Kitson - Elementary Harmony 1

CO
UJ.
o
3:
Jl /\Jt\. X
lY
:. KITS'
E L E M ENTA R Y
HARMONY
TAirr I
BY
C H. KITSON
M.A. Cantab., D.Mus. Oxon.
PROFESSOR OF MUSIC IN I'HE UNIVERSITY OF DUBLIN
UNIVERSiTV OF TORONTO
OXFORD
AT THE CLARENDON PRESS
, OXFORD
UNIVERSITY PRESS
AMEN HOUSE, E.C. 4
London Edinburgh Glasgow New York
Toronto Melbourne Capetown Bombay
Calcutta Madras
HUMPHREY MILFORD
PUBLISHER TO THE
UNIVERSITY
FIRST PUBLISHED JANUARY 192O

REPRINTED SEPTEMBER 192O, 1 922, 1 923
1926, 1928, 193I, 1935, 1938, 194I. 1944
jMT'
V.I
PRINTED m GREAT BRITAIN

PREFACE
My Evolution of Harmony was intended for students
of some maturity, and for those who are able to devote
a considerable time to the subject.
A large number of those who have used it have
expressed a wish that I should write a short elementary
treatise on similar lines. The present book is the first
part of this work. It is intended for beginners, for use

in schools, and for studen-ts in musical institutions who
have to acquire in a short time a knowledge of the main
facts of harmony. make the book short
In attempting to
and concise, I have been compelled to make it somewhat
dogmatic. As the book is for beginners, this is probably
an advantage. No attempt is made to deal with modern
technique. Obviously such a course would be quite out
of place in a book of this nature.
In the preparation of this volume I have kept in the
foreground what I think are the essentials for an}^
profitable study: (a) ear-training, {b) constructive work,

{c) constant use of the unessential.
If the study of harmony is to be of any use at all, it
must enable the student to use the material about which

he reads, even if it be in the most elementary fashion.
C. H. KITSON.
Digitized by the Internet Archive
in 2010 with funding from
University of Toronto
http://www.archive.org/details/elementaryharmon01l<its
CONTENTS
CHAPTER I
PAGE
Ear-training in the Diatonic Major Scale . . 7
CHAPTER H
Primary Triads of the Major Key in Root Position 12
CHAPTER HI
Primary Triads of the Minor Key in Root Position 23
CHAPTER IV
Ha and VIa in the Major Key; VIa in the Minor
Key 28
CHAPTER V
First Inversion of Triads in the Major Key . . 39
CHAPTER VI
Some First Inversions in the Minor Key . . '49
CHAPTER VII
The Melodic Minor Scale 56
CHAPTER VIII
Unaccented Diatonic Passing Notes: Major Keys 60
CHAPTER IX
Unaccented Diatonic Passing Notes: Minor Keys . 68
vi CONTENTS
CHAPTER X
The Chord of the Six-four ...... PAGE
73
CHAPTER XI
Accented Passing Notes 82
CHAPTER Xn
The Chord of the Dominant Seventh ... 86
CHAPTER XHI
Diminished Triads in Root Position Augmented
:
Triads in Root Position and First Inversion

. 94
CHAPTER XIV
The Mediant Triad in the Major Key ... 98
CHAPTER XV
Auxiliary Notes loi
:
CHAPTER I
EAR-TRAINING IN THE DIATONIC

MAJOR SCALE
1. The student must never be allowed to put down on paper
what he does not hear both physically and mentally. It is not
possible to hear mentally without having first heard physically.
This chapter deals with the necessary preliminary ear-training.
2. The major diatonic scale :
Ex. I.
C major.
i -e»- -JOL -o- lo: -<s>-
I II III IV VI VII
The Roman numerals are used to designate the various degrees

of the scale. The ordinary names are as follows :
I. Tonic, II. Supertonic, III. Mediant, IV. Subdominant,

V. Dominant, VI. Submediant or Superdominant, VII. Leading
Note.
I to II forms the interval of a major second.
I to III »i „ major third.
I to IV perfect fourth,
I to V perfect fifth,
I to VI major sixth,
I to VII i> »»
major seventh,
I to r (octave) perfect octave.
When the sounds forming the interval are played consecutively,
the interval is said to be melodic ; when they are played simul-
taneously, the interval is harmonic.
Ex. 2.
Melodic intervals from I
22: -^ 22
^:^r-cr -^h-^
-^-
22:
-^' -^-
I
8 EAR-TRAINING
Harmonic intervals from I
-&- 32:
i :^22- --g- TCizzs:
-«- -O-
:: cjl
-O- -^ -&-
4. When intervals exceed the octave they are said to be

compound.
The compound interval of the second is termed the ninth.
I>
third .. ,. tenth.
>f
fourth „ eleventh.
ft
fifth „ twelfth.
ff
sixth ;, thirteenth.
tt
seventh „ fourteenth.
But the ninth and tenth are the only compound terms generally
used and the terms for the simple intervals are often employed
;
for all compound intervals.
Ex. 3.
—ry jQ.
$ Tenth or Third. Twelfth or Fifth.
All intervals are reckoned upwards.
5. The intervals of the third (major or minor), perfect fifth,
sixth (major or minor), and perfect octave are said to be con-

sonant. Those of the second, fourth, and seventh are dissonant.
When two parts take the same sound (i. e. at the same pitch)
they are said to employ the Unison.
Ex. 4.
i ?
3= -OSB>-
I
6. student must be able to state accurately any intervals

The
played from I, as in Ex. 2, Next he must take the other degrees
of the scale as starting-points, and name accurately the qualities
of the intervals.
The difference between the qualities of intervals taken from
II, as compared with those taken from I, can be easily appreciated
1 : : —— —
DIATONIC MAJOR SCALE 9
by taking into consideration what the intervals from II would be

if it were regarded as a new Tonic.
Ex. 5.
Intervals from C as I :
22:
I Major Major
u c>-
Perfect
o-
Perfect
22:
Major
-«s»-
Major Perfect
Second. Third. Fourth. Fifth. Sixth. Seventh. Eighth.
Inltervals from D as I
V ff 1 1
C3
VK
—s—
,
t>
—oo
'
S^— '
<L>
Major Major Perfect Perfect Major Major Perfect

Second. Third. Fourth. ' Fifth. Sixth. Seventh. Eighth.
Intervals from D as II
zz: -e>-
P—
-<5>-
32:
C3S>—
-e>-
c?- O- —O C>~ —o
Major Minor Perfect Perfect Major Minor Perfect
Second. Third. Fourth. Fifth. Sixth. Seventh. Eighth.
Thus from D to F is a minor third,

„ D to C ;, seventh,
both being a semitone less than the third and seventh from D as
a Tonic (scale of D major).
The others are given below with the differences noted.
Ex. 6.
Intervals from E as III

-^5»- zzz:
-G^- :g=tt o -s>-

-&-
:c2:
-G- <S> -Gt— -S>-
Minor Minor Minor Minor
Second. Third. Sixth. Seventh.
Intervals from F as IV
-&- -JdL IT «-
22iS^- s -e>-
22: tl
ICE
O 22: 32: 22: 1
Augmented
Fourth.
lo EAR-TRAINING
Intervals from G as V
22: „ Q-
Z2: -o-
i^n: -«5>- -(S>- -<s>- -Gh-
Minor
Seventh.
Intervals from A as VI
hS>-
r:» rr
_Q_
-«5>-
I -0^ i8=;:
Minor
: o ::
Minor
la: iQ^z::
Minor
la:
Third. Sixth. Seventh.
Intervals from B as VII

-Q-
.^. .£2
:c?:
a: :g: -^ e>- -&-
-<«5^
I -e>-
Minor Minor Diminished Minor Minor

Second. Third. Fifth. Sixth. Seventh.
Thus a student should be able to sing or take down from

examples such as follow, I being in every case given
dictation
beforehand: (a) II to VII, {b) III to VI, (c) IV to VII, {d)
V to V.
7. When intervals beyond the octave are used the following

abbreviations are useful
I', II' = octave above I or II,
I„ II, = octave below I or II,
and they can be referred to as higher I or lower II, &c.
Ex. 7.
^KeyC.
-<s>
-<s>- -o-
II' VII, I
8. The following are examples of ear-tests.

No student should proceed to the next chapter till he is toler-
ably certain, of the ground covered in this chapter.

—
DIATONIC MAJOR SCALE II
Ear-tests.
Ex. 8.
Key G. Melodic.
* 22: -^ 22: -^
M
w
-e>- 23: -o- 22:
-0- -Q-
231
i
P
t:
-e>-
-o- -<s>-
-G»- C?
22: -<s>-
I
Key D.
I, 22: 22: -<5>-
-<S>-
1^2: -O- 22:
2Z
I
-^- 22:
|i "O " — e>-
22:
221
22:
22:
Key A.
22:
2f 22:
22: -^.
22: -«>-
22: -o-
-G>- -<S>- Z2:
Key F. Harmonic.
-<5> Tl
22:
22: S 22:
22: 22: :p —11
-e>-
C5ZZIJ iô: 22:
KeyF.
^ 22: -e»- -«^»-

1^._-Q-
KeyF.
-O- -CL
-<s>- -<s>-
~gy
The master can devise similar tests in all the major keys.
CHAPTER II
PRIMARY TRIADS OF THE MAJOR KEY

IN ROOT POSITION
I. If we take I as a bass or lowest note and place above it
(a) the third from I, (b) the fifth from I, the resultant combined
sound is termed a triad.
Ex. 9.
KeyC.
The termed the root. A triad formed by

lowest note (C) is
placing above a root the major third and perfect fifth from such
root is called a Major Common Chord.
There are three such diatonic chords in the major key la, :
IVa, and Ya (a signifies root position of chord).

Ex. 10.
IV
They are termed the Primary Triads of the key.

2. Having given the key-note, the master should play these
in any order on the pianoforte, the student stating each chord as
played. IVa can be distinguished from Va from the fact that
Va contains the leading note (VII). They should all be dis-
tinguished from one another by listening to the pitch of the root.
The student must have no hesitation in distinguishing
between I, IV, and V.
Ex. II.
Key C major.
-<s>- ZQl
22:
IV
MAJOR KEY IN ROOT POSITION 13
He should also sing the sounds forming the common chords

on these notes.
la (I + III + V).
IWa (IV + VI 4- I').
Va (V + VII + II').
3. The upper sounds forming the chords can be inverted in

their positions.
Ex. 12.
-^ ^
-<s>-
22:
i -o- 22: -o- i
4. These chords should now be arranged for voices (Soprano,

Alto, Tenor, and Bass).
The compass of the various voices is approximately :
Ex, 13.
Soprano. Alto. Tenor. Jjt^^ Bass.
-<s>-
^<9-
-O- :::^
P I lez:
S. and A. are written in the treble stave, T. and B. in the

bass stave.
Ex. 14.
i
9
~JOu
-^- I
22:
lOL
5. As there are four voices and only three sounds in each

chord, one factor of the chord must be sounded by two voices
at the unison, octave, or fifteenth.
It is generally inadvisable to double the major third from the
root ; and the leading note should not be doubled. Therefore,
double the root or fifth.
Adjacent parts should not be more than an octave apart,
except the two lowest.
14 PRIMARY TRIADS
The following are good arrangements of la ;
Ex. 15.
:g:
Z2:
-o-
-TQi:
-Q-
:22: S 22:
I
-^ :g:
^ in:
22:
-<s-
:z2: 22: 22:

I
6. Sometimes the fifth from the root may be omitted ; the
third should only be omitted for special effect.
Ex. 16.
22: Z2:
I -^-
possible.
-o-
inadvisable at present.
M 22: 22:
I
7. Add parts for A, and T. to the following S. and B., forming
primary triads. The parts must not cross, i. e. S. must be the
highest part, A. the next, T. the next, and B. the lowest part.
Ex. 17.
-o-
^ SE 22: -&-
I 22:
32: I
-&- -O-
-<s»- -<Sp>- s»- i
"cr
.Q_
23:
22:
-o-
22: 22: 231 22:
8. Add parts for S. A. and T. to the following bass notes,

forming primary triads. Give at least two arrangements of
each.
Ex. 18. -Q-

-e>- lo:
-o
7? U -<s>- 1
9. When a soprano part is given, to which parts for A. T. B.
have to be added, there is scope for variety of choice.
At present the bass note can only be the root of the chord,
but any higher part can be the root third or fifth of the chord.
Limiting ourselves to la, IVa, and Ya, a soprano C (in
C major) could be the root of la, or the fifth of IVa.
Ex. 19.
:a: 32:
P 22: i
la:
32:
la iva
A soprano G might be the root of Va or the fifth of la.

Ex. 20.
-e>-
"O"
:g: I
:S:
22:
va la
But under the present limitations, a soprano E could only be

the third of la, and a soprano B only the third of Ya, and
a soprano F only the root of IVa, &c.
Ex. a I.
i "O"
32:
-^
22: 33: :g:

22:
-e»-
10. Add parts for A. T. B. to the following soprano notes

forming Primary Triads (add the bass first, and then fill in the
l6 PRIMARY TRIADS
middle parts). Harmonize each note in as many ways as are at
present possible.
Ex. 22.
KeyG.
_Q-
-<5>- lOL
-o- Z2:
-<S>-
iizzz:
-jOT.
C7
II. Next we have to consider how to use these chords con-

secutively.
The following points must be memorized :
fa) A note common to two consecutive chords should gener-

ally be kept in the same part.
Ex. 23.
iq:
i j^
-&- 22:
iq:
-JOT. 'JOL
1
{b) A part should generally aim at moving to the next
nearest note.
Ex. 24.
22: -e>-
P -o-
clumsy
-<5>-
better
-e>-
-«^>-
m 22:
32:
1022:
:q:
S:
(t:) Parts should not overlap ; for example, the tenor in one
chord should not be lower than the bass in the next chord
(except between two positions of the same chord).
Ex. 25.
'JOT.
-<S>-
22:
22:
22:
-e>- s :a:
-&-
possible
S ^
^^ -O-
S 22:
22:
-^-
(d) No part should leap a seventh, or any compound inter-

val (nor the latter with one note between).
Ex. 26.
-<5>-
i 2a:
-<S^>
22:
-yg^-
^ 22:
^^GS^-
(^) No part must leap an augmented fourth ; the leap of

a diminished fifth may be used, if the next move be inside the
interval.
Ex. 27.
bad possible
(/) The leap of an octave should be preceded and followed

by notes inside the interval. The same often applies to the
leap of the sixth.
Ex. 28.
Q-
^S
?2; T2L I©-
22:
?= Z2 -&
-o- -<S>-
bad bad tolerable
{g\ The leading note should rise, except in changing to

another position of the same chord (or in coming down the
scale).
Ex. 2g.
-<s>- 22: -0-

-o-
-e>-
^r :gr
23- 22: 22: 22: 22:

^ 32:
-Q- -^>-
lOL
(/f) No two parts should move in consecutive different

chords in parallel perfect fifths or octaves.
22*2 B
i8 PRIMARY TRIADS
Ex. 30.
i '^^^1
(i) The extreme parts (S. and B.) should only approach an
octave or fifth by similar motion if the S. move by step.
Ex. 31.
2Z 3:e
i -O-
good
32: -o-
poor
-<s>-
1
^ 2^2= 22^ 1
When the top part leaps to the octave or fifth in similar

motion with the bass, the octave or fifth is brought into undue
prominence, and the octave or fifth is said to be exposed.
Recommendation, When any two parts approach an octave
by similar motion, it is generally better for the higher of the two
parts to move by step.
12. (i) Wa forms the Perfect Cadence, or Full Close,
to \a
and is the general means of concluding a sentence ; the final
chord generally occurs on a strong accent.
Ex. 32.
i
f
-G>- 32:
-&- 3 -<s»-
~G- -^ :^— $^
-&- -^ i
-o-
r r
22:
:z2: Z22:
-<s^
22:
TTT^' 'p
22:
— 3 S
-<s-
r r -<^-
r
(2) Chord Wa
preceding these forms a good approach to
the Cadence. When chords are used in root position a step
apart, it is expedient to make the upper parts move if possible
in contrary motion with the bass, so as to avoid such faults
as consecuiives and overlapping.
Ex. 33.
-J- -&-
^= -& 22: :r2i
-^- B=P -rS^
-O-
-<5>-
:g=ll
-o- J- -&-
M 22:
22:
1^- ^=F 22:
-<s>- :0:
za:
i
(3) I« to Va, or Wa to Va form a Half-close, or Imperfect

Cadence ; this idiom is frequently used for the conclusion of any
phrase except the last. The final chord generally occurs on
a strong accent.
Ex. 34.
AG- -&- J- -^
-<s>-
t -e^- ipL -O-
-S^- -Q-
22:
A.
22:
A -& A c=S:
^
-fS*-
# e
(4) IVa forms the Plagal Cadence, which may be used
to I«
at the end of any phrase, or as an extension of a Full Close.
Ex. 35.
:=c± 22: -G»- 1221 22: 22:

:^ •^ -^1-^
T -o- -^- 22:
-^ J-
^^ -«5>-
22: e
-O-
22:
22:
1:22: 22:
:g= 23:
22:
1
^=A
i^ -<s>-
22:
s ^
A :^
-<9- -^
^^ 22:
<s>-
22:
B 2
20 PRIMARY TRIADS
(5) IVa forms a good approach to the Half-close.
Ex. 36.
-O-
$ ÊESEl -o- i
J- j-
m-^ :8:
P
(6) When Va is followed by lYa, let the soprano have the
fifth of Ya leaping up to the root of IVa.
Ex. 37.
-&-
"
-<s>- —— r7
i -&- 32: -&-
m &
-<s>- -&-
-&-
22:
13. All the examples in the preceding paragraph should be

memorized, and taken down from dictation. At this stage it is
all-important that the soprano and bass parts be heard accu-
rately, and the chords recognized. It does not matter so much
if the distribution of the middle parts is not accurately heard,
though the student should be able to hear them tolerably well.

For example, he should realize the difference in effect between
the following
Ex. 38.
22:
-&-
22: -o-
-O-
^ 22:
22:
231
-Q-
m -O
Z2:
TT
s iS: 22:
The student should easily recognize the position of the third of

the chord. If it is low down, the effect is somewhat thick and
grumpy.
J : :
Exercises,
(i) Add parts for A. and T.

Ex. 39.
:z2: <s^ -<^
-#=^ -<s>-
r? ?:y -«s»-
32:
^5>-
22: I
32: 221
-<S>- -<5>- -S>- -«5>- -<S>- -<S>—
22: 22: 22: -e>-
j|:-<5^- :i
-<s>—
Q f 22:
^ 22:
-e< 22:
I
-^
îjipiq -<5>- -€>- -<!^
?2:
-i^-
=^==P^
rr
i
p
1^^^ 22 y5>- 22: -<5>
'ms==F^
r
— ^ lie
-o-
"r3~
-^
J ^ J
m -Q ,
-o-
^m -s>-
?2:
1^- -e>-
I
is-
(2) Add parts for S. A. T. (add S. first)
-G>- -<5>- lO-

'^=^ g
-e>- -.0-
^ ^ .-
^^ -<5>-
-^
?=F e
-(&-
1—^^pr ?3:
22 PRIMARY TRIADS
(3) Write for S. A. T. B.

(a) Perfect Cadences in A major, F major, B flat major.
{b) Imperfect Cadences in D major, F sharp major, E flat
majoi.
(c) Plagal Cadences in E major, A flat major, G major.
(d) Perfect followed by Plagal Cadences in D major, B flat
major.
(e) YVa, Wa, la in C major ; IVa, la, Va in C major.
(4) Add parts for A. T. B. (add the bass first).
(a) Perfect Cadences
22:
f zz -e>- -<5>-
22: 22: 32:
22:
(b) Imperfect Cadences
iz &- -<s>-
cz: -<s>-
-Gh-
-O- -^ 22: -^-
(c) Plagal Cadences

-&- -G^
-&- -<S>-
zz
id) Perfect
Cadence Plagal Cadence
LJ_J_4-J
,
-Gf~
22: 22: 22:
W (I) (=)
-& ^ -e>-
^- -o-
i
(i) Avoid using the same chord from a weak to a strong
accent.
(2) Avoid Tonic chord in root position on the strong accent

preceding the full close.
CHAPTER III
PRIMARY TRIADS OF THE MINOR KEY IN

ROOT POSITION
I. For the present the harmony of the minor key will be
derived exclusively from the harmonic minor scale.
Ex. 40.
C minor.
\&- 22:
Efc -&- 32: -<s>- 22:
i
2. la will consist of a bass note with the minor third and

perfect fifth This is called a Minor Common Chord,
above it.
from the fact that the third above the root is minor.
Similarly, IV^ is a Minor Common Chord.
But Va is the same chord as Va in the key of the Tonic major.
The third will require an accidental sharpening it.
Ex. 41.
C minor.
pi I
la \\a \a
be observed that a harmonic minor scale differs from

It will
its Tonic major in the fact that III and VI are flattened.
3. The melodic interval of an augmented second is forbidden.
Ex. 42.
im
fc
22: 5^ S <s>- 32:
Thus the sixth and seventh degrees of the scale cannot occur
as consecutive notes in the same part.
24 PRIMARY TRIADS
Ex.43.
p s
-€»-
bad
^-
s
good
-<5>-
"O"
m^ -e»- 'ng?' -e>- ia

^
4. Sometimes the final \a of a piece in the minor key has the
third sharpened so as to form a major common chord. This
is called the Tierce de Picardie.
Ex. 44.
-k
^? ^ 22: S 'JOL ~r:i rs
1
i ^
"CT- ^^-
Y
-&- :i:2L
}&
Si
£E
-rr 22:
22:
is>-
32:
g — — I
rj n
Writers of the sixteenth century never ended with a minor

chord. They either sharpened the third, or left it out.
5. An accidental placed under a bass note means that the

third from the bass note must be altered in accordance with the
indication.
Ex. 45.
-o-
i
fe
%
6. The following may be used as ear-tests, and as examples of

the use of piimary triads in the minor key.
, "
MINOR KEY IN ROOT POSITION 35

Ex. 46.
M
Perfect Cadences.
J
rj
—e>- .:
-&-
22:
—(S^ ^r -iS*
—»—s^ 22:
i
-&-
rni'&-
r
^
-f^
-€?-
M -«5>-
1^
-o- tpjzn^g^rrrtpjz -€>-
22: I 22: 22ZZI 22: js:
Half-closes.
m
22t:ft
s— -<5>-
-«s?-
-«s>-
n-J. 22: A -JC21
pq|^-ti-gq|^
r fe=ti?gg|i (S-J <&-
T=
-o-
o ..-^. n J.
-o!-
-Q_ -^: j2-
Z2: 1©- 22:
..
iÊSis -fS>- -o- 221 22:
r f
Plagal Cadences.
22 22:
i <2 .:
I p:
'
-8- -<s>-
-G> n -e>- -o-

22:
^ 2z: 22:
ks-
22:
S^Snis
r ^ 231 22: 22: 22
-!^-
^^te lO-
-O-
J-J-
-o- 22: :g: 22: -p 22:
igi 22: 22: ;? ~C2 22:
P
7. Exercises.
(i) Detect the faults in the following:
Ex. 47.
22: -&-
m^^^¥^
-S^-
^
^ -s>-
iSCZ
I
-<g5E>-
?
=i
^ :z2: -G> — -Q_
I «
A A 22:
^tfe -4'^
1^
-iQ-
122:
-^ :p: tS)- -<s^
-& —
r -jSH^ -e^
26 PRIMARY TRIADS
(2) Add parts for A. and T.
-& Gh- 22: -<S>-
i -& «s>-
32: :c2: 22:

-o- -<s>-
1L2.
ITT
* 22:
p 22:
22:
-^ -^
^ ^ r> I
32: 22:
22: -o- 22: -<s>- -.0^ -^ I
t #
r~i " r t
Btp=^ -<5?-
-<s»-
^^ 3= 22:
^^^ p r
P e 22:
l^^^=g
fS^ zz iq: -iS>-
^d? Q P -
-<s>-
r 6^ 22: 22:
I
(3) Add parts for S. A. T. (add S. first)
^ T
22:
22:
22:
~^PL.
S
t
-g2
î -e>- 22: I
r -<S>-
1
: : : ;
MINOR KEY IN ROOT POSITION 27
^^ -!S>-
3s:
-T^>- -O-
:pz:
^qz^r:
1 #
(4) WriteforS.A.T. B.:
(«) Perfect Cadences in B minor, F minor, A minor (Tierce
de Picardie).
(b) Imperfect Cadences in F sharp minor, E minor, D minor.
(c) Plagal Cadences in E minor, C minor, G minor (Tierce
de Picardie).
(d) Perfect followed by Plagal Cadences in F minor, D minor,
E minor (Tierce de Picardie).
(e) IWa, Ya, la in D minor; IVa, la, Va in D minor; la^
Wa, IVa, la in E minor.
(5) Add parts for A. T. B. (add the bass first)
(a) Perfect Cadences

-G»-
o- 23: 2:c
-&- -o- -<5>-
-O-
(b) Imperfect Cadences

-<s>-
32:
î!^ 33. -Gf
321 3 -^ -<5>-
(c) Plagal Cadences
^ -&- -^ 3 "g^
3 :o u
3 -<5>-
(rf)
Perfect Cadence. Plagal Cadence.
1*=^
* -<5>- 3 ; !c±: o q —^^
W
P ^ -e>
:;j J I
^J ;j: -e>-
CHAPTER IV
IIa and via in the major KEY;

via in the minor key
I. In the major key, I la, 1 1 la, and Via are minor common
chords, and are termed secondary triads.
Ex. 48.
KeyC.
i ua Ilia via
Ilia an edged tool, and should be omitted for the present.

is
Vila is a diminished triad, consisting of a root and its minor

third and diminished fifth. It is a discord, and is Hkewise left
over for future treatment.

Ex. 49.
i Vila
2. IIa followed by Va, or Via followed by Va, form further

varieties of the Half-close.
Ex. 50.
——-^ -o
J -rS>- 2± ^ -&-
i ?sr -<5>-
CT ^ -<&-
r -<s>-
-<s>-
J-, zszzri
J.
-B: -G>- c8:
-Q.
22: ^^ :g: 22:
-ks>-
^ 4:
We now have the following forms of the Half-close :
(a) la to Va.
(b) IlatoVa.
(c) IVatoVa.
(d) Via to Va.
VIA IN MINOR KEY 29
If possible, avoid two parts moving by step of a tone in consecu-
tive major thirds.

Ex. 51.
i f^-^^
pcx)r
A
@=P^=^
They cause the '
false relation of the tritone *
(F to B).
3. Va to Via forms the False Cadence (also called the Decep-
tive or Interrupted Cadence). The progression avoids the
expected Full Close.
m
Ex. 52.
4: 22:
-&-
i -&-
JIZL
-Q- e
A ^ 4. ^^ A ^^
^f^
g
4. It is at present inadvisable that the extreme parts in any
case approach an octave or by similar motion when one or
fifth
both of the chords is a secondary triad.

Ex. 53.
i :g=
3C2:
-Gh
w
r
^^
-s^-
^
A A
It is generally better that the bass should leap a third down-
wards instead of a sixth upwards, or a third upwards instead of

a sixth downwards. Exceptions, of course, must occur.
As regards exposed fifths, the following progression is gener-
ally allowed between IJa and Va.
30 11a, via in major key
Ex. 54.
i
allowed
-^
m 22:
"^
5. In using la, Ua, lYa, Va, Via, the only progression that
is really bad is Chords having two notes in
from lla to la.
common (Ila and IVa; IVa and Via) are better in effect when
used from strong to weak, rather than from weak to strong,
especially if the roots rise a third.
Ex. 55.
f s
-^ ^-
good poor
I
A J.
m -<s>- -<s>-
-<s>-
6. Roots falling a third are in any case better in effect than

roots rising a third, which are nearly always poor in relation of
weak to strong but quite tolerable strong to weak.
Ex. 56.
-Gf- :g±
ÊS
i S -0-
"gT"
22: :z2:
22: :?2:
good good good good

A
m: -<s>-
-«s>-
^^
^^ —
*^ t-
-<s^
^
But, of course, a great deal depends upon the context.
^ :
via in minor key 31
7. The following form good approaches to a Full Close :
{a) Ha Va la.
(b) IV a Va la.
(c) Via Va la.
Avoid la, Va, la, which anticipates the final bass note.
Ex. 57.
^
i
-Gh-
-e^ 22:
-&-
-G>-
?2:
J-
-^
^
22:
-&-
2^
r-r-
-e>- iq:
-&-
-<s>-
22:
-i^-
bad
I
lazi:
-o-
8.
i&- g
Good approaches
-<£^
i
to a False
22:
Close
22:
^ 22:
(a) lla Va Via.

(b) IVa Va Via.
(c) la Va Via,
Ex. 58.
-<«5>- -<S»-
32: 221 -T2L
I ^ -^ ^ -<S>-
-<s>-
-iS>- lO- -^
A A 1=2L
-:g:
-G- A ^^—n 'G>-
-^
-1S>-
:ti:
^
Good approaches to a Half-close :
(«) I« IVa Va. (/) IVa Via Va

(b) la Via Va. (g) Via Ila Va
{c) la lla Va. (h) Via IVa Va
(d) IVa la Va. ii) lla IVa Va
{e) IVa lla Va. (J) II« Via Va
Ex. 59.
— A
i fT'
^ jdL -<^-
-C2-
-1
-^—c^.
TT
-jzt.
^p=r
-o- -^
lOr ^
-^ -Gh-
-^ I
J- -Q- -^ J -«s>- J-
^
^
.
IZCE2: jCffiz: -<s>-

22:
-€^
22: -<s>-
P
32 iia, via in major key
^ ^ :22: !-J.
-o-
•?^ ^ -G^-
r
-<s>-
^7-
f=f
EEp
if^: :p»
1 — — p>
I-
s^ I
w -G>-
&-
JOL
r^ o & -:§- -<s»-
S:
—"
I 1
1:
-e>
-o- -G>-
A
i^ ,CJ. .p_
A
A ^-.^.-J-^- JQ-
1^2L
at^szzg
(S^ -&-
Experience has proved that such lists are necessary for

average beginners. If left to their own initiative, they will prob-
ably choose any progressions except those given above. This
might be a sign of intense originality, and of dislike of the
commonplace it usually has quite another meaning.
;
lo. If the Plagal Cadence is not preceded by the Full Close,

—
forming a sort of Coda that is to say, if it is used as the end of i
a phrase, it is only satisfactorily preceded by Via, or Va.
Ex. 6o.
^^ -^-
-&-
4- -G>-
-O-
^
zz
-^
A-i,
Wr—^ IÎ
-Gt-
-1©-
lOL
221
(That is, of course, under the limited conditions of this chapter.)

11. A consideration of cadences and their approach has prac-
tically exhausted the ordinary uses of the chords under
consideration.
12. In the minor key Via is the only other common chord
—
via in minor key 33
derivable from the harmonic minor scale. It is a major chord.

In the major key Via is minor.
Ex. 6i,
C minor. C major.
m±^ '.cr.
-&- i
s
isz:
-<s?-
-€^- -(^^
^: JZ.
In proceeding from Wa to Vla^ or vice versa, the major third

from the root in Via must be doubled, in order to avoid faulty
grammar.
Ex. 62.
f
^^ -o
-(O AJ
r
^-.U -^
^D
Note : (a) The leading note rises one step.
{b) The major third in Via is doubled.
(c) Contrary motion with the bass is used wherever
possible.
13. We have now the following forms of the Half-close:

{a) laio Va,
[b) IVa to Va.
(c) Via to Va.
Ex 63.
1=3 3F^JS #
^-
-«s- igz -!(^-

fg:
-e>- -Q
.^
^
-<S>- zz 122;
T
K92
34 iia, via in major key
14. The False Cadence is as follows
Ex. 64.
15. The references to the use of I Va and Via in the major

key in paragraph 5 refer also to their use in the minor key. ii
16. Via forms a new approach to the Full Close.

Ex. 65.
zz 23:
iT
:=r-
zz
-^ n llo- jn: i -& 22:
-«-
'
~T~^
.-, i^ -d :gi
m d-jg is:
zz i^
-^
22:
17. It will only be necessary to mention good approaches to

a Half-close involving Via :
(a) la Via Va.

(b) IVa Via Va.
(c) Via IVa Va.
Ex. 66.
iw r ~g3 ?2
^ plf^-lM-^j-ll^
-©I-
-&-
:^
-G>-
I I
:g=;
-Q „
-^ ^ jQ-
22: ~<?3- 22: -o-
(!»- 32
18. Approach of Plagal Close

Ex. 67.
m ^ -f^-
^
J_
w: P -<^-
i — . —
: i
via in minor key 35
19. The examples of progressions should be used as ear-tests.

20. Exercises.
Ex. 68.
(i) Add parts for A. and T.
^ -G T
ri rj -& 2i:
P 22 22 I
-&- 1©-
r I
f f^ p I
im 3 -4-
22 -& ZZ -& -g>
I
rJ — -^-
^
^^ -iO-
ffc i&-
-o-
^ P -!&-
f
pz:
I
Q r^ ^^ zi 22t -^
ÊE -!»-
^ g
23:
t: I©- iS^
i
^=^ =?I=1 N-=t=q

=
=3~ 1
<0
-(g):L
A^lf* „
9
rj
<^
..
^
=j=,
=Zj-_d
iO — 1
—G—— -
f^=f=\
d
CJ
=3=^ 1
1
- rj F^=fl
*^
f^)i
*"ii^» —p _:j
-¥^ JTJ g
*
1 Lf±=: — j© u
C 2
36 , iia, via in major key
ITS. ^=^ 22:
m -.<s>-
-G>-
ts^
-^
q:
22:
J- -o- -<s»-
3^
i
-<s>-
JJL 1O-
1©- ±1 -fS>-
^ 1
.
* .
*
In harmonizing melodies note :
{a) The same chord should not be used weak to strong

except at the start.
{b) Va to \a should not be used weak to strong except at

the beginning or the end.
{c) la should not immediately precede the Full Close.

(d) If a melody note be tied weak to strong, change the
harmony on the strong accent.
(2) Add Basses, then A. and T.
iS>-
P2: -.<&-
22: 32:
i X-
I: -jQ ^^ -
^ two
*
33
*
22.
different chords.
-G
^B P=-«- 23: -s>-

2i -G>- 22
i 22: -e»- 22: -«>-

i ddz^
:
via in minor key 37
p^^^ 321
1=^ 22 S Z3
"p -Ql
j ^-^
l
(3) Write various forms of the Half-close for S. A. T. B. in

(a)
the keys of D
major and D minor.
(b) Full Closes preceded by another chord in the keys of
F major, F minor.
(c) False Closes in G major, G minor.
(d) False Closes preceded by another chord in C major and
C minor.
(e) Various forms of the Half-close preceded by another
chord in A major, A minor.
(4) Fill in suitable chords in the blank spaces
m ^^
g 3
r
#
^ A A
e
^jo:
i m
:t
^ A- 1^ 11
1 -e>-
-Gf-
2± A-
2^ -(©-
22:
*
®
r ?
A. J. J^. A
^r
e -f^-
-&
38 ua, via in major key
^ ^^ r
-Gf- -e>-
T:
I
Half-Close
i
g
-&
Ti
A J.
Full Close.
-G-
ES e e
££ lez:
(5) Add parts for S. A. T.

Phrase endings.
a b
s«
G- CH
^=e iCC
E
zz
^ :12a: 1Q-
t:
22; jsf:
c f g A
^~^
rrk\* —^
IW.,
^^^b
]/
<H
CJ
1
'fn ^
^.-^
ra .- ^Tj
•^
c? rd
C? _!- ^^
1
^^ -<s-
32Z=::=:s 3 22:
I
m
ZE
22 ^ b:i?_gj
22:
I
(6) Alter the final chords in a, b, c, d to form False Cadences.

:
CHAPTER V
FIRST INVERSIONS OF TRIADS IN THE
MAJOR KEY
I. If the bass of each of the triads of the scale be transferred
to a higher part, and the original third of the chord be left as
the bass, we produce what are termed first inversions of the
triads.
Ex. 69.
Key C major.
-JOL -G ZZ22:
i
w -o- 'CJ ::.
-e>-
-<s>-
C?-
22:
-o-
-<5>-
22:
-<s>-
-^
w sc in: ICE
-Gf- 22: :g:
lb lib ("i^) ivZ> vA vib vnb
2. The principle of doubling is the same as in the case of

chords in root position.
3. For the present we omit 1 11^. VIIZ> is included as its
use isvery common.

4. The ear must be at once trained to detect whether a bass note
of a chord is a root or third, in other words, whether the chord
is in the root position or first inversion. The following tests
should prove sufficient
Ex. 70.
-O d: J__^
^ g
.
^
22:
i 3=t
r f
'J u P l
1©
A A A
m ^
J. J.
e
IS-
J.
;^ g:
I
-&
P
32:
FIRST INVERSIONS OF TRIADS
-
40
J- -©>-
^ -e>-
B^^ 3
.CL
^^ -«S)-
QQ
f»K ^-
-o-
-(©-
e
^
There should be no difficulty in determining whether the notes
from the bass are at the diatonic intervals of 3 and 5, or 3 and
6. Separate first inversions should also be played, and the
student should name them.
5. The following scheme shows the new resource available
6 underneath a bass note signifies a first inversion and im-
plies |. I means the root position of a chord.
Ex. 71.
-€J-
^ ' G^ -JOL
22:
\
5 5 5
3 3 3 3
or 6 or 6
If the bass note must have as its figuring f, The

be III, it
same applies to VII. If the bass note be V, it must be %

6. If a bass note proceed by diatonic steps from 1 to III, or
from III to I, it is best to figure II as 6 (VIIZ>).

Ex. 72.
(«)
:<d:
-&-
-€>-
^ W
jd:
r
J
-G> gj -
-&-
'
(0
^
r v
22:
I
-G-
g 1©-
^â^
33t
^
And case the third from the bass in VIIZ> should pro-
in this
ceed in parallel thirds with the bass. And it is better not

doubled. This is only a recommendation, (a) is better than (c).
Teachers may explain that VI I^ is really the incomplete second

inversion of the dominant seventh.
i
MAJOR KEY 41
7. A ^ f on the same bass note is good strong

followed by a
to weak ; some good following chords are given. It is always
good to proceed to a § or § on the next note above limiting the ;
procedure by the facts that {a) the leading note must rise^
(b) Ilia, lllb, and Vila are unavailable.
Much, of course, depends upon context. It is not desirable

to attempt to exhaust possibilities.
m
Ex. 73.
-& :=l=l—d-
jOt -G>-
it '0-
-Gh -&-
T
-<s»- -G>- J. -G- J_ J.
-G>-
-<s>- e>- i^- zz:
^ ?2: ?2 ,_^_
m ^
A A A ^—
-<9-
^: -e>-
:p:
-Q_
-&-
jS:
m=:^ :t=
Note in the above the treble is given the intervals 5 and

6 from the bass note.
8. Similarly, the following uses of | to | on the same bass note
are good.
Ex. 74.
P 22
-«s>-
-&-
-^ ^^^
A
-GX- A -Gf- ZQZ
T^
^
-&- -O-
e
Other uses are not so good. Students should think out the
reasons for themselves. They are connected with {a) the
leading note, {b) the mental effect of the | on a bass note pre-
ceded by a |,
42 FIRST IxNVERSIONS OF TRIADS
9. Consecutive first inversions are good if the bass move by
step. It is best for the soprano to move in sixths with the bass,
and the inner parts should double alternately the root and fifth
(except leading note).
Ex. 75. '
J^ g- ~o
îP -G>- ^
& ~&-
i
i T^
r i&-
-G^
Y
P # ^
J-
22:
J-
^ J-
10. A perfect fifth followed by a diminished fifth, or vice versa,

may be used between two upper lower of the two
parts, if the
parts proceed by step of a semitone (e.g. between \h and VII/>,
not between V\h and VI 16).
Ex. 76.
_Q-
—^?-
=€>- s is
-o-
22:
i good
-<S>-
good
-^
22: -<s»- -TT -G>- 22:
22:
:^S>- 22:
22: izz:
-=J&-
zz
i =G»- 'JOl.
-efc
good
22: -G^
ugly
^1 .Q.
@ zz -^ jss: 22: H5>- 35:
Thus when VI 6 and VI 16 are involved see that the parts

concerned form consecutive fourths, and not fifths.
II. The use of a first inversion will give variety when a chord
is repeated.
— — 1
MAJOR KEY 43
Ex. 77.
r. 1 T r:
—e—
1
poor good
ri J-
— — — (3
1
1 _t±J
12. The judicious combination of root positions and first
inversions will result in a more elegant bass part than when

root positions only are used.
Ex. 78.
m ri rJ
l=P^
22 -^ 7y—c:P-p-i-p?--ir
-jCL
-!»-
m jq:
revised.
&- )S>- 53:

m.
,
ffz: <3-
32 -G»- 22:
6 6 6 6
13. Roots falling a second are good in first inversions.

Ex. 79.
-G>- ^
i
J
@ i=^
g
6 6
14. When both chords should

the bass leaps a fourth or fifth
generally be in root position, unless involving Ilia and VII«,

which we omit in elementary work.
15. Do not use VIIZ> to V«, the one kills the other.
Ex. 80.
3
A A
44 FIRST INVERSIONS OF TRIADS
Va to VI I^ is good strong to weak.
Ex. 8i.
-s^
i :p:
-<^-
t
I
A A -G>-
^PP -«&- :q:
i6. A triad in root position preceded by an available first
inversion a step on either side is good, or vice versa,

Ex. 82.
17. When the bass leaps a third downvârds it is often good

to use a first inversion for the second chord, though the choice
must be limited by the succeeding chord. The choice of har-
mony must always be influenced by the particular context.
Êx. 83.
^S good
22:
-^
^-
^
J-
3=
^CZ
bad
-ci
22Z
I
:=i:
good
/•^^ -<^-
A ^-
W—
.rz
AA
-n—G- -Q-
1-
rood
'^
lOL
ee 22: iQ- -0- -G-
6 6 6
18. New approaches to the Perfect Cadence.
Ex. 84.
^
G>-
?— SF
—<S>
-J^l 22:
-
Q i
2^
'^f^
:g=
22:
-^-
2±
--g:
:^J^ -€^-
J. A
:^
-e^- vA <5>-
^.~^- T2i
22:
g 22- e 22:
1
— -«f3>-
'Cr-Ti
I
MAJOR KEY 45
19. New approaches to the False Cadence.
Ex. 85.
^ — _t—
^ -<s>-
jdL
22:
-o-
:ci
-<^-
22:
-«-
J- :g- ,
J. -:g--
m=f^ i ?3:
i
20. New approaches to the Half-close, and new harmony for

first chord of the Cadence.
^
Ex. 86.
i
zi
1O- -^ flE^ ^^
I^ ks-
:^ -^_ A A ^
-!i9- ie>-
23: 32:
(O: :p:
g I
ics:
-r7
•19-
J- J- .Q-
:^^ p
21. New approaches to the Plagal Cadence.
Ex. 87.
^
i -1©-
P :g:
-&-
^-
-<s»-
-^ <o-
?2: 22:
32:
All the above must be used as ear-tests.

46 FIRST INVERSIONS OF TRIADS
22. Exercises.
Ex. 88.
(i) Add parts for S. A. T. to the following bass notes in various
arrangements
W 221
6
-<s>-
6
-&-
6
22:
6
-^
6
^
(2) Add parts for A. T. B., forming various available first
inversions
32: -&~
-<S)-
^ -o- 22:
i -o-
mîi
(3) Add parts for A. T.
zz -& 3
^21
22 3
1&-
-©-
P f-
' r P -e- I
6 6
* -S^-
-^- !=d:
2i -e>-
îi=P= -!(S»-
6 6
22:
e -O- I
22 -Gh- 3 -€>- 22:

1
-^-
r f^ '
1° -O- ?3: ^
:
MAJOR KEY 47
-& 2^ 3 -^
-G^
zz:
V f
6
+-P -G>-
(4) Figure the following basses, and then add parts for S. A. T.
me ?2: -jS- ?2: -o-

-^-
^^ 221
-O- 33
-o-
^ 23t 22:
^^^ rj ' \zja.

-Gh- lo:
(5) Add parts for A. T. B.

-^ fO fS-
e -fO- zz:
^-ri° i
p
P- "
I rj 32:
*v ^ ^
22 -©>- 2* jcz:
e (9-
-^ 22 -©^ -lO- cz O—f& "g~~:
>w
I— io:
g
£21 -O- -GH
IS q:
-<s>- |S>-
-O-
e -jS>-
:;tefc sz is: 1&- — jQ-i-jQ-jQ-i—p:

1&--1©-
—
?=:
i
-^^-
t-f
zzzzL
P^^p^l
48 FIRST INVERSION OF TRIADS
(6) Complete the following with suitable chords :
^ ^
^ ^
^
Sg -r± -x:t
iO- ^ r
-G- 32
-!©- -^^- i
.qL
-^ :p:
-Q-A A -S»-
â
E^
fc:^ -^
^
1©-
^^
^gP^
g
-<:&-
d:
-3-
J.
^y
-^"
32:
zz:
r
&.
r ^=^7=Fy^
J. J-
^35^ z±
^
(7) Write in each example four chords, the last two producing
cadences as follows
[a] Half-close in F major, {b) Full Close in A major,
(c) Plagal Close in C major, [d] False Close in D major.
Write as many varieties of each as occur to you.
: 6
CHAPTER VI
SOME FIRST INVERSIONS IN THE

MINOR KEY
I. The following first inversions are at present available
Ibj lib, IV b, Yb, Vlb, Vllb (harmonic minor scale).
Ex. 89.
Key A minor.
jOr -&-
-e>- lE?:
-<s>-
-r2L 22:
-O-
16 116 wb \b VI V116
-Q- -Gt-
!OL
-^^ :!
23: -&-
2. we compare these with

If the same chords in the tonic
major ke}^, we fi.nd the following differences :
Major Key. Tonic Minor,

lb, major. lb, minor.
IIZ>, minor. ] lb, diminished.
IWb, major. IV^, minor.
Vlb, minor. Vlb, major.
Note the following points
2M2
50 SOME FIRST INVERSIONS OF TRIADS
e i^^^
-e>- •y:^—
good
t=ll ^
bad good
i^
J-
jr*==^===f^=|| -(^^ p:
The point to remember is, avoid the interval of the augmented

second in melody.
Also, avoid the melodic interval of the augmented fourth.
3. The following table shows available harmony in the minor

key :
Ex. gi.
22:
5
3
-^
«6
22: -^
o
122: -e^
5
m
ore Of 6 ore
4. Following the plan of the preceding chapter, note the

following uses
(a) I^, VII6, lb, and vice versa.
Ex. 92.
i^r
w ;s»- 22
r
^== ^ gj^
-G>-
^
r r r~^v r r
(6) I followed by 6 on same bass note.
Kx. 93.
3
-O-
22t -G>-
szz^zi:
zDirs ^ "^==^¥=^^=7^^
rf
zz
-o-
-^H.?-
-Q-
,_Q — -, ^—
sc
-<S>- ris:
22:
^ 22:
MINOR KEY 51
[c) The converse.
Ex. 94.
on ^Sr -&-
22:
z^:
S
rjOL
\^
~G- J_„
e>- zp: 22:
22;
(^) Consecutive first inversions.

Ex. 95.
S
p^r -<S»—"—o^ S ^ z^
10- -€>-
:^^
:a ^ ite>-
^ — J.
-G^-
-<^-
1 " V^- 1
2Z
S^; ?z ^^ r
{e) Triads in root position preceded by first inversion a step
on either side (or vice versa).
Ex. 96,
^S«PT^ :c2
-e>-
^ g
-P^ ^3
-GJ- -^
ipr I
^-J-_J- -J-J-_J. a
^=P=
^ (O-
^^
-e-
-s»-
g
„ CL
?2: -<s>-
I
P=P=«=P
(/) Bass leaping down a third; the second chord being
a first inversion.
Ex. 97.
I
\=^V
&^m=^ pf-
~Gi
ija:
'G>
L _Q_
-fS>
n O-
:g:
-O- -P^
D2
{g) New approaches to the Perfect Cadence,
Ex. 98.
If?
-^
]'.
u.-p:
-&
s 32:
-e> — 23=;^
-o- ^ ci__:«i- -e>-

?=:
-
^ 23: M > o n 22:
(/?) New approaches to the False Cadence.

Ex. 99.
i o
r 3g
:
-&-
:g:
?
-PZ-
g
(/) New approaches to the Half-close, and new harmony
for the first chord of the Cadence.
Ex. 100.
d: 32:
32^
-^
M -^
o
rr-
r>
fe ^ 1^
Ê
(7*)
J.
New
_o-
221
:J:J^
^^^
jO.
ZZ
approaches to the Plagal Cadence.

^ 32; g: 33:
Ex. loi.
ir :gr
s 22
Î
5. The
^^ -J.
majorit}^ of the other points

-O
23:
n-
B o~
mentioned
-^
22:
in the previous
chapter apply equally well here.
6. All the above examples should be used as ear-tests.
: :
MINOR KEY 53
7. Exercises.
Ex. 102.
(i) Add parts for S. A. T. to the following bass notes in
various arrangements
^t -o- 22: -<s>- J2:

I
o \^
I
6 S6 6 6 6 6
(2) Add parts for A. T. B., forming various available first
inversions
-o- 22:
&E^^:.
i 22: -<s>-
<5i>
'
Add
^
(3) parts for A. T. :
3:^—
-IM
-e^ ©>-
#^ -(^-
1
W^ Q P-
-O-
^
-1&-
-O-
t6 6 6 S
-e»-
-Gh
2J-^-T^ -G^- -^
^
i!2:
:^
-!S>- e .(C2 ^
t=i=a -e^
6 I
»
fclfczi
z± -«>- ^ ICt JOL
i -s'-
^ F=r
-<&-
-€>-
S6
:^
6
-^
-&-
m
U^k^^^
w P r± ^ -&
i^
1
-&-
t:
i^- p: 1©-
-«s^ I
6 t
^ ja 22t 3 2^ ii«^ \iG>- ICt

2± -S>-
-^ :z£2:
^ __j iQ F
-!© <S>- zz ?2: -I©-
^ :p:
-]Q-
6 « 5 6
* 61 = 56.
r^-'^—^F^==^^^-t=y —& J
—
Ji=^! IP==^ —
^f^^=^= '—o
\ 1
1\ L
6 6 6
(4) Figure the following basses, and then add parts for
S. A. T.
-&-
^q: -&-
e -<s>-
u
tîi)'
(w., p
^^*-^r> w "^-J
'- k^ «rj rz
1 ,
<r3
[7 p '
w|^ LiJ J
ei-J
22
(5) Add
zp:
±n
HS)-
parts for A. T. B.
^ lS- 22: P— e>-
^ -f^-
IKT
—
-« azzzQzziiizz
m 32:
1=^
Q -Gh
f^ -^ 22:
3St -^
^ :
MINOR KEY 55
N ^s
=^**: 22fc?
rJ Q d
22: -&-
j:± cJ_
t<?Z|^zh22 i
-p—
(6)
4=::f
rp__pz^^g jQ—
*\
:
s -G!t
Complete the following with suitable chords

rJ ^
r
^
^ ^
iS-
J.
^^^
P tS>- 5«»- -^ i
^£fc4
Efc S^ J-
22:
i
s 2i:
22
s g 3
i 2: -i9- -«-
r
1&- 1
^r 2fe
J- -S>-
^
-^ ;i^
^ÊS j^ 3 :|* -G»-
1
r
^^ J.
3L
Write in each example four chords, the last two pro-

(7)
J-.-JL
(O-
^
ducing Cadences as follows: {a) Half-close in F minor, {b) Full
Close in A minor, [c) Plagal Close in C minor, {d) False Close in
D minor.
Write as many varieties of each as occur to you.
CHAPTER VII
THE MELODIC MINOR SCALE
1. In order to avoid the melodic interval of the augmented
second, the sixth degree of the scale may be sharpened in ascend-
ing, and the seventh degree of the scale flattened in descending
the scale.
Ex. 103.
A
2.
minor.
a bed
For the present the use of chords involving the sharpened
sixth and flattened seventh virill be limited to cases in which one
of the parts proceeds exactly as at a, b, c, or d.
3. The sharpened sixth can be harmonized as II with the

perfect fifth, or IV with the sharpened third. The sharpened
sixth should not be doubled. The minor sixth and major sixth
must not occur in consecutive chords, nor should the major
sixth occur in consecutive chords at present.
Ex. 104.
"
THE MELODIC MINOR SCALE 57
The flattened seventh can be harmonized as III or V or

4.
VII. The seventh can be doubled so long as one part proceeds
as in c or d. The next chord but one should contain the major
seventh. The major seventh and minor seventh must not occur
in consecutive chords, nor should the minor seventh occur in
consecutive chords at present.
Ex. 105.
-A-
-<SH
-Gi
zfs:
A__c^
F^ «?—
-p-
m.
J-
r ^
-G>-
!(S>-
"Ig
^ m^^ Tjr
L^_L-d_j_jz:d:
2i:
-o- rSzzd ^rn^rnî -Gh—^
P -P-' P"
J-
mi
F=f^
-G>-
^ d= 22:
xn=^: -i
-G-
<2:
f
-CL
rS
5. In the following example the appearance of the major
seventh is deferred, as another part is also using the melodic
minor scale.
Ex. 106.
^
AAA
a ^ —<5>-
r
-^
WB ?2_
^ 1^2:
i
-O-
^ i
All the above should be used as ear-tests.
58 THE MELODIC MINOR SCALE
6. Exercises.
(i) Fill in appropriate chords in the blank spaces
Ex. 107.
(«)
-Gh-
-
I
^r^-^l
—= 1 in I
T
I
|
J-
^m -&-
e 1;
^^^r rr?
9:
^^ ^
-Gt-
J.
g -O-
^
-
.Q 22
r
J.
^ ?3-
1- g I
d:
^ r
22:
-O"
J.
Si
^ -jO- i^
^
(2) Add A. and T.
-o- -&-
-J2 -ej- g -G>
-iS> Gh
m 23: ks>-
6
'P^—4fi
I:::
o- 22:
jC^
8 t(
— : :
THE MELODIC MINOR SCALE 59
* -<S>- ^^^^ 22:

-O- ^^^ 22
^:
(3)
-CL
$
-(&-
85
Harmonize the following

-s>-
8
:a:
for S. A. T. B.
^
6 6
f
6
tS-
8
22:
p -«S)-
=P2_ -^
-•
&-
^**
i^-ij^ÂP^-
^^P=ff
^
-iS>-
zz:
$ -iS>-
.cjL.i± 2i 2i 22 -e>-
s' '
e> •"
(4) Figure the following basses, and add parts for S. A. T.

^
^ ^z r r:f
. :.
e -rS>-
22=^ 2z: 22t:^
q:
?^>- #^: ict
—\ /—
-.0-
ipz
22: e T!^-
-ry -<s»-
r I
rJ ' ^fP IZl
22:
CHAPTER VIII
UNACCENTED DIATONIC PASSING

NOTES: MAJOR KEYS
I. When consecutive harmony notes are a third apart, the
intermediate step may be filled up by a diatonic note. Sut,h
a note is foreign to the harmony of the chords it connects, and
is called generically an unessential note, in particular a passing
note, as it passes on to a new harmony note.
Ex. io8.
b
c
Jill..
îZt
d
iS>-
^
-<S>-
fe
e
-G^
f
-Gt-
A J.
harsh
Êp
-Gh-
S ?3: e
2. At a we have the second of the scale of the first chord
used as an ascending passing note.
At d we have it as a descending passing note.
At b we have the fourth of the scale of the first chord used
as an ascending passing note.
At e the same as a descending passing note. The fourth of
the scale of the chord, descending to the third is harsh with
if
the third heard against it. The bad effect is removed by the
bass taking another passing note moving in parallel thirds with
the soprano (/).
At c we have the seventh of the scale of the chord used as
a descending passing note.
3. The sixth of the scale may also be used as a passing note,
but it is better treated as a new concord, except in the progressions
la-Va; \\a-\a.
— Z
MAJOR KEYS 6i
I
Ex. 109.
-^ -Gh- 33:
^ -^
w -<S>-
r
-|S>-
r f"
-^ -^- -^S"-
jCC
22:
-e>-
231
^
4. Two parts may use different passing notes together if they
move in parallel thirds and sixths. A passing note cannot
remain to be a new harmony note.
^
Ex. 110.
^^
^â
i
r -o-
^^fea 3
n= ?
rrrr-
J
^ 22:
^
231
?3:
TJ —
^
1 . .. 'jpr—
^ i^
bad
ft F
S
f
-&
r
42:
p -!&-
r
5. Two parts may take the same passing note by contrary and
conjunct movement.
Ex. III.
^=^
6.
m=r~
-G>-
For the present, the use of two passing notes

^ in succession
is limited to progressions starting with la or IWa (from the fifth
62 UNACCENTED DIATONIC PASSING NOTES
of the root in each case ascending or from the root to the fifth
descending), and no other notes must be struck against either
passing note.
Ex. 112.
7. If the introduction of a passing note produces fifths, it must

be eliminated, or the passage re-arranged.
Ex. 113.
i i^^^B
J-
efc^
Passages incorrect without the use of passing notes are

8.
incorrect with them.

Ex. 114.
"Gh
^S
'
bad
^ P
9. (^) Avoid the unison by oblique motion.
Ex. 115.
t=X
i i
A J
: —
MAJOR KEYS 63
(b) Avoid quitting a second by similar motion.

Ex. 116.
g) p-^*4j
d A
The writing is congested. Amend thus :
Ex. 117.
m^ K=S
JltZ J_^
i
{c) Do not strike harmony notes with the second and fourth
of the scale of the chord as passing notes.
Ex. 118.
r ^
-Gt -G-
-f3-
poor
t^-
food
r
J.
1 -^ Tl
P I
p 11 4^ -fi>-
The teacher may explain to the beginner the following if he

deems it desirable
Ex. 119.
^^=^ ^ I
f r-^^ I
lo. In this chapter passing notes are unaccented, that is, they
occur either as subsidiary parts of beats or as weak beats.
Ex. 1 20.
J J 1
rJ 11
j
J.
M^-^
—
I =t_j 1
^^_::
II. Exercises.
N.B. — Do not quit two unessential thirds or sixths in contrary
motion.
(i) Re-write the following sections, introducing passing notes
in the parts where appropriate :
Ex. 121.
^3
^ i
r ^^f^^ J-
Z22Z:
Start
<&rp'~~i
- jnt
:?2:
-J-
-.0-
«
1=^ d:
:g=3i
«9-
-G>-
1©- 3 ^z
F" f r Start
A A J. J ^ ^—
-Cl
i <
I
is>- ipj:
:?2:
e i»-
r
g; A 4-r-^- :i
J ^
I -^^-.Q- =ia:
r-
S^ J.
-K^-
J-
J.
^ d_J.. -<5>-
J-
I
.
MAJOR KEYS 65
-^-
î ^ -J
EEi
i '^^ ^ r
-o-
Start
i
i i J..
m^ -€f-
cc 1
-s>-
?^
^^=r *
^ 1g~ a=?"
^
I I
jQl_
-s>- -e»-
-i&- :g:
t: -.<s>-
i
tQ-
f="
fc T=l J J J J
11
i
_^^^
f
S J-^_J- -^^
^^T=f ^
—EE
-1
^
îS
I-
d:
P ^^ -e>-
f^
tS»-
r=^=T^^
i
J.
-Gh- . -G^-
j,ii-ii —9—
:p2:
-1--
iS-
ES t-
ip:
f-< G»-
g ^ I
2. Add parts for A. and T. Treat all unaccented crotchets

approached and quitted by step as passing notes.
J: -s=.*.
nj^^^^m -^-
-s»-
J
gg
gîÊS?
tS>- =F="ii^
t=t=:
3292
^fc
<sl *^ r-gj ^— 221:
-^
^^^ÊB-^^t
fcfc -^-
3. Harmonize the following for S. A. T. B. (add passing notes

here and there in the added parts). Unaccented quavers ap-
proached and quitted by step are passing notes.
N
Iitz-^zq'^qzziiz:;^:-]-!
:u^^: ::iz— t: Ê '^^
'^^^^^^^m.
%
^
iEÊ^
:1=P
il=*:
q==|:
^
-£=m:
:Ui±z=t :p^ («)
Usif '^sif^^-l^;^
r
i =.^ -f©-
I
{a) Keep up quaver movement in some of the parts.
4. Add parts for S. A. T.
5=pi 33:
'W=^
^ f-
6 5 8 7
8 7
6 5 4 3-
3 5 -
^
4
-!S>-
-o '.OZ
&==t i
3 3
56 65 65 87
MAJOR KEYS 67
A horizontal line means that the sounds indicated by the

figures preceding it are to be retained so long as the line is
continued. chord or use of unessential notes require no

If the
figures, the line starts with the note bearing the ^.
5. Figure the bass of the following fully in accordance with

the added parts :
^^=s ^ S ^ i
~Gf *=it
-^
g
r
- -.1©-
-I
I
-(&-
f T
Pg rl ^ J A -G^
^^
-jzn
'ms2: ZpL
-&-
r
i
3
r
-& g
rr=r
.fzL
-G-
^
.^^
r
-&-
-ZSr
6. Add S.
$ F=^
to
—
the following basses
r-i^p
; figure
-^
-JOL
-Q-
them, treating
appropriate crotchets as passing notes : maintain a fairly even
flow of crotchet movement.
w F
SeS £ 2^ ^ T2L
>.
^^^^
M 'f^^3L ict i^- irs:
xSi
2; ^ :l=:=t £
^^^ IPEZZV :ô.
*s
S -^ 22:
E 2
CHAPTER IX
UNACCENTED DIATONIC PASSING NOTES.

MINOR KEYS
I. The necessity of avoiding the melodic interval of the
augmented second between the sixth and seventh degrees of
the harmonic minor scale causes some curious irregularities.
(a) The minor seventh of the scale of the tonic is used both
as an ascending and descending passing note when using chords

IV and VI.
'
Ex. 122.
A minor.
^ ~Q—-
^^
(b) The major sixth of the scale of the tonic is used not
only as an ascending passing note over chords I and V, but also
as a descending passing note between two positions of V.
Ex. 123. I ,
2. Two passing notes in succession can be used over I and VI

with the s&me limitations as in the major key.
MINOR KEYS 69
Ex. 124.
iî^^^^S
r r
33: ?2:
3. Ear-tests.
^
Ex. 125.
^^^m A minor.
l
p
î
J-.
^^=tr=i
-j-^
i^-i-
T"
S
T
^ ^ -r^f-i-
^^« trtjT
=l=fl
m m J^ p=s?
r
FÎF^^M=fl 1 J J W ?g l II J ^p Q
.."'
:c3:
^^ nzfa -IS-
m -Q
js:
^
IJ ^
J "^
ijg
:cz:
1^4^:
ÊÊî^^^^^pi :l=t
atzT!!^ 32
r
^
A
jOL
J G>
312: i
J2:
:C2:
:zeq:
c ~^r
-r"
:pt J-
^6 UNACCENTED DIATONIC PASSING NOTES
:rz:=si
—m- ^-i-
-
Q P
^=Ri ^
J J- -J- ^- I
J J
_L^j=i\ ! —tzizU f
4. The ninth of a chord descending to the fifth of the next
chord is ugly if foreign to the scale of the second chord (har-
monic form).
Ex. 126.
^
. J J-
&-
T
$
5. Exercises.
(i) Re-write the following, adding appropriate passing notes:
Ex. 127.
D minor.
^- 1 -r -o-
p^
i
p p
2:^
P"
i::t.
I
^=^F^3=^^=^ i :q:
'--^
r
I
-!©-
4 -«s>-
i^îîîîpp -^r
-«^
T 1 izp- ^ .C^- jCL
It
-P: ^=5 .GL -P-
j=:
: ' :
MINOR KEYS 71
IS.^
-Gt-
-G>- =^%W :^ xt=!=q rd
-G>-
Gh-
-g<—
-O- U «-
T -1Q~ jO-
r
& -J-
t-
T2L i9- -e>-
feS^f^ÊÊEiEg
-<^-
-(&- =1
(2) Add parts for A. T., adding passing notes here and there
JjlÊEJEj^;
-Gf- 3 ifz::* -<9-
^=2
^^ -o- zz^q: -!&- C2:
£^^
^ 4
j i-
:^ 22: d: 3 |J * "
r-r> O .0- 1©-

g
tj
ft (©- -jO- gz
i:.-U 2i
*=il^
^— «s-
e 22: :^ P :
(3) Harmonize the following for S. A. T. B., adding appro-

priate passing notes
s
iMS Gf G>
32/: -o-
::2izi
t^ <^-
1 it:p3^
q c2
:S=1:
2r-^ I
'jpf- ct
f:E It:
:2^
jzia:
.#:^
t: ]S^^p=2 -o-
:=f
-«5> "
1^
^N^^l^^=}=^ -e>^
m.
-^^-
15:^1
liil£ f—jiz^—zzjd
-G- I
-&
^
r g ^^^^'jî^
£B^; 33 •^
rziq:
g3!:
^ — 1^ *^'-
X21
-G-
t
8
3
9
4
zg
5
3
If ^ -Gf
S 7 5
«
Z2:
4
B9
8
8
J-
-Mt^W^ ^^^^^^1^ -<5>-
f
M -G-r-
£
ô:
-»-
6 6 5 8 7
CHAPTER X
THE CHORD OF THE SIX-FOUR
I. The second inversion of the common chord is called the
chord of the six-four, because it consists of a bass note, its
fourth and sixth. It is figured %.
Ex. 128.
lo:
icz:
i g: -e>- -G>-
-€^ -^
zz 22:
32:
i
Root position. ist inversion. 2nd inversion.
2. This chord is very restricted in its use, and it can only be

employed upon certain degrees of the scale. It will be best to
consider the chord under classified headings.
3. (a) Cadenttal six-four.
This only used on the dominant and tonic notes.
is
It resolves into a 3 on the same bass note,

the sixth falls to the fifth,
the fourth „ third,
the bass note is doubled in both chords.

Ex. 129.
(0
i
-Gh- -j^-.
-G»
-Gh
1^ ^-<5>-
-Gh '30L
-r?- ^M
(«)
A A A. ''A
11 «|
-o-
m=^ lOL
:jol.
I
6 5 6 .I 6 5
4 .3 4 3 4 3
(i) or VI.
It will be felt that in all these cases the sixth and fourth are
74 THE CHORD OF THE SIX-FOUR
appoggiaturas of the fifth and third. The six-fours are decora-
tive, and are harmonic embellishments of:
Ex. 130.
Thus they are decorative forms of the half, perfect, deceptive,
and plagal close.

In these cases the bass of the six-four cannot be approached
by leap from an inversion of another chord.
Ex. 131.
i
-©>-
&—
s -(S-
-<s-
bad
23:
-&-
In the half and plagal closes the % decorates the final chord,
in the perfect and false closes the % decorates the penultimate
chord ;and it must be more strongly accented than the suc-
ceeding |. (Ic = second inversion of tonic chord.)
4. (b) Passing six-four.
This is only used as an intermediate chord between la and
lb, or vice versa, and between IMa and IV b, or vice versa. The
soprano takes the same notes as the bass in the reverse order.
Ex. 132.
^Ê^ÊHE^^
J- J J- U
(6)
-«^-
J
22TIIJ
J-
P^
(0
3ESEB
(^)
'p 1^
^ e
-<5>-
zz (©-
m -!»-
6 6
i i
! 1
THE CHORD OF THE SIX-FOUR 75
At (a) and {b) it is always preferable to use a | on D rather

than a %, if the choice is left to the student.
Ex. 133.
V1
/L
^ J
rd
^-^
-
r3
I__,
1'
]
1 _c _
fA 1
ri
1
Ti
Tl
n
l(V\
•\s\) ^
f^
.
_..
|C->^_
-'^
-^
'
1
/i=;j
P* (C3JI v-> JJ
1
1
-J-
1
1
Z?!"!*
\> -^
^"-^
•
f^
[
r:)
1
6
C->
1 —
6
1
1
==-*
6
<^
r^,
6
^,„ ,,,
5. [c) Auxiliary six-four.

1 n this the bass remains stationary ; and a | is used between
two statements of the | on the same bass note.
This use is confined for the present to tonic and dominant
basses.
Ex. 134.
$ W ^ ^3 I =
'A-
::!:
-<S:
O-
r"
^^.
=22:
122:
I
6. {d) Arpeggio six-four.
In this case the bass moves to the six-four from the root
position or first inversion of the same chord. If it proceed on
to the root position or first inversion again, the bass is free to
move as from that note. however, the bass move from the If,
second inversion to another chord, it must proceed by step to

another ^ or 3.
Ex. 135.
:C2:
i i <o ~fl
-G^ -^-
nip:
:g:
? P
The six- four of I, H, IV, V, and VI can be thus used
Ex. 136.
n
r-4 ^-T7-=q — r ^'=''
r-
—&—
T^
—^^ —r^ r^—
^
•J
h-^ rj ^ra.
-^-
p- —
-«- ^ -
Q -^-
"
^3 .
g
^ P
^^ ¥.
1
1
^—r^- —& —J ^
S>
7. Observe the following points

(a) Do not use the % on the strong accent unless resolving
into a I on the same bass note.

Ex. 137.
-^ n
i r"^T~r poor
J- 4 J -
(^) Do not use the % as the first position of a chord.

Ex. 138.
-!»- i
bad
r r
possible
'
r
J. ^ s»- ^
^^^ P ^^
Do
not use the % as the last chord upon a bass note,
(c)
unless both the sixth and fourth move on to new harmony notes.
Ex. 139.
-«^
rz. -&. 32 -^
cr
clumsy good
4—J-
iq:
-Q-
-&- i
6
3
In this case regard the fourth and sixth as passing notes, and
treat the bass as from the previous concord.
8. Consecutive six-fours may be used in two cases :
(a) When the bass is a broken form of the harmony of
a passing six-four.
Ex. 140.
Êd: 32:
B^ 23:
i -fS>- -^- Ur^

Broken form.
-(S>- -o- I
^^ is>- ^bE
-<s>-
22:
6 6 6
4 4
(A) When a passing six-four between lb and la is followed

by an appoggiatura | to la.
i
^
Ex. 141.
idL
-<s>-
(")
— ^- 22:
-^ ^
(i3)
J. 22:
r Q
^f
(7)
^
T '
:^=A
^ ^ i
y_=L y_=i
m
-«s>-
2z: -1^ ZL fl^^^ 22:
(a) Plain form.

(y8) Double appoggiatur&s.
(y) „ „ written as played.
9. The various examples of the different kinds of six-four

should be used as ear-tests. The student should be sparing in
the use of the six-four chord.
10. When used it may be preceded
the cadential six-four is
by another position of the same chord on the previous weak

accent. The student should think out for himself the reason for
this.
Ex. 142.
i
w -&- -<s>-
m ^^-4::^
II. Exercises.
Ex, 143.
(i) Re-write the following, adding cadential six-fours
fe^ -Gh 231

ff -e^
s
Y ~-g-- lor -&-
A :q:
A ~g3~
A -<s>-
¥ -&- :q: -f(S>-

Z2:
^
i -!©-
A
l8= $m^ -4t-„-fJ
-!S»- -fS>-
-o-
t^
-e>-
-^
Sfe
-^
-o-
A ig: ig^
-J-
:8:
J- -o-
-o-
:S=:
KEp: BE^ ?='
^
(2) Re-write the following, adding passing six-fours
1
d
ra
-«>- o-
-r- -©»-
35 p:
P 122: :?3:
^ I
-«>-
r I
^(3)
-^
-e>-
-o-
:oEEpEE^
Re-write the following, introducing auxiliary six-fours

-G> e)^^
-&-
-fd_
-!©-
f=*^=--f. II
y g^g ^
m
A ^— ©I-
tm[ -o-
:^P^^:=--^pr:|:
: - — :
(4) Add arpeggio six-fours in the bass ;
f^ /^
r^ 1
—& 1
—« 8 :
(5) Add another six-four to the following
T d ^ -d-
-cr
22:
:p=p -o-
(6) Add parts for A. and T., taking care to use the six-four
correctly
-^ —Q c^. g -Gh
32 32 -&
-G>-5-
^^^. 22: zz: ^
F
^fe=-^-H^H r3 r- . .
d- ^ 1 rJ JJ
^^—
—^
-^b
—— ^
p—
^r-
-e= _p J-L_-
•
(*)
PM: -O^- ^
:a -G>- 'jn -Gh Q gj-
-&- :
-!S>-
—r- 22:
p= lo:
P -e>--r-
8o THE CHORD OF THE SIX-FOUR
m I:
-G>- 32:
32 -e»- -TJ ^
m f^=r -(O-
22:
^ -<5> &-
-^-^
(7) Harmonize the following for S. A. T. B. :
a:
g'—p=FP: -S»— P3 —
-jS-
P q: lO- ~C2' t=t=t::
J2: ^- 1JL
cr -o
-& j^.
:=j=
-Gh- e :p:
:t=t:
-.<5*-
1
H—f&-
i=^ cr-z^-^zzi.
(8) Add parts for S. A. T.
^3
;
ifz:
-G>—
5
3 135
6 6 6 5
—|S>— — --4^
—Z_|Q
re*):,
^"—^n r^
CJ
1^
1
1
1 1
1.
-r^
1 '--' 11
TI
«6 6 6 5
4 1 3
'^r-p— '^ ir3

p*
.^
F=F=^
1- .^
«r> 1
— t:^^,
HrStf-
-^^-r^,
i«^. H
-^^ff - 1
1
I
1
1
1
''J ._ ^ w
6 J6
1 6 54 6 — 5
4 56 I — %
(9) Add A. and T.
jnd
4-^
«>- 3:i -<5>-
-s»
^^ <s>
6
4
— p;
6 6
-JOL
ZZIIUOu
i
— — — y
THE CHORD OF THE SIX-FOUR 8i
:=|:
i -Gh :a -G>-
-jctzzzzrl -Gh- -JC2:
-JOT.
:p?_
iq: 1221
i
o 6 5 6
3 i 3
-G* e>-
-G>-
-& —P- C2:

-Gt-
r 6 6 6 5
1 4 3
(lo) Add S. A. T. to the following unfigured basses :
:p: 22;
gj \~
£ I
^=P?^ 2:^: 1^5 g> M-

-«5>-
E^=3
^2: -e>-
-<s>- ^21
icz: -<5>-
-(^:i ;-^-^=
_^ —^ =p=— —
"
h-
}^ <s> _^-:i p~ — ?^
=^— — «>
Add
^
(I I) A. T.B. :
iii^^ :c^: -© &-
SI -o~il: -Gf-
5
MM P
CHAPTER XI
ACCENTED PASSING NOTES
I. Sometimes passing notes, instead of being struck alone
between the chords, are struck with the chords and then resolve
into them.
Ex. 144.
J
- & jQ—
n --I—r.
1
s
-G>-
f
In the above example, a, by c, and d are accented passing
notes.
2. Do not strike the discord against the note into which it
resolves except [a) the latter be in the bass, {b) by contrary and
conjunct movement. The second exception should be rarely
used. The fourth struck against the third of the chord is very
harsh, and should be avoided.
Ex. 145
_j_i
3.
S=
Accented passing notes are best
£ m
in effect descending. They
should be rarely used in the bass.
ACCENTED PASSING NOTES 83
The only accented passing notes ascending used in this

chapter will be in parallel thirds between the third and fifth,
and root and third of the same chord, or with two parts using the
same passing note in contrary motion (Ex. 147).
Ex. 146.
^^jS s
w i
r
?2:
W^
4. When the choice of harmony is left to the student, he must
select as essential notes those' that give the best progressions.
For example, at c in Ex. 144, if F had been chosen as the
harmony note, Ya to IVa is poor as compared with Va to I^.
If the given part leap from the second of two conjunct quavers,
obviously the second is the harmony note.
Ex. 147.
IC^ZI
#=P-
-u^ r- ?=
^^
r
J-
!^;
?
No one with any musical sense would harmonize both quavers.
5. The student must get into the habit of mind of regarding
many accented notes as being unessential.
Ex. 148.
A.
J-. -J-.
JU^
^^ -fO-
F 2
IfZ
84 ACCENTED PASSING NOTES
X X
1^=^ r^-^-^1 n
1
1
—ri-.
— f
T "
1 J-
V^y>_ .. F_ —
p . 1
-t "
6. The examples may be used as ear-tests.

Students should name or take down {a) the soprano part,
(b) the bass, and then should name the chords, and if possible
add the inside parts.
7. Exercises.
(i) Add accented passing notes in the soprano part of the
following
£x. 149.
qrrq:
-^- '^-
1
r
Jr — :J-
r "rTr
^ ^ '^- 1^-
1
:p;
^3^3
-I--
F F^^
J- J-
m £
(2) Add ascending accented passing notes in soprano and

bass (in parallels) : see Ex. 146.
: —
I:
J .
JU^^
.TJ-i =1:
-O-
$ P n f^
i-rT
^ J- i :J:
AA jJ^ ^ J -i J
^^^ ^
-
J
ni — ^- 1©-
-n r
(3) Harmonize the following, using some accented quavers
and crotchets as passing notes :
i â^ Q=
P=S:
x^
:p:
Std
=^:
2:^:
#q
-<s-
iZ
:^^: -&-
^J~
5=^ # 0-
1E2 -<s>-
=3:
înir
-i H
Ê^ -<S>-
(4) Figure the following basses^ and add soprano part.

The figures below a note show the actual intervals written
above that note
ip
^^s^pg
mdL ?=rfTM^
a g
m^^îE^-^- ^ -<IS>-
^ -«»-
CHAPTER XII
THE CHORD OF THE DOMINANT SEVENTH
I. If the minor seventh from the root be added to chord V,
we produce the chord of the dominant seventh. It is figured 7
(Va 7). It is the same in both the major and minor key.
Ex. 150.
-o-
js:
32:
-^-
-&-
32: -^ m
-e»-
-Z2Z ZZ2Z
32:
7 7
The seventh is a discord and must proceed one step down-

wards in the next chord. It therefore resolves into Via or la
from the root position.
.2. No two parts may proceed in similar motion from a seventh
to an octave.
Ex. 151.
-e^=—
-^-
W :S:
3. The seventh may be ornamentally resolved by proceeding

first to some other factor of the chord. The fifth of the chord
may be omitted.
Ex. 152.
J- 3i :J=d=J:
i -O-
d J-
^=^ 1^ ^^
.
CHORD OF THE DOMINANT SEVENTH 87
4. The resolution of the seventh may be transferred to some

other part. In that case the part that originally had the seventh
must fall.
Ex. 153.
J-
3 -lit.
I
mAAA^
5. Exceptionally, the seventh may remain to be a part of
another chord.
Ex. 154.
r/L
V ^- «r3
1
tl
in^ n
^r c? Jl
%J
-Q-
frh\'
((*>.
rzi ^ T1
r
v-^ H
Jl
6. As there are four notes in the chord, there are three inver-
sions. They are given below with their resolutions. They all
resolve on to the tonic chord.
Ex. 155.
ist inversion. and inversion. and inversion. 3rd inversion.
-^ 23:
i ^=^ 22:
-?:?-
-^ 22: -<s>- -^
m 32: icz:
23:
22:
-<s>-
22:
22:
22:
-^ :S -e>-
4
22:
6 4 4
5 3 3 2
Note (a) 1 stands for f

«3
(A) ! ., |.
W J ,, |.
88 CHORD OF THE DOMINANT SEVENTH /
{d) In the second inversion the seventh may rise a step

in parallels with the bass.
(e) The bass of the second inversion is under the same
restrictions as the bass of a six-four. But this 4 can be used in
3
a less restricted way than the plain % of the dominant,
Ex. 156.
3=^:
-^ 2± 3 s -&
T2:
^^
-tS> ^
-o-
(0 (2) r (3)
J J J — r, J J J — n J J :c3t
^^B^ ^ 11
(2)and (3) are examples. The bass of a second inversion may

be approached by leap from the root position of another chord.
{/) The same bass note may be used weak to strong, if the
strong note be the seventh of a new chord.
i
Ex. 157.
-&
o-
good
^
J. A J.
^ P
{g) The approach of the bass of the third inversion is under
no restrictions except those of good taste.
(//) Two parts should not approach the ninth (formed by the
root and seventh) in similar motion.
Ex 158.
i
w 32:
-<5> "0
22:
-e>=
—&-
^^ -Q-
ii:^=S:
The seventh stands in place of the root. But the approach

of the seventh in similar motion is not so objectionable.
:
Ex. 159.
—if i'lL
^-—-""^-^ <^-> 11
/L
W
im m ^^ ^^11
'-'
1
II
•7
-Q- -^
r<^* -^^ ^**îf
(Wi C^' Tl
Tl
>-< '^ I
.. .._ ,
(/) The following idiom should be memorized

Ex. 160.
P r" :^
<* ) '-(3
^
(j) the f forms a new way of following Ic,
Ex. 161.
-^ ^
i -&-
2a:
The fourths between the bass and tenor are good, the second
fourth being augmented, and a substitution for a major third
(G to B).
Ear-training.
Ex. 162.
rc i -^
~Gf-
-^
»=^ ~rar. TP?: in:
-d ^2—
==§==B :g:
'^ 1»-
P
90 CHORD OF THE DOMINANT SEVENTH
^ ^=A -^ Tl
-&
2 ^^ 22:
J- J
r —
J I
p Y
1
|: jdr -&
-<9-
32: IQ J
=^- cr
-i&-
-©
^
-^
^^^ Z2:
i -U -AJ_4-
33:
r
1
"C?"
A A 4.A^
^
^^^:^H"g^^=E^
r^ &- -<^-
î^^ ^
ESteEdgi^
1^
Q
F |-g3-
-Q-
: : — r
t
i -j&-
-«^-
P -^
2:t
XI ^.
:ctz:
f— ict
:^ -^
^ji -o- ±r
-e>- iS:
t
i :p:
l-
Exercises,
(i) Resolve the following chords
Ex. 163.
fe lez:
i 22: -o- s I
^
-<5>-
-<S>-
-S>-
%: 32:
(2) Precede and follow these chords by one chord on each

side
22:
s^ is
*°-
-i2-
-^-
-o- i^^
* JOL :ie>-
-JOL
lte»-
JOL i
-Qg>-
î -<S>- -G>-
:22:
(3) In the blank spaces place chords of the dominant seventh

Key C major.
23:
32_ -s>- I
-^-
-^
ei ittzifs:
jCz: -rJr-
zpz:
s
ge CHORD OF THE DOMINANT SEVENTH
^ ^^
-«s>-
?2:
^ 22:
^ -J
Add ornamental
J-
:p=z::
^
resolutions of the seventh
(4)
n1^ i
^
?2:
p="=f
©1- -«>- J- -1 G^-
-^
-e>-
¥ -&- T2L
I
J:
32:
d:
?2:
J=i
-<s>-
i
jsi
1©-
-.-^
i 4
r
N.B.—Avoid;
8
J * J
fe =« «-
igr^jf^ ^ I
-£ îz^ :n: gj ^ tf 5 -«5>- 22:
rt
P—
16
3
f5»
13
z
6
I
n
fTA
t—h-
7
-G»-
-<S»
G 5
1&-
4
2
^6
cr I
p — : : ;
F^t=^"
1
-J4
^1
1
^ -G
-0-1
-^^9—f- ?p-
4î»-^- — (©
'
Fr —€?
(6) Harmonize the following for S. A. T. B.
%^^^
X- Let the bass leap a seventh from
3d:
-<s>-
22 -€?
C to B flat ;
3^
a part
^-^
3d:
may do
^
:c2
this in
< ^ g. I
arpeggio
of the same chord.
(A)
32: ^
fS- :?==
1©- I© :p:
t=t
^^ -^
^
-»-
?^ -«» 23 -
Q '
rJ I Q
(0
^^^ -©t
122 -^

introduce some passing notes
^g^S^^p^
(*)
Jf-
jo:
Keep up movement on
Et -.<9-
i^~W
W~iS^
the accent.
t JSt
^
s IP— - -O-
e
-|S>-
izz: o— -1^ ^^=^ 1© —o- IITTII

CHAPTER XIII
DIMINISHED TRIADS IN ROOT POSITION: AUG-
MENTED TRIADS IN ROOT POSITION AND
FIRST INVERSION ,
Diminished Triads in root position occur on VII

I. in the
major key, and on II and VII in the minor key
Ex. 164.
=8=
=::& =g= =s-
m -<s>-
-€s*-
6!t
-O-
-^ kg
Oi>-
2. The diminished fifth from the bass is a discord and must

occur in the same part in the previous chord. This is termed 11
its preparation. must resolve one step downwards

It into
a concordance. Vila resolves into la, and lla into Wa.
Ex 165.
i r
-0~ ^^ •(©-
r^- r
^r ^ f
J- :J=n:^ 1—G>-
-P^- -r±
T Ê^^m Ete3|^^
I&- 1^
The diminished fifth must not be doubled.

3. When VII« in the major key occurs in the course of the .
repetition of a pattern called a sequence, it is free in its treatment, j
Ex. 166.
^.
-&-
^ -Gt-
-Gt- S ^^3=;
r ^ r
nzJ:
jC21 ig Ê^ 8 ^
^ 1=^
-p:
DIMINISHED AND AUGMENTED TRIADS 95
4. The augmented minor key. The

triad occurs on III in the
augmented fifth from the bass should be prepared, and resolve

one step upwards (being the leading note) into chord I, or VI.
Ex. 167.
ifey.=j=^;EEpÊ^^^^=|
A J- J
^m J-
^
i^t .cL
22:
^^
-J-
5. The first inversion should be treated as a dominant chord

with the sixth displacing the The seventh may be added,
fifth.
but it must be sounded below the sixth. Here we have new

harmony for the Perfect and False Cadences.
Ex. 168.
At {b) the exposed octaves are harmless, for obvious reasons.

6. If the E flat in this chord be enharmonically changed to
D sharp, we have an augmented triad on the dominant in the
major key.
Ex. 169.
îSH X?:
-o- -^
-^
:S;
22:
I
Here again D sharp is a substitution for D natural, but its
tendency is to rise, not to fall.
96 DIMINISHED AND AUGMENTED TRIADS
an example of a chromatically altered chord.
It is Its ase
for the present will be limited to the following idioms

Ex. 170.
:q: iq:
-(©— — &»
-<&-
-«s>-
r -o-
§ 1
J-
g:
Z2: d^ iq: -«s> «s>- iq:
i
The seventh may be added to the chord, but it must be
sounded below the altered lifth.
Ex. 171.
O
22: :C2:
-^ iîî^^S
rr F
€> -
^Q I
J. J.
J- J
m
-^^
^^: 22:
I ;
—
1
rzzn:: I
I
-°= : z
7. These chords should be very sparingly used, and it is
sufficient for the present if the student understand their treatment.
Exercises.
Ex. 172.
(i) Write a chord on each side of the following:
kEB^Êî :c2:
-s> fe
-^»-
cj-
ic) C'^) (0
-e^- -Q-
*g:
^ id: -<S>—
:#°: set .
;22;
-;
"O -<s*-
^3"
(/) (g) (^0
-<s>-
« -<s^
THE CHORD OF THE SIX-FOUR 8i
-jdL j-i -Gh- :q:

i -Gh :q: -^-
:z2:
C2:
iq; _Q-
i
5 6
3
I:
— 1-
-s> o-
-o- -s>-
m -.<9-
^—p:
itzzzt:
C2:
-<s>-
iq:
6 6 6 5
4 1 3
(lo) Add S. A. T. to the following unfigured basses :
^=:]==P:
ig^ — 1--
32:
:z3- I
'^^^ -G>-
t==Xr
ic^:
=q-
(S) P -
-e>-
S^^
:;^ -<S- ip:
q: -e>-
-o
_...
/?^4
A^. Cn_;
1
— «s>
1
—&-- "J
i h 11
6:f^-
P= —rz —*«=?' H
'
cs
1 J \
Q n
(I I) Add A. T.B. :
-
Q rJ
zd:
:d: -o «s>-
li ci 3:
-0'
'Pziil:
^ -»-
tlM
CHAPTER XI
ACCENTED PASSING NOTES
I. Sometimes passing notes, instead of being struck alone
between the chords, are struck with the chords and then resolve
into them.
Ex.144. ^ b d
^^ 1
-?s>-
1
-e>-
tzzin
i=t^
In the above example, a, by c, and d are accented passing
notes.
2. Do not strike the discord against the note into which it
resolves except (a) the latter be in the bass, [b) by contrary and
conjunct movement. The second exception should be rarely
used. The fourth struck against the third of the chord is very
harsh, and should be avoided.
Ex. 145
:i5: l^=:
r
ugly
3.
ip—
Accented passing notes are best

.J_J:
m
in effect descending. They
should be rarely used in the bass.
The only accented passing ascending used in this

notes
chapter will be in parallel thirds between the third and fifth,
and root and third of the same chord, or with two parts using the
same passing note in contrary motion (Ex. 147).
Ex. 146.
mr ^
i 1=^
I
j-
?2:
I
4. When the choice of harmony is left to the student, he must

select as essential notes those that give the best progressions.
For example, at c in Ex. 144, if F had been chosen as the
harmony note, Ya to lYa
poor as compared with Ya to I^.
is
If the given part leap from the second of two conjunct quavers,
obviously the second is the harmony note.
Ex. 147.
~1-
:z:jr^zz
^ ?
4.
m
r
2*:
No one with
s ^
i
-^
j-
-I
—
any musical sense would harmonize both quavers.
"
5. The student must get into the habit of mind of regarding

fmany accented notes as being unessential.
Ex. 148.
F 2
84 ACCENTED PASSING NOTES
^^- -Jtzi.
i -&-^-
'^^ zzDr±
-<s»-^-
J-. i -G-,
1^^ £ 1^

Students should name or take down (a) the soprano part,
(b) the bass, and then should name the chords, and if possible
add the inside parts.
7. Exercises.
(i) Add accented passing notes in the soprano part of the
following
£x. 149.
o~
jr~-J
•^ nr
j- -A
^^
1 --1—
-h- f
-i J-
P
,
rri
iE t
î
(2) Add ascending accented passing notes in soprano and
bass (in p-^rallels) : see Ex. 146.
:
p %
-0-
;^^ n m rr i
.A_.i lA UjA.
^ ?
^ r
(3) Harmonize the following, using some accented quavers
and crotchets as passing notes :
i T2-
#=
it ^=^ :&t: 32
^^^:fc
ez:
t=i e
Hi -o-
^p=i^
iprzs: * #-
i -I H -J) -<5»-
(4) Figure the following basses, and add soprano part.

The figures below a note show the actual intervals written
above that note
i^
£ ^
mSEt
A-m
^ -^ m 22:
¥ ztt
P -e>-
CHAPTER XII
THE CHORD OF THE DOMINANT SEVENTH
I. minor seventh from the root be added to chord V,
If the
we produce the chord of the dominant seventh. It is figured 7
(Va 7). It is the same in both the major and minor key.
Ex. 150.
irz: ~&- 32:

-G/-
izz: -^ 22: -yS»- I
32= :z2:
22:
7 7
The seventh is a discord and must proceed one step down-

wards in the next chord. It therefore resolves into Via or la
from the root position.
2. No two parts may proceed in similar motion from a seventh
to an octave.
Ex. 151.
i
w C/-"-
-^-
-^-
:S:
W- 22:
3. The seventh may be ornamentally resolved by proceeding

first to some other factor of the chord. The fifth of the chord
may be omitted.
Ex. 152.
-<s>-
J- J-
sL
-I ^ I
.
4. The resolution of the seventh may be transferred to some

other part. In that case the part that originally had the seventh
must fall.
Ex. 153.
^=^
S^^
-
r
1
Ê -G>'
P
5. Exceptionally, the seventh may remain to be a part of
another chord.
Ex. 154":
r/L
y .^"\ rD
Ti
T\
rn
\S]J
"-^
nt frr?
Ti
IJ
•7
-Q- "§
*^
w
/?a^*
(
^^^
fD 11
V
n
1
6. As there are four notes in the chord, there are three inver-
sions. They are given below with their resolutions. They all
resolve on to the tonic chord.
Ex. 155.
I St inversion. 2nd inversion. and inversion. 3rd inversion.
22:
i =s=
U- o
"Cr
--^
-<^- :g: -&-
W Z3:
-o- jCL
23:
-^^
22:
zz
1221
-^ iS^B -o-
-<S>-
23:
I
6 4
3
6 6
Note (a) 5 Stands for 5.
3
4 6
(A) 3 M 4.
3
6
w 4
2 » 4.
2
{d) In the second inversion the seventh may rise a step
in parallels with the bass.

(e) The bass of the second inversion is under the same
restrictions as the bass of a six-four. But this 4 can be used in
3
a less restricted way than the plain I of the dominant.
Ex. 156.
a -<s>
zi 3 -e» ^ iS> I
r r
-o-
(0 (2) (3)
J=4 # -O-J- 1^ g±
?2:
-0-
I liS>-
^ ^ ^
(2)and (3) are examples. The bass of a second inversion may
be approached by leap from the root position of another chord.
(/) The same bass note may be used weak to strong, if the
strong note be the seventh of a new chord.
Ex. 157.
^ ^
-^
good
J- A J.
.w; p ^ g
(g) The approach of the bass of the third inversion is under
no restrictions except those of good taste.
(h) Two parts should not approach the ninth (formed by the
root and seventh) in similar motion,
Ex 158.
^^
w -Q-
-^ :g- B:
The seventh stands in place of the root. But the approach

of the seventh in similar motion is not so objectionable.
J
Ex. 159.
-<s*—-*=
zx "
-o- 122:
i -& e^ i
^ z^^
-<s>-
(^):
22:
(/) The following idiom should be memorized

Ex. 160.
r
^^^
^
S2fc±e ^
{j) the J forms a new way of following \c,
Ex. 161.
22:
I -«»- -<5>-
(i):
i_J-
r ^^^
- ^
22:
The fourths between the bass and tenor are good, the second
fourth being augmented, and a substitution for a major third
(G to B).
Ear.training.
Ex. 162.
-^
—
i
1-
I
1
Gf-
-Cedjt- rcr
J A ,^_, J__ 4
m^tÊEp =g
?^^
:g=B=^
-^-
^
i s ^^ zz
J_^ :g=B
P ^^-4^
1^ -©I
zd^ 3 zi
cr
iq:
f -<s>- "O"
—©I e»-
t-jS=P
r — ^
:©: -.©- ip:
I
..=^=^.
i^^ -JOl.
-e>-
122:
^ J. -Q-
-&-
-e>^
tf, jTiZ
A -f&-
1=3^
f^
Z2:
O" ^^ -Gh
-o- 221=1122
J J. -^ J. ^ -Q-
-O-
t-zt:
:§:
e ?2: -<s- -&-
I
P F=F J- J^
iaEî
-^
<9-
-i2-
T©- :^
-<s>-
: r
i^
-«s>-
^3
J-
-^
ICt
-<s>-
-.at
f —^
^
^ #:
(1^-
:p:
-t-
-(^ -& -s?-
Exercises.
(i) Resolve the following chords :
Ex. 163.
lit 122:
zz:
32:
32:
-o- s
-€>-
-s»-
^fc -e>- :q:
(2) Precede and follow these chords by one chord on each

side
i Z2:
:q:
-t^'-
S^
-Q.
^ -^-
-o-
-o-
l^^^l
* 3s:
i:^-
:22:
-Q«&-
î! -«5>-
icc:
(3) In the blank spaces place chords of the dominant seventh :
Key C major.
i
m pz:
:e2:
-<5>-
i^=
-<o-
-=1: -€>-
i
-©-
,-:g-
1 22:
-J-.
ttupzzr
:Z2izin :4
I :p:
S I
^^
-o- ttzzp:
^ -JOL
-^
J. -e>-
^^ C2zz::
(4) Add ornamental resolutions of the seventh
^ nat -s>-
r ^ ^z
J—.-J -e^-
Q :=PZ
-^
P -i©-
I
^ J: j=.^j==
?=
r- ^ i :p:
-<5>-
_qL
>9-
r^= A
N.B.—Avoid:
8
-T^J n'
— — —
J
^s
H ,gj—
:a: zi —^-w 2Z -^ 32:
-<s»- f^ .Q rs>-
-^
P !S>
4 6 13
I
6
r?
7
-o
6 5
S^
4
r^ p
6
"Cr
I
3 i 2
h : U ;
-o- ^ I ,. — -<s>-
p
-(&- 1:3: 1^
-^
Ê^|p=s
6 8
(6) Harmonize the following for S. A. T. B.

(rt) _ -x-
îSEfZfS
=p
-^ ici
^5 -«l- -Gh
j3=p: 2::^: :afr<s^-T3—
•X- Let the bass leap a seventh from C to B flat ; a part may do this in arpeggio
of the same chord.
(«) ^_ 1
i^-
g
(Q- :a: -(&- i&-
-P G- -«-
m
i^^ ^ -^
-^ jQ -<5»-
32l=:
^>-^
(0
^S -^ T=^ e»- 122 -o-

introduce some passing notes :
(«) ,
^
-<s»-
i^lOt i Q F #
•J5- Keep up movement on the accent.
^ w
Z2: -i&-
-i:^^
5^
-<3-
zz: -<s> 1&-

^=^ -)© — <»-
.0 ..il
CHAPTER XIII
DIMINISHED TRIADS IN ROOT POSITION: AUG-
MENTED TRIADS IN ROOT POSITION AND
FIRST INVERSION
I. Diminished Triads in root position occur on VII in the
major key, and on II and VII in the minor key
Ex. 164,
i ^-
M k
=8= s-
W n::
-^-
-^
o»-
2. The diminishedfifth from the bass is a discord and must
occur in the same part in the previous chord. This is termed

its preparation. It must resolve one step downwards into
a concordance. Vila resolves into la, and I la into Va.

Ex 165.
i
i
9 -ri-
'-^-
gfc^=
-0
=1=
g
r w- f
J. qI t -<5>-
J: :2i:
-^'
:§= P==ti-F pt= "-
I
?2:
i:^ B ^
The diminished fifth must not be doubled.
3. When Vila in the major key occurs in the tourse of the
repetition of a pattern called a sequence, it is free in its treatment.
Ex. 166.
^:
-G-
3^ -Gh-
'-^-
Z2:
-& —
mp-iî
^
-G>-
—I t I
1
Tl
DIMINISHED AND AUGMENTED TRIADS 95
4. The augmented triad occurs on III

minor key. The in the
augmented fifth from the bass should be prepared, and resolve
one step upwards (being the leading note) into chord I, or VI.
Ex. 167.
sa^y__jji==ip^zij fi=i^tEEE^ ^
A A
^m J2L
^
5. The first inversion should be treated as a dominant chord
with the sixth displacing the fifth. The seventh may be added,
but must be sounded belowthe sixth. Here we have new
it
harmony for the Perfect and False Cadences.
Ex. 168.
^
r —o-
-jct
s A—A-Y^
-s>-
-y -^
,
^^PFPi^
(0 {d)
it
K
I
«5>- jcL -^-

fe (O-
±:
i :Z2:
At [b] the exposed octaves are harmless, for obvious reasons.

6. If the E flat in this chord be enharmonically changed to
D sharp, we have an augmented triad on the dominant in the
major key.
Ex. i6g.
i -o-
-^
m &
Here again D sharp is a substitution for D natural, but its
tendency is to rise, not to fall.
96 DIMINISHED AND AUGMENTED TRIADS
It an example of a chromatically altered chord.
is Its ase
for the present will be limited to the following idioms

Ex. 170.
I
:q: :q:
i^
-o-
ii €^ (^ ^ ^ -G> n-S^- -S>-
J-
W; ff:
g: ^ ^ 122:
:zz2:
I :q=::=;^ -<s>-
The seventh may be added to the chord, but it must be

sounded below the altered fifth.
7. These chords should be very sparingly used, and it is
sufficient for the present if the student understand their treatment.
Exercises.
Ex. 172.
(i) Write a chord on each side of the following:
i^ÊE^JE^; :q:
-&»-
-G>- -te c?-
(^) («^) (0
-^- -Q-
^: -<S>-
~~0
:;=|^
^3-
(/) {g) (^0
^1^ g:
:
AND FIRST INVERSION 97
A
i%-^~H^
-<S> Gf-
-o- -<s^
-Q-
^p^ ^ -y5>-
-<S>-
T1Z& «s>- Ie=^
^"^ ~
~^^J Tl~^^l^^^^^^- F^
i^=_^l#^^3=i f,l I r:^
<2_
-iS^
-o-
?2ri
:^ 1©^ - Q O P- 122:
-«s>- -<s^
« «5 6 % t 6
% Q -<j= -s»- -rJ g^

-Gf -<s»-
-S»- :c^ —g± cj— ti
-lO lO- 1^ <S^

*^
6 5
^=Uz^ g iS>- 23: -kS*
:l==:^=:z ^
« 7 6 6 7
4 J
2
tjTÎ ^M 22 -©^ pi^! -S)^ 3E::

a
tO «S- 1Q- Igsri "9-
1(9
SÊÊS -o- -p:
6 6
»? ]f6
4
2
2293
CHAPTER XIV
THE MEDIANT CHORD IN THE MAJOR KEY
I. In root position this chord should be preceded and followed
by chords with which it has at least one note in common, except
when used as a harmonization of the descending scale ; in this
case it may be followed by IVa.
Ex. 173.
ZCL.
-<s>-
i^ ^^P
A. J. J. 'G/- ^
e -^-
i :P=EEP
fS>-
-I u
2. In the first inversion it may be preceded and followed

{a)by a first inversion on either side, (b) or by chords with
which it has at least one note in common.
Ex. 174.
-ydr—
-«s>-
-G>- ^
-«S>
-Gf-
iS^
r r
:-§- -J. 1
I
JL
î
..
6 6 6 6
But the first inversion may also be regarded as the domi

3.
nant chord in root position with the fifth displaced. And in thi:
light it may be used wherever the dominant could be employed
with the proviso that the sixth resolve a step or a third down
wards.
:
THE MEDIANT CHORD 99

Ex. 175.
-Gh- A. -?5^ :2i: :st

I I
ii
W^
i -<s^
122:
-<s- fiEÊ -tO jS>-
js:
-e^
o <^-
pE ^=:^ E^^gE^=||Eg=efl |
4. The seventh may be added, but it must be sounded below

the sixth.
Ex. 176.
— 3Ei3
p^
i :?2ZI]
:c2:
o ^ ^ -e>- «s^
^P
-&-
:p=iJ
î^?— I
-s>-
:g> ::
-f!^
-«S>-
-J
g
J_
«s>-
^
«S»-
5. The chord with or without the seventh forms new harmony

for the Perfect and False Cadences.
Ex. 177.
i^ pzztîEÊ^^^
Êl :z2^=::
i^ r
'W i
-«^-
?^
6. The above examples should be used as ear-tests.
7. Exercises.
Ex. 178.
(i) Add parts for A. T. B., introducing HI^ and HI^ as in
paragraphs i and 2
:z2: -e»- "

:^=d: -&-
'JzL -G^-
32:
i^ -©»- zci:
i;^!=:i
2292 G 2
I
lOO THE MEDIANT CHORD
(2) Add parts for A. T. B., introducing HI^ as a variation of
dominant harmony
H: .-CJ-
-G rzn
-^ iEE;^^ — "I
zig:
(0
I,|: P= lO-
(3) Introduce various uses of the mediant in the blank spaces,

and fill in the harmonv:
(a)
r -s>- iJ ^ 1=F
i -o- I^ZIS^ -&-
-G^ :cz
-G^
%fe£:^
('»)
-: 1Z2: -s>- ?2:
221
-^
-<s>-
^
d:
-<s» ^
-I u
^
m -<s-
r-
^ ^^ -)S»-
:??:
CHAPTER XV
AUXILIARY NOTES
I. An unessential note taken by step between two statements
of the same harmony note is termed an auxihary note.
Ex. J
79.
-i ^^Ji
i^^ -o— -J—fS>—
-^
1^'-
t--
i^^^; iQi:
:p:
r
2. Upper auxiliary notes, i. e. those lying above the harmony
notes they connect, are diatonic. Avoid those above the fifth of
II and root of III.
Ex. 180.
j_J-^'_| zzjb:^^^ ,=J=J=rJ=T

i -G>~^
-G-^
T
-«-!-
-|-
^ ;pi ICt
_ l
-<Sf-,
ip± I
In the minor key use the harmonic minor scale in writing
3.
upper auxiliary notes over and I. V

Ex. i8i.
-^ ^
ii±
r
A
:?3:
--g:-
va la
I02 AUXILIARY NOTES
The minor seventh of the scale is used as an upper auxiliary note.
Ex. 182
A minor.
i -o-»
ifzzii^: i^^
-e»-T-
-&^
i
via iva
4. Lower auxiliary notes :
{a) That below the root should be at the distance of a semi-

tone from such note, unless in the next chord the harmony note
leaps down a third, in which case the auxiliary note may be
diatonic.
Ex. 183.
^5:
^ -o-
-1~
^ ^=î--
.^...
^-.-
i^-
II a
-S&
v«
I -e^
II a
^
va
i
(^) Lower auxiliary notes of roots of diminished triads may

be a tone or semitone below the root.
Ex. 184,
:a:
^ -&-^ JZl
=** -0--
I
-d.
^^
-Gh^
1^ :p:
i
(<:) The auxiliary note below the major third of a chord may
be a tone or semitone from such note.
AUXILIARY NOTES 103
Ex. 185.
:^ — •-
-4=2: -^ i
{d) The auxiliary note below the fifth of the root must be at
the distance of a semitone, except when combined with that of
the third. When the third is major, the fifth follows its
procedure.
Ex. 186.
:^=jit.
-» — i^-
^P--
-<S>-'
-G-^
-1-
P ^^ e?: -^=^=1F^»^
Except over IV, when both should be a semitone below.

Ex. 187.
^TtJ:
IV
When the third is minor, the lower auxiliary note of the fifth
may be either at the distance of a tone or semitone.
Ex. 188.
i^ -I h
5£;
^
I*
f
J I
^- d *-
S, _ -fS-
104 AUXILIARY NOTES
(e) When the lower auxiliary note of the root is combined
with that of the third, if the former is diatonic the latter may be
a tone or semitone below.
Ex. 189.
m^mrt
w r
^J:
^^ :J=l
^ •zidiL
f^-
1
::zZ|q:
ri'
::z4i:
-€?-.
|S>-T-
-©»-
-^-v
When the former is chromatic, the auxiliary note of the third

must be a semitone below.
Ex. 190.
I
J
r r rr -p-
'
I I I -f-
A. -A-
m.
m ::=t:
ip:
::=zc^:
f^
5. Auxiliary notes may be accented.
Ex. 191.
5EE^3
|t2tb
-o-
6. An auxiliary note, an unessential note a step

that is
above or below a harmony note, may be approached by leap.

Ex. 192.
r^ — I-
e¥=^
-•o-
Ti
— (HJ- I
^ :(d.
-I— I
^ :
AUXILIARY NOTES 105
When such a note is accented, it is called an appoggiatura.

Ex. 193
i -O-
:iJ
1
Si:
-A
8. Exercises.
(1) Harmonize the following, regarding appropriate notes as
being auxiliary :
Ex. 194.
-¥^1^ jp'~: -^ 1^
JtZ^L iQ:
-^---
W=¥-
"Ê^^
5^2!
-^ p-s^
l f
5 I
I r
bbzEfl
I)
p^g ll^.
-<&
i
:P^=^.:
-+ —#*= 3; ^îf ,t=3:
i^^ -G»-
(2) Re-write the following chords, adding any auxiliary notes

you deem musical
Key C major.
grlmli -10---
-G>-.-
-0-5-
-eî-
— pi^zzzii
=^:ee
:q: -1^ PSr
^2z?2:
:c^.i
H -«^— T, 1
io6 AUXILIARY NOTES
(3) Re-write the following, introducing auxiliary notes in the
soprano and other parts (except bass)
-^W—Jr
-Gh
1=^
'MzizMizr:^
r^
K^^ ^ 1^
i
rr^
I
J
1 ^^
.. J J rJ
m-^
. , ,
^Mk pEEE^ r»=i^

f=r
?^
w
iP î •-
(4)
w4^4=4 m
Write all the chords in D minor that you know, and deco-
rate them in appropriate ways with auxiliary notes.
:
APPENDIX
PART I, CHAPTER XI
Add:
Suppose a melody in the minor key contained the following
progression
Key A minor.
3^
and it be intended to avoid modulation, the Gt] must be treated
as an accented passing note :
S
^ r^r
k
For
(a) it is inartistic to harmonize both G and F, as they are
notes of short duration ;
[b] Gi) is only used as a harmony note to reach Ft|, a har-

mony note. If, therefore, G
were the harmony note, and F the
passing note, there would be no reason for substituting Glj
for Of.
Pf^
f
^
io8 APPENDIX, PART I, CHAPTER XI
If the progression occurred after the first phrase, and if

modulation were available, the following would be correct
Modulation to C major.
I3
mtijgtiz
-^ —
r=^=f=^
It is not to be inferred from this that the following is incorrect
s
r r
m=± S^
f %
But itmust be understood that it is modal harmony (see
Evolution of Harmony, Chap. 1 1), and not a proper harmoni-
zation of the minor scale.
SET IN GREAT BRITAIN AT THE UNIVERSITY PRESS, OXFORD

REPRINTED BY HAZELL, WATSON AND VINEY, LTD,, LONDON AND AYLESBURY
MT
so
KSl
arf. a

Kitson - Elementary Harmony 1

Uploaded by

Copyright:

Available Formats

Kitson - Elementary Harmony 1

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Kitson - Elementary Harmony 1

Uploaded by

Copyright:

Available Formats

CO

FIRST PUBLISHED JANUARY 192O

PRINTED m GREAT BRITAIN

part of this work. It is intended for beginners, for use

foreground what I think are the essentials for an}^

profitable study: (a) ear-training, {b) constructive work,

must enable the student to use the material about which

Triads in Root Position and First Inversion

EAR-TRAINING IN THE DIATONIC

i -e»- -JOL -o- lo: -<s>-

The Roman numerals are used to designate the various degrees

I. Tonic, II. Supertonic, III. Mediant, IV. Subdominant,

Melodic intervals from I

Harmonic intervals from I

4. When intervals exceed the octave they are said to be

for all compound intervals.

$ Tenth or Third. Twelfth or Fifth.

All intervals are reckoned upwards.

5. The intervals of the third (major or minor), perfect fifth,

sixth (major or minor), and perfect octave are said to be con-

6. student must be able to state accurately any intervals

by taking into consideration what the intervals from II would be

Major Major Perfect Perfect Major Major Perfect

Thus from D to F is a minor third,

Intervals from E as III

-G^- :g=tt o -s>-

Third. Sixth. Seventh.

Intervals from B as VII

Minor Minor Diminished Minor Minor

Thus a student should be able to sing or take down from

7. When intervals beyond the octave are used the following

I', II' = octave above I or II,

I„ II, = octave below I or II,

and they can be referred to as higher I or lower II, &c.

8. The following are examples of ear-tests.

ably certain, of the ground covered in this chapter.

C5ZZIJ i^o: 22:

^ 22: -e»- -«^»-

PRIMARY TRIADS OF THE MAJOR KEY

The termed the root. A triad formed by

IVa, and Ya (a signifies root position of chord).

They are termed the Primary Triads of the key.

He should also sing the sounds forming the common chords

3. The upper sounds forming the chords can be inverted in

4. These chords should now be arranged for voices (Soprano,

S. and A. are written in the treble stave, T. and B. in the

5. As there are four voices and only three sounds in each

:z2: 22: 22:

22: 22: 231 22:

8. Add parts for S. A. and T. to the following bass notes,

Ex. 18. -Q-

A soprano G might be the root of Va or the fifth of la.

But under the present limitations, a soprano E could only be

22: 33: :g:

10. Add parts for A. T. B. to the following soprano notes

II. Next we have to consider how to use these chords con-

fa) A note common to two consecutive chords should gener-

(d) No part should leap a seventh, or any compound inter-

(^) No part must leap an augmented fourth ; the leap of

(/) The leap of an octave should be preceded and followed