o
MUSIC A
NEW
COMPOSITION METHOD
OF
HARMONY
BY
CARL
E.
GARDNER
Author of Essentialsof Musk
Theory,
of Rhythmicand Principles Tonal Notation, etc.
NEW
CARL
YORK
FISCHER
1918
N\uS
30b"3
OCT
2t
1918
y
Copyright,
191
8
BY
FISCHER
CARL New
International
York
Copyright
Secured
PREFACE.
the past few years
DuKiNG
the art creations
period in At
such
we
see
music; but of futility
this
many
Modem
of
the creators
among
teaching
method
the
"
with personality
enter
errors,
by academicians all spontaneityin the student.
"
himself,and guiding him not, in This
his set of
rules,and
of chords
result is
inclined
no
vitalityand not
an
The
artist,but
but when theorists,
a
in
order
who
pedagogy '^
make
matical" gram-
ously ingeni-
often inhibited
too
to express
old method
the
gave
disobeyed them
whether
or
artistic.
teaching harmony consists
student
in music
subject.
allowing the student
the expression,
to
another. above
in which
more infinitely
no
enlightened,
of the
formulating rules according
meaning, art
of
to him
correctness
learns all the forbidden
works
of
and
will be
musicallyinclined. there is
Instead
with almost
series of rules
series of don^ts which
of
and
age
endowed
would
a
the
seen
old ways
when, somewhat
student
and
art
irksome, sometimes
of the old
as
subject at hand.
are
persons
taught by
writes the chords
mechanical
a
a
progressionone
the student
given and
such
have
the
of the
into the attractiveness
woe
was
method
"indirect"
correct
to the
the time
to
in his self
doing, the result
so
construction
comes,
this
over
subject has been
made
the
few
very
conspicuous examples composition. For fear that a the
who
abandoned
have
of the most
is in music
those
of the mechanism
bridge
to
appreciateand
student
sciences.
and
arts
startingevery student, regardlessof
of
unintelligible, period of study One
reactionary
a
products of
futuristic
our
educators
recognized that
be
to
come
of
some
the rudiments
sufficient enthusiasm
which
teaching of,the
upheaval is encouraging to of our pedagogicalmethods.
and psychologists
they can
in the
and
beginningof
the
seen
time, it is to be expected that there will be extremists
a
It has
have
we
form, and are
removed
mechanician.
combinations
turning to
of the older masters,
and
the works
their
bass
matically" "grampart is
The
inevitable
the student
who
is mathematically
the
who
is
of chords
in
one
of relative values.
sense
and
than
after chain
the student
All
usuallybe^
Furthermore, the student progressionsof the of the modernists
he is confronted m
giving the
the bass.
chain no
to
Usually a
successful
writes
of
with
tive conserva-
and
even
parallelperfect
PREFACE.
iv
unresolved dissonances, cross-relations, augmented progressions, fifths, of a fourth or fifth in same ei cetera two or more direction, progressions ad infinUum, much by a studyof the changesgoing on Music pedagogs can profit of presenting other subjects;of the way many in the methods other subjectshave benefited by taking cognizanceof data which modem
psychologyand pedagogyhave The
"direct" method
in the
to offer.
teachingof music compositionis sure
to
is,allow and encourage the student to compose. We children to write letters until such would not think of forbidding our time as they had learned the entire contents of an imabridgedWebster Rather we encourage and had learned allthe rules of Englishgrammar.
come.
Our
thesis
the child to express himself with whatever vocabularyhe happens to have. Although there are approximately450,000 words in the English
language,Shakespeareused but 15,000 and Milton 10,000. The following thesis in mind. text has been written with the above Rules and don'ts have
been avoided in
indirect method
has been
believes that
such sacrificewill accrue.
so
far
as
seemed
possible.The
only where the direct method fails because in such placesthe personalfactor is often necessary. in print, be composers, but allcan be trained cannot All students of composition the works of composers. to appreciate, imderstand, and interpret Whether or not the study of music grammar, alone,will bringabout such has its place in any scheme of results will not be argued. Grammar be the initialpresentaprocedure;but its placeshould not necessarily tion, the most important. Spontaneity, and appreciation nor interest, the desired goalsand the prevalentmethod of teachingis a menace are and then a geniusescapes, but geniuses Now to these three qualities. in a startling are minority. In this method, the author hopes to make the studyof harmony not the dry and difficultsubject which so many proclaimit, but an attractive of presentation permit spontaneity subject.If the order and manner the objectof the work has been accomplished.Even and selfexpression, if,in this text, academic considerations are sacrificed to spontaneity, the work has not failed;but the author and appreciation, interest, The Dillon
no
resorted to
extends his gratitudeto his wife,Marion affectionately and suggestions. aid,criticism, Gardner, for her sympathetic author
C. E. G* Cambudge,
Mass.,
191 7
CONTENTS. PART
I. Paob """
Ul
To
THE
vii
Teaches
xiv
Introduction
xiv
of Chords
Vocabulary
CoD^Miss
of the Voices
in the Mixed
CoD^Miss
of the Voices
in the
Compass
of the Pianoforte
xvii
Quartet
xviii
String Quartet
xviii
Chapter I. Cadences II. The
Root
Elementary
and
Tonic
Position
The
Inversions. I
8
Qiord
Dominant
9
Triad, Seventh, Ninth, and 2
12
Exercises, Group
3
14
Exercises,Group
4
16
5
21
Chord
22
Melodic
Line
17
Exercises,Group The
SuiBDOMiNANT
Root
Position
and
Inversions.
Exercises, Group The V.
Inversions.
Exercises,Group
The
IV.
i
4
and
Exercises, Group ni.
Form
Triad
Major
Seventh
Sufertonic
The
6
28
Chords
29
Chord
30
Triad, Seventh, Ninth, and Inversions.
Exercises,Group VI.
The
7
35 Chord
Superdominant
36
Triad, Seventh, Ninth, and Inversions.
Exercises,Group Vn.
The
Mediant
8
40
Chord
42
Triad, Seventh, Ninth, and Inversions.
Exercises,Group Vni.
The
Subtonic
9
45
Chord
48
Triad, Seventh, and Inversions.
Exercises,Group DC. X.
Recapitulation The
Minor
10
52
Suggestions
and
54
Mode
Exercises,Group
r
58 62
11
y
CONTENTS.
vi
Chapter XI.
Paob
Non-Chosdal
Tones
64
Pasang, Appoggiatura, NeighboringTonej Anticipatory, Suspension, and Tones. Retardation,Organ Point, Compound Non-Chordal Exercises,Group 12 XII.
Alteked
Chords
Chords
with Altered Fifths
74
Italian Sixth Chord
76
Chord
Sixth
German
78
Sixth Chord
French
79
Additional Augmented
Sixth Chords
80
Neapolitan Sixth Chord Exercises,Group XIII.
82
Altered Chords
Other
Eleventh
83 8S
13
T^ikteenth
and
Chords
PART Xrv.
Modulation
Modernities
89
11.
^
14
Styles
Various
The
and
Transition
and
Exercises,Group XV.
72
73
.
.
97 100
op
Writing
loi
(Pianoforte, StringQuartet,Orchestra.) of Duplication
Factors
Exercises,Group Binary
XVI.
Exercises,Group XVII.
107
Forms
Ternary
and
107
15
16
116
Episode,
Introduction, Intermezzo, Group 17 Exercises, The
XVin.
Rondo
and
XIX.
The
Sonata
XX.
The
Mixed
and
Form
18
Forms
132
Pot-pourri,Fantasia,Program A.
Melodies
Appendix
B.
Miscellaneous
Appendix
C.
Exeroses
Triads Principal
125
128 Free
Appendix
117
127
Form and
Coda
125
Variation
the
Exercises,Group
107
Bach's
from
Music.
Chorals
Exercises
of the
Major
147
Bass
Figured
on
136 152
Mode
152
All the Triads of the Major Mode
152
Triads of the Minor
153
Mode
Inversions of the Triads Seventh
Chords
154
and Inversions
154
Transition
155
Altered Chords Miscellaneous Appendix
D.
156 156
Exercises
Definitions
of
Technical
Terms
159
TO author
The
realizes of
to the method
TEACHER.
THE
that,at firstglance,the
presentationin the opening chapters.
ear
should
other chord
some
be
no
tonic,but
than
objection for
followingresults obtained
first objection
the student's places in the exercises,
in certain
argued that
will desire
there The
be
The
object
given the student in the second chapter,
will be to the limited scope
it may
will
teacher
average
here
by
to the
the student
". W.
use
is
of other chords
assertinghimself.
Harrison, of Boston, show
the
in the material. possibilities (a.)
Exercise
(^^
8, harmonized
for four
voices
with
tonic chord.
i
i
J.
[m"SHf-
-"-
f
-"*
J.
-""-
i
i
i
n
^ -^-
(^.)
i, p.
The
same
-B"-
f
arranged
for solo voice
with
vu
accompaniment
(tonicchord).
I
TO
VIU
^^
TEACHER.
THE
x?-
S
:^
I
H:
J -^ :"(- -i
(S
m
trt
-"s^
,
I
1
I
1^
tlu' :g S*
ipittfe ^ c.
The
same
r
m
S-
r
r 1^
arrangedfor piano solo.
(^^^^^^^ 1^
I
J
1^=^
3i
E
fe
E ^
^^ i
(a.)
Exerdse
2, p.
8,harmonized
for four voices.
It Ex. 2.
-^^^^ifmri'\m'f} rfiri^^
TO
(^.)
The
same
amnged
THE
TEACHER.
for solo voice and
acoompaniment
"^H^H
(a,)
Exercise
3, p.
8, harmonized
for four voices.
(
"l ,i////v/fiMi'f
^I'lh'yi'j/ ^ J -J,^; J:; j V ^_:^ ^
TO
(5.)
The
(a.)
same
arrangedfor
Exercise 4, p.
m
TEACHER.
solo roice and
8,harmonized
f
Ex.
THE
accompaniment.
for four voices.
^
^^
4.
-U
^p ^
^ijW^: f=^
11 .
I
I
:
.
r
if
ir
r
f=f
W/'m^ ''i'(W^'i' ivM/^^f/^ LJ^ ^p
J J J
p
I
TO
i
I
I
^
J
THE
TEACHER.
I
XI
i
,
^^
"^
""5^
II
-(S2-
i
"
(?^
r
(5.)
ai
f5"
f" The
harmonized
same
#-
for solo voice with
accompaniment.
fc=t
M
-O.
^^
^
^=^
f
4^Jt
^ all*
-""i*"S"a"
I
"
I
"
"
"""""
TO
xu
THE
TEACHER.
The
with which Mr. Harrison handled this material ingeniousness the existence of the chapterin its present form. To be sure, justifies of the versions, non-chordal tones appear in some but these are spontaneous and their use should be encouragedeven before the student has such tones. reached the chapterwhich explains Mr. Harrison is a professional
and such
skilled instrumentalist and
results from satisfactory has obtained
whom
as
most.
the average
good comparatively
therefore cannot
expect ever, The author, how-
student.
results from
all students with
has been tried.
the method
A second
we
objection may
be advanced
that the method
This arises from the fact that most
triads in principal
the the firstchapter,
This
text books
is not
rapid
as
cover
the three
secondarytriads in
the second
by comparison. The average in from fifteen to chord structure and progression text book covers material is covered by this text in chapters. The same twenty-five lessons than a chapter each of which requires fourteen chapters, no more etc. chapter,
must objection
be met
in other text books. the economy in time of this method, the author gave an class the final examination paper set by Harvard College experimental To
prove
for the firstyear
The class at Harvard has 1914. of lectures. The author's class had
harmony class of
approximately seventy-two hours of hours of lectures. In spite thirty-five of lecture hours,the author's class as and was originality displayed It will be noticed that
rudiments of music such
as
no are
a
the difference in the number
whole
made
all the work
introductory pages found in most
few mistakes,considerable was are
logical. devoted
to
the
S3rstemsof harmony. The
composition alreadyhas or should rhythm,of scales (both theoretical and
author believes that the student of
thoroughknowledge of and of intervalsand their inversions. The author's Essen^ practitional), and the preparatory ground thoroughly tials of Music Theory covers have
a
of
within
material
such
the
TEACHER.
THE
TO
of
pages
xiii
book
text
a
of
composition
out
seems
place. Appendix
In
has
student
melodies
from worked
or
graded
bass
work.
Appendix
A
few
in
each
of
these
case,
foimd
exercises D terms
the
term
melodies
Chapter
the out
according
for
those
are
used
chosen
and
a
in is
list this
desire of
practically
B
to
used
will
be
which
composers
the
supplement
perhaps
with for
self-explanatory.
the
after found to
are
C
Appendix
terms
from
be
to
Appendix
technical
method
chosen
designed
directions.
to
who
of
various
harmonization are
In
14.
of
works
consists
for
graded
not
are
completed
chosen
harmonized
be
These
Chorals.
Bach's the
will
A
be
contains melodic
definitions. first
time;
INTRODUCTION. VOCABULARY
In
followingvocabulary, the chords
the
denote
numerals
triads.
Arabic
major triads; small
numeral
is affixed to
largeRoman
a
plus sign is interval.
are
of
factors
are
necessarilythe
Triads
to denote
triad. an
figuresand
minor
denote
cipher is affixed The
denotes
the
triad.
The
student
show
the
The
of the
changed
is not
expected
The
arrangements
such
as
most
effective factor distributions.
to
of the "spellings'*
chords
to
and
Major Mode.
of the
i
-^-^-
^ "22L
1^
CI
II
Triads
a
augmented
an
the alteration has
not
or
to
plus sign (+)
augmented triad.
vocabulary; it is given for reference.
the
not
numeral
regardlessof whether
formation
of the chord
A
factors.
Roman
figuringthe altered triads,the originalnumeration
triads is retained
memorize
numerals
Roman
diminished
Arabic
figured. Large
are
a
to denote
affixed to
also
In
normal
chord
figuresdenote
small Roman
the
CHORDS.
OF
of the Harmonic
i
III
Minor
IV
VI
^
1
I
VII"
Mode.
-*5"-
i
75
Triads
i
iiO
I
a
of the
Ascending
m+
fe
"^-
I
a
Triads
of the Melodic
Form
of the
Descending
Form
of the
^ a
Seventh
i
Chords
of the Major
III
h
"7
Minor.
ViO
IV Melodic
IV
vir
Minor.
i
^ SL
VI
vn
Mode.
^m
^m C
vir
i
^ ii"
I
VI
^
III+
II
V
IV
III7
1V7 xlv
# ^ Th,
V119
I
INTRODUCTION.
s"eventh Chords
of the Harmonic
Seventh
m+7
lA
17 Chords
i
of the
I7 Chords
Seventh
i Ninth
Chords
VI7
of the Melodic
i YVP,70
Minor.
I
II7
m+n
of the
DescendingForm
of the
VlO^
IV. of the Melodic
VHO7
Minor. h5^
I
11^7
I7
IJJ
i
I^ a
1^
1V7
Ascending Form
i a
Mode.
hi
I
i a
Minor
XV
Ig III7
II
Is
^-
IV7
V7
VI.
vn,
Major Mode. j22.
^m c
u9
Ninth
^
ii"
Chords
IV"
nil
of the Harmonic
I
Minor
vnOg
VI o
Mode. -^Sr
g
I
s^
^E
i
-"-
^ n^9
i"
a
Ninth
Chords
of the
in+
9
AscendingForm
IV
VI
o
of the Melodic
9
Minor. -"s-
i
m=m=x
1# a
I
Ninth
II
9
Chords
m+c
9
of the
DescendingForm
IV
I VjO 9
9
of the Melodic
vir
9
Minor.
^
i
i a
II*
i"
Eleventh
i
viiO 9
"49
Chords
.
of the
m.
9
vn.
Major Mode.
GL
t CIu
VI
IV.
nil
^ct.
rail
rvu
]^ Vu
-"s-
viu
^1 "nOii
xvi
INTRODUCTION. Eleventh
Chords
of the Harmonic
Minor
Mode
"
i a
""ii
III
Thirteenth
Chords
ni+^u
of the
^m
"" I,i"
Thirteenth
"i" Chords
rvia
"lis
of the Harmonic
^m
Minor
Vi,
VI
a
iiOi,
I IS
vnO
IS
IS
Mode.
A
H^l-^^
i
VIlOu
VIu
Major Mode
i C
Vu
ivu
i
m+is
Via
ivi.
vnOj,
Vli,
xst inversion.
2nd inversion.
i ^ Inversions
of
a
Triad: 2z:
ist inversion. 2nd inversion,
Inversions of
a
Seventh
Chord:
ist
i Inversions of
a
-yd inversion.
inversion.
2nd inversion.
i
f
3rd inversion. 4fh inversion.
i
s
^
Ninth Chord:
"^
3:
m
i
"i9-
-O. -"^
i
^
i
i
"z?"
c
*The
vx t
eleventh and thirteenthchords of the
1 two
forma
of melodic minor
1 are
1 omitted.
INTRODUCTION.
Obviously,an m
isolated eleventh
xvu
thirteenth chord
or
is
ambiguous
its various inversions.
ife l"^ (g"ii^ i|gljig Chords
with raised fifths:
etc.
"
T-g p^i" C
V
g
I
"+
i-g I"
1.-^
"1+
u
""^
'*
li'.lil^llSl Chords
with lowered fifths:
Augmented
*
Sixth "th d
etc.
Chords:
fe
U\ c
rr^^
V
\A Jft J4^^ r "X'ltCVIt c^C#^
IV,
NeapoUtui6lli
^ V^ \ % Other
altered Chords:
etc.
a
^ii^anO"# a
a
"*
Compass
Soprano
i m
Ij{2LJ
op
Ako
;^
/"
thb
Voicbs
in
thb
Tenor
ii" CtlV7 a#iig J ii""J^ a#iVj
"# Mixxd
^^ZH
"# Qvartbt. Bass
^l
INTRODUCTION.
XVIU
Compass
VioUn
(ist
and
of
Voices
the
in
String
the
Quartet.
2nd)/:zz Viola
J52.
^
'CeUo
I
Compass
of
^^
Bva
alt.
the
Pianoforte.
COMPOSITION.
MUSIC
CHAPTER AND
CADENCES
The
1.
from
Authentic
dominant
in
both
soimds
factor
3
5 in the
or
effective The
2.
of the
use
Half
harmony
dominant
to
phrase other than The
3.
Deceptive
Cadencef) than
the last
is
a
use
period.
It
is at
is
of
a
dominant
use
False
harmony
end
phrase also
voice when
cadence
The
period.
a
subdominant
or
is at
the end
Cadence
the
effectivelyused
its
tonic
from
occasionallyIV preferablyin a
with
uppermost
of
and
of
arranged
of any
period.
(also called
Cadence
progression from
I, usually VI
effective
phrase
be
complete cadence.
Its effective
harmony.
may
authentic
is at the end
progression
a
is
progression
a
cadence
the
when
is called
cadence
is
chord
The
chord.
harmony
authentic
Cadence
imperfect
tonic
preceded by subdominant
authentic
tonic
the
voices, and
outer
FORM.
The
harmony.
imperfect* perfectwhen
perfector root
to
ELEMENTARY
(alsocalled Final Cadence) is
Cadence tonic
I.
other
to
extend
(also called
Church
than the
to
and
Avoided
chord
some
other
first inversion.
the
last
normal
Its
phrase of
a
length of
a
period. 4.
The
Plagal Cadence
Cadence, and Amen to
the
Cadence)
tonic chord.
This
is
a
Cadence,
progression of
the
subdominant
is effective after the
cadence
Ecclesiastical chord
final cadence
in
ecclesiastical music.
Elementary A
complete musical eight long measures or Periods
are
figures. The
not
divided
theorists call
t Some
theorists
be considered
sixteen
construction
*Soine
make here.
a
half a
is called
sentence
more
cadence
distinction
short
an
a
period and
usually consists
of
measures.
less
or
of
Form.
a
into sections,phrases and arbitrarily typicalfigurefollows:
imperfect cadence.
between
Deceptive Cadence
and
Avoided
Cadence, but
this
need
MUSIC
COMPOSITION.
Andante
by
Mazas.
Pniod* Section Fhiaae
i.
Phrase
i.
2,
^
Ex.
mftkW
6.
Figi3e. I Period
continued.
r
Section
2.
"
Phrase
ir
3.
Phrase
4.
i^-j,iij:^f"fnirpLU The
division of following
a
periodis sometimes
chosen
by
theorists:
Period.
Phrase
Semi-phrase
Period
Or
Section.
Semi-phrase.
continued. Phrase "
ic
i
periodmay
2.
\r
Semi-phrase.
A
i.
Semi-phrase.
i\^r:r\if!l^\^r^ oommence
fractional part of a measure. requiredfor the commencement
upon
The
a
fractional part of the measure is deducted from the last measure
of the
of
period.
T ^v
i
a
riod pe-
CADENCES
I*^,"u The
ELEMENTARY
AND
FORM.
^:f[^^^
divisions of such
t-^
u
simpleand typicalperiodsas
"^
1
1/
1
shown
are
f
i
in the
devices: preceding examplesare marked by either or allof the following the smaller and melodic line. Where cadence, rhythmic grouping, is fragmentary divisions are well marked the composition and therefore the smaller divisions should primitive.To avoid a fragmentaryefifect, coalesce to
some
in the harmonization
extent
and but
well marked
one
cadence,other than the final cadence, should appear.
The
following
diagramdemonstrates: Diagram
i.
Cadence, not final. Compares with semi-colon punctuation.
A
periodconstructed
follows is not
as
Diagram Period of
Division
Division
i.
5
"
12
A
"sy:
structure
the Minuet
in
period punctuation.
imcommon:
2.
Division 3.
2.
E7^
it
Cadence,
periodin
Compares
EBSO
^
"i
Fmal
Cadence,
(not final.)
of Sonata
I
but to this twelve-measure
the final cadence. repeating
Such
a
final.
with
measures.
(not final.)
A
Full Cadence in
by Beethoven
periodis added
Cadence.
shows two
the above
measures
by
device is called Extended Cadence.
COMPOSITION.
MUSIC
4
The
Scherzo from
periodconstructed
Beethoven's
Sonata
I
Period
t:itE3 The
Division
i.
^teen-measure
a
follows:
as
Diagram
Division
III shows
"
third division shows
measures.
Division
2.
?T: g
A
of 16
3.
"
"a
i"
3S
as
perfectcoalescence
a
3.
i"
of two
iK four-measure
groups.
Such
have
been
considered above
be varied
by and contraction. For an example expansion, interpolation of expansion, Beethoven's see Sonata,Op. 10, No. i. For an example of interpolation, see Beethoven's Sonata,Op. 10, No.'3.For an example of contraction see Liszt's Hungarian Rhapsodies. Like poetry, the divisions of a simplemusical periodare balanced one againstanother and the firstdivision is called antecedent and the following division consequent. These terms may be appliedto two balancingsmall to two balancinglargedivisions and even to two divisions, balancing these of in this sense must not be confused with terms periods. The use their use in the structure of the fugue. structures
as
may
the devices of
Exercises. The
teacher should
requirethe student marked
to
play several periodsof simpleconstruction between pointout the phrases,distinguish
well
and recognize various cadences. divisions,
The
and less marked
student should also be of
requiredto make various simpleperiods.
CHAPTER THE
TONIC
diagrams of
and
the construction
n. TRIAD.
its major major mode consists of the tonic {do), fifth {so). It is called a major triad. The third {mi),and its perfect The tonic triad in the
chord is consonant
and inactive in effect. Its root has
whollyinactive in this relationship. it is necessary to double one of the writingtriads for four voices, of the tones must be sounded by two voices. of the triad;i.e., one
but and fifthhave less finality In tones
itsthird finality;
are
THE
factor of the chord most
The
certain
TRIAD.
TONIC
frequentlydoubled is the root, but, with be doubled.
the other factors may restrictions, omitted in major and minor chords.
be
Factor five may In this case, the triad appears doubled root and doubled third.
with either tripled root,or Voice
affectsthe spacingmaterially
an
musical
and result,
beginnerto
use
because of the well established fact that the two can
ties, to avoid subtle-
close position;* an i.e., arrangement of voices in which the three upper voices do not exceed the compass Such an arrangement always results in good spacing octave.
itisadvisable for the
of
j
adjacentvoices which
best be
interval are tenor and bass. separatedby the largest for four voices Various ways of writingthe tonic triad in close position
with doubled
follow:
root
^
(I Root
:22:
-""
T
-"fi.a.
:i3
h"^
"
-^.
etc.
position:^
^
-tsl JQ.
ISL
Jo:.
Zl
:a-
jSf.
-"5"-
-fSr
"WPS"
jQ-"9-
r^-
"^-
jO-9-
etc.
First inversion: SL
-27-
-^ Second
sasL -^-
SL
=g=
-iz.
SCSL
^
^
inversion:
etc. 12L
rffi:
-w
22:
12L -^-
-"-
12 *
Some
writers
applythe followingterms
to
the
following arrangements
:
2z: 3S
Close:
la this text the term
etc.
"
Half-open:
" includes close position
or
etc.
Open
half-open position.
:
or
etc.
MUSIC
Some
ot the above the
readilyshow
COMPOSITION.
arrangements sound
thin.
desirable arrangements.
more
student's
The
above
the
Although
will
ear
arrangements of the six-fourchord have doubled root, the chord is more effectivewith doubled fifth. From
melodic
a
the standpoint,
two
outer
voices
the most
are
tant. impor-
^^Granrniatical" errors, such as consecutive and concealed filths and octaves, are more prominentin outer voices than in inner voices. Our first consideration is a
good soprano to which should be added a harmonic progressions and connections good bass. As we proceed,logical The method pursuedby this text of treating each chord be made. must of correlating the chords and placingthem in their proper separately, '^
families" will assist the student in these fundamental
of
connections.
and progressions
of voices is presentin crossing
not
Although
cross.
the works of great composers,
resorted to until
be
should not
Voices should
considerations
this device
in part writinghas experience
been
gained. chord gives A vocabularyof but a single yery littlematerial with which be done with this material than at first to work, but much more can of various melodic arrangements might be supposed. Motives consisting of the tones of the tonic chord may be found in the following quotations: Third
{a.)Beethoven, 1^^^
Ex.
I 1^
"
Symphony. r
I
8.
i^etc.
t
(B.)Beethoven,
^
Bach,
-^
unison. Stringsand Clarinet,
Invention,No. 8.
Weber,
^
i
(^.)
^
Sonata
Die Wacht
II. :etc.
am
$
(/)
Minor
Symphon
i
t
etc.
f
Banner. Star-Spangled
mr^4U
J ^ Weber,
Rhein
Sonata
"
letc.
I.
mt
t
p
the In all compositions,
use
of the tonic chord
of no however, consisting period,
be
G
{d.) Mozart,
l^yTFlt^ ^ m
Symphony. ^s,
'Cello.
(c.)
Fifth
monotonous.
predominates.An
entire
other chords than the tonic would often
THE
following
The various
in
ways
TONIC
quotations which
TRIAD
tonic
the
compositions
standard
from
chord
has
been
to
serve
handled
by
show
famous
composers. Gounod's
Pl;
J'l,
r
'ill
( transcribed
Faust
from
^
orchestration
).
f\i
I,
Ex. G.
VsRDi's
II
( transcribed
Trovatore
orchestration
from
).
^
^
'
X
X
X
Ex. lO.
The
in
tones
Chapter
marked
with
a
cross
(x)
non-chordal
are
and
explained
are
lo.
PoNCHiELLi's X
X
Dance
(
transcribed
of from
the
Hours
orchestration
from
Gioconda
\
MUSIC
8
COMPOSITION.
The
melodies should be sung usingthe sol-fa syllables after following tion which, theyshould be hannonized with the tonic chord. The harmonizabe for solo pianoforte, solo voice with pianoforte accompaniment, may on
for four voices.
ExERCTSES, Group
I.
1.
Folk
French
ifa if^f^^
f-J
i
p^"^
Song.
B^m English Game.
s[ny=E^^^ EnglishGame.
3.
iSfe
^
v^^^-
|"rTj
3E=p:
"*^'-it
German
^
(""
J
^
J
ts'
Song. -^
I
I
Xd
li
d
it
i9-
^
After the exercises have
the student should
Folk
1
t5"^
-$
ir"J
#
t=|:
^
1=t
4.
^
r r CI
lv^
been
criticizedand
^
corrected
I
#
by the teacher,
playeach exercise singingeach part in
turn.
student may compose melodies founded upon the tonic chord and harmonize them. The teacher's criticism of this original work will do The
much
to clear misunderstandings.
CHAPTER THE
All the tones triad
DOMINANT
CHORD.
of the scale other
active in their
are
in.
than
those
tendencytoward
which
one
or
constitute the tonic of the tones
more
of the
tonic triad. The
7th scale step (theleadingtone) has strong tendency diatonically to the tonic.
upward
4th scale step (thesubdominant) has strong tendency diatonically
The
downward The
to
the third of the tonic triad.
tendency downward The
2nd
Situated
to the tonic
the dominant dominant
chord
triad is
is characterless (the supertonic)
in
regards to
the tonic and mediant, it midway between Its progression final. to the tonic is more chord in importanceand frequency of occurrence
to either.
Next
superdominant)has strong
or
to the fifth of the tonic triad.
scale step
tendency. progress
(the submediant
scale step
6th
is foimded
which
may
is
the fifth scale step.
upon
its
The
major triad and is therefore formed like the tonic triad (with major third and perfectfifth).This chord is consonant but a
active,with tendency to the tonic chord. active factor in the chord
and
it progresses
fifth of the dominant
triad progresses supplyingthe third in the tonic triad. which
is inactive
as
The
the
a
chord
fifth,less frequentlyand
doubled
in four voice
triad,the The
second
root
The
the
inversion
be
thereby
of the dominant
root
assimies
root
mediant
dual character
a
the tonic
to
progresses
voice,it
upper
chord
may
remain
tone."
is the factor most
frequentlydoubled, third (leadingtone) is almost never factor five is omitted
writing. When must
the
to
is called "common
tone stationary
of the dominant
root
normally to the tonic.
the fifth of the tonic chord
chord; in the bass, the but in an (called"cadencing progression") The
most
upward
in the dominant
stationary Such
leadingtone is the
The
in the dominant
tripled.
of the
dominant
triad
occurs
less
frequently
than the I|. The
use
of the six-four chord
on
all
degrees of
the
scale should
be
restricted to the isL
of the 2nd. the
followingfour progressions: preceded and followed by root positionor
Where same
chord, ex.:
Where
I, I|,I; or I, le, IS, I", I, etc.
the tonic six-four chord
cadence, ex.:
first inversion
12, V, I.
precedesthe
dominant
chord
at
MUSIC
lO
yd. Where
COMPOSITION.
the bass of the six-four chord is approachedand
9*
ex. stepwise,
^^^^
g'
""
the six-four chord
4ih. Where over progressing
a
quitted
within
occurs
g^-
9:
stationary bass,ex.
a
succession of chords -^"
-V
n In
a
succession of chords in the firstinversion, it is usually advisable
to double the root in
chords* but the that the
chords and alternating
is not principle
leadingtone
must
the third in the
remaining the rule nullify
of sufficientimportance to
not be doubled.
of the dominant Various arrangements of the progression shown in the following are example.
triad to tonic
{b.)
^"
gp-
m
"iS-^-
i
or Jfi-
IZ. -TOr
I2Z:
1
w
i
('.)
I
m
32:
i
-V
"
etc.
te Many the mdodic
melodic
-7^
i
"i9-
m
imply certain progressions
at the progression
end of a
harmonic
3:
progressions.For example:
compositionoi it to All the
I
do
(thus
i
"i9-
)
harmonizations with triads of possible chromatic alterations) or the above are and vuMV. In the midst V-I, V-vi, vnM, ra-I, m-vi, vn**-vi,V-IV, m-IV the above melodic progression be harmonized V-i but V-vi is frequently of a period, may advisable. Progressions of less frequentoccurvnM, m-I and m:-vi are rence, and vn"-vi, V-IV, ra-IV and vn"-IV are rarelyused. In this chapter, the dominant implies
to
tonic harmonies.
melodic progression(without modulation
student should
use
milydominant and tonic harmonies.
THE
The and
DOMINANT
CHORD.
II
fifthscale step is a factor in both the tonic and dominant be harmonized therefore,
may,
with either chord.
chords
of Principles
and coherence usually variety govern the choice. of a tone in the melody,it is frequently advisable, Upon the repetition for the sake of variety, tone. to change the harmony upon the repeated A valuable last chord of
the third from the
of the tonic six-four chord is upon
use
periodif the melody permits.This chord is followed by
a
chord which progresses^ to the tonic triad in root six-fourchord may be called a "cadencial six-four."
the dominant Such
a
i
TSr
-Z5-
i
-JOr
i
"i9-
position*
Ex. 13.
i IJ The
six-four chord may
cadendal
I
V
be written without its root:
a:
*
^
"^"
etc or "^"
IJ This
chord,may, of
course, be
effectis that of the cadendal
IJ
V
analyzedas
a
The
page
mediant
sixth chord but its
six-four.
Parallel and consecutive fifthsand octaves
progressions.See
V
should be avoided in chord
23.
following exampleshould
be studied: 17th CenturyChoral.
r r
Ex. 16.
mil
J
\m^ G
I
J
rTT=rf I
Open position may
Ve
I
be used
I
loVjI
V
J
J i J
E
m v^
I
IJ
V
I
in the following exercises. occasionally
MUSIC
13
COMPOSITION.
Exercises, Group
2.
Folk
French
I.
h-FFr
2. "^-
E
y
"
^
75H-
k
French
Folk
Song.
French
Folk
Song.
-"^
i -1
J
i
lo:
'Tzr
5. Reharmonize as
I
t=t
:fc"
triad
L.
22.
j
ft f^*
f:
at"
4.
i
1^1
F. SCHUBBRT.
^^ i
Song.
well
as
the exercisesin
the tonic.
The
I
I -"-v
I
Group I,page 8, usingthe dominant
firstinversion of the dominant
triad will
be necessary in most placesbecause the nature of the melodies cause the dominant triad is used in root position. consecutive octaves when The
Vo should be used in the penultimatemeasure
The
Dominant
Seventh
of each exercise.
Chord.
triad may be added the seventh (ofthe root)and the resultant All seventh chords are dissonant and chord is called a seventh chord. To
any
dissonant
varyingdegreesaccordingto structure and character. The factors of a chord are best approachedby contrary motion.
The most
common
active in
seventh chord is the dominant.
THE
The
dominant
DOMINANT
CHORD.
seventh chord is fonned
13
with
major triad and minor
seventh,and isthe onlychord thus formed. The dominant seventh chord normallyresolves to the tonic triad. Its tendencyis greater than that of the dominant
triad because of the additional active factor,the dissonant
seventh. Sevenths in all chords seventh in the dominant
downward. normallyresolve diatonically
The
chord resolves to the third of the tonic triad.
The
The third fifthis free to resolve either up or down diatonically. The root in the bass tone) resolves upward diatonically. (leading
resolves to the tonic but in
an
voice,it may
upper
remain
-i9-(9-or
stationary.
^
isr
-^-
or .OL "w
-lar
m
student's attention is directed to the fact that
I
doublingof factors in a seventh chord is necessary in four voice writing. Attention from the is further directed to the fact that the tonic chord resulting above resolution is incomplete.The resolution is wholly satisfactory the missingfifthin the tonic triad. Notice however; the ear supplies The
the differencein effectbetween with doubled root.
The
the triad with
latter has
the former while the former is more
a
more
no
root tripled
and
characteristicthan plaintive
decided and final.
fifthin the seventh chord may be omitted and the root in which case the resultant tonic triad will be complete,thus: The
(3.)
{a,)
3:
the triad
doubled,
(d.)
ic.)
"V -9-
-"5"-
"i9-
-1^
tS?-
^ etc.
1^-fl.
T!^
-J5?-
-gy -"-
Not
cases infrequently,
of seventh
chords
-^-
with omitted thirds are
found in standard
by chords in which compositions.Such chords,however,lack the character possessed where improvedvoice leadingthereby the third is not omitted but their use is justified in part writing results. The student should avoid this arrangement until experience has been gained.
MUSIC
14
COMPOSITION.
the following Study carefully example.
i
125
T^TT 1 i
r
Ex.
"
18.
J
S t"-i
_a.
J
i
i
I
r
I
V",
;9-
"
T
VJ
1^
^-
^J
r
r
g r
J
J. ^
[
r
Jlj
n-i
"
i^
1"
'
I
J
PF
Vt
i
""-'
f
T
r
i
fe
fe
P
F=f n
12
le Group
ExERasES, Resolve
1.
I
f
the dominant
seventh chord
V,
3. to and incomplete) (complete
the tonic triad in all major keys. Fill in the upper
2.
voices in the
(c.)
(fi.)
(a.)
m CI|
dominant incomplete
^
g"-ig" "
C
4.
II
^ ..
.
tenor
D
I
V7
I|
g"-
g"-
chord:
seventh
(c.)
V7
Harmonize
seventh chord
mM
i
'^
w
-^-
Bb
I
V
usingthe following progressions,
in the
(b.)
(a.)
i
IJ
G
V,
Fill in the bass and
3.
a m
/9-
"i9 s"-
"
"
progressions: following
*
i "
a
G
h
"
I
V-
I
melodic fragmentsusing the dominant following completeor incomplete: the
^.o -
-
.
II
^'
.
.
II
DOMINANT
THE
the
S. Harmonize
CHORD.
IS
following melody: F. Schubert.
The To
be added may is called a ninth chord.
resultant chord and than
chords
Ninth
active. in close
the ninth
chord
seventh
any
(ofthe root)and
All ninth chords-are
usuallymore
are
dominant
The position.
Chord.
Ninth
Dominant
is,by
the
dissonant
effective in open position far,the most frequently
used ninth chord. The
resolves
The
downward. diatonically
ninth chord resolve in the ninth
in the
of the dominant
ninth
writingfor four voices. The less frequently the seventh two
Study
(^')
the
as
in the seventh chord.
The
be omitted
when
of which
must
omitted frequently the third. On occasionally
factor most and
be omitted
factors may and compare
i
manner
same
contains five factors, one
chord
major mode is a major ninth and factors of the dominant rem.aining
and
the root
is the rare
fifth, sions occa-
doubled.
resolutions: following
(b)
id.)
(^")
"
fS?-
-d2-
-"-
jSL
-f9-
-J5J-
-fi?-
-"-
Ex.
"25^
jSl
-"-
etc.
19.
V?
V9
^ a
8
All the tones of the scale have of the chords which
now
appearedas
have thus far been
factors in
considered,and
we
or
one now
more
have
all the tones of the diatonic harmonizingmelodies containing scale providingthat the fourth and sixth scale steps progress according Such melodies harmonized in to. their tendency(downward diatonically). the above manner, however, would sound fragmentaryand "choppy'*
material for
because of the final cadences of the dominant
which
result from
seventh and ninth chords.
the resolution to tonic
i6
MUSIC
COMPOSITION.
Exercises, Group Resolve the dominant
1.
4.
ninth chord in open
or
close position to the
tonic triad in all major keys. Fillin the upper
2.
voices in the
following progressions:
(*)
I
g
1^
g
IJ V"
D
mm
the
C
and
figuredin
F
Vn
Dominant
the
of
Seventh
12
V.
Chord.
seventh chord has three inversions which
the
:
^^
I
V.
dominant
Vn
{^')
m
Inversions
The
C
I
(*.)
22:
12
I
following fragmentsusingthe dominant ninth chord
(tf.)
C
12 Vp
E
I
3. Harmonize
i
(":.)
are
notated
following example:
-(9iS"-
m
^m jOL
""- l-^-H vi
n A factor should seldom be omitted in The
firstinversion
is an
same
occurs. (VJ)frequently
(Vt) is less restricted upon a
inverted seventh chord.
factors resolve in the inversions in the
position.The of
an
approachthan
manner
as
in root
sion The second inver-
is the second inversion
triad and may resolve to either I or I". The third inversion (V2) effective upon effectivedissonant and resolves to le. It is more
pulse. The firstand second inversions used in may be used upon the finalcadence but they are less frequently sion style. The use of the third inverhomophonicstylethan in pol)rphonic a
strong pulsethan upon
a
weak
does noty of course, result in finality. The inversions of the ninth chord do not occur
theymay
be used
effectively.
conunonlyalthough
THE
(".)
CHORD.
DOMINANT
{b,) :sL
i
-jSL
-"-
"^-
inversion.
m
JQ.
'^-
-ZSL
Si
J^.
-^-
-"2.
avoid
student should
I
-"?-
IS
a dissonant resolving
i
etc.
-^9-
'O
The
I
inversion.
inversion. inversion.
jO^
4th
3rd
2nd
ist
w
{c.)
^^
11^.
17
to a fixed
unison:
i
:^ L
Ex.
Fixed
22.
unison.
-ffl.
^
Hence, the
use
of open
for inverted position
i
i
."i2-
-"?-
ninth chords
is desirable:
I
he: -"5"U3
Ex.
y
23. 5z:
^t
:s:
-^-
Composershave resolved must leading accompany
a
dissonant to
such
a
a
i
fixed unison but skillfulvoice
progression.
Bach.
Ex.
But
24.
The
Melodic
this is a
passingdissonant.
Line.
introduced with judiciously A good melodic lineis produced by diatonic progression ik^ and chromatic steps,devoid of monotony but uniformlyconstructed.
x8
MUSIC
COMPOSITION.
Smooth
the
use
melody is produced by diatonic or chromatic progression but such progression used exclusively becomes monotonous and should,therefore, be alleviated by of skips. The frequencyof the occurrence of skipsdependsupon the character
of the compositionas
a
whole,upon
the
rapidityof the melodic tones,upon
the desired
and effect,
voice part in hand. upon the particular Skipsin a melodic line produce a rugged and vigorous effect and
adapted to
a
strong bass
part in
a
therefore, composition,or to a opposed to a lyrical style. are,
rhythmicallywell-marked
thematic voice part when
a compositionis in rugged styleas good melodic line,the tendencies of the scale steps must be A downward borne in mind. the tendency of the seventh scale figuremay overcome the tendency of the sixth or fourth scale step and an upward scale figuremay overcome scale step. Sustentation, however, of the active scale steps normalizes their tendencies. On the other hand, the tendencies of active scale steps are increased when approached along the scale line in the same direction as their resolutions, an and, therefore, upward
When
scale
strivingfor
a
figureshould seldom
should seldom turn
on
turn
on
the sixth
or
the seventh
scale step and
a
downward
scale figure
fourth scale steps.
Skips to the leadingtone should seldom be made from below but from above. A skip from above increases the tendency of the leadingtone to resolve upward to the tonic. Skips from below will be found in compositionsbut these require careful manipulation. Skips to the sixth or fourth scale stepsare safer when made from below, in which case an increased tendency results. In general,wide leapsin any direction within the interval of the leap. and to any tone usuallyimply an obligation to return remarks and not to cases All the foregoing where apply only to harmonic progressions of the same skipsare made in a voice part during the repetitions harmony. of Quotations follow showing applications
the
tonic and
dominant
chords. From
Gounod's
Faust
from (trans,
orchestration). X
Ex. 25.
D
I
I^
I
^ fTTif J"IT-
f fi, f f
I t^
THE
DOMINANT
XX
dp W^
CHORD.
19
X
:^=?c
S
EH
t=t
( =T
o
i '^1
o
'
"te
I
r
^
c**it-"
iffrfi
J
i
i
From
^; J If
'
'
II
"
"
11
Mascagni's
CavalUria
from (trans,
orchestration).
Rusticana
MUSIC
30
COMPOSITION.
t=t
S
^^
""S*-r "^
"
^
^ O
O
d
"
ii
te From
Bizet's
^
cif^^
c r
It-
H
Carmen
^tf
(transcfrom orchestration).
Ex. 27.
'^
sfe^
i
i
^
^a
"
^
w
"
I==tI
"
I
""
b=^
"
^^\fl^^ P^N
[^t
?
"s'
1
"
fcrf: "X
b
"-
X
m|. ""11
THE
DOMINANT
From
CHORD.
BsLLiNi's
Norma
21
from orchestration). (transc.
Ex. 28.
ExERasES, Group f
.
Resolve the dominant
5.
seventh chord in its firstinversion
(VJ) to
the tonic triad in all major keys. 2.
Resolve the dominant
seventh chord in its second inversion
to the tonic triad in all major
keys.
3. Resolve the dominant seventh chord in its third inversion the tonic triad (lo)in all major keys. 4.
Fillin the upper
(")
voices in the
(Va) to
following progressions: {c.)
(*.)
^^^fi"
(Vf)
lt3E
-^Sh
^
im
o
-^-
"JBL
-^-
H
ISL -^-
Eb
Vo
ist inv.
I
Bb
Vg
lo
3rd inv.
C
Vg
4th inv.
L
Vji le
*
three-voice chords,add two more 5. To the following and bass)and resolve them to five-voicetonic chords:
I
V.
Vo
I
"
voices
(tenor
MUSIC
12
COMPOSITION.
(^0
(^)
(^0
^^ee\\ ^^-^^^=Mi C
C
Vq
3rd inv.
the exercises in
6. Rehannonize
seventh
ninth chord
or
C
Vq
root pos.
Vg
root
pos.
Group I,page 8;
in the firstinversion in the
use
the dominant
measure penultimate
of each exercise.
IV.
CHAPTER THE
SUBDOMINANT
CHORD.
The fourth and sixth scale stepsdo not, of course,
alwaysfollow their or theymay upward diatonically
tendency. They may progress nor progress by skip. Neither is it obligatory normal
harmonize
these tones
with dominant
sometimes
harmony
even
advisable to
they follow
when
their normal
tendency. There are two importantchords with which both the fourth and sixth scale steps may be harmonized,namely the subdominant chord and the chord, the firstof which is to be considered in this chapter. supertonic triad is,like the tonic and the dominant triads, The subdominant a major triad and consists of root (fourthscale step)its major third and chord but not final, fifth. It is a consonant its perfect althoughit has not
which the definite activity
root and
We
third
characterizes the dominant
the active fourth and sixth scale steps
are
triad. Its
respectively.
deduct that the logical of the subdominant would, therefore, progression
triad would be to the tonic
^
"s:
thus: triad,
^^
32:
^
-^-
To
or
i5"-
-^9-
IV
^d
root
: position
m
22:
IV IV
in the above The last progression
of use
hymns and called the
Amen
in other connections has
the above
example is often appended at the close Cadence or the PlagalClose. Common
giventhe
progressions are, by
no
subdominant
means,
the most
triad common.
and flexibility
THE
A
idiomatic
more
CHORD.
Various
chord.
33 triad is its progression
subdominant
of the progression
to the dominant
the
SUBDOMINANT
of IV-V progressions
are
shown
in
following example. (*.)
#
i^
-^-
Ex.
(O
w
S
-f9-
15L
etc.
.^Z.
.22. .fiL
SO.
22:
i
"^-
-"-
"rr
"i9-
-i9-(9-
IV
IV
V-
IV
Vo
IV
I
V.
triad to the dominant progression where the roots of there is no common tone; this is always the case chords are situated a second or a seventh apart and in such progressions "fifths" and "octaves" frequently arise. objectionable The
student will notice that in the
Consecutive fifthsare
because they often sound harsh and primitive.. objectionable
Cherubim
for this harshness[j|was due to the fact that "the upper thought the reason while in if to the lower another. in For example, the one moves key part progresses be added which givesa perfect fifthat each measure, thus: scale of C an upper part
i
"7S-i9
^
.,
-Gf-
1Z.
f9-
1^
.OL
Ex. St.
I itfollows that
keys
one
that the
^
^
^"75
^-
-^
s:
""
part willbe in C, the other in G.
discordance arises, and,
several fifthsin succession; as,
even
when
It is from this concurrence
of two
the prohibition to introduce consequently, the movement of the parts,insteadof being
the discordance none the less exists." Consecutive fifthshavq conjunct,is disjunct, been used effectively by great composers but should be avoided by the student. because they sound similar to consecutive fifths, Concealed fifths, objectionable
arise when motion to
voices progress thus: fifth, perfect
any a
Ex. 82.
Consecutive a
four voice
two
"^ octaves
from any
interval other than
s: -^-
32:
I
SL
a
fifthin
parallel
etc.
-"-
and
into progression
unisons a
are
objectionable only because their use
three voice progression with
one
converts
of the melodies doubled.
*
COMPOSITION.
MUSIC
24
Concealed octaves, objectionaUebecause they soond similar to consecutive octaves, any two voices progress froin any interval other than an octave in paralld
arisewhen
motion to
octave, thus:
an
Ex.
etc
S3. ^
-"r
-^-
-i^
-jy
-^-
-jgr
Obviously,in orchestral writing,consecutive and concealed
octaves
and
unisons
through the reinforcement of melodies and chord factors by one or more The same is true, in a lesserdegree,of pianc^orte, sextet and quintet
abound
instruments.
composition. Concealed fifthsand dghths as
a
between chords having a common tone are not, arising advisable (where pracobjecticmable, although,for the present,it is usually rule, tical) to
compass
in outer avoid them, especially
spacing,vdce leadingand
voices. Harmonic
should not, however,be sacrificedto this principle.
Consecutive
fifths and
octaves
are
avoided
between
two
chords in
the roots of which are situated a second or a seventh apart, position, the upper voices in contrarymotion to the bass. Consecutive by leading fifthsand octaves may also be advantageously avoided by doubling some factor other than the root in one or both of the chords of the progression. Factors havingstrong tendencysuch as the leading tone, sevenths and root
ninths in chords,it will be
remembered,should
not
be doubled
in four-
part writing. Like the tonic and dominant
the subdominant triads,
triad has two
the firstinversion beingthe inversions,
one
second inversion is subject to the
restrictionsas the V2*
same
used. frequently
more
The three triads which have been considered
The
onlymajor triads in the major mode. They compriseallthe tones of the major scale and therefore sufficientto harmonize any diatonic melody. They are are Triads also the Primary Triads. Pages in often called the Principal standard works can be found containing few,and,in some cases, no other are
the
chords than those thus far considered. harmonizations of diatonic mekxiies with the vocabulary guidance to logical of chords thus far given, the following text will serve. with The tonic i^do) harmonized other the tonic or the subdominant triad. may be When the tonic is repeated the harmony may change. As firstor lasttone of a melody, As
a
do should be harmonized
with the tonic triad. It should
be harmonized with usually the tonic triad when itis precededby dominant harmony. This principle arisesfrom the fact that dominant harmony followed by subdominant harmony is seldom effective, is found in the works of standard writers. althoughsuch a progresaicm
THE
SUBDOMINANT
CHORD.
"S
Bach.
IVe
6
The supertonic (re)is harmonized The mediant The
(mi) is harmonized
subdominant seventh
dominant
or
(fa)wherever ninth chord
with dominant
triad,seventh
or
ninth chord.*
with tonic
harmony. it descends diatonically may
(seefootnote below). It
may
be harmonized
with
be harmonized
with
harmony in allits progressions. The dcmiinant (so)may be harmcmized with either tonic or dominant harmony. When so is repeatedthe harmony may change. be harmonized with The superdominant (la)wherever it descends diatonically may dominant ninth chord (seefootnote below). Otherwise it should be harmonized with subdominant harmony. is harmonized with dominant harmony. tone (tt) 1^ The leading Tones which skq" in a melody are usuallyharmonized with the same harmony subdominant
done althoughthis cannot now be as successfully oomplctevocabularyof chords.
C
In
cases
similar to the
as
later when
the student has the
IV-
following
an
exceptionis made.
Do may
be
melody because of the ineffectivenessof fragmentwould therefore be harmcmized as
with tonic harmony in the above
harmonized
V-IV. progression
The
above
mdodic
foflows: V-I-IV-IV.
^
^
^ Ex. or
i
J.
r
etc.
^ IV
a
"B"CMiM
praftnbloto
of tlM vm
fiaaUtyof tli*rvsolotioiito tonic of thi domiuint diord tpvinglyotoept as tliaponnltiaata
thatc diords
serath of
a
and
period.
ninth chorda^ It !"
MUSIC
26
COMPOSITION.
where all the tones of the skipsdo not belongto occur Passages with skipsfrequently in chord which be grouped logically.Principles of phrasing the same case, they must For example, the followingmelodic and good chord progressiongovern such passages.
fragment: If
a
m
can
be harmonized
as
follows: I-rV-IV-rV
I-I-IV-IV.
or
the second quarter note, the former harmonization phrase commences upon tion new phrase commences upon the third quarter, the latter harmoniza-
new
is available;if a is
if the fragment is in preferable;
available.
The
following melodic
the midst
fragment:
of
a
phrase,either
harmonization
is
-j)^r^J-
is governed not -only
by phrase consideration but by the consideration of chord progression. In the midst monized with tonic harmony if the preceding so is harof a phrase,do should be harmonized be harwith dominant, but if so is harmonized with tonic harmony, do may monized .with subdominant.
If
a
phrase chord, do may new
commences
on
do
and
so
finishes
a
with subdominant. be harmonized preceding phrase on the dominant In a progressionof successive sixth chords,it is usuallyadvisable to double the third be doubled Fifths may in alternatingchords and the root in the remaining chords. in such
The
a
if voice leadingprofitsthereby. progression
should followingquotations
be
studied. carefully Belli
Ni*s Norma,
Ex. 87.
etc.
SUBDOMINANT
THE
CHORD.
J7 J. S.
Bach.
At this time,it is advisable to write almost
alto,tenor,and bass. is available position)
In as
whollyfor voices, soprano, this styleof writing, dispersed harmony (open
well
as
The inner voices should be made
close
position(see footnote,page
interestingis melodically
as
as
$).
ble compati-
with
and coherence. The bass should be good chord progression "flowing,"that is,not too "skippy." This necessitates the frequent use
of
skips(^\
inversions. Augmented
J
-
for the present,avoided in all the parts; diminished
however,are good. resolve within the not
The
second
tone
skipstepwise:
retained unless desired.
be
Remember
of
a
diminished
^^Watch
The
\
-f9-
be.
^m
skips
skipshould usually common
for "fifths" and
that the root is the factor most
should
tone need
"octaves."
doubled,next frequently
the
then the third;the leadingtone, sevenths,and ninths are not to be fifth, doubled. The followingarrangement with doubled third is good:
i 9^
^ "
'
-^-
jSk. -"2-
nant
phrasesin a melody before it. A subdominant harmonizing phraseendingis not often able. desirable;tonic and dominant phrase endings are availBecause of the tonic chord,a domjof the finality It is advisable to mark
off the
where the melody permitsexcept, phraseending is usuallypreferable
phraseof a period. The dominant triad seventh or to the dominant phrase endingis usuallypreferable
of course, upon upon a ninth chord.
the last
music
a8
composition.
Exercises, Group t
Asoending major
"
^4
I
^
J
6.
scale.
J ^
fE.
o
^
II Transpose to
all major
Gemuui
French
3.
Jl| t l^fiX'J
ji'' f^ J
J
E
Jlr
^^^^^
Folk
Song.
Folk
Song.
I r f I
ii|J f J J ij -.N-f-J r J ^
H.
4.
Andante
keys.
BKRTtin.
espressivo.
\i
\" ^ .
English
l^t'jJiiNjjIr^
.
Folk
.
Song.
6. Write
The
the ninth. should
student
progressionwith melody
is
a
voice
chord
is
an
Be
etc.
should
then chord.
uncommon
I
each
that
sure
be harmonized. It is
a
major seventh satisfactory.
very
(^0
(^.)
''i
tion atten-
judiciousmixing of stepwise
the
compass,
(^.)
I
melodies, pa3dng
Its cadencing resolution is not
harsh dissonant.
i
diatonic to
melodies
These
seventh
and therefore
balance,
skips,to
"singable."
subdominant
The
several
compose
phrase grouping and
to
chord
(IV V I) in all major keys (seeCadences, the seventh, the dominant triad,sometimes
sometimes
sometimes
and
29
complete Cadence
the
i). Use
page
CHORD.
SUBDOMINANT
THE
\"
A''
H
'
"2^
Doubted etc.
Tone. leading Ton ^
1
h5"
VllO
IV7 is not
chord
This
chord
is constructed chord.
applicableto the tonic seventh
are
IV7
VllO
i
,5"-
IV7
VIlO
and
the above
available at present.
tonic seventh
The
YIlO
IV7
1
"9
like the subdominant Its
cadencing resdution, however,
remarks is
what some-
leas unsatisfactory.
^
gp
I
^
I
ej -fSr
-tS^
etc. -49-
ZSL
s
ja. -o
Major
seventh
tones
than
ninth
chords
The those
as
chords a are
occur
more
frequently as passing chords
part of the harmonic even
first seven
less useful than
exercises
desiringto work
with
in
architecture. the
seventh
Appendix given bass.
C
Unaltered
or
as
a
"
result of passing
tonic and
subdominant
chords.
may
now
be
worked
out
by
JO
CHAPTER SUPERTONIC
THE
In this chapterwe
V. CHORD.
the
enter upon
studyof the
firstchord
to belonging
the so-called "secondary"chords. The
secondarychords
be
may
the groupedinto three main "families," the three principal names as chords,
being called by the same namely, tonic,dominant, and subdominant. belongsto the subdominant family. The supertonic triad di"Fersin structure from three
It consists of root
considered.
fifthand is called
a
minor
The
fore the three triads hereto-
(re)its minor third and its perfect
triad. It is a consonant*
Like the
the fifthmay
the
may
the root or triads, preceding precedingtriads,factor three
chord supertonic
be
be
chord but active.
doubled,but unlike
freelydoubled.
thirds in minor triads are better than in major triads. The most
Doubled effective
is with the third in the soprano. would suppose we triad, Upon examiningthe factors of the supertonic that its natural tendencywould be to the tonic triad, thus: use
of the
chord supertonic
(".)
(^.)
(c.) z:
^
II
a
-9-
is-
I
II
I
i u
I"
student will notice that in the first progression, a paraUeloctave
The and
"V
m
^^
^
a
fifthresult, and parallel
doubled
in the second
third in the tonic triad
fifthand a parallel progression result. The third progression is not
faultyalthough it results in a doubled third in the tonic triad. The from Bach show good examplesof progression n-I. following quotations
*Tlie minor
triad ia
acceptedas
a consonance
by the
modern
ear.
CHORD.
SUPERTONIC
THE
3,
for a largenumber of progression is one This progression cadencingprogression. A
to another chord the root of which a
chords is the so-called
natural
in which
is situated This
fifthbelow)the root of the firstchord.
chord gresses profourth above (or
a
a
of the progression
n-V. progression of the supertonic chord cadencingprogression
super-
tonic chord resultsin the The
is the
one
most
has allbut upset the scale tendencies of giventhe chord as a whole a tendency to dominant Common
used. frequently its factors and
harmony which in
use
resolves to
turn
the tonic,therebysimplydela3ring
scale tendencies of the factors in the
-%
"
chord.* supertonic
g-F
2Z ^
-^-
I ^
=-"^g
g^ ^-
etc. fi
I ""
I
rt/:
I "g
flg
I
"g-
-^-
V
II
The
1
II
V
become
II
the factors of the tonic superdominant in the ninth factors chord by aUowing
followingexample demonstrates triad may
1
how
while the root, in the factors in the upper voices to remain stationary the bass,makes the cadencingprogression.
II
idiomatic
of the supertonic chord to dominant harmony progression of the subis to the same harmony as the idiomatic progression between the supertonic and a relationship dominant,thus establishing them in the same subdominant chords and placing familygroup. triad are governed by the same ^The inversions of the supertonic further as the inversions of other chords and therefore need no principles explanation. The
exercises in group 6 should be be harmonized scale step (re)may now The
"S""
Xn It Chapter
again harmonized. with V
or
u.
The
Fa may
second be har-
MUSIC
32
monized
with
La
etc.
V79 Vo, IV
or
be harmonized
may
COMPOSITION.
its progression, position,
accordingto
n
with
Vq, IV
or
to according
n
its progression,
etc. position,
The
a
triad: supertonic
seventh of the root to the
dissonant and active chord.
chord
Its normal
its third diatonically; by the skq"of a third;itsroot
downward
but stationary
in the
bass^it makes
resolution is to the dominant
m
I
:^
upward diatonically
in an ui^r
voice may
remain
cadencingprogression. (^.)
i
#
22:
I
3:
-ZL
-a-
y,
^1
m
the
resolves
(^.)
(a.)
Ex.
It is
upon paper, looks no differentfrom the Its seventh resolves downward its fifth diatonically;*
resolves downward
46.
i
and (cadendngresolution)
resolution V7-I.
or
Chord.
commonly used chord is formed by addingthe
This very useful and minor
Seventh
Supertonic
etc.
or
jOL
2:
I
JOL.
i
-^-
117
"7
The supertonic seventh chord may
I
"7
also resolve to the dominant
seventh
ninth chord.
or
(^.)
g
Ig
w
ic.)
g;r+^
-""
%
I
9i
g
I etc
JSL.
I "7
The ninth. *
downward
to the
occurs
"7
than the dominant less frequently
and resolution follow.
chord is the inactivetonic bnt as a dissonant seventh in the tapertonic diatotdcallj immobilityis destroyed and it becomes an active tone with a tendency active leading tone.
Notice that the seventh in the
diord, its normal
chord
"^9-
II7
"7
ninth supertonic Its structure
I
"^9-
THE
SUPERTONIC
CHORD.
(*)
33
(":.)
z:
IS
W
Is
#
^ etc.
i
-"^
In
succession of dissonant chords
a
should
be usually
the strongest dissonant chord
the strongestbeat of the
on
measure
or
be
artificiall
accented. The inversions of the (a.) ist
s
seventh supertonic
inversion.
(d.)2nd
chord follow:
inversion.
(c.) 3rd inversion.
:^
^^
4S-
^
^
22:
Ex.
etc.
etc.
49.
etc.
JSL-
:
g
g
^ I
iijV The
^
^
^
"g
iiS Va
inversions of the
litV7
iijV
ninth supertonic
iiaVo
chord do not
ii^
Vg
occur. frequently
Resolutions follow: (a.) ist
{b.) 2nd inversion. (^.)3rd inversion. (^.)4th inversion.
inversion.
3:
-fS-Gh
-""""
s"Z?"
"Z?-
i n"IQ
The
chord supertonic
I-n and
ni-n
are
not
^S.
S
-^-
i5"III AIQ
Tfl
i
-^-
i
-"" ii( X*0
T
I
'e
i
-tf"-
III **0
i
^^
triad
althoughthe progressions IV-n is better than profrequent. Progression gression
may
follow any
n-I V.
Quotationsfollow:
^
^
Balfe's X
.
z " Bohemtan
,
XX
,/^ -u jx ^. ^ir/ (transcnbed).
MUSIC
34
A
COMPOSITION.
.
.
"
I
V,
?i
Ho
GavotU,CoULUi
W\M''S'i I
11J117V
THE
SUPERTONIC
CHORD.
Exercises, Group
35
7.
Adapted
K
t
J^ Itf^*^'
from
J
J
J I p
"^-
te
J
3
Bkbthovbn.
J Jll' J
s
g
Adapted
2.
from
J IJ
J
i
.n\i Adapted
Br/iHMS.
^s
^ ^ 1-^
^^
i
he
from
Schumann.
II
nr-^TrJ^TqiigJi^^ir^ J. Brahms.
i'i ijh^ii.
Write ist.
final cadences n-V-I.
2fid. Ht-V-I.
yd.
Ht-Vt-I.
4ih. Ht-Vo-I.
iz="
in all major
d
^
keys as follows:
f
^
(i
36
CHAPTER THE
SUPERDOMINANT
CHORD.
secondarytriad
The
upon the sixth scale step is,like the supertonic It belongsto the tonic family* and is very useful
a minor triad. triad,
the last chord of
as
VI.
a
phrase. ProgressionV-vi
'^
forms
a
Deceptive
Cadence." have
We
that the
seen
alwaysdesirable as
is not
V-I has finality and consequently progression a phrase endingexcq"tfor the last phrase. If,
however, a phrase ended heretofore necessary
it with
harmonize
to
V-IV progression
and
V-I
Now may
harmonize
^^
because
of the as
triad to superdominant
a
our
it
phraseending. we vocabulary, vi.
superdominanttriad
is with its
third in the soprano; the chord is weak with itsfifthin the soprano should seldom be used with its root in the soprano. Various
of progressions
V-vi
are
shown
in the
(c.)
(t.) qP ^ ^ ^
I
g"
I--"L " fi"s
was
of infrequency
phraseendingwith
the tonic in the above
effective position of the
most
follows:
the undesirableness of IV
with the addition of the
The
as
and
example. following id.)
rtf
is 1
^
SC^
:
II
^-
etc. .A.
jGL
V
VI
V
The resolutionof the dominant is the most
V7
VI
Vq
VI
seventh chord to the
VI
triad superdominant
importantnon-cadencingresolution of the
dominant
seventh
chord. *
triad is not restrictedto the above use. It occurs superdominant in the midst of phrases.A normal progression of vi is to n, frequently vi-V and vi-IV are available. vi-I should be avoided. and progressions be precededby I, n or V and occasionally gression VI may by m or IV. ProThe
I-vi is better than vi-I. *
A few theorists
placethis chord
in the subdomioant
for the tonic chord, it is herein '"stitute
placedin
that
bat funiljr,
family.
as
it is more
commooljrused
as "
THE
SUPERDOMINANT
CHORD.
37
The invendoiis of the
triad need no explanation. supertonic Progression V-vi isbest with both chords in root position. The superdominant less frequently than the ^venth chord occurs dominant and supertonic seventh chords. It is constructed like the seventh chord (minortriad and minor seventh). Because of supertonic the frequent use oLthis seventh chord formation as a supert"mic chord,its
tendency to suggest modulation. In where we hear the superdominant seventh chord,we hover, cases many as it were, between two to a majortriad keys. Its cadencing progression use
other scale
on
degreeshas
effectuatesa modulation
a
but its cadencing to progression
a
minor triad
be
in such a manner as to retain the original manipulated tonality. The cadencingprogression of the superdominant seventh chord is to the supertonic chord,thus: may
TL,
The
u
YI7
of the cadencing progression
VlJ A
u
YI7
II
II
Ex.
YI7
117
inversions foUow:
Yl|
II
VI,
of vi2 is quoted from non-cadendngprogression
66.
117
YI7
1% a
Bach
Choral:
A
COMPOSITION.
MUSIC
38
of VI9 cadencing progression
is.quotedfrom the
IlJ
VI,
ninth superdominant foUow: ingprogressions The
use
of the
same
choral:
V-
chord* is not
Cadenc-
common.
Ex.
VI,
The Their
II
Vli
"7
superdominantninth foUow: cadencingprogressions inversions of the
VI,
chord
II"
are
rarelyused.
(a.) ist inversion. (^.)and inversion, (c) 3rdinversion, (d,)4th inversion.
chord to our vocabuJary superdominant givesan additional chord for harmonizingthe first, third,and sixth scale steps the fifthscale stq" where it however),occasionally (seldomthe latter, and rarely the seventh scale stq" where it descends descends diatonically, diatonically. should be carefully studied. The foUowingquotations The
*Samt
addition of the
theoristscoosldNr tht tonic seventh
chord
t
sopefdominantninth chord without
root.
THE
CHORD.
SUPERDOMINANT
39 ).S.
Bach.
/ r r Ia \1 3i i n M ^m ^^
Ex. 60.
i
i
I
V^"
IV
Vo(l7)n"f
VI
i
^
Yj
'
1
V,
i
i
^ IVa
IV(7, IJ
lo
V^
t
N. Dxcius
(i6thCentury).
Ex. ei.
/T\
^
i :"
-C.
(g Notice two or
^
-C.
^ ::^
^ ^ Ail
f -fi.
i
?2:
r
fourth
/c\
i
?
VI
N.B.
skipsof a fourth
of
a
present. Most
fifthin the
in the bass in
f
MX"
t:
i r
VI
measure
5 and 6.
Two
or
more
skipsof a
direction in any voice part should be avoided for the theoristsforbid such skipsbut they are foimd in many works, e^"esame
dallyin the woriu of modem
composers.
COMPOSITION.
MUSIC
Dachstbim
W.
(i6th Centmy).
/T\
i^i' f' J.
F
A
J.
i
r
j^' r
J.
A
I
'
r
I
r
f
r
A
J.
r
f
J.
^
i4
VI
Group
ExERasES,
' f' "
8. Franz
Schubb"t.
1.
i "! fir
jij
r
r
J|JJ
jN J J JM-
J
Ji*".JiJ^^
JiJ r r nr
r
).
r
Haydn.
SUP"RtK)MINANT
THE
CHORD.
41
F. BfKf dblssdhn-Baktholdt.
rir r -' 1
If rff JiJ J r
J. S. Bach.
4.
J'J l,J i "
5^^
M *
II.
g
feE ^ ijf"*JjmJ|.i,"ficiZf E
Jir ri^'^un Jir rM JiJ..''J|J BftAHMS.
JOHAMNKS
i4"j J j3iJ^Paa^-a f^^ i^"f^'Jir
tP-
m
i
Lr^r 01 ^iffcir r JJi
j3|J*rJiLrf
^^
J. S. Bach.
MUSIC
4"
COMPOSITION.
CHAPTER THE
The mediant
VII.
MEDIANT
CHORD.
triad is formed,like the two
preceding secondarytriads,
with minor
third and. perfect fifth. This minor
active.
use
triad is consonant
but
t^an that of the other triads. It belongs to the dominant familyand progresses normally to the tonic. It does the dominant chord at the finalcadence although not frequently displace it was used in this manner in the Romantic Period. Progressions to the tonic
Its
islessconmion
familyfollow: 25:
S
i etc.
-lo-
III
The
m
32: HI
i
VI
has tonal ambiguity;the key of the relative minor m-vi progressioii m elodic fonn. gestedin its descending
is 8ii|^-
THE
CHORD.
MEDIANT
43
The inversions of the triad follow: Bach.
i
I
1^
"x.
i iii2
"%
The
mediant
I
seventh chord
is formed
Vfl
with minor
V"
VI
ni"
seventh like the
and superdominant seventh chords. It is somewhat more supertonic useful than the superdominantseventh chord but does not occur as seventh chord. Its cadendng resolution commonly as the supertonic chord. IS to the superdominant (*.)
ia.y
(O
etc
1117
n
1117
VI
Yi
1117
resolution of the mediant A useful non-cadencing
seventh chord is to the
tonic. (*.)
(".)
(c.)
i
22: -^-
etc.
2:
s:
1117
1117
zz:
22:
i
1117
The inversionsof the mediant seventh chord with
resolution cadencing
follow:
*
m
^
-fi"
"J
etc.
s:
'i9-
:SL
ZSZ3
^^^"
!*"~^"W^BIP
i
MUSIC
44
COMPOSITION.
The mediant ninth chord is not
commonly used.
Its cadencing resolution
follows: (*.)
(a.)
ii\ 22
K.
(c)
fi\i..
'^
^
Ex. etc.
i
-g-
IIIq
vi
IIIo
TI
^1 IIIq
yi7
Its tonic resolution foUows:
i
221
i
^
"
etc.
i
22:
IIIq
The inversions of the mediant
I
ninth chord foUow: id)
-^-
"3^
"
^^ 2nd
ISt
Ex. 70.
fif
inversion.
inversion.
=^
I
rt
2:
I
IIIq
ViJ
^^
3rd
4th
inversion.
inversion.
y
m
I
5tlis. IIIq
vi
UIq
yi
IIIq
Tig
Study the foUowingquotations. Bach.
f'"^frTrr.^ V^ iii^vi
Bach.
THE
CHORD.
MEDIANT
45 Early
i 72.
J
i
Century
J J
P
f
nr J
Ex.
J U
^
3^
i8th
Choral.
i
3
f
f
^
(i
I
^
f"=f
1
r
"
Sfi/ III
II
VI
N.B.
(17th Century).
RoSENMULLER
m
r
Ex. "
73.
Ji
J
m.
J
j.j j,j j,j
jO. i^
/
=;^=^ 1 I
:^=sz:
^
r'r
i
I
g"
'I
"
.a.
"g
I
i
Sfi/
V"/ VI
by
n
chord
mediant
The or
IV.
to any
V"
VI
may
It progresses
III
be
II"
preceded by I, V,
or
vi
and
occasionally
gress prooccasionally best to vi, I, or IV and may V-ra is better than ra-V.
Progression
chord.
Exercises,
Groxtp
9. J. S. Bach.
^
^^ I
E
i J. S. Bach.
2.
^
I
f
^m
COMPOSITION.
MUSIC
46
m
r If
i iW\
rsf
r
r
r
r
rif
i=F
F
r
"rr
I
r r
ir*n
J. S. Bach.
4.
^AJ4J [f
r r
J
^^-4^
'
J Jij J J
^^
"'^^
r
Decius.
5. /C\
^^
J JJ J If''
t=t
t^
-"5ii-"fi
F=*
?!^
^
-tf*
i
3^
ROSENMULLB^.
6. /C\
i
I^xGll
3
tf^
3
3
-"s"-
-^"
:^
From
7.
E^
i
"^
?
at-
"
an
old choral.
i
-^-"S'-
-"!5"-
-""-
ns
^
19-
-^
^
""-
221
i
-^
From
8.
"
i9-
-"$^
-i9-
rg
lr-1" "g'
eJ
?
15"-
a
choral of the
17thCentury.
X
E
z^
/5N
t g; zz
^
E
i
THE
MEDIANT
CHORD.
From
O.
47
choral of the i6th
a
Century.
/5S
I
/TS
3
t=\;
JIJ^ ^)r,
rj
m
g^ """
E
i
2^
221
-(5^
I
Dachstein.
10.
/9S
^^
-i9
fi"-
J|JJjJ "^If fM'^
J
From
1 1.
^^
choral of the
a
-II. J -S^-
^^
e)
E)
E
g*
.] J "i9
"^
3
"I
-"S"
^
I
g^ -"5'-r
From
12.
15"-
Rf^
f
choral of the
a
i6th
Century.
^
?
3
/T\
i
-Til'
a
z/th Century.
-^
t=|:
ISL
"(9-
/T\
3
"^
-"Sl
-75^
E^
g^
^
\
"
"
^^
fi*
P
Luther.
13.
iI
g"
E
gi
A
c"
fr^
^
"gi-
^
"
^
"
^
/T\
i
/T\
I ^3
-tf^
-^
^
"(9-
t^
1=t
:s:
-"5"-
I
GOUDIMEL.
^b
^
?z:
JrifJirrifi-a
^ "^
16.
Major
"
Scale.
t
g s
1^-
SL
-IS^
E
5^
^
CHAPTER THE
The
subtonic
chord
SUBTONIC
is
a
triad di"fers in formation and
and is called fifth, Notice
a
The
subtonic
of the triad seventh
are
chord
chord the and
same
useful
The
one.
by their thirds,major
minor, but that
or
by its fifths
belongs to tones
as
the
in the
progress
dominant
the three upper
theorists to call this triad
led many
a
triad. named
are
and
preceding six triads. It is dissonant its minor third,and its diminished (ti),
diminished
the subtonic triad is named
chord
the
of root
that the other triads
CHORD.
common
very
from
active,and consists
Vm.
a
''dominant
factors
factors of the dominant These
manner.
same
The
family.
seventh
facts have
chord
without
root." Unlike doubled The as
all the other
in four-voice
root
composition;it
fifth is frequentlydoubled
much
often find The
because possible
as a
doubled
normal
triad is
triads,the subtonic
fifth
is best with
but the doubled
written with
never
doubled
fifth should
it has definite tendency.
The
undesirable
root.
as
resolution of the subtonic
as
a
doubled
triad is
third.
be avoided
musician
non-cadendng
to
will
the
tonic triad.
VIlO
The root
I
firstinversion of the triad is
VIlO
I
considered,by
position.
-^"?y Tpr
32:
I i
TI18
many,
to preferable
SUBTONIC
THE
CHORD.
49
The second inversion of the triad is unusual. its use.
The
foUowingquotationfrom tones. however,of passing
I
The
Bach
Some
contains
a
theorists forbid
vn^
as
a
result,
(vii"2)I
IV
of sufficientimportanceto upset the
passingtones, however, are
plagaleffectwhich would be presentwith the passingtones removed, and is I-IV-V-I. the effect, in terms of families, A progression from a diminished fifth to a perfectfifth is usually undesirable. Ex. 77.
A
from progression
a
i
-9-
fifthto perfect
Ex. 78.
The
22:
-(9-
a
diminished
^
fifth, however,is good.
.^. -9-
Seventh
Subtonic
Chord.
The subtonic seventh chord is the mildest dissonant seventh chord of the
major mode.
Its factors
are
the
same
tones
factors of the dominant
ninth chord and is called
''dominant
without
like the
ninth chord
tones corresponding
root."
-r^-
VlA
2:
#
2z:
the upper some
four
theorists a
normally resolve, ninth chord,to the tonic
chord.
-19-
by
Its factors
in the dominant
l^S.
as
i I
MUSIC
so
COMPOSITION.
Notice that this nonnal resolution is non-cadendng. The
cadencingresolution of vn\
VlA
is not
III
common.
viA
III
Examples of the inversions of vn^7 with their resolutions
to
tonic
foUow.
Ex. 81.
vn^t
vn""2
Their
I^
viio,
H
cadencingresolutionsfcUow:
i
3:
zr
:Z2:
"i9-
jCL.
.^Z
"^"
13L
-^-
.^.
-.^
i
Ex. 82.
m
1.
-^-
subtonic chord in both modes
The
has suffered much
i criticism from
although it has been and is being used by masters. It is criticizedas being ''overworked" and that much can be accomplished
theorists
with it with as
a
minimum
well to the dominant
isan academicism.
of
technique.The
former criticismcould
apply
chord and
while true, others;the lattercriticbm, It is true,however,that too much subtonic harmony
and that where it b used- because proofof goodcraftsmanship, itisundesirable. of a lack of technique and not for effect, Quotationsfollow: is not
a
CHORD.
SUBTONIC
THE
SI ).S.
J
(^^r
f
^y 63.
r
f
IJ. J J I
n
f
m I
Vo
IVa
"
I
V
VI
of the
Choral
84.
^^^
frif
rij-
^
"
Bach.
T
"=^
IV
""
vnj
^
i
I
Early17 th Century.
-j.^^.^^j-i^.^-^^ s s 1 p ^ n^ N"/
I
Yi
Vo
I
Yi
IVYiigl
I
V
Choral
Voir(vii8)I V-7
of the
i^^
I
Earlyi6th Century.
2:
m
Ex. 85.
I
i ;i;;i;i'ii'iV r
IflJSIC
s"
COMPOSITION.
J. S. Bach.
Ex. 86.
fr
^
^
I
I
X
"""
VI
"
IVJ(ii|)
(3,
III
iiJ(Va)le
(VJ)
iiS117
V
Iv(viiD
I
I
Exercises, Group
10.
F. SCHUBKRT.
u
^^ I. ^
E s
^
s
f
r r
^
^
Mr' I^
G. DONIZBTTI.
7^rj-n
i
CHORD.
SUBTONIC
THE
Sl
^
r r I* "^ ^^
^
^
"":
f^
53
^
r r 1^^ ^JIJ AdesU
3.
m
I 3S==t:
""^
i*
J J ^
-^-
J J J "ij
^ij j,i^
^
^
^-
^
William
f
^ jiJ J j.if r -^-
J
g
4.
(Mf
Fideles,
1^
+^J
f J-
Byrdb.
3 -tf
J'J7777^I
^^
JTJ^IJ-JJJ.I 6.
Thbodors
Lack.
^^ fe^CJr rir rr^J j^j Pir j Ji
MUSIC
54
COMPOSITION.
BoiBLDIBtT.
J J J
J J .T^iJ
r
|J J
J
j^
^J r ^^ I
^
f
M^i
r
iJ
r
J
"
J
^
CHAPTER RECAPITULATION
J
fp^
II ffJTi
J I[.r LJ'
r
"
IX. AND
SUGGESTIONS.
All the diatonic
all the seventh chords,the practical ninth triads, chords and inversions in the major mode have been considered and the student
should
be
now
capableof harmonizingany major
diatonic
melody. A table follows showingthe chords with which each scale step may harmonized. Ex. 87.
g
"JBL SL "V
be
table is not
The
SUGGESTIONS.
AND
RECAPITULATION
55
in the table
is listedonlyonce
for example:V? complete,
but it may be used to harmonize any tone which is a factor in the chord. of use or relative The table is not plannedto show the relative frequency
importanceof the chords;major triads are given firstfollowed by minor ninth triads,then diminished triads,then seventh chords and lastly, The tones which are not listedas ninths in ninth chords are do, chords. so
re,
and
ninth respective
The
H.
vii^o*" Io" IVq, and viq. nearlyalwaysthe result of non-chordal ninths
I7
are
are
and that
unconunon
sparingly. The following table I may n m
progress to
may may
TV may V may
progress
to
progress
to
progress to progress to
may
progress
to
vn^ may
progress
to
VI
A table of chord be
cannot
a
families. Such
onlyin
the event
Such
of which
ninth chord Remember
tones.
of the other chords
some
to n, occasionally
V, IV, vi, m, V, vi, vi, IV, I, V, I,n, I,vi, m, n, IV, m, n, V, I, m, V,
a
The
law.
tabletbut a
these tones
are
formations
are
that IV7 and should
be
used
chord progressions. possible vn^
to I, vn^ occasionally
seldom to IV,
to vn^ occasionally
seldcMBu to n, V.
to vi, m, vn^. occasionally seldom to IV, occasionally
m.
to vn*.
seldom to I,vn*. to IV, occasionally
is valuable onlyas progressions
given as
influence such
shows
chords
a
seldom to n,
mechanical
vi.
guideand
different stages in the evolution of music
in a there is stability
of chord generalization
is governed by natural laws and change generalization of a change in scale system. The generalization is as
foUows: The subdominatU
familytrends to the dominant family. The dominant familytrends to the tonicfamily. The tonicfamilyis free. Within a family, the principal member may progress to a member
but the
subordinate
of this should be avoided.
reverse
V-vi is best with both chords in root position.The first Progression inversion of vii?.is to root position or second inversion. preferable Consecutive
perfectfifths and octaves are undesirable. fifths and octaves in outer voices when are objectionable progress to the fifth or octave by skips. Awkward
greater than
melodic an
skips,such
as
Concealed both
augmented intervals and
parts
skips
octave, should be avoided.
"See ChapterXIII. t "and
the ear, Uke the eye,
toon
*eccowod"tee
'
itselfto
new
perq"ectiveand unrelated hannonies."
COMPOSITION.
MUSIC
S6 Avoid
writingfor Extremes
compass.
of any voice any lengthof time in the extremes of a voice compass are more intonated where easily
that each part is singable. the best chord factors to double. Doubled are, in general, usuaUy better than doubled thirds. It is better to double
approachedstepwise.Be Roots
fifths are
sure
thirds in minor chords than in
of doubling, major triads. These principles of good voice leading.The however, are subservient to principles of doubling; subtonic triad presentsan exception to the general principles the third in the subtonic triad is the best factor a
six-four chord is usuaUy the best factor to
six-four. cadencing The
Avoid
to
double.
The fifthin
in double,especially
the
doublingtendencyfactors.
best factor for omission is the
fifth. perfect
The
root
may
be
A tonic six-fourchord is sometimes
omitted in the tonic six-fourchord.
written at the cadence with omitted third. Factors
forminga dissonant
Diminished
best
are
intervals resolve
approachedin contrarymotion.
contraction:
by
i
"""-
and nine is tendency of chord factors seven as the case or inactivity stronger than the normal scale activity may be. In the dominant seventh and ninth chords,the mediant seventh and ninth chords,and the subtonic seventh chord,the resolution tendency of the sevenths and ninths is analogousto the scale tendencies of these The
downward
diatonic
tones.
In
some
or, which
chord is the
remain stationary factor seven or nine may progressions, changed,thus: same, be enharmonically
{a.) Stationary7th
i
\
"^-
IZL
Modulatory
Ex.
"
^s
Modulatory
Modulatory f
*
88.
ftg
? V7
"See
ChapterXIV.
tSee
Chapter* XII
lit
and XIV.
V7
a
I (^
^
V11O7 C V7 fS Vf
^ C
V,
b
iiOft V
etc.
RECAPITULATION
SUGGESTIONS.
AND
S7
(6.) Stationary9th
\4fil-\-^l^^ f i
Modulatory *
^^^
I
J C
V,
V7
VI
factor seven Occasionally, chromatically:
or
nine may
(a.) Modulatory * Ex.
B"V7
upward stepwise, usually
progress
(6.) Modulatory*
'iA=M=^ ^ ""
C
Rarely,factor seven onlybe used by one
V7
or
a: etc.
m=^
^ V"
ij
C
nine is
quittedby leap. Such
b
I
E
V,
device should
a
in composing. thoroughly experienced Most end with the tonic in the highestvoice and all compositions end with the tonic in the lowest voice (rootposition).! compositions The penultimate tone of a melody is usuallyeither ti or re, sometimes /a but seldom la, Schumann's Warum is quoted as an sOy occasionally example of a composition endingwith the third in the highestvoice:
Ex. 00.
Robert
Franz's GtUe NacM
endingwith the fifthin the "See
ChapterXIV.
tSMChapUrXIII.
is
quoted as
melody:
an
example of
a
composition
COMPOSITION.
MUSIC
58
plagaidose, when used,is in addition to the real ending. When as is keep the voices as nearlyequidistant usingopen position, Avoid groupingthe two upper voices and the two lower possible. The
voices with alto
a
wide interval between
the alto and
or
greaterthan
tenor
the two
The
soprano and be separatedby an interval
should seldom
groups.
octave.
an
is usually for strong dissonant chords. The preferable Open position be separatedfrom its root by an ninth in ninth chords should usually interval of at least a ninth.
A
dissonant should not
be resolved to
a
fixed unison. Voice
leading governs
the choice of omissions and
duplications, cially espe-
in ninth chords. Dissonant chords Avoid the
are
most
effectiveupon
of a harmony or repetition
a
strong pulse.
bass note from
a
weak
to a
strong
pulse. Exercises 8-16 in
AppendixC
are
now
CHAPTER THE
The modes
Major
MINOR
available.
X. MODE.
differencein the triad formations between may be Mode
Harmonic
seen
by a comparisonof
Minor
AscendingMelodic Minor DescendingMelodic Minor
the
the numerical
I,n,
m,
major and symbols:
minor
IV, V, vi, vn*^.
V, VI, vn". i, n^ III+,IV, V, vi",vi". (primitive) i, u**, HI, iv, v, VI, VH. i, n",01+, iv,
THE
MODE.
MINOR
59
composing,the hannonic fonn of the minor mode should be the and descending) used are workingbasis. The melodic forms (ascending for melodic purposes althoughadvantagesin part writing principally from the use of chords of melodic minor formation, accrue frequently vi^ and VII should be avoided where monotonality is desired. A comparisonof the triads of the major mode with those of the harmonic In
minor
shows
two
triads which
triadsdiffer. The harmonic
V and vn^. alike,
are
minor mode
All other
has two minor triads (iand
iv),
major triads (V and VI), two diminished triads (n" and vn^) and one augmented triad (III+). An augmented triad is formed with major third and augmentedfifth. two
Such
a
chord is dissonant and active.
Augmented intervals resolve by expansion. All that has been said of the chord
in major is applicable progressions
in the minor mode. More
augmented intervals are
found in the
major.
exists between
to be found in the minor
In the harmonic
scale steps six and
minor mode,
seven,
an
an
mode
than
are
augmentedsecond
augmented fifth between
three and seven, and an augmented fourth between four and seven. Melodic progressions of all augmented intervals should be avoided by those not
in part writing. experienced
The
avoided but some augmented fourth and fifthare easily difficulty is often experienced with the augmented second. The difficulty exists in progressions V-VI and n^-V. In
V~VI, progression
double the third in VI instead of the root,thus:
instead of n^-V, lead the upper voices downward progression voice. The bass should be led the common tone in the same retaining upward to avoid concealed fifthsand octaves. In
"
jg "
a
Ex. .a.
i
MUSIC
6o If a tone in the to
a
solutions are
^
(
r
"r '
^
-t
("" i
m
^P
.", A
The
T
student needs
''""-
etc.
J
I
to enable him
further comments
no
melodies in the melodic minor
mode.
to
correctly
Remember
by
the gressions proand logical leading
doubling. seventh and ninth chords in the harmonic
formation from
exceptionof modes.
foDowing
I
f
which should be avoided and avoid them factor
the
"
m
p^
f harmonize
V
i.
^=i
(g The
with
upward
possible:
i Ex. 04.
with n^ and progresses
melody is harmonized
is harmonized
which
tone
COMPOSITION.
the
minor mode
chords in the major mode corresponding seventh chord which
the dominant
Their treatment
is similar, however.
is the
The
same
differin with the in both
table following
shows
the construction of each. chords which (Parentheses signify never used.)
used. rarely
are
Brackets
chords which signify
are
almost
Triads
Seventh
plus n^ plus III+ plus IV plus V plus VI plus yifi plus
[major7th] minor 7th (major7th) minor 7th minor 7th (major7th) diminished 7th
I
The
dominant
chord of the minor
*
plus plus plus plus plus plus
[major9th] minor 9th (major9th) (major9th) minor 9th [augmented9th] minor 9th '
is called the ''chord of
used frequently
majordominant
should following quotations
ninth chord.
major mode
(flat
ninth.
be studied.
Coniectttivcfifths(incontrary motion) appear betwaan to ba avoidad bjrtha atadant far tha praaaot*
oouna,
Chords
ninth is often used in the
instead of the sixth scale step) The
plus
ninth chord in the minor mode
the minor ninth" and is the most The
Ninth
Chords
tanor
and basa*
Soeh aoDMcotivaa
ara"
cf
THE
MODE.
MINOR
Vt
6i
V5(viiO)i
I
ixr^r
'
I
V
J
f^=^ f A
v-ul t Ifl
i'"
m
I
iiO(iv)xj
VI
J. Crugbr.
Ex. 06.
I
v^""
i"Yii8
I
IV
V
i*5"-
I
I
viigi"
nia I [jr.B. Bble vi
VI
mvn
IV
I
iiiviiiv V
I
V
I
""--"
^
^^ VI
1V5V
I
"JJ|J ji^ 35
I
V
II
r
i^vi
iv
IV
II
vio
i
VI]
v
-7
i
COBfPOSITION.
MUSIC
6s
07.
io(iV7)V
I
VoVc7,i iiOoV
VI
I
-
i.4'~-n-i
I
""
1V5
viig V
ivo
[^.B.
Vn V
IV n
V7 1117
iig in Va viig I]
^^i|'
U^
I
C
iia
nio
VI
lo
rv
io(vii8)(ivt)V2
Exercises,
(i4) VJ
Group
I
VI(nOJ)V
j^4.
i E
I
ni^iv^
iig """
Ifl 117 vug
x
cu jvn(7,
~
!" -J
xi^J V
,
A
in
y"y
I
ii.
French
Folk
Song.
I
MODE.
MINOR
THE
Gabrixl-Makib.
i^
^
^^^
-^
^m
r
Jlf r
1^" ^'^
^ ^r 'Vi
w 4.
^ E
i
cj-!" H
f r )^^
9.
iP ffi
^^
fe^
^p
r r iM "y""
^^p
^
6.
jlJP^MlJJJ^lJipm^ ^,^^JJ73|J II f^l^T^lJTj^U F^g^ Exercises 17-31 in AppendixC
are
now
available.
64
CHAPTER
XI.
NON-CHORDAL
Non-chordal
tones
which
tones
are
TONES.
factors of the chord
not
are
in
tones (accentedand as passing they sound. They are classified unaccented), tones, unresolved neighboring appoggiaturas, neighboring retardations, tones, suspensions, tones, anticipatory organ point and
which
various A
compoiuidnon-chordal
PASSING
TONE
in stepwise
the
IS a
tones.
non-chordal tone which is approached and direction. An
same
accented passing tone is one
quitted which
the factor of the chord to chord,therebydelaying effectivein a downward than scale figure which it progresses. It is more tone is one which is in an upward scale figure.An imaccented passing is attacked with the
sounded
of the chord. the latter portion
on
Between
separatedby the interval of
chordal tones
two
inserted a chromatic passingtone, hence: j /K X
fg
f
4 1' V *^
Between
chordal tones separatedby the interval of
two
may
I
-
V
third may
a
be
be embellished thus:
| may
^^
or
major second
a
be inserted
a
X
diatonic
passingtone,
hence:
may
be embellished thus:
M
*^CI or
4r
(accented)
Between
passingtones, ^hence:
it is not
be embellished
may
thus:
IV
accented passingtone as
The
conunon.
in
a
downward
is
more
effectivethan the unaccented
tonality.Passingtones
Notice that the
"
is
a
passingtone
but
chromatic
effectivein an upward passingtone is more Chromatic affect figure. passingtones do not necessarily r\
*
be inserted
fourth may
^iv
figurethan the
a
etc.
I The
#^ CI
m
t
separatedby the interval of
00*^
X
i
chordal tones
two
diatonic
two
cji"^
are
spmetimes repeated:
X
X
g^rrrrh^-
^ctor of the tonic chord and is therefore, ttrictly tpeaking,not
"
paaeingtoii9.
NON-CHORDAL
The
is an
afpoggiatura
chord and
TONES.
6S
accented non-chordal tone
downward resolving
with the occurring
to the or chromatically diatonically
chord
d'i, J nH
I
factor which it delays.
"^
(".)
m
( Ex.
f
"
i
J.
08.
(gf C
i
etc.
I
f=f
gJ*
Q!
-vs
I-
and the accented passing tone appoggiatnra is that the former is approached by leapand is consequently unprepared while the latter enters preparedalongthe scale line. The appoggiatura resolves upward (usually a minor second). occasionally Frequentlythe upper and lower adjacenttones precedea chordal and these non-chordal tones are called by most tone (unprepared) The
differencebetween
theoriststhe double
The
double
the
appoggiatura.
etc.
occurs appoggiatura frequently
A non-chordal tonq similar to the
as
an
AnscUag.
^m
is by most
following:
CI-
appoggiatura."Others preferto callit approachedby skip." The former name isfree from the
theoristscalled an tone ''passing ambiguitywhich a
A
NEIGHBORING
"unaccented
characterizes the latter name. TONE,
also Called ''auxilliaiy tone/'is an
non-chordal tone which embellishes chordal tone tone
and may
rarelyan
a
repeatedchordal
unaccented
tone.
This
non-
be the upper or lower adjacenttone to the chordal be at the distance of either a major or a minor second,
may
augmented second.
diatonic but the lower
The
upper
neighboringtone
second below the chordal tone.
tone neighboring
is
A chromatic
affect the tonality. necessarily
more
is
usually
frequentlya minor
tone neighboring
does not
HUSIC
66
COMPOSITION.
Bach.
Vt
GI" Tones Neighboring The
GruppeUoor X
Bach.
I
sometimes
are
v;
G
IV.
repeated.
isa group of chordal tones and non-chordal
turn
X
XX
/^
VI
/%
X
X
neighboring tones, X
,x
X
thus:
etc.
the praU-triUy and tnarderUf tones. neighboring The
An
unkesolved
the UriU
neighboring
are
tone
also ornamental
is
of the applications
unaccented
an
non-chordal
and quitted approacheddiatonically by skip,usuallyof
tone
(delayedresolution.)
a
third,
(unresolved.)
X
thus:
such
etc.
a
non-chordal
tone
because of the custom as
a
among
an
accented
passingtone.
An
ANTICIPATORY
TONE
which it soimds but
a
The
Some
theorists call
is
misleading other theoristsof defining a changingtone
"changingtone."
is an imaccented
tone
factor in the chord which
term
to foreign
follows.
the chord with It may
be approached
or by skip diatonically
A
SUSPENSION
chord following
is
a
chord
factor sustained from
of which it is not
a
chord
into the
ward downpart,and resolved diatonically
to a factor of the second chord
chord.
one
daringthe
sustenance
of the second
NON-CHORDAL
A
100.
A A
A
1f^n
TONES.
or
A A
A
etc.
Vic- r ir r
M
r
A
"
67
Less
the suspensionis resolved upward diatonicaUy.The frequently, a retardation. by some theorists, suspensionresolving upward is called, **
Grammatical
alleviated
the
suq)ensionexcept in the progression harmony which is explainedin Chapter 12. The suspensbn is figured the firstfigureshowing the bass with Arabic figures, over the interval which the suspensionforms with the bass and the second figureshowing The tone of su^)ension the chord factor which is delayedby the suq[)ension. ai^)ears and is sustained to the foUowing chord first as a chordal tone (calledpreparation) and progresses diatonicaUydownward (calledresolution)to the (calledpercussion) the ocmsonant tone of the second chord which was by delayed suspension. Preparavoice part. Percussion usually ticm,percussion,and resolution should be in the same cl the German
errors"
are
Sixth Chord
not
by
to dominant
delayed tone should
be present in any other voice part Various suspensions at the distance of the interval of a second. are duringpercussion occurs
on
shown
and
an
The
accent.
figuredin
the
not
foUowingexamples:
i
/^
-a^
Suspension9-8:
Ex.
1^
101.
J
^
ft o
C
m Stt^iension 4-3:
Ex.
T^
102.
"\
I
sr
IV
s
tei
8
V
i
-^
2:
4
C
i
IV
V
i 8
MUSIC
68
COMPOSITION.
^=^
I
Suspensibn6-5: -SL
i
o
0
I
V
[ N,B.
The
suq)eiision 6-5
form
does not
a
dissonant at
effectiveas suspensions 9-8 and 4-3. in any voice part and A suspension occur may voices simultaneously:
V]
iii^
and percussion
suspensions may
is therefore not
occur
in two
or
as
three
J
/^ Ex.
I
104.
1
m lie
The above
examplemay
analyzedas
be
in the bass anticipation
an
or
as
a
suspension
voices.
in the three upper
a dissonant factor is retained: Occasionally
1
i 106.
-(9-
'
m
The
A
jQ-
SL
is altered when the second chord of the suspension is of suspensions figuring becomes second The firstinversion of the su^)ension and the 9-8 7-^
inverted.
6-6
inversion becomes
.
^
The
.
suspension 4-3
with the second chord in itsfirstinversion
5 4
9^;second
is figured
inversion 6-6
^
.
The
6-5 with suspension ^*
6HS. firstmversion is figured ^^; second inversion,
the second chord in its
TONES.
NON-CHORDAL
C
II
69
I
II
[ALff.
Vo
VI,
iiij]
^^duAJ'^m H
TV
IVo
11
IJV.B,
Three
iij]
of the suspensionare irregular progressions
common:
the lower neighbor. it^. Interpolating X
and.
To
another
tone
of the chord.
The
same
with X
108.
C
V
passingtones. XX
MUSIC
70
COMPOSITION.
3rd.Changing the
chord at
"
Resolutioo."
i
I
I
Sh
f 109.
i ^^^
C
The
organ
retention of
or
IV
is a retained tone
point
in (usually
which,chords related and unrelated
firstand last chords must tonic
V
dominant
be related. The
and sometimes
both.*
bass)duringthe
to the tone
organ
The
the
occur;
the
pointis usuallythe
tone
may
be reiterated
sustained.
Schubert,in his Erl King, has produced a dramatic effect by usingthe dominant organ pointin upper voices: or
jij
^ 72nd
J. ;i.nj.jij j.ji
measure.
Ex. 110.
etc.
Non-chordal
form
of compodh important part of the majority tions, homophoniccompositions. especially ^Modern
conpoten
tones
use frequently
an
the submediant
as
an
organ
pofatf.
TONES.
NON-CHORDAL
subtleties
Many
enter
non-chordal
experience,
stepping-stones The
to
following
tones.
For
successful
show
quotations
The and
rules and
ear,
of
logical harmonization of
a
are
great
melody
a
Musical
little assistance. of
analysis
of
the
amount
taining con-
the
are
success.
further
recommended.
a
and
tones
well-trained
a
into
7"
less restricted
application Songs
Mendelssohn's
analysis work
the
in
analysis
after
becomes
studying
non-chordal Wards
WiihotU
more
benefidal,
are more
modulation. Schubert
(Andante).
Pianoforti "^_^^^_
J. S. Bach
(Musette).
'.Vjj:ijfj'|jj|jjjjj|jj Ex. 112.
MUSIC
ya
COMPOSITION.
i^\r^ K*-^ JiJ.
AH
J
J i i J "g^ ^
i
I
rJJ;jijJ
3
i i i J. a;
"I
nrji^^fp
(B^ Review
t
Examples
51, 52,
i
60, 71, 83,86, 95, 0 and 97.
Exercises, Group
12.
J. S. Bach.
J J i^^f 2.
rif
fjrtJir j j ri^-S^^ J. S. Bach.
iSgiifii^ftifninu^ I
nj^u.ii M*gnjTr]ijTr]^jiJif F. SCHUBULT.
rrrifii^rir
ALTERED
CHORDS,
73 F.
4.
^m
"
"
Schubert.
^m
"
^-^^
rr n r r (^1 "
J. S. Bach.
J. S. Bach.
6. In a-minor
ncjf
f fir f
'
rjjifr'ii J. S.
7.
r r rirr ijjir
r ,"irr r
CHAPTER ALTERED
Tones
are
Bach.
Jirc;f i^^^
Xn. CHORDS.
altered for one chromatically
or
more
of four
reasons:
(ist)
(3rd)to produce smoother modulate,(2nd)to add esthetic interest, voice leading and (4th)to increase or alterthe tendencyof scale tones. to
Altered factors should seldom be doubled. The fifthof triads is frequently altered. The triad is more the
raised than frequently
major mode
lowered. purposes.
The
other
roots.
root of the subdominant
The sixth scale step in
and the second scale step in both modes are frequently third in a chord is frequentiy altered for modulatory
MUSIC
74 The most
COMPOSITION.
altered chords
common
are:
(i) Chord with raised fifth, (2) Italian Sixth Chord, (3) German Sixth Chord, (4) French Sixth Chord,
(5) NeapolitanSixth Chord. (i) Raised The
fifthmay
IV7,V, V7, Vo,
Fifth.
be raised one-half step in the following chords: I,IV, and no (without the 7th)in the major mode and iv, n
VI and VI7 in the minor mode.
The
mediant
triad in harmonic
minor
may be considered a normal scale chord. Raised fifthsin other chords result in modulation or faultyvoice leading.The raised factor has
strongtendencyupward chromatically.
If^H^^t^^
*
'*'^Ii^^ I"- II
-
Ex. 1 1 3,
a.
^
r
-"h
-^-
1" 1" I
1
0 I 6+
IVJ+
IV 5+
^^fe
1
rfO
Vft+
1
#0
VJ+
I
X
4C
Vg+
II 6-f
n?H
|tfe!I "^^^
Ex.
118,b.
I
"^"^-
a
"Wherever
a
scale tone
VI
iv"+
i VII
5+
6-f
is followed by itschromatic alteration, (chordalor noii-chordal)
the alterationshould take
placein
the
same
voice in which the unaltered tone
appears, otherwise a cross rekUian results. In allother from above.* be s^proacfaed
cases
an
augmented fifthshould
the sixth scale step, major mode, I5+ has tendencyto a chord containing the third scale step,and 05^ Vl+ and Vf + have tendencyto a chord containing Vs-f.} In the
and
n^
have tendency to
has tendencyto mode, iVft^.
a a
chord containingthe seventh scale step. In the minor the second scale step, and Vls+ "^"1 chord containing
the fourth scale step. VI5+ and YlJ^ Vl2+ have tendency to a chord containing ambiguous chords and have some tendency to changethe mode to tonic major. aie
The
dominant seventh chord and ninth chord with lowered fifthare
available: "See
ChapterXIII.
CHORDS.
ALTERED
(^.)
{b.)
(".)
75
^^(^^(^^1^^ Ex. 114.
^
jCL
fcfe
m
221
m
-T^-
Vjbl
C Brahms
made
vii,i
%'
VJ^i
effectiveuse of the dominaiit ninth cfaoid in major and minor with
altered fifth.
effectivealteredchords
The most the outer
augmented sixth. The majorare the following:
voices)form
sixths in the
key of
those in which two voices (usually
are
C
an
^
rVorii
following augmentedsixthin C major:
in
chord with doubled leadingtone.
a
the key of C
The
The
i
chord with
I
22:
following augmented sixth in
or
II"
minor:
c
V
common
and has
remainingsixths in the key of exeeptkm"example 136.
c
II
^ or
vii"
/kl"b-jtg
doubled leadingtone.
HtSL
*8ce the
are:
M
IV
is not
minor
m
m
a
c
}^
Ex.
d the
sixths in augmentationof the remaining
major normallyeffecta modulation.*
116.
m
otyvP
resultsby resolution
various augmented sixths in the key of
resolution in
i
m^K jta? normally
(^
The
Y
iiorV
The
augmented
i "tes"-
C
various
The
augmented sixth: following
tendencyto modulate.
minor
normallyresults by
The augmentaticm
normallyeffecta modulation.
(2)
Italian
the bass.
Sixth
Chord.
major third and augmented sixth reckoning
This chord consists of from
COMPOSITION.
MUSIC
76
Italian Sixth Chords
The
in the
major mode
are
as
follows:
m
^
-i9-
I
^-
I
dzzz C
The Italian Sixth Chords
IV0+
in the minor mode
(I Ex.
as
follows:
i
% 5="rz2E:
^
-"S"-
m
m "^"i+
Many theoristspresent the Italian Sixth Chord OriginalChord. Ex.
are
/"
118.
1 19.
T118+
110+
i
Same
i V118+ as
with raised root,
follows: ist inversion=Itatiaii
6th Chord
i
-WWSI
F C
II
a
IV
in both modes is not common. vii**of doubled. fifth(present The original third)isthe factor most frequently The
use
of
The normal resolutions of the Italian Sixth Chord
are
as
follows:
etc.
CIVo+V
iiq+Iq
^This chord is like the dominant theoristsit is considered
as
such.
iio^.iiiviig+ I seventh chord with lowered
ciVo+V fifthand
without
I viig^.
the root.
By
KMne
ALTERED
Other
CHORDS.
77
for txamfiti as well as other doubUngs, are possible non-modulatoiy piogressioiis
(*.)
g
(".)
I
bi
^E
tf"
i etc.
or
.a.
iw
""P-
C
12 ore
IVo+
Modernists would not scoffat the
Such
4
I
IVa+CorcV7
harsh but highlydramatic progression: following
not vocal. are instrumental, progressions
The student willnotice that the melodic linemay suggestthe use of the chords with to find the upper factorof an augmented augmented sixth, althoughitis not unoonunon sixth chord in Unless
care
vnS^ in both most
an
inner voice.
be taken in modes
(Seeexamples132 and 157.) using no+, a modulation to the relativeminor
has power
to
effecta modulation
characteristicItalian Sixth Chord
of
a
to
may
the subdominant
result.
key. The
key is therefore IVo^.
The root position and the second inversion of the ItalianSixth Chord are occasionally used, and such chords are often ambiguouslycalled "Italian Sixth Chord in Root Position *' and
"
ItalianSixth Chord in Second Inversion." In these two
the diminished third is found instead of the
augmented soth.
positions,
Diminished intervals
resolve by contraction.
or
The fifthsin the above
c
IV
0+
Jf"
p.V
fonn progressions
of the Italian Sixth Chord
IV0+
and
.
inv.
V"
the basis for academic
in other than itsnormal position.
to the objection
MUSIC
78
COMPOSITION.
(3) The This chord
Gebman
Chord.
is like the Italian Sixth Chord
fifthof the bass
as
chord
a
(a.)
with the addition of the
thus: factor,
(*.)
i
Sixth
w
(c.)
U
g
22.
^i^
(O
fc
I
\ \^
K^9-
Ex. 124.
JO.
\
^-
-^Sh
\^
-^
Jte
Doubling of factors in the German voice
OriginalChord.
125
fe
m
^
"
c
The
Sixth Chord
is not necessary in four
writing.
Many theoristspresent the Gennan
Ex.
i
-w-
Same
^
^
C IVJ+ and
follows:
1st. inversion
C vii**5+have
German
6th Chord.
1
e
ivj+
Altered iy7
IV7
"=
ite?
1"
characteristic Gennan
most
as
with raised root.
i
"
Sixth Chord
Notice is iv?"'".
Sixth Chord
augmented fifths. Some
that
theorists do
not
Sixth Chords.
consider these chords German Resolutions follow: {a.)
(^.)
(*.)
"i9-"-
m^^
g
jg
(rf.) -""g"
-09-
-9-
(/)
(*.)
(^.) (4.)
fc
H?1g-{H ^
t^^
^'
Ex. or
or
126.
-^9-
^ -2^^SL
is
or
jS.
zz:
x.g'
ClVg^VorlJ
|K,^"I^
ii|^-iiiorIo vii0|tl
"Wrg
'
Z
i
g
civJ+VoriJ viiOg+i
fifthsin the above progressions are coimtenanced,especially parallel resolved to II and ^ with suspension are frequently 6-5. IVSt and ivS''" the fifths in progressions to avoid the fifths. Similarly, respectively, nj^-in,vn^lt ~I and vn^l^ -I are tolerated. The
Like the Italian Sixth,the German
used in root Sixth Chord is occasionally
position
called the ''German and is ambiguously and in second inversion, also in third inversion, Sixth Chord *Uk"
in Root Position," etc.
V?. without
root and
is oontidcrsd
as
tach \i$aoms
thaorista.
ALTERED
Root
CHORDS.
2nd
Position.
79 3rd
inversion.
%
-9-
-^-
"zy
-ar
-"9-
.^2.
^^ ivT
(4) The This
chord
French
Sixth
as
a
chord
i
"^-
V|
iva+
Chord.
is like the Italian Sixth Chord
fourth of the bass
.^-
22:
^
"^-
i
-(9-
fr^
41^ j"
inversion.
with the addition of the
factor,thus:
^^
Y\"^^
I i% =1
Iefc
I
#
i
Ex. jsl
128. -49-
JQ-
I
"W-
"75^
-bis^
-O-
iiO|t v|t
c
Many
theoiists present the French
OriginalChord.
Same
Sixth Chord with
raised
as
3rd.
follows: 2nd
inversion
=
6th chord.
French
:k
I
isr
sc:
XlOJ,
.r"|t
Notice that the augmented sixths in the Italian and German
Sixth Chords
form the
following chords,IV, n and vn" (inmajor) and iv and vn^ (inminor) whereas the chords correspondingaugmented sixths in the French Sixth Chords form the following vn" n^ and V (inmajor) and and V (inminor). n, The in
doublingof a factor four voice writing.
in the French
Sixth Chord
is not
necessary
Resolutions follow: (a.)
(*.)
(^.)
g
id.) {",)
(/.)
i:
ISL 2Z -(9-
"i^-
or
g
U
or
jO^
k
.^.
a-
V CnttVorlJ
^f=ffl
-f9-
-^9-
.a.
""^-
(A.)
(jr.)
A^n
nor
TnO||Ioorni V|t
?^
22:
-tf?-
I
c
il""StVoriJ Vtt
i
i
MUSIC
8o
COMPOSITION.
firstinversion and third This chord may be used in root positipn, inversion and is ambiguouslycalled the "French Sixth Chord in Root etc. Position," Root
3rd inversion.
ist inversion.
position.
1
^
-v
I tfg^ ^
tg 1^
-V
k
22:
%
"*=:
"
-"-
I
"^-
lA
ifi 81
g -V
H
I
lA
of both the German and French Sixth Chords other than Progressions the normal progressions of the given are possible(seeprogressions ItalianSixth Chord). The Italian, German, and French Sixth Chords of the German Sixth to may progress one to another. The progression fifths the parallel the French Sixth Chords is another way of avoiding mentioned
heretofore.
P Ex. 132.
J-
of the
valuable in the as
same
"Chord
and Third"
^
:zl
I
^ 2:
B"
I
f"^ c
names
k^
"
^
The
i
"=p:
iv"+
ivj"
l^
V
-
7
but are preceding augmented sixth chords have littlesignificance way
that all names
are.
Some
text
books refer to them
of the Augmented Sixth/'"" Augmented Chord
and ''Augmented Chord of the Sixth- Fourth-
tively respec-
of the Sixth- Fifth-
and Third."
An effectiveaugmented sixth chord which is not included in the above groups isthe dominant seventh chord in the thus: in its third inversion,
"49-
majormode
i
,a-
I cvy
with raised fifth
ALTERED
The
CHORDS.
dominant chord in the minor
third inversion also forms sbts of
an
mode
8l
with lowered seventh in its
effectiveaugmented sixth chord.
It
con-
augmented second,doubly augmented fourth and augmented
thus: sixth, -/I
O.v
is:
i
V
I bo
"
"
"
1^
cvjt^. The
The
augmented sixth chord following
I
formation is available:
major third,double augmented fourth and augmented sixth. The chord is more useful as the sharpsupertoniq in the major mode than as the subtonic in the minor mode. This chord has been named the "American Sixth Chord/' by Mr. H. R. Palmer.* The mediant chord may be altered to an augmented sixth as follows: above
chord is formed
with
^
i^3 etc.
Ciii|tIV. The
tonic seventh chord may
augmented sixth appears of this chord is the most *Sm
V?
PaloMr't
between
etc.
mtj: ii| be altered in such two
a
manner
of itsfactors. The
satisfactory.
TJk40tyi/Mutic,publishedby The John Chofdi Co.
root
that
an
position
MUSIC
8a
COMPOSITION.
I*:
ig:
-8S^
z
i
!^
i
Tg-^-
crb
IV
5# Such
chords
approachand of the key are
in|tand litrequirecareful
as a
resolution. logical
treatment
Notice that the two most
"
a
smooth
salienttones
altered.
(5) The This chord is an
Sixth Chobd.
Neapolitan
altered
supertonicchord in the minor mode formed with minor third and minor sixth, thus:
{4 *f.
and is
II
Ex.
g
I
-9-
chord may be used in the major mode. thus: and in second inversion, root position
It is occasionally used in
The
Root
position.2nd -t^
IZ.
inversion.
^m
Ex. 139. -f9-
-b^a
Vifi
i
^^^(W
third is the factor most frequently doubled as in the above original jcxamples.The altered factor may be doubled and in this respect,the Sixth Chord differsfrom altered factors altered factor in the Neapolitan The
in other chords.
NeapolitanSixth Chord normallyprogresses ^'^minant harmony,thus: The
to tonic six-four or
ALTERED
Vocoul
CHORDS.
83
Potltkni.
Five vdoes.
(^.)
(*.)
^^
r"Hg~^+^i="-^^I^
etc
m aiiO
\^ Ob
"1^
ii^obV"
BootPMitlMi.
doubled
-^-
"""-
U
22:
g
I^
te
\
-JSl
i
no^,^ VJi, to French
root.
1'^
1
6th.
fe
H etc.
141.
l"g
a
I
""^
biio
b^
""
I
biio
V
IK
bg
-"^
biio
biio
i
V|t
Second Inrertioii.
ifg I ^
i
IK
etc.
I
-^r
"
"^t
vib
Factors three and five in the
2Z:
I
""3i, v.
chord supertonic
in the minor mode
may
be raised one-hslf step as follows:
a
iiog i,oj^ "#
Of the various inversions of the *Th"
aufmentod fourth in the but
i^j^ "#
chord,the firstis the
is poMiblein instrumental
vocal oonpoeition.See Chopini Prelodefnumber
so.
most
but oomposltion
practical.
should
be avoided in
MUSIC
84
COMPOSITION.
follow: Progressions (*.)
(a.)
W
(c.)
^j^
jg Itfg P li{g
^ *^^^ ^
|"" tTg
Ex. l^^.
^
"'^'
g/p
ji/g
n^
(*.)
ji/r"
n/Q
"t^"fe
-O.
""
"
I
"
"#
B#
Pint
Inrenioii.
(A.)
(I.)
etc.
11^8V ist. inv.
The
subdominant
and the
seventh chord in the
chord supertonic
inversion
are
in the minor
major mode
mode
with raised root
with raised third in first
useful chords: (".) 3:
(*.) "^-
i
^
-^-
Ex.
\
"
Tlie altered chord in the second written
as
an
"
.OL
\y
.a.
in the progression
augmented sixth chord:
Ex. 146.
..lOtt
above
i examplemay
be
ALTERED
The subdommant mode
CHORDS.
8S
seventh chord with raised root and third in the minor
is available:
^h in analyziiig altered chords is often experienced because of enharmonic Difficulty notation.*
and editors to notate in a way which It is customary among composers offersthe least difficulty to the instrumentalist and vocalistin reading. For example, the second progression in Example 144 is chosen; if the d-sharpin the tenor part be
approached from
The
e
the notation is likely to be
following quotationsshould
be
as
follows:
studied. carefully
TSCHAIKOWSKY,
IftvocoHon to
Slop,
etc.
bl^nr^n. "
Sec
ClnpCtrXIII
12
iioj la
MUSIC
86
Andante
Cantabile
from
COMPOSITION.
StringQuartet I
Tschaikowsky,
Op.
1 1.
J.'
"=*
" '
^_
r"
-
^
("
i
Ex. 160.
i
i
^
4::
i r
BtillVj
^
iiit
v"
J^
^^
"^
V
i"t f
^9 f
"
;
r
-^
s
^^ Ip^
^ "^ ^"+
"tb
fjiri^j-:^
J
etc
LOBSCHHORN,
Ex. 161.
Op. 52.
ALTERED
87
CHORDS.
etc.
Chopin,
C-minor
Sonate.
Ibid.
Ex.
etc. etc.
1612.
c
ivj+liPlt1^6+
V
ScHUt,
Theme
and
Variations,Op. 29.
Allegro. Ex.
m 14'''' [ .,0|tij
etc.
COMPOSITION.
MUSIC
88
Exercises, Group Notate
13.
indicated below; progressions
the
major I5+,vi, Us+, VI+, I. B major I,IV5+,V, V?+, I. d minor i, IV5+, V, VI, VI5+,V", i. F major I,IV, n, 1I5+ V, VIb, I. b minor i, IV5+, V, Vf bi i.
D
Resolve the
chords: following
* pzi
M
%
1^
^ D
IV0+
3. Resolve the
" ip^
G
iie+
4.
IVJt
Resolve the
\h
-
f# ITa+
n^o+
b
iV *,. i"*
,.
ti^
H
viio 0+
*
A
U*
i"
^ii
i" I
11J+ Bl^ n^"iX
PW^ ^
"""
d
g"TIlOJ+
nrj+
chords: following
^^
^
I*i; l"iiV II. iVt ilit^i^ F#
j^^
chords: following
t iii.' It E
Bl^
fli
e
b^l"
U^
^
tf
j^pp
ii|tG viiO|t
B
V|t
c"
..
1/
i".
II
iiO|t g V|t
chords in all major and minor keys; firstto 5. Resolve the following the dominant triad and second to the tonic six-four chord:
ELEVENTH
AND
Notate the
6.
indicated progressions
A
major iia+, !".
D
I. major vii**e+,
e
vii^o+, i.
E
d minor
F
MODERNITIES.
AND
CHORDS
THIRTEENTH
below:
I. major V|t,
f minor
bn^o^i2*
i. V|t,
g minor
V7. bn**e,
minor
I". major VS"*",
a
i. V|tH, IV". majorra|t,
minor
"
major nS^,I^.
b minor
G
G
major vn^^t,I.
A
b minor
vii^+,i.
C
a
B
minor
89
major I51,IV.
e
V. uPi\,
major #IV,V.
minor
V. #11", V. #iv2|y
J^. major VDP|t
Additional exercises on
altered chords
CHAPTER AND
ELEVENTH
THIRTEENTH
are
givenin Group 14.
XIII. CHORDS
AND
MODERNITIES.
admitted no such chord formation as Theorists of the past generation entered as a suspension that of a ninth. The factor of a ninth alwa3rs or other non-chordal tone and
analyzedas such. To-day,ninth chords and take an important used without preparation are freely placein the musician'svocabulary. admit of no such chord Some theorists of the present generation formations are
as
was
those of the eleventh and thirteenth.
usingthese
called ultra modem
posers comNevertheless,
intervals with
music
of
growingindependence.The soin to-day is opening new possibilities
structure,and onlytime can tellwhether or not the choidal of the criticism radicalismof thismusic willbecome established. In spite
harmonic
the best of the "ultra" finds its way conservative, halls, and, in many cases, to the hearts of the audience.
of the
The well
of identity
chords of the elventh and thirteenth
enough established
to be
whollysuccessful
to the concert
are
not, as ]ret,
in four voice
writing
because of the fact that too many chord factors must be omitted. itis not advisable of these chord formations, # Because of the immatiuity for the student to attempt to use them at the presenttime. chords which oplythe skilledcraftsman should use.
They
are
COMPOSITION.
MUSIC
90
eleventh and thirteenth chord follows:
The formation of the dominant
Quotationsfrom the avoided. average
modem
ultra of the modem
most
follow show
which
Those
166.
MacDowsll,
Op, 55, No.
t^
^^ "
examples which
(fe
t
!."
m
^
I
23rd measure
the
readily grasps.
ear
Edward
Ex.
music have been intention
;
^
I
N
etc.
ig6+ 6+
Tonic
organ
point or
I
""
example 155, factor eleven in the chord figured vi^Jmay be But the ''3"in the above suspension analyzedas a suspension 4-3. becomes an eleventh in the following dominant chord I The prc^pressions follow none of the academic rules for suspensions or other non-chordal these are eleventh chords. tones. Obviously, often result in an eleventh chord formation,for AfUicipaiians In
example:
C "PnUitlMd
bf
Arthur
P. Schmidl
V7
-
(capyrifht).
(II)
ELEVENTH
AND
THIRTEENTH
CHORDS
AND
MODERNITIES.
91
Godowsky in his free arrangement of Rameau's Sarabande uses the in the penultimatemeasure above anticipation with considerable suggestion of a dominant eleventh chord. Similarly, of an anticipation the mediant
in
progressionV-I
results in
dominant
a
13th chord
formation.
(op.58,no. 6) uses Sch3rtte
the
thirteenth chord formation: following
b
^
zg
Ex. 157.
This is followed tonic triad. ninth chord as readily
may the
by
Many
the dominant
seventh chord which
theorists would
analyze this chord
in the first inversion)but A
overtone.
an
tone
such
the
resolves to the as
a
mediant
accepts the d
ear
more "
is figured 13 " In other non-chordal tone. this which
as
also be
or analyzedas a neighboring Schyttenumber, the d has considerable chordal importanceand
will doubtless be in the
near
unhesitatingly analyzedas
a
dominant
chord
factor
future.
OUivier in his PhatUdsie
uses Wagner's Die Meisiersinger with considerable chordal significance, thus: poggiapura on
an
a^
i^^P Ex. 168.
"|
r
"
(g
i T c vf "
This choid
is
triad in root
-
"
precededby the tonic six-four and resolves to the tonic
posidon. MODEKNTtlES.
Modernities
in musical
differ so radically from the two composition established systems (polyphonyand homophony) that it is aiq"arent that an entirely new theorymust ensue. Many of the progressions,
COMPOSITION.
MUSIC
^2
be cannot compositions groupingsof the modem accounted for by the rules of polyphony or homopbony and in many ard A glanceat a page in a score the rules are broken. other cases by RichStrauss,Ravel,Sibelius, Elgar,Schdnberg,C3nJlScott,or Debussy for the time honored and a host of others,shows absolute disregard ''rules"of the academicians. Adverse criticism of modernists is,by far, itself. Bach, but this is simplyhistoryrepeating the more conunon, but Beethoven,Brahms, and Wagner, each in his time,suffered similarly of their critics. not, however, to the glorification The science of physicsas well as the growingfreedom in the use of chord formations
and
dissonant chords prove that it is oiur ears, not Nature,which dictate
our
ai^rovalor disapprovalof many acoustical phenomena. Consecutive fifthshave been the bugbearof theoristssince the formulation of rules of under justified is more
and coimterpoint,
while much
the diatonic system, the
newer
of the condenmation
is
methods, where tonality
and even demand such consecutives. Fifths justify have been used,and used effectively, by masters of the diatonic school, and effectively Beethoven,and are now being used freely including by who are infinitely and thinkers than their greater geniuses composers or
lessvague,
critics.
Augmented steps and skipsare also forbidden by academicians but used by composers. The principal to such beingfreely are now objection isfoimded upon the fact that an augmented interval melodic progressions is a difficultinterval to sing,and it is, restriction for a logical therefore, vocal composition. Unresolved dissonances are frequent in modem music and the treatment of dissonances is very free. Cross relation is also ignoredto a great extent.
Counterpointis a theory of ''horizontal" compositionrestricted, however,by certain "vertical" considerations. Harmony is a theoryof vertical composition certain horizontal considerations. The comprising serious compositions of the homophonic school draw considerably more and concepts of the contrapuntal school. The ultra iqx"n the princq"les takes a new modem road,and while drawingupon both the polyphonic and homq"honic concepts, it travels new at the paths. Theo;rizing present time upon which
are
herein set forth
of ultra modem as
modernities
seed for
are
but technique,
thought.
is,at best,hazardous. not are
The
few theories
intended to furnish rules or offeredonlyas
a
princq"les
solution possible
and
ELEVENTH
THIRTEENTH
AND
modernities
Many
of superposing
CHORDS
result from
equal division
an
intervals other than
MODERNITIES.
AND
of the octave, the
usual thirds in
our
formingchords,
and from horizontal concepts other than those of the older school. The whole-tone scale is popularwith
mw
Ex. 169.
2
S
contrapuntal
modernists:
^^ 1
The two
oiu:
93
2C
i
-p^ 5
4
6
above scales combined
6
giveus the chromatic scale. Notice the
ambiguity* any of the six tones in either of the above scales may be a tonic by proper manipulation hence, the modulatorypossibilities manifold. are Equal division of the octave in any manner alwaysoffers modulatory opportunities. tonal
"
Several
new
chords may
result from
the whole-tone scale.
For
ample, ex-
isin the key of C with a frequentuse of the composition whole-tone scale, in the place chords founded upon the g-sharp may serve of a diatonic dominant :t suppose
a
(^.)
W
(^.)
Tg-
-^'
-^-
*e:
lil|i% li II
I :S:
-""-
the diatonic
To
etc. tonic chord.
3:
The
above
iP"
exampleshows
:zt
P^
littleor
modem
music
music but have what
modem ears
np
will supplythe
2:
P
I
alterationsof diatonic chords
dictates of the whole-tone scale and willsoimd heard
I
we
to those who
and may
to the according ''impure"to allwho have
term
heard
have
"conservative"
perfectfifthin the tonic chords in
much
Many (a),(b) and (c) ears.
of the above
Great
example. difficulties in readingpresent
of the whole-tone scale which *The
tonal
to the diatonic
tThe
terms
modernities.
center
is
themselves in the
is also tme
maintained by frequently
the
use
other modernities.
of many
of such devices
prolongeduse
as
a
pedal and frequentreturn
system.
tonic,dominant,subdominant, etc.,will probablybe discarded
in
applyingtheoryto
COMPOSITION.
MUSIC
94
This would
to argue
seem
that
fonn of notation
new
some
by imknown Many worthy compositions because of been refused by publishers allprobability advisable.
A great many
old modal
other scales are
scales. The
composers have in these difficulties.*
of which
used,some
might be
are
similar to the
major diatonic scale with flatsixth is,perhaps, The sam^ with raised the least revolutionary.
frequentbut foiuth is also frequent. the most
of intervals other Superposition the octave
offer several
new
than of
a
third and
equaldivision of
chord formations other than those derived
from the whole-tone scale. In
oiur
present harmonic
three diatonic scale chords which divide the octave
system, we
have
evenly,namely: the
(n^ and vn^), the diminished seventh chord (vii^t, minor mode) and the augmented triad (III*^). The formation of the these chords, not "Nature's Generator."t major and minor scales justifies tions. chord formanew Undoubtedlynew scale formations will justify many diminished
triad
i
of Superposition
g^
4ths: perfect
I6i
"
^ "327
For
of perfect example of superposition
an
fourths
see
Rebikoff FeuiUe
d^Album:
of Superposition
augmented fourths:
^The "ff en reason onr
author hat devised from radically
a
^"2-
"f:
"6
1
offerfewer difBcultfet in the way of readinghut it the present system does from the Gregorian. For tUs can hope,however, for a solution more compatiblawith
Dotatkm which would
the present system its advocation would be useless. We
aa
m
ex.
as
prsisnt system. t Simikrly, the minor triad is justified. Our
ears
no
longerdemand
the 7lMr"r
de^ardit*
ELEVENTH
THIRTEENTH
AND
CHORDS
MODERNITIES.
AND
95
This chord is like the diminished triad without itsthird.
I ,iN=
0
ex.
perfectsths:
^"3*
i
^
w
2z:
used them in the Sixth
Beethoven
"
i
^
of Superposition
fr^
S3rmphony:
Allegretto^
Ex. 164.
J1
f
} \
i
z
^^^,
^
(P P
'
r-
rpji^iji^ i;|J- j [:\iy i^i^ etc
I
^
?2
9^K=a
33Z
;:2!
T"
r
:r-~r
f^
of augmented 5ths: Superposition
augmented triad. the major seventh are frequenteven
^^
^
^^^ i (c^
This chord is like the Chords
of
clash of
givesthe
a
minor second.
school have used the minor *T1ie
F
can
nnpfepared.
be analysedas
a
Beethoven
in
an
and others of the diatonic
second,but the modernists
tonic organ
point. Even
inversion which
S0| it breaks
an
use
it with much
academic rule by entering
MUSIC
96
freedom.
more
tivdy
long of
Many horizontal
the
in
in
abnost
accepts
vertical
result
Two
or
well-handled
resultants
of
in
found
more
less
or
of
compaia-
accidentally
this
kind,
how
easily
through taneously simul-
occur
may
chromatic,
or
and scores.
lines
Note
diatonic
used
modem
melodic
more
resultant.
scales,
freely
veiy
progressions
vertical
any
be
will
chords
new
also
are
seconds
concq"tions. and
the
seconds
Major passages
COMPOSITION.
the
willingly
ear
the
accepts
ear
in
played
contrary
motion. Different radical is
while
wind
wood
low
the
and
strings
clash
elements
is
low
last
are
isolated
chord
of
has
This
is
one
from
no
this
as
time
doubt the
of
it should
chosen due other.
to
high
the
when
fact
IM^
and
and
from the alone
in
Very
poem.
the
the
c-natural
treating
that
high
registers
measure
c-natural
tone
sixth
X
strings
without
be
this
for
their
third
the
consist
unique
Strauss
in
b-natural
heard,
again
high
the
end,
In
measures
is
the
different
chord:
follows:K)*
as
most
the
At
following
rhythm
the
of
concurrence
Zaraihustra.
the
c-natural.
two
effect
noticeable.
from
is
chord
as
program
the
is
practice
a
Spake
sound
measures
sound
The
Thus
mark
major
The
Such
bassoons
the
b-natural
basses.
Strauss'
basses
which
combined,
modernists.
the
f oiuth
and
bass.
unique
end
S9und
the
end, in
fifth
the in
and
cellos
the
the
the
the
from
measure
of found
be
to
sometimes
are
innovation
keys
In
keys
cellos such
a
little
uiuelated
w
PART
11. XIV.
CHAPTER
TRANSITION.
AND
MODULATION
objectof the precedingchaptershas been to present the manner in which simplemelodies may be harmonized to which end all the chord formations togetherwith their logical have been given. The progressions characterized of the material has been a "monotonic" one presentation by simplephrase balance and periodconstruction. Obviously,the The
exercises have deals with
constructive monotony. Part n well as tonal variety.We enter,
resulted in tonal and
complex structure as actual composition and althoughmelodies
more
here,upon
monizati g^venfor har-
are
the student should compose melodies of his own, the structure of which should be decided by the particular form imder consideration. is called moduloHon transition. A or tonality new key isestablished for architectonic purposes modulation. A transitory change of key which exists to
to a new digression change of key in which a
A
constitutes add
a
varietyand
constitutes
exist for architectonic purposes
does not
a
transition.'*' The
most
are digressions
common
to the dominant
and subdominant
gression (superdomiiltot) keys.tDimode as the to the two former keysis usually made in the same made in to the latter two keys is usually original key whereas digression the q"posite mode from that of the original key.
keys and
The
name
and
submediant
modulaticm or tnmsition is to a key requiring the addition or subtraction simplest of but one sharpor flat. Such ke3rs called attendant keys. Some theorists are such a digression to a non-attendant key is a natural modukUian; a digression
called an
extraneous
modulation.
anthor has chosen titsM
*The
oi tlicsabjectand
entation The
to the mediant
terms
two
have become
and
transition to fiidUtatsthe pres* made. are dianges of tonality theorist has defined
as example:C major to c minor) and trtuuUwn theorist has stated that a diange of mode does not effect modulation. Another aniQthercontradiction by slatingthat a diange of mode is neidier a modulation nor no change of key takes place.
Horn
as
a
diange ci. mode
tpedficdefinitiontof modulatioii
differentiatethe two
for wliidi purposes extremelyambiguous among theorists. One
to
(for
to note t It is interesting
modulation to dominant
that in the
occurs
works eighty-one
in sonata
only three times,to subdominant
form
ci
diange
a
And a
one
mcduta^
tonality. might add
of
transition because
Beedioven, the axdiitectoidc
nineteen times,and
thirtytimes
to
tlie
MUSIC
98
COMPOSITION.
change of key is effected by the introduction of the dominant harmony of the new key. To establish a remote key, the dominant seventh or ninth or the subtonic seventh chord is frequently necessary. the new key,the more The more duce remote techniqueis necessary to introA
the
new
dominant
The tonic harmony in an unforced manner. the supertonic and the augmented triad, chords,
the subdominant six-four,
sixth chords of the subdominant in
the introducing
new
is not necessary when
familyof
all valuable
key are
new
modulatingchord (adominant) new phraseor periodis in an attendant key. also Ex. 182, page 112, togetherwith the
dominant. a
the
The
(See Ex. i8i, page no; paragraphof text which follows the latter example.) The
following exampleshows figuring:
allthe triads in C
I H
^
major with compound
I
i
I :' I : I
i
I "'^"
I
"
"ra?"
V
IV
VI
I
G
I
F
III
a
bI"v
D b
IV
G
II
0
VI
VI
a
I
b*"V
c
V
e
IV
g "
VI I
F
I
B
IV
C
IV
A
V
F
a
VIlO ifi VII"
A similar example in minor follows:
VI
V
Remember
that the mediant
and
bb
The
Italian and
German
seventh superdominant Sixth Chords
ft
VIl" IlO
b'' V
seventh chord and may constructed likethe supertonic chords.
V
are
become
chords
are
supertonic
analogous,enhar-
monically,in construction to the dominant seventh and may become iminant chords, althoughconsiderableskillis necessary to handle these this manner
successfully.
MODULATION
TRANSITION.
AND
diminished seventh chord offers rich
The
Because of the fact that the
purposes. soimd to the minor
99 for
resources
modulatory
augmentedsecond is analogousin
third, any diminished seventh chord isenharmonically
into three changeable
other
keys: (6,)
(c.)
i %_|_|g I ^^j^=|gz=i=|g i
"^a
vii^2
yi^7
"
""
I
-fSh
vii^l e*'vii^7
a
=
=
I
b^
I2z:
vii^^
M
(^.)
(^^^
f*
vii^a
a
I
^
""s"-
^ fi
I
i
^
Ex. 169.
^
Jk-
(s
I
^"^ vii^J (".)
#
i:^
b^ VM^I ci^vii"7
"
vii"7 bl"vii^a
"e
=
i
gv"^i
(^.)
(^.)
^ ?
I bg_U^
"^
^
.^-
s:
I
^-
^
":r
Ex. 170.
(af
32:
^m
fl^
2z:
I
f*
I
-"5"-
b
viiOJ
"
d
V11O7
b
All the diminished seventh chords The occurs
become
viiO| =
are
alteration of factor three in for
modulatorypurposes.
f
VHO7
shown
b
"
i
"3C"-
vii^a g* vii^^ "
in the above
examples. chords frequently
major and minor major triads may By this alteration,
minor and viceversa, dominant
seventh chords may
become
super-
tonic seventh chords and vice versa. It is frequently desirable when
to a remote key, especially modulating, of to introduce the salient tones of the new key (themost conspicuous which isthe leading tone)in an inconspicuous place. It iseven advisable at times to go beyond the objective key. Many methods have modulatoryformulae,but with the contributions of Beethoven to the evolution of music,such formulas became antiquated.
COMPOSITION,
MUSIC
lOO
although they serve statements
serve
a
as
a
mechanical
similar purpose and
as much originality
as
formulae
guide. The not
are
do. usually
Exercises, Group from C to
Modulate
1.
G; C
to
C, and
to
as
to F.
should possible The
2.
a
a melody as Secondly,
be written for each
modulation
following melody should be harmonized
transitionsare to be made the sparingly;
used.
14.
F; C to a; C to e; a to e; a to d; be done,at first, by writingthe bass
This work may in the upper voices. part and then filling a
precedingabstract to bind the student's likely
Some
and
with
ing interestthen harmonized.
simplechords;
where indicated.
star indicates where
Altered chords may be used altered chords may be effectively
of the notes should be treated
as
non-chordal. Tito
Mattel
g
'^Mr
i
t^Fff X
r
'i'U\[-1ti
bfrJ
^
minor
X"|xxiJ]r3j. HL-fr' ciT-'r
w; B
^
-transitional to" """-
^^irlf'TlLaT ^ A"^f\
i
^^
-tf'-y
B'"
--b^
"
THE
STYLES
VARIOUS
WRITING.
OF
lOI
C. Chaminadb.
3.
Andantt
d minor
?\ iM^ri\o^u^im i"f"j a
minor
C
CHAPTER VARIOUS
THB
The
student of free
XV.
STYLES
OP
will composition
WRITING.
be desirous of
writingin
the
particular stylein which he is most interested. one styleare obtained by some knowledge of
The best resultsin any all the styles, and it is
therefore desirable to be well informed
the
of the possibilities and the string human voice,the pianoforte, quartet. The knowledge is invaluable aid to composition of orchestration in any style, but for an a text devoted to this subject an adequateknowledgeof orchestration, is necessary as well as personal contact with orchestras in the capacity of listeneror performer.One of the best text books upon orchestration is Professor H. above
OrchesProHon and InskumefOaHan*
Sling'sModem
text book
upon
is also valuable to those interested in the wood
band. choir,the brass choir,and the military The The tonal compass
of the
Pianoforte.
follows: pianoforte Sva,
Ex. 171.
Chromatic.
/ 6"
.1
*
f
Ntw lagUth tfBBsUtkm pabUshed by Carl Fiidier,
York.
The wind
MUSIC
102
The
pianolends
parts are
not
itselfto
COMPOSITION.
of styles of writing.The voice great variety
a
well individualized and
care
must
therefore be taken to
write for this instrument with the individual voice parts in mind.
allel Par-
nant cross resolved dissofifths, relations, augmented leaps, incorrectly when chords,etc.,are often difficultto detect upon the pianoforte heard. broken chord styletogetherwith harmonic figuration rh3rthmic The following is particularly well adapted to the pianoforte. quotation The
demonstrates:
F. Chopin,
CantabiU
Moderate
4.
"
HyfaJ Ex.
Op. 66"No.
tr
^
I
172.
"5? #-i
I
I
"
"
"-
jt"t \\m
1
f
"^ Ped.
I Ped,
1 Ped_\
Ped.
Ped.^ Ped.
J
Ped.
I
Ped.^
Ped.^
Psd.^
THE
Ped^
VARIOUS
Ptd^
OF
WRITING.
^ Ped.J
Ped.
J
/V"/..
103
PedJ
P4d.Ji
%i
""u Mj
STYLES
P4d.^
Ped.J
MUSIC
I04
COMPOSITION.
but two voice parts,but apparently is not contrapuntal. the chords are well broughtout and die quotation The broken chord in the lefthand does duty for several voices and the harmonic effectis the same heard simultaneously. as thoughseveral voices were In the above
The
there quotation,
broken chord in
are
stylepermitsthe arpeggio
use
of many
voices:
Ex. 173.
Chopin's Etude,Op. lo, No. ii, from which is written throughout in arpeggio style. Without breakinga chord,as many which
case
one
as
the above
is taken, quotation
twelve voices may
in each hand playstwo finger
appear,
in
tones:
Ex. 174.
loco.
Voice parts upon the pianoforte may be added or discontinued at the pleasureof the composer and melodies and voice progressions may be in multiplied
octaves.
Parallel octaves
therefore abound
in
pianoforte
literature. The
Many and rich resources
are
Stiong
Quartet.
found in composingfor the
StringQuartet*
Greater scope as to voice compass and technicalitiesis offered in this in the vocal style.Chords are possible than is possible of writing style istherefore each of the instruments of the quartetand the composition not limited to four-part writing.Varied effects may be producedhy on
harmonics muted strings, introducing fizskaio,
and
ponHceUo.
THE
STYLES
quartet. The
lOS
viola and 'cello, constitute the string second), firstviolin corresponds to the sc^rano, the second violin
alto,the viola to the
tenor
and the 'celloto the bass.
The
The four
( cb
a
WRITING.
OF
violins(first and
Two
to the
VARIOUS
of the strings
""^
J ^^^
^
Violin.
violin are tuned to
f^\
J. The
gf
~Y
^
df-^
"
)"
of the instrument
compass
follows:
0 .
Ex. 176.
^=t Several tones the
higherthan
the above
may
be written for virtuosi.
By be produced.
of
harmonics,tones higherthan indicated may A tone producedupon an open stringis more than a tone sonorous which requires more fingering. Sharp keys are, therefore, frequently use
used in
flat keys.
than composingfor strings ^ the note. over designated by an Chords'*'of two,
three,and four
tones
are
Open
tones
possible upon
are
often
the violin.
Chords of two tones may be emplo3red pianoor forkfbut chords of three four tones for a singleperformershould only be employed in forte or passages. In writingchords of three should be sustained.
or
four tones, not
over
two
tones
not .O-
IBI
All chords below the d
instrument unless the
playedarpeggioor of which
are
string are, of course, impossible upon a single tuningof the stringsis lowered or the chord
tremoh.
to be sounded
Where
such chords
two simultaneously,
the part are necessary and the chords *
When
are
marked
written the tones
are or
more
divisi.
iattmiiieBti iIm ttadmrt tlMMld have wridng chords for dM ttrliif
reference. Such tables may for readjr
be foand faimost
performersto
tmblM
of
treatisesapoa iastrameatattOB.
phjpmblcdwrdi
MUSIC
io6
The case,
be
unison may
of the tones
one
COMPOSITION.
employed effectively upon d, a and e, in which will be produced upon an open string:
1V ""1^1
^' I
Other imisons offer technical difficulties.
Arpeggi,tremolos,rapid passages, effective upon
d
four
f IHI
of the viola strings
jiand
^
ornaments
are
the violin. The
The
all musical
and
a
f
Viola.
are
tuned to
j.The
|^[
c
f ment of the instru-
practical compass
follows:
Ex.
f-4"
1 78.
The
low and middle
the third line and the
of the viola are notated in the C-def registers in the G-clef. upper register
All that has been said of the different effects upon as
of the
techniqueof writingfor
this instrument
is
upon
the violin as well to applicable
the
viola. 'Cello
The
d
The four
of the 'celloare strings
(9
j,and
"g
a
f "9*
tuned
J. The
notated in the F-clef; the middle on on any staff degreebut usually is notated in the C-clef commencement
or
when
(Violoncello).
lower
c
( "9*
and
)"S ( 9'
middle
J
are registers
is also notated in the C-def register the fourth line;the upper register
the G-clef
or
to
The
.
notation in the G-clef at the
the F-clef indicates following
tones
an
octave
the C-clef the notation shows higherthan theysoimd, but when following the actual sounds. The practical compass of the instrument follows:
Ex. 179.
m
St -^-
^
BINARY
That
TERNARY
AND
FORMS.
107
that has been said of the violin is true of the 'cellowith the
modification that the 'cellodoes not lend itselfto
as
rapidpassages
as
the violin. Duplication
Factors.
of
omission of chord factors cannot be boimd by rules. or Duplication where many tive In orchestral composition are duplications necessary, effecand ingenuity of the composer as resultsdependupon the experience well as upon the character of the composition Some orchestral at hand. are adapted to three sectional arrangements, in which case compositions is duplicated voice chord for strings a four or more by wood wind and brass. Such an arrangement need not, necessarily, preponderatein orchestral composition, and, in fact,the so-called orchestral colorings obtained
are
by deviations from
exampleof
A remarkable
the above
arrangement.
is to be found in the last measure duplication
of Saint-Saens' ItUroductian and
for violin and Capriccioso
Rondo
and Here,the chord contains fifteenroots,one third,
not be
technical
Exercises, Group Harmonize
page'147.
BINARY
Tonal
15.
Exercises 1-3 in Appendix B, accordingto directions, The work in AppendixA should now be commenced.
CHAPTER
The
fifths.
of an instrument influence the possibilities of duplications, but artisticchord effects should and number sacrificedto techniques of an instrument.
the Occasionally manner
two
chestra. or-
AND
XVI. TERNARY
FORMS.
consists of two balancing simplest two-part composition periods. is obtained is modulation in shown the as variety by following
diagram: Diagram
i
A
ist Fteriod
IZZZZ8
or
May
I
or
may
if
not
rggMlar.~
repeat.
Key of C modulatingto G, F,
The second
||B
(Antecedent).
16 measures,
a
or
6.
e, etc.
2nd
I I
||
S or
Period
16 measures,
May
or
may
Modulatingback
three-part compositionconsists of simplest and part being a contrast after statement
restatement
after contrast.
The contrast
by
ri
repeat.
three the
|[
if regular.
not to and
is obtained
|
(Consequent).
endingin
C.
I
the divisions, third
beinga
the appearance
MUSIC
io8
of
a
the
COMPOSITION.
is obtained by the appearmotive,and tonal variety ance Tonal is of the second part in a new key. unity preservedby of the "home at restatement. The following key" reappearance theme
new
or
diagramillustrates: Diagram
ZI8
16 measures,
or
May
if regular.lJlS if regular.xl regu]ar.Ilt8 or 16 measures, or 16 measures, LI not repeat.ZztzMay repeat.ZljL_.May not repeat. or may or may
if
I in the key of
Theme
signature.Transitions
key.
Theme the
not
or may
be made.
may
Most
7.
II in
a
contrasting
Transitions
may
be
made.
dance
music
from
Recurrence
of Theme
verbatim,sometimes
the old dance
waltzes
varied.
of the Classical Suite to
in either two-part or three-part form. It will be remembered that in the division of a period, we
modem
I in the
Sometimes
key. original
our
are
had
thesis
antithesis, or, in other words, an antecedent division followed by tion consequent division. Two-part form often presents similar construc-
and a
antecedent
periodfollowed by a consequent period. In two-part and three-part well as modulation, as form, transition, ally may occur, but too much transitionand transitionto remote keys (especiin binaryform)Is likely main the in to obscure keys short or simple compositions. These two forms (binary and ternary) serve as the basis for the more elaborate forms. Frequently whole shows binary a as a composition shows one of or ternaryform also a well defined part of the composition these forms. (SeeBach, Gavotte,Ex. 183.) The classical and modem suites should be carefully studied and also the waltzes, marches,etc.,of modem analyzed, Many composers. of the songs of Schubert and Schumann valuable examplesof these are an
"
forms. The
quotationsshow two-part following
and
three-part compositions: Gavotte, Corelli.
(Binary) A
xst Period.
'\" |ii r
:i ,^^
'
Ex.
1
^u
180.
kw
s InF-
t
^
'^1^ I
A
BINARY
TERNARY
AND
FORMS.
InC-
109
In F-
^^
-InC-
B
m
2nd
Period.
UL
"A
f
^ 1 "
r
"
m
E="="
^^
""*-
I "
Ind-
^^
3=3:
11
t
I
In
^^ r
F-
t
V
MUSIC
no
COMPOSITION.
and
Period
repeated.
i44g3
/'^iUJjiJ (Ternary) A
Period in
"t
AlUgrocon
a
minor,
R.
Schumann,
Mo.
Ex. 181.
n
-S jiflIj jj-i "
"
Op. 68, No.
8.
BINARY
B
A
2nd
y^
Period
Period
!i 'TLU
P
in
in
a
AND
TERNARY
FORMS.
Ill
major.
minor.
JLL^jjvimw^^m "
"
MUSIC
no
COMPOSITION.
Iand
Period
repeated.
f^k
^ "
i
.^J
f
i
r
ti
if f f
i?
F-
(Ternary) A
ist Period
Allegro con
Ex. 181
in
a
brio.
minor.
R.
Schumann,
Op. 68, No.
8.
BINARY
B
A
2nd
Period
i
*)
3^^
Period
*l
in P
j
"
in
*1
a
AND
TERNARY
FORMS.
Ill
major.
*1
\
j'.'^-ij jT'iJT^
minor.
^^m\il'jj\ ^^\\^WMi 1^1
COMPOSITION.
MUSIC
112
". Grieg,
e
PH"!
i
I
^
12, No.
minor-
f
?
r
B
^5^
I
Op.
^^^^
? *'-J*=^
f
*
^
"
-X
^^
fr
r
"^
G major-
-b minor
V
1GV7
G major-
7.
BINARY
^m
AND
TERNARY
FORMS.
-54"
? HLi'
i
i fit 5 ";*."".
n-j
^
113
TT3i"^r!l. -e
vii" V e minor-
I^N=^i^^lr i r II. r
^^
f
"e minor-
tf
r
fj "
1"
"
fc
E
periodB The
ITTT
f I
firstperiod A is in the key of e minor. The second key of the relative major but ends in the originalkey, e minor. period (thesecond A) is in the key of e minor. The modulations are as
follows:from
e
to G
and from
G
to e.
At the fifteenth measure,
there is a transition
measure.
above
They are
quotationsexemplifysimplebinaryand ternary forms. of the terms and examplesof the forms in the strictapplication
coincide with
diagrams6
and 7. Many binaryand in less regular construction and many are more
is the
Ml^^
example,the
from G to b returningto G in the sixteenth
are
i
is in the
third
The
t
^X^XJ '
E
In the above
M
^^gj^T^^
key to
in these forms
success
are
in
varied.
the understanding
ways
ternarycompositions elaborate.
in which
Analysis
compositions
MUSIC
"4
COMPOSITION.
The
of two themes,both foUowingdiagramrepresentsa composition themes of which are in the same key but in which several other tonalities main key for both transitorily occur, hence the desirablenessof the same in three-part themes. A similar construction is possible form.
Diagram S. First Period.
iMay
or
may
B
(Theme i.) not
Second
IMay
repeat.1
Comnendng and ending in the key signature.One transition or
or
several are made.
and
One are
2.)
I
repeat.!
ending in
i.
several
foUowingdiagramshows
Tlieme
not
may
Commencing key as theme
of the
The
Period.
the
or
made.
ternaryconstruction.
a common
same
transition
Many
constructed may at firstsight similarly compositions appear too complex for three-part form, but a careful analysbwill show the means by which is gainedupon a basis of ternary fonn. complexity Diagram B
First Period.
UMay
may
or
of the ^lays
Period.
Third
Period.
I
repeat. Second
in presented
First theme one
not
Second
9.
previously one
described.
First theme verbatim tiieme presentedin be or may of the ways previously varied by contraction, expansion described. and in otiier means. end To the main
key of the composition
formal is its principal
of the simpleapplication
For
a
No.
20.
construction of Bach's
The
in the
is shown
tion
structure
Gavotte
from
see
the Sixth
a
form similar to Diagram three-part form. whole is in three-part Gavotte
A
188.
1
r r 11,,, irfjt
9 and the
comp"osi-
J. S. Bach.
I.
in d minor. tr
Ex.
English Suite
the upper voice part. This composition divisions called Gavotte i and Gavotte n (Musette).
division isin as
Schumann, Op. 68,
of following quotation
is in two Each
above
obligation.
t^fTr^g
;=t:
\3"
First theme
ending on
the dominant
of d-minor
BINARY
TERNARY
AND
FORMS.
"5
d V
"l^^
d
B
yarlo,"key..
ir
V Second tiieme made
up
of largely
material of the firsttheme
and
containing
ji.
i^,"^ri',rrr free transition
A
commencing in
a
minor
in d-minor
J
J P Ir'"/f r'r J-7-^" r'tUuili/'
^," XjH
-"-
I
r
JI First theme
(entersin
an
inner voioe) varied
tr
fiJ^ fW^ ji"
I
^ f I[lEr fry
/f\
i9-
I
Fine
I Gavotte
II
A
in
(Musette) D-major.
i I First
theme
of Gavotte
li
-COMPOSITION.
MUSIC
'ii6
V
1st
2nd
and G.-major. in-D-majdr
B
tr
Second
A
in
theme
of Gavotte
II
with
transition
D-major. tr
Mn^^^ w First theme
of Gavotte
II
varied slightly
jst
\2nd
Gavotte
I D,C, al Fine
.\
1
Notice that the first theme, A, of Gavotte
(Half Cadence) which themes
show
nineteenth
is
less contrast
and
twentieth
i
ends with dominant
irregular.Notice, too,
that the
than consequent
in most
themes
centuries;the motives
and
harmony consequent
music
of the
figuresof all the
considerable
ality, similarity althougheach theme has individucall a and the compositioncan hardlybe considered what we may monothematic composition. For such a compositionsee Schumann's rrawweref (AppendixB, No. 2). themes
show
Exercises, Group (Binary ) 1.
A
16. Menuet W.
from
Don
A. Mozart.
Juan,
AND
INTRODUCTION
INTERMEZZO.
"7 B
Eju^lffM^ Gavotte, C. Gurlitt, Op. 172
(Ternary.) A 2.
^
1=4:
i
S
^
I
ji
J
jjTJ;^^ ^^
J j_i ij
^ w^
*
J
"
14;
""s^
B
fftrr^TfflT^ J*'
M
I*-
P J jjs^ ^Sm^Uj:^^^f^fI\ q
^^
":
^
"*-#-
^^
Ktf
i^=
^S 3. Harmonize
Continue
Example 183.
the work in
AppendixA.
CHAPTER INTRODUCTION,
INTERMEZZO,
XVII. EPISODE,
AND
CODA.
is frequently A measures. precededby introductory composition in long introduction may form a satisfactorily completecomposition A
itselfsuch
as
are
foimd
measures introductory *
Copyright,1890,Arthur
in many The etc. overtures, sets of waltzes, foreshadow the themes,establishthe main usually
P. Schmidt.
MUSIC
ii8
key and
sometimes
the
are
measures
The tenn
may
In
case
that the
measures introductory simplyestabli^ the key,
often called prdudein contradistinction to itUroducUon.
which to oompofiitkms frdude isalso applied
and of the nature the teim
rhythm.
that that is to follow but
do not foreshadow such
COMPOSITION.
of free improvisatic"i but not
be found in
are
more
or
Such introductory.
lessfree in form of application
an
Chopin'sPrdudes,
of short introductionsand preludes foUow: Quotations Bkbthovbn,
Op. 46.
Ex. 184.
Voice.
^I^"?
etc.
^^^^^p
"""
F. Liszt, Du
^^m
--
Bist IVie Eine
Blume.
to
Voice.
Adagio
con
tenerezza.
etc.
^MfWtx
^^
INTRODUCTION
AND
INTERMEZZO.
F. ScHUBBRT,
Am
"9
Meer,
Ex. etc.
186.
examplesof longintroductions the student isreferred to the following compositions: JosephHaydn: S3rmphonyin G Major,first17 measures. first10 measures. Ludwig van Beethoven: Sonata Pathetique, For
W. A. Mozart:
Overtiue,The Magic Fluie,first15 measures. Johann Strauss' (n),Emil Waldteufel's and J. Gungl'sWaltzes. Inteiucezzo*
and of irregular construction* may be of any length It is characterized by the absence of definitemelody and usually consists The
of melodic passages
fragmentsin sequence, of scale passages,
of transitionalcharacter.
fimctions:
(i) as
interlude between
a
The
of broken chord
intermezzo has two
particular
theme and (2) as an contrasting themes. The following contrasting quotations
substitute for
two
or
a
exemplify. E. Grikg,
^U
*The
term
dances of the
movement.)
'
j
Op.
12, No.
3.
'ij
Is also applied to short compositions,to the entr'acte, inUrmeMM to the intermediate to a movement of a symphony. (See Goets's Syn^hony, second suite,and occasionally
Intennezzo
i
COMPOSITION.
MUSIC
320
I
(Substitute for contrasting division) *
*-"
% nty !=":
at^ ^t"
=^
^ -^.
r j-
j^
I
J 1^ 27-
/
//
3
"""
=^
i^
a *
^
1
X
" /J/
Y
^"//
INTRODUCTION
AND
INTERMEZZO.
12 k:.
^^^-i
T sa/
Notice the
two
less contrast
up
contrast.
the last half of the intermezzo,
of material from the first theme
than is usual between
furnishesvivid up
themes
is made
second theme
before the
The
themes.
restatement
of material from both' themes
The
thus
intermezzo, however
after the intermezzo is made
and is not unlike many
codas.
Fr. KuHLAU,
A
Theme
making^
Scherzo.
I in C-major.
Ex.
^
(^ {^m
I
^""
#-
i ^
^m
k
*.
I
I
^P"
^
#-
i \
MUSIC
133
B
Theme
II in
G-major
and
COMPOSITION.
A-minor.
Intermezzo
cadences
in
G-major
and
modulating
to
C-ma
ooolaining
jor.
transitional
8va.
If rtrtii 'frtH^m
I
*
Theme
I in
originalkey (C-major)
t
^
^*
material
over
CODA.
AND
EPISODE
THE
Theme
I
"3
repeatedan
octave
higher.
m "
Notice
that the second
Extended
Cadences
by
theorists.
The
"
m^
theme
of this type marked
measures
some
"
(inthis case,
^
leads into the intermezzo.
A
group
of
might well be analyzed as extension of Theme II) and is so called Intermezzo
has similar functions and is similar in character to the
Episode
Episode,however, is more melodious and partakesthe theme. character of a subsidiary Episodesoccur in Fugues and serve of a fugue theme. For an the repetitions as intermediate parts between from Mozart's String example of an Episode see the Slow Movement and extending Quartet in C major commencing at the thirteenth measure Theme at the twenty-sixth n commences through the twenty-fifth. Intermezzo.
The
measure.
The
Coda
termination
is a chordal of
or
thematic
appendageand
follows the natural
The functions of the coda period,form, or movement. are (i) to emphasize the motive, the final cadence, or other material, back to the main key where the finaltheme (2)to convey the composition ends in a different key,and (3) to summarize the material of a composition. a
MUSIC
124
COMPOSITION.
F.
|
of Theme
Termination
Liszt, Du
Bist
Wie
Eine
Blume,
Ex. 189.
"
TCTiination
ICoda
"
of Theme
(emphasizingthe motive).
Op. io6, No.
F. Schubert,
|
4.
F
Coda
Theme
ending
(emphasizingfinal cadence.)
in d-minor.
J. Brahms,
|
Op. io$,
No.
3.
*^
i
T"
i
Voice.
t
P^
^
m
n-
k
i aih^|i"Jiyir f ICoda
(conveyingback
to main
key, F-major).
[
THE
AND
RONDO
FORM.
VARIATION
THE
laS
Tie plagaldose may be considered a short coda. Codas which smumariz^ the material of a composition are usually long; for example,see and Gungl. Beethoven Waldteufel, Strauss,
codas to the orchestral waltzes of the firstcomposer
was
Sonata
and in his
Form
who
to the coda in the great dignity
gave
in compositions
this Form
be found
may
long
and elaborate codas. .
standard c("iichaptershould consist of analyzing and codas. intermezzi,episodes, positionscontainingintroductions, The
for this
work
in
work Original
should composition
also be done.
Exercises, Group 1. 2.
Exercises 4 and 5 in Appendix B, pages Appendix A may be finished.
3. Write 4.
17.
introduction and
an
Analyze the harmony
in
a
149. and
150.
coda for Exercise 2, Group 14, page
100.
Examples 184, 185,186,187,188, 189,190
and 191.
XVIII.
CHAPTER THE
RONDO
VARIATION
FORM.
of a principal nounced subjectancompositionconsisting after contrasting sections. The earlycomposiand reciuring tions in this form are primitive and consist of a subject of definitelength, in | rh3rthm, ending with a perfectcadence. usuallyof eightmeasiues The
is
THE
AND
Rondo
Between
each
a
recurrence
comes
a
apparent objectin view other than
section less definite and to furnish contrast
with
no
in
and tonality aggrandizethe principal subject As the form developed,contrasting themes supplantedthe indefinitesection until the fully developedform The following culminated in the work of Beethoven. diagrami^ows the of a Rondo by Couperin: structure .
' V .
A
-S
."
,
B
measures.
Principal Subject,Bb"
.piagnmi
4 mieasures.
[jA
"
Contrastingsection ending in F.
"
IIAS
D
measures.
Recurrence, of .
PrincipalSubject.
10.
-
8
(IC
measures.
Recurrence
of
8
in g.
m
-^ *
measures.
Cp/itrastingsection ia Bb and
c."
"
A
*
||
measures.
Contrastingsection
PrincipalSubject.
'
14
.
.
"8 m^asiir^.
I, Recurrence
of
PrincipalSubject.
""-
MUSIC
136 The
COMPOSITION.
foUowingdiagramshows
Rondo; second
highlydeveloped 5iMiato PolAelJ^Me.
of Beethoven^s
movement
of
the structure
a more
II.
B measures. 8iiieasiifat(repeats).|| ||A
A
8
la
Subject in Ab. Principal Repeats 8va with varied accompaniment.
8
A
Episodein
f-minor.
li C
measures,
Recurrence
and
of
Subject. Principal
(repeats).
measures
\
CODA.
7
i4mBunn"
measures.
Episodein
abi B, and Ab.
11
subjectis not restricted principal that it occurs with the exception at least three times. The intervening sections may consist of contrasting or episodes.The themes,iniermezzi, each occurrence doses with a final cadence, on principal subject usually sections often lead into the principal whereas the intervening or subject The princqial varied subjectis occasionally pause on a semi-cadence. in its several recurrences, often appears with varied accompaniment, sometimes with changeof harmony,and is occasionally eictended. In the highly complex Rondo Form may be found transitional measures, The
number
of
of the
recurrences
and codas between the various passage work, elaborate extensions, divbions of the composition.The third movement of Beethoven's in structure shows great complexity Paihetique the harmonic and formal structure of should analyase Sonata
The
The or
more
Variation Form
Variation
is a term
themes ispresented and
and the student this movement.
Form.
in which one composition in variously re-presented di"fering styles.
ai^liedto
a
concerned examplesof the Variation Form were principally with a groundbass which served as a basis for building subsequentvafia" tions. The most highlydevel(^)ed exampleof this styleis to be found in J. S. Bach's Vanaiions on an Aria in G Major which is a Sarabande variations. Here, Bach used the harmonic structure of the with thirty Aria as a baas on which he built,contrapuntally, thirtycontrasting The
older
movements.
THE
Later,a theme variations
most
as
AND
well
as
built. In
were
Haydn'sAndanie is the
RONDO
THE
VARIATION
ground bass served
a some
importantand
137
basis upon which find contrasting themes (see
we
cases,
with Variations in F
FORM.
as
a
Minor) servingof which the first
therefore most
worked thorougjily
out.
sodes, Epi-
variations, cadenzas,intermezzi, etc.,made their appearance as well as elaborate codas,and to-daywe have a highly complex form which exists as a completeopus number or as a movement introductions to
of
a
Sonata
or
Rondo
The
Symphony. and Variation Forms
are
sometimes
combined.
For such
example,see Haydn's F Major Sonata for violin and clavier (slow movement) which should be analyzed. an
in which
of the
principal ways the styleof (i)by changing Some
a
theme
may
be varied follow:
acounpaniment;(2)by changingthe theme to the harmonization harmonization of the theme; (3)by writing a new of the principal theme; (4)by changingthe lengthof the various notes therebyobtaining a new rh3rthmand often a new metre; (5)by of certain notes which may or may not changethe metre; (6) repetition tones ornamental to the tones of the theme,scale passages, by introducing the passingtones between the tones of the theme,etc.; (7)by obscuring of the tones of the theme; (8)by inverting theme by arpeggio figuration the the intervals of the theme; and (9)by expandingor contracting the
intervals in the theme. to the Variation Form than an theme lends itselfless readily lyrical theme with potentialities. epic-like Contrapuntaltechniqueis necessary to successful results in many good resultsin the ways of varyinga theme such as are cases, but fairly listedabove may be obtained without such knowledge. of standard The work for this chaptershould consist of analyzation in the Rondo Form and in the Variation Form. A theme compositions
A
should
be chosen and
enumerated
in this
worked
in variations in the various
may
be done.
Exercises, Group I. a.
18.
Exercises 6, 7 and 8, AppendixB, pages 150 and 151. Compose a theme; harmonize and treat it in a manner
Diagram 10, page 125. 3. Compose a theme five
or
more
ways
work in the Rondo chapter.Originalcomposition
and Variation Form
Form
out
of at least eightmeasures;
variati("is.
harmonize
similar to
and write
lis
CHAPTER THE
XIX. FORM.
SONATA
the need of contrapuntal skill As the form grows more complicated, becomes more apparent and this need manifests itselfwhen considering the Sonata Form.
The Sonata Form
isthe most
complexof allthe forms of technique. Tliis chapter, therefore,
the greatestamount requires aims only to the equipping of the student with knowledgesufficientto and appreciation the analyzation of the Sonata Form. is applied in three (Merent ways. Previous to The term "Sonata" the term the work of PhilippEmanuel Bach (1714-1788), used was and meant almost any kind of a composition for instruments in loosely contradistinction to the cantata. nitely defiTo-day, the term is used more for solo instrument (usually in and is applied to a composition conventional lines. Thirdly, four separatemovements) based on more the term is applied in conjimction with the term "Form" (SonataForm) of one of the movements of a to signify a certain structure or more
and
Sonata. consists of four separatemovements, each usually of which is a completeform but allof which constitute a whole with more The common between the various movements. or less interrelationship of the movements is: ist movement. Allegro;2nd movement, disposition "Slow"; 3rd movement. Minuet or Scherzo; 4th movement. Allegro. The firstmovement is frequently precededby an introduction usuallyin The following is in Sonata Form. slow tempk). The first movement
I
The
modem
movements
may considered. A a
Sonata
be in Sonata
Form
or
in any
of the forms heretofore
for orchestra similar to the Sonata composition Symphony. The Sonata and Symphony sometimes consist
is called of three
movements.
The first is,in a broad sense, Three-Part Form. the second part (B),"Development," part (A) is called "Exposition," The Exposition consists of two and the third part (A) Recapitulation. themes in contrasting or more keys; the Development consists ot an in the motives of the themes in k of the lateht possibilities unfolding consists of a restat"ebitof Bie the Recapitulation transitionalmanner; with iemphasis themeis of the Exposition upbn the main key; A common tonal scheme of structure is shown in the following diagram: The
Sonata Form
THE
FORM.
SONATA
piagram
(A
f39
12.
|J"B D9TBlopiiiMit~ ifC
Exposition.
Recapitulation.
the Recapitulation Not infrequently Transitions, may, of course, occur. in the subdominant is in two contrasting of keys,the firsttheme usually the main key and the second theme in the main key. Notice that such results in the reappearance of both themes in different those in which they appear in the Exposition.The Development
tonal scheme
a
keysfrom
section is the most
and is the complicated part of the movement least rigid. Oftentimes it partakesthe character of a free fantasia. musical thoughtsgerminatefrom the original motives and Here, new and variety.The or lesschaotic tonality us contrast more occurs, giving form with emto the themes in their original return at Recapitulation phasis and givesus unity. upon the main key roimds up the movement themes, episodes, Subsidiary transitional, passage work of rhapsodical, cadencial
or
of themes (sometimesvaried, sometimes material, repetition
verbatim),conclusion themes
and
codas
found frequently
are
in the
movement.
and trios, quartets,quintets,
of
Overtures,movements
concertos
are
written in Sonata Form.
example of specific Beethoven's Symphony No. brief analysis.* For
the Sonata
a
3
of Form, the first movement in E-flat {Eroica^ Op. 55) is chosen for
In analyzingan orchestnd score, notice must be taken of the fact that the clarinets, instruments" and are written tran^"osed;for horns,and trumpets are "transposing
for the B-flat Clarinet
sounds
b-flat
J
than they actuallysound.
therefore the tones
The
written scale of
are
c
or
notated for
an
B*flat Trumpet
a
major
second
really higher
e-flatinstrument actually
the scale of e-flat, All strings, flutes (inorchestrations), etc. oboes,English cert," horns,bassoons,tubas,and trombones (when in the bass or c-defs)are written "conthat is,accordingto the tones they sound. written in the g-def, Trombones instruments in b-flat. however, are treated as tn^nsposing sounds
*The
orchestral score
the harmonic tore most
score
to
this
as progressions
is obtainable in the
largemusic dealecs.
Symphony
well
should
to assist him
be in the hands in his
of the student
that he may
analyze
of the Form. An inexpensivemtnia" analysis and is for sale by Payne Series publishedby Ernst Eulenberg,Leipxig, as
MUSIC
130 The
COMPOSITION.
Symphony (Eraica)is
scored for two
two flutes, oboes, two three horns (ine-flat, but changing)^ clarinets (inb-flat), two bassoons, double bass,and quartet of strings. two trumpets (ine-flat), t3anpani, is the chief theme is sounded by the cello piano but Theme i which
introduced
by
two
fortetonic
chords
by
full orchestra.
The
motive
is
of a among the different instruments until the entrance theme at the forty-fifth This theme starts with measure. subsidiary tossed around
harmony in the key of b-flat preceded in the forty-fourth of b-flat is only measure by augmented sixth chords. The tonality transitional measure a connecting vaguelyestablishedand at the sixty-fifth passage leads to the second theme proper (which is in the key of At the one hundred and ninth b-flatmajor)at the eighty-third measure. founded upon the rhythm and ideas of the princq"al a passage measure Notice at the one and subsidiary themes commences. hundred and the dissonant chords upon the weak beats which measure twenty-third until at the one hundred and twenty-eighth obscure the tonality measure dominant
the dominant
seventh chord in itsfirstinversion in the
is reiterated forzandofor four
measures.
The
key of f enters and rhythm in these four
in effect, two-four. At the end of the Exposition the material is, is foreshadowed. of the long coda which ends the movement The measures
now Exposition repeatsverbatim. The Exposition does not end with a finalcadence but coalesces with the Development. The Development consists of the unfolding of the The material of the firsttheme and the subsidiary theme. potentialities
of the second theme
is very littleused which is an
unusual circumstance
note, Development. The transitions are radical and interesting; 181 radical dissonances The also to deserve measures especially, 185. for but above all, 348 to 279 and elsewhere, example,measure study, measures 394 and 395 where the horn sounds the tonic chord in Eb major while the violins sound the dominant seventh chord. This placehas caused much discussion and many amusinganecdotes and mistakes on the part of musicians and publishers. An Episodein E-minor commences at measure 384. This episode 322 in E-flat minor. reappears at measure in
a
At
measure
338,theme
for further
developmentand evolves, climax for full orchestra at measure to a fortissimo transitionally, 362. Fragments of theme one are heard on a diminuendo until at measure 394,
theme above.
x
i
reappears
isheard in the horn with the radical accompanimentmentioned This is followed
modulation
F-major,the horn again soundingtheme i but this time in F (measure408). At measure 4x6 the firstviolin and flute sound theme x in D-flat (measure409).
by
a
to
THE
SONATA
FORM.
"31
coalesce and the firsttheme Development and Rec^"itulation differsin many respects appears in E-flat major. The Recapitulation from the Exposition but not sufficiently to destroyunity. The Subsidiary The
448 but this time on re^pears at measure in E-flat. The connecting transitionalpassage
theme
harmony
468 but this time
the dominant at
conunences
fifth lower than in the
Exposition.The second theme enters at measure 468 in E-flat. Compare the passage of dissonances conunendng at measure tion 526 with the passage in the Exposiat (commencing measure 123). The Coda commences with the Recapitulaat measure tion. 552 coalescing measure
It is an
a
example of one of Beethoven's contributions
and is not
termination
to the Sonata
appendagebut a complexpart of Notice that the principal the movement. theme is sounded firstupon the E-flat chordsthen upon the D-flat majorchord,and thirdly upon the C-major chord. No modulatingchords are used until measure 569. in Here the dominant harmony C-majoris insistedupon until measure itprogresses to the dominant harmony in 573) where instead of resolving, the key of F. At measure 595 a new melodious passage in chromatic and mencing styleenters,sounded by cello and bassoon in xmison. Comlyric-like Form
at the
and tonality,
a
mere
measure crescendo^
or
627,we
led back
are
from here to the end of the movement
to
the
main
the
key of
E-flat
onlyoccasional and temporary transitions. Notice the insistenceupon dominant harmony in the home key commencing at the measure 681, and continuing S3mcopation, throughthe fourth measure domineers with
from the end. A
diagrammaticillustrationof
the structure
follows:
of Eroka
Diagram 13.
tonic
Two cbords
introdttdng main
theme Principal
theme.
in
Bby Second
in Bb. and
theme
Development of and principal
the
subsidiarythemes.
Transitional
Episode.
Rhapsodical pas" (PluralTonaUty.)
igtB, with
The
in
("b) "b, Subsidiarytheme
ity (Dual Tonal-
Restatement themes of the
Further
of
and passages
Themes
in Eb.
themes
(Mono-Tonality with transitions.)
for this. These may
the to
sonatas pianoforte editions. inexpensive
The Beethoven
be obtained in
ing bringment movea
close
in"b.
analyzethe harmony and form of several
in Sonata Form.
statement re-
of
Exposition.
transitions).
student should
opment develand
are
ments move-
excellent
MUSIC
CX)MP09ITI0N.
CHAPTER THE
The
MIXED
XX. FREE
AND
or Medley consists of Poi-paurri
a
FORMS.
selection of themes
from
an
opera, folk songs, or national songs, etc.,strung togetherin contrast to another. Operaticmedleysusuallyconsist of a selection of the one finds one populartunes of a single opera althoughoccasionally selection consisting of times from various operas. The pot-pourri has
most a no
set form
and
no
value other than
a sensuous
one.*
in of the movements followingdiagram shows the disposition selection from Mascagni'sCavaUeria RusHcana with the key together The
a
scheme: Diagnun
14.
but in pot-pourri, Poei and this case the themes are original.Such an overture as Suppe's and folk national, however, than most operatic, Peasant has more unity, of the movements medleys. The followingdiagram shows the disposition The
popularoverture
in the is frequently
styleof
of Poet and Peasant, *The
lacks unitywhich pot-pourri
is
a
of all hecsstfryquality
arts..
a
THE
MI^ED
AND
FREE
FORMS.
133
"S-
The Fantasia is a
in which the composer givesfree scope composition The form is whollyfree, tained but unityis mainto his fancyor imagination. of motives,characteristic by various devices such as the persistence In many etc. of the instrumental rhythmicand harmonic figures, those of the earlyEnglish, works of the earlycomposers, including and, those of J.S. Bach, may be found the older application of the term. later, characteristicsof the early Fantasias was the development The principal of a theme by free imitation. Since then, the term has come to be quently appliedto the developmentsection of the Sonata Form, as well as freand inexcusably Fantasias may to the pot-pourri. Interesting be found in the works of Mozart, our
Beethoven,Schumann, and in those of
presentday composers.
Program
Music.
Program music is instrumental music,the mood,
form
and context
of
by its titleor by a description printedupon the composition, rather than by abstract musical formalities. Although the older composers including Kuhnau, Bach, Couperinand Rameau, which
is determined
wrote
a
common
The
state
either
few small works of this kind.Program Music
styleuntil the Romantic
did not become
a
Period.
late developmentof Program Music was due principally comparatively in the media of expression, the immatured to the inadequacies and the of instrumental music, the bigotryof musical theorists,
environment
sicists. and lack of breadth in the education of the so-called Clas-
MUSIC
134
COMPOSITION.
Symphony, Beethoven opened new paths and since its pxoductionthe listof programmatic music has grown, and much of the either realistic, best music is now or characteristic, descriptive. definite Modem to preler a to a more seem or inspiration composers less prosaicweaving of tones. They desire to express in their music the emoticms of their inner lifewhether kindled by literature, a mood, vision, a composition inspiration, object,event, philosophy,or picture. To a specific In the Pastoral
of this type
owes
its form.
bemg empiricaland governed by the specificinspiration necessitates concrete study,and no better examples for such study can be had than the Symphonic Poems of Liszt and his successors. obtain scores who For the benefit of those students of Sym" cannot phonic Poems, a brief analysisof a Symphonic Poem is given. The
form
Les Preludes
Liszt.
Fsanz J
a
The
compositionis founded
prose
translation of which
is our
What
lifebut
is the destiny where
Love
to
where
to cahn
the first joys of happiness
is the wounded
its memories
in the
that does spirit peacefullifeof
himself to the kindly monotony
Lamartine's
the unknown
is the enchanted are
whose fatal breath dissipatesits fair illusions,
whose And
portionof
which
not
song,
dawn
not
fatal
seek, when
the country?
firstcharmed
''the
the firstsolenm
of every
life;but
interruptedby lightningconsumes one
Yet
him
trumpet'sloud blast has called him in of the strife, of the nature point of danger, regardless his of strength. possession Nature, and when
MediiaUons^
follows:
series of Preludes
by death?
is sounded
of which
a
a
upon
storm,
some
its altar?
of its tempests is over, cannot
man
long resign
in his companionship to
note
what
arms," he rushes
order
to
with to
the
gain,by combat,
2 obpes, 2 clarinets,2 flutes, bassoons, 4 horns, 2 trumpets, 3 trombones, bass tuba, tympani, drums, cymbals,harp, and the usual strings. into six parts played, The compositionmay be divided arbitrarily Each part depictsa different phase of Lamarhowever, without pause. themes which two tine's poem, but the whole is founded principally upon and rhythmic guises. A diagram appear in various melodic, harmonic,
The
follows:
Symphonic
Poem
is scored
for 3
FREE
AMD
MIXED
THE
Theme
xsT
I).
Leads
(Andante and the
crescendo
a
upon
Leads
tuba.
in basses
and
E-major,
followed
bassoons
by and
nets, theme
and
horns
each
(C-V)*
violas
third
a
cellos
of
form
with
echo
an
Moduktes
phrase.
I
to
to
oboes, dari-
Rei4)pears: climax.
a
Reminiscences
of
darinets.
horns, flutes, and
in
z
to
and
bones, trom-
Theme
developed
bassoons;
of
theme
same
transition.
by
2ND
Sounded
violins
end
the
of
diminuendo
a
(Andante
wind
strings, bassoons,
bass
by
second the
at
form
new
a
upon
by
(f) sounded
theme
to
sounded
V)
maestoso
by wood
answered
Motive
for strings.
"35
t6.
Diagram
Recitative
FORMS.
Development
1;
PrincquJly
of
theme
V)-
tempestuoso
(Allegro
i
Suggests
(Quiets down
storm.
Allegro
leading
to
the
theme.
next
Theme
3BD
(Allegretto pastorale f).
of
Reappearance
of
theme
Restatement in
violins, then
In
Developed
horns.
trumpets, a
with
union
sounded
with
theme.
fortissimo by
traniriticms.
by
2nd
wood
Reappearance
basses, bassoons, full orchestra.
violas, followed
]). low
by
around;
wood
by the
to
wind
and
division.
next
Theme
sounded
i
strings and Theme
wind, of theme
trombones,
in
2
and
a
new
horn, z
in
tuba
former
CV).
and
Developed
rhythm
and a
horns
by
trombones.
violins.
and
mood Sudden
guise sounded Ends
h "
Recapftulation
(Allegro marziale, animato answered
first by
tossed
Theme
2Nd
transitionally leading Fkee
sounded
then
2.
of
and
horns
theme
clarinet, and
by
motive
the
of
Figures
followed
oboe,
then
horn,
to
| and
txoppo
non
ma
fortissimo
u
COMPO3IXI0N.,
HUSIC
13^
APPENDIX MELODmS
A. CHORALS.
BACH'S
FROM
1. /P\
m
Llii-U^
-""-
m /7\
Hif /T\
m
f5""a^
f
ndu
"*'
#
"
^^m n\
^M
J=rt
E
3 "^9-
^"^ IJ II f I**
/TV
^^
^^
"^
/TV
m
,
i^
tS*-
i
3.
IJ J 4*J
/TN
J J IJ~^ "^" /C\
^
^^
^gLgli-i ^ iff=d *
i
/T\
/TN
/TS
^^ /"IN
/f\
^^
"^-
P
MELODIES
CHbRALS.
BACH'S
FROlf
137
i,f J
I
J
^T\
ii^fjj jii
J
I
ijijji
i
6. /TS
^^
In
^^
/TS
r
r I
/T\ /T\
/f\
^
'hTj
J
J|JHI
7. /f\
P
I
!
J" #==?
^T\
^ir-q
m
"^"
f=f
3
/TN
/T\
/T\
j
J
J
ll
II
MUSIC
138
COMPOSITION.
1 1.
44 ^j
J
r
rxjJ^Tlrn
J J Ir r r
ra
12.
I' l(J''
'
'
III rjJ
J|X -fLcj
JJi-nTjjJ|J;j.]i 13.
MELODIES
FROM
BACH'S
CHORALS.
139
15.
J J
J Jij J J Jif r r
fi-'^'1
jij J /JJiJJ J a /f\
Lrr
^^irrmv^m
^^ r^-^lf:t\('ril r J
^';^iJ J
^N
J J I
MUSIC
I40
COMFOSlTK"N.
20.
Wt'.IJl^i ^
^
^S
22. /ts
^s
/^
^^ ^
fe 1=1:
^
i9-
t=^
^ T.iiT.ri^-^ e r..f
"
t=$
#
IP
#
'
if
m
1"-
^
23. /*N
^^
'^
3
g
T""-
^PP^^
^^ ^N
3=t
|j',i"jj9j-J|itJ_f^^^ g i ""^
i^
"J^
FROM
MELODIES
BACH'S
nr rif-rU i"f.*r
CHORALS.
141
1 rir-cfi^ Jua
26.
t=t=t
J ^rirrvcji^ /ts
r r r Ifr r 1
27.
jJJiJ ijf/aj
MUSIC
M^
COMPOSITION.
/T\
i
/TN
m
J
2Z
I
;jj|j 1=
/TN
i
fc
s
S
P
m
tt=t
/r\
^B
^
if
/"S
^
i W
SO. /TS
il^'Jir cj^
J
gJ
''
MELODIES
BACH'S
FROM
CHORALS.
US ^^
\^yi-i'!i\n S2. y?\
=t
m
?=lt^
"2^=
E
""^ Ty?T-
/r\
^
"
^ffl
?2=p:
:t
t=t
^
S4.
/T\
p
/TN
rifir T
?
/tS
f iri
/T\
2i
^
^^
J
MUSIC
"44
1 I nil |i 1 ii'ii'h II 1
I
lij '
COMPOSITION.
,
ll |l' HI
111|ii|ii|i IIIJl'll
If I 'li "Hi I iQi^i|ii||i II i||i|i
'
fiiiii 'illIiiiiiiI^'Ti||
ifiJa^ f|jjjj|jj 41.
FdWi
I
il'i11,^^
/T\
MELODIES
FROM
BACH'S
CHORALS.
"45
42.
(iJ |j J
J
^ i r If f
43.
rn-'niJJjJij.'irirr iijl'^ji^'
rir ririrrrifirrrM ij'/jffif 46.
ifr^rffiJrr^irfrrii-rr
fr 1^
"
^
"
"^
^^^iT^n ""-
"J"^if t" 11*r
/rs
3
^
-^"^ ^i*' n r^*^' ir!*"""*'
liffUSIC
146
COMPOSITION.
47. /FN
-J ^
*
-^
^\cfjir*^
fir r f ir r
rrTr r'rTff"^
"f.'''rrrrl^^rrJl'^ JJl^ 49.
J J Ji^JiJ J J ^S
^^
g ^^
/P\
i
TTN
-""-
lE
tS^
f
fir f
l-i^1
'^ '^11 iftifffl'^ 'fflfffl'^
EXERCISES.
MISCELLANEOUS
fj
J J
JiTT^r
r
^ffi'^^ ^i^iB.
APPENDIX
EXERCISES.
MISCELLANEOUS I
Harmonize
.
the
147
violinsolo with pianoforte accompaniment following P. Mascagni.
Andante.
ufarrT^fjiU pp 6
^ Id
y
"
rrf
f
^m /-("-
T
/
pp
^
"Hti-^ t-.f" cJiO
f^.ir fir
^^
^ a
r
^
|ff f |r~r|p"^
ifffW ffu f 1
MUSIC
148
COMPOSITION.
r m^'
!"f,r f
E
/
"'^^ ^1 '
fi^' iT" l1 CJLT Iji^r'
^/w.
2.
Harmonize
the
I'
^
ist following
A^
violinpart for string quartet: R. Schumann.
IJJH^ ||!,J__.^ iJKi
a
ijj:\r\^'m
tempo
i^^-^ri^^^^i^^^^i^ jTigf i5[[jlr -^
/TV
3. Harmonize Minuet.
the
solo: following melody for pianoforte Bkethoven.
Ugato,
[jicjrcjulu c^ rfjir''^:
EXERCISES.
MISCELLANEOUS
Z49
^^
D.C.
4.
Compose
Thomas
a
choral for mixed
chorus
to
the
following poem
Moore: Thou Thou
Art, O God.
art,O God, the lifeand
Of allthis wondrous
world
light we
see;
day, itssmile by night, Are but reflectionscaughtfrom thee; Where'er we turn, thy glories shine.
Its glowby
And
fairand all things
are bright
thine!
day, with farewell beam, dela3rs Among the openingclouds of even.
When
And
we
can
almost think
we
gaze
Through goldenvistas into heaven. Those hues,that make the sun's decline Lord! So soft, so radiant.
are
thine.
dl Fifu.
by
COMPOSITION.
MUSIC
ISO
night,with wingsof Starry gloom, O'ershadows allthe earth and skies" Like some dark, beauteous bird,whose plume When
Is
with sparkling
That sacred
unnumbered
eyes. those fires divine, gloom,
Lord^are grand,so countless,
So
thine.
springaroimd us breathes. youthful her fragrant warms sigh; Thy spirit
When
And
every flower the
wreathes
summer
kindling eye. Where'er we turn, thyglories shine. thine. And all thingsfairand bright are Is bom
beneath that
the following song 5. Harmonize Introduction and Coda: Supplyan
with
accompaniment. pianoforte
H.
Allegretto, p
i^s.m.
.
KjERULF.
"
'^^
?r?
J JIJ J'li^l^^ riL
^f'^Jiljj^ a
r9\
^^m
tempo
I i ^\h^ \^^'j F i;Jf ir ^jj} r
,
motive. Add a melody foimded upon the following key and restate the first period. consequent periodin a contrasting Harmonize for (ist)pianoforte solo,(2nd) string quartet,and (3rd) 6.
Compose
a
Adagio, vocal quartet:
-_
1
jj^i.
"i9-
MISCELLANEOUS
EXERCISES.
"SX
three or more sections (themes,intermezzi or contrasting Ccftnpose to the following and supply episodes) subject.Harmonize for pianoforte 7.
a
Coda: W.
A. Mozart.
AlUgreitograzioso.
wm^
lfrgfJ#L;CfrrL;r^
8. Write four
or
more
solo or for pianoforte
variations on
the
theme. following
Harmonize
string quartet: John
Allegro,
^
^
/""^ F
^
s
t
Bull.
r
(g
r^ TTTT^
"11^\r "
1
r~~1
y
f
/
n^r
r
-C^
E
?=^
rg'i
rgt
tt=tt
I
COMPOSITION.
MUSIC
iS"
C
APPENDIX I. PRINCIPAL
TRIADS
THB
OP
ROOT
IN
MODE
MAJOR
POSITION. 1. 2z: -w
"^"
4:
I
2z:
2.
^
i
-^-
b
4
"g
"*^
3. t^-r
vmr-^
"f*-*-
riffn.-i
r
4.
^^
^
^s
i
"iSi-^
-Oh-r
6.
^
u.
"
"29-
-'Mrrii
a:
-*^
i
""-
i=t
T^
"?^
6.
^B
I
221
-^
s:
:2:
7.
II. ALL
^
^
^^=^M=i TRIADS
THB
OP
THB
Si
:^
MAJOR
MODB
IN
ROOT
POSITION. 8.
m
t
7SL
w
-^-
-BL
t
E
i
t
"A
m
-^h -tS"-
-""-
o. (^
^
3 S
f"-
i
-*"
^=4: 3^
"""-
^
ID.
^s
3
"""-
S
^m
3
^
"^"-
i
TRIADS
OF
THE
MODK
MINOR
153
11.
y-u
rir
fir ^irjT-j
i
12.
^
f
IHJ
J
i
^
f
i
^
^m
E
13.
i=t
^ ^^
3
^
I
14.
F^t'ij^r j-ij^YrYWfm^ r firjiJ "
15.
3
^^
p
III. THE
TRIADS
THE
OF
3
1^
MINOR
IN
MODE
ipi
3^
ROOT
POSITION.
17.
"I
S "^^f 3
8|
e^i
^^
2:
T^
I
18.
8Q
8Q
8Q
^
p
t
2z:
i
ZZ
s
10.
8|
6|
31 19-
9%^
8| ^-
t^
f5"
s
?
^
20.
8|
8"
^^
?"
^^
"I ^
s
8|
^-
E
i
COMPOSITION.
MUSIC
^54 21.
INVERSIONS
IV.
sf
31
81 51 a|
at
a|
TRIADS.
THE
OF
"!
22. 0
2
0
0
^^
rir IM^
pi^r
1
i ""S"-j-
23.
I.
2
o
S
.
^^
z:
3
f5"-
E
-A.
-"^
24. O
6
Se
^
^-
-25^-
-^
2,
O
S
^
i
"^9-""-
"^-
25.
3
8$
a|
OJ
O
,
a:
3
s
-^-
it
^^
26.
"t
81
S f\('
^V(*" y
V.
S,
^
a
CHORDS
t
o
28.
8"
1^1* 4
"^
29. a
2^
^
o "' 6.
51
"
INVERSIONS.
AND a
a
o
e
-"-
If
t
6
a
o
a
^
lig "
n.i
f'ljnr
at
U
f^
3z:
'
r
O
"
32:
J
"
7
i
7
2z:
*'
^-
si^
7
E
+
8
I
2 Zi
6
(g^
:Z2: "^
8^^
S h
3 -tf"-
^Tp^
2z:xa:
30.
.
k
it 12^
"^
"
t
J
^
^m
^
1=^
SEVENTH
8|
8|
O
I
Xt
-^N rl" II
TRANSITION.
^11
31. 7
7
13
7
6
9:jf4f.j|r^ p.|r
0
3
8b 7b ab 5b
eb 7b
C
jT
i
TRANSITION.
32. 8
8
^
"^-2^ -""-
VI.
i
6
a
7
eb
b
7b
8b
7p
^l' 9'
ab
%% jj-^b
Gb F#
major
85
1%
fit
fi$
7
7
8( $
7
8$ t
P^fe
7
8( S
-^r
I
TSr
-"-
6
D
E
B
33. 7
7
8f
^''' J
L
r
Sb
8q
I" L
7b
8
7b
8Q
8b
80
I
bb
g
8(
7$ 5$ n
^9^
8 6
lit
l"il
,st s$
8b
8$
7b
7$
3Q
3X
d#
eb
7 8
%
^
;;e:
g#
ft
si
8
eb 8b
i l^"_|J
I
^
^
-fr^
d"
"b
5
8
a-mmor
8" A$ 8$
a^"'i'
'
8$
8
7
"i9-
-^-
F#
d
8$ %
""-
f#
c#
I
TWe
a
34.
7b
7
8
^S
3
-""-
S
"s
^
Si
B|" V
c
\%
8b
A
G
V, V^
11 II
V
C
a
Jadassohn. 35.
%
gg
^
"^
f % ".
I ft^
[^ ft*I f
Bl.
o
"
"
"i
"
""
t "
fb
%
.7b
1% *"
O
Bl"
a
8
1%
p 6
-(9
e
%%
2
I ^ "
"p
"S"
9~
w D
COMPOSITION.
MUSIC
IS6
r
'M f
I
s
.
i"JJiJ ^Jif fir ^'^ ^'^" 1^If t^6
36.
CHORDS.
ALTBRBD
VII.
i
."I
g^
i
t
.
i
SE
f
4
7
ffiZZ
"*
F
C-ma]or
I* Ml, I' sr r '^ ^ '" ' ^ r i-^
I' 3 I r uj r ir r
87.
"t
S
Si
"
A minor
i*
38.
9-"',J 0
I
""
h
J|fr ^
""
S" 2
7
7,
^
^3
^
Major
30.
#
^^
y
3 It it
Si
"i
Xi
I
Ir r 1^
A minor
VIII.
X
CHORALS.
BACH'S
FROM
EXERCISES
MISCELLANEOUS
^9\
6
eel
G
C
8
0
6
8-7
r^
^^^
^
o
e^
X
*.
T'
^
J JjtJir ^frfjir Tjfifr ^JltTfH B
EXERCISES.
MISCELLANEOUS
""
X
u
q|
ox
ejr
^
.
"S7
P
6. o
-tf^
D
A
X
9#rc;JJlJ5^B
2
r
6^xX7
O 0
^
7
6
X
7
7
rjf IJJI
I. ib 8b
^
C
""^B
"
Ay
7
A
)fAA
yI
T
G
e
G
"J.I J r r I A-minor
MUSIC
"S8
COMPOSITION.
S
t
7
U
X X
O
6
X
X
i JJ ^ ^!fjj m
Lfir1^
^
r
^
^^
6
D
X
X
2_X7
'*'
^;t J J J D
^"J
G
j Jir J B
"iHt*Jlj
8-7
fijfirrrirF'n^lir r^r A"IV
DEFINITIONS.
50.
^
o'fetr-I f
m
V
G
D 6 4
o
"S9
X
P
6
D
8-7
o
6
e
8-7
6
7
,
"^-
G
D
a. 4
o
I
o
0
E'|J J r
m G
% 4
9
7
i
f
G
APPENDIX
D.
DEFINITIONS.
Of Active.
Technical
the
Terms
used
in
A tone which is not finaland when
"
to be desired.
An active tone
to progress to another tone
Cadence.
A
"
or
or
chord has
the
Text.
heard,leaves something
more
or
lessdefinitetendency
chord.
fallor close of
strain;inflectionof rhythmicflow.
a
Resolution under Resolution.) (SeeCadencing Chordal
Tone.
"
A tone which is a member
of the chord with which
it sounds. Concealed
a
Fifths.
The
A
"
Factor.
A
tone
a
minglingof two
or
more
the amount
which
tones
of
with unrestful effect.
inherent activity
and environment. culture, member of a chord; called in most
dependsupon "
ated situany two voices, motion to fifth, proceedin parallel
in progression
is comparative, and
term
dissonant
in any
era,
text books
interval.'* Unison.
Fixed a
A
any distance apart other than fifth. {SteParalld Fifths.) Dissonance.
"
"
"
The
result of the diatonic resolution to
a
unison of
voice part from the dissonant of the intervalof a second. Form. phrases, Arrangement of the parts and elements (rh3rthms, "
constituent sections, themes,and tonalities) periods,
of music
by
which
and unity. S3rmmetry of outline is obtained with variety of composition to that style havingone Pertaining predommatingmelody accompaniedby other parts which supplythe Harmony. Opposed to polyphonic. Homofhonic.
"
i6o
MUSIC
Idiomatic.
COMPOSITION.
to a progression or usage which has become Pertaining characteristicthroughconstant application the part of composers and on is often opposed to logical theory. Modulation. A consummate changeof key which enters into the architectureof a composition. MoNOTONic, Characterized by a single main key. A melodic germ. A group of notes from which a period, Motive. movement, or composition may be developed. "
"
"
"
N.B.
Take
"
notice.
NoN-CHORDAL
ToNE.
A tone
"
which
is not
a
member
of the chord
with which it sounds. denotes non-choidal tones. The symbol enThes3nnbol (X) placedovernotes dosed by parentheses a chordal tone havinga characteristicof a non-chordal signifies tone.
Parallel
in which progression
A
any two voices situated a fifth(ortwelfth, motion to another fifth. etc.)apart proceedin parallel sths.
CoNSEcnriVE
7-
Fifths.
A
progressionin which any two voices situated a fifth motion to another fifth. (ortwelfth, etc.)apart proceed in either contrary or parallel (SeeConcealed Fifths,) "
A progression in which any two voices situated an motion to another (doubleoctave, etc.)apart proceedin parallel
Parallel .
octave
8ths.
"
octave. Consecutive octave
Octaves.
A
"
in progression
which
any
two
(doubleoctave, etc.)apart proceed in either contrary
or
voices situated motion parallel
an
to
another octave.
completemusical sentence. A portion of a periodterminating with a cadence. Phrase. of composition Polyphonic. to that style Pertaining having two more independentmelodies simultaneously, harmonizingone with Period.
A
"
"
"
Opposed Resolution.
such
as
"
to
other. an-
homophonic.
The
permitsthe
or
of a progression
dissonant chord to another chord
factors of the former to
to their proceedaccording
tendencies. r Cadencing
Resolution.
"
The
resolution of
a
dissonant chord
to
the chord
whose root is situated a fourth above (ora fifthbelow)the root of the former chord. NoN-cADENcmG
RESOLUTION
OR
Progkession.
"
A
resolution
or
of progression
chord to any chord other than the one whose root is situated a fourth above fifthbebw) the root of the former chord. a
(ora
DEFINITIONS.
Tendency.
characteristic
A
"
A
Transition.
attribute
transient
change
"
A
Triad.
chord
of
three
perfect
Triad
consists
"
of
root
a
of
of
active
tones.
key.
tones.
"
Major
l6i
"
(or
fundamental)
tone;
its
major
srd
and
5th.
Minor
Triad
consists
of
a
root
.Diminished
Triad
consists
of
Augmented
Triad
consists
of
tone, a
root
a
root
its
minor
3rd
and
its
perfect
5th.
tone,
its
minor
3rd
and
its
diminished
5th.
tone,
its
major
3rd
and
its
augmented
5th.
its
