Harmony simplified, a practical introduction to composition . ent is inclined to consider this fanci-ful, let him play this V^ chord on the piano a few times, leavingit unresolved, and he will at once- see how unsatisfying the effectis. • Exercise. First.—Write the following chord succession. I, I, | V, V, II. I, I V, 11, I, IIV, IV, I lo, Vt. 11II. The perpendicular linesshow the measures. Write in duple time. Notice that here the Igoes to the V^. This is even more common than the progression HARMONY SIMPLIFIED. 23 to the V without the seventh, and is a stronger progression. Italso makes a sm
Harmony simplified, a practical introduction to composition . ent is inclined to consider this fanci-ful, let him play this V^ chord on the piano a few times, leavingit unresolved, and he will at once- see how unsatisfying the effectis. • Exercise. First.—Write the following chord succession. I, I, | V, V, II. I, I V, 11, I, IIV, IV, I lo, Vt. 11II. The perpendicular linesshow the measures. Write in duple time. Notice that here the Igoes to the V^. This is even more common than the progression HARMONY SIMPLIFIED. 23 to the V without the seventh, and is a stronger progression. Italso makes a smoother progression for the voices, as they canmove more by degrees. Figure 39. 39. feSi w g^E -i2- r I i The following from the end of Schuberts Impromptu, op. 90,No. 1, is made entirely of this progression. Notice how carefullyhe has doubled the fifth of the I^, and led Te and Fah properlyin the V.,. Although he has used more than four voices, at thethird chord from the end he has omitted the G purposely that wemay be sure that the F has gone to E. The following is the method of writing exercises that the stu-dent is advised to use. First.—Write the given numerals under the lower staff. Second.—Write the bass notes indicated by the numerals,choosing such positions as will give the best melody. See Fig-ure 41, bass. 24 HARMONY SIMPLIFIED. Third.—Write in the soprano a note for each bass note, choos-ing tones belonging to the chord indicated, making the melodyas pleasing as possible, using contrary motion to the bass morethan parallel Fourth.—^Add alto and tenor, observing the rules for doub-iling, progression of chords and of voices, and the distribution ofvoices. Fifth.—The compass of the parts or voices should be aboutas follows: Soprano, an octave and a half upwards from, mid-dle C. Bass, an octave and a half from middle , a fovirth lower than the soprano. Tenor, a fourth higherthan the bass. Sixth.—Turn the stems of the notes a
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