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Brigham Young University

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}& AUGMENTED AND REVISED EDITION

Second Year Harmony

(A Sequel to "First Year Harmony")

BY
THOMAS TAPPER, Litt. D.

156956

Prut Si. M
\ net

THE ARTHUR P. SCHMIDT CO.

BOSTON NEW YORK
1 20 Boylston Street 8 West 40TH Street

Copyright 191 2, by Arthur P. Schmidt

Copyright 1932, by The Arthur P. Schmidt Co.
Copyright 1940, by Thomas Tapper
International Copyright Secured
 PREFACE

This book is divided in two parts.

In Part I, close position is used, and all chords not pre-
sented in First Year Harmony are taken up for study.
In Part II, open position is used, and the harmonization
of a given soprano is required.
The opening chapters follow a definite plan of presenta-
tion. This plan includes:
(a) The chord selected for study, shown and described
in both modes.
(b) Tone Study, by the practice of which the student
learns the chord, its character, and resolution
through the voice. The value of this practice can-
not be over -stated.
(c) Questions designed to bring the salient facts before
the student in question and answer form.
(d) Bass and soprano melodies to be harmonized.
The items that make up the working vocabulary are pre-
sented in detail, and many examples are given to illustrate
the English text.
In the Appendix will be found some test papers in harmony,
which have been set in schools and colleges.

THOMAS TAPPER.
New York, December 4, 191 1.

A. P. S. 9420
 SECOND YEAR HARMONY

PART J

CHAPTER I

THE SUPERTONIC SEVENTH CHORD

I. The first chord to be added to the vocabulary is the
supertonic seventh chord. In C major and in C minor this
chord appears thus:

f
C major

II7 v
m
IIO7

2. A seventh chord, being a dissonant tone-group, re-

quires resolution. '
This resolution may take place in several
ways, the most usual of which is found in its progression
to the triad of the tone a fourth above its root. Thus, the
seventh chord on D, in paragraph 1, resolves regularly to
the triad a fourth above D, which is G. This form of reso-
lution, applicable to nearly all seventh chords, is based upon
the authentic cadence formula, in which the dominant pro-
ceeds to the tonic, thus:

-=31
®m=£
$ 7^

C major
y C min.
V,
(')
 Mozart

Note in these examples (i) that the first chord is the domi-
nant seventh of the key, (2) that the second chord is the
tonic triad of the key. The bass G moves up a fourth (or,
what is equivalent, down a fifth) and the other tones, on the
treble staff, connect directly with the tonic triad. The
tenor G, in examples (a) and (&), is common to both chords.
The leading tone, B, moves up to C, and the seventh of
the dominant seventh chords resolves down, regularly, to
the third of the tonic chord.
3. Applying this form of progression to the supertonic
seventh chord, there is produced an exactly parallel resolu-
tion:

C major C minor

|^|EEE|~ip
BE
V
m 7

no.
JL
V

4. All seventh chords admit of three inversions. (See

First Year Harmony, Chapter L, page 131.) In the
first inversion, the third of the seventh chord appears as
bass tone; in the second inversion, the fifth is the bass tone;
and in the third inversion, the seventh appears in the bass.
 :

Thus:
C major

eI^
II 7

Note. In C major the supertonic seventh is numbered thus

n7 . In minor, a small circle is added, thus : n$, to indicate the
diminished fifth.

C minor
ft _. -BXS* -

IIO7

5. The full figuring of the inversion is rarely used. | is

generally abbreviated to 5, | to t, and 4 to 2 or 2.

6. The regular resolution of the fundamental n7 (see

paragraph 3) applies also to its inversions, and all follow
the authentic cadence formula. (See paragraph 2.)

7. The dominant triad, or seventh chord, often proceeds,

not to I, but to vi, making the deceptive cadence. Note
that in the authentic cadence resolution, the V7 may appear
complete, or without its fifth. In the deceptive form of
cadence, however, the seventh chord must be complete to
avoid faulty progressions.
8. The deceptive cadence in C major V7 vi, and in C
minor V7 VI:

C major C minor
ESE Se i
f-

v7 VI
Hi V7 VI
 g. This progression, applied to the n7 chord results as
follows in C major. It is not applicable in minor as a com-
plete resolution of the supertonic chord, because the third
degree in minor is an augmented triad.

C major C minor

&z W-

m 117 in
m 1107
jii+

10. Seventh chords may appear complete, with root,

third, fifth, and seventh, or the fifth may be omitted and the
root doubled in one of the upper voices. Hence:

With fifth Without fifth

$
m^^^^=^=^
117
v 117

TONE STUDY
II. Before the student proceeds to harmonize basses
which include this chord and its inversions, he must familiar-

ize himself with it by repeatedly singing the chord and its

resolution.
1. Sound with the voice, taking the pitch from the
piano, the tonic and its octave:

f
 2. Then the following, using the Italian syllables,*

singing slowly:

ZJCX=Z&.
$ i
II 7 -

3. Then embody the entire group in metrical arrange-

ment:

^£=3=^ i — *
EE • » 4=

117- V-

4. Similarly, in C minor, sound the tonic:

P
5. Then the following, with syllables:

1107- V-

6. Then in metrical grouping:

$ II0 7 - V
7. Sound on the piano the supertonic seventh chord,
fundamental position, of the major keys of:
C, Ab, Et>, B, G, F.

* For the application of the Italian syllable names, see First Year Melody, Page 1
 8. Sound on the piano the supertonic seventh chord,
fundamental position, of the minor keys of:
E, B, Eb, C#, F#.
9. Sound the tonic of each of the following keys, then
sing the tones of the supertonic seventh chord
ascending, and resolve upon the leading tone,
falling to the dominant:
(a) Major — Db, Eb, Ab, Bb, F, G, E, C.
(b) Minor — C, D, G, B, A, F, E, Eb, F#.
10. Sing the following in the major and minor keys
given in Question 8:

C major

P V7
E&E
I V
12. This vocal practice should not be discontinued until
the chord has become thoroughly familiar. Once the n 7
chord is grasped mentally in its progression to V, other pro-
gressions, which will be shown in succeeding chapters, will

be easily mastered.

QUESTIONS
1. What is the interval structure of the n7 chord in
major ?
2. What is the interval structure of the n§ chord in
minor?
3. When is a seventh chord in its fundamental position?
4. How many inversions has a seventh chord ?

5. Write the full figuring of each of the seventh chord

inversions, and its abbreviated figuring.
 6. How does the bass move in the regular resolution of

a n7 chord?
7. What is the usual progression of the seventh of a seventh
chord?
8. Name the major key in which each of these inverted
n7 chords is found:

{-?—3» =fe-
& 15 <4 ~b^ jfs
qffi-J= % &2
(T=> &
^5? # £2
Si
35
:

Tj bT=r "BT

9. What is the authentic cadence resolution?

10. Write the authentic cadence resolution (V 7 I) in C,
Ab, Eb, Gb, and F major; and in B, D, F, E, A, and C minor.

BASSES TO BE HARMONIZED

Harmonize the following, in four parts, close position.

First copy the bass correctly, adding the figuring. Then
sing the bass. When the three upper parts have been
added, play at the piano. Finally, proceed thus with every
exercise: (This practice should be followed with all written
work.)
1. Sing the soprano, playing alto, tenor, and bass.
2. Sing the alto, playing soprano, tenor, and bass.
3. Sing the tenor, playing soprano, and bass.
alto,

4. Sing the bass, playing the soprano, alto, and tenor.

Vocabulary :

The triads and their inversions.

The dominant seventh and its inversions.
The n 7 and its inversions.
 8 6 2 6

vn-r ^PPg '^m

6 6 6,
3 5 2 5 2 6 60

&m !zfcS=£
+=¥-
Sip^S^
6 6 4 7
5
i»
% 4 6 3 J -

gsg^g -«^-
=t -g>—g<-

5|
5
f 1»
^
e 2

^J.."*S ^^
1 1 I

^rv-
.
1L
-o r (?
l

(2 ^L-
1

1
1

# —J1 J
I
J
<j
i-
j
ii
i* ii
V * ^
^
__i
Tl -
* *1l
U
1
M 1
•4-
u
1

9 =• -3

u rt
^-^fe^fe
4
6
5
*-Z-* i=P=
6 6 6
5 7
-#-—-fi-

6
ll

s
3 6 6 5
6 8 6 5 H9-

E9z|^-—&—
-^tS A
I

^ & (H II
P*
F= t- t= II

-
7 3 7 7
6
4 6 _6 2
6
,74 6 6

as^ P=FP=p: feig^l

8 5 6 7, 6 4J
*9± j r
gaa i I
 9 3 6 5 i t

gSgf^ OTE *t±t=F P^ig^a

Add the bass n7 Vv
10 I t I

m=± :
S=«=Ff=I 5E* 4 1 1 1

»H4M4f-^f aa— i==i

gza —**+;
n§ n? v7

$^^m^&^m
n7 v7 n7 v7

*^i ll i '
M f'll ii M'l
'

i
±=t
' '

13 n7

iM-3 —s_x lS irezzd: fi ,

—jx^—
14 "7

3-g3°i <5r «" ma±f

*t3- -^-^: *t9-
3t*1I
» 1
IO

NOTES ON THE PRECEDING EXERCISES

No. Measures three and four, modulation to the domi-

2.

nant. Measure six sb, passing modulation to the sub-domi-

nant. The tones required above D are f, ab, bb,
No. 4. Measure seven the 5#, requires the triad of D
with augmented fifth (a#) which must resolve up to b in the
next measure.
No. 6. Both 6 chords (second and third measures) re-

quire the double third.

No. 7. Sixth measure: second chord. The seventh of
this chord (bb) resolves by holding over into the I chord of
the next measure.
No. 10. In the first four measures use fundamental triads
only; and in sequence.
No. 11. Third measure, second chord, use an inversion.
No. 14. First measure, second chord, the 117 in the I

position.
Seventh measure, first chord, the tonic I.
 II

CHAPTER II

THE SEVENTH CHORD ON THE SUPERDOMINANT

C major C minor

fining
m VI 7 II
m vi 7 110

The seventh chord, upon the sixth degree of the scale,

differs widely in effect in the two modes. In the tone
study suggested in the previous chapter the student will
have noticed the comparative mildness of the supertonic
seventh chord, both in major and in minor. Further, he
will, by analysis of the exercises, have remarked that the
ii 7 chord is admirably adapted to precede the V or V7 chord.
In fact, this progression n 7 V7
, I is the commonest form of
the authentic cadence. Fundamentals rising a fourth, or
falling a fifth, are particularly satisfactory because based
upon the natural progression of V to I. Hence, as V pre-
cedes I, so 11 precedes V; and in like manner, vi precedes 11.

Thus:

m vi
EEEEEE
11
V I

But, to avoid the awkward progression which results from

a series of rising fourths in the bass, the rising fourth is
12

often replaced or expressed by the falling fifth (its equiva-

lent). Hence the above passage is better thus:

IS
VI II
V I

That the adaptability of the vi 7 chord to precede n is greater

in major than in minor, is seen when the tone effect of the
chord is closely observed in both modes:

C major C minor

* vi 7 * VI

In interval structure the vi7 chord in major is exactly

like the 117 in major; both chords consisting of root, minor

third, perfect fifth, and minor seventh, a combination of

tones that is comparatively mild in its degree of dissonance.
By analysis of VI 7 in minor, we find that it consists of
a fundamental, a major third, a perfect fifth, and major
seventh. The presence of the major seventh produces dis-
sonance so harsh that the chord is less adapted in minor

for pure four-part writing than it is in major.

Before taking up the tone study of this chapter, the
student should sound on the piano the VI 7 in minor, funda-
mental position and inversions, and listen attentively to the
effect of the tone groups in each case:

lp =g^ =S2= 1
C minor yi VI 7 (|) VI 7 (|) VI7 (|)
7
 13

The presence of the minor second (G-A(?) renders the

inversions particularly harsh. Again, the natural progres-
sion of the bass (Ab) up a fourth (to D) is not practical
with this chord, ordinarily, as the fourth is augmented;
hence, less satisfactory melodically than a perfect fourth.
Nor may the bass VI rise a second to n° as in the deceptive
cadence formula (V VI) owing to the presence of the aug-
mented second from VI to vn° in minor. Consequently,
the roughness of the VI 7 in minor, in any position, and the
impracticability of its progressions taking place as with vi 7
in major, make the chord impractical in pure four-part writ-
ing as a chord of regular resolution.

TONE STUDY

i. Sound the tone C on the piano, and sing the major

scale up and down from that pitch, to establish the key in
the mind.
2. Then sing, or play, the following tones, noting the
natural progression; that is, the plan of the tone groups, as
they are indicated in Roman numerals, below the tones:

C
i
major: VI7 VI7 II7
V I

3. Sing this progression in several major keys, first writ-

ing out the chord (in small notes) and the melodic seventh
chords (large notes) as is shown above.
14

4. For comparison, sing the same progressions in minor:

f3t$-Z
/hi * «
— ey
<!S
«-< v
L
& ~^
a 53
<=>
1

H =y
r\r~3
1^ G— "<0
^ ^ C=7
fitr "
SS\t
•7 < 1

C minor yr :
VI, no V7

5. Sound the tonic of C major again, sing the following

inversions, and observe the resolution of vi 7 to the triad of 11.

$
C major: VI7 II VI7 II VI7 II

6. Write and sing these in several major keys.

QUESTIONS

1. What is the interval structure of vi 7 in major ?

2. What is the interval structure of VI 7 in minor ?

3. To what triad does the vi 7 naturally resolve (on the

authentic cadence formula) in C major, G major, At> major,
Di? major, E major, F# major ?
4. Why is VI 7 in minor less practical in pure four-part
writing than vi 7 in major ?

5. In what major key does each of these occur as vi 7 ?

fedJ^ i riy!&^4*g4^l
 *5

6. Resolve each of these chords (a vi 7 or its inversions)

*=»=
m^ ~-EE

% 6
k$=^

BASSES TO BE HARMONIZED
Vocabulary :

The triad and its inversions :

6 , %.
The V 7 and its inversions.
The n 7 and its inversions.
The vi 7 and its inversions.
6 6
5 7 7 7 5 7 5 5 5tf
p-
pip^
a
2
F
4
#=F
m
7.6
7

ex* q ^
O
3 $ 7
1
3
1
8 ,
^•r 6*
•w . J . :., .
ft

_h_ II
*-j.. J*
i i

-s wA p r A d j •* I
/J
i £ J i-r?
9 •
II
II
E4J |__ J II

3 6 6
8 3 7 7 7 6 4 5
a
CX««*Q
M..ffS
fS #
• j j r°
r-
(•11 1
•
II
-^ " Y r^ 1
-•'
* J m f r 9 • F \
i
1

4 *- LUJ- T^ II
1

=" t= 1
II

5 5J 6 7 7 5#

s%j=gfj^
,

I
4
5 55 6 3 7 7 3 7
-02-
-z?~
i
i6

m^^z-
6 8
-•- 7 « D 6 6 6& 6 7

p=e
F^tWre l

5 6
3 6 6 7 3 $ 6 8 4
42-

g^ -&-
¥
-75^
>jj-L-(5?—L-^ i
6 5
M-
^ii= ggginP ^^££gfeB

H&*=&
PEK^ I6 n7 V7
d=t
abat
tttm
vi 6
c \0

vug
r 1
1> » i
<»

pt^^ *=?
ite
vn8 i ii? V, iSV,
gig^B

s^s ?=Fff=FF*
ipt^ 4 V I
V 7 ii?
i
7 Vv 7 i e
6 v7

fa^ VI 7 II 7
^=^
V 7 VI
=
^= I* F F>-
=

I 6 vi 7
i^a
n7
 *7

NOTES ON THE PRECEDING EXERCISES

No. i. The measure but
5#, following the 5 in the last
one, requires the dominant triad to appear with augmented
fifth a#.

No. 3. Soprano begins, in first chord, on E§=^== In

the second chord moves to b: (third line).
it

No. 4. Measures four and seven. See note No. 1.

No. 5. Begin thus, in the upper parts:

w^ etc.

No. 6. Second chord. The seventh g, resolves up to ab.

No. 7. Measure four: The dominant triad (d-f#-a) is

emphasized by the 4 chord. The tones required in the first

chord are g-a-c#.

i8

CHAPTER III

THE SEVENTH CHORD ON THE MEDIANT

C major ^ C minor

*
HI TTl
III+

In the major mode the iii 7 chord is a comparatively mild

dissonance; in minor, it is exceedingly harsh. The figuring
of this chord in major shows in the small numeral, in, that
to a major triad (root, minor third, and perfect fifth) there
is added a minor seventh. In the minor mode, III£ indicates,
in the large numeral, III with the sign + to the right (III +)
that the root, third, and fifth form an augmented triad; to
this a major seventh is added.
While the iii 7 in major is constructed of intervals exactly
parallel to those of the n7 chord, there is a greater degree of
dissonance in iii 7 . This is probably due to the difference in

the fifths, D-A, and E-B in the tempered scale.

In major, iii 7 may be resolved by either the authentic

cadence formula, or by the deceptive. In the former case,
the root rises a fourth or falls a fifth; in the latter, it rises

to the next scale degree, a minor second above.

C major

-s
^. <s>-

ni„ VI
 r
9

The III£ in minor may be resolved in several ways; its

roughness, however, requires that its dissonant tones enter

as passing tones, for smooth progression. Hence it is rarely
used, in any position, as an independent chord.

C minor

fe E3E
$
iii± vi m+ v7 x
iii+

At a the regular progression of the bass takes place, the

other tones moving to the nearest position in the chord of
VI. At b the root rises a major second, and the chord of
V7 results. At c the leading tone ascends, the seventh regu-
larly descends, the root and the third remain stationary.
When the dissonant tones of this chord are properly pre-
pared and resolved, the rough effect is reduced to a mini-
mum, and the chord is useful in proper context.

C minor
a b

V III+V7 1

TONE STUDY
i. Sing the tones of iii 7 in major until their scale re-
lation as a group is clear. Do this in all major keys.

f iii„ VI
20

2. Sing the same group in conjunction with the tones of

the chord of resolution (vi 7 ) leading through ii 7 ,

V7 , to I.

f hi vi„ n«

3. Note the regular resolution (authentic cadence form-

ula) of the seventh chords in the following. Sing
in all major keys.

11
^Egi^EEgSSfe^g
m„ vi n
V7
S V7
4. In like manner sing the inversions of iii 7 . Thus:

g 10
feE
VI IIT VI III,, VI

5. Sing each voice part alone, playing the other three;

that is, (1) sing the soprano, playing alto, tenor,
and bass; (2) sing the alto, playing soprano, tenor,
and bass; (3) sing the tenor, playing soprano, alto,
and bass; (4) sing the bass, playing soprano, alto,
and tenor.

s ^=3
m7 VI
 21

6. In C minor, sing:

d&
^ TTT+
III} VI

7. And the inversions, thus:

$ B=feE -<s>--s>-
fcs- ^
Illi VI IIIJ VI III} VI

QUESTIONS

1. What is the interval structure of iii 7 in major?

2. What is the interval structure of III4- in minor?
3. Why is iii 7 more dissonant than n 7 in major? 1

4. To what two triads may in 7 regularly resolve, in

major?
5. Why must IILjr (in minor) enter with especial prepara-
tion of its dissonant intervals?
6. In what major key is each of these chords found?

7. In what minor key is each of these chords found?

8. What is meant by preparation of the dissonance? (See

Introduction.)
9. What is meant by resolution?
10. Construct on the following fundamentals: C, Eb, F,
A, G, Bb, a n7 chord in major; a 119 in minor; a vi 7 in
major and in minor; a iii 7 in major and a III£ in minor*
22

BASSES TO BE HARMONIZED
Vocabulary:
The triads and their inversions.
The V 7 and its inversion.
,

The n 7 vi 7 III4- and their inversions.

, ,

JL 1 5 6

zSatQ f22_ r ^-
& —p- 8 5
-&-

m^m 3 7 7 7 7 5 5$ 5b 6 4

6
s 7

s 6 4
#
7
—•-

7 7 8 -^>-

W=3e^ SEE
i
3 __7
7
q_ 6 fi
5'Q 6 6,5
SS*i^g=&=i*: ssi -
gHft
1
6
8,6 4 «
°, 60 465 6 4
3 7

^^ff^H^ g » ( |
 — 1 1

23

6
6 7 5 2 § T 5 5Q 7 7 7 7
-C^-b-tg — 1
1-
*~
-1 -j
H
-^wirz —^ -h — ^— "~f" r^
^~ -«» — f~
g H
L "-^ i ~~S> 1

6 7
* a 5 6
i.

B 5 Q 6 fl

-fc
-U-f«-H I

NOTES ON THE ABOVE BASSES

No. i. First measure, second chord: the dominant of A
minor.
No. 2. Fourth measure, second chord: this is the aug-
mented triad (G B D#). The D# leads upward to E in the
following chord. Fifth measure, second chord: The chord
is C G B b, dominant seventh of F major. The seventh, B b,
resolves on A in the next chord.

No. 6. Fourth measure, second chord: G# in the alto,

moving to A in the next measure. Fifth measure: The *
requires C# in the dominant seventh chord on A; A C# E in
the upper voices.
No. 7. Fourth measure : The E b of the first chord moves up
through E to F in the next measure.
No. 8. Fourth measure, second chord: dominant seventh
chord of F minor. The tones in the upper voices are C G Bb.

MELODIES TO BE HARMONIZED

VI 7 nlV8

i 3^
[
~-W=W~
£
24

vi7 n 7 V7 njV7
<9-
2 — *5-<^
i^-f -02- ^•-£2- 2-^-
-tf>-*2- "f

vj v7 vi 7 n 7 i| v7
He
i6 it
rfcte=p=pc

i :fcat

V| ifi . VI 7 n£V7 VI V7
^ :£F3- gHg-
-

-g-gfc
 25

CHAPTER IV

THE SUBDOMINANT SEVENTH CHORD

C major

IV,
„

m
. C minor

iv„

In major, the IV 7 consists of root, major third, perfect

fifth, and major seventh. Sounded on the piano, this chord
is harsh, particularly because of the force of the seventh
F-E. In minor, the iv 7 chord consists of root, minor third,
perfect and minor seventh; and because of its minor
fifth,

seventh (joined to a minor triad) it is smoother than the

corresponding major scale seventh chord.
The IV7 chord cannot make the authentic cadence reso-
lution in either mode, as the interval a fourth above is, in
both modes, augmented. Consequently, it follows the
deceptive cadence resolution, and moves up one degree to
the triad of V. Thus:

C major C minor

=31:=
<fr
g r~fl<P

m KE
IV V
IV, 7

This chord appears to best advantage when the third or

fifth of the iv 7 is in the soprano. When the seventh is in
the soprano the resolution of IV 7 to V produces fifths. The
26

seventh chord must always be complete when it resolves a

degree upward; that is, in the deceptive cadence progression.

In C major
5th in Soprano 3d in Soprano 7th in Soprano

ESE
P -* "Sr
m-
IV7 V IV7 V IV7 V
In C minor
5th in Soprano 3d in Soprano 7th in Soprano

gfe^— ag= E^E^I

7
&t
ftz
IV IV IV
V 7 V

TONE STUDY

i. Sing the IV 7 chord in all major keys, with resolu-

tion to V.

C major

ff
IV, _v_

2. And in all minor keys:

A minor

1$ 3^E
IV _V_
 27

3. Sing the resolving iv 7 through V to I in major and

minor:

C major
a —&—
fvr^-79 =- —<S «=> 1_<S U

IV7 _v7 . T

A minor

* -o
IV
=- s?
2=?

-V.
7*»-—<£?— C -<S>-

4. The following illustrates the use of this chord in

major. Play the exercise, then sing each voice
part in turn, playing the other three, as explained
on page 20.

C major
-I U J J_
:±
StEEg iEE*E :*=*

g>:=*=£
I IV n 7 V7 I IV7 V V7
* —*-
m
I IV VII °
=t=HP

VI
^=1
n
7 V7 I

5. The next example illustrates the use of iv 7 in minor.

Play and sing as directed in No. 4.

C minor
4—4
M=#4#-w-s46g
7
13 jHj-sd ^
77
"St-

—* —»— —»— — H—
7 7 2 6
1
f
^rh- j —» — -

J
,

g — --j —»— # -jg -j

r~hj :

I iv no v 1 iv vV VV 7 T IV J 1 11 V 1
7 V7 7 7 V7
28

QUESTIONS

i. What is the interval structure of IV 7 in major?

2. What is the interval structure of iv 7 in minor?
3. Which is the more dissonant, and why?
4. Why is the authentic cadence progression not available
with the IV7 chord?
5. What tone cannot appear in the soprano of IV7 in its
progression to V? Why?
6. Write the fundamental positions and inversions of IV 7
in these major keys: C, F, Ab Dt?, G, B.
7. And minor keys: C#, F# G#, A, E, F, B, D.
in these
8. In what major key is each of these the IV7 ?

=k
T&- ^^
9. In what minor key is each of these the iv 7 ?

EXERCISES
Vocabulary:
The triads and their inversions.
The V7 and its inversions.
The n 7 vi 7 iii 7 IV7 and their
, , , inversions.

BASSES TO BE HARMONIZED
6,
6 sb

ss I
 1569^6
6 6 6 i V-
=§^ $* i
-M—^ri
m
6
7 6 6 7

mm^m 3 6 5 5 5 7
.&- -&- -&- -&—?-
yi
5-7
d
~.GL-
8 7 JJ 6_
-&—&-
mt
1 2. 5_k£l.

Jadassohn
6 7 6 6 8 7

^fi3 £ JESBit
S I
7- e
- 3, T t

gWF £ff^ l£2_ =t

-3^-

7 8 6 I I 6 | 8 3 6 i | J
<9 •
:^t3 :^=P= .ffl <L
± J=t i
MELODIES TO BE HARMONIZED

VI 6 a min V
itElflHrrrN 3t3fc± #=^ 3 :*=*

IV V Gv7 n 7 V7

m
I ir 6 C vi

* -P !»- -
r-d—J- i
30

DV7 I VI 1V«

» I« FV7 VI a

i^wm
ilo

'-=^
idk =t w- -*-*-
¥
NOTES ON THE PRECEDING EXERCISES

No. i. Fifth measure, the seventh (c) of the first chord

rises to d.

No. 8. Measures three and four are in sequence with one

and two.
No. 9. Third measure, first chord, must appear with
doubled third.

No. n. Second measure, second chord, vi.

No. 11. Third measure, second chord, the bass in E, modu-
lating to F major.
 3i

CHAPTER V
THE SEVENTH CHORD ON THE LEADING TONE

ipllp
C

vno 7
major

mm C minor

vno 7

The chord, in both modes, is a mild dissonance, the minor

vii? being somewhat less harsh than the major vn?, owing
to the presence of the diminished seventh from the chord
fundamental (leading- tone).
Many theorists present the leading tone seventh chord as
the dominant ninth chord, with root omitted. The chord in
its complete form of five tones, is shown in the following
example:

C major

#v 9
P3f:
ve

Employed in four-part writing, the V9 chord must appear

with one of its tones omitted; the omitted tone is usually
the fifth. The Tone Study work, and the basses for harmoni-
zation given in this Chapter will treat this chord as a seventh
chord. In Part II, this chord as the V9 will be studied.
Interval analysis of vn? shows that it consists of
in major,
a root, minor third, diminished fifth, and minor seventh.
In minor, the intervals above the root are a minor third,
diminished fifth, and diminished seventh.
32

From the fact that the vn°- has for its root the leading
tone, it invariably makes the deceptive cadence resolution;
that is, the root following its usual strong impulse (as
leading tone) rises to the tonic. The chord, however, may
resolve a fourth up, in major, after the authentic cadence
formula, in sequential passages; that is, when the bass
moves in regular intervals. Thus:

C major
4-
m =3=
=^=
=23= =3=

m
VIIO III vi„ II
Vt

Except in sequential passages, this chord usually resolves

upon the triad of the tonic. Thus in C major:

C major

<=)

V*J.
%£» c=3
e=> £S?
<r='
a
tin ^ 11
II
11
II

VIIO t viio VIIO

7 ± 7

1. Sound the tonic of C major, and sing the vn? and its

resolution:

C major

% VII
 33

2. Sing this group in major keys. all

3. Proceed likewise through the minor keys with the

following:

C minor

P ttor
VIIO„

4. In both modes, in this rhythmical form:

S C major

vii o„ _i_

5. Sing the inversions, testing the pitch from time to

time at the piano:

C major

# Z&Z3SL
s =^^
I ™° 7 JL viio„ _I_VII0 7

6. And similarly in C minor.

7. Sing the diminished seventh in the following keys,
continuing the practice until the interval is familiar:

Model
D minor

f- Wr

C, F, E, D, A, B, F#, Bb minor.
34

QUESTIONS

i. What intervals occur in the minor scale (harmonic) that

are not found in the major scale?
2. What is the interval structure of the diminished seventh
chord (vii?) in this inversion ?

~^^~
$
3. To what minor key does each of these chords belong ?

=3te=2Z -fre
i31= -rs-

4. Which is the milder dissonance, vn? in C major or in

C minor, and why ?

5. Write on the dominant of the following keys, the V9

chord; first as a five- tone chord, then as a four- tone chord:
Major — B, Cb, Db, G, F, D.
Minor — Bb, Eb, A, Ab, C, E.
6. When may the vn° in major progress to the triad of a
fourth above ?

7. Why, ordinarily, does it not make this progression ?

8. What other seventh chord in major progresses to the
triad of the next degree above ?

BASSES TO BE HARMONIZED
Vocabulary:
The triads and their inversions.
The V 7 and its inversion. .

The n 7 vi 7 iii 7 iv, 7 vii?, and their

, , , inversions.
 1

35

667+ _*^i* ^* -—^

I
3 „T
-*
j?

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7
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i^z^:=^:=pd d'-f- fc= f^^JA

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3=F* *
5 8 7 5 7 5 J u6 7 5 5fl

^iifc ?=P=
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6
8 6 6 5 5$ 5 7

=9^3 gr f 1 I— \^~^W=i=?
i
7
6 Q 6 -Q
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5 •- 5 7

^£ #-= — •-
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SE

6
7 5 7
5 8 ^5« 7 7 7 7 7 7 7 7 6
-R-HH8—^r^r- _
^-i (5? —J r^ H n +FzH
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1

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J-L 1:1
17
Pis 1 -1 sJ ^1 II

Dr. Paul
7 6 1

3 6 6 $ 7 6 7 4 3 6 -4- 15
r-
^C** hO 1 1 1

^ ^ 1
II
^1 b91/Z
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o
£ A & &&A a j _d <o II
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1

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3«

MELODIES TO BE HARMONIZED

IV 7 m7 I6 n7 .
6 ii

is E
^ g (g- -^ [g-L^ [g~ ^ :

n
P
IV 7 vn° 7 iii 7 vi 7 n7 V7 I

—g?
im jj & 75-
-&- ~zr -72-
M
vn°7 n7 V7 vi

itai izazzjt EitzjtEtzi 1

A minor
vii° v VI vn6 I V7

life*
kg
t±=t -i«-F»- *-*-
zH* 3*t ^-s
8
 37

CHAPTER VI
THE TONIC SEVENTH CHORD
C major , C minor

if i "if"

The tonic seventh chord in both modes is a harsh disso-

nance. In major, the interval of the major seventh, includ-
ing the leading tone, takes from the chord that characteristic
of most sevenths, to fall to the next scale degree below.
This chord may, however, be used in two ways, by either of
which its dissonance is made less forcible through the con-
text, (a) It may appear in sequential passages, entering
and resolving as satisfactorily as do the milder sevenths. (6)
In close connection with other chords, triads or sevenths, in
which the leading tone enters as a passing note and brings
the I 7 into evidence with smoothness. Thus:
C major

^m r
-£r

§i
i v7 1 IV7 VII0III 7 VI "7 v I7
^m
IV i v7 I

i v i7 IV i v7 I
38

While the I 7 in major is thus practical even in pure part

writing, the corresponding chord in minor is not. By close

chord connection the I 7 may be made to enter and to give a

passing suggestion of its independent character. Thus:

I V l\ VI

See Chapter VII of this book for further explanation of this

and other extremely dissonant sevenths.
In interval structure I 7 in major consists of a major triad
and a major seventh. In minor, it consists of a minor triad
and a major seventh. In both modes, the seventh has a
strong tendency to resolve upward, being the leading tone;
it may be led downward in major, but not in the harmonic
minor scale, for, in the latter, the progression of an aug-
mented second from the leading tone to the sixth degree of
the scale is unsatisfactory.
Note the use of this chord in the following example:

C major
J L L-J 4-

P ^ =3= 3=z^
6
4 7

$=£
VI
I I7 IV II II III III
7
II
I V7 I
 39

While the second chord in measures one, three and five ap-
pears as independent seventh, the passage is merely a suc-

cession of triads, in a two-measure sequence group, the

groups being closely connected by a passing tone that, in
the above example, gives the impression of independent
seventh.

C major

i(i 7 )iv "c^v

TONE STUDY

i. Sing the tones of I 7 in order, and observe the ten-

dency of the seventh.

C major

i _IV_

2. But observe in singing the following that, through the

momentum of the sequence, I gives the impression
of resolving to IV naturally.

C major

^Z3T
i VIIO
_IV II
_V7
4o

3- Sing the following, and observe that when the tones

of the triad on I continue through the leading
tone, descending, that the seventh in I 7 appears
as passing tone:

le '-m — m
*•

4. Sing the following, observing the pronounced ten-

dency of the leading tone to ascend:

E minor
335t=4
#
5. Sing the next example, observing the tone group of
I7 and also that the underlying I 7 -IV resolution
brings the leading tone down to A naturally:

C major

r ,
|
g».n. :

^ii... 33 ^gii
VI n„ V I7 _ _IV

6. All examples given in the above questions should be

practiced in several keys.

QUESTIONS
1. Write the I 7 in
C, G, B, Db, Ab, Eb, major.
F, D, A, C, F#, Eb, minor.
2. What two forms of triad are contained within the I 7
in major ?

3. What two forms of triad are contained within the i7

in minor ?
 41

4. Write and resolve the I 7 in the keys of C, G, B, Db,

Ab, Eb, major, in four parts, resolving the chord (a) upon the
triad of the fourth degree; (b) upon the triad of the second
degree.

5. Locate each of these chords in a major or minor key,

as I 7 :

It
tsa*z#=^ ii^fel
6. Chromatically alter one tone in these chords, to pro-
duce a dominant seventh in each case:

BASSES TO BE HARMONIZED
1. All triads and their inversions.
2. All seventh chords and their inversions.

6
5 8 7 6 6 5b •*, i 6 6 4
&
3 s G
1
A 6
3 7 2 6 5 6 5b

€£% g >
fg *E 0—f9- & P .

ai

3 8
2-
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7
^5^
-<5>- 7^77 7
6 6
-«^- H^—^-
1
6 6 6 4 7

at is ^H2- :[=:
i
 —
42

7tJ
6 Q 8 5 e
-f2—=R=-&- (2-
Z&L

7 7
3 6
6
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4 3$
4

^js
a= ^±= 1 I

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7 6 6
8 7 ? 5 6 7 5 7
r42
— &— r. ^~^- 4f* &
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T~
<5>

T ^~ r r- 4- r J
1
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^ 1

I vn°7 GV 7 I

$- £e t±t=f

II° 7 VII° 7

&—at- E# -&—&
Iie 18= -&—&- -&- -
22:
1
Note. — From this point the harmonization of melodies,
in close position, will not be required.
In Part II, melodies alone (soprano, alto, or tenor part)
will be given for harmonization in open position.
Beginning with Chapter VII, harmonic analysis of part
music is introduced and continued to the close of Part I.
 43

CHAPTER VII

REVIEW

The basses to be harmonized which are given in this chapter,

present a general review of the fundamental and inverted
seventh chords, thus far studied. The chromatically altered
triad (with augmented fifth) is introduced, and an occasional
modulation to a nearly related key.
It is suggested, in harmonizing these exercises, that the
student adopt the following process:
i. Write the soprano throughout.
2. Then add the alto.
3. Lastly, add the tenor.
Each part should be sung as it is completed, and the whole
tested, when finished, by the chord progressions.

QUESTIONS

(Applicable to the Exercises of this Chapter.)

1. In which of the following exercises is the augmented
triad used, as a chromatically altered chord?
2. Where are consecutive seventh chords used sequentially?
3. What cadence form is employed in No. 6, fourth meas-
ure?
4. Where is the passing modulation employed?
5. When may the vii? proceed on the authentic cadence
formula (that is, its root rising a fourth) ?
44

6 5& 6 6
3 4 6 -#- 6 ,6 5 47

£)12 •=^ #—# rlh^-E-

4; 3i# I
2=

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6
4
6
5
n* P ^
,

uz r r
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f?
rj v ^ & &
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1

. (?
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7 7 7 7 26677
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6 % I 6 6 V^34 ft

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F W -1 m
F F P ii
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45

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7 7 ,

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7 7 5 7 56 47

§%e£ -<5>- ^-g

8 7 2, 6 7 7 6 7 7
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&
^#i ~¥=i=3- &- 1

ANALYSIS

In each chapter, from this point to the end of the book,

chord analysis is taken up. This work will require frequent
references to the preceding chapters of this book, and to the
text of First Year Harmony.

Ludwig van Beethoven

4 j S g l S '-hfsi—j,5_l g — Hn 3=1:

JL-d.
«3
s—— 1
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&L
^==t
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— — r
s
i
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46

—
h 1 1 dim 1

=^^= :=^2 —1- s

-il » j^j
jQE >—

=5b± 4 — i_

P =g= ^ =±±
r=
^ f=
*= s=

What is the key?

2. What is the key at the end of the first phrase?
3- In what key is the second phrase ?

4- Where is the f chord used?

5- In what key is the augmented second Et?-F# found?

6. What seventh chords are used in this example ? Give

the root of each.
 47

CHAPTER VIII

NON-CADENTIAL RESOLUTIONS

Thus far we have observed the seventh chords chiefly in

their cadential progressions. The root rises a fourth, fol-
lowing the authentic cadence formula, or to the next scale
degree above, following the deceptive cadence progression.
In nearly all cases the seventh has been regarded as a tone
that proceeds downwards in its resolution. Thus:
In major:
I 7 proceeds to IV or n
n7 proceeds to V or in
iii 7 proceeds to vi or IV
IV7 proceeds to V (to vn° only rarely and through the
impulse of sequence)
V7 proceeds to I or vi
vi7 proceeds to n (see note on IV7 )
vii? proceeds to I (see note on IV7 )
In minor:
iv7 (see Chapter V)
119 proceeds to V
III4- (see Chapter III)
iv7 proceeds to V
V7 proceeds to 1 or VI
VI 7 (see Chapter II)
vii? proceeds to 1

In practical music all these chords may be used in many

other ways. The most dissonant seventh chords may be
gradually introduced and made to pass over to the other
less dissonant chords before resolving.
48

Through the motion of the other voices, the seventh itself

(of a seventh chord) may resolve:
i. Downward (regularly) or
2. Upward, or
3. It may remain stationary.
Careful observation of the progressions found in the
exercises at the end of this chapter will show that these
progressions are practical. Note the following:

m 7
-fSr
2
ZC2Z
mi 4=

At a, the seventh (F in the alto) moves up because the bass

proceeds to E, the tone of resolution. Should F also proceed
to E, the seventh would resolve in two voices and produce
hidden octaves.
At 6, the seventh, F, moves up to F#, producing another
V7 chord, which, in turn, progresses regularly, its seventh C,
resolving on B, in the soprano.
At c, the seventh, F, remains stationary and passes over
in the third chord to the V7 of D minor.
Other examples of the same, and similar resolutions:

(«)

!=^= 33£EE3£ ^3t ^

as mm
 — — g
u J — i —
49

At a, the seventh (Eb) proceeds upward to E.

Jadassohn
(a)

itfNr-P —i (Si
!

— 5?
-2= -£*—
-1 -J
<SJ <S>
I

H~n
— =j -

etc.
6
6 6 5 7 6
<s
y^3fik__p
1
<s
1 i

— — — —i— -i
«S>

"I
j

At a, the seventh (D) remains stationary and becomes the

root of the following six chord.

At a, the seventh (F) may move either up to G, or down

to E.

=1

pi \-

*i "l
Jl
.
i
a.
nm
^=+ E

At a, the seventh (G#) moves up to A.

 5°

BASSES TO BE HARMONIZED
I 8 7,6
-0-
76 8 6 6

^iSd: mi
8 p^Q 6 5° 6 8 7 5 kZ &- &-

m8££&^%f¥W££w%
$

A. RlCHTER
6 6 6
3 4
3
—H - 61 7 6 2 5 8 5
"^iTiiH2—^
7,

^ — £2 "^ -d— +- H
!

"^ ^~ -& — 2-
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* <* ^ ^
I
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6 6
$85 « 6

SH
«
5 5 4 6 3, 4 *

^EE r p > r # — •-

5
8 !

sg 1
5 Iff 7 J .
"!^-
es?3

S. A. Emery
6 6 6 6
6 3 5 5 87 33 6 5 4 7
rv'O
•~1.25 | ^ ^ L 4S— & ii
~S t\ *a
* ^
1

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1" f3 P 1

(??
II
II
z, = 1— -L- fiL 1:1
 — r

Si

ANALYSIS
Sir Joseph Barnby

m * i=
-**- -V-^-gr

U J-
*£=*=
T -r
L |

R—
i. What is the key?
2. Why may the second chord (first measure) be in the
| position?
3. What modulation occurs in A major, through the tone
E sharp?
4. Through D sharp?
5. Bass of measure six: what effect on the key has D
natural? C natural?
6. What chord prevails through the penultimate meas-
ure?
7. Why is the unison used twice in measure one (bass
clef)?
8. Is the melody of this composition confined to the
soprano ?
52

g. Are any of the chords in close position?

10. Why may the third of the tonic triad be doubled in
the second measure?
ii. What is the purpose of having the parts cross in meas-
ure four?
12. How many dominant seventh chords are used?
What is the key of each ?
 S3

CHAPTER IX

CHROMATICALLY ALTERED CHORDS

In four-part writing, of simple character, any one of the

melody lines may be enriched by introducing chromatic
tones as modification of the chord. The following example
is of simple chords throughout and illustrates the basis of
chromatic alteration:

In this, the melody lines may be given character and greater

impulse by introducing chromatic tones, a process with which
the pupil is already somewhat familiar. (See p. 15.) The
first chord to be so modified is the triad, and the strongest
melodic tendency may be given to it by allowing its fifth to
proceed chromatically upward. In the next example, this
modification occurs at the points marked with the 5#.
54

Such modification of the triad rarely produces a modu-

lation. The preceding example begins and ends in C major.
At the points where the 5# occurs an enrichment of the
melody line occurs. The effect of these chromatically
altered chords is to emphasize the following chord as an
integral part of C major.
A triad may be chromatically altered, not only in its

fifth degree but in its third. The following are the various
chromatic inflections that may be used.
Major triads: 5$ or b3-
Minor triads: 5# 3#.
Diminished chord position) 5$, 3b.
triads: (6 All these
are illustrated in the examples that follow:

=U4-
Wj£
=«fc
m
U-J=J=pJ=-j=p-i
I ^E
r 6J
5 5J

m.SEB

-! a bg i.aL ra— =a—

fj t—S
*==*=
«-
~-g~

i| i^g.-
f
T=t=
 55

The use of chromatically altered chords produces a thor-

ough bass notation that is complicated beyond what we
have hitherto seen. While some of the signs used in this
chapter have already appeared, the following list may be of
service for reference:
i. 245 etc. A stroke through a numeral is equivalent
to the # sign (as applied to the tone in the key of the exer-
cise).

2. \ # b used above a note refer to the modification of

the third.
3. 5X means a double sharp to the fifth of the bass note.
4. I
I The short line under the seven means to carry
the sharp in both chords.

5. s _ s The line means continue the previous chord (|)

as second chord; the b requires the same chord again

(g)
but with chromatically altered fifth.

TONE STUDY

1. The impression of the chromatically altered chord in

its progression is best perceived, in this exercise, by singing
the given notes, sounding at the same time on the piano, the
fundamentals indicated below the melody line.
56

*— y—pE
J
I=«—!Mi

— i »-

F I_ ^ IV_ -V7

3 *t ^
P G
J.

I
J. l—f*-
IV
i r
^
VI
2. Sing the following in several major keys:

3. Sing each voice part separately, in the following exam-

ple, at the same time playing the other three parts.

m zfafc
ss^^
— * a
1
f-T-
f3*E
rr
%4
P3E^

=t=FP

GENERAL RULES REGARDING CHROMATICALLY

ALTERED CHORDS
1. The sharp sign requires the modified tone to move
upward to the next scale degree.
2. Similarly, the flat sign requires the modified tone to
move downward to the next scale degree.
3. The chromatically altered tone must not appear in
more than one voice.
 57

4. Rules for chord progressions, thus far learned, are not

set aside through the use of chromatics.
5. A chromatically altered fifth, if held into the next chord
as new leading tone, creates a modulation:

Efefe 3E

4' I

C I

6. If the chromatically altered tone appears in the bass,

it must not be used in the upper voices.
7. Sharp five, as non-modulatory progressions, cannot be
used in the triads of VI and III in major, owing to the
minor seconds between three and four, and seven and eight.
8. Flat three cannot be used in the triads of VI and II in

major, owing to the minor seconds between three and four,

and seven and eight.

QUESTIONS
1. How must the sharp inflex be resolved?
2. How must the flat inflex be resolved?
3. Which triads, in major, cannot take the sharp five?
The flat three? Why?
4. Why must the altered tone be restricted to one voice?
5. Do chromatically altered chords always produce a
modulation ?
6. What is the value of the chromatically altered chord in
four-part writing?
5*

7. In what manner may chromatic alterations be made to

produce modulation?
8. When does the augmented triad appear as a natural to
the key?
9. When may the diminished triad admit of its fifth being
led upward, by the sharp?

ANALYSIS

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10 11 12

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 59
13 14 15 16

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measure.
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What two
-*-
Ik: jL,
K

tones
^ i^ are chromatically
altered ?
2. What chord is emphasized by this alteration ?
3. What is the effect of the F# in measures three and four ?
4. Measure seven: How far does the influence of the first

chord extend? What is this chord?

5. What is the first chord in measure nine?
6. What is the first chord in measure eleven ? Where does
the D [> resolve ?

7. What is the effect of the F# in measure thirteen ?

8. What is the position of the triad in measure fourteen ?

6o

CHAPTER X
CHORDS OF THE AUGMENTED SIXTH
By chromatic alteration the augmented sixth may be made
a component of three chords: (i) the first inversion of a
triad; (2) the first inversion of a seventh chord; (3) the
second inversion of a seventh chord; that is, of a 6, 5, and 4.

The presence of the augmented sixth in these chords is

indicated by a stroke through the 6, thus 0; or by the sharp
sign following the six (according to the key), thus 6#.
These chords may appear either in major or minor. They
may be made to enter so as not to change the key, or they
may be used for modulatory purposes.

m 3si 3s
22«r

m
The following illustrates the chord of the augmented sixth
in C major:

H^ n '
1

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1 VT7
2ej
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j

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 6i

In C minor:

h^P Hjg
-t^~
3g=

6J

HI
In all instances the augmented sixth chord is a chromatic-
ally altered minor triad. The following illustrates its use
in G major:
S. Jadassohn
sat
^=
m^-^= »=35ta
-=M^ «E ^^3i=g ^g=:

=5=1^
p: zsfc

G I - V7 I a IV IH+ V7 I e V7 VI G " 7 VtV I

The derivation of the augmented sixth chord, from the

minor triad, shows (i) the minor triad itself, (2) the minor
triad with raised fundamental, (3) the first inversion in
which the third of the triad becomes the bass tone, and the
raised root appears in one of the upper voices. Thus with
the minor triad on D

(0 (2) (3)

EPE

This triad may appear, thus chromatically altered, in the

keys of C major (11) A minor
; (iv) ;F major (vi) D minor ;

(1). Though this triad, D-F-A, is found in B major, it may

t?
62

not be thus chromatically altered in that key. The D#

conflicts with the sub-dominant, Eb, and cannot be led
upward to E.

The chord of | may be employed in major and in minor.

In C major: In A minor:
4- .4- '

=^2=
33? =^=Sg^=
3g=

Likewise the | chord is equally available in both modes:

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64

CHAPTER XI
THE SUSPENSION
A tone may be prolonged from a chord of which it is an
integral part to the next chord in which it does not belong,
by the nature of the chord structure. This prolongation
causes a dissonance, which requires preparation and resolu-
tion.
a b

£2 ^3

IP

At a, the triad of G follows that of C, the common tone, G,

being retained in the alto.

At b, the soprano tone, C, holds over, so as to sound in the

triad of G. The C being tied over from the previous chord
is thus prepared, and its motion to B is its resolution.
The soprano C (in Ex. b) merely delays the B (third of the
G major triad). In order to indicate, in thorough bass
figuring the presence of the suspension, it is necessary to
figure the C-B independently from the given bass note G
Thus: Ex. c.

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i =t=£

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 —
65

A great variety of suspensions (and hence of thorough

bass figuring, indicating suspensions) may occur. The
entrance of practically any tone of a triad, of a triad inver-
sion, a fundamental seventh chord, or of its inversions, may
be delayed and thus create a suspension.

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The following general rules for suspensions must be care-

fully observed:
(a) The suspended tone must be prepared and resolved
in the same voice-part.
(b) The regular and desirable progression of chords
must not be disturbed by the suspension.
66

ANALYSIS
Name each chord, as to root.
State whether the chords are fundamental or inverted.
What figures are required to indicate the suspensions?

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68

CHAPTER XII

THE SUSPENSION
The following bass should be harmonized in all three
positions of the first chord, that is, with three, then five,

then eight, in the soprano. Note the effect in the soprano,

alto, and tenor.

m i 6 4 3 9 8

3J==
4 ,3

Care must be taken, as previously stated, to prepare and

resolve the suspended tone in the same voice-part.
Suspensions are also available in the bass. Thus:

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The figuring % is, in full, | or | according to the position

of the sixth chord with doubled fifth or doubled root.

(#^==^
 v

69

ANALYSIS

Play the following. Add below each bass note the figur-
ing to represent the chord.
Note, and mark the suspensions.

CHORAL
J. S. Bach

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J. S. Bach

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 73

PART II

CHAPTER XIII

HARMONIZING A GIVEN SOPRANO

The work required in this chapter leads, in the following,
to four-part writing in open position.
The melodies to be harmonized are first to be worked out
in close position. The chords to be employed are the triads
on the tonic, sub-dominant, and dominant, unless otherwise
specified. (See the notes following the exercises.) These are
to be used in the fundamental position only.
Before attempting to add the three parts required, the
student should first analyze the given subject, or melody.
First sing the melody, in order to establish its tones firmly
in the mind. Then note the following:
i. The initial chord is always the tonic.
2. So, too, is the final chord.
3. The chord next to the last (the penultimate chord)
is V.
4. A skip in the melody is always along the chord in
which the two tones occur.
5. As only three chords are used (save where otherwise
specified) the application of the preceding rule
will be easy.
6. A tone repeated frequently requires a change of
chord.
7. When a tone occurs three times in succession, the
first and third chords will be the same; the second
chord will differ.
74

APPLICATION OF THESE RULES

Sing this melody:

# =P=£

$
1. The key is C major.
2. The first and last chords will be C-L
3. The penultimate chord will be V.
4. In the fifth, and seventh measures, skips
sixth,

occur. The skip in measure five, E-C, consists

of two tones in the tonic chord; hence, both will
be harmonized by The same applies to the
I.

skip, C-G, in measure six. The skip in the

seventh measure, A-C, consists of two tones in
the sub-dominant chord; hence, both will be
harmonized by IV.
5. The first tone C occurs three times in succession.
As the first chord must be the tonic, the third will
repeat it; but the second chord must differ;

hence, IV.
6. In measure five C is repeated. The chord is fixed
by the skip from E to the first C (second beat).
The third beat may change to IV.
7. With this form of analysis completed, next proceed
to write in the bass, keeping its tones within an
octave.
 75

8. Never allow the bass to make two skips of a fourth

or of a fifth in the same direction.
The above subject, harmonized in four parts, close position,
will appear thus:

re— -g= t^ mm
J i

l I

Ww_

« I

P=

MELODIES TO BE HARMONIZED
Proceed in like manner with each of the given subjects

below. As other chords than I IV V are sometimes required,

read the note on each subject before deciding the triads to
be employed.
MP)
4Z-JL

a 3#
ffiSS
S
H«- i^e =t
-•-•-•-

(a)

Bgfe r rFr '

t ir » r-Hf^-»
76

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 77

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IIE 1

NOTES ON THE EXERCISES

No. i. At a, use the triad of II. At b, the V7 chord.

No. 2. At a, use the chord of Ab (VI). Remember the
necessary form of doubling in VI, in minor, following V.
At b, use the triad on IV.
78

CHAPTER XIV
OPEN POSITION WITH PRIMARY TRIADS
Close position results when the three upper voices are
grouped in, or within, the compass of the octave. This
form of writing is familiar to the student from his experience
with the exercises up to this point.

Open position results when the tone range from soprano

to bass is more or less evenly distributed. In open position
it is often necessary for a chord or two to appear in close
position. This occurs when the scprano runs low, or when
the bass runs high.
In the following example, the distribution of tones illus-

trates cpen position:

1 i

le= 1 I

In harmonizing the subjects given at the end of this

chapter, in open position, the following general rules should
be carefully observed:
i. The tone range from soprano to bass must be evenly

divided among the four voices.

2. Hence, alto and tenor should not, as a rule, be widely
separated.
3. Nor should the alto and soprano be widely separated.
 h
79

4. The bass may ckpart from the tenor with more or less

freedom, the only restriction being that it shall still keep

within its own compass.
5. No voice part may proceed melodically through two
fourths or two fifths in the same direction. The resulting
seventh or ninth is always unmusical.

(«) <*)
E
Two fifths Two fourths

The following example illustrates the use of the primary

triads in open position:

m J_ =0=

I I
^
i
t—
mm
=&
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When the number of chords used in an exercise is limited

to three, as in this case, it is inevitable that one voice shall be
more or less monotonous. When the chords are more freely
introduced, greater melodic variety is possible in each of the
four parts.
8o

As a rule, the use of the primary triads fundamentally,

rarely brings about concealed fifths or octaves of objection-
able kind. In fact, the student may regard it as a fairly
safe rule that hidden consecutives involving the primary
triads alone, seldom sound badly if one voice proceeds
diatonically; but similar consecutives which result from the
use of secondary triads, or a combination of the primary
and secondary triads, must be scrutinized with more care.

=J=
fe-^ig CTE
.,_ J 4 J-

^ 3^ E*E

$ ZZ^Z
m=*±
:

mi zjszz

v-

GENERAL RULES

The following general rules apply to all the subjects given

at the end of this chapter as a basis for Written Work:
i. The first and last chord of each exercise will be the
tonic triad.
2. The penultimate chord will be the dominant.
3. All chords required in this lesson are in the fundamental
position unless otherwise specified.
 1 — —— r P t 1 — * — n

8i

4. In case the first inversion is used, that is, a chord of

the sixth, its use will be limited to those chords in which the
third itself does not appear in the soprano.

5. In chord progression, I may proceed to IV or to V.

IV may proceed to V or to I. V may proceed to I (very
rarely indeed to IV).
6. In the exercises at the end of the chapter the slurs used
in the first few examples indicate chord repetition. Note
that the slurs are later on omitted, it being assumed that
the student will remember that all skips are along the chord
line.

ANALYSIS

In the following examples, primary triads only are used.

They occur fundamentally and as chords of the sixth. The
chords are numbered consecutively throughout for ready
reference.

1 2 3 4 5 6 7 8 9
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1
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1
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10 11 13 13 14 15 16 17
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82

The key is F major.

No. i. Tonic triad, fundamental position.
No. 2. The skip in the soprano from C to F, requires the
repetition of I.

No. 3. Dominant triad, fundamental position.

Nos. 4-5. Tonic triad. In No. 5 as a six chord.
No. 6. Sub-dominant triad.

No. 7. Sub-dominant triad, as a six chord.

No. 8. Tonic triad.

No. 9. Dominant triad, making a half cadence. Note the

melodic direction of soprano and bass, throughout the first

phrase.
Nos. 10, 11, 12, 13. The Tonic triad. No. 10 being the
first chord of the phrase is best used fundamentally. No. 11
having the third in the soprano cannot be used as a six

chord. No. 12 is in the six chord position. No. 13 is

fundamental.
No. 14. Sub-dominant, as a six chord.

No. 15. Tonic triad.

No. 16. Dominant triad, making with No. 17 an authentic

cadence.

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84

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be ?=^

NOTES ON THE EXERCISES

No. i. Transpose to G minor.
No. 2. Transpose to F minor.
No. 3. Transpose to A minor or toAb minor.
No. 4. Transpose to D minor.
No. 5. Transpose to B minor.
 I

85

CHAPTER XV
THE TRIADS ON VI AND II

In the exercises of this chapter, the Triads on vi and u

are introduced.
The triad on vi may be approached from I, or it may
follow V.
The triad on n may be approached from IV, or it may
proceed to V.
In the structure of the bass, the cadential progressions
(authentic and deceptive forms) suggest the more direct
form of procedure.
Roots rising a fourth or falling a fifth are good.
Roots rising one diatonic degree are generally good.
(But the triad on vn° may not be included in this.)
Roots rising a fourth, by way of a third, are good. Thus:
I-m-IV.
The triad on n is much used in the authentic cadence
group:
ii V I, or ii II V I.

The use of vi proceeding from V, and of n in the cadence

group, is shown in this illustration from Beethoven:

pp zjgs ' p — pa •
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86

SUBJECTS TO BE HARMONIZED

-£2—
&+&* &~K
iii =& £? I
VI VI II II

ii
^ VI II

^^m =P=F^

VI ii
:z5Hl=j£

im ^=^
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—— *-
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^=E^
II VI

i^
&3 tf§=

VI
j±t=«* =•-!•
•4^-^-t

VI

EME^E
j
-ft f^fcfas
-#-a4-«g- I
VI VI

No. i. Fourth chord, vi is approached from V. In

measure five, vi moves to n, and n, in turn, to V. The
cadence group (last three chords) nV I.
 — —

87

No. 2. In what position must the third chord be written

to move to n (fourth chord)?
No. 3. The second chord is V. Why?
What form end of the
of cadence occurs at the first phrase ?
Measure 6, 11 follows iv and proceeds to V.
No. 4. Transpose to B major.
No. 5. Transpose to G minor.

ANALYSIS

fcS
m£E5t — 1 I-

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m zsgz
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H
IgiBSg EB^ fe=
=M= ^=4=

i
e*H
S3E

7f
« S pr
=s=st ==t
s=g=
i
—I-

^i^efe FS= ia L I s
-rr f-nr

1. Name each chord and its position.

2. What modulation occurs ?
3. Explain the use of each six-chord.
4. Note the use of the triads on 11 and vi.

5. Why is the unison (tenor and bass) used in the second

chord ?
6. What seventh chords are introduced?
ss

Note. — While the examples selected for Analysis present

freer use of chords than is specified for the written work of
the chapter, they still offer not only abundant illustrations
of the use of certain chords, but also serve as models for part
writing.
In every illustration, note:
i. The distribution of tones throughout the total compass
from bass to soprano.
2. The occasional use of a chord in close position.
3. The simple and direct manner in which modulation is

effected.

4. The melodic independence of each voice part.

The student should not confine his studies in harmonic
analysis to the single example given in each lesson. If he
will play the four-part arrangements, such as those given in
the Choralbuch of August Haupt, he will appreciate how rich
the combinations of four voices may be made when only
simple harmonies are employed.
Further, it is admirable to play, for the purposes of analysis,
simple piano compositions of the best composers. Nothing
serves better, for this purpose, than the Sonatas, by W. A.
Mozart, and the easier works of J. S. Bach. The first im-
pression the student will receive on analyzing these works, is

that comparatively few chords are used. These few chords

are, through the impulse of melody and rhythm, spun out
and prolonged. Direct and natural modulations provide
color and contrast. Most of the secondary chords (except
11) are used invariably as passing chords, or they result
from the use of passing tones proceeding from one primary
chord to another. In fact, the usual chord simplicity of
works of the classical school reveals, on close analysis, a
wonderful effect produced by simple means. Modulation,
 89

suspension, and the use of passing tones of various kinds

are always sufficient to leave the simple chord-background
undisturbed.
Note in the analysis of the Mozart Sonatas, the absence
of many of the secondary seventh chords in direct use.
They appear, if at all, only as passing chords.
The subject of passing tones is generally included in a
harmony textbook of this grade, but the subject is so easily
mastered in the second to the fifth orders of Counterpoint
that it is deferred for treatment in the author's First Year
Counterpoint.*
In all analysis of chord procedure, the student should
make constant reference to the Table of Progressions given
at the end of this book.

* See also First Year Harmony, Chapter LVII.

9°

CHAPTER XVI
THE FOUR-SIX CHORD
When triads are used exclusively in the fundamental
position, the chord succession is stiff and angular. The
voice part is invariably confined to so narrow a tone range
that it loses any aspect of independent melodic progression.
The soprano stands out as the most individual part, and the
bass is confined to roots alone.
By employing the six chord as a substitute for the funda-
mental position, much greater melodic variety is secured.
The six chord is never employed as first and
or final chord,
rarely as penultimate chord. It is available elsewhere when
the third of the triad is not used in the soprano.
Hence, with primary triads especially, the presence of
root or fifth in the soprano discovers a possible employment
of the first inversion; but the progression to and from a
possible six chord must always be considered.
As a rule, the six chord may be regarded as the equivalent
of the fundamental triad to be availed of in certain instances
to improve the melodic trend of the alto, tenor, and bass.
The second inversion of the triad (four-six chord) is intro-
duced in this chapter. This chord has three distinct uses:
(i) it may appear on the
first of the measure in cadence

groups; on the non-accented part of the measure as a

(2)
passing chord; (3) on any part of the measure following its
own fundamental position.
This chord gives particular prominence to the bass, and
its use, in conjunction with the six chord, affords considerable
melodic variety to the voice parts.
 9*

The following exercises illustrate the use of the second

inversion of the triad:
No. i, in F major, should also be harmonized in F minor.
No. 3, in E major, should be transposed to E minor.
No. 5, in A minor, should be transposed to A major.
These five exercises will afford ample preliminary prac-
tice for the study of the four-six chord if it be accompanied
by considerable analysis.

# ra=
6
4

5=F- -& —Y e) eJr

6 II VI
4

m fi>
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6
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II
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92

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ifc I
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6
4
6
4
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ANALYSIS

Tf I L^ ^
^^ 5

g= 3&-3SL *L& *=
1-
— r i =&= =?=
 93

P -*-»-£=
14 14
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^t * ^
**
ty-?g-
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QUESTIONS
(The measures are numbered)
i. What is the key?
2. What passing tones are used in measure i ?

3. What inversions occur in measure 1 ?

4. Measure 2, what cadence form?

5. Measure 3. What triad is used as a I?
6. Measure 4. Cadence ?
7. Compare with measure 1.
8. Measures 6 and 8. Note the % as it proceeds through
the dominant, to the tonic.
9. Measure 7. What key is used in passing?
10. Measures 9-10. Key?
11. Measure 12. Key?
12 Measure 1 5 . Where has this measure occurred before ?
13. Measure 16. Why is this varied from measures 2 and
6?
94

The student should count the number of fundamental

chords employed in this selection and compare with the total
number of inversions. Note, also, the comparatively infre-
quent use of passing tones and of seventh chords.
Play soprano and bass (omitting alto and tenor) and note
the use of opposite and similar motion between these two
parts.
Why is opposite motion, as a rule, to be preferred?
Study the measures in which other keys than the tonic
are suggested or introduced.
What keys are closely related to that of the key-note of
this selection?
What is meant by Tonic minor ? Relative minor ?
From the use of passing tones in this selection construct
a definition of this device.
What is the difference between a modulation and a sug-
gested key?
What keys are most easily reached from C minor? From
D major?
 95

CHAPTER XVII

THE SEVENTH CHORDS

In the following exercises, the chords of V7 n 7 and IV 7 are

employed. Transpose Exercise i to G minor; Exercise 3,
to A minor, and Exercise 5, to F minor.
All rules hitherto given for the preparation and resolution
of sevenths should be carefully reviewed.
The seventh of a seventh chord is prepared when it appears
in the previous chord as a consonance. In the case of the
milder sevenths (minor and diminished), the seventh itself is

often satisfactorily prepared by being approached by con-

junct motion.
A seventh may resolve on one of several ways. Regu-
larly, it should move one diatonic degree downward. But it
may remain stationary, or even move up a major second or
an augmented prime. In the latter case, the effect of
dissonance may be transposed to another voice, or the
movement of resolution taken up elsewhere than in the voice
where the seventh occurs. Examples of these resolutions

are found in Part I of this text.

The dominant seventh is a comparatively mild dissonance.
The n 7 is a natural precursor of V7 and the formula n 7 V 7 I
is frequently met with in cadence groups.

The sub-dominant seventh is harsh, and the entrance of

the seventh must be carefully prepared. The IV 7 moves
naturally to V or V 7 or to the four-six on V. (See Exercise 3.)
The seventh chords introduced in the following exercises
may be employed fundamentally or as inversions. It must
 F
96

be remembered that used fundamentally there is less free-

dom in the motion of the parts, while with inversions, the
voices, particularly the bass, gain much melodic independence.

*
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V V,
g—sH-'g-
v7
7

pt +=F-
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&
7 7

fa& — ^M-
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11 v7
1

B^&E*
lA
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rfi* =P=¥ y—p—y-
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 r — r r

97

ANALYSIS

J. S. Bach.

IM
:qzzq=3=3= 3=
l»ll -*—-?r "t— I— 1-

Sl
V VI—

=tt*=
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mis ——
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i
i

t i i —r—
i
e

£ b-
3=E3
§i^ i r

P
- l
|| -J— U-l
^«=2 ^
p
i
»
r
I

I !
ZjTZ^-jEl
i.-ii i—r-i— — « t

10

te^feg &=^
* » P =F

/ ?§^~j•
isw J
« ^-^=h
• w J
— | 1
J 1
(— 1
1
-1 -|
j
1

J v^ ^v 4v
1
1

* * * - * -j-

13 13

' fe-fr—»
^U- r
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EE ==E^==^=
_
-I
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i
98

PpPP 15 16 17

t=t= =t

18 19 20
#:^
Pi =§
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£ ^
i. What is the key?
2. The chords are three voiced throughout; two tones
in the right hand, group themselves with each bass tone.
3. Place under each bass tone, the Roman numeral, as
shown in measures one and two.
4. Measure 4, what form of scale?
5. Measures 5 and 6, what key?
6. Measures 7 and 8, what key?
7. Is sequence employed?
8. Measures 13 and 14, what key?
9. In what key is the final cadence ?
10. First beat, first measure, what is the d?
11. Third beat, first measure, what tone of V is omitted?

GENERAL REVIEW
1. Explain preparation of a dissonance. Resolution.
2. Why are preparation and resolution necessary?
3. (a) What are the principal uses of the four-six chord?
 99

(b) Which triad is not used in this position?

4. How do inverted chords influence the melodic struc-
ture, in four-part writing?

5. What triads and seventh chords are used in the

authentic cadence?
6. What bass progressions are most satisfactory?
7. What are hidden consecutives ?
8. When are hidden consecutives objectionable?
9. Which are the most dissonant seventh chords?
10. Are they frequently used in music of the classical
school ?
11. Does instrumental music present as frequent change
of chord as choral music?
12. What most direct modulations (through key
are the
relationship) from G
major?
13. What is meant by a passing modulation?
14. When may close position be employed in open har-
mony?
15. When may the unison be employed between two
parts ?
16. What are passing tones?
17. What do you understand by " classical school"?
18. What composers are prominent in this school?
19. What name is applied to the school of Johann Sebastian
Bach?
20. Define chorale, sonata, consonance, dissonance,
rhythm. \
IOO

CHAPTER XVIII

THE NINTH CHORD

The following exercises should be harmonized by the

students in two ways: (a) In simple chord progressions;
(b) embodying the various chords specified by the numerak
(V , V7 ,
etc.).

All exercises from Chapter XIV should now be treated in

a similar manner, disregarding the chords specified in each
lesson. In the re-writing of the work of this chapter, the
student should attempt a simple harmonization, in which
the effort to secure distinct melodic progression for each
voice is the principal factor.
Also, from this point on, the student will benefit by writ-
ing four-measure phrases in open harmony, using all chords
thus far introduced. The purpose of this original work is

to stimulate original chord thinking. Let the first efforts

be thoroughly simple. Aim for clearness and for as much

chord variety as is consistent. When the four-measure
phrase form is mastered, the eight measure period should be
taken up; the period permits more elasticity in the choice
of chords.
Continue original analysis until the following offer no
obstacle: .

(i) The source of the chord and its impulse in the place
it appears.
•
(2) Ch^rd position.

(3) Preparation and resolution of dissonances.

(4) Identity of cadences.
 IOI

(s) Presence and purpose of passing tones.

(6) Modulations.
(7) Explanation of all apparently irregular progressions.
If the student has provided himself with a copy of the
Choralbuch, by August Haupt, he should copy the melody
of several chorals in major, and harmonize them without
reference to the originals. Then compare chord for chord.
Review the chapter on the ninth chord in Part I of this
text. This five-voiced chord must, in these exercises, be
employed as a four- voiced chord only. The ninth must be
prepared and resolved.
Of the exercises that follow, No. 1 should also be harmon-
ized in F minor; and No. 4, in D minor:

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Is
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102

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V7 vi V7

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ANALYSIS

A. Marmontkl
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2 3 4 5 6 7

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i I

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§ 20 21 22 23
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24

te

i. Add Roman numerals, two to each measure indicating

roots; add Arabic signs indicating position.
2. Distinguish carefully between fundamental chords and
inversions.

3. How many ninth chords are employed?

4. Where are secondary sevenths employed?
5. What key enters in measure 13?
6. Does the Ab in measure 22 create a new key?
7. At what measure is the first phrase repeated?
8. What cadences are employed?
 :

io4

J. G. Albrechtsberger

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m^J-+Ji i j =«c
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sd= 1 t-
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J.

J. G. Albrechtsberger

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=*£=

These two quotations from J. G. Albrechtsberger's Musical

Composition should be analyzed, chord by chord. Note
particularly
(i) The use of the ninth chords.
(2) The preparation and resolution of dissonances.

(3) The use of suspensions.

(4) The use of modulation.

Each chord should be marked with its Roman and Arabic
figuration, each new key being indicated by letter at the
point of its entrance.
 i°5

GENERAL REVIEW

i. In what measures of the C major excerpt by Albrechts-

berger, do the parts cross ?

2. What voices are included in this ?

3. Write the dominant ninth chord on B, and resolve it in

four parts to a minor triad.
4. What is the key of the second Albrechtsberger selec-
tion, above?
5. How do you explain the D major triad, in the final
measure ?
6. What influence, on the cadence, is produced by the A I?

in measure twenty- two of the Marmontel selection?

io6

CHAPTER XIX
THE LEADING-TONE TRIAD AND SEVENTH CHORD
The and vn? are an integral part of the dominant
vii°
harmony. The vn° is to be regarded as V 7 with root
omitted; the vn° as V 9 with root omitted. Hence, in the
use of these two chords, it is essential to keep the influence
of the dominant in mind. ;

Of the following, transpose No. i to B minor; No. 2, to

F major.

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i
-<s>-
s?i -&-

VII U VII?

mP3 iA
VII
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VII 6
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 107

i mm VII 7 VII
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V7 VII7
m VII7
^
VH7 VII7
p^psI

Harmonize the above exercises twice. The first time

disregard the suggested chords and use simple connections,
The second time introduce the chords indicated by the Roman
numerals. Every given soprano, unlike a bass with chord
figuration, admits of many possible harmonizations. It is,

consequently, of the greatest importance to use a given

subject repeatedly, elaborating the harmonic structure from
a simple basis.
 — — — — — i —
io8

The following sequential passage from Albrechtsberger

shows the use of the vn°.

l|i liplllpl§ S|lp=l f^^f

m^

fit =^
_
^^

—
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.
^ I

i
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The vii? in minor:

=g=
^=
§ 3fe= ss^s

P^ m
The vii in major:

—— « —2^ — -^ 4—
—J
rVk
"V
iftr^- -ts
r-S
1

-IB
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I
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1
1

®*-„ — -«= <S> H — ,=

& —
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— <&
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<fc5*jfB -i 1
1

l 1 _J
 — — — —— 1 t 1

109

ANALYSIS

h=k
g *
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m *=

B 3^t ^--S
fe ^=F £3*E

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—
— t— — —
j~-j
—
'

fip J' | m J- «|— (—

«
^3 -m 1
3 W

B^-f
M»-J —* c
i
p-^f
H
r
1
— F
1

'— T- J" 1

W^
=t
rr~r ¥
=«*=

J, jri
=M£ ^S b~£?"

1. Where is the Deceptive cadence employed?

2. What keys are suggested and introduced?
3. In what position is the vn° used?
4. What secondary seventh chords are used?
5. Mark all instances of the Suspension.
6. Mark all Passing tones.
7. Are any non-modulatory chromatics introduced?
8. When is it necessary to employ close position ?
no
Felix Mendelssohn-Bartholdy
>—^-
S^£ s
f^=r=^
£3e ^j-
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r^r
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pgp™gg fe=zten
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'

1»
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iY*rqn- F
3&£ ^
a. .*.
*=£=£ :

es533 =jF=F
V.— i~
3 W-

$mm in :3==
Er-
=*=?§=
4 1-

S>=r—
rcr r
W fit. g £ =£=^ w
 i. Explain the use of all unisons between any two adja-
cent parts.
2. Mark all Passing tones.
3. Name the cadence at each Phrase ending.
4. Where do Suspensions occur?
5. In what key is the third Phrase (sixth measure) ?

6. What other modulations enter?

7. What is the relation of each modulation to the tonic?
8. Mark each seventh chord, noting preparation and
resolution of the seventh.

9. Where is close position used? Why?

112

CHAPTER XX
THE CHORD ON THE MEDIANT, IN MAJOR
Of the following exercises, Nos. 4 and 5 introduce Sequences
(fundamental chord forms). Each exercise should be worked
out in a simple form of harmonization. Then again, intro-
ducing the chords indicated by the Roman numerals. Re-
view in Part I, the chapter on the Mediant Triad.

m I
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V117
1=*
* *-F* d d
V7 in

ik=?=F=£ III
4 ]4 -
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iii vn 7

^j^^=£
v7 VI III
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iii VII
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III VI II
atzri
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i»
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IV ii
m — h— — —•
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1
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1

V7
1
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vi
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IV7 V
m m
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V7
m I

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i vn 7
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VI in
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in
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The Triad of in moving to vi:

J -I- 4-
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. ^ eat:
i r

^i=g==P=g
=*=
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#= =fe==f ^===t
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The Triad of in moving to IV:
H4
The Triad on in (six chord) in a modulation:

llZ^r- 2^ ^—^ -^-i <s> rl^

^2 %**—
— <s? <2>
&=•

£2
—
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The Triad on m (I chord) in modulation:

—J U-, —H-
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i-
—
 "5

CHAPTER XXI
MODULATION

Of the exercises to be harmonized, in this chapter, Nos. i

to 5 present modulations to next-related keys; Nos. 6 to 10

to next-related and to remote keys. Each key entrance is
indicated, and essential chords are shown in Roman num-
erals.

It is only by extending the study of analytical harmony

that the pupil can become thoroughly familiar with the
influence of chromatics introduced into music. Many com-
positions contain tones foreign to the key that do not even
infer a modulation; again, chromatic tones may be intro-
duced, and a related or a remote key may be clearly sug-
gested but not established; still again, a hew key may be
made clear without the use of chromatic tones.
The most definite and satisfactory manner of establishing
a new key is to introduce its dominant chord (V or V 7 ).
Between the starting point (say, C major) and the desired
end point (E minor, for example) there must be a gradual
merging of tonalities, becoming definitely established when
the V7 (of E minor) enters.
It is necessary to introduce a chord, or a series of chords,
before the new V7 enters that are common to both keys.
For example, in passing from C major to E minor, the triad
on A is a valuable bridge chord because it is found both in
C major, as vi, and in E minor, as iv. Furthermore, the
root of this triad is the seventh of the V 7 of E minor, which
again establishes an intimate relationship.
n6
This intimate relationship is the one fact that gives smooth-
ness and naturalness to the entrance of the new key.

d h
^ -**-

By the merging of the starting point key, through chords

common to both keys, modulations may be made to sound as
natural when remote keys are sought as when the nearly
related keys are concerned. Thus, in passing from C major
to Fj( (see Appendix), it is only necessary to prepare and
connect the key of F# through the influence of the tones of
C major (E#-F and B), and the tone-blending is entirely
free of any abruptness.

=^§? S£E

|22==PJ=
=*=
-par

As a general rule, it may be said that a nearly related key

may be reached by immediately introducing its V7 chord,
while a remote key may be reached by connecting a triad
within the first key with the V7 of the new key. The two
preceding examples illustrate this statement.
Modulations that merely suggest the new key, but do not
fully establish it, are called transient.
 ii7

Modulations may be chromatic or enharmonic. The

former embrace those that are brought about by the smooth
and satisfactory entrance of the tones of the new key. En-
harmonic modulations effect the same purpose but retain a
pitch while changing its name. (See the above modulations
from C major to F# major.)
The following modulations from Albrechtsberger should be
analyzed. Note the close connection from chord to chord,
and the entire naturalness of the voice progressions.

C major to G major

A
fn\li*j
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g u& g
t
1 \S\) ^
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ffs c
J ts e? *2S> "

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1 1pj'£l
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C r,tajor to F minor I

m EEE *=
iS 5SE IS

m
C major to Eu major .'
n8
C major to A major:

-&% —n^

C minor to Du majcrl

EXERCISES TO BE HARMONIZED

Capital letters indicate major keys; small letters, minor

keys.

je
w
= = = =f=
r- f r g ^ ^=i=T &-

» — ^-

iP* cv7 I
 II 9

fo — =Rg-
fg J

ilOfc
Bb I Eb

^^ES^ VI
dte
g—hg—g<- feSI
g Eb Bb

tt
f# b A E f#
VII7 vn 7

\l*irwwh Stese
s±±=t :B
g c F g d
VII7 VII7 VII7

is f9 <9
^2-

D VII b
viit

«
i f#
tF=i=

e
» •

D
»H

VH7
I20

ft=?=£
E4 ^^S|S gj — ;g
v7 e

-^^^^^^^^m e E
vi i 7 v7

te =t=q=F4
I£EEEE zatnt -gH

Ab Eb f Db Ab
v7 V117

^^1^^^^,^=^^ e Ab
117

D g
v
Fa a
ii 7

m ^i¥ h¥¥l j :p=p:

C f a D ii 7
VI I7
 i

121

=
^=4 —
-^ -h&—y$& -

IE2E
r(=—tf- ^>- >— pi. \jfi-

-t
ab
vii 7 viit

Sequence

^^^^^fe^fe^^^g[|
B Eb d
1 I v7 11

Sequence

m^^m^m> T+=¥ #*==•

A
v7

m
Sequence

f==^ r » if'J
t it
%
E a
1 v
122

APPENDIX I

Chord Progressions, in

Triad on: May proceed tc >:

I IV V VI
ii V vi
in I IV VI
IV I ii V
V I ii III VI
VI ii in IV V
(To be used fundamentally in sequences)

Table of Simple Chord Progressions, in Minor

Triad on: May proceed to:
i iv V VI
V
+
III i V VI
IV i n° V VI
V i III+ IV VI
VI i n° III+ IV
(See vn° under major scale triads)

The student should review the rules and models in each

chapter of " FIRST YEAR HARMONY"
(omitting the chap-
teron Melody Writing), and construct original basses for har-
monization in four parts, close position. This should be
followed by a review of the same material written in open
position.
 "3
The chords to be taken up in this original writing of basses
(and later of the soprano part) are:
i. Fundamental triads in major.
2. Fundamental triads in minor.

3. The six chord (in major and minor).

4. The four-six chord (in major and minor).
5. The V7 fundamentally.
6. The inversions of the V7 (sit).
7. The various sevenths in the order in which they are
presented in Part I of this book.
For the first attempt in writing original basses, use only
the four measure phrase form. For final cadence, both the
Authentic and Plagal forms should be introduced.

MODULATIONS

OSee Chapter XXI):

1. Original modulations, at first as brief in extent as
possible, should be made at the keyboard.
2. For the first effort, let the modulation take place from
C major, as a starting point, and proceed to every other
major key. Thus: C to Db, C to D, C to Eb, C to E, etc.
3. Such brief modulations may be limited to three or four
chords. Thus, from C major to F# major. The first chord
is C major, the last chord will be F# major, the penultimate
chord will be the V7 of F# major. A connecting chord
between C major and the V7 of F# major is required for
smoothness. In all cases the connecting chord must con-
tain one or more tones in common with the V7 chord of the
new key. Thus:
124

i ~-W=&

m P*=&^
-J^r-

V7 F#V7

4. Many brief modulations require but three chords. In

such cases it will be found that the V7 chord of the new key
is intimately related or connected with the first chord.
Thus:

a:

EEfe=

Cmaj. I FV 7
maj.

5. These brief modulations should be first worked out at

the keyboard, and then written in correct four-part, open
position, harmony.
6. Once this simple mechanism is mastered, the modu-
lation should be carried out over a greater number of meas-
ures, preferably in the four-measure phrase form.
 m
APPENDIX II

EXAMINATION PAPERS
A. The New York State Education Department
HARMONY
Candidates are required to answer six questions from this

group.

i. Figure and resolve each of the following chords:

—
Egg — — <s>
<s>

**>
g -) -4»» «S>

2. Write in /aw measures a modulation for /aw voices,

from G major to D major.
3. Harmonize the following for four voices, open score:

l —^=^
ahs
:*IE
E
-1 w- <
-m—&-
=t==t jgj — g> -

4. Harmonize the following bass iov four voices, close posi-

tion:

6 6 ?7
*2 6 6* 6 6 4 2 4 6 6 4f-
=t

^
126

5. Resolve each of the following chords in two ways, giving

in each case the name of the resolution and the key:

6. Add soprano, alto and tenor to the following unfigured

bass; any chords or inversions may be used:

m •3 |* ..
^ ..j^gzypz •fc= ——
1

=-r
Jr±2=d

7. Harmonize melodies a and 6 for four voices, in short

score:

ilESEEEE 1—
d gz

V-ra-
p t^^=?3FE^=p=^EEf
f^^^s ^^m^^
f ll=3S^ i£^=£g
 127

8. Illustrate with three chords, the following suspensions:

4-3 9-8 7-6 9-8 9-8

4-3 7-6

B. Associate Examination Paper set by the American

College of Musicians

1. Write in four voices and resolve a diminished triad

and an augmented triad.

2. Classify, figure and resolve the following:

iff ^ — <S>fc,
-%&
IP

J@ — -ks? "to
1

3. Progress by good voice-leading, from the following

chord (triad of F major) directly (i.e., without intervening
chord) into the dominant seventh chord, which will resolve
primarily into the triads of: (a) G flat major; (b) D minor;
(c) B flat major; (d) C minor. Work this test similar
to the following illustration. Any position of the Dominant
seventh is available.

p^
128

4- Modulate from G major to E flat major by means of

triads only. Finish with complete cadence. Modulate
back to G major in the same manner. Finish with complete
cadence.
5. Illustrate suspensions. Give rules therefor. Figure
your examples.
6. Give example of diminished seventh chord. Resolve
it.

7. Mention any other kind of chord that is not included

in the foregoing example.
8. Harmonize in four voices the following Cantus. Em-
ploy sufficient embellishments, passing notes, etc., to secure
smooth movement.

m 5^ =f=^= s -&—>-&-

g
# t=f
g>_

C. Fellowship Examination Paper: American College

of Musicians

1. Harmonize following bass in four parts. The letters

represent the roots of chords to be used. Roots, however,
do not always appear in the bass. Capitals represent major
chords, small letters minor chords.

±=t
!fc iS '
d <
=>
=t
I
 129

2. And the following melody in four parts. Additional

parts may be embellished.

F gFC F d aBbF d gCFd Bb — g CFC F

3. Harmonize the following bass in four parts. Additional

parts may be embellished.

m p=r-p-lr— =u —L4p=p^
=2ZZfc2=
^7TT
:
r= »
=t=F=t
o
<
~g£

~^~t^r
:li fe£ i=Sw=z^E±tz=tz

4. And the following melody in four parts. Additional

voices may be embellished (imitation, etc.).

mfenz^rfzz^qrf
b=±=f ^^^m
• #
s =p="^
:£=a^EEESE
=5=P=
^
:^=ac &-±-£+=p- ^=p*

5. Take same melody and write free piano accompani-

ment.
i3°

6. Write and harmonize in four parts an original melody

of eight or more measures.
7. Give some general principles which you would carry
out in teaching modulation.
8. Resolve each of the following two or more ways. In-
dicate keys and give explanations.

jfeE
mz «- VM>-

D. General Harmony Test. No. i.

Harmonize the following chord-scheme.

1. Key of C
minor 44'
.

V 1
1 — n° att. I
V — VI att. iv att. VI att.
|
I„ V7 1 1|.
I

2. Harmonize the following melody, using as few chord

as possible and some non-harmonic effects.

*z*±
B* =W:

3. Complete the following 4-measure cadence-group in

two ways; (a) by a modulation into a minor key;
different
(b) by a modulation, effected by means of a hinge-chord
which shall be chromatic in both keys.
 I31

$ 3&
^ks-- JEr A iL -\^r-
Sbfi=i
He

Harmonize this melody in two ways, completing the

exercise with a modulation. Notate all chords.

ip **-

E1?E
f=
(a) Harmonize the melody in a minor key. Consider the
last note (a) as part of a hinge-chord that is chromatic in
the key and diatonic in the second.
first

(b) Harmonize the melody in a major key. Consider the

last note (a) as the root of a diminished seventh chord, then
by changing this chord enharmonically, make a modulation.
Write three exercises using these chords and notate all

the material.

1=^- -&-
if

m m
-j-
132

(a) Introduce attendant chords to any four of these

chords.
(b) Introduce passing notes, and one or more suspensions
and appoggiaturas.
(c) Introduce a pedal point and one major-minor effect.

E. General Harmony Test. No. 2.

1. Define: (a) Note, (b) Staff, (c) Sharp and (d) give the
rule for 11 to It ;
(e) rule for V to VI in minor. Illustrate

(d) and (e) with examples.

2. Write and name the twenty- three used intervals from
F#.
3. Write a major, minor, diminished and augmented triad
on E[? and the table of all the keys in which they are found.
(In this and all the remaining questions the proper contrast
in size of the chord numerals, etc., is imperative.)
4. Harmonize and letter fully.

PS tez 3*E

EEE

pm z^m m -+ —^&
5. Harmonize with I, IV and V only, and at + show the
four different ways of using a % chord correctly.
 *33

6.
W

6.

P=^^^E=jj^lp^^pF=g
:

to w
£2
P~3 --<s»
-1 1
—<S>
-4=
. e?
te-^- c
5
a i V6
7-

ifiJV
_gi
to

Mr S2
—+- »
sJ
—— -t-=.
—&Li
i
i
U

5 6 6 6
4 J

F. Test in Chord Construction

i. Construct the diminished seventh chord on C#, and

resolve in two ways.
2. Construct an augmented I on Eb, and resolve in two
ways.
3. Write as a four- voiced chord the V9 of G major, E
minor, B major, and resolve.
4. Illustrate the preparation and resolution of the follow-
ing chords in Eb major: I7 IV 7 .

5. Write a melody embodying the chord progression V

VI.
'34

6. Write a melody illustrating the resolution of the n7

chord.
7. Use the V7 chord in E minor resolving otherwise than
to the tonic.
8. Write in four parts, the chord succession I 9 V V7 I.

9. Illustrate the use of the % as the passing chord.

10. Resolve the V7 of any major key so that the seventh
(which should be placed in the soprano) will proceed as
follows:
(a) Up an augmented prime.
(b) Up a major second.
(c) Remain stationary.
11. Resolve the V7 (as in No. 10) in any minor key.
12. Construct the following on Db and resolve at least
in two ways: Augmented six-four- three, Augmented six-

five-three, Augmented six-three.

 *35

APPENDIX III

HARMONIC ANALYSIS
The real, but often apparent freedom of many modern
composers seems to present chord formations that lie en-
tirely aside from the recognized successions of the Classical

and Early Modern Schools.

The following excerpts will illustrate some of the freer
instances of tone distribution all of which are, however, re-

solvable into clearly recognized chord-formations and suc-

cessions.
Scriabink : Feuillet d'Album, Op. 45, No. 1

(i|i
ibfc tot 5§ Sfa

(BSEg
BE
=*=*

The key is Eb major. These final (cadence) measures

establish the cadence on Bb in the fourth measure, the left

hand chord of Eb carrying to the end.

The Cb serves to add two colors: (i) that of the flat six

of the tonic minor, (2) and impressing the final Bb — dom-

inant of the key — as V 9.
Exercise: (1) Write the V9 in various keys, resolving it.

Note the emphasis that the ninth itself places upon the
dominant of the key, which, in turn, places equal emphasis
upon the tonic.
The following illustration shows the use of an unusual
meter with anticipation tones (the first F#, for example).
136
Rebikoff : Ruff, Op. 13, No. 8

g^f
s
2Q
^—^-^-^-^s^-
f» ^ p '?-
f" "F t
-
-*--*-
J, « •» - -*- •>— -j— (— 1— "I—

{
Jo
fef-rr
\sp a
p n
(a)

'—1
(*)

J
(«)

-^
_|^
—1*= (<*)

p
J
=g=^J
r
1— 1

t-i
r *
Si

£1 E rf>
m -i=-
I- 1* 1.

9(BBSS
Exercise: Locate each chord, up from the Bass, checking
in the right hand part the chord tones only. The first F#
(right hand) is a chromatic leading (or leaning) tone, the
purpose of which is to make the following G emphatic.
Two chords result, (a) (b) D minor n°, then F major V7 .

What is the key location of the third chord (c)? of the

fourth (d)?
The prevailing key is, throughout the composition, D
minor. The final cadence takes this form, however.
8va.
-t-

# Ptz -m * (—
t=t r
L f g

fcf
J

Lento
:
Elt
m
Rebikoff
pp

: In the Caucasus, Op.

-r
-Jg-

13, No. 2
 137

The Bass which continues unchanged for twelve measures

is composed of the two chords in B minor, V7> n?. The F#
of the first measure (right hand) belongs to the V7 chord.
Although it follows the n? its purpose is to emphasize the
following E which also continues as a drone tone for twelve
measures. All other tones (the triplet, for example, in meas-
ure 3) merely play around the E. The twelve measures con-
stitute a repeated six measure phrase and not a twelve
measure period.
The succeeding section of eleven measures is based upon
the pedal point (B and F#) . Note the relation of the upper
tones to the bass.

Piu vivo —f~ -3—*-^=

fRg^ -1 h -T3 J 3— j -J
fn
J
-uU 11

\&rt — <s>
f
r
— US?

1 ^ E— -r^
— f*
©» —

The final cadence makes the following " unfinished " suc-
cession. The effect, of course, justifies the color.

Analyze each of the following four-measure phrases, ac-

counting for the chromatic tones. They either serve as
passing tones or as bringing about the suggestion of a for-
eign chord (for passing effect) or they produce a definite
138

modulation. The work laid out in the chapters of this text-

book will enable the student to explain the purpose of each
chromatic without presenting any special difficulty.

Huber: Intermezzo, Op. 94, No. 4

fgte -3 —£-=l-
"T^r -"-tf

SS £±=!=Z
^fc *S£ ^EK
I T~~

The EJj (first measure) is equivalent to Ffc> as chromatic

tone emphasizing the continuing tone Et> which with the
Bass Ab creates the drone effect. Note the formation of
each chromatic in relation to the continuing chord of Ab
major.
Where a modulation is to be effected the chromatic tone
must be of the new V7 chord. Thus — at the point marked
(a) — Here the DJ| is not of the chromatic type as shown
above. It becomes wholly of harmonic succession influence.

&=ȣ **
f dimin.
it =t

(a)
Up J J
s
ps^

Each chromatic tone should be explained m relation to the

prevailing chord.
 139
Maykapar La : Flute du Berger, Op. 15, No. 4

4- 4- : -f*- -+- !• -*- i -*-

=t=t=t==F =pz=5= £=F=F=R
£=3

=±= *
While there is but one harmonic progression in the above
(the V7 I of the last measure) it illustrates how melodic and
harmonic successions are made servants to the intended pro-
gramme. The music, entitled La flute du Berger, by S.
Maykapar, Op, 15, No. 4, brings about its effect (of flute
melody) by the slightest use of harmonic support, the reason
being not to overburden the melody to the point of drawing
attention away from it.
Measure 1, tonic (I) of Gb major. There is one foreign
tone (Eb) present.
Measure 2, tonic (I) of Gb major. The foreign tones are
Eb and Ab.
Measure 3, tonic (I) of Gb major. The Ab second beat
is a passing dissonance.
Measure 4, the Cb suggests the rest of the V7 chord.
Why is not the V7 not used in full ? Only two of
its tones appear.
Exercise: Experiment at the keyboard with the V7 I pro-
gression and also with the V I, resolving the V7 or V9 to I
melodically. The melodic use of the V 9 may be seen in the
first example of by A. Scriabine.
this set of exercises
If the student will " experiment' at the piano with chords, '

using at first only two in succession, he will adventure upon

many interesting combinations. Besides V7 I and V 9 I; use
n7 V 7 I; III 7 VI; vii° V7 I; etc.
140

The key of the following is C Chromatic inflec-

major.
tions are freely used in every measure. Note the descend-
ing whole tone scale in measures one and two; again, in
measures three and four.

J I I
i— Stchbrbatcheff: Claire de Lune, Op. 25

^bU4

i. Analyze the chords (i) as independent tone groups thus

C C# E, Bb E C and so on.
2. Note by what progressions the above continues through
the following three measures to arrive at Db major. The
key is definitely established from the point marked (a).

The Fb is emphatic of Eb in the Dominant seventh chord

(Ab C Eb Gb) of Db which is resolved at the seventh
measure.

--i_
t ESE
$ r r br \tzr-

^ £ 1
l
ft\m
l

From the same composition the following is quoted to

show the use of the chromatic tone in melodic embellishment
on the way to a cadence point. The key of the composition
is C major. From the end of measure 12 the melody pro-
ceeds thus:
 :

141

J fr3 ~SJ^ ±Lr+L~J*

Chromatic tones as passing, anticipation and delayed

tones are freely employed to give the melody variety and
richness of color. This may be done, even to apparent
complexity, without creating any uncertainty as to key-
terminal. In the above illustration the Ab chord is wholly
undisturbed — as to clearness — by the highly chromatic
approach.
Modern music abounds in such progressions. They dif-
fer from like-intentioned passages in the writings of the
Classical School by their freer use and greater complexity;
this, however, chiefly to the eye for the ear readily grasps —
even anticipates — the approaching tonic terminals.
The relative simplicity of chromatically enriched passages
is illustrated by the following

Example i

The melody is along the chord line except in measure

four where (as V7 to F) the Bjj and D are passing tones em-
phasizing C which is the root of the cadence chord to F.
In the four measures that follow the same melody is va-
ried (a) along the original chord line, (b) by the introduction
of chromatics that suggest or emphasize chord progression.
142

Example 2

%J 11 1 ! !' ! ! I ^WH ^ SE£a ^H ! f !

j^

Compare each beat of Example 2 with the corresponding

beat of Example 1.

Measure 1, beats 1-2-3-4. There is rhythmical variation

(jry^Ti) with the use of one tone foreign to the
chord, C.
Measure 2, beats 1 and 2. Chord of F (V) the firstBb
in the measure suspending the coming A. The
final note of the second beat is a passing tone be-
tween C and Db of the V 7 chord on F. The third
and fourth beats continue the V chord. The F#
to G is an intimation of the V 9 .

Measure 3, in the theme (Ex. 1) is, 'beats one and two,

the chord of Bb I. In Example 2, the two beats
are the chord of D major. Thence, beats 3 and 4
to the seventh on D (D F Ab C) leading to Eb in
measure 4. In measure 4, the Bt} is leading tone
upward (between C and C) while the Gb falls to
emphasize the rest chord on F.
 DATE DUE

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