Harmony, its theory and practice . Ex. 96. C: I iii IV vi iii IV I iii IV ii iii IV The other progression just referred to is IV-V, in which it is in general to place both the thirds in the treble, though itis not absolutely forbidden. (a) Not very good, (b) Good. (c) Good. Ex, 97. ^ ^^ =^=i B j- r-r^^^T C: IV V IV V IV V If the notes A\ A—5^ were given in the melody, it would # mostly be better to treat A as either the fifth of ii or the rootof vi; — ia) {b) Ex. ^=^.^,^^^ A 1^^^^^^^ 149. WeshallJsarruJater that when the root proceeds by stepdownwardSj_Qiie- or -beth-of the chords
Harmony, its theory and practice . Ex. 96. C: I iii IV vi iii IV I iii IV ii iii IV The other progression just referred to is IV-V, in which it is in general to place both the thirds in the treble, though itis not absolutely forbidden. (a) Not very good, (b) Good. (c) Good. Ex, 97. ^ ^^ =^=i B j- r-r^^^T C: IV V IV V IV V If the notes A\ A—5^ were given in the melody, it would # mostly be better to treat A as either the fifth of ii or the rootof vi; — ia) {b) Ex. ^=^.^,^^^ A 1^^^^^^^ 149. WeshallJsarruJater that when the root proceeds by stepdownwardSj_Qiie- or -beth-of the chords should generally be in-verte3rThe only good progressions in root position—^with whichalone we are now concerned—of roots falling by step are vi-VLand V-IV; and in the latter, the leading-note (the third of V,)should not be in the upper part. {b) Good. (<:) Not good, {d) Good, {e) Good. (a) Good Ez, S8 Harmony. [Chap. V. 150. We shall show the application of these principlesdirectly, by harmonizing a melody as a pattern ; meanwhile oneor two further hints may be usefully given. Avoid vii° alto-gether, except in the repetition of a sequence, and be sparing inthe employment of the mediant chord (iii). Except when in-troduced as in Ex. 96 (a) {!>), or in a sequence, it should onlybe taken when it can be followed by vi. 151. Remember that a key is defined by its primary chords(§112). As clearness of tonality is one of the first requisitesof good writing, the primary chords should always be introducedearly. After I and V have been employed, ii will define the keyjust as well as IV, since it contains the subdominant. Alwaysuse a fair proportion of primary triads in harmonizing; do notforget that too many secondary chords in succession have a weakeffect, and may sometimes even disturb the feeling of the , for example in C major we find the following progression,— Ex. 100. C
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