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3 Bl8a 59-01396
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 Foreword

The course harmony presented

in in this book is designed
to satisfy an urgent need by placing in the hands of teachers
and students a practical and concise treatise on the science of
harmony. It has been the aim of the authors to eliminate all
unnecessary details, yet at the same time to coverall essential
points for a practical understanding of the subject. As prepa
ration for this course the student should have a good foundation
in elementary theory.
It is the contention of the authors that the ability to rec
ognize chords through hearing and the development of the
power to play chord progressions on the piano is of more
practical value to the student than the methodical harmoniza
tion of a melody on paper. The three phases of harmony, that
is, ear training, keyboard practice and harmonization of mel
odies should be developed simultaneously.
The subject matter of each lesson should be taught by the
teacher before the student makes reference to the subject mat
ter in the book. The student should be led to formulate each
rule by deduction from instances furnished by the teacher.

THK AUTHORS
 BOOK I

Chapter I

INTERVALS
An INTERVAL is the measurement of the distance between two notes or tones .

An interval has two names, ^ NUMBER name and a SPECIFIC name.

To determine the number name consider the lower note 1 or "DO" and count up
wards to the higher note. (Example l)
Ex.1

etc.
1st 2nd 3rd 4th 5th 6th 7th 8th 9th 10th
Prime or or octave (2nd) (3rd)
Unison (8ve)

Intervals larger than an 8th may be named as if the notes were within an octave.

To determine the specific name consider the lower note 1 of the key. If the upper
note is found in the major scale of the lower note it is either a MAJOR or a PER
FECT interval.

If it is a 1st, 4th, 5th, or 8th', it is a PERFECT interval. (Marked P.) (Ex.2)

Ex. 2

st P. 4th P. 5th P.8YP See Note 1 Note 2

Note 1 - Not a P. 4th because in the major scale of F, B is flatted

Note 2 -
Not a P. 5th because in the major scale of B, F is sharped
If it is a 2nd, 3rd, 6th or 7th it is a MAJOR interval. (Marked Ma.) (Ex.3)

Ex. 3

iS:

Ma. 2nd Ma. 3rd Ma. 6th Ma. 7th See Note 3 Note 4 Note 5 Note 6

Note 3 - Not a Ma. 2nd because injthe major scale of B, C is sharped

Note 4 - Not a Ma. 3rd because in the major scale of A, C is sharped
Note 5 -
Not a Ma. 6th because in the major scale of E, C is sharped
Note 6 - Not a Ma. 7th because in the major scale of G, F is sharped

M-W.&Sqns 19401- 69 Pt.l

 A CHROMATIC half step is from B to B#, or from A to A#.

A DIATONIC half step is from B to C or from A to Bi>.

The intervals B~B# and B- C are ENHARMONIC. Likewise A- A# and A- Bt.

A perfect interval extended by a CHROMATIC half step is an AUGMENTED interval.
(Marked A) (Ex. 4a).

A perfect interval contracted by a chromatic half step is a DIMINISHED interval.

(Marked D.) (Ex. 4b).

Ex.4

Note: A Diminished Prime (1st) is impractical.

A Major interval extended by a chromatic half step is an AUGMENTED interval.

(Ex. 5a).

A major interval contracted by a chromatic half step is a MINOR interval

(Marked Mi.) (Ex. 5b).

A major interval contracted by two chromatic half steps is a DIMINISHED interval.

(Ex. 5c).

Ex.5

a) PDC

Ma. 2 A. 2 Ma. 3 A. 3 Ma. 6 A. 6 Ma. 7 A. 7

b)
to:
3DC
Ma. 2 Mi. 2 Ma. 3 Mi. 3 Ma. 6 Mi. 6 Ma. 7 Mi. 7

Ma. 2 D. 2 Ma. 3 D. 3 Ma. 6 D. 6 Ma. 7 D.7

Theoretically, there may be intervals more extended than augmented, more con
tracted than diminished. These are named DOUBLY AUGMENTED and DOUBLY DIM
INISHED. (Ex.6),

Ex.6
nnr- to:

Doubly A. 5 Doubly D. 4 Doubly D. 7 Doubly A. 2

M.W. & Sans 19401-59 Pt.l

 Exercises

1. Identify the following intervals:

t?o dtfc

2. Identify the following intervals:

3. Above E on the treble staff construct the following intervals:

D. 4: A. 5: ML 6: D.7: A. 2: D.3: A. 8: D. 5: A. 3: Ma. 2:

4. Above At on the bass staff construct the following intervals:

D. 8: Mi. 3: A. 6: D. 2: Mi. 7: A. 4: D.6: Mi. 2: A. 7: P. 4:

5. Name the interval from each note to the one following.

There are thirteen items.

r r r ^ \
r r

6. Name the interval from each not to the one following.

There are seven items.

7. Invert the intervals given in exercise 1 and identify them.

-
(The interval Gb D, inverted, becomes D- Gb).

\>* ,

1 "Tf"
becomes or

8. Invert the intervals given in exercise 2 and identify them.

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b
Chapter II
CHORDS
The student should develop the power to PLAY at the keyboard, to RECOGNIZE
by hearing and to WRITE each example in the following chapters. The ability to play
these examples and to recognize them when played is of more importance than the
ability to harmonize melodies on paper.

A CHORD is a group of three or more notes erected in thirds upon a given note
called the ROOT. (Ex. 7).

Ex.7

i
For the present only three -tone chords, called TRIADS, will be used.

A TRIAD consists of a ROOT, a THIRD and a FIFTH, figured above the root.

Determine the roots of the following triads: A D F; B G E; C A Fj D G Bj etc.

Triads may be erected upon the notes of the major scale as follows. (Ex. 8).

Ex.8
F=g=
u
II III IV V VI VII

The root of the chord is indicated always by the Roman numeral. Hence, the Roman
numeral indicates the scale note used as the chord root.

Upon analysis it will be found that the I, the IV and the V consist of a Ma. 3d and a
P. 5th and are therefore called MAJOR TRIADS.
The H, III and VI consist of a Mi. 3d and a P. 5th and are therefore called MINOR
TRIADS.
The VII consists of a Mi. 3d and a D. 5th and is called a DIMINISHED TRIAD.
The I, IV and V are the PRINCIPAL triads. The others are the SECONDARY triads.

For the present only the PRINCIPAL triads are to be used.

Exercises
1. Write the principal triads on the treble staff in the keys of Et, F# and At.

2. Rewrite these so that the root is in the upper voice.

3. On the bass staff rewrite these so that the root is in the middle voice.

4. Each of the following notes is the fifth of a I triad. Prefixing in each case the key
signature, write the principal triads in each key, roots in the lowest voice.

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 Chapter III
HARMONIZATION OF MELODIES IN MAJOR KEYS
The I consists of the 1, 3 and 5 of the scale

The IV consists of the 4, 6 and 8 of the scale.

The V consists of the 5, 7 and 2 of the scale.

Ex.9

IV V

When harmonizing a melody proceed as follows:

A- CHOICE OF CHORD:
1. Above each melody note write its corresponding scale number. (Ex. 10)

2. Below each melody note and under the bass staff indicate by Roman numeral the

Principal chord in which the melody note is found. (Ex. 10).

Ex.10

Under 1 (8) and 5 there is a choice of chord, but none elsewhere.

For the present, always begin and end a melody with the I chord.

Hence the choice of chords for Example 10 will now read:

I-V-I-IV-I-IV-V-I
(Under 5 the I chord is more musical than the V).

B- CHORD ARRANGEMENT:
a- Fill in the bass notes for the entire exercise using the roots of the chords only
in the bass.

For convenience in reading and uniformity:

1. Write the soprano and alto notes on the treble staff. (Ex. ll).
2. Write the tenor and bass notes on the bass staff. (Ex. ll).

be at the right of the

JL,The stems of the soprano and the tenor notes should
note heads and upwards. (Ex. ll).
4. The stems of the alto and bass notes should be at the left and downwards-

(Ex. 11).
Ex.11
Soprano

Alto I

Tenor^l

M. W. & Sons 19401-59 Pt.l Bass

 The usual compass of the four voices is as follows:

Ex.12

Exercise 10 will then appear as follows:

Ex.13
12 34 56 78

V IV IV V

When harmonizing a melody for four voices using triads, one of the notes must be
used twice, that is, DOUBLED.

Play a major triad on the piano. Make it a four tone chord by

1. Doubling the third of the chord.

2. Doubling the fifth of the chord.
3. Doubling the root of the chord.
It will be noticed that doubling the third of the chord makes the chord sound thick
or muddy. Therefore AVOID DOUBLING THE THIRD OF A MAJOR TRIAD. Double
either the root or fifth.

Play a major triad on the piano. Make it a four tone chord. Then
1. Omit the third of the chord.
2. Omit the fifth of the chord.
3. Omit the root of the chord.

When the third of the chord is omitted it sounds hollow. When the root of the chord
is omitted loses its major effect. Therefore, THE FIFTH OF THE
it CHORD ONLY
MAY BE OMITTED, in which case the root will be used three times.
b - Fill in the inner voices, that is, the alto and tenor parts.

1. Do not write the tenor and alto parts or the soprano and alto parts more than
an octave apart.

2. Avoid writing the tenor and basa G and E,

parts a third apart lower than fourth
and third spaces, respectively, on the bass staff.

M.W. & Sons 19401-59 Pt.l

C- CHORD PROGRESSION-.

1. In progressing from one chord to the next one, the inner voices should move as
smoothly as possible, common notes being retained in the same part when possible.
(Ex. 14)

Ex.14

Voices moving in the same direction are in PARALLEL MOTION. (Ex. 14, first
measure, Soprano and Alto voices).

Voices moving in opposite direction are in CONTRARY MOTION, (Ex. 14, first

measure, Soprano and Bass).

,2. When possible the bass voice should move in CONTRARY MOTION to the So

prano voice

In simple part-writing avoid consecutive parallel perfect 5ths between the same
'

3.

two voices because such progressions produce the effect of a single melody sung by
two voices in two different keys. (Ex. 15.)

Ex.15
IaC .
5 6.

InF
rTTT
'5 6

Avoid consecutive parallel perfect 8ths between the same two voices because when
4.

two voices sing the same tones consecutively three part harmony results. Four part har
mony is richer.

5. In simple part-writing avoid the skip of a seventh in any voice between two differ
ent chords, because it is unmusical.

Crossed voices occur when a higher voice moves to a note below the preceding
6.

lower voice, or when a lower voice moves to a note above the preceding upper voice.
(EX. 16.)

Ex.16

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10

RESUME:
When harmonizing a melody proceed as follows:

A- CHOICE OF CHORD:
1. Above each melody note write its corresponding scale number.
2. Below each melody note and under the bass staff, indicate by Roman numeral the
choice of principal chord in which the melody note is found.

B- CHORD ARRANGEMENT:
1. Write in the bass notes, using roots of the chords only.

2. Write in the inner voices.

C- CHORD PROGRESSION:
1. Make the inner voices move as smoothly as possible from one chord to the fol

lowing chord.

COMMON ERRORS IN ARRANGEMENT AND PROGRESSION.

b) c) d) e)

i J

IV V
In Arrangement:

THIRD OF CHORD OMITTED:

Ex. 17-a. In the second chord the third of the chord, E, is omitted.

DOUBLED THIRD:
Ex. 17-b. In the second chord the third of the chord, E, is doubled.
Ex. 17- f. Alto and tenor both have E, the third of the chord, but as it occurs on
the unison this may be per mis sable.

POOR ARRANGEMENT:
Ex. 17-b. Tenor and bass are a third apart low on the bass staff.
Ex. 17- c. Tenor and bass are a third apart low on the bass staff.
Ex. 17- c. Alto and tenor are more than an octave apart, in the second chord.

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 11

In Progression:

CROSSED VOICES:
Ex. 17-b. Tenor in the second chord is lower than the bass in the first chord.
Ex. 17- d. Bass in the second chord is higher than the tenor in the preceding
chord.

SKIP OF A SEVENTH:
Ex. 17- c. The tenor skips a seventh.

CONSECUTIVE PARALLEL PERFECT FIFTHS:

Ex. 17- e. In the first chord the tenor and bass are a Perfect 5th apart. In the
following chord they are also a Perfect 5th apart.

CONSECUTIVE PARALLEL PERFECT OCTAVES:

Ex. 17- f. The soprano and bass parts move from B to C.

Care must be taken in progression IV -V and V- IV, both of which give rise to dif
ficulty of parallel 5ths and octaves. It will be wise to use the following formula:

(This formula and those presented in the following chapters correspond in music
to idioms in language).

Formula-.
Ex. 18

IV V IV V IV V

Reverse this formula for the progression V- IV.

The above formula may be reduced to a numerical representation as follows:

Upper voices (see note) 1-7

6-5
4-2
Bass 4-5
Chords IV - V

Note: By upper voices is meant, soprano alto or tenor.

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Ex. 19- a. Contains errors which have been explained under Ex, 17. The place where
eaoh error exists is indicated below.
Errors in Ex. 19 -a.

Chord 2 to 3 - Consecutive Parallel P. octaves.

Chord 3 - Doubled thirds.

Chord 4 - Third of chord omitted.

Chord 4 to 5 - Consecutive Parallel P. 5ths.

Chord 5 to 6 - Consecutive Parallel P. 5ths.
Chord 6 - Poor
arrangement.
Chord 7 to 8 - Poor voice leading. See Chapter III-C.
Chord 8 - Poor
arrangement.
Ex. 19 -b is one of several good harmonizations for this same melody.

Exercises:
Harmonize the following exercises for four voices with the roots of the chords
in the bass.
The bass as well as the melody is given in the first set of exercises thus indicating
the chord choices. The problems of arrangement and progression remain to be solved.

Exercises

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 13

ACCENTS
In setting poetry to music, three different kinds of accents are involved*, first, the
poetic, or meter, accent of stressed and unstressed syllables including various rhythms
of poetic feet such as trochaic, iambic, anapaestic, etc^ second, the rhythmic accent
as in ?, ?, and- f measure; third the harmonic accent produced by the movement from
one chord to a different chord. It is obvious that in good music the three kinds of
accents must coincide.

Ex.20

I I IV IV v i

Ex. 20- a. On the accented beat change the chord if possible.

- b. When the melody follows the notes of an obvious chord in a measure the
same chord may be repeated.
- c. When a melody note skips from an accented to an unaccented beat repeat
the same chord if possible.
- d. When a melody note is repeated change the chord if possible.

Exercises

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14

Chapter IV

CADENCES

A CADENCE is an ending.

Ex. 21 '

4)

V - I IV - V - IV - I I - V IV- V- I

An AUTHENTIC CADENCE is the progression V- I. (Ex. 21 a, c, f.)

A PLAGAL CADENCE is the progression IV- I. (Ex. 21 b, d.)

A CADENCE is PERFECT when the final melodic note is 1 of the key.

(Ex. 21 c, d, f.)

A CADENCE is IMPERFECT when the final melodic note is other than 1.

(Ex. 21 a, b)

A HALF CADENCE or SEMI CADENCE

-
is the progression I - V.

(Ex. 21 e.)

An EXTENDED CADENCE is such a progression as IV- V- I or IV- I -V.

(Ex. 21 f.)

Exercises

1. In the key of At write a Perfect Plag-al cadence for four voices.

2. In the key of F# write an Imperfect Authentic cadence.
B. In the key of E write an extended Perfect Authentic cadence.
4. In the key of Dl> write a Half cadence.

5. In the key of A write an Imperfect Plagal cadence.

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 15

Chapter V
HARMONIZATION OF MELODIES IN MINOR KEYS
Triads may be erected upon the notes of the minor scale as follows:

Ex. 22
JL
Key of e A u m IV V VI VII

Henceforth major keys will be indicated by CAPITAL LETTERS; minor keys by

SMALL LETTERS.

The I and the IV are minor triads. Why?

The V and the VI are major triads. Why?
The II and the VII are diminished triads. Why?

The III consists of a major third and an augmented fifth and is called an
AUGMENTED TRIAD.
At present only the notes in the HARMONIC MINOR scale and the principal
triads I, IV and V will be used.

Ex.23

IV V

The I consists of the the 1, 3, and 5 of the minor scale.

The IV consists of the the 4, 6, and 8 of the minor scale.
The V consists of the the 5, 7, and 2 of the minor scale.

The 7th of the minor scale is chromatically raised a half step.

In harmonizing melodies in minor proceed as for major melodies. Refer to Chap

ter III for the general rules.

Avoid in any voice the progression 6 #7, an augmented second.

Exercises
Harmonize the following minor melodies for four voices.

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16

Chapter VI
FIRST INVERSION OF THE PRINCIPAL TRIADS
When the bass note is the third of the chord, the chord is said to be in the FIRST
INVERSION. The first inversion is noted by a small figure 1to the lower right of
the chord number.

Ex.24
In the first inversion chord, any one of the three
upper voices (soprano, alto, tenor) may sing 1 or 5
in a Ijj 4 or 1 in a IVi; 2 or 5 in a \. The bass must
sing 3 in I
l5
6 in IVt 7 in ;
Vr

D Ii

The third of the chord, found in the bass, must not be doubled.

Melody notes: 1234567

Hence the melody notes of the scale may be harmonized as

I V I IV V IV
follows-.

IV I

IVt I
x

Notice that under the melody notes 3, 6 and 7 NO FIRST INVERSIONS

may be used. Why?

In general:

1. Do not begin or end a melody with an inversion.

2. Inversions are to be used for the purpose of smoother leading

of the bass voice.

Ex.25
2 4 55 5556 d) 15711575
e)
11 rt I
5 l 6 4
/U J iJ J UI I

r=#r

iv vt v,iv V V V I V V VV 1
I IV1
(Poor) (Poor) (Poor)

3. Ex. 25 -a Avoid the progression IV -Vt (Bass sings 4-7) and vice versa.

4. Ex. 25 -b On the accented beat CHANGE the chord if possible or else change
1

the bass note by using an inversion.

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 17
/
III -
(See Chapter Accents)
5. Ex. 25 -c On the UNACCENTED beat when the melody note is repeated,change
the bass note by using an inversion, or else change the chord.
6. Ex. 25- d When there is a SKIP in the melody from an ACCENTED beat to
an UNACCENTED beat repeat the same chord if possible in a dif
ferent position.

7. Ex. 25 -e When there is a SKIP in the melody from an UNACCENTED to

an ACCENTED beat change the chord if possible. (See 4)

8. Ex 25- f When a wide skip

is necessary in the bass voice it should occur

between two arrangements of the SAME chord rather than between

two DIFFERENT chords.

Exercises
Harmonize the following melodies for four voices:

MAJOR

Si ^m
irJJ J|Jjjji r rJJU j

j j J j
rr ir irr f
r IT r r r i
rr r ir J.

nrrr j ^ jj

^ x
MINOR

?
jriJ.i r rri

A < ii rf iJrirr^g

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18

Chapter VII
SECOND INVERSION OF THE PRINCIPAL TRIADS
When the bass note is the fifth of the chord, the chord is said to be in the SEC
OND INVERSION. The second inversion is noted by a small figure 2 to the lower

right of the chord number.

In the second inversion chord any one

of the three upper voices (soprano, alto,
tenor) may sing 1, 5 or 3 in a I 2 4, 6 or ;

1 in a IV2 5, 7or2 ina"V^. The bass must

;

sing 5 in a I 2 1 in a IV2 2 in a V2
; ',
.

1234567
Hence the melody notes of the scale may be harmonized as follows:

I V I IV V
V
IV V

12
IV

Notice that under the melody notes 3, 6 and 7 only the root position and second
inversion may be used. Why?
For the present, USE THE SECOND INVERSION OF THE TRIAD ONLY AS
PRESCRIBED BELOW.
1. In cadences, provided the I2 occurs on the accent.

Ex.27
4321 655
tf J .j j j iiM J h j j

T r
I*
A IV I2 n
2. In the following formulas:

Stationary bass on 1:

Ex.28
Upper voices 3-4-3^ Inter-
5-6 - 5/ change -
1 - 1 - l) able.

"
1-1 - 1

I - IV2 - I

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 19

Stationary bass on 5:

Ex.29
A 5 5 5

Upper voices 7 - 8 - 7\ Inter -

2 - 3 - 2> change -
55-5) able.

Bass 5-5-5
e V I2 V Chords V - I2 - V

Scale-wise bass:

Ex. 30 .

Ex.31
7 1

change-
able.

3. When the same chord is repeated on the following beat:

Ex.32

j j J
r r r r

Notice in every case there is no skip in the bass part either to or from the bass
note of a second inversion chord, except in Ex. 32 where the same chord is repeated.

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20

Exercises

Harmonize the following, exercises for four voices.

MAJOR
j
rrr

^m P^
^ r
1

r irr

MINOR

J JU J 1 1. 1 i-:

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 21

Chapter VIII
THE DOMINANT SEVENTH CHORD
The four tone chord erected upon V as the root is called the DOMINANT SEVENTH
CHORD and is noted by a small figure 7 to the upper right of the chord number.
Ex.33

Ak V' al V7
The notes comprising it are 5, 7, 2 and 4.

1234567
Hence the melody notes of the scale may be harmonized as follows:

IV
V I IV V
I
IV V

V7 V7 V7 V7
(The inversions of the principal triads are omitted here. See Chapter VII.)

Being a four note chord it has three inversions.

Ex.34
^ *
&
VV
7 VVj7 VV 27 VV 37
The fifth of the chord, 2, only may be omitted in which case the root, 5,
is doubled.

When inverted, it is better not to omit any notes of the chord.

It is a dissonant chord and resolves to the consonant triad I.

In its resolution to the L

Ex.35

5 in the soprano voice resolves to 1 or 5

99 inner voices 1 or 5
" 99 99 bass voice 1

7 in the inner voices resolves to 1 or 5

99 outer 99 i
2 in the soprano voice resolves to 1 or 5
" " " inner voices " " 1 or 5
bass voice 1

4 in the any voice ALWAYS resolves to 3.

Hence in its resolution the V7 resolves to the I

V? I

vT.
" "
ii

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22

Do not use the progression V 7 - V The progression V- V 7 is good.

In a succession of the V chords the root and inverted positions may be used
7 in
7
any order with the exception that when the V is used it must either progress to an
other V^ or resolve to a I^.

s
In the melodic progression 2 -3 the V7 should not be used under 2. Why?
7
In the melodic progression 4 - 5 the V should not be used under 4 except as pre

scribed in the formulas below.

In the melodic progression 4-4-3 a good choice of chords is IV -V 7 - I.

Formulas:

D IV V27 I Chords IV V27 I

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 23
Exercises

MAJOR

m
\ It
*
m m

p*
TMINOR
bjhpmr

rrir r if

^ J
If

^ f ,JI ij.jj

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24

Chapter IX

MODULATION TO THE DOMINANT AND SUBDOMINANT KEYS

IN MAJOR

To MODULATE means to change the key or tonality.

A modulation is established by using an authentic cadence in the new key.

The terms DOMINANT and SUBDOMINANT are borrowed from the technical names
of the scale tones, all of which follow:

1. The TONIC
2. The SUPERTONIC
3. The MEDIANT
4. The SUBDOMINANT
5. The DOMINANT
6. The SUBMEDIANT or SUPERDOMINANT
7. The LEADING TONE

A DOMINANT modulation moves to the key at the 5th.

A SUBDOMINANT 4th.

The TONICS by the dominant route follow:

bt el? at
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 .25

The circle of keys shows the relationship of the MAJOR KEYS and the relation
ship of the MINOR KEYS .

Major keys are noted in capital letters, minor keys in small letters.

Ex.42

There are two methods of modulating, as follows:

1. Modulating by a BRIDGE CHORD, a chord common to two keys.

Ex.43 Key of Key of Key of Key of

Dom. Subdom. ubdom. Dom.
ft

g ii Mf r
ii
n n
F I C IV Bb V F IV Bk I F V C I

Ex. 43 -a. The I in F is found as IV in C, the dominant key.

" V Bb, the subdominant key.
'

Ex. 43 - b. The IV in F is found as I in Bb, the subdominant key.

Ex. 43 - c. The V in F is found as I in C, the dominant key.
Hence:
The I in any major key is found as the IV in the dominant key.
" V ?> '?>? I " dominant key.
I > 5> ?> V
5? " subdominant key.
>'

" IV " > " '> I subdominant key.

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26
Ex.44 3543 6

r r r
^ f

F I
A
L VX I F Ii V 7
I IV
^
C IV lo V7 I Bl> I lo V7 I

Ex. 44 -a. Sing the melody. You will hear that a modulation begins on the fourth note
into the key of C, the dominant of F. The fourth note also seems to be in
the original key. The melody number of this note is 3, and will therefore
be harmonized by the I in F. By referring to the above chart it will be
seen that this chord is a BRIDGE CHORD.
Ex. 44-b. Sing the melody. The melody ends in the key of Bb the sub dominant. The
fourth chord again sounds like a BRIDGE CHORD. In F its melody num
ber is 4. If it is harmonized by the IV it becomes the I in Bt, the sub-
dominant key.

2. Modulating by a V 7 CHORD in the new key.

Ex.45

D V7
Ex. 45 -a. The chromatic sign indicates a modulation. "What closely related key to G
has a C sharp in the signature?

Ex. 45 -b. What closely related key to G has F natural in it?

Resume:
When a modulation is desired.

1. Decide where the new tonality begins.

2. Write the melodic numbers over the melody in the new key,

3. Proceed as for the usual melodic harmonization

4. Prefix the necessary chromatic signs.

Exercises.- To be sung changing melodic numbers. Determine where the modulation

begins and to what key the modulation is made.

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Exercises

MAJOR

PPSP

p? I

MINOR

10)

Harmonize for four voices.

(T)

^ ? ^

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CROSS RELATION:
Amodulation may be made without a bridge chord provided that any chromatic
progression between two chords is continued in the same voice.

Ex.46
^36 7

Ex. 46 - a. The bass and tenor in the second chord sing C natural, while the soprano
in the third chord sings C sharp.

Ex. 46 -b. The bass in the second chord sings F sharp, while the soprano in the third
chord sings F natural.

Ex. 46 -c. Both CROSS RELATIONS are corrected.

Hence-. A cross relation exists between two chords where there is a chromatic pro
gression beginning in one voice and ending in another.

Teachers, if they so desire, may continue at this time, the subdominant and domin
ant modulation proceedures explained in Chapter XII.

Chapter X
SECONDARY TRIADS
The SECONDARY TRIADS are the II, III, VI and VII.

Analyze the following triads:

Ex.47

G ii m vi vn e II III VI VII

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Summary.
In major keys the major triads are I, IV, V.
" " " " minor " VI.
II, III,
" " diminished triad is VII.

minor major triads are V and VI.

" " minor I IV.
" " " diminished triads are II and VII.
"
augmented triad is III.

The melody notes of the scale may be harmonized as follows:

Hence: The secondary triad may be used in place of the principal triad provid
ed the note to be harmonized is in such triad, as follows:

1. The VI may be substituted for the I, except at the beginning and ending
of a melody.

2. The II may be substituted for the IV

3. The III may be substituted for the V. (Rarely used.)

For the present avoid the use of the VII.

ANY NOTE in the secondary triad may be doubled.

Avoid the second inversion of the secondary triads.

The secondary triad may follow its principal triad, but should not precede it.

The n and III may be used effectively in cadences.

Formulas:

Melody 4-3-2-1 4-3-2-1

Bass 2-5-5-1
or
4-5-5-1
4

Chords II - I
2
- V7 - I IV -
III!
- V7 - I
or

HI

Notice in the progression II - I 2

the bass part skips to the bass note of a second
inversion. This is permissable especially in a cadence.

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Formula: Ex.48
876 876
Melody (in major only) 8-7-6
Bass 1-3-4
- - IV
Chords I III

I III IV I III IV
Poor Good

The secondary triads may be used in succession as follows:

Ex.49

F III VI II V7 I f HI VI II V7 I

Notice that the bass moves either down a P. 5th or up a P. 4th.

DECEPTIVE CADENCE:
Ex.50 2 1

Upper voices 4-3

r-
2-1
=F=F 7- 1

Bass 5-6
D V7 VI d V 7 VI Chords V7 - VI

It is called DECEPTIVE because the bass, 5, resolves to 6 instead of to 1. Do NOT

invert these chords.

Avoid a deceptive cadence with the melody, 2-3. Why?

Resume:
Hence
1. The progression from a principal triad to its related minor is al

ways good. (See P. 29, 1-2-3).

2. The following progressions are strong.
Ill - VI VI - II II - V

3. In progressions of chords on adjacent degrees the upper voices should

move in contrary motion to the bass if such chords are in root position.
In the DECEPTIVE CADENCE it is often necessary to double the third
of the VI chord especially in minor.

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Exercises

"
ip #/ T
MAJOR
_
rM jiJ r

r IT
>

n j
r Mr r i
r
r r ir
J
M J

JL
t r
^

m
MINOR

jj uj j-'|i
' '
'' '

jt''i r r l r

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