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Culture Documents
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}& AUGMENTED AND REVISED EDITION
BY
THOMAS TAPPER, Litt. D.
156956
Prut Si. M
\ net
THOMAS TAPPER.
New York, December 4, 191 1.
A. P. S. 9420
SECOND YEAR HARMONY
PART J
CHAPTER I
f
C major
II7 v
m
IIO7
-=31
®m=£
$ 7^
C major
y C min.
V,
(')
Mozart
Note in these examples (i) that the first chord is the domi-
nant seventh of the key, (2) that the second chord is the
tonic triad of the key. The bass G moves up a fourth (or,
what is equivalent, down a fifth) and the other tones, on the
treble staff, connect directly with the tonic triad. The
tenor G, in examples (a) and (&), is common to both chords.
The leading tone, B, moves up to C, and the seventh of
the dominant seventh chords resolves down, regularly, to
the third of the tonic chord.
3. Applying this form of progression to the supertonic
seventh chord, there is produced an exactly parallel resolu-
tion:
C major C minor
|^|EEE|~ip
BE
V
m 7
no.
JL
V
Thus:
C major
eI^
II 7
C minor
ft _. -BXS* -
IIO7
C major C minor
ESE Se i
f-
v7 VI
Hi V7 VI
g. This progression, applied to the n7 chord results as
follows in C major. It is not applicable in minor as a com-
plete resolution of the supertonic chord, because the third
degree in minor is an augmented triad.
C major C minor
&z W-
m 117 in
m 1107
jii+
$
m^^^^=^=^
117
v 117
TONE STUDY
II. Before the student proceeds to harmonize basses
which include this chord and its inversions, he must familiar-
resolution.
1. Sound with the voice, taking the pitch from the
piano, the tonic and its octave:
f
2. Then the following, using the Italian syllables,*
singing slowly:
ZJCX=Z&.
$ i
II 7 -
^£=3=^ i — *
EE • » 4=
117- V-
P
5. Then the following, with syllables:
1107- V-
$ II0 7 - V
7. Sound on the piano the supertonic seventh chord,
fundamental position, of the major keys of:
C, Ab, Et>, B, G, F.
* For the application of the Italian syllable names, see First Year Melody, Page 1
8. Sound on the piano the supertonic seventh chord,
fundamental position, of the minor keys of:
E, B, Eb, C#, F#.
9. Sound the tonic of each of the following keys, then
sing the tones of the supertonic seventh chord
ascending, and resolve upon the leading tone,
falling to the dominant:
(a) Major — Db, Eb, Ab, Bb, F, G, E, C.
(b) Minor — C, D, G, B, A, F, E, Eb, F#.
10. Sing the following in the major and minor keys
given in Question 8:
C major
P V7
E&E
I V
12. This vocal practice should not be discontinued until
the chord has become thoroughly familiar. Once the n 7
chord is grasped mentally in its progression to V, other pro-
gressions, which will be shown in succeeding chapters, will
be easily mastered.
QUESTIONS
1. What is the interval structure of the n7 chord in
major ?
2. What is the interval structure of the n§ chord in
minor?
3. When is a seventh chord in its fundamental position?
4. How many inversions has a seventh chord ?
a n7 chord?
7. What is the usual progression of the seventh of a seventh
chord?
8. Name the major key in which each of these inverted
n7 chords is found:
{-?—3» =fe-
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35
:
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BASSES TO BE HARMONIZED
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6 6 4 7
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13 n7
position.
Seventh measure, first chord, the tonic I.
II
CHAPTER II
fining
m VI 7 II
m vi 7 110
Thus:
m vi
EEEEEE
11
V I
IS
VI II
V I
C major C minor
* vi 7 * VI
lp =g^ =S2= 1
C minor yi VI 7 (|) VI 7 (|) VI7 (|)
7
13
TONE STUDY
C
i
major: VI7 VI7 II7
V I
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C minor yr :
VI, no V7
$
C major: VI7 II VI7 II VI7 II
QUESTIONS
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BASSES TO BE HARMONIZED
Vocabulary :
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ite
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6 v7
fa^ VI 7 II 7
^=^
V 7 VI
=
^= I* F F>-
=
I 6 vi 7
i^a
n7
*7
w^ etc.
CHAPTER III
*
HI TTl
III+
C major
-s
^. <s>-
ni„ VI
r
9
C minor
fe E3E
$
iii± vi m+ v7 x
iii+
C minor
a b
V III+V7 1
TONE STUDY
i. Sing the tones of iii 7 in major until their scale re-
lation as a group is clear. Do this in all major keys.
f iii„ VI
20
V7 , to I.
f hi vi„ n«
11
^Egi^EEgSSfe^g
m„ vi n
V7
S V7
4. In like manner sing the inversions of iii 7 . Thus:
g 10
feE
VI IIT VI III,, VI
s ^=3
m7 VI
21
6. In C minor, sing:
d&
^ TTT+
III} VI
$ B=feE -<s>--s>-
fcs- ^
Illi VI IIIJ VI III} VI
QUESTIONS
BASSES TO BE HARMONIZED
Vocabulary:
The triads and their inversions.
The V 7 and its inversion.
,
JL 1 5 6
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& —p- 8 5
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6
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MELODIES TO BE HARMONIZED
VI 7 nlV8
i 3^
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24
vi7 n 7 V7 njV7
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25
CHAPTER IV
IV,
„
m
. C minor
iv„
C major C minor
=31:=
<fr
g r~fl<P
m KE
IV V
IV, 7
In C major
5th in Soprano 3d in Soprano 7th in Soprano
ESE
P -* "Sr
m-
IV7 V IV7 V IV7 V
In C minor
5th in Soprano 3d in Soprano 7th in Soprano
7
&t
ftz
IV IV IV
V 7 V
TONE STUDY
C major
ff
IV, _v_
1$ 3^E
IV _V_
27
C major
a —&—
fvr^-79 =- —<S «=> 1_<S U
IV7 _v7 . T
A minor
* -o
IV
=- s?
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C major
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I IV n 7 V7 I IV7 V V7
* —*-
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I IV VII °
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VI
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7 V7 I
C minor
4—4
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7 7 2 6
1
f
^rh- j —» — -
J
,
I iv no v 1 iv vV VV 7 T IV J 1 11 V 1
7 V7 7 7 V7
28
QUESTIONS
=k
T&- ^^
9. In what minor key is each of these the iv 7 ?
EXERCISES
Vocabulary:
The triads and their inversions.
The V7 and its inversions.
The n 7 vi 7 iii 7 IV7 and their
, , , inversions.
BASSES TO BE HARMONIZED
6,
6 sb
ss I
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6 6 6 i V-
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MELODIES TO BE HARMONIZED
VI 6 a min V
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IV V Gv7 n 7 V7
m
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30
DV7 I VI 1V«
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NOTES ON THE PRECEDING EXERCISES
CHAPTER V
THE SEVENTH CHORD ON THE LEADING TONE
ipllp
C
vno 7
major
mm C minor
vno 7
C major
#v 9
P3f:
ve
From the fact that the vn°- has for its root the leading
tone, it invariably makes the deceptive cadence resolution;
that is, the root following its usual strong impulse (as
leading tone) rises to the tonic. The chord, however, may
resolve a fourth up, in major, after the authentic cadence
formula, in sequential passages; that is, when the bass
moves in regular intervals. Thus:
C major
4-
m =3=
=^=
=23= =3=
m
VIIO III vi„ II
Vt
C major
<=)
V*J.
%£» c=3
e=> £S?
<r='
a
tin ^ 11
II
11
II
1. Sound the tonic of C major, and sing the vn? and its
resolution:
C major
% VII
33
C minor
P ttor
VIIO„
S C major
vii o„ _i_
C major
# Z&Z3SL
s =^^
I ™° 7 JL viio„ _I_VII0 7
Model
D minor
f- Wr
C, F, E, D, A, B, F#, Bb minor.
34
QUESTIONS
~^^~
$
3. To what minor key does each of these chords belong ?
=3te=2Z -fre
i31= -rs-
BASSES TO BE HARMONIZED
Vocabulary:
The triads and their inversions.
The V 7 and its inversion. .
35
-^
7
7 *
8-7 6
3=F* *
5 8 7 5 7 5 J u6 7 5 5fl
^iifc ?=P=
PE P=^^ I
6
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7 5 7
5 8 ^5« 7 7 7 7 7 7 7 7 6
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MELODIES TO BE HARMONIZED
IV 7 m7 I6 n7 .
6 ii
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IV 7 vn° 7 iii 7 vi 7 n7 V7 I
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37
CHAPTER VI
THE TONIC SEVENTH CHORD
C major , C minor
if i "if"
^m r
-£r
§i
i v7 1 IV7 VII0III 7 VI "7 v I7
^m
IV i v7 I
i v i7 IV i v7 I
38
I V l\ VI
C major
J L L-J 4-
P ^ =3= 3=z^
6
4 7
$=£
VI
I I7 IV II II III III
7
II
I V7 I
39
While the second chord in measures one, three and five ap-
pears as independent seventh, the passage is merely a suc-
C major
TONE STUDY
C major
i _IV_
C major
^Z3T
i VIIO
_IV II
_V7
4o
le '-m — m
*•
E minor
335t=4
#
5. Sing the next example, observing the tone group of
I7 and also that the underlying I 7 -IV resolution
brings the leading tone down to A naturally:
C major
r ,
|
g».n. :
^ii... 33 ^gii
VI n„ V I7 _ _IV
QUESTIONS
1. Write the I 7 in
C, G, B, Db, Ab, Eb, major.
F, D, A, C, F#, Eb, minor.
2. What two forms of triad are contained within the I 7
in major ?
in minor ?
41
It
tsa*z#=^ ii^fel
6. Chromatically alter one tone in these chords, to pro-
duce a dominant seventh in each case:
BASSES TO BE HARMONIZED
1. All triads and their inversions.
2. All seventh chords and their inversions.
6
5 8 7 6 6 5b •*, i 6 6 4
&
3 s G
1
A 6
3 7 2 6 5 6 5b
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fg *E 0—f9- & P .
ai
3 8
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7
^5^
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6 6
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1
6 6 6 4 7
at is ^H2- :[=:
i
—
42
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3 6
6
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II° 7 VII° 7
&—at- E# -&—&
Iie 18= -&—&- -&- -
22:
1
Note. — From this point the harmonization of melodies,
in close position, will not be required.
In Part II, melodies alone (soprano, alto, or tenor part)
will be given for harmonization in open position.
Beginning with Chapter VII, harmonic analysis of part
music is introduced and continued to the close of Part I.
43
CHAPTER VII
REVIEW
QUESTIONS
6 5& 6 6
3 4 6 -#- 6 ,6 5 47
gai^^gggggg
3
3 Vj 6
5
-
- 6 6
6
4
6
5
n* P ^
,
uz r r
kiO
,
f?
rj v ^ & &
|
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1
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tn
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E^i2
4: i
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5
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3 6
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7 7 7 7 26677
4 4 -^>-
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i
6 7
o i if #
6 % I 6 6 V^34 ft
rv» 5F
n
F tf
F W -1 m
F F P ii
^ 44
1-I5
1
1— 1
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1
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II
II
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45
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7 7 5 7 56 47
8 7 2, 6 7 7 6 7 7
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ANALYSIS
4 j S g l S '-hfsi—j,5_l g — Hn 3=1:
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«3
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s
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r
46
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h 1 1 dim 1
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P =g= ^ =±±
r=
^ f=
*= s=
CHAPTER VIII
NON-CADENTIAL RESOLUTIONS
m 7
-fSr
2
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mi 4=
(«)
Jadassohn
(a)
itfNr-P —i (Si
!
— 5?
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etc.
6
6 6 5 7 6
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1 i
— — — —i— -i
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pi \-
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a.
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BASSES TO BE HARMONIZED
I 8 7,6
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76 8 6 6
^iSd: mi
8 p^Q 6 5° 6 8 7 5 kZ &- &-
m8££&^%f¥W££w%
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A. RlCHTER
6 6 6
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6 6 6 6
6 3 5 5 87 33 6 5 4 7
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ANALYSIS
Sir Joseph Barnby
m * i=
-**- -V-^-gr
U J-
*£=*=
T -r
L |
R—
i. What is the key?
2. Why may the second chord (first measure) be in the
| position?
3. What modulation occurs in A major, through the tone
E sharp?
4. Through D sharp?
5. Bass of measure six: what effect on the key has D
natural? C natural?
6. What chord prevails through the penultimate meas-
ure?
7. Why is the unison used twice in measure one (bass
clef)?
8. Is the melody of this composition confined to the
soprano ?
52
CHAPTER IX
fifth degree but in its third. The following are the various
chromatic inflections that may be used.
Major triads: 5$ or b3-
Minor triads: 5# 3#.
Diminished chord position) 5$, 3b.
triads: (6 All these
are illustrated in the examples that follow:
=U4-
Wj£
=«fc
m
U-J=J=pJ=-j=p-i
I ^E
r 6J
5 5J
m.SEB
i| i^g.-
f
T=t=
55
TONE STUDY
*— y—pE
J
I=«—!Mi
— i »-
F I_ ^ IV_ -V7
3 *t ^
P G
J.
I
J. l—f*-
IV
i r
^
VI
2. Sing the following in several major keys:
m zfafc
ss^^
— * a
1
f-T-
f3*E
rr
%4
P3E^
=t=FP
Efefe 3E
4' I
C I
QUESTIONS
1. How must the sharp inflex be resolved?
2. How must the flat inflex be resolved?
3. Which triads, in major, cannot take the sharp five?
The flat three? Why?
4. Why must the altered tone be restricted to one voice?
5. Do chromatically altered chords always produce a
modulation ?
6. What is the value of the chromatically altered chord in
four-part writing?
5*
ANALYSIS
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10 11 12
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13 14 15 16
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measure.
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What two
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K
tones
^ i^ are chromatically
altered ?
2. What chord is emphasized by this alteration ?
3. What is the effect of the F# in measures three and four ?
4. Measure seven: How far does the influence of the first
CHAPTER X
CHORDS OF THE AUGMENTED SIXTH
By chromatic alteration the augmented sixth may be made
a component of three chords: (i) the first inversion of a
triad; (2) the first inversion of a seventh chord; (3) the
second inversion of a seventh chord; that is, of a 6, 5, and 4.
m 3si 3s
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The following illustrates the chord of the augmented sixth
in C major:
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In C minor:
h^P Hjg
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In all instances the augmented sixth chord is a chromatic-
ally altered minor triad. The following illustrates its use
in G major:
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64
CHAPTER XI
THE SUSPENSION
A tone may be prolonged from a chord of which it is an
integral part to the next chord in which it does not belong,
by the nature of the chord structure. This prolongation
causes a dissonance, which requires preparation and resolu-
tion.
a b
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Name each chord, as to root.
State whether the chords are fundamental or inverted.
What figures are required to indicate the suspensions?
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68
CHAPTER XII
THE SUSPENSION
The following bass should be harmonized in all three
positions of the first chord, that is, with three, then five,
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The figuring % is, in full, | or | according to the position
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ANALYSIS
Play the following. Add below each bass note the figur-
ing to represent the chord.
Note, and mark the suspensions.
CHORAL
J. S. Bach
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73
PART II
CHAPTER XIII
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1. The key is C major.
2. The first and last chords will be C-L
3. The penultimate chord will be V.
4. In the fifth, and seventh measures, skips
sixth,
hence, IV.
6. In measure five C is repeated. The chord is fixed
by the skip from E to the first C (second beat).
The third beat may change to IV.
7. With this form of analysis completed, next proceed
to write in the bass, keeping its tones within an
octave.
75
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MELODIES TO BE HARMONIZED
Proceed in like manner with each of the given subjects
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CHAPTER XIV
OPEN POSITION WITH PRIMARY TRIADS
Close position results when the three upper voices are
grouped in, or within, the compass of the octave. This
form of writing is familiar to the student from his experience
with the exercises up to this point.
1 i
le= 1 I
4. The bass may ckpart from the tenor with more or less
(«) <*)
E
Two fifths Two fourths
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GENERAL RULES
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ANALYSIS
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82
phrase.
Nos. 10, 11, 12, 13. The Tonic triad. No. 10 being the
first chord of the phrase is best used fundamentally. No. 11
having the third in the soprano cannot be used as a six
fundamental.
No. 14. Sub-dominant, as a six chord.
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CHAPTER XV
THE TRIADS ON VI AND II
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SUBJECTS TO BE HARMONIZED
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ANALYSIS
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effected.
CHAPTER XVI
THE FOUR-SIX CHORD
When triads are used exclusively in the fundamental
position, the chord succession is stiff and angular. The
voice part is invariably confined to so narrow a tone range
that it loses any aspect of independent melodic progression.
The soprano stands out as the most individual part, and the
bass is confined to roots alone.
By employing the six chord as a substitute for the funda-
mental position, much greater melodic variety is secured.
The six chord is never employed as first and
or final chord,
rarely as penultimate chord. It is available elsewhere when
the third of the triad is not used in the soprano.
Hence, with primary triads especially, the presence of
root or fifth in the soprano discovers a possible employment
of the first inversion; but the progression to and from a
possible six chord must always be considered.
As a rule, the six chord may be regarded as the equivalent
of the fundamental triad to be availed of in certain instances
to improve the melodic trend of the alto, tenor, and bass.
The second inversion of the triad (four-six chord) is intro-
duced in this chapter. This chord has three distinct uses:
(i) it may appear on the
first of the measure in cadence
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ANALYSIS
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QUESTIONS
(The measures are numbered)
i. What is the key?
2. What passing tones are used in measure i ?
CHAPTER XVII
*
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r — r r
97
ANALYSIS
J. S. Bach.
IM
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i. What is the key?
2. The chords are three voiced throughout; two tones
in the right hand, group themselves with each bass tone.
3. Place under each bass tone, the Roman numeral, as
shown in measures one and two.
4. Measure 4, what form of scale?
5. Measures 5 and 6, what key?
6. Measures 7 and 8, what key?
7. Is sequence employed?
8. Measures 13 and 14, what key?
9. In what key is the final cadence ?
10. First beat, first measure, what is the d?
11. Third beat, first measure, what tone of V is omitted?
GENERAL REVIEW
1. Explain preparation of a dissonance. Resolution.
2. Why are preparation and resolution necessary?
3. (a) What are the principal uses of the four-six chord?
99
CHAPTER XVIII
(i) The source of the chord and its impulse in the place
it appears.
•
(2) Ch^rd position.
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ANALYSIS
A. Marmontkl
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GENERAL REVIEW
CHAPTER XIX
THE LEADING-TONE TRIAD AND SEVENTH CHORD
The and vn? are an integral part of the dominant
vii°
harmony. The vn° is to be regarded as V 7 with root
omitted; the vn° as V 9 with root omitted. Hence, in the
use of these two chords, it is essential to keep the influence
of the dominant in mind. ;
« -&-
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VII U VII?
mP3 iA
VII
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VII 6
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y VII7 VII7 VI VII7 VII7 VII7
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107
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m VII7
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The vii in major:
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iftr^- -ts
r-S
1
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109
ANALYSIS
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i. Explain the use of all unisons between any two adja-
cent parts.
2. Mark all Passing tones.
3. Name the cadence at each Phrase ending.
4. Where do Suspensions occur?
5. In what key is the third Phrase (sixth measure) ?
CHAPTER XX
THE CHORD ON THE MEDIANT, IN MAJOR
Of the following exercises, Nos. 4 and 5 introduce Sequences
(fundamental chord forms). Each exercise should be worked
out in a simple form of harmonization. Then again, intro-
ducing the chords indicated by the Roman numerals. Re-
view in Part I, the chapter on the Mediant Triad.
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EXERCISES TO BE HARMONIZED
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APPENDIX I
Chord Progressions, in
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MODULATIONS
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A. The New York State Education Department
HARMONY
Candidates are required to answer six questions from this
group.
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the key and diatonic in the second.
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APPENDIX III
HARMONIC ANALYSIS
The real, but often apparent freedom of many modern
composers seems to present chord formations that lie en-
tirely aside from the recognized successions of the Classical
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Note the emphasis that the ninth itself places upon the
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upon the tonic.
The following illustration shows the use of an unusual
meter with anticipation tones (the first F#, for example).
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Rebikoff : Ruff, Op. 13, No. 8
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Exercise: Locate each chord, up from the Bass, checking
in the right hand part the chord tones only. The first F#
(right hand) is a chromatic leading (or leaning) tone, the
purpose of which is to make the following G emphatic.
Two chords result, (a) (b) D minor n°, then F major V7 .
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While there is but one harmonic progression in the above
(the V7 I of the last measure) it illustrates how melodic and
harmonic successions are made servants to the intended pro-
gramme. The music, entitled La flute du Berger, by S.
Maykapar, Op, 15, No. 4, brings about its effect (of flute
melody) by the slightest use of harmonic support, the reason
being not to overburden the melody to the point of drawing
attention away from it.
Measure 1, tonic (I) of Gb major. There is one foreign
tone (Eb) present.
Measure 2, tonic (I) of Gb major. The foreign tones are
Eb and Ab.
Measure 3, tonic (I) of Gb major. The Ab second beat
is a passing dissonance.
Measure 4, the Cb suggests the rest of the V7 chord.
Why is not the V7 not used in full ? Only two of
its tones appear.
Exercise: Experiment at the keyboard with the V7 I pro-
gression and also with the V I, resolving the V7 or V9 to I
melodically. The melodic use of the V 9 may be seen in the
first example of by A. Scriabine.
this set of exercises
If the student will " experiment' at the piano with chords, '
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