UC-NRLF
[CAX INSTRUCTIONS
HAIR MOM,
PES^ALOZZIAN
INDUCTrVfi SYSTEM;
TBAOHOfO
MUSICALi COMPOSITION
AND THE ART OF
Extempommj? Interlndes and Volnntaries.
A. N JOHNSON.
BOSTON :
OLIVER DITSON AND COMPANY,
277 Washington Street.
NEW YORK: C. H. DITSON & CO,
7«« BUOADWAY.
Entered according to Act of Congress In the year ISM, by O l ; y « b D i t s o If , In the ClttWt Offlcc
of the District Court «f &e DUtrict of lAWM^hnMtta. ' * '
OLIVER DITSON AND COMPANY,
277 Washington Street.
NEW YORK: C. H. DITSON & CO.,
711 Broadway.
Entered according to Act of Congress in the year 1855, byOtlVERDlTSON, In the Clerk's Offic*
of the District Court of the District of Massachusetts.
OLIVER DITSON AND COMPANY,
277 Washington Street.
NEW YORK : C. H. DITSON & CO.,
711 Broadway.
Entered according to Act of Consress in the year 1855, by O I.. I V E R D I T S O N , In the Clerk's Offic«
of the District Court of the District of Massachusetts.
PRACTICAL INSTRUCTIONS
HARMONY,
VTOV THX
PESTALOZZIAN
INDUCTIVE SYSTEM;
MUSICAI^ COMPOSITION
AND THE ART OF
fiitemporizing Interludes and Voluntaries.
BT
A. N JOHNSON.
BOSTON :
OLIVER DITSON AND COMPANY,
277 Washington Street.
NEW YORK: C. H. DITSON & CO.,
711 Broadway.
Entered according to Act of Congress in the year 1855, by Olivek Ditson, In the Clerk's Offica
of the District Court of the District of Massachusetts.
1 g c r
PREFACE. VM r,
This work is designed for the class of persons designated in tha
language )f music teachers as " »e«f beginners." It professes to
impart a .knowledge of Harmony, not by essays upon the varioua
departments, but by exercises which the student is to write, — or so
to speak, by a progressive series of problems which the student
must solve. The text throughout, has for its sole object the expla-
nation of the prhiciples which must be understood in order to write
the next succeeding exercise. In many instances, part of a rule or
primnple is explained, while the remaining parts, or the exceptions,
are not given until long afterwards, for the reason that a knowledge
of them is not necessary in order to write the next exercise. The
utmost simplicity of language has been used in the explanations,
and an attempt made to guard against misapprehension, even oa
the part of an undisciplined mind. It is no part of the design of
the work to advocate any particular theory, or to take sides on any
disputed harmonic point. On those points on which theorists dis-
agree, the explanation which at first sight has appeared most plau-
sible has been adopted, but no particular investigation of the merits
of the different theories has been made, nor is any opinion in refer-
ence to them intended to be expressed. With regard to sources of
information, the author will merely state that he studied for some
time with Xavier Schnyder Von Wartensee. a celebrated theorist
in Germany, and has read most works upon Harmony, published
in the English and German languages.
INTERLUDES AND VOLUNTARIES.
Extemporising interludes and voluntaries, is in reality composing music, conse-
quently precisely the same course of study is necessary that is required to learn to
write musi(>, — at least, the most thorough method for learning to extemporise well, is
to learn to write music well, or in otlier words, to study this book through just as
it is. If, however, the student wishes to attend only to those departments of the
subject of Harmony which have a direct bearing upon the subject of extempoiising
interludes and voluntaries, he can observe the following directions. On page 23
two chords only are used, but each measui-e may be said to form a complete interlude.
As soon as these two chords are learned, invent other interludes with them, and aj
fast as new chords are learned, invent interludes which shall include them. In all
places where the direction is given to " compose tunes and pieces," invent interludes
and voluntaries instead. As soon as the invention of interludes is commenced, read
the remarks on cadences on pages 143 and 205, and always close with a perfiect or a
[jlagal cadence. After becommg familiar with major and minor common chords,
study chapter XLIII, and introduce passing notes in the invention of Interludes. In
all places where the direction is given to examine music, (as on page 106,) examine
written iuterludes and voluntaiies instead, noticing the chords and passing notej
which comp&se them.
EXPLANATION.
A knowledge of Hannony, consists in an acquaintance ■with all the chords int<i
which the tones of the scale can be combined, and a familiarity with the effect pro*
duced by their various progressions. Experience in teaching has proved thAt the
most familiar acquaintance with the rules is insufficient to enable the pupil to write
coiTCctly or fluently. A course of mental discipline seems necessary to impress
the principles of Harmony upon the mind, and impart a familiarity with the effects
produced by the diiferent chords and progressions, which is as indispensable to the
musical composer as a familiarity with the signification of words is to an author. The
course contained in this work is intended to discipline the mind, and impart a knowl-
edge of the subject, not by rules and principles to be committed to memory, but by
progressive exercises which must be worked out. Before commencing this study,
students must be familiar with the Elementary Principles of music. Those who
have studied Thorough Base (see pages 207 and 208,) can omit the first nine chap-
ters and commence with chapter X. Where it has been necessary to use terms
connected with the Elementary principles, the expressions common in the church
music books published in Boston and New York have been employed, and the nota-
tion taught in them adopted. The paragraphs in large type partake of the nature
of rules. These in smaller type are explanations or directions.
TO TEACHERS.
The author has had much experience in teaching Harmony, and is confident that
this method is easy of explanation, and certain in its results, and that it is impossible
for any student to work out the exercises correctly, in accordance with the directions»
without acquiring a practical knowledge of the subject. Teachers who are accustomed
to use other terms than those employed In this work, may at first be embarrassed by
them. The terms employed in all English works are objectionable, scarcely any of
them conveying the ideas sought to be conveyed by them. The term "consecutive
fifth," for example, conveys a very faint idea of its meaning to a mind ignorant of the
subject of harmony. So with most of the other tenns. The plan adopted in
this work is to explain the rules and principles in language which unmistakably con-
veys the correct meaning, afterwards " relapsing" into the terms most frequently
used in other works.
TO STUDENTS WITHOUT A TEACHER.
The utmost care must be used not to leave a chapter until it is perfectly understood,
nor until every direction in it has been complied with. If this is done, each chapter
will be but a small advance upon the previous one. If two or three chapters are
imperfectly learned, it will be almost impossible to proceed farther. In the explana-
tions it is taken for granted that all that has been explained in prevloiis chapters
V remembered. If the student is required to do anything which is not explair rd
in the chapter he is studying, it is because it has been explained previously, am ii
he has forgotten it, he must review the chapters which he ha' already studied
INSTRUCTIONS IN HARMONY.
CHAPTER I.
LETTERS COMPOSING THE COMMON CHORDS.
A Common Chord is composed of three letters, so arranged that
he second letter is at the interval of a M//y/, and the third letter at
the interval of a^yV//, from the first letter.
The first (or lowest) letter of a chord is called the Fundamental
(or chief) Note.
Chords are named after the letters which form their fundamental
notes ; thus, if A is the fundamental note, the chord is named the
chord of A, &.c.
There are seven common chords, (one being named after each
letter in the scale,) viz., the common chord of A, the common choni
of B, the common chord of C, the common chord of D, the common
chord of E, the common chord of F, and the common chord of G.
If the fundamental note of a chord is A, what is the name of the chord ? B ?
C? D? E? F? G?
What letters compose the common chord of A ?
Ans. — A, C, E, because, in the common chord of A, A is the fundamental
note, and C and E are the letters which are at the intervals of a third and fifth
from A.
What letters compose the common chord ofB? C? D? E? F? Q?
CHAPTER H.
COMMON CHORDS INDICATED BY A FIGURED BASE.
Give the names of the following common chords.
c % -J ji> - V ' " ' '
COMMON CHORDS.
Th ! first of the fore^^ninf!; chords is the common chord of C. "!t is a common
chord bocause it ctmsist> of I luce lettors. the second and third of which are at
the intervals of a third and fifth from the fundamental (or lowest _; note. It ia
the common chord of C, because C is the fundamental note.
Chords are freiiueiitly indicated by figures placed under the base.
In common chords, the base note of each chord is either the fun-
damental note, or the third or fifth letter from the fundamental
note.
In common chords, when the base imte is the fundamental note,
it is not figured.
In common chords, when the base note is t!ie third from the fun
damental note, it is figured 6.
In common chords, when the base note is the fifth from the fun-
damental note, it is figured ^.
Name tlie chords indicatc'l by the following base notes. P^ach note has no
figure under it, and conse(|uenily each is the fundamental note of a ctnunon
chord, i.e., the first indicates the common chord of C, the second the common
|/d of E. &c.
Name the cliords indicated by the f(dlowin2 base notes. Each' note ha.s the
figure G under it, ami corisc'((Men{ly each is the third letter above tho funda-
mental note, i.e , tlie first in<iicates the coninion chord of .\, the second tlie coti-
mon chord of B, &c.
GG6666()6 666 6 666G6U6U 6
Nnnie tlie chords indieafed by the following base notes. Each note h;is (he
6gures 3 under it. and con.-ciiiiently oacli is the fifth h.-ttcr above tin; ftimhunen-
tal note, i e.. the fir>t indicates the coinuion chord of C, the second the comnibn
ehord of V, cVc.
4 4
A fi 6 f, r. n n b « a r> r, r, r, g q
44 44 44 44 44 4 4 4 4 4
CHORDS OF THE SEVENTH. 7
Exercise in naming the following chords until the names are
given with fluency.
d 6 ('• G 6 6 6
fi G66G6G 6
4 4 i
6 6 fi
4
?r^rf^EEE^EE-5£E:EzEI^EiEE!E?E^:E!£EE
6G 66 66 6666666
4 4 4 4 4
66 66 66 6 6 <'>5
4 4 4 4 4
4
CHAPTER III.
LETTERS COMPOSI>fO THE CHOllDS OF THE SEVF.NTH.
k Chord of ttje Seventh is composed of fonr letters, so arrang-
ed that the second letter is at the interval of a l/a.r(/, the third letter
at the interval of a//^A, and the fomth letter at the interval of a
8 CHORDS OF THE SEVENTH.
aevcnth from the fundamental note. In other words, a chord of the
seventh is composed of a common chord, with a letter added to it
which is at the interval of a seventh from the fundamental note.
There are seven chords of the seventh, viz., the chord of the
seventh of A, the chord of the seventh of B, the chord of the
seventh of C, the chord of the seventh of D, the chord of the
seventh of E, the chord of the seventh of F, and the chord of the
seventh of G.
"What letters compo?e the chord of the seventh of A ?
Ans. — A, C, E, G, — because, in the chord of the seventh of A, A is the
fundamental note, and C, E and G, are the letters which are at the intervals of
third, ffth and seventh from A. Or, in other words, because A, C and E
form the common chord of A, and G is the letter which is at the interval of a
eeventh from the fundamental note (A).
What letters compose the chord of the seventh ofB? C? D? E? F? G?
CHAPTER IV.
CHORDS OF THE SEVENTH INDICATED BY A FIGURED BASE.
In chords of the seventh, the base note is either the fundamental
note, or the third, fifth or seventh letter from the fundamental note.
In chords of the seventh, when the base note is the fundamental
note it is figured 7.
In chords of the seventh, when the base note is the third from
the fundamental note it is figured 0.
In chords of the seventh, when the base note is the fifth from the
fundamental note it is figured ^.
In chords of the seventh, when the base note is the seventh from
the Cmdamental note it is figured ^.
Name the chords indicated by the following base notes. Each note has the
figure 7 under it, and consequently each is the fundamental note of a chord of
the seventh, i.e., the first is the chord of the seventh of C, the second the chord
of the seventh of A, &;c.
77 77 77 77 77 77 77 77 77 77 7
CHORDS OF THE SEVENTH.
Natie Je chords indicated by the following base notes. Each note has the
Bo'ures I under it, and consequently each is the third letter above the funda*
men al note, i.e., the first indicates the chord of the seventh of A, the second
the chord of the seventh of D, &c.
;?zazf
R 6 6 6 6 6
o o o 5 5 5
6 6 6
5 5 6 5
6 6 6 6 6 6 6 6 6 6
5555555555
Name the chords indicated by the following base notes. Each note has the
figures t under it, and consequently each is the fifth letter above the fundamen-
tal note, i.e., the first indicates the chord of the seventh of C, the second the
chord of the seventh of E, &c.
Name the chords indicated by the following base notes. Each note has the
figures ^ under it, and copsequently each is the seventh letter above, or (which
is the same thing,) the next letter below the fundamental note, i.e., the first in-
dicates the chord of the seventh of D, the second the chord of the seventh of
B, &e.
4444 4444 4444 4444 4444
3322 2 222 2222 2222 2222
Exercise in naming the following chords, until it can be done with perfect
fluency.
i
7 6 4 4 7 6
3 2 3
4 4 7 6
a 2 5
4 4 7
6 2
4 4 7 6 4 4 7
8 2 5 6 ti
764 476 447 644
532 5S2 532
'mmmmmm^m
i i
10 COMMON CHORf 9.
mw^mMmEm
i i ' I i
764 4 7544 7fi44 7
53 2 532 53 2
CHAPTER V.
FURTHER REMARKS IN RELATION TO COMMON CHORDS.
When one or more of the figures 1, 3, 5, 8, are placed under a
hase note, the name of the chord is the same that it would be il
ihese figures were not expressed.
Name the chords indicated by the following base notes. Each note has one
or more of the figures 1, 3, 5, 8, under it, and, consequently, each indicatea
the same chord that it would if no figure was under it, i.e., the first indicates
the common chord of A, the second the common chord of C, &;c.
^5E?:PEt=EE?ip3^E^f£E*H:iE?:^£l-iEE
i i i J ? I ! » ° ' I J ' i I M g U I
^, t), or t), when standing alone under a base note, or when
placed under or over a figure, indicates that the letter which is at
the interval of a third from the base note is i^, \}, or fcj.
Name the chords indicated by the following base notes, and tell what letter in
each is i^, f), or t;. The first base note indicates the common chord of D, with
Ffcj. The fifth base note indicates the common chord of B, with D# ; the 5
indicates that the chord is the same it would be if no fi^re was under it ; and
the i^ indicates that the letter which is at the interval ot a third from the base
note is ^
gig^igigiiiiip
# *? b » 4 6
ORIGINAL USE OF FIGURES.
11
#, I,, or Iq, when placed at the left hand of a figure, indicates that
the letter which is at the interval from the base note denoted by the
figure is #, tj, or tj.
Name the chords iadicated by the following base notes, and tell what letter ia
each is #, \^, or K
e=^.
m
#5
bi
^1
be
4
H
fs bs
n
Ans. — The first is the common chord of C, with G#. The second is the
common chord of D, with A^j. The third is the chord of the seventh of C,
with B^. The fourth is the eooimoa chord of A, with C\). The fifth ia the
comm<m chord of C, with Efj. The sixth is the common chord of E, with B^.
The seventh is the cominoQ chord of C, with (x\f. The eighth is the eommoa
-jhord of D, with 'E^.
Remark, llic #, }?, or ^, does not alter the meaning of the figures, as pre-
viously explained. Thus, #6 means, first, that the base note is the third letter
from the fundamental note, (i.e., just what 6 alone means;) second, that the
letter which is at the interval of a sixth from the base note is #.
CHAPTER VT.
ORIGINAL USE OP FIGURES,
When figures were first used to indicate chords, three figures were un-
doubtedly placed under each base note. The base note was considered as al-
ways the fundamental note, and the chord was considered as being composed of
the base note, with the letters which formed the intervals from the base not« ex-
pressed by the figures.
lEE^EE^i
=.=*
! i !
2
CHORDS OF THE NINTH.
In *}je above example the figures are written as they probably were when the
figured base was first invented. It will be seen that the three letters represent-
ed upon the treble staff form the intervals from the base which the figures ex-
press, i.e , in the first chord the three notes are at the intervals of eighth,
third, and fifth from the base note, and in the second chord af the intervals of sixth,
eighth, and third from the base note. The first three of the above chords are
common chords of A. The last four are chords of the seventh of A. From tho
foregoing it will be aeen that —
6 is now used to indicate the chord formerly indicated by ^ ; « is
now used to indicate the chord formerly indicated by ^ ; 7 is now
used to indicate the chord formerly indicated by h ; 5 is now used
to indicate the chord formerly indicated by 1 ; ^ is now used to in-
dicate the chord formerly indicated by | ; ^ is now used to indicate
the chord formerly indicated by |.
Remark. — It is immaterial which figure is uppermost. — | and t mean the
^ame thing, as do also S and §, t and |, &c.
6 may be considered as an ahbreviatioii for the full figuring | ; %
for the full figuring 4 ; 7 for the full figuring 5, <fcc.
8 3
The full figuring of chords is sometimes used, instead of the ab-
breviations.
Name the chords indicated by the following base notes.
fioiiigiPiiiigEK
6 6 6
.'^4 5 4
8 8 3a
^
8 8 3
i I 5
2 3 3 S
6 4 5 7
4 6 8 5
Remark. — A part only of the full figuring is sometimes employed, for exana-
ple, Sforg (6); J for | (7), &c.
CHAPTER Vn.
CHORDS OF THE NINTH.
A Chord of the Ninth is composed of a common chord, with a
etler added to it, which is at the interval of a ninth from the fim-
imnuital note.
CHORDS OF THE BLErtNTH. IS
WLit letters compose the chord of the ninth of A ?
An3. — A, C, E, B, — because A, C and E form the common chord of A, and
B is the letter which is at the interval of a ninth from the fundamental note.
What letters compose the chord of the ninth of B ? C ? D ? E ? F ? G ?
In chords of the ninth the base note is usually the fundamental
aot<^. It is indicated by the figure 9.
Name the chords indicated by the following base notes. Each note has the
figure 9 und«r it, and eonsec[uently each is the fundamental note of a chord of
the ninth, i.e., the first is the chord of the ninth of C, the second is the chord of
the ninth of F, &^
9d9<)9d999999999Q
CHAPTER Vm.
CHORDS OF THE ELEVENTH.
A Chord of the Eleventh is composed of a common chord with
« letter added to it, which is at the interval of an eleventh from the
^.indaraental note.
What letters compose the chord of the eleventh of A ?
Ans. — A, C, B, D, — because A, C and E form the common chord of A,
and D is the letter which is at the interval of an eleventh from the fundamental
note.
What letters compose the chord of the eleventh of B ? C ? D ? E ? F ? G ?
In chords of the eleventh, the base note is usually the fundamen-
tal note. It is figured 4, or sometimes ^.
Name the chords indicated by the following base notes. Each note has 4
or t under it, and consequently each is the fundamental note of a chord of the
eleventh, i.e., the first is the chord of the eleventh of G, the second the chord
of the eleventh of B, &c.
[2]
14
DISCORDS.
^iiHiifigliipHI
CHAPTER IX-
Comnion Chords are called Cfmcords.
Chords of ihe seventh, chords of the ninth, and chords of th«
eleventh, are called discords.
Discords are formed by adding to the common chord the lettcf
which is a seventh, a ninth, or an eleventh, from the fimdamental
note.
Two discords aie sometimes added to the common chord.
-\-
—0. —
— #1—
— #1 —
— • —
Hi
iEEliiil
1-
1
1
— # rr
==;=
1 —
E3=l
f:
-Z»_
ZZAH
EE:|t
7 I ?
t* 4 4
7 7 4
9 4
In the first of the above examples two discords are added to the common
chord, making five parts. In the second example the same chords are givem
with one of the letters of the common chord omitted, in order to make but four
parts.
In the first chord of the above examples the letters which are at the intervals
of a seventh and an eleventh are added to the common chord, forming a chord
with the characteristics of both the chord of the seventh and the chord of the
ninth.
A chord composed of a common chord, witli the lottei-s added to
\i which are at the intervals of a seventh and a ninth from the iniir
iamental note is called a Chord of the Seventh and Ninth.
A chord composed of a common chord, with the letters added to
DISCORDS.
15
it which are at the intervals of a seventh and an eleventh froia the
fi .idamental note, is called a Chord of the Seventh and Eleventh.
A chord composed of a common chord, with the letters added to
it which are at the intervals of a ninth and an eleventh from the
fundamental note, is called a Chord of the Ninth and Eleventh.
When chords containing two discords are used in a four part
composition, the letter which is the third of the common chord, or
the letter which is the fifth of the common chord, must be omitted.
In the second part of the foregoing example, the fifth of the first chord, and
the third of the second and third chords, is omitted in accordance with this rule.
Three discords are sometimes added to the common chord.
In the first chord of the above example, the letters which are at the intervals
of a seventh, ninth and eleventh from the fundamental note are added to the
common chord, making six parts.
The second chord is the same, with two of the letters of the common chor^
omitted, to reduce the chord to four parts.
A chord composed of a common chord, with the letters added to
it which are at the intervals of a seventh, a ninth, and an eleventh
from the fundamental note, is called a Chord of the Seventh,
Ninth, and Eleventh.
When a chord of the seventh, ninth and eleventh is used in a
composition of four parts, the letters which form the third and fifth
of the common chord must be omitted.
Remark. — The chords of the seventh, ninth, and eleventh, are precisely th*
«ame when combined that they are when but one of these discords appears in
*hord. Exercises upon the two and three discord chords are therefore unnece*
19 INTERVALS.
CHAPTER X.
INTERVALS.
The differeiue in pitch between two letters is called an Interval.
From a letter to the next in alphabetical order the interval la
called a Second.
Intervals are always reckoned upwards.
What letter is at the interval of a second from A ?
Ans. — B, because it is the next letter in alphabetical order above A.
What letter is at the interval of a second from B? C? D? E? F? G?
From a letter to the next but one in alphabetical order the inter-
val is called a Third.
What letter is at the interval of a third from A ?
Ans. — C, because C is the next letter but one in alphabetical order from A
What letter is at the interval of a third from B ? C ? D ? EV F ? G ?
From a letter to the next but two in alphabetical order the interval
IS called a Fourth.
What letter is at the interval of a fourth from A ? B ? C ? D ? E? F ? G ?
From a letter to the next but three in alphabetical order the in-^
terval is called a Fifth.
What letter is at the interval of a fifth from A?B?C?D?E?F?G?
^'rom a letter to the next but four in alphabetical order the in-
terval is called a Sixth.
What letter is at the interval of a sixth from A? B? C? D? E? F? G?
From a letter to the next but five in alphabetical order the interval
cs called a Seventh.
What letter is at the interval of a seventh from A? B? CI DT ET FT G«
Name the intervals in the following example.
V
A second containing a half step (or semitone,) is called a Minob
f^COND.
A second containing a step (or tone.) is called a Major Second.
A third containing a step and a half step is called a MiNor
Third,
A third containing two steps is called a Major Third.
A fourth containing two steps and one half step is called a Per-
rECT F CURT 7^:.
A fourih containing three steps is called a Superfluous Fourth.
A fifth contaniing three steps and one half step is called a Per-
fETT Fifth.
A fifth containing two steps and two half steps is called a Di-
Mi>'fSHED Fifth.
A sixth containing four steps and one half step is called a Major
.•sixth.
A sixth containing three steps and two half steps is called a
Minor Sixth.
A seventh containing five steps and one half step is called a
Major Seventh.
A seventh containing four steps and two half steps is called a
Minor Seventh.
Minor Seconds. Major Seconds. Minor Thirds.
L__|__ ^:^^4^_^_ _ I J
1 — r
mmmm
^j:
Perfect Fourths. Superfluous Fourths. Diminished Fifths. Perfect Fifths.
I 1 1 1 , J I . 1 J I
1 1
9
18
Minor Sixths.
THE MAjo„ SCALJC.
Major Sixths.
Minor Sevenths.
Major ScTenths.
* IJ
\Zil:
CHAPTER XI.
THE MAJOR SCALE.
A series of seven tones, so arranged that there is the interval of
a minor second between the third and fourth tones and intervals ol
major seconds between the other tones, is called the Major Scale.
This scale may commence on any letter, care being taken that
the above-named order of intervals is preserved.
When the scale commences on C, the order of inte rvals is correct.
When it commences on any other letter, sharps or flats must be em-
ployed to preserve the order of the intervals.
The scale is said to be in the Key of the letter with which it
commences.
If the scale commences on A, it is said to be in the key of A, i.e., ' key of A'
means that A is the first tone of the scale.
Key of C.
Key of A. Key of E
-#-«
Key of B.
Key of F^.
#r^
Key of C#.
^-^^=^tl'l^=^^&
•-#—
~^^
THE MAJOR SCALE.
19
Key of G#.
Key of M.
E*!?«g:
— a-#-
•-* —
Key of A#.
KeyofE#.
KeyofBff.
Key of F.
fJ^-iH*:
KeyofBb-
Key of El?.
-^-#A ^ #-*-
Key of A t>
i«if:
Key of Db-
Key of Gb-
)?=t6
KeyofCb- KeyofFtT.
Key of Bbb-
:fc^:
Key o{ Ebb
Key of Abb-
Key of Dbb-
The sharps or flats which are placed at (he commencement o..
each key are said to form the Signature,
20 THE MAJOR SCALE.
The signature of the key of A is three sharps. The signature of the key <x
A4f 15 ten sharps. The signature of the key of C is called natural. Natural,
in this case, means simply that no sharps or flats are necessary to preserve the
order of the intervals when the scale begins on C, not that it is any more natu-
ral to sing or play in the key of C than in any other key.
What is the sicrnature of the key of A ? A# ? B ? B#? D ? D^ ? E ? Y^ ^
F ? F^ ? G ? G# ?
What is the signature of the key of Ab? A\)[)l Bb? B^b^ Cb? Db^
Dbb? J^b? Ebb? i^^b? Gb?
What letters form the scale in the key of A ?
Ans. — A, B, C sharp, D, E, F sharp, G sharp.
What letters form the scale in the key of A^ ?
Ans. — A sharp, B sharp, C double sharp, D sharp, E sharp, F double
sharp, G double sharp.
What letters form the scale in the key of B ? B^? C? C^> B? D:?^? E?
E^? F? F:^.? G? G^? ■
What letters form the scale in the key of A b? Abb? ^b? Bbb? Cb? I>b?
Dbb? Eb? Ebb? Fb? (^b?
There is a key formed by the use of flats precisely like each key
formed by the use of sharps, and a key formed by the use of sharps
precisely like each key formed by the use of flats.
The key of E and the key of Fb are precisely alike, as are also the keys of
G and Abb> the keys of Y^rf and Gb, &c. This can be readily proved by
playing the scale in these keys on the pianoforte.
To find the key formed by the use of flats which is the same as
one formed by the use of sharps, or vice versa, find the difference
oetween the number of sharps or flats in the signature and twelve.
What key formed by the use of flats is the same as the key of A ?
Ans. — The signature of the key of A is three sharps. The difference between
three and twelve is nine, consequently the key which has the signature of nine
flats (Bbb) is the one required.
What key formed by the use of flats is the same as the key of A4f ? B? C?
C^-i D> Dtt? E? E#? 1<^>
What key formed by the use of sharps is the same as the key of Ab? Abb-
Bb? Bbb? C.^ Cb? Db? Bbb? Eb? Ebb? I^-' I'b? Gb?
VARIETIES OF COMMON CHORnS. 21
CHAPTER Xn.
VARIETIES OF COMMON CHORDS.
Chords are named from the letters, to denote their abstract or
positive pitch. They are also named from nmnerals, to denote
their relative pitch.
If 071C of the scale is the fundamental note of the chord, it is called
ihe Chord of One ; if two is the fundamental note, the Chord of
Two, &e.
The chords when named by numerals are usually designated by
the Roman figures, I, II, III, IV, Y, VI, VII.
Common Chords ia the Key of C.
q==^=— =j===s===2==^—
I II III IV V VI VII
Commoa Chords in the Key of G,
. — g 1*"
-!=■
i II III IV V VI VII
What letters compose the common chord of I, in the key of D ?
Ans.— D, F^, A.
What letters compose the common chord of II, in the key of D ? The chord
of III? IV? V? VI? VII?
Remark. — It will be well for the student to pass through all the keys in thia
way, telling what letters compose the common chords of I, II, III, IV, V, VI
and VII, in each key.
A common chord, composed of a fundamental note, a major third
and a perfect fifth, is called a Major Common Chord.
The common chords of I, IV, and V, are major common chorda.
A common chord composed of a fundamental note, a minor third,
and a perfect fifth, is called a Minor Common Chord.
22 VARIETIES OF COMMON CHORDS,
The common clioids of II, III, and VI, are minor common chords,
A common chord composed of a fundamental note, a minoi thifd
and a diminished fifth, is called a Diminished Common Chord.
The common chord of VII is a diminished common chord.
"Write the major common chords in the keys of C, G, D, A, E, B, F^. Gp,
Db Ab Eb B'b and F.
Major Common Chords Major Common Chords
in the Key of C. in the Key of G.
Write the minor common chords in the keys of C, G, D, A, E, B, Fff, G\)
Db, Ab, Eb, Bb, and F.
Minor Common Chords Minor Common Chords
in the Key of C, in the Key of G.
-A- ,'- 1 jf rr
II III VI
Write the diminished common chords in the keys of C, G, D, A, E, B, F^,
Gb, Db. Ab, Eb, Bb, and F.
Diminished Common Chord Diminished Common Chord
in the Key of C. in the Key of G, •
m
Ex feEEF^EEff SEES-Elf^^-
vii VII
Remark. — It will be well for the student to practice all the chords in all th(
keys upon the pianoforte, first playinp: the major common chords in every key,
then the minor common chords, and finally the diminished common choixls, cc^o-
tinuing t lo practice until fluency is attained.
BEST POSITIONS Ot' COMMON CHORDS.
CHAPTER Xni.
BEST POSITIONS OF COMMON CHORDS.
A very common progression in all varieties of musi« is for the chords of I and
V to follow each other.
The following are the best positions for this progression.
Key of C.
fixERCISE No. 1.
I=^=
1
1
3=
=5-
=R=I=
— —
Ef=;i
_£=-p-
— i —
9
V
I
— 'r
1
i
i-T ^^—
r
,
-*-
._•_
— ii_
—\ —
_S
Exercise No. 2.
The same example in the Key of Gr.
1 1— — l-
I V I
-f-
Write the above example in the keys of C, G, D, A, E, B, F#, Gb, Db'
Ab, Eb, Bb. and F.
Practice the above example upon the pianoforte, playing it in the keys of C,
G, D, A, E, B, F#, Gb, Db, Ab, Eb, Bb, and F, continuing the exercise
until fluency is attained.
Remark — ' Progression' means the manner in which chords move, or follow
each other.
Another common progression is for the ch^ius of I and IV to follow eacb
other.
The following are the best positions for this progression
BEST POSITIONS OV COMMON CHORDS.
Exercise No. 3.
I IV I
--« — F — *^T=* F
m
Write the above example in the keys of C, G, D, A, E, B, F#, Gj?, D[>,
Ab, Eb, Bb, and F.
Practice the above example in all the above-named keys, upon the pianoforte,
continuing the exercise until fluency is attained.
The following are the best positions for the progression in which the chord ol
II is most commonly introduced.
Exercise No. 4.
#- '0-
m — \0
mUSi
?-^^^
11
Write and practice the above example in the same keys as in the previous
examples.
The following are the best positions for the progression in which the chord of
in is most commonly introduced.
Exercise No. 5.
' ' --!H— '
I III IV 11 V I
H—
Write and practice the above example in the same keys as in the previooi
•xamplcs.
yORMS. 25
The ibllowing aie the best positions for the progression in which the chord oi
V I is most eomuionly in reduced.
Exercise No. 6.
!^in-n'r:ni:^:-n:z+TZ|-^_— 5
I V VI II V I '
Write and practice the above example in the same keys as in the previous
examples.
Remark. — It is very important that the student should be so familiar with
the above examples as to be able to play them from memory in every key at any
time ; in short, so familiar with them that they will never be forgotten.
CHAPTER XIV.
When the base note of a chord is the fundamental notCj the chord
is said to be in the First Form.
When the base note of a chord is the third, the chord is said to
be in the Second Form.
Wlien the base note of a chord is the fifth, the chord is said to be
a the Third Form.
Common Chord of C,
first form.
Common Chord of C,
second form.
mmm
Comninn Chord of C
third form.
[31
id
When the cliords are designated by the Roman numerals, the fona
is usually indicated by a figure placed over the numeral ; thus, I
o
danotes the cl ord of one, first form ; I the chord of one, second
form, &.C.
"Write the following chords in the key of C —
] '2 3 2 ] 3
I 111 VI II IV VII I V
13 3 1
Vll IV V VI
^ l\
2 1 2 3
VI III Vil I
2 3 3
IV 11 III
Example.
ESEEPEEI:
|EE|^e.
ii^l^i:
S
l?==FF&c.
I
III.
3
VI.
[V.'
Remark. — It is imraaterial in what positions the parts upon the treble staf
are written. The design of the exercise is to impart a knowledge of the forms.
The chords in the exercise are not designed to have any harmonic connection
with each other.
I Write the above exercise also in the keys of G, D, A, E, B, F#, G[j, I>\),
Ab, Eb. I^b. and F.
Best positions for a progression consisting of the common chords
i i! f ^' i
Exercise No.
._l_.
I.
N±?.=EEizEEE!iE?EcEEEEE?:I:!EcEEiEi?;[l:
i 11 f ^ 1
Write the above exercise in all the keys, and then practice it thoroujrhly io
ftU th) k»ys upon the piano, until the ability to play it from memory is attained.
27
Remark. — The keys which have the signatures 7, 8, 9, 10, and 11 sharps,
being precisely like those which have 5, 4, 3, 2, and 1 flats, and the keys
which have the signatures 7, 8, 9, 10, and 11 flats being precisely like those
which have the signatures 5, 4, 3, 2, and 1 sharps, it is not customary to use
more than six sharps or flats for signatures. When directions are given to write
or play an exercise in all the kevs, it will be understood that in all cases th*
keys of C, G, D, A, E, B, M Gb, J)\), K\), Eb, Bb, and F, are meant.
Best positions for a progression consisting of the common chords
3 1 1
I V I
1
III
1
IV
Exercise No. 2.
Il.llll 1« » m m * ft i^
^-<'-'d-^-*-#-^-'=[--;rff-;r-r-h-'=F-pp-F-F-F=P-tt
^^iszczppzrzfziizpt-rippir^rzfzp:
Jill
I III IV II
3 1 1
I V 1
Write and practice the above exercises in all the keys.
Best positions for a progression consisting of the common chords
Exercise No. 3.
2:— i-izJ-
=s:=q:=2:
-m — *-
— w — 1^ — »-
::E!:EEEEEE5^EEEE?EE
r
II
VI II
i
"^
:f:_#_#- L_f:_^
. — » — w — « — r — 1^ —
m
iii^^^^i^g^l
Write ind practice the above exercise in all the keys.
28 FORMS.
Write and practice the following exercise in all the keys.
KxBBOIfiB No. 4.
2
IV
-4- -'
i ^ i iV
n — n — i- — I — I — I — I — I — I — n — i — ir
2 — «— « — « — 2 — «— « — #1— 2-— • — « — *•
'x=.z-i,z:!Lzs=z.--.
m
w — w — w — ^ — I ^ "■
^^
rzz^:
:|Lgzzgzzezz H-g_rz: _g_r
i-
-V-#— » a-T-S— £— S— .»— 5
-1 — !•— i — I
iiil^giE^iglNiiEs
i » • » 2
",•— I — f ._
— I — I — I — l-
T — ' — ' — ' — r
rF
Kemark.— The exercises in this and the previous chapters are progressions
(or Buccessions) of common chords which occur very frequently in all kinds o^
music, ChorJs can succeed each other in an infinite variety of pi i>gressiong,
and composers are continually inventing new arrangements. In a treatise on
harmony it is only possible to notice the most common successions. If the stu-
dent has followed the directions, he is now practically familiar with progressiona
of common chords, some of which will be found in every strain of nearly every
species of music. It will be noticed that in each of the exercises of this and the
previous chapter, that each succession of chords is written in three different po«
sitions. These positions are explained in Chapter XVI.
CHAPTER XV.
When two parts move the same way, they are said to progress
m Similar Motion.
When one part moves and the other remains stationary, they are
said to progress in Oblique Motion.
When two parts move in different directions, they are said to
progress in Contrary Motion.
Similar Motion. Oblique Motion. Contrary Motioa,
I
mm
T
Rule I. — Two parts which form perfect fifths i?i a chord, must not
form perfect fifths in the next chord^ miless they progress in oblique
or contrary motion.
Remark. — This is commonly called the rule of consecutive fifths. The mean-
ing of the rule is, that if two parts (the treble and alto for instance,) form per-
fect fifths in a chord, those two parts (i.e., the treble and alto.) must not form
perfect fifths in the next chord, if they progress in similar motion. Observe
that the rule does not forbid such fifths if made by different parts, (i.e., if the
treble and alto form perfect fifths in a chord, it does not forbid the treble and
tenor, or the alto and base, (&c.) from forming perfect fifths in thfe next chord,)
but only forbids consecutive perfect fifths between the same parts, (i.e., if tha
treble and base form perfect fifths in a chord, the treble and base must not form
perfect fifths in the next chord ; or if the tenor and alto form perfect fifths in a
chord, the tenor and alto must not form perfect fifths in the nest chord, &c., &c.)
Observe, also, that the rule forbids such fifths only when the two parts progress
in similar motion ; that the prohibition is against perfect fifths only, (not against
diminished fifths); and that it does not forbid consecutive fifths between two
parts in consecutive chords when the two parts are stationary
[3*]
30
Consecutive perfect fifths between
two parts progressing in similar
motion. Wrong.
'm
Consecutive perfect fifths between
two parts progrestiiiig in oblique
motion. Rigiit.
Consecutive perfect fifths between
two parts progressing in contrary
motion. Right.
Consecutive perfect fifths between
the upper and lower parts in the
first chord, and the upper and
middle parts in the second chord.
Right.
#1-
«-
I
Conse^ itive perfect fifths betweer
two pirts which remain stationary
on the same degrees of the scale.
Right.
:~n:
--F--F-
Consecutive diminished fifths pro.
gressing in similar motion. Right
Remark. — The term " Consecutive Fifths," is always understood to
wean consGcuUve perfect fifths, although the word " perfect" is not usually
rxpressed.
Point out the consecutive fifths in the following example.
Exercise No. 1.
3 4 5
7 8 9 10 11 12 13 1.4 15 16 17 18 19 20 21
-i-n-i^
lii^^iifE^i-^siifi
Remark. — In all exercises in this work, the highest part will be consi-
iered as the treble, the second part as the alto, and the third part at il»«
CLOSE HARMONY. * 31
In the foregoing example the alto and base form consecutive fifths in tho
3d and 4th chords, the tenor and base in the 5th and 6th chords, the treble
and tenor in the 7th and 8th chords, the tenor and base ni the 10th and
11th chords, the treble and base in the 13th and 14th chords, the treble and
alto in the 15th and 16th chords, and the alto and tenor in the I8th and
I9th chords.
CHAPTER XVI.
CLOSE HARMOVr.
When chords are so arranged that all the letters composing the
3hord, except the base note, are placed as near the treble as possi-
ble, the chord is said to be in Close Harmony.
mmm
In the above example, the common chord of C is arranged in close har-
mony in three positions; i.e., the letters composing the common chord of G
are placed as near the treble as possible.
When the letter which is the fimdam,ental note is the treble note,
the chord is said to be in the First Position.
When the letter \vhi(*h is the third is the treble note, the chord
is said to be in the Second Position,
W'.en the letter which is Xhe fifth is the treble note, the chord is
said to be in the Third Position.
In the above example, the first chord is the common chord of C, first po.
sition — because the treble note is the letter which is the fundamental note
The second chord is the common chord of C, second position — because the
.reble note is the letter which is the third. The third chord is the common
chord of C, third position — because the treble note is the letter which is the
5fth
m
CLOSE HARMONY.
When chords are arranged in close harmony, each chord must be
m the first, second, or third position, unless such an arrangement
ei)lates the rules, in which case an irregular position maybe taker.-
In Exercise No. 6, Chap. XIII, (page 25,) the tliird chord is placed in
an irregular position, because a consecutive fifth would have been made,
(i.2.. Rule No. I would have been violated,) if it had been in the regular
position. In Exercise No. 1, Chap. XIV, (page 2G,) the second chord in
the third measure is placed in an irregular position, because if it had been
in the regular (third) position, Rule No. 1 would have been violated.
Point out the chords on the 27th and 28th pages, which are placed in
irregular positions to avoid violating Rule No. 1. Some of the chords in
those pages are placed in irregular positions to avoid violating other rules.
Notice that it is required to point out only those which are so placed to
avoid violating Rule No. 1.
Remark — It w" be well to notice that the P^xercises in Chapters XIII
and XIV, are all ^ ranged in three positions, i.e., the first and last chords
in the first nieasuz-e of each example, are in the first position ; the first and
last chords in the second measure in each example are in the second posi-
tion ; and the first and last chords in the last measure in each example are
in the third position ; the other chords in each measure being arranged in
the best relations to the first and last chords.
Write the following exercises in close harmony, using regular positions,
except where such positions will violate Rule No. 1.
Remark. — The chords required in the exercises are indicated by the
figured base. The student must use the treble part here given, i.e., he has
to write only the two parts next below the treble, placing them so as to form
a first, second, and third position to each chord, unless such a" position will
violate the rule. In all subsequent exercises, if the treble is printed, the
Etudent is only required to add the alto and tenor, using always the printed
treble for his highest note.
Exercise No.
ligg-ipgE^pi^iii
^ig=lil
6 6
CLOSE HARMONY.
^ .«_
3o
::f=:^:-=-+-
s
ExERcrsE No. 9.
Remark. — In the above exercises the student must carefully avoid conse-
«iutive fifths. Care must be taken to notice the progression of each part.
In tlie Pii-st of the following examples tbe tenor in the first chord is D,
nnd it moves to E in the second chord. By so doing it forms consocutive
fifths with the base. This consecutive fifth is avoided in the second exam-
ple, by causing the tenor (D) in the first chord to move to C in the second
cbi fd.-
mmm
^ 1
mm^^
J4 CONSECUTIVE OCTAVES.
CHAPTER XVII.
CONSECUTIVE OCTAVES.
The scale may be repeated at a higher or lower pitcli.
-*. #
I II III IV V VI VII. I II III IV V VI VII.
The interval from VII of a scale to I of the scale next above, is a
half step (minor second).
The interval from a letter to a letter of the same name in the
next higher scale is called an Octave.
For example, the interval from C in the lower scale to C in tlie upt>er
scale, in the above example, is an octave, as .ire also the intervals from 1) in
the lower to D in the* upper scale, from E in the lower to E in the upper
Bcale, &.C.
Rule II. — Tiro jxirls which form octaves in a chord. Tn?is( 7ioi
form octaves in the next chord, unless they progress in oblique or con-
trary motion.
Remark. — This is comnionly called the rule of consecutive octaves. All
the remarks which have been madi; in reference to consecutive fifths, also
apply to consecutive octaves.
In Exercise No. 1, Chap. XV. (pnge 30,) consecutive octavos occur in
the following chords, viz. in tliL- 3d and 1th chords, between the treble and
base; in the 5tli and 0th, and t'.c lOth and 11th chords, between the alto
and ba.se; and in the 15th and It th, and the 18th and 19th chords, between
the treble and tenor.
In Exercise No G, Chap. XIIT, (page 2.5,) consecutive octave.s are avoided
in the second and third chords, by the irregular position of the third chord, i.e.,
if the third chord had been written in the regular second position, the alto
would have moved from G in the second chord to A in the third chord,
which would have been in consecutive octaves with the base.
Point out the chords in the exercises in Chapters XIII and XIV in which
consecutive octaves are avoided by irregular positions.
Write the chords indicated by the figured base in the following exercise^
lakiiig care that Rules I and II are observed.
Rkmakk.— In he exercises, which the student is required to write, when
CONSECUTIVE OCTAVES.
35
ft-ogressions occur like those of which examples were given in Chaptern
XIII and XIV, it will be well for him to imitate those examples.
Exercise No. 1.
^=?=^=FFr=fEH
1 — ' ^^ r ' '
^=«=Ei!E£EE:EEEEBf=tE
6 6
4
mmmmm^^.
:p:p:
mm mm mi^mm
6 € 6 6
Exercise No, 9.
« S
:^-*^-t:t
Si^^^
iE»EEfe£rE^:ERFE!EEEEiEEEiE-1^:
6 e
6 6
6 6
^« i-l-r
?-:
f^^PS^
its:
1
m'^^^^m^^s
6 G
4
36 MODULATION.
CHAPTER XVIII.
MODULATION.
A tune or piece of music is usually said to be in the key denoted by i J
signature; thus, if the signature is one s-harp, the tune is s;iid to be in tlie
key of G, &,c. It is veiy seldom the case, however, that all the chords ol
a tune are in the same key. Tlie following example, according to the sig-
nature, is in tie key of C. A ch)se examination, however, ^hows that only
the first and last three measures are in that key. The third chord, if in the
key of C, would be the chord of II. The chord of II, however, nuist be a
minor common chord. Tliis (^kl) chord is a major common chord, an«l
consequently is either the chord of I, IV, or V. A comparison with the
chord next to it proves it to be t!ie chord cf V, in the key of G.
In the above example the 1st chord is the common chord of I, in the key
of C. The 2d chord is the common chord of IV, in the key of C. The 3d
chord is the common chord of V, in the key of G. The 4th chord is the
common chord of I, in the key of G. The oth chord is the common chord
of V, in the key of A. 'i'he 6th chord is the con)mon chord of I. in the key
of A. The 7th chord is the common chord of VII, in the key of D. The
8th chord is the common cliord of I, in the key of D. The Oth chord is
the common chord of.VII, in the key of G. The 10th chord is the common
chord of I, in the key ofG. The 11th, r2th, 13th, 11th, and loth chords
are the chords of Vll, 1, IV, V, and I, in the key of C.
When chords wliich do not belong in the key indicated by the
signature are introduced, the chords are said to modulate, and t!ie
progression is called a Modul.ation.
Rr.MARK. — Tt i.s not ea.«;y to give definite direction.^ by which the student
can infallibly determine in what key the modulation !.-». The first requisite
is always to determine whether it is a major, minor, or diminished common
chord. If it is a major common chord, it is either the cliord of I, IV, or V ;
»r if it is a minor common chord, it is cither the chord of II, III, or VI.
MODULATION.
37
A con parison with the chords before or after it, will generally determine in
what key the chord is. For example, the third chord in the above example
is a major common chord, and is consequently either the chord of I in the
key of b, the chord of IV in the key of A, or the chord of V in the key ol
G. A comparison with the chord after it, renders it easy to determine that
It is the chord of V in the key of G. If the chord is a diminished common
chord, the key is of course infallibly determined, for if it is a diminished
common chord, it is the chord of VII, which will enable the student at once
to decide what the key is. For example, the 7th chord in the above example
is a diminished common chord, and consequently is the chord of VII. It is
the chord of C|r, and C# is VII in the key of D, consequently the 7th and
8th chords in the example are in the key of D. The sharps and flats form
a tolerably good guide to the key. If F4f is the letter which produces the
modulation, it is tolerably certain that it is the key of G, because Fsf is the
distinguishing sign of the key of G. If G^ is the letter which produces the
modulation, it is tolerably certain that it is the key of A, because Gff (in con-
nection with F^ and Cfr) is the distinguishing sign of the key of A.
A chord is not allowed to stand alone in a key. At least one
r*.hord, before or after it, must be in the same key.
When a chord has modulated to another key, the subsequent
chords are always in the same key with the modulating chord, until
another modulation takes place.
17 18 19
The above example is in the key of F. The 6th chord modulates to the
key of C. No other modulation takes place until the 15th chord, conse-
quently the 6th, 7th, 8th, 9th, 10th, llth, 12th, 13th and 14th chords are
in the key of C
Write the following exercises, and place over each chord the Roman figure
which indicates the chord, i.e., over the first place I, to indicate that it is the
chord of one; over the second place IV, to indicate that it is the chord o
four ; over the third place V, to indicate that it is the chord of five, (in th<
key of G,) &c.
[4]
B8
Exercise No.
MODULATION.
?^EE!E!zEPEEFPZ:EEEE^i:PE'l
»-r-l r+-i-ri-:
?^i@ggi@iliiii|i;|
Exercise No. 2
/ia*in=n;t^-;ri=pir3f--a_-r,:=^-r-=_=Trrfr;-;|
\f~?5!=E?£EFzEFEEEzEEE=Eit=pTp:l:pl:I
^EEE^LEE?EE^E!iFE5SpEFEEE5:iEr-E:-EE
# 6 # 4^
Rkmaiik. — In all exercises which arc given for the student t'l write, ifthe
tieiie and base are both printed, (as they have been in all the exercises thui»
DISPERSED HARMONY.
39
far,) he lia3 only to add the two parts next below the treble Where (as in
he followincT exercise,) the base alone is given, the student is to write the
'uU chord, (i.e., three parts on the treble stuff,) indicated by the base note.
Write the chords indicated by the following base notes, carefully avoiding
.he vrotation of Rules 1 and 2.
Exercise No.
CHAPTER XIX.
DISPERSED HARMONY.
When chords are so arranged that the treble, alto, tenor and base
ports, are each at their appropriate pitch, they are said to be in Dis-
persed Harmony.
Remark — Chapters XTIT and XIV gave examples of some of ti.e mosi
common progressions of common chords in close harmony. The following
are principally the same progressions arranged in dispersed harmony.
Practice the following exercises upon the pianoforte, in the keys of C, G,
D, A, K, B, F^, G[), D\), A\), E[-), B\), and F, continuing the practice
until the ability to play them fluently from memory in every key is attained
Remark — If the student cannot reach the two notes which form the in-
terval of a tenth in the first and last chords of each third position, he can
play the base note of those chords an octave higher.
-F-
mmmm^mmi^
40
DISPERSED HARMONY.
EXEKCISE No. 3.
(fc=iJ=^3^E?E*EfeE^fFEEEpE?E^i
( I IV I V I .0. .0 ^ .M.
IV I V
-i — » [- — p~t*
\ — i —
i
-r-
Ei
Efe
*^
iiiiiS
Exercise No. 4.
4-l-4~i'-T-,— ,•■
1 I
I IV
--EEEEE='"'
Exercise No. 5.
r— •-- L-p-
1
^ I
r"
I — Jzr
r"
~^E^E^E^EteSEPE|EP:fe^
12 3 11
?EEPE^EE^EfEPpEE^E?Ep';B
DISPERSED HARMONY.
41
Exercise No. 6
i I I I ! I J I '
—0-
1
III
1
IV
-£ — ^ — I f — E — I"
_ P — ?? — # — «-
f— •—!
^ 1 1 i r
^
I^EEEEEE^EIE^EEEEEEEErEEEEEEEZf!
4 4
If
i
E
/
1
(
XERCISE No. 7.
F5-i5=2=;f;
1 2 3 J 1 2 ] 1
I II I V VI 11 V I
6 4
t-Sz::E=:?=;«:
iiiili
4
-i — -1—1 — -p-
:SEt
v-:c~.r:
f- ^ /- ^- f - -5-_E f :
"i — r"
;r;
[4«]
12
CONSECUTiVE UNISONS.
Revark. — The successions of common chords given in tin preceding ex-
ercise, are such as occur most frequently in all kinds of music. They are
consid;red the best positions for the four parts, in the three pf)sitions. It is
not possible always to retain these positions in musical compositions, but
composers generally prefer these when they can he taken without violating
the rules. The design of requiring the student to become perfectly familiar
with these exircises in all the keys, is, that he may never be at a loss
with regard to the most desirable positions in which to arrange thi se
chords For example, if he wishes to arrange in dispersed harmony ilie
ci.nrds III,. IV, the best possible poitions are those in Exercise No. G. II
he wishes to arrange the chords V, VI, the be*t possible positions are those
1 Exerci-e No. 7. If he has practiced the exercises according to the direc-
tions, he is already perfectly familiar with all the best positions of these
chords.
CHAPTER XX.
CONSECUTIVE UNISONS. -LEADING NOTE.
When two parts sing the same tone they are said to be in Unison.
Rule III. — Tv:o paj'ts which are innnison u,.th each other in a
chord, must not be in tmisoji with each other in tlie next chordo.
Remark. — This is commonly Ca..'ed the rule o'' consecutive uni'^ons, (oi
consecutive primes). All the remarks in relation to consecutive fifths and
octaves, also apply to consecutive unisons.
1 2 3 4 5 G
10 11 12 13 14 15
;ir-px=-=p-|=r
:iE&il^EiE»E-j:|E35-a=^J§_E^
Treble.
I 1 1 1 — H •— « — »
n — n i"T — ci~i 1 — »■
Baae
i'^':
mw
^^igiiigii^i^ii
LEADING NOTE. 43
In the Qd chord of the (receding example the tenor and base are in uni-
Bon, and these two jj irts ^re also in unison in the 3d chord, consequently
the tenor and base form consecutive unisons in the 2d and 3d chords. The
treble and alto form consecutive unisons in the Gth and 7lh chords, and the
alto and tenor form consecutive unisons in the 9th and 10th chords.
Remark. — When a part does not ascend or descend, but remains upon
(he same degree of the scale, it is not considered as possessing motion, con-
sequently in such progressions Rules 1, 2 and 3 cannot be violated. In the
11th and 12th ciiords of the foregoing e:;ample the tenor an ii base are in
uni.son, but as thb/ remain stationary upon the same degree of the scale, the
rule is not violated.
VII of the scale is called the Leading Note.
Leading Note Leading Note Leading Note
in the key of C. in the key of G. in the key of D.
liifl liiiP piii-
VII. VII. VII.
Rule IV. — The part which sings the leading note, in the next
chord must si,ng the next tone above the leading note.
In Exercise No. 3, Chap. XIV, (page 27,) the part which has B in the
fourth chord, has C in the fifth chord, to avoid violating this rule.
Remark. — Some rules are considered of more importance than others.
The rule of the leading note is one of the least importance, or, in other
words, it is one which may be broken when there is a good reason for violating
it. Most composers hold that the rule of consecutive fifths (Ride No. 1,)
must never be violated. In Exercise No 2, Chap. XIV, (page 27,) in the
progression III, IV, either Rule No. 1 or Rule No. 4 must be violated, for
if the part which has the leading note (B) in the chord of III, should have
the next note above the leading note (C) in the chord of IV, the treble and
base would form consecutive fifths. Rule No. 1 being considered of much
more importancf; than Rule No. 4, it is observed, and Rule No. 4 is vio*
Jated.
44 DIMINISHED COMMON CHORDS.
CHAPTER XXI.
DIMINISHED COMMON CHORDS.
Chords which produce a pleasant sensation to the ear are callca
IJONCORDS.
Chords which produce an unpleasant sensation to the ear are
called Discords.
Major and minor common chords are concords.
Diminished common chords are discords.
Remark. — The term " Discord, ' as it is used in harmony, has two signi-
fications, sometimes applying to the whole chord, (signifying that the effec
produced by the chord is unpleasant,) and sometimes applying to the single
part of the chord which produces the unpleat-ant effect. For example, the
diminished common chord is called a discord, because the sound produced
when that chord is played or sung, is unpleasant. It is the tone which forms
the interval of a diminished fifth from the fundamental note, however, which
jiroduces the unpleasant effect, consequently this tone is called /Ac discord.
That this is the tone which produces tho unpleasantness, may be readily
seen, by substituting for the tone which forms a diminished fifth with the
fundamental note, one which forms a perfect fifth. The unpleasant sensation
will disappear, and the chord will become a concord, (a minor common
chord).
Rules relating to the progression of discords, apply to the single
part of the chord which produces the discordant eftect, and not to
the entije chord.
The tone which produces the discordant effect is allowed to move
only one degree.
There are three varieties of discords.
Discords of the first class produce only a slightly unpleasant
effect. In discords of this class the tone which produces the discor-
dant effect is allowed to ascend or descend.
Discords of the second class produce a harsher effect than those
of the first class. In discords of this class, the tone Avliich })roduccs
the discordant effect is allowed only to descend.
Discords of the third class jjroduce a very harsh eflcct. In dis-
cords of this class, the tone which produces the discordant effect
requires a preparation, and is allowed only to descend.
DIMINISHED COMMON CHORDS. 45
Remakk — The expression, " the tone is allowed to move, &.C.," strictly
Bpeaking, is incorrect, inasmuch as a tone cannot move. It is an expression,
however, commonly used in harmony, for brevity's sake. The meaning is,
that "that part (base, treble, &c.,) which sings the tone which produces
the discordant effect, must move, &c." In other words, " the part which
has the tone which produces the discordant effect, in the next chord must
have the tone next above or below it," (as the case may be). It is also
common to say, " tlie fifth mu.-t move so and so," "the seventh must mcive
so and so, &c." These expressions are literally incorrect, but they will
nevertheless be used in this work for the sake of brevity. It will therefore
be understood that the expression " the fifth must move," &.c., &c., means
" that the part which sings the tone which forms the interval of a fifth from
the fundamental note of a chord, must move," &c., &,c. In other words,
tlie part which has the tone which forms the interval of a fifth (&c.) from
the fundamental note of a chord, must in the next chord have the tone next
above or below that tone.
Rule V. — The diminished fifth must move but one degree^ ascend-
in <i or dei>ce}iding.
The diminished fifth is a discord of the first class. It produces but a
sligiuly harsh or unpleasant effect, and is therefore allowed to ascend or
descend. Discords of the second and third classes are allowed only to descend.
The meaning of Rule V is, that that part which sings the tone which forms
the interval of a diminished fifth from the fundamental note, in the next
chord must sing the tone next above or next below it.
The exercises in the previous chapters have contained only major and
minor common chords, i.e., only the chords of I, II, III, IV, V, and AT,
have been employed. It will now be necessary to become familiar with the
most common progressions of the chord of VII. This is a diminished con.
mon chord, and contains a diminished fifth. As its fundamental note is the
leading note, the progression of this chord is much circumscribed, for its
fundamental note can only ascend according to the Rule of the leadincr note,
( Rule 4.) and its fifth can only ascend or descend according to the Rule o(
the diminished fifth, (Rule 5.)
Practice the following exercises (except those printed in small rotes,)
in all the keys.
Exercise No. 1.
1 1
VII. I
J:^=i
46
DIMINISHED COM-MON CHORDS.
FiXXBCiss No. 2.
111
VII. I.
M^=Ef
s
VII. I.
ii=i
Exercise No. 3.
pil
VII.
t==,SEElEJ=S=E^EE[f
ExExlCISE No. 4
:t=b
VII. . I.
i
i^=iliL^Ei^EE=fPiHil
|^]XEIICISE No. 5.
(*
-H-
— « —
VII. I.
iiiiiii,
Miiliiiiilli
[iEjEEE3
VII
^iprs
DIMINISHED COMMON CHORDS.
47
JKEMAUK. — It will be readily seen that in all discords the motioi Df one or
more of the parts is circumscribed. The number oppositions, (regular knd
ir;egular,) in which chords may be arranged is very great, but each common
chord h-is but three forms. In the foregoing exercises, examples are given
of each form of tlie chord of VII, going to each form of the chord of I,
miking in all nine progressions, viz., (1) the chord of VII, going to the
ch ird of I , (2) the chord of Vll, going to the chord of I ; (3) the chord
3 1 1
of VII, going to the chord of I ; (4) the chord of VII, going to the chord
2 2 2 ^
of I , (5; the chord of VII, going to the chord of I ; (6) the chord of VII,
2 1 3
going to the chord of I ; (7) the chord of VII, going to the chord of I ; (8)
2 3 3 .
the chord of A'll, going to the chord of I ; (9) the chord of VII, going to
3
the chord of I.
The following is a tabular view of these nine progressions : —
1
VII
VII
2
i
1 1
VII
3
I
o
VII
1 ^
1 VII
2
I
2
vli
3
I
3
VII
A
i
1 3
VII
3
I
Two positions of each of the foregoing progressions are given in the exer-
cises on pages 45 and 46. Although many more positions are possible, if
the student practices these two thoroughly in every key, he will make him-
pelf familiar with the best positions for the progression VII, I. The pro-
gression VII I, in these exercises is printed in small notes, because it can-
not be made without violating Rule 5, as in this progression the diminished
fifth (which is the base note) would be compelled to descend four degrees,
.12
whi.e the rule requires it should descend only one. The progression Vil I
is printed in small notes, because it cannot be made without violating Rule
4, as in this proo;ression the leading note would be compelled to ascend four
decrrees, while the rule requires it should ascend but one. The progression
1 3
VII i is printed in small notes, because it cannot be made without violating
Rule \.
3
VII
Remark. — The progression Vll 1, in the exercises', is printed in
small notes, because although not strictly in violation of rule, it is consi-
dered best that the diminished fifth should descend when it is in the base,
48 THIRD FORMS. DIMINISHED FIFTHS.
The natural progression of all discords is downwards, and although the
diminished fifth is allowed also to ascend, in consideration of the fact that it
produces hut a slightly discord.^nt effect, it is not deemed advisahle that it
should avail itself of this lihc.cy when it is the base note.
Remark — Discords are allowed to move but one degree. When it is
aid that a discord may ascend or descend, the meaning is always that it
may ascend or descend one degree only. The term " discords are allowed
to move, «Sic.,'' is a term common in harmony, although, strictly, incorrect.
It means, " the Dart which produces the discordant effect may move, &c."
CHAPTER XXn.
THIRD FORMS. DIMINISHED FIFTHS.
Common chords are composed of three letters. In four part com-
positions one of the letters must be repeated, or doubled, (either in
octaves or in unison).
In most cases it is not material which letter is doitl'cd, but in
some, the one which must be doubled is prescribed by rule.
RuleYI. — When the common chord of I is in the third form, the
fifth of the chord must be doubled, and the parts which have the fiin-
damcntal note and tltird must descend one degree.
liilpliiiiil
8 1 3 1
I V I V
3 .
In the first measure of the above example, the chord of I is written in
close harmony. G is the fifth, and there are two Gs in the chord, one in
the base and one in the alto. The treble part is the fiindamental note, and
in moving to the next chord it descends one degree; the tenor i» the third,
and it descends one degree. In the second measure the chord of I is writ-
teji in dispersed harmony. The tenor is the fundamental note, and it
descends one degree; the treble is the third, and it descends one degree;
the base and \lto are both the fifth, which is. therefore, doubled
THIRD FORMS. DIMINISHED FIFTHS. 49
Remauk. — A common chord in the first form produces a pleasanter (or
more concordant) effect than the same chord in either the second or third
•orms. A common cliord in the second form produces a le.^s concordant
k ffect than the same chord would produce in the first form, and some liber-
ties are allowed to the second forms of common chords which are not
allowed to the same chords in i\ie first and third forms. A. common chord
in the third form produces a much less concordant effect than is produced by
the same chord in iha Jirst fonri, and is also less concordant than the same
chord in the second form, so much so, that by some authors a common cliord
in the third form is considered a discord. These remarks apply to the effect
produced by a chord when played alone, by itself, and not to effects pro-
duced by the progression of chords. Although Rule 6 applies to the third
form of the chord oi one, careful composers apply it to the third forms of all
the common chords ; and it is recommended to the i^tudent, in writing the
exercises in this work, to observe the rule in reference to the third form ol
all the clifirds, unless the construction of the exercise renders its observance
impossible.
Wkeii a part ascends or descends one degree in obedience to a
rule, it is said to Resolve.
When a chord is repeated, or when the tone requiring a resohition
is repeated in a different chord, the resolution is not required to take
place until a chord is taken which does not contain the tone requir-
ma: a resolution.
In the first measure in the above example, the first chord contains a lead
iug note and a diminished fifth, both of which, according to Rules 4 and 5,
require a resolution. Neither resolves, however, because the second chord
ss a repetition of the first, in a different postion, and both leading note and
diminished fifth appear in it again. The third chord. does not contain either
the leading note or diminished fifth, so in passing from the second to the
third cliords, they both resolve according to the rules. In the second mea-
sure the leading note appears in the first chord, in the chord of V, and again
in the second chord, in the chord of III. It is not, therefore, required to
resolve in passing from the first to the second chords. It does not appear in
the third chord, so in passing from the second to the third chord it r( solves
according to the rule.
[5]
50
THIRD FORMS. DIMINISHED FIFTHS.
Exercise H^o.
! ! ^ 1
I ! ^ I J f ^
1 2 1
VI II V
?=Rr:
6 6
1 ! ! ^
I 5 ^ ^ J ! ^ >^l fl ^r
•E-^E^'E-E=E§^E-Eg?E"E=^F
3 #
6 « # #
^ 1 ! I 1 1 1 V I li fi n ! ^ 1
:jE*EiEEEE!E'EEEEEEEEEcEE
fi 6 b b •;
4 4 4-
Write the chords indicated by the foregoing base notes, in close harmony.
It will be noticed that the 5th, Gth, 7th and 8th measures are in the key ot
G, all the others being in the key of C. In this and all other exercises
which tlie student is required to write, he should endeavour to place the
chords in such positions that when played the exercise will sound well. For
example —
-E^EjE3EfflEM=rg=fE:FpB=E
&C
In writing the above exercise, carefully observe all the rules, particularljr
Rule 6. After writing the exercise in close harmony, write it also in din-
persed harmony.
Rule VII. — A jjcrfect fifth must not follo7v a d'wiinished fifth, in
iiinilar mntioHy unless the chord containing the perfect fifth is in ttu
second form.
THE MINOB SCALE. 51
In the foregoing rule, one of the expressions commonly used in harmony
for the sake of brevity, is employed. It means that if in a chord two parts
form diminished fifths with each other, the same two parts must not form
|)erfect fifths with each other in the next chord, if they progress in similar
motion, unless the chord which contains the perfect fifth is in the second
form. It will be seen that this is a kind of consecutive fifths, somewhat dif-
ferent from those prohibited by Rule No. 1. Observe that this rule does
not forbid a diminished fifth from following a perfect fifth, nor a diminished
fifth from following a diminished fifth.
Wrong, Right Right. Right,
In each chord in the above example, the treble and tenor form fifths with
each other. In the first measure a perfect fifth follows a diminished fifth,
but it is wrong, because the chord which contains the perfect fifth is not in
the second form. In the second measure, a perfect fifth follows a diminished
fifth, and it is right, because the chord which contains the perfect fifth ia
in the second form. In the third measure a diminished fifth follows a perfect
fifth, and, in the fourth measure, a diminished fifth follows a diminished
fifth, neither of which progressions are forbidden.
CHAPTER XXIII.
THE MINOR SCALE.
A second a half step greater than a major second is called a
Superfluous Second.
A third a half step smaller than a minor third is called a Dimin-
ished Third.
A fourth a half step smaller than a perfect fourth is called a Di-
minished Fourth.
A fifth a half step larger than a perfect fifth is called a Super-
fluous Fifth.
A sixth a half step larger than a msyor sixth is called a Supeb"
rLUOus Sixth.
52
THE MINOR SCALE.
A seventh. a half Step smaller than a minor serenth is called a
Diminished Seventh.
A series of seven tones, so arranged that the interval from the
first to the second tone is a major second, from the second to the
third a minor second, from the third to the fourth a major second,
from the fourth to the fifth a major second, from the fifth to the
sixth a minor second, and from the sixth to the seventh a super-
fluous second, is called the Minor Scale.
Remark. — It is customary to express the word " minor," when speaking
of a minrir key, (thus, key of C minor, key of G minor, &,c. ;) but it is not
usual to express the word " major" when speaking of a major key. The term
"key of C," &c , is understood to mean the " key of C major," &.C.,
although the word '* major" is not ex{
Kay of A minor. Key of E minor. Key of B minor.
Key of F?r minor.
Key of C4r minor.
Key of A^ minor.
Key of E^ minor.
Key of B# minor. Key of Fx minor.
/ THE MINOR SCALE. 53
Key cf CX minor. Key of Gx minor.
Key of D minor.
-•-^*-^5
Key of G minor.
Key of C minor.
Key of F minor.
Key of Bb minor. Key of Ef? minor.
Fb:5Tzz=
-^*-
Key of At) minor. Key of Df? minor.
'^'^^=^^^^E??:
Key of G[? minor.
Key of Ct> minor.
-^-»^!5#-
Key of Ft) minor. Key of B^b minor.
[5]
64 THE MINOR SCALE.
What is the sifriiafure of the key of A minor? A flat minor? A shar|
minor? B minor ? Bflatniinor? B double flat minor ? B sharp minor
C minor ' C flat minor Y C sliarp minor? C double sharp minor? B
minor? D flat minor? D sharp minor? E minor? E flat minor? E
sharp minor? F minor ? F flat minor ? F sharp minor? F double sharp
minor? G minor? G flat minor V G sharp minor? G double sharp
minor ?
What key formed by the ust; of flats is the same as the key of A niinor?
Csee page iiO ) B minor? Brf minor? C^ minor? CX mmor;' D# minor?
E minor? Efr minor? F:fr minor? Fx niinor? G:fr niinor' Gx niinor?
W^liat key formed by the use of sharps is the same aa the key of A minor?
A [j minor? Bj) minor? Bl;|? minor? C minor? C() minor? D minor?
})\) niinor? E,\) mim r? F minor? F\) minor? G minor? G[) miiu^r?
Double flats are always represented by two single flats placed
together (bb).
Double sharps are sometimes represented by two single sharps
placed together {^^), and sometimes by a cross (x), it is immaterial
which.
VII of the minor scale must always be a half step higher than
the signature makes it.
Sharps, flats and naturals, when placed before the notes, arc
called Accidentals, to distinguish them from sharps and fiats in the
signature.
In the foregoing examples of the niinor scales it will be noticed that Vil
is always raised, by an accidental, a half step higher than the signature would
make it. This is done in the keys of D minor, G minor, A minor, E niinor,
B minor, F^ minor, and Cfr minor, by placing an accidental sharp (t=) before
it; in the keys of Gr!^ niinor, D:fr minor, A^ niinor. Eff minor, an<l Bff
minor, by placing a double sliarp (X) before it ; and in the key of GX minor,
by placing a tri|)le sharp (^X) before it. In the key of C minor, F minor.
B\) minor, El) minor, A|) minor, D\) minor, and Gf) iifinor, V[L is made a
half step higher than the sii;nature would make it, by placing an accidental
natural {^) before it, (thus removing the flat in the signature), and in the
keys of C[) minor, F[) minor, and B(;(; niinor, by removing tliL' double flul
of the signature (t^b), and substituting a single flat in its place.
The character wliich rej)resents a sharp (?*) always deuotes a
tone a half step higher than would be represented by the note
before which it is placed, if that note was in the key of C, with ito
accidental before it.
The character which represents a flat ([)) always denotes :i toiw
a half step lower than would be represented by the note before
THE MINOR SCALE.
BB
which it is placvjd, if that note was in the key of C, with no acci-
iental before it.
•The character which represents a double sharp (i^^ or x) alwayi
lenotes a tone a whole step higher than would be represented by
he note before which it is placed, if that note was in the key of C,
ivith no accidental before it.
The character which represents a double flat (bb) always denotes
a tone a whole step lower than would be represented by the note
before which it is placed, if that note was in the key cf C, with no
accidental before it.
The character which represents a triple sharp (:f^x) always denotes
a tone ^ step and a half higher than would be represented by
the note before which it is placed, if that note was in the key of
C, with no accidental before it.
The character which represents a triple flat (bbb) always denotes
a tone a step and a half lower than would be represented by the
note before which it is placed, if that note was in the key of C,
with no accidental before it.
Ttie character which is called a natural (b), when it stands alone
before a note, always denotes the tone which would be represented
by the note before which it is placed, if that note was in the key
of C, with no accidental before it. When the character is placed in
connection with a sharp or flat (Iq^ or ^b) it denotes that a single
sharp or flat is substituted for a double sharp or a double flat.
In the above Example, the fourth note is C sharp. It would have been C
sharp if the accidental was not there ; and as the sharp simply denotes a tone
a half step higher than would be represented by the note before which
It is placed if that note was in the key of C, ivithout cm accidental before it,
the presence of the accidental does not affect its pitch. Tn other words, in
this case the accidental is entirely unnecessary. The last note in the exam-
pie is F shar,-. It would have been F double sharp according to the signa
ure, but the •' ^.ff " indicate that a single sharp is substituted for a doubl
sharp.
What letters form the scale in the key of A minor? A flat minor? A
sharp minor ? B minor? B flat minor? B double flat minor? B sharp
minor? C minor? C flat minor.' C sharp minor? C double sharp minor?
D minoj ? D flat minor? D sharp minor ? E minor ? E flat minor ? 1
56 COMMON cuonns in the minor key.
pharp minor? F minor ? F flat minor? F sharp minor? F double sharp
minor? G minor? G flat minor? G sharp minor? G double sharp
ininor ?
CHAPTER XXIV.
COMMON CHORDS IN THE MINOR KEY.
Like the major scale, (as explained on page 34,) the minor scale
may be repeated at a higher or lower pitch.
===-===ET=EE=E«
v:n
r
:^ -w 'f' IV V VI VII I 11 III IV V VI VII
The interval from VII of the minor scale to I of the scale next
above is a minor second.
Common Chords of the Minor Scale.
i ■*■ ;f/ iv^ V VI VII
II III
The common chords of I and IV are composed of a fundamental
note, a minor third, and a perfect fifth, and are consequently Minor
Common Chords. [See page 21.]
The common chords of II and VII are composed of a funda-
mental note, a minor third, and a diminished fifth, and ai-e conse-
quently Diminished Common Chords. [See page 22.]
The common chord of III is composed of a fundamental note,
1 major third, and a superfluous fifth, and is called a Supehfluous
Common Chord.
The common chords of V and VI are composed of a fundamen-
tal note, a major third, and a perfect fifth, and are consequently
Major Common Chords. [See page 21.]
What kind of a chord is I of the minor scale ?
Ans. — A minor common chord.
PROGKESSIJ-VS IN THE MINOR MODE. Ol
What kind of a chord is IE of the minor scale? Ill ? IV ? V ? VI ?
VII ?
What chords of the minor scale are major common chords?
Ans — The common ciiords of V and VI
What chords of the minor scale are minor common chords? Diminished
common chords? SuperHuous common chords'?
What chords of the major scale are major common chords ? [See page
21] Minor common chords V Diminished common chords?
What chords of the major and minor scales are major common chords?
Ans.— The common chords of i , IV and V, of the major scale ; and V
and VI of the minor scale.
What chords of the major and minor scales are minor common chords?
Diminished common chords? Superfluous common chords?
CHAPTER XXV.
PROGRESSIONS IN THE MINOR MODE.
" Minor Mode" and " Minor Key" are terms used to denote
music composed from the tones of the mhior scale. " Major
Mode" and "Major Key" denote music composed from the tones
of the major scale.
Note The following are progressions which are constantly occurring
in minor music. The student should transpose each of them to the follow-
in<T keys, viz ;— E minor, B minor, F< minor, C* minor, G^ imnor, D^
mmor, D minor, G muior, C minor, F minor, B|i minor, and E[) minor;
^nd practice them thoroughly upon the piano, until he is able to play thein
readily from memory. It will be noticed that the last five exercises are re-
petitious, in dispersed harmony, of the first five.
No I.
; — &-
'-'~ji~'-
m
^-
_Jl^S-
1
4h-
:_•_
:-l=-
-4
e';
IgliiEiili
£8
PROGRESSIONS IN THE MINOR SCALE.
No. 2.
izi=n-:|:rn'— :
- — « 2— — « --*— • —
A- 1
SB:
No. 3.
1 1 1
I IV V I
g — ,1 1 g~r» — I 1 9 -ra — i 1 — * tl-
^E4£Ep:'Ei=j=f3EsE|EJEi:fF
I
No. 5.
:^^zs^^ -
■^»-
' pj:
«--•(
I \^ VI fi I /
r
iz«~rz:[z::rzT:z:*i«i3=z;[3.!zzri:*i«i:r=:i="-^:i:^a!iLr
PROGRESSIONS IN THE MINOR MODE.
5i
No 6.
} 'y 1
^1 L
« «__L_L.
m
No. 7.
1
mmmm
IV
■-^ — * — ^-T-F — »
:zsziizzz:ziszii»iz~
I
No. 8.
iiiUPp'iiiii^giiri
-• — i-
£EPE:S-:^iE£
;g
?^:£-p-
— »-
pi
No. 9.
ffi-^-
I I
iS-
ft ? I 1
■=F^S-F
P=E^"?
-^ «
P
6)
HIDDEN FIFTHS AND OCTATES.
No. 10.
- ST —i- -J- -•'- -•- J I . I
i I V-. n
I '.
Note. — The above are the best positions of some of the most common
progressions in minor music. If the student has followed the directions,
he is now perfectly familiar with them. In future exercises where these
chords are employed, the positions which are given in the exercises of this
chapter should always be employed except in passages where the rules would
be violated by so doing. [See " Remark " at the close of page 28.]
CHAPTER XXVI.
HIDDEN FIFTHS AND OCTAVES.
Rule VIII. — Tu-o jjarts must not move to a perfect fifth., octave
prime, in similar motion^ except (Is/) ichen the vpper part does not
skip ; (2nd) v:Iien the chord containing the perfect fifth, octave or
prime, is in the second forni, [see page 49 ;] and {3d) icJien the upper
of the two parts in the first chords ajid the lower of the two parts i?i
the secojid chord, form a small sevoith.
Remark. — This is called the Rule of Hidden Fifths, Octaves and Primt^
or Unisons). An unpleasant effect is produced by jirogressions in which
these hidden fifths, liidden octavos, and hidden primes, occur, which by many
is supposed to be occasioned by the ear involuntarily supplying the interuie-
Jiate ones in the progression.
fzz^zzi,=-^=.±z,t^^j:^t
HIDDEN FIFTHS AND OCTAVES.
61
In t le first, measure of the above example, it will be seen, tliat if, in the
progression represented by tlie lar^e notes, the intervening tones (represent-
ed by the small notes,) were supplied, consecutive fifths would be made by
the last three notes in each part. In the second measure consecutive oc-
taves would be made by the last two notes ; and in the third measure conse-
cutive primes would be made by the last two notes in each part.
J^xamples of two parts moving to a perfect fifth in similar mo-
tion, which are right ; or, in other words, examples of progression
m which hidden fifths occnr, which are correct.
Example No
Example No. 9.
EiEEEE
In each measure of the treble staff in the above examples, it will be seen
that if the intervening tones were supplied, consecutive fifths would be made,
i. e., hidden fifths are produced by these progressions. In Example No. 1,
the upper part does not skip, consequently, according to Rule VIII the pro-
gression is correct, notwithstanding the hidden fifths which are produced
by it. In Example No. 2, the chord which contains the perfect fifth is in
the second form, which is one of the exceptions allowed by the rule, conse-
quently this progression is correct. In Example No. 3, the two parts which
produce the hidden fifths are the treble and alto. In the first measure, the
upper of these two parts in the first chord is F, and the lower of these two
parts in the second chord is G, and G and F fi)rm the interval of a minor
seventh. In the second measure, the upper of these two parts, in the first
chord, is C, and the lower of these two parts, in the second chord, is D,
and D and C form the interval of a minor seventh. The hidden fifths pro-
duced in Example No. 3, consequently, come within the third exception
stated in the Rule, and are therefore correct.
G2 THK COMMON CHORD OF II IN' THE MINOR MODE.
In tlie preceding example hidden fifths occur in each measure of the tre t>Ie
stafl', and all are inc'irrect. In the first and ^^eeond measures the upper
part skips, consequently these measures do not come within the first excep-
tion to the rule. In the third and fourth measures, the chords containing
the perfect fifth are not in the second firm, consequently they do not come
within the second exception to the rule. In the fifth and sixth measures,
the upper of the two parts, (which occasions the hidden fif h,) in the first
chord, and the lower of the two parts in the second chord, form a major
seventh, consequently they do not fall within the third exception to the
rule.
In Exercise No. 5, page 24. the chord of F in the second measure is ar-
ranged with both the alto and tenor on A, because, if the tenor had been on
F, forbidden hidden fifths would have been made.
CHAPTER XXVn.
THE COMMON CHORD OF II IN THE MINOR MODE.
The ori."'; diminished common chord in the major mode is the chord ot
VII. In the minor mode the chords of II and VII are diminished common
chords. In the chords of VII, in both modes, the fundamental note is the
leading note, and must consequently ascend one degree. In the chord of
II, in the minor mode, the fundamental note is not the leading note, and it
is therefc»re at liberty to move up or down, or by skips; on this account, al-
though it is the same kind of a chord as VII, its resolution is quite different.
The object of this chapter is to make the student familiar with the progres-
sions which can, and with the progressions which cannot be made, with
the common chord of II in the minor mode.
A tone which has a fixed resohition may move a minor second
or a major second, but must not move a superfluous second.
It will be noticed that the diminished fifth in the chord of II cannot
ascend without moving a superfluous second, consequently in the chord d
II it cannot ascend or descend as in the chord of VII, but can only descend.
The chord of 11 can resolve to the chords of I, IV, V and VI. To fa-
miliarise the student with every possible progression of this chord, sucfj
tables as are described on page 47, are made use of and one example of
each progression is given. 'J'he student should invent at lea.^t two or three
more examples of each. For instance, one example of the j)rogressioii
h ? is given, but many more in these forms are possible, and the studeii
should write at least two or three more of thorn; and so with u i, ff i. and
all the otliers
THE COMMON CHORD OF II IN THE MINOR MODE.
63
1 1
1
2
,
3
II I
"
'
II
I
O J^
2
o
2
3
II I
II
I
11
I
3 1
3
o
8
3
II I
"
I
II
I
;3E3:
1 3
II I
:n'==n'=
2 1
II I
_l L
II
? r
w
Cannot be done, be-
CHiise the filth can-
not resolve.
-r
Cannot be done, be-
cause the fifth can-
not resolve.
?-
]
1
1
o
1
3
II
V
II
V
II
V
2
1
o
2
2
3
II
V
II
V
II
V
3
1
3
o
3
3
II
V
"
V
II
V
64
THE COMMON CHORD OF II IN THE MINOR MODE.
1
II
1
1
V
i
— !
— m-
1 2
II V
1 1
I 3
II V
1 1
2 1
II V
1 1
2 2
II V
■ 1 ■ ■ 1
--i 1
--m i —
1
1 '"
— « •P
- » — -«^
Cannot be done, be-
cause the filth can-
not resolve.
Cannot be done, be-
cause the fifth can-
not resolve.
When, after a diminished common chord, a chord is used which
does not contain a tone to which the diminished fifth can resolve,
it (the diminished fifth) is free.
When a tone is compelled by the rules to move in a particulai
manner, it is said to have a Fixed Resolution. Tones which art
not compelled to move in a particular manner, are said to be Free,
The chords of IV and VI do not contain the tone Co which the dimin-
ished fifth can resolve, consequently when the chord of II is followed by the
chords of IV or VI, the diminished fifth is free to move up,, down, or by
skips. It is desirnble, however, to let it remain stationary if possible, i. e.,
to let the part which sings the tone which is the diminished fifth in the chord
of II, sing the same tone in the next chord. For example, in the first
♦•neasure on page 65 the alto has the tone which is the diminished fifth,
(F,) in the chord of II, and has the same tone (F) in the next chord.
1
I
1
2
1
3
II
IV
II
IV
II
IV
2
1
2
2
2
3
II
IV
II
IV
11
IV
Ti
1
3
2
3
3
II
IV
II
IV
"
IV
THE COMMON CHORD OF II IN THE MINOR MODE.
I 2
II IV
m
I
:=f~'
I 3
II IV
II IV
-\—)»——'<0-
n IV
1
II
VI
1
2
VI
1
II
3
VI
2
II
1
VI
2
II
2
VI
2
II
3
VI
3
II
1
VI
3
VI
3
II
3
VI
0>
r-^-
^— ^
o
ii
2
VI
!
)
_ i_
=1^::
— «-
-#-
-?
— 1#—
-h-
=^=
-1--:=5=;
[6«]
C5
THE COMMON CHORD OF 11 IN THE MINOR MODE.
When the chord of IT is followed by the chord of VII the di-
minished fifth is free.
The remark has already been made, that when there is no tone in the
next chord to which the diminished fifth can resolve, it is free, and the fore-
going remark is but a repetition of the same statement. It seems necessary,
however, to make the remark in the last named form, because in the pr<v
gression from the chord of II to the chord of VII the diminished fifth
sometimes ascends a superfluous second, a progression which is allowed in
the progression from the chord of II to the chord of VII, but is forbidden in
every other progression.
Write two or three examples of each progression contained in the follow*
ing table, and resolve each chord of VII to the chord of I, as in the exam*
plea -
,
1
1
2 1
1
3
II
VII
II
VII
11
VII
2
1 I
o
2
2
3
II
v,r|
II
VII
II
VII
3
.
3
o
a
3
11
v„
II
VII
II
VII
11 12 13
II VII I II VII I II VII I
• —H.—^.T* »-»—•-
2 1 2 2
II VII I II vn I
i"*3Ei5ts:
m
— I — »
:p=s:-zf
km
m—0 —a- :i — I - -1
'!=S*=«R
• ?eId
PRACTICAL EXERCISES.
67
CHAPTER XXVin.
PRACTICAL EXERCISES,
Write in close harmony the chords indicated by the following base notes,
'Aoosing «ach positions as will make the best sounding progressions, or, ia
jther words, make as good a tune with these chords as possible.
Practical Exercise No. 1,
^SS^SEiillS
In all the practical exercises, write under each base note the Roman
figures indicating the «hord. For example, in the above exercise, under the
first base note writi* I, under the second write V, «fec.
Remark. — ^The practical exercises are designed to put in practice all the
Student has learned previous to the introduction of each exercise. They
ehodtt be written with the utmost care, and to be sure that all faults ar«
avoideJ, it will be well carefully to examine the chords after they are writ
ten, and arswer the following questions in reference to eac! : —
S8
PRACTICAL EXERCISES.
^hicb
re
1. Is it the right chord? (i. e , the one which the base indicates.)
2. Is it the right form of the chord?
3. Is the oliord complete? (i. e., does it contain tbo three letters i
are required to form a common chord ?)
4. is there a leading note in the chord t and, if so, is it rightly
solved V
5. Is 'j rightly used 1 [See page 48.]
(). Are consecutive fifths, octaves and primes avoided?
7. Is the diminished fifth rightly used?
8. Are there no prohibited hidden fifths, octaves or primes ?
Alter writing the chords in Practical Exercise No. 1, as above directed,
write the same chords again with the following notes for the upper part (or
melody).
Melody of Practical Exercise No. I .
glEUisilliiliElpl
"^
After this has been done, write the exercise again in dispersed harmony.
As there will be many of these practical exercises to be written, it is very
important the student should understand clearly how they are to be done,
and to guard against misapprehension, Practical Exercise No. 1 is written
out in the following examples, just as the student must write every practical
exercise.
Practical Exercise No. I, with the student's own melody.
irili|;liifii|?ilill|lii
I V VI II V I IV V I V I VI IV V IV
liil-Eiiiiiiiiliililiiei
^V I IV U V VI IV VII V in I VI IV II V I
PRACTICAL EXERC ISES.
69
Practical Exercise No. 1. Given Melody.
;5:fc£Ep|Ej±p
l^ilplipig^Piil
^|I:|i5:E5-S:l:SzfI:iz5:
■pi—
II V VI IV VII V III I VI IV II V
Practical Exercise No, 1 in Dispersed Harmony.
I I I I r , III
■d-^-cil
E:EEf£E?E[SE^E=yjE=EEEEErEFFtEp!
J j i J J 1 . I I • .
t-^^'-r4-i-r-!~n-r-l^-F-'^T^'^'T-i'-^'T»'^-F^F:FI-
Whether the Practical Exercises are written in close or dispersed harmo-
ny, the four tones which compose each chord are to be considered as treble,
aito, tenor, and base, as really as if wri'ten upon four staves. It will be
leen that the student is to write each Practical Exercise three times. First,
70 PRACTICAL EXERCISES.
IS at A, making his own choice of positions, i. e., making whichever tone
uppermost he pleases ; or, in other words, choosing his own melody. This
arrangement of each exercise will hereafter be called " Umn Melody."
Second, as at B. In this arrangement the author's arrangement of the pu-
Bitions of the chords is taken, i. e., the author's melody is adopted. This
arrangement of each exercise will hereafter be called "Given Melody."
Third, as at C Here the chords are in the same positions as at |S, but
are arranged in Dispersed Harmony.
Remark. — At /\ the treble s'afFis to be supposed to be occupied with the
chords :is arranged by the student Under both the Own Melody and the
Given Melody, the student is to write the Roman figures indicating th' name
of the chord, as in the Examples A and B. It will be noticed that tlie
eighth and ninth chords are in the key of G, the t.-nth, el.venth. &c.. in the
key of A minor, &-c If the student finds any ditficulty in placing the Rn-
man figures under the chords, he should thoroughly review Chapter XV ill.
Write Practical Exercise No 2 with Own Melody, carefully placing the
Roman figures under each chord.
Practical Exercise No 3.
After writing and carefully examining the above exorcise by the questioua
on page 68, write it again with the Given Melody.
Melody of Practical Exercise No. 2.
L- 1 — ' •-, — '^ — ' I ' ( — ^ -'-j — 1 — ' ' » -*-
After writing and carefully examining the exercise as written with Given
Milody, write it again in Dispersed Harmony.
Remark. — Tt will be seen that in Example C the base is sometimes taken
fcn octave lower than it is in Examples \ ;uid It. In arranging the Disi>er*-
COMMON' CHORD OF 111 IN THE MINOR MODE. 71
ed Harmony the student will sometimes find it necessary to place the base
an «)ctave lower, and will perhaps occasionally be obliged to vary from the
Given Melody, i. e., occasionally he may find that progressions which will be
right in Close Harmony, will violate some rule if written in Dispersed Har-
mony.
After writing the above exercise in Dispersed Harmony, examine it with
the utmost care, by the questions on page 68.
CHAPTER XXIX.
COMMON CHORD OF III IN THE MINOR MODE.
The superfluous common chord is a very harsh discord. The tone which
forms a superfluous fifth with the fundamental note produces the harshness.
"See Remarks in relation to the diminished fifth, on page 44.]
The superfluous fifth is a discord of the third class. It must be
prepared, and must ascend one degree.
Whenever VII of the minor scale is the tone which is the discord
m any chord, it must resolve by ascending one degree.
Note. — VII of the minor scale cannot descend without descending a su-
p rfluous second, and discords are allowed to move only a minor or a major
second, [see page 62,] consequently whenever this tone is the discord, it
citnnot descend, and therefore must resolve by ascending. On page 44 dis-
cords of the third class are described as being allowed only to descend. VII
o{ the minor scale is, of course, an exception to this rule.
A tone which requires a preparation must appear as a concord in
the previous chord, and in the same part.
In the first measure of the fillowing example, the second chord is a su-
perfluous common chord. The treble (Gfr) is the superfluous fifth. In the
previous chord, also, the G^ sharp appears in the treble, and in this previous
chord it (the G^) is a concord, consequently in that example the superfluous
fifth is properly prepared.
A superfluous fifth is not allowed to follow a perfect fifth in sim-
i5a.- motion, nor can a perfect fifth follow a superfluous fifth in
tmiiiar motion.
That is, consecutive fifths, where one is superfluous and the other perfef ,
are not allowed.
n
COMMON CHORD OF III IN THE MINOR MODF..
The common chord of III can resolve to the common chords of I, IV
and VI.
1 1
III I
1 2
III I
1 3
III I
2 1
III I
2 2
III I
2 3
III I
3 1
HI I
3 2
III I
3 3
III I
1 1
III IV
12 13
III IV III IV
2 1
III IV
2 2 2 3
III IV m IV
3 1
III IV
3 2 3 3
III IV III IV
1 1
111 VI
1 2
III VI
1 3
III VI
2 1
III VI
2 2
III VI
2 3
III VI
3 1
III VI
3 2
III VI
3 3
III VI
Write at least three examples of each progression contained in the tables,
placing before each chord of III a chord which contains a tone that will
prepare the discord, i. e , a chord which contains the tone which is the su-
perfluous fifth in the chord of III, and which in that chord is a concord.
The above contains three examples of the first progression of the first table.
Before each chord of III, the chord of V is placed, because it contains a
tone (Gii) which will prepare the discord. In the chord of V, G# is the
major third, and is consequently a concord. In the chord of III it is the su-
perfluous fifth, and is consequently a discord which requires a preparation.
It will be noticed that in each measure the discord and the tone which pre-
pares it are in the same part ; that i.>*, in the first nicasure both the G sharps
are in the treble, in the second measure both the G sharps are in the alio,
and in the third measure both the G sharps are in the tenor.
The following measures contain one example of each of the progressions
contained in the tables. The student should invent at least two more oi
each, so that there may be as many examples of each of the progres.^ions
contained in the tables as there are of the first progression of the first table,
in the preceding example. It will be seen that in the preceding example
in the first measure the superfluous fifth is placed in the treble, in the second
measure it is placed in the alt(\ and in the third measure it is placed in tha
tenor. The .student should endeavour to place it in a different part (when
possible) in each of the measures which he writes. In the following exam
COMMON CHOUI) OF III IN THE MINOR MODE.
73
flies, where it is possible, the superfluous fifth is placed in the treble. In
the two additional meMsures of each progression, which the student is ex-
pected to write, it is presumed he will write it in the alto and tenor.
1 2
in I
1 3
III I
'^'^spj-s;
-f3- -^-
^=F^
^W^
Mn:^
_*_:^:^
3 1
V III I
#?#?-- J~ -4t?4f«--? -
^ •
^ P
"I — ( — r
:pp:
3
V III
:i^£^zz^
* g
:zr— rZTCI
Cannot be done IjecHUse
tlie superfluous filth chii-
not resolve.
:t
(Cannot he done because
the suiierfluous fifth can-
II 12 13
III IV V HI W V III IV
2 1
V III IV
2 2
V III IV
ii-r.-^-'
rzz — 1 — ^-
:^'"n.~i '
-
{
i
Cnrinot be done wiih-
«>iit itroducing forbid-
den fifths.
::r=:*zt=
mi
:
\
- r=-r~-^
^
' 1 ■
' 1
74
COMMON CHOUD OF III IN THE MINOR MODS.
11 12
III VI V III VI
1 3
III vr
2 1 2 2
V III VI v m VI
--^-— 1-^~
E --H-=i'-
|;z^::q:iq^
-=^-=Th"
1 — i — 1
:zp:^:.-
1
' ( 1
' 1 '
-d m •
Write Practical Exercise No. 3 with Own Melody, according to the di-
rections in Chapter XXVIII.
Practical Exercise No. 3.
^5
Write Practical E.vercise No. 3 with Given Melody, according to the di-
rections in Chapter XXVIII.
Melody of Practical Exercise No. 3.
pieiSisiSgisiiiiiii
SEQUENCES.
75
Write Practical Exercise No. 3 in Dispersed Harmony, according to the
directions in Chapter XXVIII.
CHAPTER XXX.
SEQUENCES.
King of kings and
for ev-er and ev-er, Hal-le-lu jah, Hal-le-Iu jah.
1^ 1^ ^ ^ 1^ ^ ^
for ev-er and ev-er, Hal-le-lu-jah, Hal-le-Iu-jah.
kings .
^ ^ ^ ^ b* ^ I ,
for ev-er and ev-er, Hal-le-lu-jah, Hal-le-lu-jah.
A strain which is repeated one or more times at a higher or lower
pitch, is called a Sequence.
The above example is from the Hallelujah Chorus of the Messiah. The
first strain is repeated twice, each time at a higher pitch, and "s consequently
a sequence.
76
SEQLTENCES.
The first strain of a sequence is called the Figure.
The smallest number of chords of which a figure can consist is two. Of
oourse any number larger than two may be employed to form a figure.
In the repetition of the figure Rules 1, 2 and 3 must be observ-
ed, but all other rules may be violated, except those which relate to
discords which require a preparation.
In the construction of the figure all rules must be observed, but in the re-
petitions it is not important that any except Rules I, 2 and 3 should receive
attention.
The foUowincr exercises consist of figures composed of the fewest possible
number of chords Although a figure may be repeated any number of times,
it is not usual to repeat it more than twice.
mmM
it t .-[n
m$mmm
In the above example the first measure forms the figure, and the second
and third measures contain the repetitions, each one degree higher than the
previous one.
Write two repetitions of the following figures, each a degree higher than
the previous one; i. e., like Exercise No. 1, which is written out in full as
an example.
No. 2
No. 5.
No. 7.
Write two repetitions of the following figures, each a degree lower than
the previous one; i. e., like Exercise No. 8, which is written out in f I'l aj
an example.
SEQUENCES.
7T
No 8.
;i£=^:
^i^:
1
■=R-f
— iliiilisil
No. 9.
No 10. No. 1
No. 14.
RniMARK. — In the fourth chord of Exercise No. 8 there are two lead-
inor i\otes, one of which (in the base) descends. This is contrary to Rule
IV, whieh says that the leading note must ascend. Accordincr to this Rule
two leading notes cannot be taken in any one chord, because they must both
ascend, which would produce consecutive octaves or primes (unisons). In
this fourth chord also the diminished fifth (F) does not resolve according to
the rules. The violations of these rules, however, are permitted, because in
sequences all the rules which have thus far been given can be violated, ex-
cept Rules 1,2 and 3, and those which relate to the superfluous common
chord.
When the chord of VI follows the chord of V, the third in the
chord of VI must be doubled.
^ There is no progression more common than for VI to follow V, and none
in which consecutive fifths and octave?!, and wrongly resolved leading notes
are more liable to occur. In the following sequence the figure is repeated
eleven times, giving the progression V VI in every minor key. The student
should practice it on the piano until able to play it readily from memory.
No. 15.
J__ _._ J ^
Key of Key of
Key of Key of
I — 1 — -^-r
V VI V
[6»]
K " " ' " '- " *"
Gi
F minor. F ^ minor. G minor. G # minor
Key of Key of
A minor. B\) minor.
VI
78
SEQUENCES.
liiliiiiiifelii
Key of Key of
B minor. C minor
Key of Key ot
C^ minor. D minor.
Key of
Dff minor.
Key of
E minor.
8,.. ...
EEE
1
VI
VI
Write the same chords, in the same keys, in the following positions
No. 16. No. 17. No. 18. No. 1».
Key of
F minor, &c
I p— |-
V VI
In Exercise No. 1.5, the trehle is the fundamental note, the alto is the
third, and the tenor is the fifth of the chord. In No. 16, the trehle is the
fundamental note, the alto is the fifth, and the tenor is the third of the chord.
In No. 17, the treble is the third, the alto is the fifth, and the tenor is the
fundamental note. In No. 18, the treble is the third, the alto is the funda-
mental note, and the tenor is the fifth. In No. 19, the treble is the fifth,
the alto is the fundamental note, and the tenor i.s the third. In No. 20, the
treble is the fifth, the alto is the third, and the tenor is the fundamental note.
Consequently the above exercises, when written out in full, embrace every
possible position of the progression V VI in every minor key.
Key of Key of
E minor. D^ minor
Key of
D minor
Key of
C^ minor.
Key of
C ininiir.
Key of
minor.
.hi-
I-T-U-Ji-
^iiiiiiiii^iiii
VI
VI
SEQ,UENCES.
79
Key of Key of
_ F# minor. F minor.
I — T~r"^r"i I r~T~r ^g*~'i^r — p— I
.!Ziii[iz:i — izrizzi — iir:zrr~ i7r:~ r— I
V VI V VI V VI V VI V
Key of Key of Key of Key of
B[) minor. A minor. G# minor. G minor
VI V VI
Exercise No. 21 gives an example of the chords contained in the six pre-
vious exercises, descending. Liiie Exercises No. 15, it should be practiced
until the student can play it readily from memory.
Write the same chords, in the same keys, in the following positions : —
No 23.
No. 93.
No. 34.
No. 25.
No. 3«.
Key of
E minor, &c*
:9—:r
Key of
E minor, &,c,
III
#*-
Key of
E minor, &c
^
,
Exercises No 21, 22, 23, 24, 25 and 26, when written out in full, em-
brace every possible progression of VI V in every minor key.
Remark. — It will be well for the student to invent sequences containing
three, four, five, six and more chords in the figure.
Although a proper sequence cannot be made with less than two
chords, passages like Exercises No. 27, 28 and 29, are called Onb
Chord Sequences, because the same rules are allowed to be broken
in writing them that are allowed to be violated in sequences.
No 97.
L
^?:t5
=n:ip«z5r»z:p;:p|:r
i=g
ICT
Aa
6 6 6
80
PRACTICAL EXERCISES.
No 89.
In each of tl ese exercises, (Nos. 27, 28 and 29) the base moves by !h«
same degrees, i e., in Nos. 27 and 28 by seconds, and in No. 29 by tb rds.
When the base moves equally in this manner the passage is called a one-
chord sequence, (meaning that the figure is composed of one chord only,)
and the same liberties can be taken with the rules as in regular sequences.
In one-chord sequences, like Exercises Nos. 27 and 28, three parts must
move regularly like the base. It is of course impossible that fuur parts
should move in this manner, because of consecutive octaves, so that one part
must move irregularly. In No. 27 the tenor moves irregularly, and in No..
28 the alto moves irregularly. In other respects Nos. 27 and 28 are alike.
From the twenty third to the thirty-first chord, in Practical Exercise No. 1,
forms a one-chord sequence like No. 29. The sixteenth and seventeenth
chords in Practical Exercise No. 1 form the figure of a regular sequence,
and the four succeeding chords form the repetitions.
See if there are any sequences in Practical Exercises Nos. 2 and 3, and .(
there are any point them out.
CHAPTER XXXI.
PRACTICAL EXERCISE
Write Practical Exercise No. 4 with Own Melody, according to the dr
ctions in Chapter XXVIII.
Practical Exekcise No. 4.
E3ElEEtel'EiE^F=gE=EEEiEE:^EI?5fiI
PRACTICAL EXERCISES.
'mMwBim^M&m
4f#5#5
S33tiiiiiiiiiiiigsf
##5
##5
Write Practical Exercise No. 4 with Given Melody, according to the di-
rections in Chapter XXVIII.
MeSodj of Practical Exercise No. 4.
-6#-
^^^f^
"j~:
psgilgfSigii
rp-n^ f
,,__,
SgSiii&lfiilS
-d-i
glggggasiiEgiie
Write Practical Exercise No. 4 in Dispersed Harmony, according to the
directions in Chapter XXVIII.
The student should carefully examine every chord hy the questions on
page 63, and should now add the following additional questions : —
9. Is the superfluous fifth rightly used ?
10. Is there a sequence in the exercise, and if so is it rightly used?
Write Practical Exercise No. 5 with Own Melody, according to the di-
rections in Chapter XX\'III.
Practical Exercise No. 5.
H
giiliiggg
^^5
b'i^^S
83
PRACIICAL EXERCISES.
iggsgiggin
^5
5 ^
fc|t^5
Write Practical Exercise No 5 with Given Melody, according to the di
rections in Chapter XXVill.
Melody of Practical Exercise No. 5.
[T
^M^mmMmm^w^
Write Practical Exercise No. 5 in Dispersed Harmony, according to <be
directions in Chapter XXVIII.
Write Practical Exercise No. 6 with Own Melody.
Practical Exercise No. 6.
« « # # ii * l5
# a if ^ * ft
:ee
l<^* *
^^i
m^—"-
S
Write Practical Exercise No. 6 with Given Melody.
Melody of Practical Exercise No. 6.
sifgggg^igs^
PRACTICAL EXERCISES.
Pl»-»lt
pfi^s&ggiiffiig
^ppiifigiiiiii
Write Practical Exercise No. 6 in Dispersed Harmony.
Write Practicd Exercise No. 7 with Own Melody
Practical Exercisb No. 7.
gggflifig^ii^i
b bb bbb bbs bb #5 #5 # # # #
b ^
§"i3?iglgiteSlSi3
b bs b5 ^*
b #
t*^ b
iffl3E
Write Practical Exercise No, 7 with Given Melody.
MeJody of Practicai Exercise No. 7.
5^^^gSl^
84 CHORD OF ^IV IN THE MINOR MODE.
Write Practical Exercise No. 7 in Dispersed Harmony.
Eeimark. — One of the most important exercises connected with the stndy
of the practical exercises, is the jilacing of the Roman figures under each
chord, as directed in Chapter XXVfll. Great care should be taken in thus
writing these Roman figures, and they should on no account be omitted in
any exercise
CHAPTER XXXII.
CHORD OF SSIV IN THE MINOR MODE.
■ A common chord of which i^lV is the fundamental note, is often
ased in the minor mode. It is composed of a fundamental note, a
tone which is a diminished third from the fundamental note, and a
tone which is a diminished fifth from the fundamental note, and is
called a Double Diminished Common Chord.
Common chord of sharp Common chord of sharp Common chord of sharp
four in the key of A four in the key of E four in the key of D
minor. minor. minor.
Each tone of the double diminished common chord has a fixed
resolution. Tho fundamental note must ascend one degree, the di-
minished third must descend one degree, and tho diminished fifth
!nust move as in the chords of II and VII.
The chord of ^IV can resolve to the chords of I and V
CHORD OF ^IV IN THE MINOR MODE.
85
Remark.— When the chord of #IV is followed by the chord of I, the
diminished fifth cannot resolve, and it is therefore free. [See page 64.]
Wheu it is followed by the chord of V, the diminished fifth must resolve,
because the chord V contains tones to which it can resolve.
1 1
#IV I
I 2
#IV I
1 3
#IV I
2 1
^IV I
2 2
#IV I
2 3
ftIV I
3 1
^IV I
3 2
#IV I
1 3 3
j #iv I
1
1
V
#IV
2
V
1
3
V
2
1
V
2
2
V
2
3
V
3
1
V
3
V
3
3
V
One example of each progression contained in the tables is given below.
As in the tables previously given, the student should invent at least two more
examples of each progression.
86
CHORD OF #IV IN THE MINOR MODE.
2
Cannot b > done.
Wh) .'
~B
3
#IV
lncomp)ete.
'i'
3
-:^5^^-=i=^!
— ^-
3
-i
=^
3
4»1V 1 cannot be done unless more than four parts are emplojed. In the
example it will be seen that 1 has no fundamental note. There ure three
11
E's and one C in the chord, but no A. ^IV V are incomplete, because
there is no B in the chord of E, and there cannot be one without pro<lucii>i»
the kind of consecutive fifths which are forbidden in RuJe Vll It wjU
readily be'seen that #IV V muat be incomplete, (there is no fifth in V,) urs-
H 3
less more than four parts are employed. Both that progression and ^IV I
can be done with tivo p;irts. as in the following example. Some writers
hold that the diminished fifth must not skip when it is in the ba;>e. If this
:i 3 3 1
doctrine is correct, ^IV I and #1V V cannot be done at all.
Practice the foHowinor exercise in all the minor keys, until able to p!af il
readily from memory in every key.
2 3
^IV I
2
-— i — r-
f|plpp|iig!ii|ti
PRACTICAL EXERCISES.
87
2 S 2 1
Note. — The progressions ^IV I and #IV V are by far the best progres.
Bions in which the chord of :|^IV can be used, and it is very seldom used in
any other. If the student practices the last exercise thoroughly, in the kcya
E, B, F#, C^, G^, D, G, C, F, Bb and £[? minor, he will be perfectly fa-
miliar with the chord as it is usually used.
Add to the questions on pages 68 and 81, the following :—
11. Is the sharp four rightly used ?
1^. Is the diminished third rightly used?
CHAPTER XXXm.
PRACTICAL EXERCISES.
Write Practical Exercise No. 8 with Own Melody, accorr ng to the di
rections in Chapter XXVIII.
Peactical Exercise No. 8.
# #6 6 #6 6 #6 ^5 6
« #6 #5 # 6 #6 # 6 #6 4^ 6
6 6665 ^6 664^666 666
^6 6 6 # 6 bp 6
^^^^^^^^^
^« # #^ # # 6 ^
8 #
#6 I S
B8
PRACTICAL EXERCISES.
Write Practical Exercise No 8 with Given Meiody, according to the di-
rections in Chapter XXVIII.
Melody of Practical Exercise No. 8.
td-
^iSiS§l
Write Practical Exercise No. 8 in Dispersed Harmony, according to the
directions in Chapter XXVIII.
Remark. — In Practical Exercises Nos. 1 , 2, 3, 4, 5, 6 and 7, the chords
are all in the first form. [See Chapter XIV.] In Practical Exercises Nos.
8,9, 10, 11, 12, 13, 14 and 15, all three forms are employed. On pa2;e69 an
example of Practical Exercise No. 1 is given, with the chords written out in
full, as a model of the manner in which the succeeding; exercises are to be
written. The following is Practical Exercise No. 8 written nut in full, pre^
cisely as the student is expected to write the Given Melody of No. 8 and the
succeeding exercises It is presumed the student has already writfi-n Prac-
tical Exercise No. 8, and he should now compare his Given Melody with the
following, and see that it is precisely like it.
-#- • -J- -#- •
12 11 21 11 1222
1 II V VI n V I V I VII I vn
PRACTICAL EXERCISES.
89
p3;^Ei«5ErfefiEa4%4iE^
2 2
I n
-•- ^^- -p- -p- -•-
iEliHi^iliilEifli
211122 112 2 11
II V IV I VII I V I VII I V
—I— t--
1 1-p— ^
fl _4 5_
#6
iiEiS^l^iiilifiliiJ
2 2
IV II
3 112
IV I VII
R 6 # fi 6 6 6 6 6_^_^._i^^__^
2 2
I n
1
V
:ziip:
2 2 2
I VII I
12 2 2 12
rv vn I u V vii
HW
PRACTICAL EXERCISES.
VI
VII
^^
#8
I'
EdligT^ggg
r^^
2
VII
2
VII
2 2
I #IV
2
#IV
^-T-6 ^T -^- T-^ — T rr
#IV
Write Practical Exercise No. 9 with Own Melody.
PuACTiCAL Exercise No. 9.
— »-:«Tf?::~]
lSf6 6
6 6
4=Jl
6 4 ^3 feje 6 i? 4f6 6 6 6 i^ he *^5
Practical exercises.
6 « I 6 bs $ 4 «« - ^ - - ^ - - - - -
6^5 6 $l!5 S#C66
4 ^ 4 3 4"
-lTi:^=T:^T=^t2d"3]HT^;^IJ
tt* — 1— iTn — ^T — I — iT^-4iTr~^iTn — \m — ^t^-lst
g
5 #6 6 #6 6 6
4 3 IT -n
5
4 3
""5 I
Write Practical Exercise No. 9 with Given Melody.
Melody of Practical Exercise No. 9.
:§igii}ig|ii^s^s
|EP^^fe:J^jfe|Ffe:
:'T~~^'rzj:.
T=M-^
+-^T—
^FiR^T^F
Ti=T;^T
5W:=_g«szi^3'~i^H^BHiaf5T
Write Practical Exercise No. 9 in Dispersed Harmony.
Bemark. — On page 37 the remark is made, that a chord is not allowed to
stand alone in a key. There is one exception to thi.s rule. Irt the minor
mode, a chord which has for its fundamental note tlie tone which is Jlat six
of the key in which the previous and succeeding chords belong, is allowed
to stand alone. The thirty-eighth chord in Practical Exercise No. 9 is one
of this character. It is the chord of VI in the key of C minor, while the
chord before it is the chord of VI in G minor, and the next chord after it is
the chord of V in G minor, and it therefore stands alone in a key, contrary
t'^ the rule given on page .37. Its fundamental note, however, is Ab. and
A() is flat six m the key of G minor, the key in which the previous and suc-
ceeding chords belong, consequently it comes within the exception to the
rule, as given above. The fifty-seventh chord also contains a violation of
t rule which is explained in the remark on page 206.
8 PRACTICAL EXERCISES.
Write Practical Exercise No. 10 with Own Melody.
Peaoticai, Exercise No. 10.
^mm^M^^mm
#6 6 6 # #6 4f 6
6 #
# 6 6 ^5 # #5 #6 6 #5 # #6 # #6 #
#5 # #6 # #6 #
#
#6 # #6 ' 6 6 # 6 #6 #5 6 #6 # 6 #6 #
#
:tf6 6 6 # 5 6 #6 6 #
Write Practical Exercise No. 10 with Given Melody.
Melody of Practical Exercise No. 10.
PRACTICAL EXERCISES.
93
Remark. — Rule IV requires that the leading note should ascend. Ta
he seventeenth chord of Practical Exercise No. 10, according to the Given
Melody the leading note cannot ascend without leaving the next chord in-
complete, for if the alto should have E in the eighteenth chord, there would
be no B in the chord. By the remark on page 43, it will be seen that Rule
IV can be broken if there is a good reason for so doing. In the passage al-
uded to, the rule is broken for the sake of giving a more satisfactory close
to the strain. It will be readily seen that when the letter which is the fun-
damental note is taken for the treble at the close of a strain, the effect is
more satisfactory than when either the third or the fifth of the chord is
taken.
Write Practical Exercise No. 10 in Dispersed Harmony.
Write Practical Exercise No. 11 with Own Melody.
Practical Exercisk No. 1 1 .
6 6
4
^6 6 6 6 5
b 4 ^
^issiiiiisgiga
^#6 6 ^6 6^5
6 6 6 ^6 ^5 6 6 i^6
6 6 6 8 6 6
Write Practical Exercise No. 11 with Given Melody
Melody of Practical Exercise No. 11.
FSiiiS
^6 6
4
5^i^^»
94
PRACTICAL EXERCISES.
Write Practical Exercise No. 11 in Dispersed Harmony.
Write Practical Exercise No. 12 with Own Melody.
Practical Exercise No. 12.
6 ^ 6
# #5
« 5 ^
#6
6 # #6 • :t^6 #5 #6 #6
#6 #6
siiigjiii^iiirpiiiigia
6 6 #6 # #6 6 6 ^ ^6 6 a
Write Practical Exercise No. 12 with Given Melody.
Melody of Practical Exercise No. 12.
;=t
Write Practical Exercise No. 12 in Dispersed Harmony.
Write Practical Exercise No. 13 with Own Melody
PRACTICAL EXERCISES.
Peacsicai Exercise No. 13
9«
rEACSICAl liXEKCISE IMO. I«>.
66 6 ^6 6 ^^45
iggiiiipiigiiiil
5 25
4 *^
- te 6 6
4 4 '^ 6
Write Practical Exercise No. l3 with Given Melody.
Melody of Practical Exercise No. 13.
Write Practical Exercise No. 13 in Dispersed Harmony.
Write Practical Exercise No. 14 with Own Melody.
Pkactical Exercise No. 14.
<: A R A R R .kR R ft a 6
6 6
^6 6 6 6 6
6 6 # 6 6 4^ X6 # # 6 #5
hi
CHORD OF II WITH ^4 IN THE MINOR MODE
#6 4^5 6 #6 6 #5
g-jjgfgggg gg ll
66666666 6 6 5
4 3
Write Practical Exercise No. 14 with Given Melody.
Melody of Practical Exercise No. 14.
i^i^:^
Sa^Ig^^S^i^
Write Practical Exercise No. 14 in Dispersed Harmony.
CHAPTER XXXIV.
CHORD OF II WITH Jf^A IN THE MINOR MODE.
In Chapter XXXII sharp four is treated as if it was one of the tones oi
the minor scale.
In :he combination of the tones of the scale into chords, sharp
rouLT must be considered as one of the tones of the minor scale.
This does not mean that when the minor scale is played or sung, sharp
'our must be introduced into it, but only that when the minor scale is com
CHORD OF II WITH ^4 IN THE MINOR MODE.
97
bined into the various chords, sharp four must be used in the various combi-
nations as if it was an integral member of the minor scale.
According to this rule, the fundamental note of evury chord which con-
tc ns four of the scale, can also be the fundamental note of a chord which
ci.ntains sharp four. II is the fundamental note of a chord which contains
IV of the scale, consequently, II is als ) the fundamental note of a chord
which contains sharp four.
The Chord of II with ^4 is composed of a fundamental note,
a tone which is a major third from the fnndamental note, and a
tone which is a diminished fifth from the fundamental note. It is
called a Major Diminished Common Chord.
Common chord of two
with sharp four, in the
key of A minor.
Common chord of two
with sharp four, in the
key of E minor.
:«:
Common chord of two
with sharp four, in the
key of D minor.
It will be seen that no new rule is required for this chord. Sharp foui
must resolve as in the chord of 4rIV, [page 84,] and the diminished fifth
must be used as in the chord of II.
The chord of II with ^4 can resolve to the chords of I and V.
1 1
II:i*4 I
12 13 1
1I#4 I II#4 I 1
2 1 1 2 2 1 2 .S
\m I n#4 I 11^4 I
3 1 3 2 13 8
U^A I 11^4 I 1 114^4 I
II#4
1
V
1
n#4
2
V
im
3
V
2
11^4
1
V
1 2
IIi*4
2
V
2
II#4
3
V
3
1
V
3
IIf^4
2
V
3
n#4
3
V
Remark. — Sharp four is a species of leading note, and like the leading
note must resolve by ascending one degree.
One example of each progression contained in the tables is given be'ov.
As in the tables previously given, the student should invent at least two more
examples of each progression.
[9]
CHORD OF II WITH ^IV IN Tlir MINOR MODE.
-if* ^^—
Incomplete.
-Pl=
5S:=S:
:t
T^:«i-
•— -«-
-• (
--'^-
^S
._?!— ISi
The two examp/es marked incomplete, can be made complete with in
»art8, as follows .—
BECAPITULATION OF COMMON CHORDS.
M
I
n#4
«•
■-=r-=^
mm
CHAPTER XXXV.
RECAPITULATION OF COMMON CHORDS.
Major Scale,
^gl^iiipHii
I n m IV V VI vn
The common diord of I in the major scale is a major comnc mi
chord.
The common chord of il in the major scale is a minor commctn
chord.
The common chord of III in the major scale is a minor common
chord.
The common chord of IV in the major scale is a major common
chord.
The common chord of V in the major scale is a major common
chord.
The common chord of VI in the major scale is a minor common
chord.
The common chord of VH in the major scale is a diminished
cimimon chord.
Minor Scale.
i^lfPHlL^^^g
1 -^
I n
vx vn
UO RECAPITULATION OF COMMON CHORDS.
The common chord of I in the mmor scale is a minor commor.
3hord.
The common chord of II in the minor scale is a dmiinished
common chord.
The common chord of II with sharp four in the minor scale is a
major diminished common chord.
The common chord of III in the minor scale is a superfluous
common chord.
The common chord of IV in the minor scale is a minor common
chord.
The common chord of #IV in the minor scale is a double dimin-
ished common chord.
The common chord of V in the minor scale is a major common
chord.
The common chord of YI in the minor scale is a major common
chord.
The common chord of VII in the minor scale is a diminished
common chord.
The common chords of I, IV and V in the major scale, and V
and VI in the minor scale, are major common chords.
The common chords of II, III and VI in the major scale, and 1
and IV in the minor scale, are minor common chords.
The common chords of VII in the major scale, and II and VII in
the minor scale, are diminished common chords.
The common chord of II with ^A in the mmor scale is a major
diminished common chord. This chord cannot be used in a major
key.
The common chord of III in the minor scale is superfluous com-
mon chord. This chord cannot be used in a major key.
The common chord of #IV in the minor scale is a double dimirt-
ished common chord. This chord cannot be used in a major key.
The tones which compose major common chords are all free.
The tones which compose minor common chords are all free.
Of the tones which compose diminished common chords, itvo
nftli from the fundamental note has a fixed resolution.
Of the tones which compose superfluous common chords, tha
fifth from the fundamental note has a fixed resolution.
Of the tones which compose major diniiiiished comw »n chor(««
RECAPITULATION OF COMMON CHORDS.
101
ae to.ii -which is the sharp fourth, and the tone which is the fifth
from the fundamental note, have fixed resoUitions.
All the tones which compose double diminished common chords
have fixed resolutions-
Write Practical Exercise No. 15 with Own Melody in Dispersed Har-
mony.
Remark. — In the other practical exercises it has been required that the
Own Melody and the Given Melody should be in Close Harmony In this
exercise the order is reversed, and the Own Melody and Given Melody must
be in Dispersed Harmony. No. 15 is the concluding practical exercise com-
posed exclusively of common chords, and embraces every variety of common
chords, in nearly every form.
Pkacticai. Exercise No. 15.
S j^ 66 ^4 6 6 6U6k6^664
* 6 b 6 6 4^^
■- ^-^ — pt -r-r— ^-tb# I r-Tr-\—i-i'r-r-^- :
J-< C I /, I I A I I
^^E^EE
Mb5
b5« b5
b
=EESa=iEPE^IESIErEBEEE^I^E-:i
bs « 5 6 ^^6 #6
Ms bfi b6 5 6 5 6 6 # ^5 g ^ ^5 b b5
6 I 6 6 # #5 g ^ ^5 b b5
be bs b-. be b« bo « ^5 #« be « #« # #« «
b b ^4 b *4 * # ^i
[9*]
102
RECAPITULATION OF COMMON CHORDS.
^g^giiili
1^—i
■^F
* ^6 6 6 6 ^
6 6 I ^ ^ 4 4 J « l>« ^ J
Write Practical Exercise No. 15 with Given Melody in Dispersed Har
mony.
Melody of Practical Exercise No. 15.
fcECAPITULATION OF COMMON CHORDS.
103
Write Practical Exercise No. 15 in Close Harmony,
Kbmark. In the classification of the common chords of the minor fcal©,
f sharp four is treated as a member of that scale, we shall of course hare ?
chord of seven with sharp four. Such a chord would consist of a fundamen-
tal note, a minor third and a perfect fifth, and would of course be a minor
common chord. Its movements, however, must be much constrained, lae-
cause its fundamental note, (which is the leading note,) and its fifth, (which
is the sharp fourth,) have fixed resolutions. On this account it is seldom or
never used, and it has not been thought necessary to introduce it among the
common chords of the minor scale.
Common chord of VII Common chord of VII Common chord of VII
with sharp four in the with sharp four in the with sharp four in the
key of A minor. key of E minor. key of D minor.
VII#4
YU^
K ^_,.
^
iiiiilillllii^i^
r-^k^r^^^-^^rf^'^^f-^^
"»" I I
5 g-
liiiiiiii
€4
RECAPITULATION OF COMMON ( HORDS.
u I . ' . . . .
i
bjL b_»
d-i--*j^-4:^^.
E^S=?s^EpE=J=^EE=TEEE3
EEEEiEEElEEEEE3EEEIEEIEEE3
The above example contains the alto and tenor of Practical Exercise No.
15, It is presumed the student has already worked out that exercise accord^
ing to the directions, and the alto and tenor of his Given Melody should no>«
be compared with the above example.
RECAPITULATION OF COMMON CHORDS. 105
Remakk on Modulation. An exception to the rule which requires tha.
one chord should not stiiud alnne in a key, occurs in Practical Exercise No
9. Two more exceptions occur in Practical Exercise No. 15. Chorda
which belong in the minor mode, and whose proper resolution is in that key,
frequently resolve to the major key. In Practical Exercise No 15, there are
several instances where the chord of sharp four, instead of resolving to the
chord of one in the minor, resolv.^s to the chord of one in the major Such
resolutions aie always allowed, althoui/h it frequently causes a chord to stand
alone in a key. In one place in Practical Exercise No. 15, the chord of
five in D minor is introduced, and is immediately followed by the chord of
y\\ in G minor, thus leaving the chord of five to stand alone in the key of
D minor '1 he indefinite effect produced by the chord of VII is such, that
it is alloweil to succeed any chord, even if such chord is alone in the key
The following are the names of the chords in Practical Exercise No. 15.
The student should compare them with the Roman figures which, in accord-
ance with the directions in Chapter XXVIII, it is presumed he has already
written under the base notes of the exercise.
l2l|1lS|2l3|'il2|22 1|2 22
I IV V ! IV V VII ! I VI VII 1 I II VI 1 V II I i II I V
VI IV U^i\ V ■ I I II V iVII I r 1 I VI V I VII I i I I I V
I #^ 2 1 ! 1 1 1 ' 1 1 1 ' 1 1 3 '1 3 -' [3 1^^ 3 ■
VI :^# 4f I III |iv II IV I V III V ivi II VII ,#iv I 4*iv I I V ^ «t ^i i
3 1113 11132 111 2 111 1 112 1 2
I V V I I V VII ! Ill VI V ! Ill IV V I III I V 1 III VI VI •
3 3 3 ! 2 ,3 2 13 2 21 1«|1 - -M 211 1 ]i
i^iv I ^iv! V #iv V ;#iv V ^iv! V' ! I VII 1 I IV I !v vn I
1^'212'2 3 2'1 2 112 1 ]| 1 2 2;33];
V 1 I V VII i [ I n=H=4 1 V IV V I I VII I 1 IIrr4 I VIll I I V
1 1 112 2 ' 3 1 ' ] «;
VI IV I 1 II VI 1 I V I I ' I
Rkmark on the Major and Minor Sc.\les. — There is a very intimate re-
ation between major and minor scales which have the same signature. The
keys of C major and A minor have the same signature, and are called rela-
tives of each other. C major is the relative major to A minor. A mirior
is the relative minor to C major. So with G majnr and E minor, D major
and B minor. &,c. A chord frequently stands alone in a key, when the
next chord to it is in its relative key. There is also a relation between the
major and minor keys of the same letter, (for example, between A minor
and A major, &lc.) and a chord frequently stands alone in a key when the
next chord is in the other mode of the same letter. For example, the chord
of sharp four will not unfrequently stand alone in the key of A minor, but
be followed by the chord of one in A major.
106
CHORDS OF THE SEVENTH.
Concluding Remarks on Common Chords. — If the student has
work id out all the exercises correctly, he is now familiar with the
use of common chords. He should now examine music of differ-
ent kinds, and notice how different authors use the common chords,
first taking psalm and hymn tunes, and then glees, anthems, cho-
ruses, &c. For example, suppose he takes a church music book in
which the first tune is Old Hundred, and proceeds to examine the
book with reference to the common chords. He finds the first
chord is I, the second chord is the same, the third chord is V, the
fourth VI, &-C. He notices whether the progression from V to VI
is according to rule, and notes every other peculiarity of thn
composition. In this manner he passes through the book. If rules
are broken, [see remark on page 2U6,J he should carefully examine
the passage, and form an opinion whether the author has acted ju-
diciously or not. The result of this exercise will be, that he will
become more and more familiar with the common chords, and at
the same time gradually acquire the ability to analyze music, and
acquaint himself with the styles of the various composers. [See
page 206.] It will also be useful for him now, to compose tunes
himself, using of course only common chords, and taking great care
to observe all the rides with which he is now familiar.
END OF TREATISE ON COMMON CHORDS.
CHAPTER XXXVI.
CHORDS OF THE SEVENTH OF THE MAJOR SCALE.
A chord composed of a common chord, with a tone which is a
seventh from the fundamental note added to it, is called a Chord
OF THE Seventh. [See page 7.]
Chords of the seventh are indicated by a figure placed at the
right hand side of the Roman figure which indicates the common
chord. Thus, /; ienotes the chord of the seventh of one, Sec.
CHORDS or THE SEVENTH. 107
From the above example it will be seen that each chord of the seventli
ccntains a common chord, and that each is formed by adding to each com
mon chord a tone which is the seventh from the fundamental note. Thua
the chord of the seventh of one is formed by the common chord of one, with
a tone added to it which is a seventh from the fundamental note, &c.
When a common chord forms a part of a chord of the seventh,
or of any other chord, its tones must receive the same treatment
that they would if the common chord stood alone.
In the chord of the seventh of seven, for example, the common chord of
seven, which forms a part of the chord of the seventh of seven, must be
treated precisely as when that chord stands alone, or in other words, pre-
cisely according to the directions in Chapter XXI.
Remark. — From this explanation of the nature of chords of the seventh,
the student will notice that he has only to learn the proper treatment of tht
tone which is the seventh from the fundamental note. With the proper treat-
ment of the other tones which form chords of the seventh he is already fa-
miliar, because in all cases they form common chords. Chords of the sev-
enth are composed of four tones. The first three of these tones, in all cases,
is a common chord, with which the student is now perfectly familiar. The
fourth of these tones is " the seventh''^ from the fundamental note, the proper
treatment of whicfi, in the various chords of the seventh, must now engage
the student's especial attention.
Note. — The tone which is the seventh from the fundamental note is
technically called simply "the seventh." The expressions, "the seventh
must descend," "the seventh must resolve," &-c., mean that "the tone
which is a seventh from the fundamental note" must descend, &c. The
student must take particular notice that all remarks about the seventh apply
exclusively to that one tone which is the seventh from the fundamental note.
As the other tones included in a chord of the seventh always form acommoft
chord, and as the subject of common chords has been fully treated and dis-
po.sed of, it is of course altogether unnecessary to say anything further about
them.
All sevenths are discords of the second or third class. [See
page 44.]
108 CHORD OF THE SEVENTH OT T.
The chord of the seventh of I is composed of a major common
chord and a major seventh. It is called a Major Chord or the
Seventh.
The chord of the seventh of II is composed of a minor common
chord and a minor seventh. It is called a Minor Chord of the
Seventh.
The chord of the seventh of III is composed of a minor common
chord and a minor seventh. It is called a Minor Chord of the
Seventh.
The chord of the seventh of IV is composed of a major common
chord and a major seventh. It is called a Major Chord of the
Seventh.
The chord of the seventh of V is composed of a major common
chord and a minor seventh. It is called the Chief Chord of the
Seventh.
The chord of the seventh of VI is composed of a minor common
chord and a mmor seventh. It is called a Minor Chord of the
Seventh.
The chord of the seventh of VII is composed of a diminished
common chord and a minor seventh. It is called a Diminished
Chord of the Seventh.
The chords of the seventh of I and IV are major chords of- the
seventh.
The chords of the seventh of II, III and VI are minor chords of
the seventh.
The chord of the seventh of V is the chief chord of the seventh.
The chord of the seventh of VII is the diminished chord of the
seventh.
CHAPTER XXXVn.
chord of the seventh of v.
In the chord of V7 the seventh is a discord of tlie second claesL
It must descend, but does not require a preparation.
CHOUD OF THE SB:VENTH OF V.
109
This is by far the most important of the chords of the seventh. It is met
vith in common music almost as frequently as the common chords, while the
Dther chords of the seventh are of comparatively rare occurrence In some
English works, the chord of I is called the chord of the tonic; the chord of
II, the chord of the super-tonic; the chord of III, the chord of the mediant;
the chord of IV, the chord of the sub-dominant ; the chord of V, the chord
of the dominant ; and the chord of VI, the chord of the super-dominant.
In these works, the chord of the seventh of V, is, of course, called the chord
of the seventh of the dominant, or, for the sake of brevity , the chord of the
dominant seventh. In German works this chord of the seventh is called
Haupt Septimen Accorde, or chief chord of the seventh.
In the chord of V7 the seventh may be repeated and resolve in a
different part.
For example, if the seventh appears in the alto, the chord may be rep at
pd, and the seventh appear in the treble, or the tenor, or the base, and there
resolve In the following example, in the first chord, the seventh is in the
a to. The second chord is a repetition of the first, and in it the seventh ap-
pears in the treble, and there resolves, consequently it resolves in a different
part fiom that in which it first makes its appearance. In most chords of the
seventh, the seventh must resolve in the part in which it first appears, and
the chord cannot be repeated ; but this liberty is allowed in the chord of V7.
]Ei=?EEB
m
ii^^im
1
V7
When the chord of Y^ resolves to the second form of the com-
Hon chord of I, the seventh is allowed to ascend.
[ro]
110
CHORD OF TUE SEVENTH Ol V.
This is the only case in which the seventh is allowed to ascend, in anj
chord flf the seventh in the major scale.
Chord of V 7, first ChordofV7,8ec-
form, in the ond form, in the
key of C. key of C.
Chord of V 7, third
form, in the key
ofC.
Chord of V7,
fourth form,
in thekey of C.
-»—
•' —
■| —
-It
2
V7
:^zz:
eee£
''1
3
V7_
# -
j#_
• — - — 1#-
4
V7
^_
The chord of V7 in both the major and minor scales, is com^
posed of a major common chord, with a tone which is a minor
seventh from the fundamental note added to it, consequently the
chords of V7 in both the major and minor keys, are alike, and
must receive precisely the same treatment. Practical Exercises
16 — 21 contain examples of this chord in both the major and minor
keys.
Chord of V7 in the key Chord of V7 in the key
ofG.
-H-
3=^
Chord of V7 in the key
ofF.
:t^=:
s
V7
■0-
4
V7
Chord of V7 in the key Chord of y7 in the key
of A minor.
-- J— I— I-
' % \ \
Chord of V 7 in the key
of D minor.
CHORD OF THE SEVENTH OF V.
Ill
Play the chord of V 7 in the four forms, as in the above examples, in all
the keys, major and minor. '
Remark. — As a chord of the seventh contains four tones, it nr iist of course
have four forms. [See Chapters XIV and XLIX.]
When the chord of V7 is followed hy the chord of I, one of the
chords must be incomplete.
;i--J-=tfp==?c=8:
1
iiiiiliiiii^iiii
Vt
V7
In the first of the above examples V 7 is complete, and I is incomplete.
As B, which is the leading note, must ascend, and F, which is the seventh,
must descend, it will be seen that it is impossible to have a fifth (G) in the
chord of I. In the second of tbe above examples, V7 is incomplete, having
no fifth (D) in it, and I is thus made complete. When, in succeeding exer
cises, the student is required to write the progression V7 I, he can take hil
choice which to make incomplete.
Add to the questions on pages 68, 81 and 87, the following : —
13. Is the seventh rightly used ?
Write Practical Exercise No. 16 in Close Harmony, with Own Melody
according to the directions in Chapter XXVIII, taking especial care tha
V7 is correctly used.
Practical Exercise No. 16-
liiiEgtiiiifgigiiig
6 #6
i
^^m^^wMMm
H ^ i J! ^^i
s
^67
112
CHORD OF THE SEVENTH OF T.
iiii-iiS3irggriii£iii
6 #
6 C
5 b5
^4 6
6 6 6
5
V
nz:i]:i::J:-i:i7=!=z|
■■- - - b7 6 be
#6 6 7
4
Write Practical Exercise No. 16 with Given Melody, in Close Harmony.
Melody of Practical Exercise No. 16.
ti
ri:^-:»i:^-^.i
^igamiigiiJiigig
pr-^f
Write Practical Exercise No. 16 in Dispersed Harmony.
Write Practical Exercise No. 17 in Close Harmony, with Own Melody.
Pr.\ctical Exercise No. 17.
i^|g;^s3^^^===^^^
#« #^| t»b5 I
#6^1 6 ##| 8#6 ^1
CHORD OV THE oEVENTH OF V.
iia
-. — I — r
:Ez:E
6 #6
6 6 7
4
4 6 £[6
^4
2
#6
g:
n — ^"i ^"i~i — rr
>j:i!:4 6 6 ^5 6
^6 (i 5
^6 6 5
4 ?r
^6 6 7
4
=L=^E!3;EiFB=EFt^^F"£EI?EB-IEPi£?EI
e 5 #
5
— * — i:i~si:^
gg
#66667
iii-sa
6 6 7
Write Practical Exercise No. 17 with Given Melody, in Close Harmony.
Melody of Practical Exercise No. 17.
-4- ItH-
:izc.
^IlI^ilfegg^gEjl*:^
Ff^i
Ft?3?^^gSiS
:=:lT:~[i:T:r:::
n — ^'
gE^EEEEBEE^EEEIEESE'iliE^EEEEEE
[10']
*I4 CHORD OF THE SEVENTH OF V.
Write Practical Exercise No. 17 in Dispersed Harmony.
Write Practical Exercise No. 18 in Close Harmony, with Own Meljdy
Pkactical Exercise No. 18.
G 6 4 6
4 2
S;
mmsm m^Ts ^m
7 6
|66' #4 6 #6 B66
|.^— f— »— ^r^ r-i — ^' — ^^-r-t — f— 4t*— ^— 7-
n
mMSimi^lM^M
/i
G n
5
6 r>
3
^.___
sii^i^^igpliiiPE-iiO
S '
^5
6
4
Write Practical Exercise No. 18 in Close Harmony, with Given Melodv
Melody of Practical Exercise No. 18.
CHORD OF THE SEVENTH OF T.
115
iiin^iEips^
#- —
e-f-i
mm^^mm^
E:=EEEI
'-^^wmM^mi
M^M
»3i
wm^
g^i^g^iiiioB
Write Practical Exercise No. 18 in Dispersed Harmony.
Write Practical Exercise No. 19 in Close Harmony, with Own Melody.
Practical Exercise No, 10.
6 6 # ^4 6 6
I 1 « **^. «^|
M I ^1 M^5 «tf6 6i| 1,5 6fl^
n ^ ■#
^ ' H # ^ ^
Jib CHORD OF THE SEVENTH OF V.
fiiii?isg;?l§s:iiS^lgEl
fi €^7 fi 7 fi 7
5 7
4 *r
5 4 5
Write Practical Exercise No. 19 in Close Harmony, with Given Melody.
Melody of Practical Exercise No. 19.
Write Practical Exercise No. 19 in Di.-^persed Harmony.
When the chord of V7 is followed by the chord of V7 in another
key, it is not necessary for the seventh to resolve.
CHORD OF THE SEVENTH OF V.
117
2 4
@:
^liiif
I i
In the above example the first chord is the chord of the seventh of five in
he key of C. The seventh (F) does not resolve according to rule, but
ascends to G, when according to the rule it should descend toE. The pro-
gression, however, is correct, because the second chord is also the chord of
the seventh of five, although in another key (the key of F.)
Write Practical Exercise No. 20 in Close Harmony, with Own Melody,
Practical Exercise No. 90.
m^ m^ mmms mm
i^^
6 7
bbe 7 b5 6 6 6 {5^5
4 P5 ^
'^-^ ^- ^ 4 ^ (f 6 6 ^ 7 ^ -
b 5
6 6
4
i_ l_
lil-3lSli?ii&!SiiP[f
6 « 6 7
Write Practical Exercise No. 20 in Close Harmony with Given Melody.
lis CHORD OF THE SEVENTH OF V.
Melody of Practical Exercise No. 20.
Write Practical Exprci>e No. 29 in Dispersed Harmony.
Write Practical Exercise No. 21 in Close Harmony, with Own Melody.
PkACTICAL EXKRCISE No. 21.
6 6 #4 6
4 'i
4? 6X6 ^ii4 6 §
islgpgii'Iilgiigiiif
ii4 6 4
^2 iJ
4 2
esiiiiiiiiiigsiigiiii
5 '
f, fi 4 6 *
4 2 fe;
*! * I
i
-«?,•':
* %
^5 4 X
CHORD OF THE SEVENTH OF V.
liQ
i
« % ^
7 6 7 6;^
Write Practical Exercise No. 21 in Close Harmony, with Given Melody.
Melody of Practical Exercise No. 21
igiiigigiis^
-#-«
!gfc_irz-J:::zT:l-pz:r±tT;riTz:rf_:zf:li:^:^i-gitr
Write Practical Exercise No. S»l in Dispersed Harmony.
The Pillovvinor is Practical Exercise No. 16, with Given MeMy. It is
presumed the student has already written it, and he should now ( ompar^ hia
txercise with this, and see if it corresponds, and if not, notice if the i/^ria-
lions are violations of rules, or non-essential differences.
-^-^
-*..«
120
CHORD OF THE SEVENTH OF V.
Key of C
I Key of G. I Key of C.
Key of A
minor. | Key of G
*s
iiiEgE*ifisi:iii?=f
4 2
V7 I
3 1
Y^ I
4 2
V7 I
3
V7
VI
I Key of I Key of I Key of I Key of I
1 D minor. | A minor. | E minor. | D minor. | KeyofC
1111
IV Vt I I
4 2
Vt I
1 1
V7 I
4 2 4 2 4 2
V7 I V7 I Vt I
Key of G. | Key of F. | Key of C. | Key of A minor.
-A ^-r-^ —
^ 1)7 5,6 (I * B 4 *^
;E?EEeEasE!EI,=sEtE^5^lEzPEpFE^
1 1
V7 I
1 1
V7 I
VI II
Vt
I Key of G. I Key of F. | Key of C.
-0—\
■\0—\
-»—
iE^ii?^^
«t,i
m^^mmM
1 1
I I
-i 1
V7 I
2 14 2 2 2 2
V7 I V7 I II m IV
3 1
Vt I
CHORDS OF THE SEVENTH OF THE MINOR SCALE. 121
I Key of I I [Key of I
IC minor.! KcyofC. iKeyofF. iFminor. | KeyofC,
Jl ,1 II IIJI: .
-•- * -0- -0- -&-
-i r- -i ^
L I
T-ri — r
i 9
11 1 'l 12 3 1113 3 1
VI III IV II V #IV I Vt I V7 I I I
Remark. — The rule has been given that a chord must not stand alone
!n a key, but that either the churd next before or after it must be in the
same key, and two or three exceptions to this rule have been stated. It is
frequently the case that a chord belongs to one key when considered in rela-
tion to the chord b fore it, and in another key when considered in relation
to the chord which comes after it.
The last chord in a tune must be m the same key with the first
chord in tlie tune.
According to this rule, the last chord in Practical Exercise No. 16 is the
chord of I in the key of C Considered in relation to the chord which goes
before it, however, it is the chord of V in the key of F minor, i. e , it is
both the jhord of I in the key of C, and the chord of V in the key of F
minor, j^ pparently the last chord but one stands ah-ne in the key of F minor,
but in re.'.iity it is followed by another chord (the chord of V) in the same
key.
CHAPTER XXXVIII.
CHORDS OF THE SEVENTH OF THE MINOR SCALE.
-T 1 i ±Z ' ±Z-^ g— I
i=i=^i^i^s=H
~i- — % — m' — -S- — 9 — gS — ^ — ^ — 'f
122 CHORD OF THE SEVENTH OF THE MINOR SCALE.
The chord of the seventh of I in the minor scale, is compc BCf.
of a minor common cliord and a major (or large) seventh. Ii is
called a Minor Large Chord of the Seventh.
The chord of the seventh of II is composed of a diminished
common chord and a minor seventh, it is called the Diminished
Chord of the Seventh.
The chord of the seventh of 11^4 is composed of a major dimin-
ished common chord and a minor seventh. It is called the Major
Diminished Chord of the Seventh.
The chord of the seventh of III is composed of a snperfluons
common chord and a major seventh. It is called the Superfluous
Chord of the Seventh.
The chord of the seventh of IV is composed of'a minor common
chord and a minor seventh. It is called a Minor Chord of thk
Seventh.
The chord of the seventh of #IV is composed of a donble dimin-
ished common chord and a diminished seventh. It is called the
Triple Diminished Chord of the Seventh.
The chord of the seventh of V is composed of a major common
chord and a minor seventh. It is called the Chief Chord of the
Seventh.
The chord of the seventh of VI is composed of a major common
chord and a major seventh. It is called a Major Chord of the
Seventh.
The chord of the seventh of VII is composed of a diminished
common chord and a diminished seventh. It is called the Double
Diminished Chord of the Seventh.
No two chords of the seventh in the minor scale are alike.
The chord of the seventh of II in the minor mode is like the
chord of the seventh of VII in the major mode.
The chord of the seventh of IV in the minor mode is like the
chords of the seventh of II, III and VI in the major mode.
The chord of the seventh of V in the minor mode is like thecho" \
of t \e seventh of V in the major mode.
The chord of the seventh of VI in the minor mode is like th«
cko- Is of the seventh of I and IV in the major mode.
DOUBLE DIMINISHED CHORD OF THE SEVENTH.
123
CHAPTER XXXIX.
THE DOUBLE DIMINISHED CHORD OF THE SEVENTH.
The most important chord of the seventh in the minor mode, is the (herd
of the seventh of five. As this chord is precisely like the chord of the seventh
of five in the majnr mode, exercises upon it have been introduced incoi/nec-
lion with the chord of the seventh of five in the major scale, and the student
is now presumed to be familiar with this chord in both the major and minor
scales. The chord of the seventh which may perhaps be ranked next in im-
portance to the chord of the seventh of five, is the chord of the seventh of
seven in the minor mode, (the double diminished chord of the seventh).
In the chord of VII7 in the minor mode, the seventh is a discord
of the second class. It must descend, but does not require a pre-
paration. Like the chord of V7, [see page 109,] this chord can be
repeated, and the seventh can resolve in another part than that iu
which it first makes its appearance.
Chord of VII 7 in the
key of A minor.
Chord of VII 7 in the
key of E minor.
ChordofVIl7 in the
key of D minor.
_ I I I
« — « — «-
— « — « — i-
12 3 4
VII7VII7VII7 VII7
S
Phf the chord of VII 7 in every minor key. It will be noticed that this
chord is not fiund in the major scale, i. e., there is no double diminished
chord of the seventh in the major mode.
PtEMARK. — It will perhaps aid the student somewhat, to notice that if a
chord is a double diminished chord of the seventh, (i. e., if it is composed
of a diminished common chord and a diminished seventh,) it is alwaya
the chord of VII7. If a chord is a chief chord of the seventh, (i. e., if it is
2omposed of a major common chord and a minor seventh,) it is always the
fhord of V7. In such cases there can of course be no difficulty in deciding
what the key is.
Note — As the common chord in the chord of VII7 is a di!<ninished
common chord, there will of course be three tones in the chcwd >f VII 7
124
DOUBLE DIMINISHED CHORD OF THE SEVENTH.
which have a fixed resolution, viz., the fundamental note, (which is the
leading note,) the fifth, (which is a diminished fifth,) and the seventh.
Write Practical Exercise No. 22 in Close Harmony, with Own Melody,
taking especial care that the double diminished chord of the seventh (Vll-r)
is correctly used.
Practical Exercise No. 23.
^1 6 6 7 #b7 ^k7 G 7 ^4
6 I #|>7 ^p7
^ ^5 P5
^--!
giif^sipggiiigi
3 #*•! ##^
4 6 #6
t>
gliSSEsiiiigs-igif
^=f*6 :^4i4 64^6 6 7
I Ji^ =^1 =*^5 ' ^'^ ^1
^3
r±ziC--»d:?:i*ij--:^:ln.=nin:ri:in.in:J^:^-l#-:#zl
^4 4 7 4 ^4
3 3
Write Practical Exercise No. 22 in Close Harmony, with Given Melody.
Melody of Practical Exercise No. 22.
s^sssii^if^if
i^3!
^eiSgi^
DOUBLE DIMINISHED CHORD OF THE SEVENTH.
125
ipiiiiiiHisgjiiis
Write Practical Exercise No. 22 in Dispersed Harmony.
In both the chief and the double diminished chords of the seventh,
the seventh can remain stationary, but must resolve when it leaves
the degree of the scale on which it first appears.
m
\[ ^
^-
VII 7 IV
:~9'
:^:
mm
Vt
Tn the first measure of the above example, the first chord is the double di-
minished chord of the seventh. The seventh is F. In the second chord
the F remains. In the third chord the treble no longer has F, and so it
(the treble) resolves just as it would have done if the second chord had not
intervened. If several chords had intervened between the first chord and
the chord which resolves the seventh, (i. e., the third chord.) it would have
been correct, provided the part which has the seventh remained upon the
same degree of the scale, (i. e , provided the treble had remained upon F.)
In the second measure, the chief chord of the seventh is treated in the same
manner.
Write Practical Exercise No. 23 in Close Harmony, with Own Melody.
Practical Exercise No. 23.
m-
w
6 =It*' •i " ~
[11*]
I ^ ^^^
7 4
:^ '6 ^7 6 ^7
i2(r
DOUBLE DIMINISHED CHORD OF THE SEVENTH.
mmMmm^m
6 6 #6 '6 4^6 6 7 6 #5
r
6 6 6 6
5 4 5
jji 4 5^5
g#- 6 ^7 6=^f- 6 7
te7
6 ^^?" #6 6- 6#6 #^6tef7 4f6 6 # 6 # ^*
4 ffi 7 4 ^5 7 4
Write Practical Exercise No. 23 with Gi\en Melody, in Close Harmony.
Melody of Practical Exercise No. 23.
?3lisiia|lgl§il£ia
-i — ^^ — ^.
Write Practical Exercise No. 23 in Dispersed HarnK ny.
Write P'acticai Exercise No. 24 in Close Harmony, with Own Melody
DOUBT^E DIMINISHED CHORD OF THE SEVENTH.
Practical Exercise No, 24.
127
# 6 7
I'
5 5
X6 :tt ##4 6 ^7 #4 6 7 ^ %|
#^ 6^7
*S
6^7 ##4 6 7 ##4 6 #6
^ «fr ^
ssgggsiL^iiigil
##4 6X6 6 ^ ^7 #6
^4 ^5
6 # #4 #
5 ^
Write Practical Exercise No. 24 with Given Melody, in Close Harmony.
Melody of Practical Exercise No. 24.
i-#-^T T — T r rri — i-in — i-rn— n-r j— n:
^gliJiiiSifS^I
128 DOUBLE DIMINISHED CHORD OF THE SEVENTH.
-#.-:#r-'-^-
3zi=-pirl-r-_c:i:rzzr
Write Practical Exercise No. 24 in Dispersed Harmony.
A discord which does not require a preparation need not resolve
when the chord which contains it is followed by the double dimin-
ished chord of the seventh.
■i
r— » P«.
©— j
V7 VHt
In the above example, the first chord is the chord of V^ in the key of C.
The second chord is the chord of VII 7 in the key of F minor. F in the
first chord is a seventh, and is a discord which does not require a prepara-
tion. It does not resolve, because the chord which contains it is followed
by the double diminished chord of the seventh.
Write Practical Exercise No. 25 in Close Harmony, with Own Melody
Pkactical Exercise No. 25.
6
^6
b5
DOUBLE DIMINISHED CHOKD OF THE SEVENTH.
129
67 6b7 66 tf6 6 6^
* 5 4 7
^r run i ^
_p— r:t#:zf:z?::
^5 4 7
^feibl-^;:FE3EEtEE«ZEFE=E^iEE*£^Ei
^-* 6 6 ^ ^6 6 6 i^
^6 [,1 ^6 G ■•'^6 [j7 6 6 6 6 6
^ b5 i b5 ^ .
§ 5 ^6 ^6 b7 b 6 b b5 K bs bb'7bb4 b7
3 bs ^ b ® ^
4 .» - ^ [J
6 7 6 6 7 te6 6 G G "•" 4
4 ^447 g
4
b
Ixercise No. 25 in Close Harmony, with Given Melody
Write Practical E
Melody of Practical Exercise No. 25
Melody of Practical Exercise No. 25.
— fc-E — i — i — i~ri — I — i~rH — ! — l~rz! — ' — '"c 1
I I .
'^^fE^U=t^'E^.E^^EW^ip^
130
DOUBLE DIMINISHED CHORD OF THE SEVENTH.
i^^iiiii{ii}ii=ggf
Write Practical Exercise No. 25 in Dispersed Harmony.
KEMAUKABLE PROPERTIES OF THE DOUBLE DIMINISHED CHORD OF TUB
SKVENTII.
Each tone of the double diminished chord of the seventh can le
taken for a fundamental note.
No. 1.
^^
— ^- 1 1_.
■M-
i
Each of the above chords is the chord of VII 7, and each is composed ol
the same tones. In the first measure the tones of the four chords rema^i in
the same position, so that if played on a piano it will be simply striking the
same tones four times. The chords in the second measure are the same as
those in t^e first but arranged so that the fundamental rot£ ia the lowest
DOUBLE DIMINISHED CHORD OF THE SEVENTH.
Ul
-one of each chord. T'he first chord in the above example is the chord of
VII 7 in the key of A minor. The second chord is the chord of ¥117 '" t^^a
key of C minor. The third chord is the chord of VII 7 in the key of Ejj
Qiinor. The fourth chord is the chord of VII 7 in the key of F# minor.
No. 9.
Key of A minor.
Key of C minor
±
Key of E\) minor.
6:
VII 7
Remark on Modulation, — Modulation means a transition from one kej
Jo another. It is always desirable to make this transition with as little ab-
ruptness as possible. If none of the tones of the chord which makes the
modulation beJong in both keys, the modulation will be very abrupt. The
more tones there are in the chord which makes the modulation, which belong
in both keys, the m<xe easy and natural will the modulation be.
No, 3.
:iE5rj
H-ir-i-
«•- -w-
Sif-glElil^
12 13
I 11 V V
1 S 2 I
V I vn I
2 3 11
II I V I
The above example commences in the key of C, and at the fifth chord mo-
dulates to the key of B. The fifth chord (i. e., the chord which makes the
nifidulation,) is composed of the tones F^, A^ and Cfi=, neither of which be<
Songs in the key of C. It will readily be noticed that the modulation is verj
abript and unpleasant.
No. 4,
-i=S=|zJ-8-f«iJ=:SEI=^^tt
i— I— ;
ij^gg il
5 1
I V
112 1
V7 VI n Vt
132 DOUBLE DIMINISHED CHORD OV THE SEVENTH.
Tlie preceding example commences in the key of C, and at tlie fiftj chord
modulates to tlie i<oy of F. The fifth chord (i. e , the chord which makes
he modulation,) is composed of the tones C, K, G and B\). Three of these
.ones (C, E and G,) belong in hoth keys, (i. e., in the key of C and the key
ofF,) and it will be readily noticed that the modulation is easy and natural.
All the tones of the double diminished chord of the seventh l>elongin four
dilTerent keys, (.-ee Examples Nos. 1 and 2,) it is consequently a very useful
chord for modulation.
12 3 1 1 I 4 S 1 I
I II I V I VII7 VII7 I V I
The above example is a modulation from the key of A minor to the key of
C minor. The seventh chord makes the modulation, and all its tones Mong
in both keys.
Note. — If the student finds any difficulty in writing the following exer-
cises, he can refer to the scales in Chapter XXIII.
Write and play a strain somewhat similar to the above, and by means cj
the double diminished chord of the seventh
Modulate from the key of A minor to the key of E[j minor.
Modulate from the key of A minor to the key of Fif minor.
Modulate from the key of E minor to the key of G minor.
IModulate from the key of E minor to the key of B\) minor.
Modulate from the key of E minor to the key of C^ minor.
Modulate from the key of B minor to the key of D minor.
Modulate from the key of B minor to the key of F minor.
Modulate from the key of B minor to the key of G^ minor,
jModulate from the key of F4? minor to the key of A minor.
Modulate from the key of Fi^ minor to the key of C minor.
IModulate from the key of F# minor to the key of Df: minor.
Modulate from the key of C# minor to the k(^ of E minor.
Modulate from the key of Off minor to the key of G minor.
Modulate froc the key of C# minor to the zey of A# minor.
IModulate frtrt the key of C^ minor to the kjy of B minor.
Modulate from the key of G# minor to the key of D minor
DOUBLE DIMINISHED CHORD OF THE SEVENTH.
Modulate from the key of G# minor to the key of Eir minor.
Modulate from the key of D^ minor to the key of F# minor.
Modulate from the key of D^ minor to the key of A minor.
Modulate from the key of D^ minor to the key of B# minor.
Modulate from the key of D minor to the key of F minor.
Modulate from the key of D minor to the key of At? minor.
Modulate from the key of D minor to the key of B minor.
Modulate from the key of G minor to the key of B[j minor.
Modulate from the key of G minor to the key of D^) minor.
Modulate from the key of G minor to the key of E minor.
Modulate from the key of C minor to the key of E[; minor.
Modulate from the key of C minor to the key of G\) minor.
Modulate from the key of C minor to the key of A minor.
Modulate from the key of F minor to the key of A[j minor.
Modulate from the key of F minor to the key of C[j minor.
Modulate from the key of F minor to the key of D minor.
Modulate from the key of B^j minor to the key of Dfj minor.
3Iodulate from the key of Bj? minor to the key of Fb minor.
Modulate from the key of Bf? minor to the key of G minor.
Modulate from the key of Ef) minor to the key of G[;) minor.
Modulate from the key of E^ minor to the key of B[j[j minor.
Modulate from the key of E[? minor to the key of C minor.
The do jble diminished chord of the seventh is composed of tones
distant a minor third from each other, or, as it is sometimes ex-
pressed, of three minor thirds placed one over the other. Although
this chord is generally used according to rule, such is the peculiar
effect produced by it, that it is sometimes used as if all its tones
were free.
Practice i\\e above progression until able to play it fluently.
When the double diminished chord of the seventh is played
complete, with both hands, if the right hand descends by half steps,
and the left hand ascends by whole steps, the same tones (letters^
will be play 3d by each hand.
[12]
134 DOUBLE DIMINISHED CHORD OF THE SEVENTH.
I I I I ^i I jL. __ .
A change in the character representing a tone which does not
alter the tone itself, (as from Ab to G^, Git to Db, A-c.^} is called
an Enhar>ionic Change.
Some writers t.ike the liberty to resolve the doable dimint.shed choral o!
the seventh to a distant key, without making the puh.irmonic ch^nwe. Th«
first chord, as written in the following example, is tiie chord of VII7 in tlie
key of A minor. It is resolved at once into the key of V-^jr misvor, withvuai
making the enharmonic change of F^ to E#.
Concluding Remark in reference to the Double DiMiNistrKD Ciiokb
OF THE Seventh. — Although this chord is so useful and effective, it is no<
easy to sing progressions in which it is used, and in cmparison with the
chief chord of the seventh, it is seldom used in vocal nmsic.
I Key of I KcA' I Kev nf f Krv I K^y of I
Key of D minor |A minor | of A } Gminor [ utO f F iiiiiit^ Key of F
n . ' .1 *^l 4l
12 21 21 111) 11
I VII7 I I H VII, I VIIt I VII7 ! Y1
DOUBLE DIMINISHED CHORD OF THE SEVENTH.
135
Key of I Key I Key of | Key
C minor | of C | D min
i— H '—^-
I Key I Key of I Key I
• I C minor | of C | D minor | ofO | Key of A minor
r :J -•- -*■ • , r r
1 J 1 1 3 2 3 2 2 14
V7 I V I VIIt I VII7 I :^IV V VII7
Key of G minor
Key of F minor
I I J.
I Key I Key of
I of F I C minor
I
_i ^
3 1 4
VIIt I VII 7
( Key of D minor
VII 7
2 4
I VII 7
iT — 4P— p-^-» — . — ^-| r ( — r I — I 1 — •■
#1
# #
zcizrrz: j
V i^IV
3
VII 7
3 3 111 14
V7 IV VII7 I V7 VI VHt
Key of I
A minor | Key of D minor
I Key of I Key
I G minor | D mil
-I
^6 fa, 7
"S==^f3E3=TE=±F^"
■g— :i=-
4.
-.=5,q
§Epil^H3=Sg^P
3 2 13 11
VII7 VII7 VII7 VII7 V7 VI
2 1 1 S 1 2
n V7 VI V7 I I
.86 DIMINISHED CHORD OF THE SEVENTH.
I Key of I
I • A minor | Key of D
>}: i 9 J ^J: J: V ^^
^4 6 6 ^4
4f»- 3 2 2 13 1 1
3 3 13 Vt I 11 VIIt IV V7 I
V7 IV VII7 IV
The above is Practical Exercise No. 22, It is presumed the student has
already written it, and he should now compare his exercise with this, and see
if it corresponds, and if not, notice if the variations are violations of rules,
or non-essential differences.
CHAPTER XL.
DIMINISHED CHORD OF THE SEVENTH.
The chords of VII7 in the major mode, and IT7 in the minor
mode,, are diminished chords of the seventh.
The common cliord in the diminished chord of the seventh is a diminished
common chord. In the chord of \'l\i, in the major mode, tliree of the tones
have fixed resolutions, viz., the fundamental note, (whith is the leading
note,) the fifth, (which is a diminished fifth,) and the seventh. In t ho chord
of TI7 two of the tones have fixed resolutions, viz , the fifth, (which is a di-
nini.s!>ed fifth,) and the seventh.
In the diminished chord of the seventh, the seventh is a discord
of the second class. It mnst descend, but does not re(iiiire a pre-
paration. Like the chord of V7, (see page 109,) this chord can be
-e,peated, and the seventh can resolve in another i)art than that in
•vhich it first makes its appearance.
Although the same liberties are allowed this chord that are allowed th«
hief chord of he seventh, it is usually used in conformity with the rules.
Write Practical Exercise No. 2G in Close Harmony, with Own Melody,
dijiinished chord of the seventh.
Practical Exercise No, 26.
137
ii^iH^^giS=^fiiil]i
n
« #6
i
i^^Ep^gi:3irE^;E|s^|p:
^7
i^r^mzm^m^
6 #6
6 #4 #4 6 #6 4^6
6 #6
):#-
:p=q:, ^
EigilPilEpS
;}
^5
4 be ^4 ^5
#4 6
b
7
b5
^ff \
-1— n-^"-f ^-^•-'t^^ Fr- r-^F^-r*--^-B-=3-p4
j,:iHx_[:rz:-rzzp[:r-rir^-[:r-r=|#z[:!^i.^zirr:}:
7 b7 K 7 ^5 [,7 b b7 he #
5 b5 fe} 4
I — \~^ — d ~~r L r — ! — 1 I
EJzEEEZEfFEFf^E3j3EiEJ
i ^ i i
■7-lz\
SEPEEE^EE
PiEMAUK. — Some writers allow a discord which does not require a ] ire-
paiation to be used without a proper resolution, when there is a tone t<j
which it could resolve in the next chord. In the last chord but one, in Pi ac
tical Kxercist! No. 26, the base is the seventh in the chord of V7 Accc rd
ing to rule it should go to B, but as there is a B in the chord, although is
another part, the liberty is taken to make it go to G Such a license is
however, seldom taken by the beat composers.
[12»]
138 SEVENTHS WHICH NEED A PREPARATION.
Write Practical Exercise No. 26 with Given Melody, in Clos Harmony.
Melody of Practical Exercise No. 26.
iiEgyE|||gi|t^g^|Eg
!-=ES;EEgEEEEEEEEEEgE=EEEI
:*-&fJiE&iE»E?=fe:
I r
tE^EEEE
;^=M
-dizJ^P^:
^=1
EEf
Write Practical Exercise No. 26 in Dispersed Harmony.
CHAPTER XLT.
SEVENTHS WHICH NEED A PREPARATION.
The seveiitlis in the major, minor and superflnous d ords of the
BBVjnth, are discords of the third class. [See pages 44 am 71 ]
Til 3y must be pre]>ared. and descend one degree.
SEVENTHS WHICH NEEI* A PREPARATION.
139
The chords < fly and IV 7 in the major mode, and Vly in the minor
mode, are major chords of the seventh ; II7, III7 VI7 in the major mcde,
and IV 7 in the minor mode, are minor chords of the seventh ; and III 7 in
the minor mode is a superfluous chord of the seventh. The sevenths in tJ ese
chords therefore must be prepared and descend one degree.
Kej' of C.
m
I I I
II 7
1
F-
EM
liFg
III 7
:EEiF-EFSEEFE
iSSifesFS^EFeElF
r
IV 7
■4^i=i
^Fg
In the above exercise an example is given of each of the above-mentioned
chords of the seventh, prepared and resolved. Of course the preparation and
resolution can be effected in several different ways, it being only necessary
that a chord should precede which contains the tone which i.s to bo prepared,
and in which that tone is a concord, and that a chord should follow which
contains a tone on the next degree of the scale below the prepared discord,
to which it can resolve. It will be well for the student in all his exercises
to slur the discord which requires a preparation to the note which prepares
it, as in the above example.
Write Practical Exercise No. 27 in Close Harmony, with Own Melody.
Practical Exercise No. 27.
=:izr:-Fzi=:h[=iF_zFb[:_cz:Lzb[=fi=:r=t=rizFz:t=l
6 #4 6 ]:f7 6 6 6
-n-ri-H r— i
iSiF^FgiFgg
I
"I
140
SEVENTHS WHICH NEED A PREPARATION.
^m^mm^^^^
i 6 #6
4 6 7
3
4 Si
« J § #
=^£FEEEiPEE8EE'=*==EE=^aEE^
^ 5-*
5 ^ fe5
EmsMMiMmmmm
6 J* , 6 6 6 6 #6 7 6 4^6 6 5
5 ^ ^5 ^5 5 4 ^5 jj: 4 ^5 4 J^
Write Practical Exercise No. 27 in Close Harmony, with Given Melody.
Melody of Practical Exercise No. 27.
I r- r I r- p
il-illlillitiil§l:l£iii
SEVENTHS WHICH NEED A PREPARATION.
14.
SSilgig^^EfezJIgll
Write Practical Exercise No. 27 in Dispersed Harmony.
Write Practical Exercise No. 28 in Close Harmony, with Own Melody.
Practical Exkrcise No. 28.
6 676 66666
6 7 7 6 7 ^6 ^5
iiiig^gEiilEpi
-^EEFl-i"H=EF
:=zi«i!EHSEH3
bs
11
g
^
F^E^"I
E=«Ei
7 7
I "
-i
7 7
a
be b5
5
-^-
6 6 6 6 ^4 6 6 ^ ^6 6 ^6 ^5 6
b g ^4 ^ #
% i "% i % i % i % ' I
142
SKVENTHS WHICH NEED A PREPARATION.
6 4 6 5^67 66?
Write Practical Exercise No. 28 in Close Harmony, with Given Melcdy.
Melody of Practical Exercise No. 28
ie
iPi
iE.-3£4-I!E*E?EEffiS13;mES'E!L=t
mmmmmMWM'ii^^
Write Practical Exercise No. 28 in Dispersed Harmony.
143
CHAPTER XLU.
CADENCES.
Whfl a two chords progress in such a manner that the fundamental
note ascends a fourth or descends a fifth, the progression is said to
form a Cadence.
When the progression is from a chord of V to the common chord
of I, the progression is called a Perfect Cadence.
When the last chord of the cadence is the common chord of V,
the progression is called an Imperfect Cadence.
When the cadence is formed by other chords, (i. e., when it is
neither an imperfect nor a perfect cadence,) the progression is called
A Mock Cadence.
Observe that the perftct cadence is formed by a chord of V, (i. e , eithet
the common chord of V or the chord of the seventh of'V,) followed by the
common chord of I.
The final close of a piece of music must end with a perfect ca-
dence.
A strain, or phrase of music, (not the final close,) must end with
a perfect or an imperfect cadence.
Composers occasionally make an exception to this rule, but as a general
thing all tunes finally close with a perfect cadence, and all strains or phrases,
(for example, the lines of psalm tunes, &.C..) with either a perfect or an im-
perfect caderice. Practical Exercises Nos. 24 and 25, do not close with
perfect cadeiicts, but it will be readily noticed that the closing chords are
"oddities," which it is not desirable often to imitate. Practical Exercise
No 21, and some of the other practical exercises, close with a plagal ca-
dence, [see page 205,] but most of the practical exercises close with perfect
cadences.
cadences.
sequences
I I _ I
-iS=l}&c
i a
0^^"
144
CADENCES.
^4
:r=Fi:l
&c
i§Et'EE^§F=F|
^-J
iii^iph
&ci
Ei=siP{-'
:35i5~iz:z! "1:^1 — l"i
©•^:^?^-5— *;i~»— ill
F^-F^f
^ii
iElgiij^o
- &C
&:c
"i — r
5=J&c
&C
iiJi^-
:e3errP3fz
■=^
ii
Cannot be done because the seventh
cannot resolve.
^EEFEEEF
h^T
E*:
£^
:3li
Cannot Jie done bei-niise the
Huventli cannot resolve.
iEE:
CADENCF.S.
145
The pr'^ceding are cadences (i. e., progressions in which the fundamental
note of the second chord is a fifth below or a fourth al)()ve the futidamontal
note of ihe first chord) arranged in sequences, [see Chapter XXX.] 7 de-
notes a chord of the seventh, and a common chord. The figures
over the 7 iind denote the forms. It will be noticed that a clmrd of the
seventh in every form goes to a common chord in every form. As it would
not sound well to commence a phrase with a chord of the i^eventh. one or
more chords are placed at the beginning of each of these sequences, to make
a proper commencement to the phrase. The sequence in each instance com-
menceswith the chord marked 7. The student should now write these se-
quences through the scale, i. e., write each of them like the following, which
is the first of the above examples.
I i
1 — r
:arr
■ "i — P" T" •
1 1
The above example contains the sequence marked 7 written through
the compass of an octave. It will be noticed that it closes with a perfect ca-
dence, which makes a satisfactory close to the phrase. 'Jhe student should
write all the examples, through an octave, as in the above example, and
should also make a satisfactory close, (i. e., a perfect cadence.) to each. In
some of the examples it may be necessary to use several chords to form a
satisfactory clo.se. In the above, as the la-t chord of the sequence is the
chord of V, only one chord was nece.-^sary after the sequence to form a per-
fect cadence. The student should practice these sequences in cadences upon
the piano, until he can readily play them from memory.
SEQUENCES IN AVOIDED CADENCES.
iT=^=5i;
1
7
..-^%r:i
iil^lipiilf
ri3]
AVOIDED CADENCES
miM0-,
;ee3;
CHiinot be Jone because the sirTentk
Cttuaot revoUe.
? \
mmm
i
S=5li3=SH=its.
-«^«
?
^i»zzi]:TEr PIT -L.^.
^T)
:&(
d~B
ll&c
Izc:
:fElEE
;#^f&o
-iFH=i^F
il:
iE^E'Efc^E^iEVjt^
? i
■4n
5_.
SisSEHs!^?!
-mr-^^m
lEEEjEEnit^c
^Elz-
Cunnot be done because the aevenlb
cannot resolve.
DECEIVING CADENCES.
141
I
.— 1 7 :
CanBOt be done because the seventh
cannot resolve.
W:
EEEf
Cannot be done because the seveutk
cannot resolve.
g=:
i
;EEg=EEJ
Cannot be done because the seventh
caanot resolve.
i:
I
A eadexsce means, properly, a close, eitiier of a tane or plirase. Perfect and
imperfect cadences alone produce the definite effect necessary for the end of a strain.
Mock cadences produce an effect somewhat similar to that of perfect and imperfect
cadences, bat not sufficiently definite to form a close. In the above exercises,
although the fundamental note of the second chord of the sequence is a
fourth above or a fifth below the fundamental note of the first chord, and
is consequently a cadence, the "cadence" or closing effect is avoided by
making the second chord also a chord of the seventh, producing an avoided
cadence. 7 indicates that the chord is a chord of the seventh. The figure
over the 7 indicates the form. The sequence in each instance com-
mences with the chord raarked 7, the previous chords being used to make a
proper commencement to the phrase. The student should write and practice
each of the "Sequences in avoided Cadences," making an appro])riate clos«
to each, as he has done with the "Sequences in Cadences." Such of thr
exercises as could not be done with four parts, are written with five.
SEQUENCES IN DECEIVING CADENCES.
:3dEi:z5:tq=:5
14S
DECEIVING CADENCES
iiiiiihi
1 3
V7 VI
^^mm
Cannot be done becnnse the base and th«
seventh iiiake fifih^.
g:^E=::
J-==:j:
J
^^^g"-"T-
V7 VI
;g!^p-^f-!»
V7 VI
r&c
f&rC
V7 VI ^
-#-•-» — • ' # — p ' p — J
V7 VI
"1 — ^ i — ! — r — r
3 2
r&c
f&c
7f- — T~
V7 — vr
Cannot be done because the seTenth
raiinut re«olve.
i=:
I
^7==^
V7_ VI
Cannot be done becnune the seventh
uunnot resolve.
fcc
AVOIDED DECEIVING CADENCES.
14Q
vYhenever \lie common chord of V, or the chord of V7 occurs in a
phrasCi, the ear involuntarily expects that the common chord of I will suc-
ceed it, i. e., the ear expects a perfect cadence. When the chord of V goes
to the chord of VI, this expectation is disappointed, and tlie progression is
called a deceiving cadence. The term " deceiving cadence" is also applied
to any progression in which the fundamental note ascends a second. The
Btuden should write and practice the sequences in deceiving c.idences, a3
he has the sequences in cadences, and sequences in avoided cadences. It
will be seen that liberties have been taken with the leading note, in order
M do the sequences in deceiving cadences in all the forms
Remark. — Composers seldom use a deceiving cadence in any other than
.he first form, i. e., V VI. The resolution of the leading note is not con-
idered important when five or more parts are used.
SEQUENCES IN AVOIDED DECEIVING CADENCES-
&c
-r
1
I
1
Vr VI 7
t^p^:
'm^
Y7 vr?
&e
-'r
mm
1 4'^
^_ —
V7 VI7— 1
EE3EEEI
Ciuinnt be <Jone hecause the base
atul eeventla make filY^.
0:
■E£E^EE:
[13*]
iigiijiipf.
— S=t&C
V7 VI7
iE|gig3^<
AVOIDEO DECEIVING CADENCES.
pt— I ^-J 1 \
:&C
2 3
V7 Vl7
I I I
S^^
:-!■
-5:gEpgp
&c'
Si3
3[
3 1
V7 Vl7
;^-il^=:;l=^
3
V7
Yl7
f^F
1^ I _
}^:
1 -V—\ ^^-T-^ - T /
:?i::3iz?tiz:izii:
Cannot be i^ose kecaiHe the aeva b
caimut be tlooe.
iEfE^JEfe|{:^i|^4|fE=;
PASSING NOTES. 151
The definite effect produced by a cadence, when the second chord is a
ojmmon chord, is of course avoided when the second chord is a discord, be-
cause as a discord always needs a resohition, it can never be the closing
chord of a phrase, but always leaves the impression upon the ear that ano-
ther chord is to follow. The student should now write and practice the se-
quences in avoided deceiving cadences as he has the other cadences.
A discord which requires a preparation must be used only on the
accented part of a measure, unless the accented part of the measure
is also occupied by a discord.
No 1. No. 3. No. 3. No. 4.
1. I ) r». L I !^r4^— I !-- ,- ! !- -A-—,'- '
Ij l7 l7 Vl7 V7 I,
In example No. 1, I7, which is a discord which requires a preparation,
appears on the unaccented part of the measure, contrary to the rule. This
example is therefore wrong. In example No. "2, I7 is on the accented part
of the measure, which is correct. In example No. 3, VI7, which is a dis-
cord which requires a preparation, is on the unaccented part of the measure,
but it is ct)riect. for there is a discord which requires a preparation on the
accented part of the same measure. In example No. 4, 1 7 is on the unac-
cented part of the measure, but V7, a discord which does not require a pre-
paration, is on the accented part of the same measure. Although this is
within the requirements of the rule, it does not sound as well as it would if
the discord in the first part of the measure was one which required a pre-
paration.
CHAPTER XLin.
PASSING NOTES.
Tones which move in the order of the scale are allowed to pro<
gress without reference to the chords, and are called Passing Notes
iS^X
PASSING NOTES.
J I
r=m
^pif
^--^
In Example No 1 the common chord of C is repeated four times. In the.
first measure D in the treble and F in the alto, and in the second measure
B and A in the treble, do not belong to the chord of C, but are passing
notes. It will be noticed that they move in the order of the scale, i. e.,
without skipping any tone of the scale. To be more explicit, " moving in
the order of the scale" means going from a tone to the next one above or be-
low it in the scale. For instance, V to move in the order of the scale must
go to IV or VI.
Every tone used in a musical composition must belong to some
chord, and be subject to the treatment appropriate to each chord,
except tones which are passing notes.
No. 2
«r#*!
alii
="p=r
The passing notes are unimportant tones, and their oini.ssion from any
piece would not materially alter its character. Consecutive fifths must not
be made with them, but they are not subjfct to any other rule. 'J'he second
chord in Examples Nos. 2 and 3 are precisely alike, but in No. 2 it is the
conunon chord of I, B being a passing note, and in No 3 it is the chord of
1 7, the seventh (B,) being properly prepared and resolved. Of course, the
passiiin; notes often make chords appear differently from their true character,
us in Example No. 2, where the second chord is apparently I7, erroneously
used, (i. e.. without a preparation,) but in reality is the common chord of I
with a pas.sing note, and in Ex;imple No. 4, where the second chord is ap-
parently the superfluous common chord ustd vvitliout a preparation, but ir.
eality is the common chord of I, G# being a passing note.
Write Practical Exercise No. 29 in Close Harmony, with Own Melody.
PASSING NOTES.
151
Practical Exercise No. 29.
«#.:-F
^E!£E£Ei;^=E;i
;t>:
#4
^2
.c~r:
6 4*4
4 ^3
6 6 6 Hr 7 HfG Up
6 6 3 #5 6
5 #5 6 tf5
4 6
667 66 76 6 766
4 5 5 5
sJeeeeeeeiIees
piiF-p:fp=^:-.-r:p=if
^EEEaEEEEFEp;?Et
^ I " i I « ' ' "^ J
S3ZE-ttFEE:lEEEI£EFHE?1^3?3l!EEI
a;#-
5 -^o
r— rf?Ep^'
7 7
fifesSgliili
7 #4 #6 6 7 #4 ^6 ^6 ^ #2 #4
5 4
=E?EEa:EEi:I~±-:EFEgEEEElEEE{EfeEEI
^ISHf ^^
*"#2
6 Ji6
4 *5
! #
5 " '
iez:e;EEEE:?EFl
154 PASSING NOTES.
Write Practical Exercise No. 29 with Given Melody, in Close \Iarmonj.
Melody of Practical Exercise No. 29.
§2 ri:ipl:p— ^Lr— rz:rzzi_±?:i:::±?zig:i:tr^i:±:s.i
►=^--^
^-E~-P=F-?-F^-F=F^
rzirzi
1 — I — I ^ — t »-
■^-— — :
^-*- «-^-^r^-,-
gpEg jgEEElEEPgEgg^
:»--i=P:
I r-
rp=ir:ibr=:btiitbr-=r::tc-rl:r=rl;l-z:p
liiigigg:|E|ii§{i[f
PEDAL NOTES. 155
CHAPTER XLIV.
PEDAL NOTES.
A tone may remain stationary on the same degret of the scale in
two or more consecutive chords, without being subject to the treat-
ment prescribed for the different chords. Tones thus treated ar^.
tailed Pedal Notes. The other tones of the chord Tiust be treated
according to the chord which they form without the pedal note.
IS
Perhaps a better definition of pedal notes will be to say, that as long as a
tone remains stationary it is not subject to any rule. In the first measure of
the above example the base is a pedal note. In the second measure the tre-
ble is a pedal note. In the third measure the tenor is a pedal note. In the
fourth measure the alto is a pedal note. Properly speaking, the pedal note
in each measure of the above example is in the second chord. For instance,
in the first measure of the example, the first and third chords are common
chords of C, and the base notes are members of that chord, but the second
chord is the common chord of B, and its base does not belong to that chord,
and is of course a pedal note. Observe that the remaining notes of a chord
are always treated as if the pedal note was not in the chord. If the pedal
note was not in the second chord of the first measure, it would be the common
chord of B, and it must consequently be considered as the chord of VIT, and
be treated accordingly. Pedal notes, like passing notes, often make a chord
appear differently from its true character, as in the second measure of the ex-
ample, where the second chord is apparently the chord of the seventh of D,
but really the common chord of D with a pedal note. If it was the chord
of the seventh of D, it would be the chord of II7, but it will be seen that the
seventh does not resolve, and consequently it cannot be thatchoid. In both
the third and fourth measures, the second chord is the chord of VII, with a
pedal note.
Write Practical Exercise No. 30 in Close Harmony, with Own Melody
156
PEDAL NOTES.
Praoxioal Exercise No. 30-
Praoxioal Exercise No. «fO-
76644666 664666
6 2 • 4 5 4 ii
6 7 I 7 i ^ ' i i 5
6 6 ^4 6 ^6 6 6 ^4 6 ^6 7 4 7
4 3 4 b ^ 8 ^
fcb
=LE?E?
:::— ridzpzipzi^rrz: c" rzi_(:_r_pi
ir; h« h-r 6 6 if hr. hfi b'7 6 6
b b5 be b7
i
6 ^ b5 be
^ b ^
b b5 b6 b7 6 6 6-^-6 [,6 4
^ ^ b^ "^
6 be 76676C766164
PEDAL NOTES.
15:
iiilifHilsgailli
7 6
4 6 4 6 7
-2 5 3
Write Practical Exercise No. 30 in Close Harmony, with Given Melody
Melody of Practical Exercise No. 30.
K :— I — I — I — hi — r:
fE?=^
JaE?Efer
'^^mimmmm
i-EiEP^^^
6^
EllTEEEEEEEE=ri!?=E^:
**=?
fees
"HT — I"
& :^^:^ ^^E ^
-\ — i-
5=s
l§iP¥
..fEr°-'"='='
[14]
158
SUSPENDED CADENCES.
;iiHEE3
B
CHAPTER XLV.
SUSPENDED CADENCE
When at tbe close of a phrase, the chord of V is prolonged after
the base of the last chord is taken, it is called a Suspended Ca-
dence.
miimm
The second pnrt of the above example is a regular perfect cadence. In
the first part of tlie example the cadence, or closing effect, is suspended for
two beats, forming a suspended cadence. The Germans call the suspended
cadence a " feminine cadence," and the perfect cadence a " masculine ca-
dence." In their lanj^uage, consequently, the first part of tlie above exam-
ple would be called a feminine cadence, and the last part a masculine ca-
dence. In the second chord cithe example, the treble, alto and tenor are,
of course, pedal notes.
Place the Roman figures which denote the chords under each chord ol
Practical Exercise No 31, carefully discriminating in reference to passing
notes and pedal notes.
Pr.\ctic.\l Exeucise No. 31
I
bj
i'i
.''ri
n 1 . tl 'I
1^=1-
iiiiliEgiiPEiEigi^^
SUSPENDED CADENCES.
159
(
•I..
fi^liiil^lIiiSi^il
6 I ^3
4 1^ 2
bs 2 b?
bii
bl .
2 D7
^«_i — Cl.r_ r -plf—i — |-I8»— I — l-l-i — ]
'^ • 2 b5 4 b? 4
-f=;-p-
?El^R^?E'r
lEEEElEE^EziEt
#rf7
p:F:r:i=z:5:^S=3:f=p:?^t:'EEfEE^liz5=
b7
b7
b7
I 6 b4 .6 ^4 f
bs 2 b5 ^2 bs
r:f:j£^;ilEEEE3||EEE^I?;EEi:F£EE^]
lea
TRIPLE DIMINISHED CHORD OF THE SEVENTH-
6 647 3 63 3
:E3 riEiEFSE^^3SE^:gE3Z-"#^=^^
'i — L# — g, .J_^._«_^_L«:_*_«•^|_a_«!_
^ r w • .,. .^. ^^. .n I .^. ^_
b7
b?
6 4
4 ii
m^m^m^Mm:
3-2 3 ^32323 2
^-zz-^i
^sm
Write Practical Exercise No. 31 in Dispersed Harmony.
CHAPTER XLVI.
TRIPLE DIMINISHED CHORD OF THE SEVENTH,
The chord of the seventh of ^lY in the minor mode, is com
pored of the double diminished common chord with a diminighed
•evsnth, and is called the Triple Diminished Chord or the
f RIP .E DIMINISHED CHOllD OF THE SEVENTH.
16]
Sev^ntii. The seventh in this chord must descend, but does not
require a preparation, i. e , it must be treated like the sevenths in
the ;hief and diminished chords of the seventh.
4rIV7 in A minor. ^IVy in E minor.
^lY-^ in D minor.
Write and play 4*1 V 7 in all the keys, and in every form, placing one or
more chords after it which will resolve the seventh and form a perfect or im-
perfect cadence.
Eemark. — The first chord in the nineteenth measure of Practical Exer-
cise No. 31 is a triple diminished chord of the seventh.
PI are the Roman figures wl
Practical Exercise No. 32.
ich denote the chords under each chord oi
Pkactical Exercise No. 39
4
8 4
3 2
—^-
SErJEEiigE^EEl
[14*]
TRIPLE DIMINISHED CHORD OF THE SEVr.NTH,
?
* 4
<#-
tT-^mz:
'-'i=W-
ws mmm
:n-*:
M n ^ J t I I J III
^«tSE|:FiEra=^:Ep^^HE:-rHE3
? 6
6 4
4 6
7 4
^i=|E^gPEL^E^^^
.t:i==^
piE'^fflE^E
q-
:-I=±r-|-iid-A<^TrS
-J «-
•1 «-
-i~f~
^6 4 7
^1
;pEsp;
;gisiiEi
)~E:5fE:^Et«^Ef^t^Ei-f«Eji^E!:^EjEl
4 ^1 ^5 4 4 6
TRIPLE DtHlNISHED CHORD OF THE SEVENTH,
163
6 6 u
3 4 6 'ffe
# I #*i 6
'^i 6 I
^n^SE^fpiiifig
-r-fc±
:ig[|f;i?^iiPiS
^4 (?3 Mf
6 n 2
4 #6
W
#
^lii^ipipi:p
Write Practical Exerci,se No. 32 in Dispersed Harracar
iU
MAJOK DIMINISHED CHORDS OF THE SEVENTH.
CHAPTER XLVII.
MAJOR DIMINISHED CHORDS OF THE SEVENTH.
The cliord of the seventh of IIit4 in the minor mode is composed
of a major diminished common chord with a minor seventh, and is
called the Major Diminished Chord of the Seventh. The
seventh in this cliord must descend, but does not require a prepara-
tion, i. e., it must be treated like the sevenths in the chief, dimin-
ished and triple diminished chords of the seventh.
11^47 in A minor
11^47 in E minor.
II#47 in D minor.
114^47 in F minor.
II#47 in A minor, in al) the forms
=4
P
3 4
11^17 11:^17
w-
U#4 7 114^7 II:ffl7 II#l7 114^17
Write and play the major diminished chord of the serenth in all its forms,
m evory kry, placing chords enough after it to resolve the seventh and maka
a perfect or imperfect cadence.
Place (he Roman figures which denote the chords under each chord ol
Piaciical Exercise No. 33.
major diminished chords of the serenth. 165
Practical Exkrcise No. 33.
:EpEpfE3EECEfE^EE=:EEi'-riEF-S
ZEE5-P=ET=^=EH-^-TE-^-T-i-^-H
^7 t|7
6 ^4
ig^pn^pp
^7
#5 6
S # 6 # it6 # 7 #6 ^# #
F=rztp:
qirn:
^^Esi^EEt:i^E?
^6 #5
l=:?E^p£T#^_=
^iiiS
;pEa
6 *^i
-jm?--^--
f=h*F=r-tp=f
MAJOR DIMINISHED CHORDS OF THE SEVENTH.
ji, 44 4 4646
#6 3 S » 35264
Write Practical Exercise No. 33 in Close Harmony.
Place the Ptoman ficruros which denote the chords under each chord of
Practical Exercise No. 34.
Practical Exkrcise No. 3^4.
;S
7
.7 ^7
7 M
'^EMPMMW^WPB
b«
if6
i i
mm^E^^mm^^
MAJOR DIMINISHEJ CHORDS OF THE SEVENTH.
16t
^6
6 bi
tfl !
E?Ef3=r='^pgE§
4^6 6 4
67 66 5 487
EE£rE5E.fEE5El=rf*=^=^^l=^
s2^^:z::
Write Practical Exercise No. 34 in Close Harmony.
Remark. — It is often the case that one of the tones belonging to a chord
ts omitted, and one of the others doubled in its place. When a pedal note is
used wi*h a chord of the seventh, one of the tones belonging to the chord of
the seventh must of course be omitted, unless more than four parts are era-
ployed.
Write Practical Exercise No. 35 in Dispersed Harmony, with Given
Melody.
Practical Exercise No S5
S^miPileSlil
i i 7 I *r i ^7 f «
#4
X2
}
be §6 ^7 ^5 ^fi ^7 tS7
be u| ^^
168
MAJOR DIMINISHED CHORDS OF THE SEVENTH.
fsisiiiiiigiiiipiii
# b I 4
6 6 6 6 6 7 6
4 4
744646474 ■•■ ^7 ^^
S2525S 3 ^ ^
Melody of Practical Exercise No. 35.
iiig^iiilgiiipi^
igilppi^ppl^
iSgEJgEgilEgPiiiii
i ^"in rtl!~
g#-
Write Practical Exercise No. 36 in Dispersed Harmony, with Givca
Melody.
MAJOR DIMINISHED CHORDS OF THE SEVENTH.
169
Practical Exercise No. 3G.
I I
v^-r^-P 1
7 4
'5
6 b7
4 7
3
4 7 4 7
3 3 ^
Se^3-
•-R
-€^^-
^f^^|^?^^fl^
7 ^5 ^5 ^7 ^5 ^7 ^5 ^6
fe^,-^^^|=||:|^j^
4^6 ^7 b6 b7
4r
be b7
4
t>5
b4 7
3
"I 'T
• 1 r
■0 — O
:±d
m
*-?-
m
4
m
b
7 b7 6 ^? ^^ ^^ be 7
b5
Melody of Practical Exercise No. HO.
[15]
ro
PRACTICAL EXERCISES.
irS-^-spirtrzr-zff:
Place the Roman figures which denote the chords under each chord o/
practical Exercise No. 37.
Practical Exercise No. 37.
1 — »>— I "-— *>-^i — V
b
^5
P-
"I — r'
"i — »"
■I*-
:n:7r-i=nziiin-
1
5-8=]
^1
PRACflCAL EXERCISES.
in
iipipSi^?^!||i
en 'A
#
as:
^\
I'xcc:
-H— f*— '-
£^:|=iEilSEiE!l
t:^r^
•1—1—5 i-
'^m
I S T # 6 * § S 7
--A :F--r=^^zIq?:z:^=i^EE— r— ?— ^
5 4 7 5
— B— I ?— S— ?^I-P-
@i-
«--•-
■S»- S»— •""'-Si
6 *fl Ji u4 h 5'*
iE4EE--3E-:^^
bii^iriiS:
be ^5 be b?
H tl 1
6 ^5
m
PRACTICAL EXERCISES.
R^
:^P-
■v^!!p^__iA.'.
4 a, 7.
Write Practical Exercise No. 38 in Dispersed Harmony, with Givtn
Melody.
Practical Exercise No. 38.
f-0
6 4 6 6 I 6 7
zz£ibr:zr:_tzz:b;t!r~citc:z::ztE^czlit~!z;Lzizc±
gzp-zizjip:z:gzqz:^z:--f-zzq:p:^=TrFi=ET
i " S I n t ^ § t>7 xe ^« be b7 i
iSPP§3;}iiliiliiilliiS
6
5
i
6 be
4 4
f^il..g,=^g:^|i||y
6 176
4 4
RECAPITULATION OF CHORDS OF THE SEVENTH. 173
7 7
The melody to each chord of Practical Exercise No. 38 is E|;. i. e.
±=b=C ^—. ._
&c
gL^i^jISigg^i
END OF PRACTICAL EXERCISES.
CHAPTER XLVm.
RECAPITULATION OF CHORDS OF THE SEVENTH.
Major Scale.
— ] 1 1 J « 1 t
:i:
« s «
-A J « 5
mm
i7 . Ht ni7 1V7 V7 VI7 TI17
The chord of I7 in the major mode is a major chord of the
seventh.
The seventh in this chord is a very harsh discord. It requires a prepara-
tion, and a resolution to the tone nest below it, and must always resolve at
once, i. e., it must not be prolonged into the next chord, a liberty which is
sometimes allowed to V7, &c. In other words, the pan which is to sing
the tone, which in this chord is the seventh from the fundamental note, must
eing the same tone in the chord next before it, (where the tone must be a
concord,) and in the chord next after it, must sing the tone on the next de-
gree of the scale below. The proper treatment of this chord is explained in
Chapter XLI. It is a chord which should always appear on the accented
part of the measure, as explained on page 151, and it should never appear
on the unaccented part of a measure, unless there is a harsh discord, (i. e.,
one which requires a preparation,) on the accented part.
The chord of II7 in the major rr ode is a minor chord of the
Beventh.
[15*]
174 RECAPITULATION OF CHORDS OF THE SEVENTH.
TTie seventh in this chord is a discord which composers usually coi pider
requires a preparation. It is however not so harsh a discurd as the serenth
in major chords of the seventh, and it is sometimes used without a prepara-
tion. The rule requires that it, like I7, shuuld always appear on the accented
part of the measure, but good composers sometimes place it on the unac-
cented part, even when there is no discord on tiie accented pait. It rounds
perfectly well on the unaccented part of a measure, if there is a discord
which does not require a preparation on the accented part The proper
treatment of ibis chord is explained in Chapter XLI.
The chord of III7 in the major mode is a minor chord of the
seventh.
Although this chord is of the same character as IT 7, composers seldom or
never take liberties with it, but almost invariably use it strictly according to
the directions explained in Chapter XLI. It is also almost invariably placed
on the accented part of the measure, unless there is a discord already on
that part of the measure, as explained on page 151.
The chord of IV7 in the major mode is a major chord of the
seventh.
AH the remarks made in reference 10X7 apply also to IV7. It should be par-
ticularly notice I th:it very harsh discords, like I7 and IV 7, should never ap-
pear on the unaccented parts of a measure, unless there is an equally harsh dis-
cord on the accented part. It would not sound well h> place V7, or either of
the other sevenths whicli do not require a preparation, on the accented part of
the measure, and 1 7 or IV 7 on the unaccented part, because I 7 andIV7 are
BO much harsher than any of the sevenths which do not require a prepa-
ration, and it can never sound well to place the harshest discord on the un-
accented part, and the milder on the accented; but if there are discords on
both the accented and unaccented parts of the measure, the harshest .should
come first, or at least the discord on the accented part mu^l be as harsh as
that on the unaccented part.
The chord of V7 in the major mode is the chief chord of the
seventh.
This is the mo.st important and most useful of all the chords of the soventh,
because it is the least harsh or discordant. It is almost the only chord of the
seventh which is found in psalm tUDCS and simple vocal music, and is much
more frequently used than any other chord of the seventh, in all varieties of
music. The seventh in this chord must resolve, but does not n-jpiire a pre-
paration, nor is it required to resolve at once, or in the same part, but it
may be proloii<red through several successive chords before it finally resolves,
and it may be transferred to another part than that in which it first appears,
and resolve in such other part. The proper treatment of this chord is ex-
plained in Chapter XXXVII.
#«•
RECAPlTULATIO^f OF CHORDS OF THE SEVENTH. 175
The chord of VI7 in the major mode is a minor chord of the
r-ev inth.
All the remarks made in reference to III 7 apply also to VI 7. It should
be particularly noticed that the seventh in those chords where it requires a
preparation, must always resolve at once, i. e., in the next chord to the one
which contains the seventh, the part which sings the seventh must sing the
tone next below it.
The chord of VIT7 in the major mode is a diminished chord of
the seventh.
Composers allow to the seventh in VII 7 all the liberties which are al-
lowed to it in V 7, but, so to speak, much more ' grudgingly"; i. e., liberties
which are often freely takeh with the seventh in V7 are very seldom takei
in VII 7, The proper treatment of this chord is explained in Chapter XL.
Minor Scale.
I7 117 n#47 niT 1V7 #iV7 V7 cvi^7) VI7 vn7 (vn^7)
The chord of I7 in the minor mode is a minor large chord of the
seventh.
This chord is seldom used. The seventh must be prepared and resolve
upwards, because it cannot descend without moving a step and a half, and
a discord must not move more than a step, (i. e., a major second,) in its
resolution. The best way to treat this chord is to resolve the seventh down-
wards a half or whole step, thus resolving it out of the key, as in the follow-
ing example, where it (I7 iu the key of A minor,) resolves in the first part
of the example to V7 in the key of D, and in the second part of the ex-
ample to I in the key of D. In the third part of the example it is resolved
upwards, the only way in which it can resolve vfithout modulating out of the
key.
The chord of II7 in the minor mode is a diminished chord of the
seventli
I, '6 RECAPITULATION OF CHORDS OF THE SEVExVTH.
The seventh in this chord is to be treated precisely like the seventh ii»
VII7 in tho major mode. II7 in the minor mode and A'Il7 in the major
mode are alike in sound, but not precisely alike in treatment, for VII 7 con-
tains a leading note and IT 7 does not. The treatment proper for this chord
is explained in Chapter XL.
Tlie chord of IIfr47 in the minor mode is a major diminished
chord of the seventh.
The seventh in this chord does not require a preparation, and. like the
sevenths in all the chords which do not require a preparation, it can resolve
in another part, and be prolonged through one or more successive chords be-
fore resolving. The proper treatment of this chord is explained in Chapter
XLVII.
The chord of III7 in the minor mode is a superfluons chord of
the seventh.
This is the harshest of the chords of the seventh, because the common
chord in it is a very harsh discord, and its seventh is a major seventh, which
is also a very harsh discord. All the remarks in relation to the seventh in
the chord of 1 7 in the major mode, apply to the seventh in this chord. The
proper treatment of this chord is explained in Chapter XLI.
The chord of IV7 in the minor mode is a minor chord of the
seventh.
All the remarks made in reference to II7 in the major mode apply to this
chord. Its proper treatment is explained in Chapter XLI.
The chord of ^IVv in the minor mode is a triple diminished chord
of the seventh.
The remarks made in reference to 11^47* apply to this chord. Its proper
treatment is explained in Chapter XLVI. A singular and pleasing modu-
lation can be made with this chord, from the fact that the tones of which it
is composed are the same as those which compose the chief chord of the
seventh in the key a minor second above the key in which it (^IV7) ap-
pears. In the following example the first chord is i^lV ^ in A minor. The
second chord is V in A minor. The third chord contains precisely the same
tones as the first chord, but making the enharmonic change of D^ to E[i,
it becomes V7 in the key of B[), thus forming a pleasing and natural modu-
lation to that key. The last part of the example is the same as the first, ex-
cept that it modulates to the key of B[y minor, while the first part modulates
to the key of B[) major. To become familiar with this modulation the stu-
dent ahould write and practice it in all its forms, in all the keys.
RECAPITULATION OF CHORDS OF THE SEVENTH. 177
The chord of V7 in the minor mode is the chief chord of the
s( venth.
All the remarks made in reference to V7 in the major mode apply to this
chord. Its proper treatment is explained in Chapter XXXVII. From the
fict that the tones composing this chord also compose the chord of 3*IV7 in
the key a minor second behiw, a modulation the reveise of that described in
connection with ^IV^ can be made by it. In the following example, the
first chord is V7 in the key of C. The second chord is I in the key of C
The third chord is precisely like the first, but by the enharmonic change of
F to Eff, it becomes ^IVy in B minor, forming a natural and pleasing mo-
dulation to that key. The chord of V 7 is precisely the same in both the
major and minor scales, and all remarks in relation to it apply equally to
'joth modes. To become familiar with this modulation, the student should
XTite and practice it, in all its forms, in all the keys.
The chord of ¥#4? in the minor mode is a major large chord ot
the seventh.
If :ii=IV is employed in classifying the tones of the minor scale, as if it was
an integral member of that scale, [see pages 96 and 10:J,] such a chord as
y^4i is possible, although the author has no recollection of ever having
seen one in any musical composition. If used, its seventh should be treated
like the seventh in I7 in the minor mode, i. e., it must be prepared, and re-
solve upwards, or downwards out of the key.
The chord of VI7 in the minor mode is a major chord of the
seventh.
All the remarks made in reference to I7 in the major mode apply to this
chord. Its proper treatment is explained in Chapter XLI.
The chord of VII7 in the minor mode is a double diminished
thord of the seventh.
This is one of the most singular and useful chords in the whole range of
music. It is explained at length in Chapter XXXIX.
178 CHORDS OF THE NINTH.
The chord of Yll^i^ in the minor mode is a minor diminished
chord of the seventh.
As is remarked in reference to V:i*47, such a chord as VII#4- is possi-
ble, although seldom or never used. If used, its seventh must be treated
like the seventh in the double diminished chord of the seventh. It will be
noticed that there are three tones in it which have a fixed resolution, viz.,
the fundamental note, which is the leading note, (and must ascend,) the
fifth, which is the j-harp fourth, (and must ascend,) and the seventh.
Concluding Remarks on Chords of the Seventh. — If the
student has worked out all the practical exercises correctly, he is
now familiar with all the common chords and all the chords of the
seventh which can possibly occur in any kind of music. He should
now analyze music of different kinds, and notice how different
authors use the chords of the seventh, proceeding in reference to
chords of the seventh precisely as directed in reference to common
chords, on page 106. As there directed, he should also compose
pieces himself, using now chords of the seventh as well as common
chords
ENO '>P TREATISE ON CHORDS OF THE SEVENTH.
CHAPTER XLIX.
CHORDS OF THE NINTH.
A chord composed of a common chord, with a tone which is u
ninth from the fundamental note added to it, is called a Chord cr
THE Ninth.
Chords of the Ninth in the Major Mode.
II» Illi iv» v» vi» VII»
CHORDS OF THE NINTH. 179
Chords of the Ninth in the Minor Mode.
l9 II9 11^49 III9 IV9 #IV9 V9 VI9 VII9
The common chord which forms a part of each chord of the
aiinth, must be treated as it would be if it stood alone, i, e., as if
he ninth was not added to it.
All the remarks in relation to the common chords, in Chapter XXXVI, ap-
ply to chords of the ninth, and all other chords, as well as to the chords of the
eevfloth.
The ninth in the chord of Yg in both the major and minor modes,
is n discord of the second class. It must resolve by descending one
degree, but does not require a prepsuration,
V9 is somewhat like V7, but no such liberties are allowed the ninth as are
allowed the seventh in V7. It must resolve at once, and in the same part in
which it first makes its appearance.
All the chords of the ninth, except Vg^ are discords of the third
class. The ninths must be prepared, and descend one degree.
The ninths in all the chords of the ninth, must be treated precisely like the
seventh in Jhe chord of I7 in the major mode, and all the remarks made in re-
ference to I7, apply te all the ninths except V9.
Observe that all ninths must resolve by descending. The ninth in VI9 in
the minor mode must consequently resolve out of the key, for if it descends at
all in the key, it must descend a step and a half, and no discord in resolving
oaust descend more than a major second. [See remarks in relation to 1 7 in the
amor mode, page 175.]
When the seventh of the minor scale is a discord, if it is a fifth
'as in III,) or a seventh (as in I7J it may resolve by ascending
Dut if it is any other discord, (a ninth, eleventh, <fcc.} it mu it re-
julve by descending.
Ninths must not be prepared and resolve in octares.
190
CHORDS OF THE NINTH
s
In tl ^ example D is the ninth. In the first chord the treble and alto are m
octavea D in the alto goes to C, while D in the treble remains and forms the
ninth, which immediately resolves to C. Such a progression is considered the
same as consecutive octaves, because the ear would naturally expect that the
treble is going to C, and the ninth merely makes a suspension of the progre^ion
which the ear expects.
PvEMARK. — The ninth (with the exception of V9,) and all the chords w^hicb
remain to be explained, require precisely the treatment which was given to
1 7 in the major mude. If the student has worked out the practical exercises, he
is now perfectly familiar with the proper treatment for all kinds of chords, and
particular practice upon the ninths, elevenths, &-c., is unnecessary. For the
sake of practice, the student can, if he chooses, work out a set of sequences in
avoided cadences, like those explained on page 147, only making the second
chord a chord of the ninth instead of a chord of the seventh, as directed in the
following table. It will be noticed that in the avoided cadences, on pages 145
and 146, the third of the first chord in the sequence is continued into the second
chord, and in that chord becomes the seventh, so that the cadence is said to be
"avoided by retaining the third." In the avoided, cadences denoted in the
table, the fifth of the first chord of the sequence will become the ninth in the
Becond chord, consequently in these exercises the cadence will be " avoided by
retaining the fifth."
1 1 1 2 13 114 1
7 9]7 97 97 9
1 2 1 2 2 3 2 14 2
797979|79
1 3 1 2 sis 314 S
7 9J7 9|7 9|7 9
1 5 2 5 1 3 5 14 5
7 9l7 9[7 97 9
When the fundamental note forms the base of a chord, the cbonl
ts said to be in the fust form.
CHORDS Uf THE NINTH.
18 ^.
When the third forms the base of a chord, the chord is said to be
in the seyynd form.
When the fifth forms the base of a chord, the chord is said to be
tn the third form.
When the seventh forms the base of a chord, the chord is said to
hi in i\\e fourth form.
When the ninth forms the base of a chord, the chord is said to
be in tha fifth form^
When the eleventh forms the base of a chord, the chord is said
to be in the sixth form.
When the thirteenth forms the base of a chord, the chord is said
to be in the seventh form.
As the chord of the ninth has no seventh in it, it of course has no fourth
form. Several of the progressions indicated in the table cannot be done in four
parts, but can be in five. The following are the first and second progression?
denoted in the table, the first being in four parts and the second in five. With
the aid of thetje examples, and the explanations on page 147, it is presumed the
gtudent will find no di^culty in working out all the progressions denoted by the
table.
In the sequences in avoided deceiving cadences, explained on page 151, it will
be noticed that the fundamental note of the first chord of the sequence is retained,
and becomes the seventh of the second chord. By retaining the third instead of
the fundamental note, the second chord will be a chord of the ninth. If the student
chooses, he can write a set of avoided deceiving cadences, similar to those oa
pages 149 and 150, making the second chord a chord of the ninth.
CHAPTER L.
CHORDS OF THE ELEVENTH.
A chord composed of a common chord, with a tone which is an
tleventh from the fundamental note added to it, is called ? Chord
©F THE Eleventh.
[16]
.8S
CHORDS OF THE ELEVENTH.
Chorda of the Eleventh in the Major Mode.
1# :
i
iiii niii ivn vn viij villi
Chords of the Eleventh in the Minor Mode.
* 1 1 III — •izz~\'
111 nu 11^411 iiiii ivii #iviivii VIll villi
The elevenths in every chord must be prepared, and reso}v» bj
descending one degree.
As is remarived in respect to the chords of the ninth, after the thorough prac-
tice which die student ha.s had in working out the practical exercises, particubr
practice is hardlj necessary on chords of the ninth, eleventh, &,c., which require
JQ everj case the same treatment as those chords of the seventh which re-
quire a preparation. If the student chooses, however, he can wuik out tb.»
fi>Uowin^.
1 1
V7 VIll
1 .
V7 VIll
V7 VIll
1 6
V7 VIll
2 1 1
V7 VIllj
V7 VIll
2 3
V7 VIll
2 6
V7 VIll
3 1 1
V7 VIllj
3 2
V7 VIll
3 3
V7 VIll
3 6
V7 VIll
4 1 1
V7 Tlii\
4 2
V7 VIll
4 S
V7 VIll
4 6
V7 VIll
In avoided deceiving cadences, as represented on pages 149 and 15 0, if tli«
fifth is retained the second chord of the sequence will be a chord of the eleventh.
Some of the progressions denoted in the talile cannot bo done in fnir parts,
but can in five. The following are the first and third progrestaons denoted ii
tho tables, the first being in four and the other in five parts.
CHORDS OF THE ELEVENTH.
IS^i
The figures V and VI are used to indicate deceiving cadences, because th«
fundamental note of the second chord must be one degree higher than that o
the first chord. As the chords of V and VI will of course occur in the se-
quence if it is continued through an octave, (as described on page 145,) it is
not necessary that the first chords should actually be those of V and VI. In
simple music, however, deceiving cadences are seldom made with any other
chords than V and VI.
V7 VIll
&c
The chord of the eleventh complete is a very harsh discord, but with the
third omitted it is almost as mild a discord as the chord of V7, consequently
it is almost invariably used without the third, but with the fundamental n.^e
doubled instead.
Chords of the Eleventh in the Major Mode, as usually used.
— «-
-m —
tA
•-
^==?==r=t=
iliii
111 iiii mil ivii vii vui V117
Chords of the Eleventh in the Minor Mode, as usually used
J=-:r-fS3^=p=f
lUi mil ivii vii VIll vim
Sharp four can be used as a seventh, but not as any other discord, conse-
quently those chords where it would form the ninth or eleventh are not used.
In the chord of IV j | in the minor mode, the eleventh must of course re-
solve out of the key, as explained on page 175.
The chord of the eleventh, used without the third, is very freq"e»:<dy em-
ployed in sacred music. Some fancy it produces a peculiarly sacred efect,
and call it the '' Ecclesiastical Discord."
184
CHORDS OF THE THIRTEENTH.
CHAPTER LI.
CHORDS OF THE THIRTEENTH.
A choi i composed of a common chord, with a tone which is a
{hirteenth from the fundamental note added to it, is called a Choi.d
DF THE Thirteenth.
Chords of the Thirteenth in the Major Mode.
i
-F
.=^p:
r- f- P
HE
Il3
IIl3 III13 IY13 Vi3 VI13 vni3
Chords oC the Thirteenth in the Minor Mode.
:^=!^
- ■?:
fei
M
Il3 1113 11:^13 nii3 IV13 #IVi3 Vi3 VI13 VII13
i
The thirteenth in every chord of the thirteenth must be prepared,
and resolve by descending one degree.
The tones in a chord of the thirteenth are precisely the same a>< in the
.nords of the seventh. On this account chords of the thirteentli are s il-
dom or never used.
m
3Ea3fEfeE;
- — J. « ^-
-S- -0- -0-
—0—
smsm^mm
IV
3 3
Il3 I
4 2
VI7 II
RECAPITULATION OF CHORDS. 186
It will Je noticed that the second chord in each part of the preceding ex-
ample is composed of the letters A, C, E, G. In the first part of the exam-
ple it is a chord of the thirteenth, and A is the discord. In the second part
of the example it is a chord of the seventh, and G is the discord.
CHAPTER LTI.
RECAPITULATION OF CHORDS.
-m —
-« —
— «
— «-
.0.
-A 1 « «— — « «- m l-l-
-J « » 0, m m m u
The first chord in the above example contains all the tones of the scale,
and is the source from which all chords are derived. The second note is
the lowe.st note of the first chord standing alone. To write music in one
part only, no classification (f chords is needed, nor are any of the rules of
harmony necessary fur one part compositions. The third of the above ex-
amples embraces the two lower notes of the first chord. To write music in
two parts, care must be taken to avoid consecutive octaves and fifths, but no
classification in chords is necssary. The fourth of the above examples em-
braces the three lowest tones of the first chord. Great variety can be made
with three tones, and consequently for three or moie part compositions a
classification of tones into choids is necessary. Thise three tones form a
common chord. The fifth of the above examples embrace the f 'ur lower
tones of the first choid, or in other words, the comtiiou cliord part of the
first chord, with a seventh added, forming a chord of the seventh. The
si.Kth of the above examples embraces the first, second, third and fifth tones of
the first chord, or in other words, the common chord part of the first chord,
with a ninth added, forming a chord of the ninth. The seventh of the above
examples embraces the fir.st, second, third and sixth tones of the first chord,
or in other words, the common chord part of the first chord, with an eleventh
added, forming a chord of the eleventh. The eighth of the above examples
embraces the first, second third and seventh tones of the first chord, or in
other words, the common chord part of the first churd, with a thirteenth'
added, forming a chord of the thirteenth.
Rkmark. — The student should now compose tunes and pieces, employing
chords of the ninth, &.C., as well as chords of the seventh; and common
chords. He should also analyze music, according to the directions on page
10(>, noticing how every common chord, chord of the seventh, chord of th«
ninth, &.c., is used.
[16»]
166 CHORDS OF THE SEVENTH ANC MINTn.
CHAPTER LIII.
CHOUDS CONTAINING MORE THAN ONE DISCORD.
A s hord composed of a common chord, with tones which are a
seventh and a ninth from the fundamental note added to it, is called
a Chord of thk Seventh and Ninth.
Chords of the Seventh and Ninth in the Major Mode.
^ -•- -5- ^•-
« — s — s — t — »—
^ I 1 1
I"7,9 IV7,9 V7^9 Vl^^g Vll-^g
Chords of the Seventh and Ninth in the Minor Mode.
l7,9 "7,9 "^-17,9 nr7,9 ^"^1,0 ^^"^1,9 "^ 1,9 "^7,9 ^"7,9
The student does not need any further instructions to be able to use any
chord correctly. Any or all of the discords may be combined in one chorJ,
but each must be treated just as ii would be if it stood alone. For example,
if the seventh and ninth are u.sed in a chord, the seventh must be treated aa
if the chord was a chord of the seventh, and the ninth as if the chord was a
chord of the ninth. If the student has time, it may be well for him to study
this chapter, and work out the exercises, but it is not absolutely necessary.
A discord may become a harsher discord without resolving.
I
->J I
VII V7 I V117 I7 IV 1117 I9 I ni9 111 I
In the first measure of the above example the dimini.shed fifth in the firsi
chord becomes the seventh in the second chord before it resolves. In the
CHORDO OF THE SEVENTH AND NINTH.
187
lecond n.easure, the seventh in the first chord, which is a discord of the
lecond class, becomes a discord of thfe third class in the second chord, before
it resolvjs. In the third measure, the seventh in the first chord becomes the
ninth in the second chord, before it resolves. This example is so written for
the sake of illustration ; it is not grammatically correct, for consecutive fifths
occur in it In the fourth measure, the ninth in the first chord becomes the
eleventh in the second chord, before resolving. It will be seen by these ex-
amples, that a discord may become any harsher discord before resolving, but
not the reverse. A diminished fifth may, therefore, become a seventh, ninth,
eleventh or thirteenth. A seventh may become a ninth, eleventh or thir-
teenth ; but cannot become a fifth. A ninth may become an eleventh or
a thirteenth, but cannot ibecome a seventh or a fifth. An eleventh can be-
come a thirteenth, but cannot become a ninth, a seventh or a fifth.
In the avoided cadences, on page 145, we have seen that retaining the
third of the fir^t chord of the sequence makes a chord of the seventh of the
second chord ; and on page 181, that retaining the fifth of the first chord
makes a chord of the ninth of the second chord. The following table de-
notes progressions in avoided cadences in which both the third and the fifth
are retained, i. e., in which the first chord is a chord of the seventh, and the
second chord a chord of the seventh and ninth, or, in other words, like the
avoided cadences on pages 145 and 181, united. Of course it requires five
parts to form a complete chord of the seventh and ninth. Some of the pro.
gressions denoted in the table cannot be done in five parts, but can be in
six parts.
1 1
1 (
1 2 1 1 3 11 4
7 7,9 1 7 7,9 7 7,9
7 7^,9
2 1 1 2 2 1 2 8 2 4
7 7,"9 1 7 7,"9 1 7 7,"9 7 7,9
2 5
7 7,9
3 1 1 3 2 1 3 3 1 3 4
7 7r9 1 7 779 1 7 7,9 7 7,9
3 5
7 7,"9
4 1 ! 4 2 1 4 3 4 4
7 779 7 7,-9 1 7 7,9 7 779
4 5
7 7,"9
• -9- -0- -2
188 ?HORnS OF THE SEVENTH AND ^INTH.
The above are examples of the first and second progressions, denoted in
the able, the first being in five parts, and the second in six.
When the chord of the seventh and ninth is usea in a four part
composition, either the third or the fifth of the chord must be
omitted.
Chord of 7,9 with the Chord of 7,9 A'ith the
third omitted. fifth omitted
As the chord of the seventh and ninth is composed of five tones, of course
one which properly belongs to the chord must be omitted in a four part com-
position. It will readily be seen that the third or the fifth are the only tones
which can be omitted, without destroying the character of the chord.
Avoided deceivincr cadences (see page 149,) can be made, with a chord of
the seventh and ninth for the second chord of the sequence, by retaining the
fundamental note and the third for the first chord, and making them become
the seventh and ninth of the second chord, as in the following example. If
he student wishes for more practice upon the chord of the seventh and ninth
ne can work out this variety of avoided deceiving cadences through all the
forms. It must be noticed that the letters V and VI are used here as on
page 183, to denote the movement peculiar to a deceiving cadence, and not
to denote the chords of five and six, although if the exercise is continued
through the octave, as directed on page 145, those chords will of course
occur in their turns. In the deceiving cadences which commence on pages
147 and 149, the sequence is made to commence in each instance with the
chords of five and six, and it is in fact seldom the case that a deceiving ca-
dence is made with any other chords than V and VI, but in these examples
those letters are used to denote a progression in which the fundamental note
of the second chord is a degree above that of the first, and not to denote the
chord of V or VI.
1 1 1^2^
CHORDS OF THE SEVENTH AND ELEVENTH. 189
The student should now compose tunes and pieces, introducing the chord ot
the seventh and ninth.
A chord composed of a common chord, with tones which are a
seventh and an eleventh fvjom. the fundamental note added to it, is
sailed a Chord of the Seventh and Eleventh.
Chords of the Seventh and Eleventh in the Major Mode.
i J Jr 4 t: t t
m S m 2 m
\ « 2 « 2
-^i
J: # 1 1 p
l7,ll 117,11 IIl7,i, IV7,n V7,,i Vl7,ii VIl7,ii
Chords of the Seventh and Eleventh in the Minor Mode.
-A — J — J — « — m — m~S
-»■
^» — i — i— #S — i — i— #»
h,n n7.11 n#47^ii 1117,11 iV7,ii #iV7,ii V7,ii vi7,ii vn,^!!
The remarks in reference to the use of the chord of the seventh and ninth, ap-
ply to the use of the chord of the seventh and eleventh. In avoided deceiving
•cadences, if the fundamental note and the fifth of the first chord of the sequence
- are retained, they will become the seventh and the eleventh in the second chord.
The student can write out such avoided deceiving cadences, in all the forms, as
an exercise in the use of the chord of the seventh and eleventh. The following
are the first and second progressions of such a set of cadences.
j?rr;
t^:
-f- f — !•- I — I*
The chord of the seventh and eleventh is composed of five tones, and can only
be used complete in five parts. When used in a four part composition the third
of the chord must be omitted.
190
CHORDS OF THE NINTH AND ELEVENTH.
Chord of the seventh and eleventh
with the third omitted.
I. will be seen that the third or the fifth are the only tones which can be
omit.ed without altering the character of the chord. In a chord containing the
eleventh, it is always better to omit the third.
The student should now compose tunes and pieces, introducing the chord of
the seventh and eleventh.
A chord composed of a common chord, with tones which are a
ninth and an eleventh from the fundamental note added to it, u
called a Chord of the Ninth and Eleventh.
Chords of the Ninth and Eleventh in the Major Mode.
_J__J J^ * * * ?
a==i==S=:
T-
liEpl
19,11 119,11 i"9,ii i'^9,ii '^g.ii ^^19,11 ^11
Chords of the Ninth and Eleventh in the Minor Mode.
It "l~^i~~s~^ "^' — ^~ ' —
19,11 "9,11 "#19.11 i"r,_u ivg^ii #1^9 11 V911 vr^ii vir.yi
In avoided deceiving cndcncoi^, if the third .ind fifth of the first chord are re-
tained, they will become the ninth and eleventh in the .'^ccond chord. The stu-
dent can write out such avoided deceiving cadences, in all the forms, as an ex-
ercise in the use of the chord of the ninth and eleventh. The following are the
first and second progressions of such a set of cadences,
CHORDS OF THE SEVENTH, NINTH AND ELEVENTH.
191
fr"
1 1
-p-
i^i
T'
-T&c
The chord of the ninth and eleventh is composed of five tones, and can only
be used complete in a composition of five parts. In a four part composition th«
third must be omitted.
Chord of the ninth and eleventh
with the third omitted.
I
It will be seen that the third or the fifth are the only tones which can be
omitted without altering the character of the chord. In a chord containing an
eleventh it is always better to omit the third.
The student should now compose tunes and pieces, introducing the chord
of the ninth and eleventh.
A ihord composed of a common chord, Avith tones which are a
seventh, ninth and eleventh from the fundamental note added to it
is cal.ed a Chord of the Seventh, Ninth and Eleventh.
Chords of the Seventh, Ninth and Eleventh in the Major Mode.
I
-«-
— m-
— m-
— m-
— m-
— •-
t
j: — #— — •■ 1 1
^7,9,11 "7,9,11 ni7^9,ii IV7^9,11 V7^9_ii VI7 9 j^
^^"7,9,11
Chords of the Seventh, Ninth and Eleventh in the Minor Mode.
I j \ -0-
j ! J ; — ^« — m i — ig: — -»:
^t — s — s — #«
— »»l — ■ i,-
__5j — J.
i*
m
'7,9,11 "7,9,11 "#47^9,11 "17,9,11 ^l,^,n 4frV7,R,ll ^7,9,11 Vl7^9^ii '^^Ifi^W
192
CHORDS OF THE SEVENTH, NINTH AND ELEVENTH.
In avoided deceiving cadences, if the fundamental note, third and fifth of the
first chord are retained, they will become a seventh, ninth and eleventh in the
next chord. The student can work out such a set of sequences, as an exercise
in the chord of the seventh, ninth and eleventh. The following are the first,
Becond and third of such a set of sequences.
-] — ^~~r :
-S— »
_i — -p
V7 vi7Q,n
iflEf"
i^ -i- • d * -i- -•-
1 3
V7 Vl7,9,ii
W-
As 'the chord of the seventh, ninth and eleventh is composed of six tones, ft
can only be used complete in compositions of six parts. When used in a com-
position of four parts, the third and fifth must be omitted.
Chord of the seventh, ninth and eleventh,
with the third and fifth omitted
The student should now compose tunes and pieces, introdttcing chords of tlw
•erenth, ninth and eleventh.
CONCLUDING REMARKS ON DISCORDS. 193
CHAPTER LIV.
CONCLUDING REMARKS ON DISCORDS.
When two or more discords are included in a chord, they may
s«*«olve one at a time, provided the sharper resolves first.
1
1
1
— 1 —
1
— « —
-J—
—m-
-T-
« —
-« —
— « —
-0-
i
— 1 —
=1-
— *! —
— n-
m —
-0-
— « —
-9-
=^
«—— « m-
m « «-
-9- -9- -0-
17.11
In the first measure of the above example, the first chord is a chord of the
seventh and ninth. The ninth resolves first and then the seventh. In the
second measure, the first chord is a chord of the seventh and eleventh. The
eleventh resolves first and then the seventh. In the third measure, the first
chord is a chord of the ninth and eleventh. The eleventh resolves first and then
the ninth. In the fourth measure, the first chord is a chord of the seventh,
ninth and eleventh. The eleventh resolves first, then the ninth, and then the
seventh. The last measure is wrong, because the seventh resolves before the
ninth, which is the sharper discord of the two.
The above chord embraces all the tones of the scale, and in accordance witli
the terms which have been applied to the other chords, its name would be
chord of the seventh, ninth, eleventh and thirteenth. The different combinationg
m which the tones of this chord (in whole or in part,) can be placed, repeated
on each tone of the major and minor scale, (i. e., with each tone of the major
and minor scale for the fundamental note,) form all the chords
[17]
194 CONCLUDING REMARKS ON DISCORDS.
I I II III
I -«- I \ -m- I -m- -m- i -0t- -«-
— i' — ^ — J— H-- m — I— « — #1 « 0. «-
« — 1 — \ — V-m—m—m -n — i 1 — « « 1 « — 1-|-
m-0-m—m- #1— •-•! — «-*--« — m — « « — ■-■-
I ^7 I'J ^11 ^3 l7,0 17,11 l7,13 ^9,11 ^9,13^1,13 ^7,9,nl7,ll,13^t,ll,1.3 ^7,9,11:13
In the above example the tones of the chord of the seventh, ninth, eleventh
and thirteenth, are combined in every possible way, with a ct>mplete common
chord, and with I of the major sca'e as the fundamental note. These com-
binations, repeated on each tone of the major and minor scales, (i. e., with
each tone of both scales as t})e fundamental note,) form all the chords possi-
ble in music. Some other (apparent) varieties can be formed by omitting
the third or fifth, or both, of the common chord, but the omission of those
tones of the conmion chord makes no essential change in the character of a
discord, (as has been seen in Chapter LTf,) and consequently such (appa-
rent) varieties cannot be considered as different chords. For example, the
chord of the seventh and ninth with the third omitted, as on page 188, can-
not be considered as a different chord from the chord of the seventh and ninth
complete, because the omission of the third does not alter the character of the
chord.
The student is already familiar with all the chords contained in the above
example, except those combinations which are formed with the thirteenth,
which are so seldom u.sed that it has seemed hardly de^irable to write a
course of exercises upon them.
Remark on Pedal Notks. — In addition to the explanation in reference
to pedal notes, on page 155, it is necessary to explain that the tone which
is the pedal note must be a concord when it first appears on the degree ol
the staff on which it is to be a pedal note, and mast also be a coiKord when
it leaves that degree of the staff.
In the first part of the above example the base is a pedal note. When it
first appears on the degree of the staff on which it is to be a pedal note, it 19
the fundamental note of the common chord of I, which is a concord. In the
last chord in which it appears on that degree of the staff, it is also the funda-
mental note of the common chord of 1. In the second and third parts of the
example, the same base note is a pedal note, but incorrectly used, because
K the second part of the example it is not a concord in the chord in which
APPOGGIATURAS AND PASSING NOTES. 195
(t first appears as a pedal note, and in the third part of the example it is not
a concord in the last chord in which it appears as a pedal note. By " con-
cord"' is meant, of course, some tone in a chord which is not a discord,
as, for example, the fundamental note, third or fifth of any chord, (not the
diminished or superfluous fifth, however.)
The student should now compose tunes and pieces, introducing all the ra-
rieties of chords which are possible in music
ENI> OF TREATISE ON CHORDS.
CHAPTER LV,
APPOGGIATURAS, PASSING NOTES,
A tone placed wpon the accented part of a raeasure, without
■^ferenoe to th« chords, is called an Appoggiatura,
It is right to skip to, but not from an appoggiatura,
Appoggiatnras and passing notes are a^ike in every respect, except that it
is allowed to skip to an appoggiatura, while a passing note must be approached
-arid left without skips. An appoggiatura may he appropriately described as
an aoc«ited passing note. Although appoggiaturas are explained as being
allowed only on the accented part of the measure, composers frequently use
ahem as the first of a group of two or more notes, whether those notes arc
en the accented part of a measure or not.
In the first meastn-e of the ahove example,, the fifst and third quarter notes
are appoggiaturas. As it is a quadruple measure, and these quarter notes
ate on the "first ant! third parts of the measure, the appoggiaturas are appro][ri-
ately used on the accented parts of the measure. In the second measure,
the first o^ each group of eighth notes is an appoggiatura. Although two of
them are on unaccented parts of the measure, composers do not hesitate to
Mse thera so.
Although, in one sense of the word, appoggiaturas and passing notes arc
•nimportant, i. e., do not make an essential difference in th. character of a
piece, they impart all that is ornamental and grr.oeful to it. When they are
|9f» APPOGGI.VTURAS AND PASSING NOTES.
freely used th-re is great danger of breaking the rules, especially t'lc rulei
against consecutive fifths, octaves, &c. As chords form, so to speak, the
solid framework of a' musical composition, and appoggiatuns and passing
notes the oiuamental work, it is highly importunt the student should hecome
skilful in usiu'^ them. It is therefore recommended that he shall carefully
work out the ftjllowing exercises, which are, in each instance, Practical Ex
ercise No 8, with one or more parts broken.
Rkm.vkk. It will be better for the student to use four staves in these ex-
ercises, placing the treble, alto, tenor and base each on a separate staff.
1st. Take Practical E.xercise No. 8, (page 88.) arrange it in dispersed
harmony, write the alto, tenor and base in half notes, and break the treble
into quarter not s, as in Example No. 1, on page 197.
In these exeni-es the broken part must be kept moving all the time, i. e.,
a tone must not be struck twice in succession. In the first measure of ex-
ample No. 1, it will be seen that the treble moves to different members of the
two chords, and that that measure contains no passing notes, while in the
second measure the first and third notes do n )t belong in the chords, but are
appoggiaturas. Ob.serve that the unbroken parts are to be written just as
they "were in the student's dispersed harmony, except that th^y must be in
half instead of quarter notes Also observe that the tones in the broken part
must either belong to the -chord, or be an appoggiatura or passing note.
2d. Break the alto into quarter notes, as in Example No. 2.
3d. Break the tenor into quarter notes, as in Example No. 3.
4tli. Break the base into quarter notes, as in Example No. 4.
5th. Break the treble into eiglith notes, as in Example No. 5.
6th. Break the alto into eighth notes, as in Example No. 6.
7th. Break the tenor into eighth notes, as in Example No. 7.
8th. Break the base into eighth notes, as in Example No. 8. .
9th. Break the treble into sixteenth notes, as in Example No. 9.
10th. Break the alto into sixteenth notes, as in Example No. 10.
11th. Break the tenor into sixteenth notes, as in Example No. 11.
12th. Break the base into sixteenth notes, as in Example No. 12.
1.3th. lireak the treble into various short notes, as in Example No. 13.
14th. Break the alto into various short notes, as in Example No. 14.
1.5th. Break the tenor into various short notes, as in E.xample No. 15.
IGth. Break the ba.'^e into various short notes, as in Example No. 10.
17th. Break the treble into eighth notes and the tenor into quarter nut' s, as
in Example No. 17.
18th. Break the alto into eighth notes and the base into quarter notes, as is
Example No. 18.
19th. Break the treble into quarter notes and the tenor into sixteenth notea^
»s in Example No. 19.
APPOGGl LTURAS AND PASSING NOTES.
197
l20th. Break the alto into quarter notes and the base into sixteenth notes, at
A Example No. 20-
21st. Break all the parts into notes of various lengths, as in Example No. 21.
No. 1
111 ) t I I I 1
^ — i*^
"n —
:n_=n=:
r— p-
—1 r-^ ^—
f&c
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No.S.
iiitgiiiii§iig|{
&C
No. a
! -^-
fs-— rz^T ,r-z:zEZi:c~ r — :-t— p — i i
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No. 4-
I
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:-j^z::^f:
s
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198
APrOGGIATURAS AND PASSING NOTES.
No. 5
I
^-^==g=F^::EE^
'<S)-
^1-
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3EE3-:3^
=«Si=^&c
El'
No. G.
,5==l?_=E|E:iEE:^EJEffEE3=.^i.e
pE:^:E:JE^=E:^§iEf--M..
No. 7.
=-_-,b=.-4:=x:^=h==r==j^r4=z=
:r_25:
::^=1
Es^i:
:^ — e1
:_p 1_
No. 8.
?z=:tz::E^EZ — czii — .sEL_-^r_
&«
-J=^
I
=Jg^^#&i^!I'"
&
- l-r-H— f-i-r-r
APPOGGIATURAS AND PASSING NOTES.
.99
No. 9.
^ fes, ^ j"^ i^g; fe^ F^ r— .
^-i&c
^=-==f^
-- !g:_-
|e|||e5?||e^|eJ.
No 10.
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No II.
-e:
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=5|&c
No. 13.
ST
:S^:
:=z:=:S^z.zz__f
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APPOGGIATURAS AND PASSING NOTEt
No. 13.
■S^g^^^f&«
tS-
—I T — S^S"
1 "S
^ 1
T&c
No. 14.
I N
&c
-f=-
^liiliiS
^ ^^^ n^ T&e
— r
No. 15.
:^-:T—
^-it:
a t — I *r
:|=t=l5C=— ^:
&e
-^ ^ r?i 1"^ ^
^--==p=r|z=:^.-:3:^$-g:z:z=vf^==|&e
No IC
^ -si-
F&g
-«s-
I
=:rz^P
^
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APPOGGIATURAS AND PASSING NOTES.
201
No. 17.
•**. *^ r^ 1^ r-1 i^ ^ ^
;*7i"^:r!=-Ti=e=E?i7=i^i=a:-!E{&c
ee==e§p^3^Pe;=e^
r&c
No. 18.
is:
(»---s 9-f-a-^ r-
— =t&c
-^- u '-^ u '^ '^1 r"^- -fj'
9' i
No. 19.
-=j£fe^EE^EEi^Ef&«
r .-^ -fs-
iiEEe=iEE£EEEl
■P-
"F
No. ao.
! I 1 ,
1 3 r — 1 \-
I I II
f
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(fcc
202
UODULATION.
No. 31.
;?s.
■-^M
••#•?.
^
1 ^
I
5^
:sSr
p
r:.r^_-<=-,c^-. .'_J
^!^
j^,-r
r*' "^ — i I J2J
iErtEFz^EE^EEEEEEEf"-
CHAPTER LVI.
MODULATIOPf.
The subject of Modulation was explained in Chapter XVIIT, rna
additional exj)lanations and remarks in reference to it have been
MODULATION.
203
made in subsequent Chapters, so that the student can hardly be
otherwise than practically familiar with it. A few additional re
marks and exercises are added in this Chapter, although they cab
hardly be said to be necessary.
Keys which have the most letters in common, are said to bfl
nearest related. The keys of C and G have all but one letter in
common, the key of C having A, B, C, D, E, F, G, and the key
of G having A, B, C, D, E, F sharp, G. There is no F sharp in
the k"ey of C, and no F in the key of G, but all the other letters
are common to both keys, consequently these two keys are said to
be related to each other in the nearest possible manner. The
Keys of B and C, D and A, E and B, F and C, E|) and A [>, <fcc., &c.,
sustain an equally near relation to each other. Modulations to a
key sustaining the nearest possible relation, is always the pleasant-
est. The more remote the key, the harsher will always be the
modulation. In common Church Tunes, Simple Glees, and easy
music of all kinds, it will be seen that modulations to the nearest
key are almost exclusively employed. Thus, a tune in the key
of C, almost invariably modulates to the key of G or the key of F,
and seldom to a more remote key.
Keys which have all letters but one in common, (i. e. differ but
one sharp or flat in the signature,) are said to be one degree
removed from each other. Keys which differ two sharps or flats
in the signature, are said to be two degrees removed from each
other. Keys which differ three, four, five, six, seven, &c., sharps
or flats in the signature, are said to be three, four, Jive, six, seven, &c.,
degrees removed from each other.
The chord most commonly employed for the purpose of modu-
lation is V, or V7, but any chord can be employed with equal
propriety.
By means of V, or V7, modulate from the key of C, to all the other keys,
(viz : Db, 1), Eb, E, Y^, G, Ab, A, B[). B.)
From C to D.
Modulation from C to D^-
:5bfizbS5|
From C to Efj.
1^3:
(fee
V7
Modulate from the key of A Minor to all the Minor keys, by means of V, of
804
MODULATION.
The chord next most commonly used in modulations, is the
double diminished chord of the seventh. Exercises in modulation
by means of this chord are given on page 132.
It will be well for the student to write exercises, modulating from the keys
of C major and A minor to every other key, in every possible manner, employ-
ing every possible chord.
When modulations arc made to keys only one or two degrees
distant, the modulation can scarcely be harsh whatever chords are
used, but when the transition is to more remote keys, the harshness
of the modulation is modified in proportion to the number of tones
in the modulating chord which belong in both keys. See page 131.
It will be a good exercise to examine all the chords enharmonically, (See
page 134,) and find which belong in more than one key.
In the above example the common chord of I in the major key is examined
enharmonically. The three tones composing it, are expressed in thirteen differ-
ent ways. If in either of the ways, the three letters composing the chord
belon" in one key, that example will be useful for modulation. Those in which the
three letters do not belong in the same key, are useless. In the seventh c hord
the three letters as there expressed belong in the key of C# minor, constit (tint;
b that key, the chord of the eleventh of VII:|f4.
Key of C# Minor.
Key of A Minor.
-^fft
vn#4.
^
3^:
IV I Vll#4j, V
CONCLUDING REMARKS. 205
In the above examples the chord of the eleventh of VII with gharp four
is represented complete in the key of (Ji^ minor,' and also in the key of A mi-
nor. An example of a modulation by means of the chord of I enbarmonicall}
changed to Vll^hi is also given. The chords of II, III, IV, V, VI and VIl
in major, and I, II, II=ff4, III, IV, #IV, V, VI and VII in minor, can be en-
harmouically examined in the same way, as aLo all the chords of the seventh, ninth,
eleventh, &c. Practical Exercise No. 31, (page 159,) in passing from the twelfth
measure to the thirteenth, jumps from the key of G, to the key of E{), without
any modulation whatever. A perfect close is made in the twelfth measure, and
the thirteenth is considered as commencing a different strain, having no harn)onio
connection with anything before it.
CHAPTER LVII.
CONCLUDING REMARKS.
Cadences. Perfect, imperfect, and mock cadences are explained on
page 143. The common chord of IV followed by the common chord
of I, is said to form a Plagal Cadence. Practical Exercise
No. 21, closes with a plagal cadence. Some anthers do not approve
of the nse of plagal cadences, bnt most composers occasionally
employ them, especially in Sacred music.
Perfect cadence. Imperfect cadence. Plagal cadence.
t
VI I V IV V
Strict Style. Free Style. Compositions in which a certain
number of parts are preserved throughout, are said to be in strict
STYLE. Compositions in which the parts are unequal, are said to
be in free style. A psalm tune is a composition in strict style,
because it consists of four regtilar parts throughout. A Piano-Forte
fantasia (and in fact most piano-forte compositions.) is a composition
in free style, because no regularity in the number of parts is ob-
served. The rules of harmony apply strictly only to compositions
in strict style. In free style, the general character of the compo-
sition must be in accordance Avith the rules, but as in that style on«
chord may consist of three letters, and the next chord to it, of seven
the same exactness that is required in strict style canrotbe obse veA
[18]
206 CONCLUDING RKMARKS.
Pedal Notes. On page 15S, the upper parts in the second chord of
thcnrst example in Chapter XLV. are described as pedal notes. Perhaps the
chord may more properly be called the chord of the seventh, ninth and eleventh,
(see page 191,) in which case the Treble, Alto and Tenor are the discords, and
BS such, are properly prepared and resolved.
Chords of tiik Eleventh. In the example of " chords of the eleventh as
usually used," on page 183, the chord of ^IVn is accidentally omitted.
Cadences. The sequences in cadences are introduced solely for the purpose
of exercise with the various discords. They are of no practical utility in composition
Examination of Music. As directed on page 106, at all stages of his stud-
ies, the student should examine compositions of different authors, and notice
particularly whether the rules of harmony are observed, and also the peculiari-
ties in each composer's method of using the different chords.
Violations of Rules. In the examination of various compositions, the
student will undoubtedly find numerous violations of the rule?, even in works
of composers of undoubted merit. In all such cases he must endeavor to decide
whether a rule is broken designedly, and if designedly, whether the composer is
justified in varying from the rule. The rules of harmony are deduced from the
compositions of classical composers. These composers never used consecutive
fifths, and so consecutive fifths are forbidden. So with the other rules. If a
composer is convinced that in a particular passage, a violation of a rule will pro-
duce a good effect, he will not usually hesitate to violate it ; but it may be
doubted whether any of the fundamental rules can be violated with good effect.
Consecutive Fifths. It does not require a refined ear, to detect the un-
pleasant effect produced by two parts moving in consecutive fifths. Some, hold
that when two tones forming perfect fifths are struck, the tone which is a
major third from the lowest tone vibrates from sympathy, and is consequently
heard at the same time with tho.«e forming the fifth, and that the unpleasant
effect is only produced when this " invisible" mnjor third is out of the key.
:#5=i:-»::=«::±
If ttic first three of the above chords, are played, one after tlie other, the
effect will be very unpleasant, occasioned, according to th's theory, by the
first being in the key of C, the second in the key of D, and the third in the key
of E. In the last measure, the two chords are both in the key of C, and it will
be noticed that tlie effect of that consecutive fifth is much le.ss unplea.sant than
in the first measure. Some good composers hold that consecutive fifths, are un-
objectionable, when introduced in such a manner that the presence of a major thin!
in them will not j)roducc another key, as in the second measure of the above
example.
Consecutive Octaves and Primes. If a composition has four regular
parts, the listener hears the progression of four parts, at the performance of each
chord. If, in such a piece, consecutive octaves or primes are introduced, the
effect upon the listener, is as if one part had been destroyed, and another doubled
in power. For example, if the ptuls are equally balanced, upon the introduction
SUBSEQUENT STUDIES.
207
if octaves or primes, one part disappears, and another is heard of double Ine
fower required to preserve the proper balance. This is the sole objection to
octaves and primes. Of course they are of no consequence in free style, and in
Etriet style, where composers are not particular about a nice balance of parts,
tbey are sometimes employed.
Musical Composition. Writing a piece of music, resembles writing a
story. As a story may be written without a blemish in its grammatical con-
struction, and yet be a flat and insipid story, so a musical composition may be
faultless, as far as the rules of harmony are concerned, and yet be an uninterest-
ing and meaningless composition. As interesting and meritorious tales are
frequently written by those who have not the rules of grammar at command,
so interesting and meritorious musical compositions are often written by those
who are ignorant of the rules of harmony. It is only, however, when inventive
powers and harmonic knowledge are combined, that compositions interesting
and grammatically correct can be written.
END OF TREATISE ON HARMONY.
CHAPTER LVIII.
SUBSEQUENT STUDIES.
The student who has faithfully studied this work, is now familiar with all the
chords, and the rules which govern the progression of the tones which compose
the chords. If he has followed the directions literally he has already composed
tunes himself, and perhaps finds no diflBculty in writing simple psalm tunes,
glees, or instrumental compositions. Were he to attempt the composition of an
oratorio or symphony, he would probably find that the materials which a knowl-
edge of the chords afford him, are not sufficient to produce all the effects he
would desire. Perhaps most students who have made themselves masters of
harmony, when first attempting composition, feel inclined to ask themselves
"how shall I make the different parts move in order to make a good tune ?"
Although the answer to this question, is "just as you please, provided you break
no rule/' it has been found better to classify the various progressions that can
be made, when of course, the composer who is familiar with every variety of
progression, will have a resource to draw from, where his own imagination fails-
The theory of music may properly be arranged under seven different heads.
1st Elementary Principles. 2d. Thorough Base. 3d. Harmony.
4th. Counterpoint. 5th. Fuge. 6th. Canon. 7th. Form.
The First, (Elementary principles,) must of course be studied preparatory
I) learning to sing, or learning to play upon any musical instrument.
The Second, (Thorough Base,) teaches such a knowledge of chords as is nece*
"tiry, in order to play by chords upon the piano-forte. One who is familial
iFith Thoroutrh Base, will be able to tell the name of every chord, and will be
208
SUBSEQUENT STUDIES.
able to play four part compositions upon the piano, organ, &.C., reading fom
parts at once by chords, but will know nothinn; of the manner in which
chords must be treated in order to make good sounding tunes. In other words,
Thorough liasc, teaches its student to read and play chords which others have
written, but not to compose them himself. Persons who wish to be able to
play psalm tunes, glees and such pieces, in which it is necessary to read four
parts at once, (which can only be done by such a classification of the tones into
chords, as to require but one operation of the mind to read four parts,) but who
do not wish to compose tunes, voluntaries or interludes, need no further knowl-
edge of chords than is taught in Thorough Base.
The Thiud, (Harmony,) teaches such a knowledge of chords as will enable
the student to compose music.
Tue Fourth, (Counterpoint,) teaches the classification of the various pro-
gressions which can be made with the different parts. For example, Contra-
punr.tiis aequalis or equal counterpoint, in which the notes in each part are of
equal length ; Contrapunctus inaequalis, or unequal counterpoint, in which
the notes of the different parts are of unequal length ; Conlrapunclus diminu-
tus, in which there are several notes in one part against one in the other;
Contrapunto alia diritta, in which ono of the parts moves, throughout,
ascending or descending in the order of the scale; Contrapunto di Salto ;
Contrapunto in Sultarello, &cq., &c.
Contrapun 2tus aequalis.
Contrapunctus inaequalis.
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iiiSi^
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m m^^m^m
Contrapunctus diminutus.
mmi
Contrapunto alia dirltta.
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tzftztEEdi:!
1=?
1=f
A part of the terras applied to the different kinds of counterpoint, are Latin,
and a part Italian. The foregoing examples are in what is termed, " Single
Counterpoint." The following example is a specimen of one species of " Double
Counterpoint," called "The Octave." There are numerous other varieties.
In this, it will be seen that one part is repeated an " octovo'' higher, while the
>ther remains at the same pitch.
SUBSEQUENT STUDIES.
209
The Fifth, (Fuge,) teaches a style of composition in which a theme, com-
menced in one part alone, and repeated at the commencement of each other
part, is the ground work. For want of space to explain even one of the numer-
ous varieties of fuges, the following commencement of one of Bach's fuges is
given as an illustration of this style of composition. It will be seen that the
theme is expressed by the first six notes, and that it is repeated at the com-
mencement of the tenor, a fifth higher, at the commencement of the alto an
octave higher, and at the commencement of the treble, a twelfth higher than
it is where it commences in the base.
&c.
):zi— :r:i;;zzi^izd:5riEii-i=^«'=l?=i-:^=
[^#T:»00=^=^initf=:*??=:B^-zz:Ti:]:z=:zzi:=::zz:i
210 SUBSEQUENT STUDIES.
The Sixth, (Canon,) teaclies a style of composition, in which the parts commence
one after the other as in a fuge, and in which the notes in each part are exactly
alike, and the tones bears exactly the same relation to each other, from the first to the
last In the following example, it will be seen that the half notes, quarter notes, and
eighth notes in the treble, occur in exactly the same order that they do in the base ;
and tliat the treble has the same theme which is contained in the base, only an octave
higher. There are many varieties of Canon. In some the themes are a seventh, a
sixth, &c., apart. In others, one part contains the theme " augmented," i. e., with
the notes twice as long in one part as in the other, &c., &c.
lS3^!^i^^|^|%|J^^
:^±:i*«.
The Seventh, (Form,) teaches the order in which the different musical ideas
which form a musical composition will produce the most pleasing effect. Little or no
attention is paid to " Form" in vocal music, but classical writers have usually arranged
lone instrumental compositions under one or more of the following forms, viz : " Alle-
gro Form," Minuetto Form," " Variation Form," and " Rondo Form." A brief
description of Allegro Form, will convey an idea of what is meant by this department
A piece arranged in Allegro Form, must be in two parts. The first part must have
Ist, a Theme ; 2d, a preparation ; 3d, another theme on the dominant, (i. e, in a key
a fifth distant from the key of the first theme,) called the " Middle Sentence ;" 4th, a
passage called a " cadence," with which the first part may close, or there may be
added, 5th, small cadences called " Codas." The second part must have, 1st, a Theme,
either like the theme at the commencement of the first part, or entirely different ;
2d, a preparation ; 3d, a long phrase called a " Fantasie," in which the composer has
full liberty to introduce difficult modulations, &c., &c, ; 4th, the first theme of the
first j)art again ; 5th, the " Middle Sentence" in the tonic (i. e. the theme which is
called the " Middle Sentence" in the first part, and which is there on the Dominant,
must here be repeated in the key of the first theme of the first part,) 6th, cadence.
To give the student an idea of the seven departments into wliich the theory of
music is divided, the following works are mentioned. " Boston Academy of Music's
Manual," contains 252 pages, and treats exclusively of the Elementary Principles.
•'Johnson's Instructions in Thorough Base," contains 120 pages, and treats exclusively
of Thorough Base. " Johnson's Instructions in Harmony," contiiins 210 pages, and
treats exclusively of Harmony." " Andre's Lehre des Contrapunkte," contains 286
pages, and treats exclasively of Counterpoint. " Andre's Lehre dcr Fuge," contains
340 pages, and treats exclusively of Fuges. " Andre'« Lehre d.'s Canons,"contains 828
pages, and treats exclusively of Canons. No separate volume upon " Form" has e" «r
l^ien published
INDEX.
Occidentals 5i
A-nalyzing music, .... 106, 178, 206
Appogiaturas, 196
Avoided cadences, 145
Avoided deceiving cadences, .... 149
Best positions, 33
Cadences, U3, 206
Cadences, avoided, ........ 145
Cadences, deceiving, ........ 149
Cadences, imperfect, 143
Cadences, mock 143
Cadences, perfect 143
Cadences, plagal 205
Cadences, suspended 158
Canons, 210
Chief chords of the seventh, 108
Chord of I., third form 48
Chords of the seventh, . . . 7,106,173
Cliords of the ninth, 12,178
Chords of the eleventh 13,181
Chords of the thirteenth, 184
Chords of the seventh and ninth, . 14, 186
Chords of the seventh and eleventh, 15, 189
Chords of the ninth and eleventh, . 15, 190
Chords of the seventh, ninth and
eleventh 15,191
Chords of the seventh, ninth, eleventh
and thirteenth, 193
Chords, recapitulation, . . . 99, 173, 185
Close harmony, 31
Common chords, . . . . 5, 10, 21, 56, 99
Common chords, major, 21, 56
Common chords, minor, 21, 56
Common chords, diminished, 22, 44, 56, 62
Common chords, superfluous, . . .66, 71
Common chords, double diminished, . . 84
Common chords, major diminished, . . 97
Common chords, recapitulatic^, ... 99
Common chords o''"'yid VI, 77
CompositioD, ........... 207
Concords, 44
Consecutive fifths, .... 29, 51, 7. , 206
Consecutive octaves 34
Consecutive primes 42
Contrary motion, 29
Counterpoint, , 208
Deceiving cadences, 147
Diminished common chords, . 22, 44, 5S, G2
Diminished fifths 17, 45
Diminished chords of the seventh, . . 136 '
Discords, 14, 44, 77, 198
Dispersed Harmony, 39
Dominant 109
Double diminished common chords, . . 84
Double diminished chords of the seventh, 125
Double sharps, 56
Double flats, 55
Elementary principles, 207
Elevenths 18, 181
Elevenths and sevenths, 15, 189
Elevenths and ninths 15, 190
Fifths, perfect, 29, 51, 71
Fifths, diminished, 17, 45
Fifths, superfluous 66, 71
Fifths, consecutive, . . .29,51,71,206
Fifths, hidden 60
Figure of a sequence, 76
Figures, original use of, 11
Figured base, 5
Fixed resolutions, 64
Flats, .10,54
Flats, double, 55
Flats, triple, 55
Form 210
Forms, 26,49,180
Free tones, . C4
Free style, 20i
Fuge, . . 2t>9
Fundamental note, 5
Given melody 70
Harmony, 208
Harmony, close, 81
Harmony, dispcreed, 39
Hidden fifths and octarca 60
Imperfect cadence, 143
Intervals, 16. 51
Leading note, 42
Major diminished common chord, . . 96
Major diminished chord of the seventh, 164
Major key, 57
Major mode, <^7
Major scale, IS, 105
Mediant 109
Minor key, 56, 57
Minor mode, 57
Minor scale, 51 , 105
Mook cadences, i'i3
Modes 57
Motion, 29
Modulition, ... 36, 105, 132, 177, 202
Musical composition, 207
Naturals 10, 55
Ninths 12, 178
Ninths and sevenths, 14, 186
Ninths and elevenths, 15, 190
Oblique motion, 29
Octaves, 84
One chord sequences 79
Original use of figures, 11
Own melody, 70
Passing notes 151, 191
r«dal notes 155
Perfe;rt cadence, 148
Perfect fifths 29, 51, 71
Plagal cadence, 205
Positions, 84
Practical exercises, 67
Preparation, 44, 71, 188
Primes, 42
Progression 28
Recapitulation of common chords, . . 99
Recapitulation of chords of the seventh, 173
Recapitulation of chtards, . . . . . 18&
Recapitulation of discords, 198
Resolution 41 62, 71
Rule I. 29
Rule II., 34
Rule III '. 42
Rule IV., 43
Rule v., 45
Rule VI., 4&
Rule VII., 50
Rule VIII., 60
Sc.ile, major, 18
Scale, minor, 51
Second forms, . 4'.)
Sequences, 7i>
Sequences in cadences, 143, 20&
Sequences in avoided cadences, ... .145
Sequences in deceiving cadences, . . . 147
Sequences in avoided deceiviBgcadetces,149
Sevenths, 7, 106, 17;*
Sevenths and ninths, 14, 18G
Sevenths and elevenths, .... 15, 18'.?
Sevenths, ninths and elevenths, 15, lUl
Sevenths, recapitulation, 173
Sharps 10, 54
Sharps, double, bo
Sharps, triple, b'^
Sharp four, 84, 96, 177
Signature, 19
Similar motion, 2'j
Strict style, 20.";
Superfluous common chords, . . . 56, 71
Superfluous fifths, 51, 56, 71
Suspended cadences, 158
Theory of chords, ...... .185,193
Third forms 49
Thirteenths, 185
Thorough base, 5, 207, 210
Tonic, 109
Triple diminished chords of the seventh, 160
Triple flats 56
Triple sharps, 55
Unisons, 42
Violation of rulo^ 206
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