca, a insight ito te waare And deus of these problens td inco the manne and variation of thee sation, Dung the period we arching 2 tat of hammoic common Bracticenery al the melolies ate of harmonic origin. They were Sither evolved frm chord tne, with the addition of noahartonic felodc tones of they wer conceived ws having harmonic mesh ings expresed or iplied. Sethe proces of harmonization doe not Ae ivenion, but in ase redscorery of element already in ‘existence. 2 I sr nor be thoughs thatthe ultimate objective ofthe study Nevertheless, one should discourage the ambition to discover the c ° HARMONY “author's harmony.” expecially in academic, manufactured, ext- bank exeretes There nothing more depresing than che perusil ‘of the “key tothe erercies." Even ifthe given soprano i a melody by Mozart, no premium should be placed on guessing the exact chords and their arangement a wed by the composer. The profit for de student lien the inteligene comparison of his own version wich that by Morar, Teis characteris of the nature of music tht any melody ie eapa- ‘le of suggesting more than one choice of chords, to say nothing ‘of the numerous posible of arranging them, True harmeonia= tion, then, means 1 consideration of the alternatives in avaiable chords, the reasoned selection of one ofthese alternatives ad the tasteful arrangemert ofthe rexture of the added pars with due re- gard for consstenc of syle In order to find te available chords for consideration, one should strive to make as complete harmonic analysis of the melody a possible, in as many versions a seem to present themselves, The frst ‘question i of cours, the conalty. Some melodies of restricted range may offer several posbilies of key and mode, even if we limit ‘ourselves tothe us of wads in rot poston HARMONIZATI N OF GIVEN PART @ Broowiwr vim or ‘The possibilities for differnt interpretations as to tonality and ‘mode of 2 melodic phrase will increase with the radon’ farther Aequaintnce with harmonic resources, Determination of the key will depend upon the diagnos of the ane ed sre pene agal ee Pres ab ees canis Be oa ae el cndogeentepre Eee BEE a ea eo prep eeyer boe eaed eee creas te ote a Fagen oc E eee eeten ee eT ses TS i el ne ee a ee SAR A ite Se ets eb eeletemele When a melody moves by sip, ris ely tha she heer prcedore willbe tows the sme harmeny for bth noes mr 70 HARMONY Exceptions to this will usually arse from questions of harmonic rhychn, If the twonots involved inthe sip accur ats poine where the harmonic rhythm would approprately move from weak (0 ‘song, then the harmonic roots will probably be diferent. exni9 ‘Such a shythmiz effece is generally placed so that the second chord falls on the fis beat of a meatute, giving rite to the often Stated rule tha itis better to change roce over abarlne. The weak to-srong chyehm may, however, be found within the measure, just as the first bea, as we have sen, is sometimes not che strongest Ifthe harmonic rhythm seems vo demand frequent chord changes, iemay happen tha tone ofthe melody will hold trough as atone common £0 ewo of more diferent chords Grww yuu y¥ Ik is of course, posible that melodic movement in the other voices, without change of roe, may be more desirable. HARMONIZATION OF GIVEN PART 7 After having decided onthe tonality and having made prelimi rary decision asco the gencal harmonic activity, or frequency of thors, each note ofthe given part should be examined for its pes Dilties 2s a chord tone. These should acrually be written, as Roman smamerals in order that all he mental sepa may be clearly sen Tn working with a given bas only one chord was available for teach tong, since the given bass notes were a che sme time the roots fof the tiads. When an upper voie is given, each tone forithes 2 thoice of chee wis. A given tone ean be the roo, the third, othe fe, men This ep is shown appli’ toa shore melodic soprano part meng tea “te Rad ai a Tathe as measure of the sbove example we can at once eliminate the VI and the IV, a we with to end the phrase with ether V of Since I remains, the cadence will be an authentic cadence, so we ‘chocee V to precede the I The VIL would not be a good subsiute n HARMONY for V here becauseit would give a doubled leading-tone. Tn measure f¢vs can ako elnino rhe VIL Tn mesere 5 ether I or VI could live for the whole measure, In meavore 2 the VIP can be suck ‘ut. Also the II will prove a troublesome choice fr the second beat {i would make parallel octaves if followed by I, and would not five avery sutfacory ba interval if followed by VI. So we con lode thar measure: had better contain either IV or H-V. These tliminations lave the fllowing aernatives: enn Considering what we now have from the standpoint of unity and varigey, and harmonic rhythm, se Se that the only chance fuse VFis in measre 3, and thatthe progresion V-VI would be good hete as variation to the V-I which muse come a€ the end. So we

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