FOURTH EDITION ADVANCED THEORY AND PRACTICE ROBERT W.OTTMANContents Preface CHAPTER ONE Modulation 1 Modulation 2 Relationship of Keys 3 Modulation by Pivot Chord 6 Determining the Triads Common to Two Keys 8 Modulation by Sequence 10 Direct Change of Key 11 Secondary Tonal Levels. 14 Part-writing Modulations 20° Melody Harmonization 23 Keyboard Harmony 27 Summary 31 CHAPTER TWO Diminished Triads and Seventh Chords, Including Secondary Leading Tone Functions 32 Secondary Leading Tone Triads 32 Uses of the Secondary Leading Tone Triads 34 Diminished Seventh Chords 35 Characteristics of the Diminished Seventh Chord 36 Terminology Variant 38 ‘The Leading Tone Seventh Chard 39 Examples of Uses of the Leading Tone Seventh Chords 40 Secondary Leading Tone Seventh Chords 13 Regular Resolution of Secondary Leading Tone Seventh Chords 44 Early Resolution of the Soventh 46 Reso- lution of @ to Tonic Si-Four 46 The Nondlominant Use of Diminished Seventh Chords 48 Other Considerations 49 Part-Writing Diminished Triads and Seventh Chords 57 Keyboard Harmony 62 Summary 64CHAPTER THREE Modulation with Diminished Seventh Chords 65 Modulating to All Keys from a Single Chord 67 Using the ®” as.a Pivot Chord 68 The Secondary Leading Tone Chord as a Pivot in the New Key 69 The Nondomi- rant Diminished Seventh Chord as a Pivot 70 Alternate Spellings of Diminished Seventh Chords 72 Modulation by Resolving Early One Member of an” Chord 71 Wiiting a Modulation Using an®” Chord as the Pivot 81 Modu lation Making Use of Faely Resolutions 83 Keyboard Harmony: Improving Modulations. 88 Summary 87 CHAPTER FOUR Binary and Ternary Forms 8B Review of the Smaller Forns 88 Binary and Ternary Forms Defined 99 Bi rary Form 91 Temmary Form (Rounded Binary or Incipient Temary) 94 Ter nary Form 97 The Da Capo Temary Form 97 Temary Form, The Return Witten Out 99 Expansion of the Middle Section 103A Small Three-part Form 109 Larger Ternary Forms 112. Summary 128 CHAPTER FIVE Application of Part-Writing Procedures to Instrumental Music 19 Introduction 129 Similarities Between Vocal and Instrumental Weiting 130 Differentiating Instrumental from Vocal Wilting 133 Projects in Writing for the Keyboard 145 Project I: Realization of Seventeenth- and Fighteenth-Century Compositions for Solo Insitument or Voice and Figured Bass 143 Project Ii: Har- -monizing a Folk Song as Vocal Solo with Accompaniment 156 Project ill: Com posing an Original Melody and Accompaniment to a Given Text 162 CHAPTER SIX Diatonic Seventh Chords 170 The Major Seventh Chord 179 Uses of Single Diatonic Seventh Chords 174 Diatonic Seventh Chords in Sequence, Three Voices 174 Diatonic Seventh ‘Chords in Succession and in Sequence, Four Voices 177 Writing Single Diatonic Seventh Chords 187 Writing Harmonie Sequences in Three Voices 188 Waiting Harmonic Sequences in Four Voices 188 Keyboard Harmony 194 Summary 198 ' iCHAPTER SEVEN Borrowed Chords 199 Borrowed Chords 200 The Borrowed Chord and Tonicization 203 Tempo. rary Change of Mode 205 Modulation by Change of Mode 207 The Nea- ppolitan Sixth Chord 215 The Secondery Dominant of the Neapolitan Chord 218 ‘The Neapolitan Chord ina Sequence 218 The Neapolitan as a Pivot Chord 220 The Augmented Triad 226 | The Augmented Triad in Context 228 Other Augmented Sonorities 230 "Writing Borrowed Chords, the Neapolitan Sixth Chord, and Augmented Triads 234 Keyboard Harmony 239 Summary 240 (CHAPTER EIGHT Augmented Sixth Chords 241 The Conventional Augmented Sixth Chords, Minor Keys 241 The Conventional Augmented Sixth Chords, Major Keys 245. Spelling Augmented Sixth Chords 247 Alternate Spelling of the Gré in a Major Key 248 Writing Augmented Sixth Chords 256 Keyboard Harmony 262 Summary 264 CHAPTER NINE Augmented Sixth Chords: Modulation and Other Uses 266 ‘Modulation with the German Sixth Chord 266 Spelling the GR6 Pivot 272 Other Uses of Augmented Sixth Chords 279 Augmented Minor Seventh Chords 282 Keyboard Harmony 288 Summary 289 CHAPTER TEN Chords of the Ninth, Eleventh, and Thirteenth 290 Chords of the Ninth 290 Eleventh and Thirteenth Chords 299 Waiting Ninth Chords 308 The Ninth Chord in the Harmonic Sequence 308 Sum- mary 301 CHAPTER ELEVEN Chords and Progression: Special Situations 312 Some Less Common Chord Structures 312 Complex Harmonic Progressions 15CHAPTER TWELVE ‘The Close of the Nineteenth Century—The Beginning | of New Directions 330 Review of Traditional Harmony 322. ‘Triads in Chromatic Third Relationship 332 Root Movement by Tritone 336 Evasion of Tonic 338 Unconventional Root Movement 343 Indeterminate Tonic implication 346 Summary 358. CHAPTER THIRTEEN Debussy and Impressionism 359 Impressionism 359 Tonalty and Cadence Structure 359 The Whole Tone Seale 362 The Pentatonic Scale 363 Medieval Modes 364 Chords and Harmonic Progressions 6s Conventional Chords 366 Quartal and ‘Quintal Harmony; Added Tone Chords 368 Tritones and Augmented fifths 371 Suggestions for Analysis 372 Summary 381 CHAPTER FOURTEEN After Debussy: An Introduction to Twentieth Century Music 382 (CHAPTER FIETEEN ‘Twentieth Century Music: Melody, Rhythm, and Harmony 385 Melody 385 Meterand Rhythm 390 Harmony 398 Analysis 406 i Suggosted Writing Activities 416 Summary 417 CHAPTER SIXTEEN Serial Composition and Later Twentieth Century Practices 418 | Atonality 20 Twelve-Tone Systems 422 The Twelve-Tone Row 423 Identifying the Members of the Row 424 Using the Row 424 Combinatori- ality 438 Music Since 1950 443. Summary 453 APPENDIX | 455 APPENDIX I 459 INDEX 464Advanced Harmony: Theory and Practice, 4th Ba, continues the course of instruction in basic music theory begun in Elementary Harmony: Theory and Practice, fourth edition (Prentice Hall, 1989), These two volumes together in- clude materials ranging from music fundamentals through twentiethcentury ‘music, covering the needs of the usual two-year college music theory prograz in the subject areas of harmony and analysis, as well as their application to key- board harmony. How these correlate with the author's texts for sight singing and ear training, the other important components of the music theory program, is discussed at the end of this Preface. Although the study of harmonic concepts and structures is presented in a traditional and expected sequence, the order of chapters is not inflexible. Some studies that appear to be fixed in the progression of chapters can easily be pre- sented at other places in the curriculum as desired. These include Chapter 4, “Binary and Ternary Form,” and Chapter 5, “Application of Part-Writing Pro- cedures to Instrumental Writing.” The opening materials of Chapter 6 can eas- ily be used as a basis for writing assignments as early as the presentation of Chapter 1, These materials and the ones of Chapter 5 which remain can and should be applied to writing projects throughout the academic vear as new har- monic materials are introduced. Also, Chapter 6, “Diatonic Seventh Chords,” which seemingly appears late in the text, can easily follow Chapter 2 if desired. Theory texts tend to present traditional materials in eategories, their uses shown in simple and uncomplicated excerpts from the works of composers. But there are many passages in music where a number of factors operate simulla- neously, requiring the ability to isolate these faetors and to understand their in- terrelationships. Chaptor 11, “Chords and Progressions in Special Situations,” provides instruction in this type of analysis together with a number of interest- ing and challenging examples from the works of Bach through composers of the late nineteenth contury. ‘The concluding chapters on the subject of twentieth-century music are preceded by studies showing how music of the preceding century literally used up its resources while at the same time prophesing the music of the future, and how the influence of Debussy in particular provided the impetus for writing in vii Prefacestyles contrasting markedly from the traditional, For twentieth-century music, included are studios of music with ties to earlior musie, as well as the develop” ment of new and original concepts in music composition. ‘New to this edition is the addition of the Workbook for Advanced Har- ‘mony. In it will be found a wealth of materials in-both writing and analysis. Es- pecially helpful to students is a semi-programmed format, similar to that in the Workbook for Elementary Harmony. Writing exercises are divided into two groups, those with answers given, followed by similar exercises without an- swers. The assignments in analysis, ranging from easy to challenging, supple- ‘ment those in the principal text with a greater variety of composers und com- positional styles. ‘The remaining requirements of the theory program, sight singing (includ- ing rhythmic studies) and ear training, are covered in these separate volumes is the pivot pitch. Whatis its function in each of the two keys? ‘How does this use of the pivot pitch differ from the two examples from the text, ‘Figures'1.14 and 1.15? Masser, Werther, Act ‘Gil abjecomprs' (7) In measure 42, tho chord spelling is obviously an. enharmonic one, What would be its spelling if the use of flats continued from the previous measure? What would be its key name in flats, and what key signature would be neces- sary? Beethoven, Sonata for Pano, Op 13, Adacio canaile second moverient OO = 1920 Modulation Partwriting Modulations No new part-writing procedures are necessary when Writing a modulation. For teview of the basic principles of part-writing, see Chapter 5 of Ottman, Ele- mentary Harmony, fourth edition, and consult the index of that text for the loca tion of detailed explanation of each of the various procedures, Also, consult Ap- pendix 1 in this volume where you will find a concise description of each of the basie part-writing procedures. Part-writing assignments in four voiees, such as the assignment immedi- ately following, may also be worked out in open score, (1) using treble, alto, tenor, and bass clefs, and (2) for instrumental combinations using appropriate clefs, key signatures, and transpositions. Review Elementary Harmony, fourth edition, pages 169-173, for detailed instruction, and Appendix 2, “Instrumenta- tion,” in the present volume for specific information concerning each instru- ‘ment. Assignment 1.3 Part-writing, Add alto and tenor voices. Supply aroman numeral analysis, iden- tifying the pivot in each key. In other types of modulation, describe the proce- dure used,21 ModutationModulation @ 6 7644 ® 5)di iii ee sa eepucnanaa st @ Modulation a6 6am 4 8 - 205 aH ScesitateCea! 7 ‘ 4 we ,YReview Blementary Harmony, fourth edition, pages 255-6 for the simitaneaus use of +7 andi, Assigament 14 Part-writing, Write the following chord progressions in four voices, Devise a sat- isfactory rhythmic pattern within each measure. Other keys may be used, aiG minor. 3i|Vliig V Jiciv = | - i (vtiiteev fi b) Eb major. 4V§ [1 V7 vi V5 |igiviV | le IVEY [1 |) OF# major. g1 | #4VS1N, | IVIEV Hii | iv Vatsiig vif Melody Harmonization ‘To harmonize a phrase containing a modulation, follow this procedure: 1, Analyze the cadence, Is itin a key different from thatof the beginning of the phrase? Ifso, determine the relationship between the two keys, Use Table 1.1 to find the possible pivot chords. 2. Locate a place for the pivot:chord. Look for melody tones that:imply V1 ‘or If-V—Tin the new key. Does the first or second chord preceding this progression function in both Keys? If so, it ean be the pivot. Place the pivot numbers below the note for that chord, 3, Choose the harmony for the rest of the phrase. 4, Write the three lower voices, using inversions and nonharmonic tones where appropriate. 2324 Modutation ‘Observe this process in Figure 1.18, FIGURE1.18. Harmonizing modulation * ® @ 1, Themelody modulates from B} major to its submediant key, G-minor, as indicated by the melodic cadence F#-G. 2. The first indication of G minor is A~BS in the melodic line, suggesting ‘Y-iinG minor. 3. Precoding tho A~Bt is the note C, representing CB} G, which can act as, a pivot, ii = iv. In this melody, there is also another pivot location available. It is ‘onthenote Bb in measure 2, I = IIT. Always look for such alternate loca- tions, and choose the one you believe sounds better. 4, Harmonize the remainder of the melody. Here aro the two possibilities: Bb: | [iIVEL [i giivVi at |igvil) By: |aIVET iV g: ti ligvil Always consider the possibility that your first harmonization might be im- proved upon through further experimentation. Look again at the chorale, exam- plo(8) in Assignment 1.2. The melodiclines of measures 1-2 and 5-6 are identi- cal, Measures 1-2are diatonic, all in the key of D major. Measures 5—6make use of simple chromaticism (as you have already analyzed) and include a modula- tion to B minor. As an example of more imaginative writing, try, in Assignment 1.5, this progression in measure 7-8 of melody (6), IV vii’ Vt | ig Vii | cy = instead of the easiest possibilities: -[V-i-| or b:i--vi |ii*§vi-| b: | | ; 3 ' | | | | : i 7 | | i |Modulation 25 Assignment 1.5 Melody harmonization. Harmonize one or more of these melodies as assigned. After completing your harmonization, it will be both interesting and instructive to compare your version with that of Bach, as found in the 371 Chorales. Where Bach has provided more than one harmonization,? study each one. The chorale numbers are: (1) 102, (2)95, (3) 120, (4) 340, and (5) 183. a == "Bach made aa many a8 nine different harmonizatians of some choreles. In the Mainous- Odtman edition, toss references to all he harmonizations ure given with each choral,i E 26 Modulation @) a cy - a (6) Assignment 1.6, Writing Modulations Select an opening key, major or minor. From Table 1.1., choose a key relation- ship and one of the pairs of pivot chords indicated for that modulation; for exam- ple, E minor, modulation to the submediant, iv = vi. Write an example in fourvoices or for four instruments. Be sure that the original key is firmly established by at least one cadential progression, as in the examples in Assignment 1.4 and that the chords leading up to and away from the pivot chord are good acceptable progressions. Strive for & good soprano melody line. Keyboard Harmony ‘The harmonic progressions of Figure 1.19, written for keyboard practice, present modulations from both major and minor keys to each closely related key. For each example, the pivot chord chosen provides one of the easier ways of pro- «gressing from one key to another. FIGURE 1.19 (1). the dominant @).e the ststominant (rw me superionic co C Naar i i : ‘ i ' i : : | : ‘ i ' ‘ | |28 Modulation (Sto the mediant | {0 20t dominnt (Dwothe subdominant (10 thesubmediant a iy 1 (9) 10 te mediantsai Sia Cebieaeuaeasiaaeaieaessinsanncuabiial (Cupro me sate Assignment 1.7 Playing modulations to closely related keys. Play progressions from Figure 1.19, Note that each begins with I-IV-V-I (i-iv-V-i) to establish the original key. a) Play each progression in all keys. Any progression may be played begin- ning with the first chord in a different soprano position—positions of following chords will be determined by basic part-writing procedures. 4) Modulate to a closely related key and return to the original key. For ex- ample, modulate from C major to the submediant and return to C major. Follow these steps. (1) modulate to the submediant (A minor) as in progression number 3, (2) determine relationship of new key (A minor) to original key (C ‘major}—C major is the mediant of A minor. (2) from A minor, modulate to the mediant-as in progression number 9. TO PLAY AMODULATION PLAY FOLLOWED BY FROM A MAJOR KEY TO PROGRESSION NO. PROGRESSION NO. dominant and return 1 2 subdominant and return 2 1 submediantand return 3 9 supertonic and return 4 0 mediant and return 5 8 ‘TOPIAY AMODULATION PLAY FOLLOWED BY FROM A MINOR KEY TO: PROGRESSIONNO. PROGRESSION NO. dominant and return 6 Ed subdominant and return 7 6 submediant and return 8 5 ‘mediant and return 9 3 subtonic and return 0 4 Modulation — 29Modulation Assignment 1.8 Playing modulations, using other harmonic patterns. ‘Modulations ean be played with pivots other than those shown in Figure 1.19. Choose a pivot from Table 1.1, establish the original key with I-IV-V-I, and follow the pivot with a common progression in the new key. If necessary, ‘write out the chord progression first, Figure 1.20 shows a modulation from a major key to it supertonic, using the pivot vi = v. The pivot in the new key is the minor dominant, requiring that its seventh seale step descend (C-Bh), ¥-VI is a logical choiee, followed by the usual ii*{-V-i, FIGURE 120. Erample ofa modulation with a less common pivot. Assignment 1.9 Play exercises from Assignment 1.8 at the keyboard. Assignment 1.10 Harmonize at the keyboard melodies chosen from Ottman, Music for Sight Sing- ing, third edition (Prentice Hall, 1986), Chapters 11 and 12, and from Ottman, More Music for Sight Singing (Prentice Hall, 1981), melodies 693—742.Summary A modulation oceurs when music progresses from one key to another. Mod- ulations can be classified in two ways: (1) by the relationship of the two keys, and (2) by the method of achieving the new key. ‘There are two groups of key relationships: 1, Closely related keys. Two keys are closely related when the tonie of the new key isa diatonic triad in the original key. For ealculation in minor kkeys, triads built on the degrees of the natural (pure) minor seale are used. Therefore, thore are five closely related keys to each major and each minor key (there are no related keys from vii’ in major and ii* in : minor since a diminished triad cannot function as a tonic triad), i A close look at the five closely related keys shows that each has either the same signature or a signature with one accidental more or less than the signature of the original key. Also, the triads representing the tonic, subdominant and dominant triads and the relative minor for ; ‘each (or from a minor key, the relative major for exch) are the tonic tri- ads of the closely related keys. 2, Remote or foreign keys. Any key not closely related is in a remote rela- tionship to the new key, A modulation can be achieved in several ways, that by pivot chord being the most eammon, 1. Pivot chord (common chord). To be a pivot, a chord is spelled identically in both keys. Therefore, it has a dual function as the last chord of the original key and the first chord of the new key. 2, Sequence. In @ harmonic sequence, the progression may be ended at a point where a chord can function as a tonic in the new key. Also, a me- lodic’harmonic pattern such as a short phrase can be transposed at dif- ferent pitch levels until the desired key is reached. 3. Direct change of key. A direct key change is accomplished (a) by simply stopping in one key and starting in another, (b) by chromatic alteration ‘ofa scale step in one of the voice lines, using the same letter name, and (c}by pivot piteh, in which a single pitch in the original key assumes a different function in the new key. A secondary tonal level is a progression within a phrase which seems to achieve a tonic, the effect of which is negated by continuation of the phrase to a tonic in the original key or to a key different from that in the secondary level. Modutation 31| CHAPTER TWO Diminished Triads and Seventh Chords, | Including Secondary Leading Tone Functions | ‘The importanee of the dominant relationship has been stressed from the begin- ning of our study of harmony, and has included consideration of a) the dominant triad and the dominant seventh chord b) the leading tone triad ©) the secondary dominant triads and their seventh chords Our continuing study of the dominant relationships will include the use of di- rminished triads in a secondary function, and diminished seventh chords in both primary and secondary functions. Secondary Leading Tone Triads Just as the leading tone triad, vii’, can progress to tonic in a dominant-to- tonic relationship, so can other major and minor triads in the key be tonicized by their secondary leading tone triads. Figure 2.1 shows (a) the diatonie leading tone triad, vii's, (b) the diminished triad F¥ A C used as the secondary leading tone triad to V, GBD, in the key of G, and (c) the progression from “(b)” above, as used by Bach, in which a suspension occurs with the diminished triad, FIGURE21. Comparison of the diatonic and secondary leading tone triads Back, Christus i erstonden, No, 2080Diminished Triads and Seventh Chords, Including Secondary Leading Ton Figure 2.2 shows, in root position, the secondary leading tone triad to each diatonic triad in major and minor keys. The figure shows two sets of identifying symbols. The first set correctly describes the function of each triad, but the sym- bol is lengthy to the point of being cumbersome. In the second set, the simplified symbol “/” means “vii.” As an example, ““/1TL,” means “vii” spoken “seven of three.” is understood, ofcourse, that like all diminished triads, these are ordinarily used only in frst inversion; there- fore, “/” implies “/”, ‘We will use the simplified symbols in this text, but both are acceptable, FIGURE22. The secondary leading tone triads (a) Najorkeys eT) Ce (0) Minor keys win viv PINE PVE Om Oy OMT ov Observe that all of the secondary leading tone triads except °/IIT include an accidental not in the key signature. This one exception is spelled the same a3 the diatonic ii"; they are differentiated by their resolutions as shown in Figure 2.8. The DF At could be consisored as ii” progressing to IIT, but in listening, the following triad, E> G Bb, sounds tonieized, just as in Figure 2.1c, where G BD. is tonicized by F# AC. FIGURE23. The triad D FAb used as ii°-Vand as YMl!-IIl in C minor @ o, ey 4 cm om ow HAssignment 2.1 Spell each of the secondary leading tone triads in any major or minor key, For example, to spell “iv in E minor, (1) the root of iv is A, (2) the leading tone to Ais Gt, and (8) diminished triad spelled on Gt is GE BD, Uses of the Secondary Leading Tone Triads Music examples showing the use of secondary leading tone triads began | ‘with measure (c) of Figure 2.1, illustrating /V-V. This progression, an / triad within the phrase tonicizing its following triad, represents the simplest and \ ‘most common use ofthis group of triads. Continuing in Figure 24, the “V resolves to the toni six-four chord. The secondary leading tone, Df, resolves as usual by half stop. While the resolution to Bis correct, it is unconventional in that B is a nonharmonic tone. E then be- «gins a downward scale passage, 5, 4,2, 1 In this passage, the first harmonic tone following Dé is C, an interval of an augmented second neatly avoided by imaginative use of nonharmonic tones, FIGURE 24. /V-ISat the cadence Andante eee Suite 1, *Saeabaode™ a wie vs Figure 2.5 shows the common quasi-modulation at the cadence, Here, in- stead of the secondary dominant progression I-V/V-V, we find the secondary leading tone progression, I-"/V-V (which, if' a modulation to D is considered, would be analyzed as G:I = D: 1V-vii?-D. ‘The abel ~ means “cae step.” § means th sale sep” Tis symbol, continued from Elementary Harmony, willbe used throughout this text.Diminished Triads and Seventh Chords, Including Secondary Leading Tone Functions 35, FIGURE25, The ‘/Vat the cadence ach, Der Tag, der iso Frendoneios, No, 198 astalfoaiome G:Vg «TOW VG OE senelaion Gi: Vg ov WG 1 vf 1 ‘These triads are effectively used in the progression I-vii"p-Is or reverse, but on a pitch level other than tonic. In Figure 2.6, there are two such occur- ences, one each on the levels of vi and if. FIGURE26. Examples of *viand ‘i Moderato Schumann, Album for dhe Youn, Op. 68, No. 43 a vi Ofivig Pg Compared with diminished seventh chords the use of these triads is quite infrequent, in spite of many possibilities offered by the variety available. Diminished Seventh Chords Adding a seventh above the root of a diminished triad will produce a dimin- ished seventh chord. There are two varieties, depending upon the size of the sev- enth, Whining86 Diminished Triads and Seventh Chords, Including Secondary Leading Tone Functions the interval ofa diminished seventh between the root and the seventh of the chord. The name of the chord is commonly shortened to diminished seventh chord, adding the term “-fully” when necessary to distinguish it from the other variety. The symbol °" will mean “fully diminished sev- enth chord,” as in Figure 2.7a. 2. The diminished minor seventh chord includes the interval of a minor seventh betwoon the root and the seventh of the chord. It is usually called a half diminished seventh chord. The symbol *? will mean “half | diminished chord,” as in Figure 2.7b, | 1. The diminished-diminished or fully diminished seventh chord includes FIGURE2.7. The two varieties of diminished seventh chords fo) ( Assignment 2.2 Spell the diminished seventh chords above these pitch names, (The spelling can also be accomplished by adding z minor third above the diminished triad. Exam- ple, BDF + m3(Ab) = BDF AN), E, Ch, A, Gt, Cx, Ef, DEG, Bb Assignment 2.3 Spell the half diminished seventh chords above these pitch names. (The spelling can also be accomplished by adding a major third above the diminished triad. Example, DF Ab = M3(C) = DFAS C,) B, E, FH, A, Gt, Fx, C, G, Bb, Di Characteristics of the Diminished Seventh Chord ‘The diminished seventh chord (referring to the diminished-diminished variety) displays features unlike other chords studied thus far. Composers have taken advantage of its many unique features, as will be shown later in this and other chapters,Diminished Triads and Seventh Chords, Including Secondary Leading Tone Functions 1, Construction. The chord is made up exclusively of minor thirds. The in- terval from the soventh up to the root is written as an augmented see- ‘ond, the enharmonic equivalent of the minor third. FIGURE28, Intervals in the diminished seventh chord wey Y m3 m3 m3 AGM) m3 In addition, every interval located by skipping a member of the chord is a tritone; a diminished fifth or its enharmonic equivalent, an augmented fourth. For these reasons, the diminished seventh chord lacks any semblance of stabil- ity; it isa “restless” chord which must seek its resolution, FIGURE29. , Tritones in the diminished seventh chord ads 2, Inversions. Though on paper the chord ean be inverted, its sound re- mains the same, regardless of the arrangement of the tones. The equal division of the octave prevents any inversion from having a characteris- tic sound of its own, in contrast to inversions of most other chords. In fact, each inversion can be spelled enharmonically, 30 that the lowest, sounding note ean be considered a root, or all lowest notes could be thirds, and soon, FIGURE 210. _ inversions of the diminished seventh chord. ey Sra fist second thd Inversion inversion —_fnverson 37Pe B8 Diminished Triads and Seventh Chords, Including Secondary Leading Tone Punctions 3, Sonorities. There are only three different diminished seventh chord sounds, (Figures 2.11 a, 5, and). Atd, the chord, though spelled differ- cently from a, is simply the inversion ofa. Any other possible spelling of any diminished seventh chord will also prove tobe a respelling of one of | the three sounds represented by a, b, and c, Different spellings of the same sound are necessary in the score to indicate differing functions of the sound. For example, both chords in Figure 2.12 sound the same, but, are spelled differently to express different uses of that sound: vii” pro- -sresses to I while “/vi progresses to vi FIGURE 2.11. The three possible sounds eee heh FIGURE212. Same sound but different function i Ce 4, Resolution of the seventh, The seventh of the diminished seventh chord ‘may resolve in either of two ways: a, With a change of harmony at the point of the resolution of the sev- enth (Figure 2.13a, showing such a resolution in both the V" and the vii?), 'b. With no movement in the other three voices, resulting in a major- minor seventh chord (Figure 2.13b). In most such cases, the seventh can be eonsidered a simple nonharmonic tone (Figure 2.18).é i | : i i ‘ Diminished Triads and Seventh Chords, Including Secondary Leading Tone Functions FIGURE 213. Resolutions of the seventh @ 7 (eo Ed a pe Terminology Variant Both the diminished triad and the diminished seventh chord may be con- sidered as dominant chords, each with its root missing. In this view, the vii* triad is V? with a missing root, symbolized V",, while the diminished seventh chord is a V° with its root missing, symbolized V's. This concept will be helpful in certain analyses. FIGURE214. Alternate symbols Aminor VT VBorvie v9 V8. ori? ‘The Leading Tone Seventh Chord ‘There are three usefil seventh chords built on the leading tone of a key (Figure 2.15): 1. vii*7ina minor key isa diatonic triad built on the leading tone, consider- ing #7 in minor to be a diatonic tone (Figure 2.15a), 2, vii" in a major key is spelled identically to the vii" in a minor key. To achieve this spelling in major, 6 must be chromatically lowered one half step (Figure 2.15, where A is lowered to AD). 3, vii?” in a major key is a diatonic triad built on the leading tone (Figure 21.50). It is used far less frequently than the vii?? chords. The vii"? in 39| 40 Diminished Triads and Seventh Chords, Including Secondary Leading Tone Functions i i minor (not shown) is very rare since its seventh, which should descend, i is also #6 which should ascend. FIGURE215. The leading tone seventh chords « &) © minor vi? major wit wis Assignment 2.4 1) Spell the vii in each major and minor key. b) Spell the vii"? in each major key. Examples of Uses of the Leading Tone Seventh Chords ‘The leading tone seventh chords almost invariably progress to tonic, When ‘used as a dominant funetion in any other way, such as in a deceptive cadence, the chord is ordinarily respelled even though the sound is the same. The use of any diminished seventh chord in any inversion is acceptable, ‘and indeed, common. Figures 2.16 and 2.17 show the vii” in first inversion and in second inversion respectively. Note the resolutions, the descending seventh and the ascending root (leading tone). FIGURE216. vii”, first inversion Bach, Lt Gott mein Schild nd Heffernan, No, 2 a| | | snipes Diminished Triads and Seventh Chords, Including Secondary Leading Tone Fun FIGURE 217. vii”, second inversion Mocart, Sonata for Piano, K. 279, second movement ‘The seventh, Bh, in Figure 2.18 resolves to A while the harmony is static, an example of the early resolution of the seventh. The Bé is quite obviously a simple upper-neighbor tone, so the harmony is best analyzed as the first inver- sion of V" FIGURE218. Early resolution of the seventh Bac, Jeo, meine Praude, No. 385 a r aLSlightly more complex is the explanation for the repeated B's in the bass clef of Figure 2.19. Above each “V” in the analysis, the early resolution of Eb be- fore a change of harmony indicates the use of neighbor tones. ‘The Eb above “i” functions in the same way, though to the eye there appears to be a VI triad. The latter is an excellent example of the “consonant” nosharmonie tone deseribed in Elementary Harmony, fourth edition, page 281, FIGURE219. Neighbor tones in Vand ‘Chopin, Noctume, Op. 37, No. i v f v i ‘The less common vii"? is found in the next example at the point of a dra- matic climax in the theme of this scherzo movement. FIGURE220. The vii*” chord Schubert, Sonata a A Minor for Piano, Allegzovivace '. #45, thd movementseis Secondary Leading Tone Seventh Chords Figure 2.21 shows all the possible diminished secondary leading tone sev- enth chords, but note that those with the asterisk (*) are by far more common, A fully diminished seventh chord is possible above each root. Half diminished sev- enth chords are also possible except when the seventh is a raised scale step or is 46 in the key of the tonicized minor triad (for example, in C minor, E GB} D,"/iv, includes D, the#6 of the tonicized key of F minor). The natural resolution of these tones is upwards, but as chord sevenths, their usual resolution is downwards, FIGURE221, The secondary leading tone seventh chords {a Major ks Seen ee tects cere nrecte sera Se oa G Nace bess ‘g="§=Sp a om Cant ay ow Mm wt svn vat Inthe analysis symbols, “vii” is again omitted in the interests of simplifica- tion, Therefore, for example, “/ii” means “viii” For inversions, use “or with the appropriate figured bass symbol. For ex- ample °f/ii means “the first inversion of the viii.” Occasionally a secondary diminished seventh chord will precede a chord other than a diatonic triad. Figure 2:24, measure 19, is a good example. In C major, the “/ii (C¥ E G Bs) precedes not ii, D FA, but V/V, D F4 A. In this and similar situations, a satisfactory eymbol is °' V/V, placing the “> under the diminished seventh chord. 43,44 Diminished Triads and Seventh Chords, Including Secondary Leading Tone Functions Assignment2.5 Spell the sceondary leading tone seventh chords in any given major or iminor key. Regular Resolution of Secondary Leading Tone Seventh Chords Each chord of Figure 2.21 resolves as does any diminished seventh chord: ‘The root (a leading tone function) rises a half step, while the seventh resolves, down stepwise, Figures 2.22 and 2.23 show various secondary leading tone sev- enth chords, In each of these, the seventh resolves simultaneously with the chord as.a whole, Bach of these examples illustrates these chords as used in har- manic sequences. FIGURE 222, vii”, "/IV, 7 Sebumenn, Conertoin A Minor Alero at for Piano and Orshests, Op St ist movement FIGURE 223. vil”, 7/1V, °%/V, "vi Mozart, String Quartet, K 88, Moderate tr end moxementDiminished Triads and Seventh Chords, Including Secondary Leading Tone Functions W stay wot Os ow ag n " 6 Soo Figure 2.26 and accompanying discussion fer °/V-I! and igure 2.30 for successive"? ehords ‘When found in inversion, there is no change of spelling in these diminished seventh chords, even though to the ear the lowest sounding note could be the root of the chord. The actual root and seventh resolve exactly as in the root posi- tion of the chord, as shown in Figure 2.24. FIGURE 2.24. 7 chords in inversion ps ns (Firecie aoe! fa) Moder siplice ® 45,46 Diminished Triads and Seventh Chords, Including Secondary Leoding Tone Functions 7 viv io? 1 Early Resolution of the Seventh ‘The early resolution, described in this chapter in connection with the vii", applies equally as well to the secondary leading tone sevenths. In Figure 2.25, measure3, the E of Fi AC Eb resolves toD, resulting ina D F¥AC chord, Vi/iv. ‘The simpler analysis is that of an V"fiv for two beats with an appoggiatura Eb, Tn measure 5, the pattern is repeated in the V? chord. However, when the aural impression of a diminished seventh sonority is as positive as that of Figure 2.25, analysis as a diminished seventh progressing toa dominant seventh cannot be ruled out. When an objective analysis is difficult, ‘ither solution is acceptable, FIGURE225. Early resolution of the seventh ‘Franck, Symphony in D Minor Poms ee Jon 2 Vii iw vv i or Miv Vlei ori Resolution of 7/V to Tonic Six-Four It has been established that the tonic six-four functions as a dominant chord, containing two nonharmonic tones. Therefore, the “/V chord can just as easily resolve to I$ or if as to V.Diminished Triads and Seventh Chords, Including Secondary Leading Tone Functions 47 In major, a notational problem arises: The seventh of the diminished eev- enth chord must descend. In Figure 2.26b the seventh of Fi A C Es instead of descending resolves up by half step to the Et of 15. Most composers let this stand, as can be seen at the eadence of Figure 2.23, D;—Di. Some composers, however, prefer to write this diminished seventh chord with an enharmonic spelling, In Figure 2.26c, Di Fi AC replaces F¥ A C Es, so that Di, instead of E}, resolves to E, Although the chord appears to be spelled as “ii, it functions as “/V. This sonority is shown in another key in Figure 2.27 as used by Haydn, What isthe Vspelling of this chord? Another explanation of this progression is found following Figure 2.29. FIGURE226. /V-16, alternate spelling @ “~ wo wr Seciy ee cey sage ties aie say sag esse men sein FIGURE 2.27 Hob. 1S! Fest movement ue bp ov wt wey go ov 1 “Note the deceptive resolution of Vwi in progreseing to IV, more graphically stated i the symbol Vind. WF :48 Diminished Triads and Seventh Chords, Including Secondary Leading Tone Funetions ‘The Nondominant Use of Diminished Seventh Chords ‘There are two other diminished seventh chords commonly used in music ‘that do not function as secondary leading tone chords. They are the#ii” and# vi*" inmajor keys. In each of these, the root of the chord resolves up a half step to the third of the following chord: #ii7-I, and #vi""—V. or Vf (Figure 2.28) ‘The sevenths of these chords, unlike those of the leading tone chords, need not resolve down, but usuallly remain stationary. FIGURE 228 fii*” andévi? J ©: WT Ig bi? Vg HR? vE Figure 2.29 includes both chords, thet vi"" being in inversion. When used in, inversion, the roots of these chords still resolve up one half step to the third of, the following chord. FIGURE229 fii” anddvi” Beothoven, Quartet, Op. 18, No.3, Andante oon moto second movement Ur:Diminished Triads and Seventh Chords, Including Secondary Leading Tone Functions 49 ‘The#ii* chord can also help explain the respelled “/V in Figure 2.266. The spelling Df F# AC in C majoriis enharmonic with that for°"/V, F} ACE. The Dt F} AC spelling is also that of the #ii””. In Figure 2.26e, the root D4 resolves up a half step to the third of If, the same asin the ii*. The same reasoning will apply to the E# Gt B D chord of Figure 2.27. So in the progression to If, this spelling has two interpretations, a respelling of */V or the ii” Assignment 2.6 Spell in each major key the ii and vi" chords, Other Considerations Successive Diminished Seventh Chords Diminished seventh chords are often used freely in succession and without eon- cern for resolution of sevenths or of altered tones. In such a succession, any feel- ing for a specific key is often lost until the final diminished seventh chord, which usually resolves normally. In this situation, Roman numeral symbols are with- out vaiue, except to identify the spelling of the chord. In Figure 2.30, four succos- sive diminished seventh chords effectively eliminate a sense of key until the last of the four, Cf E.GBb, assumes the role of a /V chord in resolving to if FIGURE 2.90 Successive diminished seventh chords Bt, es Pheu ds Pete Agro moto ‘etl No.8, “Duo ® GIS ee an ost temps on ———i 50 Descending Resolution of the Root of a Diminished Seventh Chord Inall previous chords of dominant function, the dominant triad, the leading tone ‘ triad, and the vii”, there has existed the possibility that the root (“leading tone”) of the chord could resolve down by half step, always using the same letter name. ‘The same is true with the secondary leading tone seventh chords, Figure 2.31 shows the root, B, of BD F Ab moving down by step to Bb of GBb D F. | : ‘This movement does not occur in the nondominant chords ii” and tvi"”. | FIGURE231 Lohengrin, Act UL | Allegro =ished Triads und Seventh Chords, Including Secondary Leading Tone Functions 5X ‘The Melodic Augmented Second ‘When using diminished seventh chords, the melodie interval of the augmented second may sometimes appear, especially when the chord is arpeggiated or re- peated in different positions, as in Figure 2.30, measures 93, 94, and 96. ‘Composers occasionally use this interval other than in a diminished sev- enth chord. Ina minor key, a seale passage displayed prominently in the musical texture may include all or part of the harmonic form of the scale, ascending or descending, FIGURE282. The A2inascale line Beethoven, Quartet, Op. $9,No. 3, ‘Andante con moto fecond movement ‘The two descending scale lines of Figure 2.32 display the descending har- ‘monic minor scale, including the augmented second, leading to an authentic ca- dence in D minor. Obviously, the V triad requires a Ci. Use of the descending melodic form of the scale, using Ct, would imply the minor v triad, while at the same time, each }6 must progress down, There is no choice but a melodic line including C#—B} ‘The interval is also used as an appoggiatura figure where the second note ofthe augmented second is the dissonant tone (Figure 2.38, measure 63, E-Fx). : | 152__Diminished Triads and Seventh Chords, netuding Secondary Leading Tone Funetions PIGURE233, The Aina nonharmonic tone pattern Maza, Seenade, No, 7, “Hainer” 10-250, sithmoverent Andante if Any other melodic augmented second you are likely to encounter will have its 4 own particular reason for its use, to be determined by the use of the interval in its context, i Assignment 2.7. Harmonie Analysis Each excerpt contains one or more of the various uses of diminished sonorities described in this chapter. Make a Roman numeral analysis below the staff and deseribe the use of the diminished sonorities. ‘Mozart, Sonata in D Major for Piano, 317, “hed nevement eee Bach, Gees Soha ist homer, No. 18Diminished Triads and Seventh Chords, Including Secondary Leading Tone Functions 53 ecthoven, Symphony No. 5, Op.67, fourth movement )—otaisert una epnan mat, Jo76 Schurtnm, Nach, Op. 23, No.2 —o » — 7 th54 Diminished Triads and Seventh Chords, Including Secondary Leading Tone Functions (5) This example has a key signature for A major, and begins and ends with A major triads. But does it begin in the key of A major? Ifnot, what other key? Try analyses under both conditions. Which one is more satisfactory? ‘The F4 A C triad in measure two is an altered form of Fy A C#. See Chap- ter? Brahms, Dein Herzen mild, Op. 62, No. mae F howe thee Ne thee Heroe-Iy dream ing will Tove’s ot ray rough thee be ence + Wy earning 5 r loam » ing, through thee, ‘through thee, through fieroe ly pgm ing. Chrough thee, hough thee be Reroe-ly gleaming Ja thee be fiewe = yyDiminished Triads and Seventh Chords, Including Seconsdary Leading Tone Functions Haya, Quartet, Hot 1S (7) This excerpt is noteworthy for its use of dissonance in conjunction with di- minished seventh chords. In each group of four sixteenth notes, which notes sound dissonant, either as a nonharmonic tone or as a seventh of a chord? ‘At measure 217, the three lower notes spell CE Bb, seemingly a major- minor seventh chord. The aural effect, like that in the provious measure, is a nonharmonic approach to the triad on the second beat. The appoggiatura By re- solves to A and the passing tone C to C#. Usually, this C is written as B¢ to em- phasize visually its nonharmonic function, but is not practical here because of the BS above it. This is another good example demonstrating that itis the sound of the notation that we are analyzing, and not its appearance. 5556 Diminished Triads and Seventh Chords, Including Secondary Leading Tone Functions In measure 218, why do Ct and C# sound simultaneously? (Review Ele- mentary Harmony, fourth edition, Figures 16.3 and 16.4.) Where else in this ex- cerpt do similar clashes occur? Moratt, Ouatet fr String R89 Allegretto "est movement on i ———— Vin re poco poco Vind free pocowpoeo Viola ‘resefpoce «poco cota ‘re. pow po 7 rem poe poco > ‘roe posi poco tf P cree pore a poco37 Diminished Triads and Seventh Chords, Ineluding Secondary Leading Tone Functions Part-Writing Diminished Triads and Seventh Chords Procedures listed here consist both ofa review of known practices and ath- cers unique to the part-writing of diminished triads and seventh chords. 1, Secondary leading tone triads are almost invariably in first inversion. 2, The seventh ofa seventh chord resolves down. 8. ‘The secondary leading tone (the root of the triad or seventh chord) will ascend. Exception: the root may descend a half step to a pitch of the same letter name. Review Figure 2.31, 4, When diminished seventh chords are used in suecession, altered tones ‘may move in any direction. 5. A cross relation is acceptable when one of the tones is a member of a diminished seventh chord. ‘The characteristic sound of the chord dis- tracts the ear from the usual unpleasant effect of the eross relation. 6, In the half diminished seventh chord, root in bass and seventh in so- prano, eare must be taken to avoid parallel fifths, as in Figure 2.34a, Doubling the third or fifth of the triad of resolution is usually effective, asin Figure2.84b, and c. See Mozart's solution in Figure 2.23.58 Diminished Triads and Seventh Chords, Including Secondary Leading Tone Funetions FIGURE 2.94 @) wo te (a 7. In the nondominant chords, fii"? and #vi"", the root and third each ‘movo up a half step. The seventh is usually held over. See Figures 2.28 and 2.29. Assignment 2.8. Part-Writing Secondary Leading Tone Triads Fill in alto and tenor voices. Write in harmonie analysis.Diminished Triads and Sevonth Chords, Including Secondary Leadting Tone Functions 59 o 6 estes lerate@ites 6 6 6 Assignment 2.9. Part-writing Diminished Seventh Chords Fill in alto and tenor voices. Make harmonie analysis. © ® @ vob 7 rs ® “ © o80 Diminished Triads and Seventh Chords, Including Secondary Leading Tone Functions a ° 49 an Assignment 2.10. Part-writing Extended Exercises a@ o Diminished Triads and Seventh Chords, Including Secondary Leading Tone Functions ot62 Diminished Triads and Seventh Chords, Including Secondary Leading Tone Functions Assignment 2.11 ‘Melody harmonization, In harmonizing each melody, use vii” and any other di- minished seventh chord at appropriate places. Include a harmonic analysis, oe (3) use HO and foe? Keyboard Harmony Assignment 2.12 Playing diminished seventh chords. a) Play the tonie triad followed by a diminished seventh chord in root posi- tion, in turn followed by its resolution and a common progression back tothe tonic, for example, I-""/vi-vi-ii-V-I. FIGURE 2.35 I oriDiminished Triads and Seventh Chords, Including Secondary Leading Tone Functions 63 Using Figure 2.21, play in C major or C minor a progression that in- ‘ludes one of the chords marked with an asterisk. Continue with the remainder of the chords so marked, Then play these in other keys as ‘chosen or assigned. b) Play progression as in a) but experimont with various inversions of the diminished seventh chord, asin this example. FIGURE 2.36 Assignment 2.13 Play exercises from Assignment 2.9 at the keyboard, Assignment 2.14 | Play these harmonic progressions in keys as chosen or assigned. Some choices of the position of the initial tonic triad may lead to difficult part-writing, In such cases, start over with a different initial soprano position. PNW VE de vii’ 1 oN vil Ig vite 1 Hi, 78 IG VL vi vi? VE 1 ig VI ei vi ON VE le VV VI iii ih VL “VV VE i vv Vi weg vie? i ME VE aE64 Diminished Triads and Seventh Chords, Including Secondary Leading Tone Funetions Summary A secondary leading tone triad tonicizes its triad of resolution in the same ‘manner as the vi° tried progressing to tonic. Any major or minor triad may be so tonicized. Diminished seventh chords are of two varieties, each based on a dimin- ished triad: (1) the diminished-diminished (or fully diminished seventh) chord with the interval ofa diminished seventh above its root, and (2) the diminished minor (or half diminished) seventh with the interval of a minor seventh above its, root, Fully diminished seventh chords display these features: (1) the distance from one of its members to the next is always a minor third, or its enharmonic equivalent, the auzmented second, (2) any pair of successive thirds produces a tritone, (3) the chord sounds the same in any inversion, and (4) there are but three different diminished seventh chord sounds, Resolution of the seventh in either variety of the chord can oceur in two different ways: (1) the seventh resolves together with the other members of the chord, and (2) the seventh resolves alone, resulting in a major-minor seventh chord, ‘The leading tone seventh chord in a major key is either vii" or vii”, while in a minor key, only vii'Tis used. The secondary leading tone seventh chord tonicizes its following major or minor triad just as the secondary leading tone triad does, its root ascending one half step to the following root. ‘There are two nondominant diminished seventh chords, Fil" and vi". In each the root ascends one half step to the third of the following triad. Diminished seventh chords used in succession temporarily confuse any sense of key. The last in the series usually resolves as deseribed above, Like the third of secondary dominant chords, the root of the ditsinished seventh chord may resolve down by half step to a tone using the same letter name.CHAPTER THREE Modulation with Diminished Seventh Chords ‘The “ as a pivot chord is more versatile than any other chord that could be used for this purpose. Any °" can follow a given chord in the original key and then become a useable function in any one of the other 29 major and minor keys. You ‘might liken the pivot to the “neutral” position in a stick-shift auto transmis- sion where you can leave any gear (original key), go into neutral (* pivot), and shift into any other gear (new key). See Figure 3.1. PIGURE 3.1. The ° as a pivot chord original key “| ——= C ”) =< | any new key an = ‘These characteristics of the °* chord allow this versatility: (1) When inverted, its sound is no different from any other position of the chord. (2) Any “chord and each of its inversions can be apelled enharmonieally. ‘The chord EA Gf B D, for example, can be spelled enharmonically as FAb Cb Eb, and the first inversion of either of these as G B D F. Any enharmonic respelling that produces a root that can function as @ leading tone can be useful as a pivot. Only roots with a flatted note, except BY, are not useful. Schubert's modulation from Bb major to F# minor in Figure 8.2a shows the process. It isa particularly good illustration as it shows the * as spelled in both keys, whereas in most instances the composer writes the pivot only in the new key. The reduction of this harmonic progression to block chords in Figure 3.2b helps to clarify the procedure. iW cae mies the spelling BE Db FY Abs serves forthe vi" af C} major. Other uses of an chord with a Slatted note asthe 00% are rare, and when required, are most likly tobe found spelled onharmon- cally. 6566° Modulation with Diminished Seventh Chords FIGURE32. The as pivot, both spellings shown BP mayor oT) BDF Abe Ff minor vie7, | ER-CHB D (both pling down) Schubert, Sonata in BP Major fo iano, (2) Mot mosento 1960, ft movement o) og ote oad a we i Follow the composer's procedures step by step.Modulation with Diminished Seventh Chords 67 BDF Ab was chosen as the pivot, appearing first in second inversion and followed by third inversion. It is not necessary to justify a “good” harmonic progression from the preceding V" chord. The V' (or any ather chord) is simply moving into neutral territory; any ® in any inversion could have been used, assuming a satiefaetory part-writing eonnection between the two, . BD FA} is repeated in its enharmonic equivalent of Ef Gt B D with the seventh as its highest tone. ‘The seventh, D, is resolved early to Ct. The resulting C# E} Gt Bis re- inforced by the bass movernent to the root of the V? which progresses to of Ff minor. Modulating to All Keys from a Single” Chord ‘Table 3.1 shows how a single“ spelling, B D F Ab, can be used to modulate to all keys. A similar table can be made based on any spelling. While the table is basically for reference, a careful perusing will facilitate understanding of the ‘modulatory process. In studying the table, keop these faets in mind: 1. The enharmonic spellings of B DF Ab are: DFAC F AGES GiB DF Cx Et GHB HGHB D 2, In this table, “ chords in new keys are limited in major to vii", “VIV viv in minor), and *#/V, These represent common uses of the three dif ferent ® sounds (Figure 2.11). Any other ®' chords, including the non- dominant aii and #vi, could have been used, for example, BD F A+, vii in C = “vin E} major or fii” in Ab major. Table 3.1 Modulation from C Major and C Minor to All Keys Using a Single * Chord, BD FA), and Its Enharmonie Spellings Ge vii? BDFAb Go vii, FAb Ch Ett Chet AV UW), EF G4 BD Gg AV (iv), BD FAS Da TV, GHB DE st NV, CER GAB a vid, Cx E# G4 B Ma vii, GEBDE Eseb vii”, DEAS Ch at WL, EE GE BD fe HV (ivi, GE BDF Bb,bb —*YIVCivi, DFAS Ch Bf IV, BDF AS Bb oN, EAGEBD Fi fi "EGE BD Go IN, FAb Cb EbbAssignment 3.1 Spelling enharmonic diminished seventh chords. An enharmonic spelling of an’ chord used in a modulation may be required, as seen in Table 3.1, or may be used as an alternate spelling under some circumstances, In this exercise, respell the given“ chord: (1) use each member of the original chord as a root, and (2) respell any resulting” chord enharmonicslly. Do not use aflaited note as root (Bb excepted,—review footnote I of this chapter), or any com- plete chord spelling using more than one double sharp or double lat, as ‘these have little or no practical application, (3) each given * chord will provide five additional chords, as shown in the example, Example: given, FA ACES. HOA CG OEb A Cc tb G Ge BE ODF FF Cf Gh Bb 8) DE FRA DE FR AC (Note that in this particular case the roots of F# A C Bb and Dé F# AC when, spelled enharmonically, Gb and Eh, cannot act as leading tones.) Provide similar enharmonic spellings for (1) BD F Ab, (2) Ad CEG, and (3) Bt Gt B D, or other spellings as assigned or chosen. Using the “as a Pivot Chord Most commonly, the“ pivotis spelled in the new key only, rather than in both keys as seen in Figure3.2. The single spelling of the pivot, that of the new key, is shown in Figure 3.3a, where, in measure 13, modulating from A major to Cf mi- nor, the pivotis A: °/V (Di FHA) = ct: vii" (Bt Dt Fz A). Figure 3.3b shows the same“ chord in its A major spelling, and how it might have progressed while remaining in the same key. ‘In measure 17, leaving C# minor, the *' pivot is spelled as vii"? in B minor. What is its spelling in C# minor?Modulation with Diminished Seventh Chords 69 FIGURES. The” pivot chord as vil?” o Schumann, Concert lr Piano A. Minor, Op. ‘bird movernent Allegro vivace - # ooh, lA ft NY ts The Secondary Leading Tone Chord as a Pivot in the New Key ‘The common use of the" pivot as a secondary leading tone seventh chord in the new key is demonstrated in Figure 3.4 where the pivot D# F¥ A C,“"/iiin D major is 7/V in the new key of A major. In this ease, the spelling of the pivotiis the same in both keys,70 Modutation with Diminished Seventh Chords Looking ahead, Figure 3.8, measure 153, shows an enharmonic pivot when both chords are secondary leading tone chords; °/V in C# minor, Fx Ad Cf E = “WV in G major, CH EG BS FIGURE3.4. Use of the secondary leading tone chord as the pivot D eaior, vi07 fi, DE FEAC= [A major, vi97/V, DF PF A C (same spelin in both keys} Allegretto Haydn, Symphony No. 101 (Clook/, . 0D hind nove oti : Dod As oN § va ‘The Nondominant Diminished Seventh Chord as a Pivot ‘The two nondominant diminished seventh chords, i and #vi", are also ‘useful asa pivot ineither or bath of the two keys of the modulation. In Figure 3.5, measure 15, G# BD F can easily be considered a vii" of the first key, A major, and at the same time fii"? in F major, its root, G#, progressing to A, the third of the new tonic triad, F AC. (The D F A in second inversion between the two ap- pearances of the ”’ should be considered a passing six-four chord. The Bb D F chord labeled Ne is presented in Chapter Seven.)Modulation with Diminished Seventh Chords 71 The fii” appears again in the next measure progressing to If. This use is another example of the alternate spelling of the °”/V, discussed on page 46. FIGURES.5. Use of the nondominant®” chordas the pivot chord Amajor, 07, GE BDE= F major, 07, GF BDF. Poco lento Brahins, Deir blaues Auge, Op. $9, No.8 f wit? eit se ~ he mich ge -sund Es brann - te mich ein "nT seek my Tie made ne Two burn ng ever en 1 ow Ww q Nels ONG s noch schmeret, noch schmerat_ das aid - end Pas sil “and sal the ‘irlled soul ‘adAlternate Spellings of Diminished Seventh Chords i Any diminished seventh chord may at times be found with a spelling not in i accordance with its function in its particular key. The tvi” of the new key in : Figure 36 is respelled both from its probable function in the first Key and its | “obvious function in the second key (spell vii" in the first key, B+ minor). This puzzle is unraveled in noting that Af, the third of V’, Ff A# C# E, is approachod by the note Aj from a half step below, the identifying characteristic of fvi”. ‘Therefore, the A of Di F}.A C funetions as Gx, the root of Gx Bg Da P¥, Fvi in B ‘major. What is the roason for this nonfunctional spelling? The most obvious rea- son is simplicity of notation, not uncommon when ™ spellings become complex. ‘We must emphasize again that analysis symbols must refer to the sound and not to the appearance of the notation, FIGURES6. Alternate spelling ofan” chord Brahms, Trio in B Major, Op. 8, hind movement th Vogtle B pie? ve og WT ‘Modulation by Resolving Early One Member of an 7 Chord We have already seen the seventh of the” chord regolve before the remain- ing members of the chord, resulting in a V3 chord (Figures 2.18 and 2.25), This principle can be extended to any member of an chord, increasing the potential possibilities for modulation. When any member of an“ chord is lowered one half step (using either the same letter name or the next lower letter name), that low- ered tone hecomes the root of a major-minor seventh chord. Figure 3.7, using B D F Ab asan example, shows those resulting major-minor seventh chords that are useful as dominant seventh chords or secondary dominant seventh chords (in the BD F Ab chord of Figure 8.7, chords built on For Abb are not useful). Note that the new spellings are sometimes expressed enharmonically.vin Viola coo Modulation with Diminished Seventh Chords FIGURE 37. Lowering members of the ” chord, 8 D FAS, by one halfstep ‘Member lowered to Resulting major-minor seventh root-B Bb BLDFAb root-B Ab AN CH EEGE third-D Db DEFAL CH third ca CHEE GHB fifth-F E EGrBD. seventh-Ab G GBDF ‘An example from Haydn is shown in Figure 8.8, where the change of key is, from Gmajor to the remote key of C# minor. At measure 146, the A of Da Ft AC resolves down by half step to G# which, together with the enharmonic change of to Bd in the bass voice, results in the chord (# B4 D4 F¥, V’ of C4 minor, FIGURE3.8. Modulation by resolution of a single tone of the ° chord Says, ane, Hoy E72, sesond movernent Andante graziso Tei DEFEAO af FRC HEB OF eo a 7374 Modulation with shed Seventh Chords ve hy AAR CED GMVCHEGBY Ie v § Inthe excerpt from Siegfried, Figure 8.9, the composer uses this device re- peatedly in short motives in close suecession, using both half diminished and fully diminished seventh chords. In the first of these motives, the A of BD FA moves down a half step to Gf, creating G# B DF, the D of which moves down a half step to Cd, creating a dominant seventh chord requiring an enharmonic spelling of C# Bi Gi B. Note that no attempt is made to resolve the achieved dominant seventh in each ease, except to proceed to another similar motive. At this point in the score this process continues for a total of nineteen measures during which the listener feels time after time that the musicis arriving at a new key, only to start over at another tonal level FIGURE 8.9, — Single-tone resolutions in series ~ Langsamee Wane, Siegfied, @) ‘Act il, Seen "ect the ae oer ch er hn etModulation with Diminished Seventh Chords Assignment 3.2 Altering chords to become major minor seventh chords. Make a list of chord members, as found under member lowered in Figure 3.7. Use an” chord spelling of your choice or as assigned, and complete the second and third columns as in Figure 3.7, Assignment 3.3 Analysis, Describe the process used for each modulation, either by Roman mux meral symbols or discussion, as appropriate. eetuoven, Sonata for Piano, Op. 27, (a) Adatiosostenuto ‘No.2, Best movement cc16 Modulation with Diminished Seventh Chords oe ‘suber, Sonata in D Major for Piao, Allegra vvace @ aS ost muvsinent (3)The diminished seventh chord is not spelled according to its function. In each, ofits two appearances, spell the chord according tots function and identify it by its harmonie symbol, Why was the chord spelled this way? Beethoven, Symphony No. Tin A Major. Op. 82, Allegretto recond movement‘Modulation with Diminished Seventh Chords 77 estzoves, Quartet, Op. 18 No.2, a78 © Modulation ieith Diminished Seventh Chords o Wagner, okengrin, Act I Scene? Gk w o Schubert, Tro for Piano and Strings in BE Major. 898 Allegro moderato p dolce P dolceModulation with Diminished Seventh Chords 79 PE et80 Modulation with Diminished Seventh Chords Assignment 3.4 Part-writing modulations with diminished seventh chords as pivots. a Q 8 6 6 8 4 3 wo wows @ sModulation with Diminished Seventh Chords ‘Writing a Modulation Using an” Chord as the Pivot For this project, we will choose two different keys, using an“ aa the pivot. In Figures 3.10 and 3.11, we have chosen to modulate from C major to Bb minor. Any diminished seventh chord can be used 2s the pivot between two Keys (see Table 3.1). The easiest and most practical procedure is to choose an’ as it func- tions in the new key, For Figure 3.10 we have chosen the “/iv in Bb minor, D F Ab Ch, enharmonic with the vii° of C major (BD F Ab). Should we choose to show both functions in the music, the score would ap- pear as in Figure 3.10, Note that because of the enharmonic spelling, the vii"? of ‘C major appears in first inversion, FIGURE 3.10 or wig ste wy § 8182 Modulation with Diminished Seventh Chords Moat commonly, however, the pivot is shown only abit functions in the new key. Figure 3.11 is the same as Figure 3.10 without showing the pivot function in. €. Figure 3.116 shows the same modulation except that we have chosen to place the °Y/iv of the new key in first inversion, causing the vi” of C to be in second inversion. Both versions are correct, though b is better as it eliminates the need for the two unequal fifths found in version a. Version ¢ modulates to AF minor, the enharmonic equivalent of B> minor. The same harmonic formula is used, only spelled in Aé minor. The sounds of versions 6 andc are identical. FIGURE3.11 @ C1 whe 4 a Gl i Avrkwardness in any harmonic progression or melodic line can usually be lessened or eliminated by the judicious use of nonharmonic tones or other me- Jodie tones, as shown in Figure 3.12, a revision of Figure 3.11.Modulation with Diminished Seventh Chords FIGURE 3.12. Addition of melodic tones Assignment 3.5 Writing a modulation between given keys with a specified pivot chord, (a) Use the given pivot to modulate between the two given keys. Consider the given pivot to be the * chord in the new key. (b) Using the same pair of keys, choose a different * pivot. (e) Choose at random any two keys and a“ pivot in the second key. 1, Cmajorto Ab major vii? 2. Cmajor to F major on 3, Gminor to F major iw 4, B minor to D minor vii?” 5, Amajor to Gh major “hi 6. Db majortoE} major ii”? 7. Fi minortoC minor = “/VI 8 EhminortoF minor = “/V 9, F# major to A major oii 10, Abminorto Bb major vii"? ‘Modulation Making Use of Early Resolutions This procedure was shown in Figures 3.7 and 3.8 and accompanying dis- cussion. In Figure 3.13, the "Vii in the original key is chosen as the pivot, and its ‘oot, third, fifth, and seventh lowered in turn to become a V" chord in the new key. In examples (a)~(d), its spelling, C4 E G Bis found in root position. Note in (b)=(€) that the necessary enharmonie spelling in the new key requires that the * chord be in inversion. The “of the original key can also be in any inversion, and any member of, the inverted chord may resolve early. In Figure 3.13¢, this use in first inversion is shown, eoeeceeteeae 8384 Modutation seith Diminished Seventh Chords ‘The examples show that the new key can be either of two parallel keys, such as B major or B minor, or itcan be either of two enharmonic keys, such as B major and C} major. FIGURE 3.13 (a root lowered co oN RoW or fi (8) tied Lowered ee Ohi Ge OT AVE thy wv ie (filth lowered ad otf Peet of 2 v§ iModulation with Diminished Seventh Chords 85, fapsecentn lowered cr (ej the® inversion Assignment 3.6 Writing modulations by making use of the early resolution of the root, third, or fifth of the diminished seventh chord. Using Figure 3.13 as a model, choose a beginning key, a diminished sev- enth chord in that key, and lower the root, third, and fifth in turn to create a ‘major-minor seventh chord, using the new spelling as V’ in the new Key. Use root position or any inversion of the chord, Keyboard Harmony: Improvising Modulations Ifyou have acquired keyboard skills as presented in earlier chapters, and are fluent in spelling diminished seventh chords, improvising modulations with the asa pivot ean be accomplished with a minimum of difficulty. These are the steps: 1, Determine an opening key and the key to which you will modulate. 2. Choose and spell a” pivot chord in the new key. The choices are: (a) Major keys: vil, "it, "ii, "AAV, “7V, vi, Bit, bo? (b) Minor keys: vii, VII, “iv, VV, VL86 Modulation with Diminiohed Seventh Chords 3, Establish the opening key by playing & simple progression such as I- IV-V-1,i-iif-V-i, and so forth. 4, Follow the opening progression with any °/7 chord. Based on the fune- tion chosen, resolve it to the appropriate chord in the new key, and com- plete the exercise with a simple cadence in the new key. In Figure 3.14, the modulation from C major utilizes vii" in Ab major to Ab and in that key is spelled G Bé Ds F, What is the spelling of C: "?, Also try: (a) Other pivots between the same two keys. For example, “/IV would be C Eb Gb Bh, 7V, DFAt Ch, 4it"?, BD F As, and so forth. (b) Play the pivot in invorsion, Remember to resolve the seventh down by step. FIGURES.14, — Frample ofa keyboard modulation (ese SSS ————— bs =| i= SS ee © fie A wo? Assignment 3.7 Playing modulations, At the keyboard, improvise modulations from the list in Assignment 3.5. Figure 3.14 is the first exereiso from that assignment. Assignment 3.8 Playing modulations, Choose any two keys and an “chord at random and piay the modulation as in Assignment 3.6,Modulation with Diminished Seventh Chords 87 Assignment 3.9 Playing modulations. Continue as in the two previous assignments, but upon playing the °’ chord, resolve any one of its members down by one half step, as illustrated in Figures 3.13 and 3.15. Call the resulting major-minor seventh chord a V" chord, or @ secondary dominant seventh chord, and resolve it to its appropriate key. FIGURE 3.15. a) o @ cr Beh wi ct AL Root lowered “Trttoweree towered BB bc FE Summary ‘The diminished seventh chord offers greater versatility in modulation than any other chord, since a single ” chord in the original key will funetion in some way in any of the other 29 major and minor keys. This versatility is the result of two characteristics of the“ chord: (1) Its sound is the same in all posi- tions and inversions, and (2) with enharmonic spellings of the chord, any mem- ber of the chord can assume the function of root (or any other member) with no change in the sound, ‘There are two nondominant uses of the diminished seventh chord, these in major keys only. They are the #ii”" and the #vi”. In each the root of the chord resolves up a half step to the third of I and V (V") respectively, As the pivot to the new key, the chord can function as vit”, the °' of any diatonic triad (for example “Viv), or the nondominant#ii*? and vi"? chords, In some situations, simplified spellings of diminished seventh chords are used, for example Dt F# A C instead of Gx Bt Df Fi, as in Figure 3.6. ‘Modulation may also be accomplished by lowering any one note of the ** chord by one half step, thereby creating a major-minor seventh chord, one that can be used as the V’ or any secondary dominant seventh chord in the new key.CHAPTER FOUR Binary and Ternary Forms Chapters four and five are independent presentations. They may be interpolated in any order and at any time between other chapters of the text. The presentation of harmonic materials resumes in Chapter six. ‘Our study of music form began in Elementary Harmony, fourth edition. Chapter seven of that text presented phrases and periods, while Chapter fifteen presented the phrase group, the double period, phrase extension, and thematic development, Following is a brief review of these smaller structures. For more detail, the chapters above should be consulted. Review of the Smaller Forms A phrase is a group of notes, often four measures in length, leading to a cadence, as in the marked phrases of Figure 4.1 and the first three phrases of Figure 4.2. Phrases may be shorter, usually not less than three measures, oF | they may be longer, usually by extension, the latter displayed in the final phrase { of Figure 4.2. Aperiod consists of two phrases, called “antecedent” and “consequent,” the i first usually ending with a half cadence, though any cadence but a perfect ca- i dence is possible, The second phrase ends with a perfect cadence, usually au- thentieV-D). In the parallel period, the melodic line of each phrase is similar, while in the contrasting period, the two phrases differ. Figure 4.1 (from Elementary Har- ‘mony, fourth edition, Figure 7.5) shows a contrasting period. 88'UR ns Binary and Ternary Forme 89 FIGURE 41, Contrasting period ‘Beethoven, Bagatelle, Op. 119, No.1 first) Anuecedent phrase boy ie eae) ‘Consequent phrase eget A double period consists of two periods. Only the last of the four phrases has a perfect cadence. Thus the cadence of the first period is usually a half ea- dence in contradietion to the definition above. The first and third periods are usually identical or similar, while the second and fourth may be similar or dif ferent, Figure 4.2 (ftom Elementary Harmony, fourth edition, Figure 15.14) shows a double period in whieh the fourth phrase differs from the second and is extended to a length of eight measures before the final cadence, FIGURE42, Double period Mendelssohn, Vnetiansshes Gondelled, Allegretto non troppo (Op. 87, Nos PP phrase 1 ta} ————__— | phrase 2 (6) ——————1 \ ee tse 3 fa) —— L90 Binary and Ternary Forms eo Inthe phrase group, each phrase is different and only the final phrase ends with a perfect cadence. Commonly, the longth of a phrase group is three mea sures, as in Figure 4.3. FIGURE 4.3. Phrase group German tok soos Binary and Ternary Forms Defined The terms binary and ternary refer to larger structures that may be di- vided into two or three parts respectively, and include the following features. (2) Each part ofa binary or ternary structure in itself consists of one of the smaller forms, a phrase (uncommon), a period, a phrase group, or a double period. Extensions of phrases are commonly used in any of these smaller forms. (2) The succession of parts is characterized by a relationship of keys, espe- cially in the ternary forms, often tonie and dominant or tonie and the relative major or minor,Binary and Ternary Forms 91 (3) There is a definite contrast in the nature of the thematie material be- ‘tween the first and second parts, and in ternary form, a return in the third part to the material of the first part, Binary Form Figures 4.4, 4.5, and 4.6 are typical examples of binary form. While all con- form to the general definition of binary form, each displays differences in the choice of the smaller forms, in key relationships, and/or in the use of extensions. Each figure is preceded by an analysis of these elements. The two parts are usually designated as A and B, A indicating Part | and B indicating the contrast- ing Part II. Lower case letters such as a, b, and so forth, refer to phrases, The prime symbol as in a’ indicates that the phrases are siruilar but not identical. ‘The relationship of Keys is indicated by a roman numeral designation, such as T-V, meaning in this case that the Part begins in the tonic key (not necessar- ily with the tonic triad) and ends in the key of the dominant. The use of V in this context indicates either that the Part actually modulates to the dominant or that the cadence is considered as a secondary dominant progression, V/V-V, in the original key. FIGURE 4.4, Binary form AB aabe ‘A = period, I_V;B = period, I-1, No extensions | (GV indicatas the relationship of keys In tis figure, th ist period (A) begins in Dé major and fends in Ab major.) ‘Note that this example might be mistaken for a double period. It is the per- fect cadence at the end of Part I that defines the binary form. a twas lebhaft Schubert, Die Forete, D. $50 Db PO vi ‘ antecedent phrase e 1 1 Div anv g wt 1 if consequent phrase perfect cadence | |bv r vi 1 antecedent phrase ¢ oJ w ' vi 1 consequent phrae™ perfect cance tue ck tm ped che fanart FIGURES. Binary form A he dl aatbe A= period, i-IIEB = period with extension, i-ifor IT-i ‘The use of the double bar with repeat signs between A and B is common in the Baroque and Classical periods. Hiya, Sonata in E Mino for Piao, Hob, XVESS, A phase :FIGURE 46. Binary form Brahms, Liseaider Walter, O52 “Oe Frauen “Bap ElE Aton Lindler-Tempo (maerato) 8 Bit ie vot ig Vole 1 vn “ vi “ vw v viw v v vali veer 1 wood Rinary and Ternary Forme — 9B94 Binary and Ternary Forms ‘Ternary Form (Rounded Binary or Incipient Ternary) While at first glance the four phrases of Figure 4.7 appear to satisfy the requirements of a binary form, closer inspection reveals that the last phrase is a return to the first idea of the composition, the principal identifying element of a ternary form. FIGURE 4.9, Rounded binary or incipient ternary form ake ¢ = ae be : ck, een AA ins 2 ee eR NSBinary and Ternary Forms — 95 ‘These conflicting points of evidence have led theorists to identify this type of structure in different: ways: (a) Asrounded binary, meaning basically a binary form but “rounded out” at the close with a short return to the opening material. (b) As incipient ternary, meaning that the return to the opening material justifies the term “ternary,” but should be qualified by “incipient” be- ‘cause of the brevity of both the contrasting section and of the return, (©) As an unqualified ternary form, determined solely by the return of the opening material. Since all these deseriptive terms seem to be in current use, the choice is a personal one, keeping in mind that the ternary characteristic, the return of the opening material, is present in all. ‘The plan of Figure 4.8 is similar to that in the previous figure, except that the double repeat bar is not used, and that extension is used in the third phrase. Particularly interesting is the harmony of the third phrase. Though itis in the key (F) of the composition, the tonic triad appears only in its sixth measure (measure 15). The phrase is extended through the use of the devices of secondary dominant harmony, deceptive cadence, and Phrygian cadence. Be sure to locate thoso in studying the example.i 96 Binary and Ternary Forms FIGURE 4.8. Rounded binary or incipient ternary, with extension Rounded binary: Incipient ternary: AB ABA aatbat aatbar Sohbet, heme and Andante a es a tite (eeBinary and Ternary Forms 97 Ternary Form Identification of ternary form is more secure when the two A sections, the first and third parts, are more balanced in terms of length and of importance in the structure as a whole, Thus, the third part is usually at least an eight- measure period and is often further lengthened by the devices of extension. ‘The Da Capo Ternary Form ‘The easiest way of creating a ternary form is simply to place a double bar at the end ofthe A section, and the sign D. C., or D. C. al fine at the end of the B section, Figure 4,9 displays this form with a minimum of material: A, period; B, repeated phrase; and the return toA indicated by D.C. al Fine. FIGURE49. Ternary form (éacapo) Grieg, Holborg Ste, ‘Op. 40, "Gavotte t D.Coal Fine98 Binary and Temary Forms In vocal music, the uso of the da capo aria has been extensive, especially in large vocal works such as opera, cantata, and oratorio during the seventeenth, through the early nineteenth century. The da capo aria of Figure 4.10 is similar to Figure 4.9 but shows a complete poriod with extension in the B section, as well 1s an extension in the opening A section. FIGURE 410. Theda capo aria ‘ik, Oren, Ac TT : Q @ Chefa 1 sonra Ba-ri dh - co? Doves did seazajt mio bee? Che rei Do. vgn = dot Chea sen = zal mo ben Do. tea = ® Fine? dr) sen = mail alo bon Enis discs! Eu di cel oh Dio 8 spond i spon 4 tosn pos rei wo fe (Can Ilive without my uridice? In my woe, where can I go without my love? Forever, I ‘am your true love.)Binary and Ternary Forms Ternary Form, The Return Written Out Writing out all three parts of the ABA form allows the composer to vary the ma- torial of the opening A section when it reappears as the closing A section. In the return to A in Figure 4.11, Mozart simply reversed the materials of the treble and bass clefs for the first four measures, Further, since the first A section ends in F major and the return must end in the tonic key of Bb major, the material of the final A section must be adjusted to accomplish that goal. Compare measures 7 and 25 to see how this is done. ‘A third difference is in the extensions, two measures in the opening A sec- ‘ion and four in the return, ‘The use of the double bar and repeat sign at the end of Part I and Part IIL should be noted, These were used quite consistently in many instrumental ter- nary forms throughout the eighteenth and nineteenth centuries. The repetition of Part I followed by a repetition of Parts IT and III imparts a definite aural im- pression of an extended rounded binary form. In music where there are no re- peat signs, as Figure 4.12, the ternary quallty of the music is indisputable. FIGURE 4.11. Ternary Form Mozart Sonata in Eb Major for Pano, K. 22, second movesteat Mest a oo 99100 Binary and Ternary Forms P f In Figure 4.12 there are no indications for literal repetition, Chopin begins ‘the retum of A (measure 17) with only three melodie tones of the original A sec- tion, and these with a new harmonization. In addition, the rhythmic similarity in the melody continues for only two measures, But there is no mistaking that a return to A has occurred because of the melodie rhythmic contrast afforded in B, The harmony of this work is of more than passing interest. Part I: measures 1~4, C minor measures 5-8, begins in Es major but with a chromatic change in the ‘bass, measure 6, the phrase ends in G minor. Part II: measures 9-12, cadences in Dy major and C minor ‘measures 13-16, opens in C minor and cadences on ii-V of Bb major (though an Et triad never appears). Part IIT: measures 17-24, C minor, opens with a V'/iv beginning a se- quence reaching a cadence in C major.Binary and Ternary Forms ‘The Mozart and Chopin examples show only two of the innumerable ways that the return of A can actually be a remolding of the ideas of the original A Cataloging the varieties of treatments in Part III of ternary forms would be vir- tually an impossible task. Exploring for yourself how composers create variety while maintaining unity is far more profitable. PIGURE 4.12 ae Chopin, Nostuae, Op. 48, No.1102 Binary and Ternary FormsBinary and Ternary Forms Expansion of the Middle Section Inthe simpler ABA forms, the B section often appears to function more or less as a transition between the opening and closing A sections. The middle cection, however, can assume an equal or greater importance than its surrounding A see- tions. In Figure 4.13, Parts [ and IIL are simply a period and a phrase reypec- tively, while the middle section presents four now musical ideas, These, together with the extensions in Parts I and TIL, produce an aria of seventy-five measures in duration. FIGURE 4.13. Part Ii (8) extended ieee fo caer a ethovn Fut 4 z “hbshensher nist a amare’ @ Buse ty - etatloow 1 brave thee! fiidh — fa wife, TM rs my Heh foly) don he nern Tre be Wan = Ke mh rich ht ae 108,104 Binary and Ternary Forms As fh ay ie rn ask my tifa, ont Be nicks, ick sis defo der Flores ~ tas, 10 save. the! ‘red en Gat ~ can le ~ beBinary and Ternary Forms 108 cup of ict and pain Js fu ould—un-chuinthoot 1 fen ich “AD = es fa Aon’ ek nS ~ fe diit-gen, 80 to breakthy et = ter, nom et ich in Pes = tebe Shing, thy woe sus = tim ioe ine sen Troe rie ode108 Binary and Ternary Forms a feat f stninthes! [come fo Meak hey fer-ersn0™, ‘thiv=gon 90 ‘Ba Beit dich in Fevseln sch, tain thee en gor) sea eanBinary and Ternary Forms 107 y+ saotnow 1 bravee! As fit = ful wife, TT von ture fol’ on be ners Trie = be teh an eal iho die @ ee te On! Flor = es Prlche der teu oe rant now 1 brave thee!108 Binary and Ternary Forms vic my ile, ert die PaceBinary and Ternary Forms 109 Te — be JD Bs ASmall Three-part Form A three-part form consisting only of phrases, contrary to our opening definition, is occasionally seen. It appears in children’s songs such as “Twinkle, Twinkle, Little Star” and other folk music. Figure 4.14 shows an example by Schubert. Look for another example in the exeerpts for analysis in Assignment 4.1. FIGURE 4.14 Schubert, Dieschone Miterin, D.798, Mabie cH Th hr? cin Bich «Leo + gege eeeeete cat a pirase i110 Binary and Ternary Forms sehen wohl, as Fe = son ~ quel sehen 50 ich luepeated) . hrs 2frepeated) Binary and Ternary Forms un112 Binary and Ternary Forms Larger Ternary Forms Although this chapter is limited to discussion of the smaller forms in music com- position, itis of interest to note the use of an even larger three-part structure, which we will identify as ABA, before closing this subject area, In such largo structures, A is composed of one of the binary or ternary forms just studied, B may be another such form or one of the other small forms, and the final A rang- ing from a literal repetition toa completo reworking of the materials of the open- ing A section. In a diagram, an ABA atboth levels appears thus: A B A ABA ABA ABA x (The ABA under B is used here to indicate a form, and not that the material is the same as under A. To indicate specific new materials of B, letters such as C D Cowould be used.) The simplest version of this form is found when a da capo is used in con- junction with the Menuet (Menuetto)and Trio, (sometimes expressed as Menuet | 1, Menuet II), For example, Figure 4.11 is the Menuet of such a form; its entirety (ABA) is the opening A of an AB A structure. The following B (Trio) is in itself another three-part structure (C D C), ending with the designation Menuet I da capo to complete the large ABA form. Figure 4.15 shows the thematic material (Cand D) of the B section. FIGURE4.15. Thematic material from B, Mozart sonata, Figure 14.11 cBinary and Vernary Forms — 118 ‘The Menuet and Trio is commonly found in the sonatas, symphonies, and chamber works of Haydn and Mozart and their contemporaries. Its nal section iseither expressed as da capo, written out identically, or found as A' with few or many changes, The form was retained by Beethoven as the Scherzo and Trio, differing from the danee-like Menuet principally in its more vigorous style. Another previous example, Figure 4.12 (ABA), is again the opening A of a large ABA structure. The final C major chord of Figure 4.12 is the first chord of the B section, in itself another three-part structure: C = period; D = phrase; (’ = Cextended to thirteen measures. The final A’ is similar to the opening A but with a considerable amount of added figuration, closing with a six-measure ‘ coda. In Figure 4.16, the new material of B is shown in (a), and the new figura- tion of A’ in (6), FIGURE 4.16, Thematic material from B, Chopin, Nocturne, Figure 4.12 (a) Parti, hemes Cand D 2) Part themes Cand D paso pia eno 1) Par new figuration 2 Bp dsintoa4 Binary and Ternary Forme Lastly, the Sonata Allegro, the form most frequently used for the first movement of a sonata or a symphony in the eighteenth and nineteenth eentu- ries, including composers from Haydn through Brahms, is usually considered a variety of an ABA form: A (Exposition), based on two themes, in the tonic key and a related key respectively, B (Development) where the themes of A are treated in new and various ‘ways, along with optional new material, and A’ (Recapitulation), the return of the themes of A, but both in the key of the tonie. But interestingly enough, a double bar line with repeat signs usually ap- pears at the close of the exposition, A:| B A j, and in many cases, the develop- ‘ment and recapitulation are bounded by repeat signs as well, As} BA-|. Defini- tely a binary concept, this practice recalls the problems of terminology encountered in the small binary and ternary forms of the early partof this chap- ter! Assignment 4.1 aw Examples for analysis, Each of these examples illustrates one of the binary or ternary forms. Make your analysis directly on the music score. You should iden tify each phrase by locating and describing its cadence (key and harmonic pro- gression), identify each form by a succession of phrases, and identify the form of the composition asa whole. Use as examples the analyses provided in the fig- ures of this chapter. : Couperin, Gavotte, Gayomenty “ta Bouton” ‘An easily available example ofa simple Sonata Allegro isthe first movement of Mozart's Pi- ‘ano Sonata in major, 807. Exposition: measur 1, rs theme in C; moasure 35, second chemein G Development: measure 59, Recapitulation: measure 94, frst thome in C; measure 128, second theme in € SHays, Sonata iG Major for Piano Hob, XVI616 inary and Fernary FormsBinary and Ternary Forms — NT st, Qin on Shing@ CEs Nieee oe = 7Binary and Ternary Forms 119 (5) Observe how the cadence chord of each phrase functions also as the first chord of the following phrase. ge, Enigma Vrlons (There) Andante Pe 4 a P molto eprese.120 Binary and Ternary Forms Extract rom Elgar’ ENIGMA VARIATIONS (piano reduction) reproduced by permis sion of Novello and Company Limited. cree a ser mane ee Ren ee ficremeras Tepesel | | |122 Binary and Ternary Forms 0 Prurd, Potme doar, Op 21a” Moderate L786 unt Piano Osoke Comme wulmeut i= we In 1» se DE=dlo ~ — compres eee Bt tes froismmunteaur di a = pds Des pets es loagssou- pis.Binary and Ternary Forms otcssine sempre Ox wok dams ce ion = de Changer, Phis w= t2 que les Dots des gre pee 123124 Binary and Ternary Forms @ fsmmae mf fe que le gineen ews, les plus tongs a _—_—— an wecroyaih d= a= be Cael = tea Binary and Ternary Forms 125 ie en quit tom vos jeer eee 7 Pres-qu'ay mo mest de mon (The flowers of the meadow, the long sighs, our beloved ones,—how quickly everything. dios. In this fice world, change is faater than the waves on the sand or the frost on the flowers, The longest loves are short, and lenving your charms without tear, Tsay “Adiew.")126 Binary and Ternary Forms Moatit, Fine Keine Nock K, 35 8) Moauct a | hegre ee aa t 5 resBinary and Ternary Forms 127 ‘Menueno da Capoi 128 Binary and Ternary Forms Summary ‘The chapter opens with a review of small forms previously studied: phrase, period, double period, and phrase group. These are used as material forthe parts of binary and ternary forms and may be identified in analysis by lower case let- ters, a,b, and so forth Binary form consists of two sections called Part often identified as A, and Part ILor B, a contrasting section to A. Bach of the two parts is usually a period or longer and the parts are divided by a perfect cadence at the close of Part I Using lettor names, the binary form of Figure 4.4 is expressed in this way: A B ‘ aa be Ternary form consists of three sectioris: Part I (A) ending with a perfect cadence, Part IT (B), a contrast to A usually ending with a helf cadence in the original key or a cadence in key of the dominant, and Part IIT, (A or 4’), a return i to the material or Part I, either repeated literally, or in a varied manner. The forms often referred to simply as ABA. ‘Tho simplest version of ternary form is created by placing the designation DLC. al Fine at the close of Part II (Figure 4.9). More usual is the varied Part 1 (Figure 4.11), Many examples show characteristics of both binary and ternary forms, and are sometimes identified as either rounded binary or incipient ternary. In these, Part IT of what would otherwise be a binary form concludes with the opening phrase of Part I (Figure 4.8), 60 that while the composition displays a balance ‘between Parts Tand IT, the return of a phrase of Part I provides a ternary effect. Differentiation between binary and ternary form is often confused by the placement of a double bar with repeat signs at the end of Part I and further signs to repeat Parts II and IIT as a unit, a practice common in the eighteenth and nineteenth centuries, These repetitions impart a strong impression of binary construction while at the samo time the return of thematic material creates similar impression of ternary construction (Figure 4.11).CHAPTER FIVE Application of Part-Writing Procedures to Instrumental Music Introduction In our study of part-writing, the four-voice chorale style? of writing has been used to illustrate procedures and to serveas a medium for students’ efforts But at the same tie, in studying harmonic progression, we have investigated and analyzed musie in many different styles ranging from the four-voice chorale toexcerpts from symphonic literature. Ibis now time to discover the relationship of part-writing procedures to music other than four-part vocal music. Composition of almost all of the music of the common practice period fol- lows the basic principles of part-writing that you have already learned. These principles evolved through the years preceding the seventeenth century, a time ‘when most music was written for vocal ensemble and in which instruments were at liberty to double the vocal parts in performance, or even to perform the parts without vocalists. Thus, early music written for instruments alone usually looked and sounded like vocal music, but without words.? ‘As composers concentrated more on the unique qualities of both solo in- struments and ensemble combinations, styles of writing for non-vocal music looked and sounded different from music written for voeal ensemble. In spite of this difference in look sind sound, the principles of vocal part-writing continued as a basis for most music composition through most of the nineteenth century. How instrumental writing of the common practice period utilized these basic part-writing techniques while at the same time exploiting unique instrumental, capabilities is the subject of this chapter. For our purposes, we will concentrate on writing for the keyboard, where a single instrument must produce all the voice lines of a composition. "The meaning ofthe term “style” in reference to music ia not constant, Hore; it refers to var ‘208 vocal and instrumental solos or groupings, such as “piano style,” “chorale style.” and so forth. See New Harvard Dictionary of Mute, od. Don Michael Randel “Styl” and “Stylo Analysis.” ‘Review in Elementary Harmony, fourth edition, the articles "The Theory of Inversion” (Chapter9) and "Another Motvieal Concept” (Chapter 16), | 129130 Application of Part-Writing Procedures ities Between Vocal and Instrumental Wri 1% Figure 5.1 certainly doesn't look like chorale style writing, but its instru- ‘mental character is created by making only minor changes from four-voice cho- vale writing. Although the appearance is that of three-voiee writing, the inner voice actually functions as two voices (alto and tenor) by means of the arpeggia- tion, FIGURES. Beethoven, Sonata for Piano, Op. 13, second movement Adagio caaile peek Note carefully these details. measure 1, beat 1: major triad (alto, ab, tenor eb), usual doubling beat 2: Vf no note doubled, the seventh displays its usual resolution down by step measure 2, beat 1: major triad, first inversion with the usual soprano doubling beat 2: another major triad in first inversion, also with usual soprano doubling; the passing seventh displays its usual resolution measure 3, beat 1: similar to previous measure, beat 1 beat2: minor triad, F A} C, common doubling of its third; i seventh chord, Bb D F AS, all notes present, usual | resolution of the seventh You could easily rewrite this example in four voices and it would look exactly like fom-voice chorale style. Figure 5.2a shows an excerpt with the common Alberti bass figure (arpeg- i sated chords below the melodie line). Figure 5.2b is the same composition with { all nonharmonie tones or repeated harmonic tones in the melody eliminate Note the careful consideration given to voice leading, and the use of expect doublings and resolutions,a Application of Part Writing Procedures 131 measures 71, 78: minor triad with doubled third ‘measure 71: triad in first inversion with doubled soprano tone measures 72, 75, 76: with nonharmonic tones, no doubling of the note of resolution measures 72, 74, 75: in seventh chords, all complete, no note doubled and each seventh resolved down by step FIGURES Mozart, Sonat it © Major for Pano, K. 30, Aegra moderato st movemen) og i | | | P @ s——_ |o o ‘This excerpt differs from four-part chorale style only inj the arpeggiation and in the distance between the soprano and alto lines, a freedom warranted by the range of the piano keyboard.132 Application of Part Writing Procedures In Figure 5.3a, arpeggiation for more than an octave in a single chore pro- duces notes that must be considered duplicates of those in the four-part texture, When eliminating both the duplications and the nonharmonic tones, the re- | maining four-part texture is very clear. FIGURES.3 Schumann, Dickefeds, Op. ‘wurdrscenen Mat Mai" = ersehasnen Mo-aat Mi —Application of Part Writing Procedures Differentiating Instrumental from Vocal Writing 1, Extended Harmonies. In harmonie chorale style, chord changes are fre- quent, often an every beat or even on a beat division (this feature was appropri- ate to the study of harmonie progression, allowing many chord changes in a short space). But in other styles, inchiding instrumental musie and other vari- eties of vocal music, a single harmony is often of a longer duration, such as the tonic triad of Figure 5.4. FIGURES4 Brahms, Intermezzo, Op. 117, No. 1 Andante moderato beni ee —wi Extended harmonies such as those in Figure 5.4 are effective when writ- ten in conjunction with other compositional features that highlight the contin uous single harmony. A few of these are:* 4) Striking melodie motive or theme (B. Op. 2, No. 1, first movement, mea- sures 1-4) 6) Strong rhythmic pattern (B, Op. 14, No. 2, “Scherzo,” last 17 measures) ©) Change in inversion of chord during duration of single harmony (B. Op. 7, third movement, measures 1-4) la this eoetion Differences), musical excerpts cited but not quoted will be found in three sources: B- Beethoven, Sonatas for Piano; M--Mendelesahn, Songs Without Words; S— ‘Schomann, Album or the Young, Op. 6. 138,i F 134 Application of Part Writing Procedures d) In passages of rapid tempo (B. Op. 31, No. 2, last movement, measures 1-4) ¢} Long melodic line implying a single harmony (M. Op. 53, No. 2, mea- sures 1-2; also, Figure 5.4 above) ) Melodic line in which the interest lies in the use of nonharmonic tones or chromatic scale passages (B. Op. 2, No. 2, fourth movement, measures 51-58) 8) In introductions, codettas, or cadenzas (B. Op. 7, first movement, mea sures 1-4;M. Op. 62, No. 4, measures 1-4, and last four measures) 2. Free Voicing. In keyboard music, itis not necessary that a given number of voice lines be maintained throughout a composition. A glance at any keyboard ‘composition of the eighteenth and nineteenth centuries will show a vertical tex- ture of any number of voiees from one to as many as eight ormore, and a constant, change in the number of voiee lines as the composition progresses. FIGURES.S Mozart, Sonata in Bb Major for Piano, K. 281, @ third movement Allegro @) ieApplication of Part Writing Procedures 135 8. Sonority Doubling. Voice lines in music written for keyboard or for any instrumental ensemble are often doubled at the octave to produce a richer sound. At the keyboard, the octave naturally fits the hand position, so the device is used frequently in either or both hands. In instrumental ensemble music, wo or more different instruments may play in parallel unisons or octaves, produe- ing @ combined sound differing from that of any of the individual instruments, Asonority doubling is always an octave reinforcement of a single voice line, such as a bass line or a soprano line. Ociaves between two different voice lines ‘can nover be considered sonority doubling; these are simply undesirable parallel octaves. @) Bass line doubled in octaves. FIGURE 56 Mozart, Sonata in F Major for Violin and Piano, Andante K. 377, second _movemerit Oe eee eo136 Application of Part-Writing Procedures 6) Doubling in inner voices. FIGURES.7 Andante Brahms, Romanze, Op. 118, No. 5 ® ; | “tl ©) Soprano voiee doubled. FIGURESS Brahms, Romanze, Op. 118, No. 5 | Andante 3 4, Arpeggiated Harmonies. This very common device is used most often in piano music, t helps keep the music in motion when a single chord or a series of chords is being used. Almost any piano composition of the eighteenth and nine- teenth centuries will provide an example of this device, ranging from simple ar-Application of Part Writing Procedures peggiation of the basic triad to extended arpeggiation over a wide range (see Fig- ure 5.9), The use of common part-writing procedures in arpegtgiated harmonies has been deseribed in connection with Figures 5.2 and 5.3. FIGURESS. —Bramples of arpeggiations ofa single triad (a) Haydn, Sonata in G Major for Piano sigsteteter eteretere tee Mozart, Sonata in € Major for Piano, K. 330 @ Becthoven, Sonata for Piano in G Major, Op. $1, No. 1 (incomplete measures) Chopin, Nocturne, Op. 27, No. 2 137138 Application of Part Writing Procedures 5. Pedal Point. This device is common in instrumental music, Several vari- ‘tis of the pedal point exist; these are among them, 4) Single pedal tone in the bass (see also Figure 5.18). FIGURE 5.10 Lanagan Schubert, Wanderers Nachtlied,D. 168 Uber allen Gip - feln ist Rukh, in al - len Wip a 1 vi ' 6) Double pedal in the bass, usually the interval of a fifth, FIGURE 5.11 Schubert, Rasamunde, D, 797 Andante con 1 “Romance ® DerVoll-mond strat auf Ber-geehihn wie hab ich dich ver misstApplication of Part Writing Procedures 139 ©) Inverted pedal (pedal in an upper voice). FIGURE 5.12 Tompé di minvetto, Mozart, Sonats in F Major for Violin and Piano, un poco allstetto 377, third movement @ d) “Interrupted pedal,” in which the pedal tone is repeated at frequent (and usually regular) intervals of time to help create the effect of a sustained pedal tone. The tempo, not indicated by the composer, is very fast. FIGURE 513 Bach, Well-Tempered Clavier, Vol. L, © Prclde No. 31 140 Application of Part Writing Procedures For examples showing pedal points of longer duration, see: B, Op. 22, “Allegro con brio,” measures 4~7 ‘M. Op. 19, No. 6, measures 7-14 Op, 102, No, 8, last 12 measures 8, No. 81, measures 9440 ‘No. 18, measures 1-4 ‘See also Chopin, Prelude, Op. 28, No. 15; the entire pioce is built on a pedal tone Ab and Gf, alternating in the keys of Db major and C# minor. 6. Melody in a voice line other than the soprano. The melody line can be found as an inner voice (see Figure 5.4), as the lowest voice line (Figure 5.14), or can be divided between two voice lines (Figure 6.15). FIGURE 5.4 Schumann, Album for the Young, No. 10 Allegro animato FIGURE 5.15 Beethoven, Sonata in © Minar for Pano, Op. 13, frst movement Allegro i molto @Application of Part Writing Procedures 141. 17. Melody doubled in thirds or sixths ) Melody doubled at the tenth (an octave plus a third). FIGURE 5.16 Mendelssohn, Songs Without Words, Op. 85, No. Allezro agitato ae i 6) Melody doubled in thirds, plus additional sonority doubling, FIGURE S.17 Mozart, Sonata in A Major for Piano, K. 331, fist movement, Var IVBe ee Ee oo eee eee eee ee ee 142 Application of Part.Writing Procedures ©) Melody doubled in sixths, FIGURES.18 Chopin, Mazurka, Op. 67, No. 3 Allegretto 7 ha 3 8, Range and spacing of voices. In four-part chorale style, the upper and lower limits of each vocal line were determined by the average range of each of the four classifications of the human voice, Similarly, in instrumental music, the range of a particular instrument will determine its pitch limits, high or low. ‘Most instruments have a much wider range than the human voice, and, depend ing upon the mechanics of a given instrument, provide opportunities for melodic Jines less confining than those in chorale style. Figure 5.19 shows in dramatic fashion such a melodic line. The very wide leaps are not difficult to perform be- cause of the clarinet's keying mechanism, But note that otherwise, traditional principles of melodic and harmonic writing still apply.Application of Part-Mriting Procedures 143 FIGURES.19, Wide melodic leaps Mort, Quins for Clara as Seng $8, second movement Largheto om iA Viet vind Yiets calle A.vocal line other than in chorale style can also demonstrate considerable flexibility in range, especially in large vocal works such as operas and oratorios, as in Figure 5.20.144 Application of Part-Writing Procedures FIGURES 20, Wide vocal range i Monae, Cou fan nee K 588 I) Andante micstoso "Ast "Come sooo ® (Secare as in a marble tower, guarded from every foe and power.) ‘The keyboard has the widest range of any of the instruments, The per- former, playing the instrument with two hands, can produce close spacing with hands close together, or wider spacings as the hands move farther apart. Figure 5.2, measures 73 through 76, show a moderately wide spacing by this means, while, as described at that point, maintaining usual part writing and harmonic procedures.Tee a Application of Part-Writing Procedures 145 Projects in Writing for the Keyboard For the purpose of developing the ability to write for the keyboard, a series of projects will be presented in this chapter and continued in future chapters, ‘The order of the projects will allow slow and steady progress, beginning with easier examples in which a maximum amount of material is given and continu- ing to the ultimate goal of composing with no prestated material: 1, Realization of figured basses from the works of Baroque composers. Both the melodic line and the bass line, with figuration, are given. These resemble the figured bass part-writing exereises of previous chapters, : 2, Harmonizing a melodic line, using folk songs. The melody line is given, and the accompaniment written without the aid of figured bass, resem- i bling melody harmonization assignments of previous chapters. | 8, Setting a poem to music, The poem helps suggest an original melodic line which is then harmonized and written for keyboard as above. Writing completely original music for keyboard alone, or for solo voice or = melodic instrument with accompaniment, Project I. Realization of Seventeenth- and Eighteenth-Century Compositions for Solo Instrument or Voice and Figured Bass* Figured bass is used almost universally today as an aid in teaching part- writing. Its original function was quite different. In the seventeenth and early eighteenth centuries (the Barogue era), much of the music for vocal solo, instru- mental solo, or those instrumental ensembles that included a keyboard instru- "ment, was written by the composer with only a figured bass line for the keyboard player. (This practice Was also known as thorough bass and the bass line itself was known as the continuo. In ensemble music, the continuo was used by both the cellist and the keyboard player.) It was the responsibility of the keyboard player to improvise from the figured bass line. But after 1750, the eontinuo was little used, replaced by music for the keyboard fully written out. Thus there is little demand today for the skill of improvising from a figured bass. So the edi- tions of such music in current publication usually include a keyboard part writ- ten out by someone ata later date, using the composer's figuration as a basis. : ‘Composing such keyboard parts is known as “realizing a figured bass.” No two persons will realize a given bass in the same way, since the figured bass sym- bols do not indicate chord position or the character of any of the melodic lines above the bass. To illustrate, Figures 5.21a and 5.22a each show an excerpt from a violin sonata by Handel, exactly as written by the composer. Parts b and ¢ of ‘Review the article “Figured Bass” in Elersentary Harmony, fourth eition, page 208 for a brief history ofthe origin and use of figured bass146 Application of Part Writing Procedures each figure show two different realizations of Handel's figured bass as found in recent publications of these sonatas. cae Handel, Sonata in G Minor for Viotin and ; (@) Atogro Figured Bass, Op. 1, No. 10 E i i tac ote Pe Sa © sltegro oa = “ oe ie — sat retergr ea wo e ¥ 3 Dre pa) tee | — Copyright © 1919 by Carl Fischer, Inc, New ton © Allegro. pire pitt - fea : po —— aa Pe st =F * — Stee Realization by A. LeMBaitre from Haendel, Sonates pour Violon et Piano, Paris. @ Copy- right Heugel et Cie. Permission granted by the publisher. Theodore Presser sole repre sentative in the United States, Canada and MeApplication of Part. Writing Procedures Be FIGURE 5.22 : Handel, Sonata in D Major for Violin and 3 (—Ategro Figured Bass, Op. 1, No. 15 6 6 oe é i Realization by A, LeMaitre from Haendel, Sonates pour Violon et Piano, Paris, © Copy” ‘right Heugel et Gio. Permission granted by the publisher. Theodore Presser sole repre- sentative in the United States, Canada and Mexico. (Allegro Realization by Johann Hinnonthel from Hallisehe Handel Ausgabe, Sorie IV, Band 4, “Sechs Sonaten fur Violine,” Kassel, Barenreiter. Verlag, 1955.148 Application of Part Writing Procedures Figures 6.23 and 5.24 show, from the many possibilities, two more ways to aceomplish a realization, Again, only the melody and the figured bass of these ‘were supplied by the composers. FIGURE 5.23 ‘Yelemann, Partita 5 FIGURE 5.24 Lully, Cadmus et Hermione (1673), ‘Act I, Scene 6Application of Part.Writing Procedures met. mil-le Meurs cous ses pas It can easily be seen that various styles of writing can be employed in the realization. From Figures 5.21 through 5.24, here are some of the devices used. 1. Block chords. a. Inall four voices: Figures 5.22b, measures 1-2. b, In the throo upper voices: Figure 5.21b. 2. Block chords with occasional nonharmonic tones: Figure 5.24. Note that the addition of sevenths and nonharmonic tones is permissible and even desirable even when not indicated in the figured bass. Should the added nonharmonie tone coincide with another in the melody line, the two nonharmonic tones should be consonant with each other. 8. Melodic line in the realization: Figures 5.21¢, 5.22c and 5.24. 4, Rhythm pattern in the keyboard part in contrast to that in the melodic line: Figure 5.22¢. 5, When the given bass line is melodic, often another voice ean be written in parallel thirds (tenths) or sixths: Figure 6,23, measures 1-2. 6, Parallel first inversions: Figure 5.23, measures 34. Special doubling procedures are common for realizations in some cireuim- stances, 1, Triads in the realization are usually complete, even if this means dou- bling the third of a major triad, the leading tone of the key, or any al- tered tone, when that tone appears in the melody. In Figure 5.24, mea- sure 3, the leading tone C# appears simultaneously in the melody and in the accompaniment. 49150 Application of PartWriting Procedures 2, Ina dominant seventh chord or other major-minor seventh chord, the Ieading tone may be omitted when that tone is in the melody. While working with the realizations of Assignment 5.1, you will find it helpful to locate further examples of realized figured basses in your library. Look especially for sonatas for violin, flute, or oboe, and for trio sonatas (usually for violin, cello, and continuo) by composers such as Corelli, Vivaldi, Bach, Han- del, and Telemann, among others, Assignment 5.1 Realizing a figured bass. Four examples from the Baroque period are provided, (Prepare three staves as in Figures 5.21 through 5.24, placing the mel- cody on the upper staff and the continuo on the lowest staff. Write your realiza- tion of the figured bass on the two lower staves (treble and bass). The long line in the figured base, as in measures 2 and 4, indicates that the same harmony is to be maintained during the bass line’s movement. Tae ‘Telemann, Sonata fiir Blockfléte und Basso Continuo, Flute No. 1, “Largo”Application of Part Writing Procedures 151 : (2) The composer of this example did not include all figured bass symbols on the assumption that the performer would understand from the context of the music what figured bass was required. In measure 3, below the O# “6” is un- derstood. The B natural is a passing tone, and below the A a “7” is understood. ie In measure 18 and similar measures, a single triad is appropriate above the : florid bass line, or, another voice may sound in parallel thirds (tenths) or sixths, . as in Figure 5.23. Allegro Vivaldi, Concerto in Fa, “Allegro alla Francese” Violin152 Application of Part-Writing ProceduresApplication of Part-Writing Procedures 153 (3) The composer furnished no figured bass for this song. We have placed appropriate symbols up to the first double bar, after whieh you should furnish ‘your own, When a sequence occurs in the melodic line, be sure to write a har- ‘monie sequence to accompany it, When the bass line is melodic, as in the last ight measures, do not attempt to harmonize each note. Purcell, Song: I Envy Not a Monarch’s Fate the vain hon the great: What most they want, what\ 154 Application of Part.Writing Procedures (4) This example is the second half of a binary form. The first half began in G minor and modulated to D minor. Marcello, Sonata in G Minor for Flute or Violin Allegro @Application of Part-Writing Procedures 155 i156 Application of Part Writing Procedures @ sa sre . se ' 5 Project i: Harmonizing a Folk Song 8 Vocal Solo with Accompaniment Harmonizing a folk song in instrumental style combines the skill of choos- ing a harmonic background, as studied beginning in the early chapters of Ele- ‘mentary Harmony, and the skill of writing an accompaniment as just studied in Project I. Following are three examples of published folk song arrangements, ranging from easy to moderate in difficulty. Figure 5.25 shows a common procedure in harmonizing folk tunes, that of, including the melody in the accompaniment. Parts and 6 of this igure are the first and last phrases of this setting, both with the eame melody but with differ- ‘ences in the accompaniment to provide variety. FIGURES.25 Meth Fok Sans, “Te As Gone,” (@) Mosersta ews " LDown yon - dor goon val - ley 2-Sull" plows the bright sun ~ shine fan der, when twi - ght is fad = ing pea sive = Wy smoun-tain__Stll war - bles the— black ~ bint note from the salApplication of Part-Writing Procedures 157 for ghd - ness the blue | Oh Tellme, where isthe poco nt, —————— pp» ring - ing, AR! Thon bt - tle thought T now soon we should pat. maiden? She seeps “neath_the— green tut down bythe mh grove, 4 ‘From BASIC REPERTOIRE FOR SINGERS by Robert Otay and Poul Kruger. Copyright 1959 by Sothern Mauste Company, San Antoras, Teas. Used by permison | In Figure 5.26, measures 4 through 8, the folk tune is modified when placed in the accompaniment. Observe also the piano interlude which appears between, | stanzas, Short introductions and postludes for piano are also common. In Ele- mentary Harmony, Figure 18.5, a complete folk song setting by Brahmsincludes apostlude. FIGURE ae ‘German Folk Song, “Soll sich der Mond,” ar Johannes Baht GGebend und mit heralichen Avedruek Soll sich dor Mond nicht eller schei ~ nen, soll sich die Sonn nicht. fr auf= To-night the moon vill nor be show = ing, The sun wll not be—— up tl158 Application of Part-Writing Procedures @ fahw, so wil ich dic se Nachteshn frei - en, wie ich mu - vor auch hab ge fete” So "Twill for one lasts + tewhere 150 _ of » ten standand r SF ‘Figure 5.27 is the third stanza of the folk song setting, In the first, the mel- ody is included in the piano part, while for this stanza, the soprano line of the ‘accompaniment is a completely independent melody. PIGURES.27 Rasian Fotk Sons “The Jaca ard the Falon," ® kan Schindler mt 3. Sci" her sight wing a she_flew, By her gloss - y feath-em__ blue. s 4 eeApplication of PartWriting Procedures 159 £ AT, tiv - 1 ___brightand bie. : Moe Copyright © 1918 by G, Schirmer, ln. All rights rexrued Used by permision ‘The preceding examples show but-a few of the countless ways of creating & keyboard harmonization for a melodic line. Before embarking upon assign- ‘ments in Project If, you should examine, play. and sing many additional folk ; song settings, Numerous volumes of such materials are available in most music libraries. Especially recommended are those of Brahms, found in two collec- tions, 48 German Folk Songs and 28 German Folk Songs, available in perform- ing editions and in the complete works of Brahms, volume 26 (Brahms, Samiliche Werke, Leipzig, Breitkopf and Hartel) Some students, especially those with previous experience in composition, may wish to investigate twentioth-eentury folk song settings, including Ravel (Five Greek Folk Songs), Bartok, Kodaly, Britten, Vaughan Williams, and Cop- land, among others. All or many of these should be available in most musie li- braries Assignment 5.2 Harmonizing a folk melody and writing an accompaniment for piano. Using three staves, as in Figures 5.25 through 5.27, harmonize the folk tune with a keyboard accompaniment. The following steps will be helpful in planning the harmonization «@) Sing or play the melody; read the text carefully. Folk songs usually have no tempo indication; a tempo should be chosen appropriate to the char- acter of the melody and the text. 5) Choose a harmonie progression, just as was done in harmonizing a cho- ralemelody or a melody at the keyboard in earlier chapters. Besure that each melody note is either partof a triad ora nonharmonic tone as previ- - ously defined. ©) Choose a style of accompaniment (arpeggiated, block chord, and so on) appropriate to the melody being harmonized, [tis not neceseary that the| 160 Application of Part Writing Procedures same style be maintained throughout the composition, but there should notbe an abrupt change from one style to another. ) Give special attention to the movement between the soprano and bass lines, just as in harmonizing a chorale. ¢) Consider the possibility of adding a short (two- or four-measure) intro- duction and/or eoda to your harmonization. f) dit your manuscript. ‘This includes tempo markings, dynamie mark- ings, and phrasing in the piano score. Phrasing marks are used to indi- cate melodie motives and places where legato is desired. Study Figures 5.25~5.27 and examples from published harmonization, Ifyou wish a wider choice of molodies or need additional material for practice, select melodies from your sight singing book or from the many collections of un- harmonized folk songs usually available in music libraries. o English Polk Song How plea-snt is it in the Blossom of the year to stray and find a nook Where naught doth fill the ‘hol -Iow. of the list” ning ear, except the mur-m'ring brook or tude doth love to bird in neigh-b'ring grove, that in sol breathe his lone - ly hymn, Lost in. the mingled song, T careless roam a - long from morn to twi- Hight dim.Application of Part Writing Procedures 161 nash Folk Song o A North Coun-ty Tas up to Lon - don did pass, Al - though with her na - ture it didnot + gree, which made her re pent, And so of - ten la -ment, Still wish - ing again in the North for to. be. Othe oak and the ash, and the bon-ny i -vy tee do flour - ish at home in my own county, ” Engish Folk Song Lore me Ite, lose me tongs the burden of may sg, > Love that ir too hot and strong bum eth soon te wate,162 Application of Part Writing Procedures Sill T wanld not fave thee cold, Nor 0 back -wrd mor te Ba —— = Love hat fast = eth ll ts Fa - doth nol im haste o (Czech Folk Song Good aight be-lov - ed, good ight,good aight, God keep yousafe in His watch ful sight. Goodnight, dear, soft - ly sloop; Swest be thedeams of your slam - ber deep. GGood-night dest, som - ly seep; Sweet be the reams of your sam «ber deep. Project Ill. Composing an Original Melody and Accompaniment to a Given Text ‘Composing an original song combines the skill of writing a good melodic line, as studied in previous chaptere, and the ability to write an accompaniment, as studied in Project I and Project I. In addition, knowledge of combining a text with a melodic line is necessary.* 1. Meter. A poem, which, like music, has meter and rhythm, is usually cho- sen as a toxt for a song. The melodic line is composed to accommodate the metrical considerations of the poem, Therefore, it is first necessary. toscan the poem to determine its strong and weak accents. These gener- ally conform to like accents in the music. In the scansions following,“ indicates a strong accent, while “~” indicates a weaker accent. See Nw Harvard Dictionary of Music, “Test and Music”Application of Part Writing Procedures FIGURE 5.28 es j Sicep my child and peace St-eind thee, All through the night. ; ——- ‘The meter ofa poetic line does not necessarily indicate a specific musical meter. In Figuros 5.29 and 5.30 the same poetic lines have been set in both simple and compound time, but in both cases, the metrieal accents of music and poetry coin- cide. Twalk in the gar-den ear-ly. Just at the break of the day. ‘The flow- ers all whis- per to- geth- er. Nev- era word I say. FIGURE 5.29 Schuman, Diced, Op. 4, “amend Somes 1 walk in the pe + den car -Iy, Jst_at the beak of the ‘Am tec ten-den Som ~ met-mor ge get? ith. im Gar ton her Sgt bbe be Se ip op Ble oF = day, ‘The flow-ers all whis- per to ead Ee fitstern ond spe, chen die eh ery Nev - er a word Tay. Bio mens ich a berwand - le stumm.164 Application of Part.Writing Procedures, FIGURE 6.20 Franz, Am leuchtenden Sommermorgen, Op. 11, No. 2 Andante con moto 1 walk the gar + don cars yy ‘Am —leuch - ten den Som mers mor = gen Just at the break of the day, ‘The flow-ers all whis - per to ‘geh? ich im Gar ten her - um. Bs liste und spre - chen die eth oe Nev - er a word I. sty. Blo omen; ich a - ber, ch wand - Je __ stumm, Figure 6.31 shows three different settings of the first line of Nur wer die Sehnsuch kennt, each with a different time signature. Note again how the aceents in the melodic line conform to the accents in the poetic line. FIGURE 5.31 Schubert, D. 877 Schumann, Op.98a, No.3 Tschaikowski, Op.6, No.6 None but the ach» ing heart, knowsall_ my an - guish! A- Nur wer die Sehn-such kent, weiss, war ich ei = de, alApplication of Part-Writing Procedures 165 2, Form, The form of a song is usually dictated by the form of the poem be- ing set. In simple poetry, where the meter is constant and each line of equal length, a simple setting may result—one phrase of musi¢ (regu- lar) for each line of poetry. Such well-known songs as “Auld Lang Syne” and “The Blue Bell of Scotland” illustrate this procedure. Any of the forms previously studied ean be utilized: phrases, periods, doublt pori- cds, and 50 on. In addition, the devices of extension may be used. In Figure 5.32, part of the last line of the poetie stanza is repeated toextend the phrase. FIGURE 6.32 Etwas bewest Schubert, Winterreise, 911, “Eribiingstaum” 3 1 dreamt of the mead - ow and - Teh uum + te von gd - nen Wie - sen von thrush - es and ro - bins that sing. In ~ sti-gem Vo - gel ge - schrei. In Figure 5.33, phrase 1, a short poetic line is extended to make a full four measure musical phrase; in phrase 2, the same short line is extended to make a five-measure phrase: "The post brings you no note today, my heart, ‘So now why actin this strange way, my heart?166 Application of Part Writing Procedures FIGURE 5.33 Etwras geschwind Schubert, Wisterelse,D. 911, “Die Post™ Se = The post brings you no note = to day, my Die Post bringt ei nen Brief fiir dich, mein ty now why act in dringst du denn so this strange way, my heart, yea? wun - der- lich, mein Hera) reins Here? 8. Syllabie and melismatie methods of text setting. When one syllable of the text is set to one note of the melody, the result is known as asyllabic setting, (See Figures 5.28-5.29.) When more than one note is assigned to a single syllable, the result is melismatic, and the group of single notes sung to a single syllable is called 2 melisma. Most art songs use syllabic settings with occasional short melismas, usually two or three notes, but sometimes longer, as in Figure 5.32. 4. Strophic and through-composed songs. In the strophic songs, each stanza of the poem is sung to the same melody, Most chureh hymns are strophie. See also Schubert, Die Schone Mallerin, Op. 25,Nos. 1,7,8,9, 10, 13, 14, 16, 20. More sophisticated songs, such as the German lieder, tho French chanson, or art songs of any nationality, are more often than not through-composed, that is, the melodic line at any moment is an expression of or a reaction to the senti- ‘ment of the poem. Therefore, although the songris made up of phrases as dictated by the cadential points of the poem, these phrases do not necessarily combine into larger formal structures such as period, double periods, and so forth.Application of Part Writing Procedures 167 5. Vocal notation. The notation of the music of the vocal line differs fram instrumental notation, When the setting is syllabic, notation of eighth notes and smaller are not “beamed,” Each note caries ts own separate flag, od 4 wo FU - Spring is come Spring is come However, in a few very recent editions of music, the latter method can be found. In a melisma, the beam extends the length of the melisma (when eighth notes and shorter are used) and a phrase mark extends from the first to the last note of the melisma. FFs oe Spring is come All these procedures are illustrated in the last four measures of Figure 5.92. Assignment 5.3 Setting a poem as vocal line and accompaniment, Any poem of short or moderate durationcan be set:asa song. For the first attempts, something short and to your liking should be chosen. A number of poems are provided here, not as require- ments, but as possibilities, ‘The finished composition should be fully edited, including tempo indica tion, dynamie markings, and phrasing. Be sure to follow the procedures of vocal notation as seen in the preceding music examples. Ye flowery banks o' bonny Doon. “How ean ye blume sae fair? How can ye chant, ye little birds, ‘And I sae fu’ of care? ‘Thou'll break my heart, thou bonny bird, ‘That sings upon the bough; ‘Thou minds me o' the happy days, ‘When my fause love was true. Robert BurnsSo 168 Application of Part.Writing Procedures fa’ the airts the wind ean blaw; I dearly like the west, For there the bonnie lasey lives, ‘Tho lassie [lo best; ‘There wild woods grow, and rivers row, ‘And mony abill between; But day and night my faney’s light Is ever wi' my Jean, —Robert Burns ‘The sun, above the mountain's head, ‘A freshening lustre mellow ‘Through all the long green fields has spread, His first sweet evening yellow. —William Wordsworth Pack clouds away, and welcome day, With night we banish sorrows ‘Sweet air, blow soft; mount, lark, aloft, ‘Togive my love good morrow. ‘Wings from the wind to please her mind. ‘Notes from the lark I'll borrow; ‘Bird, prune thy wing, nightingale, sing, ‘To give my love good morrow. —Thomas Heywood Askmeno more where Jove bestows, ‘When June is past, the fading rose; Forin your beauties arient deep, ‘These flow'rs as in their causes sleep. Ask me no more whither do stray ‘The golden atoms ofthe day; For in pure love heaven did prepare ‘Those powders to enrich your hair. _Ask me no more where those stars light ‘That downwards fallin dead of night; For in your eyes they sit, and there ‘Fixed become as in their sphere. ~Thomas CarewAway delights, go seek some other dwelling, For I must die. Farewell false love! thy tongue is ever telling Lie after lie. Forever let me rest nove from thy smarts; Alas, for pity, 60 “And fire their hearts ‘That have been hard to thee! Mine was not so — John Fletcher Four ducks on a pond, ‘Agrass-bank beyond, “Ablue sky of spring, ‘White clouds on the wing; What e little thing ‘To remember for years: ‘To remember with tears! —William Allingham Jenny kissed me when we met, ‘Jorping from the chair she Satin, ‘Time, you thie Who lave to get ‘Sweets into your list, put that in Say im weary, say Fm sad, Say that health and wealth have missed me; Say Tm growingold, but add— Jenny kissed me! —Leigh Hunt Application of Part Writing Procedures 169CHAPTER SIX Diatonic Seventh Chords ‘Throughout the provious chapters you have already become acquainted with the most common and the most useful of the diatonie seventh chords. Though the 2 appearances of the remaining chords as single sonorities are quite limited, all : diatonic seventh chords are used freely and frequently as members of the popu- lar harmonic sequence, root movement by fifth. Al the diatonie seventh chords are shown in Figure 6.1. Chords marked 4 with an * are the ones you have already studied, Take special note of the chords built on 6 and 7 of the minor scale. In the ascending form, #6 and #7 produce vi" hile in the descending form, }6 and? produce VI' and VI’. | FIGURE6.. — Diatonic seventh chords (o)norkey : es © i (2) ioe et my??? to? | ‘The Major Seventh Chord Although Figure 6.1 contains many seventh chords not yet studied, as based on their Roman numeral identification, only one type of chord construc- tion, the major-major seventh, remains to be accounted for. Usually referred to 170Diatonic Seventh Chords simply as a major seventh chord, it consists ofa major triad and the interval of a major seventh between its root and its seventh. The diatonic major seventh chords are: major keys, I’ and TV’, and minor keys, IIT? and VV’ ’ FIGURE62 The major seventh chord Assignment 6.1 Spell each diatonic seventh chord in any major or minor key. Uses of Single Diatonic Seventh Chords Of those chords in Figure 6.1 not marked with an *, the sonority most com- monly used nonsequentially is the subdominant seventh in its resolution to a chord of dominant function, iv'~V (Figures 6.3 and 6.5) and 1V'—vii® (Figure 6.4), orto the supertonic triad (Figure 6.5). FIGURES3, — iv’-V Schumann, Auf einer Burg, Op. 39, Adagio, No.7 2 @ Bin - ge-schla-fen auf derfau-er o-ben ist der al - te Rit -ter 7172 Diatonie Seventh Chords FIGUREG4. —/V4—vifg ' Johann Criiger (1658), Jesus, meine Zuversicht a FIGURE6S. IV$-V$; 1VE-iig Handel, Messiah, “Surely He Hath Borne Our Griefs” Laeo g) | ‘The IV" in a minor key has a dual function, Not only can it resolve to the ! dominant, as in measure 2 of Figure 1.16, but it ean also function as the second- ary dominant chord, V/VIL.FIGURE66. The subdominant seventh as V7/Vit , Handel, Messiah, “How Beautiful Are the Larghetto (3) Feet of Them’ & i oN 4 m wow Vv i viv viNt The vit? in a minor key, though uncommon, is useful anytime that a sev- enth chord appears above #6, In Figure 6.7, the descending chromatic scale line between Vs and V includes #6, above which is built the vit? chord. FIGURE6.7. The submediant seventh, vi? Allegro “s tos Purcell, Dido and Aencas, Act I 65) ‘And silence their mourn -ing with vows of re - turning 2 id . ot 2 Va vy ‘Most other single uses of these sonorities strongly suggest analysis of the seventh as the simple use of an ordinary nonharmonic tone. In Figure 6.8, the apparent seventh is probably better analyzed as an accented lower neighbor tone. Diatonie Seventh Chords 173174 Diatonie Seventh Chords FIGURE6.8 Andantino Faur © Les Roses d'Ispahan, Op. 39, No. 4 c re Diatonic Seventh Chords in Sequence, Three Voices In contrast to the paucity of individual uses of these chords, their fre- queney in the harmonic sequence is very high. Most often they appear in that sequence where the successive roots are down a fifth and up a fourth. In this sequence, a chain suspension in each of two voiees creates a seventh above each root (Figure 6.9). The seventh alternates between each of the two voices, each resolving to the third of the next chord and becoming che preparation for the next seventh, Inaminorkey, the descending melodie lines require the use of the descend- ing form of tho scale, When the bass line reaches 5~1 and a cadence occurs, the harmony is V'~i, butif the sequence continues past that point, the harmony is, vi-i, ‘The minor dominant seventh, v’, is rarely used elsewhere. FIGURES ‘ fa)Majorkeys 37 Pets Fert ws aT? PT wy? itesDiatonie Seventh Chords W)Mina keys FT Bete bei ev ant vit www yates ‘This same three-voive structure is seen in Figure 6.10, where each seventh is decorated by a four-note melodie figure. FIGURE 6.10 ‘Moras, Sonata in F Major for Piano, K. 533, Alegetto 5 7g third movement e bow vit om ww An interesting variation of this three-voice texture is seen in Figure 6.11. Ta measures 1-3, each quarter rest in the bass voice appears to have replaced an expected bass note of the sequence. By supplying thenotes A, Fi, and D for these rests, the sequence structure is complete, In measures 7-8, the composer has held the bass notes A and G for two beats each, instead of dropping down a fifth, to the expected notes D and C, respectively. Note the use of v’ in measure 2. 175176 Diatonie Seventh Chords FIGURE 6.11 ‘Telemann, Partita 5, “Aria?” Presto Plate Mf DMI mT wb 77 Teun wT VT te « aa? w7 vu m4 wi v7 i iwteytty mT via? VI i Although this sequence, roots down a fifth and up a fourth, commonly be- gins with roots on 1-4-7, as seen in Figures 6.9 through 6.11, itean also begin on any other reot. In Figure 6.13, the root movement 2-5-1 (ii-V4-I”) opens the sequence.Diatonie Seventh Chords Diatonic Seventh Chords in Succession. and in Sequence, Four Voices In the study of dominant and supertonic seventh chords, we learned that when used in succession with roots in the bass, one chord is complete and the other incomplete. The same is true for a succession or for a sequence of sev- enth chords in four voices. Figure 6.12 uses the series in Figure 6.9b, but with a fourth voice added. Note in this case that the first, third, and fifth seventh chords are complete, and those between incomplete. Also in such a series can be seen the same pattern of alternating suspensions shown in Figure 6.9. FIGURE 6.12. Seventh chords in succession i wv i ows? In inversion, seventh chords of any variety are usually complete, as shown in Figure 6.13 where the sequence of seventh chords shows alternating second inversions with root positions ({ 7). The pattern of alternating suspensions is seen in the upper two voices, one decorated in eighth notes, For the sequence, § 4, see Figure 6.21. FIGURE6.13. _ Inversions ina sequence Poco pit nosso Greg, Holberg Suite, “Musee” fees a Yoh wet nf wth of wT178 Diatonie Seventh Chords nn Is wo Me ' A sequence may consist of a pattern of root movements different from the ‘one shown so far, and any sequence may be found with the seventh chord alter- nating with a triad. Both of these possibilities are shown in Figure 6.14 where the root movement, down a third and up a second, utilizes alternating triads and seventh chords, Also review Figure 2.23 which includes three diminished sev- ‘enth chords resolving to triads in a harmonic sequence, roots up a second and down a fourth. FIGUREG.14. Alternating triads and seventh chords ‘Bach, Prlue in D Major (ream) pf owe we wh vee EeDiatonie Seventh Chords 179 Although most ofthe seventh chords of the sequence in Figure 6.15 are see- ondary dominants, three seventh chords are without chromatie alteration, as indicated by the * above each. What does the resolution of each have in common? FIGURE 6.15 Mozart, Const in F Moro Piao Oo . and Orchestra, K. 439, fst movement trina) eon v$ vie vSii vt Sin ie vQimn vig wo vfs VE rE wie Vi wi Gextemionof 6 vg ow wml C3 d 1 wv gov 1latonte Seventh Chords , In instrumental writing, more freedom in the treatment of the seventh is commonly seen, In Figure 6.16 each circled seventh resolves on the second eighth note following. Although this figure includes only secondary dominant sevenths, this and similar usages could occur with any series of seventh chords. ‘This example actually includes two sequential patterns, connected 50 smoothly that it is easy to mistake the entire passage for a single harmonic 5¢- quence. Where is the brenk between sequences and how is it accomplished? FIGURE 616. Delayed resolution of sevemths Brahms, Ballade, Op. 118, No. 3 ego eye “o Roos $$ T a oF THEea Ee Hiaes vou vin Vil viv iv Von mw Assignment 6.2. Harmonic Analysis Analyze each example, taking particular note of the use of the seventh in both single seventh chords and in sequences.a Franck, Spmphonfe Variations vip.182 Diatonie Seventh Chords (4) This passage in C minor from a concerto in C major includes two har monic sequences, ending on a Picardy third that leads back to C major. In the melody line, at each appearance of an eighth rest, calculate the chord spellingby including the pitch name immediately following the rest, In addition to a Roman numeral analysis, answer these questions: 1. First sequence, a. What is the root movement? b. Which measures contain two different spellings above the same root? c. Why does the bass line ofthe first and third measures differ from that. in the socond and fourth measures? 2, Second sequence, a. What is the root movement? bb. What did the composer accomplish by using crossed voices?Piatonie Seventh Chords 183 Mozart, Concerto Major fr Pin, W503, 25771 4 Sehurtann, Diohrertsbe, Op. 48, “Das st ein Ploten und Geigen™ , on Nebr 2 rssh Das184 Diatonie Seventh Chords tem da Z (6) In measure 8 of the next excerpt consider the D} and its duplication in the arpeggio asa nonharmonic tone against A C Bi Gb. Note its resolution at the end of measure 9, rab, Intermez20, Op. 117, No.2 — Avante non troppo e con mots espresso ne ope ——-Dlatonie Seventh Chords 185 (7) This excerpt from a twentieth-century work includes a harmonic se- ‘quence markedly similar to the typical earlier sequence, Locate the sequence, describe its root movement, and explain the function of tones that are not mem- bers of the harmonie sequential pattern. Andante commode Walton, Concerto for Viola and Orchestrs, st movement186 Diatonie Seventh Chords . Reprint by pormision of Osfrd Unversity Pras, LondonDiatonie Seventh Chords 187 Writing Single Diatonic Seventh Chords ‘The procedures already learned for the part-writing of seventh chords ap- ply equally to the remaining seventh chords. In four-voice nonsequential writ- ing, all four voices are usually present, thereby avoiding any ambiguity of sound (does BD A stand for BDF AorB D F4.A?) Only the subdominant seventh chord requires special treatment, caused by the fact that its root movement is usually up by step to V rather than down by fifth as with most seventh chords. This resolution can easily produce parallel fifths, but only when the chord’s seventh is above its third, as in Figure 6.17. ‘When the third is above the seventh, there is no problem. FIGURE 6.17. Incorrect resolution of N a » sthe sd—ad wove woyoo4 ‘To avoid the fifths, any other resolution not involving parallel octaves, parallel fifths, or augmented seconds is acceptable. Usually it is the third that moves unconventionally, down a fifth in Figure 6.18a, and in 6, an approach tothe sev- enth of the following chord by leap from above, FIGURE 6.18. Resolution of fe Bach, Winn roms, No. 29215) Mendetsoin, Hymn aD188 Diatonie Seventh Chords Writing Harmonic Sequences in Three Voices Figure 6.9 demonatrates clearly the suspension figure alternating between. ; the upper and middle voices. While Figure 6.9 shows the sequence entered by the progression I-IV’ (i-iv"), the tonic can also progress to any other chord to begin the sequence, such as I-ii'-V"-T' and so forth, or another appropriate i chord may proceed to the first chord of the sequence, such as I-V—vi"-ii', and 50 4 | forth, Assignment 6.3 ‘Writing sequences in three voices: 8) Using any major or minor key, assigned or gelf-chosen, write a sequence in three voices patterned after Figure 6.9. Begin with I-IV? or i-iv’ Continue past the roots 5—i until the next appearance of the roots 5=i b) Write a sequence in which the first chord of the sequence is other than IV" iv’), Should your sequence end with the tonie chord on a weak beat, add iif-V-1 or i¥f-V-i to complete the exercise Writing Harmonic Sequences in Four Voices The basic pattern for writing the common harmonic sequence, roots in the bass down a fifth and up a fourth, is shown in Figure 6.12. The sequence can be : ‘written with either the root or the fifth as the first soprano note, as well as with, 3 the third shown in the example (see Figure 6.19 for an example beginning with 3 the fifth in the soprano) Figure 6.13 shows that when inversions are used in this sequence, each seventh chord is complete while other conditions remain the same, Note also : that here the sequence is introduced, not with iv but with V', Examples of each of the inversion patterns are shown in Figures 6.20 and 6.21, Though in key- board style (three notes in the right hand), they can easily be converted to four- voice chorale style. In review, these conditions apply no matter what the inversion or the s0- prano position: 1, With root movement down a fifth and up a fourth, seventh chords are alternately complete and incomplete, With the use of inversions, all sev- enth chords are complete. 2. Alternating suspension figures will occur between any two voices, the seventh of the chord resolving to the third of the next chord, while ‘multancously the third is held over to become the seventh of that same next chord. 3. ‘The sequence may begin with any member of the series.Diatonie Secenth Chords 189 Assignment 6.4 Writing the harmonic sequence, roots down a fifth and up a fourth, in four voices. As before, to continue past the tonie chord in major use I’, orin minor, v?— i? If the final tonic triad ends on a weak beat, add ilf-V-T (it For further practice, use other keys. (1) E major, I-IV"~viie?—(to I) (2) G minor, i-iv’-VI'— (3) Ct minor, i-i (4) Ab major, IA —vig-it7 (5) BS major, I-vi~ii§-V4— (6) Eminor, V-i-iii?—VIf— (7) The sequence down a third and up a second, as in Figure 6.14: F minor, it Ve ' Assignment 6.5 Figured bass exercises including diatonic seventh chords and harmonic se- | ‘quences. For the practice of writing in the C clefs, use a brace of four staves with the alto clef and the tenor clef on the second and third staves. w a seh 5 Ba 8 oTko Diatonie Seventh Chords 2) ‘ 190Assignment 6.6, Realization of a figured bass Using three staves, write a piano accompaniment based on the composer's bass line and figuration. The first example is the first part ofa binary form, w (Corl, Concer IX, “Comers” Vivace ‘Violin 7 Continuo, Diatonic Seventh Chords ww@ Bash, Sonata No, 1 in © Mor for Fate and Contino Adagio ir — ‘ 5198, Diatonie Seventh Chords194 Dlatonte Seventh Choris Keyboard Harmony Assignment 6.7 Playing harmonic progressions. Play these progressions in keys as directed by the instructor. The Arabic numeral(s) over the opening triad indicate the so- prano position(s) most useful for the particular progression. a. Short progressions Major keys tors UV WV (orvii’s) I Tors Lig IV V (orviiz) 1 ] ivi WE Tors wv 3 Tvg vg 5 1M. vi tig VI 5 Iv vig iif VE b. Longer progressions Major key: Minor keys ors ivivvi 1 igi 1 i VEU iw Vi 135 iv Vi 13,5 GIVE Ei 3or5 ive WE iP tors iV VES aie Vi lg 1V$ vile iid vig ii V1 Majorkey: Sor3. (iii HV EV wig ‘Major key: Minor key: Minor key: i vile? ve vil? if Vi 3Assignment 6.8 Playing the harmonic sequence, roots down a fifth and up a fourth. Observe these details: 1. When each chord has its root in the bass, the complete chord (all mem- bers present) progresses to an incomplete chord (fifth omitted), which in turn progresses to a complete chord and so on. 2, When inversions are used, chords are complete. 8. Ina majorkey, to continue past the cadence, play VT’ instead of VL Tnminor, play v’~i" instead of Vi 4, If the tonic triad of the cadence falls on a weak beat, continue with iif Vil or iig—V-i. 5. This aogtionce need not always start with the progression I-IV’. The opening tonicmay progress to different seventh chord, for example, I~ iV’ and so on, or another chord may progress to a seventh chord, as I-V_vi"-ii? and soon, There are almost limitless possibilities for ex- perimentation, a. Play the sequence, each chord with its root in the bass, FIGURE 6.19 Naior keys a rn Frotiniss [feeontine : bow? wil? 7 oa? oe? VT oa VT Minor keys son3 nih | flocomime § wT nT mn vi? 67 VT 4 g8T 7 TW? Diatonte Seventh Chords198 Diatonie Seventh Choris b, Play the sequence using inversions, fgured bass patter $7. With three sharpe, Figure 6.20 can be played in A major. FIGURE 6.20 toni to cotinne ¢. Play the sequence using inversions, § 4. This sequence can also be played ina major key. FIGURE 621 voriasn ro-comtnne Assignment 6.9 Playing the sequence roots down a third and up a second. The sequence in Fig- ure 6.22a is the same as in the Bach example, Figure 6.14. At b, in a different version, the figured basis $ 4.Diatonic Seventh Chords 197 FIGURB6.22 @ 3 —3ers 4 3 S Assignment 6.10 : : Improvise an accompaniment from a figured bass. In this example from Handel, | an accompaniment for the first two measures is given. 2 . FIGURE 623 : ‘land, Sonat in B minor for : a Flute ana Continuo :198 Diatonie Seventh Chords Summary A seventh chord may appear on any seale step in both major and minor keys. Those studied in previous chapters, seventh chords on the dominant, su- pertonie and leading tone, are those most commonly used. The remaining sev- enth chords are found mostly in harmonic sequences, especially that with roots down a fifth and upa fourth. Except forthe subdominant seventh, the remaining seventh chords used other than in a sequence are not commonly seen. Ina minor key, seventh chords built on 6 and 7 have varied uses. The VI’, built on 6, functions similarly to other diatonic seventh chords. The vit”, built ‘on #6, is used only when the melodic line in the bass requires a #6. VII’, built on 67, functions as the secondary dominant of III, while vii", built on #7, is the di- ‘minished seventh chord commonly used to precede the tonic triad. slau ssidstalcieCHAPTER SEVEN Borrowed Chords; The Neapolitan Sixth Chord; Augmented Triads ‘The sonorities of this and the following chapter are often known as color chords. Ofcourse, one usually thinks of color in reference to the visual arts rather than to music. In a painting, for example, starting with a neutral canvas, such as white or beige, adding hues from the spectrum transforms the canvas to a color- ful one. Now consider musie composed only of diatonic materials as a canvas to ‘which chromatic tones have been added (the word chromatic itself means “per- taining to color”), The resulting composition, as in the painting, can also be said ‘to be more colorful, riguRE?a a in - kel rea, habs Ihier will ich ich. bei mie ge~dache 4) w Git) wv (Here [in this churchyard] T thought, will Labide,) ‘The chromatic change from Bh DF to Bs Ds Fin the first measure of Figure 7.1 does not alter in any way the harmonic functions of that measure, but does add a tomporary “spot of color.” 199200 Borrowed Chords We have already had experience with chromatic harmonies, all of which have added color to the musieal canvas. But those previously studied have had ‘more important functions, the Picardy third to avoid a final minor tonie triad, and secondary dominant and secondary leading tone chords to express a domi- nant fanetion to the harmony following, as in Figure 7.1, the V/V in the second ‘measure, Modulation also provides color when we hear tonesin the new key that, would have been chromatic in the original key. The remaining chromatically altered chords serve only the purpose of add- ing color. These chords goncrally function in exactly the same way as thoir unal- tered counterparts, like the iv in Figure 7.1, or as pivot chords in modulation, easily opening the way to keys unavailable through diatonic pivots. Borrowed Chords ‘The harmonies of Figure 7.1 in the context of a major key are all familiar, except for the Bb minor triad. Bb Db F, aiv triad in F minor, here functions as the subdominant chord in F major. When used as a function in a major key, this and other chords from minor shown in Figure 7.2 are commonly known as borrowed chords. Note that only two seventh chords, the vii"? and the ii*”, are shown; any others are useful in harmonic sequences, but not common otherwise. FIGURE72 maior 4 eT iv i e «ivy cin) Wem S ‘The symbols in parentheses in Figure 7.2 indicate chords that can be used ‘as secondary dominants. For example, when the root of VI moves by perfect fifth down tosII (presented later in this chapter), itis a secondary dominant, but inthe progression $VI-iit is nota secondary dominant. These Secondary domi- nant harmonies can also be found as seventh chords, for example, AVI, E+ G By Db. Seo Figure 7.6. Chords borrowed from major for use in minor are uncommon except for the Picardy third. The necessity of accommodating the sixth and seventh scale steps | for chords in minor already provides these major mode spellings. ‘A passage of music is sometimes said to be in a mixed mode when it in- cludes harmonie structures from both the major and minor modes, = iyBorroswed Chords “assignment 7.1 Spell each of the chords of Figure 7.2 in any major key. ‘While Figure 7.1 shows a major triad followed by its minor spelling, B> DF toBb Dé F, the borrowed chord can also be introduced independently of its major key counterpart. Figure 7.3 shows the ii” introduced directly by the major tonic triad, FAC to GBS Db F. FIGURE 7.3 Andante Fauré, Lydia, Op. 4, No. 2 © =o Lasse ter bai- cere, tes bai = sets, de co-lom be Chan-teur sur ta lévre en flear PP Ie 87 (Let your kisses, your dove-like kieses sing upon your budding lips.)‘The VI, like the diatonic vi, is commonly used in the progressions) VI-iv— V, Figure 7.4, and in the deceptive cadence, V-+VI, Figure 7.5. FIGURE TA Brahms, Liebeslieder Walzer, Op. 52, No. 14 | (Like the clear waves shines the moon above.)Borrosed Chords 208 FIGURE 75 Bach, Vater unser im Himmelreich (Xo. 267) a aot ti [ts dye [lod oy viii ‘The Borrowed Chord and Tonicization As identified in Figure 7.2, three of the borrowed chords can be effective as socondary dominant chorde, In addition, the borrowed chord itself may be toni- cized. In Figure 7.6 the harmonic sequence in D major is based on the root move- ment up a fourth and down a third, F-B}-G—C-A-D. In two of these move- ments, VI(Bb DF is tonicized by F A C Eb, and}VII (CE G)is tonieized by GB DF. Continuing the root movement once more concludes the sequence with a V— Teadenee, FIGURE 7.6 Chopin, Potonsise in A Major, | ‘0p. 40,Na i geevip Asindicated in Figure 7.7, the sequence in B; major produces the borrowed. chords v and iv, preceded by V7/v and Viiv. By considering the “vi to include the implied root, D, the root movement of the sequence can be said to start at that point, Note also the tonal ambiguity ofthe first measure, where the ascend- ing bass lino strongly suggests IV’—V'— in D minor, except that the expected D minor tonic is replaced by Is of B> major. FIGURE?.7 Bach, Ach Gott und Herr (No. 279) a dlidd 2 dd 2d id Ve vigvigts Mi wi Viv viv by 1 veawence Roots ™ Gc F Bb BbBorrowed Chords Temporary Change of Mode Sufficient use of borrowed chords in a passage can lead to the effect of & temporary change of mode, usually major to minor, or an uncertainty as to which mode is predominant. In the preceding example, Figure 17.7, the progres- sion V'/v-v-V'/iv-iv gives the impression of Bb minor within the key of Bb ma- jor. In Figure 7.8, the alternation of | and i triads has the effect of confusing the ‘mode until the bVI seems to indicate a minor key, only to end in the original key of G major. FIGURET. Brahms, Symphony No. 2 in D Major, Op. 73 Allegzetto grazioso :206 Borrowed Chords ‘The opposite change of mode, from tninor to major, is far less common, though change in both directions is frequently used by Schubert. Extensive use of this device can easily be heard in the second movement of his Symphony No. 9 in Cmajor, D, 944, In Figure 7.9, measures 10-11, a single progression in major, I-V-I, is heard between the opening and closing B minor harmony. FIGURET.9 Schubert, Die schne Matferin, D.79S, twas angsan “Dye liebe Farbe® © mein sehate hat) Gran = ees! (shall dress in green, in green willows, my love is so fond of green.) ayBorrowed Chorde 207 Modulation by Change of Mode Since the key signature of a major key and its parallel minor differ by three accidentals, use of chords from the parallel minor can conveniently and dramati- cally expedite a modulation from a major key to one of its remote keys. In most cases the new key is closely related to the key of the borrowed chord, as shown in the next three examples. Figure 7.10 shows modulation from F major to Dh major. I followed by iin the key of F makes possible an easy transition to the key of Dy major whether the modulation is analyzed as pivot chord (F: i — Dy: tii) or as a diveet modu- lation at the beginning of the new phrase. Figure 7.11 shows modulation from Df major to Bmajor. Like the previous ‘example, Iis sltered toi at measure 67, except that i ls not spelled Dl Fs Ab () but is spelled enharmonically as C# E G# which functions easily as the pivot, i= vi, to B major. Figure 7.12 shows modulation from Bs major to G+ major. The borrowed Win the deceptive cadence becomes the tonic of the new key. FIGURE 7.10 F majorto Db major Beethoven, Symphony No. 3, Op. 35, Allzgro con brio ist movement roy 1 i Dh oT FIGURE 7.11 Ds major, i,Dy Fb AS= Emalor, vi, CHE G4 second splline show Becthowen, Sonata for Pano, Op. 110, Moderato first movernent e — Db Ie sy208 Borrowed Chords FIGURE 7.12 ‘Chopin, Prelude, Op. 48 Wiech tBorrowed Chords 208 Assignment 7.2 ‘Harmonic analysis. Analyze these examples, and describe the use of borrowed, chords in each. Rossini, Messe Solennele "Chim Sancto Spin Schabert, Lane, D538 o ‘Traum, bens,210 Borrowed Chords dee Wok Andante con moto o © a Mozss, Den Giosami, K. 527, Act "Caatogue Aia™ a fs de por len = sta, sua passion predo-ml ~ nan ~ con-quivsta pel Bagiovin princi -2 (With the olé women he will make his conquest, just to put thom on hie list. But his | {great passion is for young inexperienced girls.) | . “ Sehuber, Jager Ltebesed, D, 909 Misigyatind pe Bach, Orgelbichlen, Csr ieee “0 Mensch, bowen dln se ron” |22 Borrowed Chords Schubert, Sonata in A Major for Piano, D. 664, (9 ansante second movementBorrowed Chords + EMI ima + pl > me Quo oot te bel-leemfant eee Allegro moderato eRe Manon! ma cou-d = et eee (Yes, Ihelieve that lovely lass is Manon, my cousin. Iam Lescaut.)214 Borrowed Chords Bratims, Bin deutsches Reguler, Op. (ey Antane "Ye Now ate Soro ye how thst for a t-te time cg bourand sor - OW Wete mine, boat at the last = — peste rte tas sesRorrowed Chords 215 ‘The term Neapolitan sixth refors to a major triad built on the lowered sec- ond scale degree in either major or minor (0: D> F’Ab). How this chord came to be named Neapolitan is not known. The inclusion of sixth” reflects its almost: ex- clusive use in first inversion, at least until the mid-nineteenth contury, by which time use of the chord with its root in the bass had become more frequent. For analysis, the Roman numeral bls identifies the sonority, though an alternate symbol, Ns, is now widely accepted and will be used in this text. When found with its root in the bass, the symbols N andi II and the term Neapolitan identify this chord, FIGURE7.13 Cmsjor NC) Ng (bUlgde mince: NOM) Ng CHG) Assignment7.3 ‘Spell the Neapolitan sixth chord in each major and minor key. ‘The Neapolitan sixth chord functions exactly as the diatonie i, in major or iis, in minor, progressing easily oither to tonic six-four or to the dominant. The progression Nj-V always includes a melodie interval of the diminished third, 18-17, asin Figure 7.15, Db~B. FIGURE TA. New rn Net Allegro ma non troppo eo bs Schubert, Quintet in C Major, D956, ‘ist movement 1 4216 Borrowed Chords FIGURE 7.15. Nj-V" A NOW" ear con fora ‘Weber, Der Freie, Act 1 esa eee eee S, © ig Vi wot i fl start Spot, Inaddition to the usual resolution of the Ng to If or V, half-step movement. in the bass line, either ascending or descending is quite common, Such resolu- tions are usually to an‘ chord, Figure 7.16, or to a secondary dominant chord (Figure 7.17), and constitute simply a temporary delay in reaching dominant harmony. FIGURE 7.16 Nerv Mosae, Phe Magi Bure ‘act No. ‘Alero asi ® rlBorrowed Chordle FIGURE7.17 Schumann, Quartot, Op. 4, No.3, Un poco adasio Second movement Via, Lat 9 dL 2 ae se ‘The Neapolitan chord in root position (N or II) is shown in Figure 7.18, the chord in this instance followed by the unaltered supertonic triad, ii FIGURE 7.18 [Bruhmns, Symphony No. 3, Op. 90, Allegre fourth movement 217218 Rorrowed Chords The Secondary Dor nt of the Neapolitan Chord Vlin a major key and } VIin a major key serve as the secondary dominant function to the Neapolitan chord, and when so used are symbolized VIN as seen in Figure 7.19. FIGURE 7.19 Morar Gir for Crna Sting K $8, amo @ "outh none A eww vioT VIN Ne ieee Using the principle of the common progression, I-vii’s-Is, a diminished triad can similarly be used between N and Ne (vii's/N). In Figure 7.20, N is pre- ceded by its secondary dominant, the four chords constituting a short progres- sion on the level of N. FIGURE 7.20 Pe opin, Pete, 0.750. 12 ® eet OV The Neapolitan Chord in a Sequence ‘The Neapolitan chord may substitute for the diatonic suportonic triad in any harmonic sequence. ‘The sequence of Figure 7.21 starts at measure 130 where the AC HisiofaV-icadence in A minor. Since the sequence modulates toBorrowed Chords 219 Eminor, we will call the A minor triad the pivot, a:i = e:iv. Following the pivot is the progression: | e: iv VAM, Uh, WIN, N, Wi roots: A DG CF BE 5 y In the final measures of the excerpt, look for two more examples of V'/N pro- : gressing to, FIGURE 7.21 - 4 Brains, uate Op 31, No.2 2 feu mevemect | crt te, a | 1 1 | I sak220 Borrowed Chords The Neapolitan as a Pivot Chord ‘The Neapolitan chord can be effective in modulation, acting as a funetion in either the old key or the new key at the pivot point. In Figure 7.22 the Ne is, spelled enharmonically to function as [Vg in the new key, representing a change of key from five flats to six sharps, FIGURE 7.22 By minor, Ng, Cb EB Gb = FH major, IN B Dt F4 second speling shown Mozart, Symphony No. 39 in E Major, K. 543, Allegro fourth movement © were vf 7 No= FR INGBorrowed Chorde 221 ees) Mozart had two other choices in using this pivot. The new key could be F4 minor, or, by spelling the Ns in B+ minor as Cl E> G?, its funetion as TV in the new key would achieve the key of Gb major. ‘The pivot IVs = Neresultsin a key a major third higher, forexample, C:TVe (FAC) = Nein Emajor or E minor. Look for this modulation in Assignment 7.4, : Harmonie Analysis, and Assignment 7.7, Part-writing.222 Borrowed Choris Assignment 7.4 Harmonie analysis. Locate the Neapolitan sixth chords and explain how they are used, ay Adagio Rossini, Come Duet for Two Cats S —_— Beethoven, Concerto in © Minr fo Pano and Orchestra, ‘Op. 37, ist movement Allegro con brio a sila eeeect Qt 9, Borrowed Chords 293©. jaca Bizet, Caner, Act 1, No.7 je twit ] do sou = 8 = ° Bras, Symphony No.1 Op. 68 Tour movement Atego non troppo ma con io ee fal |~ ‘ Poco ceeBorrowed Chords 295 Sn f (6) Included in this example is a four-measure passage on the level of N (review Figure 1.17), Place this diagram under these measures. Above the line, analyze the harmony as though N were tonic. N Mussorgsky, Pltures ar an Exhibition, Andante molto cantable econ dolore the Old Caste‘The Augmented Triad Of the four triads builtin thirds, the augmented triad is the least used in ‘music composition. In fact, this triad more often than not. appears in a context that suggests a nonharmonie analysis rather than a harmonic one. Looking at Figure 7.23, we see above the symbol I~ an augmented sonor- ity, Itis made up of two major thirds, Dy—F and FA, encompassing an aug- mented fifth, and identified by a large Roman numeral with a + sign. Play this triad alone and you will hear the characteristic sound of the augmented triad. FIGURE 7.28 Wolt, Auf einer Wanderung Leicht bewegt (No. 15 from Morike-Lieder) Te ow But the fact thatonly one note of its preceding triad is changed, suggests an analysis simply a8 a tonic triad with a passing tone (A}—A-Bh), Other aug- mented sonorities may not display their nonharmonic function as obviously as that in Figure 7.28, but even when the altered tone, fifth ofthe triad, is oflonger duration, analysis as a nonharmonic tone is more often than not the most logi- cal. The augmented tried contains two intervals not found in other triads, the augmented fifth (A5), root up to fifth, and its inversion the diminished fourth (d4), fifth up to root. These are enharmonic with the minor sixth and the major eee sah ication el sciatica1 I ‘ Borrowed Chords 287 third respectively. Hence, the intervals of the augmented triad equally divide the octave, FIGURE 7.24 ‘The augmented triads usually encountered are those shown in Figure 7.26. FIGURE 7.25 Assignment 7.5 Chord spelling. Spell the I+, IV+, and V+ in each major key. Spell the I1T+ in. each minor key. When studying the augmented sonority in musie scores, look for these fea- tures. In major: 1, The fifth of the triad is a chromatically raised tone. 2, The raised fifth moves up, usually by half step. 8, Any resolution in which the fifth ascends is possible. The usual resolu- tions are: a. in T+ and V+, the roots may descend by fifth, such as I+ -IV, or V+-1 b. in all three augmented triads, the root in the bass may be held over, becoming the third of the next chord, such as IV + ~iig, or it may de- seend by third as in IV +—fi, 4, First inversions of + and V+ are used regularly, as in V+ 9-1 Second inversions are rare (look for an example in the analysis assignment). In minor: The IIT + is diatonic, eonsidering#? to be a diatonic scale degree, III +, either with root or third in the bass, generally moyes to VI.