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MANUAL OF HARMONY:

PRACTICAL GUDE TO ITS STUDY

FBEPABBD KSPEOIAIXT FOB THl

CONSERVATORY OF MUSIC AT LEIPSIO.

BX

EENST FEIEDRICH EICHTER,

mnYEBSITY UT7ST0-DTBE0T0B, ORGANIST OF THB CHUBOH OF ST. NIOOLAI, AlTD tW"

STBUOTOR m THB OONSEBYATOBY OF KUSIO.

TRANSLATED U-ROM THE LATEST GERMAN EDITION

By JOHN P. MOKGAN,

ALUMNUS OF THB LEIPSIO OONSEBYATOBY OF MUSIC, AND PUPIL OF THB AUTHOR

FOURTEENTH EDITION.

". "
" " - "

*
J * " " " ^

" " ""*"" J J J

'
" t J
-J "" J J

NEW YORK:

G. ScHiEMER, 35 Union Squat?e (West Side).

 '.r-r\

.n
1 "\

Bntered, aooordlng to Act of Congress, in the year 18#ft Of

G. SCHIRMER,

tlie Clerk*s Office of the District Goart of the United Stotes for the Northern Distrtet of New

628951
 TBANSLATOR'S PRBFAOB.

In offering to the American pnbKc this translation of Biohteb's

Harmonielehbb we have no hesitation in saying, that we

need

a translation the best text-hook of Harmony which has, as

offer of
been to the world.
et, given
No one kaows better than its author the road which one must

ake to become a harmonist no one has been more

practical ; and

uccessful in leading pupils to real success.

The Manual contains, the outUnes of the course which has

roved itself the best during his many years of efficient labor as

nstructor in Harmony in the Conservatory of Leipsic ; and the im-

mens

the has had in Europe, shows in what estimation

sale work
t is held by the musical public.
A few remarks as to the translation : ^Every one who is at
"

al

cquainted with the matter, knows how exceedingly difficult it is

o do justice to a German scientific in an English translation

work

nd in no science is the and definite English terms

poverty of exact

reater than in that of music.

The translator has striven to throughout, the exact sense
give,

f the original, without any embellishment for the sake attrac-

tiveness
of

and has always preferred a square-cut sentence containing

he idea of the original in fuU, to a more smoothly-rounded one

hich would omit or add something.

A few or for clearness,
clauses words which seemed necessary
ave been in square brackets.
enclosed
The whole work has been as a duty to a
performed pleasant
v tbanslatob's preface.

eacher to whom the translator owes all gratitude, and in behall

f the many earnest students in this country, are

who utterly out
with-

an adequate^ pradiml Manual of Harmony and Introduction to

oimterpoint.

Thanks are especially due to his revered father, Bev. JoHK

organ, D. D., of Oberlin College, for his kind assistance in the

ork, which, without the aid of his comprehensive knowledge o

anguage in general, and of the German ia particular, must have

een done much less accurately.

JOHN P. MOBaAN.

New York, June IH, 1867.

 FROM THE PREFACE TO THE FIRST EDmON.

The immediate for this text boot o

most occasion pubEshing
armony is indicated in the title. It was desirable, in connec-
tion

the course of studies in the theory of music,

with practical
o into the hands the pupils a help for the explanation o
put of
he doctrines brought forward, for their repetition. The quali"
and
ies of a the believes to be these : It must
such man^al, author

ontain the most essential^ fundamental part the musical theory eoo
of
ressed in a manner irief hut as complete as possible ; there must h

hese fundamental features always accompanied by and

reference
in late
qualify for
uidance to the practical application^ order to

ttempts at composition.
The book contains no scientifically theoretic treatise on mony
har-

but, although as far as is the case with any system o

armony, it is upon a firm basis, is only dedicated to
supported
he practical the scanty means now accessible,
object, which with
be very difficult to attain in an abstractly scientific
would way.
There has, indeed, ever been a disposition to inquire after a

athematical definiteness in rules, and

musical especially youth,

pposed to the belief in authority, would like to have everything

0 clear that no doubt would be possible, much as it shrinks on the

ther side,from learning, by means of the knife, to know

anatomical

nd understand the blooming hfe of art ; and it is not to be denied

hat in this respect a is foimd in literature,

want musical which
o one has as yet entirely succeeded in supplying. All attempts
f the sort have as yet failed to create a really tenable cally
scientifi-

musical system, according to which, through orm fundamental

rinciple all phenomena in the musical realm are foimd exhibited

always necessary consequences, and what philosophers, mathe-

matician

and physicists have accomplished in this i

regard,
ndeed worthy of attention, but in part, too much divided into

solated to allow the easy discovery of the

portions connecting
inks for the of the whole, in part, too abstract,
completion serving
itself less than other with all the
usic objects, and understanding

things in it, still having little reference to the

f musical shown
is, after all, of the most immediate im-
por
roperly musical, which
the What is laid down in
with musician. musical
ext books of a scientific basis, has not, however, hitherto
verified
tself, because it in part as application of single learned tions,
investiga-

was just as little able to create a system complete in itself

indubitable conclusions, and in part, as a fanciful structure,

ith
*
s without scientific basis.
utterly
Still, rightly regarded, this deficiency is perceptible only to the

musician, who likes to busy himself theory,

iper and educated with

ot, however, so disadvantageous to the advancing student music

of
hat his immediate must suffer in consequence of it ; and
education
#

his scepticism, referred to above, might be compared in a certain

asure, with that childish mode of procedure, which from over

reat curiosity, would get at the origin of all things through ques-
tions

which seldom can be answered comprehensibly enough for

he questioner's stage of education. The advancing student of

has to apply his whole power to his technical
usic education,
ecause it will cost him time and trouble enough to attain the

starting from which he can with greater ease

tand-point, advance
owards the position of a real artist. Here the question to be

;sked is not Why ? the inquiry of immediate application is. How

* It may here be to to
permitted call attention a work which might be adapted t

a Die Natur der Harmonik Metrih hy M. Hauptmann,

he thing to be done is, from experience, from the hsst t
models,

nderstand, not to calculate, the necessity of certain principles

ater, if education, acquirements, capability and calling require it

t will be time enough to investigate the why, and all edge

knowl-

obtained from experience will be an

aid not to be despised,

or discovering also the laws of nature pertaining to music.

This practical aim in view, the author was at pains to give the

xhibition of harmony, aud of the propositions resulting from

bservation and experience, in a simple and clear manner, since

and
e destined the book for study to let the truths, perhaps
, contained
n it, work through themselves ; without wishing, through an espe-
cially
learned dress or an attractive form, to obtain for them an

drde readers. It contains the doctrine of harmony

xtended of
omplete, with hints a rational method of performing exercises,
.for
or the fixing of the whole, and for the ready carrying out of al
armonic principles. These exercises to the beginning
extend o

; the doctrine itself

ontrapuntal studies of counterpoint will fol
low

however, in a later volume after the same plan.

In closing, still a word to the disciple of art ; an earnest one,

ndeed, but well meant.

It is our to reach a distant goal ; this goal is the actual duct

pro-
object
of works of art. For this a vigorously exercised, enduring

ctivity is necessary, to comprehend the musical principles, to

orm that is won into structures capable of

which and recognized
ife. Those will bitterly deceive themselves, who, filled with the

orks of our great masters, gifted with a poetic mind, think to be

ble to pluck the blossoms, learning thoroughly to know

without

nd prove the technical aids ; who are of the erroneous opinion

hat the consecration of beauty which extends itself over the work

art the dissection the that the first

f suffers under of material, or

atural formations of the latter never develop themselves

could
o that requisite beauty. No person of talent has ever, without
horough knowledge (to was, to be sure, easier to
attain which
im than to the less
ill PBEFAOE.

the of art thrive. Exercise without consciousness

achievements
s not artistic skill, it is only the working of the instinct, which

ill always make the want of a complete education sensible. The

piritual thought cannot do without the form, and it is this which

ust be and learned. Even if it often comes the

recognized with

onception of itself, still, with music, more than with anything

lse, it is of importance, as it were, logically to dissect the thought,

o remodel it iato new forms, to transform it iq the most manifold

nner. The knowledge of these things and skill in them must

e acquired by the person of talent also, and this can only be

ttained by taking pains to recognize the musical laws, and en-

dea
to imitate and extend what others have already long

Qce discovered. Earnest, persevering activity, and above a

all,

ational method for the development of maturity, for the tion

forma-

of works of art capable of hf e, wiU, in connection with musical

apacity, certainly lead to the goaL

 FROM THE PREFACE TO THE THHID EDITION.

Although in the present edition also, the methodical order o

has
the former ones been retained, still it has received mateiial
The exercises for of instruction hare
additions. many subjects
been increased in number, where it seemed necessary.
As concerns the last, some books have appeared lately which
re in a measure related to the present manual, : OefneraUxisS'
viz
Vebungen nebst Kurzen Erlauterungen by Benedict WmMANN, and
Uebungen zum Stvdium der Harmonie und des Contrapunhtes, by

eed. Hiller.

Although this is not the place to speak more particularly of

hese works, still let me here be permitted to thank these authors
or their friendly reference to my work, to make the following
and

dditional remarks in respect to it. Although the study of the

heory of music through the so-called thorough-bass doctrine has

ong since yielded to a more rational method, still the thorough-bass

iguring, as means to the end, has to me proved itself too excellent,

o admit of my not using it for the first exercises in harmonic

onnections, as in general for the first harmonic

applications of
nowledge. A farther, more use this has not been
extended of

ade in my text book itself, but in the first of the works

bove to, and, indeed, for in part follow

referred exercises which,
he course text book, in part at other The
of my aim practice.
X PBEFAOE.

work of HiLLER, however, besides the exercises which professedly

follow the coiunse of my text book, ofiEers in general a rich material
for elaborations of the most manifold kind, fox
not alone
harmonic exercises, bnt for all branches theoretic
of musical cati
edu-

Since the exercises in my text book course be

could not of

exhaustive, and are, for the most part, given only in a suggestive
in order, to design both
ay when needed, others after them, works

ay here be highly recommended for this

object.

PREFACE TO THE FIFTH EDITION.

It has been my endeavor in this fifth edition, also, which

ecame necessary in a short time after the fourth, through addi-
tions,
in part through altered verbal expression, to attain that

a text book of this kind must possess, if it ful-

fill
erspicuity^ which
its end If I also venture to hope that the
completely. may

ook has been in many directions serviceable and of use, I am

that in order to "

reach the simple atd luminous
till conscious,
is my ideal, many an improvement is still to
epresentation which
e introduced. This however, does not differ essentially
edition,
rom the I wish, that beside the old friends, this
preceding, and

w may gain for itself new ones.

edition

EENST FEIEDB. KICHTEB.

liEiPsro, December^ 1863.

 TABLE OF CONTENTS.

];rTBODUGnoN." in^en^ " " " "

18

PAKT I.

HE FUM)AMEin?AL HABMONIES AM) THE CHOBDS DEBITED FROM THEM.

OBAPTKB

I. " The Triads of the Majob Scale, 21

n. " ^The Triads of the MmoB Scale, 40

III. " ^The Inversion of the Triads, 47

IV. " ^Harmonies of the Seventh {yi"rldang^, " " " "
54

V. " The Inversions of the Chord of the Seventh, ...

69

VI. " Secondary Harmonies of the Seventh, .....

64

VII. " ^The Inversion of the Secondary Chords of the Seventh, .

7?

ViU. " ^The Chords of the Seventh in connection with Chords of

Other Tone-degrees, 81

IX." On Chords of the Ninth, Eleventh and Thirteenth, .

88

X." Chromatic Alteration of the Fundamental Harmonies. tered

Al-

Chords, 91

XL" On Modulation of a Passage of Musio, " " "

.103

PABT II.

OOIDEKTAL OHOBD FOBMATIONS. TONES FOBEIGN TO THE HABMONT.

Xn." Suspensions, . .
105

Xm." The Organ-Point Stationary Voices ^sa^

n CONTENTS.

APTSS PAOV

XIV." PAssma Notes. CHANama Noms, " " " "

128

XV." Passing Chobds, " " " "

188

XVL" On the Means fob Modulation. " " " "

.141

PAET III.

BAOnOAL APPLICATION OP THE HARMONIES. THE EXEBCISES m

THEIR USE IN THE PUBE HARMONIC STEUCTUIUB.

XVII.^Thb Simfly Habmonic Accompanimbnt to a Given Voice, .

157

V ill. " of the Habmonic Accompaniment, . . .

173
^Extension

XIX." On the Development of Melody, 176

XX. " On Development of the Accompanying Voices, . . .

188

XXI. " The Exebcises in the Thbbe-voiced Movement, " . "

187

XXn. " On the Two-voiced Movement, .

193

XIII." Habmonic Elabobation of a Given Voice in IlIelodic Devel-

opment, ....
195

XIV. " ^The Five-voiced Movement, .

203

XXV." The Six, Seven and Eight-voiced Movement, "

.
206

XVI." On the Musical Fobms of Close, " " " " "
213

ndex of Subjects^
"""i.S16
 INTRODUCTION.

Op the knowledge for general instruction in mnsit

elementary wliicli

rovides, must be presupposed at the

and acquaintance with which
eginning the harmony, the which stands in the nearest
of study of portion

elation to it, viz : The Theory Intervals^ will be treated of rily

prelimina-
of
in a brief manner.
and condensed

Intervals.

The relation in which one tone to in respect to differenos*

stands another,

f pitch, is called Interval.

The greatness of the difference is directly determined according to the

umber of the degrees of the staff, upon which the two tones stand, in

espect to each other, as a in such a manner that the lowest tone

and, rule,
s reckoned as standing upon the first degree, and the higher is determined

ccording to the number of diatonic degrees lying between.

Eemakk. " ^By diatonic degrees is understood the series or progression of tones pre"

nted by any or minor scale.

raajor

If we take, for example, g as lower tone, and situated upon the firs

egree, then the a, being the higher, will oome upon the second, the 0,

igher still, upon the degriu

sixth .

6^
J^.

m .ig ig
*is:
1^
"o.

The numbers of the degrees thus, be in the

produced will expressed
ollowing manner :

12 34 5 6 78

I %
:8"
"^ " "
"" -SL

"*"" -r^ -ftfc -6^- -6^ '^

Vnison or Prime. Second. Third. Fourth. F{fth" SiaOh. Seventh, Octave*
 As a rule, we reckon only to the octave^ and begin the series again with
he tones lie above, and so on with each new octave, so that tho
which

inth degree becomes a second^ the tenth a thirds the eleventh ^ fourth^
nd so on ; just so the fifteenth becomes the octave^ the the
sixteenth

cond again.
Keasons, however, which find their explanation in the principles o
armony theory in
general, give now and then occasion for ing
designat-
and
tones which lie above the octave, according to the actual number o
degrees. The intervals from the
he series of octave upwards will, there-
fore,

receive the following double designation :

Octave. Mnth. TsntK, Eleventh. Twe^^ ThirUenOi. FaurUenth. Fifteenth.

^ ^ ^
^
^

$ :s:

"^ '^ -i^- -^ -^ -^ -rt*- -^

Second. Third. Fourth. Fifth. Siseih, S"oenih. Octave.

Greater distances between two tones, are simply reduced to their rela
iun in the lower octave.

Mare ^Particular Determination the IntervalSm

of

It is easy to see that the above presentation of the intervals, is based

pon the diatonic scale of C, and that the relations of the tones
major
lie between are not affected thereby. In like manner, they are re-
hich ga
throughout, as based upon the first tone of the diatonic scale
it is conceivable that any tone of the scale can be taken at ure
pleas-
hereas,
as lower tone, the numbers of the degrees would be
whereby altered,
the same time, differences in the degrees themselves
nd at small appear.
In to a clear view of the matter, in the of these
order gain midst mani
old it will be well to note the following :
variations, carefully principles

Tlie series intervals shown above, in which the lowest tone is firs
of
one the scale, which forms the series itself serves as foundation
of major
or all determinations intervals. These intervals are called majori
of
ome them perfect.
of
Evert/ these tones, the upper tone as well as
chromatic alteration of of
the lower, the number degrees, does
of not changing of the consequently not

their designation, but only renders a more particular determination

lter
them necessary.
of

Thus, for example, if to the fifth ^ a sharp is in any way attached, i

 :

ioD, unce It has evidently become a different fifth from what it was of ig

nally.
Or,

I ^fci^
i
Since now such of the intervals take place through cally
chromati-
alterations
or lowering them, the following various and more definitely
raising
eterminative designations are
made use of:
1. Seconds, thirds^ sevenths and ninths^ which result from the
sixths,
taking its Jlrst tone for lower tone, are
ajor scale, called major; primes,
ourths, fifths 2LTid octaves perfect.

2. If the upper tone of the major intervals be lowered a small half-step,

inor intervals result.

3. If the tone of [most] major and intervals be raised^
upper perfect
mall half-step, augmented intervals result.
4. If the lower tone of most and minor intervals be raised
perfect
alf-step, diminished intervals result.

Tol.

Fer/eet Major Major Perfect Perfect Major Major Perfect Major

I ^^ i^
12?:
^^
-o-

^^
:sz -69-

^^ ^^
.^^ if^
PHme, Second, Third. Fourth. F^th, Siath. Seventh, Octave, ITinth,

To 2.

Minor Minor Minor Minor Minor

I 'l^
;s
"^"-
Second,
"^
Third, SMh, Seventh. mnth.

To 3.
Atiffmented * Augmented Augmented
Augmented Augmented

I * ""m
4*
Prime, Second, Fourth, Fifth. Siaih,

To 4.

Diminished Diminished Diminished Diminished Diminished

'"^6 M
1^ r
JTiird, Fourth, F\fth. Seventh, Octave.

^Augmented thirds, sevenths do r/"t occur in harmonic relations. Aug

and ninths
 Rexabk. " ^Dimimsbed primes, seconds, sizihs and ninths, are harmonically inoon

oeivable, although they can be conceived of in melodic relations, u e., in t

reference

progressing intervals, not to those which sound together.

Remark on the Formation the Diminished Intervale,

of
The reason in the formation of the diminished intervals, the lower tone has been
why,

aised, notwithstanding that a like interval would result, if the tone were low-
ered
upper
lies in the peculiar relations of all the intervals in regard to their inversion, which

will be spoken of farther on.

General View and Classification the Most Used Intervals*

of

P"XXB8. Skookds.

Per/set, Auffmented, Major. Minor, AufftnentecU

I ^ I*-
I
I

Thirds. Foubtos.

Ma^or, 3(inor, DiminUhed, PerfecL Augmented, Diminiahed,

$ 3 m
:^ :ar S m
"^
"?: "- F

Fifths. Sixths.

Perfect, Augmented, Diminiahed, Major, Minor, Attgmented,

i I
"q=F==
I'- .or. :ki m

Sf.ventus. Ootavbb. Ninths.

Major, Minor. Diminiahed, Perfect, Diminiahed, Major, Minor,

^=\
i "i.
1^
m ISi

r
3 I

JHvision Intervals into Consonances Dissonancesm

of the and

If we in music consonant dissonant intervals, we

speak of and stand
under-
thereby, not well or ill sounding ones, which, to be sure, can be

by these two words, but by the first, we. understand such as

xpressed
in a satisfying relation to each other, which does not require a
tand pure,
nitel
defi-
ertain farther connection with other intervals ; by the last, such as

indicate farther it would have no

a progression, and without

atisfying sense.

The intervals in ad"

consonances comprise all those called perfect,and,
 The first are called complete consonances, the ?ast incomplete.

The dissonances are the m^jor and minor second^ and minwr
major
and diminished intervals.
eventh, and all augmented
From this we derive the following general plan :

I. CONSONANCES.

a. Complete.

The fourth, perfect octam.

perfect prim"j perfect perfect jfifthand
5 8

I i

h. Incomplete.

The and third, and the and minor sixth.

major minor major

I t.
5g"
E I

II. DISSONANCES.

The augmented prim^e, the minor and augmented second, the

major,
iminished third, the augmented and diminished fourth, the augmented

nd diminished ffth, the the and dimin

augmented sixth, major, minor
ahed seventh, the diminished octave, and the and minor ninth.
major

^u(7m"n"""{ 1 Major, Minor. Aug, 2 JHmin, 3

I I
""".
"

=5^r "

|!?i."
""
^|g:-
i
"-^
^t"^. JHmin, 4- ^k(7. 2"imin. 5 6
-'Iti^.

i %=^
l^^^|^^^3
1

Major, Minor, Dimin, 7 Dimin, 8 Major, Minor. 9

I r|"i ^i
I*
"

j=a pZE "

i*

*LBter in the in harmony, follows a fiEirther explanation 9f the peooliar

iDstruction
 Inversion (Venetssung) of tlie Intervals,

As was indicated in determining the intervals begin

already above, we

s a rule, with the lower tone. If, however, there is occasion to determine

he relation of two tones, taking the upper tone as the the

starting point,
ntervals found are called intervals bdow.

Thus, for examp '''

^^ is dj the fifth from g ; g^ however,

rom d the fifth hdow. It is easy to see that the interval cannot be te
al
by this.

It becomes different, however, if the upper interval be below

removed
he original lower tone. Since particular reference is had to this inversion
n various kinds of composition, an explanation of it may follow here.

The diatonic
major scale will, by means of this inversion, assume the
ollowing form :

ntervals above: 1 3 4 5 6 8

I ."fis:
3^.

""-
^^
gg^B
tervals i^oto : 8 7 6

There result thus, the following series of numbers :

12 3 4 5 6 7 8

8 7 6 5 4 3 2 1

hat is, through inversion, the prime becomes an octave, the a

second
"c.
eventh,
The inversion of the scale forming the basis, we must note the
major
in respect intervals
ollowing to
all intermediate :

1. All PERFECT intervals remain perfect in the inversion in the

ctave,
2. All MAJOR intervals become bcinor, aU minor major, the augmented

MINISHED, and the diminished augmented.

In the following table is exhibited a view of all the inversions :

Pbuieb. Seconds.

Perfect Augmented, Major. Minor, Augmented,

*
OBionvAi.
blTBBTALS. I jEs: rziE
^ 122: amzt'rziizrQ-
E M
OOTATBS. Sktentds.

Perfeek Diminished, Minor, Major, Diminished,

biTSBSIOV.
I 3:

V
lesn
m
 Thirds. FOUBTHS.

Major, Minor, Diminished, Fer/sct, Attffmented, Diminished,

;tei -fi-
i^-
Sixths. FUTTHS.

Major, Augmented, Perfect Diminished, Auffmented,

-:sz :;;"a
* 31
3E* pi is: ^

FiKTus. Sixths.

Perfect. Augmented. Diminished, Major, Minor.

uftf^mentad

G- i ^-
;e
.-".
ig:
I
Foctbths. Thibds.

Perfect, Diminished. Augmented. Minor, Major, Diminished,

.-Q.
"
G-
:""=
i^^i I ..O-
:W i^

Sbvknths. OOTATBS.

Major, Minor. Diminished, P"}:Ak;" Diminished.

K
:": ji II ""=^-1t
Srconds. Pbuibs.
J^ftor. Major. Augmented,

l=? T
p"- j^=^l^^ ;;a- s

An exact, certain knowledge of this essential inversion of the intervals

not alone important for the exercises in double counterpoint, but greatly
acilitates comprehension insight, in harmonic structure, for
and simple

hich reason their study is urgently to be recommended.

A few more remarks may follow here :

The reason why, in the first table of intervals, (page 16), all diminished
ntervals were formed by the lower tone a half not
raising small step, and
y lowering the upper, is clearly to be seen from the table of sions.
inver-
above
Since the diminished intervals result from the augmented through

he inversion in the octave, this formation comes itself; for

of example.

he augmented fourth the following inish

dim-
jj^z^giz must of necessity give

fifth :
#
0 MANUAL OF HARMONY

y inversion it is converted into the fifth, in the same manner as

perfect
he fifth can only produce the perfect fourth, never in any case
perfect and
oes a dissonance result from the inversion of a consonance in the octav^

ention is made of this here because, in particular cases are men

which
ioned farther on, the fourth requires a similar treatment with some

issonances, which induced some theorists in earlier times, to explain i

imply as a dissonance.

It will likewise be clear that the augmented octave, as also the ninth,

annot be inverted, since they never can become intervals helow.

Other kinds of inversions, such as those in the t^nth and twelfth, which

roduce entirely different results, may be passed over here, since they ex-
erc
no influence upon our next studies.
Since a complete certain ki"owledge of all intervals is indispensable
and
or the following harmonic stadies, the practice of them in writing, as als"
Intervals, will facilitate much their correct com-
oral solution of given
ezerM^rd """ t^* ^e
rolnpsiqn^ "
which repeatedly employed.
 HARMONY.

Combinations of simultaneous tones, formed from different intervalfl

ccording to certain fundamental principles, are called in

general, Harmo*

ies^ Chords,
The doctrine harmony makes us acquainted with the different species
of

nd kinds of chords, their treatment. This consists in

and shows natural
he right and natural, connection of the chords among themselves, that is

n the transition, the resolution, the commingling of one chord into and

ith the following.

PAET I.

FUNDAMENTAL HARMONIES AND THE CHORDS DERIVED

HE
FROM THEM.

Among the various kinds can serve for the harmonic

of chords which
oundation of a composition, those which present themselves as dent^
indepen-

without a definite connection with others, can be easily distinguished

oih those which indicate plainly a connection with other chords, and are

herefore not independent.

To first belong last the

the the most of the triads, to the chords of the
These two kinds form the fundamental harmonies, from
eventh. which
ll remaining chords are derived.

CHAPTER I.

The Triads of the Major Scale.

A triad is formed by a three different tones. Of these,

combination of
he lowest is fundamental tone, to which its third and fifth are
called
dded, e, g.

"-l *
 These triads, formed upon c, g and a, present, however, a difference as U

heir intervals. While the triads of c and g are formed here by

majof
hirds tJiirdBXi^
2MdL perfect jifths^the triad of a contains a minor perfec
ffth.
A third is called
triad with major zxA perfect ffth a

MAJOR TRIAD.

K third
trisA w\^ minor 9kvA perfectfifth 9i, ,

MINOR TRIAD.

REiCAaK. " ^The explanation of other kinds of triads cannot follow until farther od.

As the diatonic scale makes up the content of a key, and forms the
oundation of the melodic successions, so also the triads, which are founded

the different the form the

pon steps of scale, will essential part of the
armonic content.

Natural Connection the Triads of a Key*

of

The triad rests upon the first step of a key, is indeed the meet
which
mportant, the one determines the key ; there stand, however,
which others
n the nearest connection with it, which make clear its position.

In the natural presentation of the triad in thirds, the lowest tone shows
tself as fundamental, the fifth as highest tone,
and at the same time as

ts culmination.

ft. *; ^fo^

'"i FundamsntaL

Each farther addition of a new interval would either alter the chord, or

resent tones there, doubled. The next triad standing in connec-

tion
already

with this must, to be sure, as an independent chord, lie outside its tone*

ss, still, however, support itself upon one of its tones. This tone can

be found in the outer limits of the chord, viz : in c G, which

nly and g.
s here the fifth, will thus form the fundamental of the one nearest

tanding triad, while c will in the same manner form the culmination, the

ifth of the other, the fundamental of which would be F.

The connection of these three chords can be most plainly presented in

he following manner :

_,

.-t.
JQ..
9.m
F a a

It is especially to be remarked triads in the

of these three which stand

losest connection, that their tones contaih all the tones of the scale ; that
lie those most frequently employed in practice, if the key is to piesent
itself clear and distinct.

On account of their importance also, especial names have been to

given
them. The one first found, standing upon the first degree of the scale, i

called
THE TOKTIO TRIAD.

The second, upon the fifth degree,

THE DOMINANT TRIAD.

The third, upon the fourth degree,

THE SUB-DOMINANT TRIAD.

If we arrange these three chords according to their order in the soalei

they present themselves to us thus :

4.
I -"" -"-
-"-

I IV v

they themselves as triads.

nd show collectively, major

Application the Harmonies Discovered*

of

In the these three, as well as of later chords, we ftvaU

application of

urselves of the four-voiced manner of writing.

Reuakk. ^The theoretical combination can be well presented, to be sure, thre^

"
chord
in It would, however, detain us longer from our practieal
oiced manifold relation.
for this reason, be for a presentation. The four-voieed
im, and may, reserved special

vement will always maintain its importance as the foundation of all kinds of oom*

osition.

We however, each harmony not as a mere mass, as compositions

regard,
or the them, but divide its component parts into
piano-forte often present
our
differentvoices.
The is called Soprano, the lowest Bass, these two together are
upper
tho : the next below the Soprano is called Alto, the
alled outer voices voice
ne next the Bass, Tenor; these two together are cslled middle-voices.
above
The these in the manner of a score is as follows^
arrangement of voices

nd the triad may be exhibited thus :

 24 MANUAL OF HARMONY.

For the, upper three voices especial clefs are used, which confoxm bettei
to their compass than the above* used violin [G] clef, and which will bo

spoken later.
of
For our next exercises, we select for the sake of an easier view of the
whole, not a separate staff for each voice, but will use the usual form of
writing for the piano, (upon two staves).
The distribution of voices in No. 5, may be exhibited thus :

6.

bopraito.
Alto.
TSNOR.
^ i^^i^^^^
Bais.
-^
"

ft- X. j^~j_"^Zg

A twofold consideration of these various voices will take place : first in

relation to the progression of each voice for itself alone, then in its relation
to the remaining voices, both of which must be pure and well-constructed
The result of the fulfillment of these two conditions is called pure lead
ing the voices.
of
This purity of the harmony and its progression is attained through

seeking out and practicing the natural and legitimate of harmonic com-

bination.
Hereby arises the so-called pure harmonic structure^ also called strict
style, which rules and laws which proceed from the nature
prescribes of
music itself, the observance of which will afford the safest foundation for a

later free use of the materials for composition. By exercises %n the pure
harmonic structure is the judgment sharpened, the sense for the true

and correct formed, and the taste

purified.

Remark. Inasmuch as every composition should exhibit thxt"ugh a correct

"

jsell^
use means at command and the purity resulting therefron^ is
(pui-ity here mous
synony-
of all
the term pure harmonic struuiure in a general sense,
with natural expression),
no farther explanation, as being a matter of cuarse. In a more narrow
would require
however, harmonic structure we something farther, which
sense, under pure understand
is more nearly and better
indicated by the expression of like meaning, Htrict harmonic
be used in distinction \x)free"^^/tf,whereas,
structure^ strict style, since this can properly
no of the pure structure, such as, perhaps, impure structure, is to be
speaking, antithesis
the latter in fact may it were certainly to be
assumed, since, as frequently as occur,

designated 2A false, free be essentially founded upon the Ugiii^

while the structure might

mate of the pure structure.

As was indicated by pure harmonic structureia understood in a narrower sensi^
above,
aoD a aa in the natural development all tone relations, allows the fetoestdigressions
une of
rom the legitimate^ only such as do not touch that which is essential^ fundamentaJL
and
If, in the idea of pure harmonic Btructure is determined in a genera
-what precedes,

ay, still its boundaries are not yet drawn ; and just this is a
point which giyes rise to th
re difficulties for the beginner, as the boundaries are so yery Tariously determined bj

he theorists themselves. This difficulty has occasioned many of them, especially some

ater ones, to omit entirely to speak of the pure construction, of the strict style ; indeed,
o begin immediately composition, and teach the laws of harmony from its inci
with
ents. Whether this indulgence to impatience, which does not busy
youthful willingly
tself with the this inclination towards premature living creation, before the
abstract,

rganic has developed itself to the capability for creation, can produce anything, really
ature, be further investigated here.
need not
Let those who follow the views of this book and conform their studies to them, as

lso all who have to go through a strict school, be assured, that their freedom for future

by no means be lost by means of that is forbidden to them, but

reation will which

ill unfold itself so much the more fully, and with a more living power, upon a basis

onformed to nature. The real has ever been able to make itself
mastery apparent
st genially within prescribed bounds, whereas the most lawless conceits frequently

urnish proof of morbidity and weakness of mind. On the other hand, the pupil cannot
e justifiedin making use of exceptions to given principles, which may perhaps be found

n the works of the greatest masters, where the nde is or, in case, to wish
concerned ; any
o produce compositions, when the thing to be done is to work out exercises theoretically

elL

The three chords thus far known, being applied in the four-voice*

ovement, will give occasion for remarks and observations, from

which
ertain fundamental features
and rules are to be established.
Since the triads only contain three tones, one component part (interva
hereof, must be doubled, if they are to be used in four-voiced
writing.

Any Interval the Triad can be Doubled,

of

The fundamental, however, usually presents itself as the tone most

dapted for doubling, more the fifth third, indeed, the

rarely and and,
atter, in many cases which will be shown later, is not to be doubled at all
In order to the connection two triads, the following
accomplish of rule
s to be observed ;

If a tone occurs in both two are to he cminected, it ti

of chords which
o be retained in the same voice, e. g.

7.
 Id the Example a^ C occurs in both triads as common tone ; the Soprano^

hich gare the first C, retains it also as fifth of the next chord. Jnst so

n Example b^ in which the O of the Alto afiects the connection.

The remaining voices proceed to the tones
which lie nearest to them^ as

t a the Alto from G to A, the Tenor from E to F, "c.

If in two chords no common tone appears, the voices are independently

ed in a munner, that none appears with any other in parallel

such
IFTHS or OCTAVES.

In to this fanlty more exactly, we mast firs

order explain progression
the necessary explanation of the movement the voices in refer*
ake of
nce to each other.

Ttie Relation of the Movement

of the Voices in Hespect to

each other.

One voice can progress with another in

Parallel [direct]motion {motus rectus),

Contrary {motus
motion, contrarius) and
Obliqice motion, {m^tu^ obliquus).

The parallel motion arises, if two voices rise or fall at the same time, ", y

4"
4-
g-
15" g:
St
"

S. -"
-"-

-"- f t=F -"-

I

They progress in contrary

motion if the one rises and the other falls, ". g

4 "
IJ i
-l 22:
Z=5t=I^.
^ ^
""I r r f f-f-

The oblique motion arises, if, of two voices one remains npon the same

one while the other moves on, e, g.

i=J:
10.
I 2^,
:e: :y
"

3
"

a :e:
f -"-
^
i
I ^. ISi'. ik^^ I
 These three kinds of movement of the voices occur in chord connections

vkmixed manner. Thus, in Example No. 7, ", the parallel motion shows
tself between Soprano and Tenor, the contrary motion between Soprano,

enor Bass, and the oblique motion between the Alto and the remain*
and
ng voices.
The faulty movement of the voices in parallel octaves
above mentioned
fifths^ can only appear in motion : if, for example, two
nd parallel

oices by degrees or in the following manner :

progress skips

11
-Q-
-JS?.
I -G-
"
"1^^^
This favilt \% regarded as such for all voices.

The following connections of harmony contain both faults :

"h b.

i ^^^E
12.

9i: m^: m

In Example a, are parallel octave skips between Soprano Bass'; in

and
xample b, octave progressions between Alto Bass, in Example c,
and and
etween Tenor and Bass. Parallel fifths are to be found in a, between Alto

nd Bass ; in b, between Tenor and Bass, and in c, between Soprano and

enor, as also at the same time between Soprano Bass.
and
The best meansj to avoid these and similar faulty is, for
progressions,
he above cases, the use the contrary and oblique movement the
of of
oices ; that is, the voice which forms an octave or fifth with
already

nother, must either move with it in contrary mction^ or, if the following

hord contains the same tone, remain stationary. The other voices then

ve on to the tones of the new harmony which lie nearest to them.

Thus in Example 12, a, the in respect to one at

oblique motion voice, and

and Cf the contrary motion of all voices in respect to the Bass, \a to be

e, g.
pplied,

I JS.
Q Ij^j
2$ ^

13. ~^~~^
 Rehabk. ^The reason for the octaves^ with whi"!h is ton* ected that o
"
prohibition of
he in unison, can be found in the necessary independence the voices
progression easily of
t is more difficult to discover the ground for the prohibition of the progression in fift
trong as the be of the necessity of it ; and from the earliest times
conviction may unti
w, much pains has been taken to express it clearly and definitely. On this point, le
he following view be examined.
If each for itself a separate whole^ which, let it be formed
chord-formation presents
it may in is bounded mainly, as it were, by its fundamental ^h
other respects, and
ifth, as by a circle^ (the seventh, as something additional cannot here be taken int

if the harmony can be by this : that one

ccount),and connections of only produced

hord, so to speak, over into and resolves itself into the other ; then it is
goes evident,
hat two with their boundaries, fifth after fifth, do not resolve themselves int
chords
but, if they are by side, will relation to
ach other, placed side appear without each

ther. This can be if we compare the following examples :

observed

a.

""
p I t^ S

The however, neither form, properly, new chords, nor do they lie, (aoeordi
sevenths,
o the idea a of the circle of the original chord, and only serve to cate
indi
of seventh),outside
the of two chords, and to make the connections of the harmonies more
relations
ntimate and firmer.

Everywhere now, where the fifth appears, it will carry in itself its character
perfect
boundary ; the remaining constituents of the chord, (as it were the content of the
f
ifth),or anything additional, as the seventh, may lie above or below it ; the unpleasant'
be discoverable in
perfectfifths will
ss of the succession of ttoo always the deficien
n connection.
Since we have spoken here of the fifths of the triads only, it may still be remarked,
hat in the case of fifths which arise from added sevenths, the rule their
perfect of par
pre
in to be sure, prevents parallel fifths, of itself; that, however, in the
part,
one seventh, which forms a perfect fifth with another to
rogression of such voice,
ollowing fifth, this last will cause the unpleasantness and deficiency the
perfect of

onnection to be heard, since this lies only in the second fifth, which enters con-
ai{ nect
withe
e. g.

^PE
I
15.
I I

As eoncems ths diminished fifth, however, which in the dominant tho

chord of
eventh can enter free imder certain conditions, its free entrance even in the case of par^

llels, justifiescompletely the above expressed view, since, so soon as it appears

afte
ifth, leaving out of the account its farther laws of progression, the latter immidiatel^

the circle of both harmonies.

teps outside of of connection
Compare the following examples.

a* h. e.

J I J
^.
gizzig
"

ig: r"
a:

-""- ^-
3C^
1
6.

ii
t
"s- |zig ""-
a:
I
I^ however, instances of the following sort are frequently found in composiUons a
he stricter style:

I
'9-
A
-"-
I
IT.
J-^-
i ::3:
t
1

may assume that the doubling of the diminished fifth (the/,) requires a double pr^
the same, that the fifth-succession is thereby because
justified, it lies i
ression of and
he voices ; that, however, the following progression could not be called
middle pore^

18.

artly because they come forward too prominently in the upper voice ; partly beoatibe

he above condition of the necessary double progression is wanting, although instance!

uch as No. 16. c, are often to be heard.

Hereby it becomes clear, also, such parallel fifths as arise from noti^
why passing
n many cases do not sound so unpleasant as those spoken of above, for which reason

theorists recognize them as faultless ; which, at any rate, cannot be

any unconditionally
dmitted, since many of them are based upon other false voice-progressions, (for exam^
covered fifths),
and it is not to be denied, that a position and
ie, upon with very open

ufficient duration of the same, the unpleasantness of their operation becomes per

eptibl^
It is not the here, to treat at greater length of these relations, and there would
place
e much to say on
many points ; as for example, concerning the progressiop ?f the fift

the of the sixth and fifth, which here carry us too far
f augmented chord would
ndividual cases bring us back to this point in connection with our
will practical
 If the sense of the foregoing representation should still be too obscure to the be^i^
r, yet with more advanced knowledge, and exercises, and necessary frequent repetitioni

f the entire harmonic system, the comprehension of it wiU not long be wanting.

The faulty progression, thus far mentioned, is called (ypen fifth and

ctave progression.
They are covered^ if, in motion of two the interval
parallel voices, second
orms 2i" fifth or octave, e, g.

:^2
""-
^m ""
"
i
"^m
Open fifth and octave parallels remain, for harmonic combinations
lways inadmissible ; the worth of covered fifths and octaves will be cuss
dis-

farther on (in Chapter XVII.) ; for the present, this matter must
e left to oral instruction, since, in with a correct comprehension
general,
the exercises, not opportunity will be offered for
f much making unsuit*

ble fifths and octaves.

Kemask. " beginner will do well, in working out the first examples, to leave
^The
overed fifths and octaves entirely in a too anxious avoidance
unnoticed, since, o
hem, frequently the first principles of chord-connection are violated, and other much
orse faults arise. Much which follows will lead us back to this point,
easily and with
insight, the be discussed.
more mature subject will particularly

Eocerfdses.

To bring into connection the three primary triads,

musically with
of the rules thus far established, will be the next exercise.
observance
We select for this purpose the following Bass progression :

1. 2.

20 -jsz:. '.Qi B^
.^^ C: 1 IV

8. 4.
8*

251

is: ro: 251 g^-^

Rku AUK. " ^These, as well as all subsequent exercises, give an indication in what
way
manner our practical exercises will proceed. They are always to be
and continued so

long the consideration makes it necessary.

as point under
The situation of the upper three voices of the first chord, to
which are

be added, us occasion for important

will yet give remarks.
 We have seen in Example 5, that the situation of the roiooB in
already

bord can be different. This situation of the voices is called the

very

position the chord.

of

Close and Open Position.

A chord appears in close position^ if the upper three voices lie so near

o each other that neither the Soprano nor Tenor, if transposed an octave,

an appear between the two other voices, even if the Bass is somewhat

emoved, e. g.

a. e.

:e
i 132.

f: -G-
i I
31.

i^i^N^N^

The first position of the chord a is in " so that the former E

altered, o
he Tenor being placed an octave higher is given to the Soprano ;' in c, the

se is the same, with the two tones G E ; on the other hand, in ef^ the
and

of the Soprano is placed an octave lower. In these transpositions

all
he situation is indeed but the
altered, not close position.
It is otherwise if the chord appears in open (also called dispersed) posi-
tion,
which is the case if either the Soprano can be between the
placed
lto and Tenor, or the Tenor between Alto and Soprano, so that thereby
he close position results, e. g.

23.

?"=?=t==E^^E^^ .a.
m

At a, the chord appears in open position ; by a transposition of the G

etween the Alto and Soprano in close position bf just so at c and d" At /
G Soprano is placed lower between the
he of the of the chord e, an octave

lto and Tenor.

In this sense, however, the following situation of the voices (No. 23)
ould not be open for by the transposition of the Tenor, the
position,
ransposition of the Soprano would produce the real open position of thf

hordy c.

"t* "" o*

33.

g^gp^t^^

Even if the open position allows the chord to appear fuller, still it i

ot always to be for our first exercises, is not clear enough t

applied, and,
he view ; so that we will for the present, write them in close positiou.

Rema"k. be hetter in the begianing to work out the examples i

"

^It 'will always

lose position, and to use the later, from the examples of the second
only open position

nd third in which last they themselves. In the ning,

begin-
part onward, necessarily present
the in the use of the position, stumbles now and then upon difficulties, t
pupil, open
ercome be immediate had therefore better b
which cannot our
object,and which

vaded*

The various positions do not appear single, but occur com

generally
ined, according as the leading of the voices requires.
If the position the first is determined, the following chords ai
of chord
o longer so free, as to their that each can be chosen at pleasure,
position,
ut it is to the for the connection of chords
regulated according rules

lready given, pages 25 and 26.

This chords the leading of the voices of the firs

connection of and

xercise. No. 20, may follow thus :

ia^rf^ El
34.

:s:

__Q_
1
0: I

The natural relation of these chords to one another becomes clear by

he simple example, if we observe accurately their connection;

above

specially, however, from the last two chords does the close connection,
the mutual completiug of one another, become plain. The feeling
o
eturn, lies in this connection of
of rest, of satisfaction, which chords

dapts them for forming the This form of close through the domi*
close.
ant chord, which resolved itself into the tonic triad, is called, if the latte
 P S
":
1
35.

=t ro: "

Another form of close, which is formed by the subdominant triad|

bove, No. 20, Example 4, is called the plagal close.

m J:
m
26.

m "0'.
E 1^
^\
IV

Of these and other kinds of close, we cannot speak more at length, nntiJ
ater.

In order to become expert in writing the succession of chords which

curs if the Bass progresses by degrees, (as in Example 24, F "
G), it will

e to the purpose to write the successions IV-V and V-IV, in various

sitions and keys.

Note." The expression by degrees is used here, as elsewhere in similar oonnectioii, U

note from one degree to the nexty in distinction to by skips, yiz., from one degree ti

other at a greater distance. "

^Ed.

The Triads the Remaining I"egree8 of the Mc0or Scale.

of

All triads of the remaining degrees of a scale will, to be sure, belong

one and the same key, but will not indicate it so decisively as, for exam-
ple,
the combination of chords V-I.
These triads are called, to distinguish them from the triads,
primary

SECONDARY TRIADS.

They are situated upon the second, third, sixth, and seventh degrees of
he scale.

27.
I
nV-
u III VI vno

The triads of the second, third, and sixth degrees, appear as mtnor

riadsy since their thirds are minor and their fifthsperfect.

because that, beside the minor third, it contains a diminished fifth; fo

this reason it is called the

DIMINISHED TRIAD.

We as an easy distinguishing sign, for the minor triad) a

select small
for the designation of the degree upon it is situated, t
umeral which
in the case of the diminished triad, we add a 0, as vu^,
hich, above
anner of writing which the theorist, G. Weber, has introduced.

All the triads of the scale can now be exhibited thus :

major

""if^i^
in IV V VI yvfi

Rkitabk. " The beginner must be very careful not to conceive of these chords, at thei

as all tonic triads, a misunderstanding which renders insight into harmooio

ppearance,
ombinations much more difficult. As long as C is the ruling key, the triads
major o
, F, D, etc., are nothing else than the the degrees this hey
chords of various of of
belonging to it, and no mention be G F d minor,
ajor, and will made of major, major,
long as these keys do not appear as independent.

Hereby arises an ambiguity of the chords, which should be particuwly noticed

ach triad can belong to various keys. The triad of C can be :
major

I
29.
^m^m
f=t=|F
C: I F: V G: IV

H therefore, in respect to this chord, 0 is spoken (ezpresfdng the key m the

major of

eneral use language), this b true only in the first case, if the G triad
of major oeca

the^r"^ degree ; in all other cases, however, it is incorrect

ues

Application.

In the connection of these chords, as well among themselves as

aUu with
hose found before, no new rule is at present necessary. Several things

are new however, appear in connection it.

hich will, with
The Bass can move either by skijffs or by degrees.*

In the first case there will always be connecting tones (like tones in two

in the last the of the be i

onsecutive chords) ; progression voices must

ontrary motion, according to a rule mentioned above, (page 26), in order

o bring out the inner connection of the chords.
 a. The Bass progresses by skips.

a. b. NB. laun

i^p^} i^^^m
0
281
3" -"-
-G-
^^mi -"- -"-" I
11 IV II

"i= " i
u VI "C.

As in this the in the Bass from the second degree hare

example, skips
een treated, the same can be treated beginning from all other degrees, so

hat tones common to the two always remain in the same voice.
chords
To this rule there are, however, in many cases, exceptions.
In Example 30, NB., is found a the formed
at progression of voices

ccording to the an octave

above rule, which contains unpleasant covered
etween Tenor Bass, is certainly improved by the following
and and which

rogression. Even if, in the last case, the local connection the tones
of
ails, still the inner connection is present, since the D of the Soprano i

he first chord can easily be as doubled through the lower octave,

conceived

hereby the connection immediately becomes apparent, as in Example

o. 31 :

^P 1
31.
la:
9: g
Rev ABE. ^The reason, however, this tone be conceived as double,
"

why exactly should

nce this could also be the case with tone at pleasure, is founded the fact that
any upon
t is ^Q fundamental, the tone which gives to the whole chord its determination.

The unpleasantness of the covered octave mentioned, lies in the stance,

circum-
that the upper voice progresses a is yet morf
whole step, and
if it is contained in the in Example 32 at a"
otioeable outer voices, as

b.

i^^^^
32.
 By the contrary motion of the Bass at b, the leading of the voieet
n be improved ; in like manner, by the contrary motion in Example Cf

here a covered fifth shows itself between Soprano Tenor

lthough also and

See the Eemark on Example 34).

Remabk. " the cases brought forward above, we do not speak of absolute faults.
^In
the leading of the voices ia entirely given into our control, much can be avoided,

ich under other circumstances, for example, in the treatment of a eantus firmuB^ of

or on important for the is unavoidable. The

tive, other grounds composition,
mprovement is here only presented from a theoretical stand-point. Concerning the

fifth in No. 82 c^ a farther follows at No. 34.

vered explanation

The
unpleasantness of the covered octaves spoken of ceases at onoe i
he upper voice progresses a half step, e, g.

P :fe i -Ct. ^^iS

33.
's::
ii "G-- I

1l. The Bass progresses hy degrees*

Here the contrary motion should always be applied, e, g.

NB. 1. hett^:

4.

9!=^z:g=:jzrtfzjz=gij"
onjzigzz^^^ II U UI

hetter: hetter: NE. 2.

^ :^ 12?:
"4'-^ i^^^^l

g5=^ -"-
jSL
-"- -"-
I
m IV IV

-"- I

I -G-
 Memarks on these Chord-connections.

In of voices such as that used at NB. 1, and

all progressions subsequen

Bimilar it is better to double the third of the second chord, in ordef

places,
to covered fifths. Their unpleasantness is more noticeable if the
avoid

chords appear in open position, e, g.

35.

The leading of the voices at b is to be preferred.

If these covered fifths occur in the middle voices, they are moru able,
allow-
because they are less perceptible.

11 s
36. ^-^jo.

ii^ I
At NB. 2, the doubliug of the third of the second chord is not
always
o be applied, since
in
general, the doubling of the seventh degree (i
xample 34, the B of the second is to be
chord), avoided.
Concerning the treatment of this tone, which is called leading tone, a

iiUer discussion
will be in connection the following "

given with exercises

Exercises to Ife Worked Out,

1. 2.

7, .
IliEftEfeS "jr
sr:
-G- ^-". -"-

8.

:SL
isBfE ^3$-2EElg I
-d-
NB.
4. 5.

S? -f2- ^ T-"-
nil" fS-l T^^^
-fS-
-"- """
jgg^fi t
The fourth exercise gives occasion for a few remarks.
The progression of the Bass takes place here in the first four measureS|

n a regular, consequent manner. Such a regular harmonic or lie

melo
 This consequent progression of the Bass, occasions also a like rcgalai
eading of the remaining voices.
The treatment of this example, according to principles of chord-con*

ection laid down by tones, e,

above, sustained g..

4-

I "

-fi"
fi" "
S
B.-
^
38. "0.

""-

2iz=?stzx: B

ould not admit of the attainment of this end ; the progression must

ather follow in such a manner, that the chord of the second measure i

rought into the same position which that the first measure
of occupied^
the tone D, does not remain in the same
hereby connecting voice.

NB.

I T 3
i i5

g" i^:
a
-g=--g"
39. ^^

2Z ""- -^
"3 7-T9

t=::
" ^ 3i?i:
:c
i
u VI in viio

In the first example, on account of the sequence, the covered octaves

will likewise be allowable, if they are not found i

poken of above

uter voices.
In the third measure of Exercise No. 4, we meet a
with chord, which
hus far we have not used.

The Diminished Triad*

It rests the seventh degree of the is more depen-

dent
upon major scale, and
than the triads found thus far, since it plainly indicates a progression,
indication is effected by the dissonance, the diminished fifth.
hich
The natural progression of the diminished intervals can in be s
general
that either both tones
approach each other by a degree, (a), or
onceived,
he upper or lower tone progresses alone over against the other, (", c)
kind of progression which only becomes plain through actual chord-con"

ection.

a. h. e. e, JnverftioiK
"g V.
^
'jGT.
 The third following the dimiijished triad (c?),exhibits the triad of the

irst degree incomplete, by the fifth.

(C) as omission of
Since, to the the intervals in respect to inversion
according relations of
efore (page 18, 19,)an fourth results from the dimin-
ished
explained, augmented
fifth, its progression must also appear
in inverted order. See 40 c

The fundamental tone the diminished triad rests, is called

upon which

LEADING TONE.

It is found again as third in the dominant triad, and as fifth in the triad

f the third degree.

41.

viio
eSi^J
V 111

Since distinctly, it is
the leading tone
of itself comes out very not

UBLED in the harmonic four-voiced movement.

simply
Just so its progression one half step upwards can be effected, if the

ext following chord contains this tone.

This tendency to lies in the melodic character of the leading

progression
one, inasmuch as it stands as half- step before the fundamental tone
of
he This is noticeable particularly in the case of the dominant
scale.

riad, if the leading tone is contained in the upper voice, as a in Example

2, operates more satisfyingly, than b and c*

'
A. "" e* "t" e"

2.

This inclination upwards shows itself less in the middle voices, as at d,

Most intolerable in many cases, in such chord-connections, are skips in the

pper voice (at c), whereas, on the contrary, skips in the middle voices

(at e) are to be used, if the Bass is led in contrary motion.

In Example 39, third measure, is found a doubling and progression o
the leading tone, contrary to the above rule. Both took place on account

of the sequence contained in the example, which no

allowed alteration o
the position or the progression of the chord.

Concerning more Extended Formation

of the Close*

The formation of the close through the chord of the dominant, noticed
n page 32, (the authentic itself in a still more definite maiX'
close),shows
 As the of the chord of the dominant to the tonic triad,
natural relation

renders the two to the formation of the close, so in these ex-

adapted amp
a still farther preparation of it is noticeable, through the triad o
he second degree, stands in the same relation to the chord of the
which
ominant, in which the latter stands to the tonic triad, e. g,

4"

I -"

S^i
'ST.

"t-
J-
"Cf
"
43.

is^i^i -"-' g
n u "^-

Besides degree, triad the sub-dominant i

the triad of the second the of

lso adapted for this formation of the close, e, g,

i^^j^f^
44.
P^
:-
5iE"t" " "

1
IV

The closing formvUm (cadences)produced by this chord-connection,

ill assume more definite form through the application of the to be

chords
hown later.

CHAPTER II.

The Triads
of the Minor Scale*

a. Primary Triads,

The triads of the were found upon ihe first fourth

primary major scale ^

fifth degrees. Upon the same degrees we find also xhe primary triads
i^

f the minor scale.

The however, in which the dominant triad stands to the tonic
relation,

hord, that is, as it becomes plain through the formation of the close pre-
viou

shown, renders the chromatic alteration of one tone of the minor

ale necessary.
Its seventh tone-degree^ which, according to the signature of the minor
from degree, is chromati-
cale, is always distant a whole step the eighth
a half-step, so that it acquires the o'laracter of a leading
ally raised
 "-
-9

zzo"^-
"7^"i^"^-
i
45.

fr^^g"
g=g i

By this the formation the dominant triad in minor, become!

means of

xactly like that in thus :

major,

A A
minor. mc0or.

46.
"
"^a:
V A: V

briefly expressed :

The dominant triad in major and minor is always a triad,

m^jor
A comparison of the form of close of both modes shows thb plainly

O O minor.
major.

^ "l"Q-
rtzrb-
'^^m
47.

m m i

That, however, the degree the scale is not, in a harmonic

sixth of minor
nse, alteration by elevation a half-step,
capable of any such chromatic as

s often necessary melodically, the plagal close proves a (see page 83)
hich cannot be conceived of at all as at b"

In A minor.

f^iSt
".

o: IT

The three primary triads in minor can be thus in their natora

exhilited
elation according to previous explanation :

49. i! rsrrns
 The as it forms the basis for the formabion of harmoniei
mioor scale,

ill therefore be the following :

1 1 1
7 1^ 2

50
:^fe:^!
.m
Reicabk.^A11 other forms of the minor scale, such as :

lfe=te
51

descending
"P
:

fed^
53 "
P
epend melodic conditions, -which do not allow the step an augmented second
upon of
ram the sixth to the seventh degree, found in No. 60.

These forms have no influence the harmonic formation in itself considered ; the
upon
armonic foundation, however, has a reflex influence the minor scale itself as the
upon
ollowing examples show :

I^^^^^^^s^
53.

J.I "c.

k
9i3i S:^ -"-
iJE
m
t -^#-

The last case, in which the descending scale even exhibits the step of an augmented

econd B-^ b, which in future, in chord-connections we shall carefully avoid, explains

tself thereby, that B was necessary as component part of the chord, A^, however, i

to destroy the is done

rder not minor character of the passage, which very perceptibly
hrough A, while, in the ascending scale, (in the first this (minor character)
example),
lready perfectly secured through the minor third, Eb.

b. The Triads the Remaining Degrees the Minor Scale.

of of
SECONDARY TRIADS.

After the establishment of the minor scale, the secondary triads appear
in the following form :

54. ^z=
 The degree a diminished triad, as before the seventh
second gives
like is found
egree of the
major scale ; in manner a diminished triad

the degree. The degree forms here a m"aior triad.

pon seventh sixth
The third degree a new form of the triad.
exhibits
It contains third an augmented fifth, and is therefore called
a
major and

THE AUGMENTED TRIAD.

The or forced character of the connection of this chord with

constrained
the same key, it seldom to appear as fundamental
ther chords of allows
armony the third degree of the minor scale. The following examples
of
ay serve to prove this :

a, h" o* d* "" f"

5.
6 0

^"-iSfzi^z:\zzis^z:^zJi^
IlO IV V VI TIlO

best for
Of these examples, those under c and e will be adapted use.

The introduction of this chord shows itself to be more difficult stilL

"" C" d"9

6.
6 6 6

ii=^p^^g^g^^EP^g
I 11" IV V VI

Its introduction is most tolerable, if the augmented fifth is prepared,

hat is, exists in the same as constituent part of the

already voice precede
ng chord, (at d).
Remabk. ^There is somethiDg foreign in the chord the third degree, as
"

peculiarly of

ell of the as of the so that this harmony, even it

major minor scale, when appears
imply as minor triad in the scale, is difficult to effec
major very connect naturally and
ively wiih other chords, and therefore seldom occurs.

Most of the practicable chord-connections will occur i

exhibited above
ther relations, and not allow the augmented triad to be recognized as

[triad of the] third degree the minor The augmented triad,

of scale.

A^hich is much used in the later music, belongs to the chromatically

ltered
harmonies^ which will be explained later under the name Altered
 Application*

The principles of the connection of harmonies an I leading th

of

oices, developed, will also have

application here, and
already particularl
n the connection of the fundamental chords in minor, what was sai
the progression of the leading tone comes very distinctly into view
bout

ince the step of an augmented second, occurring in the minor scale

etween the sixth and seventh degrees, as well as descending, between th

eventh and sixth, is to be avoided as unmelodious, if both tones, which

ontain the step of an augmented second, belong to differentharmonies, e. g

a. h.

k:
e"-^^r
I ^^m
57.

3L^^g4^jigE{^
VI VI

Hence, in the often recurring connection of the chords of the fifth and

ixth degrees, the progression of the leading tone will be necessarily always

pwards, whereby, in the triad of the sixth degree the third appear
oubled, e. g.

M:
^i^i^^bi -fe-
jSiQ. ^^^^m
".
"C.

ii- -fl" \^m JQ"

""
-"
m
i

.Ol. s
VI VI VI VI VI

Thus, it would not be to exhibit in a correct form the example

possible

iven under No. 67 6, unless we make use of a mediating tone, such as, fo

xample :

-G
eg- "
Q"
S
59.

ii ."2- i
RsMARK.^The practice deviates, in certain and cases, from this rule. It wil
especial
e well, however, to to the leading the
accustom ourselves of voices above shown, and
he more, as we must not overlook the fact, that every deviation from the rules in th

racf^re is and be a founded "whereas the th*

should only well exception^ observance of
 Exercises irp connecting the Triads of the Minor Scaler

1. 2.

0
IS-
^ -"-p. m
.^m
3. 4.
5S 3 %

"3 :^=3i:
X=X
i^
-"p- is: -"-
s-
\
6. 6.
6S
ja. 42- 1
i:=5:
-"-
^
"6K-
^^^E
Remarks on tliese Exercises.

A chromatic sign over a Bass note without a figure^ as, for example,,
n the third measure of the first exercise, refers always to the third of the

ass. This raising of the third in the dominant triad, which occurs very

ften in minor, is the raising of the leading tone spoken of, (page 40).
The triad is, as a not in the thorough-bass if the
rule, marked notation,
ass contains the fundamental, unless especial reasons exist for indicating

t by 3, 5, 8, or % or
^
in full, by 5
3

One reason for indicating it by 6, is found in the third and sixth exer*

Here the introduction of the triad of the third degree in minof

ises.
as been attempted, whereby it was necessary to indicate that the fifth

s raised, it likewise forms the degree the

since seventh of minor scale.
The figure 3 or 5 over the first chord some the examples^ indicates
of of
ts position. See, in to this, the remarks to the next exercises,
regard
page 50).
The working out of an exercise will confirm the fundamental features

itherto developed. We select for this purpose the first exercise.

NB.

61.

The first principle of the connection of chords (by connection of tones

Alto, hi the third measure (at NB.), makes the fanUy step of an aixgrnented
Becond from F to G||.
In order to avoid this fault (accordingto page 44), it will be necessary
io let the Alto progress from F to E, and to lead the Soprano from B to 6^
while the Tenor skips from D to B, in the following manner
*

69.

(a connection of chords, which has already been explained in No. 81

the tones does take in the same

where connection of not place voice),or,
he Soprano retains the B the Tenor goes from D downward to the
and

G^, the Alto from F to E, whereby the close position is forsaken, this
and
the following harmony in open position :
nd appear

63.

Farther remarks, the difficulties in the leading of the voices i

which

eference to the chords of the fourth, fifth and sixth degrees of the minor

cale render necessary, are in especial cases to be left to practical guidance.

Before we to the farther use the triads, we in the
proceed of will exhibit,
ollowing manner the hitherto discovered :
chords

View all Triads the Major and Minor ScaleSm

of of
Major.

"*"
p "
%- gl a flZZZ.?! " "-

-ix
n 111 IV V VI vn"

Minor,

I :^=!fi:i5^i=
EI5
=it
r^^ I
I nO III' IT V VI thO

in Major: in Minott

Jlajor triads are found

 MANUAL OF HARMOKT. 47

m Major : in Minor:

:sz
Minor triads
m f :S=B: ?^::^ 1
n ni n IT

"fi Major : in Minor :

Diminished triads ^ mi
vnO iio

in Minor:

Augmented triad

CHAPTER III.

The Inversions Triads.

of the

The Chord the Sixths the Chord the Sixth and Fourth.
of of
The appplication of the triads, and indeed of all fundamental chords', if
not limited to that use of them in which the fundamental lies in the Bassj

as in all previous examples; the Bass can the third or fifth of

also receive
the fundamental chord. Hereby arise transformations of the fundamental

chords, which are called

INVERSIONS

of the chord.

RjSMARK. It ehould be well that only trantpositions Bass to anotli!Br

remarked, of the
"

interyttl are here spoken of, and that the before mentioned transpositions of the other

"vroicesinto close and open position, and to various intervals, by no means essentially alter
the chord,*

Two of the inversions are possible with the triad :

a. If the Bass receives the third the triady there arises the CH0X9
of
OF THE SIXTH.

Ihmdamental chord, Chjord of the aimth.

66.
p s
* Third

ef the fimdamewtaZ chord.

 b. If the Bass receives the fifth of the triad, there arises the chord

F THB SIXTH AND FOURTH*

Fundamental Chord
chord, (^ the aixth and JburffL

66. fall ===g

^ Fifih
of ihs fimdamental chord.

The chord of the sixth is indicated by 6 over the Bass note, that of the

ixth and fourth, by ; e. g.

^

6
4

67. "!^E^^^g^B
COO
Os I I I

The letter in future sorve for indicating the fundamental tone,

shall and,
s before, the numeral to indicate the degree, whereby, as can be seen i

xample 67, only the situation the fundamental tone can be taken
of
nto consideration, not, however, the casual Bass.

Rehare. the fundamental tone of the the sixth the

"

^As chorda of and of nxih and

ourth in Example 67, is always C, and not the Bass notes E and G, so the chord itself will

ot lie the third or fifth, but the ^r"^ degree, since, in fact, these are no
upon upon netely
ormed chords^ but brought into another position by the Bass, therefore
only chords and
erived chords.

Every triad can appear in such inversions.

Application^

By the use of the inversions of the chords, not only does the leading o

he harmony receive more variety, but the movement of the voices, and
articularly of the Bass, becomes thereby more flowing.

According to the above noticed rules for the doubling of an interval

o
he triad (page 25), it will also be better in the case of the chord of the

ixth, in the four-voiced movement, to double the fundamental the

of

and the doubling of the Bass tone in the the

riginal chords chord of

ixth (that is, the original third),can take place only if the natural leading

the voices requires it, or if thereby certain faults can be

of avoided.
That the leading tone, even if it lies in the Bass, is to be from
excluded
his doubling, may be yet remarked after what was said on page 39.

Just so, it needs to be that the position of the

merely mentioned, upper
hree voices is conditioned only by the leading of the voio"3S, and aside
 The the sixth can therefore occur in the following forms :
chord of

jQ.

w i :2r
-"-
1122:
-"9-
I^Fa
6".
""

^:" S="" EEg=a

^^P^t

The use of the the sixth and fourth is more rare than hmt
chord of o
the cAorc? q/" if)^"sirc^A, and requires certain conditions which shall v"" men-
tione
later. We it oftenest in the formations The
meet of the close.
Bass tone, the fifth of the original chord, is best for doublivg,
adapted and
the chord will appear in the following and forms :
similar

i^ei^e^^UME
69. "c.

'jq:
.GL
I .a.
11^
In the connection of these chords no farther
with others, mechanical
rules are necessary beyond those already given ; we likewise omit the mere

mechanical combination of two or three chords, the

and show application
f these derived chords in small pieces of music, however cant,
insignifi-
which,

still contain the image of a whole, individual cases can be

whereby
better judged of in relation to the whole.

Exercises.
6
1. 6 6 6 4 3

O. ^^EJ^ "fS-
-G- 3 r
2. 6 6 6

3^3
-SL
-"- ist
n .Q.

6
8. 6 6 6 6 4
:^ '^-
'^^. r~ :-^=zsr~:
"
"-
iizpzz:
t:
-"
"

t a=i- i
6 6
4. 3 6 6 4 3 6 6 6 43

^fe t
-"g" g^
^5
""-
1
75*" -"-

6. ^ 6. ^
6 6 6 6 6 6 6
 6
6 6 1 6 6 6 6 13

i i
b " 9-
"6h
1125: m.
X^ -g-

a 6 6 6 d- 3 6 6
-6^
1=3:
^s ^^ ^ -"-
:3t

6
6 6 10. 6 ft
jBT 41
" fS-

i^; -S
^s'rr
^ 3=t IS.
i
6
u.
4 4_i
?E
isI: ^- .^::^
""- I

JRemarks on these Exercises.

The indication of the fifth in the first measure of the second Example,

indications in the future, denote the situation of the

s also all similar
oprano, therewith the of the first If no figure
and position chord. stands
ver the first Bass note, it is to be assumed, that the Soprano can best

eceive the octave of the Bass.

The diminished triad appears in the second exercise as ihs

chord of
It occurs in this situation. It may here be to
ixth. oftenest called mind
diat its fundamental tone is not doubled, because of its being the leading

one, in most cases, the third (in the chord the sixth the Bass
whereas, of
doubled. The leading
tone) is of the voices occasions, sometimes, also
oubling of the fifth.

The the diminished triad is always conditioned by the

progression of
eading the Bass. The natural direction of the diminished triad in it
of
undamental is already given, page 38.
position
In the most cases the progression of the Bass is as follows *

usual

6 6 6
X
ri. m -"- Tj:tz:
t=t
iz- i

nd the progression of the remaining voices thus :

z=i=d:
^:'%=^ -"

-g^~g
a.
6 6 6 666666 6
6 6 6 66
 It is from the Examples, that the inversion the dimio*
eyident above of
shed fifth,
viz., the fourth, will not necessarily, m four
augmented -voided
ovement^ have the same progression as was given above, two-voiced^ pag
8. We see, in the first example others, B and F of the Soprano an
and
lto progress to 0 and G-.

Ts. p" "; S i

" n
?he this chord, in sound, to the dominant chord the
similarity of of

t^eith to be shown later, often induces beginners to lead the diminished

ittiido'jmwardsy even if it has converted itself by inversion into the aug-

en'^:^ fourth ; this, as the examples show, is necessary only in caoe

above
* roJV/ly lies ahove the fundamental as diminished fifth, and a progression
f th\ following sort :

jQ.

i i
74.
6 6

ii "
faulty on account of the parallel fifths.

Remark. It may yet be here, that parallel fifths, the fifth i

"

remarked of which one

iminished the other perfect, are to be allowed if the diminished folhwt Otepev
and
but not
eetjifth^ vice versa, e, g.

good. good. not good.

""-

I -fiL I a
-"f:
/5* 4
6 6 6 3

pz=ffl: I m
ompi^^e also the Remark, page 28.

The progression of the takes another form in the diminished

voices
riad, if the Bass goes over to a chord, other than the tonic triad. A few

hord-connections may follow here :

not pure,
"

i
"

-"-^-

I -jz:
mm m
6.
6 6 6 6

"
"-
-"-
^^^m
 leiUr: not:

not:
^
^

1^ -G-
:^ ^^m
6 6 6 6 6 6 6 6 6

"^ m -"- I ""-

i -"-
-"
"

1
IF "

TIlO U and othert.

The diminished triad of the second degree in Minor allows another

reatment, since its fundamental can be doubled.

The succession of two or more chords the sixth, with a progression o

of
he Bass by degrees, as in Exercise 70, No. 3, others,
and will render
one or more moving in contrary motion to the Bass, e,
ecessary voices g.

^^^^^^^m
r.
6 6 6 6 6 6 6 6 6 6 6 6
-G-
^ -^"z'S
(^^
^pfEl^^B^^ ^^F=t
I

The of chords of the sixth of the 5th and 6th Exercises m No, 70
series
n, to be sure, be carried out in various ways ; best, however, if the con-
sequ

succession of the Bass is retained also in the remaining voices, $. g

t:4
I ;$^
rizd-
~"
m Si

i -s- i
t". ko.
6 6

ia^ -fi?-=^ f I

Covered octaves, as in the 2d and 3d measures between Tenor

and BasS|

re not to be avoided in such cases. It can be deduced from this, that to

NGLE progressions the voices which are contrary to rule, that especial
of
mportance is not to he attached, in opposmoN to the consequence op
etails, although it must he as as will always he
perfect possihle, sul Drdi-
te to that of the whole.

Remark. " It is not to be ignored, that the principle laid down above can easily h

sunderstood by the beginner; however, the laying down of the principle was not t

it may be added here, in to avoid error, that a decision m

evaded, and order possible
ese things, in the last instance, belongs to a judgment fuUy matured by
only rienc
expe-

and practice.

Concerning the Signs the Thorough-Bass Notation.

of

The of the Thorough-Bass are called in general

numhers and signs sig^

atures^ [in German works Signaturen. "

Ed.] Soipe of them have

lready been explained, as the chromatic sign occurring very often in minor.

he notation of the chords of the sixth and of the sixth and fourth was

page 48. A stroke through the figure is used, (for example, in the
iven,
xercises 8, 9, 10, of No. 70, a stroke through the 6 : 0), if a chromatic

levation of the interval a half-step becomes necessary ; instead of which,

owever, a Jt or t| is often set after the figure {e.g,, 6Jt or 6tJ, 5tl.) Other

igures find their explanation later in connection with the

will chords

hich they concern.

ormation tlie Close through tlie Chord the Sixth and

of of
Fourth.

In the Exercises of No. 70 we see, through the inversion the triad,

of
he formation of the close previously mentioned, extended and put into a

uch more definite shape. We discover, namely, that the chord of the

ixth and fourth of the tonic triad, coniing before the dominant triad, indi-
cates
decidedly the close.

i:
pzzzg;=g:
79. 6
4
Iff
1
-fflL

O: I

The the fourth is frequently by the triad

chord of sixth and preceded
degree.
f the fourth or second

"0.
64 MANUAL OF HARMONY.

As decidedly now as the chord of the sixth and fourth indicates ^c

close, having also a decided influence in the modulation into foreign keys,

justso weak is the effect of its entrance under other relations, so that it
is will be treated of later
proper use
subjectto certain conditions, which

CHAPTER IT.

Harmonies of the Seventh ( Vierklange).

The harmonies of the seventh are founded upon the triads. They
result
from the addition of a third to the fifth of the triad, which forms
[third] a

seventh from the fundamentaL

81. "
p=f =i^^i^S
Not only the various kinds of triads, but also the yarioos kinds o/
ievenths will afford manifold harmonies of the seventh.

The General Properties Chords Seventh.

of the of the
Thechords of the seventh are not so independent as the most of the
triads, but indicate definitely a progression, so that they never alone, but
only in connection with triads, afford anything complete or finished. On
the other hand, they will
render the relations of the chords to each other
closer and more intimate, and by means of this quality furnish in particular

excellent means for the connection of chords and for the leading of the
voices.

The Dominant Chord Seventh in Major Minor,

of the and

The chord of the seventh which is most important, and occurs ofteneiE
is the

DOMINANT CHORD OF THE SEVENTH.

also called primary chord of the seventh.

It rests, like the dominant triad, upon the fifth degree, and is formed

xactly alike in major and minor, that is, from the major triad and mimof
eventh*
dz
82.

C: V V", o: V V^
7 7
 In the fundamental position
it is marked by a 7 oyer the Bass note, and
n our of notation, indicated by Y 7
method

7
t

83 .
i^ ^
0: V. G: V.

The in which the triad of the dominant stands to the tonio

relation
riad, has become clear principally through the formation of the close

hown before, (see page 33). The close will come out still more clearl;'
hrough the use of the dominant chord of the seventh.
The following combination of chords will show the formation of the

lose :

84.

Rkicabk. ^It 18 to be here, that the follo-wiDg the

"
remarked triad chord of the eeyentb
t incomplete ; in both cases the fifth of the triad is wanting. The reason of this will

ppear from -what follows.

The striving after a point of rest, inherent in these chords, the

and
esulting union with a triad, is called

RESOLUTION OF THE CHORD OF THE SEVENTH, (Cadence).

If the union of the dominant the the tonic triad,

chord of seventh with
ollows in the manner in No. 84, or in a way, it is
exhibited similar ealled

CLOSING CADENCE.

For the leading of the voices, the of the intervals the

progression of

hord of the seventh will furnish important observations.

We observe first the closing cadence as the of the
regular resolution
ominant chord of the seventh especially.
The seventh, as the interval the is, by its relation to
essential of chord,
he fundamental, confined to a definite If the progression ol
progression.
he Bass, which contains the fundamental, is regarded as an
given, upward
regression of the seventh will appear impossible :

a. h.
JQ-

85. m
66 MANUAL OF HARMONY.

ftyen if, as at 6^ a third voice is added ; whereas its downward progressioB

affords full satisfaction :

^ -gf VS: ":^

8^- fe "

g=; -""
,^.2^Sii s

Since the progression of ihe fundamental by an upward step of a fourth

or downward step of a fifth is already determined, the progression of the
third and ffth of the chord of the seventh remains to be considered.
The third the dominant chord of the seventh is always the leading
of
tone the scale ; its natural direction is therefore determined by what
of
has been said before concerning the leading tone, (page 39) ; its progression

will follow a half-step upwards, and b will, therefore, not appear so nat-
ural
as a :

5.

|=- JQ
I 'jGL ^"-
i
W.
:a:
"1 ^^m
In the Example 87, 6, the third, is given to the upper voice, which ren-
der
the unpleasantness of its progression quite perceptible. This leadinj
becomes tolerable if the third is found in a middle voice, e, g.

a. b.

I -"-
^^1
8",

^ i -g-

This downward leading of the third (leadingtone)is therefore to be

applied under the following conditions :

a" If it does not lie in the upper

^
hut in a middle voice^ e, g.

seldom pracUcabU,

i J:
15?:
jSl
^:
89.
 b" If the Baas progresses in contrary motion, e. g.

a. ". not:

I If:

90.

^^^^^E

The reason of the becomes evident, if we the cov-

second rule observe ered
fifths in the last Example hf between Alto Bass.
and
The leading the fifth the the is free. While,
of of chord of seventh
or the most part, it is crowded a degree downwards by the reasons
seventh,
ay exist connected with the leading of the voices, for allowing it to
gres
pro-
a degree upwards, as Example 88 b shows, where the D the pra
So-
of
is lead to the E.

If we condense these we find the following for the regu-

remarks, rules lar

resolution of the chord of the seventh, and for the closing cadence i

articular :

The seventh progresses a diatonic degree downwards^ while

The fundamental makes a skip a fourth upwards or a fifth dovm
of
ards ;
Just so the third is led a degree toward the while
upwards seventh j

The fifth can he led by degrees, upward or downward.

Remark. " By the progression of the third towards tJie seventh, we are reminded o
hat was said of the fundamental and the diminished fifth in the dimmished triad, (page
8). Both intervals are found again in the dominant chord of the seventh.

Application.

Except in the formation of the the dominant of the

closes, chord seventh
s, in the of a piece, employed in the usage thus far known
middle seldom
o us, and, if it does take place, only in a position whereby the feeling of
he complete close is not produced.
This takes place particularly in cases where the seventh of the chord
ies in the upper voice, the close becomes incomplete, or, if the
whereby
ominant chord of the seventh falls upon the accented part of the measure

thesis), in the tonic triad fal

since complete close (cadence) the must

here. (See page 33).

Besides this, the chord often incomplete through the omission
appears

f an interval. This interval, however, can only be the fifth, seldom the

hirdy while the omission of the fundamental or the seventh, would entirely
 6. e* rardy: ,
d,

g; " " "

fi^-

"^^^E^4^^wm^m
r "" -""

91.

2s:
m ^ I i

In a, hf df the fifth is omitted, in Cf the third, and in each oas6

he fundamental doubled instead, which doubling affords, by means of the

one which is allowed to remain stationary, the closest connection with the

ollowing chord, and allows the tonic triad to appear again complete,

hich was not the case in the previous resolution. (See No. 84).
We add the following remark upon the omission of an interval in the

hord :

Through the leading the voices a chord can appear incomplete ; the
of
mitted interval will, in most cases he the fifth of the fundamental chord.
^

Exerdsesm

6
1. 6 6 4 7
:?c
a. ifE^ t i
-t=?i

2. 6 6 6 7
?"
!36^ -"-
""- -^"
""

g--^^
-"
"

:t is:.
F=t
6
8. 6 6 6 4 7
i9'
(fi-
-" ^
1=^ -4SIZ. -g
"

Hi -^

6 6
6 43 47

iiS^ -/a-. "s-

^JL
7 6 6 7
5. 6 t 6 4 6 6 4 t

^3 "^E
-"-
q=::f
t
I
^^ jSL
-*""
T O

67
6. jy 6 6 4"

^-^ """
""- ^
^ li
t=l: V=t

These exercises require no farther explanation. It has been

already
 indicated by 7, also that the found under it, or in
sharp general, al

hromatic signs which occur without figures opposite to them, have refer
nce to the third from the Bass tone. (See page 55.)

CHAPTER V.

The inversions of the Chord

of the Seventh*

Like the triad, the chord of the seventh can be altered in such a man*

r, that the Bass an interval than the fundamentaL

receives other
The first inversion arises,
if the Bass receives the third of the mental
funda-

;
The second^ if the fifth of the fundamental chord lies in the Bass, and
The thirds if the is to the lower
original seventh given voice.
In close position the inversions present themselves thus :

A comparison of these inversions of the chord of the seventh| with

hose of the triad, shows plainly their analogous position :

6
4

i
6
6
94.
Kt) ^i"")
;="-]
J:
-"- 1
G.

These derived chords receive their designation from the of

position
heir intervals :

'^he first inversion is called the chord of the sixth and fifth.
The second ; the chord the sixth, fourth, and third, or briefly, chord
of
the fourth and third.
f
The third : the the sixth, fourths,and second, or briefly,
chord of chord
the second.
f
Their designation in the Thorough-Bass notation is to be seen above, in
 It needs only to be remembered here, that in these inyersi. ns, just ai

efore in the inversions of the triad, only the position of the Bass or o
he lowest voice is essential, and that the remaining intervals can be vari

usly distributed among the upper voices, e, g.

* "^- ^^

^: 2?: r"5L=:ti38^
I
5.

"9
G-
-o- ""- -9

6 6 4 4
6 6 3 3

I
.GL

^
i
-%^
"C.

'"^^
^ 9-
IE

A'pplication.

The progression (resolution)of these derived chords is founded

regular

pon that of the fundamental chord.

If, in its case, the dissonance, the seventh, conditioned the progression
n cue direction, the tendency to the same progression (resolution),
will
in the case of the derived chords, in which the two tones, the
lso *xi"t
undamental and the seventh, cither appear again, or become seconds by

version.

or:

"" ^^t=^ Iffi^

:s:
im^ -Qg
K

Progression of the Cliord of tJie Sixth and Fifth.

Since the shows itself likewise, over the Bass

original seventh against
in the the fifth, dissonance^ diminished
ne chord of sixth and as as Jlfth
he of which was discussed above, (page 38),
progression

I
"^"^

97 .
^ -g g)-

he of the chord of the sixth and fifth taktf

resolution will naturally

place thus :

9H. ii^^=[f
 The the fundamental, as before given,
does not appeal
progression of
here, since the G the is sustained transforms itself into
of upper voice and
the fifth. This is, however, for that it forms the foundation
only apparent,

of this connection of harmony, the marking below G7 C, of Example 98

proves.
That however, the Soprano, or a middle voice, cannot in notes carry
ut the progression the fundamental in such cases, lies, beside othe7
of
easons, immediately in the these voices, is to be found
character of which
ore in mediation connection of the harmonies, than in laying their
and
foundation, which belongs to the Bass.

Remark. ^Deviating of the fandamental in these cases, such as a freer

"

progressions
eading of the voices in certain relations would give, are not hereby excluded, only there

ust be an inner connection of the chords.

^Progression the Chord the Sixth, Fourth, and Third.

of of

We find here, beside the its inversion, the diminished'

again seventh and
ifth or its inversion, the augmented fourth :

ES^
99. g g--
^m3/-

The resolution of this chord follows thus :

^"^^
100 91=^^1^^^^^
Giy 0 Oi^ 0

The Bass, the original fifth, can progress in both

of the given ways.

Progression the Chord the Second*

of of

This chord has the that the dissonant intervals, the

peculiarity, original

eventh and the diminished fifths can only occur in their inversions, m

econd below and augmented fourth below.

^

The progression of this is as follows :

chord

2 6 2 6

101
^
a
G^ C "^ G^ C
7

Thus the resolution of the. chord the second is effected here thiougli
of
he chord the sixth.
of
We in
can
perceive these resolutions, that they are all based upon the
62 MANUAL or HARMONY.

as called cadence^ for we find everywhere the same marking of the fanda*

mental G7 C or V7 I.

These form
res^^lutions will, therefore, themselves cadences^ onlj not o
o complete a sort as those mentioned above, and as those are called perfec
adences^ so these are designated by the name, imperfect cadences.

View Natural Progression Inversions the Dom*

of the of aU of
inant Chord of the Seventh in various positions,

a. The Chord of the Sixth and Fifth.

02.

b. The Chord of the Sixth, Fourth, and Third.

or:

as
CT
^az^tr^
I "G'jrr
\^m "s-

--^:g: xzTfird^J
4 4 4 4 4
6 3 3 3

"^ m ^m
G. 0
 C" The Chord of the Second.

Exercises in the Use of these Chords,

6 6
6 66 326 47
t
103.
i" i ^
:5=^ rsi
sL
X X

4 6
2. 3 3 6 6 6 6 87

i:3fe 1 c. -"
"
^

:f=t -St ^
-5/

4 6 6
8. 3 2 6 3 6 4 7

ip
-S
i :?s:
ipz -"-

f
4 6
4. 6 3 6 4 3 6 6 87

SIS SSL -"-

:aL
-51
"
"-

6
f 87
5. 3 6 6 3 6 %

^" I -"- izni

"
g-
^^
-c"
-"- 2i

6 67
6. 6 f 6 6 4"

i:^^: -"-' 2S:

rsi:
^
1^=1^ 1^ i^

f 6 67
7. 3 6 6 6 4"

^P3 1=^ --"-

^51
:?2=
^ a "
g-
1^
f 67
8. 6 6 3 6 4S
4 3f
PiiE^: -"-
r
EE:

Observation. " The marking 8 7 in the next to the last measure pf tlj

econd, fourth, fifth Examples, denotes that the seventh not

and should
 CHAPTER VI.

Secondary Harmonies
of the Seventh.

While in the case of the triads, three primary chords are requisite t

the key, (the relation to the tonic triad i

establish as central point),there
eeded in the case of the chords of the seventh, only one primary chords
he dominant chord df the seventh, the content of which alone already

enders the key certain, and the natural progression of which to the tonio

riad represents the key.

Remark. ^The manifest fact, that the seyenth of the dominant the
"

chord of seventh
s at the same time fundamental of the subdominant triad, renders the relation of the

wo tones 6 and F, (as fundamentals of the dominant triads),to their common centre,
, (as tonic triad),already entirely clear. (See above, page 22, 3).

Beside this dominant chord of the seventh, also called primary or

ssential chord the seventh, harmonies of the seventh can be formed

of
rom the remaining triads in minor, the relation of which to
major and
efinite key is indeed
undeniable, but by no means so decided as in the

ase of the primary chord. They are called

SECONDARY CHORDS OF THE SEVENTH.

They are to be formed, simply by the addition of a

seventh the fun-
of
amental to the triads :

a. In Major:

Ttp* ni"y IV T "VTy w Til"

Tll^iy

6. In Minor :

NB. NB.

N
Ij l^rj Hl'-y IViy VI TnO|y
jy

"We come here to chord formations, which, in part, without oonnectioB

sound very harsh, and, for this reason, foreign, because,

ith other chords,
was already remarked above, their relation to a fundamental key is not

decided as that of the dominant the Their

and clear chord of seventh.
be in but the less for im-
par
e
will, therefore, part more rare, not adapted

especial coloring to the harmonic succession.

variety and
Among these secondary chords of the seventh, the following kinds
may
 "n Major: in JAfkM*:

Major triads v)ith major |^-

*
at 1
seventh, ^
0: IV VI-

NB. Major triads minor form dominant chords

with seventh always
the seventh.
f
in Minor:
!)" Minor triad vnth
-j-^
w- not used as fundamental harmony.
major seventh,

" : x"

in Major: in Minor:

Minor
C, triads

seventh.
with minor
I g
C: niy niiy Vliy a: iti^

"" M(dor: i" Minor

d* Diminished triads

seventh.
with minor
m TU0| a: nOi
;B
in il/in*f .*

Diminished triad with diminished seventh.

f" The augmented triad with seventh.

m"ajor

it is found upon the third degree in minor, is, to be sure, not useless,
ut from reasons before developed in the case the triad, i
of augmented

ery seldom used, and ambiguous.

Remabk. " ^We find this chord again, with another foundation, in Chapter X.

pplication of the Secondary Chorits tJie Seventh in Major*

of

The or its inversion, the second, may be ished,

dimin-
seventh major, minor,
or (which concerns the second only) augmented ; it will always in it

elation to the fundamental press as dissonance to a progression.

This is, the the
natural progression with secondary chords of seventh,
than that found in the dominant
other already case
of chord of the
Yiz, one degree downwards toward the fundamental, if the latter
eventh, J

oves by fifths or fourths, downward or upward.

If accordingly the progression of the principal intervals of the chord i

ound,

3:
106. *
66 MANUAL OF HARMONY.

for the remaining intervals, no new rule is necessary ; the third will be
led one degree while the progression of the ffth can be in either
upward^
direction.
fit.

i ,^j^U^^^^^^^\l
107.

m I iSZ
-^
-"- f^^i
C: I IV ni

REUARE.^The deviation firom this rule in the progreBeion of the third in Example
107 bf is occasioned by the circumstance, that the covered octave, which would appeal
in the regular atcennon of the third a
whole step, e, g.^

^T" ^zp"=a
108.

^=^ I^^B
was avoided thereby. See page 85, Example 32.

Whether, however, as in Example 107 c^ the leading tone should be doubled in th*

succeeding chord, or the following covered fifths be preferred,

:e
p
1"0.
1
m I m\
will depend upon circumstances which ean only be judged of in the application to p"r
diBular cases.

Natural (Oadeneing) Progression of the Secondary Chords the

of
Seventh in Major.
a* the first degree,
of
or: not:

I ~".
I 3; "^^ \
110.

^t=SL \=^.=X^^
 meUh omission of the J^/th :

=:iF-6^ -fiffl- I
-"

-"-
5^- "

p~
--"
:b:zs^ mm
"" tA" Moond deffrse. or :
(/

without J^fth :
"?: -fiL

I :^: "O" ":

not:
-^

iip^i^ -"-
J " "-
I

e, the third degree:

of
2
:5a:
r^^f^^ J 1 " ".

T "7g"~~r T~s~r I ~oiJb: r~tf~r T~"g~j :

-n:
not; not: no";
0: llliy VI

degree
"l. of the fburth (seldom with this
resdlvUon),

i: ":
32:
1 ;S5S pi go.
^
JSL

.J

not 'good:
a.
"

jQ.

-g-
1
not.*
0: IV ir vn'

1^ I I
=

_3. ":
-g-
I I -"-
 5-.

^m

f,o/th6 seventh degree. not good: better:

i9-
jO.

$ ig 3:
Z^
i i -"-

3E3
"r-^
-6f- I

s II JQ.

not:
ni

I =g:
-"- I 3^: 3"' ^
.G_^
P i
-G-

-*""
not:

Bemark. " ^The above found progressions of all chords of the seventh are neither i

heir positions exhaustive, nor have they been exhibited as the only possible ones.

The difficulty of forming such progressions lies only in the frequently occurring
^
overed fifths All the remarks also, which are added above, such as
and octaves. not,**

not which, for the most part, refer to the leading of the Bass, (inasmuch as this
good"

ith other necessary voice-progressions, produces these faults,)are, in many cases, only
o be from a theoretical stand pointy while such cases and ones in the
understood similar

ractice, even in the so-called pure harmonic structure, must often be judged according
o the principle before expressed, (pages 52 and 53).
Since the theory has not yet succeeded in furnishing positive rules for all cases of the
ind, the true and false, the and inadmissible in this respect, can be tin
dis
admissible only
by means of complete harmonic edv4:ation and a really musically educated ear.

ore about this follows later.

oncerning the Progression the Chord of the Seventh

especial of
of the seventh Degree.

In the above found collection of the progressions of all chords of the

eventh in under No. 110, that of the seventh degree^ analogous with
major,
he has been led to the third degree^ that is, the progression the
others, of
undamental takes place, as with the other chords of the seventh, through
ore unusual one, and is, for the most part, only used in a leading of the
armony to a certain formula (sequence). That progression
according -

curs oftener, upon the diminished triads to which here the seventh
which
8 added, is based, (see page 38 and 50), viz., that to the tonic triad.

Ck 6. a. 6.

1
1^ 3@
Wz
I
Sr
."_.
i
11.

m i .Q-. .(2.
11
C: viio vnOi VIlO "II* I

The above Example shows plainly, that the relation of the diminished

riad to the tonic triad is not altered by the addition of the seventh, but

the contrary, becomes more decided.

It is likewise to be remarked, that, if the chord appears in the above

osition, the third of the following triad must be doubled, (seeNo. Ill 6)
ecause otherwise, fifths would arise ; (See No. 112
perfect a),

a. 6.

1=1f=^^^^E^
I S
112.

ii
-^
m -"-
i

a must be used, as at b^ a leading of the Tenor is often

skip which
ound, in spite the octave, is
and which, of covered very effective.

'It is peculiar to this chord, that only that position of it in which the
lies in the upper voice produces a satisfactory effect, while the
eventh
if not impracticable, still appear less clear.
ther positions,

I r
i "^

-"-
"OP
"

1
13. 6
2 4

m Ml
.GL

IIexark. ^Whether the reason of this is, that in the sevtenth with its above
"
used
the charaoter of the ninth lies, (as some theorists assert, that the dominan
rogression,
the with added ninth, is the hasis of this chord with its
hord of seventh, resolution
though to that of the seventh, is still much more comprehensive,
hich, similar and
The Freer Treatment the Third and Fifth in the Chord
of of
the Sevenths

Various of these intervals have been nsed in thi

progressions already

revious connections of chords. The^;^^ goes upwards and downwards,

he third likewise, sometimes goes a degree and sometimes makes

upwards,

skip of a third downwards. This all took place principally in reference

o, in avoidance of, covered fifths and octaves.

and
Where these faulty progressions do not interfere, the third especially,

an make still other steps, by means of which the leading of the voices

ften becomes more independent and freer, e. g,

a, ft. not goo4^ ""

|ii
s"^
-CL
^g"-=j^=^
114.

^^^m^^^^^m
That this leading is also possible in the middle if the
voices, position

dmits of it, is shown at e"

The leading of the Soprano at b is not good, because a an

skip of
ugmented fourth occurs in consequence.

The skip from the fourth to the degree, (F-B), is the

seventh called
ritonus^ because it contains three whole steps. More this sub-
of sequ

A different leading of the fifth is possible only if the Bass at the same

ime deviates from the above progression, which is that of a fundamental

in still other leading of the voices itself, if

general, will present we

earch out other than the chord-connections hitherto

used.

OOhe Preparation the Seventh*

of

Thus far the progression of the the has been

chords of seventh spoken
f, but nothing has been said of their introduction.
The harsh effect of the entrance many dissonances^
of and particularly
f most the in the secondary the
of sevenths chords of seventh^ renderti

ecessary a careful introduction of them, in their

which consists pre-

aration,
A tone is prepared, if it exists already in the foregoing m onh
chord
D THE SAME VOICE, and as harmonic tone^ so that it can be by
connected
 Suoli preparation of a tone is contained in tlie first connectiou
already

f chords shown, e. g.
previously

"g--
f: *"
o-
11".

T=2E
^ GL s
It can be said here, that C the Soprano in the second chord is pre*
of

ared by the 0 of the first chord ; likewise the Q- of the Alto in the
xample following.

The the the however, does not

necessity of preparation of sevenths,

esult alone from the harsh effect of their entrance if they are struck /r"",
enter unprepared], but particularly from the harmonic con-
character of
lection and binding two consecutive is especially
of chords, which

haracteristic of the sevenths, and which, without the preparation, would

t appear.
The preparation the can now take in the following-
of seventh place
nner:

"=F
^ii^^^s ^
16.

g^^gg m
C: V IV IV IV n.
~cr=^^^^
"
I"
^Si^---a "
^
EgEE^E?
m
-""
v^^
"9-
f
I 1 "e.

[=js:
giz"-F=Ez=gz:i
^E 11 F
i -""
m
"|
"

t
0: in IV-rvn" niiy VI vi" n IV TllOi

In Examples, is connected by the fol-

lowi
all these the tone which a tie with

like tone, forms the preparation the seventh.

of
In the formation of such preparation, the following rules are to b"

bserved :

a* The preparation takes the part th$

place upon unaccented of
asure (arsis)and must
!)" at least he as long duration as the succeeeding seventh / it can
f of
 fiol;

117.

Remark. The the sewetUhe forms one of the mofit important parts o
"
preparation of
he doctrine of harmony, and is to be through much car"^
carried and practiced with
ecause upon it rests the most essential the inner most intimate connection
part of and
f harmony.

If here also in the can be we may be re-

mi
exceptions practice adduced, still again
that they are even nothing else than exeepHone^ which prove nothing against the

mportance of the harmonic but can be intended and judged

principle of connection, only

f as called for in a concrete case by the (Page 44 Remark).

position and relations. "

These exceptions occur the as th" less harsh, as those o

mostly with minor eeventhe^

he degree, VA then by good leading of the

second and seventh and always softened

oices.

An especial exception, howerer, to the necessary preparation is formed

y the the dominant called the seventh

seventh of fihord, also essential
his is the one, which, through its relation to the tonic triad, enters [wit
least harsh foreign to the fundamental key, does
effect]the and and not

equire in all cases.

preparation
Of its farther use the following may be remarked
7%# dominant does notj to he sure^ require preparation, yet it
seventh
ree ejitrance demands the presence the fundamental^ if the leading o
of
he is to be uure and without harshness.
voices

118.

Remark." The sevenths, of course, as such, cannot be pre*

so-called passing which

Nired, conform to the rules of the passing notes, which are explained later Concerning

he passing sevenths, see Chapter XYIIL

*

The the seventh degree in and minor (in the last

seventh also of major
se, the chord of the diminished by reason of their espeoial
seventh),
 Exercises*
0
1. 3 7 6 6 4 7

119 M ^^ "^
"
i
t
m ^
t

6 6
2. 8 6 6 6 6 4 7

^^ -^
-"-
.^"G.

6 6
6 6 6 4 7
-"-
a ^- :?"
32:

6 6
6 7 6 6 6 7
1=3:
IS 4-
"
"-

t=t "-"s'
"
^- E
^-"-

7i6 Connection the Chords the Seventh among themselves*

of of

The progression or resolution of the chords of the seyenth, took place

n the former Examples, always through the triad the fourth degree
of
or, which is equivalent, the ffth degree helotv. Instead of the
bove, of
riad, a the of the same degree can
also follow.
chord of seventh
The progression of the voices suffers hereby no alteration, only, in this

se the third of the first chord of the seventh will serve as the necessary

reparation the following seventh, and will therefore not progress, but
of
emain stationary, e. g.

1=1
^^^s
120.

": "G"
-"2-
-^z a
G: IV

Here the third of the dominant chord, the B, forms the preparation "A
he following seventh.
in is, that in th
The peculiarity this connection of harmony one of

the the ffth he wanting. In Example 120,

hords of seventh, will always
he fifth the first chord has been left out. If several chords of the
of
the ffth be wanting in each
eventh succeed each other, will always
131.

IV "r ToPpf m lUiy

lUm Tl
Tim Urn Y m

The following therefore apply for connections of harmony o

rule may
his kind :

If two or more
chords the seventh follow each oih^ m the funba'
of
ENTAL POSITION, the fifth is Omitted in
each alternate chord.

Exercises*

4 6
1. 3 6 6 5

32. ii^ 2-gs: i^

6
2. 6 6 4 6

:^
^^=F ^
"^

4
4. 5 7 7 7 7 3 6 6 6 6

iS^ 22: 3?: -ci-

:s=il:? ""-

6
6 6 6

m 2:
-G- 'SL 1

pplication the Secondary Chords of the Seventh in Minor*

of

The the the in minor is more ited

lim-
rise of secondary chords of seventh
Many them themselves, to be incapable, or indefinite and
of show
for as they were applied in others
mbiguous, chord-connections major,
orm, in their progressions,
heavy, unmelodic steps of the voices.
cadencing
A the formed as the frst degree gives it, can
afford
chord of seventh
o progression analogous to the above, since the following chord connection
is not conceivable.

133.
 Rkkakk. ^EVen if irith the above combtnaivm interval!, progrMi*. u
"

of
cmied, such as perliapg :

fe^E^I
134.

-It :=f:
ii g
71 6

till tbis would hardly be admissible as that we have in this a progression of f

proof
hord of the seventh of the first degree in minor.

The resolution the the degree is into the daminani

of chord of second

nd is very frequently used.

35. "".
7

-a.

^m^ -"-
jss:
l^^^ilf
""*"
not: not:
" ; nOi

A progression of the chord the of the third degree is no(

of seventh

npossible,
ifg ^^
ffs ^
I
.

136.

ii :a: igs:
7"- rfsr
not; not;
a: IIIV VI

t is however, be better to C than to

ambiguous^ and might adapted major
minor. (See Altered Chords),
It may be remarked here, in that the ffth in this chord, aa
addition,

ugmented interval^ will always go upward one degree.

The chords of the fourth degrees are because the

and sixth unusual,
eading of the in their becomes inconvenient un-
voices resolution and

elodic.
^ good:
^

P^i gi y^
^9-

97.
7 7
# ^
m i I I
^ iiS: |s
 f=gE3Hf=E^j^g^j^
19"

^EgEj^i^^^Si^g

The forced character most of the progressions is

of above unmistakable^
their frequent use.
and prevents
The degree in minor brings an important chord, which is gener-
ally
seventh
known under the name of

THE CHORD OF THE DIMINISHED SEVENTH.

A of this chord in the manner of all the rest is impossible,

resolution
it would in the triad degree,
since necessarily result of the third which was

already represented above as doubtful and ambiguous.

Instead of this, its progression, as with the chord the seventh ths
of of
seventh degree in
major (see page 68), is based upon the natural sion
progres-
the leading tone^ upon which this chord rests :
of

* '^
"O" .JQ.
139
-O-
I m
*"' "
A
a: VIlO
viiOi o: viiOi

As the fundamental of this chord (leadingtone),progresses a half st^,

so the seventh also moves a half-step downwards, while third and fifth are

led just as regularly as with the other chords of the seventh ; especially,
however, in (No. 130 must the leading the third be
many positions a) of
to, because it easily produces faulty progression :
accurately attended

a* not:

@ K.- -"S^ p-

130. mM ^m^^
tf

irhereas the position at h and c gives to the third greater freedom.

Remark. " ^The natural progression of this chord, as well as of the chord of the seventii

of the seventh degree in to the tonic, has the teachers mony

har-
major, occasioned older of
to find the basis it in the dominant hannony the seventh. They
of of conceived
of this a (major or to it, and the fundamental
chord with ninth minor) added omitted

whereby arose both the seventh degree.

chords of
 ean bring forward here as reason for the view offered, that this assumption o
only
he the is needless far-fetched, that for practical purposes, the
chord of ninth and and

implicity of the harmonic system has been preferred to the more excursive explanatio"i

f it

For the the chord of the diminished seventh, observe in

application of

ddition the following :

The diminished seventh^ as the mildest of all, needs no preparation

See page 72).

Exercises.
7
1. 6 6 % 6

3
31. 2:".r
9

i:t
-^=^- sS""
(S-

X.".
I
7 6 6 7
2. 3 J 6 2 6 6 6 4 t
""
3 1^
its: i^: i '^"
1-
tizsL
-"--

I
"

-+*"
-"

7 6 ^ 7
8. fS 6 7 " 4 2 6
1
" G-

"i^ ^
-(S- I -"- i
7 6 6 7
4. f 6 7 7 It 5 6 4 $
" (S2 T
-P"
9i^^^ t
Tsr.
^ife^i^^

The foregoing
and all previous exercises of this chapter, which, of course,

nly have the to assist us in learoing to use the chorda

object mechanically
hus far explained, and to test the remarks laid down, have some-
thing
rules and
inflexible and stiflf in their structure, because the great number o

hords of the seventh could only appear here in the fundamental position

nd because the introduction

of many of them upon our present stand

oint, which did not allow us the of other means, was difficult,
selection and

ould only appear forced.

What follows may serve as explanation of them :

The fundamental of these chords of the everywhere the

seventh makes

adencing skip of a fourth or fifth, as is to be seen from the leading of the

ass, in the is found,
only, third exercise of Nos. 122 and 131, there seem-
ingly,
In the fourth of No. 122,
an exception. measure of the third exercise
he Bass tone, to be sure, the of the mental
funda-
remains stationary, progression
is, however, in manner in the two
contained a
perfectly regular

hords: a D7. The Bass tone here because

7, could remain stationary,
have already learned the inversions the dominant the
of chord of
easure of the third exercise of No. 131, where the progression of th
undamental A7-D takes place with a stationary Bass.

In the second Exercise of No. 131 the the the thira

chord of seventh of
egree in minor is
used, and, it may be assumed, that with thb introduction

t will not appear unnatural and harsh.

CHAPTER VII.

The Inversions the Secondary Chords the Seventh.

of of

Through the inversions of the secondary chords of the seventh the same

erived chords arise, which have already shown themselves before the
with
ominant seventh, viz., the chord the and fifth, of the
of sixth sixthy
ourth and third, and of the second.
The variousness of the third, fifth and seventh of the fundamental mony
har-

occasions no alteration in the treatment the inversions. For

of

lthough the changes, through inversion, into a minor

major seventh

econd, and the diminished into an its

augmented, still progression will
nsue in the same manner as has already been explained above.

6 4
2
5 3
"
r ::=: -"
"

y
"

"g "
-" g "
"G
,,
-j

!: T"i IV

There is for the

need of no new rule progression of all these chords ^
he seventh. Only, that of the seventh degree in
and minor
major
equires, as was before remarked, a little caution on account of the easily

ccurring open fifths.

Somewhat more concerning their treatment may follow here.

Progression the Chord the Seventh the Seventh Degree in

of of of
Major.
6 4 6
5 6 not: 3 6 2 4
f.
_

All these inversions of the chord may be used, only the last, the chord
chord of the sixth and fourth oonld only occur in rare cases,
and at most

s passing chord.
We must not to be in respect to their
allow ourselves misled usefulness
by the crowded position in which these chords are in No
exhibited
133. It is only important, as was mentioned before, whether the seventh
omes to lie or below the fundamental (see page 69), and
above positions

of the chords of the sixth and fifth, and of the fourth and third of the
following sort,

134.

more because the seventh lies the fundamental.

appear satisfying, above
The chord the diminished seventh requires a manner of progression
of
similar to the foregoing e. g.

35

That here likewise inversion,

the third the chord of the second, will be
hat least for use, is shown by the unsatisfying resolution into the
adapted

hord of the sixth and fourth, a chord which always requires a careful
reatment, concerning which chord, what is necessary follows later.

That successions of fifths, which arise through resolution of the chords

f the sixth fifth, and of the fourth and third, in this manner :
and

136.

e to be regarded as faulty, has been already mentioned (page 76)

above,
oncerning the succession of this sort of fifths, compare
also page
29, Nos.

6, 17, and 18.

With this exceedingly pliant chord, the position of the fundamental as

espects the seventh produces no such material difference, as with the chord

f the seventh degree in ; the seventh can lie or below the

major abov$
undamental, the similarity of sound of the augmented second to the

inor third, will always impart much mildness to the chord ca ase tlu
and
80 MANUAL OF HARMONY.

Exercises*

6 6 6
1. 6 6 5 5 6 5
2s:
1S7
""""
g^ r-g- i g "g
-"-
I
1^=t

6 4 4
2. 3 6 3 7 3 2 6 7 7

^^^T=F t
^S -"""-
jSl

6 6 6
8. 2 6 6 6 2 6 2 6 5

Wl igB3 :^
s:
^ -jsr.
l^^isr.

6 4 6
4. 6 5 2 6 73 6 6 6 5
X :1=i
iS$: -flL
:?^ -s^-^-
-g-
-"-

6
5. 2 6 2 6 6 6 7 7
T
iit^Eg ^=^ "g- -""(2- I
6 6
6. 3 2 6 2 6 4 2 6 6 7 7

:$
12^^
^ ^r=^:zs
:4--i::t
:5=?2:

=f=t -"-

6
f 6
7. 5 I 6 jar 6 7 7 3 6 5 f
-"-
ii^ -s"-^
3 '^s^^^
F=f .ZSL

f 6
8. 3 2 6 7 3 6 5 %
.7
m^ ^^ s; :"=??:
-^- ^
-"" B ^^"
f ?=t:

7 6 6 7 6 6 7
9. f 6 jt 6 7 7 $4 4$
,1
1S=^ 33;
^^ -"-
-fs:
:^|"p -- "-
i
S:"z:3:
.a.

ja^ 4 6
10. ^6 2 6 jar 1
^3^
E :^ g SI
i^^^ff^fft t
"iB-i
 CHAPTER VIII.

he Chords the Seventh in connection with Chorda of the

of
varlotis tone-degrees otiier than those thus far used. Decep^

tive Cadences.

The known rule, that the seventh must, in the resolution, progress one

egree be in the
dovmwards^ verifies itself, to sure, completely, connections

f chords but it has as little positive authority as any

previously shown,
hing in the great variousness of
else which, under other conditions, and

hord connections, is to necessary alterations.

subject
In the movement of the or of its inversion, the second, thing
every-
seventh
depends the the fundamental. If this is of
upon progression of

uch sort, as in the cases hitherto that without the downward

all shown,

rogression of the no intelligible and result would be

seventh satisfying
roduced, then the rule will have full application.
also above
The progression of the fundamental, however, can entirely set aside thi"
irection the it can either remain or even pro-
of seventh; stationary

ress upwards^ e, g,
9f

i3S.

i^:E^S^=j5=^;^g=3
This leads us to the connecting the chords of the seventh
possibility of

ith chords of tone-degrees, than those hitherto used. A few known

other
inds of chord-connections now follow remarks, in order to be
with able,
n attempts at new formations the kind, to to
of proceed according critical

rinciples.
We begin with the dominant the
chord of seventh.
It has been mentioned before, that the the the
resolution of chords of
eventh in the manner hitherto is called cadence, that the
used and of
ominant chord the
of seventh closing cadence.
If any chord other than the tonic triad follows the dominant chord of
he seventh, the inclination to a close is either delayed or
natural entirely

t aside.
The e:!Cpectation the succession hereby a disap-
of natural experiences

H"intment, and for this reason these connections of chords are called

DECEPTIVE CADENCES.

Deceptive cadences arise thus everywhere, where the progression of the

ominant the does not in the tonio triad, but leadf
chord of seventh result
 Some varieties of them will next be explained.
1. The the dominant chord the with trictds
connection of of seventh
than that the tonic, with a progression the seventh by de
other of of
downwards,
grees
a* Connection with the sixth degree.

In Major. In Minor.
^

"""""
li^^i^P^^^^^
V ^
77
C: V" VI a: V. VI

This chord-connection (deceptivecadence) occurs very frequently.

The effect this progression is not so decided with the inversions

of o
the chord of the seventh, and is therefore more rare :

Jn Major. /" Minor,

% " 4 6 6
^ -"
3
36 24 4 56

^^
0: V.y VI a: Vir VI

b" Connection with the third degree.

better position :

6 7 6 6

""i^ f: "

g:^^^;5 r
"

g
-"- ;[E
:t

0: V. m

Remabk. " ^The attempts with the iDversions of the chord are
omitted here and in what

ollows ; they are easily made.

This becomes more decided the of lation

modu-
progression under application
:

7_ 6 7 ^6 6

143.

0: Viy a:V

The connection with the triad of the third degree is also possible in

inor, but this as dissonant chord (through the augmented fifth)will make
farther succession necessary.

7 6
t -

% .".
1^

143. -"5-
i; f- 3SSr
^1
a: V. IIF VI
 With the second degree.

not: impracUtxtbU in Minor,

6

144.
P ^=iEeJ^^I
-^
C: Vi a: V^ no

||" With the fourth degree.

/" Major : In Minor :

6 6 6 6

Jg- *

"'"pi -" :^=s

-.^cTisr
-f
:^:^^-
^
1^
Ci V. IV a: Viy IT

The connection of the dominant chord of the seventh with harmonies

the seventh of other degrees beside those before used, is likewise pos*
f
ible. A few of them follow here :

6^ Degree : 8(2 Degree : or: Minor: Sd Degree,

6 6
2 5 5
TT. "

-^Q
"M
I"Dfl
"""I -i-

77
-d

TT
"
1
-"- ^ ^ z::^=5=:z:g=H:

C: Viy viiy Viy Wliy Vy A:Viy AlViy III'Y VI

If we into other keys, the of new oonneotiivu

modulate possibility
xtends itself greatly, e, g,
a" With a doumward progression the seventh.
of

not: better :

afc=
".
P^^^^g^^f
C: VlyD^Vr C: Viy BIYIlOry a: Viy F: V"y A:ViyO:TlI""

ll" The seventh remaining stationary.

14".

C: V^EbtV^ C:VyB|7:V7 a; Vi^ C: Viy ArV^OrViy

8. The connection the chords through an upward progression

of ofthi
cventh.
This case can occur with the common cadence (V "
I).
 not:

^^^^^^^^^^^
49.
7 6 7 ^ 6 6

Ih^ ": 35: ^-"^

IB

Through the step a third, of the Bass, the downward progression o

of
he seventh becomes impossible, since the covered octave occurring thereby

I -"- i
150.

m 1
s in any case faulty.

In the remaining voices this progression of the fundamental cannot ]m

ntroduced.

-9-

SJ^^9-
I
151.
.O-".
Si s: 5=g"
^^It
All these Examples are faulty.

b" The fundamental remaining stationary:

not:
"^^="2.

152.

E^^Hp^^H

The fundamental serves here as so-called voice, (See later

stationary
rgan It must however lie at a distance firom the
point). Beventhy and
he following progression would be faulty :

153.
 "" Through chromatic alteration and with modulation.

f f 6 4
3 5
f 3

154
"

"
"^
jg "
"

"^ 0: Ti" G: Ti

6
6
*
=3E":
^=Z1^
"^
I i
-JK P
C: V"y G: V. 0: Yrj F": Viy
vnOiy

d* Through contrary motion the Bass with modulation into

other
of
eys.

65.
p^l
'i*'
C: V"y d: 7r 0: V^ a: V"y d: 0: V"y F: V.y
Bjj: vnOiy vii0.y

(See above. No. 149.)

The foregoing catalogue of chord-connections gives only an indication

f possible combinations. The of them was to call to

object attention
he manifoldness of harmonic progression and its capability for con*

truction.
Concerning the worth of these and similar chord-combinations, criticism
n only decide in especial cases, since their right use becomes
possible
nly with a proper attention to their introduction, their their
succession,

ythmical weight ; in short, their whole situation.

The particular character of a piece of music, the peculiarly formed

eading of the voices through the application of a motive or thought, and

he like, can lead to such combinations of harmony ; to apply them, however,

speculation, to produce new and strange forms in any case, in ordei

pon
in few instances so that the
appear original, would probably succeed,
ntention would not be apparent.

Eocercises.

6
6 6 8 7 6 7 7

-S"-|2-
56. X - u
-"-
3t

4 6 6 6
2. f^ 6 3 4 6 4 2 6 6 7
:x::q:
!^^ -^-^
 -*
6 6
3. 6
7 3 6 4 7 2 5

ti
\%~w^-^-
"^-
t=f -^

6 6 6
5 6 5 5 6 6 6 6 7 7

iS t
^C -9-P-
t ""-
-JpL
-" m
It "SL

6 6
6. 3 6 6 7 6 5
openpotition, 47
^
ia 5::?i": -"--
t
10-
2s:

"F
67
f 6 6 7
6. 3 4" 6 3 4 5 7 "

Pi^i let -"-

3t
3=4
-g'-'C^ I^ iiaJ
--"
6 7 6 6 7
7. 4 tl 6 jy 6 5 4 3 6 6 4 IF
^n= H:
g!Efe 22: -s"~^

1^ 1^=?:

6 6 6
8. 6 5 6 4 7
1=3:
iiB t" "
s-
-"-(a- i3: i
3S:i."?:
t -ti-e"-

Remabk. " The "^en position of the 5th exercise has reference to a leading of the Toices

dduced page 84 ; farther on, it can be abandoned agaia

he Secondary Harrmynies
of the Seventh Connected with Chorda

other Tone-Degrees or Keys*

of

A few more connections of chords with secondary chords of the seventh

ay here follow. To adduce all cases of the kind would be as impossible

it would be without object.

a* With regular progression the seventh.
of

"-

57. im
C:
,g^
iii^ m
^^fef^^^l^i^i^p
-o

n.y
ui^
"
fe
BrViy
"

0:
-

Tlliy IV

not: letter:
" " .

a: IlOpy IIP VI IT.y V IViy V VI'rGiViy A! nf*fr ": mOi

 not:

""*" i=i^P ^E^pi^p

C: Tiff G: V.y C: niy o: viiO,y C: uiy a: V. C: niy d: tiiOi

Remark. The reason why the last example is not good, lies in the so
"

called erost*

doHoti therein found, the of which follows later.

explanation

C. The seventh remaining stationary.

a. 5. d. 6 6
6 6 4

^ZEJ^S
gg^^^g
-""-
^E
C: Uff IV Iliy TI III III

The last chord-succession is often used. It forms a delay of the oaden-

ing progression the degree to the fifth, through the inserted

of second

hord of the sixth and fourth of the tonic triad. Its chord of the sixth

lso often appears between this chord and its resolution, as in Example c"

The the diminished is often used in like manner :

chord of seventh
en
Tb 4

o: I V
vuo^O:

Here also the natural progression is only delayed through the chord o
he sixth and fourth.

The mechanical combination of such chord-successions may be left to

ersonal practice and investigation. The advantage of it will lie in the

nsight gained into the relations of chords, and therefore is not to be

steemed so insignificant as it first appear ; this [practice]will

might at
n fact, stand in about the same relation to composition, as the technical

tudies and preparatory exercises, to the practical bringing out and repre-
sentati

of musical works. Both produce aptness and skill, educate the

owers, and render intellectual productions possible.

It may here be in addition, that the relation the
only remarked of
to the fundamental and its progression must always be regarded
eventh
the criterion of the combination. If this is pure and the remain-
ing
above

voices form none of the before mentioned faults, then the chord-

ombination can be used for particular cases.

Exercises*
7 6 6
6 5 6 6 4

161. "1^ -9-

i
 6 6
2. 5 6 7 6 6
-^
53 '9- -fS=:~" -"- SL
1"

r-
"f9-

4 7 7 6 6
8. 5 6 7 3 5 6 2 6 5 6 4 5
^

^g$^^ ^5^="-
t=t
r-" is:
i
-"- :SL
.t"ii

6 6 6
4. 5 5 4 7 7 7 6 6 6 4 7

-"- t :?z:
T-"-

-"
"
=d=a: i T:E^ -"" -g-
+"
-9-

6 6 7 6 6 7
5. 3 5 4 6 6 5 4S
1=?
" -"" ij-
-

i^ 3i
:s:

7 6 6 7
6. 3 51 6
f 4 6 41
fc^
S "t
2in: :5^::a
H-
-""-

."-
-"" T5"
^1^
^ AT ft 87
"y. 5 6, 675427 6 "
2itit2

il^Zi ^E ^.-.-.i^siz:^.
:i=P
^^
6 4 6
8. 6 5
f 6 3 5 Vt
IS-.
^"p$E^^Eg t=:a i
:""

Rehark. ^liiaDy of the cases above adduced could not be taken up in these
"
exercises,
ecause they are based modulation, which is not later
upon particularly explained until
The sixth exercise a little application of Many of the amp
Ex-
makes modulation.) above

also have become smoother and less stiff and strange, by the applicatioD
would

f modulation.

CHAPTER IX.

On Chords the Ninth, Eleventh and Thirteenth*

of

In most text-books are found extended discussions respecting these chords

ormations.

The views can be plausibly maintained respecting them are

which vajA
 Either^ that this of intervals is to be regarded and treated
combination
6 real chords ;
Or that they, as either belong to the sris
J unessential chord-formations y

ensions, or arise accidentally on account of a voice remaining stationary.

In the first case, the explanation of their use, especially through their
nversions, becomes very extended ; and also obscure, (since in the four-

movement one or more of their tones or intervals must be

oiced omitted
ecause they are then easily mistaken for other chords.
In the second case their explanation becomes much more simple.

RBMARK.^The chords of the ninth, as well as those afterwards named, are a reli

f the old so-called thorough-bass doctrine, which was fond of conceiving of every
tones, however accidental it might be, as an especial chord and taught
ombination of
ts treatment, without arranging the many chance chord-phenomena under a definite

ystem, and thereby made the whole doctrine of harmony much more difficult and

iffuse.

Without being here to enter into the theoretic reasons class

able which
his kind of formations with the accidental ones, the possible simplificatio
the harmonic system without real practical disadvantages, determines us
of
t once to the last view. (More respecting this in Part II.)
In order to
gain a clear view, the formation of these unessential chord

ill be shown, and remarks added.

If we add a
ninth to the dominant chord of the seventh, a chord arises

hich is known under the name of the dominant the seventh and
chord of
inth.
In Major : In Minor :

162.
i^i^li
In we find the in minor the
major major, minor ninth.
This is used in the pure harmonic structure, as in similar
chord relations
the dominant chord of the seventh itself, with preparation of the or
ninth

of the fundamental ; and cases of the following sort, where both tones

nter free

1^1^^
163.
""*" ^

^^^m

re to be censured on account of their stiffness and want of conneotioiii

 better:

64.

How far the first

examples are to be reckoned as belonging to the sus-

ensions, and the last to other accidental chord-formations, cannot be

xplained until later, in Part II.

Remark. From the chord of the ninth in they derive the chord the seventh
"

major of
the seventh degree^ wliich we bave treated of fully before ; likewise the the
f ch.ord of
iminished seventh from the of the ninth in minor, in order to be able to form
chord
heir cadencing progression in a manner analogous to that of the other chords of the

eventh, since it is said, that these are themselves dominant the seventh^
chords chords of
o which the ninth is added, and the fundamental of which is omitted, e. g.

65.

^7 o: Viy Viy
7

Through this arises, with the first, the complication that we must accept of two
chorda

f the seventh of the seventh degree in ; one, the natural cadence of which is the
major
ollowing :

166.
p i

he other as derived from the dominant chord of the seventh, while it remains the ples
sim-
to refer to the character of the leading tone upon which the above chords
way^
est

That many musical text-books accept also of secondary chords the

of
the explanation of many harmonic formations
eventh and ninth, renders
more and is just as little necessary, since none of these
till complicated,
ones are to be introduced without preparation, whereby, in their whole
reatment they differ in no respect from the
and succession, suspensions.
That which, according to the practice, as well as according to a more

theory, applies to the chords of the ninth, will apply

in stil
simplified

of the thirteenth*
measure to the those of the
greater chords eleventh and
The strange and frightful form of these chords is the following :

13
11
V 9
7 7

16T.
p Ji i
 In \h{\ pure four-voiced movement^ they can, of course, never be applied,

ince, through the omission of many intervals, they will appear

necessary

imply as suspensions, e. g..

i^^^^^^
16S.

I s
even in the movement they will not distinguish themselves
nd polyphonic

t all, in their character, from the suspensions ; in the more free style,
they appear without preparation, they can be regarded as
here also

hanging notes.

CHAPTEK X.

hromatic Alteration the Fundamental Marmoniea* Altered

of
Chords.

The of one or several intervals of the fundamental

chromatic alteration
armonies has a double effect :

Either it produces a modulation,

Or, it gives to the chord a new formation not hitherto used by tw.

If, for example, the triad is altered in this manner, there arise
major
a. Modulations :

.69. i^^NM^^^s^pSg^^
Through diminished triad degree in D
Cj|,the of the seventh major or

minor, or the second degree in B minor ;

Through El?, the C minor "
triad ;
Through El? and 61?, the diminished triad of the seventh degree of DJ

and minor, or the second degree of Bj? minor.

ajor
The last two alterations are mere transpositions of the same into
chord
keys, viz., Cl? major and Cj|major.
ther
b" New Formations:

lYO :Sr
^a i=^{^gi
."E
92 MANUAL OF HARMONY.

through hy (passing tones) ; they have, however, n: harmonie

lly -tones

value.
It is otherwise with the formations at c and e^ which maintain harmoni

(accordliche)significance.
The first form of the triad (c) is known under the name of
THE AUGMENTED TRIAD.

This was found before upon the third degree in minor (see page
chord
43) ; it appears seldom, however, in this situation, as has been previously

entioned, but more often as triad of the first fourth and fifth degrees
j

n with chromatically raised fifth.

major,
Its origin from tone following (A) is easy
the passing (G^) to the next o

xplanation, as also its progression, is determined through this tone

which

(Gj()as interval.
augmented

"""
p^^S 'h^^
i *a

s~^
f
1

The inversions of this chord can

also be used.
6 6 6 6
I 4 t t

^
l^^^^^^l
C: I IV IV viio

Although these chords appeared for the most part in passing, or through

reparation of the augmented fourth, they can also enter free in case of

apid change of the harmony :

(I
""
lj i
t r
"

f-

1^3.
6
f
3t]

P 1
"EEt=E
To the augmented triad can be not the dominant
added only seventh^
hich occurs most frequently, but the of the first
also major seventh and
ourth degrees.

SI. The augmented triad in connection with the dominant seventh :

6 6 fS 9S
7 6 6 4 4 4 4
b% "

% % 36362626

174.
 b. In connection with the seventh
of the first degree :

___^_
jlrp "^
',

ftp
^"^
Q _

Y5.

fe* *^ -C

^ I I I 1
C: I-r IV

the to the augmented triad

C.
j?%" addition of seventh of the fourth
egree is very rare :

6 jy
7 6 4 4
6" " 3 6 2 6

" aiiz^nx "

Q "
g r "
g

^ "
^ "

-^
" i- "

o~:zg
"

r
"

g"
s :sr:

176.
k^ -C
"^ I ;;" S
C: IV/r viio

In all these chord-connections thus far, the cadencing Bass sion,

progres-
(e.^., V-I I-IV) has been used : some examples,
however, may show,
hat these chords treated of can
also be used with chords of other degrees^

tnd a various progression of the Bass.

or:

6 6 - 6
7 7 6 4 3 6^
6$6 6"6 698 t' " : 3 b 6
.1
If
ggi-gggg:
fi^^e
77.
I

rJrzJ:
I :*=ita s-1 IP ?"-
J
O: V. ni Ypf a:V 0: V.v d:vuo i C: V^ o: viiOi

6 7 6
5 7 6 6
I
V

i I^-zijjgi^g: 12 -"-

.-CL
^ ^S^^i jOl. 2s:
^^E
C:V^e:V^ i C: m I^^'DiV C: hi Ij^'GrV^

These occasionally sounding harmonic

strange and rough combinations
cquire significance only through the situation which they occupy, and

specially, if in a certain degree an inner necessity leads to them.

If it is the province of a text-book to call attention to the possibility o
ach harmonic formations, it is also its duty to warn the beginner against
io occupy himself with such things and speculations, until
he is fttU
versed in the treatment the simplest harmonies the
of of simple pure
harmonic structure, A too early occupation therewith, and intentional

seeking out of especial effects will render difficult, and impossible

probably
the clear view, and the insight into the simple, fundamental features o
harmony, and turn away the sense from the chief thing to secondary
matters.

Exercises*

6 " 5
1* 5 6it 5 61 3 6 6 I 6 6
:"=?^
17". m V
3=^

6 6 6
2. 3 2 6t 5 6 6t 6 6 2 6
61 *7

^m -G-. ""-
H X
X ti -"9- TSl"^

6 B%
6 4 6 6 6
8. 2 6 7 6 4 7 % 6 7 7
^
t=^ 'JSOZ.
i3 isz:^
-tir. "^-
1-jGIZ
"^^ -"
"

="

7 6 NB. 6
4. 3 6 3 6 6 6
6 6S 6 "
6"
^=f
grl
?ie? -^
i :sL i
js: -^

Remabk. ^In the fourth exercise the augmented fifth has been
used, even the
"
with

inor triad of the degree (at NB), which in this connection does
second not sound uih

atural This would to the formation / before in Example No. 110. I

correspond
s seen from this, that with a natural leading of the voices, many new
chord-formations
an be gained.

From the formation e of example 1 (which occurs

70:^ .

^
also

under the name, double diminished triad),arises a harmony is much

which

sed, viz :

THE AUGMENTED CHORD OF THE SIXTR

The first inversion of the above chord gives it :

""-|^^i^^si
According to its which is determined by the
progression, augmented
the belongs here to G minor, the fourth degree
ixth, original chord of
hich, G with a raising of the fundamental, goes to the fifth degree.
minor,
xample No. 179, the last shows itself as dominant. The
chord

roof of this lies in a few harmonies formed like the chord

augmented o
he sixth, the augmented chord the sixths fourth and third, and the
of
ugmented chord the sixth and fifth, the explanation of the basis o
of
hich follows farther on.

Remakk. " ^The relation, in which the augmented chord of the fiizth stands to the jus
oticed chords, allows its origin to be referred to the same source. See later.

The augmented chord the sixth has the peculiarity, that its third
of
nly (the fifth of the original can be doubled in the four-voiced
chord)
oYcment :

jsr.

180.

pI^^^^^pF=i^
f the remaining positions of the original chord (the so-called double
iminished triad),the first (fundamental position)can be used three-

oiced, but very seldom, the third (second inversion),

also four-voiced, only
owever, in a very open position.

not: better:

Remark. The chromatic of an mterval of the minor triad is already coo-

"
alteration
ained in the formations of Nos. 169 and 170, and thus needs no farther investigation.

ust BO the chromatic alteration an interval of the diminished triad will either pro-
duce
of
or triads, or formations are found above in the place
major, minor which already
eferred to.

Thus the formation in No. 1*70, d be like the following, i

of the triad will which
ound in 0 :
major
hett"r in open posUian:

^
^
C: vno

This chord bears, in many text-books, the name : harsh diminished triad, (hart ver*
inderter Dreiklang).

The like chords, if they be so called, appear in pass-

generally only accidentally,
.may
ffy and their progression proceeds in accordance with their intervals, that is, augmented

ntervals progress one degree upvoards^ diminished intervals downwards.

een, in part, already mentioned, where to the chromatically altered triad

he seventh was also added (page 92). This occurred with the augmented
riad.
Among the remaining secondary chords of the seventh^ the chrtMiatio

lteration of one receives an especial importance. This is ihe Jhord

the seventh the second degree in minor which, in the following /on"i
of of j

roduces chord-formations much used.

The raising of its third
chromatic

I"8.
p s
a: iPiy

ives the following inversions :

6
f
6 3 f
1"4. fc" q 1"^ ?^ IP

Of these inversions, the is the most important and is much

second used,
he rest are unusual.
The from the second inversion is known xmder the
chord resulting
ame of

THE AUGMENTED CHORD OF THE SIXTH, FOURTH AND THIRD.

Its progression is based upon that of the fundamental chord, that is, as

the chord of the seventh of the second degree leads most immediately t

the dominant^ so also will this.

1"5 '^ .a: 'k- mm^

"P a; ii".

If the fundamental this chord is omitted, the augmented the

of chord of
found, arises, the progression of which to the dominant i
sixth, already
hereby explained, (seepage 94) ;
With omission of
the IhnndamentcU :

186.
J^ i^
a: nPi nOi

r, for comparisor with No. 179, in G :

minor
Chro, raising Aug. chord of ihe sixlh, Aug. chord "ii
FundOTnental chord : the Viird : fourth and third : the siasth :
of

187.
I :g I
I te-
""
0^-
*?
^5"
-~ff^-
i
 BaicARK." It may be mentioned here, that the formation of the augmented chord
f the sixth, fourth third can be abeadj reached through the harsh diminished triaa
and
(hari Dreiklang) mentioned 96, to which a seyenth is that
verminderter page added;
he reeoluiion, however, must become a different one, since that was considered to be on

he seventh degree^ while this is found upon the second.

Instead the fundamental this chord, the of tiie fondamental

of of ninth
hord ean be added, whereby the

AUGMENTED CHORD OF THE SIXTH AND FIFTH

rises.
Its origin is as follows :

vfUhcttt Fund"Mnental : Inversions :

Fundamental v"Uh ninth. : with etevation a, jf b" ^ e. 2J

chord: third: 5 3
o/the

I i; ^faEJig^^
"*'| " : iiOi

Of these chords, the one from the first inyersion a, the aiig-
resulting

ented chord the and fifth, is best

adapted for use, the others
of sixth
e rare.

Its natural progression is likewise to the dominant, but always produces

araUd ffths :

1"0.

These fifths, which do not belong to the most ones,

progressing unpleasant
e avoided either through an earlier resolution of the fifth (the original,
as in the following Example (a)^ or
boYC-mentioned ninth suspension), as
hrough a skip of the same into the third, whereby the augmented chord of
he sixth results (b), or most frequently, by the third and fifth remaining

tationary while the sixth and the Bass tone progress, whereby the chord
the and fourth is inserted before the resolution (c)^ which
f sixth chord
n be here regarded as a prolongation of the suspension.

90. 2

Behabk. " ^The addition of the ninth does not justifyexplaining this harmony as a

of the ninth; the ninth has here, as everywhere, the same as

ord character suspen-
 answers
completely to the treatment of the suspe^ions, as it alsc (asfifth in the ahoT"
a
hord) requires preparation.
It would follow from this, that this harmony be taken into firs
should oonsideration
n connection with the suspensions, it was however necessary to mention it here, be

use the question of the origin was under discusuon, and it was not the intention, by
he above expressed view, to oppose a generally received appellation.

ExerciseSm
6 7 6
I. 3^ 2 5 6 6)9^ it 2 6 7 t 5

-"-
s
191.^ -"-
ISt
?c=i:
t=2i 'jq:
i
f 7 6 6
2. 6 3 4
6 t 3 4 I

sp i :a.
'O

f
8. 2 7 3 6
I I f 6
I J
^m "*r;)": -"- t ^. -"-

f 6
"*. 3 8 3- 6 3 5

i!^^' --"-
li:

At the close this chapter we survey once more the broad field whieh
":"f
s opened in it for harmonic formations. We have found i
much which
known for use. Much appeared to us
enerally and adapted unadapted
or use Nothing however showed itself in its original
and worthless. tion,
condi-

everything had received an addition, experienced an alteration, in a

ertain sense, This forsaking of the original us occasion

adornment. gives
o refer once more to that which was remarked on page 93.

A long time indeed before these harmonic transformations

elapsed,
re discovered, a still longer, before they became common
and property

which until now is unadapted for use, may with time be developed,
uch,
ut, in that the healthy inner germ may not be lost, we cannot vis
ad-
order
the direction the whole effort, out of desire for originality, to the
of
iscovery new harmonic forms, op the immoderate use of them and tion
devia-
of
from the primitive.
Smce transfprmations for it
all these serve more adornment, and migbfc
e said, for the more elegant carrying out of the simple fundamental idea,

may venture to use them only with discrimination if we do not to

wish
verload the work of art, and thereby ourselves be reckoned as without
 At the close of the exhibition of all essential harmooies and their most
mmediate brief
use, may still follow a view of them, their varieties a^d
erivatives.

View aU Chords belonging to a Major or Minor Key.

of

L FUNDAMENTAL HARMONIES.

a. 77^ TriadU "" Ths chord tffh^ MftmUlL

^^= i
A" The varieties the Triad:
of
McyoTj Minor, Diminiihed, Augmented,

Major Triads.

Oftht Major Boole : Of the Minor 8eaU :

i
3
I
IV V A! V 71

Minor Triads.

Cfthe Major Scale : Of the Minor SeaU:

"E:^^M $
0: II m Yi a: I IT

Diminished Triads.

Cf the Major Scale : 0/the Minor SeeOef

^^^ w
0: vno a: tfi vn"

Augmented Triad of the Minor Scale.

a: Wf

B/" The remaining augmented triads see under IL : Altered Ckefdt,

Inversions (Versetzungen) of the Triads "

o* 7%e chord 0/ the eiwth. 6. The the siathiindJourtA,

chorda/
6
6 4
 The Varieties
of the Chord the Seventh.
"
of
The dominant chord the seventh or primary chord the
of of seventh
b. Secondary chords the seventh.
of
Domiruint chord the seventh (major triad with minor
"
of serenlliV

Formed alike in Major and Minor:

m yb 1^1 (ffi"
0: V. o! Viy a: Vi

b* Secondary chords the seventh

of
1. Major triad with seventh
major
In Mafor, In Minor,

i P
IV- : VIj

2. Minor triad with minor seventh

In Major, lnMUfm\

^ I m
0: n"y Uliy Til a: it"

8. Diminished triad with minor seventh

In Major: In Minor :

i i
0: vn"i a: n^i

4. Diminished triad with diminished seventh (chord of the diminialied

erenth)
In Minor:

m
a: ru9$f

6. Augmented iriad with major seventh

In Minor:

$
 " ""

""
-

-" w

MANUAL OF UARMONT. Ml

Inversions (Yersetzungen) of the Chords the Seventh.

of
Th6 h, T%" chord ihs c The chord
Om chord of of qf
ihs 9iath : Hasth^ fourth and third : ths second :
andJUlh

6
I
5 3 2

^^ "m
^
^
aS: 'JBL
I

n. ALTERED (oh"ohatigallt OHORDS.

changed)

The triads formed from the

augmented major triad
InMa^or:

m
C: T IV V

!"" The augmented the sixths formed

chord of
1. From the minor triad with raised fundamental (so-oalleddouble
iminished triad):

i :^u^_^
2. From the chord of the the degree in minor. (Se
seventh of second
he following
chords) :
C" The augmented the fourth and third;
chord of sixthj

d. The augmented chord the sixth and fifth, ^both formed from
of
"

he chord of the seventh of the degree in minor :

second

With the ninth from

RaiHng Second Without Fundamental, the Fundamental
of
the third: Inversion : the HfBth : the latter.
aug, citord of and toithqtU

^pi w "^m I
or nfi* f i
102 MANUAL OF HARMONT.

CHAPTER XI.

On Modulation Passage
of a of Music (einet Tomaitm).

The term modulation has a various signification. Formerly was stood

under-
thereby the way and manner in which the succession of harmonies
is arranged to a vocal part In the later sense is understood the sion
digres-

from one key into another. The name, digressive modulation^ which
is sometimes found, would be no pleonasm according' to the original fication
signi-
of the word.
According to the import of the term, it will next be important, to learn

rightly to recognize and determine each occurring modulation (digression

into a foreign key) ; farther on, in Chapter XYI., the means for modula-
tion

will be discussed, whereby the capability of recognizing the latter is

more fully supplied.

A modulation arises, if a harmony foreign to the previous key ap-^

'pears.
The key is then wholly forsaken, and the harmonies must be
previous

reckoned to the new key, so long as no harmony, again foreign to it, appears,

which effects a now modulation.

Thus in the following Example :

E^ ^^ 4-
J=i
"
-^
-"-

-fi^
m
o '
I
o

192.
6 7b 6

J 7"-g- "
1=
"^
^- ?^
Ox d: 0: e.
or G.

is a modulation to D minor in the third measure, because C|-E-G^Bl2,

belongs no longer to C but undeniably to D minor, whereas in the
major,
fourth measure it is doubtful whether the C triad, which is foreign to the
key (D minor),is be reckoned C G
major fol-
lowing
to to to the
previous major, or
while the modulation to A minor in the fifth measure is unmis-
takable.

The dominant chord the seventh, as also the chord the diminished
of of
seventh, are, as the chief means of modulation, never to be mistaken ; all
the chords are that is, they can belong to
remaining ambiguous, several
 Thns the G triad belongs not exclusively to G bat is
major major, aisc
ub-dominant to D and sixth degree to B minor.
major
This often allows the modulation to be recognized firs
ambiguity
"om the succeeding chords, as in fact, the decided modulation itself can

e formed first through the dominant harmony the seventh with it

of
erivatives.

The ear itself proceeds very simply in the apprehension of a

musical

odulation : it always the foreign hanrs\"r as belonging to

apprehends
hat key, which is nearest related to the ruling one.

Thus, for example, in

-"-
193.

he triad of D in itself considered, would belong to ^be key of D

major
; in connection, however, with C it will be most ircv"5diately
ajor major,
ecognized as dominant to G and the following chords first can ter
de-
major,
which key becomes the ruling one.

There follow here some more exercises for practice in searching out IV

odulations ; for the farther discussion of this see Chapter XY/

subject

Exercises,

f 6 6
3 6Q 6 7b 6 6
a:
94
z

^^^ t=t
jOl
" m
.iS^ 0: I G:
-^
V. 0:
7:t-^
IV V. I d; TuOf I 0:1 niy V

6
6 6 6
2. 6 6 4 6 6
-12- J^- ISL
3S: :t t
^^Ip^. is:

6 f
8. 6 7b b 6b
f 6 73 6
X t
a 35";y. -"-
S i -2=25!:
-G "xt

6 7 6 6
4" 4. 6 6 J
f 6 7b - 6 I
|2-
1S=^-
^ 9
t
msL ^^ geij
6-7
f 6 4-J 6. ejBT

g ."-i ^S
104 MANUAL OF EARMONT.

6 6
6 6 6 4 7
X
m -ill ISL
-49-
"~ii"
fe
:"zr^ 32!: v=^

4 )B^ en
6. 3 6 6 31] 6t) 4 3 6 8 7
4:
iS :sL "P--"- -"-
""- """ St t=:F

1
f 4
3b
4b
2
4
3
6b
4
6
5
6
4
6
5
6
5 6

1=1
Se 9 ^
fg g-
gj^ g ^
fel^ -"-
3=
:e
=f^ '*r-g!" if^ -"-
3St

6 6 6 6
6 8. 6 fib 4 7 32 6
T=t ):=;;:t t
g^ g -^
-"
"

3t
i^n:
t
3fclj^ 32

6b
f 4 6
6 3 2 5 6 6 7
=5:
i^^ I
#

The can be indicated in the same manner as in the firs

moiSuI"tion

xercises, aec"iding to which the letters indicate the key, the

and
oman nombeM^ fth ^^v) know, the degrees apon which the chords in qmes*

iioQ rest
 PART II.

ACdDEKTAL CHORD-FORMATIONS." TONES FOREIGN TO TIIB

HARMONY.

CHAPTER XII.

Suspensions.

The simvltaneous progression of all voices to the following chord, par-

ticu
if, as in our previous examples, it takes place through no

etrical variety of the movement, produces a certain Measured character

nd monotony of the musical sentences..

A new chaining together and binding of the chords, and a thereby more

nteresting change of harmonic connections arises, if the voices do not

verywhere progress simultaneously ; if one or several of them linger in

heir places, while others form the component parts of the next
already
armony.

The most important manner thus linking harmonies together, the

of and
e to be preferred is the

SUSPENSION.

This arises through the delaying a of a voice, is pec

ex-
of progression which
at a definite time, or even necessary, and in such a manner, that the

oice, which has to progress one degree downwards^ in order to occupy it

osition in the foUowiog lingers still upon the tone of the firs
chord,

hord, while the others progress to the second^ and this voice does not past
er into tlie harmony later.
until
In the following connection harmony :
of

i ": :g:

195.
an
the Soprano can linger upon tlie C daring the entrance of the second chord,
oyer later to the B in the following manner :
and pass

pi^" s'zzrirjiza
"- "
I
196.

Si^ ^
Just so a suspension can be formed from Example No. 196, through th"
delaying of the Tenor :

i ^
": :f ^
197.
rT

W;^s^ "a-
^

That is characteristic is, that they form dis*

which of the suspensions a

onance against the harmony with which they appear, and that they thereby

ct as a means for harmonic connection, they render the necessary

since

elations of two chords more intimate through the resolution expected. In

this respect they have a similarity with the sevenths^ in common with which|
s connecting intervals, they preparation as well as resolution.
require
The dissonant character of the suspension is, to be sure, not always con-
tain
in the interval of it which disagrees harmonically with any particular
cases can occur, where the suspension disagrees as interval with no
voice;
ne of the other voices, but where the character of the suspension appears

only through situation, position [in the ; as in Ex-

ampl
chord] and progression
No. 197, where the tone of forms a chord the sixth,
suspension of

nd where only the unusual appearance, as well as the entire situation O4

he triad of the third degree, the of the Tenor,

combined with progression

roduces the character of the suspension.

The examples the rules necessary in the formation of the
above give

uspensions :

A suspension can he formed with a descending progression c* voice

of
by degrees under the following conditions; it must
f

1. Be prepared^ and
2. Resolve
itself
There be three things to in connection
will, therefore, observe with tha

uspension : its preparation^ the suspension itselfand its position,

and
 MANUAL OF HARMOSr 107

a* The PreparoMon,

The preparation of a suspension ean take place throngh either compo*

ent part a triad. The sevenths also are used for preparatioii|
of
lthough more ; most often the dominant seventh.
rarely

Prepa/raiion

through the octave of the Fandamental: Through the third:

ti "J" tr
^r:^
*
^ -JSZ
^
"
"-""
m p
0".
5
4
-

3 6
i! 6 7 6
:g
"^ i^; ^-

C: I I A:vnOi C: I TI

Through the
./l^:
)

u J
^
I
-O- -G.

Ljfs:
."- 3:
-O-
"-
a: ^1
9 8
*
^ 6 I 3"
8
-Q-
J:
^1 O" .
-"- I 'M .01 I
0: I O: V Tl 0: I IV I x:tuOi

Through the dominant etvetUh :

I
A 4
i ^.
m 3?s: i
6 5 6 .
6 4
-

3 6
5 6

i tO-
^m
0: Y^ I Yfv a:V IV

The preparation takes place upon the arsis^ the stesp^nsicm itsel

nters at the thesis. Besides this, the rule mentioned before (page 71) ap-

viz., that the may be of a duration or longer

lieS) preparation equal with
han the suspension, but not shorter.

b* The Suspension,

The entrance the suspension at the thesis has just been mentlouc^!
of
ts position in other respects should be still more particularly explalnc^^
The suspension can appear in any voice^ before an interval
of ih
riads "
before the seventh^ only in rare cases.
 Bu"p"ntion% before the Octave of the Fandamental:

*
-^
I^ ":
7 6
99.
6 4 4 -

6 9 8 6 3 2 -

at I H ^ '"^"9- I
J
0: V^ "7 "7

Belbrethefik^d;

"

"" 32

C- IV

Before the In certain

j{^ rarely, only poeitiona:
'
4

Concerning tbe suspensions in case of the fifth, reference may be made to

hat was in connection with Example No. 197. Thus the

which remarked
in the
irst and third examples will be entirely character of the suspension,
the fourth is not to be called a suspension at all. If a seventh i
hile
to the as in the example, the dissonant character o
dded chord, second
he immediately itself.
suspension shows
That the can but seldom have a suspension, appears from the
seventh
act, that it [the suspension]would be formed in most cases by
necessarily
he octave, in and for itself is only an interval of tion,
reduplica-
perfect which
can never come into a dissonant position (a)^ except as in the foL
and
owing Example 6, the octave is diminished.
where

".

^
i^^j^il
900.
7b 8JJ 7b
r
 In the first case the seventh will always be a passing one.

C. The Resolution.

The resolution of the suspension ensues, as was remarked lefore, in tht

ame voice, hy a step downwards.

Remark. " ^Ways of resolution which deviate from this will be shown later.

Here it is further to be observed that

The tone (thetone is delayed by a can he
of resolution which suspension)
ontained in no
other voice; only the Bass or the lowest voice can receive
t unthout disadvantage to the harmony,

a, not: b. better: e, not: d, NB.

J 1-

01.

In Example a the Tenor from A to C, which last, in the Soprano^

steps
s suspended by D; in Example c the Tenor the G-, which, in the
receives
lto, has the A. Both faulty, be*
suspension reduplications are especially
use they concern the third and fifth of the chord. In Example c? at
B., the reduplication takes with the fundamental. In this case
place
is better, if the
he effect especially consistency of the leading of the voices

ecessitates it as in the following movement :

Fundamental: Third:

202.

It the doubling
Remark. "
may still be remarked here, that of the fundamenlal

^ays assumes the distance of at least an octave^ and that the doubling in tmison is

ulty, e, g.^

e suspension can indeed appear in such only between Bass and Tencr, or
proximity,
th the voice which lies next to the lowest.

The lowest commonly the Bass, has, however, as the one

voice, which
of the suspeDsion ; reduplications are therefore admissible, if they art

based upon a
good
leading
of the voices, e. g, ,

fautty:

03.

The faulty progression of the Soprano and Bass in the last example com
be-

clear, if the suspension as mere delay of the progression of the

oice, is taken through which means the open octaves appear :

away,

|i 1
204.

Si i
The relation is the same with the fifth-successions, which are covered
hrough the suspension :

A U-r

jOl
205.

" -""-
^y 1
Here, however, the considerations will rule, which are to be had in view

n the the fifths in since

case of covered general, position, situation, gress
pro-
can such leading of the voices, without the unpleasantness
permit

f the fifths appearing.

We condense these into the following rule :

remarks
The does not remove parallel octaves and fifths,' the ing
follow-
suspension

will, therefore, be faulty :

progression

arallel fifths of this kind are not, however, to be unconditionally rejected

f through the movement of the other voices a compensation is for
made
he unpleasant succession, so that they do not appear too plainly. To give

ositive directions regarding them is impossible ; to them always

reject
 MANUAL OF HARMONY. Ill

The suspensions in the Bass, which occur oftenest before the third of

he chord (or,which is the same thing, before the chords of the sixth and

f the sixth fifth),

allow of no reduplication in the other voices,
and
not:

s I ^z::r^. '\~G "^- ^ If

6 " 6 -

207.
6 - 4 "
4 "

2 - 2 -
2 "

5
X
I -"-^=*""-
""" "~zi- i
The suspensions before the fundamental and the fifth rarely show selves
them-

practicable.
fuii:

'JSZ
d:=d:
a:
ig:
IoIsq
-^1 i
-JC -"

0". 4 -

2 -

"~T" "-

g ^ ^
""g
H
1^ r ^m
The indication of the suspensions in the Thorough-Bass notation is, in

art, contained in the examples.

previous
If the suspension lies in one of the three its interval from
upper voices,

he Bass is given at the same time the "" ^'-j f

with resolution, 3* 9 g 75

he remaining figures determine the chord it becomes necessary,

where
"
^., the chord of the sixth | the chord of the sixth and fourth |^
7 6
4-.

If the suspension lies in the lower voice, the chance intervals of the

emaining voices are likewise indicated by numbers, e. g.^ |ll"or in case

o"

f the chord of the seventh 4" ; the dashes follow denote that the
which
2-'

oices retain their tones during the resolution of the suspension.

The suspension in the Bass is also by a diagonal above it,
marked stroke
the set over the tone which ia
nd corresponding chord of resolution,
as concerns the latter, e. g.
lainer

^"
O-

i I I s
""-
B
09. 6 6
6 6 5 5

isr liSir^" tmc^

=d^g::^^^3
In the examples the first manner is chosen, as the most
 ^kcercises*

76 5 7
4 3 7 6 6-
O 4 3 2-3 6 08
_o^_
OL n^ 32: I
310.1^ ^

0: I IV V. III

6-
11 6 2 -
98 4 3S

"!ee^ -^" -g g^.^"s^

5=d:

^1=^ ^
6 - 6 6- 7-
3. 3 2-76 76 6 3t) 6 )Br 6 4 4 3

7 61J
6 6 4-7 7 6
6 6. 6 9 8 3 6 6
-
61 U-
m fe 0
"
s-

"
fl. -"-
35!:
=f3
7^
6- 6 4- 6
43 5 6. 6 3-4 2 7 7 66
1-
"-
IS
"

-ffl
"a"-i *-"
"^: -,9-5"

6 6 6- 6- 6 "

7. 8
987 6 6 44 3$ 6 4 3 2 6 2:^ "

(2-
T
W^^^M^^^^^i^ t=F ffeJ
5J-
^ 3-6 6
3b 6 2 " 4 3" 6 8. 3 6 9 8 7

3
is *""" a
i^Si -"'-
"O" ^
-"-.-*-

6 6 6 7 6 6-6
6 6 2 6 6 4 6 3 7 7 6 -
3 2 6 4 3 4
.6-

^':p^ ~s"
-"-
^ " "

i zzz?:^"^.
T
6
7 6 6 6

:o::^

It will be to the purpose in the working out these the

of and succeed-i
ng exercises, to separate the voices and write each upon an especial staiE
 MANUAL OF HARMONY. 113

each and is in general a useful preparatory exercise i

f particular Yoice,
ore reading.
Here, however, it becomes necessary to write the voices, which, in the

ure harmonic structure, must always be conceived of as voices to be sung,

n the have been to them, the knowledge
clefs which always allotted o

hich is indispensable to every musician. The knowledge of these clef

n be very soon attained by attentive practice, and through comparison

ith those already known.

Remark. The knowledge the Alto and Tenor clefs is requisite Cur the
"
of understand
g scores, voices and instruments are exclusively or partially
and reading of since many

itten in these clefs, and the Soprano clef itself which, occurs more rarely, affbroi
instruments, are tuned in a way, an es^^ecial facility i
ith various which particular

eading.

The clef which is used for the upper three voices, Soprano, Alto, and
enor, is called the G-def,
For the lowest vocal part, the Bass, the F-clef or Bass clef used before

s still applied.

The the C-clef always indicates the place of the onc"

situation of

[middle] C, and in a manner, that for the Soprano this C i

arked such
ound upon the lowest^ for the Alto upon the third^ for the Tenor
and upon
kQ fourth line^ e. g.

Soprano-clefs. AUo-eleft. Tenor-d^,

-or.
"
(-r-
-or- 1:^^^
w -or "II"

The most common compass of the voices exhibits itself in these cle"
hus*

-a 0 " ^
"
I 1
-F

[=11=4: psn"p^
I I
q=q: Z^HiF.
Boprano-d^,
^ 3=i^^" I" U
! I i
:#" P-
#-^ ^
AUo-cuf, pEj=j=^E^r-r^

=#=ii:
Itm"r'eU/,
:W:

W3e^S
 114 MANUAL OF EARMONY.

REifi'AK. ^The origin of these rarious olefs from the most simple foundatioii, from th"
"

so-called Tablature (commonly a system of ten lines, upon ^hich all the voices were
written, with especial designation of the lines upon which the principal tones, F, C, G,
interesting, its farther here, however, lead
oAme to
stand)is explanation would us

too far.

The easiest method of impressing these clefs npon the memory, ia

probably, to observe accurately the position of the C-triad in the various

voices, whereby the tones which lie between and on each side are easily
found out.
Thus the position of the complete C-triad, with doubling of the fonda-.

mental, will be :
^-0
In tkt Soprano:
"-::G-
|F=S=?o
0

JniMAUo:
\^

In ths Tenor^ dest in ihs position J "

#-o-
' -0
"^tordof the eiath and fourth
"

the : """ m (JIZH

ofthe

The carrying out of the first exercise of No. 210 in these olefs follows
here:
211.
^

BOFSANO.

"
^ jS. -ffl. i
-Q- -"- r-'S- 4Z.
1
1
Alto. -"
;;5^: -P-

Sxte TI22:
TnroB. \ -"- -"--
i
6 "
6 7 6 5 7
4 3 7 6 5 5 -
4 3

SL 9
Bass. i:^^ i
0 G F o. 0 ^7 6iy O
0: I V IV I II ^7 I
1^
The working out of these
requires, with all observance of the
examples
rules thus far given, a skillful and a freer leading of the voices in relation
to their position, since the necessity of a better position of the suspension

often renders necessary even an alteration of the position of the voices,

which we have hitherto always endeavored to make as uniform as ppssible-
In this manner the open position of the voices will come, of itself,and
again be necessarily exchanged for the close position where necessity and
conformity with the end in view require it.

.
 In tluB ezchangd of the position of the voices, the following rules must
e obs^ryad :

Hie voices can never simultaneously, move by degrees or thei

j skij: out of
ecessary pf"Qkion from one chord to another (foreign one), except in indi-

idwU cates i:% the transposition one the same into

of and chord j"the

ositions.
Any voice its position^ if one or more stationary
canf"K*r:ahe remain upon
ne tonA,

The following carrying czt Exercise 8 No. 210, this

of of will make
lainer .

212. 8 8 5 NB

fes -"- =P=s: e

^
ra: :?ii=h
i
Si
"el^

ALTIi.
s"^ :";
?!="
v^m.

Tbnob. jrff^ -^ TSi

2:
i^^
6 6 6
6 9 8 7 6 6 2 6 6 4 6 3 7

Babp """ fia: -^

3^:
:^^3
" " O "
7 AOiy D F7 Bk D) Bh Ciy F 7
7 I IV I F: IBf,: V.
o: I " IT "

no^Bbim V4 V^

|IE^
f-^*="" -h-
^
a. :?s: -|o
"
"-

i ?:t:
1"
E3 ^1
7 6 4 -
6-6 6
6-3 7 6_ 3 2 6 4 3 4 7 6 6 6 9
T 1-

is^ s:
-"- .o_". eJ
g i^
-"

Diy G 0 D 7 G
r
0 GO
f{ AOiy
V 7
o:
ViJ I IV
Bly:V^ n g: I ly
llOX- I

The following may serve as explanation of this treatment.

The in which this begins, is forsaken in the fift
close position example
asure, in which the open begins, and remains until in the eleventh
 This was effected through a freer leading of the Soprano and Tenor.

he first makes a skip, in the fifth measure, out of its position into the

"b (at NB.), a can take if the fundamental i

eventh, skip which place

lready present and remains stationary (as here the F in the Bass) ; in
ike manner it forsakes the in the measure, by a skip into
position seventh
he fifth, G, the chord remaining stationary, whereby the suspension comes

nto a better At last the close position is attained again through

position.
he better free leading of the Tenor in the tenth measure.
and

Suspensions front Below Upward.

Suspensions from below are in a few isolated cases to be regarded

only
this kind the from
such ; most progressions of arise out of suspensions

bove, before treated of, through contraction (abbreviation)of the sam^

ith a farther succession in a upward direction, e, g.

from:
4-4 i
313.
S
P=^ -"-

The suspension from below can take place in connection with the pro

of the leading tone :

ression

214.

lso with several intervals, which progress a half-step upwards, especially

ith those altered chords, which receive augmented intervals through

levation, e. g.

15. 31
"

igE^ l=d:
I
1^-:

Observe here, that as before, the tone of resolution (harmonic tone

be in no the the Bass.
iiust other voice with exception of

Remark ^The last the above brings us the same tone-combinatioa

"

of examples
hich presented itself before (page 64) as the of the first degree i
chord of seventh

inor, and which was explained as unfit for use as fundamental harmony. (See page
4). That, in tiie above it is to be the leading
application, considered as suspension of
 Of other suspensions, especially those whicli progress a whole step upwards:

1U b.

-""
^.
ai6.p "ffgfe
'

eg

"rt*-
*- "
^ ^

me show, of themselves, the unnaturalness of their progression ; and

me the theory must pronounce not genuine, and unfit for use for the
pure
armonic however they may find place in the
structure, often practice.
f these false suspensions should be carried out after the manner pre"

iously shown (No. 213), faulty progressions would show themselves, upon

hich they are based :

1T. ".

Suspensions in more than one Voice.

Suspensions can occur in more than one voice at the same time *

Ib two voices: In three voices:

is.
^^^^ "z^"=^z:^l=::5:i=S=:zt=g=t:i^

The chord of the sixth and fourth frequently shows itself as double

uspension, e. g,

I J

219. "s=d
is^E8^^g=: Pi^^iB
= I*!

reer Movement the Voices in the Resolution the Sus*

of of
pensions*

Preparation, entrance, and resolution of the suspension took place in the

revious examples by means of two chords, since the voices which did not

ake part in it remained stationary during its resolution. The same can

lso take place with three chords, whereby the interchange of chords and
he leading of the voices becomes still richer and more manifold.
This takes place, if, during the resolution of the suspension, several of
he remaining voices, or one, usually the Bass, progress at the same time,
 For example, by progression of the Bass :

930.

I ": Tii"^i

By progression of more than one voioe :

31.

0: I

In all these examples the resolution of the suspension ensuci

regularly
uring the progression of the remaining voices to a new harmony, of which
he resolution-tone is, itself, a component part.

Remabk. ^It may here be remarked, in explanation of the view

"

conceroLog chords o
he ninth expressed in Chapter IX, that many places in which the ninth occors, and
are recognized by many as chords of the ninth, can be explained in the
hich above

anner; as in Example 221 h^ where the cadencing Bass progression F-B

could
e as the progression of a secondary chord of the seventh and ninth, i
easily explained
he explanation of a tuipendon a ninth with the use three were not
above of of chorda

uch more and did not lead to the same result^ and, as with all subsequent es
simple

mples, present itself in the same manner :

JSuepeMion of a ninth

i^ith two chords: with three chords: better:

J
-""
^in^-i" j-|_g=i:g-^--g-T-j-
33
m *~o "
S ^fly '
^^ "^
"i^^
" " " " " "

o" o -a-
'
f
.^

I f

oncerning the enters free, we will speak later in oonne"jtion tht

ninth which with
rgan-point

It may in Chapter IX, t};^t

still be added as completion of what was said as a reason

independent of the ninth, the impossibility may apply, of bringing them

gainst chords
nto inversion the fundamental^ that the latter is brought into immediate-
such with
 aa"-^^^^ -'-^^m
^
I
f r I I

In the same manner four chords can be applied with the suspension, i

t stands before a harmonic tone, is not in the

which contained remaining

oices, e. g.

2 3 4 1 2 3 4

m -2
gg
-Gfi^-
i -""-
-iS-

I
f
6 9 5 6
331. 4
i
-^ is:
^M -"- -Q. 1 i
0: IV n vno VI

Exercises,

" 6 6 5
1. 7 9 6 4 4.7 4 6 6 7 7
"7

35. ii3i -""

r-te*t="
-Q-
+

6 7 6 6 6 4 6
2. 82 2 6-4 "- " 46- 3 7
6 4 T
(O-

^iiif=^-=^ ?Srl7(0 g-
i^Wp t S^J
"q:
6 6 7- 6 6
4 6 7 4- 3 3. 3 6 9 7 4 7 4-
9

ilt is:
::* if s ^ :^
-;*"
^-i. le:

5 JBT
4 4 9 6
6 6 2 3 6 7 6 4

^ X
1:
X m
5 6
4^ 7 JBT 4
f 6 71] 9 6 - 4 6 - 6
_8
X
22: jt:
"
^"i
t

6 6
4 6 Lx 6. 2 6 7 6- 4 6 "

-I"

ii t
t IIP x"\
It
7
6 6 6. 4 6 6-
" 7 6 4 8 2 4 % 6
tT=?2:
 7 -

9 6 4 3 2 7 3 6 7 4 6 2 7 4 7

ie -""-
i^ 3^
"fs:
t
t

6 5 5
6 4 7 "y. 8 6 4 7 2
6
4S-

S
i2^ffi=
^ i i
f"-

7
4 6 8.
3 0 3 2 5 3 6
-6-43
-"9
Sttz" t
iprzr^
#--P-
"P t

:t=F ifi^T
7 6 7-
4 " 6 6 7 - 5-
I 3 2 6 4 9 6 7 9 6 43$
.3

m JQ.
f=^ t
^
t X
f ^^ "i=;=J:

Between and resolution^ other tones can he inserted in ths

stispensian
me voice.
These can be :

1. Tones which belong to the chord, e. g.

1- 4-^-i
26. " ^
-U?"
^iijs!: rJ=it4
g^-ra:
ro -"u-
^ ^ ": **
-o

2. Tones foreign to the harmony, changing notes, e. g,

27.
^ isl"

-"-
:o2:
ti^g "

: " rft
to:

The explanation of these and similar instances is completed through the

the changing notes found farther on.

xhibition of passing and
Instances also occur, in which the suspension receives no resolution

t all, e. g.
Usually in this tnanner :

"^
I I
33".
i "2?^ -"-X -s^
"
r - ^-
^5 "
r
^^ ^^
29.

Anticipation* (Vbrausnahme.)

The anticipation of a tone, which is more rarely used than the sutspen*
is the opposite the latter, consists in this, that one or more
ion, of and

oices allow some tones of the next following chord to be heard earlier
han others, and before the metrical division allows us to expect them.

With notes long duration, in a slow movement, this manner o

of and
eading the voices occurs seldom or not at all, since the harshness of the
issonances which appear here would amount to
unintelligibleness; it i

ostly shorter parts of measures which are anticipated, e. g.

Anticipation in the Bass : In the Soprano : In SMferal voicea:

I
i 1-^ i- j=. J-J-
-4. "
30
W^
""

"egg
"

g"
S -^
3zs^
=33?p" f" fgg- -g" r g""
CI

rTrTf ^

^^T=t
f=t

The this the in its metrical form,

similarity of movement of voices with
hat musical instruction comprehends under the name
which general
is not to be ; the latter, however, are formed
yncopated notes, mistaken not
but by
y anticipation of the chords, after-striking (Nachschlagen) of
hem, or they have merely rythmical significance.
The movement of the voices can here also be freer under some stances
circum-

; for example, a harmonic tone can be anticipated, other than that

hich is intended at the entrance of the chord, as in the known closing

ormula :

or:
:{: :{:

i^ J- J. I

231. rsc: ZSi

W^- ^
"
a.
^

As to be the
antithesis anticipation may yet adduced aftev'strikingof
armonic tones, which has a similarity with the suspensions, in so far, as
 its character expresses itself more in the metrical
ially as and rythmical
ovement, for which reason it also always appears in more extended suo*

essions ; the suspensions, however, under entirely other conditions,

^ppear
ingly or in greater numbers.
The following Bass would be a succession of such after-struck tones :

Allegro,

92. I
lj.^AAj,Al
P
i ;#=?2-
t"r

Here would also belong that unison passage from the overture to
"
Leonore (No. 3) of Beethoven :

"
t
.T"

r
erese.
i33.

"
I "
U " \ s
I 11 I"

-a-
"I

V.
;imj
i^Efe^ fe"
"BPrr" "

"rn

1
_I
L "

f==F
(_ 1 U

dEO.
te " Ste ^~.
f "

^i
P^^ I
 MANUAL OF EARMOSY 128

CHAPTER XIII.

Hie Organ JPoinU Stationary Voices.

An especial manifold character of the harmonies, and a mingling of them,

rises by means of one or even more than one of the voices remaining

tationary upon one tone, and by means of the chords thereby accidentally
ormed.

We frequently meet in
(particularly the Bass) as well at the beginning

f a composition, as in the middle at the conclusion, at the point

and

here the cadence should begin, with a long sustained tone, during the

ontinuance of which the remaining voices, apparently without reference t

t, continue their harmonic movement.

If this tone lies in the Bass, it is

called

ORGAN-POINT [Pedal Point] ;

f such prolonged tones occur in the other voices, the lattei are called

STATIONARY VOICES oa STATIONARY TONES.

Remake. " ^Many give these last also the name Organ-Point, but inoorreotly.

The tones, are adapted for remaining station'ary are the tonic
which and
ominant ;^ they also occur together,

Rema"k. " Attempts with the third of the triad, which in later times have been

stituted by many composers, betray too plainly to the ear the unnatural and far sought.

The harmonic connection, as well as the progrsssion of the remaining

oices takes place, always, during the organ-point, according to the known

ules, so that the next lower voice assumes the conduct of the harmony,

in to the stationary tone.

nd general without regard
Before we enter more particularly into the manner of treating the organ*

oint, some examples may follow.

a* Organpoint npon the tonic:

34.
 b, upon the dominant:

3i:
SiE MSE
-"- -"-

or:

:t
|^f_#sS^^ I-
n:o:
-0-

^
I I f^
9J"e; .-sr

"^" "-

Upon both at the same time :

In these examples, those chords to which the Bass tone does not moni
har-

belong, are marked by a cross.

The following remarks may serve for the treatment the organ-point
of
1. The entrance the organ-point takes place at a rythmically dejlni
of
%me ;
2. By means a to the Bass tone harmonically belongs
of chord which
3. The last chord the organ-point must likewise he in harmony
of
ith it,

Tho first takes at the beginning or close of a

period or division
place

f one, and upon the thesis ; the second and third commonly by mean?

f the fundamental of a triad, as in Example No. 234 a, C, d^ or at b^

hrough the chord of the sixth and fourth.

Care should be taken, further, that the chords foreign to the Bass tone

o not each other too frequently, but are often interchanged with
succeed

hords to the organ-point harmonically belongs. This is necessary,

which
n orier to avoid digressions violating the character of the organ-point
is only to be found in the holding firmly together of various
hich
 Thus the following would be faulty in this regard :
organ-point

* ^

U-i-^X:^ I ^ J

35.
|i^^^#|p^S
1^
""-

The voice lying next to the Bass, in a four-voiced movement, the Tenor,

ecomes, in case the the fundamental voice of the harmonic

of organ-point,
eading. Therefore, necessary harmonic progressions will be condi-
tioned
all
by this voice, even if the organ-point should also, accidentally, belong

o the harmony. Thus, in Example No. 234 a, the progression of the Bb

n the Alto (in the first is determined by the leading of the
measure)
not by the that it is seventh to the
emaining voices, and circumstance
ass.

If the organ-point stands upon the dominant, as is often the cas6" at the

lose, no plagal close can be formed upon it, as from the

appears already
hird of the above adduced rules, e. g.

36.

The plagal close can, however, ensue the of the tonic-:

with organ-point

37.

i^ fe 7esz G-" E

The end of the organ-point is indeed to be just as carefully treated ab

ts entrance. In the eicamples brought forward this always takes

above,
lace through a cadence. In this case it presents no difficulty, except iq

nstances as at No. 236. The can, however, also pass over

such organ-point

arlier to the harmonic leading, then the third is to be carefullj

and rule
126 MANUAL OF BARMOSY.

"
I j ,
J -^ Lj-^-4" l-H I . I
.

-)

3S. d^CL

9i^ r?:
jfi.
^ T

Breaking off in the following manner would not, howeyer, be g;ood :

4--L

1^i^
39. "e.

9.^
A"
"- X_^
*^^ E I
""-

Stationary Voices.

Upper or remaining stationary upon one tone, in the ner

man-
middle voices

of the before described, are much more rare than the

organ-point
atter, and caution in their treatment.
require greater
Sustained tones of this kind only conform to the character of these

if chords not belonging to them appear very rarely in connection

oices
them, such voices do not possess the power of counterweight
ith since
foreign chords, is to the Bass or the lower voice a
gainst which peculiar
he determining one.

Thus the organ-point of Example No. 234 a^ being transposed into the
in the last measures, sound very unpleasant :
pper voice, will

40.

JiE^^I^^^
the following tone, as dominant, is better because the las
while prolonged

of the example belong to it :

hords

41.
 As example of efTective use of stationary voices and prolonged tones
"
for their treatment, a place can be adduced in the "
Gloria of Che-
ind
ubini's Mass in C-major, where the violins hold A]? for a length of time,
the instruments taking out below it their par
hile choir and part, carry
icular harmonic progressions ; just so the D of the violins
melodic and
n the introduction to the overture
"
Meeresstiile und gliickliche Fahrt

f Mendelssohn Bartholdy. Tn both cases but few chords can be found,

o which the tone not be harmonic.

prolonged would
Under this head also be reckoned the Trio of the Scherzo of hoven'
Beet-
may
Symphony in A-major, which is based throughout upon the A

itself as stationary tone in the upper

hich shows sometimes and middle

oices, sometimes as organ-point

in the lowest voice, and serves throughout

he whole piece as basis.

Stationary tones in the middle voices are to be treated with the same

re, as those in the upper voice. In instrumental compositions they

lways appear strengthened according to the circumstances ; in the four

oiced movement they occur rarely and not in too great length, e. g.

a. * I ! ^ KB.
.
I "

P^ ^
I "^
I I
42.
I I
I I I I
i i
^
n ffi" " s HI
1" ^ f^=^
Rkmark. of what was said of the of the ninth, the following
"

^As completion chorda

ay here still find place :

In the foregoing Example h^ if the voice he included [in the reckoning]

stationary

complete chord of the ninth is found in an inverted position with' regular resolution.
t has already heen in to the chords of the ninth, that their sions
inver-
remarked objection
cannot be so that fundamental and ninth are brought into inmiediato
used

roximity, as in the case of the sevenths. That they can occur together at greater tan
dis

as above, furnishes no groimd for regarding them as independent chords, since

hey occur in the relations there found, viz., in connection a stationary tone,
only with
he character of which is, however, also to bear harmonies foreign to it, as, for example^

the case with the following ninth, which certainly forms no the
chrrd of ninth.

-I-

-""
#- Eg g
rr
943.

^^0
128 MANUAL OF HARMONY

If we wish to mark by numbers tbe barmonio progression abord th"

organ-point, they must always have reference to the stationary tone in tbe

Bass, whereby in many cases the otherwise general marking of the chords
s altered.

Thus the organ-point fotmd tmder No. 234 h, could be marked thus :

9 8
^ " ? 6 I ' 7 6 4 7
J = 5 3b 4 4 % 4 4 2

944.^ i

Such a manner of marking is only used for especial purposes, on ac*

ount of the difficulty of reading it and also its incompleteness, for which

eason, in scores where a figuring is introduced, we often find with the

organ-point the words tasio soh, which indicates that, with the otherwise

ustomary only the organ-point itself is to be given.

organ accompaniment,

CHAPTER Xiy.

JPassing Notes* Changing Notes,

Among the tones foreign to the harmony are especially to be reckoned

be passing and changing notes.

The first arise through the filling out, by means of tones lying betweeni

f greater or smaller harmonic voice-steps, e. g.

a. b.

^
IS. \ i g 1
45.
\-A I J *-2 J-r-J "
"-e"L
:z^(52
msn
a*^ ^gg^grjgEg
X t

The notes marked by a cross X form the pass^ those marked with a O

e harmonic hy-tones^ that is, in so far as with the first note a C or

-triad can be conceived, #. q.

 UANUAL OF EARMOHTT. 129

^
i=*
p 1 i
H9-

2.16. r
(9-

i^ i i
F

The passing notes found a of Example No. 245 are called dior
under
onic, those under b chromatic passes.
Th)B passing notes go from one harmonic note over to another har-

onic note ; they appear, therefore, not with the entrance of the chord, but

fter it, upon smaller divisions of the measure, and can be introduced

nly in progression hy degrees.

Changing notes, on the contrary, are those tones foreign to the mony
har-

which either appear in the a suspension or appog^

character of
iatura at the time of the entrance of the harmony (thus in this sense upon

he the themselves to the harmonic

accented part of measure), and attach

(No. 247 or, the manner of the passing notes upon the unao*
ote a)^ after

ented part, serve for the melodic adornment of two like notes, (No.
247 ").

*^*
^^

"SHm i

The changing note can therefore appear in skips, it must however 6a

oined to the har^nonic as the examples in No. 247

closely note, show.
It is further to be seen from the above examples, that the chani^ing

otes can be formed by the note lies immediately helow th^ moni
har-
which
note, as well as by the one which lies immediately above.
The changing note helow the harmonic note, especially if it enter after
he an appoggiatura, upon the part of the measure, has
manner of accented
he that it inclines to form a to the
peculiarity minor second principal
ote, tones as is to be seen from No. 247, hence,
whereby chromatic arise,
he formation like the following be :
 ^
J J I I I I J-/ i J j I

I f
This applies particularly to the changing notes introduced bj skipa
It is otherwise if they appear in a progressing series, whereby they take

n the character of the passing notes. Thus the following series of chang-
ing

notes at a not, of necessity, be so formed as at ""

would

f r I f
Those changing notes below, fall upon the unaccented part, require
which

only partially the minor second. Thus, in the Example No. 250 "1^ the
ormation will not be like b^ while c is not so good as c{.
necessarily
^-
""

I
^ .
,
":
,
^'^
J ^ J "*"
J ,U
J
350.
^^^^^^ f ^
r rr r i

Definite rules on this head cannot be given ; it is also unnecessary, in a

/iHoh as every ear will certainly find that which is right.

musical

Remark. " ^The third of the triad bears the changing note as
whole step better than

h fifth and octave. Since with the latter the changing note can appear at the same

une as seventh, so that the stiecession only can determine in respect to it.

Changing notes the harmonic note, whether they enter free (by
above
in the manner No. 250, can form or to
gkips),or of major minor seconds

he because they are always formed diatonically, and govern

chord-tone
hemselves according to the key and modulation.

iJ^t^J^
51. ^-fZZM^
mmi
-j=;=ti^!
We often meet figures, in which changing notes above and below
with
he chord note are made use of one after the other, e. g.
^ ^ ik X ^ ^ ^ *
^ ^ ^ ^

SDrSQ=,-M
52.
"

S " "

s^
"
I ^^mM
r
 MANUAL OF HARMONY. 131

Upon this is founded also the following often occurriig manner of eni'

bellishment:

1
958. fefe=#^
i^ii;^^ I
r I
f
Passing and changing notes can occur in all voices. If this takes place,
y preference, in ow^ voice alone, this one will become prominent in com-
parison

with the others, and receive a concerting character, while the

emaining voices serve for accompaniment. If this should not be the case,

ll the voices can be made prominent, interchangeably, by such by-

ones, and gain thereby in significance. Wherever the position and

rogression of a voice adapts it for the introduction of such by-tones, it

ill by this means of more significant melodic development ; but

admit
ere also the proper mean must be found, since, otherwise, over fullness
and
lack of clearness can easily arise.
Tho following simply harmonic movement,

54.

jS"
i
LJJ.
*
i
I
"

ight, by the use of the above by-tones, assume the following form :

=|^:z"z:tT=:^-+-^-Lrl

55.

U
-^--f-^-
s^a isr. -"-

^=SEi
182

tn
m "

r.
"p

2^
I

The notes are here marked by crosses X-

passing and changing
That through copious use of tones foreign to the harmony, the
such pas*
can suffer from OTcrloading, is to be seen in the
age easily above example
f it is executed in a somewhat rapid tempo ; a slow moTcment is better

to this manner of writing.

dapted
In the introduction of the changing notes, care is to be taken, as was

efore in connection with the suspensions, ihai no voice

remarked receiver
he Jiarmonic tone in another is introduced through a
which changing

ote e, g.
J

This can only occur if the distance of the harmonic tone from the tono

oreign to the harmony is at least one octaye, e, g.

I I
4"1.

*'''i^
-*" #"

"s-
1

This reduplication, according to the principles of reduplication in gen-

eral

will take place better with the fundamental or fifth, than the
with
hird of the fundamental chord.
In a rapid movement, however, and more extended carrying out of such
igures formed through changing notes, other considerations arise, as the
ollowing passage shows ; this to be sure, cannot be conceived of as a four-

oiced vocal movement :

I5".

In the case of the regular passing notes, like regard is to be had to theii

pproximation to harmonic tones, and figures such as No. 259 a^ hf d"

 a. ".

More figures allow this approximation more readily, e. g.

rapid

4.
I J_.. fi
"" la:
-^:
es:r-f. i
-^n Cg-^ttTfr^ -"-

60.

" #
-0-F-[
-I
-I
I
"

"
"

I
" I
"

"
I #-^-^
J
"
I
" ("
1

'aulty Progressions in Connection with Passing and Changing

Notes*

Since it is the proyince of the passing notes to fill out the movement in

of the harmonic progression, we mnst take care in connection

kips with
he change of the harmony, that no false arise, as in the low
fol
progressions

examples, from covered fifths open ones arise :

Open octayes formed with passing tones cannot occur, because the firs

f them will be harmonic as much as the second.

I
J:
I
868.^^
S0 f^

On the hand, in the following instances, the passing notes will not
other
ver the open octayes, and consequently will be considered as faulty '

I I
"| r

863.
p=_^^ I

Bbxabk. ^The last kind find application in inatrumerUal movemenitf

"
of ootaves would
 In like maimer the entrance or progression of the changing note ia

arallel movement is to be called faulty if it takes place in the following

anner :
letUr :

I 1 I 1

64.

^=fi?: " "-

3^ ^
ii. i
ii^fe^E^g I it i

The last example is better because the octaye progression appears

overed.

P"issing and Changing Notes in more than one Voice at the

same time*

The the notes in more than one

Toice at the same
moTcment of passing
ime is best in parallel motion, to the successions of thirds and
adapted,
ixths, e. g.
I
I
^f-
^^T^S
w
65.
i Jl
IS.
t i
The free moTcment of the Toices with the use of the passing notes can

fourths, fifths, and seyenths, of kinds,

lso produce parallel seconds, all

caution in their treatment, and on account of their

hich require great
isagreeable to be and in a very favorable
effect are only allowed singly^

osition.
Progressions in fourths are if a third voice is added as third
good
elow :

366. m=:*-s:S-t*^^=^z=^l

Single fiffch-successions from passing notes are occasionally mei

arising
 MANUAL OF HARMONY. 185

them as faultless. (See that which is said concerning fifbh-sttccessiont

age 27 and what follows).

Just so the harshness of the seventh-successions can only be alleyiated
hrough favorable position leading of the voices throughout;
and good
ndeed, through tempo, movement, etc.

In contrary movement the various intervals of the passing notes often

to the an coloring, and contribute much to
i^e passage especial, peculiar
he independence the voices, but thej must not appear too numerously
of
nd in too at the same time.
many voices

67.
J:^rj3J
^ _4rri3U5^j *?="^-
^5^
^^ "^

Here it will be found, that those passing notes, which, outside of the
also

imply harmonic structure lying at the basis, form with others, as i

re, a intimate, new (passing)harmonic leading, are more

most natural

nd milder than those whose collocation cannot be harmonically ac-

cou
for.

A judgment concerning the worth of such movements can, however, be

rrived at only by taking into consideration their character and tempo.

In case regular harmonic progressions, several voices can receive pass-

ing
of
tones at the same time, e. g.

^^
68.

"*-"^4u"

In all such places everything depends upon the question, whether at the
hange the harmony the voices are in a position which allows theoi
of
o form their progression regularly.
Changing notes can occur in various voioeB :

a* In two voices :
 In paraUd motion:

r$q"
Im eon^ory mo^iofi.*

k.

970.

-"- 3:
32: 1 I i
b" In ^^r^e Toioes :

C" In
"".|^^^i
four voices :

^fe^
372

Bemark. ^The most the

"m^^ can have the force harmonie
"
of above examples also of proi
fessioDS with the organ-point.

It becomes evident from these examples, tliat also in the move*

parallel
ent of two voices in changing notes, the progression in thirdi^ and sixths

ppears most natural, while the parallel seconds, fourths, fifths and sevenths

lways produce a very disagreeable eflfect. Thus no one be likely to

^ould

ronounce changing notes of the following sort, :

good

good

-^^^^^pi
Changing notes can also be of longer duration, than the harmonic not
o which they are joined, e, g.

:^="v
74.
g-f
 The in composition, in Chapters
significance, of the subjects explained
II., XIII. XIV., is great to them to a careful inves-
tigatio
and enough subject
; as a thorough knowledge of them contributes materially to th

of the inner harmonic structure. We have still to speak

nderstanding
their to the harmonic the
oncerning relation pure structure "

object of
r immediate studies.
"
Since on 24 the term "
pure harmonic structure was only spoken
page

f in a general way, it becomes necessary to consider the question more

to it something in this manner :

arrowly, and present

What these means for composition does our immediate

application of
{the in the pure harmonic ?
urpose^ exercises structure),allow
It is undeniable that these means ar^ particularly adapted for ing
develop-

and adorning the voices.

If, however, our most immediate work is the recognition and carrying

ut harmonic formationsy then, to be sure, everything which i

of simple

dapted to develop the voices will be appropriately used ; but anything

lse, serving only for embellishment, will be excluded ; in brie^ the essential

ust be separate from the unessential.

As belonging to the unessential will always be reckoned, firstly :

All harmonic (Kunsteleien)in general, in so far as they

artificialities
re founded no inner ; introduction little
upon necessity unnatural of
sed harmonies. They easily produce over-fullness, swollen over-loading o
he passage, and bear witness rather to a morbid or mentally weak tion,
condi-
than to originality and fresh, free, powerfully secure movement ;
Then:

Irregular introduction the suspensions; the use stationary

of of
oices, and the anticipated and tones ;
of after-struck
Especially, however :

The changing notes which are struck free and the figuresformed there"

from ; in which appears inappropriate to a

short, everything simple,

ood four-voiced song.

If, in fact, vocal composition is received as the basis al

upon which

music is founded, then much in connection with it itself remain

will of
is appropriate to instrumental compositions.
excluded, which
If for practice in the use of the harmonies, for the learning
also and o
good and pure leading of the voices, the elaboration of chorals or simple
ovements in the manner of chorals is directly suggested as most to the

purpose, this also will not exclude the use of those means in so far as they

erve not merely for embellishment but for the development of the lead*
 Among these is especially to be reckoned the use of the snsponsions and of
he regular passing and changing notes.

In accordance the foregoing, the strictness of the pure harmonic struo-

with
ure in connection with the first of harmony, later contrapuntal
study and
abors may now be judged, which forbids many things the practice like"

o use in places, as not to the purpose, immaterial, as

appropriate and
deviation from the chief
ausing object.
The thorough study of good compositions will serre for the complete

of all thus far discussed. Chapter XIX; in Part

nderstanding subjects
II this book, in which we return to this
of subject,will afford nity
opportu-
for attempts of our own.

CHAPTER Xy.

JPassing Chords.

Those are called passing chords, which in parts measures,

smaller of
fter the manner of the passing notes in several voices, appear as
actual
hord-formations, in the entrance treatment however,
and of which,
nner is sometimes found deviating from the general rules of chord-

onnection.
Of these, one kind has
appeared already in such passing changing
and
in three
otes voices, as take on the chord form, e. g., in Nos. 271 and 272.

ust so, the most of the chords which are formed over an can
organ-point
n a certain sense be called passing chords.
There are, however, still other of the kind, are to be
phenomena which
ere explained.
As, in
general, passing and changing notes depend principally upon the

elations of measure, it becomes for the the

necessary explanation of

assing chords to cast a

glance at the various division of measure.

It is known, that in the simple, even measure^ the

varieties of natural
ccent rests upon the first measural-division, while the second receives
ess weight.

If now the harmonic progression be based upon the two

simply measural-
ivisions, then the harmonies, which come the division
upon accented

(Thesis) will always appear as the more

weighty, and must always be

onceived of as the goal to whitsh the chords of the second divison (Arsis
 N^
75.
^^ d
-1-

-"-
KT
i:^
:5t

f I

^=1:
^E] :ozzi"!:
:^ SL

4: .1^ t

In this sense, the chords of the second can be called

measural-diyision

although in the regular movement this character of theirs

assing chords,
oes not appear so
plainly.
That this has been so understood in the theory, eyen if seldom
plainly
is shown by the fact that, at their entrance, more care has ever
xpressed,
een bestowed upon the chords upon the thesis \ and in case of those upon
he arsis, much has been allowed which was not conceded to the former.

The of the passing chords appears, however, more

character plainly with

uch harmonies as are assigned to smaller divisions of the measure, as in

he following examples :

76.

IZ.

a.

fcrt

2rr.
I =!^=^
:g
^
=g:
I
"^
I rf
^ 'JUL "-#- a
p=t

The peculiar manner of appearance of the chord of the sixth and fourth
n Example No. 276 a and Cy as as the the in c^
well of chord of seventh
 the passing voices^ by degrees^ to theii nearest the
f notes) of oM goal "

hord of the thesis in the following measure.

These voices can be still more easily recognized in theii* character a9

assing, if one voice is allowed to remain stationary, for example, the

ass of No. 277 a, or the upper voices 6. (See above, No. 277).
The leading of the voices in No. 276 a, has arisen
from the application

f both
modes.
If this condition (the progression of the voices by degrees) is fulfilled

in the
hen all chords can enter free ; they will find explanation principal

hord which immediately succeeds them.

7".

flEMARK. " ^In this explanation of the passing chords, the free treatment of the seventh,

ntioned before, finds also its justification.(See NB.)

In the simple uneven varieties of measure the accent likewise falls upon

he first they contain two ot

measural-division, whereas measural-divisions
ess weight. Passing chords will show themselves in the following manner

79. R I
ft ft I*

6 4 2 6 7 5k 9 8 7 2
8 4 J8^ 7
JB-T 6
5 6

g
:F=1

Smaller measural-divisions can

also contain passing chords, and after the

bove, no example is needed for it, and just as little for the compound

arieties of measure.

Here also the of be explanatory, and lead

study good compositions will
o advancement.
For personal attempts the following may still find place :
remarks
All chords designated as progress according to tho
passing wA\ either
nown the connection harmony, or deviate from them. In the
rules of of
irst case,
which is more frequent, no farther remark
is necessary ; in the last,
lelvcs, as also
in relation to each other, whether formations of this kind are

o be correct. It can be remarked in that the progression

called only general,
the voices hy degrees will also here determine the character the
of of
assing chords^ and tha,t all such passages are to be judged after taking
nto account the rjthm, tempo and character of the composition.

CHAPTER XYI.

On the Means for Modulation.

The term has been explained in Chapter XI.

modulation already
There the was to determine each modulation correctly ; now we
object
e to treat the best means for effecting a
modulation.
of
The art of consists in finding out those harmonies which
modulation

tand in connection two or more keys, in order, by means of these to

with

ass from one key into the other.

Every can be in various ways, and serve various
modulation effected will
urposes. It can.

Firstly : begin be quickly and pass 5y, or

abruptly^ completed
Secondly : be more prepared for^ seek out the new key as a
gradually
take it for a length time as basis.
oal, and of
In the first case it will itself of the simplest means, its ap*
avail make

earance with decision, but soon leave the new key, and perhaps, indeed

ot it to to a definite development of itself; in the case

allow attain second
t is commonly and out gradually by various means, and
prepared worked
to impress the new key upon the ear, will probably also lead tO
ndeavoring

close.
Thus, in the following example;

I
i "
J" J-^-

80.
6

0: F: Vi

frequently forsak-
ing
he modulation will be transient and charging, without
 This kind of modulation is only adapted for the nearest keys^
related
more distant ones can be by especial decided
and although reached and
meanS} still in their development very natural and organic combinations
must prevail, if they are not to appear unintelligible.
In the next example, however, the more distant key becomes the goal,

which is reached ; the original key is entirely forsaken, the

gradually and
new one t"kes its place :

i^sfe*
Ml.

I Eb: V7
B[": vno^Bbrl

This example shows plainly, how the extended modulation, which seta

for itself the new key as

goal, makes use of the passing modulation, i

order to reach it, and this the as it was not the to reach "b
rather, object
major quickly.
Unless we to use short passages as interlude between two
wish such

compositions of different keys, or as exercises, they must be made use of i

composition in a special manner, since upon the formation of the modula*

tions themselves rests, in part, at the same time, the formation the
of

and their divisions. This, however, is an important the

periods part of
doctrine of Form, and belongs to the arrangement of the modulation of
is thus foreign to our immediate
composition, and purpose.

Remark. An of this may be found in the author's work

"
Die Orund*
"
elucidation "

der Formen ihre Analyse.^^ (Leipsic,G. Wigand.)

zuge musikalischen und "

We make use at present of the formation of such modulations as exer*

cises, in order thereby to promote skil^ in the use of the harmonies

and
their appropriate connection.
While the means for
modulation are being searched out, no immediate

attention will be paid to the hind of modulation used, since the same can

erve for both the above designated kinds.

The first and means will be

simplest

THE TOiaC TRIAD OF THE NEW KEY

itself.

If, however, this triad is already a component part of the lirst key, then

the subsequent dominant harmony

what succeeds only, and particularly o
 MANUAL OF HARMONY. 148

ollowing example at a^ no modulation will be felt, while at h we hear the

ey of G-major when we come to the third harmony :
plainly only

b.

":
"
-O- ": I
^=*^ TTi^

In case more distant keys the triad can, to be sure, as tonio

of minor
riad, have a more decided effect, still for the sake of definiteness the inant
dom-

harmony it (at a) f the triadj howeyer,

will succeed major will
ncline to make itself understood as dominant (")"

a.

us:

": 1 ?^ i jSZ
* O-

83. 6 6
5 5

3C I 3r

0: I f: I C: I m

b: I

1^ 2:
-^-
a:

t="="^
i
6
6 t

:q:
3-
I df?: 1
0: I a: V G: I k: V

As unsatisfying as the tonic triad itself to be, for

shows modulation,
n the in as degree has one its inversions (th
way used above, great of

hord the sixth and fourth) the quality of such modulation

of rendering
articularly decided. For just as it takes in the
naturally part closing
adence (see pages 49 and 53), so it produces at its entrance the
eeling a if it is not in the the
of modulation, used manner of passing

hords, but enters at the thesis. However, in this case also, it is naturally
ollowed by the dominant, which first completes the modulation.

84.
 Upon the arsis it will not indicate the key so definitely :

^
" m s. 55=g ^1
(p f:
T
"

r
2t
I
ft. 6 6 7 6
4 7b 4 I 4
"
(i ^ i

All however, to a still more potent meaiif

examples given abore, point

f modulation, vix^

THE DOMINANT HARMONY.

The triad, as as the the of the dominant,

well chord of seventh shows
tself as the most natnral best means of digression, since, through it
and
(which dominant harmony key
applies especially to the of the
seventh) the
s most nnmistakably determined :

The through the chord of the seventh of the dominant can

modnlation
e effected without intermediate chord in the following manner.

According to the principle that ihat connection of harmooy will be

ost is through like or

easily comprehended, which effected stationary
ones (preparation),modulations can be effected through the dominant

hord of the seventh, from the tonic triad into all remaining keys,
major
xcept the keys of the minor and third, and that of the augmented
major
ourth. From C-major we can reach all keys, except E!^, E and Fj|,(itcan
emain undetermined for the whether or thus :
present major minor)

From C to d: C " F: C " G: O " a:

86

w
"*" ^^

0 " B: 0 "
Db: 0 "
Ab:

"p#^^^f^ '^
^tlS A 1

C -
Bb:

fe^^
'=*^=*
Everywhere in these examples the like tones, which are connected
by a tie, the transition to the dominant of the next
ach other mediate
'
: thus, from C to D minor, the tones G and E, which become
major
 Rexabe." It only need be mentioned, that these modulationv alBO be reached
through other positions of the chords, e, g,

O " o: or:
^^^

If to in the same manner into the three keys

we wish modulate which
re it can be done by means of an inserted chord (in the
wanting above,

simplest manner, by a triad), which then supplies the missing conneo-

tion e, g,
"^om
0 to Bb: 0 " E: O "
FJ:

f
988.
^f^^
"g" c "
"
pb^jftei
WB
"- fr
The from the minor can be formed thus :
modulation

From " to b: A "

d: A "
x: " F:

289.
-^=^"^ i^^ife
TT "*"

" G: -
Bfe:

":2." 2.
I
To the remaining keys C, D|?, E[?,F||and At^,by means of a connecting

hord :

From " to G: " "

- Db:
Db: " "
"|^:

^- |E^p^HH^^^=pe^^
"
I* -T- -r-

n:

i^^^^^^^E

It is self evident that this manner of modulation is only exhibited as

he principle^ and that it is by no means necessary that a

simplest modu-
lation

always take place in this way ; likewise, that as simple con-

necti
should

of harmony can be produced without a stationary tone, so also can

; as, for example, the following can be accomplished

odulations modulations
 From 0 to E^: G "
s: " " 0:

391.

""-^^^^^^^^^^^
for the connection of harmonies and especially of the keys, it will, how-

Ter, always be of great use to make ourselves thoroughly acquainted with

this principle, to this end to down modulations from all keys,
and write and
therewith to bring the chords into the most yarious positions, as also to

ake these connections evident to us by performance upon the piano-forte.

This mechanical proceeding will greatly further dexterity in the use o

til means of composition.

Another chord shares with the dominant chord of the seventh the bilit
capa-
for via.,
modulation,

THE CHORD OF THE DIMmiSHED SEVENTH.

This chord, which in most cases takes the place of the dominant har-

QOny, will frequently be more adapted for modulation than the latter,

ince its entrance is much milder, particularly in those cases in

which

evepth fundamental of the dominant harmony would be to

and obliged
nter tree at the same time.

The following examples present the use of this chord :

Prom 0 to B};: C " B: O "

d: a "
k:

Beside this this chord shows, by means of its

application, enharmonic
ature, a farther, peculiar capability.
The following chords, entirely like as to sound, but variously :
written

m.^^t^S=S
Jong to four different keys, viz. : in the first form to F in
minor,
ik^^ second to D minor, in the third to B minor, in the fourth to At^
nor.

U^hrough this circumstance a fourfold modulation is possible :

From G to f: C "
d: 0 "
b: o "
^x

Since the diminished in ih"

now all the ohords of seventh can
appear
 395. =1^
^^^^^l="z=jj
nd eaoh of them, through enharmonic interchange, will belong to four
eys, present themselves for all twelve keys in minor, t
modulations

hich in many cases we can add the twelve in since this chord can
major,
ften be instead of the dominant harmony in
used major.
Here the industrious writing down of this manner of modulation
also

ill tend to advancement in the comprehension of the inner

greatly
onnection of all keys, as well as of the multiplicity of harmonic con-
nect

Although this manner of modulation shows itself to be adapted to fold

mani-
uses in composition, still it must be remarked that it should not
actual
e used too often, since, being applied lightly, its artistic worth becomes

ess.

A similar though not in so comprehensive a manner, i

application,

xhibited by

THE AUGMENTED CHORD OF THE SIXTH AND FIFTH.

Its similarity* as regards sound, to the dominant chord of the seventh

996.^1^^^
ith enharmonic change, adapts it, in connection with the latter, for mod-
ulati
into certain keys, e. g"

From O to b: "Eq "

d:

C: Viy B.
iiOiy I V I EfesViy d: iiOiy i V i

Although, in the the means were sought out to

above, with which pass

uickly from one key into the (since it be the

other, still will not always
ntention to carry out a modulation quickly decidedly),for the ther
fur-
and

of skill the exercises c^ be extended and out in the

given
ollowing manner :

From one key into the by means the triads degreeg

other of of various
From C to D through the triad of the third degree :

298.
fej^-ir^
_
 Cf IKs/ourth d"ffrs6 : Qflhejt/th degree: Of the aieUh dsgree "

99.

|jgr"^
(Jfthe seventh degree

1=1^ "
": " S-" (s^
m
1*
From C to E tliroagh the triad
major
0/ the second degree : Of the fourth degree : Qfiheffth degree:

(y (A" "iMA degree : Of the eenenXh degree :

$ pt^iSEt^l^ m

These indications may suffice for learning to form other/ modulations

ccording to the same principles.

Extension of Modulation and its Completion through the

Cadence.

The process shown for from one key into the

above, passing other,
s based upon the simplest and most natural means.

If we wish to carry out more at length a digression into a new key, the

bove means must, to be sure, serve to this end, they are not however applied

suddenly and directly, but the before mentioned passing i

modulation
the key introduced The
sed, and new only gradually. use of the cadence-
ormulae will, however, establish the ultimate key in the best manner.

To this end we can form for ourselves the following kind of problems, e. g.
Let a modulation be made from C through d a
major minor, minor,

nd G to e minor.
major
This problem would be solved something in this manner :

301.

^i
l-" !l^
"
0 "

t " ^
.f
 In connection the the cadence, the following is to bo
with addition of

bserved :

If the takes through the chord of the sixth and fourth

modulation place

f the tonic triad of the new key (see page 143), then the succession of
he dominant with its progression will be sufficient for
chord natural

ffecting the cadence, e, g.

303.
I ": ^1
"^

In cases the extended cadence^ or the known closing formulaB will

other
e (see page 40) in order to determine the final key. As the
requisite
formulae the following ajre commonly used :
implest of such closing

a. In other poHUone :

4. 4- i i^^^
I i
""
3!:
"=^
"1-
i^ "=g:
la:
I
--gr
03. 6
6 % 6
'-^
^dS^: -"-

b.

:s:
S ^3
* S
f
6
6
-(9- ?C
:2s: I
In other poHtione :

E
W-
-o-
:2^ 33?: ^^ "
=# " r*=t
6 6
6 6

m g is:
t m i

If these 3adence'formulaB be to the itself,

added modulation according
o the position of the last chord, then it is completed.

This may be shown in connection some former

with examples.
The modulation from C to E{?, No. 288, the fifth in the
closes with
oprano. To this is added the in the to
cadence position which answers
 From Oio'E^i Cadence I

I e:
^^^^^^
304.
b 6b 6
5^
^gE^ -"-
-^
3^
^
X
^
=F "^--

The following from G to a in No. 286, would require

modulation

adence in this position :

From O to A ; Oadenee:

i J"
t
i " I i^
M- ""-
.fit
1"-
305.
f
3 6
I
l^^i -6?- i
-"-
T t

The from C to B with use of the cadence under No. 303 h

modulation
From O to B: Cadence:

306.

307.
6 ^t
3

i^^^^^S w=^
i
To close, we present an example of a more extended problem :

From Gh through z minor, C and to A[^ major. Cadence:

major, b{^minor
1-
-I

wm^^m

fc^t^irfe t^

These indications will be sufficient to enable us to form for ourselves

 PART III.

RACTICAL APPLICATION OP THE HARMONIES." THE EXERCISES

IN THEIR USE IN THE PURE HARMONIC STRUCTURE.

Through the following hints respecting the manner most to the purpose
developed
n the use of the harmonies, the principles until now will be, at the

me time, still more exactly explained, extended, and made complete.

o this end, individual cases will furnish opportunity for farther remarks.

CHAPTER XVII.

The Simply Harmonic Accampanim^ent to a Given Voice.

It first be remarked, that here, only simply melodic

may progression o
be discussed ; all other elements of a as, for exam-
ple,
voice will melody,
its metrical and rytlunical development, will be for the present
"*

xcluded.
1. Harmonic (Accompaniment to a Soprano,

We select the following simple exercise :

3r
309. ^ m
P

To facilitate the work, those fundamental tones, which can serve as the
iarmonic foundation, will be added in the maimer before.
used

js:
310 $ -fli s-
.a.
i
**
11

With harmonic progression^ the leading the Bass is the most

every of
mportant point.
We turn our attention therefore first to this, and write its
progression,
 o D G

W:
6 6

a:
"
r in the following way :

6
4 6
T=25:
313 J. "
is: "9- 2s: I
.il
The addition of the middle Toices will now present no difficulties

313. O O O D G O

a 2s=r
BOPAAKa ^ I
1!^-

Aiao. s m
2E
3::(fe
Tbnob.

6 6
3=1
BaS8.
^ S-i G m:

Let this working out of the exercise serve, for the present, for the expla-
nation
of the exercises themselves.
The next exercises will give opportunity for becoming acquainted with
he of a leading of the Bass, as as
principles good well of melodic voices
n so far as the simplest harmonic
general progression requires.
Examples worked out in a faulty manner can best serve this end.
Exercise with indication of the fundamentals :

0 o. 0 o

IS- la.
314. ix i
^

RncABK." the treatment of this and the following examples we use the violin
rin
lef for the sake of saving room, and write the voices together on two staves ; for the

ersonal work of the however, we recommend, the manner of no*

pupil, most earnestly,
ation used in No. 813.
 MANUAL OF HARMONY. 158

m " -G- ^
-"-

315.

"a
-fi-
^
-"-
6 6
4 4 6

There appears nowhere in this example a transgression of any rule o

rogression and chord-connection thus far known, and still, on account ot

he stiff, uncertain, and powerless Bass, it is to be entirely.

rejected
Except in the case the organ-pointy a good harmonic leading the
of of
ass allows it to remain stationary only if its continuity is conditioned

y necessary preparation a tone, or compensated for by a decided

of pro-
gress
the other voices.
of
The previous example also contains the chord the and fourth
of sixth
wice, which may give us opportunity to add what is farther necessary con-
cern
the use of this peculiar and difi"cult chord.

Of the Use the Chord the Sixth and Fourth.

of of

The rare use of the second inversion of the triad, the chord of th

and fourth, has its reason in this, that its appearance depends upon
ixth

ertain conditions.
First, we find it oftenest in connection vnth the cadence formations, as

ormer examples show.

Then, it appears in a like character in connection modulation,
with
See page 143).
It can
probably also enter free in both cases, it must then, however, be

egarded not as a passing chord, but always appear upon the thesis.
Except in these cases, it appears most naturally as tonic^ dominant, or

triad, under the following conditions :

ub-dominant
a. If the fourth is prepared ;
b* If the Bass progresses by degrees to the following new chord, or

emains stationary
The following examples show the application :

16.
 =m^i=s
r^n
6 6
4 6

I -"-
t
i

In the Examples at a^ it appears most natorallj, because it rests upon

onio, dominant and other degrees (") it easily
sub-dominant, while upon

roduces the feeling of a modulation.

Used upon the arsis (beside appearing under the above it can
conditions),
lso appear with preparation the Bass.
of

817.

The chord the and fourth shows itself in all these examples,
of sixth
ither as (upon the or, as above, in the character of the
passing chord arsis),
uspension the thesis ; with preparation of the Bass upon the thesis,
upon
t appears
much weaker.

S
i t^E^. ^
1"
" p
r
rS fP

31".

^ SEE
-C-
I I
'JZ.
\
6 4 6 6
4 3 4

Not unfrequently it will appear as itself a suspension, whereby the

the fourth is perfectly justified.

reparation of

%^-=^ i
"rt*- ^^"^
^y^S3
f^^"^=^
819.
r f
"! "O". "
"-
 In the case still more decidedly, because it arises witli a rarely
second

ccurring chord (that of the third degree).

That the chord of the sixth and fourth, however, can also enter free in

onnection with a leading, by degrees, of the of smaller

voices measurat
ivisions, in passing, as :

^M^TEt^^^
330. 6 6
4 6 4-
..7
-9-^

m^^ I -"H E" m.

no farther what was said in Chapter XY.,

ill require explanation after o
he passing chords, and after the examples, Nos. 276, 279.

Remark. The often of the perfect fourth in the chord of the

"
Decessary preparation
fourth, has led theorists to reckon it among the dissonances.
ixth and many
In the introduction to this of harmony, in the division of the intervals (page
system

6), it is introduced among the consonances; and also (page 20) the reason of this view i

ven.
The doubtful relation of the perfect fourth, and the necessity of its pre]i*ration occurs

the Bass, or the lowest voice, and, in fact, in the chor4 of the
nly over against sixth
fourth in the the sixth, fourth and third, itself, tbi* necessity
nd only, since chord of o
is not always found ; between the other voices the perfect 5mrth is to be
reparation
reated just as any other consonance.

With the real dissonances this is not the case, for these retain their chftra^ter where,
every-
whether they appear above, below, or in the middle.

The of the fourth of the diminished triad

chord sixth and will fioldom
e appropriate for use four-voiced, because it appears too incompletes

E^:
fei ^
:a.

I
331.
6
4 6

"9-
1

On the other hand, it will occur in three-voiced composition, where i

ften takes the place of the chord of the second. (See later, the thr"ie-

oiced movement).
Besides the condition of a good harmonic progression, viz., that the Bt "

tself form a good and intelligible foundation for it, the seooi
should

equirement is,
 AmoDg the nnmelodio progressions have always beei **iglitlj reckoned

ertain skips.
The of two fourths and fifths in the same direction, e,
succession g.

22. g;^ --"- m m izs:

-"-
i
These skips are improyed thus :

x^

23. glzz
e:
"-- ^ -O- i
-"-

Even skips of a sixth, if the situation and compass of the voices admits

f it, are better carried out by skips of a. third in a contrary movement:

hetUr, hetUr:
JQ.
24. i IE I i
:a:

Augmented interval-steps and skips are to be avoided as unmehdic

iminished are, however, good.

not: better: not: better:

25. S'-r" " "- fe

*
H"4: better: nci: better:

^
9" "^ w
"" It 1:^^

Deviations from this rule are often found ; they find their i
explanation
formation in the
of melody, or especial character of the composition as

The of the rule in theoretical labors be

hole. observance will always

ery improving.

The skip into the major seventh is to he entirely avoided; that into

he can be used, but only in case an inversion the

minor seventh of of
me chord.
not: not:

jG
-tsa.. -l?a.
M. gjr ~

I -O- -ST
^ff
-"il-

The last, perhaps, with the following progression of harmony :

not very good : not : not :

"

-" 1
^
izrrfc
-"- * ell
27. 6
t2"2- "
ils:
.ba-
 These few observations contain the principal features of a
good

elodic leading of the voices, and especially for the next (simply harmonic)
themselves sufficient. It should still be remarked, that
xercises, prove
hese for the leading of the Bass, but in for
rules apply, not alone general

ll voices.
The No. 314 can, with an iraproved progression
exercise given under of
he Bass, be out in this manner :
worked something

fe^J^ "^^-
""

-"-
i
328.
6 8 7

SSE.
i!ES -js:
m i
EQC"rci8e80

1.
JQ-
:sr. -p-
28 b.
"jf^ Jt^EEJ^S
P
OOO " FOGG O " F

8.
"!5- -"- :sr .Q- ISi fi__J._fi
-"-
I _"5 ^
W
Qt 0 O G " D Oiy O "i
^7

4.

-fi- r-^ -""r-"-

%-- m^: s
"3^
6. o o. Di^ G " Qtj O
"
Di^

The next example will give occasion for the explanation of an impor"

ant and difficult part of harmonic connection and leading of voices.

Exercise.

bO C A D^ G^

329.
^ -"2-
-O-
\^
The following faulty work may serve for illustration :

bo
n^ QtPj O

( "ffi
ps--^'^ "

-^
1-"-
.2- 1
830. -^ ^

i-^ ^- --0- I
158

The faults of this treatment of the exercise consist, firstly, in the

doubling the third the through the Bass, which,
of of second chord out
with-

occasion, gives to this and the following harmony an awkward position;

secondly, in the indicated covered fifth (from the fourth to the fifth
measure)
and lastly, in the introduction of the seventh by a skip, in the next to the
last measure.

As concerns the last, this can take place with the dominant seventh

only "
the fundamental being already present (prepared). (See page 70)

J
i

"
"-
I # 5";
i
331.

( -"-
'JS.
i
t=F

More tolerable and less harsh is the free entrance of the seventh, and of
he fundamental in contrary moHon ;

'^"$ ""-

n parallel however, it is either to be or only applied

motion^ rejected entirely,
n connection favorable if, perhaps, as in the
with especially progressions,
irst example of No. 333, the fundamental (G) is already present in the

revious chord, although in another voice.

^-

333.
p
-"

-^ .O- is:
I
The first of the faults instanced above will be corrected in what follows.

he is more important, will us occasion to speak in

second and give

eneral
OF COVERED FIFTH AND OCTAVE PROGRESSIONS.

The nature of these progressions has already been spoken of, page 29.

Covered fifths and octaves arise, if two voices^ starting with differen
ntervals, progress in parallel motion to an octave or fifth,e, g.

Covered fifths :
f:
"*" ^IseI^-^
-^
"
" " "
:".

-fi. 1-r
-"-
i :t^
I
Covered octaves:

i -"-
._
"" --

i_tfr^__
"
'
o "

i__
g-
^-
.-
^p
 These fifths
and octaves become open, if the skip which one or both

voices make, be filled out by the tones which lie between, as is indicated

above by the points.

Since in every four-voiced movement certain covered fifths and octaves

an occur, without which the choice of chords, as well as the leading

f the voices, would be very much limited, and also, since others are to

be avoided, it becomes necessary to take a somewhat nearer view of

he manner of their appearance. An attempt to
give positive rules for

heir use, which be sufficient for all cases, has not yet been success*
would
ul, and would difficulty ; there are, therefore,
probably with great succeed

nly general observations to be made, which, however, will furnish a stan-

dard

of criticism for especial cases.

Covered fifths
and octaves between two voices can occur :

1. If one moves hy a step the ;

voice and other skips
2. If both voices skip.
In the first case :

a. By a step in the upper

^ and a skip in the lower voice f
h. By a skip in the upper, and a step in the lower voice*
In regard to both cases as concerns the kind :
of voices
R. Between the outer voices,
b. Between the middle voices, and
C. Between an outer and a middle voice.

Covered FiftJis and Octaves in the Outer Vbices.m

They are to be if the upper voice by a

allowed, progresses step.

a. Fifths: b. e. Oda/tM: d.

35.

Here it is be
well, if one voice at the same time led in the contrary

ovement or remain as in Example No. 335 a^ h, "" It is

stationary,
ot so well, if all in parallel (c?).
voices go motion

Remark. Although
" the above rule will suffice in so many cases, still it cannot always
pply, as the above Example, No. 836 d^ is not to be reckoned among
shows, which
ose which exhibit a first rate leading the the from the
of voices, since progression
ord of the sixth, c, is a very forced one.

We must has been before the cadencing

remember also, what said concerning pro-
gress
the Bass, 36 36, the
of pages and viz., that covered octaves which pass over

adinff tone^ or in general, over the half-step,

are more tolerable than thost
always
 In the the octave itself as
exercises exhibited above, always shows

undamental the ; cases in which it forms the third of the chord

of chord
e much more therefore to be used more cautiously.
questionable, and

not: not:

836.
p * g 3!:S: I
^-
.""-

Even as fifth of the chord it is not to be called good*

33T. I^g^
Remark. " With the covered fifth, the lower voice will always be the fundamental o

he chord.

C"yf;ered fifths in to be
refectedif
the outer voices are the upper voice

kips,

"" e" ci" ""

P^ 251 i^-- j^^

:^
a. -^
I g i
38.
jte-
^ Zr^
m^^=\ -"^
1 ""0-
{"c^.-^

Wherever a seventh makes the connection of the harmony firmer, as

t hf df Cf the progression of fifths appears more covered less harsh.

and

Covered octaves in the outer voices are not to be unconditionally

refecte
f the upper voice skips.

h, nor* d, not :
g"^^

HfcJS^j5i""^E =g: ^
39.
6
p "

r
^ "
j^Nv^
r
p^
1

Here those cases in which the Bass a half-step (jo)show

also progresses
hemselves to be most tolerable. What was said in connection Nos
with
36 and 337 applies for d and ""

Covered fifths and in the to be both

octaves outer voices are
rejectedif
 I ^^
-"- Iz
^Ea:
-0=4^=35-
-o-
J^ ,"s^.

^"O^riO
s
40.

J^ "!*" "rt*-

rJ^
"^ -"^
I I B
-"-

If, however, form inversions the same they are not

;^Aey only of chords
o be considered as faults, in that case they are not fifth
since progressing

nd octaves at all.

.c
-"-
5" fi^

341.

jO.

"?
-fi
^g -fl-
i
Covered Fiftlis and Octaves in the Middle Voices.

Although the leading of the middle voices must be just as pure

hat of the outer, still their situation, which is much by the latter,
covered

llows them occasionally a greater freedom ; this particularly applies to

he covered fifths. Covered octaves are, here, if only for the sake the
of

ood relation of the voices, not to be called good ; with respect to the

overed fifths, from the immediately

aside above observations, all will
epend upon an otherwise connection of harmony. A few cases may
good
ave place here :

noti

w
js:
^
43.

k -"--T

-g:
^{^g^l^tsj^,^

=Ete ^
m ^^
\ s
Covered Fifths and Octaves between the Outer and Middle

Voices.

The considerations are to be taken into account in connection with

which
onneotion of harmony, rather than established through merely meohani
al rules. Here are some examples :

i -tf?-
^^^^^^^^
43.

f-r^:
9J -"g-^-g-r-^-^i^^T^'^r-^^T-g-
1 1^=1 -G- I
not good: not:

I -"-
^^^^1

-"^
m. rS:
.a. 7^
m^

An especial kind of covered octaves is still to be mentioned, viz., such

pass over the ; these, in all voices, are to be avoided as faulty.

seventh

44.

a ' g "
" "
?"=*'-^.
IE
e"^s? i -"-
"JSi '

"? "
11

i?g^-pg^
.-b: h":
Iee^I^^^ -"- s: I HO-
i
(See page 84.)

That which was remarked of the octaves, applies also to covered unisons.
etween Soprano, Alto Tenor, the latter are to be
and avoided entirely,
etween Tenor Bass, however, they are to be regarded as covered
and
taves "

according to the postion of the chord and of the voices themselves.

The cases, in which covered fifths and octaves can appear, are so man-
ifold
that it be if it in fact, to
would superfluous, were, possible, adduce
hem all.
The above observations may 8u"Gice, if we add the following

to be sure, is not for those beginners who stil

axim, which, written
ave to do with the technical, or the properly mechanically-harmonic

tructure, the higher requirements of art :

without regarding

Avoid, indeed, covered fifths and octaves as much as possible ; consider

however, hand,
hem,
safe if the
on one an otherwise natural, con^
as good

ection harmony takes or on the other, considerations a higlver

of place, of
ort prevail; such as melodic voice-movement, application of definiU
 168

After this digression, we return to No. 330, in order to correct the before

entioned fault.

A correction of the covered fifth found there, which belongs in thai

ategory both be hardly in this case,

where voices skip, will possible
ecause, even if the Bass-progression in the contrary movement,
proceed
he evil presents itself again in
another place, e, g.

pi i
345.

ggg^g^

Thus harmony
it only remains to alter, in this caise, the itself, and select
fundamental tones.
nother marking of the
The following can take place :
alteration

F O e"

I I
^-
:e:
-"-"- ISl

-*"
1
r F
46. 6
6 6 6 8
is:
"!3$: -"-
i
:

F bo e.

a:

P 2: -9-
^
"TSL
"
47.
6
6 6 6 8
-G-
as -"-
t 1

Exercises*

1.
-^
47 ft
.=1
I s_.
-^ I
P
F Bb F Bb F "ty Cty F

2.
JO.
3C
li^ .a. t
p
64 MANhAL OF HARMONY.

8.

=^-
iz 'jST.
IS. \
"
Bk Bfe F

4.

.a. -""

{
"^-zk ""-
i
i^-
F O D O F F

The following exercise :

e o o D.^ O O O

"^
48 :az -"9-
i
""^te -^ ZJSL

e.will work out in this manner :

1. 2. 8. 4. 6.

40.
6 6
4 6 8 7

"^ -"- m
The faults of this work are indicated by figures.

The movement of all the upper three voices, by skips in parallel motion,
No. 1, is not it offends first
t good, since against the principles of all har-
moni

connection is by no means
and necessary.
A leading two hy skips, can take if through
of one or voices^ place only
third (by a tone by
voice remaining stationary or a contrary motion), the
armonic connection is preserved.

No. 2 also fault, here becomes

contains the same which still harsher
ecause and fundamental enter free and come thereby into
seventh an

wkward position, so that one is crowded by the other.

It has already
been mentioned (pages 72 and 158), that the free entrance

the can take only place without harshness, if the fundamental

f seventh

present, and can remain stationary in the same voice.

already
Thus, none of the following examples exhibit a superior leading of the

ices.

-""

~--G

50.
 Probably few these instances would be excusable for
of and similar
re important melodic reasons.

The following serve as completion of the free intro-

examples mB.j still
uction the fundamental the seventh in contrary motion, mentioned
of and

page 158.

I^^S 9sh
toiitzSzi^^^intE
51

s^m -* m :*i:"fe2_

21
:g=^
I

The instance No. 2, of Example No. 349, contains besides this, another

ault, contrary to the rule laid down

above (page 163), in connection with
he the fourth, viz., that the Bass should not skip from
chord of sixth and
he chord of the sixth and fourth.

The third fault of Example No. 349 consists in the covered fifth, which

s tho more prominent in connection with the skip of the Soprano in the

ame direction, as well as in the general scattered leading of the voices.

The covered fifth in No. 4 is to be condemned, on the that it was
ground

ot ; that at No. 5 is better ; it can take place in

necessary connection
the leading of the Alto, as well as of the Bass in contrary
ith motion.
better Exercise
The following will be a working out of No. 348.

31

^ "

""-
s-

rg:
zS:
i
59. Aj
jSL

"lt^ -" i
IS. 1
6 6 6 % 8 7
4

Mxerdses.

1.
.^L 31
ZOL
859. h. ^p
tt^ O " G " D A B G J"i^ G

2.

^ .JOt.

" O

-"- 2s: ISL

^
166 MANUAL OF HARMONY.

"

-G r-Q.

^=m ^
^ G ~ D " Bi " B O O D. O

The next exercise^

B E7 A B A B.y
~
fr7

53. I ff iii
f
3:
"a?
-"- "
ith the following treatment :

I ^Ei HEg ^
54.
^1
J\ ^-^^

lis to speak of a fault which bears the name,

ves opportunity

UNHARMONIO OROSS-BELATIOK.

The cross-relation {relationon harmonica) belongs to the

unharmonic
consists in general in this ; that upon one tons
mmelodic progressions, and
mmediately follows the same tone m another voice,
chromatically raised
depressed^ here G Alto the Bass.
as upon the of the G||of the
In order to avoid this fault, note the following rule :

Immediate alterations a tone are to he applied in that

chromatic of voic"^
in the tone immediately before occurs.
lone which unaltered
Notwithstanding this in degree, to
rule answers, so great all theoretical

rinciples of harmonic connection and progression, there is hardly any

e, to so exceptions in the practice can be shown.
which many
For this reason, in the books of instruction of later methods, sus-
great pici
has been cast upon the doctrine of the cross- relation, and instances

rought forward in which the cross o^cur in a

unharmonic relations fect
per-

natural manner, without examining the reason why they do not sound
aulty.

Some of them will be here :

adduced

55.
 167

ff* h.

m it^^iit-^ Ie^^ -fS^

'^
".^f
X
p^^

In all these oases the cross relation appears, not formed through the
leading forward of the voices, but either
imply-harmonic
In the character changing notes at a^ b^ g^ or through contraction
of
drawing together)of natural hut for the metrical constrvAytion^ too cir*
j

mstantial harmonic connections at c^ d^ e^ f^ Jl.

j

The first needs no proof, and there is only the observation to be added,
hat this kind of cross-relations would probably occur mostly with smaller
ivisions the measure, the notation in half is
of and above notes rare and
herefore because through it the simple harmonic foundation i
unsuitable,

pressed, and not those tonic elements, which serve for embellishment.

The original progression of the voices with the above cross-relations,

are the of contraction, is the following :
hich result

e.
"Li ^
Jsi 4^=^4
]
"-
E^ ^ ifi: P -'^ g eg
:tf5=3=n:
6.
^ ^
^
^^ j^
h.
J I

P=t
#
m 1
T rJr
f m

Let No. 355,

 All these conditions, through which cross-relations are most cndurahla
re in the following similar cases, which are tl^erefore faultj
wanting and

57.

In all the above instances, which are taken from

practice, but sep-
arat
from their connection, is still to be added the consideration o
he tempo, of the consistency of a whole brought out by means of ryth"

ical divisions, which will make all these formations not unpleasant, but

ather, precise.
Among the cross-relations is reckoned also a progression which is known

nder the name TrUomLS^ and the explanation of which follows here :

Of the Tritonus.

The tritonus is contained in the diatonic scale, and embraces the

major
istance from the fourth to the seventh degree (in the 0 scale th
major
ugmented fourth F-B.)
This from F to B three tone-steps^ whence its name
step embraces whole
s derived :

358.
p W: I

It is held to be unmelodic unvocal because each of its tones requires

and
n especial progression, which tones
properly appear assigned to two fer
dif

voices :

"*""
^p^.
the one mnst disregarded in its progression, if the step
f which remain
s transferred to one voice :

360.
I
t
1.-
1=t

the be formed thus :

nless melodic succession

i
 That this, however, is not the only reason the
of unpleasant effect o
his interval-step, is
shown by the very often used inversion of the samOj

hich would likewise require a two

voiced progression,

4
"62. I ^F=t
is:
f=*
42.
s

nd is jusb as intelligible and easy of performance, as the tritonus appears

ifficult and
refractory.

Remabk. ^It may still be remarked, in this coimection, that the tritonus depends
"

upon
he diminished triad and its progression, as becomes plain from Example Ko. 862 above.

See page 38).

That this step was formerly especially held up as faulty, lay in the

ircumstance, that, in connection with the otherwise customary simple

armonic formation of tone-compositions, it formed the only augmented
diatonically itself. At this day, the
rogression which exhibited with
use of artistic means, it is simply reckoned among the
xtended all ment
aug-

which, in ajjwre harmonic leading of the voices, are

progressions,
o be as unmelodic, or at least, used with caution.
avoided
The things to reference is to be had in the use of the tritonus, are
which
ts situation and its manner of appearance.
It can occur, based either
Upon one chord {a) or

Upon two chords (")^ e. g.

363.

If it occurs upon one its entrance is not and the ear

chord, unexpected,
s in connection with two chords, however, the feeling of a
prepared;
orced progression is easily produced.
Formerly the prohibition of the tritonus was extended to the two
maj(r
hirds^ which follow each other at the distance of a step, e, g.^
whole

not however :

^^"^^^^^^^^^
170 MANUAL OF HARMONY

ame effect, whereas the same three and fonr-i oiced, espeeiallj
nnpleasant
f it does not appear in the outer voices, is rendered much milder.

1^-7^^4 Q
/
i
365.
3 ^
^l" g
^-^ ""
^f

That formerly the step from the fourth to the seventh degree of the
is
inor scale, e, g,^ D to G^, was not reckoned as tri tonus, founded upon
he former of the minor scale itself, and its harmo-
nies.
usual representation
The effect of this step, since it is augmented, remains the same.

We return again to our Exercise No. 353, and attempt a better treat-
ment

* is:
^ I ": I
366.
-"- -"- "" Ao.

"^-
ii^ i
6 6
6

Exercises*
1.

66 ft. -^ la: -"- :sl

I
t^
.^^
F bO "
7

2.
le:
-^
i i:^
f?^
bO E
'*
8.
i^ rro: fe:
^^
Hi
ii|i" B. Bi

4.

"- is:
^ -"- :~'g"
1
f^
*

2. Harmonic to a voice.
accompaniment given middle
This exercise, belongs to the contrapuntal labors, cannot
which properly
egin too early. It is introduced, for the present, with the of the
addition
 Exercise.

Alto 0 " O F G A Oiy G C

^^'M"L "9- S

In the treatment of this exercise, the first and most important thing will
again, be the sketching of the Bass. At the same time, however, the
Soprano, as the most prominent voice, can be e,
added, g.

I -p- -"2-
ISI^i!!?^

"5
"-"-
ra:
1
36". 0 G 0 F G G 0
Diy

^ w

zza: i
-"- H-ffl.

6
1-^ jQ-

The foregoing can answer as a three-voiced movement ; through the addi-

ion of the Tenor it will assume this form :

"O"
-JSl :s:

-jz.
g:
221
1
-^ ""-
69.

^- -"? "l-
"3:-Ti=""
7~P-
.IS.
"IT I
-"-
""- 1"-
6
6
6

JE^6rci"68 with given Alto.

1.
iffi: -^
*" 3^
""
^^ -6?-
H
Gty D ei^ C F F Bb O

3.
^-
-" ZSl is: Ti??:
t^^ ::is:
s ZgE

Bb 0 F 6 F F

4.
-^
te :r^:zz:t

e C F " o C^ A
7 ^7 '*
6.
-"- is:
50Ez i
 6.

3:
r-"=i. F=T^
^S 1
Bb
-7

A Tenor voice be treated in like manner.

would

Eocercise.

Tenob. c c 01

|l"5EE
370.
i
Sketcli of the Bass and Soprano :

m m
371.

ill 2Zia.
-Q-
Jl
6
4
Four-voiced :

^~g"^:ji^^:^^p=^-
^~ ^sz s:
I
-"-
372.
"-.^-T^-
-"

j-"-
^1
6
4

JEkvercises with given Tenor.

1. 2.

$55^^ -Q T-5" T-^r-

^
^
72 b.
I
"

-yfe
-"- .-(2. i
0 G7 0 e A D 6.

8.

l^^ -G--
*
-G-

-O-

0 0 G.y C "

4.
"
1^ T

fz^^Eg -"-
ill
E. A ".
^%^
"

These exercises are to be continued, until the sketching of the Bass, as

ell the leading the voices in general, is perfectly pure and certain.
as of
At the close of this chapter it should be remarked, that to a good oar*
especially necessary ; the boundaries of the voices themselves must not

be overstepped, the distance from one voice to the other must not be toe

it be too ; this, however, does not to

reat, neither must small apply
wo voices, which, for example, meet upon one tone.

In this relation let the following rule be noted :

Of the upper three voices^ the distance from one to the next must not he

reater than one octave. The relation the Bass to the Tenor howevefy
of y

dmits of exceptions,

Remabe. ^To set the in the Bass, will not be to the purpose, since
"

present exercises
hey would appear exactly in the former manner, as figured Basses. They can only
e set for free harmonic treatment.

CHAPTER XVIII.

Extension the Harmonic Accompaniment.

of

To a given voice iri whole notes, the harmonic accompaniment in half

otes interchangeably in the other voices. This can take place,
Through two chords,
Through change the one
of situation of chord,
Through suspensions.
The exercises will be in the same manner as heretofore.
marked

Exercise.

F" P bO Giy A"

Y

"^*-| f Jfl-
"G"
-G- i

The Bass can be sketched in this manner :

74.

In the and fourth measures, sevenths of secondary chords of thi

second
174 MANUAL GF HARMONY.

Tt kind are called passing They start from the fundamental

iS sevenths.

f th? chord, and always appear upon the arsis. In such a manner they

an occur in all voices.

The of the middle voices to the above sketch of a Bass,

addition gives
he following four-voiced movement .

^ -JSL

F=f
-"- ^
75.
,
i
^-
-JST. 3:
^:3$^E ifi^ -pIZ
-"" i
2 6 2 6 8 7

The same exercise with a richer change of harmony can be given in this

nner :

G Fij^Of^ GGt^ty ACi^b i"i" c^7 o

376.
I i is:
JSL -"-
.a: g

TrsatmerU :

i IS f-^ -fi.
""
^
"a
?s:
P"- 32:
"s-
9-
^2-1-"-
a:
1
I 'I
77.
y.ii
i3 Tiis:
"- te^g mk
6 7b 4 6-8
3b

The next exercise nill exhibit the use of the suspensions.

FBfxODoFBbOij'F

-jSl
78. " R -"9-
m. i
Treatment:

la: la:
ia: :2s: iizs: -g***^
f^r :g
r
79.
J. J:
IS
""^

^
"a ^ f
 i

^ :":

^ "G-
I
t
" J
^ t-
-fl-
-G.
6 9 8 7 "

We pass over the exercises in the middle voices.

The in whole
using of the simply melodic progression notes, as exercises,

(cantus firmus) took place for this purpose, viz., in order to

exhibit the

harmonic content of a measure, or, as takes place in AUa-breve

imple
asure, to
exhibit it in its principal divisions (half-notes).If the exer-
cise
is given in half-notes, then chorals can be selected for the purpose.
For practice the fundamental tones of existing moni
har-
personal good
treatments of chorals can be very easily drawn off, and the treatment

ttempted.
In the next exercise the process will be be shown.

Choral: O Hanpt vol! Blat nnd Wunden.

/TS
A A"y D A JtPf BOiy " E A E
"

D^ wr" "
-,

? X
80.
p 133^
-O" f=F
^i:

o 0 F B" 0 F O 0 A O D A
Tb
"
AFJO

S
m -g(-^ ^ "s.
"^

0-. 0 G G 0 E A "

% -"--

^ -"-
i "Bl-

The treatment of this choral can, according to the exercise, be

above
fie f :
"Uowing

/T\
A \
%
1^
,

X St^SL
-c^-

"
^ "
"-
I ; I
"". I
f
I I J
-G- -"
"
"- "
"
i
Sia -fi) :^
it^ t=x
4"^ "
ff-
"
 vi/

/7\

J=i
^ ":
:stz-:
%
T^:

1
"

r
gO
^
I I
I i
AAA 2i A
^
P -^
^
:^
t:t=F f
Sb/

After certainty in the management of the simple

su"Gicient practice and
armony, we can to a farther development of the leading of the
proceed

oices, by means of the passing and changing notes.

For this purpose will follow in the next chapter the farther discussion o

elody and melodic progression.

CHAPTER XIX.

On the jyevelopment
of Melody*

"We are not to treat here of the invention of a melody, but of its devel

pment, is most important for our harmonic exercises, to treat

and, what

f it in order to learn, by the elaboration and fashioning of melodies, to

now use in them is essentially harmonic.

and what
All will here depend upon the recognition and comprehension of the
 Every however extended and developed it may he^ has a founda
melody ^

on just as as those we have used, as exercises, in our last examples

simple
Every harmonic leading the voices, however complicated, admits,
of
herefore,of to a simple connection harmony.
reduction of
In order to recognize this, it is necessary to learn to distinguish tht

ssential notes from the subordinate and accessory work.

We to this end the analytic method, and endeavor to develop the
select
ollowing we will write down in the simplest manner
melody, which
to the with indication of the fundamental tones.
ccording above mode

83. P " Bb Bb P -- F Ciy P

-"-
-"-
-9-
-O-
.
G" .

jO. .-a.
m

Both harmony are, as selected, simple, and the latter

melody and may
e out, four-voiced, in the following manner :
carried

I^^i JSt.
"-"-

-G.
3:

":

{83.

S: -fi-
is ^ ^ z:jS^.
-"-

JQ.
6

I :3a:
igrdi^
!^^E
G-
9i
%"" ^
6
4

Before- we proceed to a farther development of this movement, it beoomefl

ccesary to premise what

is to be mentioned concerning the mat
for
rythmical
of a melody.
A melody can be either a musical movement without definite boundary,

more or less measures, it is often found as theme (motive of

ontaining .as
it can be a bounded by
omposition), or whole, separated and means o
ntithesos.
In the last case it is called a Period, and it contains then, as a rule

ight measures, which, in two divisions, each of four measures, form

ntitheses. These or divisions are often called

'^
thesis
antitheses and thes
anti
 The treatment this belongs to the doctrine o
more complete of subject
Form.*
That form a is seen in the close
the above movement will period,

the it will be necessary, above all, to seek out the separating

of whole, and

of the divisions.
point
This is very discovered in the cadences, which
point of separation often
imperfect half-cadences, themselves as i
either as whole or as show plagal

the middle of the movement.

in the dominant) is found in
Such a half-cadence (in general, a close our

in the seventh measures, and the separating point o

exercise sixth and
the divisions the be to be at the place where the
of periods may assumed

sign t stands.
The first division, the thesis, would accordingly receive seven^ the

can be rythmically altered so as to

antithesis six measures, each of which
four This take in the following manner :
contain measures. may place

T r

384.
fe5$--^bg: -g-
O-

%
-"- --fl-p- m za F

If we the harmonic accompaniment selected above, we obtain a com

add

plete musical period.

It to us to see that all farthei
needs, also, only a glance, enable
? ? 1 "
transformations into various
kinds of measure, e. ^., into " , ^'^

e. g.
easure, admit of easy accomplishment,

" irt t
385. fc ^ qc;i:4
"-i F=^ -^ i^ TJSf

^^t^F -0--W-
i
f=t
"e.

^^ t
:^=p:
p^
*
t^t *--"-!= s
^f=F=t^
A" A".

We to the tonic of the melody, and add to l

proceed now variations

notes, e, g.
passing and changing

t t
386. fc Ft!=F
^ ^g m
t=f

"
Die Onmdzuge der muaikjiUiehen Ibrmen/* (Leiptk
* See the work of this author
"
"
P -^'"-S^-J mmt^^^g
following
Still riche.' %-se of all by-tonety cou]d give the turibation :

Adagio.

|ll^feS?^-S^ :X^SEt""^
"7.
Origin"ilhf :

[^* -ja. m

m %^J"(^i"jt^E!=.^E^S^^^
^
^5,_.. ^"E

I EicEte ei;
T-i^

1^ ^
The simple melodic progression found below, will be easily recognized as

he fundamental voice. That, however, the melody is carried out

above

ith reference to the original harmony, will immediately become evident,

f we the other voices with the few deviations conditioned by the upper
add

oice :

Adagio,
"

hi " I 1
'^'^
T
"
F^ " ' #"i '-r-y" ^
u ^"^?*^"H " ""H""^
-B-:

f
"8.
J i J
^^m m
"m t r

feEEl:
 m

We may remark concerning the octave parallels in the middle voices,

o be found in the third measure of this example, that they are to be

egarded as faultless if they do not occur singly, but appear as

only
eans of in a more for the inten-
sifica
additional strength, extended succession,

of a harmonic and melodic progression. The movement is, in this

ase, to be regarded as three-voiced.

As little independent worth as this example has, it still served, here, to

how of what development the simplest melodic and harmonic movement i

apable.
The advantage of the contemplation and recognition of these melodic

nd harmonic relations is too great to allow us to forbear to furnish

another

xample in the following interesting movement.

The fundamental harmonic progression is just as simple as that shown

efore.

-^- rcSL
1: "o~
:g=:r^
^
"9.
-G T-" -^ T""- 3:
^^ -G-

'*ii IPI il
g^T-g-Tp G"'

j50-
s:

m^^m jQ.
1
This forms a ; the close is easily found in the
movement period middle
alf-cadence of the seventh measure.

We omit here the various kinds of measure, and select the following

ivision :

i
"i::;2 :^.

90.

i^E^
 The de^relopment take in the following
o^ the upper voice may place
anneii being had to the harmonic progression :
reference

91
fm^'K ft ~rxr '
^ I
~

"
"J
Ms
h
f=?
""4

^^
" * EliB ^

What part the other voices can take in melodic development, the follow-
ing

movement from the El? major quartette of Beethoven will show:

393. A(Uigw, p
^ ^

4 1" ! ^F" I r" 1

"1----'"
ViOLINO L :fe

ViOLEHO II.

TlOLA..

OLONOJlLLO.

^ E"HS3^ [^
-^^ ^-
^-"3p l^edl

^ii^^^ "
^^
s
i^ S^i^FS^S^ ^
"p

A comparison with No. 390 will the melodic and harmonio

show

ariations.
There now follows the melody,
still another alteration of original out of
182 MANUAL OF HARMONY.

93. te^^ nx\'^Tj'i.

"^T-*
Ill)
a

l^^^^^^^^ij^^^^
The other Toices show themselves in the following alteration :

394.

These hints in to development may, here, suffice, and

reference melodic
e left to personal practice or special guidance.

Bemabk. ^The in the not

"
mechanical element whole proceeding should occasion mis*
ake; for just so as it is that in composition one does not always proceed i
certain
he (even if Beethoven, in the later alterations of these original
way shown above
in even so great a degree was it here
elodies, could not, sometimes, proceed otherwise),
to set in the right light the relation of our previous exercises t
r only objectnpartly,
he to gain a clear insight into complicated compositions theno-
practical side, and partly,

elves.

As concerns the accompanying voices, they arose of themselves out

the harmonizing, required little alteration,

f simple manner of and
themselves, even if subordinate, still not on that account nifica
insig-
howed

It yet remains to speak concerning other kinds of accompaniment, whiot

ill be done in the next chapter.

 CHAPTER XX.

On JDevelopment tJis Accompanying Voices.

of

The last examples of the foregoing chapter have already shown in what

nner the take part in harmonic, metrical and

accompanying voices

elodic development.

There are, however, kinds of accompaniment, which are known

still other

mder the name of

THE FIGURATED ACCOMPANIMENT.

This is not adapted to the character of the vocal parts, and may be used for

hem in a very limited manner. In the following investigation,

only
nstrumental music only will be treated of.
By figurated accompaniment is
understood the kind of accompaniment

rising through metrically uniform transformation of the simple chord-

ones, e. g.

Simple harmony: FigwaUd aceompaniment :

a.

" i^" ^^mr"^5

^^fr^^^^

crf"lftt"#
The at a is harmonically Jigurated. The figures
accompaniment arising
herefrom are called also broken chords. That at 6 is metrically figurated
nd that at c is melodically Jigurated, The figures have
which arisen
rom the last are formed from changing and notes.
passing
Any accompanying voice can be used for such figuration, either alone or

n connection with other voices.

We the beginning of Example No. 382, in order to attempt soma
select
kinds of accompaniment.
This may be preceded
by the following remarks :
184 MANUAL OF HARMOHTY.

ll the rules the harmonic leading the voices are to he

ol served ai
of of
he CHANGE OF THE CHORDS, as Well US tu the redupUcation.
We must not write :

or:
^
T !_^^"J-_j"_^,
h^ _^

396.

9jm i "
ut in this manner :
somewhat

Z4^J.J^J^
97.

I -"
I
At the change of the harmony, the last note of one figure and the firs
ote of the next must not form a false progression with any other e,
voice, g

not: better: not:

-:^

izzrzL

9".

a I i ^
fu^ better:

.0--
f-y- js: i
"
.A:
-Gl
i
The harmonic figuration also affords the means for forming one-voiced

ovements in greater perfection. The examples will begin with this :

99. Ons voiced:

i^^^N^^^ m
^"LU y-r m^
4e.

^-fzfX=fl zJt
 That these movements are calculated for an instrument, probablj sucl

a or clarionet, is easy to be seen.

violin

00* Two voiced:

X t
P " X
-"- m
:fcE

Three voiced:
in the middle voices: in the lower voice:

in the npper voice:

in two voices:

The figuration in the four-voiced the^e

movement, after attempts witl
 Instead of this we prefer to select, as an example of manifold figuraticm,

he following passage from the above quoted quartette movement o

eethoven.

i^-
m

""^-"^-fbg-f-y-f^g
01.
piM.

:fl"=la
1^^^^ -$
"%

-^^=F=^=^^:^^^^-^E^.

1=^^=^:
cre8C

"
I" J
I I
,-
I
t
I

T^^H^ n^ijii: P:#=i=i

ii--r-jLj-j- 1^
# ^-

ii^^"=^M If
 ^- ^^lE^Ig^-^l^feEg

This whole development rests upon the foundation in Nos.

rich given
90, 391 and 392, and wherever the harmonic change enters, the leading o
he is carefully
voices observed.
If we wish to obtain a clear insight into such elaborated compositions, and

rrive at an understanding of their inner harmonic structure, it be

will

ery useful to reduce compositions of this kind back to their simple

oundation ; industry in this itself by enrichment of knowl-
edge
will reward

of many kinds, and by our being of formationfl

rendered capable
f our own*

CHAPTER XXI.

The Eocercises in tlie Three^aiced Movement.

With few exceptions, the four-voiced form has been for

of writing used
r exercises hitherto, and it
although affords greater completeness, and
ppears most adapted for the harmonic the three-voiced
connections,
ovements are also of much advantage, since they are especially lated
calcu-
to make the leading of the more
voices skillful and many-sided.
We begin, as before, the figured Basses.
with problems with

8 7 6 %l 0 4 6 S

""" i?p ird: 3=

M
 4 6
6 3 6 % 5

m 32: -9"
-" ^ -"-
-^ -iS^

The three-voiced moyement is sufficient, indeed, for the triad, but the
leading of the voices will often result in the omission of one of its inter-
vals

; in the case the of the seventh one interval must

of chords naturally

always be wanting ; this, however, can never be the seventh itself. As a

rule, the fifth can be omitted, as has already occurred in the four-voiced move-
ment,

and the fundamental also in many cases ; the third, as the interval

which determines the mode, can only be omitted in a few cases, without
producing an especial emptiness.
The treatment of the exercise is the following, to which a few remarks
will be added :

4 NB 6 i^B 6

% ^^=^- sn
^ -jBT.
-"-
js:

"^
-""-
^
w^^

403. ;ti
^a.
-" (^ ^ -"" -P
"-T-^

":.m. 2^
6 6
8 7 6 6 4 i9r 4 6 2

m ig"G-
2.:
]pi~ i^
"+"

8 NB. 9 10 11 12

In the fourth measure is found, at NB., the chord of the sixth and
fourth

of the diminished triad, E-G-Bi?. It stands instead of the chord of th^j

Bb-C-E-G, the fundamental C is here omitted. For four'

second, of which
voices, this place would stand thus :
 MANUAL OF HARMONY, 189

404.

Oonceniing this chord, compare what is mentioned page 155.

In the fifth a fourth represents the chord. Now, a

measure although
ourth can in the three-voiced nor in the two-voiced movement,
neither
ave the worth of a complete chord, as can the third and sixth, yet,
n the the fourth as can
cases where chord of sixth and passing chord
e used upon the arsis in the four-voiced movement, probably the sixth
third the fundamental chord can (for the sake of a better lead
of
ng the be in the three-voiced, so that the fourth alon"
of voices) omitted

emains, here, fundamental and fifth of the original chord.

marking,
In the two-voiced movement, the fourth will occasionally take the

the the especially in the case of the passing:

lace of chord of second,

eventh, e.
g.

J I

I
""-
405.
a: Isl
^t=F

Four-voiced, the in Example No. 403 would, complete,

above place stan^
hus:

W^^^
406.
6b 6
i9r 4 5

"" I
p

In the measure of Example No. 403, the chord of the sixtb,

eighth
ourth third is, by the the Alto, formed complete.
and skip of
The tenth measure a chord of the sixth and fifth
exhibits apparently
undamentally, the fifth here is nothing else than the suspension of the

ourth, here, however, through the progression of the Bass, becomes

which
third. Four- this becomes :
 407.

The closing measure of Example No. 403 shows, through th* octb^if
t

that the triad can appear,

in such cases, even without third and fifth.
That the omission of the third is often conditioned by the leading

of the voices, is shown by the first and second measures of the next

example.

"-5^

40".

I^E T-^^""-

^^ ^^sm^
^
r G-
"" # -"-T

m i
6 - ^ 7 6
43- 366 4-J

9^F
^?- .a_".
"^:^t _prf_.-"_. A-fiH-'

The omission of the third takes place best upon the arsis, atf here in the

ast division ; upon the thesis, (accordingly at the beginning

measural o
be
he
measure), the third should not wanting.
Farther exercises are to be left to the especial [of the teacher
guidance

Exercises in the Three-voiced Movement to a given Upper

Voice.

The following exercise, with indication of the fundamental tones, is l

 Q " F e.

-9-

09 I
"p
TrBoiment:

10.

fundamenUU,

This treatment no explanation.

needs
The choice of the lower voices will depend npon the position
middle and

f the chords in Thus, in a low position, the Tenor as middle

general.

oice, will be more than the Alto, just so the Tenor can be selected
suitable
lower instead the Bass.
voice of
For the following the Tenor is as
example selected middle voice, since
ts movement itself more to the Bass, on the Land
attaches while other
he simple song of the Soprano appears, of itself, isolated.

The previous Exercise in more harmonic treatment :

extended

Ga i"fj "3t "" GO D

qP^i a s D D Gi^ c

^
"a .
-^V .
n-
s:
11 i m
"p^
13. Treatment:

Si -"- ISl

n^
^ i
B3:I nms^
-"- -"- ISL is: -"-
It
"^
X
-"-
M
6
5 6 6.-57

iiafc
i^ -6f~fS-
t
^fa^rfpi^irjl^f i
NB.

In the fifth measure at NB. appears the (through

real ninth-suspension
he position the occurs
of voices),as second, which very seldom, and only
etween Tenor and Bass. In this it is to be remarked, that a
connection

econd-suspension cannot exist, because the second depends upon the inver*

the itself to the

ion of seventh, and governs according progression of the
 or: IwfertUm .*

I^^^Pt keEEEEbsiEE^I
413.
p rf

Exercise in a middle voice.

TsiroB. A Bt^C gb*i" d A "

"D "
cf^w

14. .
fekt^=^"g-| ""
1^^ -"
"

As upper Toice, the selection of the Alto is here most to the purpose.

L g 1-^
^m 3E -s: -"-
e
-"""-

15. ^ " "

-"""
i^gj
"!

3 6
:s:
^P
-fiL
-"
"
.
I '"
i
-O-

The same Exercise with the following determination of chords :

D o K"rj BI^GCFBbOi^D BI^FoxOd A

16
% I?-J |?:i|iEJi|? 2s:
-"-
2s: ig^
-"-

7V"a"m"nf.*

|"E^E gS e
5=P:
:^
:^

BS'^EEji? ISt i^
17. -^

7
J -
6

5_^P3E^ St
|^_J_^_^_
i -"-
"

-"-

is: :?5=":
.a
"

%
i
6
"

'"
-""
 198

The next to the last measure affords the proof, that eyen the can
sixth
be suspension.
For farther practice, former exercises, which were for the fovi^
given
voiced movement, may be used.

CHAPTER XXII.

On the Two-Voiced Movement.

The great meagreness of the two-voiced movement, in a purely harmonic

point of it to appear for other than contra-

puntal
view, allows rarely adapted
labors, in it first receives actual significance and comes to bo
which

applied even in
polyphonic movements, e. ^., in fugues.
If, indeed, for simply harmonic use, the metrically and rhythmically

arious formation of the voices makes the two-voiced movement toler^

ble, still the contrapuntal development of two voices can alone free them
rom the monotony of many successions of thirds and sixths, and give this

ovement that individual completeness, which every other polyphonic move-

ment

must possess.
The omission of one or more intervals will, in every case, necessarily take
in connection With the triads, it
lace witli this movement. will generally
e the fifth or the fundamental. If chords of the seventh are to be applied,
hen, of course, the seventh cannot be omitted. Octaves and fifths are seldomr
o be introduced, since they appear too empty ; the fourth could only be

dmitted in a few cases where the chord of the sixth and fourth can

egularly stand, or if it occurs instead of the chord of the second. (See

age 188).

BtoampU: P B" 0

1" i^=" -jO.

i
"p^

19.
194 MANUAL OF HARMONY.

The omission of interyals is plain through a comparison of the fim"

amental tones of Example No. 418. Want of clearness of the harmony

ill be rare in connection with this, since each chord explains itself through

ts situation, i. ^., through the preceding and following harmony.

The same exercise with the following marking :

o F" . G 0 G 0 Oa

-s: la:
30. ;$: 2s:
m
^

Trealmmii:

fJ .^
31. 6
6 6 6 3
-

-
I
"-"-

1-^ 3^^
E

-"-

i
13^
4 6
2 6
P^"y "-
E
;}s
:f:
liis:
[^

Most the exhibited in the third part trespass upon the

of exercises
omain The difference consists only in this, viz. ; that here,
of counterpoint.
he the is prescribed, and it only remains to form the
succession of chords
eading the in the contrapuntal exercises the knowledge
of voices, while o
armony, as certainty in its use, is so that the suc-
cess
as well assumed,
the harmonies can be left to our own choice.
of
We may, therefore, regard these labors as a useful preparatory exercise
or those, as they also afford at the same time an insight into the relation

f harmony to counterpoint.
The exercises in tne next chapter are also to be considered in this lighi|

they drop the limitation of a prescribed succession of chordAi

noe above
 CHAPTER XXIII.

annanie JElabaratian of a given Voice in Melodic Develop*

mentm

By melodic development of a voice is not here to be that

understood

icher ornamentation, such as Chapter XIX. exhibited. Through met-

rica

variety of their measural-divisions alone the simple, choral-like gres

pro-

of our earlier exercises will be avoided, and thereby opportunity be

iven to learn to develop better the voices of the harmonic ment

accompani-

also.
The following exercise will make this plainer :

23.
42-H9-
1^ "*" fe
^
*
s: t t
-t i^
The of the is left to the treatment itself.
choice chord-succession
Even if the kind of measure selected will, of itself, produce a like

elodic leading of the voices to be elaborated, still especial attention must

e given to a good leading of them, according to the principles developed

n the previous chapters, if a free, skillful treatment of them is to be

ttained.
This first in three-voiced
exercise will follow, treatment.

33.
-" -^^^
42h9
ISI 3:
E"E ^^" :sri

w
:gl It i
"

I ( " P*-
-P-"- ._(SL".
HP^ t
'^
-"-
X
i
X
6 6 6
6 9 8 3 7 6 7 6 7 0 4 5

:^ ^=^^
s^s -I" .
-o-
g :t ^ n
"t
-F

This treatment,
after what has been in connection with the
remarked
hree-voiced movement, needs no farther explanation.
The harmonic treatment this as iti
of melody middle voice will show

any-sidedness, and may be recommended as a useful exercise.

In order to be to retain the Alto voice, we transpose the foi
able melody,
24.
^
""-^"
^M5 '-"a.
H9-T-
^ -fi_". 1
11^
can^tM^rmtM. ,^" "^^-^

Sie .a-T :}sc:-"'-

3:
p-g.^rrrTFPr
^ift^
-"-

s
6 6
7 583984 6 6 987

9-^
""-S-

:i"z
^P-^t
-"-i-
la: 1^
The explanation of the chord of the fourth enters free
sixth and which
n the fourth measure, is found in what was remarked in Chapter

Y. concerning the passing chords. It arose accidentally, through the

of the Bass hy degrees, and stands, here, in the place of the

rogression

hord of the second.

The treatment of the same transferred to the Bass:
eantusfirmus
435.
HSL
ferfiir g=s: a=5^
.|_".._
-^-
" t
"

t
a.
t i
It
"*"

^?" a: IS. Ie Ffe

.a-i

mv- "
4 iT 6 -

"./. 6 6 6 ff 6 36 3b 2 " 4 6-6

G-
rG-
|2-r(a~^ ^ (O g

mt -"-.-
""--
^-
G-
-"2- -fi"-^
i
This treatment a weakness in the third fourth measures, in
exhibits and
he harmonizing of the sustained A of the Bass. In like manner the bare
ourth in the sixth measure is a very imperfect representatiye of a chord,

nless we wish to explain it as a passing note.

If we wish to develop the leading of the Toices still farther, we c^n

troduce passing and changing notes interchangeably, into the two Toices
o be added, e. g.

c./.
1^

jQ^LfL. It
* ^
*-*-^-!y. ""
-O
96.
!llg E^ r=f=f-"^
I
I I i"i
 MANUAL OF HARMONY. 197

""fa
"*"

t^ ZCZT
1
;#" p-
"EE i
":.^z "
6
5 6 3 7
^-
-#"
9i
li-*
" SEE 3Cir s

Of the remaining treatments, that of the cantus firnvus in the middle

oices will here be given :

^-#
ip: -^^tf:
is:
"f^
Sl^
c./.
"a" "9-
^"^^
37. |1E ar:

6 6 7 6 9 6 6

#-?=^-#
jO. #-#"
m^^^ -p-
t^ifc -"-
:c=t
3

-"- ^
l^^EE
gi^g^=i[i
" -(S- """ V-
r2E
3l ^
9 8
6 6

3 :i=p: ^^M
X
13 t
"e-
1

As examples of foar-voiced treatment, the following may here :

stand

438" 0"Mn"o{e".-

^^s- e^-ffi
is. t3
w*
t:^ 22=? t "" h

^^
98 MANUAL OF HARMONY.

"-^
t^-
^E^ ^ESE -"-
\
"

^2-"- " ""-^

iT^n^f- '9-
isr"^ -o"^. 25=:i: r"-^

i
.NB.

teEi? -"- :?5=5:

F=?5:^
St
II ^F
6 9 8 6 6 6 " 6
4 3 6 _ 6 7-4 3 6t)543 867

^"2" -
a)
^
'
gJ-
i """
:t=:t
^
^
NB.

In the fifth measure, at NB., the skip of the Tenor into the seventh i

ot because the Soprano, at the same time, makes a long skip in the
good,
me direction, into the fundamental G ; only the position of the Alto can

cuse this case.

In the same measure is found the chord of the sixth and fourth of the

triad, the original fifth of is prepared (pages 91 92)

ugmented which and
t stands here in the character of a suspension from below. (See sions,
Suspen-

Chap. XII., page 116).

The same in the Alto, transposed to D :
cantusfirmus majdr

NB.
i. ^
fe" -""
i 1^-
9 (2.

H (:=t
i
"
c./.
""^ -"
ft -fS
"-

:ai r* IS.
i nziii:

30.

H^ f
"=5t
m
8
5 ? 6
4 3 6 6 4

iife
S^E^ A.
.""
 f: -"-r

I I
l^
'ft j(2. ^

?2=5=
pS -fl-
i
NB.

m 3=^
f _fi"_".
i
7 6 6 3 6 7

^^1=^ ng^.
10

In the fourtli measure are found suspensions in three voices (see page
17). In the fifth and sixth measures the position of the Alto and Tenor

s not because the distance from one to the other is more than an
good^
ctave.

Of the remaining treatments, that of the cantus firmus in the Bass wiU
ere follow :

31.
^^.
JSl
fc* ^
'^'-^^ -o-
"-T

S E i
fi-i.
I"ferft ^
-"-*"
""-
?5:?^

"Tai
Hg^ E
-(a.
t ife -"- H
6
4 6^3116 6
6 "
6 4
6 6 2
4 3 6 6 5^* 4 6 3
.2 -^t^^^
-"-
s=tr i t
-"-i" ^
NB.

The introduction of the chord of the the degree, in

seventh of seventh
he fourth measure, is not because the fondamentar lies imme-
clear,
iately above the seventh. (See page 69).
Besides this, its progression does not ensue here according to the leading

f the leading tone, but in the same cadencing manner as with the other

hords of the seventh : Cjf07 FJ|. (See pages 68 and 69).

The treatments of this canius firmus a leading the in
with of voices
00

"./.
S I3e:

2=5
z:
i
11^
""-"-
IFE^
w
az
gZ^^e
sd.

Pfc-t=i 5d:
y?^#^ ^
Ft ti
6 6 6
4 6 5 4

^ =F
-!^

-"-
H ^

:r J^l 32:
Hi
fc=p: ."-. ff" "=;

::lfc ^
KB.

^E^ :^ J(SL "jflL ^1

:t
6 6 4
5 2 6
% 3 6 7
l=d:
^pi^ ^^^g 3
-"-
i

The of the seventh in the next to the last measure

upward progression

(at NB.), is conditioned by the movement of the Soprano. (See page 84)
The treatment of the cantus jirmus in the Tenor follows:

^
3="^^3
t
3:
n
l^

-"-
3s:
1^^ ^-0-W-

33. "

^scz:^:
^"
a-^
1-2"
6 6 6 6

:p: -"-

iitt ?^
G i
"JSL "

at-
-g
 :i^ t T=l^'
I '-(s: ^-i.
1
111^
fr -"- -"-
g
-"-r

m i

" 1^-

m eTe "9- ^1
6 6
4 6 4
^r=X=^i
m- :|:
3=^-? ^
-"-i.

The thijd measure to of octave sion

fifth-succes-
gives opportunity speak and
in contrary motion.
According to the principle developed on page 27 and the following

pages, they are just as faulty as those of the parallel motion, and it is to

e especially remarked in connection with octave-successions, that they

confine the free movement of the voices ; with the fifth-succcessions, ever,
how-

the character of separation is rendered much by contrary

milder

motion; this is true of those which

particularly approach each other

while those which progress from each other, make the separation or wan

of connection more perceptible. (See also Example No. 430 in the 6th

and 7th measures, between Tenor and Bass).

Compare the following examples :

la:
-"-
^
434.
-jy
-^
-bzP^^g" 2=^J -"-
:^
G_. "" "*" "

"6h -G-

If we glance at the treatments found in this we cannot fail to

chapter,
ecognize the melodic development of the voices, herein lies the ground
and
for regarding them as contrapuntal labors ; for in this the
exactly consists
ssence of counterpoint, in distinction from the purely monic
rhythmical-har-
form, it conditions freer leading
viz., that the melodic of the voices,
but with observance of the harmonic laws, latter form, as it were,
which
its innermost substance.
Everywhere now in these examples, even in those the
where voices
ove in quarter notes, the harmonic can be demonstrated,
simply structure

and thus they may serve the purpose, for the present, of making us
stand
under-
the difference between harmonic treatment
simply and contrapuntal

of a
given voice. The more particular discussion of this can be takes
only
 CHAPTER XXiy.

The Five-Voiced Movement.

As the doubliDg of the intervals of a triad is necessary even in ih"

four-y Diced moyement, so in five and more than five- voiced movements i

becomes a necessity in a still greater degree, and this even in the case
o
the chords of the seventh.
Since in the pure harmonic movement, each voice must maintain it

independence, those intervals especially which of a double

admit sion,
progres-

will, for the sake of attaining this independence, be capable of

eduplication. This, to be sure, can take place with each interval o

chord under certain circumstances ; the seventh will be least adapted for

doubling, except where a melodic leading, as, for example, in passing, ren-

lers this reduplication necessary.

Farther remarks follow in connection with the examples ^iven.

Fxerdse.

6 4
6 5 6 2 3

485.
""g ^ ^ g ^tt
:s:
t 5=F

In the treatment, we can select, according to the position of the voisof^

ither two Sopranos, two Altos or two Tenors.

436.

fe-^C :5=^
SOPBANa
l -fl:
a
W-

-Q"^-
AiffoL ;;o ;^

"ltoII.
^"x-t\""^
;;o isiz. -"--
g

TnroB. l^-\ -"-

?2=S:
^
1 6L

6 4
6 6^ 6 2 3
221
S^ is:
 The same exercise carried out in manner :
another

437.

tOrSAlTO I. m 1
m. -"
"-

" g
^
^"2^
tOPBAKOlL I :"_:

? s
""
" !"" SL
ALTa Ifo s
:^
TnroB. "^ -"-
^E ^
-F
6 4
6 6 2 3
.6
I is:-
^
Bass.
m v
1-ZJS.
X
'r-="-
t=F

It pertains to the independence the that two voices d"

also of voices,
not regain stationary upon one tone or in the octave, if the chords change.
In the this is the case in the first second measures
above example, and
between the Soprano Tenor, but here is not faulty, because
second and
he same chord leaves its position, but is exchanged for no other.
only
The following case, however :

43".

ould be corrected thus :

P Q.
i^ ^
:S
439.
! i'
if3 /_a:
t
-"
(2-
;^
RsvABK. " ^This rale admits, however, frequent in connection with polj-
of ezoeptioDS
honic movements, because there other relations themselves.
present

That leading doubling

the of the voices will also admit of the of the
eading tone, is shown by the third measure Example No. 487, between
of
he second Soprano and Tenor.
 204

five and more than five-voiced movement, tbe nnavoidableness of covered

fifths, octaves That here the
and unisons will appear. also outer voices
must progress in pure relations, and a
greater freedom be allowed to tbe

middle voices only, may be mentioned again.

The following example contains various progressions of this sort :

440

BOPBANO IL

Alto I.

Alto II. U'

9 ^
-^
^^ -"-

JSL

Tbnob.
i^i -("-V-
js:
m
-"- xz::

6 8 7 6
6 8 4 t 4 6 7

Bam.
Si^ -"-
;i3L 251
i^
?2=": :5=^
t^
jsl

:t=i5F
jg^gj
/!! -"- l^-""- Iffil
i -"-
B
::3::zs:: "" fS^*
" "

i
" --G P"
Iffi.
isz.

ifz^
6 7
5

3
"^^ ?2:

The fifth, octave unison progressions in this example are

covered and
by The fifth in the eighth measure, between the
indicated strokes. open

second Alto Bass is not to be avoided, since polyphonically tbe chord

and
the diminished can, only with difficulty, be made to progress
of seventh

otherwise.
The first and Altoh* in the eighth and following measurej could
second
 rs g"
I -G- 1
441.
31 Of

a=^r "
9
g
^
That the Toices, particularly the middle voices, must often cross each

other is shown by the second Alto and Tenor in the second and third
easures.

For practice in the five-voiced movement, chorals especially can be used

o advantage.

The following may be given here :

Choral: AUein Oott in der Hdh' set Ehr*.

G " G DODij'GDij'Os Ga

" ^ "-
-" -" -"- '^
*""
5iE"E?^BS
P
" " G D. " El bO bOa* E

"
^

I '^-
-"-: s
-fi
^- ?5:=^

^ =F=t t=t
SI/

G 0 D A B " B G D A " G D.

:i=^
\ -"- -g
O- -"- :^
-o-fi- 1
^ VA/
X :F=t:=: r:

\sy

The work in the five more than five-voiced movement requires a

and

imple and natural Bass-progression, and the less artificial and difficult the

atter, so
much the clearer and more intelligible the succession of mony
har-

itself will become ; this is here the more important, since with the
ullness of the chords the of the free movement of th*
and necessity
oices, progressions can easily arise.
very unintelligible
The beginning this exercise follows here :
of

443.
r
1 SL
*
J.
* J
\" J J "

J
^
si
-

*^ a)
I
1=! f
m
I 6 '
t \"y
6 6
444.

CHAPTER XXV.

The Six, Seven and Eight^oiced MavemenU

The necessity of doubliDg or trebling increases with the number of the

oices are it will also often occur in connection

which added; with
independent leading of the voices, that the voices cross each other
he harmonic progressions become here, in a still greater degree,
simplest
undamental condition of the possibility of such polyphonic movements,

nd it must be remarked, that many chords are not adapted at all for this

nner of writing, because their intervals, in as much as they are

subject
o a definite progression, do not allow of multiplication, as, for example, the

ltered chords and the diminished chord of the seventh.

A few
progressions of the triad may follow here.

Progression to the second degree :

^-voiced: thvoieed: ^"voiced:

._ "
0 "

i:
"-
3=^ a! i '=g * -ffi.
"-
I
-o^ ^
-g"
45. JSL
"
"*^ -*"
" "

ig ^
-"-
-SL
-"- -"-
"
^ "
(o:
,
m
l-ffoieed : 8~9oiefd:
0
1
:g: ifc
J:
i
-oar

^-_ ^
""-
^t
 Progression to the ihird degree :

4H"o{o0"t.* 5-w"ie"d: fk-fwleed: 7-iKneed: 6-9oic4d:

m 9 9 " "
"- 9 '
g g- ^r=^
I ^" "jsr.

g^
I

W=^-^-{-^^-^r^ I^I^g^^S

Progression to the fourth degree :

4Hooic6d: t^-9"dced: d-vaieed: J-wdeed: S-9aio"d:

^ :s:
I jsr.
"="":
^^ jGS.
* 1 ::ss:
^
* o g ": ^
9^ g 1

Progression to the fifth degree :

^t-fwiced: 6-w"fced: ^"wdecd: l-voteid: B'Votcsd:

I -g9-
I
-gg- -"-
i
-09-
* i^ 3::

-^-
1
12^: tt. 5152:
l^crScrt
^ 3C js:
-G
i -OL
1
-C-g-3-

We pass over f"rther combinations ; to try them, with all inversions, will
e of great nse.

As the management of the leading of the voices, the

example of choral
ound No. 442, may follow here with six voices :
nnder

440. I /TN

t4 J: !" 4-,-J 1
vmAKo I" " II. I g 9
^ fS ^ "=?2 g:
~0
' I
P I I t

Aiaok S ^S
""--^"^ t

L_i I I J
m
"
-"
v^ ?5i: 3fc=t 3fe
imom I. A XL -"- :?c:
:p l=t
6
6 6 6

m
 d-J-"-J" J-4-mJ-s!
"=!St "J-
'"fH'-

f 1?:^
^
?
"

-"
1=t f=F

::i
^ -" ^
3: :S2=?2: 3^ ""-

t=P

N ^=i ^
i * ^bd -"-
"=q
"-
"

:^ r-^~^ r T T
t

6 f
6 6 6 4 3

-"-
m
sa/

^7\

J J- 4 1- J=d:
zt. *
nS^ v- E
r

^ "^"

U^^ is:

J 4. J" 4.
d=i "^ -" !"- 1
"
"-
I
"
^

I ii; S
:^
F=f r f
-- "-

7
6
f 6 6 4 3

5^1 3:
^: i:
s"/
^=F
vj/

^i^
g- -"-
:g
EE
S "
ti (2 (
i
6 7 7
6 3 -
6i] 6
IS.
tn
-"- "l-^
 \SJ

Since in polyphonic chorus-movements, all the voices do not always work

t the same time, as in a choral-treatment, the movement often appears

nly three and four-voiced, and receives an increase of intensity through

he accession of a number of voices.

The following examples will explain this kind of chorus-movement and

specially serve to show, that in polyphonic work also, suspensions and

notes can very well be introduced, without detriment to the
assing clear
ess and intelligibility.

447.
9
"
"""
ti
Soprano I 2.
Iifcll.
\^ 1"

r f- tM
"uro. -S-- lai
;iii2= -"- -"- 3C
"5
! I
J "
I
SNOR
u ""
"at WS:
^:^;r=f-g ^-^
IdsIL ip-5 "^;^zr. -9"

is: T-g
W
yg
abs. 9'g== \
^ ""-

"^^h
^z: "
"" " "

aO
" ""

-g"- i
"- fziit^"=t:S

:p^ "
"-
is :??: :?" ?aL ,

lEi
*=!:

^-i jS.
J-J J^=-J-
ii :a:

-"- s: iji
W.
35': as:
^ -("-

::a: 31
210 MANUAL OF HARUONT.

44 ".

BorxAvoI.

80FEAN0 II.

"lto. L

AlvoIL

Tbkos.

BABBi
 feii -^""
^

i
"

-"-
E -"-*-
hhi-^TA]
IJ
-#"
^ "
"-

^"EIE
f
s I

SJzzisti: -"-i. "5=* "

7g ri
"F=t

^5 i tfe
g
?5:
9-f
I
"-T-
:??: :?5: IE

E i

In ohorus-movements, for which, as a rule, the customary

eighirvoiced
our voices are used twice, the latter are not always found employed as

independent voices, which would easily cause too great fullness, but
ight
kind in unison
requently two voices of like are employed (forexample, tw"

opranos, two Altos, two Tenors two Basses in that the

or and unison), so
ovement often appears four, five and six-voiced. We find also the eight
divided into two different choirs, which work each for itself, and
oices

nly in single passages together.

As an example of the particular progression which many of these voices

the beginning of the choral may follow here for
ust make, given above
:
ight voices

449.

PKAHO L A II.

Auo I. A IL

Tterom L A IL

Boi 1. * U.
m
12 MANUAL OF HARMONT

^ rss

^
""-" #=q "ss- 1
^"=t=t f^
4"4. J i
* "

Ptrf: -"
"-
^Ts:
^
32"
I
"t=F
"-
H
s
^
331: 2S"
i
t=F

J I "
J i
iS 1
f I
t

The difficulty of this manner of is, in the case of polyphonic

writing
vements which are divided into two different choirs, met by this, that

here two or more choirs work together, it is not altogether the tonicai
ifference, but the the ; it is alway
often metrical, which separates voices
o be presumed, however, that the harmonic succession takes place in th

implest manner, and never in rapid changes.

The above is generally to be we speak of twelve or six
understood when
een-voiced choruses, movements, etc., and single pieces of Bach only
e found, where eight more voices (among which, however, instru
and

ental are to be treated

voices reckoned), are obligate.
These hints concerning the polyphonic movement may here suffice, sinc%
he rest, with thorough knowledge of harmony, can be left to
per

onal study and the inclination for polyphonic movements. Concerninj,/

ts application, however, we may farther remark that the use th"
of

olyphonic form and its manner of treatment have

above shown, will appli

ation mostly in compositions for choirs ; in instrumental music, however

g.j in orchestral works, will not find place (as the taking part of so man}
nstruments of varioui kinds us to in the
allows suppose) compass adduced
or this last, in four-voiced
the
majority of cases, the movement will be

ufficient, concerning the farther treatment of which only the actiuU

nstruction in instrumentation can information, here th^ rela-
give since tions

of reduplication (even if often approaching the manner shown aboTe)

ost still be subject to other principles.
 CHAPTER XXVI.

On the Musical Forms Close.

of

Several kinds of close have

already been mentioned (pages 32 and 83)
n relation to the authentio close, flsu'ther remarks followed on pages 40

nd 53 ; in the course of the whole treatise, however, no farther opportu-

nity
has been to take the that fuller
given up subject, so a explanation qf
hese and other kinds of close may here follow :

The forms of close are immediately divided into

The authentic close and

The plagalic or plagal close.
The authentic close has the formula Y-I, the plagal close lY-I (or in
: V-i, before
inor iv-i),as was remarked.
Both kinds are used not only at the conclusions of whole compositions,
ut also at the close of the principal parts, of the periods, and their
ivisions. The more particular discussion of this point belongs to the
octrine of Form. (See the book referred to, page 142).
If the plagal close concludes a piece, it seldom stands but suc-
ceeds
alone,
the close ; in a composition in it also frequently
authentio minor
eads to e.
major, g.

avih, plaffol
close close

450.

In the last case, as in the example, it is introduced by means of a

above
odulation.
The closes (cadences)are also divided into and half closes
whole
'^cadences).
By the first is understood the same which is comprehended under the

uthentic cadences. In the case the whole cadences a farther distinction

of
s again made between imperfect ones.
perfect and
andamentals of the dominant
and tonio, and the Soprano the fondamental

f the tonic, e, g,

not:

451.

I ^
""-

If this is not tlie case, they are called imperfect, e. g.

i:
": I -"-
"
"t
53. 6
wO"
6 6

^F=g= 2s:
M=fN'=J i
jO-

If the Bass progresses from the dominant to another degree, they are

alled deceptive cadences.

i m -"
"

-^
453.
6

^^ ^^1

See the examples, pages 82 to 85.

The half-cadences have the formula I-V, e. g.

454. g^Ej^Eg
7y
V

They consist therefore in this ; that the dominant triad completes the

ovement.

Besides the tonic triad, other chords of other degrees can precede the

ominant in the formation of a half-close, e, g.

n V niy V IV V """" w

VI
 MANUAL OF HARMONY. 216

tyminani are formed by a into the same ; with which^

which modulation
owever, the itself is not, in a definite manner, effected through
modulation
he fundamental of the dominant harmony of the seventh, but
position
through its inversions or through the chord of the seventh of the
ither

eventh degree, e. g.

".. i^i^^ji^^Ega Ad

Q: I o: vii^iy C: V o: ii^i^
vn"iy "

This is, however, the case only in to the ruling key, which has
relation
mmediately before been made use of.
For the farther understanding of these kinds of cadences, compare those

hich are found in the examples this book.

of
In No. 388 is found in the third fourth measures a half cadence
and
ormed through effects the close of the first division of the
n-V, which

hole period; in the seventh and eighth measures, however, we find

or authentic cadence.
perfect whole
In Example No. 392 is found a half- cadence, in the third and fourth

asures, formed through I-V, and a or cadence

perfect whole authentic
n the key of the dominant at the conclusion. (Thus this is no half
adence, since the dominant harmony of the tiie modula-
tion
seventh renders
decided).
In the choral treated under No. 446, the first strophe an
ends with
mperfect whole cadence, the second with a
perfect whole cadence, the

hird with a AaZ/'-cadence to e minor (iv-V), the fourth with a perfec

hole cadence in G- the fifth with 2i cadence in a minor,
major, perfect whole
he sixth with a half cadence in e minor (iv-V), and the seventh with

whole in Q-
perfect cadence major.
The application the is easily found in for
of various cadences chorals;
re extended pieces they form the means of boundary and connection

f the smallest, as well as of the more extended movements, and are

herefore to be used with much care, because upon tiiem depends a great

art of the Form-construction of a piece.

 INDEI OF SUBJECTS.

^""

^campanimenit fig^urated, 188 ; hannomo aooompaniment to a giren roioe^ 151 ; 17S;

195.

fter-striking of harmonio tooes, 121.

lto, 23 ; alto notes, alto elet, 118.

nticipation, 121.

rHs, 107, 138, 174.

Bass, 23 ; movement, progression of the same, 34, 86, 168, 208.
y-tones, harmonic, 128.

adence, 65, 81 ; whole, hal( 178, 218; perfect^ imperfect^ 62, 218; m aonneetioii

modulation, 148.

adence formuloB, 149, 160.

antutJirmuSf 196.

eUf, 118.

horals, as exercises, 175, 206.

hord, 21.

h^rd'/omiations, accidental, 106.

hords, altered, 48, 91, 101; passing, 188; yiewof same, 99.

see also Triads, Chords of the seyenth.

^iord the sixth and fourth, 48 ; the same in the formation of the dose, 63 ; m
of
nection with modulation, 143 *, as passing chord, 189 ; use of the same, 158.

of the augmented triad, 92, 198; of the diminished triad, 155, 188.

hord the sixth and fifth,69, 60, 62; the same as suspension, 189 ; augmented, 97;
of
in connection with modulation, 147.

hord the second, 59, 61, 68.

of
hord
of the sixths fourth and second (see Chord of the second).
hord the seventh, 21, 54; dominant chord of the seventh, 64, 67, 61, 82, 144; 6ft
of
sential, 64 ; the same in passing, 188.

of the seventh degree in 68, 78, 90, 200.

major,
diminished, 76, 79, 87, 90; in connection with modulation, 146; in the phoni
poly-
movement, 204.

hords the seventh, connection of the same among themselves, 78 ; in oonnectioD

of with
chords of other tone degrees, 81, 86 ; view of the same, 100.

hord the sixth, 47 ; augmented, 94.

of
hord the thirteenth, 88, 90.
of
hord the fourth third, chord the sixth, fourth third, 69, 60^ t%
of and of and
hord the eleventh, 88, 90.
of
hord of the
of four tones, 54 (see chord seventh).
hromatic alteration, 91.

onsonance, 17 ; complete, incomplete, 17.

ontrary motion, 26, 186.
 MANUAL HARMONY. 217

onnection 26, 78, 81; local, umer, 85.

of chordBf
lose^ 82 ; authentic, plagal, 82, 88.

see also cadence, whole dose, half dose, deceptive cadeDe"b

losing ccidence, 66, 81.

losing fomvidcB, 40, 41, 149.

ross-relation, unharmonifl^ 166^

eceptive cadence^ 81.

egrees, diatonic, 18.

igression (see Modulation).

issonance, 17.
ominant harmony, G-triad, chord of the seyenth in connection with modulatioii, 144.

leventh, 14.

xercises, for practice of the triads in 30 all triads in 8^

primary major, ; of major,
of the triads in minor, 46 ; of the inversions of the triads, 49 ; of the dominant chord
of the seventh, 68 ; of the inversions of the same, 68 ; of secondary chords o
.the
the 78 ; of the themselves,
seventh, connection of the chords of the seventh among
*IA:\ of the in minor, 77 ; inversions
secondary chords of the seventh of the of th9
same, 80 ; of the deceptive cadences, 86 ; of the of the seventh i
secondary chords
connection with chords of other tone degrees or ke3rs, 87 ; of the augmented triad
94 ; of other altered chords, 98 ; in searching out modulation, 108 ; of the sions,
suspen-
112, 119; of the harmonic accompaniment to a voice, 161, 162, 167,
given
163, 164, 166, 170, 171, 172, 173; in the development 177 ; in the thre^-
of melody,

voiced movement, 187, 191, 192; of the two-voiced movement, 193; in the harmo-
nic

accompaniment to a given voice in melodic development, 196, 200 ; in the five

voiced movement, 202, 206 .

ifteenth^ 14
ifth, 18, 22 ; perfect, 16, 16 ; augmented, 15, 16, 76 ; diminished, 15, 16, 88, 60 ; fift

in the chord of the seventh, 67, 70.

ifth-progressions(parallelfifths),26, 28, 61, 79, 97 ; open, 80, 78 ; covered, 80, 87

110, 168, 204; in
connection with passing and changing notes, 138; in contrary

motion, 201.

iguring, 44, 48, 68, 64, 68, 68, 111, 128.

ourteenth, 14.

ourth, 13; diminished, fo1lrtl

perfect, augmented, 16, 16; preparation of the perfect
166; the same as 189, 196.
chord,
ourth-progressions (fourth parallels)in passing, 184, 186.

ormation the close, 89, 68, 56.

of
undamental harmonies, 21 ; chromatic alterations of the same^ 91"

undam"ntal, 21 ; in the chord of the seventh, 57.

alf close (half cadence), 178, 218.

armony, 21.

armony, tones foreign to the, 106.

ntervals, division of, 17 ; view of the same, 16, 18 ; inversion of the same, lH

see also omission, reduplication.

ntervals, doctrine 18.
of)
nterval, 13 perfect, 14; minor, augmented, diminished, ICu
; major,
nterval augmented and dimimshed, 156.
steps and skips,
ntervals above, 18.
Invenion^ 47; of the triadi, 4*7 ; of the chords of the seventh, 69, 62, 19 (see also I
t

Leading tone, ST, 89, 66, 76, 116, 169, 208.

Major triads 22, 66.

Melody its development, 176 ; its rhythmioal formatioii, 1*77*

y

Middle voices^ 28.

Minor triad, 22, 88, 65.

Modulation^ 102 ; means for the same^ 141 ; its extension 148.
and completion,
Movement, 184; two-voiced, 198; three-voiced, 187; four-voiced, 28; Art*
one-voiced,

voiced, 202 ; six, seven and eight-voiced, 206.

Movement, 26.
parallel, contrary, oblique,
NaehaatZj 177.
Ninths 14 ; minor, 15.
major,
Ninth, chord of the, 88, 118, 127.
Ninth'SuepenHon, 118.

Oblique movement, 26.

Octave, 18 ; perfect, augmented, diminished, 16, 16.

Octave^rogreasions (octave parallels), 26, 28; 30, 110, 188; oorered, 80^ 86^ ft
open,
84, 168, 208; in contrary motion, 201.

Omission of intervals, 67, 78, 188, 198.

Organ-point, 123.

Outer voices, 11.

tiss; passing notes, 128, 184.

assing chords, 138.

enod, 177.
lagal 41,
close, 38, 218.

osition the dispersed, 81, 82, 114

of chord, close, open,
reparation, of the seventh, 70; of the suspension, 107.
rime, 13; perfect, 16, 16.
augmented,
rimary the seventh, 64, 64.
chord of
rimary triads, in 28, 33 ; in minor, 40.
major,
rogression, melodic, unmelodic, 166, 156.

of the secondary chords of the seventh, 66, 73, 81 ; see also resolution, basi
fifth progressions of the
unison, octave, ""c. ; connection chords.
eduplication, of intervals, 26, 39, 48, 68, 70, 96, 109, 111, 182, 202, 206.

esolution, of the chord of the dominant seventh, 66, 60 ; of the secondary chords of the

seventh (in major) 66; (in minor) 74; of the suspension, 106, 109, 116, 120.
cale (see Triads).
econdary triads, in
major,
33 ; in minor, 42.

econdary chords the seventh. 64, 78, 86.

of
econd, 13 ; minor, augmented, 16, 16.
major,
econd-progressions (second in passing, 184; with changing notes, 180.
paralleb),
econd, step of the augmented, 44.

equence, 37.

eventh-progressions (seventh parallels),in passing, 184; with changing notes, 136.

eventh, 13; minor, diminished, 16, 16; passing, 72, 176; preparation, 70; the
major,
same without preparation, 72, 77, 168, 164.

ixth, 13 ; minor, augmented, 16, 16.

major,
ignatures, 63.
 MANUAL OF HARMONY. J19

toHonafy voices, 123, 126.

trttcture, pure harmonic, 24, 187,

tyle, pure, strict, free, 24; pure, 187.
ttbdominant triad, 28.

ttepension, 106, 108 ; in the bass. 111; from below upwards, 116; in sereral Toieei|
117, 199.

hith, 14.

tenor
enor, 28 ; tenor notes, cle^ 113.
%e8is, 107, 138.

hird, 18, 22; diminished, 16, 16; in the chord of the 166, 57
major, minor, seyenth,
70 (see Leading tone).
hirteenth, 14.

horough-base notation (see Figuring).

onic triady 23, 142.

Had, 21 ; major, minor 22 ; dominant triad (in major) 28 ; (in minor) 40 ; tonie triad
28 (in connection with 142 ; subdominant triad, 28.
; modulation)
double-diminished, 94 ; harsh-diminished, 96, 96 ; augmented, 48, 66, 92 ; dimin-
ished,
34, 88, 48, 60, 66.

Hade^ of the scale, 21, 88, 43, 99.

major
of the minor scale, 40, 42, 46, 99 ; natural connection of the same, 22 ; view o
the same, 46, 99.

ritonue, 70, 169.

ioelfth,14.
nison^ 18.

nison progressionSj 27 ; covered, 161, 206.

oices, movemeot of the, 26, 66 ;' (see Progression, Ae,),

oices, compass of the, 113.

oices, relation of the, 113.

oices, outer, 23 ; middle Yoices, 28 ; deyelopment of the accompanying rmces, 14S.

ordenatz, 174.

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