THE LIBRARY 
 
 OF 
 
 THE UNIVERSITY 
 OF CALIFORNIA 
 
 LOS ANGELES 
 
 MUSIC LIBRARY 
 
 GIFT OF 
 GERALD SCORDAN
 
 A PRACTICAL INTRODUCTION 
 TO COMPOSITION 
 
 HARMONY SIMPLIFIED 
 
 BY 
 
 FRANCIS L. YORK, M. A. 
 
 REVISED AND ENLARGED EDITION 
 
 FOURTH EDITION 
 
 $I.OO 
 
 BOSTON 
 
 OLIVER DITSON COMPANY 
 
 NEW YORK CHICAGO PHILADELPHIA 
 
 CHAS. H. DITSON & Co. LYON & MEALY J. E. DITSON & Co.
 
 Copyright, MDCCCXCVII, by 
 F. L. YORK 
 
 Copyright, MCM, by 
 OLIVER DITSON COMPANY 
 
 Copyright, MCMI, by 
 OLIVER DITSON COMPANY 
 
 Copyright, MCMIX, by 
 OLIVER DITSON COMPANY
 
 TO MY FRIEND, 
 
 FREDERIC H. PEASE, 
 
 MICHIGAN STATE NOKMAL COLLEGE, 
 
 THIS LITTLE BOOK IS RESPECTFULLY 
 DEDICATED.
 
 USTTEODTJOTOET. 
 
 IN the following pages I shall endeavor to give, in the simplest 
 possible form, an outline of the principles of Harmony. I shall 
 make no attempt to give details or to deal with the subject 
 exhaustively, but I shall present all the tone combinations found 
 in music, and give sufficient explanations of their use to enable 
 the student to recognize them in the works of others and use them 
 correctly in his own. The rules given are derived entirely from 
 the analysis of the works of the great composers, and are 
 followed by them in the great majority of cases. It must be 
 remembered that the canons of art are not moral laws, but simply 
 state what is expedient in general. Violations of the rules 
 which occur frequently in the best compositions do not concern 
 us. Irregularities and exceptions do not come within the scope 
 of this work. It will therefore be necessary to leave untouched 
 many interesting and instructive points, but it is hoped that by 
 omitting all detail the student will gain a clearer insight into the 
 essentials of musical composition. A sufficient knowledge of 
 piano playing to enable the student to play an ordinary hymn- 
 tune is presupposed. 
 
 This work, in its inception, appeared in 1895 in serial form in 
 one of the musical periodicals. The demand for it was so great, 
 that it became necessary to gather the chapters into a book form,, 
 and the great success of the latter, together with the desirability 
 of amplification made clear by its use in the hands of teachers, 
 led to the present revised and enlarged edition. 
 
 FRANCIS L. YORK. 
 DETROIT, August, 1900.
 
 CONTENTS. 
 
 CHAPTER PAGE 
 
 I. Definition of Harmony, Chord, Triad; Tonic and Dominant 
 Chords; Character of the Tones of the Scale ; Four-voiced Com- 
 position ; Doubling ; Open and Close Position 1 
 
 II. Harmony and Melody ; Voice Progression ; Parallel Fifths and 
 Octaves ; Leading Tone ; The Sub-Dominant ; Normal Progres- 
 sion 6 
 
 III. Intervals. Normal ; Major, Minor, Augmented, and Diminished . 12 
 
 IV. Authentic Cadences ; Parallel, Contrary, and Oblique Motion ; In- 
 
 versions ; I c 18 
 
 V. Dissonance ; Resolution ; Preparation ; Dominant Seventh ; Method 
 
 of Writing Exercises 21 
 
 VI. Use of Chords in Various Positions (Inversions) 26 
 
 VII. Review 31 
 
 VIII. Major and Minor Chords ; Super-Tonic 34 
 
 IX. Relation of Minor Chords ; Mediant and Sub-Mediant 37 
 
 X. Half, Imperfect, Plagal, and Surprise Cadences ; Concealed Fifths 
 
 and Octaves . 41 
 
 XI. The Diminished Triad ; The b and c Positions of Minor Chords . 45 
 
 XII. Minor and Diminished Chords with Minor Seventh 48 
 
 XIII. Major Chords with Major Seventh ; Chords of the Ninth, Eleventh, 
 
 and Thirteenth 53 
 
 XIV. Irregular and Passive Progressions ; By-Tones 57 
 
 XV. Review 63 
 
 XVI. Minor Mode ; i, V, iv and V 7 . . . . 65 
 
 XVII. Minor Mode Continued. Secondary Chords 68 
 
 XVIII. Minor Mode Concluded. Seventh Chords 71 
 
 XIX. Transition or Modulation ; Passing, Complete. Bridge Chord . . 76 
 
 XX. Use of Tones Foreign to the Key ; Altered Chords 81 
 
 XXI. Chromatic Chords ; Distinction between Transitional, Altered, and 
 
 Chromatic Chords 86 
 
 XXII. Mixed Chords ; The French, Italian, and German Chords of the 
 
 Sixth ; Forms of the Diminished Seventh 90 
 
 XXIII. The Flatted VI and Flatted II; Explanation of Some Irregular 
 
 Progressions 94 
 
 XXIV. Non-Harmonic Tones ; Passing, Changing, Appoggiaturas ... 97 
 XXV. Anticipatory Tones ; Pedal Point 100 
 
 XXVI. Suspensions or Retardations. Conclusion 104 
 
 XXVII Figured or Thorough Bass 109 
 
 APPENDIX A. Characteristic Effect of Each Tone 114 
 
 APPENDIX B. Additional Exercises 117
 
 HARMONY SIMPLIFIED. 
 
 CHAPTER I. 
 Definitions. The Tonic and Dominant Chords. 
 
 Harmony is the science of tone combinations and the art of 
 using such combinations. 
 
 A chord is a combination of tones that gives the hearer 
 an impression of unity and completeness. It is not necessary 
 that the tones of a chord be sounded together ; they may appear 
 successively, as the sixteenth notes in Figure 1, a, forming what 
 is known as a broken chord. The combinations given in 
 Figure 1, b and c, are not chords. Chords are formed by build- 
 ing up thirds; as C, E, G, or G, B, D, F, Figure 1, d, e. 
 Chords of three (different) tones are called triads. 
 
 Chords are numbered by the Roman numerals correspond- 
 ing to the degree of the scale on which they are based : thus the 
 chord on the first degree of the scale, Doh, Me, Soh, is num-
 
 2 HARMONY SIMPLIFIED. 
 
 bered I ; on the fifth of the scale, Soh, Te, Ray, is numbered V. 
 The I is called the tonic chord; the V is called the domi- 
 nant chord. 
 
 Each chord has a character of its own which is derived largely 
 from the character of the tone on which it is based (the root), 
 and partly from the character of its other tones (the third and 
 the fifth above the root). The character of each tone is as fol- 
 lows : Doh, firm, tone of rest, home tone. Ray, aspiring, ex- 
 pectant. Me, plaintive, quiet. Fah, solemn, desolate. Soh, 
 bold, bright. Lah, sorrowful. Te, piercing, pressing upward.* 
 
 The most important chords are the I and the V. The I 
 (formed on Doh) is the chord toward which all the chords tend, 
 and in which they all finally come to rest. The V (formed on 
 Soh) dominates the key; it demands that the I follow imme- 
 diately. 
 
 In the case of each chord notice the effect of the component 
 tones. The I, composed of Doh, Me, and Soh, is the chord of 
 rest (Doh), of quiet (Me), and yet it is a bright chord (Soh). 
 The V, composed of Soh, Te, and Ray is bold (Soh), expectant 
 (Ray), and restless (Te) ; the effect of the chord depends some- 
 what on the tone in the highest part. See Figure 2, a, b. 
 
 Each chord, except the I, has a more or less strong 
 tendency to move to some special one of the other 
 chords usually to that chord whose root is five tones 
 lower. As the V to the I, Figure 2, c. 
 
 Root. Root. 
 V V V V I I 
 
 * For illustrations of the use that composers make of these characteris- 
 tics, see Appendix, p. 109.
 
 HARMONY SIMPLIFIED. 3 
 
 As composition is based on four-voiced (four-part) writing, 
 our exercises will all be written as if for four singers, soprano, 
 alto, tenor, and bass. As most chords contain but three (dif- 
 ferent) tones, one tone of the chord must appear in two voices at 
 once ; that is, that tone is doubled. 
 
 Rule 1. In doubling, the best tone is the root, the next best 
 is the fifth, and the poorest is the third. * Figure 3, a. In the 
 first chord the soprano and the bass each have C, thus doubling 
 the root. The third chord has the fifth, G, doubled by the tenor 
 and the soprano. The last six chords all contain the doubled 
 third, and the effect is much less pleasant. See also Figure 46, a. 
 
 3. 
 
 Good. Good. Less good ?? ?? ?? Bad. Bad. Bad. 
 
 , but correct. "$"? 
 
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 35 
 
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 1.1 
 
 When the three upper voices, soprano, alto, and tenor, are 
 within an octave, the harmony is said to be close, or the chords 
 are said to be in close position. All the chords in Figure 3, b, 
 are in close position. When there is a tone of the chord omitted 
 from between two of the upper parts, the chord is said to be in 
 open position. In Figure 3, a, the first chord is in open posi- 
 tion, because a G might have been placed between the soprano 
 and the alto, bringing the three tones within an octave. All the 
 chords in Figure 3, a, except one (which?) are in open position. 
 
 * Still the third may be doubled, if by so doing a decidedly better leading 
 of the parts is secured.
 
 HARMONY SIMPLIFIED. 
 
 See also Figure 13, page 10, in which most of the chords are in 
 close position. 
 
 For the pi % esent all exercises are to be written in the key of C. 
 
 Exercise. 
 
 First. Write I and V chords in various forms, doubling the 
 tones according to Rule 1, and using the close position. 
 
 Second. Write as before, using only the open position. 
 The bass must in all cases have the root, and every chord should 
 have underneath it its proper numeral. 
 
 Third. Have some friend play the chords in the exercises 
 thus written, and, without looking, name each chord as it is 
 played. 
 
 In the following chant by Tallis (transposed) all the chords 
 but one are I or V. 
 
 T. TALLIS. 
 
 4. 
 
 _t7 fa "fig _|_ |^_ 
 
 1 
 
 
 I I V I IV VVI 
 
 The following (transposed) from Mendelssohn's "Song with- 
 out Words," No. 41, is made entirely of these two chords. 
 
 MENDELSSOHN. 
 
 f f '* 
 
 d ' f -*- i 
 
 i= 
 
 fTm ' '
 
 HARMONY SIMPLIFIED. 
 Mark the I and V chords in the following. 
 
 KUHLAU. 
 
 6. 
 
 
 m 
 
 b. 
 
 -f- 
 
 m 
 
 CLEMENTI. 
 -t-t- 
 
 
 ^
 
 HARMONY SIMPLIFIED. 
 
 CHAPTER II. 
 
 Movement of Voices. The Sub-Dominant Chord. 
 Normal Progression. 
 
 In writing music there are two most important things to con- 
 sider. First, the progression or movement of each chord as 
 a whole, and, second, the movement of each tone in the chord. 
 In other words, we must examine our work perpendicularly for 
 harmony, and horizontally for melody. 
 
 Rule 2. When two different chords (as I and V) follow one 
 another directly and contain a tone that is common to each (as 
 Soh in the V and I), this common tone should remain in the same 
 voice or part. Figure 7, a and b. 
 
 Rule 3. Bach tone should progress to the nearest tone pos- 
 sible. Figure 7, a and b. 
 
 ^ S3 ~ *~, 
 
 
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 frT 
 
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 j - <v <- "- <ifc> ^_ 
 
 Good. Good. Bad. 
 
 Good. ? Good. 
 
 "^ *- /5 S3 -&- 
 
 C"^ * ^* ^^ 
 
 
 ^2 
 
 \ f2 \ & & 
 
 /r? 
 
 * l . 
 
 
 
 \ 
 
 * 
 
 v^- 
 
 ^2 
 
 a 
 
 4^ k 
 
 ll 
 
 7. 
 
 Observance of these two rules gives smoothness to a composi- 
 tion and avoids the jerky effect produced by voices skipping 
 about. 
 
 Rule 4. Two voices should not make the same progression 
 when they are either a fifth or an octave apart. Such a progres- 
 sion is called parallel fifths or octaves.* Figure 8, a. 
 
 * Parallel octaves do not seriously offend the ear, but if two voices move in 
 octaves the result is that we really drop out one voice and are writing in three 
 parts, since one part loses its independence and simply doubles another part at
 
 HARMONY SIMPLIFIED. 7 
 
 Rule 5. The seventh of the scale, Te (also called the lead- 
 ing tone), must move upward to the eighth, Doh, if the follow- 
 ing chord contains Doh. Figure 8, b. It is the character of Te 
 to demand Doh as the following tone, and this demand should be 
 satisfied, no matter in which voice Te may be.* 
 
 8. 
 
 ^ \ &- hs?- 8 ^ 
 
 l__ gilt gy ^ hg 
 
 - 1 / __ *rr ^J2~S!! 
 
 In distributing the tones of a chord among the four voices, 
 keep the voices as nearly equidistant as possible. No two adja- 
 cent parts (except the tenor and bass) should be over an octave 
 apart. The first two chords, Figure 9, a, are well arranged, the 
 next two are badly distributed. The tenor and bass may be any 
 reasonable distance apart, Figure 9, a, the fifth chord. 
 
 The root may be trebled, that is, may appear in three 
 parts at once (as at Figure 9, 5), the fifth being then omitted. The 
 third must not be omitted. Figure 9, b. The third must be 
 present or the chord lacks the necessary element of completeness J 
 see definition of chord, also Figure 1, b. 
 
 the distance of an octave. Parallel fifths sound very badly. Let the student 
 play the following well-known melody with the second voice a fifth lower, as writ- 
 ten, and he will not care to introduce such effects into his compositions. 
 
 
 * Te is not infrequently found moving down to Soh, when it is in an inner 
 voice and the bass moves in contrary motion.
 
 HARMONY SIMPLIFIED. 
 
 9. 
 
 / 
 
 J\ /"2 
 
 rS 
 
 s5 
 
 
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 S3 
 
 H 
 
 \ff) 
 
 ^ 
 
 ,y 
 
 
 
 ty 
 
 - H 
 
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 Bad. 
 
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 Good. Good. 
 
 -&- 
 
 Bad. 
 -S>- 
 
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 Bad. 
 
 pv. o 
 
 
 
 
 II 
 
 S 11 
 
 J* 
 
 
 S 
 
 
 
 ^3 II 
 
 
 
 
 
 
 _^2 H 
 
 The chord next in importance is the IV, called the sub- 
 dominant (i. e., under-dominant), formed on Fah the fifth be- 
 low Doh, just as the dominant is formed on Soh. the fifth above 
 Doh. The IV contains no tone found in the V, hence it con- 
 trasts strongly with it. Its character is solemn (Fah), restful 
 (Doh), and inclined to sadness (Lah). Compare the "Amen 
 Close " in church music. Figure 10. 
 
 10. 
 
 y 
 
 1 1 
 
 H 
 
 2t 
 
 1 \ S3 S3 
 
 EtS 
 
 \ 
 
 
 EZ ^5 
 
 ^ \ S2 g 1 <? ^ 
 
 _u 
 
 P -<$>- 
 
 
 A - 
 
 men. A - men. A - men. 
 
 
 pv gj 
 
 o | --, 1 2 c? 
 
 
 
 1 1 
 
 
 
 
 
 
 1 1 
 
 
 The three chords, I, V, IV, contain all the tones of the scale ; 
 two of the tones, Doh and Soh, appearing in two chords, as shown 
 in the following. 
 
 IV 
 
 
 Fah Lah Doh Me Soh Te Ray iv I v 
 
 FA C E G B D-in the key of C. 
 
 We have said that a chord usually progresses to a chord 
 whose root is a perfect fifth below. This is called the normal 
 progression. The IV cannot make this progression, as the per-
 
 HARMONY SIMPLIFIED. 
 
 feet fifth below its root does not lie in the key as we shall learn 
 in the next chapter. But as all chords have a tendency towards 
 the I, the IV goes to the I either directly or first to the V, and 
 then to the I. 
 
 Rule 6. The V must not go to the IV. Try it and see how 
 badly it sounds. 
 
 11. 
 
 The student should play the chords in Figure 11, noticing the 
 effect of the I, V, and IV chords. He should then at the piano 
 discover for himself other distributions of these chords, naming 
 them as he plays. Figure 12 shows the use of these chords. 
 
 HANDEL. "Samson." 
 
 VL_^ (2. L-O. <2. U^ .__ 
 
 ~^ & 
 
 
 
 Good. Good. 
 
 Good. 
 
 Bad. 
 
 
 ^"^ * X3 ^? ^^ f^D 
 
 . ' ^ ' GS 
 
 t 
 
 10 P 
 
 1 . 2__ Z^S , 
 
 
 
 H 
 
 ffl 
 
 
 
 
 11 
 
 IV IV IV I IV I 
 
 IV V I 
 
 V 
 
 IV 
 
 
 V I 
 
 ^ 
 
 * 
 
 II 
 
 IV 
 
 The following from Chopin's eleventh "Nocturne" shows what 
 can be done by a master with the small material that we have al- 
 ready studied.
 
 10 
 
 HARMONY SIMPLIFIED. 
 
 13. 
 
 F. CHOPIN, op. 37, No. 1. 
 
 
 
 
 
 Let the student first name these chords from the paper. Af- 
 terward the teacher should play them at the piano and ask the 
 student to name as many of the chords as he can by the sound, 
 he should know all the chords but the two marked with a cross. 
 
 Exercise. 
 
 First. Write two or more exercises in the key of C using the 
 f ollowing chords, observing all the rules thus far given : I, V, V, 
 I, V, V, I, I, IV, I, IV, V. I. Write in common time, aU half notes 
 but the last which is a whole note. Figure 14 shows some things 
 to be imitated and some things to be avoided. From a to b no 
 error. At b parallel octaves. At c the third is omitted : c to d 
 parallel fifths (between alto and bass). At f Te does not go to 
 Doh. 
 
 Tg=^~g *=& =j- 
 
 <> I I <& \ -^<si ^ 
 
 IV I IV V 
 
 Second. Let the student discover for himself the errors in 
 the following and write out the example in corrected form, 
 ^here are at least fifteen violations of the rules so far given.
 
 HARMONY SIMPLIFIED. 
 
 11 
 
 _n. 1_ ^ 
 
 * 
 
 &-V&&+ 
 
 r 
 
 
 r 
 
 Third. Mark the I, V, and IV chords in the ifollowing, Fig- 
 ure 16. The notes in parenthesis do not belong to the harmony. 
 
 16. 
 
 i 
 
 / 
 
 
 e 
 
 " Gloria in Excelsis." 
 
 I 
 
 H= 1=:^: 
 
 ZC 
 
 _.L ^_ 
 
 tp=p 
 
 -&- 
 
 1 
 
 
 
 
 -1= 
 
 Fourth. The melody in Figure 17 is to be harmonized with 
 the following chords : I, IV, V, I, I, V, I, I, IV, V, I. 
 
 17. 
 
 \\
 
 12 
 
 HARMONY SIMPLIFIED. 
 
 CHAPTER III. 
 Intervals. 
 
 An interval is the difference in pitch between two tones. 
 If the tones are sounded together the interval is harmonic ; if 
 sounded in succession the interval is melodic. Figure 18. 
 
 Harmonic. 
 
 18. 
 
 ^ 
 
 Sixth. Sixth. Fifth. Third. Third. Third. Fourth. Second. Seventh. 
 Melodic. 
 
 
 m 
 
 Sixth. 
 
 Sixth. Fifth. Third. Third. Third. Fourth. Second. Seventh. 
 
 In reckoning intervals count all the letters contained in the 
 interval. Thus from Doh to Me, as C to E, includes the three 
 letters, C, D, E. So the interval is a third, though we pass over 
 only a single tone, Ray or D. From C to A is six letters C, D, 
 E, F, G, A, hence is a sixth. 
 
 Intervals are always reckoned upward unless the con- 
 trary is distinctly stated ; by a third from C we always mean E 
 the third above. 
 
 If we reckon intervals from the first tone of a scale, as C, 
 they will all be major intervals, except the fourth, fifth, and 
 octave, which are usually called perfect. The intervals formed 
 on the scale of C, then, will be, 
 
 Major. Majoi. Perfect. Perfect. Major. Major. Perfect. Major. 
 
 -<9- -&- -&- 
 
 Second. Third. Fourth. Fifth. Sixth. Seventh. Octave. Ninth. 
 
 When two tones stand on the same degree there is really no
 
 HARMONY SIMPLIFIED. 
 
 13 
 
 interval formed by them, but it is customary to call them a prime 
 or unison, and classify them as forming a perfect interval. 
 
 The intervals are reckoned as far as the ninth, although that 
 is but the repetition of the second at the distance of an octave. 
 The wider intervals are usually* reckoned without regard to the 
 octave ; thus the tenth is counted as a third, the eleventh as a 
 fourth, the twelfth as a fifth. Figure 20. 
 
 Perfect. Major. 
 
 Perfect. 
 
 Perfect. 
 
 Major. 
 
 =^ 
 
 ,52 
 
 
 F F 
 
 
 1 - 
 
 irrv 
 
 
 
 
 
 1 
 
 
 1 . [ 
 
 
 
 
 
 
 1 
 
 
 1 J 
 
 -^-<S>- -<Si- -<S- 
 
 -- 
 
 -&- 
 
 Tenth or Eleventh or Twelfth or Thirteenth or 
 Tjmsonor Third. Fourth. Fifth. Sixth. 
 
 20. 
 
 The intervals so far studied are all formed within the key, 
 using the keynote as a basis. They are, then, the natural or 
 normal intervals. From these, other kinds of intervals may be 
 formed : 
 
 First. If we increase the size of any normal interval by a 
 half step, it becomes an augmented interval. This may be 
 done in either of two ways : by raising the upper tone or by de- 
 pressing the lower tone. If we take Figure 19, and sharp the 
 second tone or flat the first tone in each measure, the intervals 
 produced will be all augmented. Figure 21. 
 
 Augmented Intervals. 
 
 -&- It P-fi- 1 -<S>- ' 9-<S- " -i&- P-^ 
 
 
 
 Fifths. 
 
 Sixths. Sevenths. Octaves. Ninths. 
 
 Second. If the major intervals are made a half step smaller 
 they become minor. It is only from major intervals that minor 
 intervals can be made, never from perfect intervals. Figure 22, 
 
 *Not always. See Chapter XIII.
 
 14 
 
 HARMONY SIMPLIFIED. 
 
 Minor Intervals. 
 
 22. : 
 
 Third. If the perfect or the minor intervals are contracted 
 by a half step they become diminished. In Figure 23, the di- 
 minished intervals are formed from the minor intervals of Figure 
 22, by raising the lower tone or by lowering the upper tone a 
 half step. 
 
 Diminished Intervals. 
 
 
 Second. 
 
 Thirds. 
 
 When we have Oft Db, although there is theoretically an 
 interval (that is, a difference in pitch), practically there is none, 
 and the two letters are nothing more than two ways of writing 
 the same pitch : such an interval is called enharmonic. 
 
 The diminished intervals in Figure 24 are all formed from 
 perfect intervals. 
 
 Diminished Intervals. 
 
 Fourths. 
 
 Fifths. 
 
 Octaves. 
 
 To determine -whether an interval is major, minor, augmented, 
 or diminished, we proceed as follows. Consider the lower note 
 of the interval to be the key note of a scale. If the upper note 
 lies in the scale of this key, the interval is normal, that is, either 
 major or perfect. If it is a half step larger it is augmented. If a 
 half step smaller than a major it is minor. If a half step smaller 
 than a minor or a perfect interval, it is diminished. For ex- 
 ample, we will find the names of the following intervals. 
 
 25. 
 
 I
 
 HARMONY SIMPLIFIED. 
 
 15 
 
 First count the letters contained in each interval. The first 
 contains six letters, D, E, F, G, A, B{?, and so is a sixth ot some 
 kind. Those following in Figure 25 are respectively sixth, 
 fourth, seventh, fourth, fourth, and fifth. Now write out each 
 interval in the key of the lower tone (Figure 26). This gives us 
 the normal intervals corresponding to the given intervals of 
 Figure 25. 
 
 26. 
 
 Key of E. Key of F. 
 
 Key of Ek. Key of G. Key of B. 
 
 By comparing, we find the first interval (Figure 25) to be a 
 half step less than the normal major sixth (Figure 26), and 
 hence is a minor sixth. The second is a minor sixth for a similar 
 reason ; the third is an augmented fourth, the fourth a minor 
 seventh, the fifth a perfect fourth, the sixth an augmented fourth, 
 and the seventh a diminished fifth. Only one augmented and 
 one diminished interval can be formed within the scale : Fah to 
 Te, an augmented fourth, and Te to Fah, a diminished fifth. 
 Figure 25, 3 and 7. 
 
 It is important to remember that an interval is reckoned by 
 the letters composing it, and not by its appearance on the key- 
 board. Thus from C to E is a third, because E is the third tone 
 in the scale of C, even though we sharp the C and flatten the E. 
 So, Cft to EJ7 is a diminished third, while from Cft to Dft is a 
 major second, though the two intervals are the same on the key- 
 board. 
 
 Exercise. 
 
 First. Write out on every tone of the scale of C all the 
 major, minor, perfect, augmented, and diminished intervals.
 
 16 
 
 HARMONY SIMPLIFIED. 
 
 Second. Analyse the following from Chopin (Figure 27), 
 reckoning upward from the lower note, and marking the inter- 
 vals thus : the major with a capital M, the minor with a small 
 m, the perfect with P, the augmented with A, and the diminished 
 with D. 
 
 27. 
 
 
 
 P. 5th. P. 4th. A. 4th. etc. 
 
 Third. Mark in the same way the following. 
 
 28. 
 
 :??: 
 
 is=q=| 
 
 -$*. 
 
 \\ 
 
 Fourth. "Write the intervals indicated in the following. 
 
 29. 
 
 
 M. 3rd. m. 6th. M. 6th. A. 5th. P. 4th. m. 7th. A. 3rd. 
 
 "" f~'~ ' ^n P" ~~f~ 
 
 ^1 
 
 ty 
 
 D. 7th. M. 7th. m. 3rd. M. 6th. D. 5th. m. 2nd. M. 2nd. D. 4th. P. 5th. 
 
 I
 
 HARMONY SIMPLIFIED. 
 
 17 
 
 Fifth. - The teacher should require the pupil to tell, by the 
 Bound only, various intervals when played on the piano or 
 when sung by two voices, or when played on the violin. A few 
 minutes should be spent at every lesson in training the ear in 
 this way, and the practice should be continued throughout at 
 least one half the course.* 
 
 Sixth. Add the alto and tenor parts (the inner parts) to the 
 soprano and bass given in the following. 
 
 3O. 
 
 -c*- 
 
 m 
 
 *It is hoped that the student is already familiar with Jean Parkman Brown's 
 excellent little work called " Intervals, Chords, and Ear-training." If not, a care- 
 ful reading of it and the practice of the exercises given in it will be of great 
 advantage.
 
 18 
 
 HARMONY SIMPLIFIED. 
 
 CHAPTER IV. 
 Cadences. Motion of Parts. The a, b, and c Positions. 
 
 A cadence is a progression of chords that gives the hearer 
 a more or less complete feeling of close. The most complete 
 cadence is the V to the I, called the authentic cadence. It 
 is perfect when both chords have their roots in the bass, and the 
 highest voice ends on Doh. Figure 31, a. In any other case it 
 is imperfect. Figure 31, b. 
 
 a. b. 
 
 31. 
 
 
 -& 35 1 <5> 
 
 
 j ^3d- 
 
 x5 H 
 
 &\ & ^ 
 
 ?= Va~ 
 
 
 
 
 
 
 
 
 
 Perfect. Perfect. Imperfect. Imperfect. Imperfect. 
 
 
 
 
 
 >&. ff 
 
 ^ 
 
 & \ /-23d ^ 
 
 ^ 
 
 H 
 
 The strength of a cadence, that is, whether the feeling of 
 close is strong or not, depends a great deal on its position in the 
 composition. 
 
 By parallel motion is meant the movement of two voices 
 in the same direction. Contrary motion is movement in oppo- 
 site direction. In oblique motion one voice remains stationary 
 and the other moves either up or down. 
 
 32. 
 
 
 1 
 
 Parallel. 
 
 Bad. Contrary. 
 
 Oblique. 
 
 ^ & 
 
 1
 
 HARMONY SIMPLIFIED. 
 
 19 
 
 Contrary and oblique motion are better than parallel. A 
 large proportion of the mistakes made by young writers comes 
 from a too frequent use of parallel motion. Parallel motion in 
 all the parts at once is especially to be avoided. 
 
 When the root is in the bass the chord is uninverted or in 
 the a position, as I a , read "tonic a position." Figure 33, a. 
 The a below the line is usually omitted in writing, and is used 
 only when it is necessary to distinguish between different posi- 
 tions. When any tone other than the root is in the bass, the 
 chord is said to be inverted or in a new position. When the 
 third of the chord is in the bass, the chord is in the b position, 
 or the first inversion, as, I b , read " tonic b position." Figure 33, b. 
 When the fifth is in the bass, the chord is in the c position, or 
 the second inversion, as I c , read "tonic c position." Figure 33, c. 
 
 S3. 
 
 EiEdz^iEBE^zEEazz i_*i 
 
 -&- -GO- -S>- 
 
 
 I I IIVIVTI 
 
 aaab bbcc 
 
 The only inverted chord that we will use at present is the I . 
 This chord is seldom used except at the cadence. 
 
 Rule 7. The I c must go to the V. Figure 34, a. 
 
 Rule 8. The I c must be used only on the accented part of the 
 measure, and the fifth (not the root) must be doubled. Figure 
 34,5. 
 
 .^ ^i 
 
 '-^ 
 
 S2 r*2 1 r^' ^>*i ^ 
 
 & 
 
 fK 
 
 r" !^> 
 
 I 9 CS3 
 
 ~e> II 
 
 Good. Good. Uncommon. 
 
 ~&~ S3 ^ 
 
 
 
 
 & & TOD ^5 
 
 tt> (^t fl 
 
 1 II 
 
 1 
 
 o -SJ 
 
 Zi 
 
 II 
 
 *x 
 
 
 Ji\ _ 1 
 
 1 a 
 
 
 1 
 
 A 
 
 L II 
 
 MARK. It is not always possible to observe Rules 2 and 3. We will here- 
 
 34. 
 
 after regard them as recommendations rather than as laws.
 
 20 
 
 HARMONY SIMPLIFIED. 
 
 Exercise. 
 
 First. "Write the following succession of chords in the key 
 of C. I, IV, I, V, I, I, V, V, I, I, IV, IV, I c , V, I. Write in duple 
 time. 
 
 Second. Fill in the alto and tenor of the folio-wing. 
 
 35. 
 
 ~y *-> I T" 
 
 1 
 
 
 Every exercise when complete should be played over by 
 some person not the writer, and the latter, without seeing either 
 the notes or the keys, should name the chords as they are played.
 
 HARMONY SIMPLIFIED. 
 
 21 
 
 CHAPTER V. 
 Dissonances. The Dominant Seventh. 
 
 A dissonance is a combination of tones that gives the hearer 
 a feeling of unrest and a desire that some other combination fol- 
 low. In Figure 36 the chords marked + are dissonances. Res- 
 olution is going from dissonance to consonance from unrest to 
 rest. In Figure 36 the unmarked chords are consonant, the pre- 
 ceding dissonant chords having resolved into them. 
 
 36. 
 
 
 
 5i 
 
 
 m 
 
 
 * 
 
 >1 J 
 
 
 2 
 
 i 
 
 2 *i 
 
 
 jjp 
 
 Sm 
 
 "f"^ ; 
 
 + 
 
 
 jx. i j 
 
 
 
 
 
 
 2. F 
 
 
 
 A dissonance is prepared when the dissonant tone is first heard 
 as a consonance. Figure 37, >, the tied notes. A dissonance is 
 unprepared when the dissonant tone appears with the chord. 
 When the dissonance is prepared the effect is smoother, when 
 unprepared it is bolder. Figure 37, c. With most dissonances 
 either way may be used. 
 
 The dominant seventh is the most common dissonant 
 chord. It is formed by adding another third above the dominant 
 triad, thus : Soh, Te, Ray, Fah, or, in the key of C : G, B, D, F. 
 The new tone, being at the distance of a seventh from the root, 
 gives the name to the chord. It is represented by V ? . Figure 37, 
 a, and Figure 36, the first and eighth chords. In the celebrated 
 " Hunting Chorus " from Von Weber's " Der Freischiitz " there 
 are twenty-four measures made entirely of I and V 7 chords. Fig- 
 ure 38.
 
 22 
 
 HARMONY SIMPLIFIED. 
 
 37. 
 
 Hunting Chorus. "Der Freischiitz." 
 
 ( 
 
 38. <J 
 
 ( 
 
 =j -rBJE ^ 1 ^-J=4=^~r^=^ 
 ^__a ^-^g yg^p i r = tp r i E 
 
 
 ^ t:|:^ ^ A f: f- f: 
 
 = EdE=|c=Jt-_j M I_tL 
 
 Rule 9. The V 7 must progress to the I, Te going to Doh and 
 Fah to Me. Figure 37, b and c. 
 
 Te is sometimes though rarely omitted in the V r 
 On account of its strong tendency to the I, the V 7 usually oc- 
 curs at the cadence. The restless effect of this chord is produced 
 by the contradictory character of the tones composing it. We 
 have added the solemn and depressing Fah to a chord that is 
 bright, bold, and aspiring. The conflict of these two characters 
 makes the hearer restless until the sharp upward-thrusting Te 
 comes to rest in the peaceful Doh, and the desolate Fah changes 
 to the quiet Me. If the student is inclined to consider this fanci- 
 ful, let him play this V 7 chord on the piano a few times, leaving 
 it unresolved, and he will at once see how unsatisfying the effect 
 is. 
 
 Exercise. 
 
 First. Write the following chord succession. I, I, | V, V, I 
 I, I, | V, I I, I, I IV, IV, | I c , V 7 . I I !l. The perpendicular lines 
 show the measures. Write in duple time. Notice that here the I 
 goes to the V ? . This is even more common than the progression
 
 HARMONY SIMPLIFIED. 
 
 23 
 
 to the V without the seventh, and is a stronger progression. It 
 also makes a smoother progression for the voices, as they can 
 move more by degrees. Figure 39. 
 
 39. 
 
 The following from the end of Schubert's " Impromptu," op. 90, 
 No. 1, is made entirely of this progression. Notice how carefully 
 he has doubled the fifth of the I c , and led Te and Fah properly 
 in the V ? . Although he has used more than four voices, at the 
 third chord from the end he has omitted the G purposely that we 
 may be sure that the F has gone to E. 
 
 4O. 
 
 The following is the method of writing exercises that the stu- 
 dent is advised to use. 
 
 First. Write the given numerals under the lower staff. 
 
 Second. Write the bass notes indicated by the numerals, 
 choosing such positions as will give the best melody. See Fig- 
 ure 41, bass.
 
 24 
 
 HARMONY SIMPLIFIED. 
 
 Third. "Write in the soprano a note for each bass note, choos- 
 ing tones belonging to the chord indicated, making the melody 
 as pleasing as possible, using contrary motion to the bass more 
 than parallel motion. 
 
 Fourth. Add alto and tenor, observing the rules for doub- 
 ling, progression of chords and of voices, and the distribution of 
 voices. 
 
 Fifth. The compass of the parts or voices should be about 
 as f ollows : Soprano, an octave and a half upwards from mid- 
 dle C. Bass, an octave and a half downwards from middle C. 
 Alto, a fourth lower than the soprano. Tenor, a fourth higher 
 than the bass. 
 
 Sixth. Turn the stems of the notes as in Figure 41. 
 
 Seventh. Figure 41 may be used as a model. The student 
 should also copy the bass and the soprano here given, add his 
 own tenor and alto, and when done compare his work with the 
 model. 
 
 Exercise. 
 
 Second. Harmonize the melody given in Figure 42, using 
 the chords indicated. 
 
 42.
 
 HARMONY SIMPLIFIED. 
 
 25 
 
 Third. Acid whatever is lacking in Figure 43. In measures 
 six and seven notice how the stems of the notes are turned. 
 
 43. 
 
 2 ! 1 ^F I Hf 
 
 5- 
 
 ^t 
 
 -r 
 
 j. 
 
 i 
 
 3 
 
 V V I 
 
 The following from Mendelssohn's " Song without Words," No. 
 28, shows I, I c , and V 7 chords both in chord form and as broken 
 chords. 
 
 44. 
 
 
 II II 
 
 V, I
 
 26 
 
 HARMONY SIMPLIFIED. 
 
 CHAPTER VI. 
 
 The b Position or First Inversion. 
 The c and d Positions. 
 
 Each of the chords so far studied may now be used with the 
 third of the chord instead of the root, in the bass (b position 
 or first inversion), but all previous rules must be followed. 
 For example, V, gives us Te in the bass, and Te must go to Doh, 
 the same as if it were in an upper voice. Figure 45. 
 
 45. 
 
 1:1 
 
 l^SS." 
 
 
 *b J b LV b LV b v b v b 
 
 Rule 1O. "When a chord is in the b position, do not double 
 the third. 
 
 The third is the least desirable tone to double, and when the 
 bass gives it prominence it must be omitted in the other parts. 
 See Figure 46, a, in which all the chords are either bad or very 
 doubtful. The use of the b position gives much greater free- 
 dom to the bass, as we may now use any tone of the scale, except 
 Ray, in the bass. Figure 46, 6, exhibits chords on each tone of 
 the scale except Ray, but of course is not to be regarded as a 
 harmonization of a scale progression in the bass. 
 
 a. b. 
 
 46. 
 
 737" "<5 f 3 s~- i ^ es \ t 
 
 I * 
 
 s f3 ^s & p & 
 
 f(T\ ^ -2 o ZIZSZIS I 
 
 
 
 ^ & & => ^ & & || 
 
 J ? ^. zy-< 
 
 9- -&- ~ ~ -*- -%- 
 
 ^-^ . ^. -*' 
 
 ^ S3 & & II 
 
 *~i. 2ZH3I3. 1 
 
 n S3 a 
 
 j & ^ \ ' 
 
 ^ 1| 
 
 IV V
 
 HARMONY SIMPLIFIED. 
 
 27 
 
 Any triad in the c position (second inversion), especially 
 when entering on the accented beat of a measure, strives to assert 
 itself as a I . That is, any triad in the c position sounds like 
 a new tonic in that position, and requires a new dominant to 
 follow, thus going into another key. If the student will play 
 over Figure 47, a and b, at the second chord in each example he 
 will feel the demand for the chord that carries us into the new 
 kev. 
 
 47. 
 
 Q^> ? r & gg == F~ 
 
 We will avoid, then, the use of the V and the IV , for one 
 
 C C 
 
 would tend to carry us into the key of the dominant and the 
 other into the key of the sub-dominant. 
 
 It is, however, possible to use these chords and still remain in 
 the original key. In order to do this we must take the following 
 precautions. We may use the V c if it is put on the un- 
 accented part of the measure, when the bass has the pro- 
 gression Doh, Ray, Me, or Me, Ray, Doh that is, moves 
 by degrees. This use of the chord though correct is at best a 
 makeshift, and is only to be used in an unimportant place. 
 Figure 48, a. 
 
 The IV C may be used with very good effect if we take care 
 to put it on the unaccented part of the measure between 
 two I chords. If this is done the bass is of course stationary. 
 Figure 48, 6.
 
 28 
 
 HARMONY SIMPLIFIED. 
 
 b. 
 
 48. 
 
 lid J pg_i 
 
 a=J -3=3- -^zr I - Ff- 
 
 -<9- 
 
 
 IV 
 
 IV 
 
 Figure 49, the beginning of a well-known hyinn-tune by 
 Portogallo, illustrates this. 
 
 M. PORTOGALLO. 
 
 49. 
 
 
 
 
 IV. 
 
 IV, 
 
 The Chopin study known as the " Black Key Etude " begins 
 with I, IV , I, repeated. Figure 50. As this is written in the 
 key of G flat the 1 is G flat, and the IV is C flat. In the second 
 measure the G flat is held through by the pedal, and so is the 
 real bass. 
 
 bd 
 
 p f -i ^ -p- m _ m m 
 
 -^-t-^L4-4-^g=H-P [ ^ i &~r\\ 
 i^^gFt 11 ' I g^l^gihl 
 
 3 
 
 /* * ^ ". t
 
 HARMONY SIMPLIFIED. 
 
 29 
 
 
 The V 7c may be used freely, care being taken that each 
 voice progresses properly. The V ?b (the third in the bass) may 
 also be used, as well as the V (the seventh in the bass). Fig- 
 ure 51. The V must go to the I and the V must go to the 
 I b . Why? 
 
 51. 
 
 Figure 52, part of the hymn-tune, " St. Thomas ", illustrates 
 some of these chords. Let the student mark them with the nu- 
 merals and also name them when played. 
 
 "St. Thomas. " 
 
 52. 
 
 
 A-MEN. 
 
 
 The following from Beethoven (" Sonata Appassionata ") is 
 composed entirely of I and V ? chords in various positions; being 
 written in D flat, the I is D flat, and the V is A flat. 
 
 53. 
 
 7.1 
 
 7c v 7d
 
 HARMONY SIMPLIFIED. 
 
 cfcf-fr-tr H * *r = = * = Ft J -^ : C l-jj-f ^ ^^^^H 
 
 _ji. zg: 
 
 * ^: * 
 
 V 
 
 7d 
 
 7c 
 
 The student should have this played to him and name the 
 chords as they are played, by the sound only. 
 
 Exercise. 
 
 First. Supply the parts that are -wanting in the following- 
 
 54. 
 
 -4-4, 
 
 
 
 -U 
 
 I f \ 75 
 
 Second. Harmonize the melody given in Figure 55. The 
 following chords are suggested, but the student should har- 
 monize the melody in several ways, using different chords 
 where practicable. 
 
 I, V,, | I, I b , I IV, I b , | V, | I, V 7 , | I, IV C , I, I b , I I c , V 7 , | I II 
 
 65. 
 
 Third. Harmonize the following bass. 
 
 56. l~ 
 
 
 7c
 
 HARMONY SIMPLIFIED. 
 
 31 
 
 CHAPTER VII. 
 Review. 
 
 We have now sufficient musical material to harmonize any 
 tone of the scale in any one of the parts, and in many cases we 
 have a choice of several chords. Below are given all the tones of 
 the scale of C, together with all the possible harmonizations so far 
 studied. The student should make such a table for himself and 
 keep it for reference, adding to it as new material is studied. In 
 this way he can tell at a glance what harmonies are possible for 
 any given tone. Of course, not all the harmonies given as possi- 
 ble are equally desirable. Usually but one chord will be 
 found suitable for any given place. When there is a choice, 
 the proper chord will be determined by the chord before and af- 
 ter, by the position in the measure, and by the progression and 
 distribution of the voices. 
 
 When the note to be harmonized is in the soprano we may 
 use : 
 
 57. 
 
 r-y- 
 
 
 1 
 
 
 SZ> 
 
 Z 
 
 
 
 
 
 185 
 
 
 b- 
 
 
 
 
 
 gy 
 
 - & 
 
 
 v2 
 
 
 I 
 
 
 
 
 
 
 
 
 O 
 
 
 
 
 
 
 
 
 ! a 
 
 , b or c 
 
 V T TV 
 
 a, b or c a or c a, 
 
 t) or c a, 
 
 b or c I Va or c 
 
 a or c 
 
 
 IV 
 
 a, b or c 
 
 V V 
 
 7a, b, c or d 7a, 
 
 v 
 
 b or c a, 
 
 b or c 
 
 7a, cord 
 
 7a, b, c or d 
 
 When the note to be harmonized is in the bass we may use : 
 
 58. 
 
 TV V V V V 
 1V c V 7c V 7d V 7b 
 
 
 I V I IV I IV V 
 
 
 f-^ * 
 
 
 
 ^2 
 
 ^2 
 
 '-^ 
 
 
 
 ! 
 
 j-^ 
 
 *2 
 
 2! 
 
 
 
 
 
 
 
 
 
 
 
 
 
 By this it is seen that we have much greater freedom when 
 the soprano is given than when the bass is given.
 
 32 
 
 HARMONY SIMPLIFIED. 
 
 It cannot be too strongly impressed on the student that these 
 three chords in their various positions are the framework of all 
 composition. For this reason they are known as the primary 
 triads. Other chords which we shall next proceed to study 
 (secondary triads) are more or less exceptional in their use : 
 the I, V, IV, and V 7 , constitute nine-tenths of the chords 
 in common use. 
 
 So far all our exercises have been in the key of C. When we 
 write in any other key we shall find the chords of the key of C 
 having other names and characters. Thus C, E, G, the I of C 
 becomes the IV of the key of G, and the V of the key of F. 
 
 IV 
 
 I 
 
 Key of C: 
 Key of G: 
 Key of F: 
 
 F A C E G B D 
 
 C E G B D Fff A 
 
 A C E G 
 
 Exercise. 
 
 First. Return to Chapter II. and write one exercise from each 
 chapter to the present in the keys of G, F, and A, and then har- 
 monize with the chords given. Figure 17 becomes : 
 
 InG. 
 
 InF. 
 
 etc. 
 
 59. < 
 
 
 etc. 
 
 I IV V etc. 
 
 I IV V etc. 
 
 U I 
 
 I IV V etc.
 
 HARMONY SIMPLIFIED. 
 
 33 
 
 In Chapter III. write the various intervals in these three keys. 
 In Chapter IV. write Figure 35 in these three keys and fill in the 
 parts. Do the same with Figure 43 in Chapter V., and with Fig- 
 ure 54 and 55 in Chapter VI. 
 
 Second. Also harmonize the following : 
 
 a. Soprano given. 
 
 60. 
 
 b. Bass given. 
 
 feE ^ 
 
 =1 
 
 1:1 
 
 In the first fourteen measures of Paderewski's " Minuet a 1' An- 
 tique " there are no chords that we have not already studied. 
 Let the student analyze these measures, noticing how far our 
 rules have been followed. Figure 61. 
 
 ' &* 
 
 1 *-*f*- 
 
 _ _^j * ^ 

 
 34 HARMONY SIMPLIFIED. 
 
 CHAPTER VIII. 
 Minor Chords. The Super-Tonic. 
 
 All the chords so far studied are composed of a major third 
 plus a minor third, and are called major chords. Now if the 
 first third is minor, and the chord is composed of a minor third 
 plus a major third, the chord is called a minor chord, as D, F, 
 A, or A, C, E. Minor chords are represented by the small 
 Roman numerals, as n, m, vi. Figure 62. When we hear a 
 minor chord, a doubt arises as to which tone we should regard as 
 the root, the first or the third ; for this reason the third in minor 
 chords is frequently doubled instead of the root even in the b 
 position. Figure 63, a, the third and ninth chords. 
 
 M3d + m3d M 3d + m 3d m3d + M3d m 3d + M 3d m3d + M3d 
 
 P=: 
 62. 
 
 IV V n vi 
 
 Major Chords. Minor Chords. 
 
 The most common minor chord is the one formed on Ray ; it 
 is represented by n, and is called the super-tonic, since it is the 
 chord just above the tonic. The character of the chord, as is 
 shown by the tones of which it is composed, is expectant (Ray), 
 solemn (Fah), and somewhat sorrowful (Lah). The n is used 
 more often in the b position than with the root in the bass. 
 
 Rule 11. The II must progress to the V, V 7 , or I c . 
 
 The progression of the n is the normal progression, that is, to 
 the V, but as the I c demands the V strongly, the ear accepts the 
 I c as being only a delaying of the progression for one chord. As 
 the V 7 contains Fah, the third of the n, the progression to the V_ 
 is smoother than to the V alone. Compare the progression of the 
 I c to the V 7 . Figure 39.
 
 HARMONY SIMPLIFIED. 
 
 35 
 
 The following illustrates the use of the n. The notes in 
 parentheses, as we shall learn later, do not belong to the harmony 
 at all. 
 
 " America." 
 
 63. 
 
 H i i | -F= s | I I I \=\-\ iv=f H 
 
 '~\) A I 
 
 *-*^ 
 
 UK V 
 
 1 
 
 BEETHOVEN, op. 14, No. 2. 
 
 ^f- 
 
 *==H 
 
 =fr 
 
 --- 
 =1 
 
 s 
 
 l__ f _ ^ lr __ 
 
 r 
 
 i 
 
 ERT. ' Waltz/' op. 9. 
 
 / 
 
 
 II 
 
 - J 
 
 4= 
 
 v 
 
 IV 
 
 Exercise. 
 
 First. Harmonize the soprano given in Figure 64. 
 Second. Write a new harmonization of the same melody, 
 after having transposed it into the key of A.
 
 HARMONY SIMPLIFIED. 
 
 Third. Take the bass thus formed in the key of A, -write a 
 new soprano to it, and add the tenor and alto. 
 
 64. 
 
 p 0- 
 
 I 
 
 I V 
 
 IV 
 
 
 v v v 7d i b 
 
 v b v 7b 
 
 i v v 
 
 Fourth. Also harmonize the bass given in Figure 65. 
 
 F^^-.^ 
 65. 4- 
 
 Let the student constantly be on the lookout for the chords 
 he has learned, trying to recognize them in the music he plays 
 or hears. He should have his own and his fellow students' exer- 
 cises played to him, and name the chords by the sound.
 
 HARMONY SIMPLIFIED. iJ7 
 
 CHAPTER IX. 
 The Mediant and Sub-Mediant Chords. 
 
 As there are three major chords in each key, one based on 
 the key-note, the others based on the fifth above and on the fifth 
 below the key-note (I, V, IV), so there are three minor chords 
 which stand in the same relation to each other. If we take the 
 sixth degree, Lah, as a starting point, we find that the chord 
 based on it is a minor chord (Lah, Doh, Me), and the chords based 
 on the fifth above (Me) and on the fifth below (Ray) are each 
 minor chords. This relation, if emphasized, gives rise to the 
 minor mode, which we shall treat later. 
 
 II 
 
 A 
 
 
 VI 
 
 A 
 
 Doh 
 
 
 in 
 
 A 
 
 Ray Fah 
 
 Lah 
 
 V 
 
 Me 
 
 Soh 1 
 
 or in the key of 
 
 C: 
 
 
 
 
 II 
 
 A 
 
 
 VI 
 
 A 
 
 
 ni 
 
 A 
 
 D F 
 
 v 
 A 
 
 C 
 
 V 
 
 E 
 
 G 
 
 B 
 
 As in the case of the three major chords, these three chords 
 contain all the tones of the scale, two tones (A and E) occurring 
 in two chords. Thus we have now two possible ways of harmo- 
 nizing any tone of the scale, and three possible ways of harmo- 
 nizing the four tones, Doh, Soh, Lah, and Me. This does not 
 include the use of the V 7 or of any inversion. 
 
 The chord on the sixth degree is called the sub-mediant 
 sub meaning " below " and mediant meaning " half-way," because 
 this chord is half-way between the roots of the tonic and the sub- 
 dominant. It is represented by vi. The character of the chord is 
 that of sadness (Lah), the plaintive Me intensifying and the rest- 
 ful Doh taking nothing from the sorrowfulness of the root Lah.
 
 38 HARMONY SIMPLIFIED. 
 
 This chord is much used. It occurs sometimes in place of the I, 
 and sometimes in place of the IV, as it contains two tones of each 
 of these chords Doh and Me of the I, and Lah and Doh of the 
 IV. Figure 66, b. Its progression is the normal one, that is, to 
 the n. Figure 66, c. 
 
 66. 
 
 b *c 
 
 The chord on the fifth below Lah, the n, has already been 
 spoken of. The chord on the fifth above Lah is called the medi- 
 ant because it is halfway (mid-way) between the I and the V. 
 It is the least useful of all the chords. This is due to two 
 causes : First, the character of the chord ; Second, its remoteness 
 from the I. The character of the chord should be quiet or plain- 
 tive, being based on Me, but the restlessness of Te and the bold- 
 ness of Soh do not combine well with this. So the chord has an 
 uncertain, vacillating character that causes it to be of little use 
 where progress is desired. By remoteness from the I is meant 
 that if we follow the normal progression of the chords, it will 
 take four progressions to reach the I. Thus : in, vi, 11, V, I. 
 The relationship between the mediant and the I is not readily 
 grasped, and so the chord is not much used. As just indicated, 
 the progression of this chord is the normal one, to the VI. No- 
 tice that the farther we go from the I the weaker the progression 
 of the chord ; the desire of the in for the vi, and of the vi for the 
 ii is much less than that of the V or V 7 for the I, or of the n for 
 the V. The complete chain of chords, in, vi, n (I C ),V, or V , I, 
 gives the strongest possible progression. 
 
 The following illustrates the use of the three chords n, in, 
 and vi.
 
 HARMONY SIMPLIFIED. 39 
 
 GUILMANT. " Second Sonata for Organ." 
 
 67. 
 
 Figures 68 and 69 also contain examples of these chords. 
 Let the student analyse them, marking all the chords in each. 
 
 Old Chant. 
 
 68. 
 
 :ZT_,_ 
 \\lZ> 
 
 
 i 
 
 1 
 
 jSL 
 
 
 
 r 
 
 WAGNER. Bridal Chorus from "Lohengrin." 
 
 69. 
 
 
 
 iHs 
 
 ^-t 
 
 r- 
 
 ==J=p|i==ti=S=Ff =n 
 
 =L^= =^E 
 
 A very beautiful use of the mediant chord is found in 
 Chopin's " Polonaise," op. 26, No. 2. Here- it gives a stopping, 
 hesitating effect it suggests being plucked back by the clothing 
 just as one is about to take a forward step. Figure 70. 
 
 70. 
 
 / 
 
 !t 

 
 40 
 
 HARMONY SIMPLIFIED. 
 
 Exercise. 
 
 First. Harmonize the following chord progression. "Write 
 in duple time. I, V b , | I, VI, | n b , V, | V 7d , I b , | I, IV, | I b , III, | 
 Vi,ii b , I C ,V 7> V 7 , |I. II 
 
 Figure 71 may be used as the soprano part. 
 
 71. 
 
 T -(g-g-fg"~JTig -T^-hP-f -* g -H g -'g I ^ -FigT 
 
 The b position of these minor chords may be used 
 freely, but the c position is very rare and had best be 
 avoided. 
 
 * 
 
 72. 
 
 EEE-ES3 
 
 
 1:1 
 
 w~ r~ 
 
 i 1 
 
 Second. Fill in the parts wanting in Figure 72. The stu- 
 dent has now a sufficient knowledge of chords to analyse any ordi- 
 nary hymn tune. Let him take the tunes " Old Hundred " an<j 
 " "Webb " and mark all the chords he knows, and also name the 
 chords when played to him.
 
 HARMONY SIMPLIFIED. 
 
 CHAPTER X. 
 Cadences. Concealed Fifths and Octaves. 
 
 It is not necessary that a cadence give an effect of complete 
 close. (See Chapter IV.) Only the perfect authentic ca- 
 dence does this. The weaker cadences are used to divide the 
 composition into rhythmical parts, usually four measures in length. 
 Any progression of chords may be used as a cadence, but certain 
 ones lend themselves more readily than others to such use, and 
 any progression used as a cadence is very greatly affected by its 
 position in the rhythm. 
 
 The following are the more important cadences : 
 
 a. V or V 7 to I, called the authentic. Figure 73, a. Also 
 the last cadence in the hymn tune " Old Hundred." 
 
 b. IV to I, called plagal or amen. Figure 73, b. Notice 
 the parallel fifths in the last two measures of Figure 73, b. This 
 is not to be imitated. 
 
 c, I to V, called half cadence to dominant. Figure 74. 
 Also the second cadence in " Old Hundred." 
 
 d. I to IV, called half cadence to sub-dominant. 
 Figure 75. 
 
 e. V or V 7 to vi, called surprise cadence, or deceptive 
 cadence. Figure 77, a and b. 
 
 HUMMEL. " Concerto," op. 89. HELLER. " Study,' 1 op. 47, No. 4. 
 
 73. 
 
 'I,. 7
 
 42 
 
 HARMONY SIMPLIFIED. 
 
 MENDE LSSOHN. ' ' Organ Sonata VI. ' 
 
 74. 
 
 75. 
 
 J-|:4: 
 
 =^=j=r 
 
 SULLIVAN. 
 
 E^ 
 
 f-f-f- 
 
 i 
 
 f i f-f 
 
 i 
 
 IV 
 
 Half cadences (especially to the V) usually occur in the 
 middle of a period of eight or more measures as a contrast to the 
 authentic cadence at the end. 
 
 f. The imperfect authentic cadence (See Chapter IV) is 
 used to avoid a complete close in positions where a tonic cadence 
 is expected. Figure 76. 
 
 MEXDELSSOHN. " Organ Sonata V." 
 
 76. 
 
 !^=p^EEE^ 
 
 J J 
 
 The surprise cadence is an example of an irregular progression 
 of the V 7 , which will be treated later. It is used in much the 
 same way as the imperfect authentic.
 
 HARMONY SIMPLIFIED. 
 
 STAINER. "Chorale." 
 
 RIMBAULT. 
 
 77. 
 
 When two voices move in parallel motion from another inter- 
 val to a fifth or an octave, the progression is called concealed 
 fifths or octaves. (Notice the plural name, although there is 
 but one fifth or octave.) Such progressions are not desirable, but 
 are unavoidable at times. Avoid them between outer voices 
 (soprano and bass) ; when the voices make a skip or otherwise 
 call attention to themselves ; or when for any reason the progres- 
 sion is in other respects not as good as is desirable. The following 
 progressions are all bad. 
 
 78. 
 
 I3=g=! 
 
 1 
 
 1 
 
 Exercise. 
 
 First. Add the parts that are -wanting to Figure 79. 
 
 Second. Write a new soprano to the same bass and add 
 parts. Notice that this is composed of two four-measure phrases, 
 the first ending with a half cadence to the V, and the second with 
 a very strong perfect authentic cadence.
 
 44 
 
 HARMONY SIMPLIFIED. 
 
 fcftF^: 
 
 * *- 
 
 ^ 
 
 ^ 
 
 ^ 
 
 rf 
 
 :p: 
 
 Z^ ^__J_^J_J_ 
 
 -*' = i 
 
 ^&~* ~fiT r ~ 
 
 ^-^-U 
 
 V 1 -!/ 
 
 
 
 II 
 
 
 J\ U , 
 
 
 
 II 
 
 ^w- 
 
 > 
 
 
 
 
 9 M (^ 
 
 
 
 IJ 
 
 *b IV b 
 
 Third. Add the parts that are wanting to Figure 8O. This 
 is composed x>f four four-measure phrases with the following 
 cadences : first, an imperfect authentic ; second, an imperfect half 
 cadence to V ; third, surprise cadence ; fourth, perfect authentic 
 cadence. 
 
 80. 
 
 
 
 7e 
 
 vi V,
 
 HARMONY SIMPLIFIED. 
 
 CHAPTER XL 
 The Sub-Tonic or Diminished Chord. 
 
 We have now formed triads on each degree of the scale 
 except the seventh, Te. It is not possible to form within the 
 key either a major or a minor chord on this degree, as the interval 
 Te-Fah is composed of two minor thirds. The triad formed 
 here is a diminished chord. It is called the sub-tonic (below 
 the tonic), and is lettered vn. The cypher indicates the small 
 or diminished fifth. Although the chord is based on Te, it has 
 no true root. It is not of frequent occurrence in modern four- 
 voiced writing, and when used is generally treated as if it were a 
 V 7 chord with the root omitted. It progresses to the I. The b 
 position is the most common, and the so-called root, Te, is not to 
 be doubled. The reason that Te is not to be doubled is that Te 
 is not the real root ; also being the leading tone of the scale with 
 a definite progression, it would, if doubled, bring about paral- 
 lel octaves. When the fifth, Fah, is doubled, the two Fahs must 
 progress in contrary motion. The progression of the fifth, Doh- 
 Soh, to the diminished fifth, Te-Fah, is allowed, but the reverse 
 progression would be an aggravated case of concealed fifths, and 
 had best be avoided. Figure 81. The diminished fifth is shown 
 by 5th. 
 
 81. 
 
 .VT ^- ^^^~ ^s 
 
 .a*-} _ J /^ 
 
 
 II 
 
 m -=- 
 
 S & 
 
 .1 _ ( 
 
 -Gt-^^-O 
 
 w ^ .& 
 
 Good. 
 
 Good. 
 
 Doubtful. 
 
 o -<5 1 " 
 
 Good. 
 
 pv 
 
 
 
 H 
 
 2 
 
 2 
 
 _^ SS 1 
 
 ^ - |J 
 
 5th 5th 5th 5th<>
 
 46 
 
 HARMONY SIMPLIFIED. 
 
 Figure 82, a chant by Dupuis, shows the vn first with the 
 third, and then with the fifth doubled. See also Figure 52, the 
 seventh chord. 
 
 T. S. DCPUIS. 
 
 82. 
 
 
 
 I& & 
 
 
 
 1 
 
 
 
 
 ^ 
 
 J 2 
 
 
 
 
 
 
 & 
 
 VMy g 
 
 cj 
 
 z 
 
 m 
 
 
 ^ 
 
 ^ 
 
 
 
 -0- 
 
 
 9 
 
 
 -p- 
 
 ^/ 
 
 
 ^~^ if 
 
 ^ i^ 
 
 ^5 1 J^J ^^ 
 
 M 
 
 
 1 
 
 
 
 1 iff / t 
 
 i 
 
 1 
 
 1 
 
 
 
 
 % 
 
 -^ V ^ 
 
 Ce 
 
 J^ 
 
 F U 
 
 
 
 
 
 j_ 
 
 (S Si 
 
 1 ^s \ \^- 
 
 r p 
 
 
 r^ 
 
 
 
 
 r 
 
 T 
 
 1 I 
 
 
 1 
 
 
 
 The character of the chord is what we should expect would 
 be the result of taking the strong steady Soh away from the V 7 , 
 and leaving the contradictory Te and Fah. Although the pro- 
 gression of the chord is strong, the chord itself is weak. What- 
 ever strength it has, it derives from the strong progressive 
 tendency of Te and Fah. 
 
 All the chords last studied, that is, the n, vi, HI, vn, 
 may be used in the b position. The b position is even 
 more common than the a position especially in the u, in, 
 and vn. The c position is very rare in all of them, and 
 even when found should rather be regarded as an accidental com- 
 bination of tones brought about by the melodic progression of the 
 parts, than as a real chord formation. 
 
 Exercise. 
 
 First. Harmonize the bass given in Figure 83. 
 Second. Add the tenor and bass to Figure 84. 
 
 E T 
 
 ^^g 
 
 83. 
 
 [ I
 
 HARMONY SIMPLIFIED. 
 
 47 
 
 
 
 84. 
 
 ^ h^ ) I 23 gH- H 
 
 I 
 
 V 
 
 7d 
 
 b V 7d 
 
 35 1 r<^ n 1 1 1 i 1 (S? i 1 n n 
 
 vi vug V 7c 
 
 Third. Add soprano, alto, and bass to the following tenor. 
 First transpose to the key of D. 
 
 - ---- m +-- -9- --- -i ^- m -&- 
 
 . -f- - *-f-:F-fi* i-.-r t \--f- 1 
 
 85. 
 
 m 
 
 vi IV V 
 
 7d 
 
 VI III VI I K II
 
 48 
 
 HARMONY SIMPLIFIED. 
 
 CHAPTER XII. 
 The ii, in, vi, and vno with the Seventh. 
 
 The V 7 is the only chord of its kind that is possible in a key; 
 that is, it is the only major chord with minor seventh that 
 can be formed without using tones foreign to the key. So when 
 we hear such a chord we know at once what the key is. 
 
 86. - 
 
 -I etc. 
 
 ''Key: C. 
 
 E. 
 
 But other kinds of seventh chords may be formed on the other 
 six tones of the scale. The most common of these is the II 7 
 (super-tonic seventh), formed by adding the seventh, Doh, to 
 the ii chord. Figure 87. This is of course a minor chord with 
 a minor seventh. Its progression is the same as that of the II 
 chord, that is, to the V, V 7 , or I c , but it demands this progression 
 even more strongly than does the ii alone. The seventh, Doh, 
 should go to Te. If the n goes to the I c , the Doh is stationary, 
 but goes to Te in the following chord (V or V 7 ), and the Te 
 in turn comes back to Doh. Figure 87. 
 
 87. 
 
 9t 
 
 m 
 
 "7 V 7c 
 
 7d 
 
 All the seventh chords in this and the following chapters 
 will have the best effect if the seventh is prepared. This is also 
 the case with any dissonant tone.
 
 HARMONY SIMPLIFIED. 49 
 
 BARNBY. " Paradise." GOUNOD. "3d Mass." 
 
 88. 
 
 
 Ho-san- na in the high -est. 
 
 3aUj-g44-U4=m: 
 
 vi n 71) V 7 I 
 
 'Td 
 
 Figure 89 from Gade's " Aquarellen," contains H 7 chords in 
 a, b, and c position. 
 
 GADE. "Romance," op. 19. 
 
 89. 
 
 j-qit_g_g >_{=: 
 
 In the following from Chopin's " Barcarolle," the remarkably 
 strong progression of the n 7 is very plainly shown. 
 
 CHOPIN. "Barcarolle." 
 
 90. 

 
 50 
 
 HARMONY SIMPLIFIED. 
 
 Rule 12. In all seventh chords the seventh should progress 
 or resolve down-ward one degree. 
 
 For example, Fah to Me in the V 7 , and Doh to Te in the II 7 . 
 It follows from this that the seventh should not be doubled, as 
 the result would be parallel octaves. The same prohibition 
 applies to any tone that has a definite progression, as Te. See 
 Chapter XI., page 45. 
 
 Each of the other minor chords (the vi and the ni) may 
 be used with the seventh added. Neither is of frequent 
 occurrence ; when used they progress normally. Figure 91, a. 
 In Figure 89, the chord marked + is the IH 7 progressing nor- 
 mally to the vi. In this IH 7 the third is omitted, as we know is 
 sometimes the case in the seventh chords. 
 
 91. 
 
 Sir JOHN STAINER. "Anthein." 
 b. 
 
 
 
 Ill VI- II 
 
 Figure 91, 5, from an anthem by Sir John Stainer, illustrates 
 the use of the VI 7 . In this case the II also contains a seventh. 
 Such progressions of seventh chords are very common. 
 
 A chord of the seventh is also formed on the viio, the 
 vil^. We may consider this as either a true seventh chord on 
 Te, or, preferably, as a part of the V 7 with added ninth. Its 
 progression is either directly to the I or through the V 7 to the I. 
 Te goes to Doh, Lah to Soh, and usually Fah to Me. If its pro- 
 gression is to the V 7 , Lah is the only tone to move. Figure 
 92, a.
 
 HARMONY SIMPLIFIED. 
 
 51 
 
 MENDELSSOHN. 
 b. 
 
 " St. Paul." 
 
 92. 
 
 ful^p =1^= 
 
 c 
 
 This chord is very frequently used, generally progressing to 
 the V ? . In the progression of vn 7a to the I a either the third of 
 the I must be doubled or we have the parallel fifths Ray-Lah, 
 and Doh-Soh, so the progression to the V 7 is preferred. 
 
 These last chords are of infrequent occurrence, and the added 
 seventh weakens rather than strengthens the chord ; for it will be 
 noticed that in each case the three upper tones of the seventh 
 chords form triads that are the four strongest chords of the key. 
 
 Thus the VI 7 = the sub-mediant tone + the I chord. 
 
 The n 7 = 
 
 the super-tonic tone + the IV chord. The in 7 = the mediant 
 tone + the V chord. The vn 7 = the sub-tonic tone + the 11 
 chord. In each case the tone that is trying to assert itself as 
 root and bear up the other tones as third, fifth, and seventh, is 
 itself the weakest of the four. 
 
 It will be interesting for the student to follow out in the case 
 of these chords the me'thod used with the chords studied pre- 
 viously, and determine their character from the character of the 
 tones that compose them. 
 
 All the above chords may be used in the a, b, c, and d 
 positions. 
 
 Exercise. 
 
 First. "Write out all the seventh chords so far studied, in 
 various positions and distributions with their natural resolu- 
 tions (progressions).
 
 52 
 
 HARMONY SIMPLIFIED. 
 
 Second. Write out the following succession of chords in 
 any key except C : V 7 , 1 1, vi, | vi 7 , H 7 , | V, I, | V, V 7d , I I b , m, | 
 VI, ii bl I I c> V 7d , I I b , V c , | I, IV C , I I, n 7 , | I c , V 7 , 1 1. II 
 
 Third Harmonize the soprano melody given in Figure 93. 
 
 The student is again cautioned that he is not expected to use 
 all the chords that he has studied, or even a majority of them, in 
 writing an exercise. We have studied the chords in the order o* 
 the frequency of their use. The student should use them in the 
 same order. 
 
 93. 
 
 The following from Chopin's " Ballade," op. 38, shows a series 
 of chords progressing normally but with the seventh added. 
 
 94. 
 
 ^ 
 
 CHOPIN. Op. 38. 
 
 =t= 
 
 3 
 
 IV
 
 HARMONY SIMPLIFIED. 
 
 53 
 
 CHAPTER XIII. 
 
 The I 7 and IV r Chords of the Ninth, Eleventh, 
 and Thirteenth. 
 
 Still another kind of seventh chord is the major chord with 
 major seventh. It is formed on the I and on the IV. These 
 chords are not often used and are extremely harsh. The I 7 
 goes to the IV. Te going down according to Rule 12. 
 The IV 7 goes to the V 7 (see Figure 77, a, fourth chord) 
 or I c . In this last progression (IV 7 to I c ) the seventh (Me) 
 remains stationary through the I c and then resolves. Figure 95. 
 Compare the resolution of the H 7 to the I c . 
 
 95. 
 
 5 rg~ 
 
 I 7 IV IV 7 I C 
 
 IV, 
 
 By continuing to build up thirds on the V we may 
 have the V 7>s , V 7)9j n, and V 7i9> ii ( i3. The last two can hardly 
 be called chords at all, as they lack the necessary element of 
 unity (see definition of chord, Chapter I). They are seldom or 
 never used in their complete form. It is however necessary to 
 understand them as certain combinations of tones are most natu- 
 rally explained as being these chords. The process of building 
 up thirds must stop here, as the last chord contains all the tones 
 of the scale the next third would be but the repetition of the 
 root, Soh. Figure 96.
 
 54 
 
 HARMONY SIMPLIFIED. 
 
 The V 7>9 , however, is much used. In four-voiced writ- 
 ing the chord is necessarily incomplete, the fifth usually being 
 omitted. Te and Fah progress as in the V 7 , and Lah 
 goes to Soh. The ninth Lah, must always be a true 
 ninth, that is, it must never be a secefid, but must always be at 
 least an octave and one step from the root, Soh. The seventh 
 must always be present with the ninth, and the ninth is usually 
 in the soprano part. The e,/, and y positions of chords, that is, 
 chords with the ninth, eleventh, or thirteenth in the bass, are 
 never used. Figure 96 shows the most common way of using 
 these chords. 
 
 96. 
 
 V 7,9 V 7,9,ll V 7,9,ll,13 V 7,9 V 7 
 
 7,13 
 
 The following are all from famous compositions of acknowl 
 edged masters. They illustrate the use of the V 7 9 , IV 7 , 
 and V, 
 
 7.13' 
 
 97. 
 
 SCHUMANN. "To the Sunshine." BEETHOVEN. Op. 14, No. 1.
 
 HARMONY SIMPLIFIED. 55 
 
 CHOPIX. ' ' Ballade in F. " 
 
 IP 
 
 E3 f tf _llil^ J J-^l 
 
 j T" * r 
 
 smorzando 
 
 = 
 
 ^ " V 7,13 
 
 
 V 7,13 l V 7,13 
 
 CHOPIN. " Nocturne, G Major." 
 
 / 
 
 ft\-"- 
 
 
 1 
 
 m j 
 
 
 
 
 1 
 
 
 
 
 ^"K 7 S 
 
 p 
 
 2 ' 
 
 <? . 
 
 r : 
 
 -1- 
 
 
 
 
 c\- ^ 
 
 
 
 
 * 
 
 J- u 
 
 
 
 
 
 \L 
 
 iv n 
 
 GOUNOD. "Faust." 
 
 7,13 
 
 Exercise. 
 
 First. Harmonize the Soprano melody given in Figure 98, 
 using the chords indicated. 
 
 Second. Write also a second harmonization of the same 
 melody, using more simple chord progressions. 
 
 * 
 
 -*- ^ b^ 
 
 I iv 
 
 7,9 
 
 iv 7 v 7 i
 
 56 
 
 HARMONY SIMPLIFIED. 
 
 I_J 
 
 tr 
 
 
 tf 
 
 
 5 
 
 E! 
 
 
 
 
 V > -ay 
 
 
 L 
 
 i 
 
 1- 
 
 
 
 
 f 
 
 + II 
 
 < 
 
 9< 
 
 I 
 
 3*- 
 Th 
 
 ! 
 
 ( 1 i-j 
 
 TV V V 
 lv 7b V 7b V 7d 
 
 ird. Complete Figure 99. 
 K J J I 
 
 rOTKr* 1 r-*- J r 1 r-J 
 
 ~ 1 1 
 
 Tb V 7 
 
 in 
 
 ft t 
 
 : w. , 
 
 
 
 - ' 
 
 
 * S 1 
 
 j 
 
 B 
 
 
 
 
 
 1 
 
 
 4 
 
 
 
 ' 
 
 
 
 
 
 
 
 
 
 
 
 
 
 f 
 
 
 
 f 
 
 
 
 
 
 - i 
 
 
 
 
 
 
 
 
 
 
 r f \ 
 
 
 
 
 
 
 '1 
 
 
 4 
 
 
 
 
 
 
 1 
 
 
 1 
 
 r ^ i 
 J ^J _J 
 
 
 
 IS 
 
 IV 7 7b V 7d 
 
 :^ 
 
 
 
 m m & 
 
 
 
 
 p 
 
 
 T 1 
 
 
 
 4 
 
 
 
 
 J 
 
 
 
 
 
 
 
 __i 
 
 9 
 
 4 
 
 ^r^ 
 
 9~ 
 
 A \ m u J 
 
 St^z 
 
 
 
 i 
 
 
 
 
 
 
 
 
 
 ^Tan; 
 
 F 1 
 
 
 
 
 ^ (* ' r l* 1 
 
 -^ jl 
 
 i/ ' 
 
 
 
 
 
 ff 
 
 
 
 
 
 . m V 1 
 
 III 7 VI ] 
 
 aJt 
 
 1 1 1 
 
 V 7 
 
 V 7,9, 
 
 b 
 
 J f J 
 
 ? 
 
 
 
 
 J j - 
 
 
 
 
 
 * ^5 II 
 
 
 
 
 * J 
 
 
 
 J 
 
 II 
 
 
 
 
 
 
 m 
 
 9 
 
 
 vi n 7 vug n 
 
 ni b V 7 V 7,13 
 
 In the fourth measure from the end, in the vn chord, the 
 Te may be doubled in the tenor part, since it progresses down- 
 ward, the second Te going to Doh.
 
 HARMONY SIMPLIFIED. 
 
 57 
 
 CHAPTER XIV. 
 Irregular Progressions. By-Tones. 
 
 We have now studied the formation and natural progression 
 of all the chords that can be formed within the key. It would 
 be beyond the scope of the present work to attempt to follow out 
 irregular progressions of these chords, in fact it would be im- 
 possible even in a much larger work to mention even a majority 
 of the progressions that may be found. But there are some pro- 
 gressions that are of such importance and frequent occurrence 
 that some notice must be taken of them here. 
 
 First. Chords that contain tones in common are fre- 
 quently used in place of each other. Thus the vi for the I ; 
 the H for the IV; the ni for the V, and vice versa. Figure 100. 
 The ear accepts the substituted chord on account of its similar 
 sound. 
 
 100. 
 
 3=^==| 
 
 <9 G> I 
 
 1 
 
 : 2 i d s i 
 
 -H i 3E -4- 
 
 ) S* 3 ^j 3 5* 
 
 i ^ ^ i i 
 
 -a 
 
 or 
 
 instead of 
 
 1 
 
 f2 (2 S3 3 
 
 
 '{ F | r 7 

 
 58 
 
 HARMONY SIMPLIFIED. 
 
 4 
 
 I 
 
 instead of 
 
 etc., or 
 
 etc. 
 
 fl 
 
 == 
 
 r 
 
 Second. Two chords that contain two tones in com- 
 mon also frequently progress to each other. This has been 
 well called the passive progression. Here one tone takes the 
 place of another for the moment, and the idea of advancement is 
 subordinate. The illustration will make this plain. Figure 101. 
 
 101. 
 
 etc. 
 
 33 
 
 ^~i ^~i 
 
 ^7 ^ /^ 
 
 ^ 
 
 - r< ex 
 
 -^ S3 S3 
 
 *< ,** 
 
 -*. ^ ^ > 
 
 ^* " 
 
 -^_^ 
 
 It was said in Chapter II. that composition deals with voice 
 progression and with chord progression. In such examples as 
 the above, the single moving voice is the point of interest. The 
 following example from Wagner's " Lohengrin " is a wonderfully 
 beautiful use of this simple progression. It is used at the moment 
 when all action on the stage ceases and Lohengrin bids farewell 
 to the swan. Figure 102, a. Figure 102, 6, shows the progres 
 sion of II to VI, and vi to IV.
 
 HARMONY SIMPLIFIED. 59 
 
 WAGNER. "Lohengrin." 
 
 102. 
 
 Fare - well, 
 
 fare - well, my dear - est swan. 
 
 -g- 
 
 -f 
 
 I 
 
 
 
 
 3 
 
 d.. .. 
 
 .1 
 
 ^ 
 
 ... & 
 
 II 
 
 MENDELSSOHN. "St. Paul." 
 6. 
 
 II VI IV 
 
 We may add, then, to the progressions already studied tnat 
 of the V 7 or V to vi, the V to in, the IV to n or to vi, the vi to IV 
 or to I, the in to V or to I, the n to VIP, vii?, or to IV. The fol- 
 lowing table gives the progressions of each chord in about the 
 order of the frequency of their occurrence. 
 
 I to any chord. 
 
 II normal to V. Also to V 7 , I c , IV, vno, vn. 
 in normal to vi. Also to V, V 7 , or I. 
 
 IV to I, V, V 7 , II, vi. 
 
 V normal to I. Also to Vi, in. 
 Vi normal to n. Also to IV or I, 
 Vii to lor V 7 .
 
 60 
 
 HARMONY SIMPLIFIED. 
 
 The addition of the seventh to any one of these chords 
 strengthens its tendency to make the normal progression. 
 Chords in the b position move much more easily to the unusual 
 progressions than when they are in either the a or the c position. 
 
 Seventh chords may move to other seventh chords. 
 
 When one voice moves to some other tone of the same 
 chord, the other voices remaining stationary, such inter- 
 mediate tone is called a by-tone. 
 
 Rule 13. A by- tone must be a tone of the chord, not some 
 new tone, and must appear on the unaccented part of the beat 
 or measure. Figure 103, a, c, d. The figure so frequently used 
 in accompaniments called " broken chords " is a common ex- 
 ample. 
 
 103. 
 
 
 + 
 
 1 
 
 HOFMANN. "Melusina." 
 
 /T h u / iv 
 
 ^ 
 
 a. 
 
 in\ ocE 
 
 
 i ~-m ^ 
 
 fin 
 
 
 ! 1 2 ' 
 
 C ."" 
 I s 
 
 
 
 c 
 
 
 1 I/ / 4 M 
 
 
 i * i 
 
 -^ 1* i- J i 
 
 i M 
 
 J 
 
 " 7 C 
 
 b F 
 
 | 
 
 P 
 
 
 HUMMEL. Op. 55. 
 
 
 + 
 
 jLjLJt 
 
 -N-i 1 1 
 
 * J_ J* ^ ^ 
 
 ^^1
 
 HARMONY SIMPLIFIED. 
 
 61 
 
 MOZART. " Symphony in 
 
 In Figure 103, 6, although the new tone really forms a differ- 
 ent chord, the V 7 , it is customary to regard it as a by-tone. The 
 notes marked with an + in Figure 103, e, f, and g are all by-tones. 
 Two voices may take by-tones at the same time, the other voices 
 remaining without progression. Figure 104, a, b. 
 
 1O4. 
 
 d. 
 
 & '-I * L -s* * 1 *t- I *- 
 
 * I I I I 
 
 Bad. Bad. 
 
 At Figure 104, c, although both the tones F and B are in the 
 same chord, the V 7 , the progression of the soprano is not good. 
 The interval is the augmented fourth, and any augmented or 
 diminished interval is not suitable for a melodic progres- 
 sion : see also Figure 104, d, e. 
 
 Exercise. 
 
 First. Harmonize again the melody in Figure 98 and make 
 the seventh, thirteenth, and twenty -first notes by-tones. 
 Second. Complete Figure 105.
 
 62 
 
 HARMONY SIMPLIFIED. 
 
 1O5. 
 
 
 J 
 
 J _i 
 
 VIvI I 
 
 7,9,11. 
 
 
 5- 
 
 u 
 
 =Efc 
 
 Notice how much greater freedom the use of by-tones gives 
 us. In the first measure are two by-tones. Beginning at the 
 ninth measure the tenor imitates the soprano of the first four 
 measures. 
 
 Third. Complete Figure 1O6. The notes marked 4- are by- 
 tones. 
 
 106. 
 
 E^= 
 
 m 
 
 ~8 : 
 
 II
 
 HARMONY SIMPLIFIED. 
 
 63 
 
 CHAPTER XV. 
 Review. 
 
 Before taking up the study of modes and keys, it will be well 
 for us to pause here and consider what material we already have. 
 
 We have formed triads and seventh chords on each of the 
 seven tones of the scale, giving us fourteen chords. Each chord 
 may be used in the b position, giving us fourteen more. Each 
 may be used in the c position, though with many this is rare, 
 giving fourteen more. Each seventh chord may be used in the d 
 position, giving seven more. In addition we have the ninth, 
 eleventh, and thirteenth chords in various positions, and also the 
 use of by-tones. When we consider that all these chords may 
 be written in any one of twelve keys, and in an endless variety of 
 distributions, it will be seen that we have already sufficient ma- 
 terial to enable us to do a great deal. The student should read 
 again the remarks in Chapter VII, and then carefully review the 
 following chapters up to the present. By this means many 
 points will become clearer. 
 
 Exercise. 
 
 First. As an exercise take the melody of Figure 1O7, and 
 use it first as a soprano, then as an alto, then as a tenor, and fi- 
 nally as a bass, transposing so as to make the compass of the 
 voices convenient, and add the three remaining parts in each 
 case. Quarter notes as by-tones may be used wherever effective.
 
 64 
 
 HARMONY SIMPLIFIED. 
 
 The harmonizations should be written in several ways, in one 
 using only the simplest chords, in another introducing some, not 
 many, of the more 1 unusual chords and progressions. 
 
 Below are given the possible harmonizations of each tone of 
 the scale when the soprano is given. The various positions are 
 omitted. 
 
 108. 
 
 Jf- 55 <S 
 
 
 -& 
 
 
 I ii in IV 
 
 V vi vii. 
 
 I 7 n 7 in 7 IV ? 
 
 V ? v, T vo 
 
 VI VII I II 
 
 v 7(9 iv v 7 
 
 vi 7 vn I 7 n 7 
 
 V 7,ll IV 7 V 7,9 
 
 IV V vi vn 
 
 V 7,13 V 7,ll 
 
 IV, V, vi, vn? 
 
 n 7 v 7)13 
 
 n 7 in 7 IV 7 V 7 
 
 in 7 v 7)9 v 
 
 V V V 
 V 7,ll 7,13 V 7,9 
 
 vi ? vno , 
 
 V 
 
 7,11 
 r 7,13 
 
 Second. Write out a similar table of the possible harmo- 
 nizations of the tones of the scale when the bass is given. 
 
 Third. Harmonize Figure 109. In one place the progression 
 indicated is slightly different from that given in the text. 
 
 
 rr- 
 
 VI IV I K V 
 
 7.1 
 
 Fourth. Analyze the hymn tune called " Missionary Hymn," 
 marking with the proper numerals all the chords that we have 
 studied.
 
 HARMONY SIMPLIFIED. 65 
 
 CHAPTER XVI. 
 The Minor Mode. 
 
 We have seen in Chapter VIII that the three minor chords of 
 a key have the same relation to each other as the three major 
 chords. If this relation is emphasized and the three minor chords 
 are made the most important and the three major chords are 
 made subordinate, the minor mode is produced ; minor meaning 
 secondary or subordinate, and mode meaning the manner or 
 method of using the chords. It is important to remember that 
 the character of the chords is unchanged, the minor chords are 
 still sorrowful in character, the major bright and bold, but the 
 whole character of the composition is governed by the minor and 
 not by the major chords as formerly. This is because the minor 
 chords are given greater prominence and the major chords less. 
 
 The vi now becomes the central chord, and is a minor tonic, 
 to which the in is a dominant and the 11 a sub-dominant. 
 So the chord on Lah, formerly the vi, we now call the I, that is, 
 the minor tonic ; the former ill is v, and the n is now iv. Now, 
 the tonic character of this new tonic is greatly strengthened if we 
 make the new dominant (in of the major mode) a major chord by 
 changing Soh to Se. Figure 110, a. This is almost invariably 
 done, as the ill is a very weak chord, and here we require a strong 
 chord if it is to have the dominant character. Our chords will 
 now be : 
 
 iv i V 
 
 A 
 
 Ray Fah Lah Doh Me Se Te 
 
 4 ^ -* 3, f 1 
 
 f 2 v? & i. 
 
 Forming a scale of the tones of these chords we have : Lah, 
 
 Te, Doh, Ray, Me, Fah, Se. This is called the harmonic 
 minor scale. We may form chords on each degree of this scale 
 exactly as we did with the major scale. Figure 110, b.
 
 66 
 
 110. 
 
 HARMONY SIMPLIFIED, 
 b. 
 
 As Lah is now the tonic tone, we regard it as the key note of 
 the minor mode, just as Doh is the key note of the major mode. 
 Thus, if C is Doh, our key is either C major (mode) or A minor 
 (mode), according as we use Doh or Lah as tonic. The two 
 keys are written with the same signature, and are said to be each 
 the relative of the other ; as, A flat major the relative major of 
 F minor, or A minor the relative minor of C major, or G the rela- 
 tive major of E minor. 
 
 The chords formed on the minor scale are used very nearly as 
 are the corresponding chords in the major scale. Thus the I (on 
 Lah) is used precisely as the I (on Doh). The V, V ? and IV 
 are used just as the corresponding chords in the major. 
 
 The interval from Fah to Se is an augmented second ; as 
 stated in Chapter XIV, augmented and diminished intervals are 
 not good melodic intervals, so we will avoid the progression 
 of Fah to Se. Figure 110, c. 
 
 Exercise. 
 
 First. Harmonize the following bass. When complete com- 
 pare the result with Figure 41. 
 
 
 V V i
 
 HARMONY SIMPLIFIED. 
 
 67 
 
 Second. Complete Figure 111, b. 
 
 Third. Transpose the bass thus completed into c minor and 
 write new upper parts. 
 
 111. b. 
 
 The use of the b and c positions in the minor mode is 
 the same as in the major, but as the i and iv are here minor 
 chords, the third may be doubled even in the b position. 
 
 Figures 112 and 113 illustrate the i, V, and iv in the minor 
 mode. 
 
 112. 
 
 HANDEL. " Acis and Galatea. ' 
 
 ^ 
 
 N 
 
 
 v r 
 
 ,- J- I* 
 
 iH 
 
 4i * fe: 
 
 1 
 
 Moderate. 
 
 Y 'b Iy b Iv b V 
 
 GURLITT. Op. 117. 
 
 U3. 
 
 .- i 
 
 IT V
 
 68 
 
 HARMONY SIMPLIFIED. 
 
 CHAPTER XVII. 
 The Minor Mode Continued. 
 
 It will be found that in the minor mode there is always a ten- 
 dency to revert to the major mode. The minor mode is more 
 artificial than the major, and the minor chords are weaker than 
 the major, so that it requires a constant effort to make the minor 
 mode appear the basis of the composition. This is found to be 
 especially true when we attempt to use the mediant, sub-mediant, 
 major sub-tonic (using Soh instead of Se), in the minor mode. 
 These three chords are the I, IV, and V of the major mode, and 
 must be used very sparingly or the feeling of the minor mode is 
 lost. By referring to Figure 110, 6, we find that if Se is used 
 as the seventh of the scale, the III becomes III+, a major chord 
 with augmented fifth (the augmented fifth indicated by the + 
 sign), and the sub-tonic becomes a diminished chord. As Se is a 
 necessity if we are to have a leading tone, the chords as shown 
 in Figure 110 are the usual ones in the minor mode. But the 
 forms with Soh instead of Se also occur. This is shown by 
 the following, Figure 114. The Soh is most likely to occur when 
 it progresses to some tone other than Lah, and hence the need of 
 a leading tone is less felt. See also Figure 129, c. 
 
 114. 
 
 GRIEG. " Sonata," Op. 7. 
 
 G: I, 
 
 VI ' V 1 6: i. V 
 
 nr 
 
 VI VI
 
 HARMONY SIMPLIFIED. 
 
 Op. 1. 
 
 ZBLTER. " Der Konig in Thul*." 
 
 c:V i III" *c -- a: i v VI iv V 
 
 The III+ is rarely used in simple four-part writing. When 
 used it progresses to the VI as in the major mode, tnat is, the 
 normal progression. Se must progress to Lah. Figure 116, a. 
 The chord is often used with the fifth omitted, thus evading the 
 difficulty. See Figure 117, last chord. 
 
 The VI is here a major chord. It progresses to the n or IJ as 
 in the major mode, although the progression cannot be called normal 
 since the n is not a perfect fifth below the VI. Figure 11 6, b. 
 
 The vii precisely as in the major mode. Figure 116, c?. 
 
 The 11 (on Te) is here a diminished chord, but is us^d just 
 as the II (on Ray) in the major mode, unless perhaps the a posi- 
 tion is more rare. As Te is no longer the leading toca it is free 
 (o move either up or down or by a skip. Figure 116, b. 
 
 HANDEL. " Messiah." 
 
 _J_M _l -U 
 
 115. 
 
 
 116. 
 
 ^-g---^- f* J- 
 
 III III+ VI VI ng
 
 70 
 
 HARMONY SIMPLIFIED. 
 
 MENDELSSOHN. " St. Paul." 
 
 117. 
 
 tas 
 
 F 
 
 f: VI 
 
 vi 
 
 118 
 
 Exercise. 
 First. Harmonize the folio-wing bass. 
 
 a. 
 
 
 :B 
 
 Pi 
 
 in 
 
 =F 
 
 VII V 
 
 fl 
 
 -0 0- 
 
 Second. Harmonize the folio-wing soprano. 
 
 J U , ! J 
 
 
 i 
 
 m m+vi ng i c v 7o i
 
 HARMONY SIMPLIFIED. 71 
 
 CHAPTER XVIII. 
 Minor Mode Concluded. 
 
 The use of the seventh chords in the minor mode varies but 
 little from their use in the major mode. All the harmonies on 
 the dominant, that is, the V 7 , V 7 9 , V 7 g n , V 7 9 n 13 , are only- 
 found when the dominant is made major, and are then used as in 
 the major mode, but the chords themselves are slightly different 
 in their form. The V 7 is the same in both modes, and the reso- 
 lution of the third (Se) and the seventh (Ray) is the same, 
 only Ray moves down a whole step to Doh, whereas in the major 
 mode the seventh of the V 7 (Fah) moves down a half step to 
 Me. 
 
 The V 7 9 is used as in the major mode, but the ninth (Fah) is 
 a minor ninth, resolving downward a half step. 
 
 The V 7 n , or V 7 9 n , is rare, but is used as in the major mode. 
 
 The V 7 13 , which is about the only form in which the chord of 
 the thirteenth occurs, is used as in the major mode, the thirteenth 
 being here a minor interval. 
 
 The iij is very frequently used, and in the same way as in the 
 major mode. Figure 119, d. 
 
 The VI 7 and the III+ are used as are the corresponding chords 
 in the major mode. Figure 119, a, t>. 
 
 The Ij 7 , that is, the minor chord on Lah with the major 
 seventh Se added, is so extremely harsh as not to be used. The 
 i 7 (with Soh) is used progressing to the IV. 
 
 The i\ T 7 (here a minor chord with minor seventh) is much 
 more frequently used than the corresponding IV 7 in the major 
 mode. It is much more pleasant to the ear, and is of considerable 
 importance. It progresses to the V 7 or i c . Figure 119, c. No- 
 tice that its tones are the same as those of the H 7 in the major 
 mode. (Ray, Fah, Lah, Doh.)
 
 72 
 
 119. 
 
 HARMONY SIMPLIFIED, 
 b. c. 
 
 a: VI ?b no m+ VI 
 
 d. 
 
 IV 7 V 7 
 
 
 1 
 
 
 if"r\ ^^ **<** ^^ 
 
 &< 
 
 
 V-- L/ ^^ ff^3 ^^ 
 
 & * & <y 
 
 
 or 
 
 or 
 
 -g^ 
 
 ^~"^ 
 
 ' 1 Jt^ 2 tt 
 
 ^ II 
 
 ^r~ 
 
 a 
 
 H 
 
 TI O V TT 
 
 "7 V 7c "7 
 
 T VTlO V 
 
 i c .n 7 v ? 
 
 II 
 
 "'? I 
 
 The VH. is used as the corresponding chord in the major mode, 
 but it is a much more important chord. It is known as the chord 
 of the diminished seventh, that being the interval formed by 
 the extreme tones of the chord. Figure 119, e. We shall find 
 later that it is borrowed for use in the major mode, and is of the 
 greatest use in moving from one key to another. 
 
 The minor mode is frequently a source of great trouble and 
 misunderstanding to students of harmony, but if the following 
 principal facts are kept in mind there need be no trouble. 
 
 First. The minor mode is but a shadow or an echo of 
 the major mode, since it is made from it and resembles it 
 greatly. 
 
 Second. The chords of the minor mode have the same 
 names and are used almost exactly as the corresponding 
 chords of the major mode. In the key of A, for example, 
 whether the mode be major or minor, the chord on A is the tonic, 
 and is so used, and the same is true of most of the other chords. 
 In fact, many compositions written in the major mode would be 
 just as correctly written if the signature were changed to that of
 
 HARMONY SIMPLIFIED. 
 
 73 
 
 the parallel minor,* care being taken to introduce the sharped 
 seventh of the scale as an accidental. Figure 120, a, is equally 
 good in either mode. 
 
 a. Convertible Chant. HOPKINS. 
 
 120. 
 
 
 / 
 
 i 
 
 
 Exercise. 
 First. Harmonize Figure 12O, b. 
 
 
 
 
 & 
 
 
 & 
 
 
 
 I 
 
 
 ft) V\ i j 
 
 ^ 5* ^5 
 
 /-^ 
 
 
 
 
 
 
 
 
 
 
 1 - <s> 
 
 
 
 
 
 
 * 
 
 
 J * 
 
 
 
 
 
 
 
 
 
 
 
 i 
 
 ^2 ^D 
 
 
 
 
 
 
 
 
 
 
 [ P' 
 
 
 * 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 U \) ' " 
 
 i 
 
 
 
 
 
 
 
 
 
 
 v 
 
 1 l 1 
 
 7,9,11 
 
 | 
 
 = J 
 
 
 V 
 
 1 i 
 
 7< 
 
 1 
 
 J | 
 
 l 
 
 f * 
 
 j J 
 
 A | <^ 
 
 , 
 
 
 
 I 
 
 > 
 
 3 
 
 1 1 
 
 /5 s_K 82 
 
 ^ d \ & 
 
 3 
 
 
 ^ 
 
 2 
 
 
 
 
 z> 1 
 
 irrS " 2 
 
 
 
 9 - 
 
 
 
 
 
 
 II 
 
 y\ ^7 ^^ 
 
 L 
 
 E 
 
 
 
 
 
 
 
 H 
 
 
 
 
 
 
 
 
 
 
 
 p\ u 
 
 
 P 
 
 
 
 
 
 
 
 
 b b 
 
 
 1 
 
 
 
 
 
 
 
 
 
 i,o b III b VI 
 
 ] 7c HI 
 
 
 
 ir in 
 
 b 
 
 
 V 7,13 
 
 
 * The minor mode on the same key changing Doh to Lah. Thus, G major 
 (key of one sharp) is the parallel of G minor (two flats).
 
 74 HARMONY SIMPLIFIED. 
 
 Second. Harmonize the folio-wing bass. 
 
 
 V 7b V 7,13 V 7?c V 7d 
 
 
 
 
 Third. Harmonize the following according to the harmonic 
 basis given. 
 
 122. 
 
 Z5i- 
 
 
 i iv,, i VI iv 
 
 ! V V, VI 
 
 4 4- 
 
 
 II 
 
 V 7 l VII 7b J b IV 
 
 V V 
 
 Fourth. "Write the same melody in A major and harmonize 
 it, comparing the chords in the two modes when complete. 
 
 The following illustrates the use of some of the chords of the 
 minor mode. Figure 123. 
 
 CHOPIN. "Nocturne," No. 11. 
 
 123. 
 
 g: i vno vi vnO b v VI i b "7 V 7 l
 
 HARMONY SIMPLIFIED. 
 
 MENDELSSOHN. Op. 22, 
 
 i 
 I 
 
 t=t5a= 
 
 =^: 
 
 s=5= 
 
 HI 
 
 = 
 
 :i= 
 
 ^B 
 
 &: iv b 
 
 GOUNOD. "There is & Green Hill." 
 
 He died that we might be for-given, He died to make us good. 
 
 =&- 
 
 \=r- *- \-r- 
 
 *, *: ~5 d ii~^ ~> j j 
 
 ^8=i=J35^t*l=^^= 
 
 S 
 
 r 
 
 -*--- 
 
 -_ ^ - 
 
 r r
 
 76 HARMONY SIMPLIFIED. 
 
 CHAPTER XIX. 
 Transition or Modulation. 
 
 By key is meant the tone on which the tonic is based, 
 
 in the major mode, Doh ; in the minor mode, Lah. Thus a com- 
 position is in the key of G major if the tonic chord is based on 
 G, and is a major chord. 
 
 When any chord other than the original tonic assumes the 
 character of tonic, we have a transition or modulation to some 
 other key or mode. A change of key is properly called a tran- 
 sition, and a change of mode a modulation, but the latter word is 
 frequently used to express either idea. If the idea of the new 
 tonic is sufficiently strong to replace the old tonic completely, the 
 transition is complete. If the new tonic is simply suggested, 
 the transition is passing. 
 
 To produce a transition, a chord that is unmistakably in the 
 new key must be introduced. For example, a new I c or V ? . As 
 soon as one of these chords is used, all the following chords must 
 be treated as belonging to the new key. A transition is brought 
 about most smoothly, if some chord that- is common to both keys 
 (called a bridge chord) is used just before the characteristic 
 chord of the new key. For example, in going from the key of C 
 to the key of G, we may use the vi of C as a bridge-chord, and 
 follow it by the I c or V 7 of the key of G. Figure 124, a. In 
 this case the vi of C is composed of the same tones as the n of 
 G, and we treat it as if it were a n. 
 
 In Figure 124, b, from Beethoven's "Sonata Pathetique," we 
 have precisely the same use of chords. Here the transition is 
 from the key of AJJ to the key of EJJ, the bridge-chord being the 
 minor chord on F. 
 
 Another common bridge-chord is the V c used as I c . See 
 Ihymn tune " Duke Street," first cadence. Any triad of the scale
 
 HARMONY SIMPLIFIED. 77 
 
 (except vii) may be used in the same way.. See " Regent 
 Square," third cadence for vi c used as I c . 
 
 BEETHOVEN. " Sonata Pathfetique." 
 b. 
 
 nt 
 
 
 124. 
 
 I 
 
 7d 
 
 J-. 
 
 
 ^-t^ j t [- t. 
 
 
 j- hj^j) H 
 
 
 
 
 
 
 
 Ck- k * 
 
 
 
 bjilfi b J 1 
 
 
 
 Z_E-fi2 
 
 J 
 
 
 "9 V j 
 
 e J 
 
 
 
 * 
 
 
 T b V 7b 
 
 I V vi 
 
 Eft: ii V r 
 
 tn *- 
 
 Rule 14. The chromatic alteration of a tone must occur in 
 the same part or voice. 
 
 That is, if G is in the soprano part in one chord, and Gjjt 
 appears in the next chord, the G^t must also be in the soprano 
 part. Figure 125, a. To show the possibilities of transition by 
 means of a bridge chord, take the chord of C. This is the I in 
 C, the IV in G, the V in F or in F minor, and the VI in E 
 minor. Hence we could use it in going to any of these. keys. 
 
 Transitions are also made without the use of a bridge chord, 
 generally by using two tones or even a single tone that is 
 common to both keys. For example, we may go from the key 
 of C to the key of Ap by using the tone C, first as the root of 
 the I, and then as the third of the chord on Ap, and treat this 
 last chord as a I. Figure 125, b. .
 
 78 
 
 HARMONY SIMPLIFIED. 
 
 125. 
 
 BEETHOVEN. " Andante Favori." 
 
 Z>t>: I V I 
 
 Figure 125, <?, shows a similar transition from F to Dj?. 
 
 Exercise. 
 
 First. Harmonize the folio-wing. "Write in duple time. 
 
 C: I, V, | I, I b , I IV, IV b , | I, I I, V 7 , II, vi, | G: I C ,"V 7 , | 
 I, C: IV, V 7C , | I, I, | a: VI 7 , iv b> | V, | C: I, V 7 , | vi, IV, | 
 P : V b , V 7b , | I, | C : V 7C , I, | I, I b , | I c , V 7 , | I. II 
 
 In distinguishing the keys, C (capital letter) means the 
 key of C major, c (small letter) means the key of c minor. 
 
 In the above exercise the student will notice that there are 
 five cadences; the first in C, the second in G, the third in A 
 minor, the fourth in F, and the last in C. It is veiy common to 
 strengthen a cadence in this way, that is, by making the last 
 chord of a cadence sound like a tonic. We thus contrast keys 
 instead of single chords.
 
 HARMONY SIMPLIFIED. 
 
 79 
 
 Second. After writing the foregoing exercise, write anew 
 one as follows : First, a simple melody in half notes and quarter 
 notes, sixteen measures long, in either duple or triple time, 
 composed of four phrases of four measures each, a cadence at 
 the end of each phrase. Figure 120, />, may be used as a model. 
 Make the first cadence to the I either perfect or imperfect ; the 
 second to the V, using a transition to that key : the third, a sim- 
 ilar transitional cadence to the IV ; and the last a strong perfect 
 authentic cadence to the I. In this exercise the student for the 
 first time furnishes all the material. He will succeed best if he 
 aims at simplicity rather than at " effect." 
 
 Figure 124, I, shows a transition to the key of the V. Fig- 
 ure 125, <?, gives one to the key of the f>VI. Figure 126, a, gives 
 one to the key of the in. Figure 126, b, gives one to the key of 
 the IV. 
 
 KULLAK. " Octave Study." 
 
 126. 
 
 Efe 
 
 m 
 
 II 
 
 F: I vi, 
 
 13 
 
 SCHUMANN. "Grillen.' 
 
 
 
 
 ;gl 2 
 
 
 s? , 
 
 l| 
 
 J 
 
 :S 
 
 : 
 
 te*5 -* s -* + 
 
 
 f~\' K i 
 
 
 
 
 ii 
 
 ri. ^k 
 
 
 
 
 
 
 2f fiuP 
 
 
 
 1 
 
 
 , 
 
 
 v 7d i b v 7c
 
 80 
 
 HARMONY SIMPLIFIED. 
 
 Third. Harmonize the following. It is the bass of a well 
 known hymn-tune. 
 
 127. 
 
 
 I ! I> 
 
 
 F:nI c V, 
 : ! V V. iu i
 
 HARMONY SIMPLIFIED. 81 
 
 CHAPTER XX. 
 Altered Chords. 
 
 There are four ways of using tones that do not belong to the 
 scale of our key : 
 
 First. By changing the key. This we have spoken of 
 in the preceding chapter on transition. 
 
 Second. By using altered chords. 
 
 Third. By chromatic chords. 
 
 Fourth. By mixed chords. 
 
 To understand the second and third classes, we must remem- 
 ber that every chord possesses two characters : First, the character 
 that is determined by its form, whether major, minor, diminished, 
 etc., which is independent of key and which we may call its 
 formal character. Second, the character that is determined by 
 its relation to other chords, whether tonic, super-tonic, etc., which 
 for want of a better name we may call its degree character. 
 
 Any change in a chord effects its formal character, but it is 
 possible to change one of the tones of a chord without destroying 
 its degree character. Thus we may make a major sub-dominant 
 into a minor sub-dominant, and it will be a sub-dominant chord 
 still, though its form is changed. Figure 128, a. Chords so 
 changed are called altered chords. They are used nearly as are 
 the chords from which they are formed. The major dominant 
 that we use in the minor mode is really an altered chord. 
 
 The following are the most common altered chords. Notice 
 that any tone of the chord except the root may be changed. 
 
 The I may be made minor. 
 
 The i may be made major. Figure 128, b. 
 
 Either may be changed to a major chord with augmented 
 fifth. These chords are used just as before alteration, except 
 that the sharped tone must progress upward a half-step. Figure 
 128, c, and Figure 129, d.
 
 82 
 
 HARMONY SIMPLIFIED. 
 
 The ii may be made 11 and the reverse without change in 
 their use. So too with the H 7 and the ii^. Figure 128, d. 
 
 The IV may be made minor and the iv made major without 
 change in their use. Figure 128, a. 
 
 The IV or the V may have the fifth augmented, the fifth 
 moving up a half-step. 
 
 The ninth in the V 7 9 may be flatted in the major mode or 
 sharped in the minor mode. Used as before alteration. Fig- 
 ure 128, e. 
 
 The fifth in the V 7 maybe either raised or lowered a half -step. 
 
 The vn^ in the major mode and the 11 in the minor mode 
 may have the seventh flatted, giving the chord of the dimin- 
 ished seventh. Figure 128,/. 
 
 128. 
 
 I iv 
 
 r, V- I i or I 1+ IV 
 
 This changing of major chords to minor and the reverse pro- 
 duces the effect of mingling the two modes. Many beautiful ef- 
 fects are produced in this way by modern writers. Figure 129.
 
 HARMONY SIMPLIFIED. 
 
 83 
 
 Chopin. "Nocturne," No. 11. Schubert. " Minuet," from op. 78. 
 a. b. 
 
 yfcB= 
 
 129. 
 
 IV iv ^ 
 
 V I 
 
 CRAMER. "Study." 
 
 -P i- 
 
 
 I 
 
 MENDELSSOHN. "Capriccio," op. 22. 
 d. 
 
 G: I 1+ vi
 
 34 HARMONY SIMPLIFIED. 
 
 Exercise. 
 
 First. Harmonize the following. 
 
 13O. 
 
 
 
 '7b 
 
 VV+ 
 
 Second. Also the following. 
 
 III III vi n c 
 
 IV 
 
 
 vi n b n b 
 
 7c 
 
 Third. Complete Figure 132. 
 
 132. 
 
 fOyt' 9 I 
 
 ^ 
 
 
 
 ^ 
 
 
 3 . 
 
 X^Z_ rf-l 
 
 J 
 
 
 i 
 
 ~ 1 
 
 n 7b u 7 V 7 
 
 VI1 b7c 
 
 i 
 
 C: V 
 
 V Td C:n Td
 
 HARMONY SIMPLIFIED. 
 
 85 
 
 3H^3S 
 
 *= &-!== 
 
 ^M 
 
 1 
 
 ^i 
 
 -p ^~- 
 
 IV IV 7 ii b V 7>9
 
 HARMONY SIMPLIFIED. 
 
 CHAPTER XXI. 
 Chromatic Chords. 
 
 In a chromatic chord both the formal and the degree char- 
 acter of the chord have been changed so. that the chord appears 
 as if borrowed from some other key ; but it differs from a tran- 
 sitional chord in that it must progress to some characteristic 
 chord of the original key. The characteristic chords of a key 
 are those that belong unmistakably to that key only, that is, the I c 
 and V 7 . For example, if the II 7 is made II 7 , its character both 
 as a minor chord and as a super-tonic chord is lost. If it pro- 
 gresses to the V it produces the effect of a new key, and we say 
 that it brings about a transition. If, however, it progresses to 
 the I c or V 7 , either of these chords strongly contradicts any tran- 
 sitional tendency, and we call the chord chromatic. In the 
 first case the chords are lettered in the new key (that is V 7 , I). 
 Figure 133, a. In the second case the chords are lettered in the 
 original key (that is II 7 , I c or V 7 , I). Figure 133, b. 
 
 133. 
 
 ft 
 
 
 | 1 
 
 
 
 
 
 
 
 L/ 
 
 
 1- J j 
 
 
 
 
 
 
 
 j/f" ^x x 
 
 
 (5? 
 
 
 ^ 
 
 
 
 
 
 \Cl") J JtriJ 
 
 
 | it/-J 
 
 
 
 
 - 
 
 1 
 
 
 
 
 1 -(2- 
 
 : 
 
 ? 
 
 
 2 
 
 
 
 <~V I r 
 
 
 CS? 1 P 
 
 
 
 
 
 
 
 
 
 \ 
 
 
 
 
 
 
 
 *J i* 
 
 
 1 ' i 
 
 
 
 
 
 
 
 
 
 I 
 
 
 
 
 ^, 
 
 
 
 t 
 
 C: vi 
 C: ii \ 
 
 T 
 
 1 
 
 C: vi II 7 
 I 
 
 
 I 
 
 
 
 "V 
 
 r 
 
 I
 
 HARMONY SIMPLIFIED. 
 
 87 
 
 vr 
 
 fn\ 
 
 sa -a 
 
 W Li i 
 
 ^ a h 
 
 54 _ & 
 
 H 
 
 
 . tk>' p^ 
 
 i ^ i 
 
 ^X S 
 
 ' - & ' 
 
 
 ff n 
 f- f 2 - 
 
 
 
 
 f^\. i^ 
 
 5 
 
 i 
 
 
 ~ -5* II 
 
 1 1 ~ 
 
 
 1 
 
 
 II 
 
 z i 
 
 i 15 ' 1 
 
 
 o ^^ 
 
 a 
 
 
 1 
 
 
 - r 
 
 II 
 
 (7: vi 
 
 I 
 II 7 V 7 
 
 i 
 
 r 
 
 ^^c Iv c 
 
 i 
 
 Transitional chords change the key. Chromatic chords 
 try to change the key but are not allowed to do so. Al- 
 tered chords contain tones foreign to the key, but no 
 change of key is thought of. Figure 133, a, b, c, shows re- 
 spectively transitional, chromatic, and altered chords. 
 
 The most common chromatic chords are II, II 7 , II 7 9 , $iv, 
 $IV 7 , tjliv b7 , all of which must progress to the I c or V 7 . The 
 
 jj|iv is the I V with its root raised a half step from Fah to Fc, 
 thus making a diminished chord. The tiiv^ gives us another 
 form of the diminished seventh chord. We see from these chords 
 that the root of a chord may be changed to produce a chromatic 
 chord. This was not the case with an altered chord. The follow- 
 ing shows various chromatic chords. The student should com- 
 plete the progressions through to the I chord. The last example, 
 Figure 134, /, shows a major mediant progressing to a super-tonic 
 cfiord. This may be reckoned as a chromatic chord, for the n b , 
 although not unmistakably in the key, has a very strong progres- 
 sion to the characteristic chords I c and V r 
 
 134.
 
 88 
 
 HARMONY SIMPLIFIED. 
 
 There is one class of progressions that seem to lie between 
 transitions on the one hand and chromatic chords on the other. 
 
 Any chord of the key (except the Vll) may be preceded by 
 a major chord (with or without a minor seventh) formed on the 
 fifth above, and still no real transition be produced. Thus the 
 progression III, VI, if followed immediately by the proper pro- 
 gression of the vi, will give very little effect of transition. Such 
 progressions are the same as passing transitions, only they are so 
 very fleeting that the result is simply a strengthening of the 
 original chord by giving it a quasi tonic effect. Notice that the 
 progression is in each case the same as V or Y 7 to I or I. Figure 
 135, a, gives a series of such progressions. Figure 135, i, shows 
 a somewhat similar progression, each chord having a seventh 
 added ; in this case no sooner is a key indicated by a V 7 than it 
 is contradicted by another V 7 , giving such a shifting of harmonies 
 and key relationships as may well be called kaleidoscopic. The 
 sixth chord is the n 7 in the key of C and progresses regularly, 
 but the fifth chord progresses to it in a very irregular way. 
 
 a. BEETHOVEN. Op. 14, No. 2. 
 
 135. 
 
 /L" 
 
 
 
 | 
 
 i n 
 
 EH 
 
 1 i 
 
 L i 
 
 
 i M 
 
 S3* 
 
 U. _l 
 
 
 *^x 
 
 
 * 
 
 i H 
 
 J J j 
 
 
 J 
 
 1 
 
 
 4 c S 
 
 
 
 B 'II 
 
 *7* i 
 
 * * m 
 
 tf 
 
 U 
 
 || 
 
 
 
 
 "it- 
 
 
 
 
 
 
 *' 
 
 l I' 
 
 C: \ 
 
 f ' f 
 
 V I d: V- i 
 
 -f 
 
 : V- i 
 
 0"^" 
 
 <? V M 
 
 -U 
 I 
 
 CHOPIN. "Mazurka," op. 17, No. 1. 
 
 -^~ TTTF- < ^ 
 
 ?CZI ~ j [ [ ghflf hL 
 
 ^^ap 
 
 t!*==*
 
 HARMONY SIMPLIFIED. 
 
 Exercise. 
 
 First. Harmonize the following soprano. 
 136. EX z 
 
 89 
 
 
 1 
 
 VT TT TT V 
 
 iw l 7b 7d 
 
 III VI 
 
 Second. Complete and write the numerals to the following. 
 
 t_4_J_rL _ i fl J rt 
 
 137. 
 
 
 
 
 I 
 
 ^ 
 
 i 
 
 v+ 
 
 fc=S 
 
 JEE^E Eg^fe 
 
 li 
 
 ^^ 
 
 i 
 
 II K III II II, 
 
 7,13
 
 90 
 
 HARMONY SIMPLIFIED. 
 
 CHAPTER XXII. 
 Mixed Chords. 
 
 Mixed chords are so called because they contain an inter- 
 val the augmented sixth which cannot be formed in the 
 scale of one key, but requires the mixing of two scales. There 
 are three of these chords, all containing this interval. Figure 
 138, a, b, c. They are generally called the chords of the aug- 
 mented sixth, the first, Figure 138, a, being the so-called 
 French, the second (5) the so-called Italian, and the third (<?) 
 the German sixth. The lettering for these chords is somewhat 
 complicated and is as shown in the figure. These chords origi- 
 nate in the minor mode where the n is by nature a diminished 
 chord, and the iv a minor chord. By combining with these two 
 chords the characteristic tone of the dominant key (Fe) the 
 chords are produced as shown. The interval of the augmented 
 sixth almost invariably appears in the outer voices, though the 
 chords may be used in other positions. They progress normally, 
 to the I c , V, or V r 
 
 138.
 
 HARMONY SIMPLIFIED. 91 
 
 Figure 138, g, shows the growth of these three chords. 
 
 French. Italian. German. 
 
 As the vir of the major mode is the n of the relative minor 
 mode, similar chords may be based on the vu (11 of the minor 
 mode) or on the J ii (*iv of the minor mode). Figure 138, d. 
 It is best to regard these as belonging to the minor mode and 
 borrowed for use in the major mode rather than as chords formed 
 in the major mode. They are really examples of passing tran- 
 sitions. In the same way the same chord is found apparently 
 based on the dominant, but it is no more a part of the key than 
 any other chromatic or transitional chord. Figure 138, e. It 
 would, however, be possible to regard this last as an altered chord, 
 that is, a V 7 , with the fifth flattened. A great deal of confusion 
 exists among writers on harmony regarding these chords, but the 
 student may avoid it all by remembering that there are but 
 three such chords possible, the three shown in Figure 
 
 138, a, b, c. All others are borrowed from other keys and 
 should be so regarded. Some composers, however, not liking to 
 see the E flat (for example) in the first chord, Figure 138, c, 
 progress upward, have written it as Dft. This notation should 
 be avoided, as the chord is the same whether the E{? remains 
 stationary into the I or progresses upward to E natural of the I. 
 On account of the similarity of the augmented sixth and the 
 minor seventh, both intervals being represented by the same keys 
 on a keyed instrument, they are sometimes used interchangably. 
 Thus if the German chord of the augmented sixth in the key of 
 C be written as at Figure 138, /, instead of as at Figure 138, c, 
 we have the V 7 of D flat, at once changing the key. This change 
 of Ftt to G|? is called an enharmonic change. Such changes 
 are made to effect quickly a transition to a remote key. Figure 
 
 139, a.
 
 92 
 
 HARMONY SIMPLIFIED. 
 
 139. 
 
 
 jO.- 
 
 I 
 
 e, 6J7, db- 
 
 V 7 I 
 
 flr: IVK I, 
 
 By the use of the same expedient the chord of the diminished 
 seventh may be written in four ways, and hence treated as belong- 
 ing in any one of four keys. This opens up almost endless possi- 
 bilities of transition and modulation. Figure 139, b. These 
 chords although played the same on the piano, are in the keys 
 of G, E, BJ7, and DJ7. Viewed from the standpoint of the key- 
 board there are but three different diminished seventh chords, 
 although they may be written in twelve different ways. Figure 
 c. 
 
 Exercise. 
 
 First. Write out the three chords of the augmented sixth 
 in six different keys. 
 
 Second. Write out the twelve diminished seventh chords 
 (one for each key), noticing how they coincide on the keyboard. 
 
 Third. Harmonize the following soprano. 
 
 14O. 
 
 Fourth. Write a sixteen-measure exercise consisting of 
 four four-measure phrases, introducing an altered chord, a chro- 
 matic chord, a transitional cadence, and a mixed chord. One 
 four-measure phrase may be written in the relative minor.
 
 HARMONY SIMPLIFIED. 
 
 93 
 
 The following illustrates the use of some of these chords. 
 
 a. SPOHR. "Jessonda." 
 
 
 
 d i*H ah: 
 
 141. 
 
 
 I v 
 
 [J_ J 
 
 + 
 
 *gq 11 ' H- 
 
 -fa F- 
 
 Fft=S=^ 
 
 6: V 
 
 V ?a I b 
 
 v- -[-- 
 
 a, v 
 
 b 
 
 V 7 
 
 SCHUBERT. "Minuet," op. 78. 
 
 
 d==i=i==i=R^4 
 
 '^, 
 
 ^ 
 
 i 
 
 rsrit Q r i ~r M T^ M 7 M T I T tufeia m I I Fl 
 
 ^^^ f ^^_n^^ = ^^ = ^^ 
 
 4. -4. 4. -I. 
 
 no 
 
 J. FIELD. "Nocturne," No. 18. 
 
 -X-K& 1 i 
 
 
 \i sS 
 
 f * 1 
 
 > 4 J 
 
 
 ^ * 
 
 ^_ 
 
 " 1 i 
 -s- | 
 
 
 : 
 
 
 C^\ * L 7 S fl tf 
 
 
 
 njljp v 
 
 J*?/ i i 
 
 
 
 531 
 
 -^ U /i 1 
 
 
 ^ ** 
 
 s 
 
 i , J 
 
 
 
 U ' 
 
 .F: I I T 
 
 a. 
 
 (1 
 
 IV 
 
 .7) 
 % 
 
 V 
 
 El
 
 94 
 
 HARMONY SIMPLIFIED. 
 
 , CHAPTER XXIII. 
 The Flat Sub-Mediant and Flat Super-Tonic. 
 
 There are two chords that are of rather frequent occurrence, 
 neither of them strictly new chords, but chords that are used in a 
 new way. The first is the flatted VI used chromatically pro- 
 gressing to the I c or V ? . This chord belongs to the minor mode, 
 but is also used in the major mode. Figure 142, a. See also 
 Figure 124, c, where the chord on D|? is really a bridge chord, be- 
 ing first the flat VI and then the I. 
 
 The other chord is formed on the flatted super-tonic tone 
 and is sometimes called the chord of the Neapolitan sixth. It 
 is used in either the major or the minor mode, generally in the b 
 position and progressing as a n to the I c or to the V r Figure 
 142, b, and Figure 143. See also Figure 158, second measure. 
 
 142. 
 
 
 I>VI I 
 
 143. 
 
 BEETHOVEN. " Funeral March," op. 26. 
 
 * " *' 
 
 at>; I
 
 HARMONY SIMPLIFIED. 95 
 
 We have now studied all the chords used in musical composi- 
 tion. In the following chapters we shall study the use that is 
 made of non-harmonic tones. The student in reading musical 
 compositions will no doubt find chords progressing differently 
 from the progressions given in these chapters. This is especially 
 true of the compositions of the most modern writers. Such pro- 
 gressions need cause no surprise. They hold the same position 
 in music that the liberties taken by poets hold in language. As 
 in poetry the ordinary rules of grammar are usually observed, so 
 in musical composition the rules of musical grammar as given in 
 these pages are usually observed. It is only for special effect 
 that they may be violated. Taste and * experience alone will de- 
 termine whether the effect is a good or a bad one. It will be 
 found that in all good progressions, no matter how abrupt or ir- 
 regular they may seem, there is always some connection between 
 the chords, or some aesthetic idea that is of sufficient importance 
 to override the natural progression of the chord. For instance, 
 the V 7 of the key of C may go directly to the I c of the key of B, 
 apparently a most irregular progression. But if instead of the 
 seventh F in the first chord we write the augmented sixth E& 
 our chord becomes the German sixth of the key of B and pro- 
 gresses regularly. Figure 144. 
 
 144. 
 
 Other irregular progressions are explained as being delayed 
 progressions, of which we have had some examples. Others again, 
 are produced by substituting a similar chord for the one ex- 
 pected. Still others come by the progression of the individual 
 voices which for the moment may be of more importance than the 
 harmonic progression.
 
 96 
 
 HARMONY SIMPLIFIED. 
 
 If chords always followed their bent, that is, always 
 progressed normally, we should be constantly having ca- 
 dences ; music could possess no variety, and the expres- 
 sion of moods, feelings, and experiences would be impos- 
 sible. But with young writers the tendency is usually to strive 
 after startling changes, " pretty effects," and far-fetched harmoni- 
 zations. The student should try to secure first a smooth easily- 
 flowing style, and then if his taste is for novelties, he will run 
 less risk of introducing them in such a way as to make himself 
 ridiculous. 
 
 Exercise. 
 
 First. Fill in the parts that are wanting in Figure 145 and 
 write the numerals underneath. 
 
 145. 
 
 
 * 
 
 
 Second. Write two sixteen-measure, four-phrase composi- 
 tions introducing the i?II and the ?VT and also making some use 
 of altered, mixed, and transitional chords when they can be em- 
 ployed naturally. Write in some key containing more than two 
 sharps or flats and in four-four or six-eight time.
 
 HARMONY SIMPLIFIED. 
 
 97 
 
 CHAPTER XXIV. 
 Passing and Changing Tones. Appoggiaturas. 
 
 Not every combination of tones used in musical com- 
 position is a chord. We will now examine the different ways 
 of using tones that are foreign to the harmony. 
 
 The most important condition in using non-harmonic tones is 
 that they move by degrees. 
 
 First. When a tone of a chord proceeds during the continu- 
 ance of the chord to the next degree above or below, the non- 
 harmonic tone thus introduced is called a passing tone. Figure 
 146, a. 
 
 Rule 15. A passing tone must be approached and left by de- 
 grees. 
 
 Second. If a tone fulfills all the other conditions of a passing 
 tone, but returns at once to the tone from which it came, it is a 
 changing tone. Figure 146, b. Passing or changing tones 
 may appear in two or even in three voices at once. Figure 146, c. 
 
 Third. When a non-harmonic tone appears at the same time 
 with a chord tone, proceeding during the continuance of the chord 
 to a chord tone, such foreign tone is called an appoggiatura. 
 Figure 146, d. Such tones may be approached by a skip, but 
 they must be left by degrees. 
 
 d.+ 
 
 146. 
 
 9* 
 
 F-- 
 
 = 
 
 J-J-, 
 
 _ 
 
 -jg- ^=|-ig a \ J 
 
 =p r l- r ^ =n ^ = ^ 
 
 ii
 
 98 
 
 HARMONY SIMPLIFIED. 
 
 Figure 147, a, the fifth note in the soprano is a changing tone 
 Figure 147, 6, the third note in the soprano is an appoggiatura, 
 and the fifth is also a changing tone. Figure 147, <?, the notes 
 marked with a cross are passing tones. 
 
 BEETHOVEN. " Mondo in C. 
 
 -, b. ' 
 
 147. 
 
 2* 
 
 II 
 
 :qz=q=diE 
 - +* 
 
 cM 
 
 1 ^ 
 
 + KUHLAU. Op. 55, No. 3. 
 
 Exercise. 
 
 First. Harmonize Figure 148, treating some of the tones as 
 non-harmonic tones. 
 
 148. 
 
 tt3^=^&&^^L 
 
 [-%==* 
 
 Second. Take any three of the exercises previously written, 
 and rewrite them introducing non-harmonic tones wherever 
 they can be effectively used. Do not try to use as many as possi- 
 ble, but rather to use them as well as possible.
 
 HARMONY SIMPLIFIED. 
 Third.- -Complete Figure 149. 
 
 99 
 
 149. 
 
 ur 
 
 i=-=^i 
 
 r=g?=i,-F-^-F-J 
 
 
 >.. V A. j 
 
 
 U 
 
 1 
 
 ;5^ E -:^ : 
 
 aW-r*-, 
 
 
 
 93 
 
 ^ 
 
 
 :i|-- _f=5 
 
 ^c/-^j 
 
 H
 
 100 
 
 HARMONY SIMPLIFIED. 
 
 CHAPTER XXV. 
 Anticipation. Pedal Point. 
 
 Fourth. When a tone belonging to one chord is introduced 
 as a non-harmonic tone into the preceding chord, it is called an 
 anticipation or an anticipatory tone. Figure 150. This oc- 
 curs frequently at the end of a period or of a whole composition. 
 Many of Handel's pieces end thus. See also Figure 112. 
 
 BEETHOVEN. Op. 49, No. 2. 
 
 150. 
 
 yr " a 
 
 i 1 
 
 ffn i m 
 
 J _i s-j 1 
 
 HZ 4- 
 
 1 & - j . 9 & || 
 
 
 f- -r f- -^ -t A f- 
 
 ^v IP o 
 
 F ~ F II 
 
 1 Jff P J | 
 
 J- - i- i E -TzsJ IH 
 
 4 * 
 
 ^ - |- t , , - *-*^ H 
 
 
 HANDEL. " Angels ever Bright." 
 
 
 X u i * r* N r ~f*2~ ~1 H 
 
 
 //r\P * D ^ ^ * 
 
 
 IS^IJ I/ " T * * |"| 
 
 
 O take me to your care. 
 
 / 
 
 XL h 1 ^ ^^ 
 
 1 
 
 ifh 9 i 
 
 | 
 
 VMJ g, 4 "If - " 
 
 
 '*' T : S : : J 
 
 1 
 
 a- r *i J - i .. 
 
 f 
 
 
 1 
 
 ^ ^ ^ ^ ^ ! 
 
 Fifth. By an extension of such passages as the one shown at 
 Figure 146, c, the bass tone may be held indefinitely and quite
 
 HARMONY SIMPLIFIED. 
 
 101 
 
 independently of the harmonies of the upper voices. Such use 
 is called pedal point. It no doubt originated in organ playing, 
 where a tone is frequently held with the foot on the pedal board, 
 while the hands play the manuals quite independently. The in- 
 dependent tone usually occurs in the bass, but is sometimes found 
 in any one of the other parts. Generally it is the dominant or tonic 
 tone that is so held. It is immaterial whether the pedal point 
 be held throughout or constantly repeated, see Figure 151, a, and 
 151, b. 
 
 Rule 16. The beginning and the end of the pedal point must 
 be a part of the harmony. Figure 151, b. 
 
 It would require too much space to quote many illustrations 
 of pedal point, but the student may refer to any or all of the fol- 
 lowing: Heller, "Slumber Song "from op. 81, the repeated A{? ; 
 Chopin, " Berceuse," in which the low DJ? of the bass held by the 
 damper pedal occurs in every measure, and the harmony scarcely 
 varies from I, V 7 ; Chopin prelude in Di?, the Aj? or G|ft is heard 
 nearly all the time. In Wagner's "Siegfried" there is a passage 
 in which the horns hold a tone through some thirty-four measures 
 an extreme example of a pedal point in a middle voice. 
 
 The following illustrates the use of the pedal point both in 
 sustained form and in repeated form. See also Figure 158. 
 
 151. 
 
 BACH. "Prelude, No. 22." 
 
 *+ n H^ H H-^ j^ n^ /j 
 
 PT *- i* *- H- 
 
 ^- D I * \ \j 
 
 ^^ff-rrj^g 
 
 Pedal Point.
 
 102 
 
 HARMONY SIMPLIFIED. 
 
 GADE. " The Crusaders. " 
 
 
 'I s 'I .0. 
 
 Pedal Point. 
 
 Exercise. 
 
 Harmonize the following. 
 
 152. 
 
 
 UK IV 
 
 
 -I L 
 
 II 7 V 7 vi 
 
 153. 
 
 I I I 
 
 -<& - 
 
 ^ 
 
 =i 
 
 7c 
 
 :fc=^ 
 
 J=M=>ti 
 
 I 
 
 I c g:
 
 HARMONY SIMPLIFIED. 
 
 103 
 
 
 /Lb 
 
 
 
 
 
 
 
 
 
 
 Ifh mm 
 
 __ 2 
 
 
 
 J 
 
 
 
 1 
 
 
 
 
 
 
 
 
 
 
 
 
 
 cJ 
 
 
 
 
 
 
 
 Ri-fr ^ * f 
 
 =e 
 
 9 
 
 
 
 
 
 
 
 2. b 
 
 .. 
 
 
 
 
 
 
 s 
 
 r 
 
 
 1 IT O n? d i VI i,o b , o V 7>13 V 7 I
 
 104 HARMONY SIMPLIFIED. 
 
 CHAPTER XXVI. 
 Suspensions or Retardations. 
 
 Sixth. By far the most important method of using non- 
 harmonic tones is as follows. When a tone of a chord is 
 delayed and is heard in the following chord as a dissonance, it is 
 called a suspension or retardation. Figure 154, a and b. 
 The tone is first heard as a consonance, and becomes a non-har- 
 monic tone by being held while the rest of the chord changes. 
 The dissonant tone must come to consonance during the second 
 chord. The suspended (non-harmonic) tone usually moves down 
 one degree in resolving, but Te may be suspended before Doh. 
 If the delayed tone does not become a dissonance in the second 
 chord, but simply forms a new chord, it is not regarded as a sus- 
 pension. Figure 154, d. A suspension differs from a dissonant 
 chord in that the suspended tone is first heard as a con- 
 sonance, and then resolves during the continuation of the 
 next chord; while the dissonance resolves with the chord. 
 Compare Figure 154, b, and 154, c. In other words the sus- 
 pended tone is foreign to the chord ; the dissonant tone is a 
 part of the chord. 
 
 The suspension usually occurs on the accented part of the 
 heat or measure. The tone to which the suspended tone goes 
 should not be heard with the suspended tone at a less distance 
 than an octave below. Figure 154, e. In four-part writing it 
 is best that the tone to which the suspended tone goes should 
 not be heard with the suspended tone at all, though examples of 
 such use sometimes occur. 
 
 The student will find that passing tones, appoggiaturas, and 
 suspended tones do not always go directly to the next degree of 
 the scale, but move first to the tone one degree above or below, 
 or even skip to some other tone of the chord. Figure, 154, /, #,
 
 HARMONY SIMPLIFIED. 
 
 105 
 
 A. Such progressions are to be classed as irregular, and had best 
 be avoided until the student is thoroughly acquainted with the 
 more ordinary methods of progression. 
 
 154. 
 
 /L 
 
 
 1 
 
 
 i 
 
 r 1 1 
 
 
 rr\ ^- 
 
 
 1 4 
 
 
 1 
 
 1 I L 
 
 
 
 
 S3 1 
 
 
 <^> 
 
 1 
 
 
 J 
 
 s. 
 
 
 
 "f 
 
 
 T- -I 
 
 - i 
 
 * f f 
 
 
 C\" 
 
 
 - 1 
 
 
 
 Pi 
 
 I 
 
 rj. 
 
 
 
 
 
 p 
 
 
 Z r 2 
 
 
 :| ^ 
 
 
 
 "ri 
 
 1 
 
 IV, 
 
 
 
 + Bad. 
 
 
 
 Exercise. 
 
 First and Second. Complete Figures 155 and 156. The sus- 
 pensions are marked with a cross. 
 
 155. 
 
 / 
 
 a
 
 106 
 
 HARMONY SIMPLIFIED. 
 
 /^H0 
 
 g^- 
 
 j J m * J 
 
 
 V37 
 
 L,i i - 
 
 -* * 
 
 
 r~r + '~v r i 
 
 RT; p p - 
 
 -1 
 
 N 
 
 III 
 
 156. 
 
 /L' J * 
 
 J 
 
 J 
 
 ' - 
 
 
 
 
 3 J_ 
 
 
 ^-^^ 5* ' 
 
 V, XV 
 
 V 7,9 
 
 V 7 
 
 c~\ * o 
 
 
 
 
 1 f J ^ 
 
 
 
 
 ==14 
 
 
 
 
 
 1 ^^ 
 
 i ^ 
 
 -\ 
 
 Pedal Point. 
 
 ^h 
 
 =s * 
 
 e . ^_ 
 
 m 
 
 z 
 
 \9r * 
 
 
 
 
 H 
 
 
 IV II 7 V 7 vi 
 
 F 1 
 
 
 
 
 F fl 
 
 Third. "Write the descending and ascending scale of B in 
 the soprano, using any length of notes desired, then harmonize. 
 Similarly write the ascending and descending scale of At? in the 
 bass and harmonize. Be especially careful of the descending 
 Te. The following from "Lohengrin" is a beautiful example of a 
 harmonization of the descending scale. The student is now 
 familiar with all the progressions used.
 
 HARMONY SIMPLIFIED. 107 
 
 WAGNER. Prelude to " Lohengrin." 
 
 8va. 
 
 157. 
 
 *m 
 
 J j- 
 
 i 
 
 m 
 
 m 
 
 /It-' 
 
 vi b 
 
 ^=^= H 
 
 3E ! 13 
 
 7c 
 
 "b lv 7"b Y 7 
 
 The following shows pedal point, altered chords, |?II, and 
 suspensions. 
 
 ROSSINI. " Stabat Mater." 
 
 158. 
 
 
 
 Pedal Point. 
 
 g: I i II I'll I c i Sus.V 
 
 BACH. "Organ Prelude." 
 
 We have now reached the limit of our subject. The student 
 it is hoped, has acquired a fair knowledge of all the material used 
 in musical composition, and of the ordinary methods of using this
 
 108 HARMONY SIMPLIFIED. 
 
 material. As this little work only aims to give the barest out- 
 line of harmony, the student is urged to enter upon the study of 
 some of the larger works which deal with the subject exhaust- 
 ively. If these few chapters have influenced any to make a 
 thorough study of composition, or if by their means any have 
 gained a clearer insight into the contents of musical compo- 
 sitions and the material used by all composers from the least to 
 the greatest, their purpose has been fully attained.
 
 HARMONY SIMPLIFIED 109, 
 
 CHAPTER XXVII. 
 
 Figured or Thorough Bass. 
 
 Harmony was the gradual outgrowth of Counterpoint. In 
 the latter it was the intervals between the voices rather than har- 
 monic progressions that were regarded as of the highest impor- 
 tance. Thus it was formerly the custom to regard each voice 
 as simply a certain interval above the Bass, not as a component 
 part of a chord. With this in mind it was customary to write a 
 Bass part only and place figures under each note indicating what 
 intervals were to be taken by the upper voices. Thus a G in the 
 Bass with the figures 5 ( read down, seven, five, three ) under it 
 would indicate that the upper voices sang the 3d, 5th and 7th 
 above G or as we say now V 7 ( key of C ) . It is to be noticed 
 that so long as these intervals appear in the upper voices, it is a 
 matter of indifference in what order the voices take these inter- 
 vals the 7th for example may be in any one of the upper 
 voices. Modern Harmony pays comparatively little attention to 
 intervals and their arrangement, concerning itself rather with 
 melodies and their harmonization, harmonic progression, sonority 
 of effect, etc. Thus while the modern composer looks at his 
 composition largely as a series of chords, each of which has its 
 own character almost its own individuality the older writers 
 regarded their compositions as a number of layers ( voices ) 
 arranged at certain intervals above the Bass. Although the 
 figured Bass spoken of above is gradually falling into disuse, still 
 the student is certain to find it in his reading and it will be well 
 for him to have some knowledge of it especially as the princi- 
 ples on which it is based are very simple. They are as follows : 
 
 Any figure underneath a Bass note requires the writing of 
 the corresponding interval above the Bass. Thus,
 
 110 
 
 UARMONY SIMPLIFIED. 
 
 
 3 1 
 
 1 
 
 is the same as 
 
 The number of notes written is of no importance provided 
 we write at least one for each figure. In other words, the 
 figuring is the same for any number of voices, three, four, five, 
 six or more. The order in which the intervals appear above 
 the Bass note is immaterial. Thus Fcjj - : may be written in 
 any of the following ways 
 
 Bj=E 
 
 I/ 
 
 
 
 
 
 
 M J ) ^^TJ 
 
 
 U 
 
 etc. 
 /? I 
 
 t\* ^ 
 
 ~ II 
 
 
 
 
 
 
 II 
 
 The figures always refer to the intervals as they stand in the 
 signature. Thus pt^-fr ~^p=H requires the minor 
 
 7th to be written E=^zi^i==i33 over the Bfr, the C 
 
 7777 
 
 and the D, but the major 7th over the EJ7. 
 
 In order to simplify the writing of figures it is customary to 
 omit certain ones. Thus, when no figure at all is written it is 
 understood that the intervals I are required, i. e., the written note 
 is the Bass of a common chord in A position (unin verted). In 
 the form 3 the figure 3 is usually omitted. The figure 8 is al- 
 ways omitted unless such omission might cause misunderstanding.
 
 HARMONY SIMPLIFIED. 
 
 Ill 
 
 yr 
 
 & 
 
 Ill 
 
 (rK L & 
 
 
 
 ^j 
 
 saz i 5: i 
 
 * 1 
 
 & o 
 
 or means or means implies but 
 
 C~"\ . 
 
 . \ 
 
 
 II i 
 
 i 
 
 \ (S & 
 
 
 
 -S /p S3 
 
 ,0 .. 
 
 a. 
 
 II 
 
 If it is necessary to affect any interval by an accidental, the 
 proper symbol 7, jj, ft, etc., is placed before the figure, but an acci- 
 dental alone always refers to the third above the Bass. Thus : 
 
 If the Bass part moves by a passing tone the other voices are 
 to remain stationary ; instead of writing out the new figures to cor- 
 respond with the new intervals made by the change in the Bass, 
 it is usual to write horizontal lines in the place of figures, Thus : 
 
 
 L 
 
 The line also is used to indicate the continuance of any 
 figure, as 
 
 -f\ & 
 
 1 " II 
 
 En 
 
 ,-r, 
 
 
 g II 
 
 O 
 
 
 f~X " >^ 
 
 12 || 
 
 I . ^y 
 
 
 -S 
 
 II 
 
 i 'i
 
 112 
 
 HARMONY SIMPLIFIED. 
 
 Thus the student will notice that in suspensions the left hand 
 figures indicate the suspension, the right hand figures the resolu- 
 tion, as, 
 
 :J J^-J ^ 
 
 
 
 When there is a cnange in the upper voices while the Bass 
 note is held the figures are written side by side. Thus, 
 
 m 
 
 or as in the preceding two illustrations. 
 
 It was formerly customary when an interval was to be raised 
 a semitone to indicate it by a stroke through the figure, /, $, etc. 
 This symbol is rarely found now except in the case of the $ 
 which is often used. $ means of course the same as jj6. 
 
 In order that the student may become familiar with the fig- 
 ures, he is advised to turn back in his exercise book and write 
 the proper figured Bass under numbers 56, 83, 109, 121, 137. 
 He should also write out the proper notes for the following fig. 
 ured Basses and when complete add the numerals indicating the 
 chords.
 
 HARMONY SIMPLIFIED. 
 
 | 
 
 113 
 
 f3 g-Tfcg 
 
 I* 
 
 
 7 5 
 
 I 7
 
 114 
 
 HARMONY SIMPLIFIED. 
 
 ^ APPENDIX A. 
 
 Below are given illustrations of the use composers make of 
 the characteristic effects of each tone of the scale. 
 
 Doh. Rest, home. Example No. 1. Also the ending of al- 
 most any composition. 
 
 MENDELSSOHN. "Elijah." 
 
 1. 
 
 And when he had said this he .... fell a - sleep. 
 
 Te. Piercing, pressing upward. No. 2, the cry of the Sav- 
 iour on the cross, shows very dramatically the piercing effect of 
 Te dying away into the restful Doh. 
 
 GOUNOD. ' ' Redemption. ' ' 
 
 m 
 
 :f: 
 
 g_r 
 
 g - 
 
 & 
 
 ii 
 
 v i 
 
 My Fa - ther, In- to Thy hands I corn-mend my Spir - it. 
 No. 3 shows the upward thrusting effect of Te. 
 
 
 STAINER. " Crucifixion. " 
 + 
 
 ft. 
 
 I 
 
 So must the Son of Man be lift - ed up. 
 
 Lah. Sorrowful. Illustrated in No. 4. Also in almost any 
 piece written in a minor key, where Lah is the root of the minor 
 tonic. 
 
 STAINER. "Crucifixion." 
 
 
 I am lone in - deed.
 
 HARMONY SIMPLIFIED. 
 
 115 
 
 Soh. Bold, rousing. Shown in Nos. 5, 6, 7, 8. This is 
 very common. A bugle or trumpet call almost invariably makes 
 use of it. 
 
 MENDELSSOHN. "St. Paul.' 
 
 5. 
 
 yr "ii | 
 
 -, 
 
 ; -3 
 
 ESS 
 
 ^ t & & - 
 
 zz s -^ . - ^ 
 
 *./ rZ) 
 
 Sleep - ers, wake, a voice is call - ing. 
 MENDELSSOHN. ' ' Elijah. ' ' 
 
 ,, u. ",*" ~f~ ~f~ m 
 
 6. : 
 
 C\'K H\L Vr \ i7 
 
 _( r_ 
 
 '-J.Jfu+TJ* tt 1 L^ 
 
 
 I II 
 
 Call him loud - er. 
 
 VERDI. ' ' Trovatore. ' ' 
 
 7. ^|EEgggE^^^g^^^ 
 
 A - rouse ye, a - rouse ye ! 
 
 HAYDN. 
 
 Creation.' 
 
 + ^ 
 
 8. 
 
 ==t= 
 
 The Lord is great, 
 
 and great His might. 
 
 Fah. Solemn. This effect is well shown in No. 9. Another 
 example is the ordinary use of this tone in the " Amen Close " of 
 church music. 
 
 STAINER. "Anthem." 
 
 + 
 
 When sin - ners meet their aw - ful doom. 
 
 Me. Quiet, plaintive. In Nos. 10 and 11 the peculiar ef- 
 fect of Me is easily heard. No. 10 expresses rest as no other 
 tone could, and the plaintiveness of No. 11 is unmistakable.
 
 116 
 
 HARMONY SIMPLIFIED. 
 
 MENDELSSOHN. "Elijah." 
 
 + 
 
 10. 
 
 O rest in the Lord. 
 
 HANDEL. " Angels ever Bright." 
 
 Take, take me, take rne, take me. 
 
 Ray. Expectant. The character of Ray is the least impres- 
 sive of all, but if the student will try the two examples, Nos. 12 
 and 13, he will see that no other tone could be used as well es- 
 pecially in separating the verb from its object by three measures 
 rest as in No. 13. Let the student sing No. 13, using Doh in- 
 stead of Ray for the word " bring " and note the effect. 
 
 HOFMANN. "Melusina." 
 
 A - rise, 
 
 HANDEL. "Samson.' 
 
 Ye men of Gaz - a, hith - er bring 
 
 The
 
 HARMONY SIMPLIFIED. 
 
 117 
 
 APPENDIX B. 
 
 The following exercises are given that the teacher may have 
 an additional number of exercises from which to draw in case he 
 wishes to increase the amount of work done by the pupil. Some 
 of them contain exceptional uses of the chords, many of these 
 being marked with a cross. The student, however, should not 
 make use of such progressions unless they are especially marked. 
 It is hoped, too, that an added interest is given by introducing 
 several well-known melodies and short, excerpts from standard 
 composers. The latter are sometimes slightly altered to admit 
 of being used by the student at his present stage of development. 
 
 The teacher is of course at liberty to add exercises of his own 
 making, or those taken from other works on harmony, as he may 
 see fit. 
 
 In lettering, a dash after a letter, as V , indicates that the 
 chord is sustained another beat without repetition. A bracket 
 under several letters indicates that they come within the time of 
 one beat. 
 
 Chapter I. 
 
 i Ht2 i v I v i I ill v I ill v v I i v I i 
 
 JL I ~7 fc -v 
 
 \^A 
 
 I] 
 
 e> ^-&: 
 
 IVIVIVI IVIIVVI 
 
 3.
 
 118 
 
 HARMONY SIMPLIFIED. 
 
 4. 
 
 x^fl 
 
 < ' 
 
 w t 
 
 
 m^ 
 
 
 
 
 
 
 Rf-fr 
 
 -_ 1 
 
 \ F - F 
 
 . r _ 
 
 Chapter II. 
 
 
 i 
 
 F F F- 
 
 r r r 
 
 6. 
 
 7. 
 
 n J 1 i 1 ! J ! 
 
 
 u s) &> a 
 
 
 J 
 
 
 J 
 
 ^x -^ - 
 
 ^/ /^" 
 
 
 
 S : ^ 
 
 -^ 
 
 J 
 
 - 12 
 
 <jy ** 
 
 
 
 
 
 WAGNER. AIT. 
 
 - "- -^-- 
 
 
 Chapter III. 
 
 Mark the following intervals taken from Chopin's " Polonaise 
 in Cjk minor." 
 
 8. 
 
 ^ 
 
 -- 
 
 9. 
 
 f^~Y~ jLbJ^^y^-^-^g^ gUjJO j 
 
 .fzJjfG.fc.^^ ^ - ^ -*>- 

 
 HARMONY SIMPLIFIED. 119 
 
 Write above the following the intervals marked. 
 
 M. 3. m. 3. A. 4. D. 5. M. 5. D. 7. M. 6. m. 6. M. 2. D. 3. M. 3. m. 6. 
 
 Chapter IV. 
 
 3= E=^= 
 
 1 i u 1 = " (9 fy ' 
 
 12. 
 
 &*=*- 
 
 i 
 
 -h. . 
 
 
 
 
 
 II I. V I V VV 
 
 ! J J I__L_1__J!LJ 
 
 x- J -*- 
 
 1 
 
 
 1 
 
 * * ^ 
 
 -=H- 
 
 m 
 
 * ^ 
 
 =i 
 
 
 H 
 
 I I IV IV IV I I I T V V I 
 
 "Auld Lang Syne." 
 
 
 13 
 
 J-- 

 
 120 
 
 HARMONY SIMPLIFIED. 
 
 Chapter V. 
 
 BUSSLER. 
 
 ^ 
 
 14. 
 
 15. 
 
 I 
 
 v _ ' <* 
 
 16. 
 
 r 
 
 II 
 
 ^ 
 
 f-f-T 
 
 v i/ tx- 
 
 rK 
 
 Jl 
 
 Chapter VI. 
 
 IV 
 
 7d 
 
 V 7b I I I e V 7 
 
 
 rr 
 
 V V 
 
 V 7c X 7b 
 
 
 -^~ 
 
 -> ^- 
 
 IV 
 
 19. 
 
 ^ , i n^ i i H i i**i r*i "^ 
 
 P' 
 
 * * ? 
 
 LU
 
 HARMONY SIMPLIFIED. 
 
 121 
 
 1 
 
 Chapter VIII. 
 
 PROUT. 
 
 20. 
 
 r r 
 
 [| 
 
 V 7d V 7b "t, 
 
 I IV V ! IV IV II V ! IV V I IV V 
 
 b 
 
 Tb b ? 
 
 22. 
 
 -UJ 
 
 I 
 
 7d 
 
 EH: 
 
 23.
 
 122 
 
 HARMONY SIMPLIFIED. 
 
 TO j 
 
 J 
 
 LJ r^?*i i -*- 
 
 [^ ^ t U 
 
 W 
 
 4 . W 
 
 J J J /_ 
 
 
 x 
 
 
 
 
 5^5 
 
 , 
 
 ... *.. 
 
 
 Chapter IX. 
 
 24. 
 
 II 
 
 I b vi n n b I c V I 
 
 CHOPIN. (Arr.) 
 
 25. 
 
 
 ^t= 
 
 m 
 
 26 
 
 j^=i=izz=i: 
 
 MENDELSSOHN. (Arr.) 
 
 
 7c 
 
 i i i i 
 
 
 7c 7d 
 
 
 A b A b v b V 7b V 7 L b 
 
 Do not harmonize the appoggiaturas.
 
 HARMONY SIMPLIFIED. 
 
 Chapter X<. 
 
 123. 
 
 27. 
 
 
 iv b v b v 7b 
 
 B-H? t ^ = EEa 
 
 3Ei 
 
 iv i, 
 
 fcrai=PE 
 -H i H - 
 
 ->-|__ 1 
 
 YI IV b V 7b IV C I b IV 
 
 28. 
 
 Ht: 
 
 I I ^ L_ ^ r^^l 
 
 V 7b V 
 
 1=2: 
 
 i 
 
 V 7 vi ii V vi IV 
 
 29. 
 
 izJ: 
 
 V m 
 
 
 V iii v vi IV V, 
 
 V vi V, 
 
 IV
 
 124 
 
 HARMONY SIMPLIFIED. 
 
 Chapter XI. 
 
 BO. 
 
 iv 
 
 V V 
 
 7d 
 
 
 V 7 vi I c V ? I I b IV I b vi vi V 
 
 ?E3^ 
 
 32. 
 
 vug I b m b V 7d I b I b IVIV b I b vi vi n b V 7 I 
 
 BUSSLER. 
 
 
 HUGOUNENC. 
 
 33. 
 
 -). / f 
 
 
 
 
 
 
 
 
 S \\J (3 
 
 r* 
 
 ^2 
 
 ^^ 
 
 & 
 
 
 
 ^ 
 
 ^, 
 
 /^ 
 
 
 
 
 
 
 
 
 ^2 
 
 
 P' 
 
 
 
 
 
 1 
 
 r 
 
 ^~\ 
 
 
 vii vug vug 
 
 ii V V 
 
 b ?b 
 
 rrr r'r r 'r-^r r'rrn 
 
 r c I IV C I vi n b V m b vi
 
 HARMONY SIMPLIFIED. 
 
 Chapter XII. 
 
 125 
 
 34. 
 
 
 
 -\- 
 
 =F^ 
 
 M 
 
 iiiS- 
 
 BBE 
 
 - 
 
 :pzp; 
 
 "7d 
 
 I L/ T7 1 
 
 35. gpJfe^ =j=hiE |=jgE^gEE?E 
 ^ z - p .. I 
 
 7b 
 
 VI 7b 7d V 7b 
 
 IV ii 
 
 I V in 
 
 36. 
 
 
 T= 
 
 
 ~f!-&- 
 
 . 42. jfi. -&. 
 
 
 37. 
 
 ott 
 
 i 1 h 
 
 
 
 
 
 Folt 
 
 . Song. 
 
 
 Vtri* Q 
 
 k. 1 m J 
 
 
 
 fc 
 
 
 i i 1 
 
 
 l 
 
 /L O i 
 
 P J ' 
 
 
 
 __ __ J , 
 
 
 
 K 
 
 q 
 
 irh Sta 
 
 J * 
 
 
 
 
 
 J J J 
 
 
 

 
 126 
 
 HARMONY SIMPLIFIED. 
 
 Chapter XIII. 
 
 " H VV IJI V 
 
 b 7 7,117 b 7 
 
 39. 
 
 -<s> - 
 
 
 II 
 
 i 
 
 I 
 
 II 
 
 TT 
 
 iv^ 
 
 V V 
 V 7,13 V 7 
 
 40. 
 
 r 7cl7 IV V 7b^7 
 
 iv 7 v ? 
 
 Chapter XIV. 
 
 STAINER. 
 
 41. 
 
 
 V vi 
 
 -f 4- BtJSSLER. 
 
 42. 
 
 :p=: 
 
 rv 
 
 IV ii
 
 HARMONY SIMPLIFIED. 
 
 127 
 
 
 
 
 
 
 V in I vi IV ii 
 In Nos. 43 and 44, the crosses mark the by-tones. 
 
 43. 
 
 fe 
 
 
 i 
 
 i"T 
 
 Chapter XV. 
 
 45. 12^8=13 
 
 7d 
 
 V vi 
 
 
 IVv 
 
 46. 
 
 -JV 
 
 r 
 
 Folk Song. 
 
 flr^K J- ^ 
 
 V,.!,.
 
 128 
 
 HARMONY SIMPLIFIED. 
 
 FINE. 
 
 Double Chant. 
 
 47. 
 
 J J. 
 
 d 
 
 1 
 
 Chapter XVI. 
 
 48. 
 
 -i 1- 
 
 fe 
 
 rl 
 
 * 
 
 n. i _ i i i 
 
 iT J J 
 
 ~^ 
 
 1 
 
 Iv c l Iv b V V 7d r b V 7c 
 
 
 FAIS^T. 
 
 49. 
 
 50. 
 

 
 HARMONY SIMPLIFIED. 
 
 Chapter XVII. 
 
 129 
 
 ZELTER. 
 
 + + 
 
 liii 
 
 A 
 
 f---*- 
 
 V i 
 
 VI III 
 
 IV ! II" IV 
 
 
 * * 
 
 I ii a;i c VI n V i 
 
 52. 
 
 
 VI 
 
 V 7d 'b 
 
 E3^E 3d 
 
 ^r L -' | g ^ === F g> I j 
 
 VI 
 
 *7b 
 
 III+ VI Ilg Io 
 
 1 ?b V 7d I 'b VI I ? V 7b | i iv | V i | VI | V 7 i || 
 
 Chapter XVIII. 
 
 HANDEL. (Arr.) 
 
 
 F -* 
 
 11 
 
 + 
 
 55. 
 
 BE 
 
 D : ii, V 
 
 ^ 
 
 ^ 
 
 e 
 
 7,9
 
 130 
 
 HARMON! SIMPLIFIED. 
 
 m 
 
 iv VI 
 
 V 7,13"7c V 7 
 
 56. 
 
 =M=i 
 
 Chapter XIX. 
 
 STAINER. 
 
 57 
 
 
 7e 
 
 
 
 IV V 
 
 Hymn-Tune. 
 
 58. 
 
 -l.^t/i 
 
 
 mf-^m 
 
 F r 
 
 
 ZZ2 > 
 
 
 I 
 
 i r r 
 
 
 P 
 
 r^g 
 
 
 
 
 
 *n " 1 
 
 - 
 
 r r 
 
 
 V b vi G: I 
 
 D: ii T V I 
 
 ?=*- E 
 
 
 
 f=r 
 
 -^-^ - 
 
 i e v 7 i c v 7
 
 HARMONY SIMPLIFIED. 
 
 131 
 
 $ r I J I I ; 
 
 GUILMANT. 
 
 60. 
 
 
 
 '&. J 
 
 ^ 
 
 ;^I 
 
 7c 
 
 =4= 
 
 J^-i 
 
 =F 
 
 ^ 
 
 c: V 
 
 7b 
 
 
 iv 
 
 -. v 
 
 , d
 
 132 
 
 HARMONY SIMPLIFIED. 
 
 Chapter XX. 
 
 61.E93 
 
 V 7,9 V 7 I 'b V 7 I 
 
 IV c ?d 
 
 III UK II-H 11. V,,, I I K I K I H- V-,. I I 
 
 ^K i-- u <5 | L - ' ' 
 
 62. 
 
 7b 
 
 in 
 
 J- 
 
 
 "7b V 7d 
 
 1 1+ iv iv+ | ii n+ v | in ni 7 vi vi 7d I n b v 7 i 
 
 64. 
 
 
 XL b h 
 
 i i 
 
 i -i i 
 
 i i 
 
 
 j 
 
 
 PT "2: 
 
 
 ill 
 
 ItZ3 
 
 -_ 
 
 fy 
 
 
 
 
 2 k-L 
 
 .c* te 1 
 
 *^ 
 
 
 
 cJ 
 
 J J "" 
 
 r 
 
 C)f-t> 
 
 1 s 
 
 *^ 
 
 
 _, 
 
 feHz * 
 
 H 1 
 
 p 
 
 5 
 
 
 
 
 
 -^ 
 
 is 
 
 
 x^ 
 
 
 
 ^ 
 
 1 K 
 
 
 H 
 
 B 2 
 
 2J 
 
 L 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 p\ * h 
 
 
 
 -p- 
 
 3 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ^=6-fr 
 
 p- f 
 
 
 
 
 
 
 
 F 
 
 t- 
 
 
 
 
 
 
 

 
 HARMONY SIMPLIFIED. 
 
 Chapter XXI. 
 
 N. B. 
 
 133 
 
 PROUT. 
 
 
 'F- 
 
 
 
 7b 
 
 7d 
 
 
 7b 
 
 66. 
 
 
 II 7 V 7 a : i V 7b i C : V 
 
 
 IT V 7 J c ' c v 'c 
 
 67. 
 
 1 
 
 1 
 
 
 VII T i vi b7 
 
 c 7c
 
 134 
 
 HARMONY SIMPLIFIED. 
 
 Chapter XXII. 
 
 7,97 
 
 ' Iv b* IV 7b 'c T d V 7,1S T 7 
 | l b F: n ii.,, V K I | L 
 
 b c 
 
 69. 
 
 gL \_L\ r *L^-JU fc- 
 
 SE 
 
 m 
 
 ^fe 
 
 &=; 
 
 D:I C 
 _ 
 
 ^_T 
 
 25*-< 
 
 
 G: V, 
 
 6: i. 
 
 
 I 'If 
 
 II 
 
 ^ 
 
 G: V, 
 
 7.13 
 
 70. 
 
 
 VI 
 
 V V ? VI iv b jfiv^ V a.'*iv<> V
 
 HARMONY SIMPLIFIED. 
 
 135 
 
 T T Ti TV tfrvO V V 
 
 b l J b7d lv b* lv b v V 7 
 
 *=f 
 
 V d: 
 
 C:vn b V 7b I I b? d:V 
 
 
 VI iv b fiv V V 7 VI iv b fivg V iUvg V fivg V 
 
 -(2. 
 
 
 VI friio IV 
 
 i V, 
 
 r-T^TT / * /-rS' - r ^ f fi-f-e 
 
 
 VI 
 
 b n 7b 
 
 Chapter XXIII. 
 
 ^ J- 
 
 te 
 
 p 
 
 U-l. 
 
 
 r^=^ 1 F 
 
 - -1 
 
 JTzt 
 
 
 li 
 
 
 ->- 
 
 
 1: 
 
 3 
 1
 
 136 
 
 HARMONY SIMPLIFIED. 
 
 LISZT. (Arr.) 
 
 72. 
 
 & 
 
 I vi IV I ii V 7 9 V 7 
 
 7S355Z i ' * 
 
 
 
 
 
 
 
 fm 17 P h * 
 
 m 
 
 _ _n 
 
 i 
 
 *^-l -m 
 
 1 
 
 1 
 
 vi I 7c IV I 
 
 Ab : ii vn I 1+ 
 
 ii vi Z>b : V+ I vi 
 
 : i V VI iv 
 
 =i 
 
 II 
 
 I Ik, >VI 
 
 -* - 
 
 IV ii I 
 
 73.E333 T IV V 7,9 V 7 I IV b V 7b IV c I | vi b 
 
 F: I I I 
 
 . 
 
 i Vi iv 
 
 c 7db 
 
 b c 
 
 :n n 
 
 7d 
 
 Chapter XXIV. 
 
 -J^*^ 
 

 
 HARMONY SIMPLIFIED. 
 
 137 
 
 
 #fff= 
 
 v I I I . Irs-ll 
 
 r 
 
 76. 
 
 ,, i- 
 
 v=fct^rt. 
 
 a -i r-i 1~ 
 
 
 PIP 
 
 8 
 
 i[:= 
 
 3 
 
 
 i 
 
 e 
 
 sr 
 
 1 
 
 a. a. 6. a. c. 
 
 -PS- 
 
 MENDELSSOHN. 
 6. 
 
 /ft-'"' V 7e 
 
 S^E^E^gpfe^E^gg r^Ff^H 
 --=^-^=1 ^^^-b^ ^ Z= ^+*^3 =: ^H-^J I J H 
 
 a. Passing tones, b. Appoggiatura. c. Changing tone.
 
 138 
 
 78. 
 
 HARMONY SIMPLIFIED. 
 
 Chapter XXV. 
 
 
 + 
 
 -*=*: 
 
 79. 
 
 i 
 
 Allegro. 
 
 
 IV ii 
 
 
 '25 27 
 
 J 
 
 ^^^j^^^JL^j^y^ 
 
 > 
 
 
 -ft- 
 
 ^rb- 
 
 
 m 
 
 k i 
 
 jt 
 
 bV
 
 HARMONY SIMPLIFIED. 
 
 139 
 
 Exercise 80, arranged from Chauvet, illustrates a pedal in the 
 upper voice, also a double pedal. Measures 9-14 are to be writ- 
 ten in five voices. The distance between soprano and alto is in 
 several places greater than an octave. 
 
 80. 
 
 
 J 
 
 J 
 
 JL 
 
 /LS i 
 
 p 
 
 A 
 
 
 
 
 1 
 
 
 
 
 rTi^ 
 
 
 
 
 
 
 
 ^ 1 
 
 
 ? II 
 
 V-y 1 
 
 
 r_* 
 
 
 
 
 
 
 11 
 
 s 
 
 
 L^ F 
 
 1 [^f 
 
 f*^ 
 
 
 U 
 
 1 
 
 r 
 
 ^-^ ^ 
 
 
 
 
 
 
 
 
 
 1 [/ 
 
 
 
 
 
 
 
 E 
 
 
 -^ h x= 
 
 
 -*-n 
 
 ^7 
 
 -o 
 
 -X5 
 
 -.-J 
 
 
 
 si. 
 
 C: IV 
 
 STAINER. 
 
 : V, 
 
 82. 

 
 140 
 
 HARMONY SIMPLIFIED. 
 
 The following from Bussler shows a number of suspensions 
 from below. In the last chord but one we have an example of 
 the suspension of three tones at once. This might also be called 
 an anticipatory tone in the bass. 
 
 83. 
 
 fet 
 
 7c 
 
 '7b 
 
 IV 
 
 /k tt 
 
 1 * * 
 
 
 i 
 
 \>\J 
 
 
 fc- 
 
 * * 
 
 ^ 1 ~l i 
 x b v b* b | , 
 
 11 -- -* 
 
 SZl 
 
 
 
 
 /# 
 
 
 
 
 
 
 
 
 BACH. (Arr. ) 
 
 84. 
 
 
 ^pj 
 
 L m 
 
 e 
 
 E 
 
 i 
 
 n -s i 
 
 iZ4 J j^J ! !- ! 1 fesJ i- 
 
 ^^ t 
 
 
 
 - 
 
 m m d 
 
 j J 
 
 ^L 5 W 9 M^ 
 
 
 
 
 
 C V 
 
 lfl\ t? *^ 
 
 
 
 
 
 \>l/ ' 
 
 
 
 
 1 
 
 
 b^rt> [^ ^ [ 
 
 -I 2 ta~ 
 
 -t 
 
 
 
 i 
 
 dt^: 
 
 - ^ 1^ 
 
 Repeat the bass of the first eight measures.
 
 UNIVERSITY OF CALIFORNIA LIBRARY 
 
 Los Angeles g g ^5 
 
 This book is DUE on the last date stamped below.
 
 A 000 755 767 1 
 
 LIBRAi 
 
 MT 
 50 
 
 Y63P7 
 1909