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Lorsque le document est trop grand pour etre reproduit en un seul clich6, il est film6 A partir de Tangle sup6rieur gauche, de gauche d droite, et de haut en bas, en prenant le nombre d'images n^cessaire. Les diagrammes suivants illustrent la m6thode. red by errata jfilmed to tiement ita, une pelure, de facon d ibie. 30X 1 2 3 3?.X 1 2 3 4 5 6 II Um ii H I IlHJ '^ii*"'* ->« • > "BT ^,«_ '^ I M ar''^ • ;'■■> 1 sl',""!^ ■ i ^^■/^ M ¥'^; fe; •i.jiS- ■f..l?f;' The Elements of Vocal Harmony BY HUGH A. CLARKE, Mus. Doc. ,.KOK.S.OK OK TUK SCKN.K o^ MrsU-, VN.VKUSUV O. .KN NSV..VANU. Al-THOR OK "MlStC AND Till'. COMRAUE ARTS SILVER, BURDETT AND COMPANY Nkw Yokk . BOSTON , Chicago l iijarwW i ^w ""T' ^T ' ^ ^'~^ " TWO >:<,cih..s Mti._ K,^ (.;. •, llifS'i ,f O'ongriti, JUM 1 - I90U StCJNU oOPY, r.Y Sii.vKR, Iii'ki)i:i r AM) Company PHEFACE Tins book lias boon propiireil in tlio hope thai it may find a wide usc- fiihicss in high aiul normal .schools where music is stmlicil, as well as iimonj,' music teachers in general. It aims to furnish such a knowlo.lge of harmony as will onahlo its possessor to arrange correctly, in two or more parts, the exercises and songs used in the class-room. With this cud in view, the author has so ooml)ined the elements of harmony and the art of counterpoint that the learner is enabled t.. put his knowledge to a i.rac- tical use from the very beginning of his stu.ly. As the work advances, each step will be fotmd to be the natural logical sequence of the preceding step; and if the directions given arc faithfully foll.nved, the progress from the simpl.'St two-part combinations to those of four-part will be found to present no dilliculties that may not easily be mastered. HUGH A. CLAHKK. PllILADKLlMlIA, MaV, 1000. COXTKXTS Tl (iiAnr.u I. ScAi.KS KuilvsciiK's- .MaJMi-,alc- IVLMrlionl — It.'li.tionnf sciilcs - I.itnvi.U and their iiivci!'ioii> — Naiiu's of the ih'^rif> of tho scale. CiiAi'Tiii II. IMi:i.<)i>Y Sinipl.. fnriMs ,,f i.u't.Mlv Khyihin. |,riii,an aiui srnmaary - l.v.ir or mm,- f,.m — Mniivc — IMiraM-— Srciicm — IVriod. t'llArTI-.ll III. TWO-I'AIM CnMlilNATlnNS The Ihinl, i.iajo.' an.l luinm-- The .|,'rees with one i.art -tationary— First variety of passin- tones -The diminished liflh afi.M- a passin- tone. CiiAi-rr.K VIII. SicoNi' Vauii:ty i>v PAssiSd Tosi.s I'assin" tones, third variety — Fourth \arirty. I'AOB I V.) vf (<>.yr/:xrs I'AOI ClIMlIU I\. ClIAMilNU Nori>. (lU An'i'i,(i|,\TI l!\H |,'l (>M iii.iiirni III wriiiiii; — .Muiliru .Sii>jii'ii>ii)ii. CiiAriii; N. ('iiMi;i. CciMiiis \ ricpNi .j'.l ' 'I'Iriliinii 111' pcilr.'l I'li.'l'l "I- III. hi 1 'iiriini-lic(| ilini'd Miijur and llliliur ilinni \aiiic-. n( till' ilioi'd- ill ilii -lalr I 'iiiiini'li. i| I'dlldwcd li_\ pcrfii't littll — Siiiri--iiiii i.f I'liiii'd- ill lliii'c |iarl> -- I'ir-I iii\rr-iipii of ciiiiiiiinn iIkiiiI - St'COIld illM'|>iil|l nl' cnllllllllll cllnl'd I'llfdl cl.i.' m radl'llic - Pilllilli-lll ll clinnl ill srnncnci's — Sii-laiutd iiulu in mic part witli iIil' ullicr |)art.> uiov- Uig, ( iiAi'iii; XI. Passim; Toms in 'l'iii;r,i -1'\i!t WiiniNti Gl III Hill' Vciiro -111 tWil Nuifl'-^ - ( iiail.:ill'i llilirs — Sl|-[H'll>ill|IS. ( iiAi'ii.i; XII. 'I'm. DoMiNANi SiviMii CihUiii 09 l>i--ipii;iiii iiiiii\.pN ill ilii^ cln^i^l 'I'lii if rc-iiliiiiiiii -'rill,' rir>i |ir(riri'»iiiii — Addiliuiiai rc!iiarl-> nil Iwn-iiarl writing — Iiim r>i()ii' of ihis clninj. CiiM'iii! XIII. IJi.i.Miii Kivs 75 Itrlatiuii-iiiii lliruiijii ill,' iciraclmnis .Sharii I'niii' .-ukI llal .m'M'ii. CiiArrii; .KIV. Tm: iMiMu; .S. \i,i 79 lis <>i'i;:iii -- lt> ill riviuidii I'nuii ijic iiiajp'r !^i-,\U> — 'I'lin iiutiiral minor — Ui'ia- livf minor — 'I'alilc of ■.i'.'iiatiiri's — llaniionic iniiior --- Aiii;iiienU'd .■^Cfoiid and ii^ iiivfr-iidii ~ - Cliiiid- in tlir liariiii.nir 'cali' — 'I'lic rai.-fil scvcnlli — 'I'lii' iilatiMJ j^'niiq. — The dniiiiiiaiit >cM'iilli rlionls of llii' rclalu'd i^roiiii, (iiArrii: X\'. Otmii; I'KniiiMs.sioNs or nii; noMiNAsr Si.vr.STii f'iioi;ii S'.t SiToiiil iirip^'if>.-inn — Tliird iPiip.;rc->i(Pii — Si'(|iit.'nt'u of iloniinaiit seveiitli ciiorils. ClIAITIU X\'I. TlIK Ml-.l.OiilC ^riVOI. SCAI.K Dl 'I'lie iMiscil si.MJi — 'I'lic naliiral >c\tnl]i. CiiAni.u XVII. Toi i: Tai:t IIakmonv KM) Ciiiiiiiion clioril'^ in I'lPiir )iari< — I'pp^iiiiPiis of ilnpril- Smci'ssiipn of (•(Pinnion cliipfd-. with ioii|.i at llic hass - TlioriN lu'low tin' iiidipdy — .Succi'sisions that arc iiipl iriri'calpU' - Siic'i'e>sii'n in cIom.' aiipl in open lianinpiiy. ■im iijor anil iiiiiiiir iWfll ll\ pcifict CiiMIIIIHll I lliil'il (' - I >illlillirlli'i| tlicr jiiiit.-i uiov- t |i|'iii;ri'»!ii|l • unl. I iiiiiior — Uflii. ;iiienti!il i-t'coiid ,i.-oil ccvuiiili — ■liilu'il f^roini, vr.STII rilit|;i> iiiiiant st'M'iitli •l.'l 4U CI 09 S'J y-i 100 idii nf ((iiiimoii MK'ii'ssions that — — — — ' I'tllK ( llMTlll XVlIi. KlUST AM) Si:.<,M. iNVlliMuNH IN I'ol It I'MUH . . . IHT Tnvu rhunls in H,.m>.iu,. in ih. li.nv p„Mi,nn - li.rapi.ulaliun ul nil-. I..r )ii'iiinil inM'i«i(>ii^. CnriKu XIX. 'I'ln; C'ii..im. uk Dominant Sicvkvim in I'oiu I'ax'h . . Ill l'i,-t. ^cr.m.l. anil tl.inl l..'..U.v.Muns iir..! ...incur,. _ t:ise. in winch tiiv Mvc'iilli may umx-iuI. {■IIAITMI XX. Ol'KN 1IAUM..NV IN KolU I'M"^ '"'* C'liuTiit XXI. Ai.DiTioNH TO nil. Dominant Cuoui) •-' ()v..n..m.H ..f the ,lM„.i,.an.-rM' uf ninth, .h.v.n.h. un,l ihirifynlh with tla. r.H>t ,,re...ut-Mov.nR.nt ..f th. ninth - M.^v.Mnent of .1... dovrnlh - ^h,v..ni..nt of the thirteenth -IJnMkin- np of the ovntnnes into j.'nmpH of four Miunds — Manner of fwWn'i lli^' root of any ^nonp, fiumrit XXII. I'uoouEssioNs OK Dominant IlAUM(.N!r..s l-"-' Seeotnl und thinl groups ; i. e , thir-l to ninth - Their I'ro,, e^sions Se.p.ence. CiiMTiK XXIII. Ciiouu.s OK Ki.k.vi:ntii am. 'rniinii. tii ^-^ Fonrth .Tonp; i.e.. tilth to eleventh, with .najor ninth - I'rosiresslons - ,Se(ineneo - I'ourth an.l fifth -roups further cluc.late.l. CiKi'TKu XXIV. Sri'EitToNic IIaumon^ Its forinati,.n-l'rosrcs8ion-Move,nent of its momhers - Chonl of an;.'- menteil sixth - French, German, un.l Italian sixth ('„Arn:.t XXV. Cio.tns ok Pauai.i.k.i., M.nou, am, Ai(;mk.ntk.i, Imktii IoO Parallel s.^ales - Clu.nl of lowered siipertouie - liaised notes treated as aug- mented fifths of major chords. CllAlTKIl XXVI. FUUTIIF.U Rl-.MAKKS ON MF.I.Om- , ,• . Cadence ?v..\ half-caden.e - llemarks on settin- poetry to music - Kn^dish versineation-LonL'. common, and short metre -Other varieties of metre Con.l.ination of music and utitncttic..! words -Kcpctition of words or part. a sentence. '■ ?' TllK ELEMENTS OF VOCAL IIAKMONY CllAPTEK 1 SCALES ASrVLH (from Italian .n.h, - a hnUcr cr s/./n..^) is a succo^wm of sou,! .nuhuUly rising in pil.h f.o.u a giv.u Mm.ul. Many fonns of s.ak.s havo In-.n, an.l an- y.t, usc.l, of sun.o ui wluch wo .Ul (five a short aoi'ount. , ■ , ^ , 4i . " I„ oarly times the series of nmsieal sounds ^vas restricted to tht following : — i^. o ^ /v '> ] \o sluuTS or Hats were used, and any one of these sounds n.i-ht be taken as the key.iote of a seale. It will easily 1... seen that the halt steps wdl not oceupy the same [tositions in any two of these seales: — -rj^si' V- .«- -ii,lnn'>iH, tliat is, (he ii,i'l>r Dorian; No. 'J, (lie J/>/jinj,hri/ was also known as the Ionian mode— an aiitlu-ntii' scale, therefore ending,' on ('. 'I'his is the only scale tiiat has survived unclian^'ed, and is the modern natural major scale. This is the I'caso/i why our natural scale hcj^niis with ('. the letter .V hasin^'' been already tjivcn to the tii'st sound in the series. The Ionian scale was forbidden in chuivh nuisic, hut it has always lieeii lar<,'ely >ised in |)o|)ular iiuisic, and has now nearly driven the other scales out of the church. We will now proceed to an analysis of the major scale. The first thinj,' wi" observe is, that if we divide it in the middle, that is, into two <,noups of four letters each, wi- shall ujet two scries that are exactly alike, se])anited from each other by a whole step. Thus: — C. 1), K, I'. whole wliole iialf step. step. stejt. (1, A, n, (' wliolo wIidIc iialf step. step. step These are called tetrachords, from a (Jreck word meaning four striiit^s. Now, as these tetrachords are alike, it follows that any tetrachord may be considered as lu in<,' either the iirst half of one scale or the seeond half of anotln'r scale. Thus: — SCALES •illUMl t'Ccl' si;i.s- iilso known liv >al sciilc, ciillfd K'SC llu'ci' Well' iiui, tliiit is, (Iif i)ti/i/ilii(ii ; tln.'M.' ki'vnotc; l)ut a luillirntii' niodt' rn luujiir modi', hat a nicliidv in 15 lit No. .") was ■i'dro I'lidiiiL,' (111 I is tlic iikkIltii all' l)f<,niis with 1(1 in tlic sfiii'S. las always liccii [III' other scali'S The first Ihiiij,' iito two ' »--'J"- C, 1), K, l'- (1. A. 15. V. first huU'ofC. and j ^.^ ^v, I'.^C, seeoiid liiilf •>!■ <-', and iirsl hair ol' ■. rj^i:. -I i' "-.v I- '^i- •■■■ ' J-' "■■ 'i,''- '"'^ |,,|„„-) as (• I); tl.is iH ...ll...! a » '• If "■'■ "^'"""" ""■ »«''" "' ' ■ "' si.aii lirni .i,;rt.v,. ..!■ .1.- *. Is i„ i. .,.,. smaii.T ,i..u, "I;;;'''''-- ;';;;,'»;',>■ ,.; K „,„| r. r, l.air *|.s. T.. .lisli,«..W. tl,.-.... .. s,.c..i..l «.ll. ■' I"" -" I' ;,; ;,M ,.;,u,..i .. .,..->.■ (i».^-.-> « -i- ■' "»' '«■ ^'•'■" "-^ ■" "- "■"■" ■■' C there are live major and two minor seconds. J >"nd^r MTTir Min.-r M.jor M.^r M.j.r Min.>r .eruna. seco,,.!. se.nu.l. mt...!.!. s,m-..„.1. scco,.!. src.m,!. We nav now define the tetrachord as consislin, of two maj.>r seconds f„Howed l.v a minor second: and the major scah- as cons;stn.g of two the hrst), seven of each interval may he f-nnd m it. \N e h.ue aln ad> found seven seconds. THE ELL MEWS OE VOCAL HARMONY 'I'lio iK'xt interval is tlio thiv ;? \ ■) On cxiiiiiiiiiiij,' tlii'so, wi- liiul that Nos. 1, 4, uiul "> aiv liir<,'cr tliaii (lio others ; tliat is, they eoiitain ta-o n'livlc skps, the others one whoh' ami nnc hall' stei). 'I'he third with two whohr steps is called majui: The third with one whole and one hall' step is called rniniu: 'I'he J\>urth includes four letters. 1^ Six ol" these are alike in containint^ two whole stej)s and one hall" step; they aro called jtei'l'eel fourths (for a reason that will appear in ^nod linie> No. \ is calh'd an .r sirths ; the others, contain four whole steps and one half step, and are calle.l nu.jov siAhs. tS.. we lind that when a inaior inti-rval is inverted it produces a minor, and the reverse. "The next interval is the .n-eidh ; this is found by inverting the second. 1 Thus the inversion of the two minor seconds produces two major sevenths (Xos. 1 and 4), containing live whole steps and one half step; and tlit; in- version of the major seconds produces live minor sevenths, containing live whole steps. The ovbnr comes next, containing six whole steps; it is called jKrfrt, and all the octaves in the scale are perfect. It is more convenient to use the half step as a measure for intervals than touse whole and half steps; therefore we shall in tli(! future use the half ste}), or semitone. It will be found that bv adding together the number of half steps in any interval and its inversion, the result is always twelve, the number m the octave; therefore, to find the number in any large interval, subtract the number in its smaller invei-sion from twelve. 'Hms the major i 'cond has two half steps, therefore its inversion must have ten. 6 THE lU.EMEXTS OF VOCAL HARMOXV RECAPITULATION il Thuro arc seven of oacli <.t" llie iiilervals, so far given, in the major scale. Seconds — five major, two niimn. Tliinls — • three major, four minor. Foui'lhs — six [leil'eet, one ani,fmente(h Fifths — six jierfect, one diminishech Sixtlis — four major, tliree minor. Sevenths — two major, live minor. Or, arrant^ed aec-onhui;' to their inversions, — Five major seconds inverted make live nunor si'venths. 'J' wo minor seconds inverted make two major seventiis. Three major thirds inverted make tlnve minor sixths. Four minor tlurds inverted make four major sixths. Six perfect fourths inverted make six perfect liftlis. One auLimented fourth inverted makes one diminished fifth. Tlie inversion of major ])roduees minor, and the reverse. The inversion of jierfi'ct pnxhices perfect. Tlie inversion of autj^mented prochiees diminislied, and tlie reverse. An interval and its inversion together make twelve half steps. It is necessary now to say something more ahout the scale. Every degree in the scale has a name. The first, or keynote, is called the Tonk^ the ground tone, Ihial, the starting point, to which every note and chord in tiie scale is referred. The second note is called the Siiiir/idiiic, that is, ahove the tonic; the third is called the Mnliant, meaning middle, for the following reason: the fifth is called the Dnmiiunif, which means ridinfj note, it heing the note that hears the harmony that decides the key (see note); and the Mediant, or middle note, is so called, hecanse it is halfway bt'tween the Tonic and the Dominant. The fourth degree is called the Suh- dnin'nd/if, that is. under Dominant, hecanso it is the same distance helow the Tonic that the Dominant is ah'»ve. The sixth degree is called the Sub- J' L'li, in the nujor fifth. llic re verso. I' steps. p scale. Every eiilled tlie Tonic, loto and elinrd in ;inrtinui\ that is, r middle, for th(i leh means rulimj des the key (see mse it is halfway is ealled the Suh- e distance helow is ealled the Suh- SCALES ,„.,fi,„t that is under Mediant, heeause it is halfway between the l.mie .,nd the Snhd..n.inant. 'ri.e seventh de.^Mvo is called the Lauluii/ tone hceause of its tendency to ascend, or U-ad to the keynote. Toiii Mniiaiit. Doiiiiiiivnt. Siiliiiiciliaiit. Sulicliiiniiiaiit. NuTK -Tho nanw ,l..nnnant l.as Imv,, retain.-l fn.,,. thr ...rlrsiastical syst-in, ^vl..•,•o it was usM will, a .liir...vMt uu-.imw^, n:um'U; it was ll.. iv\u,\vA vvclUuy; ucte, an.l was licit alw;ivs the tU'tli digrce. REVIEW 1. 2, (t o. called ? 4. Tt. 0. 7. 8. 11. 10. a sixth U. letters 1-2. i;!. It. IT), step? 10. What is the moaning of the word scale? What succession of sounds constitutes ;v major scale? If a major scale is divided into two groui)s, what arc these ^M'oups What is the nriangcmcnt of whole and half steps in these groups? What is the interval hetwcen tlie tetrachords? Which iialf of a scale may every tetrachord be? What are scales called that have the same tetrachord? What is the dilTcrence in pitch between two sounds ealled? What tletermincs the name of .".n interval? How many letters are inclu.led hi a second? a third? a fourth? a llfth? ? a seventh ? an octavo ? Is the name of an interval changed by making either or both of the sharp, or Hat, or natural? Which is the smallest interval? Arc all seconds alike? How do thoy ditTer? What is the second with a whole step called? The second with a half What do major and minor mean? I i I 8 THE FJ.EMEXTS OF VOCAL HARMONY 17. II(nv iii.iiiy minor kccoikIs in tiio hchI.'? |M. Ili'twct'ii whicli (If^'iVfN of till' r^(':ilf do tlu'V oociir? I'.l. How niiiiiy niiijor mcoikN in tlic -^ciilf? Wiicic! do tlicy occur? -'(». How iiiiiv Hie li'truciiord now lie (Iclinod? And the scale? •Jl. How many letters are in tiu' .scale? •11. What is the ci«|;htli letter? L'.'i. How many of each JMterval may l)e found in tiic scale? '1\. How many steps in .a major tliird? In a minor third? •i"). How many major lliinLs in the scale? On which de-rroes of the scale are they found ? •JC. How many steps in a perfect fonrlh? 27. How many perfect fourths in the scale? •2M. Wliat i.s tiie oilier fourth in the scale called? How many steps in it? On whicii dejirei' of the scale is it found? •j;». How is an interval invi'rti'd? ;il>. W'lmt interval results from the inversion of a fourth? ."1. If a perfect fourtii is ic/erted what kind of a lifth results? r>J. How many pt'rfect llfti ; in llic scale? How many steits in a perfect lifth? ;i."'. What kind of a lifth results from the inversion of an au,i,nnenleil fourth/ How many steps in it ? ;'>l. On which decree of the scale is the diminished lifth found? ;!.'). What interval jiroduces, when inverted, :i sixth? ;t tlicy occur? lie sciilo? icalc? lini? ih'<'roos of tlio scale arc low inaiiy steps in it? til? 1 results? any steps in a jjcrfcct an aujrnicnteil fourth? Ii found? SCAL/iS Ary How umy the number of half stops in a Uirt,'c interval be found? 46'. If an interval has three half steps, how n.any will its inversion have. Five half steps? One half stei)? 47 Whatiutervalhas throe half steps ^ ., . , , v Ih. What two intervals are alike in the nun^ber of half steps they mclu.le . - Whv do they bear ilifferent names? ., • .i r.,- . r.. What kind of second, third, fourth, fifth, sixth, seventh, .s o,» the lust de^M-eeof the scale? rUepcat the question for every detirec of the s le.J r,0. What names arc given to the degrees of the scale i 1 What does S..pertonic mean? Why is the th.rd degree calle.l I e .- ,,„;:;? Why is the Bixth called the .S.Jnn.Uant ? Why is the fourth calle.l the V> Why is the fifth dcfrrec called the Dominant/ -,;5. Why is the seventh degree called the Leudnii, 'J one. idtiuii interval? WJien s inverteil? \\lien an nianv minor sixths are a m.ijor sixth? h? How many major seventh? ts inversion are added 10 ////; /:i./:M/:xrs of i\u:u. jf.iAw/oxy ClIAPTKIi II M 1:1.01 )V 'i: MKLODV is a suc.rssi.wi nf soiiimIs n|- .liU'riviil pKrli : in its sinipl.st I'nnil ill! tllrsc sollllds Lrlnlit.- |., |i„. s.iii.' uy k.'V ill ui,i,l, tllC lllrl- 0(ly is writt.Mi. Hut this siicucssioii ,,|' smiiids <.f .lilVrivnt |iit.'li is iw-t •'""".-'' "f il>^<'"' <" I'lM-llKv ;, l,„in,|y. 'I'll,, s |,|s inilst l„. 1 |, yl lllllic. Hint is, tlicir iliirati.pii must he rc-iil;ilf«l I.y sdiiic staiidiinl. IMiUliiii is 111., nruiiviin- of a stivss ,,.• if.r.il at cpial i-nio.Is of (ini... Tliciv aiv two Isiii.ls: First, tiu- priinan ilnliiiii, wlii.l, is tl„. ir.r„lar iv.ur- ivi..r just .ii,.iitin,H..l: as 1-J, "l-li; .,r, l-l.'-:i/l-:2-:i. S...M.n.l? Hi., s.c.m- (larv rliylliiii, Nvliicli is ma.lr i.v (livi.liii-r tlu- r.|uai jailscs nf tlir primary rliytlim in various ways. Tlu- primary rliythm is iiKJi.atcd i,v tli,- tiin'c si-iiatuiv: llu" sccomlary rliytlim, I.y the valiifs ol' th.' iK.t.s in" whi.li the liu'lody is written. Ill till' mclodirs that follow, examples of nearly all (lie intervals that may l.e found iii the seale of C are niv.'ii. Students should nive the nume of every interval and its nature, that is. whether miiioi', major or perfeet, etc. ' tJ -J -J -r1 I li: \^-A — I ..:J ■0 ' '^ ^^iL^iN -t:::-J fit ^ _; ^ij-it- ::^ii^-^i ti?iaijp^ro j/c;A'i' M F.I Aim- II 'iti'li : ill \u sini|i!tst f.v ill wliich till' 111(1- illVlflit pitrll is Mot ' iinist !)(. iliy(liiiii(., iiiidiiiil. ipiiil pnidds of (iiiif. is the iiMTiilar ivcur- SfCdiid. the sicoii- llscs nf the jililiiiii'V lii'iitfil liy the tiiiic iidtfs ill wliicli (lie I 'lie iiitcrviils tliat its sliiiiild !4ivi' tlic ler iniiKir, niajor, or TTJ II -J--— f. — I -t J] • ' • ,2^ [(?]n"i^.i.-i-T-i-^"^f^'::iji r J — r I • — ~~^ . 11 '" ''"■ ••^•""1'''' ''''" f""""^' •'■M'" "f ""• /> *■' • * ^i' * I ' „_r ,-t:' U ii.Miiil intfi\,ilr.arc iiiir...lii..'d. 't7 Tl..' iiiakiii- of ii nnnd iii.'lndy is u iiatural -ift. .wt (Iinv an; (■.■ilaiii Maliiral laws to wliirh all -ond nulndirs ruiilniiu. 'ihr simplest f..nnof lurlndy is callrd l.vrir. or son- lorm. or '/"'"•■■ l'"nn. fn-n. tlu- tact tliat tli." inusi.."f.a' danciiicr was onoii.allv sun-. Thrsr .la.i.ii.- sun-s wnv .'allrd ll.dhnh, tV.mia i.atiii word /■''//'/• t.. daiuv, rmni wliMir.. conic alsn our \v,,rds — A.^//'7 and h^iH. It was pmhaMy tlic ncrr sily I'nr exact iiK.vcinciit ill daiicin- that liist .•mni-cllcd music t,p he ihythmical. The -rival iiiajniity nf lyii,' nich.dics will h.- found to cmtain siMicii measures (.MJled a y»Wr'.-/), Willi a markc.l pause, or arivst ..f mulinii. in the ei-hth mcasuiv, dividiu- the me!o.. ,1,,.... .h.-nls an- iM.l.ulc.l all (I. I' .!ci;iv..s III tli(. seal... 'ri,iis: — 4 A (' .Siili.l.iiiiii.atit (.|,()i'.|. « ^ K CJ 'I'oi.ii. cliord. 1 3 fl 9 1* '> noiniiifii.t (.1.01(1. 5 7 rtli.ri. riii-i 'lini> I mmmmmmm i/i'xy .]//:/.o/>y »3 ninl is ;t (I.'scciit, or iiitn 1\\(. l'i;iL;iii(iits M may Im' cniiiiian.il tf ill itscir, 1)111 if ui) Mnf Ik- iiiistaKiii fnr ly as aids. K' llist. tliinl. nr lil'ili I'll tiiil (.11 (li,. lifili. lii-t, lliinl. and lifili, iniidiiii,r (n^^rrdii r (lie iiiliaiit rlmi'd. I'xilli ■llnid (siillli'tilllcs til(> kith sccdiid. tii'lii. nr ,L,dii with the ruiiith. t' wliat is called ihc ids aif iiK'liided all l>()iniii!iiit clionl. Iniiiiiiant and tnnip, nsidcr (lie ti.nic as ' I'xtieuio with die tfoiiicf roniaiks. Iini> r3 Moth ^flll'lll I'lllAM riiiik." MuiiM'. Moiiu'. Moliuv mmuvu. .,..,.... > ' I # • r , I 'Hiis isuKhnpl. .'xaiiipl., .vs.mhliu^ . " l..lKs.a.y.-' Obca^c ih. IwU iiiwiii'' I'i"''^ altouL it : - , ,i ,,,1 l.'l, l.,.,dns nn tiu. Ihinl d..,MV..; tlK. lirst ,,lnas.. ..ids .„, Ih. ^-nd .,,„.,,,,„; Uu. lirst s....tinH -nds nn tli. Uyun.-: llu.thnd pl.ias.. .uds ..u „;s..,nHd d..„v..; th.....n,ld snti.... .Uds .... til- k.,..nt.. (..•.. .• n. Th.Mi,st ,;;..iv..nr cvny phn.s. l.,i..s with the sa..,. .hyth^^^^^^^ s.on, nauudv, a dm,..! m-.H.'^ ^•i;;!'^!"...!.-. un. tun nua.u.s 11. M ,,.stmntiv.;.ni...s,.o,,da,,d las, ,.l.ras..sa.valik..; .!..■-■ ";"': U... sanu. ,.l..as..s a.v alsn aiil.^ |.xn,.t that ill .hi. las. nl.n.. tl... las . „nt.s aiv a., ncasi- hi.h.r. Sin, th. .mdndy, and uhs.-nv how inuidi t ,> sli.^ht .ha.iu.. inti.nsilU.s th. .tiVrl. The son.nd scctnm hi-n.s .m .h. si'cuud dfUifc (if tl.i' scale. Si'i limi. i'lir I'lira-i', Muii\L'. MnliM,'. r*if» t t-:; *-• ■L-^JP^- 1 i-# Ml.tiM «. MnliM'. '^ O 1 '^ . ^ P'Oi-'Iff'fl It. p SlTtlClll. I'hnis I'll Miiihc. Mc.tivo. Mi.livc. iXlL f- I t— — ' -. '^ rmnil. Tin. n.id.idv hi-ins .m the kcym.te; th. thst phrase ends nn the seventh .l,„,ve- til.- seVn.id and hmrth sections end on the keynote-, as in t..- h..'n..-r example-; the rhvlhmic form of the first motive is ivp..-ated at the bey.nmng 14 THE i:ij:mi:.\ts of vocal jiarmo.w o cv.MT phnisr; tlu. last ,,I,rasr l„-i„s witl. xW sanu. nu.tiu. as H . sen.,,,! )l)srrvr tl,.. rlLcl thai is i,.n.l.UH..l l.y tl.r slight d.ang. of th. l.rst luutivr" I'.v ^^.In-' i n In.-.nnu.s tlu- thinl n.miv., uaiu.ly, the s.nm.l ■■..asur. i« ,„ovc.i a lh.nl hinhrr. I he s,.„n,l smion hc-ins ,.,, Uk- «ixth .,1' tlu- ..■.Ic It 1UU..I nnUn. sui.i,..snl .hat all b ,■;.■ Mu.hKli.s InUnw tla-s.. si.npl" '.noil.ls la..v varutu-s uill h.- puinlr.l .,ut wh.,. sutliei.nt knuuh.lge of hartnonv as licni yaim'd lo luakL- llu'in iiilflli-ihk-. 1. REVIEW I. \\'liat is a mrlodv? ■^. WUM. utiuT quality nu.st scu.ls ,.,.ssoss in acUlilion to dinv.vnce of ,.i Jiitcli o- Wlial is riiyliinr:' •1. How is riiytliin (iividod? r». I >i'liin-' primary and secondary rhyUim. (>. How is primary rliytlun indicated':' 7. How is sec'ondaiy liiythm indicated? .^. Wiiat name is o-iy,,,, «, tiie simplest form of melody? '■'. How many measures con>titute a lyric melody? 1<>. How are they divided? 11. Ipon uin,.h de-rees ,,f the scale .lo these melo.lies generally he-nn? 1-'. I poll which chords do 111,, plirases end? ' ° '•'•'- or which den-rees ot the s.-ale does the tonic chord consist? Tiio d..n.i. iiant chord r I'ho snhdominant chord ? 1 I. Cive the letters forming; these chords in the scale of C. 1.-.. Which d.-ree of the s„de is cnnun.m to the tonic and".Iominant chonls? \\ Incli to the tonic and snlidominant chords? VA/OAi' TWO rAur coMii/xArioxs »5 f iiiotivi' as tl\'S(T..H(l. uj^v of thu lirst motive, 'I'oiid uuMsure i.s movi'd sixth of ill,, seal,.. Jt v tiifsc siiiiplf models. kiio\vle .;.."•.. ;,: ,. T,. s,.„. .u>, u. ^;\^ix r:!;;t^:-,„, .i„. .1,0 .xu, Ko. 3 is the inversion ot No. I, Nvm^'i ^. heh.w eaeh degm". _^ , ^^,^^j^, ^^.j^j, .j.o sixth No. 4 is tlie mvorsioii ot N<>. -, \\iii*^" o' ahove each degree. . , . , p A to (1 l'>, i„o- 111 sueeession the tluia>, ,i,..,vfore thev mav he used m (U'seeiuling. i m u is • measure s Die same as ll.inls „ml sixths t,. 1«- ^snlWn in sn.-,-oss».n. Wl.i.-I, is tl.e k,,st agn-oal,!.' "f lla'so »i.,,ncn™» I ^1 16 No. 1 7y/A- /-.LE.ULWJS OF IVCAL llANMOXY * No. 2 No. 3 . g ^^:i3: ^ g 11 *~* ^g3g::iC:>^ t^ -o- No. 4 D ,._^' >y ^ ^ ^ D No. 5 "i^mmnm^^n-fm^ , - 1 ^ -:? No. 6 __ J I I f - r I I r i _. No. 7 ^ I I 11 -- .^ ^ r- In tlH> K x.Mvi.sc..s tl.at f..]low. point out the suoccssions that are to be louiKl III tlu" torcn-ojiijr se([Ueiiic.s. }A'V :2--0=l; '^ <■' '- D wwm -->- ?■ ^ -c>- i\z3- -1 : f ':- "^^ D IS that arc to be ^^^iM. TWO-PART COMBIXA 770.VS 17 4 . J I I 'n H ■f 1 I e.\'^d'-' r # ^ fii-M-i^ Write thinls an.l sixths b^lnw tl>e follouin^r .xanq-h'S. T.n.k jit the nJ;tn inCl.pt..' VI about the .o-nbination o sou,., s wUh w Wh . ulhHlv begins. Look also at the rules and exau,,.les .n Cha,t- \ ^ -^ n 'I 1^ i8 7v//-: j:lj:Mj:a-7s of vocal jiarmomy vc (lie vnric.us ways in wliicli twn-piirt music may iK-in uikUmuI. Obscr,. .•arciiiUy tin; iviiiark aliouL tliiids on tlii' lourtli ami lil'ili „r Hh. scale in CliapU'ilII. Write a scqm'iici" cf aJtornatc lliinls an.l sixths 1pc1,.\v tlio following melody (No. 1;. Write a seiiUciicc ol' sixths and thiids below Xo. 2. No. 1 - o— ^^ ^\^t\ - •& 1 -,'5' -It § -=t- «5S =1 •3] r-zT- e^ I L'-r^t :z1— 1^': t^l\^ nTliL'iy :iie tliroe su(jiiciice.s in tliifi. 'I'lic last four measures are not in .se<]uonue. No. 2 «-__ -i5( ^ -rl ^^s r-p a* .. I •5' -IT ^ 4= Etdi^D REVIEW 1. AVhicli fliinls slioiild W MVoiMtnl in siiccossioii ? '1. Is tills succcssidii tMiually inipK-asaiit in dcs.rndin- as in MscMidini;? .'{. WluMi this siicci'ssion is invortod is its Inushncss still i)(T(Ti)tiblo?"' 4. Wlwit is meant by a sc(infnee? n In which voice in two-part writing shouhi the leai) of the aii-niented fourth bo avoided'' ■y 1(1 (.'iiil. Obsfivo ill (if llif .scult ill i^m '-ifEl im\] i \v tlio following 'low 'So. '2. I ^ ' tliive su(jiiciice.s in last fdur iiiuasurcs ■c'(]uoiiue. r> -' r-^ !is('('ii(1iii!;? ■(•jjtiblo':' the aimniciitod ■JJ//' OCTAIK 19 CllAPTEU IV THE OCTAVK THE next intevvi.l in in.iul of agivo.blon.ss is the octavo; but its use is ivstvict(.-a by the following rules: 1 Oetaves may not be wntteu in sueeess.o.i like thirds or Mxths tli (. J's^^. stand alone, having some other interval before and alter ''"t The octave may eon.c in only .hen the voices are moving in '^''^'^^rii an octave to an interval does not change Us name (modifications will be made in due time). Thus 2 V I .,re both called thirds, although No. 2 is a third plus an octave, making a .t Now, as the octave must be approached by the voices moving n !;;;ltite directions, it is evident that the interval before .t must be cither less or greater than the o.Lave. e 2 J (5- J '> ^.. ' '' •<> -> -V Those examples give every possible way that the octavo may occur, preceded bv a third or sixth. • , , . In Nos' r, and (i one of the members is statnuiary, v. '., belongs to both chords. This is called vhli'l'W>tiW jlii j i j ii tf' - % 77//C i:i.i:mi:xts of vocal jiarmo.w ri> No. 1. Octavf pivcTdcl I.y tontli, ((.iitniry motion. Nns. -1 and ;{. O.iiivf purrdr.! I.y tnill., oI,li,,,„. motion. Ilif tenth is the lai-cst intrrval admittrd in two-pail mnsic. TIics,. snr.M.ss.ons n.ay all W ma,!,- into sn,n».nci-,s. As a -nidr lo the stnd.'nt ur K'v.. two iiR.asnms ol' ,,u.i, .su,.,..-ssion umin-,.,! i„ .M.,,nona" Thi studiMit slionld linish tlirni. sc No. 1 A.sii'iuiing. I)i'!*icniliiiR. 1^^ ''\y U^ "\ No. 2 Awviiiliiijr. DcM'oiiiliiig J I ' I I ' I siq ,i -, No. 3 A.-^ci'inliiif,'. DcMTiKiiiif;. I I j I I No. 4 A.s(Tri(liiif;, T'r- Dosceuiliiig. "J ii 1^. No. 5 AMciiilii];:. DcscetiiliTii,'. No. 6 As<('iiiliii!,' J Di'.'^cciiilini.'. I: M^ ^H M: ^^ ^1 I I •^ ,o Wlirii t.-acliinL,' a class, tlicso sf(|ncnf('s sliould 1)0 written on tlic I.lark- lioanl, and snn,<,'. and attention should he diiveted to the ioUowinj;' pc.ints: 1. Some sound much lietter than otheis. •1. 'I'hev sound ditlVrently aeeording to the degree of tJie seale on whieh they occur. ;5. 'I he elYect is alway.s bad when the h)wer voice leai),s an auniucntej fouith. 4. The elTect is l)ad wlien the octave occui-s on the leading tone, there- fore the leading tone must never he (h»ul)h'd. We have, so far, obtained yuf rules as to two-part writing: — \'J- iiidtioii. lit iinisic. Tlicsc li' ((I llic studfiil, 11 .S('(]UfIlCl'. 'I'llf Dcsct'iidiii''. ^-~-fi> i' ^ •i- I tit Descciiiliiic;. I 'A » I I>i'S('ciiilin!j -5- r. I I i I tti'ii on the hlaok- l'(illi)\viiin' I'oiiits: 111,' sfiile on wliirli THE OCTAVE 21 ' 1. Do not ^^•rito in suooossion tli. major tliinls on the »ul,.lu.ninuut un.l ''''•■:r'lir:nX . l.ap of angn.ontoa fonnh in tl. /.n . ^ ;., Do „ut make an .u'tavi' on the U-a.Ung tone. 4. Do not make sum'ssions of octaves. . ,. . . .,„„„,,,,,„ ;-,. Tl.evoi.vs must always m.ve in opposite directions to an octave, unless one voice is stationary. REVIEW 1. <■■> < . '.1. 10, Wh.t interval ranks next to the thinl a.ul sixth in agrecuhlonesB? Whtit nilo imist he ..hserve.l in using octaves.^ How nuistth." voiei'sniov.' toanoetavo.'' "s e uhhtion of an oetave to a smaller interval change . s nan, V ■ t nn. is .iven f. the motion when one of the parts is s atuma , V a "he n,.^ion called when the voices move in opposite dnvetuj > wllal Is the motion called when the voi<-es move in the same direction. What is the largest interval admitted in two parts Dm whieli degree of the seale is the oetave forbidden . (Uve the live rules that must be observed in two-part wntnig. II ps an augmented iding ttme, tliere- ing: i lii H .i M ii i'irir i ""-'-'''-- 1 11 1 1 "'"^' ■■'-«»"■>■ »»«>«■»■- 22 THE ELEMI-Xrs OF IVC.l/. //.l/^.l/OXy ulways Stan, alon.^ tl.^ ..IM an.l r..!,......, ,. s ^J! Z^. N.t . Also, hko netaws, tla.y u.ust I. tak..,. Uy ,1... vni,.. n.nvin. in «l-l-s. . .lMv..t.ons, ..x.v,t in two c-as.s. A.ain, lik. o..,av..s, tlu.i. Sv ' qn.n.ls v.-.v nn.,;!. on tl.o ,l.,„v.. of ,1... s..!.. on uln.!. tl.n- o.-our tlu..v a.v s.x iH.,.,.„.t ,i,„,s in ,1.. ...1.., .a.!, of tl.. follouin, sueo..ssi,; |.ayoc..-ur s.x t.Ma.s: ,1.. .xan:pi.s that follou- .ive .vcn- ^un■ in 1 ich It IS possihlf fur tl.c lifth to o,x-ur. ^ ^ ' 2 3 -t^- — I I^^T 8 ■f>- -&- _r, :_ *" " -12 13 14 15 16 17 No. 1 is not vm- aMivcal.!,., ,.x-,.,.,,t wIum. it iH.uins on tl.r sixth of tl.e •M'al.. I ,,„s: .W' follouv.1 ],- (M). Wlu. it iK.^ins on tlu- tiftl. of tl' «eale .t is intol.Tahl... Tln.s: (iJ5 lollowo^'<- •! -'.1 - ar.. ......1 ..n any .lo^nv. ^.... .S to 1., sound wc.ll on any ,l.,^nv... ()hs..ne that .,n. n.,to i.; .sUiti.m- yy tlic i.rrf(Tt fil'tli. •cssinii, liiit iiiiist ,>/>rrfrrf cnso- luinccs. Tiie i.crfirt lifth and ..clave C.iud the unison; are ealle.l jxrj.rt '''''Th'e'inipi'rfi.ct cons.manres are so callcl because they arc equally a-rec- ul.le whether major or minor. The perfect consonances arc so called hccausi' any alteration ..t tlu-m produces a dissonanci'. A ,h-sson.n,rr is an interval of which .Mther or hoth of tlu" sounds com- posin.ir it must move in a certain direction, that is, one degree up or down. This is called the ri»ithitl"n of the dissonance. In ad.lin-r a second v..i.'e hch.w the following cxami.les use the octave an.l lifth, buU.e careful to have a thir.l (..r Lmlh) ..r sixth l.ef..re an.l after everv ..ctavc ..r lifth; also. iumU.' the v..ic.-s move in ..pi...site .lirccti.ms to the '..ctavc, also to th.' lifth. ."xcpl in ih.' .'ascs giv.-n m the examples (page -I-IX • • 11 4 Although lifth mav follow octavo, and (.ctavc folh.wlifth.it is w.-ll to av..id these suc.-.'ssioiis. on iic.'ount ..f their unmusical clTct. In Kxample 1 places are marked wh.'re ..ctavc ami lifth may he usc.l 41 i ■ f ' n ' « 24 77//-: A7./;.)//;.\7-.v or i\^ca/. //./am/,).\ »• Ex. 2 f^|.;.|-Tn-MFr|-jJ|J^-ir7Fll Ex 3 iJ^I-..LtH. r n X-i* • •U #1^ il'. •!• • #1* • •!* ~^^i ?TT n Ex.4 -». — ,- -"• • I • ]. « '^ I ■" 'L-^ * " # TT~n ^ ' V. ■.**** I ^ t • I _:: ^^r ... ^ d U U TliiM" iinlotUiS >liiiiilil 111' lr;iiisiMPsi'il t(i ntli.'i- krys ainl nwiitli'ii rciicitcilly. REVIEW Wliat iiitirviil ranks next to tlio oclav*' in njirocnMonoss? In what ri'>ii<'cts (lni>s llic nsc of tlic lil'tli rt'scnililc llic use of the ootavi'' Which tliinl and llflli in tiic scale slionid never lie written in succossiou f Does a snccosion of tifijis and octaves sonnd well? In wiiat cases may the liftii he taken in direct (or parallel) motion? May tiie inversion of the pi-rfecl llfth lie nsed in two-part writing;;? AVIiat are the intervals so far ".'iven calhd? W hat kind of consoiianee> are the perfect liftii, octavo, and unison? Which are the imperfect consonances? Why are liiey so called? A\'hy are the perfect so called? \Vliat is a dissonance? What is tlii.s motion of a di.s.sonance called? ;i. 10. n. \-2. 1.!. r- 1] 1 3 ^' - 1 0^ ;::r % W '(']icat( .Uy. D n isi' of the ootavi? ■II ill suct'c'ssiou f lol) inolion? rt wriUnji? And unison? AlG.\fi:\Tl:l) FOCKIII AM> IIS iMI-KSlOX «s CHAPTER VI ArC;MKNTKI) FOrUTII AND ITS INVKUSlON MrSK^ would sduml vrry tame and uiiiiitfirstiiiL,' ii' it wfiv mad.' up s..lily (.f consoiiaiic-s. T(. ivliovc this insvi'litv dissciiaiin-s iiiusl l,r used, l.iit always in confoiinity with llu- luK" tiiat iv-iuims thrir rt'solulioii. After the (•(.nsonaiioos, the intervals that rank next in aj,'roeal.leness are the aii-jnieiited fourth and its inversion, the diininished liftli; as there is only (.ne of eaeh in the seale their use is .Msily learned. 'I'lu' eharaetei- istie c.f an au^'iiiented dissonance is that the sounds sei-ni impelled to tly away from each other, while those of a diminished dissonance want to approach each other. 1 2 ^--^ Y'C^' 1 '^-- I; - 1 I No. 1 is the aum I >i i,>o ;>i ii « i«iiJi«,R «^iiw rf ' i ' i g^^lL -- I ■ h 'I r 26 7///-; /-././iwr/cA-js or vocai. iiarmow 13 14 IS 16 17 18 19 I ao 33 «v »u 31 32 33 24 6 ^ • :'^' ^' ""• ' —M^ --^ I 33 J.J -^ I 98 26 I I 27 28 29 30 31 '•tT ^^ ,- 1 - ,_ . I p f- ^ ' j f- - ' t- F t- ' p t^ ^ I [ F- t- * Niis. 1 tn :'. sliK.v wliiit tliinls iiiiiy inccfdc llio aiiu'iiii'iitfd ruiirlli. Ni»s. \ to S slidw wliiit tililis iiiiiy pivrcdf llic an,<,'iii('iiU'(l Inuitli. Nns. It Id |;', sIkiw \vli;it sisilis limy prcccdf tlic iiii^niiciilcd fmiitli. Ni>s. 1 I III Is sIkiw uliiit (ictavfs may ihvcciIc tlic aiii,nMfiitcd I'oiiitli. Nns. l!i tn '11 sIk.w wliat t.'iillis may |itvct'dc tlic aii^'inciitcd I'niirtli. Olisci'Vf particiilaily tlial (lie lower iiu'iiilicr is iicvcr ap|ir(iaclii'd by a leap Iriiiii alins'f. I line arc iint jicaiiy so inaiiy ways of approacldiiLj llic diiniiiislifd lillli; owiim' '"> lln' I'llc lliat two lil'tlis may not lie writU'ii in .sucrrssiitii, 110 lU'lli may pivccdc it in two-part wrilint,'. Nos. -IW to -js show what thirds may precede tlic dimii ''"'d (iftli. Nos. -J'.t and ;l(l show what sixths may ]iivcod(' the dii linishcd lit'th. No. -".l - the oidy octave tlial may picceih' it. (Hiscivc tiiat the upper nieiiiher is never aiipniiielicd hy ii V\\\s from ahove. We Iiave now eolleeted e!iou,i,di material fn eiiaMe us to Avrite voiy I'il'eetively in two parts. I'.ut a few additional rules are necessary yet. If the melody lK'.t(ins on tlio keynote (situated low), beffin with the unison. Ff it heoiiis on the third of the scale, the second voice must liave the keynote; if it lieL,qns on the lit'th, the second voice nui.st have the third; 18 -h'-^,-] ^•'i i-^-' 24 .L^ -su :^ I ^t I f ]^- 1- } tfd ruiirlli. [■(1 riiiM'tii. Iitctl fi.-.iittl. iiciittd I'liiiitli. ciltcd I'niil'dl. ilplirdiiclll'tl I13 !l j; tlic (liiniiiislifd .vu ill siu rcssidii, ■'■'•"(1 (iftli. iiislifd lit'lli. Ity 11 Ifiip from IS to Aviitc voiy '(H'ssiirv yet. , iM'ffiii with the vi>i('(> must liiivc st have tlie third; AirG.\fi:xT!:p fouktu .ix/> its L\Thh\stox 27 if itlH.K'ins.m tl... ..rluv.' of th.' k.'.ym.t.', th." s.r.m.l vn,... may hiivo th.- koym.tr, ..r the third. As a iiudo.ly -nu ndly rnds m, tl,- ^yuAv ur its ootuvr. the ser.nid voire m;i\ end uith it, in uniM.,, .m llir K-'Mmf; :n,d if the melndv ends oil the oetave ui the keyiml.., th. seenM,! vmrr nuy cud on tiie third! or the keynote, or in nnis..n with the hrst v.M.e W hm nmeh-dv end on tlie tiiinl, th.' sr.nnd v..i.v must .'ud mi tiir k.Niini... It rarely happens that a imdudy ends on the lillh, hut ui.n it .h.'s, the seooiiU voiec must end on the tliird. KXAMl'LKS OF VAlllOl S ItKdlNMNCS AND I:N'I)IN(;S 1 ' ^ N I ' *i , .. A , J *• i f{ f I t I 1 u ^ I ' I ' r ; 1 I 7 8 9 10 11 Nos. 1, -2, 3, 4, and T) are the various he^nnninss, and Nos. •'•, T, X, !', 10, 11, the various endin},'s mentioned ahovi'. Tho nudodies that folh.w are for th.> stiwh'Ut to put a second part beneath, ftccordinj,' to the directions ,1,'i veil. Hefore doiiif,' tliis, examine and analyse the exorcises on pp. 7S, 70, iuid SO in tlie I'irst Header of the "Normal Music Course,"" uunilMivd It'.t) to ITS. Ohscrvo how they Itegin, how they end, what intervals arc used in them, and whether they are major or minor, etc. Ex.1 Use the (nujmcntfd fourth nt fvpry nppnrtuniti/. at rrfiry nppnrrunin/. :S^iig!iMta^_£; I ^1 ^1 1 • D ir r« J ')*« g Wf'i I S 'I 28 THE KI.EMF.XrS OF VOC.U. JfARAfO.W Ex. 2 i-j^i-^^mJri^^uumwii^Ei Ex. 3 %^ii^mmwm iii^:^!?^^^] Ex.4 :^_.^f::^:-:-|r -• ^$iniw r - . -[^f ] ^-^ # iJ: D Ex. 5 •.iillMl^^^ *j , tf"^ mMLltlElTlIItETi:^:!] ^_|:.- 4i:J.^iJ^_|:zi.tz, U.5 REVIEW 1. "Wliicli (llssotiant inforvnls rank next in njirocalilencss to tlio ooiLsonant infoi'Viil.*^? 2. A\ liiit is (!io iiiotv)ii of llio sounds coniposiiig jiu migmcntocl inlLTvai? ^\ll;lt. of the sounds ns j.\n:Rsio.\ 29 5. In what Nvny i.k.v tl.o ni-l-* r i.i-.mIht of a aiiMinislu.l liltl. not l.' ''"'T How luu.t tlK" voirvs lu.^i.i wlu'i. llu. uu.ln.ly 1.. i:i.s nn tl.e kryn-te situ- '"'' 7'."\f Uie nu'l.-dy lu^-ins on (he tliinl cK-ree, Nvl.e.v must \W seeoiul voiee "'""s' If it lu-ius on tlio li-'lh. ^vlu■lv nm>t the sreoiul vniee lu-in? ■.,' If tl„. niJ.Hly h.-ips nn the Ueyimtc. >itu:iU'N here, when it en.ls on thr thinlV Wlu'iv, Nvlien it ends on tiie litlh.' 11. Wiiieii of these endings of ti melody is least often used r ^t CllAPTEK VII PASSING TONES IT often liiiiiiuMis that (.11. • voire moves while (lie other is stutioiiarv. If this iiiovdiieiii is l,v h'aps, it must he fn.in one eonsonant to anotlier, or to an aULrmentrd fnuith or diminished lifth; hut if it is hy (h'.i,'rees,' even- altrrnale n.ite may he a (Ussonaiit, that is, a second, perfect fourth (which has to l)e (lasse.l as a dissonance in two parts), seventii, or ninth, /. ('., the srcond j'his an octave. Dissonances tliat occur in this way aic called l'- + 16 z 17 \l 1 18 -4-^ 19 d- '-■=^ ii^im I I 20 ^ •y i statidiiiuv. If Hint t(i aiKitlicr, is liy (li'ijfrci's, , pcrft'ct foiiiUi ^I'litli, or ninth, TlWS. TIuMV s as the middle l^tl^l -y only occur in tl>is way; that is, with imisun before it. Nos. 2 and 3, passing' fourth in upi.er voice. Nos. 4 and ;',, passing' seventh in upper voice. K.I (5 nassiii" ninth in uiipt'r voii'c. N,,; VlLsi,;. .-.o„„l in low..,- v>,U,., liU- N". 1; .m,»t 1. l.,-..,-,.!.,, by unison. Nos. S and \\ passin;,' fourth in lower voice. Nos. 10 and 11. passing seventh in lower voice. No. 1-, passing ninth in lower voice. I V, 1 t„ !•> ■. 13 to No. 20, n.ay take ph..e only on ih. 1 f tb.> srle eiven. Thev should be writU-n ui .l.tbMvnt scab's. Sn:' ';;v:S.t';::; in whi..h tl. .nmiuished nmi ,.. iuve.ion of the augmented fourth) may be taken after a passing tone. — !- 1 H- 1 I 4 J r-^t- + I ^o I °„ t r I 3* T//E ELEMENTS OF VOCAL llAKMONY No. 1, after passing st'coiul in lower voice. No. 2, after passing second in ujjper voice. Nos. W mid 4, after passijig fourlli in lower voice; No. 4 is not very Iileusant. No.s. .O and G, after pa.ssing fourth in upper voice; N(.. G i.s not very pleasant. ^ No. 7, after passing s(.ventli in lower voice. No. 8, after passing .seventh in nj.per voice. These progressions, lilie those t.. tlie angnientcd fourth, are j.ossil.le ^nly on the degrees of the scale here given, in i:xeni.s..s 1, i', \\ I, „,ake passing tones of the notes marked +; in the rest of the exercises, look for similar pas.sages, and make passing tones in them. Ex. 1 tJ- i'-f i0i\^hm^^^Msmm^ Ex. 2 l|i t y I -klikil ^:iJ tlllfilimillfl II Ex. 3 ^ H .^ + ^^it>: ' i-:G]|i££L£iiijdi£!:iitijiSD Ex. 4 5.1 % IJJT^ Ll^^ >-^# -MZ^f^ i^ai H.f,in' Nvrilin- tli." .s.-r,,,,,] voice t,'o over the excrci.si's carofully, marking the notes ihat may he tir.atnl a.-s iias>iii'; tuinw. Ex. 5 ^:tE ii^l£tM£EJXm^ .3m. m I.ztH ). 4 is not very >• G is nut very niirrcsslons, like [I't't's of the scale OS of llie notes r passajfes, and narking tlie notes iS.._ t= ~ r^ - f^ -t. j\iss/.\i.; ji>.\7-:s 33 Ex. 6 [( a ^^^^rnTTirixis^ ^ m -K—r -W-~,rw • \~ u Ex. 7 -<&- .p— p ■^-m-ii ^' - 1- - Q Ex. 8 • "-'r- 1 1" . # e ' Rewrite the following,' exanii-lcs, iiitn.diuiii.t,' iia.ssiu.u tones where possible, iirst in tlie ui)per, then in the lower voice, rroceed us follows: — 4 ^ 3.4^:- 3=F^-=3^ IT — ^ d-=J..-,--r-,J=^: '5! IT In ineasnre 1 a passing,' tone may he introdnoed between C and A ; also ill measure 2, k-tween 15 and G; measure 3, betwecJi and K; measure 4, between D and 15. Thus: — m:^m§\MMt{^r'^r\^-^P^^-^ fj ■fS'- r <>- I rjr V ( i -^ir 34 THE i: I.EM EMS OF lOCAE HARMOXY In thf lower voice- ii passing' tmir iiiay occiir lictwccii F, the ciitl of tli Ist iiii-iusuie, iiiitl I) ill tin- I'll iiuasiiiv; Iiclwccii E and (' in llic Hd nicasiiiv; k'lwirn (J, iIk- end of tin- -nl uuasurc, and K in iho 4tli nn-asiiu'. Tlni-- Le.4 _i^ . I -o -d:- Or tho passinj,' tones may Ik- divided l»et\veen the voices, thus: — I ' i ''II D i::i-d r^D J ri ,:! J J ' I I I I " "h hi-" -" ^— - ' ''■' r I I * I '^ 1 ' i^fcci] it:'tit\i -0 (5' I I REVIEW 1. If Olio voice is stationary wliilo tlio otlior moves by a lea]), what kind of intervals must be taken Ity the voice tliat leaps? 2. If one is stationary and tiie other moves by decrees, what kind of intervsd niry every alternate one be? ;>. AVliat are dissonances tliat arc used in tliis way called? •1. What is the first way in which passing' tones may be nseil? r>. \Vhat pi'rfect consonance has to be classcil anions the dissonances? 0. What dissonant intervals mav be used as if consonant? tlfllltl of tl) Ist lu' ;5(1 iiH'iisuiv ; sure. 'I'lius: — — F— » — e, - 118: -^- H- H D pIStlJ I I I I I ^^^[^ rr. H !i]), wliiil kiiiil of kind of iiiUrval suiiancos? SECOyV yAKIETV OF J'ASS/ACr TOAfS 35 CHAPTER VIII SIXONU VMilKTY OK TASSlNtl TONKS THE lu'xt way in whirli aiss<.nances may bo used as passing tones is •IS follows r When three notes oeeur in snecession, the Inst and third of whiei. are on the sun.e degree, and the middle one on the degree above or below, this middle note may be a dissonanee. 2 +, -1 4 3 + -1 4 No. 1. The fourth as a passing tone above the repeated note, upper voiee. No. 2. Tlie seventh as a passing tone above the repeated note, upper voiee. No. 3. The ninth us a passing tone above the repeated note, upper voice. Tiiese may occur on every degree of the scale. No. 1. The seiond as passing tone, lower voice. No. o. The fourth as passing tone, lower voice; not very satisfactorj-. No. 0. Tlie seventh as passing tone, lower voice. No. 7 is No. 4 removed an octave. These may also occur on every degree of the scale. When this kind of passing tone is used below the repeated note, it must 1)C a half step U-low it, except when it oceui-s in the ui)per voice preceded by a major third, or in the lower voice preceded by a minor sixth; in these two cases it is a matter of choice. 2 ^ 2 ^ im.w, Ik'Ikw the re|iealeil imle. |5y inverting,' these exaiii- jiK'S we ^a't tiie jiassiiiL,' seventh in tiie hiwer voice picceth'd liy tlie iniiinr sixtli; lirst a vvhoK-, then a hall" steji hi'low tlie reiiealetl note. 1 2 3 I I Jii tht' next exaiiiph's tliis passiiiLf tone is ijiven. iireceded hy tlie (illier consonant inli'ivals, in the iiji|iep voice; liy invcrtiiiii' them, all the reiiiain- iiig ways in which it may occnr in the lower voice will lie I'oiiikI. Ntis. 1, 2, :>. -I, Iireceded hy minor thirds. Oliserve that in two eases the passing' tone must he raised. No. '> may not he inverted, as it would pro- dnee a perfect fourth. Nos. ">, (!, and 7 may iicciir on any dcLjree of the scale. It will he found n.'cessary to raise the passiiij,' tone, except when the repeated note is the fourth or lirst (y tlic (itlicr , :ill the I'ciiiiiiii- iiIIIkI. ill two rases the ;is il wiiiilil |ii(i- \\ ilv'^WV (if tilt' (•xc'C|it ulieii tlif tlif scale, tlait' t siimikI ^\^•\\ oil he liMiliiig tniie iirlli and its iii- vitli this secniitl IdD ! 1 ?I1 SF.COXD VAKlirir OF PASS/Xa TOXKS 37 N... 1, i)asHiii,u second in ui.iht voie(^ below the repeated Jiote, followed hv aiiL,Miiented fourth. No. I is tiie inversion of tliis. ^ _ ' No. t>, passin-,' second in lower voice, helow n'i.eated note. No. •) is the inver»;ion of this. N„. :; looks like a eoini.leto oontradietion of onr rule that the niKldle note must he the .lissonanee, it heiiiK in this ease a consonance, while the .vpcat.'d interval is dissonant. A full exi.lanath.n of this contnuliel.on will apiK-ar in tro,hich.g this second kiiul of pas.sh.g tone, riucos wluTc tl.oy may occur arc tnaikcd in Ks. I. Tassinf,' tones cannot occur in l)oth voices at llie same time. 2 -^-a-^--:l-rt=^- r i I I i^s-jm^ii U-c l.oth kiiitls of iiassini; tones in tlm following: — i^rr fiitflai^^pfippi B ^ s — p- -W~ :r=a^:^s\ PWEff¥ -=|- -g)- D r r I \ J it i 'M 38 rj/E /■:u:a//:xts of iocal tiAKMoxv The tliinl way in wliicli a dissoimnt piissiiig toiu- may filter is as follows: unv (Icgn-i! jihovc ono of tlu' iui'IiiIh-i's of a coiisoDaiit interval, tiien fall a third to the next consonant interval. This may Ik» done on any degree of the scale, as may k' learned from the followiiij,' example. After stndving this, write' the exenLses that follow, in which the two varieties jnst given arc introdneed. J--'i^iJ_.._ilj.j._,i.J_ •f , -i .5, fit I I + ^Trrrrifyr^fiiLfi^i ^.> In Ex. 1 and 2 the passing tones are marked. ^1 • --P :,r.:rg. tw^^^=m=.^ -=l- I ■:-n -^^ HO F~ 4:-l-ti^ £lM^£]£ ?^ P^£^^ r:^ iJiiiteJriz^lije ^fe! ^i;ii (? 1. jj r D -& cr is as follows: i-viil, tiion fall a n any dcj^n-e of Aftrr studying olios jnst given I J 1 EB %. tm -=t '-33 =f.:r^ Etp ^gH SECOSn VAKIETV OF PA SSI SO TOSKS 39 3 t7 UK •J.J- • r,m * •u • ,_• rf 9 • f. \. N • fN ' L r r r .- ' | • 5» ' ;. • i m^w- ii^^» ' Tlu. fourth an.l last way in whi.^h aissouai.t passing l.m.s nmy ontor is 1,V a loap fn.u, ...... ummmIht of u ......sonant i,.lo.val t.. tl... .l.g.y." al...vo ...■ l:l..v aLn.!..- of tl... ....t ......so..a..t i..t..,val. ^V 7. tl. n..to a on hy this h.ai. is iK.h.u- tl..- .....' uhi.h toll..us .., .t nn.sl ho a hall stop k-h.w, oxoout in ...I.' iiistain'o. , Who., tl... loap is n.a.l.. ..pwar.ls. it is n.o.o ..l.o.i t.. tho noto ah.no than l..lou- tho foll..wi..g o..ns..i.a...r. Wh.'.. tho l.-ap is n.a.h. .h.wnwa.cls, .1 is ahn..st invaiiahly to tho n..ti> hoh>sv tho IV.lh.wing consoi.anoo. No. 1, fourth kind of passing n..t.^ talc.'n 1 y leap upwards to degree aliovo, uj.j.or voio... . , N... 2, hy loap (h.wnwards t.> half stop holow, uppor voice. r I 71 f-wmm f u 40 /•///:• i:i./:.\fj:.\T.': or i\h:u. //.ia'A/om- \i). •">, Ii\ Irii|i ll|i\Vill(I.s Id lllllf sti'Ii liclnw, lllipcr Vnicc. Niis, I, ."), li, same in lower vnicc. 'I'lic i'X;uii|ili' tliiit I'dUuws is ilic t'XC('i.tiniiiil oiu- iilliidi'il to iilutvc. M iiiiiy ipiiiy (Hiiir mi llic liflli ilv^wi' ol' liu- .sciik', uiiil is fuUowid hy Uic iiu^Mnciitcil rmiilli. Nil. 1. Nu. 'J is (lie saiiu' iiiNcrtcd. Kxi'Vciscs ill wliicli all tlic vaiiitie.s of lassiny {u\>vs -.nv. iiscil. |h| Mf^-i7:^isSi*"dzrLB"5- 1 f|'":fi5^^aii^T:3Tl^r£i^:i:r^ + + + + ^:^ ^•^/jL.f I ' gj ^^r^-isJ "f^ U f- [M^ ;i- * . 1" -, _^^ + + + -4- ^ ■.-■ I sSS^^E^ISIiJ] ;-■ ■ EMBHBBaBSi 1 In llliovc. It uUowiil \ty till! - -1 N — 1 + ^ II :f7 J* f f * r— H B L^l£L SECOM) I-AKIKTV OF /'.ISS/XO TOXJiS 4« 4 + + ♦ •♦• •-i_' vljj?,. . . , ± i + + + + ^ Find the paswing tones in the followinj; Lxaini'les. » • + ^ •, • W'^^^^\^}::^^^ n :9.i til.' =•? Ji^ nF^i:r?lli^'iail^i Ei :;5 •' f. 0- If i loMIj^^IIXoSiJI E tr^ zL^^-. . ' ■•J- r?_.f! r* • H ie -rrw-t^ .^W~. lI^ ^ :iL^.^^i!^.i ^ 1^^^' t ^^^-"f'gfl F^^ ^^J^i:^t_J: :: fV^'^r ^ rf' 1 % 42 77/ A- ELEMENTS OF VOCAL HARMONY REVIEW 1. Divscribi' tlu' socoinl way in wliicli a passitifj; tone may he introduced. :.'. WIh'M tliis Uiiid ol' pas.-uiig tone is below the lianiioiiized note, what must the intrrviil be? ;>. Is tiii'ie any case in wliieli it may lie a whole step below? I. DeM'iibe ihi' third way i.\ wliich passinij; tones may be inti'oduced. i'l. Di'si'iilif the t'ourtli way in which passiii;j; tones may be inti'odnced. !t cannot Ik' too often ii,.-lsted on. that the illustrations jriven should be written liver and t.vcr auia.n in dilTercnt scales until they are lirmly impressed on the memory. 'I'iiis constant repetition is more necessary in the study of Music than in any other art or science. V)' be introduced. 'A'd note, wliat must w? introduced. ? iiiti'oduced. lis jiiven sliould lie liruilj' iuipressed on the study of Music CHANGLW; XOT/:s\ OR A PrOtja/.l TCfCAS 4:> CHAPTER IX CIl.VXniNG NUTHS, OIJ AlTOGGLVirKAS TIIHRE is yot iUiotlitM- ww in whidi dissonances may lie used. Observe tliat the [lassini^f tones treated in tlie last eliapter always oeeur !ie- tween two consonant intervals, and on tin; nnui'cented parts ol' the meas- ure; but the new kind of dissonance, called ('hnKjuin X"ti\ of which we are now to treat, occurs on the accen.ts nf the measun-. It takes liic i.lace of the consonant that follows it; that is, it is sounded with the other mem- ber of th(! consonant interval. It must lie (.n(> (h-ree above or lu'low the note that foUows it, called its )rHol„tl,.H; when below this note it nnist be a half step. In old nmsic the chanj4in. li, the saiuc written in the nHxlcin way. Nos. :'., 4, •'), '■', liivf I'vaniplcs ol' chanuinij- mitis alxivf ami hclow, in liolli vnicfs. i;.\i:i;('isi:s on rii.VNciiNd n<»ti:s In till' lirst lAficiM'. tilt' cliant^in:^' nolfs :!r(' marked. Write nnder the. eliant^int^ note an\ nuie that i ((Hisonant with tlie t'lillow ini;' note. 'I'hiis in lirst nieasnre, C. l.. i>r A may 1h' written nnder the ihan<;iny note. & P + 1 + , I J 4- „ ''' S rr^ ,, ^ ^ .T^~ " . 1. • ' • I .^ 1>\? \ * I 2 2^ flt^'jl'^V'^ 11 \§ ^. ii^ 'If U f I ^^ 1 1:^ K l±_i J:i £ "^Lt, - ^- P L- J] + ^£^^\tL^} ^J^MMZJ^El *> t7 rr^Sa rr: 16 i'^ \»-'~9- «7 a third, \» rittcii \i\y. Niis. ;',, 4, l)titli viiici's. Write imdcr tlic IV' note. 'Iliiis Lflliy IHltO. -y + + |] f -r nm. iMt "[ii&ll c7/./.\(;aa(; \ori:s, oa' a/'j-ouu/.i rch'.is 45 • . f^f '3lLL:\'-l^iA- ' '\-\\ There is another wiiy in whieh dissonanees niav he ns(wer note so that il he^s hehind the upper voiee. as in No. -u we -.t a suspended seeoiid. 12 3 ^ nil. •'!'!. -''■ ■''' The .second is the only dissonanee that may he suspended in the lower voice; it must descend as in No. :?. This des.'ciit is eaUed its resolution. The major second, fourth, seventh, and ninth may he suspended iu the U[)per voice. 1 2 3 4.5,,, i r 7 I 8 I I S) r \ ' -1^^^ t miivf away I'lnm cacli othor. 'I'iiis movement may be delayed by [iiiiloiigiiig eilliiT one ol iheni, tlius: — d-'-vl I -1 I I I 3 ;^^i 1 1 No. 1. Auguieiited fdurth witli movement of ujiper note beld liaek. N'o. -. Angnu'iitcd fourtli with movement of h»\ver note held baek. No. •! ma\ lie inverted a>< in No. :>, but No. 1 may not be inverted, a.s i! would be contrary to the rule just given that the sceond is the oidy dissonance tiiat may be tied in the lower voice. Write nndci' the tied note any note that is consonant with the note upon which the tie(i imte icsolves. • I • * • • 1*^ •Vii^^mmiB^ :~-J-|-— • I .'-- r& m \k '-4 >> -=1 -fz^aczi .^->-— lS^:^-|2i 2- ^ l:— • -:::tz -I r- >y asft'iidiiig, as isccnding, as in .li'd l.y S. We gniL'iitLHl fourlli be Ueluyed by 1' held back. ■ held back, be inverted, as ond is the only Lh the note upon -0 \r-i- rB- m -0—0. ta 1 CJ/A.XC/AG .\on-:S, on APrOC,CL\lVle used i _ h How must the note that is t.. he suspended make .t> appearance^ What dissonance may he suspended in the lower vuice .' 7. What dissonances may l>e suspen.h'd in an upper voice.' 8. What kind of second? How docs it ivsolve? <» How does the su>pended fourth resolve? 10 May the suspended fourth he either perfect or au-mcnh.d? 11. How does the suspended seventh resolve if minor? How, if major. 12. How, the suspended ninth, if minor? How. if m.ajnr^ 13. How may the movement of the augmented fourth and dnnnushed lifth be delayed? 11. How many varieties are there of i-assnig tones." 1,-). How many varieties of changing notes? 10. What is a suspensit)!!? 17, How do all dissonants resolve? 1)S. Do all enter by a movement of one degree.-' I'J. Which are the exceptions? ,<•„..■ ,i 2(1. Arc there any cases in which a changing ..r passn.g tone may he foliovNul by !i dissonant interval? (live them. '»1 In what cases mav a dissonant as.-, nd a whoh- st.'i..' 22'. Ou which beats or parts of the i)cat do c'.anging and i.as>u.g tones occur? XoTK -Tl... apposj^iatura an-l Ih- Knuv not. (:uTia...tnn,) an. so ..n.n .-onfus..! lint ^^. au.M.n.l th. r..linwi„u' rxplauatinn of ihr .liff.ivncL. hnur,.,, thrn, :- Ti.e Llace nolo (its lluliau nan.o n,..au. cn.k.l ..to) is uiwav. uruu.u m n.o.l.vn fi 48 77//; KLEAfl^NTS OF IVCAL HARMO.XY mil.- ic lis an fi.^'litii iioti' willi a (lasih across tlic strin. Tlius, *^. It is always ]p|au(l or hiiMj; ii.s lapitlly as iPo.vsiMf. Wlicii I his I'tlVct was clfsirtMl liy tlie olilcr cuiiiiiosers, tlicy Nvrutf llic aiiiiojrgialiira as a small iiuli- ouc-fourtli, iustuad of one-hall', the valuo oi' the Hole, it ]iR'L'i.'Jt.(l. Thus; — *-> i.lavLMl. Tlif use of cliani,'!!!}:; nnti's arosi' as folhiws : An old nilt' of counterpoint forbids the ns(> of a ri'efd(s a dotti'd note. In this easi; it takes all the value of the note, leaving to it only the value of the dot. Thus: — "tr- m lilayud. Modern composers and modern editions of the cla.ssies have almost totally dispensed witli this manner (jf writing the appoggialura. w is nhvays ]p|;iu'il (ir li'i' cuiiniosors, tlicy II', thu vuiuti ui the lint forbids the use )on discovered tiuit )d, naint'Iy, wlioii it , leaving to it only ally dispensed with CHORD COM BIN A TIOXS 49 CHAPTER X C'llOHl) COMHINATIONS TIIHUE still ronmin s.muo tl.in-s t.. he Uuinu-.l iibout two-part wiitui,?, but tlu'V niuv la' l..'tt."r uiulcTstnoa alter j,Mi"i"K' "u.r.. kn.>wlr;lge .' the atord Comhinaaom. To the simpler of these eu.nhi.utl.ons we will now propoeil. , i i ■ i i ■ i It to the series of thirds on page 4 we a.hl another sound a thud highei, 8 r 1 '^- I 1 I Wf .'ct a series of chords. ., , , „ , pi Countin.' Iron, the lowest note of eaeh ehord, called the /.->^ we fnid that a ehord consists of a root with its third an.l lifth. If the i. th .s perfect, the chonl is called p- rj\rt ; and as we have foun.l (( 'hapter 1) that there are six perfect iiiths in the scale, we n.ust hav six perfect chords. These chords have various names, as, common chord, perfect chord, per- fect triad, hut they all mean the same thinK- The seventh chord is calh'd a diminished chord, hecatise the fifth ot the h-adin.- note is diminished ; it is therefore w,t a comm.m ch..rd. _ Win-n a common chonl has a major third, it is called a major chord; therefore, there are three major chords in the scale, then- hcit.g three n.ajor thinls, namelv, the first, fourth, an.l fifth; and these degrees n the scale l.cin.^ called ihe t<.nic, s,a,dominant, and d..nnnant, the .■ix.rds fotnuled on then? are called the toi.ic, suhdou.inant, and .l.muuant chords. When the third of a chord is minor the .h-.nl is calle.l nunor: therefore, „f the six common clmrds in the scale, three must be nun-.r, namely, the second, third, and sixth. .,.•■. , ti.« The name of a chord is given from the letter that is its root. Ihe 4 ! ! !! I } li 50 7///:- i:i.i:.ui:xi\s <)/.• i\}CAi. j/,i/xMi)xy tlircH- Ii'ttcis tliat rmiii (he cliind may In- altcivd liy J, >, ., !»?, Imi tliis dues not oliiiiii,'*' llif iiaiiic. 'I'lifrrl'drc. as thru- aiv seven leltcis. se\eii t,M'i)ii|is make all llie ciidnls possiMe. Tlie exaiaple lliat I'dlldws will show in lii>\v luiiny ways it is iiossihk- to wiiie llit; cliMid (i |i I). 8 10 Lfe ^ h:§: I ^.:^:: |^%;^ | ^Z \ -^ \ si \ "i \ ^i |;'"|i ] 1, (J major; l', (J minor; ;5, (V> major- -4, (P minor; 5, (;:: naj. r; (», (j; minor; 7, (1? iliuiinislieil; .s, (J diminished; 1», (i-. diminished: 10, (i? dimiiushed. Observe that a I'hord is eiiani,'ed from major (o minor bv altei'luLj its third. If the root is raised or lowered, the fifth must lie also, or it ceases to be a jierh'et lifih. A major chord is chant^^ed to diminislied by raisini; its root. A minor (■jiord is ehan^'ed to diminiNhed bv hiv.eriiiLf its lifth. In tliree-part writini,'' the tilth is often onutted and the root is doubled, or the root may lie onutted and the liftli doul-U'd, or the third may be doubled — I'xeept when it is the leadini,' note — and the root, or tifth, omitteiK I'.ut the third nnnit be jiresent in every common cliord. c? 3 4 ^J:=^ — -Ct- II No. 1. chord of (', root doubkMh Hoot at bass. No. '1. Chord of C, root and fifth douiiled. Third at bass. No. ;>. Third at bass, and thii'd (hmblcd. No. I. Fifth at bass, and fifth doubled. The thi'ee letters that biiii! a choid may lie arran^'cd in sev':'nl ways, bnt these cliam;-cs in its arrani,n'ment do not chu'ine the name of the chorch The chord takes its name from its rot.t. 'I'liu.-. C \\ (i is called the chord of C; to find which lettt'r is the root, anauye them to read upwards — one, three, live. Thus tjic example which foUows will 1/c b'und to lonsist of the chord of C. lit !*^ l)iit tliis (lues I's, si'vni i,'r()iiji,s ill sliow ill liiiw 10 . . -irj^v — 1-1 \ K,- ]| '), (is iMiiji )•; r», iiiislii-a; 10, (i? r by iiltt'i'iiiL; its iilso, or ii I'tascs not. ; tiflli. rodt is soiindin,-,' tocrrtber;" it would be more eorn-elly written base). 'I'bis ehord is sai.l to be"written in cU>^'' hanaoivj, the tlirco letters lie ing us close as possible to caeb ollu'r. Ko. -, the same in eyjc/t hariiwatj. No. :5 has the tliird of tiie ehord at the bass — elose harmony. No. 4 hns tlie third of the ehord at the bass — oi>en harmony. No. T) has the tiftli of the ehord at the liass — close harmony. No. C has the tiflii of the chord at the bass — open harmony. The pupil should write .uit in this way all the remaining chords in the scale of C; not only oiiec; or twice, but over and over; then change the clK.rds by means of sharps or Hats and write tiiem again. Harmony dilTei-s from all other studies in tlu" respect that cnrn rule must be remembi-red at all times, from tlie simplest to the most comprehensive; just as the author in the midst of his most inspired poem must remember how t.) sik;11 his words as well as how to exiiress his idea. The root is the best mendn-r to double; next, the fifth. The doubling of the third should lie avoided except when it occurs in a way that will be iiwlicated farther on. The first rule to be observed in thn-e-part writing is one already given, namely, that fifths and octaves must not be written in succession, but must always standalone; therefore, the following pa.ssages are impossilile. 5 >s - 8 ^A D No. 1, take away the middle voice, and two fifths in succession In^twoen the ui)i>er and third voices will remain. No. 2, take away the lirst v(,ic.e, and fifths between the second and third voices remain. 5* THE 1 I.I MFX IS or VOC.M. IIARMO.W f f No. IJ, l;iliii'. ami lil'tli> lictwri'ii tlir liist nml .~(Tn!i(l Voices Iflliaill. No. I, lalsi- away tlif iiiiddlr voici", and octaves lietweeii tlie lii>t and third voices remain. No. o, taUe away llie lirst voice, aiul octaves lietwet n llie second and tliiitl voices remain. .No. tl, take away tlu' tliird voice, and octaves lictwccn tlu' lirst and sccomi voices remain. There is one e\i('|itional case: .\ diminished lil'lh may follow a jicrfecl tilth in a dcseendini,' |iassai,'e, No. 7; or a perlecl tilth may I'ollow a dimin- ished tilth in an ascendinLj |iassai,'e. No. ,s. These passaLTes mnsl occnr jnsl as written; that is, the third voice moves do\\norn[iin thirds with the lirst voice. There is only one way in which two tdiords may Iiewi'itten in succession in three parts, with their roots at the bass, withonl omittini,' or repeating,' one (»!' the niemliers ol' one ol' llu'in; namely, one must Ik' in open, the other in close h;irmonv, thus: — [ <. |-|: 4 I Any nnmlter of chords may lie written in smression in close position with their thirds as l»ass notes. 'I'lii' diminished chord markeil -f sounils iicst wlieii usetl with its third as a lifi.ss. 3 ;; Kj 6 J <^ '6 No two eoniiuon eliords iiniy lie written in siu'Cfssion vith their lifths as hass liott'S. 'I'liis is ahonl (' ' only I'ule in mnsie that has jio exception. I'lay or siiiif the folIowinL,' passai^c; it will he found impossilile. J -- f lilst mill .'('cuMtl ecu tlic iii>l iiiid II (lie StM'olid ;iii(l It'll tlir I'li'st and y fiilliiw a iii'ifni ly I'lillnw a diiiiiii- saLjt'S iiiiist lu'ciii' ii[i ill tiiirils witli ttcii in siicfcssiiiii tiiiLj or it'|MMtiiii,' in ttpfn, tliL' utiu r in ('lost' jidsition uaikoil -f siiiiiuls Nvitli Ihcir litllss lias Hi) t'xcc'plion. siljlf. C/IOKP CO.U/l/.V.I//(K\S 5:> TluMV luv ^Mvat ivstii.tinns ..n tlu- nsf ..I tl..' litlli <'l a i Imid a> a lu>s „„,,,. i, ,„,,vom1v !..■ di.nr in nm- i.f llu- I'nllnwin-,' ways: (h it nuisl 1,.. „,,, ,„■„,,„,. ;„„, ,.l- ;, ,|„v,. tiiiirs iviiratrd ii.-t.'. and t!iis i. iMalnl liolr i.iilst |„. |1„, ,.,,nl of liir ilii'id lli.il is ImIuIv and al'tiT il. .Mil Nn. I. Tliis silncssinii is l.asrd n), ilir livst, tliiiil, tiflli, iind sixlU di- ^fivfs I.I' till' scah-: il smiiids l.csl .m tlirsc d.'ijivt's. No. -2. to sliow that till' Lass may lir a snstaiiud, lint a rcpratt'd n(.t<'. No. :'.. Il d.iH's nut si.nnd so wi'U on llu- stTuiid dryrco of sculf, i.iit it niav Ih' iisrd. "Nc. :', is still worse, on tin' fouitli dri^ivr. Xos. :i and Inuiy Ik> m- .•uiinli'd I'or, t'siM'cially No. I. niidcr a dilVi'ivnt lulr wlii.li will appear in duo tiiiu', (•J) Tlic toiiii' I'liord may 1..' used at any tinif with its iitlh as a liass, proviih'd il is I'oUowi'd hy tin.' dominant chord. 7 I I 5th ' :>tli ■'•"> ^^I'l ■'''•' r.ti n>ii Xo. 1, toiiir, tit'lli at liass prcct'drd hy snlidominaiit, root ul hass. No. -J, same, hut siihdoiuinaiit has the third at the bass. No. ■''). same, preceded hy siiperloiiic. root at bass. No. 4, same, siipertoiiic has the third at hass. No. '), same, preceded hy tonic itself, ront at liass. No. <■>, same, precede;' hy tonic itself with third at hass. No. 7, same, preceded hy suhmcdialit, root at hass. Two complete chords may he easily written in succession if one has th. root and the other the third at the hass. We give a h-w examples: — wmmmm l< ' I "■I 54 /■///i Hr.EMKMS OF li>LAL J/.IA:U0M' r .'1.1 .'M ^ .•M 8a J I ■M |5< r 'r .1.1 ^ ■ In an ascciidiii^' or a (ItsciiKlinjf |iiissiiL,M' conipust'd nf tlio iiichiImms of a clutrd, all tlin-t' voicrs ni(tviii«,' tu^Ttlicr, llic lil'tli may ncciir as a Iiass, jni)- vidt'd it is ncilliiTal \.\w Itfj^fiimiiij,' imrat tla-fiidnl tin- pa-ssage. 'I'liu.s: t'f Z J s r « z Wp liav(> Mow ;,nvi'ii all the ways in uliidi nuiiiilctt' cliords may ln( used in tlirct'-part \vritiii«,'. \n all tin' ifmainiiit,'' suctcssioiis tliat may lie niadt'. lint' mcmlicr dl' tlic tliord must 1)0 omitted, and one douhlud. Tlifsc cxamiilcs should ho writU'ii in vaiious scales and Im' sung or jilayed until tliey are (piite familiar. Tliey include the most iinportant points in three part writiiit,'. Sneeossions of chords with roots at the bass are I'asy when the root of one is donhled, as may lie seen in the following examples. J — J I- J )-p ' f--- (p;).4X-,4M)E$ifE4i Ohsorvc that the unpleasant effect of the two major thirds is gone when they occur lu'tween the second and third voices. Also when the root of one chord is doubled and the other has its third at the bass. 'SL r r — ■-> i I ^ ' --4- ? T n No. 1 ^ivcs coiu[ili'le leimse. No. :J1 oiilv partial ivpose, hecaiise the first voice ends on the third in- stead of the "root. Write all these in every scale. Try to make sequences out of these successions (exce|.t, of course, the cadence). We givo a few examples. €7 -o 3 -\ .. d 9 ^J^ r fp¥m -ft . -J T f : \tl\hkM^ f-' Ohserve tho uiipl(>asant elTcct of the diminished cliord here; it may he used in a sccpience. hiit shonld nevei' hcn'in or end it. Some examples follow in which the tliird is at tho hass, and the root, or tifth, is douhled. o- r I r (5' I I f=r^ -«>- fM t ^ \4 56 77/ j: eleme.xts of vocal j/.i aw/ox V Wlicii the tliinl of a clinid is doubU'tl, the voices that c^')iil)le it must move in o[i[)osit(' directions, or one of them must l)e stationary. [| «>■ r No. 1. Tlie second chord is I) V A with the tliird (F) douhlcd, fifth omitted. 'I'he third chord is C 1"^ (i with the third ( K) doubled, root omilt.'d. l-'.xercises 2 and 3 give examph s uf doubled thirds with one voice stationary. A iH'autifnl etVect is often prodiiced by the following moans: One voice may have a sustained or rc[)cati'd note, while t!ic two remaining voices are in motion. These two voices are to l)e treated as though the sustained note wei'c not prt'.-' '.ii ; that is, they nuist follow the rules for two-part willing. 'I'I'.e only proviso is, tiiat the susuiiiied note must bo a member of {he iirst and last of the chords v.'ritten with it. This sustained note is generally either 'he tonic or the dominant, and it is more frequently used in the lowest than in either the middu' or ujipcr voice. The moving voices have most freedom when the sustaini'd note is tiie dominant in the lowest part; next, when it is the tonic in tlie lowest jiart; next, when it IS the dominaiii in the highest i>art; next, when it is the tonic in the liighest part. They liave very little freedom when t!ie sustained note is in the midiUe part. A limited use of this sustained note is possible on other d(>grees of the S(>ale. T',e following eyamp](>s will make th(>se successions clear. Observe that tlie moving v.iiccs have thirds and sixths almost exclusively. The augmented fourth, and its inversion, may be used when the sustained note is the tonic or dominant in the lowest part, or the dominant in the liighest Mart. The perfect lifth maybe used, but only as in Exi-rcises Nos. 1, 3, and 4. In every other case the moving voices have thirds and si.xths only. -m-^<^ > i --I I iS>- oxv that i^')ul)lc- it must idiiaiy. . (F) (l()ul.lt-(l, fifth (I'D (loul)k'(l, root rds with ono voice owing moiuis: One the two reniaining ■atod as though the olldW tlio rules for ned note must be a it. This sustained t is more freqi'.cntly ■oioe. The moving lie dominant in the part; next, v.lien it is the tonie in the e sustained note is note is possible on lus clear. Observe exclusively. The the sustained note inant in the highest exercises Nos. 1, 3, Is and sixths only. I + -0- J Jl -s*. T CHORD COM BIN A TIONS 57 ■jw -zy 4 ■--r-f-f ill ^^m^m\ ^ i ^t m^ -a- ^ ^m^-^M:ikM£kM^;^^ 12 I I I I P 4— 1-4 No. 1. Tonic sustained in lowest voice (reniend)er this note may Ik) repeated as often as the " words " may lequire). No. 2. Tonie sustained in highest voice. No. 3. Dominant sustained in lowest voice; this passage maybe written over the tonic. 1! 1' 58 THE I.LEMKXTS OF VOCAL HARMONY !N<). 4. Dfiiuiiiiiiit sustained in highest voice. IS'd. ;"). 'roiiir in middii- voice. ^■(1. t>. DominaMl in middle voice. Xo. 5 is limited to the notes given; No. •> may extend a tliiitl higher. No. 7. Second degree ol' scale sustained (the C in tlic third measure is in advanci' ol' our i)rcsi'nt knowledge). No. IS. All the notes that may be written over the sustained third degree. No. !•. All over the fourth degree. No. 10. All over the sixth degree; more numeroiis than the hist two. No. 11. All over the U'ading note. No. \1. Siidws hdw the perfect iifth may he used over the second, fourth, and sixth degrees as sustained note's. Observe tliat the root of the iifth is live degrees al)ove the sustained note; ?. c. it is its dominant. Thus: — r.Mss. 2d voice. 1st voice. 1) A^ >:. sustained dominant note. of ]). The reason for thi.-; and for many otlier tilings will appear wlien we get to IJelated Keys. This sustained note of which we have been treating is called a Pedal, or Organ Toiid. 'I'he term is derived from the use so often made of it in organ nuisic. the pedals of the organ furni.shing an etl'ective means for sustaining a sound for any length of time. H.irinniii/.. tln's." in )1iv(m> jKirN; tlion do tlio .same with all tlio exercises given from till' lM'i;iiiiiinn' of till' Imki];. d- ll^tllf^lJj^ill^Jl^^l^mE^ i y the notes given ; third measure is sustained third n tlie hist two. over the second, it the root of the is its dominant. L>ar when we get is called a Pedal, ten made of it in .'ctive means for exercises given from a 1 3: CHORD CO.VIUNA TIOXS 59 p4ij]iX?n:n"i' ^1 F-t- u ^iMk ■:^ ?2iniP^^F^|5^1-^ V REVIEW 1. Of what does a eomnion cliord eoiisist? 2. Wiiat n;iiiie is jxiven to liic sound <>ii whicii tlio cliord is huill? .'5. How many perfect chords niay bo made in the major scale? 4. Wliat Ixiiid of a chord is the remaining; one? r*. Wiiat is a diord witii major third called? AVith minor third? 0. How many chords in the scale have major thirds? 7. On which degrees of the scale are they found? 8. What names do Ihey hear? 11. How may a chord he change \ from major to minor, and the reverse? 10. How may a major chord he changed to a diminished? 11. IIow may a minor chord be changed to a diminished? 12. Wh.at members of the chord may ))e duplicated in three-part writing? i;j. Which member nmst be present? 14. Which degree of the scale should not be duplicale. Which is the l)est member to (hii)licatc? Whieh next? 20. Are there any cases in which two fifths may be written in succession? Describe them. 21. IIow may two complete chords be written in succession in three parts? 22. May successions of chords with the third used as a bass be made? 23. In which form does the diminished chord sound best? 24. IVIay successions be made with thi> fifth used as a bass? 2."). What is the first way given in whieh a cliord may be used with its fifth as a bass ? 6o THE ELEMF.XTS OF IVCAL J/.lAWOXi' •JC. On whicli dofiroos of tlio scale does tliis sound lu'st? 27. (iivi' tlio rnk' lor nsinj;; tlir tonic dionl witli its liftli as a l)ass. 2'^. How may ..vo coniplctc cliords he easily written in succession? •2'.K hi wlial otlicr way may a chord occur willi its liftli as a bass? ;!(>. What constitutes a jU'rlecl close, or cadence? .'il. In what way may tiie third he duplicated? ;)2. What is the sustained note called, over or iiudor ' '..ieli a succession of liarinonios is wriltt'ii? ,">;'.. Which deiii-ee of the scale makes the best i-od.d note? Which next? ;!l. How may chan^injj; and jtassiiii.' tom-s be used in three jtarts? ',>'>. May tiu'y occur in two parts at the same time? ;u;. How do they dilTer from the pedal note passages already «j;iven? If J' t'ssioii bass ? V •li a siicc'ossioii (if Wliich iH-xt? V assag(^ recpiires some exphination. The I) and F must he shar[.. lieeaiise they are helow the mendiers of the ehord, hut tlio V on tiie third heat nuist he natural heeause it is iihovo the E. If it were sharp, the piissage wouhl he in the key of (J. No. 7. Tliird variety, in two upper voiecs. No. S. Second varit'ty, in first and third voiecs. ■ No. i». Third variety, in iirst and tliird voices. No. 10. Fourth variety, in tv;o upper voiecs. It would far exceed (iur limits to give illustrations of every possihlc way of using these passing- tones. They nuist he learned hy ohscrvatiou and the aualvsis of good music. The examples that follow illustrate the various ways in which changing notes may he used in three-part writhig. l-rT'^-ll Uri m II r' owcr voices. ) and F must lio l)ut the V on llic If it were sharp, if every possihlo ;(l by observatiiiu II which cluuigiiig -a- ^ « -6>- J PASSIiXG TOA'ES IX Til REE-IWRT WRl ILW, 63 f f :* -«>- Kt 4 No. 1. Changing notes (singly) in all throe voices. No. 2. Changing notes in lirst and second voices. No. 3. Changing notes in second and third voices. Observe that when doubled it is always in thirds or sixths. Suspensions may be used in three parts, in accordance with the follow- ing directions. A suspended major second in an upper voice is always a liolding back or retanhition of the third oi the chord from beneath; therefore, the other voices must have the root and fifth, or the root duplicated. 3(1 3d 3(1 Ei££: f r ^^ 5tli No. 1. Suspended major second, first voice; second voice, fifth; third voice, root. No. 2. Suspended major second, first voice; second and third voices have the root. No. 3. Suspended major second, second voice ; first voice, fifth ; third voice, root. No. 4. Suspended major second, first voice; second voice, root; third voice, fifth. This being a tonic with its fifth used as a bass, it must be followed by the dominant. 64 /■///:• F.LEMEM'S OF IVCVIL I/AR.\tO.VV I A siis|icii(lr(l fiiurtli is citlicr tlu' ivtunliitioii of tlu' tliiid of : (■li(H'tii Sth f^i- J J * I. . 1 .'M Sd No. 1. Suspenilcd fouith in lirst voice; second voice, fifth; third voice, root. iNo. 'Jl. Suspended fourtli in second voice; lirst voice, lifth; third voice, root. No. !1. Suspended fourth in lirst voice; second voice, root; third voice, tliird. No. 4. Same in A minor: the susj)eiided fourtli ((J5 (') is diminished. The suspended seventh, major or minor, wlieii it resolves by desceiid- inj?, is either the retardation of the root of a chord with its third at the bass, t)r the retardation of llie third of a chord with its lifth at the l)ass. In the lirst case, the other voice must have the fifth ; in the second case, the I'OOt. If the seventh is major and resolves \ipv/ard, it is the retardation of the root of a chord with its root at the bass, and the ( ther voice must have the third. 3d ^-l-.i-J No. 1. Suspended seventh in lirst voice; second voice, fifth; third voice, third. 'y third (»f : clioid rciiiiiiiiiiijif vuiic •r it iiiiiy Ik- the buss, wlioii till' 5l)i ) is dinunislicil. )lvos by (kwciid- 1 its tbini lit the 1 at the l)ass. In second case, the he retanhition of voice iiiiist liavc r r 'oico, fifth; tliird LZZ *- ad fth till •d voice, ifth 11 ; third voice, \ •oot ; third voice, j:iSS7.\(; liK'-ES JX niREE I'M^T WIUTIST, 65 No. 1. Suspend \ seventh same as lii^t examph-, but the seventh is ' ''"nV. •?. Suspended sevenlh in tiist voiee; n-ut in s.vond v..i,v; lifth in ainl v.-iee. I'.ein- a tonic with til'tli ut bass, the .lumiiiant niusl lull,,v.. N(. 4. Tlie ivsM'Mtion of this .seventh .uiv.s the liist inv.isi..n .u tl:.' diminished ehnnh M-re will be b.und abnul this ehmd in sueceedm^' ' ''no!'). Suspended major Si^venlh. a rel.irdation of root from beneath; Sfeond voice has third: third V(.iee, root. The snspende.l ninth, major or minor, when it ivsolves bv d.'sreiKhn-'. may be either u retardation of the root of a ehor.l, with its root at '' ■ Imss, uhcn the other voi.'c must have tin. third; ..r a retardation ot the . ni ■; a chord with its third at the ba^.s, when the other voiee must ' i.v mo root. 1 9th 9th 4 o , 1 '< ^„ t I r- 11 No. 1. Suspended ninth, lir^vt voice ; second voice has third ; third voice, No. 2. Suspended ninth, lirst voice; second voice has root; third voice, third. . No. 3. Major ninth, resolving nj.ward. See major second. There are cases in which the susi)endcd seventh and ninth may be reti-dations of the tifth of the chord. They will be treated in four-part writi, u- There is but one dissonant that may be suspended m the lowest part, .. mely, the second tnajor or minor. It is always the n^tanlation of the thir : of the chord, therefore the other voices have the root and tilth or the iif.'i doubled. -d J. a 14 ^ iSi^ mf^^ii .1.1 tmmmmmeiffmmmgti^lt fc in U M it' Of) ////■: FJ.r.MF.xrs of iocal //.u^mo.vv N((. I. Siis|icii(lc(I srcninl ill third voice; tii. I voice, loot ; secoiid voice, mill. No. ». Siispeiiilcd .second in liiird voi. Suspended se- ,i(| in tliiid voice; both u|i])cr voices liavi' lil'tli, root omitted. Tliese sus|ieiis' iis rc(|iiire ii j^dod deal of stllily. Their iiro|)er use is one ol the ilii^ iilt points in liiiinionv. Write them in all ke\s, and on all degn !' • .1 the scale. Analy/.e the ('Xiim|iles which follow. I'oint oiiL e\eiy uissoiiant. State whether it is a chanLfing or passinif tone, or a rela lation. It will lio found exci'llciit practice to writi' out llii' harmony with all the dissonants eliminated. It is alway.s a surprise to sec liow lew and Impli' are the com!»iiiati(His that remain. ■ I 4 I 3 «7 , . • r 1 ' ^ ■Oh I I *_i I r f ^r f f f r r - ^ ^ ^ r I I I--. I 1- «^ ^ t; - ?>- — I « — ■-- I- - 1 f — -fn^ ^-i-^ ?'— =^1^=;:^=fe^i=^-F^^p- ' -(5" 71 t ; st'tiiii(! Voice, i; .seciJiid Vdicc, •ici's liavi' lil'tli, \v \>\t>\K'V use is ill ki>\s, iilid nil low. I'dillt (MIL isiiiLf tdiic, or ;i nil lln' liiiniiniiy to 8CU ]u)W lew 1 H^i-I r: p l-l I I /^ •5- t J>A-\SL\G IOM:s I.\' il/h'i:i: I'.Uxl' WKII/Au miL:^:'^i-,j^P'^L\±i f'^Y^€\u0^''"^ ni-n 6' I. f ^ s . ;l/ • • • -|i — '.'• , s . ^■ ; -A. 3^ -=t-t--x-i'f— f-* o (^ — -* pa/ I 4-^- T- I -P- -^^ ,»^ # r 'r- y f f fwrr —I — J l-p-1— J.--1 — I , J -J— 1 f r T r r ^ 1 I r— I r i m rni: Ei.iiMicxis or ivc.i/ j/.inmo.w r r r :i — ; Ji' J : J I I I I r^,^ J — ; J , • f- rr'' IfifT-- (^- [^- ^ r -' r^ ^■ -fj) II r- REVIEW 1. Wlioii pnssint; tonc« occur iit two voices at the same time, \\\\\\\ inleivuls liiil'«t separate tlu'inr L'. In wliat respect ilo these passing; tones dilTer from tlie peilal passages? t"i. .May tloiiipled ehan'j:iiig notes lie nsed in the same wav? ■1. A\ hat added, each ono a tlanl alxne iho lust. Tiic lirst of thesi! addition.il sounds is a third altovo the lil'lh, tiiere- foiv a scventli ahovc^ the root. With this addition the ehord is known as tlie Clnml of Itoininnni Snrndi. There are two dissonant intervals in this chonl, namely, a seventh hetweeii the root and sc'Venth, and a dinnn- ished liftli hetween the third and seventh. The seventh must resolve by descending; the third by ascending. This seventh is minor. N(». 1. The complete chonl of dominant scventli in the key of C. No. 2. The root and seventh. Ohservo that the root moves either up or down to the root of the toiuc chord. This is the natural progression of the dominant seventh, namely, t(. the tonic chord. It is called the Jirst No. :i. The third and seventh with their resolution. Observe that the diminished chord is nothing but the third, lifth, and seventh of the dominant seventh ehord. No. 4. Hoot, third, and seventh; showing the movement of each. In three-pai't writing, either the third or fifth may be omitted, and the chord maybe inverted in any way; that is, tht^ restriction on the use of the fifth as a lass note to a Common chord does not apply to a dominant seventh chord. Write these ex.iinples in every key. THE ELKME.XTS OE VOCAL IlAIUrOXV -J- Nos. 1, 2. Root, fil'tli, aiul scvcntli; root at liass; 1, close hanuony; 2, open harinony. Nos. 8, 4. Hoot, fifth, and seventh; fifth at bass; 3, close harmony; 4, open liarniony, Kos. ;"), (!. Koot, fifth, and seventh; seventh at ])ass; 5, close harmony; G, open harmony. Observe that the root does not have to move when it is not at tlie bass, and that iM'injj; stationary it bcconu's the iifth of the tonic chord. Also, that the fifth descends to avoid the donhliiiif of the third of the tonic. Nos. 7, S. l{(K)t, third, and seventh; root at bass; 7, close harmony; 8, open harmony. Nos. 0, 10. Hoot, third, and seventh; third at bass: 0, close harmony ; 10, oi)en harmony. Nos. n, 12. Root, third, and seventh; seventh at bass; 11, close har- mony; 12, oj)en harmony. liefore proceedinc; with three-part writinof, we must for a moment revert to our promise (p. 4!>) to say sonu'tliiiiij more aljout two-part writincf when more knowledge of chord cond)inations was attained. We showed how the seventh might be used as a passing tone, a changing note, and as a suspension. lint the dominant seventh may be used almost as freely as the augmented fourth and diminished fifth, which, as we have just found, are part of the dominant seventh chord. The onl}' restriction is that in two-part writing tl,is seventh does not sound well if ai^proached by a leap, except when the leap is from another mendjcr of the same cliord. ^ H I, close harmony; >, close Imrinony; 5, close liariiiony; is not at tlie l>;iss, [•liord. Also, that the tonic. ', close harmony; 0, close harmony ; iss; 11, close har- st for a moment "e aljfiut two-part as attained. We a changing note, )e used almost as Inch, as we have le onl}' restriction ,vell if ai^proachod )f the same chord. n ^ THE DOMIXAXT SEVENTH CHORD 71 jrs fy 2J ) ' T t r II '^-^ .1- ^ i i?^ r\ n X- 6 :=i ?^- 1^ --=1 -J- _-_^;^- -o- I I -A --I 10 1^- r r fi 13 r "^ f =1- --J HE 14 "X -ii^ fl Nos. 1 and 2, the seventh is approached diatonically. Nos. 3 and 4, the san.e inverted, making a second. No. 5, seventh approached l.y a leap from another member (the fifth) of the chord. No. 0, same inverted. No. 7, seventh approached by leai) from the third. No. 8, seventh preceded by the root of the same chord. No. 0, same inverted. No. 10, the seventh is first heard as root of preceding cliord. No. 11, same inverted. No. 12, the seventh !h-st heard as third of precedhig chord. No. lo, the same inverted. It will be found on singing or playing these passages that the inversions sound better than the original positions. No. 14, the seventh approached by leap from above; this is the only way it may be done, namely, from the fifth r.f the chord. These examples include nearly every way in v/hicU it is possible to use the dominant seventh in two parts. Other intervals that may prec.'le the seventh are indicated by the black notes. These exami-les sboul.l be writtt'ii in every key. I 72 THE ELEMENTS OF VOCAL HARMONY Two ('xaiuiilcs to illustrate tlu' use of the root and seventh oi the dominant in two-part wiitiiit;'. At A the seventh is susin'iKh'd, pi'oilucing a retardation of the third of tlie tonic At B is an anj^inented fourth; tiie upper note is suspended, making a retardation of the root of the tonie. At C the hiwer note is suspended, making a retai'dation of the tliird of the tonie. El 'H 1»:»: r H *. \ I f I + J im AJ- -# - : ^r; -t 4 J -1 , ^--1..^— [- ,™°J — -I r 1 J I I ■ .. T" r T The exani]th's that follow illustrate the use of the dominant seventh chord in three-itart writing. soveutli ui tlic of the tliird of lulod, making a of the third of -J -J^d. THE DOMINANT SEVENTH CIIOITD 73 :-Cr.. % — r— — ^-f— r-f" T ~f r p. J-. !_+__ d- :Kr:^^: i-.::^; ^J Jzs3£;^il 5BE^;^ f sipl Passing and changing notes are used in the third example. In the following exercises use the groups derived from the dominant seventh chord as often as possible. Ilannonizo lii'st in two, then in three l)arts. Use dominant seventh chord when the notes are marked. . 1 + + + + + . + X^ S^S^Epfe^ -fs K» — o- 5 II niinant seventh #1 -^ '^ I ^ ij — — .g^ i:„j-(5!_ £E:i£=: o- :-4- -^ — r .^i^^ ^ -^ r- Ed f=- :^::-=trF5 -.-i^i::: ^fl 74 THE ELEME.XTS OF VOCAL HARMONY 3 4 \- 4^ '~^^'"^'^^^- e~1!rf^^l -fjt- [i^x^iiiiiizizi - "%.:it T^l 4-4^ p- l^IM^ -i» -^. lrt^l?33^ni la two parts, the uugnK'Tilcd fourth and its inversion, the dinnnished fifth (J. r., the third and si-vonth of the chord), or the minor seventh and iis inversion ^u <•., tlio root and seventh of tlie eliord), are the only dis- s.niant intervals that n.ay represent the dominant seventh chord. Ilenee in the above examples it is not always possible to represent the dissonant nieuibers in tv.i) parts. REVIEW 1. 2. t\ *-> ■ 4. T). G. 7. 8. 10. 11. r_>. i;5. 11. 1'.. Which clionl in the scale may hear ndditional sounds? AVliat is tlic lirst sound that may be added V \\s what name is this chord known? How maiiy dissonant intervals are there in tiiis chord? I'.ctween which members of the chord do they occur? How docs the seventh resolve? How must tlie third move? How does tlic root move? How does tlie diminished cliord originate? How many inversions may be made of this chord? Mav its (iftli be used as a bass? ^^ lK>t is ■?>" 9o a «; 0/5 II -.&- f(§ '•■o ">o *^ II No. 1, t\vii-[>ait CO iiliiiLilidiis. No, :2, Ihrcc-pait .•ic.iil)! latioiis. 'I'licsi' shmild he enm|iare(l with thi' oxaiiiph'S oivcii ir.>m the ('mniiiaiit sexiith clinid of ( ', and should lie written old in full with th( ir progression, just as in that exaniple. ^ In the e\ani].lcs tiiat folio v, these alteied notes will he found Inst in two-pait then in three -pail wiil.ny. .o--^-Hr r F:ll : • ' i r '■- f :-t ^ i I ii4 =J..fcJz z^zrzt j^_a =^___z^^l J— * 1£ • h dlitaiiii'i' IVdiu „u iiliiU'fd wltli the {', iiiul sliiiuld ; cxiiiiiplo. 1)1' i'ouiid fust in ^h-^ 111 I I I »— f n RELATED KEYS 77 o* -^ I J,. -J -I -J,— 4 J— Jr^- — • -q J-J-^-^F^ .__4- « ri|.r._ iz^ff "-1" ^ ?■!' r r f f ^ -r^ [ V 8 1 ,^ III £- «-$ i-J J i-: r r 1 <>- »-"^ — 1 (5- r^- II In the following rxiivis.s tho nuscl I'.nutli u.ul Inw.MH.l srvcuth arc iMtnulucHMl. It.nu.uilRT that tlu' niis....! rouilh is tl.r third in the don.nu.nt chord (.f ..no ivli.lod ninjor koy, ai.dtlH. lowrred sovc-nth is the scvfulli m the doiuiuaiit ul' the otlier ri'hited luajur key. M-^- <^ i'^»|3 ^1* -t- mu b — ■' — ^ . ^t-H /s; o ^ D 3 til.- 'SAA^^:mm^ r^ -*- tr H^plliZ-L^J Ol :4 .^ --» -T - 15- -_-::: j;:;! r-4 -¥- 1=^^:^- -:ii.y^:^ loip i^'i^ --•^.■. i,.3^^-»i?J 7« iy- 11 IE EI.EMEXTS OF VOCAL HARMOXY 'V • J-5*1L._.^ #• !• t^ ^=iiei_ijii^i:i[iIi..^iiaMpil f/t ^^gnxi-^^ I7JT R"' TS REVIEW 1. How many iiKvjor ivliUioiis lias :iiiy iiiven niiijor soak- ? •1. r 1)011 wliirli (li'grccs of the er of tlie chord is it? f). What altered note of the 5,nven scale indicates a modulation into the related scale lieiiinniiiii on the lil'th deizree? C. In whi.-h ciiord of the related scale is this uote found, and which member of tile chord is it? W■M;!^ P£ f ' n jMJ«: • •- tL nmm I- m ^^Sfl WeHi liitiou into tliu 10- iikI which meinlK.n- on into tiic related i which member of y/.7i .)//.\0A' SCALE 79 ClIAPTKU XIV TllK MLNOK SCALK TilE „ri.nn cf the miner scdc was i.ointe.l out in Cl.ui.ti-r I. l.ut it is cuuvcniont to tn.it it as hein- .Irriv.-l i'nm, tlu" major scalr, U- eauso a niinor scale in its natural I'orni may 1h- mkuU- from cNrry n>ajor scale l.y arran,t,nnK il« ^o'Hi'^'^ '"t" '^'^ ^•^■^'^^■^" succession, l.e-inniny witli the sixth (^or third helow). 4 • ,i Thus the Natural Scale, V to (\ if written from A to A, -ives tlie natural form of A minor. The minor scale is calld the nlaUrc innn,- of the major scale, from the sounds of whi.-h it i. ioruicd. Co.isc.iu.-ntly, it always has the same signature. The following tal.h' -.vcs the s.un.a- tures of all tlio major keys and their relative minors as lar as six sharps an.l six Hats. CMujor.or G Major, or 1) Major, or A^ Major, or E Major, (,r AMiuor. E Minor. 15 Minor. 1- Min.r. * C- Minor. B Major, or FJ Major, or F Major, or U7 M^ijor, or L^L-- «t i*t ^Ql S" - - C-*' -"" ' — Ifeiy ■ — ~"~ — — ,_ ^ G- Minor. " I)- Minor. *^ D MLum-. G Minor. Eb Major, or A> Major, or 1)> Major, or ^ ^^'l^.^ *" " C Miu^;^^ F Minor. Vb Minor. E^ ^Wu.n: :,.i^em>m^icieif*=t«0smP^- r;.^..";^wi»i"^^tefe^teaaaj So /•///•; h/./^.^f/cA-js or ivc.ii. iiakmoxv 'I'lu'i't' are Hcvcnil forr.-t of the ii 'i..;- sciilc vi.scd in iikkIitii iiiiis c. Wv \\\\\ Ix'.^'iii willi llic siiiiplcst, callct. iln' /niriii'iiiii- scale. In tliis scale tiie seventh dej^Mie is raised l)_v an accidental, otlierwise tlieie would Ite a \vliole st lictweeii seven and ei^dit; and modern liarniony and niel.idy too demand a hall" step liere. Mut the liarmonic reascii for this raised sound is the most important, as will l)e seen in a few moments. Hxamino tlu' rollowinjf harmonic ioiin ol' A minor; it will he found that there is ii half steji lictween two and three and live and six; and a whole and one lialt step between six a)id seven; and a half stei» Ix'tween seven and eight. -«- -k- "*"_ .i**- The interval hetweoi six and seven is called an anp;mented .second 1)ecauso it includes two letters and three half ste])s, one more than tho major second. Conscciuently, its inversion must ])roduce a diminished seventh, ci.i.iaininj,' nine half steps. In the next example are given the chords that may be written in tho harmonic scale of A minor. -A- -%- i^ ^: JL S-- ■K^ Of these chords Nos. 1, 4, T), arc perfect n- common chords. Nos. 2 and 7 are diminished chords. No. =3 is an augmented chord. This aug- mented lifth is another new interval; it contains eight half steps, one more tiian tht' iierfi'ct lifth, and its inversion nuist be a diminished fourth, con- taining four half stc[»s. So we lind that when an interval is less than minor or perfect, it is called diminished; and when it is greater than major or perfect, it is called augmented. To return to the chords. The tonic and snbdominant are minor; the dominant and sixth are major. The dominant is the only chord that con- tains the vai.;ed note. (The chord on thi' third cannot bo used except in a verv limited wav.) xv ikIcI'Ii imis f. Wo lie. In tliis scalu • tlii'li' Wdiild lie il iiKiiiy and nii'lody :','n I'or this raised onicnts. Kxaniino luid that tluTc is u d a wlioh' and one I seven and eiirht. + Sv ... -s*- 7 8 augmented soeund )ne more than tho [lueu a diminished iil)h; are given tho inor. -^L -o- )n chords. Nos. 2 chord. This aug- alf steps, one more iiished fourth, cou- tcrval is h'ss than it is greater than int are minor; the Illy chord that eon- bo nsi;d except in a. THE MIXOR SCALE Si We have n.»w readied the harmonic reason for the ra.s.Ml note. We have found that the seventh may he ad.h'd to the .lom.nant. I'or aeons- tieal reasons, the seventh may he iv.hled to major chords only. i he chord Kd 15 is minor, and must he changed to major heforc the seventhjnay Ik. aihU'd to it. This change is made l.y raising the third, hence the (.-. .-4-4- U -4- -J 1 si..^£i4i4:fififTbf'1^ t/ * ^ r . ^11 m ^ J I J ^ 1 ! , .-, o- 11 •• rr r Tl... nuijor :m.l its rolativo minor are so .losMy ...„m,.rl...l, ,l,al a p of nmsi,- oft,.,. ,,a.s...s from one to tl.e otlaT and back again, .vnaining for ouly an .nManl n. tl.- .vlat-.l kev. No. 1, all in A minor. No. -J, where marked, passes into the relative maj..r and hack again. The cancelling of the raised note generally indicates a passing uito the relative major. . , ,, i .• , No ;} begins in C major, hut where marked it passes into the relatuc minor, and rcMuains there through the next measure. Analy/.e thes.. giving the names of every chord. State wluiL memhcrs are present, whether in I . m u T IMAGE EVALUATION TEST TARGET (MT-3) V / {/ / o V c?- L *'' -g^- -Z5- oniinant chord of tlurd. Oliserve, all these related 4 #f Jl THE MlXOli SCALE 8- No 1, tonic of C, and dominant with lV-» added of No. 4, K. No. 'i tonic of 1) minor, relative nunor of No. 4, F; ehanged to major and seventh added, it heeomes dominant of No. 5, (}. No ;5 tonic of K nunor, relative minor of No. ;>, (J; chaii<,'i-d to major an.l seventh added, it becomes dominant of No. 0, A minor, relative nunor of C .,,,,, i No. \ cannot have seventh added, because it would belong to a scale (^li!') outside of the group. No. 5, tonic of (x, and dominant of C. No. G, tonic of A minor, relative nunor of C, No. 1 ; ehanged to major, and seventh added, it becomes dominant of No. '2, D nunor, relative minor of F, No. -i. ,,,.1111 No. 7, ehanged to major by raising third and iiith and seventh adde. Relative minors. LeadiiiB tones. LcadiiiR tones. \i) D C 1)2 Related ( A> G m.ajor Bcale IS. (B> aB F G I'-a Kkv a. Signature F-, CS, ClJ. Relative minors. Leading tones. LvadhiK tones. A oJt y% r4 D £ B This shows tliat four degrees of the scale may be raised, namely, the iirst, second, fourth and iifth, to make leading tt.ues to related keys. In the exercises that folh.w, modulati..ns are made into all of the related keys. To harmonize the raised notes, it is only necssary to remember that they are leading t.mes, an.l must be thirds in the .lominant chord of the key to which they lead. To harmonize a lowered note, remember that it must be the seventh in a dominant chor.l. Harmonize iirst in two, then in three parts. Read over the directions given for two-part and lhree-i>iirt writnig. We give one exercise with directions as t.. how to proceed. Before writing, analyze the examples at the end of this clmi.ter. 84 THE ELEMENTS OF VOCAL HARMOW e F- wMmi :_[:_Lr._ 7^" "^ t ^P- I No. 1, loading tone to I) luliior; relative minor of F; elionl. A Ci I'. (J. No. 2, leading tone to A minor; relative minor of C; chord, K (i? IJ 1). No. 3, leading tone to (r major; chord, 1) FS A ('. No. 4, lowered seventh of the .scale; nuust be seventh in a dominant; cln)rd, C E G IP. Nos. 5 and may he harmonized as sevenths in dominant chords, heeanse any note in the melody may he the seventh of a dominant chord when it is followed l)y the note on the next degree helow, except the third of the scale luid the seventh (nnless it is lowered). The note at 5 may have the chord D F:; A (': that at 0, the chord K (iS IJ I). No. 7, leading tone to E minor; relative minor of (J ; chord, 15 I)i Fi A. The F nuist be 5 because it is sharp in (J, of which E is the relative minor. "^ '> -ri • i ]| ^ ^Tiwn \ti[t^H\'^^n\i.\\ n i t^ ■ Fy^-4^ '^~dTH"^ H I -I =n H ^ L ^ » I g li^lfr^M- I i t^-'II I/CA'K :ul:^ t- 'F- UIZZD ; clionl. A Ci E (i. ; ilinnl, i:(;? IJ J). iitli ill ii (loiiiiiKUit ; lant chords, IxTause lit chui'd wlit'ii it is pt tlie t'liid of the lote iit 5 may liavu cliord, IJDiFSA. li E is the ivlalivo ^njjU Ji H^VinM J] ^^4-d- P • E_-L|j^^]| T//E MINOR SCALE <^5 >. vt-w^ ?zi5..li_^i^_^L[^:^.:l^ Ct# • -i :^ -^~ -:r- _#__rf_ * [-^-"- = £0'-==' _t"|-:f:-r^ -f: ED — ■ *♦■-- f^"^!^ - ff^.* ii__t:z:4i- =4 3- 5». ^iE^fElg^ i"iif]iiir3Mii[3in::D =^"^=1""^ ^rp^^^^ -t=-- F-- EI01i:3^llI^H^d^'l 53:^1:^:1 :pL:^l^fl:£-F.I-?^ II [g^'rfj^^j^lgjri^^ I II lill|IWMHhMW»»IWt»l' ifaate.*Mm >n» a &f i W > '*^ - w ^ •r" 86 77/ A- ELlLUluVrS OF VOCAL llARMOXY it i • f" • ji * • - - ru i_-l ^^ - , N-r- -»B-fC jIO niKi Kxmnplos for nnalysiH : — (iivo the iiiimii !in * *T^?r :«_i^# ; b^— §? • !• , «?^|^ N^V S*:::^* J >A-y iiiiint, stfite the key, jiiig notes occur. 4 l-q -J— i— I <0 L-CjO- f r r t_j_i — I. J.. ^^ D 77/i?: MlXO/i SCALE 87 ■-J^ Ei^j '"^«=^* I* « >n I ^. -^ I ^i T'T-fTy^ ..X > p N. It. r r-r f * r N. n. Observe the three contiguous tones sounded together, (i, Sfventh ; A, root; 15, changing note. ■^^^m REVIEW 1. In what way may a minor seaU> be fonned from a major scale? 2. "Wliat is tlie minor scuU> formed in this way calh'dV ;}. How is the connection between these two sc:des indicated? 4. What determines tlie si;j;natnrc of a minor seale? ri. What is the simplest form of minor scale called? fi. Which dee iifth and scventl. n. tl.-l-».a ass in thi.s pro,?re.si,.n, it should be written with every member of the dominant in succussion as «d&iA- w .'. 1; i . ;*VTl!/ !^. , .. 90 Till-: ELEMENTS OE VOCAI. llAKMOiW ii Ikihh and as a iiirln, dominant III" I); i's tliird is ( S; lowered, it liccoincs the .siventii ((';)in No. 4, dominant of (i; its tliiid is KJ; lowirfd, it Iieeomes li.e seventh (!•':) in No. r», dominant of C"; its lliird is 11; loweri'd, it heeoiiu's ilie seventh (ID in No. »'», dominant of V\ if the seqnonee \ver(> eontiinied it wonhl ^•o oiit- si(U' of tlie ri'ialed . Ohserve that it ('(tii^ists of all the doiiiiiiiinl seventh chords in the icluled yiduii of ('. As written here, the ehoids have the liftli mid root alleiiiiitc] v at tlie hass. They may also have tin third and si'Venlh alternately at the ha.-s; or every chord may have the root at the hass. 1 2 I J^._. tL l__J J T)iniinisliC(l 4 cliiivil. Diiiiinisticil clioril, &?<^ j:?-~r 5-=^^ 1 2;^ -'' ::-> :-< 11 O No. 1, seventh and thii'd alternate at hass. No. "2, roots at hass; jvery second chord has the root donhled and tiie fifth omitte(h No. o, fifth and root at hass, in three-part writinn'. No. 4, seventh and third at hass, in three-part writing' (not very i^'ood on aeeonnt f>f the din)inishe• Yf f •^' 3^' f TV c/ r^:^^ — I- X - a V- — '- - *- r I i I f '-"f- ^\j---'\ — r — -- r 1 f f5< J^_L..^- , r :iu|' U B J .4-H ^ r* I I 1 . I I J3 I r I 8 I 3p 5^—3 S^nr:" J4i.J n-i-m-s- 11 OTJNCK /'AOuA'JiSS/OXS OF THE 1>0ML\AM' S/:t/:.\/^f 93 ^. Z\^i'^ J -> > I ■^ '■^ I •* *> i I :^ =% I ^ I i r --^^ /» •» ( "i-v -J s? ^ I D'-; C' '-!. J I I -A X '- %\ !<> '^ No. ' A, (Iniiiiiiaiit nf F, sc.'oiid iprnt^rivssioii. B, (liiuiiiniiil nl' (i, tliiiil iirn:;ivssi(in. C, (Iniiiiiiiilit ol' A iiiilini', srcuiid i»in!;ri'Ssi(>li. D, (Idlllillillll oi' !■'. lliilil |iln^ivssinli. Nil. 2, A, tldiiiiiiaiit 01' K minor, second iiro,L;T('Shioii. B, doiniiiiinl ol' (', lliird ]>ro,L^T('ssi(.n. C, •lominant of I), tliiid pfo.nrtssi.iii. D, doniinanls of lO, A, D, (i. wiittm in si-jicn.'c. B, (loniiniuit of (1, sirond iii'ogiv>siiin. REVIEW 1. Wl.al pro-rrossiou iiimv I'c given to u dciiiiiiuul stvuilli fiioid lu addilion to its \in»iJ:it'ssion lo tiie toiiif? 2. How do tile iiiemlHTs of till' chord inovi!? a. Wliicli niondicr must lu' at tiio liass? I Wluil is tlie tliird i.mmvssion llial liic doiniiianl scvcntli cimrd may liavc." r,'. What is tlic .notion of the root? Of Ute seventh? Of Hie third and fifth? (). ;May tliis pro<>ression 1)o reversed? 7. Must tlio root he at tlie bass in tiiis i.roores>ion? H. 3Iust tiic third and :iftli always be stationary? "t How may a seiim-niv of ih)minant seventli ciuirds l)e made? ll)". How many may 1)0 written in succession witiiont yettin- outside of tlie related !j:roni>? I I Which members mav alternate as bass notes? VI. Tf this se(,uence is written with the roots at the basn, wliich member must be doubled, and which omitted ill every alternate chord? 94 THE EJ.EMI-:\1S OE rOCAL IlAJiMO.W CHAPTER XVI Till-: MKLODIC MINOR SCALE. TO avoid tlu- k'ap of the iuii^niu-nted secdiid l)ot\voon tlio sixth and raised scviMith ill till' minor suali'. tlie sixth may also ho raised in the aseendinn' scale. In the deseondinjf scale the necessity i'or a hall' step ln'twecn the einhlh and seventh is not i'elt, therefore the seventh need not he raised. 'I'liis I'orm of minor scale is eaUed irnhniu; because the raised sixth and natural seventh are not found in any of the fourehords that may lie made in the minor scale; hence they nuist either be used as passim^ tones (Chapter VII), or, if harmonized, it nuist be with chords borrowed from some related kev. 1. the natural seventh as a passinf^ tone descending. 2, the raised sixth as a passing tojie ascending. The sixth and seventh are not ahvays raised in ascending, nor is the seventh always natural in descending. This depends on two circum- stances: 1st, on the chord that aceompanie^, the passage; id, on whether the jiassa-v ascends all the way from the liflh to the eighth, or descends all the way from the eighth to the fifth. •y sixth iuid raised 1)0 iiiiscd in tlit" y i'or a liall' step scvL'Utli need not KH'ause till! raised ir chords that may d as [jassinjif tones Is borruwed from ending, nor is tho on two cirenm- ■ ; '2(1, on whetlier ighth, or descends Tonic. 1 THE MELODIC ML\OR SCALE 9S 'fl No 1, the sixth cannot be raised, as it behnigs to the chord, D F A. No. -2, the seventh cannot be natural, as it belongs to the chor.l, ^'*No!n,'thc sixth and seventh not raised, because the passage does not ascend all the way to the eighth. ., • • .1,. No. 4, the sixth and seventh raise.l, because the seventh is ui the ^'"'t;. T^ possible to use natural sixth and seventh, alth.mgh it causes (IS (the natural seventh) to be stn>ck with (ii (nused seventh). No. 0, the seventh and sixth raised, because the seventh ^-l^ '&- the <-hord, and the sixth is raised because the passage does not descend all the way from the eighth to the hith. , • „ , , No. I natural seventh and sixth, l.eause tho natural s.xth belongs to '"Xhel^'is some dilBcul. . in using the sixth and seventh of the nunor scale but it will disuppea; if these oxau.ples are studied and transpo d scale, ui M }\ ,,,,-iieularh the vh^rd that accomi.auies tho nto other scales. Ol)ser\o p.utuuiaii} mssacre in each case. Study also the examples that follow, then xMite U c, ox^ On three parts).' lu the m>t throe exercises the approp...U, chords are indicated. Look over the rules for passing and chang.ng tones. 4— r — ^^"'«: r r r y6 THE EI.EMI.MS OF VOCM. Jl.lh'MOW 8 9 \^Hpm^^^iV¥v-'^i Isl meiisiin', niisnl scvfutli Jiml sixtli. oil measure, iiatur.il seveiitli and sixth, xy ^..•...#_.ij .:^ ^i 12 f r 1 111 asooiuVmg. Olltll. or. its ivlativo iniijor: [id keys arc ir aiul tlieii raised. .1 f'it5»0 J ilI^IO T//K MELODIC MINOR SCALE 97 3, U.iiie, ..raominaiit clicnl; ( "-, l'assin:4 toiic. 4. .lominaiiU-hora; C-aiul K, i.assii.t,' l.mes. ,0, sulMluniiuaiit .luml; D, i.assiiii; loiii-. 0, iloiniuiUiL ehonl; Ci, passing tone. 7, Ionic or doniinanl. H, sul)doniinant; I) and 15, passing t..ncs. El. c_iZll3SIIIiX^— i^l ^--O- J ^:_L' 1, dominant chord; Fi, passing tone. •2, tonic; (i, passing lone. B, snbdominant chord; (J, passing tone. 4, tonic, or chmiinant. • A- II g. -a_i .^ — ' ■ ' #-rr "•' !:•• Lvli„_ ^ V — ' ■ ^^JII^ '^* '^^* * ' ^-^^^ ' u 1, tonic chord; IP, passing tone; A, snbdominant. 2, dominant; AS, i)assing tone. ;i, snhdominant chord; 15. passing tone. 4, same as 1. .^), tonic, second inversion; A: passing tone. G, domiuuut cliord. \ 98 THE i:i.i:.MhMS OF lOCAI. IIAKMOXV t7 4 * • il r;^ I • ' '- \AA1 Cliniiiriiii;' notf witli domiiiaiit clionl. I %V_r t/ y i-;;*^^^-J -- i-i-i-iL5.Bi #J ^:^JI F| ^ i i^^-.r s I ^v^:\ij^r^i C'liaiigiiig note sulnloiiiinaiit. I- *- 1 mi-t^^iimmMMiM:^^^ iSi^s^iiiMii r-. t=r fef -^--- 11 E&i:iiS:],*r5i ilii_i-i- »•?• • ; _« — K aJ^ Eg^i i^^3^^!SI: J J izZCl^Il^ .J-^-ll 1 \]' zA LJ:— f. J \\\i\\ iloiiiiMaiil clionl. .if-=Cfl p- 75?Tf 1 ^.-i- f-- 11 LiJ:j^.i ^ •-! Il3T^ll 77/ A' MELODIC Ml.Wli SCALE 99 REVIEW 1 Wliy is the sixtliof tlio minor scalo niist'il? ,>! Wi.y is it not noeessary to niisc lUc .evcnll. uiul .ixlii in ti.e .U-M-en.l.i.;4 HCUk' ? a. Wliiit is this form of minor scale eiiUeil? ■J. Whv is it M. calU'dr ;,. 11.,; must tl.o.. do^nves be troalcd if tl.oy arc not l.arn.on./.cd by .l.o.d^ from related scales? G. ri>oii wl.Ht docs the raising or not raisin- of these dct,'rccs dci.end. Xm . K. - TluTc is a for,,, of „,i„or s.ale „se,l by the ..Me,- writ.M-s, esi-eeially by Hael,, ,,„„,. ,,li;.,l ,1,.. lla.h ^b„..,• Scale. i„ Nvhieh the sixth a„.l Mvenlh a.e ,-ais...l both u. as.-e,,.!- i,„ a.,.l de..e.,.li,„; se,,,.e,„ly, this seale is .lis,i„,ai>he.l fn..,, , e -aa,,. -y o, y one .l.::.n.e, uamelv. the thbd. Tl,e,v is a passa,.' in one ot the .M.n.s ,„ Uan.lel s d, p,..h i„ ,l.e bass soio. •• Ko,- He is like a ■vtiner's li,v " (seeon.l ,.art ot •' \\ ho .nay abale the day of His con.ing-), fon.tded on ti,is s..ale. It is so diiruail .hat it is ,a,ely sun,' vv.t , al.so- l,.toeo.Tectness.oNvi„,^Molhe nata,-al tendency to .sing the descendn.g mmor «calc with lowered seventh and sixth. t"«fa .,~ ttj!.U t iS.diX-"-^ ' ' f r and s sunl to he in tiie '.>'"'/'' position. . i i i i 1, ..h.: harn.ony, •>, open liarmony; \ open harmony; root donhled in all tliret>. 4, tilth donhle.l: ."i, same as "2; upper voi.'es an oetave lower. r.uunl:. When the root is the hass, the root is the hest n.en.b M" to ,..p';,; next, the lif.h; h,s,, the third. Speeial ndes wdl he ,nven on- (•(•rniuL' the doiihlini;' ol' the third. . , , , i > Write the followin,^' eli..rds in all the ways given m the ;d...ve oxampl. m- ^ I ^ I I _« g^ 1 ronr-part hurmonv n,ay h." written all in .^lose, or all ui open hannon^ Open han.u.ny is nsmd when writing for a .piivrtet, or -ZT^jL m voices; .•lose harmonv when writing for the p.ano. J us heing nn h elsh.r than open hannony, we l>egin with it, writing the ba.ss onl^ on the lower staff, the; three remaining parts on the upper stall. Sf(VESSI..NS <.K COMMON ClK.lU.S WITH KOOTS AS UaSS XoTtCS The Arst and most important rule to observe is that ^^^/^^^^ never appear in sne.ession in the same p..sit,on, as the result will •o sue ssive liflhs and octaves between the bass and the upper pa.t. wdl twi apiiear. 1 8 >5~ ■"■'X ^J --['t \'>l 2 3 3 _^£jJ' - /^\ ^3' 3 .*( Ml V n -r^tartij 102 Tnr: elemexts oe vocal iiarmoxy No. 1, tlic clioids liotli ill the ochivi' ])()sitiiiii ; tin- succt'ssivc (ictiivcs ncciir lu'twcfil llu- liist vitict' iiiid iIil' hiiss; tin' siicii'ssivc lil'llis. ln't\V('cii llic Sfcoiid vtiicc iiiul the liiiss. No. "J, liotli ill till' lii'icc! position; netiivos lit'lwx'oii .sreoiid voico and Iiiiss; lit'tlis Iit'twct'ii tliii'd voice and hass. No. ;>, liotli ill tilt' quint iiosilioii; octavos lictwci'ii third voice and bass; til'tlis hetweeii first voice and Itass, also lietweeii first and tliiid voices. 'I'liercl'ore, if a chord is in the octavo position, the next chord must ho ill tlie tierce or (|uint position. If a chord is in the tierco iiosition, the next must ho in the ociave or (|uiiil position. Jf ii chord is in the (piint imsition, the next must he in the tierco or octave position. Uoinemher the rule ahout contrary motion; it is particularly dosirahlc \vhon the bass moves one di'Mice up or down. 8 o ."j ;i 5 :'. h ;i 8 .j 8 3 5 3 8 The figures iiru to iiidiiMk' tfio iiositioiis in wiiicii tiu' clionls aru to \w wiittcii. ^- -d-n- 5 8 3 5 3 x^T rg ■^-j-T-3- -H- 11 8 5 8 5 3 5 8 5 3 m e ;^i e^ I ':^^ I ? TiiH f f^f£^^^ 3 5 3 5 8 3 5 8 3 5 8 3 8 3 We li'avo tlio clioipo of positions to tin- pupil in tlio voinaiiiiiicT fxprcisos. •X r, 5 K w " • -^- 3 5 5 3 .VI' succt'ssivf oftiivcs ivc lil'llis. lii'tuccii I Ht'euiid voico and ird voioo and bass; third viiiccs. i('\t clidrd must l)o 1)0 in tlie oclave or be in tbc ticrco or rticuliuly desiniblo 3 n 3 « a U) Ix-' wiittt'ii. ■=d-- H J 8 5 3 5 3 8;$ 5 xorcisos. D -1^- FOUIi-l'ART IIARM0N\ ' 103 ^v « 1 ^rn-r jgi ^jr^- tjj--rv7-i-T -|] K^ j!£?if±^T'FFxri^ii[E^ :i ;d If till' chords arc to bo written bch)\v a inchuly, it is only necessary to rcnie bcr that every note in the melody may be the mot, third, or liltli of some chord in the scale. 'I'lms, if the note in the melndy is (', it may bo the root of (" E (i, and the chord will be in the (utave pusition; or it maybe the third in A C E, and tho chord will be in the tierce ^losition; or it may be fdth in the chord of V A C, and the chord will be in the quint position. Tims: — IvOdt. €-\ m ^. 'I'liinl. — # :^^ir/ Fifth. -1^: 0/ 3 There is one restriction; V -5^ -5^ I -> .;.? •+ ^^ — [_- 1 — — d a~ fii. m^ D Tlit'iv iU'c some successions (Imt do not soiiml well as a general tliiii,t,'. They are not to !)e understood as wioni;- or i'orl)idden, Itut oidy as not always a.i;reealile; also, this remark oidy ajuilies to their use with their roots at the bass. 'I'hey are the I'ollowini,': — From a minor chord to the chord a minor thiid ahove. Ex. 1. The ri'verso of thi:; is one of the most a.n'reealile proLjressions. The minor elw.rds on the second and third of the scale should never lie written in succession. The dominant does not sound well after the suhdominant, unless the suhdominant is in the octave, and the dominant in the quint or tierce position. Ex. -. 71 \ )■ a i s it :) m ^ II a 5 ]r -rl r I.- 1-. i-\i II I'll ii^lklJ as a general tliinj,'. 11, Itut (iiily as not hi'ii' use with tlifir Ex. 1. I'CssKtns. U' shnulil never lie Diuiiiaiit, unless the the quint or tierce JVl A'-ZMA'/' JlAh'MOAV 105 >:> i. (- ,_4 J -«- [x:^ir n II II These reni,irlo oliMivcdi' ."<. What nifMiluT of a chonl may v\\'\\ note in the melody lit-? I>. Which ilcjii'i' of till- scalf caniK't lie a root? Which cannot lie a third? Which cannot he a lifth? IC. What siicci'ssinn> nf chonls do not, as a iisnal tliin liass, in close Imr- rnion y ? Si'oif; wlii'ii a stall' is /VA'Sr AM) A7:C <> I C 1 '.' :» ^ :ja~:~9': 9.\j9r: 99 .«-..-»- -» II T II K iiliovo is tlic cliord of C, wiOi tlic tliinl, K, used iis ii liuss. Wlicii ii (JK (I is liiiis writtfii, it is said to 1k' in its liist iiivi;rsioii. A, with tlin root lit till! top. 1, root doiddcd. Ii, lit'tli doiihl.'d. ;{, root doiiltlt'd !it unison l)y two \difc's coiiiiiij,' toijfcllici' on tlic satno sound. 4, liftli douhli'd in tlic same way. T), tliird douhlcd. (Sec sin-cial I'ulo, p. *)('».) B, witli tlio douhlcd tliird at top. (Si'c siu'cial rule.) 1, root doubled, lil'tli oniittcd. 2, (il'tli doulili'd, root f)niittcd. .'}, root and (iftli present, close liarniony. 4, same, open liurnioiiy. C, with the fifth at the top. 1, lifth doubled. 2, root doubled. 3, third doubled. (See special rule.) 4, root doubled at unison. 5, fifth doubled at unison. 'Cyr loS yy/Zs' j:i.i:mi:.\ts or roc/ir. nAR.^roxv WliiMi till' tliinl is used as a l)ass, tin' fiftli is as f^'ood as tlio mot to doulilf. Wiite the fi)ll(»\vi!iL,' chords in all the ways given in the above exiunple. B 1^ % % ^_Z^ •5 '^c> |] The notes iirr iiiavkcil tliat aiv In Ijc thirds in tli.' lirsf tiirco I'xcrcisos. ^eEt:ye_ -i ^^^^M^t^ \^ ^^ .. Sl] 3 5 i^ ^ * — • D 3 3 :■•=» I 3=^^ '='J^- ilgE^pilD lli'nionilxT tliai, the loadiiii;' (one may not bo a root. :-=]- ^^-^^.ir^-^^3 1- ir=:rr=j" Ri'nienilioi' that tho rn/.vfr/ imti's must ho /A//vA<. 131.^ I- - -t ■ " - , :=] J I hVV ()( 1(1 as tlio I'lKtt to le above exiunple. crcisps. alg:^ ■6 s> n =Hm^3i -tMS: iifrn ::=] :r "1^- :ji i /■VA'^v j-w-* SAW.VD 7.vrhws/o.ys /.v J'Vr/c pants IC)() ^^Vf7 5'' ' =1 -r::-=) ^f^v "^- 1 . II : U - _ ,- I -"11 Tlu' lirst three i'X(.'ivi:,i'S liavc the haniKHiy indicated. It is pdssihle to write two ehnids iii sueeessioii iu the tierce ]insitioii liy douhliii!,' the tliird ol' one of them; in a dcxniKHun passanf dnul.le the thud of the lirst chord; in an «.Sfr/u/i(in. 2. Dominant, 1st iiiwrsioii. :5. Sululominanl, l.->t inwr.-iim. 4. Dominant, 1st invcision. ."). 'i'oiiif, Isl inversion. 0. Tonic, Isl invcr.-iou, 7. Super- tonic. 1st invci.sion. AVlieu the raised note (:i(l) is in the melody, the root must I'c at the l>ass. 1st iuv. (J 1st iiiv. 1st inv. I.-t iuv. 1st iuv. D C 15 F :;« I ^w I lO yy//-; jclla/ea'/s of vocal iiarmow ■^_ i '^'z^'-\tr-tj:^'/-^ tj T >- -He: ■•-—§0- r:-^-4^J-p-:::£EELJ:-:v^Ei l^t illV. u 1st iiiv. U 1st iiiv. 1st iuv. Ci C Ist inv. 1) Isl iiiv. i; j> J. \»t inv 1) ^t-^rr^f-r ^^^TW ^ f ~'Z-. ^giziiiiij^ir^z^i -tzi D H T^^t m^W- 1 .; .> :^^rS-Eii,0 3 3 i-^^0;igggI^l^ ^g^F: | -^^ Mr]] 3 3 3^ i'=jjx^i:i3?iu^j 3 3 iLf]^ -r1 Jl TiiK Secoxh Invki;siox i\ Foi'ii Parts 'I'ho rules here given are an addition to those given on p. A^, in three- part writing. 'I'lie lil'th is the best member to d()ul)lo in the second inversion (see No. 1 ) in chise harmony. No. 2, same in opt>n harmony. 'i'lie root is tlie next best member to double in the seeond inversion, No. 3. 'I'he next Itcst is tlie third. No. 4. No. ') may be used: it gives (ho effi'i-t of a second inversion, although the rout is omitted and the lifth occurs three times. I V)- lil inv. li>t iiiv. I) K id tz:= ?1?1 riS^^O • * 3 3 =1- 'T^ -r1 <> - vr ITS on p. 53, in tlircc- ^ml inversion (see id inversion, No. 3. nversion, althongli T F/A'S7- AA7) SL'COXD /AFEKS/O.VS IX FOC'R PAKTS i i I _^__^^4^-J s 15* 0-— ' r— r t=^ -::.J- I I5T H Llj It ix^n Ri:CATlTULAT[ON OK Ul'LES FOU TlIK UsK (»K SkCOM) iNVKKSlnNS If the second inversion is a tonic clionl, it is ^vncrally followed by tlie dominant chord, No. 1. Any chord in ihc scale may precede it. If the second inversion is a subdominant chord, it must have the tonu^ chord before it with the root at the bass, and generally aficr it also, with the root at the bass. No. 2. If the second inversion is a dominant chord, it must have tlie tonic chord before it, tlie root at the bass; and after it, the third at the bass; or this may be revei-sed. No. 3. If the second inversion is a tonic, or subdominant chord, it may be followed by any chord with the same l«iss note, or with a bass note one degree above or below that of the second inversion. No. 4. '^If the second inversion is a tonic chord, it may be followed by the first inversion of the same chord. No. 5. ^-J- -^— J^ _<»— , O ^ ^ -4 P I 12 THE F.I.EM I :.\TS OE IVC.I/. J/ARMOXV _n J J J _>5 -,^-, 1 — ^-_4 -| — l-o ^ , ^ >j,-| j— 711 X ;J ^ '::. -sr Li V i^ r r z\\ ''< -d zx\ "", >^ i \ C & ^ : 7 ": 11 1 ri :tj-=i-| n -ri --=1 r=i =^ -=i "rt -^ - . « _ ^' «?._ 15' 7 ^ \^ :-G>^/s \ f miiij^r^j} ^2 e .^.2- :^ + A !^ E :;i-r=1 D r~ r p -*5- IHEil^lili^l A and B, No. 1, are IkkI, bi-oauso ])iiralU'l fifths occur between the first and third voices. 'J'licse may bo avoided by writinjf one of the chords iii ojK'n harmony, as at C and D. Ko. o. Tills successicin sounds best when written as at A and B. Mo. 4. A is ])cst, B next, C next, D not satisfactory. A few ad(Utional clmrds will be i^nvcn that may follow these second inversions, when we get the chords of the rehited group in full. REVIEW 1. What is nioant by inversion? "What by first inversion? 2. AVIiich inombcrs of the ohonl may l>o donl>lo(l in this inversion? 3. Is there anv choice lutween the root and the liftli? oxy Xy -S' I _-: -n "> X, <> \ , ^ '> ■5 -5; 'S' I <5 «-:_ 'S' > :8: ^ s 5 ^ II D n y.VA'.V/- .jay; 5Aa).\7> IXVERSIOXS in four J'ARIS 113 4. Il.nv iiK.y two chords bo writU-n in siicrossion in ti.e tioirc position.^ ,-,! ll,,vv n.iiv si'ViTal olicnls be written sueceissively in tliis wuy? C. \\ hat is "meant by tiie seeoiid inversion of si eiionl? 7. Whieli is tiic best member to (lui)licale? Wiiicli next? s. (live the rules ahviuly jriven for tlic use of second inversions. '» (;ive tlie rule for the second inversion of a dominant chord. 10. In addition to the rules before givcu, ^^■bat may follow the scc.nd mver- sion of a tonic or sul»donnnant? ^i-^ U^ D ^ — ^„.13| 1_. 11 ur between the first jue of the chords iii iU A and B. follow these second > in full. i \ on : inversion? T* mma "4 77//-; i'/j-:m/:\!s of Vi-^cir. /f.iAwrnxv CHAPTER XIX THE CilOUl) OK DOMINANT SKVKNTII In I'\»iit TAirrs WVj lmv(> iili't'iuly ^t;ivoii (CliapU'r XV) tin; (loniiimnt scvi'iilh climd unci its iii'd^ivssioiis. in tliis cliajjU'r \vt' will ('(uni)!!'!*' tlii.s siih- ject by givJTiLf tlic iloiuiininl scveiilli chord in four jiarts — willi iUs iir(i<,'ivs- sinns — in cvorv p<)ssil)li' position and inviTsioii, in closo and opi'ii harmony. This I'xanipio sliuuld l»o written in all keys until thoroughly mastered. I... -I - — J — -4-,-- — I _i — |___..i . 'J'lie root is doubled and tlie fiftii omitted. This is often done if it i.s desiivjd to have the fif'.h of the tonic present. Xi' Til Hint seventh clionl (•(iiiijilete this siib- — witli its iini<,'res- and open liarniony. ^hly niastered. Open. — -rf -f- 31 J if it is ilesiivid to have 7 .a (2 t- ise. Opcu. T — r- -jSL "I — -I — a. lose. =d: open. 77//; CHORD OF DOMIXAM' SlAEMll H5 J J.-:: 12 h d- 1 all (■1(W. (5r f ipt'ii. fluSf. Opi'il. I r-T'^MJ -_ r- \os. 1, 2, ;?, dominant seventh; root at ba.ss; No. 1, seventh at toj.; No. 2, tifth at top; No. ;5, tliinl at top. Nos. 4, /), (1, lust inversion; that is, third at hass. Nos. 7, )^, t', seeond inversion; that is, fifth at l)a.ss. Nos. 1<», 11, 12, third inversion; that is, seveiitli at l)ass. Observe that no matter how the ehurd is arranged, the members always move the same way ; that is, — Seventh, (k)wn one degree. Fifth, down one degree (although it may move np, as in the next example). Third, up one degree. Hoot, up four or down five, to the root of the tonie; this is when tne root is used as a bass. When it is not at the bass, it dues nut move, as it becomes the iifth of the tonic. II lE^mr-Ill No. 1, fifth at top, root at bass; fifth ascends doubling the third. No'. 2', fifth at bass, seventh at top; fifth ascends, doubling the third. No! i, fifth at toj), seventh at bass; fifth ascends, doubling the third. These are the only cases in which it is well to make the fifth ascend. Observe that when it does ascend, it is either at the tup or the bass. .1 ii6 Tin: ei.i:mi:.\ts or ivc.ir. ii.ihwnw)' Skconi) IMmuikkssion (»f Dominant Skvkntii 'i"lu' si'Cimd i)r()<,n'('ssioii is to the iiictliiinl (sixtli). 'I'lic iiu'IiiImts (if tlic chord iiidvc as lid'oiv, i-xccpt that (lie lifth must (li's<'('ii(l, and thf tliinl nutii descend when the iiftli is at tlic tup. The i't)i)t ascends one decree to tlie mot ol' the mediant, and both roots must he at the bass. 3 »/ pip Cldso. Open 4 yi I 5 ^1 '?'rr-—'> I ■^ ^ 11 Open. ■ 4 1 Closo, :Pi.„__-?-_ ^flI!D!liif3i~3 .4-: -1 N. U. wmr:2i No. 1, seventh at top; 2, third at top; 3, fifth at top. The third may descend, hut oidy in tlose harmony; in ojten, it must asccnih as at \. 15. , hccause if it descended, there wouM Ite successivo liflhs hctwecn the tenor and alto. TlIIi:l) PllOfiUKSSKtN Tiie dominant seventh of a major key may he followed hy the dominant seventh of its rtdative nunor. The following,' fxami>le shows how this pro<,Mession may take place. We leave to the jiupil the writinj,' of the luveisions and positions, open and close, enoiiyh having hcen done now to guide him. ri-:] 'X I ___|-.^^ 1 1 1 - , -r 1- ,1 - --.rT^i, =1 -1 — j 1 - -1 II :=1 u "d 310 OX)- VKNTII tluit tlif liflh must L tin' top. iiiiit, uiul both routs 4^ 1 ■ — — t N. H ^5 - - S'^ ^? t. <>-" ..t— _^,.'~ II ip. The tliird may asociid, as at \. 15., IS liftwc'C'ii the tuiior v('(l Ity the dimiinaiit i]r shows how tliis tlio writiiij:^ of the iiii; hc'cu (hmo now n --i^ rn ■5' - O IB THE CHORD OF nO.yffXAXT SHlKMIf 117 Seventh .h'sronds; fiftli an.l third heh.n,^' to both chords; root is raised rhromatieally, heeomin- thinl of the next chord. The l.laek notes are to sliow tlie pVojrression of the seeond chord; it Ixjing also a dounnant seventh, it must have a resolution. Skquknck of Dominant Sevenths in Foru Papth All the dominant seventh chords in the related ^vm\^ may ho writt.'U in succession if, insti'ad ..f resolvin- the third ..f earh chord, it is h.wered chrouuiticallv and made the seventh in the next chord. Seventh and lifth iv.. ..xr.vis..s, not.-s in the- M.rh..ly thai may 1- tn-.U-.l an M-vrnlhs a.v i..arkr.l 7. Ohs.rve that th.y a.v always lullnur.l hy th. note (iiic tlc^'ivt hcldw. • 1 .1 ,. .,,1, Tlu« h.wvml hsulin- ....U- of tho s.-ah- must h. hanuom/...a as th. srv. nth <,f a oli.ml, th.iv U'hvA "" ""'*'•• ""''^"^ "'' ^'■'■''^'"- '^ "^ '""' ''"^:" '" ^'*'' n-oi-sions of th.. .hin.ii.ant srvrnth in invfiMvii.r to nsin- th.< nu.t Use in ftS the buss, fxoci.t, ..f ioursr, when it is to hav tho s.'.on.l iMogivssio.i. ?fl?1 i^O]3il^?^=^34031 2d 7 7 I ianjEcii^-i'-it^ n — ii^^.[^"° E_...t: • 5* !!^£j —^ -iii^iii^;£^ili:iiiil!li£^^ T Ml' ^rrssinii nil' iiiaikt'il It iiiiiy !"■ tifiilfd as ys t'(illn\v»'(l liy lilt' niizt'd !is tilt' sfvciitli I 111 uur dis^itisiil as ICC ti) iisiii;^' the nutt cond inogiv.ssiun. n ^mi:iP n "[•iB^I 1 -_^^ m slLg-g;!! 77//-; c7/0A'/> OF noMix.wr sr.i'j:.\ni 119 H^JT^ -ri f^l^jr [T^ T^l? ^ I ' II J O ^^ *'!•'-• ^1 REVIEW 1. Wliat tliivo ])ro;j:iv^si()iiH iiiay tlic (liMiiiiKint scvciilli diord liavor' 2. How is :i Nf(|iuiici.' (>r (laiiiiiiaiil sovctilli clmnls iiisidt'? :i. Mow .Incs tlie scvculii iinvc ii. Ilic \\y>\ |.n);4ics.MMh? 'riH' tlftli? Tlic tliird? 'I'iic roiil ? 4, How do tlicy innvo in tlio sc'cdikI projrrcHsinnV f). In till- third |.rn':ivssion? ('.. Ill till' St'(|llClK'C? 7. Ill wl.Ml ciiscs may tin- dflli nscci.d in liic llrsl proj^iTsMnii? H. M:iv it ever usccntl in tiic si'cond proirrcssionV ass in tlic second pro- groHsion? 10. Docs the third nhvays ascend in tlu' sccnd i.io<,'resHionr 11. In wiiat cases niav the scvcntli siscond? \1. Wlicn may a note in the m.-ln.ly l.c harnmni/cd as the seventli of a cliord? iJi. Whicli .le-reeof the scale when aeeiiU'iitally lowered must lie made the Hovonth of a chord? ■HMimsin rw » « i "ii — 1 20 /■///■; Hl.EMl-MS OF iVC.U. IlAHMU.\y wmmam^ CIIAPTHK XX Ol'KN IIAUMONV IN I'UL 11 I'AU'IS „..„1 111.' simi.U' cxiK'tlu'iit "f ii>"vii'.!.' il'«' W''^'^^^^^-^--^-"^''-'TT''1 ' " ■■ inul vocal iKinnuny. 1 lu- '"^"^^ '"';/' ". .„;,.,,„ Uuil tsvu voices must 1, iind most important, llie nilo iiIkm.!} },inui, iicvor move lo'-vllu'f in lil'tlis <»i' ortiivos. V ;,;, alii, an.l lonor untsl not he nu.iv than an octavo a^it at any time. , '? 'riic voices must not cross cacli oIIut. •|; I,;, \„,,ior ,arts (alto and tenor) slu.nUl huvc as few leaps as ''i!'' U'hen two or nu.re chords in snceessiou include the same sound, 1 ccei. it in the same voice, il' it is alto or tenor. ..,•„, 1, When a letter is altered by J, ^ or =, it ,nn.l !«' retan>cd u. the "The 'll^t wav to pra.'tise this kin.l of writin- is on four staves, usin- ,c (r clef for the ten..r with the understanding that its pitch .s an octave tl lower. Thus - Tenor wrilU'ii on - Actual intdi ns suiii,' by Ti'iior o ^ " -L'A' /'./A/'.V I .M Study ih.' folh.win-i cxanii^h's widh OLmtsv Ihal whm ih.- m-piiiuo au.l iMssaiv less than tN\o oitavcs apart, liu' haiuioiiy oUiu lu'ionu's iIom'. I e'j^^n^fpTri-^^FT^r"' r i •- ,- f - ii A B ic ^iey^iM* I £--£■&•• ^ii-^-^L^E- II No 1 At A. tho fd'th of tho c-hord is omitted and llie tliinl douhh'd, hofa'uso the U'uar wouhl n.ovo iu hflhs with thu bass if it had thr C (l)hirk note)- From B to tho end. the harinouy is '■Jnf:r. 'I 122 /•///•; EU-MEiXTS or VOCAL HARMONY No. -2 is till' s;iiii(' melody witli dil'lVivnt troatincnt. At A, the tenor uii.l l.;iss hold the tonic and dominant (doi'Me pedal), while the soprano and alto move together in sixths. At B. the bass only has a holding note; the otlu>r voices have the diminished chord. At C, the seventh, in the alto, ascends as the hass moves up with it in thirds. At D, the hass and alto hold the dominant, while soprano and tenor move lu thirds. At E, the lil'th of the dominant is omitted for the purpose of mak- ing the final eliord complete. ro 4_:f:::?: g^g: r^r:.f:^: frF1^j^:: J Close h.irnimiv ^£t=i ^=t :.::-;i :2:=i -d- ! d^ ip-vrzar ^J- -=1 A ^; \^}Ei:2i^ -rmrtr ^mj^ti^^^^-^ zir^-:^: ^: feN- :=i.;--:] ^ * -:\ -r iSll mm :1_. -.1= ?A-y lant (dopMe pedal), At B, tlie bass only il choril. At C, the it in thirds. At D, [ind ti'uor move in the purpose of nuik- f- -=l \-zt- "-::^ t ■* fi.' -1 m r=J--5- iz=:ij_ -d =}q !l mnjn -r 4-- wm i ^- :; #_ ^1 " i :-j- ai 0/'£A' JLIEMOXV IX FOUR PARTS 123 Analyze this example. It is composi-d entirely of chords in the scale of (J. Observe in how many places the dominant seventh chord is used. el. — :p^ ;d:mz_|~-. 1 -I -I ' - -N -j- "^ V~^ # •- « I il^ J^^* i!0 ^-^: m-^^i::^! h£ "3: -:T^^3^ -#- -d :1^ II * * ?iS.Jf:^f: j>£:,L 9- • 4- - « n d •^ f=E3^ ^^ :f- .'#-• -t ^ Ji — f — ;^ |] 'S-t _iLr_=:r_:ijr:^-t ^r-fzi rj- -V — ' — j iff^ll Where are the dominant seventh chords? To what related scab's do they belong? Are there any examples of held notes with passages in tliirds or sixths':' All the exercises in the book sh(.uld now be rewritten in fonr parts, using the common chords, their inversions, and the dominant seventli chords of the related grouj). Ai the same time, the four-part c(tnipositions in "The Normal Music Course" should be carefully studied. J w 124 THS r.u:siE.\rs or i'Ocal iiarmosy CHAPTER XXI AUDITIONS R) Till-. DOMINANT CTIORD. o^t-nsi....s "f ll." -1"""-"" '■'""■'' '"■"'",', V Hst The Wl.nving 1 n. ..vvr ll,-.t Uu' ..mil. .v,.,l ll,iilo>'..U, ,..ay 1.0 oill.or ...»j<..' m- ...h.nr; ,.,„:r:r."..-- .-'rT::::".:^:'ro::;':::t.:r ■ify r •5' 3 ^ ,1 I n5- I 3 1 1 ■S' I :^'-"rr r/^rrm.'^: ■; ^ II II Hoot. No. 1, root to nintk Tuajor or n.inor. occurs freauently. N„. -J, nx.t U) elcvciUli, not so fieiiucut. 1/OA'K ADDITIOXS TO Till: DOMlXAXT CIIORn 125 ciioun. th cliord arc the iii"st lilt ivniiiin arc cliictly 111 it new mcnilicrs of . last. The following l,c« i..(l.lc(l. It will be Lhe scries over again. Nn. :'., root to tliirtccntli, still less fn'(|U.'ii(. >;o. 4, root to lliirtfciith with tliinl aii.l seventh, oci ins riv(iuciilly. We will take these groups one hy one. ami give the rules I'c.r tlieir use. No. 1, root to iiinih. 'I'he uiuth resolves ly deseeU'liug. it umy u.'t l)e put k'low the root or eh.se t(. it. It rarely sounds well unless either the ninth or the root is found \\\ the preeeding chord. Tlie litlh must aseeiid when it is beh)W the ninth. The ninth may resolve hefon' the (lu.rd flianges. 1 * I 2 ' I 3 !» ♦ -•5*"—— -5* ?-^# '* ! -J , -I -t , --fl rr^ 3 1 j_i hJ e; -:sz " n ::=!- cither major or minor; he doniinant of a major •y, they mud he minor, hie to sound them all V be used. 4 1 --"■- -^ 1. n B cqucntly. Write the invci-sions of N.-s. 1 and i2. The third, fifth, and seventh mav he at the hass. Observe the rule above, about the niulli and root. No. 1, progresses to toiiie chord. Xo. -2, ninth resolved lirst, then the rest of tin- chord: the lifth ni;iy (k-sccnd, because tin; ninth being resolved, it will not move in liftlis with it. No. a, the ninth. 1), is a member ..f the preceding chord; the tilih is omitted; it is the best one to omit in four ]>iiits. No. 4, the root is a member of the preceding chord. (J roup Xo. - may he used as follows: — I ?^- II -t- II \ I 126 77/ A- eli-:mk.\is of vocal harmo.w No. 1. .l.vrmh .U-Mi'iuls tn third of doiniiKiut, and niiitli (lesi'cMuls (o niiit n|' tlnlllihilllt. No. J. rlrvri.th as.riids In liftli ..f doiiiiiutiit, iUid iiiiitli asrci.ds to third '^ ^^_ ^ I "^ '5'- U ^ I '> " '-' -! ^ I r: C No. 1, thirteentli fallin;^ to root of tonic, first proirressiou. No. -i. thirteenth deseeiids to fiflli of dominant; in this ease the K instead ot' hein- ei.ll.Ml a thirteenth may fuiivcnicutly be cousiaoicd as a ehanuing note ^Chapter IX). fO.Vi' n\ ninth descends to nd niiitli ascends to ■sct-nd; iiftli asreiids. AVD/r/OXS TO THE DOMIXAAT CHOKD 127 H II II id tliiid of dominant : sounds ItettiT than if nir to tliird. II Ljression. It ; in this ease the K Ay be considered as a No. 3, second progression. No. 4, third progression. Seqneucc may ho made. Thus: These overtones are nnieh more used in groni)s ^^{ four than with the root i)resent; they move with more freedom whin the root is f.mitted. Still, the rule that the dominant chord has three i.n.gressions, and the rule that seiiuenees mav he made of dominant harmonies, will always he found a reliable guide t(> tbeir projier use. Breaking the series np into groups of four, we get the following nine groui)s: — 8 9 -^g g 4 r. 7 _ >i I ili JLfl —5! No. 1 consists of root, third, fifth, seventh; counting from the loiveHt mto, this grotip consists of major third, perfect fifth, and minor seventh. No. 2 consists of third, fifth, seventh, major ninth: counting from the louu^Ht note, this group consists of minor third, diminished fifth, minor seventh. 4 r*"" **T"" "•" THE la.llMEXTS OF IVCAL JIAKMOXV ~ N., :; .uHsisls ..f thinU tilll.. s-vntl.. n.innr ninlh; n.Mnlin;^ fn-.u Hm- U,,,:., \,..U. .Ins Lrvnui- .....ists or .uin... llunl, diMuni.h.d tilth, ch.nnnsiM.l "■''n!,'''i ....nsists .!■ tinl., srvri.th, ,n;.jnr ninth, .Wn.h: iV-n. thoA-.vW ,„/,, i, ,..,nsisis of u.inor ihinl, yrxU.^x tilth, minor s.v.'nth. ... N.. :. n.uMsts of rilth. s.vrnth. n.inor ninth, (.h.v..nlh; fn-m llu' /-'■-/ ,,,;i,\..,nsisu of n.inor thinl, .hn,inish...l lif.h, nunor s.v.-nlh; th.ivH.v i, is Ih. KUM,. MS No. -J: still thnv is no nn..rrtainty .s to Us root .1 us..! u. ,1,.. k.v of C. h.v;,ns,. if It urn. thinl. llf.h, srvnth, nmjor n.nth, thr loot ,.ouM' W V,\ iU. .lo,uii.ant of 1- a k.,v that has no nlafou uuh th. '^'•'l-il/fonr n-nalnin^ ^nmps an- a-hh-.l to ronu-ln. the sc-rics; ih.ir us. is \>!r\- much ivstrifti'il. • .i ■ , ,,,i,. N,', G consists of s.-vnth. major ninth, ch.v.-nth. major thntc..nt.., ,■,,„„ ,!,.■ A^.".>-/ "•'.'-■. "'ajnr tl>inl. \>rvU'vi lifth, major srvrnth. No 7 roHsisls of srvrnth, n.inor ninth, rh-v.^nih. nujor ihu'trrnth; fn.n. the l">rr,t „ot. minor thinl. ywU .t tiflh, major s.-vcnth. No. S consists of srvrnth, major ninth. .■Irvi-nth. mim-r thnltTulh; tnm. thr lnn;.t /,.-/.', major vhinl. ffrl.Tt lifth. minor seventh. Nn ;. consists' of srvrnih. minor ninth, eh'venth, nunor thirteeulh: ,V„,n the A-«v../ /.,/,■, n.inor thinl. perleet lifth, minor sev.-ntl-,. T.e Jii^'live sl.ouhl he .■ommitf.l to memory as .soon as i.ossil.le. he- ..;u,s,.. whra it is desin-l to lin.l the root of a rl.onl of four letters, ,t >s only ,„.>.,.ssa,v toa,Tan..e th.m in tl.inls, an.l tlu-n eonnt the u.n-rvals in.n, the /„..,./ IrUer, and eon.oaie with the ahove tahle. Wo -ive some exan.i.les. 1 — ..> o 2 b: '^% n 7 s ':-^7- ^^^^-- "^r^^:- -^ -y'^r. -^<, I 5 '5' SO \o 1, letters arranu'e.l in (hinls must he VA\ W U: lm,n_ the /.«v./ 1,11,,, n.inor thinl, peifert lifth, minor sevet.lh; theu'lorc it is lillh, .srvenlJ., ninth, .■leveitth. fn-m A, dominant ol D. No. 2, letters arnin-ed in tl.inls must lir \t A (. K : '• ''. Muuor oxy .innrno.xs ■/,> riii-: noMixAxr lhokp 1 29 1; ((Uiiiliiij^ fit'iii till' lu'd lil'tli, di.ninisiictl ■ iitli: I'li'in tlio l^m-tM I'Utll. ■iilh; friim llif l^i 11- sfVfiilli; tlififfmc i lo its nuit if usril ill iiiiijiir niiitli, tin' n»it 11(1 ivliilioii will) till- till' sfiic's; llu'ir use h. iiKijor tliirtci'iith; M'VClllll. ill. iii.ijoi' lliirtcciilli; CVl'lllll. liiior liiirlrt'ulli; from th. til, iiiiiiiir tliii'tcciitli; Sl'VcIltl'i. s soon ;is possililc. lif- fiiiir Ictti'is, it is only the intervals from llu? D <''ivo some cxam[ik's. ^r— #0 so r, I): from llic }<»i'ixi tlic'fi'foro it is fiflli, A C \-?\ I. '■.. Mii'ior thinl. iliii.inisiuMl liftli, 1 sr\r::ih: ilicivforr, tliinl. lifili, srvcnlli. jiiinoi' niiitli. fioiii I ). .Itiiiiiii.iiil ol ( i. No. ;;, l.iuis :.it;.ii-v(1 ill lliM.ls iun>t 1).' 1) K V ('; /. <■., minor tliinl, jHihHl lilth. minor Si'scnlli; ihnvfoiv lliu'.!. liftli. seventh, niiijor iiiiith, from IP, (l..niiiiiinlof l?, or iifth, seventh, minor ninih, eleventh, from (.. (Idiiiiiiiiiit ol ('. N... 1, letters arnin-ed in thinls mnsl he A (' V? (i. same as last nioni-; iheivlore eilh.r tliir^ '•'■. '""J"'- tliii.l, iierfeet liftli, minor seveiiih; lheref(.re root to seventh, tlomuiaiit ofA\ ' . No. 0. lett.Ts arran-e.l in thirds must he IP IP V .V ; >. r.. minor thinl. i.erfeet Iifth, minor sevnth ; therefore Iifth, sev.mth, major ninth, eleventh, from M"", tloininant of .V. ^ No 7 h'lters arraii-e.l in Ihir-Is must he V A'CiK; /• '.. mir.or thim, ,ii„,inislie,l Iifth. .liminishe.l seventh: ihereh.re thinl, liflh, seventh, minor uiiilh, from I )-, ilominaiit of (i-. . , • , No. s, letters arran.^e,! in tliinls must he \K VZ A CZ: i. .:. minor th.nl, .limiuishe.l Iifth. minor seventh; thereloie thinl. tifUu seventh niajor „„,„,. IVom I!, .hmiinant of K, or hfth, seventh, min.,r ninth, elevenl.i, from (I-, ilominaiit of ('-. • n • 1 \o It letters arraii-e.l in thirds nmst ho A (' K d: >■ '•. ""ajor thml, „„,,•..., tifth, minor seventh: then.fore lirst, thinl, liflh, seventh, .lommanl of I). Arran-e the following groups in (hinls and lind the roots. ^ — ?o— --O I REVIEW 1. How an- iid.Iitions ina.le to t!ie dominant eliord? 2. AVliat an' lliese soini'ls e;dled? •J rr ^19 '30 n. I. •1. c. tliirh-L' 7. H. ;•. 11. 1-.'. 1:5. It. n;. 17. IH. lit. 2(t. 21. ust'd w '2 '2. 2:5. '21. 2:.. lottcr. ■////■: i:ij:M/:.\rs or ivlai. j/a/^.uow I How iiiiiny may I'O mltU'tl? Wliv mi; V lln" ail'lilimi lutl ln' cMrrird licyoiid tlu" lliirloeiilli? Wliicli nvfiloiii's may In- iiscil in two t'l.rms? Wliul mii>l llu' Ui'y Ik- Id ailinit nf litliiT iiiujor or minor iiiiitli and Mill? . May liotli forms 1h' n-i'd in llu- minor key? , May all llicsi- lie sonndrd toirctlicr? How many, with tlu' root jinsfnt? How (l(»»'s tlu' ninth ri'>olv( ? May it ho soiukKmI hclow. or c'lost> to. tiu' root? How may tho ninth ho l)ost introduced ? Ilow do tho lifth and tliird movo? Miisi tho wlioK' oiiord niovowlion tlio ninth resolves? What invorsions may bo made of this chord? How may tho olovonth move when nsed with the root? What memlii'r nmsl he omitted wiien the eleventh is used? Wlial inemlior moves with liio eleventli? Wiiiit niemliers may he used witli the thirteenth? Ilow does tho tliirteenth move? What prou'r»'ssious may the chord have wlien the third and seventh arc itii tlie thirteenth? What is tiic usual way of tr(\itins these overtones? How many groups may be made from them? How n)ay the jxronps lie distinjiuished? (iive the intervals that constitute caeh group, counting from the lowest MOW r/WG/iESS/0\S OF JHlU/.V.LVr //.//i'.l/<'.\7A.V liirli't'iitli? )r or iiiiiior iiiiitli and out? is used? > third and aevciitli arc (IIAPTKU XXI I Ti{0(iin:ssi()Ns of dominant iiah.moniks TlIK iH'xt stfp is to learn the rules that <,'uvt'rii tla- iisi- of tlirsc sepa- rate groups. It will 1h' I'ouiid that tlie law of tlie three proj^Mes- sioiis and the secpienee may Ik- api.Iied in nearly every ease. 'I"he lirst group, namely, ro(.t to seventh, has already l)een treated. The second group, nameiy, third, liflh, seventh, major ninlii, may l)e used as follows: — JlM13-~IO D UJtiiii' from tlic lowest No. 1, iii-st progression. No. 2, third progression. No. '\ setiuenee. The root being omitted, these progressions may ho inverted in any way Third group, third, fifth, seventh, minor ninth. This group is kjiown as the diminished seventh ehord, from the interval of diminished seventh hctween the third and minor ninth. It may be used as follows: — k..- .. >• KV- THE i.i i-MiMs or locAL iiAK.\n>.\y No. I, rn>t i.inirrcssniii. , . i No. •_'. tl.. tiltl, .U.sm.imK alll.nn-1, it is hrlnvv tin- iiintlK .' nmy .lo s.. niilv \\li''ii ilif iiiiiili is minor iiiitl is imt ;il tlif t<-i.. rl.unls uf .liM.ii.ishr.l .Mvrntl. n.av l- wntlm in .sur.rss.n,, .miL.t as.rM.iiii- or .lrs.ri..lin-, l-V lunsi.ig .v.n nmr up -i dnui, a hail tmir. Tims: — I5v .haii'Mii- .nhanmmi.aliv ' tl.r ...iimr i.ii.tl. ii. tlir .li.nihi.l.ra srvri.tli ,l,„ni. .I.TiM.I In.n, ll.r .ln:ni.>anl nf a major kr,v. it 1-. ohms tl,r .Imninsi,..] .srvuilh rh..r.l, ilrrivc-a from tl.r .lominant of its iriativ mmor. I hits: ~ 6 ^9. ^si I II is ll.-.Tfforc i-ossil.!." 1.. siiLstitutc cilh. r oiu' for tin- otl.rr at any tiiiu rii.'so el) nls sl.oiil.l 1..' writlcii in cv.tv position ami inversion will, tiicir pro-^n-ssions. Tlu- corri'sponding rhonls in llm ki'Vs r.'latr.l lo (" art' tin- following: — No. 1, thinl t.. ninlli, domitiuntof V with IP: .liminishc.l seventh elnTd No. -J, thinl to ninth, dominant of (\ with K^ diminished seventh ehord if (J. No. :'.. diminished seventh chord of A minor. , K„|,ar,n,M,-K rl.an^'- Ls th. Mll.slilulio,, „f ..,„. l.lt.r fnr aimtl,, r «i.l...u. a .l,.,.... ^f ,,iul,, its I J. IP.or A". »;3. lir ilimilii.-lird scvrlitli ■, mill's llic diiiiiiiislK'l ivf iiiiiinr. 'I'liMs: — I'm- till- (itlirr ;it ;uiv 111 iuid iiivfisinii willi hf ki-vs n'liiti'd l«i (" s I -I I! ninislicd spvciitli tliiud iiinislu'd sfvciitli tliurd 1- wiilmiit ;i climii;'' "f pitfli, iw ^►^:■ j'A'oc;a'/:ss/(>.\\ or i>0Mix.txr //.ia\wo.\7/-:s 133 No. I, diiiiiiiislicd scvi'iitli clMird <'f D iiiiimr. Ni). ."), diiiiiiiisliid si'vciitli 1 Imrd nt' I", iiiiimr. OLscrvi' tliiil liy lai.MiiL,' llu' r"<'t <'f the dniniiiaiil < I" a major key, yoii jft't til.' diiiiiiiislini si'v.iiili < Imid ..I' its ivlalivf minor. 'I'lms, (i II l> K l„rniiu's (iS II I) I-'. Also, tlial tl.c sv'V.-iilli 111 tlu' d.imiiiaiit ol" a major kcv is til.' iiiiilli ill tlic doiiiiiiaiil oi its irlativi- minor, 'rims: 1 :» it 1 C It 1) V K (iS 1'. 1) v 1 I'l .'1 7 'J n.-forc i.ror-ccdiii;^ t.. tlu- iirxt f,'ioui. wo j,dv,- soim; cxampl.-s for an- alysis, in \\liiili tliis ;liord is iisud. Till' liist two »'xam|ilfs arc in lliivc luirts: — (live tlu' root of (.'Vfiv tliord. State ulii.h mrmlKMs'..r tl.f d.ord arc used, wliidi is at tli.- Lass, wliat their movements are. OLserve wlietlu^r there are any notes held while llie other parts niov.". Also, if there are anv eases in which -me or two memhers of a chord an; lield. whil.' the othci" iiart or parts move from one nicmhcr of (he chord " 'tIic hist tliive cxampl.^s arc in fmir parts, for mixed voices. Analv/c them in the same way. The stmh-iil is carneslly advised toanaly/c in this wav all the three-part soii-s and exercises in the Second Header, I'art II., of-The N.irmal Music (.'oiusu" and the foiir-part scm-s m the \ppcudix to the Third iNailcr. I =t C5)_4^ "9 _ _J -9 — I o i I I -1 -J . J- I i -J I J 1 — 1- %.- — — _ • " • f\ - ''f' . I . _ r. \ ,---4-r ::1 . -i ^: ::3?mt_jiL nil-: i:li:mi:ms of roc.ii. iiAh'MONV Of— — • — l<^^ / I ■ r «' o : 1 1' ■^*' -I -I • -,3 .3T=r- i i\^=W\^\i r- ^ ^ ^1^, \^^.2E^^ .,]. -1 ^ :jJS II -1^ :=lv-j-2 -«- j 8^::^ j.- f: ^___(_„_l_^- fe^ iii:d;^^J2-f^:iLiH_.1 j--^j- I I '■li^^imM^i rt--r: — t- — +. mfl 71 wmmmmm frr ONY i 't- r " aig- i- =r -4 I I H ;iMB -rf- 1 i^Hfl :#: :? j'/^oi;a'/:ss/o.\s or DOM/x.ixr junmomiis U5 -1- P ©,-c ;iM:i_.i-l_ i^"?^:!' i I : -i i"Trr-Tt^:^im ■i j_ m^i^^^i J .._j- i £^g H-.J. . u i£irJ ^ J--=ir^— Jr:'!---J-:---Jri! ^ ''}^--:-isa f-f- 5^ .-Sl-I -s M^E^lp^i 4^- ii J] n f-fih^tfW-i 1 1 « I LULL J -•- ^]fc?^T^Ti^J .i=iii:4-;-«--^-^^?i : ;ir: -»[:: .t- if^ ■ V 136 77/ A' IlLEMKXI'S 01' VOCAL HARMO.W « 8 S 2 J S • 1 * * S * ,'r: 1 t i« • ', • • # - ^ • ; * iii- : If • • s« Apf _ . ; - • ^^r- • # « / n • <, .III REVIEW 1. Wl'.iit pi'oizivssioiis iiiiiy tlu> second irroiip Ikivo? 2. \\'\\'a{ proiii'ossions in:iy tlic tliii'd ii to tlii' third irronp? ■1. 'WIkmi may till' liftii desfi'iid ill tiiis tii'ou-p? ">. How may dimiiiislu'd sovi'iitli chords he written in succossion? Ti. IIow may tlic dimiiiisiiod soNciith ^vt'onp of a major kt'y l)c clianuod into till' diminislu'd scM'iitli lirmip of il-; relative minor? 7. IIow may tlic dominant seventh dirvt iiroiipiofa major key he chaniied into the dimiiiis'.ied seventh ij:roup of its relat've minor? •S. Which jH'OLi'rcssion is liii>.? ;•. IIow many deurees of the scale may l»e accidentally lowi'red? Which are they? IIow are they harmonized? '.i/o.yy CHORD OF KLEVEXTU AXD TlURTEEXTll '37 • m * # # # / .•-«- '■ t II Hi! II 1 siK.'cos-iion? ijor koy 1)0 cliiuiuotl into ;i UKiji>i' ki'V 1)1' c'liaiigod illv lowi'ivd'r Whk'li are T CIIAPTFJx* XXIII CIIORI) OF KLKVKNTII AND I'lIIirrKKNTII IIH fourtli oT()up In. iu till' til'lli lo thf t'li'voiil!., witli ii iiiiij• I '^ -> B g - - I t- t I i ', 4 *> >" ~) tJ A ^b' 1^ ^ II o <- I '^ P^ r U^ I 2 " II Xo. 1, cloventli and ninth descend ; seventh and lil'th stationary. No. -2, lii'st pro<,M-ession. Ohseive that the eleventh is stationary, the lifth aseends a second (A) or a. fonrth (B). No. :?, tii'st jiroj^rossion; seventli at, hass; (A) seventli aseends oiu' det^ree: (B) seventh descends one dey-ree; ( J) same, with lil'th nt ton ascending a fourth; (D) seventli falls a fourth to root of tonic. No. 4, first pro<,n'ession ; ninth at hass. No. "), second pi'on'ression : (A) lifth at hass, aseends a second; (B) seventh at hass, descends a second; eleventh stationaiy. No. <1, third prog-ression ; (A) lifth stationary, heconiiuL;- seventh in ir^ V '38 TJ/E I'lLEMKXTS OF VOCAL IMR.\fOA'y (luiiiiiiuiit nf rt'liitivf ini;i(ir; (B) liltli iiscoiids to root of (loniiiuuit of iclii- tivf niiiKir; (C) liflli and si'vcntli stationary ; i-li-vi-ntli and ninth descend; iii ii:(' tliird proyrcssion tlic cU'Vt'ntli descends. No. 7, se(iiicncc uf dominants; the lii-st chord lias the third, therefore cannot iiinc the elcventli, as tiiey may not be somuh-d to<,'ether. The ninth (A) may l)e minor (A'')in all these examples, thns ciianijfinj,' it to the liftli uronp: namely, lifth. seventh, minor ninth, eleventh. 'J'he second chord has lii'lh, seventh, minor ninth, eU'Vcnth. No. 1 may he inverted, or written in any position. Nos. •_', :'i, 4, o sonnil best as here <,'iven. No. (J may l»e inverted, or written in any jxtsition. Tiiese chords shi»uld he written in every key until they bcconio familiar. The remaininijf t^roups may be used as follow.s, but th(>y are not often met with in voeal writing. r ;^ 3 x ' r II" E: r -r1 n 'iWdi 5 —I ^6 \1_1A =1 11 11 No. 1, sixth group; seventh and ninth ascend; thirteenth and eleventh descend. No. "2, same group billowed by tonic. No. :5, eighth groui); minor thirteenth ascending, generally written 1)2 in this case, but incorrectly, U'chusc the next example No. 4. (ninth group) shows that the A maybe tlat, ?. f., minor nhith ; ■lUil it is im])ossible for A^ anil D- to exist in the same chord. Nos. T) and <• give other ways of using this last group; they are more often found than any of those preceding them. wmm 'oxy (if (loiuiniuit of iclii- 1 and ninth descend ; i the third, tlieretVire idfd toifcther. The tlins fliiintxinj,' it to 'venth. 'J'iie second until they become it they are not often 35^ i,g, II mum irteenth and eleventh le it, i. f., minor ninth; chord, roup; they are more CHORD OF EI.EVEXrn Axn tuirteestii 139 ForitTII ANI> I'llTIl (lltOll'S The use of the fifth, seventh, ninth, and eleventh, is so universal that a further discussion will prove heliiful. XoU-. The seventh groui), namely, seventh, minor ninth, eleventh, niajor thirteenth, is hardly iiossinle, it is so harsh. (H)scrve that tln^ fourth and lifth groups consist of the second, fourth, sixth, and eighth degrees of the seaU'. 'J'licsc groujis sound hest when preceded hy a chord that includes the eleventh. Thus: — 1 r 1-1 1 ^^:i:i^ .■^' t- II D No. 1, preceded hy tonic; (', the eleventh in second diord, is ro.(t of tonic. No. 2. hy suhniediant; (' is thii'd in suhmcdiant. No. ;>, hy suhdojuinant; C is fifth in sulidoiniiiant. These gn)ups sound next hest when the eleventh enters hy degree. Thus: — g- 1 r — •$■11 S- ■3- r -■^■- 1 Ct t -5- II II No. 1, preceded hy supc rtonic chord. No. 2, jireccded hy mediant chord (not often used). All these exam- ples should he written in dilTerent inversions and positions in all the keys. We give an analysis of one example to help the student in analyzing the examples which follow. \ I 1 7//E ELEMENTS OE VOCAL HARMONY ^ ^Tl^pr^l • * 1 I 1 » ■» 1 * • • f : ^^^in^iii^T-n 1 ,.l,.v,.„lh ,l.o,,h s.v,.n,l, at 1..SS. fit.l, at t,.,., ("Ho-cl '..V t™"-- «"!' i'';:;*:;:::;:;'r:;::it:r::i..,.K.....v^r»7.-^ ■ UT stili..nuv. 7, aon.iiuml (.liininislu-.l sevontlO »'f (- 8, . >n in.uu > F^h nth -ul uu„nr ninth: snerossion of cl..minants. 9 dnnnn.nl !, ;; l..:'.^;;;' an.l nnn... ninth. At ;> the seventh IP ascends, because the bass takes tlie third of tho tf.nic A. ,, ,h„ rust exann-le tl>e <>h-venth <.hords arc nmrlaMl +. 1„ an.ly/.inK^ st.Ue ^vhieh n.en.her is at the bass, which at tht top, and which pro.uTfssion is <,nven to the eliord. row »- It T n & :5 CHORD OF KLIAE^'TII AM) TIlIRTi:E.\Tn + i ' r \f^ 1 I 1 St r 141 '5' =1- TF^n ^ KIU lUowccl by tonic; fifth 1 lit top, lil'tli at bass. to root of touic. 4, lomiiiaiit of F, acconl- (lomiiiaiit clovcMilh of ; the sovcntli and fifth (f V. 8, (loniinant of iniiiaiits. 9, dominant h IP ascends, because :ed +. which at the top, and 'i— - * - r -1 -\ m 1 —J — i f 1 1 -•• ri — * _. -zr. -JCZ^ - (5- =4= 3 f\ - ^ <5,.7r:r • I- ,6,- 1 '!?•;•* 5* • F- I r i "^- -.4 • ST -U- ;r =i =1 \-T--'^ f> -5 -5- ^ ^ ^ ->^ ..|l^lt|.„t:-p. ~r _-^ t"" *s. ^ — I F- 1!> r T r i I ! ^ __- '>:>-< n II V^Ull •. o II REVIEW 1, "What proiiressions may the fonrtli jxroiiii liavoV 2. Give the movomonts of the uieuibei-s of the chord iu the first progression i Thesecoua? The Unrd? 14: THE ELEMENTS OF VOCAL JIARMOAV '^. How may the so(|UI'Ikh" of doiiiinant liannonioa be made with tliis group? 1, How may tliis <.'rou|' I'l' cliaiifiod to the fifth ^'roiip? ;>. Does tliis fhan^'o affect tlic profrreswiou? ('). Of wliieh (le.Liroi's of tlie scale docs this chord consist? 7. What is the l»esl way to introduce the eleventh? 8. What is the next hest? il. (live ti.J movement of the members of the sixth group, of the eighth, of tlu; ninth. 10. Which of these is most commonly used? XoTi:. — Thesd variiiiis iiroups are often used by modern composers, witli cxcolleiit ..(Tf.'t, in %Navs that ilo not conform to any of the rules here pven. This free use of disso- nam opMibinatinns is HViuTallv found in inslninicntal works; it is hardly possible, and not to !,.■ .-ornniended in vocal writin,!,', which should always !»• characterized by smoothness :ind melody. Then the free use of these dissonant eond>inalions renders the intonation so (lillicull for voices as to make it wcU-nigb impossible to siny them in tune. . rOiXy SUPER TOXIC HA hWrO.W 143 iiiado witU tliis group? ist? roup, of the eighth, of oinposers, with cxcolleiit This froc use of di.s.so- i liiirilly jiossihle, and not ractcri/.i'd by smoothness ,s rundurs the intonation hem in tune. CHAPTER XXIV SI TEUTOMC HAKMONY n-MIKUE is another way of troatin.^ chor.ls of tin, sevcth an.l ninth TT t u. distinguishing featuvo of which is that th. scvntl^ ,s stat>o nars .,;a iJ nos the root of tho foUowing dn.r.I. A ...nth or n.nth chonl ^ t^ n this way is oalU-.l a s.p.rU.ac l,.nn..,n, to .hst.ng.ush a frc..> TZLnt hannony. It is so calh.l hooaus. its root -^ ^ -•;;;;;• the sunortonio of tho s.ale of whi.li its stationary s.v.nli >s the Ujtu.tc. The cxunu.le that follow, will show how the various n.etnhers luo^c. Root N„. 1, suportonic Imrmony of C naj..,- witl, ..ap.' "mtM ll.o "-j™ ninth i, :«io„ary; it .«co,ne» tl,e tl.i,-,! in l,c ';;;'-;, JJ'^,;;',!^ ,' c c lolontly thoy n,oot „n tl,„ r,f,l, ..t tl.c ton.c ll,o .-Kit, X'ted a, ri«», muHt also go to the lltth of the ton.c; tUoiefo,. tho tmiip i>^ in its second inversion. ^^ t tio " he Han,e hannonv h, A minor; tho niotl, i« ...ino,- aeoonhoK o tho la ; II t „i..th „.u»t i. .oinor in ,uin„r 1 -. f7 ^ H" ?. IIJIJ 1 Z-Lt Till' altiivc iiic tlir tliivi' |)i'c(('(liii<4 clinrils with tlii' liftli (uiiiltcd. l/ikc till' (]iiiiiiii;iiit liiii'iiiuiiv, tliis clmril is t,'fm'rall3' iisrd in j^'roups (if [u\\v siiiiimIs. cillicr iii'ii 1(1 scvt'iitli ,. i, OU..1,. to Honn.l ...i-Hv ^vuH if niiuor, whieli it do(3s not, ulthouali u«c.l soualinK. liv iikmIith (•(iiiiiioscrs. 10 ^ F 146 THE ELEMENTS OF IVCAL //.tA'-UOXV No. I, I) l'"S A"* ('; iiri.^'rfs.siii;,' as sii|icitiiiii{' (if (' iiiitl (litiniMiiiit of (i; the inut pivst-iit, Ihf It.wi'iftl lillli ill the bas.s (^il is iicuiiy ahvaya at llii' Ixiss ). Ni). "J. i'»)t 1) oiiiittcil: iiiiiiur iiiiitli iiililcil. Nn. ."., till- sfvnitli limy Ih' .ImiMnl. as in tliis fxaiiii.lf. Tilt" interval iK-tweeii .V ainl I'- is an anKintiitnl sixth and Kivfs its uanic to the .lionl; the aut^niente.l sixth (ten half steps) aii.l its inversion, the iliMiinishetl third ( -J half steps), eoniplete the list of intervals. The aut^'Miented sixth elioid with root [ncsent is called the I-'ivneh sixth ; with minor ninth (mot omitted), the (iernian sixth; with the seventh th.nhled. the Italian sixth. These names are little used now. Althoii^'li any menduT of the chord may !..■ used as a Lass, the ioUowini,' inversion is "the ..ne most freipiently used, preeeih'd hy the suhdomiiiant in the tierce position. 1 T^ '"i 1 -^li € ili[jiinir ^:--- 3# V" r r 11 hz4 -5* YWWms ] .^. -fs- l„J.-- iiimi -1— i?^ 2'y ■h .' iiiiil (loiiiiMuiil i)i ( i ; .s iii'aiiv ahvay.s ut llir IIIJiU'. nl sixth and ^'ivcs its Icps) aiitl its invci'sioii, of iiitcivals. allfd tlic l-'iTiicli sixtli; tli; with the seventh used now. Althoni,'h hi' t'nlhiwini,' inversion ' ,siih(h:iniin.inl in tho ijile, then analyze the IW^PO' 3 ir I — r^ I ' SL/'JiA'/i\y/C HAN MOW «47 10 l:j 11 11 « ^t ? ' i" r »r r " Is ?i: I IT) rx-i=fimi=: : 3 10 \ "^9 •X* 'h* 10 -I I r i-^. a -9 n II 1 and 1', suportonie; hannony of C. :'>, the a.hlilion of !<> makes this the dominant seventh of K; it is followed hy the dnnunant ..f Us relative minor, 4. H, .lin.inished seventh of ivlative minor. C, dmnnished seventh of ('. 7, same. S, dominant eleventh of ( ', foll..ued l.y (», snj.er- ,..nie harmony. (This progression is often nsed.^ 10. snpertonie harmony of C. 11, snpert.mie harmony of (i. l-\ Same; of 1) minor. 1:5, dom- inant eleventh of F, followed l.y an-meuted sixth (D? is the h.were.l lifth). This procrrcssion is the same as No. H. 1.'., (h.mmant eleventh nl A minor, followed l.y supeiK.nie harmony. 10, 17, augmented sixth of A minor, f..ll..wed l.y dominant (DS hein^ the raised nc.te must U" the third; then H must 1k) root and KS tho lifih; thereff.re FSis the lowere.l litth). IS, domiuuiit eleyeuth, followed by augmented sixth. ll>, supertonic harmony. f M 148 y//A i-:LLME.\JS Of IVC.IL ilAKMOAV ' # I -s* :• « • >■"■•'-" r ' r ^ ' 6 - : , ■ ■ ' . .1 J.I J I ! • •IS •• <» (iL==s I • • I '^ o I • - • « i:j f^^i-^^iR^ir?!^i-1^i.i^f^:i • ^.* . • . ^ I ^'^•li > rr ? • - •if- • > ^ -^^b^—fh::.! •-rz^tlU .SXV'A'A'/f'AVi' HARMOW MO f* 5^ f»v :^ .1 =1 ^' S'' : v^ ^ 1 1 t 3"' ■s- 'j (& '^ 1 1 4 ^ ^, S*' ^ 9- f'' II II REVIEW Jf • MipiTt I. ;'). fi. 7. H. It. 10. 11. 1-2, 13. 11 !.■) IC Wlmt is llKMlistin-uislmi- f.-uturc in ll.o n.ovonuM.t of JuMncmbors uf -x mif imrinoiivV , .i i . v \\ i.irl, nu'inlKM- of tlu> fnllnwin- .•l.onl .loos U.o stnt.onary srvonti. lim..,., . W 1,1,1 is tiio naim- of tl,.- rl,..,.! tl.Ml follows Iho suiu-rto,,,.. l,„n„o„y.' llow (Iocs tln! major iiii,lli movo? How (Iocs tlic minor ninlli nu.vo in major keys? How in minor keys? To vvl.ici. mrmhors of tl,c t..ni.- n not at tho bass.' In what forms is this clionl <.'on('rally uschIV Wiiich nu'mbi'r is most friMincntly usimI as a bass? \Vliat other inversions may be used? How is :in awLiinentoil sixtl, elioi'tl made? Wliicli menil-er is ^rcnerally used as a bass? AVli'xt are the prouiressions of tliis cliord.'' In what form is tl,e inversion of tbis eiiord jronorally use.l? What names are given to the various for«>s ir. >vhich thm chord ,s uscd.^ i^ 150 THE ELEMKXTS OF VOCAL HARMONY CHAPTER XXV CIIOKDS OF PARALLEL MINOR AND AIGAIENTED FIFTH TllEIlE still n'liiiiiu sonio otluT ways of treating accitlentally raised or lowered notes by means of eoiunion chords. The lowered thii'd ami sixth of the scale may be harmonized as thirds in common chords, or the lowered sixth may be the root of a connnon chord in which the lowered third is the tifth. Thus: C E'' (J, F A-» (!, A^ C^ i:^ + + + + It will be found on examinijig the scale of C minor that these three chords are found in it. Xo. 1 is the tonic; 2, the subdominant; iJ, the chord on the sixth. (! minor and C major are called paralhd scales liecause they be,!4in with the same keynote, and when the above chords ajipcar in C major, they are said to bo horrourd from the parallel minor. The following examples will show how they are generally used. . j 1 -f>- 'g ■t T + - a — ^ 4 :^.- + T^ r I . ^ ts- J] I — -.,5, .^ r ^\ fl 'J/OAT AIEXTKI) FIFTH ; lU'ciclciitally raised or larmoiiizetl as tliinls in ot of a coiuiuoii chord CHORDS OF PARALLEL MLXOR AXD AUGMEXTED I'll-rit 15I No. 1, preceded by the tonic of the major, foUowed by the dominant. No. 2, preceded and foUowed by tiie dominant. (N. W. The dominant is always a maj(.r chord, whetlier the key is major or minor.) No. 3, subdominant of minor, preceded and followed by tonic of major. No. 4, same, followed by dominant. No. o, the three chords of the parallel minor written in succession. These chords must never follow, or be followed by, one of the minor chords belonging to the major scale (/. c, the mediant, submediant, or snpertonic) with one .;:ueption, as follows: I^ -o- ninor that these three ' subdominant; 3, the parallel scales liecause above chords ajijjcar parallel minor. The used. + -:^ 1 •5* :P. ^ ^ Cf 1 --.»> — the submediant followed by the subdominant of the parallel minor. The f-econd degree (supertonic) of the scale may be lowered, and may have a major chord written on it; if used with the root at the bass, it is followed by the dominant; if with the third at the bass, it may be followed by the domhiant or the second invei-sion of tlie tonic; when used this way, the third is generally rei.cated. This chord may be preceded by the tonic, subdominant, or one of the chords of the parallel nunor. 3i:3 t^-=^ 1 W^^fy a ^-FJ- ?L si =1 1 ^d -i —I 1^ ^aMI J:lil^llISll^l-E£l |] Nos. 1, 2, 3, 4, chord on lowered snpertonic; root at bass, followed l)y dominant in various positions. '52 ■nu: El.EMliMS 01- VOCAL IIMlMOyV '^:^;::,;r::::;:";,::l';:':; ^- ^■'""•■■" «•""■; v::;";::':!: V; ^^ :^ '^ ^^ '^ -^ 3 I II rr- -^--1 I Y- t- \" ^Klll No 1 tdiiii' wilh iHii^iiii'iiU'il lilili- ^„. ,. .„l.,l,.n.i..»". «i'l. ""■^""'■"."■;!,';["'-, „,„,„,,, „„„ „,c K,.v..,„l, n...y ,.,;:;v::r;;;::::i:;;::;'^-: ■:-:'';-.■.. >■ --^ -' 1 2 [( -^As lllil'ls. Ill tllll'lt N„. 1. h, .l,i,*. Rives ....>..■ .l.i.>', .li,mni»l.o.l flCl,. mmov sov,.,„l., ""■■;'""■. 'iVu,i,'.l/''''i';v. ,,ln,i„l.l....l lUin,, ,li...i"isl..-.l lU.l,. ,lim-mW...l , L t a ,..;,....■ ..iml. is a,l.l,..l a,„l .1... .«■. ".m....!. wrd liy tli)iiiiiianl nv i'th of i' iiiiijiir I'lioid. . iifxl (•li..ii''«''' siali-. only lliu'i' "f ■(I ill lliis \v;iy. Ill <' iipiuMr as iiULiiiifiiifd \iiv (IkiiiI iiijiy l'<'ll«i\v ;ccllils. » 1 <> ^^ II II ,' lliat the seventh may • have llie tiist (iv third lie I'ouiid. rd the letters iiuist lie th ehoi'd. 'rhus:-~ I il lii'lh. miunv seventh ; lislied hi'th, diminished iiiished seventh always tied. CHORDS OF PARALLEL MINOR AND AUGMENTED FIFTH 153 1^- :t=- :^^ -zJ^ ^7=^ p; i^^fe d i|§^l;ri^^«=El^lil^i:^-^^ N. B <5>- _t=r ^ ^^3-i;i:^ -0-- 1 ^S' ^f> -O- -Cf =t-:r-rn: * ::gi=: -J,. -^t- ^=1^ H;:::::t:- H N r, See -roups G to % page 127, derived from the dominant. Wo have now given all the combinati.ms and successions that may be brought under definite rules. The few that are not accounted for may be learned bv observation better than by attempting to give rules for them, as the result\vould most likely be a "darkening of counsel by much speak- ing. We venture to say that if the rules and examples given here are I ^ >54 Till. ■: ELEMENTS OF VOCAL IlARMOXY '^ , .lliVu.ultv will be louiul in iinalyzing any vocal cmiposituni xvhatM.oci, ui, ^\\ • i^,^,_ We appriia lu-re a table iuul il« rolalc- Siipcrtoii.of K minor. ' z.'> No. 1, coumu.u chonls of the scnU". 1 ,.,ic nf till' iiaralk'l iiunor scale. ko'. :'>, coMuaon cbonl on lowered sui.erU.mc. onted. member of the group may be used. J -'J 5^"5-K5 i-^ ;$ ilis^^-PiWfei^^^ ■7-,^- -/> -o- e3:^CExi^i^il^^l&^^^^ 4:: i rOA'r luuilyziiig liny vocal sc'd wilh thu gift of iilipriitl hi'i'o a table ssiblo in the key <..i C n r^ ?rl )oniiniiiit of (i. 'Sujifl-lOll. 1 of C. 2?:- fe 1 JlllIl'T. z=:^< Su]icrt(in.i>t 1'^ I ' r. I m luiiior. 't - T^- ■a supcrtonics of every 5 ?»:5 1 =1- .<>- - ^ -o- CHORDS OF PARALLEL MLXOR AND AUGMENTED El E 111 155 ^ — Si i^ r^:.-:^ W-rllq ^^^. f:i 1 a FS:^ ^— 4- :5r- -er :-4| =t:--=t,^ 5^:^ FTl 1, F A C, lowered supertoiiic of E minor. •2, VP D F, lowered supertonic of A minor, 3, E? G ir, lowered snpertonic of 1) minor. 4, A? C E^, lowered supertonic of (i nuijor. 5, (i? B? D^, lowered snpertonic of F major. (J and 7, lowered supertonie of C followed by snpertonic harmony. This is the only way hi which it is possible to write in succession two chords having the same letter in different forms as the root, thr roni of the sixth being \y> and of the seventh Dl REVIEW 1. How niiiy the lowered third and sixtli of the scale be treated? •2. From wLiat scale are these chords borrowed? ,'5. Wliat arc scales be<;hniins outside of the related group will often be found. Melodies also may be found m winch there is no cadence or half cadence until the end is reached It is inn.ossible to give rules that will cover every departure that uk > be „.ade fron/the simple fonus here given. But m the great '-j;;>'' •> ^ lyrics, the rhythmical basis will be found to correspond with these "Tlld;, as in all other branches of the study of music, as nni.oa.iM other subjects, the stu.lent must help himself by study and o'--- - '^ good models, a storehouse of which, of e'. ..ry degree of «-! x ty, Y be found in the books of the "Normal Music Course and he ( ecluu Sedes of Study and Song," the songs of Schubert, the I'art-songs of Mendelssohn, and others. • t.. i.^irrli^l, We append a few remarks on setting poetry to nu.sic In Kngl sh T)oetrv what is called a poetic foot consists of two or three syllables. L^ c ry :« of' p t; c^^sists of a certain nund.r of these feet. The comn.one.st ot is made up of a short or unaccented syllable followed by a long ox- a^ cented syllable. This kind of foot is called an landnis, and verse wi tt n v"h thi foot is called Iambic verse. The most familiar examples are to be found in hymns -this sign ^ is used to denote a short and tins - a long syllable. 6 rCu I dfr thanks | t6 God | above \ This line has four feet in it. A stanza (generally but wrongly called a verse) containing four lines, each with four Iambic feet, is called in hjm- nology Long Metre. Thus : IT 15S Tin- Ei.Kyn-STs of vocal Ih^-^MOXV irn ' cl'T tbfiuka \ f' f><'' U.at of t„e „L.u« in | ti„,e, o. „n t„o .i«. in % tin.e, or U,o f.. or tomth in % timo. Tl.orcforo, in setting lan.lnc verse, always bogn> w,th tlie last beat of a measure. Tims : A I clirirgc tri keep I rl f' r r r have F„nr lines of Long. Common, or Short Metre »''"'-' "jf^'S^,'*;: of musie, if written with tour syllables to the measure (the best «,ay to Jrite it) or sixteen 1.,., if written in % time; i. c, half notes to the me^- „re. Long Metre will make eight measures all in quarter notes; but m MOA-y 1 pfi', c il lovi' ,or last irtU lilies, \vt goL svhat 13 flows ts WOl'S lid fourth lines, we get save ; must always coincide; ■viM- Ik> set on the iirst or •St in I time, or the first verse, always hegin with liave shouid make eight bars ieasure (the best way to :., half notes to the meas- in quarter notes ; but in l-URTHER REMARKS ON MELODY 159 C„„„„on Mere, U. seeou u,„, ..ntl, ".';";' „, ' :;;: „„,..., to (ill up u,e f..ot Chut ;» '-"'"f ;",','; ' ,„;,,.,, ,,,,™,o„ a,ul SfClions, a.ul the U.w is »u ..i>l,(r..ms that cl» v..- '" 'in Short Mere thorc ,„ust Ik- a .io.tcl 1..I1 noto :,t the ,».! o( .he li.t, gccon.l, a.i.l fourth linw, for the sii.n.' .vas,.u. If a Connuon Mcfe tune is vvitten in % ti.ne, Ihete n.ust 1. _two n.e,™- >„., at the end of the secon.l an,l fourth lin^s. I-ouf, Metre iu^ tune, .«u syllahles tn the uirasuie, make.' sixtce, measures. When t.,0 accent o, the '-•-V^S:: a™ e;; ^Htteu in this syllahlc is accented, tin, (o< -^ ■ ■ 1 • '";"',„,. „„, ,,,,ignate,l hy aUvap end with the «r.i ..!' of a toot. i. ,., an accented syllal,.. Sa viour Ere re Sin and I want Thou canst 1 save brOathc iln pose our we and Tng Even spir its come con thou canst bh'sslug seal fr-sslng H and 'i. 1 i« o«f ■..-Jfli flic accented svHable at the Trnrhaic vcrsc must always Ije set with tnc aLLi.iu«- j beg^^r- ^ fi-t beat of \ho n.asuro. The lo>^, symd^e at the end oShe scLd and fourth lines -^^ luwe^a measu..^^ o^^ In all the varieties in which eight and se^cn ^ ^ '-^'^^^ . ^ the eic^ht svllableline ends with an unaccented syllable, the st^cn, an aec^^nted syllable except ^^^f^^ ,,a verse written in it is called The next kind of foot is called a Dactjl, ana vei^t n^tnsists of along, followed by two short syllables. Dactylic lines generally end with one, or with two, accented syllables. Thus: — R^>-f ' i6o THE EI.EMESTS OF VOCAL IIAKMONV Hrlnhtrsl nn • ivid r inc way. iil)('stk' v(rso is rarely , followt'tl hy a long lUowing: — irot'igli thi^ hi'msc L-n a mouse li tlic last boat of a first and third beats. ough the houKc • J r ill be found from the tten. The most usnal ochaic verse, or of tlie yURTIlER REMARKS O.V MELODY i6i rs This is u Trochaic line in which the Hccond foot is a Dactyl. In the .k xt example in Iambic metre the third foot is an Anapest. Tbuu iH'ck I onf'st | wUli tUy miii | hM hilml It would require a work of some length devoted enti^rely to this subjeot tn tla it exhaustively. We appen.l a stan^a in winch there are several irregularities which very much eidianeo its beauty. And iW hOod | •'•d clouds | hkc friars | Tt-11 tlu-'ir I iK'uds in | drr.ps ..f I ruin And pat I tt^r tli.'ir dr.le | ffil prfiyers Hut tlir'ir prayers | i^rc fdl \ in vaiu A much more dilhcult task is presented by unn.etrical words, sueh as mssnu^s m. the Psahns or other books of the lUble. In settnig passage " h ki ". inusic, the lirst thing to be observed is that the nnpor ant lllZ h text must fall on the accents of the measure; next, tha an Tee tc I HV kil'le nmst never fall on the unaccented beat, or an unaceented S^ c Ul. .accented beat. All words of two syllables^ue e.tl.er hnnluc S' iove a wake, pro-claTm, or Trochaic, like Fa ther, Sa vlonr, Strang... rt en b th 3 lables are short, one is accente.l, as n.erry, smuer. ?heiirst syllabic must fall on an accent, or on the lirst of two notes to one '^Another important point is this : an article, P^'^-it-n, or conjunction should never be found at the beginning of a n^easure. I he ""P "l- '^ trds in a sentence are, verbs, nouns, adjectives; also pronouns and ad^erbs " tI'^^S of a sentence maybe entirely altered by a change in the emphtLoTceluvin words caused b; placing them in dilferent parts ot the measure. Thus ; — Thou art the King of f ; J f r Thou r art the King of Is-ra-el • !^ 1 / t ' Is-ra-el r: n p 163 77/A- i:u:mj:\ts of i'ocai. jfANAroxv l,;i\.> 11 tc.tiilly (lil'IViviit ni.Miiiii},'. TIi.'X*' two rriuliiiffs also illustratf the ru.l tliiit a )iiHiiiniii may or may not Lc an imiM.rUiil wortl in llu' scntfiifi'. Wlu'n alioul tn Kct suili words to nuisii-, tlicy slioiilil Iw ivad over (aloml is l)ost), ami the acccnti'il and iinacci-ntnl syllaUU-s caivlully ob- s.TVfd; also tin' parts of spoi-tdi, tin; imi.ortant words, and last ai'i! nmst iiMiiorUmt, tlu' moaniuK' of the si-ntenci;. For example: — Til.' I Heavens (It'cUlre tlu"^ | ilory of Clod the | firmaiiu'^nt shewetli forth hia | hii.ultwnrk I day nutu day I tittertHh spOech 1 night nnto night | bhOweth forth kiiowl'dge. — The wonh marked 4- are the important words ; the syllables are marked accordint,' to their aeeent. It will at (.nee he seen tliat the import of the sentence is iHt, //(vnr/is — deelarinj,' ///(/r//. 2d, /V/VHrt//ic/i< — showing /aaK/tin^?^'. ;?d, Ihiij — utterinj^ s^*«ri7i. 4th, Xi'iht — showing knowlahjc. Therefore the above division by bars preserves and emi)]iasizes the meaning, as music always does. In notes this would appear as follows: — « I « • * * * Tiie Heavens de - clarc the J . ; ' J^. .^ J I ^ N glo - ry of God the , lir - urn - nicnt N N ^ N 4 0* shew - ct' forth his J ' han - di - work J day to day un S a \ ' f^ ut - ter - eth speech ' night un - to night ^ ^ ' J J 000** shew- eth forth knowl-cdge It is often necessary to repeat words or parts of a sentence in this kind of writing; it should be done with great judgment in the choice of the n ord or ohrase to be repeated. If a single word, it should be one of the impor- hvy 1 also illustrati' the 1(1 ill llu' si'iitciicc. Kiuld lie read over lal)U'S caivl'ully ol)- aiid liust ai'il must c: — lit sliOwC^tli forth Ills I nij^ht I bhOwt'th forth yUablos are luaikL'd ce ia and einjiliasizes the ippear as follows : — Iht' lir - ma - nient J'C/A ruiji AVi.i/JA'A'.v OS MJ:u'i>y It' f.nt words _ a vrrh is ahout ih. lust, nrxt a pronoun, if arrriitr.l, -- hut ri r trd : Id n.v.r h. r,... n.oi. thaii -i'^^J;;--!^':; ill. s.ntfn.is "Who art Thou?" Nve nia.v srt i, NNh" ^^ "• ' Thou" an.Uain iu c.n...t; hut if we net it, - NN ho - who - .ho _ .ut j:tu^..^!.nh,.nt..ewiU.^ bass, Wnor, alto, and soi>ran.. all announcM. n. tmn > ^ ;^'^ ' ; all iogethcT, "I will wash ..ly hands;" tlu-n a i-ause, heloie tla^ itlusc tlu. 'inxiKv of the listontTS by adding, "minnoccncy. -r V id such inqititudcs, study good nuulels - the choral works of Zl that augniented force and beauty that is the provu.ce of n.us.c. un - to day N I I I < S li forth knowl-cd^e cntenoe in this land ho choice of the \ ird be one of the inipor- I f ^ .1 ■■ ® H INDEX AcciACATunA, 47, 48. Auapest, 100. Appof^Kiiitura, 4."^, 48. Augmented nissoii.ince, 25. Angincnted Fiftli, 80. Au!,'mentea Fifth Clionl, 152. Auf,'raentea Fourth, 4, 2.-), 26, 36. Ausiiienti''' Seccinil, 80. Augmented Sixth Chord, 145, 146. Authentic ^iode, 2. B.vcn Minor Scale, 09. Ballad Metre, 158. Balliids, 11. Bass, 51. Cadkxck, 55. Changing Notes, 43, 44, 62, 63. Chord Combinations, 49. Ck.se Harmony, 51,52, 101. Common Chord, 49, 100. Common Metre, 158, 159. Consonances, 23. Contrary Motion, 19, 20. Dactyl, 159. Diminished Chord, 49. Diminished Dissonance, 25. Diminished Fifth, 4, 25, 26, 36. Diminished F'onrth, 80. Diminished Seventh Ciiord, 131. Direct Motion, 19. Dissonance, 23, ."0, 35, 43, 45, 46. Dominant, 6. Dominant Chord 12,49,124. Dominant Harmonies, P-ogression of, 131. Dominant Seventh Chord, 09-74. 89, ! >+, HT. Dorian Scale, 2. Kkharmosic Change, 132. Fiiisr I'rogression, 69. Four-part Harmony, 100. French Sixth, 140. Geuman Sixth, 146. Grace Note, 47. Gregorian Scale, 2. Harmonic Scale, 80. Hypodorian Scale. 2. Hypolydian Scale, 2. Hypophrygian Scale, 2. lAMl\t:s. 157. Imperfect Consonance, 23. lntcrval.3,4,5, 6, 10, 15, 19, 20. Inversion, 6. Ionian Mode, 2. Italian Sixth, 140. Keynote, 6. ,20. Leadinc Tone, ' Long Metre, 157. Lvdian Scale, 2. Lyric Melody, 11,12. 157. Ma.ior Chord, 49. Major Scale, 2. Major Sixth, 5. Mediant, 6. Melodic Minor Scale, 94. Melody, 10, 156. Metro, 157. Minor Chord, 49. Minor Scale, 2, 79. Minor Sixth, 5. IJ 1 66 n\DEX Mudiilfitimi, Motive, VI. :<, 157. Nam KAi. Si'alo, 7y. ()Ki.ii,ii i: Motiou, r,t, -20. Octavo, "), 1 '.I. Octave I'ositicju, 100. 102, 103. Upfii llainiuiiy. .")!, 52, 101, 120. ( irgaiL ruiiil, u8. UvtTtOlK'!', 124, 127. 1'auai.i.i:i. Minor ClionLs, 150, 151. rarall" Book 111. Kor Unchanged V<.ices (with added liass and Icnor Notes) Ikiok IV. I"or Mixed Voices Common School Course cloth, S0.4S ; beards, ?o.;/) . , cli'th, .60 ; boards, .40 . . cloth, .S.( ; boards, .60 . . cloth, .S4 : hoards, .72 Complete, ?o.6o ; Abridged, So.^S THE SONG CHAPLET Compiled and arranged by J. IIarky Dkkms. Supr. of Music, lialtimore. 222 pp . . Si.oo A collection of beautiful part soii-s and choruses for female voices; sacred and secular, for guls schools (higher grade), seminaries and colleges. POLYHYMNIA Compiled and arranged by John W. Tufts. for Male Voices. 24S pp • ?'•' = A collection of rpiartettes and choruses from fa- mous composers. For boys' schools, male quartette-., and glee clubs. SONGS OF THE NATION ^o.oo Compiled and cilited by Col. Ciiaki.i;s \V. Johnson. 160 jip , • A supeib collection, embodying p.dnolic songs; songs for anniversaries ; American folk songs ; the best college songs, etc. SUNSHINE MELODIES A Recreation Song liook for Primary Schools and Kimirrgartens 5o,:/> 6-, choree new rote s. ngs about birds, (lowers, Santa Cl.uis. Jack Frost, and fairies; full of g.ayety and pretty fancies. THE SILVER SONG SERIES each. Seven numbers now ready. Others in preparation. THE BEACON SERIES OF VOCAL SELECTIONS For Schools, Classes and Choruses An extensive series of sheet n>usic of high <,t,ality, incluchng songs for all school occasions. SILVER, BURDETT AND COMPANY BOSTON NEW YORK CHICAGO m^-' '^tm