Harmony simplified, a practical introduction to composition . SABMONY the I and V chords in the following. Kbhi^ KJ ^ -# -0- -0- -#- -0- HABMONY SIMPLIFIED. CHAPTER II. Movement of Voices. The Sub-Dominant Progression. In writing music there are two most important things to con-sider. First, the progression or movement of each chord asa whole, and, second, the movement of each tone in the other words, we must examine our work perpendicularly forharmony, and horizontally for melody. (^ule §^When two different chords (as I and V) foUow oneanother directl

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Harmony simplified, a practical introduction to composition . SABMONY the I and V chords in the following. Kbhi^ KJ ^ -# -0- -0- -#- -0- HABMONY SIMPLIFIED. CHAPTER II. Movement of Voices. The Sub-Dominant Progression. In writing music there are two most important things to con-sider. First, the progression or movement of each chord asa whole, and, second, the movement of each tone in the other words, we must examine our work perpendicularly forharmony, and horizontally for melody. (^ule §^When two different chords (as I and V) foUow oneanother directly and contain a tone that is common to each (asSoh in the V and I), this common tone should remain in the samevoice or part. Figure 7, a and 5. I RuleS^Each tone should progress to the nearest tone pos-sible. Figure 7, a and 6. n «. 6. U 1 A in-— --. cy e^ ^ $ 1 «J Good. -iS>- —~.-isrBad. .jO- Good. ? Good. «^ ev ^^ ^ a ^ ^ !^ II T. 11 V eJ in /^ ^3 /^ ii 1 « i &—1 —: 7^. 1 II Observance of these two rules gives smoothness to a composi-tion

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