the dissonance between the bass and any one of the upper parts is entirely removed; for example, and so this leading tone triad as a chord of the sixth is one of the most common and effective in music. Either the original third or the original fifth is doubled with equally good effect; for example, at (a) and (b) above we have a doubled third, and at (c) a doubled fifth. The following example from Handel's "Messiah is instructive, as in it we find three first inversions of leading tone triads. (a) (b) (c) In this passage we see also the different possibilities of "doubling." At (a) and (c) the original third is doubled, and at (b) the original fifth. SII. With the growing prevalence of dominant seventh harmony during the last two centuries, the second inversion of the dominant seventh (the so-called chord of the third and fourth) may seem to the student richer in its effect as well as more customary, but the inversion of the simple triad is often purer and stronger, especially in compositions for voices "a capella," wherein a too frequent use of the inversions of the dominant seventh chord has a rather cloying effect. This the student can verify for himself by a comparison between the following well-known cadences: *By "a capella " is meant vocal music without accompaniment. At (a) and (b) the skips in the tenor are always particularly effective with voices.* At §12. The mediant chord (that is, the triad on the third degree) also requires special care for its proper use. first it will be wise for the student to use this chord very seldom in the fundamental position, for it is one of the most indefinite of the secondary triads. III II VI III II VI III IV I Passages like the above, however good and effective they may have been in the modal, ecclesiastical style, should be employed judiciously in modern music, and introduced *It is understood, of course, that the two chords in question are closely allied. In fact, the diminished triad on the leading tone has no satisfactory individuality at all, any more than any triad which has a diminished or an augmented fifth. It is merely an incomplete dominant seventh chord with the generator or ground tone omitted; for example, In passing we may point out that the same chord when found on the second degree of the minor mode is closely related to the chord of the seventh on the leading tone (the so-called diminished seventh chord), which in its turn is nothing but an incomplete dominant minor ninth chord. The following chart will make this clear: 112 VII27 V9 only when a yague, mysterious effect is desired.* After the tonality of a phrase has been established, the mediant triad may often be introduced, especially in connection with one of the other secondary triads, vI or II; for example, I I V VI III VI VI In general, however, the mediant triad is most effective in its first inversion, that is, with the dominant of the key in the bass, and is used either in connection with other chords of the sixth or with subsequent dominant harmony. The following chart exemplifies the most normal and useful combinations, and if the student will play it over and commit it to memory he will have very little trouble. good good not bad ble possi- possi- very very weak 6 6 6 6 6 III VI III VI III VI III II III VII III II III IV III V I III VI The last measure of the above chart illustrates a combination the student may be tempted to use; it should generally, however, be avoided, for the two secondary triads used together, each in the first inversion, and with a leap in the bass, give a very weak progression. To sum up *For a beautiful use of secondary triads see the following passage from Elgar's "Dream of Gerontius ". the matter of the last few paragraphs, nothing conduces more to a well-established tonality (and modern music in general presupposes a definite key system) than the realization that the triads on the second, third and sixth degrees of the scale are subordinate and secondary to those on the fourth, fifth and first, respectively. 13. As the triads in the minor mode are more varied than those in the major, that is, two diminished triads on the second and seventh degrees (11° and vi°) to one in the major (vii) and an entirely new one the augmented triad on the third degree (III), so greater care is needed in the use of each of them, and in their interconnection certain principles have to be rigorously observed. The first striking fact is that the diminished triad B, D, F, may be used with good effect in its fundamental position in the key of A minor, whereas the same triad in C major was found to be very harsh in sound, and difficult to connect with other chords. The reason is, of course, that B, the lowest note is no longer the leading tone. The student may see this very clearly for himself if he will first play several C's in octaves with a strong, firm touch; that is, and then strike He will instantly feel how harsh this chord is in itself, and how difficult to be combined effectively with other chords. Now, after a pause, let him play several A's in the same manner, and follow them by the same chord. Though the chord is still felt to be a discord, it is not so harsh, and smooth combinations will at once suggest themselves; for example, At note carefully the chord in question with doubled B. This shows how powerful with us in modern times is the effect of tonality, or the principle by which all chords in a key are felt to bear a fixed and definite relationship to a common center, or tonic. This dimínished triad on the second degree of the minor mode is, to be sure, often used so as to give prominence to its intrinsic dissonant effect. In such cases the progression is generally along the usual lines of all primary discords; the bass ascends a fourth and the triad resolves to the dominant, that is, the chord really returns to its origin; for example, Instructive examples are cited from Bach, from Mendelssohn and from Wagner. In the first two of these examples, between 11° and V passing notes are inserted on the weak beats, but they in nowise disturb the main lines of the progression. |