Complexity : Intermediate
This is the III chord. Its nature is minor in the major scale and augmented in the minor scale. (and major in the melodic minor context).
USAGE
- The chord may be preceded and followed by chords that have a note in common with it. V-III-VI is a useful progression.
- IIIa can also be used to harmonize the leading note in a descending scalic passage, preceded by I or VI and followed by IV.
- Descending scale passages can also be harmonized with a series of first inversions of which IIIb may be a component.
- An extremely important use of IIIb occurs when the melody ends in a mediant to tonic. The best harmonization here is IIIb-I for a perfect cadence (or IIIb-VI/IIIb-Ib for an intermediate cadence). Here IIIb is used as a substitute for Va.
Jun 16, 2008
Jun 15, 2008
Elementary Modulation
Modulation is passing from one key to another. There are two essentials
1) A cadence in the new key (usually some form of perfect)
2) The appearance of at least one note which belongs to the new key but not to the old.
Modulation may be gradual or abrupt.
Gradual Modulation
Gradual modulation passes through a pivot chord ( a chord that is common to both the scales).
- If the only pivot chord available is the root of the new key, then it should appear in a difference inversion from that used in the cadence.
- Pivot chords in second inversion should be avoided.
- If there is a chromatic alternation in a note as a result of modulation, then care must be taken that both these notes do not occur in the same part with just one note intervening. It gives an ugly effect.
Abrupt Modulation
This is also referred to as Transition. A chord present in the old key but not in the new, is abruptly followed by a chord that is present in the new key but not in the old. Both these chords will have a note in common. There will generally be chromatic movement in one of the parts.
- BE CAREFUL WITH DOWNWARD CHROMATIC MOVEMENTS: Chromatic movement up is common. Chromatic movement down is only good to the 7th of a dominant seventh or from major 3rd to minor 3rd of the same chord.
- AVOID FALSE RELATIONS. In dealing with transitions, false relations must be avoided. This is is the bad effect experienced when the a note in one part appears chromatically altered in another part.
- EXCEPTIONS TO FALSE RELATIONS: There are two cases where apparent false relation has no bad effect.
:: If the root of the second chord is the 3rd of the first chord. (eg. moving from C major to E major chord).
:: If the second of the two notes concerned is the 7th of a dominant 7th. (eg in modulating from C to F7, the E is one part of C and Eb in another part in the F7 is ok).
1) A cadence in the new key (usually some form of perfect)
2) The appearance of at least one note which belongs to the new key but not to the old.
Modulation may be gradual or abrupt.
Gradual Modulation
Gradual modulation passes through a pivot chord ( a chord that is common to both the scales).
- If the only pivot chord available is the root of the new key, then it should appear in a difference inversion from that used in the cadence.
- Pivot chords in second inversion should be avoided.
- If there is a chromatic alternation in a note as a result of modulation, then care must be taken that both these notes do not occur in the same part with just one note intervening. It gives an ugly effect.
Abrupt Modulation
This is also referred to as Transition. A chord present in the old key but not in the new, is abruptly followed by a chord that is present in the new key but not in the old. Both these chords will have a note in common. There will generally be chromatic movement in one of the parts.
- BE CAREFUL WITH DOWNWARD CHROMATIC MOVEMENTS: Chromatic movement up is common. Chromatic movement down is only good to the 7th of a dominant seventh or from major 3rd to minor 3rd of the same chord.
- AVOID FALSE RELATIONS. In dealing with transitions, false relations must be avoided. This is is the bad effect experienced when the a note in one part appears chromatically altered in another part.
- EXCEPTIONS TO FALSE RELATIONS: There are two cases where apparent false relation has no bad effect.
:: If the root of the second chord is the 3rd of the first chord. (eg. moving from C major to E major chord).
:: If the second of the two notes concerned is the 7th of a dominant 7th. (eg in modulating from C to F7, the E is one part of C and Eb in another part in the F7 is ok).
Jun 13, 2008
Escape Note
Complexity : 3/10 (Simple to Intermediate)
An escape note (or echapee) is a rare example of a non-harmonic tone that resolves by leap.
It is approached by step and then skips a 3rd in the opposite direction. It is, therefore, a non-harmonic tone that occurs between two consonant tones a diatonic step apart.
RULE
- They are never accented.
An escape note (or echapee) is a rare example of a non-harmonic tone that resolves by leap.
It is approached by step and then skips a 3rd in the opposite direction. It is, therefore, a non-harmonic tone that occurs between two consonant tones a diatonic step apart.
RULE
- They are never accented.
Accented Passing Note
An accented passing note is one which occurs on the strong part of the bar or beat. It is more strongly accented than the note to which it proceeds.
GENERAL
- Accented passing notes ascending need care. They should pass between the root and the 3rd or the 3rd and the 5th of the same chord.
- Two parts may take the same accented passing note, an octave apart.
- In a descending scalic passage, prefer accented passing notes to unaccented. Of course the strength of harmonic basis is a key factor.
- It is possible to have an accented passing note succeeding an unaccented passing note in a descending scalic passage.
RULES
- Rules of movement as they apply to unaccented passing notes also apply here.
- An accented passing note and its note of resolution may not be struck together unless the latter be in the bass.
- Accented passing notes in the bass, to or from the bass of a second inversion must be avoided.
IDENTIFICATION
- When a note leaps, it must invariably be treated as a harmony note. A note that moves by step may be a non-harmony note. This applies in any part. This can help at times in identifying the presence of an accented passing note.
GENERAL
- Accented passing notes ascending need care. They should pass between the root and the 3rd or the 3rd and the 5th of the same chord.
- Two parts may take the same accented passing note, an octave apart.
- In a descending scalic passage, prefer accented passing notes to unaccented. Of course the strength of harmonic basis is a key factor.
- It is possible to have an accented passing note succeeding an unaccented passing note in a descending scalic passage.
RULES
- Rules of movement as they apply to unaccented passing notes also apply here.
- An accented passing note and its note of resolution may not be struck together unless the latter be in the bass.
- Accented passing notes in the bass, to or from the bass of a second inversion must be avoided.
IDENTIFICATION
- When a note leaps, it must invariably be treated as a harmony note. A note that moves by step may be a non-harmony note. This applies in any part. This can help at times in identifying the presence of an accented passing note.
Jun 11, 2008
Dominant Seventh
Complexity : 4/10 (intermediate)
In C scale, this is G-B-D-F.
The V7 chord is unstable and actively seeks resolution. The main motive for this instability is the diminished fifth interval between the 3rd and the 7th, which seeks resolution to a major 3rd or minor 3rd, with the 7th moving down, and the 3rd moving up.
A strong discord also exists between the root and the 7th and the 7th falling a step to its resolution makes the chords of resolution either I or VI.
GENERAL
- In root position, the fifth may be omitted.
- The inversions of the dominant seventh must be complete.
RESOLUTIONS
- Best :: V7-I, Good :: V7-VI, Acceptable :: V7-IVb
- The 3rd of the chord (being the leading tone of the scale) has a strong tendency to move to the tonic center (or root). This combined with the strength of root movement by 5th provides for a strong resolution tendency to I, and makes V7-I a powerful perfect cadence.
- Ornamental resolution is occasionally used. In this, the 7th moves either to the the 5th or the root of the chord before finally resolving. Resolution to IVc is also used as a decoration to the perfect cadence (the progression being V7-IVc-I).
- The inversions will resolve only to the tonic chord.
- The seventh may be transferred from one voice to another, resolving in the latter. In this case, the part which originally had the 7th must fall.
USAGE
- Broadly speaking, any chord which involved some form of V-I can be harmonized by some form of V7-I. In most cases, though, it is more fluent to introduce the seventh as a passing note.
- When the fourth note of a scale is repeated (or tied) weak to strong and falls a step, the strong note is to be harmonized as V7d.
- If a part leaps from the leading note up a diminished fifth and then falls a step, the leap is from the 3rd to 7th of a dominant seventh.
- If a part leaps up a 7th from the dominant and falls a step, the leap is from the root to the 7th of the dominant.
- Do not use V7 as the a substitute for V as the second chord of an imperfect cadence. The cadential effect is destroyed.
CADENCES
- V7-I is a perfect cadence. V7-VI is an interrupted cadence.
- V7b-1, V7c-I and V7d-Ib can be used as inverted perfect cadences. V7d-Ib is the most common, but all are good.
- In harmonizing a cadence involving V7-I, introduce the 7th as late as possible. Otherwise the cadence tends to feel unnaturally drawn out.
In C scale, this is G-B-D-F.
The V7 chord is unstable and actively seeks resolution. The main motive for this instability is the diminished fifth interval between the 3rd and the 7th, which seeks resolution to a major 3rd or minor 3rd, with the 7th moving down, and the 3rd moving up.
A strong discord also exists between the root and the 7th and the 7th falling a step to its resolution makes the chords of resolution either I or VI.
GENERAL
- In root position, the fifth may be omitted.
- The inversions of the dominant seventh must be complete.
RESOLUTIONS
- Best :: V7-I, Good :: V7-VI, Acceptable :: V7-IVb
- The 3rd of the chord (being the leading tone of the scale) has a strong tendency to move to the tonic center (or root). This combined with the strength of root movement by 5th provides for a strong resolution tendency to I, and makes V7-I a powerful perfect cadence.
- Ornamental resolution is occasionally used. In this, the 7th moves either to the the 5th or the root of the chord before finally resolving. Resolution to IVc is also used as a decoration to the perfect cadence (the progression being V7-IVc-I).
- The inversions will resolve only to the tonic chord.
- The seventh may be transferred from one voice to another, resolving in the latter. In this case, the part which originally had the 7th must fall.
USAGE
- Broadly speaking, any chord which involved some form of V-I can be harmonized by some form of V7-I. In most cases, though, it is more fluent to introduce the seventh as a passing note.
- When the fourth note of a scale is repeated (or tied) weak to strong and falls a step, the strong note is to be harmonized as V7d.
- If a part leaps from the leading note up a diminished fifth and then falls a step, the leap is from the 3rd to 7th of a dominant seventh.
- If a part leaps up a 7th from the dominant and falls a step, the leap is from the root to the 7th of the dominant.
- Do not use V7 as the a substitute for V as the second chord of an imperfect cadence. The cadential effect is destroyed.
CADENCES
- V7-I is a perfect cadence. V7-VI is an interrupted cadence.
- V7b-1, V7c-I and V7d-Ib can be used as inverted perfect cadences. V7d-Ib is the most common, but all are good.
- In harmonizing a cadence involving V7-I, introduce the 7th as late as possible. Otherwise the cadence tends to feel unnaturally drawn out.
Jun 9, 2008
Unaccented Passing Notes
Complexity : 3/10 (simple)
A passing note is termed 'unaccented' when it is on a weaker beat or part of beat than the note that precedes it.
- Two passing notes may be used simultaneously in different parts, provided they move in parallel 3rds or 6ths. (called unessential 3rd or 6th). The movement MUST be parallel. Unessential 3rds or 6ths must NOT be quit in contrary motion.
- Two parts may take the same passing note simultaneously in contrary motion, at least an octave apart.
- Passing note and harmony note should be struck together only if the form a concord (3rd, 5th or 6th).
- Avoid passing notes that produce a minor 9th above the 3rd or 7th of the scale.
- Introducing passing notes increases the danger of introducing incorrect harmonic progressions (consecutive 5ths or 8s, exposed 8s etc). Parts that are incorrect without passing notes are incorrect with them. In addition, passing notes may also produce consecutive 5ths or 8s which also must be avoided.
- Never have more than 2 passing notes simultaneously. It creates congestion.
A passing note is termed 'unaccented' when it is on a weaker beat or part of beat than the note that precedes it.
- Two passing notes may be used simultaneously in different parts, provided they move in parallel 3rds or 6ths. (called unessential 3rd or 6th). The movement MUST be parallel. Unessential 3rds or 6ths must NOT be quit in contrary motion.
- Two parts may take the same passing note simultaneously in contrary motion, at least an octave apart.
- Passing note and harmony note should be struck together only if the form a concord (3rd, 5th or 6th).
- Avoid passing notes that produce a minor 9th above the 3rd or 7th of the scale.
- Introducing passing notes increases the danger of introducing incorrect harmonic progressions (consecutive 5ths or 8s, exposed 8s etc). Parts that are incorrect without passing notes are incorrect with them. In addition, passing notes may also produce consecutive 5ths or 8s which also must be avoided.
- Never have more than 2 passing notes simultaneously. It creates congestion.
Second Inversion of Triads
Complexity : 2/10 (simple)
A chord is said to be in its second inversion, when the 5th from the root is in the bass.
- Two types need to be considered - cadential and passing.
Cadential Second Inversion
Only 2 are possible - Ic and IVc. They move to V and to I respectively on the same bass. The resolution must not be more strongly accented than the cadential second inversion.
These chords should NOT be approached by leap from the first inversion of another chord.
Uses of Ic
- This can be used as the first chord in a half-close, Ic-V.
- This can precede V in an interrupted or a perfect cadence. Of course, rhythm considerations set above must be met.
- Dominant of scale in S or B, lasting for 2 or more beats at a half or full close, must be harmonized as Ic-V, to avoid too long a halt.
Use of IVc Cadential
This may be used to decorate a perfect or a plagal cadence provided the final tonic bass lasts at least 3 beats. Its use is not very frequent.
Passing Second Inversion
Only IC and Vc are possible. The bass is approached and quit by step and the second inversion is always on the weak beat. Ic lies between IVa and IVb, and Vc will lie between Ia and Ib.
A chord is said to be in its second inversion, when the 5th from the root is in the bass.
- Two types need to be considered - cadential and passing.
Cadential Second Inversion
Only 2 are possible - Ic and IVc. They move to V and to I respectively on the same bass. The resolution must not be more strongly accented than the cadential second inversion.
These chords should NOT be approached by leap from the first inversion of another chord.
Uses of Ic
- This can be used as the first chord in a half-close, Ic-V.
- This can precede V in an interrupted or a perfect cadence. Of course, rhythm considerations set above must be met.
- Dominant of scale in S or B, lasting for 2 or more beats at a half or full close, must be harmonized as Ic-V, to avoid too long a halt.
Use of IVc Cadential
This may be used to decorate a perfect or a plagal cadence provided the final tonic bass lasts at least 3 beats. Its use is not very frequent.
Passing Second Inversion
Only IC and Vc are possible. The bass is approached and quit by step and the second inversion is always on the weak beat. Ic lies between IVa and IVb, and Vc will lie between Ia and Ib.
Stock treatments
Complexity : 6/10 (intermediate to high)
- If the bass has the first 3 notes of the scale, I-VIIb-Ib is good. If the 2nd is unaccented, I-Vc-Ib is a better option. (V7c is also fine). If the 2nd is accented though, Vc cannot be used and VIIb is better.
- 4th, 5th and 6th in the B or S can be harmonized effectively as IVa, Ic, IVb provided the 5th is on a weak beat.
- 5th, 4th and 3rd notes in the bass may be harmonized as Ic-V7d-Ib, provided the 4th is weaker than the 5th.
- When the B moves by a step, it is effective to make the S move by a 3rd is contrary motion if possible. (The reverse is also true). This is definitely possible in the case of step-wise motion from 7th to tonic (Vb-I), Tonic-2nd (VIb-II), 3rd to 4th (Ib-IV), 4th to 5th (IIb-V).
- If the bass has the first 3 notes of the scale, I-VIIb-Ib is good. If the 2nd is unaccented, I-Vc-Ib is a better option. (V7c is also fine). If the 2nd is accented though, Vc cannot be used and VIIb is better.
- 4th, 5th and 6th in the B or S can be harmonized effectively as IVa, Ic, IVb provided the 5th is on a weak beat.
- 5th, 4th and 3rd notes in the bass may be harmonized as Ic-V7d-Ib, provided the 4th is weaker than the 5th.
- When the B moves by a step, it is effective to make the S move by a 3rd is contrary motion if possible. (The reverse is also true). This is definitely possible in the case of step-wise motion from 7th to tonic (Vb-I), Tonic-2nd (VIb-II), 3rd to 4th (Ib-IV), 4th to 5th (IIb-V).
First Inversion of Triads
Complexity : 2/10 (simple)
When the 3rd from the root is in the bass, the chord is said to be in its first inversion.
- Doubling:
Major first inversions : The 3rd or 6th above the bass may be doubled. Avoid doubling the bass.
Minor first inversion: Any of the 3 notes may be doubled, but it is best to avoid doubling the bass here too, unless it is unavoidable.
Diminished first inversion: The bass may be freely doubled.
When the 3rd from the root is in the bass, the chord is said to be in its first inversion.
- Doubling:
Major first inversions : The 3rd or 6th above the bass may be doubled. Avoid doubling the bass.
Minor first inversion: Any of the 3 notes may be doubled, but it is best to avoid doubling the bass here too, unless it is unavoidable.
Diminished first inversion: The bass may be freely doubled.
Cadences
Complexity : 2/10 (simple)
Cadences are points of rest - musical punctuations.
There are 4 types of cadences - perfect, imperfect, interrupted, plagal.
Perfect Cadence (full-close): V followed by I. This is the musical equivalent of a full-stop. It should be arranged rhythmically from weak to strong.
Inverted perfect cadences are also possible. V7b-I, V7c-I, V7d-Ib. The last is the most common, but all are good. These can be used for intermediate phrase ends.
Plagal Cadence : This is IV followed by I, and is another form of final cadence. Its rhythm is also weak to strong.
Interrupted (Deceptive) Cadence : This is V followed by VI. It is non-final. It is the musical equivalent of a comma. Musical rhythm may be strong to weak or weak to strong depending on context.
Imperfect Cadence (half-close) : Occurs in various forms, but the second chord must be V. Typically, the progressions in use are
Major : I-V, II-V, IV-V, VI-V, Ib-V, IIb-V, IVb-V
Minor : Same as above. II-V and IIb-V is not available here.
This is a musical semi-colon and is frequently used in the course of a sentence at the end of a subsidiary phrase. The rhythm may be weak to strong or strong to weak based on context.
Cadences are points of rest - musical punctuations.
There are 4 types of cadences - perfect, imperfect, interrupted, plagal.
Perfect Cadence (full-close): V followed by I. This is the musical equivalent of a full-stop. It should be arranged rhythmically from weak to strong.
Inverted perfect cadences are also possible. V7b-I, V7c-I, V7d-Ib. The last is the most common, but all are good. These can be used for intermediate phrase ends.
Plagal Cadence : This is IV followed by I, and is another form of final cadence. Its rhythm is also weak to strong.
Interrupted (Deceptive) Cadence : This is V followed by VI. It is non-final. It is the musical equivalent of a comma. Musical rhythm may be strong to weak or weak to strong depending on context.
Imperfect Cadence (half-close) : Occurs in various forms, but the second chord must be V. Typically, the progressions in use are
Major : I-V, II-V, IV-V, VI-V, Ib-V, IIb-V, IVb-V
Minor : Same as above. II-V and IIb-V is not available here.
This is a musical semi-colon and is frequently used in the course of a sentence at the end of a subsidiary phrase. The rhythm may be weak to strong or strong to weak based on context.
Basic rules of progression
Complexity : 1/10 (simple)
Rules of melodic progression
- No two parts may move in parallel 8s or 5s. These faults are called consecutive octaves and consecutive fifths respectively.
- Parts should not move from unison to octave and vice versa.
- Parts should not move to octaves in contrary motion.
- S and B may not approach a 5th or 8ve in similar motion with a leap in the S. This fault is called Exposed Octave. Approaching an octave in similar motion with S moving by step is perfectly ok.
- Parts may not overlap between consecutive chords. Overlapping is undesirable since it endangers the identity of the parts. However, there is no harm in overlapping between two positions of the same chord.
- Perfect fifth followed by diminished fifth is ok between upper parts, but must be avoided with the bass.
- Avoid doubling the leading tone. It gives it undue prominence.
- Avoid ungainly leaps, too many consecutive leaps, sticking around one note for too long.
- When the melody moves by a third, it is effective to have the bass move by a step. This is good strong to weak, or weak to strong. Making the bass take the same notes as the soprano in the reverse order is also good, though not weak to strong.
Some guidelines on harmonic progression
Chords without inversion
- Chords whose roots are a 4th or a 5th apart typically give strong chord progressions.
- Roots falling a 3rd are good strong to weak, as well as weak to strong.
- Roots rising a 3rd are good strong to weak, but not weak to strong.
- II-I in root position is not a good progression.
- No cadence should be immediately preceded by its first or second chord. Otherwise the effect of the cadence is marred.
Chords in first inversion
- Avoid VIIb-V, VIIb-IVa or VIIb- Vb. VIIb is generally best followed by Ia or Ib, but IIb, Vb and VIb are also possible.
- Vb generally sounds best if the leading note in the bass moves to tonic. This means Vb-I, or Vb-VIb should sound good.
- In IIb-V, it is best to double the bass of the former.
- Change from root position to first inversion of the same chord is good strong to weak, not weak to strong.
Rules of melodic progression
- No two parts may move in parallel 8s or 5s. These faults are called consecutive octaves and consecutive fifths respectively.
- Parts should not move from unison to octave and vice versa.
- Parts should not move to octaves in contrary motion.
- S and B may not approach a 5th or 8ve in similar motion with a leap in the S. This fault is called Exposed Octave. Approaching an octave in similar motion with S moving by step is perfectly ok.
- Parts may not overlap between consecutive chords. Overlapping is undesirable since it endangers the identity of the parts. However, there is no harm in overlapping between two positions of the same chord.
- Perfect fifth followed by diminished fifth is ok between upper parts, but must be avoided with the bass.
- Avoid doubling the leading tone. It gives it undue prominence.
- Avoid ungainly leaps, too many consecutive leaps, sticking around one note for too long.
- When the melody moves by a third, it is effective to have the bass move by a step. This is good strong to weak, or weak to strong. Making the bass take the same notes as the soprano in the reverse order is also good, though not weak to strong.
Some guidelines on harmonic progression
Chords without inversion
- Chords whose roots are a 4th or a 5th apart typically give strong chord progressions.
- Roots falling a 3rd are good strong to weak, as well as weak to strong.
- Roots rising a 3rd are good strong to weak, but not weak to strong.
- II-I in root position is not a good progression.
- No cadence should be immediately preceded by its first or second chord. Otherwise the effect of the cadence is marred.
Chords in first inversion
- Avoid VIIb-V, VIIb-IVa or VIIb- Vb. VIIb is generally best followed by Ia or Ib, but IIb, Vb and VIb are also possible.
- Vb generally sounds best if the leading note in the bass moves to tonic. This means Vb-I, or Vb-VIb should sound good.
- In IIb-V, it is best to double the bass of the former.
- Change from root position to first inversion of the same chord is good strong to weak, not weak to strong.
Jun 7, 2008
Suspensions
Complexity : 4/10 (intermediate)
The suspension is a tone whose natural progression has been rhythmically delayed.
There are 3 factors in the management of a suspension
- Preparation - the sounding of the note to be suspended as a harmony note in the same part, in the first chord.
- Percussion - the actual sounding or striking of the discord
- Resolution - the progression of the discord to a concord, by falling one step.
Suspensions are named on basis of the intervals of the relevant notes above the bass. A 4-3 suspension means the suspended note is a 4th above the bass.
GENERAL
- The suspension may occur in any part, and any note of the triad may be suspended.
- The tied note is characteristic of the suspension as this is the means by which the note is delayed while the root changes. If tied, the second of the tied notes must not be longer than the first.
- The resolution of the suspension is usually to the scale step below, but upward resolution is possible (retardation). If the suspended note is a leading note or a chromatically raised note, it will have a natural resolution to the note above.
- The suspension does not usually resolve on a fraction of a beat, especially the second half of a first beat. The amount of time a tone is suspended is typically at least 1 whole beat.
- Ornamental resolutions are possible before the actual note of resolution arrives. These could be in the form of auxiliary, escape notes, cambiata, or anticipation, or there may be a note of harmony interpolated between the suspension and its resolution.
- The suspension of the 5th of a chord is really only effective in connection with the second inversion. This is because the 6th of the scale actually does not form a discord with the first inversion and the root position. (In the case of the second inversion, a discord of a 9th is produced).
- Suspensions in the bass need extra care. Only the root or the first inversion may be effectively suspended. In the early stages, it is best to suspend only the first inversion.
- Suspensions can occur in the root, 3rd and 5th of the dominant 7th.
RULES
- A suspension MUST be prepared by a harmony note.
- The note on resolution may not be struck against the suspension unless the latter be in the bass. There are NO exceptions to this rule. The note of resolution may NOT be struck against the note of suspension.
- Suspensions do not remove consecutives.
EFFECTIVE USAGE
- Cadences may often be effectively used to decorate a cadence.
- A long note where no change of chord is desirable may well have a suspension above or below it.
- A note repeated weak to strong and falling a step can be effectively harmonized using a suspension. In the case of the 4th of the scale repeated and falling a step to the 3rd, there are two possibilities (treat the repeated note as V7d or as a suspension. In the case of short value notes, the suspension is preferable).
- 4-3 suspensions are very effective. 9-8 and 7-6 suspensions are also good. 2-1 suspensions rarely sound good.
RESOLUTION
- A suspension may resolve into another position of the same chord or into another chord.
DOUBLE SUSPENSION
If two notes of a chord are both to fall a step into the next chord, moving in parallel 3rds or 6ths - a double suspension is possible.
The suspension is a tone whose natural progression has been rhythmically delayed.
There are 3 factors in the management of a suspension
- Preparation - the sounding of the note to be suspended as a harmony note in the same part, in the first chord.
- Percussion - the actual sounding or striking of the discord
- Resolution - the progression of the discord to a concord, by falling one step.
Suspensions are named on basis of the intervals of the relevant notes above the bass. A 4-3 suspension means the suspended note is a 4th above the bass.
GENERAL
- The suspension may occur in any part, and any note of the triad may be suspended.
- The tied note is characteristic of the suspension as this is the means by which the note is delayed while the root changes. If tied, the second of the tied notes must not be longer than the first.
- The resolution of the suspension is usually to the scale step below, but upward resolution is possible (retardation). If the suspended note is a leading note or a chromatically raised note, it will have a natural resolution to the note above.
- The suspension does not usually resolve on a fraction of a beat, especially the second half of a first beat. The amount of time a tone is suspended is typically at least 1 whole beat.
- Ornamental resolutions are possible before the actual note of resolution arrives. These could be in the form of auxiliary, escape notes, cambiata, or anticipation, or there may be a note of harmony interpolated between the suspension and its resolution.
- The suspension of the 5th of a chord is really only effective in connection with the second inversion. This is because the 6th of the scale actually does not form a discord with the first inversion and the root position. (In the case of the second inversion, a discord of a 9th is produced).
- Suspensions in the bass need extra care. Only the root or the first inversion may be effectively suspended. In the early stages, it is best to suspend only the first inversion.
- Suspensions can occur in the root, 3rd and 5th of the dominant 7th.
RULES
- A suspension MUST be prepared by a harmony note.
- The note on resolution may not be struck against the suspension unless the latter be in the bass. There are NO exceptions to this rule. The note of resolution may NOT be struck against the note of suspension.
- Suspensions do not remove consecutives.
EFFECTIVE USAGE
- Cadences may often be effectively used to decorate a cadence.
- A long note where no change of chord is desirable may well have a suspension above or below it.
- A note repeated weak to strong and falling a step can be effectively harmonized using a suspension. In the case of the 4th of the scale repeated and falling a step to the 3rd, there are two possibilities (treat the repeated note as V7d or as a suspension. In the case of short value notes, the suspension is preferable).
- 4-3 suspensions are very effective. 9-8 and 7-6 suspensions are also good. 2-1 suspensions rarely sound good.
RESOLUTION
- A suspension may resolve into another position of the same chord or into another chord.
DOUBLE SUSPENSION
If two notes of a chord are both to fall a step into the next chord, moving in parallel 3rds or 6ths - a double suspension is possible.
Chromatic Passing Notes
Complexity : 6/10 (intermediate to advanced)
Chromatic notes that may be used to join up two notes that are a major 2nd apart of some greater distance than this.
If a passage begins with chromatic passing notes, it should continue with them until the harmony note is reached.
- A 4-note figure combining a chromatic passing note with an appoggiatura is sometimes met with. The first and last notes are harmony notes a major 2nd apart. (eg. D, D#, F, E)
Chromatic notes that may be used to join up two notes that are a major 2nd apart of some greater distance than this.
If a passage begins with chromatic passing notes, it should continue with them until the harmony note is reached.
- A 4-note figure combining a chromatic passing note with an appoggiatura is sometimes met with. The first and last notes are harmony notes a major 2nd apart. (eg. D, D#, F, E)
Nota Cambiata
Complexity : 3/10 (simple to intermediate)
This is a four note figure. The fourth note is a 3rd below the first. In between come the diatonic passing note followed by the appoggiatura below the last note.
The shape of the figure and soundness of harmonic basis form the guides to identifying the nota cambiata.
This figure can move in parallel 3rds or 6ths. In such a case, the lower note must be either both diatonic or both chromatic.
Change of chord on the third note is also possible.
This is a four note figure. The fourth note is a 3rd below the first. In between come the diatonic passing note followed by the appoggiatura below the last note.
The shape of the figure and soundness of harmonic basis form the guides to identifying the nota cambiata.
This figure can move in parallel 3rds or 6ths. In such a case, the lower note must be either both diatonic or both chromatic.
Change of chord on the third note is also possible.
Changing Note
Complexity : 3/10 (simple)
The changing note figure consists of a double appoggiatura with the principal note added at the beginning.
The lower note follows the same rules as in the double appoggiatura.
Changing notes can be used simultaneously in parallel 3rds and 6ths. The lower note must be either both diatonic or both chromatic.
If harmonically appropriate, a change of chord may be introduced in the third note of the figure.
The changing note figure consists of a double appoggiatura with the principal note added at the beginning.
The lower note follows the same rules as in the double appoggiatura.
Changing notes can be used simultaneously in parallel 3rds and 6ths. The lower note must be either both diatonic or both chromatic.
If harmonically appropriate, a change of chord may be introduced in the third note of the figure.
Jun 1, 2008
Transient modulations
Complexity : 5/10 (intermediate)
Modulations is not necessarily confined to phrase-ends or sequences. A cadence will be presented (modulation is not possible without one), but it will be less obvious.
- The original tonic must be firmly established before modulation is attempted.
- Transient modulations need inverted cadences
- Cadences may be masculine or feminine
Major scale
- Transient modulations to the supertonic minor are often possible and are quite acceptable when the central cadence is in the dominant.
- Passing modulation to the relative minor is also useful.
- Syncopation in the middle of a melody can provide a clue. There must be a chord change in the middle of a syncopated note, and a change of key is also effective.
Minor Scale
- If the central cadence is in the relative major, then a transient modulation to the subdominant is surprisingly, often possible.
- If the central cadence is in the dominant, the modulation to the subdominant or to the relative of the subdominant is undesirable.
- If the central cadence is in the dominant minor, passing modulation to the relative major is often a possibility.
Modulations is not necessarily confined to phrase-ends or sequences. A cadence will be presented (modulation is not possible without one), but it will be less obvious.
- The original tonic must be firmly established before modulation is attempted.
- Transient modulations need inverted cadences
- Cadences may be masculine or feminine
Major scale
- Transient modulations to the supertonic minor are often possible and are quite acceptable when the central cadence is in the dominant.
- Passing modulation to the relative minor is also useful.
- Syncopation in the middle of a melody can provide a clue. There must be a chord change in the middle of a syncopated note, and a change of key is also effective.
Minor Scale
- If the central cadence is in the relative major, then a transient modulation to the subdominant is surprisingly, often possible.
- If the central cadence is in the dominant, the modulation to the subdominant or to the relative of the subdominant is undesirable.
- If the central cadence is in the dominant minor, passing modulation to the relative major is often a possibility.
Anticipatory notes
Complexity : 4 (intermediate)
If two harmony notes are a step apart, the second note may be anticipated in the same part, just before the beat.
This practice is most common before the cadence, though it may occur elsewhere. The note of anticipation is always a small value - quaver or semiquaver.
- Anticipations in the Tenor and Alto must be combined with one in the soprano. In this case, they either move in parallel 3rd and 6th or they approach octave or unison in contrary motion.
- Anticipations should never be used in the bass.
- Occasionally passing notes, suspensions can also be anticipated. Experience is the ultimate guide, but it is good to consider whether the 3 notes in question, would normally be harmonized with or without a change of chord.
- Anticipatory notes are usually not tied. They are ordinarily much shorter in time value than the principal tone.
If two harmony notes are a step apart, the second note may be anticipated in the same part, just before the beat.
This practice is most common before the cadence, though it may occur elsewhere. The note of anticipation is always a small value - quaver or semiquaver.
- Anticipations in the Tenor and Alto must be combined with one in the soprano. In this case, they either move in parallel 3rd and 6th or they approach octave or unison in contrary motion.
- Anticipations should never be used in the bass.
- Occasionally passing notes, suspensions can also be anticipated. Experience is the ultimate guide, but it is good to consider whether the 3 notes in question, would normally be harmonized with or without a change of chord.
- Anticipatory notes are usually not tied. They are ordinarily much shorter in time value than the principal tone.
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