Harmony, its theory and practice . e numbered each note for convenience of reference. 121. If we examine this melody, we shall see that there areonly four notes (Nos. i, 3, 5, and 9), which admit of more thanone possible chord; and of these, the last must take the tonicchord (§ 117). The first chord must also be the tonic; foran exercise should never begin with a subdominant it does not begin with the tonic, it will begin with adominant chord—almost always on an unaccented beat. Wehave here, therefore, only two notes (3 and 5), which allowany choice. 122. Our next step will be to wr
Harmony, its theory and practice . e numbered each note for convenience of reference. 121. If we examine this melody, we shall see that there areonly four notes (Nos. i, 3, 5, and 9), which admit of more thanone possible chord; and of these, the last must take the tonicchord (§ 117). The first chord must also be the tonic; foran exercise should never begin with a subdominant it does not begin with the tonic, it will begin with adominant chord—almost always on an unaccented beat. Wehave here, therefore, only two notes (3 and 5), which allowany choice. 122. Our next step will be to write out our melody, leavingroom for the lower parts that we are going to add to it, andmarking under the bass the roots of all the chords which arealready fixed. I 2 3 4. S. 6 7. 8 9 Ex. 79, Our first and second chords must be evidently tonic and domi-nant. Shall we begin in close or extended position ? Herethe former will be better; for we shall see, as we proceed (§125) that extended position would get us into trouble in the. 46 Harmony. [Chap. IV. second bar. We therefore in the first chord write E in thealto, C in the tenor, and either the upper or lower A—here itmatters not which—^in the bass. In our next chord (V), thebass note must be E, which, as the primary note in the chord,is the best one to double; as the last note of the alto was E, wekeep it in the same voice (§ 104), and put B in the tenor. 3 Ex. 80, ^mi^tA A: I V ? 123. For our third note two chords, I and IV, are in this position IV would not be good. The progressionV—IV always sounds more or less harsh if the third of the domi-nant is in the upper voice.^ The beginner would naturally beinclined to introduce all his primary triads as early as possible,to establish the key (§ 112) ; and in many cases it would bebest to do so. But here the key is sufficiently established by itstonic and dominant chords. Had chords i and 2 occurred inthe middle of a piece, the key might have been E major;
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