The tonic triad (I) can progress to any other chord.

Every chord can progress to the dominant triad.

The dominant chord is characterized by the leading-tone.
Successive octaves in contrary motion are allowed, but not fifths.
Successive positions of the 5th are not good.
The Normal progression of a chord is a harmonic degree (perfect fifth) downward,

from root to root.

--All cadence-chords fall upon accented beats.
The perf. cadence is made on the I, in 8ve-position, accented, and preceded by t
he V.
A bass tone should not be repeated over the bar, or over an accent, as a rule.
Avoid monotony in the melody, but also too many wide skips.
--The subdominant chord is characterized by the 6th and 4th scale-steps.
In all triads, the position of the third is generally the best.
When the roots are adjacent scale-steps, the progression is Foreign.
In Foreign progressions no wide skips are allowed, and the upper parts move cont
rary to the bass.
Dominant chords progress, legitimately, only into tonic chords.
--The minor scale is derived from the major scale of the same tonic.
The harmonic minor scale differs from the major at the 6th and 3rd steps, which
are lowered a half-step.
The dominant chord is alike in both modes.
The 6th scale-step in minor must progress downward.
The two leading-tones (6th and 7th steps) must not succeed each other in the sam
e part.
There is no essential difference in the treatment of the major and minor harmoni
es.
--The VI is a tonic chord, the II a subdominant or Second-class chord, and the III
a dominant chord.
In the II, the position of the 3rd is the best; that of the sth rare.
The downward tendency of scale-steps 4 and 6 must be respected in all second-dom
inant chords.
A subordinate triad does not progress into its own principal triad.
The V should progress to a tonic chord, not to the second-dominant chords.
[II-V; II-I molto rara]
[IV-II; I-II]
--The I passes into all other chords. The V passes into I and VI.
The IV passes into every chord, excepting into the III.
The II passes into V and VI; and follows the IV, I and VI.
The VI passes into every chord, excepting the I; and follows every triad.
The III passes into IV and VI; follows the I, VI and V.
The best position for all triads is that of the third; especially for subordinat
e triads.
In the VI, the octave-position is forbidden; in the II, the position of the fift
h is poor.

In the in, the leading-tone usually descends.

[VI-II; VI-V; VI-IV]
[I-VI; II-VI]
[III-VI; III-IV]
[I-III; VI-III; V-III]
--Of the subordinate triads in minor, only the VI is a concord.
The semi-cadence is any succession of good chords, in cadential location, that d
o not form the perfect cadence.
The best semi-cadence chord is the V.
--The important scale-steps (1, 5, 4, 2) may be harmonized with their own triads (
I, V, IV, II); the unimportant steps (3, 6, 7) are usually chord-thirds.
The three principal steps (1, 5, 4) may be harmonized with either chord of their
class (1-I, VI; 4-IV,II; 5-V,[III]).
Only the important steps 1, 5 and 2 can become the position of the 5th, exceptin
g at the irregular progression of active steps 6 and 7, which must be chord-fift
hs.
--The best position for every chord of the 6th is that of the octave.
In principal 6ths, the position of the fifth is permitted.
Any chord-interval may be doubled, excepting the leading-tone.
No interval is ever omitted in an inversion.
Every irregular chord-succession is excused by inverting the second one of the t
wo chords, or both chords.
--The only good subordinate 6th is the IIi.
Subordinate chords of the 6th take the octave-position.
Chords of the 6th, especially when subordinate, should make no wide leaps in bas
s.
--In successive chords of the sixth the soprano generally moves in 6tJis parallel
with the bass; and one inner part runs contrary to the other three parts.
The couplet 6-5 or 5-6 should be placed unbroken in some part, usually soprano;
and the first tone should not be doubled.
Rapid diatonic tones generally rim on in the same direction.
--A chord of the sixth is most commonly used when the root is in soprano.
A chord may be repeated over the bar, or accent, if the bass tone is changed.
Rapid notes, in the same beat, are apt to be harmonized with the same chord, or
same bass tone.
--Six-four chords are weak.
They can occur, legitimately, only in connection with chords of the same bass to
ne, same root, or neighboring bass tone.
The soprano-position is optional.
The hass tone is doubled.

It is unrhythmical to repeat a hass tone over the bar, or accent.

--An accented 6-4 chord usually passes into the triad of the same bass tone.
An unaccented 6-4 chord usually progresses diatonically.
The plagal cadence is added to the perfect cadence, while the keynote is held in
soprano, or in both outer parts.
The deceptive cadence is substituted for the perfect cadence, by using the VI in
stead of the I.
-----------------------------------------Discords are divided into Classes, according to the distance of their roots in h
armonic degrees above the tonic.
Tonic chords are exclusively consonant.
The seventh of a chord is resolved diatonically downward, and is not doubled
The fifth may be omitted, in chords of the 7th.
Unequal octaves are wrong. Unequal 5ths are doubtful when the second one is perf
ect.
The introduction of a 7th is regular when it enters diatonically, or is prepared
.
All reasonable licences are permissible in First-class chords.
--In an inversion, no chord-interval is omitted.
The deceptive resolution is applied only to the V7, not to its inversions.
A chord may be repeated over the bar, if its bass changes; a bass tone may be re
peated over the bar, if it becomes dissonant.
--When the dom. discord is repeated, it may change its form in any reasonable mann
er, deferring the resolution, if desired.
The passive resolution of dom. discords is effected by Second-dom. chords, the c
hord-seventh re- maining stationary.
The seventh of the dom. chord may be resolved diatonically upward when the bass
accompanies it in parallel thirds.
--The triad on the leading-tone is an incomplete dom.-seventh chord, and is treate
d accordingly.
The only good form of a diminished triad (oV7 and II in minor) is the chord of t
he 6th.
Successive 6-4 chords are allowed if one is a discord.
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