carl mangold - harmony

8/1/2019 Carl Mangold - Harmony

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PREFACE .

TH;IS l it tle Treatise on Harmony is the result of a l ife' s s tudy of the 'greatest writers on Counterpoint-Fux, his pupil Albrechtsberg.er,Cherubini, &c., and the more modem masters, Gottfried Weber,Andre, Rinck, and Hummel.

Andre and Rinck were my tutors in the science, and I alsostudied at the same t ime as the composer Adolph Hensel t underHummel, of whom, doubtless f rom my reverence for his genius ;: ,!was the favouri toepupil. ,

I t has been my intent ion to introduce the great rules of Counter-point , without which Harmony cannot be clear ly understood, as aframework for the details of the study. I have also endeavouredto make Thorough Bass (the art of harmonising by means of figures)thoroughly comprehensible, excluding unnecessary restrictions andcontroverted points, which may be considered by advanced studentslater on.

The Appendix is devoted to matter which could not weH beintroduced in the main work without disturbing the plan and con-fusing the student. This arrangement is the outcome of a -longexperience of pupils in all stages of progress.

While apologising for personal explanation, which was essentialas my own guarantee, I beg to thank my many Pupils for the zealand energy which has made my labour amongs t them not only easy,but pleasant, and to those in whose proficiency I have delighted,I especially dedicate this Manual.

CARL MANGOLD.-


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. .

'HARMONY.

PART I .

CONTENTS.;HAPTER PAGB

I. Discovery and Development of Scales ;.. SII. Intervals... 9

Ill. The Triad 12IV. Chord of the Sixth, or First Inversion o'f the Triad 16

V. Chord of the Fourth and Sixth, or Second Inversion ofthe Triad ... 13

VI. Chord of the Seventh... 20VII. Chord of the Fifth and Sixth, or First Inversion of the

Seventh 22VIII. Chord of the Third and Fourth, or Second Inversion o fthe Seventh' 22

IX. Chord of the Second and Fourth, or Third Inversion ofthe Seventh... 23

X. Chord of the Ninth ... 20 \XI. Chord of the Eleventh 2;

XII. Chord of the Thirteenth' ~

CHAPTER I.

DISCOVERY AND DEVELOPMENT OF SCALES' :

C IS the first fundamental tone which the Ear points out to us;

after C, G, and then F. These tones produce in their lesseningvibrations the following undertones:

~ .e.. .....

.;.; :,which tones, placed in a. succession directed by the Ear, are named

Scale (I'oneladder).

isF O J S a i'~.~

0 5s S t 6 e 7

!


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6HARMONY. r

The Dominant of D major was taken as a Tonic, and a Sale:formed.

HARMONY.

C was named the first degree, D the second, E the third, F the.fourth, G the fifth, A the sixth, B the seventh.

The first was named Tonic, being the fundamental tone. Thefifth was named Dominant, having been found to be the nearest

related degree to the Tonic. The four th was named Subdominant,being the nearest related degree to the Tonic af ter the Dominant .The seventh was named Leading Note j the Ear does not permitthe scale to end with it, but demands that it should be succeededby the next Tonic.

When the scale was examined, i t was fqu~4 th : J . twithin the f irs tand second degree, second and third, fourth and fifth, fifth andsixth, sixth and seventh degrees, a kind of half-tone exists, and theywere therefore named intervals of whole tones; the third and fourthand seventh and eighth degrees , not containing such half -tones ,were named semitones,

~ I I I tS17:2I' 'I - =, t:2-- . .a t2 ......-;""f" ',t II 4 5 6 7 8

This sca:Ie was named C major; and the Dominant, as the,~arest related degree, was taken out , and, cons idering i t a Tonicb y itself. another scale was formed to be equal in all its proportionsto C major.

@ ~=nl 6'1 01 15 """"" '0= = 6'1 niP" ,'. 1 ! ,3 , 4 S 6 7 8

J1;J.is scale was named G major, and its seventh raised a semi-tone (made sharp), ip order to produce the exact proportion of Cmajor.

The Dominant of G major W!lS taken as a Tonic, and a scaleformed.

f "1 1 ! p d - = -5.' ,I a ,


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HARMONY.

a scale with eight sharps exists-namely, G sharp major-which i srarely and but partially used.

The next mode of obtaining scales was by taking out the Sub-.dominant as a Tonic, as the nearest related degree after the Dominant.

and a scale w as formed to be equal in every propor tion to C major.~ r-

al~I;;;loI5In D1 23' i ft 7 8

This scale was named F major, and its fourth was lowered asemitone (made fiat), in order to make it equal to C major.

The Subdominant of F major was taken as a Tonic, and a scaleformed.

8

Thissemitone,

The Subdominant of B~ major was taken as a Tonic, and a scaleformed.

a Tonic, and a scale

7 8

This scale was named A D major, and its. second, fourth, andfifth were lowered.

The Subdominant of A ll major was taken as a Tonic, and a scaleformed.

I 1 e JI s t:2. 1 ! 3 , 5 6

HARMONY.

This scale was named D" major, and its second, fourth, fifth,and s ixth were lowered.

The Subdominan~ of D ~major was taken as ft Tonic, and a scaleformed.

p 09 1 "-" '1Ul2 S' 5 6 7 8

This scale was named G "major, and its second, third , four th ,fifth, and sixth were lowered.

The Subdominant of G Pmajor was taken as a Tonic, and a scaleformed,

CHAPTER II.

INTERVALS.

THE distance. f rom one degree to another is named an Interval.Perfect Unison.

~ - -t is only admitted as an interval on account of its producing anoctave b y inversion.

Augmented Unison, named sometimes Chromati~, 01 Minor Semitone.

g ~ j 9


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10 HARMONY.

Dimin ished, o r lowered Unison, also named Chromatic , o r Minor Semitone.

---~--.-

Semitonesor Minor ands, Major 2nds. Augmented znds.

IIQ -5'- C O 2 je_. p.e.. a _

Major ;Wl.s. Augmented 3rds. Minor 3rds.

$ ;1 ~ I~ ~ ~ II J 9 1 ~ e J I ~ 6 < 1 sg-s- i9' - -e. 1"7- -6" is"Diminished 3rd. Perfect 4th.. Augmented 4ths.

'& ~o I I n I .l~ I ~~o" .eJV2 I l ia .jj)e- -es- j6i eMinor, o rrz m ;,b o d " "0 1 ,~o

Diminished 4thnot used. Perfect 5ths.

H & J bDiminished 5th

Augmented 5ths, Minor, or Diminished sths. not used.

it Il i e : II I ~8 I ~B IIt'? 5> SV -s- jGi- ;9- se :

~

Major 6ths. Minor 6ths.

~ I i lZ: :2 ~ Z : : : 2 II 1 2 Z : : 2II ~-e. ~ fje- -s- $Ie.Diminished

6th. Augmented 6ths. Major 7ths.

f b o l l inl H II 0 1 g a l$j)~ -e- ~ -6>- !t


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IS HARMONY.

CHAPTER III.

THE TRIAD.

THE simultaneous performance of two or more intervals constitutesa Chord If these Intervals agree, the Chord is named Concord' ,if not, it is mimed Discord, and must be subjected to cer tain rules.

The Chords produced by the vibrat ions of the Tonic, Dominant ,L __

andSubdominant ~ . ;----.J.--werenamed Triads,becausethey ~:::::::c::;;>

-G-

consist of a first (Bass or Root), third, and fifth. In Imitation, theremaining degrees of the scale were also' furnished with Triads, thenecessary intervals having been taken from the scale.

& ~ I I E;:I:1 2 :I IV V 6 ~

When examining these Triads, it was found that those on theTonic, Dominant , and Subdominant contain major thirds and per-fect fifths j they were therefore named Perfect Triads, and markedwith Roman figures. The Triads on the second, third, and sixthdegrees contain minor thi rds and perfect fifths, and were namedMinor Triads, marked with ordinary figures.. The Triad on theseventh degree (Leading Note) was named Diminished Triad,

because it contains a minor third and a minor (diminished) fifth,marked with an ordinary f igure and a natural added to it. !twasnot used by ancient mas ters on account of i ts diminished f if th . Thescale furnished with Triads is named a key. .

REMARK.-The s tudent should' t ranspose these Triads into all"1 major keys, and play them many times, until thoroughly acquaintedIwith every key.

These Triads were fiQlt performed by N'ature's own instrument-viz., the human voice-which consists of four divisions.

HARMONY.

SOPRANO_ll_ ..-.

Iv -"'I!!~ ,

t'\'ALTO.

Iv060~

TENOR. I _ ,. - -: ,

,I

BASS. . . . .- : y < ! ! ! ; > .,

.'""

The Bass has an octave in common with the Tenor; the Tenorone in common with the Alto; the Alto' one in common with theSoprano. All voices possess one and the same tone-viz., the

middle C ~ The nature of a voice is not determined-s-

by its compass, but by its quality. The middle C being sounded bya. Tenor will seem to be of a more lucid tone than the Bass; theAlto will be of quite a different 'quality; and, again, the Sopranowill be quite dist inct f rom the others. There exist also subdivisionsof voices-viz., Barytone (a kind of higher Bass or lower Tenor),Contralto (a lower Alto), Mezzo-Soprano, High Soprano. The

, Tenor, Alto, and, Soprano have their own clefs:

T E N o R .Je:: A L ';" '1 Ii . .S o P R A N O . f t = ' =These are named C clefs, because whichever line they enclose

represents the 'middle C.In order to compose Triads for four human voices the fol lowing

rules must be observed :-

Rule Ist .-Consecutive f if ths are forbidden, on account of theirproducing a ,harShand cutting. effect.


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14 HARMONY.

Rule 2nd'-,Consecutive octaves are forbidden, on account oftheir producing a fame and insipid effect.

Rule 3rd,-As the Triad consi sts only of three intervals, one ofthese must be doubled when composing for four voices. The first(Bass or fandamental note, root) is best for doubling; the fifthnearly as good ; the third not so good, but circumstances wil l ar isewhen it must be preferred.

RtIle 4th.:_The i .e td in g N o te"must ascend a degree, and cannotbe doubled,

Rule s th. - There exist three kinds of movement=viz. , the direct ,or similar movement ; that is, when all voices (parts) move in thesa-me direct ion, which is not geod, a s It will invariably lead toconsecutive f if ths and octaves , and, The oblique movement, thatis, when one or more voices (parts) keep stationary while othersmove, which is good. 3rd. The contrary movement, which' is the'Jest, and was chiefly employed by the ancient masters. The.Science of Music received the name of Counterpoint, derived fromthe Latin, Punctus contra Pun"c/um (Point counter Point).

Rule 6th.-A voice (part) should not move mare than' fivedegrees, the Bass excepted. Th e less a voice moves, t ke b et te r.

Rule 7th.- ;-A musical compos it ion usual ly begins with the har-mony of' the Tonic. It may begin with any other Chord, but' itmust finish with the harmony of the Tonic, preceded o y that ofthe Dominant. This Sequence of Chords is named Cadence, or

Close. 'Rule 8th f-Hiddtm fifths and octav~s should be avoided, par-

zicularly in the outer parts. In the inner parts they are not somuch restricted. Hidden fifths are produced, when in a directmovement, the empty space between two parts is filled up with.passing notes, and concludes with a fifth; then a hidden fifth iscreated, as the Ear is reminded of a real fifth. Hidden octavesoccur in a s imilar manner.

Hidden sth. Hidden 8ve.t t

~=~~3~$~:~~~_

HARMONY. IS

Rule 9th.-A perfect fifth may be succeeded by a minor (dimi-

nished) 'fifth. Also two per-

fect consecutive fifths are, in case of emergency, tolerated in contrarymovement.

Rule rcth.c--Parts are permit ted to cross each other, by 'whicha good result is sometimes obtained.

Rule r r th.c-Triade are not good on Successive degrees; theycan only be introduced in contrary movement. For instance:

S~"~"~ ;::i:::::::!.::=::~ . 2 2 3 S IV IV V V 6 6 1~Rule I2th.- The fifth may, In a case of emergency, be lef t out ,

but the third is indispensable.

Examples of Triads. orSOPR AN O. , ~]J-LTO.

C +-IS}- ~ ~ $: -G- -a. ~

-5rTE.!"\[oR.@ l I lSI T IlASS. r2 t9 0I V 5 6 IV 2 V I

The-same with the 8ve ill theSoprano,

V'3 6


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16 HARMONY.

The same in contrac t edpart s. or

N.B.~It i susual to conclude with the octave ill.t he-Soprano, as the thi rd point sto c ont inu at io n. Th e fi ft h ab ov e s ho ul d b e a vo ide d.

It is of the highest importance that the student should writeout these examples in their respect ive clefs, t ranspose them ac-curately into every key, and play them many times over, untilhe obtains the faculty of thinking with equal facility in eachclef and key. The harmony in four parts is most complete, as

Nature has pointed out, by giving us four divisions of the voice.ItIs alsomost fitted for the study of the science of music. Fiveor more parts do not make Hannony more complete. In 'threeparts it is not possible always to procure Triads With their fullnumbers.

CHAPTER IV.

CHO RD OF TH E S IX TH, OR FIRS T INVERSION OF TH E TRIAD.

WHEN the third or' a Triad is moved into the Bass, a chord iscreated which consists of a first, third, and sixth, and is named

Chord of the Sixth.-


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HARMONY.

CHAPTER V.

CHORD OF THE FOURTH AND SIXTH, OR SECOND INVERSION OF

THE TRIAD.

By m~~ing the fifth of a Triad into the Bass, a chord is createdwhich consists of a first, fourth, and sixth. The -fourth, being ak ind of d issonant, must be prepared and reso lved; tha t means, theinterval which represents the fourth must appear in the same partof the preceding chord, in order to forewarn the Ear of the comingdiscord, and it must. descend a degree in the next chord to relievethe discordant effect of the fourth.

-$ :S:

~.~I~ ~I~I~~I all ~6 6 6 6 6 6 6II t 5454. 54. 5454 4.

This chord is marked with 6, the higher figures be ing always4

p laced above the lower ones. It is best in this chord to doublethe first or sixth. The fourth should not be doubled. The useof the chord of fourth and sixth is much rest ricted , and the studentmust introduce it with discretion. It is in its best place ina cadence.

640

The fourth should always be tied to its preparing note. It cana lso be passed on to the nex t chord or chords, and then be resolved.

I I

j I

HARMONY. 1 9

In ca se there should not be a preceding chord able to preparethe four th, the next upper degree isnearly as good for tha t purpose.

t

-51-

The student is adv ised to transpose the above examples into a llthe major keys, and to .make h imself thoroughly acquainted withthem.

Before passing on to the next chapter it is advisable to make afew remarks concerning the preceding ones. The student shouldnow select his own Bass, and at first use only Triads, which arebest p roduced by skips of ascend ing fourths, o r (which is the same)by descending fifths. When he has exhausted all good and indif-ferent combinations, he should then admit the auxiliary chord ofthe sixth, .always remembering that the ancient Masters never usedi t (in hymns, &c.) when they could produce a Triad. The chordof the sixth is a lso advantageously p laced on a Bass moving on suc-cessive degrees. The chord of the six-four should only be usedsparing ly and on formal occasions. Great care must be taken witheach vocal.part, that it must not move violently, or skip needlessly.

The more smoothly a melody moves, the better the effect of thewhole. The contrary, or oblique movement should be preferred.Each part should be sounded by itselfto judge of its melody, thenthe four parts together, so that the Ear must be disciplined tofol low the separa te parts while go ing on together. The best modeof composing these chords is to select a Bass, and then to harmonizei t without the help of an instrument. When the mind. hasthoroughly considered every rule, then, and then only, 1' 10 to thep iano (or harmonium), and examine how it is approved by the Ear,by which process the latter is disciplined in its turn. When "theexample is proved to be correct, it is indispensable to transpose it


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82 HARMONY.

CHAPTER VII.

CHORD OF THE FIFTH AND SIXTH, OR FIRST INVERSION OF THE

SEVENTH.

WHEN moving the th ird of the Chord of the Se venth in to the Bass,a Chord is created, which consists of a first, third, f if th, and sixth.

~J:~I~g:'II$">I~B"I~~I~WI~6 6 6 6 6 6

7 7 5 '1 ,5 7 5 7 5 '1 5 7 ~

The seve nth appea rs he re as Ii fi fth, but must never theless be pre-pared and resolved. The Dominant Seve nth need not be p re pared.

This chord is marked by the figures of ~, its third being implied.

65

66

65

65

65

The fifth of the .Chord o f the Fifth and Sixth may pass into a fourthbefore being resolved.

CHAPTER VIII.CHORD OF THE THIRD AND FOURTH, OR SECOND INVERSION OF

. THE CHORD OF THE SEVENTH.

WHEN moving the fifth o f the Chord of the Seventh into the Ba ss,a chord is created , which consists o f a f ir st , thi rd , fourth, and six th .

'jg't~B"'II~'I~FkII~I~TI8m" . . " . . , . . . .

'S '1 8 '1 S '1 3. '1 a 7 8 :II J

HARMONy.

The seventh appears here as a third, but retains the quality of aseventh, The Dominant Seventh need not be prepared. This:

Chord is marked by the figures of 1 ,the sixth be ing imp lie d.

.. '1 .. '1 "3 3 s

The fourth, in presence of a seventh, loses i ts d issonant nature, andmust be t reated as a Consonant .

- ,CHAPTER IX.

CHORD OF THE SECOND AND FOURTH, OR THIRD INVERSION OF

THE CHORD OF THE SEVENTH.

WHEN moving the seventh of the Chord of the Seventh into theBa ss, a Chord is crea te d, w hich consists of a first, sec ond, fourth ,"and sixth. The seventh appears here as a first, but must never-theless be prepared and resolved. The Dominant Seventh neednot be prepared.

~ ~ l,gtlr'~'1~1_15lC/. . . 4 ~ 4 4 4 ..

12721 Z? 2 7 2 1 2 12

This Chord is ma rke d by the figu re s :' the sixth being implied.

When a Chord of the Seven th is sustained, the seven th is l icensed tomove to ano ther part before i t i s reso lved .


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"'646 t6"'7 7.2 2 2 2

It is necessary to transpose these examples inte all Major Keys.

CHAPTER X.

CHORD OF THE NINTH.

As the Chord of the Seventh on the 'Leading Note, which contains

a Minor Third and Diminished Fifth, was found to produce adiminished effect, an improvement was suggested.

By adding a third to the Bass , a Chord is created, which cons istsof a first, third, fifth, seventh, and ninth. -The ninth must be pre-pared and resolved. Any Interval may be left out, but generallythe ninth appears with its seventh. In that case the Chord must

be figured i '

$la~.: g 9 0 9 0 9 ~

7. 7 7 7 7 7 7

jtillf these Chords, the Dominant, which resolves itself into the

Harmony of the Tonic, is generally preferred. Its ninth is best- placed in the highest part, and may also appear without beingprepared. Its fundamental note may be left out; in that case itis l iable to three Inversions- In order to 'dist inguish this Chord orits Inversions, when they appear without the root of the 'Chord, fromthe Dirninshed Chord of, the Seventh or its-Inversions; which theyclosely resemble, its- resolution 'mustbe examined. If 'they resolveinto the Tonic, i t is the real Chord of the Ninth without i ts root .

HARMONY.

: - G 4 0~ 0 ~9 87 7

Chord of the Ninth without its root.

'f _ ~

*REMARK.-This diagonal line signifies that the nature of the

chord is first decided by the next figured one.

CHAPTER XI.

CHORD OF THE ELEVENTH.

By adding another third to the Chord of the Ninth, a chord iscreated, which cons ists of a f irs t, third , fi fth, seventh, ninth, andeleventh. The eleventh must be prepared and resolved, and it is -marked by the f igure 4, in order to avoid a double number,

~~~ -1)=t.. _ 5 ~ 7 . \I 11"This chord is named Chord of the Eleventh, and has its seatge'uerally on the Tonic, on which it is-resolved, The third mustbe omitted, as it clashes with the eleventh. Either the ~fth, seventh,or ninth may be lef t out .

~Ue : ~ -5>- '1'-

7 7II ,.. .


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HARMONY.

When the seventh and ninth are left out, the Chord of theEleventh i s named Chord of the Fourth and Fifth, and in that case

: only the f irst is doubled. It has been a great favourite with ancientMasters.

L=~~oU=eni~~ ti}-

~ 6~ ~

. This Chord of the Fourth and Fifth is liable to an inversionwhen the eleventh is moved into the Bass, which Bass must beprepared and resolved, It is named Chord of the Seco~d and Fif th ,and ei ther i ts second or fifth may be doubled.

CHAPTER XII.

CHORD OF THE THiRTEENTH.

By adding another third to the Chord of the Eleventh, a chord iscreate~, which consists ofa first, third, fifth, seventh, ninth, eleventh;and thi rteenth, The thirteenth must be prepared and resolved andis .represented by the figure 6. It has its seat on the Tonic onwhich it is resolved. The third must, and the fifth, seventh, ni~th,and eleventh. may, be left out. The ninth' must ascend, in order toavoid a consecutive fifth.

-& -~ -t!3- ' o r ' ,t!3-1 n6 ~

HARMONY. 27

, , 6

: 1 3 ,

4

PART 11.

CHAPTER PAG.

1. De velopment of Minor Scales and Keys 27II. Triads of the Minor Scale. Chord of the Seventh and its

Three Inversions 32

IlL Chord of the Ninth. Chord of the Eleventh. Chord ofthe

Thirteenth 34

CHAPTER I.

DEVELOPMENT OF .MINOR SCALES AND KEYS.

THE use of Minor Triads led to the development of scales with

Minor Thirds.The 6th of C major was c onsidered as a Tonic by itself, and a

scale was formed.

t


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. 'HARMONY HARMONV.

when ascending, ' and by lowering the seventh and s ixth a semitonewhen descending. This arrangement can only be used for melo-dious 'purposes, as the raised sixth is foreign to the scale, and nochord may be built upon it, On that account we name it Melo-dious Minor Scale, to dis tinguish i t f rom the or iginal one, which wename Harmonious Minor Scale, as upon the latter only can har-marries be built.

1 8.

Melodious.

if ; ;" . .~hl .. 1"11f611~. llr'IIW>'1 "I d"'ltblalo""~=='elc_Cii .. .. ~-.'12S4.~6 78 7 6~4321

The 6th ofFi!: majorwas taken asa Tonic, and a minot scale formed.~O~JI . ~il ,-",IHk .. ~- I ~I r;~80 ..~ o,sJ?

1234567 S

This scale is named D~ minor.

cJ 1 2 S 4

This scale is named B minor.5 6 7 8

Melodious.' ~ I~~~o--'~. ~I.. f. , 0 = -5 I E2. I e r- . . . .~ .. 0 I 2 ! .S-; I.:9 .r;;. -:_, , , ' , , , = ,2, s..

&=010$'1 ... a~~01 .1 ~ 3 j,5 6 7 8 7 6 5 4 3 2 1

The 6th of eli:major was taken asa Tonic, and a minor scale formed

1284~618765S21

The 6th ofA major was taken asa Tonic, and a minor scaleformed.


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,

HARMONY.

, ' 12 841liG 78

This scale is named A# minor.Melodious. rg~t~ll .- Is10jllS 1)(0 -6l:j ~#


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HARMONY.

CHAPTER II.

TRIADS OF THE MINOR SCALE.

THE Minor Scale is also furnished with Triads, the necessary inter-vals ofwhich are taken from its scale.

@ . ~~f~~."

1 2~ 1Il# ~ v VI 7~

The Triads on the first and fourth degrees are Minor Triads,Those on the fifth and sixth degrees are Perfect Triads; theTriads on the second and seventh degrees are Diminished Triads .That on the third degree is an Augmented Triad, which can only be

used as a pass ing chord, For ins tance:

===5 6~ IREMA~K.-When the third of a Triad is raised or lowered, it is

indicated by a sbarp, or flat, or natural only, without the figure 3The Triads of the minor scale are subject to the same treatment

as those of the major scale. The leading note, which must be evenmore respected, must not be approached by a lower second- viz"from F to Gl;-or the reverse, an augmented interval being a for-

bidden progression.Besides in the above-mentioned Triads, there exist two more pecu-

liar ones,the origin ofwhich is not known=-vie., the doubly diminishedTriad and the hard diminished Triad. The doubly diminishedTriad has its seat on the fourth degree of every minor scale, and isproduced by having its first (root or Bass) raised a semitone; for

instance, in A mino,~oz m Gmin"'~

The first of this chord must be treated as a leading note;I ,

HARMONY. 33

. T ~ :ard di~inished Triad, which is sometimes named, extremedlmmlShed T~d, has its seat on the second degree of every minorscale, and has Its third raised a semitone ' for insta'nce in A ' ,hi , " mmor,W ich raised third, must be treated as a leading note.

~ = = = = = = ny~@The Triads of tl.e minor scales have also t . , .o mversions, like

those ofthe major scales.

~~~~IB~I~~11 6 : 1 6 : 1 5 : : 5 6 ~ 56#6506 ~1I66S 4 .. fl o

The doubly diminished Triad ~::~~

5 '#8 6fl o

The hard diminished Triad ,~ ;;~

II 6 1 6

Th ' k S 4. ~ minor eys have also Chords of the Seventh, with their threemversions.

A ;di5 i;J1 1 ~ . . f8"g?

7 5 S ~ 7 -~ '4- t, REMARK.-Figures are often' crossed with a small ~ransverse line,instead of a sharp.

c


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3 4 HARMONY.

"A doubly diminished Chord of the Seventh, with its threeinversicns.

~ .. ", 4 06 8 il-

The first inversion of this Chord is mostiy used.Hard diminished Chord of the Seventh, with its inversions.

The second inversion of this Chord is generally preferred.All the major and minor keys of the same Tonic-for instance,

C major and C minor, &c.-possess the same chord of the domi-nant seventh, which seventh does not require to be prepared. Thediminished chord of the seventh on the seventh degree differs f romthe diminished chord of the seventh of the major key, as it consistsof a diminished Triad and diminished Seventh, which require neitherpreparation nor resolution, as it has lost its disagreeable effect. Itis even allowed to follow another chord of the diminished seventh,on account of its ability for enharmonic changes.

CHAPTER III.

CHORD OF THE NINTH.

THE minor keys also possess their regular Chords of the Ninth.

k~.. ~II~hij 999 9 9 97 7 7 7 777

Some of these Chords of the Ninth are very uncouth, and if used,it is best to leave out the seventh. They are generally introduced

,I

i"

HARMONY.

into the major keys j but those of the major must not be inuoducedinto the minor keys.

~$~ correct.~:cLs~

~==z=(a)E' ~(I)~- '_ (;) , (~) 8

Tiheninth appears with advantage in the highest part, and also the

Bass of the Dominant ~may be lef t out .

REMARK.-A small hor izontal l ine s ignifies that the 'precedingfigure should continue.

CHOR.D OF T~ ELEVENTH.

The minor keys also PQSfieSSheir Chords of the Eleventh, withmore or less of their intervals left out.

The 7 th le ft ou t.

~ 61)85 II 5" 8

~7 1 9 r-I ...

4

When the seventh and ninth areJeft out, the chord is namedChord of the Four th and Fifth, having its f irst doubled in four par ts .

Th e 5 th lef t out.

C :I


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,

HARMONY.

~: f ' d : ' aLut.I ------ , : : r - - -

I ':f"!G.jj 3

This chord is liable to an inversion by having the eleventh movedinto the Bass, and is then named Chord of the Second and Fifth.

CHORD OF THE ' THIRTE EN TH.

The minor keys have also their Chords ofthe Thirteenth, which are

regulated in the same manner as those of the major keys , by havingtheir existence on the Tonic, and being resolved on the samedegree. The third and f if th are always lef t out .

The 7th left out. &1 1 1 1rf;"~!!~,.;~r r" p " r "F

7 9 7 96 64 4

In the fi rst example the ninth ascends a degree, in order to avoida consecutive fifth.

Th, 9th loftout. ~I IIF -i f'"1).. ~5 II,

It is necessary for the student to t ranspose these chords into aUthe other minor keys, as well in writ ing as in performing them onthe piano, until enabled to think in every minor key, and by thismeans thoroughly prepare for Modulation.

I\l

HARMONY. 3 7

PART III.

CHAPTERI. Modulation

I I. Caderi c es . .III. SuspensionsIV. Pass in g Notes and Ch ordsV. Inharmonious Transverse Progression

VI. RetardationVII. Anticipation

VIII. Pedal Note ...IX. Harmonizinga given Simple Melody

PAGE_

37424 346484949S o

5 1

CHAPTER I.

MODULATION.

To modulate, is to proceed from one key to another. It is notpossible to modulate unless the respective keys be related to eachother. Two keys are more or less related, the more or less mutualchords they possess, If two keys are found not to be related to eachother, another key must be sought which is mutually related to both,Perfect and Minor Triads have their home in five di fferent keys.The Diminished Triad occurs only three times. The Augmented,the Doubly Diminished, the Hard Diminished Triad, only oncerespectively.

f ~.-,.F~=l ,~-' $:=--, -I of C major znd of C major 3rd of C major IV of C major >V e rF major rst of D minor rst of E minor Vof B~ major :.Vof F minor 4th of A minor 4th of B minor Vof B' minor iIV ofG major 6th of F major 6th of G :'major I of F major 1:VI of E minor 3rdofB~major and of D major VI of A minor


20/33

3 8 HARMONY, i I it.-

V of C major 6th of C major 7th 'of C major

V of C minor 1St of A minor 7th of C minorI of G major ath of E minor and of A minor

IV of D major 3rd of F majorVlof B minor end of G major

The Student wi ll find it indispensable to transpose the above intoall other keys.

In the major keys , the most int imate relat ionship exists betweenthe harmony of the Tonic, and that of the Dominant, of the Sub-dominant, and also strongly with the sixth degree (Super-dominant), asthe lat ter has produced the 'relat ive minor key. There also exis ts -a decided relationship between the major and minor keys proceeding

from the same Tonic, on account of their possessing the sameDominant . These chords const itute the first principles of modu-lation, and must be cultivated and thought of, before any other modeof modulat ion can be applied. The relationship 'between the Tonicand second degree, is di st ant and undecided; that of the Tonic andits third degree (Mediant) would be equally so, did not a strongrelationship exist between them; the third, when considered as aMinor Tonic, having its former Tonic as a s ixth degree. In the minorkey, the 'Dominant and the s ixth degree, or reverse, the sixth degreeand the Dominant, will be favourable for sudden and striking effects.

or

When thoroughly familiar with the first principles of modulation.the student must proceed to the following modes:-

Ist .-The Enharmonic Mode.2nd.- The Chromatic Mdde.3rd.- The Elliptic Mode.

HARMONY. 3 9

Ist.-The Enharmonic Mode produces an inexhaustible number ofchanges, by changing fiats into sharps, and sharps into flats.

~ ',om E,M;nono BM'io" . ,_

~'=!::::: :::40= O C ~ ' ; ~ : ~: =

\1

"ore frequently, only one or two enharmonic intervals effect theintended change; for instance, the first inversion of the doubly, diminished Chord of the seventh (having its seat on the raised four th

of the minor seale).ifSB~majo.r, or 1 3 &minor to A minor.~3;0< I !5J I FJ]

---~, .--~~~-- ---------------


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" '~.

HARMONY.

It is necessary that the s tudent should several t imes transposethese examples into every key. Another unfailing mode of enhar-monic transposition, is afforded by the diminished Chord of theseventh on the leading note of every minor scale , which cons is ts of a

diminished Triad, and a diminished seventh. This diminished Cbncdof the seventh is l iable to five enharmonic changes.

A minor. C minor. Ej! minot- Fi j :minor. D# miaor ,

i~~17 " 4 '6.---,..

2 ~.3 5 lilt8

E minor. G minor, B~ minor. D~ minor. C# minor,

gtj~~]7 " :=;:_.....-' '' '' '' __' '-6-=--'6-

~ Inbb 6

5M '8.13 minor. D minor. F minor, Ar minor. G# minor.

~r~~7 4 " 6 XII# s, b s b5 5

~ , ' I I -

The student should bear in mind that some authoriti es reckononly four changes, on account of the chords of the third and fourth

" ,and fifth and sixth appearing twice.

From everyone of these diminished chords of the seventh andtheir inversions, rapid modulation into any desired key can be

obtained. They are also allowed to succeed each other withoutpreparat ion and resolut ion on an ascending or descending bass , asevery interval is liable to be changed into a leading note or adiminished seventh.

2nd.-rHE CHROMATIC METHOD.

To employ only chords of the same key will lead to monotony. In

order to avoid i t, chords of related keys may, and must, marc or less,b e introduced.

',, '- ..,--

HARMONY 41

With related Bye-chords,

Ii

C minor. G minor. F minor. 13r m inor, G & C minor. C major.

._) v

I.

The composer, as the student can easily perceive, can conceal hi sintention of modulating into a certain key, by using chords borrowedfrom related keys, and even make a transition through foreign harmonybefore he establishes his intended key. Care must be taken not touse chords which would be distasteful to the ear, which latterrequires s ti ll to be prepared by delicate shades of colouring. Wha'modulation is in Music, colouring is in the sister art of Painting. AJevery painter may be recognized by -his peculiar manner of colouring,so may every composer be known by hi s predilections in harmonising.

How different are Beethoven, Mozart and Haydn on one s ide, f romSpohr, Hummel, Weber, Schumann, Schubert, Chopin, Wagner, &c.

, I

~rd.- THE ELLIPTIC MODE.

When the composer has suddenly to develop his ideas, and cannot at tend to a regular development of modulation, he ma y proceedat once to the desired goal by leaving out those' chords which can beeas ily interpreted by the ear. For instance,


22/33

liARMONY.HARMD'NY 43

I'

= :: : ! . ~~ : ;6 74From F major to DJ! major. From A major to C major.

6, 6 6 5 8 7II ,

When the Cadence is invert ed-i.e., the Tonic succeeded by theDominant , i t is named Imperfect (or half ) Cadence, which only canhappen in the middle of a piece, usually at ' the end of the first

,I

Remark :-As twa keys are more or less related to each other, soare two chords more or less related, the more or less mutual intervalsthey possess.

section.or

@ i I g I I!_ ,I a U'0

There exists also another .kind of Cadence, named Plagal Cadence,=-i.e., when the Dominant is replaced by the Subdominant, in orderto produce a more solemn and impressive ending. This i s mostlydone in ancient Church Music. Handel' s Hallelujah Chorus affords

an example.

CHAPTER II.

CADENCES.

A CADENCEis a cluster of chords succeeded by the Dominant andTonic of the key in which the composi tion is to sett le , in which caseit is named Perfect Cadence.

CHAPTER Ill.

SUSPENSIONS.

ANYpart of it chord may be held on, while the other or others pro-ceed to the 'next chord, but must be resolved on the next lowerdegree, which lat ter must necessar ily appear on an unaccented par t(arsis). The accented part (thesis) must contain the suspending note.

'With Suspensions.""" '

3

If ihste'ati of the expected Tonic, another chord should follow, theCadence is then named Deceptive or Interrupted Cadence; German,Ttugschluss; Italian, Cadenza d'inganno, or Cadenza fugita; Latin,Clausala falsa; French, Cadence rompue.

A minor. AI:'"major.I. 2. I J

I I

\ .

6640343 ,3

In this manner two orthree parts may be simultaneously in:troduced.6, 6,. 7


23/33


24/33

HARMONY.

CHAPTER IV.

PASSING NOTES AND CHORDS.

EVERY part is privileged to pass any note foreign to the chord, butit must be in a diatonic or chromatic succession, viz : -to the nextdegree a:boveor below the accented note (thesis). It must l~ad toanother accented harmonious note, which is called an essential orharmonious note; the passing note being called unessential (in-harmonious) note. In this manner seconds, fourths, sevenths,ninths, elevenths, thirteenths may be-passed without preparation andresolution.

~:

I J I J .l J~o

ilt

!

i-!= P

T~o or more par ts are' al lowed to produce s imultaneous passingnotes, but strictadherence to the rules of counterpoint and harmonicprogression must be observed. When all the parts produce passingnotes, they are called Passing (apparent) chords.

Passing notes in 3 parts.

~~~~;=t='T4.2

Passing (apparent) chords.

+ +

'7 6 4. '72

The passing note is very useful in avoiding consecutive fifths, andenables the composer to produce progressions which, without i t,could not be endured.

HARMONY. 47

Consecutive 5ths.

tJ

~-e.~~~~~

When an unessential note appears on an accented part ( thes is ), i tis named a changing note.

I.

It frequently approaches the essential note by skips, but must formthe proportion of a second to its following essential note; when itoccupies a lower second, it must be introduced as a minor second.

An unessential note may appear between two essential notes . Inthat case it is called an Auxiliary Note.

Both the pass ing and changing note should be succeeded by anessential (harmonious) note, but frequently an exception is made, byinserting a changing note before proceeding to an essential note.

r r


25/33

HARMONY.

CHAPTER V.

INHARMONIOUS TRANSVERSE PROGRESSION.

L at in : Rel at io non harmoni ca.German : Querstand,

WHEN in a progression of two par ts a harmonious interva l is foundin the next chord, either raised or lowered a semi tone, an inhar-m onious progression is created . The harmonious interval and thealtered one cannot both be reconciled by the ear, to belong to onea nd th e same key, and eithe r an augme nted or a diminishe d eighthis created . In order to remedy this unsa tisfactory resul t, care mustbe taken tha t the interva l 'and i ts a lterat ion occur in the same par t.

l I

; ,n Transverse.

6~~

--

The ancient masters were very sensi tive about this' ru le , and evenapplied it to the augmente d fourth and diminishe d fifth, a nd othe rdiscordant intervals. They named it "Mi contra Fa." This namepassed into a proverb: "Mi contra Fa," est diabolus in musica. Inmodern times when Inst rumental Music was, develop ing, this rule

was considerably relaxed, and pan only be applied to the strictstyle of vocal music.

The terms, free sty le and st rict s ty le , only refer to the d iffe rence ofvocal and instrumental music" which latter was first developing whenthe former was long established. The nature of instruments andthe ir use , requ ired an' apparent modif icat ion and relaxat ion of thestr ict treatment of human voices, without 'deviating in any way fromthe rules of counterpoint and harmonious progression.

!

.j

HARMONY. 4 9

CHAPTER VI.

RETARDATION.

RETARDATION would be synonymous with Suspension, did not a kindof Suspension exist,which is known under the name of Syncopation;when one or more parts are retained without regard to the law ofSuspension, but which must observe the same rhythm as that in whichthe preceding par ts move.

~ _ ~I~" ~ " 'frJ Y W T f8 6 6 "" 3

CHAPTER VII.

ANTICIPATION.

BETWEEN two chords one or more pa rts ma y b e a nticipated beforethe, second chord appears.

D.~I,

J


26/33

5 0 HAR.1oONY.

CHAPTER VIII.

PEDAL NOTE.

German: Orgelpunct. Italian: Cadenza. French: Point d 'Orgue .

THERE exists another kind of Cadence, which is named Pedal Note.The Bass of the Dominant is sustained fo~ several bars before theconcluding Tonic, while the remaining parts sweep through differentharmonious and passing chords and suspensions, in strict adherenceto the laws of progression. This happens mostly in fugues andsolemn church music. When the Tonic at las t appears , composersoften treat it as a fresh pedalnote, and develop another combinationof chords. A s the sustained note prO?!ICeSthe b~.s_tffe9.tqn_theorgan, it hasreceived the name of pedal note. It is indispensable

-. '., I ! ....... I

that the pedal note begins on the first accented DOte of the bar(thes is ) with a harmonious chord, and ends on the Tonic in the samemanner, Care must be taken not to introduce extraneous chords.

C. J. E. BACH. .

i I t -i - I '= = 3 ~~f"@0 ~IF$~I ; ; g I E ]F 9 .c t l fA :J Ii~. ~q~~ . J _ ~-J. .1I r

I

\

In some'cases the Pedal note may be in the uWlerpar ts .

A. ANDRE....-----..,

__Q_ = ~ ~ - - - - - - ~ - - - - - - - ~

'_l

r -ii'["'1-- - _ ,,_- -- . ,,=

f"""I I I I

_ 1 2 .

tJ I r~

----

HARMONY. 5 1

Whenthe Pedal note is in an inner ,part, it iscalled. Sustaining Note,and is not acknowledged bysomeauthorities as a Pedal Note.

JOSEPH_ HAYDN:

The-figuring of the Pedal note is not so good when proceedingfrom the Bass. It is better to consider the Bass as "Taste solo,"and to figure from the Tenor. Very often, the Tonic and Dominantare made simultaneous Pedal notes.

Remark :-The Plagal Cadence cannot be introduced on the

Dominant Pedal note.BEETHOVEN.

CHAPTER IX .

HARMONISING GIVEN SIM~~E MJ; :LODY.

A MELODY must be harmonised according- to its nature. If it belively and cheerful, a clear and light harmony must be chosen.Care must be taken not to obscure a simple melody by too seriousand heavy chords. Sometimes one or two parts ma y pause. Thefirst section must end in an imperfect (half) cadence; that meansin the Dominant. Several notes must be treated as passing orchanging notes , in order to avoid heavy ' and unnecessary chords.The employment of the Dominant, Subdomi~ant and Superdominant(sixth degree) must be first thought of,in order to give to the melodythe consciousness of its key. The other degrees of the scale and

D 2


27/33

HARMONY.

all other permitted bye and passing chords, can only be introduced a.an enhancement of the fundamental chords. The fol lowing tablewill.show with what various chords one interval may be harmonised.

c:=:: : : : ; : : : : ; : : : : :=: :6 6 6 6 6 6 6 6 6 6 6.. 4 ~ , 4. + .to

. :=: : ! : : : ; - :~: : : : ; :=.60 66 66 66 66 66

4 t 4 0 4 0 . . ~

i,1;;

f~~~~~~~~ ~ ~ ~ s _ ~ ~, ; ; : : : : : : :=i: : ; :z:*:; ; ; : :6 66 06 66 66 66

4 4 + 40 4

~i::::ii8 6 6 6 6

Example of harmonising a given simplemelody in various ways.

Andante.

,/1

\,HARMONY. 5 3

2. Imitation.I I i

Contrary movement.i

,,tJ


28/33

HARMONY.

-J--- -~1-The las t part of this .example, shows that the harmony of the four

parts may be indicated through the medium of two parts only by akind of arpeggio, in which manner the student will recognize a.transition from vocal to instrumental treatment.

The s tudent is advised to create a s imple melody and harmonizeit in various ways, and' ultimately to choose that which best accords.'with the invented melody. He must not be too anxious to intro-duce extraneous and ambitious chords: He should avoid using

suspensions when they are not effective, and be discreet with passingand prepared legal discords. He must aim at achieving his end bysimple means , with s tr ict adherence to al l the lawsof Harmony andCounterpoint; when studying the works of the great masters, he-should not forget that they underwent a severe discipline before-they I felt themselves competent to leave the beaten path. If the.'f:'irneststudent will bear in mind all the laws developed in thevarious chapters, and will for some time persevere in writing exercises.on them, the f irst and-safes t s tep in practical composi tion will beachieved.

THE END.

AP PE N D I X.

I '

APPENDIX OF DEFINITIONS.

Music.Melody.Harmony.Counterpoint-Double Counterpoint.Degree. .Dia to nic and Chromatic Scales .Enharmonic Relation.Accent.

Bar.Rhythm.Time.AlIa breva.Thorough-bass.I version.'Sonata.Rondo-ConcertoGreek Scales,Imitation.Canon-Fugue-Suite- Toccata.

QUESTIONS AND ANSWERS.

What is Music?Music ' is the Art and Science of expressing ideas, sentiments and

feelings, through the medium of melodious and harmonious sou~,subjected to certain rules, discovered and gradually developed during

the last four or five centuries.What is Melody?Melody is it series of tones expressing a sentime~~ and is !lU~~7cted

to time and rhythm.


29/33


30/33

IJARMONY.

Describe the nature of Time.

Time i s divided into Common and Triple Time. Common Timeis marked by a large C or i. The accent falls 00 the first and, thirdcrotchets of the bar.. Triple Time is marked by j, 1, i,":":' .e.,threeminims, three crotchets, or three quavers in a bar. If these bars a~'edoubled,' they are marked t, t or t, and constitute Compound TripleTime; the accent' in the Simple Triple Time being placed on'thefirst of the bar. In Compound Triple Time, the first 'and fourthare accented. There also exists a threefold Triple Time, marked

~ j. ,t, - t,n, denoting nine crotchets, nine quavers, or rune serruquaversin the bar. Here the accent falls on the first, fourth and seventh ofthe bar. There also exis ts quadrupled Triple Time,-i.e., y, Ii, ti,of which the accent falls on the first, fourth, seventh and tent~.

What is Alia breva P ' .,

AlIa breva time contains only two m inim s, ~ ,or two crotchets, i na bar. The accent falls only on the first minim or first crotchets,which is named the down beat, or thesi s. The unaccented note is

c-named up beat , or arsis.

What is Thorough-bass?Thorough-bass isthe Science of indicating Chords by figures, placed

above or below the Bass.What is an Inversion?Inversion is when an interval of a Chord is moved into the Bass

The Triad ha s two invers ions. The Chord of the Seventh, three.What is a Sonata?The name Sonata was often used by ancient Masters when ins tru-

mental music was developing, to indicate short pieces. Gradual~y itsform was'enlarged, until the present form was first fully established byHaydn and confirmed by Mozart . Beethoven, without de~!~tingfrom the cons truction of the Sonata, made it a medium of express inghis inspired thoughts. The Sonata generally cons is ts of four movements . I t so~eti~es begins Witha "slow,solemn moveinent . Thenfollows th~Anegro movement, which' is divided into t h r e ~ 'periods,The first division begins'with the leading subject hi the Tonic. '-'Whencunvdeveloped, it modulates into the second or Counter-subject, which

'.I I

HARMONY.

must appear in the Dominant , and general ly has several sections .With it closes the fi rst period, which must be repeated. The con-s truct ion of the second per iod (Middle-part) is lef t entirely- to thediscret ion of the composer, either to work out the f irst subject 'or ' toblend it with the C ou nte r- su bj ect, S killin Modulation andCounter-point is required, and the symmetry of the whole mustio'ot be ' lostsight of. After this the third per iod appears, which is a repetition bfthe first, with the exception of the Counter-subject being introducedin the Tonic. Before concluding, a shor t digression 'often-follows,exhibiting the leading or Counter-subject'in an unexpected modnlatioil.The slow movement, usuallyin the' Dominant or the Subdominanf,had originally a single form (approaching the Liederform]. : ' 'Its' firstsection leads into the Dominant, after a short ' episode, usually inthe Minor, repeats the firSt sectio~, and ends in the-Tonlc, MOt~f~e-quently the slow movement contains two subjects, and its construe-t ion approaches that of the Allegro movement.- _N'Minuett 'b ' was.formerly produced as the third movement, ' but it is now'Iieplat:.e'd Bya Scherzo. The las t movement is sometimes a 'Rondo, -; but' is generally.introduced under the name of Finale: >. It has exactly the-con-struction of the first Allegro, but i t i s more spirited and of shortersentences. If the leading subject should be in Minor, the C:: ,ounter-subject must be introducedlh' the pareriiaI MAjoi'key: ,"


31/33

60 HARMONY.

HARMONY. 61

which it imitated In vocal music. After having undergone variouschanges, i t was introduced into instrumental music. Its presentconstruction is that of an Allegro movement, with the following excep-

tions :-Its leading subject must be sprightly and insinuating, andmust be introduced in the tonic at the termination of the first division,-md during the course of the middle part, in various playful forms.

What is a Concerto?, A Concerto isa Sonata for one (sometimes 2, 3, and 4) instruments,

with the co-operation of a full band. It has this difference from theSonata form, that the Orches tra precedes the Allegro with a sketch ofthe whole movement.

What is Double Counterpoint?Double Counterpoint has this distinction from the usual (single)

Counterpoint that, under certain more res tr ictive rules , two partschange their places, the lower part being 'moved to the upper one,and the upper part to t~e lower one.

. I J I~lFffi

art , were di scarded to make room for the modern Major and Minorscales . On B, no ancient scale was built, on account of the diminishedfifth i t contains. No fiats andsharps were at that ti~e allowed. Thefour first degrees of the Authentic Seales were named Tetrachord,

What is Imitation?Imitation is when a sentence produced in any part is repeated in

some other part, or parts. .

I!i.~trrr I~' ~nJfAugmented Imitat ion is when the imitated part is expressed by

notes of double value. Diminished Imitation is when the imitationis represented by smaller notes.

Imitatio per augrnentatione.

I!i' d U : rIrrrru FIp d Fa c E rImitatio per diminutione.

llrdrLr If~What isa Canon?

A Canon isa s tr ict and accurate imitation of a melody throughoutits whole extent. The imitation ma y be either in the octave orunison, and also on the second, third, fourth, fifth, sixth and seventhdegrees. (See S. Bach's "Air with Thirty Variations.") If a Canonis written for four voices, it i s named Circular Canon, or Round(Canon Circularis), when each part must wait until the preceding onehas terminated.

What is a Fugue? .A Fugue is a Canon, but it is less severe, and enlarged by short

episodes. Its name isderived from the Latin, Fuga, (Flight or Hunt).

When three parts are exchanging, it is named Triple Counterpoint;when four parts, it is named Quadruple Counterpoint.

Which are the ancient Greek Scales and Modes?The ancient Greek Scales were:

D, e, (, g, a, b, c, d.

E, f, g, a, b, C, d, e.F, g, a, b, c, d, e, f.G, a, b, c, d, e, f, g.A, b, C ; d, e, f, g,- a.C, d, e, f, g, a, b, c.

This scale was named Modus Dorius." " Modus Phrygius," " Modus Lydius." " Modus Myxolydius." " Modus &lius.

" Modus Ioni~us.".These were named Authentic Modes, and when reckoned from thef if th , were n'amed Plagal Modes. They were used in the beginningof the Christian era, as a foundation for building up and raisingChurch music. But after several centuries, these ancient Greek'SCales,having been found to hinder the fur ther development of the


32/33

II. \'

HARMONY.. , , ,HARMONY.

vibrat ions. Also wind ins truments have their Aliquot tones) as thescience of acoustics tells us.

What is a Toccata ?Toccata. is a composition for Piano or Organ. It has the mixed,

form a~d qual ity of the ancient Capriccio and Prelude, added to itthe nature of . the Fugue, unshackled by its prescr ibed form. It ismostly recognized by its - character is tic subject During . ,the!,~t .century its name and form became obsolete. In modern times,Schumann has given us a masterly composition in this style.

How are Hidden Fifths and Octaves discovered?When, in a direct movement, a perfect consonant, moves to

another p~rfect consonant, Hidden Fifths and Octaves are produced.They will also occur when an imperfect consonant moves to a per-fect consonant . When a perfect consonant moves to a~ imperf~~l ,one, Hidden Fifths and Octaves are not produced; nei ther will they

occur when an imperfect consonant moves to an imperfect one.

Printed forVI . Morley & Co., 2 6 9 , Reg entSt re et , W., a nd ']0, Up pe r St re et , N .

' .ple. l eader (Dux), develops a thema (Subject) of a, few bars, andanother part., (Comes or Consort) takes up the same part in theDominant, while the leader is occupied with some appropriatecounterpoint, which is named Counter-subject or Counter-harmony.M~~a .~p.pr t,episode, a third part assumes the leader in the Tonic,and is answered by a fourth part Comes (Consor t) in the DominantThe further ~e~el9pment of the Leader and Consort varies, accordingto the speciali ty and' manifold f ,cons truct iol ls. af the Fugue. At thedose, there is a rapid development oLth7 sub}ect generally, accom-panied by a pedal note, which is named "'Stretto." When in al?,~g:ue' two .different subjects are introduced, it is named DoubleEUg1!!~.Sometimes a Fugue contains three or four subjects, when itis named Triple or Quadruple Fugue. For these double Fugues , ' aswell as for every kind of Fugue, a special and severe study ofCounterpoint is required.

What is a Suite?.4 -Sui~ejs acollection of compositions representing- characteristic

Dance Rhythms, preceded by a Prelude, viz., Allemande, Courante,Bourree, Gavotte, Sarabande, Minuet, Gigue, &c., written inthe same key.. In the middle of the last century the name Suite,became obsolete. It was partiall,y replaced by the-na~e- Partita,(Parts or-Pieces). Some more characteristic movements were added,viz., Toccata, Passepied, Praeambulum, Rondo, Scherzo, Burlesca,Capriccio, Sinfonia, Fantasia, Ouverture, all written in the same key.The best Masters of the last century, cultivated this branch of music.Among the foremost were Bach and Handel.

What .are Harmonies P I, r - , ";,_fiarmonics, Aliquot, or Byetones, ale represented by the following

notes :.......

G d ". . Byetones,roun Tone.__~~e I ~ _....;.-__

. '2 '~ ~ -- . . . . . . - ,.. &c.

91011121314151617181920

Wben sounding a deep-toned string, for instance the lowest C, certainBye-tones are found to be mixed up more or less weakly with the


33/33

N E W S O N G S P U B L IS H E D T H IS D A Y ,MAT BE St 1NG W lTHOt1 T FEB OR LICE NCE.

THE GATE OF HEAVEN ~ B ert ho ld Tou rsD, E fiat (C to Eflat), and F. (Words, JAXONE).

Berthold To~rs: grand New Song.' With Pianoforte, Harmonium,VIOlin,and Harp (ad. lib.) Accompaniment.

"Of ! hi sbeau ti fu l ' Dng. w. c~nnQt speak too highly . . ' !heW01'd~are sympathetically swe.t andap~ropr u; te . and t he m usic IS rich and f ull I n style, it is n ot unl ike t he wel l- known song ' TheChIldren. Home."-S"1td.~/amlEclw. '"r. a very beautiful song, aud ~.ems to lead on~'s thoughts 10 a Cathedral ",h""" the ~r. :ndd e~p to ne s o f t~e o rg an a re s we llin g a nd t he n d ym g a wa y in t he m ost har moni c cadences. u_Clift"" C"" .... d e.

TRUSTY AS S'rEEL : C i ro . P l n su t tF, G (B to E), and A. (Words, JAXONE).

In c ons eq ue nc e o f t he u n pa ra ll el ed a nd st il l i ncre asi ng s al e o f Od oar do Barr i' 501f or ld- ,; no wn~ so ng. "Th e Ol ? Bri ga de ," t he p ub li she rs b eg t o a n nou nc e t ha t t he yha-:-ethl~day Issued the companion song, entit led, "Trusty as Steel ." by Ciro Pinsuti ,whleh will prove one of the f ines! bass or baritone songs extant.

Pull Orcl

carl mangold - harmony

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