Professional Documents
Culture Documents
MUSIC COMPOSITION
BY
CARL E. GARDNER
NEW YORK
CARL FISCHER
1918
N\uS 30b"3
OCT 2t 1918
Copyright, 191 8
BY
CARL FISCHER
New York
DuKiNG the past few years we have seen the beginningof a reactionary
period in the art creations and in the teaching of,the arts and sciences.
At such a time, it is to be expected that there will be extremists such as
we see among the creators of some of our futuristic products of art and
music; but this upheaval is encouraging to those who have seen the
of
futility many of our pedagogicalmethods.
Modem psychologists
and educators have abandoned the old ways of
unintelligible,
period of study to the time when, somewhat enlightened,
they can appreciateand enter into the attractiveness of the subject.
One of the most conspicuous examples of the old order in pedagogy
'^
is in music composition. For fear that a student would make matical"
gram-
but when
theorists, turning to the works of the modernists and even
fifths,cross-relations,
augmented progressions, unresolved dissonances,
two or more progressionsof a fourth or fifth in same direction,
ei cetera
ad infinUum,
Music pedagogs can profit much by a studyof the changesgoing on
in the methods of presenting other subjects;of the way many other
subjectshave benefited by taking cognizanceof data which modem
psychologyand pedagogyhave to offer.
The "direct" method in the teachingof music compositionis sure to
C. E. G*
Cambudge, Mass., 191 7
CONTENTS.
PART I.
Paob
"""
Ul
Chapter
I. Cadences and Elementary Form i
Exercises, Group I 8
Exercises,Group 2 12
Exercises, Group 3 14
Exercises,Group 4 16
y
vi CONTENTS.
Chapter Paob
XI. Non-Chosdal Tones 64
Pasang, Appoggiatura,NeighboringTonej Anticipatory,Suspension,
Retardation,Organ Point, and Compound Non-Chordal Tones.
Exercises,Group 12 72
XII. Alteked Chords 73
Chords with Altered Fifths 74
Italian Sixth Chord 76
German Sixth Chord 78
French Sixth Chord 79
Additional Augmented Sixth Chords 80
PART 11.
(Pianoforte,
StringQuartet,Orchestra.)
of
Duplication Factors 107
Exercises,Group 15 107
XVI. Binary and Ternary Forms 107
Exercises,Group 16 116
XVII. Introduction, Intermezzo, Episode, and Coda 117
Exercises,
Group 17 125
XVin. The Rondo and the Variation Form 125
Exercises,Group 18 127
XIX. The Sonata Form 128
XX. The Mixed and Free Forms 132
Pot-pourri,Fantasia,Program Music.
ear will desire some other chord than tonic,but to the use of other chords
there should be no objection for here the student is assertinghimself.
The followingresults obtained by ". W. Harrison, of Boston, show the
in the material.
possibilities
(^^ -"*
i
f
-"-
J. J. i i i i
n
[m"SHf- -""-
^ -B"-
I
-^-
f
(^.) The same arranged for solo voice with accompaniment (tonicchord).
vu
VIU TO THE TEACHER.
^^ x?-
:^ S m
-"s^ trt
I
J
:"(- -i
-^ I I 1
H: , 1^
(S
tlu'
:g
ipittfe
^
S* r
m S- r r 1^
(^^^^^^^
1^ E
fe
I E
1^=^ J 3i ^
^^
i
It
Ex.
2.
-^^^^ifmri'\m'f}
rfiri^^
TO THE TEACHER.
"^H^H
(
"l ,i////v/fiMi'f
^I'lh'yi'j/
J:;
V ^_:^ j
^ J -J,^;
^
TO THE TEACHER.
(a.) Exercise 4,
p. 8,harmonized for four voices.
m ^ -U
Ex.
4.
f ^^ ^p
^
^ijW^: .
11 I I : . r if ir r I
f=^ f=f
''i'(W^'i'
W/'m^
ivM/^^f/^ LJ^ J J J
^p p
TO THE TEACHER. XI
I J I i
i
^ ,
i
I "^
^^ ""5^
-(S2-
II
"
(?^ r f5" #-
f"
ai fc=t
M -O.
^^ ^ f
^=^ 4^Jt
^ all* -""i*"S"a" I " I " " """""
xu TO THE TEACHER.
The
ingeniousness with which Mr. Harrison handled this material
chapter,
etc. This objection
must be met
by comparison. The average
text book covers chord structure and progression in from fifteen to
originality
was and
displayed all the work was logical.
It will be noticed that no introductory
pages are devoted to the
rudiments of music such as are found in most S3rstemsof harmony. The
author believes that the student of composition alreadyhas or should
have thoroughknowledge of
a rhythm,of scales (both theoretical and
practitional),and of intervalsand their inversions. The author's Essen^
tials of Music Theory covers the preparatory ground thoroughly and
TO THE TEACHER. xiii
of place.
In Appendix A will be foimd melodies for harmonization chosen from
Bach's Chorals. These are not graded and are designed to be used after
graded bass exercises for those who desire to supplement the melodic
A few of these terms are used in this method perhaps for the first time;
VOCABULARY OF CHORDS.
small Roman numeral to denote a diminished triad. The plus sign (+)
is affixed to a largeRoman numeral to denote an augmented triad. The
i 1^
^
"22L
-^-
-^-
I
CI II III IV VI VII"
i -*5"-
^
75
1 i
a I iiO m+ IV V VI vir
fe
i "^-
^ i
a I II III+ IV ViO vir
^ ^
^ i
SL
a I ii" III IV VI vn
i ^m ^m ^
#
I
C h "7 III7 1V7 Th, V119
xlv
INTRODUCTION. XV
i I hi 1^ IJJ i
a 17 lA m+7 1V7 VI7 YVP,70
i i i I
a I7 II7 m+n IV. VlO^ VHO7
i
h5^
I^ I Ig II ^-
Is
a I7 11^7 III7 IV7 V7 VI. vn,
^m ^ I
c u9 ii" nil IV" VI o vnOg
g
s^ I ^E -"- i
^
a i" n^9 in+ 9
IV VI viiO 9
o 9
i 1# m=m=x I
a I
9 II
9
m+c IV 9
VjO 9 vir
9
GL
i "49 .
t ^ct.
]^ -"s-
^1
CIu nil rail rvu Vu viu "nOii
xvi INTRODUCTION.
i
a III ""ii ni+^u ivu Vu VIu VIlOu
i ""
^m ^m
C I,i" "i" "lis rvia Vi, VI vnO
IS IS
A
i H^l-^^ i
a I IS iiOi, m+is ivi. Via Vli, vnOj,
xst inversion. 2nd inversion.
i
^
Inversions of a Triad:
2z:
Inversions of a
i f i s i
^
Ninth Chord: "^
3: ^
m "i9- i
-O.
-"^
i i i
"z?"
c vx
t 1 1 1
*The eleventh and thirteenthchords of the two forma of melodic minor omitted.
are
INTRODUCTION. xvu
T-g I g i-g
p^i" I" 1.-^
C V "+ "1+ ""^ '*
u
li'.lil^llSl
Chords with lowered fifths:
Sixth
"th d *
Augmented etc.
Chords:
fe
U\ V
\A Jft J4^^
c rr^^ IV,
r "X'ltCVIt
c^C#^
NeapoU-
tui6lli
^ V^ \ % Ij{2LJ
Other altered Chords: etc.
i
m /"
;^
INTRODUCTION.
XVIU
^ I
^^
Bva alt.
MUSIC COMPOSITION.
CHAPTER I.
root in both outer voices, and imperfect when the uppermost voice
soimds factor 3 or 5 in the tonic chord. The authentic cadence when
effective use is at the end of a phrase other than the last phrase of a
period.
4. The Plagal Cadence (also called Church Cadence, Ecclesiastical
Elementary Form.
A
complete musical sentence is called a period and usually consists of
eight long measures or sixteen short measures.
t Some theorists make a distinction between Deceptive Cadence and Avoided Cadence, but this need
not be considered here.
MUSIC COMPOSITION.
Andante by Mazas.
Pniod*
Section i.
Fhiaae i. Phrase 2,
Ex. ^
mftkW
6.
Figi3e. I
Period continued.
r Section 2.
"
Phrase 3. ir Phrase 4.
i^-j,iij:^f"fnirpLU
The division of
following a periodis sometimes chosen by theorists:
Period.
Phrase i.
Period continued.
Phrase 2.
"
Semi-phrase. \r Semi-phrase.
ic i i\^r:r\if!l^\^r^
A periodmay oommence upon fractional part of a measure.
a The
fractional part of the measure requiredfor the commencement of a riod
pe-
is deducted from the last measure of the period.
T ^v i
CADENCES AND ELEMENTARY FORM.
Diagram 2.
Period of 12 measures.
Diagram 3.
I Period of 16 measures.
Exercises.
CHAPTER n.
The factor of the chord most frequentlydoubled is the root, but, with
certain the other factors may
restrictions, be doubled.
Factor five may
be omitted in major and minor chords. In this case, the triad appears
with either tripled
root,or doubled root and doubled third.
Voice affectsthe
spacingmaterially musical and
result, to avoid subtle-
ties,
itisadvisable for the close position;*
beginnerto i.e.,
use
an arrange-
ment
of voices in which the three upper voices do not exceed the compass
of an octave. Such an arrangement always results in good spacing
because of the well established fact that the two adjacentvoices which
can best be
separatedby the largest interval are tenor and bass.
Various ways of writingthe tonic triad in close positionfor four voices
with doubled root follow:
^ -"fi- T
(I -"" "
h"^
:22: .a.
:i3 -^.
etc.
Root position:^
-tsl
^ JQ. ISL Jo:. :a- Zl
jSf.
SL SL =g=
-^-
-^ ^ ^
Second inversion: etc.
-"- -^-
12
2z:
3S
" "
la this text the term close position includes half-open
position.
MUSIC COMPOSITION.
Some ot the above arrangements sound thin. The student's ear will
readilyshow the more desirable arrangements. Although the above
arrangements of the six-fourchord have doubled root, the chord is more
effectivewith doubled fifth.
From a melodic the
standpoint, two outer voices are the most tant.
impor-
^^Granrniatical" errors, such as consecutive and concealed filths
and octaves, are more prominentin outer voices than in inner voices.
Our first consideration is a
good soprano to which should be added a
good bass. As we proceed,logical harmonic progressionsand connections
must be made. The method pursuedby this text of treating each chord
separately,of correlatingthe chords and placingthem in their proper
'^
families" will assist the student in these fundamental considerations
of and
progressions connections. Voices should not cross. Although
of voices is presentin
crossing the works of great composers, this device
should not be resorted to until in part writinghas
experience been
gained.
A vocabularyof but a single chord givesyery littlematerial with which
to work, but much more can be done with this material than at first
^
^s,
Ex. 1^^^ I 1^ r I
"
i^etc.
8. t -^
'Cello. Stringsand Clarinet,
unison.
^ "
i m :etc.
mr^4U J ^
letc.
Weber, Sonata I.
(^.) Die Wacht am Rhein
^ t
mt
p
the
In all compositions, use of the tonic chord predominates.An entire
of no
however, consisting
period, other chords than the tonic would often
be monotonous.
THE TONIC TRIAD
composers.
G.
X X X
Ex.
lO.
The tones marked with a cross (x) are non-chordal and are explained
in Chapter lo.
X X
( transcribed from orchestration \
8 MUSIC COMPOSITION.
ExERCTSES, Group I.
ifa
if^f^^ f-J
p^"^
i B^m
English Game.
s[ny=E^^^
3. EnglishGame.
iSfe v^^^-
^ lv^ r r CI
|"rTj 3E=p:
1=t ^
t=|:
"*^'-it 1
4. German Folk Song.
^
^ (""
-$ ^
I
t5"-
-^
ir"J
#
J J ts' X-
li d d I
^ i9- it
^ ^ #
I
All the tones of the scale other than those which constitute the tonic
triad are active in their tendencytoward one or more of the tones of the
tonic triad.
The 7th scale step (theleadingtone) has strong tendency diatonically
upward to the tonic.
active factor in the chord and it progresses normally to the tonic. The
fifth of the dominant triad progresses upward to the mediant thereby
supplyingthe third in the tonic triad. The root of the dominant chord
which is inactive as the fifth of the tonic chord assimies a dual character
in the dominant chord; in the bass, the root progresses to the tonic
(called"cadencing progression")but in an upper voice,it may remain
stepwise,
ex. 9* "" g' ^^^^
g^- -^" -V
progressing
over a stationary
bass,ex. 9:
n
In a succession of chords in the firstinversion,
it is usually
advisable
to double the root in chords and
alternating the third in the remaining
chords* but the is not
principle of sufficientimportance
to nullify
the rule
that the leadingtone must not be doubled.
of the dominant
Various arrangements of the progression triad to tonic
are shown in the following example.
{b.)
^" gp-
m "iS-
-^- i
or
Jfi-
IZ. I2Z:
-TOr 1 i
w ('.)
I -V
m 32:
i
" etc.
te -7^ i "i9-
m 3: I
Many melodic imply certain
progressions harmonic progressions.For example:
dominant
implies to possible
tonic harmonies. All the
harmonizations with triads of
the above melodic progression(without modulation
or chromatic alterations) are
V-I, V-vi, vnM, ra-I, m-vi, vn**-vi,V-IV, m-IV and vuMV. In the midst
of a period,the above melodic progression
may be harmonized V-i but V-vi is fre- quently
advisable. ProgressionsvnM, m-I and m:-vi are of less frequentoccur-
rence,
and vn"-vi, V-IV, ra-IV and vn"-IV are rarelyused. In this chapter, the
student should use milydominant and tonic harmonies.
THE DOMINANT CHORD. II
The fifthscale step is a factor in both the tonic and dominant chords
and may, be harmonized
therefore, with either chord. of
Principles
variety and coherence usually govern the choice.
Upon the repetition advisable,
of a tone in the melody,it is frequently
for the sake of variety,
to change the harmony upon the repeated tone.
A valuable use of the tonic six-four chord is upon the third from the
last chord of a periodif the melody permits.This chord is followed by
the dominant chord which progresses^ to the tonic triad in root position*
Such a six-fourchord may be called a "cadencial six-four."
i TSr
"i9-
-Z5-
i
Ex.
13.
i -JOr i
IJ V I
a:
*
^ "^"
etc
or
"^"
IJ V IJ V
17th CenturyChoral.
Ex. r r
mil J i J
16.
J J J
\m^ E m
rTT=rf v^
G I I Ve I I loVjI V I IJ V I
Open position
may be used occasionally exercises.
in the following
13 MUSIC COMPOSITION.
Exercises, Group 2.
^^ E
"^-
at" f:
y
i
" L.
22.
ft f^* j
^ 75H- I
French Folk Song.
i -1 lo: i 'Tzr
J I I
-"-v
I
The dominant seventh chord is fonned with major triad and minor
seventh,and isthe onlychord thus formed. The dominant seventh chord
normallyresolves to the tonic triad. Its tendencyis greater than that
of the dominant triad because of the additional active factor,the dis-
sonant
seventh.
Sevenths in all chords downward.
normallyresolve diatonically The
seventh in the dominant chord resolves to the third of the tonic triad.
The fifthis free to resolve either up or down diatonically.The third
(leadingtone) resolves upward diatonically. The root in the bass
resolves to the tonic but in an upper voice,it may remain stationary.
-i9-
-or
-^-
-(9-
isr
^
or
.OL
-lar
"w m I
The student's attention is directed to the fact that doublingof no
"V
3: -9- -"5"- "i9- -1^
tS?- ^
etc.
1^-
-fl.
T!^
-gy -J5?-
-"- -^-
Not infrequently,
cases of seventh chords with omitted thirds are found in standard
compositions.Such chords,however,lack the character possessed by chords in which
where improvedvoice leadingthereby
the third is not omitted but their use is justified
results. The student should avoid this arrangement until experience in part writing
has been gained.
MUSIC COMPOSITION.
14
the following
Study carefully example.
125 i "
n-i Jlj ^- ^J
i^
r T^TT _a.
r r g r
Ex.
"
18.
J 1 i J i i J J. ^ J
S t"-i ;9-
PF
"
'
T I r [ r
VJ 1" I V", I Vt
1^ r T f
""-' i
i
fe fe
F=f P f
I
n le 12 V,
ExERasES, Group 3.
m "i9 /9- a m . ..
^ II
"
" s"-
CI| V, G IJ V7 I D V
^.o - - . II ^' -
.
. II
THE DOMINANT CHORD.
IS
i
" fS?-
-"- -d2-
jSL -f9-
-"- -"- jSl
"25^
Ex. -J5J- -fi?-
etc.
19.
V9 V? ^ a
8
All the tones of the scale have now appearedas factors in one or more
of the chords which have thus far been considered,and we now have
material for harmonizingmelodies containingall the tones of the diatonic
scale providingthat the fourth and sixth scale steps progress according
to. their tendency(downward diatonically). Such melodies harmonized in
the above manner, however, would sound fragmentaryand "choppy'*
because of the final cadences which result from the resolution to tonic
of the dominant seventh and ninth chords.
i6 MUSIC COMPOSITION.
Exercises, Group 4.
I g g
1^ mm I
D IJ V" I E 12 Vp I C Vn
i 22: m I ^^
C 12 V. C Vn F 12 V.
The dominant seventh chord has three inversions which are notated
and figuredin the following
example:
-(9-
iS"-
m ^m
jOL
""- l-^-H
n vi
11^. ^^
:sL -"- -jSL
i '^- -ZSL
I
3rd 4th
ist 2nd
inversion. inversion.
inversion. inversion. etc.
-^9-
Si J^.
"^-
m -^- -"2.
-"?-
I
'O IS
i :^
L
i
Ex.
Fixed unison.
22.
-ffl.
^
-"?- ."i2- i
Hence, the use of open for inverted
position ninth chords is desirable:
i U3
he:
-"5"-
I
Ex. y
23.
5z:
^t -^- :s: i
Composershave resolved a dissonant to a fixed unison but skillfulvoice
leading
must accompany such a progression.
Bach.
Ex.
24. But this is a passingdissonant.
introduced
with judiciously
A good melodic lineis produced by diatonic progression
ik^ and chromatic steps,devoid of monotony but uniformlyconstructed.
x8 MUSIC COMPOSITION.
Skipsin a melodic line produce a rugged and vigorous effect and therefore,
are,
adapted to a strong bass part in a rhythmicallywell-marked composition,or to a
thematic voice part when a compositionis in rugged styleas opposed to a lyrical
style.
When strivingfor good melodic line,the tendencies of the scale steps must be
a
borne in mind. A downward scale figuremay overcome the tendency of the seventh
scale step and an upward scale figuremay overcome the tendency of the sixth or fourth
scale step. Sustentation, however, of the active scale steps normalizes their tendencies.
On the other hand, the tendencies of active scale steps are increased when approached
along the scale line in the same direction as their resolutions, and, therefore,an upward
scale figureshould seldom turn on the seventh scale step and a downward scale figure
should seldom turn on the sixth or fourth scale steps.
Skips to the leadingtone should seldom be made from below but from above. A
skip from above increases the tendency of the leadingtone to resolve upward to the
tonic. Skips from below will be found in compositionsbut these require careful
manipulation. Skips to the sixth or fourth scale stepsare safer when made from below,
in which case an increased tendency results. In general,wide leapsin any direction
and to any tone usuallyimply an obligation to return within the interval of the leap.
All the foregoingremarks apply only to harmonic progressions and not to cases where
skipsare made in a voice part during the repetitions of the same harmony.
Ex.
25.
D I
I ^ fTTif J"IT- I
f fi, f f t^
I^
THE DOMINANT CHORD.
19
XX X
dp
W^
:^=?c
EH
S t=t
=T
o o
^ c**it-"
i '^1 '
I r iffrfi ' ' II
J
i i
"te ^; J If " " 11
t=t
S ^^ ""S*-r
"^
^
^
"
O O
d " H It-
c r cif^^ ^
ii
te ^tf
From Bizet's Carmen (transcfrom orchestration).
Ex.
27.
'^
sfe^
i
i
^ ^a
^
"
w " "
I==tI
b=^
I "" "
b 1 X
^^\fl^^ "
m|. ""11
P^N fcrf:
"X [^t ?
"s' "-
THE DOMINANT CHORD. 21
Ex.
28.
ExERasES, Group 5.
f .
Resolve the dominant seventh chord in its firstinversion (VJ) to
the tonic triad in all major keys.
2. Resolve the dominant seventh chord in its second inversion (Vf)
to the tonic triad in all major keys.
3. Resolve the dominant seventh chord in its third inversion (Va) to
the tonic triad (lo)in all major keys.
4. Fillin the upper voices in the progressions:
following
^^ee\\
C
^^-^^^=Mi C C
Vq Vq Vg
3rd inv. root pos. root pos.
of each exercise.
CHAPTER IV.
The fourth and sixth scale stepsdo not, of course, alwaysfollow their
normal tendency. They may progress upward diatonically
or theymay
major triad and consists of root (fourthscale step)its major third and
its perfectfifth. It is a consonant chord but not final,althoughit has
not which
the definite activity characterizes the dominant triad. Its
root and third are the active fourth and sixth scale steps respectively.
We deduct that the logical
would, therefore, of the subdomi-
progression nant
triad would be to the tonic thus:
triad,
^ -^-
"s:
^
32:
^^
or To root position
:
-^9- i5"-
22:
m
IV ^d IV
IV
in the above
The last progression example is often appended at the close
of hymns and called the Amen Cadence or the PlagalClose. Common
use in other connections has giventhe subdominant triad flexibility
and
the above are, by
progressions no means, the most common.
THE SUBDOMINANT CHORD.
33
(*.) (O w
# -^- i^ -f9- S
15L
-(9-
I
IV IV V- IV Vo IV V.
1^ .OL
i -i9 .,
^ f9-
1Z. -Gf-
"7S-
Ex.
St.
^ ^
I ^"75 "" s: -^ ^-
itfollows that one part willbe in C, the other in G. It is from this concurrence of two
keys that the discordance arises,
and, consequently, the prohibition to introduce
several fifthsin succession;
as, even when the movement of the parts,insteadof being
conjunct,is disjunct,the discordance none the less exists." Consecutive fifthshavq
Ex.
82. "^ s:
32: -^-
-"-
SL I etc.
Ex. etc
S3.
^ -^- -^-
-"r -jy -i^ -jgr
composition.
Concealed fifthsand dghthsarising between chords having a common tone are not,
factor other than the root in one or both of the chords of the progression.
Factors havingstrong tendencysuch as the leading tone, sevenths and
ninths in chords,it will be remembered,should not be doubled in four-
part writing.
Like the tonic and dominant the subdominant
triads, triad has two
inversions,
the firstinversion beingthe one more used.
frequently The
second inversion is subject
to the same restrictionsas the V2*
The three triads which have been considered onlymajor triads are the
in the major mode. They compriseallthe tones of the major scale and
are therefore sufficientto harmonize any diatonic melody. They are
often called the Principal Triads also the Primary Triads. Pages in
standard works can be found containing few,and,in some cases, no other
chords than those thus far considered.
As guidance to logical
a harmonizations of diatonic mekxiies with the vocabulary
of chords thus far given,the following text will serve.
The tonic i^do)may be harmonized with other the tonic or the subdominant triad.
When the tonic is repeated the harmony may change. As firstor lasttone of a melody,
do should be harmonized with the tonic triad. It should
usually be harmonized with
the tonic triad when itis precededby dominant harmony. This principle arisesfrom
the fact that dominant harmony followed by subdominant harmony is seldom effec-tive,
althoughsuch a progresaicm is found in the works of standard writers.
THE SUBDOMINANT CHORD.
"S
Bach.
6 IVe
(re)is harmonized
The supertonic with dominant triad,seventh or ninth chord.*
The mediant (mi) is harmonized with tonic harmony.
The subdominant (fa)wherever it descends diatonically
may be harmonized with
dominant seventh or ninth chord (seefootnote below). It may be harmonized with
subdominant harmony in allits progressions.
The dcmiinant (so)may be harmcmized with either tonic or dominant harmony.
When so is repeatedthe harmony may change.
The superdominant (la)wherever it descends diatonically
may be harmonized with
dominant ninth chord (seefootnote below). Otherwise it should be harmonized with
subdominant harmony.
1^ The leading
is harmonized with dominant harmony.
tone (tt)
Tones which skq" in a melody are usuallyharmonized with the same harmony
althoughthis cannot now be as successfully
done as later when the student has the
oomplctevocabularyof chords.
C IV-
harmonized with tonic harmony in the above melody because of the ineffectivenessof
progression
V-IV. The above mdodic fragmentwould therefore be harmcmized as
foflows: V-I-IV-IV.
^
Ex.
^ ^ r
or etc.
i J.
^
a
IV
"B"CMiM of tlM fiaaUtyof tli*rvsolotioiito tonic of thi domiuint serath and ninth chorda^ It !"
praftnbloto vm thatc diordstpvinglyotoept as tliaponnltiaata diord of a period.
26 MUSIC COMPOSITION.
Passages with skipsfrequently occur where all the tones of the skipsdo not belongto
the same chord in which case, they must be grouped logically.Principles of phrasing
and good chord progressiongovern such passages. For example, the followingmelodic
If a new phrase commences upon the second quarter note, the former harmonization
is available;if a new phrase commences upon the third quarter, the latter harmoniza-
tion
is if the fragment is in
preferable; the midst of a phrase,either harmonization is
The should
followingquotations be studied.
carefully
Ex.
87.
etc.
THE SUBDOMINANT CHORD.
J7
J. S. Bach.
i ^
-^-
"
' It is advisable to mark
Exercises, Group 6.
^4 I ^ J J ^ o fE. ^
II Transpose to all major keys.
l^fiX'J
Jl| t E J Jlr I r f I
ji''
f^ J ii|J f J J ij -.N-f-J
r J ^
4. H. BKRTtin.
Andante espressivo.
^^^^^
\i \" ^ .
. .
l^t'jJiiNjjIr^
THE SUBDOMINANT CHORD.
29
leading Ton
Tone. etc.
^
are applicableto the tonic seventh chord. Its cadencing resdution, however, is what
some-
leas unsatisfactory.
^ gp I ^ ej
-fSr
I
-tS^
etc.
-49-
ZSL
ja.
-o "
s
Major seventh chords occur more frequently as passing chords or as a result of passing
tones than as a part of the harmonic architecture. Unaltered tonic and subdominant
ninth chords are even less useful than the seventh chords.
CHAPTER V.
^ ^ ^^ m
a doubled third in the tonic triad result. The third progressionis not
faultyalthough it results in a doubled third in the tonic triad. The
following
quotations from Bach show good examplesof progression n-I.
-^-
-% "
g-F 2Z
^ I ^ =-"^g g^
^-
etc.
fi I I rt/:
"" I "g flg I "g-
-^-
II V 1 II V 1 II
II
The idiomatic
progression of the supertonic chord to dominant har-
mony
is to the same harmony as the idiomatic progression of the sub-
"S"" Chapter
Xn It
32 MUSIC COMPOSITION.
Ex.
m :^ I #
-a-
i 22:
-ZL
3: I
y,
^1 or etc.
46.
m -^-
jOL
i JOL.
I
2:
I
"7 117 "7
The supertonic
seventh chord may also resolve to the dominant seventh
or ninth chord.
(^.) ic.) w
g Ig g;r+^ -""
% I 9i g I
etc
JSL.
I "^9-
I "^9-
The ninth
supertonic chord occurs than the dominant
less frequently
ninth. Its structure and resolution follow.
* Notice that the seventh in the tapertonicchord is the inactivetonic bnt as a dissonant seventh in the
diord, its normal immobilityis destroyed and it becomes an active tone with a tendency diatotdcallj
downward to the active leading
tone.
THE SUPERTONIC CHORD.
33
(*) (":.) W
z:
IS # Is ^
etc.
-"^
i
In a succession of dissonant chords the strongest dissonant chord
should be
usually on the strongestbeat of the measure or be artificiall
accented.
The inversions of the seventh
supertonic chord follow:
(a.) ist inversion. (d.)2nd inversion. (c.) 3rd inversion.
4S-
:^ ^ ^
s ^^ 22:
: g g
^I ^ "g
^ ^
iijV iiS Va iijV litV7 iiaVo ii^ Vg
The inversions of the ninth
supertonic chord do not frequently
occur.
Resolutions follow:
(a.) ist inversion. {b.) 2nd inversion. (^.)3rd inversion. (^.)4th inversion.
3: ^S.
-fS-
-Gh
"Z?"
s-
"Z?-
-"-
"""
I -^-
-^- S i
i -""
i i5"- i -tf"-
i
n"IQ T ii(
X*0 Tfl III
AIQ 'e III
**0 ^^
The chord
supertonic may triad
althoughthe progressions
follow any
I-n and ni-n are not IV-n is better than pro-
frequent. Progression gression
n-I V.
Quotationsfollow:
^ ^
Balfe's , " z .
^. ,/^ -u jx
Bohemtan ^ir/ (transcnbed).
X XX
MUSIC COMPOSITION.
34
A . . " I ?i
V, Ho
GavotU,CoULUi
W\M''S'i
I 11J117V
THE SUPERTONIC CHORD.
35
Exercises, Group 7.
Itf^*^'
J^
t J J J I ^^
"^- p
te 3 J J Jll' J
g s
2. Adapted from Br/iHMS.
^s
^
1-^
^ J IJ J i .n\i i he II
nr-^TrJ^TqiigJi^^ir^
J. Brahms.
ijh^ii.
i'i iz="
d ^
f ^ (i
CHAPTER VI.
The secondarytriad upon the sixth scale step is,like the supertonic
a minor triad.
triad, It belongsto the tonic family* and is very useful
'^
as the last chord of a phrase. ProgressionV-vi forms a Deceptive
Cadence."
We have seen that the V-I has finality
progression and consequently
is not alwaysdesirable as endingexcq"tfor the last phrase. If,
a phrase
^
qP
^
^
I
I--"L
" fi"s
g" rtf
^
is
1 SC^
:
^-
II
etc.
.A.
jGL
V VI V VI V7 VI Vq VI
Ex.
66.
38 MUSIC COMPOSITION.
A cadencing of VI9
progression is.quotedfrom the same choral:
VI, IlJ V-
The ninth
superdominant
use of the chord* is not common. Cadenc-
foUow:
ingprogressions
Ex.
The superdominantninth
inversions of the chord are rarelyused.
Their foUow:
cadencingprogressions
(a.) ist inversion. (^.)and inversion, (c) 3rdinversion, (d,)4th inversion.
*Samt theoristscoosldNr tht tonic seventh chord t sopefdominantninth chord without root.
THE SUPERDOMINANT CHORD.
39
).S. Bach.
Ex.
/ r r Ia \1 1 '
60.
n i 3i i i
^^
M ^m i
I IV V^" VI Vo(l7)n"f Yj ^ V,
^ i
IVa lo IV(7, IJ V^
t
N. Dxcius (i6thCentury).
Ex.
ei.
/T\
/c\
i ^
^ f ^ ^
-C. :" ^ -C. ::^ -fi. i Ail
(g i
?2:
? MX" t: i
r f r
VI N.B. VI
Notice two skipsof a fourth in the bass in measure 5 and 6. Two or more skipsof a
fourth or of a fifthin the direction in any voice part should be avoided for the
same
present. Most theoristsforbid such skipsbut they are foimd in many works, e^"e-
dallyin the woriu of modem composers.
MUSIC COMPOSITION.
/T\
i^i' f' I
r
j^' r r
' f' "
J. J. A J. A A J. J.
i ' r I f ^
F r f r
VI i4
ExERasES, Group 8.
Franz Schubb"t.
1.
jij
i "! fir J|JJ J Ji*".JiJ^^
r
r
jN J J JM- JiJ r r nr r
r
). Haydn.
THE SUP"RtK)MINANT CHORD.
41
F. BfKf dblssdhn-Baktholdt.
4. J. S. Bach.
J'J l,J i
"
M II.
5^^ * g
ijf"*JjmJ|.i,"ficiZf
feE
E
^
Jir ri^'^un
Jir rM JiJ..''J|J
JOHAMNKS BftAHMS.
i4"j J j3iJ^Paa^-a i
tP-
i^"f^'Jir
f^^ Lr^r 01
^iffcir r JJi
j3|J*rJiLrf ^^
J. S. Bach.
4" MUSIC COMPOSITION.
CHAPTER VII.
25:
S i
etc.
-lo- m 32:
i
III HI VI
The
progressioii
m-vi has tonal ambiguity;the key of the relative minor is 8ii|^-
gestedin its descendingm elodic fonn.