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Idea Transcript


I N D E!

.

P r e l i mi n ar y T r i ads an d C h o r d

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C ade n

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es

p r o g r ess i o n

S i mp l e Har mo n i sat i o n

an d

Fi r s t l n v e r s i o n s

of

T ri ads

Se

ns

o

cn d l n r i U n ac c e t d P o

ve s o

n

as s i n g

e

f T ri ads

No t e s

T h e Do mi n an t Se v e n t h

T h e Medi an t T ri ad

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A

e

t ed

Pass i n g No t es

S u s pe n s i o n s T h e Me l o di E l e me n t ar y

cMi n

o

r

Mo d u l at i o n

A u x i l i ary No t es

T h r e e par t -

W o rk

S o me P o i n t s Adde n da

c

S al e

o

f

S t y le

F OR E

WO

R D

.

I n writing thi s book my ai m h as been not only to s how the st uden t how to manage an d u se the v ari ou s po ss i bilitie s bu t al so when to introdu e the m a point whi h i s o bv iou s ly of pri me i mport an e One so oft en en ounter s s tudents who an t alk glib ly about the treat ment of all k inds of hords b u t w ho s eem not to h av e the s light es t idea of when to u se the m or how to k now when their u se i s i mp l i ed in a gi v en p art While the h armonisation of a melody or a bass is to a great e x tent de pendent on the mu si al se n s i bil ity of the s tudent it h as to be reali sed th at ert ain melodi progre ssion s i mply normally ertai n definite harmonie s an d thes e i mpli ations I h ave tried to mak e le ar E le ment ary work o mpo unded of o mmonpl a es an d my o bj e t h as been as at leas t i s l argely ” far as poss i ble to s how how the underlying o mmon pl a e may be s pott ed

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on F igured B ass for the benefit of th o se who u se it i n pu b li shed s epar ately I t pro v i d es in stru tion an d ex er i ses on ea h

An appendix

te a h ing h apter

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The h apters an d materi al h ave been arranged not only to provide a goo d grounding bu t al so to over wh at i s generally needed in the more ele ment ary Harmony e x ami n ation s s u h as the paper work of the A T C L an d L R A M an d the whole book i s based on my own pra ti al ex pe rien e in the tea hing of Harmony A n atte mpt h as al so been made to s how how exer is es an be made reason ably interes ting an d flowing by the e arly introd u t ion of the uness ential an d in parti u l ar Su s pen sion s whi h are often left to a l ater s t age on a ount of their su ppos ed diffi ulty A tu ally they are e as y enough to man age i t dealt with on the lines indi ated

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c c c c c c c The tre t ment of c ert i n m tter h ted b n deli b r tely r t i c d li mited for the ak e of c l ari ty ity Modul tion for ex mple h d i mpli c b n d alt with onl y i ele ment ry m nner The tudent i rec o mme ded to f ll w thi boo k b my H mmond r Wor k C ndid te Co Hi nt for P c c i a wh i c h wi l l er e for general re i ion A mple up ple mentary to " c in H rmoni ation ( Hamm nd 8 i b fo nd in my 1 08 E c ,

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a

a

a

an

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ee

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x er

so s

a

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a

a

a

a

s

a

,

s

a

ex

o

W Co pyri g h t

,

as

n

a s

s

.

an

es r

s

.

ap e

v s

v

e

ee

s

a

s

y

s

e

an

as

s

.

er

s es

re

:

.

Lo v et o

c x

.

CH A PT E R

1

.

P R E LI M I NA R Y

.

c c

c

I t is t aken for gr ant ed t h at the s tudent be fore o mmen ing the st udy " of Harmony h as a thorough k nowledge of Rudi ment s otherwi se mi s unders t andin g an d onfu sion ine v it ably arise I n parti ular I nt erv als must be pro perly unders tood 1

.

,

c

,

.

,

.

c

ment al he ari n g

No real progres s i s po ss i ble unl e ss the fa ulty of

2

c c c .

c

c c cc

is

v ated m s u ss ion of thi s matter i s o bv i o us ly be yond ro erly ulti o lete di A p p p the s ope of the pre sent boo k an d one an do little more t h an to s tres s i t s extreme E v ery ex ample whether a single hord or a o mplete progress ion i mport an e any t i mes on e uti v ely at the pi ano an d the s t udent s houl d s hould be played m s endeav our to me mori se at leas t i t s general so und e ffe t so th at w hen he s ees hord progression on paper he may be able t o reali se ment ally i t s an y gi v en a tu al sound .

,

.

,

c

c

c

c

,

c .

.

-

.

c

I t i s al so de sirable th at al l the ex ample s whi h are gi ven generall y i n C maj or for the sak e of s i mpli ity s houl d be written out an d pl ayai in v arious k eys so th at the s tudent may be able t o re ogni se the m in k eys other th an C 3

c

.

,

,

c

c edure proc

.

s i s entirely de pendent on a the e ffe ti v en e ss of t he se a a a ro erly rr nged our e of in tru tion in m ent l he ring whi h n only be left a s a s p p in the h ands of the t ea her

4

B ut

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c

c

c

cc

,

.

I t mu s t be firmly i mpre ss ed on the student th at wh at follows is to be Thi s may s ee m a t rite o bse rv ation bu t ex pe rien e studi ed not merely read as u al s ho w tudent s th at all too man s appear to thin k th at a more or less s y reading o v er of the text i s su fii i en t to en able the m to a hiev e re al unders t anding an d the abil ity to wor k exer is es orre tly I t should be le arl y re alis ed th at ev ery s enten e throughout the whole boo k i s of i mport an e an d i t s me aning an d impl i ations mu s t be pro perly unders t o od 5

.

c

.

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,

c c cc

c c

c

.

,

c

c c ,

,

.

CHAPTE R

T RI ADS

AND

2

.

C HO R D P ROG R E S S IO N —

c

.

I f we t ak e a note an d pl a e abo v e it a 3t d an d a 5t h we o bt ain a t riad 1 th at is a th ree note hord T he note on whi h the t ri ad i s buil t i s al led the root in root po sition when thi s root i s in t he lowes t voi e an d a tri ad i s said to be .

-

,

or

part

.

c

.

c

c

,

c ,

There di i i hed n s m d ( ) 2

Ex

c

four kind s of t ri ad : (a) maj or (6) mi nor ( ) augmented E x 2 s how s an e x ample of e a h on the note C as root

c

are

.

,

.

.

,

an d

,

.

2

.

.

c

c

I t wi l l be seen th at the maj or tri ad on si s ts of root with major 3rd an d perfe t the mi nor of root with mi n or 3rd an d pe rfe t 5t h ; the augmented 5t h abo v e it of root wit h maj or 3rd an d aug mented 5t h (i e two s u perimpo sed maj or 3rds) i ni s hed of root with minor 3rd an d di minis h ed 5t h (i e two s u per an d th e di m impo sed minor 3rds)

c

.

.

.

.

.

A

3

.

Ex

tri ad

c a b

e

n

bu i lt

on

an y

not e of

a

cle a

s

,

th u s

:

lII

IV

3

.

.

(6) C mi n o r

(a) C maj o r

Vl

V

lV

l ll

lI

Vl l

l

II

VII

VI

V

T he t ri ad s in the minor k ey are formed fro m the notes of the harmon i c ale U se of th e mel o di c form i s on sidered min or sc The leadi ng note of the mi nor k ey i s alway s rai sed a se mi tone by an

Note

c

.

c c ident al

a

-

c

c

.

c

The Ro man nu mer als i ndi ate the degree of the s ale whi h i s the root of the tri ad Thu s Chord I V refers to the t ri ad on the su b do min ant Chord V I to th at on the s u bme di ant an d so on ” on s is t s of a A t ri ad i s known al s o as a fiv e th ree hord si n e it 5 th an d a 3rd abo v e the b ass .

,

c

-

c c

,

.

.

c

Ch ord s I I V an d V in either maj or or minor k ey are alled P rimary T ri ad s I t wi ll be s een fro m E x 3 t h at i n the maj or k ey th es e are maj or t ri ads while in the minor k ey I an d I V are mi n o r V re mai ni ng maj or I I I I I an d V I in the maj or key are mi nor an d are alled Se on dary T riad s V I I be i ng di mi nis hed i s a di s ord I n the minor k ey the only S e ond ary T ri ad i s V I a maj or hord I I I aug mented an d I I an d VI I di mini sh ed are dis ords F or the mo ment we on fine oursel v e s to the u se of P ri mary an d Se on dary t ri ads (with the e x eption of I I I in th e maj or k ey whi h i s de alt with l ater) vi z i n the maj or k ey I I I I V V an d VI i n the minor k ey I I V V an d V I No other ho rds s houl d be used u n t i l the y hav e been spe ifi al l y deal t wi th 4

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c c

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cc

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c

E xer i s es

(1 ) Write the pri mary t riads in the key s of G A B fl at an d A flat maj or an d D F F sh arp an d B minor (2) Write the se ond ary t ri ad s in the s ame keys (3) Write the pri mary an d se ond ary tri ad s in D an d G flat maj or an d E an d E fl at minor n aming e a h triad as maj or or mi nor

:

,

c ,

,

.

,

,

c

.

c

,

an d

c

Wor k wi l l be written for four voi e s or Their o mp as se s are b ass 5

c

.

.

Ex

.

4

,

.

a rt s p

opr ano

s

,

alto

,

tenor

,

Ten o r

S o p r an o

.

,

c

c

When writing in s ho rt s ore (two st ave s) S an d A are pl a ed on the u pper s t av e T an d B on the lower S te ms of n o te s in S an d T are written upw ards those of A an d B downwards .

,

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,

.

Ex

.

5

.

c

I n arr an ging a tri ad for four v oi es one note h as to appear in two p arts dou bled The be s t note to dou ble i s the roo t the next be s t the 5 th i e it i s I n a minor t ri ad the 3rd may be dou bled bu t in a maj or t riad this i s undes ir ab le (for the pre s ent ) ex ept in ert ain s pe i al ir u ms t an e s mentioned below The l eadi n g n ote may n ev er be dou bl ed F or the mo ment it s ho ul d be t aken th at the " i b s hows wh at i s m root on l to dou led E x 5 e a nt b dou b l ng the root i s b e y y both bass an d SOpran o h aving C whi h i s the root o f the hord 6

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c

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,

c cc

c

,

-

c

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c

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,

c c

c

c

,

.

a t s hould not be s i a n N x rt of gre t i ort e e t door r s s a m 7 a p p p more th an an o t av e apart ex e pt T an d B E x ami ne the fol lowi ng noting th at the root i s dou bled in e v ery ase : .

S pa ing of

Ex 6 .

,

.

c c

-

.

.

.

,

I t will be seen th at b ro adly s pe aking the part s are eit her roughly e q uidi s t ant n a a b a d a a v or the T lo e t ogether le ing l rger etween T s a r e n d a A S g p (a) a l m a a r e n d B l o the f ther p rt th e S a l ed the ore gener ly wide a a a r s p B (b) A h a s s t i s d a re d the p ing e o e The a ing noteworth y in e it s s m b s a ( ) sp a p () the l arge s t gap (a 6 t h ) between A an d T while T an d B are o n ly a 3rd apart T hi s i s good when the 5 t h of the hord i s i n t he S prov ided th at the hord does not lie t oo low I f too low the e ffe t i s muddy .

,

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.

c c c c .

,

,

,

c .

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.

c c

,

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P art s

c

hould not ro ss 8 the ne x t highe s t T the next .

s

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,

c

,

; i e S an d B .

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c

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c c

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h o uld al way s h av e the highe s t note A the lowe s t s

,

.

.

A dd A an d T t o t he followi ng to form t ri ad s in root po sition Dou b le the ro o t in every as e an d gi ve the root indi ation of ea h hord

E xer i se

.

.

c

cc

c

,

-

,

.

.

( G maj o r )

min o r )

(E

I f the B ass only i s given add fi r st the soprano of the hord an d then add alto an d tenor as abo v e 9

.

c

c

E xer i s e

:



,

,

c h oo ing for it a y note n

s

.

,

Add S A T to the following bass e s gi ing the root indi e a h hord Write at le as t two arr angement s of ea h

cc

( E f l at

.

,

.

.

v

majo r )

c .

.

(B

mi n or )

-

ction a

of

A T B to be add ed below it may belong to m more th an one harmonisation may be b s s o i le F or e x ample in C maj or a so pr ano C an be the root of I t h e 5th of I V p or the 3rd of VI th us 10

If

.

a so pr ano note i s gi v en , with ore th an one hord , so th at

c

.

,

.

.

.

,

c

,

,

,

Ex

c

E xer i se

Add A

.

7

.

.

T

h of the foll owing c

B below ea

.

.

as are at present

root indi -

(D maj o r

ction a

(D o

n ot

( G mi n o r (D o n o t

s

po ss ib le

.

gi v i ng as many h armoni sations Dou ble the root in e v ery ase an d gi v e t he

.

,

.

w e l l ] or

us e

1 1, II I

VI D )

or

VI I ) )

ME LOD I C P Ro e n s s s ro x T he fol lowi ng point s mu st be me mori sed : a ( ) No part may leap an y augmented interv al 11

c

,

.

5th

,

i

.

e

.

2n d, 4th

.

or

.

Ex

.

8

.

(b) A part may leap a di mi nis h ed thi s interv al .

Ex

.

9

.

5t h pro vi ded

it i s followed

by a note wi t hi n

d 7h to b c ) Le p of di mini hed 4 h oc t e i good if prec eded d) T he le p of c omp i a

a

s

an

a

ts

ass

Ex

.

av

note within

Ex

s

av oided

.

c

11

.

s

houl d be fol lowed

by a

progre ss ion s V I

an d

.

Po s s i bl e

.

s

U n gai n l y

hould ri se to the toni

cin

the

-

.

Ex

part

.

.

12

.

may leap

interv ening

Ex

e

a 6 t h i s better av oid ed , bu t if i t s o mpass

-

(g) No

for the presen t an d foll owed by notes with i n

are

.

(f ) Th e l eadi ng note VI

t

.

( ) T he le ap of

-

an

10

e

V

t

s

13

.

.

a 7t h , 9 t h ,

nor

an y larger i nter v al

,

nor with one note

12

.

c

m PRoe n iz s sro n Hamm

.

The followin g point s mu s t be me mori sed : a a c 5 t a h s v es in two p rt m ove in r llel e rfe t or o t a on u ti e a m a N o s se c v p p y ( ) on trary motion are a hords Con se c uti v e oc t av es or 5t h s in c l s o forbi dden c

c

.

the

as are

Ex

S

14

.

s ion s uni s on to o t av e rogre s p

on ec uti c T d B c on e c uti

mo v e in

.

c

an

.

s

c

par all el

e o t av es mo v e in v e 5t h s v

s

.

o t av es

,

.

.

.

a p rallel

.

5t h s

c

c

.

a

kn o wn

as

k nown

as

.

.

.

c c c

B may not appro a h an o t av e or 5t h in si mi l ar motion with a l eap in t he S T hi s f aul t i s all ed an ex po se d o t av e or 5t h I f the 5 mo v e s by s te p the progression i s good S

.

an d

.

.

Ex

.

15

.

.

.

E x po sed

c

o t av e

E x po s ed 5t h

c

Corre t

c

,

.

,

(iii )

uni s on

au

n

,

c

c

(iv) O t av e t o uni son

(i)

,

ing the f lt c i g the f ul t produ c produ

(u ) A an d B t ake o t av e s in ontrary morion (ii i ) Uni s on t o o t av e

(b)

av

c

.

an d B

.

an

c d oc t e to

.

.

the S mov es

(i v ) T his ex po sed the 5t h of V

.

by

5t h bet ween .

s

II

tep

.

an d

V is

allowable

the

3rd

of I I falls

to

u rs in two c on sec utiv e c hord s it should if posfi bl e c me note oc k e pt in the same part

I f the c () be

sa

,

.

Ex

16

.

.

c

cpart

from one hord to another e a h to the neares t av ail able note Co mpare E x

(d) I n passing

.

Ex

.

.

16

hould normally mo v e wit h the fol lowi ng : s

17

.

c

note th at in t ak ing the le ading note to the toni (see para 1 1 (fl) thi s may not apply With the S gi v en in E x 1 8 the A mus t f al l to E (in s t ead of re maining on G) si n e the tenor B mus t ris e to C B ut

-

c

.

,

Ex

c

.

.

E x 18 .

.

.

.

18

.

The 5th of a hord ma y be o mitt ed

of the A in

.

.

.

,

bu t t h e 3rd may not

c

hen e the mo v e men t

(e)

c c c

Part s may not overl ap bet w een ons e utive hords For example in E x 1 9 (a) the soprano B f alls below the alto C in the re v i ous hord p At (b) the bass G ri se s abo ve th e tenor F in the pre v ious hord (an d the tenor al so leap s an aug mented 4t h ) Overl apping i s undes irable si n e it endangers the identity of the part s B u t there i s no h arm in over l appi n g between two po sition s o f the same hord ( ) .

c ,

c

.

.

c

.

c c .

.

Ex

.

19

.

The following i s n o t an overl ap pre v iou s n ote in the upper

,

s

c

in e the lo wer p art does not

abo ve

the

.

Ex

.

20

.

c

(f ) I n u ing I V V or V I V let the S A an d T move in on t rary motion to the B ea h p art mo v ing to the ne ares t av ail able note s

-

,

.

Ex

c

-

.

,

21

.

.

.

.

.

IV

V

mu si c al ly

Note : V I V i s not

lV

V

V

lV

c

c

ti s fa tory ex ept as gi v en above with the 5 t h of V ri sing a 3rd to the root of I V in the S (g) In u sing V V I the 3rd of V I s ho u ld be dou bled be ing approa h ed by steps i n on t rary m o ti o n I n V I V the 3rd of V I s hould also be d o u bled being qu i tted by s tep s i n_ go n t rary motion -

sa

,

.

,

c -

,

-

.

,

.

_

Ex

.

22

.

V

c

Vl

V

Vl

VI V

o blig atory in the minor key k ey if ne essary For ex ample

This rule

c

is

,

bu t

may be di sreg arded in the maj or

.

c

With the gi v en S it i s i mpo ssi ble to arr ange to appro a h a dou bled 3rd of V I (C) by s te ps in ontr ary motion an d therefore thi s dou b ling i s di spen sed with the root being doubled in s te ad But the o ri ginal rule sh ould be followed in al l po ss i ble as e s an d i s o b lig atory if V VI i s u sed as a aden e (s ee h ap 3 par a (h ) I f a hord i s re pe ated h ange the di s po sition of the u pper part s (S A (i ) As a general rule it will be found s afe s t to begin with the A an d T high r ather th an low an d to t ry t o kee p the mso Thi s av oid s ri sk of T an d B getting ent angled

c

c

.

,

,

c c c

.

,

c

-

,

c

.

.

,

.

.

.

.

.

,

.

.

.

c

E xer i ses

Add

A

.

an d

c

T to e a h of the fol lowi ng .

cc i to the cc i to F i

Su pple men tary ex " S upplement ary E x

er

ses

er

s es

abo v e an d

;

in sert root indi -

c

to l ater h apters wil l rs t Y e ar Har mony ond a m m H ( .

ction a

be

s

fi rs t

found in Co ) .

.

(a) Ch ange t he di spo sition of the u pper

[2

part s

c

for the s e repe ated hord s

.

C am

3

s

.

C AD E NCES AND S I M PL E HA RMO NI S AT I O N

.

Chords av ai l abl e :

c

C aden es on s idered vi z 1

c

be

.

.

,

Major Mi n o r

key key

I I

: :

,

,

II I V IV V ,

,

c

,

,

V VI VI

.

,

.

c

mu s i al pun tu ation F our point s of res t P erfe t P l ag al I nte rru pted an d I mperfe t

are

c



,

c

k inds are

to

.

,

,

cc c c

c

.

c

The perfe t aden e or full lo se i s V fo llowed by I an d is t he mus i al equi v alen t of a full s top It i s t he u su al me an s of on luding a senten e an d s h ould be arr anged rh th mi ally fro m we ak t o s tr o n y g 2

.

,

cc

,

.

Ex

24

.

(

m

ce the le as

ading

-

c c

note ri ses t o the t oni (see h ap

c

aden e i s I V fo l lowed by I T he plag al c rh yth m i s al so we ak t o s trong '

.

Ex

.

,

an d i s an o ther

2 par a

.

,

for mof fi n al

e cdenc a

.

.

.

25

.

Thi s c e i s so meti mes u sed to fo l low V I at t he en d aden c A men at the end of a h ymn i s a k ind of s mall Cod a the -

as

.

.

3

I ts

,

.

Note th at in e v ery

11

c

,

c

c c c c

h o rd o f a man o r k ey passage h as i t s Oo esi o n al l y t h e fin al t on i " Th is produ es t h e Ti er e de Pi ardie



c

-

.

13

o

e en t en c ex ample

f a

an

s

ade majo r (as rd m a

.

.

h ere )

.

4

c c c c

The interru pt ed aden e i s V followed by V I an d i s non fin al I t i s the mu si al equiv alent of a o mma an d may o ur in t he ourse of a senten e b u t not at i t s end I t s rhyth m may be s trong to we ak or we ak to s t rong a ording to o nt ext Refer al s o to h ap 2 para 1 2 (g)

c c

Ex

s

.

26

.

c c

,

.

.

.

.

c c c ,

.

,

.

.

cc c

c c

-

.

c

,

.

M aj or key s Minor k ey s

: :

Note th at I I V i s -

I V I V

I I V IV V V I IV V VI V -

-

,

-

-

,

,

-

,

V

.

-

.

,

av ai l abl e i n th e

n ot

-

mi n or

key

.

aden c al e mi c Thi c e i a mu i c olon a d i of entenc e t the end of a u b idi ary phr a e c tron g or tr ng t o we k c ording cntext s

s

a s

.

s

s

.

c

-

Th e i mperf e t aden e or h alf lo s e appe ar s in v ariou s for ms bu t i t s hord mu s t be V The f ollowing are the for ms at pre sent av ai l able

e ond

Ex

,

s

s

a

-

,

s

a

o

n

s

a

s

to

o

s

.

c

freq uent ly u sed in the ourse The rh yt h m may be we ak t o

.

27

.

'

iv

h p ction of c tion f c h p (6 ) A ppli c

No te : (a) A ppli

a

a

o

VI

V

a

.

a

.

v

2 p ar a 1 2 (f) 2 para (g) ,

.

,

.

The ab ove ex ample s (24 to 27) do n o t exh au s t t he po s si ble arrange ment s o f the upper p art s they merely show so me o f the po s si bilitie s It i s left to the t u de rt to di s over other s The h o rd pro gre ss ion s forming the v ariou s aden e s mu s t b e me mo ri sed 6



.

v

c

.

c

.

-

.

I4

c c

c

E xer i ses

c c c c c

aden e s in the k ey s o f G B flat an d E maj or an d t c Write pe rfec B F s h arp an d F mi n or i n th e k ey s of A 2 Write pl a g a l a den e s E flat an d D flat maj o r ( ) an d C C s h arp an d E min o r s in the key s of F a e Write interrupt e d den B a n E j r 3 d fl t a o a m ( ) an d G s h arp B flat an d D min o r (4) Write v ariou s for ms of the i mperfe t aden e in the key s o f D A flat an d F sh arp maj or an d A G an d E flat min o r

(1)

,

,

,

,

.

,

,

cc c ,

,

,

.

,

.

,

,

c

,

.

,

,

,

I n every as e write t he bas s fir s t with root indi two arr ange ment s of the u pper p art s -

,

ction a

.

s

,

give

an d

at

le as t

.

M E L OD I E S The following p ar agraph s gi ve w n at help i s p o ssi ble b u t it mu s t be re me mbered th at everyt hing w ritten mu s t as to i t s mu s i al e ffe tivene ss 7

.

H A R MONI S A T I O N

or

.



c c

.

.

O f the av ail able c hord s an y one may follow ac c ount the point s mentioned below 8

the pre sent s t age b e t es ted b y the ear

at

.

,

an y

other

o n e,

t aking into

.

9

.

A v oid I I

-

ci

I

t he effe t

s

ung ainly

c

10

Root s of hord s a 4 t h or a 5 t h

11

Root s f alling

.

.

a 3rd are

Ex

12

.

Root s ri sing

.

28

.

apart alw ay s

c

give s trong hord progre ss ion -

good either we ak to s trong or strong to w e ak ,

.

.

.

a 3rd are

good s tro ng to we ak

bu t

po o r we ak

to

s

tro ng

.

c aden c e h uld he i mmedi tely pre c eded by i ec ond c h rd Thu b pre c the perfe c t c d nc e hould d d by I nor the interrupted (V V I ) by V I nor t b y V O herwi e the e ffec t of the c den c e y for m of the i mp rf c 13

No

.

a

n ot

s

an

,

marred

e

a

o

s

e

The follo w ing

.

Ex

are al l

e

ts s

e

e

e

t

Ex

.

31

lS

:

.

VI V I

Vl V

l

V

cc c c c c c cc c c

c

o

a

s

(a) P erf e t aden e pre eded by I (b) I nt errupt ed aden e pre ed ed by V I ( ) I mperfe t ade n e pre eded by V t he

-

30

.

l

On

s,

.

,

.

p o or

o

ther h and

.

t he

f o l l o wi n g

are

.

.

.

go o d

:

.

II

I

V

cc c c c c

IV

V

VI V

l

c

c c c c hord of e c cdenc

I n e a h a e V I i s n ot pre eded by I an d the s ame prin iple applie s wi th th e other aden e s ex epting th e pl agal whi h as alre ady s t ated o as ionally f o ll o w s the perfe t givin g t h e progre s s ion V I I V I Thi s i s pe rfe tly good s

-

,

,

-

-

,

-

.

,

14

c

,

c

I t i s al so unde s ir ab le to anti ip ate the firs t foll o wing endin g t o a s enten c e o ul d be h ar moni sed as s h o wn

c

.

r

Ex

.

32

.

16

.

a

a

.

The

c

c c

A better h armo nis ation B u t this i s poor sin e V i s in s i s ted on t oo mu h would be I I V I as at Ex 31 (a) The same prin iple applie s wi th al l aden es ,

-

-

.

,

15 a

s

No

c

.

hord c

may

.

be

c c

.

.

c

re pe ated we ak to s tro n g ex ept ,

at

the

begi n n i n g

of

enten e 16

If

.

re petition we ak

a

melody note

Thi s

.

is

c

c

re pe ated or ti ed t ry to get h ange o f h o rd on the e ss enti al we ak to strong bu t i s not alway s po ssi ble s trong to is

,

,

.

A v oid

17

.

c

ex ept

V I -

at

beginning

or end

.

c

c

The o mplete bas s s hould alway s be pu t in fi r st adding r oo t indi at ion s St art by in sert ing the bass of the fi r s t hord (w hi h wil l be either s i mult aneou s ly I or V ) an d th at of the fin al aden e (nor mally V I bu t may be I V I ) 18

.

c c

.

,

19

on ec uti c s

as

s

As

.

v

hown

es

c

-

-

,

,

:

.

33

.

V

I

IV

c

The next note to be tre ated (D ) an belong to eit h er on se utive o t ave s wi th the pre eding be at

cc

c

c

Ex

.

34

.

is

the only po ss i bility

or

V

B u t 11

wi ll give

l V lI

l

.

mind the c on s titution of the v ariou s c es alre ad y de al t aden c 1) thes e are al l good progre ss ion s an d may be u sed fr eely (ex c ept B e ar i n

with as whether as a tu al got as far as : ,

11

.

V

20

c

the re mainder of t h e bas s i s added a w at h mu st be kept for F or e xample if the h armoni s ation of the mel od y below h as pr o gres sed

Ex

So V

.

,

.

c

,

-

c cdenc e or not a

s

-

,

.

For e x ample in the melody ,

I7

above

,

h av i ng

Ex

35

.

.

V

I IV V

c

We fi nd th at the en s uing C an be h armoni sed as either I I V or V I an d we need not h e s it ate to u se V I fo llowing V sin e we al re ady know th at V V I i s a sati s f a tory pro gre s s i o n being the interru pted aden e I n an y as e V I i s unde sirable (s e p ar a while V I V wi ll gi v e on se uti v e 5 t h s

c c c c c c c c I t i u eful to j ot down the ide of the e erc i e the c tu l c hord 21 il b le th t it m y b c le rly d e ily een wh t the ex c t po i bilitie for the h rmoni tion of e c h indi i du l note of the melod y The proc e i then try e c h po ib le b note in tu rn e c ludi g tho e whi c h would produ c e on e c uti e or u c h we k progre ion t ho e al re dy noted an d u ing th t c whi c h i fi n l l dee med to gi ve the b t progre ion in c onnec tion with the prec eding hord c ,

,

,

-

,

,

-

.

,

,

-

.

s

.

av a a to

a

a

sa

a

ss

s

v

s

at

s

a

so

,

.

.

a

e

a

ass

a are

s

a

s

n

x

as

es

s

ss

s

s

s

a

s

a

ss

.

,

ss

a

s

a

-

a y

s

x

as

an

v

a

s

s

,

s

a

ss

.

As a general

22

c i c

one h ord i n tervening E x er

s es

rule try to ,

the re petition of the

me c hord with onl y

sa

.

.

c cion

av oid

c c c

c c c

lurs in di ate ends of phrase s whi h mu s t be s hown by the A non fin al aden e wi l l be either i n u se of an appropri ate aden e A ll aden es s hould t erru pt ed o r s o me for m of i mpe rfe t whi hever fit s The v ariou s point s in onne tion with be tent atively in se rt ed firs t hord progre ss ion de alt wit h in h ap 2 mu s t be ontinu ally borne in mind

Note : O

as

al

s

.

,

c c c -

,

c

.

-

.

,

,

.

H armoni s e

the foll owing

by adding

18

A T .

.

B

.

.

c

c c c c

CH A PT E R

4

.

F I RST I NVE RSI O NS O F T RI A DS hord c

.

id to be inverted when s ome other n o te th an the root i s in the bass T he ter ms root an d bass mu s t not be onfu s ed T he bass is the note in the lowe st v oi e the r o ot i s th at note of the s ale on whi h the hord i s b uilt by adding a 3rd an d a 5 t h I n th e pre eding h apters the roo t h as always been in the bass so th at bass an d root h av e been s ynony mou s We s h all now see th at thi s i s not alway s so 1

A

.

is

sa

c

.

c c

c c

.

.

c c

.

,

.

c

Wh en t he 3rd fro m the root i s in the b ass a hord i s said to be in i t s fi rs t inversion This i s s ho wn by the letter b after the nu meral of the root indi ation ) The following are the fi r s t in v ers ion s of t he tri ad s u sed in h apters 2

,

.

" c

c

.

2 an d 3

.

To the se

lb

may

be added V I I b in

di mi ni s hed t ri ad s

T he full res our c e now Ex

.

the fir s t invers ion s (bu t the maj or k ey an d Nb ,

av ail ab le i s

n ot

Vl b

Vb

l Vb

lb

Vl b

Vb

l Vb

ll b

th e

of the ) p in the minor k ey os i ti on s

ro ot

an d V I I b

.

thu s

37

.

II

I Vb

IV

II b

Vb

V

VI

VIIb

Vl b

C mi n o r

I

c

Vb

l Vb

IV

lb

Vl b

VI

I t will be noti ed th at the interv al s of a fi rs t in v ersi on are a 6 t h an d 3rd above the bas s an d the hord i s therefore so meti me s k no wn as a si x three 3

.

,

c

c

-

Th e defin i t e i n di at i o n fo r a triad i n

roo t

the

.

roo t spo s i ti o n

o

f t h e to n i

cc h d or

osi

p ti on i s B u t th e a

a

is

a .

I a mean s u su al l y o m it t ed bei ng i mpli ed aft er th e

nu

meral ,

eg .

.

.

c

Dou bling in fi rs t in v er sion s needs on si deration I n a maj or firs t in v ersi on dou ble either the 3rd or the 6 t h abo v e the bass bu t av oid dou b ling the bass it self in a minor firs t invers ion an y one of the three notes may be dou bl ed bu t there i s no need to dou ble the bass with out s uffi ient reas on I n a di minis h ed fi rs t in v ers ion (V I I b maj or or minor key I I b minor key ) the bass may be dou bl ed freely though thi s i s apt to be ine ffe tive in the alto N ote th at in VI I b the 6 t h abo v e the bass being the le ading note may not be dou bled 4

.

.

,

c

c

,

.

,

,

.

-

,

,

.

I t is worth not ing th at whereas in the root pos ition s of maj or an d minor tri ad s the root i s by far the be st note to dou ble in t h eir firs t in v ersions it i s eq u all y e ffe ti v e to dou ble either root or 5t h i a either 6 t h or 3rd abo v e the b ass of the in v ers ion 5

.

c

,

,

.

.

.

.

The following s h ows so me po ss ib le arrange ment s of firs t i n v ersi o n s in C maj or an d C minor Note t h at inverted hords mu st be c the fro om l e t e 5 t h m p the root may not be o mitted 6

c

.

.

.

Ex

38

.

.

Vb

ll b

lb

Vl b

ll b

Vl b

Vb

t

So

me mo di fic ati o n

t h e gi

ven

ru l e

of

th i s i s po ssi bl e l at er ;

.

21

b ut it i s

saf er

fo r th e begi n n er to adh ere t o

c

Thi s li st i s n o t exh au s ti v e b u t it s how s mo st of the e ffe tive arr ange ment s The app arently unorthodox s pa ing s marked (a) are quite legi ti mate ,

c

c

.

fo l lowing bass

in v ersion s abo ve t h e

Write firs t arr ange ment s of the u pper

E xer i s e :

.

cc ae

part s

in e a h

s

-

note s

,

s

howi ng se v eral

.

A maj o r

A mi n o r

c c

I n a s u e s sion of firs t inver sion s moving b y s tep the soprano s h o uld move in p arallel 6 t h s with the b as s the alt o in p arallel 3rds an d the ten o r s hould dou b le altern ately the 6 t h an d the 3rd 7

.

,

,

,

.

Ex

.

39

.

l l b l b Vl l b Vl b

ll b

Vb Vl b Vll b l b

Vb

S uc h a progre ss i o n i s u se ful in h arrn o n i s i n g a de sc ending or as c ending l I I b) o men t m ge in either elody or for the b a ss (avoiding m a a s s p ,

,

8

.

between

P erfe c t 5t h follow ed u

pp

er

p art s

,

by di mini shed 5t h bu t n o t wi th the b ass .

Ex

.

40

.

l b Vl l b

l

,

or

vi

c e

v ers a,

cl e

s

a

.

is

permi s si ble

9

The following point s s hould

.

be

noted

:

c

V I I b— V V I I b I V a V I I b l Vb ; the eff e t is ung ainly V I I b i s generally bes t followed by I or l b (or VI a in the maj or key) b u t I l b Vb an d V I b are als o po ss i ble V b generally sound s bes t if followed b y I a or V I b i e with leadi n g note to toni in the bass I n I I b V a it i s alway s e ffe ti v e to dou ble the bass of the former V I I b—I a i s a poss i ble s u bs titute for the perfe t aden e bu t it need not be u sed unle ss V I i s not po ss i b le on a ount of another note i n a gi v en bass

A void





,

,

.

,

,

.

c

.

c

.

-

c c

-

-

.

cc c

.

.

Ex

.

41

.

I

Vl l b

c

I I i s l m o v m a a l l I f b fo lowed I or it re e e ti e to k e part s mo v e V b l b i s ff ) (f y by s te p if po ss i ble (g) There i s no need n o w to in s i s t ri gi dly on the same note being k e pt in the bu t part s s hould s t i ll be ke pt mov i ng onl y same part when po ss i b le ; within f ai rly n arrow li mit s o gre ss ion s I V V V a n h ote th a t the s pe i a l rule s for the pr V I V VI d N ) ( V I V do not apply if either or both of the hord s be inverted .

,

c

.

c

-

-

-

,

,

,

.

F our new forms of i mperfec t c aden c e are now av ail able in either maj or

10

.

or mi nor key

,

,

vi z

.

I b—V I I b V general ly be av oided ,

.

,

.

c

c c

The leas t eff e ti v e i s V I b V whi h s ho u ld The other s may be u sed free ly a ording t o ontext

I Vb V V I b V -

-

Ex

-

-

,

.

,

c c

42

.

lb

V

llb

V

I Vb

23

V

Vl b

V

-

,

.

ll

H A R MO NI S A T I O N

.

or

B as s e s

.

c

E x amin ati o n o f Ex 37 will s h o w th at so me n o te s of the s ale in the bass The medi ant an only be a 3(l b) an o nly be h ar moni s ed with a s ingle hord the do min ant a g (V ) an d t he le ading note a g(V b) ; in the minor k ey the N o te al l the se p arti ul arly All other an o nl y b e a g (V l l b ) s u pert o n i n o tes o f the s ale an be h ar moni sed as either r or ; g

c

,

.

I f the bass h as the fi r s t three n o te s I f de s ending u se l b V I I b I t h U S

12

c

.

.

c c

.

-

cc cc

lb

c

.

of

the

s

,

.

cle a cnding a

.

,

s e

,

u se

I

,

Vl l b

,



.

Ex

43

.

.

,

,

.

l Vl l b l b

l b Vl l b 1

c

N ot e th at o n e part t ake s the bass in reve rs e dire tion (at (a) the tenor at a a t a o pr an o ) t he while nother p r t k e s toni le ading note toni (at (a) the s b ) ( T hi s arr ange ment of the part s i s e ffe tive an d sh ould s o pr ano at (b) the tenor ) I n the ase of the de s ending bass it i s al so e ffe tive to make the be adhered to s o pr an o mo v e in p ar all el 3rds with the bass provided they are t wo o t av e s an d a see E x 40 3rd ap art

c

-

,

c

c .

,

.

c c

,

,

.

c

,

c

.

c

I f a b as s note an be h ar moni sed ontext f o r bid s Con s ider the f o llowing : 13

c

,

-

.

as

either 3 or g prefer 2unless

.

Ex

.

44

.

c

c

b ar (C D B ) will be tre ated as indi ated in p ar a 12 T he P an opening T be e i ther I V or l l b so prefer the l atter The following D ould be either I I or V l l b bu t the l atter i s not po ss i ble s in e the G whi h follows mu st be V for t he fir s t h ord of the aden e ; we know (para 9 (a)) th at Vl l b V i s a bad progre ss ion so the D mu s t be I I Hen e the solution i s

he

,

,

,

c

c c

,

,

Ex

,

.

.

45

c

c c .

lI b ll

24

V

.

,

-

.

.

l Vll b l b

c

.

l

'

c

We may now on sider the evolution of a melody over a gi ven bass bas ing our s ugges tion s on E x 4 5 The firs t b ar may be either C B C or E D C as implied by para 1 2 (see E x 46 Either is good an d we will hoos e C B C for the sak e of argu ment A ross the barl i n e we h ave I h I I b i a two on se u ti ve fi rst i n vers i on s a s tep apart So the so prano s hould prefer ably mo ve i n 6 t h s with the bass fro m C to D (s ee Ex 46 Thi s applies the s ugg es tion given i n para 7 F or the ensuing hord I l a the po ss i ble melody not es are A D or F D is possi b le bu t either A or F i s better as avoiding a repe ated not e As either s ee ms eq u all y good we wi ll for the sake of argu ment h oo se F (Ex 46 14

.

,

.

.

,

c

.

.

.

,

,

c cc ,

,

,

,

,

,



,

.

.

.

c

,

.

.

,

,

,

,

Ex

.

,

46

,

c

.

.

,

,

.

.

.

l Vl l b l b

l Vl l b

l Vl l b

lb

lb

llb

l Vl l b l b

cdenc e Wh en po

c

No w o me s the que s tion of the

Vl b

ll

i ble arr ange to end with the root of the fin al l a in the s opr ano Thi s allow s of two po ss i bilities for the Soprano of our melod y either D to C o r B t o C B to C i s p re fer ab le as it avoids h aving D in the melody on both firs t an d third beat s of the bar The fin al res ult is thu s : a

.

ss

.

.

,

,

.

Ex

.

47

.

Vl l b

l

Note

within

i ts

(a) the o mp ass

c at

u se

llb

lb

V

ll

of the di mini s hed

cc

le ap orre tly followed

5th

note

bv a

.

of the melody it i s a mixture of s tep s an d s mall s ki ps Although only s even notes in all it o vers a o mp ass o f a 5 t h (B to F ) an d h as a good ur v e This i s mo s t i mport ant As the melody i s bein g ev o lved t he s tudent mu s t k ee p an eye on i t s s h ape t aking are to av o id 15

.

Note the

c

yl e

st

c

,

.

.

,

c c

(a) ung ai n ly leaps (b) t oo many o n s e utive le aps an d ( ) re maining round o n e pit h for t oo long

cc ,

c

c

,

.

.

,

,

c

c

c

E x ample s will make thi s lear (a) (b) an d ( ) in"E x 4 8 orre spond re s pe tively to the point s j u s t mentioned Al l are po ssi ble mel o die s ab ove the ss b ven a i g

c

.

,

,

.

.

.

Ex

.

48

.

c

A t ( ) onl y three note s

B C ,

an

,

d

D

are

melody

u s ed for the whole

c

.

There i s no o b j e tion t o the u se o f repeated note s in a melod y bu t t oo many are unde s irab le as they tend t o hold u p mo ve ment an d prevent a good 16

.

,

,

,

flo w

.

c

The ompleted working of E x

17

.

Ex

.

49

.

47

.

The melody u s ed in E x 4 7 i s not as h as alre ady been shown the only one po ssi ble Any given bas s i s ap abl e of pr o du i n g at l e as t t w o or three di fferent melodie s al l equ ally effe tiv e A nother w o rki n g i s giv en below u s ing the same h o rd basi s I t s h o u ld be an aly s ed i n t h e li ght o f the pre eding p ar agr aph s 18

.

.

c

c

.

,

c

c

,

,

c

.

-

.

19

.

H AR MO NI S ATI ON

or

c

ME L O D I PLS

,

.

.

The fir s t an d p ri n ip al req u i sit e i s a good progre s s ion N ot e the f o ll o wing p o int s : .

bas s

,

trong

hord c

c pply eq ually t o

a bas s

i mplying

a

s

.

(a) The th ree matter s

menti o ned in

r a a 1 5 p

26

.

,

whi h

a

.

Ex

.

53

.

c

c

This treat ment appli es parti ul arly in t he as e of the 3rd an d l st an d 7t h B u t it mu s t not be t ak en th at the an d 5t h not es of the s ale in either dire tion s hown in E x 5 2 an d 53 m u st a l a rogre ion s w y e loyed ontext to ss s b e m h a s p p on sidered Th e ex ampl es are merely gi v en as u seful (an d o mmon ) be s ibil i ti es s o p

c

c

c

,

,

c

.

.

.

c

.

c

A d es endi ng or s hown in E x 39 av oiding 22

.

.

54

c ending c le s

p assage

a

is

often

b es t

treated

as

.

c c ,

by a further

.

,

.

Vl l b

l

(a)

IIl b

.

-

.

.

as

A three note s ale pas sage in the bass i s oft en bes t fol lowed the same dire tion rather th an by a le ap e g

23 s te p i n

Ex

an

i s prefer able

l

lb

Vl l b

lb

to (b)

.

c c

The fi r”s t step i n a h armoni sation i s t o pu t i n the basses of the aden es an d an y st o k progress i on s wh i h may see mpos s i ble Note th at the bass sh o u ld be o mpleted addi ng hord indi ations b efore the inn er part s are attempt ed ; remember th e warni ng gi v en i n h ap 3 p ara 1 9 24

c

.

c 25

.

c

,

Study

-

crefully the a

c c c

s

Ex

.

55

.

.

.

,

.

,

.

.

te ps in th e wor ki ng of the followi n g

Add A T B t o this melody .

,

.

.

28

c c

c cc c c

c

The aden es are at (a) (b) an d ( ) ( ) an o nly be pe rfe t (b) ending on the le ading note mu s t be so me form of i mpe rfe t (a) ould be perfe t bu t t hi s a fu l l s to p in the wro n g pl a e would be i n appropriate R eme mber th at an i n termedi ate aden e i s never V a I a in the toni key The other po ss i biliti es are (a) interru pt ed aden e or (b) so me form of i n verted perfe t aden e Th in v erted perfe t aden es at presen t av ail ab le are V I b an d Vb I (V l l b l an d V l l b l b are o asion all y u seful bu t t ho se mentioned abo ve wi ll gener ally be found preferable ) I n C maj or the bass es of th es e an d the inte rru pted adenc e ,

,

c c c c cc c c c

c c

.

,



-

,

.

cc c

.



,

-

c ,

.



-

-

e

-

.

c

,

.

are

Ex

.

56

.

V

lb

V Vl

Yb l

I t i s seen i mmedi ately th at at (a) in our me l od y V b I i s not av ai labl e as it produ es on se uti v e o t av es with the s o prano But either V l b or V V I is po ssi b l e an d for the sake of argu ment we wi l l h oo se the l atter We an now p ro du e t h e followi ng s ket h

cc c c

T he

c

c

-

.

c

,

.

.

c

c

-

.

riou s s to k po ss i bilitie s are n o w t ri ed A t (a) E x 57 the re i s a drop of a 3rd from 3rd t o l s t of t h e s al e at (b) a s i mil ar dr o p fro m 2md t o 7i h an d at ( ) the fi r s t three note s of t he s ale in s u e s s ion The s k et h n o w develop s t hu s : va

c

c c

l b Vl l h l

.

c c

llb

.

,

.

.

c

,

c

For the re mai ning notes we h av e to try out t he v ariou s po ss i bil i t i es i n ea h ase ontinu ally be ari ng m mind t he mat ters alre ady de alt wi th in onne tion wit h h ar mo n i sation For ex ample t he not e A an h av e as po s si ble bass note s A F D or C H igh C i s un o mfo rt ably ne ar the s oprano an d low C gi v es an ung ai nly le ap of a 6 t h so the se not es are di s arded D produ es an ex po sed 5t h A i s po ssi ble though there i s no nee d to re pe at a bas s note i f it an be av oided S o F i s ho s en being t aken as the bas s of I V T hi s gi v e s root s f all ing a 3rd (A to F ) whi h we alr eady k now t o be good The other note s in the melody mu s t be t re ated o n s i mil ar line s A o mpleted work i ng with inner p art s added ould be

c c

c

.

c

.

,

.

,

,

c

,

c

c

.

,

.

c

,

.

c

.

.

.

c

.

Ex

c c ~



.

,

,

c

59

lb llb

1

V

“7 Vl l b

VI

l b Vll b l

l lb

V

VI

c

ll

V

of mini ms to av oid u nne essary re pe at ed note s (b) 3rd of I l a dou b led ; t h i s i s permi ssi b le an d i s ne essary in order to avoid on se utive s (c ) Th e b ass i s melod i ou s an d h as a good u rve

No te : (a)

The

u se

c c

c

,

c

.

.

c

Th e ex ample

.

j u s t de alt with was spe ial ly framed to s how the I t need not be appli ation of as many point s as po ssi ble with i n a li mi ted s pa e an ti ip ated th at al l the e x er i s e s whi h follow will wor k out q uite so si mply ; b u t t h e method o f working de mo n s tr ated s h ould be followed as far as po ss i b le in 26

c

all

.

c c a

ses

E x em s es ’

c

c

c .

.

A dd s lu r s (N B .

.

.

.

-

,



.

c

A T t o th e foll owi ng basses o mpleting S fi r st Th e s h ow ph ras e length s e a h phr as e ending with a aden e A void I l a in minor k ey s

5

c

,

.

c c .

.

(2) Add A T B u sing mu h as po ssi ble

c

(3)

.

.

.

c on e c utive s

fi rs t in v ersio n s (see p ar a

.

.

c

Add A T B to the followin g S l u r s indi ate phras e lengt hs e a h phras e ending with a aden e Co mplete the bass first

c

.

.

c c

.

.

-

.

fo r bo t h n o t es 1 U se A en d ed even t h o u h i t b e g ,

-

.

Av o i d V a I a

V

7) as

.

ph rase may begi”n wi t a ro ss t h e barl i n e

n ew

c

.

31

h

th e

c h d or

on

c

wh i h th e previ o u s

,

CH A PT E R

5

.

S ECO N D I NVE RS I O N S O F T R I AD S

c

l A hord i s said to be in i t s se ond in v ers ion when the 5t h from the root after the roo t nu mber an d the fi guring i s the b ass T he indi ation i s a 2 .

i s in

c c

.

c

.

Ex

.

c

need to

c

c

c

be

V0

of s e ond in v ers ion s i s re s t ri ted an d only two po ss i bilities on sidered in ele ment ary wor k v i z C adenti al an d Passi ng

The

.

,

60

.

lo

2

,

u se

.

,

2 Only two a

,

.

c d Iv

the former being the more o mmon T hey pro eed to the gon the s ame bas s the 6 t h fall s to the ‘ m b n a a s the 4 t h to the 3 r a d the re ining rt dou le th e T he 5t h d b a ss m u st p 3 n ot be m ly a en ted than the 2 T he bass of the 2may n o t be approa hed o re s tro n g by l eap from an i n v ersi on of an o th er hord TH E C A D E NT I A L

3

c

.

Ex

.

c

.

c c

,

re

po ss i ble

I

an

e,

61

c

.

.

.

10

ll

V

l lb

ap pro a

(b) B as s

appro a

cB a

()

lo

b ot h

we ak

a

s ee

Ex

.

63

st

l

Vb

o ition s we k er th n a a p 3 2 inv ers ion 5 we ak er th an 2

root

st

c

W

V

.

,

.

,

in v er si on

f

o

!

me

sa

c h d or

,

2

an d

.

c hed by le p fro m i t hed by le p ppro c a

bass a

;

a

a

s e

(d) B as s appro a

ut

lo

lb

a

appr o a

ss

(e) B ad

V

hed by le p fro m c c hed by t p from l c hed by le p fro m l

(a) B as s

B

c

.

,

a

ca d

()

n

s

a

own roo t fro m

(d)

.

32

o ition s p

l s t i n vers i on

weak er th an

5 ,

f

o

an o ther

2 .

c h d or

.

g

U s e s o r I o Can z n rmt a se fi r t hord of a trong to we a k h lf lo s a A s s ( )

4

Ex

.

c

.

.

-

c Ic V ’ -

.

,

62

.

lV

lb

l

II

The ini a re rel atively s trong an d we ak ) m s C B m ( a n interru pted a To re ede in e rfe t or den e a a V b p () p onforms to the rule gi v en in par a 3

c

c

c cpro

c

-

.

,

vi

ded the rh yth m

.

.

(d)

5

V c Vl c v I IV 1 V l ro ri te elodi ending hown the fi gu e o er the r no c b m Th y p p p p Note the rr ngement of the up per part (c ) d (d) m b o in nt of le in o r no or l ting two or ore e t b c c m D p () lc h lf or full c lo e hould b h rmoni ed oid t oo long h lt V to

lb lV l

e

V c

s

are as

s

a

s

l

lb

a ,

s

a

e

s

a

,

ll

l

s,

a

av

-

lV

V

a

so

.

.

as

as

s

V

lo

an

as s ,

a

v

r s

s

at

s

a

ll b

0

a

a a a

l

l ll b l

l

at a a

.

cV

(a) Here both So prano an d B ass l as t four be at s h armoni s ed with two two beat hord s I f they were t hree be at s long th e rh yth m would be as at (b) ( ) Here the bass G las t s two beat s so l V i s appro pri ate

c

c

,

c

.

.

,

-

,

c c

.

I n t h i s o n n e ti o n rememb e r t h at t h e 3rd beat o f a fo u r bee t bar is om pared wi t h t h e 4t h b eat bu t weak as o mpared wi th t h e l s t

NB

c .



.

,

c

33

-

.

st ro n g

as

5

c

.

o ided

v r p

c

c

C adenti al may be u sed to de orate a perfe t or the fin al toni bass l as t s at leas t three be at s

c

llb

Vl

1

cc c c c cc

c c

De orated perfe t aden e N ote the rhyth m in the fi n al (b) De or ated pl ag al aden e followed by rot het would s ound t oo u t o ff

(a)

.

c

.

c

c

an d

Ex

66

an d

THE P A SS I NG

.

c

.

.

c

c

,

IO

N

lo

l Vb

V0

lb

Mini m

.

c

b ass i s appro a hed lie s between I Va

c

.

c lb

V

l

1

(l ) (a) an d (b) s how u s eful h ar moni sation s for the 4t h 5t h an d 6 t h notes o f the s c ale in either s o pr ano or b as s prov i ded the 5i h i s u n a en ted (2) ( ) an d (d) may (an d prefer ably s hould ) repl a e the progress ion s de alt with in c h ap 4 p ar as 1 2 an d 20 prov i ded th at th e mi ddl e ho rd of the th ree i s u n ac en ted I f thi s hord i s a ented V l l b mu s t be u sed as heretofore Co mp are (a) with (b) in the following : ,

c

c

.

,

.

c

c c

,

,

c

,

.

.

67

.

l

c lb

V

1

Vl l b

c c c

.

,

,

.

Ex

.

.

l Vb

Note

.

b ar

.

I a n a Only d V re po ss i ble The 2 q uitted by s tep an d th e 2i s always on a weak be at I V between l a an d l b or v i e vers a I V b or v i e v ersa

6

e,

.

We

V

c adenc

a pl ag al

lb

lV

C HA PT ER U N ACC E N TE D

6

.

P ASS I N G

N OTES

.

A p as s ing n o te i s a fo rm o f u n es s enti al n o t e t h at i s p art o f t h e h o rd ag ain s t wh i h i t i s h e ard Two h armo n v not e s be j o ined by int rodu ing a p ass ing n o te th u s 1

c

.

c

Ex

.

68

c

.

,

n ot

a 3rd apart

fo rm

may

.

p

V

l lb

At (a) t h e p as s ing n o t e in t h e s ame h o rd

I)

lie s

b e t w ee n

C

c

E wh i h

an d

are

h armo ny

n o t es

.

At (b) the p ass ing n o t e C lie s di fferent h o rd s

c

does

it

,

(a)

c

.

betwee n

D

an d

c

B wh i h

are h ar

mony no t e s in

.

o bser v ed t h at p as si n g no t e s may

c end

c

de s end they mu s t o bv i ous ly be appro a h ed an d q u i tted by s tep i n th e s am T h ey may o c ur e di re ti o n in an y v o i e A p as s ing n o te i s ter med un a ented wh en i t i s o n a w e ak e r be at o r p art of a be at th an t h e note wh i h pre ede s it

I t wil l

be

c

c

c c c c

.

,

as

,

c

or

c

.

.

T w o p ass ing note s may be u s e d s i mult aneou s l y in di fferent p art s p ro vid ed they move in paral l el 3rds or 6 t h s 2

,

.

Ex

.

69

.

l_ _

lb

c

At (a) the two p ass ing n o tes produ e an unes senti al 3rd Note t h at t h e mo v e ment mu st .

or

6 th

sh ou l d n o t

be qu i tted i n

ct

on rary

mo ti on 36

.

une ss enti al be

a ral l el p

.

6th

An

,

at

u n ess en

(b)

an

ti al 3rd

Two p art s may t ake the same motion at le as t an o t av e apart 3

c

.

,

Ex

4

P ass ing

cc

.

form a on ord Ex

.

71

.

i

.

ct a y on r r

,

70

.

an d

h armony note s ho u ld onl y

3rd 5t h

e

,

,

or

6 th

be

st ru

c k together if

they

.

.

an d

c

c c e ung ,

an d 6 t h an d produ 5

note

note simul t an eo us]Y in

p as s ing note an d h arman y note form a 3rd ( ) are g ood res pe tively (d) 15 poor p ass ing note an d h armony n o te for m a

(a) (b) ,

,

.

pas s mg '

.

an

ainly

l h c as

.

N ote the followi ng point s

c

(i ) Avoid p as s i ng note s pro du ing a mi n or s a l e as at (a) A mend as at (b)

c

.

,

Ex

.

5t h 7t h

,

9 t h abo ve

t he

3rd

or

7t h

of t he

.

72

.

c

This me an s th at the t o ni s h o u ld not be s o u nded ag ain s t the le adi ng note when the for mer i s une s se nti al an d t h e l atter a h armony note nor s h o u ld t h e 4t h of the s ale as an unes s enti al note be sounded ag ain s t t h e 3rd as a h armony not e I n minor key s t h i s rule applie s o n ly in onne ti o n wit h t o ni an d le adi n g note

c

c c c

( ) T ake are th at the intr o s u h a as e the pass in g note mu s t 11

In

c

c c du c tion of p a 37

c

.

ng note d o es not p rodu e 5t h s o mitted or t h e p art s re arranged a

be

.

ss i

,

.

.

Ex

.

73

.

cc

(iii ) A p assage in orre t without pas s ing notes is equ al ly in

Ex

.

74

(a)

c

t with the m crrec o

.

.

5t h s between

c

S

an d

.

( ) E xpos ed o t ave

A

.

are

ved

n ot sav

by

ed

by

the

ing a ss p

the p ass ing note

note

(d) the e ffe t i s ugly ( E x (i v ) A v oid running one p art into another an d av oid ne arly running one p art into another (E x 75 (b) n o t sa

at

(b)

at

.

.

c

.

75

(a)

.

Ex

.

75

.

At (a) t he alto run s into the S opr ano the e ffe t i s bad

c

an d

at

(b) the

run

in

only j u st avoided

is

.

ongest io n more t h an two p ass ing notes si mul t aneous ly or c res ult s Re member th at too few pass ing notes are preferab le to t oo man y

(v ) Ne v er h av e

,

.

c

c c

Two s pe i al point s mu s t be noted in o n ne tion with the min or ‘ s a s a The of the le a s a i n o t e i s a lw y harpened a s n h s a s 6 t ( ) g p e h a b T he of the le a s a a s s i n o t e i s n o t s r en d n t h s a 7 ) p ( g p

6

i

.

e

.

.

rai sed

a

se

mi to n e

.

c c

.

.

k ey

c

c

Thes e pro edures are ne es sary to avoid t h e aug mented 2n d But n o te th at the a tu al h armony i s s till t aken fro m the h ar mo ni mi n o r s ale ‘

c

Ex

.

76

c

c

.

.

C mi n o r

.

At (a) the soprano h as A n atu ral p ass ing note bet w een h armony n o tes G while the b ass t ake s the same p as sing note in a des en di n g p as sage

c

B,

A t (b) the so prano h as B fl at p as sing n o te At ( ) the bass h as B fl at p ass ing note as

,

c

,

I t mus t

c le rly re

des

c ending

cdi en

ng

an d

.

.

.

c c c c

t h at p ass ing n o tes do n ot afi e t th e h armo n y Thus for ex ample the h armo ny for Ex 77 (a) tre ating u n a ented qu avers as p ass ing notes i s identi al w it h th at for E x 77 (b) in wh i h the pass ing not es are o mitted P

4

.

be

,

a

ali s ed

c

.

,

.

,

,

.

.

Ex

8 For

thi s

.

tudent mu st be prepared to t re at the following hint s are us eful

Th e

.

77

.

appro pri ate

s

cc

(a) Wi t h r o t het be ats do h o rd s

c

n ot

not es

as

unes senti al

.

cc

h ar moni se on s e uti ve qu av ers wit h di ff eren t

.

c c cc

(b) With mini m beat s do not h armoni se on se uti v e rot h et s with di fi eren t

h rd c o

s

.

.

(c ) With

qu aver be ats different h ords

c

.

Co n s ider th s melody i

Ex

.

78

cf l c

in

,

do not h ar moni s e on e c ti on c n

on ec utive c s

e mi qu avers with

s

with (a)

.

c i c c

i f t h e s harpen ed 6 t h o r flat t en ed | y t h e i mpl i at i o n o f t h i s : A t t h i s s tage 7t h are en o u n t e red i n an e xer se t h e y are au t o mat i al l y pas s i n g n o t es (T h ei r treat me n t as h armo n y n o tes i s o n s idered l ater )



No t e

,

are

u

c ,

,

.

39

.

Harmoni s ing Ex

.

79

every note with

crrec t pr c ed re i

Ex

o

.

hord pr du c e hop c o

s

l

e ess

onge tio c

o

u

s

I

V

ll b IVb

lb

c c

as

p assing note s

80

.

c

Si mil ar prin iple s apply in

c

ll b

cnneci n o

t o

V wit h (b) an d (0) above

.

c

R ate o f h o rd mo ve ment in triple an d ompound ti me s needs t riple ti me hord s wi ll move in t h e f o ll o wi ng r h y t h ms Ex

.

c

.

81

i dJ J

Con sider E x Ex

.

-

.

(0 )

82

.

n :

V

to tre at un a ented qu aver s

l

9

s

.

l b Vl l b

The

a sep ar ate

.

bu t

82

.

n ot

(d)

2

cre a

.

In

(a)

t h ere

c

c

t h re one be at h o rds to the bar at (b) a t wo beat h o rd fol lowed by a o n e be at at ( ) t h e w h ole bar i s o upied by a s i n gle h o rd (I ) Al l these are good But (d) b eat h o rd foll o w ed b y t w o beat one i s poor " o mpound ti mes t h e s ame pri n iples t h e s yn op ated bu mp i s ung ainly I n c apply s u b s tituting pul se for be at si n e an y bar o f o mpound ti me i s merely two t hree o r four bar s of s i mple triple In for example Ex 83 (a) is bad as it ex h i bit s t h e s ame rhyt h mi fau lt as (d) in Ex 8 2 b u t (b) i s g o od ‘ At

are

c

e

-



c



c c

-

.

.

,

,

c

,

Ex

.

83

c c

c

-

c



-

c

.

,

.

.

.

.

l

V

Il b

c

In a tu al h ar moni sat ion t h e s t udent may find it h elpful at firs t to s keletoni se t h e given p ar t by re mo ving t h e p assing notes (see E x h ar mon i s ing it i n i t s unde or at ed for m Then t h e given p as si n g n o t es s h o uld be put ba k an d an y others whi h may see m des irable added in t h e o t her p art s " beginning wi t h t h e bas s B u t t h ere are s o me s t o k po ss i bi l ities w h i h s h o u ld be noted 10

.

c

c

,

.

c

.

c



.

c

,

.

Ex

.

84

.

I

Vl b

II

V

l lb

IV

lb

c

c

T h e s e are re ally de or at i o n s o f t h o se given in Ex 5 2 T h ey are effe tive either fro m s tro ng t o weak o r f ro m w e ak t o s tr o ng an d may al so be u sed in t h e rever se dire tion I n a given b as s n o te e s pe i al ly

c

.

T h e upper p art s

A dd

en

da paras ,

c

.

Ex

S ee

.

.

l

.

85

,

.

cb an

e

arr anged

to

an d 2

.

41

su

it

cnt o

e

xt

.

.

c

E x er i s es 1

.

c

c c

Add A an d T intr o d u ing p as s ing no t e s where appropri ate Un a ented qu aver s appro a h ed an d quitted by s te p are p ass ing note s

c

.

.

.

.

.

9



1



P

Add

S

c

introdu ing

.

c

i n di at es pas s i n g

R e fer t o para 9 .

.

n o te .

appropri ate

p ass ing notes

.

C HA P T ER

7

.

THE D O M I N A N T SE VEN T H

c

T h e hord of the do min ant 7t h ons i s t s of t h e do min ant t ri ad with another added at the top produ ing a minor 7t h above the r o ot T h e hord indi ation l

3rd

c

.

.

c

,

i s V7 an d ,

the fi guring

Ex

86

.

.

res olutio

ci

whi h

.

nor mally

s

C majo r

C

abb revi ated t o 7

a

an

s

to

a

o

e

so

t

a

s

,

Ex

.

87

lved

I

c -

V7

a

s

tep to

its

.

I

V7

VI

cdenc e a

I n root po siti o n t h e do min ant re maining s t ation ary

.

7t h

may re sol v e to

.

V7

IVb

-

,

,

.

.

88

c

.

.

.

me ans

may be o mitted as at (b) When resol v ing to V I dou b led in t h e u s u al manner V7 I i s 0 1 c ourse a per f e t

the 3rd o f thi s hord i s aden e an d V 7 VI an interrupted

Ex

R e s o lution

thi s f all s

an d

Note th at the 5 t h fro mth e root

3

.

.

V7

c c

.

.

s

s

c

-

mi n o r

c d need b c orre c tly re onc ord c t c The c tu al di c ord i the 7 h bove t h e root n the c h ord of re olution being either I o r V I

I t i s t hu s a di s o rd p as sing f ro m a di s ord 2

7 is 5 3

c

.

V7

44

[Vo l

I Vb

or

IV

ct h e 7 h ,

t

.

ce as

T h e l at ter V 7 h as i t s

c

.

l st

i

2n d

3rd

t

e

nver si on

mv ersxo n mv ersxo n

Ex

6

6

6

3 .

.

,

al l

f wh i

o

normally

abbrev i ated

nor mal ly

ab bre v i ated t o

nor mally

abbre v i ated

a .

89

c h

reso l v e

to th e to n i

or

.

T h ei r

g

to 3

V7d Ih

V70 1

,

.

a

s

tep

.

.

Ex

The same of V 7

cc h d

.

c

c c

the

i

th s

to 2

N ote th at invers ion s of the domin ant 7t h mu st be o mpl ete The s e ond inversion may al s o re s olve t o I b t h e b as s ris ing In thi s as e the 7t h al so ri s es a s tep

.

hat in

.

V7b l

5 7t h

t

.

There are three inver sion s figu ri n gs are re s pe ti v ely 4

cc aden c no e

c

u se fu l as a de oratio n of t h e perf e t 5 t h o mitt ed

is

b ass

.

90

.

may be u s ed we ak to s trong pro v ided t h e s trong note

.

Ex

.

91

.

Il l) V7d l b

is

c

Th e first F i s all ed t h e

Th is usage shoul d be not ed

c

preparation o f t h e se o n d an d may be s tated th us , i n

c

I f t he 4 t h o f the s al e in the bass fall s a ste p the st ron g note must be ,

,

,

,

is

n o t stron ger

than th e 5th

s or

a

on

to

.

ven

o

st r n g

an d

.

c

.

nne

t e

s

.

is re peat ed or t i ed weak h armon i sed as V7d

The adential 2(l o) may be followed h armoni sati on of the 5t h 4t h 3rd notes of the e

d c h i h di c o c c ti with gi

F wh i

c

Thi s gi v es au to mat i by V7d s al e in the ba s s provi ded th e 4th

c

,

.

,

.

E x 92

.

.

Co mp are this with E x

.

cV I h i

in whi h

85 ,

-

s

e s sent i al to

av oid

o g c n

es

7 Broadly s peaki n g an y progress ion invol v ing so me form of V- I be h armonis ed by s o me for m of V 7 I bu t thi s mu s t not be interpreted too .

,

c

I n mos t as es it i s more fluent th an (a) The s ame applies at .

Ex

.

c

-

93

,

introdu e t h e 7t h as aden e s ( ) an d (d)

to

c c c

a p ass ing

note

,

e

.

g

.

tion

c an

.

no

w

liter al ly (b) rather .

.

,

.

l

V7b t

cc

But t h e rhyth mi e ffe t mu s t 4 t h of t h e s ale f alling t o the 3rd b y t h e appropri ate f o r m of V 7 I t aken into a o unt

c

c c

,

-

.

I

V7

-

V

on idered I t i c in either o pr no ontext d h b c

be

s

S

ut

wort h noting th at the an be h ar mo n is ed o r bas s propriety mus t be armoni

s

.

a an

l

als o

c c

in Ex 5 1 (a) an d (c may be s u bs tituted fo r V l l b o r Vc ) an d E x 6 6 tively B u t t h e en s u ing c urve o f t h e bas s mu s t be c C o mpare o n side red (d) re s pe c (a) wit h (b) in Ex 9 4 8

V 7d

.

.

.

.

.

.

Ex

.

94

.

I T h e l at ter 9

is

U s ef u l

.

.

,

mu c h s tronger t

s o

c k

Ex

95

.

c

V

V7d l b l l b

the

b as s

l V lb llb of

h armoni s ation s are

5

.

4

3

l c

w ob b l e

.

:

4

3

l b V7

s to a tend ( )

5

lb I V7c

c

Comp are with Ex 84 w here t h e s opr ano F (4t h o f s al e) i s a p assing n o te N ote al s o th at th es e gi ve good h ar mony for t h e fir s t t h ree note s o f t h e s ale in t h e .

b as s

,

c

.

O rn ament al re solution i s o c c as i o n all y u s ed I n t h i s the 5 th or the root p f the c h ord b efore finally re s olving 10

.

.

,

t h e 7t h

mo ves

to

.

Ex

.

96

.

c c c

V7b

I

V70

1

es pe i ally noted To h ar mo n i se t h e t w o q u ave rs w it h sep arat e hord s wbul d au s e onges tion T h e G le ap s so ann o t be a p assi ng n o t e h en e both P an d G mu s t belong to the s ame h o rd whi h an o nly be V 7

c

(b) s hould

be

.

.

c

47

,

,

c cc

c

.

c

T h e 7t h may be tr ans ferred from one voi e to anot her res ol v ing in l at ter I n t h i s ase the p art w h i h ori gin all y h ad the 7t h mu st fall l l

c

c

.

.

Ex

,

t he

.

97

.

cc c

Three ne w fo r ms of inverted perfe t aden e (for i ntermedi ate p h r as e ends ) are no w av ail able V 7b I V 7 I an d V 7d 1b The l as t i s the mos t generally u seful bu t al l are good 12

c

.

-

.

,

13

cdenc e i nvolving otherwi e the c den c e tend

I n h armonis ing

.

l ate

as po ss i ble C o mp are (a) with (b) ,

.

.

,

,

Ex

-

-

98

a

a

a

s

the l atter

is

prefer ab le

c

c

introdu e the a tu al 7t h as to feel unn atur ally dr awn out

V7 I -

s

,

-

.

.

.

I f the given p art le ap s up a di minis hed 5t h fro mthe leadi ng note an d then f all s a s tep t h e le ap i s fro m 3rd to i th of V 7(E x 99 (a) an d I f it le ap s up a 7t h fro m t h e do mi n ant an d then f all s a s te p the le ap i s fro m root to 7t h of V 7 14

.

.

,

(E x

Ex

.

.

99

99

ca d

( )

,

n

.

V

V7

l

Vb

V7d

At (a) an d (b) note t h at the ot h er v o i e

c .

3rd

c

of t he hord (B ) mu st

be

c

re pl a ed in so me

15

NB

Do

u bs ti t u te V7 for V aden e or t h e adenti al e ffe t is des troyed

c c .

.



.

,

c

E x er i ses

c

n ot

t he

ond c h rd c

se

o

of

an

c

impe rf e

.

.

s

ho w

both

cc

c

do mi n ant 7t h s in ea h ase indi at in g the pr ogr ess ion h ord indi ations an d w h ere mo re th an o n e resolution

c

-

c

,

.

.

of

is

.

Add A an d T t o t h e foll owing u s ing the appro pri ate po s i t ion s of do min ant 7t h where indi at ed by as teri s k s I n se rt h ord indi ation s firs t 2

t

.

.

,

c

as

!

1 R e solve t h es e 7t h by a line Add

the possi ble

s



.

c

,

.

49

c

-

c

.

the

Add indi ati o n s fir st

mak ing appropri ate

3

c .

4

U

.

of the do min ant

7t h

.

In sert

.

Add

se t wo

A T B .

3

u se

U se V a

h cc c h d ro t

en te r

on

et

or s

I V b V 7b -

.

Th

i

s

k eeps

up

the

i

n t e re s t u n

h e re h id c

ea

s

e

o f the

barl i n e (s ee

n o te

50

at e n d

o

f

h p c a

ter 4 1

de r t h e l o n g

n 0 te .

h d c or

A mo s t i mport ant medi ant t o toni 3

c

.

Ex

an

Ex

.

1 04

c c when

o

a

urs

p h rase

of

a

melody

en

ds

.

e

.

I I Ib

103

.

c th h armony i c aden c e I I Ib i

I n thi s as e intermedi ate

of

u se

s

I I Ib I

s

t aken

-

for

a

fin al

cdenc e or I I I b VI a

-

,

as a s u bs titute

for

or

Ih

for

Va

.

.

l l b ll lb

lb

T h e soprano E i s t aken as a s u bstitute for D so th at I I I b s t ands as V a with i t s 5 t h repl a ed by a 6 t h abo v e the bas s The 7t h may be introdu ed as a p ass ing note (a) or i t may appe ar si mult aneou s ly with the other not es of the hord provided it i s bel ow t h e 6 t h ( b)

c

c

,

.

c

,

.

Ex

.

c

c

4 a

1 05

A t (b) we h ave t h e d o min ant 7th with e xp o s ed o t ave at i s uno b j e tion ab le

t he

al l

.

Th e

.

ab

ppr o pri at e

a

medi an t 5

to to n

ove

ce i c di

u se

as s en

M I NOR KE Y

.

.

of I 11b

No

i ts st h

c

of gre at i mport an e

is

an d

fac o n i sati on tory h arm

o ther s at i s

.

Note th at

c c

mu s t

is

be introdu ed in po ss i bl e i n the as e of

ng

.

.

the

.

a 6 th

.

mino r key t h e medi ant c hord i s an wh i c o n s idered i s the s u bs titution of h need b e c 3 abo ve Ex ample s s h o uld s uffi c e In

c by

repl a ed

.

52

aug

mented tri ad

II Ib

for

V a as

The only u se expl ained in p ara .

.

Ex

,

106

.

lb

lV

l llb

lllb

l lb

VI

Vl

N o te t h at in bo th maj or an d minor keys either t h e bass of I I I b sh o ul d be dou bled or the 7t h introd u ed T he 6 t h above the b as s may n o t be dou bled wh en I I I b is u s ed as a s u bs titute for V a 6

c

.

,

.

,

.

T his following 4

Ex

.

u se

of

I I I b i s al s o appropri ate

1 08

.

c

E x er i ses

S ee

-

s

as

the

.

cc c

1

s

1 07

.

c

To h ar mo ni se e a h qu aver with the orre t pro edure i s

Ex

c phra e endi ng

with s u h

.

a

se

p ar ate

c hord

would

be

onge ted c s

.

.

Add

A dd

en

c

introdu ing

IIIb

in

a

da para 3

53

s

c al e

-

s

eries of

1 st

invers ion s

.

,

an d

2

.

Add S A T in t rodu .

.

.

c i g III n

a

or

I I I b at t h e as te ri s k s

Add A T E maki ng or firs t in v ers ion 3

.

.

.

of

.

the mediant tri ad in root

.

cy

U se V I I b- V I — a sat i s fa

to r

7 See para 7 .

3 C h an ge

to

.

I I Ib

on

th e

do t

.

s u bs t i t u t e

fo r V V l i n -

.

the

majo r

k ey

.

Cu

9

s

.

P ASS I N G

ACCE NTED

c c c

m

NOT ES

cc c

.

An a ented pass ing note i s one whi h o urs on the st ron g part of t h e it i s more s tron gly a en ted th an the no te to whi h it pro eeds bar or beat an d th us repl a es th at note on the a ent 1

.

Ex

1 09

.

c c c c

c

c

,

.

.

A t (a) the sop rano B is note A

an

c c ented

.

At (b) the soprano note E

s s i ng a p

a

c c ented

F i s an a

pass ing

c

note repla ing

t he

h armony

c

note repl a ing t h e h armony

.

c c c c

c

An a ented p ass ing note an d i ts note of res oluti o n may not be stru k together unle ss the l atter be in the bas s Thu s at (a) in E x 1 09 t h ere i s n o A ag ain s t the soprano s a ented p ass ing note B an d at (b) t h ere i s no E ag ain s t t h e s o pr ano F B u t the following are al s o o rre t 2

.



.

.

cc ,

'

.

Ex

.

1 10

.

c c

A t (a) the bas s s trikes C again s t the sopr an o s a ented p as s ing n o te D ; t h is i s permi s s i b le s in e t h e C i s i n th e bas s A t (b) t h ere i s a C in t h e tenor ag ai n s t t h e s o pr ano I) bu t t h i s C i s n o t s tru k ag ain s t t h e D bein g h eld on fr o m t h e p re ed ing be at I t i s t h erefore a ept ab le ’

c

c c

,

.

c c ented

p ass ing note s par alle l 3rds or 6 t h s bet w een root (B u t s ee als o par as 4 an d 3

.

A

c

c

.

,

.

c ending

cre

need

an d 3rd,

an d 3rd an d et h

a

.

Ex

.

T h ey

as

111

IVb

I

P

lb

lV

.

of

h o u ld mo ve in h o rd t h e s am e c

s

.

c

Thi s pro ed u re

Ex

4 at

i s al s o

c

u seful des ending

1 12

.

.

T w o p art s may t ake the an o t ave ap art

c

.

le as t

.

me

sa

ass ing

ontr c

note in

ary

mo tion

,

.

Ex

1 13

.

.

lb

N o te t h at in

c c ented p

a

the se

al l

ce

as s

(E x

c c c

.

1

Vb

c h g f c h di re E x 1 1 1 more c

there i s n o

1 11 to

an e

or

o

n v ol v ed

.

A en t ed p as s ing no t e s in t h e bass need s till to 1 1 3 a abo ve s ho w u s e s where t h ere i s no h ange o f hord an d it s hould be noted th at i n e very as e t h e bass mov es fro m the root po s ition to the firs t inver s ion or vi e v ers a M ov emen t t0 o r fro m th e bass of th e se o n d i n v ersi on mus t be avoi ded The only ot h er po ss ibility in ele ment ary work ari s es in s u h a as e as the following a

.

c

c c

'

.

Ex

.

l l 4

.

.

c

,

cc

.

‘ .

c

c c c

c

t h e t wo qu avers ann o t be h armoni sed wit h sep ar ate hord s or onges tion re s u lt s T h e E le ap s s o i t mu st be a harmo n y n ote (remember thi s i mport an t ru le ) t h erefore t h e F i s an a en t ed p as sing note an d the solution i s Here .

,

Ex

In

a

fi rs t

.

1 15

,

,

.

V

cc

c c

lb

u h a as e as thi s the a ented p as s ing note should mo v e to the i n v ersi on r athe r th an a root o ition s p s

,

.

S ee

.

A dd

en da.

para 4 .

.

56

h as

of

c

note whi h leaps mu st be rt o n s ider the following : C a p 6

.

The ru le t hat

a

a

harmony n o te

appli es in an y

.

Ex

.

1 16

.

The E le aps making the D ,

Ex

c

for whi h t h e

ob

.

.

Sk eletoni s ed

.

c

c

c

,

.

Ex

.

1 19

the pas sage

is

When the p ass ing note D i s repl a ed a D i s nee ded bass to onform w ith p ar as 3 an d 4 above H en e ,

,

.

118

.

g note

1 17

vious h ar mony

Ex

a p as sin



.

si

mult aneous ly in the

.

lb

I

IV

c

c c

T h e s t u dent s ho u ld not atte mpt t o u s e a ented p assi ng notes as en di ng ept under the ondition s expl ained abo ve an d it may be t aken f o r granted exc In t h at in ele ment ary work furthe r u sage s are not l ikely t o be en ountered de s ending p as s age s the h oi e between a ented an d un a ented pass i ng not es i s apt to be trou ble s o me an d the foll o wing s ugge s tion i s h elpf u l 7

c

.

c In

,

a

des

cdi en

,

cc

,

ng s

al i c c pa

s sage,

c c

c c

prefer

c dp c

a

en t e

Con sider the foll owing h armon i satio n s of

57

a

as si n g

n o tes

given mel od y

to

c

.

c cd

una

en te

o n es

.

Ex

is

.

1 20

.

c c

(a) i s h armon is ed tre ating u n a en ted q uav er s as pas si n g not es Th e h armony s atis f a tory an d two extr a p ass ing notes are poss i ble in the lower parts

c

.

.

c c

h armoni s ed tre ating a en ted qu av ers as p ass in g notes No oth er pass i n g notes are poss i b le bu t the bass h as r ather a wider range an d there i s ontinual a en ted di s ord Thi s l as t i s the point whi h really make s (b) prefer ab le to (a ) A ented di ss on an e st rikes the ear s trongly an d de mands res olution thu s reati ng a feeling of progres si on o n wards (b)

is

c c c c

c

.

c

,

c

.

,

c c

.

.

The s ugge s tion gi v en in par a 7 mus t not be i nter preted too literally it not a rul e S trength of h armoni bas i s mu st be t ak en into s ugges tion a ount Con sider the followi ng 8 is a .

c c

c

.

.

,

.

Ex

I f the qu av er C

Ex

c

.

1 21

.

.

be t aken as a

c c

p as s ing note (a ented) the res u lt may ,

1 22

V VIl b l V

l

produ ing the ung ainly progres si on V l l b IV B u t t aki n g the qu av er B as note (un a ented ) a mu h more fluent an d mu si al working res ult s :

c c

Ex

c

,

.

be

-

.

c

123

.

lb

ll

lb

IV

a pas s i n g

c

E xer i ses I ntrodu 1 of t h e following .

.

c e c ented p c a

as s ing

note s

at appropri ate

A dd S A T treating appropri ate qu avers

3

Add

.

.

.

.

A TE .

.

an d

B

.

:

2

.

point s in the S

.

ented p c c

as a

ass ing

notes

.

.

cc h h d c

c

h ere C s h arp an d A are bo t h h armo n y n o t es i n t h e firs t h o rd F s h arp an d B i n t h e se o n d S i n e t h e pass age i s al l l eaps , n o t h i n g an be t reat ed as u n esse n t al an d q u av er h o rds wo u l d be o n es ted g U se

t wo

ro t

i

.

,

et

or s

c c

.

.

c

c

60

c

.

.

C HA PT ER

10

.

S U S P EN S I O N S I

Ex

In

.

1 28 t h e

.

Ex

I f thi s D

S u s pe n s io n

is

1 28

.

s

op ran o D fal l s

Ex

tep

to

C f ro m we ak

to

,

s

tr o n g

.

c

kept a r o s s t h e p ro du ed be

a s

.

c

h arlin s i t s

fall

,

b eing

del ayed

,

in Ex

as

.

1 29

,

a

.

c

T h i s i s kno w n as a 9 8 s u s pen sion s in e t h e interv al s are a 9 t h t o an o t ave above t h e bas s o f t h e s e o nd h o rd I t i s t h u s seen t h at a s u s pe n si o n i s a f u rt h er type of une ss enti al n o te s in e t h e r epe ated (or tied ) n o te d o e s n o t fo rm p art of t h e c ho rd ag ain s t w hi h it i s s ounded T h ere are three fa t o r s in t h e man age me n t of a s us pen sion

c

c c c c

-

,

.

c

,

.

.

.

t h e o unding of the note t o p n o te in t h e s ame p art in t h e firs t h ord

(u ) I

(b)



re aral i o n

ci

P er

u ss o n

c

( ) R es ol u ti o n

S tep

c

s

,

the

t l c

a

ua

so

be

as a

h armony

c rd by f a cc

one

s

u s pended

unding or s triking of t h e dis o rd

c

t h e progre ssion of t h e dis ord

to

on

o

,

al ling

.

c c

A s u s pen s ion may o ur in an y p art an d an y note of a tri ad may be s u s pended The follo w ing are the pos si ble su s pen sion s over t h e h o rd o f C maj or; t hey are al l pl a ed in t h e sop rano for the s ake of l arity 2

.

.

c

,

c

c

61

.

Ex

1 30

.

.

(0) 5t h

su s pen

ded

8 6

9 6 A

4

( l ) The note of re s olution may not be s ounded ag ain s t the s u s pens ion unless the former be in the bas s as at (d) (e) an d (f Thu s at (g) an d (h ) D s u s pend s C in t he s opr ano an d no C i s s ounded ag ai n s t the D There are n o ex epti o n s to th i s ru l e Where a s u s pen s ion de or ates a s e ond in v ers ion as at (h ) (i ) an d (f th e treat ment of th at s e ond in v er s ion i s s till re s t ri ted as if it were unde orated (s ee h ap The s us pen s ion of the 5 t h of a hord i s re all y on ly eff e ti v e in onne tion 3 wit h the s e ond inver sion f ) Th e rux of a s u s pen s ion is th at it s hould produ e a di s o rd an d thi s i s absent in root po s ition an d fir s t inver s ion (j ) an d (k)

B

.

,

c

,

c

c

,

,

.

c

c

.

,

,

c c

.

c

.

,

c

,

,

,

c

c

c

c

,

c c c .

,

c

Su s pen sion s in the bass need are O nly the root or the 3rd of a hord t i v el y s u s pended an d in el e ment ary work it i s safer to u se only the may be eflec s us pe n s ion of th e 3rd t The n o te of reso l u ti o n may n ot be s ou n ded abo v e th e s uspen si on 4

.

.

,

.

Ex

131

.

.

N IB

1

I su s pended in the so mewh at ung ainly

(a) s h o w s the roo t of

bass an d ,

pr o gre ssion i s (b) show s the 3rd of I s u spended in th e bass

it

Co mpare

h p c

7 Th is l i n ks

a

up

.

9 . para 2

wi t h t h e

.

.

Th e pri n

se n te n

c pl r

ci mm di e

e

e

is th e

me

sa

ate l y f o l l o wi n g

62

an d i t s

i n bo t h ex

.

c

1 15

ases

.

eas ily seen th at the

c

.

,

is

effe tiv ene ss .

is

o bv i ou s

.

c

on may re so l v e into ano t h er po si tion of t h e same ho rd (a) hord provided th at hord ont ai ns t he note of reso luti o n (b) o r i n t o an o ther The essen ti al is th at the s us pended note s houl d fall a st ep wit h wat h for on se u ti v es 5

.

A

c c

su spen si

c c cc ,

Ex

6

.

.

.

.

.

The s u spen s ion

.

2 1 is -

ugly

,

an d

If two notes of

in

a a

a r r a l l e l d s or 3 6 ths . p so pr ano an d a l to D an d

Ex

.

be av oided

.

.

.

at

mu st

1 33

Th is b reak s the rule giv en in p ara

.

.

132

Ex

7

,

(b)

1 34

.

.

hord c

2

(N

.

B

.

The

al to

E should

dro p

c

to C

.

to f all a step into the nex t hord movi n g do u ble s us pen s ion i s poss i ble I n E x 134 (a) the F both f all a step so a may be are both

.

,

.

,

Si milarly in p arallel

Ex

.

1 35

3rds

.

V7b

l

V7b

l

c c

A s us pe n s ion w h i h re so lves up w ard s i s known as a R et ard ation the on ly one whi h need be on s idered i s t h e ret arded le ading note whi h of ours e ri ses to the toni I n i t s si mples t form it appear s thu s 8

.

c c

,

c c ,

,

.

Ex

.

136

.

The h ar mony will be s o me for m o f V I o r V 7 I Thi s ret ard ation i s on ly properly e ffe tive if o mbined w it h one or mo re of the s u s pen sion s already dealt wit h in p arti ul ar the 4 t h falling t o t h e 3rd ,

c c c

Ex

.



-

.

1 37

.

9

Ex

.

S u s pe n si o n s

.

c

are app l i able t o t h e

ro ot

.

3rd an d 5t h

o

f the

d o min ant

7t h

1 38

IV

V7

lb

V7

c

10 I t will be noti ed t h at in al l t h e f o reg o ing ex ample s a do t t ed l ine i s u sed fo r a tie W h e t h e r a s u s pen s i o n s h o uld or s h o u ld not be t ied depe nd s o n t h e rh yth m o f t h e p as s age T h e o nl y r u le t h at an be made i s t h at the se o n d of two ti ed n o tes s h ou l d n o t be l o n ger th an th e rs t A p ar t fro m t h i s t h e matter h as t o be fi left to t h e good t ast e o f t h e s t u dent .

c

.

.

c

.

,

.

11

.

O rn ament al re so luti o n s Ex

.

1 39

are

so

me t i me s u seful No t e .

The orn ament al drop of i n v ersi o n i s being su s pended

a st h

.

at

l

(d) i s only possi ble ,

.

.

Su s pen sion s

foll o wi n g

.

V7b

I2

the

do

Ex

.

c c

e move on s e u t ive s

n ot r

14 0

.

.

w he n the

f

roo t o

a firs t

13

.

a

s

te p

,

I f a note in the given part i s tied or repeated we ak to s trong an d fall s the s e ond of the two note s should be made a s u spen sion Con sider t h e

c

.

Ex

At

(a) the

i g B c

repl a n

.

E

Th e

.

14 1

is a

.

c

en sion rep l a i ng D h armoni s k eleton i s there

Ex

.

c

su s p

,

an d at

,

(b) the C

14 2

.

h armonises thu s

Ex

143

.

.

l

c

V7d

Re pla ing the gi v en sus pen si ons

Ex

14

.

.

1 44

,

t he

lb

lb

res ul t

Vl l b

is

.

c

A s imi l ar pro ed ure

Ex

.

1 45

18

c

also appli able t o a gi v en bass

.

is a

u

n on

s s pe si

Th is

cl d

be

ou

h armo ni sed

Ex

t

h us

But

151

.

fo ll o w s tre ating the .

E as a

p as sing note

.

eq u ally po s s i b le

it is

as

to

let t h e F

be

ome c

a

s

u s pen sion

on the dot

,

'

Ex

l 52

.

.

ll

[0

c

to w h i h o f t h e t wo po s s i bili t ie s o ntext are t h e o nly guide s t as t e an d As

c

V

i s t o be

preferred in

su

h ce c as

a

,

good

.

cc c

ud en t s h o u ld en de av o u r t o int rod u e o asion al s u s pen sion s into adde d p ar t s an d t h e foll o wing s u gge s ti o n s will b e found h e lpful 16

Th e

.

st

b e effe c t iv e ly de c C aden c o rated b y s u pe ns i o n s to avoid es may o f t e n h o ldi n g up t h e move men t t o o mu c h I t i s str o nger to keep move ment at a c ad n c e by u sing a s u spen si o n t h an merely to move v aguely with ,

(a)

s

,

.

e

p as s ing

n ot

(b) A l o n g s

l

S ee

n ote

u spen s i o n

C o n sid er

t he

V7d

A dd

en

es

lb

.

wh ere

abo ve

or

no

c h

an

bel o w

it

ge

o

f



Vl b Vb 5

to

-

h d c or

is

des ir ab le

,

may w ell h ave

.

fo ll o w ing h ar mo ni s at i o n

da paras .

.

l

of

V



7

68

a

given melody :

lb

IV

10

V7

l

a

c

aden e de c o r ated I nver t ed pe rfec t c

(a)

in

V 7d i s bo u nd t o

f all

to

E

,

so

by a f all i t

it s

u s pens i o n del ayed

i n t h e bass

s

t he

F

.

s u s pens ion bel o w it to keep mo ve men t p ran o No te t h at t h e so pr an o in t h i s b ar i s 5 t h 4 t h 3rd n o te s o f t h e s al e so V b l h ar mo n y is th e sto k

(b) L o ngi s h n o te i n

cI mp

( )

c den c f cc de c a

er e t

c

so

d

w e ak

(d) S o p rano I ) i s repe ated s u s pe n s i o n (s ee p ar a

-

,

.

o rat e

e

,

,

.

by a to

s

sus

pen sion in t h e

tro ng

an d

f all s

l

a to

a s tep

.

it

is

t h ere fo re

a

.

cd

o r at ed b y s u s pen s i o n i n t h e alt o i al 3de c aden e de o rat ed by s u s pe n s ion i n t h e al t o t c wi t h o rn amen t al f P erfec r es o luti o n C o mp ar e w it h (a) in Ex 1 39 ; the note v al u es may be v aried es a ording t o ir u ms t an c

(

e)

Two be at -

c c

a

en t

.

c c cc

.

T h e s t u den t will do w ell t o wh en it w ill be s een t h at in eve ry fall a s tep

,

-

.

.

write the p as s age wit h o u t the s us pen s io n s as e t h e not e wh i h i s s u s pended w o u ld inevi t ably

c

c re-

.

.

(s ee

At ( g) n o t e t h e h ap 9 p ara

c

.

u se o f

en c c

an a

te

d p as sing n o te i n

a

de s

cdi en

n

g

s

clicp a

as sage

.

,

me t h at t h e bass of E x 1 53 w ere t h e give n p ar t A t (a) t h e F i s repe at ed w e ak t o s tr o ng an d fall s a s t ep o b v i o u s l y a s u s pe n s i o n (b) i s s i mil ar T h e h alf c lose at (c h ord s o the introd u c ti o n of t h e s us pen s ion ) end s o n a t wo be at c an only i mply I h k eep s up mo ve ment A t (d) t h e t wo be at bass whi c h c needs mo ve men t abo ve it h en c e t h e u s e of t h e s u s pen s io n Si mil ar tre at ment i s o bv ious at (e) T h e fin al si x b e at C at (I ) mu s t h ave mo ve ment abov e i t h e n c e t he o rn ame n t ally re s olved s u s pen s i o n 17

No w

.

as s u

.

.

m

.

-

-

,

-

.

,

,

.

,

-

.

.

.

18

.

T h e f o ll o w i n g

Ex

There

is

on

.

is

154

s

o me t i me s met with

.

ly one g oo d h armoni s ation

Ex

.

155

.

at

the end of

a

melody

'

i

c

u s pending 3rd 5 t h an d 7t h of V 7 a ross the barli n e Thi s s pe i ally n o ted S i mil arly wi t h s upertoni s us pending toni at a fi nal .

e

.

c s

.

.

Ex

19

h as

.

c

,

I n the

b ass

two po ss i biliti es

Ex

l 56

.

c c

be

.

the 4 t h of the (a) an d (b)

,

c

hould aden e

s

.

,

s

cle repe ated a

an d

falling

a s tep

to the

3rd

1 57

.

.

c c

At (a) t h e repeated note i s tre ated as the 7t h of V 7 (s ee h ap 7 p ar a 5) at (b) it i s tre ated as a s us pens ion (a) i s gener al l y prefer ab le bu t ontext mus t be on sidered I n t h e as e of s hort v alue notes as at ( ) the s us pen sion t reat ment i s essenti al if (a) be onvert ed into qu av ers onge st i on res ul t s .

c

c

.

-

,

,

c

c

,

.

.

us pen s ion mu s t be prep ared by a harmony note The followi ng ept able s in e the q u aver D at (a) i s not es s enti al

c c 20

.

un a

c

.

,

A

s

,

c

Ex

But Ex

.

1 59 i s

u

.

.

1 58

.

c

nex e ption able

,

s

c

in e the F

70

at

(a) i s

the

7t h

of

V7

is

Ex

c

E xer i s es 1

2

.

part s

.

.

.

l 59

.

.

I n t rodu c e su s pen s io n s

Add A

.

an d

T

.

to

at t h e as te ri s k s

.

t h e followi n g u sing so me su s pen s i on s in .

t h e add ed

Add S A T maki ng .

.

4

.

Add A T B

No t e

.

-

.

.

maki ng

c

t h e se q u en e , t o

be

appro pri ate u se

u se

c

arri ed

of

of s u spen sion s

out

i n al l part s

.

.

en sion s

s us p

.

C HA PT ER

11

.

M E L O D I C MI N O R SCA LE

TH E

.

c

far al l min o r key h ar mo n y h as bee n t ake n f ro m t h e h armo n i min o r mino r h av e appeared s ale an d t h e s h arpe n e d 6 t h an d fl attened 7t h o f t h e mel o di As h ar mo n y n o t es t h ei r u se i s o nly po ss i ble u nde r li mi t ed o n ly as p ass ing n o t e s 1

c

So

.

cnditi o

2

ni

.

o

c ; .

to

c

,

ns

.

c c

T h e s h arpened 6 t h mu s t p ro eed t o t h e s h arpe n ed it i s pre c eded by ei t h er t o ni o r d o mi n ant t h u 5

Ex

l ti U

.

.

7t h an d t

c

he n e

°

.

(C mi n o r)

t 5 t h o r I V w i t h a majo r 3rd h ar moni s ed by 11 wit h a perfec Th e s h arpen ed c h ord pre e ding it mu s t be s o me f o r m o f ei t h er I o r V

I t is

c

,

,

.

an d t h e

6 th

may

be do u bl ed

n ot

Ex

t o t he

.

16 1

.

.

V

Ib

I

VII b

I

V7

lI

lV

V

lb

lI b V?

VI

I

I Vb

I

T h e h pe ed 6 h m y ffe c tiv ly b i r d c d i ppr c hi g p 3 ade c fe t c e (di c i ve d ) i nte rup d c e a xe mpli f ed in ade c h c ale a a ( ) f h Ex 1 6 1 I f give ba le ap fr m h 2 d t h 5t h 3 h c Il wi h e fe c ale m t b h a m i ed 2 d f h p '

s

.

n

e

n

o

t

re

a

.

.

e s

ar

n

t

n

us

or

t

a

n

rt e

ss e

or

o

r

on s

e

e

e

t

an e

as

73

to

a

o

u

n

t

a

t

o

e

r

t

s

,

e s

t

oa

a

n

e

te

r

n

nt

.

n

er



i

e ,

a

s

t

a

.

t

e

"

c

I h e flattened 7t h mu s t pro eed to d o min ant an d i s p re eded b y ei t h er toni 4

c

.

,

Ex

fl at t ened 6 t h d o min an t th u s

t he

c

or

,

an d

c

t h en e

to

the

:

16 2

.

.

t h e mo re u s ef u l an d u s u al Th e 7t h i s h ar moni sed by 1 1 1 with a perfe t 5 t h V w it h a mi n o r 3rd o r V I I w it h un s h arpe ned root The h o rd pre eding it mu s t be s o me f o r m o f I I V o r V I The n ex t h o rd bu t o n e mu s t o n tai n th e s harpen ed 7th in o rder t o av o id ambigui t y of ton al ity T h e fl attened 7t h may be do u bled pro vided t h at o n e p art p ro e ed s as indi ated abo ve t h e ot h e r being free in i t s p ro gre ss i o n T h e for mer

c

c

is

c c

.

,

c c

.

.

.

,

c

,

.

.

,

.

NB .

.

( l ) I f d o u bled in t h e

p ran o an d a l o w e r p art let t h e so pran o t ake t h e indi ated melo di p ro gre ss i o n (2) T h e fl at tened 7t h s h o u ld be avoided in t h e te n o r u nle ss d o u bled i n the s oprano or b ass

c

c

so

,

.

,

.

'

VI

VII

IV

I

III

lIb

Ib VIIb I V

V

Vb IVb

I

V

V

Ib VIIb VIb

I

VII

I Vb

c

Vb

V

c

T h e fl at tened 7t h i s usef u l (pr o vided it fi t s ) in appro a h i ng an i mperfe t ade n e (di re t o r i n vert ed ) as in Ex 1 6 3 ; b u t t h e begi n n er will do w ell t o av o id i t s u se ex ept wh en it a t u ally o urs in a given p art 5

c c

,

S ee

c c

,

c

c c .

.

T h e fol lo wing ex ample ex h i bit s t h e u ses of t h e s h arpened ‘ an d s h ould be s tudied arefu l l y

6 7t h

.

c

.

A dd

e n da,

para 8 .

.

.

6 t h an d

fl attened

4

.

Add A T B .

.

.

For furt h er s uit able materi al at t h i s point i n H ar moni sati o n p art s 1 an d 2 (H ammond .

,

C HA P T ER

see

t he

8: Co

.

aut

ho r s '

1 08

c

Exer i se s

,

12

.

E L E ME N TA R Y M O DU LAT I O N

.

c

M o d u l ati o n i s t h e p as s in g fr o m o n e key t o an o t h er To e ffe t a modul a ti o n there are t wo e s s enti al s (a) A aden e (u s u ally so me fo r m o f perfe t ) in t h e n ew key (b) T h e appe aran e o f at le as t one n o t e wh i h bel o ng s t o the new key b u t n o t t o t he o l d 1

.

.

c c

c c

c

.

.

C o n sider t h e f o ll o w ing Ex

.

:

16 5

c c

At (a) t h e l as t t wo h o rd s c o u l d b e t aken as V I in F maj o r b u t t h e re i s n o t h ing t o s h o w t h at t h ey are any t h ing bu t I I V in C maj or s o n o mo d u l ation o u rs B u t at (b) t h e i n t r o d u ti o n o f t h e B flat le arly indi ate s F maj or bv t h e aden e V7 I -

.

-

.

c -

c

c c c c .

.

.

Mod u l atio n may be gr adu al o r ab ru p t I n a gr ad u al mo dul ati o n t h e ” pas sage p as se s t h ro u g h a pi v o t h o rd wh i h i s o mmo n to bo t h keys I n E x 1 6 5 (b) t h e pivo t h o rd i s app ro ac h ed as VI i n C maj o r an d qui t ted as I I I in F maj o r t h us linking t h e t wo key s I f t h e o n ly av ail able pivot h o rd i s I in t h e new key it s h o u ld appear in a di ffe re n t p o s iti o n fro m t h at us ed in t h e aden e F o r ex ample i n mod u l at ing fro m G mi n o r to C min o r t h e only h o rd o mmon to b o t h key s i s t h at o f C mi n o r i e I i n t h e n ew k ey I f t h e ade n c e is t h e pi v ot h ord mu s t be in i t s fi r s t t o end o n t h e root p o s iti o n o f t h e ne w t o n i invers io n (a) if t h e aden e i s V I b (o r V 7d I b ) t h e p i v o t h o rd mu s t be in root p o siti o n (b)

c

2

.

c

.

.

.

,

.

,

c c c

c c .

c

,

.

c

,

,

c c

c

c

.

,

.

c

-

-

c

,

.

Ex

.

1 66

.

5

:

IVb l b V7C

I

:

P ivo t

h d c

in

or s

s

e

cd

I

c

I Vb V

:

i n v er si o n s h ould

on

IV

g: l b

be av oided

.

N o te t h at at bo t h (a) an d (b) in Ex 1 6 6 t h e B fl at an d B n at u ral are pla ed in di fferent p ar t s I f in t h e s ame p ar t wit h o nly one n o t e i n te rve n ing t h e e ffe t i s u gly T h i s pro ed u re mu st b e f o llo w ed wh enever a n o te o f t h e o l d key appe ars c h ro mati ally al t ered in t h e ne w 3

c

.

.

c

c

.

c

.

,

,

.

c c c

A br u pt mo dul ation wh i h i s onveniently kno w n as Tr an si t i o n di s pen s es wi t h t h e piv o t h o rd A h ord belon ging t o t h e old key bu t n o t t o t h e ne w i s i mmedi at ely foll o w ed by o n e bel o nging to t h e n ew key b u t not t o t h e old T h e se t wo h o rd s mu st h ave a note in c o mmo n an d t h e re i s ge n er ally h ro mati move men t in o n e o f t h e p art s 4

c

.

,

.

c

,

,

,

c

,

c .

.

Ex

.

16 7

.

c

I Bs

a:V7

7b

1

c

At (a) t h e mo dul at ion i s f ro m C maj o r t o A min o r T h e n o t e in o mmo n i s t h e alto E an d t h e h ro mati move ment i s i n t h e so p ran o t o t h e le adi n g n o t e o f t h e ne w key At ( b) t h e mo d u l at i o n i s f ro m C maj or t o B flat maj o r Th e n o t e i n c o mmo n is t h e t enor C an d t h e h r o mati move ment i s d o w n w ard s t o t h e 7t h o f V 7 i n ‘ t h e n ew key NB T h e d rop of a h ro mati se mi t o n e i s o nly g oo d (a) to t h e 7t h o f a d o mi n ant 7t h : (b) fro m maj o r 3rd to mi n o r 3rd o f t h e s ame h o rd

c

.

c

.

,

.

c c

.

.



.

S ee

.

A dd

en

da para

c c

I3

77

,

c

.

I n deal ing wit h tr ans i t i o ns fals e relatio n mus t be avoided This is the t e xperien c ed wh en a note in one part i n one c h ord i s follo w ed in the bad eff ec n ext c ally altered i n an o th er part h ord by t h e same note c h ro mati c o

.

.

.

,

Ex

in

16 8

.

.

h rd h B n tur l i the pr no w h ile the e c ond h B fl at c w ce where pp rent fal e e ffec t i ugly B ut t h ere tion h b d e ffec t ond c h rd i t h e 3 d f t h e fir t c hord ( ) I f t h e root f t h e e c nd of t h e t w o note c on c erned i t h e 7 h of d min nt 7 h (b) I f t h e e c

Here the firs t The th e bas s

s

.

el a

r

as

s

A

(a)

n

so

a

are t

.

169

o

s

o

.

a

as

s

,

as s

o

a

a

s

a

no

a

Ex

a

as

o

s

r

s

o

o

s

t

s

.

a

a

o

t

.

.

c c c

tis f a t o ry modul ati o n f ro m C maj or t o A min o r ; t h e roo t of the s e ond h ord i s E wh i h i s the 3rd o f t h e firs t hord

sa

,

c

c c

c

.

the F n atural in t h e s op rano o f t h e s e ond h o rd i s the 7t h of V 7 in C maj o r an d there i s no f al se rel ation This pro edure i s very ‘ o mmon

Here

(b)

c

c

.

,

.

Modul ati o n may be expres s ed o r i mplied I n the for mer there i s an a i dent al to indi ate the new key in t h e l atter there i s no a ident al bu t t h e urv e of the given p art o r c e rt ain ot h er o ndition s s h o w it 6

c c c

c

.

c c

.

c

,

,

,

.

expre ss ed modul ati o n n o te t h e foll o w ing (a) A s h arpened n o te i s generally t h e le ading note of a new key (b) A fl attened n o te i s general ly t h e s u bdo min ant of a new key h armo n i s ed as th e 7th of V7 i n th at key

As t o

7

.

,

.

,

.

Ex

.

1 70

.

S ee

A dd

en da

p ara 9 .

.

an d i s

(Al l begin in C maj or ) (a) G s h arp i s t h e leadin g note o f A min o r (b) F s h arp i s t h e leading n o te o f G maj o r ( ) C s h arp is t h e le ading note o f D mi n o r (d) B flat i s t h e s u bd o mi n ant o f F maj or .

c

.

.

.

.

The s ame pri n c iple s apply in modulatio n f ro m a mi n o r key an d it mu s t be s pe i al ly re me mbered t h at t h e le ading note o f a m i nor key i s n o r mally s h ar pen ed ; " ” so th at if it appe ars un s h arpened an d fal ls a s tep it o u nt s as a fl att en ed n o te C o n s ider t h e follo wi ng beginning in C minor

c

,

c

,

.

,

Ex

.

171

.

The B flat i s a flatten ed n o te in w hi h key t h e p ass age ends

c

,

an d i s

.

is

i s a s i mple

ex ample

of

mi n o r

I

I h i z V7b

a t ran s iti o n ,

H ere F

e may al s o be t h e ade n e end s

c c c

.

Ex

s

.

h arp

n ot

173

t he

h o m tic c move ment a

r

be i ng i n

the

cnn a

i n di

ot

t

.

174

c

per t o n i of

a

w

ne

key

,

an d t h e

l e c u

.

ce G

the

c cdenc e wo

maj o r s i n e Si mi l arl y s o luti o n

at

,

.

.

Ex

su

.

h at key ; so E minor i s s u b medi an t o f a ne w key

in

F

.

A s h arpened t h e n o te o n wh i h 8

of

.

:

bas s

d o mi n ant

1 72

cV the

su b

.

Ex

Th is

t h eref o re t h e

.

79

.

no

,

a

a

u

l d be

po ss i b l e

flatt en ed n o t e may

be

t he

c

c m

.

Ex

,

h armoni s ing melodies fo l lo wing point s :

s

possi bl e

in

t h at

V

c ont aining

an d bass e s

In

.

a

.

d :I V

9

e i cdenc

.

1 75

.

maj or si n c e no

c

Here t h e B flat an n ot indi ate F key Hen e , D i nor i s t h e s olutio n

modul ation note the ,

c

(a) Do not try to modul ate too s oon ; es t abli s h the t o ni key firmly firs t di re t a f s m a Only two er e t den e one in t h e mid dle in b ) ( y be u s ed p a new key an d one at the end in the toni (The entr al aden e may be inverted )

c

cc c

.

c

c .

,



c c

.

c

( ) All other modul ation s s h ou ld be be e s t abli s hed b y s o me form of the interrupted aden e ) a

I f there two

-

i a

c c .

,

.

,

,

,

.

e

s

the new keys s ho u ld aden e (or more rarely b y

i n v erted

c c

e b cdenc

Let

tr an sient

"

fro m w e ak to s trong if po s s i b le ,

c c

c

.

c

aden e e g in a p as sage no entr al on s i s ting of t h ree phr as es u se only inverted aden es for the modul atio n s

is

bar

,

c

c

c c

.

,

c c c c

.

,

.

I n appro a hing a entral aden e in a new key re mai n in the o ri gin al key as long as po ss i b le It i s o ften be s t to let the pi v ot h ord be th at i mmedi ately before the aden e f .

After the fin al modul ation return to t h e t o ni V 7 I (or V V I ) if po s s i b le ! -

c

,

ckey

by

s

o me form of

-

.

c

c

The p o s s i ble inverted aden c e s (for tr an s ient modul ation s ) are : v l b V I h V 7d I b V b I V 7b I V7 I Of t h e s e the l as t two are rare W h i h o n e s h ould be u s ed in an y gi ven as e depend s entirely o n wh i h fit s avo iding o n se utives an d bad grammar generally 10

.

-

-

-

c

.

,

c

Modul ating sequen e s t h e foll owing 11

.

(a)

cmmon

fai rly

are

o

-

c

.

.

,

fter

a

a

c entr l c e Note aden c a

,

.

(b) The p attern

(c ) N

an d

cf i h ord c

ea h

o

only t wo of V (or V 7) I mak i ng o rrn

al l y

-

,

S ee Adde n da para ,

c c

f I f t h e ade n t h i s C ho rd S ee

,

I f the re i s a s equen c e at thi s po int it i s almos t c ert ai n t o

one

5

c c c c -

,

,

,

,

-

A dd

e

is

.

p

ts

s

an

epetition s wi l l

r

e

e

b y an

c c c

o b v no u s

cd

.

en

da

,

paras

a

di fferent key s

.

ome form

.

.

cd d

in

be a modul ating

needed at ea h repetition i n v erted aden e are

10

re

be

.

1 1 an d 1 2

80

a

en

6 t i al 4 t h e p i v o t wi l l

cd

i mme di at el y pre

e

e

.

t he

t he

h as an a by n o ti n g i t s

c c

l atter i s

dedu ed following t o ni key C maj or ,

Ex

.

The

b__ J

Ex

c c ident

I f the p at t ern

12

.

1 76

repeti t io n h as not t h e key o f interv al abo ve o r belo w the p attern C o n s ider ,

.

.

.

flat in is a 3rd

B

p at ter n A lower s o i t s key t he

.

c

J i ndi ate s

-

min o r

i s 1)

,

F maj or T h e r epe t i t i o n t h e solu t i o n i s .

an d

177

.

mm

I

N o te t h at there i s n o fal se appli ation of Ex 1 6 9 (a)

c

I

d: V7b

el at i o n

between

r

p attern

an d

re petiti o n

.

.

Conversely t h e key repetition ,

t he

al an d t he

of t

he

p at t ern

h as

so

meti me s

be

to

c

dedu ed fr o m t h at

of

.

Ex

.

Th e

1 78

.

Toni

ckey

e petiti o n B — J T h e p atte rn A r

.

1 79

.

vi o u s ly D M i nor as s h o w n by t h e C s h arp a 3rd h ig h er s o mu s t be F maj o r an d t h e sol u ti o n i s : —

,

,

Ex

C maj o r

is

J is

ob

,

.

,

.

F : V7d

I

I1)

" (1: i d

1h

c cc

Ex 1 77 an d 1 79 s h o w t h e u se of two di ff erent forms of i n vert ed c aden fo r tr an s ient modul ati o n s I n Ex 1 77 the u se of V 7d l b w oul d pro d u e o n se u t i v e o t aves between so pr ano an d bass as w o ul d al so t h e u se of V 7b l in Ex 1 79 Th e s tudent i s ad vi s ed t o pro v e t h i s for h i mse l f wi t h pe n i l an d p aper 13

c

.

.

e

.

c

.

-

.

,

.

81

c

-

.

14

Ex ami ne t h e s teps in

.

Add A T B .

.

Ex

.

to th e

.

the

foll owi n g

fo ll o wmg

w orki n g

.

1 80

.

c c

c c c

o b vio u s aden es (a) i s inter medi ate in toni an d an be eit h er interrupted or inverted perfe t We wil l hoos e the for mer (b) is “ en tral in E maj or an d will be V a I a in th at key (e) being the fin al aden e ‘ V o n ly b e I a in A maj o r T h e bass es of thes e are i n s erted s t raight away an a ( ) an d (d) form a modul ating s equen e (d) is s ho w n by t h e A sh arp to be in B a t h ird h igher i s in D maj or Of t h e po ss i b le in v er t e d ade n e s V (or minor so V 7d) I h i s the only one wh i h fit s grammati al ly The l as t note of (d) fin i s h es the modu l ation s so at (f ) we h av e to ret u r n to toni if p oss i ble by means of an in v erted aden e Trying out the po ssi bilities we find th at V 7d l b fit s We n o w h ave t h e fol lowing in o mplete s ket h :

c c c c

(a) (b) ,

an d

(e)

are

.

.

-

.

,

,

,

c

-

.

c

.

c

.

,

-

c c 18 1

c c

c

.

.

,

,

c

c

.

.

c

.

,

Ex

c

,

-

.

,

.

I

I Az V7d

b :V

c c

c

lb

T h e bass of the sequen e h as been o mpleted in the o bv io us manner No w o mes the matter of the pi v ot hord at (g) I t mus t ont ai n an F s h arp an d belong to both A maj or an d E maj or The t h ree tri ads in A maj or o nt ai n i n g F s h arp

c

.

.

are

Ex

Or

,

o

f

.

c

1 82

o u rs e ,

.

V 7a l a -

.

82

c

.

c

,

c

c

thi s ase it i s not po s si ble to make an i mmedi ate return t o the toni key b y mean s o f an inverted aden e (s ee p ara 9 (g) s in e the bas s at C — fi doe s not al low o f if B u t from C — fi th e pas sage sho u ld be on si dered as bei n g i n G mi n o r The res t of the working pro eed s on the u s ual line s N o t e th at t h i s " i s an ex ample of a s ent e n e without a entr al aden e (s ee p ar a 9 ( e ) a In

c c

c

.

c

.

c

E x er i s es 1

.

c

.



c

c

c c

.

.

.

Add A T B to the fo llowi ng All begin in F maj o r an d end in a n ew key Do t wo wo rkings of ea h one ending w ith a dire t aden e t h e ot h er w ith an inverted aden e .

.

c c c

.

.

.

.

,



cc c ,

.

2

.

3

4

.

.

S ee

Add A T B .

Add

5

.

A T

.

.

Add A T B .

A dd

en

.

.

,

to

the following

mo dulating

.

da paras ,

.

1 4 an d 1 5

.

as

,

as above

.

All begi n

expres sed or i mplied

.

in

B min o r

.

5



.

Add S A T .

Th l s ph rase be f o re

o

bv

re t u rn

3 Mak e

cc

i

is

5 In

i

o u s l y e n ds o n t h e

no

do mi n an t

o

f B

mi n o r

mi n o r t h e des c mmo r sc en d i n g me l o d i c al e

i n g to F

o rre t u se o f

t h s t h ere

.

c

.

Pro

cd ee

to

1

o

t h is

k ey

at t h e

en

f

at

.

s h arp

en t ral

"

cd c a

en

e

.

so t h e o n

l v di re

85

h ere

cp t

.

ci cc ad

e rf e t

en

e

s

d

.

f

F or fu rther s u i table materi al tion part s 3 an d 4 (Hammond

see

Co

.

,

t h e author .

'

108

s

c

Exer i s e s in

H ar moni sa

,

C HA PT E R

13

.

A U ! I LI A R Y NOTES

.

no te i s an uness ential note lying between two s t ate ments of the s ame h ar mony n o te fro m whi h it i s dis t ant one s tep either above or below 1

.

An

auxi liary

c

,

Ex

I t may be

.

1 86

.

c c ented

a

.

,

,

as at

c c

(a) or un a ented .

c c c c

,

as at

c

(b) an d ( )

.

c

Aux i li ary notes abo v e the prin ip al note are always di atoni th at i s they onform to the s ale of the key an d no a ident al s are needed An auxili ary note ab o v e the 6 t h of the minor s ale i s of our se the u n s h arpen ed le ading note to avoid an augmented 2n d

c

2

.

c

c

,

,

.

86

,

,

.

,

Ex

3

.

un less

1 87

(C mi n or)

.

.

An au xi li ary note below th at root fal ls a 3rd to the

Ex

.

1 88

c

the ro ot of a hord s hould ne x t h armo ny note

belo w

be a

,

.

.

At (b) t h e au xil iary C i s a mi nor 7t h abo v e t h e roo t an d th us h as an ine vi t able des ire to fall u l t i mately to B Other lower auxil i ary notes may be a tone or a se m i tone below as good t as te di re t s But note th at a l o wer auxi l iary wil l n ev er be flatten ed For e xample an au x iliary note below t h e toni wi l l always be t h e a se mit o ne bel o w (see Ex 1 86 (b) leadi n g note ,

.

c

c

.

,

.

,

.

A u xi liary notes like pass i n g notes may move in parallel 3rds o r 6 t hs the as e of si mult aneou s l ower auxili aries it is bes t t h at eit h er bot h be diatoni both hromati 4

In or

.

c c

Ex

.

1 89

,

c

,

c .

.

At (a) upper au xi li ary notes move in par allel 6 t h s At (b) lower auxi l iary no tes mo ve in paral lel 3rds bo th bei n g di at o ni .

,

c

At ( ) lower auxili ary n o tes mo ve in parallel

87

3rds

,

bo t h

c h ro m ti c being c .

a

.

.

5

.

A v oid

u

c

gly las hes Ex

agai ns t

t he

3rd an d 7t h

of

c

t h e s al e

1 90

.

.

c

(Co mp are wit h h ap 6 p ar a 5 ( i ) At (a) the s oprano F makes an ugly minor 2n d ag ains t the held E in the alto At (b) the ten o r C makes an ugly maj or 7t h ag ains t the h el d B in the soprano I n bot h ases the au x ili ary note s ho u ld be s h arpened .

.

,

c

.

.

.

c

Si mult ane o u s upper aux i li ary no t es to the 3rd an d 5t h of I or V pro du e t h e auxili ary 2 i e a 2 lying between two s t atement s of the same the 3 b as s being s t ation ary 6

.

.

,

.

,

,

.

Ex

.

19 1

c

I IV I

I

V

cV

n o t es need t o be tre ated wi t h re serv e an d the begi nner may well be advi sed to u se them as l i t tle as po ss ib le in added p art s si n e th ey are apt t o produ e me rely a w o bble For ex ample s ome s tudent s would su bmit E x 1 9 2 (a) as an e ff e tive de o rati o n o f a perfe t aden e Whil e there i s nothi ng w ro ng wi th i t it i s by n o me ans as satis f a tory as (b) whi h i s de orated by an orname n t ally re s olved s u s pen s ion 7

.

A uxili ary

c

,

,

c

c

cc c c c

.

.

.

.

19

"

Si mil arly a long n o te in a given part s hould preferably C o mp are Ex 1 5 3 (b) wi th the fol lowi ng : ab ove o r bel o w it ,

.

.

,

,

Ex

c

.

88

c

Ex

8

1 93

.

.

c

Chr o mati lo wer auxili ary n o te s

.

c c

are

the F s h arp an be n o thing b u t auxili ary ; a mo d u l ati o n t o G maj o r would au se h o pe les s onges ti o n Un a ented upper auxili ary n o tes al so au se n o trou b le Here

c

.

c c

c

.

Ex

c c

H ere are apt

195

.

.

c c

the F an be nothing b u t auxili ary But a ented uppe r auxi l i ary n o tes t o be onfu s ing an d h armoni propriety mu s t be o ns idered

c

,

Ex

196

.

.

c

.

.

culd b

eit h er au xili ary wi t h t h e fo l lo wing E a h armony n o te or t h e F an be h armo ny an d t h e E p as s ing T h e h o i e mu s t be left t o pers on al t as te provi ded the fin al h ar mo ni s ati o n i s s ati s f a to ry H ere

t he F

c

o

e

,

.

.

,

9

cc c

.

.

only guide

.

c ae

c

c

di atoni l o w er auxili ary n o te s h armo ni p rop ri e t y C o n sider t h e follo w ing

In the

s

of

Ex

.

19 7

.

89

is

the

du

At firs t si ght the qu av er D might es o n e of the foll owi n g:

c

Ex

.

19 8

appear

to

be a pass i n g

n ote

bu t

t hi s

pro

.

Ib

V

c

V

I

Ib

VI

V

At (a) we h ave the same hord fro m we ak t o s trong (l b I a) At (b) there i s an d i n an y as e the progre ssi on i s ungain l y On the an i mplied e x pos ed 5 t h at other h and treating the C as auxili ary an produ e the followi n g is ,

c

i ,

c c

-

.

c

.

,

u n ex ept i o rabl e :

Ex

.

1 99

.

The au xili ary A in t h e bass i s o b viou s ly needed s o pr ano C ag ain s t bass B (see p ara 5 )

c

to

av oid a bad

c l h as

of

c

One other form of de or ation needs to be mentioned Where the se on d of two h armony notes i s a s tep below the firs t the firs t may ri se a st ep an d fall a 3rd thu s : 10

.

.

,

,

10

V7

C HA PT ER T H RE E

14

PA R T

.

WO R K

.

Work in three p art s i s us u al ly written for soprano alto an d bass The om is sion of the fourth voi e in v ol v es so me modifi ation of the nor mal rules t e g arding o mpleteness of h ord s an d s p a ing of p art s 1

c c

.

c

c

c

,

.

.

roo t pos ition tri ad the 5 t h may be o mi tt ed bu t not the 3rd as in four p art work The bare 5i h abov e the bass mu st be avoi ded ex e pt on the un a At a aden e it is per mi ssi ble t o end on a bare o t av e (E x en t ed p art o f a be at 202 (a) I n t h e perf e t an d interru pted aden es the le adi n g note mu s t ri se to the to n i it may not fall (o r ris e ) t o the 3rd o f l a (Ex 202 (b) 2

.

In a

c c -

.

.

c

.

c c

,

,

c

c c

c .

.

Ex

3

c

,

The

.

(b) U n des irable

202

.

bare

c

o t ave (or uni son )

al s o

per miss i ble

at

the

p h r as e

Ex

.

203

.

c c

Firs t invers ion s may h ave eit h er t h e 5 t h or the root o mitted a ording to the needs of the ontext T h e following are al l po ssi b le version s of l b in C maj or 4

.

c

Ex

,

.

.

204

.

At (a) it mig h t be th o ug h t t h at I I I a would be i mp l ied will au se the root (C ) t o be s upplied ment ally

c

.

92

,

bu t

h armoni

c c onte

x

t

c

Se ond invers ion s may h ave t h e ro o t o mitted of the latter res u lt s i n an u ng ainl y bare 4t h abo ve t h e 5

.

Ex

205

.

t he

bu t n o t bass

o miss ion

3rd

.

(b) P o o r

°

4 (4) 6 I t mu st be realised t h at alt h o u g h t h e above are all po ss i ble pro edu res there is n o need deli berately to u se an in o mplete inve rs i o n u nless t h e ontex t deman ds it hords s h o uld be kept o mpl et e as far as po ss ible But t h ree p art work even o f an ele ment ary kind tends to be mo re ont rap u nt al in s tyle t h an d o es four p art in f a t it s ho u l d be mo re o ntr apunt al T h e al to h as more roo m to move an d t o av o id melodi dullne ss in t h is v o i e in o mplet e h o rds are o f great

c c

,

-

c c

.

c

,

,

c c

c

.

c cc

,

-

.

c

.

u se

.

c

c

the domin an t 7t h t h e e s senti al is to h ave pres en t t h e a t u al i n terv al of the 7t h o r i t s invers i o n t h e 2n d Being a four note h o rd o n e n o t e h as to be o mitted i n an y as e an d t h is may be eit h er t h e 3rd or t h e 5t h a o rdi n g to t h e ontext I t i s n atur al ly prefe rable t o in l ude t h e 3rd if po ss i ble Ex 206 s h o w s o f V 7 in C maj o r i b le a rr a ge m ent s os s n p

In the

7

.

ase

of

c

,

c

c

.

c

,

.

,

,

.

c c .

.

Ex

.

206

.

c

V7

V 7d

The v ari o u s p o siti o n s o f t h e di mini s h ed tri ad (V I I ) may be u sed freely as s u bs t itutes fo r V 7 V I I a an s t an d fo r V 7b V I I b for V 7 an d V I I fo r V 7d sh o u l d be us ed o n l y i n thi s But n o te t h at V I I a an d V I l c on n e ti on As t o wh et h er it is de sirable to u se V 7 o r t o s u bs titu t e t h e appro p ri ate pos iti o n o f V I I o n t ext an d goo d t as te are t h e o nly g u ide s C o n side r t h e follo wi ng : 8

c

.

.

,

c c c ,

.

c c ,

.

Ex

.

207

.

V

V 7b

.

Th is

allo ws

Ex

.

of

208

orrec b the of V I I for V 7b i cc or tion by p ing n te ( Ex 208 fb) c c

i s pe rfe tly e ffe tive de

Si milarly wit h .

209

ut

,

ass

a

o

s

.

s

c

better ,

as i t

VI I a

VI I

ca

s

a

s

u bs titute for

V 7d

.

.

10

V7d

lb

I t:

W

c c

(b) with un a ented p as sing note A ,

are bo t

rather an d ( )

a

use

.

V

Ex

t

h p referab le

to

e

,

an d

Ih

c

( ) with ,

c ented pa c

a

ss

ing n o te A

,

(a)

c

.

c

c

U n u s u al s p a i n g o f p art s s h o uld h ave so me definite j u s tifi ation s u h 9 j u s t i fi atio n being (a) t o get o mplete hord s or (b)to av oid mel o di dullness i n the i n n er v o i e Th e f o ll o wi ng are ex ample s o f un u s u al s p a ings

c c .

.

Ex

.

21 0

.

c

c

c

c

.

1h w i t h ro o t b a re 5 t h h e b T ) (

mi t t ed

g i ve g o od flo w in t h e al t o en t ed p art o f t h e be at i s pe rmi s si ble on the un a c u rve O v le p in h e alt o give s g o o d mel o di c t e a t a c () s p a ing al so s h o u ld T h e s u b s titu t ed fo r V 7b (i n C maj o r) I V I a d ( ) e n ab l es t h e al t o t o av o id d u llne ss c o m t The in ple e e ( ) 2 C o mp are t h e abo ve w i t h t h e f o ll o wi n g w o rkin g

(a)

o

c

so

as t o

c

.

c

.

c

.

.

be

no t e d

.

.

Ii x

214

.

.

c

T h e al t o G does n o t gi ve s u h a good flo w as doe s D ed i n o n o wing t o t h e 3rd being f o r c T h e lto here el lly ung inly a a i s o di m a b ) ( the un a ented s e miqu av er ell as in Ex 21 3 an d fr o m t h i s poin t i t i s ere the lto doe not w fl o w s o a s H () melodi ally dull (a)

c c c

c

c

E x er i ses 1

.



Add alto

en

en

,

.

.

.

.

c c c 7 Ac A

c

.

an d bas s

t ed pass i n g n o t e t ed au x il i ary n o t e .

.

.

,

2

.

And S opr an o

an d alto

m

t

ct Ac en

ed

au x i l i ary n o t e

.

m

.

C H AP T E R SO M E POI N TS

15

OF

.

ST Y L E

.

c

c

Attention to the matters on sidered in this h apter s hould en able the ake hi s work more interes t i ng an d more mu si al ly efi e t i v e I t mu s t s tuden t to m s trong h armoni sation an d be real i s ed th at whil e the fi rs t requis ites are good grammati al a ur a y even qui t e ele ment ary exer is e s an be made more th an a mere b ald s u e ss ion of h o rd s 1

.

c

c c c

cc cc

.

,

c c c quen c e h ve lre dy been de lt with in c h apter 2 S qu c M odu l at i ng th t pro ided 1 2 N on m dul ting ne need f rther mention The u u l rule c the p ttern c nt in n thing bj c u in the repeti ti abl e a yt h i g th t m y oc tion in the w y of unu u l d u b ling or progre ion per mi i b le long a t h ere utive S t h t t h e fol lowing unex c eption ble cn e c ,

.

es

en

e

.

a

o

-

.

a

se

.

a

o

o

o

s

a

s,

are

no

s

s

o

Ex

s

e

a

,

s

a

n

s

a

ss

s,

is

a

a

v

r

is

ss

as

s

a

is

.

c

c

a

21 5

(a) I I I a pro eed s

pro eed s i s go od

n

on

a

o

.

a

a .

o

I At

a

u

s

o

s

Vb II VIb II I VIIb I V I b

c

cnt ain

d o u b led le ading no t e a di s tin t ly unu s u al progre ss i o n B u t s in e t h e p atter n I IV ex epti o n i s t aken t o the abo ve

to

c

no

Vl l b ; Vl l b

to

o

s

a

c

.

an d

,

,

-

Vb

,

.

One point h o w ever need s t o be n o ted The h ar mony s ho u ld be so ar ranged th at n o t only i s t h e p at tern f ree fr o m anyt hing unu s u al b u t al so i t s fin t l / repe t ition Con sider the fol l o w ing 2 3

.

,

.

,

,

.

Ex

.

216

.

T h e p attern (a) i s g o o d At l b) t h e fir s t repetiti o n t he re i s a d o u bled le ading n o te whi h i s h ar mle s s At ( ) t h e t h i rd be at is V I I a w i t h a do u ble d leading n o t e w h ile t h e b as s le aps an aug me nt ed 4 t h t o t h is h o rd ( ) being t h e fin al repeti ti o n of the p atte rn t h e se pro ed u res are bad C o mp are wi t h t h e f o ll o wing wo rking 2 ,

c

.

.

,

c

c

,

.

.

c

.

98

c

,

The tied A

is

tre ated

as

c

the d o min ant of D minor

c

reg ard s de or ation it i s often advi sab le t o u se re s t s in t h e lower voi es t h i s app l ies e s pe ially when a melody begin s with at t h e beginning o f a long note s u h a note 8

As

.

c

.

Ex

.

221

.

The F an d D s i mil ar tre at ment

,

Ex

9

.

c

223

.

si n

e

ss

t

e

ns

a

s

.

T h e long C in E x

.

21 8

c rec eive an

rase

.

iple me p rin c

sa

by an 221 an d 21 8 .

c ented p a ing note c ci b gi ph

are a

222

The

.

pre eded Ex

c

,

u

c c

cb an

e

applied

n a ented s h orter one

,

as

if a p h r as e b egin s wit h a long n o t e in t h e following mo d i fi ati o n s o f Ex

c

.

l o w er p art s i s als o so me t i mes poss i bl e apart fro m bu t o n ly if t h e mel o dy begi ns wit h an an a rus is t h e as e ent ed n o t es before t h e firs t s tro n g a ent I n s u h a ase i e o n e o r mo re u n a c t h e re are t wo e s se n ti al s o mme n e o n a weak be at T h e l w er p t h o u l d r s a s o a ( ) n h armonis ed s h o u ld fit t h e T h e n te lef u hord wit h wh i h t h e ower s t o l b ( ) p art s b egi n s reg arded an u n g a a i s p r i l rly i por t n t s if it di h ar mo nicb u mp a b i a t u a m s ( ) will re s u lt C o mp are (a) w it h (b) i n t h e fo l lowing t h e l atter i s p refer able Del ayed entry o f t h e o f an initi al l o ng n o t e

10

c .

c

.

c c

,

c

c

c

c c c

,

.

c

c

m

.

,

.

Ex

.

224

.

as e of del ayed entry of t h e lower p art s it i s alway s bes t t o bring t h e m In the c ‘ in with a fir s t inversion if po s si ble as thi s makes for a more flowing s t art ,

,

.

L o ng note s i n t h e bass need movement above the m (By long notes i s me ant t h o s e whi h are long in o mp ari s on wit h tho se arou n d t h e m) The foll o w ing (bas s gi v en ) i s orre t b u t dull : 11

Ex

.

c cc

.

225

c

.

.

.

Co mp are wit h t h i s Ex

.

226

.

N e v er be g

i

n

on

a

cd

se o n

in

v e rs i o n

.

1 01

opr ano i s de ri v ed fro m t h e bass figure in t h e penulti mate bar by i n vers ion while the s yn o pation in the alt o g re atly i mpro v e s th at part In thi s l atter o nne tion note the u se o f in o mplete inversion s at (a) to avoid melodi dullnes s in the alt o Th e

c

s

c c ,

,

c

c

.

,

.

c

c

c c

A n a ented h igh note appro a h ed by le ap may often e ffe tively h ave res t s in t h e l o wer p art s at i t s beginning provided it i s o f reas on ab le lengt h 12

.

.

,

Ex

.

227

.

cc c cc c c

c c c

At (a) t h e hig h G h as a met ri al a e n t at (b) t h e h ig h E h as a s yn o pated But no te t h at in s u h as e s t h e h ig h note sh ou l d [ i t the pre edi n g h ord a ent Th e follo w ing i s un mu s i al s in e t h e h ig h F d o e s not fit the h ord on the fir s t beat of the bar

c c

.

c

,

.

.

Ex

.

228

.

At t h i s s t age t h e s t uden t s h ould ende av o ur to make the inner p art s I t h as alre ady b een mentio ned th at in three p art work re as o n ab ly inte re s t ing To o bt ain a good alto t h e alto will tend t o be mo re melodi o u s th an in four p art s j uggl ing pl u s of ourse an d tenor in fo u r p art w ork i s l argely a matter o f experien e And in an y as e so me e xer ises lend thems elves to a flowi ng alto an d t en o r mo re t h an o t h ers But so me atte mpt mu st be made to make the inner parts reaso n ably in t er es ting C o mp are t h e t wo treat ment s of the fol lowing o pen i ng to a melody 13

.

-

.

.

c

c

-

.

,

c

.

.

:

Ex

.

229

.

1 02

,

,

c

,

T h es e progress ions may Ex

.

o

a

s

des ired

e

.

,

g

.

233

.

VI _

V

I V IVb

I

I V__

Ih

We

1

.

I f a gi v en bass en ds wit h eit h er of the pro gress i o n s j u s t men t ioned it generally good to u se a toni pedal in t h e soprano e g 15

is

cr ted a

be de

c

.

Ex

235

.

,

,

.

.

.

c c

The following exer i se s o v er bri efly the point s dealt with abo ve For further work the s tudent i s ag ain referred to the aut h o r s 1 08 Exer i se s in Harmoni sati o n 16

.



.

c

E x er i s es 1

.

.

Add S A T .

.

c .

.

104

Add

2

.

3

.

4

.

5 an d .

A

Add A T B .

Add A

.

.

.

.

an d B

.

1 05

c c

armoni s ing sep ar ately an un a ent h 3 3 3 ed h alt beat note E x 1 (a) i s poor there i s an unrh y th mi al bu mp on the qu aver Su h notes s h o uld be tre ated eit h er as pas sing notes (ex 1 (b)) o r as bye t o nes (i e h armony note s t aken in arpeggi o) as in ex 1 ( )

1

I n si mple ti mes

.

.

.

.

g

avoid

.

,

,

,

c



c

-

e

,

.

.

,

.

cmpound ti me

c

.

.

.

I

VII b Ib

In



Ib

IV

c

tre at ing t h e s e o n d pul s e of a be at as a sep ar ate h armony note Tre at as p ass i n g note or bye tone N ever u se sep ar ate h al f p ul s e hord s I n 2t i me for ex ample h ord s s hould move in t h e followi ng r h yt h ms 2

.

c

o

s

avoid

.

,

,

.

J

HJ

J bu t

c

J J

.

3 J ii

3

H or c ombi n ation

s

of the m ,

n ot

I

m

c

p ass age

M

'

Su h

J

a

l l l as

t h e foll o wing

onge ted c

i s b adly

s

Ex 4 .

i c

c

8

.

T h e adenti al poin t at the end o f t h e firs t phrase annot i mply h ord I V o r V I in an y form The F s h arp does not fit I or V wh ile if it be h ar mo n is ed by V I it will not produ e an interrup t ed aden e T h e I V fo r t h e firs t two ro t h et s o f t h e bar A s o me wh at rare so lu t ion i s I (or I h ) " rever se d pl ag al I I V T h i s i s in a way t ype of inte rmediate aden e i s the o mp arab le t o t h e i mperfe t I V wh i h i s a revers ed perfe t N o te t h i s p o ss i bili t y at a adenti al point where none o f the more o rt h odox in t erme di at e aden e s w ill fit

c

3

.

R efer to

C H AP T ER

c c c

c

se I

ex er

c

(b)

.

c c c

c cc c

c c

.

,

,

.

1 06

.

,



.

,

.

c

,

,

d solution of a a n ss e c a a T he rel ti e lue the re r t ion r u ion re f a v s o v a p 7a p p s a s m s r e a a c 0 u en ion i teri l In the ex le in h ter they it t e s 1 a m a a m m are s s sp p o p i ty given as equ al v alue notes for the sake of s i mpli c But note ex 15 9 i n whic h the P rep aration (F ) i s a qu aver while per c u ss ion an d resolution are both c ro t c het s The main thin g to re alis e i s th at a note re pe ated on tied weak t o stro n g an d falling

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cc

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11

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c

C are i s needed to av oid a ident al onge s tion if the s h arpened 6 t h or fl atten ed 7t h o u r as notes s horter than one be at v alue I f it wi ll involve o n gest ion to h armoni se the s h arpened 6 t h or fl attened 7t h with a sep ar ate hord tre at th e m as p as s ing notes R e me mber th at if the se note s are treated as h ar mony notes th e n otes i mmedi ately fol l o wi n g them mu st al s o be so treated 8

c c

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C H APTER 1 2 au s e of The ulti mate c .

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effe t of f als e rel ation ex 1 6 8

is

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I f t h e fir t p r a se of a given p art end s with an o bv ious s h 9 half lose in the ton i pr o eed to s o me for m of I or VI before atte mpting to modul ate S ee exer i se 4 (b) at end of h apter The firs t phras e o bv iou s ly end s with I V so u se V b I a ro s s the barli n e before on sideri ng the approa h to t h e entral modul ation i n bars 3 4 To try to get t o B fl at maj or fro m bar 2 t o bar 3 would s ound unn at u ral (thoug h it i s me h ani all y poss i b le ) 10

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t h e b ad

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c c c c .

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para

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108

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c

I n so m e c as es the given p art will n o t fit an y fo rm " of V I o r V V I after t h e intern al mo dul ati o n s are fi n is h ed See exerc is e 4 (e) T h e l as t intern al mod u l ation i s t o A min o r b ars 5 6 t h e c aden c e en din g o n t h e rot c het C wh ic h foll ows d o es not fit V 7 so no c e in E mini m A But the c aden c as e s i mply har mo n is e t h e C in an y ros s thi s barli n e I n s u c h ac minor i s p o ssi ble ac key s uit able manner i n th e to n i c aden c The key of t h e c entr al c e s houl d b e t aken as fini s h ed wit h as soo n 12 adenc aden c e is c o mpleted Refer to exerc is e 4 (c entr al c e at b ar 4 as the c ) Th e c i s o b viou s ly in E maj o r an d the new phr as e begin s o n t h e t h i rd beat be i n g in B hord therefore i t mus t oc ur on t h e 3rd beat minor If t h ere i s to be a piv ot c c h ord c ont aining a B w h ic h b el o ng s t o both E maj or (B ) of bar 4 But there i s no c therefore t h ere i s no pivot c hord S o the B mus t be h armo n i sed an d B minor t aking c hord w eak to s tro ng i n or are t o av o id u sing the s ame c s uit ab ly i n B m a s i ti o n o f a c om e e er th t it not uffi c ient to c h nge only the o h ord fr m b a i s s R m ( p w e ak to s trong the c h ord it self mu s t be c h ange d) 11

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tr an s iti o n i s mos t f req u ently fro m t h e o l d t o n i h o rd t o t h e new m as in ex 1 6 7 b u t t h i s i s n o t e s senti al Ex 1 75 i s a type o f tr an s ition an d t h e as e j u s t me n ti o n ed (exer i s e 4 ( )) i s an o t h e r wh e re old t o ni d oes not pr o eed t o ne w V Exer is e 1 (c ) o n p age 9 6 i s s i mil ar

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Wh en mod u l ating f ro m o n e mi n or key t o 2n d l o w er u se Ti erc e de P i ardi e in the origin al key 14

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an o t

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E x 10 .

B ars 3 t o 4 o b viou s ly mo ve t o D minor w hile fro m equ ally o bviou s mo dul ati o n to C minor a maj or en d l ower So I o f D mino r will be a major tri ad thu s

bar 4

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E x 11 .

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