2012-09-27 00:22:44 UTC
50632a7b06977 190.160.147.91 Chile
781.3
Bl8h
v.2
59-01J97
Baldwin Harmony
TSl.J
sinplified
BlSh.
Baldwin Harmony
simplified
v.2
59-01597
BOOK
DATE
PU
YORK L-16
II
Foreword
The to
in
course
an
satisfy
a
points
ration in
for
a
for
this
is
the
to
power
tion
a
odies The
subject before
teacher
rule
in
by
the
the
hands
the
of
to
teachers
eliminate
all
essential
As
subject. a
of
science
coverall
have
should
designed
of
the
on
to
time
chord
progressions
the
prepa
foundation
good
book.
deduction
each
from
and
lesson
makes
student
The
is
piano
of
more
harmoniza harmony,
of
phases
the
of
methodical
three
rec
harmonization
that of
mel
simultaneously. of
matter
the
practice
developed
the
than
The
paper.
the
on
to
ability
development
the
and
student
the
that
authors
hearing
keyboard be
should
of
on
melody
training,
ear
the
authors
same
student
through
to
value
of
is,
contention
play
practical
the
in
is
theory.
chords
ognize
the
understanding
course
elementary It
ter
practical
book
the
of
aim at
yet
this
treatise
concise
the
in
placing
and
been
details,
unnecessary
by
practical has
It
harmony.
presented
need
urgent
students
and
harmony
student
instances
should
should reference be
furnished
led
by
be
taught
to
the
to
formulate
by
the
THE
subject
the mat
each
teacher.
AUTHORS
five tone
The
chord is noted V
and
II
Chapter
XI
DOMINANT
THE CHORD
BOOK
erected
V
upon
3
NINTH as
the
CHORD is called the
root
DOMINANT
NINTH
.
Ex.51
G
The
the
Hence
it
comprising
notes
5, 7, 2, 4 and
are
of the
notes
melody
v
scale
6.
be
may
harmonized
as
follows:
1
I IV
VI
it is
As four the
er
a
The
V9
The
ninth
be omitted when writing of the notes must the third chord, 2, is usually omitted, rarely
for
one
of
inverted.
6, should
.
be written
at least
a
ninth
the root, 5, nev
above
above. may
V9
resolves
to
progress to
the
any
position
I, the
ninth,
of the V7 6,
or
vise
versa.
downward
either
resolving
to
5
or
up
1.
to
ward
of the V9,
V9
The
be
NOT
should
second
The
chord, of the
7.
chord,
a
five note FIFTH
The
voices.
Ex.52
"
G
Formulas:
8-7-6-5 1-2-5-1 I
I In major Ex.54
or
V7
V9
-
Vl~
I
V9-
I
minor
6543
432
Upper
voices 6 4
5
4
3i Inter
"'.'.'I'.'lJS,1.1 ijchange7
G M.W.
"
V^ TIL v** V7 n^ v7 Sons
19401-59
I i Pt.2
K
V9 IHi V7
I
-
-
-
3
-
-
7
-
Bass
5-5-5-1
Chords
V^SIj-V7-
-
2
-
7
-
-
liable
I
Ex.55 321
134
3
Upper
3-2-1
voices
#4
3
-
1-7-1
J 1.
t}4
-
*
I-
""
Bass Vy
G
V7
I
The V9 may
also be used
V9
g
(Dom)
f
V7
Chords
V9
G*") as
a
chord
-
V7
I
-
(Dom) (Tonic)
of modulation
as
follows:
Ex.56 ~l
u
o-
A
f.
^
6
2
1
3526
321
i
E
V9
D
Exercises
(v9)
V7
C
V9
V7
I
Chapter KEY key
A
CHORD
AND RELATED
is CLOSELY
"
XII RELATIONSHIP
to any
other
key
having
one
sharp
or
flat
more
less.
or
ALL
keys
other
REMOTELY
are
RELATED
The all the keys progression through is that is, counter clockwise, possible as
to the original key.
successively follows:
via the SUBDOMINANT
route,
Ex.57
'
Bt V7
I
C
Cfc Y7 By sions
B
Y7
omitting are
I
Y7
F
the
chord
voices
sing root
two
voices
sing
Dk
'G
19401-69
Y7
V7
Gt
only; scale downward.
Ct "V7 Pt.2
B V7
A
D Y7'
"7
T
I
of chord
chromatic
Y7
I
after each V7 chord, the following
'BIT7
I
" Soms
I
V7
of resolution 59, 60.)
{
'i
58, (Exs.
F M.W.
Y7
A
Two
C
At Y7 Et
I
possible:
'
i
C
V7
pr ogres
-
Two
voices
sing
two
voices
sing chromatic
root and
5th and root alternately; scale downward.
5th
or
Ex.60 ~*jr
rT
1
f T
T
y *ii S
J-
"tU
TF-
C
G1"V7
I F
E
V7.
C
V|
57, 58, 59, and 60 the notes to the notes of the key changed
In examples
monically
it will be
Hence
59 and 60
as
1. Roots
observed follows:
of the
chord
in which in succession, a perfect 5th. "When two
that
there
B
2
three
are
two
on
voices
by half downward move must voices 7 of the key in the first V7 chord moves
*"
V7
C V' G
of C flat
are
enhar-
involved in examples
processes
up
the chord perfect 4th or
sing
may
will move sing chord- roots they must
2. Two
ing
D V7
A
in the V7 of the key of B.
only. One voice or the progression case voices
V7
A A
a
move
in contrary
roots down
-
motion.
step progressions. The voice start downward a CHROMATIC half
step to 4 in the key of the next V7 chord. The voice starting on 4 of the key in downward half step to 7 in the key of the next V7 chord. first V7 moves a DIATONIC 3. Voices a.
The
b. The
2 of the key
starting V7 chord.
on
in the first V7 may
5 in the
first V7 repeats
move
and
as
downward starting on 2 in the first V7 moves V7 5 in the becomes next chord. step and
progression
thru
is possible
as
all the keys follows:
successively
via
the
DOMINANT
the
follows:
becomes
voice
whole
clockwise,
or
voice
next
The
5
on
starting
58,
a
2
in
the
DIATONIC
route, that is,
Ex.61
etc.
etc.
Jl progression of V7 chords in succession, omitting the chord ?, is impossible thru the dominant keys. Why?
-s"
'PL 2
of resolution
after
CHORD
RELATIONSHIP:
Ex. 62-
a
C
,
Ex. 62F
G
"
*
VI
IV
,
c
E",
vn
b
D
g
II"
-a.
II
Any
II
"
" TT"
major
triad
different minor
III
IY
vi
in
n
Ex. 62
vn
Ex. 62- d
Ex. 62- b
*
n
may keys,
found
be a
as
I,
a
different
in three
IV
or
a
major keys
V in the former
as
and
and a
V
two
in or
a
VI
in the latter.
triad may be found in three different major keys and Ex. 62 -b. Any minor keys, as a II, a III or a VI in the former and as different minor
Any
-
d. An
augmented
be found
triad may
diminished
different minor Ex. 62
a
I
or
a
in the latter.
IV Ex. 62-c.
in two
keys triad
as
a
must
II
or
a
in
one
major key
as
a
VII
or
in two
VII.
be the III of
one
minor
key
only.
Exercises
(2)
am
r ir r J
^ i
^
LjyUU"
3^ f M. W, " Sons
19401-59
^ I ^J tJ I J.
Pt.2
XIII
Chapter TO
MODULATION The
IX
rules In Chapter
general
KEYS
REMOTE
effective also in modulation
are
to remote
Ex.63 G
6
5 2
C
1
1 2
7
C
1
1 5
A
1
6
2
2 1
3171
,"321
C 5
2
5
3453
5653
keys.
2
7
1
G
1
d
7
1
3
1
4
2
7
1
8
,D
Ex. 6B
-
a.
Four tion
In each of these examples a modula of BLIND modulation. examples in indicative occurs the a "but no chromatic sign of melody
occurs
modulation. Ex. 63
-
In each of these of APPARENT examples modulation. is given of the new tonality by the chromatic sign.
b. Two
Blind modulation
Hence:
tion
appears
Apparent ulation
occurs
in the
occurs
in the
Ex.64
I4
3
no
chromatic
sign
indicative
of
a
clue
a
modula
of
a
melody.
modulation occurs
when
examples
a
when
chromatic
sign indicative
mod
melody.
3
5
1
7
1
|4431
171
fefei J J
i-JJ
^ r r rJhj r
.;.,
Bt
In Ex. 64 REMOTE Notice
that the
Hence
between
a
chord
modulation
the last chord
I G
modulations of resolution may
of
n v7 1 vi
C V7 I
one
D
V|
I
made by in each key
are
of the V7 in the falls upon the accent.
means
new
be made to any key provided no cross relation key and the first chord in the following key.
tonality.
occurs
Exercises
aHM
;JJJU,J in "
* Sow
1MU-
m
jjj
" Sons
19401-59
J-
Pt.2
10
XIV
Chapter
A
of the seventh
chord
minor
third above
7 of
on
erected
other, known
the
as
CHORD
SEVENTH
DIMINISHED
THE
a
key,
minor
comprises
four
SEVENTH
the DIMINISHED
notes,
each
CHORD.
a
It is
D7.
marked
Ex.65
D7
g It may
be
constructed
TO
RESOLUTION A D7 may
major
or
A
either upward
MAJOR
be constructed
on
triad, resolving
minor
OR
MINOR
the
note
to
from
downward
or
TRIAD
or
diatonic
a
note.
any
such
triads inverted.
half step below
the
root
of
any
this triad.
Ex.66
For the convenience
of the
student
a
chart
is given
following
each
method
of
resolution.
CHART:
For
determining
In the first column in the D7 chord
In the second
chord
choices.
is indicated
to its resolving and third columns
e. tlufcsecond the (i. chord),
the
nature
note
in the
is indicated
first chord
being
of the progression
second
one
note
chord.
the kind
always
from
a
of chord D7.
of resolution
11
Arabic
The
numbers
in the
second
and
(marked 3),or fifth (marked 5) of
third
the
third columns resolving
refer to the
root
(marked 13
chord.
Ex.69
Major Ex. 69 "
"
55
"
-
-
-
a a
b
Exercises
M.W.
" Sons
19401-59
Pt.2
triad
4
i
Minor
triad
12
RESOLUTION A
A
TO
D7 constructed
step of
a
minor
I2 in cadences. on
key
the
may
raised
second
resolve
also
to
step a
of
a
major
\% in that
key,
or
on
the raised fourth
key.
Ex.70
C
lo
c
I2
Ex. 71
CHART:
Major triad Ex. 71"
"
99
"
-
~
a
b
triad in second
inversion
of
a
triad is
a
weak
chord,
D7 should not be resolved
except to the I2 in cadences.
Exercises Cadences:
(T)
(2)
"
r ir
"
" S"i^
triad
a
Since the second inversion a
Minor
19401-59 Ft 2
to
13
TO
RESOLUTION A
be
D7 may
ly raised
sixth
A V7
its inversions.
or
constructed
step of
a
upon
minor
the
raised
sixth
key, resolving
step of
a
major key
to the V7 in that
or
on
key.
Ex.72 In
In minor
major
f
V7 in Ex. 74
-
a
-
a
'"
"
"
"
-
?"
"
-
a
b
Exercises
M.W.
" Sons
19401-59
Pi. 2
VI
major
V7 in minor
the doub
14
TO
RESOLUTION A
D7 may
be
III in that
the
THE
III
-
constructed
also
on
(in minor
TRIAD
AUGMENTED the
keys)
step in minor
seventh
resolving
to
key.
Ex. 75
III
c
Ex.76
e
HI
a
IH
III
a
CHART:
Augmented
Ex. 76
THREE
A
TONE D7 may
III
et
triad
-a
DIATONIC also be used
sion, the first tone
being
PROGRESSION
DOWNWARD.
effectively in any non-
three
tone
diatonic downward
progres
harmonic,
Ex. 77
The to
three tone
chart
progression
Ex. 69 for chord
Ex.78
jpt.2
may
choice.
occur
in
one
of the
lower
voices
as
follows: Refer
15
D7 is erected in minor
the
Since
thirds there
but
are
three D7 chords
differing
in sound.
Ex. 79
Note
the fourth
that
D7
The
A
D7 chord
The
may
to
Care
must
be
Accidentals
written
a
"
"
"
CHART
SUMMARIZED
to a-
as
other
any
same
as
in the
the
first chord but it is
"
"
below
for choice
"
with
no
be
followed
key.
new
of the tones
"
of D7
but should
chord in the
scale
triad.
D7
notation
half step above
diminished
a
modulatory
its identity
establish exercised
to
progress
progress
is useful
D7 chord in order
chord
never
should
chord
the
in its notation.
changed
enharmonically
in Ex. 79 sounds
chord
D7. tend to resolve "
voice
"
skips
"
UPWARD.
DOWNWARD.
in resolution.
Exercises
0
IfJ
"
^
M.W.
" Sons
19401-59
Pt.2
by
a
V7
16
lll'IM |J"JJIMififg
r'r
17
Chapter SECONDARY of the seventh
A chord
SEVENTH
be
may
XV
erected
CHORDS
upon
each
8
I
note of the
major scale.
Ex. 80
*#tt
I
it
in
Q
II'
As 1. To
these
the triad
I7
The
voices
resolves "
III7
"
IV7
"
=
or
to
the
"
"'
follows:
V
"
"
VI
"
"
VII
IV
II
VII7
III
may
VII7
fifth degree, below:
the
VI7
chord
VI7
as
resolve
above,
II7
seventh
of any
may
}] V7
IV7
they
degree
the fourth
on
III7
discords
are
chords
I
(Rare) (Rare) as
progress
follows:
Ex.81
2. To
the
chord
of
the
on
seventh
the
fourth
degree
below. I7
resolves
to the
IV7
H7
Voice
III7
"
VI7
IV7
"
VII7
VI7
"
H7
VII7
"
in7
progressions:
Ex.82
3.
To
the triad
on
the
diatonic
step above:
Ex.83
II M.W.
"S6as
19401-59
Pt.2
IV7
V
above
or
the
fifth degree
18
The
following
succession
of seventh
chords
is possible.
Ex.84
n7 r\^7vn7
n7 v7 vn7 1
i7 ni7 vi7
v7
i7 vn7
ix
Exercises
nrJ
rJ irJJj i-' JJ
J |J J J
j-^lff rrUJ3 "^nr
=e
^ ii
'
Pt,2
'I'ui
i h ,,
'
19
Chapter
SIXTH
AUGMENTED
(German,French (G)has (F)has The French The Italian Sixth Chord (T)has The German
A.
XVI
Sixth Chord
a
Sixth Chord
a a
and
CHORDS
Italian Sixth
Chords)
major third, a perfect fifth, an augmented sixth. major third, an augmented fourth,an augmented sixth. major third doubled and an augmented sixth.
chords resolve to a major or minor triad, the root of which chord. step below the root of the augmented
These
is
a
diatonic half
Ex. 85 F
G
i
,
I
^f=^ four of the chords resolve either to a major or minor triad, in the minor key and six in the key, follows: as major
the augmented
Since
series will be found
Ex
86
SE
t F
T
3GE
IV
T
IV
i
VI
F
^ li'lf
T
VI
I II
II
IV
IV
m III
III
f V
T
The Ex.87 a)
In
b.
The
all
cases,
resolution
M,W.
19401-59
rf)
c)
the root resolves
'[,*" T
VI
downward
a
diatonic
e)
half
step to the
root
of
chord.
third of the G and F major triad; or downward " Sons
i VI
Resolution Tendencies
A)
'
a.
V v
Pt.2
moves a
downward
diatonic whole
a
diatonic half step te the third of the step to the third of the minor triad.
20
One the
of the
major
thirds
triad;
or
of the T
downward
aad flis other third of the T resolving triad.
fifth of the G
The
c.
resolving
downward
moves
diatonic
half
downward
step
to the
third
of triadminor step to the fifth of the
step to the third of the
whole a diatonic whole upward
moves
moves
a
diatonic
a
a
diatonic
half
step
to
the
fifth of
the
triad.
the fifth of the resolving fourth of the F repeats and becomes augmented fourth in the bass, this triad; or when the chord is inverted, with the augmented to the the fifth a downward tone may move root of resolving chord. perfect
d.
The
e.
the augmented In all cases, the of resolving triad,
sixth
upward
moves
a
diatonic half step to the root
Inversions Any
inversion
The
T
F may be used but it should be noted that the second inversion of the resolving triad is generally it is better to avoid the weak, hence second inversion of the G and F augmented chords.
is seldom
can
of the G and
have
but
one
inversion,
since
it is
a
three
tone
chord, and this inversion
effective.
Examples Ez.88
G3
I
F3
I
Tl
G
IV
T
^ W.
I
21
of Chords
Choice in the
Taste
use
is largely
chords
of augmented
governed
by
the
the
chord
of
these
chords
resolution. In selecting
may
When
1
3
melody German the chord,
'
the
When
a
melody
without
modulation,
of the
When
of the 6. When
chord,
the
becomes melody
augmented the
chords a
may
descends
augmented
the melody
ing note 5. When
Sixth
a
diatonic half step to the root of the resolving may be used. (Ex 88
a
descends
melody it descends
when
or
descends
of the augmented the
When
one
4
the melody one
any 2
for
chords
augmented
be used:
a
-a.)
diatonic be used. diatonic
step to the fifth of (Ex.88
half
" Sons
resolving
-b.)
step to the. third of the major chord; step to the third of the minor chord, any
diatonic whole may be used.
chords
(Ex. 88 -c.)
repeats, the French Sixth may be used providing that the resolv fifth of the resolving chord. (Ex. 88 -d.) 'the to diatonic half a root of the chord, any one step ascends be used. (Ex.88 chords may
the
-e.)
a
ascends melody the Italian Sixth may
19401-69 Pt.2
the
half
diatonic whole be
used.
step to the
(Ex. 88
Exercises
M.W.
chord,
-
f.)
fifth of the
resolving
22
B.
chords also resolve to a second inversion of a major and a minor augmented is the third of the augmented triad, the root of which in each case chord.
The
Ex.89 pec
Since the second cept the I2 in connection
a
with
the resolution
inversion of both
final cadence the I2. Hence are
or
major and
in cadence-
the tendencies
of the tones as
Ex.90
Harmonize
TT
m
the following
cadence -groups:
'"
triads is generally weak
effects, this resolution
quite definitely prescribed
G
minor
ir
follows:
is used
of the augmented
ex
only
in
chords
in
23
Exercises
J J Uj
rtJ J Ui-iJ r
J J
rrrr
Uppi
r
J J|J
rrrr
JUjJ|J
"?
fr
rr
rfr
M. W. " Sons
19401-59
r
Ft.Z
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^^
24 is the third of the resolving" to a major or minor triad the root of which in be first and second in Sixth used may and French chord, the German augmented Sixth has but one inversion. versions. Since it is a three -tone chord, the Italian Sixth is German frequently the fifth for the chord of used, (Theenharmonic notation
When
as
at
a
and b
below).
Ex.91
In these inversions, with these resolutions, any of the chords listed under be used; that is, four in the minor key and six in the major key. above may
Exercises
"i i
11,1i
IK,WJfcflfw 3"40tr5" Pi 2
i;
.
.
(A)
25
C.
chords also resolve to a major triad the root below the root of the augmented chord, (Theresolution to the minor triad is not effective.)
The
augmented perfect fourth
of which
is
a
Ex.92
fe
"
~Ti-
#*P #8
**
1
#"
m
,
88* GF
Since
this
The
resolution
chords
augmented in the
T
GF
is effective
available
in the
GFT
T
to the
only
major
key.
major triad,
there
(Theseresolutions
are
but three
not effective
key.)
minor
chords
augmented
should be used
in fundamental
position for this resolution.
Ex. 93 re
|r*"#8 ife"
*#" 8
Irft \,ft
*[,*
8
GF
IT
II
FIVTIVIV
,G
Exercises
M
I' " Soas
are
19401-59
Pt.2
i
-*
G
FVTVV
26
Resume Each
augmented
chord
tlien has
five resolutions
as
follows:
same
key,
Ex. 94
Since serve
a
no
more
than
useful purpose
two
resolutions
are
in the
the
augmented
chords
in modulation.
Modulations Ex.95 Dominant
Subdominant
Supertonic
m
PPi Submediant
Mediant
Submediant,
half cadence
i
Pitt Mediant,
half cadence
Supertonic,
half cadence
Unrelated
key
i m Pt-2
27
Exercises
r
if
if
JUrJ
J I*if
J fJ
M.W.
" Soas
1940i-5"
Pt.2
28
Formulas French Sixth Chord Is effective when the soprano ascends tnelodically over the fourth of the chord or descends over those tones. Another third augmented and major tones in contrary the same motion to the soprano. voice will pass over five resolution chords as follows: There are 1. The
12345
12345
D
C. .-_.-
12345
Complete
the resolutions
In Example
C
major;
lowing
Ex.97
a
passages
96
-
B, C, D, E, F, above.
chord (Chord l)may be a VI in the key of I in a minor; a a IV in e minor. The fol major; illustrate cadences in those keys:
96 -A,
II in G
in Example.
the first resolution major; a HI in F
29
In Ex. 96
V in d
2 may
A, chord
-
a
I in A
major-,a
V in D
major; a
IV in E
major; a
minor.
Chord
3 is
a
Is in d minor.
Chord
4 is
a
I2 in D
Chord
5 may
In similar
play
be
cadences
be
a
manner,
major.
I in F
major; a
analyze
in the various
the
keys
V in Bt
major; a
IV in C
a V major,-
resolution chords in Examples as illustrated above.
in
bk minor.
B, C, D, E, F, and
Exercises
JXffj*P
' r r Mi'ITI ii i i i 'i i
M.W."So"s
19401-59
Ft.2
30
German
2. The a
H7
Sixth
Vj VII7
G
II7
The as
progression given in Example
This
chord
be used
may
between
effectively
(1)either
V7
a
a
VII7
and (2)a I.
formula
In that
case,
V7
(2
-
3l" 3^j of the
is also
in Example
scale
-
2 and
G
VII7 II7
effective
when
the scale progression
reversed,
i
that
is when
(5 6!" 6^ is often -
-
Exercises
Pt.2
1 is often altered to
(2-21-3)
3.
backward.
played
altered to
(5 5| -
-
6).
31
XVII
Chapter
The
(N)is
Chord
Sixth
Neapolitan
major key,
the
frequently
more
is frequently
chord
CHORD
the first inversion
the scale. It is used 2 of which is 1? of the in be used also major key.
In the
SIXTH
NEAPOLITAN
THE
with
used
of a in the
the
major triad, minor
third
the root key, but it may
doubled
in
the
soprano. The
French
A German also resolve directly to aV7 chord resolves to a I2. It may the Neapolitan Sixth and the I2. Sixth chord is frequently used between
or
Ex.99 ztorfe or
or
I N
I2
N
I2
N
V7
V^
m N
G
I2
N
Exercises
"=*!
r"rir"r Jr-g-g
M.W."
Sons
19401-59 Pt.2
I2
N
I2
N
I2
N
V7 V7
N
F
I2
