I N D E! .

P r e l i mi n ar y
T r i ads an d C h o r d p r o g r ess i o n

C ade n c es
'

an d S i mp l e Har mo n i sat i o n
Fi r s t l n v e r s i o n s of T ri ads
Secn d l n r i
o ve s o ns o f T ri ads
U n ac
ce t d P n e as s i n g No t e s
T h e Do mi n an t Se v e n t h
T h e Medi an t T ri ad
A c
cn e t ed Pass i n g No t es
S u s pe n s i o n s
T h e Me l o di cMi n o r c
S al e

E l e me n t ar y Mo d u l at i o n
A u x i l i ary No t es
T h r e e par t
-
W o rk
S o me P o i n t s o f S t y le
Adde n da
 F OR E WO R D .

I n writing thi s book my ai m h as been not only to s how the st uden t how to
manage an d u se the v ari ou s po ss i bilitie s bu t al so when to introdu e the m c
c c c
,

a point whi h i s o bv iou s ly of pri me i mport an e One so oft en en ounter s s tudents

c c
.

who an t alk glib ly about the treat ment of all k inds of hords b u t w ho s eem ,

not to h av e the s light es t idea of when to u se the m or how to k now when their ,

u se i s i mp l i ed in a gi v en p art While the h armonisation of a melody or a bass is

c
.

to a great e x tent de pendent on the mu si al se n s i bil ity of the s tudent it h as to

c c
be reali sed th at ert ain melodi progre ssion s i mply normally ertai n definite c
c c
, ,

harmonie s an d thes e i mpli ations I h ave tried to mak e le ar E le ment ary work
c c c c
.
, ,

at leas t i s l argely o mpo unded of o mmonpl a es an d my o bj e t h as been as

c c
, ,

far as poss i ble to s how how the underlying o mmon pl a e may be

”
s pott ed .

An appendix on F igured B ass for the benefit of th o se who u se it i n

c ,

c cc c
c
te a h ing ,
is pu b li shed s epar ately I t pro v i d es in stru tion an d ex er i ses on ea h
.

h apter .

c
The h apters an d materi al h ave been arranged not only to provide a goo d
c
grounding bu t al so to over wh at i s generally needed in the more ele ment ary
c
,

Harmony e x ami n ation s s u h as the paper work of the A T C L

cc c
. . .
,

an d L R A M an d the whole book i s based on my own pra ti al ex pe rien e in

c c
. . .

the tea hing of Harmony A n atte mpt h as al so been made to s how how exer is es
c c
.

an be made reason ably interes ting an d flowing by the e arly introd u t ion of
c c
,

the uness ential an d in parti u l ar Su s pen sion s whi h are often left to a l ater s t age
cc c c
, ,

on a ount of their su ppos ed diffi ulty A tu ally they are e as y enough to man age
c
.

i t dealt with on the lines indi ated .

The tre t ment of c ert i n m tter h b n deli b r tely r t i c

ted d
d i mpli c
a a as a an
li mited for the ak e of c
a s ee e es r
l ari ty ity Modul tion for ex mple h
ele ment ry m nner The tudent i rec
s an s ; a , a , as
b n d alt with onl y i
ee e n an o mme ded to a a . s s n

f ll w thi boo k b my Hi nt for P r Wor k C ndid te H mmond Co a a

wh i c c c
o o s y s ap e a s .

h wi l l er e for general re i ion A mple up ple mentary i a to

b fo nd in my 1 08 E c c
s ex er s es re
"
s v v s

in H rmoni ation ( Hamm nd 8

.

“
e u i x er so
s a s o :

W . Lo v et o c x .

Co pyri g h t
 CH A PT E R 1 .

P R E LI M I NA R Y .

1 I t is t aken for gr ant ed t h at the s tudent be fore o mmen ing the st udy
.

"
, c c
of Harmony h as a thorough k nowledge of Rudi ment s otherwi se mi s
c c
,

unders t andin g an d onfu sion ine v it ably arise I n parti ular I nt erv als must be .
,

pro perly unders tood .

2 No real progres s i s po ss i ble unl e ss the fa ulty of c ment al he ari n g

c c
is
c
.

ro erly ulti v ated A o m lete di s u ss ion of thi s matter i s o bv i o us ly be yond

p p
c p
c
.

the s ope of the pre sent boo k an d one an do little more t h an to s tres s i t s extreme
c c c
,

i mport an e E v ery ex ample whether a single hord or a o mplete progress ion

cc
.
,

s hould be played m any t i mes on e uti v ely at the pi ano an d the s t udent s houl d
,

s
c
.

endeav our to me mori se at leas t i t s general so und e ffe t so th at w hen he s ees

c
.

an y gi v en hord progression on paper he may be able t o reali se ment ally i t s

c
-

a tu al sound .

3 I t i s al so de sirable th at al l the ex ample s whi h are gi ven generall y i n c

c
. ,

C maj or for the sak e of s i mpli ity s houl d be written out an d pl ayai in v arious
,
c
k eys so th at the s tudent may be able t o re ogni se the m in k eys other th an C .

4 the e ffe ti v en e ss of t he se
B ut c proc
s i s entirely de pendent on a
edure
c c cc
.

ro erly arr anged our e of in tru tion in ment al he aring whi h a n only be left

c
p p s s ,

in the h ands of the t ea her .

5 I t mu s t be firmly i mpre ss ed on the student th at wh at follows is to be

c
.

studi ed not merely read Thi s may s ee m a t rite o bse rv ation bu t ex pe rien e
s ho w c
, . .

s th at all too man student s appear to thin k th at a more or less as u al

y
c
reading o v er of the text i s su fii i en t to en able the m to a hiev e re al unders t anding c
an d the abil ity to wor k exer is es orre tly c cc
I t should be le arl y re alis ed th at c
c c
.

ev ery s enten e throughout the whole boo k i s of i mport an e an d i t s me aning

c
, , ,

an d impl i ations mu s t be pro perly unders t o od .

CHAPTE R 2 .

T RI ADS AND C HO R D P ROG R E S S IO N

— .

1 c
I f we t ak e a note an d pl a e abo v e it a 3t d an d a 5t h we o bt ain a t riad
c c c
. ,

th at is a th ree note hord T he note on whi h the t ri ad i s buil t i s al led the root
c
-
.
, ,

an d a tri ad i s said to be in root po sition when thi s root i s in t he lowes t voi e

or part .
 four kind s of t ri ad : (a) maj or (6) mi nor ( ) augmented c
c
2There are , , , an d
E x 2 s how s an e x ample of e a h on the note C as root
.

( )
d di mi n i s hed . . .

Ex . 2 .

I t wi l l be seen th at the maj or tri ad on si s ts of root with major 3rd an d perfe t c c

5t h abo v e it the mi nor of root with mi n or 3rd an d pe rfe t 5t h ; the augmented c
of root wit h maj or 3rd an d aug mented 5t h (i e two s u perimpo sed maj or 3rds) . .

an d th e di m i ni s hed of root with minor 3rd an d di minis h ed 5t h (i e two s u per . .

impo sed minor 3rds) .

3 . A tri ad c
a b n e bu i lt on an y not e of a cle
s a ,
th u s :

Ex . 3 .

(a) C maj o r (6) C mi n o r

lI l ll lV V Vl Vl l l II lII IV V VI VII

Note T he t ri ad s in the minor k ey are formed fro m the notes of the harmon i c
min or sc ale U se of th e mel o di c
.form i s on sidered c
The leadi ng note of the mi nor k ey i s alway s rai sed a se mi tone by an
c
c
-

ident al
c
a
c c
.

The Ro man nu mer als i ndi ate the degree of the s ale whi h i s the
root of the tri ad Thu s Chord I V refers to the t ri ad on the su b
.
,

do min ant Chord V I to th at on the s u bme di ant an d so on

c c c
.

”
A t ri ad i s known al s o as a fiv e th ree hord si n e it on s is t s of a -
,

5 th an d a 3rd abo v e the b ass .

4 .Ch ord s I I V an d V in either maj or or minor k ey are alled P rimary

, , , c
T ri ad s I t wi ll be s een fro m E x 3 t h at i n the maj or k ey th es e are maj or t ri ads
. .

while in the minor k ey I an d I V are mi n o r V re mai ni ng maj or I I I I I an d V I in

c c
, .
, ,

the maj or key are mi nor an d are alled Se on dary T riad s V I I be i ng di mi nis hed
c c c
, .
, ,

i s a di s ord I n the minor k ey the only S e ond ary T ri ad i s V I a maj or hord

c
.

I I I aug mented an d I I an d VI I di mini sh ed are dis ords F or the mo ment we

.

c c c
, , , , .

on fine oursel v e s to the u se of P ri mary an d Se on dary t ri ads (with the e x eption

c
of I I I in th e maj or k ey whi h i s de alt with l ater) vi z i n the maj or k ey I I I
c
.
, , , , ,

I V V an d VI i n the minor k ey I I V V an d V I No other ho rds s houl d be used

cc
, , , , , .

u n t i l the
y hav e been spe ifi al l y deal t wi th .
 c
E xer i s es : (1 ) Write the pri mary t riads in the key s of G A B fl at an d A flat ,

maj or an d D F F sh arp an d B minor

,

c
.
, , , ,

(2) Write the se ond ary t ri ad s in the s ame keys

c
.

(3) Write the pri mary an d se ond ary tri ad s in D an d G flat maj or
an d E an d E fl at minor n aming e a h triad as maj or or mi nor
, c ,

5 Wor k wi l l be written for four voi e s or c rt opr ano alto tenor

c
.
pa s s , ,

Their o mp as se s are
,

an d b ass .

Ex 4 Ten o r
S o p r an o
. .

c
When writing in s ho rt s ore (two st ave s) S an d A are pl a ed on the u pper . . c
s t av e T an d B
, on the lower S te ms of n o te s in S an d T are written upw ards
. . . . .
,

those of A an d B downwards . . .

Ex . 5 .

6 I n arr an ging a tri ad for four v oi es one note h as to appear in two p arts
. c , ,

i e it i s
. . dou bled The be s t note to dou ble i s the roo t the next be s t the 5 th
.
, .

I n a minor t ri ad the 3rd may be dou bled bu t in a maj or t riad this i s undes ir ab le
c c c cc c
,

(for the pre s ent ) ex ept in ert ain s pe i al ir u ms t an e s mentioned below The
,
.

l eadi n g n ote may n ev er be dou bl ed F or the mo ment it s ho ul d be t aken th at the

-

"
.

root on l i to b dou b led E x 5 s hows wh at i s me ant b dou b li ng the root

y
c c
y s e . .
,

both bass an d SOpran o h aving C whi h i s the root o f the hord ,

.

7 S pa ing of
rt i of c
gre t i m ort e Ne t door a t s hould not be c
c
a a a
c
s s p n x p r s
p
-
. .

more th an an o t av e apart ex e pt T an d B E x ami ne the fol lowi ng noting th at

c
. .
,
,

the root i s dou bled in e v ery ase :

Ex 6 . .
 I t will be seen th at b ro adly s pe aking the part s are eit her roughly e q uidi s t ant
or the T c lo e t ogether le a ing a l arger a between T a d
c
(a) S A a n d a r e s v g p n ,
.

m
. . .
, ,
,

l o the f ther p rt th e S d B l ed the ore gener a l ly wide

c
a a
c
B (b) A a a a
c c c
. s ar n re p . .
,
.
,

re
sp a d the s p a ing b e o m e s () The s pa ing at ( )
d i s .noteworth y s in e it h as ,

the l arge s t gap (a 6 t h ) between A an d T while T an d B are o n ly a 3rd apart

c c
. . . . .

.
T hi s i s good when the 5 t h of the hord i s i n t he S prov ided th at the hord does
c
.
,

not lie t oo low I f too low the e ffe t i s muddy

.
,
.

8 . P art s
hould not ro ss s c ; i e S . . . sh o uld al way s h av e the highe s t note A , .

the ne x t highe s t T the next ,

.
,
an d B . the lowe s t .

c A dd A an d T t o t he followi ng to form t ri ad s in root po sition Dou b le

cc
E xer i se
c c
.
. . ,

the ro o t in every as e an d gi ve the root indi ation of ea h hord

,
- .

( G maj o r )

(E min o r )

I f the B ass only i s given add fi r st the soprano

9
‘

c
h oo ing for it a y note
s n

c
. , ,

of the hord an d then add alto an d tenor as abo v e

,
.

c Add S A T to the following bass e s gi ing the root indi ction

a
c
E xer i s e of
cc
: . . . ,
v -

e a h hord Write at le as t two arr angement s of ea h

.
.

( E f l at majo r ) (B mi n or )
 10 If A T B to be add ed below it may
a so pr ano note i s gi v en , with
c
. . . .

belong to m more th an one harmonisation may be

,

ore th an one hord , so th at

pos s i b le F or e x ample in C maj or a so pr ano C an be the root of I t h e 5th of I V
.
, c , ,

or the 3rd of VI th us ,

Ex . 7 .

c
E xer i se Add A T B below ea c
h of the foll owing gi v i ng as many h armoni sations
c
. . .
,

as are at present po ss ib le Dou ble the root in e v ery ase an d gi v e t he

ction
.
,

root indi
-
a s .

(D maj o r (D o n ot w e l l ] or VI D )

( G mi n o r (D o n o t us e 1 1, II I or VI I ) )

11 ME LOD I C P Ro e n s s s ro x
. .

T he fol lowi ng point s mu st be me mori sed :

( ) No part may leap an y augmented interv al
a , i . e
. 2n d, 4th . or
5th .

Ex . 8 .

(b) A part may leap a di mi nis h ed 5t h pro vi ded it i s followed by a note wi t hi n

thi s interv al .

Ex . 9 .
 c) Le p of di mini hed 4 h d 7h to b t av oidedfor the presen t
oct e i good if prec
a s a s t an are e .

d) T he le p of eded an d foll owed by notes with i n

c
a an av s
its omp ass .

Ex . 10 .

( ) T he le ap of a 6 t h i s better av oid ed , bu t if houl d be fol lowed by a

c
e s
note within i t s o mpass .

Ex . 11 .
Po s s i bl e U n gai n l y

(f ) Th e l eadi ng note -
s hould ri se to the toni cin the progre ss ion s V I
-
an d
V -
VI .

Ex . 12 .

(g) No part may leap a 7t h , 9 t h , nor an y larger i nter v al , nor with one note
interv ening .

Ex . 13 .
12
. Hammm PRoe n iz s sro n c .

The followin g point s mu s t be me mori sed :

( ) N two p rt m m ove in r llel e rfect 5 t h or o t v es in on c u ti e c c
t av es or 5t h s in c
a a a a a
chords Con se c
a
uti v e oc
o s y p p s se v
on trary motion are a l s o forbi dden
c d oc
.
,

as are the progre s s ion s uni s on to o t av e an t e to

av uni s on .

Ex . 14 .

S an d B mo v e in par all el c
o t av es producing the f lt kn o wn
c
as
on ec
au
c
. .
,

uti e o t av es
produ c
s v .

T d B mo v e in p rallel
a 5t h s i g the f ul t a k nown as
on e c
an
c
. .
, n
uti s v e 5t h s .

(u ) A an d B t ake o t av e s in ontrary morion

. . c c .

(ii i ) Uni s on t o o t av e c .

c
(iv) O t av e t o uni son .

B may not appro a h an o t av e or 5t h in si mi l ar motion with a c c

c
(b) S an d
c
. . ,

l eap in t he S T hi s f aul t i s all ed an ex po se d o t av e or 5t h I f the 5

. . .

mo v e s by s te p the progression i s good ,

.

Ex . 15 .

(i) E x po sed c
o t av e .

E x po s ed 5t h .

(iii ) Corre t c the S mov es . by s tep.

(i v ) T his ex po sed 5t h bet ween II an d V is allowable the 3rd of I I falls to

the 5t h of V .
 c
() I f the me note oc
sa c on sec
u rs in two c utiv e c
hord s it should if posfi bl e ,

be k e pt in the same part .

Ex . 16 .

(d) I n passing from one hord to another e a h c cpart s hould normally mo v e

to the neares t av ail able note Co mpare E x . . 16 wit h the fol lowi ng :

Ex . 17 .

B ut note th at in t ak ing the le ading note to the toni (see para 1 1 (fl) thi s-
c .

may not apply With the S gi v en in E x 1 8 the A mus t f al l to E (in s t ead of

c
. . . .

re maining on G) si n e the tenor B mus t ris e to C

,
.

Ex . 18 .

The 5th of a hord ma c

y be o mitt ed , bu t t h e 3rd may not c
hen e the mo v e men t
of the A in. E x 18
. .
 (e) Part s may not overl ap bet w een ons e utive hords For example in c c c
c
.
,

E x 1 9 (a) the soprano B f alls below the alto C in the re v i ous hord
p
c
.
.

At (b) the bass G ri se s abo ve th e tenor F in the pre v ious hord (an d the
tenor al so leap s an aug mented 4t h ) Overl apping i s undes irable si n e
it endangers the identity of the part s B u t there i s no h arm in over l appi n g
.
c
c c
.

between two po sition s o f the same hord ( ) .

Ex . 19 .

The following i s n o t an overl ap , s c

in e the lo wer p art does not abo ve the
pre v iou s n ote in the upper .

Ex . 20 .

(f ) I n u ing I V V or V I V let the S A an d T move in on t rary motion c

c
s -
,
-
. . .

to the B ea h p art mo v ing to the ne ares t av ail able note

.
, .

Ex . 21 .

IV V lV V V lV

Note : V I V i s not
-
mu si c
al ly c
ti s fa tory ex ept as gi v en above with the 5 t h
sa c ,

of V ri sing a 3rd to the root of I V in the S

c
.
,

(g) In u sing V V I the 3rd of V I s ho u ld be dou bled be ing approa h ed by

c
-
,

steps i n on t rary mo ti o n I n V I V the 3rd of V I s hould also be d o u bled

.
-
,

being qu i tted by s tep s i n_ go n t rary motion _

.

Ex . 22.

V Vl V Vl VI V
 This rule o blig atory in the minor key
is bu t may be di sreg arded in the maj or
c
,

k ey if ne essary For ex ample

.

With the gi v en S it i s i mpo ssi ble to arr ange to appro a h a dou bled 3rd of V I (C) c
c
.

by s te ps in ontr ary motion an d therefore thi s dou b ling i s di spen sed with the
, ,

root being doubled in s te ad But the o ri ginal rule sh ould be followed in al l po ss i ble
c c c c
.

as e s an d i s o b lig atory if V VI i s u sed as a aden e (s ee h ap 3 par a

c c
-
. .
, ,

(h ) I f a hord i s re pe ated h ange the di s po sition of the u pper part s (S A

, . .

(i ) As a general rule it will be found s afe s t to begin with the A an d T high . .

r ather th an low an d to t ry t o kee p the mso Thi s av oid s ri sk of T an d B

, . . .

getting ent angled .

c
E xer i ses Add A . an d . c
T to e a h of the fol lowi ng ; in sert root indi
-
ction
a s fi rs t .

Su pple men tary ex cc

i to the abo v e an d c
to l ater h apters wil l found in
cc
er ses be
"
S upplement ary E x i to F i
er s es rs t Y e ar Har mony
(H am m.ond Co ) .
(a) Ch ange t he di spo sition of the u pper part s c
for the s e repe ated hord s .

[2
 C am s 3 .

C AD E NCES AND S I M PL E HA RMO NI S AT I O N .

Chords av ai l abl e : Major key : I ,

II I V
, ,
V VI, .

Mi n o r key : I ,
IV V , ,
VI .

1 C aden es c point s of res t c

mu s i al pun tu ation F our c k inds are to
c
are
c c
—
. .

be on s idered vi z ,
. P erfe t P l ag al I nte rru pted an d I mperfe t
, , , .

cc c c
The perfe t aden e or full lo se i s V fo llowed by I an d is t he mus i al
2 c
cc c
.
, , ,

equi v alen t of a full s top It i s t he u su al me an s of on luding a senten e an d

c
.

s h ould be arr anged rh th mi ally fro m we ak t o s tr o n

,

y g .

Ex . 24 .

Note th at in e v ery ce the le c c

m
as ading -
note ri ses t o the t oni (see h ap . 2 par a
,
.

11 ( .

3 T he plag al c
.
'

c
aden e i s I V fo l lowed by I , an d i s an o ther for mof fi n al cdenc
a e .

I ts rh yth m i s al so we ak t o s trong .

Ex . 25 .

Thi s c aden ce i s so meti mes u sed to fo l low V I at t he en d -

o f a en t en c
s e .

as a k ind of s mall Cod a the A men at the end of a h ymn i s an ex ample .

c c
c
h o rd o f a man o r k ey passage h as i t s rd m
a ade majo r (as h ere )
c c c
‘
Oo esi o n al l y t h e fin al t on i -

"
.

Th is produ es t h e Ti er e de Pi ardie .

13
 4 c c
The interru pt ed aden e i s V followed by V I an d i s non fin al I t i s the
c c c
c c c
.
-

mu si al equiv alent of a o mma an d may o ur in t he ourse of a senten e b u t

, .

c
c
,

not at i t s end I t s rhyth m may be s trong to we ak or we ak to s t rong a ording

,

c c
.

to o nt ext Refer al s o to h ap 2 para 1 2 (g)

. .
, . .

Ex . 26 .

cc c
Th e i mperf e t aden e or h alf lo s e appe ar s in v ariou s for ms bu t i t s c
c c
-
.
,

s e ond hord mu s t be V The f ollowing are the for ms at pre sent av ai l able
.

M aj or key s : I V -
, I I V IV V V I
-
,
-
,
-
V .

Minor k ey s : I V -
, IV V VI V
-
,
-
.

Note th at I I V i s -
n ot av ai l abl e i n th e mi n or key .

Thi c e i a mu i c
aden c al e mi colon a d i c
freq uent ly u sed in the ourse
entenc
s s s s -
, n s
of a s e t the end of a u b idi ary phr a e
a The rh yt h m may be we ak t o
tron g or tr ng t o we k c c cntext
. s s s .

s ording
s o a a to o .

Ex . 27 .

'

iv V VI v

No te : (a) A ppli ction of c

h p a a 2 p ar a 1 2 (f)
(6 ) A ppli ction f c
. .
,

h p a o a . 2 para , (g) .

The ab ove ex ample s (24 to 27) do n o t exh au s t t he po s si ble arrange ment s

6 .

o f the upper p art s they merely show so me o f the po s si bilitie s It i s left to the
c c c c
.

t u de rt to di s over other s
v
The h o rd pro gre ss ion s forming the v ariou s aden e s
.
-

mu s t b e me mo ri sed .

I4
 c
E xer i ses (1) Write pe rfec t c c
aden e s in the k ey s o f G B flat an d E maj or an d , ,

B F s h arp an d F mi n or
c c
.
, ,

( )
2 Write pl a g al aden e s i n th e k ey s of A E flat an d D flat maj o r , ,

an d C C s h arp an d E min o r
c c
.
, ,

( )
3 Write interrupt ed aden es in the key s of F B a n d E flat maj o r , , ,

an d G s h arp B flat an d D min o r

cc c
.
, ,

(4) Write v ariou s for ms of the i mperfe t aden e in the key s o f D

A flat an d F sh arp maj or an d A G an d E flat min o r
. , , , .

c
I n every as e write t he bas s fir s t with root indi ,
-
ction
a s , an d give at le as t
two arr ange ment s of the u pper p art s .

7 . H A R MONI S A T I O N M E L OD I E S
or .

The following p ar agraph s gi ve w n at help i s p o ssi ble

‘
at the pre sent s t age .

b u t it mu s t be re me mbered th at everyt hing w ritten mu s t b e t es ted b y the ear

c c
as to i t s mu s i al e ffe tivene ss .

8 O f the av ail able c

hord s an y one may follow an y other t aking into
ac
c
.
, o n e,

ount the point s mentioned below .

9 . A v oid I I -
I t he effe t ci s ung ainly .

10 . c
Root s of hord s a 4 t h or a 5 t h apart alw ay s c
give s trong hord progre ss ion -
.

11 . Root s f alling a 3rd are good either we ak to s trong or strong to w e ak

, .

Ex . 28 .

12 . Root s ri sing a 3rd are good s tro ng to we ak bu t po o r we ak to s tro ng .

 13 caden ce h uld he i mmedi tely pre c
No eded by i ec ond ch rd Thu
the perfe c
a
t c d nc
ts s
b pre c
. s o o . s,
e hould a d d by I nor the interrupted (V V I ) by
y for m of the i mp rf ct b y V O herwi e the e ffec
n ot

t of the c
e s e e

den c
e ,
-

V I nor
, an e e e . t s a lS
marred . The follo w ing are al l p o or :

Ex . 30 .

l V l Vl V VI V I

cc c c
(a) P erf e t aden e pre eded by I
c c c
.

(b) I nt errupt ed aden e pre ed ed by V I

c cc c c
.

( ) I mperfe t ade n e pre eded by V .

On t he o ther h and . t he f o l l o wi n g are go o d :

Ex . 31 .

II V I IV V l VI V

cc
I n e a h a e V I i s n ot pre eded by I an d the s ame prin iple applie s wi th c c
c c c c
s

cc
-

th e other aden e s ex epting th e pl agal whi h as alre ady s t ated o as ionally

c c
, , , ,

f o ll o w s the perfe t givin g t h e progre s s ion V I I V I Thi s i s pe rfe tly good

,
- - -
. .

14 I t i s al so unde s ir ab le to anti ip ate the firs t c c

hord of cdenc
e The
c
a a
foll o wing endin g t o a s enten c
.
.

e o ul d be h ar moni sed as s h o wn
r

Ex . 32 .

16
 B u t this i s poor sin e V i s in s i s ted on t oo mu h c
A better h armo nis ation c
c c c
.
,

would be I I V I as at Ex 31 (a) The same prin iple applie s wi th al l aden es

- -
,
. .
.

15 No c
hord may be re pe ated we ak to s tro n g ex ept c the begi n n i n g
c
.
, at of

a s enten e

16 . If a melody note re pe ated or ti ed t ry to get h ange o f h o rd on the

is , c c
re petition . Thi s is e ss enti al we ak to strong bu t i s not alway s po ssi ble s trong to
,

we ak .

17 . A v oid V I -
c
ex ept at beginning or end .

c
The o mplete bas s s hould alway s be pu t in fi r st adding r oo t indi at ion s
18 c
c c
-
.
,

s i mult aneou s ly St art by in sert ing the bass of the fi r s t hord (w hi h wil l be either
c c
.

I or V ) an d th at of the fin al aden e (nor mally V I bu t may be I V I )

,
-
,
-
.

19 As the re mainder of t h e bas s i s added a w at h mu st be kept for c

c
on ec
.
,

uti s v es . F or e xample if the h armoni s ation of the mel od y below h as pr o gres sed
,

as s hown :

Ex . 33 .

V I IV

The next note to be tre ated (D ) an belong to eit h er c 11 V B u t 11 wi ll give

cc c c
or

on se utive o t ave s wi th the pre eding be at

Ex . 34 .

V l l V lI

So V is the only po ss i bility .

20 B e ar i nmind the c on s titution of the v ariou s c

aden ces alre ad y de al t
thes e are al l good progre ss ion s an d may be u sed fr eely (ex c
.

with as ept 1)
c cdenc
-

, ,

whether as a tu al e or not a s . For e x ample in the melody

,
above , h av i ng
got as far as :

I7
 Ex . 35 .

V I IV V

We fi nd th at the en s uing C an be h armoni sed as either I I V or V I an d c

c
, , ,

we need not h e s it ate to u se V I fo llowing V sin e we al re ady know th at V V I

c c c c
-
, ,

i s a sati s f a tory pro gre s s i o n being the interru pted aden e I n an y as e V I i s

c c c
-
.
, ,

unde sirable (s e p ar a while V I V wi ll gi v e on se uti v e 5 t h s

.
-
.

21 I t i u eful to j ot down the ide of the e erc i e the c tu l chord at

th t it m y b c
a
the ex c
. s s s x s a s
il b le le rly d e ily een wh t
a a t po i bilitie
a an as a are
for the h rmoni tion of e c
av a a a
h indi i du l note of the melod y The proc
,
so e s ss s
sa a e i then a
try e c note in tu rn e c
a
ludi g tho e whi c h would produ c
v . ss s
h po ib le b
a ass e
on e c uti e or u c
to
c
ss -
, x n s
h we k progre ion t ho e al re dy noted an d u ing th t
onnec
a as a
h i fi n l l dee med to gi ve the b t progre ion in c tion with the prec
a
whi c
s v s . s ss s s , s
a y eding
c
s es ss

hord .

22 As a general rule try to av oid the re petition of the sa me c

hord with onl y
c
,

one h ord i n tervening .

c
i
E x er s es .

Note : O cion
c al c
lurs in di ate ends of phrase s whi h mu s t be s hown by the c
c c
as
c c
s ,

u se of an appropri ate aden e A non fin al aden e wi l l be either i n

c c c c
-
.

t erru pt ed o r s o me for m of i mpe rfe t whi hever fit s A ll aden es s hould

c c
.
,

be tent atively in se rt ed firs t The v ariou s point s in onne tion with

c c c
.

hord progre ss ion de alt wit h in h ap 2 mu s t be ontinu ally borne in

-
,
.
,

mind .

H armoni s e the foll owing by adding A T . . B .

18
 CH A PT E R 4 .

F I RST I NVE RSI O NS O F T RI A DS .

1 A c
id to be inverted when s ome other n o te th an the root i s
hord is sa
c
.

in the bass T he ter ms root an d bass mu s t not be onfu s ed T he bass is

c c c c
. .

the note in the lowe st v oi e the r o ot i s th at note of the s ale on whi h the hord
i s b uilt by adding a 3rd an d a 5 t h I n th e pre eding h apters the roo t h as always
. c c
been in the bass so th at bass an d root h av e been s ynony mou s We s h all now see
, .

th at thi s i s not alway s so .

2 Wh en t he 3rd fro m the root i s in the b ass a hord i s said to be in i t s

.
, c
fi rs t inversion This i s s ho wn by the letter b after the nu meral of the root
c " .

indi ation ) The following are the fi r s t in v ers ion s of t he tri ad s u sed in h apters c
2 an d 3 .

lb ll b l Vb Vb Vl b lb l Vb Vb Vl b

To the se may be added the fir s t invers ion s (bu t n ot th e ro ot

p ) of the
os i ti on s
di mi ni s hed t ri ad s V I I b in the maj or k ey an d Nb , an d V I I b in the minor k ey .

T he full res our c

e now av ail ab le i s thu s
Ex . 37 .

II II b IV I Vb V Vb VI Vl b VIIb

C mi n o r

I lb IV l Vb Vb VI Vl b

3 c
I t will be noti ed th at the interv al s of a fi rs t in v ersi on are a 6 t h an d a
c
.

3rd above the bas s an d the hord i s therefore so meti me s k no wn as a si x three

,
-
.

c
Th e defin i t e i n di at i o n fo r a triad i n aft er th e meralI a mean s
cc p ti on i s
roo t osi a nu eg
. .

the roo t spo s i ti o n o f t h e to n i h d or . B u t th e a is u su al l y o mit t ed bei ng i mpli ed

,
.
 4 . c
Dou bling in fi rs t in v er sion s needs on si deration I n a maj or firs t in v ersi on .

dou ble either the 3rd or the 6 t h abo v e the bass bu t av oid dou b ling the bass ,

it self in a minor firs t invers ion an y one of the three notes may be dou bl ed
bu t there i s no need to dou ble the bass with out s uffi ient reas on I n a di minis h ed c .
,

fi rs t in v ers ion (V I I b maj or or minor key I I b minor key ) the bass may be dou bl ed
c
,

freely though thi s i s apt to be ine ffe tive in the alto N ote th at in VI I b the 6 t h
, .

abo v e the bass being the le ading note may not be dou bled
,
-
, .

I t is worth not ing th at whereas in the root pos ition s of maj or an d minor
5 .

tri ad s the root i s by far the be st note to dou ble in t h eir firs t in v ersions it i s eq u all y
c
.
,

e ffe ti v e to dou ble either root or 5t h i a either 6 t h or 3rd abo v e the b ass of the
, . .

in v ers ion .

The following s h ows so me po ss ib le arrange ment s of firs t i n v ersi o n s in C

6
maj or an d C minor Note t h at inverted hords mu st be c c
.

. om p l et e the 5 t h fro m
the root may not be o mitted .

Ex . 38 .

lb ll b Vb

Vl b ll b

Vb Vl b

t So me mo di fic
ati o n of th i s i s po ssi bl e l at er ; b ut it i s saf er fo r th e begi n n er to adh ere t o
t h e gi ven ru l e.

21
 Thi s li st i s n o t exh au s ti v e b u t it s how s mo st of the e ffe tive arr ange ment s c
c
.
,

The app arently unorthodox s pa ing s marked (a) are quite legi ti mate .

c
E xer i s e : Write firs t in v ersion s abo ve t h e fo l lowing bass note s howi ng se v eral
cc
-
, s

arr ange ment s of the u pper part s in e a h

ae s .

A maj o r

A mi n o r

7 . c
c
I n a s u e s sion of firs t inver sion s moving b y s tep the soprano s h o uld ,

move in p arallel 6 t h s with the b as s the alt o in p arallel 3rds an d the ten o r s hould
, ,

dou b le altern ately the 6 t h an d the 3rd .

Ex . 39 .

l l b l b Vl l b Vl b Vb Vb Vl b Vll b l b ll b

S uc ending or as c
h a progre ss i o n i s u se ful in h arrn o n i s i n g a de sc ending scl e
a

pas sa ge in either m elody or b ass (avoiding for the mo men t l I I b)

, ,
.

8 . P erfe c
t 5t h follow ed by di mini shed 5t h , or vi c e v ers a, is permi s si ble
between u
pp er p art s , bu t n o t wi th the b ass .

Ex . 40
.

l b Vl l b l
 9 . The following point s s hould be noted :

A void V I I b— V V I I b I V a V I I b l Vb ; the eff e t is ung ainly

,
—
,
—
c .

V I I b i s generally bes t followed by I or l b (or VI a in the maj or key)

b u t I l b Vb an d V I b are als o po ss i ble
, , .

V b generally sound s bes t if followed b y I a or V I b i e with leadi n g note

c
-
. .

to toni in the bass

c
.

I n I I b V a it i s alway s e ffe ti v e to dou ble the bass of the former

cc c
-
.

V I I b—I a i s a poss i ble s u bs titute for the perfe t aden e bu t it need not
be u sed unle ss V I i s not po ss i b le on a ount of another note i n a gi v en
-
c
c
bass .

Ex . 41 .

Vl l b I

(f ) I f V I I b i s fo l lowed b y I or l b it i s m o re e ff e ti v e to mak e a l l part s mo v e c

by s te p if po ss i ble , .

(g) There i s no need n o w to in s i s t ri gi dly on the same note being k e pt in the

same part when po ss i b le ; bu t part s s hould s t i ll be ke pt mov i ng onl y
within f ai rly n arrow li mit s
c
.

(h ) N ote th t the pe i al rule for the pr o gre ss ion s I V V V I V V VI a d

c
a s s n -
,
-
,
-
,

V I V do not apply if either or both of the hord s be inverted

-
.

10 . F our new forms of i mperfec aden c

t c e are now av ail able in either maj or ,

or mi nor key ,
vi z .

I b—V I I b V I Vb V V I b V c
The leas t eff e ti v e i s V I b V whi h s ho u ld c
c
c c
- - - -
.
, , , ,

general ly be av oided . The other s may be u sed free ly a ording t o ontext , .

Ex . 42 .

lb V llb V I Vb V Vl b V

23
 ll . H A R MO NI S A T I O N or B as s e s .

E x amin ati o n o f Ex 37 will s h o w th at so me n o te s of the s ale in the bass c

c c c
.
, .

an o nly be h ar moni s ed with a s ingle hord The medi ant an only be a 3(l b) .
,

the do min ant a g (V ) an d t he le ading note a g(V b) ; in the minor k ey the

c
-

cc
,

s u pert o n i an o nl y b e a g (V l l b ) N o te al l the se p arti ul arly All other

cc
. .

n o tes o f the s ale an be h ar moni sed as either r ; or g

12 I f the bass h as the fi r s t three n o te s of the cle a cnding
a I Vl l b
c
. s s e , u se , ,

lb . I f de s ending u se l b V I I b I t h U S
. , , .
‘

Ex . 43 .

l Vl l b l b l b Vl l b 1

N ot e th at o n e part t ake s the bass in reve rs e dire tion (at (a) the tenor at c
c c
,

(b ) t he o pr an o ) while another p art t ak e s toni le ading note toni (at (a) the
c
s ,
-
,

s o pr ano at (b) the tenor ) T hi s arr ange ment of the part s i s e ffe tive an d sh ould
c c c
.
, ,

be adhered to I n the ase of the de s ending bass it i s al so e ffe tive to make the
c
'

s o pr an o mo v e in p ar all el 3rds with the bass provided they are t wo o t av e s an d a ,

3rd ap art see E x 40 . .

13I f a b as s note an be h ar moni sed -

c as either 3 or g prefer 2unless
c
.

ontext f o r bid s Con s ider the f o llowing :

.

Ex . 44 .

T he
opening b ar (C D B ) will be tre ated as indi ated in p ar a 12 T he P an c c
c
, , . .

be e i ther I V or l l b so prefer the l atter The following D ould be either I I or

c c
, .

V l l b bu t the l atter i s not po ss i ble s in e the G whi h follows mu st be V for t he

c c c
,
, ,

fir s t h ord of the aden e ; we know (para 9 (a)) th at Vl l b V i s a bad

c
-
.

progre ss ion so the D mu s t be I I Hen e the solution i s

, .

Ex . 45 .

l Vll b l b lI b ll V l

24
 14 . c
We may now on sider the evolution of a melody over a gi ven bass
bas ing our s ugges tion s on E x 4 5 The firs t b ar may be either C B C or E D C
,

c
. .

as implied by para 1 2 (see E x 46

, , , , , ,

Either is good an d we will hoos e C B

c cc
. .
,

C for the sak e of argu ment A ross the barl i n e we h ave I h I I b i a two on se u ti ve
, ,

.
—
. .
,

fi rst i n vers i on s a s tep apart So the so prano s hould prefer ably mo ve i n 6 t h s with
.

the bass fro m C to D (s ee Ex 46 Thi s applies the s ugg es tion given i n para 7
c
, .
. .

F or the ensuing hord I l a the po ss i ble melody not es are A D or F D is possi b le

, , , .
,

bu t either A or F i s better as avoiding a repe ated not e As either s ee ms eq u all y

c
, .

good we wi ll for the sake of argu ment h oo se F (Ex 46

, , , .

Ex . 46 .

l Vl l b l b l Vl l b lb l Vl l b lb llb l Vl l b l b Vl b ll

c
No w o me s the que s tion of the i ble arr ange to end with cdenc
a e Wh en po . ss

the root of the fin al l a in the s opr ano Thi s allow s of two po ss i bilities for the .

Soprano of our melod y either D to C o r B t o C B to C i s p re fer ab le as it avoids

, .
,

h aving D in the melody on both firs t an d third beat s of the bar The fin al res ult .

is thu s :

Ex . 47 .

l Vl l b lb llb ll V

Note (a) the of the di mini s hed 5th cc

le ap orre tly followed bv a note
c
at u se

within i ts o mp ass .

15 of the melody it i s a mixture of s tep s an d s mall s ki ps

Note the st
yl e
c c
. .

Although only s even notes in all it o vers a o mp ass o f a 5 t h (B to F ) an d h as

c
, ,

a good ur v e This i s mo s t i mport ant As the melody i s bein g ev o lved t he

c
. .
,

s tudent mu s t k ee p an eye on i t s s h ape t aking are to av o id ,

(a) ung ai n ly leaps

cc
,

(b) t oo many o n s e utive le aps an d

c c
,

( ) re maining round o n e pit h for t oo long .

 E x ample s will make thi s lear c
(a) (b) an d ( ) in"E x 4 8 orre spond c c
c
. .
, ,

re s pe tively to the point s j u s t mentioned Al l are po ssi ble mel o die s ab ove the .

gi ven b ass .

Ex . 48 .

c
A t ( ) onl y three note s B C, , an d D are u s ed for the whole melody .

16 . c
There i s no o b j e tion t o the u se o f repeated note s in a melod y bu t t oo ,

many are unde s irab le as they tend t o hold u p mo ve ment an d prevent a good
, ,

flo w .

17 . c
The ompleted working of E x . 47

Ex . 49 .

18 The melody u s ed in E x 4 7 i s not as h as alre ady been shown the only

c c
. .
, ,

one po ssi ble Any given bas s i s ap abl e of pr o du i n g at l e as t t w o or three di fferent

c
.

melodie s al l equ ally effe tiv e A nother w o rki n g i s giv en below u s ing the same
c c
.
, ,

h o rd basi s I t s h o u ld be an aly s ed i n t h e li ght o f the pre eding p ar agr aph s

-
. .

19 . H AR MO NI S ATI ON or ME L O D I PLS .

The fir s t an d p ri n ip al req u i sit e i s a good c . bas s ,

i mplying a s trong c
hord
progre s s ion N ot e the f o ll o wing p o int s :
.

(a) The th ree matter s menti o ned in par a 1 5 .

, whi h c pply eq ually t o
a a bas s .

26
 Ex . 53 .

This treat ment appli es parti ul arly in t he as e of the 3rd an d l st an d 7t h c c

an d 5t h not es of the s ale in either dire tion c
B u t it mu s t not be t ak en th at the c ,

c
.
,

rogre ion s hown in E x 5 2 an d 53 mu st al w y b e m loyed ontext h to

c
a a
c
p ss s s e p . s
be on sidered Th e ex ampl es are merely gi v en as u seful (an d o mmon )
.

s ibil i ti es
po s .

A d es endi ng or
22 . c an as c
ending cle s a p assage is often b es t treated as
s hown in E x 39 av oiding .
. IIl b .

23 c
A three note s ale pas sage in the bass i s oft en bes t fol lowed by a further
c
-
.

s te p i n the same dire tion rather th an by a le ap e g , , .

Ex . 54 .

l Vl l b lb l Vl l b lb

(a) i s prefer able to (b) .

The fi r”s t step i n a h armoni sation i s t o pu t i n the basses of the aden es

24 c c
c c
.
,

an d an y st o k progress i on s wh i h may see mpos s i ble Note th at the bass sh o u ld

c c c
.

be o mpleted addi ng hord indi ations b efore the inn er part s are attempt ed ;
c
-
, ,

remember th e warni ng gi v en i n h ap 3 p ara 1 9 .

, . .

25 . Study crefully the

a s te ps in th e wor ki ng of the followi n g
Add A T B t o this melody
. . . .

Ex . 55 .

28
 c c c cc
The aden es are at (a) (b) an d ( ) ( ) an o nly be pe rfe t (b) ending on c
c c c
.
, ,

the le ading note mu s t be so me form of i mpe rfe t (a) ould be perfe t bu t t hi s

,

c
,
,

would be i n appropriate a fu l l s to p in the wro n g pl a e R eme mber th at an

c c c
—
.

i n termedi ate aden e i s never V a I a in the toni key The other po ss i biliti es are
c c cc c
-
.

(a) interru pt ed aden e or (b) so me form of i n verted perfe t aden e

cc c
Th
‘

, .
e

in v erted perfe t aden es at presen t av ail ab le are V I b an d Vb I (V l l b l an d

c
c
‘
- - -
.

V l l b l b are o asion all y u seful bu t t ho se mentioned abo ve wi ll gener ally be

-

found preferable ) I n C maj or the bass es of th es e an d the inte rru pted adenc c
,

.
e
are

Ex . 56 .

V lb Yb l V Vl

I t i s seen i mmedi ately th at at (a) in our me l od y V b I i s not av ai labl e as it

cc c c
-
.
,

produ es on se uti v e o t av es with the s o prano But either V l b or V V I is po ssi b l e

c c c
-
.

an d for the sake of argu ment we wi l l h oo se the l atter

.

We an now p ro du e t h e
c
.

followi ng s ket h

T he c
riou s s to k po ss i bilitie s are n o w t ri ed A t (a) E x 57 the re i s a
va

c
. . .
,
,

drop of a 3rd from 3rd t o l s t of t h e s al e at (b) a s i mil ar dr o p fro m 2md t o 7i h

c c c
c
an d at ( ) the fi r s t three note s of t he s ale in s u e s s ion The s k et h n o w develop s
. c
t hu s :

l b Vl l h l llb
 For the re mai ning notes we h av e to try out t he v ariou s po ss i bil i t i es i n ea h c
c c c c
~

ase ontinu ally be ari ng m mind t he mat ters alre ady de alt wi th in onne tion
c
.

wit h h ar mo n i sation For ex ample t he not e A an h av e as po s si ble bass note s

c
.
,

A F D or C H igh C i s un o mfo rt ably ne ar the s oprano an d low C gi v es an

c c
.
, , ,

ung ai nly le ap of a 6 t h so the se not es are di s arded D produ es an ex po sed 5t h

c
, .
.

A i s po ssi ble though there i s no nee d to re pe at a bas s note i f it an be av oided

c
, .

S o F i s ho s en being t aken as the bas s of I V T hi s gi v e s root s f all ing a 3rd (A to F

c )
. .

whi h we alr eady k now t o be good The other note s in the melody mu s t be t re ated
c
‘

c
.

o n s i mil ar line s A o mpleted work i ng with inner p art s added ould be

.
, ,

Ex . 59

1 lb llb V VI “7 Vl l b l b Vll b l l lb V VI ll V

No te : (a) The of mini ms to av oid u nne essary re pe at ed note s c

c
u se .

(b) 3rd of I l a dou b led ; t h i s i s permi ssi b le an d i s ne essary in order to

c c
,

avoid on se utive s
(c c
.

) Th e b ass i s melod i ou s an d h as a good u rve .

26 Th e ex ample
j u s t de alt with was spe ial ly framed to s how the c
c c
.

appli ation of as many point s as po ssi ble with i n a li mi ted s pa e I t need not be
c c c
.

an ti ip ated th at al l the e x er i s e s whi h follow will wor k out q uite so si mply ;

b u t t h e method o f working de mo n s tr ated s h ould be followed as far as po ss i b le in
all c
a ses .

E x em s es
’

A dd 5 A T t o th e foll owi ng basses o mpleting S fi r st Th e c

c c c
. . .
, . .

s lu r s s h ow ph ras e length s -
e a h phr as e ending with a aden e
, .

(N B . .
—
A void I l a in minor k ey s
 (2) Add A T B u sing on e c
c utive fi rs t in v ersio n s (see p ar a
c
. . . s 7) as
mu h as po ssi ble
.

(3) Add A T B to the followin g S l u r s indi ate phras e lengt hs c

c c c
. .
-
. .
,

e a h phras e ending with a aden e Co mplete the bass first

.

Av o i d V a I a
c c
-
.

1 U se V fo r bo t h n o t es A n ew ph rase may begi”n wi t h th e h d wh i h th e previ o u s

c
. or on
en d ed even t h o u h i t b e a ro ss t h e barl i n e
,
g .

31
 CH A PT E R 5 .

S ECO N D I NVE RS I O N S O F T R I AD S .

l c c
A hord i s said to be in i t s se ond in v ers ion when the 5t h from the root
c c
.

the b ass T he indi ation i s a after the roo t nu mber an d the fi guring i s
i s in .

2 , ,

Ex . 60 .

lo c V0

2 The c
of s e ond in v ers ion s i s re s t ri ted an d only two po ss i bilities c
c
. u se ,

need to be on sidered in ele ment ary wor k v i z C adenti al an d Passi ng ,

. .

3 TH E C A D E NT I A L 2 Only two a
the former being re po ss i ble I c d Iv
an e,

c c
.

the more o mmon T hey pro eed to the gon the s ame bas s
. the 6 t h fall s to the
5t h the 4 t h to the 3rd a n d the re maining part dou b le s th e b ass
‘
T he 3 mu st

c
c c
, , .

n ot be mo re s tro n gly a en ted than the 2 T he bass of the 2may n o t be approa hed
c
.

by l eap from an i n v ersi on of an o th er hord .

Ex . 61 .

ll 10 V l lb lo V lb lo V W c l Vb

(a) B as s ap pro a c
hed by le p fro m a a root p o s ition 3 we ak er th
, an 2 .

(b) B as s appro a c
hed by t p from l s e a st inv ers ion 5 we ak er th an 2
, .

cB a
() ss appr o a c
hed by le p fro m l a st in v er si on f
o !
sa me c
h d
or ,
2 an d
g
b ot h we ak .

(d) B as s appro a c
hed by le p fro m i t
a s own roo t po s ition ,
5
weak er th an 2.

(e) B ad ; bass a ppro ched by le p

a a fro m l s t i n vers i on o f an o ther c
h d
or .

B ut s ee Ex . 63 () ca d n (d) .

32
 U s e s o r I o Can z n rmt
c Ic
4
c
. .

( )
a As fi rs t hord of a s trong to weak h alf lose -
V ’ ,
-
.

Ex . 62 .

l lb lV II

The mini m C B re rel atively s trong an d we ak )

(
c c cpro
a
c
s - .

()
b To re ede V a in a e rfe t or an interru pted a den e vi ded the rh yth m
c
p p ,

onforms to the rule gi v en in par a 3 . .

(d) 5

lb lV l cV c
Vl
V c v I IV 1 V l
l l ll b l 0

Th ro ri te m elodi
a cending a hown b the fi gu e o er the r no are as a
(c
y p s s r s v so
p p p e .

Note the rr ngement of the up per part ) d (d) at

c
a a an
c
s .

() D o m in nt of le in o r no or b l ting two or
a m ore b e t a as s , as a at a
h lf or full c lc
p a s s s,
lo e hould b h rmoni ed
a V to s oid t oo long h lt
, s e a s as -
, av a a .

l ll b l lb lo V V lV ll l cV

(a) Here both So prano an d B ass l as t four be at s h armoni s ed with two two
c
,

beat hord s I f they were t hree be at s long th e rh yth m would be as at (b)

c c
. .
,

( ) Here the bass G las t s two beat s so l V i s appro pri ate ,

-
.

NB c c
I n t h i s o n n e ti o n rememb e r t h at t h e 3rd beat o f a fo u r bee t bar is
c
st ro n g as
c
— -
. .

ompared wi t h t h e 4t h b eat bu t weak as o mpared wi th t h e l s t

,
.

33
 ro ided
v
5 . c C adenti al may be u sed to de orate a perfe t or
c
the fin al toni bass l as t s at leas t three be at s
c c a pl ag al adenc
c e,

p .

Vl llb V We 1

(a) c
De orated perfe t aden e cc c
c c c
.

(b) De or ated pl ag al aden e N ote the rhyth m in the fi n al b ar Mini m

cc c
. .

followed by rot het would s ound t oo u t o ff .

6 2
THE P A SS I NG
Only I an d V are po ss i ble c
The c c
b ass i s appro a hed
c
. . .

an d q uitted by s tep an d th e 2i s always on a weak be at I lie s between I Va

c c c
.
,

an d I V b or v i e v ersa V between l a an d l b or v i e vers a .

Ex . 66 .

l Vb IO N lo l Vb lb V0 1 l c lb
V

Note (l ) (a) an d (b) s how u s eful h ar moni sation s for the 4t h 5t h an d 6 t h notes
o f the s c c
c
, ,

ale in either s o pr ano or b as s prov i ded the 5i h i s u n a en ted

c c
.
,

(2) ( ) an d (d) may (an d prefer ably s hould ) repl a e the progress ion s de alt
with in c h ap 4 p ar as 1 2 an d 20 prov i ded th at th e mi ddl e ho rd of the c
th ree i s u n ac c c c
c
. .
, ,

en ted I f thi s hord i s a ented V l l b mu s t be u sed as

.
, ,

heretofore Co mp are (a) with (b) in the following :

.

Ex . 67 .

l V c lb 1 Vl l b lb lV
 C HA PT ER 6 .

U N ACC E N TE D P ASS I N G N OTES .

A p as s ing n o te i s a fo rm o f u n es s enti al n o t e t h at i s
1 it does fo rm
c c
.
,
.
. n ot
p art o f t h e h o rd ag ain s t wh i h i t i s h e ard Two h armo n v not e s may
c
a 3rd apart
be j o ined by int rodu ing a p ass ing n o te th u s ,

Ex . 68 .

(a) p

l lb V

At (a) t h e p as s ing n o t e I) lie s b e t w ee n C an d E wh i h c are h armo ny

c
n o t es

in t h e s ame h o rd .

At (b) the p ass ing n o t e C lie s betwee n D an d B wh i h c are h ar mony no t e s in

di fferent h o rd s c .

I t wil l be o bser v ed t h at p as si n g no t e s may de s end they mu s t as c

end c
c c c
or
o bv i ous ly be appro a h ed an d q u i tted by s tep i n th e s ame di re ti o n T h ey may o c ur
c cc
.

in an y v o i e A p as s ing n o te i s ter med un a ented wh en i t i s o n a w e ak e r

c c
.

be at o r p art of a be at th an t h e note wh i h pre ede s it

, ,
.

T w o p ass ing note s may be u s e d s i mult aneou s l y in di fferent p art s p ro vid ed

2 ,

they move in paral l el 3rds or 6 t h s .

Ex . 69 .

l_ _ lb

At (a) the two p ass ing n o tes produ e an c une ss enti al 6th , at (b) an
unes senti al 3rd Note t h at t h e mo v e ment mu st be paral l el An ti al 3rd
ct
. . u n ess en

or 6 th sh ou l d n o t be qu i tted i n on rary mo ti on .

36
 3 Two p art s may t ake the same
.

motion at le as t an o t av e apart c ,
pas s mg
'

note simul t an eo us]Y in ct a y

on r r
,

Ex . 70 .

4 P ass ing note an d h armony note s ho u ld onl y be c

k together if they
cc
. st ru
form a on ord , i . e 3rd 5t h, , or 6 th .

Ex . 71 .

(a) (b) an d
( ) are g ood c
p as s ing note an d h arman y note form a 3rd
c
, , , 5t h
an d 6 t h res pe tively (d) 15 poor p ass ing note an d h armony n o te for m a
c c
.
7t h
an d produ e ung an ainly l h
as .

5 . N ote the followi ng point s

(i ) Avoid p as s i ng note s pro du ing a mi n or c 9 t h abo ve t he 3rd or 7t h of t he
s a c
l e as at (a) A mend as at (b)
, . .

Ex . 72 .

c
This me an s th at the t o ni s h o u ld not be s o u nded ag ain s t the le adi ng note
when the for mer i s une s se nti al an d t h e l atter a h armony note nor s h o u ld t h e
c
4t h of the s ale as an unes s enti al note be sounded ag ain s t t h e 3rd as a h armony not e
c c c
.

I n minor key s t h i s rule applie s o n ly in onne ti o n wit h t o ni an d le adi n g note .

c
( ) T ake are th at the intr o du c
tion of p a a ng note d o es not p rodu e 5t h s
ss i c
c c
11 .

In s u h a as e the pass in g note mu s t be o mitted or t h e p art s re arranged

, .

37
 Ex . 73 .

cc
(iii ) A p assage in orre t without pas s ing notes is equ al ly in crrec
t with the m
o .

Ex . 74 .

(a) 5t h s between S . an d A . are n ot sav ed by the pass ing note at (b)

.

c
( ) E xpos ed o t ave c (d)
n o t sa ved by the p ass ing note at .

(i v ) A v oid running one p art into another the e ffe t i s ugly ( E x c . 75 (a)
an d av oid ne arly running one p art into another (E x 75 (b) .

Ex . 75 .

At (a) t he alto run s into the S opr ano at (b) the in is only j u st avoided
c
run

an d the e ffe t i s bad .

(v ) Ne v er h av e more t h an two p ass ing notes si mul t aneous ly or congest io n

res ult s Re member th at too few pass ing notes are preferab le to t oo man y
,

6 c
Two s pe i al point s mu s t be noted in o n ne tion with the min or c c k ey
c
.

‘
( )
a The 6 t h of the ale a a p a i t i a lw a y harpened
c
s s s n n o e s s
s g s .

(b) The 7 t h of the s ale as a pas s i n g n o t e i s n o t s h a rp en ed .

i . e . rai sed a se mi to n e .
 c c
Thes e pro edures are ne es sary to avoid t h e aug mented 2n d But n o te th at
c c c
.

the a tu al h armony i s s till t aken fro m the h ar mo ni mi n o r s ale ‘ .

Ex 76
C mi n o r
. .

At (a) the soprano h as A n atu ral p ass ing note bet w een h armony n o tes G an d
B, while the b ass t ake s the same p as sing note in a des en di n g p as sage c .

A t (b) the so prano h as B fl at p as sing n o te , des c

ending .

c
At ( ) the bass h as B fl at p ass ing note as , cdi en ng .

I t mus t be c
t h at p ass ing n o tes do n ot afi e t th e h armo n y
le rly re
a ali s ed c
c
c
4 .

Thus for ex ample the h armo ny for Ex 77 (a) tre ating u n a ented qu avers as
.

c c
.
, . ,

p ass ing notes i s identi al w it h th at for E x 77 (b) in wh i h the pass ing not es
, ,

are o mitted .

Ex . 77 .

8 . Th e tudent mu st be prepared to t re at
s appro pri ate not es as unes senti al .

For thi s the following hint s are us eful

(a) Wi t h r o t het be ats do cc cc
h ar moni se on s e uti ve qu av ers wit h di ff eren t
c
n ot

h o rd s .

(b) With mini m beat s do not h armoni se on se uti v e rot h et s with di fi eren t c c cc
c
.

h rd o s .

(c
) With qu aver be ats do not h ar moni s e c
on ec
utive e mi qu avers with
c
, s s
different h ords .

Co n s ider th s melody i
in on e c
c ti on
n with (a)

Ex . 78 .

‘
No t e cf l c
| y t h e i mpl i at i o n o f t h i s : A t t h i s s tage i f t h e s harpen ed 6 t h o r flat t en ed
c c
are
c
u ,

7t h are en o u n t e red i n an e xer se t h e y are au t o mat i al l y pas s i n g n o t es (T h ei r treat me n t

i
,

c
.
,

as h armo n y n o tes i s o n s idered l ater ) .

39
 Harmoni s ing every note with a sep ar ate hord pr du c
c e hop
o s l
e ess c
onge tios n :

Ex . 79 .

l b Vl l b I ll b IVb V lb V

The t pr c
crreco ed re i o u s c
c
to tre at un a ented qu aver s as p assing note s

Ex . 80 .

l ll b V

Si mil ar prin iple s apply inc cnneci n

o t o wit h (b) an d (0) above .

9 c
R ate o f h o rd mo ve ment in triple an d ompound ti me s needs c cre In
c
.
-
a .

t riple ti me hord s wi ll move in t h e f o ll o wi ng r h y t h ms

Ex . 81 .

(0 ) i dJ J bu t n ot (d) 2

Con sider E x . 82 .

Ex . 82 .
 At (a) t h ere
t h re one be at h o rds to the bar at (b) a t wo beat h o rd c c
c
are
c
c c
e -
-

fol lowed by a o n e be at at ( ) t h e w h ole bar i s o upied by a s i n gle h o rd (I )

c
—
.

Al l these are good But (d) one b eat h o rd foll o w ed b y t w o beat i s poor
c
t h e s yn op ated bu mp i s ung ainly I n c c
— - - —
"
.

o mpound ti mes t h e s ame pri n iples

c c
.

apply s u b s tituting pul se

, for be at si n e an y bar o f o mpound ti me i s merely ,

two t hree o r four bar s of s i mple triple In for example Ex 83 (a) is bad
c
.
, , .

as it ex h i bit s t h e s ame rhyt h mi fau lt as (d) in Ex 8 2 b u t (b) i s g o od ‘ .

Ex . 83 .

l Il b V

10 . c
In a tu al h ar moni sat ion t h e s t udent may find it h elpful at firs t to
s keletoni se t h e given p ar t by re mo ving t h e p assing notes (see E x
c
,

h ar mon i s ing it i n i t s unde or at ed for m Then t h e given p as si n g n o t es s h o uld be

.

c c
.

put ba k an d an y others whi h may see m des irable added in t h e o t her p art s
"
c c
,

beginning wi t h t h e bas s B u t t h ere are s o me s t o k po ss i bi l ities w h i h s h o u ld

.
“

be noted .

Ex . 84 .

I Vl b II lb IV l lb V

c
T h e s e are re ally de or at i o n s o f t h o se given in Ex 5 2 T h ey are effe tive . . c
either fro m s tro ng t o weak o r f ro m w e ak t o s tr o ng an d may al so be u sed in t h e
c c
,

rever se dire tion I n a given b as s n o te e s pe i al ly

.
.

Ex . 85 .

T h e upper p art s cb
an e arr anged to su it cnt o e xt .

S ee A dd en da paras
, . l an d 2 .

41
 c
E x er i s es .

1 c
Add A an d T intr o d u ing p as s ing no t e s where appropri ate Un a ented c
c
c
. . .
.

qu aver s appro a h ed an d quitted by s te p are p ass ing note s .

9
Add S . c
introdu ing appropri ate p ass ing notes .

“
P c
i n di at es pas s i n g n o te .

1 R e fer t o para 9
’
. .
 C HA P T ER 7.

THE D O M I N A N T SE VEN T H .

l c c
T h e hord of the do min ant 7t h ons i s t s of t h e do min ant t ri ad with another
c c c
.

3rd added at the top produ ing a minor 7t h above the r o ot T h e hord indi ation
,
.
-

i s V7 an d
, the fi guring
7
is 5
3
whi h ci s nor mally abb revi ated t o 7 .

Ex . 86 .

C majo r C mi n o r

c d need b c
I t i s t hu s a di s o rd orre ctly re to lved R e s o lution me ans
c t c
an
onc
s e so .

p as sing f ro m a di s ord ord o a .

2 The c tu al di c
ord i the 7 h bove t h e root t an d thi s f all s tep to its
n the c
. a s s a a s

res olutio ,
h ord of re olution being either I o r V I
s .

Ex . 87 .

V7 I V7 I V7 VI

Note th at the 5 t h fro mth e root may be o mitted as at (b) When resol v ing to V I
c dou b led in t h e u s u al manner V7 I i s 0 1 c c
. .

the 3rd o f thi s hord i s ourse a per f e t

c c cdenc
-
.
, ,

aden e an d V 7 VI an interrupted
-
e a .

3 I n root po siti o n t h e do min ant

. 7t h may re sol v e to I Vb or IV ct h e 7 h
,
t
re maining s t ation ary .

Ex . 88 .

V7 IVb V7 [Vo l

44
 T h e l at ter is c
u se fu l as a de oratio n of t h e perf e t cc
aden c no e t t hat in i
th s
ce
e

as V 7 h as i t s 5 t h o mitt ed .

4 There are three inver sion s al l f wh i c

h reso l v e to th e to n i cc
h d T h ei r
c
. ,
o or .

figu ri n gs are re s pe ti v ely

6
normally to 2
l st i nver si on
a . abbrev i ated .

6
2n d mv ersxo n nor mal ly ab bre v i ated t o g
6
3rd mv ersxo n nor mally abbre v i ated to 3
3 .

Ex . 89 .

V7b l V70 1 V7d Ih

N ote th at invers ion s of the domin ant 7t h mu st be o mpl ete c

c
.

The s e ond inversion may al s o re s olve t o I b t h e b as s ris ing tep

c
, a s .

In thi s as e the 7t h al so ri s es a s tep .

Ex . 90 .

5 . The same b ass may be u s ed we ak to s trong pro v ided t h e s trong note is

the 7t h of V 7 .

Ex . 91 .

Il l) V7d l b
 c
Th e first F i s all ed t h e preparation o f t h e se o n d c c
F wh i h di c d
c c
h i
. s t e s or
Th is usage shoul d be not ed an d may be s tated th us , i n
.

o tinnewith gi on a ven

c
I f t he 4 t h o f the s al e in the bass , , is re peat ed or t i ed weak to st r n g o an d
fall s a ste p the st ron g note must be
, h armon i sed as V7d .

e c
The adential 2(l o) may be followed Thi s gi v es au to mat i c
c
.
by V7d
h armoni sati on of the 5t h 4t h 3rd notes of the
.

, , s al e in the bas s provi ded th e 4th

,

is n o t stron ger than th e 5th .

E x 92
. .

Co mp are this with E x . 85 , in whi h cV I h i -

s e s sent i al to av oid c
o g n es tion .

7 Broadly s peaki n g an y progress ion invol v ing so me form of V- I

.
, can no w
be h armonis ed by s o me for m of V 7 I bu t thi s mu s t not be interpreted too liter al ly
c c
-
.
,

I n mos t as es it i s more fluent to introdu e t h e 7t h as a p ass ing note (b) rather

c c c g
, e . .

th an (a) The s ame applies at

. aden e s ( ) an d (d)
, .

Ex . 93 .

V7b t l V7 I - V l

But t h e rhyth mi e ffe t mu s tcc be con idered I t i wort h noting th at the

als o
c c
s . s
4 t h of t h e s ale f alling t o the 3rd in either o pr no o r bas s an be h ar mo n is ed
c c
, S a
b y t h e appropri ate f o r m of V 7 I b utontext d h an armoni propriety mus t be
c
c
-

t aken into a o unt .

 8 may be s u bs tituted fo r V l l b o r Vc
V 7d in Ex 5 1 (a) an d (c ) an d E x 6 6
(d) re s pe c
tively B u t t h e en s u ing c
urve o f t h e bas s mu s t be c
. . .
,

. o n side red C o mpare .

(a) wit h (b) in Ex 9 4 . .

Ex . 94 .

I V7d l b l l b V c
l V lb llb

T h e l at ter is mu c
h s tronger the b as s of ( )
a tend s to w ob b l e .

9 . U s ef u l s o t c
k h armoni s ation s are :

Ex . 95 .
5 4 3 3 4 5

l b V7 c
l I V7clb

Comp are with Ex 84 w here t h e s opr ano F (4t h o f s al e) i s a p assing n o te c

c
.
,

N ote al s o th at th es e gi ve good h ar mony for t h e fir s t t h ree note s o f t h e s ale in t h e

b as s .

O rn ament al re solution i s o c
10 cas i o n all y u s ed I n t h i s t h e 7t h mo ves to
the 5 th or the root p f the c
. .
,

h ord b efore finally re s olving .

Ex . 96 .

V7b I V70 1

(b) s hould be c
es pe i ally noted To h ar mo n i se t h e t w o q u ave rs w it h sep arat e
c c c c c
.

hord s wbul d au s e onges tion T h e G le ap s so ann o t be a p assi ng n o t e h en e

c cc
.

both P an d G mu s t belong to the s ame h o rd whi h an o nly be V 7

,

.
,

47
 T h e 7t h may be tr ans ferred from one voi e to anot her res ol v ing in c t he
c
l l
c
,

l at ter I n t h i s ase the p art w h i h ori gin all y h ad the 7t h mu st fall

.

.
.

Ex . 97

Three ne w fo r ms of inverted perfe t aden e (for i ntermedi ate p h r as e

12 cc c
c
.

ends ) are no w av ail able V 7b I V 7 I an d V 7d 1b The l as t i s the mos t generally

-
,
-
,
-
.

u seful bu t al l are good

,
.

I n h armonis ing cdence i nvolving V7 I c c

introdu e the a tu al 7t h as
otherwi e the c
13 a a
den c
-
. ,

l ate as po ss i ble ,
s e tend a s to feel unn atur ally dr awn out -
.

C o mp are (a) with (b) the l atter is prefer ab le .

Ex . 98 .

I f the given p art le ap s up a di minis hed 5t h fro mthe leadi ng note an d then
14 .

f all s a s tep t h e le ap i s fro m 3rd to i th of V 7(E x 99 (a) an d

,
I f it le ap s up a .

7t h fro m t h e do mi n ant an d then f all s a s te p the le ap i s fro m root to 7t h of V 7

ca d
,

(E x . 99 ( ) n

Ex . 99 .

V V7 l Vb V7d

At (a) an d (b) note t h at the 3rd c

of t he hord (B ) mu st be c
re pl a ed in so me
ot h er v o i e c .
 15 NB Do
u bs ti t u te V7 for V t he c
ond c
h rd c
impe rf e
c c c c
—
n ot as of
”

. . . s se o an t
aden e or t h e adenti al e ffe t is des troyed
,
!
.

c
E x er i ses .

1 R e solve t h es e cc c
do mi n ant 7t h s in ea h ase indi at in g the pr ogr ess ion
c c
of
.
,

the 7t h by a line Add . h ord indi ations an d w h ere mo re th an o n e resolution

-
is
possi ble , s ho w both .

2 Add A an d T t o t h e foll owing u s ing the appro pri ate po s i t ion s of

c
the
c c
. . .

do min ant 7t h where indi at ed by as teri s k s I n se rt h ord indi ation s firs t

,

-
.
.

49
 3 Add mak ing appropri ate of the do min ant 7t h In sert c
h d
c
.
u se . or
indi ati o n s fir st .

4 . Add

U se t wo cc
h c
h d
ro t et or s I V b V 7b
-
.
Th i s k eeps up the i n t e re s t u n de r t h e l o n g n 0 te .

A T B
.
en te r h e re

3 U se V a on ea c
h id s e o f the barl i n e (s ee n o te at e n d o f c
h p a ter 4 1

50
 A mo s t i mport ant
3 of I I Ib c
c when a p h rase of a melody ds
c
. u se o urs en
medi ant t o toni

Ex . 103 .

I n thi s as e c th h armony i I I Ib I for fin al cdenc

e or I I I b VI or for
c
a a Ih
aden c
e s -
,
-

an intermedi ate e I I Ib i . s t aken as a s u bs titute for Va .

Ex . 1 04 .

lb l l b ll lb

T h e soprano E i s t aken as a s u bstitute for D so th at I I I b s t ands as V a with

c c
,

i t s 5 t h repl a ed by a 6 t h abo v e the bas s The 7t h may be introdu ed as a p ass ing

c
.

note (a) or i t may appe ar si mult aneou s ly with the other not es of the hord ,

provided it i s bel ow t h e 6 t h ( b) .

Ex . 1 05 .

A t (b) we h ave t h e d o min ant 7th with i ts st h c by

repl a ed a 6 th Note th at
c c
.

t he e xp o s ed o t ave at i s uno b j e tion ab le .

4 Th e ab ove of I 11b is of gre at i mport an e c an d mu s t be introdu ed in c

ce fac c
. u se

al l a ppr o pri at e as s No o ther s at i s tory h armo n i sati on is po ss i bl e i n the as e of

i c di
.

a medi an t to to n en ng.

5 . M I NOR KE Y .

In mino r key t h e medi ant c

the hord i s an aug mented tri ad The only u se
h need b e c
wh i c
.

o n s idered i s the s u bs titution of II Ib for V a as expl ained in p ara

3 abo ve Ex ample s s h o uld s uffi c
.

. e .

52
Ex ,
106 .

lb lV l llb l lb lllb Vl VI

6N o te t h at in bo th maj or an d minor keys either t h e bass of I I I b sh o ul d

c
.
,

be dou bled or the 7t h introd u ed T he 6 t h above the b as s may n o t be dou bled

,
.

wh en I I I b is u s ed as a s u bs titute for V a .

T his
4 . u se of I I I b i s al s o appropri ate with s u h c phra e endi ng
s -
s as the
following

Ex . 1 07 .

To h ar mo ni se e a h qu aver with c p ar ate c

hord would be c
onge ted an d
cc c
a se s ,

the orre t pro edure i s

Ex . 1 08 .

c
E x er i ses .

1 . Add c
introdu ing IIIb in a s c
al e
-
s eries of 1 st invers ion s .

S ee A dd en da para 3

53
 2 . Add S A T in t rodu
. . . c
i g III
n a or I I I b at t h e as te ri s k s .

3 .Add A T E maki ng
. . . of the mediant tri ad in root
or firs t in v ers ion .

U se V I I b- V I — a sat i s fa cy to r s u bs t i t u t e fo r V V l i n
-
the majo r k ey
.

7 See para 7 . .

3 C h an ge to I I Ib on th e do t .
 Cu m s 9 .

ACCE NTED P ASS I N G NOT ES .

c
c cc
c
An a ented pass ing note i s one whi h o urs on the st ron g part of t h e
c
c
1
c c
.

bar or beat it i s more s tron gly a en ted th an the no te to whi h it pro eeds
c
an d th us repl a es th at note on the a ent cc .
,

Ex . 1 09 .

A t (a) the sop rano B is an a c

cented pas s i ng note repla ing c t he h armony
note A .

At (b) the soprano F i s an a c

cented pass ing c
note repl a ing t h e h armony
note E .

2 . c
c
An a ented p ass ing note an d i ts note of res oluti o n may not be stru k c
together unle ss the l atter be in the bas s Thu s at (a) in E x 1 09 t h ere i s n o A ag ain s t
c
c
. .

the soprano s a ented p ass ing note B an d at (b) t h ere i s no E ag ain s t t h e

’

cc
,

s o pr ano F B u t the following are al s o o rre t

'

Ex . 1 10 .

A t (a) the bas s s trikes C again s t the sopr an o s a ented p as s ing n o te D ; t h is

’
c
c
c
i s permi s s i b le s in e t h e C i s i n th e bas s A t (b) t h ere i s a C in t h e tenor ag ai n s t t h e
c c
.

s o pr ano I) bu t t h i s C i s n o t s tru k ag ain s t t h e D bein g h eld on fr o m t h e p re ed

c
c
, ,

ing be at I t i s t h erefore a ept ab le

. .

3 A c
cented
p ass ing note s as c
ending need cre
a T h ey h o u ld mo ve in
e c
.
. s

par alle l 3rds or 6 t h s bet w een root an d 3rd, an d 3rd an d et h of t h e s am h o rd .

(B u t s ee als o par as 4 an d .

Ex . 111

P
IVb I lb lV
 Thi s pro ed u re c i s al s o u seful des ending c .

Ex . 1 12 .

4 T w o p art s may t ake the sa me a c

cented p ass ing note in c
ontr ary mo tion
c
.
,

at le as t an o t ave ap art .

Ex . 1 13 .

lb 1 Vb

N o te t h at in al l the se ce as s (E x . 1 11 to ch g f c
there i s n o an eh di o or n v ol v ed
.

cc
A en t ed p as s ing no t e s in t h e bass need s till a to 1 1 3 more cre E x 1 1 1
c c
a . . .

abo ve s ho w u s e s where t h ere i s no h ange o f hord an d it s hould be noted th at

c c
,

i n e very as e t h e bass mov es fro m the root po s ition to the firs t inver s ion or vi e
M ov emen t t0 o r fro m th e bass of th e se o n d i n v ersi on mus t be avoi ded The c
cc
v ers a
'
. .

only ot h er po ss ibility in ele ment ary work ari s es in s u h a as e as the following

‘
Ex . l l 4 .

Here c
t h e t wo qu avers ann o t be h armoni sed wit h sep ar ate hord s or onges tion c , c
re s u lt s T h e E le ap s s o i t mu st be a harmo n y n ote (remember thi s i mport an t ru le )
c
c
.
,

t h erefore t h e F i s an a en t ed p as sing note an d the solution i s ,

Ex . 1 15 .

V lb

In s cc , c
c
u h a as e as thi s the a ented p as s ing note should mo v e to the h as of
fi rs t
.

a i n v ersi on r athe r th an a root o s ition

p .

S ee A dd en da. para 4 . .

56
 6 .
note whi h leaps mu st be
The ru le t hat a c a harmony n o te appli es in an y

part.Co n s ider the following :

Ex . 1 16 .

The E le aps making the D

,
a p as sin g note .
“
Sk eletoni s ed , the pas sage

Ex . 1 17 .

c
for whi h t h e ob vious h ar mony is

Ex . 118 .

When the p ass ing note D i s repl a ed a D i s nee ded c si mult aneous ly in the
c c
,

bass to onform w ith p ar as 3 an d 4 above H en e

,
. .

Ex . 1 19 .

lb I IV

7 T h e s t u dent s ho u ld not atte mpt t o u s e a ented p assi ng notes as en di ng c

c c
exc c
.

ept under the ondition s expl ained abo ve an d it may be t aken f o r granted
c
,

t h at in ele ment ary work furthe r u sage s are not l ikely t o be en ountered In
c cc c
c c
c
.

de s ending p as s age s the h oi e between a ented an d un a ented pass i ng not es

,

i s apt to be trou ble s o me an d the foll o wing s ugge s tion i s h elpf u l

,

In a des cdi
en ng s al i c
c pa s sage, prefer ac
c dp en t e as si n g n o tes to c
cd
una en te o n es .

Con sider the foll owing h armon i satio n s of a given mel od y

57
Ex . 1 20 .

c
c
(a) i s h armon is ed tre ating u n a en ted q uav er s as pas si n g not es Th e h armony
c
.

is s atis f a tory an d two extr a p ass ing notes are poss i ble in the lower parts .

c
c
h armoni s ed tre ating a en ted qu av ers as p ass in g notes No oth er pass i n g
(b)
c
is .

notes are poss i b le bu t the bass h as r ather a wider range an d there i s ontinual
c
c c c
,

a en ted di s ord Thi s l as t i s the point whi h really make s (b) prefer ab le to (a )
c
c c c
. .

A ented di ss on an e st rikes the ear s trongly an d de mands res olution thu s reati ng ,

a feeling of progres si on o n wards .

8The s ugge s tion gi v en in par a 7 mus t not be i nter preted too literally
c
. .

it s ugges tion
is a not a rul e S trength of h armoni bas i s mu st be t ak en into
c
c
, .

a ount Con sider the followi ng

.

Ex . 1 21 .

I f the qu av er C be t aken as a c
c
p as s ing note (a ented) the res u lt may
, be

Ex . 1 22

l V VIl b l V
c
produ ing the ung ainly progres si on V l l b IV B u t t aki n g the qu av er B as
c
a pas s i n g
c
c c
-
.

note (un a ented ) a mu h more fluent an d mu si al working res ult s :

,

Ex . 123 .

lb ll lb IV
 c
c
E xer i ses
e c
c
.

1. I ntrodu ented p
a as s ing note s at appropri ate point s in the S . an d B .

of t h e following :

2 . A dd S A T treating appropri ate qu avers

. . .
c
c
as aented p ass ing notes .

3 . Add A TE . . .

U se t wo cc
h c
h d h ere C s h arp an d A are bo t h h armo n y n o t es i n t h e firs t h o rd c
c c c
ro t et or s .
.

F s h arp an d B i n t h e se o n d S i n e t h e pass age i s al l l eaps , n o t h i n g an be t reat ed as

c c
.

u n esse n t ali
.

an d q u av er h o rds wo u l d be o n es ted
,
g .

60
 C HA PT ER 10.

S U S P EN S I O N S .

I . In Ex . 1 28 t h e s op ran o D fal l s a s tep to C f ro m we ak

, to s tr o n g

Ex . 1 28 .

I f thi s D be kept a r o s s t h ec h arlin s i t s fall b eing del ayed in Ex 1 29

c
, , as .
,
a
S u s pe n s io n is p ro du ed

Ex .

T h i s i s kno w n as a 9 8 s u s pen sion s in e t h e interv al s are a 9 t h t o an c

c c c
-
,

o t ave above t h e bas s o f t h e s e o nd h o rd I t i s t h u s seen t h at a s u s pe n si o n i s

c
.

a f u rt h er type of une ss enti al n o te s in e t h e r epe ated (or tied ) n o te d o e s n o t fo rm

p art of t h e c c c
,

ho rd ag ain s t w hi h it i s s ounded T h ere are three fa t o r s in t h e

man age me n t of a s us pen sion
.

. .

(u ) I
’
re aral i o n
p t h e o unding of the note t o be u s pended as a h armony
c
s s
n o te in t h e s ame p art in t h e firs t h ord ,

(b) P er ciu ss o n the a c

t l ua so unding or s triking of t h e dis o rd c
c
( ) R es ol u ti o n t h e progre ssion of t h e dis ord c to a ccrd by f
on o , al ling one
S tep .

2 c
c
A s u s pen s ion may o ur in an y p art an d an y note of a tri ad may be
c
.
,

s u s pended The follo w ing are the pos si ble su s pen sion s over t h e h o rd o f C maj or;
c c
.

t hey are al l pl a ed in t h e sop rano for the s ake of l arity .

61
Ex . 1 30 .

(0) 5t h su s pen ded

9 8
6 6
A 4
B ( l ) The note of re s olution may not be s ounded ag ain s t the s u s pens ion
.

unless the former be in the bas s as at (d) (e) an d (f Thu s at (g) an d , , , ,

(h ) D s u s pend s C in t he s opr ano an d no C i s s ounded ag ai n s t the D

c
.
,

There are n o ex epti o n s to th i s ru l e ,

c
Where a s u s pen s ion de or ates a s e ond in v ers ion as at (h ) (i ) an d (f c
c c
, , ,

th e treat ment of th at s e ond in v er s ion i s s till re s t ri ted as if it were

c c
,

unde orated (s ee h ap .

3 c
The s us pen s ion of the 5 t h of a hord i s re all y on ly eff e ti v e in onne tion c c c
c c c
.

wit h the s e ond inver sion f ) Th e rux of a s u s pen s ion is th at it s hould produ e
c
.

a di s o rd an d thi s i s absent in root po s ition an d fir s t inver s ion (j ) an d (k)

, ,
.

Su s pen sion s in the bass need are O nly the root or the 3rd of a hord
4 c c
may be eflec
. .

t i v el y s u s pended an d in el e ment ary work it i s safer to u se only the

,

s us pe n s ion of th e 3rd t The n o te of reso l u ti o n may n ot be s ou n ded abo v e th e s uspen si on .

Ex . 131 .

N IB 1

(a) s h o w s the roo t of I su s pended in the bass an d , it is eas ily seen th at the
pr o gre ssion i s so mewh at ung ainly
c
.

(b) show s the 3rd of I s u spended in th e bass , an d i t s effe tiv ene ss is o bv i ou s .

Co mpare c
h p
a . 9 . para 2. . Th e pri n c
plr e is th e sa me i n bo t h c ases .

7 Th is l i n ks up wi t h t h e se n te n ci mm di
e e ate l y f o l l o wi n g ex . 1 15 .

62
 on may re so l v e into ano t h er po si tion of t h e same ho rd (a) c
c c
A su spen si
c
5 .
,

o r i n t o an o ther hord provided th at hord ont ai ns t he note of reso luti o n (b)

, .

The essen ti al is th at the s us pended note s houl d fall a st ep

c cc
wit h .

wat h for on se u ti v es .

Ex . 132 .

6 . The s u spen s ion 2 1 is

-
ugly , an d mu st be av oided .

Ex . 1 33 .

Th is b reak s the rule giv en in p ara . 2 (N . B . The al to E should dro p to C .

7 . If two notes of a c
hord are bothto f all a step into the nex t hord movi n g c ,

in p a ral l el 3rds or 6 ths . a do u ble s us pen s ion i s poss i ble I n E x 134 (a) the
. .

so pr ano an d a l to D an d F both f all a step so a , may be

at (b) .

Ex . 1 34 .
 Si milarly in p arallel 3rds

Ex . 1 35 .

V7b l V7b l

8 c
A s us pe n s ion w h i h re so lves up w ard s i s known as a R et ard ation the
c c c c
.

on ly one whi h need be on s idered i s t h e ret arded le ading note whi h of ours e
c
, , ,

ri ses to the toni I n i t s si mples t form it appear s thu s

.

Ex . 136 .

The h ar mony will be s o me for m o f V I o r V 7 I Thi s ret ard ation i s on ly

c c
— -
.

properly e ffe tive if o mbined w it h one or mo re of the s u s pen sion s already dealt
c
wit h in p arti ul ar the 4 t h falling t o t h e 3rd
,

Ex . 1 37 .
 9 .
S u s pe n si o n s c
are app l i able t o t h e ro ot . 3rd an d 5t h o f the d o min ant 7t h

Ex . 1 38

IV V7 lb V7

10 . c
I t will be noti ed t h at in al l t h e f o reg o ing ex ample s a do t t ed l ine i s
u sed fo r a tie W h e t h e r a s u s pen s i o n s h o uld or s h o u ld not be t ied depe nd s o n t h e
c c
.

rh yth m o f t h e p as s age T h e o nl y r u le t h at an be made i s t h at the se o n d of two

.

ti ed n o tes s h ou l d n o t be l o n ger th an th e rs t A p ar t fro m t h i s t h e matter h as t o be

fi .
,

left to t h e good t ast e o f t h e s t u dent .

11 .
O rn ament al re so luti o n s are so me t i me s u seful No t e
. the foll o wi n g

Ex . 1 39 .

V7b l

The orn ament al drop of a st h . at (d) i s only possi ble

,
w he n the f
roo t o a firs t
i n v ersi o n i s being su s pended .

I2 .
Su s pen sion s do n ot r c c
e move on s e u t ive s .

Ex . 14 0.
 13 I f a note in the given part i s tied or repeated we ak to s trong an d fall s
c
.

a s te p , the s e ond of the two note s should be made a s u spen sion Con sider t h e .

Ex . 14 1 .

At (a) the E is a en sion rep l a i ng D c an d at (b) the C u n on

c
is a s s pe si
c
su s p , ,

repl a n i g B . Th e h armoni s k eleton i s there

Ex . 14 2
.

h armonises thu s

Ex . 143 .

l V7d lb lb Vl l b

c
Re pla ing the gi v en sus pen si ons , t he res ul t is

Ex . 1 44 .

14 .
A s imi l ar pro ed ure c 18 c
also appli able t o a gi v en bass .

Ex . 1 45
 Th is cl d
ou be h armo ni sed as fo ll o w s tre ating the
. E as a p as sing note

Ex . 151 .

But it is eq u ally po s s i b le to let t h e F be c

ome a s u s pen sion on the dot ,

t h us '

Ex . l 52 .

ll [0 V

As c
to w h i h o f t h e t wo po s s i bili t ie s i s t o be preferred in c
h ce good
c
su a as ,

t as t e an d o ntext are t h e o nly guide s .

16 . ud en t s h o u ld en de av o u r t o int rod u e o asion al s u s pen sion s into

Th e st cc
c
adde d p ar t s an d t h e foll o wing s u gge s ti o n s will b e found h e lpful

C aden c
,

(a) es may o f t e n b e effe ct iv e ly de co rated b y s u pe ns i o n s to avoid

h o ldi n g up t h e move men t t o o mu c
s
,

h I t i s str o nger to keep move ment at

a c ad n c
.

e by u sing a s u spen si o n t h an merely to move v aguely with

e

p as s ing n ot es .

(b) A l o n g n ote . wh ere no c

h an ge o f c
h d or is des ir ab le ,
may w ell h ave a
s u spen s i o n abo ve or bel o w it .

C o n sid er t he fo ll o w ing h ar mo ni s at i o n of a given melody :

l V7d lb —
Vl b Vb -
l V
—
lb IV 10 V7 l

S ee A dd en da paras
. 5 to 7

68
 (a)
in
t c
I nver t ed pe rfec aden e de c
V 7d i s bo u nd t o
o r ated

f all
c
to E ,
so it s
by a
f all i t
u s pens i o n
s
del ayed .
i n t h e bass t he F

(b) L o ngi s h n o te i n p ran o s u s pens ion bel o w it to keep mo ve men t No te

c
so .

t h at t h e so pr an o in t h i s b ar i s 5 t h 4 t h 3rd n o te s o f t h e s al e so V b l
c
-
, ,

h ar mo n y
,

is th e sto k .

cI mp
( ) f cc
er e t den cde c a e o rat e d by a sus pen sion in t h e l
a to .

(d) S o p rano I ) i s repe ated w e ak to s tro ng an d f all s a s tep it is t h ere fo re a

s u s pe n s i o n (s ee p ar a .

(e) Two be at i al 3de c

-
cd
o r at ed b y s u s pen s i o n i n t h e alt o
a en t .

f P erfec t c c c
aden e de o rat ed by s u s pe n s ion i n t h e al t o wi t h o rn amen t al ,

r es o luti o n C o mp ar e w it h (a) in Ex 1 39 ; the note v al u es may be v aried

c
c
a ording t o ir u ms t an c cc
-
. .

es .

T h e s t u den t will do w ell t o write the p as s age wit h o u t the s us pen s io n s

c c
re- .

wh en it w ill be s een t h at in eve ry as e t h e not e wh i h i s s u s pended w o u ld inevi t ably

fall a s tep .

At ( g) n o t e t h e u se o f an a c
cen d p as sing n o te i n a de s cdi g clicp
a as sage
c
te en n s

(s ee h ap 9 p ara .
,
.

17 . me t h at t h e bass of E x 1 53 w ere t h e give n p ar t A t (a) t h e F

No w as s u . .

i s repe at ed w e ak t o s tr o ng an d fall s a s t ep o b v i o u s l y a s u s pe n s i o n (b) i s s i mil ar

T h e h alf close at (c ) end s o n a t wo be at c h ord s o the introd u c
m
.

ti o n of t h e s us pen s ion
k eep s up mo ve ment A t (d) t h e t wo be at bass whi c h c
- -
,

an only i mply I h needs

mo ve men t abo ve it h en c
-
.
, ,

e t h e u s e of t h e s u s pen s io n Si mil ar tre at ment i s o bv ious

T h e fin al si x b e at C at (I ) mu s t h ave mo ve ment abov e i t h e n c
.
,

at (e) .
-
e t he .

o rn ame n t ally re s olved s u s pen s i o n .

18 . T h e f o ll o w i n g is s o me t i me s met with at the end of a melody '

Ex . 154 .

There is on ly one g oo d h armoni s ation

Ex . 155 .
 i u s pending 3rd 5 t h an d 7t h of V 7 a ross the barli n e Thi s c hould
c c
e

c
s

c c
s be
. .
.
,

S i mil arly wi t h s upertoni s us pending toni at a fi nal

.

s pe i ally n o ted .
aden e

Ex . l 56 .

19 .
I n the b ass the 4 t h of the
, s cle repe ated
a an d falling a s tep to the 3rd
h as two po ss i biliti es , (a) an d (b)

Ex . 1 57 .

At (a) t h e repeated note i s tre ated as the 7t h of V 7 (s ee h ap 7 p ar a 5) c

c
. .
,

at (b) it i s tre ated as a s us pens ion (a) i s gener al l y prefer ab le bu t ontext mus t be
c c c
.

on sidered I n t h e as e of s hort v alue notes as at ( ) the s us pen sion t reat ment

,

c c
-
.
,

i s essenti al if (a) be onvert ed into qu av ers onge st i on res ul t s , .

us pen s ion mu s t be prep ared by a harmony note The followi ng

c
c
20 A is
c
. s .

un a ept able s in e the q u aver D at (a) i s not es s enti al

,

Ex . 1 58 .

But Ex . 1 59 i s u c
nex e ption able ,
s c
in e the F at (a) i s the 7t h of V7

70
 Ex . l 59 .

E xer i s esc .

1 . I n t rodu c
e su s pen s io n s at t h e as te ri s k s .

2 . Add A . an d T . to t h e followi n g u sing so me su s pen s i on s in

. t h e add ed
part s .
 Add S A T maki ng
. . . appro pri ate u se of en sion s
s us p .

4 . Add A T B . -
. maki ng u se of s u spen sion s .

No t e c
t h e se q u en e , t o be c arri ed out i n al l part s .
 C HA PT ER 11 .

TH E M E L O D I C MI N O R SCA LE .

1far al l min o r key h ar mo n y h as bee n t ake n f ro m t h e h armo n i min o r

So c
c c
.

s ale an d t h e s h arpe n e d 6 t h an d fl attened 7t h o f t h e mel o di

,
mino r h av e appeared
o n ly as p ass ing n o t e s As h ar mo n y n o t es t h ei r u se i s o nly po ss i ble u nde r li mi t ed
cnditi
.

o o ns .

to ni
2
c
. T h e s h arpened 6 t h mu s t p ro eed t o t h e s h arpe n ed
it i s pre ceded by ei t h er t o ni o r d o mi n ant t h u 5
c
c °
7t h an d t c
he n e t o t he

; .

Ex . l ti U .

(C mi n o r)

h ar moni s ed by 11 wit h a perfec

I t is t 5 t h o r I V w i t h a majo r 3rd an d t h e
c c
, ,

h ord pre e ding it mu s t be s o me f o r m o f ei t h er I o r V Th e s h arpen ed . 6 th may

n ot be do u bl ed .

Ex . 16 1 .

V V lV VII b I lb lI b V? VI

Ib lI V7 I I I Vb I

T h e h pe ed 6 h m y ffe ctiv ly b i r d c d i ppr chi g p a oa a

ade c
3
fe t c i nte rup d c
ar t a nt n n er

ade c
e e e o u e

e (di c i ve d )
’
'
s n
e a xe mpli f ed in
.

c
e n re t or n rt e or an r te n , s e i

Ex 1 6 1 I f give ba le ap fr m h 2 d t h 5t h f h ale a a ( ) h t t a t
c
a t to e o e s s e

c
. . n ss o e n , .

2 d f h
n ale m t b h a m i ed
o t Il
e s wi h p e fe us3 h e r on s as a t a r t t .

73
 4
"
I h e flattened 7t h mu s t pro eed to c t he fl at t ened 6 t h an d c
t h en e the
c c
.
to
d o min ant an d i s p re eded b y ei t h er toni
, or d o min an t th u s
, :

Ex . 16 2 .

T h e for mer t h e mo re u s ef u l an d u s u al Th e 7t h i s h ar moni sed by 1 1 1 with

is
c c
.

a perfe t 5 t h V w it h a mi n o r 3rd o r V I I w it h un s h arpe ned root The h o rd pre

c c c
, .

eding it mu s t be s o me f o r m o f I I V o r V I The n ex t h o rd bu t o n e mu s t o n tai n

.

. , .

th e s harpen ed 7th in o rder t o av o id ambigui t y of ton al ity T h e fl attened 7t h may

c c
.

be do u bled pro vided t h at o n e p art p ro e ed s as indi ated abo ve t h e ot h e r being

,
,

free in i t s p ro gre ss i o n .

NB ( l ) I f d o u bled in t h ep ran o an d a l o w e r p art let t h e so pran o t ake

c c
. .
-
so ,

t h e indi ated melo di p ro gre ss i o n .

(2) T h e fl at tened 7t h s h o u ld be avoided in t h e te n o r u nle ss d o u bled ,

i n the s oprano or b ass .

V Vb
'

VI VII IV Ib VIIb I V Ib VIIb VIb

I III lIb V I Vb IVb V I VII I Vb V

5 T h e fl at tened 7t h i s usef u l (pr o vided it fi t s ) in appro a h i ng an i mperfe t c c

c c c
.

ade n e (di re t o r i n vert ed ) as in Ex 1 6 3 ; b u t t h e begi n n er will do w ell t o

c c c
c
.
,

av o id i t s u se ex ept wh en it a t u ally o urs in a given p art .

6 T h e fol lo wing ex ample ex h i bit s t h e u ses of t h e s h arpened 6 t h an d fl attened

c
.

7t h , an d s h ould be s tudied arefu l l y ‘

.

S ee A dd e n da,
para 8. .
 4 . Add A T B
. . .

For furt h er s uit able materi al at t h i s point see t he aut ho r s

'
1 08 c
Exer i se s
i n H ar moni sati o n p art s 1 an d 2 (H ammond
,
. 8: Co .
,

C HA P T ER 12
.

E L E ME N TA R Y M O DU LAT I O N .

1 M o d u l ati o n i s t h e p as s in g fr o m o n e key t o an o t h er To e ffe t a modul a

. . c
ti o n there are t wo e s s enti al s
c c c
(a) A aden e (u s u ally so me fo r m o f perfe t ) in t h e n ew key
c c
.

(b) T h e appe aran e o f at le as t one n o t e wh i h bel o ng s t o the new key b u t

n o t t o t he o l d .

C o n sider t h e f o ll o w ing :

Ex . 16 5

c
At (a) t h e l as t t wo h o rd s c o u l d b e t aken as V I in F maj o r b u t t h e re i s n o

c
c
-
.

t h ing t o s h o w t h at t h ey are any t h ing bu t I I V in C maj or s o n o mo d u l ation o u rs

c c c c c
-
.
.

B u t at (b) t h e i n t r o d u ti o n o f t h e B flat le arly indi ate s F maj or bv t h e aden e .

V7 I-
.
 Mod u l atio n may be gr adu al o r ab ru p t I n a gr ad u al mo dul ati o n t h e
c c c
2 .
.

pas sage p as se s t h ro u g h a pi v o t ”
h o rd wh i h i s o mmo n to bo t h keys I n
i s app ro ac c
.
.

E x 1 6 5 (b) t h e pivo t h o rd h ed as VI i n C maj o r an d qui t ted as

c
. ,

I I I in F maj o r t h us linking t h e t wo key s I f t h e o n ly av ail able pivot h o rd i s I

,
.

in t h e new key it s h o u ld appear in a di ffe re n t p o s iti o n fro m t h at us ed in t h e

c c c
,

aden e F o r ex ample i n mod u l at ing fro m G mi n o r to C min o r t h e only h o rd

c o mmon to b o t h key s i s t h at o f C mi n o r i e I i n t h e n ew k ey I f t h e ade n c c
.
,

e is
c c
. .
,

t o end o n t h e root p o s iti o n o f t h e ne w t o n i t h e pi v ot h ord mu s t be in i t s fi r s t

c c c
,

invers io n (a) if t h e aden e i s V I b (o r V 7d I b ) t h e p i v o t h o rd mu s t be in - -

,

root p o siti o n (b) .

Ex . 1 66 .

IV
5
:
:
I IVb
l b V7C I c
g: l b
: I Vb V

P ivo t c
h d or s in s e cd on i n v er si o n s h ould be av oided .

3N o te t h at at bo t h (a) an d (b) in Ex 1 6 6 t h e B fl at an d B n at u ral are

c
. .

pla ed in di fferent p ar t s I f in t h e s ame p ar t wit h o nly one n o t e i n te rve n ing

c c
.
, ,

t h e e ffe t i s u gly T h i s pro ed u re mu st b e f o llo w ed wh enever a n o te o f t h e o l d

key appe ars c c
.

h ro mati ally al t ered in t h e ne w .

4A br u pt mo dul ation wh i h i s onveniently kno w n as Tr an si t i o n di s c c

c c
.
, ,

pen s es wi t h t h e piv o t h o rd A h ord belon ging t o t h e old key bu t n o t t o t h e

.
,

ne w i s i mmedi at ely foll o w ed by o n e bel o nging to t h e n ew key b u t not t o t h e old

c
T h e se t wo h o rd s mu st h ave a note in c c c
.
,

o mmo n an d t h e re i s ge n er ally h ro mati ,

move men t in o n e o f t h e p art s .

Ex . 16 7 .

a:V7c I Bs 7b 1

At (a) t h e mo dul at ion i s f ro m C maj o r t o A min o r T h e n o t e in o mmo n c

c c
.

i s t h e alto E an d t h e h ro mati move ment i s i n t h e so p ran o t o t h e le adi n g n o t e

.
,

o f t h e ne w key .

At ( b) t h e mo d u l at i o n i s f ro m C maj or t o B flat maj o r Th e n o t e i n c

o mmo n

c c
,

is t h e t enor C an d t h e h r o mati move ment i s d o w n w ard s t o t h e 7t h o f V 7 i n

.

t h e n ew key ‘

c c
.

NB T h e d rop of a h ro mati se mi t o n e i s o nly g oo d (a) to t h e 7t h o f a

c
—
. .

d o mi n ant 7t h : (b) fro m maj o r 3rd to mi n o r 3rd o f t h e s ame h o rd .

S ee A dden da para I3
77
 I n deal ing wit h tr ans i t i o ns fals e relatio n mus t be avoided This is the
bad eff ec ed wh en a note in one part i n one c
t e xperien c
o . .

h ord i s follo w ed in the

n ext c
h ord by t h e same note c h ro mati c ally altered i n an o th er part , .

Ex . 16 8 .

Here the firs t c h rd h B n tur l i the pr no w h ile the e cas ond h B fl at

a a a
e ffec
as
w ce where pp rent fal e
o n so , s
in th e bas s The t i ugly B ut t h ere are t
b d e ffec
.
s . o as s a a s
rel a tion h as t no a

( ) I f t h e root f t h e e c
a ond c h rd i t h e 3 d f t h e fir t c
o s hord o s r o s .

(b) I f t h e e c nd of t h e t w o note c
s o on c
erned i t h e 7 h of d min nt 7 h s s t a o a t .

Ex . 169 .

(a) A sa c
tis f a t o ry modul ati o n f ro m C maj or t o A min o r ; t h e roo t of the
c c
s e ond c
h ord i s E wh i h i s the 3rd o f t h e firs t hord
, c .

(b) Here the F n atural in t h e s op rano o f t h e s e ond h o rd i s the 7t h of V 7 c c

in C maj o r an d there i s no f al se rel ation This pro edure i s very c
c
.
,

o mmon ‘
.

6Modul ati o n may be expres s ed o r i mplied I n the for mer there i s

c
c c c
c
. .

an a i dent al to indi ate the new key in t h e l atter there i s no a ident al bu t

c
t h e urv e of the given p art o r c
e rt ain ot h er o ndition s s h o w it , c , .
,

7 . expre ss ed modul ati o n n o te t h e foll o w ing

As t o ,

(a) A s h arpened n o te i s generally t h e le ading note of a new key .

(b) A fl attened n o te i s general ly t h e s u bdo min ant of a new key ,

an d i s
h armo n i s ed as th e 7th of V7 i n th at key .

Ex . 1 70 .

S ee A dd en da p ara 9
. .
 (Al l begin in C maj or ) .

(a) G s h arp i s t h e leadin g note o f A min o r .

(b) F s h arp i s t h e leading n o te o f G maj o r

c
.

( ) C s h arp is t h e le ading note o f D mi n o r .

(d) B flat i s t h e s u bd o mi n ant o f F maj or .

The s ame pri n c iple s apply in modulatio n f ro m a mi n o r key an d it mu s t be

c
s pe i al ly re me mbered t h at t h e le ading note o f a m i nor key i s n o r mally s h ar pen ed ;
,

so th at if it appe ars un s h arpened an d fal ls a s tep it

"
o u nt s as a fl att en ed n o te
”
c
C o n s ider t h e follo wi ng beginning in C minor
, .

Ex . 171 .

The B flat i s a flatten ed n o te an d i s t h eref o re t h e su b d o mi n ant F mi n o r

c
, of
in w hi h key t h e p ass age ends .

Ex . 1 72 .

cV : I h i z V7b I
Th is i s a s i mple ex ample of a t ran s iti o n , t he c
h o m ticmove ment
r a be i ng i n
the bas s .

8 A s h arpened e may al s o be the per t o n i of c w key an d t h e c

l e
c c c
. n ot su a ne ,
u

is t h e n o te o n wh i h t h e ade n e end s .

Ex . 173 .

H ere F s h arp cnn

a ot i n di ce Gat maj o r s i n e ,
c cdenc
e wo
no a u l d be po ss i b l e
in th at key ; so E minor i s the s o luti o n Si mi l arl y
.
,
a flatt en ed n o t e may be t he
s u b medi an t o f a ne w key .

Ex . 174 .

79 .
 Here t h e B flat an n ot indi ate F c c maj or si n c
e no cdenc
e i possi bl e t h at
c m
, a s in
key .Hen e , D i nor i s t h e s olutio n .

Ex . 1 75 .

d :I V V

9 . h armoni s ing melodies

In an d bass e s c
ont aining modul ation note the ,

fo l lo wing point s :

(a) Do not try to modul ate too s oon ; es t abli s h the t o ni key firmly firs t c .
‘

(b) Only two di re t erf e t aden e ma c

y be u s ed cc c
one in t h e mid dle in
c c c c
s
p
a new key an d one at the end in the toni
, (The entr al aden e may .

be inverted ) .

c
( ) All other modul ation s s h ou ld be tr an sient
"
the new keys s ho u ld
i a
c c
. .
, ,

be e s t abli s hed b y s o me form of i n v erted aden e (or more rarely b y

c c
, ,

the interrupted aden e ) .

Let cdenc
a e b s e fro m w e ak to s trong if po s s i b le , .

I f there is no entr al c
aden e e g in a p as sage c c
on s i s ting of t h ree c
c c
. .
, ,

two -
bar phr as es u se only inverted aden es for the modul atio n s
, .

c c
I n appro a hing a entral aden e in a new key re mai n in the o ri gin al c c
c
,

key as long as po ss i b le It i s o ften be s t to let the pi v ot h ord be th at

c c
.

i mmedi ately before the aden e f

After the fin al modul ation return to t h e t o ni ckey by s o me form of
V 7 I (or V V I ) if po s s i b le !
- -
.

10The p o s s i ble inverted aden c

.

-
,
e s (for tr an s ient modul ation s ) are :
V I h V 7d I b V b I V 7b I V7 I v l b
-
,
-
,

Of t h e s e the l as t two are rare W h i h o n e s h ould be u s ed in an y gi ven as e

c
-
,

c
c -
, c -
.

c
c c c
.

depend s entirely o n wh i h fit s avo iding o n se utives an d bad grammar generally , .

11 Modul ating sequen e s

. c are fai rly cmmon
o , a fter a c aden c
entr l c e Note
a .

t h e foll owing
(a) I f the re i s a s equen c
e at thi s po int it i s almos t c
ert ai n t o , be a modul ating
one .

(b) The p attern an d cf i

ea h o ts r epetition s wi l l be in a di fferent key .

(c
) N only t wo
al l y c
h ord are c
needed at ea h repetition ome form
c c
o rrn s s

of V (or V 7) I mak i ng -
,
an i n v erted aden e .

S ee Adde n da para 10

cd cd
. .
,

f I f t h e ade n c c e is
p re cd d
e e b y an o b v no u s a en
6
t i al 4 t h e p i v o t wi l l i mme di at el y pre e e

t h i s C ho rd .

5 S ee A dd en da
, paras 1 1 an d 1 2
80
 12 I f the p at t ern h as an a c
cident al an d t he
repeti t io n h as not t h e key o f
c
.

t he l atter i s
dedu ed by n o ti n g i t s interv al abo ve o r belo w the p attern C o n s ider
following t o ni key C maj or c
.

t he , .

Ex . 1 76 .

The B flat in p at ter n A

t he - c
J i ndi ate s F maj or T h e r epe t i t i o n
b__ J
.

is a 3rd lower s o i t s key

. i s 1) min o r , an d t h e solu t i o n i s

Ex . 177 .

mm I d: V7b I

N o te t h at there i s n o fal se el at i o n between p attern re petiti o n

c
r an d
appli ation of Ex 1 6 9 (a) . .

Conversely t h e key , of t he p at t ern h as so meti me s to be c

dedu ed fr o m t h at of
t he repetition .

Ex . 1 78 . Toni ckey C maj o r .

Th e
e petiti o n Br ,
— J is vi o u s ly D M i nor as s h o w n by t h e C s h arp
ob ,
.

T h e p atte rn A — J
, is a 3rd h ig h er s o mu s t be F maj o r an d t h e sol u ti o n i s :
.
,

Ex . 1 79 .

"
F : V7d I1) I (1: i d 1h

13 Ex 1 77 an d 1 79 s h o w t h e u se of two di ff erent forms of i n vert ed c aden c

cc
. .
e

fo r tr an s ient modul ati o n s I n Ex 1 77 the u se of V 7d l b w oul d pro d u e o n

c c
-
. .

se u t i v e o t aves between so pr ano an d bass as w o ul d al so t h e u se of V 7b l in Ex

c
-
,

1 79 Th e s tudent i s ad vi s ed t o pro v e t h i s for h i mse l f wi t h pe n i l an d p aper

. .

81
 14 . Ex ami ne t h e s teps in the fo ll o wmg w orki n g .

Add A T B . . . to th e foll owi n g

Ex . 1 80 .

(a) (b) o b vio u s aden es (a) i s inter medi ate in toni an d

an d (e) are c c c
c c c
.
, ,

an be eit h er interrupted or inverted perfe t We wil l hoos e the for mer (b) is
c c c
. .

en tral in E maj or an d will be V a I a in th at key

“
(e) being the fin al aden e
c
-
.
, , ,

an o ly b V a I a ‘
in A maj o r T h e bass es of thes e are i n s erted s t raight away
c c
c
n e -
. .

( ) an d (d) form a modul ating s equen e (d) is s ho w n by t h e A sh arp to be in B

c
.

minor so a t h ird h igher i s in D maj or Of t h e po ss i b le in v er t e d ade n e s V (or

c c
.
, ,

V 7d) I h i s the only one wh i h fit s grammati al ly The l as t note of (d) fin i s h es the

c
-
.

modu l ation s so at (f ) we h av e to ret u r n to toni if p oss i ble by means of an in v erted

c c , ,

aden e Trying out the po ssi bilities we find th at V 7d l b fit s We n o w h ave t h e

c c
-
. .
,

fol lowing in o mplete s ket h :

Ex . 18 1 .

I b :V I Az V7d lb

T h e bass of the sequen e h as been o mpleted in the o bv io us manner No w c c

c c
o mes the matter of the pi v ot hord at (g) I t mus t ont ai n an F s h arp an d belong c
.

c
.

to both A maj or an d E maj or The t h ree tri ads in A maj or o nt ai n i n g F s h arp

,

are

Ex . 1 82 .

Or , o f c
o u rs e , V 7a l a-
.

82
 In c
thi s ase it i s not po s si ble to make an i mmedi ate return t o the toni key c
b y mean s o f an inverted aden e (s ee p ara 9 c c
(g) s in e the bas s at C — fi c
c
.

doe s not al low o f if B u t from C — fi th e pas sage sho u ld be on si dered as bei n

c
.

g
i n G mi n o r The res t of the working pro eed s on the u s ual line s N o t e th at t h i
" c c c c
.

s
i s an ex ample of a s ent e n e without a
.

entr al aden e (s ee p ar a 9 ( e ) a “
.

c
E x er i s es .

1 Add A T B to the fo llowi ng All begin in F maj o r an d end in a n ew

c cc c
. . . . .
.

key Do t wo wo rkings of ea h one ending w ith a dire t aden e t h e

c c
.
,

ot h er w ith an inverted aden e

‘ ,

2 .
Add A T B . . . to the following , as above . All begi n in B min o r .

3 . Add 5 . A T
. .
, mo dulating as expres sed or i mplied .

4 . Add A T B . . .

S ee A dd en da paras , 1 4 an d 1 5 .
 5 . Add S A T . .

‘
Th l s ph rase o bv i o u s l y e n ds o n t h e do mi n an t o f B mi n o r . Pro cd
ee to 1 o f t h is k ey . at f
be f o re re t u rn i n g to F s h arp mi n o r
3 Mak e cc
o rre t u se o f t h e des c mmo r sc
en d i n g me l o d i c al e h ere
c cd c cp cc ci
.

"
5 In i
t h s t h ere is no en t ral a en e . so t h e o n l v di re t e rf e t ad en e s at t h e en d .

85
 F or fu rther s u i table materi al see t h e author
'

s 108 c
Exer i s e s in H ar moni sa
tion part s 3 an d 4 (Hammond
, . Co .
,

C HA PT E R 13
.

A U ! I LI A R Y NOTES .

1 An no te i s an uness ential note lying between two s t ate ments

auxi liary
c
.

of the s ame h ar mony n o te fro m whi h it i s dis t ant one s tep either above or below
, ,
.

Ex . 1 86 .

I t may be ac
cented , as at (a) or un a ented
. c
c , as at (b) an d ( ) c.

2 c
Aux i li ary notes abo v e the prin ip al note are always di atoni th at i s they c
c c c
c
.

onform to the s ale of the key an d no a ident al s are needed An auxili ary note
, ,

c c
.

ab o v e the 6 t h of the minor s ale i s of our se the u n s h arpen ed le ading note to avoid
,

an augmented 2n d
, ,

86
 Ex 1 87
(C mi n or)
. .

3 . An au xi li ary note below c

the ro ot of a hord s hould be a belo w
ne x t h armo ny note
,

un less th at root fal ls a 3rd to the .

Ex . 1 88 .

At (b) t h e au xil iary C i s a mi nor 7t h abo v e t h e roo t an d th us h as an ine vi t able

des ire to fall u l t i mately to B
,

Other lower auxil i ary notes may be a tone or a

c
.

se m i tone below as good t as te di re t s But note th at a l o wer auxi l iary wil l n ev er

c
.
,

be flatten ed For e xample an au x iliary note below t h e toni wi l l always be t h e

.
,

leadi n g note a se mit o ne bel o w (see Ex 1 86 (b) .

4 A u xi liary notes like pass i n g notes may move in parallel 3rds o r 6 t hs

c c
.
, , .

In the as e of si mult aneou s l ower auxili aries it is bes t t h at eit h er bot h be diatoni
or c
both hromati c
.

Ex . 1 89 .

At (a) upper au xi li ary notes move in par allel 6 t h s .

At (b) lower auxi l iary no tes mo ve in paral lel 3rds bo th bei n g di at o ni , .c

c
At ( ) lower auxili ary n o tes mo ve in parallel 3rds , bo t h being c
h ro m ti c
a .

87
 5 . A v oid u gly las hes c agai ns t t he 3rd an d 7t h of t h e s al ec
Ex . 1 90 .

(Co mp are wit h h ap 6 p ar a 5 ( i ) c .

, .

At (a) the s oprano F makes an ugly minor 2n d ag ains t the held E in the alto .

At (b) the ten o r C makes an ugly maj or 7t h ag ains t the h el d B in the soprano
c
.

I n bot h ases the au x ili ary note s ho u ld be s h arpened .

6 .
Si mult ane o u s upper aux i li ary no t es to the 3rd an d 5t h of I or V pro du e c
t h e auxili ary 2 i e a 2 lying between two s t atement s of the same the
b as s being s t ation ary
,

.
. .
,
, 3

Ex . 19 1

c
I IV I V I cV
7 n o t es need t o be tre ated wi t h re serv e an d the begi nner may
A uxili ary
c
.
,

well be advi sed to u se them as l i t tle as po ss ib le in added p art s si n e th ey are apt

c
,

t o produ e me rely a w o bble For ex ample s ome s tudent s would su bmit E x

c c cc c
. .
,

1 9 2 (a) as an e ff e tive de o rati o n o f a perfe t aden e Whil e there i s nothi ng

c c c
.

w ro ng wi th i t it i s by n o me ans as satis f a tory as (b) whi h i s de orated by an

,

orname n t ally re s olved s u s pen s ion .

Ex . 19 "

Si mil arly a long n o te in a given part s hould preferably

,

ab ove o r bel o w it C o mp are Ex 1 5 3 (b) wi th the fol lowi ng :

. .

88
 Ex . 1 93 .

8 . c
Chr o mati lo wer auxili ary n o te s are

Here c
the F s h arp an be n o thing b u t auxili ary ; a mo d u l ati o n t o G maj o r
c c c
c
would au se h o pe les s onges ti o n Un a ented upper auxili ary n o tes al so au se n o
.
c
trou b le .

Ex . 195 .

H ere c c
c
the F an be nothing b u t auxili ary But a ented uppe r auxi l i ary n o tes
c c c
.

are apt t o be onfu s ing an d h armoni propriety mu s t be o ns idered

,
.

Ex . 196 .

H ere t he F culd b
eit h er au xili ary wi t h t h e fo l lo wing E a h armony n o te
c cc
o e , .

or t h e F an be h armo ny an d t h e E p as s ing T h e h o i e mu s t be left t o pers on al

c
.

t as te provi ded the fin al h ar mo ni s ati o n i s s ati s f a to ry

, .

9 . In the c
ae
s of c c
di atoni l o w er auxili ary n o te s h armo ni p rop ri e t y is the
only guide . C o n sider t h e follo w ing

Ex . 19 7
.

89
 At firs t si ght the qu av er D might appear to be a pass i n g n ote bu t t hi s
c
pro
du es o n e of the foll owi n g:

Ex . 19 8 .

V Ib I V Ib VI V

c
At (a) we h ave the same hord fro m we ak t o s trong (l b I a) At (b) there i s
c
-
.

an i mplied e x pos ed 5 t h at an d i n an y as e the progre ssi on i s ungain l y On the

c c
.
,

other h and treating the C as auxili ary an produ e the followi n g is

c
,

i
,

u n ex ept i o rabl e :

Ex . 1 99 .

The au xili ary A in t h e bass i s o b viou s ly needed to av oid a bad c

l has of
s o pr ano C ag ain s t bass B (see p ara 5 )

10
. c
One other form of de or ation needs to be mentioned Where the se on d . c
of two h armony notes i s a s tep below the firs t the firs t may ri se a st ep an d fall a
,

3rd thu s :
,

10 V7
 C HA PT ER 14 .

T H RE E PA R T WO R K .

1Work in three p art s i s us u al ly written for soprano alto an d bass The

c c
.
,

om
.

is sion of the fourth voi e in v ol v es so me modifi ation of the nor mal rules t e
c c
g arding o mpleteness of h ord s an d s p a ing of p art s c .

2 roo t pos ition tri ad the 5 t h may be o mi tt ed bu t not the 3rd as in

In a
c c
.
, ,

four p art work The bare 5i h abov e the bass mu st be avoi ded ex e pt on the un a
c c c c
-
.
,

en t ed p art o f a be at At a aden e it is per mi ssi ble t o end on a bare o t av e (E x

c c c
.
.

202 (a) I n t h e perf e t an d interru pted aden es the le adi n g note mu s t ri se to the
c
to n i it may not fall (o r ris e ) t o the 3rd o f l a (Ex 202 (b) .

Ex . 202 .
(b) U n des irable

3 . The bare c
o t ave (or uni son ) al s o per miss i ble at the
p h r as e

Ex . 203 .

4 Firs t invers ion s may h ave eit h er t h e 5 t h or the root o mitted a ording c
c
c
.
,

to the needs of the ontext T h e following are al l po ssi b le version s of l b in C maj or

.

Ex . 204 .

At (a) it mig h t be th o ug h t t h at I I I a would be i mp l ied bu t h armoni c

conte t
c
, x
will au se the root (C ) t o be s upplied ment ally .

92
 5 . c
Se ond invers ion s may h ave t h e ro o t o mitted bu t n o t t he 3rd o miss ion
of the latter res u lt s i n an u ng ainl y bare 4t h abo ve t h e bass .

Ex . 205 °
(b) P o o r

(4) 4

6 I t mu st be realised t h at alt h o u g h t h e above are all po ss i ble pro edu res c

c c
.
,

there is n o need deli berately to u se an in o mplete inve rs i o n u nless t h e ontex t

deman ds it c c
hords s h o uld be kept o mpl et e as far as po ss ible But t h ree p art
c
-
.

work even o f an ele ment ary kind tends to be mo re ont rap u nt al in s tyle t h an d o es
c c
, .

four p art in f a t it s ho u l d be mo re o ntr apunt al T h e al to h as more roo m to

c cc c
-
.
,

move an d t o av o id melodi dullne ss in t h is v o i e in o mplet e h o rds are o f great

,

u se .

7 In the c
the domin an t 7t h t h e e s senti al is to h ave pres en t t h e a t u al
ase of c
c
.

i n terv al of the 7t h o r i t s invers i o n t h e 2n d Being a four note h o rd o n e n o t e h as

c c
c
.
, ,

to be o mitted i n an y as e an d t h is may be eit h er t h e 3rd or t h e 5t h a o rdi n g to

c c
, ,

t h e ontext I t i s n atur al ly prefe rable t o in l ude t h e 3rd if po ss i ble Ex 206 s h o w s

. . .

p os s i b le arr an ge ment s o f V 7 in C maj o r .

Ex . 206 .

c
V7 V 7d

8 The v ari o u s p o siti o n s o f t h e di mini s h ed tri ad (V I I ) may be u sed freely

c c c
.

as s u bs t itutes fo r V 7 V I I a an s t an d fo r V 7b V I I b for V 7 an d V I I fo r V 7d
But n o te t h at V I I a an d V I l c c c
. .
, ,

sh o u l d be us ed o n l y i n thi s on n e ti on As t o wh et h er
c
.

it is de sirable to u se V 7 o r t o s u bs titu t e t h e appro p ri ate pos iti o n o f V I I o n t ext ,

an d goo d t as te are t h e o nly g u ide s C o n side r t h e follo wi ng :

.

Ex . 207 .

V V 7b
 Th is orrec b
cc
i s pe rfe tly the of V I I for V 7b i ut a rather better , as i t
c c c
t , use s
allo ws of e ffe tive de
or tion by p ing n te ( Ex 208 fb)
a ass o s . an d ( )

Ex . 208 .

V VI I a

Si milarly wit h VI I ca s a s u bs titute for V 7d .

Ex . 209 .

10 V7d lb I t: W e Ih

, c
c
(b) with un a ented p as sing note A , an d c
( ) with
, c
c
aented pa ss ing n o te A ,

are bo t h p referab le to (a) .

c
U n u s u al s p a i n g o f p art s s h o uld h ave so me definite j u s tifi ation s u h c c
c
9
c c c
.

j u s t i fi atio n being (a) t o get o mplete hord s or (b)to av oid mel o di dullness i n the
c
i n n er v o i e Th e f o ll o wi ng are ex ample s o f un u s u al s p a ings
. c .

Ex . 21 0 .
 1h w i t h ro o t mi t t ed g i ve g o od flo w in t h e al t o
as t o
(a)
on the un a c c
o so .

T re 5 t h en t ed p art o f t h e be at i s pe rmi s si ble

c
b) h b a
c e alt o give s g o o d mel o di c
(
c
e .

() O v le p in h u rve

c
t a e a t .

d V I I s u b s titu t ed fo r V 7b (i n C maj o r) T h e s p a ing al so s h o u ld be no t e d

( ) a
c
. .

( )
e The in o m ple t e 2 e n ab l es t h e al t o t o av o id d u llne ss .

C o mp are t h e abo ve w i t h t h e f o ll o wi n g w o rkin g

Ii x . 214 .

(a) c
T h e al t o G does n o t gi ve s u h a good flo w as doe s D
co wing t o t h e 3rd being f o r c
.

(b) T h e alto here i m el di ally ung a inly ed i n o n

cc
s o ,

the un a ented s e miqu av er

c
.

H ere the lto doe not fl w w ell as in Ex 21 3 an d fr o m t h i s poin t i t i s

() a
c
s o s o .
,

melodi ally dull .

E x er i ses c .

1 . Add alto an d bas s .

c
cA t ed pass i n g n o t e
7 Ac
c
en .
“

en t ed au x il i ary n o t e .
 2
. And S opr an o an d alto .

m m

t Ac
ct en ed au x i l i ary n o t e .
 C H AP T E R 15 .

SO M E POI N TS OF ST Y L E .

1 Attention to the matters on sidered in this h apter s hould en able the c c

c c
.

s tuden t to m ake hi s work more interes t i ng an d more mu si al ly efi e t i v e I t mu s t .

be real i s ed th at whil e the fi rs t requis ites are good s trong h armoni sation an d
cc
cc c c
,

grammati al a ur a y even qui t e ele ment ary exer is e s an be made more th an a

c
c c
,

mere b ald s u e ss ion of h o rd s .

2 S qu c M odu l at i ng
. e quen c
en e h ve lre dy been de lt with in c
es . h apter se s a a a a
1 2 N on m dul ting ne need f rther mention The u u l rule th t pro ided
nt in n thing bj c abl e a yt h i g th t m y oc
a a a
the p ttern c c
.
-
o o s u . s is v
a ti
o a s o u in the repeti
o e on n n a a r
tion in the w y of unu u l d u b ling or progre ion per mi i b le long a
a
unex c
a as
cn e c
s, s o s ss s, is ss s
t h ere are utive S t h t t h e fol lowing
no o s eption ble
s . o a is a

Ex 21 5 .

I Vb II VIb II I VIIb I V I b

c cnt ain
(a) I I I a pro eed s
c
At d o u b led le ading no t e
Vl l b ; Vl l b a an d
c c
to o s ,

pro eed s to IV a di s tin t ly unu s u al progre ss i o n B u t s in e t h e p atter n I Vb

c
-
.
, ,

i s go od ,
no ex epti o n i s t aken t o the abo ve .

3 One point h o w ever need s t o be n o ted The h ar mony s ho u ld be so ar

.
, ,
.

ranged th at n o t only i s t h e p at tern f ree fr o m anyt hing unu s u al b u t al so i t s fin t l

repe t ition Con sider the fol l o w ing 2
.
/ ,

Ex . 216 .

T h e p attern (a) i s g o o d At l b) t h e fir s t repetiti o n t he re i s a d o u bled le ading

c c
.
, . .

n o te whi h i s h ar mle s s At ( ) t h e t h i rd be at is V I I a w i t h a do u ble d leading n o t e

c c
.
, ,

w h ile t h e b as s le aps an aug me nt ed 4 t h t o t h is h o rd ( ) being t h e fin al repeti ti o n

, c
of the p atte rn t h e se pro ed u res are bad C o mp are wi t h t h e f o ll o wing wo rking 2 .

98
 The tied A is tre ated as the d o min ant of D minor

c
reg ard s de or ation it i s often advi sab le t o u se re s t s in t h e lower voi es
As c
c
8 .
,

at t h e beginning o f a long note t h i s app l ies e s pe ially when a melody begin s with
c
s u h a note .

Ex . 221 .

The F an d D are a ccented p a ing note T h e long C in E x 21 8 c rec

an eive
ci b gi ph
ss s . .

s i mil ar tre at ment ,

si n e t e ns a rase

Ex . 222 .

9 The me p rin c
iple cb applied if a p h r as e b egin s wit h a long n o t e
c
sa an
c
c c
. e

pre eded by an u n a ented s h orter one ,

as in t h e following mo d i fi ati o n s o f Ex .

221 an d 21 8

Ex . 223 .
 10 Del ayed entry o f t h e l o w er p art s i s als o so me t i mes poss i bl e apart fro m
c c
.

t h e as e o f an initi al l o ng n o t e bu t o n ly if t h e mel o dy begi ns wit h an an a rus is

i e o n e o r mo re u n a c c c
c c c
, ,

. ent ed n o t es before t h e firs t s tro n g a ent I n s u h a ase

.

t h e re are t wo e s se n ti al s

( ) T h e l w er p t h ul d c c
o mme n e o n a weak be at

c c
a o ar s s o

b T h e n te lef n h armonis ed s h o u ld fit t h e hord wit h wh i h t h e l ower

( ) o s t u

m
p art s b egi n
c h ar mo nicb u mp
.

b
( ) i s p ar t i u l a rly i mpor t a n t a,s if it i s di s reg arded an u n g a

will re s u lt C o mp are (a) w it h (b) i n t h e fo l lowing t h e l atter i s p refer able

.

Ex . 224 .

In the c as e of del ayed entry of t h e lower p art s it i s alway s bes t t o bring t h e m

,

in with a fir s t inversion if po s si ble as thi s makes for a more flowing s t art

‘
, .

11 L o ng note s i n t h e bass need movement above the m (By long notes

c c
. .

i s me ant t h o s e whi h are long in o mp ari s on wit h tho se arou n d t h e m) The foll o w
cc
.

ing (bas s gi v en ) i s orre t b u t dull :

Ex . 225 .

Co mp are wit h t h i s

Ex . 226 .

N e v er be g i n on a cd
se o n in v e rs i o n .

1 01
 opr ano i s de ri v ed fro m t h e bass figure in t h e penulti mate bar by i n
Th e
c
s ,

vers ion while the s yn o pation in the alt o g re atly i mpro v e s th at part In thi s
c c c c
.

l atter o nne tion note the u se o f in o mplete inversion s at (a) to avoid melodi
,

dullnes s in the alt o .

12 . c
c c
A n a ented h igh note appro a h ed by le ap may often e ffe tively h ave c
res t s in t h e l o wer p art s at i t s beginning provided it i s o f reas on ab le lengt h
,
.

Ex . 227 .

cc
c
At (a) t h e hig h G h as a met ri al a e n t at (b) t h e h ig h E h as a s yn o pated c
c
c
a ent cc c c
But no te t h at in s u h as e s t h e h ig h note sh ou l d [ i t the pre edi n g h ord
c c c
.
.

Th e follo w ing i s un mu s i al s in e t h e h ig h F d o e s not fit the h ord on the fir s t

,

beat of the bar .

Ex . 228 .

13 At t h i s s t age t h e s t uden t s h ould ende av o ur to make the inner p art s

.

re as o n ab ly inte re s t ing I t h as alre ady b een mentio ned th at in three p art work
.
-

t h e alto will tend t o be mo re melodi o u s th an in four p art s To o bt ain a good alto

c
.

an d tenor in fo u r p art w ork i s l argely a matter o f j uggl ing pl u s of ourse

c c c
-
, , ,

experien e And in an y as e so me e xer ises lend thems elves to a flowi ng alto an d

.
,

t en o r mo re t h an o t h ers But so me atte mpt mu st be made to make the inner parts

.

reaso n ably in t er es ting C o mp are t h e t wo treat ment s of the fol lowing o pen i ng
.

to a melody :

Ex . 229 .

1 02
 T h es e progress ions may be de cr ted a
o a s des ired ,
e .
g .

Ex . 233 .

V VI _ I V IVb I Ih I V__ We 1 .

15 I f a gi v en bass en ds wit h eit h er of the pro gress i o n s j u s t men t ioned it

c
.
,

is generally good to u se a toni pedal in t h e soprano e g ,

. .

Ex . 235 .

c c
The following exer i se s o v er bri efly the point s dealt with abo ve
16
c
. .

For further work the s tudent i s ag ain referred to the aut h o r s 1 08 Exer i se s in
’

Harmoni sati o n .

c
E x er i s es .

1 . Add S A T
. . .

104
2
. Add 5 an d
. A .

3 . Add A T B . . .

4 . Add A . an d B .

1 05
 1 I n si mple ti mes
3 3 3 h armoni s ing sep ar ately an un a ent avoid
‘

c
c
c
. , e
.
g .

ed h alt beat note E x 1 (a) i s poor there i s an unrh y th mi al bu mp on the

, , ,
“

c
-
. .

qu aver Su h notes s h o uld be tre ated eit h er as pas sing notes (ex 1 (b)) o r as bye
c
.
.

t o nes (i e h armony note s t aken in arpeggi o) as in ex 1 ( )

. . ,
. .

VII b Ib I Ib IV

2 . In cmpound ti me
otre at ing t h e s e o n d pul s e of a be at as a sep ar ate
s avoid c
h armony note Tre at as p ass i n g note or bye tone N ever u se sep ar ate h al f p ul s e
c c
.
.

hord s I n 2t i me for ex ample h ord s s hould move in t h e followi ng r h yt h ms

.
, ,

J J HJ J J 3
J ii
3 J H or c
ombi n ation s of the m
,

bu t n ot

m M
'

I l l l
Su h c a p ass age as t h e foll o wing i s b adly c
onge teds

Ex 4 .

C H AP T ER 8 .

3 R efer to c c
T h e adenti al poin t at the end o f t h e firs t phrase
i (b)
c c
. ex er se I .

annot i mply h ord I V o r V I in an y form The F s h arp does not fit I or V

c c c
. .
,

wh ile if it be h ar mo n is ed by V I it will not produ e an interrup t ed aden e T h e

cc
,

so lu t ion i s I (or I h ) I V fo r t h e firs t two ro t h et s o f t h e bar A s o me wh at rare ’

c c "
.

t ype of inte rmediate aden e i s the rever se d pl ag al I I V T h i s i s in a way

c c c c
.
, , ,

o mp arab le t o t h e i mperfe t I V wh i h i s a revers ed perfe t N o te t h i s

c
,

p o ss i bili t y at a adenti al point where none o f the more o rt h odox in t erme di at e

c c
aden e s w ill fit .

1 06
 T c d
c
he rel ti e lue f the re r t ion r u ion a re solution of a

c
7a a v v a s o p p a a p e ss n
m
,

m
.

m m 1 a
But note ex 15 9 i n whic
u en ion i teri l In the ex le in h a ter 0 they a it t e
given as equ al v alue notes for the sake of s i mpli c
s s
s sp s are a a a p s
.
’p re
os
i ty h
the P rep aration (F ) i s a qu aver while per c u ss ion an d resolution are both c ro t c
. .
,

,
het s .

The main thin g to re alis e i s th at a note re pe ated on tied weak t o stro n g an d falling
te
a s p is gener ally be t tre at ed a a s u s pen s ion H en e in e x er i se 4 ( ) t h e dotted c cc
cc
s s .
, ,

rot het B fl at in bar 6 an d the dotted mini m in bar 7 are both s u s pen si on s .

C HA PT ER 11 .

c
c
C are i s needed to av oid a ident al onge s tion if the s h arpened 6 t h or c
c c
8
c
.

fl atten ed 7t h o u r as notes s horter than one be at v alue I f it wi ll involve o n

c
.
.

gest ion to h armoni se the s h arpened 6 t h or fl attened 7t h with a sep ar ate hord ,

tre at th e m as p as s ing notes R e me mber th at if the se note s are treated as h ar mony

.

notes th e n otes i mmedi ately fol l o wi n g them mu st al s o be so treated

,
.

I VIIb I V V

(a) an d c
(d) are onge sted
( b) c
an d (e) are h armoni ally me aningles s
c
() cc
an d ( f ) are orre t .

C H APTER 1 2 .

9 Refer to para 5 The ulti mate c au s e of t h e b ad c

effe t of f als e rel ation is
cc
. . ,

th at it indu e s onfu sion of key In wh at key . or keys is ex 1 6 8

.

10 R efer to I f t h
parae fir t p h r ase of a given p art end s with an o bv ious

c c c
9 . s
half lose in the ton i pr o eed to s o me for m of I or VI before atte mpting to
. .

c c
,

modul ate S ee exer i se 4 (b) at end of h apter The firs t phras e o bv iou s ly end s
c c c c
.
.

with I V so u se V b I a ro s s the barli n e before on sideri ng the approa h to t h e

central modul ation i n bars 3 4 To try to get t o B fl at maj or fro m bar 2 t o bar
,

cc
.

3 would s ound unn at u ral (thoug h it i s me h ani all y poss i b le )

108
 11 R efer to I n so m
para 9 (g“) e c as es the given p art will n o t fit an y fo rm
of V I o r V V I after t h e intern al mo dul ati o n s are fi n is h ed See exerc
"
. . .

is e 4 (e)
T h e l as t intern al mod u l ation i s t o A min o r b ars 5 6 t h e c aden c
-
.
,

e en din g o n t h e
mini m A But the c rot chet C wh ic h foll ows d o es not fit V 7 so no c aden c
, ,

e in E
minor i s p o ssi ble ac ros s thi s barli n e I n s u c h ac
.
,

as e s i mply har mo n is e t h e C in an y
s uit able manner i n th e to n i c
, ,

key .

12 The key of t h e c entr al c aden c e s houl d b e t aken as fini s h ed wit h as soo n

as the c adenc e is c o mpleted Refer to exerc is e 4 (c) Th e c entr al c aden c
.

. e at b ar 4 .

i s o b viou s ly in E maj o r an d the new phr as e begin s o n t h e t h i rd beat be i n g in B

minor If t h ere i s to be a piv ot c hord therefore i t mus t oc c
, ,

ur on t h e 3rd beat
(B ) of bar 4 But there i s no c h ord c ont aining a B w h ic
.
, ,

h b el o ng s t o both E maj or
therefore t h ere i s no pivot c
.

an d B minor hord S o the B mus t be h armo n i sed

t aking c are t o av o id u sing the s ame c
.

s uit ab ly i n B m i n or hord w eak to s tro ng

c c s i ti o n o f a c
.

(R e m e m b er th at it i not uffi ient to h a nge only the p h ord fr om

w e ak to s trong the c h ord it self mu s t be c

s s o

h ange d) ,

13 tr an s iti o n i s mos t f req u ently fro m t h e o l d t o n i

Refer to p ara 4 A c
c
. .

h o rd t o t h e new m as in ex 1 6 7 b u t t h i s i s n o t e s senti al Ex 1 75 i s
d o in ant 7t h
c c c
. .
,
.
.

a type o f tr an s ition an d t h e as e j u s t me n ti o n ed (exer i s e 4 ( )) i s an o t h e r wh e re

c c
old t o ni d oes not pr o eed t o ne w V Exer is e 1 (c c
.
,

) o n p age 9 6 i s s i mil ar
.
~
.

14 Wh en mod u l ating f ro m o n e mi n or key t o an o t h er mi n or key a maj or

2n d l o w er u se Ti erc c
.

e de P i ardi e in the origin al key

,
.

E x 10
.

B ars 3 t o 4 o b viou s ly mo ve t o D minor w hile fro m bar 4 to bar 5 i s an

equ ally o bviou s mo dul ati o n to C minor a maj or en d l ower .

So I o f D mino r will be a major tri ad thu s ,

E x 11 .

A n F n at u ral at wh i le po s s i ble i s by no me an s as effe tive as F s h arp c

cc c c c c
.
,

(There i s a definite me h an i al re aso n for t h i s onne ted wi t h h r o mati h ar mony ) ,

.

109
 15 . The sa me prin c iple applie s when modul ating fro m a mi n o r key to its
s u b d o min ant ,
i . e a 5 t h l o w er
.

E ln l V7a l b _ l
'

lb lV Vb I VI
g : IV i I!) IV V7

Th e c
h ord c
indi ati o n s at s h ould make t h ing s lear c cd
t h e Ti er c
P i ardi e
c
e e
of G minor is it se l f the do min ant hord o f C minor .

IlO
 SECOND YEAR HARMONY
h rm
( In t ree t e s )

W ILLIAM LO V ELOC K, DJ I us.

'
( Lo n d ) .

kn ow Dr Lo vel o k
. c Fi'
s rs t Year Harmon y

be gl ad th at i ts ci o n t n uatio n is at l ast avail able .

Se cd Y a H
on e r armon y i s hasedon the same pri n c
i pl es as

c
the prev i o us bo o h t he obje ts h ei n g t o c
mp o l et e th e prov i sion of

a reall y soun d groun d work i n Harmon y an d to sh ow t h e pu pil

n ot on l y ho w an y gi ven reso ur e cw ks
or bu t al so - what is al way s
cl y
.

t h e great difi u t — sel ms i ts use i s appmpriat e .

Se cd Y
on ear Har mon y c ompl etes in st ru ti o n i n Harm c
on y

c c at ic c s o f dec
,

i n l u di n g the use o f h ro m hords an d all form o rat ion

an d al so c ov ers a great deal of gro un d i n cnnec
oi t on wi t h st y e_- a
l
matt er whic
h i s so ott en o v erl oo ked bo t h by c
t ea hers an d

st uden ts .

A H A MOND M c o

c
.

l l Lan ash ire Co u rt .

New B o nd S t reet , Lon don , W l .

 TH I RD Y EA R HA RMO NY
( i n t wo t er ms)

WILLl AM LOVE LOOK

DM us .
(Len d )

Dr Lo v el o lt
. c cF t ’
s i rs . an d Se o n d Y ear Harmon
y deal si mpl y
w h h m
it ar d coni cr rc
ll h qu d
eso u e. h an ov er a t at i s re i re -
ln t e

wy f c
a h rdo d h d c o Th r d Y
s an H rm y
t ei r e o rat io n . i ear a on is

d g d
esi n e h w h w th to
'

cm y b ppl d
s o o h is reso u r e a
‘

e a ie to t e

vari o us
yp f m
t q es wo h c
h exa c m m l
i n at i o n
y u est i o ns i are o on

c d I l g ly ccrn d w h m
.

en o u n t e re . t is arf yl
e d on e e it at t ers o st e. an

g d
i v es l d I c
et ai e h m f m n
n st ru t i o n
y d ffi cl on t e t reat en t o a i u t i es

wh c
h i p b wh c h c
are a t t o ari senn b d l w h . bl y ut i a ot e ea t it s ui t a

i n t he o rdi nary t ext bo o k .

The exa mi n at io n c
nd d
a i at e wi ll f i nd t he who le bo o k

i nval uable It i s wri t t en i n a c

d yl
lu w h c
i p st e. it o i o us exa pl es m
c h c
c
.

an d an ample s u ppl y o f exer i h p

ses t o ea a t er .

A HAMMO ND
. CO .

11 Lan ch
as i re Co u rt

New Bo n d St reet W
'

, Lo ndo n . i