RIC

TITER'S

MANUAL

OF

HARMONY:

PRACTICAL

GUIDE

TO

ITS STUDY

PREPARED

ESPECIALLY

MB

THB

CONSERVATORY

OF

MUSIC

AT

LEIPSIC.

BY

ERNST
TOTVTSRSITY

FRIEDRICH
ORGANIST IN THE OF TUE

RICHTER,
CHURCH OF OF ST.

MUSIC-DIRECTOR, oTRUCTOR

NICOLAI.

AND

It

CONSERVATORY

MU8I0.

TRANSLATED

KEOM

THE

LATEST

GERMAN

EDITION

By
ALUMNUS
OF THX LEIP31C

JOHN
CONSERVATORY

P.

MORGAN,
OF

MUSIC,

AND

PUPIL

OF

THE

AUTHOR

SEVKV'/EKXTif

i;i'-ITH)N.

NEW

YORK

G.

SC

HIE
IS'.)' i.

MER,

frjf

Entered,

according

to

Act

of

Congress,

in

the

year

1867,

by

G.

SCHIRMER,

In

the

Clerk's

Office

of

the

uistrict

Court

of

the

United

States

for

the

Northern

District

of

New

York.

6100

TRANSLATOR'S

PREFACE

In

offering

to

the
we

American need of
the have best

public
no

this

translation
in

of

Richter'!
tnat
we

Harmonielehre offer
a

hesitation of

saving,

translation

re.ri-book

Harmony

which

has,

as

yet,
No take

been
one

given
knows become in

to

the

world.
than

better
a,

its

author and

the
no

road
one

which
has

one

must
more

to

practical harmonist;
to

been

successful
The

leading pupils
contains
the best

real

success.

Manual itself
in

the

outlines his
many

of

the

course

which labor the

has
as

proved
Instructor

during
in the has had

years
of

of

efficient
;

Harmony
work

Conservatory
in

Leipsic
in what

and

mense im-

sale

the

Europe,

shows

estimation

it is held
A few

by

the

musical
as

public.
the

remarks with
to
a

to

translation
knows how

"

Every

one

who

is at

all

acquainted
to

the

matter,

exceedingly
in and
an

difficult

it is

do in

justice
no

German
is the of

scientific

work

English
definite

translation
,

and

science

poverty
music.
to

of exact

English

terms

greater
The

than

in that
has

translator

striven
any

give, throughout,
for
the

the
sake

exact

sense

of

the

original, without
and
has

embellishment
a

of

tiveness, attrac-

always preferred original

or

square-cut
a more

sentence

containing
one

the
which A have

idea

of the

in

full, to

smoothly-rounded

would
few been whole

omit
or

add words
in has

something.
which seemed
necessary for

clauses

clearness,

enclosed work

square been

brackets.

The

performed

as

pleasant

duty

to

235911

IT

TRANSLATORS

PREFACE.

teacher

to

whom

the

translator
in

owes

all

gratitude,
who
are

and

in

behall

of

the

many

earnest

students

this

country,

utterly

out with-

an

adequate,

practical

Manual

of

Harmony

and

Introduction

to

Counterpoint.
Thanks
are

especially
D.,
of Oberlin

due

to

his for

revered his kind

father,
assistance

Rev.

Jokn
in the

Morgan, work,

D.

College,
aid of his

which,
in

without

the

comprehensive
in

knowledge
must

of

language
been done

general,
much less

and

of

the

German

particular,

have

accurately.

JOHN

P.

MORGAN.

OTuw

York,

June

lit,

1867.

FROM

THE

PREFACE

TO

THE

FIRST

EDITION.

The

most

immediate is
the

occasion in
the

for title.
of

publishing
It
was

this

text in

book
tion connec-

oi

harmony
with to the

indicated

desirable,
in
the

practical
hands of

course

studies
a

theory
the

of

music,
of

put

into

the

the

pupils
and
author

help
their

for

explanation
The

doctrines
of such the

brought
a

forward,
the

for

repetition.
to

ties qualiIt
must

manual,

believes

be

these

contain

most

essential, fundamental

part

of
as

the

musical
there

theory
must

pressed ex-

in
these

manner

brief, but
features

as

complete

possible ;
by
to

bt
ana

fundamental
to at

always

accompanied
in order

reference for

guidance attempts
The

the

practical application,

qualify

late-

composition.
contains
no

book

scientifically
far
as

theoretic
"*ase

treatise
any

on

hai

mony,

but,

although

as

is

the
firm

with

system
dedicated accessible
way.

oi

harmony,
the

it is

supported
which
to

upon

basis,
means

is

only
now

t"

practical object,
be
very

with attain
been in

the
in
an

scanty

would
There

difficult

abstractly disposition
rules,
would and

scientific
to

has,

indeed,

ever

inquire

after

mathematical

definiteness
to that the

musical

especially youth,
to

opposed
eo

belief doubt

in

authority,
be

like

have

everything
on

clear

no

would

possible,
of of

much

as

it shrinks

the know

other and
that

side,from
understand in this has

learning,
the

by

means

the
art

anatomical and
musical it is not

knife,
to

to

blooming
a

life is

be

denied which

respect
as

want

found

in in

literature,
All

no

one

yet

entirely

succeeded

supplying.

attempts

PREFACE.

of the

sort

have

as

yet

failed

to to

create

reallytenable
one

"cientifi.

callymusical

system, according
in the

which, through
realm
what
are

fundamental exhibited

all phenomena principle

as

musical and

found

always

necessary

consequences,

maticians mathephilosophers,
in much of the this

and indeed isolated

links

physicistshave
of

accomplished
in

regard,

is

worthy

attention, but
allow the the

part,

too

divided

into

portions to

easy

discovery
in

connecting

for the

completion of
other

whole,

part, too abstract, serving

with all the

music

itself less than

and objects,
in

understanding
to the

of musical

things

shown

it,still having all,of

What
the

little reference most

properly musical,
with
text

which

is,after

immediate
down in

portance im-

the
a

musician.

is laid

musical verified

books

of

scientific basis, has

not, however, hitherto

because itself,
was

it in

part

as

of singlelearned application
a

tions, investiga-

just as

little able to create

system complete in itself,

a

with
was

indubitable

conclusions, and
scientific basis.

in
*

part, as

fanciful

structure,

utterly without

Still, rightlyregarded, this deficiency is perceptibleonly

to

the

riperand

educated
so

musician,

who

likes to
to

busy

himself

with

theory,
of music

aot, however,
that

disadvantageous
education
to must

the

advancing

student

his immediate

suffer in consequence be

of it ; and in
a

this

referred scepticism, with

that

above, might
mode of

compared

certain
over

measure,

childish

procedure, which
all

from

would great curiosity,

which

get
can

at the

originof

things through

tions quesfor

seldom

be

answered

comprehensibly enough
The to his

the

questioner's stage
has
to

of education. power and

he

advancing
technical

student

of

music
because

apply

his whole him time which

a

education,
attain the

it will cost

trouble
can

enough

to

startingfrom Btand-point,
towards
the

with Here

greater ease
the

advance
to

position of Why
? the

real

artist.

question

be
?

.sked is not

inquiry of

immediate

is, How application

It may
n

here

be

permitted to
:

call der

attention
Har?n"mis

to

work Metrik

which

might
M.

be

adnpted

meet

palpablewant

Die Natur

und

by

Hauptmann.

PBEFACE.

VU

The

thing

to be
not

done
to

is,from

from experience,
of necessity

the best models, to certain

understand,

calculate, the

principles ;

and later,if education, acquirements,capability

it

require it, calling

and
to

will

be

time

enough

to

the investigate

why,
aid not

all be

edge knowl-

obtained for

from

experiencewill
the in laws of

be

an

despised,

discoveringalso practicalaim
of and the

nature

pertainingto
was

music.
to

This

view, the author

and of
a

at

pains

give

the

exhibition observation
he destined in

harmony,

the

propositionsresultingfrom
and clear
manner,

in experience,

simple

and

since

book

for

to study,

let the

truths,perhaps contained

it,work

through themselves
dress
or an

; without

wishing,through
form,
the of
to

an

cially espean

learned extended

attractive
It

obtain

for of

them

circle

of

readers. for
a

contains
method

doctrine

harmony

complete, with
for the harmonic

hints
the

rational

performing exercises, carrying out

to the of

of fixing

whole, and

for the

ready
extend

all

principles. These
; the

exercises doctrine
after

beginning of
itself will follow,

contrapuntal studies
however, in
In
a

of

counterpoint
same

later
a

volume

the

plan.
an

still closing, well

word

to the

of art; disciple

earnest

one,

indeed, but
It is
our

meant. reach
a

objectto

distant this
a

goal ; this goalis the

musical
structures

actual production

of works

of art. to

For

exercised, enduring vigorously

the to principles,

activity is
form that

necessary, is
won

comprehend

which will

and

recognized into

capable of
the
to be

life.
works

Those of
our

deceive bitterly

themselves, who, filled with

a

great masters, giftedwith

the

poeticmind,

think

able to and
that of

pluck
the

blossoms, without
aids
;

learning thoroughly
are

to know

prove

technical
of the of

who

of

the

erroneous

opinion
the the work first

the consecration under

beauty which
dissection

extends

itself

over

art suffers

of the material, or could

never

that

natural
to that

formations

the

latter

develop themselves
has
ever,
sure,

requisite beauty.

No
attain

person which

of

talent
to

without easier
to

thorough knowledge (to

him
than
to the

was,

be

less

risen gifted),

to that

height, upon

which

alone

riii

PREFACE.

the

achievements

of

art

thrive.

Exercise

without

consciousness

is

not

artistic

skill,
make the

it

is

only
of
a

the

working

of

the

instinct,
sensible.

which

will

always

want

complete
the

education

The which

spiritual
must

thought recognized
of

cannot

do

without

form,
if it

and

it

is

this

be

and

learned.

Even

often

comes

with

the

conception
else,
to

itself,

still,

with

music,

more

than

with

anything thought,
manifold

it

is

of

importance,
it

as

it

were,

logically
transform
it

to

dissect

the

remodel

into

new

forms,
of

to

in

the

most

manner.

The

knowledge by
the
person

these

things
talent

and

skill

in

them

must

be

acquired by
to

of

also,
the

and

this

can

only
and

be

attained

taking
imitate

pains
and

to

recognize
extend what

musical

laws,
have

deavoring en-

others

already
above

long
all,
tion formaa

since

discovered.

Earnest,
for the

persevering
development
of of

activity, maturity,
in

and

rational

method

for

the

of

works

of

art

capable
lead
to the

life, will,

connection

with

musical

capacity,

certainly

goaL

FROM

THE

PREFACE

TO

THE

THIRD

EDITION

Although the former

in

the has

present
been

edition

also,
still

the

methodical has of

order
material have

of

ones

retained,
for many

it

received instruction

additions. been As in

The
in

exercises

subjects

increased

number, last,
related
some

where

it seemed books

necessary.

concerns

the

have

appeared
manual,
viz
:

lately

which

are

measure

to

the

present

Grneralbafsftand

Uebunyen

nebst

Kurzen

Erl"uterungen
der

by
und

Benedict
des

Widmann,

Uebuiyjen
Feed.

zum

Studium

Harmonie

Contrapnnkies,

by

Hiller. this still is let the here

to

Although
these for

not

place
be

to

speak
to

more

particularly
these the the authors

of

works,
their

me

permitted
work,
to

thank
to

friendly
remarks of music

reference
in

my

and

make

following
of the has

additional

respect
the

it.

Although
thorough-bass

study
doctrine

theory long

through
to
to
a more

so-called rational

since

yielded
as means

method,
to
me

still

the

thorough-bass
too

figuring,
to

the

end,
it
for

has
for the

proved
first

itself

excellent,
harmonic harmonic
not

admit

of

my
as

not

using general
more

the first

exercises

in of has of in

connections,

in

applications
use

knowledge.
made
above in my

farther,
text book

extended

of the

this first

been works

itself, indeed, book,

in for

but

in

the

referred
of

to, and,
mj text

exercises
aim
at

which,
other

part

follow The

the

course

part

practice.

PKEFACl".

work follow for

ot

HiLLEit,
course

however,
of my
text

besides

the
offers

exercises in

which

professedly
rich material alone foi cation. edu-

the

book,
most all

general
kind,

elaborations

of
but

the
for

manifold
branches of

not

harmonic

exercises,

theoretic

musical

Since

the

exercises and for

in

my the

text most to

book

could

not

of
in
a

course

be

exhaustive,
way may

are,

part,

given

only

suggestive
both works

in

order,
be

wxien

needed,
recommended

design
for

others this

after

them,

here

highly

object.

PREFACE

TO

THE

FIFTH

EDITION.

It

has

been
necessary

my in

endeavor
a

in time

this
after

fifth the

edition, fourth,

also,

which tions, addithat

became
in

short

through
to

part

through
a

altered

verbal of
may

expression,
kind
must

attain

perspicuity,
its

which

text

book If I

this also

possess,
to

if it fulfill that I the

end
has

completely.
been
in that many in is

venture

hope
of

book
still

directions
order to

serviceable reach
the
an

and

use,

am

conscious,

simple

arid

luminous is

representation
be
from
new

which This

my

ideal, many
however,
that

improvement
not the differ old

still tc

introduced.
the

edition,
and for
I

does beside

essentially
friends,
this

preceding,
may

wish,
new

edition

gain

itself

ones.

ERNST Leipsjo

FRIEDR.

RICHTER.

December,

1863.

TABLE

OF

CONTENTS.

Introduction."

Intervals,

18

PABT

I.

THE

FUNDAMENTAL

HARMONIES

AND

THE

CHORDS

DERIVED

FROM

THEM.

CHAPTER

I."

The

Triads

of

the

Major

Scale, Scale,

21

II. III. IV." V." VI." VII.VIII."

"

The

Triads

of

the

Minor

40 4.7 54
....

"

The

Inversion

of

the

Triads,

Harmonies

of

the

Seventh
CnoRD

{Vierkl"nge),
of the

The

Inversions

of

the

Seventh,

59
.
.

Secondary
-The

Harmonics

of

the

Seventh,
Chords
of

64

Inversion
Chords

of

the

Secondary Seventh

the

Seventh,
.

7?

The

of

the

in

connection

with

Chords

of

Other

Tone-degrees,
of

" 88
.

IX."

On

Chords

the

Ninth,
of

Eleventh

and

Thirteenth,
Harmonies.

X.

"

Chromatic

Alteration

the

Fundamental

tered Al91

Chords, H.
On Modulation
of a

"

Passage

of

Music,

108
....

PAKT

II.

1CCTDENTAL

CHORD

FORMATIONS.

TONES

FOREIGN

TO

THE

HARMONY.

XII."
XIII."

Suspensions,
.

105
Voices 123

The

Organ-Point

Stationary

XI"

CONTENTS.

OHAPTKB

HG"

XIV.
"

Passing

Notes.

Changing

Notes,
...

28

XV."

Passing

Chords,
...

A"ti
...
.

XVI."

On

the

Means

for

Modulation,
....

.14)

PART

III.

PRACTICAL

APPLICATION

OF

THE

HARMONIES.

THE

EXERCISES

IS

THEIR

USE

IN

THE

PURE

HARMONIC

STRUCTURE.

XVII."

Ths

Simply

Harmonic

Accompaniment

to

Given

Voice,
.

157

XVIII.
"

Extension

of

the

Harmonic

Accompaniment,
.
.

173

XIX."

On

the

Development

of

Melody,

176

XX.
"

On

Development

of

the

Accompanying

Voices,
.
.

188

XXI.
"

The

Exercises

in

the

Three-

voiced

Movement,
. .
.

187

XXII.
"

On

the

Two-voiced

Movement,
. . . .

.193

XXIII.
"

Harmonic

Elaboration

of

Given

Voice

in

Melodic

opment, Devel-

195
. ...

XXIV."

The

Five-voiced

Movement,

.202

XXV.
"

The

Six,

Seven

and

Eight-voiced

Movement,

206
" .

XXVI."

On

the

Mdsial

Forms

of

Close,
.

218
. .

Index

of

Subject",

IKS

JUST

PUBLISHED!

TN

COXXECTIOy

WITH

TIIIS

WORK:

ADDITIONAL

EXERCISES
Price,
50

by

ALFRED
net.

RICHTER.

cents

INTRODUCTION

Of

the

elementary knowledge
and

for

which

general instruction
must

u.

music at

provides,
relation in
a

acquaintance
the

with

which the

be

presupposed
stands treated in the of

the

beginning of
to

study
:

of

harmony,

portion which

nearest

it,viz
and

The

Theory of
manner.

Intervals, will be

rily prelimina-

brief

condensed

Intervals.

The
of

relation

in which

one

tone

stands

to

another, in respect to differenca

pitch,is
The of

called

Interval. of the difference of the

as a

greatness
the
to each
as

is

directlydetermined
which
a manner

according to
two tones

the in

number

degrees

staff, upon rule, in

the

stand,
lowest

respect

other, and,

such

that the

the

tone

is reckoned

standing upon
the number

the

first degree, and

higher

is determined

according to
Remark.
"

of diatonic

degrees lying between.

the series
or

By diatonic major
for
a,
or

degrees is
scale.

understood

progressionof

tones

sented pre-

by
If
we

any

minor

take,

example, g being
sixth the

as

lower

tone, and
come

situated upon the

upon

the

first the
e,

then the degree, higherstill, upon

higher,will
.

second,

the

degrto

The

numbers

of
:

the

degrees produced thus, will

be

expressed

in

the

following manner
1

Vni*o*

"r

Prims.

Second.

Third.

Fourth.

Fifth.

Sixth

Seventh.

Orta".

MAN

UAL

-OF

HARMONY.

As the ninth and

rule,we
which

reckon lie

only to
and

the octave,and
so
on

begin the
new

series ag-ain with

so

tones

above,
a

with tenth
a

each

octave,
the

,nat
a

the

degree becomes
so

second,

the

third,the
the

eleventh

fourth,
the

second

just again.
on

sc

the

fifteenth

becomes

octave,

sixteenth

Reasons, however,

which

find

tbeir
now

explanation in
and then

the

of principles for

harmony
tones

and

give theory in general,

lie above series of the The intervals

occasion

ing designatof

which

octave,

accordingto
the
octave

the actual

number

the

degrees.
receive

from

fore, upwards will,there-

the

followingdouble
Tenth.

: designation

Octave.

Ninth.

Eleventh.

Twelfth.

Thirteenth.
"""

Fourteenth. *"

Fifteenth.
-

Second.

Third.

Fourth.

Fifih.

Sixth

Seventh.

Octave.

Greater tion in the

distances lower

between

two

tones, are

simply reduced

to

their rela

octave.

More

Particular

Determination

of the

Intervals.

It is easy upon which the

to see

that

the

above of

of presentation

the

intervals,is
of the

based
tonea
garded re-

diatonic

major
are

scale

C,

and

that In

the

relations
manner,

lie between

not

affected upon any

thereby.
the
tone

like

they are
diatonic
at

throughout, as
whereas,
as

based that

first tone
of the scale of the in the

of
can

the

scale,

it is conceivable

be taken be

ure pleas-

lower the
same

tone,

whereby

the numbers differences of the

to note

degrees would
the midst

altered(
appear. mani

and In

at

time, small

degrees themselves

order

to

gain a

clear view

matter, in

of these

it will be well fold variations,

the following : carefully principles

The tone for

some

series the

of

intervals

shown

above, in
These

which

the loivest tone

,

is

first

of

which forms major scale,

the series

serves itself

as are

foundation
called
majori

all determinations

of

intervals.

intervals

of
the

them

perfect.

Every chromatic

alteration

of

these tones,

of

the upper

tone

as

well

as

of of

lower,not changing
their

the number

of
a

the

aVer

but only renders designation,

does not consequently degrees, more particular determination

them

necessary.

Tims,
remains

for

example, if
-a

to

the

fifth

(?

sharp is
a more

in any

way

attached, it

always

but requires, however, fifth,

dete-uiinaparticular

A' M

Y.

lion,since

it Las

evidentlybecome

fifth different

from

what

it

was

otig-

inally.
Or,

Since

now

such

alterations

of the intervals the

take

place through ohromati

and
more

callyraisingor
determinative
1. Seconds, major

lowering them,

following various
use

definitely
from

are designations

made

of:

thirds, sixths, sevenths

ior

and lower

ninths, which
tone,
are

result
major;

tht

scale,taking ha firsttone
octaves
tone
perfect.

called

primes,

and fourths,fifths 2. minor 3-. If Bmall If the upper iutervals

of the

major

intervals

be lowered

small

half-step,

result.
tone

the upper

of

[most]major
intervals
most

and

perfect intervals
minor intervals

be raised,

augmented half-step,
lower
tone

result. be raised
a

4. If the

of

perfect and
result.

diminished half-step,

intervals

To

1.
Perfect Major Major Perfect
Perfect

Major

Major

Perfect

Major

Prime.

Second.

Third,

Fourth.

Fifth.

Sixth.

Seventh.

Octave.

Ninth.

To

2.
Minor

Minor

Minor

Minor

Minor

m:
""

Second.

Third.

Sixth.

"#" Seventh.

"*" Ninth.

To

'6

Augmented

Augmented

Augmented

Augmented

Augmented

f
Prime.

"fe
Second. Fourth.

Fiflh.

Sixth.

To

4.
Diminished Diminished Diminished Diminished Diminished

77iiri

Fourth.

Fi"h.

Seventh..

Octave.

"Augmented
wented
octaves

thirds, sevenths
are

and
as

ninths

do

r.^t

occur

in harmonic

relations.

Aug

to

be

regarded

augmentert

primes.

It)

MANUAL

OF

HARMONY

Remark.

"

Diminished

primes, seconds,
can

sixths of ir

and
melodic

ninths,

are

harmonically inoon
e"
m

eeivable, although they

he those

conceived
which

relations,i.

reference

to

progressing intervals,not
Remark The

to

sound

together.
the Diminished

on

the Formation formation

a

of
the

Intervals.
tone tone

reason

why.

in the

of

diminished

intervals, the lower

has b"en
were

raised, notwithstanding that

like

interval would

result,if the

upper

kir

relations of all the intervals in regard to their inversion, whica ered, lies in the peculiar will be spoken of farther
on.

General

riete

and

Classification

of the

Most

Used

Intervals,

Pkimks.

Skoonds.

Perfect.

Augmented.

Major.

Minor.

Augmented.

=ZT"3=I

ill""
"#" l-^

#*-

Thirds.

Fourths. Diminished.

Major.

Minor.

Perfect.

Augmented.

Diminished.

pp^^==%E""pp
Fifths. Sixths. Diminished.

Perfect.

Augmented.

Major.

Minor.

Augmented.

Sevenths.

Octaves. Diminished.

Ninths.

Major.

Minor.

Perfect.

Diminished.

Major.

Minor.

Division

of the

Intervals

into

Consonances and dissonant

ones,

and

Dissonances.

If

we

speak

in music well
two

of consonant
or

we intervals,

un can

stand Erbe
an

thereby,not expressed by
Btand in
certain
a

ill

sounding
but
to

whicb,

to

be

sure,

these

words,
with

by
each

the

we first,

understand does
not

such

pure,

relation satisfying connection

a

other, which
;

requirea
as

farther indicate

other

intervals

by

the

such last,

nitely defino

farther

and progression,

without

it would

have

sense. satisfying

The

consonances

comprise all
and
minor

those

intervals sixths.

called

perfect and,

in ad

dition,the major

thirds and

MANUAL

OF

HARMONY.

17

The The

first

are

called
are

complete
the and

consonances,

the minor

'ast

incomplete.
and minor

dissonances all
we

major

and

second, major

Berenth, and
From this

augmented
derive the

diminished

intervals.

following general plan :

I. CONSONANCES.

a.

Complete.

The

octatH. fifth and perfect fourth,perfect perfect prime, perfect

4*5

"""

*""

b.

Incomplete.
the

The

niajcr and

minor

third, and

major

and

minor

sixth.

"-%II. DISSONANCES.

augmented prime, the major, diminished third, the augmented and

and diminished

The

minor

and

diminished

augmented second, the fourth, the augmented

and dimin and minor

the augmented sixth, the major, minor fifth,

ibhed seventh, the diminished

octave, and

the

major
Aug. 2

ninth.

Augmented

Mujor.

Minor.

*j$*
Aug.
Dimin.

*"

HiAug.

jfc
"

p*"
5

Dimin.

Aug.

Major.

Minor.

Dimin.

Dimin.

Major.

Minor.

f*
111

f*
follows
a

"Later

in the

instruction

harmony,

farther

eyplauatiou af

th""

peculiar

"elations of the

fourth.

18

MANUAL

OF

HARMONY.

Inversion

(Versetzung) of the

Intervals.

As
as a

was

already indicated
the lower
tone.

above,

in

determining
there
as

the

intervals
to

we

begiu

rule, with
found

If,however,
upper

is occasion the

determine

the relation intervals

of two
are

tones,
called

taking the
intervals

tone

starting point,the

below.
is d, the that fifth from

Thus,
fron,
d

for examp the

e.

m
/W It is easy Since

"

g ; g,
cannot

however,
be altered

fifth below.

to

see

the interval

by
It the

this.

becomes

however, different,
tone.

if the

upper

interval

be

removed
to

below

lower original kinds of

reference particular

is had it may

this inversion here.

in various The

an composition,

explanationof
means

follow

diatonic
:

major

scale

will,by

of this

inversion, assume

the

form following

It

that

is, through inversion,the

inversion of the
to

'prime

becomes

an

octave, the

second

seventh,"c.
The

major

scale

forming

the
:

basis,we
the

must

note

the

in respect following
1. octave.

all intermediate remain

intervals
perfect

All

perfect

intervals

in

inversion

in

th"

2. All
d:minished,

major

intervals the
diminished

become

minor,
augmented.
a

all

minor

major,

the

augmented

and

In the

followingtable

is exhibited

view

of all the

inversions

Primes.

Seconds.

Perfect.
Obiuinal
(itckvair.

Augmented.

Major.

Minor.

Augmented.

EE3
OCTAVKS. SrVBNTHS. Minor.

Perfect.

Diminished.

Major.

Diminished. led.

;""

iK

MANUAL

OF

HARMONY.

U)

Thirds.

Fourths. Diminished.

Major.

ifhur.

Perfect.

Augmented.

Diminished.

Sixths. Minor.

F:fthb.

Major.

Augmented.

Perfect.

D.minished.

Augmented.

Fifths.

Sixths. Diminished.

Perfect.

Augmented.

Major.

Minor.

Augmented.

-g
_
_

=E" Erg:.-^[i-[:^"=:c=3-orz^E-EiQ^z^ 1
Fourths. Thirds. Diminished.

Perfect.

Augmented.

Minor.

Major.

Diminished.

e^"^"^iPf
sevenths.

3=T

Octaves.

Major.

Minor.

Perfect.

Diminished.

kg

g
Primes.

Major.

Augmented.

Perfect.

Augmented.

\=^E^E^^0^^0E^^l^^^\l
An
"s

exact, alone

certain

knowledge

of this essential in double

inversion

of the

intervals

not

facilitates which A The

reason

but greatly counterpoint, in simple harmonic comprehension and insight, structure, for their study is urgentlyto be recommended. remarks may follow here of
:

important for

the exercises

few

more

reason were

why,

in the first table the by raising is

to clearly

intervals, (page 16),all diminished

tone
a

intervals

formed upper,

lower be
seen

small the

half

step, and

not

by lowering the
Since the inversion

from from
comes

above

table

of inversions.

the diminished in the

intervals

result

the of

octave, this formation

must

augmented through itself;for example,

the

augmented

fourth

of

dimnecessity give the following

inished

fifth

Just

so

the

perfect fourth

to belongs originally

the

consonances,

siao*

20

MANUAL

OF

HARMONY

by
the does

inversion

it fifth

is

converted

into

the the

perfect perfect
of in

fifth, fourth,
a

in

the and

same

manner

as

perfect
a

can

only
result

produce
from here fourth' the

never

in in the

any

case

dissonance is made

inversion

consonance

octave.
are men

Mention tioned

of

this the induced

because,

particular
a

cases

which with

farther which

on,

requires
theorists

similar in earlier

treatment

some

dissonances,

some

times,

to

explain

it

simply
It

as

dissonance. be since clear that the

will be

likewise

augmented
can

octave,
intervals the tenth

as

also

the

ninth,

cannot

inverted,
kinds of

they

never

become in

below.
and

Other

inversions,
different

such

as

those be

twelfth,
since

which

produce
no

entirely
influence

results,
our

may studies.

passed

over

here,

they

ercise ex-

upon and harmonic of

next

Since for the oral

complete

certain

knowledge
the will

of

all of

intervals them much in their

is

indispensable
as

following
solution

studies,
intervals,
"*"*

practice
facilitate

writing,
correct

als"

an

given
exer'.iwd

com-

prebv"ioi2)

which
"

to

""e

repeatedly

employed.

HARMONY.

Combinations

of certain

simultaneous fundamental

tones,

formed

from
called

different in

intervals,
nies. Harmo-

according

to

principles, are

geneial,

Chords.
The aud the in with doctrine of and of

harmony
and

makes shows

us

acquainted
natural the chords

with

the

different This

species
in

kinds

chords,
natural the

their of the

treatment.

consists that into

right
the the

connection

among of

themselves,
one

is,
and

transition,

resolution,

commingling

chord

following.

PART

I.

.HE

FUNDAMENTAL

HARMONIES FROM THEM.

AND

THE

CHORDS

DERIVED

Among
foundation

the of

various
a

kinds

of

chords which with

a

which

can

serve

for

the
as

harmoni"

composition,
definite indicate

those

present

themselves be

indepen

dent, without
from those

connection

others,

can

easily distinguished
other

which
not

plainly

connection

with

chords,

and

ar

therefore To the

independent.

first These

belong
two

the kinds
are

most

of

the

triads,

to

the

last

the

chords
from

of the
which

seventh.
all

form

the

fundamental

harmonies,

remaining

chords

derived.

CHAPTER
Tlie Triads

I.

of

the

Major
three
to

Scale,

A *ie

triad

is formed is gcalled

by

combination

of

different its

tones.

Of and

these,
are

lowest
e.

fundamental

tone,

which

third

fifth

ded,

t=

22

MA

UAL

OF

HARMONY

These their

formed triads,
While

upon the

c,

g and

a,

present, however,
c

difference here

as

tt

intervals.

triads

of
a

and

are

formed minor

by majoi
and

thirds and

the triad of fifths, perfect

contains

third

perfect

fifth.
A tr'ad with

major

third

and

fifthis perfect
TRIAD

called

MAJOR

riad with

minor

third

and
MINOR

fiftha perfect
TRIAD. kinds of triads cannot content follow until farther
a on.

Hex

"uk.

"

The

explaDaton

of

other

As

the

diatonic

scale makes

up

the

of

key, and
are

forms

the

foundation upon the

of the melodic different

content.

successions, so
of the

also the form

which triads, the essential

founded of the

steps

scale,will

part

harmonic

Natural

Connection
rests

of
the

the

Triads
a

of

Key.
indeed the most others

The

triad which
one

upon

first step of the

key, is

Important, the
in the nearest In

which

determines with

key
make

; there

stand,however,

connection

it,which

clear its

position.
tone

the natural
as

of the triad in presentation

thirds,the lowest
and
at

showa time
as

itself

fundamental,the fifthas

highesttone,

the

samp,

ts culmination.

Each

farther

addition

of

new

interval The

would
next

either triad

alier the

chord, or
tion connec-

present tones
with
mass,

already there,doubled.
as an

standingin
outside This and the g.
one

this must, to be sure,

independentchord, lie
one

its tonetone
can

still, however, support

found the in the outer will fifth,
c

itself upon

of its tones. viz

:

only be
's here

limits of the form the

same

chord,

in

G,

which

thus

fundamental
manner

of the

nearest

standingtriad,while
of fifth The the the

will in the

form would be be

culmination, the

other, the fundamental

of these
:

of which chords
can

F. in presented plainly

connection

three

most

manner following

3.9=

It is

to especially

be remarked
tones

of these three contain of the

triads which

stand

in the

closest connection, that their

all the tones

of the scale ; tiiat

they

form

the fundamental

features

key, and

that

they are,

and

must

V A

IIA

ji M

ON

23

be

tbo.se most

frequentlyemployed
distinct. of their

in

if practice,

the

key
have

is to

present

itself clear and On them.

called
account

names importance also,especial

been of the

given to
U scale,

The

one

first found, standingupon

the

first

degree

THE

TONIC

TRIAD

The

second, upon

the fifth
THE

degree,
TRIAD

DOMINANT

The

third, upon
we

the fourth
THE

degree,
TRIAD.

SUB-DOMINANT

If

arrange

these

three
to
us

chords thus
:

according to their order

in the scale.

they present

themselves

IV

and

they show

themselves

as collectively, major

triads

Application
In the of application of
"

of
these

the

Harmonies

Discovered.
as

three,as
of

well

of later

chords, we

vail

ourselves
Remark.
voiced in

the

four-voicedmanner
relation.
It be

writing.
can

The

theoretical chord

combination

manifold may,
will

would, however,
reserved for
a

aim, and
movement

for this reason,

to be sure, threepresented, from our practical longer The four-voiced specialpresentation. be well

detain

us

always

maintain

its

importance as

the

foundation

of

all kinds

of

position. com-

We for ^our

however, each harmony not regard, the piano-forte often present them, but
voices. different upper is called voices the
:

as

mere

mass,

as

compositions
parts intc

divide

its component

The

Soprano,
the voice

the
next

lowest below
two

Bass,
the

these

two

togetherare

:alled the outer

3ne

Soprano
of

is called Alto, the

next

above

Bass, Tenor;
of these exhibited be

these

are together manner a

called middle-voices.
score

The

arrangement

voices thus

in the
:

is

as

follows,

ind the triad may

24

MANUAL

OF

HA

ONT.

Fjr
to

the upper lompass

later.
next
a

three than

voices the

clefs especial above used

are

used, which
and [G] clef,

confonu
vHiich

in.ttei will ba

their

violin

Bpoken u:
For
our

exercises, we separate
of

select each

for the

sake

of will

an

easier the

view

of the form

whole,
The

not

staff for

voice, but

use

usual

o/

writingfor the

piano,(upon two
voices

staves).
5, rnav
be exhibited thus

distribution

in No.

Soprano. A
LTO.

Tenor.

"lli^=!Eh=i=h=!=l=i^b
mmmmmmmmimzi^ti

twofold
to

consideration

of

these each of

various voice

voices

will

take

place:

first in

relation
to

the

of progression

for itself
must
two

alone, then
and

in its relation

the The

remaining voices,both
result of the fulfillment the voices.

which

be pure conditions

well-constructed pure lead

of these

is called

ing of
This

purity
and

of the

harmony

and

its

is progression and

attained harmonic

through
bination. com-

seekingout

the natural practicing

legitimateof

Hereby arises
which style, music the itself,
use

the so-called pure and of

harmonic
laws

structure, also

called the

strict oi for pun true

a

prescribesrules
observance of the materials is and

which

proceed

from

nature

which
for

will afford

the safest foundation exercises

sense %n

later free

composition.By purified.

the

harmonic
and correct

structure

the

judgment

sharpened, the

for the

formed,

the taste

Remark."
*se nous

Inasmuch
means

as

every and

should composition
the

exhibit

seit', through

correct

of

all with

at

command

purity resultingtherefrom, (pu.ity is here

term

syuouy-

natural

the expression),

pure

harmonic
a

stnu-tum

in

general sense,
a more narrow

would
"ense,

requireuo
however,

farther

as being explanation,

matter

of

cuinse.

In

under

pure

harmonic

structure

we

understand like

something farther, which meaning, strict

harmonic

in

more

nearly and
strict

better indicated this

can

by

the

of expression

ttructure,

since style,

be used

in distinction to

no gpeaking,

antithesis of the pure

as frequently

structure, such
the latter

assumed, since, as
of the As
was

while designated as false,

the

free structure

whereas, properly free style, structure, is to be perhaps,impure as, it iu fact may to b" were certainly occur, founded upon the legitimight be essentially mate
is understood in

pure structure. indicated ahove, by jure

harmonic

structure

narrower

bpub^

U A

OF

II A

R M

0 _V )'

Jft

*ucn

"

une

as

in the natural

developmentof all torn

such of
as

allow" ihe relation", that which

structure is

fevdatthjrt
iu
8

from

the legitimate, and

in

only

do not

toi"h

essentia'., fundamental
geuera

jf,

what

the precedes,
are

idea
not

pure

harmonic

is determined

way,
more

still its boundaries

yet drawn
the

; and just this is a

difficulties for the themselves.

beginner, as
This

boundaries

are

the theorists later

ones,

has occasioned difficulty

poiutwhich givesrse to th determined so variously bj very of s"-nie them, especially many

indeed to speak of the entirely pure construction, of the strict "tyle; the laws of harmony from its inci and teach with to begin immediately composition, which does not to Whether this indulgence dents. willingly busy youthful impatience, livingcreation, before the itself with the abstract, this inclination towards premature
to omit

organic
mature,
Let also

has

developed itself to
not

the

for creation, can capability

produce anythingreally
their

need
those

be

further the

investigatedhere.
views
of this book and conform

who have

follow
to
no so

studies

to

them,

aa

all who will

go
means

through a
be the lost
more

strict school, be assured,that

their freedom
to

for future

creation
will

by

by

means

of that

-vhich
a more

is forbidden

them, but
;i

unfold

itself
to

much
The

and fully,

with
ever

livingpower,
able
to

upon

basis

conformed
most

nature.

real

mastery

has whereas

been the most

make

itself apparent

furnish be

within prescribed bounds, frequently genially the pupil cannot mind. the weakness of On other of and hand, morbidity proof which of exceptions to given principles, in making use may perhaps be found justified
of the

lawless

conceits

in the works
to

greatest masters,
the

where
to

the be

rule is concerned
done

; or,

in

any case, to wish

produce

when compositions,

thing

is to work

out

exercises theoretically

"well.

The

three

chords

thus

far

knov"j, being applied in

for remarks
are

the

four-voice whicl

movement,

will

give

occasion

and
to

observations,from
established.

"certain fundamental Since the triads be

features

and

rules three

be

only

contain if

tones,
to be

one

component

part

(interval)

thereof,must

doubled,

they are

used

in four-voiced

writing.

Any
The

Interval

of

the

Triad

can

be

Doubled.

fundamental, however, usuallypresents

for many
to

itself

as

the

tone

most

adapted
in latter,

doubling, more
cases

rarely the
will be shown the connection

fifth and

third,and, indeed, the

not to be

which

later,is
of
two

doubled

at

all

In order is to be

accomplish
:

rale triads,the following

observed tone
occurs in

If

in both
the
same

of

two
e.

chords
g.

which

are

to be

count

dei,

it

to bt retained

voice,

Ifl^i^

2fi

MANUAL

OF

HARM

OAT.

In which
in

the

Example
the

a,

occurs

in both it also

triads
as

as

common

tone next

the

Sopiano
Just
sc

gave

first in

C,

retains the

fifth

of

the the

chord.

Example
The

b,

which voices

Gr of

the
to

Alto tones from

appears,

affects which E
to

connection. lie nearest to

remaining
the in Alto
two

vroceed

the

them,

as

at

from chords
a

G
no

to

A,
common

the

Tenor tone

F,

"c.
are

If
hd
FIFTHS

the with

voices any

inaependently
in
parallei

in

such
or

manner,

that

none

appears

other

OCTAVES.

In make
ence

or

dei-

to

explain

this

faulty progression
of the
movement

more

exactly,
of the

we

must

firs! refer

the
to

necessary

explanation

voices

in

each

other.

The

Relation

of

the

Movement each

of
other.

the

Voices

in

Respect

U.

One

voice

can

progress

with

another

in

Parallel

[direct] motion
motion,

(motus rectus),
(motus
{motus

Contrary

contrarius) obliquus).
fall at the
same

and

Oblique
The

motion,
voices

parallel

motion

arises, if

two

rise

or

time,

They

progress

in

contrary

motion

if the

one

rises

and

the

other

falls, e

rr
The
tone

oblique
while the

motion other
moves

arises, if, of
on,
e.

two

voices

one

remains

upon

the

same

g.

MANUAL

OF

IIA

HON

"

27
in chord connections show*

Thcae
m
a

three
manner.

kinds

of movement

of the

voices

oocur

mixed

Thus,
and and the

in

Example
the

No.

7, b,

the

motion parallel between and

itself between Tenor and

Soprano

Tenor,

contrary motion
between the Alto

Soprano,
the remain"

Bass,

obliquemotion faulty
movement

iug
and

voices. above

The

mentioned

of the voices
:

in

paralleloctavts example,
:

can fifths,

only

appear

in

parallel motion

if, for

two

voices

progress

by degrees jr

skipsin the

followingmanner

This The

fault

is

regardedas

such of

for all voices. contain both faults

*

connections following

harmony

smmmmmssm
t);:

In

Example
Tenor ; in

a,

are

octave parallel

skipsbetween
Alto
are

Soprano Bass, and

between
,

and

Bass;

in c,

Example bf
between
and Bass
as

octave

between progressions Bass. Parallel Teuor time fifths

and

in

Example Soprano

and

to be found

in a, between

Alto and

b,

between the
same

and

Bass,
and

and

in f

Tenor,
The the

also at
means,
cases,

between

Soprano
similar and

and

Bass.

best

to

avoid
use

these the which

for is, faultyprogressions,

above

the

of

contrary
it in

oblique movement
an

of the
fifth with

voices ; that

is, the
either the
tones

voice
move

already forms

octave

or

another, must
chord
move

with

contrary mition,

or, if the

following
then

contains
on

same

tone, remain
new

stationary. The
in respect to in

other
to
one

voices them.

to the

of the

harmony which obliquemotion

of all voices

lie nearest

Thus

in

Example VZ, CI

the

voice,and Bass,

at

h and

C, the
*.

contrary motion

respect to

the

is to b"

applied,

g.

13.

"iH=ii=i=i=!=li

2g

MANUAL

OF

HARMONY.

Rema"k. the

"

The

reason

for the
can

prohibition of octaves, witn

easily found
in the neetssary

whi.'h

is

con

ected
the in

that

"

in unison, progression
more as

be the be

It is

difficult to the

discover
may

strong
now. Mk

conviction

ground of of the necessity

express

for the

of independence of the profjresnon prohibition

it ; and from the

voice".

fifths.
unti

earliest times
this

painshas been taken be examined. view lullowiug

much

to

it clearly and

definitely. On

let point,

If each
as

chord-formation
in other

presents for itself

is bounded
as

separate whole,which, let it be

as

formed
and *h"

it may

respects,

mainly,
can

it were,

by

its fundamental
here be

fifth, as

by
to

circle, (the seventh,

if the

something additional harmony

resolves

cannot

taken
:

into
one

and account),

connections
over

of

only be
fifth,do

produced by
other
not ;

this

that

ehord, sc
that each other.
two

speak,goes
with

into and

itself into the

then

it is evident
into each

chords

their boundaries, fifth after

resolve

themselves relation
to

other, but, if they are

This
can

placed
if
we

side

by

side, will
the

appear

without
:

be

observed

compare

examples following

14-

il^P=3=l=g==gg=EP
neither
new form, properly,

The
to the

sevenths, idea of
a

however,

chords, nor
connections
of

do and

seventh)outside

of the circle of the

to

chord, original

(according they lie, cate to indionlyserve

harmonies
mor-s

the

relations of two
firmer.
now,

choids, and

make

the

the

intimate and

Everywhere
of

where

the

perfectfifth
of

appears,
the

it will

cairy
were

in itself its character the content of thfe

boundary
of the

; the

remaining

constituents

chord, (as it lie above be

or

fifth), or

anythingadditional, as will always of two perfect succession fifths

have
case

the seventh, may

below

it;the

discoverable

in the

unpleasantness deficiency
remarked,

in connection.

Since

we

that in the

of

spoken here of the fifths which perfect

to

fifths of the triads arise from added

only,it

may

still be rule

sevenths, the

of their preparation,

iu

part,
one

of progression

of itself; that, however, in the prevents parallelfifths, forms such seventh, which a perfect fifth with another voice,to a be
sure,

of the the unpleasantnessand deficiency this last will cause following perfectfifth, withe "ut conwhich enters nection, connection to be heard, since this lies only in the second fifth,
e.

Illii^iff;
15.

llililiilB
At
concert"
can

ths
enter

diminished

however, fifth,
above

which

in

the

dominant
even
soon

"hord
case

oi

Um

"eventh

free under

certain conditions, its free entrance

in the
as

of parallels,

justifies completelythe

expressedview, since, so
makes itself

it appears

aftei

its connecting chiracter the perfect fifth,

whereas, felt,

beforethe perfect

MANUAL

OF

HARMONY.

fifth, lea\ing cut iteps outside

of the

01

the

account

its farther of

laws both

of

the progression,

latter

immeil'rteij

the

circle of

connection

harmonies.

Compare

following examples,

J
e*--i
" "

^*
"

fi ^

S-3B

s
"

F-g

gj
"

e^-af-*"

g^

^?b

fl^"a-IE

~ur~^

1 r

16.

If,however,
the stricter

instances oi' the

:

sort following

are

frequentlyfound

in

composition" of

style

17.

we

may

assume

that
same,

the
and

doubling
that the

of

the

of gression the

the

fifth-succession the

middle

voices ; that, however,

(the/,) requiresa double pro because it lies is thereby justified, could not be called following progression pure,
is

diminished

fifth

18.

9-

partlybecause
the above such
as

they come
of
are

forward the

too

condition
No.
16.

necessary
to be

double

prominentlyin the upper voice ; partlybecause is wanting, although instance! progression

parallelfifths
those
as

c,

often

heard.

Hereby
in many

it becomes
do
not

clear, also, sound

so as are

why

such

arise

from

passing notes,
reason

cases

unpleasant as
faultless based
to
;

spoken
any false

of above,

for which

many

theorists

recognizethem
many of them and fifths), of the

which, at
other

rate, cannot

be unconditional! j

admitted, since
upon sufficient

upon be

ple, (for examvoice-progressions, a

covered
duration

it is not the

denied,

that with
their

very

open

and position
becomes per

same,

of unpleasantness

operation
relations, and

eeptible. placehere, to treat points ; say on many of the augmented chord of the Individual will bring us cases
be

Tt is not much

the

at
as

greater length of these

for

there

would
fifth far.

to

example, concerning
and
to

the

-"f the progressior here carry

us our

sixth
back

wl"ch fifth,

would

too

this

point

in connection

with

prnct.oJ

exercises

SC

MANUAL

OF

AI

0 S

1
.

If the

sense

of the
more

yet with

still be too obscure should to the beginforegoingrepresentation ner, and exercises, and advanced knowledge, repetition! frequent necessary

of the entire harmonic

system, the comprehension of it will far

not

long

be

wanting.

The octave

thus faultyprogression,

mentioned,
of two

is called

open

fifthand
interval

progression.
are

They
forms
a

in parallel motion covered,if, g.

the voices,

second

fifthor octave,e.

HlHil
Open
fifth and
octave

remain, parallels
of covered

for

harmonic
octaves

combinations
will cussed be dis-

always

inadmissible ; the worth

farther
on

fifths and

be left to oral of the

(inChapter XVII.) ; for the present, this matter must with a correct comprehension since, in general, instruction,
much will opportunity be offered for

not exercises, octaves.

making

able unsuit-

fifths and

beginner will do well, in working out the first examples, to leave covered fifths and octaves entirelyunnoticed, since, in a too anxious avoidance oi the first principles of chord-connection violated, and other much are them, frequently will Much which and with faults easily lead us back to this point, arise. follows worse will be particularly discussed. the subject mature a more insight,
Remark.
"

The

Exercises. To

bring musically into

of the rules thus select for this purpose

connection far the

the

three

with primary triads,

exercise.

observance We

will be the next established, Bass following

: progression

C:

IV

Rkmark.

"

These,
our

as

well

as

all

and long

manner
as

exercises will practical consideration

subsequent exercises,give an indication proceed. They are always tobe

makes it necessary.

in what

wa*

continued

s*.to

under the point

The

situation

of

the upper

three

voices for

of

the first

chord, which

arc

be added, will yet

* over figure
"

give us

occasion

importantremarks.
interval
for the

The

the Bass-note

indicates the proper

Soprano of

the

firstchord.

Eo

MANUAL

OF

HARMONY.

31
of the voices

We chord

have
can

alreadyseen
be very the chord.

in

Example 5, that
This

the situation of

.n

different.

situation

the voices

is called

the

vosition

of

Close

and

Open

Position.

A
to
can

chord

appears

in close

position, if

the

upper

three if

voices

lie

so

near

each

other

that neither the

two

the

Soprano

nor

Tenor,

transposedan
Bass

octave,

appear
e.

between g.

other

voices,even

if the

is somewhat

removed,

21.

The

first

the Tenor
case

of the position being placed an with is

chord
octave

is in b

so

altered,that
the the all other these

the former

of

higher is given to
G and E ;
on

Soprano ;
hand,

in C, the in

is the same,

the two

tones
an

"/,the

C of the

Soprano

placed

octave

lower. the

In

transpositions tion, posidispersed)

between that the

the situation

is indeed

altered,but
if either Tenor g. the

not

close

position.
be

It is otherwise which Alto and is the

if the chord
case or

appears

in open

(alsocalled
can

Soprano
Alto

placed

Tenor,

the

between

and

Soprano, so

thereby

the close

results, c. position

hp^h^hi
22.

mmM^mmi
At

a9

the

chord

appears

in open in

between the G

the Alto

and

Soprano

of position ; by a transposition close position b; just so at c and (/.

the Q At

of the

Soprano

of the cho"-d e9 is

placed an

octa\e

lower

betweui

the

A.lto and In would this

not

Tenor.
sense,

however,

be

open

following situation of the of for by the transposition position,

the voices would
not

voices the

(No. 23)
the
tu"

Tenor, onlv

situation

of the

apper

be

altered, bf and

32

MAS

UA

OF

HA

0 NT.

of transposition

the

Soprano

would

produce

the real open

of position

the

chord, c.

23.

Even
Dot

if the

open

positionallows
for
our

the

chord

to

appear

still it fuller, clear

is

always to
view ;
"

he that

and, applied,
we

first

is not exercises, them

e.ioughto

the

so

will for the

be

present,write
in the

in close
work
out

position.
the

Remaek.

It -will

always
use

better
opeu

beginning to

examples
the the

in

close

and only to position,

the

fend third
the
overcome

part onward,

in which
use

last

the examples of later, from position In necessarily they present themselves.

second

ning, beginbe

pupiL in
which

the

of the open

stumbles position,

now

and then had

upon

to iifficulties,

cannot

be

our

immediate

object,and

which

therefore

better

evaded.

The

various

do positions the

not

generally appear
the voices is

but single,

occur

com

bined, accordingas
If the
n j

leadingof
their

requires.
the chords following
at
ai

of position

the first chord

to

determined,
each for
can

longer so free,as
it is

that position, the

be chosen connection

pleasure,
of chords

but

regulated according to
25 and 26. and thus: of chords may follow

rules

the

already given,pages
This connection

the

leading

of the

voices

of the

first

exercise, No.

20,

"2 1.

The the

natural

relation

of these if
we

chords

to

one

another

becomes

above

simple example,
of

observe
two

accurately their
does the

bj connection,
dear

however, from especially, the mutual completing

return, of rest, of for

the
one

last

chords

close
The

sonnection.

another, become
lies in form tonic this This

plain.

feelingoi
of chords nant domi-

which satisfaction,
close.

connection

adaptsthem
falls upon th

forming the
resolved

of close

through the

chord, which
"

itself into the

if triad,is called, close.

the lattei

rythmicalaccent,

the authentic

[Cadence].

UAL

OF

UA

0 N

25.

BFEESEF

Another

form

of

close,which

is formed the

by

'.he subdominant

u triad,

"bove, No. 20, Example 4, is

called

plagal close.

itl=f m
26.

g=EE^=8
Of
later In
occurs

these

and

other

kinds

of

close,we
in

cannot

speak

more

at

unt" length,

order if the the

to become

expert

writing

the

succession

of chords F
"

which will

Bass

progresses
to write

by degrees, (as in Example 24,

the successions

G), it

be

to

purpose

IV-V

and

V-IV,

in various

and positions
Note.
"

keys.
is expression by degrees used

The

Lere,

as

elsewhere

in similar

connection,U"
one

denote
another

from
at
a

one

degreeto

the
"

next, in
Ed.

distinction

to

from by skips, viz.,

degree U

greater distance.

The

Triads

of
of the

the

Remaining

Degrees
a

of the
scale it
so

Major
be

Scale.

All
to one

triads and

remaining degrees of key, but

of chords will not V-I.

will,to

sure,

belong
exam-

the

same

indicate

decisively as,
the

for

plo,the
These

combination triads
are

them called,to distinguish

SECONDARY TRIADS.

from

primary triads,

They

are

situated

upon

the

second,third,sixth,and

seventh

degreesof

the scale.

27.

?Pl3=e!
of the

The

triads

second, third,and
are

sixth their

degrees,appear
from

as

minor

triads,since
The triad

their thirds of the

minor

and

fifthsperfect.
the other",

seventh

degree

is materially different

34

MA

UAL

OF

HA

.f 7

because this
reason

that,beside

the

minor

third,it

contains

diminished

fifth ;

foi

it is called

the

DIMINISHED

TRIAD

We numeral

select for in of

as

an

easy

for distinguishing sign, the

the

minor

triad,a small
above

the
case

of designation of the

degree

upon

which add has

a

it 'is situated, to

which,
manner

the

diminished the

triad,we

0, as
thus

vii",a

writingwhich
of the

Gr. Weber, theorist,

can now

introduced.
:

All the triads

major scale

be exhibited

WEE"Ub
"

""

g
"

Remark.

"

The
as

must beginner

be very

careful

not

to

conceive

of these

chords,

at

their

appearance,
"ombmationa

all tonic much

more

a misunderstanding triads,

which

renders is the

insight into

harmonic triads
of

difficult.
than
no

As

long

as

major
the

rulingkey,the

G, F. D.

etc.,

are

nothingelse
to

the chords

of

various of G

major,
so

and
as

belonging
these arises
can

and it,
not

mention
as

will be made

degreesof this key of major,F major, d min^r

be
can

long

keys
an

do

appear

independent.
chords, -which should
The

Hereby
lach triad

ambiguity of
to various

the

noticed particularly be
:

belong

keys.

major

triad of C

-illl^fil
C: I F:
V

G.

IV

li,therefore, in respect to

this

the key chord, C major is spoken of (expressing

in

the

generaluse

of

language),this

is true
cases,

only

in

the

first case, it is incorrect

if the C

major triad

oecu

piestheirs"

degree ; in all other

however,

Application.
In those the

connection

of these
new

chords, as well
rule is at appear

among

themselves

a"s

also with

found
are new

before,no

present

necessary.

Several

things

which
The In

will,however,
can case
move

in connection
or

with

it.

Bass

either there will

by skips always be

the first

by degrees* connectingtones

tones (like

in tw be in order

consecutive

chords); in the last the progressionof the voices must above, (page 26),in contrary motion, according to a rule mentioned of the chords. to bring out the inner connection

See

Translator's

note

on

pa"e

S3.

AX

UAL

OF

HARMON

Y.

a.

The

Bass

progresses

by skips
b. NB.

ilglllgllilp
30

ii

IV

m=i
As in this

example, the skipsin

same can

the

Bass

from

the second all other in the

degreehave
so degrees,

been
that To In

treated,the
tones
common

be treated

beginningfrom always
a

to the two

chords

remain

same

voice.

this rule

there
at

are,

however,

in many

cases,

exceptions.
of the voices formed

Example 30,
the Tenor and

NB.,
aud

is found

progression
an

according to
between

above

rule,which
which last the

contains is

Bass, if,in

unpleasantcovered octave certainly improved by the following

local connection the D of

progression. Even
still fails, the inner
can

case, the

connection

is present, since
as

of the tones the Soprano iu

lower in

the first chord

be easily

conceived

doubled

through the
apparent,
as

octave,

whereby
No.

the

connection

immediately

becomes

Example

31"

II
31.

mEmmn
Remark
eiuce "The
reason,

however, -why exactlythis

the
case

tone

should

be conceirea

at

"indole,
fact that

this ould

also be

with

any

tone

at

is founded pleasure, whole

upun

the

it is the

fundamental, the

tone

which

givesto

the

chord

its determination.

The

of unpleasantness that the upper

the voice

covered

octave
a

mentioned,
whole
in

lies iu the circumstance, is yet 32

inor"

progresses
in the outer

step, aud

noticeable if it is contained

voices, as

Example

fit a.

32.

iiliiii""f

36

MANUAL

OF

HARMONY.

By
oan

the

contrary

motion

of

the

Bass

at

b,

the

hading

of in

the

voieei
c.

be

improved

; in like manner,

by

the

contrary motion

Example
and Tenor

here also a covered although on Example 34). (Seethe Remark

Remark.
h
"

fifth shows

itself between

Soprano

In tie of

cases

brought forward

above,

we

do not

speak of absolute
be

fault*

can avoided, given into our entirely of a of in the cantus a treatment for firmns, circumstances, example, is The unavoidable. the other composition, on motive, or grounds important for theoretical from here a is stand-point.Concerning the only presented improvement No. follows 34. at covered fifth in No. 32 cf a farther explanation

the

leading

the

voices is

control,much

which

under

other

The

of unpleasantness voice progresses

the
a

covered
half

octaves
e

spoken

of

ceases

at

onoe

if

ths upper

step,

g.

fe
33.

fUPfi

(illiiilli^illillf
h. Here
the The motion Bass should progresses

by degrees.
be
e. applied,

contrary

always

g.

35.

III

better:

NK.

2.

SH=g=l=EffE;I^EpfeEg^g

mmwmmmmFMimmwm

Mm^mmmi
mmmimmmimi

MANUAL

OF

HARMONY.

Remarks
In all of progressions is better fifths.

on

these

chord-eon

neet

ions.

voices

such

as

that used of

at NB.

1, and sub.sequen chord, in

ordef if the noticeable

similar
to

it places,

to double

the third

the second
more

avoid

covered

Their

unpleasantnessis
g.

chords

appear

in open

e. position,

jj^plpg^PP^BK
36.

m^mmmmimimmit
The of leading the voices fifths
occur

at

b is to be
in the

preferred.
voices,they are
moru

If these because

covered

middle

able, allow-

they are

less

perceptible.

I
36.

II

m
At
to

m
third of the

NB.

2, the doubling of
in B

the

second
of the

chord

is not

always

be

since applied,

the general,

doubling
tone, which with

seventh

degree(in

Example 34, the Concerning

fuller discussion

of the second
treatment

is chord), this

to be

avoided.
is called the

the

of

leading tone, i
'

will be

given in connection
Exercises to be Worked

followingexercises

Out.

N"^

5.^

The
The in
a

fourth exercise
of progression

gives occasion
the Bass
manner.

for

few

remarks.
in the first four measures,
or

takes

place here
Such
s

regular, consequent
called

regular harmonic

melo lie

is progression

Sequence.

38

MAX

UAL

OF

HARMONY.

This

consequent
the

of progression
voices.

the

Bass, occasions

alsc

like

rcgula

leading of
The

remaining
of this

treatment

example, according
tones,
e.

to

of principles

chord-con

"eetion

laid down

above, by sustained

g.,

iliiliHB
3".

w="=m^m =F
would
rather
not

admit in the

of

the
a

attainment that

of the

this chord of

end of the

; the the first

progressionmusi
second
measure measure

follow into the

such
same

manner,

it

brought
whereby

which position

that
not

occupied,
voice.

connecting tone

D,

does

remain

in the

same

Trr|Tg3pg"S^I
39.

"3E

-G"

In

the

first of

example,
will

on

account

of be

the

sequence, if

the
are

covered
not

octaves

3poken
outer

above

likewise

allowable,

they

found

in

voices. the far

we

In thus

third have

measure

of used.

Exercise

No.

4,

we

meet

with

chord, which

not

The

Diminished

Triad

It rests
than

upon the

the triads

seventh
found

degree
thus

of

the

major scale,and
it

is
a

more

dent depen-

far, since
the

plainlyindicates
intervals in

progression,
fifth.

which indication
The

is effected

by

dissonance, the diminished

diminished
can

generalbe so conceived, that either both tones approach each other by a degree, (a), or alone the other, (b, c), lower the upper tone over or against progresses which of progression only becomes plainthrough actual chord-ccna kind
natural
of progression the ection.
i".
c.

u.

(I.

""

Invereton.

MANUAL

OF

HAhMONY

39

The
first

third

following the

diminished

triad

exhibits ("?),

the

tiiad of the

degree (C) as incomplete, by

the relations

omission of the

of the fifth. intervals fourth in respect to inversion

Since, according to
before

an augmented explaiued, (page 18, 19,)

results from
order.

the diminished
See 40
c.

its progression must fifth,

also appear which the

in inverted

The

fundamental

tone

upon
LEADING

diminished
TONE.

triad rests, is called

It is found of the third

again as degree.
41.

third

iu the

dominant

triad,and

as

fifth in the

triad

H"
tone

Since
doubled

the in
so

leading

comes of itself

out

very

it distinctly,

is

not

the its

simply

harmonic

four-voiced

movement.
can

Just
next

progressionone
contains

half step upwards

this tone. in the melodic

be

if effected,

the

followingchord
inasmuch This

This

lies tendency to progression

as

character the

of the

leading
tone

tone,
he

it stands is noticeable

as

before half-step in particularly in tlj

fundamental
of the
a

of

scale.

the

case

dominant

riad,if the
42. operates

leadingtone
more

is contained

upper

vokfc,as

in

Example

than satisfyingly,

b and

c.

42.

This Most upper

inclination

upwards
in many

shows

itself less in the middle in such the

voices,as
middle

at

d.
the

intolerable voice

oases,
on

chord-connections,are

skips in

(at c), whereas,

contrary, skips in the

voices

(ate) are to be used, if the Bass Il Example 39, third measure, the leading tone, contrary to the
of the sequence the
or position

is led in is found above

contrary
a

motion. and

doubling
Both

rule.

took allowed

of progression place on account

no

contained the

iu

the

example, which
the chord.

alteration

of

of progression

Concerning
The
on ner

more

Extended

Formation

of
of
a

the

Close. noticed
man

formation

of the

close

through

the

chord

the

dominant,

page

82, (the authentic

shows close),

itself in

still more

definite

in the last examples.

1(1

Ma

UAL

OF

HARMON

Y.

As
renders

the natural the

a

relation

of

the cnord

of the

dominant of the

to

me

tonic

triad,
amples ex-

two

adapted

to the

formation it is
same

close,so
the g.

in these the

still farther

of preparation stands in

noticeable,through
relation tonic
to

triad of of the

the second

degree,which
in which the

the
to

chord

dominant,

latter stands

the

triad,e.

U=i=yh$dE$dtt
43.

mummm^
Besides the triad of the second

degree,the
close,e.

triad of g.

the sub-dominant

also

adapted for

this formation

of the

44.

The
will shown

produced by formulae [cadences] closing

more

this

chord-connection,
chords
to be

assume

definite form

through

the

of the application

later.

CHAPTER

II.

The

Triads

of

the

3Iino)'

Scale,

a.

Primary
major
same

Triads.
were

The and

nrimary

triads of

the the

scale

found

upon

the

first, fourth
triads

fifthdegrees. Upon
scale.

degrees we
the

find also the

primary
to

of the minor
The

relation, however,
renders

in which

dominant the

triad formation of
one

stands

the tonic

shord, that is,as shown,

scale necessary Its seventh

it becomes the

plain through
chromatic

of the close previously

tone

alteration

of the minor

tone-degree,which, accordingto
distant
a

the

of signature

the

minor

scale,is always
raised
tone
e. a

whole

step from
it

the

eighthdegree,is
character of

cally chromatia

so half-step,

that

acquires the

leading

MA

NU

siL

OF

II AR

0 S

41

-6-

"

\-015.
Nl

By

this

means

the in

formation
thus
:

of

the

dominant

triad

in minor,

becomet

exactlylike

that

major,

major.

cr

: briefly expressed

The
A.

dominant

triad

in

major

and

minor

is

always

major
this

triad.

comparison of

the form

of close of both

modes

shows

plainly

major.

minor.

47.

That, however,
sense,
*s

the any

sixth
such

degree of
chromatic

the

minor

scale is not, in

harmonic

capable of
necessary be
cannot

alteration

by

elevation
a

as half-step,

often

the melodically, conceived of at all

plagalclose
as

proves

(see page

33),

which

at b*

^i^Sf|EEE^p^pB
4".

91

The

three

primary triads

in minor

can

be thus
"

exhilited

in their natura

relation

according to previousexplanation

IT

4L'

MANUAL

OF

HARMONY.

The

minor

scale,as
h
"

it forms
:

the

basis

for

the

formation

of harmon:"i

will therefore

the following

1%

;"o

2li
All other

Re"aek.

"

forms

of the minor

scale, such

as

51.

descending
"

52.

depend
from the These harmonic

upon sixth forms

melodic
to the

conditions, which
seventh
no

do

not

allow 50.

the

step of
in

an

augm.ei.ilsetona
the the

degree,found
a

in No.

have

influence upon

the harmonic

formation
the

itself considered scale

foundation, however, has

show
"

reflex influence upon

minor

itself, as

allowingexamples

\
S3.

$3S

"

^^f^
The second last case, B-A in which in B the

^""

ha

_"*:_

descendingscale

even

exhibits the
we

step

of

an

augmented
in

b, which

future, in chord-connections
necessary
minor
as

shall of

avoid, explains carefully'

the

itself
order

thereby,that
not
to

was

component
of the the

part

chord, A},,however,
is done

destroy the

character

passage,
first

which

very

perceptibly
is

through A, while, in the

secured already perfectly

ascending scale, (in through

the minor

example),this

(minor character)

third, Fb.

b.

The

Triads

of the Remaining
SECONDARY

Degrees of
TRIADS.

the Minor

Scale.

After

the establishment
:

r.f the minor

scale,the

secondary

triads

appew

in the

form following

54.

-^r

=EFiEElEl

MANU

At,

OF

HARMONY.

43

The

second the

degree gives
major scale;

dityiinishcd
like
manner

triad, as
a

before

the triad

seventh
is found

degree of
upon

in

diminished
here
a

the seventh third

degree.
major
THE

The
a

sixth
new an

degree forms
of the

major triad.
is therefore called

The

degree exhibits
a

form

triad.

It contains

third

and

and augmented fifth,

TRIAD.

AUGMENTED

The

constrained
of the

or

forced character

of the connection it seldom minor

to appear

of this chord
as

with

other chords

same

key, allows
of degree,
:

fundamental

harmony
may
serve

of
to

the third

the

scale.

The

examples following

prove

this

".

b.

c.

d.

e.

f.

6
_

iiO

1V

VI

VII0

Of
The

these

examples, those
of

under

and

will be best
more

adapted for

use.

introduction

this chord

shows

itself to be

difficult still.

"

"-ffS

56.

I^lllilife^ilirtta
'

uo

iv

VI

Its introduction
that

is most the

if tolerable,
same

the
as

augmented fifth
constituent

prepared, ing preced-

is,exists alreadyin chord, (at(I).

voice

part

of the

Remark. well of the

"

There

is
as

foreignin something peculiarly

of the minor

the

chord

of
even

the

third when

degree,as
it appears
tively effec-

major
other

scale,

so

that
very

this

harmony,

jimply as
with

minor

triad in the

major scale, is
therefore

difficult to connect
occurs.

and naturally

chords, and

seldom

Most other

chord-connections exhibited practicable allow the augmented triad and not relations, of the third used

above
to

will

occur

in

be

recognized as

[triad of the]
.vhich lltered is much

degree of
in the which

the

minor

scale.

The
to

later

music, belongs

the

augmented triad, chromatically

name

harmonies,

will be

explainedlater
Chords).

under

the

Alte^M

Chords.

(See Chap. X, Altered

MANUAL

OF

HARMON

Application.
The
of principles the cjnnection of harmonies
an

leading of
was

th

roices,alreadydeveloped,will
in the connection the the of the "bout jince between seventh contain of progression the

also have

here, and particularl application

chords in

fundamental

minor, what

saic
view scale the

step of

an

the sixth and

and

into tone comes leading very distinctly augmented second, occurringin the minor seventh well as between as degrees, descending, be avoided
as

sixth,is
an

to

unmelodious,

if both

tones, which
e.

the step of

to different harmonies, augmented second, belong

"""lfS
57.

'z^m^E^m
Hence,
sixth in the often

recurringconnection

of

the

chords

of the fifth and

the progression of the leading tone will be necessarily always degrees, the triad in of the sixth the third upwards, whereby, degree appear
e. doubled,

g.

%_r^r_^r
58.

la^SBgm^B
^mmmmm=i=^imi^i
Thus,
it would No.
not

r-^fe
Arc.

be

to exhibit possible
we

in
a

correct

form

the

example
as,

given under

57

b,

unless

make

use

of

mediatingtone,

such

hr

""ample:

r"mn
59.

Reu
"*

ark

"

The

practice deviates, in certain and

w

cases, especial

from

this

ru.a.

It wiD

well, however
more,
"

uccustore not

ourselves the

to

the

leading of
every

the

voices above

shown, and
in tht

the

as

we

must

overlook

fact, that

deviation

from
the

the rules

vractv

is and
De

should

be

only

well

founded

whereas exception,

observance

of tb"

rule

can

instanced

in numberless

cases.

if AN

UAL

OF

HARMOXY

4b

Extvcises 1.

in

connecting

the

Triads
2.

of the

Minor

Scale,

3.

4.

53

51

M^^"^SP"
Me
in a r

7ks

on

these

Exercises.

chroinatvo
measure

sign over
the

Bass

note

without

figure,as,
to the

for

example,
of the very

in the third Bass. often The Bass in This

of the first third

exercise,refers always
in the dominant

third
occurs

of raiding is the
a

triad,which

minor,

of the raising marked

leadingtone
in the

spoken of, (page 40).

triad contains

is,as
the

rule,not

fundamental,unless
or

notation,if the thorough-bass exist for indicating reasons especial

by 3, 5, 8, or l
*

in

by full,

5 3

One

reason

fo/
the

it indicating introduction

by 5, is
of it the
was

found triad

in of

the

third third

and

sixth

cises. exer-

Here
has

the
to

degree
that

in minor the scale. fifth

been

attempted,whereby
it
or

necessary

indicate

is

raised,since
The 3 figure

likewise 5
over

forms

the seventh of

degree of
some

the minor

the first chord

to

of

the
to

examples,indicates
the
next

its

position. See, in regard working

out

this,the
will

remarks

exercises,

(page50).
The
.

of We

an

exercise

confirm

the

fundamental

feature

hitherto

developed.

select for this purpose

the first exercise.

sLtUjaggil
(51

?mm
The
it of the first principle
same

m
connection

S=SE

mn
chords

of

(by com

action

of

tones

the

voice),is

here

everywhere observed, and

for *his

reason

thf

46

MANUAL

OF

HARM

ON

T.

Alto, in
second In
to

the third F
to

measure

(at NB.),
fault from D

makes

the

faultystep
44), it
the

of

an

atigmente^
necessary B
to

from order

to

G$.
this

avoid

(accordingto
E, B,
and
to
to

page lead

will be from

let the Alto the Tenor

progress

Fto

Soprano
"

G",

while

skips from

in the

followingmanner

62.

(a
the

connection the

of

chords, which
of tones the
to

has does the

already
not

been

explained
the D
same

in

No.

31

where

connection retains from F

take goes close

place in
from

or voice),

Soprano
Alto the

and

Tenor the

downward

to

the this

G$, the
and

E, whereby
appear

is forsaken, and position

harmony following

in open

: position

63.

nnma
Farther
reference scale
to

remarks,
the

which of
are

the the in

difficulties

in and
to

the

leading of

the voices the

in

chords

fourth, fifth
cases especial use

sixth

degrees of
will

minoi

render
we

necessary,

be left to

practical guidance.
exhibit,in
tht

Before

proceed
the

to the farther

of

the

triads,we
:

manner following

chords

hitherto

discovered

View

of all
_

Triads
Major.

of the

Major

and

Minor

Scale",

64.

g=l:
I
ii in

i
IV V
vi

vii"

Minor.

n"

III'

iv

VI

vi,o

in

Major:

in

Miner'

Major

triads

are

found

MANUAL

OF

HARMON

in

Major:

in

Min,

Minor

triads

EEgEE^Hb"
II in

VI

in

Major:

in

Minor

Diminished

triads

feEE^zzz:
VII0

[| z=jzg:=zj^
II"

Tu0

in

J/inor:

Augmented

triad

Av~f~g

rr

CHAPTER
T7"e Inversions

III.
of the Chord
Triads.

The The
not
as

Chord

of

the

Sixth,

the

of

the Sixth of

and

Fourth.

of appplication
to

the

and triads,

indeed the
can

all fundamental

chord?, " Bass,

limited in all

that

use

of them

in which Bass

fundamental
the of

lies in the third

or

the

previousexamples; the fundamental chord. Hereby

are

also receive

fifthol

arise transformations

the fundamental

chords, which

called
INVERSIONS

of

the
Hkmark.

chord.
It should here close he well

"

remarked,
that

that

only transpositions of the Bass

mentioned

to another

l"iervnl voices the

are

spoken of, and

and open

the

before

of the transpositions
no means

other

into

and position,

to various

intervals,by

alter essentially

chord*

Two
a.
or THE

of the inversions

are

with possible

the the

triad

If

the

Bads

receives

the third

of

triad, therre

arises

the

cHCir

SIXTH.

Fundamental

chord.

Chord

of the eivth.

C5.

fez
-V-

Third

of the fundamental

chord.

Tlie word

t"

is here "y".sposki'n

used

in its

not general,

its technical

sense.

"

E"x

4S

MANUAL

OF

HAB

MONT.

h.
OF TUE

ff thb
SIXTH

Bass
AND

receives
FOURTH.

the

fifthof

the triad, there arises

the

chore

Fundamental chord.

Chord

of the sixth

and

fourth.

t"". Fifth
of the fundamental

i
chord.

The

chord

of

the

sixth is indicated
"

by

over

the

Bass

tote, that of the

sixth and

fourth,

by

e.

g.
6 4

07
.

"i
C: c I c I c I

The
as

letter shall in future numeral

to

serve

for

the indicating

fundamental
can can

tone, and,
be
seen

before,the

indicate

the

degree,whereby, as fundamental
Bass. tone

in

Example
into

67, only the

situation

of
the

the

be

taken

consideration, not, however,

"

casual

Remark.
fourth
not

As

the

fundamental

tone

of the
not

chords
Bass
notes

of

the

sixth

and
the

of the sixth and

chord

in

Example 67, is always C,

the

and

the

E and

G,

so

itself -will

in fact,these are but upon the firstdegree,since, no fifth, newly another into formed chords, but only chords brought position by the Bass, and therefore
lie upon

third

or

derived chords.

Every

triad

can

appear

in such

inversions.

Application,

By the use the harmony

of

the

inversions
more

of the

chords, not only does

the
movement

the

oJ leading

receive the

but variety,

of the

voices,and
interval of

of particularly

Bass, becomes
above noticed will also be

thereby more
rules better
to

flowing. doubling of
case an

According the triad (page 25), it

sixth,in
the

to the

for the in the double

of the

chord

of the of the

four-voiced

movement,

the

fundamental

in the chord of th" originalchord,and the doubling of the Bass tone sixth (thatis, the original take placeonly if the natural can third), leading

of
That this

the

voices

the

requires it,or leading tone, even

be

if

thereby

certain the

faults

can

be

avoided. from

if it lies in

Bass,

is to be excluded 39. the

doubling, may
so, it needs voices

Just
three from

said on page after what was yet remarked merely to be mentioned, that the positionof

up}. er asile

is conditioned
no

only by
influence

the

leading of
the chord

the

voiojs,and

this,has

essential

upon

itself.

MANUAL

OF

HARMONY.

49
in the

The

chord

of

the sixth

can

therefore

occur

followingforms

g-F-l-F-g"F-i-F-^-F-"
6".

b="^zh="=ztt

The
the

use

of

the the We

chord

of the sixth and

fourth
the

is

more

rare

thui

uont

of

chord

of

sixth, and
meet

requires certain
in

conditions formations

which of the for

.shall {,r close.

tioned men-

later. Bass the

it oftenest

Tht

tone, the
chord

fifth of the

chord, original

is best similar

adapted
forms
:

doubling,and

will appear

in the

followingand

mmmmpmm^"tmi
In rules the
are

connection necessary

of

these those
two

chords

with

others, no
we

farther

mechanic"!
the
mere

beyond
of chords the

already given ;
or

likewise and show

omit the

mechanical of these

combination derived

three

chords,

application cant, insignifican

in small

piecesof music, which,

a

however
cases

still contain better

image
to

of

whole, whereby
whole.

individual

b"

judged

of

in relation

the

Exercises.

70.

"3B:

m^mmmmmmwk
S"^n^"i^

"

G 4.

56 6 o o

6*

bO

MANUAL

OF

HARMONY.

7-

6_

_6

6_ _6

"3
_

#66

"6

g^fezga
" 6
b

3 9"

=r-r~X="^

10.

6 4"

*a

k.
"

ii"ifa^ii"^is

Remarks The
as

on

these

Exercises.

indication of the fifth in the first

all similar indications the in the

measure

of the the

second

Example,
of the

also

future,denote
the first chord.

situation
no

Soprano, and
over

therewith
note,

of position it is to be

If the

the

first Bass
octave

assumed,
second

that

stands figure Soprano can best

receive The

the

of the triad oftenest

tone

Bass. appears in the exercise here of its

as

diminished
It
occurs

chord

of

the

sixth.
that

in this situation. is not the

It may because chord

be

called to mind

its fundamental
most

doubled,
third

being the leading

also
a

tone, whereas, in

cases,

(in the

of

the sixth the Bass

tone)is doubled. doubling of the

The

The fifth.

leadingof
the The

the voices

occasions, sometimes,
is of

of progression the Bass.

diminished
natural

triad

always

conditioned
triad

by

the

leadingof
fundamental
In

direction

the diminished

in it"

is alreadygiven,page position

38. the Bass is

as

the most

usual

cases

the

of progression

follows

"

Tl

SS
the

"ad

the

of progression

remaining

voices

thus

"

"=^d^:r^:sbd:gzzgifcsffiz^g:
y"2.

3=3?

^^^rS^i^i^^l

.\ L'AL

0 F

HA

li MONT

ft]
inversion of the diiuiu -voiced

It

is evident

from

the

above

Examples,
fourth, will

that
not

the

ished

fifth, viz.,the augmented

have the
same

necessarily,iu /out
13 and F of the

movement,
38.

progression as example
and

was

given above, tivo-voiced, pag Soprano

au

We

see, in the
to

first

others.

Alto

progress

C and

G.

73.

II
chord,
in

'Jhe fttJOith

similarity
to

of

this

sound,

to

the

dominant lead

chord the

of

the

be

shown
even

later,often
if it has the

induces converted

beginners to
itself

diminished the in mented augca^e

fiftu downwards, fourth ;

by

inversion

into

this,as
the
:

above

examples show,
as

is necessary and fifth,

a

only

i*.rokUy lies above

f

fundamental

diminished

progression

f th

following sort

T4.

"=5^i"y
'"

faultyon
Remark.
"

account
It may

of the

fifths. parallel
of which here, that parallelfifths,
to

yet be remarked
other

the

one

fiftu

diminished
fat

and
not

the

perfect,
e.

are

be

allowed

if

the

diminished

follows tht per

but fifth,

vice versa,

g.

/.'".

Compete
The

also

the

Remark,

page

28.

progression of
the Bass goes may

the
over

voices
to
a

takes

another other than

form the

in tonic

the

diminished
A few

triad,if

chord,
:

triad.

chord-connections

follow

here

"6.
6

_6

_6

52

MANUAL

OF

HARMONY,

letter:

not:

~e,

-\"0
6

2"

"s

."*

--1"

f=J=|
6

:"

""="3
6

^^

11111

The

diminished

triad

of the

second
can

degree
doubled.

i"

Minor

allows

another

treatment, since its fundamental

The the succession of two
or more

be

chords

of
70,

the No.

sixth,with 3,
and motion

of progression render g.

Bass

by degrees,as
one
or more

in

Exercise

others,will
to the

necessary

A'oices

moving

in

contrary

Bass, e.

J"J.
r.

66

66

66

66

The

series of chords

of the sixth
out

of the

5th ways

and

6th

Exercises

in

No.

70

can, to be

sure, be carried of the

in various is retained

best, however

if the

sequent con-

succession

Bass

also in the

e. remaining voi"es,

78.

Covered
re single

octaves,
avoided

as

in the in such

2d

and

3d It

measures
can

between deduced

Tenor from

and

Basa.
to

not

to be

cases.

be

that this,

progressionsof
is not to be

the voices

which

are

contrary to rule,thai especial

to

importance
the

attached, in

opposition

the

consequence

op

whole,

tvhich otherwise

belongs to them,

since

the

construction

of the

MANUAL

OF

HARMONY.

53

details, although
to Remaiik.

It must

be

as

perfectas

will always possible,

be

sc

nate ordi-

that of the whole.

"

It is not

to

be

that ignored,

the the

principlelaid laying down

to to

down of the

above

:an

b easily not t in

misunderstood be evaded, and these

rience

by

the

beginner; however,
be

was principle

it may

added

here, in order

avoid
a

possibleerror,

that

decision

things, in the
and

last

instance, belongs only

judgment

fully matured

by

cxpe

practice.
the

Concerning
The numbers and

Signs

of
the

the

Thorough-Bass
are

Notation. called in of

signs of

Thorough-Bass

generalsig
them have in minor. fourth
was

works [in German the as already been explained,

natures,

Signaturen." Ed.]
chromatic and of the

Some

signoccurringvery
sixth

often and

The

notation

of 48.

the A

chords stroke of No.

a

of the sixth

given,page
Exercises
elevation of
a

through
70,
a

the

figure is used, (for example, in through

the 6
:

the

8, 9, 10,
the

stroke

"),if

chromatic of

interval

becomes half-step
set after

necessary

; instead

which,
Other chords

however,

or

t3is often
their

the

figure{e. g., 6JJ or 6Q, 5".)

in connection with the

figureswill
which

find
concern.

explanation later

they

Formation

of

the

Close

through
Fourth.

the

Chord

of

the

Sixth

and

In the Exercises
the much sixth formation
more

of the

No. close

70

we

see,

through

the

inversion

of the and

triad,
a

of

previouslymentioned,
We

extended the

put into

definite fourth of

shape.
the tonic close.

discover,namely, that
before the

chord

of the

and

triad,coming

dominant

cates inditriad,

decidedly the

mwmm
79.

(m
The
M

mi
fourth is

chord

of
or

the

sixth

and

preceded by frequently

the triad

the fourth

second

degree.

SO

FFfr^F

mm

54

MANUAL

OF

HARMONY.

As

decidedly now
also is the is
a

as

the

chord

of

the in the

sixth

and

fourth into

indicates

the

close,having

decided effect of

influence its entrance

modulation other will

foreign keys,
that of its later.

justso
proper

weak
use

under

relations, so
be treated

subjectto

certain

conditions, which

CHAPTER

IV.
(Vierkl"nge),
upon the triads.

Harmonies

of .the Seventh
seventh
to
are

The
from

harmonies the addition from the

of of

the
a

founded

They

result
a

tbird

the

fifth of the

triad,which

forms [third]

seventh

fundamental.

"1.

mmmm
kinds of

Not Sevenths

only

the

various

triads, but
of the

also

the

various

kinds

of

will afford

manifold

harmonies

seventh.

The

General of the

Properties
seventh
are

of
not

the

Chords

of the
as

Se vent

h.

The

chords

so

independent
that

the
never

most

of

the

triads,but

indicate

a progression, so definitely

they

alone, but
On other

only in
tbe other closer

connection

with will

triads, afford anything complete

render the
means

or

finished.
to

hand, they
more

relations of this

of

the

chords

each

and

intimate,and
for the

by

furnish quality and for the

in

particular
tho

excellent voices.

means

connection

of

chords

leading of

The

Dominant

Chord

of the
which

Seventh is most

in

Major

and

Minor. oftenes*

The
is the

chord

of

the

seventh

important,and
SEVENTH,

occurs

DOMINANT

CHORD

OF

THE

also called

primary
the in

chord

of

the

seventh.
the fifth the

It rests, like

dominant and

triad,upon
that

degree,and major
triad

is formed and minor

xactlyalike
tventh.

major

minor,

is,from

".

i=t#=E"ig;=S

MA

UAL

OF

IIA

0 N

Y.

55

In
our

the fundamental

it position

is marked

by

over

the

Bas"

note, and

method

of

notation,indicated by V7
7 7

83

"

IMEi^
O:

V7

The

relation become

in which clear

the

triad

of

the

dominant the
come

stands
formation
out

to

the tonic close

triad, has
shown

through principally 33).

The close will chord of

of the
more

before, (seepage
use

still

clearly
of the

throughthe
The

of the dominant

of the seventh. will show the formation

following combination

chords

S2
"4.

"

g"

1"

ft"

c-ff="
"

T
"

^r

"

mbmwmm=mi
C:

V7

a:

V7

Remark.

"

It is to be in both

remarked
cases

the chord here, that the triad folio-wing fifth of the

of the seventh
of

is

incomplete;
from

the

triad

is

wanting.

The

reason

this will

appear

-what

follows.

The

strivingafter
with
a

point

of rest, inherent called

OF

in

these

chords, and

the.

union resulting
RESOLUTION

triad,is
THE

OF

CHORD

THE

SEVENTH, with

(Cadence).
the tonic way, triad

If the union follows in the

of the
manner

dominant exhibited
CLOSING

chord in No.

of the seventh

84,

or

in

similar

it is ealled

CADENCE.

For chord We

the

leading of
seventh first the of the the

the

voices,the

of progression

the

intervals of the

of the observe

will furnish

important observations.
as

closing cadence
seventh of

the

reyrfar

resolution

of the

dominant The ihe he

chord

especially.
the

seventh, as
which

essential interval
to
a

chord, is,by
the

its relation

to

fundamental, Bass,

confined

definite

progression.If
is

oJ progression

contains

the

fundamental,

of the seventh rogression

will appear

regarded as given,an : impossible

upward

85.

"

:-icif

""

MANUAL

OF

HARMONY.

"ren

if,as

at

b,

third
:

voice

is added

; whereas

its downward

progrewiioB

%ffords

full satisfaction

86.

Since
or

tLs

of progression

the

fundamental by
the seventh

an

upward step
the
to

of

fourth
the

downward and

step
of fifth

of

fifth is cnord of

already determined,
remains

progressionof
be considered.

third
The tone has

the

third

of

the dominant
natural

chord

of

the seventh
is therefore

is

always
its

the

leading by
what

of
been

the

scale ; its
before

direction the and

determined

said
a

concerning

leadingtone, (page 39) ;

b will,therefore,not

progression
so

will follow
as

upwards, half-step

appear

ural nat-

".

Id the
the

Example
tolerable

87, b,

the its

third, is given to
is found

the

upper

voice, which
This

der ren-

unpleasantnessof
if the

progression quite perceptible.

in
a

leading

becomes

third

middle

voice, $.

g.

m
"".

fiiiiliHK
This downward
the does

leading
not He in

of the

third
:

(leadingtone)is
in
a

therefore

to

b"

under applied
ff,

following conditions
the upper,

If it

but

middle

voice,e.

g.

seldom

practicable.

89.

MA

NUA."

OF

IIA

R M

.V Y.

If the

Bass

progresses

in

contrary motion,

e.

g.

90.

S=^K
The
reason

of the

second

rule

becomes between chord

evident, if
Alto and

we

observe

the

ered cov-

fifths in tha last The for the may rf leading

mojt

Example b,

Bass. is free.

the

fifth of
the

the
a

of the

seventh

While,

part, it is crowded
with

exnt
a

connected

by the seventh, reasons degree downwards leadingof the voices,for allowingit to progress
88

degree upwards, as
to the

Example

b shows, where

the

of

the Soprano

is lead If lar
we

E.

condense

these

remarks,

we

find the

followingrules
for the

for the

regu in

resolution

of the

chord

of the

seventh, and

closingcadence

: particular

The The
wards Just

seventh progresses

diatonic
a

degree downwards,
a

while
or a

fundamental
;
so

makes

skip of

fourth upwards
toward

fifthdown

the third is led be led

the

The

fifthcan
"

degreeupwards by degrees,upward or
a

the

seventh,while

downward.
the

Remark. what
was

By

of progression

the

third
the

towards

seventh, we

are

reminded

ol

said of tbe fundamental intervals

are

and

diminished dominant

fifth in the

diminished seventh.

triad,(page

38).

Both

found

again in the

chord

of

the

Application.

Except
is,in
to us, the the

in the middle

formation
of
a

of

the

the closes,

dominant in

chord

of tho seventh thus

seldom piece, take

employed
a

and,

if it does

complete close
takes

is not

only in place, produced.

cases

far known o" whereby the feeling position

the

the usage

This

in place particularly

where

seventh

of

the

chord if the

ties in the
dominant

upper

voice,whereby
of tho

the

close

becomes

incomplete, or,
part
tonic of the triad
must

chord

seventh

falls upon close

the accented

measure

since (thesis), there.

in

the

complete
often

(cadence)the

fal

(See page 33).

this,the chord
This appears

Besides
of
an

incomplete throughthe
can

imbsion the

interval.

interval, however,
reader it

only be
or
r"

the

seldom fifth,

third, while the omission

alter the cbord

of the fundamental

the

seventh,would

entirety

and

incapableof

cognition.

58

At A

UAL

OF

HARM

0 A

c.

rarely

rf.

liipiiplllilf:
91.

In

tf,

b,

d9

the

fifth is

omitted,

in

c, the

:hird,and

in each
means

case

the fundamental
tone

doubled

instead,which
the tonic

by doubling affords,
closest
to

of the with the

which

is allowed and
case

to remain

the stationary, triad

connection

chord, fallowing
which We
was

allows in the

appear

again complete,
interval in the

not

the

previousresolution.
upon the omission

(See No. 84).

of
an

add
:

the

remark following

chord

Through
omitted

the

leadingof
will,in

the voices
cases,

chord

can

appear

incomplete; tht"

interval

most

be the

fifthof

the

fundamental chord.

Exercises.

92.

feililliliill^IililE
6

"^EE^S
3
"

um
6
a
"
_

6_

-"

6
17

|i?E6EE|Ei|E^jpl|=^i^
5. 3

These

exercises

require no
of

farther

explanation. It

has

been
to

alieadj
us now

mentioned, that the chord

".be seventh, in the

positionknown

MANUAL

OF

HA

KM

0 XT.

39
or it,

U iLdicated "hromatic
Doe

by 7, also signswhich
third from

that
occur

the

sharp
tone.

found

under

in

all general, have refer

without Bass

to the

the

opposite to then, figures (See page 55.)

CHAPTER
The

V.
Chord

Inversions chord
an

of the
of the

of the
can

Seventh. in such
a man-

Like
ner,

the

triad,the
Bass

seventh other Bass

be

altered

that the

receives

interval the

than receives

the fundamental. the third of the fundamental

The

firstinversion
;

if arises,

The The
In

second, if the fifth of the fundamental

chord

lies in the voice.

:

and Ban,?,

third, if
close

the

seventh original inversions

is

given to

the lower thus

the position

present

themselves

93.

g:=g=:g=:g==:-EE

comparison

of

these

inversions

of the

chord

of

the

seventh,witti

those of the triad,shows

: plainlytheir analogousposition

"i.
5

(i) """'
G7

b")
#

r7
These derived
:

G7

G7

chords

receive

their

designationfrom of the sixth

and

the

positionol

th eir intervals
The The

firstinversion
second
:

is called

the chord

fifth.

the chord third.

of

the sixth, fourth,and

chord third, or briefly,

of the fourth and

The third second.
:

the chord

of
the

the

and sixth,fourth.

second,

or

chord briefly,

of the

Their

in designation 94.

Thorough-Bass notation

is to be

seen

above,

in

Example

30

MANUAL

OF

HARMOtrY

It needs

only to
voice is

be

remembered
of the

here, that triad,only the

that the

in these

inversi' ns, the Bass

can

just
or

as

before in the
the lowest

inversions

of position

of

and essential,
the upper
_a

remaining
g.
o

intervals

be

vari

ouslj distributed

among

voices,e.
"

"

"

_,"o_

_a

"

"

""-j

95.

)"

.1,1,1
66" 55 --3

"j^+H-gfeg^
-4 43--" -

"fcc

Application.
The
upon of (resolution) regular progression that of the these

derived

chords

is founded

fundamental
the

chord.

If,in
in
cne

its case,

dissonance, the

seventh, conditioned
same

the

progression
tones, the
seconds

the direction, the and

case

tendency to
of the

the

will (resolution), progression the

two

also *xi"t in fundamental

derived

chords, in which
appear
or again,

the

seventh, eithei

become

by

96.
"

"

"

F"

E-?=iz:?=t=s"^fel=zl[
Chord shows and

Progression
Since
tone

of the

of the
itself

Sixth

and

Fifth.

the

seventh original of the sixth which

was

likewise,over

againstthe

Bass

in the chord of progression

as fifth, dissonance, as diminished

fifth,

the

discussed

above, (page 38),

97

S3
of
the

i
sixth and
fifth will naturallv take

the rssolution

of

the

chord

placethus

...

ISEJgHEEtt
Q7
U

MANUAL

OF

HARMONY

61

The

progressionof
This

the

fundamental,
voice

as

before

given,does
transforms
it forms the of

not

appeal

here, since
.

the G- of the upper

is sustained

and

itself iuto
foundation

the fifth.

is,however, only apparent,

of

for that

of this connection proves. That

out

harmony,

the

marking
a

velow

G7

C,

Example 98
notes

however,

the

Soprano, or
the

middle in

voice, cannot
such cases,

in

carry othei found their

the

of progression

fundamental

lies,beside
is to be in

reasons,
more

immediately in the character

and connection the of Bass.
the

of these the

voices,which
than

in mediation

harmonies,

laying
such

foundation,which
Remark.
"

belongs to
in certain

Deviating progressions of
voices relations inner connection of the

fundamental

in
not

these

eases,

as

freer

of the leading
must

would

give,

are

hereby excluded, only ther"

be

an

chords.

Progression
We fifth
or

of the

Chord

of

the

Sixth,

Fourth,

and

Third.

find its

again here, beside the seventh and inversion,the augmented fourth :

its

the diminished inversion,

[g
99.

o^_
o

^=^s="

~^^

The

resolution of this chord

a.

follows thus
b.

G7

G7

The

Bass,

the

can fifth, original

progress
Chord

in both

of

the

given ways.

Prof/rt'ssion
This chord and has the the

of the

of the

Second.

that peculiarity,
can fifth,

the

dissonant original in their

tht intervals,
at inversions,

seventh
second The

diminished

only occur
follows

below, and augmented fourth bcloiv.

of progression this chord
2 6

is

as

2^

Thus

the resolution

of the

chord

of the

second

is effected here

thioug*
th*

khe chord
We natural
can

of the sixth. perceivein

these

that resolutions, chord of

they are
the

all based

upon

progressionof

the dominant

seventh, which

before

62
called

MANUAL

OF

HARMONY.

was

cadence, for
C
or

we

find

everywhere

the

same

marking

of the fundamental

G7
These
w"

V?

I.

resolutions
sort
as are

therefore,themselves will,
those mentioned

form and
as

cadences, ovAy not

those
are

0"

complete a
so

above,
the name,

called

perfect

cadences,

these

designatedby

imperfect

cadences.

View

of

the inant

Natural Chord

Progression
of the
Seventh

of all
in

Inversions various

of

the

Dom*

positions.

a.

The

Chord

of

the

Sixth

and

Fifth.

m
102.

a 6
"""

9-

^=$^g" -F=^^F-g=F=5=j^^=j g-^Fg==|i=: Est

6
5
"*" a ^

*t

!".

The

Chord

of the
or :

Sixth, Fourth,

and

Third

wMmw"mwmtMmtwm
4 3 G

mmmmmw^="m"^^mi

SH"g
1

5wmmmm\m=i

MANUAL

OF

HARM

ONI

63

C.

The

Chord

of the

Second.

=ilgi3^!"i^^gi!f!i!3
5 " "*" 9 "*

G
~

"2 2 0 2

o
"

"

"**

"

**"

flfi^IIlEIIlE^l"i^J
Exercises
6 1. 5 G G

in

the

Use

of these
3 2

Chords.
6
G

"

103

SI
4

87

i;|E=sIl^El^Eli=^li=ji^l=
3 2
G

i^iiIiJ"ElEE=S=ii*=frEEl
4

6 4

l"""

t=Bt

g^|^H=^J|p_^|^E^|=|^
6 87 3

r^-ritf
"
6 2 6

6 7

jar

5__
_

4i
_

ihEifc
f
3
6 67

4"

"4
8. 6 f
__ffl

67 6
3

G__ _4J_

Observation"

The

second, fouith,and
appear with

markiug 8 7 in the next to that fifth Examples, denotes

itself,but
follow

the the

last

measure

of the
nr.t

seventh

should

the chord

after the octave.

ft4

MANUAL

OF

HARM

ONI

CHAPTER
Secondary While
in the
case

VI.
of the
Seventh. chords central
are i* requisite

Harmonies

of the

three primary triads,

to

establish the
needed in the

key, (the relation

case

the tonic of the

triad

as

there point),

is

of

the chords

seventh, only one

content

primary
alone
to

chord,

the dominant
anders triad the

chord

of

the

the seventh, the natural

of

which
which

already
the tonio

key certain, and

progressionof

represents the key.

The manifest

Remark." is at the
two tones
same

fact,that the seventh

of

of

the

dominant

chord
the

of

the

seventt

time and

fundamental

the
of

subdominant
the

triad, renders

relation of the
common

F, (as fundamentals

dominant

to their triads),

centre,

clear. C, (as tonic triad), entirely already

(See above, page

22.

3).
called
can

Beside

this chord

dominant
the

chord

of the

seventh,
of the

also

primary
be of which
as

or

essential from
the

of remaining triads
is indeed

seventh, harmonies
in

seventh relation
so

formed
to
a

major They
CHORDS

and

minor,

the

definite
case

key

undeniable, but
chord.
are

by

no

means

decided

in the

of the

primary

called
OF THE

SECONDARY

SEVENTH.

They
iamental

are

to be to the

formed, simply by
triads
I* :

the

addition

of

seventh

of

the

fun?

I.

Major:

10-1.
-"" "

I ":" 1:
5
--

"z

g=-^==Jb
VI
~

h 7
b.

"7
Minor
:

m7

1V7

VII"

In

NB._

J^;

"

"Tp
We
with
as so

n"7

UVj

iv7

Vly

vu"7

come

here

to

chord

formations,which,
very

other

chords, sound
and clear

harsh, and,
the dominant
rare,

for

part, without connection this reason, foreign,because,

in
to
a

was

already remarked
as

above,
that of

their relation

fundamentalkey
of the seventh. the less

is not

decided
will,

chord
not

Their
parting im-

use

be therefore,

in

part more

but

adaptedfor

to the harmonic coloring varietyand especial Among these secondary chords of the seventh, the

succession.

followingkinds

m"j

be

: distinguished

MANUAL

OF

HARMONY

in

Major

a.

Major

triads seventh.

with

major

aEizzisz:
JO_
'

"is"
"
a:

"="="%=*
o:

n"

vi7
c/mrat

N15.

Major

triads

with minor

seventh

always form

dominant

tf the seventh.
in

Minor:

h.

Minor

triad

with

-Q-

major

seventh.

(a)

~fe

not

used

as

fundamental

harmony.

in

Major:

C.

Minor

triads

with

minor

seventh.

Diminished

triads

with

minor

seventh.

Diminished

triad

with

diminished

seventh.

=BI

The

augmented

triad

with

major

seventh.

48

it is found
reasons

upon

the before

third

degree
in

in the

minor, is,to
case

be

sure, not

useless,

but from very

developed ambiguous.

of the

augmented triad,is

seldom
"

used, and
We

Remark.

find this chord

again,with

another

foundation,iu Chapter X. of
the Seventh

Application
The

of

the
or

Secondary

Chords

in

Major*
ished, diminits

seventh
or

its

inversion,the second, may

the second
as

be

major, minor,
; it will

(which concerns
to

only)augmented
dissonance the in
case

always in
the

relation This
no

the fundamental

press

to

progression.
of

natural

progression
that

is,with

secondary chords of
the dominant the

seventh,

other

than

already found fourths,downward

chord
if the

of the
latter

seventh,viz., one
noves

degree downwards
or

toward
or

fundamental,

by

fifths

upward.
intervals principal of the chord
it

If

the accordingly

of the progression

ound,

106.

iPIg"Pi

MANUAL

OF

HARMON

i.

for led

the
one

remaining

intervals, no
while
the

new

rule

is necessary the

; the

third

wili

bt

degree upward,

progression of

fifth can
e.

be

in either

direction.
a.

b.

107.

C:

\j
deviation

IV

n7
from

Remark. 107

"

The

this

rule

in that

the

progression
covered
g.,

ine

third

in would

Example
appeal

b,

is occasioned ascension

by

the of

circumstance,
the

the
e.

octave,

which

in the

regular

third

whole

step,

:S:=
10".

g=i=g=f:

II

irog=P^^B
was

avoided

thereby.
however,
or as

See in

page

85,

Example
107

32.

Whether,

Example

C, the
fifths

leading
be

tone

should

be

doubled

in th"

succeeding chord,

the

following

covered

preferred,

nas
109.

"is
will

i
which
can

depend
cases.

upon

circumstances

only

be

judged

of

in the

application to

par

ticular

Natural

(Cadencing) Progression
Seventh
a.

of
in

the

Secondary

Chords

of

the

Major.
not
:

of

the

first degree.
or :

110.

good
a
__

: a
"

^--r

_gg

"

g"

"

s"

"

r"

g-sr"

a"

"

"

MANUAL

OF

HARMONY.

57

vnth

omission

of

the

fifth:

+*"

b.

of

the

second

degree.

without

fifth :

mnimmummmwm
c.

of

the

third

degree:

without

fifth

"

""

SSSte^lSI
mm^m^m=mm
not:

not:
7
vi
"

C:

in

d.

of

the

fourth

degree

(Seldom

with

Viis

resolution).

wm
not ^

good:
5
^

"*""

68

MANUAL

OF

HARMONY.

e.

of the

girt,

degree.

without

ih /i,

mifmmmmmmimmm
mmwmmmFm
f.

of the

seventh

degree,

not

good

mmmwrnm^M
gEEEEg-^^l5=P
C;
vh"
"y
m

xcithoiU

fifth:

:4El=iE^l3=1^1=l=EE
H=

HI
"

Remark.

The

above

found

of progressions have such

all chords

of the
as

seventh

are

neither in

their The

exhaustive,nor positions
of forming difficulty

they

been

exhibited

the in

progressionslies
to the

only
are

ones'. only possible the frequentlyoccurring

covered
"not with to be

fifths and

octaves.

All
most

the remarks

-which also,

added
the

above, such

"

as as

not"

good" which,
other

for the

part,refer

leading of

Bass, (inasmuch
in

this,

necessary
from

understood

are, produces these faults,) voice-progressions, and while such stand theoretical cases a point,

man)'

cases,
ones

only
in the

similar

often be judged according in the so-called pure harmonic structure, must even practice, and 52 before expressed, to the principle 53). (pages of the rules for all cases in furnishing Since the theory has not yet succeeded positive be tinguished disin this respect, can the admissible and inadmissible kind, the true and false, only and educated car. of complete education a reallymusically harmonic by means

More

about

this follows

later.

Concerning

the

especial
of

Progression
the seventh

of

the

Chord

of

the

Seventh

Degree.
of progressions all chords of th"

In the "eventh
the

above in

found under

collection

of

Ihe

major,
takes fourth

No. 110, that of the seventh

others,has
of

been

led to the third

as place, upward

degree, that
chords

analogouswith degree, of the the progression is,

of the This

fundamental

with
or a

the other

seventh, through
is progression the

"step

fifth downward.

MANUAL

OF

HARMONY

60
used in of leading the

more

unusual

one,

and
to

is,for
a

the

most

part, only

harmony according occurs oftenei, upon

Lb

certain

formula

(sequence).
triad, to
which
to the

That

progression
triad.

which

the diminished 38 and

here the seventh tonic

added,

is

based, (see page

that 50), viz.,

ai

The triad
on

above
to

Example shows
triad is not
more

that plainly, altered decided. the

must

the

relation addition

of the of the

diminished

the tonic

by

the

seventh, but
in the

the

contrary, becomes
to be

It is likewise the position,

remarked, that, if

chord be

appears

above
Ill

third

of the

followingtriad

No. doubled, (see

112

b),

because

otherwise, perfectfifths would

arise ;

(See No.

a),

mmm
12.

i
or a

skip
and

must

be

used, as
in

at

b,

of leading

the

Tenor

which

is often

found,
seventh
other

which,

spiteof
this upper

the covered that

octave, is very

effective.
it in which the the

It is

peculiar to
lies in the
not

chord,
voice

only that
a

of position

produces

satisfactory effect,while
less clear.

if positions,

still appear impracticable,

113.

Rxmark.

"

Whether

the

reason

of ninth

this is,that

in the

seveuth

with

its above the

used

the character progression, chord

of

of the

lies, (as some

theorists

assert, that
chord
mere

domiuan

tb"j seventh, with

added
of

ninth, is the basis of this

the

with

its resolution),

which, th
does not

ugh similar

to

that

seventh, is still much

cannot

comprehensive,and

l.-ar the situation in the middle,

here b"i further "ivestLzated.

70

MANUAL

OF

HARMONY

TJie

Freer

Treatment

of

the the

Third Seventh. intervals The

a

and

Fifth

in

the

Chord

of

Various

progressionsof
of

these

have

alreadybeen
and

used

in th"

previousconnections
the third
a

chords. goes

likewise,sometimes
a

fifthgoes upwards and degree upwards,

all took
octaves.

downwards,
makes reference

sometimes

skip of
Where

third

downwards.

This

in placeprincipally

to, and

in avoidance these

of,covered
steps, by

fifths and
not

do faultyprogressions
means

the interfere, the

third
of

especially,
the voices

can

make

still other
more

of which g.

leading

often becomes

independent and freer,e.

b.
"*+

a.

not
^

good.
ja

c.

-ffl

G-

"f~
114.

-6-

That admits The

this

leadingis
of the

also
at
c.

in possible

the

middle

voices,if

the

position

of it, is shown

hading

Soprano

at

is not

good, because

skip of
called

an

in consequence. augmented fourth occurs The skip from the fourth to the seventh

degree,(F-B), is
steps.
the More

the

TritOll

II

", because

it contains

three

whole

of this sub-

eequently.
A time
as

different deviates

leadingof
from the

the

fifth is

possibleonly if
voices will

Bass
a

at

the

same

above

which progression,

is that

of

fundamental if itself,
we

in

still other general,

out

leadingof the
chord-connections

present
used.

search

other

than

the

hitherto

The

Preparation
the

of
chords

the

Seventh.

Thus

far the

of progression been

of

the

seventh

has

been

spoken

of,but nothing has

The harsh

said of

their introduction of many

effect of the

entrance

dissonances, and

particularly
in their

"f most
necessary varation. A
and
a

of the
a

sevenths

in

the secondary chords

of

of

the

seventh, reudera
pre-

careful

introduction

them,

which

consists

tone
the

is
same

prepared,if
voice, and

it
as

exists

already in
tone, so

the

foregoing
can

chord

in

onb

harmonic

that it

be connected

by

tie.

MANUAL

OF

HARMONY.

71
the first connections

Such

of preparation

tone
e.

is contained g.

already in

of chords

shown, previously

II
15.

It

can

be

said

here, that C

of the

Soprano
; likewise

in

the second

chord
Alto

is prepared in the

by the C of the Example following.

The

first chord

the

of

the

necessity
from

of

the

preparation of
from particularly of
two

the

sevenths, however,
if

does

not

result alone

the harsh

effect of their entrance the

they are of
which

struck

free,
con-

but [enter unprepared], nection and

character

harmonic is

binding
of the

consecutive

chords,
without the

especially

characteristic
not

sevenths, and which,

the

would preparation,

appear. The

preparation of
:

seventh

can

now

take

place

in

the

following

manner

11C.

C:

IT

IV

\j

IV

IV

n7

C:

in

IV

vii:

II

IV

Til"

In all these

Examples,
of

the tone

which

is connected

by

tie with

the following

like tone, forms In the

:

the

formation

preparation of the seventh. the following rules such preparation,

takes

are

to

b"

bserved
a.
measure

The

preparation

place

upon

the

unaccented

part

of th*
; it can

I".
indeed

at

and must (arsis) be of as least,

not

long duration
shorter, e,
g.

as

the

succeccdiug seventh

be lonjrer but

MANUAL

VF

HARMONY

mm^$
117.

It-Uthe sevenths forms

one

\l
of the
most

Remark

"

The

preparation of
and
most

importantjwrts o4
much car",

the doctrica of because

of up:"n

harmony,
the

is to be essential

carried

through
inner

and
and

with practiced
most

it rests

part

of the

intimate

connection

harmony.
If here also in the practicecan be adduced, we exceptions which else than they are even nothing exceptions, the
m

may prove

still again be

re

minded, that

nothing against the

intended
44
"

importanceof
of
as

of principle
a

harmonic

connection, but
and position
minor then

can

only be
the

and

judged
those
o*

called

for

concrete

case

by

the
the
va

relations.

(Page
less

Remark).
as

These the second roices.

occur exceptions

mostly with
degree, and

a3 sevenths,

harsh,

and

seventh

always

softened

by good leadingof

the

An Dj the

however, to the necessary especialexception, seventh also called of the dominant fihord,
one,

preparationis
the essential

formed

seventh

This
an

is the

which, through
and
casea.

its relation

to the

tonic

triad,enters

[wit
not

the effect]

least harsh all

foreignto

the fundamental

key, and

does

in requirepreparation

Of The

its farther iominant

use

the

followingmay
does

be remarked

seventh

not,

to be sure,

require preparation, yet

if the

its

free entrance
the voices

demands
^ure

the presence
aad without

of

the

fundamental,

leading oi

is to be

harshness.

"

g"

1-jgg^-g^"

g -\

.-t^

ja

FF

1".

ggJSppSs]5z8^"I
Rimabk.
"

The
to

so-called the rules

see

passing sevenths, wliich

of the

of

course,
are

as

such, cannot

be

pr"r

oared, conform
ihe

passingnotes,

which

later explained

Concerning

passingsevenths,
The
seventh the chord do
not

Chapter XVIII.

also of the seventh of the

any

degree

in

major

and

minor

(m the last

3ase,

diminished
means

by seventh),

reason

of their

especial

character

by

always require a preparation.

MANUAL

OF

HARMONY.

:a

Exercises.
7 7
6 G

47

L-l-g-

2.

8267

66

47

"".
^;

Il^"glUiliP^I
"

4.

*"

7
_

The

Connection

of

the

Chords

of the

Seventh

among

themselves.

The in the

progression or resolution of the chords former Examples, always through the

is

of the triad

seventh, took place

Instead of the

of the fourth degree

below. also follow.

above, or, which

equivalent, of

the

fifth degree
degree can hereby
no

triad,a
The
case

of the seventh of progressionof the voices

chord of the first chord

the

same

suffers

alteration, only,in
serve as

this

the third

of the seventh

will

the necessary

and will preparation of the following seventh, remain e. g. stationary,

therefore

not

progress, but

mmm\
120.
7

"i:
C:
n

mm

Here the

the third

of

the dominant

chord, the
of

of B, forms the preparation

seventh. following in peculiarity of the this connection

The chords the

harmony is, that

In If several be

in

one

of th

will always be wanting. seventh,the fifth first chord each has th" been

Example 120,
chords of the in each

fifth of the

left out.

seventh

succeed

other,

fi'lh will always

wanting

alU'-nsift nhuld.

74

MANUAL

OF

HARMONY.

121
7 7

"I
o
"
,

m^^E^m^m^
VI

IV"r

VII0"

III

-y

VI.

The

followingrule
:
or more

may

therefore

apply

for

connections

of

harmony

o"

this kind

If
mental

two

chords
the

of the seventh follow each

omitted in each alternate

other

in

the

funda

position,

fifthis

chord.

um

ll"l
4

4-5

77777366

62677

"

or

s"

Application
The ited.
use

of
the of for

the

Secondary

Chords

of

the

Seventh

in is

Minor
more

of

secondary chords
show

of the seventh
be
were

in

minoK

lim and

Many
their

them

themselves, to
as

or incapable,

indefinite in

ambiguous,
form, in
A
no

chord-connections

they
the

applied

major,
the

others voices.

heavy, unmelodic cadencing progressions,

the

steps of

chord

of

seventh

formed the

as

firstdegree gives it,can

the

afford

analogous to prog-es.sion
conceivable.

above, since

followingchord

conneotios

Is not

%
123

"
m

UANUAL

OF

HARMO

Y.

Rkmark.

"

Even
as

if with

the

above

combination

of

intervals, progre

ri

formed,

such

perhaps :

:5g:
121.

73 "till this wouid ehord of the

hardly be
seventh
of

admissible

as

proof

that

we

have

in this

of progression

the first degree in minor.

The and

resolution

of

the

chord

of

the second

degree is

into the dominant

is very

frequentlyused.
G-r-zi
r"

igsp"

"

S"

S?

125.

gj^i

progressionof

the

ehord

of

the

seventh

of

the

third

degree is

n"*

lpossible,

26.

"

m'7

VI

it is
A

ambiguous, however, (See Altered

be remarked

and

might

be

better

adapted
the

to

major
this

than

to

minor. It may

Chords).
here, in addition, that
one

fifth in

chord,

as

augmented interval,will always go upward

The chords the of the voices

degree.
are

fourth
in

and

sixth

degrees
becomes

unusual, because
inconvenient and

the
un-

leading of
;^clodi
.

their

resolution

2"
*-" 127.
B

good:
-

:"==":

iT=^*: EzSL^t^E^^^^feifEi

76

MANUAL

OF

HARMON:

128

The and

forced character

of most

of the above

is unmistakable, progressions

prevents their frequentuse.

seventh

The

degree in
the
name

minor of
OF

brings an

important chord, which

is generally

known

under
THE

CHORD

THE

DIMINISHED
manner

SEVENTH.

A since

resolution of this chord

it would

in the

of all the

rest

is

impossible,
was

necessarily

result in the

triad of the third and

which degree,

doubtful above as alreadyrepresented Instead of this,its progression, as seventh

ambiguous.
the chord based
upon
rests

with

of
:

the seventh

of

th*

degree in major (seepage

the

68),is

the natural

sion progres-

of

leading tone,

upon

which

this chord

129.

1
this chord
a

As
bo

the

fundamental of
also
moves
as regularly

tone), (leading progresses

chords of the seventh

the

seventh

downwards, while third half-step

the other

and ;

halfstef. fifthare
especially,
be

led

just as
in

with

however,

many

attended accurately

positions (No. 130 a) must the leadingof the third : produces faultyprogression to, because it easily

"a.

*""

130.

lM^^""=i
#*
*

II;
the third

"hereas
Remark.

the

at position
The

b and

to gives
this

greater freedom.
as

"

natural
in

of progression

chord, as

well

of the chord
the older

of the

seventh
mony of har-

of the seventh

degree
with

major, to
it in the

the

has tonic,

occasioned
the

teachers

to find tht

basis of
a

dominant

of this chord

ninth

(major or
whicl

harmony "/ and to it, minor) added

seventh. the

They conceived
omitted

fundamental

whereby
Whi

arose

both

chords

of the seventh

degree.
(inChapter
IX.) of the cficrd of the aiulh

f. we

refer to that

is -"aid later

MANUAL

OF

HARMONY

77

jre

cau

only bring forward

here

as

reason

for

the view

that this assumptici offered, that for

the
more

of

the che rd of the

ninth is needless

and has

and far-fetched, been

of the harmonic simplicity of

system

preferred
to

practical purposes, the excursive explanation

it.

For

the

of application

the

chord

of the

diminished

seventh, observe

iu

addition

The

: following diminished as seventh,

the

the

mildest

of

needs all,

no

preparation

(See page 72).

Exercises.

7 7 (S 7

"

The

and foregoing the

al.

only have
thus far

objectto and explained,

which, of exercises of this chapter, previous assist us in learning to use mechanically the the their rules and

course, chorda
thing some-

to test

remarks

laid the

down, great

have

inflexible and
chords and of the seventh the

stiff in could

structure, because
here in the

number

of

only appear
of many the
us

fundamental position
our
was

because

introduction allow

of them of other

upon
means,

present stand
and difficult,

which point,
could

did not

selection

only appear
follows

forced. may
serve
as

"What The

explanationof
chords of the
as fifth,

them:

fundamental
a

of these
or

seventh
seen

makes from the

everywhere the leadingof the

is

cadencingskip of
Bass, only,in
an

fourth
the

is to be 122

the third

exercise

of Nos.
measure

and

131,

there

found, seemingly,
of No. the in

exception. In
tone, to be

fourth

of the third exercise

122,

the Bass

sure,

remains in
tone

of the progression stationary,

a

mental fundatw"

is, however,
chords:
we

contained Bass the

use

perfectly regularmanner
could here remain the
case

the

A7,

D7.

The

because stationary, chord iu

have

alreadylearned
can

inversions them.

of
The

dominant is the
same

of the
the fiftk

seventh, and

therefore

MAX

UAL

OF

HARMONY.

measure

of the

third

exercise

of

No.
a

131,

where

the

progressionof

the

fundamental
]n

A7-D

takes

place with
of No. 131

Bass. stationary the chord

the second minor appear

Exercise is

of

the seventh

of the thira

degree in
"t

used, and, it may

be assumed, that, with this introduction

will

not

unnatural

and harsh.

CHAPTER
The Inversions

VII.
Seventh.

of the

Secondary

Chords

of the

Through derived dominant

the inversions

of the have chord

secondarychords already shown of

the

of the seventh before

the

samt

chords

arise,which

themselves and

with

the

seventh, viz.,the
and

sixth

of fifth,

the

sixth,
mony harFor

fourth
The

third, and
of
no

of the second. the

variousness occasions

third, fifth and

in the

seventh

of the of the

fundamental inversions.

alteration seventh

treatment

although

the

major
manner

second, and
"neue

the
same

diminished
as

changes, through inversion, into a minor will into an augmented, still its progression
has

in the

already been
4 3
-5 "S-

explainedabove.
o

6
H

0:1"
There
the

I7

IV

is need

of

no

new

rule

for the

of progression

all these

chords minor

il

seventh.
was

Only,
before

that

of the
a

seventh

degree
on

in

major
account

and of the

as requires,

remarked,

little caution

easily

occurringopen fifths. Somewhat more concerningtheir Progression of the Chord Major.

6

treatment

may

follow the

here.

of the Seventh

of
4 3

Seventh

Degree
0 4

in

5_
las

6
_

not:

6^

2^

AH
of the

these

inversions
most

of

the chord seldom be

may in

be

used, only
the

the

last,the chord

second, will

since place,

resolution into tta

MANUAL

OF

HARMONY.

79

dbord
as

of

the sixth

and

fourth

could

only occur
misled these

in

rare

case",

and

at

most

passing chord.
We
must not

allow

ourselves

to be

in respect to their usefulness chords

are

by
133.
monies

the It
to

crowded is

positionin which
was

exhibited

in

No

as only important, or

mentioned fundamental
and fifth, of

before,whether
the fourth and

the seventh

lie above

below

the

(see page 69),and position*

third of th"

of

the chords

of the

sixth

and

sort, following

131.

4^

9="

g-j^^g^^g^^E
the seventh lies above the fundamental. of

appear The "imilar

more

because satisfying,

chord
to

of

the diminished g.

seventh

requiresa

manner

progression

the

foregoinge.
"

0
or

"
6 3
6

56

.-5

2J4

That that chord

here

likewise

the third
use,

inversion,the

chord

of the

second, will

be

least

adapted for
sixth

is shown

by

the

of the

and

fourth, a chord,
which fifths,

chord what arise

resolution into the unsatisfying which always requiresa careful follows later. the chorda
:

treatment,
That of

concerningwhich
of and and fifthj

is necessary

successions

the sixth

of the fourth

through resolution of and third, in this manner

136.

are

to be

has as faulty, regarded succession

been

alreadymentioned
of

above, (page76).
also page

the "Concerning

of this sort

fifths, compare

29,

Nos.

16, 17, and

With

18. of exceedinglypliantchord, the position the

this

fundamental
with
or

aa

respects the seventh

of the seventh

produces no

such

material

as difference, can

the chord

degree in major ; the seventh of the of sound fundamental, the similarity

minor

lie abovt

below the
to
cause

augmented
to the

second and

the

third,will always impart much

mildness
to

chord

tfu

former

only to

be felt

as

such

in reference

the

key

MANUAL

OF

HARMONY

Exercises.
6 6
6 5 6 5

6 5

6 8.

"
6 4. 5 " 4

267366

^l^IiiePI?""i=l==
5.

6.

32626

42

65

7
_

f
5

6 6
5

"

mm

S:

f
7 3 6 7
5

9.

7 "

I
,.

"

7667 4

It

"

_^

4 3

m^im^mMw^"^=

MANUAL

OF

HARMON

T.

81

CHAPTER
The Chords
various live

VIII.
in than connection those
thus

of

the

Seventh
other

with

Chords
used.

of

the

tone-degrees
Cadences.

far

Deccp'

The

known

rule,that

the

seventh
to itself,

must,
be
sure,
as

in

the

resolution, progress

one

degree downwards,
of chords

verifies

completely,in
little in the

the connections any of

previouslyshown,
which,
under other

but

it has

positive authorityas
great
variousness

thing
chord In

else

and conditions, necessary

or

connections,is subjectto
the
movement

alterations. of its the second, inversion, If this thing everyis of

of the the

the seventh

depends
such

upon all

progressionof
cases no

the

fundamental.
that without

sort, as

in

hitherto

shown,
full

the downward be

of progression

the seventh also the

and intelligible rule will have

satisfying result would application.

can

produced, then
The direction

above

of progression of the
e.

the

fundamental, however,
; it
can

set entirely
or

aside
even

this pro-

seventh
q.

either

remain

stationary

upwards,

13".

This
with kinds in

leads

us

to

the

of connecting the possibility than those with

to

chords used.

of the A few
to

seventh known

chords

of

other tone-degrees,
now

hitherto

of chord-connections
at
new

follow of the

remarks,

in order

be

able,

attempts
We

formations

kind,

proceed according to

critical

principles.

begin with
been in the

the dominant

chord

of the seventh.
the resolution of the chords that of the is called

It has seventh

mentioned
manner

before,that
hitherto used

cadence, and

of the

dominant
If the any

chord chord

of the seventh other than

closingcadence.
triad
to
a

the tonic

follows

the

dominant

chord

of

seventh, the

natural

inclination

close

is either

delayed or entirely

net aside.

The

of expectation and for this

the
reason

natural these

succession connections
CADENCES.

experienceshereby
of chords
are

pointment disap-

called

DECEPTIVE

Deceptive
dominant
to other

cadences

arise thus

everywhere, where
does
not

the

progressionof

th"

chord
chords.

of the seventh

result

in the

tonic

triad, but lead"

go

MANUAL

OF

HARMONY.

Some 1. The

varieties

of them

will next
the

be

explained.
chord
a

connection that

of
the

dominant

of

the seventh

with,

triad",

other
yrees
a.

than

of

tonic,with
the sixth

x"rogression of

the seventh

by

de

downwards.

Connection
In Major.

with

degree.
In Minor.
_

O:

V7

^L-*
v,

^^
a:

V7

VI

This The

chord-connection
effect of this of the
In

cadence) (deceptive
not
so

occurs

very with
: In

frequently.
the inversions

is progression

decided
more

oi

the chord

seventh, and
Major.
6
^

is therefore

rare

Minor. 6 56

"
5

6 2
4

36

140
"

C:

V7

vi

"

"

a:

V7

VI

Connection

with
7

the third degree.

better

position
6

6
_

7_

1 ***

'

E fe~^:z^z^"~|:~i:^^'9i=|:~"::Er^3^|

Remark. follows ;

"

The

attempts with
made. easily

the

inversions

of

the chord

are

omitted

here

and in warnt

they are

This
:

becomes progression

more

decided

under

the

of application

lation modu-

7_

142.

^=|^^^^=^-=5^g
C:

V7
with

a:V

-_*
triad of the third

The

connection but this

as

the

degree

is also

id possible

minor,
t

dissonant

chord

will the augmented fifth) (through

make

farther

succession

necessary.

143.

a:

v7

III'

VI

TAf

connection

with

t?'iads, the seventh

remaining

stationary.

MANUAL

OF

0 X

"3

A.

With

the second

degree.
not
:

impracticable in

Minor.

-0
1 it.
-"-.
"

-jo-

95E
'7

I),

TFi7A
I'k

the fourth
Major
:

degree.
/" Minor
.

^6
,5,

;
I

"f-,-*^
1
"

145.

"

Ci

'S "*"

1
"

Ct

Cd =

"

na

".-

-"

iL

The

connection of of
"A

of other them

the

dominant

chord

of the seventh
before

with

harmonies,
sible. pos-

of the seventh
A few

degrees beside
follow
3d

those

used, is

likewise

here
Degree
6

Degr

or

Minor
"

"d

Degree,

116.

mm?mm
C: V-,

Y7

a':V7
new

If

we

modulate itself

into

other g.

keys, the

of possibility

connections

extends
a.

e. greatly, a

With

downward

progression of the seventh.

better

fe

"

""

^
":
*

P" g" -\"o^jy,"

7
C: Wi V. '

^Sg"

[1 g|-jZg|^_^-g|" ^
"

C:

V-

V~

F:

V-v

a:

V-r

G:yn"

1).

TAe

seventh

remaining stationary.

C:

V7 Efc":V7

C:

Y~

B,,: V7

a:

V7

C:

V7

a:

V~

G:

V'7

3. The levenih.
This
a.

connection

cf the chords through an

with the
common

upward

progression

of thi

case

can
an

occur

cadence

(V

"

I).
voices-

With

exchange of

the

progressionof

various

MANUAL

OF

II ARM

ON

7.

not

119,
7 7 7 6 7
6

Through
the seventh

the

step of

third,of

the

Bass,

the

downward
octave

becomes

since impossible,

the

covered

of progression occurring thereby

"".
"

tt

150.

"
is in any
case

si
of progression the fundamental
cannot

faulty.
this

In the

remaining voices

introduced.

^=E=?=^iiE
151.

"i=^^=JE"=^^^^g
A.11 these fo. The

Examples

are

faulty.

fundamental remaining stationary:

g?^|g-

~-%=^*
"

F"

g^^g^=^g

"

F"

gg=^ W *"

152.

^3

G
o g-

g=S

l=e^l
as

The

fundamental

serves

-here

so-called stationary voice.

lie "/
a

(See later:
seventh, and

however Organ point). It must would the following progression

distance

from

the

be

: faulty

a
153.

^"

MANUAL

OF

HARM

OS

Y.

86

Through
7

cliromatic
r"
4

alteration
" 4 3

ana

with

modulation.

"

fl

u_3

5_

2__

"

#J

C:V7G:V7

enharmonic:

%
2
_o

u"

C:

V7

Q:

V7

V7

b:

vii"7

C:

V7

FJ: V7 with modulation into

d.

Through contrary

motion

of

the Bass

other

keys

"""

^P^^^^^i
7

C:V7b|,:vu"7

a:

V7

d:

vii""7

C:

V7

F:

V7
149.)

(See above, No.

The of the

foregoingcatalogue of
The of harmonic

chord-connections

gives only an
was

indication
to
con-

possiblecombinations.
manifoldness

object of

them

to

call

attention

progression and
similar their

its

capabilityfor

struction.

Concerning the
can

worth

of these and

chord-combinations,

criticism

only decide
with

in

especialcases,
attention in

since

right use

becomes

possible

a proper only rythmical weight ;

to their

introduction, their
situation. the

succession,their

short,their
of
a

whole

The

character particular the voices

piece of music,
a

peculiarlyformed
or

leadingof
the like, can upon

of through the application combinations

new

motive
; to

thought,and
case, in ordei th"

lead to such

of

harmony

apply them, however,

in any
so

to produce speculation,

and in

strange
few

forms

to appear

would original, would

not

probably
apparent.

instances

succeed, that

intention

be

Exercise",
6

,5".

gj^ZLjrj3B"nm?TT^i
4

m^^wm^s^E^mm

se

MANUAL

OF

HARMONY.

2-4 3.
3
"

"1
-

6 4

fi
7

IE^M4="N-j^l7T^ff

(2-t-S"-

i^sililiii^^^li"^li^l
5. open

position. 3

J?

l"^ll"^l"^"l"
3
-"-

IUI
5 7

6 4

7
S

G
4

7 $

7.

7 I

J3T

6 4

6 4

7 g

_p

_5

5_

"pE
Remahk. adduced
"

I=^Hp-l_j-

O-T-

d=zt

SB
to
a

The

ope"

of position it

the 5th exercise has reference

be

leading of the voices

page

84 ; farther on,

can

abandoned

again.

The

Secondary

Harmonies

of the

Seventh
or

Connected

with

fliords

of other
A may
as

Tone-Degrees
of chords all
cases

Keys.
of be
"i

few here

more

connections
To

with

secondary chords
would

Ifct.seventh

follow.

adduce

of the kind

impossible

it would
a.

be without

object. of the seventh.

With

regular progression

C:

n7

ii7
not:

b:

V7

C:

m7

IV

ir;7F:V7

CilV^OtV-jr

letter:

"flop ifppilipliliilill^f
a:

a?*

III

VI

iv7

iv7

VIjQiVy

te"7

"

"m""7

b.

TFtf/i /re"

of progression

the seventh.

3.

AN

UAL

0 F

1
.

87

not

C:

n?

G:

V~

C:

117
the

o:

vii0^ C:

117

a:

V7

0:

11-

i":

viiu^r
called
erou

Rem

abk."

The

reason

wl

last

example

is not follows

good, lies
later.

in these

nlatiir. therein
C.

found, the

of which explanation

The
".

seventh

remaining stationary.
b.
^

c.

(I.

C:

n7

IV

:i7

vi

n7

n7

The

last chord-succession the

is often

used.

It forms
the

delay of

the

cadeninserted

cing progressionof
chord of the sixth

second fourth of

degree to
the tonic

fifth,through the
Its chord in

and

triad. its

of the sixth

also often appears

The chord

between

this chord

and

as resolution,

Example

C.

of

the diminished

seventh

is often

used

in like

manner:

Here the sixth

also the and

natural

is only delayed through the progression

chord

of

fourth.

The

mechanical

combination

of such

chord-successions

may it will

be

left to

personalpractice and insight gained

esteemed i'
so

investigation.The
the relations it
same

advantage
and

of

lie in the
to

into

of

chords,

therefore ; this

is not

be

as insignificant

might at
relation the

first appear
to

will, [practice]
the

fact,stand
and of

in about

the

as composition,

technical
and sentation reprethe

studies

preparatory exercises,to
musical
render here works. Both

out practical bringing

produce aptness
in Us

and

educate skill,

powers,

and

intellectual
be

productionspossible.
-that addition,
must

It may seventh
as

only
of the
nine

remarked
and

the

relation be

to the

fundamental
above

progression
If

always
and

of the regarded
chord-

the

criterion form
can

combination. before

this is pure

the remaining the

voices

of the for

mentioned

faults,then

ombination

bt used

cases. particular

Exercise:
7 6 6 6

1G1.

^Wt^tr-rf^^^EEegm^t

88

MANUAL

OF

HARMONY.

ikfe^^
4 7

=P

i="
6 2

;i"

7 5

^mmmimimM^mmmmm
6 5 6

6 4

"

I*-

6 5.

7 6 7654S

547S

55

6 4

Sfe^Eg^J3Epj3=jpsgi^j^t
87

7.

5
-r-~

21

""liEgEEg^EE'Eg
7 6

"--r-(2-

i"ieEg
6 4 7

"^
Remark. because
"

llfefell^l
Many
are

IE
up

of the

cases

above

adduced

could not be taken

in these exercises,

they
would

based

upon
a

modulation, which
little

(The

sixth

exercise niakjs
also have

become

is not particularly explaineduntil later. amples Exof modulation.) Many of the above application and and less the stiff smoother strange, by application

of modulaiioa

CHAPTER
On Chords

IX.
Eleventh
and

of the
are

Ninth,

Thirteenth.
these respecting

Iv most formations.
Tbe
ous.

text-books

found extended

discussions

chord.

views

which

can

be
same

maintained plausibly

respectingthem
We
can assume

are

van

and

will lead

to the

practical result.

At A

0 A

II A

i
.

""

Either
"w

that
;

this combination

of

intervals

is to be

regarded

and

treated

real chords

eiflier belongto the sua they,as unessential chord-formations, of a voice remaining stationary account on pensions, or arise accidentally through theiy In the first case, the explanation of their use, especially

Or, that

becomes inversions, voiced because In

movement
one

very
or

extended;
more

and

also
or

obscure, (sincein the fou'

intervals chords. much
more

of their

tones

must

be

omitted,

they

are

then
case

mistaken easily their

for other

the second
The

becomes explanation ninth, as

well
as

simple.
named,
are a

Remark.

"

chords

of

the

those afterwards
was as an

relio

of

the

old

so-called

thorough-bass doctrine, which

accidental
the whole

fond

of conceiving of every
and
a

combination
its treatment,

of tones, however without

it might be,
chance of

chord especial
under

taught
definite

arranging
made the

many

chord-phenomena
harmony
much

system,
diffuse.

and

thereby

doctrine

more

difficult and

Without this kind

being able
of formations

here with

to enter

into the theoretic

ones,

reasons

which

class

the accidental real

the

simplification possible
us

of the harmonic
at once

system

without

determines practical disadvantages, in Part of these

to

the last view.

to

this (More respecting

II.)
unessential chord

In

order

gain a
and

clear

view,

the

formation

will be

shown,
add
a

remarks
to

added. chord of the

If which ninth.

we

ninth
under

the dominant
name

seventh, a
chord

chord

arises,
and

is known

the

of

the dominant

of

the seventh

In

Major

In

Minor

162.
-ZZHZX.

TT/s'

-LL

Tn

major
chord

we

find the is used chord

major,

in minor harmonic

the minor

ninth.
as

This the of

in the pure of the seventh

; and
cases

structure,

in similar relations the

dominant the

of with preparation itself, cf the

ninth

Ol

fundamental
free

sort, following

where

both

to~."

enter

l":s

^=m
we

to be

censured

on

account

of

their stiffness and thus:

want

of connection

TV;*

preparation can

be

effected

90

MA

UAL

OF

HARMONY.

g^lgiifeilllli
164.
9 9 7

6 4

:~g"

sr

%iS
be reckoned
as

IIow

far the first the

examples
last
to

are

to

belongingto

the

sus-

pensions,and

other II.
the have of
manner

accidental

chord-formations,

cannot

be

in explaineduntil later,
Remark.
"

Part
of
we

From

the chord

ninth in

major they derive

before fully
;

the

chord the be

of the seventh.
chord able
chords

of the seventh
diminished their

which degree, from

treated of
the ninth

likewise
to

of
of

tht

seventh

the chord
a

in minor, in order
that of the

to form

cadencing progressionin
it is

analogousto
are

other

the

seventh, since
to

said,that

these

chords the

themselves of which

dominant

chords

of

the

seventh,

which

the

ninth is added, and

fundamental

is omitted, e. g.

165.

fe=

mm
the first,the

Through this arises,with

"f the

that complication
; one,

we

must

accept

of

too

chords
is the

seventh

of the

seventh

degree in major

the natural

cadence

of which

Following:

166.

i
chord
of the

the other way

rest.

as

derived
refer to

from the

the dominant character

of the

seventh, while
tone

it remains
the above

the simplest chords

to

leading

upon

which

That

many

musical

text-books the is

accept also of secondary chords

of the

seventh and
still more
tones
are

ninth,
be

renders

explanationof

many

harmonic since
none

formations of these their whole

and complicated,
to

just as

little necessary,

introduced

without

preparation, whereby, in
no

treatment

and

succession, they

differ in

respect from
well the and
as

the

suspensions.
to
a

That

which, according to
to the

the the

as practice,

according

more

simplified theory,appliesto
greater measure
The chords

chords

of

ninth, will apply

those is the
: following

in

still

of the eleventh
of these

of the thirteenth.

strange and

form frightful

chords

167.

MA

NUAL

OF

Ha

MO

.V Y.

91

In the pure

four-voiced the

movement

they

can,

of course,

never

be will

applied.
appeal

since,through

necessary g.,

omission

of many

intervals, they

e. "imply as suspensions,

4-

16".

and
at

even

in the their also

polyphonic movement
character,from
appear without the

they will

not

themselv"" distinguish the

can more

in all,

suspensions ;

in

free

style,
as

where

they

preparation, they

be

regarded

changing

notes.

CHAPTER
CJiromatic Alteration

X.
Harmonies, Altered

of the

Fundamental Chords.

The

chromatic
has it
a

alteration double
a

of
:

one

or

several

intervals

of the fundamental

harmonies Either

effect

produces

modulation,
a
new

Or, it gives to the chord

formation

not

hitherto used

by

us.

If, for example, the major

a.

triad is altered

in this manner,

there

arise

Modulations

."9.

gjEzB^^EpSggfei
the diminished triad of the seventh ;

Through C",
D

degree in

major

or

minor,

or

the second

degree in B
"

minor

Through E?,
major
The and

the C minor

triad;
triad of the seventh

Through Ei? and Gb, the diminished

minor,
or

degree cf D?
chord

the

second
are

degree of Bi? minor.

mere

last two

alterations

of transpositions

the

same

into

vther to.

C? major keys,viz.,
New Formations:

and

major. Cjf

" TO.

glj=tll=PI=gf=j^^|li^
these, the formations
a,

Of

", d, f,

can

indeed

be

produced accident

MANUAL

OF

HA

VMONY.

ally thrcugh by-tones(passing tones); they have, however,

value. It is otherwise with the formations
at c

n.

harmoni"

and

e9 which

maintain

harmoni

(accordliche) significance.
The first form of the triad

(c) is

known

under

the

name

of

THE

AUGMENTED

TRIAD.

Tins

chord

was

found

before

upon

the this

third

degree

in minor been and

(seepage previously degrees

of

U)
in

it appears but

seldom, however, in
more

as situation,

has

mentioned, major,
Its

often

as

triid

of the fifth.

fourth first,

fifth

with

raised chromatically the

originfrom

passingtone

(G$)to

the next is

as explanation,

also its

which progression,

following(A) determined through

is easy

this tone

(Gfr as augmented
171.

interval.

The

inversions

of this chord
6

can

also be

used.
G

172.
C: I iv

fellfifel^Iil^
v
I

iv

vno

Although

these the

chords

appeared for

the most
can

part

in

or passing, throngb

of preparation

augmented fourth, they harmony

:

also enter

free in

case

of

"

rapidchange

of

the

I
".

'.I

"B
173.

"IiHe"3^If|
To whicL the
occurs

augmented
most

triad

can

be added also

not

only the
major

dominant

seventh,

but frequently,

the

seventh

of the first and

fourth
a.

degrees.
The

augmented

triad

in connection
G

with

the dominant

seventh:
0
4 a
e

mmmmii
174.

mm^mmmmsmm^js

MA

NUAL

OF

IIA

0 N

Y.

93

h.

In

connection

tvith the seventh

of

the

fust degree:

175.

C.

TA"

addition
rare :

of

the

seventh

to the

augmented

triad

of

the

fourth

degreeis

very

4
3
"

G
"

"

"

F"

"

"

t-"

"

_-rr L"i.yi"g-

176.

iftltllilglil^lf
(J:

4^

IV-r

vii"

In

all these

chord-connections

thus used: also be Bass.

far, the
some

cadencing
chords of

Bass

sion, progresmay

(e. g.,
that these and
a

V-I

I-IV)
treated

has of

been
can

examples,however,
with

show,

chords

used

other

degrees,

various

of progression

the

5*6

7 5

6 5

5 4 5

3
8

G 5

.%

J-

X ; 3b

1
177.

^^i^^==^em=il
C: V*
d:vh

7 76

65
5

555 t

#5

"#"

u"

-J-

" 1

1T

d:

C:

combination" occasionally strange and rough sounding harmonic which they occupy, and only through the situation acquire significance leads to them. if in a certain degree an inner necessity especially, of to the possibility If it is the province of a text-book to call attention
These such
oyer

harmonic

formations, it
the worth of

is

ai"o

its

duty

to

warn

the

beginner against
in

valuing

such

stimulants; to advise

him

general, not

MANUAL

OF

EAR

MONI

until he is fuUy speculations, in the treatment versed of the simplest harmonies of the simple pur* A harmonic too structure. earlyoccupation therewith, and intentional render effects will and probably impossible of difficult, especial seeking out fundamental the insightinto the simple, the clear view, and features "A to occupy

himselfwith

such

things

and

harmony,
matters.

and

turn

away

the

sense

from

the

chief

thing

to

secondary

Exercises.
5 15
-

53

5$
~

its.

asjE^f*
3
2
_

m^fi^iii^!
5

_6J

53

55

6 5

63
4 6 5

5
4

6 if

era
7 5 6
"

^
NB. 6

Sl^^l :t=i=f
6

53

53

Remark.

"

In the fourth exercise

the

augmented
which

fifth has

been

used, even
does
not

with
sound 170.

the
natural. un-

minor

triad of the second

This would

degree (at NB),

the
natural

in this connection
before in

correspond to
a

formation/*

Example
new

No.

It

is
can

seen

from

this,that with

leading of the

voices, many

chord-formations

be

gained.
the formation
e

From

of

example

179

:
,

_g,

(whichalso occurs
harmony which
SIXTH.

under

the
:

name,

double diminished

arises triad),

is much

used, viz

THE

AUGMENTED

CHORD

OF

THE

The

first inversion

of

the

above

chord

givesit :

r".

|=Ed|f=^l
is determined
to

According

to

its

which progression,

by
the

the fourth

augmented

chord tixth, the original

belongshere
the with

minor,

degreeof
degree
abeve^

which, C minor,
Wherever

with

of raising appear*

fundamental,
its natural

goes

to the

fifth

this chord

progressionshown

MANUAL

OF

IIA

EM

GAY.

85
dominant The of the rf

Example
proof of
the

No.

179,
a

the few

last

chord

shows formed the

itself

as

this lies in

harmonies

like the

augmented chord
and

sixth,the
follows
The

augmented chord of of
the
on.

sixth, fourth

third, and
the basis

augmented
which

chord

sixth and

the explanaticn of fifth,

farther

Remark.

"

relation,in which
its

the

augmented
to

chord
same

of the sixth stands

source.

to

the

jmt

noticed

chords, allows

origin

to

be referred

the

See

later.

The

augmented
:

chord

onbj (the fifth

movement

of the

that its third of the sixth has the peculiarity, originalchord) can be doubled in the four-voiced

l"0.

gsj^gggfjfjjjE
Of
the

remaining positionsof

diminished

voiced, but however,

in
a.

original chord (the so-called double threeused be the first (fundamentalposition) can triad), also four-voiced, only inversion), very seldom, the third (second
the
a

very

open

position.
b. not:
not:

better:

Remark." in the

Tbe

chromatic

alteration of
169
an

an

interval of the
thus the
are

minor
no

triad is farther

tained alreadycon-

formations

of Nos.

and

170, and
of which

needs

investigation.
in the

Just

so

the

chromatic minor

alteration of

interval

diminished

triad will either produce

above

major, or
referred to.
Thus the in C

triads, or
of the

formations

alreadyfound
be
like

place
is

formation

triad

in No.

170.

will

the

wh:ch following,

found

major :
letter
in

open

position:

182.

^=lz:pll=^=|;^lg^=^|
"

o:

vno

This

chord

bears, in

many

text-books,

the

name

harsh

diminished

minderter triad,{hartver-

Dreiklang).
The like chords, if in passing, they may be so called, appear generallyonlyaccidentally, that intervals, their in with accordance their progression is, augvwiied proceeds intervals downwards. diminished one upwards, degree progress

and

intervals

The

chromatic

alteration

of

an

interval "tf the chord

of the seventh ha*

96

MANUAL

OF

HARMONY.

been, in part, already mentioned,

the seventh triad.
was

where

to

the

altered chromatically
with the

triad

also added

(page 92).

This

occurred

augmented
chro.natie

Among
alteration

the of

remaining secondary
one

receives

an

of the seventh, the especialimportance. This is

in the

chords

the

-ehori

of the seventh of the second degree in minor, which, much used. produces chord-formations
The chromatic of raising its third

form. following

183.

^=2"-S=\l
a:

u"7

gives

the

inversions following

6 5

4 3

"
2

Of
the

these
are

the inversions,

second

is the

most

important and
is known

is much

as"d

rest

unusual.

The
name

chord of

resultingfrom

the

second

inversion

under

the

THE

AUGMENTED

CHORD

OF

THE

SIXTH, the

FOURTH

AND

THIRD.

Its

is progression of the
so

hased

upon of the

that

of

fundamental leads
most

chord, that is,as

to immediately

the chord the

seventh

second

degree

dominant,

also will this.

If the fundamental

of

this chord

is

omitted, the augmented

to

chord

of

the
u

the progression of which sixth,already found, arises,

the

dominant

(seepage hereby explained,

94) ;

86.

mmm
a:

ii"

a,

ii"

or, for

comparisor with
Fundair trial chord

No.

179,

in G

minor
Am./,

: of the si.rth, third :

Chro.
:

raising of the third:

chord

Aug.

fourth and

chord the sixth

of
:

":

ii

!f

g:

ii"7

c""

MANUAL

OF

HARMONY.

"St

Remat.
of the

Ft may

he

mentioned
third
can

here, that

the

formation

of the
a

tlie

Augmented
is

chord
tnaa

sixth, fourth

and

be

already reached through

page

harsh diminished
Beventh
was

(hart verminderter
the resolu
the seventli

mentioned Dreiklang)
must

95, to winch
one,

added;

that
on

ion, however,
while degree,

become

different the

since

that

considered

to be

this is found

upon

second.

Instead

of the fundamental be

of the

this

chord, the ninth

f the fundamental
.

chord

can

added, whereby
CHORD

AUGMENTED

OF

THE

SIXTH

AND

FIFTH

arises.
Its

originis
chord:

as

follows
with

: without Fundamental elevation the third :

:
a.

Fundamental

ninth:

with

Inversionx b. 0

"
;5

c.

25
yy.

of

""
a:

"
^

*'

h"

Of
mented
are

these

chords, the

one

resultingfrom
is fifth,

the first inversion best

"t, the aug-

chord

of

the

sixth and

adapted for

use, the others

rare.

Its natural
var

is progression

likewise

to

the dominant, but

always producer

allel fifths:
1"0.

mmsm
do not

These
are

which fifths, progressing either

belong to
resolution in the

the most of the

unpleasaut ones,
fifth

avoided

through
as same

an

earlier

(the original,
chord of

above-mentioned

ninth

as suspension),

followingExample {(f), or
the

through
the sixth

skip of the
results

into the
most

third,whereby
Bass

augmented
and fifth

(b), or
fourth

frequently, by
the
tone

the third progress,

remaining
the chord chord

while stationary of the

can

the sixth

and

whereby

sixth

and

is inserted
a

before

the the

resolution

(c),which

be here

regarded as

of prolongation

suspension.

not

better

Remark.

"

The

addition

of ninth

the has

ninth

chord

of
as

the

ninth ; the very

don,

appears

from plainly

explainingthis harmony as justify character the as same here, as everywhere, sispen the progression at h are just so the progression a;
does
not

"8

MA

UAL

OF

HA

ausw

"".

"

chord)
in

completelyto the treatment quiresa preparation.

follow f'nm the

of

the

as suspensions,

it alsc (a* fifth in the abort

It wou"d
conue"

this,that this harmony should

it was suspensions,
however discussioa

be

taken

into consideration
to

first

ciou with

necessary and
it
was

mention
not

it here, beintention,

sause

the

questionof

the

origin was
to

under
x

the

by

the

above

""spres"edview,

oppose

generallyreceived

appellation

Exercises. 60 $
2 6 7

"

""""

z^m^mmm^mmimm
7 6 $4 5
4

9!pt

=3=
4

"
-o
"

i
*-

G 4
-s"-

*
J

6 4

7 5

ESj Ifcjgjgzfc

3=f
:Mg=
At
was

r-F

g-Psr"

gonce

L^-:o;

the

close

:"f this

chapterwe adapted Nothing

for

survey

more

the

broad

field which which is

opened
and

in it for harmonic and

formations.
use.

We Much
showed

have

found
to

much
us

knowu generally for

use

appeared

unadapted

worthless.

however

itself in its

tion, condioriginal in alteration, occasion

a

everything had
certain
to refer sense,
once

received This

an

addition,

experienced an
the
on

adornment.
more

forsakingof
was

originalgivesus
page 03. harmonic
common

to

that

which

remarked these

A
were

long

time

indeed
a

elapsed,before
before still longer,
is

transformations

discovered, and
until that
now

they became
may may of with
not

property;
be

much, which but,

in

unadaptedfor

use,

time

developed,
cannot

order

the

healthy inner
forms, or

germ

be for
use

we lost,

vise adthe

the

direction of the whole

new

out effort,

desire

to originality,

discoveryof
from
Since the

harmonic

the

immoderate

of then, and

tion devia-

primitive.
transformations
serve more

all these
more

for adornment, and

it

might
idea,
to

be said, for the

we

may

venture

to

overload
taste.

the work

elegantcarryingout them usa only with discrimination of art, and thereby ourselves be

of the

simple fundamental
if
we

do

not
as

w"sh

reckoned

without

MA

A'

U AL

OF

'..'."

At

the

close of
use,

the

exhibition

of
a

all essential view of

harmonies

and

their

moBt

immediate derivatives.

may

still follow

brief

them,

their

varieties

and

View

of

all

Chords
FUNDAMENTAL
The

belonging

to

Major

or

"linor

Key.

I.

HARMONIES.
b. TTu chord

a.

Triad.

of the seventh.

A.

The

varieties

of

the

Triad.

Major, Minor,

Diminished, Augmented.

Major
Of
the

Triads.
Of the Minor
ScaU

Major

Scale

*="
C: I

IV

a:

VI

Minor
Of
tht

Triads.
Of
the Minor Sea,

Major

Scale

3=5=*
C.
ii in vi

Diminished
Of
the

Triads.
Of
th
e

Major

ScaU

Minor

ScaU

C:

vn"

a:

n"

Augmented

Triad

of

the

Minor

Scale.

II P "The

remaining augmented
Inversions
a.

triads

see

under

II.

Altered

Chord".

(Versetzungen)of
b. The

the
chord

Triads
of
the sixth 6 4 and

The

chord

of the sixth.

fourth.

100

MA

XV

of

harmony.

BS
ft.

The

Varieties

of

the

Chord
or

of the

Seventh,.

The

dominant

chord b.

of

the seventh

primary

chord

of the se.tnth

Secondary chords

of

the seventh. with minor

a.

Dominant

chord

of the seventh
Formed alike in

(major triad
and Minor
:

seventh)*

Major

H3g=
C:

V7

o:

V7

a:

\-j

h.
1.

Secondary chords of the seventh major

Major.

Major

triad

with
In

seventh

o:

T7

iv7
minor

2. Minor

triad

with
In

seventh

Major.

O:

ii

my

vi

8. Diminished

triad

with
:

mir.or

seventh

In Major

i
"

C:

vii":

4. Diminished

triad

with

diminished

seventh

(chordof

the diminiahtd

seventh)

6.

Augmented

triad

with

major seventh
In, Minor
:

k:

Ul'y

MANUAL

OF

IIA

101

Inversions
^'t the chord

(Versetzungen)
of fifth
:

of
chord

the

Chords

of
e.

the

Seventh.
of
:

a.

b.

The

of
ami

the third
.

The the

chord second

sixth

and

sixth,

fourth

"

I
~

qjg

rZ~~^

^
a

"

II.

ALTERED

(chromatically

changed)

CHORDS.

The

augmented
In

triad,

formed

from

the

major

triad

Major:

C:

**"

IV

1".
1. From the

The
minor
:

augmented
triad with

chzrdof
raised

the

sixth,

formed

fundamental

(so-called

doubl"

diminished

triad)

2. the

From

the

chord
:

of

the

seventh

of

the

second

degree

in

minor.

(See

following
C.

chords)
The

augmented
chord of

chord

of
the

the

sixth,
and

fourth fifth"
in minor

and

third;
formed from

d.
the choid

The of

augmented
the seventh

of
the

sixth

both
:

second

degree

With

the

ninth

from
latter.

Raising
the
third

of
:

Second Inversion
.

Without aug. chord

Fundamental,

the

Fundamental
without
the

of the

sixth
.

and

IL

"*

1"S|=^|

BE

102

MANUAL

OF

HARMONY.

CHAPTER

XI

On

Modulation

of
has and

Passage
various

of

Music

(eines Tonmtun).
was

The stood is

term

modulation way

signification. Formerly
the succession is understood

un.ler

thereby the
a

manner

in which the later

sense

of harmonies the

arranged to from
one

vocal
into

part.

In

sion digres-

key

another. be
no

is sometimes

found,

would

modulation, which digressive pleonasm according to the original fication signiThe

name,

of the word.

According to the import of the term, it will nest be important,to learn each and determine to recognize (digression occurring modulation rightly for the tion modulain into a foreignkev) ; farther means Chapter XVI., on, of recognizingthe latter is will be discussed, whereby the capability
more

fullysupplied.
A modulation

arises,if
is then

harmony

foreign

to

the

previous key

pears. ap-

The reckoned

previouskey
to

the

new new

key,so

be must wholly forsaken,and the harmonies to it, long as no harmony, againforeign appears

which
Thus

effects a
in the

modulation.
:

followingExample

mmiMMm"iii^=?m
192.
J " 7

,7

"l"EES

(s

modulation

to

minor

in

the

third

measure,

because D

CiJ-E-G-B'2,
whereas in the the is

belongs no longer to C major, but

fourth
measure

undeniably to
the
to

minor,

it is doubtful

whether be reckoned
to

C triad,which C major, or
in the fifth
to

foreignto

is to previouskey (D minor), while takable. The dominant

as

the G

lowing, major folis unmia-

the

modulation

minor

measure

chord

of
are

the
means

seventh, as
of

also the chord

never

of the

diminished ; all

seventh,are,
the

the chief

modulation,

to be

mistaken

remaining chords

ambiguous, that

is,they can

belong to

severaJ

keys.

MANUAL

OF

HA

I/O

7.

103

Thus

the

major
to

Bub-dominant
This from the

to belongs not exclusively major and sixth degree to B minor.

triad

mnjor, but

is also

ambiguity
first

often

allows in

the

modulation decided

to

bo

recognized
itself with

first
can

succeedingchords, as through
ear

fact,the

modulation the

be forme-l derivatives. The

the

dominant

harmony

of

seventh

ita

musical
:

modulation
that

it

proceedsvery simply in the apprehension of a always apprehends the foreign haru"\"y as belonging to
itself related
to the
one. ruling

key, which is nearest Thus, for example, in

103.

g^fef^E
if
"

i^r-tts belong to
"be

the

major
; in

triad of D

in

itself

considered,would
with the

\cy

of D

major

connection,however,
dominant
to

C major, it will be most

chords following

incu^diately
first
can

recognized as
which There

major, and
the exercises discussion

termine de-

key
here

becomes
some

rulingone.
for of

follow

more

practicein searchingout subjectsee Chapter

tl

modulations

; for the

farther

this

XVi

Exercises. 9
i 3

68

."4.

m^mmmm^m^=?^m^.
C: I G:

V7
6

C:

IV

V7

d:

viiu7

0:

"7

%.-?-

y.ct
"

"

"
"

"*

_*.

6_7b

"?

5h

2_

_3_G_

_2iL
_

_"L

6 7 4}

"
*" 6 6

7b

6 3

4-5

"

6 g

-""

5;

"

101

MANUAL

OF

HARM

OKT.

m
4 J
i 50 4

6-3

33

3
"

G
r

"IHS

4b
2

4 3

6b
4

6
5

6
5

6
5

mm
:t=fr

iS^lip"lfilf^i
6
5 5 6

5b

K"=4

SE""
f
6 3

6b
4

6 5 6 7

"S

t=t

The

modulation

can

be

indicated
which the the

in

the

same

manner

as

in

the

fir it

exercises,
Roman
Hot
r"at

accoiding
numbers,
m""

to

letters

indicate which

the

key
ihords

and
in

the

*vj

know,

degrees

upoD

the

que"

MAN

SAL

OF

HARMON.

I0h

PART

II.

aCCIDENTAL

CHORD-FORMATIONS." HARMONY.

TONES

FOREIGN

TO

TI1K

CHAPTER
Suspensions.
The simultaneous
in

XII.

if, as fcicnlarly
metrical and

of all voices progression our previous examples, the

to

the takes

following chord, place through

measured

par
no

it
a

varietyof
of

movement,

produces binding
of

certain

character

monotony
new

the

musical

sentences.

chaining together and

of harmonic

the

chords,

and

thereby
voices do

more

interestingchange
everywhere
their progress while places,

connections
if
one

arises, if the
or

not

simultaneously;
others

several

of

them of

lingerin
the
n"ixt

already form
of

the

component

parts

harmony.
The
one

most

important

manner

thus

linking harmonies

and together,

the

tc be

preferredis

the SUSPENSION.

This

arises
at
a

through
has

the

delaying of
or even one

of progression and

voice,which
a

is

pected ex-

definite
to

time,

necessary,

in such

manner,
to

that occupy the

not

the its

voice, vhich

progress

degree dowmcards,
upon and the

in order the
tone

position in
chord,
over

the the

following chord, lingers still

others progress until
to

of does

first
pass

while the

second,

this voice

into

harmony

later. of

In the

following connection

harmony

195.

106

.V U

OF

HA

RM0S7

the and

Soprano
pass
over

can

lingerupon

the C in the

during the

entrance
:

of the secoLd

chori,

later to the B

manner following

196.

Just

so

suspensioncan
the Tenor
:

be formed

from

Example

No.

195, through the

of delaying

197.

That
sonance

which

is characteristic

of the with

the harmony against

a means

is,that they form a dissuspensions which they appear, and that they thereby

act

as

for
two

harmonic
more

connection, since
intimate

they render
resolution

the

necessary In

relations of
this
as

chords

through the

expected.
with resolution.

in common with the sevenths, respect they have a similarity they requirepreparation as well as connectingintervals, dissonant character of the

which,

The

in the interval voice ;

Dne cases can

of it which where but the where

not to be sure, tained always consuspensionis, harmonicallywith any particular disagrees

occur, voices,

of

the

otner

interval with no as suspensiondisagrees the character of the suspensionappears

in Example as position [in the chord]and progression; only through situation, the tone of suspension forms a chord of the sixth No. 197, where and where

only the

unusual

appearance,

as

well

as

the entire

situation

o"

the triad of the

third

degree,combined
of the the rules

with

of the the progression

Tenor,
of the

produces the
The above
: suspensions

character

suspension.
necessary in the formation

examples give

suspension can
the

b" formed

with

descending progression of
;

c-

voie*

under by degrees,

following conditions
2. Resolve

it must

1. Be prepared, and.

itself. thingsto
observe in connection its

There

be three will,therefore, its

wirb

tha

: suspension

and preparation 'he suspension itself

and position,

its resolution

(progression).

MANUAL

OF

HARMON

107

a.

The

Preparation.
of
a

The

preparation
part

suspension can
The often

take also

place through
are

either component

of

triad.
most

sevenths
the

used

for

preparation

althoughmore

rarely;
Preparation

dominant

seventh.

tnroagh

trie

octave

of the

Fundamental:

Through

the

third:

IDS.
4:

Through

the

""h:
"

15

si

33

C:

G:

vi

C:

IV

Through

the

dominant

seventh:

Pf^"f^!ii^^P====
5
-

V7

a:V

The
enters

preparation
at

takes

place

upon

the

arsis,

the

suspension
with

itself plies, ap-

"he

thesis. the

Besides

the this, be

rule mentioned of
a

before

(page 71)
or

viz.,that
than the

preparationmay
not

duration

equal

longer

but suspension,

shorter.

b. The its

The

Suspension.

entrance

of
other

the

suspension
in in

at

the

thesis
more

has

just

been

mentioned
,

positionin

respects should
can

be any
rare

still

expla'.nc"1. particularly
interval of
tk

The

suspension
the

appear

voice, before an
cases.

trvad."befcre

seventh,enly

108

MANUAL

OF

HARMONY.

8uspe?isions

before

the

Octave

of the

Fundamental:

m*"m
109.
7 6 " "-

-".

J.

4 3

--

m=^5^m
C:

i-g-K-=

^1

VT

Before

the

third:

-c-o

"illli
3
~

i-g"

5 4

"*"

"*""

""!Mi=e^p^ie
C: IV I Before the

1
positions:

flfth rarely,only
J

in

certain

P""E^ii
2 5
"

v*4

_"2

I_ V

""1
case

"c^- 1

Concerningthe suspensionsin
that which
was

of the with

reference fifth,

may 197. the If

a

be

made Thus

to

remarked

in connection will be
to

Example
the character

No. of all.

the

first and while added the the

to

third

examples
is not
as

entirelyin
a

suspension,
seventh is ot character

fourth the

be called
the second

suspension at example,
the

chord,

in

dissonant

suspension immediately
the it seventh
can

shows

itself. have
a

That

but

seldom

suspension,appears
formed
an

from
cases

the

fact,that
the

would [the suspension] which

come

be necessarily for itself is

in most of
as

by

perfectoctave,
and
can

in and into the

a

only

interval

tion, reduplicain the following

npver

dissonant
octave

position("), except

Example h,

where

is diminished.

800.

)
~

7b

88

7b

MANUAL

OF

HARMONY.

109

In the first
C.

case

the seventh

will

always be

passing

one.

The

Resolution. of the

The
tame

resolution

suspensionensues,

as

was

remarked

lefore,in

tht

voice, by
"

step downwards.
of

Remark.

Ways

resolution to be

which

deviate

from

this will be shown

later.

Here Tbe

it is further
tune

observed

that which is

of
in
no

resolution other

(thetone

delayed by
or

suspension) can
voice
can

be

contained it without

voice ;

disadvantage to
a.

only the Bass the harmony.

b. better:

the lowest

"eeeive

not:

c.

nut:

d,

NB.

mk^"^i^^E"^M\[
201.

e"T-%

mm==\mm^m\mmMm
In is

$-iZ"i

Example
the

the

Tenor

steps from
c

to

C,

which

in last, the

the

Soprano,

suspended by they concern

D ; in

Example

the

Tenor

receives

G, wbich, in the

Alto, has NB.,

the

suspensionA.
the third

Both and

are reduplications

because faulty, especially In

fifth of

tbe chord.

Example
this

at

takes reduplication

place with
the

tbe effect is

if better,especially
as

In fundamental. of the leadingof consistency

:

tbe

caso

the "oiee"

necessitates it

in the
Fundamental

followingmovement
:

Third

Fifih : |
^

LJ

%J j

sssil
Remark.
"

It may the

still be

remarked least

here, that
an

the

doubling of
that the

the

fund \ment"l
in 'inison ii

always assumes e, g faulty,

distance of at

octave, and

doubling

1"
rc

SEE
The with
can suspension

indeed

appear
to

in such the

proxi

ty, only between

Bass

"nd

Temr,

or

the

voice which

lies next

lowest.

The

lowest
tbe

voice,commonly chord, the

power

the of

Bass, has, however,

as

the

one

which

determines

counterweight against tbe

dissonance

no
of the

MANUAL

OF

HARMONY.

are suspension ; reduplications

therefore
g.

if they admissible,

aw

based

upon

good

leadingof the

voices,e.

"

r-g

mwmmmmmm
9

"03.

mmmmmmmmmmmi
The
"ornes

of faultyprogression

the

Soprano
mere

and

Bass
of

in the the

last

example W
the

clear, if
taken

the

suspension as through which

delay

progressionof
appear
:

voice, is

away,

means

the open

octaves

-g"

="

9.
201.

"

"t
The relation is the
same

with

the

which fifth-successions,

are

covered

through the suspension:

205.

Here, however,
in the
case
can

the considerations

will rule, which

are

to be had

in view

of

the covered

since position, situation, fifthsin general, gression pro-

permit such appearing.

these

leadingof

the

voices,without
rule following

the

unpleasantnesg

of the fifths We

condense

remarks
not

into the

The

suspension does

remove

paralleloctaves

and

fifths ;

the follow

be faulty: will,therefore, ing progression

200.

m^im$^=ii
are

Parallel fifths of this kind

if the

not, however, to be
other voices
not
a

rejected unconditionally

through

the

movement

of the that

so unpleasantsuccession,

they do
is

for compensation is made too plainly. To giv" appear

directions positive would confine

us

regardingtlem
much

impossible;to rejectthem

alwayi

too

MANU

0 F

I! A

0 N

11

The

suspensions (or,which

in

the

Bass, which
same

occur

oftenest

the before
of the

third oi
and

the chord

is the

of the sixth and

allow fifth),

of

before the chords thing, in the no reduplication

sixth

oth'.r voices.

i=E^^=l^"=Eizl^^t^^^l
ao7.

(pi^feEEf^^^^l m
The "elves
before suspensions the fundamental and the fifth

w
them-

rarelyshow

practicable.

(ti"i"i=g^=E^I|
20".

^3^mmmmmm\
The indication of the in the

part, contained
If the the
e.

suspensionsin the Thorough-Bassnotation previousexamples.

in
one

is,in
from
8 76

the

suspensionlies
is

of the time the

three the

upper

voices,its
g.,

interval

Bass

given at

the

same

with

e. resolution,

determine remaining figures chord of the sixth

chord

where
of the

it becomes sixth

necessary, fourth

g., the

|^
the

the chord

and

5
^

or

11
If the

suspensionlies
are

in

lower

voice, the

chance
e.

intervals of the
g.,

remaining voices
cf the chord retain

likewise

indicated the

by numbers,
dashes

|Z"
denote

or

in

case

of the seventh their

tones

4";

which

follow

that the

voices The and

during the
Bass
set

resolution of the

suspension.
above it

suspensionin the
the
concerns

is also marked
over

by
tone

diagonalstroke
of

corresponding chord
the

the

resolution,which

as plainer

e. latter,

g.

H^"I^^H"PI"B
209.
\

6
o
\

6
\

I^fggiiE"^E55gIi|slfElj=B
In
twmmon.

the

succeeding examples

the

first

manner

is chosen,

as

the

most

112

MANUAL

OF

HARMONY.

Exercises.
5

5
o

""

7 6 5-43

2.

9g

210.
IV

V^

ii-

'7

v7

'

98

5 4

33

431]
6

32-

J?

65 4

-s^
5
-

a*! "fTF
-

g=sfc

""S

4
2

98

26625

mm

zd:

:Ez.

:EZ
6 5 7 4

8*
7 9
8

-si"

g"

J
6 5

7
3

5b

"E^EN"g^S^^^g^Bjg
5-

3=F

7 jar 6 3
5 4-

6 27 765

6-5

63-4

6 9 8 7
5

65

"

6^

4J^J
_

7.

"

"

"

%_J"_4

28

"

5J"3-6 312 6
6 2
"

jt_ 3"
-Sh-.-r-

EEppPS
6
5

6 5

6 4

7 5

43 2

5-6

ll^^lgiil^=^"=g^l^f^^
7 6 5
5

5^

:=zj=zj:
iztzJ

It will be to the

purpose

in

the

working
and

out

of each
a

these upon

and
an

the

succeed,

to separate ing exercises,

the voices of
a

write affords

especialstaff.
of the
course

This

notation,in 'he

manner

score,

better

view

MANUAL

OF

HARMONY.

113

of
score

each

particularvoice, aud
however,
it becomes

is in

generala
to

useful

preparatory
the of

exercise

in

reading.
necessary write

Here, pure

voices, which,
as

in tin" sung,

harmonic

structure, must
have

always
been

be conceived allotted The

to

voices the

to

be

in the which
can

clefs which is

always
every

them,

knowledge
of these

ol

indispensableto
soon

musician.

knowledge

clefs

be

very

attained
known.
of

by

attentive

practice,and

through comparison

with

those

already
"

REMARK. irg and

written with

The of

knowledge
scores,

the
many

Alto

and

Tenor and

clefs

is

"br requisite
are

the

understand

rending
in these

since the which

voices

instruments

or partially exclusively
more

clefs, aud

Soprano
are

clef
in

which itself,
a

occurs

rarely, afforoa

various

instruments,

tuned

particularway,

an

especial facility in

reading.
The clef

which
the

is used

for

the

upper

three

voices, Soprano, Alto,

and

Tenor,
For

is called the lowest

G-clef.
part,
the

vocal

Bass,

the

F-clef

or

Bass

clef

used

before

is still applied. The marked found the situation of the and

C-clef
in such the

always
a

indicates that the for

the the

place
for the

of

the this

once

[middle] C,
upon the

manner,

Soprano

C
upoa

ifl

lowest, for
g.

Alto

upon

third, and

Tenor

fourth line, e.
Soprano-cle".

Alto-clefs.

Tenor-cleft.

The thus-

most

common

compass

of

the

voices

exhibits

itself in

these

clef"

^jjfffl
^==zj=;=;~
*~

i ij. l_l_l

g=p~|:zx:zEz":

"TlTlTiTI
:t-t

"""F-

I
"

I
"

"

I
"

r-

Ill
Resia The

MANUAL

OF

HARMONY.

"k.

"

orig\iof

these

various
a

clefs from of
ten

the

most

simple foundation
which the all the

fiom

th"
wer%

eo-ealled

Tnblature

(commonly

6ystem
the

lines,upon
which

voices

written, with
"me

of especialdesignation is

lines upon

tones, F, C, O, principal

stand)

would its farther explanation interesting,

here, however,

lead

us

loo

far.

The

easiest

method

probably,to observe voices, whereby the

faind
Tims
out.

the impressing these clefs upon of the C-triad in the position accurately of

memory,

ii

the various
are

tones

which

lie between

and

on

each

side

easily

the

of position
: In the

the

complete C-triad,with doubling

of the fund"-

mental, will be

Soprano

p="
In the Alte
:

"iE*!"=
-f^g- "-Q-"

In

of the

the Tenor, lest in the position chord of the sixth and fourth
i

j*

"

Q~

The here
:

carryingout of

the first exercise

of No.

210

in these

olefs

follows

211.

Sopran

e-

P
+~TE:

=m^^35^mm

HiH
^^i^m^m=wmmm
C: I V IV"

ISS"^i

Yj

117

V~

with all observance of the examples requires, in relation rules thus far given,a skillful and a freer leadingof the voices of the suspension of a better position since the necessity to their position, of the positionof the voices, alteration often renders even an necessary
The

working

out

of these

which

to make as as uniform possible always endeavored and of of the voices will come, In this manner itself, the open position where aD"* necessity exchanged for the close position againbe necessarily
we

have

hitherto

with sonforinity

the end

in view

it. require

MANUAL

OF

HA

MO

NY

IIP

In this
oe

exchange of
:
can

the

of position

the

voice",the followingrules

must

observed The voices

never,

simultaneously,
one

move

by degrees or skip out of (foreignone), except

the same
".n

their indi-

necessw-y vidual

positio?i from
in the

chord

to

another
one

cases

transposition of

and

chord

into

uhet

positions. Any
one

voice

can

forsake

its piosition, if

one

or

more

remain

stationaryupon
will make this

ton\

followingcarrying out plainer

212

The

of

Exercise

8 of No.

210,

NB

BOTBAN-

"s"

Alt*.

6 62664

9875

537

-"G C it
"

"

e:

"

7 7

aO?

EH

Blj

C7

F I

V} ii"7B!,:iii

IV

IF:V^

NB.

1_

-(2"s,

I2" "-rS-

=g=prjxqfag
7 6 3 7 6 4
-

6 3
4

D*
g.

g i

o
iv

F7

B?
I

c n o:

o i

c iv

vif

B,:V|
serve
as

KW VI

n"{

a"7

D V

" "

The
The measure,
measure

following may
close in which

of explanation this

this treatment. forsaken in in the fifth the

in position the

which open

example begins,is
remains

begins,and

until

eleventh

the close

position again appears.

116
This

MANUAL

OF

HARMON*.

was

effected
a

through
the

freer

leading of
out

the

Soprano
the

and

Tenor the ia in

The

first makes

skip,in

fifth measure,
can

of its

positioninto

seventh

Eb (at NB.), a skip which

and remains the it forsakes chord

take

place if
here

already present
like the into
manner

stationary (as

the F
measure,

fundamental in the Baso;; by

a

in position

the seventh

skip into

G, the fifth,
a

better and

come" whereby the suspension remaining stationary, attained last the close is At position again Jirougb position.

the better

free

leadingof

the Tenor

in the tenth

measure.

Suspensions

from
are

Bcloiv

Upward.
isolated
cases

Suspensions from
a"

below

only in
this kind

few

to

be

regarded
the

such ; most
before farther

of progressions treated

arise out

of the

suspensionsfrom
sam*

above,
vith
a

of, through
in
a

contraction

of (abbreviation) g.

succession

e. upward direction,

from

213.

mmMm
"77

The

suspensionfrom
the

below
:

can

take

place in connection

with

the pro

of gression

leading tone

214.

-*

4-^a=d=i

also with with those

several altered g.

which intervals,

progress
receive

half-step upwards, especially

intervals

chords,

which

augmented

through

e. elevation,

215.

^|Sgpji|^^i
"

I
..
_

m^m^^m
Observe
jaust

here, that
no

as

before,the
the

tone

of resolution the Bass.

the
same

(harmonictone)

be in
"

other

voice with
the
above

exceptionof

Remark

The

last of

examples brings us

tone-combination

which

presented itself

minor, and which

74). That, in the

tone, requires no

of the first degree in (page 64) as chord of the seventh for fundamental was as use explained as unfit htuinony. (See pag" above application, it is to be considered as suspension of the leading before

farther

explanation.

UAL

OF

HARMONY.

1 17

Of other

those especially suspensions,

which

progress

ivhole step upwards:

,
e.
. .

c.^
1 Bi
a.
v
"

a.^
*

I"
"

j" i

-"

e"=i

x?*?-.-*-"

A a4.

"""

-ee-

"inn!
jome

show, the

of

themselves,
must

the

unnaturalness
not

of

their

progression ;
use

and pure

theory
false

pronounce

genuine,and they
be may carried
out

unfit for

for the the

manner

harmonic If these

structure, however

often

find

place
after show

in the

practice.
viously pre-

suspensionsshould
based
"" :

shown which

would (No. 213), faultyprogressions

themselves, upon

they are
""

217.

*
.

jjj

d:_i#|

e-

"

"

Suspensions

in

more

than

one

Voice. at the

Suspensions can
in two

occur

in

more

than

one

voice

same

time

Suspensions
voices
:

In

three

voices:

..*.

isifeiife
chord of the q. sixth

The

and

fourth

frequentlyshows

itself

as

double

e. suspension,

219.

Freer

Movement

of

the

Voices

in

the

Resolution

of

the

pensions, Sus-

entrance, Preparation,

and

resolution of the
of two

suspensiontook place in
the voices which The did
same

the
not
can

previousexamples by
take

means

chords, since
the and

part in

it remained

stationary during chords, whereby

still richer becomes

its resolution.

als. take

place with
the takes

three
voices

interchangeof
more

chords

and

the

leadingof

manifold.

several of place,if, during the resolution of the suspension, time at the same the remaining voices,or one, usually the Bass, progress This and "
v

this

mean"

form

new

harmony

118

MANUAL

OF

HjlHMONI

For

of example, by progression

the Bass

B20.

)
5

iitaiiiiiiiE
V I I IV
iir

C:

V.

"

n-r

a:

vii""

of By progression

more

than

one

voice

-ATTJ

b'

J
__

221.

C:

ii

V"

vi

IV

vii"

vi

In all these

examples the

resolution

of the

suspension ensuci
a

regularly
which

of the remaining voices to during the progression the resolution-tone a is,itself, component part.
Remaek.
"

new

harmony, of

It may

here be remarked, in

in

explanationof
many of tbe the

the view

concerningchords
the ninlli occurs,

oi

the

ninth
are

which
manner; be

expressed recognizedby
as

Chapter IX, that

many
221
as

places

in which be

and

chords where

ninth,can

in

Example

a explainedas the easily of a of explanation suspension a much more simple and did not lead to the

b, of progression

cadencing Bass secondary chord of

ninth

explained ui the progressionF-B

the seventh and

above could

niuth,il
were

the above

with the

use a-s

of

three chords
all

no*
ex

same

result, and,

with

subsequent

nmples, present itself in the

Suspension
with
two

same

manner

of

ninth with three chords

:
"

chords:
"

-J

j^J

_"

-J

jT^J

222

"fmmmm^mmm
enters

Concerning the ninth whicn

free,

we

will

speak
said in

later

in connection

with

th*

Organ-point.
It
mav

still be added

as

completionof
the

what

againstindependentchords
into

of the ninth, the

Chapter IX, that as a reaso" impossibility may apply, of bunging them

was

such

inversion

with

fundamental that
always take

the

latter

is

brought
of

into immediate

proximitywith

th; ninth,as

can

placewith

the chords

tin.

aavonth,

t.

MA

UAL

OF

HAR

JF "

11"

223.

'

y"9-.
In trie
t stands

z^5"

J"

"

"

"=E
be

"

EfciEE

same

manner
a

/our

chords

can

applied with
contained

the in

suspension,i!
the

before
(j.

harmonic

tone, which

is not

remaiuing

"ices, e.

Without 2

suspension
2 3 4

I^^^^B
9
5

22-1.
i

C:

IV

it

vn"

vi

Exercises.
3 8 5 4
G

1-

4,7

225

G
-2.

7 5
-

6
5

5 4

8J3__

6-4

3 ff

747

7"

6 3.
_ _

4_6_7_

4-3

36

"

" 4

j?
4 3 9 6
7

6 5

"r

4.

ff

2^

70

6_"

5 4

6_-

46

6", 5"

5
5. j

676-46-

g^rtHfaigarf-rrnrTF^^
7 6 S 7 6 6 547 6 ""
4

6"

824

120

MANUAL

OF

HARMON\

7 9 6 7

5 4

6 4

:"=5L
r" 6 5

"^i^""H"
7 7.
8

gpE=^^^^6Bg=fe^S
5 9

6-43
-o-

(2-

""llil^i"
7 4 6
"

765 I

7-

"

326

4il3

96

7964

3"

Between
same

suspension and
be
:

resolution,other

tones

can

be inserted

in ih*

voice.
can

These

1. Tones

which

belong to
"

the

chord, e.

g.

!
_

I
-_

"**

220.

"zz^Ep33-E

^=p=

-5-E ziEpz^"zE"

:?E=: EE

2. Tones

to 'oreign

the

harmony, changing notes, e.

^.

227.*"

jfep^^^f"==ssg=ffig=B
of explanation of the also these and similar instances is

The

completed through thf

on. no

exhibition

Instances
it
e. all,

passing and changing notes found farther in which the suspension receives occur,
Usually
*

resolution

g.
in

this

manner

oi-

22

They

have

arisen

from

the

following passages,

by

omission

MANUAL

OF

HARMONY.

121

-I
"""

r"

"_#__(

*L_

_-fH_

22".

II
Ztr-1-^
Z
*

Alttici])atiO)l. ( Fbrawswa/iwM!.)
The
of anticipation is the allow
a

tone, which
the of

is

more

rarely used
in

than

the saspen
one or more

"ion,
voices than

opposite of
some

and latter,
next

consists

that this,
to
us

tones

the

following chord
division in
not
a

be

heard

earlier

others,and
notes

before

the metrical

allows slow

to

expect
this

them.
manner

With

of

long duration,and
occurs

movement,
the

oi
of the

leadingthe
dissonances

voices which

seldom here

or

at amount
are

all,since
to

harshness

appear

would which
In the

it is unintelligibleness; g.
several voire"
:

mostly shorter

parts of

measures

e. anticipated,

Anticipation 230.

in the Basis

Soprano

In

'

'":
The that of similarity which this movement musical of

JI1
the voices in its metrical under
are

form,
the formed

with

general

instruction

comprehends

name

syncopated notes, is not by anticipation

them,
The
or

to be mistaken

; the

latter, however,

not

of the

chords, but

of by after-striking (Nachschlagen)

they have
of for

merely rythmical significance.

the voices harmonic
entrance
can

movement ;

here
tone

also be
can

freer under

some

stances circumthan thai

example, a
at

be

other anticipated, in the known

which h rmula

is intended

the

of

the

chord, as

closing

I
231.
*

z
Aa antithesis
to

harmonic
also life

the after-sty-iking of anticipationmay yet be adduced in so far,as with the suspensions, has a similarity tones, which

preparation and

resolution

take

place,

but

differs

apain,

mat"

122

MANUAL

OF

HARMONY.

rially

rh

its

character which

expresses
reason

itself it also

more

in

the

metrical in
more

and

rythmical
cessions suc-

movement,
;

for the in

always
appear

appears under

extended other

suspensions,
greater
Bass numbers. would

however,

entirely

conditions*.

^ngly
The

or

following

be

succession

of

such

after-struck

tones:

|^=g^|^==z=|^--Jz"^=
XT
"32.
=

5.

^^^^^^^^^
,

Here Leonore

would
"

also

belong
of Beethoven

that
:

unison

passage

from

the

overture

to

(No. 3)

-a"

-5"

233.

^aI-^!"

aJ^Ut""

nc*-4g"

lvp-f

"r
.

F"
"

I"
,

MANUAL

OF

HARMONT

VI"

CHAPTER
Point,

XIII.

The

Or(/an

Stationary

Voices.

Ak arises

especialmanifold by
means

character
or even

of the
more means

harmonies,
than of the
one

and of

mingling of
voices

them,

of
one

one

the

remaining

stationary upon
formed. We of
a

tone, and

by

chords

thereby accidentally
well the
at

meet frequently

in (particularly in the middle

the
at
a

Bass) as
the

at

beginning
the

composition,as
the cadence of which

and

conclusion,

point
the
tc

where

should the

begin, with
movement.

long sustained

tone,

during
reference

continuance

remaining voices, apparently without

Bass,
it is called

it,continue

their

harmonic

If this tone

lies in the

ORGAN-POINT f such

[Pedal Point] ;
in the other
oe

prolonged tones
STATIONARY

occur

voices, the

lattei
TONES.

are

called

VOICES
last

STATIONARY

Remark."

Many

give these
are

also the

name

Organ-Point,but incorrectly.
the tonic

The dominant

tones, which
;

adapted

for

remaining stationaryare

and

they

also

occur

together.
the

Remark."

Attempts by many

with

third

of

the

triad, which
the
ear

in

later

times and

have
far

been

instituted

composers,

betray too plainlyto

as

the unnatural

sought.

The
voices

harmonic takes that

connection,

well
the

as

the

of progression

the
to

remaining
the known

place,always, during
the
next

according organ-point,
the conduct of

rules,so
and
in

lower

voice the

assumes

the

harmony,

generalwithout
we

regard to
follow

stationarytone.
the
manner

Before

enter

more

into particularly may

of

the treating

organ-

foint,some
a.

examples
Organpoint

upon

the

tonic:

i
"31.

f^

f Ft

124
Upf
the

MANUAL

OF

HARM

NT.

dominant:

'

if1

*"

*"

^^PpilfegplWpil
i

II
d.

Upon
*

both

at *

the

same

time

**ii
"*"

+-

"""

"#"

-r

'

11^=1^1
In these

examples, those belong,are

marked may

chords

to which
cross.

the

Bass

tone

does

not

monically har-

by
serve

The

remarks following entrance

for the

treatment

1. The ime 2. 3.
;

of

the

organ-point takes place

to which the Bass

at

: organ-point rythmically definite

of

the

By
The

means

of

chord

tone

harmonically belongs;
likewise
be in

last

chord

of the organ-point
the

must

harmony
division
mean.'

A"ith it.
The of of
one

first takes and upon

place
the of of

at

beginning
second in and

or

close of third No. 234

period or by
or

thesis ; the
a

and

oommonly
a9

the

fundamental

triad, as

Example
fourth.

C9

(l^

at

b9

through
Care
do
not

the chord
be

the sixth

should succeed
to

taken, further,that
other
too

the chords
are

foreign
often

to the

Bass

tone

each the

but frequently,

interchangedwith
This is necessary,

chords in orier

which
to

organ-pointharmonicallybelongs.

avoid
to

which
chord
"

is

only

violatingthe character of the organ-point digressions be Lund in the holding firmly together of various

combinations.

MAKVAL

OF

HARMONY.

125
this

This

the

would following organ-point

be

faultyin

regard

235.

The

voice

lying next
case

to the

Bass,

in

four-voiced

movement,
voice

the

Tenor,

becomes, in

of

the

the fundamental organ-point, necessary

of the harmonic

leading. Therefore, all by this voice,even

to the

in

the

will be conditioned progressions if the organ-point should also, accidentally, belong harmony. Thus, in Example No. 234 a, the progression of the B[? Alto (in the first measure) is determined by the leading of tha

harmonic

remaining voices,and
Bass. If the

not

by

the circumstance

that

it is seventh

to

the

close,no
third of

stands organ-point plagal close can the above adduced

upon be

the

dominant,
upon

as

is often appears

the

case

at

the the

formed g.
I

it,as

alreadyfrom

rules,e.
I

d=J-zJ:

236.

"EE
The

wmn
can,

plagalclose

however,

ensue

with

the

of organ-point

the tonic

237.

The

end

of

the In

organ-pointis
the In this The

indeed

to be

just as

treated carefully

a*

its entrance.

examples brought
case

forward

above, this always taken

no

place througha
instances such
as

cadence.
at

it presents

difficulty, except
also pass
over

No. 236.

organ-point can, however,

then the third rule

earlier to the

harmonic

and leading,

is to be

car:fullj

"bserved, e.

g.

12"

HAN

UAL

OF

BARMOKT.

See^e
BreakingoflF in
the

i^pl
manner following

""
would

not, however, be

good:

I V

r j i

"i

r f

Stationary

Voices.
one
more

Upper
oer

or

middle

voices

remaining stationary upon

described, are
conform appear possess much caution kind in their treatment.

tone, in the
rare

man

of

the

organ-pointbefore
tones
not

than

the

and requiregreater latter,

Sustained
voices with

of this

only
them
not

to

the

character

of these connection

if chords

to belonging

very the

rarely in
of the
or

them,

since

such

voices

do is

power

counterweight
lower voice
as

againstforeignchords, which
the

peculiarto the
No. 234

Bass

determining one.
the of Example organ-point in the last measures, a, very

Thus upper

being transposedinto
: unpleasant

the

voice,will

sound

210.

~"

Hf1

i
I
.

while the chords

followingtone, prolonged as dominant, is example belongto

it
:

better because

the laM

of the

911.

illiilliii^iiiifeis

'AN

UAL

OF

HARMONY.

1*7

As

example
Mass

of

effective
a

use

of

voices stationary be adduced hold

and
"

prolonged
Gloria
a
"

tones

*nd

for their treatment, in and and

to

place can

in the

of

Che
time

cubiiii's while ticular

C-major,where the
instruments harmonic the

violins

Ab
out
so

for

length of
D of the

the choir melodic

takiug part, carry progressions;just

"

below
the

it their par violins

;

in the introduction
of
to

overture

Meeresstille
cases

und few

gl"ckliche Fahrt
chords
can

Mendelssohn which the

Bartholdy.

In

both
not

but

be

foui 1

prolongedtone
may in

would

be

harmonic. the Trio of the

Under

this head

also be reckoned

Scherzo
upon and

hoven's of Beetthe A

Symphony
which
shows

A-major,
as

which

is based

throughout
in the upp.r
serves

itself sometimes
as

tone stationary

middle

voices, sometimes
the whole

in organ-point

the lowest

voice,and
be

throughout
with the

pieceas
those in

basis. in the the middle voices In

are

Stationarytones
care,
as

to

treated

same

upper

voice.

instrumental the

compositionsthey
; in

always
voiced

appear
movement

strengthened according to they occur rarelyand

not

circumstances

the four g.

in too

e. great length,

'

"

^-:
.

II

III

242.

Remark. may
here In the
*

"

As

completionof place:

what

was

said

of the chorda

of the

ninth, the following

stillfind

foregoingExample b,
in

if the

voice stationary
in
an

be

included

[inthe reckoning], regularresolution.

their

It has

complete chord of the ninth already been remarked

cannot

is found

inverted

with position of
are
occur

objectionto the
fundamental That
and

chords ninth
can

the

ninth, that

sions inver-

be

so

used
case

that

brought into together

at

immediate

as proximity,

in the

of the sevenths.
no

they

greater dis

tsuces,

as

above, furnishes

ground
there

for

regarding
bear

them

they
m

occur

only
with

in the

relations

in found, viz., to

independent chords, sine tone connection with a stationary

as

tLe character
the
case

of which

is, however,

also

harmonies

to foreign
no

it, as, for

exainpK

the following uiuth, which

certaiulv forms

chrni

of

the ninth.

"

343.

g^^ggf^gPPEpE

128

MANUAL

OF

HARMONY

If

we

wish

to

mark
must

by

numbers have

the

harmonic
to

progressionabove
the

th"
in tta

organ-point, they
Bass, whereby
is altered. Thus the

always
cases

reference

stationarytone marking
be of the

in many

the

otherwise

general

chords

organ-pointfound

under

No.

234

b,

could

marked

thus

"

14

gj=g=f
a

"H
of

Such
of reason,

manner

marking
a

is

only

used

for

especial purposes,
for incompleteness, often find the

on

count ac-

the

of reading it difficulty where words

and

also its

which the

in

scores

figuring is introduced, we
solo,which
indicates

with

organ-point
customary

the

tasto

that, with

otherwise

organ

itself accompaniment, only the organ-point

is to be

given.

CHAPTER

XIV.

Passing
Among the

Notes.

Changing

Notes. be

the

tones

foreign to
notes.

the

harmony

are

to especially

reckoned

passing
greater

and

changing
through

The of

first arise
or

the

filling out, by

means

of

tones

lyingbetween,

smaller

harmonic

e. voice-steps,

g.

fe^H"fc=U
215.
-I

1-=

"

"

I
"

\-*-m-"".

"

1-^-"--,"

-Un-J I n-i"
"

"

. i

"

"

uh--;h-5"

The
are

notes

marked

by

cross

form
so

the far

pass,
as

those the

marked first note

with
a

0
or

harmonic
can

by-tones, that
be

in is,

with

A.-triad

conceived,e

g.

MA

UAL

OF

IIA

""

12*

216.

Tie

passing notes
under b
notes

found
chromatic go

under

of

Example

No.

'245

are

called dutr

tonic, those
The

passes.
one

passing
note;

from

harmonic
with the

note

over

to

another

monic har-

they

appear,

therefore,not
divisions of the

entrance

of the
can

chord, but
introduced

after

it, upon
in

smaller

measure,

and

he

only

progressionby degrees.
notes,
either the time
on

Changing
which

the

contrary,
in the

are

those

tones

foreign

to
or

the

mony, har-

appear

character of the

of

suspension (thus in
this the
to

appog upoi

giatura
the
note

at

of the entrance

harmony

sense

accented

part of the measure), and

attach of the

themselves

harmonic the
cented unac-

(No. b).
a.

247

a), or,
serve

after the

the

manner

passingnotes
of two

upon

part,
247

for

melodic

adornment

like

notes.

(Nc

*"

*_

*~^
^^

247.

^^m^^mm^mm

The

changing
is further
can

note

can

thereforeappear
note,
from the the
note
one
as

in

skips,

it must 247

however
show.

be

joined
It
Dotes

closelyto the

harmonic
seen

the above

examples
lies

in No.

to be

the

examples, that immediately

if especially

the

changing
the monic har-

be
as

formed well
note
as

by
by
below

which which

below

note,
The the the
manner

lies

immediately

above.
it enter after has

changing
of
an

the

harmonic the
a

note,

appoggiatura, upon
it inclines
tones
to

accented minor be

part of the measure,

second
seen

that peculiarity

form

to

the

principal

note,

whereby

chromatic of
movements

arise,as
like the

is to

from
not

No.

247, hence

the formation

following would

be admissible:

130

MANUAL

OF

HARMONY

248.

m""mm
they appear
not, of
in
a

w
introduced

This

to the changing notes applies particularly

It is otherwise
ou

if

by skips. series, whereby they tak* progressing

Thus
so

the character
at a

of the

passingnotes.

the

series following
as

of

chang-

ing notes

would

be necessity,

formed

at b.

421".
"

g"

"

J":
below, which
second.
like

"

"

'"

III
Those

changing notes
minor will not

fall upon

the unaccented

part,require
250 a, the

only

the partially

Thus,

in the
c

Example
is not
so

No.

formation

be necessarily

b9 while

good as (I.

250.

mmmmmm
rules
on

Definite ."ach
" km Lb time
as

this head
ear

every
"

musical

given; it is also find that which will certainly

cannot

be

unnecessary, is

in

right.
step better
at

ark.

The octave.

third of the

triad bears

the

changing
determine

note

as

whole
can

than
same

fifth and
as

Since -with the

the

latter

the
can

changing note

appear

the

seventh,so that
notes

succession

only

in respect to it.

Changing
or skips),

above
manner

the of No.

harmonic

note, whether
form

they enter

free

(uy

in the

250, can
are

the

chord-tone

because

they
the

seconds to major or minor and always formed diatonically, govern

themselves

accordingto

key

and

modulation.

251.

We the

often

meet
are

with made

in which figures,
use

changing
*
*

notes

above

and

below

chord

note

of

one
*

after the
*

other, e.

g.
**
*
*

252.

jL~i

um

MA.'

UAL

OF

HARMi

XI.

131

Upon

this is founded
:

also

the

often following

occurrkg

manner

of

em

bellisbment

253.

Passing and changing notes by preference,in

with the
one

can

occur
one

in all voices. will become

If this takes

plase,
in
parison com-

voice

alone, this
receive

prominent
not

others,and
serve

concerting character,
If this should

while

the

remaining voices
all the voices and

for be

accompaniment.
in

be the case, such

can

made

prominent, interchangeably, by significance.

it for
more

by-

tones,

gain thereby
a

Wherever

the of such

positionand
it by-tones, but

of progression will here

a

voice

adapts
of
must

the

introduction

by
of

this

means

admit
mean can

melodic significant

development ;

also the proper clearness

be

found, since, otherwise,over

fullness and

lack The

arise. easily

following simply harmonic

movement,

254.

p"IEgE^PfPP^=
:^=q=q:
-a

5j-

1
1
I

Si

-j"

"I

^"

p"

y~

"

light, by

the

use

of the above

assume by-tones,

the

form following

"

"

I
.

255.

gstel^Sitafepl

132

MANUAL
*

OF

hARMONY.

*
.

"

?
*

"
$

"

'
i

'
i

'

"

'

'
i

'
i 1 J. J

J-

"

The That
can

and changing notes passing

are

here

marked

by

crosses

through such copioususe of tones foreignto is to be seen suffer from overloading, easily
in
manner
a

the

harmony,

the passage

in the above
movement

example
is better

if it is executed

somewhat

adaptedto
In

this

the introduction

rapid tempo ; of writing. of the changing notes,

with
the in

slow

care

is to be
no

taken, as
voice

was

before remarked the harmonic

iu connection
tone

that suspensions,
is introduced

receive*

which

another

through a changing

note,e.

g.

-1-4"
256.

1-J-^l

J J

-rr

This

can

only occur
the

if the

distance
one

of the harmonic

tone

from

the ton"

oreign to

harmony

is at least

octave,

e.

g.

This

accordingto reduplication, place

better with chord.

the the

of reduplication in principles
or

eral, genthe

will take
third In
a

fundamental

than with fifth,

of the fundamental

rapid movement,

however, and
this to be

more

extended
other
cannot

out carrying,

of sucb the four-

formed figures

through changing notes,

considerations
be

aa arise,

following passage shows;

voiced vocal movement
:

sure,

conceived

of

as

r
In the
case

of the

notes, regular passing

like

regardis
as

to

bo had

to

theii

to approximation

harmonic
as

tones, and

figuressuch

No. 259

it, b, d"

not

appear

so

pure

c9

(l,e.

MAX

UAL

OF

HARMON

V.

153

h.

c.

d.

259.

ifeE5=~E3E ^^^lQ~"l"^-"^^-^^
.
"

f
"

"

More

rapid figures

allow

this

approximationmore

e. readily,

g.

260.

Faulty

Progressions

in

Connection Notes.

with

Passing

and

Changing

Since

it is the the

skips of
the

province of the passingnotes to take harmonic must we progression,

fill out
care

the movement in connection

in with

as arise, change of the harmony, that no false progressions arise : examples,from covered fifths open ones

lowing in the fol-

2G1

"

p3-r=wrf^
octaves

M^^=^
cannot occur,

Open
of them

formed

with
as

passing
much
as

tones

because

the first

will be harmonic

the second.

262.

0^sZ

m
not

On
"orer

the other the open

hand,

in the

octaves, and

the passing will notes instances, following will be considered as faulty consequently
'

263.

Ebmark.

"

The

last kind

of octaves

would

find

wider

the condition of intended

and strengthening

instrumental m application reduplicaticu.

movimenu,

134

MANUAL

OF

HARMONY.

In

like

manner

the entrance is to be called

or

progressionof
faulty if it takes

the

changing
in the

note

lit

movement parallel
manner
"

place

following

better

261.
"

'
"

"

""T^

"

'

'S1

~"

"

"

_4_rfj[_J_ "^ ~m~^~"m~V

"

J_#L

-y-

^rHEt
last

"

It

The
covered.

example

is better

because

the

octave

progressionappears

Passing

and

Changing

Notes
same

in

more

than

one

Voice

at

the

time.
more

The time

movement

of the
in adapted,

is best g.

passingnotes in motion, parallel

J.

than the

one

voice

at

the

same

to

successions

of thirds

and

ixths,e.

r"r-,

^ffA^^^=f=^=
265.

++*.%*. ~"
*

SL
"

t
=e;

9"
The
also which free movement of

m
the voices with the
use

m
passingnotes
all
account
a can

of the

and produce parallelseconds, fourths,fifths,

sevenths, of
on

kinds,

require great
are

caution

in be

their

treatment, and
and singly,

of their favorable

disagreeableeffect position.
in Progressions

only to

allowed

in

very

fourths

are

good

if

third

voice

is

added

as

third

below

266.

Jfe"

Single
with in

fifth-successions

arisingfrom

passingnotes
is
no reason

are

met occasionally

which, however, good compositions,

for

recommending

MA

UAL

OF

HA

0 N

Y.

155

them page

as

faultless. and what

(See
of

that

which

is

said

concerning fifth-suucasionj only

voices be

27

follows).
the

Just

so

the

harshness

seventh-successions

can

alleviated

through
In

favorable

position and
movement, the

good leading
etc.

of

the

throughout;
notes

indeed, through tempo, contrary

the movement
an

various

intervals

of

the

passing contribute
too

often
to

give to
the

passage

especial, peculiarcoloring,and
the

much

independence of
many

voices,but
at the
same

they
time.

must

not

appear

numerously

"r.d in too

voices

267.

"

i
.

F-i

f\\

"^

Here

also it will be harmonic

most

found, that

those
at

passing notes, which,

the

outside

of the
as

eimply
were,
a

structure
new

lying
whose

basis, form

with

others,
more

it

intimate, than

harmonic (passing) collocation

leading, are
cannot

natural
counted ac-

and

milder for.

those

be

harmonically
however,
tempo.

judgment
at

concerning the regular harmonic

same

worth

of

such

movements

can,

be

arrived In
case

only by taking
of
at the

into consideration

their

character voices
can

and

several progressions, g.

receive

ing pass-

tones

time, e.

:="==r-tffe
26".

'm^^m^m^m
In all such

placeseverything depends harmony

notes the voices
are

upon in
a

the

wr question,

ether

at

the

hange of
o

the

positionwhich

allows

thew

form

their

progressionregularly.
can occur

Changing
a.

in various

voices

In

tivo voices

i36
in
''UA

MiNUAL

OF

HA

MO

VT.

pa

motion

-m-

269

wmmmmm
in

contrary

motion

870.

H"ll
b.
lu three voices
:

271

C*

In

/ow?- voices

"

23Z

**"

m"0 I

tC

Remark.

"

The

most

of

the

above

examples

can

also

have

the

force

r.l harmonic

pro

gressions with
It becomes of appears
two most

the

organ-point.
from in these

evident voices

examples, that
notes, the

also

in

the

ment moveparallel

changing
the

progressionin
Thus

third* and

and

sixths

natural, while
a

seconds, fourths, fifths parallel

no one

sevenths

always produce
pronounce

very

effect. disagreeable of the

vould

be

likelyto

changing

notes

sort, good following

good

'#
"

ftj k*m

"

"*

if*" "J

'

' m
^

"73,

Jhauging notes
to

can

also

be g.

of

longer duration, than

the

harmonic

not

which

they

are

joined,e.

27

4.

*raf*5tptefey^^^"=""i

MANUAL

OF

HARMONY.

131

The

of in composition, significance, XIII.

; as

the
to

subjectsexplainedin ('hapten subject them

contributes
We
t"" a

XII.,

and
a

XIV.,
the

is

great enough
harmonic
to

tigation careful inves-

thorough knowledge
inner relation the

of them

to th materially

understandingof concerning their

our

structure.

have
"

still the

to

speak

pure

harmonic

structure

object of

immediate Since
on

studies. 24 the
term

page

"pure

harmonic
to

structure" consider the

:

was

only spoken

cf in

general way,
and
to

it becomes

necessary

question mora

narrowly,
What
purpose,

present it something in
means

this

manner

applicationof these

(theexercises
that

in the pure these

means

for composition does our allow harmonic structure),

are

immediate ? for

It is undeniable and

adapted particularly
is the

ing develop-

adorning the
our

voices. immediate work

If,however,
out

most

recognition and carrying

of

simple harmonic

adapted to develop the will "else, servingonly for embellish-ment,

"must

formations, then, to be sure, everythingwhich is used ; but anything will be appropriately voices
be excluded ; in the brief, essential

be

separate from

the unessential. will

: always be reckoned, firstly

As

belonging to
harmonic
upon

the unessential

All
"are

in general, in (K"nsteleien) artificialities

no

so

far

as

they
little-

founded

inner

necessity; unnatural

introduction

of

used the

harmonies. passage, than

to

and

swollen over-loading of produce over-fullness, They easily tion, rather to a morbid bear witness or mentally weak condimovement ;

and fresh,free,powerfully secure originality

Then:

Irregular
voices,and

introduction the

of the suspensions;

the

use

of stationary

of

anticipated and
:

tones; after-struck

however Especially,

The

changing
; in

notes

ivhich

are

struck

short, everythingwhich

from formed therefree and the figures inappropriate to a simple^ appears

good four-voicedsong.
If,in fact,vocal
music is

composition is
then much in
to appropriate
use

received

as

the

basis upon

which

all

founded,
which is

connection instrumental

with

it will of itself remain

excluded,

compositions.
and for the of chorals

it. the If also for practice

a

of the

harmonies,
is

learningof
or

good

and

pure

leadingof
manner

the

voices,the
the

elaboration

simple
to
as

movements

in the

of chorals exclude

directly suggestedas
of those
means

most

the

purpose,
serve

this also will not

use

in

so

far

they
lead

not

merely
vones.

for embellishment

but

for the

development

of the

ing of

the

188

MAMJAL

OF

HARM

NT.

Among
the

tobe these is especially

reckoned

the

use

of the

and of suspensions

and regularpassing with the

changing notes.
the strictnessof the pure harmonic ture strucforegoing, later contrapuntal the first study of harmony, and forbids
not

In accordance in connection

with be

labors
to
use

may in

now

judged, which
the of chief

many the

thingsthe practice likes

immaterial, and
for the XIX.
ae

as appropriate places,

to

purpose,

causing deviation
The

from

object.
serve

thorough study
book,

good compositionswill
far discussed.
to this return

complete
in Part

understandingof all
III
of this for

subjectsthus
we

Chapter

in which
our own.

will subject,

afford

nity opportu-

attempts

of

CHAPTER
Passing Those
after the
are manner

XV.
Chords. in smaller

called of

passing chords, which

the the

parts of

measures,
as

passing notes
entrance

in

several

voices,appear
of

actual
a

chord-formations, in
manner

and

treatment

which, however,
rules of chord-

is sometimes

found

deviatingfrom

the

general

connection.

Of
notes

these,one
in three
so, the

kind

has

appeared already in
on

such
e.

passing and changing

g., in Nos.
over
an

as voices,

take

the

chord
are

form,
formed

271

and

272.

Just in
a

most
sense

of the be called

chords

which

can organ-point

certain

passingchords phenomena
notes

There here

are,

however,

still other

of the

kind, which

are

to be

explained.
in

As,

general, passing
of measure,
to cast
a

and

changing

depend principally upon

for the

the the

relations

it becomes

necessary the various

explanation of
of
measure.

passingchords
It is
accent

glance at
the

division

known,
rests

that

in

simple, even

varieties

of

measure,

the natural receives

a

upon

the

first

while measural-division,

the

second

less
If

weight.
now

the

harmonic the

be based simply upon progression which the the

come more

the two accented

must

measuraldivision

divisions,then
conceived of

harmonies,
appear
to
as

upon

the and

(Thesis) will always

as

weighty,
of the

always be

the

goal

which

chords

second

divison

(Arsis)

lead

31

XU

OF

HARMONY.

lifo

"

"75

Ii"l-l^i|^il|il:^
it this sense, the
chords

of the
the

second

measural-division this

can

be called of theirs

chords, although in passing

does
not

regularmovement
in the

character

appear this has

so

plainly.
so

That

been

understood the fact

even theory,

if seldom
more case care

plainly
has
ever

is shown expressed, been

by

that,at
upon which

their

entrance,
in

bestowed

upon has

the chords been allowed

the thesis ; and

was

of those the

upon

much the arsis, The character

not

conceded

to
more

former.

of the
as

passingchords assignedto

appears,

however,

with plainly measure,

as

rach harmonies
the

are

smaller

divisions

of the

in

examples : following
a.

b.

flp^pPsppli
276.
2

7b

m^mmimwi^

fUE

wmm
277.
P

9-

I
0-"

0'

im
of the sixth and fourtb in c, acte

The
in

manner peculiar

of appearance

of

the chord

Exanqle No. 276 a and c, as well as of the chord of the seventh only to be explainedthrough the ensuing progression (in the chai

141"

MANUAL

OF

HARMONY.

of

the

passing notes)of
of \he thesis in the
can

all

by degrees^to their voices,

more

nearest

goal"

the

chord

measure. following

These

toices
one

be

still

easily recognized in
to

th*"'*1 character

passing,if
Bass of No.

voice a,
or

is allowed the upper

remain

277

voices 276

h. a,

for example, stationary, (See above, No. 277). has arisen from the

the

The
"f both If then chord

leadingof
modes. this condition

the voices

in No.

application

of (the progression
enter

the voices find

all chords which

can

free ;

they will
them.

by degrees)is fulfilled, explanation in the principal

immediately succeeds

IppiSP
2T".

"=i=

?H"=""s^^H
xIemark.
"

_"J_A-

,-^rfH=g=

m
seventh,

In this

of explanation

the

passingchords,

the

free treatment

of the

mentioned

before, finds also its justification. (See NB.)

In the
the first

simple uneven

varieties

of

measure

the accent two

likewise falls upon

measural-divisions
manner following

whereas measural-division, will show

they contain
themselves

oi
:

less

weight. Passing chords

in the

1
279.

I i
6

I
6
4

'

I 5h
9

l
8 7

ri
2 4

I H5

-P

SilPii^l^ii^i^liaa :p=p:
Smaller measural-divisions
can

also contain and it,

passingchords, and
as

after the

above,
Here

no

example
of also
measure.

is needed

for

just

little for

the

compound
lead

varieties

the

will study of good compositions

be

and explanatory,

to advancement.

For
All known

personalattempts
chords rules of which the is

the

remarks following

may

still find

place:
the
the them. In

designated as
connection
mare a

passing w
of

11 either
or

progress detiate from

accordingto

harmony,
farther

first case, it will

no frequent,

remark

is necessary

; in the last

depend

upon

flowingmelodic

leadingof

the voices, as

well

in them-

MAN

UAL

OF

HA

0 AT Y

Ul of this kind

as "elves, .o

also in relation to each It

can

other, whether
in

formations

are

bo called correct. the voices

onlybe remarked
also here all such and passages character

that the general, the be

progression

by of chords,and "passi7ig
into account the

degrees will
that

determine
are

character
after

of

the

to

judged

taking

rythni, tempo

of

the

composition.

CHAPTER
On the Means

XVI.
for
Modulation.

The
There
are

term

modulation

has
to
means

alreadybeen
determine
for each

explainedin Chapter
modulation

XI.
now wa

the

objectwas
the best modulation with into
can

correctly ;
harmonies
means

to

treat
art

of
of

The stand pass

in connection from
one

a modulation. effecting those consists in findingout two more or keys,in order, by

whici:.

of these to

key

the other. be effected in various ways, and will

serve

Every
purposes.

modulation It can,

various

Firstly: begin abruptly,be quickly completed and pass by, or key Secondly : be more gradually prepared jor, seek out the new goal,and
In the take first with
not

as

it for
case

lengthof

time

as

basis.
the make its apsimplestmeans, pearance new key, and perhaps,indeed of

it will avail
soon

itself of leave

but decision,
to
a

the

allow

it to attain

definite

development
out

itself;in

the

second

case

it is

commonly prepared and endeavoringto impress the new

close.

worked

key

upon

graduallyby various means, and the ear, will probably also lead tc

Thus,

in the

following example

-t-i-J J-JU-j
"

I
SSO.
066

I
4 5

!
0

I
G

I
G

"""

"#-}"

62

47

the

modulation

will be

transient

and

charging,without frequently

ing forsak-

the principal key, C-maicr. materially

142

MANUAL

OF

HARMO*!.

This
and
means, must

kind

of modulation
more

is
ones

only adapted
can

for the

nearest

related

keys

although
still in

distant

be

reached natural

by
and

especialand

decided

their

development
are

very

if prevail, the is
next

they

not

to appear

organiccombinations unintelligible.
distant is

In

example, however,
; the its

the

more

key becomes

the

goal,
the

whirh
Dew
one

graduallyreached
takes

originalkey

forsaken,and entirely

place:

...

i bJ-LMk-iij-iuJ

p^l^p"""
5b

2S1.

C:

I "b:

vu"7

Bb:I

f:

V7

Efe: V?

This

example
new

shows

how plainly,
as

the
use

extended of the
was not

modulation, which

sett

for itself the order

to reach

key

goal,makes
rather,
as

it,and

this the

it

passing modulation, in the object to reach Eb

interlude
must

major quickly.
Unless
we

wish

to

use

such

short
as

passages

as

between
use

two

of compositions

different
a

keys,or

exercises, they
upon
same

be made

of in

compositionin
themselves

specialmanner,
rests, in
divisions. and

since

the

formation

tions of the modulaformation of the of the of

a

part, at
This,

the

time, the
an

periods and
doctrine of

their

however, is
immediate
found
"

important part
of the purpose. modulation

Form,

belongs to

the
our

arrangement

and composition,
Remark.
An

is thus

foreignto
of

"

elucidation Formen at

this may und

be

in the

author's

work

"
"

Die

z"ge Grund-

der musikalischen

ihre Analyse."

G. Wigand.) (Leipsic,

We

make

use

present of

the

formation skill in

of such the
use

modulations of the

as

exer-

in eises, their

order

thereby to
for

promote

harmonies

and

connection. appropriate the

means

While

modulation
to the

are

being

searched

out,

no

immediate
same can

attention will be
serve

paid

kind

of modulation

used, since

the

for both first and

the above

designatedkinds.
will be
TRIAD
OF THE

The

simplestmeans
THE

TONIC

NEW

KEY

itself.

If,however,
what the
new

this triad is

succeeds

ouly,and

already a component part the subsequent particularly

the intended

of the nrst dominant

key, then
of in tha

harmony
Thus,

determine key, will really

modulation.

MANUAL

0 F

HA

R M

Y
.

ua

followingexample key
of

at a,

no

modulation
we

will be
come

w felt,

lie at b

we :

hear

the

plainlyonly when G-roajor

to

the

third

harmony

m
77

Jl
tonic inant domwill

In

case

of
a

more more

distant

keys
it

the

minor

triad

can,

to

be

sure,

as

triad,have
incline

decided
will

still effect,

for the sake ; the

of definiteness

the

harmony
to

succeed

(at a)
as

major (b)

triad,

however

make

itself understood

dominant

^aFr^f=ftf^^^pE^^I
283.

")":

;eifi^f==fE^="?=i^i

"ld"E^Ii^lE|=[E==EEEE=
91
C: I
a:

^^^Hm^"ZEm
V
i

C:

k:

As
tn

as ansatisfying

the in

tonic
as

triad

shows

itself to has
one

be, for modulation,

the

way

used

above,

great degree
it
so

of its inversions

(the

"chord

of

the sixth ar.rl

fourth) the
just
and
as

of quality

rendering such
part
at

modulation the

decided. particularly "aJence

For 19

naturallytakes
it

in

closing
the

(sec
a

pages

53),

produces
in the in this
case

its

entrance

fee'ingcf
chords, followed but

modulation,
enters
at

if it is not

used

manner

of the it also, is

passing

the thesis. which

However,
first

natu-all}

by

the

dominant,

completes the modulation.

eeiiiiipifiitpiiiiS"
384.
6

Ife^jg^P;
C1 G: I V

144

MAX

UAL

OF

WAR

21

0 N

I.

Dri rJj.

the

arsis it will -aot indicate

the

key

so

: definitely

b^
1"5.

%
1 8 6
4

All of

examples given above, however, point to

still

more

potent

mean"

modulation, viz.,
THE DOMINANT

HARMONY.

The itself

triad, as
as

well

as

the

chord and best

of

the

seventh of

of the

dominant, shows

the most

natural

means

to (which appliesespecially

the dominant
:

since,through it, digression, harmony of the seventh)the key

of the in the seventh of the dominant

is

most

The

unmistakably determined modulation through the

without intermediate

chord chord

can

be effected

manner. following

of harmony will b" According to the principlethat that connection is effected through like or most stationary comprehended, which easily the effected dominant be modulations tones can through (preparation), chord of the

seventh, from
of the minor
we

the tonic and

major
all

triad

into all that of

except the
fourth. remain

keys

major

third,and

remaining keys, the augmented

Prom

C-major

can

undetermined

for the

E and F", (it can keys,except Ei?, major or minor) thus : present whether reach

From

to

u:

!i"6.
7
*

Db:

or:

Ab:

o_I?".

^fe#*Sf^i^^fif=gM
"^
Everywhere
each other in these
a

examples the
the
to

like

tones, which
to
tones

are

connected of the which

wiifa
next

by

tie, mediate
C major

transition

the

dominant and

key; thus, from

fifth and
sc

1) minor, the

E,

become

fiith of the dominant

harmony,

"c

MANUAL

OF

HARMONY.

145
modulation!"
be

Remark.

"

It

through other

only need of positions

he the
C

mentioned, that
chords,
"

these

"ut.

also

reached

e.

g.
or:
^_^

d:

2Sr.

|p|jppEi||"|f=f[i
modulate it
a can

If
arc

we

wish

to

in be

the done

same

manner
means

into the throe of

an

keys
chord

which

wanting above,

by

inserted

(inthe

simplest manner,
tion
e.

by

triad), which

then

supplies the

missing ionnec
Ffi

g.
""-om 0
to

E^:

"

E:

"

"

If r"p|ifl|^pitipipp[
The modulation
From
AtoB:

from

the minor
a
"

can

be formed
a
"

thus
e:

d:

"

F:

289.

fe^-^^^^^"^gl^lET^pi^Eg^j
iF
"

s-

"a

To chord

the
: From

remainingkeys C, Di?,Ej?, F$ and A?, by

A

means

of

connecting
Bj:

to

C:

"

Dtj:

"

2f)0.

FJ:

Ab:

It is self evident the

that

this that

manner

of modulation

is

only exhibited
that
a" a

as

and simplest principle, should of

it is

by

no

means

necessary

modu

lation

always

take

placein this

way

that likewise,

nections simple conso

harmony can be produced without a stationary modulations can modulations; as, for example, the following
without
intermediate chord
:

tone, be

also

can

accomplished

14e

MANUAL

OF

HARMON

7.

'291.
ff
tt

"wk

rcr

Mie

con

nection be of

of harmonies

and

"ver. ",

always

great
to

use

to make to write

keys,it will,how' ourselves thoroughlyacquaintedwith

down the modulations various
most

of especially

the

this

and principle,
to

this end chords

therewith
make This "11
means

bring

the

into
to
us

keys,and also to as positions,

from

all

these

connections

evident

mechanical of

proceeding will composition.

shares with

by performance upon the piano-forte. in the use of greatlyfurther dexterity

chord of the seventh the capability

Another for

chord

the dominant

modulation, viz.,
THE

CHORD

OF
most
more

THE
cases

DIMINISHED

SEVENTH.

This

chord, which
will its entrance

in

takes

the for

place of
modulation

the

dominant the in

mony, har-

be frequently is much

adapted
dominant

than
cases

latter,
which

jince

in milder, particularly of the

those

ieverth
enter

and

fundamental
same

harmony would
of this chord
C
"

be

obligedtn

tree

at the

time.
use :

The

followingexamples present the

From C
to

Bfe.

"

B:

d:

"

b:

Beside

nature,

this chord shows, by application, capability. farther, peculiar this like chords, entirely
as

means

of its enharmonic

Tlit" following

to

sound,

but

written variously

2"3.

"""
keys, viz.
in the
:

long

to

four
to

different D

in
to

the B

first form

to

minor,
to

in

tui
minor.

second

miuor,

third

minor,

in

the

fourth

Af

Through

this circumstance
C
to
k:

fourfold modulation
"

is
b:

: possible

u:

"

"

atj:

Sin^e follow.
xw

now

all the

chords

of the diminished the

seventh
most

can

appear

in

th"

three

as positions,

piano-forteshows

plainly,

MANUAL

OF

HARMON

T.

147

295.

ami

each

of

them,

thrc

ugh enharmonic
themselves add

keys,
which often

modulations in many
cases

present
we can

interchange,will belong to four for all twelve to keys in minor,

in

the twelve

major,
in this

since

this chord

can

be used also

instead the

of the dominant

harmony
of in the

major.
manner

Here will

industrious

writing down
well
as

of of

modulation the inner

nection. con-

tend

greatly to
of all

advancement
as

comprehension
of multiplicity

connection

keys,

of the

harmonic

Although
uses

this

manner

of modulation

shows
must

itself to be remarked

adapted to

fold maninot

in actual
too

still it composition,

be

that it should

be used
less. A

often,since,being applied

its artistic worth lightly,

becomes

similar

though application,

not

in

so

comprehensive

manner,

is

exhibited

by
THE AUGMENTED

CHORD
to

OF

THE

SIXTH

AND

FIFTH.

Its

as similarity regards sound,

the dominant

chord

of

the seventh

296.

with enharmonic

change, adapts it,in keys,e.

b:

connection

with

the

for latter,

ulation mod-

into certain
From
0
to

g.
E(j
"

d:

297.

C:

V7

n"7

Efe:V7

i":

n"7

Although,in
quicklyfrom
intention
to
one

the

above, the
into
a

means

were

sought

out

with
not

which

to

pass the therance furth"

key
out

the

other, still

it will (since

always be
the in

carry

modulation
can

quickly and
be
extended

for decidedly), and

of skill
manner following :

the

exercises

given out
various

From, From

one

key
to

into

the other

by

means

of the
third

triads

of
:

dccjre**
.

through
298.

the triad

of the

degree

iE=^F::z-5^=r

"

"

ft

From

to

throughthe

triad

148

MAX

UAL

OF

HARM0K1

Of the fourth

degree.:

Of the fifth degree

Of the sixth degre*

2T

flc:

""-

55

Of the seventh

degree

i"
"

^?
E

-I
triad
:

From

maj^r
0/7/""

to

through the
: t/e[7'-ec

8"jo?m2

Of the fourth degree

Of the fifth degree

s=
(?/t/te seventh
degree
:

fr87

f=#"Ei#~l
These indications the
same

may

suffice

for

learning to

form

other

modulations

according to
Extension

principles.
and Cadence. its

of

Modulation

Completion

through

the

The
was

process upon wish

shown the

above,

for

passing from
natural

one

key

into

the

other,

based
If
we means

simplestand
out
more
serve

most
at

means.
a

to carry

length a digressioninto
to this

new

key, the applied

is

above
so

must, to be sure,

end, they
mentioned

are

not

however

but suddenly and directly, the

new

the

before

passing modulation
The
use

used, and
To Let

key

introduced

onlygradually.
the ultimate the

of the cadencemanner.

formulae will,however, establish

this end
a

key

in the best of
d

we

can

form be

for ourselves made from

kind following

problems,e.
a

g.

modulation
to
e

major through
this

minor,

minor,

and G This

major

minor.

problem

would

be solved

somethingin

manner

"01.
,0

!_
_ _ .

'

C:

d:

vii"7

a:vii"7

G;V7

b:V7

OF

II A

"

US

In connection "bserved
:

with

the

addition

of the

cadence, the

folbwing is

t-"

he

If the modulation
of the the tonic

takes

triad of the chord with

e.

placethrough the chord of the sixth and fourth new key (see page i43),then the succession ot
its natural

dominant

progressionwill

be

-ufficieut

f""i

effectingthe cadence,

g.

:J0'2.

-%:

mm^m
cadence, or

"S-fe

In other be

cases

the

extended

the known the

formulae closing final

will the

(see page requisite

such

40)

in

order the

to

determine

key.
used

As
:

simplestof

formulas closing

are following

commonly
positions :

In

other

iimiiii"ii
30:$.

=t

IE
6.

;il3^3=!l|=ili
6

1-

"**
^

SIEVES
In other

mmmm
position"
:

mmmmmmmmmm

\mmimmmmmwmwm\
If these
to the

cadence- formulas the last

be

added then

to

the

modulation

itself, according

of position may be

chord,
C

it is

completed.
former

This

shown

in connection from
to

with

some

examples.
with the fifth in
answers

The

modulation To this

Et?, No.
cadence

288, closes
in the

th"
tc

Soprano.
this last

is

added

the

which position

chord, e.

g.

160

MA

NU

AL

OF

ARM

ON

Y.

'tE^^^mm^mm
~"*
301. b 5fe 5b
6

V9
4b

"
7b

?g

^M^lE"kmn^"m=^"
The oadence

following modulation in this position :

From C to
a :

from

to

in

No.

286,

would

require i

Cadenct

!IlIll|lfili|II|IB
305.
6

mmmmmMmms
The modulation
from
From C

C to B with
to

use

of the
:

cadence

under

No.

3^3

b I

Cadence

300.

^ife"ppiSppSf
307.

^^=s^
To

3sfc
of extended
to

US
problem:
Cadence

close, we
From
G

present an
through
e

example
^-T-J

more

minor,
"
"

0 major,
"

nnil

u]yminor
"

A\)major.

Jk

_-

l--.

i
"

k-."j---,-

90K.

Those
manifold

indications

will be sufficient

to

enable

us

to

form

for

ourseJ"ei

problems.

MANUAL

OF

HARMC

NT.

161

PART

III.

PRACTICAL
IN

APPLICATION
THEIR USE IN THE

OF

THE PURE

HARMONIES.
HARMONIC

-THE STRUCTURE.

EXER013E8

the manner most bints respecting to the purposa following until now in the use of the harmonies, the principles developedwill be, at the exactly explained,extended, and made complete. time, still more same will furnish To this end, individual cases opportunityfor farther remarks. Through the

CHAPTER

XVII.

Tlie

Simply
first be

Harmonic

Accompaniment
that

to

Given

Voice.

It may
a

remarked,
and

here, only simply

elements of
a

melodic

voice

will

be discussed

; all other

progression of ple, melody, as, for examfor the

its metrical excluded. I. Harmonic We select the

rythmical development,
to
a

will be

present

accompaniment

Soprano.
:

following simple exercise

pTo facilitate the

"^mmmmwmii
work,
those fundamental in the

tones, which
manner

can

serre

as

the

harmonic

foundation, will
c

be added

used

before.

3,0.

^H^SI^i^g ffiF
harmonic the leading progression, of the Bass is the
most

With

every

important point.
Wo
turn
our

attention

therefore
:

first to this,and

write

its

progression

in the perhaps,

mauuer following

152

MA

UA

O F

MONY

9T

in the follow

tag way

31*."mmmm=\^\i
The
addition of the middle voices will
now

present no

difficulties

313.
Soprano.

mmmmmmmimi
mmmimimmt

Let nation The the in

this

working

out

of the exercise themselves. will

serve,

for the

present,for

the

expl"

of the exercises
next

exercises
a as

give opportunityfor becoming acquaintedwith

the

of principles

good leadingof
the

Bass,

as

well

as

of melodic

voice"

generalso Examples
Exercise

far

worked with

harmonic simplest out in a faulty manner

requires... progression
can

best
:

serve

this end.

indication

of the fundamentals

..

^m=immmmm\=m
the
use followingexamples we staves of saving room, and write the voices togetheron two the manner most the pupil, however, we recommend, earnestly,

Simauk.

"

In sake of

treatment

of this and

the

the viol
;

eirf for the

for " of
n

work pcreoual
titf i m

used

in No. 313.

The

working

out

of this exercise

E?ay

be

as

follows

OF

fi A

0 N

IM

a""=IIi
315.

"FSS

^^^PSSI
6

There

appears

nowhere

in this

example

of transgression and
on still,

any

rule of
oi

and progression the

chord-connection

thus

far known, it is to be

accoui.t

stiff, uncertain,and
in the
case

powerlessBass,

rejectedentirely.

Except
Bass

of the organ-point,a good harmonic

leading of

the

allows

it to remain

stationaryonly if
a

by

necessary

preparation of
the other voices.

tone, or

continuityis conditioned compensated for by a decided progression

chord what

its

of
The

previousexample
may
use

also contains

the

of the sixth
is farther

and

fourth
cerning con-

twice, which
the

give us opportunityto
of this and peculiar

add

necessary

difficult chord.

Of
The sixth
rare

the

Use

of the

Chord

of the

Sixth of the

and

Fourth.

use

of the its

second
reason

inversion in

triad,the

chord

of th

and

fourth,has

this,that
with

its appearance

depends upon

certain

conditions. find it oftenest in connection

First,we
former

the

as cadence-formations,

examples
143).

show.
in
a

Then,

it appears

like

character

in

connection

with

modulation.

"See
It

page
can

probably also
as a

enter

free in both

cases,

it must upon

then, however, be
the *hesis. tonic, lebminant, oi

regarded not Except If

sub-dominant
a.

passingchord, but always appear

cases,

in these

it appears the

most

as naturally

triad, under

conditions following
;

the

fourth

is

prepared

I".
-emains The

If

the Bass

progresses

by degreesto
the

the

following new

chord,or

stationary

following examples

show

: application

E3lt".

E IJJ^?|=E=g:j;=S--gg:
"

mmmwdWMmmmwmm

154

MANUAL

OF

HARMONY

e"7^-

=g-i ili^
4.

li"lp
In the

Examples
and

at a,

it appears

most

dominant tonic,

sub-dominant,while
a

because it rests naturally, upon other it easily degrees(b) upon

of produces the feeling Used upon the arsis with

modulation. the above it crd conditions),

(beside appearingunder
the Bass.

also appear
"

preparation of
.

^s^PP^
317.

gj=^:
The chord
as

i=*mmmmEmi
sixth
and the with fourth

of the

shows
as

itself in

all these

examples,
of th" the

either

chord passing the

(upon

arsis), or,

above,in the character

the Bass upon

suspensionupon
it appears much

thesis ;

of preparation

thesis,

weaker.
i

31".

litany
6 4

4 3

Not

unfrequently it
the fourth

will is

appear

as

itself

whereby th" suspension,

of preparation

justified. perfectly

^=kg:=W.^l=J^i=:|J^=E
319.

^mmm^mm
4
6

MANUAL

OF

HA

9 iV

V.

155

In tin second

case

still

more

because decidedly,

it arises

with

rarely
free in

occurringchord
That the chord with connection

of (that of
a

the third and

degree).
fourth,however,
the voices
can

the sixth

also enter

by degrees,of leading,
:

of smaller

measurat

in passing, as divisions,

320.

6_

will the

requireno

farther

explanationafter
after the

what

was

said in

Chapter XV.,

of

passingchords, and
"

examples,

Nos.

276,

279.
in the

Remark.

The

often

necessary

preparationof
to reckon

the

perfect fourth
division the

chord

of

tue

sixth and
In

fourth, has led many

to

theorists

it anions in the

the dissonances. of the

reason

the introduction

this tbe

system

of

harmony,
and

intervals of

(page
i"

16),it is introduced

among

consonances;

also

(page 20)

this view

given.
The doubtful
over

relation the

of

the perfectfourth,and
or

the

of necessity in

its

occurs preparation

only
and

against

Bass,

the

lowest

voice,and,
the other

fact,in the choH

tb"" third, itself,

of

the

sixth

fourth

only,since in the
not

chord
found
;

of the sixth, fourth

between

and

of necessity

preparationis
treated

always
other

voices

the perfect fourth

is to be

just as
the

any

consonance.

"With

real

dissonances

this is not

the

case,
or

for these

retain

their ch""-a Mv

where, every-

whether

they appear
of the
use

above, below, and

in the middle.

The be

chord

sixth

fourth

of

the

diminished
too

triad will soldom

for appropriate

because four-voiced,

it appears

iucompleto.

321.

On

the

other
the

hand, it will

occur

in

three-voiced

where composition,

it

often takes
toiaed

place of
condition

the

chord

of the

second.

(See later,the thrse-

movement).
the form that the B* viz., progression, good harmonic for it,the secoi foundation good and intelligible of
a "

Besides

itself should

'

requ'rementis,
THAT THE

PROGRESSION

SHOULD

ALSO

PE

MELODIC

156

MANUAL

OF

HARMONY.

Among
eertain Tbe

the

uuinelodic

progressionshave
fourths

alwajs

beei

reckoned rigt:ly

skips.
succession of
two

and

"fths

in the

same

direction,e.

g.

322.

"-~=
skips are improved
thus

mmwm
m
the situation
a

These
J23

9^^~-i^P=f:
E\
*

i
of the voices
movement

skips of
better

sixth,if
out

and

compass in
a

admits
:

of

it,are

carried

by skips of
lietter
:

third

contrary

better

Augmented
diminished
are,
not
:

and interval-steps

skijisare

tobe

avoided

as

unmelodic

however, good.
better
:

not

better

325.

B:r^EE3=

=LEZEE3=

=t==]=J^
not:

better:

better:

i
Deviations
a

*
often found

\i

from of

this rule
or

are

they

find their of the

explanationin
a

formation The

melody,
observance

in the of the

character especial rule in theoretical

composition as
will

whole. very The

labors

always
that

be

improving.
skip
into the
can

major

seventh

is to be

entirelyavoided
ease

intc

the minor
tame

seventh

be

used, but

only

in

of

an

inversion

of tht

chori.
not: not:

The

las*-, perhaps, with

the

followingprogressionof harmony
not very

good

not:

not:

32T,

\fo
.__
"

r-o

"

-,-ka
"

-.

rba
"

J25

MANUAL

OF

HARMONY.

\b\

These

few

observations

contain

the

principal features
next

of the melodic leading

voices,and
alone for the

for the especially It should the

good (simplyharmonic)
of
a

exercises, prove
these rules all voices. The the exercise be

themselves

sufficient.

still be

remarked,
in

that

not apply,

leadingof

Bass, but

general for

Bass,

given under No. 314 can, with worked out something in this manner

an

ol improved progression
:

328.
2 0

7*

las
Exercises.

aa"

b.

c^

mmimmm
F

SS
c 7 It.
Ci-

mmmm
CG
A D

'a

G7

G7

D7

ft==^l^=i

iiiiliT^Ilili
n-y G-. C

The
tant

next

example

will

give

occasion

for

the and

explanationof
of leading,

an

impor

and

difficult

part

of harmonic

connection

voices.

Exercise,
B" c

-7u7

329.

mw^mmmmmwm
followingfaultywork
may
serve

Tbe

for illustration

330.

6 5

158

MA

NUAL

OF

HA

0 N

Y.

The

faults

of

this

treatment

of

the chord

exercise

in th" consist, firstly,

the
an

doubling of
occasion,
in eecondly, and

the

third

of

the

second the

through

Bass, which,
awkward

out with-

gives to
the

this and

following harmony
fifth (from the fourth the seventh

position;
to the

the indicated

covered of

to

the fifth measure), the next

in lastly,
measure. 5 concerns

introduction

by

skip,in
the

last
A

the fundamental

this last,

can

take

place

with

dominant

seventh
page

anly
"

the

beingalready present (prepared). (See

70).

e-_

-\~-"

1"

G-""\"G

"

-pp

881.

More

tolerable

and in

less harsh

is the free entrance

;

of the

seventh,and

of

the fundamental

contrary

motion

332.

1
to

in in

parallel motion, however, it is either

connection with favorable especially

be

or only applied rejected entirely,

if,perhaps,as progressions,

in the in the

first

example

of No.

333, the

fundamental voice.

(G) is already present

previouschord, althoughin

another

333.

mmmmmmi
above will will be corrected in what
to

The The

first of the faults instanced second is

more

follows

important,and
FIFTH

give

us

occasion

speak

in

general
OF COVERED

AND

OCTAVE

PROGRESSIONS.

The

nature

of these

has alreadybeen progressions

octaves
parallel

spoken of,page
or e. fifth,

29.

Covered

fifths and
in

arise, if
motion

two to
an

voices,startingwith different
octave g.

intervals, progress
(

'overed fifth":

""

m^M^m^^^M^m
Covervt
octaves
:
_

p!==MSis=fe

-*-6"" I"

"

U A

NUAL

OF

HARM

0 N

T.

159
both

These
eoices above

fifths and

octaves

become

open,

if the

skip which
between,
as

one

or

make,

be

filled out

by

the tones

which

lie

is indicated

by

the

points.
four-voiced which
movement

Since
can

in every

certain of

covered
as

fifths and well

as

octaves

occur,

without

the

choice

chords,

the
others

ending
are

of the voices,would
be the

be very

much

limited, and
to

also,since
somewhat
to

to

avoided,
manner

it of

becomes their would

necessary

take

nearer

view

of

appearance.
be

An

attempt

rules give positive

not

for

their use, and onlv

which would

sufficient for all cases,

has

yet been
are,

ful, success-

succeed probably with great difficulty

; there

therefore,
a

to be made, which, however, generalobservations of criticism for especial cases.

will

furnish

dard stan-

Covered
1. 2. In
SI.

fifths and voice

moves

octaves

between
a

two

voices

can

occur

//' one If
both

by

step and

the other

skips ,'

voices
case :

skip.
the upper, upper,
as

the first

By

step in

and and

a a

skip

in the lower

voi.ee;
voice.
:

h.
In
a.

By a skip in the regard to both cases

Between Between Between the
outer

step in the lower

the kind of voices

concerns

voices, voices,and
and
a

h.
C.

the middle
ar.

outer

middle

voice.

Covered

Fifths
be allowed,
Fifths:

and

Octaves

in

the

Outer

Voices..

They

are

to

if
b.

the upper

voice progresses
c.

by

step.
e.

a.

Octanes:

d.

Here
movement not
so

it is
or

well, if
remain

one

voice

be

at

the

same

time No.

led in the contrar 335

as stationary,

in

Example

a9

b,

C.

It i

well,if
"

all voices
the

go

in

motion parallel
will suffice iu
so

(d).
many
cases,

Remark.
as Apply,

Although
above

above

rule No.

still it cannot reckoned

al .vaya among
m

the

Example,
a

335

d,

shows, which

is not

to be

those ehord
We

which of the
must

exhibit

first rate
a

leading
one.

of the

voices, since the

fr progression

tLe

sixth,c,
remember

is

very

forced
has

also, what
35

been

said

before

concerningthe cadeucing
octavea
more

pi\^ the

gressionof the Bass, pages

and

that 36, viz.,

the

covered

which

pass

over

leadingtone,
which
pass

or

in
"'""

general,over
whol" ateD.

are half-step,

always

tolerable

than

the""

over

160

MANUAL

OF

HARMONY.

In

the

exercises of

exhibited
;
cases

above,

the

octave

always shows
the
more

itself

*"

fundamental
are

the chord

in which therefore

it forms
to be used

third

of the chord

much

more

and questionable,

cautiously.

:J3".

-ar"jsr

I*||=l
to

Even

as

fifth of

the chord

it is not

be

called

good.

J---G* -*

Remark. the chord.

"

With

the covered

the lower fifth,

voice

will

always

be

the

fundamenwil

Covered

in fifths

the outer

voices

are

to be

rejected if the

upper

vcice

tkips.

^l^^^lg[
338.

illiiiiiisiiitr
Wherever
at
a

m
harmony firmer,as
and less harsh.

seventh

makes

the

connection
more

of

the

b,

(I,ef the progression of fifths appears

octaves voice in the outer voices
are

covered

Covered

not

to be

unconditionally rejected

if

the upper

skips.

i^feSP^fefefeSillt
~"
-

"V
-"v..
#.

339.

gg^gi^iH
Here also those
to be
case"

in which tolerable. (I and in

e.

the Bass What

was

progresses said

half-step (a) show

with

themselves 330 and 337

most

in connection

Nos

appliesfor

Covered voices

fifthsand

octaves

the outer

voices

are

tc be

if bot* rejected

skip.

MANU

OF

IIA

RMON

101

II"

If. however,
to be

they only form

as

inversions in that
case

of

the

same
are

chord, they
not

are

not

considered
at

since faults,

they

progressing fifth"

*nd

octaves

all.

mm^^mm
341.

w^^m^mmm
Covered

Fifths

out!

Octaves

in

the

Middle

Voices.

Although
allows them

the

leading of

the

middle

voices

must

be

just

as

pure

a"

that of the outer, still their

which situation, freedom

are,
to

is much ; this

covered

by
the

the latter

a occasionally greater

appliesto particularly
sake of the
to

the covered

fifths.

Covered

octaves

here, if ouly for

called

good
covered

relation

of the

voices,not
from the

be

good;

with

respect

the

fifths,aside
upon
an

above

observations, all
of

will A

immediately
cases

depend
have

otherwise
:

good

connection

harmony.

few

may

place here

II:
":;
Covered

Fifths

and

Octaves

between
Voices.

the

Outer

and

Middle

The these

considerations

which

are

to
are

be taken
to be

into account

in connection
a

witfe

progressions

of the voices,

Bought

in

good

and

natural

l62
connection sal rules.

MANUAL

OF

HARMONY.

of

harmony,
are

rather

than

established

through mere'j

meehani

Here

some

examples :

mm^m
8 1 J.

*2^?_Jzs"

Pe?
not

i
good:
not:

?=f=Z

m^mm

S=p*

sninetiM ^mmm^mf^f^^
An
as

kind especial
over

of covered
;

octaves

is still to be

such mentioned,viz., avoided

as

pass

the seventh

these,in

all

voices,are

to be

faulty.

344.

"^SIiIil^iSIi*Ll
-b"s

g^m^g^^i
That Between

S"iHA="^:rSh:
(See
page

84.)

which

was

remarked and

of

the

octaves,
the

also applies
are

to covered

unisons.

Soprano, Alto
Tenor and

Tenor,

latter
are

to

be

avoided
as

entirely,
covered

between
octaves"

Bass, however, they

the

to

be

regarded

accordingto
cases,

postion of

the chord

and

of the voices
can

themselves.
are so ifold, man-

The

in which be

covered

fifths and

octaves

appear,

that it would
them

superfluous,if
observations sure, is not

it were,

in

to fact,possible,
we

adduce

all.

The

above
to

may written the

if suffice, for

maxim, which,
have
to

be the

those

following beginners who still

art

add

the

do

with

technical, or
the

properly mcchanicallj-harmoni"
:

structure, without

regarding
covered

higher requirementsof
octaves
as

Avoid, indeed,

fifthsand
on

much

as

j)ossible ; of

consider

them, however, as safeif

nectirri
sort

the

one on

hand,
the

an

otherwise

connatural, (,"ood a

of harmony
such

takes
as

or place,

other,considerations

h'xjJier definite

prevail ;
etc.

melodic

voice-movement, applicationof

motivts.

MANUAL

OF

HARMONY.

16b

After mentioned A

this

we digression,

return

to

No.

330,

in order

to

correct

the

before-

fault.
of the covered
voices

correction where

fifth found

category because, even

the

both if the

skip,will

be

belongs in hardly possible in this

in g. the

there, which

thai
case,

Bass-progressionproceed
e. place,

contrary

moveuiert,

evil presents itself again in another

345.

Thus aaother The

it

only remains
of the

to

in alter,

this case, the

tones.

and harmony itself,

select

marking

fundamental
can

followingalteration

take

place:

346

347.

Exercises.
1.
.a.

347

b.

"

Pri?:=5:

^=bd="
Bb
"""F
d e-"

i
Cr
F

"5
O F
9"

IM

MAKLaL

OF

HARMOSY.

f"
F C
d

The

following exercise

D-*

l^f^-ill
we

will work

out

in this
1.

manner

2.

"*"

^2_

~%^~

""

-CT

241).
7

^mmmmmf:
The The
at

IPEf
are

faults
movement

of

this work of all the since is

indicated three

by figures.
voices,by skips in parallelmotijn,
first

upper

No.

1, is

not

good,
and
one or

it offends
no means

againstthe
necessary.

principlesof

all har

monic A
a

connection

by

leading of
voice

two

voices, by skips,can

take
a

place only if through

contrary

third

(by

tone

remaining stationaryor by
preserved.
the
same

motion),the
still harsher into
an

harmonic
No. because

connection contains and

is

2 also

fault,which
enter

here and

becomes
come

seventh

fundamental that
one

free by
the and

thereby
the free

awkward
It has of
is

so position,

is crowded

other.

already been
can

mentioned take

(pages 72

158), that
in the
a

entrance

the

seventh

only place without

can

harshness,
same

if the

fundamental

already present,
Thus,
none

and

remain

stationary

voice. tha

of

the

followingexamples

exhibit

superior leading of

voices. ^-^^

850.

MANUAL

OF

HARMONY

lt"3

Probably
"ore

few

of

these

and

similar

instances

would

be

excisable

for

important melodic

reasons.

The

followingexamples
of the fundamental 158.

may and

still

serve

as

of completion

the

free introduction

the seventh

in

contrary motion, mentioned

Oil

page

J5I

iii"iiiis^^iiis
The
instance

No.
to

2, of Example
laid down and and

No.

349, contains
th"" Bass

besides

this, another
with

fault, contrary
the chord the chord The is thu
same

the rule

above

(page 153), in

connection
not

of the sixth of the sixth

that fourth,viz., fourt1:. No. 349

should

skip from

third
more

fault of

Example
in
as

consists

in

the

covered the

which fifth, in the voices. it was

prominent
well

connection
in
4

with

the

skip of
the

Soprano
the that

as direction,

the is to 5
as

general scattered
be

leading of ground
in

The
not

covered

fifth in No. ; that

at

condemned,
; it
can

on

necessary the

No.

is better well
as

take

place
No.

connection

with
The

leadingof

the be

Alto,
a

of

the Bass
out

in contrary motion. 348.

following will

better

working

of

Exercise

_e^Ii^fi^lliEl^l=^=i
352.
"

a"

a^a

z:

s.

gf^Hl

^Ls==s==a=
2 6

PPPff

Exercises.

2"

""

""

wmmmmmmmmwm
w

,.-0-

D~

D*,

D7

l^^^fi"l

166

MANUAL

OF

HARMON

7.

-"2

-""

tl"
The
next

G-D-b7aDCOD7G

exercise,
rt"7 B7
"

353.

fijjbfp:
followingtreatment
:

^^^^^^1

with the

354.

i"i?^=f=HMi=
us opportunityto speak of gives

fault which
CROSS-RELATION.
non (relatio

bears

the name,

UNHARMONIC

The

unharmonic

cross-relation

harmonica) belongs to
this ; that upon
one

the
tont

unmelodic

and progressions,
same

consists tone
in

in

in general

immediately followsthe
or

another

voice, the

chromaticallyraised
the Bass.

depressed,as
In order
to

here

upon this

the

of

the Alto the

of GJJ
:

avoid

note fault,

rule following
a

Immediate alone in which

chromatic the tone

alterations unaltered rule

of

tone,

are

to

be

applied in

that

voice,

immediately before occurs.

in and
so

Notwithstanding this
of principles
one, to which

answers,

great degree,to

all theoretical is

harmonic
so

connection

there progression,

hardly

any

many

in the exceptions books the the of

practicecan
of the

be shown.

For

this reason, has

in the upon

instruction

of later
cross-

methods, great
in
not

picion sus-

been

cast

doctrine

and relation, relations

0"5cur

instances
a

brought faulty.
Some

forward

in which

unharmonic

cross

fectly per-

natural

manner,

without

examining the
adduced

reason

why they do

sound

of them

will be here

S55

MANUAL

OF

HARMONY.

167

""
" "

T-Q?

'A^LMAj
"

"

"

rj

"

"

"

fr"\

IT

"~t

"

"

"

"P-r-^-V

*
"

i"Hl

^eP^Be^P^J^N
In all these
cases

the

cross

relation of the
at

appears,

not

formed either

through

the

simply-harmonic leadingforward
In the character

voices,but
a,

of changing notes
but

b9 fj,
metrical Cf

or

through contraction
construction,too
be

of natural, (drawing together)

harmonic The that

for
is

the

cumstanti cir-

connections,at cf d9

f\ h.
observation
to

first needs

no

proof,and
and

there would

only

the

added,
smaller and is

this kind

of cross-relations
measure,

probably occur
notation it the

mostly with
notes

divisions therefore

of the

the above

in half

is

rare

unsuitable,because
not

through
the

simple harmonic
serve

foundation

and expressed, The which

those

tonic

elements, which
voices the

for embellishment. above

originalprogressionof
are

with

the

cross-relations,

the result of

contraction,is

: following

356.
""
*.

z|=t=

m\m=mm
r

r"r

"Hsii=eiiiii;
Let e, h. these

examples be compared

with

those

under

No.

355,

at C,

df

"58

MA

XU

AL

OF

RMO

F.

Al.
are

these

conditions,
in the

through which
similar

cross-relations
cases,

are are

most

endurabl"

wanting

and following

which

therefore

faulty

litg"i"ilifill^ll
457.

liHII^l^l^^i^lilt;
In all the above their

instances, which connection,

will make of consistency

are

taken be

from

practice,but
the consideration
means

arated sepof

from the

is still to
a

added

tempo, of the

whole

brought
formations

out

by
not

of

mical ryth-

which divisions,

all these

but unpleasant,

rather,precise.

Among
under the

the
name

cross-relations

is reckoned and the

also

which progression which follows

is known here
:

Tritonus,

explanationof
Tritonus.

Of
The distance tritonus from is contained the fourth
to

the

in the the

diatonic seventh

major scale,and

embraces

the

degree (in

the

C major scale th

augmented
This is derived

fourth F-B.)
F
to

step from
:

embraces

three whole

whence tone-steps,

its

name

35".

mmmwm
and unvocal
tones

It is held
sin

to

be unmelodic

because

each

of its tones

requires
two

which especialprogression,
voices
:

properly appear

assigned

to

ferent dif-

3S".

pp^m^
disregardedin
its if progression, the atajr

of which

the

one

must
one

remain
:

ip transferred

to

voice

untas*

the melodic

secession

be formed

thus:

""1.
Z9ZHZ"

t"

U:

MANUAL

OF

HARM

Ob

Y.

HjJ

That this which

this,however,
would likewise

is not

the

only reason
very voiced

of the

unpleasant effect
inversion

of

is interval-step,

shown

by

the
two

often used

of the same,

require a

progression,

362.

^"=^g=B
easy of

Hud

is

just

as

and intelligible

performance,as

the tritonus ay pears

difficult and
Remark.

refractory.
It
nun

"

still be its

remarked,

in this connection, becomes

that

the tritonus

dependsupon
:J62 above.

the diminished
'See page

triad and

as progression,

plainfrom

Example

No.

38).
this

That

step

was

held formerly especially connection with the

up

as

faulty, lay
customary
the this

in

the

circumstance,
harmonic

that, in
of

otherwise formed At

simple
with the

formation

it tone-compositions,

only augmented day,

among the the augmented

progressionwhich
extended
use

exhibited diatonically
means,

itself.

of all artistic

it is

simply reckoned leadingof

caution.
use

which, progressions,
to be avoided
as

in
or

"

pure

harmonic
with

voices,are

unmelodic,
which
its

at

used least, is to be had

The

thingsto
and

reference

in the

of the

are tritonus,

its situation It
can

manner

of appearance.

occur,
one

based

either
or

Upon Upon
363.

chord chords

(a)

two

(b)f e.

g.
b.

a.

5*a

i~"^dE^_
"

L"l-t:

If it is

occurs

upon

one

chord,

its entrance

is not

and unexpected,
the

the

eai i

with two chords, however, prepared;in connection is easily forced progression produced. extended of the tritonus was Formerly the prohibition

feelingof
two

to the

major

thirds, which

follow

each

other

at the

distance

of

whole
however

step, e. g.,
:

not

361.

and

it is not

to

be

den.cd, that

this

two-voiced, progressionproduces,

ti.t

i;j

MANUAL

OF

HARMONY

ume

whereas effect, \inpleasant

not

the

same

three

and

four-\C!ced, especially
much milder.

if it does

appear

in the

outer

voices,is

rendered

365.

"):"

~"L"CL"

"

"

\\
the seventh

That
minor the

formerly the
scale,e.
g., D
to

step from
was Gr",

the
not

fourth reckoned

to
as

degree

of th" upon

tritonus, is founded
scale and itself, remains
a

former The

usual

of the representation this step, since

to
our

minor

nies. its harmosame.

effect of

it is No.

augmented,
353,
and

the

We
ment.

return

again

Exercise

attempt

better

treat*

"

t^jllpl
L

366.

immrmmmMMii
Exercises.

~*aE

I
i==p=ig==l

ft:

33=

11=11

wMmmmmmmmi
n
Df"

H
2. Harmonic

lilfrll
accompaniment
It is to
a

This

exercise,which

given middle voice. labors,cannot belongsproperlyto the contrapuntal

the

begintoo early.
fundamentals.

introduced, for

present,with

the

addition

of th6

MANUAL

OF

HARMONY.

17)

Exercise.
Alto C G o F o
a

Dn

567

mmmimmmmtmmti
of this the exercise, of the Bass. first and At be the
most
same

In the treatment

important thing will, time, however,

e.

again,be Soprano, as

the

sketching

the

the most

prominent voice, can

added,

g.

mmmiwMT"^wm^"
"or

36".

d7

pfeEJE=|EiEEJ~JEEE
The

i;EiEa= t6

foregoingcan
Tenor

answer

as

three-voiced
this form
:

movement;

through

the addi

tion of the

it will

assume

r^llipilgieiliim"pl
8ti0.
""

""

""

mmmmmmmMm\
Exercises
with

given

Alto.

"""""

"^llllfl1IiilE?!!IlE"lt
B
6

C,

e7

Bb

B,

C7

FC

FC

wm^mmmm
e

G-l

""A-0--

1
A7
b

C-r 37

A^ A7

"

"

tilMP

= Of "
D

HIHI

i72

MANUAL

OF

HARMONY

Tenor

voice

would

be treated in like

manner.

Exercise.
Tenor. C

370.

^~g^|-_"z:|^"
and

Sketch

of the Bass

Soprano :

371.

-2.

*.

Pour-voised

i"""iPP^i=|^fe[^
372.

"~T=

"a=^Pi
Exercises
-Q"

with

given

Tenor

372

5.

gg|g=^^|^^g^g=gj:
C

3=3^

f=a=T^

l=fe^f^^l

Ef

GJ^

"

B"

E7

These well At
as

exercises the

are

to

be

continued, until
in it should be
a

leading of
these

the voices

of sketching is perfectly general, pure the

the and
a

Bass, m
certain.

the close of this

out

chapter

remarked,

that

to

good

rying car-

of

four-voiced

movements,

of good position

the voices

hi

MANUAL

OF

HARMONY.

173

"specially necessary
be

the

boundaries
from
too
one

of the voices voice

to

themselves-, other
must

must not

not

overstepped,the

distance it be

the

be

toe to

great, neither must two voices,which,

In this relation

small; this, however,

upon be
one

does

not

apply

for

example, meet

tone.
:

let the

rule following

noted

Of
admits

the upper
one

three

voices,the distance
The relation

from

one

to

the next
to

must

not

it

greater than

octave.

of

the

Bass

the

Tenor, however,

of exceptions.
"

Remark.

To

set the

present exercises
the former treatment.

in

the
manner,

Bass, will
as

not

be to the purpose

sine"

they would

appear

exactlyin

figured Basses.

They

can

paly

be set for fret harmonic

CHAPTER

XVIII.

Extension

of the
in whole

Harmonic

Accompaniment.

To notes

given
two

voice

notes, the harmonic

voices. This

accompaniment
can

in

half-

in the other interchangeably

take

place,

Through

chords,
situation

Through change of the Through suspensions.

The exercises

of

one

chord,
heretofore.

will be marked

in the

same

manner

as

Exercise,

373.

The

Bass

can

be sketched

in this

manner

ifl
JTI

p"St
In
the

I^HiliflK
fourth
measures,

second .show

and

sevenths

of

secondary chords

of th"

seventh

themselves

without

preparation,

174
Tn.s of th;
can

MANUAL

GF

HARMONY

kind

are

called

passing
appear

sevenths.
upon the

They
arsis.

start

from such

the fun lam

a

en

ta.

chord,

and

always
the

In

manner

thev

occur

in all voices. addition of middle

movement
.

The the

voices

to

the

above

sketch

of

Bass,give"

four-voiced following

375.

The
manner

same

exercise

with

richer

change of harmony
AC7b
"D G"

can

be

given in

this

: C

Fijo-y Ge$o7

376.

3{E5E

p ^E^=E:
377.

-r" I

fe" I

pflZ-l^-A^
f
0

"^if^H^Hi^^i^
7b
4 6
-

7 7

3b

The

next

exercise

will exhibit
Bb
c

the

use

of

the

suspensions.

37".

Mi

PT

i-^^i:

a=ir^=z

3*

^-r
179.
,

"

"o
I

I-

-I

FTT^

h"-^^
9 8

I * ""

MANUAL

OF

HARMONY.

We The

pass

over

the the

exercises

in the

middle

voices. whole

using of
harmonic

simply
content

melodic

progressionin
purpose,
or,
as

notes,
order
to

as

exercise",
exhibit the Alla-breve the
cise exer-

(cantus

firmus)took
to exhibit

place
of its

for this
a

in viz., takes

simple
measure,

measure,

place

in

it in

divisions principal chorals

can

If (half-notes).

is For

given

then in half-notes, the

can

be

selected of

for the purpose.

personalpractice
treatments

fundamental be very

tones

existing good
and off,

monic har-

of chorals

drawn easily

the treatment

attempted.
In the
next

exercise

the

process

will be be

shown.

Choral:

Haupt

voll

Blut

und

Wunden.
d*

b"7

"

U80.

"^g^g"i
O GC Fb" CF CC
a

:t=t=p=fz

"S

Cyjj

"

mmwmT^w^^mm
DGC G~ C
Df

Ea

^"ffi^rag"TTjj
The *he
treatment

CTa
to

of this

choral

can,

according

the

above

exercise,b.

: fallowing

mm^mwmmmwm
S

m
s""
'

3S*.

isfc

=g:
TT/9 "e
"

fZi P-

1=

176

MANUAL

OF

HARM

0 NT.

rq=3;

W^r-r*-""

R-?

"

l-P

^--s-T-jzziA

iri^iiiiiiiftE^ii^
"st="==i:

^ppppp^k"

""*"

-""

\n

cy-

fc
i

?
i

"?="p
After

I=i=""Hil"^l
and practice
can

sufficient
we
means

harmony,
voices,by
For

proceed
of the

to

of the simple in the management certainty farther development of the leadingof the

passingand changing notes.

in the next

this purpose and melodic

will follow

chapter

the farther

discussion of

melody

progression.

CHAPTER
On
the

XIX.
of Melody,
of
our a

Development
of the invention

We

are

not

to

treat

here

melody,

but

of

its development,
treat

and,
of it in order know All and will
use

what
to

is most

important
the is

for

harmonic

to exercises,

learn,by
in them

elaboration

and

of melodies, to fashioning

what

harmonic. essentially
the and recognition

here

depend

upor

comprehension

of

ih"

following principles :

MANUAL

OF

HARMONY.

IT.

melody, however tionjust as

Every
In

extended
we

and

developed it
as

may

be,has
our

founda
examples

simple as
reduction

those

have the

used,

in exercises,

last

harmonic

leading of
to
a

voices, however

complicated,admits,
loam
work.
to

of therefore,
order essential We
notes

simpleconnection
and

of harmony.
to

to

this,it is necessary recognize

from the subordinate the
we

distinguishthe
to

accessory
and in

select to

this end

analyticmethod,
will with write down indication

endeavor the

develop the
manner

following melody, which accordingto

SS2.

simplest

the above

mode

of the fundamental

tones.

"^^m^m
Both

"
harmony
are,
as

melody

and

selected, simple,and
:

the

latter may

be carried out,

four-voiced,in

the

manner following

l="zaE
J"3.
"

4"

mm=m %^m

(mmmmmt
Before necesary of A
we

proceed to premise what melody.

can

farther is to be

development
mentioned

of this movement,

it becomes mation for-

to
a

concerning the rythmical

without found
as

melody

be either
or

musical
as

movement

definite theme

boundary

containingmore
or Composition),

less measure",
can

it is often

it

be

whole, separated and

Period,
and

bounded

(motive of a oi by means
rule form anti

ntithesos. In the last

case

it is called

it contains of four called

"

then, as
measures,

eight
thesis"

measures,

which,

in

two
or

divisions,
divisions
are

each often

antitheses.

These

antitheses und

thesis and

(Vordersatz

Nachsatz}.

178

MANUAL

OF

HARM

OS

The

more

complete treatment
above and
movement

of this

subjectbelongs to
a

the

doctrine

o*

Form.*
That of the the will form

period, is
to all,

seen

in the

the

clo*"

whole,

it will be necessary,

above

seek

out

separatin,

point of
This

the divisions. in the

is very often discovered point of separation show either as imperfectwhole or as half-oadences, the middle
a

cadences, which
as

themselves

plagalin
in

of

the

movement.

Such exercise the

a (ingeneral, half-cadence

close in the measures, and

dominant) is
the
at the

found

our

in

the

sixth

and

seventh be

separatingpoint of place where

the

divisions stands. first

of the

periods may

assumed

to be

sign f
The

division,the
each This

thesis, would
of which
may take
can

accordingly receive
be
the

seven,
so
as

the
to

antithesis six measures, contain four

measures.

altered rythmically

place in

followingmanner

384.

^m---*^y=$
we

:~5"
r
"

it"

(52ztr

mmMmm
we

If

add

the harmonic

accompaniment selected above,

obtain

com

musical plete It

period.
a

needs, also, onlv

*"

glance,to
kinds

enable

us

to

see

that
9

all farthei
q
o 0r
c

transformations
measure,

into various of easy

of measure, g.

e.

g., into

^.

",

admit

accomplishment,e.

"HHII3PS
v
"

*".

"

llplllpirj
p

;:},

We

proceed

now

to

the tonic
e.

variations

of

the

melody, and

add

to

it

passingand changing notes,

g.

S8".

^g^"^^"j"^i"ili
the work
of this author""

See

Die

Qrundz"ae

der musik

"tischen

Formen.""

(Leipai*

G.

V-gand.)

jf,A't/.r

OF

Ha

hJtQJTY.

179

m^m^^m
".ee

Still richo.*

of

all

couM by-toret.

turn.ation give the following

Adagio.

ll^ji"^lp^il^Eypz^^l
asr.

i
OrigiiitiUy:

:"rfe=iE
n
"

"H"

r-

^^tfl^^B^^m
;^=

^ISS

;e;
f
"

=^5=

The the with if

we

simple melodic
reference add
:

fundamental
to

found below, will be easily recognizedas progression voice. That, however, the above melody is carried out the

originalharmony,
with the few

will

immediately become
conditioned

evident,
the upper

the other

voices

deviations

by

voice

=^*a
I"

"

3S".

"'

ff

F^
I
I

"

iESEil

180

MANUAL

OF

HARMONY.

i^^fi^PElE"H
a

PIUEi:
may remark in the

We
to

concerning
third if
measure

the

octave

In parallels

the

middle

voices,
to
as

be

found
as

of do
a

this
occur

example,

that

they
appear

are

be
a

regarded
means

faultless

they

not
more

singly,but
The

only
in is,

of

additional of
a

strength, in
and
as

extended

succession, for the

movement

sification intenthis

harmonic

melodic

progression.
this

oase,

to be

regarded

three-voiced. worth the

as

As show

little of what

independent

example has, it
and

still

served, here,
movement

to

development
of the

simplest melodic
and
us

harmonic

ia

capable.
The and

advantage
in the

contemplation
great
to

recognitionof
to forbear

these

melodio another

harmonic

relations

is too

allow

to furnish

example
The efore.

movement. followinginteresting

fundamental

harmonic

progression is just

as

simple

as

that

shown

n
3S9.

g" ^fcg:E|ii=|=g=|E|

F#3^j

m^
"-V

mmmm mi
W=

mmm^mmmii:
This
movement

forms

period ;
measure.

the

middle

close

is

easilyfound
the

in the

half-cadence We division omit

:

of the
here

seventh the

various

kinds

of

measure,

and

select

followir^

r
3f"4"

ii

fcsTi
i

UAL

OF

IIA

l"i

The
iLanner

development
reference

of

the

upper
to

voice

may

being had

the

harmonic

placein : progression
take

the

following

3!"l.

"g"^5fes#ai|"ts
part the othei \oices
from the
can

What

take

in melodic of

the development,

ing follow-

movement

Eb major

nuartette

Beethoven

will show:

302.

VIOLIN

I.

j^^"gEg^s^^a
ZL
'

'"% i
ra=l fc"r

"?"
"

foS^
^''?'
?IOL0N0RLLO.

yp:^Iig|p^^
^
-"

igg^

fe

ii^ll^1iiipifl3ill^=
\"

S^^^^i^
comparison
with No.
390

"

will

show

the

melodic

and

harmonic

variations. There Ibe

same now

follows

still another
:

alteration of the

melody, original

out

o"

comx^osition

182

MANUAL

OF

0 X

7
.

393.

"fe^=st

ifcy-r-jgrtg

semens
"===3
show themselves in th"1

The

other

voices

following alteration

3^
t.

These

hints

in

reference

to

melodic

development

may,

and here, suffice,

be left to

personal practice or specialguidance.

"

Remark. foi the

war

The
so

mechanical certain
above
as

element

in the in

whole

proceeding
one

should
not

not

occasion

take; misin

just
shown

it is that

composition
in
the

does

always proceed
of
a

(even if Beethoven,

later
even

alterations
so

these
was

original
it here
to

melodies,
our

could

not, sometimes,
set

proceed
in the

otherwise),in
the

great
of
our

degree

only object, partly,to

side, and practical

rightlight
clear

relation
into

previous

exercises

the

partly,to gain a

insight

complicated

selves. compositions them-

As
of the

concerns

the
manner

accompanying
of
even

voices, they

arose

of little that

themselves

out

simple

harmonizing,
if subordinate,

required
still
not
on

alteration, anj
account

showed nificant.

themselves,

insig
hio)

It yet remains

to

speak concerning other

next

kinds

of

accompaniment,

vt

wiD

he done

in the

chapter

MANUAL

OF

HARM

ON

163

CHAP1ER
On

XX.
Accompanying
Voices.

Development
of the

of the

The
Banner

lust
the

examples

foregoing chapter have alreadyshown

voices take

in what
and

accompanying
however,
of
THE

part in harmonic, metrical

melodic There inder

development.
are,
name

still other

kinds

of

accompaniment, which

ure

known

the

FIG"RATED

ACCOMPANIMENT.

This them^

is not

adapted to
in
a

the character limited

manner.

of the vocal In

parts, and

may

be used

for

only

very

the

following investigation,
kind of of the

instrumental

music

only will

be treated

of.
the

accompaniment is By figurated arisingthrough metrically uniform

tones, e. g.
Simple harmony:
a.

understood

accompaniment
simple
chord

transformation

Figurated

accompaniment:

w
b.

"

"

"

^nrpTT
e.

-~^'ip~^^^r
0

?te~^0-0-0~ir"
L-L^

"

t"*

0~0zs^-'. -"-',

f-:i"

'^^'^^'-"^T^i11'"-*-

#"

-I

hr"

"

"

^^

-^

^TrfTir
i

The

accompaniment
are

at a

is

harmonically figurated.
chords.
That
at

The

figures arising
have arisen

therefrom and that the

called
c

also broken

b is metrically figurated,

at

is
are

from

last

melodically figurated. The figureswhich formed from changing and passingnotes.

voice
can

Any accompanying
n

be used

for such

either figuration,

alone

or

connection We

with

other

voices. No.

select the

beginning of Example
the

382, in

order

to

attempt

som"

kinds of
This

accompaniment. be preceded by may

remarks following

If

the

figures repeat themselves

uniformly (e. g.

in broken

then chords),

L84

MA

UAL

OF

HARMO

T.

all the

rules
of

of

the
the

harmonic
chords,
: as

leading
well
as

of
in

the

voices

are

to

he

observed

at

the We

chaxge

the

reduplication.

must

not,

write

**Q6.
:
*
"

H
"

but

somewhat

in

this

manner

.#

,_"-

397.

1
At
note

the of the

change
next

of
must

the
not

harmony,
form
a

the false

Zastf

rcofo

of

one

figure
any

and

the

first
e.g.

progression
not

with

other

voice,

not

better

i|-p!lliip=^!liP3ppi
"""
"98.
*-

"

^3

ISr^*rtr
^

g
.

"i

The movements

harmonic in

figuration
greater

also

affords
The

the

means

for will

forming
with

one-voiced this
:

perfection.

examples

begin

MA

U A

if A

J; M

""

186

That
*s a

these movements
or

are

calculated
to

for

au

sucb instrument, probablj

violin

is clarionet,
voiced:

easy

be

seen.

IOO.

Two

"""te?lE

Three
in the

voiced

middle

voice.-

in

the

lower

voice

in

the

upper

voice:

-_

^-r_,

_#_n
_"-,

T-"

00-00
w-m-w-w

$3

" i"ii^fe^aQ
in two
voices:

ilUliil^^ilEi:

gil3=^'^M^^=[^==^=:^g
The
the in figuration the be four-voiced

movement,
of

after the?e

attempts wit!

above

example, will

equallyeasy

accomplishmert.

186

manual

of

harmony

Instead the

of this

we

as preferto select,

an

example

of manifold

figuration,
oi

following

passage

from

the

above

quoted quartette

movement

Beethoven.

^-s"

T
. . .

:z^z^zfzLz#ztz#zzz*_zz#" j=^!LL,-"t7*
401.

gg-f-r-j

^^^P
i"=L^="z3z3=^IIzSzI^ztE?-=l

e"=p
SEg
^zzzz.-pjng: -p^zzpzzz^z=*zzzz^^L-gzzT=^^z^-^"

"*

hn

'

I^^^B^^^^

s=it^^|^i^ii^^S=S

aj^^^ag^sQzf^c^EB^

MA

NUAL

OF

IIA

RM

NY

187

mm r*;'-;-i^;-=E?~"=^iE

^^^"""iiiitefei?^[
'^B"^

"g=^
whole
and is rich

Tins

development
and whenever

rests

upon harmonic

the

foundation

given

in

Noa.

890,
the If

301

392,

the

oi change enters, the leading

voices
we

observed. carefully
to

wish
at
an

obtain

clear

into insight

such

elaborated

and compositions, be

arrive vury

useful ; many

foundation of

understandingof their inner harmonic reduce to compositions of this kind itself by industryin this will reward kinds, and by
our

structure, it will
back
to

their

simple

enrichment

edge of knowl-

being rendered

capable of formation"

of

our

own.

CHAPTER
The
Exercises in the

XXI.
Three-voiced Mo orient.

With
our

few

the four-voiced exceptions,

form

of

writinghas

been

uied

for

exorcises
most
are

hitherto, and

although it
the harmonic

affords

appears,
movements

adapted
the

for

and greater completeness, connections, the three-voiced

arr

also of much

since they advantage, the voices the

more

lated calcuespecially

to make

leadingof

skillful and with

many-sided.

We

as begin,

before,with

problems
6

figured13 asses.

6 4

"

"""

^MsM^^^^^MWti^M

"

188

MANUAL

OF

HARMONY.

n-l"

2S=5
The tLree-voiced the the voices
case

i=
is

movement

indeed, sufficient,
in the

for

the of
one

triad,but

the

leadingof
; in be

will often
the chords

result of

omission
one

of its intervals

of ;

the seventh
can never

interval the seventh

must

naturally
As
ment, movea

always

wanting
can

this,however, omitted, as
has

be

itself.

rule, the fifth

and which the

be

alreadyoccurred
cases

in the four-voiced

fundamental the

also
can

in many

; the

third, as
in
a

the
cases,

interval without

determines
an

mode,

only
is the

be

omitted

few

producing
The

especial emptiness.
of
:

treatment

the

exercise

to following,

which

few

remarks

will be added

NB

KB

$3
B=*
4os-

"

iwm^mmmw^mm^^im
7

"

-pJEf"f-}r?5fpl
1p
8 NB.

im

10

m*mmmwmm$:
-O

m^m*^^m^mm
4

e"

i^!i|^imiHL!iBE==:
In the fourth of the
diminished
measure

is

found,

at

NB.,
It

the

chord

of the sixth and of the chord For

fourth
of the four

triad,E-G-B|?.
of which stand the

stands

instead

second, Bb-C-E-G,

fundamental

C is here omitted.

voices, this place would

thus:

MANUAL

OF

HARMONY.

180

401.

Concerning this chord,

In the fifth
fourth
can measure a

compare fourth

what

is mentioned the

page

155.

represents
nor

chord.

Now, although "

movement and

neither worth where upon of the of the the

in
a

the

three-voiced

in the
can

two-voiced third
as

have
in
cases

the

complete chord,
of in the the sixth

as

the

sixth, yet,
chord the
can

chord
arsis

and

fourth

passing
of

be
or

used third

four-voiced
can

movement,

probably
a

sixth lead alone

fundamental omitted

chord in the

(for the
fifth of the

sake that

better fourth

ing of
In

the

voices) be
two-voiced

so three-voiced,

the

remains, marking, here, fundamental

the of

and the

chord. original

movement,
of the

fourth

will

occasionallytake
case

the

place

the
a.

chord

in second, especially

the

of

the

passing

seventh, e.

405.

it
above

Four-voiced,
thus:

the

place in Example

No.

403

would, complete,stand

$3lj^E*|"Il
406.
#45 6b
6

H3=aIp"Ei
In fourth
The the and

eighth
third

measure

of

Example

No.

403,

the

chord

of

the

sixth,
fifth. the

is,by the skip of the Alto, formed

exhibits fifth here

complete.
of the the sixth and

teeth

measure

apparently a
is

chord

Fundamentally,
fourth, which
a

the

nothing
the

else than

suspension of
the

here, however, through

this becomes

progressionof

Bass, become"

third.

Four-voiced

: plainer

190

MANUAL

OF

HARMONV

-4-

407.

"

IP"I^HPIE
of

The

measure closing

Example
in such the third the

No.

403
even

3hows, through
without third conditioned second
measuren

ih*

""ct*?w

t,

that the
That of the

triad the

can

appear, of

cases,

and

nft".
the

omission shown

is often

by

leading
next

voices, is

by

first and

of the

example.

%^=m^m*m
40".

SKI-* EEEE:

mm
-P-"-

HfIlIill=!ililHiI===il
5 4
"

"

6
-

m"*i
The omission of the third ; upon should
to be

"11
takes the
not

place best
be

upon

the

as arsis,

here

in the

last measural the

division

at the thesis, (accordingly

of beginning

measure),the

third
are

wanting. especial guidance [ofthe teacher]

to
a

Farther

exercises

left to the

Exercises

in

the

Three-voiced

Movement Voice.

given

Upper

The ^e

followingexercise,with
out

indication

of the

fundamental

tones

[" U

worked

three-voiced

MANUAL

OF

HARMONY

19

"""p^HH
"
110.

mmmmm

i^^f=p^=iiii"giiiE
fiiiiiii"^"^:
fundume/ital.

s
voices

This The of

treatment

needs

no

explanation.
and lower in the
a

choice

of in
more

the middle

will

depend
the Tenor

upon Tenor
can

the
as

position
middle

the chords he

general. Thus,
suitable of than the Bass. the
more

low

the position,

voice,will
as

Alto, just so

be selected

lower For

voice the

instead

following example
attaches of the itself

Tenor
to

is selected the of

as

middle
on

voice,since
other band

its movement the

Bass,

while

the

simple song

Soprano
in
more "

appears,

isolated. itself, harmonic

treatment
:

The

previousExercise

extended
G C
D

Gjf"7

F.

411.

ig=: ffiF" =

113

_*.

G
-rv

""" 7

66-57

In

the fifth

measure

at

NB.

appears

the

real

ninth-suspension (through
very

'.he position of the between Tenor and

as voices),

second, which
In this connection

occurs

seldom,

and

only
that inver
a

Bass.

it is to be

remarked,
the

cannot second-suspension

because exist, goverus itself

the second

depends upon
the

sion

of the
a

seventh, and

accordingto

of progression

the

latter, e.

192

NU

OF

HARMONY.

I
413.

Exercise
Tenor.

iu

middle
v

voice.
B|j
C
o

k"

"

oJ"y

As

upper

voice, the

selection

of

the

Alto

is here

most

to

the

purpose.

415.

^=JM=
3
6

""i=E[
era:

"^i=M^m=M^M^mi
The
same

Exercise
do

with

rhe

following determination
CF

of
gf.0

chords
d

A-7B|)0

B|)C7

B[jF

116

f5-""

iHEit^^^^fTTrf^

r"

?5-g-

:ff._i_(a_

(bii^ii"liilrtliil

G G 4 G

6 *

MANUAL

OF

HAH

ONY.

litt

The
be

next

to

the

last

measure

affords

the

proof, thai

even

the

sixth

can

suspension.
For farther
movement,

former practice,
mav

exercises, which

were

efiveu

for the

four-

voiced

be

used.

CHAPTER
On the Two-voiced

XXII
Movement. in

The

great
of

meagreness allows which it

of the

two-voiced
to

movement,

purely harmoni"
than
comes

point

view,

rarely

appear actual
e.

adapted
g., in the the

for other

puntal contrato

labors, in

it first receives

and significance

be

applied even
various

in

polyphonic movements, simply

of the harmonic voices makes

fugues. metricallyand rhythmically

able, tolerfree
movement
can

If, indeed,

for

use,

formation

two-voiced voices and

still the from the

contrapuntal development
of many successions individual

of of

two

alone

them

monotony
that

thirds every

sixths, and

give this

movement
must

completeness,which
intervals

other

ment polyphonicmove-

possess. of
one

The

omission

or

more

will,in
With

every the

case,

take necessarily will

place in
be the

connection the

with

this movement. If chords

triads,it
are

generally applied,
seldom

fifth or course,

fundamental.
cannot

of the seventh

to be
are

then, of
to

the seventh since

cases

be omitted.
too

Octaves
; the the chord

and fourth sixth of the

fifths

be

introduced,
in
a

they

appear the

empty
of the

could and

only

be

admitted

few
or

where
occurs

chord of

fourth

can

regularlystand,
page

if it

instead

second.

(See

188).
C F b"
"a
"

Example:

^Mmmmmimmmimm
119.
5

194

MANUAL

OF

HaRMC

?.

Tho iaruental will

"ts

omission
tones
rare

of of

intervals

is No.

plain through
418. since Want each and of

comparison of

-"i ihc the itself

(ua

Example
with the the

clearness

haimony

be

in connection i. e.,

this,

chord

explains

through

situation,
The
same

through
with

preceding

following haimony.
:

exercise

following marking

."".

jp^
Treatment

i^H=^H=H
421.
5
-

mE-m^^"VTTXT^^L

\tr-

^rrn^
of of the exercises

Most

exhibited
The

in

the

third

part

trespass

upon ;
to

the

domain
the

counterpoint.
of the

difference is in

consists
and

only
it

in

this, viz.
remains the
so

that form

here,
the of
cession suc-

succession
of the
as

chords while

prescribed,
the in left

only

leading harmony,

voices,
well
as

contrapuntal
its
to use,
our own

exercises

knowledge
that the

certainty
can

is

assumed,
choice.

of We may,

the

harmonies

be

therefore,
as

regard
afford
at

these the

labors
same

as

useful
an

preparatory
into the

exercise relation

for of

those,

they
to

also

time

insight

harmony
The

counterpoint.
in
tue

exercises

next

chapter
limitation

are

also
a

to

be

considered

in of

this

light,

pin

sq

tbey drop the above

of

prescribed succession

chorda.

MANUAL

OF

HARMONY

196

CHAPTER
Harmonic
Elaboration

XXIII.
given
ment.
Voice in Melodic

of

Develop

By richer rical

melodic

development
such

of
as

voice

is not

here

to be

understood

that
met

ornamentation,
of

Chapter XIX.
alone will be

exhibited. the

Through

variety of their measural-divisions

our

simple,choral-like
harmonic

gression pro-

earlier exercises
to

avoided, and
of the

therebyopportunitybe accompani

given
incut

to

learn

develop

better

the voices

also. exercise following will make this

: plainer

The
422.

"#"

-P^

""

"*"

fc

tmmmM^mmmmmmit
choice of the kind the chord-succession of
measure

-P"0-

The Even melodic be

.n

is left to the treatment selected

itself.
a

if the

will,of itself, produce

the

like
must

leading of
a

voices

to be

attention elaborated,still especial

given to
the

good leadingof them, according to

a

principles developed
of them is to be

if previous chapters,

free, skillful
three-voiced

treatment

attaine 1. This exercise will

follow,first in

treatment.

423.

_(B-T_(0-s,

^L^-0-^-^-fia.T_s-T-

'"""'"

"""

"

v9-

7_6

z-g"

a-"t"

-E-

iH|f^f^E|[
has
no

This

treatment, after what

inovemen*

been farther

remarked

in

connection

with

the

three-voiced The

needs

explanation.
as a

harmonic

treatment

of this be

melody
as

middle useful
we

voice

will

show

its

and many-sidedness, In order

to

may

recommended the
to

exercise.

be able to retain nosition,

Alto F

voice,

transpose the melody, foi

the sake

of the better

inaior.

106

MAX

UAL

Oh

HARMON

421.

G 5

683984

fif"I"i^l^g^lllUPilE
The in XV. the

explanation of
fourth

the

chord is

of found

the in

sixth what It
arose

and
was

fourth

which

enters

free

measure,

remarked

in

Chapter
the the of

concerning
of the

the

passing

chords.

accidentally, through
in the

progression of
chord The
425.

the

Bass

by degrees,and

stands, here,

place
Bass:

second. of the
same

treatment

cantus

firmus

transferred

to

the

"

ms^i^^mi^m
m^mm
4

mm
c.f.

m
jer
"
"

0 3b

HUM?
This
the
treatment

"STi9"

mm^mmmm
"

fS-rQ

"

exhibits of the
measure

weakness A
a

in the of the

third

and In

fourth like
maimer

measures, the
a

in

harmonizing
in the
we

sustained is it
as

Bass.

bare

fourth unless If
we

sixth
to to

very

imperfect
note.

representative of
still

chord,

wish wish

explain develop
and

passing

the

leading of
notes

the

voices

farther,
the
two

we

can

introduce
to be

passing
e.

changing

interchangeably,into

voices

added,

g.
c.f.
. -

^
iaci.

=1

""

rn^rn

m^m
G

MANUAL

OF

HARMONY.

191

"="

"=
6 6 3

ai^^^^^SI
S

Of
voices

the will

remaining
here be

treatments,
:

that

of

the

cantus

firmus

in

the

middle

given

="3=
c./.

i"ifiii":
mmmmmi
9
6

427.

gsfmTrrTnrrgf

"-0"*

mm^^m^s^iwmiwm
As

examples
Given

of

four-voiced

treatment,

the

following

may

stand

hore

428

rohe:
^_^

198

MANUAL

OF

HARMONY

429.

Four-

voiced

treatment

e.f. P-0-

gBjf^gzrrg^:
5

p"
9
8

6
5

5 4

7_4

59

^j-g^^^gi^Pi^g=E=iE
In
not
same excuse

the

fifth

measure,

at

NB.,

the
at

skip
the
same

of

the

Tenor makes

into
a

the

seventh in

ia the
can

good,
this the

because into

the the

Soprano,

time,

long skip
of the

direction,
case.

fundamental

only

the

position

Alto

In

same

measure

is

found

the of
a

chord which

of is

the

sixth

and

fourth and

of

the

augmented
It

triad,
in XI

the the

original fifth
character of

prepared (pages 91
from below.

92).

stands

here

suspension

sions, (See Suspen-

Chap.
The
same

L,

page

116).
in the

cantus

firmus

Alto, transposed

to

major

=}8J|====P^"ee|:
/

130.

g=i=^n

Lg.-i^

MANUAL

OF

HARMONY.

199

j)pEE=="|
2 r
a
^

pfe
to

?=E

F3e

ll^i
7
6 5

U
In the fourth

m
measure are

found
measures

in suspensions the from

one

three the

voices Alto is
more

(see pag"
and Tenor than
ao

117).
is
not

In the

fifth and

sixth the

positionof
to

good, because

distance

the

other

octave.

Of
here

the follow

remaining treatments,
:

that

of

the cantus

firmus

in the

Bass

will

Sltiili^itelfciSiiI=^iiEI
m^EEH^=m^^^^
:fczo^zzx^z=T^
a s
"
"

tU.siW

^iii^llS|-liriiiliiis|i
4

e.f.

5 4

6_3366
6

6 _2

5 A

Jp**r"

4 3

mMmmimimmm"mmm"
The introduction measure, of the is chord
not

of the

seventh
the

of the

seventh

degree,in
lies imm*-

the

fourth

clear, because

fundamental

above liately Besides of the

the seventh.

(See page 69).

not
ensue

this,its

does progression in the

same

here

accordingto
as

the

leading
other

leadingtone, but
of the seventh
treatments
:

cadencing manner
68
a

with

the

ehords The

C^

"-j

Fjf. (See pages

firmus
can

and

69).
the vo:ces
r

of

this

cantus

with

leadingof
in this
manner

iu

which

there

is

more

movement,

be carried out

200

UA

OF

IIA

Y.

cf.

-E-3"

"

i^ti^^i^gi
t32

PSF

-g"

i=^=" gi.
5

-"_#-^

"

i--*-0-0-"it~\

m^mjji^YTT-nTV'^^
sp
#-^-

m^=mm

I^"^^HH
"=fe
0

iiH:E~=il?

4 3

6_7

The

upward progressionof by
the
treatment

the

seventh

in the of the

next

to

the

last

measur"

(at NB.), is conditioned

The of the

movement

Soprano.
follows:

(See

page

84)

cantus

firmus

in the

Tenor

mmm^=F"=m^m
133 (

"

ES^EEE

fe g

6 3
6 4

The in

third

measure

givesopportunityto speak of
motion. the
as

octave

and

sion fifth-succes-

contrary
to

According
pages, be

principledeveloped faultyas
in of those of connection the voices

on

page

27

and

the

following
it is to thev

they are
the the

just

the

parallelmotion,
the much which

and

remarked especially free movement character is which

more

with

that octave-successions,

confine

; with

ever, howfifth-succcessious, milder

of

separationis
true

rendered those

by contrary
each other
wan

aiotion ; this while those

particularly
progress

of each

approach
the No. 430

from
Tenor

other, make
also

separation or
in the

of connection and 7th

perceptible. (See
between and

Example

6th

measures,

Bass).

Compare

the

following examples : E=":=z "" f=^^tzjB=f:zzE=i=g=E=:^=r?~

,.(
4'i

fb

If

we

glance at

the

treatments

found of the

in this

chapter,we
herein

cannot

fail to

tecognizethe
for of

melodic
as

development

voices,and
for

lies the

ground
th*

regarding them

contrapuntallabors;
distinction the it conditions of the harmonic freer

exactlyin
the

this

consists

essence

in counterpoint,

from

har purely rhythmical-

monic but

that form, viz., with observance

melodic

leadingof
latter

the
as

voice:",
it were,

laws, which

form,
where be

its innermost

substance.
now

Everywhere
move

in

these the

examples,

even

in

those
can

the

voicei

in thus

quarter notes,

simply harmonic
purpose, for the

structure

demonstrated,
us

and

they may
voice.

serve

the

present,of
and of this

making
can

stand under-

the of
a

difference between
The with
more

simply harmonic
itself.

contrapuntal treatment
only
be taker

given

discussion particular

tip in connection

counterpoint

202

MANUAL

OF

HARMONY.

CHAPTER
The Five-voiced

XXIV.
Movement. of
more

As

the

doubling
movement,

of

the
so
a

intervals

triad than

is necessary five-voiced this

even

even

in

th" it of

four-voiced

in five and still greater

movements

becomes
the chords

necessityin
of the the

degree, and
each

in

the

case

seventh. pure harmonic intervals sake

to

Since

in

movement,

voice admit

must

maintain double

its

independence, those
will, for
the

which especially

of

sion, progresof
a

of be

attaining
sure,
can

this

independence, place
for with seventh will be

be each least in

capable
interval

reduplication. This,
a

take

of
for

chord

under

certain where

circumstances
a

; the

adapted

doubling, except
lers this Farther remarks

melodic

leading,as,
with

example,

passing,ren-

reduplication necessary.
follow in connection the

examples given.

Exercise.
4 3

""""

":3^EE

"S
can

plUK
to

In
either

the
two

treatment,

we

select,according
or

the

positionof

the

voice*,

Sopranos, two

Altos

two

Tenors.

mmmmmwimmms

-"

"

IS-

m^s^^m^^m
I 6 4

MANUAL

OF

HARMONY.

20a

The
437.
BoFBANo

ouiLe

exercise

carried

out

in another

manner

iilifcil=iilii=l ff3='
1BE'

"OPE

A. NO

'

Jr

iH

IEI^sl=i=iIl

It
not

pertainsalso

to

the

independence
one

of

the

voices,that
first and

two

voices

do

remain the above the

stationary upon example, this

second

tone

or

in the in the but is

octave,

if the chords change.

second
measures

In

is the and

case

between

Soprano
its however

Tenor,

here

is not

faulty,because
no

he

same

chord

only leaves

but position,
:

exchanged for

other.

The

followingcase,

jfehfrFJ5*
43".

6 5

would

be corrected

thus

^P^F^^^i
439.

i^llilli"i^
Remark.
"

This

rule

admits, however
there other

in connectif of frequent exceptions

with

phonic poly-

movements, That the

because

relations present themselves.

leadingof
is shown and

the voices

will

also

admit of

of

the

doubling

of the

leadingtone,
the second

by

the third

measure

Example

No. 437, between

Soprano

Tenor. movement,
so

A.s in the four-voiced

here

in

still greater

degree in

the

2"4

MANUAL

OF

HARMONY.

five and

more

than and in

five-voiced unisons pure will

movement,
appear.
a

the
That

unavoidableness
here also be the

of corered
outer

octaves fifths,
must

voices
to the

progress voices

and relations, be mentioned contains

greater

freedom

allowed

middle

only,may

again.
various of progressions this sort
:

The

followingexample

440
"

".

P"

HO

"S"-

ROPBANO

II.

6 4

8 J

11111

j^^^H!*!

The

covered

octave fifth,

and open

unison fifth in

progressionsin
the

this

example

are

indicated second of the

by

strokes. and Bass

The is not

Alto

to be can,

between eighth measure avoided, since polyphonicalhjthe be difficulty, made

to

the chord

diminished

seventh

only with
in "he

progress

otherwise. The first and

to

second progress

Altot
thus
:

and following measures eighth

could

also be made

MANUAL

OF

"

0 A

20f"

"syii"^B
441.

SEI
TL"t
the the voices, particularly

l^"^if
middle and

voices,must
Tenor in the

often second

cross

each third

Jther is shown
measures.

by

the

second

Alto

and

For
to

in practice

the live-voiced

movement,

chorals

can especially

be

used

advantage.
The

following may
Allein Gott
G

be

given here
H"h'
"

Choral:

In der

sei

Ehr*.

DCJD7GD7

"

Ga

pr"

^~Da

^\t^^=im="m"M
" a

Be

WUUIJLU*^m
-

-i-

The

work

in

the

five and

more

than

five-voiced

movement,

a requires

simple aud
so latter,

natural much the

and Bass-progression, clearer and

more

the less artificial and the intelligible

difficult,the of with of mony harth" tl,i

succession

itself will become fullness of the chords

; this

is here the

the

more

important,since
the free
movement

and

necessity of
follows here
.

voices, very
The

can unintelligible progressions

arise. easily

beginning of

this exercise

=b=t
ii SL
'

r
|
J

"

"

443.

J.

J "

"L

mm^Mm^wwm^m
0 G 5

1 '

' Vi/

In the

the following succession repet:4ion,

of

harmony

can

be

applied

206

MANUAL

OF

HARMONY

^Hl^=I^SH
444.

"

"-T4=d="ir:d-

4=

he

CHAPTER
T/te

XXV.
Eiyht-voiced
Movement.

Sise, Seven

and

The
voices
an

increases of doubling or trebling necessity which

are

with

the in

number

of the with other

added

it will also the

often

occur

connection
cross

independent leading of simplestharmonic

condition be it must of

voices,that

the

voices

each

The

fundamental and
manner

become here, in a still greater degree, progressions of the possibility of such polyphonic movements that many chords
are as

remarked,

not

adapted
as

at

all for this

because writing,

their

in intervals, of

much

they are

to

definite

do not progression, and

allow

for multiplication^, of the follow

subject example, the

altered A few

chords

the diminished the triad

chord
may

seventh.
here.

of progressions

to Progression

the second

degree :
6- voiced
:

^-voiced la
"

g~~

i=F-g"
i45.
V n"

eeee^e^eeee=eefeie:^" gT^g=db g g g LT^g

"#" s

*"

""

"

""

lliii"== (Si
^^ggB=B=
"

MANUAL

IF

HARMONY

207

to Progression
4-voiced:

the third
5-voiced:

degree
b- voiced: 1 -voiced:

8 voiced

"

"i
Progressionto
4-voiced:

the

fourth degree :
6-voiced: 6-voiced. T -voiced
:

S-voieed:

"n=y
to Progression

Il^^Him
the

="

J?/VAdegree :
5-vo*eed
;

4-voiced

"-voiccd

1-voiced

9-voiced

IE
P
.ffl (5(2. 1 C

"

g,

g,

n
will inversions,

We
be

pass

over

farther

combinations

; to

try them,

with

all

of As

great use.

example
under

of the

management
may follow

of the here with

leading of
six voices

the
:

voices,the

choral

found

No.

442,

446.

=fc
"or"
a no

"Igt"

T"

gl'

I. "

II.

la

taci

IL

"=E

EQ^^

208

MANUAL

OF

HARMONY

mm ||3-5^T=r:Ei=x=^fc:f:=p-i=fz=:.pa:
_

-J==i=fa=d=jBfc

I"

Bh

"4

1"
r

1"
r-

"

"4-^-,

d=

=FrtF
6 4

iii^^il^j^^fl^ggEg-lil

4"s-

T-J"

_e":

M=e=ee1
J
L

e"e^3eee*e3 i33
T"l
-l"ts
,

BEE
7 4 3

?tl^"^"=^3=

-fS

t*~

l=t=f:

"I-

"

"'

pigiSi?#Ji^
i

J
5"=^=
"
"

I
"

~t

"

i^^^ii?eiiiiii^Illii
iii
i

fe
:"

I i

I EEE2=dE"=dEEEE==t=3"
7 G 3
-

EEEl EE=E="t=2Efc):
S

55

EE3EEJ5EESE?

?IgPi""E

ANUAL

OF

HARMONY

209

-j

Ut-4

3
A

3E

i"t

^^g^^^g^^^B

7 4

Since
at

in
same

polyphonicchorus-movements,
time, as
ami of in
a

all the voices

movement

do not

always work
often appears

the

ohoral-treatment,the
receives
an

only
the The

three

and four-voiced,
a

increase

of

intensity through

accession

number

of voices. and explainthis kind of chorus-movement in polyphonic work also, suspensionsand

following examples will

to
can

serve especially

show,
very well

that he

notes passing
ess

introduced, without

detriment

to

the

clear

and

intelligibility.
""""
^
,

447

i_

TlNOR I ill.

\ f mmmmimimmi^M i

210

MANUAL

OF

HARMONY

44".
Soprano I

"

LH"TT

"T==j

f-.
ee iii

"g=p^l^
=)=*

F^z^:

"p"^

HE"

=t=F

:*E
V
Bam.

wmm
ffi

"i"*":

^^

A
1

"

"

=p
I
r

-"a

CM-

93

S3

JP

"=?==g

IHIIIIeeI^I^
a:

^HHi-ilit
^sfes=d

MANUAL

OF

HARMONY

211

-#

(5

r-"

""0

I^HI1e=

"

d-

fc="===fc

#*=r1f
In four

g^"JEEE
for
are

chorus-movements, eight-voiced
voices
are

which,
not

as

rule,
found

tht

customary
aa

used

twice, the voices,which

latter would
are

always
too

employed

eight independent
two frequently

easilycause employed
two

great

but fullness,
two

voices

of like kind
or

in unison in We work

(forexample,
unison), so
find each that also the for

Sopranos, two
movement

Altos,

two

Tenors

and

Basses

the

often

appears into
two

four, five and

different

six-voiced.

eight

voices

divided
in
an

choirs,which

and itself,

only
As
must

singlepassages example
the
:

together.
the

of

particular progressionwhich
the choral

many may

of

these

voices for

make,

beginningof

given

above

follow

here

eight voices
4

49.
I. "fe II.

SOPBANO

mmmm\

I. A

II.

mmmmm^m^m
J_T__!
(2

4p-

I
Bam
1

II.

"il3"E

212

MAX

UAL

OF

HARMONY

-l

flUj"

iii=iii=lii^^igii
The
movements

T-^

1"

,"

of difficulty which
two
or more are

this

manner

of into

writing
two

is,

in

the

case

of

polyphonic by this, that

the

divided choirs the work

different it is not

choirs,

met

*here

together,
which harmonic

altogether
the

tonica)

difference,
to

but

often

metrical,
that in
to

separates

voices; itisalway*
takes

be

presumed,
manner,

however,
and
never

the

succession

place

in

tb

simplest
The

rapid changes.
understood
when
we

above

is

generally

be

speak

of of

twelve

or

six

teen-voiced
are

choruses,
where
are

movements,
and
more

etc., and
voices
are

single pieces
which,

Bach

only
iustru

found,

eight
to

(among

however,

mental These the sonal its

voices hints with

be

reckoned),
the

treated

obligato.
may
can

concerning

polyphonic
of

movement

here be

suffice, sine,
left
to

rest,

thorough
the

knowledge
for may

harmony,

per

study

and

inclination
we

polyphonic
farther remark

movements.

Concerning
the will music,
si
use

application, however,
form in and its

that

of

th.

polyphonic
cation
e.

manner

of treatment for
not

above
; in

shown,

have

appli

mostly
in

compositions
works,
will

choirs find
us

instrumental

however
so

g.,

orchestral

place (as the

to

taking part,
in the compass
movement

man)

instruments for this

of various

kinds

allows of

suppose)
the

adduced will lx actual

tions rela-

last, in

the

majority
the

cases,

four-voiced
of which

sufficient, concerning
instruction of
moat

farther
can

treatment

only the
since here shown the

in

instrumentation

give information,

reduplication (even subject

to

if often

approaching

the

manner

above),

still be

other

principles.

MANUAL

OF

HARMON

F.

218

JHAPTER
On the Musical Forms

XXVI.
of
Close.

Several in relation

kinds
to

of close have

already been
wi.ole
til"

mentioned remarks

(pages32
followed
no
on

and pages

33) ,
40

the
course

authentic
of the

close, farther

and

53 ; in the has been other

treatise,however,
so subject,

farther

nity opportu-

given to
kinds of close
are

take up

that
:

fuller

explanationof

these The The The The minor

and

of close 3iay

here

follow

forms

immediately divided
close. the before
not

into

authentic

close and

plagalicor plagal
authentic
:

close

has
was

formula remarked.

V-I,

the

plagalclose
of whole the

IV-I

(orin

V-i, iv-i), as
kinds
at
are

Both

used close
more

but

also

the The

of

only at the conclusions the principalparts, of

book
a a

compositions,
their
to

divisions. doctrine If the the leads

to

particulardiscussion (See the

concludes close ; in referred

of this

periods,and point belongs

alone,but

the

of

Form.

to, page

142).
stands
ceeds suc-

plagalclose
authentic
e.

it seldom piece,

composition in

minor

it also

frequently

major,

g.

150.

In the last case, modulation.

The 'cadences closer
l.

as

in the

above

example, it
divided

is introduced

by
and

means

of

are (cadences)

also

into

whole

half

closes

By
is

the first is understood cadences. between In the

the
case

same

which

is

comprehended
a

under

the

authentic

of

nie cadences the i"-J

farther

distinction

again made
The

perfectand imperfect ones.

cadences
are

perfect whole

those

in which

the Bass

receives the

214

MA

UAL

OF

HARMOXY

fundamentals

of

the dominant

and

tonic,and

the

Soprano

the fundamental

of the tonio,e. g.
not:

51.

If this is not

the case,

they are

called

e. imperfect,

g.

152.

^mmmwMm^^M\
If the Bass

progresses

from

the

dominant

to

another

degree,they a"e

ealled

cadences. deceptive

mmmmmmm
453.

fa.

"c

mm
See the The

mmmmm
82 to 85.
the

examples,pages

have half-cadences

formula

I-V,

e.

g.

451.

a
this ; that the dominant

They
movement.

consist therefore in

triad

completes the

Besides dominant

the tonic

triad,other
of
a

chords

of other g.

degrees can

precede th"

in the formation

half-close, e.

455.

ma^zmm*m^i
the -cadences half
are

Among

also counted

those closes in the

key of

thi

MANUAL

OF

HARMONY.

'215

dominant

which
the

are

formed
itself of

by

modulation in
a

into

the
manner,

same

with

which

however,
the

modulation

is not, the
or

definite

effected of the

through
but the

fundamental

positiou
its
e.

dominant the

harmony
chord of

seventh,
seventh
of

either
"eventh

through degree,

inversions g.

through

the

This

is, however.
before farther found 388 is in

tixi

case

only
use

in of. of of

relation

to

the

ruling key,

which

has

immediately
For which In formed whole
"

been

made

the
are

understanding
the

these this

kinds

of

cadences,

compare

those

examples
in which seventh the

book.
fourth close
measures a

No.

found

third the

and

half

cadence of
we

through period
whole
;
or

il-V,
in the

effects and

of

the

first

division

the find

eighth

measures,

however,

perfect
In

authentic 392 is

cadence. found and the

a

Example
formed

No.

half
a

cadence,

in
or

the

third

and

fourth cadence

measures,

through
the the dominant dominant

I-V,
at

perfect whole
conclusion.
of the seventh

authentic this is the

in

the

key

of

(Thus

no

hol)

cadence,
tion In

sicce

harmony

renders

module

decided).
the choral treated under the
to
e

No. second minor

446,
with

the
a

first

strophe
whole

ends

with

an

imperfect
third whole the
a,

whole
a

cadence,

perfect
the

cadence,
with
a

the

with cadence sixth

half-cadence
in
a

(iv-V),
a

fourth

perfect
a

Gr major,

the

fifth in

with
e

perfect

whole and

cadence the

in

minor,
with

with whole

half

cadence in

minor

(iv-V),

seventh

perfect
The

cadence of the

major.
cadences the the
care,
more
means

application
extended

various form of much of

is

easily
of

found

in and

chorals;
connection
an

for

more

pieces
as

they
as

boundary

if

the

smallest,
to

well

extended
upon

movements,
them

are

therefore

be

used

with

because

depends

great

part

of

the

Form-construction

piece.

INDEX

OF

SUBJECTS.

figurated,'83; Aeeotrtpanimer.t
195. of harmonic After-striking

harmonic

accompaniment to

given Toice, 151

171;

"'ones,121.

Alto,

23

; alto

notes, alto clef,118.

121. Anticipation,

Amis,

107,
23

138, 174.
of progression 128. the same,

Bass,

; movement,

34, 36, 153, 205.

harmonic, By-tones,
Cadence.

55, 81 ; whole, half, 178, 213;

148.

imperfect,62, 213; perfect,

in connection

witfc

modulation,
Cadence
Cantus

formula,
firmus,

149, 150.

195.

C-clef 113.
Chorals, Chord,
as

175, exercises,

205.

21.

accidental, 105. Chcrd-formations, Chords, altered, 138; 43, 91, 101; passing,
see

view

of same,

99.

also the

Triads, Chords
and

of the seventh.
;
as

Chord

of

sixth

fourth,48

the

same

in the

formation
use

of the of the

close, 53; in
153.

cot*

nection

with

modulation, 143;
and
with

passingchord, 139;
of the the

same.

""f the

augmented

triad, 92, 198;

59, 60, 62; fifth,

diminished
as

triad, 155, 188.

Chord

of

the sixth

same

189; augmented, 97; suspension,

in connection

modulation,
63.

147.

Chord
Chord

of of

the

second, 59, 61,

the sixth,

fourth and
same in

second

(see Chord
chord

of the of the

second)
seventh

Chord

of the seventh, 21, 6%; dominant

the 138. passing, in

54, 57,61,82.

144;

"""

sential, 64;
of the

seventh

degree
76,

major, 68, 78, 90,

in connection

200.

diminished, movement,
Chords

79, 87, 90;

204.

with

modulation, 146;

in

the

phonic polywfck

of the seventh,
of other

connection

of the

same

amoDg of the

themselves.
same,

73;

in connection

chords Chord

tone ;

degrees, 81, 86;

augmented,
90. 94.

view

100.

of

the sixth, 47 the

CJiordff
Chord Chord Chord

88, thirteenth,

ifthe
of
the

fourth and
51

third, chord

of

the

sixth,fourth and

third. 59, 60, 62.

eleventh, 88, 90.

tones,

offour

(see chord

of the

seventh).

Chromatic

alteration.

91, 17.

Consonance, Contrary

17;

Complete,incomplete
26. 135.

motion,

MANUAL

OF

UAKMONY.
85.

217

Cvnntction

Close,32

;
see

of chords, 25, 73, 81 ; local,inner, authentic, plagal, 82, 83.

also

cadence, whole
81.

close, half close, deceptivecadence.

Closing cadence, 55,

Closing formula,

40, 41, 149.

Cross-relation,uuharmonic, 16fc.

cadence, 81. Deceptive diatonic,18. Degrees,

Digression(see Modulation).
Dissonance, 17.
Dominant chord harmony, C-triad, of the seventh in connection with

modulation,
in

144.

Eleventh, 14.

Exercises, for practiceof the primary triads

of the of the

in

major,
of the
same,

30 ; of

all triads
;

major,
chords

8 i

triads in

minor,
; of

45

of the inversions
of the

triads,49

of the dominant

chord
of

seventh, 58

the inversions connection

63 ; of .the of the seventh

secondary
among

the 74
;

seventh,

78 ; of

the

of the chords

themselves,
of tin in

of the secondary chords

80 ; of the

of the seventh

in minor,

77

of

the inversions
of the

same,

deceptivecadences,
chords of other
tone

85 ; of the

secondary chords
keys,
87 ; ""f the

seventh

connection 94;

with

degrees

or

augmented triad,
of the sions, suspen-

of other

altered
of

chords, 98; in searching

the harmonic

out

modulation, 103;
to
a

112, 119;

accompauiment
of the two-voiced in melodic

given voice, 151, 152, 157,

;

163, 164, 165, 170, 171, 172, 173; in the development of melody, 177
voiced nie

in the threeharmo five-

movement,

187, 191, 192;

to
a

movement,

193;
200

in the
;

accompaniment
movement,

given voice

development, 195,

in the

voiced

202, 205

14. Fifteenth,

Fifth,13,
in the

22

15, perfect,
of the

16 ;

augmented, 15, 16,

70.

75

diminished, 15, 16, 8C, 60;

fifth

chord

seventh, 57,

Fifth(parallel progressions fifths), 26, 28, 51,79,

110,

97;

open,

30, 78;

covered, 30,37,
in

158, 204;
201.

in connection

with

passingand

changing notes,

133;

contrary

motion,

Figuring, 44, 48, 53, 54, 58, 63, 111, Fourteenth, 14

128.

Fourth, 13; perfect, augmented, diminished. 155; the

same as

15, 16;

of preparation

the

perfectfourlk

chord, 189,

196. 136.

in passing, (fourth parallels) 134, Fourth-progressions

Formation

of

the

close, 39, 53, 65.

21 ;

Fundamental

harmonies,
21

chromatic
of the 218.

alterations

of the same,

91.

Fundamental,

; in the

chord

seventh, 67.

Half

close

(halfcadence),178
21.
tones to the, foreign

Harmony, Harmon;/,

105. of the same,

Intervals, division of, 17 ; view

see

16, 18 ; inversion

of the

same,

11

also

omission, reduplication.

of, 13. Interval, 14; minor, augmented, diminished, 16 13; major, perfect, Interval steps and skips, augmented and diminished, 156.
Interval* above, 18. Jnten-us

doctrine Intervals,

bt'ow, 18.

218

MANUAL

)F

HARMONY.

Tnvetaion, 47;
tervals).

cf the trhds. 47 ; of the

chords

of the seventh.

59, 62, 78

(*e* also I"

Leading

tone, 57, 39, 56, 76, 116, 159, 203.

Major triad,22, 65. Meloiy, its development, 176;

MicLlle

its

rhythmicalformation, 177.

voices,23. triad, 22, 33,

102
65.

Minor

Modulation,
Movement, voiced, Movement,

; means

for the

same,

141

its extension

and

completion,148.
:

it one-voiced,184; two-voiced, 193; three-voiced,187; four-voiced,

202 ;

At"

six, seven

and

206. eight-voiced,

26 parallel, contrary, oblique,

Nachsatz, 177.

Ninth, Ninth,

14

major, minor,
of

15.

chord

the, 88, 118, 127.

118. Ninth-suspension, 26. Oblique movement, Octave, 13 ; perfect, augmented, diminished, 15, 16. 26, 28; open, 30, 110, 138; covered Octave-progressions (octave parallels),

80, S6, II

84, 158, Omission of

208

; in

contrary motion, 201.

193.

57, 73, 188, intervals,

123. Organ-point, Outer

voices.

1 1.

Pass;

passingnotes, 128, Passing chords, 138.

Period, 177.

134.

Plagal close, 33, 41,

Position

213.

of
13;

the chord, of the

close, 81, 82, 114. open, dispersed,

of the

Preparation,
Primi Prim"r
Primarii

seventh, 70;

107. suspension,

augmented, perfect,

15, 16.
64.

chord

of the seventh,54, triads, in major,23, 33;

of the

in

minor, 40.

Progression,
.

melodic, unmelodic, 165, 156.

see

secondary chords of the seventh, 66,73, 81; of the "fec. unison, octave, fifth progressions ; connection
of intervals, 25, "duplication, of the chord of the

also

resolution,out

chords.

39, 48, 58, 70, 95, 109, 111, 132, 202, 206. dominant seventh,
of the

Resolution,
seventh

55, 60 ; of the secondary chords 106, suspension,

10 i, 116, 120.

of th"

(in major) 65; (inminor) 74;

33

Scale

(see Triads).
;

in major, Secondary triads,

in

minor, 42.

chords of the 8eeo7idarg Second. Second-

seventh.

64, 78, 86.

16.

13; major, minor, augmented, 15,

in parallels),

184; with changing notes, 186. passing, (second progressions Second, step of the augmented. 44. 37. Sequence, in passing, 184; with changing notes, 136. rogressions (seventh parallels), Seventh-] 70; diminished, 72, 176; preparation, minor, Seventh, 15, passing, 16; IS; major,
same

th*

without

72, 77, 158, preparation,

15. 16.

164.

Sixth, 13; major, minor, augmented,

Signatures.53.
Soprano.
'}'*"
""oratio

notes,

soprano

c.ef, 118.

MANUAL

OF

HARMONY.

219

Stationary voices, 123, Structure, pure Style, pure,

Subdominant

126.

harmonic,

24, 137. pure, 137.

strict,free, 24;

triad, 23.
in the bass, 111; from below

Suspension, 105, 108;

117,
199.

upwards, 116;

in MTeral

roi"e",

Tenth,

14. tenor

Tenor, 23;

notes, tenor

clef, 113.

Thesis, 107,

138.

Third, 13, 22;

7C

major, minor,
tone).

diminished,

15,

16;

in the chord

of the seventh,

166, M

(see Leading
14.

Thirteenth,

Thorough-bass notation
Tonic

(see Figuring).
dominant triad
142
;

triad, 23,
21 ;

142. 22 ;

Triad,
23

major, minor

(in major)
subdominaut
96
;

23

(in minor) 40;

tonic triad,

connection ; (in

with

modulation)
94 ;

triad, 23.

duuble-diminished,
34, 38, 43, 50,

harsh-diminished, 95,

augmented, 43, 65,

92

ished, dimin-

65.

Triads, of
the

the

major scale, 21, 33, 43,

minor

99.
; natural

of the
same,

scale,

40, 42,

46, 99

connection

of the

same,

22

view

ol

46, 99.
169.

Tritonus, 70,

Twelfth,14.
Unison,
Unison
13.

progressions, 27
of of of
;

covered, 161,
55
;

206.

Voices, movement
Voices, compass Voices, relation

the, 26,
113. 113.

(see Progression, Ac.).

the, the,

Voices, outer,

23

middle

voices,28

development of

the

accompanying voioea, 146.

Vordersatz, 174.

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