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It

HARMONY
ON TB8

Inductive Method.

BY HUGH

A CLARKE,

Pennsylvania.
Professor of Music, University of

'%'

--;'

PHUiADSU'HIA

LE

I-:

No.

c*(;

1113

WA

T . Iv

Chestnut Street.

Coprrighl, 1880. bj

Lu * WilKlm.

E R,

^r.^'ffv--- jc^---

^^

(A

INTRODUCTION.
This book makes no claim to be a new theory of
but merely a new eystcm of teaeliiii-j;
harmony, by what in universally recognized as the

Imrmviny;

method of teaching, viz., the inductive.

The theory of harmony is the province of the

best

acoustician, not of the musician.

It is often asserted

that music has gained largely by the labors of the

acousticians; but this is not so evident, when we

remember that

all

the best music was written before

The instinct of

the science of acoustics was born.

many trials and mistakes,

what combinations and successions of sound were
agreeable and expressive, without asking or caring
why. And the science of sound has made but little
genius discovered, afcer

advance in explaining this "why;" and has not

added one chord or progression that was not known
if

to Bach.

Science can analyze sounds, but not music. It

can say to what the various qualities of sound are
to be attributed; but can give
their effect

on

the emotions.

no explanation of
Indeed, the

best

authorities on acoustics, viz., Ilelmholtz, Pole, Parry,

are agreed that it is useless for tlie musician to
theorize as to the origin of chords.
for

him

to

It is

enough

know what combinations and progressions

iMHIKi'-'

r-^

INTIlOlit CTION.

4
praclit't'

t'X]K .it'iiCf

iiiul

proof

lictlcr

tlicorizing

is

iibout

Iho

proved

li:ivi'

of

icciuirctl

tlin

orifriii

of cliords,

divprsily of views witli n'giird to

minor

clionl

o\ving,to the

bo an ovi'rt(io of

Tho

its

>'o

fr'xxl.

nscU'ssiicss of this

tlio

tluiu

tlic

origin of the

fiiot,th!it its

thinl rannot

fiindamental.

object of the writer on

harmony and compo-

ought to be, to reduce, to some Hystem, the

Hition

mass of

facts (for

want of a better name) of v.liioii

is tlie outgrowtii.
These facts

our modern miisie

are:

Ist.
2(1

te?npered scale.

(and resulting from

keys related
3d.

The

in

tlie

A number

llrst).

of

many ways.

possilile

combinations of sounds, called

The seeming

rules tliat govern the successions

chords.
4th.

of these combined sounds.

Rules, be

it

remembered,

that are not the i-xpression of some natural fact

but are merely the residt of a consensus of

tlie

best

taste in the art.

..
Tliese foui' facts

make up

tlie

substance of har-

mon;/, and

form tho groundwork of composition,

which deals

chiefly with

Many

melody and form.

departures will be found in this work from

the usual methods of teaciiing, notably the following

1st.

scale.

With regard

to the formation of the

minor

II

INTHODI
2d.
>'o

}.'00(|.

of

tliiw

tlinii

tilt'

iiH'ss
lIs,

origin of
tliir<l

H\'Kt0in, tllf

i"

me) of

v.iiicii

Th.'sc facts

nil

(lis:<()iiiint

chords to two

3d.

The

disoardiiij,'

of Mh' time-honored

ligured

bass.

The

4tli.

formuhitinjj of simple rules for modula-

tion.

My

mikI fonipo-

ferrinn of

roots.

tlio

raniiot

Till' 11

I'TloV.

reason for the

ilrst

departure

is,

that the rela-

tionship and signature of the minor scale

n.xed at once in the nienuuy of the pupil.

is

thereby

For the second. That it reduces the confiisiii-r

multiplicity of rules for the use of elioids with the
seventh, to four that have no exceptions.

iminl)or of
l"'or

ounds, called

a
of

10

successions

renicmbcred,
natural fact
IS

of the best

i)upil3

eomposition,

rm.
lis

work from

the followin;^

who could

it is

a hindrance, rather than

The author has had numbers

write or play a

fij,nired

bass

itlan

pursued

in this

work, than

in

all

their

It has always been to the author

previous studies.
basses were used for teaching
figured
why
mystery,
a
harmony. They were, originally, a sort of musical

shorthand; and,
only

The
of the minor

the pupil.

but Avho were quite in the dark as to the reasons

why they used such successions of chords. Many
of these pupils Irul spent one or two years studying
And have themselves acknowlwith good masters.
learned more in a month, on
have
they
edged that
the

tance of har-

the third. That

helj), to

a,

survival

in

these days of cheap music, are

of not by any means tlu;

iiiithor is often

fittest.

met with the argument that

the great nuif.ieiau. learned thi.^ way."'

''all

Well, the

Ml

INTKOKIlTlON.
pity

they had not a better and

is,

way.

ciisicr

no nrgunu'nt, that liocausc a man

is

It

it*

a great poet,

therefore the system pursued in teaching him hiH

waH the best

IctterH

With regard

to

i)OHBible.

fourth de).arture from usual

tin-

prnetice.Tlie author feels a pardonable pride

in

having reduced the art of modulation to four simple,

easily'

understood and comprehensive rules. Hitherto

the plan followed in teaching modulation, has heen

to give

th>>

pu|)il various

be transposed to

parrot fashion
to

examples, wliich were to

(he keys, until they were

all

II

xed

memory. When ho wisiied

make a modulation, he m\ist remember one of his

" patterns."
pupil

Hy

in his

mastering the rules her given, the

can make his

variet}-, iind

own modulations

in

endless

make them understandingly.

It is well to bear in

not a science

mind that music

is

an

art,

although the 8tud.v of harmony

often wrongly called the

science of music.

is

The

rules of musical construction are not the result of

investigation;

scientilic

l)ut

are deductions from

the practice of those distinguished by their artistic

eminence.

Many

musicians think these rules are

the expressions of some

musicians, think

they are

unreasonable dicta of

wrong.
art.

Good

And

taste

is

Many, not

natural law.
tlie

arbitrary and often

musicians.

IJnt

botii

are

the only arbiter in matters of

since the standards of tnste vary with

every period of the world's history,

it is

not possible

INTBOIU'CTION.

way.

to give to any of

It is

nency, and say

great poet,

|iri^lt!

in

four Himplu,
OS.

Hitherto

on,

lias i)cen

were to

liieii

decisions the nt^imp of permabe

is ft rule that can never

express h.s tlmnks

In conclusion, the author would
and p.st, for
present
both
numerous pupils,

from usual

ble

itH

ThlH

broken.

ling liitn his

to his

progress
warm interest they huve iMken in the
wislu's and iu<iuirie
of this work, and for their kind
from all parts of the country.

the

IT.

A. CT.AIIKK,

wore fixed

ly

3n he

wished

Pe
Profriior of Mutic al the VnivertUy of

tylvania.

one of his

er

r given, the

endlcHS

in

Philadelphia, Novemher
nc

i8

nn

15, 1880.

art,

harmony is
music.
The
till'

result of

from

ictions

their artistic
se rules are

Many, not

y and
ut
in

to

often

ixitii

are

matters of

vary

witli

not possible

PRELIMINARY DEFINITIONS.
1

_A

degree means from one letter to the next, whether a

whole or half tone.

intervals are always counted up from tho
In counting the number of letters in an interC D, is a second, two
val, both letters are included, thus
C F, is a fourth, four letters being
letters being included

2.Chords and

lowest Ltter.

included,

and

so on.

3. A chromatic change

retains the letter, but alters the

CC#, is chromatic. A diatonic change changes

diatonic,
both the letter m1 the pitch, thus C D, or E-F, are
pitch, thus

although on

's

monic change retains the

C# Dl, FE#,
4.

The word

An enhar-

a whole tone, the other a half tone.

G FX,

pitch,

but changes the

letter,

thus:

tc.

base is used to indicate the lowest note of a

The word bass (trota the
its pitch.

chord, without regard to

Italian baio\ uieans a low or

deep sound.

5. A diatonic scale is one that includes all the seven letters,

kinds of
without omission or repetition. (There are various
the modern.
diatonic scales, viz. The Greek, the Gregorian and
They differ in the arrangement of the tones and semitones.
modern resemble two of the ancient scales, in their arrange:

The
ment of tones and semitones
(i. e.,

little

out of tune).

but differ, in being tempered

For explanation of tempered scales
;

see Helmholtz, or Stainer's, or Groves' Dictionary).

(8)

n
!

CHAPTER

ONS.

next, whether a

1.
>

iteJ

up from

Iters in

an

inter-

a second, two
our letters being

r,
10

Inters-al is the difTerenee in pitch

An

two sounds.
2. The name of an

tho

is

but alters the

change changes

number

of letters

An enhar-

the letter, thus

it

interval

includes

between

depends upon the

the kind of interval

upon the number of semitones

includes.

it

There are five HHr7s of intervals, viz.: Major,

minor, augmented, diminislied and perfect.
3.

The following

table contains

the kinds of seconds, thirds

all

and fourths.

1 F, are diatonic,
tone.

I.

Fourlhi.

Thirdt.

Seconds.

^^^^^^^E^l^-I^^^
Semitones \

MIn.

Aujt.

Moj.

Dim. MIn. Mnj. Aug. Dim. Per. Aug.

lowest note of a

rJ bats (tram, the

4.

By

inverting these intervals

kinds of sevenths,
the seven letters,
3

-oo-

33

and the modern.

and semitones.

!,

in their arrange-

being tempered

)f

tempered scales

)nary).

and

we get

-^

the

Fifth:

s-

-fil

all

fiftlis.

Sixths.

Sevenlhi.

various kinds of

sixtlis

-O

rr-

:=g^liE|B^^^^^^^
Semil<>B<-i

11

10

MaJ. MIn. Dim.

f.

10

Aug. Maj. MIn. Dim.

On examination

it will

Aug. Per. Dim.

be found that the inver-

third, a
sion of a second produces a seventh; of a
Also, tiiat an interval
sixth; of a fourth, a fifth.

and

its

inversion together

make an octaveand,

as

(9)

ii.^^

10

ci.abke's

harmony.

the octave contains twelve semitones, an inttTval

and

its

must make twelve semitones. Thus

two semitones, conseinversion must contain ten, etc. We

inversion

the major second contains

quently

its

also find tliat the inversion of a major interval pro-

duces a minor, and the reverse

diminished

of an augmented, a

Removing one

of a perfect, a perfect.

of the sounds of an

interval

an octave does not

chiingo its name, except in the cases to be pointed

out hereafter, thus

Third.

Third.

I
W^^

Both these intervals are thirds, or the second example

is

third plus an octave.

6.

Intervals are also divided into consonant and

The consonant intervals are The major

and minor thirds, and their inversions, the minor
and major sixths. The perfect fourth and its inverdissonant.

sion, the perfect fifth

nant interval

is

and the octave.

conso-

One that gives repose to the ear

dissonant interval does not

but

a term that will be explained in

it

must be resolved,

its

proper place.

Before going any further the student must become thor-

oughly familiar with

by writing them

all

out,

these intervals.

This

ommencing with every

is

ti,

best done

# *nd

t>

in

the scale.

*l.

tetrachord

ranged as follows

is

a series of four sounds, ar-

From

first

to second, and second

CliARlCE'S

to third, are major seconds

an inttTval

Thus

tones.

8.

We

n, etc.

from third to fourth, a

G, A, Bi^C.
major scale consists of two ti-trachords sepa-

minor second, thus

ones, conse-

11

HARMONY.

rated by a major second, tiius

interval pro-

Tetrachord.

Tetrachord.

emovlng one
,ve

does not

o be pointed

==.l^^=:E~?r::
Separating whole tone.

9.

viz.

Every tetrachord' may be found

The scales of its first and of

Thus C,

1),

E^F

10.
ia

msonnnt and

The major

Scales

Thus the

has two major relations, because

major

become

fl,

is

the model for

Scale of G.

Scale of D.

{
Scale of C.

i|^

thor-

best done

# and

\>

Scale of Bh.

in

sounds, ar-

b, and
must be

and
Write tetrachords, commencing with every J. t

mark
,

common are
F and G

in

scales of

scales.

)er place.

is

B.^.

be resolved,

scales,

last note.

conso-

the ear

;o

two

its inver-

!.

its

ive a tetracliord
are related to C, because they eacli h
every major scale
that also belongs to C ; therefore

the minor

nd

F ami

having tetrachords

called related scales.

all
;,

in

belongs to the scales of C and F;

F, G, A, Bj^ to the scales of

d example

:A:
--

lUgmonted, a

the scales to which they belong.

repeated or omUted in

any

No

letter

scale.

and second

Kfr

CHAPTER
1.

A common

(^horrt

(or perfect chord) consists

The lowest

of three sounds.

II.

is

the root;

tlie re-

maining sounds are the third and fifth over that

The tiiird may he major or minor the fifth
root.
;

chord with a major third is

called a major chord with a minor third, a minor
chord. Since there are only seven letters used in
music, it follows that seven groups will make all the

muKt be perfect.

common chords
Fifths.

tliat

E,

Thirds. C,
Roots.
A,

These groups

may

are possible, thus

F,

G,

A,

H,

C,

D,

E,

F,

0,

A.

B.

?>,

C,

D,

E,

F,

G.

be modified by
may be

ift,

1,

elc.

T).

For example,

the first group, A, C, E,

etc.

but the

Six

2.

scale.

lettert

never change.

common

Three

will

chords

may

be major;

lie

written in every

three, minor.

seventh note of the scale, called the

Icaxliini

The
note,

cannot be used as the root of a chord, because the

fifth

over

it is

diminished.
(12)

!'

"

" I'

13

Cr-AUKK'S IIAIIMONY.

Example

15

Dim,

fifth.

i=l-E
Subdom. Dom.

Tonh.

hord) consists
the re-

root;
Ifth

over that

liiior

the fifth

major third

letters
ill

i-;

minor

third, a

used in

make

all

The major chords are on

the

first,

I.cacling
note.

fourth and

n.ediant
These notes are called the super! onic,

on them are called

and submcdiant, and the chords written
by the same names.
It is easier to -write Buccessioirs

3.

C,

D.

four parts (or for four voices)

consists of only tlirc., sounds,

A.

B.

double one of

F,

G.

fourtli part.

ic.

For example,

notes of

The

of the scale.

the

fifth

siibdo.ni.iant and
Those notes are called the tonic,
are called by the
dominnnt, and the chorda written on them
same names.
Mxih notes
minor chords are on the second, third and

the scale.

We

will

of chorda in

but as
it

is

members of the chord

tlie

commence by doubling

tlie

chord

necessary to
to

make a

the root, thus:

i
ritten in

every

minor.

The

I,

leadincf note,

rd, because the

is

the root;

at the base

it is

and doubled by the highest

voice or part.
4.

chord with

its

root at the base and doubled

in one of the upper parts

positions, called

may

be written in

t'.iree

Octave, tierce and quint.

mmm
sJ

ni.AUKR'S HARMONY.

14

Octave {He). Tierce (3). Quin/

::ff

--

ZJSr.

5t.

is:

SJS^

zs^
Cloit

8e.

(5t).

Diiperied Uarmomj.

Harmony.

In all its posilions apd doubling this chord is etill tlie

chord C, E, O.
This doubling might be carried to any extent; but it cannot niter the name of the chord.
5. In writing a succession of common chords
with their roots at the base, the following rule must

be observed
in the

same

Never write two chords

position.

If

it

in succession

be desired to malie the

succession as smooth as possible, retain

common

to

all

notes

two or more chords in the same part

(voice), thus:
St.

se.

'
The following examples are

to

be written according to these

-nles, Tiz.

The base note is the root.

The root only is to be doubled.
3d. Two i-hordg in the same position must never be written
Ist.

2d.

in succession.
4th.

Make

the chords as oonneoted as possible.

m I'OiinMiirnrairmi

CI.ARKE'rt

15

HARMONY.

At.

lil

Harmony.

is

t;

but

gtill

it

the

can-

The knowledge gained must now be applied

The following
marks will point out the way to accomplish this
fi.

the harmonizing of a melody.

mon chords
ig rule

must
(1 )

11

succession

make

to

in all

the

notes

same pail

3.

to
re-

or

Every note in the melody may be the

of some one of the chords in the scale.

root, tiiird

fiftli,

be treated as a root,
position;

if

tlic

chord will be

If

it

in the octave

as a third, the chord will be in the

tierce position

if as

fifth,

the chord will be in

the quint position.

5t.

8e.

Example:
6

^^^^^
1

-9'

ording to these

iver

N. B.
cession

be written

Two' chords may be written in the 8 position in sucwhen

the extreme parts

move opposite ways.

In this example, C is treated as the root of the chord of C,

consequently it is in the octave position ; D as the fifth in the
chord of G, consequently it is in the quint position ; C as the

utitr"

HARMONY.

(!IiARKE'8

10

third in tlio oliortl of A, conaetjuently

it

ia

in the lierc.^ pubi-

lion, etc.

(2)

Begin and end with

(3) After deciding

to liave, write first of

Ilarmonizo

llio

tlic

tonie ciiord.

on the chord any givon note

all

is

the root in the bass.

folla^^ing plirase of

melody

in as

many ways

as possible

-e)

g-

-1

Three chords aro possible for the

first

i
note,

two

for the

Bc-ind, three for the fourth.

1 \e following melodies

fhcao rules

they should

must be harmonized according to

bo transposed to all the keys and

oil

harmonized over and over.

Note.

The

bass must never proceed by long skips,

best not to exceed u

V ^ T g,
E^;^n^^^m

^SM5i-|-

it

is

sixtli.

^^
f

/a

"^

f.

The bass should never ascend or descend two fourths or

fifths in succession.

claeke'h harmony.
the tieroj pubi-

It

IT

cannot bo too often repeated that common chnrdu onli/, with

and not doubled, are to be used ill those

tho rootM at the base

exerciscH
)ld.

Examine each chord

givi'U iioto is

in

ts

This

is

as

you write

the only

way

it,

to see if

to suooooc

it

conforms

a the

absence

of a leiichcr.

bass.

le

to these rules

many ways

Tho progression of common cliords is perfectly

any two common cliords may bo written
but some successions tlo not sound us
Hiicecssion,
in
They arc not to be understood as
well as others.
1

free, tliat is,

m
jlo,

two

forbidden, because the effect of a progression dcfor the

peiids altogether

on the design of the composer and

tho context
ed according to
all

tho keys and

The following rules might be given for such successions

Two /nnjor chords whose roots are a whole tone apart do
At No. 1
not sound well, except in the following positions
:

long skips,

it

is

two and three are sometimes used; four

is

hardly tolerable;

five is intolerable.

two fourths or

^mt

chords whose roots are a whole or half tone

apart are bad in any position, except in the passage ot No. 2.

Two minor

M^:^^^^

J::

I,

CLARKR

18

A minor chord
third higher,

is

HARMONY.

followed by a mnjor whuno root

in

u minor

bad unless in the following positions:

(1^

P
m

::*:

jBt
Oood.

Better.

A mi^or chord, followed by a minor or the revorHc, wlioso

roots are a half tone apart, except in the following pogitions
:t

8.

(^
Nos.

and 2 are

It is

chord
fifth is

not always necessary to use the root of a

When
is

zgiz

best.

/jhonl for a base note.

nsed.

i^^fEiE^^

the third

said to

l)e

may be so
used for a base note the

Tlie third or fifth

is

in Its Jirst inversion

used for a base note the chord

in its second inversion.

It is

is

when

said to

tlie
l)e

important to remem-

ber that tlie name of the chord is unchanged, iio

matter what the inversion of the letters composing
it

m&y

be, thus

HAKMONV.

CI.ARKR'et

root

in

II

19

minor

isiliona:

EE^:
--

i
In

oiample the

thift

chord

of

Ittliri

re C, E,

To And Iho mot of a chord

therefore the

la

it

>

(.',

the lelturs composing

fa

II

it,

is

it

only neoensary

ao aa to read:

1, A, 6.

to

arrange

The loweat

will be the root.

Example
i

EE^lEllEl^iEi^:

reverHc, wlioso

wing positiuuB

No.

41

-Ol-

"

'

C, Ist

"

<i

1.

F. 2d

"

"

D, Ist

"

>f

"
"

"

K, Ist

"

with
"

doubled, C, E, G,

fifth

"

"

F. A, C,

The pupil should write

all

in nil their positions

keys;

the chord of A, Ist inversion, the letters read A, C, E,

" with root doubled, 0, D, D,
"
"
Q, 2d

1 is

the

I>i

with

fifth

fi A,

doubled, E, 0, B.

common chords in all the

Remember that

and inversions.

position applies to the hightst note of a chord with its root at

and invenion applies t a chord with any member

but the root at the base, and has no regard to whiit may be at
the base

the root of a

may be

fth

is

when

the lop of the chord.

bo

base note the

oiii

tlie

said to be

9,

only

Hitherto we have doubled the root of the chord

but it in not the only member of the chord

that can be doubled, but

the

nt to rcmem-

is at

nchanged,

chord

rs

iio

composing

is

b.ase.

is

the

But when the

used, the

double as the root.

fifth is

6e.s<

first

just as

when the root

inversion of the

good a monibei to

(For the present the third must

not be doubled).

"

clahkk'h iiaumuny.

20
In

llie

ehonU

N.

fnllnwinn OKtimplc,

w.ll lio foiinil Honiu

D. The

tlio first

doubliiiK of a

exprrsHcd )iy*writing

llio

membor

1,

Chord of
"

(',

Ho position,

hm (hough

It is

game note

two

to sing.

lloot doubled.

0, IbI invcTHion,

tli

doubled.

flftli

of a chonl nt uniaon in

nolo ns above.

of the gingers in a qiinrtetto hud the

No.

inversion of iomo of

with root, nome with

Tonlo chord.

"

Doiii.

Tonic
"

"
"

"

C,

Ho position,

"

(",

iHlinvcrtdon,

"

F,

8e position,

"
"

Subdoin.

"

D, 1st invoTHion,

'

Sup. tonlo

"

G, 8o position,

"

Dom.

"

Tonic

"
"

"

"

(;_

Ho

"

F,

1st inversion,

"

0,

1st

"

r,

3c position,

"

0,

1st invcrHion, Fifth

'<

1),

Ist

"

l,

3 position,

C,

6t

C,

3e

<<

<

"

"

"
"

"

Subdoin.

"

"

Dom.

"

"

Tonic
doubled,

"

"

'

Root doubled Sup. Icmic "

"

"

"

"

Dom.

"

"

Tonic

"

In writing the following exercises, it is optional to molto the

notes cither roots or thirds of chords. Try both and let (he
ear decide. The f .Unvini; example will point out llio way
:

81

ci.aukk'h iiahmonv.
;i

of iomo of

(loubUd.

flflli

til

tli

Thin

nd

I'videnlly in ilie

i^

^<

'tot

of the cliord of V.

No.

No

l.o

cniiiiot

;i

therefore ho

IS 14 1A in

iv

root of the chord of K. or the third

a root, heing

an tliough

II

must

(Again try both)

.V
(Again try both).
(Again try both).

of

iliiid

(Sou dinngreoable progren.

in

two

e lo Hing.

Bil,

leading nolo;

root of C, or third of

No. 7 root of 0, or

llio

tl.

root of F, or third of U.

No.

uniHon

it

nnd

liolh).

third in chord of

may be

1>

(Try

No. 5 root of A. or thirl of F.

oril at

""""t Hicreloro liogin

witli ilie loniu cliord

Tlio neti.nd notn miiy

key "f

'

kloni, piige 17).

10.

Tonic chord.
"
Doni.
Tonic

"

Siibdoni.

"

The following

rtiUi

muHt

bi- Htrictl.v

observdJ

Never let two \mrU or voices proceed in octavt-s

(Any two parts mny bo
or imiis with each other.
an octavo or llftii iipart but not twice in succession;.
;

P^ ^

Sup. tonic "

Uom.
Tonic

"

Subdoin.

"

Dom.

"

i^^^^^

Tonic
\ed,

"

led Sup. Ionic

In the
fl-st

Uoni.

"

Tonlo

"

botli iind let

t

out

tlio

first

chord,

bar, the bans and tenor are a fifth apart in the

f}'

and

also in the second,

succession between the

ional to malco the

way

the

same two

yoices.

making two

Abo

fifths

In

the bass and

on octavo apart in both chords.

Consecutive fifths and octayes, lilto this example, only occur
when two chords are written in succession in the same posi-

alto are

tion
:

^1^^

P=^--'3F^3=

hence the rule forbidding it.

fifths occur twice in succession between

In the second bar,

the alto and soprano.
In the third bar.

fifths

occur twice in succession between the

tenor and alto.

(Consecutive or parallel

fifths will

be treated farther on).

Clarke's harmony.

15 i=^

^
ra

STK
= :g=p:>-c
p

^m^

=^^
w^^
^y
3^^i^

iSM

ep

Transpose these exercises into

The next

:^
i.^

tS>5^

r<S>-

igE f= p
11.

f-

#, ^

x^

---p

t=r=t

t=f::rt

all

the keys.

step is to use this first inversion

when harmonizing a melody.

marks will make it easy

The following

re-

Every note in the melody may be the root, third

some chord but if it be treated as the

or fifth of

third of a chord, the first inversion cannot be used,

because

it is

forbidden as yet to double the third.

If the note in the

fifth,

melody be treated

as a root or a

may

be used for a

either the root or the third

base note.
1

23

4&

87

W:

No9. 1 and 8 must have the tonic chord, which will be in the
octave position.

No. 2 may be treated as root in the chord ot' D, and mw^have the root or third at the base or it may be treated ns the
;

23

clabkk's harmony.
fifth

in the chord of O,

and

may

have the root or third at the

base.

treated
No. 3 may bo root of E, third of C, or fifth of A if
the other
as third of C, the root must be at the base with
two chords, either root or third may be at the base.
;

m
:^^

be root of F, or third of D.
bo root of D, or fifth of Q.

No. 5

may
may

No.

same

No. 4

No. 7 sara

(Try

all

'

as No. 3.
as Nos. 2

and

these varieties

6.

itiid

observe which sounds best j if

several sound equally well, observe the different effects they

give).

iipSi

The pupil should now be able

to

harmonize the following

examples.

be well to bear in mind the following remark

generally gives a better effect to make the extreme parts,
bass and soprano, move in opposite directions ; . ., when the
bass descends, let the soprano ascend, and t'ic vena. This is
:

It will
It

first

inversion

following re-

not a rule, but only a remark.

the root, third

treated as the

jannot be used,
ouble the third,

d as a root or a
be used for a

ly

^^^
-^^

!T

L^^lr r r r

hich will be in the

Note.
)rd ot"

D, and

ma.*--

be treated os the

if well harmonized, sound unowing to the wan* of the perfect cadence, treated

These examples, even

satisfactory

in the following chapter.

fc^

IT

24

CliABKK'S
12.

We

HARMONY.

now to the use of the secciid

common cl ord, i. p., with the lifth

proceed

version of the

a base note.

nhcaijs (witli

two exceptions

chord with

its fifth at

whicli

for the present) a tonic chord.

we

in-

for

the lvse,

is

will ignore

Therefore, in

tlie

key of C, with ths chords so far at our disposal, the

only chord that can be used in its second inversion,
The following rules must be
is the chord C, E, G.
observed when
Ist.

it is

thus used

It (the second inversion of the tonic) must

be preceded by some chord belonging to the

(This seems superfluous at present,

Init its

scale.

impor-

tance will soon be seen.)

2d. It

must be followed by

its

dominant (excep-

tions will be pointed out in time.

-&
In this example at

^^

in

^'^ second inyersions of the tonio

example is preceded by th^ gubdominant

chord, the second by the supertonic. (These are the most
agreeable to use before this second inyersion, but any other
can be used as was remarked before, it depends on the dechord, (ho

first

composer and the context.)

The close of this example is wbat is termed a

sign of

cadence

tlie

It is the

way

full or perfect

the great majority of compositions

end, viz.: with second inversion of tonic, followed by dominant with root at the bass, followed by tonio in octave position.

11

CLARKE'S HARMONY.

We

the aecc iid in;h

the

found that the best note to double, when the root was at

the base,

fifth for

the base,

is

to

double

is

when

the root;

is

root or fifth
it

25

but wlien the

the

fifih

the third

at the base, either

is

the base, the best note

fifth is at

next, the root.

ve will ignore

chord gives a new

disposal, the

position

ond inversion,
rules

tierce is graceful

must be

The octave

effect to the chord.

grave, massive and

is

ticularly
le

in the position or inversion of a

Every change

jrefore, in the

of repose

the

and inclined to melancholy,

p-.ir-

when used

as a final

full

the quint

is

bright

and eager, always indicating something to como.

tonic) must

With regard

g to the scale.
l)ut its impor-

as base note

members

to the use of the different

chord with root at the base,

a cone in a state of stable equilibrium

is like

witii its

third in the base, in a state of neutral equilibrium

ninant (excep-

with

its fifth in

the base, in a state of unstable equi-

librium.

careful study of the following example will enable

tl

pupil to write the exercises that are appended.

f^

=^

^
--

zst

-^^

s^
*

4::

ions of the tonic

Where

th^ Bubdominant

these marks

any other
epends on the de-

on, but

may be

version of

After

of compositions

No.

are, the second inversion of the tonic

3,

because No.

by the same as No.

2.

may be harmonized by

and 3 the root of the dominant

the third of the dominant at the base.

ollowed by domiQ octave position.

used

the note following

1 a full or perfect
r

if:

the F preceding, may be

1
harmonized by the chord of F, or by the first inversion, chord
of D ; No. 2, the A preceding, by the chord of A, or first in-

chord

ese are the most

And

in each case

the dominant chord.

is

at the base

No. 2

The remaining notes

are to be treated according to the rules already given.

2

r-ji'

Clarke's harmony.

d6
The marks

X >> ^^^ ^'^^ exercise

^e?^

indicate the places

may

the second inyersion of the tonic

-9-

:fc^

where

be used.

-4L.

^^^^^^^W

^^^^iTF
1-

--

-1

:p^ 1:::?:=^

jgg^P^^JF^lpg^Pllif
13.

We now give

this second inversion

an example to illustiatc how

may be used wlien harmonizing

a melody.
After writing the exercises that follow, tho pupil should
and should trans,

carefully go over again from the beginning,

all the basses and melodies given into all the major keys
and harmonize them. This is absolutely essential to tbo cou)>

pose

plete mastery of the subject.

ggff

Ip

*
1

w have a note belonging to

ceded by a note that may belong to chord
At No.

lowed by a note belonging

belongs to the tonic chord,

--=is:

to the

etc.

the tonic chord, preof

or

dominant chord.

it is fol-

No. 2

No. 3 belongs to tho tonic, etc.

I!

clabke's harmony.
)

the places where

id.

tp::

1^

ST

followed by 0, B or D,
In short, whenever we find C, E or
the C, E or O moy have the second inversion of the tonic, and
tho Q, D or D the dominant chord.
The use of this second inversion of tho tonic is tlio only

thing met with so far that

and perseverance

will

is at all difficult,

soon overcome

and

a,

little

study

it.

'^m
EfJE^
EF
how

illustiatc

en harmonizing

IW^?

tho pupil should

and should translential to tbo

The

1st.

2d.

D
[8

or

chord.

^ricJir^-

g^

third of a chord

may be doubled under

the following circumstances

When

moving

Jonic chord, pre-

iDt

CLn[I?^'5^^S5

com14.

ff

T^f^'

the major keys

all

the parts or voices doubling

No. 2

are

When

two chords are written in succession in

the tierce position.

it is fol-

to tho tonic, etc.

it

in opposite directions.

3.

The doubling that

results

chords on the piano, organ or

from slriking

full

orchc-stra.

'JL-'

CLARKB'8 iiahmony.

S8

bnsi
No. 1. The E is doubled by the bass and soprano, the
ascending, the soprano deBcendiDg; in the second bar the

motion

is

reversed.

first bar the C is dpublcd by the soprano and

second bar tlie A is doubled by the same voices
but in this cose they proceed in the some direction. This is
two
the only woy an exception to the rule about writing
The
chords in the tierce position in succession can occur.
fifths and eighths
is doubled to avoid tho oonseotftivo

No

tenor

In the

2.

in the

third

that would result from doubling the root.

only
No. 8. The harmony reduced to its simplest form is
quint.
The
the chord of C, tierce; G, quint; D, tiercj; A,
effeot,
doublings in this case are merely for the s ke of fuller
and the harmony is to be judged as to its correctness by re-

ducing

it

to its simplest form, viz.

:g=

m
The same remark

applies to Ibo pvrolKl Cflhs and octaves

in this last example.

chords in succession in tho octave ^nd quint

position sometimes occur, when the extreme parts

Two

move

in opposite directions.

99

clabke's harmony.

^^^^$^
goprano,

tlie

No.

bnsi

1 is

No. 2

second bar tho

movement
the Boprano and

f
'

tho same voices

lircotion.

This

common

is

can occur.

fiftlis

and

jlest

form

in terminations.

an example of consecutive
of Beetho'cn's "First

fifths,

from the slow

Symphooy."

may be used
The second inversion of the dominant chord

M follows:

is

30ut writing two

,

i^^^H^^
X

The

eiglitlis

i;

is

A, quint.

only

The

SI

ke of fuller effect,

m^

correctness by ro-

must be preceded and followed by the tonic

part of
It must never occur on the accented
chord.'
It

the bar.
base,

it

If the tonic before it

must

after it

have the root at the

have the third

at the base,

and

vice versa.

fifths

therefore only one

This example has two notes in tho bar,
the bar, the third would
if there were four notes in

accent;

and octaves

be an accented note.

ctavciind quint
extreunc parts

subdominant chord maj' be used in its second

it is preceded and followed bj'

inversion, provided

the toaic, with

tlie

root at the base.

80

CLARKE'S HARMONY

^mm^m

.T-

At H: the Beoond inversion of the subilominant occurs;

each case it is preceded and fgllowed by the tonio, with
root at the base.

in
its

CHAPTER

inant occurs
te

in

tonio, with its

III.

1,
The minor scale is formed from the major, by
reananginy the notes, commencing witli tlie sixth.
It is called the relative minor of the major scale,
from which it is formed, and has the same signatnro.

2.

The most important chords

in the scale are the

In the major

tonic, siibdominant and dominant.

scale these are

all

major chords.

It

was found

(p^ge 12) that six chords might be written in every

By rearranging
scale, three major and three minor.
the scale in this way, the three minor chords will
occupy the position formerly occupied by the three

major chords

i. e.,

the

fourth and

first,

fifth

notes

of the scale, or tonic, subdominant and dominant.

C maior.

Im

Sr-^S-

^
A

is

major.

s
m
^^a^^
HBMft

:= k

A minor.

^f

"

the sixth note in

miner.

"

'tl

C major.

The chord, A,

C, E, is the

minor and the sixth or submediant chord in C.

D, P, A, is the subdominant of A or supertonio of C.
, G, B, is the dominant of A or mediant of C.

tonic of

(81)

JJ'

OliABKE'rt IIARMONV.

J9
Thin
to

Jho oldest foi'm of

in

Qrecli

tlio

minor

tlie

llypo-Dorian

ncnlc,

nnJ ooncRpondii

according

(or,

to

Qlarvanua,

Lydian (or Ionian, according to UlareanuH). This form of tlic minor scale in very Hide
used now, because it does not admit of any liarmony but comiColinn)

mon

the major loalu being

tlie

ohordc.

Two

3.

forms of minor scales are used at present,

called the melodic

and the harmonic.

In the melodic

the sixth and seventh are raised in ascending.

the harmonic the seventh only

is

In

raised, both ascend-

ing and descending. This is the only form with

which we have to do at present hence whenc^ver a
minor scale is mentioned, until further notice, it is
;

always understood

No.

1 is

No. 2

io

We

4.

to

have the seventh raised.

the melodic scale of

the harmonio scale of

minor.

minor.

have found (page 11) that every major

had two major relations. It follows, since the

minor is formed from the major, that the relative
minors of these major scales must also be related
scale

to the given scale, thus

C major
The
The
The

relative

minor of C

is

A.

relative

minor of F
minor of O

is

D.

is

E.

relative

Consequently we have

has for major relatives,

in

and G.

every scale a group of six

("I.arkk'h

nnd oorreitpoiidH

ig

Qlaranu8,

to

or Ionian, acoordHuulo

in

very

111

lie

liarmony but ooui-

ised at present,

In the melodic
aacending.
id,

In

both ascend-

jnly form with

nee whenever

n,

ler notice, It is

raised.

keys, Ko clowly interwoven

Hows,

isincc tlio

relative

or, in

and
other words, any chord belonging to A minor, F
of
C.
key
in
the
nsed
be
can
I) niinor, (1 and K minor,
In

all

raised to

we

of these minor keys the seventh must bo

make

will find

a leading note.

O^;

in

mim)r,

Therefore in
C^f; in

K minor,

minor
D^.

Tliereforc every raised note in any given scale

Avill

be a leading note to some related scale. And

in tlie scale (with one exception, to be men-

no note

tioned later) can be raised unless

it

leads to a re-

and G.

4(0

Tonic.

2.

Leading note to

8.

Supertonio.

4.

Leading
Lending
Leading
Leading

6.

0.

note to

minor.

minor.

10

11

13

note to F mnjor.

mnjor.

note to

note to

minor.

We SCO from this example that a cbromntic scale

written in any key without using a sound foreign to
tions, except in one place, viz., the Clh.
5.

a group of six

Zo=a^

dfp-^-'^

^pr-^^

1.

7.

also be related

iUh-

ollu-r,

lated scale.

every major

lat tlie

cannot be

tliat llioy

and we can paHH from any one to any

without niakinj? a permanent change of key

nnitfd,

i
it

harmony.

Four common chords may bo written

minor

scale.
8*

may be
its rela-

in the

Ot.ARKK

.<u

=?:^fe-^-iS-ll?_-:!i

^M.
1

The
The
The

riARMnW.

rt

'i

lat ii lonio.
firth
flflli

on (he
on the

2<1

of the icnie

!1J

of the Roalo

diminiRhed.

In

kugmented, owing

the

to

raiving of the lOTentb.

The
The
owing
ri:

4th

is

the lubdunilnant.

5th is the dominant.

This chord ba become miijor,

raising of the leading note. This

chord that contains this railed note. Therefore
to the

exteusion to the former rule,

yi*.

is

the only

we

get this

Ererjr raised note In

any

given scale will be a lending note to aoroe related scale, and

tHiml be harmon zed by the dominant chord of Iht nenle to which

The mixed note or loading note

dominant chord.
leads.

The
The

fitli

chord

it
it

the third in the

is

is nii^jor.

on the 7:h of the scale is diminished.

(Rules will bo given in the proper place for the use of chords
with diminiiihcd flrths/

Ti.

fifih

It will at

harinotiizo in

once

l)c

seen that

any given base or

notch raised by accidentals

one wa}' of

1)i

tlic

easiest notes to

nielodj-,

must

Ik-

the

juiisc tliere is onl}'

liarinoni/.ing eacli one.

2^S

4,.^IV

8_7

9^9

lU

11

12 18 14

1ft

ci.arke'h

m
,

owing

to

the

No.

1.

No.

.'.

No.

n.

86

harmony.

Tonic.

Uoininanl of D minor.
D minor.

Tonlo of

No.

4.

Dominant of

No.

Ti,

Tonio of

('.

flmt inveriion.

C,

No.

(1.

Dniiiiimnt of

No.

7.

Tonio of

No.

8.

Dominant of

No.

0.

Tonio of

A minor

minor.
major.

mnjor.

major, first inrergion.

10. Tonio of
No. 11. Dominant of B minor. The F mimt be harp, beoange E minor is the relative of 0, ond Q has an F<f,
No.

1)eonme miijor,

the only

lis ia

re

we

got tbii

any
and it

No.
'

12.

Tonlo of E minor.

Nob. 18, 14 and

Chords

15.

in the scale.

ed note in
?d Bcair,
e<il to

which

it

be observed that eyery one of these uomlnant chords

This is called the first progression
its tonio.
for the
(or resolution) of the dominant chord, and must bo
present strictly adhered to.
It will

Is

third in the

d.

oufle of chord!

followed by

It
Before proceeding to harmoniie the following exercises,
would be well to construct a few tables like the accompanying,
which will show at a glance the relations and the possible

accidentals in the given key.

iest

notes to

nuiHt
10 re

1h> tlio

iH

only

rrinoipal key,

Minor
G

Bl>

Major

relations.

(leading note

relations.

Fi().

i-\ <5>

D (leading

note C#).

(leading note Et]).

rr

'^=9-

IS 14

(leading note Bt)).

Et>

(leading npl^t D).

1ft

OLAItKE'S HARMONY.

3C

An

remember the notes that may be raised,

They are the first, second, fourth and fifth of the scale.
eaE>y

wny

to

is

In the exercises that follow, will be found both basses and

melodies, to be harmonized.

be observed

but we have

There are no neir rules as yet

made a

gain of four chords,

to

viz.

The chords that contain the accidentals, which chords are the
dominants of the related scales. These exercises mutt be
transposed to

all

iS^^

the keys.

^^^^^^I^

S^^g^^gE^^^^^iLflZpg
^-^k=W=^z

--=

gff|

^^^

77=q^'^=^"=fe=|^^

pz^^

Sp^
9!Ee

3fc==:^

ysT

t=T=

:p==^

--

--

:pz

"ZZ

X
i

^^^^m

^^^^irfi

37

clauke's harmony.

may bn

raised, is

PlS^^^l^^felpi

of the scale.

nd both basses and

new
r

rule? as yet to

four chords,

viz.

hich chords are the

be

exercises mutt

^^1^8
In addition to the related scales there is another
which we cin borrow some chords, viz.,

1.

scale from

the parallel minor.

i^

three

flats

*^

of

*-

longing to

^^

^^S

minor

is

meant the

minor

El,.

Rule.

In any given major scale the chords beThese

its parallel minor may be used.

chords are three in number (one being the same,

whether the key is major or mi.i0r, viz., the dominant).
C

parallel

for signature, being the relative

'ZZ

By

minor scale beginning with the same ke5-note. Thus

it has
the parallel minor of C major is C minor;

^V;-

w^-

*^

Major,'

m
4

i|E(6|):4ae^l

minor of Ey
minor, parallel minor of C major, and relative

1j#

CLARKE'S HARMONY.

38

We now

have a means

in the key of C, viz.

which

laal

to

hnrmoniie

C,

E^

By

chord includes

botii

E'c

F, A>,

or Al> in a malody

C; or A', C, E^

these notes.

C, Eb, 0. Is generally used as follows, t. ., preceded by the

major tonic or dominant, and followed by the dominant or
chord on the sixth of parallel minor.

^=
^

fc^Ofa

^=Tfi=
t

F, Al>, C.

n
yi

Preceded by the tonic, or major subdominant, or

submediant, and followed by the tonic.

it

Bl

n
b

Preceded by the tonic or dominant, and followed

Al C, E'?.
by the tonic or dominant.

II

^Sg^^^

CLARKE'S
'

Al> in

1;

a malody

or A', C,

39

IIAEMON'-'.

All these chords are frequently used in succession, as follows:

E^!

'^P--

ffi

preceded by the
lie dominant or

W-

in
8.

The

last

common chord

lowered supertonic, which

Rule The
may be

minor,

it

is

the chord of the

formed as follows

supertonic of any scale, major or

lowered, and a major chord

may be

Thus the supertonic of C is D lowered,

becomes D^. The major chord written on it is

written on
subdominant, or

is

Dj,,

it.

F, A^.

This chord should be preceded by the tonic or

subdominant, or by one of the chords of the parallel
minor, and should be followed by the dominant, or

by the second

inversion of the tonic.

ifeft
This chord is more frequently used in its first inversion than
any other way and in this form is called the Neapolitan
and has a strange account
for some unknown reason
sixth
in

ant,

and followed

gifcn of

fe

Mm

its

derivation.

(See Grovt't Diet., Neapolitan tixth).

^
^^^^^

CLARKE'S HARMON',.

40

->-

-W

1,

by

2 and

tonic,

7(S>

f
- a

:t=a:

8.
First inrerBion of lowered aupertonic preceded
major and minor; followed by dominant, or tonio
:

second inversion.
4.

The chord

is

preceded by the chord on sixth of parallel

minor, and has the root in the base.

6.

Preceded by subdominant of parallel minor.

In the following example from Weber (Der Freiscliulz), the

is used, followed by the dominant.

second inveri-ion of this chord

^HMLt-rrt^;^

^
^-f^

7Z

^.

'?^ '^.

^^ag^^^ss
liiiii

41

CtARKE's HARMONY.

f
:f=l

apei'tonic

preceded

dominant, or tonio

on 8islh of parallel

^^{^^j^I^}^
return now to the rule (on page 24) that
9.
be preceded
the second inversion of the tonic must
This
scale.
own
its
to
belonging
chord
by 8om,i

We

must be now understood

minor,

Der

to include all the chords

parallel
thus far mentioned, viz., the chords from the
some
minor, the lowered supertonic chord, and even

FreiNcliuIz), the

but the
of the dominant chords of the related keys
must
inversion
second
this
that
good
rule still holds
;

Ted by the dominant.

be followed by the dominant chord.

^M

-1-

-o

1^

^^^pr^^

irtSi^ig

^SS

No8

4,

effective.

^^^^

can be rery
5 and 6 are not commonly msS. with, but
areacon-radiction
These three examples (4, 6 and C)

clabke'h harmont.

42

or exception to the rule (page 86), that the dominant must be

followed by (he tonic.

(The progresgions of the dominant will

be more fully treated in the next

chivplor).

Another rule must now be given, viz. When a note is altered

by an accidental it mast remsin in the same part or voice that
:

it

had before

alteration, thus

O'

^mm^
Oood.

Bad.

No.

1 is

bad, because the C is natural at the one extreme of the

firt chord,

and sharp at the other extreme of the following

cliord.

No. 2

is

good, because the CIK occurs in the same part or

voice, vi7., the bass, that has the Ct].

A
It

passage like example

1 is

called a cross or false relation.

cnn occur sometimes without a bad

out in the proper place.

effect,

as will be pointed

B
n
d

Inminant must be
Ihe

dominant

will

CHAPTER
n a note

is

IV.

altered

part or voice that

1.

The dominant

cliord

over the root added to

may have

it.

the seventh

This seventh

is

minor.

i. c,
Being a dissonant interval, it must resolve
one
move always in one direction, viz., downwards
;

degree.

ine

^-

extreme of the

of the following

the

-^^<:^=S''-^

same part or

:^g^^^
or false relation.

w will be

pointed

of C with the
In this example we haTe the dominant chord
The voice or part that has the F, mutt
seventh descends,
afterward have E. J'he note to which the
domitonic chord hence the rule, that the

seventh, F, added.

is

the third of the

there are other

nant must be followed by the tonic. But
note, that may
chords in the scale that contain this resolution
us three progresbe struck after the dominant. This gives
sions for the
1st.

2d.
3d.

dominant with seventh

the tonic chord.

To
To the chord on the sixth of the scale.
To the dominant of the relative minor.

matter what the poiifirst progression can take place no

In this progresor invTiion of the two chords may be.
one degree.
sion the third of the chord must ascend

The

lion

(43)

If
CLARKE'S IIARMONT.

.44

The second progreesion can only take place when the roof
of both ohordB are at he base. In this progression the tliird
may descend when (he fifth of the chord is at the top.
The third progression may
position or inversion of the

talie place

*wo

the third does not moTC, because

cl

ord.

The

root

chords.
it is

the

no matter what the

In this progression
fifth

of the following

mast be raised chromatically

to the third of

the following chord.

It is of the greatest

Importance that the pupil should

fix

in

these three progressions of the dominant chord

with sevenths. The following examples mutt be worked out in

his

memory

every key.

^gjjg4

"^^

i^^^^^^

45

clabke'h harmony.
aoe

when

tha root*

'ogresBion the third

at the top.

matter what the

n this progrcsBion

10

flh

the third of

pupil should fli in

lie
tit

'^E^M^^^^^-

of the following

sally to

rariety of the
In the above examples we hTe CTery
progression of the dominant with seTcnths.

dominant chord
be worked out in

No.

AVith roots of both chords at the base,

1.

first

and seTenth,

It will bo
top.
and third of the dominant chord at Iho
roots of both chords are
the
when
that
example
this
from
seen
must be omitted, owing to
nt the base, the fifth of the tonic
fifth

third of the dominant. (It

f-e progression of the sercnth and
let the third of the dominant
is common in terminations to
taste.)
the fifth of the tonic, but it is in questionable

descend
No.

to

2.

We

setenth in

No.

3.

is

first

inversion of the dominant with

have the second inversion of the dominant with

This second inversion of the domiunder no restrictions as to its use ot any time, owing

We

seventh in

nant

have the

all positions.

all posiiions.

The small notes in the bars

to the presence of the seventh.
ntiy go to C or E ; if it takes the E, the
indicate that the

third is doubled

but

effective, particularly

it

occurs in contrary motion, and

when

it

occurs as at

is

very

X-

chord, viz , with the seventh

is the third inversion of this
of this example
base note. The small note in the first bnr
doubled in contrary
shows how Iho third of the tonio may bo

No. 4

^3?L

for

ft

motion.
iho
From these examples we get the following rules for
progression of the dcaiinant with seventh :
Ist.

When

must hove
2d.

tonic
the root of the dominant is at the base, the
or fifth at the base ; never the third.
tonio
the third of the dominant is at the base, the

its root

When

first

mutt hove the root at the base.

IT

CLAHKRH IIAUMUNY.

46

8d. When (be flfib of the dominknt is at tb baio, tho tonic

muat have ib root or third (somctimei tbo flftb, but it ia not

good).
4(b.

tonio

When

the BeTcnlh of the dominant

mutt hare the

is at

Ike base, the

third.

Second progrciaion of dominant with seventh

No. 1. TbeeeTcnth iaat the top. The third of tlie dominant

muat ascend. The third of the chord on the sixth niu.H bo
doubled, to avoid the conaeoutive fifths, which would occur if
the D were to take the E.
No, 2. The dominant has the i. ih at the top. The third in
this case can either ascend or descend.
No. 8. The dominant has the third at the top, oonspquently
the third of the following chord must be du ibled. (See rule
The sniall notes
for writing two chcrud in tieroe position).
at the end of each bar signify that the chord on tho sixth of
the parallel minor is included in this second progression.
,

Example

ia

sometimes followed by the chord on the sixth

in tho octave position, but rarely

:i^
in

':g^

-9-

OLARKE'H HARMONY.
tb baio, tho tonic

no

',

flftb,

but

it ia

Ibo base, the

is at

sevcntht
Third progression of dominant with

not

(^tei^^^J

(^^^^^^^

Tentli

:=li5^5|j>

^
bird of

tlio

2!

dominant

--sQ>

'n

\--~^9-^ 6

9-

the sixth niu.U bo

rhich

would occur

e top.

The

if

third in

he top, oonspquently
do ibled.

(See rule

Tlie sniall notes

i).

liord

on the sixth of

-9

9J

!^-

^m

ad progression.

le

chord on (be sixth

(P^i^#^#.
m^^^m
Iq thoM esftmples are
groosion

ia

oapkbte.

%\\

tho vurielios of which

Ihij.

pro-

ChARKBH

48

IIAH>UNY.

chord alwnyH howill bo ccn llmt ilie root of the first

ohromatio alicratlon,
conici the third of the .ccond (by the
Thli ! In Moordftnce with the rule on
effected by the #).
chromaUcnlly It niut
page 42, Ihnt wheneter a note Ir altered

Bame part or Toice that

remain

in the

alinn.

It will also

it

hiid previous lo alter-

be accn that the aetenth alwaya descends

one degree.
jirogression of the dominant
It is evident that this third
the relative minor) con only liiko
(I. c, lo the dominant of
This leuvea but two progressions for
place in a mnjor key.
tIi., lo (he tonlo
Iho dominant wilh seventh in a minor key,

and

to the

chord on the siilh.

neocusity of
(The author cannot insist too strongly on the
in
becoming thoroughly f iniilin.r with these three i-.ogrcssions
proceeding any further.
every form and in every key, before
manifest as we
Their Importance will become more -ad more

proceed).

The exercises
transposed to
will indicate

that follow should be writtoT repeatedly and

A careful study of this example
the keys.

all

how

new chord may be used

this

vthen harmon-

ising A boss or melody.

It

must

lated keys

first

bo remarked that

all the

dominants of the re-

also have the seventh added, and henceforth

We have already
used without the seventh.

may

must not be

root, third
found that every nolo in the soaie may be either a
cannot bo a root; the
or fifih (except the loading note, which
subdominant, which
supcrlonic, which cannot be a third ; the
all be
cannot be a fifth). We now find thr.t they may nearly

sevenths.

b*
-f^
No.

l^;i%.

is

:*

the seventh iu the dominant of the related key,

(;i..vHKi':

40

H ii.vu.Mu.xr.

obord nlwayH horomatlo allcrntion,

)

with tba

on

riilo

omallcnlly

it

muMt

proviouH lo alter-

No. 2

is

the Hcventh in (he dominant of the relative minor, A.

No, 4

in

the sevonlh in the dominant of the key.

No. 5

is

tive

No.

h always d*oends

tive
n

vo progrcinions for
',

Til., lo

(he tonio

on the neocusHy of
reo )>i'ogroi8ion8 in
leding

minor, (ho rela-

K minor,

the rela-

and

lins (o
ll.>

is

be lowered

to Ui',

because C

(he minor sevenlh over C;

is

the dominant of

.ilso, 11

\n tliit

(This gives us a means to harmonize D^

key of F.

if it

in (lie

should

occur in a melody in (ho key of C).

Since (he sevondi always descends, it is necessary before
(readng a note oh n sovenlh, to observe that it must be followed
by a note one degree lower than itself.

ony further.

Dore nianifeijt as

ito-1

P,

(he seventh in the dominant of

is

F.

minor of 0,

No, 7

of the dominant

lor) cnn only liiUo

(he seTenth in (he dominant of

minor of

we

repeatedly and

idy of this eiample

used i^hen harmon

ominants of the reIcd,

and henceforth

We
I

have already

either a root, third

nnot bo a root (ho

8ubdominan(, which
ey may nearly all be
;

Bar
Bar

Tonic, domionnt of key, with seventh, followed by

Chord on sixth, followed by dominant of F, seventh

added, second inversion.

Bar
f (ho related

1.

2.

key,

S.

Tonic of F, followed by dominant of 0, seventh added,

first inversion.

Bar
added,

4.

Tonio of 0, followed by dominant of

first

inversion.

minor, sevonth

CliARKE'S IIABMONY.

Bar 6. Tonio of A minor, followed by dominant of D minor,

Beventh added, third inversion.
Bar 6. Tonio of D minor, first inversion, followed by same,
tierce position.

Bar

7.

Second inversion, tonio, followed by dominant, with

seventh added.

Bar

8.

Tonio of C, with

fifth

omitted.

The same melody, with another harmony

(I

Z=^^- '^^s^:e

W^^^

-9

9-

-9

The

pupil should analyze this without difficulty.

Try

of the domito find opportunities for all the resolutions

nant.

5iES^^
r

L,|,

._f__>_^b^

;^^*i g

Clarke's harmony.
linant of

51

minor,

followed by Bame,

by dominant, with

^^9

pi

?=^:8F=^

-q*=g

-ir-^r

^jgfiigEg ^^^pgii
j

p^^gi
XT

'

^^

'

^z=pig=f=ii?ririff _{>_H*->-

^fe

r^^

m^^^^mm^m:
tE^EIE^tS m
1^
-T-f^

BBculty.

f>~0

lutions of the

domi-

F^

It:

-#-i-

.-T-^-J-W4-

^^^H^^il^

clyhke's harmony.

52

chord to JTery
is not necesaary to write a separate
two or more notes in ruooession are members of the
eame chord, the chord need not be written with all of them.

Note. It
If

note.

Not

Thus

mm
I

When the root of a dominant chord with seventh

omitted, the remaining notes form what is called
leading note.
the chord of diminished fifth on the
2.

's

progression of the
It must follow the rules for the
dominant, as though the root were present, except
when it is used in its first inversion (which is the
best

way to use

it),

when the seventh may ascend

or descend.

^=txa^-^;^^=:^
a

Dominant of D, with serenth.

No. 2. Same, with root omitted.
Nos. 3 and 4 are the inversions.

No.

1.

No. 5

is llie first

inversion, with the Herenth ascending.

that ibe seventh must

There are two exceptions to the rule

descend

BTJ:

m^

CLARKE'S HARMONY.
chord to dvery
lembers of the
of them.

all

68

The dominant, second inversion, with the scTenth at

the top, is preceded by the tonic, tierce position, and followed
by the tonic, first inversion. This is the only way this proNo.

1.

gression can take place.

Nos. 2 and
tb<>

The seventh

B.

doubled, and one resolves and

is

other ascends.

Any number of dominant

3.

chords with sevenths

may be written in succession, whose roots are a

apart, ascending, or (what

with seventh
rhat is called

eading note,
ession of the
;sent,

apart, descending.

The

this progression by, is

chord chromaticall}-, and

is

easiest

will

remember

rule to

Lower the
it

fourth

the same thing) a fifth

third of each

be the seventh in

the following chord.

except

(which

is

the

may ascend
E

Jtoo/(.

In this example the six dominant chords that

in the Icey of

may be used

are written in succession.

Other progressions of the dominant chord with

seventh
ascending.

be seventh must

may

under any

better learned

than

bj'

5lE

be met with that cannot be brought

They are not common, and can Imj

by studying the works of good writers

rule.

attempting to give rules for them.

^^^^^s

5i:-^^^^Sfe^

CLAEKE'S HARMONY.

64

ig^^^}^^^^^^
55^^^
5S

:f=3t

^^^

jg^^

^f^^^f=r=g

g^=?= =*=F

^1

=^^2

%^^

Im

^^,.ai-i;i

-f^Vrf^ ^^

^ "'"S^
je|F

^
S

^
? i

^^
^^

^m

CHAPTER
1.

The

ninth over the root

dominant chord.

The ninth

is

may be added
minor

and a semitone) in minor keys.

may
2.

be major or minor, but

The

is

V.

(t. e.,

to the

an octave

In major keys

it

naturally major.

ninth resolves like the seventh, by descendThe first progression of the domi-

ing one degree.

nant only

is

possible

when the ninth

is

added,

viz.,

to the tonic chord.

3.

can
4.

ninth cannot be used for a base note

be written close to or below the root.

The
it

nor

There are therefore only three inversions of

this chord.

CLARKE'S HARMONY.

56

In (his example are

all

the dominant chorda Ihnt can occur

in C, with the ninth added.

minor ninth.
1. Dominant of C, with m^or and
No. 2. Dominant of its relaiite minor, A.
minor ninth.
No. 8. Dominant of F, with major and
No. 4. Dominant of its relative minor, D.
minor ninth.
No. f. Dominant of 0, with major and
No. C. Dominant of its relative minor, E.
seventh, ninth
The small notes indicate Ibe resolution of the

No.

and

third.

When writing

necessary to omit

in four parts, it is

one to
one of the notes of this chord. The best
sevcntii may be
or
third
the
or
fifth,
tlie
is
omit
omitted.
and posifollowing example oonUlns all the inversions
dominant of C, with seventh and ninth.
chords in the same
The pupil should write all the dominant
way, with mnjor and minor ninth.

The

tions of the

7~g^'f=s

-^-

^^^^

TB^'^

^IJBZ.

Ep^

-x'-

'^^^^
^
m
9

^-!.i:t;i

10

CLARKE'H UARMONY.
Is Ihnt cin

ocur

Nor.

with

or ninth,

members

Nob. 5,

0, 7

Nos.

and

ninth.
5.

Ihe geventb, ninth

le

and 8
10.

present.

.ire

best one to

eventh

may

rersions

and

posi-

ihords in the

same

be

ezamplea with the

fifth

or third omitted.

Same, with minor ninth.

more than are here giren.

to find

Although the seventh may be added to the

at any time, the ninth cannot.
Observa-

dominant

tion of the

cessary to omit

the

The pupil should try

lor ninth,

lor

3 and 4 are the yarioua inversions of the cliord,

1, 2,

all

6t

way

it is

only way to learn.

The

used by good composers

One

ninth should not be added

fect cadence, unless it

is

i ^
3-

ninth.

viz.

when making a

done as follows

the

is

might be given,

rule

per-

I^IE

^m^m^

-jPv.-

The ninth

is

resolved before the seventh, by deseendinK to

the root of the chord.

i
J,ij=i

T^-

:4i4

claukk'h harmony.

68

p ^:^

SSTl
II

:a.

m^^^m
TT

An

analysis of this example will guide to the best

manner

of using the ninth with the dominant.

6.

This chord of dominant with ninth is mere

When the root is
tl.un with the root.

nscd without

may have

omitted, the cliofd

the three progressions

of the dominant.
Example:

It^ii
\il prog.

Sd, bol!t ciordt

ad.

'id.

'^vUh

ninth, root omitted.

When the root is omitted, the remaining notes

may be inverted in any way but the major ninth is
;

rarely used as a base note.

1.

1 he succession of dominant chords, mentioned

in the last chapter (page 47),

the ninth added.

:.m

r)rcscnt

but

if*

It is

n talte place, with

celdom written with the voois

common without

the root.

clabke'b harmony.

{)

m
Slii^El^ES^Tft

1
le best

RoolnB

f^^mi

manner

inth is

szrz:

mere

n the root

mt

is

progressions
No.

is

omitted.

a succession of dominants with minor ninllis, root

cliord.
is known as the diminished seventh

This

No. 2 is tlie same siicceBsion ; but the alternate chords have

only the seventh. The chord of B!> major is the lowered superna
tonio of A, hence it can be followed by the dominant of A,
above.

The
I,

bol!)

ciordt viUh

root omilled.

lainin^ notes

major ninth

ds,

is

mentioned

te place,

with

with the

'\ioi3

Dot.

pupil should write all these chords in aV the keys and

in all their inversions.

When harmonixing the following exeTciscs, it U po8i>ible,

whenever a dominant chord is used, to omit the root and add
the Bcale
the niRlh. It will be seen that the lowered notes in
may all be treated ns minor ninths. We find so far that it ia
are
poss'ble to have four raised notes in ft scale; that they
leading notes to related scales ; also, we may have four lowered
notes in a Fcale which will be ninths in the dominant chords
other ways
of the scale and ita relations (although there are
harmonize the lowered notes). So the accidentals, that can
to

be harmonixed in a

scale,

tlways occur in dominant ohords,

or the parallel minor, or lowtred surertonic.

1
CI.AHKR'ri

60

Tho dominant

wltli

HARMONY.

minor ninth mny have

tlie

root

nnd third omitted. Tho result is ivdiminiHlied tliord

on tho Bccond de|?rce of b minor scale, Tho same
remarks, as to invcrrtion and progresHion, apply to
this chord as to tho diminished chord on tho leading
note in tho minor key.
tonic chord,

and

is

It takes the place of a super-

generally followed

by tho second

Inversion of the tonic.

^^^f^^P^
C major.

A minor.

mW^^

pr^^rrr

f=bp fTVf^
i

-I

\n\

'i-a;

^^

^^^^^^^

]
61

IXABKK'm IIAIIMONV.

have the root

tiniHliod

Tho same

lu.

iHion,

on

thonl

apply to

tlio

luading

Inco

of ft Bupcr-

I'V

tho second

ms

"PT

n^-:^

ite

^^mtmm^m^m
m^mm^^^^^i

^^
^^

^^
'

'

i^^
I

aJ^

II

CHAPTER

VI.

The eleventh may be added

to the dominant.

perfect fourth, removed hu

It is perfect; being the
omitted when the eh'venth
octave. The third mi.Ht l)e
third of
resolves, by descending to tlie
is

It

added.

tiie

chord.

descends

If the ninth be present,

it

generally

the same time that the

to the root at

This chord may be

eleventh descends to the third.
whicli eam.ot
ninth,
the
inverted in any way (except
In four-part
root).
tlio
to
close
or
he a base note
bo omitted.
the fifth, seventh or ninth may
writin{,s

^^^m^^^^
\

s^m^s^^m
the way
The above con.ainH examples of
when (he root ! present.

this chord i gen-

erally used

2.

The

Tliis

chord

is

more often used without the

root being omitted,

tlie

lord has

tlie

root.

three

and it may be inprogressions of the dominant,

rules must be
following
The
way.
verted in any
observed
^^^^

n.ARKK's HARMONY
iHt.

IftluM'h'veiith dfK<t!nds,th4"

Htiifioniirv
2<1.

llftli

miiHt n-main

or awcond.

llu'

It'

I'hvi'iiUi

rcmaiiiH Htati<niary,

tlie

llflh

miiMt tisceiul one degroe.

tho (lomiimnt.

>

an

rth, ri'inovi'd

hon tlie t'U'Voiith

g to the third of
time

\n

Rkmabk

move

free to

It iH liolter, in

in

any direction.

Knerat, that the eleventh ihoulJ

bo heril In the preoetling chord

but

it ia

not neociMry.

gi'iicriiUy

nt, it
3

3d. Tiio root an<l tliird being absent, tho seventh

and ninth are

tliat

clionl

the

nmy ho

th, whicli I'tiiniot

In four-part

t).

may

3dE^

bo omitted.

7.

-31]:
---

^^^^^11
^^m
f

this chord in gen-

without the root.

rd has

tlie

three

may be

id

it

ig

rules

in-

must be

No 1. DominaDt of C, eleTenth added, root and third omitted.

The elevenih desoenda; the ninth also the fifth remains.
;

No.

2.

Same, with minor ninth.

No.

8.

Same, toUowed by

tonio.

Eleyenth remaina

Mcends.
No.

4.

No.

5.

No.

6.

Same, with minor ninth.

Same, followed by dominant of relative minor.
Same, followed by chord on sixth.

fifth

clarkk's harmony.

64
No.

First invergion of

7.

game chord, followed by

No.

8.

may go to 0, E or C.
Same progression, with minor

No.

9.

First inversion, followed

tonic.

The

seventh, F,

No. 10. First

ninth.

by chord on sixth.
inversion, followed by dominant of

relative

minor.

No. 11. Second inversion, followed by tonic.

No.

19,.

No.

13.

Second inversion, with minor ninth.

Second inversion, followed by dominant of relative

minor.
'

No. 14. Second inversion followed by dominant of relative

miror.

No. 15. Third inverHion, eleventh and ninth resolving on

third

and root of the chord.

No. 16. Third inversion, followed by dominant of relative

minor.

No. 17. Third inversion, with minor ninth, followed by

dominant of relative minor, with enharmonic change of Al?
toG#.
It will

be seen from these exampleei, that the only chords

may follow the domi-

that can follow this one are the three that

nant chord with iko seventh hence this group

to oome from ^he dominant, as its root.
;

is

considered

(Harmoni;<) the melodies already given over again, and try

to

introduce this

new

chord.)

Uecapitulation of the harmonies of the dominant

'^

Tli'i

1st

^-

lit.

'id.

3d.

ith.

6tk.

group consists of major third, perfect fifth and minor

is a dominant with tihe seventh added.

seventh, and

HARMONY.

65

consists of minor third, diminished fifth

and

CliARKE'S
'oUowed by tonic. The

The 2d group

minor seventh, and

ninth.

is

a dominant with major ninth rdded

root omitted.

ord on sixth,

dominant of

nnd
The 3d group consists of minor third, diminished fifth
ninth added ;
diminished seventh, and is a dominant with minor

relative

root omitted.
tonic,

ninth.
7

dominant of

dominant of relative

relative

fifth and
The 4th group consists of minor third, perfect
ninth and
minor seventh, nnd is a dominant with major
eleventh nddcil root nnd third omitted.
it may
The 61 h group is the same as the 2d consequently
root omitted, or
be eitlier dominant with major ninth added,
and tliird
dominant with minor nintL and eleventh added, root
;

'

d ninth resolving on

dominant

of relative

ninth, followed by

Tmonic change of

may follow
group

lis

ia

come
Consequently the 2d group in the above example may
dominant of its
from either G, the dominant of C, or E, the
The 5th group may come from Bb, dominant
relative minor.
Therefore
the dominantof C, its relative minor.

E!>, or G,
dominant harmony
there are four notes In common between the
of its relative minor.
of a major key and the dominant harmony
five
By the enharmonic change of the minor ninth there arc

of

Al>

that the only cliords

it

omitted.

the domi-

notes in common, thus

considered

n over again, and try

1.
le

dominant
2.

1^

Wi
\th.

6lh.

perfect

fifth

Dominant of C, with major ninth.

Dominant of A, with minor ninth and eleventh.

and minor
1.

enth added.
2.

Dominant of C, with minor ninth.

Dominant of A, with minor ninth

the A!* becoming 0.

'

't

it

OI<ABKi:'S

66
It is

3.

notes in

HABMONT.

this fact of there being so

owing to

common between

many

the two chords, that any

followed by any
group, derived from one, may be
other.
the
from
derived
group,

Every group

marked X. bein this example, except tliose

minor.
dominant harmony of C or of

longs to eitlier the

these
sometimes objected to this way of treating
the following
to be consistent, such groups as
vii. : D, F, A,
should be treated as coming from the dominant,
or F. A, 0, which
which would bo the fifth, seventh and ninth;
objection is
would bo the seventh, ninth and eleventh. This
There must be a dissonant interval in a
easily met as follows
In all the c
chord or it cinnot be a dominant harmony.
geventli, >r a
groups there is either a minor or diminished
(It

is

chordsThat
lii

diminished

fifth.

would Bgaiu say that

i*,

only for

is

llio

is treated
sake of simplicity and system thnt the domimmt
not from a belief that it ia so.)
the root of thee chords

..s

4.

53)

The succession of dominant chords

is

also p:)ssil>le

though the third

is

wliou the eleventh

not present.

i^

(see page

added,

al-

olarkk'b harmony.
ere

being so

^^^^

many

chords, that any

followed by any

2.
8.

Dominant of
Dominant of

C.

F.

Bb

is

the lowered third of the preceding

chord.
5.
6.
7.
8.

if

marked X> ^**

C or of A minor

those

of treating these
roups as the following
ominant, vii. : D, F, A,
iay

inth; or F, A, 0, which

This objection is
dissonant interval in a
In all the e
armony.
enth.

tninished seventh, or a
that i', is only for tlu
)

dominint

elii'f

lit

is

treated

iis

that ills so.)

chords (see page

i^ added, al-

[eventh

6t

Dominant of G.
Dominant of C, with elerenth.
Dominant of F, with eleventh.
Same, with minor uinth.

CHAPTER

the

VII.

ad(

The supertonic of any key, major or minor,

treated ae the root of a harmony similar to
the dominant harmony. The four groups that may
be derived from this harmony are always followed
by the tonic chord, which sounds bjst in its second
inversion. The dissonant notes in a supertonic harmony do not require resolution, as in the dominant
harmonies by descending: they generall}'^ remain
1.

may be

stationary (because the seventh, ninth and eleventh

(he

ad(

adi

ba

ad

over the supertonic make this tonic chord).

If the second inversion of the tonic is to follow

ad

the supertonic harmony, the latter should have the

If the

root, third or fifth for a base note.

version of the tonic

mony

is

should have the ninth (minor

base note.

first in-

to follow, the supertonic haris

best) for a

If the tonic, with root for a base, is to

follow, the seventh of the supertonic

harmony should

be in the base and the root omitted.

fo

lo

is

a<

P'

\r

clabkk's harmony.
No.

Supertonic harmony of C,

1.

60

seventh added, root at

the base.

II.
No.

Supertonio harmony of C, seventh and major ninth

2.

added, root at the base.

major or minor,
irraony similar to

groups that may

always followed
i)jst

in its

second

a supertonic barin the

dominant

generall}'^

3.

No. 5. Supertonio harmony of C, seventh and minor ninth

added, third at the base.
No.

the

6.

Supertonio harmony of C, seventh added,

7.

Supertonio harmony of C, seventh and major ninth

fitlh at

base.

No.
added,

chord).

No.

onic is to follow

Supertonio harmony of C, seventh added, third at

No. 4. Supertonio harmony of C, seventh and major ninth

added, third at the base.

remain

nth and eleventh

!

No.

the base.

fifth at
8.

added,

the base.

Supertonio harmony of C, seventh and minor ninth

fitth at

the base.

should have the

If the

le

or

first in-

supertonic
is

^^m

liar-

best) for a

,r

for a base, is to

harmony should

^^

No.

1.

Supertonio harmony of C, minor ninth at the base,

followed by first inversion, tonic.

No.

2.

Supertonic harmony of C, seventh at the base,

lowed by
is

toni>

root at the base.

almost universally wriiten

No.

3.

This

is

the only

added, can be used,

E'?

Djf.)

way

viz.,

fol-

(In this progression the

this

harmony, with the eleventh

with the minor ninth and in this

position.

No.

4.

This sometimes ooouis, the third falling to the root

of tbe tonic.

:!

'

CLARKK's IIABMONY.

TO

The Bupertonio harmony may bo written

after tho lowered

supertonio chord, as follows:

liil

15

s=^

-9

9-

NY.
(ten after tho lowered

CHAPTER VIII.
1.

The chord of augmented sixth is a dominant

harmony from root to seventh, or from

or supertonic

chrothird to minor ninth, with the fifth lowered

matically.

The

easiest

so-called root is the

the scale.

way

to

remember

it, is

the

minor sixth or minor second of

This so-called root

original chord lowered, and

is

is,

the

fifth

of the

strictly speaking,

chord
only a passing note between the fifth of the
This
and the note below, to which it descends.
dominant.
or
tonic
the
by
followed
must
be
chord

^fej^^^
dominant of G, or superSecond chord is the augmented sixth on
third chord
lowered sixth of C, or lowered second of G. The
Fourth chord is tonic of C.
is tonic of G, or dominant of C.
In this example the root is present.
Ist

tonic

example.

First chord in the

harmony of

2d exaipple.

C.

The root

is absent,

the minor ninth present;

is lowered to Al, and

augmented sixth. The augmented
This chord may be insixth lies between the Ab and F#.
howthree ways. It is not often used in inTcrsions

D being
is

the root.

is

the

fifth,

called the root of the

Terted in
cTer.

(71)

which

CI^ARKE

ii

^f

UAKMUNY.

ifsr

Z^SCZ

-5?

-Ml

t^i;^
\n

N:.i

iu )S"

The

the lowered

bo lowered

or, in

fifth

skips to the root.

aaccndg to the natural

fifth.

degree in a minor scale does not require

Hixtli

to be lowered
it

flTth, Ai>,

when writing an augmented

sixth over

other words, the dominant chord in which

this note is the fifth, requires an accidental.

Root: B.

2.

F^

is

the

fifth

but

is

natural in

minor.

The angirentcd sixth on the sixth degree of a

scale may be followed by the tonic of the

minor

relative major.

This progression

is

best with the

roots of both chords in the base.

Augmente)} sixth oa sixth of

A minor, followed

by tonic of C,

the relative major.

This progre^ion can be explained by our theory of the three

progressions of dominant chord.

The

root of the first chord

only the dominant chord of , followed by

the chord on the sixth of itc scale.
is D,

therefore

(The

flntiot,

it is

illustration I

introduction to " Faust"

know

of

Gouucd.)

Ih-.s

progression

is

in the

CLABKK's IIAHMONY.

Y.

-<-

^__

i^m^

the root,

natural

le

fifth.

edocs not require

mentod sixth over
n.t

P"^^

chord in which

ccidental.

\)

^^M^M
.lural in

H--^

minor.

sixth degree of a

the tonic of the

1

is

best with

^^ri^^s

tlie

\nr\

No.

1.

Augmented

:d~T

sixth on sixtbdegreeofD minor, followed

by dominant.
*

followed by tonic of C,

2.

Augmented

sixth on sixth degree of F, or supertonio

of C.

Augmented sixth on sixth degree of C.

Augmented sixth on sixth degree of G.
degree of A minor.
No. '^. Augmented sixth on sixth
degree of C. This is the
No. o. Augmented sixth on sixth
smoothly.
only way this inversion can be used
of C, followed
No 7. Augmented sixth, lowered supertonic
dominant of C, with lowered fifth, followed by
No. o

tar

theory of the three

root of the first chord

lord of , followed

progreaaion

is

by

in the

No.

4.

by dominant
dominant.
4

or

74

oi.arke'u iiahmony.

The Augmented lizth oompletei the

liit of chorda; what

fbllow re either (uepenaiona or retardation!. Introduce the

uginented sixth as often ae poieible in the fullowing example;

also the supertonio harmony.

^^^^^^^
:rt?Bc:t}ff=j

^^ggtg-^^35g

-^^^^^^^
I

'

lilt

of chords; what

tioni.

Introduo the

i fallowing

eiample;

CHAPTER
When

1.

or

more of

IX.

paHsing from one chord to nnotlicr, one

the meml)crs of the

first

may Iw

chord

prok)ngcd into the second chord; provided, they

s^^ai

afterward ascend or descend one degree to a

of the stoomi chord.

This

member

jailed retardation.

is

it^^F=f^

111

'

In the lit example the

is

II

prolonged from the

first

chord

which it is a member, into the second,

in which it is not a member.
It then resolves, by descending
onp degree, to C, the root of the second chord. The prolonged
D is the retardation. The note C, on which it resolves, is the
retarded note. This is therefore a retardation of the root from
(with or without a

tie),

in

above.

The 2J example

is

a retardation of the root from below.

ftrr:

CLARKE

No.

1.

No.

2.

IIAkMONY.

Retardation of root from Bb)Te anU blow.

notardaliun of third rrom above.

No. B. Rolardation of third from bslow.

No. 4. Retardation of third from above and below.

No.

0.

Nu.

0.

No.

7.

Retardation of third from above and root from below.

Retardation of root and third from above.
Retardation of third from above and root from abov

and below.
from above.
from below.
No. 10. Rclardtlion of third from above, root from above
nd below and fifth from above.
No.

8.

Retardation of

(Ifth

No.

0.

Retardation of

fifth

Tho following
Ist.

rules

must be observccl
renolvos upward,

retardation that

must

ascend a semitone, except when the noto on which

in which case it
it resolves is tho third of a chord
;

may

ascend a whole tone

root, third

Ill

and

or, !n other words, tho

be retarded from ?ibove by

fifth ra.

a whole or half tone.

Th'i third

may bo

from below by a whole or half tono.

fifth

retarded

Tho root and

by a half tono only.

2d. The noto on which the retardation resolves,

must never Iw sounded dose to or above the retardation (the root >nay be sounded above).

-V.

CLAWtB'H HARMONV.

V.

77

'dM^k
'

-"~"-|

4|

lU

and blow.
.

and below,
and root from blow.
rom tboT*.
and root from nbovo

The C and D are Bounded together.

No.

1.

No.

'1

li

pouible.

No

!)

it

bad.

3d.

The note of

resolution

may be sounded

at the

octave below.
'

ovo, root

from above

served

upward, must

V09

the noto on which

1

in

which case

d?d from
I

it

^i^^

other words, the

raa}'

)no.

iftbovo

by

bo retarded

The root

anc^.

4th. All t^ese retardations

the parts but the base.

may

occur in any of

The only one

that can occur

in this is the retardation of the third from above.

tardation resolves,
r

above the retarda-

ove).

^^&=f^
I.I

fTF

CLARKE'S HARMONY.

78

The

following example can be easily aaalyied

J;^!

^S0?^-t

W^- z&

W-

-:jsr\

I--

i^

----

--

J~6
ssr

-&-

t==!!^!_t.-;

=g=Tf;^
:<sr

2.

A retardation

skip to

tlie

that resolves by descending,

note below

i
may

its resolution.

f^^^m
f

A retardation that resolves by ascending, may skip

to tlie note above its resolution.

I
:=i:
ES=itFS=ii^

^
~o

'T

r^

J-

Y.
laljried

*
H]

231
_t-

e *
1

f
80

CLARKE'S HABMUXV.

"3^-.

s*^r

E-i
Ei3E

#+-

<s--#-

ft^
The notes joined by the

lines are the retardation itnd its

resohiiion.

Harmonize the following melodies

then in the

slto,

Firot

in the sopruno,

then in the tenor part; so as

familiar with retardation in all the parts.

(he re(ardations are all

marked wi(h a

necessary, because a note

by having two chords 'vrKten

Soprano.

(io.

may bo turned
to

it,

thus

In (he

This
into

to

first

become
example

is not always
a rctardadon

Alto.

Tenor.

_?::--:

::fzif~

-^:^^-

y-i

:?=p4--P=^

y-

-J

::r-

:^f=T

c'labke'8
With the

Jfliii

#-

^3g=f

r^t
t;

81

retanliilions i-kipping:

--

retardation itnd

harmony.

i^

--T#;^^^qr=5^=?r-c==:ff

tE^EE^.
r-#

its

in the supruno,

so ag to

In (he

This
into

flrst

^^^

become
example

is not always
a retardation

Without

Torior.

t>=:-

;pil!iig
g^S?s3!^SiE5

g^pp^^^gj?^^

^^,
--q

ties:

fs~ fc

4*

1
;Pi

15*

"

7.j;

li

CHAPTER
1.

An

X.

appoggiatura or changing note

struck with a chord

a note

Its only difference

of the members of the chord.

from the retardation

is

one degree above or below one

is,

that

it

need not.be a member

of the chord preceding the one

!in

which

it is

struck.

All the remarks applying to the retardation, apply

to the appoggiatura, viz.
If above the root, third or

whole tone

fifth,

they

may be

below, a half tone, except below the

if

They may skip

it may be a whole tone.
same way that the retardation does. They
maj' occur before two members of a chord, provided

third, when
in the

they are a third or sixth apart.

)f

ii

-9-

*f

B
li

M.

iii
(2)

olarke'b

83

iia,:.ionv,

-o-

note
'e

is

a note

f^^i^tep

or below one

only difference
ot.be a
ich

member

it is

struck,

ardatiou, apply

Ai the * we have

'ngle appoggiaturns, from

are double appoggiaturas

at

C tbey skip

to

at

to '.be note above or

to the note below their resolution.

they

may be

below the

:cept

Thej

may

)n does.

Appoggiaturas always occur ou the accented

2.

skip

They

beat of the measure or on the

first

member of

beat.

chord, provided
3.

When

these dissonant notes occur on

f^dL-:^

they are called passing notes.

ties

tlie

un-

member

of a beat,

There aro

five varie-

accented beats or on the second

of passing notes.

--1

HS-

1st.

Those that enter by degrees, either diatonic

or chromatic.

s =*^
*^
is:
H
-s>-

-^-J- :iU:

^-=f

^^^
f

CLABKK'8 habmqny.

84

I^^^^^l
No.

1.

No.

2.

The pabjing notes are on the unaccented beats.

The passing notes are on the unaccented members of

the beats.

No.

8.

-^

The passing notes are chromatic.

The diatonic passing notes generally occur between

two harmonized notes, as in the above examples;
bv't sometimes two diatonic notes in succession are
passing notes.
the

first

note

is

This can only occur as follows,

the root of a chord, the last

viz.,

its fifth,

or the reverse.

K^^*
Sometimes a passing note and changing note occur
in succession, as follows

85

Clarke's harmony.

-Tt '^

^1

<

The remarks with regard to retardations and

changing notes apply equally to passing notes, viz,

An

ascending passing note

above
tlie

scented beats,

icented

members of

its

resolution

note below

resolution

its

and the

resolution.

in
p

succession are

as follows, viz.,

the last

it& Afth,

m
nging note occur

Also, the note of

passing note should

may

be

not

parts

be doubled in thirds or

They may also l)c doubled at

moving in opposite directions.

sixths.

ibovc exainples;

skip to the note

sounded together; but the note of resolution may

be sounded at the octave above or octave below.
Also, passing notes

ly occur between

may

a descending passing note to

the octave by
Lastly, both

ascending and descending passing notes

to another

member of

may

skip

the chord before resolving.

CLARKB'H HABMONY.

8e

^^Jri#|l
a-

;^

^^^^^^mM

above.
PaSBiBg note, skipping to note
below.
Passiog note, sklppiog to note
an'l sixths.
Passing note, dounlcd in thir.ls

No.

1.

No.

2.

No

3.

No.

4.

thirds and octaves, three

Passing note, doubled in

^"no!

6.

and octaves, three

Passing note, doubled in thirds

^'no.

C.

and octaves, fo
Passing note, douDled in thirds

parts.

Appoggiaturas

ir

clarkb'h harmony.
Pnssing

nfites. first

specie'

87

*=F*^

bS?^^^^J^

^^m^m^^^M

w.
1

sixths.

ind octaves, three

>Samo

aud ooloves, three

and

octaves, fo ir

EE^

-M

ji^i^fe^^gi^
I

The second variety of passing, notes consii-ts, in

striking after a harmonized note, the degree above

m ^e
>=*

^^a

or below, and returning to the harmonized note.

i k^E^^A^
*

clabkb's harmony.

gg

pvovioJiH variety,
All the remarkB concerning the

apply to this one.

N. B.

m
No.

Both the note.

1.

bow .nd

blow the harmonied note

are struck.

No. 2
No.

3-

No

4,

No.

5.

Both the notes below nd abore.

Doubled in thirds.

Doubled in sixths.
below.the SarmonDoubled in thirds, noti abote and

ized note.

The third

variety of lABsing notes enter

but are subject to the same

nh

rules.

4-

V.B.

by skips

olakkg'h harmony.
(viojiB

variety,

m
(_^

No. 1. B ia a ptiaiag note, onterinK by ikip.

It ih one
dcgrcu below the note to which it puHses. It is a Henillone;
because all notea of this lorl, whether pawing, chanKing or
retardations,

barmonized note

89

below the root or

niu.'t be, if

fifth of

the chord,

a Hcniilonc.
No.

2.

No.

.S.

Same, skipping

to note aboTe.

Same, skipping downwards.

Notes below and above.
Notes above and below.

No.

4.

No.

C.

No.

0.

Notes below, doubled in thirds.

No.

7.

Notes below, doubled in sixths.

No.

K.

No.

0.

Delow and above,

Same, in sixths.

in thirds.
'

Although, when these notes are above a harmonized note,

may be a whole or half tone. Yet if naturally a hiilf

(hey

tone, they cannot be changed to a whole tone: although, if a

wliule tone, they may be changed to a half tone.
It is fur this

reason that, at the places

marked N.

sharp and the second natural.

D., the first

This first

F#

is

is

made

a passing note

below.the Sarmon-

to 0; the Ft] is a passing note above E.

If this passage
occurred in the key of Q, then both the F's would be sharp.

enter by skips

Before treating of the two remaining rarieties of

passing notes, we will give the following general

1,1:1

rule for all the preceding varieties (including retar-

dations)

The notes

that

harmonized note,

lie

may

one degree on either side of a

be struck Jwfore it, either by

prolongation from a preceding chord, or by entering

diatonically, chromatically or by skip;

always, that the dissonant note, be

changing or passing note,

ized note

is

it

provided,

a retarding,

followed by a liarmon-

which harmonized note

may

either follow

clarkk'm harmony.

90
immi'dlately or

note

if

may

bo delayed by the dissonant

below, skipping to the note above, and vire

versa, or skipping first to

some

otlicr

menber of tle

c'liord,

TIjo fourtli variety ia a variation or ornamentation

of

tlie first.

Tlio following

example!

will explain their uie:

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'P^

fe:=fc--r=:z._::f^=

^^^^^^

,-fiL.

the disHonnnt

above, and vice

r iiiei

ibcr of the

r oritamiMitatioii

use:

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CliARKE'a

HARMONY.

91

These examples might be multiplied indefinitely ; but enough

are given to explain the formation of passages of this kind.
One of the best places to study their yarieties, is in the -works
of Handel.

The
Its

This variety can be doubled in thirds and sixths.

fifth

variety

use will

is

called the anticipatory note.

be easily seen

from

the

following

examples

r
*=*
^^^t^jg
^
r
^6
(-

p;^
-fi

f
The
of

last is the

almost universal termination of

all

Ilanrlel's solos, airs, songs, etc.

Second variety :

m
|,i."

^
t

^
rgtr

I'

i-

gtf-^to^'^

Third variety

^^tefegg

^r

CLAKKl'a HAEMONY.

92

V- \J

'
I

'!

l^^^i'

^^^^Bl

^^

PIgE^E^^E^

^i^gi^i^
Fourth

yar'.e(y

^.^1 iUtit^^t^^^sm
P**-

N.

All varietieB

^^^SS^^^

If.

CliARKC's

It^E^M
*-liM--

^r--^-

-PlTF Jf=:

HARMON r.

^3E

p.

-ta^-

98

^ii

^^ ^^g^ag^-^^g
g

1^

S=JZ=?=PZ^

?^
At N. B.

^^P

is

descending.

the melodio miaor scale, first ascending,

then
is the only way it can be used, viz.,
as pass-

This

ing notes.

or

^m^

jE^S^

.fe^-?^?^

^^^^mm
i

clahke'h harmony.

94

(^^^^g^i^^t
l^^^pt
of U
The foregoing are exampleB of the use

harmonic minor

No.

1.

ho.

2.

No.

8.

No.

4.

No.

5.

No.

6.

scales,

melodic and

with the diUirent harmonies.

Ascending, with tonic. First is best.

Ascending, with dominant. Both are good.
Ascending, with subdominant.

Descending, with tonic. First is best.

Descending, with dominant.
Descending, with subdominant.

The skips of augmented

N08. 7 and 8 are used at the base.
the base, being very disleooBds in passagM Uke the boTe in
agreeable.

:i

CHAPTER

^fe^pl
lae

of

\1 3

melodic and

It

harmonies.

is

best.

XI.

We have now acquired all the means of harmony,

except a few irregular or rare progressions and some
other matters that would not come in well under
any

of the headings so

far.

This chapter will be devoted

to all these matters.

oth are good.

sion of harmonies belonging to the key,

is best.

written with
rhe skips of
le

1. Pedal Point
The tonic or dominant, or botli,
may be held for an indefinite time, and any succcs-

augmented

has*, being very dis-

them

member of

the

first

This prolonged note

parts

but

is

more

may

provided, the prolonged note

and

last

may have

chord in the

be
is

series.

a place in any of the

often used as a base note.

The

harmonies written with a pedal note should progress

as though the pedal note were absent.
(It is better,
as a general rule, that no harmonies more
remote
than the dominant harmonies of the related keys be
used.)

CLARKE'8 HARMONY.

96

^-^_-J

The pcdl point

._

^mi

-I

often of very short duration, as in

is

tlie

following example!:

-r

^^
^^ ^IHE
yiAA j-^
iwF^E^m._z-i
I

2.

^^

with
Exceptional progressions of the dominant

seventh.

'1

CI.AUKK

j^
frrt

firHt

IIARMU.W.

In this example Ibo dominant

ia

followed by llicHutidominunl,

The seventh does not

in-crsion.

97

resolve.

This progros-

aion can occur both in major nnd minor keys.

(P^;
rt

a-

e,

.iii^ss

duration, a8 in tho

In this example the dcmiuaut

version of the

passage

is

is followed by the beoond in(Properly consider*.!, the whole

upertonic.

dominant harmony

notes, doubled at (he octave,

site directions

The following progressions

will

the
A being merely passing
by two parts prooefding in oppo-

of the dominant with seventh

sometimes be found, but are rare

^mm
^ 9
ai
r

the dominant with

P
m

The following progroision of the seventh sometimes occurs

when the bass descends to (he third of the tonic. This is done
to avoid the

doubling of the third in direct motion.

(P^pi
^^=^11

;;'
<i-iai'~-r-y>i^:^f^irt?'^

i^-jp*Jtwr*r^;*

ci.arkk's

9e
8.

The

fifth

an augmented

harmony.

of a major chord
fifth,

ascends one degree.

may

be cimngcd to

provided the augmented

fifth

(This applies also to a domi-

nant with seventh.)

^^^^^^^m
^^

^t=M.j:T^^

II

7^

1^^
No. 1. The pecond chord
and augmented fifth, C^.

A'-

a combination of .pasBlag note

This example is a combination of a doub'e retardation and a

changing note. Such combinations are only possible when the
dissonant notes, taken collectively, form part of the dominant
harmony of the key of which the chord on which they resoWe
In this example, C#, E, Q, are part of the domiia the tonic.

nant harmony of D.
notes resolve.

is

D, F, A, is the chord in which these

CLARKE'S IIAKMONY.

lY.

nay be cimnged to
10

ics

augmented

fifth

also to a domi-

S.

CImnpinf,'

when they
fifth

apart

and

pnHsinjr notoH

00

may

hv donhlcd

are ai aiigmcutt'd fourth or diminiHiicd

provided, the two sounds nlwnys

move

in opposite directions to tlicir resolution.

11^
Passages like this may be explained on the theory of a
" harmony within a harmony ; " boonuso they always boar the
relation of either

dominant or supertunio harmony

to the

chord

with which they occur.

ition of .passiag note

6.

Passages

sisting of

on which they resolve

are part of the domichord in which these

can be used, con-

The

design of such pnssages seems to take possession of

the listener and cover the harshness of the numerous
dissonances.

DuVe retardation and a

only possible when the
n part of the dominant

like the following

passing notes of various kinds.

CI.ABKE'a

100

UABMONY.

i^^^idiBlfe
Tlu'y in^^*- i'wayH begin and oml with
found
Vr.rlouH pnwageH of tliis kind can bo
has been taid to guide lo their underglanding.

7.

ii

cliord.

but enough

False Relation. Wlien a note, occurring

two Buccessivo chords,

is

without remaining in the Hamc voice,

it is

termed a

false or cross relation.

^^PU^

^^

hi

m^^mm^
No.
No.

Ii

IB

I.

1 is

2,

always bd.
are common.
4 and
">

.S,

ui

chromatically changed,

CLARKE

HARMONY.

101

ir.

Tli fullnwin^ niiglit

ana rule

fur tlioio

progmidonit:
chonl

ocnur with nny ollinr inoinbor.

Kx-

(Exaiu|ilo 1)

iU^

l>e firiven

fitUo relntion iiiunI iipvvr bo niailo with llio third of the

tniple 2,

R and
an.ple

4,
T),

but

the seventh

It Ik
It

it iiiuy

the rooi

'\n

the fifth

Ih

thi' iinigrcNHion

thiit ir

altered

'ored
tKix is

iit

Einmplo

r^re.

ii Itetler

than

very coiiiinon and

KxalwayH

-1.

Ih

good.

8.

Wlien

two parts ascend or descend

liny

to an octave, from

concealed octave
tl

with a chord.

10

found

some other

interval,

called a
t\

^m

but enough

141

natically changed,
oice, it is

togetlier

is

iding.

note, occurring

it

termed a

Iwcause,

if tlie

intervening notes are pnt in as in this

example, two ootavcH

effect is

will

rosnlt.

The unpleasant

supposed to be obliterated when the npper

part moves a semitone, as in this example.

:^ii

fifth,

concealed

which enters

in this

way,

is

also called a

fifth.

:3=
IES^ t^

r^

*.

9.

When

the different notes forming a

harmony

are struck successively, instead of simultaneously,

the chord

is

said to be broken or disj^ersed.

r5T

102

HARMONY.

CliABKE's

The following are the commonest forms of d'spersion

!|!

i"->

>

r f r

-^
r

an arpeggio.

No.

1 is called

Nu

2 bus no distinctiTO name.

No. 3 is called an " Alberti bass," from lis reputed inTentor,

Dominico Albert!. Of conrse, this dispersion may be varied
'n

many

ways.

It

may

also

have passing notes interspersed

with the members of the chord.

XXX
^ ^

^^
XX
I

^1^

^
X

-^

X X
f\

^^

tU

These and many other forms ore frequently met with, particularly in

modern piano music.

Consecutive

fifths

a part or voice

and

panying chord

and octaves may occur between

tlie

dispor.5ed notes of the accom-

also, consecutive dissonances.

CLARKE
IS

of d'spersion

n"TT
y^^^^

At

P
n

Its

HARMONY.

lOS

ISIJ

I-

-'^

there are two fifths; at B, two octaves; at C, two

sevenths.

But the ear does not recognize them, because

at once satisfied that the

harmony

is

it is

as follo'vs

reputed inventor,

persion

may

be varied

ing notes interspersed

dispersed or broken, for the salce of variety.

10.

^^ ^

Concerning Consecutive Fifths.

There

is

an

unfortun.ate prejudice against consecutive fifths in

the minds of the majority of musicians, in spite of

the fact that they are often used by the greatest
writers.

writers

The excuse given for

knew how to use them.

is,

tb^t these

If this

is true, it

this

would seem to be the duty of any who attempts to

teach harmony- or composition, to find out and formu-

by wiiich these composers worked.

The following remarks are an attempt to suppljsome sucu rules
late the riilcb

quently met with, par-

may occur between

notes of the accoradissonances.

1st.

Two perfect fifths, occurring

parts, arc

between extreme

alwajs disagreeable when the roots are

within one degree of each other.

The

disagreeable

oi.arke's harmony.

104
effect is

ii

little less

still loss, if

fifth apart.
tlie effect is

is

when the

root>( nre a third

a fourth apai-t; and least of

all,

apart;

when a

In the last two eases the softening of

owi-ig, probably, to tlic fnct that there

a connecting sound,

\'\/..

--

be seen that the connection in tlie second example is

first.
These two cases are to be foond
Of course, the effect is
in tlie works of many good writers.
still more softened by contrary motion between the extreme
It will

still

closer than in the

parts.

(Seo example on page 29.)

have two perfect fifths, in succession, between

when one of them occurs between any two
members of the chord but the root and fifth.
It is possible to

the extreme parts,

between the root and fifth of the chord the

fifth and seventh of the chord. (The absence
of unpleasant effect here may be owing to the fact that it is
the dominant of a minor key, followed by the dominant of its
relative major, and these two chords having so many sounds

The

first fifth is

second, between the

in

common.)

2d.

Two

perfect fifths, in succession,

between the middle parts (tenor and

may

occur

alto), as follows:

105

clarke'8 harmony.
nro

!i

third apart;

sast of all,

when a

the softening of

fiict

lie

that there

without any unpleasant

effect.

Of

course, if they

between
can occur at the distance of fourth or fifth
do
parts
minor
the
between
can
the extremes, they
They may even occur a third apart, withlikewise.

out any serious unpleasantness.

,he

second esnmple

in

CAses are to be found

r

course, the effect

T==^

is

between the extreme

between
curs between any two
in succession,

ftli.

3d. Perfect fifths, one degree apart,

may

occur

between the base and the tenor or alto, when they

augmented sixth
result from the resolution of nn
chord, as follows

(This can be found in Moiart and Beethoven.)

chord the
chord. (The absence

Rfth of the
ic
;

4th. Perfect fifths, a third

apart,may occur between

the base and tenor or alto, as follows

to the fact that it is

iy the

dominant of

its

nvin;; so

many sounds

session,

may

1(1

occur

alto), as follows:

--

S^

If

rrr^
111

OLARKErt HARMONY.

lOf)

Of

5th.

course, they

may be

a fourth and

fifth

apart.

Otij.

fifth, in

diminished can always follow a perfect

a descending passage, as follows

--

The

perfect

may

follow the diminished, as follows

S
I

:f:

iT

do not put forth any of these remarks ns rules (except the

which is old) but merely to point out the way that con-

last,

by good writers. No satisfactory

reason has ever been given, why they should be unpleasant.
Indeed, thern is good ground for suspicion that it is merely
secutive fifths are often need

the result of education ; the learner being from the beginning

cautioned against tliem as the unpardonable sin' in writing.

(See Helmholz

and Pole on

this subject.)

If the deciphering of old manuscripts is ^o be trusted, there

was a time when the only

fourth and fifth as follows

intervals used

were the perfect

P^^
This was

known

of consecutive
this

ill|i

at diaphony.

fifths,

altogether,

It

may be

that the forbidding

was merely a reaction from

unquestionably barbarous style of oompoaition.

rourth

and

fifth

CHAPTER

bllow a perfect

XII.

lows

Suspended Dissonances and Sequences. Before

was discovered that the seventh could at any time
was used only
be struck with the dominant chord,
it

il;

shed, as follows

and coutd be added to any chord

as a suspension

i. e., it
it was and is necessary to prepare it
must be heard as a member of the preceding chord.
The modern or harmonic system has retained this

but

118
t

rules (except the

way that conNo satisfactory

the

's.

uld be unpleasant,
it is merely
from the beginning

rule from the old or contrapuntal system

therefore

be added to any

It must
chord, major or minor, by suspension.
always resolve like the seventh and ninth in the

n that

ible sin' in writing.

may

the seventh and the ninth

dominant chord

and a chord with seventh or ninth

added by suspension, has three progressions, just as

the dominant chord has, viz. It can be followed by
a chord whose root is a fourth above (tonic) a
second above (chord on sixth), and a third below
:

be trusted, there

^0
I

were the perfect

(dominant of relative minor).

Preparation.

that the forbidding

ly

a reaction from

SeioluHon.

Su$peniton.

s ?

position.

Si
X

(107)

oi.abkk'8

108

harmony.

Chord of , with auspendeil

on C

seTentli

tlio

seTenih resoWes

and

The chord marked

1, in

Rimilar to

first

progression of domi-

nant with Hcvcnth.

The chord marked 2,

dominant with seventh.

The chord marked

3, is

is

Kimilar to second progression of

similar to third progression of domi-

nant with seventh.

Tlie seventh

and the ninth are the

onl}'

suspensions

Tliey can be inverted like the dominant

possihlc.

with Bcventii and ninth, in short fliords with a sus-

pended seventh or ninth, arc

treated

just

seventh or

the

in every respect to

be

mnie as dominant chords with

nintii.

It will be seen that a suspension differs materiallj'

from a retardation, because

wanly and never
occurs.

Suspensions

the

may

their resolution, or to

chord.

They

passing notes.

,1

^M^

are also

it

always resolves down-

same chord in which

it

skip to the note below

some other member of the

frequently ornamented by

ci.arke's
tlio

uarmony.

progression of domi-

-.-=&=^-Jt^.
-'z^Er=is-.

iieooni)

onl}'

P=i::p=ft
I
I
!

5^^^^

-_:rfi:

suspensions

like the

dominant

fhords with a snsv^ery

z^

progression of

progression of domi-

ic

109

seTenih resolves

This example is founded on the following suocossion of buspended sevenths

respect to be

nant chords with

3tf!^at;

'
(i5=^ \^m\^^i^^m
-t

(^^^^i^e^^

f
1

differs material!}'

ays resolves doicn-

hord

in

which

it

o the note below

er

Sequences. A molodic sequence consists of the

same phrase repeated at equidistant degrees, thus
:

member

of the

y ornamented by

-|-^^^.=J

i^'^^Ee^ m=f^^^^=^f&?^^^
A

harmonic sequence consists of a

series of

domi-

nant and tonic harmonies (general!}), or augment od

sixtli

and tonic or dominant liarmonies

of wliich proceed by similar

step?!.

tlio

roots

[iJI

CLAR'B'8

110

HARMONY.

^1

:i^3^:f^

|^^t^_^^3^^
,is=?=

EE^

(1^^
s^
No. 1
fall

is

fifth

--

^^^

tonic chords
a sequence of dominant and
and rise a sixth alternately.

the tooU

sixths and dominant chords.

a sequence of augmented
semitone.
..-,, Ti,
ine
examples in the first bar
No. 3 contains both these
phrase, one degree
whole
the
of
repetition
second bar is a

No. 2

is

the roots falling

higher.

harmonic
giye examples of all the
It would be impossible to
The above examples are
sequences that might be^made.
their construction.
enough to explain the manner of

11(1

CLARK E'h HAHMONY.

Tlic contrapuntal Heqncncc consists of

sion of

common

regular

i)lan.

with

tlic

ii

sucws-

chords, with roots moving in

some
Tho diminished chords cm be used,
h)we.st note of tiie group for a base note,

nltliouffli tliore is

Tliis

Ill

permission

a rule
is

the eontrary (see page 52).

for the sake of preserving the

form of the sequence.

m
i^^^3E

^^

fpf^fp^m

m
tonic chords

lis

the toots

and dominant chords,

in the first bar.

^^^^^r^^=Ffl^^'_UJ'-iJt

lole

The

phrase, one degree

No.
pies of all the
le

hannonio

above examples are

construction.

fell

1 is one of the commonest.

a third.

No.

2.

No.

8.

The roots rise a fourth and

Roots rise a fifth and fall a fourth.

Roots fall a fifth and rise a fourth.

OLARKR'H HARMONY.

112

No. 4 oon.i.t of a

phmHO

a third
of four chord., toreated

lower.

No..
easily

1, a

and 4 can

l.o

sequence.
changed into harmonic

a* follows:

m^'ff

(^^^^^^^^^

Of course, it

that
not necessary in any sequence
base.
the
at
be
always
chorda must

is

the roots of the

contrapuntal sequences, with

The following example, are

seventh and ninth added.

:=tiUi^itT5Nfefe
I

E^S
i;M

wm.

ONV.

lI.AaKK's IIAR.MONV.

113

uhord*, rcjflaleil a third

e^^m^^
-i=^^rE^

nio liarmonio sequenco*

^E^^^^m

'^m^
^

^^^
-

^^

No.

and

No.

and

y in any sequence
always be at the base.
t^iat

2.

fall

roots

fall

rise a

4.

Scijuenoe of suspended sevenths

roots rise a senond

a third.

Sequence of suspended ninths

roots fall a third

may be changed

and

harmonic sequence (described

dominant chords.

into tho

68), as a suooession of

-J-4

=F^

fifth

second

No. 1

a,

No. 8..Sequenrc of suspended ninths; roots rise a fourth

fall a fifth.

on page

Sequence of suspended seTentha

and

No.

Urapuntal sequences, with

1.

rise a fourth.

il^i^^^^

TO
CLARKK'H IIAHMO.NV.

114
No. 2

may b changed

into

harmonic <|ueiioo

in

two wayi.

(^"^^^^I^
No.
iiitii

1
(if

No. 2

is

Mquano* of dominant obordi raiolTing on

ii

a iiequenMof dominant aliorda with roots omitted,

reMolving on their tonio*.

If

tlie

ibeir toalo.

NV,
iiequeiioo in

twowayi.

CHAPTER
ModuIjATIon.
tVoin

Moiliiliition

one koy to nnotlwr.

no wiiy of

ilistinguiHliinjj

XIII.

\n

net of pnnRing

tlio

Tliero

in,

hetweon

imfortuimHtly,

niodiiliitionH to

The

related nnl nioduIntiouH to non-rolntcd kvya.

ordi rtsoWing on the
rdi

with roots omitted,

term tranHition

sonietimea used to uignifv a sud-

Ih

den change to a remote key.

It

would,

i)jrhat)H,

good method to use the term modulation to

the change to a related key, and transition to
a

the ciiange to a non-related key.

tunate, but

nomenclature of the English language

confused

the
is

musical
in a

very

state.

word modulation

I shall use the

accepted sense

to cover

All modulations
Ist.

signify

It is verj' unfor-

nevertlielcss, that

true,

bo

signify

By

all

in its generally

possible changes of key.

may be reduced

to four rules

taking advantage of the fact thnt the

dominant chord

is

the same, whether the key

is

major or minor.

This will give six modulations from any given

key, because there are six dominant chords in every
key.

The

following exiimples contain all the modulations that

be made by this rule, from the key of C.

(116)

^.m^'^.^i^

may

li^T^

CI-AB1\.E S

116

HABMONY.

*i#i^^f^p

In

1,

2 and 3 the msyor tonics of the key are changed to

minor.

becomes C minor, relative minor of Eb.

O minor, relative minor of Bt>.
No. 3 becomes F minor, relative minor of Ab.
In 4, 5 and 6 ttie minor tonics of the scale are changed to

No.

No. 2 becomes

major.

These examples are, of course, mere skeletonb, being too

abrupt to have any musical effect as they stand in fact, it
might almost be laid down as a rule that no modulntion has
any intrinsic beauty; it depends altogether on the wny it is
usi'd.
Some of the most beautiful examples in the works of
the grent masters are as simple as possible but the manner
;

of their use gives

them

all their

exquisite effect.

^'r--''"

y"r

Clarke's harmony.

ONY.

be seen that by extending this rulo to each

It will

117

new key

that

is

reached, that

it

is

possible to pass

For example, the first modulation changes the key to E^ then by applj'ing the
rule to tlie chords in E^, six new changes would be
through

all

the keys.

obtained.

The

following examples will show

tion of this kind

how

effective

a modula-

may be made.

tP
C
the key are changed to

minor.

i-ld-

W^

EE^

-^J.

linor of Eb.
linor of Bt>.

inor of A\>.
'

the Boale are changed to

mere skeletonb, being too

ia

they stand

lie

that no modulntion has

in fact,

it

on the wny it is
examples in tlio works of
possible but the manner

(i

m=^ES^-=f-s^gi^i
I

*==^

^i=^^ ^^^iirl

[together

[uisile effect.

r==J:J^

fcx=t=t=^X

'

'

'

'

'^

I'i

CliARKB'a HARMONY.

118

III

major.
I

g?^=Ftf

i
W--

m^^^

?=i=p=

The second means by which modulations may be

is hy taking advantage of the different places

made,
in

11

Hi

which a major or a minor chord may be found.

A
As

major chord may be found in six places,

viz.

a tonic, subdominant, dominant, sixth of a minor

scale

and lowered supertonic of a major or minor

scale.

gJ

Z^ g Z^Z^^
.a

0-.

CI<A.BK'8

ONY.

HARMONY.

119

or

'
I

iT^

E3^

^=P=

(i?i

No.

C major

1.

le^

is=^.

-^
as a subdominant.

(When

treating a chord

as a Bubdominant or lowered supertonic, the modulation

modulations

may

be

the diiTerent places

)rd

may be

found.

in six places, viz.

ant, sixth of a
>f

minor

a major or minor

more decided

if it

is

be followed by the second inversion of the

tonic.)

C major as a dominant.
C major as chord on sixth of E minor. (This modulation may proceed to E major, in accordance with the rule
that any chord in a minor key may be. used in its parallel
No.

2.

No.

3.

major.)

No.

4.

C mnjor

as lowered supertonic of

B major

or minor.

The following harmonic sequence may be constructed from

this last example.

ffl-

ig=^r,^=j:=- g"

iHi^.'>*^i^B**ii^'@*a-SSirt*^SSli^-^

m
CLARKE'S llABMONY.

120

Each common chord bears the relation of tonio to the ilomiit, and lowered supertonic to the dominant

nant that precedes

that follows

it.

The following examples gite the modulations that may be

obtained from the two remaining major chords in the key of C.

F us dominant.

5tZ=

j^tzf^zzz.

F an isizth

of

A minor.

'or

'
I
I

z^

m.
F

(}

ii><

IS lowered supertonic of

^ulidominant.

-9-

O iM

si-xtli

of

n minor.

NY.

CLAUKE

an of tonio to the

ertonio to iho dominant

he
C.

^m
J

X
fcz=
I

may

chords in the key of

fcs

Blxtli

of

A minor.

l::^

1r
A

minor chord

^m^
a as loworod xuportonic of F$.
niaj'

be found

Tonic and snlHlominant

tonic,

191

^~

'o-p>dulation8 that

HARMONY

(Jonii-

in a

in six

pliicoH, viz.

minor koy, and

mediant and subniediant

in

t^nper-

a major key.

l^^^lSif
X
ai;

p^ll^E^la

A minor aa subdomiuant of E.

i=#i-^f=^4^i^

jE^p^^
A minor aa mediant of K (third degree).

s^i
X

1
a

iix

Hlxth of

R minor.

^i^l=3-^!^gl
A minor as supcrtonic of

G,

m
clabke'b uakmony.

122

would be superfluous

(It

to gire

any more exMnplea.

The

pupil ougbt to bo able to construct them himself.)

may

major chord

added to

No.

have an augmented sixth

it.

1.

C major, changed

2.

C major, changed

augmented Rizth on sixth degree

to

of E.

No.

to

augmented sixth on lowered

supertonio of B.

No.

3,

No.

4.

G
Q

major, changed to augmented sixth on sixth of B.

major, changed to augmented sikth on lowered

supertonio of F#.

major and minor chord

may

bo treated as the

seventh, ninth and eleventh of a dominant harmon3-,

provided the
C, E,

fifth

O may be

from the root

D, by adding A, the

is

added.

Thuf>

the seventh, ninth and eleventh from

changed

No.

1.

F,

No.

2.

C, changed to

to

fifth

from the root, D.

dominant of C.
dominant of 0.

>NY.

123

clarke'8 iiakmony.

17

more exhmples.

liimself.)

The

No.

E
B

3.

No. 4.

n augmented sixth

The

minor, changed to dominant of U.

minor, changed to dominant of F#.

may bo changed,

third of the major chord

thus

p=ii^^=ffi
because
Tiie

it

becomes the ninth when treated as above.

minor chord may also

become

tiie

fifth,

seventh and ninth of a dominant or supertoniu har-

mony,

adding the root or third to

b}'

ed Bizth on sixth degree

>nted

Hizth on

^^^^^m

lowered

W W

I.

dominant

>ot

is

X
No.

1.

No.

2.

No.

8.

A minor, changed to dominant of 0.

D minor, changed to eupertonio harmony
E minor, changed to dominant of D.

of F.

liarmon3-,

added.

Thus

h and eleventh from

he root, D.

^te^

T5.

on sixth of D.
ented eikth on lowered
ted sixth

ly bo treated as the

it.

The

third

means of modulation

alteration of chords.

Common

is

by the chromatic

chords

may be

chro-

matically altered, as follows

(;

major.

to

or

i'i~

minor.

to

or

or"

i. ., the third alone or the third and fifth of a major

chord may be lowered, or the root may be raised.

CLARKE'8

124

The

tliird

fifth

may

Il.VftMONT.

alone of a minor chord or the third and

be raised, or the

fifth

In the above example, C, E,

r, E\>, 0!, part of the

harmony
of

of

G> or Eb

is

may

be lowered.

major; C, E>, 0, minor;

dominant of D> or
CJ^,

or B, or supertonio

E,

is

harmony

pm
ol'

f
,ir

D!,

or Biipertonio

dominant harmony
E.

E!, 0, as coming from Ab, dominant of Db.

Eb, O, as coming from F, dominant of Bb.
C, Eb, G, as coming firom F, i.ipcrlonic of Eb.
C, Eb, O, as coming from Db, supertonio of G^.

No.

1.

No.

2. C,

No.

3.

No.

4.

C,

The most important modnlationa of

this kind are

obtained from the chromatic alteration of groups of

four notes (see page 64).

m^mm

*
1^
group.
Koot: a.
l?t

4tli.

2.1i)r4lli.

3.1.

C.

EiorC.

r.

Commencing with

the

first

group, the third

be lowered alone, or the third and

third, fifth

lowed by

iaiMHa*

fifth

may

together, or

and seventh together, or third alone,

fif

h and seventh together.

fol-

This process

NT.

clabkk's hak.monv.

d or the third and

maybe

lay bo lowered.

in the

E>, 0, minor;

lojor; C,

or

>

'{
,.r

H\>,

or Btipertonio

125

reversed by commencing with the last group

above example.

In the following examples aro gome more changes of this

A little study will enable the pupil to oonstruol others.

kind.

dominant harmony
E.

'-^&=S^-

The

last

means of modulating

change of chords.

is

by the enharmonic

A common chord may be changed

as foUoM's
dominant of
lominant of

D!>.
B':>.

jporlonic of

E!>.

Bupertonic of 0?.

g^g^^^

ons of this kind are

oration of groups of

3<I.

1.

r.

roup,

tlie

third maj'

id fifth together, or
,

or third alone,

ither.

1. D!", changed to CS, dominant of F^.

No. 2. F# minor, changed to Qb minor, the minor subdomi-

No.
fol-

This process

nant of

Dt>.

1S6

Ct.ARKR

HARMONY.

All jincrmpntpd sixth

chord rany bo changed to a

duinitmnt, and tho rcvcrMc.

^^P:^
.^m^-

l^l^^l^^pi
to

Nob.

and

;!.

to

Augmented

bixth,

changed

to

dominant by

enharraonio alteration of the sixth.

Nos. 8 and 4. Augmented sixth, changed to dominant by
cnhnrraonio alteration of the first, third and fi(Mi.
Nos. 5 ond 0. Dominant, changed to augmented sixth by
enharmonic alteration of tlie seventh.
Nos. 7 and 8. Dominant, changed to augmented sixth by
enharmonic oltcration of the flrst, third and fifth.

The most
tion

is

pioliflc source

of enharmonic modula-

to be found in the diminished seventli chord

This chord,

it

will

;.

be remembered, results from

adding the minor ninth to a dominant or superton!c

harmony, and omitting tho root.
Three groups of sound} form
snvonth eliords.

all

tho diminished

Since there are twelve m.ijor ehorla

to which the ninth

may

be added,

it

follows that

each group must bo obtained from f )ur rootn

'

'

it^ijwwiwuliiii

al-.o,

t'l.ABKE'rt

NV.

ny bo changed to a

since there

tiro

KAKMUNY.

127

six dominanta In every scale,

lows that each group must occur

Iwio;'

in

fol-

it

every

as a dominant harmony alio, there boing six

Hupcrtonio chords in every scale, each group mur.t

8L-ale

occur twice as a supertonic harmony in every scale.

P'or

lows

convcnicnca we will number the groui):^ as folTiiat from dominant of C, first; from domi:

nant of F, second

Hooti:

from dominant of O,

a,

E,

C,

A,

third.

(Db).

to

Unmtnant of

r,

D,

D,

n;.,

o,

E,

A\

(O.-).

tnged to dominant by

Suporton. harm'y of

AS

B,

l",

iy,j.

(Ob).

inged to dominant by
[

>

and fiftli.
augmented Hixth by

augmented
and fifth.

siztli

Roots:

I),

II,

Domluantof

O,

E,

Suportonio harmony of C,

A,

by

Ats
(o).

>

B>.

(c;)

nharmonic

inodiil".-

Ey

Oi;,

(F|).

led seventli chord

ercd,

results

;.

No.
fro-.u

Inant or supcrtoivc

occurs in C, as dominant of

C and dominant

of

its

dominant of F and dominant of

its

relatiye minor.

No. 2 occurs in C,

a')

relative minor.

No. 3 occurs in C
all

the diminished

wclvo major ehor

la

ed, it follows that

hi fr)ur

rootn; nl o,

ns dominant of

and dominant of

lis

relative minor.

In the following examples are

the

first

group.

maining groups.

Tho pupil can

all

tho roaolution? possib'o to

easily wi-ito Ihouo of the re-

IJX

<'t,AKKK'"<

IIAKMilNV.

f^fllYsrlT^-ffe^il
Hoot:

(>

RtNit:

It,

r^i

No

1.

imnl or
No.

'J.

Written as coming
(';

No.

Written uh

H.

4.

flrnt,

an iloml-

first,

uh domi-

harmony of I).
voniinK from C# renolveil, flrsi,

nn domi-

iim

Hccond,

iis

Hi'cond, nt Kiiportonic

Olio incinlM'r of a

<i;r(Mi|i

!)

ro^olvcd, flml, an domi-

linnnony of A

iiiav

is tlu!

'.

ho iuld mikI

three mivv be niixod a seinitoiu'.

(liimiiiaiit

note

Nupcrtoniu hnrmoiiy of U.

Written a8oin!ng from

K'j;

inniiiiiiu;

is

renoWoil,

Bupertuiiio Iinrmnny of F.

RocontI, an luperloiiio

nant of F#

nant of

Written as coining from E; roKolvcil,

nant of A
No.

Hooonil,

fVotii

llio ip

'I'ho

result

or siipertoiiic chord of which \\w

root.

11
"^"-1;
IS,

^^Ei

.I

licld

1S9

clarkkV iiakmunv.
>\\.

No.

1.

econd,
No

'-'.

V held

lie

chord

li.'oomei, ftrt,

utiperlonio hiriiioiiy of

A 'held;

llu-

dominant of

Hl,

or

Ki'.

liord hocomeB, flrtl, dominftnl of

Vf,

fl:*.
or necoiid, miixTl 'iiio hnrmoiiy of
of E, or
;>',). ;t.
B hfld the chord hcooiiieM, flml, dominant
;

econd, iuporfonio harmony of A.

No l> hold Ihu chord hcoomen,
('.
ieoon<l, dupertonio harmony of

flfit,

dominant of 0, or

-jiar

L-istly,

renoWod, flMt, an ilomU

rioiiy

of

K.

throe niiHi'd a

the scventli,

rexolvpil, first, us
noiiy of

one inomhcr may

Hi'initniio, iiml

may

l)e

Iicl<l,

).(

tlic

tlio

remaining

nolo tlmt

Ik-co??!*"*

clmnged to an augmented nixth.

doml-

1>.

renolveil, flrHi,

i\

domU

nx

domU

moiiy of U.
ro.iolvcil, flrHl,

inony of A
1)0

lulfl

'initoiii'.
111

>.

The pupil should write out

Mild lllO IP
'I'ho ri'Miilt

of whioli

r:!?5fr-

tlio lieltl

il

all theiie

Changs'* in

nil

the groups

them.
the only wny to become familinr with
to write examples of all these
It would take too much space
very little real
various modulations, and would, besides, be of
to try, from the rules
UHO to the student. The bettor way is
A littlo perseverance
construct modulations.

repeatedly. This

is

here given, to
will accomplish

Of course, it is possible in a modulation

it.
mix any or all of these rules together.
Schumann, and
The works of Wagner, Raff, Chopin, Qounod,
furnish endless examples
others among the modern writers, will

to

profitably studied. And

of ingenious modulations that may be
the rules here given will
there is no posaible modulation that

not explain.

CHAPTER

XIV.

Writing in Parts. Music is said to be written

when eacli voice (or instrument) has an independent melody of its own. This kind of writing
in parts,

belongs properly to the study of counterpoint

the object of this chapter

to give

is

but

some idea of the

process.

In

1st.

tivo

parts.

be used nt anj' time

and minor

following intervals

may

Major and minor third, major

augmented fourth, diminished fif:h,

sixth,

perfect fifth

The
:

and octave.

The

be avoided, being ineffective.

perfect fifth should

The same remark

applies, but not with eqiuti force, to the octave or

The octave and unison make the best endThe minor second ma}'' be used as a susp'^ nsion

unison.
ing.

see

from the inversion of a suspended seventh,

page 107), and must resolve according to the rules

for

suspended dissonants (page 108).

(it

results

Inversion of

i^
^

^i

(ISO)

?;

131

CLARKE'S IIARMONV.

The mnjor second maj- be used

or

IV.

.10

a suspension,

bo used na part of a dominant chord

but

one of the notes nhould (not noeossnrily

the seventh, as in the preceding case) bu held from

ument) has an

the preceding chord.

in-

kind of writing

Liounterpoint

but

e some idea of

ing intervals

ninor

tiiird,

irfect fifth

Seventh held.
tlie

^m

ii

may

major

1, diminished

'he

may

in this case

mid to be written

lis

it

Bot hold,

fif:h,

should

The augmented second may be used

as follows

same remark

to the octave or

ake the
kI as

be<5t

end-

asusjynsion

ispended seventh,
irding to the rules

0.

It represents the third

harmonj'

and ninth of the dominant

the ninth, followed by th

The dim.

root.

lished third can only occur as a passing

note.

i
I

The augmented
but

it

fouri;h

'-ust resolve

viz., third

may

be used at any time,

being partof a dominant chord,

and seventh, or

fifth

and minor ninth.

m
132

CI.ARKK'8 iiabmo.vy.

z^<^-n
Aujirmpiitoil foiirtli ns third

nnd seventh

in

dominant of C.

i^^H
AuKitinntcd fourth

ii8

iiah nnd minor ninth

li,

domlnnnt of A.

The diminished
(it is

fourtli may occur as a retardation

always the retardation of the fifth of a chord).

m
The root of the second chord

is

E.

The remaining

intervals being inversions of those already given,

are, of ooiirse, sulyect to the same rides.
It is possible, in

mony very

two

parts, to represent the har-

by allowing one or both parts

to proceed through the members of the chord.
effectively,

^t^^jife^
r
Bar
Bar

1 is all

dominant of A.

A tho rest of the bar, Uominant

important to remember that when the harmony
ehangei, the dissonant notes must resolve.
of P.

2.

First beat, (onio of

It is

l;i:j

ri.ARKE's IIAIIMUNY.

ONY.

The angmenle<l

sixtii cliord

may

bu represented

as follows
ith in

dominant of r.

i
ilnth

Or
Ir,

as follows

^m

dominant of A.

3cur as a retardation
;he fifth

of a chord).

These

ar--^

the only

ways

it

sounds well

in

two

parts.

The

E.

perfect fourth can only be used as follows

^^m

The remaining

hose already given,

ne rides.

as retardation of third of a chord.

viz.,

o represent the har-

Or

^^

one or both parts

of the chord.

ig

^
st

^^

of the bar, Uominant

hat

when

(he harmony

e.

MM

viz.,

one or both parts proceeding through

lu-r

of the chonl.

---^ L^tf^'Vfe i- > i>r="'^

i

tiie

meu.

11

CLARKE'S HARMONY.

134

Or

in

which

it is

a passing note on the chord of P.

All the dissonantcs and the perfect fourth

may

be used as appoggiaturas or as passing notes.

The following

rules

must be observed

for the pro-

gression of the parts

Ist.

Contrast them as

much

Use contrary motion

2d.

as possible.

in

preference to any

other.

Never use a cross or

3d.

4th.
fifth,

Never proceed by

false relation.

parallel

motion to a perfect

except as follows

i
^

^=^=t:

Of course, this does not

(called a horn passage).
apply in a passage like the following, in which the
same chord

is

repeated in another position.

1^
*4ll|i|

185

clarke'8 harmony.

>NY.

.5th.

in parsilU'l

Never proceed to an octave

motion,

unless the upper part rises a semitone.

Gth.

whose

Never write two major thirds

in succession,

roots are less than a perfect fourth apart.

the chord of F.
""O*'-

Bad.

perfect fourth

may

tassing notes.

bserved for the pro-

Last of
s possible,

must

all

and most important.

The composition

be so constructed as to express the harmonic

succession as definitely as

if it

were in four parts.

preference to any

and
In three parts. Ml the preceding remarks
relaxed, viz.,
are
following
the
but
good
hold
rules
dominant
the dominant with seventh, or any of the
;

relation.

motion to a perfect

ourse, this does not

harmonies can be struck without any preparation

also, the supertonic harmonies.

gives the best

way of

in three parts.

Lowing, in which the

er position.

The following

representing

j -gt^

-g

all

table

the harmonies

olarkk's harmony.

186

Nc.

1.

Common

chord.

(Of course,

all

may

he inverted.)

Dominant or supertonic harmonies.

No. 3. Aunmented sixth. First, when followed by dominant;
second, when followed by the tonic.
No.

2.

The perfect cadence may be made as follows in

three parts, viz., the tonic, with the root omitted and
(It is only the position tliat entlie fifth doubled.
ables us to recognize this as the chord of F.)

:f:

J*.^.
Px o

iw
The

-^

rules, with regard to proceeding

by

parallel

motion to perfect conconls, are relaxed, with rosranl

to the lower and middle or middle and upper parts
but are still binding on the lower and ujiper parts.

Also, two major thirds may ocr-ur (see above)

between the lower and middle or middle and upper
parts.

;;

MONY.

CLABKE's IIARMOW.

137

^^^m

3l

ite.

may

le, alt

W=f^^zL^

he inverted.)

Tmonies.

hen followed by dominant

)o

made

as follows in

h the root omitted and

y the position that enhe chord of F.)

3^
No.

1.

Fifth in parallel motion

f^

between lower and middle

parts.

proceeding by parallel
re relaxed, with roirard

iddle
iwer

and upper parts

and ujiper

lay ocpiir
le

(see

parts.

above)

or middle and upper

Mo.

2. Fifth in parallel

motion between middle and upper

parts.

No.

3.

No.

4.

No. 3

Major third between lower and middle parts.

Major third between middle and upper parts.
is

much

better than No. 4.

With regard
need be

said.

three-part,

and

copiousness.

to fonr-part writing, nothing

It

is

differs

new

subject to the same rules

only in

its

a.s

greater variety and

138

Clarke's iiARMONr.

The following examples are intended principally

show the manner of using passing notes and
'ipPoggittt'Tas.
One of the best ways to study free
to

composition
(Inots of

in

two

by examining the violin

For three-part
of Beethoven and Mozart.

parts,

is

Spohr, Pleyel or Viotti.

writing, the string trios

Of course, in all these compositions there are frequently four and even more parts produced by playin^^
f

double notes.

Also,

and accompaniments.

many

parts are merely

there are plenty

cf I'xamples of pure two and three-part writings to
be found in them. Perhaps the finest specimen of
1;>3

t-.vo-part

two

Still

writing in the world,

violins,

by Bach.

IM

is

the concerto for

CLARKE'S IIABMONY.

1S

lONir.

intended principnlly
J

passing notes and

3t waj-s to

Tlio threi- following

examples are founded on

this

harmony.

study free

examining the

violin

For tlirce-part
tiioven and Mozart.
otti.

ositions tliere are frerts

produced by play-

.rSS^JSS^

5^-E^

ly parts are merely

Still

there are plenty

;hree-part writings to
le finest
is

specimen of

the concerto for

^jT^

TO

In two parts

^^^

T^

?^-i^Lib
9

^mT

141

CI.ARKKS IIAIIMONY.

MONA*.

,i^^_^^[^P

zqir.

JTi=.

^ mi tr

,p?:=^^

;:^-

i^m

^5=25=

.^

TT

^^^^f

^^P^P

iT=P;:^',J^

^ H^
I

=^-#'
:.-.r=f=3C

^^^
^^^
S=i:
r -T-

(*--

|,g?pE='=3g4-^^

CLARKK'H IIAllMONV.

i_J_,4_itiJj-^,-^

^^slp.

'^^fE^'^

=.:ip|tf=to:sl:

^^'
I

*.

x^i.*J

CLAKKEli IIARMUNY.

lONV.

-J.

148

Uii:
J

.
^

1^^
L_J^_

i-4i
S
sa
1^^^^
;

_b^

1^?^

\^^L_ y

iA..^_^i

m^.

CONCLUSION.
The

8tudei.t,

has thoroughly mastered

who

tliis

course, should be i)repared for the study of couuterpoint, fugue, canon,

teacher,

and the various forms of comstudy harmony without a

It is difficult to

position.

and almost impossible to study these higher

branches without a guide at

first.

of
I have omitted any explanation of the figuring
Tliere are hundreds of
chords (thorough bass).
works Avherein all tlie information wished for may

be obtained on

For
is

tlie

tliis

subject.

study of strict counterpoint. Cherubim's

For the study of form,

perhaps the best work.

no work

will suffice.

Some good

ideas on this -ib-

be obtained from the works of Dr. Marx.

learn to
Finally, constant writing is the only way to
for
write well. No amount of genius will make up

ject

may

the lack of hard.work.

(U4)

^-^iOnwi,

:oN.
ughl}' mastered
the

tliis

study of coiiuter-

rious

forms of com-

y harmony without a
to study these higher
3t.

iion

of the figuring of

ere are
ition

hundreds of

wished for

may

nterpoint, Cherubini's
or the study of form,

ood ideas on this "'ibe works of Dr. Marx,

e

only waj' to learn to

luius will

make up

for