
 
 <%an 

 
 THE 
 
 KHETOKIC OF MUSIC 
 
 HARMONY, COUNTERPOINT, 
 MUSICAL FORM 
 
 BY 
 
 MOETIMER WILSON" 
 
 DIRECTOR, DEPARTMENT OF COMPOSITION IN 
 
 THE UNIVERSITY SCHOOL OF MUSIC 
 
 UNIVERSITY OF NEBRASKA 
 
 THE UNIVERSITY PUBLISHING COMPANY 
 
 LINCOLN, NEBRASKA 
 
 1907 
 
 NIV. OF CALIF, LIBRARY. LOS AHGELL
 
 COPTBIQHT, 1907, 
 BY 
 
 THE UNIVERSITY PUBLISHING COMPANT 
 
 ALL RIGHT a RESERTBD 
 
 Stanbope press 
 
 F. H. OILSON COMPAHT 
 
 BOSTON, u, e. *.
 
 Library 
 
 1 
 ^01 
 
 PREFACE 
 
 This volume is intended as a reference book for the use of 
 students in the author's own classes in the University School of 
 Music, University of Nebraska. It is desired to place the subjects 
 in the hands of the student in a more convenient form than that 
 made necessary by the wide variance in the treatment of the same 
 facts by different authors. We hope it will prove helpful to those 
 who come under its influence. 
 
 Mortimer Wilson. 
 
 University of Nebraska, 
 Lincoln, Jan. 5, 1907
 
 INDEX OF SUBJECTS 
 
 PART ONE 
 CHAPTER I 
 
 PAGE 
 
 Intervals — 1 
 
 A Table of 1 
 
 Inversion of 2 
 
 Consonant and Dissonant 3 
 
 Teiads — ^ 
 
 Nomenclature 4 
 
 Doublings 4 
 
 Position 4 
 
 Motion 5 
 
 Voice-Ranges and Registers — 5 
 
 Unsingable Intervals 6 
 
 Unmelodic Intervals 6 
 
 CHAPTER II 
 
 Chord-Progression — 6 
 
 Cadences 7 
 
 Contrasts 8 
 
 Development of Harmonic Outlines 9 
 
 Rules for the Progression of Bass Voice in Root Position 9 
 
 The Harmonization of Basses 10 
 
 Faulty Voice-Leadings 10 
 
 The Leading-Tone 12 
 
 Melodic Outlines 14 
 
 The Song-Period , 15 
 
 Inversion of Triads — „ 17 
 
 The Six-Three Chord 17 
 
 The Six-Four Chord 18 
 
 V
 
 Vi INDEX OF SUBJECTS 
 
 CHAPTER III PAGB 
 
 Setenth Chords — 20 
 
 Classification of c 20 
 
 Consonant Seventh Chords 20 
 
 Dissonant Seventh Chords = 22 
 
 Alterations of 24 
 
 CHAPTER IV 
 
 Modulation — 26 
 
 To Relative Minor 26 
 
 To One Degree Removed 27 
 
 To Two Degrees Removed 29 
 
 To Three Degrees Removed 29 
 
 To Pour Degrees Removed 30 
 
 To Five Degrees Removed 30 
 
 To Six Degrees Removed 31 
 
 The Relation between Tonalities from One to Six Degrees Removed ... 32 
 
 PAKT TWO 
 
 CHAPTER V 
 
 Non-Harmonic Incidents — 33 
 
 Suspensions 33 
 
 Retardations 35 
 
 Anticipations 35 
 
 Organ-points 35 
 
 Changing-Tones 36 
 
 Passing-Tones 37 
 
 CHAPTER VI 
 
 Melodic Voices — 39 
 
 Two Voices — 
 
 In Equal Rhythmic Divisions 39 
 
 In Unequal Rhythmic Divisions 40 
 
 Two Notes against One 40 
 
 Four Notes against One 41 
 
 Three Voices 41 
 
 Four Voices 43
 
 INDEX OF SUBJECTS ^" 
 
 PART THREE 
 
 CHAPTER VII 
 
 Development of Design — page 
 
 Means of •> ^" 
 
 Theme and Countertheme ■ - ^^ 
 
 Rhythmic Accompaniment • • • • ^"^ 
 
 Inversion of Themes » ^"^ 
 
 By Repetition ^8 
 
 Musical Form — 
 
 The Sonata *9 
 
 The Song 49 
 
 The Dance ** 
 
 The Rondo 51
 
 THE RHETORIC OF MUSIC 
 
 PART I 
 
 CHAPTER I 
 
 INTERVALS 
 
 An interval is the distance between two tones — usually reck- 
 oned upwards — and named according to the number of staff-degrees 
 embraced by both incidents. 
 
 Natural incidents are those tones belonging to the major and 
 harmonic-minor scales. Altered incidents are chromatic elevations 
 or depressions of natural incidents. Harmonic incidents are those 
 belonging to any certain chord-combination. 
 
 Two tones of the same pitch occupying the same staff-degree are 
 in unison, or prime to each other. Tones on adjoining degrees are 
 seconds, those embracing three degrees are thirds, etc. Intervals in 
 excess of the octave are spoken of as if the octave did not exist ; 
 that is : — ninths become seconds, tenths become thirds, etc. 
 
 A Table of Intervals 
 
 Primes. Seconds. 
 
 Perfect. Augmented. Great. Small. Augmented. Diminished.O) 
 
 'fcsH^sr— ' 
 
 -f9- -«>- -&- S-S>- -&- 
 
 f 
 
 "Z?- 
 
 -&- 
 
 i?^ 
 
 -&- 
 
 '^"^'p^ 
 
 Thirds. Fourths. 
 
 Augmented (2) 
 Great. Small. Diminished. Small. ( or great ). Diminished. 
 
 i 
 
 -s>- 
 
 -Gh- 
 
 -<$>- 
 
 PS*- 
 
 f 
 
 -es- 
 
 i&- 
 
 -(9- 
 
 -&- 
 
 :'::s: 
 
 f 
 
 -zr 
 
 iSh- 
 
 > The diminished-second is practically a unison enharmonically represented; though 
 a difference in pitch occurs when the two tones are heard in their respective tonalities. 
 
 "-■ An augmented-fourth is an artificially altered interval : a great-fourth occurs 
 naturally in the tonality.
 
 THE RHETORIC OF MUSIC 
 
 Fifths. Sixths. 
 
 Diminished (') 
 Great. (or small.) Augmented. Great. 
 
 Small. Augmented. 
 
 i 
 
 -i5>- 
 
 :^ 
 
 -(5>- -IS>- 
 
 Sevenths. 
 
 -&- 
 
 ■::;«- 
 
 -tS- 
 
 -i?g?~ 
 
 ^t^ 
 
 -(S*- 
 
 -1©'- 
 
 -<£?- 
 
 Great. 
 
 Octaves. 
 Small. Diminished. Perfect. Augmented.(2) Diminished.^) 
 
 -s>- 
 
 Inversiox of Intervals 
 
 The transposition of an incident into the octave inverts the 
 interval; that is: — primes become octaves, seconds become sev- 
 enths, etc. Intervals inverted reverse in size: — great become 
 small, augmented become diminished, and vice versa. 
 
 Inversion into the Octave 
 
 - 2 - 3 -- 
 
 ^<S>-]f^r^t 
 
 ^^^^^^5=^^5Sr-:^=5^r-:^|f^|^?j^^-^^^ 
 
 'G- 
 
 9i 
 
 ~g:r- 
 
 :»^ 
 
 ft$t 
 
 w 
 
 ^^ 
 
 J2g;j H ?^ 
 
 > A diminished-fifth is an artificially altered interval: a small-fifth occurs naturally 
 
 in the tonality. . , , ■ , ;. 
 
 « An auemented-octave IS possible when considered as prime. 
 
 ' The diminished-octave occurs only as a suspension over the seventh of a aimin- 
 
 '^ ^NoT^K." Augmeiited-thirds. augmented-seventlis, and diminished-sixths may not be 
 grammatically represented in any one tonality; l)ut occur at times during enharmonic 
 transitions.
 
 TUE RHETORIC OF MUSIC 
 
 ±^=^0^==^^-^ 
 
 ?G>- 
 
 T^ 
 
 fe=3 
 
 e> —7p 
 
 9 
 
 ^b> 
 
 «>: 
 
 -i5>-\ -iS)^ -&^ f^-'l \^ -<5>^ |^=] ^' 
 
 I2J fcsj t^j— ^. 
 
 z^^zrzN 
 
 -<5y 
 
 1 
 
 Consonant and Dissonant Intervals 
 
 Consonance, in some degree, exists between all incidents except 
 two: — small-second, great-seventh ( augmented-prime, diminished- 
 octave). Pure consonants are those agreeing most perfectly: — 
 perfect-prime, and inversion, perfect octave. Open consonants con- 
 tain too little of the harmonic element to stand well alone : — great- 
 fifth, and inversion, small-fourth. Partial consonants, when alone 
 are dissonant; but when in certain other combinations become con- 
 sonant: — great-second, augmen ted-second, diminished-third, dim- 
 inished fourth, and inversions, small-seventh, diminished-seventh, 
 angmented-sixth, augmented-fifth. Harmonic consonants contain 
 the amounts of consonance and dissonance requisite to a satis- 
 factory blending : — great-third, small-third, augmented-fourth ; 
 inversion, small-sixth, great-sixth, small-fifth. 
 
 Pure Open 
 
 Consonants. Consonants. Partial Consonants. 
 
 JZ- 
 
 -G>--&- -^- «-^ -&- 
 
 
 zy 
 
 JZ- 
 
 ^p^^^^ 
 
 9<s>- 
 
 ^^ 
 
 Harmonic Consonants. 
 
 Dissonants. 
 
 
 tS- 
 
 -<s>-'. 
 
 fr^-f^ 
 
 Triads 
 
 A triad is the foundation upon which a musical design rests : it 
 consists of a root, or fundamental-tone, with its third and fifth. 
 Major triad == root, great third, great-fifth. 
 
 Minor " == " small " " '' 
 
 Augmented triad = " great " augmented fifth. 
 Diminished " = '• small " small "
 
 THE RHETORIC OF MUSIC 
 
 (-) 
 
 Major Mode, (i) 
 
 II 
 
 III 
 
 
 =g= 
 
 -!§- 
 
 "Sr 
 
 -tS^ 
 
 sr 
 
 ^i 
 
 — iS ^o_ 
 
 -£2- 
 
 YVC 
 
 VI 
 
 -(©- 
 
 :^ 
 
 -6^- 
 
 IV 
 
 i 
 
 9^ 
 
 I 
 
 MiNOE Mode. 
 
 11^ 
 
 Hi 
 
 -^7 
 
 1^ 
 
 -gr ^ 
 
 -S- TTS* 
 
 -O^ 
 
 
 -(S- 
 
 VII^ 
 
 VI 
 
 --%-- 
 
 -&- 
 
 IV 
 
 Nomenclature 
 Major Mode. Minor Mode. 
 
 I 
 
 — Major 
 
 Tonic 
 
 ■ Minor 
 
 - I 
 
 II 
 
 — Minor 
 
 — Supertonic — 
 
 Diminished — 
 
 - 11° 
 
 III 
 
 u 
 
 — Mediant — 
 
 Augmented — 
 
 Hi 
 
 IV 
 
 — Major 
 
 — Subdominant — 
 
 Minor — 
 
 IV 
 
 V 
 
 u 
 
 — Dominant — 
 
 Major — 
 
 V 
 
 yi 
 
 — Minor 
 
 — Submediant — 
 
 u 
 
 VI 
 
 VII° 
 
 — Diminished 
 
 — Subtonic — 
 Doublings 
 
 Diminished — 
 
 VI 1° 
 
 Tria 
 
 ds admit of the 
 
 following doublings : — 
 
 
 
 Best. 
 
 Next Best. 
 
 More Rarely. 
 
 
 
 Major root fifth 
 
 third W 
 
 
 
 Minor 
 
 (( a 
 
 a (*) 
 
 
 
 Augmented 
 
 " third 
 
 fifth (^) 
 
 
 
 Diminished-third fifth 
 
 root (') 
 
 
 
 
 Position 
 
 
 
 A triad is in root-position when the root is in the bass ; in close- 
 position when the three upper voices are compactly arranged; in 
 open-position when any two of the three upper voices are separ- 
 ated ; in inverted-position when the bass is given some tone other 
 than the root of the triad. 
 
 1 Mode is tlie character or color of tonality. Tonality is the perceived relation 
 between tones, triads, and modes. 
 
 - Roman numerals denote the scale-position and character of triads. 
 
 ' (ireat-thirds may be donbled if both voices pass through degreewise in contrary 
 motion. Also to prepare dissonances, and to avoid faulty voice-leadings. 
 
 * Small-thirds are not so characteristic as great-thirds, and they may be doubled 
 more often. 
 
 '' Augmented-flfths are leading-tones and may be doubled only for melodic-rein- 
 forcement. 
 
 '■' The root of the diminished-triad on the seventh scale-degree is a leading-tone ; it 
 may be doubled only in sequence. The diminished-triad on tiie supertonic of the minor 
 mode admits, more freely, a doubling of its fundamental-tone.
 
 (1) Boot-position. 
 
 THE RHETORIC OF MUSIC 
 
 Close-position. 
 
 9t 
 
 -^2- 
 
 t^—M: 
 
 -is- 
 
 
 ^fr 
 
 S 
 
 jg 
 
 -<2- 
 
 S 
 3 
 
 C) Inverted-position. 
 
 -(S2_ 
 
 -tS"- 
 
 i& 
 
 ig 
 
 ~cEr 
 
 -T&- 
 
 -(5'- 
 
 etc. 
 
 I 6 — I — 6 — ■ 6—' ^' 4 — ■ — 4 — ' 4 — ■ 
 
 -6— » — 6— ■ 6 
 
 - 3 3 
 
 i 
 
 9 
 
 -ffi_ 
 
 ^ 
 
 a 
 
 -&- 
 
 a 
 
 —6>- 
 -&- 
 
 etc. 
 
 Motion 
 
 9t 
 
 Open-position. 
 
 «j ■ — -&- 
 
 ■zy 
 
 -ffi- 
 
 -iC2- 
 
 ^ 
 
 (S) Accidentals. 
 
 O- 
 
 m 
 
 Ht Vt etc. 
 
 -(2_ 
 
 -iS'- 
 
 5{ 
 
 
 6 
 
 The combined leadings of two or more voices produce four kinds 
 of motion : — similar, parallel, contrary, and oblique. A repetition is 
 not considered motion. 
 
 Similar. 
 
 Parallel. 
 
 Contrary. 
 
 Oblique. 
 
 i 
 
 <g 
 
 -6>- 
 
 _(S- 
 
 
 -O- 
 
 jS2_ 
 
 -G^ 
 
 -&- 
 
 jffi- 
 
 -O- 
 
 -^- 
 
 -O- 
 
 sr 
 
 Voice-Ranges and Registers 
 
 As a means of expression the four-voiced choir is used. The 
 ranges given are the most practical for chorus — individual voices 
 may exceed these limits : — 
 
 Soprano. 
 
 Alto. 
 
 -G>- 
 
 -&- 
 
 •&- 
 
 J 
 
 1 Arabic numerals denote the distance above the bass-note at which the remaining 
 
 8 
 tones of the triad may be found. 3, 5, or 8 abbreviates 5 denoting respectively the third, 
 
 3 
 fifth, and octave of the bass-note. When these figures stand alone they denote the inci- 
 dent of the triad to be used in the upper voice, or merely root-position of the bass-note. 
 * ^ signifies that the third of the triad is assigned to the bass; ^ — the fifth. 
 
 s An accidental standing below a bass-note applies to the third above the bass-note; 
 following a figure, it applies to the tone represented by the figure. A dash through a 
 figure denotes the elevation of the tone to which the figure applies.
 
 Tenor. 
 
 -52. 
 
 THE RHETORIC OF MUSIC 
 {8va lower.) 
 
 Bass. 
 
 -i9- 
 
 JZ. 
 
 =9t 
 
 /S 
 
 or : 
 
 ^ 
 
 
 L_ 
 
 Unsingable Intervals 
 
 Intervals which are not readily conceived and easily vocalized 
 are considered faulty as voice-leadings. These are : — all aug- 
 mented intervals, except the augmented-prime ; great and small 
 sevenths ; and the diminished-fourth unless taken from the higher 
 to the lower tone. Moreover these intervals are unmelodic, and 
 should not be outlined within three progressions. 
 
 Unslngable Leadings, (i) 
 
 e) 
 
 (') 
 
 etc. 
 
 I I I I ^ I ! " I I I _) 
 
 9(5>- 
 
 -&- 
 
 -&- 
 
 -G>- 
 
 L 
 
 Uumelodic Intervals Outlined. 
 
 ^ 
 
 g 
 
 -£2- 
 
 a 
 
 sr 
 
 _£2_ 
 
 etc. 
 
 -z?- 
 
 More Satisfactory. 
 
 -0- 
 
 -O- 
 
 W'^ 
 
 9' 
 
 -O- 
 
 a 
 
 etc. 
 
 CHAPTER II 
 
 CHORD-PROGRESSION 
 
 Harmonic and melodic outlines are developed by the use of ca- 
 dences, contrasts, and repetitions; the most interesting of these 
 progressions are the cadences. Contrasts serve to avoid a monotony 
 
 1 As the harmonic and melodic-feeling, or conception, is dependent upon a subcon- 
 scious vocalization, it is well during the acquirement of a thinkiag-technic to make use 
 of only the singable intervals. The dramatic character of unsingable intervals re'idera 
 them useful, later, for expressive purposes ; but an early use of tnem retards a well-bal- 
 anced progress in the ahsorbtion of tiie material. 
 
 = Practicable if the harmouic foundation remain unchanged. 
 
 » Practicable If either of the two incidents be used uon-harmonicallj.
 
 THE RHETORIC OF MUSIC J 
 
 resulting from a too frequent appearance of cadences. Repetitions 
 are advisable only when diiferent positions of the triad are used. 
 
 The principal harmonies of a tonality are the tonic, subdominant, 
 and dominant. Ail others are contrasts or substitutes. 
 
 Cadences 
 
 With Substitutes 
 
 
 -&- 
 
 -Si- 
 
 JS- 
 
 -tS>- 
 
 u V 
 
 -19- 
 
 SL 
 
 -iSr 
 
 -49- 
 
 -i§- 
 
 -<g- 
 
 -(9- 
 
 H 
 
 -&- -G>- 
 I VI 
 
 -Sh- 
 
 V 
 
 -iS- 
 
 sr 
 
 -gr 
 
 -&- 
 
 jS- 
 
 Authentic. 
 
 i 
 
 9 
 
 
 "Z?" 
 
 -27" 
 
 -&- 
 
 I IV vii° I 
 
 etc. 
 
 ^t 
 
 ji2_ 
 
 -i9- 
 
 jSL. 
 
 
 -es- 
 
 or: — 
 
 vii° I 
 
 -/9- 
 
 vir 
 
 7b 
 
 Modulatory Authentic— 
 
 i 
 
 ^t 
 
 i6 I g^ 
 
 -gr- 
 
 I IV or: — 
 
 -iS'- 
 
 JS- 
 
 Plagal. 
 
 or: — ' 
 
 (U) 
 
 9^ 
 
 IV 
 
 -19- 
 
 -19- 
 I 
 
 -£2.- 
 
 or: — 
 
 <^^y^ 
 
 ^ 
 
 JS- 
 
 Z^^SIL 
 
 1 g 
 
 II., 
 
 i 
 
 ^ — ^2- 
 
 3= 
 
 
 _ffl_ 
 
 etc.
 
 8 
 
 THE RHETORIC OF MUSIC 
 
 Deceptive. 
 
 I 
 
 9^ 
 
 -&- 
 
 -G>- 
 
 -&- 
 
 -jfi- 
 
 "Z?- 
 
 -&- 
 
 VI 
 
 or: — 
 
 i 
 
 w 
 
 9^ 
 
 -iS>- 
 
 ~zr 
 
 -(9- 
 
 is: 
 
 -2?- 
 
 II 
 
 -i6?- 
 
 etc. 
 
 Half. 
 
 i 
 
 =g= 
 
 -15'- 
 
 -i9- 
 
 =g: 
 
 or: 
 
 i 
 
 9^ 
 
 -1©'- 
 
 
 II 
 
 (5'- 
 
 ^--- 
 
 -or 
 
 V 
 
 -£2- 
 
 The complete cadence consists of the subdominant, dominant, and 
 tonic. The supertonic or submediant may be substituted, for the 
 subdominant. The subtonic may be substituted, in few cases, for 
 the dominant. 
 
 The authentic cadence is a progression from the dominant to the 
 tonic. The subtonic at times acts as a substitute for the domi- 
 nant. 
 
 The modulatory-authentic cadence is a progression from the tonic 
 to the subdominant. The mediant may be substituted for the tonic. 
 
 The plagal cadence is a progression from the subdominant to the 
 tonic. The subdominant may be altered to a minor triad without 
 destroying the major character of the tonality. The supertonic, 
 under some conditions, may serve in place of the subdominant. 
 
 The deceptive cadence is a progression from the dominant to any 
 harmony other than the anticipated tonic. 
 
 The half cadence is a progression to the dominant from any 
 other harmony. 
 
 Contrasts 
 
 The most natural contrast for any harmony is that one which 
 lies three degrees below it, though others may serve. But few con- 
 trasting-harmonies may appear in succession without destroying the 
 harmonic interest dependent upon cadences. That harmony which 
 lies three degrees above another one is rarely satisfactory either as 
 a cadence or contrast.
 
 THE RHETOBIC OF MUSIC 
 
 Effective contrasts. 
 
 i 
 
 ¥ 
 
 9t 
 
 ^i 
 
 -<5>- 
 
 I 
 -&- 
 
 -G>- 
 
 -O- 
 
 II 
 
 -tSL- 
 
 VI 
 
 -fZ 
 
 -(Z- 
 
 
 VI 
 -G>- 
 
 Barely desirable. 
 
 n 
 
 u 
 
 ^ 1 
 
 /\ /^-^ 
 
 n 1 
 
 irh <^ 
 
 ^ 1 
 
 \^\) <i 
 
 => 1 
 
 IV III 
 
 
 
 •-1. ^ 
 
 <^ 
 
 y 
 
 
 
 
 =g= 
 
 II 
 
 -<s- 
 
 _iS2_ 
 
 -ig^ 
 
 -.&- 
 
 -iS2_ 
 
 etc. 
 
 Development of Harmonic Outlines 
 
 The complete cadence is tlie foundation of all phrases, periods, 
 and forms. The authentic and plagal cadences, only, are suitable 
 for closing-cadences, the authentic is preferable. In the develop- 
 ment of a harmonic-outline the cadences and constrast may be 
 employed with the utmost freedom; though cadences should pre- 
 dominate : musicianship and good taste can be the only guides ; but 
 the following suggestions may prove beneficial in the placing of the 
 material in the hands of the student. 
 
 EULES FOR THE PROGRESSION OF THE BaSS 
 IN ROOT-POSITION 
 
 Every composition will begin and end with the tonic triad in 
 root-position. 
 
 The last measure, but one, will be the dominant or subdomi- 
 nant — preferably dominant. 
 The Bass may : — 
 
 Rise or fall a fifth or a fourth ; 
 
 u II u u second ; 
 Fall a third, or rise a sixth.
 
 10 
 
 THE RHETORIC OF MUSIC 
 
 The Bass may not : — 
 
 Rise a third, or fall a sixth ; 
 Rise or fall a seventh. 
 
 Exceptions 
 
 The subtonic may not appear in root-position except in sequence. 
 The bass may rise a third or fall a sixth from tonic to mediant pro- 
 vided the mediant be followed immediately by the subdominant : in 
 this case the mediant is similar to six- five-three position of the tonic 
 (see inversions of seventh chords ). 
 
 The Harmonization of Basses 
 
 Triads are related, most closely, when they possess a common- 
 tone ; the common-tone should be retained in the same voice except 
 from the supertonic to the dominant if the bass rise (see covered- 
 octaves and fifths): the remaining voices progress to the nearest 
 required tone in the new triad. 
 
 Triads on adjoining scale-degrees contain no common-tones : con- 
 trary-motion to the bass is employed, in general to avoid parallel 
 octaves, fifths and unisons (see faulty voice-leadings ). 
 
 -iS- 
 
 -Gt- 
 
 -iS^ 
 
 
 9^ 
 
 V VI 
 
 -<s- 
 
 j2_ 
 
 
 III IV 1 etc. 
 
 -Ol 
 
 -&- 
 
 jS- 
 
 Faulty Voice-Leadings 
 
 A parallel-unison is produced by two voices moving from an in- 
 terval of a unison into a unison. 
 
 A parallel-fifth is produced by two voices moving in similar or 
 contrary direction from an interval of a fifth into a fifth. 
 
 A parallel-octave is produced by two voices moving in the same 
 or contrary direction from an interval of an octave into an octave. 
 
 i 
 
 Parallel-unison. 
 
 Parallel-fifth. 
 
 -z?g I 
 
 -&&- 
 
 sr 
 
 -&- 
 
 -s?- 
 
 -<!9- 
 
 Parallel-octave. 
 
 •'•••^ 
 
 -13- 
 
 -O- 
 
 -O- 
 
 H&- 
 
 ^-Sh 
 
 ■i5>- 
 
 -TS' 
 
 \ '''■ ^ 
 
 -<s>- 
 
 sr
 
 TRE RHETORIC OF MUSIC 
 
 11 
 
 Parallel-unisons and octaves are faulty because they limit the 
 number of different voice-leadings otherwise accessible. Parallel- 
 fifths present two triads in an equally forceful position and interfere 
 with the desired smoothness of progression. 
 
 Parallel-unison and fifth. 
 
 
 
 -<Si- 
 
 -f5>- 
 
 ~ar 
 
 Parallel-octave and fifth. 
 
 II 
 
 sr 
 
 II 
 
 Avoided. 
 
 i 
 
 ^ 
 
 I 
 
 -7p- 
 
 -&- 
 II 
 
 "fy- 
 
 -<&- 
 
 -Z3- 
 
 ~Z7~ 
 
 -6>- 
 
 "sr 
 
 -73- 
 
 't:?- 
 
 II 
 
 A covered-unison is produced by two voices moving in the same 
 direction from an interval other than a unison into a unison. 
 
 A covered-fifth is produced by two voices moving in the same di- 
 rection from an interval other than a fifth into a fifth. 
 
 A covered-octave is produced by two voices moving in the same 
 direction from an interval other than an octave into an octave. 
 
 Covered-unison. 
 
 Covered-fifth. 
 
 Covered-octave. 
 
 Covered-unisons are faulty because of the crossing of voices. 
 
 There are but three faulty covered-fifths: from tonic to super- 
 tonic, supertonic to mediant, and dominant to subdominant : all 
 others may be freely used. 
 
 There is but one faulty covered-octave : from supertonic to dom- 
 inant. Others may be used unhesitatingly.
 
 12 
 
 THE RHETORIC OF MUSIC 
 
 Faulty covered-fifths. 
 
 
 -7S- 
 
 II 
 
 -G>- 
 
 -fS''- 
 
 _& M Z g : 
 
 ig-b-g: 
 
 II III 
 
 -&- 
 
 -iS2_ 
 
 Faulty covered- 
 octave. 
 
 II 
 
 -d- 
 
 Avoided. 
 
 ^t 
 
 -(&- 
 -.5^ 
 
 -^r- 
 
 "s: 
 
 -ir?sr 
 
 II 
 
 -«>- 
 
 i 
 
 9^ 
 
 G>- 
 
 -G.- 
 
 -O- 
 
 II 
 
 -(5^ 
 
 III 
 
 "75- 
 
 -fi^ 
 
 _d2_ 
 
 -i2- 
 
 IV 
 
 -s>- 
 
 ^i 
 
 -<s>- 
 
 -G>- 
 
 -£2- 
 
 II 
 
 -(5^ 
 
 -tS*- 
 
 -(g- 
 
 -i&- 
 
 -O- 
 
 or 
 
 -iSi- 
 
 -i^r 
 
 II 
 
 -&- 
 
 JS- 
 
 -G>- 
 
 -&- 
 
 The Leading-Tone 
 
 The tone on the seventh scale-degree has a very strong tendency 
 to move upward one degree into the root of the tonic. When in 
 an outer voice, this leading usually takes place. In the major mode, 
 a few irregular resolutions are possible : in the minor mode, the reg- 
 ular resolution of the leading-tone is almost always obligatory. 
 
 Regular, or Natural Resolutions 
 
 ^t 
 
 V I 
 
 -O.- 
 
 ~z?~ 
 
 -G>- 
 
 
 V 
 
 -P- 
 
 etc. 
 
 i^??-
 
 UBRARV 
 
 THE RHETORIC OF MUSIC 
 
 13 
 
 Irregular Resolution. 
 
 -t5>- 
 
 sr 
 V 
 
 ^^-zr- 
 
 
 SS 
 
 11 VI 
 
 -Tg^^^ 
 
 rzr 
 
 -(5'- 
 
 -i5^ 
 
 V 
 
 ■T^ 
 
 I etc. 
 
 -"zr 
 
 "^^T" 
 
 6 
 4 
 
 5 
 3 
 
 The leading-tone in the minor mode may receive but few irreg- 
 ular resolutions : its progression to or from the second below it is 
 faulty owing to the tuisingable interval, — augmented second. 
 Faulty. 
 
 "757" 
 
 -i5>- 
 
 VI 
 
 ^i 
 
 -&- 
 
 i 
 
 f^ ^ 
 
 9^ 
 
 II 
 
 sr 
 
 f] 
 
 
 
 
 y i 1 
 
 /L '■ 1 ' 
 
 f(T\ 
 
 >*<3 
 
 - Ill' _ 
 
 1 
 
 IM; 
 
 "ff^ 
 
 
 rj \ 
 
 J 
 
 at 
 
 
 IV 
 
 Q- ' ' 
 
 T. 
 
 
 
 ^ 1 
 
 ^ <^ '^ 1 
 
 1 
 
 From dominant to submediant, or vice versa, the leading-tone re- 
 ceives its natural resolution. The remaining voices move contrary 
 to the bass. 
 
 From supertonic to dominant, the augmented-second is avoided 
 by moving the fifth of the supertonic downward whether the bass 
 rise or fall. 
 
 From mediant to subdominant, either the augmented-second or 
 a parallel-fifth occurs unless one of the triads be inverted. 
 Avoided. 
 
 n 
 
 
 
 / 1 » 
 
 /» 
 
 , 1 
 
 ir^ 
 
 •^ -i— ej 1 
 
 VS->> 
 
 
 «j 
 
 V VI 
 
 C\' 1 -^ ■ 
 
 • 1. o 
 
 1 
 
 ^ 
 
 1 
 
 
 1 
 
 -(S- 
 
 -(5'- 
 
 #g: 
 
 m-- 
 
 \\^ 
 
 -(^)- 
 
 -G>- 
 
 Harmonize : — 
 
 ©E 
 
 JS- 
 
 -(S"- 
 
 -gr 
 
 -(9- 
 
 -7S- 
 
 15'- 
 
 "27" 
 
 ©^ 
 
 3 
 
 -rS'- 
 
 S'- 
 
 "37- 
 
 -G- 
 
 sr 
 
 9i 
 
 -<S^ 
 
 -Z7- 
 
 -zr 
 
 w 
 
 -£i- 
 
 JZ- 
 
 -&- 
 
 -G^ 
 
 sr 
 
 -ry- 
 
 -i9- 
 
 -&■
 
 14 
 
 THE RHETORIC OF MUSIC 
 
 5. 
 
 ^«— 
 
 -S'— 
 
 f^ 
 
 '-,5'— 1 
 
 -e/- 
 
 -&- 
 
 & 
 
 ~G>— 
 
 ^'. ^- 
 
 2L^ — 
 
 
 -&— 
 
 US'— ' 
 
 «> 
 
 -(&— 
 
 8 
 
 6. 
 
 -&- 
 
 g 
 
 l;i: 
 
 -«5i- 
 
 -iS-- 
 
 -o -^ 
 
 Sir 
 
 -sr 
 
 -^ — g- 
 
 ^ 
 
 7. 
 
 8. 
 
 5^= 
 
 -(5'- 
 
 -(©'- 
 
 ly 
 
 -iS'- 
 
 -&- 
 
 -G>- 
 
 sr 
 
 ■z?- 
 
 "Z?- 
 
 sr 
 
 -&- 
 
 -&- 
 
 3 S 
 
 9. 
 
 -zy- 
 
 -(5'- 
 
 -i5'- 
 
 iS?- 
 
 "S^ 
 
 27- 
 
 iiiS 
 
 5j 
 
 ^t 
 
 -&- 
 
 -sr 
 
 sr 
 
 m 
 
 t 
 
 10. 
 
 EE 
 
 "zy- 
 
 (5^ 
 
 -G- 
 
 "Z?- 
 
 -zr 
 
 
 3 p 
 
 Q 5Q 
 
 -s^ 
 
 -&- 
 
 ~G- 
 
 sr 
 
 -&- 
 
 -(5>- 
 
 Sr 
 
 11. 
 
 25- 
 
 -«> — 
 
 n?5 
 
 ^ 
 
 h^^ 
 
 — 
 
 -&— 
 
 -^- 
 
 [-25^ 
 
 «/ 
 
 12. 
 
 -.©'— 
 
 C 
 
 13. 
 
 -(5'- 
 
 sr 
 
 ■i5>- 
 
 :s^ 
 
 -(5^ 
 
 "ZT- 
 
 9^ 
 
 -iS'- 
 
 "Z?- 
 
 -I^- 
 
 -(2- 
 
 -G>- 
 
 ■G>- 
 
 14. 
 
 ^i£ 
 
 -<$"- 
 
 -I©'- 
 
 sr 
 
 -sr 
 
 -&- 
 
 -fy- 
 
 -^- 
 
 5J 
 
 -&- 
 
 The harmonizatiou of the above basses is sufficient to place the 
 material in the hands of the student, who should now be able to 
 compose his own bass ; taking care to select, not only interesting 
 harmonic progressions, but also those progressions which in obe- 
 dience to the laws governing them cause but few common-tones to 
 appear in the upper voice (soprano), thus heightening the mel- 
 odic interest and serving as a preparation to the harmonization of 
 melodies. 
 
 Melodic-Outlines 
 
 A melodic-outline is a succession of consonant incidents. Wlien 
 in equal rhythms the principal melodic interest is attracted to the 
 upper voice; in unequal rhythms only may inner-voices become 
 prominently melodic.
 
 THE RHETORIC OF MUSIC 
 
 15 
 
 In the harmonization of the following simple melodies it is not 
 always necessary to retain common-tones in the same voice. 
 
 Harmonize: — 
 1. 2. 
 
 s > 
 
 -s>- 
 
 -&- 
 
 sr 
 
 -iS- 
 
 -TSr 
 
 -&- 
 
 
 -G>- 
 
 "gy 
 
 3. 
 
 i 
 
 sr 
 
 -G>- 
 
 -&- 
 
 Sr 
 
 -iS>- 
 
 ~zy- 
 
 i 
 
 -Gh 
 
 -zr_ 
 
 -G>- 
 
 .a 
 
 -<5>- 
 
 i 
 
 s 
 
 »Hr-^ 
 
 sr 
 
 -19- 
 
 -G>- 
 
 ~Z7- 
 
 "25" 
 
 -(S"- 
 
 feP^ 
 
 -iS'- 
 
 -G>- 
 
 -z?- 
 
 -(S*- 
 
 -r©'- 
 
 -iS"- 
 
 The harmonization of these few melodies will bring to the student 
 a perception of material other than plain triads in root-position, as 
 the harmonic and melodic appreciation is usually much in advance 
 of the theoretical knowledge. Students should be allowed to pro- 
 gress as rapidly as possible, as an unnecessary review of previously 
 studied material has a tendency to render the student's capabilities 
 dry and matter-of-fact, thus impeding any subsequent tendencies to 
 a free musical thought. Original melodies should be composed very 
 freely and harmonized with the material already in hand. This 
 cultivates the technic of thinking all voices simultaneously. 
 
 The original melodies may be composed in the form of simple 
 phrases, as the above, or the interest may be made more keen by the 
 use of the song- period. 
 
 The Song-Period 
 
 A phrase is a definite musical idea ; 
 
 A section consists of two phrases ; 
 
 A period contains two sections, or four phrases. 
 Phrases consist of two or four measures — occasionally, three 
 measures. The length of phrases, as well as the rhythmic accents, 
 are destined to conform to the poetic lines and accents.
 
 16 
 
 TEE RHETORIC OF MUSIC 
 
 The form in use for a simple hymn-setting is especially valuable 
 in one's early compositions as the material used is simple and dig- 
 nified. 
 
 Here, again, one's innate sense of harmony, melody, and rhythm 
 must serve as a guide. The suggestions below are not intended to 
 produce a composition of machine-made propensities ; but merely to 
 call attention to the necessity of a consequent and well-balanced mu- 
 sical thought. 
 
 The first phrase announces the subject-matter, or material for de- 
 velopment; it is usually laid in the tonic. 
 
 The second phrase is an answer, or a contrast to the subject ; it is 
 most always in the dominant. 
 
 The third phrase returns to the subject to keep firm hold of the 
 text, though some form of deceptive cadence is suitable to close 
 this phrase. 
 
 The fourth phrase outlines a complete cadence, and may contain 
 entirely new material, or draw on any of the foregoing phrases. 
 
 This form is capable of many deviations in the matter of length 
 as well as in the harmonic or melodic content. 
 
 Phrase. 
 
 Subject: I. 
 
 Contrast: V. 
 
 ^ 
 
 I 
 
 mE^- 
 
 ■st— g 2^ 
 
 -^z-?- 
 
 '<S>- 
 
 -1=2 g- 
 
 
 ^=^ 
 
 -<S 
 
 VI II V VI IV V 
 
 f f r r r r 
 
 I VI V I IV V 
 
 JS.- 
 
 -fS"- 
 
 ^ 
 
 -S3 
 
 -&- 
 
 -iS>- 
 
 Return to subject : I, vi. 
 
 Conclusion: IV, V, I. 
 
 -irr 
 
 
 -zi — ^- 
 
 <s- 
 
 -Gh- 
 
 -f=2 «- 
 
 
 p f - r r f - -^ -p- I f- 1 r f- 
 
 I VI V I IV V VI IV II V in IV V 
 
 ^ 
 
 i^i 
 
 -O- 
 
 ^ 
 
 -<s>- 
 
 This choral is necessarily somewhat constrained, as it contains 
 only plain triads in root-position. As the student progresses he 
 may be allowed, in this form, the use of inverted-triads, seventh-chords 
 and their inversions, and modulations. Much dissonant material is,
 
 THE RHETORIC OF MUSIC 
 
 n 
 
 however, derogatory to the desired choralistic effect. Suspensions 
 are rarely desirable as they ritard the motion. Passing-sevenths and 
 passing-tones are useful later, Altered-chords are generally unsuit- 
 able for chorales. 
 
 IxvERSiON OF Triads. — The Six-three Chord 
 
 This is the first inversion, second position of the triad, and assigns 
 the third to the bass. The third of the triad, when in the lowest 
 voice, becomes more prominent than when elsewhere ; therefore any 
 doublings of this third, other than those mentioned, will be care- 
 fully avoided. 
 
 A triad in six-three position may enter degree-wise or by skip. 
 The resolution is free in all cases save six-three position of the 
 dominant which places the leading-tone in the bass. This leading- 
 tone will resolve in accordance with the rules already given, unless 
 during the appearance of the same harmony it change into another 
 voice in which it finally resolves. 
 
 Six-three chords appear well in succession ; it is necessary, only, 
 that a fourth voice be given an alternate doubling^ between the bass 
 and one of the upper parts. 
 
 Six-three position of the subtonic is the most satisfactory position 
 in which that triad may stand. 
 
 First inversion. 
 
 etc. 
 
 
 tJ 
 
 pt 
 
 s>- 
 
 -jS- 
 
 75r- 
 
 ^f: 
 
 -<5>- 
 
 • a 
 
 e 
 
 3 
 
 Succession of six-three chords. 
 
 -S)- 
 
 -G>- 
 
 -G>- 
 
 -£^- 
 
 -&- 
 
 _(2- 
 
 _i2- 
 
 a 
 
 I 
 
 SL 
 
 -(S- 
 
 'sr 
 
 \\\^ 
 
 "Sr 
 
 -<S>- 
 
 I 
 
 -&- 
 
 II 
 
 in 
 
 I" 
 
 -(S"- 
 
 -O- 
 
 -(5^ 
 
 V 
 
 -i&- 
 
 I 
 
 -i5>- 
 
 -7g~ 
 
 -&- 
 
 jO- 
 
 1 The doubling of this great-third is permitted on account of the symmetry in the pro- 
 gression of the tenor voice : it partakes of the nature of sequence ( a similar repetition of 
 a harmonic or melodic design ) in which mauy things are permitted that under ordinary 
 conditions should not be allowed.
 
 18 
 
 THE RHETORIC OF MUSIC 
 
 The Six-four Chord 
 
 This is the second inversion, third position of the triad, the fifth 
 being placed in the bass. Six-four chords are not used so freely as 
 eix-three chords ; but are limited to the following restrictions : — 
 
 The six-four chord may — 
 
 — Enter and resolve degreewise ; 
 
 — Enter, by skip, on the accent and resolve into root-position of 
 the same bass-note. 
 
 — Occur as a retained tone between two appearances of the 
 same triad in the same position. 
 
 The six-four position of the tonic may enter, on an accent, degree- 
 wise or by skip and resolve into six-four-two position of the 
 dominant seventh chord. ( See inversion of dominant seventh 
 chords.) 
 
 A parallel-fifth which may occur from the supertonic to six-four 
 position of the tonic is avoided by doubling the root of the tonic. 
 
 Degreewise 
 
 is: 
 
 By skip. 
 
 As a Retained Tone. 
 
 ^t 
 
 -ts- 
 
 -&- 
 
 S 
 
 ~sr 
 
 IV 
 
 -gy- 
 
 ^ 
 
 sr 
 
 6 
 4 
 
 Parallel-fifth. 
 
 6 
 
 4 
 
 n 
 
 
 
 
 1/ 
 
 
 1 
 
 y , 
 
 frT~ 
 
 S>, 
 
 1 ^ ^i 1 
 
 \^y 
 
 fj 
 
 f^ 1 
 
 «j 
 
 II 
 
 I 
 
 c^v • 
 
 ^7 1 
 
 T* I'D 
 
 
 V ^ 
 
 
 
 1 
 
 I (f) Resolved into V (4) 
 * 11' 
 
 "TC"- 
 
 w^-- 
 
 _(g_ 
 
 -d- 
 
 -f9- 
 
 -3-- 
 
 -O- 
 
 sr 
 
 s>- 
 
 I 
 
 V. 
 
 I etc. 
 
 -&- 
 
 "Sr- 
 
 6 
 4 
 
 6 
 % 
 
 Avoided. 
 
 etc. 
 
 w 
 
 s 
 
 II 
 
 JS- 
 
 I 
 
 etc. 
 
 9^ 
 
 -G- 
 
 6 
 
 4
 
 THE RHETORIC OF MUSIC 
 Sequence of Six-four Chords passing Degreewise. 
 
 m 
 
 9^ 
 
 =1= 
 
 -TSi- 
 
 "Zg~ 
 
 I 
 
 -?y- 
 
 -i&- 
 
 I 
 
 19 
 
 5^ 
 
 O- 
 
 jS.- 
 
 -t5>- 
 
 1^^ 
 
 ^: 
 
 -i&- 
 
 III 
 
 VIl^ 
 
 III 
 
 "zy 
 
 -jS2_ 
 
 6 
 
 4: 
 
 Hi 
 
 
 .jE_ 
 
 _iS_ 
 
 --^S^ 
 
 IV 
 
 "S^ 
 
 e 
 4 
 
 -«>- 
 
 -2y- 
 
 -751- 
 
 rv 
 
 -G>— 
 
 etc. 
 
 6 
 
 The following basses are to be liarmonized in several different 
 positions, that is : beginning with root, third or fifth in the upper- 
 voice, and in either open or close position. 
 
 Harmonize : — 
 
 
 
 
 
 -»^ 
 
 
 
 
 
 
 
 
 
 
 C\' 
 
 a ■ ^ \ ^, - 
 
 
 
 
 
 
 
 
 - s^ ■ 
 
 
 • !• 
 
 
 
 
 
 
 
 
 
 
 ^ 
 
 ^^^ 
 
 
 
 ^ s^ 
 
 
 
 
 
 
 -^ 
 
 ^ 
 
 
 
 ^ 
 
 
 ■ 
 
 
 
 
 
 
 
 ^ 
 
 
 
 
 
 1 
 
 2. 
 
 
 
 
 
 
 
 
 
 
 3. 
 
 
 
 
 
 r^' 
 
 
 
 
 
 
 
 
 
 
 0. • K 
 
 
 ^y 
 
 
 
 M« 
 
 
 
 
 
 ^:i 
 
 
 
 
 e> 
 
 
 T'. " (^ 
 
 
 
 
 
 ^ 
 
 
 
 
 
 
 ^ 
 
 
 
 
 -^ b k 
 
 
 
 
 
 iS' 
 
 
 
 
 
 
 
 
 
 
 9 17 
 
 
 
 
 
 b„ 6 
 
 3$ 
 
 4. 
 
 O* Hi '^ 
 
 
 
 
 
 
 
 
 C\' 
 
 
 
 
 J-. " 
 
 
 
 
 
 
 
 
 s^ 
 
 T- 
 
 
 ^ 
 
 
 ^ b h 
 
 Si 
 
 
 
 a 
 
 
 
 
 i^ e> 
 
 
 
 
 . ^/ 
 
 
 
 
 
 ^ 
 
 
 
 
 
 
 
 6 8 6 
 
 
 
 
 «2 
 
 -<5- 
 
 
 
 
 
 
 5. 
 
 
 
 
 
 C\' 
 
 fs 
 
 
 
 
 
 
 
 (^ 
 
 
 cr\' 
 
 
 
 
 G' 
 
 T- 
 
 
 
 
 
 
 
 
 
 T* 
 
 
 _{2 
 
 
 
 ^ 
 
 
 
 
 
 
 
 
 ^ 
 
 ^^ (^ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 6 
 4 
 
 6. 
 
 -f^- 
 
 S>J,^ I 
 
 6 
 4 
 
 -tSi- 
 
 91 
 
 -<9- 
 
 "25^ 
 
 -(S?- 
 
 "Z?- 
 
 t- 
 
 -G^ 
 
 -iry- 
 
 5 
 3 
 
 6 6 
 
 4 
 
 6 5 
 
 4 3 
 
 6 6 
 
 4
 
 20 
 
 TRE RHETORIC OF MUSIC 
 
 7. 
 
 :^ 
 
 -er 
 
 -G- 
 
 6 
 
 4: 
 
 -zr 
 
 6 
 
 -<S>- 
 
 ^^f^ 
 
 -(&' 
 
 i^ 
 
 l=s 
 
 -i5»- 
 
 ■JSr 
 
 -G>- 
 
 -sr 
 
 -&- 
 
 % % 
 
 6 6 6 
 
 6 
 
 4 
 
 -^- 
 
 8. 
 
 Si* 
 
 9^ 
 
 -fS"- 
 
 -s>- 
 
 -sr 
 
 -G>' 
 
 -7y- 
 
 6 6 o 
 
 4: 3 
 
 6 6 6 6 
 
 4: 4. 
 
 9. 
 
 ^^ 
 
 is- 
 
 lO. 
 
 §iit 
 
 -<5^ 
 
 ^ 
 
 -«^ 
 
 6 6 
 
 g 
 
 6 5 
 4 3 
 
 -&—^ G- 
 
 -O- 
 
 -&■ 
 
 6 6$ 
 
 -&- 
 
 6 
 
 4 
 
 is 
 
 sr 
 
 sr 
 
 F^i-- 
 
 e I 
 
 6 a 
 
 6 
 
 4: 
 
 "3?- 
 
 -^9- 
 
 I 
 
 ■tS>- 
 
 CHAPTEK III 
 seventh-chords 
 
 Classification 
 
 By the addition of a third above the fifth of a triad, a seventh- 
 chord is formed. Seventh-chords are of two classes : consonant and 
 dissonant. 
 
 Consonant Seventh-chords. 
 Major mode. 
 
 Dissonant Seventh-chords. 
 
 i 
 
 -&- 
 
 -&- 
 
 -&r 
 
 i 
 
 -O- 
 
 ts- 
 
 -&- 
 
 «=& 
 
 uO. 
 
 -&- 
 
 -^r 
 
 -<s>- 
 
 ~&- 
 
 -O- 
 
 -%- 
 
 g ^ 
 
 i 
 
 Minor mode. 
 
 -<g- 
 
 P 
 
 Itg 
 
 ■3^ 
 
 -z?- 
 
 t ^ ^tf^ 
 
 > g-7?^ 
 
 fe 
 
 ~S^ 
 
 
 "27 
 
 *^^^=^=^=^ 
 
 SI* 
 
 7 7 
 
 -^ 7 
 
 ^-^ 
 
 _<22- 
 
 CoNsoxAKT Sevexth-chords. — The Dominant Seventh 
 
 The seventh of the dominant harmony may enter ••' free " ( degree- 
 wise or by skip ) : its natural resolution is downward one degree ; 
 \isually into the third of the tonic. This seventh may, however, 
 have for its resolution-tone, the fifth of the submediant. The
 
 THE RHETORIC OF MUSIC 
 
 21 
 
 retention of the incident of the seventh in the same voice will also 
 serve as a resolution lor the seventh, or it may change parts before 
 resolving. If moved to a different incident of the same harmony 
 the resolution may be given up altogether. The fifth is usually 
 omitted when seventh-chords stand in root-position, though it 
 may be present. Two voices are not permitted to move in the same 
 direction into the resolution-tone ; pa.rticularly the root and seventh, 
 as the effect tends to cover the leading of one of the voices. 
 
 Resolutions of Dominant-seventh. 
 
 7 7 
 
 In Deceptive Cadences 
 Faulty. 
 
 Satisfactory. 
 
 ^i 
 
 a • 
 
 VI 
 
 III 
 
 i 
 
 sr 
 
 is 
 
 - gm^ 
 
 ~\-G'-\-<S- 
 
 r^s^ 
 
 9^ 
 
 V 
 
 -ITS' 
 
 ^^'5> 
 
 
 -^sr 
 
 
 S^l 
 
 VI 
 
 V(a)V 
 
 II 
 
 -O^ 
 
 -(5>- 
 
 V 
 sr 
 
 (S^ 
 
 TI 
 
 i 
 
 Inversion of Dominant Seventh-chords 
 
 The inversions of the dominant seventh-chord : six-five-three (third 
 in the bass ), six-four-three ( fifth in the bass), are subject to the same 
 conditions as those governing the use of the six-three and six-four 
 chords. The six-four-two chord ( seventh in the bass ) requires to be 
 followed by some harmony which may allow the seventh to resolve, 
 always, one degree downward. The inversions of all seventh-choi-ds 
 appear best with the triads complete. 
 
 Natural Resolution. 
 
 Irregular Resolution. 
 
 (M 
 
 iThe parallel-fifth resulting from the upward movement of the seventh is not ob- 
 jectionable, as one fifth is small.
 
 22 
 
 THE RHETORIC OF MUSIC 
 
 The Diminished Seventh-chord 
 
 Tlie diminished seventh-chord may enter " free " in any position. 
 The seventh usually resolves, though it may become a consonant 
 incident of the following triad. They appear well in succession, 
 in different positions, and even the small fifths moving parallel are 
 not objectionable. 
 
 Natural resolutions. 
 
 i 
 
 -ig- 
 
 -<s>- 
 -l9- 
 
 -7Zr 
 
 1^ 
 
 -^ 
 
 -&- 
 
 -CL- 
 
 -^- 
 
 -f9- 
 
 -TSr. 
 
 -f9- 
 
 U 
 
 i 
 
 -iZ- 
 
 S>- 
 
 I VII° 
 
 ^^te 
 
 ~Z?~ 
 
 ^ 
 
 -O- 
 
 -O- 
 
 I (a) vii° I vn° I vii° 
 
 -(S- 
 
 1 
 
 V 
 
 VU" IV 
 
 -&- 
 
 
 #= 
 
 -i^^^ ~r^g? 
 
 -G>' 
 
 -o- 
 
 6 
 X 
 3 
 
 6 
 
 6 
 4 
 
 6 
 4 
 
 5 
 
 B 
 
 Dissonant Seventh-chords 
 
 These sevenths almost always require to be prepared ( sounded 
 as a consonant in the preceding chord by the same voice). The res- 
 olution one degree downward is nearly always necessary. They 
 may, however, be retained in the same voice and become consonant, 
 after which they may, or may not resolve. 
 
 etc. 
 
 9^ 
 
 -CL. 
 
 -O.- 
 
 (g 
 
 -(5>- 
 
 -O- 
 
 JS.- 
 
 6 
 5 
 
 6 
 4 
 
 In a sequential progression of seventh-chords in root-position the 
 fifth of every alternate triad must be omitted. 
 
 * 
 
 :f: 
 
 
 
 -&2 
 
 
 =^ 
 
 
 ~I9^ 
 
 '-^- 
 -«"- 
 
 
 ~a- 
 
 
 -Gf- 
 
 i 
 
 II 
 
 IV 
 
 vii"- 
 
 III 
 
 VI 
 
 II 
 
 "zr- 
 
 -6t- 
 
 -O.- 
 
 -&- 
 
 -a. 
 
 -&- 
 
 _(2_ 
 
 -&-
 
 THE RHETORIC OF MUSIC 
 
 23 
 
 The inversions may also appear in sequence. The triads should 
 be complete. 
 
 
 p^^=\ 
 
 <9 
 
 & 
 
 
 IS 
 
 G> f5> 
 
 -^j— 
 
 
 
 I 
 
 -i5>- 
 
 II 
 
 1 ; 
 
 V 
 
 '**- 
 
 I 
 
 IV 
 
 r-^ ' 
 
 VII° 
 
 , — g " 
 
 — s-zr^ 
 III 
 
 — i...; — 
 
 VI 
 
 — r — ^ 
 11 
 
 ^t" g? — - 
 
 zf— 
 
 
 I 
 
 1 2 
 
 - ?^ 
 
 4 
 
 1 — a__i 
 
 :-^ 
 
 a ' 
 
 6 
 
 1 6 1 
 
 
 
 tzzfizd 
 
 The degreewise entrance, downward from the root of a triad is 
 also a satisfactory preparation for the dissonant-sevenths; they 
 always, however, resolve into the root, or the third of the following 
 triad. 
 
 etc. 
 
 -&- 
 
 A degreewise entrance upward is permissable in case of the 
 small-seventh upon the subtonic in the major, or the supertonic in 
 the minor mode if the regular resolution follows. A "free" en- 
 trance from below, in unequal rhythms, is not always undesirable, 
 even in the case of the more dissonant seventh. 
 
 -^- 
 
 -G>- 
 
 
 JS 
 
 9^: 
 
 11= 
 
 -G>- 
 
 V7 
 
 -iS- 
 
 I (i 
 
 -f5>-
 
 24 
 
 THE RHETORIC OF MUSIC 
 
 Alterations of Seventh-Chords 
 
 The alteration of the fifth of the dominant seventh-chord gives 
 an additional interest to the chord, as well as to its natural resolu- 
 tion. If the fifth be elevated it resolves upward, if depressed it 
 resolves downward. The altered fifth should stand above the 
 seventh. 
 
 Augmented six-five-three, six-four-three, and six-four-two chords are 
 inverted seventh-chords having one or more incidents elevated or 
 depressed. They may enter without preparation, and resolve as do 
 their prototypes : or their various resolutions are valuable as means 
 of modulation. 
 
 Dominant Seventh 
 Elevated-fifth. Depressed-fifth. 
 
 is 
 
 /2- 
 
 9r 
 
 -ffij 
 
 I 
 
 
 ?&- 
 
 •-G>- 
 
 I 
 
 -G>- 
 
 -dk- 
 
 lb 
 
 Augmented Six-Fite-Theee 
 Prime augmented. 
 
 9^ 
 
 _iiL- 
 
 -^ 
 
 -jC- 
 
 & - 
 
 -<22^ 
 
 s 
 
 '^yz- 
 
 2-52- 
 
 IV 
 
 -&- 
 
 -6- 
 5 
 3 
 
 (»)i 
 
 (IV) 
 
 ~G>- 
 
 <2- 
 
 -O- 
 
 -6- 
 
 ■i 
 
 Vetc. 
 
 -C2_ 
 
 •3» 
 
 Augmented Six-Four-Three 
 
 Third elevated. 
 
 Augmented Six-Fouk-Two 
 Root and Fifth elevated. 
 
 tJ 
 
 m- 
 
 -j:Z- 
 
 -O- 
 
 -€2- 
 
 i§: 
 
 II2Z- 
 
 -O.^ 
 
 -G>- 
 
 :^i:± 
 
 .<§- 
 
 (11°) V or 
 
 Pfei 
 
 C. V 
 
 -G>- 
 
 F.ii 
 
 9^ 
 
 f 'G>- 
 
 'G>- 
 
 -0 1 
 
 -f5>- 
 
 Vetc. 
 
 5k_ 
 
 a 
 
 -J — e 
 
 aa 
 
 6b 
 
 Note. Alterations of the six-three, and six-four chords are possible, though they 
 are less satisfactory — the seveuth being omitted. The altered six-three chord permits 
 
 •i. doubling of the fifth only: 
 
 The altered six- 
 four chord may 
 double the root:
 
 THE RHETORIC OF MUSIC 
 
 25 
 
 3^ 
 
 Harmonize 
 1. 
 
 ■sr 
 
 -zr 
 
 -&- 
 
 sr 
 
 -G>- 
 
 G>- 
 
 -i5>- 
 
 'z:r 
 
 jS- 
 
 g 
 
 2. 
 
 f- 
 
 JS- 
 
 -&- 
 
 -a- 
 
 i 
 
 # 
 
 S> ~Sr 
 
 1 
 
 St 
 
 -G)- 
 
 -iS>- 
 
 f- 
 
 -GI- 
 
 ST 
 
 -&- 
 
 -G>- 
 
 -&- 
 
 6 
 
 4 
 
 4. 
 
 7 
 
 7 
 
 -or 
 
 ^i 
 
 -G- 
 
 -TSr 
 
 -sr 
 
 -G- 
 
 ^til? 
 
 -G- 
 
 O I &> 
 
 -G- 
 
 "Sr- 
 
 ■<S'- 
 
 -(5'- 
 
 m 
 
 is- 
 
 -C2_ 
 
 "27" 
 
 6. 
 
 6 7 
 
 -is^ 
 
 ^^. 
 
 isfei 
 
 -5^ 
 
 -«^ 
 
 "Z?- 
 
 ^ 
 
 -iSZ- 
 
 -s*- 
 
 -z?^ 
 
 -sr 
 
 -i9' 
 
 m 
 
 -O- 
 
 t5i- 
 
 "i?7- 
 
 -G>- 
 
 %^ 
 
 6 6 6 
 
 4: 
 
 6 
 
 6 6 
 
 6 
 
 4 
 
 7. 
 
 ^^^- 
 
 -1^— 
 
 -(9— 
 
 -O* cr 
 
 ei 
 
 ^^ 
 
 ■&r- 
 
 <? 
 
 pSH 
 
 -1^- 
 
 «^ 
 
 "S?- 
 
 
 ii-- 
 
 5 O 
 3 
 
 8. 
 
 6 7 
 4 
 
 Sit 
 
 6 6 6 
 4 
 
 -G- 
 
 -G>- 
 
 9^ 
 
 ^-^r 
 
 ^-Z^_^:f 
 
 -i9- 
 
 ■sr 
 
 -G- 
 
 -G>- 
 
 -fZr 
 
 sr 
 
 6 
 4 
 
 9, 
 
 1% 
 
 a* 
 
 I 
 3 
 
 6 
 
 2$ 
 
 7 
 
 ' 
 
 
 
 
 
 
 
 
 
 
 
 
 
 /^ 
 
 
 
 C\' 
 
 
 
 
 
 
 C^ 
 
 
 
 
 
 
 
 
 1 
 
 J^-t- G> 
 
 
 
 i 
 
 }^i- 
 
 -^ 
 
 
 
 
 ^ 
 
 
 ^ 
 
 
 
 
 ,-^ 
 
 -^ n 
 
 
 
 
 >^ 
 
 *-^ 
 
 
 
 
 
 
 
 
 
 
 i^ 
 
 
 
 
 t 
 
 T 
 
 
 
 
 
 
 
 
 
 
 
 
 10. 
 
 6* 6 
 3* 
 
 
 4 
 3 
 
 I 
 3 
 
 6 6 
 
 7 
 
 8 
 
 SSfe 
 
 IE 
 
 -15"- 
 
 -&- 
 
 "Z?" 
 
 "75^- 
 
 -«'- 
 
 -fS"- 
 
 j2Z- 
 
 tS'- 
 
 -25^ 
 
 11. 
 
 6 
 
 6 
 4 
 
 l» 
 
 6 
 4 
 
 6 
 4 
 
 "zr- 
 
 -27- 
 
 ^ ST 
 
 -2? ^- 
 
 T^ 
 
 -zr 
 
 -G- 
 
 -(9- 
 
 .a 
 
 -&- 
 
 -O- 
 
 12. 
 
 6 
 5 
 3 
 
 6 
 % 
 
 6 6 
 
 -G- 
 
 sr 
 
 42_ 
 
 6 
 
 4 
 
 -fi>- -yS^ 
 
 z?- 
 
 "2?- 
 
 -G- 
 
 -25 (5' 
 
 -1S1 — I 
 
 -G- 
 
 -5^ 
 
 6 
 4 
 
 13. 
 
 6 
 
 4 
 3 
 
 -G- 
 
 6 
 5 
 3 
 
 6 
 4 
 
 3 
 
 4 
 
 =0^ 
 
 \% — 
 
 
 
 
 
 
 - ^■- - 
 
 1 
 
 
 1 i 
 
 
 1 1 
 
 
 ^^ 
 
 
 ^ 
 
 
 ^ 
 
 
 
 
 
 ^^ 
 
 
 
 
 
 -ft — ^ 
 
 
 
 
 -ts" — 
 
 
 
 
 
 
 e> 
 
 ~G — 
 
 
 G 
 
 6 6 
 
 6 
 4 
 
 6 
 
 4 
 
 6
 
 26 
 
 THE RHETORIC OF MUSIC 
 
 14. 
 
 Siig* 
 
 »- 
 
 -(&- 
 
 -TV 
 
 -Or 
 
 -zr 
 
 ^^ 
 
 -zr- 
 
 ■3^ 
 
 -&- 
 
 -&~ 
 
 -O- 
 
 sr 
 
 -TSr 
 
 15. 
 
 6 7^ 
 
 4 6$ 
 
 ^^ 
 
 -S'- 
 
 -($'- 
 
 -Z7- 
 
 -5^ 
 
 -iSh- 
 
 -&- 
 
 g j I g -r-g'- p^ 
 
 ^ 
 
 ^ Z7 
 
 -f©- 
 
 sr 
 
 16. 
 
 6 7 
 
 5 
 
 3 
 
 6 
 4 
 3 
 
 3 
 
 •^ t 
 
 -«'- 
 
 ^ 
 
 ^i^ 
 
 -5^ 
 
 -«>- 
 
 -27- 
 
 -&- 
 
 -&- 
 
 sr 
 
 -ZSr 
 
 -«>- 
 
 ^&- 
 
 ■Sr 
 
 -z?- 
 
 17. 
 
 e 6 
 
 6 
 
 3 
 
 t ^ 
 
 6 6 6 
 
 5 4 
 
 3 
 
 ^^ 
 
 -i5>- 
 
 -z?- 
 
 15'- 
 
 ^?- 
 
 (5'- 
 
 "Z?- 
 
 t 
 
 "Z?- 
 
 -<5^- 
 
 ■75- 
 
 ■z?- 
 
 ■27- 
 
 -Z7- 
 
 18. 
 
 
 4 
 3 
 
 6 
 4 
 
 a 
 
 6 
 4 
 
 19. 
 
 rot- ^ 
 
 
 
 ' 1 
 
 
 
 
 1 1 
 
 
 
 
 pS?— 
 
 Ci" 
 
 
 
 
 
 ^. 
 
 
 r> 
 
 r^ 
 
 
 
 ^ 
 
 '-^ 
 
 c> 
 
 ^^ 
 
 
 ^* .r3 
 
 
 
 
 
 ^ 
 
 
 
 
 '&^ 
 
 
 
 
 
 , 
 
 
 .^ f> 
 
 
 
 K*-, 
 
 
 
 
 1 
 
 
 
 
 
 
 
 
 
 (V 
 
 2<=^ 
 
 U51-J 
 
 
 
 6 
 3 
 
 6 
 4 
 
 6 
 4 
 
 
 4 
 3 
 
 6 
 4 
 
 7 
 
 6 6 
 4 
 
 
 4 
 
 =r 
 
 -z?~ 
 
 -($'- 
 
 (S*- 
 
 -s^ 
 
 -1$'- 
 
 s>- 
 
 ~G>- 
 
 -27- 
 
 20. 
 
 
 
 5 
 3 
 
 6 
 4 
 
 6. 6 
 
 6 
 
 -t^- 
 
 ^ 
 
 §ii 
 
 -ig — ::sr- 
 
 -6'- 
 
 S*- 
 
 ZT- 
 
 
 4 
 3 
 
 -fS*- 
 
 ZT" 
 
 4J 6 
 
 tS"- 
 
 iS>- 
 
 -Z7 
 
 6 6 
 
 4 
 
 -27- 
 
 -&- 
 
 6 
 
 i 
 
 7 
 
 CHAPTER IV 
 
 MODULATION 
 
 A modulation is a transition of tonalities, effected by the substi- 
 tution of one or more tones, or triads, in one tonality for those of 
 different degrees in another. The complete cadence establishes the 
 new tonality. 
 
 To Relative-Minor Mode 
 
 A major, and its relative-minor mode contain four triads in com- 
 mon: —
 
 THE RHETORIC OF MUSIC 
 
 27 
 
 Common-triads 
 II IV 
 
 VI Yir 
 
 Modulation C to a. 
 
 i 
 
 -25- 
 
 -G>- 
 
 -Gh- 
 
 C=I 
 
 -Try- 
 
 "3?- 
 
 VI 
 
 -&- 
 
 s>- 
 
 sr 
 
 -Z7- 
 
 -zr 
 
 -i&' 
 
 -7S- 
 
 -i9- 
 
 -sr 
 
 -i9- 
 
 -G>- 
 
 
 -&- 
 
 
 -i5>- 
 
 -^^ 
 
 ili^ 
 
 II 
 
 CI 
 
 -G>- 
 
 Pt 
 
 i^y- 
 
 -27" 
 
 -(5^ 
 
 -z?~ 
 
 i 
 
 Zr- 
 
 -(5>- 
 
 CI 
 
 _(S2_ 
 
 -6- 
 -4- 
 -3- 
 
 a=i IV 
 
 (a) V 
 
 (a) 
 
 a I as 
 
 -<©>- 
 
 tS>- 
 
 "zy- 
 
 "z?- 
 
 -(S>- 
 
 CI 
 
 -6- 
 
 I (a) V 
 
 A modulatory-degree consists of five staff-degrees — upward : by el- 
 evation; downward: by depression. The circle of fifths outlines all 
 tonalities as from one to six degrees distant, A similar relation- 
 ship existing between all tonalities may be expressed iu the follow- 
 ing ratios : — 
 
 By Elevation. 
 
 ( 
 
 Tonalities. ) 
 
 One degree removed — 
 
 C: 
 
 G : : G : D, etc. 
 
 Two degrees " — 
 
 C: 
 
 D 
 
 : G: A, « 
 
 Three " " — 
 
 C: 
 
 A 
 
 . G: E, " 
 
 Four " " — 
 
 C: 
 
 E 
 
 : G: B " 
 
 Five " " — 
 
 C: 
 
 B 
 
 . : G: r|$ " 
 
 Six " " — 
 
 C: 
 
 n 
 
 : G: C| 
 
 
 
 or or 
 
 
 
 Gt? Db, etc 
 
 By Depression. 
 
 
 
 One degree removed — 
 
 C: 
 
 E : : F: Bb 
 
 Two degrees " — 
 
 C 
 
 Bb: 
 
 : E : Eb, etc 
 
 One Degree Removed 
 
 The close relationship existing between adjoining tonalities is 
 due to four common-triads.
 
 28 
 
 THE RHETORIC OF MUSIC 
 
 By 
 
 Elevation 
 
 Depression 
 
 Note. The necessary chromatic alterations of the incidents sometimes produce 
 false-relations. These are less faulty.if when the voice sounding the unaltered incident, 
 in the octave doubling, move outward or degreewise, thus covering the impression left 
 by the natural incident : — 
 
 Faulty. 
 
 Better. 
 
 Modulation C to G and Return. 
 By Elevation. By Depression. 
 
 1 
 
 w 
 
 -l5>- 
 
 C I 
 
 -G>- 
 
 VI 
 
 t» 
 
 tG??: 
 
 -.^ 
 
 -G>- 
 
 -i9- 
 
 ^Sfe 
 
 19- 
 
 ■27" 
 
 V 
 
 I 
 
 IV V I 
 
 1 — ^- 
 
 -7Sr 
 
 sr 
 
 -G>- 
 
 G IV II 
 
 -tS>- 
 
 _l2_ 
 
 IV 
 
 ■n^ 
 
 2?- 
 
 -6>- 
 
 -O- 
 
 The enharmonic-representation of Fj:| and Gb permits the same 
 relation to exist between the tonalities of F|| and Db ( one modula- 
 tory-degree ), as that sustained between the tonalities C and G. 
 
 From Y% to Db and Ebturn 
 By Elevation. By Depression. 
 
 lSli^P^»F 
 
 -^- 
 
 -l«>- 
 
 :J2^(:i^): 
 
 IV 
 
 \G^- 
 
 -;:s: 
 
 -::^ 
 
 IV
 
 THE EHETORIC OF MUSIC 
 Two Degrees Removed 
 
 29 
 
 A modulation two degrees removed is less desirable than a closer 
 or further removed relationship. There are, however, two common- 
 triads through which the transition may be made. 
 
 D. 
 
 C. 
 
 Ill 
 
 False-relations are more apt to occur here ( two degrees removed ) 
 than elsewhere ; and care shall be taken to avoid the alteration of 
 any incident except in the same register. 
 
 Faulty. 
 
 From C to D and Eeturn 
 Better. 
 
 D IV 
 
 Three Degrees Removed 
 
 The relation between tonalities further removed than two de- 
 grees may be sustained by common-tones ; but a more satisfactory- 
 means is found in the substitution of a minor, for a major subdomi- 
 nant in the elevated tonality : — 
 
 IV 
 
 A. 
 
 C. 
 
 II 
 
 :(i;) 
 
 z?- 
 
 Z7- 
 
 -6>- 
 
 -O- 
 
 -i^- 
 
 tS 
 
 -&- 
 
 g ,^ ^ ^-^^ 
 
 -^ — ^
 
 so 
 
 TUE RHETORIC OF MUSIC 
 
 From C to A and Return 
 By Elevation. By Depression. 
 
 
 w 
 
 -G>- 
 
 A 
 
 :s- 
 
 -G>- 
 
 m 
 
 t 
 
 -z?~ 
 
 -15'- 
 
 m-- 
 
 -&- 
 
 -zr 
 
 C I II 
 A (IV) 
 
 Cii 
 
 (IV) 
 
 sr 
 
 V 
 
 — 7- 
 
 -S>- 
 
 -G^ 
 
 -G^ 
 
 "Z?~ 
 
 -zr 
 
 FouK Degrees Removed 
 
 The submediant of tlie depressed tonality becomes the minor- 
 subdominant of the elevated tonality. 
 
 E. 
 
 C. 
 
 -H: 
 
 IV 
 
 n 
 
 -&- 
 
 -ry- 
 
 -(9- 
 
 :<|)S 
 
 -&- 
 
 -i9- 
 
 -s^ 
 
 -^- 
 
 -&- 
 
 -&- 
 
 -sr_ 
 
 From C to E and Return 
 By Elevation. By Depression. 
 
 
 -sr 
 
 -Sr 
 
 C I VI 
 
 E (iv) 
 
 \ 
 
 V 
 
 I (IV) 
 
 Cvi 
 
 -&- 
 
 is: 
 
 -zj- 
 
 1 
 
 9t 
 
 -gr- 
 
 -25r 
 
 I — 7_ 
 
 -z?- 
 
 FivE Degrees Removed 
 
 The mediant of the depressed tonality becomes the minor-sub- 
 dominant of the elevated tonality.
 
 THE RHETORIC OF MUSIC 
 
 31 
 
 From C to B and Return 
 By Elevation By Depress'on 
 
 ( 
 
 -z:r 
 
 -«— 
 
 CI in 
 
 B IV 
 
 -G>- 
 
 -^-\^ 
 
 V 
 
 C HI 
 
 I IV 
 
 :P 
 
 22- 
 
 :g: 
 
 -&- 
 
 -izr 
 
 -&- 
 
 -ar 
 
 5i 
 
 6 
 4 
 
 3 
 
 Six Degrees Removed 
 This transition may be effected through frsvo common-tones 
 
 These two common-tones are incidents of the dominant seventh- 
 chords of both tonalities. Hence the dominant of one may follow 
 the dominant of the other by the alteration of the two remaining in- 
 cidents of the harmony. 
 
 From C to Fjf and Return 
 
 <9- 
 
 -6>- 
 
 C I 
 
 ;:i9- 
 
 "Z?- 
 
 v" 
 
 1- Jf V7 I 
 
 1^ tf^ -^ l^' 
 
 
 1 
 
 V 
 
 c V^ 
 
 9- 
 
 -a- 
 
 -J2- 
 
 -6>- 
 
 
 4 
 3 
 
 %^ 
 
 S^E^=I 
 
 S 
 
 The modulations through common-tones are especially adapted 
 to the diminished seventh-chords as a means of transition ; the enhar- 
 monic possibilities being many : — 
 
 Various Modulations Through Common-ToneS and Diminished 
 
 Seventh-Chords 
 
 C Idvii°7 EI V7 I F« vii° V^FJtl F vii°7 AbV I vi V7I 
 
 gT+ti s' — ! i ^~ ~t }?y i?^ 
 
 -7b- 
 
 -B- 
 -4- 
 
 
 7p 6^ 
 I 3J 
 
 5 7|) 7i) sb 3b 7 
 
 55 .5b 5b 3a Q
 
 32 THE RHETORIC OF MUSIC 
 
 The Kelation Between Tonalities fkom One to Six Degrees Removed
 
 TUE RHETORIC OF MUSIC 
 
 33 
 
 PART II 
 
 CHAPTER V 
 
 NON-HARMONIC INCIDENTS 
 
 A harmonic incident possesses the capability of being repre- 
 sented or suggested by the non- harmonic incident which lies adjacent 
 thereto. The different usages of these foreign tones result in : sus- 
 pensions, retardations, anticipations, changing-tones and passing-tones. 
 Organ-points are representative of no particular harmonic incident ; 
 they being merely retained tones, subject to a consonant entrance 
 and resolution. 
 
 A suspension is usually prepared from a consonant incident m 
 the triad immediately preceding; it may, however, be prepared 
 from a dissonant seventh which has itself been prepared or has en- 
 tered "free." Any tone of the triad may be suspended. Only the 
 diminished seventh-chord permits a suspension of its seventh. Sus- 
 pensions resolve downward one degree into a harmonic incident. 
 
 Prepared and resolved suspensions : — 
 
 -^-^^ • — 'g ^—~ ■-■§ ' — y^ ' 
 
 sr 
 
 -<s- 
 
 S^ 
 
 "zr 
 
 II 
 
 V 
 
 CV aTii° 
 
 I 
 
 -<s- 
 
 IV 
 
 I 
 
 -^:r 
 
 sr 
 
 ^i 
 
 l^z 
 
 -I&- 
 
 ir^ 
 
 fS 
 
 -G^ 
 
 SB 7B 
 
 4 
 
 7 
 
 5 - 
 3 - 
 
 The fifth of the dominant harmony permits the free entrance, and 
 oftentimes the free resolution of its suspension. Other incidents of 
 different harmonies also may be treated thus. In any case, the res- 
 olution-tone may not appear in another voice.
 
 54 
 
 THE RHETORIC OF MUSIC 
 
 Unprepared and unresolved suspensions : • 
 
 "27- 
 
 
 
 "2: 
 
 -.5^ 
 
 II 
 
 I 
 
 •r^ 
 
 
 -i9- 
 
 -& 
 
 S^- 
 
 -<Si- 
 
 I 
 
 -G>- 
 
 II I V 
 
 I II 
 
 -z?- 
 
 9t 
 
 z? «■- 
 
 -s*- 
 
 ■<s- 
 
 ^f^ 
 
 JSl- 
 
 JS- 
 
 & 
 
 6 7 6 
 3 
 
 4 3 
 
 7 - 
 
 6 
 5 
 
 6 
 4 
 
 7 - 
 4 3 
 
 5 - 
 4 - 
 3 - 
 
 The resolution-tone of a prepared suspension may be present in. 
 any lower voice ; but requires to stand at least one octave distant : 
 it may seldom appear in an upper voice at any distance. Parallel 
 octaves and fifths are not avoided by the suspension of an incident. 
 
 Satisfactory. 
 
 Faulty. 
 
 ( 
 \ 
 
 ^S^ 
 
 -&- 
 
 -<s 
 
 \^\ 
 
 52- 
 
 -&- 
 
 ^y- 
 
 -JS.- 
 
 ^i 
 
 -<5- 
 
 ^— Z^ 
 
 -(5* 
 
 ■5^ 
 
 V 
 
 6 
 5 
 
 i 
 
 -<5i- 
 I 
 
 -/S2_ 
 
 i="^iil 
 
 V I 
 
 -(Si- 
 
 Suspensions in several voices are subject to the same conditions 
 as those occuring singly. 
 
 -0— ^ 
 
 -^ *- <9 - 
 
 - g? I C> 
 
 |£jg 
 
 J- 
 
 -(&- 
 
 -•s^-s. 
 
 -e"— 1 — G- 
 
 -sr 
 
 ^Q5 
 
 I 
 
 <5>- 
 
 -<&- 
 
 -iC- 
 
 ^t 
 
 IV 
 
 -G^ 
 
 a 
 
 ISr 
 
 -<9- 
 
 6 
 .5 
 
 4 3 
 
 O 8 
 
 9 
 4 
 
 8 
 3
 
 THE RHETORIC OF MUSIC 
 
 'S5 
 
 The retardation has the same attributes as the suspension except 
 that its resolution is upward one degree. 
 
 b^si- 
 
 ti 
 
 V 
 
 
 
 
 ^^ 
 
 VII^ 
 
 ^^ 
 
 -Z5^ 
 
 sr 
 
 -&- 
 
 A non-harmonic incident may be interpolated between the sus- 
 pension, or retardation, and its resolution: — 
 
 -&- 
 
 -J- 
 
 :s^ 
 
 ifzzzzz: i^^^i^ES 
 
 -g- 
 
 -&- 
 
 1^-1 — S 
 
 V 
 
 IV 
 
 "25 
 
 V 
 
 ■G>- 
 
 9t 
 
 -tS*- 
 
 "S?- 
 
 sr 
 
 -z:r 
 
 sr 
 
 -d- 
 
 The anticipation is the direct opposite of the suspension : it may 
 appear in one, or in several voices : — 
 
 The organpoint must enter consonant, after which it is retained 
 in the same voice during the movement of the remaining voices in- 
 to incidents of triads which render it dissonant : it resolves by be- 
 coming consonant. An organpoint in two or more voices is often 
 
 effective. 
 
 i 
 
 9t 
 
 -^- 
 
 -f2- 
 
 wv- 
 
 .fZ- 
 
 
 IV 
 
 JSL- 
 
 5 
 
 -&~ 
 
 p^3p=^^ 
 
 IV I 
 
 G 
 V 
 
 C 
 V 
 
 JS- 
 
 i
 
 36 
 
 THE RHETORIC OF MUSIC 
 
 i 
 
 r 
 
 
 -^-^ 
 
 J^ 
 
 (5' — ;:^- 
 
 
 -e2L- 
 
 I 
 
 II 
 
 III 
 
 IV V 
 
 VI 
 
 -sr 
 
 -■ar 
 
 'Sr 
 
 sr 
 
 "Z?- 
 
 V 
 
 -z?- 
 
 I 
 
 sr 
 
 -g?' 
 
 A changing-tone lies one degree (diatonic or chromatic) above or 
 below a harmonic incident ; when below, it is better but a small- 
 second removed. Having no harmonic value, false-relations are sel- 
 dom apt to result from any chromatic alterations of these incidents, 
 except augmented-primes and octaves. 
 
 Changing-tones. Augmented primes. 
 
 The changing-tones both above and below may be used before 
 resolution into the consonant : — 
 
 V^ etc. 
 
 -G>- 
 
 9^ 
 
 _(2_ 
 -<2- 
 
 The changing-tone above may be taken by a skip from a consonant 
 below, and vice versa : — 
 
 -&- 
 
 "Z?- 
 
 i^ 
 
 H9 •- 
 
 =1: 
 
 ^a^ 
 
 IV etc. 
 g? 1
 
 A passing-tone moves 
 Passing-tones. 
 
 '^^ 
 
 THE liHETORIC OF MUSIC 37 
 
 degreewise between two consonauts : — 
 
 Passing-seventh. 
 
 canning and pa.sin.-tone. "^ ^l^^^^ :::T^ 
 t^. ' t;* t£e»e arJ^nled-slond in tHe .inc. .ode 
 
 is as follows : — 
 
 Faulty. 
 
 ^^^^^ 
 
 Various designs produced by changing and passing-tones, etc. : 
 
 ^^^^^^^- 
 
 -&- 
 
 -a- 
 
 ^-^— I 
 
 I 
 
 I 
 
 1—6^ —
 
 38 
 
 TEE RHETORIC OF MUSIC 
 
 i=t 
 
 — -t- 
 3t 
 
 i 
 
 J.— i~~J 
 
 -isr 
 
 sr 
 
 -23- 
 
 I 
 
 f 
 
 II 
 
 -<5>- 
 
 "27- 
 
 ^ 
 
 is: 
 
 "zr- 
 
 i 
 
 p^ 
 
 VII° 
 
 -(5»- 
 
 f^ 
 
 V 
 
 sr 
 
 -2?- 
 
 Jo^«. 
 
 5^ 
 
 ip^ 
 
 ■;st 
 
 P 
 
 :e 
 
 ""Z7- 
 
 I 
 
 ^s 
 
 s_ 
 
 "z?- 
 
 
 -«'- 
 
 "23- 
 
 II V 
 
 1 etc. V 
 
 -l»- 
 
 -tlfti 
 
 "25^ 
 
 ■23- 
 
 It 
 
 -i5>- 
 
 s 'g 
 
 -S'- 
 
 -ig- 
 
 -Z3- 
 
 "S^ 
 
 "2?- 
 
 -1$^ 
 
 -<S>- 
 
 -&- 
 
 
 -^ 
 
 22- 
 
 :f= 
 
 ^=^ 
 
 i 
 
 "23- 
 
 -JK 
 
 6 
 3 
 
 \ 
 
 i 
 
 -(5'- 
 
 -25^ 
 
 
 iS>- 
 
 -2?- 
 
 -(2-. 
 
 -CZ- 
 
 -jitik-. 
 
 Tsa 
 
 -s*- 
 
 -(S*- 
 
 "23- 
 
 -&- 
 
 22- 
 
 -ig- 
 
 IV I 
 
 r 
 
 HI 
 
 (5'- 
 
 IV~ 
 
 -¥^ 
 
 -23^ 
 
 
 5 
 
 -(51- 
 "27- 
 
 -zr 
 
 
 VI 
 
 -f5>- 
 
 -6>- 
 
 .^^ f^^rg 
 
 -ee- 
 
 -?5i- 
 
 t^ 
 
 
 II 
 
 -G>- 
 
 -^^ 
 
 IV 
 
 -i — • 
 
 -Z3- 
 
 I etc. 
 
 -23-
 
 TEE RHETORIC OF MUSIC 
 
 39 
 
 CHAPTER VI 
 
 MELODIC VOICES 
 
 Two Voices. Ix Equal Rhythmic Divisions 
 
 The principal tones of a triad are the root and the third. These 
 incidents produce, in combination, intervals of great and small sixths 
 and thirds, which, in two voices, may serve as a satisfactory substi- 
 tute for the entire harmony. The peculiar combination of the root 
 and fifth of the diminished-triad, as well as its tendency toward a 
 certain progression, or resolution, permits the use of its resultant 
 intervals — the augmented-fourth and small-fifth. Hence, as har- 
 monic foundation, only the harmonic-consonants are available ; except 
 in the beginning and closing measures where the unison or octave 
 may be used. 
 
 An alternate progression of thirds and sixths is always effective. 
 More than three thirds or sixths in succession destroy the independ- 
 ence of the voice-leadings. Parallel great thirds and small sixths 
 are wanting in dignity. Repetitions in or by either voice, in the 
 unison or octave, destroy the effect of motion. The two voices 
 should stand within an octave : — 
 
 i 
 
 ¥ 
 
 -CZ- 
 
 -G>- 
 
 -©>- 
 
 -G>- 
 
 -Gh- 
 
 jC2- 
 
 -O- 
 
 JS.- 
 
 -e^ 
 
 
 jO- 
 
 jS- 
 
 -G>- 
 
 -(2- 
 
 Si- 
 
 -«5^- 
 
 ■d- 
 
 -19- 
 
 -1&- 
 
 ^ 
 
 -iS- 
 
 -O.- 
 
 -O- 
 
 -iS>- 
 
 t5>- 
 
 £i- 
 
 jO- 
 
 j:^- 
 
 -O- 
 
 -&- 
 
 jO- 
 
 -<9- 
 
 -G>- 
 
 JZ- 
 
 -£2- 
 
 -&- 
 
 -ry- 
 
 -&- 
 
 jlS.- 
 
 '25^ 
 
 -Gh- 
 
 To be avoided : — 
 
 Parallel great thirds, successive tliirds and sixths 
 
 i 
 
 TO 
 
 -O- 
 
 JZ-. 
 
 jO- 
 
 -Gh 
 
 -G>- 
 Parallel small sixths. 
 
 Repetitions in unison. 
 
 -t5>-
 
 40 
 
 THE RHETORIC OF MUSIC 
 
 Repetitions in Octave. 
 
 ^^^ 
 
 Octave exceeded. 
 
 .(2- 
 
 -<2_ 
 
 ■l9- 
 
 -<^v 
 
 -iS^ 
 
 -ST- 
 
 -i5>- 
 
 .(S- 
 
 -&- 
 
 -G>- 
 
 :i: 
 
 JU- 
 
 -a- 
 
 -&- 
 
 In addition to the above restrictions the following will permit 
 the two voices to be inverted into the octave without crossing. 
 
 Covered Octave. 
 
 i 
 
 p 
 
 -f^ — i- 
 
 .a. 
 
 -&- 
 
 a 
 
 -fSi- 
 
 -&-• 
 
 L<2_ 
 
 -ffi-, 
 
 Covered Octave by inverse motion. 
 
 •-&- 
 
 '-&- 
 
 Octave exceeded. 
 
 r-Gl- 
 
 -O- 
 
 If 
 
 -jS- 
 
 •s>- 
 
 a 
 
 VjO- 
 
 -&- 
 
 -^ 
 
 -&- 
 
 It is conveniently desirable that these studies should be written 
 upon one staff, and for treble voices. 
 
 0) Original. (2) Inversion. 
 
 
 r\ 
 
 IT) 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 / <^ 
 
 
 
 ^ 
 
 
 
 
 
 
 
 
 
 1 
 
 / 
 
 <3 
 
 
 ^ 
 
 
 
 
 <3 
 
 |<y 
 
 
 
 
 
 1 
 
 (? 
 
 ^ 
 
 
 <y 
 
 
 
 
 
 
 g 
 
 /^ 
 
 
 
 r3 \ 
 
 xS 
 
 ) 
 
 
 
 
 fT? 
 
 
 
 
 
 
 g 
 
 S^Zj 
 
 '^ 1 
 
 «- 
 
 (^) 
 
 
 
 
 
 
 -^ ( 
 
 )^ 
 
 
 -&- 
 
 
 e^ 
 
 -s»- 
 
 ^©- 
 
 In Unequal Rhythmic Divisions 
 Two Notes Against One 
 
 Motion, in one voice, may be produced by taking a different tone 
 of the same harmony, or by changing the harmonic-foundation. 
 Harmonic-consonants must serve as harmonic foundations, on all 
 parts of the measure except where a second, fourth, fifth, or seventh 
 may pass degreewise downward from the root of the triad, produc- 
 ing a passing seventh : — 
 
 
 ^^B 
 
 -2?- 
 
 15'- 
 
 -(G_ 
 
 ^^^ 
 
 sr 
 
 -rg ^ e? 
 
 X2- 
 
 jS- 
 
 -f9- 
 
 -G>- 7 
 
 To be avoided : — 
 Open-Fifth. 
 
 Open-Fourth. 
 
 ^ 
 
 
 -s>- 
 
 J- 
 
 ^- 
 
 -<&- 
 
 -&- 
 
 -<^-tg 
 
 (sa 
 
 .O- 
 
 -O- 
 
 .O-. 
 
 -&- 
 
 -&- 
 
 ^EEE^ 
 
 -&- 
 
 Seconds. Parallel and Open Octaves. Sevenths. 
 
 -CL- 
 
 :^=^ 
 
 -&- 
 
 -X 
 
 -<5>- 
 
 -G- 

 
 THE RHETORIC OF MUSIC 
 
 41 
 
 Suspensions are possible ; though their use ritards the motion : — 
 
 
 -35^- 
 
 jS- 
 
 -<&- 
 
 2z: 
 
 sr 
 
 7 
 
 -^52- 
 
 ^^ 
 
 
 ■tS»- 
 
 e 
 
 -<9- 
 
 =1^ 
 
 ■i9- 
 
 USL- 
 
 r 
 
 r^r^J I J ,^J_^ 
 
 a - 3 
 
 The voices may be inverted 
 (1) Original. 
 
 
 Tig 
 
 ^!5H 
 
 -<S^ 
 
 _(2- 
 
 l^=±S 
 
 -e?- 
 
 42- 
 
 -i5»- 
 
 j2- 
 
 -<S»- 
 
 -&- 
 
 (') Inversion. 
 
 
 sr 
 
 -«>- 
 
 .<S- 
 
 -^- 
 
 
 pEfe?^ 
 
 £=£!: 
 
 -(2— ,5- 
 
 -f2— :.<2^ 
 
 >g ■ u 
 
 Four Notes Against One 
 
 ? 
 
 -^2- 
 
 Changing and passing-tones, in addition to the foregoing material, 
 are available. A suspension, prepared or unprepared, of the first, 
 but not of the third accent, is permissable : — 
 
 Original. 
 
 ^m 
 
 J ^ i^-t- i^r Md 
 
 j^j ^J-J-ij^ l 
 
 1S=i=±L 
 
 St 
 
 -f5> 
 
 "Z?- 
 
 -&- 
 
 Inversion. 
 
 s 
 
 -i9- 
 
 j2Z_ 
 
 f=W^. 
 
 -iSi- 
 
 ^ 
 
 g 
 
 "^ 
 
 E^S 
 
 :;;^ 
 
 f^ 
 
 33^: 
 
 rY^ 
 
 Three Voices 
 
 As the entire triad is available, the harmonic-consonants, alone, 
 need not be employed ; though the harmonic combinations are more 
 satisfactory when they (the harmonic-consonants) appear between 
 outer voices than when the open consonants so appear. Adjoining 
 voices must be kept within ( or not exceeding ) the octave. Com- 
 mon-tones ma}^ be retained in the inner voice. Note-against-note, 
 two-notes-against-one, and four-notes-against-one require that no use 
 be made of the fifth of the triad unless it pass through degreewise ; 
 and also that all voices, in the original be written within the octave, 
 if they are to be invertible.
 
 42 
 
 Original. 
 
 THE RHETORIC OF MUSIC 
 
 INVEBBION OF OUTER VOICES 
 
 Inversion. 
 
 1 
 o 
 a 
 
 -iZ- 
 
 -G>- 
 
 -&- 
 
 -O- 
 
 -&- 
 
 -&- 
 
 -Z7~ 
 
 ig 
 
 "Z?- 
 
 -&- 
 
 ^- 
 
 -^--sr 
 
 :5zg: 
 
 
 -19- 
 
 -&- 
 
 ~Cr 
 
 sr 
 
 -(g- 
 
 -&- -zr -&- 
 
 Original. 
 
 Inversion of All Voices 
 Inversions. 
 
 n 
 
 
 
 
 \j 
 
 
 1 
 
 A. ^ 
 
 ^-j 
 
 ^H 
 
 fr\ 
 
 t-^ 
 
 !&z_ -^ 
 
 fTJ 
 
 j^ ' 
 
 <J 
 
 t^ 
 -«'- 
 
 a- 
 
 -G- 
 
 r~\ • 
 
 
 
 9- 
 
 
 
 
 
 
 
 
 
 
 
 vt i 
 
 1 1 
 
 
 ^. ^ 
 
 '& — 
 
 a 
 
 ^^ 
 
 
 
 J .^- ^ -^ 
 
 C\" 
 
 i-«n 
 
 
 T« •^ 
 
 
 '^ 
 
 V 
 
 
 
 
 
 
 n 
 
 
 
 / '^ 
 
 
 r^ 
 
 / - /^ 
 
 
 ^ 
 
 1?^ 
 
 
 
 V^ ^ 
 
 
 
 -&- -^ -&- 
 
 Ql- 
 
 
 
 T- 
 
 
 
 -J 
 
 
 
 
 
 
 ■y ^ 
 
 -6* — 
 
 
 ffT^^ 
 
 -S— 
 
 1 
 
 T5^; 
 
 
 
 »j 
 
 
 
 -&- 
 
 -^ -fi.- 
 
 (-^ • 
 
 
 '^v 
 
 
 ^ 
 
 
 
 
 -j2iL 
 
 i5>- 
 
 1© — rg I g . 
 
 -(2- 
 
 9E=t 
 
 ^- ^ -'^- 
 
 1:: 
 
 Motion may be assigned to any voice : — 
 
 -&- 
 
 -G- 
 
 jSL- 
 
 _OQ 
 
 -iffi- 
 
 -G>- 
 
 -(9- 
 
 -Y2- 
 
 1 
 
 etc. 
 
 9t 
 
 
 -* 
 
 (S- 3-<2E- 
 
 -(S?- 
 
 -iS- 
 
 etc. 
 
 f=Pr-f 
 
 jSiL. 
 
 iS*- 
 
 ^^ ^ • ^ 
 
 -«- 
 
 JS- 
 
 ZSSSL 
 
 etc. 
 
 rrr 
 
 -(S"- 
 
 -G>- 
 
 etc. 
 
 1^- -<2- -^i- --5>- 
 
 -^ - -#- E 
 
 ^££i 
 
 etc. 
 
 ^ 
 
 I
 
 THE RHETORIC OF MUSIC 
 
 43 
 
 Four Voices, Note Against Note 
 
 A plain harmonization except that the inner, as well as the outer 
 voices are interesting : — 
 
 i 
 
 -gr 
 
 -(S>- 
 
 -iS>- 
 
 sr 
 
 -&- 
 
 -tS"- 
 
 sr 
 
 -G>- 
 
 sr 
 
 sr 
 
 -&- 
 
 -sr 
 
 ^- 
 
 -iS'- 
 
 -rr 
 
 -&- 
 
 "sr 
 
 
 Two Notes Against One 
 etc. 
 
 -Gi- 
 
 ~sr 
 
 -^ 
 
 ir^ 
 
 -a- 
 
 -G>- 
 
 -G>- 
 
 -^?- 
 
 ^^ 
 
 -G>- 
 
 -G>- 
 
 t 
 
 -&- 
 
 "Sr 
 
 S^ 
 
 -^ 
 
 etc. 
 
 -«>— St- 
 
 r 
 
 etc. 
 
 rr 
 
 ^t 
 
 -G>- 
 
 "Sr- 
 
 -<s»- 
 
 sr 
 
 -&- 
 
 -zr 
 
 -G>- 
 
 sr 
 
 sr 
 
 sr 
 
 ■G>- 
 
 ■G^ 
 
 "Z?- 
 
 -a- 
 
 -&- 
 
 sr 
 
 -i9- 
 
 -i5>- 
 
 
 -&- 
 
 -&- 
 
 (0 
 
 -G- 
 
 -&- 
 
 tS"- 
 
 -6>- 
 
 CL. 
 
 sr 
 
 To be avoided : — 
 
 ~z?- 
 
 -<Sr 
 
 ~&- 
 
 sr 
 
 ~z?~ 
 
 Pt^ 
 
 -a- 
 
 4 
 
 -(©^ 
 
 -<S*- 
 
 :(vjc: 
 
 «>- 
 
 ^v 
 
 ZT' 
 
 ?=tf.g= 
 
 8B 
 
 Satisfactory. 
 
 i 
 
 :^^ — g 
 
 T- 
 
 \^ 
 
 sr 
 
 -&- 
 
 sr 
 
 sr 
 
 -<S 
 
 ^- 
 
 -^^ 
 
 -«Sr 
 
 -&- 
 
 -gr- 
 
 15'- 
 
 :s; 
 
 -s'- 
 
 (5'- 
 
 tS"- 
 
 -r$^ 
 
 5l 
 
 etc. 
 
 (S^ 
 
 -s>- 
 
 ^^ 
 
 -iS>— P.«|- 
 
 1 A skip of an octave may be permitted in the first, and in the next to the last mea- 
 sure in the lowest voice.
 
 44 
 
 THE RHETORIC OF MUSIC 
 
 Four Notes Against One 
 
 The motion may be assigned to different voices separately, as well 
 as being confined to one voice. Under these conditions retained 
 tones in any voice are less apt to ritard the motion. 
 
 ""S: 
 
 -sr- 
 
 -G>- 
 
 1 
 
 -ST- 
 
 -1 
 
 sr 
 
 -&- 
 
 r 
 
 -•- ^ -^ 
 
 9^ 
 
 :t=^ 
 
 -G>- 
 
 -(2- 
 
 f 
 
 
 ^^^^ 
 
 -&- 
 
 9i: 
 
 ^ 
 
 Jt 
 
 =tt|i 
 
 
 sr 
 
 -77- 
 
 As matter-of-fact as this simple device may seem, it is, neverthe- 
 less, an invaluable study in the production of design — quite the 
 most important element in melodic structure. It is but a short step 
 from this style to the florid rhythms wherein much more freedom of 
 thought may be exercised. A valuable exercise may be found in 
 the inversions of four voices, which admit of twenty-four positions, 
 twenty-three inversions. The restrictions necessary to allow these 
 inversions are practically the same as those for the inversion of three 
 voices. The inversions may be represented by the figui-es : — 
 1111112222223333 3 3444444 
 223344113344112244112233 
 342423341413241412231312 
 434232434131424121323121
 
 THE BBETORIC OF MUSIC 
 
 45 
 
 PART III 
 
 CHAPTER VII 
 
 DEVELOPMENT OF DESIGN 
 
 A theme is an idea announced in the form of a phrase, a section," 
 or a period. A coherent development of a theme is dependent upon 
 a means whereby the theme, or subject, is kept continually in the 
 foreground, and, at the same time, in some form sufficiently varied 
 to avoid monotony. A theme may be developed by : — transposition, 
 addition, elision, contraction, alteration, expansion, inversion, augmenta- 
 tion, diminution, etc. : — 
 
 Phrase. 
 
 Transposition. 
 
 ^^ 
 
 W=^ 
 
 i 
 
 i 
 
 te 
 
 Si 
 
 El 
 
 -tS-- 
 
 S 
 
 -^— » 
 
 w 
 
 --i 
 
 J--il^«-i^ 
 
 Motive. 
 
 Addition. 
 
 M 
 
 ^ 
 
 Elision. 
 
 I 
 
 fe^ 
 
 Efe 
 
 ^i^ 
 
 ^ 
 
 ^ 
 
 Contraction. 
 
 i 
 
 i? 
 
 S^S^ 
 
 Alteration. 
 
 fcp 
 
 g=H^ 
 
 -G>- 
 
 5 
 
 -& 
 
 --^- 
 
 -<&- 
 
 1* — ^-^ 
 
 Expansion. 
 
 te 
 
 Inversion. 
 
 S 
 
 Wm 
 
 i 
 
 fcr 
 
 ^ 
 
 1 
 
 -f5>- 
 
 Augmentation. 
 
 Diminution. 
 
 ^ 
 
 fez 
 
 "sr- 
 
 ^ 
 
 -(5'- 
 
 -i5»- 
 
 ^^^^ 
 
 The harmonic-outline through which a theme and its develop- 
 ment passes should be conceived complete : the voice-leadings, if in- 
 teresting, being, in themselves melodies : —
 
 46 
 
 THE BHETORIC OF MUSIC 
 
 Outline. 
 
 ^^ ksT^^ 'x V-% 
 
 -i5>- 
 
 etc. 
 
 -zr 
 
 -o- 
 
 -&- 
 
 -zr 
 
 -Z7- 
 
 ""ZT" 
 
 
 'a. , 
 
 is: 
 
 Thus creating more possibilities for the production of counter- 
 themes : — 
 
 Theme. 
 
 Contrast. 
 
 Motives. 
 
 ^^^^^ 
 
 1^ 
 
 
 & 
 
 Counter-theme. 
 
 S! 
 
 -^f^ 
 
 Close. 
 
 
 It 
 
 
 -^ 
 
 ^ 
 
 T»- -<5^ 
 
 etc. 
 
 9iifc| 
 
 -Q- 
 
 ^ 
 
 
 EEE 
 
 r- 
 
 A different rhythm admits of a further variety of treatment of 
 this same theme and counter-theme. 
 
 Theme. 
 
 x^r=Y^^ 
 
 m,^&f 
 
 ?^^ 
 
 ,^j J- J- 
 
 etc. 
 
 m
 
 THE EHETOEIC OF MUSIC 
 
 47 
 
 Rhytliinic accompaniments are often effective provided that an 
 interesting design, so formed, be imitated; the counter-theme is 
 here transposed and altered : — 
 
 Counter-theme. 
 
 te^ 
 
 tf^JJJ^^ ' i/J^ 
 
 PSEg 
 
 ilt 
 
 Khythmic-Design. 
 
 Imitation. 
 
 etc. 
 
 ?3E 
 
 ^ (-Jf J H 
 
 9i^^ 
 
 =3l 
 
 t 
 
 4 y 
 
 Or, by inversion of the themes the contrapuntal harmonization 
 may be preserved : — 
 
 Counter-theme. 
 
 Counter-theme. 
 
 n 
 
 Phrases formed by repetition of short motives should represent 
 a wide range in order to be effective : — 
 
 ,d2: 
 
 P 
 
 
 
 ¥ 
 
 ^^ 
 
 Motive. 
 
 Ti — ^ 
 
 
 4, 
 
 > =
 
 48 
 
 THE RHETORIC OF MUSIC 
 
 etc. 
 
 -tW- 
 
 m 
 
 i 
 
 r 
 
 Short phrases resulting from a continuous progression of triads 
 are more to be desired than those longer ones built rhythmically 
 upon a single harmonic foundation : these latter will prove inter- 
 esting only when the designs in themselves are productive of a con- 
 tinuously climacteric effect : — 
 
 Repetitions, of designs, in the same voice become interesting if 
 the underlying voices are harmonically melodic : — 
 
 1 
 
 ipp^ 
 
 ■r"ftr~i 
 
 T f ? r 
 
 Pi^ 
 
 -#tf 
 
 etc. 
 
 k^ 
 
 -'-«?— 
 
 -^!-r-
 
 THE RHETORIC OF MUSIC 
 
 49 
 
 Musical Form. The Sonata. 
 
 In this form are written the sonata, duo, trio, quartet, quintet, 
 etc., concerto, and symphony. The sonata embodies the foui- prin- 
 cipal forms : — sonata (first movement), song, dance and rondo. These 
 separate forms often receive augmentations by way of introduction, 
 sub-theme, episode, transition, coda, etc. 
 
 The Sonata Form. In Major. 
 
 [ First-theme — In the tonic.(i) 
 -| Second '• — " " dominant.(J) 
 ( Closing " — " " <' 
 
 ( Repeat.) 
 Various melodic, harmonic, canonical, and fu- 
 gal treatment of the themes, closing in the 
 dominant. 
 
 ! First-theme — In the tonic. 
 Second " 
 Closing " 
 
 In Minor. 
 
 Exposition 
 
 Development 
 
 a 
 
 a 
 
 
 
 or 
 
 First-theme 
 Second " 
 Closing " 
 
 Development 
 
 First-theme - 
 Second '< 
 Closing " 
 
 '' First-theme - 
 Second " - 
 Closing " - 
 
 Development 
 
 First- theme - 
 Second " 
 Closing " 
 
 In the tonic. 
 " " relative-major. 
 
 u 
 
 u 
 
 ( Repeat.) 
 
 - In the tonic. 
 
 _ a a u 
 
 In the tonic. 
 '* '•' dominant. 
 
 ( Repeat.) 
 
 In the tonic. 
 " " tonic-major. 
 
 ii 
 
 le 
 
 (or minor.) 
 
 The Song Form. 
 
 This form is suitable for the prelude, nocturne, romanza, interlude, 
 ballade, intermezzo, improvization, postlude, lyric, idyll, madrigal, etc.. 
 
 etc. 
 
 The Two-Period Song Form. 
 First Period — First-Subject — In the tonic, 
 
 e J o • J ( Second 
 Second Period — -j x'- ^ 
 
 
 
 u 
 a 
 
 dominant, 
 tonic. 
 
 1 This particular barmony predominating as the key-tone.
 
 60 
 
 THE BRETOEIC OF MUSIC 
 
 In the two-period song form the second-subject is but one-half the 
 length of the first-subject : in the three-period form the second-sub- 
 ject is of equal length with the first-subject. 
 
 The Thre&Period Song Form. 
 
 First-period — First-subject — In the tonic. 
 
 Second-period — Second " — '•' " dominant. 
 
 Third-period — Third " — " " tonic. 
 The real-song seldom makes use of this, its original form ; but 
 under the influence of the aria, recitative, art-song, song-cycle, etc., as- 
 sumes a character more fantasaical or rhapsodaical. 
 
 The Dance-Form. 
 
 The minuet, mazurka, polonaize, waltz, gavotte, march, etc., use 
 this form. The rhythms are necessarily different. 
 
 The Form. 
 
 First- 
 Second- 
 First- 
 -< Trio ( third )- 
 Fi^st- 
 Second- 
 First- 
 
 subject — In the tonic. 
 
 dominant. 
 
 a 
 u 
 
 a 
 
 u 
 u 
 It 
 u 
 a 
 
 " tonic. 
 
 " subdominant. 
 
 " tonic. 
 
 " dominant. 
 
 " tonic. 
 
 Occasionally the recapitulation omits the usual last return to the 
 second, and first-subject adding a coda immediately after the re- 
 turn to the first-subject, which follows the trio. 
 
 The Dance Rhythms, 
 
 Minuet. 
 
 3 
 
 ;i J J Ji J J Ji 
 
 Mazurka. 
 
 4 J J 
 
 I I 
 
 ^ U 
 
 Polonaize. 
 
 II J J J 7 J 
 
 J J 
 
 J J =« 
 
 J J J J J s
 
 THE RHETORIC OF MUSIC 
 
 51 
 
 Waltz. 
 
 4 J J J J J J' ' 
 
 4 4 4 
 
 J J 
 
 Gavotte. 
 
 J 1 J 1 
 
 
 March. 
 
 4l 4 4 4 4 
 
 I I I I 
 4 4 4 4 
 
 These rhythms are often varied : they, as given, are typical of 
 the necessary accents for the specific dance so called. 
 
 The Rondo Form 
 
 The rondo in its original form signifies a continual return to the 
 first-subject. But few subjects are sufficiently interesting to bear 
 such a frequent repetition ; though with suitable contrasting sub- 
 jects the form is useful. It resembles closely the dance-form. 
 
 First - sul 
 
 bject 
 
 In 
 
 the 
 
 i tonic. 
 
 
 
 
 Second- 
 
 u 
 
 
 (< 
 
 u 
 
 dominant. 
 
 
 
 
 First- 
 
 u 
 
 
 u 
 
 u 
 
 tonic. 
 
 
 
 
 Trio ( Third- 
 
 u 
 
 ) 
 
 it, 
 
 a 
 
 sub-dominant, 
 
 or 
 
 relative- 
 
 minor 
 
 First - subject 
 
 
 in 
 
 the tonic 
 
 , 
 
 
 
 
 Second- " 
 
 
 u 
 
 u 
 
 (I 
 
 
 
 
 
 Coda 
 
 
 a 
 
 u 
 
 (I 
 
 
 
 
 
 A more dignified rondo-form which resembles the sonata (first 
 movement ) differing from it only in that it contains a third-theme 
 in place of the development : — 
 
 'First - theme 
 
 — In the 
 
 tonic. 
 
 Second- " 
 
 (( if 
 
 dominant. 
 
 Closing- " 
 
 (( (< 
 
 dominant. 
 ( Repeat.) 
 
 Third - theme 
 
 a ii 
 
 sub-dominant 
 
 First- " 
 
 a a 
 
 tonic. 
 
 Second- " 
 
 a a 
 
 a 
 
 ^Closing- " 
 
 a <i 
 
 a
 
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