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THE EVOLUTION OF
HARMONY

A TREATISE ON THE MATERIAL OF MUSICAL

COMPOSITION, ITS GRADUAL GROWTH

AND ELEMENTARY USE

C. H. KITSON

M.A. (CANTAB.), D.Mus. (OxoN.)
F.R.C.O. (HONORIS CAUSA)

OXFORD
AT THE CLARENDON PRESS

1914

FACULTY Of MUSIC
/O, lc*|
UNIVERSITY OF TORONTO

MT
So

KG 33

OXFORD UNIVERSITY PRESS

LONDON EDINBURGH GLASGOW NEW YORK
TORONTO MELBOURNE BOMBAY

HUMPHREY MILFORD M.A.

PUBLISHER TO THE UNIVERSITY

- A

'i 2 7 1963

S56777

i i i, . '/

PREFACE

TWELVE years' experience in the teaching of harmony
both of an elementary and advanced type has convinced
me that old methods of study are very unsatisfactory, both
from a positive and a negative point of view. A careful
review of all the important treatises that have been issued
shows that later theorists have been alive to some of the
most glaring defects of earlier systems, but they have not
seen fit to depart in any appreciable degree from the
traditional method of study. This is probably due to their
view as to the bounds of the subject. If it be held that
the harmony text-book does not pretend to do more than
show the use of chords in an abstract fashion, there is
nothing more to be said beyond the fact that such a limited
study is of little musical and educational value, and there
are no books to bridge over the gulf between this stage
and that represented by the standard required at Univer-
sity examinations. There are some excellent books dealing
with this later stage, but none lead up to it.

Even in their own limited sphere the early treatises had
two grave defects :

i. No attention was paid to ear-training. It is ridiculous
to attempt to write by rule what one cannot hear men-
tally. Dr. Shinn, in his Harmony based on Ear-training,

a 2

iv PREFACE

was the first to put this matter on any systematic basis,
and it is obvious that all future text-books must give great
importance to this branch of the subject. Much of the
crudity of students' work arises from the fact that they
do not hear what they write. This condition of things
is fostered by the figured bass, which can be worked
mechanically by rule. And this leads to a statement of the
second defect.

2. The use of the figured bass as a means of teaching
chord progression has the fatal defects that the chord
progressions are already thought out for the student, and
he can add his parts by mechanical rule. The result is
that a student can work through a harmony book without
being able to write even half a dozen chords on his own
initiative. These defects have been to a certain extent
remedied by the setting of melodies to be harmonized, and
unfigured basses. But yet the figured bass still remains
as the chief method of study.

In this treatise the figured bass is discarded as a means
of teaching harmony. It does not teach chord progression
at all, but only the ^progression of parts with the chord
progression fixed. The figured bass ipso facto does all
the important thinking. But some one will say, what is to
take its place? Here the sphere of ear-training comes
into play. Lists of good chord progressions are given.
These are to be memorized, just as one memorizes the
idioms of a language. Then with a given part the choice
of the chord progression is left to the intelligence of the
student. The student must be compelled from the very

PREFACE v

start to think out his own chord progressions. Four
types of exercises ensure this :

(a) Short examples in which a given chord is to be
preceded and followed by other chords.

(b) Melodies to be harmonized.

(d) Original work.

But the figured bass is not entirely discarded. It is
used :

(a) As a basis for decorative work.

(b) As an exercise in the manipulation of many parts.
But if the study of harmony is to lead up to anything

more than the writing of a double chant, a great many
more innovations are necessary.

1. The figured bass is often a formless thing. Form is
to music what sense is to language. In this treatise form
is discussed from the very first. It is neither presumed
nor ignored. In the early work help is obtained from the
analogy between metre and accent. The student begins
with phrase formation, gradually building up a sentence,
and finally working exercises in binary or ternary form,
with regular and irregular phrase formation. Some atten-
tion is also paid to thematic development.

2. Most treatises commit the extraordinary error of
treating the unessential in a very scant manner. That
is, we get a chapter on suspensions, and one on passing
notes, &c., and then they disappear for good. The use of
the unessential is a matter quite apart from chord formation,
and should permeate everything. Thus the unessential

PREFACE

is consistently used throughout this book, forming the
decoration of the chords discussed.

The various procedures are gradually introduced, and
there is a chapter dealing with the complex use of the
unessential, a matter that has hitherto been left untouched.
It corresponds to combined counterpoint in the study of
sixteenth-century methods.

3. Differentiation of style is considered. There are
chapters on the treatment of the common means of ex-
pression, the pianoforte, the organ, strings, and voices.

4. This inevitably leads to the discarding of any set of
absolute rules as to melodic or harmonic progression.
Differentiation of style implies differentiation of technique.

Over and above all this the mere statement of dogma is
a very bad system of teaching anything. An intelligent
student wants to know the origin and the reason of rules.
He will then apply them not from sheer memory, but from
ordinary intelligence. Now it must be obvious to any one
who has studied the history of music that the growth of
harmonic resource is a natural evolution. And it is of the
utmost importance that the student should grasp the basis
of harmony, that is, the conditions that obtained at the close
of the Polyphonic Period (1600). Any one who has studied
strict counterpoint historically will have a very firm grasp
of essential principles. Later procedure is but a logical
extension of them. This point has been carefully kept in
the foreground all the way through. And it will prove to
illuminate many things in which the student has hitherto
merely acquiesced as dogma. It will specially dictate the

PREFACE vii

right use of such a bete noire as the chord of the six-four,
and indeed all second inversions. It is not possible, nor is
it necessary, to trace the first use of each new procedure,
but the principles of extension are the same. And this,
leads to another point. The history of the evolution of
harmonic resource is of course the history of the infraction
of rules. Thus the innovation of one period becomes the
commonplace of the next, so that in such matters it is
absurd to attempt to give absolute rules. What refers to
one period may be totally inapplicable to another. Further,
this treatise differs from others in some detail of order of
study and classification of resource. For example, the
chord of the six-four is not introduced till there can be no
possibility of its nature being misunderstood. It is to be
sincerely hoped that the chapter on it will effectually
eradicate its crude use. The same refers to augmented
and diminished triads. Augmented sixths are classified as
variants of supertonic and dominant harmony, as being
a more obvious explanation of them.

A detailed consideration of the use of the unessential
leads to a clearer perception of the nature of the higher
discords, and facilitates a grasp of their use.

There are special chapters on harmony in two, three,
five, six, and eight parts. Finally, there is a chapter on
modern tendencies. A student must learn to write in the
idiom of his own age. This becomes perfectly easy if he
grasps in a broad way the natural evolution of resource.
He will also be in the strong position of being able to
make new experiments for himself. The principles of

Vlll

PREFACE

evolution are the same for all time. Theory must always
move behind practice. But it should move immediately,
and not remain dormant for fifty years or so. It is
inevitable but that a book of this nature must evoke much
criticism. But unbiassed criticism will be most welcome.
The book is at any rate a sincere attempt to make the
study of harmony practical and rational, as well as inter-
esting and artistic. Much of the abhorrence of both strict
counterpoint and harmony on the part of students is
simply due to bad methods of teaching.

My thanks are due to Prof. J. C. Bridge for the use of
a figured bass set at Durham in September, 1908 ; also to
Messrs. Novello & Co. for permission to print extracts
from the works of Elgar, Parry, Walford Davies, Lloyd,
and Coleridge-Taylor; to Messrs. Boosey & Co. for
Stanford's 'Ancient Lullaby' ; to Messrs. Peters for some
extracts from Grieg ; to Messrs. Enoch, Messrs. Breitkopf
and Hartel, and Messrs. Durand for various quotations
which are acknowledged elsewhere.

I am again indebted to Dr. Stocks for much help in
revising the proof-sheets.

C. H. KITSON.

CONTENTS

CHAPTER I PAGE

THE PRINCIPLE OF CHORDS i

CHAPTER II
THE ECCLESIASTICAL MODES AND THE MODERN SCALIC

SYSTEM 14

CHAPTER III

PRINCIPLES OF MELODIC PROGRESSION, AND EAR-TRAINING

IN THEM 28

CHAPTER IV
FURTHER PRELIMINARIES IN EAR-TRAINING . . . 38

CHAPTER V
THE TRIADS OF THE MAJOR KEY IN ROOT POSITION . 42

CHAPTER VI
PHRASE FORMATION , 57

CHAPTER VII
FIRST INVERSION OF TRIADS IN THE MAJOR KEY . . 65

CHAPTER VIII
UNESSENTIAL NOTES. GROUP I : DIATONIC PASSING

NOTES IN ONE PART ONLY 75

CHAPTER IX

TRIADS OF THE MINOR KEY AND THEIR FIRST INVER-
SIONS. COUPLETS. PASSING NOTES . . 91

x CONTENTS

CHAPTER X PAGE

UNESSENTIAL NOTES. GROUP II : AUXILIARY NOTES IN

ONE PART AT A TIME 103

CHAPTER XI

UNESSENTIAL NOTES. GROUP III: SUSPENSIONS . . 112

CHAPTER XII
COMPLEX USE OF THE UNESSENTIAL .... 133

CHAPTER XIII

DIFFERENTIATION OF STYLE : (a) PIANOFORTE WRITING.

(b) ORGAN WRITING . 153

CHAPTER XIV
DIFFERENTIATION OF STYLE: (c) STRING WRITING . .170

CHAPTER XV

UNESSENTIAL NOTES. GROUP IV: CHANGING NOTES,

ANTICIPATIONS, AND CHROMATIC PASSING NOTES . 181

CHAPTER XVI
THE CHORD OF THE Six-FouR 193

CHAPTER XVII
SOME ELEMENTARY PRINCIPLES OF FORM . . . 215

CHAPTER XVIII
DIATONIC CHORDS OF THE SEVENTH AND DIMINISHED

TRIADS . , 226

CHAPTER XIX
THE CHORD OF THE DOMINANT SEVENTH, AND OTHER

UNPREPARED SEVENTHS 242

CONTENTS xi

CHAPTER XX PAGE

THE ELEMENTARY MEANS OF MODULATION. FIRST

PRINCIPLE 258

CHAPTER XXI
TRANSITIONS . 268

CHAPTER XXII
IRREGULAR CHORD DURATION ...... 272

CHAPTER XXIII
THE HIGHER DOMINANT DISCORDS: (a) THE DOMINANT

NINTH 278

CHAPTER XXIV
THE HIGHER DOMINANT DISCORDS: (b) THE DOMINANT

ELEVENTH . . . . . . . . . 291

CHAPTER XXV
THE HIGHER DOMINANT DISCORDS : (c) THE DOMINANT

THIRTEENTH 297

CHAPTER XXVI

THE HIGHER DOMINANT DISCORDS: (d) THE CHORD OF
THE AUGMENTED SIXTH ON THE MINOR SECOND OF
THE SCALE . . . . . . . . . 306

CHAPTER XXVII
CHROMATIC SUPERTONIC HARMONY 312

CHAPTER XXVIII
CHROMATIC TONIC HARMONY . . . . . . 327

CHAPTER XXIX

THE REMAINING CHROMATIC RESOURCE ACCORDING TO

ACCEPTED THEORY AND FURTHER POSSIBILITIES . 335

xii CONTENTS

CHAPTER XXX PAGE

ADVANCED MODULATION 351

CHAPTER XXXI
PEDALS, AND OTHER SUSTAINED NOTES .... 360

CHAPTER XXXII
SUSPENSION OF COMPLETE CHORDS: APPOGGIATUR A CHORDS,

AND FURTHER REMARKS ON CHROMATICISMS, &C. . 372

CHAPTER XXXIII
THE SETTING OF WORDS . . 380

CHAPTER XXXIV
HARMONY IN FIVE PARTS 392

CHAPTER XXXV

HARMONY IN Six, SEVEN, AND EIGHT PARTS . . . 409

CHAPTER XXXVI
Two AND THREE-PART WRITING ..... 436

CHAPTER XXXVII
MODERN TENDENCIES 446

INDEX ....... 471

CHAPTER I

THE PRINCIPLE OF CHORDS

1. IN its broadest sense, harmony may be defined as the
scientific combination of two or more different sounds. It
originated in the early Christian Church, and was the musical
counterpart of the congregational attitude of mind, that is, the
idea of common public worship. Melody, or the employment
of various single sounds consecutively, naturally existed before
harmony. The art of the Greeks never developed beyond this
point. In these early days the art of music was nursed by the
Church, and the use of melody only was simply the reflection of
the Greek idea of worship, which was the very antithesis of the
Christian point of view.

2. Obviously the first step in the evolution of harmony is the
duplication of some preconceived melody at some other pitch,
and this cardinal idea of melodies in combination ruled the
methods of musical composition up to the end of the sixteenth
century. All the music of this period was written for un-
accompanied voices, and the course of its development naturally
falls into three main divisions, the whole being known as the
Polyphonic Period. These divisions are as follows :

(a) The period of Organum or Diaphony, up to 1150.

(b) The period of Discant, 1150-1400.

3. It is unnecessary to consider these periods in detail, but it
is important to take note of certain points that have a direct
bearing on later developments. It should be explained that
when two different sounds follow one another they are said to
form a melodic interval :

Ex. i.

2 THE PRINCIPLE OF CHORDS

When two different sounds are struck simultaneously they form

a harmonic interval :

Ex.2.

In composers' first attempts to duplicate a melody they would
naturally choose a harmonic interval that seemed to them agree-
able in effect, in fact, one that did not appear to require to be
preceded or followed by any other combination in particular,
producing in itself an effect of completeness. Such a harmonic
interval is termed a consonance or concord. The first intervals
to be chosen were the fourth and fifth. The former, as will be
seen later, soon lost its position as a concord. Organum in its
simplest form consisted of a melody sung by what is termed the
vox principalis, duplicated at the fourth or fifth below by the vox
organalis, or ' organizing voice ' :

3* Musica Enchiriadis. (loth century.)

Vox principalis.

m — & —

Tu pa - tris sem - pi - ter - nus es

Vox organalis.

&== =

— - — = — «» — ii

fi - H . us

4. Such a principle would not seem to open out a course
which was capable of expansion. A difficulty in the application
of it, however, led to the discovery of some new elements. The
movement of the two parts in parallel fourths would, at some
point, produce the harmonic interval of the augmented fourth,
called the tritone, e.g. F to B, or B flat to E, and it was the
universal view that ' mi (i. e. B) contra fa (i. e. F) est diabolus in
musica'. Some means of avoiding it had to be devised. If
the opening of the principalis in conjunction with the organalis
caused it, the latter began on the same sound as the former, and
maintained it till the principalis had passed the crucial point.
Thus, instead of starting as follows :
Ex.4.

Musica Enchiriadis.

Rex coe - li Do

THE PRINCIPLE OF CHORDS

the two parts would proceed thus :

Ex. 5.

Rex coe - li Do

When parts proceed in the same direction, whether in parallels
or not, they are said to employ similar motion :

Ex.6.

But this opening causes a new kind of movement, one part re-
maining stationary while the other proceeds to different sounds.
This is termed oblique motion :

Ex. 7.

5. Further, the harmonic intervals produced by the oblique
motion in the example from the Musica Enchiriadts, quoted
above, are new. At the syllable ' coe ' the interval of a second
is produced, at ' li * that of a third. The latter sounds satis-
factory in itself, and was soon catalogued as a concord. But the
interval of the second is not satisfactory in itself, and in fact
requires special treatment. Such intervals are termed generi-
cally dissonances or discords. As a matter of fact the particular
treatment that was later regarded as appropriate for discords
was not at this early stage appreciated, and it is merely an
accident that the procedure here accords with later theory. It
will be observed that the discordant interval is preceded and
followed by concords, and that the discordant note (D) is ap-
proached and quitted by step. In the later period of organum
this oblique use of discords disappears, and the chief develop-
ments to be noticed are the increased number of concords and
the frequent progression of parts in opposite directions, termed
contrary motion.

6. The period of Discant need not be considered here. It

B 2

4 THE PRINCIPLE OF CHORDS

was mainly concerned with the development of an intricate
system of rhythm. The period, of course, exhibits a considerable
advance on the crude methods of organum. In this earlier era,
when harmony in more than two parts was attempted, the vox
principalis was duplicated at the octave below, and the vox
organalis at the octave above :

Ex. 8.

But when composers had learnt the use of contrary and oblique
motion, when they had evolved some method of combining
voices moving in sounds of different time-values, and had en-
larged the group of concords, they were enabled to produce
something much more artistic and musical. But it was unfor-
tunate that they allowed their ingenuity to degenerate into
indiscretion. The vox principalis used the old ecclesiastical
melody or plain-song as it is often termed, but in order to meet
the new conditions of elaborate textures interwoven round it,
the sounds forming the plain-song were often so altered in time
values that it became unrecognizable as such. The added parts
were termed the ' discant ', and the singers often improvised it,
generally, it may be assumed, with no sense of the fitness of
things. Composers even went so far as to use secular tunes as
discant over the plain-song. In 1322 Pope John XXII prohi-
bited the use of discant, except on certain festal occasions, when he
permitted the employment of the consonances of the fourth, fifth,
and eighth above the melody. This was practically a return to
the original principles of organum, but with this difference, that
the vox principalis was the lowest part, whereas in organum it
was an upper part. The French, however, kept the letter of
the law while evading its spirit. • The interval of the third was
placed between the vox principalis and the vox organalis :

THE PRINCIPLE OF CHORDS

Prtnc.

This produces the parallel fifths between the principalis and
organalis, and this was an essential feature of organum. But
the principalis was allotted to the singer with the highest voice,
and he was compelled to sing the part an octave higher, so that
the actual effect was :

Ex. 10.

This produces a progression as pleasant as the other is crude,
and reveals a distinct feeling for harmonic effect as such. This
device is an example of what is known as Faulx-bourdon, or
organizing in thirds and sixths, so called, probably, because it
was contrary to traditional methods.

7. In due course composers learnt how to apply their technique
in accordance with the demands of the situation. They pruned
their florid passages, controlled their expression, and in the
counterpoint of Palestrina (d. 1594) the technique turned to
' purpose strong '.

The whole trend of the art of the Polyphonic Period was to
make every part melodically and rhythmically independent.
Thus, while one part was proceeding slowly, another would
be moving more quickly. While one ascended, another would
descend or remain stationary. As one part receded from
a point of climax, another would be approaching its crisis.
Composers were primarily concerned with the individual motion
of their parts, rather than with the effect of simultaneous sounds.
Thus it became a characteristic feature of the music, not that
the several parts should be singing the same melody at the
same time at different pitches, as in the early organum, but
that they should sing passages imitating each other at different
moments, or that if they were moving simultaneously, they
should be well contrasted in their contours. The following is
a typical example of the art in its perfection :

THE PRINCIPLE OF CHORDS

Lx. ii.

PALESTRINA. Missa Brevis.

£F^ ' " -^ —

E 1 ! — 1 1

San

ctus San

ctus

ctus San

San

ctus San

r r r cijg

ctus San • • ctus

San

ctus San

San • • ctus

San

.(=2.

ctus San

ctus

THE PRINCIPLE OF CHORDS

^^El_r_r.i

San • • ctus San

San ctus

In this, its latest phase, the art is known as Counterpoint. The
original part is called the Canto Fermo, and the added parts the
counterpoints.

8. An exhaustive consideration of the details of this technique
belongs to the sphere of strict counterpoint. But it is important
to discuss here certain aspects of the method, as they have
a direct bearing on the early work of this treatise. The prin-
ciples of discordance may be reserved for future consideration.
But the study of the future development of harmony demands
at the outset a knowledge of (i) the principles of concordance
during the Polyphonic Period, (2) the scalic system, and (3) the
general laws of melodic progression.

Palestrinian principles of concordance :

(a) In two parts the consonances were the unison and
octave, the major and minor third, the perfect fifth, the major
and minor sixth :

Ex. 12.

(b) In three or more parts the consonances were :

(a) the major or minor third, and perfect fifth from the
bass:

Ex. 13.

bass:

THE PRINCIPLE OF CHORDS
(/?) the minor third, and major or minor sixth from the
Ex. 14.

(y) the major third and major sixth from the bass :

Ex. 15.

It will be observed that though the fourth from the bass is
a discord, both the perfect and augmented fourth may occur
between two upper parts, if each is concordant with the bass.
The same freedom is allowed to the diminished fifth :

Ex. 16.

The reason is that both the following are only different arrange-
ments of the same combination considered from the bass :

Ex. 17.

In each case there is a third and a sixth from the bass.

No mention is made of the diminished fourth and augmented
fifth. When the modes which form the scalic system of the
period have been studied it will be seen that these intervals did
not enter into the scheme of harmony.

These, then, were the essential combinations, or consonances
of the period, and any of the components might be approached
or quitted by step or leap within the bounds of melodic elegance.
This statement, however, has to be qualified in one case. The
close of a period of music is marked by the use of two definite
melodic idioms. The Canto Fermo invariably moved one step
down to the Final of the mode, and at the same time some
accompanying part had to proceed one step upwards to the
Final :

THE PRINCIPLE OF CHORDS

Ex. 1 8.

c.F.

Final.

This is called the Clausula Vera, and whatever be the number
of the parts, two must always proceed in this way. Generically,
moderns term such a point of repose a Cadence. In particular,
this forms the basis of the modern Perfect Cadence, which
corresponds to the full-stop in literature.

9. The music of Palestrina, which brings to a close the Poly-
phonic Period, exhibits a marked simplicity of style as compared
with earlier work. A great deal of the complexity that had
been fostered by the principles of discant gave way to plain
simultaneous movement, as for example :

Ex. 19.

PALESTRINA. Missa Brevis.

It was this particular phase of counterpoint which led to the
adoption of an entirely new method of writing harmony, the
method that forms the subject of this treatise. This will be
made clear by a simple illustration.

It is assumed that the following is the Canto Fermo, and that
it is required to add three other melodies to it, note against note :

The composer would in all probability add a bass first :
Ex. 21.

-I

THE PRINCIPLE OF CHORDS

He then might add the soprano

EX. 22.

J-^J-JL

j. j. A A A A

3 3 *

Finally, the alto may be added :

Ex. 22 a.

f=f

A A

1 2 3 4 5 6 7

Now such writing as this led composers to consider not only
the particular effect of each melody, but also the effect of the
simultaneous percussion of the various sounds, e. g. the blocks of
harmony i, 2, 3, 4, 5, 6, 7. To each of these blocks they gave
the generic term 'chord*. That is to say, the combinations are
regarded as separate entities, not as being the accident of the
part- writing, but as actually regulating it.

10. Any bass note with its major or minor third and perfect
fifth is termed a common chord, and it is named from its bass
note. Thus (i) is the common chord of C. But it is more
particularly defined in accordance with the character of the
third from the bass note. From C to E is a major third, (i) is
therefore called the major common chord on C. From D to F
is a minor third, (3) is therefore termed the minor common chord
on D. The bass note of each of these chords is termed its root.
Any bass note with any third or fifth above it is termed generi-
cally a triad. Thus C, E, G is both a triad and a common chord.
But B, D, F, though a triad, does not satisfy the definition of
a common chord, B to F being a diminished fifth. It is termed
a diminished triad. Likewise C, E, G sharp is an augmented
triad, named from the character of the fifth C to G sharp.

THE PRINCIPLE OF CHORDS n

Rameau, in his Traite de f Harmonic (1722), revealed the fact
that both the following were referable to the same root :
Ex. 23.

(a) (6)

in fact that (b) was merely an inverted form of (a) with the root
placed higher, leaving the original third as the bass ; (b) was
termed the first inversion of the major common chord on C. Chord
(4) is therefore thus designated ; (6) is the major common chord
on G, (7) is the same as (i), and (5) is the first inversion of (3).

ii. The new possibilities that this view opens out will be seen
best by examples.

Firstly, it must be understood that the chords implied are indi-
cated, so far as the present examples are concerned, as follows :

(a) No figures under or above a bass note indicate the com-
mon chord in root position.

(b) The figure 6 thus placed indicates the first inversion of
a common chord.

Three procedures could be adopted in writing a short piece of
music according to the principle of chords.

(a) A bass might be conceived, and as it is written the com-
poser would mentally picture merely the masses of harmony
above it, with no consideration of any melodic developments.

(b) A melody might be conceived, but at the same time the
composer would regulate it by what he felt to be a natural
sequence of chords and a suitable bass.

In all these cases it is assumed that the chords move simul-
taneously with the bass or melody. The following might result
from any of the above procedures, the harmony being sub-
sequently filled in :

Ex. 34. (a)

THE PRINCIPLE OF CHORDS

It should be observed that at (a) the D is no longer compelled
to fall to C. It is no longer a question of the progression of
a melody, but of a factor of a chord. It is also to be noted that
the alto and tenor in this example are poorer as melodies than
in the former illustration. They merely fill in the harmony. The
above is merely an example of plain harmonic progression with
a tolerable soprano which might serve as a melody.

Next, take these chords as the basis of more elaborate texture.
A composer might, for example, evolve a melody for the violin
with pianoforte accompaniment :

Ex. 25.

VIOLIN.

PIANO.

or he might weave imitative parts that move in accordance with
these preconceived chords :

Ex. 26.

The student will at once see that decorations of the chords are
being produced. Strict Counterpoint is a system of intervals,
Harmony is a system of chords, and the trained musician will
instinctively write any single part with a due consideration of
its harmonic possibilities. The first step, then, is to gain
a sound grasp of chord progression as such.

12. The system of chords was at its inception termed
Homophony or Monodia. Sometimes these terms are used in

THE PRINCIPLE OF CHORDS 13

the same sense, namely, to designate music in which the melody
is assigned to one part only, the other parts accompanying it
with chords. The use of the lute, which was very prevalent at
the beginning of the seventeenth century, naturally encouraged
such a style, while the needs of dramatic expression in the
secular music afforded a stimulus to experiment in new chords
and new melodic progressions. Sometimes the term Homo-
phony is used to designate the use of plain blocks of chords, in
contrast with the characteristic features of Counterpoint. The
term Harmony really refers to composition based on the theory
of chords, that is, the method in vogue since the beginning of
the seventeenth century. When the system of chords had
come to some maturity, composers began to incorporate the
features of the older style under new conditions, as, for example,
in the work of J. S. Bach. Thus modern music illustrates the
contrapuntal as well as the homophonic and monodic sides of
technique, and it is customary to define a section of music as
being contrapuntal or harmonic in so far as it displays the one
characteristic or the other, irrespective of the period to which
it belongs. Thus the terms Counterpoint and Harmony are
transferred from the sense in which they define historic
periods to that in which they define a particular style which was
characteristic of the period from which they take their name.
Lastly, as the salient feature of harmony is its formation on
a system of chords, the term Harmony gets narrowed down to
indicate a statement of the principles of chord formation and
chord progression. It must, therefore, be borne in mind that in
this treatise it is used in its wider sense to designate the prin-
ciples underlying the writing of music based on a system of
chords, as opposed to its precursor, Counterpoint, which was
a system based, so far as combined sound is concerned, on
a calculation of intervals.

CHAPTER II

THE ECCLESIASTICAL MODES AND
THE MODERN SCALIC SYSTEM

i. IF only the white notes of the pianoforte be used, and
a succession of eight such notes be played in consecutive order
upwards from any given note, we produce what is termed
a mode :

Ex. i.

, (*)

As any two consecutive sounds of a mode must be either a tone
or a semitone apart, it is obvious that the cardinal difference
between the various modes, from the point of view of melody,
lay in the relative positions of the tones and semitones. Thus
in (a) the semitones occur between the second and third and
sixth and seventh degrees. At (b), on the other hand, they occur
between the first and second and fifth and sixth sounds. The
modes were of Greek origin, and formed the basis of the music
of the Polyphonic Period. They were fourteen in number :

Ex. 2.

Mode i. Dorian. Mode ii. Hypo-Dorian.

.^^

F. 3 D'

Mode iii. Phrygian.

^ Im-

Mode iv.

- |r. - D.

Hypo-Phrygian.

^Lx D.
F.

Mode v. Lydian.

$9 =
-cr^- e

Mode vi.
=^l 1

5 F. D-
Hypo-Lydian.

h-K3 <S> <=-< £=»*

F. D.

=^ g^ ^ -

^'^ D.

THE ECCLESIASTICAL MODES

Mode vii. Mixolydian.

Mode viii. Hypo-Mixolydian.

•J

F. D.

Mode ix. Aeolian.

F. D.

Mode xiii. Ionian.

^ F. D.

Mode x. Hypo-Aeolian.

^-S F. D.

Mode xiv. Hypo-Ionian.

2. Modes i, iii, v, vii, ix, and xiii are called Authentic.
The first note of each is called its Final, signified in the
above by the letter F. Each authentic mode is regarded as
a pentachord (or series of five consecutive white notes) with
a tetrachord (series of four consecutive white notes) above it.
Thus in the Dorian mode D to A is the pentachord, A to D is
the tetrachord. The point where they overlap is called the
Dominant, signified above by the letter D :

Ex. 3. Tetrachord.

I I

Pentachord.

But in the Phrygian mode the position of the Dominant is
moved up one degree to C, because B is dissonant with F, and
would cause complications in the harmony. This dissonance
was also the cause of Modes xi and xii not being used. The
Final in each case was B.

Modes ii, iv, vi, viii, x, and xiv are termed Plagal, and each
is regarded as a tetrachord with a pentachord above it :

Ex- 4« Pentachord.

ietrachord.

Each Authentic mode has as its companion a Plagal mode, from
which it differs in that (i) it begins a fourth below the Authentic
form, (2) its Dominant is a third below that of the Authentic

16. THE ECCLESIASTICAL MODES AND

mode, unless this produced a B, as in the Hypo-Mixolydian
mode ; in this case it is raised to C. Both the Authentic and
its companion Plagal mode have the same Final, and this must
always be the last note of a modal melody.
Thus the following is in the Ionian mode :

Ex. 5.

And the example below is in the Hypo-Ionian mode :

Ex.6.

==^^^ =5j,

It will thus be seen that a melody that lies between the Final
and its octave is Authentic, but one that lies between the fourth
below and the fifth above the Final is Plagal. If, however, it
extends throughout the range of both modes, it is termed Mixed.

3. The mode in which a composition of the Polyphonic Period
is written can be found by turning to the last bass note, which
is the Final of the mode. The tenor is usually the Canto Fermo,
and an examination of this will show whether the mode be
Plagal or Authentic. But it is quite possible for one voice to
use the one form, and another voice the other. The key-
signature of one flat is an indication that the mode has been
transposed, and in this case the real Final is a fourth below the
last bass note. This must not be confused with modern editing
of modal music, in which a mode or transposed mode is placed
at a pitch which is considered suitable for the voices. For
instance, any modal music with the key-signature of four flats
has been transposed by the editor.

In this case, the series of sounds in a mode corresponding
with the transposed form must be found. Thus, suppose the
last combination be :

Ex. 7.

THE MODERN SCALIC SYSTEM 17

the series of notes is :

Ex.8.

This corresponds to the Mixolydian mode, and it will be
Authentic or Plagal in accordance with the range of the Canto
Fermo.
If, on the other hand, the final chord were :

Ex. 9.

the presence of only one flat in the signature indicates that the
mode has been transposed, and is therefore the Lydian.

4. The formation of modal harmony must be considered in
some detail, in order to see how the modern scale is evolved.

In the earliest period, up to the end of the twelfth century,
the modes were utilized exactly as they stood except that in
order to avoid such a dissonance as

Ex. 10.

the B was flattened.

But composers soon began to find out that the use of other
accidentals produced more euphonious effects, and their employ-
ment became systematized as a principle termed Musica Ficta.
The ecclesiastical authorities were prone to look askance at
these innovations, as they obviously tended to destroy the
characteristics of the modes. So composers often wrote their
music without the accidentals intended, and trusted to the
musical sense of the singers. But in some cases it might be
hazardous to omit the signs. When they were introduced the
music was called Musica Ficta, or artificial music.

The following are the chief cases in which accidentals were
employed :

(a) It has been pointed out that in the Clausula Vera the

1568 C

THE ECCLESIASTICAL MODES AND

Canto Fermo proceeded from the second degree of the mode to
the Final, and that some accompanying part proceeded simul-
taneously from the sound below the Final up to it :

Ex. ii. Ionian Mode.
C.F.

Efl

Dorian Mode.
C.F.

C.F. ' C.F.

It was soon felt that the Clausula Vera in the Ionian mode
sounded more satisfactory in effect than that in the Dorian mode.
It was thus made a rule in Musica Ficta that the penultimate
concordance should be a major sixth or minor third in the
Clausula Vera of every mode. It will be found that Modes iii,
v, and xiii naturally fulfil these conditions :

Ex. 12.
Mode iii. Mode v. Mode xiii.

And if these be transposed they also keep the rule :
Ex. 13.

Mode iii, transposed. Mode v, transposed. Mode xiii, transposed.

But in the other modes accidentals will be necessary :

Mode i, transposed.

Ex.14.
Mode i.

Mode vii.

Mode ix.

Mode vii, transposed.

Mode ix, transposed.

(b) Next, when a third part is added, it is necessary to
avoid the false relation of the tritone ; this would occur in
Mode v, when the Canto Fermo is in the lowest part :

THE MODERN SCALIC SYSTEM

Ex. 15.

The addition of a flat to the B softens the effect.

(c) The final chord of the Clausula Vera must have the
major third from the bass, if the third be introduced at all. It
is often omitted. The following is a table of the Clausulae
Verae in all the modes.

Mode iii.

-/— ^

— — " — H

W— - — J

— " 1^—11

Mode v.

Mode vii.

Mode ix.

Transposed.

Efo II ==

Transposed.

iA H

Transposed.

^
=^l

Transposed.

>-* -^=*=^=

Transposed.

-~1

C 2

20 THE ECCLESIASTICAL MODES AND

Mode xiii. Transposed.

(d) The interval of the augmented fourth or diminished fifth
in melody must be avoided by altering the second of the two,
forming the skip of a perfect fourth or fifth :

Ex. 17.

This interval was also likewise avoided at the extremities of
a melodic passage :

Ex. td.

(e) We have already shown that the false fifth between the
bass and an upper part is avoided by flattening the bass :

Ex. 19.

(/) The tritone as an essential harmony must be avoided

thus :

Ex. 20.

(g) Generally a B lying between two A's, or transposed an
E lying between two D's, should be flattened :

Ex. 21.

Now, let us transfer the accidentals used in forming the Clau-

THE MODERN SCALIC SYSTEM 21

sulae Verae of some of the modes to the modes themselves,
and see what the results are :
Ex. 22.

Mode i.

Mode v.

Mode vii.

It will be at once seen that these are exact reproductions of
Mode xiii at different pitches :

Ex. 23.

In all these the semitones occur between the third and fourth
and seventh and eighth degrees. Thus we see how the modes
tended to conform to a uniform pattern, and this is none other
than our modern diatonic major scale. A scale is called major
if the third degree be major in reference to the first, and each
scale is named from its initial note, hence we have here the scales
of D major, F major, B flat major, G major, and C major. It
should be observed that the factors in this evolution are the
feeling that it is much more satisfactory to lead up to the Final
from a sound a semitone below than one a tone below, and
that the final consonance is much more satisfactory with a major
third from the bass than a minor third.

If Mode ix be written with the accidentals of Musica Ficta,
we get :

Ex. 24.

y :&. -cr 8^- ^^

Then, to avoid the augmented second between the sixth and
seventh degrees, the F was sharpened, producing the scale of

22 THE ECCLESIASTICAL MODES AND

A major. Then Mode iii would be altered in order to conform
to the uniform pattern.

But it is to be observed that as the major third from the first
sound was only used in forming the cadences, it would naturally
occur to composers that it would be possible to evolve another
type of scale as the companion of the major form, e. g. one
in which, while the sound below the final was still a semitone
from it, the third from the initial was minor. The Aeolian
mode was taken as the model, with the seventh degree sharpened,
and for purposes of melody the sixth degree was sharpened
when necessary :

Ex. 25.

^ -53- («)

If Mode i be altered in this way, it gives this arrangement of
sounds :

Ex. 26.

This is termed the melodic minor scale ; in descending the
form of the Aeolian mode is used, as the seventh degree has not
to perform its ' leading * functions :

Ex. 27.

The harmonic form of the minor scale is used for the purpose
of forming chords :

Ex. 28.

™ ^. -& -^—^ ~^ -&—&- -^ —

As in the major series, each minor scale is named after its initial
sound, thus the above is termed the scale of A minor. Each
major scale has what is termed its relative minor, bearing the

THE MODERN SCALIC SYSTEM 23

same key-signature, and having its initial sound a minor third
below that of the major scale. Thus the scale of F major has
that of D minor as its relative, and both have the key-signature
of one flat.

Music produced from the scale of C major is said to be in the
key of C major, named after the common chord on the first
degree, and arranged so as to give the effect of allegiance to
this tonal centre. This matter will be discussed later. Formerly
the terms major and minor were not used, but the key of
C major was spoken of as the key of C with the greater third,
and the key of C minor as the key of C with the lesser third.

5. At first composers of the Homophonic Period only used
a few keys, those that did not require more than three sharps
or two flats as key-signatures. All the music of the Polyphonic
Period had been for voices unaccompanied. One of the chief
characteristics of the new era was the development of music for
instruments. Keyed instruments contained twelve notes to the
octave : C, Cft D, Efc Eft F, Fft G, G#, A, Bfc Bft With this
resource it was natural that composers should experiment with
remote chords and extreme changes of key centre. But keyed
instruments were tuned according to what is known as the
Meantone system. Without going into the details of the method,
it may be said that the result was that only the scales with the
key-signatures of not more than three sharps or two flats could
be used without extra keys, sometimes called quarter-tones.
For example, the chord E, G sharp, B would sound quite well,
because these sounds occur in the scale of A major. But the
chord A flat, C, E flat would sound horrible, because the
A flat was tuned as G sharp in reference to A (both A flat
and G sharp being represented by the same key on keyed
instruments). And in the system G sharp to E flat was much
sharper than a perfect fifth. Hence in the early work the range
of keys was restricted.

The system of 'equal temperament* obviated this difficulty.
The octave is confined to twelve sounds only, this result being
obtained by tuning upwards in fifths, each a little flat, until we
come to a note that corresponds with that from which we started.

24 THE ECCLESIASTICAL MODES AND

J. S. Bach wrote his Das wohltemperirte Clavier for a clavichord
tuned in equal temperament, but the system was at that time
quite exceptional. It is of course obvious that the Meantone
system was but the counterpart of the gradual transition
from the modes to the modern scales. Unaccompanied voices,
of course, did not need ' temperament ' at all, and all the music
of the Polyphonic Period was of this nature. And it was
natural that keyed instruments should in the first instance be
tuned with a reference to the past, for the modes merged almost
imperceptibly into the modern scales, and the need for equal
temperament would not be suspected. Further, it may be
observed that equal temperament has produced the modern
chromatic scale, which now forms the basis of harmony.

6. In the music of the seventeenth century, and indeed up to
the time of Handel and Bach, composers often omitted the last
sharp or flat from the key-signature. The fact that it is not
always so is somewhat puzzling. The procedure seems to be
in the main a survival of modal methods.

(a) Composers often wrote in the Dorian mode transposed.
Thus, commencing on G, the B would be flat, and the E natural.
Similarly, commencing on C, the E and B would be flat and the
A natural. This, however, does not account for the fact that
Corelli's Second Sonata for Violin and 'Cello is in B flat with
the signature of one flat. But under the modal system the
presence of one flat in the key-signature was an indication that
the mode had been transposed a fourth upwards. Applying this
test to this sonata, the mode would be the Lydian :

Ex. 29.

Lydian Mode. Transposed.

ffiE =r^T5-~*=-

That is, the E would be constantly natural. But it would be
flattened both in conjunct and disjunct movement if the
Quinta Falsa or Tritone occurred ; also it would be generally
flattened if used between two D's. The student will thus
readily understand the following :

THE MODERN SCALIC SYSTEM 25

Ex. 30.

N— &-^=---^=t

g^_i=J

(a) Opening of the ' Grave ' of Corelli's Second Sonata.
(/?) The ending of it.

Then again, the Fourth Sonata is in F major, and the key-
signature is correct according to modern notions, one flat. From
the old standpoint it is the Ionian mode transposed.

(b) As regards keys with sharps for their signatures no
such arguments can be adduced. For instance, Corelli's First
Sonata is in D major with the signature of two sharps. The
ninth, however, is in A with the signature of two sharps also.
This is possibly a survival of modal methods, in which the note
lying a semitone below the Final was constantly sharpened.
Apparently no explanation of the procedure in reference to
sharp keys has been attempted. It may be observed that in
Corelli's Twelve Sonatas the sign of more than one flat is
never used. This must be a survival of modal methods. Thus,
if a piece be in D minor there is no accidental in the key-
signature : if it is in G minor, there is one flat in the signature.
If, however, the movement be in F major, the signature of one
flat is used. Corelli seems to have applied this to the sharp
keys with more than two sharps. Thus a movement in A major
has the signature of two sharps ; one in E major has the
signature of three sharps. It can only be regarded as an
arbitrary convention, due perhaps to speculation in order to
reach some sort of uniformity of procedure. It almost looks as

26 THE ECCLESIASTICAL MODES AND

if it were due to a misconception as to the use of the signature
of one flat in modal composition.

7. Having seen the causes that led up to the evolution of the
modern diatonic scales, it remains to state the names given to
the v?rious sounds forming these scales. They are the same in
both the major and minor series :

Ex. 31.

> "• »'• iv. v. vi. vii. i. i. H. iij. iv. v. vi. vii. i.

The Roman numerals are here used, for the sake of brevity, to
indicate the various degrees of the scale. The ordinary names,
however, should be known.

I is called the Tonic, being the note from which the key is
named.

If the seven sounds forming the scale be played in ascending
order, it will be felt to be unsatisfactory to end with VII. It is
felt that it leads naturally into a re-statement of I a step higher.
This shows the origin of the term Leading Note as applied to
VII, and also the function of I as being the point of finality.
It is not necessary that a composition should commence with the
tonic common chord (e.g. in the key of C, C, E, G), but it is
unsatisfactory to end with anything else.

II is called the Supertonic, obviously because it lies one
degree above the tonic.

III is termed the Mediant because it lies midway between the
tonic and the dominant.

V is termed the Dominant. The common chord placed above
this root (G, B, D in C major) contains the leading note, and
when followed by the tonic common chord absolutely defines
the key. Hence its importance.

IV is termed the Subdominant because it is the lower dominant.
That is to say, as the dominant lies a fifth above the tonic, so
the subdominant lies a fifth below it ; and the common chords
placed on I, IV, and V are the most important in the key.

Some object to this explanation of the term, and argue that

THE MODERN SCALIC SYSTEM 27

it means 4 below the dominant '. If we accept the former
explanation, it will be seen why VI is called the Submediant.
It is the lower mediant. Those who do not accept this ex-
planation call VI the Superdominant.

Ex 32.

iv. i. v. vi. i. iii.

The names of the degrees of the scale in order are :

I, Tonic. II, Supertonic. Ill, Mediant. IV, Subdominant.
V, Dominant. VI, Submediant or Superdominant. VII, Leading
Note.

CHAPTER III

PRINCIPLES OF MELODIC PROGRESSION, AND
EAR-TRAINING IN THEM

1. No laws of harmonic or melodic progression are absolute.
In considering them, two points must be carefully borne in
mind :

(a) A rule that applies to vocal style may have no raison
d'etre in reference to instruments : or again, a rule that applies
to a String Quartet may be irrelevant when considering the
technique of the Pianoforte.

(b) A rule that had significance at a certain period may be
of no account at the present time, or certain conditions of one
period may demand views that earlier conditions did not require.

2. As regards the laws of melodic progression, it will be well
to commence with those of the Polyphonic Period, and it will
be remembered that they refer to vocal style, unaccompanied.
Modern extensions will also be considered.

3. Palestrinian principles of melodic progression.

(a) All diminished and augmented intervals were forbidden :

(b) One leap or two moves in the same direction should not
produce an interval greater than an octave :

tr -.&. r^r- ~^. =?

PRINCIPLES OF MELODIC PROGRESSION 29

(d) The leap of the seventh was forbidden. But the minor
seventh might form the extremes of two moves in the same
direction if the part returned immediately inside the interval :

(e) The leap of a third followed by that of a sixth or a sixth
followed by a third in the same direction is inelegant :

It must be remembered that these rules were framed for con-
ditions of some difficulty. Instrumental music was unknown, and
therefore not only were the voices unsupported, but they had not
the help of instruments in making familiar to them intervals
which are perfectly easy for an instrument, but difficult in the
first instance for a voice.

(/) Not more than two leaps should be taken in the same
direction. Further, after two or three conjunct moves, a part
should not leap in the same direction to an accented note :

(g) A note half the value of an accent should not leap a
sixth, major or minor, if the accents move moderately quickly :

undesirable.

4. The first step in practical work is to acquire the power of
mentally hearing all the melodic intervals of the major and
minor scale. It will be best, however, to learn first those that
fall under the Palestrinian principles. It is of course obvious,
that one must hear physically before one can hear mentally.
The following intervals must be played on the pianoforte several
times, and fixed well in the mind.

Next, the student should sing them from the score, unaided
by the pianoforte. Then he should mentally hear them, e. g.

3o PRINCIPLES OF MELODIC PROGRESSION

without playing or singing them. Finally, he should get some
one to play each example twice or three times, and he should
then reproduce them on paper (musical dictation). It is very
important to think of every sound in reference to the Tonic, that
is to say, all intervals should be calculated from a given sound,
and that should be the Tonic, or Key-note. It would be well
to play the tonic common chord in root position before every
example. The examples should be transposed into various
keys. The student should mentally name to himself every
interval he conceives or hears, e. g. key C, E to A, mediant to
submediant.

KeyC.

^-jziRig- - [|^— HN^4^^4^

ty IM? — » H ^ — «-H-^ — c H " — «

4^=^!^====^^^

=> H ° — r=iJ

^HN- — ^

Key D minor.

fc^^-r--^

AND EAR-TRAINING IN THEM

p^=^=^t=gy=5^

-u-^. — u _u — - ^

A--5 — -j-^. n — =fl=

~$ H fl fi

u u : -n

5. Next, the same process should be gone through with three
or four notes in succession. A few examples are given. The
master may invent others for his pupil. The tonic common
chord should be played before every example. No attention is
given to time duration and accent in these exercises.

Key G major.

*/
Key A minor.

Key D major.

— u

Key E minor.
r&brrzz^gr— gar ^ » rj flgg ^

^z_ ^ ^-rv-ll
, [I _ == ^==a

$ ** ' -===
Key F major.

Ar-g- „ II " „

||- rj ^ r^ -^-j

W r'-^ ^~

Key D minor.

-g— " r^ 1

W-- — s—rj II " -

g— ^— ^— ^-T3— -=•

6. Attention should next be given to time only.

32 PRINCIPLES OF MELODIC PROGRESSION

In the following exercises—

(a) the time should be given ;

(b) the tempo should be given ;

(e) the examples should be played and sung by the student,
and then mentally conceived ;

(d) they should then be played by the master, and repro-
duced on paper by the pupil ;

(e) any single sound may be chosen ;

( /) the strong accent should be exaggerated.

lr Mr Ir rlr II
Irtrlrelcjvlr II
Srrrlrerlr Mr II
iMr r Mr c/Mcrr c/lr U
trrlrerrlr r r I cr tr r r I r II
trrrrlrcr I r cr r M • I
r sir 5 r lr t Z£f\r t\r II

Other exercises may be added at the discretion of the master.

7. Time and tune may now be combined. Three or four
notes at a time may be dictated. Further exercises may be
added if necessary.

KeyC.

I » •) I=F=H

Key G.

±U—1

4=5fc==«

AND EAR-TRAINING IN THEM

Key A minor.

Key D.

In the following examples the bars divide into weak and
strong :

KeyC.

Key C.

•j Ji i jrn

8. Some extensions of the Palestrinian laws of melodic
progression.

There are two chief reasons for the extension of rules :

(a) The advance of technique.

(b) The demands of expression.

The use of instruments caused a great expansion of the rules
of melodic idiom. But we have still to deal with them (a) in
reference to voices, (b) in reference to the diatonic scale. All
kinds of leaps are in the main easy for instruments, and their
constant use under such conditions made familiar various
intervals that were formerly untried ground.

The following extensions may be catalogued :

(a) When a part is repeating a melodic formula at different
pitches, producing what is termed a sequence, an augmented
interval may occur, if it is not in the original pattern :

1568 D

34 PRINCIPLES OF MELODIC PROGRESSION

PARKV. Voces Clamantium.

and ev - er - last

ing joy

The augmented fifth, however, is extremely rare.
Appropriate expression is a valid reason for breaking any
rule :

EX.I.

PARRY. The love that casteth out fear.

So far hath He re -

f. rfgjy. r_ .. f g

t r — r ^— r^HbNbfedE

Here the purpose dictates an expansion of resource.

In the following example the interval occurs between the end
of one phrase and the beginning of another, and the effect is
excellent :

Ex. a.

J. S. BACH. Matthews-Passion.

But its use in a case like the following is simply a matter of
inefficiency.

AND EAR-TRAINING IN THEM

There is every reason why it should not be employed here.

(b) Diminished intervals may be freely used if the next
sound is a note within such interval :

Ex. 3.

They are found very early in the seventeenth century :
Ex. 4.

MONTEVERDE. Orfeo.

Tu se' mor - ta

Even earlier Tallis wrote :
Ex. 5.

Hear . . the voice and pray - er of Thy

Hear the voice and pray - er of Thy ser - vant . .of

Hear the

D 2

36 PRINCIPLES OF MELODIC PROGRESSION

vant of .

. Thy ser

Hear

the voice and pray - er

±=at

Thy set - vant

that Thy

voice and pray - er ef Thy ser - vant

(c) The needs of dramatic expression justify the leap of an
octave being preceded or followed by notes outside its compass :

PARRY. Voces Clamantium.

Woe

un - to them

(d) The leap of a major sixth is now perfectly easy, though
it is better used when the notes forming it belong to the same
chord :

i^^

*F^3

3=*^

•=^=r=

3MI

Good. Not so good.

It is still undesirable for voices to leap a sixth if the first note
be of short duration.

These extensions will suffice for the present.

9. Exercises in ear-training in the new intervals introduced.
Apply the principles of study already detailed :

Key C major.

AND EAR-TRAINING IN THEM 37

Key A minor.

Key G major.

Key E minor.

i p

Key D major.

Key B minor.

CHAPTER IV

FURTHER PRELIMINARIES IN EAR-TRAINING

1. IN the previous chapter the student was made familiar with
elementary melodic progressions. The next step must be to
acquire the power of mentally hearing harmonic intervals in two
parts, and combinations of them in three and four parts. Finally
the student must learn to hear mentally harmonic progression,
that is, a succession of chords.

2. It will be well to cover only that ground which is immediately
necessary, and to learn new resource as it occurs.

3. Harmonic intervals in two parts.

The harmonic intervals of the third, fourth, fifth, sixth, and
octave, commencing on every degree of the major scale, should
be learnt. It is presumed that the student has been through
a preliminary course in rudiments, so that it will be unnecessary
to go into the question of the quality of the various intervals.

The following is the course of study :
(a) Preparation for lesson.

The following intervals and their compounds should be played
on the pianoforte several times, in several keys.

Before each group the common chord on the tonic should be
played.

Then as each interval is played the student should name it
to himself, as follows :

Major sixth on the supertonic, key G major. Next, he should
read them, and attempt to hear them mentally, testing his

FURTHER PRELIMINARIES IN EAR-TRAINING 39

accuracy by afterwards playing them on the pianoforte. (Of
course each interval should be played immediately it has been
mentally conceived, and not a group after such group has been
' heard with the eye '.)

(b) The lesson.

The master should play the tonic chord before each interval
that he requires, naming the key. He should vary the order of
the intervals from that given here. The student should both
name the interval and write it down at the pitch given, with the
correct key-signature :

Key G major.

Tonic Group.

Tonic Chord.

* — H — «

Supertonic Group.
-£3=^=0=1==

5>-

W -» ft ^—

—

— c

2 — H

Tonic Chord.

Mediant Group.
fc=^=n=

z^ — n

Subdominant Group.

Tonic Chord.
Dominant Group.

JL :-: II

Tonic Chord.
Submediant Group.

Tonic Chord.
Leading Note Group.

Tonic Chord.

40 FURTHER PRELIMINARIES IN EAR-TRAINING

4. Next, harmonic progression in two parts should be studied.

No knowledge of harmony is required in order to reproduce
the following examples on paper from dictation : it is simply
a question of ear.

The same process as that already outlined should be gone
through in all ear-training exercises.

The following exercises are only examples of the kind of
study that should be undertaken. The master should add
exercises of his own. Each example should be played by him
twice or three times :
Key G.

H — <& H — &> — .. H

<•* ^T^- & II f-^a

Tonic Chord.

Key D.

Tonic Chord.

Key C. More intervals in a group.

Tonic Chord.

Key F. The intervals grouped in accents.

. J J . J J . J ' J .-J-

ZpL ^^ O-g | JP

Tonic Chord. '

FURTHER PRELIMINARIES IN EAR-TRAINING 41

Key B flat.

Tonic Chord.
Key C. Introducing oblique movement.

r r

Tonic Chord.

r i 'i

i i

CHAPTER V

THE TRIADS OF THE MAJOR KEY IN ROOT
POSITION

1. IT has been seen that the method of composition of the
Polyphonic Period was what is termed horizontal, and a moment's
thought will show that the only means of classifying the technique
was to consider it as consisting of various kinds of movement,
e.g. note against note, two notes to one, syncopation, and so
forth. But the theory of chords suggests at once a new method
of classification. Just as in Counterpoint one learns the use of
one sort of movement at a time, so in Harmony one learns the
use of one sort of chord at a time. Obviously, then, it is convenient
to start with the concordances of the Polyphonic Period as
chords, and to trace the gradual development from this limited
scheme. It is best to consider the consonances separately, e. g.

(a) the consonance of the third and perfect fifth from the bass,

(b) that of the third and sixth from the bass. This chapter is
concerned with the former scheme.

2. The meaning of the terms triad and common chord has
already been explained. For the sake of brevity the sign (a) is
used to indicate the root position of a triad. Thus i a in the key
of C means C, E, G ; iv a in the key of G also means C, E, G ;
the Roman numerals, of course, referring to the degrees of the
scale on which the triad is built.

3. If a third and fifth be placed above each note of the major
scale, the combinations thus produced are termed the diatonic
triads of the major key :

THE TRIADS OF THE MAJOR KEY 43

Ex. i.
KeyC.

ia. iia. iii a. iv a. va. via. viia.

The word diatonic, as applied to sounds, means that they
comply with the scale that is being utilized.

4. In the above it will be noticed that there are three different
kinds of triads :

(a) i a, iv a, v a, consisting of a root with its major third and
perfect fifth. These are termed major common chords, and are
the primary triads of a key.

(b) u a, iii a, vi a, consisting of a root with its minor third
and perfect fifth. These are termed minor common chords, and
are the secondary triads of a key.

(c) vii a consists of a root with its minor third and diminished
fifth. This is not a common chord, but is termed a diminished
triad, being classified according to the peculiar nature of its fifth.
As it occurred in the Polyphonic Period it is here catalogued,
but the peculiar circumstances of its use will require detailed
consideration. These will be discussed in due course. For the
present the triad will be considered as being unavailable.

5. Ear-training.

These triads should at once be committed to memory. It is
of course obvious that they must be memorized in reference to
some given sound or chord which remains fixed ; this is naturally
the tonic. Before any chord is played the tonic chord should be
struck, then the chord in question is localized by its distance from
the tonic. The triads should be played in various keys. When
they are fixed in the memory the master should play the tonic
chord, and then one of the other chords, which the pupil must
name in full, e.g. suppose the dominant chord were required,
the pupil would describe it as the major common chord on the
dominant. Next the varying quality of these chords with the
upper notes, the third and the fifth differently arranged, must
be carefully studied. The variations may take the following
forms :

44 THE TRIADS OF THE MAJOR KEY

(a) Third and fifth reversed in position :

EX.2.

(b) Fifth or, rarely, the third omitted. This causes one
note to be doubled :

Generally it is better not to double the major third. The
leading note must not be doubled. These rules are not absolute,
but they apply for the present (we are assuming that the technique
is vocal).

(c) The distribution of the sounds for three or four different
voices : (i) S. A. B. ; (2) A. T. B. ; (3) S. A. T. B. In this
connexion it must be noted that (i) any wide gap should occur
only between the two lowest parts, (2) in four parts the doubling
of some sound is a necessity. The root (except vii), minor
third, and fifth (except when vii) may always be doubled.

The compass of the various voices is approximately :

Bass.

Ako.

Soprano. ^

For the present S. and A are written in the treble stave, T.
and B. in the bass stave :

The following are typical exercises in ear-training. When
they have been thoroughly memorized the teacher should play
various chords in various keys, and the pupil should reproduce
them on paper.

IN ROOT POSITION 45

In some examples two adjacent voices may sing the same
sound ; on the pianoforte it is of course impossible to tell which
sound is being doubled at the unison ; therefore in asking the
pupil to reproduce such examples on paper the master should
state where the doubling occurs.

Ex.6.

Key F. Tonic Group.

n£~u n H

H — & — n n n — & — R n

Tonic Chord.

ci' ;*- H — - • 1

— n ^--p ft- ~^2_- H — — H H — H

3 — g — H — - — 1

Supertonic Group.

EfeF— || II

B B H H H H

gtzz^^db^db

Tonic Chord.

^fe g — H — ^ — H-

Mediant Group.

cftb II ••

H— 5 — n — o — H II g> II % H

r ii • -

Tonic Chord.

Subdominant Group.

§^= ^ " " to •

Tonic Chord.

Dominant Group.

^ H — ^ — H — -

a — H — =— H — —HI — ~ — H J

ty* — ^ — H H — <-

Tonic Chord.

* — II — ^ — B — = — U — = — H — ^— «

n n — = R — 7=r~- H

=1- =1 =-l=H

46 THE TRIADS OF THE MAJOR KEY

Submediant Group.

y- s " "-

Tonic Chord

ja. ^ fi

6. The student is now in a position to consider the principles
underlying the progression from one chord to another when
they are both in root position. The matter may be discussed
under two heads : (a) the progression of the various parts in
reference to one another, (b) the progression of the chords in
reference to one another.

7. Elementary laws of harmonic progression.

Only those laws that are required for the immediate purpose
will be here detailed.

A. If both the following be played as isolated examples,

Ex. 7.

it will be found that whereas (a) is bad in effect, (b) is not. This
points to two lines of criticism : (i) the bass is the foundation of
the whole, and the effect of a passage largely depends upon its
formation. Upper parts may rearrange themselves without
materially altering the harmonic effect, but if the bass be altered
the effect is quite changed. Compare the following :
Ex. 8.

g— i ir^l=^Jbr^=dbi

a * c

r — r- ll.^-^Hh

— r-, -t

-^ ~ B

It will be found that # and £ and d and £ are respectively the
same in harmonic effect, whereas c and f produce a new effect.
Thus the bass holds an isolated position of supreme importance.
To duplicate this in an upper part which is not adjacent is to

IN ROOT POSITION

introduce a condition of things which is obviously wrong. There
can only be one real bass, and only one position for it. In the
following example

Ex. 9.

the bass is merely reinforced. That is, it is duplicated at the
unison, and the tenor is therefore also the bass to the alto and
treble. But such duplication should not occur spasmodically,
else the balance of the parts is upset. Here there are not four
parts, but three. The ground of objection is not that the effect
is bad, but that the parts are not independent. Similarly, no
one could condemn the duplication of an upper part in octaves,
if continued for some time, on any aesthetic basis :

Ex. 10.

Such duplications are termed consecutives, and, as applied to
this case, consecutive octaves. For the present the student
must not use them at all. But the foregoing will have shown
him that (i) a duplication of the bass by the soprano or alto is
fundamentally wrong, (2) a duplication of an upper part by
another upper part reduces the number of parts by one. Of
course the duplication of the same octave in consecutive chords
does not fall under the above ruling :

Ex. ir.

good.

THE TRIADS OF THE MAJOR KEY

It will be remembered that the early organum consisted of
parallel movement in fourths or fifths. The latter has for long
been considered intolerable. There are cases in which it is
quite good in effect ; but we have here to consider the grounds
of criticism as regards its evil effect. It is said in Grove's
Dictionary that the bad effect is due to the parts moving
' simultaneously in two different keys *.
Ex. 12.

That is to say that in the above the soprano moves as if in the
key of G, and the bass as in the key of C. If this were the real
reason, then surely parellel fourths ought to sound as bad :
Ex. 13.

But the above are quite good in effect. Between the bass,
however, and an upper part they are bad in effect :

Ex. 14.

There seems to be no logical reason for the differentiation
between the following :

Ex. 15.

good.

bad.

but one's ear at once accepts the former and rejects the latter.

IN ROOT POSITION

B. When any two parts approach an octave or perfect fifth
by similar motion, each octave or fifth is said to be exposed, or
hidden. These two terms are seemingly paradoxical. It was
formerly held that the following example was objectionable,
because if the intermediate sounds were filled in, consecutives

would occur :

Ex. 16.

But no one imagines the intermediate sounds to be filled in.
This notion, however, explains the term ' hidden ', meaning that
the consecutives were really there. Moderns rightly take the
view that any bad effect is caused by the approach of the octave
or fifth in similar motion : this brings it into undue prominence ;
it is therefore said to be exposed. It is impossible to find any
basis of general agreement as to which exposed consecutives
are objectionable, and which are not. No one, however, objects
to the following generalization.

(i) They are good between the extreme parts of primary triads
(i, iv, v) if the highest part move by step :

PHH

*HH*- ^ ' -1

(2) They are never objectionable between two positions of the
same chord :

Ex. 18.

1568

THE TRIADS OF THE MAJOR KEY

(3) Exposed fifths are unobjectionable between the extreme
parts of ii a and v a when the top part leaps down a third from
the third of ii a to the fifth of v a :

Ex. 19.

(4) As a general rule when two parts approach an exposed
octave, one of them being an inner part, it is better that the
higher part move by step :

Ex. ao.

This, however, is only a recommendation, except in three parts,
when it should be regarded as a rule.

(5) In three parts, if an inner and extreme part approach a
fifth by similar motion, the higher part should move by step. In
four parts there is no such restriction :

Ex. 21.

poor.

good.

C. A rest does not remove the effect of consecutives

EX. 23.

IN ROOT POSITION 51

D. No two parts should approach the unison by similar motion:

Ex. 23.

This involves another fault. An adjacent part should not in
the next chord move to a note higher than that employed by the
part above it in the first chord, nor to one lower than that
employed by the part below it in the first chord :

Ex. 24.

bad.

E. For the present the parts should not cross, i.e. reverse
their respective positions in the score :

Ex. 25.

The following additional points may be observed :

(a) Such a procedure as follows does not prevent the effect
of consecutives :

Ex. 26.

If, however, both the parts involved move to two different notes
of the same chord before proceeding to the next consecutive, any
evil effect is entirely obviated :

E 2

THE TRIADS OF THE MAJOR KEY

Ex. 27.

(ft) It must be remembered that the term consecutive implies
that the notes involved occur in consecutive different chords.
Therefore the following are not examples of consecutives :

Ex. 28.

(y) The unison by similar motion is often found between the
bass and tenor, when the bass leaps up a fourth and the tenor
rises a semitone :

Here it would have been very tame for the bass to have
returned to the lower A, hence the end justifies the means. In
the following the bass at (a) is tame; at (b) the alto is too high;
at (c\ therefore, the unison by similar motion is justified :
Ex. 30.

IN ROOT POSITION 53

(8) Overlapping is not objectionable between two positions
of the same chord :

Ex. 31.

(e) When a note is common to two consecutive chords, it
should generally be retained in the same part :

Ex. 32.

8. The leading note should rise except (a) in changing to a
different position of the same chord, (b) in a descending scalic
passage :

Ex. 33.

9. Having discussed the progression of the various parts in
reference to one another, it remains to consider the progression"
from one chord to another. Omitting viia from the present
discussion, (a) roots rising or falling a fourth or fifth are nearly
always good in effect :

Ex. 34.

But v a to ii a is not pleasant :

THE TRIADS OF THE MAJOR KEY

In writing iia to va it is better to avoid consecutive major
thirds. This produces the false relation of the tritone. It is
not a matter that need worry present-day students. But it is
recommended that consecutive major thirds ascending should
be avoided, at any rate for the present, between the extreme
parts or between the two highest parts :

Ex. S6.

(b) roots rising a second are good in effect except ii a to iii a.
The effect of consecutive major thirds downwards in iii a to
iv a is not unpleasant :
Ex. 37.

When roots move by step the upper parts should generally
proceed in contrary motion with the bass. In using v a to vi a
the leading note must rise ; in iii a to iv a it must fall.

Try to avoid the following :

Ex. 38.

IN ROOT POSITION

(c) Roots falling a second are poor in effect except vi a to
v a, and va to iv a. In the latter case the soprano should have
the fifth in v a and leap a third up to the root of iv a :

Ex. 39.

(d) The effect of roots falling a third is better than that of
roots rising a third, though both are possible. In either case
the chords have two notes in common, and the effect is more
vigorous if the chords be used from a strong accent (— ) to a weak
one (o), or between two weak accents, rather than from a weak
accent to a strong one :

Ex. 40.

jrf-^HE

A ^

— 1

J-

T==H"]3==j

r r

1 I

10. Ear training.

All these progressions should be played on the pianoforte, the
tonic chord being played before each pair. They should be
memorized, and the master should then play them and other
arrangements of them, the pupil reproducing them on paper.

11. Exercises.

(a) Write a chord in four vocal parts to precede and follow
each of the following at the points numbered i and 3 :

56 THE TRIADS OF THE MAJOR KEY

Ex. 41.

57 i

123 123 12

J- A 4

(^) To the following bass and soprano add parts for alto
and tenor :

Ex. 42.

Ex.43.

CHAPTER VI
PHRASE FORMATION

i. THE principles underlying the progression from one
common chord to another (in root position) having been dis-
cussed, the next step is to learn how to write a series of such
chords so as to form intelligible music. One of the great
characteristics of the beginning of the Homophonic Period was
the secularization of music, and this involved the introduction of
the important feature of rhythm, that is, the division of the music
into well-defined periods. Music should be measured by accents,
and not by bar-lines. For instance, both the following are
identical :

Ex. i.

(a) s -^

And it seems absurd to say that the first is a two-bar phrase,
and the second is a four-bar phrase, unless it is also taken into
account that bars vary in the number of their accents, and that
these are often contrary to the time-signature. A bar cannot be
taken as a standard of measurement because of its inconstant
nature. The accent is, so to speak, the prime factor of music.
In this connexion there is some analogy between the metre of
poetry and the accents of music. So far as the harmonic sub-
structure of music is concerned there are only two arrangements
of the accents, commonly known as duple and triple time, e. g. :

(i) - w (2) - w ^

But these can be arranged in other orders so as to form
different kinds of measures or feet, thus :

(i) w — w — (2) w w — w w —

The times, however, remain the same, e. g. duple and triple.
2. A group (w — ) is called in poetry an Iambic foot. As far as

PHRASE FORMATION

the duration of sounds and their accentuation is concerned; it
would be true to say that all the following were Iambic feet :

Ex. 2.

But we are here purposely limiting the analogy to the case of
accents which move uniformly. Obviously an accent may
contain one chord or more, and it may contain one note or
more over the same chord :
Ex. 3.

(a)

AA A

At (a) the accents coincide with the chords.

At (b) the first accent contains two chords and therefore two
notes over it.

At (c) the first accent contains four notes.

We start with the simplest case, that of the chords moving
with the accents. It must be carefully observed that in drawing
the analogy between metre and accent it is of course not implied
that in setting words to music the principle also applies. On the
contrary, except in writing hymn tunes, it would be a funda-
mental error to attempt to make metre and accent coincide.
But the principles of metre as applied to accent do really help
the student to write intelligible music.

3. Four feet make a verse called a Tetrameter, which corre-
sponds to the phrase in music.

Four metres wrill be considered.
(a) The Iambic Tetrameter :

The thirsty earth soaks up the rain.

PHRASE FORMATION 59

It may be reproduced in music thus :

I r I r Mr Mr M r II

Now the above verse forms a complete literary idea, and is
marked off by some form of punctuation. Music contains the
same feature, and a phrase is marked off by the use of definite
harmonic idioms at the last foot, and they form what is termed
the cadence. Normally the cadence consists of two chords, the
second of which occurs on the strong accent, and the first, there-
fore, on the preceding weak accent. The grouping of music into
a definite period, with a cadence at the end, produces what is
termed rhythm.

(b) The Trochaic Tetrameter :
Of this there are two forms :

(i) Why so pale and wan fond lover.
Here the final syllable is unstressed.
If the cadence in music proceeds — to w it is termed feminine.

(2) All is best though we oft doubt.

Here the final unstressed syllable is omitted, forming what is
termed the Catalexis. In music this would be reproduced thus :

Cadence.

lr r I r r I r 'r I -' II

That is, the first chord of the cadence overlaps the end of the
third foot.

Cadence.

i r r r I r r fir r 'r I °: II

60 PHRASE FORMATION

(d) The Anapaestic Tetrameter :

w w — ww — ww — ww —

And the light that surrounds us is all from within.

I r Mr r rlr r Mr r r I r II

Cadence.

4. We have now to consider how to represent these metres in
music with chords.

(a) The chords chosen must give the effect of allegiance to
a fixed tonal centre. The cadential idioms are the greatest
factors in gaining this end. The following are at present
available :

(i) The Perfect Cadence, va to ia, establishing the key and
giving the effect of finality :

Ex. 4.

(2) The Half Close, v a, preceded by any other chord (except
perhaps iii a), corresponding to the colon in literature :

Ex. 5.

A A

(3) The Plagal Cadence, consisting of iv a to i a

Ex.6.

(4) The Interrupted or Deceptive Cadence, consisting of va
followed by any other suitable chord except i a or its inversions,
generally vi a or iv a :

PHRASE FORMATION
Ex. 7.

It is so called because the mind is led to expect the Full Close,
and is deceived.

Now music is framed by adding phrase to phrase, and it will
be obvious that the Half Close and the Deceptive Cadence would
not be appropriate in the last phrase, because they both destroy
the effect of finality. .

As we are beginning with single phrases, we are therefore at
present limited to the Perfect and Plagal Cadences. The
arrangement of the parts is immaterial ; but the last chord is
best with the root in the soprano if the effect of absolute finality
be desired.

The beginning also requires consideration. If the first chord
occurs on a strong accent it is best to commence with i a.

If we commenced as follows :

Ex. 8.

the effect would be that we were in F major and not C major.
If the first chord is not the tonic it should be followed by a
chord defining the key, e. g. the dominant :

Ex. 9.

But the student will do well to start with the tonic chord on

PHRASE FORMATION

the strong accent. If the first chord occurs on the weak accent
it should be i a or v a, at any rate for the present :

Ex. 10.

If the first two chords be w w, the first may be any chord if
the second be v a.

(b) The same chord should not be used w to — except in the
first foot of the first phrase. Elsewhere it produces a bad
halting effect :

Ex. ii.

good. bad.

Ex. 12.

very bad.

(d) Avoid at all costs —
(i) i a on the accent preceding the Perfect Cadence
Ex. 13.

bad.

(2) v a of the cadence immediately preceded by v a :
Ex. 14.

(e) In triple time, as a general rule, if two different chords
are used for the strong and succeeding weak accents, the chord

PHRASE FORMATION 63

used for the latter should not be repeated on the succeeding
weak accent :

Ex. 15.

poor. good.

5. Exercises.

(a) Add A. T. to the following S. and B. :

Ex. 16.

Iambic Tetrameter.

flra r ' r r r r f r II

^J± — L I ' II I I I — I I B •

Trochaic Tetrameter.

Trochaic Tetramet

er, with Catal

sxis.

r I r ^-l J ^ 4:

Dactyllic Tetrameter.

^r f r

N=^^

^-^^

-J J r

Anapaestic Tetrameter.

64 PHRASE FORMATION

(b) Add S. A. T. to the following basses :

Ex. 17.
Iambic Tetrameter.

Trochaic Tetrameter, with Catalexis.

rr— 1 , U

(c) Add A. T. B. to the following melodies.
Each note may be the root, third, or fifth of any chord except
vii a, and the student must exercise discretion in his choice :

Ex. 18.
Iambic Tetrameter.

tJ
(i) Bet

ter use two dii

i ^ *<> i r r i

(i) (i) (a)
Terent chords. (a) Avoid

v a.

Ex. 19.

Trochaic Tetrameter.

^ r-^=—^-4-^=zr=^3=^

(I) (2) (2)

(i) Use ia. (a) Avoid same chord, w to — .

Ex. ao.

Trochaic Tetrameter.

Jfc

(d) Write original examples for S. A. T. B. of Iambic,
Trochaic, Dactyllic, and Anapaestic Tetrameters.

CHAPTER VII

FIRST INVERSION OF TRIADS IN THE
MAJOR KEY

i. IF the bass of each of the triads of the scale be transferred
to a higher part, and the original third of the chord be left as
the bass, we produce what are termed the first inversions of the
triads :

Ex. i.

Key C major.

A ~ f^ -O- -~-

i b. ii b. iii b. iv b. v b. \\ b. vii h.

The letter b added to the numeral indicates that the chord
used is the first inversion of which the numeral is the root. All
these were available in the Polyphonic Period.

The figure 6 under a bass note implies that the sounds to be
added are the sixth and third from the bass, and that therefore
the chord is a first inversion.

2. Ear training.

Each of these chords should be played on the pianoforte, the
tonic common chord being struck before each. They should
be played in three and four parts, and then reproduced on paper
from dictation. The following are examples :

Lx. 2.

3. Progression of parts.

(a) One of the best uses of the first inversion of the triad is
a succession of two a step apart :

1568 F

FIRST INVERSION OF TRIADS

Ex. 3.

In using a series of these, e.g. three or more, it is best to make
the soprano move in parallel sixths with the bass, and to double
the root and fifth alternately :

Ex. 4.

Care must be taken that the order is so arranged that the
leading note in vii b is not doubled :

Ex.5.

bad.

But this is not the only arrangement possible ; the following
are quite good :

Ex.6.

(^>) The diminished fifth followed by the perfect fifth, or vice
versa, is allowed between two upper parts if the lower of the two
parts involved proceed by step of a semitone :

IN THE MAJOR KEY

Ex. 7.

I3f —

?• — - ii e±=-tj-

good. poor.

s^> Z^Z ^ ^^

^ - II— ^ —^

(c) In using vii b it is better not to double the fifth from the
root, but this is not forbidden. If the bass of vii b move by step,
the fifth forming a third from the bass should move in similar
motion with it, at any rate when it is in the soprano :

Ex. 8.

crude.

good.

4. We are now in a position to consider the use of this chord.
Of course no exercises will contain this chord alone, so that
there are three possible combinations in forming a progression
from one chord to another :

I. The first inversion of one triad followed by the first
inversion of another.

II. The root position of a common chord followed by the
first inversion of the same or another triad.

III. The first inversion of a triad followed by the root
position of the same (except vii a) or another triad.

5. Case I. The first inversion of one triad followed by the
first inversion of another.

(a) These are always good one step apart ; so that whereas
ii a to i a is poor, ii b to i b is excellent :

Ex. 9.

F 2

FIRST INVERSION OF TRIADS

The following progressions should be memorized, and repro-
duced from dictation :
Ex. 10.

/ _. _ — n=^g=

=J=§^=

t^=°=jl

kJZ -g^ ^ U

^2.

^f^

(^) These are generally weak with the bass leaping a third
upwards. They may sometimes be used with the bass leaping
a third downwards :

Ex. ii.

Ex. 12.

But as a general rule when the bass leaps a fourth or fifth it
will be found in the large majority of cases that both chords
should be in the root position.

6. Cases II and III. A first inversion followed by a chord in
root position, or vice versa.

(a) The root position followed by the first inversion of the
same chord, or vice versa, is always good (omitting vii a) from

IN THE MAJOR KEY

a strong accent to a weak one, but not from a weak accent to
a strong one unless the previous strong accent has also had
the same chord or at the very start :
Ex. 13.

jrood
£

J. JL

ible, but

monotonous.

halting.

-J J- J. J.

(b) A common chord followed by a first inversion on the
same bass note, or vice versa, is good — to w, but not «-/ to — •
Ex. 14.

Ex. 15.

—~

i i

J— j-

Reverse the order and the effect is equally satisfactory :
Ex. 16.

(d) A common chord in the root position followed by one in
the first inversion a step above is good in effect. But cases
involving the use of iii a and iii b require discretion :

FIRST INVERSION OF TRIADS

Ex. 17.

tM f

poor.

When using iii a precede and follow it by some chord with
which it has one or two notes in common. When using iiib
keep the above rule, or precede and follow it by a first inversion
a step on either side.

Reverse the order of (d) and the effect is still good (with
limitations in reference to iii a and iii b) :

Ex. 1 8.

J. A

(e) A common chord in root position followed by one in the
first inversion a third below is good :

Ex. 19.

&C.

The reverse order is also good in the main. But the following
are weak, though possible :

Ex. 20.

IN THE MAJOR KEY
(/) Other cases not already covered are not so good

Ex. 21.

It has been said that when the bass leaps a fourth or fifth, both
chords should generally be in root position.

But much depends upon context. For example, the following
are good :

The reason is that the progression i to 3 is in each case good
(omitting 2), and as chord 2 is in each case only different from i
by one note, the ear really accepts the progression as from i to
3, the soprano at 2 being in the nature of a passing note.
(g) Avoid vii b to v a, the one kills the other :

Ex. 22.

v a to vii b is possible — to w :

Ex. 23.

-o i . ..

A A

FIRST INVERSION OF TRIADS

7. It will be obvious that the use of a f in place of a common
chord in root position (|) provides the opportunity of writing
a better bass than is possible with root positions only. The
judicious combination of the | and the | is the foundation of the
whole scheme of harmony. If once the student can use these
really well further progress is easy.

8. The use of va to \b, vb to ia, or va to \a produces
inverted cadences, i. e. full closes in which either or both
chords are not in root position :

Ex 24

(a)

<*>

A J

(a) may be freely used in the middle of a phrase ;

(b) may be used at the end of a phrase ;

Thus though v a to i a is bad in the middle of a phrase, v a to
\b is quite good. It will be seen that the objectionable point is
the use of v to i with i in root position.

9. In writing tetrameters we may now occasionally use one
chord held over a strong followed by a weak accent (e. g. not
restruck). In this case the use of the dominant for two accents
preceding the final is good (cf. p. 62) :

Ex. 25.

Trochaic Tetrameter.

^ ^-i

TO. Exercises.

(a) Precede and follow the given chords by a chord on each
side in as many ways as you think appropriate. Add your own

IN THE MAJOR KEY

time-signature and accentuation. The chords may be in any
time-value :

Ex. 26.

g* « — H — <£ — H — s— H *> 1 =

3 parts.

-&- -C

H ^ — g

(b) Add figures to the following basses so as to indicate the
chords you deem appropriate. No figure indicates the common
chord in root position, 6 indicates the triad in the first inversion.
Then add S. A. T. :

Ex 27.

74 FIRST INVERSION OF TRIADS

(d) Add A. T. B. :

Ex. 29.

i "' r i

* --- 2 chords.

Anapaestic, with first accent omitted.

JEb£^=E^=l

2 chords.

(e) Write original tetrameters, introducing first inversions.

CHAPTER VIII

UNESSENTIAL NOTES. GROUP I
DIATONIC PASSING NOTES IN ONE PART ONLY

i. WHEN consecutive harmony notes are a third or fourth
apart the intermediate steps (with certain restrictions) may be
filled up by diatonic notes. Such notes are obviously foreign
to the harmony and are called diatonic passing notes :
Ex. i.

4 J- .«*

In other words, they may be defined as unessential notes,
approached and quitted by step, linking together two different
harmony notes. Their ultimate origin was seen in the first
chapter.

2. If two in succession be used the second must proceed in
the same direction to the next harmony note, and not return
a step in the opposite direction :
Ex. a.

3. But there are restrictions in the use of these notes. They
may be considered under three headings : (a) harmonic con-
siderations, (b) melodic idiom, (c) progression of the parts.

4. Harmonic considerations.

If the following be played it will be at once felt that there is
something wrong with them :

UNESSENTIAL NOTES. GROUP I

Ex. 3.

The fact is that the ear is influenced by the scale of the chord
that is being used. Thus, in writing a complete scale over a
chord, we regard each chord as a tonic :
Ex. 4.

But such a principle cannot be applied in using only portions
of a scale. The following are both equally unsatisfactory :
Ex.5.

At (i) Bti is foreign to the descending melodic scale of D minor.
At (2) Bb is foreign to the key we are using, C major.
At (3) Ft] is foreign to the scale of E minor.
At (4) FJJ is foreign to the scale of C major.
There is then but one remedy, i. e. to avoid using the notes
altogether: Ex 6

Hence we get the rule that diatonic passing notes should be
common to the scale of the chord over which they occur and
that of the tonic. If the chord over which they occur be minor,

UNESSENTIAL NOTES.

GROUP I 77

The follow-

criticize according to the melodic form of the scale.
ing, however, are exceptions :

(a) In using the subdominant chord the diatonic fourth
from the root, though foreign to its scale, may be used without
restriction : Ex. 7.

(b) In using the submediant chord the minor sixth from the
root may be used as a single passing note ih ascending :

Ex.8.

(c) In using ii, iii, v, and vi diatonic passing notes may be
used from the fifth to the root upwards, if the next step be to
the seventh downwards, and then to the note below the seventh
as a new harmony note ; the intermediate seventh, however, is
not a necessity :
Ex. 9.

=^-r- H

(d) It thus follows that in v the minor seventh may be used
descending if the next note be a harmony note :

Ex. 10.

UNESSENTIAL NOTES. GROUP I

It should be observed that if the minor seventh be used it
should eventually resolve on to the next note lower as a harmony

note :

Ex. n.

5§E

poor.

good.

For the present do not strike any harmony notes with un-
accented passing notes :

Ex. 12.

But of course the passing note may be struck after an
unaccented harmony note :

Ex. 13.

5. Melodic considerations.

(a) In the Polyphonic Period passing notes were not used
on the first half of a strong accent :

Ex. 14.

This restriction has now ceased to exist.

(b) Further, they were only used on the first half of the weak

UNESSENTIAL NOTES. GROUP I

accent if the part that employed them moved for the previous
strong and during the weak accent in notes half the value of the

accents :

Ex. 15.

That is to say, it is very rare to find such procedures as :

Ex. 16.

.1 I

In each of the above cases the change to a different kind of
movement on the third crotchet rather accentuates the discord.
Under modern conditions, however, the prominence of the
discord is considered a virtue.

(c) Again, notes of the value of a quarter of an accent were
never used on the first halves of the accents, even if harmony
notes. Instrumental style developed such a procedure as :

Ex. 17.

This question is touched upon here because such an idiom
would hardly occur without the use of unessential notes.

(d) Similarly, if movement were used on the strong accent,
cessation was only allowed on the weak accent in order to intro-
duce syncopation ; that is, a shifting of the accent from its normal
position :

UNESSENTIAL NOTES. GROUP I

Ex. 18.

The student must use his own judgement.
6. Progression of the parts.

(a) Combinations incorrect without the insertion of passing
notes are equally incorrect with them :

Ex. 19.

o 5 s —~; — ]

3j r

At (a) the fifths are not avoided.

At (b) the extreme parts are in essential features :

Ex. 20.

This produces an objectionable exposed octave.

(b) The insertion of a passing note may make an otherwise
correct progression ungrammatical :

But in the following case direct fifths are not produced; and
the passage is correct :

UNESSENTIAL NOTES. GROUP I

EX. 22.

There are cases in which direct fifths caused by unessential
notes are quite good in effect; but the matter need not be
discussed here,

(c) In using passing notes on the first halves of accents, do
not as a rule sound them against the notes they displace, except
by contrary and conjunct movement :

Ex. 23.

I i , J ! i j_

undesirable. tolerable.

i J- J -J

l~ [^ I H— | I fl

The bass, however, may sound the note displaced by the
passing note :

(d) Here we meet, for the first time, with the percussion of
discords.

It is often stated in treatises that purport to set forth the
technique of the Polyphonic Period that discords should only
be taken by contrary and conjunct movement. The music of
Palestrina, which is the standard authority for the period,
exhibits no such restriction. Writers on harmony drop the
restriction as to conjunct movement, but still advise that the
discord should be approached by contrary motion, especially
between the extreme parts. Macfarren gives it as an absolute

1568 G

UNESSENTIAL NOTES. GROUP I

rule that the interval of the ninth may not be approached by
similar motion. But he gives no reason for the stipulation. A
little thought will show the student that the only point worth
considering is, are the essential progressions grammatical?
Thus, no one can reasonably object to :

Ex. 25.

They are merely ornamental forms of:
Ex. 26.

Similarly, because it is said that no two notes next to each
other in alphabetical order may proceed by similar motion to the
octave, some teachers are so unintelligent as to apply it to such
a case as the following :

Ex. 27.

Of course this is merely an ornamental form of:
Ex. 28.

UNESSENTIAL NOTES. GROUP I 83

The ear fixes on the B, and not on the A, unless it has been
misguided by Macfarren counterpoint.

There are of course cases in which the approach of a discord
by similar motion is objectionable. But the approach of the
ninth by similar motion from another position of the same chord
is not evil in effect :

Ex. 28 a.

The student need not worry about the rest; they are quite
common by similar motion.

It may be said that the approach of the ninth by similar motion
in the extreme parts is not good in effect between two different
chords if the ninth rise :

Ex. 28 b.

(e) If a part leave the third of a chord, another part should
move to it as soon as convenient :

Ex. 29.

But do not strike the perfect fourth against the third when
the fourth proceeds to the fifth :

G 2

UNESSENTIAL NOTES. GROUP I

Ex. 30.

(/) Try to avoid the quitting of a second by similar motion.
It causes congested writing :

Ex. 31.

(g) Avoid consecutive seconds or sevenths for the present.
(h) Avoid proceeding to the unison by oblique motion :

Ex. 31 a.

7. Ear training.

The following are typical examples of the kind of exercise the
master should set. The same procedures as in former cases
must be employed :

(a) Play the examples, preceding each by the tonic chord.

(b) Memorize them, and try to hear them mentally.

UNESSENTIAL NOTES. GROUP I

Ip-l

— r

^ I „ J J J J ,

j-jji

STT
j

-gN-"^-U ^ r

h^-H-

f-f ^

-f5^ H-f? — 3= —

i — m

^-— p=B

KeyG.

-$*-r-±-

^-tp

J-^hhp: 1

i .=> H J i

A .

A ,

S , ;r7r

| g || 0

p^-fl

II r f-E^

Key D.

r r r

Key A.

KeyC.

^:|z^-_zigi^-: =s=

- ^tj-jJJ 4^^_-^±

^-i

@z^z=rrrr=

F^g-l " ^^

EpH^S^E

KeyG.

t=g=F

Key D.

86 UNESSENTIAL NOTES. GROUP I

8. Point out the errors in the following, and correct them :

Ex. 33.

i I J J

A l^"| J i. J W .. —

/i) j •* ^ * u g -~^~ ii j •n~fB~r3=s~j ii j ?

^^^

j. j. j

^^B

I ~~ n

9. Up to this point all exercises have contained essential
notes only. But the unessential is such an important factor in
music that it will be used extensively in future exercises. Now
as a general rule the chords do not move more quickly than the
accents. Suppose the following were a given unfigured bass :

Ex. 34.

As the note E in bar one is approached by leap it must for
the present be regarded as a harmony note. F is therefore a
passing note. In the second bar either F or E could be essential
or unessential. The choice must be decided by the question as
to which note produces the best chord progression. Obviously
we should choose E as the harmony note bearing a f .

Again, suppose the bass proceed :

Ex. 35.

It is hardly necessary to point out that D is here unessential.
10. As regards figuring.

(a) A horizontal line means that the chord indicated by the
figures preceding it is to be kept so long as the line is continued.

UNESSENTIAL NOTES. GROUP I 87

If the chord requires no figures the line starts with the note

bearing the 3 * :

Ex. 36.

(b) Passing notes above an essential bass are indicated by
giving the intervals such notes form with the bass, and also their
resolution :

Ex. 37.

(c) When a bass is itself using accented passing notes the
intervals accompanying them are given, and they will be found
to be factors of the succeeding harmony note :

Ex. 38.

1 Sometimes the line begins on the note following the chord used
Ex 36 a.

— 6 —

88 UNESSENTIAL NOTES. GROUP I

ii. Exercises.

Group I, in which all passing notes are unaccented :

(a) Add S. A. T. to the following unfigured basses.
The chords are of the duration of the accents, and all accented
notes are essential. Introduce unaccented passing notes in the
added parts where possible, only one to be used at a time.

(b) Add A. T. B.

0) (2)

(T) Use chord of E flat in minims.

(2) Use v b to v a in crotchets on second and third beats.

Group II, in which all passing notes are accented :

(a) Add S. A. T. to the following unfigured basses. Intro-
duce accented or unaccented passing notes here and there.

(3)

(3) Use

(b) Add A. T. B.

Group III, in which accented and unaccented passing notes
are both utilized :

UNESSENTIAL. NOTES. GROUP I
Add A. T.

«/

.v\. ». 1 1

1 r ' r~:

i p _ — p —

7 —
4 -

566 5687

7 6
3 -

4 -

2 —

3456 8765

Add S. A. T.

5 — 43 6 65

2 —

Add A. T. B. Introduce passing notes in the added parts.

?zi^> : _ •. • i p |»

(i) Use v« as minim ; proceed to i b in next bar.

J m— p \ {•* I -(=•* 1

(2)

(2) Keep up movement in under parts ; use i b to v.

w (3)

(3) Let chords move in crotchets ; use passing notes.

Add S. A. T. to the following unfigured basses ; chords move
in dotted crotchets.

90 UNESSENTIAL NOTES. GROUP I

Write original tetrameters in four vocal parts, introducing
passing notes here and there in all the parts.

CHAPTER IX

TRIADS OF THE MINOR KEY AND THEIR FIRST
INVERSIONS. COUPLETS. PASSING NOTES

i. THE harmonic minor scale produces the following triads :

Ex. i.

A minor.

i. it. . Hi. iv. v. vi. vii.

Here there are four different kinds of triads :

(a) Major common chords, v and vi.

(b) Minor common chords, i and iv.

(d) Augmented triad, iii (consisting of a root with its major
third and augmented fifth).

We omit from the present discussion ii a, iii a, and vii a.
These were not consonances in the Polyphonic Period, and they
originated from procedures which have to be considered in later
chapters.

This leaves, then, i a, iv a, v a, vi a.

The only point to be noticed about these is that in proceeding
from v a to vi a, or vice versa, it will be necessary to double the
third in via, in order to avoid faulty grammar :

Ex. 2.

TRIADS OF THE MINOR KEY
Ear Training.

Ex. a a.

r r r r

J ! , J

1 I J 1 I

Exercises on this resource.

Add A. T. :

Ex. 3.

"J> n i | i

9 5

tf-

(An accidental above or below a bass note indicates that the
third above the bass is to be altered accordingly.)

TRIADS OF THE MINOR KEY

AddA.T. B.

Ex. 4.

Ex. 5. Write original tetrameters in minor keys, using the
resource discussed.

2. Next, we must discuss the first inversions of triads produced
from the harmonic minor scale :

Ex. 6.

iii b. iv b.

\b.

M\b.

For the present iii b is omitted from the discussion, as it was
not an original concordance. In the Aeolian mode the G would
be natural except in cadences or cadential idioms, and \\\b
did not form a part of a cadence.

ii b is best preceded or followed by i b, v a, or iv a. ii b has two
sounds in common with iv a, and these two chords should not be
used ^ to — , as a bad halting effect is produced :

Ex. 7.

^ A A \

£ A A

Play the above, memorize them, and reproduce them from
dictation.

iv b to v b, or vice versa, is bad, as it causes the melodic interval
of an augmented second in the bass.

iv6 to va forms a common half close in the minor key; it is
known as the Phrygian Close. A reference to the Phrygian
mode will explain the expression :

TRIADS OF THE MINOR KEY

Ex.8.

vii b is best preceded or followed by i a or i b :
Ex. 9.

\
J

T
j

•55

=pl

v a to vii 6 - to w is good. But w to - it is bad, and vii b to
va is always bad. The reason for this ruling will be apparent
when the second inversions have been discussed :

Ex. 10.

tolerable. bad. bad.

J J J J J J

Play the above, memorize them, and reproduce them from
dictation. Also the following :

Ex. ioa.

i^=fl

i A

i r i

j j . j j J j

TRIADS OF THE MINOR KEY 95

Exercises.

Figure the following basses, and add A. T. B.
Ex. ii.

j ~l J J J I J. I

Add A. T. B.

Ex. 12.

(I)

i r

(i) Use two chords, ii 6, va.

a r

Write original tetrameters introducing the resource discussed.
3. Common chords and first inversions derived from the
melodic minor scale.

Ex. 13.

A minor.

ii a. iib. i'na. (116. iv a. iv b. va. v b. \\\a. \'\\b.

If the harmonic minor scale be criticized from a melodic point
of view it will be found to contain the interval of the augmented
second (in A minor F to G sharp). There are two ways of
avoiding this : (a) to sharpen the sixth degree of the scale, (b) to
flatten the seventh degree. The latter procedure would be

TRIADS OF THE MINOR KEY

unsatisfactory in effect in ascending, as it would remove the
important 'leading' effect characteristic of vii. But in descend-
ing the leading note can be flattened without any unnatural
effect. In early days composers often found themselves in
curious dilemmas, the major and minor sixth coming into
hazardous proximity, in fact sometimes occurring simultaneously.
The following is quoted in Dr. Walker's History of Music in
England-. Ex I4

FAR RANT, Benedictus.
Service in G minor.

This is, of course, due to lingering polyphonic principles, in
which the contour of each part as a melody was of paramount
importance. The use of the above chords is limited by one
obvious consideration. One part that contains the note foreign
to the harmonic minor scale should itself be proceeding in the
melodic minor scale. Therefore the major and minor sixth, or
major and minor seventh, should never be used in successive
chords, causing a confusion between the two scales.

Further, when the minor seventh is used it should be followed
in the next chord but one, or as soon after as possible, by a
chord containing the major seventh.

The following examples should be played and memorized,
and then reproduced from dictation :

Ex.i5.
A minor.

3=E

J J

+ J-J

j_J J

TRIADS OF THE MINOR KEY

4. It is said that when two notes of the same name, being a
chromatic semitone apart (as, for instance, G and G sharp), occur
in two consecutive chords, or with one chord intervening, they
must be heard in one and the same part only, else False Relation
is produced. But in all the above cases to which the rule might
apply the False Relation is unobjectionable. Further, the use
of the major tonic chord in the cadence, called the Tierce de
Picardie, is an unobjectionable example of False Relation :

Ex. 16.

BACH, St. Matthew Passion.
J I

5. Nearly all the adagios in Corelli's Twelve Sonatas end
with the Phrygian Close, leading the mind to expect a further
movement :

Ex. 17.

-z$ l

J J^^ ~ __ *

h-^ o _^_J H

The curious way of broadening the effect by doubling the time-
value of the final chords should be observed. A modern would
express this as follows :

Ex. 18.

The following passage at the end of 'And with His stripes ' in
Handel's Messiah is analogous :

Ex. 19.

^Adagio.

1568

98 TRIADS OF THE MINOR KEY

6. As regards figuring :

(a) t}, #, or b placed before a figure indicates that the note
represented by the figure is to be altered accordingly ;

(b) a stroke through a figure indicates that the note repre-
sented is to be sharpened (^) ;

#4, \, 4f, #2, %, 2Lf.

7. In a former chapter the formation of a verse has been con-
sidered. If two consecutive verses, forming a stanza, rime, they
are collectively termed a couplet.

In music this riming would be represented by a rough
parallelism between the melodies of each verse :
Ex. 20.

If a stanza of this length be considered as a complete whole,
such parallelism is almost a necessity in order to produce
organic unity. The smaller the dimensions of the music the
more need is there for economy in use of thematic material. It
is true that sufficient unity of effect can be obtained by continuity
of style, and the repetition of some characteristic figure:
Ex. 21.

But it will be well at the outset to aim at a more definite
parallelism, that is, the second verse should be an imitation of
(not a strict reproduction of) the first.

Again, although a cadence at the end of each verse is not
a necessity, nor indeed a virtue, feeling for cadential effect must
first be fostered. Cadences are to music what punctuation is to
literature ; without them, the music is unintelligible. Each
verse, therefore, must be marked off by a cadence. As the
couplet is intended to be a complete piece of music, the second
verse will end with the Perfect Cadence, and this should be
avoided in the first verse unless the final chord of the verse be
in the first inversion.

TRIADS OF THE MINOR KEY

8. Exercises.

(a) Precede and follow each of the following by two chords
(five in all).

Prefix time-signatures, and add bar-lines. The given chord
may be in any time-value :

Ex. 22.

Key E minor.

/p*

(A)

%
j=.

=^=JI
(fi

(b) Figure the following basses, and add parts for S. A. T.
Aim at a rough parallelism in the melody between the two
phrases (no passing notes) :

Ex. 23.

Trochaic Couplet.

Iambic Couplet.

Dactyllic Couplet.

Anapaestic Couplet.

(d) Write original couplets in A minor, F minor, and
B minor, introducing the resource discussed.

H 2

loo

TRIADS OF THE MINOR KEY

9. Diatonic Passing Notes in the Minor Key. As it is neces-
sary to avoid the melodic interval of the augmented second,
passing notes are used in the minor key as follows :

(a) The melodic minor scale is used where necessary :

Ex. 25.

(b) Sometimes neither form of the scale is used, and the
scale of the chord used is employed :

Ex. 26.

&±

AadJ '.

J- *

At (#) B flat is not a part of the ascending melodic or harmonic
scale of C minor ; it belongs to the scale of F minor. At (b) we
return to the scale of C minor. Here the choice is influenced
by the chord that follows .and by the fact that no variation from
the scale of C minor is necessary. At (c) A natural does not occur
in the descending scale of C minor in either form ; it is borrowed
from the scale of G. At (d), however, A natural is intolerable, e.g.
when proceeding to another chord. In such a case A should be
omitted altogether. At (e) B flat does not occur in the ascending
scale of C minor. It is borrowed from the scale of A flat.

10. Ear training. Play the following examples, memorize
them, and reproduce them from dictation :

Ex. 27.

(a)

TRIADS OF THE MINOR KEY

J J i

101

fffr* s

£S

$?==%

Ex. 27 a.

JBjTT rrfrlf r J^J

J J J J,J

^ — * ^ffj

^Nl

^=fl

-fl*-

102

TRIADS OF THE MINOR KEY

-N

In some of the above the dominant chord of the Full Close is
struck twice. But the decoration of the passing notes removes
the redundant effect.

ii. (a) Add S. A. T. to the following unfigured basses. Chords
move with the accents. Add passing notes :

Ex.aS.

I j

(b) Add A. T. B. to the following melodies. Chords move
with the accents :

Ex. 29.

(i) Maintain some quaver movement.

CHAPTER X

UNESSENTIAL NOTES. GROUP II

AUXILIARY NOTES IN ONE PART AT A TIME

i. IN the Polyphonic Period, in accordance with the principle
that a discord should be approached and quitted by step, it often
happened that, instead of linking together two different harmony
notes, the unessential note stood between two statements of the
same harmony note :

Ex. i.

Such a note is termed an auxiliary note.

2. Formerly such notes were always unaccented. They may
now be accented :

Ex. 2.

3. Again, in the Polyphonic Period they were of course
always diatonic :

EXJ

J-.

All these are also common in Bach.

104

UNESSENTIAL NOTES. GROUP II

4. The present practice is as follows :

(a) Auxiliary notes lying above harmony notes are diatonic.
In the minor key, therefore, criticize according to the descending
form of the melodic minor scale :

Ex.

good.

"•

bad.

good.

®:

(b) Auxiliary notes below the root should be at the distance
of a semitone from such note, unless in the next chord the
harmony note leap down a third, in which case the auxiliary
note may be diatonic :

Ex. 5.

SJI-JT
j

J J. llJfr

I I/

B£p|

In the case of first inversions of diminished triads the auxiliary
note may be a tone or semitone below the root :

Ex.6.

(c) The auxiliary note below the major third from the root
may be at the distance of either a tone or semitone from such
note, the matter being decided by the general character of the
context. That below the minor third must be at the distance ot
a semitone :

UNESSENTIAL NOTES. GROUP II

Ex.7-

1 1 1

J..

(*/) The auxiliary note below the fifth of the root should be
at the distance of a semitone from such note :

(A) is marked poor because the ear is left in suspense as to
whether F is about to return to G or proceed to E. If it proceed
to E the E in the tenor is somewhat hard against it. In the
case (a) there is no doubt but that the F sharp must return to G.
5. The student must carefully distinguish between the treat-
ment of passing notes and auxiliary notes :

(a)

At (a) the passing note F sharp is incorrect because the passage
is in the key of C major. F natural would be equally bad, as it
would be an unresolved seventh. Therefore another note must
be chosen (D).

At (b) F sharp is a diatonic passing note, the key being
G major. It is therefore correct.

(a) is incorrect because of the presumed anterior impression
of the tonality of the key of C major.

io6

UNESSENTIAL NOTES. GROUP II

At (c) F sharp is correct in any key, as it is a lower auxiliary note.
At (d) F natural is not an auxiliary note at all, but the minor
seventh ornamentally resolved.

6. Ear Training.

Ex. 8 a.

--L — . rn J * rr». i

*sf

V 1

r r

r^—^-

I f£
I

7. Exercises.

(a) Add three parts in dotted minims to the following groups
of three crotchets in as many ways as possible. The chords
must all be in the key of C major :

Ex. 9.

(b) The same. The chords must all be in the key of C minor :
Ex. 10.

UNESSENTIAL NOTES. GROUP II

107

Ex. ii.

G major.

feE

A minor.

(d) Add S. A. T. to the following unfigured basses, the
chords to move with the accents :

Ex. 12.

(i) Keep up quaver movement in an inner part.

(e) Add A. T. B. to the following melodies, the chords to
move with the accents :

7. It remains to consider another type of auxiliary note which
is modern in its origin. An unessential note a step below or
above a harmony note may be approached by leap :

io8

UNESSENTIAL NOTES. GROUP II

Ex. 14.

fa)

When such auxiliary note is accented, as at (b\ it is termed
an appoggiatura.

Formerly it was written as an ornament :

Ex. 15.

and the rule was that it took half the value of the essential
note. When, however, the essential note was dotted it took
two-thirds of its value.

Ex. 16.

written. interpreted.

8. The rules as to the distance of these auxiliary notes from
their essentials are the same as those given in paragraph (4).

9. Just as in the case of accented passing notes, progressions
which are good without the appoggiatura are good with it, even
though the taking of a discord by leap and similar motion be
involved :

good.

bad.

good.

But if the appoggiatura resolve upwards, it is in any case
clumsy to approach the discord by similar motion :

poor.

UNESSENTIAL NOTES. GROUP II

The following illustrations will be useful :
(a) Unessential fourth by similar motion :

BEETHOVEN.
Pianoforte Sonata, Op. 26.

109

It will be seen that an appoggiatura may be sounded against
its resolution in an upper part j but students need not go out of
their way to do it.

(b) Unessential seventh by similar motion :

BEETHOVEN.
Pianoforte Sonata, Op. 28.

BEETHOVEN.
Pianoforte Sonata,
Op. 22. (Minuet.)

10. The leap of an augmented interval is allowed if the
second of the two notes forming the interval be an auxiliary note :

ii. The use of the appoggiatura was very common in the
seventeenth century. Monteverde's works are full of this device.
One idiom was very characteristic of the Restoration Period.
After striking an essential note, an unessential note a step above

UNESSENTIAL NOTES. GROUP II

or below it would be taken, and then quitted by leap in the
opposite direction. Blow was very fond of this device :

Exercises.

i. Ear Training. Play the following, memorize them, and
reproduce them from dictation.

aJ^-^p&^FgS:
I V 4 ^ * '

J..

2. Add simple parts for A. and B. When the appoggiatura
is of the time value of an accent, let the accompanying parts
remain stationary for this and the succeeding accent.

, n
_j_j

3. Add simple parts for A. T. B.

UNESSENTIAL NOTES. GROUP II

4. Add simple parts for A. T. B.

.~"x r

ifcst

5. Rewrite the melody of the following, displacing the
crotchets by appoggiaturas where desirable, the given melody
notes remaining as unaccented quavers. Add simple parts
for A. T. Figure the Bass. Appoggiaturas may be introduced
in the Alto and Tenor parts.

t-g-y ^ ^

—

• 1 J 1 9 1 1 ! 1 1 1 1 1 1

i * r

E3==g

*• «

h^dl

6. Add S. and A.

(i) Obtain continuity of style by maintaining quaver movement in the style
of the opening bars of the bass.

r]. Add S. A. T. above the following Basses, introducing the
various kinds of auxiliary and passing notes ; each part should
contain its fair share of them, and the parts should maintain
a fairly even flow.

The following is an example of the style :
JL

CHAPTER XI
UNESSENTIAL NOTES. GROUP III

SUSPENSIONS
A. Polyphonic Period.

i. A concord that would have normally fallen one degree
on the strong accent from a previous concord on the preceding
strong or weak accent could defer its movement to that concord
till the next weak accent. Thus, instead of:
Ex. i.

a composer might write :

EX.2.

(1) is termed a suspension, or prepared discord.

(2) is termed its preparation.

(3) is termed its resolution.

2. These discords could be ornamentally resolved by first
proceeding to another concord on the second division of the
strong accent, or by leaping a third downwards :
Ex. 3.

or the resolution could be anticipated in a plain or ornamental
form :

£x>

PALESTRINA.
Gloria. Aeierna Christi Munera.
(a) (6)

•J USH * HSU

UNESSENTIAL NOTES. GROUP III

At (a) the resolution is merely anticipated. At (b) the
anticipation is embellished by an auxiliary note.

3. Applying the principle of suspension to the resource we
have at our disposal, the classification is as follows :

(a) Suspension of the root, third, or fifth of a chord in root
position : Ex 5

(a)

(c)

9843 65

A suspension should not be sounded against its resolution,
except the resolution be in the bass only ; (a) is an example.
Occasionally, however, an upper part may do this if it approach
the resolution in contrary and conjunct movement with the
suspension : Ex & PALHSTRINA.

Afissa Brevts.

-5^-

At (c) we regard A as a discord because it is no part of the
chord C, E, G. The original view was, however, that A was
a syncopated concord. There is no G present on the first accent
to make A into a discord. Either view is possible. The fact,
however, remains that A is not bound to fall.

As regards figuring, it will be noted that

9 8 implies 9 8
5 —
3 —

4 3 implies 4 3
8 —
5 —

6 5 implies 6 5
8 —
3 —

UNESSENTIAL NOTES. GROUP III

(b) The suspension of the root, third, or fifth of a chord in
first inversion :

Ex. 7.

(d)

7 S — 6 —

(^) in this particular case is not very good, as it produces
the doubled major third. (f) was not used in the Polyphonic
Period. If the discord of the fourth were accompanied by the
sixth as a concord, the sixth always proceeded to the fifth as
the fourth proceeded to the third. This may therefore be done,
except over the supertonic and subdominant in the major key,
and except over ii, iv, and vi in the minor key :

Ex.8.

m=^=

J II -j ^ II ^

<„ r r r

r i r

Ex. 8 a.

In using descending form of melodic
minor scale only.

j j

^%r

l£g|7'? — ?

^ ? " u^Li fLLr
J ^

(^) This produces at the moment of resolution a new harmony.
The combination at (i) ceases to be referable to the root A, but
is the chord of C major. Later this procedure will be explained
from a different standpoint. It is very important, however, to
grasp the original view. Applied to (g) it is as follows : F is
a prepared discord, and must fall to E. A is a concord, and is
free to leap, provided that at (i) all the parts are concordant, but

UNESSENTIAL NOTES. GROUP III 115

composers almost invariably made it fall one degree with the
suspended discord.

Ex. 9.

In this case it is better to avoid altogether sounding in an
upper part the note upon which the bass resolves. The effect is
very harsh.

(d) The original view of the 5 6 was that it was an example
of syncopated concord :

Ex. 10.

There is no discordant interval present. The modern view is
that the G at (i) is an upward resolving discord, and it is termed
a retardation. This is a stupid term because it conveys no
meaning different from that implied by the term suspension.
Under old conditions no upward resolving discord was allowed :

Ex. n.

Not 1 6th century
technique.

Once the mind accepts the perfect fifth as a discord if synco-
pated, and proceeding one degree upwards, the way is opened
for the use of real upward resolving discords.

I 2

UNESSENTIAL NOTES. GROUP III

When the suspended discord was in the bass the part next
above it was regarded as the real bass, and the combinations
above it had to be concordant :

Ex. 12.

Incorrect
tech

[6th century

nique.

1 1\ *~

Correct
tec

1 6th century
hnique.

4. The first of two tied notes could be of the same value as
the second, or double the value. No notes of shorter time-value
than accents could be syncopated.

As an alternative to syncopation the notes may be restruck.

5. The following examples may be used for ear training :

(a) Play them through several times.

(b) Memorize them.

Ex. 13.

JS2.

6. Progressions that are incorrect without syncopation are
equally incorrect with it :

UNESSENTIAL NOTES. GROUP III

117

£x. 14.

7. From the modern point of view prepared discords fall into
two classes. Originally the principle was simply :

(a) that the discord be prepared ;

(b) that it resolve downwards one step ;

(d) that those accompanying the resolution of the discord
should form with it a concordant group.

A moment's thought will show that —

(i) the discord may resolve on another position of the same
chord : Ex. IS<

(2) the discord may resolve on an entirely new chord,
though this may not be technically necessary :

£.x. 16. PALESTRINA, Mfssa Brevis.

At (a) E could have remained as a concord for the whole bar.
At (b) F is not an unessential note in reference to the previous
concordance, but a new concord.

(3) Sometimes the concordance that is used with the discord
would form a discordance with its resolution. In that case the
sounds involved must move to a new concordance :

UNESSENTIAL NOTES. GROUP III

Ex. 17. Ibid. Ibid.

The combinations at 0, £, c, and the combination of the sus-
pended fourth with the sixth (provided that the sixth proceeds
to the fifth as the fourth proceeds to the third) :

Ex. 18.

are now catalogued as chords, that is, the unessential has
merged into the essential. They will therefore be discussed in
a further chapter. This chapter is confined to the use of sus-
pension in which the discord is still considered as being un-
essential. This includes cases (i) and (2) and the use of | | if
both the fourth and sixth be syncopated :

Ex. 19.

Here the A may be regarded as being unessential, as it is no
part of the chord C, E, G.

8. Before proceeding with the modern extensions it will be
well to summarize original uses.

The chief points to bear in mind are :

(a) The discord should not be sounded against its resolution,
except very occasionally when the two parts concerned proceed
by contrary and conjunct movement.

(b) The sounds that accompany the discord must be capable

UNESSENTIAL NOTES. GROUP III

119

of being sounded with its resolution, but they may move to a new
concordance.

(d) The suspension must occur on the strong accent, and
eventually resolve on the next weak accent.

9. The following recommendations should be noted :

(a) In triple time the discord may resolve on the second or
third accent.

(b) Suspensions are often better untied.

(d) Avoid the progression 7 to 8 between any two parts :

Ex. 20.

(e) It is generally better to avoid approaching an octave by
similar motion when one of the parts is resolving a discord :

Ex. 2i0

(/) The 2 | may be used in Trochaic metre as a decoration
of the final chord of the half close, the % displacing it and taking
half its value. In the same way the % may decorate the final
chord in a Plagal cadence. It is also used in the full and
interrupted close in Trochaic or Iambic metre on the strong
accent preceding the cadence, thus preventing the clumsy effect
of the anticipation of the undecorated dominant chord in the
cadence :

120 UNESSENTIAL NOTES. GROUP III

Ex. 21 a.

Half Close. Decoration. Plagal Close. Decoration. Full Close. Decoration.

4,. J-. J

Exercises.

Follow the given chords by a suspension and its resolution
(suspending the note indicated by a tie) in as many ways as are
musical (see p. 117):

Key B flat major. Key G minor. .,-.

I i

r r
J J J^ J

Add A. and T. to the following, and figure the result :

UNESSENTIAL NOTES. GROUP III 121

~L-J I J J5rjb^

^^ r i-r^TT '«•"•

Correct the following as sixteenth-century technique :

J »

^ ,

J J. &

B. Homophonic Period.

i. The chief extensions in the use of suspensions under
modern conditions are :

(a) There is no restriction as to the duration of a suspension
or its preparation. It must, however, be more strongly accented
than its resolution :

J J I J J^J I J

I I

good.

(/>) It has been pointed out that the modern theory of
chords, the principle of rhythm, and the actual appearance of
the following : <p_vi 2 ,

tr-
ied to the view that (i) and (2) were upward resolving suspensions,
or retardations as they are called.

Some text-books on strict counterpoint catalogue the above
as retardations. This is quite wrong. In the period no upward
resolving discord occurred ; and they are not discords, though
no part of the harmony used in the second half of the bar. We
will presume for a moment that at (i) the harmony is D, F, A,

122

UNESSENTIAL NOTES. GROUP III

then even under harmonic conditions C could not resolve on
D, because it is a minor seventh. But it is possible to regard
the 5 6 on the supertonic and mediant as retardations :

And this consideration limits the use of retardations. The
retardation of the root can only be used with the root present if
the retardation be a semitone below the root :

It is better to regard all uses of 5 6 as the employment of two
concords, except that on the mediant. A discord may be sounded
against its resolution in an upper part if taken in the two parts
by contrary and conjunct movement. But such a procedure is
harsh if the resolution be the major third of the root :

A *

— HI

The third may be retarded except over the mediant chord,
where it is obviously ugly. In any case use this very sparingly :

The retardation 4 5 is so ugly that it is practically useless :

J J

But the

The perfect fourth always jars against the third,
augmented fourth is tolerable :

UNESSENTIAL NOTES. GROUP III

123

The student must carefully guard against analysing the follow-
ing as examples of retardations :

In these cases the discords are ornamentally resolved, and
eventually fall. They require separate discussion.
(c) The suspension 4 3 may be used :
6-

This is a familiar effect in the works of Elgar (see Dream of
Gerontius, vocal score, p. 39, ' Proficiscere, anima Christiana ').
(d) Burney says that Monteverde was the first to use double
discords of suspension. This is hardly true.

PALESTRINA. Lauda Si on.

^H^~

fejr-3

J *L

-^ r i

j ^

Double suspensions may be used if they move in parallel
thirds or sixths :

pM^

=a-^j j i -. H

^ 1 j v—

^ r_r p'. •
r^' r' r>^

98986 5
43764 3

3. When the 7 6 is combined with the 5 6 the fifth need not
be treated as a retardation :

i24 UNESSENTIAL NOTES. GROUP IH

4. Do not combine 7 8 with 9 8 :

ugly.

The reason is that B and D, not being quitted in parallel
movement, give the effect of the chord of G, and the E as
strongly suggests the chord of C. The fact is that here the bass
C is a pedal, and above it we have a confusion of two chords.

In the following there is no confusion :

5. The following double retardation is possible :

This can only be used on the tonic.

6. Similarly, the following can only be used on the dominant

(a)

The F at (a) must eventually fall to E.

7. The use of complete suspended chords will be considered
later, but three parts moving in parallel first inversions need not
be regarded as the suspension of a complete chord :

UNESSENTIAL NOTES. GROUP III

125

8. To sum up, the chief expansions in reference to suspensions
are:

(a) The use of retardations.

(b) The regular use of double suspensions.

(d) The use of 6 —

4 3

9. The augmented triad in the minor key.

It will be remembered that this triad was omitted from dis-
cussion in chapter ix. We are now in a position to trace its
origin and therefore to see the reason for the rules regulating
its use. Consider the following examples :

(a)

(b)

At (a) we have a retardation resolving while the other parts
remain stationary. At (b) some of the parts that accompany the
retardation move, at the time of resolution, to different notes of
the harmony implied. At (c) the resolution of the retardation is
accompanied by a different harmony. All these are merely the
principles that were employed in accompanying suspensions
applied to retardations, (a) and (b) are still examples of retar-
dation. But (c) is catalogued as an augmented triad. Rules for
its treatment can now be deduced :

(a) The augmented fifth should be prepared.

(b) It should resolve one step upwards.

126

UNESSENTIAL NOTES. GROUP III

tion at (b) should not be classified as a chord, just as well as
that at (c).

The chord could also be produced by the use of appoggiatura.
Burney was considerably exercised over what he termed the
crudities of Blow's work. Among them is a constant use of this
effect :

BLOW. The Lord is my Shepherd.

LJEA

r ' T r r * ' *
**^

In the following example from No. 29 of Scarlatti's Harpsichord
Lessons the A sharp is merely a retardation :

Froberger (d. 1667) uses this frequently in his Organ Toccatas.
If the fifth be unprepared it is better in the nature of an
auxiliary note :

iii b was likewise impossible under strict conditions except as
a prepared discord :

Here the C is the dissonance.

Thus in the first inversion the augmented fifth from the root
need not be prepared. The following examples show the best
ways of using it :

UNESSENTIAL NOTES. GROUP III 127

(I) (2)

i r r f r r r

At (i) the C is really an appoggiatura ; at (2) the intermediate
B has dropped out.

10. Some new points may be summarized :

(a) A long note, repeated or tied on a strong accent, should
on that strong accent be regarded as a suspension :

(b) Generally if the same note be repeated or tied, weak or
strong, on the stronger accent, it is a suspension :

J^j i^.

S'4r 'r
j j

®ir: \ r--

(d) Ornamental resolutions may, of course, take new idioms :

j n K"^. \ K ^ i

128 UNESSENTIAL NOTES. GROUP III

(e) Every care should be taken to change the harmony as
a rule on strong accents.
Such a melody as :

demands as its basis :

6 76676

The following is simply nonsense :

«/ r r r r i r r~

Hr^ r r ' ir?

Similarly, such a bass as

should be harmonized in some such way as :

Even when the melody that is syncopated over a strong accent
is not a suspended discord it is always best to try to change the
chord, or to move the bass :

At (i) the chord is changed ; at (2) the bass uses accented
passing notes.

UNESSENTIAL NOTES. GROUP III 129

Ear Training, (a) play, (b) memorize, (c) reproduce from
dictation :

•= r r^r r-r r^r r

A J J J

j I

(i) Unobjectionable exposed octaves, because the F really displaces the E.

Exercises. (Tetrameters.)

i. Add parts for A. T. B.

(a) Iambic Couplet (general pattern two chords in a bar).

(i) (2) Two separate chords.
K

1 3o UNESSENTIAL NOTES. GROUP III

(6) Trochaic Couplet.

S^P

(3) Move some of the parts in crotchet time values.
(d} Anapaestic Couplet.

v ^^ (4)

(4) Keep up quaver movement in some of the lower parts,
introducing suspensions.

2. Add melodies for Soprano to the following Basses, taking
care in each verse to preserve a rough parallelism in the couplets.
Figure the Bass.

(a) Iambic Couplet.

-i" r

(6) Iambic Couplet, introduce suspensions in the Soprano (move mostly
in quavers).

— - ^—_ .-^••^^^••^^•^••^^•^^^•^ -^

gjj>b a i i p i r "I j Jl r r~\=r~m~\~l r I * r I T^
^74 Jr _jJ_jj=! !zg_i^L_ 4^1

Dactyllic Couplet (move mostly in minims).

UNESSENTIAL NOTES. GROUP III 131

3. Add a melody for Soprano, and a Bass. State the metre.
Move mostly in crotchets.

I ' i

£p£

4. Write original examples of couplets in three and four
vocal parts, introducing suspensions, &c.

5. Write a few chords to precede and follow the combinations
given below, forming tetrameters. The combinations may be in
any time value. Figure the results.

Tetrameter u ii. iii.

6. Add parts for A. T. B. State the metre.

(i) Move the chords on the accents.
K 2

132

UNESSENTIAL NOTES. GROUP III

(*)

4-f

7. On the following Basses write three free parts for S. A. B.
The given Bass may be elaborated : introduce the unessential
resource considered :

Start

rr f — •

3B •

Start

CHAPTER XII

COMPLEX USE OF THE UNESSENTIAL

i. UP to the present, with the exception of suspensions, un-
essential notes have been used in one part at a time only, and
under the simplest conditions, e.g. in which the chord is heard
alone, and then the unessential note moves by itself towards the
next harmony :

or in which the unessential note occurs simultaneously with the
chord, and resolves into it before it moves on :

It is now time to consider more complex situations. These
cases are so inadequately treated in text-books that the early work
of students in this branch usually exhibits either confusion or
obscurity of harmony. The following is an average attempt :

Ex. i. i i

?— r-r-r

J j. j

i34 COMPLEX USE OF THE UNESSENTIAL

It would be hard to imagine anything more unmusical than
this. In order to eradicate such writing, something in the
nature of a musician's Athanasian Creed is necessary. That is
to say, it will be wise to begin with some definite rules which,
if not universal in their application, will at all events prevent
such writing as the above.

2. Case I. Simultaneous movement in two or more parts.
(a) Parallel movement :

Ex.3.

If the two parts that form essential harmony move in parallel
sixths as at (i), or in parallel thirds as at (2), or if three parts
move in parallel six-threes as at (3), they may all fill up the
intervening distances in parallels :

Ex. 3.

&£

But parallel thirds or sixths must be simultaneously essential or
unessential. For instance, the following is bad :

Ex.4.

The chord is G, B, D. At (i) F is unessential, D is essential ;
at (2) G is essential, E is unessential.
The above rule being based upon effect, the result is that if the

COMPLEX USE OF THE UNESSENTIAL 135

combination at (i) be essential, then it is a chord not yet learnt
and incorrectly treated ; if the combination at (2) be essential,
then it is not the chord of G. Some combination should at some
time during the accent produce the chord that is beingembellished,
else the ear does not know what it is that is being embellished.
Take another example on another degree of the scale :

Ex.5.

Neither (3) nor (4) gives the chord of C ; (4) gives the chord of
A minor, and if that were intended the previous G natural
would be bad. The fact is the essential and unessential are
playing at Box and Cox.

Parallel thirds or sixths may of course be taken as double
auxiliary notes, appoggiaturas, or accented passing notes:
Ex. 6.

(5) is the origin of the accented unprepared six-four, which will
be discussed in a later chapter.

If the auxiliary notes below the major third and perfect fifth
be used together, they may both be a semitone or tone from
their harmony notes, except in the case of iv, when both must
be a semitone below :

Ex. 7.

If the auxiliary notes below the minor third and perfect fifth

136 COMPLEX USE OF THE UNESSENTIAL

be used together, that below the fifth may be a tone or semitone
from its harmony note except in the case of chord iii, when
both must be a semitone below :

Ex.8.

(i)

If the auxiliary notes below the major third and root be used
together, the former may be a tone or semitone below the har-
mony note, the latter must be a semitone below, except in the
case of chord v, when both must be a semitone below :

Ex. 9.

(i) In the key of G, Fg + A would be correct, but not in the key of C.

If the auxiliary notes below the minor third and root be used
together, both must be a semitone below the harmony notes :
Ex. 10.

It was said in a previous chapter that it was very ugly for the
perfect fourth to displace the fifth :

Ex. ii.

But if the second displace the third at the same time the evil
effect disappears :

COMPLEX USE OF THE UNESSENTIAL
(b) Similar motion, but not parallel :
Ex. 13.

137

At (a) we get the combination of a harmony and passing note.
Care should be taken that the note to which D passes, if it be
the third of the chord, is not a long note in some other part :

The fact is that the simultaneous percussion of a true
unessential note and a harmony note is very liable to produce
the effect of separate entity as a chord.

Thus one feels the following :

Ex. 15.

to produce the chord of G on the second crotchet. The bass is
in the nature of a pedal (see chapter xxxi), and the decorating
chord resolves back into the essential harmony.

But such a combination should be avoided on the point of
moving to a new chord, because it is impossible for the trained
ear not to accept the bass as a pedal quitted incorrectly (see
chapter xxxi). This can be easily avoided by making the
unessential note come after the harmony note :

138 COMPLEX USE OF THE UNESSENTIAL

Ex. 1 6.

The second case in which B and D are both unessential sixths
(see (b) above) is not likely to cause any complications, as the
parts proceed next in parallels.
(c) Contrary motion.

Here we may use (a) a harmony and unessential note, (b) two
unessential notes :

It is obviously possible to obtain two variants of this :

(i) To begin in contrary motion, and proceed in similar motion :
Ex. 18.

(2) To begin in similar motion, and proceed in contrary motion
Ex. 19.

If such combinations be quitted by contrary motion they
produce the effect of having separate existence as chords.
Therefore they should only be used over a bass pedal, or occa-
sionally over an inverted pedal, between two statements of the
original chord :

COMPLEX USE OF THE UNESSENTIAL 139

Ex. 20.

harsh.

The root of the chord is the only note that should be regarded
as a pedal. Thus in the following we produce what have been
catalogued as chords, and are termed passing chords :
Ex. 21.

The following are therefore bad :

Ex. 22.

i^E

If the combination be approached by contrary, but quitted by
similar motion, the effect is generally good.

It is better for the novice to regard a combination that is quitted
by contrary motion (unless it be the same note) as producing a new
harmony, which is allowable over a bass pedal, and of which
other stationary parts are factors.

What to the eye may be three different unessential notes
produce the effect of a chord, unless proceeding from the un-
essential combination in parallels :
Ex. 23.

140 COMPLEX USE OF THE UNESSENTIAL

But even in such a case it is possible to produce bad effects

Ex. 24.

It is hardly possible to ignore the effect of the D, F, and B.
The following produces a passing six-four, which will be
explained later :

Ex. 25- '

Of course the same unessential note taken in two parts by
contrary motion has no harmonic effect at all :

Ex. 26.

" td=Jt

good,
good. l

The same refers to a pair forming thirds and sixths.

3. Case II. Combination of different kinds of movement.

The student will readily understand the figuring in the follow-
ing example :

Ex. 27.

There are three separate chords here: at (i) the chord of C, at
(2) the chord of F, and at (3) the chord of C again.

COMPLEX USE OF THE UNESSENTIAL 141

Suppose, however, that we are decorating the chord of C. We
might proceed thus : EX. 28.

This is horrible. We have argued that A and B are passing
notes, and that F is an auxiliary note. But the effect at (4) is
the chord of F plus E. We cannot argue by theory, but by
effect. And any musical person feels that with one or two
exceptions the combination of the movement two notes to one

r r

produces the effect of some chord, the longer note being essential,
and one of the two shorter notes also essential. Of course still
longer notes must be essential. Bearing this in mind it will be
clear that a new chord may be formed over a pedal, and occa-
sionally over an inverted pedal :

Ex. 29.

i i r3 J

In other cases (except those to be stated in the next paragraph)
stationary parts must be factors of the chords produced :

Ex. 30 (see chapter xix).

142 COMPLEX USE OF THE UNESSENTIAL

The movement two notes to one does not produce a new
harmonic effect under the following conditions —
(a) Between two positions of the same chord :

Ex. 31.

(b) When one part is using arpeggio- (instrumental style) :
Ex. 32.

(c) When one part moves in parallels with the longer notes,
and alternates with the same harmony note or with changing
notes (see chapter xv) :

Ex. 33.

or when in using the former device the same unessential note
be taken :

Ex. 34.

(d) When the longer note is an accented discord resolving
into concordance :

COMPLEX USE OF THE UNESSENTIAL 143

In moving against a suspension the suspension may be ignored,
but it should not be doubled except by contrary and conjunct
movement : EX. 36.

j— j-^j ij

b d

It is better at present to avoid combining suspensions and other
accented unessential notes. When using accented unessential
notes avoid two simultaneously if proceeding in notes of different
time-value, and contrariwise :

Ex. 37.

tj*tr

r i i

confused. good.

Two notes in concord may proceed by contrary and conjunct
movement until they again reach essential harmony. Groups of
thirds and sixths may adopt the same procedure :
Ex. 38.

-PS l*>—

^fe^^g

In fact, any two groups that are concordant in themselves and
in combination at the start may adopt the procedure.

144 COMPLEX USE OF THE UNESSENTIAL
Exercises in Ear Training. Procedure as previously explained.

r r

J ,

r r r

COMPLEX USE OF THE UNESSENTIAL 145

The use of rests.

Rests are used for three chief purposes —
(a) to define the limits of a period :

Of course a composer might have written the above passage
without the rests, and the phrasing marks would have defined
the periods sufficiently :

But in actual performance, whether sung or played, the minim
C would be slightly shortened, in order to make the phrasing
clear to the ear. In other words, the minim C, though shortened
in time- value, is still mentally implied as a minim. This points
to the fact that in such cases the use of a rest does not imply
the immediate cessation of the effect of the note or chord
preceding it.

The beginner should regard the last note before a rest inside
a bar as lasting in effect over the remaining rests of the bar.

The following causes a bad clash :

rgbs

COOKE in G.
ser - vant de - part in peace ac -

r r r > ^ r r"

i ^. ^ ^ J A j j

At the point *, though the soprano rests, the ear mentally
carries on the C, and it jars with the chord of G. It should be
amended thus :

peace

i46 COMPLEX USE OF THE UNESSENTIAL

(b) to form figures.

In this connexion the above rule still holds good, e.g. write as
if the rests were not there, and imply the previous note or chord.
Thus, the following :

is formed into a new figure by using rests

but the mental effect of both is identical. This can be proved by
ignoring this principle. Nothing could be worse than :

When a rest occurs on the first beat of the bar followed by'
a sound on the second or following beats, thus :

r r i r »

it is possible to regard it as having two equivalents :

(a)

Usually questions of harmonic rhythm will settle the matter.
It is safer for the beginner to use (b).

COMPLEX USE OF THE UNESSENTIAL 147

It will now be seen that in adding parts to such a bass as the
following :

they should be written as if it were :

The following are examples of figures formed by the use of
rests :

Whether the music be polyphonic or harmonic, variety in
texture is necessary. Thin chords may be used as a contrast to
thick ones ; few parts may be used in contrast to many. Special
care will be required at the point where the part begins its rests
so as to avoid the pitfall mentioned under heading (a). Further,
a rest should never be used because it is impossible to insert
a note. This merely means that the previous texture must be
rearranged.

A rest used when in difficulties is sure to reveal its cause in
some crudity. The true test of the good use of rests, except of
course those that cover a long period, is to see that so far as
harmony and, as a rule, grammar are concerned, they need not
have been used.

Exercises.

i. Take the following as a bast's :

6 6

L 2

148 COMPLEX USE OF THE UNESSENTIAL

Elaborate it in the following ways, maintaining the pattern
(not necessarily in melodic curve) except in the final chord.

(i) Produces a passing chord, which resolves back into the original harmony.
(/) (*)

The above is to be regarded as abstract work.
2. (a) Add S. A. T., introducing parallel thirds and sixths.
(Case I (a).)

(b) Add A. T. B. as above.

Add S. A. T. as above.

Add A. T. B. as above.

COMPLEX USE OF THE UNESSENTIAL 149

3. (a) Add S. A. T., introducing similar but not parallel motion
between two moving parts in accordance with Case I (b). Notes
asterisked are to be treated as unessential.

(b) Add A. T. B. as above.

4. (a) Add S. A. T.; introducing the unessential in accordance
with Case I (c).

M i ._ - — ""•

(gMtt— 9- i I- d . \——\ . T F* ' T p- • I" >-•] .

(b) Add A. T. B. as above.

5. (a) Add A. T., illustrating Case II.

i5o COMPLEX USE OF THE UNESSENTIAL

Add an Alto moving uniformly in quavers.

I , J— J

6. Take the following as a basis :

=j-3r-i^-\ J. ! J^5¥

COMPLEX USE OF THE UNESSENTIAL 151

Elaborate it in the following ways, maintaining the pattern
except in the final chord (abstract work) :

(a) (b)

152 COMPLEX USE OF THE UNESSENTIAL

yv-^r

JJ3J1 JJ314*

It will be seen that the important thing is to learn how to
maintain the patterns. It would be impossible to maintain the
pattern and also the particular use of resource given. The
particular device chosen at any moment must depend upon the
various conditions that arise.

7. Elaborate the following basis according to the patterns
given above :

CHAPTER XIII

DIFFERENTIATION OF STYLE

(a) PIANOFORTE WRITING, (b) ORGAN WRITING

1. UP to the present we have regarded a1! the practical work
as being in a vocal style, but we have not troubled about the
setting of words. It is now time to consider some of the
various means of presenting music, and the particular technique
applicable. We begin with pianoforte writing, as being the most
useful and at the same time the most neglected by the student.
One would think, to judge by the crude attempts at pianoforte
writing that are offered by students who know all the rules of
harmony, that the pianoforte was some obsolete instrument, the
technique of which, as regards composition, was only known by
a few antiquarians. And again, students do not read half enough
music. Many who attempt writing for strings have never seen
the score of a String Quartet, and have probably never heard
one played. Students must remedy this for themselves.

2. The first point that must be obvious to any one is that on
a keyed instrument there is no difficulty in taking any interval,
however awkward or impossible it might be for a voice :

This sort of thing is only limited by the dexterity of the hands.

As most students play the pianoforte it is hardly necessary to
do more than mention some of the points that affect technique,
e.g. (a) that the hands may help each other in performing a part :

DIFFERENTIATION OF STYLE

In the above the sections bracketed will be played by the
left hand.

(b) It is impossible to play such a passage as :

Both staves contain combinations beyond the span of the hands;
and at (i) one hand cannot sustain and another reiterate the
same sound.

(d) Repeated thirds or sixths or chords moving quickly are
not advisable.

Thus, although the following is excellent string technique :

SCHUBERT. Symphony in Bminor.

DIFFERENTIATION OF STYLE

155

it is bad pianoforte writing. It would be arranged for the piano-
forte thus :

P*-1^- -

if — r — r — B

Various arpeggio formulae are characteristic of the pianoforte,
chiefly as accompaniment. But the Alberti Bass type of formula
has had its innings, and had better be left alone :

(e) The crossing of hands is an effective device :

yd by a=r e=r

Also the overlapping of hands :

3. The technique of pianoforte writing as regards the ordinary
laws of part-writing.

(a) We have already pointed out that intervals that are
difficult for a voice present no difficulty at all on a keyed instru-
ment. But this does not give the student permission to write
anything. For example, the following is perfectly easy to play:

'56

DIFFERENTIATION OF STYLE

But it is abominable writing.

The leap of an unusual interval should only be used for the
purpose of effect, and as there are here four real parts, the over-
lapping is bad.

(b) The unison by similar motion, if necessary in real part-
writing, is harmless, because on the pianoforte all the parts are
of the same timbre :

For real part-writing it is best to use three parts ; though of
course music in two or four parts can be written. The Fugues
in Bach's Das wohltemperirte Clavier should be studied.

As regards the distribution of the parts, the wide gap need
not necessarily be between the two lowest parts. In the Fugue
No. 8 of Das wohltemperirte Clavier the wide gap is often
between the two upper parts, and, as a contrast, is an effect to
be borne in mind. Brahms often studiously avoids the con-
ventional distribution of the harmony for the purpose of sombre
effect.

(d) Unless the style be contrapuntal, writing for the piano-
forte is seldom real. That is, the number of parts varies in
accordance with the particular effect required.

Thus Beethoven begins the Minuet of his Pianoforte Sonata,
Op. 2, No. i, in three parts, but in the second bar he adds a
fourth part :

Ex. i.

=3^

r r r r r
j j j j j

r M r ^=^.

DIFFERENTIATION OF STYLE

157

Again, in the following trio the first four bars are in two parts,
the next six in three parts.

(e) The bass may be doubled in octaves, just as the double
bass doubles the 'cello or the 16 ft. pedal doubles the 8 ft. stop.
Such octaves may be in broken form :

Ex. 2.

• BEETHOVEN. Pianoforte Sonata, Op. 2, No. i.

Ibid., Op. 2, No. 3.

Such doubling is also common with other notes lying between
the octave. But in such cases the inside note is usually the
same in each chord :

(/) Any higher part may be doubled in octaves either in
vertical chords or in broken form :

Ex.4.

Ibid., Op. 2, No. i.

158

DIFFERENTIATION OF STYLE

Ibid.

7%&

But no higher part should double the bass, unless the passage
be entirely in octaves or a mere duplication of two parts :
Ex. 5.

4. The accompaniment of a melody with detached chords is
often effective with the chords removed some distance from the
melody :

Ex.6.

BEETHOVEN.
Sonata, Op. 2, No. i.

Ibid.

5. Unessential notes clashing with arpeggio are harmless in
effect (see last bar in the above example).

DIFFERENTIATION OF STYLE 159

6. Consecutive discords caused by the maintenance of a formula
are harmless, provided that the dissonance resolve into concor-
dance :

Ex- 7' ibid.

. Any one who marked such things as being incorrect in a
student's work would be asking him to turn out work devoid
of character.

7. The variety of range possible on the pianoforte should be
used as a means of effect. The harmony can be low or high in
register, or both combined.

Nor should the student forget the effect of two parts moving
two octaves apart (see the opening of Beethoven's Sonata,
Op. 57, in F minor).

8. The sustained arpeggio is an effect peculiar to the piano-
forte and organ :

Ex* 8* Ibid., Op. 2, No. 3.

_bJ V

—T-r 1 iJ'~^J »

9. In such a passage as :

Ex. 9.

i6o

DIFFERENTIATION OF STYLE

were the melody doubled an octave lower, the fifths resulting
with the inside part would have no evil effect :

Ex> I0<

p f (•— T»—

BEETHOVEN. Op. 2, No. 3.

P**

10. The use of staccato and legato touch as means of effect
should not be overlooked, and in employing the former the
following is an idiom characteristic of the pianoforte:

Ex* "' Ibid., Op. 10, No. 2.

These are some of the chief points to be remembered in writing
for the pianoforte. The important matter of correct phrasing
cannot be discussed here. Macpherson's Studies in Phrasing
(Williams) should be consulted.

Classics should be studied under the following headings :

1. Real part- writing.

2. Melody and accompaniment.

(a) Melody in top part.

(b] Melody in any other part.

3. Passage writing, e.g. arpeggios and scale passages.

4. The use of the pedal, and the various kinds of touch.

5. Effects obtained by the interlacing or crossing of hands.

6. Effects due to register, and particular distribution of the
harmony.

Besides being used as a solo instrument, the pianoforte is of
course largely used for the purpose of accompaniment ; and also
in conjunction with various combinations of strings or other
instruments forming trios, quartets, and so forth.

DIFFERENTIATION OF STYLE

161

It will suffice here to mention three important principles of
accompaniment.

(a) The solo part is not to be considered as a real component
of the score, that is to say, it may be doubled in the accompani-
ment either as it stands or in an ornamental form :

SCHUMANN. Waldesgesprach.

(6)

SCHUMANN. Die btiden Grenadiere,

-jjt — '-*—

mir, Bra - der, ei - ne Bitt'

(c)

STANFORD. Ancient Lullaby.

The winds ' lie lulled on blu - est bil - lows.

In example («) the voice part is doubled as it stands. In (6)
we have the same thing, only in broken chords. In (c) the voice

1508

1 62

DIFFERENTIATION OF STYLE

part is ornamented in the accompaniment. Some teachers say
that the voice part should not be doubled in the accompaniment
at a lower pitch than that at which it stands. There is no trace
of any such restriction in the classics.

(b) Clashes which would be inadmissible between two voices
are harmless between parts of different timbre :

Ex. 13.

SCHUMANN. Das ist ein Fldten.

Das ist ein Flo - tenund Gei

gen

f u-fff

Ex. 14.

VOICE.

It must also be remembered that in such passages as the
following :

Ex. 15.

TZ^-r

the lowest bass note in each case lasts in effect till the next bass
note in the same register.

DIFFERENTIATION OF STYLE

That is to say, the bass implied in each is :
Ex. 16.

163

Both the following are incorrect :

In each of them a new bass note in the same register should
be supplied on the second and fourth crotchets.

The case is altered when the bass is a pedal, but this must be
left till pedals have been discussed.

(b) Organ Writing.

As much of the technique of pianoforte writing is also applicable
to the organ, mutatis mutandis, it will suffice to point out the
salient differences.

i. The organ can sustain a sound at the same gradation of
tone so long as the key is pressed down. Immediately the key
is released the sound ceases absolutely. Thus an arpeggio
played on the pianoforte even without the sustaining pedal is
quite different in effect when played on the organ. Thus an
arpeggio accompaniment on the organ would be arranged
generally as follows:

Ex. 18.

M 2

164 DIFFERENTIATION OF STYLE

Of course arpeggio passages are often written just as on the
pianoforte ; the student must only bear in mind that the effects
are not the same.

2. The compass of the organ is limited. The usual compass
of the manuals is :

of the pedals :

3. The pedals take as a rule the bass ; and the student must
of course remember that feet are not so agile as hands.

It is inartistic to use the pedals incessantly, and also to use
16 ft. tone without relief. The pedal part need not always be
the bass ; in Brahms's Choral Prelude ' My inmost heart doth
yearn ' the pedal has the chorale in the middle (8 ft. only).

4. The existence of at least two keyboards and many com-
binations of colour will at once make obvious to the student
many procedures that are impossible on the pianoforte. It is
unnecessary to detail them, and the student will not be asked to
use them in the early stages of his work. Enough has been
said to enable him to make his exercises of real practical value.
It should be added that the left hand should never double the
pedal part, for it is both a waste of energy and incorrect
technique; but it often duplicates two parts in the right hand
when a full effect is required.

Further note on rests.

It is sometimes thought that the rule that a note preceding
a rest lasts in effect for the remaining weak beats of the bar
concerns a bass note only. This is not so. It concerns all parts.
A middle part that disregards this rule is always clumsy, and
a top part is positively bad :

DIFFERENTIATION OF STYLE

Ex. 19.

'65

-1 I* l~~1 ^1 I (-

very bad. good.

Before the student works the following exercises it is necessary
to insist on what has been said previously.
Rests are used for three chief purposes :

(a) For artistic relief. It is monotonous and styleless to
keep all the parts incessantly moving.

(b) To define the limits of a phrase, and to bring into
prominence points of imitation :

Ex. 20.

Lx. 21.

&c.

Rests should never be used merely because a move cannot be
found for the part.

Elementary Exercises in Pianoforte Technique.

i. Write a decoration of the following substructure for piano-
forte in the ways indicated :

6 6

666

166

DIFFERENTIATION OF STYLE

2. The same with the following as a basis :

(«) First two bars in two
parts, last two in three.

DIFFERENTIATION OF STYLE

167

3. The same with the following basis :

Iambic Tetrameter.

& 6

(a)

6 g g 6 6 6 g

(6)

4. Accompany the following melody for' Violin in the ways
indicated. The basis is added :

^ r :< 3 ->— 3 ^ - :t

5. Regard the above as a melody for Pianoforte, and accompany
as follows :

168 DIFFERENTIATION OF STYLE

^=4

Elementary Exercises in Organ Technique.
6. Take basis (i) and work as follows :

(a)

(f)

DIFFERENTIATION OF STYLE

169

7. Take basis (2) and work as follows :
<*>

Swell.

Maintain the style, but vary the pattern here and there.

Maintain the style, but vary the pattern here and there. Let
bars 3 and 4 correspond roughly with bars i and 2.

CHAPTER XIV

DIFFERENTIATION OF STYLE (continued]
(c) STRING WRITING

1. THE most obvious way of obtaining a thorough grasp of
the idiosyncracies of string writing is to learn to play one of
the group of stringed instruments. Two years at the viola as
a second study would be time well spent, and the student might
also find it worth his while to continue. In the country even
a moderate viola player would be a great acquisition.

We must assume, however, that the student has no practical
acquaintance with the technicalities of the strings. Of course
he must read string trios and quartets, and he must take every
opportunity of hearing them. A vast amount can be learnt in
this way.

2. The compass of the various instruments for ordinary
purposes is as follows :

(a) Violin. (A) Viola. (c) ' Cello.

None of the instruments can go below the lowest note given,
but higher notes are possible.

3. A String Trio consists of Violin, Viola, and 'Cello, a String
Quartet of Violin I, Violin II, Viola, and 'Cello.

4. In the early days of string writing madrigals were often
played as string pieces, and they were described as being 'apt
for voices or viols '. But true instrumental style soon began to
assert itself in such things as the use of the tremolo :

DIFFERENTIATION OF STYLE 171

and in the use of figures and ornamental passages and wide
leaps, which would be impossible in a vocal style.

One of the great characteristics of the violin is that it can
' sing ', so to speak, so that from the very outset it was treated as
a solo instrument supported by simple harmonies in a purely
harmonic style on some accompanying instrument. This, then,
forms a very practical means of studying harmonic style.

5. As phrasing is to the pianoforte and organ, so bowing is to
string work. Bad bowing may easily ruin the meaning of a
passage. The following are the chief points to be remembered :
(a) The down bow, the drawing of the bow over the string
from the end close to the hand to the point, is indicated by LJ or
(~i . The reverse, the up bow, is indicated by V or A.

In the ordinary way, however, these signs are not used. It is
assumed that such a passage as follows :

will be played with alternate down and up bows, commencing
with the former.

But if a very powerful effect be required detached notes with
the down bow would be indicated :

Andante.

nnnn nnnn

If these signs were not added the notes would be played with
alternate down and up bows.

(b) When several sounds are to be played by the same bow
they are slurred : _^ p^ ^^

(c) When short portions of the bow are used for various
notes, dots indicate this, and the slur over them indicates that
the period is to be played with one bow-length :

172

DIFFERENTIATION OF STYLE

The student may bear in mind the varieties of effect to be
obtained by using in such cases various lengths of the bow for
each note.

(d) The springing bow, e. g. rebounding after each note, is
very suitable for quick reiterated sounds (piano), and is indicated

thus: Molto Allegro.

? ? i ? T » ? t

(e) When longer portions of the bow are used for various
notes covered by one bow, giving the effect of stress, short
horizontal lines are used to indicate the device :

(/) In phrasing for the pianoforte and organ a slur should
mark the dimensions of a rhythmic group thus :

p a r i

But in string music the use of a new bow need not break the
continuity of a phrase, and it is a general rule that normally
a down bow should be used for the strong accent. The above
would be bowed thus :

But the down bow for the strong accent need not begin on
the strong accent, it should often begin before it if the ana-

crusis be used :

MENDELSSOHN. Lobgesang.

Especially if the first note of the bar represents the termina-
tion of a scalic passage a new bow should not be used for it :

Ibid.

DIFFERENTIATION OF STYLE

Of course, if to produce a vigorous effect single bows are used
for every note of a scalic passage, the principle ceases to apply :

Ibid.

The slower the tempo, and the less ornate the passage, the
less need is there for the bowing to approximate to the phrasing.
And of course bowing and phrasing obviously cannot coincide
if the phrase be a long one. The following phrase is bowed
thus:

ibid.

On the pianoforte this would be bound together by one slur.
The following common bowings should be remembered :

(3)

(5)

6. Instead of using the bow, the strings may be plucked with
the finger ; this is termed pizzicato, and is indicated by the
abbreviation 'pizz.' ; a return to the use of the bow is indicated
by 'arco'.

Pizzicato may be used by all the strings, or by some to accom-
pany.

7. When it is desired to use the strings muted, considerably
reducing the tone, the term 'con sordini* indicates the device.
When the mutes are to be removed this is indicated by ' senza
sordini '. There must be a sufficient number of bars of rests
in the part to allow of the mute being put on the bridge and
also taken off.

8. Sometimes to obtain a full, sonorous effect a melody is so

DIFFERENTIATION OF STYLE

written that it can be played on the fourth string of the violin.
Such a melody should not go higher than :

The indication for this procedure is Sul G. Likewise we
may have Sul D, Sul A, used for subdued tone, as compared
with the brilliance of the E string.

9. The upper register of the 'cello is much used for a solo
effect, the tone being exceptionally rich.

10. It will be useful to point out some features of style which
are characteristic.

(a) Reiterated chords combined with melodic passages or
pizzicato :

Ex. i.

I*. Quartette in Eb, Op. 74« BEETHOVEN.

piss.

P" J

.1' r I

EX.3.

Ibid.

irr

DIFFERENTIATION OF STYLE

T75

(b) Occasional use of three-part writing caused by first and
second violins moving in octaves :
Ex. 3.

Ibid.

176 DIFFERENTIATION OF STYLE

a e

(d) The use of various arpeggio formulae :

ibid.

Ibid.

piss.

r II

DIFFERENTIATION OF STYLE

177

HAYDX. Quartet in B minor. Op. 64.

?B*

effect :

Constant wide distribution of the harmony for special

Ex. 6.

Adagio.

BEETHOVEN. Quartet in ED major. Op. 74.

1568

i78

DIFFERENTIATION OF STYLE

(/) Constant crossing and the use of plenty of rests to give
the phrases definition :

Ex. 7. -i- . • Ibid.

fee

(^•) It is most important in even the simplest work to use
-distinctive formulae of accompaniment :
Ex.8.

Ibid.

&c.

*=n "* Jl r"3 n IThrJ n ^1

888

DIFFERENTIATION OF STYLE

179

In the last example none of the consecutive octaves are ob-
jectionable in effect ; the parts, however, are not independent.
The student should at first aim at real part-writing.

11. The matter of double-stopping is too intricate for a be-
ginner who does not play any string instrument. The question
is exhaustively considered in Widor's The Modern Orchestra.

12. As regards the laws of part- writing when the pianoforte
accompanies a stringed instrument, the same principles as those
referable to a voice and the pianoforte are applicable.

Exercises.

Take the following as a basis :

6 60666

Write free parts for String Quartet as follows :

(a) See par. 10 (a). (6) par. 10 (3).

to par. 10 ($.

N 2

i8o DIFFERENTIATION OF STYLE

(e) par. 10 (*).

(/) par. 10 (/).
Sul G.

Ejf.b" , — F£

Of— £— — j—
Con sordini.

A" J-] ^-^

I^=-

n r, ^

5' ^J J^. J1-

C<9» sordini.

p, r} £

!5SI ^M
~^ J^

^— ^=5=

=11

CHAPTER XV

UNESSENTIAL NOTES. GROUP IV

CHANGING NOTES, ANTICIPATIONS, AND CHROMATIC
PASSING NOTES

A. Changing notes.

i. If two essential notes are a third apart, the second being
lower than the first, the unessential note a step below the first
may leap a third to that a step below the second, as follows :

This was a very common idiom in the Polyphonic Period.
2. In the Homophonic Period we find the following variants
of this:

(a) the converse of the above •,

(b) the use of unessential notes a step above and below the
same harmony note.

(i) (*)

J J II J J J j=fl

* II ^ •> — ^Hl

(i) is found in Tielman Susato's Dances (1551%

(a) is to be seen in the works of Monteverde and Caccini.

3« The idiom can be used over one or two chords.

CACCINI. Euridice.

MONTEVERDE.
Orfeo.

4. With the introduction of chromaticism, instead of

182 UNESSENTIAL NOTES. GROUP IV

we get : , (I) ^

r r

(i) Sometimes the initial note is omitted.

5. Appoggiaturas will produce the formula in curve :

6. Soon the leap of a third was extended to that of a fourth :

BLOW . I beheld and lo.

J i
J J

and even a fifth :

BACH. Allemande.
First English Suite.

7. Just as Willaert in his Motet ^4w Maria forgot the last
note of the Nota Gambiata :

so the following are examples of the same thing, resulting in
a fixed idiom :

MONTEVERDE.

Orfeo.

BLOW.
I beheld and lo.

UNESSENTIAL NOTES. GROUP IV

183

These are catalogued as cases of the exceptional leap from an
unessential note.

8. Further, we get the approach of the first changing note by
leap :

9. As the student knows, as yet, nothing about Modulation,
he will happily not attempt to harmonize this fragment,

in some such way as follows :

very bad.

Of course, something like the following is required :

The student should always use the unessential freely in his
work, and not employ it merely in one chapter devoted to the
subject.

In such a melody as :

^ *"^J— . ^^ "*

the chords, of course, move every half bar :

184

UNESSENTIAL NOTES. GROUP IV

B. The use of anticipations.

i. Under old conditions the use of the anticipation was due
to a premature resolution of a prepared discord.

2. Under the Homophonic School the anticipation ceases to
be a premature resolution of a discord. There are two stages
in the evolution of the extension of the idiom :

(a) In which the ordinary procedure merges into an appog-
giatura.

The following are from the Ads of the Apostles by Tye (six-
teenth century), quoted from Hawkins's History of Music'

(a)

r
j

(*)

r r

~Sr :s=

At (a) we see the ordinary anticipation of the resolution of
a discord. At (b) an extension of the principle, in which we
get the effect of an appoggiatura, and not an anticipation at all.

08) The following by Cesti is a common procedure of the
Italian composer of the early seventeenth century, and illus-
trates the modern use of anticipation :

ca-ra e dol - ce Li - ber - ta

UNESSENTIAL NOTES. GROUP IV 185

Two early examples of anticipation in the opposite direction are
added :

PERI, Eitridice^ 1600.

MONTEVERDE, Orfeo.

Unessential notes may be anticipated.

Thus, such a passage as :

may be elaborated as follows :

C. Chromatic passing notes.

i. These may be introduced at any point, but once a chromatic
passing note is used, the part must proceed in the same direction
by semitones till it reaches the next harmony note :

bad.

good.

i86

UNESSENTIAL NOTES. GROUP IV

2. Chromatic passing notes may of course be used in parallel
thirds and sixths. Although we have not yet treated of modu-
lation, it may be well to warn the student that an abrupt modu-
lation at the end of the phrase is always bad ; it is at its worst
when the third of the dominant chord of the new key is im-
mediately preceded by a chord contradicting it.

There is no harm in such a passage as :

But the following is atrocious :

gpa- r — ^

J J

,0-i Q_^

fj r *h-l

The C and C sharp are of course unessential. Often the
unessential note is longer in time value than the harmony note
it displaces :

N -*—

^ ^=^=1

(^.1

3. In reading poetry the reciter can make what pauses he likes,
but in music the accents must keep on the move. If the student
play through any long metre tune in duple time without any
pauses the effect is absolutely breathless and unmusical.
Therefore in music we shall rarely find trochees or dactyls
without the catalexis.

3. Further, this consideration affects the reproduction of an
Iambic tetrameter and trimeter in music.

UNESSENTIAL NOTES. GROUP IV

187

For example :

Thou art my life, my love, my he£rt,
)fme.

The very thought of
The addition of two parallel verses forms the common metre
stanza.

But to write :

rlr Mr rlr rlr rlr rlr rlr

rlr rlr rlr rlr rlr rlr rlr II

will be felt to be impossible. There must be a caesura and
harmonic repose at any rate at the end of the trimeters.

Here, although we get the cadence at the third foot of the
trimeters, we retain the harmony and spin out the phrase for
another foot :

It is by no means necessary or advisable to work in regular
two or four-bar phrases, or to put it more correctly in verses of
two or four feet; variety is as desirable in music as in poetry.
But there must be design underlying the variety, and a sense of
balance must be cultivated. It would be merely freakish to
follow a tetrameter by a trimeter. But to do it twice forms
a larger pattern of two corresponding periods (4+3), (4 + 3).

Ear- Training Exercises.

1 88 UNESSENTIAL NOTES. GROUP IV

3 r f

-^ r f ^ r

^ i" r r H r -' — =

i ' * ii

.1 r i

E I r

r r r

r ir ii

Anticipation of
complete chord.

Exercises.
A. Harmonic style.

i. Add parts for the Pianoforte in the style given (real part-
writing is not required).

Dactyllic tetrameters.

UNESSENTIAL NOTES. GROUP IV 189

Start

^-£

e u E 1

2. Add an accompaniment for Pianoforte.

Trochaic Tetrameters.
Andante.
VIOLIN.:

Start

VIOLIN.

PiANO.

3. Add three parts for Pianoforte.

Anapaestic Tetrameters.

fc*""- Ufc

190 UNESSENTIAL NOTES. GROUP IV
Start

B. Contrapuntal style,
i. Add three parts for strings.

Trochaic Trimeters.

2. Add two parts for the Organ.

Iambic Trimeters.

3. Add two vocal parts.

Trochaic Pentameters.

UNESSENTIAL NOTES. GROUP IV

191

4. Begin as follows : and continue, forming couplets.

5. Write melodies to the following Basses, forming parallel
phrases. Not more than one chord is to be used to each accent.
When the melody has been written, add an interesting Alto part.

(a) Trochaic Tetrameters.

T^ ,» f»

(0 (0 (I) (0

(i) Accented unessential note.
(a) Changing note.

Iambic Tetrameters.

(2) (2)

0) (2) (3) (2)

(i) Chromatic auxiliary note, semitone below root.
(a) Accented passing note.
(3) Retardation.

6. Fill in the following blank rhythms for Soprano and Bass,
in Minor keys, using not more than one chord to each crotchet.
Place under the working the underlying chord progression. Add
an Alto part when completed.

(a) Trochaic Trimeters.

r crlcr clr

r IP Lrlr r IP c/lr

i92 UNESSENTIAL NOTES. GROUP IV

6 Iambic Trimeters.

8J3IJ Jj J-3J IJ /31J /3l.rmj

LLT I r

r r

7. On the following bases, write three free parts for strings.

(a) Dactyllic Tetrameters.

4 I

& 6 6 Jf

6 *

Start

(6) Anapaestic Tetrameters.

6 6

Start

8. Harmonize the following in three parts for Pianoforte. Do
not use more than one chord to each crotchet.

CHAPTER XVI

THE CHORD OF THE SIX-FOUR

i. THE second inversion of the common chord is called the
chord of the six-four because it consists of a bass note, its
fourth, and sixth :

Almost invariably students use this chord crudely. There are
two reasons for this : (a) the chord is inadequately explained,
(b] the rules for its treatment are superficial.

2. We have seen that under old conditions the five-three and
iix-three were essential harmonies, and as the term chord
necessarily implies that the notes forming it are essential, there
is nothing very novel in the new view so far. But the six-four
was not an essential combination, so that we here meet with
another example of the principle of the transference to the
scheme of essential harmony of a combination which was not
originally so considered.

3. Using the term six-four as the modern statement of the
combination of the essential interval of the sixth with the non-
essential interval of the fourth, it has been seen that it is true
to say that the chord was a common feature of sixteenth-century
technique. Those theorists who exclude it from their statement
of the technique of strict counterpoint merely show that they
do not understand it.

For the sake of clearness it will be well to restate the matter.
Let us suppose that we are adding a part in second species to
the bass, thus :

1568

i94

THE CHORD OF THE SIX-FOUR

Some modern theorists would quite wrongly argue that the
second bar implied a six-three on E, and that D was unessential.
It is simply the use of two concords, 6 5, and that is how it was
viewed. Now suppose that a part in fourth species was to be
added :

the fourth at (a) is a discord, it is prepared at (b) and resolves at
(c) ; it is further necessary that all the parts at (a) except the
discord should be concordant with the bass, and that all the
parts at (c) should be concordant with the bass. The following
is an illustration :

PALESTRINA.
Sicut cervus.

The simple reason why theorists have not catalogued this as
a part of sixteenth-century technique is this. They have been
told that the common chord and its first inversion are the essen-
tials of the technique. The obvious deduction is that the six-
four is not. But the statement that the essential intervals of
strict contrapuntal technique form the common chord and its
first inversion puts the matter in its right perspective. If we
use the old terminology of intervals it is true to say that the
essential intervals are the third, fifth, and octave from the bass,
or third, sixth, and octave from the bass. If we use the modern
terminology, then we are bound to say that the chord of the six-
four can be used under certain conditions.

A chord of the six-four used in this way, that is, resolving on

to a five-three on the same bass note, is generally used at the

cadences, and is therefore termed a cadential six-four. But it

is necessary to distinguish between its use in the half close,

. full, and deceptive close.

THE CHORD OF THE SIX-FOUR

195

In the half close this chord temporarily displaces the domi-
nant chord (the final).

The following is an ordinary half close :

Now it will be shown later how all elaborate texture is merely
decorative work. One of the first principles of decoration is to
displace a chord by another, which in its turn resolves into the
original chord. Such chords may be conveniently termed
appoggiatura chords ; thus we may decorate this cadence as
follows :

4. The first step in advance of this is to allow the fourth in
this case to be taken without preparation :

d A

(a) is the undecorated half close ;

(b) is the way in which the decorated form was originally
written, the C and E being regarded as accented unessential
notes ;

It is true that isolated examples of the use of the unpre-
pared fourth are to be found in the music of the Polyphonic
Period :

o 2

196

THE CHORD OF THE SIX-FOUR

JOHN SHEPHERD (.circa 1540).

r rr

(See Burney, vol. it,, p. 587.)

Similar examples are to be found in Tye's mass ' Euge Bone '.
But the mass of evidence points to the fact that such things were
contrary to general principle, and they must therefore be re-
garded as interesting premonitions of the course of evolution.

In the full close it can hardly be said that this six-four dis-
places the dominant chord,, but that it forms a new way of pre-
ceding it :

though it is quite true that it arose in precisely the same way as
has been explained in reference to the half close. The difference
lies in the fact that at (i) the dominant chord normally occurs
at the point represented, whereas at (2) it is unnecessary to
presume that the dominant chord should have normally occurred
in place of the six-four. We may thus formulate an important
principle. The cadential six-four may be used on the dominant
in forming the half, full, or deceptive close. In every case
the six-four occurs on the strong accent, and must not be pre-
ceded by any harmony on the same bass note :

Half Close. Full Close. Deceptive Close.

I 1

(a) (b) (c)
A ^ A A J A _ ^ ^ A ^_

5. It has been said that the same chord should not be used in
the relation of weak to strong, but this argument does not apply

THE CHORD OF THE SIX-FOUR

197

when the cadential six-four is preceded by another position of
the same chord as at (a), for the simple reason that (b) is in the
nature of an appoggiatura chord resolving at (c) into what would
normally follow (a) :

Note that the following are bad :

— — 1 —

~3 — =r-

J: J

— 1

at-

6. The chord of the six-four is indicated by the figures J, and
the resolution on the same bass note is indicated by | ; in
writing the parts six falls to five, four to three, and the bass
note is doubled in the same part in each chord :

poor.

_^J

7. We saw that the chord of the six-four also occurred as the
result of the use of passing notes on the weak accents. First,
we consider the case in which the bass uses unessential notes :

Contrapuntally B and D are unessential notes, harmonically
they, together with the essential note G, form what is termed
a passing six-four.

198

THE CHORD OF THE SIX-FOUR

For the present this use will be confined to passing between
i and i b or i b and i, iv and iv b or iv b and iv :

I i .. | | , .. , .. J J . -

*y xa) I — TT^j^4 — \ — — — . H I 1 — II ^ I

J. A -

8. We have now two harmonies for the progression :

Either of these is equally good.
But the same does not apply to :

66 66

ugly. good.

This forms an ugly use of the mediant chord; but the following
is of course excellent :

9. Next, when the bass is stationary, the chord of the six-four
may also be produced by the use of auxiliary notes :

Contrapuntally F and A are unessential notes (auxiliary).
Harmonically they, together with the essential C, form what is
termed an 'auxiliary' six-four; at present this should be con-
fined to i and v. The auxiliary six-four should occur on a weak
accent, and should be preceded and followed by the same
harmony, e.g. i or v.

10. Thirdly, when the bass was a pedal, the six-four was used
as follows :

THE CHORD OF THE SIX-FOUR

PALESTRINA. Aeterna Christi Munera.

199

at (a) the Tenor is the real bass.

Harmonically it may be said that if in the bass V of the Perfect
or Deceptive Cadence be reached three accents before its normal
time, its six-four may be used —
(a) for all these accents :

Cadence.

(A)

<fr^J 1 J p ^^^^1

8 C ip- r r r r
j j j J- J j

/c < - '

« " 0

4 3

for the second and third accents :

„

J r

1 fe.^ « ' ^. " * ' jl j;. i* p ' ™°
FJT^TT^"" — r^T ^ J— 1 g Hi

for the

third accent only :

J J J J J B

When the bass reaches the six-four of the cadence in this way
before its normal time, it must remain on that note, and not
proceed to other sounds :

A J. j J.

weak.

Ep-t-^Ea

200

THE CHORD OF THE SIX-FOUR

ii. It remains to consider one other use of the six-four.

; II a 1

(a) (6)

1*" I*"

r r ' ll'r r r H

Mentally (a) and (b) are identical in effect. Contrapuntally
(a) is possible, (b) is impossible.

At (b) the G in the bass forms a discord with the C in the
treble, and it cannot be approached or quitted by leap.

Harmonically both are unobjectionable. This may be termed
the arpeggio six-four. In using this care should be taken that
the six-four should neither commence nor end the arpeggio
unless such six-four be good without the arpeggio :

12. It may be well to mention one exceptional use of the six-
four : we might decorate

THE CHORD OF THE SIX-FOUR

with a double appoggiatura :

201

this would be played thus :

In proceeding from (i) to (2), care must be taken not to write consecutive
fourths between the bass and an upper part.

Hence theorists say two consecutive six-fours may be used on
ii followed by i if the second occur on the strong accent, and
be followed by a five-three on the same bass note. The student
will thus see how this procedure originates. Sufficient has
been said to show the real nature of the chord of the six-four,
that it is in its very essence unessential in the sense that it
requires to be preceded and followed in certain definite and
restricted ways. In other words, it is what may be termed a
decorating chord.

(a) It forms an extra link between the same or two positions
of the same chord :

(b) It displaces, but resolves into another chord :

6 5 (displaced)
4 3

Here its two uses are combined :

6 s

4 3

202

THE CHORD OF THE SIX-FOUR

When an appoggiatura six-four decorates a dotted note, it
takes two-thirds of its value :

A A ^

rendered.

-&L A ^ J.^ .

undecorated form.

13. Principles of extension in reference to the use of the
chord of the six-four.

In the early stages of his study it is recommended that the
student should confine himself to the uses of the chord of the
six-four that have been explained.

It will, however, be convenient here to state upon what
principles it seems that composers are liberating themselves from
the original restrictions in reference to the use of this chord.

14. Theorists usually say that the bass of a six-four may not
be approached by leap from an inversion of another chord, and
that it may only be quitted by leap if proceeding to another
position of the same harmony. In one sense this statement of
the case is not strict enough, for it allows of such atrocities as :

1 1

^ J

4
=11=

j. .

^pj

4 4
HH

In another sense the statement is not wide enough. For
there are many cases in which the bass of a six-four may be
approached and quitted with excellent effect, though in direct
violation of text-book rules.

We have shown that in the Polyphonic Period a prepared
discord might resolve while the other parts remained stationary :

THE CHORD OF THE SIX-FOUR

203

Or the other parts might move at (a) to other notes in concord
with the C :

Applying this to the discord of the fourth accompanied by the
sixth we get :

Hence, when the six-four is in effect an appoggiatura, the Bass
can move to another position of the chord upon which it resolves.

15. By the same principle, if the Bass moved downwards,
thus:

as a variation of this we might get :

Here the combination of a chromatic passing note E ft with
diatonic passing notes G ft and B produces a new chord.

16. When the six-four is an appoggiatura, the chord upon
which it resolves is the essential basis of criticism.

BACH.
St. Matthew Passion.

204

THE CHORD OF THE SIX-FOUR

Here the six-four is approached by leap from an inversion of
another chord.

Similarly, we explain :

LLOYD. Conu
tuneful friends.

3 7. When the six-four is auxiliary in effect we get

WAUORD DAVIES.
Te Deum in G.

E and C are really auxiliary notes.

1 8. Again, suppose the following to be a basis

If the two lowest parts were conceived as being

they could be represented by one part in broken harmony

So that we get :

PARRY.
If I had but two little wings.

(i)

(i) This G is an appoggiatura of the

THE CHORD OF THE SIX-FOUR

205

19. Further, when two harmony notes are one step apart, as
G and F, the G, before proceeding to the F, may move one step
on the opposite side of F, and then leap a third to it :

This A is in the nature of a changing note ; thus, instead of:

we might have :

6 7

PARRY.
Judith, p. 294.

It would be absurd to argue that (a) was a six-four incorrectly
quitted.

20. Or again in the following :

WALFORD DA VIES. Everyman.

(d) (b) (c)

the chord (d) actually resolves at (c), the chord (b) forming an
ornamental resolution. Further, the consecutive fourths between
the Bass and the Soprano at (e) are excellent in effect, despite
the rules, the reason being that G is not essential.
21. In the following:

GRIEG. Morgenstimmung.

206

THE CHORD OF THE SIX-FOUR

the mind accepts the chord (a) as being implied right through
from (b) a pedal E : in the previous bar a low E has been sounded.
The Bass moves down the arpeggio of the chord of E major, and
one feels C $ to be a kind of thirteenth of the root E.
22. Another example is noteworthy :

WALFORD DAVJES.
Everyman^ p. 7.

The whole bar is really framed on the chord of C minor, (c)
and (d) being decorating chords, so that the broad effect received
by the mind is :

These examples will be sufficient to show the student the broad
lines of advance. It is not that the old principles are being
overthrown, but quite naturally expanded, by the use of the
resources of harmonic decoration.

Ear-Training Exercises.

J. ^.

J J. JJ J ^

r
L^L

ssi

THE CHORD OF THE SIX-FOUR 207

t/ <^

figj J^

-^ ^4^- — 1 ^ II
-r r
j j j^ j ^.

, 01, J J^

r- ' ' r r I"~"=J

-j ,-j . _, J J J

J J ! - H

(Jp ^

*/
ffi/jiii

S: « ^ ^ ^

1 II

4 J -

1 1 I 1

-.^=^^^ \\ ^ ^ -** — U-^

**- •<*• ~ JfJ ~ J

r^=^==^_-|UL^r^^|^

SS s — H

J J-JL^

=•7: — -*HI

Preliminary Exercises in the Use of New
Harmonic Material.

i. Correct the following as sixteenth-century technique

1 a j ^ i ^ n j i J J

j j.M

2. Explain the combinations marked i, 2; &c. :
(a) as counterpoint.
(6) as modern harmony.

i 2 3 ^ 4

^ J J

208 THE CHORD OF THE SIX-FOUR

3. (a) Write a chord to precede and follow

as an accented passing six-four.

(b) Write a chord to precede and follow

as an accented unprepared six-four.

(d) Explain the following :

4. Point out the flaws in the following :

1-^1

y J J. J

J J <^ J

T=TT

5. Justify the following :

J J

THE CHORD OF THE SIX-FOUR

209

6. Criticize :

J-r-J-

7. Rewrite the following, substituting for the chords marked a
decorative six-four chords, and displacing the chords marked b
by six-fours resolving into the chords displaced, the two chords
being each half the time-value of the chord displaced :

J ! I

I I

A A

J-

\# 1 1 *=3=\

\ — nj — i

r — i — 3 — j — Ji

1 1 "J ~~\

^fT^

i 1

f ~r r r

-J jJ J J-i

r i

J: A '

I i

1 i

r r t=p
J[ i J.

The altered form of these may be used as ear-training
exercises.

The chord of the six-four having risen to the dignity of an
essential combination, it can be decorated by suspension, or
appoggiatura :

1568 P

210

THE CHORD OF THE SIX-FOUR

I I

J- Jl

(i) is a familiar idiom of the Polyphonic Period, the bass being
regarded as a pedal. But the following is new resource :

(a) D here is viewed as an essential note. Thus what was
unessential in one period becomes essential in another, and
receives decoration. The following are additional uses :

We may now proceed to the writing of complete stanzas, e. g.
four or more verses.

The student should learn how to write the ' four-square blame-
less ' stanza ; he should then strive by every possible means to
avoid it. The previous exercises will serve to illustrate the former.
The elementary principles of melodic form are : (i) statement of
idea, (2) contrast of idea, (3) reiteration of idea, (4) development
of idea. It will be obvious that to repeat an idea over and over
again is not music, but mechanical futility. But statement
demands response.

Suppose A i represents a statement of an idea,

a reiteration of the same idea, at the
same or another pitch, with or with-
out variation of minor details,
a statement of another idea,
and so forth,

THE CHORD OF THE SIX-FOUR

211

the following arrangements of a stanza are satisfying :

(1) Ai A2 Bi Ba;

(2) A i Bi A 2 62;

(3) Ai A2 Bi A3;

(4) A i Bi B2 A2;

It will be seen that (2) is merely half of (i), double the size if:
a i b i = A i
a 2 b2 = A 2.

These formulae merely represent statement of idea, repetition
of idea, and contrast of idea. Development of idea will be
reserved for another chapter.

i. Find a Bass in crotchets to the following stanzas :
(a) Stanza of Trochaic Tetrameters. (A i, B i, A 2, B 2.)

A i (i) i GO Bi (3)

feE

(5)

A a (i)

*=H

(i) Passing £, sixth suspended.
(3) Accented passing note.
(5) Minim bass.

(2) Appoggiatura £.
(4) Passing |.

Stanza of Iambic Tetrameters. (A i, A 2, B i, B 2.)

-jj>**

, . n Ji |T1» ^/A^F

S S !

^ BI

AJ*

i J J^. v J 1 r Lr r r u

(1) (3)

J-^H •» ;LJ> j jj|J*j

(3)

"3 rr J 1 ^aJ

^Ml

(i) (4) (4) (5) (5) , (4) (5)

(i) Passing £. (2) Accented passing note.

(3) Suspension. (4) Appoggiatura |.

(5) When two harmony notes are a step apart, the unessential note one step
tlie other side may leap a third to the next harmony note.

When the Basses are found, elaborate them into melodious
parts, and add a third part, Alto or Tenor.

2. In the following Trochaic stanza (Tetrameters) (a) is the
basis, (b) is the decorated Bass ; above the latter add a Soprano
in the form A i, A 2, B i, A 3 ; when completed add an Alto.

p 2

212 THE CHORD OF THE SIX-FOUR

__ . . (2) A 2 (I)

(a)

^rtrp —

(4) <4)

i j

~f — f r ' c i

T r fr^

(3)

AS (i)

(2)

_ * —

rTrrrr

(i) Passing «. (2) Appoggiatura |. (3) §.

(4) Changing notes, in opposite direction to the original Nota Cambiata.

^j. Dactyllic stanza of Tetrameters. (A i, B i, B 2, A 2.) Add
a melody to the following Bass in the above form (every crotchet
in the bass represents a chord). Then decorate the Bass and
add an Alto :

-r 1-

(I)

>. * (3) (3) (3) (i) (2)

(i) Use pedal | on second crotchet. (2) Not a regular cadence.

(3) First inversion, not the regular deceptive cadence.

4. Point out the differences between the following in the use
of the six-four ; state which of them are incorrect, and give the
reasons :
W

(d)

J J

4-r-+

i r

THE CHORD OF THE SIX-FOUR 213

Harmonic decoration.

All the embellishment that has been used up to now has been
in the nature of unessential notes decorating chords. It will be
new to some to find that a chord can decorate another chord.
The six-four in its origin is essentially a decorating combination,
either displacing a common chord in its root position :

or acting as a link between two statements of the same chord :

It can of course be used as an essential harmony:

66 65

4 43

But when the accents are moving slowly, it is often introduced
as an embellishment of harmony which would be quite satisfactory
without it :

(a)

The following decorates the above, but does not disturb the
harmonic rhythm of the accents :
ffi

6 6
4

665
4 3

2i4 THE CHORD OF THE SIX-FOUR

The student must distinguish between a chord that decorates
a centre, and one that is a centre itself. The harmonic rhythm
generally settles the matter. Some one will say this is a distinc-
tion without a difference. It is not so. For suppose other chords
be added to (a) above :

the original basis is quite upset, whereas (b) does not upset it,
but merely decorates it. This question must be discussed at
some length later. It is here sufficient to point out that the
six-four is in its origin and very nature a decorating combination.
We could not get along without the common chord and its first
inversion, but we could well do without the six-four. As we
gained experience in decoration we should soon produce it for-
tuitously, and this is of course what happened in actuality.
But an ignorance of this fact causes students to use the six-four
in almost every conceivable way except the right one.

CHAPTER XVII

SOME ELEMENTARY PRINCIPLES OF FORM

i. IT has already been seen that the essentials of melodic
form are (a) statement of idea, (b) reiteration of idea, (c) contrast
of idea, (d) development of idea. The mere statement of a
string of ideas, which may be represented by the formula A, B,
C, D, is indefensible, unless it be intended merely as the basis
of future developments. It is then preferable, for it avoids
cutting away the ground from the later periods. But we are
here dealing with miniatures, so to speak, as for example the
stanza of a lyric, which is to be judged as a complete whole.
The Irish Air ' Daniel the Worthy ' is an illustration :

A A^ ~^ B ^- ^ B ^~

wr'7 ff j I J"3 ^ «U J"j j r -I-C-T r r 1 rr r=ri*~l~^j* ^—(5^

Development of ideas in B.

J J J J| | .— . J J J
JJ ^'^1^ ^'•'

Here are all the essentials of melodic form :

A A give statement and repetition of idea.
B B give contrast and repetition.

The fifth phrase consists of B stated directly, and a portion
of it (2) stated by inversion (3), forming development of idea.

Note further that the B's are sub-phrases, shorter than the A*s,
and developed in rhythm from the beginning of A. Then the
balance is restored by the final phrase (bars 7-8), and it is
repeated to round off the whole.

It may be fairly said that the whole is developed from A, B
taking its rlrythm from A, but with a new melodic curve which
serves to evolve the succeeding phrases.

216 SOME ELEMENTARY PRINCIPLES OF FORM

2. In miniature work economy in the use of thematic material
is a virtue. A little thought will show that it is a necessity.
If one were limited to a speech of two minutes, one would not
state four or five subjects upon which one might discourse, and
then stop : no one would be so stupid. And yet in music it is
done over and over again by thoughtless students, who imagine
that repetition or development of idea is a sign that the current of
inspiration has been cut off. Or, as is often the case, the student
is completely ignorant of the fact that there are any principles
of development at all.

It will therefore be well to show how a complete stanza can
be developed from one idea only. Suppose the following to be
the first phrase of a stanza :

(It is quite possible to have a phrase of two feet.) Its response
would be somewhat as follows :

Next, it will be artistic to make the last two phrases indivisible,
and we develop first by repeating a portion of the initial formula :

and finally a smaller portion, the leap of a fourth :

The whole will therefore stand thus :

Ex. i.

Andante.

PIANO-

FORTE.

r r

J-M i- ' fF

SOME ELEMENTARY PRINCIPLES OF FORM 217

JM*^

It will of course be obvious that the original formula must be
well varied in rhythm or melodic curve. Nothing could be done
with such formulae as :

j u u rgi

Variety in melodic curve alone will suffice. For instance, in
the following :

we have (i) two upward leaps of a third, (2) two steps of a second
downwards.

This could be developed as follows :

:^—d j=^Ly4J-^Ilf-T r I f r \£ r J I ^^^J-^J-^I

iJ ~ ^ ^J ' _ -U- . ^ ^

Many examples of this method must readily occur to the
student. They are to be found on every page of a modern score,
so that it is superfluous to quote examples. Beethoven developed
the whole of the middle section of the Pianoforte Sonata in D
minor, Op. 28 (ist movement), in this way ; see also the corre-
sponding portion of the first movement of the Waldstein. The
principle in a complete form may be thus stated :
A i, A 2, ^ A i, J A i, J A i, J A i, J A i, J A i, -^ A i, -^ A i,
till the process is exhausted. The following is an example :

2t8 SOME ELEMENTARY PRINCIPLES OF FORM

. A 2 ," ..

i/a A i ,

i ^ ^

1/2 A I

V— L L' T:rd
p^g »: "g-H>

La r EP=F

1/4 A I

1/4 A

1/8 A i 1/8 A i

Development of this nature provides the student with an
easy way of obtaining continuity, and of varying the length of

SOME ELEMENTARY PRINCIPLES OF FORM 219

phrases. The normal length of the last example would be six-
teen bars; the last phrase is naturally extended two bars, or
more accurately four trochaic feet.

3. Although the feeling for response or reiteration is a
natural one, exact repetition is instinctively felt to be inartistic.

Three common ways of avoiding this may be mentioned —
(a) a slightly decorated form of the antecedent :

A i

(b) a shortening of the first note :

Ai A2

Ai Aa

* 1 JJ1I i &

(

It will be observed that in none of these are the proportions
disturbed.

4. Variety in proportion.

There are numerous ways of avoiding the squareness of effect
which would be produced by exact symmetry in the proportions
of the phrases.

(a) If only one phrase be varied it is usually the last, and
extension is much more satisfactory than condensation. This
is often accomplished by lengthening a prominent note of the
melody just before the cadence.

The following :

p — - — m -T3 J 1 i rT-T3 r I i _T3 r r ^~t~ J j H
-1' j J< * J * i J *** ^ ^< ^ ^ r uf ' ^ "

220 SOME ELEMENTARY PRINCIPLES OF FORM
would become :

(b) The final cadence may be turned off into some other
channel, then the concluding phrase or part of it may be repeated,
this time with the cadence that was originally expected :

"j Jg^rj J3 r r r~r — 31

(l J «T3 J-^

i£* — rj f

1 J Tl

tr — 4: — U^1

L^_ — I

A bar or more may be interpolated :

Contraction is most commonly caused by the overlapping of
phrases, that is, the end of one phrase coincides with the
beginning of another :

g . _ . _ , _ .-fj.jJ.J K i ,

* ">. m" _ I ".I ~ I m \ J + [^S- J I ~T^=\

5. As regards the manner of introducing extensions or con-
tractions of the normal type, the student must be guided by his
sense of proportion, and here the metre of poetry will help him.

A few examples will illustrate this :

(a) With ravished ears
The monarch hears,
Assumes the God,
Affects to nod,
And seems to shake the spheres.

DRYDEN.

Here there are four dimeters ; these are rounded off by a
verse with more feet in it. In music this could be reproduced
thus:

SOME ELEMENTARY PRINCIPLES OF FORM 221
Iambics, | time.

Bars 1-2 A i.
3-4 A 2.
5-6 B i.
7-8 62.
9-1 1 A3.

Ex. 3. ^

0 h >t-V3 . J"3 j"j . — A2ft . p^ — ^-, !

_ r r S r ^

^ ^

-JA*.

But in many the feeling for an even number of feet would lead
them to follow the cadence by a plagal extension, thus :

Ex. 4.

(b)

Still thou art blest, compared wi' me,

The present only toucheth thee:

But, och ! I backward cast my e'e

On prospects drear !

An* forward tho I canna see,

I guess an' fear.

Here the metre is : 4.4 . 4.2 . 4.2.

Now, contraction in music is hardly ever satisfactory. And
if the above were exactly reproduced in music, it would sound
ill-balanced. Still something of the effect intended by the poet
can be obtained in two ways :

222 SOME ELEMENTARY PRINCIPLES OF FORM

(i) By repeating the short verse as a sort of echo :
Ex. 5.

J J.

()

feSEE

Ttr -^ib—

(i) The two phrases are here made indivisible to reproduce verses 3 and 4.

(2) by suddenly lengthening the accents, and making the
time duration that of the previous four feet :
Ex. 6.

It must -be remembered that the reciter would naturally pause
here, and in music this must be reproduced in some such way
as has been illustrated.

When like the early rose,

Eileen Aroon !
Beauty in childhood blows,

Eileen Aroon.
When like a diadem,
Buds blush around the stem,
Which is the fairest gem?

Eileen Aroon.

SOME ELEMENTARY PRINCIPLES OF FORM 223

f\ ff X*~^

— V.

F^ — ;^:r

i j j J i

-p-r*-

hF"5 — ^~r^

|f r

r- c r

6. Of course there is no need to consider a phrase of three
or five feet as being necessarily a contraction or extension. It
may form the normal type of the stanza, just as. in poetry, e. g.
3-3-3-3: 5- 5- 5- 5:

LTl

rlr

r rlr r rlr rlr r rlr- II

7. And again, a stanza need not consist of four verses. Five
verses are often most effective thus :

(a) A B A B B

(b) A B A B A

(d) A A B B A
or a third rime can be introduced, A B C C B :

With throats unslacked, with black lips baked,
Agape they heard me call;
Gramercy ! they for joy did grin,
And all at once their breath drew in,
As they were drinking all.

S. T. COLERIDGE.

This is an expansion of the ordinary common metre, and would
be reproduced thus, for example :

224 SOME ELEMENTARY PRINCIPLES OF FORM

rlr clr rlr crlr
plirplp- t\r~\r
trip rlr- elcjrlr
trip plr cltpplr

Exercises.

i. Develop the following into an eight-bar sentence (see
Ex. i) :

PIANOFORTE.

J J

v;b r i r j ^ i ' * ii

2. Develop eight bars from the following :

PIANOFORTE.

J
g1

3. Develop about eighteen bars from the following (see
Ex. 2) :

rnH -^

PIANO-
FORTE.

fe b 5 g"

ii e"r3rl

" * r •£

T» J

P r P r

1 1 =H

4. Show three ways of varying the last two bars of the
following :

SOME ELEMENTARY PRINCIPLES OF FORM 225

PIANOFORTE.

5. Add a response to the following, and show three variations
of it:

PIANOFORTE.

JU-*T a 1 M- JJ i s

- „ i -g H

^ r H r I r "I r I r=

M- — i — ' ijj. £ r "

*l J II

6. Alter the following in three different ways, so as to avoid
its angularity :

PIANO-
FORTE.

i r'

•*•

j. Write stanzas for the pianoforte that reproduce the poetic
devices of the following :

(a) Cynthia, to thy power and thee
We obey.

Joy to this great company:
And no day

Come to steal this night away,
Till the rites of love are ended,
And the lusty bridegroom say,
Welcome, light, of all befriended.

JOHN FLETCHER.

(b) Sing his praises that doth keep
Our flocks from harm,

Pan, the father of our sheep :

And arm in arm

Tread we softly in a round,

Whilst the hollow neighbouring ground

Fills the music with her sound.

JOHN FLETCHER.
Q

1568

CHAPTER XVIII

DIATONIC CHORDS OF THE SEVENTH
AND DIMINISHED TRIADS

i. THE student is familiar with the device of resolving a
suspended discord upon a combination different from that on
which it occurred :

The movement of the Bass and Tenor to the two A's is not
a matter of necessity, as G, C, and E are concordant with C.
But in the following case the Bass and Alto must move, else
they are discordant with the resolution of the discord :

Once the theory of chords is established it is not difficult to
see that the following are merely different positions of the same
chord :

H..

(1) is called a secondary seventh ; its root is A, and it con-
sists of the root with diatonic third, fifth, and seventh ;

(2) is the first inversion of this ;

(3) is the third inversion.

DIATONIC CHORDS OF THE SEVENTH 227
2. Now, under old conditions the following is incorrect :

Here the old view is, G is a discord, therefore the lowest
moving part is for the time being the bass, e.g. the tenor E.
But this forms with an upper part the discord of the fourth.
Under the new conditions, of course, such a consideration does
not exist. The G is now catalogued as being essential.

3. But, some one will say, where is the second inversion?
This particular combination did not occur under old conditions,
because double suspended discords were not a regular part of
the technique :

Under modern conditions both the E and the G are essential ;
therefore the E is free to rise or fall by step, that is, it is treated
exactly as the Bass of an ordinary six-four :

4. First point of advance.

The first point of advance, then, is the adoption of the discord
of the seventh as an essential combination ; and the vertical
view leading to freedom as to the exact distribution of the
chord. The chord is figured as follows :

228 DIATONIC CHORDS OF THE SEVENTH
7 stands for s from the bass note.

I
"3

u n 2

The key of C major gives the following series of diatonic
sevenths :

ii. iii. iv. v. vi. vii.

Note—

(a) In i and iv the third from the bass is major, the fifth
perfect, and the seventh major.

(b) In ii, iii, and vi the third is minor, the fifth perfect, and
the seventh minor.

(d) In vii the third is minor, the fifth diminished, and the
seventh major.

5. On account of special characteristics v has been singled
out as of special importance, and is called the chord of the
dominant seventh. It will be discussed separately.

Text-book rules as to the treatment of the diatonic chords of
the seventh not only limit their use to what is practically their
treatment ever since they existed, but also curiously impose
further restrictions. It is stated (i) that the seventh should be
prepared, (2) that the discord should resolve upon a chord whose
root is a fourth higher :

\Jt JTJ J mJ J ii

-A-^=\

i •

v • 11

This use is no doubt the strongest, but there never was any
reason why any discord should not resolve upon any con-
cordance :

AND DIMINISHED TRIADS

229

When (a) and (b) resolve in this way, theorists derive them
from the dominant root. But terminology is of no account so
long as we understand the principle of treatment. It is also
further conceded that in these cases the seventh need not be
prepared.

Again, the following is a familiar second species procedure :

In this way the following has been catalogued as a resolution
of a diatonic discord :

And it is easy to see how it got the name of the chord of the
added sixth. Here again the discord need not be prepared,

and it is generally derived from the root G.

6. This clears the air for some classified statement.

(a) The diatonic seventh on the fifth degree stands out
alone as a special fundamental discord. It need not be prepared,
nor resolve on to a chord whose root is a fourth higher.

23o DIATONIC CHORDS OF THE SEVENTH

(b) The rest, if resolving on to a chord whose root is a
fourth higher, are prepared (except ii).

(c) iv and vii, if resolving on to a chord whose root is a note
higher, need not be prepared, as both are considered as being
derived from the dominant root ; and all discords derived from
this root are freed from preparation.

(d) ii, although resolving on to a chord whose root is a fourth
higher, need not have its seventh prepared, as it, again, is derived
from the dominant.

As the chord of the added sixth (first inversion) it has special
treatment.

7. How does it come about that ii, iv, and vii can be derived
from the dominant ?

It is held that in every key there are three series of funda-
mental discords. The dominant is the root of one of these, and
the complete series comprises every note of the diatonic scale
(with others that can be reserved for later discussion), e. g. root,
major third, perfect fifth, minor seventh, major ninth, eleventh,
and major thirteenth :

Now this discord splits up into two distinct groups :
(i) The discord as far as the seventh, which resolves upon
another chord :

(2) The higher discords of the ninth, eleventh, and thirteenth,
which 'either resolve into the chord of the seventh, or resolve
with the seventh into a new chord.

In any case no higher discord should be sounded with the
note upon which it is to resolve unless the latter be in the bass.
Thus the eleventh and third should not be heard together, nor
the thirteenth and fifth ; hence we get :

AND DIMINISHED TRIADS

231

g£

(x) when the root is omitted the lowest discords become concords.
The derivation of (x) from the root G causes the relaxation of
the rule as to preparation. At (y) A and C are clearly seen to
be merely appoggiaturas of G and B.
Again, consider the following :

'iL

(4)1

At (i) the dominant thirteenth resolves while the rest of the
chord remains. At (2) we have an inversion of this ; compare
(x) above. At (3) the dominant ninth resolves on to the tonic. At
(4) we have an inversion of it. In the inversions the root must
obviously be omitted. It will thus be seen that all this is really
only a re-statement of original principles, but the derivation from
the dominant is the reason for the freedom as to preparation
allowed in these resolutions.

8. Further, there is the following resolution of the prepared
seventh :

Modern theorists would say that the B was an appoggiatura,
or, if prepared, a retardation. One general principle covers
practically all that has been explained in this chapter; the
discord moves one step downwards on to another combination
of which this resolution is an essential part.

232 DIATONIC CHORDS OF THE SEVENTH

9. Second point of advance.

It will be seen that by allowing the F at (i) in the following to
remain to be the seventh at (2), and so forth, a chain of sevenths
is produced :

&=3^

(I) (2)

7777

This procedure, however, is not common in the inversions,
except the following :

Three fundamental principles are most important, as they
make clear all further discords.

(a) The prepared discord may resolve while the harmony
over which it is suspended remains either in the original position
or in an inversion.

(b) The prepared discord may resolve while the other parts
move to a new concord :

(c) The prepared discord may resolve while the other parts
move to a new discord, and this in its turn will then require
resolution :

AND DIMINISHED TRIADS

233

Tt F

-r— r

77 77 77

Such progressions are very common in the works of Corelli
and Scarlatti, and indeed in those of every subsequent composer,
the third of one chord becoming the seventh of the next.

(i) CORELLI. Sonata 3.

1 J J J J J J J

j~j~i~j j _^>

ppp

b j C

1 r- c r- =g^

r -. g fcfef -. jj

=^— — ^

5 6

4 6

\J «r39 05/35*^1

I r r —

yf-r—r — r — "&~

^^" Cr 3

r fnr

,— — f~ & ^~ 7^

• ? r i*

• J"J J ^-i

4646

3 2

d — i-U-M

4 6 7

6 777
5 3

tr^rj^pT

77777
At (i) the diminished fifth remains unresolved. But it passes muster, because
it occurs in the midst of a succession of five-sixes.

In the following the discords resolve on to concords :

J. S. BACH. Acht kleine Preludien und Fugen.

234 DIATONIC CHORDS OF THE SEVENTH

10. Precisely the same principles may be applied to ninths :

(i) It is also possible for the root to fall a third, e.g. to A (chord of A minor).

When, however, the ninth is used according to principles B
and C, it is usual to employ the seventh in conjunction with it :

It has been pointed out that when the ninth and seventh
resolve while the other harmonies remain stationary, they are
called double suspensions.

PARRY. Judith.

&c.

But the nomenclature of such things is of no importance. If
the student have a firm grasp of principles, he cannot go astray.

ii. It remains to point out :

(a) An extension.

The following is an allowable resolution of the diatonic seventh
on the supertonic :

AND DIMINISHED TRIADS

235

The explanation is that the chord is considered a derivative
of the dominant. And the dominant ninth can resolve on to
the root or the third. If it resolved on to the root the procedure
would be quite normal.

But if it resolve on to the third, the resolution of the C on to
the third also would be most unpleasant.
(6) A restriction.

In using the diatonic seventh on the leading note, the seventh
must not be placed below the root, because of its ugly effect :

(c) That in a chain of sevenths the roots need not neces-
sarily be a fourth apart ; there is nothing ungrammatical in the
following :

The further point of advance, the use of unprepared sevenths,
will be considered in the next chapter.

(d) The use of these chords in the minor key does not
require any separate consideration.

(e) A secondary seventh can always be used as a passing
note.

. Q i j-p — I 1-

•A J A A

236 DIATONIC CHORDS OF THE SEVENTH

(f) Suspensions may be used in conjunction with these
chords. The root or third are the best notes to suspend (see
last two exercises in ear-training).

Ear-Training Exercises.

J I J

&—^-& ^ ij W J ~T

r'r r r '^= r r

j. J.

44 I ^ g! I gf-grg-gU-u^i ^J j I i J |EP
, r r r, f, rr r r r r T f V

_J s? Lj=2 — I1 <-Z_l — CZ gz) \ — ^ _J r «^" «^- 1 ^>

fTrr rrrYf >rrf

I ! i i I I i Jill

i i

g— g g gp — g
' ' ' " ' '

r i r r

-^_J-~n /*rj- ^J i '^ P J^7"

^=g^fl

^a ,

I ^ ' f "

AND DIMINISHED TRIADS

Wr=^^--K^=ri^-Th-— II lilt -4-1-+-U-J-

237

I i I _] I

Exercises.

(i) Point out the faults in the following, considered as sixteenth-
century technique. Is there anything wrong with it from the
modern standpoint ? Correct it as sixteenth-century technique
without altering any of the chords.

r r

j J.

(2) Write a chord to precede and follow each of the following
in as many ways as you deem artistic.

(a)

(J)

(c)

(3) Add three parts to the following unfigured basses, intro-
ducing secondary sevenths, besides various unessential notes.
Make the parts interesting ; asterisks denote diatonic sevenths.

(a) (A. B. C. B.)

indivisible.

238 DIATONIC CHORDS OF THE SEVENTH

0) (A. B. C. B.)

(4) Add a pianoforte accompaniment to the following ; do not
use more than one chord for each crotchet.

Tenor.

(0 (8),

(a)

i r i i E E. i r c £4

-! r •* E i r E E -i

My love o'er the wa - ter bends dream - ing ; It glid - eth and

glid

eth a - way : She sees there her own beau - ty,

gleam

(7)

(5) (6)

ing Through shad - ow and rip - pie and spray. .

(i) Diatonic seventh. (a) Added sixth.

(3) Diatonic seventh on leading note. (4) Avoid full close in tonic.

(5) Change the chord on the accent. (6) Pedal six-four.

(7) The sense of the words demands that bars 9-16 should be indivisible.

(8) Cadence, followed by a plagal extension.

Start:

This is three -part har-
mony. Maintain it.

(10)

e. g.

(10) Such a rest implies the succeeding bass note as the basis.

Vary the rhythm of the Bass here and there for relief.
(5) On the following basis write a melody for Violin.

Andante.
A \,. ^ A 2^ B ix -^ B ax --v, A 3 (extended)

u-^^FTf-jf5=fetg_U^fe

6 7
5

AND DIMINISHED TRIADS
Add an accompaniment for Pianoforte. Start

239

Note that the Bass is a broken form of:

and that the whole accompaniment is merely an ornamentation of:

(6) Rework the problem for String Quartet. All the parts
must be real. Start :

IST VIOLIN.

2ND VIOLIN.

VIOLA.

'CELLO.

Piss.

12. The diminished triads in root position.

These are : vii a in the major key, ii a and vii a in the minor
key.

The origin of these chords will now be apparent. They were
prepared discords.

24o DIATONIC CHORDS OF THE SEVENTH

Such a combination might also occur through the use of un-
essential notes, the movement two notes to one producing the
effect of a chord.

PALESTRINA. Gloria.
Missa, Aeterna Christi Munera.

4=^=^

13. The use of these triads in root position may be thus
summarized :

(a) Polyphonic Period.

(1) The discord must be prepared, and must occur on the
strong accent.

(2) The resolution forms a new concordance.

Key C. Key A minor.

r-j j II ,7-t

-^4 — i — <^> — ^,
rrr

_i_P_

(b) Homophonic Period.

(i) The time-value and position of the chord as regards accent
are immaterial :

(2) The fifth may be unprepared in the course of a sequence :

AND DIMINISHED TRIADS 241

Ear Training.

/[) g a! g \\ f—\ '" frl * J J J J J ilb g g pg M-3 hgHl

sy r'r fff^n-v p 'pi*W4" r r'r f^t^^

rrr "
j jj J. J-LJJJJ

t^-rn

Exercises.

1. Write a phrase in four parts in E minor introducing ii a.

2. Write a phrase in four parts in E minor introducing vii a.

3. Write a phrase in four parts in F major introducing vii a
in the course of a sequence.

CHAPTER XIX

THE CHORD OF THE DOMINANT SEVENTH, AND
OTHER UNPREPARED SEVENTHS

i. IN the previous chapter it was stated that the prepared
seventh on the fifth degree of the scale was very early singled
out for special favour, in that the discord of the seventh was
granted the privilege of being used without preparation :

J I

At (a) we have the usual procedure in the Polyphonic Period,
at (b) we have Monteverde's innovation. The seventh (F) is
considered as being derived from the root G ; in fact this chord
is now as essential as the common chord and its first inversion
were under old conditions. It will be observed that it consists
in its entirety of a major third, perfect fifth, and minor seventh
from the bass note :

thus being unique in its formation among the diatonic sevenths.

This chord is termed the dominant seventh.

2. Another aspect of the evolution of the chord will enable
the student to grasp its use. If two harmony notes happen to
be a third apart, as G and E in the following :

they may be connected by the interpolation of the intermediate
sound thus :

THE CHORD OF THE DOMINANT SEVENTH 243

But in the above case the F is not, from a modern view,
unessential, but the seventh of the root G.
Omit the G, and we get :

This serves to point to the fact that the seventh really stands
in place of the root. But it is restricted in its movement. It
must proceed one step downwards, direct or ornamentally :

g J i J J „ J J J _ J j J
g ^~\^

bad.

good.

tr-f

good.

Therefore just as

is faulty, so is

Hence we formulate the rule that no two parts may proceed
from a seventh to an octave by similar motion between two
different chords.

3. The resolution of a seventh may be transferred from one
part to another if the same harmony be meanwhile retained.
But the part that originally had the seventh should fall :
J . J

good. bad.

4. The leap of a minor seventh is excellent in effect, if used
over the same harmony.

R 2

244 THE CHORD OF THE DOMINANT SEVENTH

5. As the ordinary common chord is not figured at all, the
chord of the seventh is indicated by the figure 7, which implies I.

6. It will be obvious that the fact that what was originally a
prepared discord is now an essential harmony will materially
enlarge the possibilities of harmonic progression.

For instance :

(a) The prepared discord on the submediant may resolve
on to the first inversion of this chord :

(b) Suspensions may now contain the seventh as an essential
note :

First use.

Extension.

(2)

(3)

(4)

(1) is called the chord of the dominant ninth.

(2) is called the chord of the dominant eleventh.

(3) is called the chord of the dominant thirteenth.

(4) is called the first inversion of the chord of the dominant thirteenth.

These higher prepared discords come in their turn to be used
without preparation, and they must be considered separately in
subsequent chapters. But the student will see how they have
arisen. Applying the principle that a discord may resolve upon
a chord different from that which accompanies it, we get :

AND OTHER UNPREPARED SEVENTHS 245

But the principle cannot be applied in the same way to the
extensions (2) and (3).

7. If the seventh fall to some other note of the same harmony,
its resolution in this way is considered sufficient :

8. The student will have no difficulty in understanding the
following resolutions of the chord of the dominant seventh.
(a) On to i or vi :

-&- j=^- •&

(b) On to the six-four of the tonic, followed by a four-three
on the same Bass note. This is a fixed idiom of the Polyphonic
Period :

PALESTRINA. Kyrie.
Missa. Aeterna Christi Munera.

BOYCB. Save me, O God.

246 THE CHORD OF THE DOMINANT SEVENTH

T. L. DA VlTTORlA.
Jesu, Dulcis Memoria.

instead of:

we may decorate the tonic chord with an appoggiatura six-four :

f J i ^ (H~T~gl^'j-H

w f* \ £ ^-IFp 1 IX P-U

9. The origin of the inversions of the chord of the dominant
seventh will be readily grasped :

A. B. c. D.

r r r r r

j , ,. — ^

'. r r

4 6

A and D are the familiar prepared discords of the Polyphonic
Period. Of course the preparation is now discarded.
We have already shown that :

was no part of the technique of the sixteenth century. But the

AND OTHER UNPREPARED SEVENTHS 247

second inversion of the dominant seventh (B and C) has another
origin. At B and C, D, B, and F are unessential notes ap-
proached and quitted by step, but they form with the tenor G
the second inversion of the dominant seventh :

FAR RANT. Te Deum.

King

of GIo - - ry,

A ~ ^ A

-r- 1 — rf
O Christ.

From the point of view of the sixteenth century there is no
reason why the F (in C) should not rise to G, for it is not a pre-
pared discord but a passing note. Hence we get the rule that
in the use of the second inversion the seventh may rise one
degree if the bass rises in thirds with it :

good. bad.

10. It may be noted that many writers consider vii b :

to be in reality an incomplete form of this inversion.

If it were so, the following would hardly be considered as
being possible :

n. It may be taken as a general rule that the ways of
approaching and quitting the bass of the second inversion of
any discord are identical with those stated in reference to the
ordinary six-four. The following exceptions may be of interest :

248 THE CHORD OF THE DOMINANT SEVENTH

PARRY. Judith.
fa - vour

Here the D in the bass is of little account, the mind really
accepts the progression as being

WALFORD DA VIES. Everyman.

(a) (6)

In the above the F sharp at (a) merely ornamentally resolves
on G sharp at (c) by first taking another position (b) of the harmony
to which it is proceeding.

12. This is not the place to consider the various possibilities
which the use of the chromatic scale opens out. But we may
quote a remarkable use of fundamental sevenths by Dr. Walford
Davies at the end of No. 2 in Everyman :

AND OTHER UNPREPARED SEVENTHS 249

13. The seventh may remain stationary to be a part of the
next chord :

14. It may be vicariously resolved :

This, however, is exceptional.

15. But the following idiom, in which the seventh is doubled
and the seventh of shorter value rises in the top part, is quite
common :

16. Again, in the time of Handel, the following was common :

For example :

HANDEL. Messiah.

^£

Death

is swal-lowed up.

This occurs almost exclusively in recitative, and one cannot
help feeling that it is really evolved from the common use of the
added sixth in the plagal cadence :

25o THE CHORD OF THE DOMINANT SEVENTH

tsti

-T~
J.

Lr
j

T-

=f=

JLa

) 1 J— Jl

17. As

is only an embellishment of:

it is allowable for the bass to form consecutive fourths with an
upper part, provided that the first fourth be perfect and the
second augmented.

18. The lower auxiliary note of the root may be sounded with
the seventh :

SCHUMANN.
Andante and Variations for Two Pianofortes.

The doubling of the seventh in such a case as (a) is quite good
in pianoforte work.

19. It is stated by many that the added sixth may not be used
in the following form :

AND OTHER UNPREPARED SEVENTHS 251

as it is forbidden to proceed obliquely into the octave. Similarly
theorists condemn :

but allow :

It is really impossible to detect anything wrong with these.

20. There is diversity of opinion as to the approaching of the
fundamental seventh by similar motion. The basis of criticism
seems to be that the seventh is really a displacement of the root,
and that therefore when a substitution of the root for the seventh
would produce objectionable exposed octaves, the writing is poor:

equivalent

• poor. good. T" I

But it is questionable whether composers trouble about the
distinction, for no octave is heard or even mentally implied.

21. In the inversion, the seventh becomes a ninth, and the
following is common :

SCHUMANN.
Variations for Two Pianofortes.

22. It remains to state that moderns freely use all secondary
sevenths without preparation. This together with accented un-
essential notes is what gives a piece of music that distinction of
style which is called 'modern', though it is now quite old-
fashioned. We have pointed out already that those sevenths
which are derived from the dominant are freed from prepara-
tion. When sevenths are used without preparation they can be

252 THE CHORD OF THE DOMINANT SEVENTH

regarded as appoggiatura chords, or else as the simultaneous
percussion of harmony and passing notes :

PARRY. War and Peace.

ft-T^ qg: *-*.,*-*. £ $t

23. There is no need to classify every possible combination
as a chord : it engenders a wrong attitude of mind.

For instance, the tyro would probably say that in the following
example :

at (i) we have the second inversion of a secondary seventh (root
D) quitted by leap. But D is merely a passing note, and not
a root at all.

24. The student will remember that parallel first inversions
of common chords produce no harmonic effect ; that is, in the
following :

although the combination at (a) has to be figured |, the three
notes G, D, and B flat are merely passing notes.

AND OTHER UNPREPARED SEVENTHS 253
Ear-Training Exercises.

[/ 9

~~5? J —

~T r
_j j

E^EftE^

i j

£*=

r r
j J

r
j

•O"

1 i

"TiT

rft^1

« ^7

r~3 — J~i

1 jj ,b J J i I 1—

— J 1—

I R

— ^~

- J J.

t=?— H

-prrn ^1—

y r '
j

1" rIH ^

r r

±A*=a.

-" — II i r":

S
^=1

=2=

r
d

Ki
——11-

—i —
r -^

J J
l=^

-g H
==ll

J J

-tf-

Exercises.

i. Write a chord to precede and follow each of the following,
in as many ways as are artistic : the seventh in each case to be
unprepared :

254 THE CHORD OF THE DOMINANT SEVENTH

2. Write a melody in the key of A major in the following
form (for Piano) :
Bars 1-2, A i
3-4, A 2

7-8, exhaust the condensation and round off.

Rhythm.

l£7rM:lr~r l£rr elr"r IcrKclcrr s

£r£rrlr II

Add a figured Bass, and introduce the dominant seventh and
its inversions (not all of them).

3. Point out the faults in the following as sixteenth-century
technique :

r f *•

e£g i {< r rr +=J

4. Add an accompaniment for the Pianoforte to the following ;
explain the form as regards proportions :

(I) (2) (fl

jfrrTTFT3 ^TJ-JJ ^ IT r- p J i *J. P.

We see them not, we can - not hear the mu - sic of their wing ; yet
(4) (5) (6) (5) (7)

know we they so - journ here, the an - gels of the spring, the
(8) * — ^ (9)

an • gels of the spring.

(i) Use dominant seventh second inversion. (2) Avoid full close in tonic.

(3) Maintain movement in the accompaniment.

(4) Use dominant seventh last inversion. (5) Secondary seventh on A.
(6) Dominant seventh. (7) Subdominant chord.

(8) On second crotchet use \ on A.

(9) Change the harmony on the third crotchet.

AND OTHER UNPREPARED SEVENTHS 255
Start:

uuir^ r r -c

dec.

5. Add a melody to the following Bass, setting the wprds as
indicated in reference to rhythm :

i r r r— g-g

They glide a -long the

love - ly ground where the first vi - o - let

^ *' i — I ' — *r — F-

666

4 5

— J J J J
6787

. ^ 1 «_
6 6

grows, Their

grace-ful hands have just un-bound the zone of yon-der rose.

6 6

* 7 6

* 5

666

4 i

423

Write an accompaniment as follows :

This is a broken form of

As a part the resultant Tenor is inexcusable, but when made
into an accompaniment formula, there is no fault to find with it.

6. Write a melody for Tenor to the following words, and in
the rhythm indicated. Add an accompaniment for Pianoforte.
Introduce the dominant seventh here and there :

sr I c c r c e eel r rlrcrrlr rl

I ga-ther it . . for thy dear breast from stain and sha - dow free ;

256 THE CHORD OF THE DOMINANT SEVENTH

reerrrL/rrrerrr r

That which an an - gel's touch hath blest is meet my love for thee, is

r t tic r

meet . . my love for thee.

(i) Avoid a full close in tonic.

Contrapuntal Style.

i. Add three parts in free imitative style for voices. Do not
use more than one chord each half bar :

i r ' i i r r *

2. Add three free imitative vocal parts. Do not use more than
one chord each half bar :

3. Consider the following as a basis :

(a) Put it into | time, and evolve four parts for Pianoforte,
the two upper ones to be imitative and contrapuntal, the Bass
to be the plain notes given, shortened, the Tenor to be an
accompaniment. Start :

AND OTHER UNPREPARED SEVENTHS 257

(b) Write on the same basis a sentence in | time for Violin,
Viola, and 'Cello. Start as follows :

CHAPTER XX

THE ELEMENTARY MEANS OF MODULATION
FIRST PRINCIPLE

i. MODULATION is said to be 'the process of passing out of
one key into another'.1 Under the system of the modes the
principle of modulation as we understand it had no locus standi,
for the combinations we call chords were not considered in their
reference to what we term the tonic. But the use of Musica
Ficta, which became more and more prevalent, not only often
produced what to us is the effect of a modulation, as in the
following example :

PALESTRINA. Stcut Cervus.

r r
j j

r 1 ^

j «

^f^^r

ill

^
r

but also supplied the impetus which caused men to attempt to
make the modes more and more homogeneous in the matter of
arrangement of intervals, till they finally merged into the present
scalic system.

2. It is customary to consider key relationship under two
main heads :

(1) Those keys whose relationship is near.

(2) Those keys whose relationship is remote.

In the former class we include the tonic, dominant, and sub-
dominant with their relatives. In other words, if we take the
major scale, and the descending form of the melodic minor, the
common chords that can be framed diatonically on the various
degrees of these scales give their names to the nearly related keys.

Thus, C major and its nearly related keys :
1 Grove, Article on Modulation.

THE ELEMENTARY MEANS OF MODULATION 259

C major. D minor. E minor. F major. G major. A minor.

A minor, and its nearly related keys :

A minor. C major. D minor. E minor. F major. G major.

3. First principle of modulation. Pivot Chords.

It must be quite obvious that the simplest means of modu-
lation is to approach a chord as belonging to one key, and quit it
as belonging to another.

The use of the dominant chord followed by the tonic, or sub-
mediant, confirms a modulation, provided that either chord
contain a note foreign to the key quitted; if not, the minor
seventh must be added to the dominant :

I I

^ A ^L J: A A „

C major vi *)
G major ii 6S

$=^=^

•> F r

r r

i — r p

:::r=t

=M^

, —

C major ii )
F major vi J

The addition of the minor, seventh to the dominant of the new
key is unnecessary if it be preceded by a chord which is charac-
teristic of the new key, but foreign to that quitted.

111

r r r r r r

. r r r 'r — r-J

C major ih
F major viJ

S 2

260 THE ELEMENTARY MEANS OF MODULATION

Ear Tests.

C major to D minor. State the pivot chord. C major to E minor.

J. J. A A

r f

r r

A J.

1=^

C major to F major.

A j.

C major to A minor.

j. J.

C major to G major.

A minor to C major.

r i r r
j. j j

A minor to E minor.

A minor to D minor.

r-0 r

V f

r rrr

! -1 Jj

$=p=

1 A, g_L
1 i

j ^

gl -^.

4^ II

p r ^ i r r ' I-* r ' — •

A minor to F major.

H"-1-^- r ' r V ' r "

A minor to G major.

^— p-r-=i=j-^ — h-^^a

J
fe=^

r
J

(- '? rd|- '

-J- J--IJ
=^^^^31

^**
J

THE ELEMENTARY MEANS OF MODULATION 261

Exercises.

Write verses of four feet (plain chords), modulating according
to this principle from :

(a) G major to E minor.

(b) „ C major.

(d) „ D major.

(e) „ B minor.
(/) D minor to F major.
(g) „ G minor.
(h) „ A minor,
(ij „ Bb major.
(j) „ C major.

4. Principles of key distribution.

In putting together a piece of music of any dimensions, two
considerations have to be carefully kept in view :

(a) The arrangement of the melodic material, so as to give
the effect of orderliness.

(b) The balancing of this by a corresponding system in the
arrangement of the modulations.

Change of key is obviously a means of contrast, and as such
it must be used. But the well-ordered mind does not demand
contrast until the initial key has been firmly established. It is
of course possible to write a complete stanza without any modu-
lation, and by various other means prevent a monotonous effect.
But we are here considering how to use modulation in a short
stanza of sixteen bars or so.

General scheme of a small binary form.

The movement is divided into two halves, for example, bars
1-8, 9-16. The first half establishes the tonic, and modulates,
sometimes with a subsidiary modulation, to the complementary
key. It is generally agreed that this key should not be
on the flat side of the tonic. Thus the scheme for bars 1-8
might be from C major through A minor to G major. It is
better not to modulate before the tonic has been firmly estab-
lished, so that A minor and G major would both occur in bars 5-8.

The second half works back again to the tonic. Much more

262 THE ELEMENTARY MEANS OF MODULATION

modulation is possible here, and it is usual to employ the keys
on the flat side of the tonic ; for example, bars 9-10, F major,
1 1-12, D minor, 13-16, back to C.

5. The following points are important :

(a) The modulations to the complementary key at the end of
the first half and back to the tonic at the end of the second half
must not be done abruptly, that is, the chords producing the
change of key should be preceded for a reasonable time by
diatonic chords which are not foreign to them.

For example a modulation from C to G could not be worse
than as follows :

-J- — J I i i i i ii

J-J

The F natural at * is in unpleasant juxtaposition with the
F sharp at the cadence.

It will be found that the real trouble lies in a contradiction of
the third of the dominant of the new key.

Hence it is bad to precede a modulation to G major by one to
D minor at this particular point.

(b) A full close in the tonic should be avoided after the
opening until the end, unless in the final bars the opening
material be repeated.

(c) It is generally inadvisable to anticipate a modulation
used at a cadence. If, however, the bass in the anticipation
avoid the root position of the new tonic, the effect is tolerable :

(d) It may be observed that it is awkward to modulate
abruptly from a minor key to its dominant minor, the reason
being that it causes the dominant major chord to be brought
into unpleasant contact with it.

(e) In harmonizing a melody the student must bear in mind

THE ELEMENTARY MEANS OF MODULATION 263

that whereas some modulations are clearly expressed in the
melody, others may be only implied.

For instance, compare the two following second verses :

(a)

In (b) the modulation to G major is clearly expressed by the
F sharp, in (a) it is merely implied.

J. A

•*-' {- r \

(/) It is important to remember that what is intended to be
a diatonic passing note in a new key must not be so used, if
foreign to the key quitted, until it has been heard as an
essential note.

g I -Kr-

r_n r-»
-w JtW J-J-E*

-J J

ffi

bad.

(«

good.

It is futile to argue that at (a) the chord of C is quitted as
being in C major. The ear knows nothing about the proposed
modulation till (b).

(g) When modulation occurs at any place except the end of
the first half, it is better that the tonic of a full close be in the
first inversion.

264 THE ELEMENTARY MEANS OF MODULATION

6. If any particular pattern of melody and harmony be imme-
diately repeated at another pitch we have what is termed a
sequence. It is conceded that this repetition justifies the
occurrence of harmony that would otherwise be open to objec-
tion ; for example :

±=^

the harmony at (a) is only tolerable because it is a repetition of
the preceding phrase a note lower. Such a sequence, in which
no modulation is introduced, is said to be tonal.

7. When, however, the qualities of the intervals in the original
are exactly reproduced, we have a real sequence :

8. Again, when in the repetition of the sequence we produce
modulation, but do not necessarily reproduce exactly the qualities
of the intervals, we have what is termed a modulating or chro-
matic sequence :

j. J

Here, although there is a modulation to E flat major, the
chord of C minor is reproduced a tone lower as the chord of
B flat major. When a pattern is repeated a step higher or lower
it is called a Rosalia.

Such a procedure if carried on to any extent becomes merely
mechanical. Hence, it is wise to limit exact imitation of a pattern

THE ELEMENTARY MEANS OF MODULATION 265

to at most three statements, or better two. It would then be
good to vary it :

T~^ - — -

Exercises.

i. Add parts for Violin and Viola to the following unfigured
Bass:

Gavotte.
-CELLO.

Ci)

(2)

(3)

(4) (5) (6)

Start

(7)

The opening figure is taken from the bass of bars 2 and 3.

(1) Modulate to B minor. Chord of E minor is the pivot chord.

(2) False close in A major.

(3) Imitate the opening figures in the upper parts.

(4) Half close in G major.

(5) This is an exact repetition of the concluding bars of the first half, a fourth
higher. Hence simply transpose what you wrote there accordingly.

(6) Modulate to E minor, cf. (i). (7) False close in D major, cf. (2).

266 THE ELEMENTARY MEANS OF MODULATION

2, Add parts for Viola and 'Cello to the following Violin part :

Minuet.

P~Tl

*•*

n*=Ss — r~' —

-] i > -r f r-

F x^1* 1

.^-J—

Start

(i) Avoid full close in tonic. (2) Half close in tonic.

(3) Here the opening is repeated, so that a full close in tonic is correct.

(4) This is the end of the first half transposed a fifth lower. Cf. the second
minuet of Mozart's Pianoforte Sonata, in Eb major, No. 4.

3. Imitating the form of no. i, write a Gavotte for Pianoforte in
G minor ; modulate to F major, D minor, E flat major, B flat
major, and back to G minor.

4. Imitating the form of no. 2, write a Minuet for String
Quartet in F major; modulate to A minor, C major, B flat
major, G minor, F major, D minor, F major.

5. Extend the second phrase of no. 2, bars 5-8, by one bar by
interpolating a sequential repetition of some portion of it.

THE ELEMENTARY MEANS OF MODULATION 267

6. Extend the last phrase of no. 2 by using a false cadence
at bar 20 and repeating the final bars, varied to meet the case.

7. Extend the last phrase of no. 2 by augmenting the last two
bars into three, and by repeating the final chord, e. g. :

r r r r r r

8. Add to the following :

(a) accompaniment for Strings.

(b) accompaniment for Pianoforte.

Love's old songs shall ne - ver die, Yet the new shall suf - fer proof;

Love's old drink of Yule brew I, Was - sail for new love's be-hoof.

Drink the drink I brew, and sing till the ber - ried branch-es swing, Till our

song make all the Mer - maid ring, Yea, from rush to roof, from

rush to roof, from rush to roof.

Explain the construction of the above as regards :

(1) proportions ;

(2) harmonic scheme ;

(3) melodic material.

CHAPTER XXI

TRANSITIONS

i. WHEN a change of key has been effected, and there is no
pivot chord, chromatic, diatonic, or enharmonic, the procedure
is termed a transition. In other words, there is a change of
key, but not a modulation from one key to another.

In the above the chord (a) is not quitted as if in the key of
A minor. The G would have to descend the melodic minor
scale. Hence, as used, the chord of C has no locus standi in
A minor.

2. But the tonic of one key may of course be the pivot for the
next key :

F major Hi

This is a modulation, not a transition. And this is equally
true if the chords (a) and (b) belong to different phrases :

M.. n

TRANSITIONS

269

3. With the resource at our disposal at present, then, tran-
sitions will be limited to (a) a major key and its relative minor :

C. A mil

(b) a major key and its supertonic minor

C. D minor.

The chord of C major can be used in the key of D minor, but
not in this way. The C should come down the melodic minor
scale of D.

This effect is weak, and should only be used when the chords
are of long duration, or between the end of one phrase and the
beginning of another.

4. But it will be noticed that there are notes in common
between the last chord of one key and the chord that marks the
new key. Here there is a second principle — that of pivot notes.

270 TRANSITIONS

5. It is obvious that a transition would be quite out of place
at the end of a phrase.

It should only occur at the beginning of any phrase but the
first,; or in the course of a phrase :

6. Some theorists catalogue ,

II 8 II JEEEfl

in A minor as being chromatic. This is obviously done in order
to make the chords accommodate with a theory that a change of
key necessarily implies a pivot chord, and that a change of key
can only be produced by modulation.

The above chords can be used diatonically in the key of A
minor (see chapter ix). It will be found that when they are
not used in this particular way, they can be referred to the
previous key, and that a transition takes place (see also chapter
xxix). It seems difficult to catalogue the same chord as being
both chromatic and diatonic in the same key according to the
way in which it is used. It must be admitted that a change of
key does not necessarily imply a pivot chord, or even a pivot
note.

Ear Tests.

y r Vry

j A j A A J^

r r sir r ur ^'

J J J J J J J.

B — r • r^r r

L. lib «> r ir y r r ir j

TRANSITIONS 271

Efc^=

W Z —

J 1 r iff I" J | r FT r ||

J I I I I I J J I L I , I

*-.~ ** "*M~ J J ^

I * r

~r
jjjj^^j nj. jJ-jj

g,b

^b ey-

Exercises.

(«) Begin in F major, write a transition through D minor,
and end with a full close in F major (tetrameter).

(b) Begin in F major, write a transition through G minor,
and end with a full close in B flat major (tetrameter).

(c) Begin in C major, modulate to A minor in the first
tetrameter ; in the second use a transition to D minor, and end
in C.

CHAPTER XXII

IRREGULAR CHORD DURATION

1. THUS far we have in the main considered chords as only
moving with or on the accents. This is obviously the normal pro-
cedure, and r any deviation from it is conveniently considered as
a variation of the original progression.

2. The following are the chief means of variation :

(a) The suspension of a complete chord for a portion of
an accent :

Ex. i.

Normal form.

Variation.

^ J J i J- J

(b) The anticipation of a complete chord :

Ex. a.

. i i r*q r^

A A j.

kj^ l^g

J- J

J J

IRREGULAR CHORD DURATION

273

(d) The interpolation of a passing chord between a statement
and re-statement of the accented chords :

Ex. 4.

The displacement of the chord by an appoggiatura chord :

Ex.5.

j J

(/) Increase of. emotional tension is often expressed by
chords moving in shorter time-value than the normal procedure :

£x 5 BEETHOVEN. Leonqre^ No. 3.

**• £

j? 'i * i if i r ill i ^c.j i
<fy i

1568

274 IRREGULAR CHORD DURATION

Here we have :

4 bars with one chord a bar.
4 „ two chords a bar.
2 ,, four chords a bar.
2 „ eight chords a bar.

Such a procedure would be ludicrous if there were not some
definite purpose underlying it. Any one can feel that it is
analogous to the quickening of the pulse.

(g) Conversely, relaxation of tension is caused by using
change of chord less frequently :

Ex. 7. BRAHMS. Requiem.

J . lj *SJ J I r J J - J. «jbn

ej^t

This is a common procedure at the close of a movement.

(h) Artistic relief. A uniform pattern without relief is just
as inartistic as a terrace of houses all exactly alike. Neverthe-
less there must be some unifying feature in the general design.

3. Of course no amount of theorizing as to harmonic pattern
will enable an unmusical student to write really natural music,
any more than a system of pianoforte technique will enable an
unmusical player to produce beautiful tone. Nevertheless, just
as there are scientific principles underlying touch, so there are
certain definite methods of varying chord duration. If the above
principles be followed the student will at any rate know that he
must avoid such writing as :

Ex. 8.

4. As a general rule there must be uniformity in melodic
movement and in the progression of the chords ; and there must
be some definite reason underlying variation from it. If the

IRREGULAR CHORD DURATION 275

reason be artistic relief, the change must not be too violent, as in

bar 2 of the above example. The following would be tolerable :

Ex. 9.

There is no need for the chords to move more quickly than
in the value of minims. The danger of using too frequent
changes of harmony is much greater than that of using too few
chords.

5. It will be observed that cases a, b, c, a, and e do not cause
a real interference with the uniform movement on the accents,
but are only examples of harmonic decoration.

If a student learn to feel his progressions strongly on the
accent as being the normal procedure, he will not have much
difficulty with transient variations from them.

Thus, if he feel the following first :
Ex. 10.

8
he might write as a decoration of it :

Ex. ir. MENDELSSOHK.
Hymn of Praise.
e

(5)

The letters refer to the method of decoration used.

But if he did not feel the chords moving with the accents, he
might write :

Ex. 12.

F major G minor Bb major.

(I) (2) (3) (4)
T 2

276 IRREGULAR CHORD DURATION

This has a very fussy effect. There are actually no more
chords than in the Mendelssohn example. But the extra chords
are not decorating chords. (2) and (4) are not links; they
produce modulations. At (5) in the Mendelssohn example
F natural is really an appoggiatura of F sharp (=E sharp). If
(2) and (4) were links, the original progressions would be poor :

Neither are (i) and (3) appoggiaturas of (2) and (4). For appog-
giatura chords necessarily feel that they require to proceed into
the succeeding harmony. In this case, the original progressions
would be :

Ex. 14.

This serves to show the distinction between change of chordal
centre and decoration of centre. If the centres themselves are
satisfactory, a little harmonic decoration of them will not produce
the fussy effect caused by the use of chords which are not
decorations, but which are in reality centres with the accents
reduced in value by one-half. In other words, when we find
chords moving more quickly than accents, in the large majority
of cases they are decorations of a smaller scheme of harmony,
which is the prime factor, so to speak, of the music.

Exercises.

i. Vary the following by deferring or anticipating some of the
chords here and there as exemplified in (a) and (b) :

&I — ^~

J r r
. j ^

— j —
i
j

— ^ —

-fei
J

J j
rr~

— ^ — j—
i* r

— ^

r r

r i

IRREGULAR CHORD DURATION 277

2. Vary the following by adding a few passing chords between
those given. See (c) and (d) :

(1) It is common to decorate a chord by its dominant.

(2) It is common to decorate a dominant by its tonic.

3. Displace some of the chords in the following by appoggia-
tura chords resolving into them. See (e) :

X— —
1 0 b >. J ^f—

— >>

.- —

1 i ll —

™ r r
j j

r r
i j
-f- —

r r
j j

J-

j.
-F —

[

A chord is most frequently displaced by the six-four of a chord
on the same Bass note or by the dominant of such chord forming
a passing six-four.

CHAPTER XXIII

THE HIGHER DOMINANT DISCORDS

(a) THE DOMINANT NINTH

i. THE following progressions are familiar, either as examples
of suspensions or appoggiaturas.

Lx. i.

Key C. Key A minor.

r-n J J i. J J ||

•p-

A j 2

4^-m — P^=

r
J
--H-P1— P

As the seventh has now become essential, it can be used in
conjunction with these :

Ex. 2.

Key C. Key A minor.

i j

*/ r f
(«) (*)

J -^

i P f
(c) ' (d) ' («)

-^ ntej 11 ^ .i

98 43

7 - 7 -

65 9 8 4 S3

' - . { : ' -

(a) is termed the chord of the dominant major ninth.
(d) is termed the chord of the dominant minor ninth.

(b) and (e) are termed the chord of the dominant eleventh.

It will be observed that the discord of the dominant seventh

THE HIGHER DOMINANT DISCORDS 279

differs from these higher discords in that the note of its resolu-
tion requires another root :

Ex. 3.

But these higher discords, it is seen, can resolve while the
rest of the chord remains. So that in their first stage of evolu-
tion they are really suspensions or appoggiaturas.

2. This being the case, it will at once occur to the student that
they may resolve upwards as well as downwards :

Ex. 4.

i I J ,. I . I

3. And thirdly, that they may resolve on to a different root,
like suspensions :

Ex.5.

i , n-J-

i i

At (a) the ninth falls one degree, and resolves on to the tonic
chord.

At (b) the eleventh remains to be a part of the next chord.

At (c) the thirteenth omits the intermediate step of the fifth,
and leaps down a third.

Having seen the broad principles, it remains to discuss these
discords in detail.

4. There are two forms of the dominant ninth :

(a) that which contains the major ninth from the root ;

(b) that which contains the minor ninth from the root.

s8o THE HIGHER DOMINANT DISCORDS

The former can only be used in the minor key if ascending,
forming a part of the melodic minor scale :

Ex.6.

The latter can be used in either the major or the minor key:

Ex. 7.

5. Case I. Ninth resolving downwards while the rest of the
chord remains.

There are five sounds in this chord :

Ex. 8.

Hence in four parts some note must be omitted. It is a
general principle that the discord (when not a suspension) must
not be sounded against its resolution, except the ninth against
the root, the latter being in the bass only, as a rule, and in
root position the fifth will be omitted. The figures will explain
themselves :

Ex. 9.

THE HIGHER DOMINANT DISCORDS 281

At the point of resolution the chord becomes a dominant
seventh and is treated as such. In other positions the root is
omitted :

Ex. 10.

t?7 6 6

5— 5

6 — 6 —

44 — 4—

3 2 2 —

6. Case II. Ninth resolving upwards, while the rest of the
chord remains.

Obviously the third must be omitted, and the root re-appears :

Ex. ii.

±} <— *

9 3

7 —

6 6

— 3 4

When the ninth resolves upwards, the melodic interval of the
augmented second is allowed :

Ex. 12.

When the resolution is inverted, the melodic interval of the
minor or diminished seventh occurs. The third can be sounded
with the ninth if it moves as the ninth resolves :

282 THE HIGHER DOMINANT DISCORDS

7. Case III. Resolution of the ninth upon some other chord.
The most usual example of this is the resolution of the ninth
on the fifth of the Tonic Chord :
Ex. 14.

Avoid :

Ex. 15.

£F

bad.

-& =, — H-

bad.

k^-

And the major ninth below the third :

Ex. 15 a.

The resolution upwards to another chord is also possible

Ex. 16. ELGAR. Gerontius.

r r i

Transition to A minor. \ \

I i , i h J i bJ

9 7

8. Case IV. Interchange of major and minor ninth :

Ex. 17. SCHUMANN. Variations.

•^ — iLvlL. — 4

i r •
g

THE HIGHER DOMINANT DISCORDS 283

In the last examples F sharp is written for G flat for conveni-
ence. This is termed ' expedient false notation '.

The use of the major ninth followed by the minor form requires
much discretion. The student had better avoid it till his judge-
ment is matured.

9. When the ninth is sounded against its root in an upper
part the latter is generally used as an inverted pedal (see
chapter xxxi).

Ex. 18. ELGAR. Gerontius.

10. In the first inversion, the dominant ninth has a special
name.

In the major form it is called the chord of the leading seventh :
Ex. 19.

In the minor form the chord of the diminished seventh :

Ex. 20.

ii. The irregular resolution of the seventh

Ex. 21.

284 THE HIGHER DOMINANT DISCORDS
can also be used with the addition of the ninth :

Ex. 22.

12. Unessential notes do not cause False Relation. Hence
we often get the minor ninth against its major form as a passing
note:

Or we may have them as consecutive notes in different parts :

SCARLATTI.

Further, in the following C natural is an auxiliary note

Compare :

BEETHOVEN.
Leonore^ No. 3.

THE HIGHER DOMINANT DISCORDS 285

13. We may often get combinations that produce the notes of
classified chords, but which need not be analysed as such.
Compare the following cases :
Ex. 23.

(a)

i i

*=&=*

At (a) we have the chord of the Leading Seventh. At (b) D
and B are merely passing notes.
Again, a combination of parallel thirds in contrary motion

produces :

Ex. 24.

There is no need to analyse the combination at (c) as a chord.
It may here be pointed out that figures do not necessarily
indicate chords, but rather intervals from the Bass.
For example :

Ex. 25.

The six-four here cannot imply a chord, as the six-four would
be wrongly quitted :

Ex. 26.

misguided.

286 THE HIGHER DOMINANT DISCORDS
The figures merely indicate parallel passing notes :

Ex. 27.

14. It is generally held that the fundamental ninth should not
be approached by similar motion :

But that the seventh by similar motion, if the top part be the
ninth of the root, is unobjectionable :

It is difficult to see the basis of such rules. In framing the
rule it is evident that Macfarren did not refer to an unessential
ninth, for he himself writes :

MACFARREN. Joseph.

The only criticism imaginable is that framed on the progression
formed with the essential note the ninth displaces. It is really
difficult for an unprejudiced person to condemn :

THE HIGHER DOMINANT DISCORDS
If we accepts

287

we ought also to accept :

Not one theorist gives any reason why a discord should not
be approached by similar motion ; and students are too prone to
accept a statement without thinking about its logic. It is hard
to condemn the above on any logical or aesthetic basis, but the
examination candidate must remember that if he knocks his
head against a stone wall, it only hurts himself.

Consecutive discords may be used between different positions
of the same fundamental harmony:

*"' i *"r .'.-'" i IT r.y-rj II i i 11 "7 ft

:fc

15. The chord of the diminished seventh is peculiar in this
respect, in that by altering the names of one or more of the
sounds forming it we may produce a diminished seventh with
a different root :

Root.

(i)

(2)

(3)

(4)

These changes are said to be enharmonic.

288 THE HIGHER DOMINANT DISCORDS

Here, then, is a new means of modulation ; we can at present
approach the diminished seventh as dominant in C minor or
major, and quit it as :

(1) dominant minor ninth in A major or minor.

(2) „ „ „ „ E flat major or minor.

(3) „ „ „ „ F sharp major or minor.

(4) „ „ „ „ D sharp major or minor.

All these are possible, but not necessarily judicious modulations.
The student must use his sense of effect.

Ear Training.

*=*&

j j

r r err

J L

» r.

J J

€

r r r

tr-f

THE HIGHER DOMINANT DISCORDS 289

T r

4^g^=M4a-^-^
r i r r

LJL^

r^~ ±

-^-4-^

-&- j

•

Exercises.

i. Precede and follow the chords given below by a few chords,
forming complete phrases. The chords may be in any time-
value. Write for voices in four parts :

2. In single phrases modulate by means of the chord of the
diminished seventh from (a) F major to D major, (b) F major to
A flat major.

3. Add a pianoforte accompaniment to the following, intro-
ducing the dominant ninth resolving while the chord remains.

29o THE HIGHER DOMINANT DISCORDS

„.. ^*

VIOLIN.

ffiF^
Start :

^bj±faj

3=g=i=?

4. Transcribe the result into the key of E flat minor.

5. Add three vocal parts to the following unfigured Bass,
introducing the dominant ninth resolving on to another chord.
All given notes are essential :

(i) Transition to B minor. (2) Transition to E minor.

6. Write sixteen bars commencing and ending in G major
introducing the following procedures. Write in four vocal parts.
The chords may occur in any time- value :

3 J „ J J J HflJ^ ,— I

(a)

(c)

j, r

ubi.

) and (t) may be transposed and used in other keys.
Modulation may be made to D major and C major.
Start as follows :

CHAPTER XXIV

THE HIGHER DOMINANT DISCORDS

(b) THE DOMINANT ELEVENTH

i. THE addition of the eleventh to the chord of the ninth
produces a chord of six sounds :

Ex. i.

As we have already considered the seventh and ninth, it is
only necessary to discuss the eleventh in combination with them.

2. Case I. Eleventh falling one degree while the chord
remains.

Obviously the third must be omitted. The seventh must be
present, else we produce a case of single or double suspension.

Ex. 2.

It is also clear that the first inversion cannot be used. The
following are therefore the possible examples of its use. The
figuring is obvious :

Ex. 3,

3^=3

£2.
U_^_

-T

^—^

«_^

— zz:
S— g-

<°

B-^s

11 r r " r p

«-^ -H-«

3 "
— 9

11 3

bg 8

7 —

4
3

6 6 — 6 — 6 -

— 54 5 4 PS 4

— 2 — 32 32

U 2

292 THE HIGHER DOMINANT DISCORDS

o J j H J J H II i i H i m

g^r-^F^^Hfe^ M — JLHb^— jJ

6-6-5
4—4—4
3333 2

If the ninth be used with the eleventh it generally resolves
with it; but it need not do so. The major ninth should not be
sounded below the third :

Ex. 4.

3. Case II. Eleventh resolving upwards while the chord
remains.

Obviously the third and fifth should be omitted :

Ex. 5.

r-p

; f-

=• ,J J II

i J H

J ^

7
4

5
3

1 1
3 3

6 6

5 —
4 —

The ninth should resolve on to the third as the eleventh
resolves on to the fifth. The minor ninth is hardly ever used in
such cases.

4. Case III. Derivatives.

If the root and third be omitted, we get :

Ex. 6.

(a)

THE HIGHER DOMINANT DISCORDS 293

These are merely secondary sevenths in C major and C minor.
The first new point is that (b) can be used in the key of C major.

The next point is that instead of proceeding direct to the
dominant common chord or dominant seventh, an appoggiatura
six-four may be interpolated :

Ex. 7.

—

This is an example of harmonic decoration. If the eleventh
rises we get :

Ex. 8.

Next, the following :

Ex. 9.

condenses into :

Ex. 10.

This is the chord of the added sixth.

Hence we get the rule that the dominant eleventh may resolve
on the tonic chord, the eleventh remaining stationary.

It will be seen that the original view that these are secondary
sevenths ties down their progression to one definite procedure.

294 THE HIGHER DOMINANT DISCORDS

Whereas the Day theory serves to explain other resolutions
and to show how it comes about that they can be used unpre-
pared. All fundamental discords are freed from the necessity
of preparation. Thus we can write :

Ex. ii.

It will also be noted that the position of these discords, as
regards accent, is of no account. Some of the ground already
covered in the chapter on the secondary sevenths has been
traversed again, but it will serve to show the student the nature
of the evolution of the use of these chords. The following table
may be useful in this respect :

Ex. 12.

Original
procedure.

Evolution.

,-v I

Retardation.

THE HIGHER DOMINANT DISCORDS 295

Original

procedure. Evolution

Deference of resolution
Retardation, and accents reversed.

Ear Training.

r r

J J

F-

J J

SE fe^

296 THE HIGHER DOMINANT DISCORDS

*=&=£

srT~l

I- I

i X — -I I r ^

i. Harmonize the following fragments for String Quartet,
introducing some form of the chord of the eleventh once in each
section ; the section need not end with a cadence :

(a) on par. 2.

(6)

r ' I

(<:) par.

par. 4.

£=^HI

2. Add three vocal parts to the following unfigured basses,
introducing the dominant eleventh (plain chords) :

sg-Jtr r ir r=N:

Coda.

3. Harmonize the following for S. A. T. B., introducing chords
of the eleventh at the points indicated with an asterisk. Add
a few unessential notes :

CHAPTER XXV

THE HIGHER DOMINANT DISCORDS
(c) THE DOMINANT THIRTEENTH

i. THE thirteenth is the last discord that can be produced by
adding a series of thirds above the fundamental note (the
dominant) :

Ex. i.

It has been shown that the thirteenth was originally an
appoggiatura of the fifth :

Ex.3.

And this is its commonest use. It is obvious that the fifth of
the chord cannot accompany the thirteenth. Neither should the
thirteenth be placed below the seventh, because of the ugly
effect:

Ex.3:

ugly.

2. In a minor key, the thirteenth should be minor. In a major
key it may be either major or minor, but the following is un-
pleasant :

298 THE HIGHER DOMINANT DISCORDS

Ex. 4.

The minor thirteenth may be combined with the major ninth
as follows : T-

SLX. 5.

Here for the first time we have an example of the combina-
tion of upward and downward resolving discords. Obviously it
is the first opportunity.

3. Just as in the chords of the ninth and eleventh, the seventh
must be a factor, else we produce not a discord but a concord or
augmented triad :

Ex. 6.

! . L J i

It is quite unnecessary to classify these as thirteenths, though
they resemble them. They have already been discussed.

4. Case I. Thirteenth resolving one step downwards, while

the chord remains :

Ex. 7.

rf-J J H >

l-J H-^-n

^- IF

^— II 2 1

13 5 6—76

7 — 5 — 4 —

43 2 —

THE HIGHER DOMINANT DISCORDS 299

If the seventh is absent when the sixth is present, but occurs
when it falls to the fifth, the chord may be classed as a thirteenth :

Ex. 8.

The ninth and eleventh may be combined with the thirteenth.
The figure 6 is often used to signify the thirteenth :

Ex. 9.

'3 5
» 3
98
7 —

t3 5
7 —
23

When three parts move downwards in parallels, the two
lowest should not form perfect fourths :

Ex. 10.

5. Case II. Thirteenth resolving one step upwards to the
seventh, while the rest of the chord remains.

Obviously the seventh cannot in this case be used with the
thirteenth. This form of resolution is somewhat rare :

Ex. ii.

— rH

Ea=l

6 7

6 — 6
45 4

3oo THE HIGHER DOMINANT DISCORDS

6. Case III. Thirteenth falling a third to a note of another
chord. Here the intermediate step drops out :
Ex. 12.

These are not exposed octaves, as the progression is con-
densed from :

Ex. 13.

The following are inversions :
Ex. 14.

7. Case IV. Minor thirteenth rising a semitone to a note of
another chord. In this case the thirteenth is written as the
sharpened fifth from the root :

Ex. 15.

]

Obviously this can only be used in the major key. The pro-
gression probably arose from the case in which the movement
from D to E was decorated by a passing note D sharp.

THE HIGHER DOMINANT DISCORDS 301
8. Case V. Thirteenth remaining to be a part of another chord :

Ex. 16.

But here the chord (a) is an appoggiatura chord, so that the
thirteenth eventually falls. Care must be taken, in such a case,
to avoid :

Ex. 17.

The thirteenth in this form is a derivative. It is in appearance
a secondary seventh on B flat. And this, according to old theory,
should be prepared, and resolve upon a chord whose root is a
fourth higher. But it has been seen that this restriction is
artificial. So long as the discord resolves there is really no
restriction as to what harmony may accompany it.

9. Sometimes the thirteenth leaps to the third of the chord :

Ex. 18.

10. It is an anomaly in theory that what the ear appreciates
as being varieties of the plagal cadence are all analysed as being
derived from dominant harmony. However, the classification is
not a matter of importance so long as we understand how to use
the chords.

302 THE HIGHER DOMINANT DISCORDS

The following table will be useful :

Ex. 19.

Normal cadence.

Decoration.

Varied form
resulting from it.

05)

Starting with (2).

(4)

In cadence (4) the first chord is termed the dominant minor
thirteenth. It seems much more natural to regard it as a
subdominant combination, even if it does not fit in with the Day
theory. But it is waste of time to argue about root theories.

ii. It is said that all secondary sevenths can be derived from
dominant harmony. The same may be said of secondary ninths.
It may be useful to have a table of those sevenths not resolving
in accordance with old theory, and of some useful ninths :
Ex. 20.

THE HIGHER DOMINANT DISCORDS 303

r r

J I

Ear-Training Exercises.

-9 \-

r
j. j

J • J

^fe

4 1-

i i

& _J I J J

T rr-Tr^

304 THE HIGHER DOMINANT DISCORDS

3=3

r r r r r
i i i ii i i

r rrrrf

fe*

r r

r r'l -J-^-1 f'r r"t

i. Add parts for String Quartet, introducing the dominant
thirteenth :

(i) Transition to C minor.

2. Add free accompaniment for Pianoforte :

rail, e dim.

j ,j

Start :

(i) Use Bass D.

^ h-r

(I) (2)

(2) Use Bass C.

3. Write a sentence for voices, beginning as follows

THE HIGHER DOMINANT DISCORDS 305

Introduce the following chords in any order. Figure the
result :

4. Begin as above in A minor, and introduce

CHAPTER XXVI

THE HIGHER DOMINANT DISCORDS

(d) THE CHORD OF THE AUGMENTED SIXTH ON THE MINOR
SECOND OF THE SCALE

i. If instead of writing
a chromatic passing note be inserted between D and C :

the combination thus formed, D flat, F, B, is catalogued as the
chord of the augmented sixth. In order to fit the Day theory
it is said to have two roots, the tonic (accounting for D flat) and
the dominant.

2. As a matter of fact it is merely a dominant chord with
the fifth flattened, and this view accords with its natural use.
There are three forms of the chord :

Incomplete Dominant Dominant

dominant seventh. seventh. minor ninth.

E£= „

-« Jl

Variants forming

S»= ^&=

Italian sixth.

*§? H

French sixth.

German sixth.

augmented sixth.

W \te

3. The resolutions are those of the dominant discord. The
flattened fifth must proceed a semitone upwards or downwards ;
the ninth does the same :

THE HIGHER DOMINANT DISCORDS 307

r r

4. Inversions of the Italian sixth are so rare that they may be
ignored.
Two inversions of the French sixth are in use :

The latter is rare, because the interval of the diminished third
is harsh. These chords resolve quite normally.

All the inversions of the German sixth are possible, because
they form the intervals of an ordinary fundamental seventh :

5. It is said that the German form in root position cannot
resolve into the tonic chord, because of the resultant fifths :

But no unprejudiced mind can object to these fifths as an effect.
It is quite a different case from :

X 2

3o8 THE HIGHER DOMINANT DISCORDS
Elgar writes :

Dream of Gtromtius.

We here meet with some harmony not yet discussed. But
the following analysis will be clear :

(1) Tonic chord, key D flat major, quitted as chromatic chord
on minor second of the scale key C.

(2) Tonic seventh, key C, quitted as augmented sixth on
minor second of the scale key B (B flat = A sharp).

(4) Tonic seventh, key B, quitted as augmented sixth on the
minor second of the scale key B flat

B i=C flat

F :=G flat.

This series of consecutive fifths is excellent in effect, and it is
time that examiners ceased to mark them.

We have to awake to the fact that many consecutive fifths are
not evil in effect, and are therefore not wrong. The formulation
of a theory is difficult, but one's ear should be an unerring guide.
Fifths in plain diatonic progressions are generally crude in
effect. But when we use discords, and chromatic harmony, the
conditions are entirely changed. The following consideration
may have something to do with the matter :

(*)

~^ '- \ -*

(b} is merely a variant of (a\ and as (a) is correct, the ear detects
nothing wrong with (b). In other words, the fifths at (b) are not
caused by faulty primary progression.

THE HIGHER DOMINANT DISCORDS 309

It is indeed quite possible that there is a distinction between
the effect of fifths caused by diatonic progressions and those
caused by chromatic procedure :

(a)

(b)

(a) is not nearly so offensive as (b).

In fact one might go so far as to say that the progression at
(a) is really pleasant, even at the risk of being scoffed at by
pedants. It is all very well to say that a student must write as
a student ; but of what period ? Theory has, of necessity, to
march behind practice. But it need not stop at Mendelssohn.
A student of the present day ought at least to be allowed to
follow the practice of Brahms, and he should be encouraged to
look sympathetically at the latest developments.

6. The augmented sixth forms a new cadence, which is very
effective as a quiet close to a movement :

Ex. r.

PIANO

7. As the German sixth is identical in sounds with the
dominant seventh of the key an augmented fourth higher, it is
an obvious means of modulation ; e. g. C to F sharp :

3io THE HIGHER DOMINANT DISCORDS

Ex. 2.

Ear Training.

ri — ' — ^ — m — u — m — — ^ — a — u — a — ' — ^ ' — ^ — im — ° — ^r-
^r r r r r r R—r r r

I I I I I I L I

r r r

•I riirriirrT '

-J J J J- ! uJ I _L J- J J J- -I - I .

I " "I

r ' ' r

Exercises,
i. Add accompaniment as for Pianoforte,

THE HIGHER DOMINANT DISCORDS 311
Start :

Ped. * Fed...

2. Write a phrase for four voices in G major, introducing

CHAPTER XXVII

CHROMATIC SUPERTONIC HARMONY

i. When the modern diatonic scale was firmly established,
and composers had got thoroughly accustomed to the harmonies
that the scales would furnish, it is obvious that they would seek
means not only of obtaining new kinds of chords, but of varying
their qualities. And it would readily occur to them that whereas

Ex. i.

properly belongs to the key of G, there is no valid reason why
it should not be incorporated in a passage in the key of C :

Ex.s.

J A A j

Or, again, it may be said that the chord D, F sharp, A is a variant
of D, F natural, A, the normal form. Whatever be the view as
to its origin, it is termed the chromatic common chord on the
supertonic (of the diatonic scale).

2. Chromatic Common Chord on the Supertonic.

(a) The term chromatic as applied to a chord signifies that
the chord in question contains some note or notes foreign to the
diatonic scale, but that the chord can be used without inducing
a modulation to some other key. Thus, so far, the chromatic
chords that we have discussed are those that contain the minor
second from the tonic and dominant, arid the minor sixth from
the dominant of the major key, and in the minor key that which
contains the minor second from the tonic. In other words, in

CHROMATIC SUPERTONIC HARMONY 313

the major key the dominant minor ninth and thirteenth, and the
augmented sixth on the minor second of the scale; in the
minor key the last of these only. In this chapter we shall also
use the augmented fourth and minor seventh from the tonic.
Adding these to the diatonic scale, we produce the harmonic
chromatic scale. The same notation is used for the minor as
for the major key :

Ex. 3.

(b) It will be seen that if the chromatic supertonic common
chord be followed by the dominant common chord, or by the
mediant, we produce a full or false close in the key of the
dominant. If, therefore, it be desired to use the chord without
modulation, it should be followed by the tonic common chord,
or dominant discord. The third in the supertonic chromatic
common chord should rise a semitone, or fall a chromatic
semitone. It must not be doubled :

Ex. 4.

^h-±^-.

J. J J.

\ |

I ,

(c) It is better not to precede the chord by a diatonic one
containing the perfect fourth from the tonic (in the key of C,
FtJ as root, third, or fifth :

Ex.5.

misguided.

J . J- J

(d) The chord is specially useful in approaching the
cadence. It can be used in either the major or minor key.

314 CHROMATIC SUPERTONIC HARMONY

(e) The discord of the seventh never causes false relation ;
hence the following is quite correct :

Ex.6.

(/) Discords may be added to this chord in exactly the
same way as we added them to the dominant root :

Ex. 7.

3. The Chromatic Supertonic Seventh.

(a) This chord resolves exactly as the common chord. The
seventh may remain to be a part of the next chord, or fall at
once :

Ex.8.

-$*—\ — n

(i)

. .

T *T

\ j

r r
j j

r r

^=i

It will be seen that (i) is merely a decorating chord.

(b) Just as the diatonic seventh may rise in the following
case :

Ex. 9.

CHROMATIC SUPERTONIC HARMONY 315

So the following idioms are common :

Ex. 10.

f) &

j 1 I J

•A ii ^ . sz) (I

TJ ^-

The chord may of course be used in either mode.

(d) Modulation. It may be well to point out the present
capabilities of this chord for the purposes of modulation :

(a) It may be approached as a chromatic seventh and
quitted as a dominant seventh in a new key :

Ex. ii.

(/?) It may be approached as a dominant seventh and
quitted as a supertonic seventh in a new key :
Ex. 12.

-T-T--T- J I III J]

^j- ^_ =bT J J i

rT r
J J J-

It may be mentioned that this is one of the best means of
modulation.

(y) It may be approached as a supertonic seventh and quitted
as the augmented sixth on the minor second of the scale (en-
harmonic modulation) :

Ex. 13.

316 CHROMATIC SUPERTONIC HARMONY

(8) Conversely, it can be approached as the augmented
sixth and quitted as the supertonic seventh :

Ex. 14.

feiFri3==F=r=?=

if ^&=*=*^
EBu^rw—1

Augmented Supertonic Dominant \ Dominant
sixth in C. seventh in B. seventh in B. 1 seventh in E.

Supertonic 1
seventh in E. J

But such a progression as this is not recommended as music.
It is only given as a possibility. It is too mechanical in effect
and obvious in construction.

The augmented sixth on the minor second of the scale in its
German form is not of much use, as it does not suggest the key
of the tonic so strongly as that of the subdominant. This will
be seen shortly.

4. Chromatic Supertonic Ninth.

(a) Both the major and minor ninth may be used in the
major key ; the minor ninth only in the minor key.

(b) If the ninth resolve while the rest of the chord remains :

Ex. 15.

then the chord resolves into a supertonic seventh, and it i
treated accordingly.

Ex. 1 6.

1 J

CHROMATIC SUPERTONIC HARMONY 317

(d) In the inversions the root is omitted. These are
diminished sevenths :

Ex. 17.

I I

J- ^ ^

I J I

In the last two examples E flat is written as D sharp. Here
the chords are really appoggiaturas of the chord of C major.

(e) Consecutive diminished fifths are good between any two
parts: Ex. 18.

(/) The uses of this chord for the purposes of modulation
may be conveniently discussed in a later chapter.

(g) When the root is absent, the treatment of the seventh
from the root is much freer :

Ex. 19.

COLERIDGE-TAYLOR.
By the waters of Babylon.

But it is better for the seventh to rise or fall one degree.
When the chord is used over a tonic pedal, the doubling of
the seventh is excellent in effect :

Ex. 20.

3i8 CHROMATIC SUPERTONIC HARMONY

As a matter of fact, it is really more in accordance with
natural feeling to regard A, D sharp, and F sharp as appog-
giaturas. The root is not fell to be D.

5. The Chromatic Supertonic Eleventh.

(a) If the eleventh resolve while the rest of the chord remains,
it is an appoggiatura, and requires no further consideration :

Ex. 21.

(b) If it resolve on to some other chord, the root is generally
omitted :

Ex. 22.
(0 .

But there is an objection to the classification of the combina-
tion at (i) as an eleventh. There is no reason why it should
not be derived from the dominant. It is ambiguous. Hence it
is really better to call it simply a secondary seventh resolving
on to the dominant seventh. Macfarren, for example, does not
mention supertonic elevenths.

6. The Chromatic Supertonic Thirteenth.

(a) The major form may be used in the minor key :
Ex. 23.

(b) If the thirteenth resolve while the rest of the chord
remains, it is an appoggiatura :

CHROMATIC SUPERTONIC HARMONY 319

Ex. 24.

FH=

i i i r
j A A ^. j. A .

f — h^HI

(c) If it resolve on to another chord, it must be the tonic or
dominant discord. The former case must be discussed later :

Ex. 25.

J •* *^ Ht>

£=H

-f I ' I p BPb f I '

7. The major common chord on the minor second of the scale.
(a) It will be obvious that the second of the following
examples is but a variant of the first :
Ex. 26.

The combination at (i) is termed the Neapolitan Sixth, and
is very common in approaching the cadence. It is used in both
major and minor keys. The chord in its root position and
second inversion is rare. The false relation between D flat and
D natural is unobjectionable.

(b) The chord can be effectively followed by the supertonic
ninth:

Ex. 27.

32o CHROMATIC SUPERTONIC HARMONY

higher :

Ex. 28.

L_J J.

i J

J -i J

r i

r \ r

(d) It can be effectively preceded or followed by the chro-
matic chord on the major supertonic :

Ex. 29.

0 [ .-_! I I I i

yf_ ^

J. d: Jl J. J J - J-

Avoid:

Ex. 30.

The effect is unpleasant.

8. The first inversion of the diminished triad on the super-
tonic of the minor key may be used in the major key as a variant

of the normal form :

Ex. 31.

It is far-fetched to derive the chord (i) from the dominant.
And the chord with the seventh added is better regarded as
a diatonic seventh borrowed from the minor key.

CHROMATIC SUPERTONIC HARMONY 321

9. The chord of the augmented sixth on the minor sixth of

the scale :

Ex. 33.

Normal form.

Variation
augmented sixth, ret

Italian sixth. French sixth. German sixth.

(a) This is merely the supertonic chromatic discord with
the fifth flattened. It is said to have two roots, D and G, the
latter serving to account for the A flat. Its resolutions are
those of ordinary chromatic supertonic harmony :
Ex. 33.
n i ! i . .J J i i ii

*^=*

*?*=*

(b) It will be felt that the progressions naturally arrange
themselves as suggesting the key of C. If the augmented sixth
on the minor second of the scale be similarly treated, it will lead
into the subdominant channel. Hence its use is best reserved
for those cases in which it can be followed immediately by the
tonic or dominant chord :
Ex. 34.

Tf- ' - -+

good. sug

gesttve of F major, (i

^ 1 ^ — II L^

Dod.

|H>F_J&d

At (i) D flat is felt to be an appoggiatura of D natural.

(c) As regards modulation, it will suffice to point out that
the augmented sixth on the minor second of one key can be
quitted as that on the minor sixth of another, or that on the
minor sixth of one key may be quitted as that on the minor
second of another. Further, that as the German form is in

322 CHROMATIC SUPERTONIC HARMONY

actual sounds a fundamental seventh, an augmented sixth may
be quitted as a dominant or supertonic seventh of a new key,
or a dominant or supertonic seventh may be quitted as a German
sixth in another key. The consideration of tonic chromatic
harmony will open out further possibilities, and the whole
matter may be reserved for another chapter. Meanwhile the
student should experiment on his own account.

(d) The inversions are subject to the same limitations as
those discussed when considering the augmented sixth on the
minor second of the scale.

(e) The chord is useful as a cadence idiom :

Ex. 35- ELGAR. O hearken Thou.

T-

&s>- P1 BjS*-
1 i I I

- J- J- J

.jj — i

— — J —

— _j —

_^j [_flj-

— — j — H

J J J

^-r *v l-zsz

r ^

— «J—

Y
j

— ^i—

*r
i

r r*
j j

j
=1=

-& H

CHROMATIC SUPERTONIC HARMONY 323

A J~2J j

r r

i i

» j j i j.

^J- j ^

j j

T I f r I II R

d-ttP-

^ J JL J

rrr

I i

I J

J J «

Exercises.

i. Write a few chords to precede and follow each of the chords
given below. Form definite phrases with cadential effects at
the end. No modulation :

(a) (*) W ,

J- nJ J-

Y 2

324 CHROMATIC SUPERTONIC HARMONY

2. Add a Pianoforte accompaniment to the following, intro-
ducing supertonic chromatic harmony :

VIOLIN.

£^

Start :

3. Add three parts for the Organ above the following unfigured
Bass, introducing the resource discussed in this chapter :

PEDAL.

tji'Lj''^''",!1 ji

CHROMATIC SUPERTONIC HARMONY
Start :

325

4. Write a stanza of twenty bars for Pianoforte modelled on the
opening of the Andante of Beethoven's Pianoforte Sonata, Op. 14,
No. 2. Introduce :

(a) Supertonic minor ninth.

(b) „ seventh.

(d) Augmented sixth.

5. Taking the following as a basis,

6 5
4 3

4 6

6 7
4 3

write parts for String Quartet in three different ways, starting
each as follows, and maintaining the style :

(a) Andante.

-&*=-

piss. -*-

3a6 CHROMATIC SUPERTONIC HARMONY

CHAPTER XXVIII

CHROMATIC TONIC HARMONY

i. Tonic Common Chords.

The substitution of the tonic major common chord for the
diatonic minor form in the minor key, and the minor chord for
the major in the major key require careful discretion. Nothing
could be in worse taste than the following :

In fact it may be laid down as a canon of good taste that the
major and minor forms of the same chord should not be used
consecutively in notes of short duration.

Three good uses of the chromatic tonic triad may be men-
tioned :

(a) In the minor key the minor form may be followed by
the major form, producing a modulation to the subdominant,
but the chords should each have time to make themselves felt :

(b) One may form the end of one phrase, and the other the
beginning of the next :

5fe

T — r-
J J

A J

&c.

328 CHROMATIC TONIC HARMONY

In other cases, if the melody were :

i=gg

some such harmony as :

J.J-

J J.

is preferable to the effeminate effect of the juxtaposition of the
major and minor forms of the same chord.

2. The Tonic Seventh.

This consists of the major tonic common chord with the
addition of the minor seventh. C major or minor :

Obviously if this be followed by the chord of F we produce
a modulation to F major. In order to avoid modulation, the
chord must be followed by a dominant or supertonic discord.
The seventh may rise a chromatic semitone, or fall one degree :
the third should not be doubled.

r r

CHROMATIC TONIC HARMONY

329

3. The Tonic Ninth.

(a) If it resolve while the rest of the chord remains it
becomes a tonic seventh, and is treated accordingly :

j . i i i ! ,J ^

The minor ninth mayof course be used in a major or aminor key.
(b) If the ninth resolve on another root, it may remain to
be a part of the next chord, fall, or if minor rise a chromatic
semitone :

. f
r "

The following is a common idiom :

Of course C sharp and A sharp are really appoggiaturas of
D and B, but the combination has to be called a chord, so
C sharp is expedient false notation for D flat, and A sharp for
B flat.

The majority of students would harmonize

as follows :

330 CHROMATIC TONIC HARMONY

Of course it should be :

4. Tome Eleventh.

This is very rare ; its best use is as follows :

Here D sharp and B sharp are merely chromatic passing
notes, but those who require a name for everything can call
D sharp E flat and B sharp C natural, and find the root D.
But such analysis seems not only far-fetched, but unnecessarily
complicated.

The student who is taught to decorate

J_J

with double appoggiaturas thus :

is far more likely to be able to write tolerable music than he
who is required to worry out the false notation of everything he
conceives.

CHROMATIC TONIC HARMONY

5. Tonic Thirteenth.

If the thirteenth resolve while the rest of the chord remains
we have a discord already discussed. Any other use is very
The thirteenth may of course be either major or minor.

rare.

The major thirteenth should not be used in the minor key.

If the thirteenth resolve on another chord it will be upon
a dominant or supertonic discord :

6. It will have been observed that the fundamental discords
on the tonic, supertonic^ and dominant are interdependent, that
is to say, that to avoid modulation one resolves into another,
the anchor being the tonic common chord or the dominant
discord. The minor seventh of the tonic and the major third of
the supertonic are the sounds that have to be contradicted to
prevent modulation.

Thus the supertonic thirteenth may resolve on to a tonic
discord ; the progressions, however, can hardly be called musical.
They are possibilities :

r~rr rrrr

Or a dominant discord may first proceed to a tonic discord :

i i

Or, again, augmented sixths can resolve upon tonic discords :

332 CHROMATIC TONIC HARMONY

7. The resources of modulation are of course enlarged by
the introduction of tonic chromatic harmony. A dominant or
supertonic discord can be quitted as a tonic discord, and vice
versa. A German sixth can likewise be quitted as a tonic
seventh. Or, again, the minor tonic common chord in the
major key can be quitted as being diatonic or chromatic in some
other, key. A composer never worries himself about such
technicalities; his ear is an unfailing guide. As a matter of
fact a really musical ear is of far more value than scientific
reasoning. But the student should know something of the
principles that underlie natural instinct.

8. Ternary form.

As regards proportions, a binary form often consists of three
sections, but the first section must not end in the tonic. A
ternary form always consists of three sections. The first ends in
the tonic, and the last is a repetition of the first section. The
tonic should be avoided in the middle, and the return to it must
mark the recapitulation.

The Scherzo of Beethoven's Pianoforte Sonata, Op, 2, No. 2,
is a good example. The Trio is in binary form. These two
illustrate clearly the essential difference between the two forms.

Ear-Training.

1 M J J

^ r r ^ r
j j j

j . L j r j *4-^ • II [•

r tr r r* ',

J -M J ' i*

T^r ~r 1 -£=1=

-^ r ' r'

$E=§l-=L±^

CHROMATIC TONIC HARMONY

333

Exercises.

i. Write passages in four vocal parts introducing the following
chords, one chord to be introduced in each passage. Let each
passage form a complete phrase : introduce unessential notes :

2. Add three vocal parts to the following Bass, introducing tonic
chromatic harmony, and other chromaticisms :

3. Harmonize in four parts the following fragments :

(a)

fP*-t J 1 J ^-^^1-
' to

4. Harmonize the following for the Organ in three parts

334
Start :

SWELL OBOE.
CHOIR.
PEDAL.

CHROMATIC TONIC HARMONY

Compose a middle section in B minor in contrasted style,
introducing tonic chromatic harmony, and then repeat the given
section treated differently, with the melody an octave lower
in the left hand.

CHAPTER XXIX

THE REMAINING CHROMATIC RESOURCE

ACCORDING TO ACCEPTED THEORY

AND FURTHER POSSIBILITIES

i. Chords on the Mediant:

Ex. i.

Key C major.

These three chords are classified as being chromatic in the
key of C major, the first only in C minor. We have already
seen how this chord can be used in C minor according to diatonic
principles :

Ex. 2.

With a chromatic scale, however, it can be used as follows :

The classification does not matter. It is perhaps the simplest
to say that this use induces a fusion of the melodic and harmonic
minor scales. In the case of a transition from E flat to C minor
it is unnecessary to analyse the chord as belonging to the new
key:

336 THE REMAINING CHROMATIC RESOURCE

Ex. 4.

It is difficult to give definite rules for the treatment of chro-
matic triads.

Three points may be useful :

(a) The chromatic forms are really variants of the diatonic
forms. But it does not always follow that the chromatic form
is good where the diatonic form is also good. In many cases,
however, it is so.

(b) Any two chords may be used consecutively if they have
at least one note in common.

Ex. 5. GRIEG. Papillon.

GRIEG. Wedding Day.

In both these cases the chromatic chords are quitted as new

tonics. This is always an effective use of them, especially if, as

in the Grieg example, the chromatic chord begins a new phrase.

in effect : Ex. 6>

£T

ACCORDING TO ACCEPTED THEORY 337

The chord labelled (b) above, e.g. the major chord on the
major third of the scale, is classified as a false triad, because
there is no G sharp in the harmonic chromatic scale of C. But
it seems ridiculous to have to call G sharp A flat, and turn what
is a concord into a discord theoretically :

Ex. 7.

The real truth must surely be that there can be G sharp in the
key of C.

The chord (c) is really a fundamental seventh on the mediant.
Again, theorists call it a dominant thirteenth :

Ex. 8.

It resolves thus :

This shows how it probably originated — e. g. in the use of two
unessential notes.

The student will at once ask, can we use

Ex. 10.

All these sounds occur in the harmonic chromatic scale, but
the whole chord cannot be derived from one of the three funda-
mental series. There seems no valid reason why this should
not be an augmented sixth borrowed from G major. That, of
course, lands us in a difficulty with C sharp. But the real point
is, can there be any objection to :
Ex. ir.

-^r-^-t-p

J. A j.

338 THE REMAINING CHROMATIC RESOURCE

One really cannot analyse the section bracketed as being in
G major, because that is not the effect.

2. Chord on the Subdommant.

In the major key, the minor common chord on the sub-
dominant may be borrowed from the minor key :

Ex. 12.

3. Chords on the Dominant.

The minor chord on the dominant in the major key is so rare
that it may be practically ignored. It is extremely difficult to
use it in a musical way. The minor dominant can be used in
the minor key thus :

Ex. 13.

But this is an edged tool, and had better be left alone.
4. Chords on the Submediant.

Ex. 14.

Key C major.

(2)

The chord on the flat submediant (i) is largely used.

(a) It is effective for the purpose of modulation, starting
a new phrase :

Ex. 15.

GREENE.

God is our hope.
-

rage and swell,

We will not fear, will not fear.

. ACCORDING TO ACCEPTED THEORY

339

(b) It forms a new cadence :

Ex. 16.

There is a good example at the end of Grieg's Au Printemps
for Pianoforte.

Jx. 17. |

y ,«j i _J — J i L~ — J II !~ i -J b,*? I H

i ' r

J u-J- J^ I

r r r an

It forms a new false cadence :
Ex. 18.

The chord on the major submediant (2) is catalogued as

false triad, C sharp being D flat.

The following uses will be readily understood :

Ex. 19. GREENE. God is our hope.

-^ — f — ^- ' ^ j_ f f ' f j —

We will not fear, will not fear, jff Though the earth trem - ble

to D minor.

Z 2

340 THE REMAINING CHROMATIC RESOURCE

Again, there seems no reason why the seventh should not be

added :

Ex. 20.

5. Chords on the Seventh Degree:

Ex. 21.
C major.

C minor.

(a) (6) (c) (d)

(a) is really an appoggiatura chord of the dominant :

Ex. 22.

J J J I

J. LJ

has its origin in sixteenth-century technique :

Ex. 23.

The following are characteristic uses

Ex. 24.
Key G major.

WALMISLEY.

1 |

through - out

all ge

ne - ra - tions.

-p. ^- -p

f- f- . Bp r ^ n

ACCORDING TO ACCEPTED THEORY 341

WESLEY. The Wilderness.

V>1<

«7

joy . up - on their heads, their heads.

There seems no reason why the seventh should not be added
to both (b) and (c) :

Ex. 26.

r r

J-^4-

i r

J J.

(<^) can be used like (a) in the minor key. It will be ob-
served that no mention is made of the chord

Ex. 27.

This contains two sounds foreign to the harmonic chromatic
scale, A sharp and C sharp. It is difficult to see that there is
anything wrong with :

342 THE REMAINING CHROMATIC RESOURCE

Ex. 28.

$Mr^

J-

(5)

n* ^* ^)* F~

&c.

= ' H r

At (a) the chord resolves naturally into a dominant seventh.
At (£) it merely decorates the chord of F. At (c) C sharp and
A sharp are really accented passing notes, forming a funda-
mental seventh on F sharp.

It may be well at this point to have a list of the resource
generally accepted :

Ex. 29. Resource available in the Key of C major.
(i) Diatonic triads.

(2) Diatonic sevenths.

*7 ^ »

(3) Chromatic common chords.

tr-

(4) Other common chords, considered as false triads by Prout.

(5) Dominant fundamental harmony.

(6) Supertonic fundamental harmony

ACCORDING TO ACCEPTED THEORY 343

(7) Tonic fundamental harmony.

(8) Augmented sixths.

•^T — W5 "— tr£^ — " — \f& —

Resource available in the Key of C minor.

(i) Diatonic triads (harmonic and melodic scales).

(2) Diatonic sevenths.

(3) Chromatic common chords.

(4) Dominant fundamental harmony.

(5) Supertonic fundamental harmony.

bo.

(6) Tonic fundamental harmony.

(7) Augmented sixths.

Now the first point that must strike any one is that in the
major key we have a major common chord on every degree of
the chromatic scale except one :

Ex. 30.
Key C.

344 THE REMAINING CHROMATIC RESOURCE

This is not the place for enunciating new theories, but we
have shown that it is difficult to see any reason why this chord
on F sharp should not be used, at any rate as a decoration of
the chord of F or G major. The fact probably is that the har-
monic chromatic scale is inadequate. A moment's thought will
show that a minor seventh added to each of these gives a funda-
mental seventh on each degree of the chromatic scale:

E^1- cb=Bfl. _.___„

Next experiment with the minor series :

Ex. 32.

(I) (2)

(3) ,(4)

It will be seen that those numbered i, 2, 3, and 4, are outside
the ordinary scheme. But the time will come when they must
be incorporated. It is hard to see why the following progressions
should not occur in C major :

Ex. 33.

j— n-j— J J U , bJ=^jJ:

m— fcz

&c.

Of course it will be said that we quit the chord (a) as belonging
to A flat major, and (b) would be the dominant seventh quitted
as augmented sixth in G, and so forth. But the fact remains
that there is no suggestion of a modulation. It is probable that
just as we borrow single chords from another key, so we can
borrow a series of chords, and provided there is no effect of

ACCORDING TO ACCEPTED THEORY 345

modulation, we may say that certain chords hitherto uncata-
logued may be used in a key.

Next, diminished triads are obviously incomplete chords, and
the whole series seems quite workable. The notation may of
course vary :

Ex. 34.

/I.

m^^
(0

frHI s J(*

jkk*=^b*

£j -

— i—

(5)

r^i

(6)

r " r r

(7)

^^— P=

(8) (9) do) I (ii)1 ' (12)

&*-

' (11)

P r i* iirT r H °f i r^ »-^

U L — . — _ . U — JtyK p. U _H U

Nos. 2, 5, 8, and n are derivatives of the tonic.
Nos. 3, 6, 9, and 12 of the dominant.
Nos. i, 4, 7, and 10 of the supertonic.
In the same way we may treat the augmented triads
Ex. 35.

ii • r i i ! i i i r ' •

I (Tonic) I (Tonic) II (Supert.) V (Dom.)

^jg^*-H=-lg-Jr \f- =H-«r-HM

V(Dom.) ^(Tonic) II (Supert.) V (Dom.) I (Tonic)

I (Tonic) II (Supert.) V (Dom.)

J uJ h- H^ - -»-

346 THE REMAINING CHROMATIC RESOURCE

It will be noticed as a peculiarity of augmented triads that the
root position of one is the inversion of another under another

name:

Ex. 36.

We have now a complete series of major common chords,
minor common chords, diminished triads, augmented triads, and
fundamental sevenths on each degree of the chromatic scale.
It is obvious whither this is tending : it must be possible to use
the whole series of fundamental discords on every degree of the
scale.

Leaving out those that have been discussed, the following are
possibilities :

Ex. 37. Ninths.

J. \iA

rflg:

g> « *--! (T? £2 ^ tts! tif^>

J A

It will be observed that when the root is omitted we produce
fundamental harmony of tonic, dominant, or supertonic, except
in the cases asterisked :

ACCORDING TO ACCEPTED THEORY 347

Ex. 38.

£EH

^3— ^»=> te

EEfiE

But in these cases we can use the appoggiatura device, and
resolve into fundamental harmony :

Ex. 39.

.J J .J MJ

It will serve no useful purpose to carry this principle farther.
It will remain to examine modern procedure in a succeeding
chapter, and see if it bears out what appears to be the trend of
theoretical evolution. Meanwhile the student may content him-
self with theory as it is at present accepted. It will, however,

348 THE REMAINING CHROMATIC RESOURCE

have become more and more evident that new chords are arising
through appoggiatura decoration of existing chords. And it is
really unnecessary to materially enlarge the bounds of harmonic
resource. The chords had better be left to form themselves
fortuitously. What is wanted is a highly-trained ear and a keen
imagination, not an encyclopaedia of chords. Chromatic har-
mony requires much discretion in its use ; it is absurd to crowd
a piece of music with it. And even when it is used, it is best for
purposes of modulation. No attempt will here be made to force
the student to use half a dozen chromatic chords without modu-
lation in a hymn tune. In the first place, such chords are
generally quite out of place in such a thing, and secondly the
result is not music. Rather should the student read modern
scores. Let him see there how chromatic chords are introduced,
and let him introduce them in his own work naturally. The
exercises generally given in harmony books are usually excellent
examples of the ways in which these chords should not be used.

Ear Training.

A minor.

_p — ( _

n IT* — [ -*j — flj .j i

i ir^i — J — n

1 r r r

"^^ *^ *1^^ ff'r)

^r y" ' ' r

^ J. J: J.

1 F* 1 R- —

^> .J

I I

J A

J-

— fe^ !>»- —

ACCORDING TO ACCEPTED THEORY 349

T r~t=F:

J J J:

^ J. J- -J- J

1 J_ J

Exercises,
i. Add Pianoforte accompaniment to the following melody :

Andante.

VIOLIN.

dim.

-I J I 3^—1 J- I J-

Start :

350 THE REMAINING CHROMATIC RESOURCE

2. Write sixteen bars and four bars Coda in Binary form for
Pianoforte, commencing as follows :

Introduce the following chords in any position, or distribution,
the chords to follow in the order given :

-jf-tf

^ 1

^ u k

H— r= B

•ST
(«)

„ 1

(6)

=B — ^ j

^ II fi

(0 to

II -

2 H— te? 1|

1 £L
\==4

In B flat Approached in Approached in F, Approached in A, In B flat,
major. B flat, quitted in quitted in A major, quitted in B flat.
F major.

CHAPTER XXX

ADVANCED MODULATION

1. IT will have become clear that modulation can be performed
in the following ways :

(a) A chord may be approached as being diatonic in one key,
and quitted as being diatonic in another.

(b) A chord may be approached as being diatonic in one key,
and quitted as being chromatic in another.

(d) A chord may be approached as being chromatic in one
key, and quitted as being chromatic in another.

2. It is obvious that if we adopted the scheme of harmony
outlined at the end of the previous chapter, transition would be
an impossibility. As a matter of fact there is some confusion of
thought as to what constitutes a transition as opposed to a
modulation. Some hold that a modulation cannot be performed
in less than four chords, the second being the pivot chord. But
this view ignores the fact that the tonic of a key can itself be
the pivot chord, and so can the dominant of the new key. For
example :

Ex. i.

(I) (2)

I h<y II ~fs'~

(1) is the chord of the augmented sixth in C major quitted as
the dominant seventh in D flat.

(2) is the tonic in D flat major quitted as the Neapolitan
sixth in C major.

At (i) we have an enharmonic modulation, because in its

352

ADVANCED MODULATION

relation to C the chord is A flat, C, E flat, F sharp; in its
relation to D flat F sharp becomes G flat. Such modulations
as the above are termed sudden, as opposed to the ' gradual '
method, in which the cadence in the new key is preceded by
one or more chords common to both keys. But the term transi-
tion implies that there is no pivot chord. For instance, according
to accepted theory there is no minor chord on the major seventh
of the scale. Thus the following is a transition from B minor
to C:

Ex. 2.

I I I I

Cfl

The chord (a) does not belong to C major, and the chord
(b) does not belong to B minor.

But the following, though shorter, is a modulation :

Ex. 3.

The chord (c) is the augmented sixth in B minor quitted as
the dominant seventh in C.

The first example is a transition produced by the principle of
pivot notes.

3. It has been pointed out that sudden modulation should
never be employed in approaching the cadence used at the end
of the first half, or at the close of the stanza. For instance, the
following is intolerable as an ending in A minor :

ADVANCED MODULATION

353

But sudden modulation may be used with good effect —
(a) in the middle of a phrase :

:g— g-

± J J. J,

in sub-phrases in the second half:

End of first half. x .

Elsewhere it is better to precede the cadence in the new key
by at least one chord that has a dual relationship :

_J_J J-

4. The chord of the diminished seventh is very useful as an
enharmonic modulating chord. The following will illustrate
the point :

root E. root G. root Bb. root Cjf. root D>.

Each of these can be a tonic, supertonic, or dominant ; thus
each chord can belong to three tonics, which may be major or

mnor.

5. It is possible to write a sequence of fundamental sevenths
without confirming any key :

A a

354 ADVANCED MODULATION

(1) The dominant seventh in G, quitted as supertonic seventh in C.

(2) The dominant seventh in C, quitted as supertonic seventh in F, &c.

But it cannot be argued that any key is actually confirmed.
Such a passage, however, is so palpably mechanical and monoto-
nous, that a musician would shrink from using it.

It is unnecessary to give examples of the various methods of
modulation : it is far better that the student should exercise his
own ingenuity.

Exercises.

Modulate in a few chords:

(1) from E flat major to G major —

(a) by the chord of A flat ;

(b) by the tonic seventh in E flat ;

(2) from G major to E flat —

(a) by sudden transition ;

(b) by the chord of C minor ;

(3) from E flat major to D major —

(a) by the augmented sixth on B flat in D minor ;

(b) by the Neapolitan sixth in D minor ;

Choosing your own means, modulate in a few chords :

(4) from C to E flat.

(5) „ C to A flat.

(6) „ CtoE.

(7) „ CtoA.

ADVANCED MODULATION

355

(8) from C to F minor.

(9)
(10)

(ii)

(12)

(13)
(14)

C to D minor.
G minor to A flat.
G minor to F sharp minor.
G minor to B minor.
G minor to C minor.
G minor to C major.
(15) Resolve the diminished seventh on F sharp into all the
keys possible, using the correct notation for each case.

In working the following problems the binary form will be
generally required. The first half should not end on the flat
side of the tonic. If a return to the tonic is made in the
second half before the end, it is necessary to return to the
opening material at this point. If a return to the tonic is made
in the early period, then the form is ternary. Few modulations
should be made in the opening periods. The second half or the
middle section is the place for frequent modulation.

(i) Write a Minuet for Pianoforte modelled on the Minuet
in Beethoven's Pianoforte Sonata, Op. 2, No. i, in F minor.
Begin in B minor, modulate to D major, E minor, B minor.
Carefully analyse the form, noting the means of extension or
contraction of phrase.
Begin :

'•••

(2) Write a Trio for Pianoforte modelled on the Trio of
Beethoven's Pianoforte Sonata, Op. 2, No. 2. Begin in E minor,
modulate to B minor, C major, A minor, E minor.
Begin :

A a 2

356

ADVANCED MODULATION

(3) Write a Scherzo for Pianoforte modelled on that in
Beethoven's Pianoforte Sonata, Op. 2, No. 3.

Begin in D major, modulate to A minor, E major, A major,
D minor, C minor, B flat major, A major, D major, G minor,
D minor, A major, D major.

Begin :

(4) Write a Minuet for Pianoforte modelled on the Allegro
of Beethoven's Pianoforte Sonata, Op. 7, in E flat. Follow the
form and use of thematic material, but use your own scheme of
modulations.

(5) Write a Minuet for Pianoforte modelled on that in
Beethoven's Pianoforte Sonata, Op. 10, No. 3.

Begin in C major, modulate to D minor, C major, A minor,
D minor, C major, D minor, C major, D minor, F major, C major.
Start :

W-

(6) Write a Minuet for Pianoforte modelled on that in
Beethoven's Pianoforte Sonata, Op. 14, No. i. (Allegretto in
E minor.)

Use the same key, and the same order of modulations, but
different material, treated however in an analogous fashion.

(7) Write a Scherzo for Pianoforte, Violin, and 'Cello
modelled on that in Beethoven's Trio (for Pianoforte, Violin,
and 'Cello), No. 2, Op. i, No. 2.

Begin in F major, modulate to C major, F major (incidentally
touched in beginning the second half), G minor, A minor,
D minor, C major, F major.

Begin as follows :

ADVANCED MODULATION

357

VIOLIN.

'CELLO.

Scherzo. • .— >.

lirf^PT — " 1 h h N r f r 1

• _^\

N.B. (i) The Violin and 'Cello must be as satisfactory in
effect as if heard alone.

(2) The same remark applies to the Pianoforte.

(3) The 'Cello and Pianoforte bass parts may move in
octaves or unisons.

(4) The 'Cello may be an inner part to which the Pianoforte
supplies the bass, or vice versa.

(5) Any upper Pianoforte part may form octaves with an
upper String part.

(6) Unison by similar motion between String part and
Pianoforte, or between two parts on the Pianoforte, is harmless.

6. As music gets more highly organized, composers feel the
necessity of avoiding the breaking up of their music into sections,
marked off by closes. The constant recurrence of stopping
places becomes irritating. Of course the absence of any cadential
effect at all will be as bad as a long sentence with no punctuation,
but the obvious splitting up of the music can be avoided in
many ways.

(a) By dovetailing phrases :

Ex.4.

358

ADVANCED MODULATION

(b) By dovetailing harmony, that is, by making what would
normally be a cadence the starting point of a new harmonic
progression, and by adding some note which prevents the
normal cadence :

Ex. 5. ^ .—

f=f=E

i r

(e) By extending phrases from their normal length by
sequence and other devices.

All three methods are used in the following, in which we
proceed for sixteen bars without any break :

Ex. 6.

Adagio.

;f r ^ f

m L^

JTTT" K^" tjj^j

1 1 * — 1

J J J. J H

P — ^L^LJ

ADVANCED MODULATION

359
J>

' M '

tfj I

TH? — ' l*~

-4^ j^- fb^-

j TJ1

„, jfu*.

T "L"^-

-Jt-

^7-p r r? F — i

CHAPTER XXXI

PEDALS, AND OTHER SUSTAINED NOTES

i. IN the following example of sixteenth-century technique :

PALEST R IN A.

SF=

•^-^-

h^— H

the bass C is what is termed a pedal, and the tenor for the
time being becomes the bass. Thus the combination at (a) could
not be used if the bass were the real bass. This points to one of
the characteristics of a pedal — that we may use above it chords
of which it is not an essential factor. Some argue that this is
a necessity, but a pedal is surely an effect, quite independent of
any question as to what harmonies are used in conjunction with
it. According to the above view what was originally a pedal
(see the Palestrina example) ceases to be a pedal, because the
catalogue of essential harmony has been enlarged. But it is
sheer waste of time to quibble at theories : the aim of this
chapter is to teach students to use a sustained note as an effect.
Others may argue as to whether some of them are pedals or not.

2. It may be as well to state the old rules as to the use of the
pedal :

1 (a) It may be the tonic or dominant only.

(b) The first and last chords of the pedal must contain the
pedal as an essential part.

(c) No modulation must be used on the pedal. Of course
with the advance of the art it is obvious that such rules would
have to be modified.

3. It will be convenient to consider the matter under the above
heads :

PEDALS, AND OTHER SUSTAINED NOTES 361

(a) The notes on which a pedal may be used. It is true
from one standpoint to say that for bass pedals the tonic and
dominant are the only notes that can be used. But of course
these notes need not remain as such ; provided that they begin
and end as such the passage is correct. This matter will be
clear when we discuss modulation. Thus the following is an
illustration of the old view as to the correct use of pedals :

EX.I.

Palestrina not infrequently closes a movement with a
sustained note in an upper part :

long

Ex.2.

r r^rr

. j j

r- r

This is of course the ultimate origin of what is known as the
inverted pedal.

Moderns use practically any harmony over a bass pedal, and
there is very little that sounds harsh under this condition. But
when the pedal is taken in an upper part discretion is required.
No rules can be given. But in the first stages of study the tyro
had better treat combinations of which the upper pedal forms no
part as if they were unessential under strict conditions :

Ex. 3.

~r
j_j J

ra *-

362 PEDALS, AND OTHER SUSTAINED NOTES

The dominant chord is specially offensive against an upper
tonic pedal.1

The following example is tolerable :

Ex. 3 a.

$ "* • c r*1

f->r p r r r^ •" ' J

^. r^^j

^~tj"^

~ j

l-r f r IT r r r' ° *
^ ll i ft J

l
It is only in the natural order of things that the effect of
a sustained note should be attempted with other than tonic and
dominant notes. This procedure is, however, confined to upper
parts :

~ GRIEG. Symphonic Dances I.

^fA^=^^\^^^?^^^^^ J-^h==:

rT7 — 4 1

J r r r

444

-1-1 I

r J r r r r
4 iJ 44 L

4 4 1

1 — r — 3

r r r

r r c r

3J^p. j j JT3j"2 ,

S5J

flj J fl«|-

-4 * 44 4 •

JL 4_

fe_C." — *-=±¥=
01 J*y*2 f7^ ^

j&- —0 Z —m

r If r IT f 1

j
— !• It

i f 1

fl' f ' =±g-

— P II

J &C.

r H

1 But when the pedal is given to an instrument of timbre different from that
of the other parts, the objection fails.

PEDALS, AND OTHER SUSTAINED NOTES 363

When notes other than the tonic or dominant are used as
sustained notes, they will be almost invariably a part of every
chord used, though there seems no reason why students should
not experiment in this direction.

Of course a pedal of this nature cannot be maintained for any
length of time, as the range of harmony is obviously restricted :

J-

a-i-^j

Again, it is far more natural to say that the bass in the following
is a pedal :

Ex. 6. (i) .

rtJ J J^ J ( I ,n I

*/ i *»!

^ ij

1 i i i ^

AJZ^ A J J.' ^

— i ^~l

rather than to have to argue that (i) and (2) are dominant minor
thirteenths in D minor. Double pedals are of course quite
common :

Ex. 7. GRIEG. Holberg Suite.

There is no reason why they should not be notes other than
tonic and dominant provided that they sound well.

364 PEDALS, AND OTHER SUSTAINED NOTES

(b) The approach and quitting of the pedal. Macfarren
marks an advance when he says that a pedal may commence
with any harmony of which the pedal is or is not an essential
portion, and he gives as an example :

Ex.8.

MACFARREN.

But he would probably be the first to say that the combination
at (i) was a dominant eleventh. In any case the A and C can
be regarded as appoggiaturas of the B and D.

One of the most important principles of modern writing is the
use of appoggiatura chords :
Ex. 9.

This is merely a harmonic embellishment of:
Ex. 10.

Of course other explanations are possible, but this is the most
natural one. Here we see that a dominant chord may decorate
its tonic, and this is the explanation of the following quoted in
Grove as a pedal approached with a chord of which it forms no
part:

Ex. II. HILLER. Piano Concerto in F sharp minor.

PEDALS, AND OTHER SUSTAINED NOTES 365

An approach of a pedal in this way is quite harmless. There
are examples of a pedal quitted when it is not essential, but it is
never satisfactory, and sounds as if the composer in his haste
had forgotten all about it.
(c) Modulation.

No one who accepts the following :

Ex. 12.

-0-J J —

n-J J i | j _n — r—

J. J

r Crrr^r r r Q-

J J J J» , J J .

r 1. J J J ^ H

> J. -d ^-

<""f

^^ *^.^

can object to :
Ex. 13.

1 J J 'j Ij Jp 1-

^ ^ «j

r err r. r * ' "D

j j Q j js j j j ,

^ J. J3 *

1 &

—I—is, 1 _

for it is merely a more highly decorated form of the same
harmonic basis.

Macfarren allows a pedal to close with a modulation, if this
is deferred till the last chord on the pedal. He also allows
modulation to the supertonic minor on the dominant pedal.
But any such restrictions are out of date. A pedal will stand
practically anything. Nevertheless the student should exercise
moderation in his early attempts. The following modulations
are excellent in effect :

On Tonic Pedal in Major key.

(a) Supertonic minor.

(b) Subdominant major or minor.

On Tonic Pedal in Minor key.
Subdominant minor.

,366 PEDALS, AND OTHER SUSTAINED NOTES

On Dominant Pedal in Major key.

(a) Supertonic minor, reckoning from tonic.

(b) Tonic minor.

(d) Dominant major.

(e) Submediant minor.

On Dominant Pedal in Minor key.

(a) Tonic major.

(b) Subdominant minor.

4. Before giving examples of these modulations it remains
to state that specially in pianoforte or string music the pedal is
either embellished Qr given in a rhythmic form :

3J3J3.

5. Further, if both tonic and dominant pedals are used con-
secutively, obviously the latter should occur first. If the
dominant be used alone, it can occur either just before the final
section, or at the close of the final section. When it is followed
by the tonic, the end is of course the appropriate place. In-
verted pedals may be used almost anywhere. They are effective
in the middle section, at the end, or at the beginning of the final
section against the opening material. Suppose the opening bars
were :

ri i J j— j J i j _n^-«

the final section might appropriately start :

tr * ^ „ ^ 1

•^B.

6. When ending with a tonic pedal, and modulating to the
Subdominant, composers do not trouble to modulate back to the
tonic ; the fact is the mind is so accustomed to the plagal close

PEDALS, AND OTHER SUSTAINED NOTES 367

that it does not realize that theoretically the tonic is not re-
established :

Ex. 14.

WESLEY.

Wilderness.

As a matter of fact when the pedal is in an upper part it is
impossible to modulate back ; in the above example the chord
of B against the E in the Soprano would be atrocious. When,
however, the tonic pedal is in the Bass, it is possible to re-
establish the tonic. (See the close of the second Fugue of
Bach's Forty-eight, Book I.)

Examples.

Modulation upon tonic pedal in major key :
Ex. 15.

PEDAL.

p^-_

tfe =tg£

1 r ' r -'

^/ f ' r~^1

T^f-f

£5% _

| | =3

(gl'_g 1^«=

>•

^ -N

368 PEDALS, AND OTHER SUSTAINED NOTES

Modulation upon tonic pedal in minor key :
Ex. 16.

PIANO.

Modulation on dominant pedal in major key :
Ex. 17.

1ST

VIOLIN.

2ND

VIOLIN.

VIOLA.

'CELLO.

PEDALS, AND OTHER SUSTAINED NOTES 369

Modulation on dominant pedal in minor key
Ex. 18.

PEDAL.

-**

I J. J J ' 3

tr r c£ f •

I II

A double tonic pedal (extreme parts)

Ex. 19.

>l ! uJ' "J !

17 71 h =FJ:

r r r r r"

B b

1568

370 PEDALS, AND OTHER SUSTAINED NOTES
An inverted pedal :

Ex. 20.

r ' r *uj r

:-»p— r * cqz

It is hardly necessary to point out that a pedal should not
start on a weak accent if in the bass.

Exercises.

i. Write a dominant followed by tonic pedal for Pianoforte
modelled on those in Prelude No. i, Book i, of Bach's Forty-eight*
Begin :

N.B. — The left hand duplicates the right hand.
2. Write a tonic pedal modelled on that in Fugue No i,
Book i, of Bach's Forty-eight. Begin, using the figure bracketed :

^ J r—j j

3. Write a tonic pedal in the minor key, modelled on that in
Prelude No. 2, Book i, of the Forty-eight. Start :

PEDALS, AND OTHER SUSTAINED NOTES 371

4. Write a dominant pedal in the minor key, modelled on that
in Prelude No. 12, Book i, of the Forty-eight, using the figure
bracketed :

5. Write a dominant pedal modelled on that at letter M
(Peters) in Mendelssohn's Sonata No. i (first movement) for
Piano and 'Cello ; the pedal marks the beginning of the final
section, the opening material being combined with it.

Start :

'CELLO.

PIANO/

ft •

1 _- ^

o J J -1' -J J 1

$=^__ _±JE. f^_=L!

*...-, fTS

B b 2

CHAPTER XXXII

SUSPENSION OF COMPLETE CHORDS : APPOGGIA-
TURA CHORDS, AND FURTHER REMARKS ON
CHROMATICISMS, ETC.

i. BESIDES the suspension of one or two notes of a chord,
a complete chord may be suspended :

2. And just as the use of a suspension unprepared is an
appoggiatura, so we may obtain appoggiatura chords :

^ I i^> ,

— m \ J ! 1-^ i i :-^ i

r-r «r

,_.

) J

I I ^-

The easiest explanation of the above is to say that we have
modulations through A minor and D minor with the dominant
bass elided.

In other words the above is in reality :

I I

SUSPENSION OF COMPLETE CHORDS 373

But such appoggiatura chords cannot be used indiscriminately.
The following is atrocious :

The dominant chord can only be used over the tonic bass as
a suspension, or of course on a pedal.

The six-four is a common appoggiatura chord :

The supertonic minor ninth can be an appoggiatura of the
tonic :

Similarly the tonic minor ninth decorates the dominant ; also
the supertonic :

jj^^^isj^M^

And the subdominant can be decorated as if it were a new
tonic for the moment :

374 SUSPENSION OF COMPLETE CHORDS

to decorate it, however, by its dominant seventh would imply a
modulation, which the above does not. So that it is probably
better to regard (i) as being merely appoggiatura notes.
3. Complete chords can also be used as anticipations :

SCHUMANN.

or retardations :

Ibid.

4. In decorating chromatic harmony, care must be taken to
avoid clashing of diatonic and chromatic procedure.
For example (a) :

bad.

The auxiliary note below the fifth in chromatic harmony
should certainly be a semitone below; and the pattern set
should be maintained :

(b) Conversely:

although B flat is correct, C natural in the next bar should be
C sharp. So we write :

SUSPENSION OF COMPLETE CHORDS 375
But the following is correct :

— r -p-

(c) It is said that upper auxiliary notes should be diatonic.
But there are cases in which the application of the rule would
be impossible musically :

Here we use the Neapolitan Sixth in the key of C ; to use
D natural at (i) would be most offensive.

But lower chromatic auxiliary notes do not cause clashes :

(d) In decorating a chromatic chord we generally write
according to its scale :

But there are cases in which this cannot be done :

S^T ^"T f^

ugly.

good.

rf-^-b
IP

jrj^ j u j*r* j

*D* J G*1 • n^^f J * •

^-^^-^

bad

good.

376 SUSPENSION OF COMPLETE CHORDS

The chord (i) is borrowed from the key of C minor, but E flat
clashes badly with the succeeding E natural.

(e) It has been said that when a chord lasts for some
appreciable time it fixes itself on the mind as a temporary
tonic, and the unessential material follows the notation of the
scale of the chord used. But when nearing the point at which
a new chord is about to enter the quasi-diatonic passing notes
should be influenced by the succeeding essential harmony and
its tonality :

In these cases the C natural and F natural are the seventh and
ninth of their respective roots, and are therefore really essential
notes.

In the following example the A flat, though correct according
to the descending scale of C minor, clashes most offensively
with the succeeding A natural :

But A natural would be equally offensive in reference to the
chord of C minor. Therefore an A descending to G must be
avoided altogether. A natural ascending would be good if it
reached C before the next chord :

SUSPENSION OF COMPLETE CHORDS 377

3 A

j..

good. bad. '

5. Advanced technique. When the student has become
thoroughly acquainted with ordinary procedures he is in a
position to attempt some of the advances in technique that are
accepted as canons of art.

(a) Experiment should be made with harmonies over an
inverted pedal. The only law is one's ear. A good example
may be seen in Beethoven's Mass in C, Quoniam tu solus,
where the chords of F major and D minor clash with the inverted
dominant pedal G. The range of modulation over an ordinary
pedal, too, should be increased. The two pedals at the end of
Karg-Elert's First Sonatina in A minor for the organ are
interesting.

(b) Discords preparing other discords :

BEETHOVEN.

(2) In using passing notes :

r r

378 SUSPENSION OF COMPLETE CHORDS
(3) In using fundamental harmony :

(4) In using suspensions :

WESLEY. Te Deum in E.

The use of consecutive discords :

7 7

BACH. Fugue VII
(The Forty-eight).

9 9

(e) Unobjectionable exposed consecutives :

BACH. S/. Matthew Passion.
(i) (2)

i . . J j f"2 J -

i i

9 8

SUSPENSION OF COMPLETE CHORDS 379

At (i) the bass is merely

decorated.

At (2) the F is unessential, displacing E flat.
Similarly the 7 to 8 is quite common between different positions
of the same chord :

MENDELSSOHN.

Exercises.

i. Add three parts for the pianoforte to the following bass,
introducing suspension of chords and appoggiatura chords :

2. Add three string parts to the following melody :

ist VIOLIN.

3. Add two florid parts for organ above the following bass

i i

Pedal.

CHAPTER XXXIII

THE SETTING OF WORDS

1. IT is of course impossible in a treatise on Harmony to go
minutely into the technique of the various means of expressing
music. But it has been thought wise to treat in a broad way of
some of the common mediums, so that the technical work need
not be abstract. The writing for voices is considered last,
because the setting of words is an additional difficulty.

2. When each syllable is set to a separate sound, the treatment
is said to be syllabic :

Love, thou art ab ~ so-lute

When two or more sounds are given to the same syllable, the
treatment is said to be melismatic :

-I I L £— I (* J * J •

Sole Lord, of life and death

All the notes assigned to one syllable are grouped together
by a curved line. Quavers and shorter notes assigned to
separate syllables are given separate tails.

3. The most important point to emphasize is that the accents
of music and the metre of poetry are not analogous.

The following stanza will serve to bring out this point :

Still do the stars impart their light

To those that travel in the night :

Still time runs on, nor doth the hand

Or shadow on the dial stand ;

The streams still glide and constant are :

Only thy mind

Untrue I find,

Which carelessly

Neglects to be

Like stream or shadow, hand or star.

CARTWRIGHT.

THE SETTING OF WORDS 381

A setting of the first two verses as if the metre and accent
were analogous will at once reveal grave faults :

Still do the stars im-part their light to those that trav - el in the night.

In the first place, the monotony of the rhythm puts the whole
thing out of court.

Next, it will be observed that the setting has produced the
effect of recitation in a village school.

For the purposes of metre some syllables must be more
strongly accented than others, and in this much licence is
allowed ; for example :

Care-less-ly.

But in setting these words to music this must not be repro-
duced, but rather carefully avoided. The essential thing to do
is to imagine the words well recited. The reciter will accentuate
certain words or syllables and pass lightly over several, e. g.

to those that travel in the night.

He will raise or lower the pitch of his voice in accordance
with natural inflexion.

For example, he would not raise his voice for the second
syllable of ' travel '. The composer must also be careful to use
a fall in the music.

bad. good.

tra - vel. tra - veL

The following will be found to be analogous to good recitation.
It is in fact measured recitation with definite sounds attached
to the words :

$=*

Still do the stars im - part their light to those that tra - vel in the night.

As the above is in 1 time, there are two strong accents in the
bar - w w - w w.

If however the music moves thus : J. j. the effect is J. J.

382 THE SETTING OF WORDS

So that J. J" is possible.

tra - vel

But the following is not good :

i i_> > / j-l j.

tra - vel in the night.

It is almost impossible to make 3 weaker in stress than 2.

Further, if perfection be the aim, it is really wrong to have
any pause on either syllable of ' travel ' ; the following would be
better :

^ J> / J J.

tra - vel in the night.

But this causes a further difficulty. The phrase will now stand :

Still do the stars im - part their light to those that tra - vel in the night.

This forms a three-bar phrase, and it sounds ill proportioned.
It could stand if another phrase of the same length responded,
or if the accompaniment or added vocal parts completed four
bars (see also par. 6 (a)).

4. Although there can only be one correct placing of the
strong accent, the weak syllables may be set in a variety of ways :

g / / .* / j /i j.

sha-dow on the di - al stand

sha - dow on the

I f / J- J

sha - dow on the

All these are equally correct.

When setting words for more than one part, this is how
variety is gained. The melisma is of course of great value also.

It may be pointed out that although it is bad to put an un-
stressed syllable on a strong accent, it is quite good to put a
stressed syllable on a weak accent :

THE SETTING OF WORDS

383

shad - ow . . hand or star

^£

r r

shad-ow hand

or star

To return to the second verse :

tra

- vel

j" j-\j.

in the night.

If an instrumental accompaniment were added to this, one
would take care to get movement at (i) :

trav - el , in the night.

J?b J * J=— J-J-*.

766

If other voices were added, the procedure would be:

trav - el .in the night.

J r
j.

"~~ •

trav

-g-g1^

in the night.

It is of course possible, for special effect, to have a halt such as r

But this is really in | time. Such a procedure is only effective
at the end of a phrase, for relief, or where the particular effect
brings out the meaning of the words.

384 THE SETTING OF WORDS

Again, in order to gain independence of movement, one voice
may throw the strong accent forward :

night, Still time runs on

f\ S__ S .

-f

£fcr

Still time runs on

5. The next point to observe is that the verse is not by any
means necessarily analogous to the phrase :

Still time runs on, nor doth the hand or shadow on the dial
stand ;

To have a cadence in the music at the words ' the hand ' is
too absurd to need comment.
The section :

Which carelessly

Neglects to be

Like stream or shadow, hand or star.

is difficult, because of the number of unstressed syllables. The
following would stand :

Care - less-ly ne-glects to be like stream

6. It is of course obvious that points such as those discussed
may lead to trouble in the balancing of the phrases, especially
when the composition is for more than one voice.

Suppose it be required to set the last five verses in imitative
fashion :

Only thy mind

Untrue I find,

Which carelessly neglects to be

Like stream or shadow, hand or star.

The ear is largely guided by the top part, so that if the
soprano begin and the others enter successively, the soprano
part must rule the phrasing from the start. Obviously if it go
right through it will have ended before the rest, whose entries

THE SETTING OF WORDS 385

are delayed. The Soprano must therefore extend its dimensions
by (a) long notes, (b) repetition of words, (c) rests.

(a) It is important to choose appropriate words for long
notes :

On - ly thy mind un - true ... 1 find

"> - |J J-J-JJ. .K|J J |J

On - ly thy mind un - true I find

Every part should have some long notes in order to preserve
the equilibrium, and in order to allow the rest to catch up.

(b) Never repeat incomplete sense. ' Only thy mind, only
thy mind, thy mind/ is simply idiotic.

Think what words could be repeated by a reciter without
producing an artificial effect, and utilize those; e.g.:

stream or shadow, stream or shadow,
hand or star, hand or star.

Again, do not let under parts enter with the latter part of
a phrase only :

»J ,SJ>|J. J^J /3|J

On - ly thy mind un - true I find

« - | r J | J J | J

un - true I find

Voice (2) is merely singing nonsense. Imagine that each
voice has only his own part before him, and see that it forms
complete sense.

"> J. /|JJ / r | . - |

stream or sha-dow

(2) J* *K J J\ J. J*| J J |

- gleets to be like stream or sha - dow

The part which is for the moment the highest part rules the
phrase. In the following frame the phrase as if it began with
the Soprano :

1568 C C

386 THE SETTING OF WORDS

SOPRANO.

On -"*

. S /

ly thy

J- J
mind un-

ALTO.

t
c

J J» J>

>n - ly thy n

J. /

lind un

- true . .

TENOR.

J J* f .

On - ly thy m

J. J
nd un- t

j J

rue -I

find

BASS. J J* J"
On - ly thy

mind

* e.
un - 1

j J
I

J
find

rue .

J J J. J*

true I find which

care- less-ly ne -

gleets to be like

J J J. J*

1 find which

care - less-ly ne

- gleets . . to belike

JK b N k
f j* «r .r

which care-less- ly ne

r J J>. J> J" ' J-

which care-less-ly ne

J. J> j J

stream or sha - do\

- gleets

. . to be lik

1 J^

e stream

be like

J
star.

- gleets

. . to

J^3
or

n J

hand

stream or

sha -

dow,

hand

star.

• or

J
sha •

j
dow,

hand

star.

stream or

J
sha -

dow,

n j

hand

star.

7. It is beyond the province of this book to discuss the form
of a composition for voices. But in the majority of cases, it will
be Binary or Ternary.

THE SETTING OF WORDS

387

Exercises.

i. Work out the following blank rhythms for S. A. T. B.
Choose your own modulations :

SOPRANO.

9 J*

JC5

S J-

J. J"

The

fie^-

ry moun

tains an

- swer

each

ALTO.

9 N

8 •

J* J-

J. /

The

fie -

ry moun

tains an

- swer

each

TENOR.

9 N
8 ^

/ J^

J J^ J ^J J1

The

fie -

ry moun

tains . . an

- swer

each

BASS.

1 /

J- J.

^ ^T> /

The

fie -

ry moun

tains . . an

- swer

each

J> J^ J

J. J

f J

oth

er,

their thun-d'rings are

; ech - oed from zone

J^_

J* J*

S S J

' J- J J- JT3 J-

oth

er, their thun-d'rings are

; ech - oed from zone

J J

J- J- J

1 J^ J^ J" «

f J

oth

- er,

their thun-d'rings are

ech - oed from zone

y J

J* J* J

• J. J.

oth

- er,

their thun-d'rings arc

: ech - oed

from

J^_

-, J-

J3? s

J. J.

j, j.

zone,

. . .

The

fie • ry n

loun - tains

an - swer each

J^_

1 T

r i

r i r J"

J33

zone,

• •"*X

The

fie -

J^_

1 -^

•T3 J*

J- J-

J* -N

zone,

•—*"''

The

fie - ry n

ioun • tains

an -swer each

J- J

J»

J J*

J - r J-

r—}

zone

to zone

, from

zone to z

one, The

fie^".

C C 2

388

THE SETTING OF WORDS

oth

J J» J> J« *

er, their thun-d'rings are

J. J- J-

ech • oed from

J-
moun

J. * *• *

- tains an - swer each

J. J * * * *

oth - er, their thun-d'rings are

oTh

y j j- j- j- *

er, their thun-d'rings are

•L J^J J* J* J J*

ech - oed from zone to

moun

J: J* / J1

- tains an - swer each

J. J J* J* J* /
oth - er, their thun-d'rings are

zone

+ •

(End of first half.)

J- i |

zone,

ech

J J* JT3 /

- oed from zone to

zone, , . The tern - pes - tuous

J.
zone,

1 J* J1 J^3 J*

The tern - pes - tuous

J. J * * * *

o - ceans a -wake one an -

J.
ech

j J* JT3 /

oed from zone to

J- r i

zone,

The tern - pes -tuous

J- J J* J* / J*

o - ceans a - wake one an -

4; ,J *
ceans ... a -

wake . . one an-

oth

n «
Tl

J. J-
er, a

J. J ^ J~2 J*

wake one an -

o - - ceajis a - wake one an -

ic tern - pes - - tuous

J.
oth

J. J j- J. J. j.

er, and the ice rocks are

oth

- er, and the ice rocks are sha - ken, the ice rocks are

oth

J- J ****** 'J-J *

er, and the ice rocks are sha- ken round win - ter's

oth

J. J * J. J. J.

- er, and the ice rocks are

THE SETTING OF WORDS

389

sha

throne, .

sha

ken round

the ice rocks are

J" S

ken round

ter's

j-j

ter's

J- J

sha - ken round win - ter's

win - ter's

throne

r n

throne

r i

throne

r T

1 r n J ^

When the

throne

J S

When the

J.
Cla

J. J /

- rion of the

r i r - J -h

When the

When

the

J. J. J J*

Cla - rion of the

J. J. J-

Ty - phoon is

Cla -

rion

the

Ty -

phoon

blown,

J-

Cla -

rion

the

Ty •

phoon

blown,

TV -

r)hoon

blown

1 J

blown,

When

the

Cla -

rion

blown,

J f

When the

J J>

When the

J /

When the

J ^

When the

Cla - rion of the

| J* J* J* J

Cla - rion of the

Ty - phoon is

blown .
blown.

blown,
blown.

390 THE SETTING OF WORDS

2. Oxford Book of Verse.

No. 840. Set for Tenor and Pianoforte. Binary form.

When Death to either shall come, —

I pray it be first to me, —
Be happy as ever at home,

If so, as I wish, it be.

Possess thy heart, my own;

And sing to the child on thy knee,
Or read to thyself alone

The songs that I made for thee.

No. 850. Set for Bass and Pianoforte. Binary form.

The boat is chafing at our long delay,

And we must leave too soon
The spicy sea-pinks and the inborne spray,

The tawny sands, the moon.

Keep us, O Thetis, in our western flight !

Watch from thy pearly throne
Our vessel, plunging deeper into night

To reach a land unknown.

No. 282. Set for S. A. T. B. Binary form.

I got me flowers to straw Thy way,
I got me boughs off many a tree ;

But Thou wast up by break of day,
And brought'st Thy sweets along with Thee.

Yet though my flowers be lost, they say
A heart can never come too late;

Teach it to sing Thy praise this day,
And then this day my life shall date.

No. 253. Set for S. A T. B. Ternary form.

Fair pledges of a fruitful tree,

Why do ye fall so fast?

Your date is not so past
But you may stay yet here awhile

To blush and gently smile,
And go at last.

THE SETTING OF WORDS 391

What ! were ye born to be

An hour or halfs delight,

And so to bid good night?
'Twas pity Nature brought you forth

Merely to show your worth
And lose you quite.

But you are lovely leaves, where we
May read how soon things have
Their end, though ne'er so brave :

And after they have shown their pride
Like you awhile, they glide
Into the grave.

NOTES ON Ex. i.

(a) The form is Binary, the first half ends at bar 9.

(b) After beginning in harmonic style, imitations should be
introduced at bars 4-5. In bars 7-9 the soprano has long notes
to enable the other parts to catch up.

(c) At bar 8 the tenor begins the new phrase before the
previous one is completed in the other parts. This preserves
the effect of continuity.

(d) Bars 9-16 give opportunities for imitative writing.

(e) The change to | time at the end affords welcome relief
in rhythm. The ending is of course purely harmonic in style.

The inexperienced student would be well advised to set out
the last two problems in this form before composing the actual
music. If the rhythm is correct, the outline will readily suggest
the music.

CHAPTER XXXIV

HARMONY IN FIVE PARTS

i. WHEN the number of parts in the score is increased, it is
obvious that there must be frequent doubling. The choice of
the right note is merely a matter of common sense, and ought
not to cause the student serious difficulty. However, it may be
well to give some detailed information on the matter.

(a) In using common chords any notes may be doubled
except the Leading Note. If, however, the Leading Note be
a portion of the mediant chord its doubling may be unobjection-
able :

>— J a

(b) As a general principle, in using fundamental discords,
double those notes that are free in their progression. Whether
the generator be present or not, always aim at doubling the fifth
from it : i

In writing supertonic harmony, however, the seventh from
the root may be doubled if necessary :

HARMONY IN FIVE PARTS

393

(c) In writing diatonic sevenths, the root, third, or fifth may
be doubled, provided that such note be not the Leading Note.

There is no objection to the doubled Leading Note if it be the
fifth of a root :

beyond the fact that the distribution of the harmony is better
thus :

(d) As regards chords of the augmented sixth, obviously in
the Italian sixth the only note to double is the third from the

-J, *> ,J. *_

1 A

In the case of the French sixth the real root is obviously the
note to double :

It is, however, quite possible to double the third from the bass

F^T

394

HARMONY IN FIVE PARTS

In the case of the German sixth the third from the bass note
is the only possible note to double :

Efl

2. It is, of course, possible to obtain many combinations without
any doubling :

3. Unison by similar motion is forbidden. Often a change of
position while the first chord remains will obviate this :

I i . I ! i

4. The same device prevents overlapping :

HARMONY IN FIVE PARTS

395

5. Gonsecutives by contrary motion should generally be
avoided.

6. It is better to avoid a perfect fifth followed by a diminished
fifth, or vice versa, between upper parts when the lower of the
two parts involved moves a whole tone :

poor. good.

7. Of the two following examples the second is the better.
The leading note is eventually resolved :

\-Jf J 1

-£ J II J 1

^=SJ3

u ^\

n r I
^. J

T r

. J.

rj H-g-l

98 7
4 3

Lg ~H

9 8
4 3

8. When every note of a chord is suspended, and it is impos-
sible to make the part that sounds the resolution against the
discord move by conjunct and contrary motion towards it, it is
generally possible to double the bass :

In the above case the lower of the two parts involved in the
fifths moves a whole tone, but there is no evil effect, because
the harmony of both chords is derived from the dominant (A).

9. In writing for voices it is usual to employ S. S. A. T. B. or
S. A. T. T. B.

In writing for strings, two violas or two 'cellos are used.

If a solo instrument like the clarinet be added to the String

396

HARMONY IN FIVE PARTS

Quartet the latter must form complete harmony without the
former.

The clarinet need not be a real part, and being of timbre
quite different from the strings, may form with them clashes that
would be intolerable between two instruments of the same
quality of tone :

MOZART. Quintet in A major.

_^ , (2)

CLARINET

IN A-

STRINGS.-

tr
tr

At (i) the 2nd Violin runs into the unison (Clarinet part).
At (2) the ist Violin and Clarinet are not independent parts.

10. Consideration here, however, will only be given to the
writing of five real parts, as distinguished from the combination-
of five players.

The student should read the following String Quintets :

SCHUBERT. Op. 163.
BEETHOVEN. Op. 29 and 20.
MENDELSSOHN. Op. 18 and 87.
BRAHMS. Op. 88 and in.

11. Vocal work. The following may be studied :

BACH. B minor Mass.

SPOHR. Azor and Zemina. (Quintet in Act i.)
PEARSALL. ' It was upon a springtide day.'
,, ' Spring returns.'

,, « Waters of Elle.'

,, ' Why should the cuckoo's tuneful note.'

LLOYD. ' Before me careless lying.'

,, * When at Corinna's eyes I gaze.'
,, ' When first I came to court.'
STEVENS, R. J. S. 'It was a lover and his lass.'

,, ' Sigh no more ladies.'

BRIDGE. ' Canticle to Apollo '.

MENDELSSOHN. ' The nations are now the Lord's.' (St. Paul.}
< But our God abideth.' (St. Paul.)

HARMONY IN FIVE PARTS

397

12. Before attempting five-part composition, strict counter-
point in five parts should be studied. The various numbers
in the Triumphs of Oriana should be thoroughly well known.
The value of writing madrigals in the strict style cannot be
over-estimated. A student ought to be able to write fluently in
five parts with no more liberty as regards grammar than is
allowed in four parts.

13. In string work there is obviously more scope for latitude
than in vocal work.

For instance, .there is no harm in doubling a discord that has
definite resolution, if one part merely pass through it, or if it
make the harmony fuller :

MENDELSSOHN. Quintet in A.

In bars four and five the ist Violin and ist Viola proceed
thus :

These are not independent parts, and the fact that Mendelssohn
wrote them does not place them above criticism. The effect
here as blocks of harmony is of course perfectly good ; we are,
however, criticizing the parts. It must be admitted, however, that
the two phrases are separated at (i). Nevertheless Mendelssohn
is often a careless writer. In the exposition of the first movement
of this Quintet there are several things which a University examiner
would blue pencil :

398

HARMONY IN FIVE PARTS

Although there is a change of chord at (2), the two parts are
not independent.

In the next bar but one we have:

**=£

Here the doubling is understandable, as being in effect
probably preferable to anything else that could be done. But
a candidate for a degree would probably be corrected thus; which
is, howevei^ far poorer music :

A little further on we have :

f " r r

• i .

" £— -^

r *r '

• * ** " • •

r f r r
j. j.

_^_ — J 5. — 1

The duplication of the parts in octaves is intelligible, because
it is carried on long enough for the purpose to be apparent. The
fifths, however, would probably be blue pencilled.

A little farther on we have a procedure which has already been
mentioned as being exceedingly common, and which has no evil
effect :

tafc

£E

y i ^» P*

HARMONY IN FIVE PARTS

399

Of course the truth is that the rule as to 7 to 8 refers to the
use of two different chords only :

bad.

All the same the rule as stated has no limitations of this sort.
' No two notes next to each other in alphabetical order may
proceed by similar motion to the octave or unison.' The inter-
polation of the fifth of the root in the above case does not remove
the effect. Some probably would object to the above on the
ground that no two parts should approach an octave by similar
motion when one of them is resolving a discord.

Sir Frederick Bridge, however, seems to have no objection
to this :

In fact he distinctly mentions it as a procedure, and quotes
the above as an illustration. (Bridge and Sawyer, Harmony,
p. 183.)

Next we have :

4oo

The figure

HARMONY IN FIVE PARTS

is hardly sufficiently established to

justify the fifths.

The doubling of the seventh in the next bar is justifiable, e.g.
to enrich the harmonic effect.

In the next two bars there are not consecutives between the
Violin and ist Viola; the passage really is :

It may be here noted that whereas a passage may be correct
in unbroken harmony, it may be incorrect in the broken form.
The above would be faulty thus :

On the contrary, a passage that is incorrect as harmony may
be correct in the broken form :

f _

* J. J

± A

r-9t# f*' •- • •

yy p. — =

pr r r =

W ;

ILII«8 •"" J*J J W J

V J J ! «'

> J J "T"1 i

.|HI * 1 T I L±J

j r r— ^^=B

Here the 2nd Violin duplicates the ist. In bar 3 the seventh
is doubled by the part that moves in the arpeggio of the chord-

HARMONY IN FIVE PARTS

401

Sufficient has been said to show that neither theory nor
practice are above criticism.

It is the same in vocal work.

Take for example Mendelssohn's ' The nations are now the
Lord's*. It will be unnecessary to comment upon the examples:

Students are accustomed to argue that the second harmony
note, e. g. B flat at (i), makes the criticism invalid. It is not so.
In Counterpoint the same student would not write :

Of course in a purely harmonic style no one would object to :

D d

402

HARMONY IN FIVE PARTS

But in a contrapuntal style the true test Is, are the parts melo
dically independent ?

to 5 s

It is needless to multiply examples. They occur on every
page. All that need be said is that from the point of view of the
examiner, Mendelssohn was a very careless workman. But the
student is much too prone to believe that his work is rejected
chiefly on the ground of technical errors. Such is not the case.
The author has known exercises that were practically flawless
in technique rejected, simply because they were not good enough
as music. And such a verdict is surely just. On the contrary,
he has known work which contained a profusion of octaves and
fifths and so forth, to be accepted, because it was obviously the
work of an artistic musician with ideas worth expressing.

14. Two examples are added :

Third Mus.B. May 1911.

ist
VIOLA.

and
VIOLA.

'CELLO.

HARMONY IN FIVE PARTS

403

:£=*

404

HARMONY IN FIVE PARTS

dim.

n; -

^PF

HARMONY IN FIVE PARTS

Third Mus.B. May 1911.

1ST

SOPRANO.

UPb

405

2ND

SOPRANO.

ALTO.

TENOR.

, J J J

BASS.

•=3=?-

p
p

4o6

HARMONY IN FIVE PARTS

i r

*p£B

HARMONY IN FIVE PARTS

407

Exercises.

i. Add four vocal parts in the form of a hymn tune. The
parts should not cross. Avoid chromaticisms :

God the Fa • ther, God the Son, God the Spi - rit, Three in One,

Hear us from Thy heaven - ly throne, Spare

us,

ly Trin . i - ty.

2. Add four parts in Chorale fashion to the following unfigured
bass. The parts should not cross. Introduce unessential notes :

r J H ,j *•

(i) Use diatonic sevenths.

3. Write verses in plain chords in five parts (S. S. A. T. B.)
introducing :

Verse (a). Verse (3). Verse (c).

* Oft — 8—

-£=L

Verse (d).

|Ab ^ IT

Verse (*).

Verse (f).
y \\Jttf =

^j "*^5"

gg^-^s •— yE

Mfc

=P ^-1-

S My § =

4o8 HARMONY IN FIVE PARTS

4. Add four vocal parts in free style to the following basses

ir r irr i" i

5. Add four parts for strings :

Adagio. ^ — ^ x~

b» W ft

Z-ZZL

6. Begin as follows, and modulate to C sharp minor, D major,
B flat major, A major, F major, A major :

coda.

J * * [

(I)

&*=&

(i) Harmless fifths.

CHAPTER XXXV

HARMONY IN SIX, SEVEN, AND EIGHT PARTS

1. SOME relaxation of the rules of part-writing is a necessity
when writing in more than five parts. The following licences
are generally agreed upon :

(a) The leading note may be doubled; but it is objectionable
if one of the parts be the bass.

(b) The unison may be approached by similar motion, unless
one of the parts involved be the highest or lowest.

(c) In six parts, consecutive octaves may be taken by
contrary motion. In seven and eight parts, octaves and fifths.
But these should not occur between the same two parts consecu-
tively.

(d) The diminished fifth followed by the perfect fifth, or
vice versa, with the lowest part moving a tone, may be used
between upper parts.

2. Fundamental discords should not be doubled as a rule.
There are, however, exceptions to this generalization —

(a) When a discord is capable of two resolutions, one part
may take one resolution, another the alternative :

(b) Or, one part can descend to another note of the same
harmony :

410

HARMONY IN SIX, SEVEN

But such doubling would be poor if one of the discords moved
irregularly, e. g. :

Such things may be seen, but the mental effect of the part is
bad. As a matter of fact such doubling is hardly ever necessary,
and the student should aim at its avoidance rather than its use.
(See Ex. i.)

3. Of course when the root of a fundamental discord is not

present, more notes become free in their progression. The aim

in the following examples is to show those progressions which

are least open to objection. (See Ex. 2.)

Ex. i.

Ex. 2.

Mj_ — _J

(a) (6)

INI 11=

— x

—HI

The leading note is in the bass. Its doubling would be un-
pleasant. (Note in example (c) that the leading note is doubled

AND EIGHT PARTS

411

at the unison by two equal voices.) Any movement downwards
to G will transgress the rule that when a part is resolving a
discord, no part should move in similar motion with it to the
octave of such resolution. In the majority of cases composers
abide by this. In six parts no dilemma occurs. (See Ex. 3.)

In seven and eight parts we must double the original seventh (F);
but as the root is not present it is not evil in effect. Being most
objectionable when it is the diminished fifth from the bass, the
ideal will be reached when it is trebled at the unison. (See Ex. 4.)

When, however, the chord resolve on to a six-four before pro-
ceeding to the five-three, the diminished fifth from the bass
becomes the root of the next chord, and there is less need for
criticism of this nature. But the diminished fifth should not be
doubled in more parts than is necessary, and it is better as far
removed from the bass as possible. (See Ex. 5.)
Ex. 3. Ex. 4. Ex. 5.

4I2

HARMONY IN SIX SEVEN

4. When the diminished fifth does not occur between the bass
and an upper part, and when the leading note is not in the bass,
there is no objection to the doubling of either. (See Ex. 6.)

5. Diatonic sevenths need not cause any trouble. The seventh
should not be doubled, unless remaining to be a part of the next
chord. (See Ex. 7.)

Ex.6.

ri™ H

6. As regards the chord of the added sixth, if it resolve on to
the tonic chord, any note may be doubled, though it is better
not to double the sixth from the bass because the progression
upwards to the third of the tonic seems its only natural resolution.
(See Ex. 8.)

Mentally here D is discordant rather than C.

7. The Italian sixth cannot be used in eight parts without the

AND EIGHT PARTS

infraction of some rules. It will be necessary to manipulate it
somewhat as in Ex. 9.

Its use in more than four parts is exceedingly rare.

But the German and French sixths are easy to manipulate.
(See Ex. 10.)

Ex.8.

Ex. 9.

Ex. 10.

eS*^

3 /r3 icr /r3

p
B^s

J^7

r ii -=B

The Neapolitan sixth. (See Ex. n.)

In six parts the writing ought to be as strict as in five, except
that octaves by contrary motion and the unison by similar motion
may be used.

8. Double suspensions and retardations are useful. The ninth
can be doubled and resolve both ways. (See Ex. 12.)

9. In writing for double choir, the licences mentioned in this
chapter should only occur between voices in different choirs.

Ex. ii.

HARMONY IN SIX, SEVEN

Ex. 12.

|=£±=J

jo. The following works should be studied :

Strings. SPOHR. Sextet in C. Op. 140.
RAFF. Op. 178 in G minor.
DVORAK. Op. 48.
BRAHMS. Op. 18 and 36.

Voices. PEARSALL. 'Take heed, ye shepherd swains'. * Summer is
y'coming in.' ' List ! Lady, be not coy '.
* O ye roses '.

LLOYD. l Lord teach us to number our days '.
WEELKES. ' As Vesta was from Latmos hill descending'.
Eight parts.

Voices. BACH. ' Be not afraid '.

MENDELSSOHN. Psalm 114.

,, Psalm 2.

PARRY. ' Blest pair of Sirens '.

AND EIGHT PARTS

CORNELIUS. ' O Death ! Thou art the tranquil night '.
LLOYD. ' The righteous live '.

„ * The rosy dawn '.

,, 'To morning'.

Examples.

Figured Bass. As the study of the progression of many parts
alone is good mental discipline, examples of figured bass are
here for the first time given. It is not enough that the pro-
gressions should be grammatical. The parts should be as varied
and elegant as it is possible to make them. Of course nothing
in the nature of figure can be attempted ; nevertheless no part
should be lifeless. The last example (Mus.D. Oxon., 1908) is
one of the most difficult figured basses ever set. The student
would do well to work it out before examining the working here
given. He need not be discouraged if at the end of two hours
work several moves remain unsolved, and the parts seem as
ungainly as possible.

i. Figured Bass. Mus.D. Oxon. 1901.

"* fr

Wh-

i 1 —

-Tf—r-

=? ^~J

^ »•

5- 6
3-

416 HARMONY IN SIX, SEVEN

*s=- -T" i rf <*—.

i i

7587 5

5 : i -6 •'

r r i r — -^4.

i ' ' t

6 6

fP^^F^f

743

4 i

AND EIGHT PARTS

4*7

2, Mus.D. Oxon. 1904.

-ff±

*^£

^lp^=^

6 6

6 -
5

434

PHP

EL r I I ff-i

i=^=^=a=t^=

1-1- I LT F

6 B7

674398 698 7-~

5* 76 476 5-6

P 4-43-

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4i8

HARMONY IN SIX, SEVEN

(3) Mus.D. Dunelm. 1908.

666-57 6 6

6 - 6 -
65 65

AND EIGHT PARTS

419

•\ p — I

E e 2

42o HARMONY IN SIX, SEVEN

Mus.D. Oxon. 1908.

7-|r J. J

6 7 6-

4 6545 5

4 3 « 3

AND EIGHT PARTS

421

-if

^T=^

J J LJL

r r i

7 8

s 6

6 -

547

Stx and eight-part vocal work. Six-part string work.

For the last examples we set a six-part string example and
a melody from Dr. Buck's Unfigured Harmony (a) for six and eight
parts, (b) for double choir. The student will find it helpful to
compare the two, noting where the writing for eight-part chorus
and double choir differs, and finding out the reasons. This will
be best illustrated by copying out the original eight-part working
as if for double choir ; the student will then at once see that here
and there licences occur between voices in the same choir, whereas
they should only occur between voices in different choirs. Of
course, when both choirs are moving together, both basses need
not be real basses ; but such things as consecutives by contrary
motion and doubled leading notes or discords should not occur
between voices in the same choir.

432

HARMONY IN SIX, SEVEN

Mus.D. Oxon. Nov. 1905.

mm.

-ur — r-

v —

\-^=f^

'x— _ -^

AND EIGHT PARTS

£s£^

423

0*3

piss.

424

HARMONY IN SIX, SEVEN

**£

t£

pizz.

AND EIGHT PARTS

425

PlZS.

v \

426

HARMONY IN SIX, SEVEN

ist Soprano from Buck's Unfigured Harmony,
f

Down let him lie. Down let him lie

Down let him lie,
*

Down let him lie, Down let him lie, . . .

Down let him lie, Down let him

Down let him lie,

and die, Down . . let him lie, and

Down let him lie,

Down let him lie, and slum

rit.

m—^

- b'ring die

And

change, . . .

~ ^ and

slum

b'ring die, and slum • b'ring die, And

. . . and

die, and slum - b'ring die, And

lie, . . and

yw>- „' ^, i

die, and slum - b'ring die,

. . . ."T . And

~ 1 J ^f

slum - b'ring

~. . . . ^ . And

^n — n — i — i . -H

b'ring die, and slum - b'ring, slum - b'ring die, And

AND EIGHT PARTS

427

Lento.
P

change his soul for har - mo - ny, his soul

change,

and change his soul for

change his soul, and change his

and change his soul for har - mo - ny, .

change, . . . and change ... his soul,

change, . . . and change

his

and change his soul, and change his

change,

and change his

428 HARMONY IN SIX, SEVEN

r^fr±-r^=£=^g|

for bar

mo - ny.

har - ino-ny,

for har - mo - ny.

soul.

his soul for har - mo - ny.

r--r—

his soul for . . har - mo - ny.

And change his soul for har - mo - ny.

soul for har

mo - ny.

soul,

his soul

for har - mo - ny.

J J

3^ ' J

soul, his soul for har - mo • ny

AND EIGHT PARTS

429

The same for Double Choir.
3-

Down let him lie, Down let him lie, .

Down let him lie, Down let him lie,

and

i ' r r i

Down let him lie, Down let him lie,

and

Down let him lie, Down let him lie,

and

Down let him lie. Down let him lie,

Down let him lie,

II h
S\ u^ i

Down let him lie,

Down let him

Down let him lie,

430 HARMONY IN SIX, SEVEN

slum - b'ring die, And change,

slum - b'ring die,

and

and slum - b'ring die, And

slum - b'ring die, and slum - b'ring die>

And

slum - b'ring die, And change,

and

rr n.-U-u

and slum - b'ring die, and slum-b'ring die, And

And change,

and

r IHCT i i ui ' * I r =*=%

lie,

and slum - b'ring, slum - b'ring die, And

and slum - b'ring, slum • b'ring die, And

AND EIGHT PARTS

431

Lento.

change his soul for har - mo • ny, his soul

change

his soul,

and change

his

change,

and change . . . his soul,

change, . . . and change,

and

change

his soul,

and change his soul for

change,

and change his soul for har - mo - ny,

change, , and change . . . his soul, and

change

his soul, and

432 HARMONY IN SIX, SEVEN

£g r f ^

for bar

mo - ny.

soul,

his soul for bar - mo-ny.

and change his soul . . for har . mo - ny.

change his soul for har - mo - ny.

har - mo - ny,

for har - mo - ny.

and change his soul

for har - mo • ny.

change

his soul

for har - mo - ny.

change his soul for har mo • ny.

AND EIGHT PARTS

433

Exercises.

i. Add (a) five vocal parts, (b) seven vocal parts, (c) seven
vocal parts arranged as Double Choir :

(b)

6 5
4 3

666 7

g 6

6 5
4 3

6 7

(e)

6 b6 7
P

6 7 9 10

4 3 9

7 8

4 3

2. Add seven parts for voices :

(a) Slow.

gji:

15C.8

434
W

HARMONY IN SIX, SEVEN

(e> Slow.

=6=

I1 r t

F-H^ r 1 1- r£^

3. Add six parts for Double Choir.

AND EIGHT PARTS

F f 2

CHAPTER XXXVI

TWO AND THREE-PART WRITING

i. UNACCOMPANIED two-part writing for any length of time is
very rare, except when conceived for the pianoforte. It is, of
course, often used for a short period in a work that is originally
set out in more parts, as a means of relief from the more elaborate
texture. The following well-known extract from the Amen
Chorus in Handel's Messiah is an example :

ist VIOLIN.

and VIOLIN.

p^i

2. General principles of unaccompanied two-part writing.
(a) The lower part must be a good bass :

The above example is faulty, because the combination at (i) is
mentally a second inversion, with the bass incorrectly quitted
by leap.

TWO AND THREE-PART WRITING

437

(b) The rules of harmonic progression referable to extreme
parts apply to two parts :

Ex. 3.

. (c) The harmonic interval of the perfect fourth should be
avoided unless one of the notes forming it be unessential :
Ex. 4.

(d) The harmonic intervals of the augmented fourth and
diminished fifth may be used if treated correctly as implied
chords :

Ex.5.

Similarly the minor and diminished seventh or their inversions
may be used :

Ex. 6.

J J i i J1 .

(e) Any discords may be used if one of the notes be
unessential and correctly approached and quitted :
Ex. 7.

> J I J I ..l.i . . I ... I l_

* — ^ — 1-^5) 11-=— I mgy—— H J l-J .I I J rt J^. J J

The following example for the pianoforte will serve to illustrate
the main points :

Ex.8.

Andante.

HANDEL. Suite VII.

438 TWO AND THREE-PART WRITING

At (i) an implied six-four is incorrectly approached. But Handel
was of course influenced by the old contrapuntal principle that,
as no fourth was present, the writing was correct. At (2) con-
secutive discords are used. The effect is quite good, because C
is essential.

3. Accompanied two-part writing.

(a) When two voices are accompanied by instruments, or
when two instruments are accompanied by a keyed instrument
or instruments of a different family, the two solo instruments or
voices must form correct two-part harmony in themselves.

The following is bad :

VOICES.

PIANO.

(b) When the lower of the two solo parts is at the pitch of
the ordinary bass, it may be considered as a bass momentarily,
or for some considerable time, and the accompaniment can
double it an octave lower :

TWO AND THREE-PART WRITING 439

Ex. ro.

iz2r

VIOLIN.

'CELLO.

PIANO.

(c) When the lower of the two parts is out of the range of
the ordinary bass it may be treated as an upper part to which
the accompaniment supplies the bass :
Ex. ii.

or it may be the bass, and in that case it should generally be
duplicated at the unison only :

440

TWO AND THREE-PART WRITING

There are examples where this recommendation is not
observed, but the effect is usually unsatisfactory.

(d) If the accompaniment be well up in range, the lower
solo part may be a bass to it :

Ex. 13.

BEETHOVEN. Trio. Op. i, No. i.

9-f-f 88 S S t S t f

4. Unaccompanied Three-part writing.

(a) Three-part writing is really more difficult than work in
four parts, because of the danger of getting thin, incomplete, or
ambiguous harmony. At the essential points the harmony should
be as complete as possible. Such a cadence as the following
should be avoided, though it is often found :

Ex. 14.

The next examples show better writing

Ex. 15.

err

(^>) The third should not be omitted on the accent unless
the seventh be introduced with the fifth :

TWO AND THREE-PART WRITING

441

(c) When a fifth or octave is approached by similar motion
between different chords, it is better that the higher part move
by step :

Ex. 17.

(d) Any wide gap should occur between the two lowest parts :

Ex. 18.

(e) The lowest part, at whatever pitch, is of course the bass.

5. All that need be said about accompanied three-part writing
is that the principle as regards the lowest part is the same as
that of two-part accompanied work.

6. A study of the following will clear up any further doubts
the student may have :

Unaccompanied vocal trio. PARRY.
Accompanied vocal trio. PARRY.

Lord ' (Judith}.
String trio. BEETHOVEN.

' O may we ne'er forget ' (Judith).
1 O that men would therefore praise the

Op. 3 in E flat.
„ Op. 9 in G.

Keyed instruments.
BACH. Organ sonatas.

,, Any of the three-part fugues of the Forty-Eight.

442

TWO AND THREE-PART WRITING

7. A few words may be added on the distribution of the parts :

(a) In vocal work the parts should generally be equidistant.
If any wide gap occur it should be placed between the two
lowest parts.

(b) In string work, although this general principle holds
good, there are some important exceptions.

(i) The viola and 'cello may form a complete and separate
accompaniment to the violin, in the manner of a separate group :

Ex. 19.

BEETHOVEN. Trio in G major. Op. 9, No.
w

This, however, is not three-part writing. It serves, neverthe-
less, to illustrate a common procedure in string trios, e. g. double
stopping. It seems as if composers were often conscious of the
thin effect of three parts only, and strove in various ways to
evade it.

The following example is more to the point at issue :

Ex. 20. BEETHOVEN. Trio in E- flat.

tr*

OP- 3-

(2) The consciousness of the thin effect of three parts mentioned
above often leads composers to evolve arpeggio figures covering

TWO AND THREE-PART WRITING 443

a rather wide range, being really a broken form of the device
illustrated in Ex. 19 :

Ex. 21. BEETHOVEN. Trio in G major.

Op. Q, No. i.

(3) When a melodic figure is duplicated in thirds, the remain-
ing part may be at some distance from the other two :
Ex. 22.

***• — —

**v

,.-.

4 * — p — '-ttdh-* ; — i « — o

ET^-cG^

f _^j

|r K r |

It should be said that when writing in a certain definite number
of parts it is not necessary that all the parts should always be
independent. That is to say, that if asked to write a String Trio
the student should not hesitate to introduce such a procedure as
the following if the end justifies the means :

Ex. 23. jdfcf.

-tg==E__^. _^

&c.

444

TWO AND THREE-PART WRITING

It is not three-part writing, but it is of course legitimate writing
for String Trio. Thus in an examination, if the form of the
question be ' write parts for Violin, Viola, and 'Cello ', the above
would be quite correct as one of the technical devices of String
Trio work.

Ex. 24.

J. S. BACH. Third English Suite.

(2) Just as in string work, two parts moving in thirds may be
separated from the third part by a wide gap :

Ex. 25.

J. S. BACH. Fifth English Suite.

(3) Abnormal distribution may of course always be used for
special effect. Observe the sombre feeling created by the low
inside part of the following :

TWO AND THREE-PART WRITING

Ex. 26.

445

(4) Sometimes, too, a melody which lies somewhat high in
compass is accompanied by the left hand. This enables the
right hand to concern itself wholly with the melody. The
Sarabande in the second of Bach's French Suites illustrates
this. The opening bars may be quoted :

These points seem to cover the chief cases of abnormal part
distribution. The procedures should of course be used with
reserve, the normal distribution being the rule rather than the
exception.

CHAPTER XXXVII

MODERN TENDENCIES

1. IT is almost a platitude to say that the art of an age reflects
its spirit. The fundamental principles which underlay progress
in the ordinary affairs of life are also those that regulate the
evolution of art in all its spheres. The music is always re-
adjusting itself to new conditions. As life becomes more
complex, so the music becomes more intricate. The individual
nature of the Greek religion was reflected in the use of single
melody. The congregational element of the Christian worship
found its counterpart in the polyphony of Palestrina. The
Renaissance was signified in music by its secularization, and the
formal spirit of the eighteenth century is very clearly visible in
the stereotyped methods of Haydn and Mozart. Of course such
a reflection must occur not only in the form in which the music
is cast, but also in the contour of its melody and in the character
of its harmony.

2. Art cannot remain at a standstill : it may not be that it is
necessarily always advancing. Up to the present we have
witnessed two main experimental eras, and it is of course natural
that in those periods much of the work should be purely empirical.
The first great crisis in the evolution of harmony came about
the year 1600 when it seemed that the horizontal method had
exhausted itself. The earliest attempts in the ' new music '
appear to us crude and childish, and are not to be compared
with the finished examples of madrigal, mass, and motet. But
this descent into the valley, as Dr. Walker aptly terms it, was
necessary before another peak could be climbed. That peak
has been reached, and another descent into the valley has to be
made. The resource of chromatic harmony has been exhausted,
and composers are searching for new paths. And it is probable
that much of this 'new music * will be regarded by future genera-
tions as crude and childish. But it is the beginning of a new

MODERN TENDENCIES 447

era, and it behoves us to withhold our judgement till the 'new
music ' has, so to speak, ' settled in '.

3. The resource thus far considered in this treatise is that
which has been generally accepted as being possible with twelve
sounds in the octave. It was hinted in a previous chapter that
the Day theory was obviously inadequate to meet much that is
common in modern procedure, and along with this there is a
general disposition to set aside many of the laws of part-writing
that regulated the use of this material. One important fact is
clear, and that is that as harmony gets more complicated and
chromatic, progressions, which under simpler conditions sound
crude, lose their evil effect when utilized in these more delicately
organized situations. A cultivated ear must be the final arbiter
in all such matters. Theorists must now recognize that con-
secutive fifths may often be excellent in effect, and the consecutive
discords may be quite satisfactory. This matter has already
been mentioned. But it cannot be too strongly emphasized that
laws of progression which referred to harmony which was mainly
diatonic must be considerably modified when the whole gamut ot
chromatic resource is utilized.

4. In the present chapter it is intended to take a broad survey
of the main features of evolution that have characterized the art
during the last fifty years, that is so far as the material of com-
position is concerned. It will be convenient to discuss the
matter under four main heads :

(a) New uses of old diatonic material.

(b) The exhaustion of the possibilities of chromatic resource.

(d) The aims of modern composers, and their influence on the
idiom and technique, with special reference to the French School.

5. New uses of old diatonic material.

It is true that if the resource at the disposal of the composer
remained stationary, yet there would always be men with sufficient
personality to use that resource in a purely individual and dis-
tinctive way. It is also true that ingenuity in evolving new
resource may be mistaken for genius. It is sometimes forgotten
that it is really the ideas that are expressed that matter, rather

448

MODERN TENDENCIES

than the particular idiom that is used in expressing them. It
has been said that a modern composer cannot do more than
express what has been expressed before, but differently. This
is true so far as the legitimate aims of music are concerned.
But, again, it must be remembered that the success of this ex-
pression depends a great deal more upon the personality of the
composer than on the number of colours he has in his paint
box. This point is aptly illustrated in the work of Parry. He
does not attempt to enlarge the bounds of harmonic resource, but
he uses it in such a way that the style is quite distinctive. And
any one who is intimately acquainted with his works must in-
stinctively feel that an excursion into the field which is repre-
sented by Elgar would be so foreign to his personality as to
produce at once the effect of artificiality. Both are giants, but
of different temperament, and probably with totally different out-
looks. What then are the purely technical devices that give
Parry's music the distinctive note that is so genuinely character-
istic ? Undoubtedly the most prominent feature of his music is
his constant use of diatonic discords.
If asked to harmonize :
Ex. i.

in a plain style, the average student would write something of
this sort :

Ex. 2.

c r-r
^^

rJ i* J s

r J r

-*: ^-^

Parry, however, writes as follows :

PARRY. There rolls fhe deep.

MODERN TENDENCIES

449

This produces an effect that is quite new and characteristic.
Again, just as Bach used a sequence of secondary sevenths in
the following :

Ex- 3 a- BACH. St. Matthew Passion.

FF===(g==^-^-yfrj»==

f~~ r T-JJI"1 1

Lord, is it I?

is it I? Lord,

Lord, is it

I? is it I?

Lord, is it

s2 — d: IF

*••

is it I?

Lord,

is it I?

is it

b«r «r"

s it I?

G g

45°

MODERN TENDENCIES

so Parry uses a succession of diatonic ninths :

Ex. 3 b. PARRY. Judith.

Hail, thou art high-ly fa-voured, king ! . . thouarthigh-ly fa-voured

&c.

-g-^-J^-g

Hail,

.
thou art high-ly fa-voured, king !

thou art hi

high

The opening choral section of Parry's ' The love that casteth
out fear ' illustrates his free use of diatonic discords :

Ex. .

, J Vl

= r r1 g H

I ii F

O my peo - pie,

what have I

O my peo - pie,

i J id — J i J ^

•p- "* 5

what have I

/I J- V j i

O my peo - pie, what have

1 J J J J N

I done to thee,

— !_fE p 1 1± r_

O my peo - pie,

what have I done to thee,

K |

N K

ie to thee,

1 f1 r g g

where - in have I

r c r

wear « ied thee.

sP-r

c r

ie to thee,

| K

r r *^

where - in have I

S ' J* J^

r ur

wear - ied thee.
— ^ i

1 f- g— I
where - in have

—± ± ±<

! wear - ied thee. . . .

where - in have I wear • ied thee.

MODERN TENDENCIES 451

Another important feature of all modern work is the use of
accented unessential notes, and unaccented unessential notes
struck with harmony notes :

_. PARRY. Blest Pair of Sirens.

A" -=*- -fi 4 m

ifjd>>

— i —

"j J »J J i

^A=H~H~ 1 1 p t- ' -

— i — - — ' — T — * i"j j '

J JL ,

-iT [- — i

^- r |y|

•lit; ti

&c.

@£p p 1

The student should observe the approach of a diatonic seventh
as a passing note, and then the quitting of it as an essential
note. In bar one of the above the ear first accepts the D in the
bass as a passing note, then it realizes it to be the seventh of
the root E flat, and finally accepts it as the preparation of another
discord.

In the next example :

EX 6 PARRY. ' Put off, O Jerusalem.' (Judith.)

I , I J

the noteworthy points are the striking of harmony notes with

G g 2

452

MODERN TENDENCIES

unessential notes producing new harmonic effects. Next we
get the appoggiatura without the resolution. The following
diagram will make the evolution clear :

Ex. 6 a.

In the example quoted below the G at (i) displaces the F, and
then becomes a seventh at (2) :

* Ex. 7.

RAVEL. Le Paon.

(2)

In the next example the F similarly displaces the E flat

* Ex. 8.

DEBUSSY.
La Cathedrale engloutie.

bib-.

This, of course, leads to the evolution of such chords as the
following :

* Ex. 9. Ib_id-

By permission of the proprietors, MM. Durand et Cie, Paris.

MODERN TENDENCIES

453

These chords are due to Debussy's considerations of the
harmonic series of a fundamental, and their bearing on the
formation of new harmonic effects. Thus, again, what was
formerly a dissonance becomes, or at any rate is treated as, a
consonance. It is well known that this idea occurred to Debussy
through his observation of the harmonics of bells and bugles.
Several composers have used the ecclesiastical modes for special
effect. This is a marked feature of Debussy. For example, the
part-song ' Dieu ! qu'il la fait bon regarder ! ' is written in the
Mixolydian Mode. The cadence may be quoted :

bon re - gar - der.

Further, the methods of Diaphony are recalled in the following :

* Ex. ii. DEBUSSY. La Cathedrale eng loutie.

. &c.

±±*

8va.

To return to the work of Parry, two other features remain to be
noticed. One is the frequent use of the pedal point ; this, together
with the employment of diatonic discords and appoggiaturas,
produces a certain richness and warmth in harmonic effect :

PARRY. Judith.

454

MODERN TENDENCIES

Finally, it is common to find sections framed upon a scalic
bass. In the chorus 'It is the God's decree' in Judith, in
which the style is fugato, the first thirteen bars are framed upon
a bass which moves up the diatonic scale of E in semibreves
from D sharp below the stave to middle C sharp.

There is nothing new in actual resource, but the principle has
an important bearing on future developments. Especially in
working on a large canvas, such a method is useful, in that it
gives some point to the march of the harmonies. One feels that
it adds a stimulus and leads the mind to expect a point of
climax. A few bars may be quoted to make the procedure clear:

Ex. 13.

ibid.

_K J;

-i±

^F¥

The extension of this principle may be conveniently discussed
under the next heading.

6. The exhaustion of the possibilities of chromatic resource.

It was said in a previous chapter that the natural evolution of
harmony pointed to the use of common chords, diminished
triads, augmented triads, and fundamental discords on every
degree of the scale. Before complete freedom in the use of
resource becomes possible, composers invariably hang their new
effects upon one of three props :
(a) A note in common :

DEBUSSY. Danseuses de Delphes.

*Ex.

qM=

14.

-f

P-

4r^4

«t

P— j-t

^T^

"O*1 p :

b^=:

^Tl-

^t—

^5=

—I—

By permission of the proprietors, MM. Durand et Cie, Paris.

MODERN TENDENCIES 455

(b] Fortuitous occurrence, caused by contrary and conjunct
movement :

Ex.

15.

ELGAR. The Apostles.

i JT3

Here the contrapuntal principles come into play, the music
being conceived primarily as strata of melodies. But this is
after all only a logical extension of the familiar diatonic device :
Ex. 16.

(c) The use of the chord of the Neapolitan Sixth accustomed
men's ears to a sequence of chords a semitone apart :
Ex. 17.

#. J ,bJ J l-Ei

T^ni

^ . * a

pr r r 1^

&c.

y ** II

In the above, chord (b) may be regarded as auxiliary to chord
(a). Hence we get the principle of chord sequences with some
part or parts moving in semitones. No doubt the chromatic
scalic bass had much influence in developing this feature. In
Parry's ' The love that casteth out fear ', at the section ' They all
shall wax old as a garment ', the score is founded on the follow-
ing basis :

Ex. 18.

456

MODERN TENDENCIES

The style of the texture is as follows :

Ex. 19.

3^=3

I t |r

-y

all shall wax old as a gar . ment.

&&£}

$ ' 5 J H* ,, » -M?f ««L_!_p_f 1

/5V i

^J ' rtj WJ 1* b ~J ||

F 1 F

•* 1 H 1 r i - r H

Here the chords are held together by the principle of a note
in common.

In the following example the same note remains common
throughout, and forms an inverted pedal :

Ex. 20. PARRY. Judith.

w — J^ — f1

^L "1-

— i — d r-

T~I d M

^'U'{.

Examples, such as the following, in which contrary motion is
combined with a note in common, are of course quite old
fashioned now :
Ex. 21

MODERN TENDENCIES

457

It is now easy to see how such progressions as the following
arise :

Ex.22. ELGAR. Dream of Gerontius.

Ibid.

^-^-^-^-

&-!• 1

In the last example the extreme parts move by conjunct
degrees inwards.

The scalic bass became almost a mannerism; and it is
probable that it is the natural means by which composers so
accustom themselves to the effects of these progressions that
they eventually use them without such a prop :

*Ex. 23.

WAGNER. Tristan.

By permission of Messrs. Breitkopf and Hiirtel, Great Marlborough Street, London, W. ^

458

MODERN TENDENCIES

Ex. 24.

•-b J . U

ELGAR. Dream of Gerontius.

T 1-

i r

In the next example the scalic feature is transferred to an
upper part :

Ex. 25.

ELGAR. The Apostles.

It remains to give examples of the free use of resource which
this technique made possible, and also its expansion:

(a) The juxtaposition of common chords, not only unrelated,

MODERN TENDENCIES

459

but with the bond of connexion reduced to a minimum, e.g: an
inside part moving in semitones :

Ex. 26.

ibid.

(b) Fundamental sevenths on various degrees of the scale

*Ex. 27. DEBUSSY. La soiree dans Grenade.

* Ex. 28.

• «

DEBUSSY.
La Cathedrale engloutie.

&Vtj&>\ <± j
Sr — **& — H® — :

*- 'P M

Lg II

In the following example one fundamental seventh is the
appoggiatura to the succeeding seventh (i to 2) :

Ex. 29.

«-*- —

DEBUSSY. Prelude iv.

— f r—p E r~

? r

By permission of the proprietors, MM. Durand et Cie, Paris.

460 MODERN TENDENCIES

* Ex. 30.

DEBUSSY. Danseuses de Delphes.
3

as*

PP^

It is surely rather clumsy to analyse thus :

(1) Derived from tonic. B natural = C flat.

(2) „ supertonic.

(3) „ dominant. C sharp = D flat.

It is simpler to say that (i) is the subdominant triad with the
fifth sharpened, (2) is the chromatic chord on the minor seventh
with the fifth sharpened, (3) is the dominant chord with the
fifth sharpened.

In the following example we get consecutive augmented triads
combined with two parts proceeding in semitones by contrary
motion outwards and inwards :

D EBUSS Y. Jar dins sous la plu ie.

(d) Altered chords.

It is of course quite possible to regard the augmented triad as
an altered form of the major common chord, e.g. with the fifth
sharpened. And this point of view opens out a large field for
expansion.

* By permission of the proprietors, MM. Durand et Cie, Paris.

MODERN TENDENCIES

461

For example, instead of writing :

Ex. 32.

Debussy flattens the fifth of each root thus :
* Ex. 33.

Cesar Franck, in his Symphonic Poem, Les Djinns, uses a new
form of the chord of the augmented sixth, with the fifth from the
D sharpened (A sharp in place of A natural) :

t Ex. 34.

But it hardly seems necessary to catalogue such things as new
chords. For example, it could be said that the following was
a new form of the chord of the augmented sixth :

Ex. 35. ELGAR. The Apostles.

But it should suffice to say that F flat, D, and A double flat
were all chromatic passing notes. There is a real danger in

t By permission of Messrs. Enoch.

462

MODERN TENDENCIES

attempting to catalogue every possible combination as a chord ;
this is especially so when the texture is contrapuntal in character.
In the following :

ELGAR. Gerontius.

it is unnecessary to argue that (i) is a fundamental seventh
resolved in a new way. The passage is merely :

Ex. 37.

D natural and A being appoggiaturas of E flat and B flat
respectively.

Similarly the following :

Ex. 38.

is but a broken form of:

Ex. 39.

Of course there may be regular resolutions of discords on
unusual chords. There is nothing to prevent a composer writing
if he chooses :

MODERN TENDENCIES 463

Ex. 40.

or the following, which is the outline of a passage at the end
of Vaughan Williams's ' Toward the unknown region ' :
Ex. 41.

•nr=

EE£^

— tos — 1

But this merely resolves itself into a novel juxtaposition of
chords, not into new procedures in reference to the broad treat-
ment of discords. Sufficient has been said under this head in
order to give the intelligent student an idea as to the main trend
of development. Those who have a firm grasp of general
principles cannot go far astray.

7. New paths.

It has been seen that the establishment of the chromatic scale
was but the natural development of things from the basis of the
diatonic form ; and it has also been seen how the chromatic scale
eventually frees itself from the limitations that the Day theory
imposes. Such a freedom was really obtained at one stroke by
Dvorak. Bohemia was entirely uninfluenced by the trend of
evolution elsewhere, and Dvorak began with the premise that
all the notes of the chromatic scale were equally related. His
music therefore has some affinity with that of those composers
who have arrived at practically the same point, though by a
different route. In fact it would be truer to say that Dvorak
had taken a cross-country route, whereas others kept to the
highway. From Dvorak's point of view it was a new path, from
the point of view of the historian it was a short cut, and it
naturally had its dangerous places.

Now that this resource is practically exhausted, three courses
are open to composers :

464 MODERN TENDENCIES

(a) A step forward. This would necessitate the use of
quarter-tones. The obvious difficulties that lie in the way of
such a course seem almost insurmountable. Technical diffi-
culties would be so enormously increased as to be practically
beyond human skill.

(b) Steps backward. Just as two faces are never alike, so
the music of two men can never be identical. There seems no
valid reason why the music of any number of men should not be
wholly acceptable although it displays no novelty in resource or
technique. It is surely quite wrong to judge of a man's music
by the amount of new resource that he introduces. After all, that
which is expressed is of more importance than the means of
expression. Some critics are inclined to argue that a composer
must not write in the idiom of a bygone age. Of course such
critics cannot take up the position that the idiom pf a bygone
age is intolerable : that is absurd. Recently a rush has been
made to the South Pole, so to speak, just for the sake of getting
there. But it is inconceivable that a composer of real personality
and distinction would fail to say something worth expressing
with the technique and resource of Brahms. As the man is
not Brahms, so it is not Brahms, and there is no crime in using
his materials. Because a composer uses the limited resource
of a period, it does not follow that he is a mere imitator. The
charm of music does not lie primarily in novelty of expression,
but in the personality of the writer : and this is quite apart from
the means of expression.

If, however, it be held that both a step forward and a step
backward are impossible moves, there is still another possibility
left. That is the formation of new scalic systems from a fusion
of the diatonic and chromatic formulae. For the present it will-
suffice to consider the whole tone scale.

This consists of a scale of six sounds :
Ex. 42.

It will be obvious that if we start on any of the sounds of this

MODERN TENDENCIES

465

scale, except the first, we get the same series of sounds. Thus
the only variety possible is a series beginning a semitone higher
or lower than C :

Ex. 43.

It has been shown that, for example, the scale of C contains
all the notes of the diatonic fundamental dominant series :

Ex. 44.

The trend of modern harmony is to sharpen or flatten the fifth
of the fundamental, thus the whole-toned scale of C gives us the
supertonic series with the fifth both sharpened and flattened :

Ex. 45.

And the resolution of this is perfectly simple, the sharpened
fifth rising, and the flattened fifth falling :

Ex. 46.

Or again, the chord may be explained as being the combination
of two augmented triads, the one being a tone above the other :

Ex. 47.

But it is not imperative to regard the chord as being super-
tonic only in its derivation. It has been shown that only two
series of the scale produce different notes. Thus, if we regard

H h

466

MODERN TENDENCIES

C as the tonic, the chord can be supertonic ; if we regard D as
tonic, the same chord can be tonic. But of course the chord
can be used on every degree of the tonal scale, and it will be
found that if each bass note be regarded as a root, it is followed
naturally by a chord whose root is a fourth higher. The only
thing necessary is to write each chord with the major third,
diminished and augmented fifth, minor seventh, and major ninth,

thuS: EK.48.

In other words the chord is a fundamental major ninth with
the fifth both flattened and sharpened.

In Debussy's Voiles the piece is in A minor, but the move-
ment is based on the whole tone scale beginning on the minor
second of the scale, B flat, C, D, E/ F sharp, G sharp (A flat).
This is really an extension of the principle of using the harmony
of the chromatic chord on the minor second of the scale, and
a group of chords are utilized round this centre, derived from
the tonal scale. The following bars will illustrate the method :

*Ex.49.

r»

DEBUSSY. Voiles.

Ibid.

By permission of the proprietors, MM. Durand et Cie, Paris.

MODERN TENDENCIES

467

It will be seen that the harmonies are quite logical, and when
played they are perfectly satisfactory to the ear. Another
example may be seen in ' Jimbo's Lullaby' by the same composer.

8. Finally, it remains to say a few words about the aims of
modern composers, and their influence on the idiom and
technique, specially with reference to the French school.

The expression of things or ideas external to music takes two
forms :

(a) It may be imitative, that is to say, the aim may be to
reproduce in terms of music something concrete, such as the
bleating of a sheep, or the crowing of a cock. Those who aim
at this take the view that anything is legitimate so long as it
succeeds in accomplishing the end in view. Two examples
must suffice, but they are enough to show what licence composers
take in such cases even with the most advanced canons of art :

* Ex. 50. RAVEL. Le Paon.
f*

Here Ravel aptly imitates the scream of the peacock.

*Ex. 51. RAVEL. Le Martin-Pecheur,

In the above, the king-fisher hops along the fishing-rod, and
perches himself at the end of it.

(b) It may be illustrative. In this case the composer sets

1568 H h 2

468 MODERN TENDENCIES

himself to suggest certain conditions, in other words, to create an
atmosphere. In the following example the consecutives actually
provide the means of suggesting the conditions of a soul wander-
ing in space :

Ex.52. ELGAR. Dream of 'Gerontius.

(fo

These are, so to speak, the prime factors of expression. But
in each case the intention is, as it were, labelled. In much of
Debussy's work the medium between these two points of view
is struck. That is to say, he often neither actually imitates
nature, nor expresses certain definite conditions. Not only can
the meaning be understood in various ways, but the ideas them-
selves are capable of varied development. His music is, from
this point of view, analogous to the poetry of the Symbolists. It
has also some features that are parallel with Impressionism in
painting. And the idiom of Debussy is naturally suited to these
conditions. Sounds are used as colours, and the chords based
on the harmonic series have their counterpart in the nature of
the ideas the poet expresses. Thus principles and the means
of expression develop on parallel lines. It may thus be said
that all Debussy's music is the very antithesis of the abstract.
That is to say, he is always striving to give expression to some
idea that has as its basis something external to music itself, as
for example in the nocturnes. But they are not programme
music in the old sense of the term : they are, in fact, ' impres-
sions ' ; and they leave scope for every individual to interpret
them in his own way. It might be true to say that Debussy's
idiom was the outcome of his point of view as to what he wished
to express : it might be equally true to say that the evolution of
the resource was quite logical, and itself suggested the use to
which it should be put. It is probably truer to say that poetry,
painting, and music have developed on parallel lines in the
ordinary course of evolution, so that when poetry and music are

MODERN TENDENCIES 469

wedded together they are exactly suited to each other. The
important point to bear in mind is that the really great composers
are not wilfully flouting canons of art. The student must
approach a study of modern technique sympathetically. He
must first understand what the composer is trying to do, and he
must not judge of him by the criterion of current orthodoxy, but
by that of appropriate expression. It is true that we are in the
middle of a period of transition, analogous to that which occurred
at the beginning of the seventeenth century. We are off with
the old love, but we have not yet found the new one. But out
of the present chaos, order will emerge. We must always admit
that what is beautiful is right ; and we have also to remember
that the ear can accustom itself to almost anything. We must
also admit that what is sincere is worthy of serious consideration.
Previous experience should warn us not to scoff at what we do
not understand. Something is coming of the new movement ;
we must watch sympathetically its gradual development, and
wait for its maturity.

•

INDEX I

Accent, 57.

affecting choice of chords, 55, 62,

65, 68, 93, 94, 196.
Accompaniment, principles of, 161,

396, 438, 441.
Added sixth, see Sixth.
Alberti bass, 155.
Altered chords, 460.
Anticipation of note, 184.

of chord, 272, 374.
Appoggiatura, 108, 126, 135, 182, 184,

231, 278, 330, 452.
chord, 195, 252, 273, 372, 364.
Arco, 173.

Arpeggio, 155, 158, 176.
Augmented sixth, see Sixth.
Auxiliary note, 103, 135, 374.

Bowing, 171.

Cadence, 9, 59, 309, 322, 384, 440.
deceptive, false or interrupted, 60,

339-

perfect, 9, 60, 62, 98.

plagal, 60, 119, 249, 301.
Canto Fermo, 7.
Catalexis, 59, 186, 222.
Changing notes, 181.
Chord, 10.

common chord, 10.

common chord, major and minor,

43> 91-

duration, irregular, 272.
Chords, principle of, i.

repeated, 154, 174.
Clausula Vera, 9, 17.
Close, full, 262. (Set also Perfect

cadence.)
half, 6p.

Phrygian, 93, 97.
Concord, 2.
Concordance, Palestrinian principles

of, 7.

Consonance, Palestrinian principles
of, 2.

Consecutives, see Fifth and Octave.
Contraction of phrase, 220.
Counterpoint, i, 7, 12, 42.
Couplet, 98.
Crossing of hands, 155.
Crossing of parts, 51.

Decoration, harmonic, 213, 293.
Development, thematic, 216.
Diaphony, i, 453.
Dimeter, 220.
Discant, i, 4.
Discord, 3.

consecutive, 159, 287, 378.

diatonic, 448. (See also Secondary
sevenths and ninths.)

doubled, 249, 397, 409.

fundamental, 230.

percussion of, 81.

preparing another, 377.

approached by similar motion, 82,

109, 251, 286.
Dissonance, 3.
Dominant of mode, 15.
Dominant of scale, 26.
Dominant chromatic chord, 338.
Double choir, 413, 421.
Doubling, in three or four parts, 44.

in five parts, 392.

in more parts, 409.

leading note, 44, 66, 392, 409.

major third, 44.

root and fifth, 66.

seventh, 249, 250,317, 400, 409, 410.
Dovetailing of phrases, 357.

of harmony, 358.

Eleventh, dominant, 244, 278, 291.

supertonic, 318.

tonic, 330.
Enharmonic change, 287.

modulation, 351.
Exposed consecutives, see Octave,

Fifth.
Extension of phrase, 219.

472

INDEX I

Faulx-bourdon, 5.

False relation, 18, 54, 97, 284, 314,

319.
Fifth, augmented, 34, 125, 126.

diminished, 5, 20, 66, 317, 411, 437.

Fifths, consecutive (or parallel), 2, 5,

48, 50, 52, 80, 160, 307, 308, 377,

378, 395, 409-

exposed (or hidden), 49, 50, 441.
Figures, 146.

Figuring, u, 65, 86, 92, 98, 113, 197,
227, 228, 244, 278-80, 285, 291,
297, 306.

Final (of mode), 15, 16, 25.
Foot, anapaestic, 59.
dactyllic, 59.
iambic, 57.
trochaic, 59.

Form, principles of, 215, 261, 332.
Fourth, a, 8, 437.

augmented, 2, 4, 8, 20, 34.
diminished, 35.
Fourths, consecutive (or parallel), 2,

48, 250, 299.
French sixth, see Augmented sixth.

German sixth, see Augmented sixth.

Harmony, i, 12, 42.

Harmonic progression, elementary

laws of, 46, 80.
Harmony, wide distribution of, 177,

442, 444.

Hidden consecutives, see Octave, Fifth.
Homophonic period, 23, 57, 121, 181,

240.
Homophony, 12.

Impressionism, 468.
Interval, melodic, i.

harmonic, 2, 38.

diminished, 28, 35.

augmented, 28, 33, 109.
Inversion, n.
Inversions, parallel first, 124, 134, 252.

parallel second, 299.
Italian sixth, see Augmented sixth.

Key, 23.

Key distribution, 261.
Keys nearly related, 258.
Key-note, 30.

Leading note, 27, 44, 53, 66, 392, 393,

409.
Lute, 13.

Meantone, 23.
Mediant, 26.

chords on, 335.

Melodic progression, 28, 33, 153.
Melody, i.
Melisma, 382.

Melismatic treatment of words, 380.
Metre, 57, 380.
Mode, 14, 453.
Modern tendencies, 446.
Modulation, 186, 258, 288, 315, 321,

332, 338, 35i, 365-
Monodia, 12.
Motion, contrary, 3, 138.

oblique, 3, 84.

similar, 3, 137.

discords taken by, 81, 108. 243, 251,

286.

Movement, combination of different
kinds, 140.

contrary and conjunct, 81, 143.

parallel, 134.
Musica Ficta, 17, 258.

Neapolitan sixth, see Sixth.
Ninth, interval of, 82, 83, 109, 286.

dominant, 244, 278.

secondary, 234, 450.

supertonic, 316.

tonic, 329.
Notation, expedient false, 283.

Octave, 7, 23, 36.

oblique motion into, 251.
Octaves, consecutive, 46, 157, 158,

i?5, 398, 409-
exposed or hidden, 49, 80, 300, 378,

441.

Organ writing, 163.
Organum, i, 2, 48.
Overlapping, 53, 394.

Passing chord, 272, 273.

Passing notes, 75, 100, 133, 185, 375.

Pedal, 137, 141, 283, 317, 360, 366, 453.

Pentachord, 15.

Phrase, 57, 219, 220, 358, 382.

Pianoforte writing, 153.

Pivot chords, 259, 268, 351.

notes, 269, 352.
Pizzicato, 173.
Preparation of discord, 112, 125, 194,

195, 228, 239, 246.
Plainsong, 4.

Quarter tones, 464.
Quinta Falsa, 24.

INDEX I

473

Resolution of discord, 112, 125, 194,
226, 240, 243, 244, 245, 249, 279,
292, 298, 306, 314, 316, 318, 319,
321, 328, 329, 33i.

Rests, 50, 145, 164.

Retardation, 115, 121, 124, 231, 374,

413-

Rhythm, 57, 59.
Root, 10.
Root position, 42.
Root progression, 53, 67, 93.

Scale, diatonic, 21, 22, 26.

chromatic, 313.

whole-tone, 464.
Scale of chord in use, 76, 376.
Scalic bass, 454.

Second, augmented, 95, 100, 281.
Seconds, consecutive, 84.
Sequence, 33, 264.

Seventh degree, chromatic chords on,
340.

diatonic chords of, 226, 449.

diminished, 283, 287, 317, 353, 437.

dominant, 242.

fundamental, 353, 459.

irregular resolution of, 283.

leading, 283, 285.

minor as passing note, 77, 242.
Sevenths, consecutive, 84, 159, 287,

378.

Similar motion, see Motion.
Six-four, chord of, 140, 193, 285.

appoggiatura, 195, 246.

arpeggio, 200.

auxiliary, 198.

cadential, 194, 196.

passing, 197.

pedal, 198, 199.
Six-fours, consecutive, 201.
Sixth, added, 230, 250, 293, 412.

augmented, 306, 321, 393, 413, 461.

major, leap of, 28, 36.

Neapolitan, 319, 413, 455.
Sixths, parallel, 66, 123, 134, 186, 263.

repeated, 154.
Sordini, con, 173.
String writing, 170.
Subdominant, 26.

chromatic chords, 338.
Submediant, 27.

chromatic chords, 338.

Sul G, 174.
Superdominant, 27.
Supertonic, 26.

chromatic common chord, 312, 319.

chromatic seventh, 314.

chromatic ninth, 316.

chromatic eleventh and thirteenth.

3i8.
Suspension, 112, 143, 209, 244, 272,

278, 372, 413.
Syllabic treatment of words, 380.

Temperament, equal, 23.
Tetrachord, 15.
Tetrameter, 58.
Thirds, consecutive major, 54.

diminished, 307.

parallel, 123, 134, 186, 285.

repeated, 154.
Thirteenth, dominant, 244, 278, 297.

supertonic, 318.

tonic, 331.

Three-part writing, 175, 440.
Tierce de Picardie, 97.
Tonic, 26, 30.

chromatic common chord, 327.

chromatic seventh, 328.

chromatic ninth, 329.

chromatic eleventh, 330.

chromatic thirteenth, 331.
Transition, 268, 351.
Tremolo, 170.
Triad, 10.

augmented, 10, 91, 125, 460, 465.

diatonic, 42.

diminished, 10, 43, 91, 239, 320.

primary, 43.

secondary, 43.
Trimeter, 186.
Tritone, 2, 20, 24, 54.
Two-part writing, 436.

Unessential notes, 75, 103, 112, 133,

181, 451.
Unison, 7, 51, 84, 156, 394, 409.

Verse, 58.

Voices, compass of, 44.
Vox organalis, 2, 4.
principalis, 2, 4.

Words, setting of, 380.

INDEX II

(EXAMPLES)

Bach:

Acht kleine Preludien und Fugen,

233-

Allemande, First English Suite, 182.
Fifth English Suite, 444, 445.
Fugue VII (The Forty-eight), 378.
Matthaus- Passion, 34, 97, 203, 378,

449.

Third English Suite, 444.
Beethoven :

Leonore, no. 3, 273, 284.
Pianoforte Sonata, op. 26, 109 ; op.

28, 109 ; op. 22, 109 ; op. 2, no. i,

157, 158, 1595 op. 2, no. 3, 157,

159, 160; op. 7, 157; op. 10,

no. 2, 160.
Quartet, in E flat, op. 74, 174, 175,

176, 177, 178.
Trio, op. i, no. i, 440.
Trio in E flat, op. 3, 442.
Trio in G major, op. 9, no. i, 442, 443.
Blow :

The Lord is my Shepherd, 126.
I beheld and lo, 182.
Boyce :

Save me, O God, 245.

Caccini :

Euridice, 181.
Cesar Franck :

Les Djinns, 461.
Cesti:

Cara e dolce Liberia, 184.
Coleridge Taylor:

By the waters of Babylon, 317.
Cooke :

Nunc Dimittis in G. 145.
Corelli:

Sonata 3, 233.

Debussy :

Danseuses de Delphes, 454, 460.
Dieu ! qu'il la fait bon regarder, 453.
Jardins sous la pluie, 460, 461.
La Cathedrale engloutie, 453, 459.

La soiree dans Grenade, 459.
Prelude iv, 459.
Voiles, 466.

Elgar:

Apostles, The, 455, 458, 459, 461.
Gerontius, 282, 283, 308, 457, 458,

462, 468.
O hearken Thou, 322.

Farrant :

Benedictus in G minor, 96.
Te Deum, 247.

Greene :

God is our Hope, 338, 339.
Grieg :

Holberg Suite, 363.

Morgenstimmung, 205.

Papillon, 336.

Symphonic Dances I, 362.

Wedding Day, 336.

Handel:

Messiah, 97, 249, 436.

Suite vii, 437.
Haydn :

Quartet in B minor, op. 64, 177.
H tiler:

Piano Concerto in F sharp minor, 364.

Lloyd:

Come tuneful friends, 204.

Macfarren :

Joseph, 286.
Mendelssohn :

Lobgesang, 172, 173.

Quintet in A, 397.
Monteverde :

Orfeo, 35, 181, 182, 185.
Mozart :

Quintet in A major, 396.

INDEX II

475

Palestrina :

Lauda Sion, 123.

Missa Aeterna Christi Munera, 112,
199, 240, 245.

Missa Brevis, 6, 9, 113, 117, 118.

Sicut Cervus, 194, 258.
Parry :

Blest Pair of Sirens, 451.

If I had but two little wings, 204.

Judith, 205, 234, 248, 450, 451, 453,
454, 456.

The love that casteth out fear, 34,
450.

There rolls the deep, 448.

Voces Clamantium, 34, 36.

War and Peace, 252.
Peri:

Euridice, 185.

Ravel:

Le Martin-Pecheur, 467.
Le Paon, 452, 467.

Scarlatti:

Harpsichord lessons, 284.
Schubert :

Symphony in B minor, 154.

Schumann :

Andante and Variations for two
pianofortes, 250, 251.

Das ist ein Floten, 162.

Die beiden Grenadiere, 161.

Variations, 282.

Waldesgesprach, 161.
Stanford :

Ancient Lullaby, 161.

Tallis :

Hear the voice, 35.
3>:

Acts of the Apostles, 184.

Vittoria :
Jesu Dulcis Memoria, 246.

Wagner :

Tristan, 457.
IValford Dairies :

Everyman, 205, 206, 248.

Te Deum in G, 204.
Walmisley :

Magnificat in D minor, 340.
Wesley:

Te Deum in E, 378.

The Wilderness, 341, 367.

OXFORD : HORACE HART M.A.
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50 The evolution 01' harmony

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