. A key to Harmony simplified and a classroom manual. a: 1 V VI iv ii° V 1 Q. 1. How would you treat the progression fromthe second to the third chord ? A. There being no common note, contrary motionto the bass should be adopted. One or more of the uppervoices should, therefore, be led downward. The Tendencyof the Leading-tone, G$, in the alto of the second chord isto ascend; but as the note to which it should proceed istaken by the soprano, it is better to lead it downward withmotion contrary to the bass. Q. 2. Would you keep the common note, B, inthe fifth and sixth chords, in the same voice
. A key to Harmony simplified and a classroom manual. a: 1 V VI iv ii° V 1 Q. 1. How would you treat the progression fromthe second to the third chord ? A. There being no common note, contrary motionto the bass should be adopted. One or more of the uppervoices should, therefore, be led downward. The Tendencyof the Leading-tone, G$, in the alto of the second chord isto ascend; but as the note to which it should proceed istaken by the soprano, it is better to lead it downward withmotion contrary to the bass. Q. 2. Would you keep the common note, B, inthe fifth and sixth chords, in the same voice ? Give reasons. A. If B were retained in the soprano in both chords,it would force the alto to make the forbidden one and one-half step upward from F to Gjf. By approaching G$ withthe soprano, this fault is avoided. The common note, 46 KEY TO HARMONY SIMPLIFIED therefore, should not be retained in the same voice. ( SeeNote on Exercise i, p. 42.). d: 1 iv VI V Q. Bb is a common note between the second andthird chords. Why should it not be retained in the samevoice ? A. It would lead to difficulty in the next progression,as follows : If it were to pass upward to Cjj of the fourthchord — see (a) below — it would make a forbidden oneand one-half step, or augmented second. If it were to passdownward to A — see (b) below — it would form consec-utive Octaves with the bass. To avoid these two faults,we simply write D in the soprano of the third chord, in-stead of Bb. This doubles the 3rd, but is preferable to anyforbidden progression. ( See Notes on Doubling the Third,page 62.) Remember, that the Forbidden Augmented Sec-ond upward from VI to vn° in the minor scale may easilybe avoided by approaching the leading-tone from above,regardless of the voice in which it occurs. The usual cor-rection of this point in pupils work consists in transposingthe notes of the chord into the next higher voice. Thatis, if the faulty progression
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