Harmony: a Course of Study
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Note. Parallel motion by perfect fifths or octaves is wrong. Parallel motion by thirds or sixths is right.
Third — Use contrary motion when no connecting tones are present.
Note. Also in the succession supertonic to dominant, or its reverse.
Fourth The third of the supertonic, mediant, and submediant is usually to be doubled.
Fifth Avoid progressions of augmented and diminished intervals in all voices ; also progressions of two fourths or fifths in the same direction in the bass.
With our prese...nt chord material the various degrees of the major scale may now be harmonized as follows : 42 HARMONY.
Tonic.
TABLE.
Rare. Supertonic.
Rare.
B m =1A U: W^^ ff rwm "• r t-\ E£l I 16 IV If IV6 VI IV6 Vl6 V V„ V6 II V2 Il6 Vf Ilf 4 4 7 5 4 4 Mediant. Rare, Subdominant.
^^ u ?^^^^ 5^ -B- -^ vpv m =t=t: 16 HI 16 VI 4 vr IV V^ IV6 V6 IV6 V4 i Dogiinant.
Rare.
m m ■ — [ IE i^^ -r^- ^m i^= =t=t: \ ^^ ^6 ^ V4 l6 V2 IIl6 Iil6 V6 4 4 i Submediant.
Rare. Leading tone.
Rare.
Rare.
a p r ii^ t=s f^^TTrt iStej^i If VI Vl6 II n6 IV IVg IV6 n6 V V7 V6 V4 V4 III in6 V6 V6 4 4 '32 4 From this table it will be seen that the dominant and the sub- dominant have a much more varied relationship to the triads of the scale than the other degrees, being possible to harmonize with every degree of the scale in the bass except one.
What to read after Harmony: a Course of Study?
You can find similar books in the "Read Also" column, or choose other free books by George Whitefield Chadwick to read onlineMoreLess
To quickly assess the difficulty of the text, read a short excerpt:
Note. Parallel motion by perfect fifths or octaves is wrong. Parallel motion by thirds or sixths is right.
Third — Use contrary motion when no connecting tones are present.
Note. Also in the succession supertonic to dominant, or its reverse.
Fourth The third of the supertonic, mediant, and submediant is usually to be doubled.
Fifth Avoid progressions of augmented and diminished intervals in all voices ; also progressions of two fourths or fifths in the same direction in the bass.
With our prese...nt chord material the various degrees of the major scale may now be harmonized as follows : 42 HARMONY.
Tonic.
TABLE.
Rare. Supertonic.
Rare.
B m =1A U: W^^ ff rwm "• r t-\ E£l I 16 IV If IV6 VI IV6 Vl6 V V„ V6 II V2 Il6 Vf Ilf 4 4 7 5 4 4 Mediant. Rare, Subdominant.
^^ u ?^^^^ 5^ -B- -^ vpv m =t=t: 16 HI 16 VI 4 vr IV V^ IV6 V6 IV6 V4 i Dogiinant.
Rare.
m m ■ — [ IE i^^ -r^- ^m i^= =t=t: \ ^^ ^6 ^ V4 l6 V2 IIl6 Iil6 V6 4 4 i Submediant.
Rare. Leading tone.
Rare.
Rare.
a p r ii^ t=s f^^TTrt iStej^i If VI Vl6 II n6 IV IVg IV6 n6 V V7 V6 V4 V4 III in6 V6 V6 4 4 '32 4 From this table it will be seen that the dominant and the sub- dominant have a much more varied relationship to the triads of the scale than the other degrees, being possible to harmonize with every degree of the scale in the bass except one.
What to read after Harmony: a Course of Study?
You can find similar books in the "Read Also" column, or choose other free books by George Whitefield Chadwick to read onlineMoreLess
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