Idea Transcript
I N D E!
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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
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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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ex
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W Co pyri g h t
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as
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a s
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an
es r
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ap e
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ee
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a
s
y
s
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an
as
s
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er
s es
re
:
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Lo v et o
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CH A PT E R
1
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P R E LI M I NA R Y
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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
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,
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ment al he ari n g
No real progres s i s po ss i ble unl e ss the fa ulty of
2
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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 .
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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
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c edure proc
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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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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
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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 .
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,
or
part
.
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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
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an d
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2
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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
.
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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
,
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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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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
:
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c
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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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-
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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 .
,
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c c
-
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,
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 .
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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
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; i e S an d B .
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h o uld al way s h av e the highe s t note A the lowe s t s
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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
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.
c
cc
c
,
-
,
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.
( 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
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c
,
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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
.
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,
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,
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.
.
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
c
,
.
.
’
.
.
,
.
,
cc
c
i se 4 ( ) t h e dotted x H s s te gener lly e t tre t d s u en ion en e in e er s a a s a e b a a s p is p rot het B fl at in bar 6 an d the dotted mini m in bar 7 are both s u s pen si on s
cc
.
,
,
.
C HA PT ER
c c
11
.
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
.
c c
.
.
,
.
.
,
I
(a) ( b) ()
VIIb I V
V
c c cc
(d) are onge sted an d (e) are h armoni ally me aningles s an d ( f ) are orre t an d
c
.
C H APTER 1 2 au s e of The ulti mate c .
9
Refer to
para 5
cc
.
.
,
th at it indu e s onfu sion of key In wh at key
or
keys
is
c
effe t of f als e rel ation ex 1 6 8
is
.
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
R efer to
.
t h e b ad
c c .
c c c c .
.
c
,
.
c
para
,
.
c cc
108
.
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
R efer to
.
para 9 (g“) .
.
-
.
,
,
,
.
,
,
,
.
.
.
.
,
,
.
,
,
.
.
.
,
c
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
c
13
.
Refer to
c
A ra 4 a p d o in ant 7t h .
,
c
c
c c
,
.
.
c
.
.
,
c
.
~
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
.
.
.
an o t
h er mi n or key
a
maj or
.
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
to
bar 5 i s an
.
,
E x 11 .
c c c
A n F n at u ral at wh i le po s s i ble i s by no me an s as effe tive as F s h arp (There i s a definite me h an i al re aso n for t h i s onne ted wi t h h r o mati h ar mony )
cc
,
,
109
c c
.
.
The s u b d o min ant 15
.
,
i
E ln l
Th e
.
is
its
.
lb
c h ord
of G minor
me prin c iple applie s when modul ating fro m a mi n o r key to e a 5 t h l o w er
sa
'
lV
c
Vb
I
VI : IV g
i
I!)
V7a l b _ IV
V7
c
indi ati o n s at s h ould make t h ing s lear it se l f the do min ant hord o f C minor
c
.
IlO
l
cd
t h e Ti er
e
e
c
P i ardi e
SECOND YEAR HARMONY rm t I s n t h r ee e ) (
W ILLIAM
LO V ELOC K, DJ
c Fi
kn ow Dr Lo vel o k
ci
cd Y a H
arm on y
e r
on
c
work
reall y soun d
groun d
w an y gi ven
n ot on l y ho
t h e great
matt er
t
u
sel
—
use o f
c whic h i ov ers
cw
on y Year Harm .
the same pri n
c mp
.
c i pl
es
l et e th e prov i sion
o
ks
or
reso ur e
sh ow
bu t al so
-
as of
t h e pu pil
what is al way s
ms i ts use i s appmpriat e
.
c
mon y c om on y pl etes in st ru ti o n i n Harm h ro m at ic o rat ion hords an d all form s o f dec
c
a great deal s
rs t
i n Harm on y a n d to
ea r Har
on
i n l u di n g the an d al so
cl y
cd Y
Se
c
difi
s
i s hasedon
the prev i o us bo o h t he obje ts h ei n g t o
a
'
.
is at l ast avail able
o n t n uatio n
be gl ad th at i ts
Se
.
L o n d ) (
' I us.
ott en
so
c
of
gro un d i n
cnnec i
ked
bo t h by
o v erl oo
t on
o
st uden ts .
M
A H A MOND .
c
c o
l l Lan ash ire Co u rt
New B o nd
S t reet
,
Lon don
.
,
W
l
.
,
wi t h
st y e_- a
c
t ea hers
l
an d
TH I RD
HA RMO NY
Y EA R
ms)
t wo
n i (
WILLl AM
t er
LOVE LOOK
DM us
(Len d )
.
c h w h h m d c ll h qu d h rd d h d c Th r d Y wy f c H rm y h w h w th cm y b ppl d h d g d w m f q h c h m m l c yp y f c d I l g ly ccrn d w h m d yl l d I c h m f m n d ffi l d c g y w h w c h d b nn l h l wh c b c b h y p cF t cr rc
Dr Lo v el o lt .
oni
ar
it
a
o
o
’
i rs
s
eso u
an
s
t
an d Se o n d Y ear Harm on y deal si mpl y
.
e.
an
a
ov er
t io n e o ra
ei r
at i s
t
to
va ri o us
t
i v es
s o
es
en o u n t e re
o
t is
.
is
o
exa
ar
i n t he
o rdi
t reat
i
a
i at e
wi ll
ut
ln
t
e
is
on
nd d c a
are
at t ers
en t
ot
ea t
e
t
to
o
e.
i
it
e
on
st
o
a
o
t he
f i nd
u
an
t i es
s ui t a
who le
w h c c d yl p i c h c h p c
s u ppl y o f exer
lu
i
st
ses t o
A HAMMO ND .
11
ie
.
It i s wri t t en i n a
an d an ample
i
it
e
e
on t
nary t ext bo o k
exa
.
a
a
e
u est i o ns
on e
.
mi n at io n
The i nval uable
e
a
reso u r e
i n at i o n
n st ru t i o n
et ai e
are a t t o ari se
i
-
‘
'
esi n e
ear
i
.
i re
re
Lan
ch
as i re
New Bo n d St reet
,
it
e.
.
CO
.
Co u rt
Lo ndo n
'
W
.
i
m
i o us exa pl es
o
a t er
ea
bo o k
.