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MANUAL
or

HARMONY
L AND TRACTICA

BERNHARD ZIEHN
VOL. L
 ^arbatli ®mbcrsitu

LIBRARY OF THE

DEPARTMENT OF MUSIC
/ 7 ^
 Manual

THEORETICALAND PRACTICAL

BY

BERNMRD ZIEHN

VOL.1.

"Technique is the ever growing property

of all artists since the existence of art: it
has to be received, learned, appropriated.
That which technique is to represent, can
certainly not be learned .'^.^

Wni a. Kaun Music Co.

Milwaukee,Wis.

Richard Kaun
Berlin, Ger.

Copyright, MCMVII, by Bernhard Ziehn. International Copyright.

 - -. ><),'?*-[>

1 '- ' V-
 t

The Diatonic Scales.

Diatonic is the term common to major and minor.

The Major Scale consists of eight degrees, of which the 3d and 4th , and the 7th and 8*.^ are a half
tone apart, while the other degrees are a whole-tone from one another.
By lowering the 3d and 6th degrees of the major scale a half-tone > the Minor Scale is formed.

Major.

Minor.

Special names for certain degrees

II1 degree Tonic.
Dominant.
4th T. Subdominant. (as 5th degree below.)
3d » Mediant.
6th Submediant. (as 3d degree below.)

Intervals.

An Interval is formed of two different tones.

Two adjacent degrees are called a Second, the distance between lit and 3d degree is a Third, be
tween lit and 4th degree a Fourth, between lit and 5th degree a Fifth, between lit and gth degree a
Sixth, between lit and 7th degree a Seventh, between 1ft and 8*degree an Octave, and between lit am} 9th
degree a Ninth.
Seconds . Thirds. Fourths. Fifths. Sixths. Sevenths. Octaves. Ninths.

Intervals of greater dimensions are enlargements by an Octave of those named. Thus: the relation
between 1st and 10th degree is a Third enlarged by an Octave . Only as "suspension" or "afterbeat" of
the Ninth can the Tenth be regarded as such, and not as a Third. See Beethoven, Opus 39, NO 1, and
Opus 57, 3d. movement, 2d part, lit measure.
Often for the sake of brevity the upper tone of an interval receives its name, since the other tone
necessarily has to be presumed. If this term is employed for the lower tone, the word "lower"is placed
before the name of the interval for better distinction; for example lower Second, lower Third. In con
trast also we often speak of upper Second, etc.
Since the several intervals have different dimensions, they are also differently named. Awhole-tone
Second is called large, a half-tone Second small. Between a large Third are two whole-tones, be
tween a small Third awhole-tone and a half-tone; etc.
Major and minor have in common (counted from the 1st degree) large Second and large Seventh,
perfect Fourth and perfect Fifth. (The Octave is also called perfect.) Third and Sixth are large in
major, and small in minor, (it might not be superfluous to state that major means larpe,and minor small.)
The essential difference between major and minor is to be found in the different dimensions of the
Third and Sixth.
C major and C minor C major C minor

Large intervals are a half-tone larger than small ones, and small intervals a half-tone smaller
than large oaes. See for example the preceding Thirds and Sixths, and the following Seconds and
Sevenths.
large small small large small small

Copyright, MCMVII, by Bernhard Ziehn. Copyright.

 The small Second is called diatonic half-tone in contrast to the chromatic half-tone which is a Prime;
for ex. c cjt,or d* d. The expressions large and small half-tone should not be adopted ,as music since
Sebastian Bach knows no difference in the value of half-tones.
A Prime can only become an interval, when two different tones appear on one degree; for exam
ple c cjj, or c cb .
Perfect and large intervals expanded by a chromatic half-tone become "augmented".
» » small » contracted » » " » » "diminished".

perfect large small

augmented

diminished The augmented Fourth has the

special name Tritone (meaning
-i p Z p ♦ p V" T* P ^ three whole -tones.)
Doubly augmented intervals are formed by chromatic expansion from both sides.
diminished » " " " " contraction » » '' . gp ^ft I

In Major and Minor are found (from any degree) only large or small Thirds. They, therefore, are
called diatonic Thirds.
The intervals are sometimes designated by numbers.
The Prime as 1 The Fourth as 4 The Octave as 8
» Second " 2 » Fifth » 5 » Ninth » 9
" lower Sec, » £ » tftatfA » 6 » Tenth » 10
» r^trrf » 3 » Seventh » .7
Should it become necessary to designate more closely the size of the intervals a b at the right of
the number refers to the small, a a over the number to the diminished,' and a line through the number
to the augmented interval. Large and perfect intervals need no further sign.
Examples: 2k & & 7^ 3 2 5 7 2 A % %
As the respective signs, including the numbers, serve only as means of abbreviation, others may
be chosen with the same advantage. This is an immaterial point.

Inversion of Intervals.

If the lower tone of an interval is placed an Octave higher, or the upper tone an Octave lower,
the interval is "inverted," A Second becomes a Seventh, a Third a Sixth, a Fourth a Fifth, and
vice versa.
Large intervals become small, augmented become diminished, doubly augmented become doubly
diminished, and vice versa. Perfect intervals remain perfect.

A perfect Prime can not be inverted, as the perfect Prime is not an interval. The perfect Octave
on the contrary is invertible: the tone repeated in a different height is repeated in the same height.
This is the practical solution of the mystery of the Octave.
The Ninth has two inversions: a Second and a Seventh. The first is
formed, like the inversion of other intervals, by placing the lower tone an
Octave higher, or the upper tone an Octave lower; while in the second in
version, which is very rare, both processes occur simultaneously.
 3

Harmony and Chord.

Whatever sounds simultaneously is a harmony.

Every harmony which consists of Thirds placed above each other, or which can be reduced to such
a structure of Thirds, is a chord.

Diatonic Chords

consist of diatonic Thirds.

a) The diatonic Triads.
Major and minor triads contain a large and a small Third. In the major triad the large Third
lies below; in the minor triad the small Third lies below.
The diminished triad consists of two small Thirds, the augmented triad of two large Thirds.
Examples in C major and C minor.
-P 1

The student should point out the different kinds of triads, and their location.
b) The diatonic Seventh-chords .
The dominant, the small, and the small minor Seventh-chord contain two small Thirds and one
large Third.
In the dominant Seventh-chord the large Third lies below the small Thirds.
» » small » " " " " above » » »
» » small minor '' » » » » between » » » .
The compass of these combinations is a small Seventh.
The large Seventh-chords contain two large Thirds and one small Third.
In the large major Seventh-chord the small Third lies betwecu the large Thirds.
" » » minor » " » si » below » » » $ 5 I B
ii )) » augmented " '> » » » above " » » m
The compass of these combinations is a large Seventh.
The diminished Seventh-chord contains three small Thirds; its compass is a diminished Seventh.
Examples in C major and C minor.

The variety of chords is larger in minor than in major. Minor contains examples of every kind of
diatonic triads and Seventh-chords, which is not the case in major. But through the temporary accept
ance of a small Sixth in major it receives the following chords, which completely balance the inequality.

e) The diatonic Ninth- chords

will be treated separately. Here only the large and the small Ninth-chord are mentioned.
The large Ninth-chord consists of a dominant Seventh-chord and a large Third above it.
" small » » » " » ii " » small » » »

Fundamental Form and Inversions.

The fundamental tone is that tone, ascending from which the Thirds are counted.
» » » ii the name of the chord. For ex. D major., D minor-, D diminished-, D aug
mented triad; D dominant-, D small-, D small minor-, D diminished Seventh-chord; D large Ninth-chord,
' D small Ninth-chord.
The other chordic tones receive their names from the intervals which they form with the funda -
mental tone.
4

A triad, consequently, consists of fundamental tone, Third and Fifth; a Seventh- chord of fundamen
tal tone, Third, Fifth and Seventh; a Ninth-chord of fundamental tone, Third, Fifth, Seventh and Ninth.
If the fundamental tone lies in the bass, the chord has the fundamental form. This is the case with
all the chords in the preceding chapter.
But if another chordic tone lies in the bass, the chord is inverted.
The Third in the bass: ls-* inversion.
The Fifth in the bass: 24 inversion.
The Seventh in the bass: inversion of a Seventh- or a Ninth-chord.
The Ninth in the bass: 4*!1 inversion of a Ninth-chord.
The 15* inversion of a triad is called Sixth-chord, and the 2& inversion Fourth-Sixth-chord. Cipher
ing: 6 |
The inversions of a Seventh-chord receive their names from those intervals which arc formed by the
two tones of the Seventh in relation to the bass-tone. Therefore, the ls-* inversion is called Fifth-Sixth-
chord, the 24 inversion Third-Fourth-chord) and the 34 inversion Second-chord. Ciphering: { 3 2
The four inversions of a Ninth-chord are not named in a similar manner.
In triads the lower tone of the Fifth, or the upper tone of the Fourth (inversion of the Fifth) is fun
damental tone .
In Seventh- chords the lower tone of the Seventh, or the upper tone of the Second (inversion of the
Seventh) is fundamental tone.

Positions.
If the parts (tones) of a chord lie close together, this position is called close, otherwise we speak
of dispersed position.
The triad has 6 positions, the Seventh-chord has 24, and the Ninth-chord 120.

Triad. Seven!

#=t=F ■ m m ' m
Ninth-chord. (16 out of 120 possibilities.)
- * * - - -
* ■ 0 *
1 1 ' 1 £

Rhythm.
The term rhythm refers to the value of notes.
{Metre means measure, or a certain number of measures.)
Various Rhythms
of two " three - 3
notes. notes. - #
4

of four
notes. 3 jgpjjpiiijg rra

and
so on.
 Broken Chords. Arpeggios.
The. Triad.

These forms applied to

fundamental form and inversions

The Seventh-chord.

These forms applied to and

fundamental form and inversions. so on.

Consonance and Dissonance.

The terms consonance and dissonance have nothing in common with the idea of euphony and ca
cophony. These terms are only generic names of chords and intervals .
Consonances are the major and the minor triad, and those intervals which occur in these triads,
that is: large and small Third, large and small Sixth, and perfect Fifth, Fourth and Octave; for ex.

All other chords, and all other intervals are dissonances.

Essential and Accidental Dissonances.

Essential dissonances are those non- consonant harmonies which can be resolved into a consonant
triad. Essential dissonances are or can be: the diminished and the augmented triad, the chromatic tri
ads, the diatonic and the chromatic Seventh- and Ninth chords, and the dissonant intervals of these
chords.
Accidental dissonances are harmonies which do not occupy a place by themselves , but depend evi
dently upon the following or preceding harmony. The separate tones which make the harmony an ac
cidental dissonance also receive that name. To the accidental dissonances belong: suspensions,after-
beats, anticipations, passing tones and chords, and organ-points. Another kind of accidental dissonan
ces are those dissonant chord's which can not be resolved into a consonant triad ; such as the doubly
diminished Seventh- chords, the pseudo triads, Seventh- and Ninth-chords, and chords containing an aug
mented Third.

. Harmonic Plurisignificance of. Tones.

a) The tone belonging to diatonic scales.
Since every major and minor scale consists of seven degrees (without the Octave), a given tone can
be part of seven major and seven minor scales. For ex.
d is 1st degree in D major and D minor, 2<? degree in C maj. and C min., 3<? degree in B^maj. and
.3 min., 4& degree in A maj. and A min., 5tn degree in G maj. and G min., 6^ degree in F maj.
and F#min., and 7$ degree in E^maj. and E^ min.
6

b) The tone as part of diatonic Thirds.

A tone can be considered as lower or upper tone of a Third, and belongs, consequently, to two.
large and two small Thirds.

c) The tone as part of diatonic triads.

A tone can be fundamental tone, Third or Fifth of a triad, and can, therefore, belong to three
(riads of every kind.
1 5
|jg§: p m
d) The tone as part of diatonic Seventh-chords.
A tone can be fundamental tone, Third, Fifth or Seventh of a Seventh-chord, and can, therefore,
belong to four Seventh-chords of every kind.

i § g§ 1 1 |i \*H i"? /t+t n^ \n m M »

m
e) The tone as part of large and small Ninth-chords.
3 bf ■ t>* ■■ 5 ■■ ■ ■ l>r T-

Since any tone belongs to seven major and seven minor scales, a given tone can be harmonized as
follows. (The large Seventh- chords may be omitted here, because they appear mostly as accidental
dissonances.)
in D maj . in D min. in C maj. in C min.

'i, jjjjllijfjj;

in a" maj. in B min. in A maj. in A min-

ills ggfe i? ipgl ft igii?gig$iiv; ftSisS^ffff

in G ma in 6 min. in F maj.
g kit i$| 3£§

in Ft min . in maj. in E* min.

Harmonic Plurisignificance of Diatonic Thirds.

, a) Thirds as constituent parts of diatonic triads.
Since both the major and the minor triad contain a large Third, and the augmented triad two large
Thirds, a given large Third can belong to a major as well as to a minor triad, and to two augment
ed triads.
Since both the major and the minor triad contain a small Third, and the diminished triad two small
Thirds, a given small Third can belong to a major as well as to a minor triad, and to two dimin
ished triads. . $_ „ ft ■■ _ ■ b- ■ — -
m
 7

b) Thirds as constituent parts of diatonic Seventh-chords.

A large Third can belong to one dominant, one small-minor, and one small Seventh-chord, also
to two large-major, two large-minor, and two large-augmented Seventh chords
A small Third can belong to two dominant, two small-minor, and two small Seventh-chords, also
to one large-major, one large-minor, and one large -augmented Seventh chord, and to three dimin
ished Seventh- chords.

c) Thirds as constituent parts of the large and the small Ninth-chord.

A large Third can belong to two large Ninth-chords and one small Ninth-chord.
A small Third can belong to two large and to three small Ninth-chords.

jg i y I'ihrl^^

For exercise other tones and Thirds may be treated in the same manner.

Harmonic Plurisignificance of Diatonic Chords.

A major triad occurs on the l1**, ,tfJ1 and 5'J1 degree in major, and on the 5*h and fit]1 degree in minor.
A minor ') » » )) 24, 3^ r) 6^ » )) )' )' )) » 1?* » ') n »
A diminished triad occurs on the 7th degree in major, and on the 24 and 7th degree in minor.
A dominant Seventh-chord occurs on the 5*-™ degree in major and minor.
A small- minor n » » » » 24, 34 and 6^ degree in major, and on the 4tJ1 degree in minor.
A small i) m )) » » 7^ degree in major, and on the 2<? degree in minor.
A large-major ?) )) » » » 1st and 4th degree in major, and on the 6th degree in minor.

The (' major triad: I8"-1 degree in C maj., -i*]1 in Gmaj., 5*h in F maj. and Fmin., fiU1 in E mm.
The D minor triad: 24 degree in C maj., 3<? in B^maj., 6th in F maj., Is-1 in D min., 4*-h in A min.
The B diminished triad: 7th degree in C maj. and C min., 24 in A min.
The G dominant Seventh-chord: 5*1* in C maj. and C min.
The A small-minor Seventh- chord: 24 degree in Gmaj. 3^ in Fmaj., 6th in C maj., 4*2* in Emin.
The B small Seventh- chord : 7th degree in C maj., 2d in A min.
The C large-major Seventh-chord: I*!* degree in C maj., in G maj., 6th in E min.
The augmented triad, the large-minor, the large- augmented and the diminished Seventh-chord are
not harmonically plurisignificant, because they occur but once, and that in minor.

Connection of the Tonic Triad

with the remaining triads of the key.
The tonic triad is the triad upon the first degree in major and minor.
Tones which occur in both chords are kept in the same part; the others progress by degrees.

Examples in C major and C minor.

a) The triads of 24 to 7th degrees in the first inversion.

b) The tonic triad in the first inversion .

8

e) Repetition of those examples under a) and b) which have tones in common. The common,
tone marked by one note only.

A) Every example under a) and b) preceded by the tonic triad.

and so on.

. For four-part setting it is necessary to double one of the tones of the triad, i.e. to take it twice,
either in the same height, or as an Octave.
The succession of perfect Fifths in the same parts (so-called parallel or consecutive Fifths) should
be. avoided..
This remark and the above remarks on melodic progression are to be considered as generally ac -
cepted, though not so strictly that no exception should be allowed. Common tones must notAlways be
held in the same part; sometimes a part may progress by leaps, and parallel Fifths can not always be
avoided. But as a rule it must be remembered that the progression of two parts in Octaves is inadmis
sible. .
a) The tonic triad in fundamental form with the Third in the Soprano.

b) Every example is to be preceded by the tonic triad. See above.

Diatonic Triads in Connection with one another,

founded upon the harmonic plurisignificance of chords.
Examples: l) The G major triad in G, D and C major, and in C and B minor.
2) The A minor triad in G, F and C major, and in A and E minor.
3) The B diminished triad in A and C minor, and in C major.
 9

To the three-part examples is now to be added a fourth part as soprano or bass. This part is
formed by doubling one of the chordic tones. For ex. the G major triad in C major.

Addition of a higher part. Addition of a lower part.

There are connections of chorda belonging to more than one key, such are harmonically plurisig-
nificani.

Any connection of chords in each of these groups is of harmonic plurisignificance .

The Diatonic Seventh- chords with small or diminished Seventh and the Tonic Triad .
With reference to parallel Fifths special attention should be paid to the small-minor Seventh-chord,
as it contains two perfect Fifths (for ex. dfa c: d a and fc), while the other chords with small Sev
enth have only one perfect Fifth (for ex. g b df: g rf_ b d f a: da).
Two examples for each of these chord progressions in C major and C minor.

Connection of Diatonic Seventh-chords with Diatonic Triads,

founded upon the harmonic plurisignificance of chords.
10

Diatonic Seventh-chords in Connection with one another.

m * m•
> ■ • r
T
The harmonically plurisignificant connections in this and the preceding chapters are now to be grouped.
For further practice other chords may be chosen as introductory chords.

Connection of two Chords in their various Positions .

1) Three-part triads. 2) Four-part triads. 3) Triad and Seventh-chord. 4) Seventh- chords.
± a-
r—0—m—j—•—m—-1 r—• m 1 LI • - *l
H I'-i

3)

Harmonization of a Melody of two tones. '

The chords of the accompaniment are to be taken from the respective keys.
The large Seventh- chords may be omitted.
fl I I -j. Since a large Second occurs in major between the 1st and 24, 24 and 34, 4*lx and 5^,
1) W*"* \ 5^ and 6**1, and 6^ and 7th degree, and in minor between the & and 24, 34 and 4*.°,
and 4*^ and 9tn degree, the one here given belongs to G, F, D, C and Bl> major, and G,
£ and D minor.
Chords containing g
in G maj . In F maj. in D maj. in C maj.
-tart—fc* 1 \i i nrt «r
<0
A in B9 maj. in Cr min. . in E min. in D min.
 11

Chords containing a
in 6 maj. in F maj. in D maj. in C maj.

One example in every key.

Melody in the Soprano. Melody in the Alto.

IT

Melody in the Tenor. Melody in the Bass

pi If rf

A few examples showing the variety of harmonization in one key.

g a as Soprano in 6 major. Parts progressing by degrees.

t m Since a small Second occurs in major between 34 and 41!1, and 7^ and 8*)1 degree, and
2) fib | f I in minor between 24 and 34, 5*]1 and 6th-, and 7th and 8t_n degree, the one here given
belongs to G and C major, and A, E and C minor.
Mel. in the Soprano. Mel. in the Alto.

fW rr

Mel. in the Tenor. Mel. in the Bass.

ff f=r=
m g
12

Since a large Third occurs in major upon the is-*, the 4& and the 5*]* degree, and ir.
3) minor upon the 34, the 9*)1 and the 6*1* degree, the one here given belongs to G, D and
C major, and E, C and B minor.

Mel. in the Soprano.

N ■ J, J

rr w -rV
rr

? r r

Mel. in the Tenor Mel. in the Bass. r

li Jj| =H=i
HT #
p m p p
m
Since a small Third occurs in major upon the 24, 34 6^ and degree, and in mi
4) nor upon the if*, 24, 4^ and 7th degree, the one here given belongs to D, C, G and F
major, and E, D, B and F minor.

Mel. in the Soprano Mel. in the Alto.

—— Since a perfect Fourth occurs in major upon the Is* , 24, 34, 61)1 and 7^ degiee,
5) and in minor upon the ls-*, 24, 34 and 5th degree, the one here given belongs to G, F,
e1-, c, bI> and major, and G, F, E and C minor.

Mel. in the Soprano

J 1. 1 J ii iJi Ji^
ff ff rtff
rr
1 1 ijj

Mel. in the Alto.

 18

The chords here employed may be represented also in another form. Compare the example in C
minor, melody in the tenor, with the following examples.

f*f
ft.

Harmonization of a Melody of three adjacent degrees.

a) Two large Seconds in C, G and D maj., and E min.

b) A large and a small Second K • " ^* fl in F and B^maj., and D and G min.

c) A small and a large Second ^ j|» " * fl in A and E maj., and A and min.

The six versions of these groups .

(Compare the broken triad.)

Of these versions Nos. 1 and 6, 2 and

5, and 3 and 4 run in contrary mot ion, and
can be taken simultaneously .

Arrangement of the following examples.

Numbers 1-18 mel. in the Soprano.
» 19-36 » » » Alto.
» 37-54 » » » Tenor.
" 55-72 » » " Bass.
Of each of these four groups the first six numbers belong to «), the second six numbers to b),
and the third six numbers to c).
 rr r r*r r
be

16
 IK

JJ
- a, mi*- m F r _| ULjl— i|V r* r ■I f r i
& r r i r 1 1

—B
f=H=
iij
a i f-k*—■ r r ii
1 1 ' 11 r'ritpj
r i r ■
rrr

22 | |

> r r r » rrr #
!i * Jj
^#
y r i r " 1 1 1 V I M tf^-
11 11 r r i' r i r ■ r r

24 ,
3 j j i in
ft* jjJ
p rrr :+=rp=
Y
. Vi :=r*rt= i
',r r r r 11 1 v-r rn -f—f
1 1 : r i r r *r r i

25 . 26 -
ll JJ|,J j 1
> rrr \> r"r
Mi j
i y 1 i r i r i r
11 r r 11 rr i "rrr"

27 | .
j
JU J n
s> rrr

a m—r- .¥#
ttt 1

30
■lJ j j »J_ J J
■—
$ Trr

r M
41 ^4 \' i r i : B 1 t=t=

32 | ,
1 uJ jj i ■ „■*', J . *t+M=i
wpr Ml
g " r h * r h »*f r r = *f=t=f

s
16
an

-f*f-f-

if i'V.,ri'i.i

fnrr^rr»7rr

37
Jj i iiJj»j ■ j j
ttt f*Ff rr r ,T T^r
i=J=
rrf 'r f

39

42
n'/ j j J i H=N=i
#=#f= t=*t f*ff
j.j i
y p r 1t r ' i[ r i' 1 T '

47

U iJ
 17

49 50
IJ* J J fes
ff=f 4=f T*"rT

*! d=y=
r»rr" r 'r'i

èUj 1 jitJ.J
f rr " r

55 56
J JtJ H J Jij
■
t=Ff= .t I r,li rrif,
h r, ¥ | e*t=
m 0 P

57 58 ,

W ÉWÉ
«jij «j u
r fr r "

63 64
M j li1-,1 J
'1 r'J'r'll,1,11!'
au
18

65

§EEmr

67 68 I

a#sf#^ Ud1 I Mi WW
ilii AAA 2j
T r r " *r r f "«r r r "*r r r

f»r I llf'rr

Exercises. 1) The same melodies harmonised with other chords selected from the respective keys.
in G and C maj., in E, D, A and G maj.,
2) C and E min. Ft and E min.
in G, F, C and B^maj., ^ in E and A maj.,
G and E min. Y% and Cf min.
The various versions

3) Double Counterpoint _ Exchange of Parts.

The four parts are to be arranged similar to the 24 positions of a Seventh-chord.
Those settings which contain parallels of perfect Fourths may be excluded.
 19

Harmonization of a Melody of four adjacent degrees.

in C and G maj. in F and maj. in and A* maj.

and E rain. and G min. and F min.
The 24 versions of these groups. (Compare the broken Seventh- chord.)
1 2 3 4 5 6 7

10 11 12 13 14 15 16

17 18 19 20 21 22 23 24

1 & 6 2 & IK 6 & 15 8 & 10 10 & 19 2 & 18

Simultaneously t & 15 3 & 14 6 & 17 8 * 19 10 & 24 Retrograde to 5 & 16
can be employed 1 * » * * 13 7 & 9 » * 2* U * 22 each other are: 7 & 23
2& 5 5 & 16 7 & 23 9 & 20 12 ft 21 9 & 20

Examples.
24 version in the Soprano. 34 version in the Alto.
J J J »J .I J |j J ^

16^ version in the Tenor 111 — version

16*^ » I., 1 O 1VI1I in
111 the
llll Bass
1 1 J J lJ J 1 r—J—-j—| Lj |,
i I'rTr

7*!1 version in the Bass. 8th version in the Tenor. .

It IJlJ. I I iJ J i J d

Versions 1 and 6 as Soprano and Bass, as Alto and Bass, as Tenor and Bass, and as Soprano and Tenor.
' J j -I ■■ I I , I ■■ I ' ■ I || I J Jrjzy
20

Versions 10 and 19, similar to the preceding examples

Versions 5 and 16.

i
I I'lVrl^lil1''''

-Oil
r rr r ■ r r rr
 tl

Enharmonic Plurisignificance of Tones.

Every tone, gt (al>) excepted, can be imagined on three different degrees.

This difference of name united to identity of sound is called enharmonic* .

• W9 15 H, ft.

Enharmonic Plurisignificance of Intervals.

The student should name the class and the size of the intervals.
. If both tones of an interval are enharmonically changed in the same direction, so that it remains
the same, we speak of enharmonic motion.

and so on.

We can also say of a single enharmonically changed tone, it is enharmonically moved.

The Chromatic Seventh- chords

consist of a diminished Third and two large Thirds, or of a diminished, a large and a small Third.
The diminished Third lies between, The diminished Third lies below, above,
above, or below two large Thirds . or between the large and small Thirds.
The Seventh is small. The Seventh is diminished.

9 " ^ m ii
IV VIII VI IX
I* V VII
The last six chords have the sound of diatonic Seventh chords; the numbering, therefore, is ar -
ranged in a corresponding manner: IV and V according to the dominant, VI and VII according to the
small, and VIII and IX according to the small minor Seventh- chord.
Z2

The designation of chromatic Seventh- chords by ordinal numbers, written in Roman characters, is
maintained throughout the book. As names which explain the idea would be too long and too incom
prehensible; and instead of short names chosen at random, ordinal numbers, being easy to remember,
serve equally well. (The 24 inversion of NO I is already known by the name Augmented Third -Fourth-
Sixth-chord, and the laJ- inversion of N9 IV as Augmented Fifth-Sixth-chord.)

The chromatic Seventh- chords with the diminished Thirds b p^ and dt f.

III IV V VI VII VIII

An inversion of these chords showing the augmented Sixth instead of the diminished Third.
i ii in iv v vi vii viii ix . i ii in rv v vi vn vni ix

Since the chromatic Seventh- chords have certain chords of resolution, they can also be grouped in
major and minor with corresponding chromatic alteration of single degrees.
1. Major with small 2 and small 6 . .or Minor with augm. 4.
Chromatically
altered scales : 2. » » augm. 2 » » 6 . . . » » " small 2 and dim. 4 .
.8. » " augm. 2, augm. 4 and small 6 " " dim. 4.

4 H * 1M .i 1
vi i rv rv vi vin n vn n vn vm

This arrangement of scales agrees in general

with the age of the respective chords.

v in in ix v

, The chromatically altered C minor scale

compared with major.

ii vn vni vm n vn m ix v v m rx
. Resolution takes place by contraction of the diminished Third from both sides.
The tone of resolution is therefore the tone lying between the diminished Third.
If the diminished Third appears inverted, the resolution correspondingly occurs through half-tone
expansion of the augmented Sixth into an Octave.
 23

The other parts remain, or move by diatonic half-tones (small Seconds).

The chords of resolution are in all cases one major and one minor triad.

For further practice may be taken the chords containing gt b^, or ft a^, or b d^, or dl f .
Exercise as follows.
I II HI rv

C minor.
F minor is the minor mode of the subdominant, and E minor is the mediant in C major.
G major is the dominant, and major is the submediant in C minor.
NQB iv and IX with their major resolution, and VI and VIII with their minor resolution, in posi
tions which produce parallels of perfect Fifths . '

P u,_ „lx. _ i. Pit1": ,iJg 1 ,, P ,_ „ _ „ P ,, - * ii

ft Tt a t \\§vi 7 Vi 7 lift ^1 Ms, ■ II ft b:b: Us 1 1

A great many examples proving the correctness of consecutive Fifths in such cases can be found
in classical works. For instance: Mo«art, Lied "Dans un bois" ; "Figaro", N9 24;"Don Giovanni", 24
finale; Bhthovih: Opus 5, NO 1; Opus 102, N9 1; Opus 131, 20l.h measure. All of these, however,
referring to NO IV.
The chromatic Seventh-chords and their resolutions in double counterpoint .

(All exercises are to be worked out on two staffs.)

Example in O mqjor with all kinds of chromatic Seventh- chords.
v rv i hi n vi ix viii vii

III belongs to F maj. and A min., and VI to G maj. and C min.

24

Example in C minor with all kinds of chromatic Seventh- chords belonging to the key.
I | , V VII II IV VI IX | 1 i , . Ill \
JJJ|JJJJ|JJ^J.J j ^
3E
f ffff f-
f

i»
i

A few more examples, showing how to employ chromatic Seventh-chords.

J .fcJi Ji LJ J i i ,w.

.J J

HI HP I
*} p
Tff T r r r

Compare Tscraikowsky, ff
"La Belle au Bois dormant", N9 9.
In the last 12 examples the student will find No.s II, III, IV and VI with their resolutions.

The chromatically altered scales also increase the number of triads- in both major and minor by the
chromatic triads and by one augmented triad (the latter in major upon the Fifth, and in minor upon the
diminished Fourth); furthermore in major by two major triads, and in minor by two minor triads in
half-tone distance upward and downward from the tonic triad. The respective chromatic and augment
ed triads are given more detailed consideration later on. Concerning the triads of the small upper and
lower Second, see: King Henry VI (f 1471), "Et in terra"', close: B min, C min.; Arnold Scrlick, 1512,
'Ad te clamamus" and"Da pacem", closes: Fit min., G min.; Beethoven, Op. 81, Sonata, 34 movement,
the eight measures with staccato quarter notes, and the following variation; Berlioz, "The Damna -
tion of Faust", 14*h Scene, the last seven allabreve measures; "Rheinbold" edition, p. 74 (quasi trillo)
At>olf Jensen, Op. 7, NQ 6, measures 5 and 4 before the single-^ measure; Mascagni, "Iris", page 200;
l;01iver Brown", vorspiel.
 25

The Chromatic Triads

consist of a diminished Third and a large or small Third.
The diminished Third lying The diminished Third lying
above or helow the large Third. above or below the small Third.
I II Ill
I Compass of both: Compass of both:
diminished Fifth. doubly diminished Fifth.
N9 II, the oldest and most common of these triads, has the name "doubly diminished triad" for the
dim. Third and dim. Fifth; and its i8* inversion is generally called Augmented Sixth-chord.

The chromatic triads N9sIand II.

The intervals of resolution

Each of these intervals representsa major u.nd a minor triad. There are, consequently, for each of
the two chromatic triads six resolution chords.

r tt r
The student will find examples from literature
ature for I)
1) in Chkrubini,
Cherubini, D minor quartet, scherzo;
scherzo/ for
:
2) in "Don Giovanni", sextet; for 3) in B. Godard, "Pedro de Zalamea", p. 237; A. Jenssn, Op.35,N9 6;
for 4) in R. Schumann, Op. 64, NO 2 ; for 5) in R. Franz, Op. 50, NO 3; for 6j ibid., and in Schubert,
Op. 142, NO 2.
For four-part setting the fundamental tone of the first chromatic triad is doubled, rarely the Fifth;
and in NO II mostly the Fifth, and sometimes the fundamental tone.
+J +)C/ierubi/ti. "The Water-carrier."

rr r r nip fW
wwmm.

x p it r x p it r

j j ii j.j • I *-
With doubled r r r »r TT
Fifth. ii.
±4
mm

3^
With doubled WWrrFf
fundamental tone .
i r T r I
; if
m
In most cases the doubly diminished triad appears in Is-1 inversion. In Bach's "Das musikalische Op-
fer" is-* fugue, measures 117-121, it occurs thrice in fundamental form (and twice in 1st inversion);
in the same work, 8*h canon, measures 4, 12 and so on, also in fundamental form. As Fourth- Sixth-
chord it can be found in Schubert's C minor sonata, Is* movement, I6.* part, measure 8 before the end ;
and in fundamental form in Mac Dowell's Suite, Op. 14, 6th measure.
26

These triads in connection with Seventh- chords .

mm
The chromatic triads NO-s III and IV.
Ill TV
Since the interval of resolution, a small Third can be a con
stituent part of only one major and' one minor triad, each of these two chromatic triads has but two
chords of resolution. In both chromatic triads the doubling of the Third is admissible in four- part
setting.

J. A
TV.":
w
These two triads have as yet been scarcely noticed. Liszt in the stretta of his paraphrase of Gou
nod's Faust -Waltz brings NO III (e# gft b^, 24 inversion) with intervallic resolution. Sinc,e this inter
val is followed by another, with which it forms a triad, we find here also a chordic connection, al
though only intimated. See Schubert, C minor sonata, 1st movement, ?A part, 2d measure; Chopin,
Op. 24, NO 4, measure 9 before the end. (In Klindworth's edition gt> cl e is wrongly changed into gl> d^ e.)
We sometimes imagine we see a chromatic triad, when we have before us a chromatic Seventh-chord.
Two such striking instances are found in Schubert's Op. 142, NO 1, meas. 21, 23 and 25 from the be
ginning, and meas. 5, 7 and 9 in the part with the F major signature. To the apparent third, respect
ively first chromatic triad, the first eighth note of the bass must be added, which is the bass for the
entire measure (and furthermore, the respective triads are only suspensions.) See Wbber, E minor so
nata, minuet, trio, 24 part, Is-1 measure; Hveo Wolv : "Ein Stiindlein."
. The chromatic triads which can be formed by accepting chromatically altered scales, are :
in C maj. in C min.

3*' i' » i" unw

i ii in rv

Modulation
from C major and A minor to all those keys in which the tonic triad of C maj and A min. is also to
be found.
Modulation means transition from one key to another.
The dominant Seventh- chord at the beginning of each example represents the following triad as tonic
triad. The chord following the tonic triad is, in the order in which the examples succeed, a chord of
the 24, 34, 4t>, 5*>, 6th or 7th degree of the new key; with this, therefore, modulation begins.

A. From C mujor
to G. major.
 27
to
iu Eu minor
uuuvi

fr 7"Tip1 ^ r
:g g p 2

to F minor

dL-.
r
r
s—p-
Hi
to F major. 5. From A minor

4 i1|M5'i,V'iW
r r*7 rrr r
rf f

to C major
r-J-
[44^ 1=4=1=J=4=h
=r=¥
r Lr r r
A r 1
1 i r
to G major

<:
f rr rrr
d4
I l SI
to E minor.

r^W IrlMlr1
r Irlr Wl'r'lW
r lnr r L li> If rr U liFlfi.. It- 1 fir rlf
HlH

After the student has carefully read and played these examples, he may transpose them into other
keys.
28

Cadences.
When in every example from the preceding chapter the first quarter note (up-beat, Auftakt, anacru
sis, arsis) is excluded, the student will find that these examples are no longer modulations, they be
long to the new key from beginning to end, and have become cadences. These cadences not only be
gin but also end in different manner; they are not confined to the narrow limit of dominant and tonic.

A. All closes in the tonic are called "perfect cadences."

Two of them bear special names; dominant and tonic: authentic cadence.
subdominant and tonic: plagal cadence.
The overwhelming majority of perfect cadences is made with chords upon the 5*!1 and 24 degrees;
the chords upon the 4^ and 7th degrees also occur frequently; the mediants alone are rarely to be
seen in this respect.
JaiSTOt db Puis, 15*i1 century, Missa Pange lingua, IS* Agnus Dei (C maj. E min.);
Georc Rhau, 1544 "Christum wir sollen loben schon" (E min. C maj.);
H. L. Haisler, 1608, "Helft mir Gott's Giite preisen"(D min. Fmaj._ A min. F maj Fmaj. D min.),-
Chopin, Op. 24, NO 4; Brahms, Op. 10, NO 3; Grieg, Funeral March; H. Hvber, Verena's Soldier's Song;
Liszt, Venezia e Napoli, 1st mov. ; Ave Maria from Harmonies poetiques; Le Desir;"Der du von dem Him-
mel bist."
Brahms, Op. 10, NO 1 Heller, Op. 119, NO 15. Kiel, Op. 61, NO 4.
I

rvrtr
Berlioz, Les Troyens Requiem. Chorus "Amen."

=8= -o-

Perfect cadences in major by means of chromatic Seventh- chords

VI VII VIII IX
m Jjj J I
-f- f- r
r r Hr H
i
l-qr-f- -rr- j U-
i— _] f r p
-i— Hr-i
i—

j?. The closes in the dominant are called "semi-cadences!'

Examples in C major.
J|jj|J
ff W n
 *9
Examples in C minor.

Semi-cadences in minor by means of chromatic Seventh-chords and the doubly diminished triad.
I IV VI ' , i ,
i M ii
r r ^ 1 p P
f J
s

The semi- cadence in minor: subdominant, dominant— is called Phrygian cadence.

Various examples of the Phrygian cadence in C minor.

r J- T '
J
uJL
2

111 : =fe±
T
i J 5 i i.

(7. Every close on a dissonant chord, as well as every close with the dominant, not followed
by the tonic, is an irregular cadence.

"Retardation and Anticipation."

(alia zoppa_ limping.)
"retardation" "anticipation"

"retardation" "anticipation"
This old and odd classical technique, used so extremely often by Schumann and Brahms, is found on
ly sporadically in Biethovcnb compositions. Examples:
Opus 13. Opus 27, N«? 2. Opus 57.

See Leoncavallo, La Boheme, p. 125

examples with chromatic chords.
Libit, Mass (Gran), pp.59 - 63.
30

Suspensions and Afterbeats.

Suspensions are upper or lower Seconds before any chordic tone, delaying its appearance . They oc
cur mostly on accented beats.
Afterbeats are those tones which follow a chordic tone by degrees or by leaps. They are mostly un
accented .
Afterbeats progressing by degrees are the reverse of suspensions.
It is advisable always to calculate the suspension from the fundamental tone, whatever the chordic
form may be.
Major and minor triad with suspensions.

Dominant Seventh- chord with suspensions.

»>. ~ Vo—trto—IJtS—±fS—H WW
.*»■ -*v ,«*- ' -*» *»--**-*»-,**- m *-
8.7 6 7 65 4 5 4 3 23 21 S1
Suspensions can also be added to every tone in any other chord. In many cases the diminished
Fourth is written as largt Third, and the diminished Octave as large Seventh.
4m rW-jj
Afterbeats progressing by degrees
*w♦» «-

Examples from literature. Single suspensions.

Mozart, C maj. Sonata. G maj. Sonata. Pergolese, Stabat mater. "Meistersinger."

Hp 8f f

Beethoven, Op. 13. Op. 10, NO 3.

1 ffff+rrr
S 1 S 1 4 o
m w 4 3
1
sit

Albrechtsberger. Chopin, Op. 54

 81

Half tone suspensions from below in the major and the minor triad.
Heller, Op. 86, N9s2 and 7. Liszt, IX. Rhapsody.

X. Rhapsody XI. Rhapsody

One and a half tone suspensions

are very rare . They can occur when in major or minor small Sixth and large Seventh follow each
other, or in minor small Third and augmented Fourth.
Beethoven, Op. 53. Op. 90. . Liszt, III. Rhapsody.

When a chordic tone is doubled, one of the two can have a suspension, so that chordictone and its
suspension appear simultaneously, (in a similar way afterbeats can occur.)
o

1—0 a^-—o ■

Bach, Ital. Concerto. Mozart, F maj. Sonata. C maj. Sonata.

9 8 7 8 7 8 2 8
2 3 S 1 2 3 H

Adagio in B min Beethoven, Op. 81*

4 ft
32
Beethoven, Op. N9 3..
up. 10, NY 3 Schubert, Op. 164.
4, j|jJ,,hT^ij^

Heller, Op. 85, NO t Chopin, Op. 54. -

Handel, Messiah.

Suspension and resolution at the same time and in the same height.
Generally the principal part (the melody) has the suspension while the accompaniment already gives
the chordic tone.
Bach, St. John Passion. Bach-Eik. Choral 177. *) Beethoven, Op. 13. Haydn, G maj. Son.

r r r
The reverse of the above given rule is seen in the following quo
tation from "Lohengrin."
Liszt, "Nonnenwerth."
1=

The afterbeat in literature.

"Tannhauser." Astorea. Stabat mater.

every second^ is an afterbeat.

"Tristan." "Tannhauser."' "Parsifal." ■ Mozart, F maj. Sonata.

*) Johann Sebastian Bach's Choralgesange, herausgegeben von Erk. Peters Edition.

 38
Requiem. Haydn, G maj. Sonata . Z<5rwe,Op.ll6,N?2. +

Franz, Op. 5, SQ4.Chopin, F min. Concerto Liszt, "Prometheus". A.Jensen, Op. 13.

Pergolese. Stabat. Mozart, F maj. Sonata. "Don Giovanni Beethoven, Sym.

See'also Beethoven, Op. 101, is-* mov., meas.35- 39.

The Sixth as suspension and afterbeat in one and the same chord.

— - i jj^ E— **■ llllJUJJjJ Bm

1 Ionic. Subdominant.
-0-
ft

See Liszt, Faust -Symphony, closing measures (C maj. with a, F maj. with d, C maj. with a); Hungarian
Fantasia; Etude "Irrlichter", closing measures (B^ maj. with gl>)) Raff, Op. 91, pp. 56 and 57,- Leon
cavallo, '-La Boheme", pp. 192 and 193; Huso Wolf, "Er ist's" (tonic) ; "Der Jager" (subdom.). Heller,
Ekmaj. Polonaise. Paulin, Dans le jardtn de reves (tonic).

Examples from literature with twofold suspensions.

Beethoven, C min. Symphony

6 5
*) Quotations from: I) Musikalisches Opfer, I. 2) Fantasia sopra "Christ lag in Todesbanden".
3) Magnificat, N9 9. 4) Wellt. CI., I, C minor Fugue.
S) B minor Mass, Agnus Dei. 6) Organ Sonata in D min., Adagio.
31

6 4 3 5 6 4 "3 5

USUI
Chopin, F min. Concerto. 4 32 1
Schubert, C min. Sonata. E1, maj. Sonata. 2 1

lsiszt, Mephisto -Waltz. "Wieder mocht'ich dir begegnen*.'

9 8 4 3 6 5 4-3 9 8

V. Rhapsody. Cornelius, "Barber of Bagdad." "Tannhauser." "Parsifal."

2 i 2
jft<g-0 JTo#; Italienisches Liederbuch, N0-s 3,18 and 23.
Volkmann, Op. 17, NO ^ Beethoven, Op. 109. 4 1 f% —m——,

Two or three suspensions in succession with the same resolution.

Ml
 35

Beethoven, Op. 2, N? 1.
1 0 r # 'T- r
[1
$ J 7 elL!T TLi^
£ 2 1 4 6 5 2 4 3 4 6 5 7 9 8 2 4 3

Op. 86. Credo. -afiM ^«we^- Suite, Op. 14.

See also Beethoven, A minor Quartet, 2? mov., 2? part.

Diatonic progression of Sixth-chords with suspensions.

Compare Beethoven, Op. 2, NO 1, Adagio; Makschner, "Hans Heiling" Overture; d'Albert, A min. Quartet, p.il.

4gfli^iJffJff.iFTijWi,irnriTi

and With suspensions :

soon. and afterbeats.

-/ — r Bruckner, 1/ min. Mas:

^r ate

«J' lip f tfJ

liM T % V B —1 1— — r
4-—1 -1 K-
86
The Broken Triad with Suspensions.
Suspension before the Fifth.

Susp. before the Third.

Susp. before. the fundamental tone

J J J J i jjJJiJJJJi Jifliflfli

In the same manner the Fourth before the Fifth,

and the Second before the Third and the Prime,
making another number of 54 versions.

The suspension belonging a) to the lower, b) to the inner, c) to the upper part.
A few e:(amples.
Suspension from below. Suspension from above.
a) is* arpeggio. . 6^ arp. 24 arp. . . . . 5l-h arp. _-__
-Jf—_m wfl—rrj^n w^J~1^*j^h 1 IJ II 1 U pJI m nTJ ■

b) 34 arp. _.1 4th arp. _____ p__ 4th arp. __ : 54 arp. _-_■_
, mi ij nia.n>ba
#Jil—J I^JJJ-^ J—JJI ^_) 4 J« J J J—1

c) 5*> arp. 6* arp. Ls-t arp. ———|

jjjjjiJ &pp TTiUJiliJ U ii
Jrrrirf"j^i
J * J* * ■

Also similar to this in descending motion.

The broken triad and two suspensions.

1) Suspension before the lower parts, 2) before the upper parts, 3) before the outer parts.
a) Suspension from below, b) from above, c) and d) from below and above alternately.
The examples are given in the first arpeggio .
/. a.

2. a

Different rhythms.
 87

The five remaining arpeggios

applied to N9. ta.

The minor triad is to be treated in a similar manner.

Various models for other exercises.

Wf

A given tone (here d) as suspension' in major and minor triads.

43 65 „ - 2 1 4_3__ 6
8£
sejduiBx^
T jIuiAvohsD suouvA
W sa"ba\
/, _ jo_ 'Suisperxe

d
ehx ntnuimod rdhoc-thenASe thiA\ ,nsoinsedsus
ehx ed*entugu« Ml-mo.! 8-">Jeq ehJ -HlHi hex rdotp ui ijb jo sji -suoi*Tsod
f1
HP
31

joj jhepfu eoijoeid Xbui eq enjp>; hej J" IV81119 thx?S e-iojeq 8lH eth peped hi-iuoj ;uoefq
9IW 'rdihx JO a-uu ietho -uoisuedsus

SIlOUl!^ <qep()UI JOJ J3L[V> SeSI0J.1X3

9r+ hex) %sv\ uroj sjsquiuu

os\v thijn -psus uiojj (.veoqu
 BR
seiduivxg 3uiM.hos nsoinseduss u1 elD 'll*ras PnB 8,0 nlBras' jouiui .rdhoo-thntve9s

:aspjexa ehx Hbujs

pjoqa-q^uveeg h*iM A .8
eU0 '-dsus puv aqj
HUMS iouiui -h*U8veS .
pjhoc oa* '.dsus
ui .suoijisod
JJ

hex edshiuiund dioch-thntveSe m\M. .suoisuedsus

suoisuedsug ejoefq hej jajrio siJBd nsoisuedsng ejojeq em j.i.v\o[ ,S)JT;d

-^/f ,jdtf8. -jdtte. .ff*

suoisuedsut; ejojeq he* jeddu ,sjj^d nsoinsedsug ejojeq em jauui ,siJBd

dsuc; ejojeq em erddu Jud * due eth je.vv.oi jeuui j«d j , -pusg ejojeq eh* ja.tt.oi isvd dut; em jeddu jaum ,*jpd
40

The parts without susp.

exchanged, for ex.

These examples should be further elaborated downward

by adding the remaining chordic forms . likewise.

Other forms.

The upper part in broken Octaves with suspensions.

These examples should be continued

The lower parts for any of these numbers through all chordic forms.

Other forms

The lower parts of each of these four

numbers can become the lower parts of
any of the remaining three numbers.
For example:

Suspension Chords.

Harmonies produced by suspensions, and showing chordic form, are called suspension chords. Every
chord in any of its forms may become a suspension chord.
Examples for everv form.
1

rr
J i
f r 1 r
The task would be i) to find other resolutions; 2) to change chromatically the given
chords, and then resolve them in different ways.
For the sake of brevity every harmony containing a suspension, is also called suspension chord.
 41
Examples from literature with manifold .suspensions .

Mozart, C min. Sonata. B^ maj. Andante, maj. Sonata. Beethoven, Op. 13.

See Op. 22, Adagio.

Beethoven, Op. 2, N» 1 IX. Symphony.

* °Pj 8- _ ifciyrf/f. D maj Sonata

Schubert, Op. 127. Chopin, B^ min. Sonata.

6 45 2 S 1 S 1 9 8

\l - 1 r^4r | j jfcj 3 | Hr
> =¥ff: #^
4 5 6 5
4 5 4 5 4 5

G dom. - 'U* "fl*

12

Interrupted resolutions.
Mozart, F maj. Allegro.

The resolution occurs in another part in another Octave.

Front, Op. 21, N9 6. "Parsifal" . Franz, Op. 48, N«)4. Beethoven, Op. 90.
 43

The resolution occurs in another chord.

Beethoven, Op. 86. "Don Giovanni." Gherubini, "Water-carrier." Bruckner, III. Symphony.

m
TOT

EJE

Chopin, Op. 54. Beethoven, Op. 27, NO 2. 4fø/er, Op. 46, K? 6.

NNr=f
»*_» * f#=f
r'rr' rrr ' air
. r
»y - *#—m-
p
ni. i 3 * T 5 4

e'' min. with c^and a_ B^maj.: Besthoven, Op. 27, N? 1, the last movement.
min. with c and a_ maj^: " , Op. 31, N" 3, " »
E min. with c and att_ B maj. : Losctoorm, Op. 67, No 8.
a cl g d*_ D large Ninth-chord: Hum Wolf, "Er isft."

d'Albert, Op 2.
>
i/ i i[ft *1 n
9 r
i
Suspension before a suspension.

■* ^

The Diminished Triad and its Suspensions.

Single suspensions.
Ph.B. Bach, G maj. Sonata. Mozart, Gmaj. Sonata. C maj. Sonata.

B^maj. Sonata. Beethoven, Op. 10, N'J i. Op. 106. Ba/f, Op. 106. C//er«At'm,Dmin.Req.
44
Friedemann Bae/i,
Schumann, Faust. Clementi, Op. 50. Parsifal. F rain. Fugue

Twofold suspensions.

J I ■ J ±

Jensen, Op. 17. Franz, Op. 35, NO 3. °P' ^'Jgir* Op. 34, K91. Op. 43, N9 1. Op. 20, N9 1.

The Suspension was originally a real suspension: a rest instead of a tone.

Examples from Arnold Schlick's Tabulaturen, 1512.

b J"JJT3J
r

i
L j J >J?J 4-
Ln r i Lru^

Beethoven's Op. 13, Rondo, mt-as. 52 before the end, contains a susp. of the same kind; compare meas. 50.
The same idea of the suspension is mentioned and explained by Couferin, 1717, and Ramsay, 1731.
Couperin made use of this sort of suspension in bis Sarabande "Les Sentiments". The term may have
been coined by him .
The suspension from above is called back-fall by Christopher Sympson, 1659, Matthew Locke, 1673,
Thomas Mace, 1676, and Henry Pircell, i 1695; while the suspension from below was named beat by
Sympson, half-fall by Mace, and fore-fall by Locke and Purcell.
 45

The augmented Second in major cadences, and

the diminished Fourth in minor cadences .

These intervals often occur, enharmonically changed, as Thirds, in cadences.

Berlioz, Requiem, l«t movement: G maj., G min Chopin, Op. 30, N9 3: maj., min., maj._
Boito, Mephistopheles, Prelude: Bp min., Bk maj., and E min., E maj
Schubert, G maj. Quartet, Is-* mov., G min., G maj d'Isdy, Medee, Is-* mov. _
d'Albert, A min. Quartet, 3!? mov., A maj., Amin., Amaj.; E^maj. Quartet, 2<? mov., Cmin., Cmaj., Cmin
Bruckner, IV. Symphony, Finale, meas. 26-27, Bl' min., B^raaj.

Enharmonic Motion of Chords.

Through enharmonic change of all their tones chords move to the next degree, but remain the same

In consequence of enharmonic motion strange 'intervals are sometimes seen, which must be reen-
harmonized to be understood.

Anticipations.
Anticipations are tones which occur on unaccented beats, but belong to the harmony of the fol
lowing accented beat.
It is not absolutely necessary to resolve a suspension in the same part, so also an anticipation
need not always be followed by the anticipated tone in the same part.
Most anticipations are after beats.
Bach, Erk. N? 63. N9. 127. No 95 No 261.
46
tfrMfc-, Op. 23.
Heller, Op. 119 Chopin, b'' min.Sonata.

Op. 25, N9 4 Wagner, Faust-Overture. Liszt, Is* Faust Episode

(Lenau)
8 /> + 8 9

Ricordanza. Bruckner, IV. Sym. Berlioz, "Beatrice and Benedict." Vulkmann,

Op.17, NO 3.
l\>> ,i i m, i h i hh

Klengel, E^> maj.Fugue!!^+

Beethoven, Op. 81. N9 1. Raff, Op. 91.

*) Compare Wellt. Clav. II, E^ major Prelude

"Tannhauser."

every Vib is an anticipation.

In the last movement of Berlioz Requiem, immediately before the 'Amen", the vocal parts antic
ipate the tonic triad, while the orchestra holds the dominant Seventh- chord.
Among anticipations may be also classed the mysterious allusion of the theme in the is* movement
of the "Eroica" at the end of the development part.
With reference to anticipations the first air for soprano from Bach's St. Matthew Passion may be
recommended for study.
 47

Short Improvisations as Preludes.

A Third may be first thought of. That it belongs to certain keys should be the next thought.
Models. (The large Third al c, and the small Third ft a.)

rf*T*f yr

il i J jJ 4 i , Jj|J,iPj „
$ '"IP 1 * *r r ftr 1 r rT r
$ if ypr H FT
E min. E maj.

'*r*r r *j 11
48

Passing Tones
are those tones which fill an interval by diatonic or chromatic degrees.
When both tones of the interval belong to one and the same chord, or chords on the same de -
gree, one may speak of passing tones in a more limited sense.
Passing tones in a more extended sense would be those filling an interval, the tones of which
belong to chords upon different degrees.
By applying the term "passing tones" to the first class only, passing tones in a more extended
sense may be designated as afterbeats.
Passing tones occur mostly on unaccented beats ; on accented beats they may be considered also
as suspensions.
Chords formed by passing tones are called passing chords.
Examples from literature.

Bach, Erk. Ni? 17. Haydn, Dmaj. Sonata Mozart, Fmaj. Allegro.

Comp. N0s 66 and 161.

Beethoven, Op. 10, NO 3.

Dom. Dom.
Chopin, E^ maj. Prelude. E maj. Scherzo. Frang, Op. 11, N" 3.

J ju , rt4]
r
9 V tr r t
Dom. 2 1

+ +
'Tannhauser". ,++ "Walkiire."
+ +
1
 Progressions of Thirds or Sixths in contrary motion often produce harmonies, -which can be ex
plained as passing tones only.

Beethoven, D maj. Mass.

Bach. Brandenburg Eccard, 1598. Die heilige Dreifaltigkeit. 6 part chorus.

Concerto N93 . John Bull. Fitzwilliam Virginal Book, NO 33, part 5.
Bach. Comp. for the Organ (Peters): Vol. II, A maj. Fugue; Vol. VI, K9 31.
Beethoven. V Symphony, Andante, 24 variation;
VII. » , Presto; also the end of the Allegro con brio;
Op. 70, N9. 2, Allegretto ma non troppo; Op. 90, 24 mov.;
Op. 59, Nfi 1, Is-1, 24 & *th mov . 0p. 59, N9 3, IS* mov. ,■
Iiyih u £ j j y * The first movement of Op. 97, Op. 130 and Op. 132.

Cherubim: E maj. Quartet, tt* mov.; E^maj. Quartet, Finale. Schumann; Faust Scenes, p. 179.
Brahms. Op. 1, 1st mov. d' Albert: A min. Quartet, 4S)S mov., F$ min. Sonata, 34 mov.
Bruckner. D minor Mass, the end; F minor Mass, "Qui cum patre."
d'Indt. Wallenstein, Is* mov., orchestra score p. 72.
Middelschulte. Passacaglia in D; Concerto, Finale.

Scale and progression of Thirds in contrary motion.

Beethoven, Op. 53.

m i m

tone of every triplet is an afterbeat .)

In those "horn cadences" so mournfully merged into each other, towards the end of the first move
ment of Beethoven'* Sonata Op. 81, f is to be understood as passing tone between g and el.
50

Scales as broken chords with passing tone*.

Mozart, F maj. Allegro. Friedemann Bach, Cmin. Polonaise.

Diatonic Seventh- chords with twofold passing tones in contrary motion.

The dimished Seventh- chord with passing tones between Prime and Third, between Third and Fifth,
between Fifth and Seventh, and between Seventh and Prime.

By means of different positions and different rhythms the number of these exercises can be greatly increased.

The dominajtt Seventh-chord with passing tones between Prime and Third, and
the small » )' " » » » Fifth and Seventh.

J■ 4I J* 1 =Hi j u j i j i J» U ■ ft* : p4=i FfH=I

-f- -t =*f=

13 J j J
p)tr r If if
 ■1

Passing tones between Third and Fifth in the dominant Seventh- chord.

ll J JJ J 1 ■ jJftJJHjJitJJlljJl nHrh
_~_J ^ ^_
T- -r-r- -f— -f-T- -f—
1

The same in the small Seventh-chord.

The dominant Seventh -chord with passing tones between Fifth and Seventh, and
the small » » " » " " Prime and Third .

The last example of both rows shows the combination of passing tones between Fifth and Seventh,
and Prime and Third.

Exercise 1. A few of the preceding examples should be reversed, »'. e., making them go backward
(retrograde, cancriform, krebsgangig).
\l .[I"J|I,M

and s0 on.

Exercise 2. All examples referring to the dominant and the small Seventh-chord should be worked
out in several different positions, (as following, or similarly.)
 52

Exercise 3. Chordic alterations.

For ex.
■■ HlJJl N»jJn»J Jl

change r -fr r .fr -fr

into
J j
=3= it

Passing tones between The treble clef refers to the dominant, the bass clef to the
Seventh and Prime. small, and the alto clef to the small minor Seventh-chord.

The small minor Seventh- chord. J _ J J J | j_ | J,_ lr J J ^ J | JjJ Jf±=^

Passing tones between Third and Fifth.
f"rrr T 'r>r*r Trr^r r

between Fifth and Seventh.

Jj j „ai j

, J. «HH ' n
fkrtr r p r
1* rVrf rrr rrr Prtr
ijkjj
)» -i ,i
117 r r r 1
The last two examples of both rows contain the passing tones between o and 7, and 1 and 3, combined.
The first six examples of both rows should be worked out in retrograde motion.

Progression of the Dominant Seventh

i in the authentic cadence.
1. Strict resolution of the Seventh.
2. Free progression of the originally lower tone of the Seventh.
3. " " » » i) upper " " » »
4. " » » both tones of the Seventh.
 53

■ # ■ 0 ~—1 °" . \w * * *
*♦ | * ♦
L: *» 1 m w

(Bach.;

IP

The leap of the original upper tone of the Seventh to the tonic occurs quite frequently in the reci -
tatives of the older oratorios and operas, but in modern music it is rare.
The second of the following quotations contains this progression in the upper part, and the other
two contain it in the bass.
Beethoven, Op.10.N9 1.
Bach, Erk. N9 19. Bruckner, VIII. Symphony, Adagio.
@|kj
:E
fD3f w

See also BeithoveVs first Cadence to his G major Concerto (succession of four dominant chords upon D,
O, C and F); Froberuer (f 1667), A minor Toccata from Libro '29?t the last cadence; Bach, D minor
Toccata, the last cadence; Berlioz, Pilgrim- March from the Harold Symphony; L iszt, Festklange,
measures 11-15, and 34-38; "Tristan", I*1 edition, pp. 60 and 89; Franz, Op. 23, N<? 4, the 7t-h meas
ure; Besdel, Op. 139, N9 2*. In the examples from Froberger and Bendel the Seventh leaps upward.

Progression of the Dominant Third

in the authentic cadence.
Generally the dominant Third ascends a half tone1), but may progress also to the Third'-') or Fifth^
of the tonic.

Examples from literature with leaping dominant Third

A) into the tunic Third a Fourth upward, rarely a Fifth downward.
Bach, St. John Passion. Erk. N« 49. N" 61. K9 1 No 37.

Compare St. John Passion, Is* Chorus, measures 15-18.

54
Franz, Op. 39, N9 6. AicA, Erk.N956.N? 154.
Beethoven, Op.lO,N93. ' K i J St. John Passion
I ..j^j N MJ^
Si
if
34 Chorus.

The last three examples contain the leap downward.

B) into the tonic Fifth a Third downward, rarely a Sixth upward.

The dominant Third leaping downward ^ is most appropriate in the part having the melody. De
scending by degrees with the Second as passing tone'^, hence also for melodic reasons, it is appro
priate especially for upper and inner parts.
Cherubini. Bach, Erk. 197. 276.

100. 154.
| g J

I
2)
j j | J2

VV 1 vi/
If this leap serves to make the final chord complete, it might be well to add one part to the dom
inant chord, especially in a cappella choruses.

The following quotation from Bachfe

Te Deum shows the dominant Third
leaping a Sixth upward. See also
the last two chords of the preced
iiii ing Choral 154.

One can not refer to Bach's Choralsongs, where the descending leap occurs an infinite number of
times for the sake of completeness of the final chord, because they have an instrumental accompan
iment, by which the abruptness of the sound is covered.
Beethoven, Op 119, N? 8.

An odd example showing simultaneously the rarities of paragraphs mm

A and B: a dominant Third descending a Fifth,and ascending a Sixth .
 55

Similar to the leap in paragraph B is the leap of the tonic Third to the Fifth of the subdominant.
Bach, Erk. 109. 37. 198.

r r f r ' r

Tannhauser. Siegfried.
tl J 1 mmrm
9 0 J J J-
+
r

j— -4-

The dominant Third in irregular cadences.

• • ii
-ir^—r i——i—r4-—fi
9 » » 1

(Franz, Op. 41, N9 6, proves the correctness of the last example.)

Doubling of the Third and Seventh

in the dominant Seventh-chord.
1. Seventh and doubled Third; Fifth wanting.
2. Complete, with doubled Third.
3. Third and doubled Seventh; Fifth wanting.
4. Complete, with doubled Seventh.
5. Doubled Third and doubled Seventh; Fifth wanting.
6. Complete, with doubled Third and doubled Seventh.

*'l dgife ji J i j u4'JJ J i i ii*'JJ J

f r T r f

9- 1 J
4

Wellt.Cl.I.B maj.

+) More familiar
Doubled to our ear by the
dominant following exchange
Third, of parts .

Compare Erk, N9.s 105, 277 and 304.

56

.ftieA-Erk. 166. 215. Schubert, D maj. Son. Chopin, Op. 54.

2

rff
4567
i

Modulations by means of Homonymous Diatonic Seventh- chords

with small Seventh.

1. t.
Homonymous^Seventh-chords

Several examples.

JH_ x j j j,

•8.
L -> T j.
3*Jhi da
U4J-

In these and similar exercises the harmonic plurisignificance of chords is to be well observed.
Every Seventh-chord may start from more than one, and lead to more than one key.
+) Homonymous means "of the same name."

Omission of Chordic Tones .

In the triad the Third occasionally is omitted, it becomes an "empty Fifth!'

In the Seventh- chord the Third or Fifth may be omitted, and in the Ninth chord the Third,or Fifth,
or Seventh.
A Seventh-chord without fundamental tone or Seventh is no longer a Seventh-chord, but a triad;
and the omission of the fundamental tone or the Ninth makes the Ninth- chord a Seventh-chord.
 57

The Unharmonious Relation.

(Relatio non harmonica.)

If in the succession of two homonymous chords, particularly major and minor, the Thirds are not
in the same part, we speak of unharmonious relation. An interdiction of the same is somewhat jus
tified by its disagreeable sound.
In the following examples the caesura between the respective chords must be made noticeable, oth
erwise euphony escapes, and cacophony takes its place.

Compare: Wellt. Cl., II. E^ maj. Fugue, meas. 41; Beithovm, Op. 22, Rondo, meas. 76 and 99; Franc,
Op. 41, N? 6, meas. 34-35. Bach, "An Wasserflussen',' 5 part Vorspiel, meas. 27;'"Musikalisches Opfer",
I, meas. 39-41 and 87-90; Cherubihi, E maj. Quartet, Is-* m0v. IS* part, 6*h meas., and 24 part, 10th
meas. In the last three examples no caesura is possible, but— it sounds well!

Part- Crossing.

Sometimes one part rises above a higher one, or descends below a lower one. This part - crossing
occurs when the respective part in its region has not the necessary space to bring forth a certain mel
ody, or when the text (or the action, the sentiment) demands such ascent or descent.
In part-crossing we often find apparently consecutive Octaves and Fifths, which are here entirely
harmless, especially in vocal or orchestra music, where it is much easier to follow the different parts
(to hear horizontally, i.e. melodically, instead of vertically, i.e. harmonically) than in piano or even
organ music. Bach's Chorals contain a great number of such crossing Octaves and Fifths. In his Fugues
and Choral Vorspiele there are but a few instances.

Wellt.Cl., I. A1> maj. Fugue. D maj. Fugue. Bach-^rk, 214. Musikalisches Opfer, 6 part Fugue.
58

The Broken Triad with one Suspension employed as Melody.

For the following settings 20 of the 108 versions are taken, namely:

i f/i/liW/tf/

i
iVl'lll'Vl1',

r'rrr Vr rr f

brJ^
ft rrr

Jij 1 11 J J 1 1 bJ J
| =F=f »— H J n H
=*= 1^ g 1
r f—T
j i 1 i U-. j.
^ ^ '1,1

^ j|,rr
V—!:fcf-f- V—TT~

4-4-
1 dftj fa
1 r t iT r 1
 58
The Broken Triad with two Suspensions employed as Melody.
For the following examples 40 of the 216 versions are taken.

r rrr frr
i

m
i rr ? WW r
2 bJ , j j
J rr

J r^L
—c—t~
N
r r
A i
^¥ -
m

—{— j J J J
T f-
j J
r^ f1 f
4- f
-1— f
4— 1
f 1 1

rr
U iJ -LLi
60
 61
Diatonic Scales with Chromatic By-tones.
Major. Eitfht degrees.

perfect & augm. Fourth small & large Sixth.

small & large Second. two Fourths & small Sixth. two Sevenths & small Sixth.

two Seconds Sr small Sixth. ascending two Sevenths, descending two Seconds or two Fourths.
J24

Minor. Eight degrees.

perfect & augm. Fourth small and large Seventh. small and large Sixth .
«TTT

small & large Second. ascending two Sevenths, descending two Seconds or two Fourths.

Major. Nine degrees.

2 Fourths & 2 Sixths 2 Sixths & 2 Sevenths.

2 Seconds fr 2 Sixths. 2 Fourths & 2 Sevenths.

2 Seconds & 2 Sevenths. 2 Seconds & 2 Fourths.

Minor. Nine degrees.

2 Fourths & 2 Sixths. 2 Sixths & 2 Sevenths.

eventns.
|g r 1 r *r r g r r V r g gg| 1 . 1, 1 g| f r bf 'f r >r 1 1 r hr r >r r gp

2 Seconds &, 2 Sixths. 2 Fourths & 2 Sevenths.

2 Seconds & 2 Sevenths 2 Seconds & 2 Fourths.

1) ascending _ Beethoven, Op. 53, Rondo.

2) » _ Charpentier, "Louise", near the end.
3) descending— Beethoven, Op. 57, 1B-* mov., 1st part.
4) i) _ )) » » » j) 24 »
62

Ornamentation of a Sustained Triad.

A The major ti-iad.

, b b fib
ii j ji J J J[| =jF^3j
iff Err ||^r||fbrf|
rrr rrr

f- A \ *

or jjj

~ § tf-** 1 it*3
)J rrr
r#rt r

f*=H * m ,J

JJU JJ IrfV
rjljtj fr- rft- rr

1 o 1* f- I—II In—
-r '

I a II IL&
 63

J rrr
rrr rrr rrr r^11 r rr r rr" r rVr r "

1 j .. i j 1 j i.j j1
■ -p
r 11 r r

B. The minor triad.

* r rrr r«r r r«r r

a J bJ, J j ij j
r r - r
64

The Organ Point.

If through a series of harmonies a certain tone is held which does not agree chordically with
some of them (hence forms an accidental dissonance to one or the other), this tone is called organ
point.
Organ point harmonies have the peculiarity that the 0. P. as accidental dissonance does not de
pend upon the chord, but the chord depends upon the accidental dissonance by progressing, as if it,
itself, were the accidental dissonance.
In organ point harmonies it often happens that the same tone, which in the one Octave is 0. P,
appears in another Octave as suspension, afterbeat, anticipation, or passing tone, hence belongs to
different kinds of accidental dissonances at the same time.
The 0. P. is not always a single tone, it also occurs as an interval, even as a chord.

/. The 0. P. as sustained or repeated tone, in the bass.

Wagner, Tannhauser, Faust- Overture. i , . ,

Bach, Vorspiel"Wenn wir in

hochstenNbthen sein?' Bruckner, Quintet

Bach. St. Matthew Passion, introduction, meas. 1-5 (the tonic as 0. P.); meas. 9-13 (the dom. as 0. P.)
Wellt. Clav., I, the beginning of the preludes in C min., D min., Fmin., bI> min. (tonic);
the end of the preludes in C min., and A min. (tonic), and cH maj. (dominant);
the end of the fugues in Cmaj., Cmin., and A min. (tonic).
Bkethoven. Op. 31, NO 1, Rondo, meas. 1-10. H.Wolf. Italienisches Liederbuch, NO 24.
Schbbiet. Quintet, Op. 114, the beginning of the 14* the 24, and the 34 movement.
C. Lows. Op. 67, NO 2, contra in£ notes: imitation of the Kaiserglocke. MacDswell. Op. 62, NO 5.
Gmeb. Violoncello sonata, Op. 36, 34 mov., piu animato e stretto, the first 33 measures, 0. P. on the
dominant, in notes at first long, then gradually becoming shorter, and at last interrupted by rests.
Raff. Symphony "Lenore", 1st mov., the "longing motive",- 24 mov., the "night motive" (orchestra score
pp. 12 and 13, and 64, and corresponding parts ). Berlioz. "Faust", Dance of Sylphs.

2. The 0. P. in the bass interrupted by rests.

Bach. Fantasia cromatica, the last five measures.
Beethoven. Op. 31, NO 2, adagio: a tremolo occurs repeatedly as O. P. (partly tonic, partly dominant),
mostly in the bass, sometimes also over the main parts. Op. 31, NO 3, minuet, coda.
Lisst. Wartburglieder, NO 6, the last 13 measures.
 65

3. The 0. P. interrupted by melodic tones .

A. in the bass, a) 0. P. ou accented, melody on unaccented beats: Beethoven, Op. 28, Rondo, meas. 1-16.
b) 0. P. on unaccented, melody on accented beats: Bach, Musette of the 6l!> English suite,
Mozart, maj. Sonata, Allegretto grazioso, the end.
B. in the upper part. Chopin, Op. 53, meas. 12-4 before the last reoccurrence of the principal part:
the seventeen accente'd sixteenths c. This strangest 0. P. of its kind is accompa -
nied on the 2d, 4*^ and eighths of the first eight of these nine measures by an
other 0. P. in the lower part.

4. The 0. P. in the bass interrupted by chordic tones.

Beethoven, Op. 10, NG 1, the closing measures of the last movement.
Volkmann, Op. 17, N'J 6, meas. 7-3 before the end.

Artni/i Schutte, 5. The 0. P. as sustained or repeated tone, in the upper part.

Quintet. J Bruckner, Te Deum.

Chopin, Op. 53. Twice two measures with the rhythm

Fu», Op. 20, No 6, meas. 12-14. Volkejann, Op. 17, N9 5, the end.
C. Lowe, Op. 67, W 2, f* with the rhythm JJ . : imitation of the Armesiinderglocke.
"WalkCre," Vorspiel. In the first 64 measures the "storm motive" rages and raves under an 0. P.,
(eighth notes following one another without interruption, or separated by rests of the i
value); sometimes a rising figure darts wildly through it.

6. The 0. P. in an inner part.

Beethoven, Op. 13. Op.94,N»6.
Op. Ill Schubert, Op. 42.

Glock. "Alceste" Chorus: Death-devoted, await! Beethoven, Op. 31, N9 1, Rondo, the first Adagio.
Beethoven. Op. 102, NO 1, i?.t mov., Vivace, 2(! part, meas. 14-18. The Violoncello has an 0. P. which is
at first an inner part, but becomes bass through the gradual rising of the upper parts
in the second half of these measures.
B. Godard. Op. 66, No-s 1 and 3. Liset. IX. Rhapsody, finale, Allegretto.
Bruckner. IX. Symphony, scherzo, meas. 1-39. R Strauss. "Salome", piano score, pp. 76-77.
In the last three extraordinary examples the O. P. is cf.
66

7. The 0. P. in Octaves.
Beethoven. Op. 10, X? 3. Schubert. Op. 144.

Beethoven. Op. 86, the end of the Crucifixus.

Xicodr. "The Sea", piano score, p. 38.
Hi so Wolf. Alte Weisen, N9 6.
Kaux. D maj. Quartet, the end of the ls-t mov.
See also 61]1 paragraph, the 24 Schubert quo
tation.

8. The O.P. broken off, -while dissonant.

Franz. Op. 5, N? 2.
Bruckner . Franz. » Op. 13,N?1.
VI. Symphony. "Herr, so da wirst. Heller. Op. 45, X? 19.
A. Jensen. Op. 2, X? 3.

Bach. Wellt. Clav., I, meas. 1-3 of the Et>maj. and Et> min. Preludes. St Matthew Passion(p»«wi«i.),p.ll6.
Beethoven. Op. 14, X? 2, Andante, 24 variation. V. Symphony, Andante, 24 variation.
Weber. C maj. Sonata, Is.* mov., 24 part, the 26*]1 measure before the end.
Chopin. Op. 54, meas. 49. Op. 56, X? 3, closing part.
"Der flieoende Hollander'.' 1s.* ed.,p.71. ''Meistersinbbr," l^ed., p. 138.
Liszt. "St. Elizabeth," introduction, p. 7. Wartburglieder, the end of Xo. 5.

9. The O.P. continued in another part.

Liszt. Egfogue, meas. 35, 34, 23, and 22 before the end. Heller.. 0p.47} X? 20.

iO. The twofold O.P.

n) the tonic Prime and Fifth.

Schubert. Op. 42, Scherzo, meas. 9-6 before the Amaj.part. Chopin. Op. 56, N? 2, 1st part.1,)
A. Jensen. Op.22,N» 7, meas. 8-5 before the end. Grie«. Op.28, X? 4, middle part.2>*
Volkhann. Walpurgis - night scene, middle part.3,) Op. 21, N? 7, first and third parts. *)
Heller. Op. 47, X? 11. Brahms. F major Symphony, Allegro con brio, grazioso.
"Meistersixoer," Is.1 ed., p. 334. Hueo Wolf. "Der Schreckenberger." 5) Mac Dowell, Op. 51, N9S5
and 8 ; Op. 61, X? 1 .

ntv mi mm

b) the tonic Third and Fifth.

Beethoven. Op. 101, Is-* mov. , meas. 35 and 36. Goldmark. "Queen of Sheba," introduction tothe 24 act.

c) the dominant Prime and Fifth, and the dominant Third and Fifth .
Beethoven. VII. Symphony, Presto.
 11. A triad as 0. P.
Beethoven, Op. 69.

O.M J. J j jt j J 1
'■ 11 f r r r 1

Bnnmi, VII. Symphony, presto, meas. 3-5.

Volkmann. Op. 17, N2 9, middle part.
Liszt. March of the Three Magi, Dt maj., meas. 9-18.
Nicode. "The Sea", NO 4, Hochst erregt, meas. 3-15.
"Meisterbinser", p. 334.

12. The florid 0. P.

Hatdw. Andante con variazioni. The first var. of the F maj. part begins with a trill as 0. P.
Beethoven. VI. Symphony, 24 mov., meas. 27 and 28. ^
VII. » , presto, middle part in D maj. 2) a'
Chohh. Op. 50, NO 2.*) Grieo. Op. 24. 5) B)
6

Kavm. D min. Symphony, 1$ and 34 movements.

Liszt. Faust Episode, NO I, final Andante. Tremolo alternating on C# and D, the augmentation of
the somber principal motive.

13. The 0. P. lasting through a whole movement.

Ramiad. Tambourin. Bach. Musette (2°* gavotte) of the 34 English Suite.

Schvbbrt. Op. 89, NO 24. gj *^r\\ \ /. \ r\\ \ >E| A. Rubisbtsik, Op. 34, NO 6.
p r
Tambrt. Op. 6, NO 4. "Monotony." 0. P. in the upper part in seven different rhythms.
Franz. Op. -10, N? 6. 0. P. in sixteenths continually beating from start to finish.
Hueo Wol». Italienisches Liederbuch, NO 33. Very peculiar rhythms.
Middelschilte. Canons on "Vater unser im Himmelreich", No-s IV and VII.

14. The O. P. and chains of chords.

The following diatonic See also-

progression of Sixth - Kirchner Op 7, NO 1.
SacA, Erk.
chords is to be read in (The 0. P. is inter -
NO 298.
G, C, F, Bt, F>, A1, and rupted by rests.)
maj., to which c belongs.
w
 68
Allegro.
AJy j j J
In the following
four examples if
diatonic Seventh-
chords run chro
matically.

Sixth-chords progressing diatonically or chromatically over an O.P. are no rarities, while Fourth-
Sixih-chords thus seldom appear, and then in florid cadences, mostly over a latent (hidden, but self-
evident) O.P. In such cases one will often find the orthography eccentric, if not monstrous.
Chains of major - chords: Liszt. Rigoletto Paraphrase (with half-tone suspensions from below
before the Thirds); Venezia e Napoli, 34 mov. ; Mazeppa Etude', A major Concerto.
Chains of minor ® chords: Liszt. Pensee des Morts. B. Godard. Op. 66, No 3.

The Basso ostinato _ Parte ostinata.

In contrast to the florid O.P. the basso ostinato is a distinctly defined melody, which in constant
repetition (obstinate) serves as thematic bass for a whole movement. See Henry Purcell, "Dido's
Lament," (mentioned in Grove's Dictionary, III, 604); Bach, Passacaglia, and the Crucifixus from
the B minor Mass; Vierlinb, the introduction to "The Rape of the Women of Sabina^' Weikmahn,
Contrapunct-Studien; Middelschulte , Passacaglia.
The basso ostinato is used motivically in Chopin's Op. 35, Marche funebre,1^ and Op. 53 2\ in Beet
hoven's Op.135, Vivace, A maj. part iJ (most likely the prototype of the Dance of the Apprentices,
Meistersinger, 34 act); and in Liszt's Orpheus, Andante con moto,^ and Funerailles,Dl>&Amaj. parts.^
When it appears in a higher part, the term parte ostinata seems more correct than basso osti
nato. See Chopin, Op. 16 ^ and Bruckner, "Virga Jesse"^ also the corresponding parts of the Pas-
sacaglias.

7 r T r T

-j J

T
Basso ostinato and O.P. combined. '-Siegfried," l^t and 24 scene Elgar, "The Dream of Geron-r
tius" 9>; Bruckner, III. Symphony, ls_t mov., meas. 60-36 before the end Middelschulte, N? IV
of the above mentioned Canons: a florid O.P. on the tonic, and another on the dominant interrupted
by rests; the"basso ostinato" comprises eight notes.
 69

Figuration
is ornamentation by means of accidental dissonances .
A. Figuration adapted to four numbers from chapter "Harmonization of a melody of two tones."
B. Figuration adapted to a few groups of examples from chapter "Harmonization of a melody
of three adjacent degrees."
The student should try to treat the remaining examples of the respective chapters in a similat
way.
 f V r TO

15 19

k— JT3
i^j j i
* fr r'tr^lr r »r *r P '
37
1 j syi
i r cj i r u r r^iJ a i—v
rcirr 1

To show again in what manifold variations a simple little phrase may be disguised, five other
figurations referring to the first example of the last line are here given.
Original.

j Idlr ' *J 1 If r i fry /

 71

The Accidental or Dissonant Fourth- Sixth- Chord

A. The Fourth- Sixth- Chord as Suspension.

I. The bass tone is fundamental tone,
i) The % chord on different degrees.

j.JJj J J -o. j-.jJJ J.J J,

Compare
Clementi,
Op. 36, m 6.

The student should point out the different chord connections: minor and major, major and minor,etc.
Exercise. A ^ chord and its resolution is given, forming two major triads or two minor triads
and so on. These connections are of harmonic plurisignificance, and therefore belong to more than
one key.

2) The \ chord upon the dominant, in several strict and free resolutions.
Here "strict" means part progression by degrees, and "free" means with leaping upper parts.
The resolution takes place immediately.

The Fmaj.
triad is al
These resolutions delayed by accidental dissonances.
ways to be
J fl added .

WW
Wellt.Cl. II. Fmin. Prelude.
rihh ,
The resolution —<pj
f=
interrupted by
.J*- - i i rca
a chord .
F u f-1
^f) T^e drtss leaps into the Third, the Fifth, or the Seventh of the dominant chord; ora large Third
upward into the fundamental tone of a small, or a diminished Seventh-chord; qr a Third upward in
to the Third of a triad .
I) * - lltl- II? I* mlLm »*"
~1

Bruckner, "Virga Jesse." Schubert, maj. Sonata. The leap into the dominant
Third can be found in Hakdn,
Iff ^^fl^^ E^maj. Sonata, Adagio can-
tabil'e, meas. 17-20; Behtmyxh,
Op. 131, 7th mov., meas.99-104.
Lows, Op. 65, m 2, meas. 12;
Frane, Op. 6, N? 3, meas. 15-
Franz begins his Op. 2, ND 4, with the leap into the dominant Seventh. 16, and 23-24.
72

Several examples with delayed resolution. The F maj. triad is to be added.

<fj The ? chord followed by the augmented triad and the chromatic Seventh-chords of the fifth
degree; the bass remains the same.

r/ * r

S) The Third in the bass, acquired by a <V«jy, becomes part of an augmented triad, or part of chro
matic Seventh-chords leading to the tonic. These chords located on 39^, 5*!1 and degrees.

Major.
* g - 1 8 1 ♦ n *
VI - 1 * Tv 1 - TO

|,inr» |,{ I,
Minor.
* n * VII 1 * V *" vni

A few examples with suspensions.

II. 2>4e £«*s of the ® chord a* dominant Third.

r r
J i

See Franz, Op. 3, N? 3; Op.9, N?2; Op.14, N?l; Op.l6,N?6; Op.l8,N?3; Op. 23, N? 4; Op.
26, N? 4; Volkmann, Op.17, N?l, meas. 16 before the end .

Suspensions before the Sixth of R. Schumann'* Op.68, N? 38, con

the dissonant ? chord were more tains an example of the first, Tap-
7 6 5 6
frequent in Bach's and Mozart's time rsRTB "Deutsche Lieder," N? 31,
than they are now. one of the second kind .
 73

B. The Fourth-Sixth-Chord as Afterbeat, with leaping bass.

Compare Schubert. Op. 70.

+) See Li8*t, St. Elizabeth, prayer.

is
These examples in ( rf fT rr
retrograde motion A
J
Li i4
ii

Through part-crossing it happens occasionally that in the dissonant ^ chord the bass is not the
lowest tone, which seems a contradiction, because one chordic form is visible, while another is
audible.

Cherubini. A rain. Quartet. Franz. Op. 10, No 4.

Compare
m J«N«EI,Op.
32, N?16,
meas.

# The J chord followed by chords of the 7^ and 24 degrees in cadences.

it,i\tih^f\^' J *

The same,
ime, with suspensions.
suspensioi

mm

-{—J The last example, in

minor and with after -
beats instead of suspen
sions, may be the first of
another series of exercises.
74

The Essential or Consonant Fourth- Sixth-Chord.

The 2d inversion of the triad.

i) The bass progressing a -whole or a half tone downward or upward.

I fci AM Aj* Ali,i»

5) The J chord and one or both of the other chordic forms alternating.
4 „ Beethoven. Op.59,N?2.
Klengel. Fugue. Friedeinann Bach. Fugue. Brahms. Op. 53. *

See also Beethoven, Op. 53, is-1 mov.,2d part; Op. 106, Adagio, meas.U, 21, 22, and 100; Op. 110,
the last three measures preceding the G minor part; Op. 123, the 11*2* meas. of Et incarnatus,and the
last two measures before the last D major signature in the last movement .
Schibkrt, Op. 54, meas. 4 and 8 of the part before the Ft minor signature; C minor Sonata, 4*J1
mov., the 2d meas. of the Ctt minor part. Schixann, Paradise and the Peri, Novello ed., p. 9.
Brickner, Tedeum, letter N, meas. 3 and 11.
3) The J chord followed by another triad or a Seventh-chord of the same degree.
Beethoven, Op. 31, N? 2, ls-* mov., 2d part: Ft maj.^, Ftmin. fund. form.
"Tannhat-ser," 3d act, 24 scene, meas. 10-11: D min. |, D maj . fund. form.
Friedemann Bach. Fugue. Beethoven. Op. 90.
 75

4) The bass of the ^ chord leaping a Fifth or a Fourth upward or downward.

Mozart, C minor Sonata. D major Rondo .

imp Si
# •

/V/i/ja, Op. 13, NO i. Op. 50, N?2 Liszt. " Gretchen.

ifacfl,^Fmin. Fugue (organ). Bruckner. IV. Symphony. Andante.

See also Bach, St. John Passion, meas. 1 and 2 of the Is-1 chorus. Schibtrt, Op. 90, N9 4, Ctmin. part,
meas. 10 and 11. Franc, Op. 3, N9 3, meas. 10 and 11; Op. 5, N9 8, meas. 15 and 16.
H. Wol», Ital. Liederbuch, N« 29, meas. 8.

5) The bays of the 4 chord leaping a large or a small Third upward or downward.
Bach, Vorspiele, 0Vftr*J,Vol.V, N?15- Vol. VI, Mozart, G minor Fugue for four hands.
N? 28. ti

r r 'r
Bruckner, III. Symphony.
"Lohengrin". ^V««^ Op. 21, NO 2.

See also Beethoven, Op. 10, N? 3, Rondo, meas. 20-21 before the end; Op. 53, 1st mov., 2<J part,
meas. 40-41 after the double bar; Op. 101, the two measures preceding the fugue. Chopin, Op. 35,
Funeral March, l*1 part. Schubert, Octet, Menuet, Coda, meas. 6 and 7; Op. 33, No 2, lit part, ca
dence; Op. 143, Andante, meas. 51-53, and 56-58. Franz, Op. 48, NG 4, meas. 35-36; Op. 51, NV
6, meas. 9-10; Op. 13, NO 6, cadence; Op. 31, NG 2. "Tannhauser", l«t ed., p. 246. "Tristan"', ls-t ed.,
pp. 15, 88 and 144.
76

6) The harmony following the | chord as afterbeat .

Grieg. Op. 23.

7j The ^ chord as closing: chord.
Beethoven. VII. Symphony, Allegretto
Liszt. Aux Cypres, 24 Threnody;
"Das Veilchen;"
"Wer nie sein Brod."

A List of Compositions starting with a \ chord.

The | chords, either consonant, or, in one way or another, dissonant, represent all four diatonic triads.
Beethoven, Op.10, N? 3, Menoet, trio ; Op.26, 2d var. ; Allegretto of the VII. and the VIII. Symphony;
Op.120, 20th var. ; Op.126, N? 1. Bendel, Op.137, N? 1. Brahms , Op. 53 . Cmram, D min. Requi
em, Agnus Dei. Chopin, At maj. Prelude. Clementi, Op.37, N?2, Menuet, trio. Franz, Op.2, N? 4;
Op. 4, N? 5 ; Op. 8, N? 4; Op. 11, N? 2 ; Op. 12, N? 3 ; Op. 30, N? 6; Op. 35, N? 2; Op. 38, N? i; Op.
51, N? 5. Gradene*, senior, Op. 56, N? 1. Heller, Op. 46, N? 30; Op. 47, N? 21; Op.l36,N9 3 . A.
Jensen, Op. 4, N? 7; Op. 11, N9 7; Op. 17, N? 6; Op. 22, N0-s 10 and 11; Op. 32, N? 16. Draeseke,
Op.l. Liszt, Missa solennis, Benedictus; "Und sprich;" "Sei still;" Orpheus; La Marseillaise ;
Berceuse. Schubert, Shakespeare- Serenade ; "An die Musik." Schwann, Op. 25, N"? 7; Op.35, N?4;
Op. 39, N? 2; Op. 42, N? 2 ; Op. 49, N?l; Op. 79, Nos 8 and 11 . Volkmann, Fantasiebilder, N? 5. Weber,
Op. 9, 7t.h var. Liszt's "Nonnenwerth," and Tausig's " Geisterschiff," begin with two J chords (A and F minor!)

More than two ^ chords in succession, without an 0. P.

Bach, Musikalisches Opfer, six part fugue, 5*.° measure; Bach-Franz, Trio from Musikalisches Op-
fer,2dmov., 100^ measure; Mozart, "Daphne; " Beethoven, Op. 59, N? 1, lst mov., meas.173-174; Franz,
Op.38,N9 5, and Op.39, N? 3; Puccini, Tosca, meas. 8-14 (15 major J chords chromatically descending.)
Apparent Fourth- Sixth-Chords.
The J chords formed by part- crossing, in Bach's Choral-songs, are no real J chords, because the bass
was doubled by the lower Octave in the organ accompaniment, whereby the fundamental form of the
respective chord is brought forth .
Bach _ Erk. 266.
Op.26, N? 6, by Franz, contains a sim
Ft=* I J J J j i —- —^—i— 1 ■ 1 ij 1 | =»=■
ilar specimen. The vocal part, accord
ff=-- tntrt
*T mf== ing to the poem, must be executed by
f JJ a male voice, and, therefore, sounds an
Octave lower than it is written; it drops
+ i 4- below the accompaniment, and changes
the first five of six Fourth-Sixth-chords
into Sixth- chords .
Three more puzzling instances: Bach, Wellt. CI., II, F min. Prelude, the 15*!1 meas. before the end;
Beethoven, Op.106, Scherzo, the end; A.Jensen, Op.32, N9 16.

» p.

The first measure of the last quotation is mentioned on page 73.

 77

The Broken Triad extended through an Octave, with Accidental

Dissonances, employed as Melody (in the Soprano).

For the following models six out of an indefinite number of versions are taken.
1 2 _ 3 4 5 6

The Diminishea Seventh- chord and its Resolutions.

1 2_ 3
Resolution of the The Fifth, or either one of the two Sixths, can be con
diminished Seventh. stituent part of a major and a minor triad.

Resolution chords

The last resolution, in which the Prime of the Seventh-chord becomes Fifth of a minor triad, is the
rarest.
Compare Berlioz, "Faust", Chorus of Sylphs
Two examples and Gnomes, meas. 3 and 4.
f, "In", til1

The original seat of the diminished Seventh-chord is the 7th degree in minor. By occasional ac
ceptance of a small Sixth in major, the chord became at home also in major. The first of the res
olution chords in the order here given is the tonic in minor, the 2(J the tonic in major, the 3^ the
subdominant in minor and major, the 4th the submediant in minor, the 5th the dominant in minor
and major, and the 6th the mediant in major.
At times the 34 resolution chord is minor tonic, and the 4th major tonic, because the diminished
Seventh-chord occurs also on the augmented Fourth in minor, and on the augmented Second in ma
jor. In the last case the chord often appears enharmonically changed, its Prime being written as
Seventh, and the chord thus placed on the augmented Fourth.
78

The enharmonic changes : ll' \ilr

.I II 4f j -n
Irt^fl The last two chords
of the given Seventh-chord I' "ff 11 enharmonically moved

The resolution intervals

If b is the Prime, the resolution triads are: C min. & rnaj.; F min., Atmaj G maj. E min.
" d(c*)» » » i) » i) » '. Et )) i) i) ■ Gff » , B i) Bb i) , G „ .
» f(el)i) » i) . » )) i) »: F# .»))»; B », D )i Dk >' , Bt !, .

Exercises. l)S»'^E ^;«» j H S* S ibj*: and so on .

Since the dim. Seventh-chord, aided by its enharmonic changes, can be succeeded by any major
or minor triad, it is especially suitable for the purpose of modulation.

The diminished Seventh-chord as means of modulation.

A few examples, starting from C major. The modulating chord succeeds the chords of the 5*P,
7*?, and 6th degrees, and leads to all minor keys. For further practice the chords of the 24 and
3<? degrees may be taken as introductory chords .

I r* ■
l JjiNnJ*^ i ill J J J

r n\ ► r

Modulations by means of a Dominant Seventh- chord

which can be connected by suspensions to the commencing major or minor triad .

A. Large and small Sixths as suspensions before the Fifth .

Sixth suspensions in the dominant chord are tonic Thirds : the whole tone susp. from above before
the dominant Fifth indicates major, and the half-tone susp. minor.
The Is* and the 1^ of the following examples are certainly no modulations, because there is no
transition whatever; but according to their form they belong here. This is true also of similar set
tings in other chapters on modulation.
In N0-s 1, 2, 7, and 8, the Third of the triad becomes suspension, in No-s 3, 4, 9, and 10, the Fifth,
and in Nos 5, 6, 11, and 12, the Prime .

6 5
 79

«t 5 r r

Examples from literature showing the most peculiar chord connection among those here given (No2).

Hugo Wolf,
"Manuel Venegas."

Compare S mesa's
The Landing of the
Pilgrim Fathers.

Rhythmical and metrical alterations. For ex. NO 1.

IM&M A ill ii J

Notes of equal value in £q time are not applicable to NO 9.

One of the tasks should be the construction of different J

closing phrases, beginning with the 4& chord of every num
ber. For ex. NO 1.

B. Augmented Fourth as suspension before the Fifth.

The suspension chord sounds like the first chromatic Seventh-chord.
The 2<1 degree of the new key is here accepted as seat of the respective dominant chord.

^'rT fc'r 1 't 1 ■ f 'up >fr f 'f 11 » pf yJ 5g

c = b#
80

C. Large Second as suspension before the Third.

Here, and in the following paragraphs, also in the next chapter, C minor and C major are inter
changeable, except where the Third becomes suspension.

Other cadences 'i'4 vvJ|W'#

2^. Half-tone and whole-tone suspensions from above before the Seventh,
major mode minor mode
3« J 1

major mode

J if u f t r r * r n r f
different cadences

different cadences minor mode

The perfect Octave as suspension before the Seventh, in the groups 2, 4, 5, and 8, may be re
placed by the more charming diminished Octave (cl>, g!>, el>, eU>.)

£. Small and large Seconds as suspensions before the Prime .

These suspensions from above before the dominant are tonic Sixths: the large Sixth belongs to
major, and the small Sixth originally to minor, although occasionally it appears in major.
In the 2<? half of N0.s 2, 4, 5, and 8, a passing half tone takes the place of the whole tone suspension .

r p p i y ' p i p jp 1 1 f ■ P i i i r 1 W ri P i^ ^ y

major mode
 81
major mode g

Modulations by means, of a Diminished Seventh- chord

which can be connected by suspensions to the commencing major or minor triad.
The Seventh in minor, and the augmented Second in major, are here accepted as seats of the dim.
Seventh-chord. In a great many cases suspension and resolution appear on the same degree in spite
of the rule: Suspensions are Seconds. Chromatic motion1) substitutes enharmonic motion8).
1 _ 2 _ 1 2 1 2 1 2

A. Half-tone suspensions from below.

In this paragraph the suspension chords have all the sound of dominant chords , and in paragraph
B the sound of small Seventh- chords .
In the l*t section the Fifth of the triad becomes suspension, in the 3<? section the Prime, and in
the 2<? and 4th sections the Third.
6 7 45

S 1 6 7

1 1 6 7
82

B. Half tone suspensions from above.

The exercises are similar to those in paragraph - Ji. .

Two examples.
2 1 'If 87

C. Whole tone suspensions from below.

Whole tone suspensions before the Seventh and the Prime have no relation to the resolution chords .
A few examples with the suspensions 4 5, and 2 3.
4 5 23 45 23

The place of the whole tone susp. taken by a passing half tone.
The examples contain the two resolution triads connected. In exercises they should be treated separately.
4 5
*J ,I i 1 M - r*j J II'
r 1 r kr 11
* r "r1 "r'^p 'p 'i r
6 7
J, U , U J

^^^^^^^ J>i

6 7 4 5 2 3 S 1
J. J-
is

Whole tone suspensions from above.

Susp. before the Third and the Fifth .
If the Third is embellished by a whole tone susp. from above, then the dim. Seventh-chord is lo
cated in major on the Seventh , and in minor on the augmented Fourth .

Lu iA',vi dditL^

6 5
6 5 6 5 6 5
The whole tone suspensions before the Third replaced by passing half tones .

Half tone suspensions before the Fifth have no relation to the resolution chords .
 88

Suspensions before the Seventh.

\^tif\

By a passing j>4J.u j_...4.*«Li.

half tone.
T*ffFf

Suspensions before the Prime.

r r *T7 - V

By a passing
half tone.

A comparison to the half tone suspension and resolution on one and the same degree (paragraph A)
is the whole tone suspension before the Prime, which forms a diminished Third, consequently show
ing a leap.

The Resolutions of the Small Seventh, and of the Diatonic Chords

with Small Seventh.
The resolution of the small Seventh takes place
by lowering the upper part a half tone, or a whole tone;
" raising lower " i) " " , " » " " ;
)) » » » , and lowering the upper part a half tone;
» lowering upper n a half tone, and raising the lower part a whole tone;
if » ii "whole » » » » » » » half » ;
» raising » n , and lowering the lower part a half tone;
ii n n a whole tone;
» lowering lower n ii ii .
The resolution intervals are large and small Sixths, and perfect Fifths and Octaves.
Every Sixth and Fifth represents one major and one minor triad. A large Sixth is an inverted
small Third, a small Sixth is an inverted large Third; and a small as well as a large Third be
longs to a major and a minor triad. A Fifth is the compass of a major and a minor triad.
Every Octave represents three major and three minor triads. An Octave is the doubling of one
.tone; and a tone can be considered as Prime, Third or Fifth of a major and a minor triad.

Seventh, and Seventh- chords

Resolutions.
.1 .2 5 6 . .9 ,10 , A^J^J^-^^^^g^^g^^

7 8 10 i9 MM_it.__ iff. ..iff, iff. i2*22J*J*2L

jtn
i"" ii.!,}'
Brg

The resolution Octaves a and g also represent D maj. and min., F maj. and F# min., G.maj. and
min., E^ maj. and E min. These eight triads are already attained by the first four Sixths, see nos. 1-8.
84

A. Diatonic progressions .

a) Dominant Seventh-chord and triads N?sl, 2, 3, 6, 7, 8, 11, 12, 14, 21.

N? 11 in Emin. with large Sixth; the remaining connections in D maj. and Dmin.
6) Smalt Seventh-chord and triads N?s1, 3, 4, 5, 6, 8, 12, 13, 14, 23.
N0-s 8 and 12 in Gmaj. with small Sixth; No 13 in Bl> min. with large Sixth; the remaining
in Bl> maj. and 6 min.
e) Smalt minor Seventh-chord and triads N0-s 1, 3, 5, 6, 7, 8, 11, 12, 13, 14, 22, 24.
N? 13 in Fmaj. with small Sixth; the remaining in F, C, and Gmaj., and Emin.
Examples from literature are not given here, because, with but two exceptions, diatonic progres -
sions can be observed everywhere. These exceptions are: the small minor and the small Seventh -
chord progressing to the minor triad upon the small upper Second (see above N? 13.) A few in -
stances of these rare connections :
Bach, Comp. for Organ (Pcterst) Vol. Ill, p. 60 : f# a c# e - g b\> d ■
Vol. V, p. 67: a c e g- bt dl> f; Vol. VII, p. 49: el gt b dl - fj a c#;
BACH-Erk, N? 161: d f at c - el g\> bt; N? 274: d# ft a c# - e g b ;
Hahdel- Rob. Franz, L' Allegro, p. 115 : gl b d ft - a c e .
The small Sixth in major, and the large Sixth in minor, mentioned above, are chromatic alter
ations which always have been common since the existence of modern major and minor.

B. Cfiromatic progressions.

a) Dominant Seventh-chord and triads Nos 4, 5, 9, 10, 22, 23, 24.

Examples from literature.
4. Schumann, Faust (Peters), p. 95. Liszt, Sposalizio; Mephisto Waltz. "Tristan," l8t ed., p. 60.
Cornelius, "Der Tod."
5. Bruckner, Fminor Mass, pp. 95-97. H. Wolf, Manuel Venegas, pp 45-46.
9. "Fideho," 24 act, Adagio cantabile. Mac Dowell, Op. 62, N9 2 .
10. Schubert, A major Sonata (l828,) Andantino. Erdmannsdorfer, Op. 24, D. Bruckner, IX. Sym
phony, lst raov., S-T. Charprntier, "Louise," p. 43. d'Indy, "Medee," orch. score, p. 54.
22. Bach, Comp. for Organ, Vol. V, NOP 8 and 32. Haydn, Cf minor Sonata, lst mov., 24 part.
Beethoven, Bt major Concerto, Cadence. Schubert, Cminor Quartetsatz, meas.75&76; 2dpart,ineas.97Sr98.
Schumann, Faust, p. 154. Franz, Op. 16, N? 6 ; Op. 17, N? 5. Erdmannsdorfer, Op.l5,N?6. Charpen-
tier, "Louise," p. 15 .
23. Cherubim, D minor Requiem, Oro supplex. Beethoven, Op. 54, 24 mov., meas. 66 - 73. Mendelssohn,
Op. 54, Is-1 meas. Liszt, B minor Sonata, p. 16; "Der Alpenjagcr." "Walkurb," 7th scene. Franz,Op.
4, N? 11. d' Albert, B min. Concerto, p. 62. Chopin, Gmin. Ballade, meas. 46-44 before the Presto.
Volkmavn, Op.17, K? 1. Bruckner, Fmin. Mass, p. 97. Charpkxtier, La Vie du Poete, p.U5, (closing!).
24. Mozart, Fmaj. Sonata, Assai Allegro, is* mov., 24 part. Bkkthoven, Op. 31, N? 3, Presto, the last
meas. of the ls* part, and the ls* meas. of the 24 part. Chopin, Op. 59, N? 3. "Tristan," 1st ed.,
p. 150. Bendel, Op. 139, N? 5. Liszt, Paysage; Wartburglieder, p. 25, and " Wieder mb'cht' ich
dir begegnen." Bruckner, Dmin. Mass, p. 38.
b) Small Seventh-chord and triads N9s 2, 7, 9, 10, 21, 22, 24.
Examples from literature.
2. Berlioz, Faust, 16th scene, meas. 6 &-7.
7. Rabaud, Lyric scene from "La fille de Roland."
9. R.Strauss, " Guntram ," p. 110. Parker, Hora novissima,p. 9. H.Wolp, Manuel Venegas, p. 22 .
10. Bach, Comp. for Organ, Vol. V, p. 102. Purcell, Dido's Lament. " Gotterdammerung," 1st ed.^).319.
21. Schubert, Cminor Sonata, 4*-h mov.. Pierne, The Children's Crusade, p. 24.
22. Middelschultz, Canons and Fugue on "Vater unser im Himmelreich," p. 41.
24. Middelbchulte, ibid., p. 54; Canonical Fantasia, p. 9 .
 85
c) Small minor Seventh-chord and triads No-s 2, 4, 9, 10, 21, 23.
Examples from literature.
2. Bach - Erk , NQ 248. Berlioz, Faust, 16th scene, meas. 1*2.
4. Bach, Christmas Oratorio, I, 1. "Tristan", l«t ed., pp. 126 4 128. d'Albert, Op. 14, p. 23.
Bruckner, E min. Mass, p. 22.
9. Bruckner, Helgoland, p. 20. Middelbchulte, Concerto, fct mov., meas. 61 & 62.
10. Middelschulte, Concerto, l*t mov., meas. 32 & 33.
21. "Lohenbrin", 3^ scene, meas. 52. Liszt, Dante Sonata, p. 8.
23. Purcell, Dido's Lament. Beethoven, Op. 81, Sonata, l*t mov.. Berlioz, Flight to Egypt, p. 22.
Chofin, Op. 49.

G. Enharmonic progressions.
a) Dominant Seventh-chord and triads No? 13, 15-20.
Examples from literature.
13. Liszt, V. Rhapsody; Gaudeamus; Lenore. Lowe, Op. 94, NO 2. Kaff, Lenore Symph., Orchestra
score, p. 202. Tausib, Zigeunerweisen. "Parsifal", l»t ed., p. 214. H. Wolf, Seemann's Abschied.
15. Bach, Musikalisches Opfer, II, 75. Berlioz, Requiem, Agnus Dei.
16. Heller, Op. 139, NQ 3. Tausib, Zigeunerweisen. E. E- Freer, Op. 3, NQ 2.
17. Beethoven, Op. 120, 28th Var. Schubert, Op. 143, II1 movement.
18. Schubert, Op. 42, Scherzo, trio. Jensen, Gaudeamus, p. 74.
19. Schubert, Op. 147, 4th movement.
20. Durante, Studio in G minor. Mozart, 29* C min. Fantasia, meas. 12-15. Liszt, Wilde Jagd.
Closing 0), by Augusta Holmes and Richard Strauss.
La Princesse sans coeur.

b) Small Seventh-chord and triads No-s 11, 15-20.

Examples from literature.
11. Liszt, Les Preludes; 19th Rhapsody. "Parsifal", ll1 ed., p. 229. d'Indy, Medee, orch. score, p. 21.
15 Beethoven, Op. 123, Benedictus. Liszt, St. Elizabeth, pp. 5-6; Christus Oratorio, Beatitudes, p. 5.
"Tristan", p. 39. "Parsifal", p. 100. Bruckner, VIII. Symphony, Adagio, meas. 69-70.
16. Berlioz, Faust, 14th Scene; Queen Mab. Chofin, Op. 59, NQ 3. "Tristan", p. 231. "Go'tterdamxkk-
cnb", pp. 130 & 132. "Parsifal", pp.100 & 211.
17. Bach, Musikalisches Opfer, I, 104. Cesar Franck, Le Chasseur maudit, orch. score, p. 9 .
18. "Parsifal", p. 102. Bruckner, II. Symphony, Finale. H.Wolf, Der Feuerreitcr.
19. Liszt, The Bells of Strassburg, p. 30. "Parsifal',' p. 108. Bruckner, VIII. Symph., IS* mov., meas. 196-197.
20. Purcell, Dido's Lament. Bach, Ft min. Toccata. d'Albert, E maj. Concerto, and F$ min. Sonata.
c) Small minor Seventh-chord and triads No-s 15-20.
Examples from literature.
15. Bach, Mus. Opfer, I, 28. Beethoven, VII. Symph., Vivace. Clementi, B» maj. Toccata. "Tristan", p. 39.
Grieb, "Mein Sinn", and Op. 44, NQ 1. Bruckner, 3d Symphony, Adagio (isted.) C, measures 85 & 86.
16. "Parsifal", p. 246. R. Strauss, Op. 49, NQ 5.
17. Bach, Kunst der Fuge, VIII, 50, and XI, 151. Brickner, Helgoland, p. 23, & IX. Symph., 11* mov., mens.
18. Grieb, Spielmannslied. Charfbntier, Louise, p. 49. 9& 8 before L*.
19. Liszt, Beatitudes, p. 10. Grieb, Op. 43, NQ 6 .
20. Bach, Kunst der Fuge,VIII,44,and XI, 157; B min. Mass, Crucifixus; Choral ''Kyric Gott Vater''.
Liszt, Lenore. Franz, Op. 20, NQ 3. "Parsifal", p. 107. d'Albert, B min. Concerto, p. 21. Stavexha«,en,
B min. Concerto, p. 44.
86

Enharmonic Modulations by means of Diatonic Chords

with Small Seventh.
Those enharmonic connections in which all parts move by half tones are here selected.
A. The resolution chord is the tonic triad of the new key .
Starting from C major, the group a) refers to the dominant chord, the group b) to the small Sev
enth-chord, and the groups c) d) e) refer to the small minor Seventh -chords.

1 «f"r jt ll 3 u*H3i
1 V^r 1 ^ "

I I

J lJ ■ i
Jf==rjj ftJ , , 1 II : » ,4 , i,
r P 'r if *i 11 rHr t 1 p r
r r " r r

Starting from C minor, the group a) refers to the dominant chord, the group b) to the small Sev
enth-chord, and the group e) to the small minor Seventh-chord.

rr

f 1 T > r "f^ MP?

» p r Y r ' r " " r f

 87

B. The resolution chord placed on other degrees of the new key.

For ex. In the following No-s 1, 3, 7, and 9 the resolution chord is located on the subdominant, in
Xo-s 2, 6, and 8 on the submediant, in N0-s 5 and 11 on the dominant, in N? 10 on the mediant, and
in No 4 on the 24 degree .

In exercises every major resolution may be considered as chord of the 4*_n and 5^ degrees in ma
jor, and &h and 6*J* degrees in minor; every minor resolution as chord of the 24, 34 and 6*J> de
grees in major, and 4th degree in minor.

The Scottish Scale.

The Scottish melodies are founded on various major and minor scales.
i. Major without Fourth and Seventh - the Scottish scale proper ;

For ex.

2. Major without Fourth - in many cases the Seventh is small;

3. ii ii Seventh;
4. n with small Seventh (Mixolydian mode);
5. Modern major ("The Blue Bells of Scotland").
6. Minor with small Seventh, and without Second and Sixth;

+=11 j J r r i
=4J
7. Minor with small Seventh, and without Second or Sixth;
8. ii ii ii ii- ii large Sixth (Dorian mode).
The minor scale without Second and Sixth is equal to the Phrygian and Dorian modes without
their original characteristic degrees . Airs in minor without Second and Sixth :
"Oh! Laddie with the Golden Hair." The Celtic Lyre, by Fionn, No 39.
"My Tocher's the Jewel," and "Tam Glen." Lyric Gems of Scotland, series I, pp.78&89. (G. F.
Graham's assertion, that these two airs were of the same origin ("The Mucking o' Geordie's Byre"), is untrue.)
The major scale without Fourth and Seventh is equal to the Lydian and Mixolydian modes with
out their original characteristic degrees. Airs written in the "Scottish Scale:"
"Farewell to Glenshalloch" - "Good Night, an' Joy be wi' ye a'," the first part. -
"Helen of Kirkconnel" - "He's owre the Hills" - "Bonnie George Campbell" -
"I Fee'd a Lad at Michaelmas" - "Lord Eglinton's Auld Man" -
"Lucy Campbell's Delight" - "0 where shall I gae seek my bread" -
"The Bridegroom Grat" - "Ye Banks and Braes o' Bonnie Doon" -
"Gala Water," James Oswald's version - "Leezie Lindsay" - "Row weel, my Boatie" -
"Roy's Wife of Aldivalloch" - "The Braes aboon Bonaw" -"Why should I, a brisk young Lassie'l
"Sad and slow retired Sulmalla" - "Son of Alpin, strike the string" -
"Green thorn of the hill of ghosts" - "Ullin, Carril, and Ryno" - and from
"The Celtic Lyre," by Fionn, Nos 6, 8, 18, 49, 50, 56, 61, 64, 66, and 68.
88

. The first eleven of these airs the reader will find in "The Lyric Gems of Scotland", by John.
Cameron_ the next six, and also -a few of the preceding airs, in "The Popular Songs of Scotland",
by G. F. Graham— and the following four in "The Cyclopaedia, or Universal Dictionary of Arts, Sci
ences, and Literature", by Abraham Rees, London, 1820j they are designated "Original Melodies
to the Hymn of Ossian in Temora."
In the accompaniment one may employ the intervals lacking in the melody, and, with discretion,
the intervals admissible in the ecclesiastical major modes, combined, namely: augmented Prime,
Second, Fourth and Fifth, and small Third and Seventh; also an occasional small Sixth (one of
the intervals, perhaps the first interval, which spoiled the integrity of the church major modes).
The ecclesiastical or church modes will be treated in the 24 volume of this work .
The first and the last of the four stanzas, which conclude Book VII of "Ossian in Temora", are
here set for mixed chorus, as models of Scottish harmonization.

Plaintive . ,
J_i

J. J J -J —J-
f r 1 r r
rolled in tears. But when she came to the rock, that dark - ly

n j J
id LA

Or r-—*r r
f9
■ _ Oj c
look'd.from her
ine burst

J5t^» n

soul, on the King;; and once, be hind.

 89
Plaintive

i u i -J 4—i1 J j J—3 =i
■f r-
t— er
wake my soul . I hear you not, _ yf sons of

-j ±—
i/rrr^ r r

r^-P p b r p »r f=
song I In what hall of the clouds is your rest ? Do you

f5 ff1 f= r P p
touch the shad-owy harp, _ rohed with morning mist , where the

p p

+) Wrongly: "I hear you not yet," in Rees' Cyclopaedia.

 90

The Sixth as Suspension and Afterbeat of the Dominant Fifth .

I. Authentic Cadences.
A. The Sixth as suspension.

m
Major. ■ i TT Minor.
X a
L4- hi-- 3#
TT TT TT ~P—r* rr
TT
Jfems. Op. 35, N? 5. Op. 43, N? 3. Op.l, No 12.
Op. 18, N?1.
See also
Op. 20, N?1,
8th meas.,and
Op.36, N?5,
6*J1 meas.

Fantasia cromatica. "Es ist genug, » K Liebster Jesu.'i) "Lohengrin."

The | note a
anticipates the
suspension .

876 5 O.P.
Jensen. Op. 11, N? 1 Qrieg. ''Mit einer Wasserlilie." Schubert. , Op. 42.1

See Zi'm*, Dante Sonata, p. 9, and "Vergiftet

sind meine Lieder. "
Zisei. "Ich liebe dich 'Ein Fichtenbaum V. Rhapsody. VIII. Rhapsody.

A few more instances containing the small Ninth-chord with small Sixth .
Beethoven, A min. Quartet, Is-1 mov., meas. 81. Schumann, Fantasia, Op. 17; Faust, p. 24. "Fliegen-
der Hollander," 3<? scene, Allegro agitato, 5th. meas. ''Parsifal," ls.1 scene, Kundry- Motive . Liszt,
Hungarian Fantasia, before the fermata of the Adagio; VI. Rhapsody, fermata before the Bt major
part; Harmonies du soir, 4th meas. before the Molto animato; Orpheus, piu lento; Mephisto Waltz,
un poco meno mosso; BACH Fugue, before the cadenza after the 3<f augmentation of the theme. Jensen,
Op. 22, N? 6; Dolorosa, p. 4; Gaudeamus,p. 21. Erdhannsdorfer, Op.15, N? 3. d'Albert, Ghismonda, p.
140. H.Wolf, Corregidor, p. 131.
 91

B. The Sixth as afterbeat.

M
Major. Minor. <
lJ to

rr rr rr
Bach, Erk, NO 211. No 193. Beethoven, Op. 120,Var.V Op.21,N04.

Bruckner. Ill.Sym.
"Tannhauser". Chopin, Op. 54 . Op. 23 Volkmann, Op. 17,N04. JJ

Pi

9a. *9a. 1 5 6i;

Compare Schumann, Op. 124, NO 13; Franz, Op. 18, NO 5; jKV/c/; Op. 119, NO 27; "Cavalleria rusticana",
prayer.

C. The Sixth as unresolved Ktivpension.

MaJor- . I i I , I,

Minor.
,J.ii■J|iJi)»l iJ|Ui|i-j iMi^ii1"!
m N4 F f
fj
A I J
1
77. - ifrf.
.v,.rirrrririr'rri?
93 9 7
Op. 38, NO 5. "Ein Schwan!' ';Dein Rath.'; L Cornelius Op. 11, NO 3.

i sa 9 *
Zt»/, March of the 3 Ma>;i. Wellt.Cl. I. Ffmajor. "Tristan." Chopin, Op. 54.

Compare Chadwick, World's Fair Ode, p. 41.

O.P
92 Chopin. Op. 32, Nol.
Op. 38. Rcinecke. Op.l21,N?4. JWw* Op.14, N9 2.

- 'r r CZTffT
Erdmannsdor/er. , —-v,"Prinzessin Use'.'
Jensen. Op.l3,.N?1.
-iff

The Sixth and the Fifth simultaneously; the Sixth is afterbeat or suspension.
In the following examples the Sixth is afterbeat. If the Sixth is considered as suspension,then the
two quarter notes must be exchanged.

m m 8r
Major. < t Minor. <
T
4
TT rr rr rr rr rr
Boiio. Mephistopheh*. 0p.9, N? 4. Op. 17, N? 6.

Compare Beethoven, Op. 106. Adagio, 18tn measure; Raff, Lenore, orch. score, p. 58.

E. The Sixth and the Fifth simultaneously; the resolution is omitted .

9ft. $&. See Chadvoick, World's Fair

 93

Of the following examples the first two, by Anton Bruckner, belong to this paragraph. The third
one, from "Parsifal", is given as a comparison to the quotation from the famous Adagio. In both
cases dominant Seventh- chords progress chromatically, in Wagner descending, in Bruckner ascend
ing; in both cases Sixths follow each other unresolved. Wagner's chords have no Fifths, BrucknerVi
chords are complete. In the Parsifal quotation the last Sixth resolves; in the quotation from the Ada
gio there is no resolution whatever.
IV. Symph. Andante. VII. Symph. Adagio

The Fourth as Suspension and Afterbeat of the Third

in the Diminished Seventh-chord .
The Fourth as suspension. The Fourth as afterbeat. The Fourth as unresolved susp.

7 TT T r
J U

Other ex.of the

unresolved susp. ►
1=

Examples from literature.

"Lohengrin." "Siegfried." "Tannhauser."

pi Franz, Op. 2, NO 2; Op. 7, NO 2.,

Jensen, Op. 22, NO 7.
ffif r Grieo, Op. 47, NO 2.
« 1
Heller, Op. UO, NO 3, 2d part.
WW
O.P.
94

The Sixth as Suspension and Afterbeat of the Dominant Fifth.

II. Irregular Cadences.

A. The Small Sixth.

The Sixth before and after the Fifth (l&2), before and after the Third (3 &4), and before and
after the Prime (5 &6); the Sixth sustaining (7) .

1 6 7 1

Cadences in the Submediant and Subdominant.

The here given dominant chord belongs to E minor; the submediant, therefore, is the C major,
and the subdominant the A minor triad .
The final chord embellished by suspensions.
Subdominant.,
3^

1 f r
Each of these examples may be joined to any of the above given formations.
When the Fifth and Sixth, or the Sixth and Fifth, alternate, or the Sixth lacks an afterbeat,
then chromatic Seventh- chords can follow as suspension chords.
V VII VIII I IV VI
I ! |i.

TfTJ- F-js^— 3 Y f *f* " Tf

The resolution of the Sixth is taken by another part.

P|j P 1 jt 1 jl Hjij /■ I jl Ijtj - 1 jl * may ^ added-

The resolution of the Sixth is omitted.

Final chords imme Also with

diately attainable 1 ■t g 1 a: suspensions.

A The Large Sixth.

The Sixth before and after the Fifth (i &2), before and after the Third (3 &4), and before and
after the Prime (5 & 6); with following small Sixth (7); the Sixth sustaining (8).

7 m 8

r
 95

Cadences in the Submediant and Subdominant,

including the minor mode of the latter.

The here given dominant chord belongs to E major; the submediant, therefore, is the C# minor,
and the subdominant the A major, resp. A minor triad.
The final chord embellished by suspensions.

Submediant.

Subdominant.

Minor mode of the subdominant. and so on , compare paragraph A .

When the Sixth resolves suspensions of the following kind can occur.

When the large Sixth is connected to the Fifth, the Third, or the small Sixth, or when it re
mains, then the Prime of the dominant chord may ascend a chromatic half tone before the next har
mony appears.

ffl nffl rfS ijjTf nffl n '

In connection with these formations every one of the foregoing closing measures may be employed,
excepting those which contain b, c, or f.
The resolution of the Sixth is taken by another part, or exists already in another part .
1. 2. 3. 4. 5.

Suspensions
may be added.
96

The resolution of the Sixth is omitted

Final chords. Final chords

or or Fina chords.
Final
i in i
:1 i i i :1

The £ixth as Suspension and Afterbeat of the Fifth

in the Diminished Seventh-chord.

The Sixth before and after the Fifth (1.& 2.), and before and after the Third (3. * 4.); with fol
lowing diminished Sixth (5.) ; the Sixth sustaining (6.) .

Compare the
preceding chapter.
r r t

The final chords (here C minor, C major, and major) embellished by suspensions.
II VIII VII
JJ J \A J ■ i-j j. |ij'J
J ■- Ji
J. il-
.1.1jj -Tr4—
.J J.J

When the Sixth resolves, the Fifth may descend a chromatic half tone which becomes part of
chromatic Seventh- chords.
V¥ or IX
>■■*■ or HI
ui or

The resolution of the Sixth is taken by another part, or exists already in another part.

1
IT} 1 4n 5p
ur \/

Final
chords.

H J
rfcc
—w bp " itj,
 97

The resolution of the Sixth is omitted .

i PI 2 h r—"1 3I 1&,3i il l i 2 ,

The final chords are here given without suspensions, but such may be added.

Three quotations from literature.

Volktnann, Op. 17, NO 4. Cornelius Op. 11, N9. 1.

In the G minor phrase by Cornelius the note d is* whole tone susp. from above before the Fifth
C. In the corresponding harmony of the B minor phrase has to be enharmonized into a$ , the
Prime of the chord; f is half tone susp. from above before the Fifth e. In both casee the resolu
tion takes place in the tenor.

The Diminished Seventh- chord in Connection with Diatonic Seventh- chords

with small Seventh, by Half tone Part-progression .

If in the diminished Seventh- chord any part is lowered, or any three parts are raised a half
tone, it becomes a dominant Seventh- chord.
Jm . o || . » \>m " a-

If in the diminished Seventh- chord any part is raised, or any three parts are lowered a half
tone, it becomes a small Seventh-chord.
I Mtm I A' a
"XT
1*-

. If in the diminished Seventh-chord any two parts, forming a Third (resp. an augmented Second),
or its inversion, are lowered or raised a half tone, it becomes a small minor Seventh- chord .
-m—- . i • \lm ,m . c

or in close position:
 Chromatic progression of alternating dominant, diminished and small Seventh-chords,
based upon the rules given above.
1. Commencing with the dominant Seventh-chord.
a) Ascending. b) Descending.

2. Commencing with the small Seventh-chord.

a) Ascending. b) Descending.

-j.— j. ?J1J ,.

v fn i 1 Is
•f if;
r v r ^

* r r \

Chromatic progression of alternating small minor and diminished Seventh-chords.

<i) Ascending. Descending.

All these examples should be worked out to a greater extent.

 9ft

Various positions.

1. Thirds below and above.

2. Sixths » " » .
3. Thirds below, and Sixths above; and vice versa.

Ascending.

2^T'y oy '^g^ \w " ffp -

1? »* - - j

'Mr- - *■

Descending .

it Liii^jn ^Jh^u-^JHyiiLj:_ tfj

The Diminished Seventh-chord in Connection with the First Chromatic Seventh-chord

by Half tone Part-progression.

If in the diminished Seventh-chord any two parts, forming a Fifth or its inversion, are lowered or
raised a halftone, it becomes a chromatic Seventh-chord Ko I.

I im i^hfz ^0 »fe>P^ TJ O-

The strict resolutions .

Chromatic progression of alternating First chromatic and diminished Seventh -chords.

Ascending. Descending.
fa Lhg iLg: fern J'fi.»- teriteifflfeB^agjj
pup
100

Connection of the Diminished and the Dominant Seventh-chord

in Minor.
The dominant Seventh-chord is embellished by a half tone suspension .
6 5 4 5
-•- m Vm•|[>y . | \
- t^P^o 1-
1 <t*£° 1
2 3
» r» _j -0-
i
'To Mj

^6 7 , 4 5
_i
H— #-H-
LV1 " 11sjUIS—1

2 3 6 7
■ u5? ., ■■ - ,i Lft „ am u_ a* i..ltf? i

Connection of the Diminished and the Small Seventh- chord,

in Major with Small Sixth.
The small Seventh-chord is embellished by a half tone suspension.

The Chord Connections of the two preceding Chapters

applied in Closing Phrases. For ex.
A J
ij J u ,u Jj j j J

+J-

1 r rr 4f

.jIj ,jJ.»J jUjj ,.»J.A.iJ. j .^.M^.,^

 101

Figuration of Chromatically Progressing Seventh-chords.

A few examples.

A. Chord connections ascending.

i-f

w TfT 7 P? f
i J J- J-
t

Ft17 Iff rr *T*TT rffr

Figuration.

;jnjagj3iiij.

&— 4^

fit » f=# wpw Tt i Jftr33- —aJ—- --hiHSi

arm war**
if «r r Y »r
KfflJ
jf4i
yg r

J)
102

B. Chord connections descending.

2 3

Figuration.
 t:0T

aouBoijiuSisun^j jo suoTsuadsng -
ehj, sdjoch ej« edjiuii; oinojBid sdcij* dus ,spioh3-thnvees
ehx *endtus si 0* jujop %no shi dniii jo nsoinsaduss dui* ,srdhoo

St 99 8t 99 8t 9 9 £8 8Z St 8Z 9t SZ t 9 L9
s"0x -g 91 djnhos oq dserhpci 3utrdODOH o' s'oN l Pna '?

^ ■'«'ni11 di^ 1^Vl^l^V#,i^v3^li'^ni,,|l^lS11

104

After a careful study of the given examples one may try to harmonize the following in a simi
lar manner.

1 ' * !■ * |1 ' *• ■ ° |T> ,

° v ♦ 9m * r* ■ n. ♦ n

,!>«. ■
1 ♦ If* • <* 1 o o 1 1 ^JJJ

Theme with Variations.

Variations 1-10 contain the chordic tones only.
In variations 11-18 every chord is embellished by one suspension.
In variations 19-21 the chords are embellished by more than one suspension.

Theme .<

To variations 1-5 the bass of the theme is to be added.

Var. 1 .

v«- ■, 4 [£TJ^i[ir;[£ri[!rr'T1i[d,J

Var. 3.

Var. 4.

Var. 6
 e e

0mm
f

rf'"rfrrrfftii
'f'rP'rr^^
Var. 20. <

-} r 1- T-FTT *

fig J. =£= , n .jt! =r

= r r =
* r
Var. 21.
-FTP J?*^ =
|y J?JJ —
r '

J:
4
0

j
108

The following eight numbers, showing the upper part only, may be completed by the student.

For exercise two themes are here given which can be elaborated in similar manner.

Chorals and Folksongs.

Harmonization of chorals and folksongs should be taken up again and again, as it promotes skill
in harmonically well conducted part- writing. It must be realized, that the harmonic skeleton of
every composition is of a choral-like formation.
Recurring lines should be harmonized in different ways, either by other chordic positions, or by
other chords.
The bass, like the other parts, has to be worked out as melodious and characteristic a/s possible.
The theorem, that the bass, principally, moves by leaps, is a strange error. When the harmoni
zation is not too simple, a bass slowly progressing by degrees is very impressive.
In settings for male voices part- crossing often will become necessary : the compass being small
er than for mixed voices.
 109
Examples for Mixed Chorus.
Wachet auf, ruft uns die Stimme.-Wake, awake, for night is flying.
Melody by Phil. Nicolai, 1598.

TTTT 3=p

^11 lnJ J
r 'r r 'Mr Mr rtr'r r 'r

Fair Helen of Kirkconnel.

Melody- 18th century.
Mournfully
110

Old Hundredth.
Mel. by L. Bourgeois, 1552.

V *B r
JP j j
r r nr r r V r

Mein Heiland nimmt die Sunder an.- My Savicur sinners doth receive.
Mel. by J. G. Hille, 1771.

ft=h \L J 11 J .11| J j |
r # hr r-f- rr
jj j j j±L
3—L- P f
-f—F—

I7\

rrr fT*r ff P*r

i-j- iiL
*
r^

rf fa J itJ J 1r4—hh nh-i1 -jj—•—■

1 j Ji rrM J 1 1=F#=I
rr- #f

j J |JH-L Ji
^jj
s f rr Wrr1 f r
 Ill
Schmiicke dich, o liebe Seele- Deck thyself, my soul, with gladness.
Mel. by Johann Criiger, 1649.

j i bgbgj jig

"err err eJ"^ f itr

w

ij-r cj e_r cir J#

"r r r

J i .J
^4

hi J J hi i j
i, JJ"3J

Valet will ich dir geben.- Farewell! I say with gladness.

Mel. by Melchior Teschner, 1614.
J _L-J j J J J J,
f ir r cJLrlf "*r r rEHETEne

-
fa j j J i j j j j i j ^
■tftf ^ r r Lrc!r^

r r 'cTOc!rr 1

r r r»r CJ*
112
Das Weberlied.
Mel.- 16th century.

rj—j-n, j ij

TTT= f r -trf-f
T - *r

=4 J
=P= 1 r 'P*r 1
rrr r r

Jrr
f
4-
i* * r iit i 'f ^
r
Examples for Male Chorus.
In male choruses the tenor is written an Octave higher.
The Benzenauer Tune.
Mel.- 1504.
ls-1 Tenor., j j i j
~m P P "F 4,
24 1 \s * r1 r r f T ' Lff f f=H= r r | 1

lit Bas6. ,i j j j n,j n tM-4-

24 Bass..(U*i r 1if r r r 1 lf > r 1 =f=<
'r l/'T r

Bread of the World.

Mel. by Phil. Em. Bach, 1787.
J J ij Jl i±
 113
Conrad Nachtigal's Evening Tune.
Mel.- 15^ century.
J jt J J. rX , JU| , j J JJJJ. J t j |
-' ' p y MP f r

J_J J J J, J3 J J j . J j JJ Jfay

sto si = J1^ 9 I >- , j- ^ i

y r cif r +—ETtM r - r- r r

UT r r H

rrrrf r
La Petite Camusette.
Mel. by Adrian Willaert, i 1562.
u= ,j. ^
P Lr r j -r r f »f r Cj- mm
 114
Table of Contents .
Page Page.
The diatonic scales. . 1. Diatonic scales with chromatic by-tones. . . 61.
Intervals 1. Ornamentation of a sustained triad 62.
Inversion of intervals 2. The organ-point 64.
Harmony and chord 3. The basso ostinato.- Parte ostinata 68.
Diatonic chords 8. Figuration 69.
Fundamental form and inversions 3. The accidental or dissonant Fourth-Sixth-chord. 71.
Positions 4. n essential n consonant ii » ii . 74.
Rhythm 4. A list of compositions starting with a Fourth -
Broken chords. Arpeggios 5. [Sixth-chord. 76.
Consonance and dissonance 5. Apparent Fourth-Sixth-chords 76.
Essential and accidental dissonances .... 5. The broken triad extended through an Octave,with
Harmonic plurisignificance of tones 5. accidental dissonances, employed as melody . 77.
)i ii i) diatonic Thirds. 6. The diminished Seventh-chord and its resolutions. 77.
i) )> ni) chords. 7. Modulations by means of a dominant Seventh -
Connection of the tonic triad with the remain chord which can be connected by suspensions
ing triads of the key. 7. to the commencing major or minor triad . 78.
Diatonic triads in connection with one another, Modulations by means of a diminished Seventh-
founded upon the harmonic plurisignificance chord which can be connected by suspensions
[of chords. 8. to the commencing major or minor triad . 81.
The diatonic Seventh-chords with small or The resolutions of the small Seventh,and of the
diminished Seventh and the tonic triad. 9. [diatonic chords with small Seventh. 83.
Connection of diatonic Seventh-chords with di Enharmonic modulations by means of diatonic
atonic triads, founded upon the harmonic [chords with small Seventh. 86.
[plurisignificance of chords. 9. The Scottish scale 87.
Diatonic Seventh-chords in connection with one The Sixth as suspension and afterbeat of the
[another. 10. dominant Fifth. I. Authentic cadences. 90.
Connection of two chords in their various positions. 10. The Fourth as suspension and afterbeat of the
Harmonization of a melody of two tones. . . 19. Third in the diminished Seventh-chord. 93.
)) ii ii )) ii three adjacent de- The Sixth as suspension and afterbeat of the
[grees. 13. dominant Fifth. II. Irregular cadences. 94.
i) » n i> ii four ii )) . 19. The Sixth as suspension and afterbeat of the
Enharmonic plurisignificance of tones. ... 21. Fifth in the diminished Seventh-chord. 96.
ii ii it intervals. . . 21. The diminished Seventh-chord in connection with
The chromatic Seventh- chords 21. diatonic Seventh-chords with small Seventh,
ii n triads 25. [by half tone part-progression. 97.
Modulation from C major and A minor to all those The diminished Seventh-chord in connection with
keys in which the tonic triad of Cmajor and the first chromatic Seventh-chord, by half
[A minor is also to be found. 26. [tone part-progression. 99.
Cadences 28. Connection of the diminished and the dominant
"Retardation and Anticipation." 29. [Seventh-chord in minor .100.
Suspensions and afterbeats 30. Connection of the diminished and the small Sev
The augmented Second in major cadences, and enth-chord in major with small Sixth . 100.
the diminished Fourth in minor cadences. 45. Figuration of chromatically progressing Seventh-chords.101.
Enharmonic motion of chords 45. Plurisignificance of suspensions 103.
Anticipations 45. Theme with variations. . . 104.
Short improvisations as preludes 47. Chorals and Folksongs 108.
Passing tones 48.
Progression of the dominant Seventh in the au Airs set for Mixed Chorus.
thentic cadence . 52. Sad and slow retired Sulmalla 88.
Progression of the dominant Third in the authen Ullin, Carril, and Ryno 89.
tic cadence . 53. Wake, awake, for night is flying 109.
The dominant Third in irregular cadences. . . 55. Fair Helen of Kirkconnel 109.
Doubling of the Third and the Seventh in the Old Hundredth 110.
[dominant Seventh -chord. 55. My saviour sinners .doth receive 110.
Modulations by means of homonymous diatonic Deck thyself, my soul, with gladness. . . .111.
[Seventh- chords with small Seventh. 56. Farewell! I say with gladness 111.
Omission of chordic tones 56. Das Weberlied , 112.
The unharmonious relation. 57.
Part-crossing 57. Airs set for Male Chorus.
The broken triad with one suspension employed The Benzenauer Tune 112.
[as melody. 58. Bread of the world 112.
The broken triad with two suspensions employed Conrad Nachtigal's Evening Tune 113.
[as melody. 59. La petite camusette 113.
 115
Index
of quoted Composers .
d'Albert, Eugen. pp. 35,43,45,49,84,85,90. Josquin de Pres. p. 28.
Albrechtsberger, Johann Georg. p. 30. Kaun, Hugo. pp. 24, 41, 66, 67.
Astorga, Emanuele. p. 32. Kiel, Friedrich. p. 28.
Bach, Johann Sebastian, pp. 2,25,31,32,33,45, Kirchner, Theodor. p. 67.
46,48,49,53-57, 64-68, Klengel, A. A. pp. 46,74.
71,72,75,76,84,85,90,91. Kuhlan, Friedrich. p. 90.
Bach, Friedemann . pp. 44,50,74. Leoncavallo, Ruggiero. pp. 29, 33.
Bach, Philipp Emanuel, pp. 43,112. Liszt, Franz, pp. 26, 28-34, 41, 42, 43, 46,
Beethoven, Ludwig van. pp. 1,23,24,29-35,41-46, 48, 50, 53, 64-68, 73-76,
48,49,53,54,57,61,64-68, 79, 84, 85, 90, 91, 92.
71,74,75,76,84,85,90,91,92. Locke, Matthew, p. 44.
Bendel, Franz, pp. 53,76,84. Loschhorn, Albert . p. 43.
Berlioz, Hector, pp. 24, 26, 28, 45, 46, 53, 64, Lowe, Carl. pp. 33, 64, 65, 71, 85.
77, 84,85, 92. MacDowell, Edward, pp. 25, 35, 64, 66, 84.
Boito, Arrigo. pp. 45, 92. Mace, Thomas, p. 44.
Bourgeois, Louis, p. 110. Marschner, Heinrich. p. 35 .
Brahms, Johannes, pp. 28, 29, 49, 66, 74, 76. Mascagni, Pietro. pp. 24, 91.
Bruckner, Anton, pp. 30, 35,41,43,45,46,49, Mendelssohn, Felix, p. 84.
53, 57, 64, 65, 66, 68, 71, Middelschulte, Wilhelm . pp. 49, 67, 68,84,85.
74, 75,84,85, 91, 93. Mozart, Wolfgang Amadeus. pp. 23, 25,30-33,41-
Bull, John. p. 49. 45, 48, 50, 65, 72, 75, 76, 84, 85.
Chadwick, G.W. pp. 91, 92. Nachtigal, Conrad, p. 113.
Charpentier, Gustave. pp. 61, 84. Nicode, Jean Louis, pp. 66, 67.
Cherubini, Luigi. pp. 25, 26, 43, 44, 49, 54, Nicolai, Philipp. p. 109.
57, 73, 76, 84. Parker, H. W. p. 84.
Chopin, Frederic, pp. 26, 28, 30, 32-35, 41,-42, .Pergolese, Giovanni Battista. pp. 30, 33.
43, 45, 46, 48, 49, 56, 65- Pierne , Gabriel, p. 84.
68, 75, 76, 84, 85, 91, 92. Puccini, Giacomo . p. 76.
Clementi, Muzio. pp. 44, 71, 76, 85. Purcell, Henry, pp. 44, 68, 84, 85.
Cornelius, Peter, pp. 34, 84, 91, 97. Rabaud, Henri, p. 84.
Couperin, Francois, p. 44. Raff, Joachim, pp. 33, 43,46, 64, 85, 92.
Criiger, Johann. p. 111. Rameau, Jean Philippe, pp. 44, 67.
Draeseke, Felix, p. 76. Reinecke, Carl. p. 92.
Durante, Francesco, p. 85. Rhau, Georg. p. 28.
Eccard, Johannes, p. 49. Rubinstein, Anton, p. 67.
Elgar, Edward, p. 68. Schlick, Arnold, pp. 24, 44.
Erdmannsdb'rfer, Max. pp. 84, 90, 92. Schotte, Armin. p. 65.
Franck, Cesar, p. 85. Schubert, Franz, pp. 25, 26, 32, 34, 41, 44, 45,
Franz, Robert, pp. 25, 33, 34, 41, 42, 44, 48, 56, 64-67,71,73-76,84,85, 90.
53, 54 , 55, 57, 65, 66 , 67, Schumann, Robert, pp. 25, 29, 44, 49, 72, 74,
71-76, 84, 85, 90 - 93. 76, 84, 90, 91.
Freer, Eleanor Everest, p. 85. Singer, Otto. p. 79.
Froberger, Johann Jacob, p. 53 . Stavenhagen, Bernhard. p. 85.
Gluck, Christoph Willibald. p. 65. Strauss, Richard, pp. 65, 84, 85.
Godard, Benjamin, pp. 25, 65, 68. Sympson, Christopher, p. 44.
Goldmark, .Karl. p. 66. Tappert, Wilhelm. pp. 43, 67, 72.
Gb'tz, Hermann, p. 41. Tausig. Carl. pp. 76, 85.
Gradener, Karl. p. 76. Teschner, Melchior. p. 111.
Grieg, Edvard. pp. 28, 46, 64, 66, 67, 76, 85, Tschaikowsky, Peter Iljitsch. p. 24.
90, 91, 93. Vierling, Georg. p. 68.
Handel, Georg Friedrich. pp. 32, 84. Volkmann, Robert, pp. 34, 46, 65, 66, 67,
Hassler, Hans Leo. p. 28. 72, 76, 84, 91, 97.
Haydn, Joseph, pp. 32, 33, 41, 45, 48, 67, 71, 84. Wagner, Richard, pp. 24, 30, 32, 34, 41,42, 44,
Heller, Stephen, pp. 28, 31, 32, 43, 46, 66, 76, 46 , 48, 53 , 55 , 64-68, 74,
85, 90,91, 93. 75 , 79,84,85, 90,91, 93.
Henry VI., King of England, p. 24. Walther, Johann. p. 92.
Hille, J. G. p. 110. Weber, Carl Maria von. pp. 26, 66, 76.
Holmes, Augusta, p. 85. Weitzmann, C. F. p. 68.
Huber, Hans. p. 28. Willaert, Adrian, p. 113.
d'Indy, Vincent, pp. 30, 45, 49, 84, 85. Wolf, Hugo. pp. 26, 33, 34, 43, 64, 66, 67,
Jensen, Adolf, pp. 24, 25, 33, 43, 44, 66, 75, 79, 84, 85, 90.
73, 76, 85, 90, 92, 93.
 Date Due

Sf p i n 2

Remington Rind Inc. Cat. no. 1 139.

CINCINNATI. OHIO