GENERAL RULES

Tessitura of the voices

The harmony course is a practical learning of writing.

polyphonic, in four parts. It is necessary to get used to writing for the
vocal quartet, since the human voice is the 'instrument' that has the
more restricted range. There will be no problem later for
extend the permitted limits to correspond to others
instruments. It would be more difficult to get used to certain ranges first.
very widespread and then relearn the constraints of tessituras
narrow. Here are the four voices and the limits of their tessituras
usuales (Voz de buenos coristas aficionados, y no solistas
professionals) :

The black notes should only be used very

exceptionally. On the left: the real sounds in treble clefs
and of fa. It is clear that the tenor part, written in real sounds, should
without ceasing to change key. To the right: the keys of C, in sounds
real ones usually use a minimum of lines most of the time
supplementary.

You may notice slight differences depending on the treaties.

Common sense is a must: it is preferable to use extreme notes.
with caution, with the appropriate nuances and without attacking a beginning
of a sentence with the upper notes.

As a help to memorize this table, notice that,

respectively, the bass and alto voices, as well as the voices
The tenor and soprano have their tessituras an octave apart.
 HOW TO WRITE?

The keys of Do: traditionally, all in-depth studies of

writing is done in three keys of C (C in first, C in third and
in fourth) and a bass clef, as shown here above to the right.

Advantages:

Concrete and definitive assimilation of the three keys of C.

Obligation to be fully aware of what is
write.
Most of the time, the use of lines is avoided.
additions, since each key is adapted to the texture
adequate.
Writing in real sounds.
A staff for voice: there is a place to write.
The evolution of each voice looks good.
All advanced jobs and their corrections
(Messiaen, Desportes, and numerous other authors) are
published in these keys.
Do you want to give up reading the masters?...

Disadvantages:

Paper consumption.

Modern vocal writing in treble clef and bass clef.

Ventajas :

Current practice in the publication of vocal music

modern
A staff for voice, equal clarity as in clefs of
do.

Disadvantages:

Need to employ some complementary lines in

the contralto (inconvenience of little importance).
The tenor is not written in real sounds, but rather
it sounds an octave lower than the written sound. That's where
that the crossings be apparent, and that the
true interval relationships are not in sight! It is
It is necessary to get used to this particular treble clef.
which is sometimes completed with a small 8 (lower octave).
Paper consumption.

The writing in the pentagram system for piano.

Advantages :

Paper saving.
Easier to read.

Disadvantages:

Difficulty in writing cleanly, at a somewhat

advanced, from the moment when the voices
they acquire a personality and a relative independence.
 Due to its compact visual appearance, it does not encourage
develop advanced writing.

MELODIC RULES

The melodic rules refer to the movement of a single voice (not

it matters which, but only one voice at a time, without considering the others.

Allowed melodic intervals.

All intervals can be used at the beginning of the studies.

minors, majors and just included between the second and the sixth
minor included, as well as the octave jump. It can be tolerated in a
certain occasion the sixth largest.

Obligatory melodic movement:

The leading tone (only when it is the third of the dominant chord)
it should go to the tonic, unless the next chord does not use the tonic,
What the immediately higher voice makes heard is the tonic at the height
where it is waited. (This tolerance is sometimes only accepted when it
it deals with the superior voices.

Intervals that must be avoided imperatively

At the beginning of the studies, it is necessary to avoid at all costs the

seventh jumps and augmented and diminished intervals, the
which soon become a tic and radically hinder the
discovery of better achievements, which represent the
true framework of future writing.

Nota: a partir del estudio de las séptimas de dominante se podrá

make musical use of all diminished melodic intervals,
followed by a movement in the opposite direction. At the beginning of the
In studies, it is preferable to avoid the raised second of the minor mode.
even when it is followed by the tonic.

Precautions:

The seventh and ninth runs in three notes must incorporate a

joint movement.
The augmented fourth (tritone) in three notes must be followed by a
semitone in the same direction.

The octave jump is usually presented with the opposite sense to the
melodic line from which it starts. It departs from it according to the same principle,
returning inward.

HARMONIC RULES

The harmonic rules refer to the movements that are

produced (and modified in each chord) between two voices. It doesn't matter
what a pair of voices among the four.

Crossings and unisons

At the beginning of the studies, there is no reason to carry out

crossings between the voices: they are used according to their normal order of
superposition. Unison can be used if it is unavoidable or if there is
a good reason to do it, due to the context.

Movements between the voices

There are numerous ways to space the 4 voices apart. Here is

a few, commented on the corresponding numbers:

1. Almost equal intervals between the different parts. To this

This arrangement is known as the quartet position. It is
an ideal position, which sounds very good.
2. On the contrary, one can isolate the bass and group the three.
upper parts. This arrangement is sometimes referred to as the
piano position (the bass for the left hand, the rest
for the right hand).
3. The eighth should not be exceeded between any of the
three upper parts and their neighbor (but this is
allowed between the bass and the tenor.
 4. A particular provision: if the eighth is reached
between the two intermediate parts, the two voices
lower ones must form an interval that does not exceed the
third, otherwise the chord will sound hollow. One must hold
this particular provision: the students fear it, still
when it doesn't sound so bad (remember the courses of
dictated in four parts and all the various errors that
this arrangement, rich in harmonies, generated).
5. A necessary warning: they can distance themselves up to the
Eighth the two upper voices. Later it will be seen that
they can even exceptionally exceed the eighth
for a short time if the balance of movements
melodious justifies it.

Observe and carefully adopt the writing conventions

that refer to the sense of the folds and to the placement of the
ligatures.

Harmonic movements

These are the movements that each pair of voices makes. There are four.
classes:

Parallel movement: the two voices rise or fall together.

keeping the same interval. They often do it in thirds.
or in sixths (or their repetitions).

Parallel movement is absolutely prohibited in two cases:

Consecutive (different) octaves by parallel movement.

Consecutive (different) fifths by parallel motion.

These movements have been judged too vulgar and

too harsh, from the Renaissance to the post-Romantics,
those who do not use them (in 4 voices) except very exceptionally.
Opposite movement: one part goes up, the other goes down, or vice versa. It is
an extremely frequent movement, well balanced. No
presents challenges. The following example shows two pairs of
parallel voices that, in pairs, evolve in opposing movement:

The only mistakes that this movement can generate, almost by

bad luck, they are:

Consecutive octaves by contrary motion.

Consecutive fifths by contrary motion.

The same reasons that were seen previously apply.

Note: they are also called, as a summary, 'octaves'

consecutive, consecutive fifths" as the prohibition is
applicable to both the fifths and the octaves in parallel as well as for the
fifths and the consecutive octaves by contrary motion.

Oblique movement: one voice remains still while the other moves away or
It approaches. Nothing to indicate except at the moment of a unison: it is not
elegantly reaching him by the moving voice. On the contrary,
It is interesting to exit unison through oblique movement.

Direct movement: both parties rise or fall together.

pero acercándose o alejándose un poco. Imaginaos un movimiento
a parallel that was not completely parallel...
The parallel movement highlights the fifths and the octaves that
lead. When writing a direct movement that ends in a
fifth or in an octave (or its doubling), it is necessary to satisfy
the following conditions, intended simply to limit the
effect of direct movement.

Fifth or eighth direct between extreme voices:

The highest voice (in principle, the soprano) must proceed

by joint movement.

Fifth or eighth directly in any other pair of voices (it is usually

say: between any parts):

One of the voices of acting through joint movements

(ideally, the one above).
In the absence of one of the conditions above
mentioned, the note of the octave or one of the notes of the
the fifth must be heard in the previous chord (not
necessarily at the same height.

Direct unison:

Always forbidden, also in the counterpoint and in the

escape...

Note: the preceding rules are a recent simplification of ancient ones.

particularly intimidating pedagogical practices and
demoralizing. For more details, the more curious can request
more detailed rules. See my practical compendium of
harmony page 15, the Treaty of Harmony by Dubois, pages 14 to
16; the Treaty of Harmony, I, page 15 of Koechlin; the Course of
analytical harmony by Dupré, page 17, the Compendium of harmony
tonalde Bitsch, pages 19 and 20, or Yvonne's Treatise on Harmony
Desportes, page 7.
On the subject of direct fifths and octaves allowed or prohibited, it is sufficient to consult these various works, all
drafted by great teachers and composers, to confirm that there are more or less important differences in detail
in the conception of the rules. The proposals in the present course have the advantage of being both reasonable and quite
Simple. At the beginning of the studies, it will be necessary, first of all, to learn to strictly respect the rules that they have.
preference for your teacher. A little later your ear will learn to be the final judge, according to the circumstances
particulars. In fact, the differences in detail in the chosen fundamental principles will have no real consequences on the
the quality of your writing once you have gained experience.
 Fifth chord
Nothing is learned when one wants to learn everything at once.
This statement is by George Sand, who was famous for not having
I have been a conservative woman... A writing course aimed at
achieving specific and practical objectives must come from the most
simple to the most complex. Until all the basic rules are in place.
well assimilated, one must limit oneself, to begin with, to the perfect chord
from the fifth (just) in fundamental position (notation 5, sometimes 3).

However, when the exercises are built solely with

the fifth chord, the notation does not repeat unnecessarily under each
agreement, but only in specific cases:

Ciphered

In minor, to indicate the presence of the alteration of the sensitive in

the chord of the V° degree, or generally to indicate that the
the third must be altered in a different way than according to the armor,
it is customary to simply denote with a sharp (a
flat) or a sharp (the 3 is implied). The number 3, alone, means
that the author suggests to omit the fifth: in this case it triples
the fundamental, although it is not prohibited to duplicate the third if it is not the
sensible.

THE CADENCES
A good way to become familiar with the chains of
chords are observing them in the cadences. The cadences are
degree chains (or: harmonic functions) very
specific, which score the musical phrase more or less
suspensive or conclusive.

The following definitions remain valid in all...

serious musical institutions and they are in agreement, of course, with
the theoretical works of Jacques Chailley, Henri Challan, Yvonne
Desportes, and many others. Some rare courses or isolated manuals.
they propagate very deplorable confusions, without citing references.

Semicadence

Other nomenclatures: rest in the dominant, arrival on the

dominant.
Description: Vº degree in evidence, in state
[Link] character.
Preceded by: the most frequent IV or II, fundamental state or first
investment. Sometimes preceded by the VI, or even by the I.

Perfect cadence

Descripción :sucesión V-Ien estado [Link]ácter

conclusive. It is not necessary for the sensitive-tonic succession to be in the
soprano (the cadences are harmonic functions, not melodic ones)
although this reinforces the conclusive character.
Preceded by: the most frequent IV or II, fundamental state or first
investment. Sometimes preceded by VI, rarely III. In any case, I is not
impossible, if not somewhat clumsy.

It should be noted that, as a result of the soprano's selection, the

the last chord from the top right is incomplete. Let us remember that,
in principle, it is preferred to omit the fifth rather than to omit the third (for another
Part this consideration will be a rule in cases of chords of
seventh or ninth).

Broken cadence
Descripción :sucesión V-VIen estado [Link]ácter
suspensive. No soprano is obliged, although it may be sensitive-tonic of the
better effect.
Preceded by: such as the half cadence and the perfect cadence.

Plagal cadence

Another denomination: church cadence (as in a...Amen). Your

The name is an allusion to the ancient modal plagal modes.
Description: succession IV-I in the ground state. Very characteristic
conclusive.
Preceded by: the most common VI (fundamental state) or I (state
fundamental or sixth). It willingly follows the broken cadence or to the
perfect cadence, reinforcing its conclusive character.

For memory only these cadences that do not have a

frank character of punctuation :

Imperfect cadences
All cadences can be deemed imperfect when they
less one of the chords is not in root position. They lose
then almost entirely its scoring effectiveness.

Descripción :el apelativo "cadencia imperfecta" designa como más

the V - I sequence (functions of perfect cadence) is frequent but
with at least one of the two chords in an inverted state. Character
affirmative but no true role of punctuation. For this reason, in
the framework of musical discourse does not really deserve the classification of
cadence
Preceded by : nothing systematic. It is used as an element
ordinary of the speech.

Avoided cadence
Description: built like a perfect cadence, but the first
the degree becomes in turn the 7th of the dominant (to modulate to the
subdominant). Some authors describe it as the succession of a
semi cadence and a modulating chord (many eventualities
they can be presented). Reminder character of a broken cadence, but
modulatory.
Preceded by: nothing systematic. Rather than a cadence with
función de puntuación, se la puede considerar como una manera de
modular, among many others, leaving the tonality through its V
degree.

THE FIRST LOW DICE

The preliminary exercises led to the main classes of

cadences.

When the exercises are longer, it may be useful to encrypt (with

Roman numerals) the degrees under each note of the bass. But it can
one should also limit oneself to the most important degrees: The dominant (V)
what involves the sensitive with forced movement, the broken cadence
(V-VI).

BASIC TECHNIQUE

After your first steps, you will have the impression of

to be "programmed". It is provisional. What follows is intended to
avoid wasting precious time and simply corresponds to
put one foot in front of the other before learning to dance

1) Discover the common notes in each chaining of 2

chords. Three cases may arise:

The bass creates a third or sixth interval: 2

common notes between the two chords.
The bass makes an interval of a 4th or a 5th: 1 note
common.

In the two previous cases, leave the common note (more

rarely the two common notes) in the same one
voice. Write the other voices subsequently, seeking the
smallest possible movements.
 The bass makes a second movement: no note
common.

In this case, evolve the 3 higher voices.

by movement contrary to the low, always seeking the
smallest possible intervals.

2) Carry out the duplication of the fundamental, which is the duplication

habitual in chords of 3 sounds in root position.
This is often already done after the previous step.

3) Write the rest, looking for the most discrete intervals possible.

Note: it is only when one departs from this foundational technique

when there is reason to worry about the rules of fifths and octaves
parallels, or of the fifths and eighths direct! When you have
having acquired speed and reflexes, you will be able to detach yourselves from this technique of
basis for finding a more expressive soprano (and a little less
set).

Unusual duplications

It is not a mistake to make an unusual duplication, but it is necessary to be

aware of it, having a particular reason and monitoring double
context, as this can lead to mistakes.

However, one is almost always obliged to respect certain

less common duplications :

[Link] V - VI (broken cadence): almost always it happens

he is required to double the third in the VI chord
degree, and evidently, the voice that executes the movement
The tonic sensible does not go against the bass!
[Link], it is often better to duplicate the
thirds in the chords of VI and III degrees: it is about
just the important notes in the key,
respectively the tonic and the dominant, which is good
reinforce.

Preliminary exercise

Complete the tenor and the alto that are missing in the sequence of cadences.
down here. To help you, refer to the examples of provisions
of cadences, on the previous pages.
 Harmonic marches

It is called harmonic march to a succession of chains that

they reproduce several times and with each time a displacement in the
tonal scale. Here is an example of a harmonic march, very
simple, but very important to understand and put into practice
when necessary. Each element is made up of nothing more than
for two chords:

Observations:

in each element the bass progresses by leaps of fourths,

in each element the tenor remains,
the two upper voices progress in parallel thirds,
the sensible in the contralto can descend together
(compasses 2-3).

It will also be observed that, in this text in C, the fifths

direct connections between extreme parts naturally arrive by semitone at
soprano in the chords of degrees III and VI, and by whole tone over
those of the first and fifth degrees, which greatly justifies the simplification
such rules that many educators teach today.

Harmonic progressions can be non-modulating or modulating. It is

during the study of the modulations when will they be found
complicated examples. It is necessary not to neglect their study and, as
general rule, when a march is discovered in an exercise, under or
singing, it is necessary to treat it as such with the best possible realization.
Renouncing it would mean finding two or more solutions.
possible, all of them also good for harmonizing each element
from the march, which on one hand is unrealistic, and on the other hand
it harms the unity of the exercise.

Suppression of the fifth

It may happen that you are required to omit the fifth of a chord,
better than the third, if you cannot write the full chord. In
in this case the conventional cipher of the chord is: 3. This happens to
sometimes in the perfect cadences, when the soprano finishes
descending together on the tonic (see the last example of
the perfect cadences).

THE FIRST GIVEN CHANTS

General method

Take all the necessary time to read, sight-read, and sing the
given singing, before starting to raise questions on the subject.
This contact is an important deciphering and can make you
discover effortlessly decisive building options. This can
to represent one third of the work.

2) Search for the cadences

The chant often leads to a pause towards its middle.

suspensive, or rest in the dominant (semi-cadence). Ends
probably with a perfect cadence prepared by the degrees
IV, II or VI. The plagal cadence can occur after the perfect cadence, or
can sometimes conclude the given text on its own. Begin by determining
the construction placing good low functions in these places
keys.

3) Manage the cadences well

The next stage, the safest one, often involves taking

decisions about the notes that immediately precede the
cadences. When there are several options, take note of them.
Well, a option that now seems secondary could become
a better option after having built the rest.
In the minor mode, remember that the leading note cannot be
harmonized more by the chord of the V degree (in major, the III)
degree can be an option.

4) Firmly establish the tonality

Next, the beginning can be worked on. Do not fear employment.

frequent of the perfect chords placed on the tonal notes
(I, IV, V) which help to clearly define the tonality. If you
there is too great a tendency to use the V - I, keep
in the memory that the broken cadence (V - VI) often replaces
advantageously the perfect cadence in the flow of the discourse.

The rest of the work

It is almost always this part that is the least obvious. It is

frequently there where the various can be found
possibilities of harmonization, almost as convenient as
the others.

Chords to avoid

Musical instinct should be the first guide for choosing.

the good chords, and not the reasoning, which will not lead
strictly to nothing from the moment the texts are
develop in musicality but also in complexity.

For the moment, it is premature to use the VIIth degree (fifth chord)
decreased) in both modes. It is indeed a seventh function of
dominant without fundamental.

In minor, the third degree is augmented and improper for the exercises.
simple of classical harmony.

Purists can also consult the chapterModulationsy

false relationships, in the subtitle 'false tritone relationship'.

Warning!

Students who were caught doing it in the minor mode,

repetitive clumsiness like the use of diminished chords or
augmented, or melodic movements in bursts of seconds
Middle Eastern augmentations would demonstrate two things:

1. They do not have the ability to hear what they write and also
they do not make an effort to develop in this sense.
 They are increasingly making the auditory discovery of their
rehearsals and they hasten to give their musical approval,
but this is not enough baggage to take the plunge
immediately to the electroacoustic composition.
They prove again that intellectually knowing a
a list of rules is useless if the audition is not
the first fire guard. No interesting music has
has been written intellectually verifying in each new
compass a complete catalog of rules or even a
catalog of "correct possibilities".

Frequent chaining

Do not fear too much the repetitions, or some heaviness in the

beginning of the studies. We do not have, for the moment, more
what a class of brick to build a wall: just one chord and in
fundamental position! If you find it abnormal not to write already as
Mozart after three weeks of course, return quickly to land: you
There are a few discoveries left to make.

The chords built on the tonal notes (sometimes

strong calls (good grades) chain well together
they.

The degrees that correspond to the modal notes III and VI (sometimes
called weak degrees) are also well chained among themselves.

The students embedded in commercial music are very

friends of chaining V -IV, which becomes a tic. Note
that these two consecutive chords do not go well together, in general, yes
it is not towards the I (plagal cadence) or towards a quick return to the V,
after an optional excursion to the II or the VI.

Note also that after the V, it is often forgotten about

consider the possibility of VI (broken cadence), less heavy than I
(perfect cadence).

These exercise suggestions are to be considered as

first options,
and not as enough lists for every student.
 Low data: Henri Challan,380 low and given songs,
Compilation 1a. You can start with the exercises in larger,
such as the numbers 1, 3, 4 (this asks for a first effort of
initiative in the last two measures), and 6. In minor: 2,5,7,9 (point
in common: be careful not to build a monotonous soprano in the
second half)
Given songs: experience seems to teach that it is possible
jump safely in the short term the phase of the given songs with
only the perfect chords in root position, so as not to approach them
more than with the supplementary tool of the first investment
(sixth chordWithout the pressure of time, this would not be my choice.
pedagogical. Henri Challan,380 basses and given songsCompilation 1a.
First some in greater: 16, 18, 19, 21, then in lesser: 17
20, 22.

Exercise instructions, eventually with explanations about my preferences, are being progressively added to
each subject of this course. In a second phase, but only for advanced chapters, I will probably add some texts and
exercises I have prepared, the reproduction of which does not involve any copyright issues.

SIXTH CHORD
From now on, be careful not to confuse the terms: low and
fundamental. The sixth chord is the first inversion of the chord of
three sounds. In other words, the bass of the sixth chord is the
third of the same chord in root position.

Cipher

The only position to avoid as much as possible, and this is a rule.

In general, it is about placing an octave between the two intermediate voices.
when the bass and the tenor are at a distance greater than a third
( example on the right).

An addition to encryption: the dash

When several consecutive times are harmonized by the same
harmonic function (that is, the same chord, the same notes) but
with changes in position or inversion, it is customary not to encrypt anymore
that just once and to imply the encryptions of other times
for a script. The advantage is that it can be repaired at a glance
in which there is only a single harmony throughout the entire duration of the
script. Consequently:

During the duration of the script, they are the notes represented by the
ciphered those that continue to be used. Only
assumption (arrangement of voices, choice of duplications)
can be modified at the discretion of the creator. The eventual change
divestment is determined by the eventual movement of the low:

During the duration of a chord, if the bass is held.

the script, the investment does not change.
During the chord, if the bass ascends or descends by thirds
during the score, the chord changes inversion.

Use of the sixth chord

The sixth chord has the same harmonic meaning as the chord
corresponding in fundamental position (a third lower). No
Nevertheless, their character is less assertive.

Avoid duplication of the bass

Notes are not suppressed in the sixth chord and, as a rule, they are
avoid duplicating the low, which would exaggerate it and create
a heaviness (is, after all, the third of the perfect chord).
On the contrary, this duplication can be tolerated occasionally in
the course of a change in position or state, when one of the two
duplicate notes are already in their place (the treaties also say: if the
duplication is not attacked.

Recommended duplication of the bass

The reinforcement of the low by a duplication is completely

desirable in the following cases:

When it comes to a tonal note (frequently IV or

V) and especially in chaining II6In which
frequently leads to a cadence. The best
the position of duplication is, most frequently, in the
tenor

When the duplication is caused by movements

opposites and sets, due to the interest of the lines
melodic.
Finally, when it comes to the 'false sixth chord', being
the bass under the dominant.

Observe the sixth chords in the following two examples and

determined by which of the preceding reasons their lows have been
duplicates.

The sixth Neapolitan

Yes, in the minor mode, the chord II.6preceding the Vº degree, but in
the sixth (in fact, the second note of the scale) is lowered
a chromatic semitone. This musical effect used by the school
from Naples (Italian Renaissance) has been borrowed by the
tonal music of all subsequent eras.

Its characteristic mainly consists of valuing the interval

diminished third dramatic between its sixth and the leading note of
dominant chord. (Note: or also a succession of two
semitones if a fifth or fourth and sixth chord is interposed
support.

In the sixth Neapolitan, the bass must be doubled, as in everything.

chord II6, since the sixth has a descending character.

Note: when using dominant 7ths, there will be a case

where it is not unfit to duplicate the sixth, provided that the bass is
maintain and move towards a tritone chord. See in this regard the
page of themodulationsdubbed false relationships and in
Naples-style pizza

Tips for the given lows

At the beginning of the studies, precious time will be gained.

remembering that the main difference between the 5 and 6 chords lies
just in the note that is their own and that symbolizes the encryptions.
In most cases, the best option is to choose the sixth one.
the soprano, and when this option is not realized it is necessary, for the
less, having examined it carefully, as an obvious line
is often intuited.

The best position of the chord II6preceding the Vº degree is, almost
Always, leave the sixth in the soprano and double the bass or the tenor.
frequently following an ascending interval.

Tips for the given chants

A low has to be chosen between two investments.

possible chords that may have been imagined under the song.
At the beginning of studies, one can rely on the principles.
next elemental:

When the soprano is the third of the heard chord

(imagined), it is better to put the chord in position
fundamental.
When the soprano is the quintessence of the fundamental
ear training (imagined), it is often more
it's convenient to choose the first investment.

Frequent jobs

Don't forget that the sixth chord bass is frequently

placed over the VII degree (over the sensitive). However, the
the character of the chord is less assertive than the chord
corresponding to the fifth of the Vth degree.

It is also found on degrees III, IV, and VI. These chords of

Sixths actually have the same functions as fifth chords.
of degrees I, II, and IV.

Notice that the IIº degree of the minor mode (diminished chord) loses
his complaining character when employed in the form of
Friday (II6).

The sixth chord's bass on the tonic is rarely found.

Lo más frecuente es que este acorde suceda al acorde de quinta del
1st grade.

Occasionally, a sixth chord can be found.

the cuyobajo is placed over the dominant:

In the course of a series of joint sixth chords

(parallel).
As a 'false sixth chord', in which the note of
The sixth is indeed a support of the fifth in the chord.
the dominant (see example in the paragraph concerning the
recommended duplications of the bass.

New precautions arising from the use of investments

Harmony syncope

In principle, do not extend over a strong period (in particular

about a first beat of measure) a harmony struck on time
weak, even when it comes to a single chord presented in
different investments. There is a risk of weakening the sense of
strong time. This practice may later present itself without so much
clumsiness, for example when the musical lines are good
counterpoint interest.

Fifths or consecutive eighths

One or several changes of investment or position within a

the same agreement conceals the faults of fifths and octaves
consecutive between one harmony and the next: it would be necessary that
another harmony (a third different chord 'isolating' the other two)
out of ear between the one who makes listen to the first fifth or octave and
he who makes the second heard.

Example 1: there are three mistakes. The fifth and eighth marked in the
the second beat is incorrect, as it occurs in the course of
two consecutive harmonies. Even if they occur over a beat
weak in the second measure, and even if in a writing more
complex, later, certain fifths can sometimes be tolerated
octaves of this genre, it is necessary, for the moment, to learn to
to correct them, let's say rather: to acquire mastery ("to master them").

Examples 2 and 3: two ways (among others?) to correct the

errors. The three errors had to be corrected without modifying the soprano or the
low, as in a situation where it would be prohibited
to touch them (given low, or also given song). Many others
modifications are possible if one chooses to modify the soprano, or,
fundamentally, change the bass and harmony. Often, it is enough,
by moving a single note (even if this alters a duplication)
to correct the problem. Here, the tenor re was the largest
defect and, precisely, the sixth chords offer a wide range
of possibilities for choosing usual positions.
 Low data: Henri Challan,380 basses and given songs,
Compilation 1a. Series 31 to 45. Only 44 and 45 are a
a little more delicate. To observe: the 33 for the series of sixths
parallel (measures 5 and 6), the 38 for the sequences 6 5, the 39, which
it starts with a very well-known Mozart march and, above all, the
41, which is necessary not to forget for the beauty of the motives
melodic ones that can already be answered voice to voice.
Given songs: Henri Challan,380 low and given songs,
compilation 1a. Exercises 46 and following. It may be preferred
first carry out some exercises in greater detail. Note: the
48 calls for a reduced fifth in the 4th quarter of the
compass 4. I have a personal allergy against 51, even if it exists.
used to make a march work (measures 5 and 6).

FOURTH AND SIXTH CHORDS

It is about the three-note chord when the fifth is in the bass.

Cipher

This unique cipher hides, in fact, several uses

musically very different, which can be regrouped (to
simplify) into three families. However, you will find uses
which constitute variations or even ambiguities between the two
families.

Common point for all fourth and sixth classes:

In almost all cases, even if for various reasons.
according to families, the good doubling is that of the bass.

At the beginning of harmony studies and to save time and

complications, it can be considered, in practice, that every chord
the fourth and sixth must be able to be accurately related to
one of the following three cases:
 Fourth and sixth of support
(also called: cadential)

It has a role of suspenseful punctuation in musical discourse.

Its low is placed over the V degree: It is, in fact, a double

support preceding the perfect chord of the fifth degree, leading,
the most common, a cadence (semi-cadence, perfect cadence, or
broken cadence).

As a support, it is placed on a strong beat or, in

rigor, on a time stronger than that of his resolution.

The bass is doubled, as always.

There are, in principle, two mandatory movements, to treat both well.
apoyaturas :

the sixth descends to the fifth,

the fourth descends to the third.

Low data:

If the fourth is heard in the soprano, it will be avoided to lead it through

direct movement with the bass, which is rarely written down
four voices. This direct arrival is better tolerated between the bass and a
intermediate part.

The best way to reach a fourth and sixth of sporadic support is

opposite movement between the ends.

Given songs:

A dominant function cannot be prepared by preceding it.

from the same function! It is the reason why it is absolutely
it is necessary to avoid preceding the fourth and sixth of support with a
chord of the Vth degree, inverted or not, or even any chord that makes it heard
the leading note. This "burns" the effect of the leading note and
it constitutes a serious blunder.
Particular case:

Sometimes the effect of the fourth and sixth of the bass support is found over the
first grade (and, of course, on strong time). They are found
good examples of this in Bach's chorales. Generally the
The effect is solemn.

Fourth and sixth of step

It is a relief of writing that allows obtaining a low.

set where the chords of fifth and sixth would have resulted in
a disjoint bass. It can be analyzed as a 'passing chord' between
a harmony and its own investment. Let's observe that, in the examples
Next, one could have been satisfied with chords I and V in
fundamental state :

Normalmente está colocada sobre un tiempo débil, pero puede

to encounter it occasionally during a strong time.

Usually, there is the possibility of hearing two voices performing.

change due to opposite movement and set, and producing the
duplication of the bass during the fourth and sixth chord. This change
it occurs more frequently between the bass and the soprano, but it can
occur between the bass and any other voice.

The voice that remains maintained usually produces a note.

tonal.
Some fourth and sixth steps are caused, more rarely, by the
joint movement of a single voice. In this case, it can be accepted
to duplicate another note different from the bass:

Fourth and sixth of edging

It is the least important, musically. It only has a role.

ornamental, double border of the perfect chord. Placed "in
sandwich" between two identical chords, usually returns to the
perfect harmony, but it can also make an escape:

Other types of fourth and sixth

As you progress through the exercises, you will encounter fourths and
hybrid sixths, related at the same time, for example, to a fourth and
sixth of step and to a fourth and sixth cadence.

The following cases are easier to highlight, but they are

delicate to handle at the beginning of the studies. Additionally, their
employment is far from having a great musical urgency. There would be interest
in not worrying about them before having properly assimilated what
precede, in order not to harm the clarity of the notions
essentials :

Augmented fourth

Some ancient treaties state the following rule: one cannot

write two consecutive fourth and sixth unless the first fourth
increased sea. It is, in fact, an allusion to employment, more or less
welcome, in the minor mode, from the second inversion of the IIº degree
before the fourth and sixth of support, instead of the first
investment II6more common and clearer.
Disguised Neapolitan sixth

It is a variant of what precedes, the only difference lies in the

presence of the descending alteration characteristic of the Neapolitan sixth.
It is also a masking of the II chord.6, this time from the sixth
Napolitana of the minor, but in second inversion. It often precedes
the fourth and sixth of support, and it is, with the previous case, a rare
an occasion where two fourths and sixths can succeed each other in a manner
justified.

In these last two cases, most of the time, these effects

they are perceived as an incoherent trap in the low dice, still
when in the given chants the use of the II6becomes a
most recommended choice.

Low data: Henri Challan,380 low notes and given songs,

compilation 1a. Reserve for later the 61, which presents
a fourth and sixth in a less obvious context (measure 3).
Exercises 62 to 65, as well as 67 first. 69 is interesting.
because it presents a repetitive soprano problem (line 3, measure 2).
The 73, for its long joint lines.
Do not address first due to its less common turns:
the 66 and the 68 (among others, in measure 3), the 70 likewise. The 74 no
It is evident, and I would propose the 75, which I consider more.
urgent to discover their tricks.
Given songs: Henri Challan,380 lows and given chants,
compilation 1a. Series 76 and following. The 76 and 79 seem to me
preferable to start. The 82 presents a current march.
Less attractive: the 84 and 86. Reuse the 87 to 90, they need wise ones.
searches.

THE MODULATIONS

Modular does not mean changing mode but changing tone. In the course of
a modulation can also present a change of mode, but not
systematically. The tone is changed by introducing modulating notes that
they are part of the new tonality and not the old one.

Here are two simple examples: to modulate to the tone of the dominant one
introduce the new sensitive one. To modulate a fifth lower the new one
sensible, truly, it is not enough (since this note forms
part of the first tonality): it is necessary to hear the new subdominant.

Low given scores

When the author of the given figured bass leaves the key of the key signature,
make the encryptions precede the necessary alterations (or indicates the
alteration only concerns the third one). Consequently, the changes of
tonality is explicitly indicated in the notations. The faculties of
observation and analysis are the only necessary ones, but it is worth more
to make an effort to hear what is being read. The construction will also be determined
tone of the exercise and will be carried out as usual, monitoring the correctness
of the chromatisms that can occur in the modulations (see more
forward).

Given songs (and unencrypted low ones)

Modulations are not necessarily 'visible' in a simple examination.

superficial of the text: the modulating notes do not always form part of the
given text, and with greater reason the precise moment of entry into the
new tone.

The work of auditory imagination is therefore decisive: it is the

discovery through inner hearing (mental hearing) of the notes
modulating (whether in the bass or in the intermediate parts), the one that is going to
reveal the new tonalities and allow for a musical harmonization
satisfactory.

Inner hearing is the only sure way to come out well. Logic
and the calculation can provide several possible solutions only from the
theoretical point of view, but without relation to musical reality. The choice
Interesting modulations can only be done through the faculties.
auditory and musical instinct (check next, if you want, that the
the intuited solution is presented well as a logical sequence.
It is this inner auditory activity that needs to be developed.
(normally the course of dictation in three voices has already been done), and not the
logic, which leads nowhere in the long term and has no interest from the
musical point of view. Logic will be better used in the exercises
specific, calling for the construction of the marches
harmonics.

Low data: it is necessary to start gaining speed and safety

to apply to longer texts. Henri Challan,380 lows and songs
datacompilation 2a, exercises 91 and following. Some preferences: the
little minuet 93. The 94, without a doubt, will reveal for the first time a
cleverness to organize with the beginning and the tempo (I never use the term
specific music so as not to hinder the search!)
Notes concerning errata: under 97, measure 3 and 4th time, it is about
of a diminished fifth. Under 98, line 3, measure 3, beats 3 and 4: the
ciphered is 5 followed by _________.
Given Songs: Henri Challan380 low and sung notescompilation
2a, exercises 111 and onwards. Personal preference for 113 and the
114. The 121 and the following seek to be carried out by
elegant and accomplished way.

FALSE RELATIONS

It is called a false relationship to a succession of two notes that produce an effect.

clumsy since they are placed in different parts. It often involves
notes that could have produced (if they were in the same voice) a
chromatic movement.

False relationship in chromatic movements (for example, in the

modulations

If a modulation is driven through chains that involve

the possibility of a chromatic movement, it is necessary to write this
chromatic movement in a single voice (instead of distributing it between two
voices) under penalty of making a false account heard. Furthermore:

1) It is necessary to avoid duplicating the note that is going to be altered. This is not
always possible, and often the use requires that it be duplicated. In this
if the duplication is left due to opposite movement:
2) Conversely, it is necessary to avoid duplicating the newly altered note. If
this is not possible, or if the use allows this to be a duplicable note, it is
necessary to reach the octave by contrary motion:

Unlike in other chapters of this work, chapters conceived for

to be used in progressive order, it has seemed more practical to regroup
various examples of false relationships that can be found in various
stages of study. The curious student can consult, first
sumariamente, esto que sigue, para volver ahí de nuevo con más atención
the moment has arrived.

False tritone relationship

The treaties prohibit the false tritone relationship in the chaining V

IV, when the sensitive is in the soprano:

On the contrary, the treaties themselves have nothing to say about the
same false relationship between bass and soprano situated in the chaining
current IV V :

The prohibition in the sense V IV is more of a style concern.

than an absolute judgment. When we study the fifth chords we have
I would like to emphasize that the chaining V IV can lead to nothing more than,
the most common, a turn to the fifth, or a plagal cadence to the I.
Other usual false relationships

False relationship in the sixth Neapolitan

In the example on the left, the false relationship exists and is accepted.
An example of the right is advisable when the bass remains still to drive.
a tritone chord (+4), and the sixth is then doubled: one of the sixths
one rises, the other descends, in accordance with the rule of duplications in the
chromatic movements :

False relationship with the dominant seventh

The false relation is common and accepted with the dominant seventh and its
investments, all the more reason since the bass announces a
modulation after a characteristic interval, such as a
diminished fourth (example on the right):

False relationship between the two forms of the melodic minor mode

The simultaneity of ascending and descending melodic minor scales,

far from producing an unpleasant false relationship, it gives a very natural effect
(to be reviewed when addressing the dominant 9s):