P R E FA C E .

Dom past fewyears we have see nthe begin

e th e n in g of a reac tion ary

pe riod inth e art creation s an d int h e t ea chin g of th e art s an .

d scien ce s .

At such a time it is t o be e xp ec ted t hat there will be e xt re mis t s su c h as

,

we see amon g th e creators of some of our fu t uristic prod u c t s of art an d

music ; bu t t his upheaval is e n c ouragin g t o those wh o have see nt h e
futility of man y of our ped agogic al met hods .

Mod ernpsychologist s an d ed uc at ors have ab an d on ed t h e old ways of

te ac hin g th e me thod of start in g e ve ry st ud en t re gardless of age an

, d
person alit y wit h t h e rud ime n ts of th e mec han ism of th e subjec t at han d .

I t h as come t o be re c ogn ized t ha t very few pe rson s are e n d owed with

sufficien t en t husiasm t o b rid ge ove r this irksome some t imes almost ,

un inte lligible pe riod of st ud y t o th e time when so me what e n

, ,
lighte n ed ,

t he y canapprec iat e an d en t e r in t o t h e at t rac t ive n ess of th e subjec t .

On e of t h e most c on spic u ous example s of t h e old o rd e r inpe d a gogy

is inmusic c omposition For fear t hat a st ud en

. t would ma ke gram
matical errors th e subj ec t h as beentaught by a se ries of r ules in
”
, g e ni
ously mad e by acad emic ian a se ries of don ts whic h t oo oft en in hibite d
’
s

all spon tan e it y in th e st ud en t In. st ead of allowin g th e st ud en t t o express

himself an , d guidin g him inh is self expression th e old met hod gave t h e
,

st ud en t his se t of r ules an ,
d woe t o him wh o disobeyed t hem whet her or
n ot in
, so d oin g th e resu lt was artistic
, .

This in direc t met hod of t eac hin g harmon y c on sists of givin g th e

c on st ruc tionof c hord s an d formulatin g rules acc ordin g t o t heir gram
matically corre c t progressionon e t o an o t her Usually a bass part is
.

givenan d th e st ud en t writ es t h e c hords above t h e bass Th e in evita b le

.

result is a me c han ic al c orrec tn ess inwhic h t h e st u d en t wh o is mat he

matica lly in c lin ed will be in fin it ely more suc c essful t hant h e on e w h o is
musically in c lined Th e st ud en
. t writ es c hainaft er c hai nof c hords in
which there is n o me an in g n o fo rm an
, , dn o se n se of rela tive values All
.

th e vitalit y an d art inmusic are removed an d t h e st ud en t usually be

comes n , ot anart ist b u t a mec han
, ic ian Furt hermore t h e st u den
.
, t
lea rns all t h e forbidd enc omb in at ion s an d progression s of t h e c on se rva

tive t heo rists bu t whent u rn

, in g t o t h e works of th e mod e m ists an d even
to th e works of th e old e r mast ers h e is c on , fro n t ed wit h parallel perfec t

m
iv PR E FAC E .

fifths, c ross relatio

-
n
gme n
s t e d progression
, au s unreso lved disson an c es , ,

t wo or more s of a fourt h or fift h insame d ire c tion et cetera

progression ,

M usic pedagogs canprofit muc h by a st ud y of t h e c han ges goin g on

inth e met hods of pres en t in g other subj ec ts ; of th e way man y other
subj ec ts have be n efit ed by takin g cogn izan ce of d at a whic h mod ern

p sy c holo g y a n d pe d ag o gy h a v e t o o ffe r .

Th e direc t met hod inth e t eachin g of music c omposit ionis sure t o

come .Ou r t he sis is allow an d en c ou rage the stud en
,
t to compose We .

would n ot t hin k of forbiddin g our childrent o writ e le tt ers u n t il su ch

t ime as t hey h ad learn ed th e e n t ire c on t en ts of anun ab ridg ed Webst e r

an d h ad learn ed all t h e rules of En glish grammar Rather we en c ou rage .

th e c hild t o exp res s himse lf with what ev er v ocabu lary h e happen s to

have Although t here are approximat ely

. words inth e En glish
lan guage Shakespe are used bu t
,
an d Milt on
Th e followin g t e xt h as beenwritt enwith t h e above t hesis inmin d .

Rules an d donts have be enavoid ed inso far as see med possible Th e

’
.

in direc t met hod h as beenresort ed t o on ly where t h e d irec t met hod fails

inprin t be c ause insu ch plac es t h e pe rson
,
a l fac t or is oft e nn ec essary .

All st ud en t s of c omposition c an n o t b e c ompose rs b u t all can be t rain ed ,

t o apprec ia t e u n d erst an
, d an d in t e rpre t th e works of composers
, .

Wh et her or n ot t h e st u d y of mu sic grammar alon e w ill b rin g abou t such

, ,

results will n ot b e argued Gramma r h as its plac e inan

.
y sc h em e of
proc ed ure ; but it s plac e shou ld n ot n e c essarily b e t h e in itial presen ta
t ion n,
or t h e most impo rtan t Spon t an eit y in t erest an
. d apprec iat ion , ,

are t h e d esire d goals an d t h e prevalen t met hod of t eac hin g is a men a ce

t o t he se t hree qu alit ies N ow an d t hena gen

. ius escapes b u t gen iuses ,

a re ina sta rt lin g min orit y .

I nt his me t hod t h e au t hor hopes t o make t h e st u dy o f harmon

,
yn ot

t h e d ry an d d iffi cu lt subj ec t whic h so man y proclaim it but anatt rac tive ,

subj ec t If t h e ord er an
. d man ner of presentationpe rmit spon tan eit y

an d self expressiont h e obj e ct of t h e work h as b eenac complished

,
Even .

if inthis t ext ac ad emic c on

, ,
sid erat ion s are sac rifi ce d t o spon t an eit y ,

in t erest an , d apprec iat ion t h e work h as n ,

ot failed ; but th e au t hor
believes tha t n o su c h sac rifice will ac c rue .

Th e aut hor afie c tion at e ly ext en ds h is grat it ud e t o h is wife M arion ,

D illonGardn e r for h e r sympat hetic aid criticism an

, d suggest ion
, s , .

C E G
. . .

Cm n
monMass , ,
19 1 7
 C O N T E N TS .

PART 1 .

Comp ass of t h e Pian

ofort e . xviii

I .

II . Tm; Tome Tu m .

R oot Positionan version

d In s .

Triad , Sevent h , Ni nth , a I n n

d
version
s .

R oot Posit ionan ve rsion

d In s .

Exerc ises, Group 6

Th e Major Seven t h Ch ord s
V . Tm: Sm n m mc Cn on n .

Triad , Sevent h , N in t h , an version

d In s .

Exercises, Group 7
VI . Tn Sur n am m m Cn onn

Exerc ises
Group 8
, .

Tm: Mn mm r Cnoxn

h in t h , N in
d , Seven th , a n ve rsion
d In s .

Exercises, Group 9
VII I . TanSun r omc Ca oxn

Triad , Seven t h , an ve rsion

d In s .

Exercises, G ro up t o
vi C O N TEN TS .

Ch ap ter
XI N ON CE ORDAL TONES
.
-

Passin g , Ap p oggiat ura , N eig h bo rin e , An

g Ton t ic ip a tory , Susp e n
sion,

R eta rda tion , Org anPoin t , an d Comp o und N ou Ch ordal Ton es -

.

Exe rc ises , G roup 1 2 .

XI I ALTERED CHORDS
.

I talianSix t h Ch ord
Ge rmanSixt h Ch ord
Fren c h Sixt h Ch ord

Ad d it ion
a l Augmen
t ed Six t h Ch ord s
N ea p olit anSix th Ch ord
Ot h e r Alte re d Ch ord s .

Exerc ises, G roup 13

XI II . ELEVE N TH AND THIR TEE N TH GII ORDS AN D M OD E RNI TIE S

PART II .

XIV . MODULATI ON AND TR AN SITI ON

Exerc ises , G roup 14 .

THE VAR IOUS STYLE S OP WRITIN G

ofort e Strin
(Pian g Quart et Orch est ra )
, .

D up licat ionOf Fac tors

E xerc ises , Group 15

B IN ARY AN D TE RN AR Y FORMS
Exerc ises , Group 1 6
XVII . I N TRODUCTI ON , I N TERu E zzo EPI S ODE , AND COD A
Exercises, Group 1 7 .

XVI II .

Exercises , G ro up 18

XIX . THE SON ATA FORM

THE MIXE D AND FRE E FORMS
Pot p ourri, Fa t asia , Prog ram M usic
-
n .

APPE ND IX A ME ODIE S FR OM B ACII S CHO RA S

L L
’
.

APPE ND I X B . M I SCE LL AN E OUS EXE RCI SE S

APPE ND IX C . EXE RCI SE S ON R OURED B ASS
Prin cip al Triad s of t h e Maj or M od e

All t h e Triads Of th e M aj or Mod e

Triad s of t h e Min
or Mod e

Seven t h Ch ord s a ve rsion

d In
n s

Tran sit ion

Alte re d Ch ord s
Misc ella n
eous Exe rc ise s .

APPENDIX D . D EFI NI TI ON S or TECHN I CAL TERMS

 I

TO T H E T E AC H E R .

Th e hor realize s that at first glan

au t ce t h e ave rage t e ac he r will Object
, ,

t o t h e me t hod Of presen t at ioninth e ope n in g c hapt ers Th e first Objec .

t ionwill be t o th e limit e d sc ope give nt h e st ud en t inth e sec on d c hapt er .

I t may be argued t hat ince rtainpla c es int h e e xe rcises th e st u d en

’
t s ,

e ar will d e sire some o t he r c ho rd th ant onic bu t t o t h e u se Of ot her c hords ,

t here S hould be n o Obj e c t io nfor here t h e st u d e nt is asse rt ing himself .

Th e followin g results Obta in ed by E W Harris onOf B ost on Show t h e

. .
, ,

possib ilit ies inth e mat e rial .

( )
a . Exe rc ise 1, 8
p ,
. h a r monize d for fou r voices with to ic n ch ord .

(b .
) Th e sa me a rra n
g ed for solo voice with acc o mp a n
ime n
t (ton
ic c h o rd ) .
x ii TO TH E TE A C H E R .

Th e in gen iousn e ss wit h whic h Mr Harrisonhan dle d t his mat erial

.

justifies th e existen c e Of th e c hapt e r inits p rese n t form TO be sure , .

nonc hord al t on e s appe ar insome Of t h e ve rsion s , bu t these are spon

taneous an d their use should be en courage d evenbe fore th e st ud e n t has

re ac hed th e c hapte r whic h ex plain
s suc h to n
es . Mr Harrisonis
. a p ro

fession al an d skilled in st rumen talist an d we t here fore can n ot e xpec t

su ch sa t isfac t ory result s from th e average st ud en t Th e au thor h ow

.
,

eve r h as Ob tain
,
ed c omparat ively good re sults from all st u d en ts wit h
whom t h e me thod h as bee nt ried .

A se c on d Obj ec tionmay be ad van c ed t hat th e me thod is n ot as rapid

as most This arises from th e fac t that most t ext books cove r th e t hree
.

prin cipal t riads int h e first c h apt er th e se con , d ary t riads inth e se c on d
c hapt er e t c ,
This Obje c tionmust b e met by c ompa rison Th e average
. .

t ext book c overs c hord st ruc t ure an d progre ssioninfrom fift ee nt o

t wen t y five c hapt e rs
-
Th e same mate rial is c overe d by this te xt in
.

fourteenchapt e rs each Of which requires n

,
o more lesson s than a c hapte r

inothe r text books .

TO prove th e econ o my intime Of t his me thod t h e au thor gave an

,

e xpe rime n ta l c lass t h e fin al e xamin ationpape r se t by Harvard Colle ge

for th e first year harmon y c lass Of 1 9 1 4 Th e class a t Harvard h as

.

approximat ely se ven t y two hours Of le c t ures Th e au thor s c lass h ad

’
-
.

h
t irt y fi
-
v e h o u rs O f le c t u res I
. n sp it e o f t h e d ifi ere n c e in t h e n u m b e r

O f lec t u re h o u rs t h
, e a u t h o r s c
’
las s as a wh o le m a d e f e w m i s ta k es co n ,

Sid e rab le origin alit y was displaye d an d all th e work was logica l .

I t will be n o ticed th at n o in t rod uc tory pages are d evoted t o th e

rudim e n ts O f m us ic s u c h a s are fou n d in m os t s ys t e m s O f h a r m o n y T h.e

a u t h o r b e liev es t h a t t h e s t u d e n t O f co m p os iti o n a lre a d y h a s o r s ho u ld

have a t horough kn owled ge Of rhy t hm Of sca les (bo t h t heore tica l an
,
d
prac tition al) an d of in tervals an d their in version Th e author s Essen
’
s .

tials f o M u r ic T h e or y co ve rs t h e p re pa r at o ry g ro u n d t h o ro u gh ly an d
 TO TH E TE AC H E R xiii

suc h mate rial withinth e pages Of a text book Of c ompositionsee ms out

of plac e .

InAppe n d ix A will be foun d me lodies for harmon iza t ionc hose nfrom
Bach s Chora ls These are n ot grad ed an d are d esign ed t o be u se d afte r
’
.

th e st ud ent h as c omple t ed Chapt e r 1 4 . InAppen dix B will be foun d

me lodies chosenfrom th e works Of various compose rs whic h are t o be
harmon ize d or worke d ou t ac cordin g t o direc tion s .Appe n d ix C con ta ins

graded bass exe rc ises for those wh o d esire t o supplemen t th e me lodic

work Appe n
. dix D c onsists Of a list o f t e c hn
ica l t e rms with d e fin ition s
.

A few Of these t erms are use d inthis met hod pe rh aps for t h e first time ;
inea ch case th e t e rm chose nis prac tically se lf e xplan
,
-
a t o ry
.
 I N TR O D U CTI O N .

V OC AB U L AR Y OF C H OR DS .

I nt h e followin
g voc a ular b y hords are figured Large Roma n
, th e c .

n u me rals d e n ot e maj or t riads ; small Romann u me ra ls d en ot e minor

t riads. Arabic figures d en ot e c ho rd fa c t ors A c iphe r is afiixed t o a

.

small R oman n ume ral t o d en ot e a d imin ished t ria d Th e plus Sign .

is affixed t o a large Romann ume ral t o d en o t e an augmen t e d t riad Th e .

plus signis also affi xed t o Arabic figu res an d d en ot es anaugmen ted
in t erval . I nfigu rin g th e alt ere d t riads t h e origin al n ume rationOf t h e
,

t riad s is re ta in e d rega rdless Of whet her or n ot th e alte ration h as c han ged

th e n ormal formationOf th e t riad Th e st ud en .t is n ot e xpec t ed t o

me morize th e voc abulary ; it is givenfor re fere n ce Th e arran gemen

. ts
Of t h e c hord fac t ors are suc h as t o show t h e spe llin gs Of th e chord s an d
are n ot n ec e ssarily t h e most ef fe c tive fac t or d ist ribu t ion s .

Tria ds Of th e Ma jor Mod e .

Tria d s Of th e Har mon

ic Min
o r Mod e .

Triad s Of th e D escen
din
g Fo rm Of t h e Me lod ic Mino r .

S e ven
th Ch ords of th e Maj or Mod e .
xv; I N TR OD UCTION .

Eleven ic Min
th Chord s of th e Harmon or Mod e .

li
o
n
Thirt eenth Ch ords of th e Major Mode

th Ch ord s Of th e Har mon

Thirteen ic Min
or Mod e .

ve rsion
In s Of a Triad

1 st in
version an
.d in
versio ng rd in
. ve rsion
.

In s Of a Se ve n
version th Chord

I st in
version. a ve rsion
d in
n .
3d
r versionath in
n
i . ve rsion .

ve rsion
In s Of a

”
i
v
l Ii
n
th an
‘ Th e eleve d thirtee n
th ch ord s Oi th e two forms of melod ic min
o r are omitte d .
 IN TR O D UC TI ON .
xvii

eleve n
th or t h irteen
th c o rd
h is am
biguous
inits various version
in s .

Ch ords with raise d fifths

v
b
V
L

Augmen
t ed Sixth

Oth e r alte red Chords

11 l’I r° a a 1
°

Co nan or ru nVo rc u 111 Ta x MI XE D

xviii I N TR O D UC TI O N .

CO MPASS o r TH E V O I C ES TH E S TR I N G Q UAR TET

.

C O MPAS S O F TH E PI AN O EO R TE
 MUSI C C O M PO S I TI O N .

CHAPTER I .

CA DE N CE S AN D E L E M E N TAR Y F OR M .

1 . tic Caden
The Au the n ce (also ca lled Fin al C ad e n c e ) is a progression

from d omin an t t o t on ic harmon y Th e aut hen

. tic cad en ce may be

p f
er ect o r im p f
er ec t ‘
pe r f
,
e c t wh e n t h e t on ic c ho rd is a rra n ge d w it h it s

roo t inb ot h o u t e r voice s an

, d impe rfec t whenth e uppe rmost voice
soun d s fac t or 3 or 5 inth e t on ic c hord . Th e authen tic cad en ce whe n

pre ced ed by subd omin an t harmon y is called c omplet e caden ce Th e .

effec t ive use Of t h e au then tic cad e n c e is at th e en d Of a pe riod .

2 .The Half Cad en ce is a p rogression from t on ic or subd omin an t

harmon y t o d omin an t harmon y I t s effec t ive use is at th e en
. d Of an y
phrase other t hanth e last phrase Of a pe riod .

3 T h e D ec ep t ive Ca d e n c e (al so c a ll ed F a lse C a d e n c e a n d A v oid e d

Cad en c e! ) is a p ro g ress io n fro m d o m in a nt h arm on y t o so m e c hord ot h er

thanI usually VI an
, d oc c asion ally IV pre ferably in first in ve rsion I ts .

efi ec tive use is at t h e en d Of a phrase other t hanth e las t phrase Of a

period I t is efiec tively used also t o ext en
. d th e n orma l len gth Of a
pe riod .

4 T
. h e P lagal Cad en c e (also c alled Churc h Cad en ce E c c lesiastical
,

Cad en ce an , d Ame nCad en ce ) is a progre s sion Of t h e subd omin an t c hord

t o th e t on ic chord This cad en
. c e is e f fec tive aft er th e fin al cad en ce in

ELEMEN TARY FORM .

A complet e music al se n t ence is called a period an d usually c on sists Of

eight lon g measures or sixteenshort measures .

Period s are divid ed more or less arbitrarily in to sect ion

s , phrases an d
figures Th e con
. st ruc tion Of a t ypica l figure follows:

‘ Some th eorist s a ll a h alf cad ence animp e rfec t cad en

ce .

1 Some th eo ris ts mak e a distin ction be twe enD ecep tive Cad en
ce n
d Avoided
a Caden
ce, but this n
eed
ot h e con
n sid e re d h e r e .
 MUS I C C O MPO S I TI ON .

dan
An te by MAzAs
.

Ph rase 3.

S ection2 .

Period .

Period co tin
n ue d .

frac t ion
al part Of th e measure re quired for th e mmen
co cemen
t Of a p c
 C AD EN CE S AN D E L E MEN TAR Y F O R M .

Th e division s Of such sim e an m

d t ypical period s as ar e shownint h e
precedin g examples are marked by eithe r or all Of th e followin g d evices :
cad e nce , rhyt hmic groupin g, an d melodic lin e Where t h e smaller .

division s are we ll marked th e composit ionis fragmen ta ry and t here fore

primitive TO avoid a fragmen
. ta ry e ffec t , th e smaller division s should

coale t int h e ha rmon

s ce t o some e xt e n izat ionan d but on e we ll marked

cad e n
ce , ot he r thanth e fin
al cad e n
c e Should appe ar
, Th e followin
g .

diagram d emon
st rat es :

Pe riod of 8 meas ures .

—1 0

4 measures .
hi 4 me as ures .
l

Cad e n ce , not fi n al . F ull Cad e n

ce fi n
al .

Compar e s wit h se mi c olo nin -

Compar e s with p eri od

A pe riod n
c o st ruc t e d as o t un
follows is n c ommo n

D iag ram 2 .

Pe ri od of me asu res .

D ivision2 . D ivisio n3 .

C ad e nce .

A period inth e Minue t Of Sonata I by B ee t hovenshows t h e above

struc t ure but t o this t we lve -

measure pe riod is add e d two measu res by
rep ea ting th e fi n
al c ad e n
ce . Suc h a device is called Exte n
d ed Cadence .
 MUS I C CO MPO S I TI ON .

Th e S ch from B hovens Son

erzo at a III Shows ee t
’
a si xt ee nmeasure
-

period c on
st ruc t ed as follows

D iag ram 3 .

Pe riod of 1 6 measures .

D ivisio n3 .

Th e t hird divisio nshows a p f er ec t c oalesc en

ce Of t wo four measure
-

groups .

Such st ruc t u re
s have beencon
as sid e red abov e may b e varied by

t h e d evic es Of expan sionin t e rpolat ionan

, d c on t rac t ion For an example .

Of expan sion se e B ee t hoven s Son ata Op 1 0 N O I For anexample

’
.
,
.
, ,

Of in t e rpolat ionse e B e e thove n s Son at a Op 1 0 Fo r anexample

’
.
, , ,

Of c on t rac t ionsee L iszt s Hun garianRhapsodies

’
.

Like poe t ry t h e division

,
s Of a simple music al period are b alan ce d one

again st an o t h er an d t h e first divisionis called an teceden t and t h e followin g

divisioncon seq uen t Thes e t erms may be applied t o t wo balan
. cin g small
division s to tw
, o b alan cing large division s an d eve nt o t wo balan cing
periods Th e use Of these t erms int h is sen
. se must n ot be c on fused with
t heir use int h e st ruc t ure Of t h e fugue .

EXE RCI SE S .

Th e play several period s Of simple con

t eacher Should st ruct ionan d
t t o poin
re quire t h e st ud en t out t h e phr ases distin guish bet weenwell ,

marked an d less marked d ivisions an d recogn ize various c ad e nces ,

Th e .

st ud ent Should also be required t o mak e diagrams Of t h e c on st ruc tion

Of various S imple pe riod s .

CHAPTER II .

TH E TO N I C TR I AD

n mj
.

Th e n
t o ic t riad i th e a or mod e n
c o sists Of th e n
t o ic (do) , it s major
third m
( ),
i n d it s pe rfec t fifth (so)
a I t is called a maj or . triad Th e
.

chord is c on son an t an d inactive in effec t I t s root h as fin alit y ; its t hird.

an d fifth have less fin at but are wholly in ac tive int his relation ship .

I nwritin g t riads for four voices it is n e c essary t o d o uble on,

e Of th e

t on es Of th e t riad ; i e one Of t h e t on
. . es must be soun
,
ded by t wo voices .
 TH E TON I C TR I AD
5
.

Th e fac tor of hord most fre quen

th e c t ly d ouble d is th e root b u t with , ,

c e rt ainrest ric tions t h e o t her fac t o rs may be d o uble d

,
Fac tor five may .

be omit t e d inmaj or an d min o r c ho rds I nt his c ase th e t riad appears

.
,

wit h eith er t ripled root or d oubled root an

, d d oubled t hird .

Voice spac in g mat erially affe c ts th e musica l result an d t o avoid sub tle,

t ies it is ad visab le for t h e be gin

,
ner to use c lose position i e anarran ge . .
,

me n t Of voic es in whi c h th e t hree uppe r voic es d o n ot exc ee d th e c ompass

of anoc ta ve .Su c h anarran ge men t always resu lts ingood spa c in g

bec ause Of t h e well esta blished fac t t hat t h e t wo adjac en t voic es which
c an best be separate d by th e largest in t e rval are t e no r an d bass .

Various ways Of writin g t h e t on ic t riad inc lose posit ionfor fou r voices
with d oubled roo t follow :

R oo t position

First in
ve rsion

d in
Se c on version

Some write rs app ly th e g t e rms t o th e fo llowin

fo llowin g ng ements
arra

Close c. H alf Op e n
-
e tc . Op en

Inth is text th e t e rm c lose p ositio n inc lud es h alf o p enp ositio n

-
.
5 MUS I C CO MPOS ITION .

Some Of th e above arran ge men ts so un d thin Th e st ude n t s ea r will

’
.

re ad ily S how t h e more d esirab le arran ge men ts Alt hough t h e above .

arran ge men ts Of t h e six four chord h ave d ouble d root t h e c hord is more
-

efiec tive with d o ub led fifth .

From a me lodic stan d poin t t h e t wo oute r voices are t h e most impor

,

tan t. Grammatic al errors su ch as con

”
se c u t ive an
, d c on c ealed fifths

an d oc taves are mo re promin

,
en t inou t er voic es t haninin n er voic es .

Our first con sid e ra t ionis a good SOp ran O t o whic h shou ld be ad d ed a

good bass As we proc eed logic al h armon

. ic progression
, s and c on nect ions

must be made Th e met hod pursued by this t ext Of t reatin

. g each chord
separat e ly Of c orrelat in
,
g t h e c hords an d pla cin g t he m intheir prope r
families will assist th e st uden t int hese fun d ame n tal c on side rat ion
‘
s

Of progression s an d c on ne c t ions Voic es Should n ot c ross

. Alt hough .

crossin g Of voices is presen t inth e works Of g reat c ompose rs t his d evice ,

should n ot be resort e d t o u n t il e xp erien c e inpart writ in g h as been

A voc abulary of bu t a Sin gle c hord gives yery lit t le mat e rial with which
t o work , but muc h more c anbe d on e wit h t his ma t erial t hanat first

might be supposed Motives c on sisting of various melodic arran

.
g e me n
ts

Of th e t on ic c hord may be foun

e s Of t h e t on d int h e followin g quotation s:

n
B E ETH OV EN , Fifth Symp h o y .

( ) c . B AC K , I n
ve ntio n, NO 8 . .

W E B ER S on
at a I I
, .

( ) 32 D ie W ach t am Rh e in .

I nall composition
s , th e use Of th e pre d omin
n
t o ic chord
at es Anen tire .

pe riod however , ,
c on o ot he r chords t han
g Of n
sist in th e t on ic would Often
be mon oton
ous .
 TH E TON I C TR I AD

Th e followin
g quotat ion
s from sta n
d ard p n
c om ositio s se rve to S how
inwhich th e t on
ic c hord h as bee nhan
dled by famous
compose rs .

G O UN O D sc ribe d fro m o rc h es tra tio n

( tra n
’
S Fa ust ).

V E RD I
’
S I I Tr awl er : ( t rn b n)
a sc ri e d fro m orc h es tratio .

Th e t on
es marked wit h a c ross (x ) are n
onc ho rd al an
-
d are e x plain
ed

inCh a pt e r 1 0.

PO N C H I E LL I D an f H m G onda
’
S ce o t /re o u r s fro ior

( t ra n
s c ribe d fro m o rc h e s t ra tio n
3 MUS I C C O MPO S I TI ON .

Th ef win
ollo g melodies
h ng usin
S ould
g t h e sol fa syllables aft e r
be su -

whic h t hey should be harmon

, ized wit h th e t on
ic Chord Th e har mon iza .

t ionmay be for SOlO pian ofort e solo voic e with pian

, ofort e a cc omp an i
men t onfor fou r voic es
, .

EXE R CI S E S GR OUP,
1 .

Fre n
c h Fo l k S ong .

En
g lis h G ame .

En
g lis h G a me .

G e rmanF olk S o n
g .

Aft er t h e have beenc rit icize d an

e xe rc ise s d correc t ed by t h e t eac her ,

t h e st ud ent should play e ac h e xe rc ise sin

ging e ach part int urn .

Th e st ud en t may c ompose me lod ies foun d ed up onth e t o nic chord an d

harmon ize t hem Th e t each er s c rit ic ism Of t h is origin al work will d o
’
.

much t o c lear misun d erst andin gs .

 CH APTER III .

TH E D O M I N A N T C H O R D .

All th e t on
es of th e sc a le o ther t hanthose which c on s t it ut e t h e t onic
t riad a re a c t ive int heir d en
t en c y t oward on
e or mo re Of t h e t on es Of t h e

n
t o ic t ria d .

Th e 7 th scale st e p (th e lead in

g t on
e ) h as st ron
g ten cy d ia t on
d en ically
u pward t o th e t o ic n .

Th e 4th p (th e subd omin

sc ale st e an t ) h as st ron g t en d enc y d iat on ic allv
d own ward t o th e third Of t h e t on ic t riad .

Th e 6th sc ale st ep (th e submed ian t or supe rd omin ant ) h as st ron g

t en d en c y d own ward t o t h e fifth Of th e t on ic t riad .

Th e an d sc ale st e p (th e supert on ic ) is ch a ract erles s inregard s t o its

t en d en cy Sit uat ed mid way bet weenth e t on
. ic an d med ian t it may ,

p rogress t o eithe r I ts progres siont o th e t on

. ic is more fin al .

Next t o th e t on ic chord inimport an c e an d fre que n c y Of oc c u rre n c e is

t h e d omin an t c hord which is foun d ed uponth e fift h sc ale st ep Th e .

d omin an t t riad is a maj or t riad an d is t here fore forme d lik e t h e t on ic

t riad (wit h maj or t hird an d pe rfec t fift h) This c hord is c on . so nan t bu t
a c tive wit h t e n
, d en c y t o th e t on ic chord Th e leadin g t on.e is t h e most

a c t ive fa c t o r int h e chord an d it progresses n o rmally t o t h e t on ic Th e .

fift h Of t h e d omin an t t riad progresses upward t o t h e me dian t the reby

supplyin g t h e third inth e t on ic t riad Th e root Of th e d omin
. an t c hord
which is in ac t ive as t h e fifth Of th e t on ic chord assumes a d ual charac t er
inth e d omin an t c hord ; inth e b ass t h e root progresse s t o t h e t on
,
ic
(c a l led c a d e nc ing p rogression b u t inanuppe r voic e it may remain ,

s ta tion S u ch a sta tion ary t on c ommont on

“ ”
ary e is c alled e .

Th e root Of th e d omin ant c hord is t h e fac t or most fre qu en t ly d oubled ,

th e fift h le ss fre que n

,
t ly an d t h e t hird (leadin g t on e ) is almost n ev er

d oubled infou r voic e writin g Whenfac t or five is omit t ed int h e d omi

.

n an t t riad t h e roo t must be t ripled

, .

Th e secon d in ve rsionOf t h e d omin an t t riad occ u rs less fre quen t ly

thant h e 12 .

Th e use Of th e six fou r chord onall d egrees Of th e scale shou ld be

-

rest ric t ed t o th e followin g four progression s:

1 st
. Where prec ed ed an d followe d by root posit ionor first in version

of t h e same chord e x : 1 1 I I I 12 I I
2 ;
, o r.
o , o,
e t c
, , , , , .

an d Where th e t on
. ic six four c h ord preced es th e d omin
-
an t c hord at
th e c ad en c e e x : 12 V I , .
, , .
 m MUS I C C O MPO S I TI ON .

3rd . Wh e re th e h as of th e six -
four chord is a pproach ed an
d quit ted

st e pwise , ex .
x

I V2 Io

4th . Wh ere t h e six -

four c hord oc curs withina s sio
suc c e nof chords
progres sin
g ove r a st atio n
ary bass ,
ex .

E
v rg v
Ina nof chords inth e first in
suc ces sio ve rsion it is us ually ad visable ,

t o d ouble th e root inalt ern a tin g c hords an d t h e third int h e re main ing
ch ords bu t th e p rin
, c iple is n o t o f sufiicient import an ce t o nullify th e rule

g t on
t hat t h e lead in e must n o t be d ou bled .

Various arran gemen t s of th e prog res sionof t h e d omin an t t riad t o t onic

are sh own inth e followin g em p le .

th e melodic p g
ro ressio d of a comp osit ion
nat th e en of ti

t h e above melodic p g
ro s
re sio n(with out mod ula t iono r c h ro matic n)
alt erat io s are

v I, V
- -
vr, v n °
—
I, m I m—
,
—
vr, v n vr
°
—
V I V, m I V
- —
nd vu
a
°
—
IV . I nth e mid st
of a p er iod ,
t h e above melodic p rog re ssro nmay be h armonized V —
I but V VI is ft c
—

q ue n
tly ad visa ble . Prog res sion
s v nI °—
, m I -
n
d m
a —
vr are of les s fre quen
t occur
n n d vn vr V IV m I V an d vn I V are rarely nthis ch ap ter
° °
used
'

re ce , a
-

,
-

,
- -

. I , th e
t sh ould use on
st ud en an
ly d omin t an
d ton
ic harmon ies .
 TH E DO MI N AN T C H O RD .
1 1

Th e fifth scale step is a fac t or inboth t h e t on

ic an d d ominant chords
an
d may , the re fore , be h a rmon ized wit h either c h ord Principles of .

variet y an
d cohere n c e usually gove rnt h e choice .

Uponth e repe titionof a t on e in th e melod y it is fre qu en t ly ad visable

, ,

for th e sake of varie ty t o chan, ge th e h a rmony uponth e rep eated ton e .

A valuable use of th e ton ic six fou r chord is uponth e t hird from th e

-

last chord o f a pe riod if t h e melod y permits This chord is followed by

.

t h e d ominant chord which progresses t o t h e t on ic t ria d inroot position .

Such a six four chord may be called a cad e n

-
cial six four
”
-
.

12

T h e c ad e n
cial six four cho rd
-
may be writ t enwithout its root

Th is chord , may , of c ourse , be ny

a al zed as a mediant sixth c h ord bu t its
efi ect is that of th e cad e ncial six four
-
.

Parallel an
d co sec ut ive fifths an
n d oc taves shou ld be avoid ed inchord
p ro g
res sio s n . page 23
See
Th e following example should be st udied
1 7 th Ce n
tu ry Ch o ral .

G I 1 Vo l 1 1, n v 1 Vo l 12 V I

Openp osit io nmay be u sed oc cas io n

ally int h e fo llo win
g e xercises .
m MUS I C C O MPOS I TI O N .

EX ER CI SES GR OUP
, 2 .

Fre n
c h Fol k S on
g .

F Sc
. nu aa ar .

Fre n
c h Fo lk S on
g .

Fre n
c h Fo lk S ong .

5
. R e h armo n iz e t h e e xercises in G ro u p I
, p age 8 u sing,t h e d omin an t
t riad as well as th e t on ic. Th e first in ve rsion of th e d omin an t t riad will
be n ecessary inmost plac e s bec ause t h e n at u re of t h e melod ie s cause

c on secu tive oc t aves whe nt h e d omin an t t riad is used inroot posit ion .

Th e V, should be use d inth e pen u lt imat e measure o f ea ch e xe rc ise .

THE DOMIN AN T SE VE N TH CHORD .

To an
y t riad may be add ed t h e n th (o f t h e root ) an
se ve d th e re su lt ant
c h ord is c alled a seve nt h c h ord All seve n
. t h c hord s are d isson an t and
ac t ive invaryin g d egrees ac cord in g t o st ru c t u re and c hara c t e r Th e .

d isson an t fact ors of a c hord a re best app roa c he d by con t rary mo t ion .

Th e most commonse ven t h c hord is th e d omin an t .

 TH E D O MI N AN T C H O R D .
13

an
Th e d omin t se ven
th c h ord is formed with maj or nd min or t riad a

se ven th an d is th e on
,
ly c hord thus formed Th e d omin .an t se vent h c hord
normally res olves t o th e t on ic t riad I ts t en d enc y is great er t hant ha t
.

Of th e d omin an t triad bec ause of th e ad dition al a c t ive fac t or t h e dis ,

son ant seven th .

Seven ths inall chords n ormally re s o lve d iat on ic ally d own ward Th e .

seven th inth e d omin an t c hord res o lves t o t h e third of th e t on ic triad .

Th e fifth is free t o re solve either up or d owndiaton ic ally Th e third .

(le adin g t one ) resolves upward diat on ic ally Th e root int h e bass
.

resolves t o th e t on ic b ut inanuppe r voice it may remainst ation , ary .

( ) a

Th e n t s a t t en
st ud e t ionis direc t ed t o t h e fac t th at n o d ou blin g of
’

fac t ors ina seven t h chord is n e c e ssary in four voice writ in g At t en tion .

is fu rthe r d ire c t ed t o t h e fac t that th e t on ic c hord resu ltin g from th e

above reso lutionis in c omple t e Th e resolu t ionis wholly sa t isfac t ory
.

however ; th e ear supplies th e missin g fifth inth e ton ic t riad Notic e .

th e difie ren ce in ef fe c t bet wee nt h e t riad with t ripled root an d t h e t riad

with d oubled root Th e lat t e r h as a more plain
. tive ch arac t e rist ic t han
t h e former while t h e former is more d ec id ed an d final .

Th e fifth inth e se ven th c hord may be omitt ed an d th e root d oubled ,

inwhic h case th e resultan t t onic t riad will be c omple t e thus : ,

N ot in fre quen t ly , cases of se ven th c h ord s wit h omit t ed t h ird s are foun d instan da rd
corn p os it ions . Su c h c h ord s, h o we ver , la c k t h e c h a rac ter p ossessed by c h ord s inwhic h
t h e third is n ot o mit t ed bu t t h eir use is j ust ified w h ere imp roved voice leadi g th ereby n
res ults . Th e st ud e n
t sh ould avoid n n n
th is arra g eme t u t il exp e rie ce inp ar t writin
n g
14 MUS I C C O MPOS I TI ON .

Stu d y f
c are ull y th e followin
g example .

v: I.

EX ER CI SE S GR OUP
, 3.

I Resolve nn
th e d omi a t seve th c hordn (
co mplet e a nd in
c omplete) to
n
th e t o i c t riad i nall maj or keys .

2 . g progression
Fill inth e uppe r voic es inth e followin s

(a ) .

G I2 v7 D v v,

3 Fil
.l in t h e b ass an d t e nor int h e following p rogressions ,
n
usi
g th e
in
c omplet e d omin an t seven th chord :

( ) a. a n

0 13 v7 G I v,

4 H .a rm oni ze t h e followin g m e lodi c fr agme n

ts us i n
g nn
th e d omi a t
seve n
t h c hord c omp let e or in c omple t e :

( )
a .
 TH E D O MI N AN T C H O R D 1 5
.

5 . Harmon
ize th e followin
g melod y
F S C H UB l
. RI
' ‘
.

TH E D OMIN AN T NI N TH CHOR D .

To any s e v e n t h c h o rd m a y b e ad d e d t h e nin t h (o f t h e roo t ) a n d t h e

re sult an t c h o rd is c alled a n in th Cho rd . All n in t h c ho rd s are d isson an t s

an d a c t ive . N in t h c hord s a re u sually mo re e ffe c t ive inop e nposit ion

t h aninc lose posit ion Th e d omin . an t is by far t h e most fre q ue n
, , t ly
u sed n int h c h o rd .

Th e n in t h of th e d omin an t int h e maj o r mod e is a maj or n in th an d

resolves d iat on ic ally d own ward Th e re ma in
. in g fac t o rs o f t h e d om i na n t
n in th c hord resolve int h e same man ne r as inth e seventh chord Th e .

n in t h c hord con t ain s five fac t ors on e of w

,
hich mu st b e omit t ed when
w ritin g for fou r voic e s Th e fac tor most frequ en
. t ly omit t ed is t h e fift h ,

less fre qu en t ly t h e se v e n t h an d oc c asio n a lly t h e thir d Onrare oc ca

.

sion s t wo fa c t ors may b e o mitt e d an

‘

d t h e roo t d oubled .

Stud y an d c omp are th e followin g r e s o lu t io ns

(0 )

All th e n
t o es of t h e have n
sc aleow appe are d as fa c t o rs in on e o r more

Of t h e c h ord s w hic h have thus far beenc on sid e re d and we n ow have

,

mat erial for harmon izin g melod ies c on t aining all t h e t one s of t h e d ia t o nic
sc ale p rovidin g that t h e fou rt h an d six th sc ale st eps p rog ress ac c o rd in g
t o their t en
. den cy (d own ward d iaton ically) Such melod ies h armon
. iz e d in
t h e above man n e r howeve r wou ld sou n d frag me n t ary an
“ ”
, , d c hoppy
bec ause of t h e fin al c ad enc es wh ic h re sult from t h e re solu tiont o t on ic
o f t h e d omin an t se ve nt h an d nint h c hord s .
36 MUS I C C O M PO S I TI ON .

EXE R CI SE S GR OUP, 4 .

I . Resolve t h e d omi n
ant n
int h c h ord inope nor c lose positiont o th e
n
t o ic t riad i nall majo r keys .

2 . Fill inth e uppe r voic e s inth e followin

g progression
s

D 13 v, I E Ig V9 C V7 v,

3 . Harmon
ize t h e followin
g fragme nt s u sin
g t h e d o mina nt n
int h c ho rd

( ) a .
(a) .

0 12 V, P 12 v,

I N VE R SI ON S or THE D OMIN AN T SEVE N TH CHORD .

Th e d ominan t seve n t h c hord h as t hree in

ve rsion
s whic h are n
ot at e d

d figure d int h e followin

an g e xample

A fac t or should se ld om be omit te d inanin ve rt ed se ve nth c hord .

Th e fac t ors resolve int h e inve rsions int h e sa me man ne r as inroot

'

position Th e first in .ve rsion(V2) freq ue n

t ly oc c urs Th e se c on
d in
ver .

sio n(Vi ) is less re

sp napproac h t hanis th e se c on
t ric t ed u o d in ve rsion

o f a triad an d may resolve t o eithe r I or L Th e third in ve rsion .

(Va)
is aneffe c tive disson an t an d resolves t o 15 I t is more efiec tive upon
.

a st ron g pu l se t h an up o n a w ea k p u lse Th e firs t a nd sec

. ond i nve rs io ns

may be used upont h e fin al c ad en c e bu t t hey are less fre que n t ly used in

h omOp h on ic style th aninpolyp hon ic style Th e use of t h e t h ird in

. ve r

siond oes n ot of c ourse re,

s ult in fin
,
alit y .

T h e inv e rs ion s of t h e nin t h c ho r d d o no t oc c u r c omm o n

ly alt ho u gh
t he y may be used effec tively .
 TH E D O MI N AN T C H O RD .
i !

I n
versi o n
inve rsio n . in
ve rsion .

Th e st u d e n
t shou ld a vo id re so lvi n
g a d issonan
t to a fixe d u ison
n

F ix e d u niso n .

th e use o f o ve rt ed n
penpositionfor in int h c hord s is d e sirable

Composers have resolved a d isson ant t o a fixed un

isonbu t sk ill u l voice
f
le ad in
g must ac c ompan
y su c h a pro gression .

B AC H .

B u t t his is a g d isson
passin ant .

THE MELODI C LrNE .

A good melodic lin e is p rod uced by dia t onic p rog res sionwith ju diciously in t rod uced
ei lp e an
d ch roma tic st ep s, d e void of monot on y b u t u n ifo rmly const r uc t e d .
13 MUS I C CO MPO S ITI ON .

Smooth melody is p rod uced by diat on ic or ch romat ic p rog ressionbut suc h p ro

gres sionused exclusively becomes mon oton ous an d sh ould , t h erefore , be alleviated by
th e use of skip s Th e freq uen
.cy of th e occ urren ce of skip s d ep en ds up onth e ch ara c te r
of th e co mp osit ionas a wh ole , up ont h e rap idity of th e melodic n
t o es, up o nth e des ired
efi ec t , a n d up onth e p art icula r voic e p art inha n d .

Skip s ina melodic lin e p rod u c e a mgg ed an d vigorous efi ect an d are th ere fore, ,

ad ap t ed t o a st ron g bass p art ina rh y t h mica lly well mark ed comp o sit ion or t o a
-

th ema tic voice p ar t wh ena comp osit ionis inrugg ed st y le as op p osed to a ly rical st y le .

Wh enstrivin g for a g oo d m el odi c lin e t h e t en

, d en c ies of t h e scale st ep s must be

born e in min d A d own

. ward sc ale fig ure may overcome t h e t en d en cy of t h e se ven th
scale st ep an d anup ward scale fig ure may overcome t h e t en d en cy of t h e Sixth or fourth

scale st ep . Sust e n ta t ionh owever o f th e ac t ive scale st ep s n

, , o rmalizes t h e ir t en d en cies .

Ont h e o th er h an d t h e t en
,
d en c ies o f a c t ive sca le st ep s are in crea se d wh en ap p roach ed

alon g t h e sca le lin e in t h e sa m e d ire c t io n a s t h e ir reso l u t io n s a n

, d t h ere
,
fo re a n ,u p w a rd
sc ale fig ure sh ould seld om t urn ont h e seven t h sc ale st ep an d a d own ward scale fig ure
sh ould seld om t u rnont h e sixth or fou rt h scale st ep s .

Skip s t o th e lea din g t on e S h o u ld se ld o m b e m a d e f ro m b e low bu t from above A .

skip from above in creases th e t en d en cy of th e leadin g t o n e t o reso lv e u p w ar d to t h e

t on ic . Skip s from below will be foun d incomp osit ion s bu t t h ese re quire care f ul

man ip ula t ion Skip s to t h e sixth or fourt h scale st ep s are sa fer wh enma d e from below
.
,

inwhich case anin creased t en d en cy r esults . I ng en eral w , id e leap s inan y d ire c t io n

an d t o an y t o ne us u a lly im p ly a n o b lig a t io n t o re t u rn w it hi n t h e in t er v a l o f th e leap .

All th e foreg oin g re m a rk s a pp yl o nl y t o h a rm o ni c p gro res sio n s a n d n o t to cases w h ere

Sk ip s are mad e ina voice p art d urin g th e rep e t it ion s o f t h e sa me h armon y .

Q uot at io s n follow Showin

g applic at ions of t h e n
t o ic an
d d omin
ant
c ho rd s .

F ro m G o u N O D
’
s F aust ( tra s fro mn . o rc h e s tratio n
)
.

A X X
 TH E DOMIN AN T C H OR D .
31

From BEL L I N I S N or ma (tran

’
se . fro m o rc h est ra tio n
) .

ExER CI S E S , GROUP 5 .

r. Resolve nn seventh chord inits

th e d omi a t first in
ve rsion(V2) t o

n
t h e t o ic t riad i nall major keys .

2. Resolve t h e d omin an t se ve n th c hord inits se c on d in ve rsion(Vt )

t o th e t on ic t riad inall major ke ys .

3. R eso lv e t h e d om ina n t se ve n t h c ho rd in it s t hird inv e rsio n ( )

V, t o

t h e t on ic t riad (I ) inall major keys

, .

4. Fi ll in t h e u pp e r vo ic es i n t h e fo llow in g p ro g ress io n
s

B b v9 Io 1 v, I, V I
2 3

5 To
. t h e following t h ree voice c-
ho rds ad d t wo m ore ,
voices ( t e n
or

an
d bass) an d resolve t hem t o five voic e t on ic c hords :
-
22 MUS I C C O MPO S I TI ON .

6 Reharmon
. ize t h e exerc ise s inGroup I page 8 ; use th e d omin
, ant
seven t h or n int h c hord int h e first in ve rsioninth e pe n
ult ima te measure

of ea c h exe rcise.

CHAPTER IV .

TH E S UB D O M I N A N T C H O R D .

Th e fourth an d sixth sc ale st eps d o not , of c ourse , always follow t heir

n ormal t e n d ency .They may progress upward diaton ic ally or t hey may
progre ss by skip Neit he r is it obligatory n
. or so me t imes ad visable to

harmon ize t hese t ones with d omin an t harmon y evenwhenthey follow

t heir normal t en d ency .

There are t wo importan t chords wit h whic h both th e fou rth an d sixt h
sc ale st eps may be harmon ized , name ly t h e subd omin an t c hord an d th e
su pert on ic c hord th e first of which is t o be c on
, sid e re d in th is c hap ter .

Th e subd omin an t t riad is like t h e t on

,
ic and th e d omin an t triad s a ,

majo r t riad an d c on sists of root (fou rt h sc ale st ep) its maj or third an d
its pe rfec t fift h. I t is a c onso nan t c hord bu t n ot fin al alt hough it h as
,

n ot t h e d efin it e ac t ivit y whic h c harac t erizes t h e d omin an t t riad I ts

.

root an d t hird are t h e ac tive fou rt h an d sixth scale st eps respe c tively .

We would therefore d ed uc t that t h e logic al progressionof th e subd omi

, ,

n ant t riad would be t o t h e t on ic t riad t hus

,

To roo t p osition

Th e last progre ssioninth e above example is oftenappe n ded at th e c lose

of hymn s an d called th e AmenCad e n c e or th e Plagal C lose Common .

use in n
o the r c on ec t ion s h as give nth e subd omin ant t riad flexibilit y an d
th e abo ve progression s are , by no mean s, th e most c ommo n .
 TH E S UB DO MI N A N T C H O RD .
33

A more id iomatic progressionof t h e subd ominant t riad is it s p rogres

sio nt o th e d omin
ant c hord . s of IV V are sh own
Various progression -

In

t h e followin g example .

Th e nt will n
st u d e ot ic e t hat inth e p ro gressiont o t h e d omin ant t riad
t he re is no c ommont on e ; t his is always t h e c as e whe re t h e roots of

c hord s are Sit uat e d a se c on d or a se vent h apart an d insuc h progres sion s

Obj ec tion fift hs an d oc t aves fre que n

“ ” ”
able t ly arise .

Con
secutive fifth s are Object ionable because th ey Oftensoun d h arsh an d p rimitive .

Ch erubin i th ough t t h e reasonfor t h is h arsh n essZwa s d ue t o t h e fac t t h a t t h e up p e r

p a rt p rog resse s in o n e k e y w h ile t h e lower mo ves in an o t h er F o

. r exa m p le if,
t o t h e

scale of C an up p e r p a rt b e add e d whic h gives a p e rfec t fift h a t ea ch measure t h us ,

it follows t h a tn e p art will be in

o C th e oth er inG
, I t is from this con
. curren ce of t wo

keys tha t th e discordan c e arises an,d co n se quen

, t ly th e p rohibitiont o in
, trod uc e
several fifth s in succ e s sion ; as e
,
ve n w h e nt h e move me n t of th e p arts in , st ead of bein g
con junc t is disj un
,
c t t h e discord a n
, ce n on e t h e less exist s . Con se cu tive fifth s h a ve

beenused effec t ively by grea t c omp ose rs bu t sh ould be avoid ed by th e stud en t .

Conc ealed fift h s obj ec t ion

,
able bec ause t h ey so un d simila r to con sec u tive fifth s,

a rise wh enan y t wo vo ic es p rog ress fro m a n y int er v a l o t h e r t h a n a fi ft h inp arallel

motiont o a p e rfec t fifth th us :
,

Con secu t ive oct aves and un ison s are obj ec t iona ble only beca use th eir use con ve rt s

a four voic e progressionin t o a th ree voice p rog re ssion with on e of th e melod ies d oubled .
24 MUS I C C O MPOS ITI ON .

Con
cealed oc taves, ob ect io a j nble because th ey soun
d similar to con
secu tive oct aves ,

arise wh enan
y t wo voices nn
p rogress from a y i t er val oth er th a nanoctave inp arallel
motionto anoc tave , th us

Obviously , inorch estral n

writ in
d con
g , n d un
cealed oc t aves an
co secut ive ison s a

aboun d th roug h th e re in
fores ment of melodies an d ch ord fac tors by on e or more

inst ruments Th e same is true ina lesse r d egree of p ian

.
, oforte sexte t and quin tet , ,

Con
c ealed fifth s and eigh th s arisin
g b et weenc h o rd s h av ing a comm o n tone are not ,

as a rule objec t ion

, able alth ough for t h e p resen
, t it is usually ad visable (wh ere p rac
, ,

t ical) t o avoid t h em es p ec ially inoute r voices

, Harmon ic sp acing voic e lead in
.
g and ,

comp ass sh ould n ot h ow ever be sacrificed to t his p rin

, , cip le .

Con sec ut ive fifths an d oc taves are avoid ed be t weent wo c hords in

root posit iont h e roots of whic h are sit ua t ed a sec on
, d or a se ve n t h ap art ,

by leadin g th e upper voices incon t rary motiont o t h e bass Con sec ut ive .

fifths an d oc taves may also be ad van tageously avoid ed by d ou b lin g some

fact or ot he r t hanth e roo t inone or bo t h of t h e c hord s of t h e p rogre s sion .

Fact ors havin g strong te ndency suc h as t h e leadin g ton e se ve n ths an d ,

ninths inc hords it will be reme mbered should n

, ot be d oubled infour ,

Like t h e t on nd d ominant triad s th e subd ominan t t riad h as t wo

n
ic a ,

in
versio s, ve rsion
t h e first in being t h e on
e more fre que nt ly use d Th e .

sec o d in
n ve rsionis subj ec t to t h e sa me rest ric tio s as n th e V2 .

Th e t hree which have beenc on

tria ds sid e red are th e on ly major t riad s
int h e major mod e They c omprise all t h e ton
. es o f t h e maj or sc ale an d
are t he re fore sufi c ien t t o harmon ize an y dia t onic m e lod y Th ey are .

oftenca lled th e Prin cipa l Triad s also t h e Prima ry Triad s Pages in .

stan dard works c anbe foun d c ontain ing few an d inso me cases n o ot he r , , ,

c hord s t han t hose t hus far c onsid e re d .

As a g uid a ce n n n of diaton
to logical h armo izatio s ic melodies with the vocabulary
of ch ord s th us far g iven t h e followin g ,t ext will serve .

Th e ton ic (do) may be h armon ized with eith er th e ton ic or th e subd omin an t triad .

Wh enth e t on ic is rep eated t h e h armon y may ch an ge As first or last ton e ofa melody
.
,

do sh ould be h armon ized with t h e ton ic triad I t sh ould usually be h armon

. ized with
th e tonic triad wh enit is p receded by d omin an t h armon y This p rin cip le arises from .

tive, althoug h such a p g

ro re ssio d inthe works of stan
nis foun dard write rs .
 TH E S UB D O MI N AN T C H O R D .

BACH .

We
Th e sup erto n
ic (re) is harmon
ized with d omin
ant triad , se ve n
th or n
inth ch ord .
‘

Th e su an
bd omin t (fa ) wh ere ver it d escen ds diaton ically may be harmonized with
d omin
ant se ven
th or n
inth ch ord (see footn o t e below) I t may be harmon
. ized with

Th e d omin
ant (so) may be h armon
ized wit h eith er to n
ic or an
d omin t harmon
y .

Th e sup erdomi a d s diaton

nnt (la ) wh erever it d es c en ically may be harmon
ized with
dominant n
in t h c hord (see footnote below ) Oth erwise it should be h armon
ized w
. ith
subdominant harmon y .

g. Th e leading t one (ti) is harmon an

ized witb domin t h armony .

Ton es w hich skip ina melody are usually harmon ized with th e same harmo y n
alt h oug h t his ca n
not n
o w be as successfully don
e as later wh enth e nt has
st ud e th e

Incases si milar to th e followi g n excep tio nis mad e . Do may be

h armon ized with ton

ic harmon y in th e a bove melo d y b e ca u se o f t h e inefi ect iven ees of
r ressio nV IV T h e above melodic fragmen t w ou ld t h erefore be h armon ized as
p go
-
.

follows : V I IV IV- - -
.

10 ”
v I IV
n
O Beea ae of n
th e fi allty of th e ru o lutio nt o ton
ie of th e d omh nn
t eeventh an ln
d n th eh orb dt b
p refe nble to - e th eee ch ord e ep arh g ly eae ep t u th e p - d d nau eh ord e f a p erlod .
 MUS I C C O MPO S I TI O N .

Passag es with skip s freq uen

tly occur n es of t h e skip s d o n
wh ere all th e too t belon g t o
th e same ch ord inwhich case th ey must be g roup ed logically
, Prin cip les of p h rasing .

an d good ch ord p rogressiong o vernsu ch p assag es For examp le t h e followin

.
g melod ic ,

fragmen
t h armon
ized as follows : I IV— IV IV
- -
or I I IV— I V
- -

If a n
ew p h rase mmen coces up onth e secon d quart er n o te , th e former h a rmon iza t ion
ew p h rase comm en
is availa ble ; if a n c e s u p ont h e th ird qua rt er t h e la tt e r h armon iza ,

tionis p referable ; if th e fragmen t is int h e mid st of a p h rase e it h e r h armon iza tionis

,

availa ble . Th e followin

g melodic frag men
t ot o n
n ly

by p h rase con sid era t ion but by th e con sid e rat ion of c h ord p rog ression I nth e mid st .

of a p h rase , do sh ould be h a rmon ized with t on ic h armon y if t h e p recedin g so is h ar

mon ize d with d omin an t , bu t if so is h armon ized with t on ic h armon y , d o may be ha r
mon
ize d with su bd omin
ant . If a n
ew p h rase co mmen c es ondo an d so finish es a
n
p rec edig p h rase o n t h e d o m in a nt ch ord do may , be h armon ized with subd omin an t .

In a p rog ression of successive sixt h ch ord s it is usually ad visable to d ouble t h e th ird

,

inalt ernat ing ch o rd s a n d t h e roo t in t h e rem ain ing c h ord s Fift h s ma y be d o

.ubled

insuch a p rog ressionif voic e lea d in g p rofi t s t h ereby .

Th e followin
g quotation
s should be f
care ull y st ud ied .

BE LL I N I S ’
 TH E S UB DO MI N AN T C H O R D y ,
.

J . S B AC H
. .

J . S B AC H
. .

At t his time , it is ad visable writ e almost wholly for voic es sopran

to o , ,

alto t en
, or an d bass,
Inthis st yle of writin
. g dispe rsed harmon y (open ,

p osition) is av ailab le as w e l
l as c lose positio n (s e e foo t no t e p ag e ,

Th e in ne r voic es should b e mad e as me lodic ally in t e restin g as is c ompati

ble wit h good c hord progre ssionan d c oheren ce Th e bass should be .

flowin g t hat is n This n e cessit at es th e fre quen

”
, ot t oo Skippy , . t

use of i n
v r i n e s o s. Au gme nt ed skip s

for th e p resent , avoid ed inall th e part s ; dimin

ishe d kips
s

however , are g ood . Th e se co n e of a dimin

d t on ished skip should usually

res olve withinth e skip stepwise Th e co e n

mmont on ee d

n
ot be ret ai e d ndesired uWat c h for fif ths an
n
les s d .oc taves .

Re member t hat th e root is th e fac t or most frequen t ly d oubled , n

.

ext t h e

fift h , thenth e t hird ; t h e lead in

g t one , seven d n
t hs, an int hs are not t o b e

d oubled Th e followin
. g a rran gemen t with d ouble d t h ird is good :

ble t o mark ofi th e phrases ina melod y before

I t is ad visa

harmon izin g it A subd omin ant phras e en din

. g is n ot oft e n

d esirable ; t on ic and d omin an t phrase en din gs are avail

able B ecause of t h e fin
. alit y of th e t onic c hord a d omi ,

nan t phrase e ndin g is usually pre fe rable where th e melod y pe rmits ex

cept of c ourse upont h e last ph rase of a pe riod
, ,
Th e d omin an t t riad .

upona phrase e n din g is usually preferable to th e d omin an t se ven th or

nint h chord .
28 MUS I C C O MPO S I TI ON .

EXE RCISES GROUP

, 6 .

Tran
spo se to all major keys.

Ge rmanFolk S on
g .

H Baar rrrr
. .
 TH E S UBD O MI N AN T C H O R D . 39

6 W
. rit e C ad en
th e c omple t e
c e (IV V I ) in all ma j o r ke ys (see C ade nc os ,

page I ) Use some times t h e d omin

. ant t riad somet imes t h e seven ,
th ,

an d some t imes th e ninth .

t should compose several d iat on

Th e st ud e n ic melodies payin g at t en ,

t iont o phrase groupin g an d balan c e t o t h e j udicious mixin

, g of st ep
wise progressionwith skips t o voice compass etc B e sure that each
, ,
.

These melodies should thenbe harmon

.

melod y is sin gable ”

. ized .

Th e subd omin an t seven th ch ord is anun commonch ord I t is a majo r seven

. th
ch ord an d th erefore a h arsh dissonan t I ts cad enc in
.
g reso lut ionis n o t very sat isfac t ory .

This ch ord is n s en
ot availa ble a t p re t .

Th e ton ic seventh ch ord is c on struc te d lik e t h e su bd omin an t an d th e above remarks

are ap p lica ble n
ic seven
to th e t o th ch ord . c in
I t s ca d en g res olut ionh owever is some
, ,

wh at lees n
u sa t isfac tory .

Major seven
th c h o rd s oc curmore frequen tly as p assing c h ord s o r as a result of p assin
g
n
t o es th a nas a p art of th e h armonic a rchit ec t ure Un altered ton
. ic and subd omin ant
n
inth ch ord s are eve nless useful th anth e seventh ch ord s.

Th e first nexercises inAppendix C may n

seve ow be worked ou t by
t h ose d es irin
g to work with give nbass .
30

CHAPTER V .

TH E S U P E R TO N I C C H OR D .

I nt his hapt er we en
c ter uponth e st ud y of t h e first chord belon ging to
th e SO called sec on
-
d ary c hords .

Th e sec on d ary c hords may be grouped in t o t hre e main families th e ,

t hree bein g called by t h e same n ames as t h e t h re e prin c ipal chords ,

n amely t on
, ic d omin, an t an d subd omin
, an t Th e supert on ic ch ord
.

belon gs t o t h e subd omin an t family .

Th e supert on ic t riad difiers instruc ture from t h e t hree t riads hereto

fore con sid ere d I t c on
. sis ts of root (re) its min or third an d its perfec t
fifth an d is c alle d a min or triad I t is a c on
. son an
‘
t c hord but ac t ive .

Like th e prec edin g t riads th e root or th e fifth may be d oubled but un

, like ,

th e pre c e din g t riads fac t or three may be freely d oubled Doubled

, .

t hird s inmin or t riad s are be t t e r t han inmajor t riads Th e most efiec tive .

use of t h e supe rt on ic c hord is with th e third inth e sopran o .

Uponexamin in g th e fac t ors of th e supe rt on ic t riad we would suppose ,

t hat its n a t u ral t en d en c y would be t o th e t on ic t riad t hus : ,

(M (c )

Th e n t w
st u d eill n otice t hat inth e first p rogre s sion a parallel oc tave ,

an d a parallel fift h resu lt an ,d progression

d int h e se con a p arallel fift h an d
a d oub led third inth e t on ic t riad result Th e third progres sionis n
.
ot

fault y although it results ina d oubled t hird int h e ton ic t riad Th e .

followin g quot at ion s fro m B ac h show good e xample s of progression II I —

.

I
‘ Th e min
or tri ad is n nn
acc ep te d as a co so a ce by th e modernear .
 TH E S UPE R TO N I C C HOR D
3 ,
.

An at u ral p rogressionfor a large n u mbe r of c hords is th e SO called

-

c ad en cin g progression This progressionis on

. e inwhich a chord p ro

gresses t o an ot he r chord th e root of whic h is situa t ed a fourth above (o r

a fift h below) t h e root of th e first c hord . This progres sionof th e super

t on ic c hord res ult s int h e progressionII V —
.

Th e c ad e n cin g progres sionof th e supert on ic c hord is th e on e most

freq uen t ly use d Commonuse h as all but upse t th e scale t en

. den c ies o f

it s fac t ors an d giventh e c hord as a whole a t en d en c y t o d omin an t

harmon y whic h int urnresolves to t on ic t he reby sh p ly d elayin
, g th e
sc ale t e n c ies of t h e fac t ors int h e supe rt on
d en ‘
ic chord .

(a

Th e followin g example d emon st rates h ow th e fac t ors of th e supe r

ton ic t riad may be c ome fac t ors int h e d omin an t ninth c hord by allowin g
th e fa c t ors int h e uppe r voic es t o remainstation ary while th e root , in

th e bass, makes t h e c ad en g progres sion

c in .

Th e id iomatic prog ressionof th e su pert on

ic c hord t o d omin an t h ar
mon y is t o th e same harmon y as t h e idiomatic progressionof th e sub
d omin an t thus establishin
, g a re lat ion ship be t weenth e su pe rt on ic an d
subd omin an t c hord s an d placin g them inth e same family group .

as T h e in ve rsions o f t h e sup e rt onic t riad are govern ed by th e same

prin ciples as th e in version s of ot her c hord s an d therefore n eed n o fu rt he r

explan at ion .

Th e e xe rc ises ingroup 6 should be againharmon ized Th e se c on

. d
sc ale step (re) may n ow be harmon ized with V or II . Fa may be har
' Ch a t e r xI I I,
$
ee
p
3 2 MUS I C C O MPO S I TI O N .

mon g t o its progres sion

ized with V7 , V9 , IV or I I ac cord in , pos tion
i ,

et c .La may be harmon ized wit h V9 , IV or II ac cord in

g to its p rogres
sio npositionet c
, , .

THE SUPE R TON I C SEVEN TH CHORD .

This ve r y use ul a f n
d common
ly use d c hord is formed by ad din
g th e

min
or seve n
th of th e root t o t h e supe rt o ic n
a dissonan t an d ac tive c hord I ts n ormal res o lu t ionis t o t h e d omin
. an t
chord (c ad encing res olution ) and u pon pape r , looks n o difieren t from th e
res olut ionV7 I I ts seven -

t h resolves d own
. ward d iatonically its fift h
res olves d own ward diat on ica lly ; its third resolves upward d iaton ically
or d o wn ward by th e skip ofa t hird ; its root inanupp er voice may remain
st at ionary bu t int h e h as it makes t h e caden cing progres sion
!

, .

Th e supert on
ic seve n
th c hord may also resolve t o t h e an
d omin t se ve n
th
or n
int h Ch ord .

Th e su ic n
pe rt on inth c hord oc c urst ly t hant h e
freque n less an
d omin t
n
inth . I ts st ruc t ure d res olut ionfollow
an .

th in
N otice th at th e seven ic c h o rd is th e in
th e sup e rton ic but as a disson
act ive to n ant seventh in th e
o rmal immobility is d est ro ye d an
ch o rd , ite n d it bec omes anactive ton e w ith a tendency dh t oelcelly

do w nward to th e active lead i g ton e n .

 THE S UPE R TON IC C H O RD .

I na nof disson
suc c essio ant c hord s th e st ron
gest dissonan t c hord
h
s ould usually be ont h e st rongest beat of t h e measure or be art ificially
ac ce n ted .

Th e inversion
s of th e supe rt on
ic seven
t h c hord follow

(a ) . r st in
ve rsion .

11 3 V 8
11 V, 11 2 V “3 V 7 I TQV O V!

Th e in
ve rsion
s of t h e p
su ert o n
ic n
int h c hord do n
ot frequen
tly oc cur .

( ) a. rst in
ve rsio n
.
(a ). n
a ve rsion ( o )
d in . .
3d
r ve rsion (d
in . .
) ve rsion
4th in .

V 11 9 V5 V2

Th e p
su ert o nic c hord may follow any t ria d alth ou gh t h e p ro gre ssions

I —
nand III —
II are n ot frequen
t Progres sionIV II is b et t er t hanp ro
.
—

BA LFE S B o/lm t anGir l ( tran

’ ’

sc ri bed ) .
 TH E S UPE R TON I C C H O R D
35
.

EXERCISES GR OUP
, 7 .

Adap ted fro m BnrHOvn

N
‘
.

Adap te d fro m B RAH MS .

Ad a p t e d fro m S CH UM AN N .

J . Bu ma
r .

5 . Write fin
al ca d ences inall maj or keys as follows
r st . II -

V I —
.

2 1d . Hq -

V I -

y d . 11 7 “
V7 1 “
.

nV1
-

Q
-
I .
 CHAPTE R VI .

TH E S U P E R D O M I N A N T C H OR D .

Th e ndary t riad upont h e sixth sca le st ep is like t h e supert on

seco ic ,

t riad a min
,
or t riad I t belongs t o th e t on
. ic family an
‘
d is very use fu l
as t h e las t c hord of a ph rase Progres sionV VI forms a D eceptive
.
-

Cad en ce
”
.

W e have seenthat th e progressionV I h as fin alit y an d con

—
sequen tly
is n ot always d esirable as a ph rase e n din g except for t h e last phrase If .
,

however , a phrase e n
d ed he retofore as follows

n
ec essary harmon to ize it wit h V I beca use of th e in—
fre quency of

progressionV IV an d th e un
—
d esirable ness of IV as a phrase en d in
g .

N owwith th e ad d itionof t h e supe rd omin an t t riad t o ou r V oc abulary we ,

may harmon ize t h e t on ic inth e above phrase en d ing w it h VI .

Th e most efiec t ive positionof t h e superd omin an t t riad is wit h its

third int h e sopran o ; th e c hord is weak wit h its fift h in t h e Sopran o an d

Should se ld om be use d wit h its root in th e sopran o .

Various progression s of V VI are shownint h e followin g example

—
.

(a

an
Th e resolut ionof th e domin t se venth c hord t o t h e supe rd ominan t t riad
is th e most import an t n
oncad en g res olutionof t h e d omin
c in -
ant se ve n th
c ord
h .

Th e p min
su e rd oan t t riad is n ot res t ric ted t o t h e above use I t occurs .

frequen t ly int h e mid st o f phrases An orma l progre

. s sio nof VI is t o II ,

an d progression s V I V an
—
d VI IV are availab le
-

VI I should be avoided
.
-

V I may be prec ed ed by I II or V an , d occ asion ally by m or IV Pro .

g ression I VI is b-

e t t e r t ha n V I I —
.

‘A fewth eoris ts p lace this c hord inth e subdomin an t family, but as it is mo re common
ly n
eed as e
“stit ute for th e ton
ic ch o rd , it is h e reinp laced inth at family .
 TH E S UPER DO MIN AN T C HOR D .
37

sionV best with both chords inroot position

—
VI is .

Th e superd ominan t se venth c hord oc cu rs less frequen tly t hant h e

d omin ant and sup erton ic sevent h chord s I t is con
st ruc ted like t h e
.

the frequen t use oLthis seven t h c hord formation as a sup ert onic c hord its
,

use onothe r sc ale degrees h as a ten d en c y t o sugges t mod ula t ion I n

.

man y cases where we hear th e superd omin an t seven th c hord we hover

, ,

as it were be t ween, t wo keys Its c aden

. c ing progressiont o a major triad
s a mod ulationbut its cad en
effec t uat e c in g progressiont o a min or t riad

may be man ipula ted insuc h a man ne r as t o retain th e origin al t onalit y .

Th e cad en cing progressionof th e superd omin ant seven th c hord is to

v s, II “7 II

VI
, }
VT

o cin
A nncad en-
g progressionof VI! is quoted from a Bach Choral
3s MUS I C COMPOS I TI ON .

c in
A c ad en g progre ssionof VI , is q uoted from th e same c horal

"f

min
ant n
int h c hord is n mmon
“
Th e use of t h e su e rdo p ot co .

in
g progressions follow
( ) d o

version
Th e in s of t h e p min an in
t n th su erd o c hord are rarel y used .

Their c ad en
cing progres sion
s follow :

(a )
. r st n
ve rsion
i . an
d in
ve rsion ( o )
. .
3rd in
versio n (d
. .
) ath in
ve rsion
.

Th e ad dit ionof th e nnt chord t o our vocabulary gives an

su e rd omi a
p
ad dition al c hord for h armon izing th e firs t third an d sixth sc ale steps
, ,

(se ld om t h e la t t e r howe ver) oc casion ally t h e fift h sc ale st ep where it

d rarely th e se ven
, ,

d escen ds diat on ic ally an , th sc ale st ep where it d escends

g quotation
Th e followin s should be r
ca efull y st udied .

m
OS e mw n
d der th e wn mt h chord
ie u vmth ch ord a eup erd omimM n m
 TH E S UPE RDO MI N AN T C HO R D .

39

J . S B ac
. n .

W W) 12 V7 Y

N . D ac ru s ( 1 6th C en
tury) .

N otice t wo skip s of a fourt h int h e bass inmeasure 5 an d 6 . Two or more skip s of a

fourt h or of a fifth inth e same direct ioninan y v o ice p art s h ould be a void e d for th e

p res ent. M ost t h eorist s forbid su ch sk ip s b u t t h ey are fo un d in m an y w or k s, espe

TH E S UPERDO MIN AN T C HO R D
4 ,
.

F h
. u m a nBu r n
-
ou t .

J . S Bu
. m .

Io w a n Bnmrs .

J . S B ACK
. .
4a MUS I C CO MPO S I TI ON .

CHAPTER VII .

TH E M E D I AN T CH OR D .

Th e median t t riad is formed , like th e t wo prec edin g sec ondary triads,

with min or third an d p e rfe c t fifth
.
. This min or t riad is c onson an t but
a c t ive I ts use is les s c ommont anthat of th e o t he r t riads I t belon
.
h . g s

t o t h e d omin an t family an d progresses n ormally t o th e t on ic I t does .

n ot frequen tly displa ce th e d omin an

t c hord at th e fin al c ad enc e alt hough

it was used int his man n e r in t h e Roman ti c Period Progression

. s t o th e

ton
ic family follow

I I n
Th e p rogressionm VI h as ton
-
al ambig uit y ; th e key of th e re lat ive mn i
or is su
g
gested init s d es cen
d in
g melodic form .
 TH E ME D I AN T C HO R D .
43

B AC H .

11 10 I
S I V, 1 1 10 V,

Th e median
t seventh cformed wit h min
hord is or se venth like th e
sup erton ic and superd omin an t se ven th c hords I t is some wh at more
.

use ful t h ant h e supe rd o min ant seven th c hord but d oes n ot oc cur as

c o mmon ly as th e supert on ic seven th c hord I ts cad en

. cing resolution
is to t h e superd omin ant c hord
m
( )

I I I -7 I I I7

A use ful n
onc ad en
-
c in
g resolutionof th e median
t se ve nth c hord is to th e
n
t o ic .

I,

Th e in s of t h e median
ve rsion t se ven
th c hord with cad e c in
n g resolution
44
MUS I C C O MPO S ITI O N .

I ts t on
ic nfollows
resolu tio

Th e in
version in
t n
s of t h e median th chord follow

in n
versio . in
versio n
. in
ve rsio n
.

Stud y t h e followin
g quota tion
s .

BACH . BACH .

V, m ow
 TH E ME D IAN T C H O R D
45
.

Early I 8 th Ce n
tu ry Ch o ral .

R O S B N MU L L E R ( I 7 th Ce nt ury) .

vx V, VI

Th e median
t c hord may be prec ed e d by I , V, n
d oc casionally
or VI a

by II or IV I t progresses best t o VI I or IV an
.
, , d may oc casion ally p ro

g ress t o any c h ord

. Progre ssionV m i—
s be tt e r t h anIII V -
.

EXE RCI SE S GROUP

, 9 .

JS . . B ACH .

J . S BAC H
. .
MUS IC CO MPO S I TI ON .

J . S BAC H
. .

D sc ws .

From a nold c h o ral.

Fro m a c h o ral o f th e 1 7 th C e tury n .

TH E MED I AN T C H O R D .

Fro m a c h o ral of n
th e 1 6th C e t ury .

D AC H STE I N .

From a c h o ral of n
t h e 1 7 th C e t u ry .

Fro m a ch o ral o f n
t h e 1 6t h C e t ury .

L UTH E R .

G O UD I ME L .
 CHAPTER VII I .

TH E S U B TO N IC C H O R D .

Th e bton
su ic c hord is a ve ry c ommonc ho rd an d a use ful one Th e .

t riad d ifl e rs informa tionfrom th e pre c edin g six t riads I t is disson an t .

an d ac t ive an d c on
, sis ts o f roo t (ti) or t hird an
its min d its dimin ishe d ,

fifth an , d is called a dimin ished triad .

N ot ice th at th e ot h er t riad s are n

amed by t h eir th irds, major or min
or, but t ha t

th e su b t on
ic t riad is n
a med by its fift h ,

Th e su bton
ic c hord belon
gs t o th e d omi a t nn family; Th e fac tors
of t h e t riad n
are th e me
es as t h e t h ree uppe r
sa to fa c t ors of th e d ominant
seventh c hord and progres s in th e same man n er Thes e fac ts have .

led many theorists t o c all this t riad a d omin an t se venth c hord withou t
’
root .

Un
like all th e ot he r t riads, th e su bt on
ic t riad is e ve r writtenwith
n
d oubled nfour voic e composition; it is bes t with d oubled third
root i -
.

Th e fift h is frequen t ly d oubled bu t th e d oub led fift h should be avoid ed

as mu c h as possible be c ause it h as d e finite t end ency Th e musicianwill .

oft e nfin d a d oubled fift h as un d esirable as a d ouble d root .

Th e n ormal res olutionof th e sub t on ic t riad is n on cin

c ad e n g t o t h e -

t onic t riad .

Th e first in
versionof th e t riad is c o n
s id e red by
, man
y , preferable to

root posit ion .

 TH E S UBTON I C C H O R D .
49

Th e n d in ve rsionof th e t riad is un
sec o usual Some theorists forbid .

its use Th e followin g quot ationfrom B ac h cont ain

°
. s a vu z as a res ult ,

h owever of passin
, g ton e
s .

IV ( m o
g) I

Th e passing t on
es, howeve r , nt impo rtan
are of suffi c ie c e to upse t th e

plagal efiec t whic h would be prese n g t on

t wit h th e passin es re move d an d ,

th e e fiec t int e rms of families is I IV V I

, ,
— — —
.

A progres sionfrom a d imin ished fifth t o a pe rfec t fift h is usually

un d es irable .

A progressionfro m a pe rfe c t fift h to a d imin

ishe d fift h , howeve r, is good .

THE S UB TON I C SEVEN TH CHOR D .

Th e bton
suic se ven t h c hord is t h e mild est d isson an t seven th chord
of th e maj or In od e I t s fac t ors a re th e same t on
. es as t h e u ppe r four

fac t ors of th e d omin an t n in t h c hord an d is c alled by some theorist s a

d omin an t n in I t s fac t ors n
“
ormally reso lve
”
t h c hord without root .
,

like t h e c orrespon din g t on e s int h e d omin an t nin t h c hord t o th e t on,ic

c hord .
5 ° MUS I C C OMPO S I TI ON .

N o ti c e t hat thisn ormal resolu tionis n

on cin
c ad en g -
.

Th e g resolu tionof vn7 is n

cin
c ad e n ot c ommon
°
.

of th e of v n with their
°
7 n to
resolu tio s n
t o ic
follow .

°
v rr 2 1,

Their c ad e g resolution
ncin s follow

Th e bton
su ic c hord inboth modes has sufie red muc h c riticism from
t heoris ts although it h as bee nan d is bein g used by masters I t is .

crit icized as be in g ove rworked an d th a t much canbe ac complish ed

wit h it wit h a min imum of te c hn ique Th e former c riticism could apply
.

as we ll t o th e d omin ant c hord an d others ; th e latte r c ritic ism while t rue , ,

is anac ademic ism I t is true however that too much subt on

.
, , ic harmon y
is n ot a proo f of good c raftsman ship an d t hat whe re it is use d bec ause
,
,

o f a lac k of t ec hn ique an dn ot for e fiec t it is und es irable

, .

Q uo ta tion s follo w
 MU S I C C O MPO S I TI ON .

I S B AC K
. . .

( a) 11
20 3 )
7
lo "ii "7 V

I V S ( H g) I II ( 3)
V

EXE R CI SE S GR OUP , 10 .

F S C H UB I
. RT .

G DO N I e
. TI .
TH E S UBTON I C C HOR D
$3
.

W I LL I AM BYR D E .

TH EO DORE L ACK .
 MUS I C C O MPO S I TI ON
54 .

BOI E LD I EU
.

CHAPTE R IX .

R E CAPI TU LATI O N AN D S UGG E S TIO N S .

All th e diaton
ic triads, all th e seve n
t h c hord s, th e in
prac tical n th

chord s and in versions in th e maj or mod e have beenc onsid ered an d th e

st u d e n
t sho uld no w be c apab le of harm onizing any m a j or diaton ic

A table follows showin

g th e c hords with whic h eac h sc ale st ep may be
 R ECAPI TUL ATI ON AN D S UGG ES TI ON S .

55

Th e tab le is n
ot c omplet e n ly on ,
c e in
for e xam
th e table
p le : V7 is listed o

but it may be used t o harmon ize an y t one w hic h is a f ac t o r in t h e c hord .

Th e table is n
ot plann ed t o show t h e relat ive frequen c y of use or relative

imp ortan
c e of th e aj or triads are given
hord s ; in c first followed by min or

t riads t hend imin

, ished triads t hense ven th c hord s an d last ly n inth
, ,

c hord s Th e t on
. es whic h are n ot list ed as n inths in n int h c hord s are do ,

re so an
, d ti Th e res pec tive n
. int h c hords of whic h t hese t on es are

n in ° "
ths are VI I 9 I o IV . an d W9 , Such n
, in t h ch ord format ion
, s are .

n early always th e result of n on c hord al tones Remember t hat IV an -

d .

L, are un c ommonan d t hat some of th e ot he r c hord s sh ould be used

g table shows possible c hord progression

Th e followin s .

I may p rog res s to V, I V, VI , II I , n to II vn

oc ca sio ally ,
°

u may p rog ress to V, VI , occasion m to I V

°
ally to I VII , seld o , II I .

m may p rog ress tO VI , I V, I , seld o m to nV , .

IV may p rog ress to V, I , II , n

oc ca sio ally to VI , 111 , v n
°
.

V may p rog res s t o I , VI , 111 , II , occa sion

ally t o IV ,
vr may p rog ress t o I V, I nH , , V,
sc ld o m to I ,
VII
°
.

VII
°
may p rog ress to I , II I , V, occasio ally n t o I V, seld o m to II , VI .

A table of c hord progressions is valuable on ly as a mec han ical guide and

cannot be given as a law Th e difiere nt stages int h e evolu tionof music
.

fl ue n
in ce su c h a bility ina gen eralizat ion
table t bu t t he re is of c hord st a

families Su c h a gen
. e ralization is govern ed by natu ral laws an d chan ge
on ly inth e event of a c han ge inscale system Th e gen e ralizat ion is as .

follo ws

The ionic family is free .

With ina family , t h e prin

c ipal membe r may progress t o b
a su ord i ate n
membe r but th e reverse of t his should be avoid ed .

Progres sionV best with both c hords inroot position Th e first

—
VI is
n
.

inversion of vn is pre fe rable t o root positionor sec on d i version

°
.

Con se cut ive pe rfec t fifths an d oc taves are un d es irable Conc ea led .

fifths an d oc taves are objec tion able inou te r voic e

s whenbot h parts

progres s to th e fifth or oc tave by skips .

Awkward melod ic skips suc h as augmen ted in t e rvals and skips

,

greater th ananoc tave should be avoided , .

° See Ch ap ter XI I L
f
“
e n
d th e eer , lik e th e eye , soon eceo ‘
nodstes ’
itse lf to n
ewp en re h t ed ham on
p ecd ve m d un ies .
5 6 MUS I C CO MPO S I TI ON .

Avoid writ in
g for an y le n
g t h o f t ime int h e e xt re mes of a n y voic e

c o mpass Ext re mes of a voice compass are more easily in

. t onat e d where

a pproac he d st epwise Be sure th at eac h part is sin

. gable .

Roots are inge n , e ral th e best c hord faC ,

t ors t o d ouble D oubled .

fift hs are usu ally be t te r t h and oubled th irds I t is be t t e r t o d ouble .

t hirds in min or c ho rds t h an inmaj o r t riad s Thes e prin ciple s of d oublin

. g ,

however are subse rvien

, t t o prin c iples of good voice leadin g Th e .

s ubt on ic t ria d pre sen ts an exc eption t o th e gen e ral prin c iples of d oublin g;
th e thir d inth e sub t on i c t riad is t h e best fac t or t o d ouble Th e fifth in .

a six four c hord is usually t h e best fac t or t o d ou ble e

-
s pec ially inth e ,

c in
ca d e n g six fou r Avoid d oublin
-
. g t en d enc y fa c t ors .

Th e best fac t or for omissionis th e perfec t fift h Th e root may be .

omit t e d in t h e t onic six fou r c hord A t on

-
ic six fou r c hord is sometimes
.
-

writt enat th e cad en c e wit h omitt e d t hird .

Fac tors formin g a disson ant are best approached inc on t rary motion .

ished in
Dimin t e rvals resolve by co n
t

Th e d own ward d iaton ic t e nden c y of c hord fa c t ors sevenan d n in

e is

st ronge r th ant h e normal sc ale a c tivit y or in ac tivit y as th e case may be .

I nt h e d omin an t se ve n
th an d nin t h c ho rds , t h e median t se vent h and
n in th c hords an d th e sub t on
,
ic seve n t h c hord t h e resolu t iont en d ency ,

of t h e seve n
t hs and n inth s is an alogous t o t h e sc ale t end en c ies of t he se

t ones .

I nsome c hord progression s fa c t or se ve n or n

in e ma y remain
,
sta t ion ary

or whic h is t h e same be e n
, harmon ic ally c han
,
ged thus : ,

(a ). S tation
ary 7 th

Mod ulat o ry Mod u lat ory

3 V7 3 O
VI I 7 0 V7 I “V 3
.

“S ee Ch a t er X IV
p .

7 See Ch ap t e rs XI I n
d X IV
a .
 R E C API TUL ATI ON AN D S UG G E S TI O N S .

S ta tion
ary 9 th

Mod ulat ory

V7 13> V .
,

Oc ca sion
ally fac t o r se ven
, in
or n e may p rogre
s s upward st e pwise ,
y
usuall

( )
a . Mod u lato ry ' Mod ula tory ‘

C V7 b 1
2

Rarely fac tor sevenor n

, in
e is quitt ed by leap Suc h a d evice should .

on ly be used by on e t horoughly expe rie n c ed inc omposin g .

Most c omposition s en d with t h e t onic inth e highest voic e an d all

c omposit ion s en d with t h e ton ic inth e lowest voice (roo t posit ion )
Th e pen ult ima t e t one of a melod y is usu ally eit he r ti or r e so me times ,

so oc cas ion
, ally fa but seld om Ia S chuman ns Warum is quoted as an
.
’

example of a c omposit ionen ding with th e t hird inth e highest voic e :

Robert Fran z s Ga te N aoht is quot e d

’
as a nexample of a c o mposition
en
d in
g w it h t h e fift h int h e me lod y :

° S ee Ch ap t er X IV .
53 MUS I C C O MPO S I TI ON .

Th e plagal c lose , whenused , is inad dit iont o t h e real e d in

n g .

Wh enusin g Openpositionkeep t h e voic es as n

, early equidistan t as is
possible Avoid groupin
. g th e t wo upper voic es an d t h e t wo lower
voicw wit h a wid e int erval bet wee nt h e t wo groups Th e sopran o and .

alto or th e alt o an
d t enor should se ld om be sep arat ed by anin terval

Openposit ionis usually preferable for stron g d issonant chord s Th e .

nin th inn int h c hords should usu ally be separate d from it s roo t by a n
‘

int e rval of at least a n inth A disson ant sh ould n

. ot be resolved to a

Voic e g govern
lead in s th e c hoic e of o mission d d uplicat ion
s an s, esp e

cially inn
inth c hords .

Dissonan t c hords are most efie c tive upona stron g pulse .

Avoid th e repe t itionof a harmon ote from a weak t o a stron

y or bass n g
pulse .

Exercises 8 1 6 inAppen
—
dix C are n
ow available .

CHAPTER x .

TH E M I N OR M O DE .

Th e difierenc e inth e t riad formation s bet weenth e maj or an d min

or

mod es may be seenby a c omp an son of th e numeric al symbols :

°
Major Mod e I , H , III , IV V , , VI , VH .

Harmon ic M in
or . I, n IIL
°
, , V VI vn
I v, , ,
°
.

Ascen ding Melodic Min or . I , II

5 "
IV V VI VI ,
"
, , .

D es cendin g Melodic Minor (primit ive ) . . I, n II I

°
, , I v V VI VII
, , , .
 TH E MI N O R MO DE
59
.

Inc omposing , th e harmon ic form of t h e min or mode sh ould be t h e

workin g basis Th e melod ic forms (asc en

. din g an d descen ding) are used
prin cipally for melod ic purpose s although ad van tages inpart writin g
frequen tly ac c rue from th e use of c hords of melod ic min or format ion .

V I an d VII should be avoid ed whe re mon ot on

°
alit y is d e
s ired

A c omparison
.

of th e t riad s of th e maj or mod e with those of th e h ar

mon ic min or shows t wo tria ds whic h are alike V an d VI I °

All other
, .

t ri ads difie r. Th e h armon ic min or mod e h as t wo min or t riads (I an d Iv) ,

t wo major t riads (V an d VI) two dimin ished t riad s (11 an d VH ) an

° °
, d
on e au gme n t ed t riad (I I L )
Anaugme n ted t riad is formed with maj or third an d augmen ted fifth .

Suc h a c hord is disson an t an d a c t ive .

Augmen t ed in t e rvals resolve by expan sion .

All t hat h as beensaid of th e c hord progression s in major is ap plicable

int h e min
or mod e .

More augmen t ed in t ervals are t o be foun d int h e min or mod e t h an are

foun d int h e maj or .I nt h e ha rmon ic min or mod e an augmen ted sec on d ,

exists be t w ee nsc ale st eps Six an d se ven anaugmen ted fift h between
,

t hree an d se ven an , d anaugmen t ed fourth be t weenfour an d seve n .

Melod ic progres sion s of all aug me n t ed in t e rvals should be avoid ed by

t hose n ot experi en c ed in part writin g .

Th e augmen t ed fourth an d fifth are easily avoid ed bu t some difi culty

is oft enexpe rien c ed wit h t h e augmen ted sec on d Th e difi culty exists .

inprogression s V VI an
—
d nV ° —
.

Inprogres sionV VI d ouble th e t hird inVI in

-

, st ead of th e root t hus ,

InprogressionII °—
V, lead t h e u pper voices ward in
d own st ea d of

ret ai n
ing th e co mmonton
e int h e sa me voice . Th e bass should be led
up ward to avoid c o n
c ea led fift hs n
d oc taves
a .
6° MUS I C C O MPOS I TI ON .

e inth e melod y is harmon

n n
d progre sses upward
°
If a to ized wit h 11 a

to a to n
e which is harmon
ized wit h V th e followin
g

n
solu t io s are possible
(a )
.

Th e st u d en t n ee d s n o further c omme n ts t o en able h im t o correc t ly

harmon ize melod ies inth e melodic min or mod e Remember th e p ro

.

g ressio n s wh ic h sh o u ld b e av oid e d a nd avoid t h em by lo gica l lead ing and

fac tor d oublin g .

Th e seven t h an d n int h c hords inth e harmon ic min or mod e d ifie r in

formationfrom th e c orrespon din g c hords inth e maj or mod e wit h th e

e xc ept ionof t h e d omin an t se ven t h c hord whic h is th e same inbot h
mod es The ir t re at men
. t is similar , however Th e followin
. g table sh ows
th e n
c o st ru c tionof eac h .

(Parent h es es signify ch o rds which are ra rely used . B rack e ts sign

ify ch ord s which are

almost n ever use d ) .

Triads Seven t h Chord s Nin t h Chord s

I plus [maj o r 7 ]
t h plus [ma j o r o ]
t h
11
°
plus min or 7 t h plus min or ot h

III+ plus ( maj o r 7 )

t h plus (maj or o )
t h
Iv plus min or 7 t h plus (maj or oth )
V plus min or 7 t h plus min or ot h

VI plus (maj or 7t h ) plus [augmen t ed 9 th ]

vn plus dimin
"
ished 7t h plus
Th e d omin an t nin t h c hord inth e min or mod e is ca lled t h e ch ord of

th e min or n in t h an d is t h e most frequen tly used n in

”
t h c hord .

Th e chord of t h e min or n int h is oftenused inth e major mod e (flat

sixt h scale st ep ) inst ead of th e major d omin an t ninth .

Th e followin g quotation s should be st udied .

Con
0 secutive fifth s (inc on
trary motion ) ap p ear be tweenten
or n
d h ere
a . Such n
ee eeeutivee are. 1!
n
see m , to be welded by th e stude t fo r th e p resen t.
 TH E MIN O R MO D E .
61

I . 8 . EAC H .

°
V3 I V, ( v rI) I

C R UG ER .

IV

I V I III, I VI III VI I II I V II IV I, VI IV I V -
7 I

vr IV I V I V rr v r, IV II VI ]
 TH E MIN O R MO D E .

G AB R L MAR I E
IE — .

Exercises 17
-

31 inAppen
dix C are n
owavailable .
 CHAPTER XI .

N O N C H OR D A L
-
TO N E S .

Nonc hord al ton

-
es are ton es whic h a re n ot fac tors of th e c hord in

whic h t hey soun d They are c lassified as passin

. g t ones (ac cen t ed an d
un ac cen t ed ) appoggiaturas n eighborin g ton es un resolved n
, eigh borin g ,

t ones an ,tic ipa t ory t ones suspe n sion s re ta rd at ion

, s organp oin t an d , ,

various c ompoun d non c horda l t ones -

.

A PASSI N G TON E is a n onc horda l t on e whic h is approac hed an

-
d quit t ed
stepwise int h e same direc tion Anac c en t ed passin g ton e is on
. e whic h

is atta c ked wit h t h e chord t hereby d elayin g th e fac t or of t h e c hord to

,

whic h it progresses I t is more efiec tive ina d own

. ward scale figure th an
inanupward scale figure Anun a c c ent ed passin . g ton e is on e which is

soun d ed onth e lat t er portionof th e c hord .

Be t weent wo c h ord al n
to es sep arat ed by th e i t er val of a n major n
d may
seco be

in
se rt ed a c h roma t ic p assi n
g t on
e , h en
ce

I (accen
t ed )

B et weent wo ch ord al t on
es sep arat ed by t h e in
t erval of a third may be in
sert ed a

or (
acc e n
t ed )

Bet weent wo ch ordal t on

es sep a rat ed te rval of a four t h may be in
by th e in se rted

n
t wo diat o ic p assi g to es, h e ce n n ‘
n may be embe llish ed t h us

Th e acce n p assin
t ed g t on
e is mo re e ffec t ive t h an th e u acce t ed p assi g ton
e b ut n n n
it is n
ot as common Th e c h roma t ic p assin
.
g t on e is more efiec t ive i anup w ard n
fig ure th a nina d own
ward fig ure . Ch roma tic p a ssin
g ton
es d o ot n
n s sarily
ec e afiect

N otice th l t th e c is e fact or of th e to ic ch o rd an
n g n
d is th erefore , strict ly sp eakin , gm
ot e passin
 N ON C H O R D AL TON ES
-
.
55

THE APPOGGI ATURA is anac c ent ed non e oc cu rrin

c hordal t on -
g with th e
c h ord and res olvin ward d iat on
g d own ically or c hromat ically to t h e chord
fac t or which it d elays .

Th e difieren c e be t wee nt h e appoggiatura an d t h e a c c en g ton

t ed passin e

is t hat th e forme r is approac he d by leap an d is c onse quen tly un

prep ared
while th e latter en t e rs prepared alon
g t h e sc ale line Th e appoggiat ura
.

oc casion ally res olves upward (usually a min or sec on d) .

Frequent ly t h e uppe r and lower ad j ac en

t t ones pre c ed e a c hord al

t one (unprepared ) an d t hese nonc ho rd al t ones are calle d by most

-

theorists th e d ouble a pp oggia tu r a .

Th e d ou ble appoggia tura fre que n

t ly oc cu rs as a nAmold ag .

An
onc hord al t on
-

e S imilar t o th e followin
g is by most

t heorists c alled an unacc en

t ed appoggiat u ra . Others pre fe r t o c all it
a passin
g t on
e approac hed by skip .
”
Th e former n
ame is free from t h e

A NE I GHB ORIN G TON E , also calle d nun

auxilliary to n
ac c e n
e te d
, is a

n onc hord al t on
-
e which e mbe llishe s a repe at ed c hord al ton e This n on .

c hord al ton e may be t h e uppe r or lowe r ad j a c en t t one t o t h e c hord al

ton e an d may be at t h e dist an c e of e it her a maj or or a min or sec on d ,

rare ly anaugme n te d sec on d Th e uppe r n

. eighborin g ton e is usually

diaton ic bu t th e lower n eighbo ring t on e is more frequen tly a min or

secon d below th e c hordal ton e A c hromatic n

. eighborin g t on e d oes n ot

n ec essarily afiec t t h e t on
alit y .
66 MUS I C COMPO S I TI ON .

BAC H . BACH .

The Gruppctto or tum is a group dn

n n
of ch ordal to es a on eig h borin
c h ordal n -

g t ones ,

CI CI

AN UNRE SOLVED N EI GHHORmG TONE is a a c c en

nun on
t ed n c ho rdal -

to n
e approa c hed d iaton
ically a n
d quit ted by skip , usually of a t hird ,

( d e la yed l
reso ution

et c . Some t heorists c all

suc h a n on chordal t on
-
e a c han gin g ton e Th e t erm is mislead in
. g
because of t h e c ustom amon g other t heorists of d efin ing a c h an ging t on e

as anac cen t ed passin g t one .

AN A N TI CI PAT O R Y TONE is an u na c c ont od t one foreig n t o t h e c hord w it h

whic h it soun d s but a fac tor inth e c hord whic h follows I t may be ap .

p roa c h ed diat on
ic ally or by skip .

A SUSPEN S I ON ho rdisfa c t
a c or sus t aine d fro m on e c h ord i nt o t h e

follo in c o
w g h rd of wh i c h it is no t a pa rt a nd r e
s o lved,
di at on ica lly d ow n
ward t o a factor of th e secon d c hord d urin g th e susten an ce of th e secon d
c hord .
 N ON C HO R DAL TONE S
-
.
61

Less frequen
tly, th e p n nis re solved upward diaton
sus e sio ica lly Th e .

suspen
sionresolvin
g upward is c alled by some t heorists a RETARDATI ON
, , .

Grammatical errors are ot alleviat ed by th e susp en

n sionexcep t inth e p rog res sion

Th e n nis fig ured over th e bass with Arabic fig ures th e first fig ure showin
susp e sio , g
th e in terval which th e susp en sionforms w ith th e bass an d th e secon d fig ure sh owin g
the chord factor which is d elay ed by th e susp en sion Th e t on
. e of susp e n sion app ears

first as a chord al ton e (mlled preparation ) a nd is susta ined t o th e f o llo win g ch ord
( fi lled M au rie ! ) and p g
ro res ses d iat onica lly d o wn w ard ( ca lled r eso l ution ) to th e
con son ant ton e of th e sec on d ch ord which was delay ed by th e susp en sion Prep ara
.

t ionp ercussionan
, , d res olut ionsh ould be inth e same voice p art . Percussionusually
occurs on an accen t. Th e d elay ed ton e sh ould n ot be p res en t in an y o t h e r vo ice p art

C IV
68 MUS I C C O MPO S I TION .

sion
Susp e n 6— 5

[N B. . III
,

n n9
efiect ive as susp e sio s —
8 an
d 4 -

3.

Th e above exa mfl e may be n

a alyzed as a t ic ip ationinth e h as
nan n n
or as a susp e sio

inth e t h ree up p e r voice

s .

Oc casion
ally a disson
ant fac tor is n
re t ai ed

Th e fig uring o f susp ensions is alt ered wh en th e second ch ord of th e susp ensionis

in
vert ed .Th e first in versionof th e susp e n sion9 8 become
—
s 7 6 an d th e secon
d -

M n n4
becomes ' Th e susp e sio —
3 wi d ch ord inits first in
th th e secon version
5 4
-

is fig ured sec o d in
n version Th e n n6
susp e sio —
5 d ch ord inits
with th e secon
—8
9
version
first in is fig ure d n
seco version
d in ,
—
6 6 .

—
4 4
 N ON C HO R DAL TON ES
-
.

l08 .

V, V I,

N B . . 111
3 ]

Th ree irreg ular p rog ression

s of th e n nare
susp e sio co mmon

t
rs . Int erp olatin
g th e lo we r n
e ig h bor .

10 7 )
.
e ( 7

an
d . To n
a oth e r n
e of th e c h ord
to . Th e sa me wit h p assin
g ton
es .

‘0 8
 0 MUS I C COMPOS I TI ON
1
.

gin
Cla n R esolution
"
3rd . g the ch ord at .

109 .

THE n (usually inth e h as ) d urin

OR AN POIN T is a retai ed t o e
G n g th e
retentionof which c hords relat ed an
, d un relat ed t o th e t on e occur ; th e

first an d last c hords must be relat ed Th e organpoin

. t is usually th e
ic or d omin
t on ant and some times bot h ‘
Th e t on e may be re it erated
.

or sust ain ed Schube rt inh is Er!Kin

.
, g h as p rod u c e d a
, d ra m a ti c e fiect

by usin g th e d ominant organpoin t inuppe r voic es :

I lO

N onc hordal t on
-
es form an importan t part of t h e majorit y of comp od
tions, es p ec ially homophon ic composition s .

° M eonp oeere b eq uen t u en

tly uee th e eubmedlen organpm
 N ON C HO R DA L TON ES
7 1
-
.

Man y subtleties en t er int o a logical harmon izationof a melod y c on

tain ing n on c hordal t on
-
s an
e d rules are of lit t le assistan ce Musica l
.

expe rien c e a we ll t rain

,
-
ed ea r an
, d a great amoun t of an alysis are th e

steppin g ston
-
es t o su c ces s
.

Th e followin g quotation s show th e applicationof th e n on c hordal

-

t on For furt he r an alysis M en delssohns S on W i h W d

’
e
s .
g s t ou t or s are

rec ommen d ed Th e work inan alysis bec omes m re ben eficial more
.
o ,

suc c essful an d less rest ric ted after st ud yin g mod ula tion .

S CH UEE R T ( Andante) .

J . S BAC H (Muse tt e )
. .
 MUS I C C O MPO S I TION .

Re view m
Exam es 5 ,
1 5 ,
2 6o , 7 1 , 8 3, 8 6 , 9 5 , 9 6 n
d 97
a .

EXE RCIS E S GR OUP

, 12 .

B AC H .
 AL TE R E D CHORD S
73
.

F S C H UB E RT
. .

J . S B ACH
. .

J . S B AC H
. .

J . S B AC H
. .

CHAPTER XII .

AL TE R E D C H O R D S .

Ton es are c hromatic ally alt e red for on e o r more o f fou r reaso n s ( )
r st
t o mod ulat e (an, d ) to add est he tic in t e res t , (3rd ) t o prod uc e smoothe r
voice leadin g an d (4th ) t o in cre ase or alt e r th e t e n d en c y of sc ale t on
es .

Altered fac tors should seld om be d oubled .

Th e fift h of t riads is fre quen t ly alt e red . Th e root of th e su bd omin an t

triad is more fre quen tly raised t hano t h er root s Th e sixt h sc ale st ep in
.

th e major mod e an d t h e sec ond scale st ep inbot h mod es are frequen t ly

lower e d . Th e third ina c hord is frequen tly alt ered for mod ulat ory
purposes .
 MUS I C C O MPO S I TI ON
74
.

most c ommo naltered chords are

( )
I Chord wit h raised fifth ,

(2 ) ItalianSixth Chord ,

(3) GermanSixt h Chord ,

(4) Fren c h Sixt h Chord ,

(5) NeapolitanSixt h Chord .

( ) RAI SED IFIPT H .

Th e fift h may be raised on e half st ep inth e followin

-
g c hords : I IV , ,

IV7 V V7 V9 II an
, , , d I I , (wit hout t h e 7 th ) inth e maj or mod e an
, d IV ,

VI an d VI! int h e min or mod e Th e median t triad inh armon

. ic min or

may be c on sid ered a normal sc ale c hord Raised fifths inother chords .

result inmod ulationor fault y voic e lead in g The raised factor h as .

st ron g t end ency u pward c h roma tically .

W 54 W 14 Vs I - V I4

a IV
“ “ 5+ “ 7
5+

W h erever n (ch ord al or n

a scale to e onc h ord al) is followed by its ch romatic altera
-

tionth e alterationsh ould ta k e p lac e inth e same voice inwhich th e un

,
altere d tone

ap p ears oth er w
, ise a cross relationresults I nall oth er cases anaugmen
. te d fifth sh ould

I nth e major mode , 15 + h as n ncy

te d e to a ch ord co n in
tain g th e sixth scale step ,

mode, d en
h as t en cy to n
a ch ord cotain in g th e secon d scale step an d VI “ an d , .

ha ve t end en cy t o a c h ord con t ai n ing t h e four th sca le step V I “ and . .

are am g
bi uous c h ord s a nd h a v e som e t en d en cy t o c h a ng e t h e m o d e t o ton ic major .

an
Th e d omin t seven
t h c hord a in
d n
n th c hord with lowered fifth are

° See Ch ap ter XI I I .
 ALTER E D C H O R D S .
75

C VZ b I

Brah ms mad e efiec tive use of t h e an

d omin in
t n th ch ord inmajor n
d min
a or with
alt ered fifth .

Th e most efiec tive altered c h ords are t hose inwhic h t wo voices (usually
th e ou t e r voic es ) form anaugmen t ed sixt h Th e various augmen ted.

°
C IV or I I I I or V V or VI I

ina ch ord with doubled leading ton e Th e augmen

. tationof th e re in
main g sixths in
th e k ey of C major n
ormally efi ect a mod ula t ion
‘
.

Th e various au g men
ted sixths inth e k ey of c min
or are

0 °
IV or 1 1 V or V I I

°8 u flre m vd on
. m lu sb
 5 MUS I C CO MPO S I TI O N
7 .

( ) I
2 TAL I AN S IXTH C HORD .

d au gmen
sists of maj or third an
This Chord c on ted sixt h rec kon
ing
from th e bass Th e ItalianSixt h Chord s inth e major mod e are as
.

C I V °+ VII S+

Th e ItalianSixt h Chords inth e min

or mod e are as follows

Man
y th eorists p resen
t th e I talianSixth Ch ord as follows

Orig in
a l Ch o rd . S ame wit h raise d root . r st in
ve r sio n = = It alia n6th Ch ord

a IV

Th e use of inbOth mod es is n ot c ommon .

Th e origin
al fift h (presen t third ) is th e fa c t or most frequen
t ly d ou bled .

Th e normal resolu tion s of t h e I t alian Sixt h Chord are as follows :

( a (M 4
( )

0 IV , + V I I, + I, 2
v rr + I c IV
°+ V v rr g
Th is ch ord is lik e th e d omin
ant seve n
th ch o rd wit h lowe red fift h n
d with out
a th e root . By some
th eorists it is c o n
sid e red as such .
 A LTERED C H O R D S
77
.

Oth er n
onmod ulatory p rogression
-
s are p ossible as well as oth er d oublin
g s, for examp le

12 1 .

C I V“ . 1 2 I V“ . C or c V 7

Mod ern
ists would n
ot scoff at n
th e followi g harsh but highly d ramatic p rog ressio n

Such p rogression s are in strumen ta l, n

ot vocal .

Th e stud en t will n ot ice t h a t th e melodic line may suggest th e use of t h e ch ord s w ith
aug men t ed sixth , alth oug h it is n ot un common to fin d th e up p er fac tor ofan augmen ted
sixth ch ord in an in ner voice .
(See examfl es 1 32 an d
Un les s care be takeninusin g a mod ula t iont o th e rela t ive min or may res ult .

“18+ inboth mod es h as p ower to effec t a mod ula tionto th e subd omin an t k ey Th e
.

most characterist ic I talianSixth Ch ord of a k ey is th erefore IV“ .

ally used , an d such ch ord s are oft enambig uously called I talianSixt h Ch ord in“

R oot Position an d I talianSixth Ch ord in Secon d In

ve rsion In th es e two p osit ion
. s ,

t h e dimin
ish ed t hird is foun
d inst ead of th e aug mented sixt h D imin ish ed inter vals
.

N 04.2 0d . in
v V
a
.

of th e I talia nSixth Ch ord inoth er thanits n

ormal p osition .
7 s MUS I C C O MPOS I TI ON .

(3) THE GE RMAN e m CHORD .

This c hord is like th e It alianSixth Chord with th e ad ditio nof th e

fift h of t h e bass as a c hord fac t or t hus ,

( )
a.

c we: we: c we we
g of fac tors inth e GermanSixth Chord is n
Doublin ot n s sary infour
ec e

Man
y t h eo rist s p resent t h e GermanSixth Ch ord as follows

Orig i n
al Ch ord . S ame with raise d root . r st . in
ve rsio n == German6th C h ord .

Alt ered I V 7 Iv +
g
Th e most Ch arac t e rist ic GermanSixth Chord is Notice that
C IVRI an d C VII gi: have augmen
O
t ed fifths
-
Some theorists d o n
ot .

c on s e c hord s Ge rman
sid e r t he Sixth Chords .

Resolution
s follow :

( ) a .

12 6 .

C 1 n V or 12 11
2
+ I I I or 16 I c Iv
g
+
V 2
or 1 “ t
o "x
!

Th e parallel fift hs int h e above progression

s are c oun an
ten c ed , es ecia
p lly
with suspe n sion I Vgi an d N 2 are frequen t ly resolved t o 12 an d I!
+
6 5 .

respe c tive ly to avoid th e fif t hs

,
Similarly th e fifths inprogression
. s ,

xi v In I and vu 2 I are t ole rated

- -
° * -
.
,

Lik e th e I talianSixt h th e Ge rmanSixt h Ch ord is occasion ally used inroot p osition

d is ambig uously called th e German

,

an d insecon d in versionalso in third in

,
ve rsionan ,

Sixth Ch o rd inRoot Posit ion et c

”
.
,

d is son
n
O ldi e V
fb with out root s side re d ss such by some th eorists.
 ALTE R ED C H O R D S .

79

a n version
d in . ve rsion
3rd in .

127 .

”3" V0

(4 ) THE F R E N CH SIe CHORD .

Th is chord is like t h e I talianSixth Chord wit h th e of th e

fourth of th e bas s as a c hord fa c tor t hus : ,

v r
a C “ 0
3
1: V
3
11
Man
y t h eorists p rese nt th e Fre n
c h Sixt h Ch ord as follows
Orig inal Ch ord . S ame wit h ra ised 3d
r . a d in
n ve rsion =
F re n
ch 6t h ch ord .

°
II Zs
N otice th at th e men t ed sixth s inth e I talian
aug and GermanSixth Ch ord s form th e
followin g c h ord s I V 11 a
,n d vn , (in m aj or) and
°
Iv an d vn (inm inor ) wh ereas th e
°

corresp on d ing aug men t ed sixt h s inth e Fre n ch Sixt h Ch ords form t h e followin g ch ord s
nvn an
,
°
d V (inmajor) an d n an
°
d V (inmin or) .

Th e d oublin
g of a fac tor int h e Fren
c h Sixt h Chord is n
ot n
ec essary

infour writin
voic e g .

Res olution
s follow

(a )
.
(b )
.
(d ) .
(e ) .

or d -
9

la n i lo m V i I
!
o
I V or y
z or
i c V
ii 1

with out root s n

d is con
sidersd ss sueh by so me tbe orlsts .
80 MUS I C CO MPO S I TI ON .

This c hord may be used inroot position first in versionan d third

,

inversionan d is ambig uously called th e Fren

c h Sixt h Chord inRoot

Position et c
”
,
.

rst in
versi on
. rd
3 in
ve rs ion .

Progression Ge rmanan
s of bot h t h e d Fren c h Sixt h Chords ot her t han

the n ormal progression s givenare possib le (see progression s of t h e

ItalianSixth Chord ) Th e ItalianGe rmanan

.
, d Fren c h Sixt h Cho rds
,

may progres s on e t o an
other Th e progressionof th e Ge rmanSixth t o
.

th e Fren c h Sixt h Chords is an other w ay of avoid in g t h e parallel fifth s

men tioned heret ofore .

C I V °+

Th e n
ames of th e p reced in ted sixt h ch ord s have lit tle sig n
g augmen ifican
ce but are

valua ble inth eme way th at all n

sa ames are Some t ext books refer to th em resp ec
.

tively as Ch ord of th e Augmen Aug men

”
ted Sixth , ted Ch ord of th e Sixth Fifth
an d Th ird and Aug men ted Ch ord of th e Sixth Four th an
” “ ”
d Third .

Anefiec tive gmen

au h chord whic h is n
t ed sixt c lud ed in
ot in th e above
an
groups is th e d omin t seven
t h c hord inth e maj or mod e with raised fifth
 ALTER ED C HOR D S .
3,

Th e d omin an
t c hord inth e min or mod e wit h lowered se ven t h inits
third in versionalso forms anefiec tive augmen t ed sixth c hord I t c on .

Sists of augmen d , d oubly augmen

t ed se c on t ed fourt h an d au gmen te d

134 .

Th e followin t ed sixt h c hord formationis

g augmen availa ble

18 5 .

0 my , I: a 7 1
m
Th e above c hord is formed with maj or third , d ouble augmen t e d fourt h
an d augmen t ed sixt h Th e c hord is more useful as th e sharp superton
. ic
inth e maj or mod e t hanas th e subt on ic inth e minor mod e This c hord .

h as beenn Americ anSixt h Chord , by Mr H R Palmer

”
“
amed th e
‘
. . . .

Th e median t c hord may be altered t o anaugmen t ed sixt h as follow s

18 6 .

‘
i‘

Th e ton ic seven th c hord may be alt ered insuch

augmen t ed sixt h ap pears be t weent wo of its fact ors .

of t his Chord is t h e most satisfac tory .

°S nPfl nnk 7 Wmv wfl fl h fi mm nnTh Ud m CMt

md m m
 MUS I C C O MPO S I TI O N .

Suc h c hord s as mil an d I ii require careful t reatment a smooth

approac h an d a logic al resolution Notice that th e t wo most salien

. t t on
es

of t h e k ey are alt ere d .

(5) m NEAPOLI TAN SIXTH CHORD .

Th is c hord is analt ered supe rt onic chord inth e min

or mod e an
d is
formed wit h min or third an
d min or sixt h t hus ,

o
a bl l o

Th e chord may be use d inth e maj or mode . I t is ny

oc casio all used in
root d insecon
positionan d in
ve rsiont hus : ,

R oot p osition . a d in
n version .

Th e origin al t hird is th e fac tor most frequen

tly d oubled as int h e above
examples
.
Th e alt ered fac tor may be d oubled an
. d inth is respect , th e
alt ere d fac tor in th e NeapolitanSixt h Chord difiers from alt ered fact ors
inother hords
c .

Th e NeapolitanSixt h Ch ord n
ormally progres ses to n
to ic six-
four or
 ALTERE D C H O R D S .
33

140
-
.

0
3 11 0
b 2
1 0
11 °
b v, 0
0
11 °
b V9 1 1
0
0b vg
b

to Fre n
ch ot h .

(ti l
-

14 1 .

Secon
d I n
version .

s llgb
o V1
5 ll
o
gb V9

Fac t ors three an d five int h e superton

ic chord inth e min
or mod e ma
y
be raised on e half step as follows :
-

nt“ o

s it of;

Of th e various in
version
s of t h e c hord , th e first is th e most practical .

Th e aug men
ted nth e bass is p ossible inin
fourth i t !comp osition
st ru men but sh ould be avoid ed in
34 MUS IC CO MPO S ITI ON .

Th e su bdominan t se vent h c hord int h e maj or mod e wit h raised root

an
d th e supertonic c hord int h e min or mod e wit h raised t hird infirst

O “
N i
, V 3

Th e alt ered c hord inth e sec on d progres sionint h e above mfl e may be

exa

writtenas anaugmen t ed sixt h c hord :

 ALTERED C HOR D S .
35

a 1117 2“ V

D ifi culty inan aly zin

g altered ch o rd s is o f t en e xp er ien c e d beca use of e n
harmon
ic
ot ation
n I t is c ustoma ry amon m n
d di n
ot ate ina way w
‘
.
g c o p ose rs a e t o rs t o hich

Th e followin
g q uot a t ion
s sh o uld be ca re ull
f y st ud ied .

TSC H AI x o wsx v, I n
vocat ionto Sleep .

5b N e t 12 “0
2 lo

0 Se e Ch apt er XI I I
86 MUS I C C O MPO SI TI ON .

An
dan
te Can
tabile from S trin
g Quart e t. TSC HArxowsxv. Op . 1 r.

L o xsc rm o xrr, Op 5 2
. .
 ALTE R ED C HOR D S .

C HO PI N , C
-
min
or S o n
ate .

"1 + “0+ V

S CH UT, Th e me n
d V aria tio n
a s
, Op . 29 .
33 MUS I C CO MPO S I TI O N .

EXER CI SE S GR OUP , 1 3.

1 Notate th e s in
progression d icat ed below

D major v1 , Vb . 1
3 major I , N a isr - V, V24 1 I .

d min
or I , N 5 +, V , VI , V9 , I .

F major I IV , ,
11 , V , V b, I .

b minor 1 , V V“ 1
, ,
.

Res olve th e followin

g c hords

0
D I v°+ G I lo + Bb " 1 0
+
f# " 0 + b

3 . Resolve th e followin
g c hords

°
E IV SI A 2
11 + Bb 11 10
21: d “ 2 +
git v1 1 2+

$ 19
3
1 e vil

5 . Resolve foll
th e
ow ing c ho rd s in a ll m aj or and m inor ke ys ; first t o
an
th e d omin t t riad an d se c on d t o t h e t onic six four c hord -
 E LE V EN TH AN D TH I R TE EN TH C H O R D S AN D MO D ERN I TI ES .
89

6 . Nota t e th e s in
progression d ic ated be low

A major F major Vii I f minor bno 12

°
L .
,
.
, .

D major vn °
o+ , I . e min
or V i , I
i . or bno V7
g min °
,
.

(1 min
or I . E major VT Io , . a minor V .

E major B r “

, b minor V 14 I
2 , . G major #N V , .

G major e b min
or #II
°
,
V .

a min
or vu
° +
g , I C major I: IV e min
or m u V , .

Ad dition
al e xercises naltered chords are giveninGroup
o 1 4.

CHAPTER XIII .

E L E V E N TH AN D TH I R TE E N TH C H O R D S AN D M O D E R N I TI E S .

Theorists past gen

of t h eerationadmitt ed n o such c ho rd forma tion as

t hat of a n
inth Th e fac t or of a n
. int h always e nt ered as a suspen sionor

onc hordal ton

ot he r n -
e an d was an alyzed as suc h To d ay n int h chord s .
-

Some theorists of th e presen t gen erationad mit of n o suc h chord

formation s as t hose of t h e eleve nth an d thirtee n

th Neve rtheles s com .
,

posers are usin g t hese in t ervals with growin g in d ependen Th e so

n
ce .

c alle d ult ra mod e rnmusic of t o day is Op e n new possibilities in

-

harmon ic st ruc t ure and on ly time ca nt ell whe the r or n

,
ot t h e cho rd al

n
of th e co ser vative , th e b es t of t h e ultra fin ds its way t o th e con
‘

ce rt

h alls an,d inman,

y cases to th e hearts of th e audien
, ce .

Th e id entit y of c hords of th e elve n th an d t hirt eenth ar e no t as ye t , ,

well en ough es t ablished to be wholly suc cessful infour voice writ in g

because of th e fac t t hat t oo man y chord fac t ors must be omit t ed .

o B ec ause of th e immaturity of t he s e c hord formation s it is not ad visable ,

for th e st uden t t o att empt to use t hem at t h e pres en t time Th ey are .

9 0 MUS I C C O MPO S I TI O N .

Th e formationof t h e domin
ant eleven
th a d t hirt een
n th c hord follows

Q n from
uota tio s th e most ult ra of mod ernmusic have beenin
th e
n n
t e tio
ally avoid e d . Those which follow show examples whic h th e
avera e g mod ernear read ily grasp s .

E D W AR D MACD OW RLL Op 5 5 N o
, , , . r ’
.

Ton
ic orga np oin
t

ii"
Inexample 1 55, fac tor ninth e c hord figured VI i a be
eleve
1 nm y
an alyzed as a suspe n sion4 3 B ut t h e 3 Int h e above suspen sion
if 97 °

becomes aneleven t h in t h e following d omin an t c hord ! Th e progres sions

follow n one of th e ac ad emic rules for susp e n sion s or ot her n

onc ho rd al -

ton e
s .Obviously these are eleven
, t h c hord s .

An tic ipations oft en re s u lt in an e leven t h c hord formation for ,

C V,
 ELEV EN TH AN D TH I R TE EN TH C H O RD S AN D MO D ERN I TI E S .
9 !

Godowsky inhis free arran gemen t of R ameau s S araban

’
de uses th e
above an t icipat ioninth e pen ultima t e measure with con sid erable sug

ges t ionof a d om inant e leven t h Ch ord S imilar ly , an an t

.ic ip a tionof
th e media n t inprogres sion V I res ults in a domin
-

ant 1 3th Chord

Sc h yt t e (Op . 8
5 , n
o 6
.
) uses th e followin
g thirt een
th c hord format ion

B b V
!
This is followed by t h e d omin an t seven th c hord whic h reso lves t o t h e
ton ic triad . Man y t heorists would an alyze this chord as a media n t
n in t h chord in th e first in version but th e ear ac cept s t h e d more
,

read ily as anove rt on A t on e suc h as this whic h is figured

n
e . 13

may also be an alyzed as a n eighbor or other n onc hord al t on -

e In .

t h e Sch yt t e n umbe r th e d h as c on
,
sid erab le c hord a l import an ce an d
will doubt less be un h es ita tin g ly an a ly ze d a s a d om in a nt c ho rd fac t or

inth e n ear fut u re .

Ollivier inhis P han tasie onWagn er s D ie M eistersin

’
ge r

p gg
o iatm '
a w it h consid e rab le ch o rd a l sig n ifi ca n
c e t h us : ,

f
o v ‘

This chord is preceded by th e t o ic n six -

four an
d res o lves t o th e t o ic n

MODE RNI TIE S .

Mod ern it ies inmusical c ompositiondifie r so radic ally from t h e t wo

es t ablished syst ems (polyphon y an d homophon y) t h at it is ap paren t
t h a t anen ew t heory must en
t irely n sue Man y of th e progression s,
.
 3 MUS I C CO MPO S I TI ON
9
.

ch ord formation s an d groupin gs o f t h e m od e rn c om po sitio n s ca n n ot be

acc oun te d for by th e rules of polyphon y or h omop bon y a n d in m an y

ot her cases t h e rules are broken A glan c e at a page in
. a sc ore by R ich

ard St rauss Ravel Sibelius Elgar Sch iin

, ,
be rg Cyril Scot t or D ebussy
, , , ,

an d a host of others shows absolut e disre gard for th e time hon

,
ored

rule of t h e academic ian Ad verse criticism of mod ern ists is by far

n
s s .
, ,

th e more c ommonbut this is simply hist ory repeat

,
itse lf B ach .
,

B eethovenB rahms an
, d Wagn , er eac h in his time sufiered similarly but
, ,

n ot howe ver t o t h e glorifica tion

, , of their c ritic s .

Th e scien c e of physics as well as t h e growin g freedom inth e use of

disson an t c hords prove that it is our ears n ot Nature whic h d ic ta t e our
, ,

ap proval or disapproval of man y acoustical phe n omen a .

Con sec u tive fifths have been t h e bug bea r of t heorists sin ce th e formula

tionof rules of c oun t erpoin t an d while muc h of th e con

, d emn ationis

justified un d er t h e dia ton ic syst em th e n ewer me t hods whe re t on

, alit y ,

is more or les s vague j ust ify an , d evend eman d such con secu tives Fifths .

have beenused an d used efiec t ively by mast ers of t h e dia t on

, , ic sch ool ,

in c lud in g B eet hoven an d are n ,ow bein g used freely an d effect ively by
compose rs w h o are in fin it ely great er gen iuses an d t hin k ers t hant heir

Augmen
te d st ep s n
a forbid denby acad emic ian
d skip s are also s bu t

are nowbein g fre ely used by composers Th e prin cipal obj ec tion t o suc h .

melodic progres sion s is foun

ded uponth e fac t t h at an aug men ted in t erval
is a d ifi cult in terval t o sing and it is t herefore a logical res tric tionfor
, , ,

Count erpoint is a t heory of horizon

tal mpositionrest ric te d ,
co

h owever by c ertain vertica l

, n
c o sid e rat io s n
. Harmony is a t heory of

more n th e h omOp h on
se rious c om ositio s of
p ic sc hool draw c on sid erably

uponth e prin ciples an d c on cep ts of th e c ontrapun tal sc hool Th e ult ra .

mod ernta kes a n ew road an d while d rawin g uponboth th e polyphon

, ic
an d h omOp h on ic c on cepts it t ravels n ew paths
, Theorizin g at th e .

pres en t time uponmod ern ities is at best hazard ous Th e few t heories
, , .

wh ic h are hereinse t fort h are n ot int end ed to furn ish rules or prin ciples
of ult ra mod ern tec h n
ique but are ofiered on ,ly as a possible solu tionan d
 E L EV E N TH AN D TH I R TE EN TH C H O R D S AN D MO DE RN I TI E S .
93

Man y mod ern ities result from aneq ual d ivisionof t h e oc tave th e ,

supe rposing of in t e rvals other t hanou r usual th ird s informin g c hords ,

an d from horizon tal c on c ep ts ot her t hant hose of t h e older c on

t rapun tal
sc hool .

e sc ale is popular wit h our mod e rn

Th e whole t on -
ists

2 3 4 5 6 2 3

Th e two above sc ales c o mbin

e d give us t h e c hromatic scale . Notice th e
ton al ambiguit y an y o f t h e s
“
ix t ones in e it h e r of t h e ab o ve sc ale
s m a y
be a t on ic by prope r man ipulationhen c e t h e mod ulat ory possibilities ,

are man ifold Equal divisionof th e oc tave inan

.
y m a n ne r alw ay s ofi e rs

mod ulat ory opport un it ies .

Several n ew c hord s may result from t h e whole t on e scale For ex -

.

ample suppose a c omposition

,
is int h e k ey of C with a frequen t use of t h e
whole ton -
e sc ale c hord s foun d ed uponth e g sharp may serve int h e plac e
,
-

of a dia t onic d omin an t zl

‘'

To t h e d iato n
ic
t onic ch o rd .

Th e above mple shows alt eration

e xa s of diat onic c hord s ac c ordin g to t h e
dic ta t es of t h e whole t on d will soun
e s c ale an d impure t o all wh o have
-
”

heard lit tle or n o mod e rnmu sic an d t o t hose wh o have heard muc h
mod ernmusic but have what we may t erm c on servat ive e ars Man y .

ears ic c hord s in(a) (b ) an

will supply t h e perfec t fift h int h e t on d (c ) ,

of th e above example .

Great difi culties inreadin g pres en t t hemse lves int h e prolonged use
e sc ale whic h is also t rue of man
of t h e whole t on -
y ot her mod ernities .

Th e n n
to al ce te r is fre q u e tly n main
tain
ed by th e u se o f suc h d evic es as a n
p edal a d freq ue t n return
to th e diatonic sys te m.

1 Th e t erms to n
ic , nn
domirt , subd o an
min t, etc .
,
will p ro bably be discard ed inapp lyin
g th eory to
 MUS I C CO MPO S I TI ON
94
.

This would seem t o arg ue that some n ew form of n ota tionmigh t be

advisable Man
. y worthy composition s by un kn own composers have in

all pro babilit y beenre fused by publishe rs be c ause of t hes e d ifi cu lties

‘
.

A great man y other scales are used some of whic h are similar t o t h e
,

old mod al sc ales Th e major diaton

. ic sc ale wit h fla t sixth is perh aps , ,

th e most frequen t but th e least revolution ary Th e same wit h raised .

Superpositionof in t ervals ot her t hanof a t hird an d equal d ivisionof

th e oc t ave offer several n ew c hord format ion s ot her t hant hose d e rived

from th e whole t on -
e sc ale I nour presen
. t harmon ic system we have ,

ic sc ale chords whic h d ivide t h e oc tave even

t h ree d iat on ly namely : t h e ,

dimin ishe d triad (11 an t h e d iminished se ven t h ch ord (vn

° °
d
min or mod e ) an d th e augmen t ed t riad Th e formationof th e
major an d min or sc ales j ustifies t hese c hord s n Nature s Gen ”
e rat or 1
’
ot
'
.
,

Superpositionof
perfec t 4th s

For a nexample of superposit ionof perfec t

R ebik ofi Fowlie d AIbum:
’

fourths se e
’

Supe rpositionof Ex
augmen
.

ted fourt hs : 16 2 .

0 Th e auth o r h as devised a notation wh ich would ofle r fewe r difficulties inth e way of readin g but it
difl ers as radically from th e p resen t syst em as th e p resen t syst em does from th e G re go rian For this .

reason its ad vocationwo uld be useless . n

W e canh Op e , h owever. for a solutio more compatible with

1 Similarly , th e min
or triad is just ified Our n
o lon d m nd h Tiar a Je f scv dsc
' '

. ears g e r e a t e .
 E L EVEN TH AN D TH I R TE EN TH C H O R DS AN D MO DE RN I TI ES .
95

This chord is like th e dimin

ished triad without its third .

p m .

pe rfe c t t h 16 3
5 s

Beethovenused them inth e Sixth Symphon

y

Supe rposit ionof augmen

te d 5 t h s

This c hord is lik e th e augme n te d t riad .

Chords of t h e maj or seven th are fre que n t eveninanin versronwhic h

gives th e c lash of a min or sec on d B ee thove nand others of th e dia ton

. ic
school have used t h e min or sec on d but t h e mod ern ists use it wit h muc h
,

0 Th e F nbe an
ea alyaed ss a n
to ie orga np oin
t . Evenso, it breahs nsead emic
a rule by n n
e t erl
g
m eri t ed .
 5 MUSI C CO MPO S I TI ON
9
.

more freedom . Major n

ds are
seco also ver y freely used a n
d compara

Many of th e n
ew Chords result more or les s n y through
ac cid e tall

ac ce pts al n
most
y ver tical resul
at ant No t e h ow easily t h e.ear ac c ep t s

th e vertical res ultants of scales dia ton ic or c hromatic played incon

, t rary ,

D ifierent keys are sometimes mbin

co ed , whic h prac t ic e is t h e most
radic al n
inovat ionof t h e mod ern
ists . S uc h a c o cu rre n n
ce of difi eren
t
keys is t o be d inS trauss Thus S pake
foun ’
Z arathustr a . At th e sixt h

measure from th e e n s so un
d th e bassoon d th e followin
g chord

while th e c ellos a n
d basses mark t h e rhythm as follows

I nt h e fift h n d fourt h measures from th e en

a d t h e high st rin gs an d high ,

wood win d soun d th e major c hord of b n a t ural in t heir high registe rs an

-
d
th e low st rin gs soun d low c n a t ural I nt h e third measure from th e
-
.

en d th e b n
, a t ural c hord is againhea rd t his time wit hou t th e c n
-

,a tural -

inth e bass Th e last two measures con

. sist of c n at ural alone inc ellos -

an d basses Th e efiec t is un
. ique as it should be whent reatin g such a
un ique prog ram as Strauss h as c hosenfor this ton e poe m Very little .

clash is n o ticeable o d ou bt d ue t o th e fac t t hat th e un

This is n . related

elemen ts are isolated on e from th e ot her .

 PA R T I I .

CHAPTER XIV .

MO D UL ATIO N AN D TR AN S I TI ON .

Th e objec t p
of t h e n
rec ed i
g c ha p t ers h a s b e en t o p re se nt t h e m a nn er

inwhic h simple melod ies may be harmon ized to which en d all t h e chord
format ion s t oge t her wit h t heir logic al progres sion s have been given Th e .

pres en tat ionof th e ma t erial h as beena mon oton ic on e Ch aract erized

by simple ph rase balan c e an d period c on st ruc tion Obviously . th e ,

exercises have result ed int on al an d c on st r uc tive mon oton y Part II .

d ea ls with more c omple x st r uc ture as well as t on al varie t y We en t er .

,

here uponac tual compositionan

, d alt hough melod ies are givenfor har
mon izationth e st ud en
,
t should compose melod ies ofhis ownt h e st ruct ure ,

of whic h should be d ec id ed by t h e part icular form un d er c on sid e rat ion .

A digressionto a n e w t on alit y is called modulationor tr an sition A .

ch an ge ofk ey inwhic h a n ewk ey is established for archit ec t on ic purposes

con stitu te s a mod ulation A t ran . sitory c h an ge of k ey which exist s to
ad d variety an d d oes n ot exist for architec ton ic purposes c on st itu te
s a

Th e most mmondigres sion

co s are t o th e d omin an t an d subd omin an t
keys an d to th e median t an d submedian t (supe rd omin an t) Di
g res sio n t o t h e t wo former ke ys is usua lly m a d e int h e sam e mod e as t h e

orig in al k ey whereas digres sion t o t h e lat t er t wo keys is usually mad e in

t h e opposite mod e from t hat of t h e origin al k ey .

fu ct ionof but n
o e sh arp or flat . Such k eys are called atte n
da n
t keys . Some th eorists

c itatio nof the subject an

d to difi ere nt h te th e two p urp oses tor wh ich ch ang es of t onality are made .

Th e wo terms have
t become ext re mely ambig uous amon g th eorists On e th eo rist in
. s de fine d mod ula

nas a ch an g e of mod e (for nu p le : C major to c min o r) an d tr a ns it io nas a c h an

ge of t om lity
'

tro .

An oth er th eorist in s state d th at a ch an g e of mod e does n ot efi ect mod ulation An . d on e mig h t ad d

anot h er con trad lc tiou by statin g th at a ch an g e of mod e is n

eith er a mod ulat ion nor a tran sitio nbecause

no ch an g e of h ey tah es p laee
.

f lt is in tarestin g to note tln t in th e eigh ty o n

-
e worh s inson ata fornof Beeth oventh e arc h iteet on
, ie
modtd ad ou to do min aut ocu t non ly th r ee d mu to subdomin
, an t nine te en d mu m d thirty times t o th e
.
9 8 MUS I C CO MPO S ITION .

A chan
ge of k ey is efiec ted by n
th e i trod uc tio nof th e dominant
harmon y of th e n ew k ey To establish a remote k ey th e
.
, d omin
ant
seven t h or nint h or t h e subton ic seven t h c hord is frequen tly n ecessary .

Th e more remote th e n ew k ey t h e more t ec hn

, ique is nec es sa ry to in
t ro
duce th e n ew d omin an t harmon y inanun forced man n er Th e ton ic .

six four t h e subd omin

-

, an t t riad th e superton ,ic chord s and t h e augmen ted ,

sixt h chord s of t h e subd omin an t family of t h e new k ey are all valuable

is ot n
n ec essary whena n
ew phrase or period is inanat t en
dan
t k ey .

(See Ex 1 8 1 page 1 1 0 ; also Ex 1 8 2

.
, 1 1 2 , toget her with t h e
.
, page
paragraph of t ext which follows t h e lat t er example ) .

in
Th e follow g example shows all th e t riads inC maj or with compoun d

A similar e xa m m e inmin
or follows

g VI b 13 1 10
°
E l E l A vu
B IV C IV
v b
B v

Remember that th e median t an d superd omin an t seven t h chords are

con struc ted like t h e supert onic seven th c hord an d may bec ome supert on ic
c hord s .Th e Italianan d Ge rmanSixt h Chords are an alogous en h at ,

mon ically inc on st ruc tiont o th e d omin

,
an t seven t h and may become
wmin ant c hords although con , siderable skill is nec es sary t o h andle these
th is man ner suc cessfully .
 MO DUL ATION AN D TR AN S ITI ON .
99

Th e d imin
ished n
t h c hord
seve ofie rs ric h res ou rc es for mod ulat ory
purposes .B ecause of th e fac t t hat th e augmen ted se c on d is an alogous in

sound to th e min or t hird any di m in

,
ish e d se ve n
t h c hord is en h arm onic ally
c han
geable in t o three oth er keys :

w)
.

° ° ° ° s °
b v1 1
2 d vI I 7 b v 11 3 f v1 1 7 g vr1 7

All th e dimin ished seven t h c hord s are shownint h e above e xamp les .

Th e alterationof fac t or th ree inmajor an d min or c hords freque n t ly

oc curs for mod ulat ory purposes By this alte rat ion
.
,
m aj o r t ria d s ma y
become min or an d vice versa, d omin an t se vent h Chords may become supe r
t on ic seven th c hords an d vic e versa .

I t is frequen tly d esirable whe n mod ulatin g, Cspe c ially to a remote key ,
t o in t rod uc e t h e salie nt t ones of t h e n ew k ey (th e most con spic uo us o f

which is th e leadin g tone ) in an in c onspic uous place I t is eve nad visable .

at times t o go be yon d t h e objec t ive key .

Man y methods have mod ulat ory formula but wit h th e c on t ribut ion
, s

of Bee tho ven t o th e evolut ion of music suc h formulae became an,
t iquat ed ,
mo MUS I C C O MPOS I TI ON .

alt ou
h gh they se rve as a me chan
ical guid e . Th e precedin
g abst rac t
men ts ser ve a similar purpose an
d are n
ot likely t o bin
d th e st ud en
’
state t s
origin
alit y as much as formula usually d o
. .

EXERCI SE S GROUP
, 1 4.

1 .Mod ulate from C t o G ; C to F ; C t o a ; C t o e ; a to e ; a to d ;

a t o C an d a to F
, This work may be d on
. e at first by writ in
, g th e ba ss
,

part an d t henfillin g inth e upper voices Se con

. dly a melod y as in
, t erest
ing as po s sib le sho u ld be writ t e nfo r ea c h m o d ulationand t he n h ar

mon ized .

2 Th e follow in g melod y should be harmon ized wit h simple Chords ;

tran sit ions are t o be mad e where indic ated Alte red c hords may be u sed
.

sparin gly ; th e star in dicates where alt ered c hords may be efie c tively
use d Some of th e n
. ot es should be treat ed as non c horda l -
.
 TH E V AR I O US S TYLE S O F W R I TIN G .
t o;

C C HAM I N AD E
. .

d min
or

3 min
or C

CHAPTER XV .

TH E V AR I O U S S TY L E S O F W R I TI N G .

nt of free compositionwill be d esirous of writ in g inth e

.

Th e stu d e

particu lar style inwhich h e is most in t eres t ed Th e bes t results inan

.
y
on e st yle are obt ain ed by some kn owledg e of all t h e st yles an d it is ,

t herefore d es irable t o be well in formed uponth e possibilities of th e

humanvoice th e pian ofort e an
, d t h e strin
, g quart e t Th e kn owled ge
.

of orches tration is anin valuable aid t o c omposition inan y st yle bu t for ,

anad e quate kn owled g e of orc hes t ration a t ext d evot ed t o this subj ec t
,

is nec es sary as we ll as pe rso n

al con ta c t wit h orches tras in th e cap acity of
listener or pe rformer On e of th e bes t t ext books upon
. orc hes tration is
Th e
b
a ove t ext book is also valua ble n
t o those i t e res ted inth e wood win
d
c hoir , th e brass choir , d t h e milita ry ban
an d .

THE PI AN OEORTE .

al c omp ass of th e pian

Th e ton ofort e follows

E x
‘ h g lish tran
slat ionp ublish ed by Carl Fisch er, N ew York .
I oz MUS I C C O MPOS ITI ON .

o le n
Th e pian ds itself to a gre at y of styles of writin
varie t g Th e voice .

part s are n ot we ll in divid ualize d an d c are mu s t the refore be ta kent o

w rit e for this in st rumen t wit h th e in divi d ual voic e parts inmin d Par .

a llel fif ths c ross re la tion

, s au gmen
, t ed leaps in c orre c tly reso lved disso
,

n an t c hord s e t C are oft en

, .
, d ifficu lt t o d et ec t upo nt h e pian ofort e when

heard .

Th e rhyt hmic brokenchord st yle t ogethe r wit h harmon ic figuration

is particularly we ll ad apt ed t o t h e pian ofo rt e Th e followin
. g quotation
d e mon
st rat e s :

F C H O PI N , Op 66, N o 4
. . . .

to Ca nta bile
TH E V AR I OUS S TYLES O F W RI TIN G .
1 03
1 04 MUS I C COMPOS I TI ON .

Inth e b
a ove quotation th ere are ap paren
, tly bu t t wo voice parts but
th e c hords are well brought out an d t h e quotationis n ot c on t rapu ntal .

Th e brokenchord inth e left h an d d oes d ut y for several voic es an d th e

harmon ic efiec t is th e same as t hough se veral voices were heard simul
ta n
eously .

Th e brokenchord inarpeggio st yle permits th e use of man

y voices

Chop ra 5 Etud e Op 1 0 N o 1 1 from which th e above quotationis taken

, .
,
.
, ,

is writ t ent hroughout inarpeggio st yle .

Without breakin g a chord as man , y as twelve voices may appear in ,

which case on e finge r inea c h h an

d plays t wo t on
es

Voice parts uponth e pianofort e may be ad d ed or discon

tinued at t h e

d melodies an
pleasure of th e composer an d voic e progressions may be

THE STRIN G QUARTET .

Man y an d rich res ources are foun d inc omposin g for th e St rin
g Quart et .

Greater sc ope as to voic e comp ass an d tec hnica lit ies is ofiere d int h is
st yle of writin g t hanis possible inth e vocal style Chords are possible
.

on each of t h e in
strumen ts of th e quartet and th e compositionis t he re fore
not limit ed t o four part writin
-
g Varied effec ts may be produced by
.
 TH E V AR I O US S TY LES O F W R I TI N G .
105

Two n (first an
Violi s d se c ond ) Viola an d c ello con
, stit u te th e st rin
’
g
,

quart et Th e first Violincorres pon

. d s t o th e Sopran o t h e sec on d Violin ,

t o t h e alto th e Viola t o th e t en
or an
’
, d t h e c ello t o th e bass .

Th e four gs of th e Violinare t un
n
st ri ed t o g

th e i n
st rumen
t

Several n higher thanth e above may be writ tenfor virtuosi By

t o es .

th e use of h armon ics t on es higher than

,
in dicat ed may be prod uc ed .

A ton e prod u ced uponan Ope nstrin g is more son orous th ana ton e

which requires fin gerin g Sharp keys are t herefore more fre quen
.
, tly ,

used incomposin g for st rin gs thanfiat keys Opent on es are oft en

.

d es igna ted by an over th e n ot e .

Chord s of two three an d four t on es are possible upont h e violin

‘
, , .

Chords of t wo ton es may be employed pia n o or forte bu t chords of th ree ,

or four t on es for a sin gle performer should on ly be employed inforte

p a ssages I n
.w r it ing c h o rd s of t h ree or fo ur t on e
s not ove r t wo t o ne
,s

s ould
h be sustai ed . n

All c hord s below th e ( 1 string are , of course , imp ossible p na sin

u o gle
in
st rumen t un les s th e t unin g of th e st rin
g s is lo we re d or th e c hord

played arpeggio or tremolo Where such Chord s are writtenth e ton

. es

of whic h are t o be soun d ed simultan eo usly t wo or more

p e rformers
, t o

ec es sary an
th e part are n d t h e c hord s are ma rked divisi .

O Wh enwrltin
g eh ord s for th e strl strumeuts th a st sdsn
g in
n t sh ould have ta bles of p layable ch ords
m MUS I C C O MPOS I TI O N .

Th e unisonmay be employed efi ec t ive ly upon( 1 a an d e inwhich , ,

case , on
e of th e t on
es will be p rod u c ed upo nanOpe nstrin
g:

Other un s ofier t ec hn
iso n ical difi culties .

Arpe ggi t remolos rapid passages an

, , d , all musical nmen
or a ts are

e fiec t ive upon t h e V iolin .

THE VIOLA .

Th e fou r st ri n
gs of th e viola a re tu n
ed to c g

Th e prac tical co mpass of n

th e i
st ru

Th e lowan d mid dle regis ters of th e vi ola are n otat ed inth e C cle f upo n -

t h e th ird line and th e upper register int h e G c le f -

.

All t hat h as bee nsaid of th e d ifi ere n t efie c ts upont h e Violinas well

as of t h e t ec hnique of writin g for this in st rumen t is applicable to t h e
Viola .

THE CELLO (Violon

c ello) .

Th e four n
gs of th e
stri
’
c e llo are tu n
ed to c g

d a n
d a
(E ) . Th e lower n
d
a mid dle re gisters a re

n otat ed i nth e F clef th e

-
also n ota t ed inth e C cle f
mid d le re gist er is -

onan y sta fi d e gree bu t usu ally on t h e fo u rt h line ; t h e u pp e r re gist er

is n otat ed in t h e O d d or th e G c le f Th e n otation
-
int h e G c lef at th e
.
-

c ommen c e me n t or whe nfollowin g th e R eid in dica tes ton es anoc tave

higher thant hey soun d but whe nfollowin

, g th e C clef th e n otat ion shows -

t h e ac t ual so un ds Th e p rac tical c ompass of th e in

. st rume n t follows :
 B I N A R Y AN D TERN A R Y F O R MS .
107

Tha t th at h as bee nsaid of th e nis t rue of th e Cello with th e

V ioli
’

mod ificationthat th e d oes n

ot len
d itself to as rapid passages as
’
c e llo

th e V ioli n .

D UP LICATI ON or FACTO R S .

D uplic ationor omissionof c hord fac tors c an not be boun d by rules .

I norc hest ral c omposit ionwhere man y d uplication s a re n ec essary e fie c ,

tive results d epe n d upo nt h e expe rie n c e an d in gen uit y of th e compose r as

well as uponth e charac t er of th e c ompositionat han d Some orchest ral .

c omposition s are ad ap t ed to thr e e se c t ion al arran gemen ts inwh ic h c ase ,

a four or more voic e c hord for st rin gs is d uplic ate d by wood win d an d
brass Such anarran
. gemen t n ee d n ot n e c essarily prepon d erat e in , ,

orc he stral c omposit ion an d infa c t t h e so called orc hestral c olorin

, , , gs -

a re ob tain ed by d evia tion s from th e above a rran gemen t

m
.

A remarkable exam e of d uplic ationis t o be foun d int h e last meas ure

o f Sain t Saen s In tr od uc tionan d R on d o Capriocioso for V iolinan
’
-
d or
c h est ra Here th e Chord con
.
,
t ains fif tee n roo ts on e t hird an d two fift hs , ,
.

Oc casion ally t h e t echn ica l possibilities of anin st rumen t in fl ue nc e th e

man n e r an d n umbe r of d uplic at ion s bu t artistic c hord effe c t s should ,

n ot be sacrifice d t o t e c hn iqu es of anin st rumen t .

EXER CISE S GROUP , 15 .

Harmon
ize n g t o dire c t ion
a c c ord i s Exercises 1 3 inAppen dix B ,
—
,

Th e work inAppen dix A should n ow be c ommenced

’

p g
a e 1 4 7 . .

CHAPTER XVI .

B I N AR Y AN D TE R N AR Y FO R M S .

Th e si mples t two part -

nc on sists of t wo balan
c om osit io
p c in
g period s .

Ton
al varie t y is obta in
ed by mo d ula t ionas is sho w ninth e follo wing

Diag ram 6 .

l A 1 st Period ( An
teced e n
t) B a n
d Pe riod ( Co n
se q ue n
t) .

E me as u re s, if rep lan
a
r 1 6 me asu res, if reg u lar . 8 or 1 6

May or may n
ot re p e at . May or may n ot re p e at .

Ke y C mod ulatin Mod u latin n e ndin n

of g t o G ,
F ,
a or e , e t c . g back to a d g i C .

I
Th e si mplest mposit ionc on
th re e sists of t hre e d ivision
-
part co s, th e

se c on
d part bein g a con t rast aft e r stat emen t an d th e t h ird bein g a
restatemen t afte r c on
t rast Th e c on t rast is ob ta in
ed by t h e appe aran
. ce
mg MUS I C C O MPOS I TI O N .

of a n
ew t heme or motive , an
d n n by th e appear
t o al varie t y is ob tai ed
n
a c e of t he se c o n
d part ina n e w k ey Ton al u n
it y is pre served by
.

th e rea ppe arance of th e

“
home k ey a t resta temen t Th e following .

dia gram illust rat es :

D iagram 7 .

( S ta te me n
t) .
( C ontr ast ) .

mea su res, if reg u lar

or 1 6 . 8 me asu res , if regu lar
or 1 6 . 8 me asu re s, if re g u la r
or 1 6 .

May or may n ot re p ea t . May or may n ot re p eat . May or may n o t re peat .

Most dance music from th e old dan c e of t h e Classic al Suit e t o our

mod ernwalt zes are ineit her two p art or three part form - -
.

I t will be remembere d t hat int h e d ivisionof a pe riod we h ad t hesis ,

an d an tit hes is or inother word s anan

, , te c ed en t d ivisionfollowed by
,

a c on se que n t division Two part form oft enprese n

. t s similar c on
-
st rue

t ion anan t e c e d ent period followed by a c on se que n t pe riod .

I ntwo part an -
d t h ree p art form t ran sit ion as well as mod ulation
-

, , ,

may oc cur but t oo mu c h t ran

, sit ion d t ran
an sit ion t o re mot e keys (e sp e c i
a lly in bin ary form) is likely t o obsc ure t h e main keys inshort or simple
‘

Thes e two forms (bin ary an d t ern ary) se rve as th e b asis fo r t h e mo re

e laborat e forms Frequen t ly a c omposit ionas a whole sho ws bin

. ary

o r t e rn
ary form also a well d efin e d part of t h e c ompo sit ionshows on e of

thes e forms (Se e B a c

. h G a v ot t e E x , , .

Th e Classic al an d mod ernsuit es should be c are fully st udied an d

an alyzed also th e walt ze s marc hes e t c
, o f mod e rnc ompose rs
, M an y
,
.
, .

of th e son gs of Schubert an d S c human nare valuable examples of thes e

g quotat ion
Th e followin s show t wo pa rt -
an
d t hre e part -
composit ion s

( n
Bi ary) G avo tt e , CO R E LL I .
B I N AR Y AN D TE RN A R Y FO R MS .
10
9

I nd
1 Io MUS I C COMPOS I TI ON .

R S CH U M AN N , Op 68 . N o 8
. . . .
B IN AR Y AN D TERN AR Y FOR MS .
u x
1 12 MUS I C C O M PO S I TI O N .

E G R I EG , Op
. . 1 2, No 7
. .
 B I N AR Y AN D TERN AR Y FOR MS . .
- 1 1
3

Inth e b
a ove exa mp le , th e first p eriod A is inth e k ey of e min
or . Th e n
d
seco

p e riod B is inth e k ey of th e rela t ive n ds inth e orig in

maj or bu t e al k ey e , min
or .

Th e third p eriod (t h e sec ond A) is int h e k ey of e min or Th e mod ula tion

. s are as

follows : from e t o G an d from G to e At t h e fift ee n

. t h measure t h ere is a t ran
, sit ion

from G t o b re t urnin g to G int h e six t eent h mes sure .

Th e b
a ove quot ation s exe mplify simple bin ary an d t ernary forms .

They are e xamples of th e forms inth e st ric t applicationof th e t erms an d

c oin c id e wit h dia grams 6 an d 7 Man
. y binary and t ern
ary c omposit ions

are less re gular in con st ruc t ion an d man y are more elaborate An alysis .

is t h e ke y t o su c c ess inu n d erst an g th e ways inwhic h c omposit ion

din s

inthese forms are varied .

1 14 MUS I C C OMPO SITI ON .

Th e followin
g diagram rep res en
ts a co mpositionof two th emes , both
th emes whic h are inth e same key but inwhich seve ral other ton
of alities
sit orily oc cur, hen
t ran ce th e des irablen
es s of th e same maink ey for both

Diagram 8 .

seve ra l are made .

Th e followin g diagram shows a commont ern ary con st ruc t ion M an y .

c omposit ions similarly const ruc t ed may at first sight appear t oo c omplex

For a si mple applicationof th e b

a ove st ruc t ure see Sc human
n Op , . 68 ,
NO . 20 .

Th e n nof B ac h s Gavot te from th e Sixt h En

c o st ruc tio
’
glish Suit e
is showninth e followin g quotationof th e upper voice part This com .

sitionis int wo division s called Gavott e 1 and G avott e II (M use t t e )

p o

Each d ivisionis int hree part form similar to D iagram 9 an

-
d t h e c omposi
t ionas a whole is int hree part form -
.

J . S B ACH
. .

A ind min
or .
 BIN AR Y AN D TE RN AR Y FO R MS .
1 15

A ind min
or -

FI N E

G avo t t e I I ( Muse tte )

A inD maj or
-
.
4 16 MUS I C C O MPO S I TI ON .

A inD —ma j or
.

G avotte I D . C .

a! F ine

Notice that t h e first theme A of Gavot te I en

, , ds with d omin an t harmon y
( H a lf C a d e n
c e ) wh i c h is ir re gula r N
. o ti c e, t oo that t h e con
, se que n
t
t hemes show less c on t rast t hanc on seq uen t t hemes inmost music of t h e
n inet ee n t h an d t wen tie t h c en t uries ; t h e motives an d figures of all t h e
themes show c on sid erable similarity alt hough eac h t heme h as in dividu
alit y an
, d t h e c omp ositioncanhard ly be con sid ered what w e may call a

mon ot h e mat ic c omposit io n For suc h a c omposit ionsee Sc human

. ns ’

Traumerei (Appen
dix B , No .

EXERCIS ES G ROUP , 16 .

( Bi n
a ry ) Me n
ue t fro m D onj ua n .

W A MOZ ART
. . .
 I N TR OD UCTI ON AN D I N TE R MEZ Z O 21 I 7
-
. -

( Te rn
ary ) . G avo tt e , C G URL I TT, Op
. . 172

3 H
. arm on iz e E xam p le 1 8 3 .

Continue t h e wor k in Appe n dix A .

CHAPTER XVII .

IN TR O D U C TI ON , I N TE R M E Z Z O , E P I S O D E , AN D CO DA .

A c om osit io
p nis frequently prec ed ed by in t rod uc tory measur es .

lon g in t rod u c tionmay form a sa t isfac t orily complet e c ompositionin

itself su c h as are foun d inman y overt ures sets of waltzes et c Th e
, , .

int rod uc t ory measures usually foreshad ow t h e the mes establish th e main ,

Cop yrig h t , 1 890 , Art h ur P Sch mid t

. .
1 18 MUS IC CO MPO S I TI ON .

k ey an
d sometimes hythm Incase th at th e in
th e r . t rod uc tory measures
do n ot foresh ad ow th at that is to follow but simply e s tablish th e k ey ,

such measu res are often called prelude inc on c tion

t rad istin t o intr oduction
‘

Q n
uotatio s of s ort
h in s an
t roduc tion d preludes follow
BR ETH ovaN , Op 46
. .

V oice .

F L I S Z T, D u B ritt
. m: E n B l
’

r e a me .
 I N TR O D UCTI ON AN D IN TER MEzzo .
"9

F SC H UB aaT, Aer H err

. .

For examples oflo n t rod uc tion

g in t is referre d t o th e followin
s th e st u d en g

Joseph H a y d n: Sy mph on y in G M a j o r fi rst 1 7 m

,
eas u res :

Lud wig vanBeeth oven : Son ata Path e tiq ue first 1 0 measures , .

W A M ozart : Overt ure , The Magic Flute first 1 5 measures

. .
,
.

Johan n S t ra uss ( )
I I Em ’
il W a
,ld t eu fe l s an d J
’
Gun g l s W a ltze
.s
’
.

I t is ha ra c terized by th e absen
c ce of d efin ite melod y an d usually con sists

of melod ic fragmen ts insequen c e of scale passages or of b roken

, chord
,

p a ssa g es of t ran sit ion al c h arac t er . Th e in t e rm ezzo h as t wo pa rticu lar

fun c tion s ( )
1 as a su bs tit u t e fo r a c on t ra s ting t h em e a nd ( ) as an
2

in te rlud e bet wee nt wo c on t rastin g Th e followin g quotation s

E Gu. m , Op . 1 2, No 3. .

dan
ces of th e d occasion
n
suite, a ally to a movemen
t of a mp h on
sy y . ( See Ge m
’
s S ymp h ony, n
d
se co

movemen
t ) .
 I N TR O D UCTI ON AN D I N TE R ME Z Z O .
rz1 ;

Not ic e th e two t hemes before t h e in t e rmezzo t h e last half of t h e

,

secon d theme is mad e up of material from th e first t heme t hus makin g

less con t rast t hanis usu al be t weent hemes . Th e in t erme zzo however
,

furn ishes V ivid c on

t rast . Th e res t at emen t afte r t h e in t e rmezzo is mad e
up of mat erial fro m bot h t hemes an d is n ot un like man y cod as
‘

F r KUH L AU , S c h e rzo
. .
 TH E EPI S O D E AN D CO DA .
1 33

Notice th at th e seco n
d th eme leads in
to th e in
t e rmezzo . A group of

THE EPI SODE h as similar fun c t ions and is similar incharac t er to t h e

In termezzo. Th e Episod e , however, is more melodious an d partakes th e
c harac t er of a subsidiary t heme .Episodes oc cur inFugues an d serve
as in termedia te parts bet weenth e repe tition s of a fugue t heme For an
.

e xample of anEpisode see t h e Slow Movemen t from M ozar t s St rin

g
’

Q ua rt e t inC maj or c ommen cing at th e thir t eent h measure an d ext ending

n
t hrough th e t we ty fifth
-
. Theme mmen
11 c o ces at n
th e t we t y sixt h
-

THE CODA is a c hordal or t hematic appen dage and follows th e nat ural

t ermin ation of a period form or movemen

, , t Th e fun
. c tion
s of th e cod a

are ( I ) t o emphasize th e motive th e fin , al cad ence or ot her mat erial

, ,

( ) t o c on
2 vey th e c omposit ion bac k to t h e maink ey where th e fin al t heme
en ds ina difieren t k ey an
, d (3) t o summarize th e material of a com
1 24
‘
MUS I C C O MPO S I TI ON .

F S C H UB E R T, Op
. . 1 06 ,N o .
4 .

J . B R AH M S , O p . 1 0 5, No 3 . .
 TH E R ON DO AN D TH E V ARI ATI ON FO R M .
3 3 5“

cod as t o th e hes t ral waltzes of Strauss Wald t eufel an

or c , d Gun gl B ee ,
.

t h ovenwas th e first composer wh o gave great dign ity t o th e c od a inth e

Son ata Form an
”

d inhis c omposit ion s int his Form may be foun d long

-

an d elabora t e c odas .

Th e work for th is chap t e r Should c on sist of an alyzin g stan d ard c om

position s c on t ainin g in t rod u c tion
s int ermezzi episod es
, an d c odas
, , .

Origin al work In composition should also be d on e .

EXER CI SE S GR OUP
,
17 .

1 Exerc ises 4 an
. d 5 inAppe n d ix B pages 1 49 an
, d 1 50 ,
.

2 Appen
. d ix A may be fin ished .

3 W r
.it e a n int rod u c tion a nd a c od a fo r E x e r c ise 2 G ro u p 1 4
,
pa g e 1 0 0 ,
.

4 An.al y ze th e h a rm o ny in E xa m p le s 1 8 4 1 8 5
, 1 86 1 8,7 1 8 8 1
, 8 9
, 1 9 0 , ,

a n
d 1 91 .

CHAPTER XVIII .

TH E R O N DO A N D TH E V AR I A TI O N F O R M .

THE RONDO is a c om ositio

p ncon sisting of a prin c ipal su bj ec t an

n oun ced an d recu rrin g aft er c on t rastin g sec tion s Th e early composi
.

t ion s in this form are primit ive an d con sist of a subj e c t of d efin it e len gt h ,

usually of e ight measures in2 rhy t hm en ,d ing with a perfec t cad en ce .

B e t weeneach recurren ce c omes a se c t ionless d efin it e an d wit h n o

apparen t obje c t inview other thant o fur n ish c on t rast int on alit y an d
aggran d ize t h e prin c ipal subje c t . As th e form d eveloped c on t rast ing ,

t hemes supplan t ed th e in d efinit e se c tionu n til th e fully d e veloped form

c u lmin at ed in th e w ork of B ee thove n Th e follow ing diagram shows th e
st ruc t ure of a Ron d o by Couperin
1 36 MUS I C COMPOS I TI ON .

Th e followin
g d iagram show s t h e st ruc t ure of a more hi ghl y d evelop ed
d o ; secon
Ron d movemen t of B eethoven s S onata Pathetiq ue
’
.

Th e n
umbe r n
of recurre c e
s prin
of cipal su bj ec t is n
th e ot rest ric ted

with th e except iont hat it oc curs at least t hree times Th e in t e rvenin

.g
sec tions may con sist of c on
trasting themes in tern wzzi or episod es Th e
, , .

prin cipal subj ec t on each oc currence usually c loses with a fin al cad en ce ,

whereas th e in t erven ing sec tion

s oft enlead int o th e prin cipal subj ec t or

inits n ftenapp ears with varied accompan

several recurre ces, o imen t ,

sometimes wit h chan ge of harmon y an d is oc casion

, ally ext end ed .

Inth e highly complex Ron d o Form may be foun d t ransition al meas

ures p assage work elaborat e ext en

, , sions an d c odas bet weenth e vari
,

ous division s of th e composition Th e t hird movemen t of B eethoven

’
. s

S onata P athetiq ue show s great complexit y inst ruct ure an d th e st ud ent

sh ould analyze t h e harmon ic an d formal st ruct ure of this movemen t .

THE VAR I ATION FORM .

Th e Variat ionForm is a t erm ap plied t o a comp ositioninwhich on e

or more t hemes is presented an d re presen

ted in variously difiering s t y les .

Th e old er examples of th e VariationForm were prin cipally con c ern ed

with a groun d bass which served as a basis for buildin

g subsequen t varia
t ion
s Th e most high ly d eveloped example of th is sty le is to be foun
. d
inJ S B ach s Var ia tions on an Aria inG Maj or which is a Saraban
’
. . de

Aria as a basis o nwhich he built , trapun

n
co tally , n n
thirty co t rasti g
 TH E R ON DO AN D TH E V AR I ATI ON FO R M .
"1

Later, a theme as we ll as a groun

d bass se rve d as a basis up o nwhich

t an
is th e most imp ortan d therefore most thoroughly worked out . Ep i

app n
eara c e as well as elaborate codas an d to d ay we have a high ly
,
-

complex form whic h exists as a c omplet e op us n umber or as a movemen t

of a Son a ta or Symph on y .

Th e Ron d o an d VariationForms are some times combin ed For such .

anexample see Hayd n

, s F Maj or S on ata for violinan d clavier (slow
movemen t ) whic h should be an alyze d .

Some of th e prin cipal ways inwh ich a t heme ma be v ie d f ll w

y a r o o

( )
I b y Ch a n g ing t h e st yle of t h e a c compa nimen t ; ( )
2 b y ch a n gin g t h e

izationof th e prin cipal t heme ; (4) by c han gin g th e len gth of th e various
n ot es t he reby ob tain in gan ew rhyt hm an d oft ena n ew me tr e ; (5 ) by

rep e ti tion of certain n o t es whic h may or may n ot chan ge t h e m e t re ; ( )

6
by in t rod u cin g t on
es orn amen tal t o th e t ons of th e theme sc ale passages
e , ,

passin g t on es bet wee n th e ton es of t h e t heme , e t c ; (7 ) by obsc urin

. g th e
t he me by arpeggio figuration of th e t on s of t h e t heme ; (8 ) by in
e ve rtin g
th e in t e rvals of th e theme ; an d (9 ) by expan din g or con t rac tin g th e

sist of an
Th e work for this chapter should c on alyzationof st anda rd
c ompositions inth e Ron do Form an d inth e Variat ionForm A th eme .

sh ould be chosenan d worked out invariat ion s inth e vario us ways

Es CI SE s, GROUP 18 .

1 . Exercises 6 , 7 an dix B , p ages 1 50 an

d 8 , App en d 1 51 .

2 . Comp ose a th eme ; harmon ize and t reat it ina ma n

ner similar to

D iagram 10 , p g
a e 1 2 5 .

3 Compose a th eme of at least eigh t measures ; harmon

ize an
d write
 “
1 68

CHAPTER XIX .

TH E S O N ATA F O R M .

As th e form grows more c omplic ated , th e n eed of con t rapun tal skill
bec omes more apparen t an d th is n eed man ifests itself whenc on sid e ring
t h e Son a ta Form Th e Son
. ata Form is t h e most c omplex of all t h e forms

an d requires t he great es t amoun t Of tec hniqu e This chapt er,therefore

.

aims on ly t o th e equippin g Of th e stud en t wit h kn owled ge sufi c ien t to

t h e an alyzationan d apprec ia tionOf t h e Son ata Form .

Th e t erm Son ata is applie d inthree difie ren t ways Pre vious t o
.

th e work of Philipp Eman uel B ac h ( 1 7 1 4 t h e t erm was used

loosely an d mean t almost an y k ind O f a c om p ositio n for in s t rum en ts in
c on t radis t inc t iont o th e c an ta t a .To d ay , th e t erm is used more d efi
n it ely an d is applied to a c omposit ionfor solo in st rumen t (usu ally in
four separate movemen ts) base d onmore c on ven tion al lin es Thirdly , .

t h e t e rm is applie d inc on jun c t ion with th e t erm Form (Son ”

at a Form)

t o sign ify a c ertainst ruc t ure of on e or more Of t h e move me n ts Of a

Son at a .

T h m od ernSon ll y c on i s Of fou r sep ara t e movemen h

3 e a ta us u a s st t s e s c ,

Of whic h is a c omple t e form but all Of whic h c on st it u t e a whole wit h more

or le s s in t e rrelation ship be t ween th e various movemen ts Th e common

.

dispositionOf th e movemen t s is : r st movemen t Allegro ; an

,
d mov emen t ,

Slow ; 3rd movemen t Min u et or S ch e rzo ; 4t h movemen

”
,
t Allegro , .

Th e first movemen t is fre qu en t ly pre c ed ed by anin t rod u ct ionusu ally in

slow t empo Th e firs t movemen t is inSon ata Form Th e followin g
n
. .

moveme ts may be inSon ata Form or inan y O f t h e f orm s h ere t of o re

c on sid e red A c ompositionfor orc hes t ra similar t o th e Son at a is called

‘

n
.

a S ymphon y T h.e S o ata a n d S y m ph on y so m e t im es co n sis t o f t h ree

movemen ts .

Th e Son a ta Form is , ina b road n Three Part Form Th e first

se se , -
.

p a rt ( )
A is c alled
“
E xp osit ion ,
”
t h e se c on d p a r t ( )
B “
, D ev e lop m en t
”
,

an d th e t hird part (A) Recapitula tion Th e Expositionc on sists Of t wo

n n
.

or more themes i n con trast in m n

!

g k ey s ; t h e D e v e l op e t c o s ist s Of a

un foldin g of th e lat en t possibilit ies inth e motives Of the th emes ina

t ran sit ional man n e r ; th e Recapit ula tio n c on s tat emen
"

sis ts Of a re t Of th e

to n
al sc heme Of st ruc t u re is showninth e followin
g diagram
 THE S ON ATA FO RM .
sag

D iag ram 12 .

S ta te men t of t wo th e mes
Is t th e me inmaink e y
d th e me incon
an tra stin
g h e y .

( D u a l Tona lity ) .

Tran sition s may of c ourse oc cu r

, , N ot infrequen tly th e Recapit u la tion
,
.

is int wo c on t ras ting keys th e first theme usually inth e subd omin , an t of
t h e maink ey an d th e sec o nd theme inth e maink ey Notic e that such .

a t on al sc heme res ults inth e reappe aran ce of bot h t he mes indifieren t

keys from t hose inwhich they appear inth e Exp osition Th e Develop .

men t se c t ionis th e most c omplic at ed part of th e movemen t and is th e

least rigid Oft en times it part akes th e c harac t er of a free fan
. tasia .

He re n ,
ew musical t hou ghts ge rmin at e from th e origin al mot ives an d
more or less c haot ic t on alit y oc curs givin g us cont rast an d v ariety Th e , .

ret urnat R e c ap it ulat iont o t h e th emes int heir origin al form w it h em

phasis uponth e maink ey roun ds up th e movemen t an d gives us u n it y .

Subsidiary themes episod es passage work of rhapsodical t ran

, sit ion
, al , ,

or ca d e n cial mat e rial repe t it ion Of themes (so me t imes v aried some t imes
, ,

ve rbatim) c on c lusiont hemes an

, d c od as are frequen t ly foun d inth e
movement .

Overt u res movemen , t ets an

ts of t rios quart ets quin d conc e rt os are , , ,

writ t eninSon at a Form .

For a spec ific example Of th e Son at a Form th e firs t move men t Of ,

B ee t hovens Symphon y N o 3 inE d at (Eroic a Op 5 5) is c hosenfor

’
.
-

, .

brief an alysis
‘
.

I nan g an
aly zin s tral score , n
orch e o t ice nof th e fact th at th e cla rin
must be tak e ets ,

h orn
s, n
d t rump e
a in
g inst rument s a n
d a re w rit t e
”
nt ransp osed ; fo r

exa mfl e : writ for th e B fia t -

n
Cla ri e t or B fia t Trum
-

mt rea lly

sou n
ds b fla t -
n
t h e t o es a re n
o ta te d a ma jor seco n
d h ig h e r

tha nt h ey c for ane da t in st ru me nt ac t ua lly -

soun ds th e scale of e as t e t c All strin fl (in h i n ) b n l

g s u
, t e
s .or c est ra t o s o oes ,E g ish , ,

h orn s bassoon
, s t ube s an d t rombon
, es (wh e n
, inth e bass or c clefs) are writ t en con -

t h a t is acc ordin g to th e t on es th ey soun Trombon es w rit t e ninth e g c le f

”
c ert , , d .
-

h owever are t rea t ed as tran

, sp osin g ins t ru m e nt s in b fla t -
.

Th e o rch est ral score t o th is S ymp h on y sh ou ld be inth e han t th at h e may an

d s of th e st ude n aly ze
t h e ha rmo n ic p ro g r essio n
s as we ll as t o assist h im in h is an
a lysis o f t h e Fo rm Anin exp e n
sive min ia .

ture sc o re is n
o btai ab le inth e Payn s t E u len
e S e ries p ub lish ed b y E rn be rg , L e ip zig , n
d is fo r sale by
‘

most la rg e mus ic d eale r) .

1 30 MUS I C c o u p o srr ro n .

Th e Symph on
y (Eroica) is sc ored for t wo flutes , two oboe
s , t wo
n
clari ets ( nb dat ) two
i -
n th ree b c han
assoo s , gin g) s (in
h orn e flat , but-

t wo trumpets (in e flat ) tympan i d ouble bass an

-

, d quarte t of st rin
, gs , .

Theme 1 which rs th e chief theme is soun ded by th e cello pian o but

'

in trod u ced by two forte t on ic c hords by full orchest ra Th e motive is .

t ossed aroun d amon g t h e diffe ren t inst rumen ts unt il t h e ent rance of a

d omin
an y inth e k ey Of b flat prec ed ed inth e fort y fourt h
t h armon - -

measure by augment ed sixt h c hords Th e ton a lit y Of b d at is on

ly .
-

n
t ic a l passage lea d s t o th e n d theme proper (whic h is int h e k ey of
seco

b d at major) at th e eig ht y third measure

- -
At th e on e h un d red an
. dn in th
measure a passage foun ded uponth e rhyth m an d id eas of th e prin c ip al

an d su bsidiary themes commen ces Notice at th e on . e h un d red an d

t wen t y third measure th e disson
-
an t c hords uponth e weak beats whic h
Obsc ure t h e t on a lit y un t il at th e on e hun d red an d twen t y e igh th measure -

t h e d omin an t seve n th c hord in its first in version in th e k ey Of f en t e rs an d

is reit erated forzan do for four measures Th e rhyt h m int hes e four .

measures is inefl ec t t wo four At th e en

,
-
d Of th e Exposit ionth e material
.

Of th e lon g c od a wh ic h ends t h e m ov e m e n t is fo res h ad o we d T h e .

Exp osit ionn ow rep ea ts verbatim .

Th e Exposit iond oes n ot en d with a fin al cad en ce but c oa le s c es w ith

t h e D eve lopmen t Th e D evelop men
. t c on sist s of t h e un foldin g of t h e
p o t en t ia lit ies o f t h e fir st t h eme an d th e s ub sid ia r y t h em e Th e m a t e ria l .

Of th e sec on d theme is very lit tle used whic h is anun usual circ umstan ce

ina Deve lop men t Th e t ran

. sition s are rad ical an d in terestin g; n ot e ,

especially measures 1 8 1 to 1 8 5
, Th e radical disson
. an ces also d es e r ve

st ud y for example measure 248 t o 2 7 9 an

, , d else where bu t above all , ,

measures 394 an d 39 5 whe re t h e hornsoun ds th e t on ic c hord inEb major

wh ile th e violin s soun d th e d omin an t seven t h c hord This plac e h as .

th e part ofmusician s an d pub lishers AnEpisod e inE min or c ommen

. ces -

at measu re 28 4 This episod e reappears at measure 32 2 inE dat min

. or -
.

At measure 3 8 theme 1 reap pears for furthe r d evelopmen

, t an d evolves ,

t ran sit ion ally t o a fortissimo c limax for f ull orc hes tra at measure 36 2
, .

Fragmen ts Of t heme on e are heard on a dimin uen do unt il at measure 394 ,

t h eme 1 is hea rd m th e horn with th e rad ical ac compan imen t men tion ed

above . This is followed by a modulationto F major th e bornagain -

soun din g th em e 1 bu t thi s tim e inF (m eas ure A t m eas ure 4 1 6 th e

firs t violinan d flute soun d th eme 1 inD flat (measure -

 TH E S O N ATA FO R M 1
3 :
.

Th e D evelop men
t an
d Recapit ulationc oalesc e n
d th e
a first th eme

from Exp ositionbut n

th e ot sufi cien tly to d est roy un ity Th e Sub .

sidiary t h e me reappea rs at measure 44 8 bu t t his time onth e domin an t

h armon y inE dat Th e con n -
g t ran
ec tin al p assage c ommen
sit ion
. ces at

measure 468 bu t this time a fifth lower thaninth e Exp osition Th e .

secon d theme en ters at measure 468 inE flat Compare t h e p assage Of

-
.

disson an ces commen cing at measure 5 26 with th e p assage inth e Exp osi

Th e Cod a commen c es at measure 55 2 c oalesc in g with th e Recapit ula

tion I t is anexample of on e of B eet hoven s c on tribu tion s t o t h e Son
’
. ata

Form an d is n ot a mere termin ation or appen dage but a comp lex part of
t h e movemen t Not ice that th e prin
. cipal t heme is soun ded first up on
t h e E flat chord , thenupon
-
t h e D flat major chord , an
-
d thirdly uponth e
C major chord
-
N o mod ulatin. g chords are used un til measure 569 .

Here th e d omin an t harmon y inC major is in -

sisted uponun til measure

5 73 wh e re in s t ea d O f reso l vin g ,
it p ro g res ses t o t h e d o m in a nt h ar m on y in
th e k ey of F At measure 59 5 a n
. ewmelodious passage in ch romatic an d
lyric like style e n
-
t e rs, soun d ed by c ello an d bassooninun ison Com
.

men cin g a t t h e cres ce n d o , m eas ur e 6 2 7, w e are le d b a c k t o th e m a m

t on alit y , an d from here t o th e en d Of th e movemen t th e k ey Of E fla t -

d omin ee rs wit h on ly oc casion al an d temporary t ran sition . s Not ice th e

in sist en c e upon domin an t harmon y inth e home k ey c ommen cin g at th e
syn c opat ion , m eas u r e 6 8 1 a n d con t in ui n g t h ro u gh t h e fo u r t h m eas u r e

from th e en d .

A diagrammat ic illust rat ionof th e st ruc t ure of Er oica follows

D iagra m 13
.

Th e n alyze th e harmon
t should an
st u d e y and form of seve ral move
ments inSona t a Form T h e B ee t hovenpian . atas are excellen
ofort e son t
,3, s wam CO MPO S I TION .

TH E M I XE D A N D F R E E F O R M S .

Th e Pot pom -
n or nof themes from an
Medley c o sis ts Of a selec tio

op era folk son

, gs or n ational songs e t c st run
, g t oget her Incon t rast t o , .
,

a re an othe r Operatic medleys usu ally con

. sist of a selec tionOf t h e

most popular t un es Of a single opera although occasion ally on e fin ds

a selec tion consisting Of t un
es from various operas Th e p ot pourri h as .
-

no se t form an d n o value other than suous on

a se n e .
‘

t h e k ey

trod uc tion An
In da n
te . n
sost e u t o .
i

In
terlud e . Temp o .
i Mod ulat ory .

Ch orus . Allegro fiocoso . Valse .

i an
d }

Alfio Son Allegre tto 1

’
s g . .

Ch urch Sce n
e . Moderato assai . C a n
d l’
.

Lola s Son
g
’
. Alleg retto .
i

In fon
t ermezzo Sin ico . An
dan
tin
o sost e n
ut o .
1 F Major .

In
t erlud e . Allegro Mod erato .
1 Mod ula tory .

n
D ri kin
g So n Largh et to
g . .

a t ion en
Te rmin d in
g t h e se le ct ionin , G Major .

Th e popular frequ en tly inth e st yle of a p ot pourri bu t in

overtu re is -

t his c ase t h e t h e mes are origin al Such anovert ure as Suppe s P oet an d .
’

P eas ant h as m o re u nit y h owe ve r thanmost ope ratic n, ational and folk , , ,

medleys Th e followin
. g diagram shows th e dispositionof th e move
t s Of P oet an
men d P easan
t .

0 Th e
p ot
-

p ou rri lac k s u n
ity wh ich is a n
ecsss ry q uality of all arts .
 TH E MI XED AN D FREE FO RMS .

t o hisfancy or imagin ation Th e form is wholly free but un

. ity is main
,

tain ed by various d evic es suc h as th e persist en ce of motives c harac t er ,

istic rhyth mic an d harmon ic figures e t c Inman y of th e in

, . st rumen tal
works Of th e early c ompose rs in c lud ing those of th e early En
,
glish an d , ,

lat er those of J S Bac h may be foun

,
. .
, d th e Old er applica t ionof t h e t erm .

of a th eme free imitat ion Sin

by ce then,
th
. e t erm h as c o m e t o be

applied t o th e d evelop ment sec tionOf th e Son ata Form, as well as fre

quen t ly and in excusably t o th e p ot pourri In t e res tin

-
g Fan .t asias may
be foun d inth e works Of Mozart , B eet hoven , S c h u m ann, a nd in th ose o f
our presen
t day co mposers .

Program mi is in
us c st rumen tal music , th e mood , form an d con t ext of
which is d et ermin ed either by its t it le or by a d es c rip tionprin ted upon
t h e c omposition, rat h e r t ha nby ab st ra ct music al forma lities A lt h ou
.
g h
th e old er mpose rs in
co g Kuhn
clud in au , B ac h , Coup e rinan d Rameau ,
wrote a few small works Of t his kin d , Pro gram M usic did n ot be c ome a

c ommonst yle un til th e Roman tic Pe riod .

Th e comparatively late d evelopmen t of Program M usic was d u e prin

cip ally t o th e in ad equa cies inth e med ia of e xpression , t h e imm a t ur ed
stat e Of in st t umen tal music , t h e bigot ry Of musical theorists , an d th e
en viron men t an d lac k of bread th int h e ed ucationOf th e so called Clas -
1 34 MUS I C C O MPO SI TI ON .

Inth ePastoral Symph on y B ee thovenOp en ed n

, ewpaths an d sin
c e its

prod uctiont h e list of programma tic music h as grownan d much Of th e ,

best music is n ow eit h er realist ic ch arac t erist ic or d es cript ive

, , .

Moderncomposers seem to prefer a defin ite in sp iratio nt o a more or

les s prosaic weavin g Of ton es They d esire to express intheir music th e

.

o bjec t , eve n
t ph ilosophy
, , or pic ture . TO a s ec ific
p spirat ion
in , a com

neces sitat es concre t e stud y an d no bett er examp les for su c h st u d y can

,

be h ad thant h e Symphon ic Poems of Liszt an d h is suc cessors .

For th e ben efit Of t hose st u d ents wh o can not Ob tain sc ores of Sy m

ph on ic Poems a brief an alysis of a Symphon

, ic Poem is given .

Les P relude s , FRAN Z Man .

d ed u pona portion
Th e c ompositionis foun e s Meditatio n
of Lamart in
’
s,

a p n
rose t ra slat io nOf whic h follows
Wha t is our life but a series Of Preludes to th e un kn own son g , th e first so le mn no t e

of wh ich is sound ed by d eath ! Love is th e en ch ante d dawnof every life ; bu t wh a t

is th e d estin y w h ere t h e firs t joys of h ap p in

ess are n ot int err u p te d b y som e st or m ,

An d wh ere is th e woun d ed sp irit tha t d oes n ot seek , wh en one of it s t emp es t s is ove r ,

to calm it s memories inth e p eaceful life of th e coun try ! Ye t ma ncan n ot lon g res ig n
h imself to th e kin dly mon ot on y w hich firs t c h ar m e d him in his co m p a nio nshi p w it h
N a t ure , an
d wh en th e trump e t s loud blast has called him to arms, h e rush es to t h e
“ ’ ”

p oin t of da ng er ,
reg ard less o f th e na t ure o f t h e str ife, inord er to gain , by co m b a t ,

Th e Symphon ic Poem is sc ored for 3 flut es , 2 oboes, 2 c larin e ts , 2

bassoon s , 2 t rumpe ts , 3 t rombon

s , 4 horn es , bass t uba, t ympan
i, d rums ,
c ym b als h a
,
r p an d ,
t h e usu a l st rin gs .

Th e compositionmay be divid ed arbit rarily in t o six parts played ,

h owev e r w it h ou t p a u se .E a c h p ar t d e p ic ts a difl eren t phase Of Lamar

,

tin e s p
’
o e m b u t
,
t h e wh ole is fo u n d e d p rin c ip ally upont wo th emes whic h
a p pea r in v ar ious m e l od ic ha r,m on ic , a n d r hy t hmic gu ises A d ia g ra m .
THE MIXE D AN D F R EE FORKS .

Diag nm 16
.
’
1 36 . MUSIC COMPOS ITI ON

APPENDIX A .

M E L O D IE S F R O M B AC H S
’
C H OR A L S .
ME LO D I ES FR O M B AC H S C HO RALS
'
.
‘39
 DI ES FR OM B AC II S C HO RALS
’
l '
.
ME L O DI E S FR O M B ACH S
'
C H O R AL S .
ME m S FR O M BAC H S C HORALS
’
.
34 5
 MI S CEL LAN EO US EXE R C I S ES .
1 47

APPENDIX B .

M I S C E L L AN E OU S E XE R C I S E S .

I Harmon g violinsolo with pian

ize t h e followin imen
ofort e ac compan t .

P
. MAS CAON I .
1 48 MUS I C CO MPO S I TION .

2 . ize t h e followin
Harmon g I st violinpart for st rin
g quart et
R S C H UMAN N
. .

3 Harmon
ize th e followin
g melod y for pian
ofort e solo

MI N UET
.
 MI S C ELLAN EO US EXER C I S ES .
1 49

4
. C ompose a for mixed c horus t o th e followin
g poem by
Thomas Moore
THOU AR T 0 GOD , .

Thou art 0 God t h e life an

, , d ligh t
Of all th is won d rous world we see ;
I ts glow by day its smile by n
, ight ,

Are but reflec tion s c aught from thee ;

Where e r we t urnth y glories shin

’
,
e ,

An d all t hings fair an d bright are t hin

e!

Whenday with fare well beam d e lays

, ,

Amon g t h e opening clouds of even ,

An d we canalmost t hin k we gaze

Through gold envistas in t o heaven ,

Th ose hues t hat make th e suns d ec lin

, e
’

SO soft so radian
,
t Lord !are t hin
,
e .
1 50 M US I C CO MPOS ITI ON .

Whenn igh t with win

,
gs of st arry gloom ,

O ersh adows all th e earth an d skies

’
,

Like some d ark beaut eous bird whose plume

, ,

I s sparklin g wit h un n umbered eye s ,

That sac red gloom t hose fires divin

,
e ,

SO gran d so c oun
,
t les s Lord i at e t hin
,
e .

Whenyout hful Sprin g aroun d u s breathes ,

Thy spirit warms h er fragran t sigh ;

And every flower t h e summer wreathes
I s bornben e ath t hat kin dlin
g ey e .

Where er we t urnt h y glories shin

’
,
e ,

And all thin

gs fair an d bright are t hin e .

5 H a
.rmon ize th e following so n g wit h p ianofort e ac c o imen
mpan t .

Supply anIn t rod uc t ionan d Cod a :

H KJE R UL F
. .

6 Compose a melod y foun

. d ed uponth e followin g motive Add a .

c on
se qu ent pe riod ina c on t ras tin
g k ey an d restat e t h e first pe riod .

Harmon ize for ( rst ) pian

ofort e solo ( zu d ) st ring
, qu ar t e t and (3 )
rd ,

v oc a l qu art e t
 MI S C ELL AN EO US EX E R C I S ES 1
5 1
.

7 C. orn p ose t h ree or m ore con t ras t ing se c t ions (t he mes , n

i t ermezzi or
ep isod es ) t o t h e followin g subjec t Harmon
. ize for pian ofort e an d supply
a Cod a :
W A MozART
. . .

8 Writ e fou r or more variation

. s onth e followin
g t heme . Harmon
ize
ofort e solo or st rin
for pian g quart et
JO H N B UL L .
 MUS I C C OMPOS ITI ON
1 5 2 .

APPENDIX C .

I . PR I N C I P AL TR I AD S O F TH E M AJOR M O D E IN R OOT
PO S ITIO N.

II . AL L TH E TR I AD S OF TH E M AJOR M OD E IN R OO T
PO S ITI O N .
 TR I AD "
S 0 1 TH E MI N O R MODE 1 53

I II . TH E TR I AD S O F TH E M I N O R M O D E I N R OO T PO S I T I O N .
1 56 MUSI C CO MPO S ITI ON .

V I I . A LTE R E D CH OR DS .

A min
or

V I II . M I S C E LLAN E O US E XE R C I S E S F RO M B AC H S C H O R A L S
’
.
 DEFI N I TI ON S .
, 59

APPENDIX D .

D E F I N I TI O N S .

OF TECHNICAL TE RMS USED IN

ACTIVE A t on
e which is n
. ot fin al and whe nheard , leaves some t hin g
t o be d esire d Anac tive t one or c hord h as more o r less d e fin
. d en
it e t en cy

to progress t o an
o ther t on
e o r c hord .

CH ORDAI . TONE . A t on
e which is a me mb er Of th e c hord with wh ich

it sou n
ds .

CON CEALED m s. A progressioninwhich a ny t wo vo ices sit u ,

ate d a n
y dis tance apa r t o t h e r t hana fif t h proc ee d ,
inparallel motiont o
a fifth .
(See P arallel Fifths ) .

D I SS ON ANCE . n f
glin
A min g of two or more t on
es wit h u rest ul e fl ec t .

Th e t erm is c omparative and th e amoun t of ac t ivit y in t inan

heren
, y
disson an ds uponera culture an
t d ep e n d en vironmen t , ,
.

FACTO R A ton e member of a c hord ; called inmost text books

.

int e rval .

FIx ED UN ISON Th e res ult of th e diaton

. ic resolutionto a un isonOf
a voic e part from th e disson an t Of th e int erval Of a secon d .

FORM Ar ran
. gemen t of th e parts an d elemen ts (rhyt hms, ph rases,
se c tion
s, pe riods , theme s , an d t on alities) con stit uent of music by which
symmet ry Of out lin e is Obt ain ed wit h variety an d unity .

HOMOPHON I C Pertain in g to t hat st yle Of c ompositionhavin

. g on e

predomin atin g melody accompan ied by oth er parts which supply th e

Harmon y Opposed to polyphon
. ic .
1 60 MUS I C CO MPO S ITI ON .

c arac t eristic
h through c o stan
n t applic ationont h e part of composers an
d
is oft enopposed t o log ical theory .

MODUL ATI ON summate c han

A c on .
ge of k ey wh ich ent ers int o t h e

archit e c t ure Of a c omposition .

MON OTONI C Charact erized by a sin

. gle mainkey .

MOTIVE A melod ic germ A group of n

. ot es fro m which a period .
,

movemen t or c omposition may be d eveloped

, .

NB Take n
. otice .

N ON CHORDAL TONE-
A ton e whic h is n ot a membe r of t h e c hord
.

wit h which it soun ds .

Th e sy mbol ( X ) p la ced nonch ord al t on esover n

otes d en
Th e sy mbol en otes -
.

closed by p aren e havin

ifies a ch o rd al ton
th eses sig n g a c h a ract e ristic o f a n
o nc h o rdal -

t one .

PARALLE L su m 7 . A progressioninwhich ny t w o v oices sit a

ua t ed a

fift h (or t welfth , et c .

) apar t pro cee d inparalle l m o tion t o a no t h e r fif t h .

CON SE CUTIVE FI FTHs A p rogressioninwh ich an

.
—
y t wo voices sit uat ed a fifth
(o r t we lfth , e t c ) ap a rt p rocee
. d ineit h er c ont rary or p ar alle l mot iont o ano th e r fift h .

(See Con cealed Fifths ) .

PARALLE L 8 m s . A progressioninwhic h ny t wo voice

s
a sit uat ed an
oc t ave (d oub le oc tave , e t c ) apar t proc ee d in
. parallel motiont o an ot her

oc ta ve .

CON SE CUTIVE OCTAVES . A p rogressionin which n y t

a wo voices situa ted a n
oct ave (d ouble oc t ave , e t c ) . ap art p roc eed ineith er con
t rary or p aralle l mo tionto

PE RI ODA complet e musical sen

. t ence .

PHR ASE A port ionof a pe riod t ermin

. ating with a c ad en
ce .

POLYPHON IC Pert aining t o that style of compositionhavin

. g t wo or
more in d en
d epen t melod ies simultan eously , harmon izin g one with ah

RE SOLUTI ON . Th e progressionof a d isson ant c hord t o anot her c hord

su ch as permits th e fac t ors Of th e former t o proc eed ac cord ing t o t heir

nn
c ies
te de .

F CADEN CIN O RESOLUTI ON disson

. an Th e nof
t ch ord to th e ch ord
resolutio a

wh ose root is sit uated a fourth above (or a fifth below) th e root of t h e former ch ord .

N ON C ADEN CIN C R E SOLUTION OR PR OORESSI ON

-
A res olut ionor p rogres sio no f .

a ch ord to an y ch ord o th e r t h a nt h e one wh ose root is sit ua t ed a fourth abo ve ( or a

fift h below) t h e root Of t h e former ch o rd .

 DEFI N I TI ON S .
1 61

TENDEN CY . A c haracteristic at t ri but e bf active ton

es .

TR AN S ITI ON . A t ransient chan ge of k ey .

TRI AD . A c hord Of t hree n

t o es .

Major Triad n
c o sists of a root (or d amen
fun tal) ton
e ; its major 3rd
p erfect st h .

Min
or Triad n
co sist s o f a root ton
e , it s m ino r 3rd a nd it s p erfec t st h.

D imin
ish ed Triad n
co sists of a root ton e , its min or 3rd an d it s dimin ish ed
Aug ment ed Triad con
sists Of a root to n
e , its major st d n
d its augmen
a t ed