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736 views175 pages(Walter Piston Mark Devoto Arthur Jannery) Harmony (BookFi) PDF
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/ 175
ent aon opi 9 HW Narn BC
Masical Mutations drawn by
MARIO. CARMOSINO
CONTENTS
spersonucrios
Ji Sones AxD INTERVALS
Pe Tmn0s
$. HARMONIC PROGRESSION
{TE BNcoNPLETE MAJOR NINTH
‘THE SEQUENCE
9
a
6
0
8
8
163
ins
89
ns
a9
255 br THE SAME AUTHOR:
COUNTERPOINT
Asay of
comes from fie score
‘ue een baled by hae
ORCHESTRATION
1 can my withoat the lightest doubt dat the main prt of the
Wg Ray eee det a far and away beter than ath
ESNe cen ele
‘Fit rate—allitsny ash praca al
it in cutered
SPSL tf arcu formation. 1 patulary ke the wide
‘Rage ef Msatins”—Eane Cdl
varalable ain t the rary of works on thi object. The
on and hak gent so develop what oily he as
Oa ten nce be has taken 8 rm rap offandamental
Guichen "br Gedo Jb
My nt ee jet ays fr woul ave sed wang
SE a ee et foe ler expeiion =. TY or
Tre thtnmpany conduct, anger or et, howd al fd
aaa examples woul alo find i fscnaing study
Se ao aller io enlrgog his mil. Rorzon—
“spt Post
sek wonderful od tealy workmanlike job... 2 ook whieh 30
‘mate oer ude of the obec
REMC Un ReMi ec andthe clanty'o oe eae
Teer Mae Teter
praia ale 9 the sade vey igh, kee
i alate book ampli Se (B.C ue
HARMONY
WALTER PISTON
VICTOR GOLLANCZ LTD CONTENTS
24. AVOMENTED SIXTH CHORDS
65
293
307
INTRODUCTION
ye fis important sep in the sd of harmony i that of
ve I larfyingthe purpose of such study. Much confusion ex
fas today as to why we sdy musial theory and what
Awe dhould expect toler from it. Inthe presene write’ teaching
Experience this confusion of ouslook furnishes the commonest and
fies serious obracle co progres inal branches of musical theory
"There ae those who Consider that studies in harmony, countet-
Point ad fugue are che exclusive province ofthe inended com:
Poser Bot if we reece that theory must follow practice, rarely
Preceding ic except by chance, we must reaze that musical theory
epoca sec of ditccrons fox composing mse, lis rather the col
Tested and syscemaized dedictions gathered by observing the prac
fice of composers over long tne, and iartemprs ro ve orth what
Isorhis been thee common practice Ie tells not how asic will be
Seren in the Faroe, but how music has been writen inthe pas.
"The results of such 2 defi ofthe trae natre of musical the
Gey are many and imporar, Fie of al cleat cha this know -
tlge is indispensable o musicians inal elds of the are, whether
they be composers, performers, conductors, critics, teachers, oF
fosicoloyinn Indeed «secure grounding in theory ie wren
A necesity to the musical solar than to the composer, since it
forms the basis for any intelligent appraisal of individual sles of
the pas or present
‘On the echer hand, the person gifted for creative musical eom-
[Position staking «serio risk in assuming that his genius & great
fnough to get along witht « deep knowledge of the common 2 INTRODUCTION
practice of composers. Mastery of the technical or theoretical
ect af ric thud be cred out By hi 252 e's work,
are cult hs ere aavy Bue que separate frm In
Theta he following common practice while inthe ater fe
‘Ripon solely tothe dictates of his own personal tastes and urge
Tr the spect fd of harmony we moss seck the answer to
two questons-whucare the harmoni matrals commonly used by
hover and how have these mers been sed? We cannot
Gon inthe fs nage of our study to become iaceresed in the
Jhinideal composer the expense of concentration on exablshing
the norm of eunmon practice. With such + norm ily in min
the way willbe chart the investigation ofthe individual harmonic
prctices of compas of sl periods and expecially co he scientific
munation of te divergent practices noiceable inthe twentieth
Hiseialy the perio in which this common practice may be
detected inlades ‘oughly the eighteenth and nineteenth cere
Daring har tine hee issurpeisingy Ble change i the harmonic
Faerie used ann the manner of thei se The experimental pe-
Thad of the early ewenceth cenrary will appear far kes reval
Tony wea the ins of development from the practice of older
Compass become clearer by fariarty wih the music. AS yet
Tency the sof ths book st present a5 concely as posse
the harmonic common practice of composts of the eighteenth
ported, witht atempe at thei asifeation on asthetie grounds
ras lows of naure, The written exercises should be performed
fons erenve compostion, The author believes tha through
these principle prone and logical grap ofthe subject wil Be
achieved
SCALES AND INTERVALS
ye unit of harmony ithe interval. This nme ie given tothe
sonorty resulting from the simulaneous sounding of wo
ones though it ismore accurately applied ro desribe the
“ditance” between the two tones, measured by their difference in
Ditch. I the two tones are not heard atthe same time, but are eon
ecutive tones of one melodic line, the interval is elled 2 melodie
feerval 5 distinguished from the harmonic interval in which the
two tones ate sounded togeie.
“The tones which form the interval are draw from the scale
‘Tice scales are used as the bass af the music with which we are
Here concered—the major sae, the minoe sale (with is harmonic
and melodic forms), andthe chromatic sale
Be aloe senio
= SSS
ee HARMONY
SCALES AND INTERVALS s
ms
Ie iseacmay to refer tothe scale degres by Roman names
as fnthecxmpe, well r by te flowing names
‘Toni (hekey-n0t2)
A, Superene (the ne step above che tonic)
LIL, Nein (hala from foie o dominant)
I, Subdoninae (afar Below the toni athe dominan is
owe)
Daina (actully a dominant element inthe ey)
Smee (hafway down fom tonic to subdominant)
Si, Lenton (th melodic endeny toward the ronic)
“rales lnnged by she diibuton of halone and
whe cone pe ecopition of which is assumed on the par of
sees eFesm bole The chromate scale, having origin inthe
Saran of ono be ter ees, sown by de Roman manera
a ntson of thin see (formance, wheter one shold
see seh or Baa) i decried by meld and harmonic
Trewewtanes tobe considered ler.
“Fhe alec minor ale may Heese be looked upon variant
of te Reon form n ssewning, he characteristic sith degre
ones tae he tp geste than a wholetone between VI
Ag UIs cininned, while preserving the halfone progresion
rom leadingtone to toni. In desceoing she seventh degre 20
[ogee tning-tone so es lowered to ede the ep down
forhe mmor sah Segre
itor eo tice thatthe major and minor (harmonic)
sedes die onl in shee Il and Vi
“The general same of an interval is found by counring the ines
and spoees clad by the ewo nots.
Sarre
Se eat a an is ah oor clo
Heese crac! open aches treo nas a
I gps ee smslc wah evr a
QBS ey cof oven i four sd
Mie ack abo pres el
4
Sy ite
Sie berne eee tbe ted
agg ln hE ea ad
Mf he wpper noe doesnot coincide with a noe ofthe scale the
Following cosiersine aero be appbed
An imeral « halsone ser than ¢ mejor iver
a
Bh Aa cera half-oe larger than a major o a perfec in
terval is “augrnented ®
An nerve al tone male han a minor o pte in
tera "ining
ms Ee
min Set aug fot oop 4) nT
Inthe above cxampl, consider she iterel of» sith, Ea to
Giactshe Cnt on rrr wld tse Elen she ae
GEE fe jor sod the incr would ave besa major sth. The
ha Byington at fe of ating mao ne
ahacone larger. Therfore stcnent bin the pargraph
hove is appli andthe nerve called an “augmented sith
When the lower ate is receded by a sharp fa the nerve
Bay be analyned ft with he sharp o fas and the res com
Bit withthe original ins by reernce tothe above Fle 6 HARMONY
For example, suppor the interval ro be fom D-sharp up oC. The
en ee iach ware with nin sharps, i nok convenient 3 2
ean tg device. Taking the scale of Daj, we ind shat C82
re oof the seventh degree. The interval D to Cis thers-
fale tons or seventh ‘The restoration of the sharp tothe [makes
Eo tava staan smaller, by Fain the lower not; hence i
isa diminished seventh
Jar tadnt is ued to perfec himself, by exercises in dictation
cor one proweses of ex-triing, inthe abiiy to recognize the
actus by ea when they are played or sung, and to ear mentally
Simervas written 0: printed
‘An interval grener than the octave may te reckoned by sub-
ranting the octave. Such joteras are called compound intervals.
SEE thee, however, for example che ninth, ae characteristic
Fentecs of cerat harmonic forms and are usually called by the
larger number.
ee
‘ports mx 9th min Bed a Sede 0)
[A consonan interval is one which sounds stable and complete,
whereas the charicteristie ofthe disonant interval is its restlessness
was neel for esoltion ino consonant interval. These qualities
wT adctedly open to subjective, personal, and evolutionary inter-
pretation bots ces hat inthe common practice of comporers
the following clasification hols rue.
‘Consonsatethe perfect intervals and the major and minor
thirds and schs.
issonant-the aogmented and dimiished intervals and the
inajor and minor seconds, sevenths, and niths
(Exception the perfect fourth is dissonant when there 90
SCALES AND INTERVALS 7
tone below is lower tone. Ici consonant when
there ia third or perfect fifth below it)
aim Za
Bie perfect irerals and ecrmod “imperfot consonaness”
— on nineteenth centuries. Only the sixth, when in cer-
Encl op hte oct he aby of
Ife ples commons ard to need eolation to the fick.
a Se 5e4
Muse without disonan: itera is often ile and segue,
ree aed chyna serpy The tery of med eye
Dn nec sh emporio disonaee
Be cetlcay a tsnance nsw of ove ed
fe sons roomy une gs of ween
‘Bion of this is what is called “mirror ” and i ots
rp
practice period
‘Ordinary
contspuntal aversion, which is common, isa modifia-
‘lon ofthe misror type. Here the same scale is kept for both Forms, ‘ HARMONY
so that while each interval and ics inversion have the same general
sue the specie names may be dfferene on account ofthe place
in the sale occupied by exch
=
Harmonic invesion i quit a different mate. In this procedure
the names ofthe notes remain the sme, bu the lower of the so
becomes the upper, oF vice vers, with the consequence that there
‘2 ually a change in both the general and spectic names of the
interval
exit —= =
ima) bth inveraion (mis Br
Tn our tempered sale sytem i often happens that two of mo
incervls sound ake when played on the planofore, even though
they are widely diferent in theic meaning. A good example isthe
laugmented secon, which cannot be distinguished fom the minor
‘hind without farther evidence than the sound of the two tones.
‘One inceval i eiled the enharmonic equivalent of the other
a sel
When these intervals are hetd in their harmon context, how=
ve, their difference becomes clay audible,
- epee
SCALES AND INTERVALS :
EXERCISES,
“The exer offered inthis book are inended = specs of
dons for further exercises tobe invented by the teacher or
bythe student himelf. They do noc pretend ro supply adequate
jactice or tuning. It goes without saying chat the material in each
Ehapeer mest be thoroughly asimalaed and mastered before pro-
(ecding tothe next. The exercises mort be multiplied und char end
achieved.
1 Name the following interval:
wae Fo
as With F-sharp as the lower tone, construct these inervals:
min. sed aug. 6; dim. sth; est. qth; aug. and, maj. th; min.
thi aug. sth
3+ With Deft asthe upper tone, construct these intervals: dim,
ssa oth dm. ph, min and ag. th; ert. thy min. 6s dm
aed.
“4. Write enharmonic equivalent of the intervals in Ex.
§ From what sales aethe following fragments taken?
4 Conmrict sors in which Char she sich de
Be Cares » docening mode minor sede with D ate
Same ihe nel fom speni up 0 eet
armonic minor scale. . °
Oy Wee sol nuns he cartier which ay be fore
th oni nd cer one of thes of Eon,
fe olsane Sern me hy befor
th thd does and ae ton ofthe hans mot
‘scale of B-flat.
ren ncoae TRIADS
a4 Gg Ee EIR
‘A eriad with ts third as its owes tone said to bein the first
eid with is fifth ats lowest tne sid ro be in the second
“Taking the two sales, major and harmonic minor, of the tonie
land using only che notes ofthese seals, superposition of thirds gives
the following tis
E16 major acele minor seals
8 apare a ey
Ae rads formed on 2 gven scale dfer not ony in ich bu
Bh depenig on te intervals in their make-up inthe quality of
the sonocky ‘There are four Kinds of tra elasied according
Tote acre ofthe intervals formed berween the rot and the eter
fo tones
Por tiad ix compet of major third and perfect fifth,
Ainorwndconpc of minor thd and ere th
augmented ad composed of major third and augmented
‘fifth. , ®
A diminished wad is conpesed of minor hid and diminishes
a . diminished
he moder shold earn by practic to dsingush by ear the
four types of triads. 2
o See
ae
The jor and minor rds ate consnan chords because they
znsin only conenane ntcva. The diminished and aogented
Sad on teeter han, we disonane Beene ofthe presence of
thedisonant imcervaly, diminish and augmented Sh HARMONY
‘Roman numersb identify not only the seale degree but abo the
chord constracted upon that scale degree as a root, whether the
‘chord fin root poson orn an inversion,
Considering the entire group of triads the fllowing observations
smay be made
“The major triads ae: I, 1V, Vin the major mode;
V, Vi in the minor mode
“The minor eis ae: IL HL, VI inthe major mode;
LIV’ in the minor mode
"The diminished trade ate: VI in the major mode;
VI, I in the minor mode.
“There is tut one augmented triad—IIT inthe minor
‘mode.
(Gr, from the point of view of che scale depres:
Tis major wad in the major mode, minor in the minor
mode,
{Ss minor triad inthe major mode, diminished in the minor
mode
LIL 32 mis trad in the major mode, uginenced in the minor
mode :
IV is 2 jor triad in the major mode, minor in che minor
mode
V isa major triad in boch modes
Vit niu tad isthe najor mode, major in the minor
mode
VII is diminished eid in both modes.
Most masic of the eighteenth and nineteenth centuries is cone
cxived on a harmonic bass of four-part weting. Tis means ver
Sially four face in each chord, and horizontally four diferent
tnelodie voice. The thee pat writing often observed in the clases
frequently sugges four voices, whereas larger numbers of appar-
TRIADS 5
lent parts, 2 for instance in an orchesl score, are usually the result
fof reduplicition of one or more voices in a busically four-part tex-
“The sudy of harmony is concerned with the principles under-
Ing the consructon ofthis common basis of four-part wrikng.
“The exrcns are ordinarily worked out in four voices The term
Miyices” doc not necesriy mean that che parts are to be sing
I docs suggest, however, thatthe separate pars proceed with a
‘ern ideal vocal quality vhich is posessed by all good melodie
Imusic, whether intended fer human voices of for instruments,
Tn order co define these four parts of voices, we shall follow the
‘asa exstom of naming shem forthe four clases of singing woes:
feprena, alo, enor, and bas-somewhat arbitrarily restricting theit
anges an approximation ofthe ranges of human voices.
my
Since the triad contains but three tones itis evden that another
Bnecded for four-parc harmony. With triads in root poscon, the
oars tone i customarily duplication ofthe root an oetave ot ©
Higher, or even athe unr. This is ealed doubling
DOr ea her music ht is purl harmonic, in which the
Metical effec is re for motiications due to horaontal, o me
Bienes Thee cierto, the principles of vole
alvaye le pecdince over considerations the cords
Bh chord hemces hae the ong in Ue eoinedence
Bec rover. Arte sane tne, the hare se
Bison arangencs of the vero snaity which wil ge Ps HARMONY
clarity and balance, and even on occasion such subjective qualities
ts beauty, bilianee, or somberness
The commonest arangement of a chord place the wide incrval
a the borer, with the snallst intervals atthe cop. This bears a
semilanee, a: hat often been pointed ou, ro the distribution of
‘oevtones in dhe Rarmonte sti but i muse be admited hat the
Danllel berween the usage of composers and che “chord of mature”
Jeops there. Compare, for instance, a riad in first inversion withthe
Series of overtones generated by ks lowes: tone.
Innervals wider than the octave are wsully avoided berween
soprano and alto, and between ato and tenor, but ae considered
quite satisfactory Between tenor and bus.
When the three upper voices are as close together as posible, the
spacing is deserbed sy lose poscion, Otherwise the chord isin open
position, provide all four normal factors are present. Ie will be
fotied that in cbse postion the three upper vices are all within
the range of a single cctave, whereas i open poston there i dis-
tance of more thin an octave between Soprano and tenor. In at=
‘anging2rocepstion erad in close position, having a given Soprano
ote the alto wil take the next immediatly available chord note
below the soprans If pen postion is desired the alto will not rake
this fist avallable noe, but will take the next below. The tenor will
TRIADS ry
falhinto place with the only noe lft, a the bass will of couse tke
the root. in whatever octave is convenient.
{hoe and open poston eof equally common ue. The choice
fone or the eee subi 0 various conditions, mong which
tuloic progres of the pas priups the most important. An
Tier the uestion of farges. fee soprano voice in a high
fegiter for cumple cee ooon may een placing the eter
Aras fo high The elo alnce na sngle chord would be to
Tare al voices in coresponcing reget al ih, ll medi, oll
Taw ur ths com pssleofschievenent Seca of melodic
ction and other infenil considerations.
(Ove shoul ten crfully to the reacve eet of vatous spa
ings th sane chord nd oie the Kind of ping ed in mic
Hed Theirs beter te voices ate an mporcant factor in
Ghtextre and seal sound ofthe mas Inthe common-pracce
Bid of harmonic wage hs at benlrgely a mater of eectve
{rion of pren chord ony, bu, withthe treet conary,
EGunpocrs have become mush more prenceoped with aera and
the cntinaton ino ial snore
EXERCISES.
The teacher wil play aslo, major oe minor, and afterwarde
A triad derived from that ele, The student will tll the kind of
Wiad and the scale degree which i is root
‘One cannot overestimate the value ofthis type of ea-aining
‘exercise, Fuciliy can be gained only through regular practice, wich
the sid of another person todo the playing. The mot satisfactory
land feasble methou isco get together small group of inereted
students and le each take s turn a the piano
2 Wentfy the following triads at kind (ma)
minor, dimin- 6 HARMONY
ished, or sugmente), and indicate by Roman numerals and key
aaen eee derescone eto seals and degre. (For example, the
ust iad given's major, IV of B major, or {of E major te.)
4. Write three different spacings in four pars of each of the
following wads
rr a a)
“4. Weite in four part in both close and open position, the fo:
lowing wads
IV inBst minor
V in C-sharp major
Vin E major
TLD minor
Win minor
Win A major
Tin E-Aae minor
Vin E minor
i. VilinG major
j. Min Aer major
4 By the use of accidental only (sharps flats, or naturals), write
cach ofthe following wads in thfee2dionl ways, soa clus
trate the four types major, minor, sogmented, and diminished:
HARMONIC PROGRESSION
ries chords are to be heard in succession there ate two
main questions to be considered. The first isthe choice
tof the chord to fellow a given harmony, andthe second
[athe procedure in connecting the two chords. These are two aspects
tf what i known as harmon progression.
[though these ovo questions ae in a sense inseparable, the mat
{erof succesion canbe regarded as independent ofthe Forms of the
Ghords themselves. As more of thew forms are studied it willbe
fore end more apparen tat che individual sonorty of the two
{chords is of fa les importmce than the relation of the reo roots
foreach other and tothe scale from which they are drawn. Chords
fre identified primarily by thir siaaion in che eonaley or in other
Sori by the scale degree erving 28 root. Hence chord succession
Tea be reoced to root succesion (ot root progresion) which in
fan be traslated into Roman numerals presenting a succes-
Bion of scale degrees. The variety of chords baile upon these routs
Fol secondary importance, and no change in the make-up of the
thords can remedy an inappropriate root progression
IP coves by 1 or Von Ve fe oe
TALE fotowed by V, serine VI les often 1, or 1V
TMs followed by Vi, sevecines 1, les often I or V.
TY isftlowe by V,someines or Us often of VL
DY i festowed by 1, somes VI or IV es often Tor I
PMU foowed by thor, somesines I o IV, les ote
FYI foiowed by I. (Vit rarely wedi rot poston) * HARMONY
Ie is important to form an appreciation ofthe quale of these
proprniton These alten dno realy lend themselves to de-
reseeeby words ‘The dominaneaconicprogresion gecraly
Sntidered the mo ststying. One ean ean sense the tepose of
ths progresion by playing the bas alone.
i
————
—LULUrlrTC—~—~—
Cee oe heeds
A. contrast to this isthe very soft effect of moving to a wad on
root a third abo.
or Gea
gs
“The triad on the seventh degree is rarely found in root postion
and can safely be omitted from the dscusion of roor progresion.
Te contain a dstnant interval, the diminished fifth che lower eone
of which isthe lening-tome lf, with its strong tendency coward
HARMONIC PROGRESSION 6
‘the tonic. In its action and effect this triad i really an incomplete
ominane seventh chord and it 0 treeed
‘Occasionally one finds the leadng-tone trad progressing to Il,
‘sully ina sequential psttem where the chord is wed in order to
preserve the symmetry of the voices,
6
“The diminished triad formed on the second degre ofthe minor
Seale has the same dissonant interval asthe leading-tone tia, the
ininshed fieh. However, the lower of the two tones & notin
fiself a tendency tone, and ithas been the practice of composers to
Ie this chord quit feey in oot postion.
may
Another ind with disorat nerves thot on the third degree
he mir soe (harmon). In thse thee i an arene
Fh bewcn he roe nhc leading tne Te» onal te Cou
her of ts ead, ht teng the Hh epee dominant of he
vei, HARMONY
ach progresion possets certain rhythmic values to be di
cussed in ter chapter.
Hiving decided what the root succession ito be the next ques:
vio is bbw the wo chords are connected, that i how the voces
move horizontally
The flowing sbservations describe the procedure fllowed t0
ceonncct wo tat in toot poston, Notice that what sought par
‘icularly is smoot nes.
TF the two trads have one of more notes in common, thes
ire tepested in the same vice, the emining voice oF voices moving
to the nearest avalable postion.
3S]
In the example, G is common tone of orh triad, s0 ics re
peated in the tre voice, the alt, The other two voces move to
Fic neatest postin avalble~C dovn to B, Fro D. (The notes of
the second chord sre GB, D, G. The two G's have been wsed, one
bythe bassnce ha isthe rot, and the other bythe repeated ao.
‘Therefore B and D are the ony availble tones.) If C had gone to
DE would have been forced to take B, the only note lft and this
‘would not have ben tothe nearest poston.
‘Exception: Inthe progression TICV, i is customary aoe t0 re
peat the commun rane hat to move the three upper voiess down to
the nexe availabe poston
oe eae
——
HARMONIC PROGRESSION n
‘Ifthe ewo triads have no tones in common, the upper three
soices proceed in the opposite direction to the bass, always tothe
et ercabte pansion
3
BBtestcn: Inthe progresion V-VI, te leading tone moves
Be Gages 10 the toni, whik the other two volo descend tothe
ese prion in the chord, doubling the third, intend of the
{oor inthe triad on VI
mest
Boe ciesions given above are fllowed, the connection be-
i coh wl conc coring tothe prt of ve
in harmonic progresion. The purpie ofthis procedure is
sh moses fonale oin of wo cr oh
© ow int the net Continued spleton ofthe proc=
ll, however, result in rather dull music. sa "
E. 2 HARMONY
culkvation and exercise of muses! este and judgment ae implicit
SUR Ute to emule the practice of composers. It is never £00
iy conan on the constancseking for what is ruly musical. Even
saith exerenes dling with such elementary material as co0t pos
‘lon teads there will aways exis the posslity of an arrangement
tht ia ie more interesting and musical han another
Th other words the set of rules s broken whenever greater mu:
sical interes can be achieved by breaking them, and this will be
fotieable fst of alin the soprano ine. The soprano, being the top
Tesi inwinctively heard asa melody. and so most receive more
tae in its constrction than the inside voies.
"Whea the rors repeated it is advisable to change the position of
the other voices for variety.
ree (
t
===
[A change fram open to close postion, or vice ver, is often &
good way to obtain 4 new soprano not.
—
t
“The occasional use ofa triad without fifth, usually composed of
hrc roots and one tied may help Free the soprano line. Kis
‘no in the syle ro omit the third, as that leaves the empty sound of
the open ih
x38
HARMONIC PROGRESSION ”
Doubling ofthe thitd or fifth instead of the rot is another means
‘of making more nots available for the soprano par.
ey le Ht #
Rhythmic division of some notes of the soprano into salle time
als 3 feequene resource i ehe making of 2 melody, a ike
Ieee the eying over of possble repeated notes to make notes of
Tagger time values. The sudent is advised to se this device spar
fngly a fst, in order co gata experience in the vertical arrange:
sent of the chords before adling Pythmie complietions
38 —. ai
is
=
a =
ae
Baby rasows meant voces ae given mre freedom of more
Bn este grenetne ways in tic thy my more
Baths sguts vce ial mich and erate
Blo pogresin The ees “cnn” and “june” en
Aetused to describe the movement of single line by sep and by
ship respecively
. See
et wei ine corn monly conjunc ton, wth he
umn cd judul for vacyToo many mse
fog rater tan fr the ed owing qo Teel
Bete boca ikl wcnan meta ee
TE wi nde sare ve fee soya
He eet tn wing only nd oe potion eb wl
Mee be nore hncean's ons dea 4 HARMONY
“Two voices my move elatively in three ways in contrary mo-
sion; in oblique notion oF in similar motion
“Contrary mation, the voices moving in opposite diretions:
‘Oblique mocian, one voice level while the other moves:
Sin moo, beh vies moving in these ron
nn oie tail Tr vcs ming pre
aa rage voce tin epics, Palle
ee expen Othe epenth and och ce
visto
x43
HARMONIC PROGRESSION 5
“The relive moron ofthe voices planned to preserve chee
Independence ox spare pars. The maximum of indepensence i
Farmed by contrary meen, ba ki obviously not posse for
our pars t0 move in four diferent dezions. Oblique motion &
Aha oconra + moving vice wih one tha i sanding sl Tn
Gila moon cae mor be ken tha the movements novo con”
ir that one pans mercy 4 compation tothe othe
tito ndvideaity of ts owe
KCamposrs sem to hate been careful sbout any approach by
Siilar oso ro the interes of ore and perfect Beh, While
Pian are more in the domain ofthe dy of coumerpoint,
the prominence of thee ners when berween te curse vos,
He and soprano, necesita recognition ofthe procte
Pasocare or perfec ifn aac usaly ppronched by silat
Tasion, with sie in both voice Ths combroaton ws ote re
Fete to hidden octave, hidden fhe oe the terms “diet
Gexae” and "ics wl be employed here
Tithe case of the drececctave, cis usually avoided in upward
Imovemen: even when one part moves by sep, except when the
Upper voice moves by a mine second, acting aa leading tone.
Dart hr nd setae como, Palouse ed
it spptel by pall thts Slow
a S55
coe Bo
Parl ican inva cern ein ccimaances rng
from the we o contrapuntal noaharmonic tones and iregular res-
lotions of dissonant chord
& ree rarest
interval of the augmeared fourth i called the ttone, fy
wholexones.Iehas 2 peculiar kindof sound and i wae looked
With disfavor inthe contapuntal era, when it was referred
BS Aiholus in musics. The roughness ofits effect was softened 6 HARMONY
sc avoided with consistent sil. In the period of common Karmonic
oO atte wera 0 be bot one form of the ttone that wat
Prey always shunned by composers. This iin the progresion
Re ANSE postion. The leading-tone in V and the bass of 1V
FAA Mason af eritone, and here dhe term “erose-eation,” of
Ue rion” used eo expres the relationship between rwo suc
TER Eane ‘which do not occur melodically in the same voice.
The fae reltan of the titone i easly heard in V=1V when the
qeeding-rone sin che soprano voice, proceding tothe tonic, but
(Sasterly used when the leading one isin eter alto or tenor
jane oa
‘eine vided eerie
When two voices move upwards in similar motion, the lower
voice not usally allowed to move to + posicon higher than chat
jumlefeby che oper voice. Ths avoids ambiguity tothe ea, which
tye follow at apparent relic progreson berween the to
vekscs ‘The carresponding rule holds for descending movement.
ex
In writing exereses in four pats, sing evo staves the tenor
sont he wien on the lower sf with the bas, so thar the four
Rice ean be aly seen a inc. es also an ad to clarity to adopt
The practice ef pointing the stems ofthe soprano and tenor parts up,
tnd chove of so and bass down,
“Atle ewo version should be made ofthe exercises which eal
fora conidenble number of chords. The fist version should fol
Tow closely the steps ontined under the heading of voice leading
‘hen chough she rel ise poor melodically asin Ex. 3. This will
fp to famlarve che stadene with the principles of connection of
HARMONIC PROGRESSION ”
tains and wil then serve asx basis fr the departures necesary to
bean better soprano line.
"Phese deparvares need not be numerous or radical.
=e
ePri
ce :
Italogoes to II-V. . tes
Ba is nie aed etn eter
erm sof caer orm eF
es
ree Sl sare te Te
EXERCISES.
Wric, in four pars,
fit in four pas vedere arangemens of ech of
monic progresions 8 MARMONY
2. Y-V in E minor
Een mar
oEvtin Fajen
VEVinc major
© Vilia A ino
§IeVin Ese noe
EM in Bt mr
TEV in Fs ar
TIeVLin sharp minor
i Vitin Dts major
Weil sens af each of the following esi of ends
in foot ion ‘The se version should comply sity with che
I mer tn whe the second shold onan
ea rine at order aba a god meade soprano
Pa Comjor: IV, Vs LLY, VLIV IL V, VE
1 eae Peery, Viiv via Y
Vive Wav.t¥
bran ay and tenor pars 0 he follwing Bases
a aE a ponon ike to esos ofeach Bus in
the preceding eer
Pee Apa
TONALITY AND MODALITY
Births ones rasp of onsin mas. This
[reir secon paso cmpuer
the egheench and sinccenthceturn ws conceed in
Pa ete one wes al cee Cones suppor or tending
fer im on yo hr eed Soe
sfx example the ence tove system of Arnold Schenbe
Detheroc doh on ny een enone
fice Far sys, base! en the moder antedate se prod we
Moly ef
Modal refers othe choice ofthe toes berween which this
exits. Tol irsynonymons with ey modality ih
ie lin ia casas nal chromate wale ca ee
Teely large namter of mies can be consruced im any given
Tonal. As ilsrcon afew re given hee on the key-maxeC
mes
Beran Bares Taine
Mcivien froin Bra
rd » HARMONY
“These modes may be transposed iaro all conaies, simply by
chamtg'the pich ofthe rome oote and preserving the interval
relationships.
ms
Pir tzaien Th xobases
Many modes taken from folksong and even oieatal eles have
‘been used acenionally by composer. Artificial scales have bee in-
Need, contiing a disuibation of intervals noe Known befors
Tara of dhese ost await iestigution until ehe frst task in the
fly of hanminy is accomplished namely the clear and frm eab-
Tahigent of dhe orm of common practice by reference to which
thes extsordiary resources are to be appreciated, Ve limit our-
‘Sivas therefore, fo the three modes or seles described in Chapter
‘One major, minor, and chromati, the lst considered asa variant
ofthe oher two.
“The acknowledged superior authority of chee two modes over
a pend of some three hundred yeas has given rise tothe expres
see paeminor system” often applied to our music. We ate 90
EnDued with th eration that we tend co interpret music based on
thor modes a being in either major or minor, usvally with some
Sth uneatfctory results. How often itis thatthe ear accepts
the impression of C major atthe opening of the second move:
meat of Beshns's Fourth Symphony, only to find sooa afterward
that Eis che ena center.
sex 53. Beahe—Fourth Symphony
TONALITY AND MODALITY
Minne ie the sdove, of we of modes eter th
. foe of modes ther than major and
Bs fuety numerous during the harmonic period bur by
po meat freqeene enough to be called commen practice, Sock
Bites dese frm cre prods, were not ce paral ex
Plted spinon the evens cena :
[Pet hen, no ment a mater of ung jute ones of
lar sal more rsa of eign he ognized
tif ie nr one ong hn wich so he
=o egress atin the scheme of tonality,
Hs noc the place h
© hereto attempt to outine the acoustic a
chological gins of tac onal fri Let ital t report
a eserce a viene the age of compar me
at ad subdominant seem to give an inpreson of bal
support ofthe ron, Hk wo ey
spor of he on, He wo een weighs on eter
above co represen the scheme of hams pe
ior pte of mos he fictive being the coast
oy eee i. m ‘onic, and then introduction of the sub~
1 make the la tonic mere susyng an
de apliy deere th eg
eos nd hn cal etn pe,
f the mainstay ofthe tonality. In a given tonality these
emia the mae for bth modes, » HARMONY
a |
Mediane and sbmediant ae called the modal degreer. They have
very lil effec on the tonality bue suggest che mode, since they
be different im major and minor,
ex s6 =p
“The supertonc isos often eeated a dominant ofthe dominant.
a
ceed?
B57
Harmonically, however, the supertonic often tends to become
absorbed into the subdominant chord, especially in cerain pos
tions ands sometimes spoken of asa substitute for the subdominant
ms
——
®
“The superoni shoud, eherefore, be included in the lit of tonal
degrees, since t parakes of Both dominant and subdominant char-
ctr burshould be distinguished from I, IV, and V, as having
‘much ess tonal strength
“The seventh depres, leading-tone, for alls amportance as an
indicator ofthe tonic through is melodic tendency, has not been
treated as a basi sroctral factor in tonality. Ie remains a signf-
{ane melodie tone, common to both modes Te seldom regarded
2a generator of harmony, but is usually absorbed ito the dominant
Chord. The pogresson,leading-tone eo tonic, may be described as
‘melodically VIF and harmonically V-L
Tn terms of harmonic roots, overemphasis onthe modal degres
TONALITY AND MODALITY 53
tends ro give the effect of a node, and tonality, other than tha in
tended. The modal degres, by their insistence, ate accepted by the
(eras tonal degrees of another scale
m9
@orw ¥
Mieetian
Ic follows thatthe onal acre of mic consists mainly of
Harmonies with onl dress ors (1,1. Vo and I) wih he
toda degree chords (I snd V1) wed for vary. ei ineresing
foot how ins single onc chord one shirt degrees vaticee
fo Pender” any umber of deblings ofthe two taal degrees ad
pan te
r go pees
2.60
Tl
|
i
Te
{ii rong nl facorn msc ithe dominant effec San
Bison, Sern ic hey much moe decsvly han te
foe chord il. Ths fac ftps not spprem wih snp
Mads ue sel be cae hwnd ought the sey of hs
Bony. The alin of dmc sn hema srs ree
tone which sve so ugmen he felng of tony
Heine in the combination of lealing-one and dominant out
ment of shy by mens of oe oe say form of dom
Mant harmony isan everyday occurrence. 7 ” HARMONY
x. 61, HaydoQuartet, op. 77,0. €
re
{ona
q
x. 62, Franch-Violin Sonata
1 — H—
pI =5e =
a
inj hn tty eneloop
ane tay
which wil ler prove advantageous to the proc
‘ex ob modo ia greatly Iesened when two chords are heard i
Satie propresen. The progrenions have in themselves impli
‘Sduoms of tonality althoog in varying degrees.
ex 64 f —
a ee
‘Thisambiguicy,
TONALITY AND MODALITY 45
“The great engi of tonality in harmonic progecsons in
Pong ny rads sin hve progresicns which combine dom:
Tetctbrmaty win harmony fom the sobdominan sige (nad
Gs soperonts ws paatng of both). Premnceof the tonic chord
Peet oe necoary tothe seblshment of key. More inporant
Gti dona. The progrcions 1V-V and IV camos be inter
Pee ce an: wih na ara
they do ao net te tome chor to show the Key. The
Peoprsion V-VI although posible ro her ax the relive tn
Ben progression i inthe dominne Key, aronglyindicave
oh asinge omy
ray be cco fra hid chord vo be heard if he hammonic
isto defn the emai. By adding another chord co the
Eiteson inthe above example they cn be rendered sos ne
taka in C.
65
Gwviotnvv vum waov wav
Similarly a third chord could be selected which would confirm
the atemativeronalty given inthe orginal example.
65
Bi eencary ol sce rope of two or tee chords with
inewning to ley nigh be reguded ss msl "words
fear iss wo votes many of se formule ple
Ins niook where hey vl be rll for consti begi.
rth the commons ke W-V-l, LIV-V. ees and een
some that he may inven. They sald then be sed
Fenians car’ Senge of tonality and shythmie 6 HARMONY
feeling, and notice shoud be taken oftheir frequence of use in music
Sid of the varied forms in which they may appeat.
"Varun of the formulae By diflereaces im doubling, spacing,
and choice of soprano tone, are resources already available co the
sent.
67 &
change of mode from major to minor, or vice versa, does not
fect the tonality ofthe formula, and is one of the important means
Sf varucion Ex 66 could be writen as follows, the only change
being inthe modes
fee
GTweREVIEW1VATNVSY #T
“The study of harmony deals with the variants of these funda
mental formule, or “words” Ke will be found that they exis inthe
frost complex texture, and from the very begining much attention
Thould be given to hirmoni analysis of standard works, (o bring
Sue the endles capacity for vated creament of these harmonic
Structural lemeoes, Compare these wo presentations ofthe formula
14
x. 69, Mozart-Pieno Sonata
(ea
Pact pad
TONALITY AND MODALITY — 37
‘ex 70. Chopin—Erude, op. 10, no. 6
a:
8 7. Beethoven-Sonats, op. 53
Aigo meterie
A GEL,
Get (ot (EGE Os
et (ma
In this example th
smple the progression I-V is repeated with change of
ode change involving bur ne noe-the hd dagree.
The harmonic progression may itself cont
prog y itself eontain chords from both 8 HARMONY
tx. 72, Mendelsohn-Somg without Words, op: 108,02
pogo
(ag iene
“Tus we of th nh degre ofthe minor mode inthe mid of
ch kc mode athe ineret of olor and reqoenhy
da ee odominant and wperric with minor sch de-
ee ecpand when he major the prvaing mode
Sanne ate and the maar forms of hese horde (ith major
se ce rd in conection with the ioe mode only
ae ae Agee scence othe seventh, according € DE
Tlie minor se
7
tne egheth cenery it wat alos manner ead om
aaa est even though the movement ha been onisalaly
ed the "oer de
Tigo trou This major tra was called the
Picardie” or Pedy hid
tx 74: Bich-Well-tempered Clavichord ly Prelude no. 4
de RY
te ise.
ig
CComporiions in large form, of several movements, the frst of
seh Rin the minor modes more often than not change © major
WS hc lnc movement whe Keping the sue ronal. Bee
TONALITY AND MODALITY 9
horas Fh Symphony i avays referred to the Cir
oy noe he sta sil oven oe
Bett tat cms
Mth serlopnens of ona reres inthe nine ce-
ery ease ce enn oft to odes megs whe
foe steal coped toes chr: Choma ones
See inroeced ply by fh thd which bas jo peril
Toile born Aran saan Cajon an ply By he
Kerio of the doranss pce allow ether degre tan he
ta powne shown darian.
Stacy of he comple tlogs masa roan vanced
ah cody of tanya oo pt of ich
fhemuden sold be made sare on sb sre The fe hot
Peete reer nd ed co eco change ren
teh eds Els ron ea errr shoul noted sd
Bester ee ce cleton of proprio tnceecrcse
Bibs pce cogs end 1 can bs ted wih her major or
fine dgrs athe mip ne andthe alone hd of
hemor med may hae nj td endesood tae
Beets teary ad scald nx teed too conten
Sie econd impr pot tht sores oie the se oot
Peeely ale he wliy. Ths pence may exe icy
fics be nore cay oly cp the fae
hac anes bythe pores of rot ached
Fateh chord ve soph rps of heme
tay comin al te oes fhe roma ee
EXERCISES
w
ng eof she eninewithow In sgtr, ng ase
esas when needed, shell for showing the sifferences in mode
fet ie aio ges oj nd tor ee
mie onic are ming i at they mggen mach more
— ‘than actually exists, ‘s
SF Wee the oda ges ofthe follwing eles:
Bs Ata rinoe :
Bef. Chupimayer
Bc Danae HARMONY
4, Geahap minor
fe Eis minor
\ 2 Give the tomes and modes ofthe foowing progres
{
(ae
2
«g. Wte echt haloing harmon for fou ie
nor VIL
ieee
bike aja vv
Aone
oe
We cor par eons fc f flow
Cr
Bie eed
Saal
Bia aa ee
5. Write sre varies of a four-part setting ofthe following
Key of @VEIV-I-V-iI-VIAV--Y-
b. Key of Eotar-V-LIV-V-VEIV-LV-LIV-V-
6. Construct original chord successions, starting with a series
‘of Roman numerals arcanged with anton co the proper discribu-
tion of modal nd tonal degrees and to the quality of the harmonic
progressions involved. The series should finally be worked out in
Four parts
©
HARMONIC RHYTHM
rs asuned thatthe conceprions meter and shythm are under=
ood. Mee issinply mesure. Meter has no yen, Bur muse
fooften has hythnic ple with which the meter eincides st
Gmporane point that we dea the meter is rhyhnie. We then
Ipeskof ong sod wesk bests ofthe measur, forging hat the
yt ofthe msc ere fie and that aferards eae the efore
foplice the bar lin ar poinsofehynic rex. Obviouly,te ft
Bore of + mesure shuld recive rhythmic sex only when the
sical fori 30 noc bese happens ob the fin bes.
MTbe rection of many intuenes, portant among them dance
Iai and ance for, combined nthe eighteenth and nnecenth
enue t ntl the eno reuse pve (recurring symm
teats) ic ll mie. The ped of harmonic practice which we ae
Studying i the same ine te period in which there eld sway the
retet “tyranny of the barline.” Composers of eather centuries
Pork wih free and fexle shyt le hese of fine prose and
Bebe cri cerry thre hat bon an emp vo enor
principle ofthat higher agazation of thy, but fom Bach
Bf trons niet thr he
tnd of messes
That we ar sil far frm an appreciation of the subtleties and
Aasteryofshychm even undsr our conventionalized system, shown
ithe works of the bs composers is lrgely due to ur aceepance
@hthe doctrine of song and weak beats ax vbwuce forthe
Spevminded appraisal ofthe shythie valier ofeach individl
ascal phx # HARMONY
Ieis dificult go reconcile the rhythms of the following examples
wii fain cacfcation of hear of che measure ito SOng,
weak, and weaker.
x75. Bach-Serabande from tbe Second English Suite
== SS SS SSS
Here sin mat stands the seston the sco bea of the
ee had beatinenely wir acer the eft ofthe
measure being tha: of ashore frst bea followed by a heavy second
beat ating twice slong.
x. 76. Mozart-Oo
Aiegro
ure tothe Magic Flute
Here the only secent is onthe fourth quarter, the sx eghth-notes
being lof equal iythmic valve, Mozart has underined the rural
rhythm by marking the accented sateenth-note group fore
Brahms
apriccio, op. 116, 0.3,
HARMONIC RHYTHM *.
nizstotal effect onthe tener, che chythm of music derives tom
foro main sources, melodic xd harmonic. We omit from this is
feusion the percusive resource, exemplified by the bas-drum
feroke, not because it has not been signfcanly employed, but be-
(use its habitual role has ben to heighten of underline either
Inelodic of harmonic chythns
[Examination of the following example will show these ewo kinds
of rhychm.
Wf. BeethovenSones, op 31,90. 3
——iars
Prout wvmuyv t
‘The melodic rhythms here combined may be indicated thus:
>
>
Tn chis example the strong accent inthe first measure comes on
the second beat. Therein stress all om the first beat ofthe se
fond menure and te thre quarters serve as up-beat (anacrusis) £0
the third measur,
Te four pacers are clely notin agreement ato scent of
PBifiiacue
Br Taking he Roman omens ofthe harmonic analysis x indicat-
Hag the docu of the rot changes inthe phrase, we can write
the pattern ofthe hagronic yh ch
Bo sis Mine fe “ HARMONY
Admiting the iadeguacy ofthis merely quantitative notation of
toh the are neveceles two sgificant observations £0 be
ide
The pattem of harmonic thythm, akhough fering from
cexthof th puters of melodic yh the product of the combi
Si of thee The san excellenrcorroborstion of the oftn-
‘Rpeated watement that chord are made by moving veces On the
‘Gher hand tb emirly feableto sever the proces. The com
Dover nay have ted with the baron pattern and have derived
From it the mode Tins
Th The reue changes, which give the rythnie pattern of the
fammony, ae ot regular in ie ike a regular pols nor are they
fof ea yeh valu, quite spare from the unequal ime valves
they poses Beth of thee aspect of harmon rhythm, fequency
if change of root and the quality of thar change, mus eve at
teovon ina study of harmony a wed by composer.
“There need not be as much diversity in patterns as found in the
Beethoven example, Ie is tree that thythmie independence of
melodic lines ithe tet of good counterpoint, bt music isnot a
‘ways contraponal and the complesity ofits textore varies between,
wide limits
The rhythmic outline ofall the voices may coincide, in which
‘case the resultant armonie rhythm wil be in agreement with the
melodic rhythm alchough not necessarily with the meter
x. Br. Beethoven-Sonata,op. 53
HARMONIC RHYTHM a
1 82, Schumann—Symphony no. 1
—_——
Ta the above examples the top voice is heard as a melody. This is
falled homophonic music, a diingushed from polyphonic music,
inwhich two or more independent melodic linear Beard in combi-
When all eke is subordinted to one melodic line we have
melody. and accompanimen. The accompaniment is frequently
Tacking in rhythmic interes, co avoid lewening the prominence of
the melody
$85. Chopin-Nocturne, op. 48, no. ¢
Inthe later part of the nneteenth century some compasers be-
feuneintersaed in complicated parsing of cheomate nant,
And in their efforts to cancel the underlying harmony and inerense
he contrapuncal interest, obscured and even obliterated the feeling
ff harmonic progression. Whether deliberate or inadvertent, ths
mounted to an impoverisiment ofthe ehythmie life of the msc.
safer ney of eoaparal ear one cha aroie
mic background, the works of J. Bach remain the models
(Of perfection throughout the period 6 HARMONY
x. 84, Bach—IPall-tempered Clavichord I Fugue mo.
re ins = —
fA | Am
Frequency of change and rhythmic quality of the change are
then, the two min feares of harmonic rhythm. When the har-
‘mony changes ton often the effec is apt ro be one of reslesines and
bustle.
‘ex.85. Chopin—Maaurke, op. 59, 00.2
‘Mlegrao
Ie
Widely spaced change of harmony give the impression of breadth
and relaxation.
HARMONIC RHYTHM a
x 86, Mocare-G-minor Symphony
There are instances of complete absence of harmonic rhythm
throughout whole sections of composition. One of the most famous
examples ofthe effect of state harmony is the prelode to Wagner's
music drama Dar Rheingold, where the chord of Eat major serves
fas the unchanging backgroud ofthe entire prelude, one hundred
land thirty-six measures in maderate empo.
Static harmony, or absence of harmonic rhythm, is more often
felear a defect in music by composers of inferior gift. Like all ther
echnical resources, cs succesful when appropriate, and i bound
tobe inefecive when the rsul of indiference oF unawareness on
the par of che composer.
“The rhythmic quality ofthe harmonic change is influenced by 4
imumber of factors, often of no litle subelery and open to differences
‘of opinion as to thie values but of prime importance tothe student
{se apres roan insight nc the fnclon of harmony as a misc
Fist among thes he agogic element, the effect of tie.
1g these factor che agogh “
‘Long and shore values, i is generally agreed, are synonymous with
heavy and light, serong and weak, hythmie quantities. Down and
pn terms of beats, shoold nor be included in this parallel * HARMONY
"gay
poe
“The applicator ofthe principle of long and shor values to chords
on the same rooe ipa shythen, bu ths should act be thought of
ss harmonic rhythm, which has to do with harmonic changes
x. 88, Beechoven-Sympbony no. 7
Allegretto
‘atoonie ign *
From a purely tarmonie standpoint, the basi factor i rhythm it
the inherent shyshmie value ofeach harmonic progression. These
‘ales seldom exis in music without the inflence of other factors
bur should be ely exablshed by playing the progzesons in
thei simplest forms
‘A strong progresion is one which give the impression of weal
(light) proceedrg to strong (hewwy). Using the barline for its
teadtional parpon, we may say that a bare could properly be
placed between rwo chords of a rong progresion. In general the
progresions withroot moxing by fourth, Hlth, or second are
Progresons.
ex.
(= Sees
ie aS
alo alelelol,
HARMONIC RHYTHM *
A progresion with roo moving up a third isa weak progression,
Igiving + rhythmic impression of strong to weak "The har-line noe
‘rdinarily placed between evo chords of a weak progresion
x
‘The progresions with root moving down a third are not def
ttey echer weak or strong
= enna
When more than two chords are involved ie willbe noticed that,
B strong progression is capable of becoming weak by asocintion
With other song progresions. The following example shows
(groupings of such progtesins, wih barline indicating rhythmic
Interpretations o which chey are srcepible. Let ys repest thatthe
Darline is bue an indicator of the inerptetation and nots enus of it.
seo:
i ab
errr
ty pre:
Wi he nite mci ow at his command hese wi
ot be expected to apply advanced principles of harmonic tye,
Tei advinbie ats pon, however, to mention sme ther yt
Mic nfuences which wil srely be present in alnst any muse
thats examined. o HARMONY
Disonance is contrapuntal in princple and an impor: ee
ment in motion The dasonant chord and ts eolton may, how
Ter compose strong ora weak progreson. The hamenic
rhythm Treoncerned with root movement and is ether confirmed
“rconvadcted by the polyphonic superstar
193
Directions for nuances of loud and soft, crescendi and dimimuend,
accents, sfraand, and te like, are of course not elements of har~
monic shythm. The we i ordinarily to confiem and accentuate
the natural shythnicfeling aleady present inthe musi, although
Sometimes for particular expressive purpose the composer may
employ them in # contrary vs.
x 94. Beethoren-Sonats, 0p. 31,00. 3
Allegre ——~ DF py
Inthe above example the second chord, although a dominant
seventh chord ein 2 posiion and inversion which would allow
fof is complete sbsorption into the tonic chord, the soprano and
bas being pasing tones and the alto an ausliary. ‘The accent indi-
‘ested by Becthoren would never have occurred tothe player if no
‘dynamic signs had been given,
HARMONIC RHYTHM st
Te quesion mld by the Bethoven example, of whether +
Beat Sena of coe oan ndopendenchod out soe
Bcc cons which happen ohamotar athe mewsent depends
aos conderaons nd an open to varying were
Mos. Te wil have to be decded tainly to tyne trout ba
fe shoul ale nc consent genta pac nd sila.
=
ahs cumple the spec of te mac juss a broader view af
Bae harmony, so hatte hamnont mer foe chan per mesure
een eacrble
x. 95. Scarlanti—Sonata
‘On the other hand in alow tempo the passing chords are dwelt
‘pon ong enough to give cham harmonic significance
1B 96. HaydnSomats
‘The pedal effect, where atone, wally the basis held through
which are foreign to itis shythmically stati, sine it s HARMONY
Fae
44. The harmonic shythm may be syncopated, while the rhythm
ofthe melody continues to agree with the established pulse.
1x 100. Chopin-Preude, op. 28, 0.4
Large
Fee =
(essetsidlatanaaas
“The common term for ascrusisis up-beat, as opposed to thesis,
meaning down-best. Up and dovn ate good descriptions of the
thychmiceffeces produced by anacruss an thesis, probably because
Wwe instncsively think of a condaceors stick, or a vieins's bow.
Rhythmically, however chee terme should not be eaken to mean
‘weak and stoong, respectively. The up-beat may be strong, intro-
acing 2 weak down best.
‘mx 101, Brahms-Imermense, op. 76, no. 6 a HARMONY
(rit may be weak shythmiclly, the stres coming on the down
heat
2x. 102, Schumann—Album forthe Young, no. 30
EXERCISES
1. Construct shor phrates of about four measures, in four-four
‘im, wing tins in r00e postion, according to che following vata
‘a With only one harmony per measure
i. With two harmonies per measure
: With tree harmonies pee measut, divided in various ime
values
4. With four harmonies per measure
2. Arrange the fllowing series of chor into phrases, with es
pecal attention to the placing of stong and weak progrenions.
a Eat major: LV--V-AIVEL-IV-V-l
chord progreson in as many diferent
thythmie variations as possible, appying principles described in this
chapters V-VEIV-,
“+ Harmonize the following bases in four pars
HARMONIC RHYTHM
8 THE HARMONIC STRUCTURE OF
THE PHRASE
‘ony a theaverage harmony exerci, Temay be argued that
‘the purpose ofthe harmony exercise to teach the manipa-
lation of chords, and that che more chord ic is made to contin the
more practice he stent will ave, But here, asin ll other tages of
tur sty, we mst continually recall he objective of harmonic the
fry, mmely the eafieation ofthe practic of cormporers in the se
Of chords. Harmonized chorales and hymn-tnes, with harmony
changing more or les segularly on every beat, represent a very
small pat of the lieature of music in che eightenth and nineteenth
‘centuries and, hovtever admirable and appropriate to thee purpose
they may be, they ate not representative of the common practice
ofthe period
Jost a regularity and symmetry seem to have been sought in
ith, thene quale are found to be much in evidence when we
consider phrse sroctue. The great majority of phases, when they
fave not undergone extension or developmen, ate of four and eight
measures, In very dow movement a phe say’ contain only two
rmeanures and in af tempo it may’ conain seen
Since we are concemed primarily with noes we shall deal ac
fist with four and eight measure phases. The stadent will noice,
however, che added msca interest ofthe phrises he finds whieh
donot agree withthe standard, These iregulae phrases wil fll nto
two categorie For the most par chey willbe phrses which were
‘originally four or eght measures long in concepcon, but have been
tae longer by one or more technical processes, sich asthe
‘quence o the decexive cadence, harmonic devices ro be examined
AA test of mse som comin many hangs of
HARMONIC STRUCTURE OF PHRASE 5;
Incr in this book. The thes will have ovgnated with dh
numbers uf measures (EX. 10)) ® =
¥x. 103, Brahms-Ballade, op. 18, no. 3
Alege eergieg
Teis posible thatthe phrase be constructed on a static harmony,
although there is wally some particular reason for this. The ex.
ample bclow i ofa phrase which serves as inrodction tothe rin
body ofthe pice, sing the stage for whac isto come. The same
phrase is sed to close che pies,
104. Mendelsohn—Songs without Words, op. 62, mo. 4
Ategoo ah 5
Gr
The one
+ etene ered by the following two examples
fs very ests in fat tempo bi capable of dignity and sundance
When te movements hersows em am 8 HARMONY
1x 10s. Schumamn—Sympbonic Studies, op. 13
Presto pomibite
x, 106. Chopin Nocturne, op. 32,0. 1
Andante sostenuto,
; Ss
wie twive
Most pheass vill show a more balanced harmenic activity. The
‘chord changes ate designed to lend life and movement without
drawing too much aention to themselves. No rule can be given,
as all degrees of variation in the amount of harmonie change cia
be found berween the two extremes,
‘The harmonic rhythm, or patern of the distribution of chord
changes in the phrase, is of great importance inthe structure. This
point should serve as a basis for extensive research during the study
‘of harmony, to bring out the great diversity of effect achieved by
hharmonie means.
‘Changes of harmony recuring a regular intervals like a pulse
se fairly commen.
HARMONIC STRUCTURE OF PHRASE. 59
‘ex 107. Brahms—Walts, op. jg,n0.1
oo
3
Usually, however, the changes will form a parern of shore and
Tong tie values, 2s well as weik and strong chythnie progresions,
Bx 108, Beethoven-Sonst, of 49,20. 1 © HARMONY
Phrases do not necessarily begin with the tonic chord, nor do
they necesarily begin on the it best ofa measure, Rhythmicaly,
the sare may be either anacruis or ches Harmonialy, ic
txsromary in the fist two or three chords, che fist harmonic
formula, to make clear the tonality. As has been pointed out, this
doesnot requte te presence ofthe tonic chord
x. top, Morart-Sonats, K, no, 281
Hire the first chord is actually the dominant of C, bu, since the
ey is Blac and Cis the second degree the chords propery called
Vol Il a form of Vi “ per
Tye end ofthe phrasal the cadence, aways marked by »
cern contention harmonic formal I wil ufc hereto in
tate the exe etre of ro types of cadence hese wl be
ecto tate aly int ac shape
The abe radence compare tefl tp or pid in
puncrntion, nd coms of the progrenon V=L
The bl cadece ie a containing» partial opin an
unined eatement. Ie nie with the chord Wy however ap
proxche.
“The following xampe shows wo phrases theft ening with
shal caence adhe second tha utenti exdoncs
HARMONIC STRUCTURE OF PHRASE 6
x. 110. Morart-Sonat, K. 90.333
Allggreto er
Inthe sore example the phrases end with the fn chord ofthe
fxdenceshychncaly sre, the barlne beng placed jus before
Vin the al cadence and before inthe authentic cadence, This
falled the masculine ening, ot maeineexdence. In locating the
Veco ince the tion fh dons ba ots
taken. If here are frig tones above fe, they are tempat
Giplacng notes ofthe V chord and will rele inc inthe
half cadence stove
‘cadence in which the two final chords give the strong t- wea
Ahiythmie progression i cals feminnecadeace, o emg en
ing as inthe example blow:
11. Schumann—Harvet Song, op. 6,024
oon slegeerss) o HARMONY
“The principles governing the selection and denibton of chords
wihin the phrase are thst of unity and vay, condoned by
zy speci purr for whch the phrase contrcted, Such +
‘pec porpne orate by En which the ation
tra appropri forthe inoductory function ofthe phe. An
dcher spec purpose would be tat of transion, i which the
prs would ben sate of moving from one place to ancher,
Tonal speaking. Another would be the preenation of 2 phrase
previuly hear bt new form, with Yared harmony of with
Uelopmens and extrions
Before sch pects ar investigated, important vo know what
the harmonic serie conus of in normel pres ving oo
txtrordiary fins, bur whose re spy th of pres
ton or xpnition of the musk! shoght without development or
‘maipulaton
"Hamonicly «phrase cons of ste of harmonic pogres-
sions o forme signed to mae cher and mann the tna,
td to confim ind eohance the harmonic implication in the
loc line. Thee ar principles of tnt. The harmony sone wil
fen emo pose ra iy. th nay rept a he
Sane root progresions. This balanced by other siguficat Feetres
inthe pre vanes
15x 113, Beethoven Sonate, op 49, 0.2
| WaRMONIC STRUCTURE OF PHRASE 6
(Get ahoEs.107)
petty be il ond sha res de of stein
Haseena vo th anc of tlace becca ety and vary,
Pint che of ross nici sync don Ta
etipin of hs price athe woke of atten compe ie
trey profit
Stat ore view pricis of tarmonie vs, mch change
ey (moduiien) sod Cieatcserason ofthe chord wl
eile for aes texec. The progam of sy sche ple
Ices he folowing expe
Be Amiya of» given pts Serving athymic ater of one
shows by Ronan mama
Tecraacocinn of sfourpare himenic scheme showing the
Bete of ce oigal eat othe crm
ing bn the pater ned inthe ex ep, contac.
Ii eet pens alk she gen pre
“Ter flloe on asim of te spain ofthese ep
BL I15. Schuberr—No. 1 of Three Grand Sonatas
Adagio
at
4. The pattern of rot changes is 8 follows
my
ee gad
Te phrase begins wih onthe down- beat. The IV progreson
fepesed in the second measure with rhythmic variton. The
| Weed meare offers harmon vary by inroducing the medal
Agree tiad VI preceded by I, altered in the orginal to become a
Amina of VI The phrse ends with « masculine haf cadence
With the progesion IV-V ss weakxo-strong (ehor-C-lng)
Bs Using only eiads in roe postion, these being the materia a % HARMONY
present available wo the student, che following harmonic scheme
‘would be derived
ments
wiovox ¥ imwe v
Taking advanage of the slow tempo to gun variety in the
melodic lines by moving about among the chord tones, # version
like the one below can be made. Note als the organization of the
snelodic rhythms
mxH6
‘Andante,
EXERCISES
1. Treat the phrases given, following the thee steps as inthe
‘example above,
2. Derive the shythmic pater of the roots ofthe harmony.
Construct che four-part harmonic scheme
©. Construct new phrase from the derived harmonic bass
Mozare Sonus, Kono #84
HARMONIC STRUCTURE OF PHRASE 65
Schubere-Sonsts, of. 4
Handel Suite X, Memetio
dd tn
4 Construct original phrses, four measures in length
4. Stating with anaruis and ending with feminine cadence
b. Starting on down-baa and ending with masculine cadence
With minimum of harmonic atvity balanced by melodie
4. With maximum of harmonie activity and. litle melodie
movement
3: Consus phrase accoting tthe following patterns
& A-flat major, two-four time, slow: ee
(Gf Beethoven, Op. 13.) HARMONY
b, Deamon, threeour time, fas
(cf Beethoven. Op. 10, n0. 3.)
©. A-imjor,ewo-fout time, slow
(cf, Schumann. Op. 68, 0.28.)
HARMONIZATION OF A GIVEN
PART
of harmony the cqustion ofthe bility to harmonize mlo-
ties That isan scconplchnene which ought natal 10
fame as» by-produc of de proper sckntife sudy of harmonic
Tags bot an accomplishment singly lacking in opportunity ot
Beceity for is application. Excepe in rece, specie fs
Eiscan rarely called upon ofunsh harmony fora ley
‘The mental sep involved inthe proces of harmonization ake
iy however, one ofthe mom alubleerercer inthe stay of
Harmony, andi shouldbe vgerded always asa means rather than
anend. The foncion of urmony exerci to lay principles
by practical experience with the mae, The atempt to go over
the ame ground o le the se problems asthe compost wll
afford ano purely nail proces ca, a insight ito te waare
And deus of these problens td inco the manne and variation of
thee sation,
Dung the period we arching 2 tat of hammoic common
Bracticenery al the melolies ate of harmonic origin. They were
Sither evolved frm chord tne, with the addition of noahartonic
felodc tones of they wer conceived ws having harmonic mesh
ings expresed or iplied. Sethe proces of harmonization doe not
Ae ivenion, but in ase redscorery of element already in
‘existence. 2
I sr nor be thoughs thatthe ultimate objective ofthe study
Nevertheless, one should discourage the ambition to discover the
c ° HARMONY
“author's harmony.” expecially in academic, manufactured, ext-
bank exeretes There nothing more depresing than che perusil
‘of the “key tothe erercies." Even ifthe given soprano i a melody
by Mozart, no premium should be placed on guessing the exact
chords and their arangement a wed by the composer. The profit
for de student lien the inteligene comparison of his own version
wich that by Morar,
Teis characteris of the nature of music tht any melody ie eapa-
‘le of suggesting more than one choice of chords, to say nothing
‘of the numerous posible of arranging them, True harmeonia=
tion, then, means 1 consideration of the alternatives in avaiable
chords, the reasoned selection of one ofthese alternatives ad the
tasteful arrangemert ofthe rexture of the added pars with due re-
gard for consstenc of syle
In order to find te available chords for consideration, one should
strive to make as complete harmonic analysis of the melody a
possible, in as many versions a seem to present themselves, The frst
‘question i of cours, the conalty. Some melodies of restricted range
may offer several posbilies of key and mode, even if we limit
‘ourselves tothe us of wads in rot poston
HARMONIZATI
N OF GIVEN PART @
Broowiwr vim or
‘The possibilities for differnt interpretations as to tonality and
‘mode of 2 melodic phrase will increase with the radon’ farther
Aequaintnce with harmonic resources,
Determination of the key will depend upon the diagnos of the
ane ed sre pene agal
ee Pres ab ees canis
Be oa ae el cndogeentepre
Eee
BEE a ea
eo prep eeyer boe eaed
eee
creas te ote a Fagen oc E
eee eeten
ee eT
ses TS i el
ne ee a ee
SAR A ite
Se ets
eb eeletemele
When a melody moves by sip, ris ely tha she heer prcedore
willbe tows the sme harmeny for bth noes
mr 70 HARMONY
Exceptions to this will usually arse from questions of harmonic
rhychn, If the twonots involved inthe sip accur ats poine where
the harmonic rhythm would approprately move from weak (0
‘song, then the harmonic roots will probably be diferent.
exni9
‘Such a shythmiz effece is generally placed so that the second
chord falls on the fis beat of a meatute, giving rite to the often
Stated rule tha itis better to change roce over abarlne. The weak
to-srong chyehm may, however, be found within the measure, just
as the first bea, as we have sen, is sometimes not che strongest
Ifthe harmonic rhythm seems vo demand frequent chord changes,
iemay happen tha tone ofthe melody will hold trough as atone
common £0 ewo of more diferent chords
Grww yuu y¥
Ik is of course, posible that melodic movement in the other
voices, without change of roe, may be more desirable.
HARMONIZATION OF GIVEN PART 7
After having decided onthe tonality and having made prelimi
rary decision asco the gencal harmonic activity, or frequency of
thors, each note ofthe given part should be examined for its pes
Dilties 2s a chord tone. These should acrually be written, as Roman
smamerals in order that all he mental sepa may be clearly sen
Tn working with a given bas only one chord was available for
teach tong, since the given bass notes were a che sme time the roots
fof the tiads. When an upper voie is given, each tone forithes 2
thoice of chee wis. A given tone ean be the roo, the third, othe
fe,
men
This ep is shown appli’ toa shore melodic soprano part
meng
tea
“te
Rad
ai
a
Tathe as measure of the sbove example we can at once eliminate
the VI and the IV, a we with to end the phrase with ether V of
Since I remains, the cadence will be an authentic cadence, so we
‘chocee V to precede the I The VIL would not be a good subsiute n HARMONY
for V here becauseit would give a doubled leading-tone. Tn measure
f¢vs can ako elnino rhe VIL Tn mesere 5 ether I or VI could
live for the whole measure, In meavore 2 the VIP can be suck
‘ut. Also the II will prove a troublesome choice fr the second beat
{i would make parallel octaves if followed by I, and would not
five avery sutfacory ba interval if followed by VI. So we con
lode thar measure: had better contain either IV or H-V. These
tliminations lave the fllowing aernatives:
enn
Considering what we now have from the standpoint of unity and
varigey, and harmonic rhythm, se Se that the only chance fuse
VFis in measre 3, and thatthe progresion V-VI would be good
hete as variation to the V-I which muse come a€ the end. So we
