The Rule of the Octave:

Strategies for Teaching Improvisation

in the Classroom

Dariusz Terefenko
Jazz and Contemporary Media
Music theory
Eastman School of Music, Rochester, USA

1
Handel - Lessons for Princess Anna
6/5 partimento

2
A baroque-like elaboration of the tonic pedal point

5
Tomás de Sancta Maria - Arte de tañer
fantasia (1565)
‘Modal’ rule of the octave

‘Tonal’ rule of the octave

Perfect and imperfect chords

6
 François Campion
Traité d’Accompagnement (1716)
Classic realization of the RO

7
 Nicola Porpora
Partimenti (1755)

8
 C.P.E. Bach
Versuch (1762)

9
 François-Auguste Gevaert
Traité d’harmonic théorique at pratique (1907)

10
 Faure’s rule of the octave

& ˙ ˙˙ ˙˙ ˙ ˙˙ ˙
˙˙ ˙˙ #˙ ˙
˙
? ˙œ #˙ #˙w ˙ ˙˙ n˙˙ ˙˙ bœ œ
{ bœ ˙ ˙
4 ´ Ä 7 4 ´ 4 N 5
2 4 2 2 3 3 E
3

& ˙ n˙ ˙ ˙ ˙ n˙
˙ ˙w ˙ #˙ b˙ n˙
˙ #˙
? w ˙ œ w
{ w #˙ bb˙˙ n#œw
nœ #œ b˙ n˙
6 ´ 6 6 F 5 G 6 6 6
4 5 V 3 3 Ä Ä V
3 3 2 2 2

17
 Fedele Fenaroli - Partimento

Figure 3 – Partimento by Fedele Fenaroli

15

Sequential patterns stemming from the RO

Figure 4 – Regola universale indispensabile

11
 Sequential patterns stemming from the RO
REGOLA UNIVERSALE INDISPENSIBILE

Figure 4 – Regola universale indispensabile

Figure 5 – Sequential bass motion vs. non-sequential bass motion

12
25
 A sequential rule of the octave - from Spiridionis
Figure 5 – Sequential bass motion vs. non-sequential bass motion

25

The Rule of the octave - a projection of cadences

13
 DEREK REMES

Johann David Heinichen - key schemes

116

Der General-Bass in der Composition (1728) 638

639

640

641

642

643
644

645

646
647
648
649
6o
651
652

653
654

66
67

68

659
66o
662
662

663
664

66

666
667

668
669
14
Figure i J. D. Heinichen’s musical circle, Der General-Bass in der Composition (Dresden, 1728), 837. The suffixes ‘-s’ and 670
Bass suspensions

15
Sala - Partimento #3

16
 Handel
4-3 partimento

19
Basic cadences

27
 Cadential expansions
I vii°7/V V ..6$ Kad 6$ 5£ I I ii7 V7 I
(1) (2) <b>˙˙ ˙œ <b>w
& <b>˙œ bœ
œ <b>œœ
œ
œ
<b>œ
œ <b>˙˙
œ
œ w

? œœ #œœ ˙ w
˙ ˙ œ œ
w
{ M 5
3
6
4
˙
6
4
5
3
7 7
() ()
() () () ()
º º º º
T {DÀ9.} > D%3
/ ^4> ^4> %3 T T S7II D7 T
1O 4n#O 5O 5O 1O 1O 2O 5O 1O

I V4 3 I ..6$ ..5£ ..7$ I I Kad 6$ 5£ V ..6$ ..5$ ..5£ I ..

(3) (4)
& <b>˙™ œ <b>˙™ œ w ˙˙ <b>œœ˙ œœ œœw<b>œœ œœ œœ <b>˙˙˙ b˙˙˙˙ w
˙ ˙ œ œ<b>œ œ w <b>˙ <b>w
w
œ <b> w
? w œw<b>œ œ ˙
{ ˙ ˙ w ˙ w w w
7
4 3 5 6 5 7 6 5 5 6 5 5 N
3 4 3 4 4 3 3 4 4 3 3 4
2 2
() () ()
() () () () 7, () () () ()
º º * º º º .. &6<. º
T D4-3 T%3. ^4> %3. 4" T T D^4> %3 D%3 ^4> %4 3 T T
1O28
$2
1O 5O 1O 1O 5O 5O 1O 1O
More cadential expansions
“Bachian cadence”

29
 Half cadences
IV V IV V4 3 I6 ii6% V I6 ii6% V6%/V V I6 ii6% vii°7/VV IV6 vii°6/V V IV6 It6 V
(1) (2) (3) (4) (5) (6) (7)
& w
˙ ˙ w w ˙
˙ ˙ w˙ w˙ ˙ w
w w w w
˙ œ bœ w w
˙ #˙ w
w w
˙ #˙ w
w
w ˙˙ w w
w w ˙ ˙ w w w ˙ b˙ w
w
? w w w
w w ˙ ˙ w ˙˙ ˙œ#œ ww ˙˙ ˙œ#œ ww w w w
{ 7 7 4 3 6 6
5
6 6
5
6 6 M
5
6 ´ 6 ´

º
S8-7, D S8-7, D4-3 Â 7II
ÂT ÌS D Â 7II {ÂD7}>D
ÂT ÌS Â 7II {DÀ9/.}>D
ÂT ÌS ÂS {ÂÌDVII }> D ÂS ÌSÂ 1, D
4O 5O 4O 5O 3O 4O 5O 3O 4O 4n#O 5O 3O 4O 4n#O 5O 6O 5O 6O 6nlO 5O

30
 Plagal cadences

-
º ..6 º º º º
S T S6
(1) (2)
w wT (3)
S T (4)
S S^4. T (5)
S6
˙ ˙
S(7_*6. T
& w
w w
w w w bw
˙ ˙ w
w b˙w b˙ w
w ˙ bœ bœ w
w
w w w w ˙ ˙ w
? w
w w
w w w w w w w
b˙˙ œ œ w
w
{ 3 3 6
5
5
!
6
!
! V
6
6
!
˙
9
M
8
N

º º º º
S&1<,
(6)
T #S^w
(7)
1, T
w (8)
S^1<, T (9)
S^4, T (10)
S^4. T (11)
S^4<, T
w w w w w bww w bw w #w w
& ww w #w w w w w w w
w w bw
w w b# w
w w
w w w bw w w
? #w w w w w w w
w w w
{ 7
5
´
4
3
´
Ä
3
6
4
!
6
V
!
´
4
3

31
Cadential evasions

32
More cadential evasions

33
Pedal points (Baroque)

34
Tonic pedal points - alternating 3rds/6ths

35
 Dominant pedal points - alternating 3rds/6ths

PONTE
2 3 1 2 7 8 7 7 3 6 4 5 3 2
œ
& œœ œœ œ œœ ˙ œ œ œ
œ œ œ ˙ œ œœ œœ œ œ˙ ˙ œ
œ œ
?
{ w
5O
w
5O
w
5O
w
5O

3 4 2 3 1 2 7 8 6 7 5 6 4 5
œœ œ œœ œ œœ œ œ
& œ œ œ ˙˙ œœ œ œœ œ œœ ˙
œ œ œ ˙
?
{ w
5O
w
5O
w
5O
w
5O

36
 Pedal points (Romantic)

œ œ ˙ ˙œ #œ ˙˙ ####
& œ˙ #œ # ˙˙ œ #œ ˙ w
˙ #˙
1 M3 2
? w ˙ #˙ ˙ b˙ ˙ ˙ ####
{ w
6
4
6
Ä
2
w
9
7
5
ö 3
ä
Ë
w
8
6
6
4
6
4
C
w
9
7
4
ä
8
8
3

œœ œœ œb#œœ œ˙™ œ œbnœœ œ œ œ nœ œœ nœ˙™ œ œ bbb

& ˙™ #œ
œ œ ˙ m3 2
2 œ #œ œ œ œ œ nœ bœ œw œ ˙
? w w w
bbb
{ 6
4
7 4
6
Ä
C
6
5
9
7
6
Ä
2
7 :
937 7
4
6
5
3
6
4
9
ä
N
3 4
7
9
7 7
Descending 7-6 Klangschrittregeln + cadences

38
 Descending 7-6 Klangschrittregeln
Alternate cadential possibilities - Double cadence

39
 Regola universale indispensibile

˙ ˙ ˙ ˙ ˙ ˙ ˙
& ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w
˙ ˙ ˙ w
1
? ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w
{ 8O
6
6O 7O
6
5O 6O
6
4O 5O
6
3O 4O
6
2O 3O
6
1O 2O
˙
6
7O 1O

˙w ˙ ˙w ˙ ˙w ˙ ˙w
& ˙ ˙w ˙ ˙w ˙ ˙w ˙ w
w
w w w w
& ˙ ˙ ˙ ˙ ˙ w w w w
2 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w
? ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
{ 8O
6
5
6O 7O
6
5
5O 6O
6
5
4O 5O
6
5
3O 4O
˙
6
5
2O 3O
˙
6
5
1O
˙

2O
˙
6
5
7O
w

1O

40
Improvisation drill in minor

41
 DRILLS
Descending 7-6 in major as a vehicle to modulate to
closely related keys

42
 DRILLS
Descending 7-6 in minor as a vehicle to modulate to
closely related keys

43
‘Play and hold’ technique - melodic diminutions

44
Ascending 5-6 Klangschrittregeln
Modulatory schemes

45
 Omnibus progression

KEYBOARD TEXTURE
CÞ E¨Þ G¨Þ AÞ CÞ AÞ G¨Þ E¨Þ
˙w bœ œ bbw w
˙ bœ œ bbbw bbbw b ˙ nœ #œ
w˙ œ bœ #˙w
b
& w w nœ nœ b˙w nœ œ #w˙ #œ œ w b w b w
w w w ˙ nœ bœ n w w
1
? ˙ #œ œ b˙ nœ œ b˙ nœ #œ ˙ #œ œ ˙ œ bœ ˙ bœ œ b˙ œ bœ b˙ œ bœ w
{
CHORALE TEXTURE
CÞ E¨Þ G¨Þ AÞ CÞ AÞ G¨Þ E¨Þ CÞ
˙ bœ œ bw bw #˙ nœ œ b˙ nœ œ #w bw b˙ nœ bœ nw
& w ˙ bœ œ b w w w w b ˙ nœ bœ n w w
2
? bw bw œ bb˙œ
˙ #œ œ ˙ nœ
b œ bœ nw w ˙ #œ nœ bwbœ œ bœ bbw
˙
bw
œ bœ w
{ bœ nœ #œ n˙ #œ nœ ˙ œ bœ ˙ b œ nœ bœ

46
J.S. Bach - Autograph of Prelude #1 from WTC

47
the [and] each be used individually [4 3 in Ex. 10 and 9 8 in Ex. 11] or together

J.S. Bach’s “Precepts and Principles For Playing

[as above in Ex. 12].

the Thorough-Bass or Accompanying in Four

[43] 13. The i isParts” (1738)
Resolved to [the Chord of] the Sixthll

ttJirU IrrF r rr IErr fa ID

6 5
4 + 4 4 4- 4 4 3 /":"\ [&]

e F f J 'i ;b Ir :l j I(

(, 5

4 4 4 4 [li}4 4 6 5
II

EJf Ffr 2 z
F I CFEr
6 2 c, 2 {,

art IEfffn Dl iJJ:JJ J Jlr J

4 f DaCapo

,J I
13 Cf. Handel ex. 13. Exx. 13 and 14 both treat the seventh in the bass. Here again the seventh in a progression of
descending fifths resolves down to the third of the following48
triad, which in tum is the preparation of the following seventh
Johann Pachelbel - The Mylau Tabulaturbuch
 ch.
, als ich 1692. zu Hall

Johann Pachelbel - The Mylau Tabulaturbuch - Realized

elbst Zachau, den ich
rechten Hunger und
wenn ich itzo dort noch
ware keine Brücke über
nte sonst nicht in die
hwümme ich über den
ch seiner Hero, seinen
r Hr. Kirchhoffen auch
).
containing preludes and
d or organ, was consid-
t for many years. The
own to exist of L’A.B.C.
ry of the St. Petersburg
n 1870 as a gift by the
usiast and passionate
Pavlovich Azanchevsky
“lost” composition by
covered by Professor
ka, who in March 2002
the uniqueness of the
ore details on L’A.B.C.
me to the St. Petersburg
see Maxim Serebrenni-
by Gottfried Kirchhoff:
e Lost,” The Organ, no.
.
aria Grohs and Klaus
ried Kirchhoff: 1685–
d Organist; ein Mühl-
ge von Georg Friedrich
ebastian Bach (Dessau
ed Kirchhoff, L’A.B.C.
entiert und Generalbaß
Milka (St. Petersburg:
zitor” 2004) [in Russian
rebrennikov, “L’A.B.C.
d Kirchhoff: On Stu-
Baroque Epoch” (mas-
sburg State Conserva-
an]; Olena Khimenko,
y Gottfried Kirchhoff:
nd Problems in Realiza-
” (master’s thesis, The
Academy of Music in
n]. Olena Khimenko has
the works of Kirchhoff,
will be included in her
d Kirchhoff’s Oeuvre in
evelopment of German
e First Half of the Eigh-
s see Gottfried Kirch-
ue for Organ, First Edi-
Serebrennikov (St. Pe-
University Publishing
hat Friedemann was in-
For example, he claimed
s own and vice versa he
own to his father. His
d drinking habit forced
not only his own estate,
 Daniel Magnus Gronau - 1699-1747

Ms. Akc. 4125 - Contrapuntal Exercises (517 Fugues)

Given

Dux

Ctp

Comes

52
 Partimento realization
Ctp - soprano
Dux - Soprano Comes - Alto

Ctp - alto
Dux - Tenor

54
 Ctp - soprano

Comes - Bass

Dux - Soprano

Sequence

55
Fedele

57
 Alta Regina
ALTA REGINA
C F E¨ E¨ E¨ F C C
&b ™™ ˙ ™™ ™™™ ™™™ ˙˙ ™™™
˙˙ ™ œœœ ˙˙˙ b˙˙˙ œœœ ˙
˙
b˙ ˙
˙
b˙ ˙˙ ™™™
˙ ˙˙˙ ™™™ ˙
? ™™ ˙™ œ ˙ b˙ œ b˙ ™ b˙ ™ ˙™ ˙™ ˙™
{b
5O 5O 1O 7nlO 7nlO 7nlO 1O 5O 5O

C C F E¨ E¨ C F C F F
b ˙˙ ™™™ œœ œœœ œœœ b˙˙˙ œœ b˙˙ nœœ ˙˙ ™™ ˙˙ ™™™ ˙˙ ™™ ˙˙ ™™
& ˙ œ œ ˙ œ ˙™ ˙ ˙™ ˙™
? b ˙™ œ œ œ b˙ œ b˙ œ œ ™ nœ œ ˙™
{ 5O 5O 1O 7nlO 7nlO 5O 1O
J
7O 6O 5O
˙™
1O
˙™
1O
Ripresa
B¨ B¨ F F C F/A B¨ C F F
&b ™™ ˙˙ œœ ˙˙ ™™ ˙˙ œœ ˙˙ ™™™ ˙˙˙ œœ ˙˙ œœœ ˙˙ ™™™ ˙˙ ™™™ ™™
˙ œ ˙™ ˙ œ ˙ œ ˙ ˙ ˙
? b ™™ ˙ ˙™ ˙ œ œ™ œ œ ˙ œ ™™
{ 4O
œ
4O 1O 1O 1O
J
7O 6O 5O
œ
3O
˙
4O 5O
˙™
1O
˙™
1O

58
 UNIT 10 Longer Exercises 118
Mastery to Excellence 121
Jazz Theory Workbook
UNIT 11 Two-hand Rhythms 121
UNIT 12 Changing Meter 129
From Basic to Advanced Study
UNIT 13 Metric Modulations 131

Appendix B: Common-practice Harmony at the Keyboard 133

Master the FundamentalsDariusz Terefenko 133
UNIT 1 Triads in Root Position and Inversions 133
UNIT 2 Four-part Chords in Root Position (7) 141
UNIT 3 Four-part Chords in First Inversion (6/5) and the Subdominant With the Added Sixth
(sixte ajoutée) 144
UNIT 4 Four-part Chords in Second (6/4/3) and Third Inversion (6/4/2) 148
UNIT 5 Figured Bass Exercises 152
UNIT 6 The 4–3 Suspension 154
UNIT 7 The 9–8 Suspension 155 CONTENTS ix

UNIT 8 The 7–6 Suspension 157

UNIT 9 The 2–3 Bass Suspension 158
UNIT 10 Double and Triple Suspensions and Melodic Retardations 159
Fundamentals to Mastery 159
UNIT 11 Figured Bass Progressions With Suspensions 159
UNIT 12 Cadential Gestures 162
UNIT 13 The Rule of the Octave ( la règle de l’octave)—Historical Realizations 168
UNIT 14 Sequential Progressions Derived From the Rule of the Octave 173
UNIT 15 The Lament Bass 174
UNIT 16 Harmonic Progressions With Basso Ostinato 176
UNIT 17 Galant Style—Harmonic Schematas 178
UNIT 18 Partimenti 179
Mastery to Excellence 185
UNIT 19 Partimenti—Unfigured Bass 185
UNIT 20 Chromaticism 186
UNIT 21 18
Melody Harmonization 196
UNIT 22 Stylized Harmony 204
Appendix B
Common-practice Harmony at the
Keyboard

MASTER THE FUNDAMENTALS

UNIT 1 Triads in Root Position and Inversions1

Lead-Sheet Notation2—Keyboard Texture

A tonic expansion in major and minor. Play 3x beginning with (1) ^

Exercise 1.1.1 1 in the soprano;
(2) 3 in the soprano; and (3) ^
^ 5 in the soprano.3
134 APPENDIX B: COMMON-PRACTICE HARMONY

Exercise 1.1.2 The Romanesca.4 Transpose to G, F, and A.

Realize in keyboard texture. Play 3x beginning with (1) ^

Exercise 1.1.3 1 in the soprano; (2) ^
3 in the
soprano; and (3) ^
5 in the soprano. Transpose to two keys.
 APPENDIX B : COMMON - PRACTICE HARMONY 135

Exercise 1.1.3 continued

Roman Numerals5—Keyboard Texture

Realize in keyboard texture. Transpose to two keys and analyze with chord symbols
Exercise 1.2
using lead-sheet notation.6
136 APPENDIX B: COMMON-PRACTICE HARMONY

Exercise 1.2 continued

Figured Bass Notation—Keyboard Texture7

Exercise 1.3.1 A tonic expansion in three positions. Transpose to G, D, A, F, B¯, and E¯.

Provide the missing chords. Transpose to two keys and analyze with chord symbols
Exercise 1.3.2
using lead-sheet notation.
 APPENDIX B : COMMON - PRACTICE HARMONY 137

Exercise 1.3.2 continued

138 APPENDIX B: COMMON-PRACTICE HARMONY

Exercise 1.3.2 continued

 APPENDIX B : COMMON - PRACTICE HARMONY 139

Tonic expansions in major and minor. Play each progression 3x beginning with (1)
Exercise 1.3.3
^
1 in the soprano; (2) ^
3 in the soprano; and (3) ^
5 in the soprano.
140 APPENDIX B: COMMON-PRACTICE HARMONY

Exercise 1.3.3 continued

Realize in keyboard texture. Transpose to two keys and analyze with chord symbols
Exercise 1.3.4
using lead-sheet notation.
 APPENDIX B : COMMON - PRACTICE HARMONY 141

Exercise 1.3.4 continued

UNIT 2 Four-part Chords in Root Position (7)

Exercise 2.1 A major/minor tonic expansion with a dominant 7th. Realize in keyboard and chorale
texture. Transpose to all major and minor keys.
142 APPENDIX B: COMMON-PRACTICE HARMONY

Exercise 2.2 A descending cycle of dominant 7ths. Compare the harmonic progressions realized
in keyboard and chorale texture. Play each progression 3x beginning with (1) ^
1 in the soprano;
^ ^
(2) 3 in the soprano; and (3) 5 in the soprano. Provide the missing chords.

An ascending cycle of dominant 7ths. Compare the harmonic progressions realized

Exercise 2.3
in keyboard and chorale texture. Transpose to G, D, F, and B¯. Provide a harmonic analysis
using lead-sheet symbols.
 APPENDIX B : COMMON - PRACTICE HARMONY 143

Exercise 2.3 continued

Exercise 2.4 A diminished 7th cadential preparation in major. Transpose to G, D, F, and B¯.

A diminished 7th cadential preparation in minor. Transpose to Dm, Gm, Cm, Em,
Exercise 2.5
Bm, and F≥m.

A minor 3rd cycle with lower chromatic diminished 7ths. Play 3x beginning with
Exercise 2.6
(1) ^
1 in the soprano; (2) ^3 in the soprano; and (3) ^
5 in the soprano. Compare the harmonic
progressions realized in keyboard and chorale texture. Transpose to D, A, B¯, and E¯. Provide a
harmonic analysis using lead-sheet symbols.
144 APPENDIX B: COMMON-PRACTICE HARMONY

Exercise 2.6 continued

Realize in keyboard and chorale texture. Transpose to two keys and provide a
Exercise 2.7
contextual analysis using Roman numerals.

UNIT 3 Four-part Chords in First Inversion (6/5) and

the Subdominant With the Added Sixth (sixte ajoutée)

Exercise 3.1 A major/minor tonic expansion with 6/5 chords in all positions. Realize in keyboard
and chorale texture. Transpose to all major and minor keys.
 APPENDIX B : COMMON - PRACTICE HARMONY 145

Exercise 3.2 The subdominant with the added sixth (sixte ajoutée) in all positions. Realize in
keyboard and chorale texture. Transpose to all major and minor keys.

Exercise 3.3 Successive 6/5 chords in major. Transpose to all major keys.

Exercise 3.4 Multiple 6/5 chords. Transpose to all major keys.

146 APPENDIX B: COMMON-PRACTICE HARMONY

Exercise 3.5 A passing 6/4 chord between IV6—IV in all positions. Transpose to all major keys.

6/5 chords in different harmonic contexts. Transpose to three keys and provide a
Exercise 3.6
harmonic analysis using lead-sheet symbols.
 APPENDIX B : COMMON - PRACTICE HARMONY 147

Exercise 3.6 continued

Exercise 3.7 The 6/5 chord as a dominant preparation in minor. Transpose to all minor keys.

Exercise 3.8 Successive 6/5 chords in minor. Transpose to all minor keys.

Multiple 6/5 chords. Transpose to three keys and provide a contextual analysis using
Exercise 3.9
Roman numerals.
148 APPENDIX B: COMMON-PRACTICE HARMONY

Exercise 3.10 A passing 6/4 and parallel 6th chords. Transpose to all major keys.

Realize in keyboard style. Realize the following progressions, transpose to three

Exercise 3.11
keys, and provide a contextual analysis using Roman numerals.

UNIT 4 Four-part Chords in Second (6/4/3) and Third Inversion (6/4/2)

A major/minor tonic expansion with a 6/4/3 chord. Realize in keyboard and chorale
Exercise 4.1
texture. Transpose to all major and minor keys.
 APPENDIX B : COMMON - PRACTICE HARMONY 149

Exercise 4.1 continued

Exercise 4.2 A descending octave with 6/4/3 chords. Transpose to G, D, A, and E.

Chromatic passing 6/4/3 chords. Compare the harmonic progressions realized in

Exercise 4.3
keyboard and chorale texture. Transpose to C, G, D, and B¯. Provide a harmonic analysis using
lead-sheet symbols.

Exercise 4.4 A major/minor tonic expansion with a 6/4/2 chord. Realize in keyboard and chorale
texture. Transpose to all major and minor keys.
150 APPENDIX B: COMMON-PRACTICE HARMONY

Exercise 4.1 continued

Descending chromatic scale with 6/4/2 chords. Compare the harmonic progressions
Exercise 4.5
realized in keyboard and chorale texture. Transpose to three keys.

Exercise 4.6 6/4/2 chords in different harmonic contexts. Transpose to three keys.
 APPENDIX B : COMMON - PRACTICE HARMONY 151

Exercise 4.7 Fill in the missing chords. Transpose to three keys. Provide a harmonic analysis
using lead-sheet symbols.
152 APPENDIX B: COMMON-PRACTICE HARMONY

UNIT 5 Figured Bass Exercises

A journey through all keys. Play 3x beginning with (1) a chordal root in the soprano;
Exercise 5.1
(2) a 3rd in the soprano; and (3) a 5th in the soprano.

Exercise 5.2 A journey through all keys. Continue the progression down a major 2nd.
 APPENDIX B : COMMON - PRACTICE HARMONY 153

Exercise 5.3 Realize in keyboard texture. Transpose to two keys and provide a contextual analysis
using Roman numerals.
154 APPENDIX B: COMMON-PRACTICE HARMONY

UNIT 6 The 4–3 Suspension

The 4–3 suspension occurs in different voices except the bass voice. Possible use: (1) chords moving by
ascending 5ths (descending 4ths): I—V, I6—V, ii—vi, etc.; or (2) chords moving by ascending 2nds: V—
vi, etc.

Exercise 6.1 The 4–3 suspension in three positions. Transpose to all major and minor keys.

Exercise 6.2 The 4–3 suspension in three positions in major. Transpose to G, D, and B¯.

Exercise 6.3 The 4–3 suspension in three positions in minor. Transpose to Gm, Em, and Bm.
 APPENDIX B : COMMON - PRACTICE HARMONY 155

Exercise 6.4 The 4–3 suspension in three positions in major. Transpose to G, F, and B¯.

Exercise 6.5 The 4–3 suspension in three positions in minor. Transpose to Dm, Gm, and Bm.

Chains of the 4–3 suspensions. Transpose to two keys and provide a contextual
Exercise 6.6
analysis using Roman numerals.

UNIT 7 The 9–8 Suspension

The 9–8 suspension occurs in different voices except the bass voice. Possible use: (1) chords moving by
descending 5ths (ascending 4ths): I—IV, I6—IV, ii—V, etc.; or (2) chords moving by ascending 2nds:
V—vi, etc.
156 APPENDIX B: COMMON-PRACTICE HARMONY

The 9–8 suspension in a I6—IV progression. Compare the harmonic progressions

Exercise 7.1
realized in keyboard and chorale texture. Transpose to C, G, D, A, E, F, E¯, and A¯.

The 4–3 and 9–8 suspensions. Compare the harmonic progressions realized in
Exercise 7.2
keyboard and chorale texture. Transpose to C, G, D, A, E, F, B¯, and E¯.

Realize in keyboard texture. Transpose to three keys and provide a contextual

Exercise 7.3
analysis using Roman numerals.
 APPENDIX B : COMMON - PRACTICE HARMONY 157

Exercise 7.3 continued

UNIT 8 The 7–6 Suspension

The 7–6 suspension occurs in different voices except the bass voice. It appears in chord successions
wherein the second chord is in first inversion. Possible use: (1) chords moving by ascending 2nds: I—
viio6, etc.; or (2) chords moving by descending 2nds: iii6—ii6, etc.

Exercise 8.1 The 7–6 suspension in three positions. Compare the harmonic progressions realized
in keyboard and chorale texture. Transpose to all major and minor keys.
158 APPENDIX B: COMMON-PRACTICE HARMONY

A descending chain of 7–6 suspensions. Transpose to three keys and provide a

Exercise 8.2
contextual analysis using Roman numerals.

UNIT 9 The 2–3 Bass Suspension

The 2–3 bass suspension occurs only in the bass voice. Possible use: chords moving by ascending 5ths
(descending 4ths), in which the second chord is in first inversion: I—V6, IV—I6, vi—iii6, etc.

A tonic expansion with the 2–3 suspension. Compare the harmonic progressions
Exercise 9.1
realized in keyboard and chorale texture. Transpose to all major and minor keys.

Exercise 9.2 Realize in keyboard texture. Transpose to D and provide a harmonic analysis using
Roman numerals.
 APPENDIX B : COMMON - PRACTICE HARMONY 159

UNIT 10 Double and Triple Suspensions and Melodic Retardations

Combinations of suspensions in major. Transpose to two keys and provide a

Exercise 10.1
harmonic analysis using Roman numerals.

Combinations of suspensions in minor. Transpose to two keys and provide a

Exercise 10.2
harmonic analysis using Roman numerals.

FUNDAMENTALS TO MASTERY

UNIT 11 Figured Bass Progressions With Suspensions

Realize in keyboard texture. Transpose to two keys and provide a harmonic analysis
Exercise 11.1
using Roman numerals.
160 APPENDIX B: COMMON-PRACTICE HARMONY

Exercise 11.1 continued

 APPENDIX B : COMMON - PRACTICE HARMONY 161

Exercise 11.1 continued

162 APPENDIX B: COMMON-PRACTICE HARMONY

Exercise 11.1 continued

UNIT 12 Cadential Gestures

Transpose to all major and minor keys.

Authentic Cadence (cadenza semplice)

Authentic cadences contain at least two chords: V (dominant) and I (tonic). Based on the degree of
melodic closure, they can occur in the perfect form (when the soprano ends on ^1 and the bass leaps from
^
5 to ^
1) or the imperfect form (when the soprano closes on ^3 or ^
5 while the bass leaps from ^
5 to ^
1).

Expanded Authentic Cadence (cadenza doppia)

An expanded authentic cadence features a predominant chord that can take the forms (1) IV; (2) ii; (3)
ii6; or (4) ii65 (with contextual tonal modifications reflecting major and/or minor keys).
 APPENDIX B : COMMON - PRACTICE HARMONY 163

Authentic Cadences With Suspensions (cadenze lunghe)

Expanded Authentic Cadences With Suspensions

Plagal Cadences (church cadences)

Plagal cadences contain two harmonic formations: I (tonic) and IV (subdominant). The IV chord often
contains an added 6th, which resolves up a second onto the third of a tonic chord. Even though the
subdominant with an added 6th has the same pitches as the predominant chord on ^ 2 (ii65), they have a
164 APPENDIX B: COMMON-PRACTICE HARMONY

completely different functional behavior and distribution of chordal dissonances. Based on the stylistic
conventions of a given musical period, the subdominant chord can occur in many pitch configurations
and harmonic guises.

Characteristic Cadences

A Neapolitan Cadence

A Neapolitan cadence usually occurs in minor keys and contains the Neapolitan-sixth chord (N6), which
is a major triad in first inversion built on ^
4. The root of the Neapolitan-sixth chord occurs on ¯^
2, giving
it strong Phrygian connotations (¯2–1). To facilitate a correct voice-leading treatment, the “root” (^
^ ^ 4) of
the Neapolitan-sixth chord is doubled.

A Bachian Cadence

A Bachian cadence is the harmonic variant of a Neapolitan cadence and contains a diminished passing
chord built on ≥^
4, linking the Neapolitan-sixth chord with a dominant on ^
5.
 APPENDIX B : COMMON - PRACTICE HARMONY 165

Half Cadences (demi-cadence; Halbschluss)

Half cadences end inconclusively on a dominant chord.

A Phrygian Cadence

A Phrygian cadence is the characteristic variant of a half cadence in which the bass voice features a “Phry-
gian” half-step descend (¯)^
6–^
5 while the soprano ascends from ^ 4 to ^
5, connecting iv6 with V.

Deceptive Cadences (cadence rompue; Trugschluss; cadenza finta)

Deceptive cadences postpone the arrival of a tonic chord.

166 APPENDIX B: COMMON-PRACTICE HARMONY

Techniques of Evading Cadences8 (cadence évité)

Harmonic Progressions With Augmented 6th Chords

The augmented 6th chords are chromatic formations built on ¯^ 6 that anticipate the arrival of a dominant
sonority (or its acceptable variants) through a contrapuntal/chromatic convergence from above (¯^ 6–^
5)
^ ^
and below (≥4–5) in contrary motion. They typically come in three national flavors—Italian, German,
and French—and, because their pitch structure closely resembles that of a dominant 7th chord, they can
function as effective modulatory devices.

The Italian chord(It.)—it resembles an enharmonic dominant 7th chord without the fifth.9

The German chord(Ger.)—it resembles an enharmonic dominant 7th chord, which resolves onto a
6/4 chord (passing or cadential).
 APPENDIX B : COMMON - PRACTICE HARMONY 167

The French chord(Fr.)—it resembles an enharmonic dominant 7th chord with a lowered fifth.

A Chopin Cadence

A Chopin cadence contains the Chopin chord, which is a dominant 7th with an added 13th. For the best
sonic effect, the 13th should be placed in the soprano voice.
168 APPENDIX B: COMMON-PRACTICE HARMONY

A Tristan Cadence

A Tristan cadence appears at the opening of Richard Wagner’s opera Tristan and Isolde and contains an
enharmonic half-diminished 7th chord (ø7) built on (¯)^
6, which resolves onto an altered dominant 7th.10

UNIT 13 The Rule of the Octave (la règle de l’octave11)—Historical Realizations

Transpose the following settings of the rule of the octave to all keys.

“Modal” Rules of the Octave

Mode 1—Dorian (I. protos autentus)

Mode 2—Hypodorian (II. protos plagalis)

 APPENDIX B : COMMON - PRACTICE HARMONY 169

Mode 3—Phrygian (III. deuteros autentus)

Mode 4—Hypophrygian (IV. deuteros plagalis)

Mode 5—Lydian (V. tritos autentus)

Mode 6—Hypolydian (VI. tritos plagalis)

Mode 7—Mixolydian (VII. tetrardos autentus)

Mode 8—Hypomixolydian (VIII. tetrardos plagalis)

170 APPENDIX B: COMMON-PRACTICE HARMONY

Tomás de Sancta Maria, Arte de tañer fantasia (1565)12

Girolamo Diruta, Il Transilvano (1609)13

Spiridionis a Monte Carmelo, Nova Instruction (1670)14

Francesco Gasparini, L’armonico pratico al cimbalo (1708)

 APPENDIX B : COMMON - PRACTICE HARMONY 171

Francesco Gasparini, L’armonico pratico al cimbalo (1708)

François Campion, Traité d’Accompagnement et de Composition selon la règle des octaves

de musique (1716)

Johann David Heinichen, Der General-Baß in der Composition (1728)

Nicola Porpora, Partimenti (ca. 1755)15

C.P.E. Bach, Versuch über die wahre Art das Clavier zu spielen (1762)

C.P.E. Bach, Versuch über die wahre Art das Clavier zu spielen (1762)

C.P.E. Bach, Versuch über die wahre Art das Clavier zu spielen (1762)
172 APPENDIX B: COMMON-PRACTICE HARMONY

Fedele Fenaroli, Regola musical per i principianti di cembolo (1775)

Giacomo Tritto, Partimenti e Regole generali (1821)

François-Joseph Fétis, Traité complet de la théorie et de la practique de l’harmonie (1844)

François-Auguste Gaveart, Traité d’harmonie théorique at practique (1907)—Diatonic

Rule of the Octave
 APPENDIX B : COMMON - PRACTICE HARMONY 173

François-Auguste Gaveart, Traité d’harmonie théorique at practique (1907)—Chromatic Rule

of the Octave

UNIT 14 Sequential Progressions Derived From the Rule of the Octave

Exercise 14.1 Intervallic patterns. Transpose to all keys.

174 APPENDIX B: COMMON-PRACTICE HARMONY

Exercise 14.1 continued

UNIT 15 The Lament Bass

The lament bass contains a diatonic tetrachord ^ 8–^7–^6–^
5 or its chromaticized version ^
8–^
7–¯^
7–^6–¯^
6–^5.
Historically, the lament bass provided a structural foundation for various improvisatory genres, such as
chaconne (ciaconna) and passacaglia.16
 APPENDIX B : COMMON - PRACTICE HARMONY 175

Exercise 15.1 Diatonic tetrachord in major (chaconne). Transpose to C, G, and B¯.

A diatonic tetrachord in minor (passacaglia) (Phrygian cadence). Transpose to

Exercise 15.2
Dm, Gm, and Cm.

Exercise 15.3 A chromatic tetrachord (passus duriusculus). Transpose to Am, Dm, and Gm.
176 APPENDIX B: COMMON-PRACTICE HARMONY

UNIT 16 Harmonic Progressions With Basso Ostinato

Besides the chaconne and the passacaglia, which are the most important basso ostinato formulas, there are
other ground bass progressions, including the passamezzo antico, the passamezzo moderno, the la folia,
the bergamasca, the romanesca, and the passacaglia, that occur in many harmonic, melodic, and rhythmic
guises.

Transpose to two keys.

APPENDIX B : COMMON - PRACTICE HARMONY 177
178 APPENDIX B: COMMON-PRACTICE HARMONY

UNIT 17 Galant Style—Harmonic Schematas

Galant schematas constitute characteristic harmonic progressions, melodic devices, and/or contrapuntal
frameworks that are extremely helpful in acquiring improvisational and compositional skills.17

Transpose to two keys.

 APPENDIX B : COMMON - PRACTICE HARMONY 179

UNIT 18 Partimenti18

Realize in keyboard texture. Transpose to two keys and provide a harmonic analysis
Exercise 18.1
using Roman numerals.
180 APPENDIX B: COMMON-PRACTICE HARMONY

Exercise 18.1 continued

 APPENDIX B : COMMON - PRACTICE HARMONY 181

Exercise 18.1 continued

182 APPENDIX B: COMMON-PRACTICE HARMONY

Exercise 18.1 continued

 APPENDIX B : COMMON - PRACTICE HARMONY 183

Exercise 18.1 continued

184 APPENDIX B: COMMON-PRACTICE HARMONY

Exercise 18.1 continued

 APPENDIX B : COMMON - PRACTICE HARMONY 185

MASTERY TO EXCELLENCE

UNIT 19 Partimenti—Unfigured Bass

Realize in keyboard texture. Transpose to two keys and provide a harmonic analysis
Exercise 19.1
using Roman numerals.
186 APPENDIX B: COMMON-PRACTICE HARMONY

Exercise 19.1 continued

UNIT 20 Chromaticism

Harmonic applications of the Tristan chord. Continue according to the specified

Exercise 20.1
intervallic pattern.
 APPENDIX B : COMMON - PRACTICE HARMONY 187

Exercise 20.1 continued

188 APPENDIX B: COMMON-PRACTICE HARMONY

Exercise 20.2 Harmonic applications of the Chopin chord. Transpose to F, G, and D.

The Omnibus Progression19 (OMN)

The Omnibus progression. Play 3x beginning with (1) a chordal root in the soprano;
Exercise 20.3
(2) a 3rd in the soprano; and (3) a 7th in the soprano. Begin on D¯7 and D7. Compare the
harmonic progressions realized in keyboard and chorale texture.
 APPENDIX B : COMMON - PRACTICE HARMONY 189

The Omnibus With a Chromatic Plagal Cadence

Exercise 20.4 The Omnibus progression as a dominant expansion. Continue through all keys.
190 APPENDIX B: COMMON-PRACTICE HARMONY

The Omnibus With Inverted Half-Diminished 7th Chords

The Omnibus With Inverted Dominant 7th Chords

Exercise 20.5 Harmonic transformations of the Omnibus. Start each progression on D¯ and D.20
 APPENDIX B : COMMON - PRACTICE HARMONY 191

The Omnibus With Altered Dominant 7ths, Half-Diminished 7ths, and Augmented Triads

Exercise 20.5 continued

Exercise 20.6 Diminished 7th chords. Continue through all keys.

192 APPENDIX B: COMMON-PRACTICE HARMONY

Cyclic progressions with an augmented triad. Continue according to the specified

Exercise 20.7
intervallic pattern.

Modified Omnibus with the French chord. Continue according to the specified
Exercise 20.8
intervallic pattern.

Exercise 20.9 Dominant pedal points. Continue according to the specified intervallic pattern.
 APPENDIX B : COMMON - PRACTICE HARMONY 193

Exercise 20.9 continued

The B-A-C-H motive is a musical signature of J. S. Bach and contains four pitches: (1) B¯ (B); (2) A; (3)
C i; (4) B (H). That musical signature was frequently adopted as a subject of various musical composi-
tions by Robert Schumann, Franz Liszt, Max Reger, and many others.

Exercise 20.10 The B-A-C-H motive. Continue through all keys.

194 APPENDIX B: COMMON-PRACTICE HARMONY

Exercise 20.10 continued

Exercise 20.11 Whole-tone progressions with chromatic formations. Start each progression a
half step higher.

Exercise 20.12 Whole-tone progression in minor. Transpose to two keys.

 APPENDIX B : COMMON - PRACTICE HARMONY 195

Exercise 20.13 Chromatic wedge (stable)—augmented triads and altered dominant 9ths.
Transpose to three keys.

Chromatic wedge (less stable)—augmented triads and altered dominant 9ths.

Exercise 20.14
Transpose to three keys.

Chromatic wedge (unstable)—minor–major 7th and altered dominant 7ths.

Exercise 20.15
Transpose to three keys.

Exercise 20.16 Whole tone chromatic wedge and parallel augmented triads. Transpose to two
keys.
196 APPENDIX B: COMMON-PRACTICE HARMONY

Exercise 20.17 Common-tone retention between extended dominant formations. Continue

through all keys.

Common-tone retention between extended dominant formations. Transpose the

Exercise 20.18
progression up a minor 2nd.

Semitone voice leading between extended dominant formations. Continue

Exercise 20.19
through all keys.

UNIT 21 Melody Harmonization

Melodic Patterns

Exercises 21.1–21.5 contain several melodic patterns frequently found in chorale melodies. These pat-
terns have been realized in different ways and offer multiple harmonic choices for the realization of cho-
rales. Realize all the patterns in keyboard (1 + 3) and chorale (2 + 2) texture.
 APPENDIX B : COMMON - PRACTICE HARMONY 197

Exercise 21.1 The ^

3–^
2–^
1 melodic pattern. Transpose to four major and minor keys.

Exercise 21.2 The ^

4–^
3–^
2–^
1 melodic pattern. Transpose to four major and minor keys.
198 APPENDIX B: COMMON-PRACTICE HARMONY

Exercise 21.2 continued

Exercise 21.3 The ^

1–^
2–^
3 melodic pattern. Transpose to four major and minor keys.
 APPENDIX B : COMMON - PRACTICE HARMONY 199

Exercise 21.4 The ^

4–^
3–^
2 melodic pattern. Transpose to four major and minor keys.

Exercise 21.5 The ^

2–^
1–^
7 melodic pattern. Transpose to four major and minor keys.

Théodore Dubois’s realizations of the ^

Exercise 21.6 1–^
7–^
1 melodic pattern.21 Transpose to
three keys.
200 APPENDIX B: COMMON-PRACTICE HARMONY

Théodore Dubois’s realizations of the ^

Exercise 21.6 1–^
7–^
1 melodic pattern.21 Transpose to
three keys.
 APPENDIX B : COMMON - PRACTICE HARMONY 201

Exercise 21.6 continued

Exercise 21.7 Chorales. Provide two different chorale-style realizations (one diatonic and one
chromatic) for each of the following chorale melodies. Use some of the harmonic ideas from
Exercises 21.1–21.5.

Exercise 21.8 Basic melodies for harmonization. Provide two different chorale-style realizations
for each of the following melodies.
202 APPENDIX B: COMMON-PRACTICE HARMONY

Exercise 21.8 continued

Intermediate melodies for harmonization. Provide two different chorale-style

Exercise 21.9
realizations for each of the following melodies.
 APPENDIX B : COMMON - PRACTICE HARMONY 203

Exercise 21.9 continued

Advanced melodies for harmonization. Provide two different chorale-style

Exercise 21.10
realizations for each of the following melodies.
204 APPENDIX B: COMMON-PRACTICE HARMONY

Exercise 21.10 continued

UNIT 22 Stylized Harmony

Richard Wagner22

Exercise 22.1.1 Common-tone elaboration of the dominant 7th. Continue up a minor 2nd.

Exercise 22.1.2 Inverted dominant 7th and appoggiatura chords. Continue through all keys.
 APPENDIX B : COMMON - PRACTICE HARMONY 205

Exercise 22.1.3 Elaboration of the dominant 9th. Continue through all keys.

Exercise 22.1.4 Wotan chords. Continue through all keys.

Exercise 22.1.5 Semitonal voice leading with the augmented triad. Continue up a minor 2nd.

Exercise 22.1.6 Sleeping chords. Continue through all keys.

206 APPENDIX B: COMMON-PRACTICE HARMONY

Exercise 22.1.7 Semitonal approach to the dominant. Continue through all keys.

Exercise 22.1.8 Inverted dominant 7th and appoggiatura chords. Continue through all keys.

Exercise 22.1.9 Pedal point and a semitonal approach to the tonic. Analyze and continue through
all keys.

Exercise 22.1.10 Chromatic sequence. Analyze and continue the sequence up a major 2nd.
 APPENDIX B : COMMON - PRACTICE HARMONY 207

Gabriel Fauré

Exercise 22.2.1 Diatonic règle à la Fauré. Transpose to three keys.

Exercise 22.2.2 Chromatic règle à la Fauré. Transpose to three keys.

Exercise 22.2.3 Chromatic dominant expansion. Transpose to three keys.

Exercise 22.2.4 Extended V—I cadence. Analyze and transpose to three keys.
208 APPENDIX B: COMMON-PRACTICE HARMONY

Exercise 22.2.5 Chromatic approach to the tonic. Analyze and transpose to three keys.

Exercise 22.2.6 Chromatic expansion of the lowered submediant. Analyze and transpose to three
keys.

Exercise 22.2.7 Fauré’s progression. Analyze and continue through all keys.

Exercise 22.2.8 Fauré’s Chopin chord. Continue through all keys.

 APPENDIX B : COMMON - PRACTICE HARMONY 209

Exercise 22.2.9 Tritone and third related harmonies. Continue through all keys.

Exercise 22.2.10 Chromatic sequence. Continue through all keys.

Claude Debussy23

Exercise 22.3.1 Chromatic parallel harmony. Analyze and continue through all keys.

Exercise 22.3.2 Chromatic expansion of dominant 7th. Continue through all keys.
210 APPENDIX B: COMMON-PRACTICE HARMONY

Exercise 22.3.3 Chromatic sequential progression. Transpose to three keys.

Exercise 22.3.4 Augmented triads in harmonic progressions. Transpose to three keys.

Exercise 22.3.5 Golaud cadence. Continue through all keys.

Exercise 22.3.6 Appoggiatura chords and Debussy cadence. Transpose to three keys.
 APPENDIX B : COMMON - PRACTICE HARMONY 211

Exercise 22.3.7 Tonic pedal point and Debussy cadence. Analyze and transpose to three keys.

Exercise 22.3.8 Chromatic upper-structure triads. Continue through all keys.

Exercise 22.3.9 Chromatic progression with dominant 9th chords. Transpose to three keys.

Exercise 22.3.10 Chromatic sequence. Continue through all keys.

212 APPENDIX B: COMMON-PRACTICE HARMONY

Alexander Scriabin

Exercise 22.4.1 Inverted altered dominant 7th. Continue through all keys.

Exercise 22.4.2 Tritone nucleus: major enharmonic sequence. Transpose up a minor 2nd.

Exercise 22.4.3 Minor enharmonic sequence. Transpose down a minor 2nd.

Exercise 22.4.4 “Diatonic” and “chromatic” Scriabin chord. Continue through all keys.
 APPENDIX B : COMMON - PRACTICE HARMONY 213

Exercise 22.4.5 “Inversion” of the Promethean chord. Continue through all keys.

Max Reger24

Exercise 22.5.1 Chromatic sequence. Analyze and continue through all keys.

Exercise 22.5.2 Reger’s Neapolitan. Continue through all keys.

Exercise 22.5.3 Chromatic tonic expansion. Analyze and continue through all keys.
214 APPENDIX B: COMMON-PRACTICE HARMONY

Exercise 22.5.4 Tonic pedal point. Analyze and continue through all keys.

Exercise 22.5.5 Chromatic progression. Analyze and transpose to three keys.

Exercise 22.5.6 Chromatic progression. Analyze and transpose to three keys.

 APPENDIX B : COMMON - PRACTICE HARMONY 215

Exercise 22.5.7 Chromatic progression. Analyze and transpose to three keys.

Exercise 22.5.8 Enharmonic progression. Analyze and transpose to three keys.

Exercise 22.5.9 Chromatic progression. Analyze and transpose to three keys.

216 APPENDIX B: COMMON-PRACTICE HARMONY

Exercise 22.5.10 Chromatic progression. Analyze and transpose to three keys.

Olivier Messiaen25

Exercise 22.6.1 Harmonic pattern—Mode 21. Transpose to Modes 22 and 23.

Exercise 22.6.2 Harmonic pattern—Mode 23. Transpose to Modes 21 and 22.

Exercise 22.6.3 Harmonic pattern—Mode 23. Transpose to Modes 21 and 22.

 APPENDIX B : COMMON - PRACTICE HARMONY 217

Exercise 22.6.4 Harmonic pattern with inverted dominant 13ths. Continue through all keys.

Exercise 22.6.5 Cyclic harmonic patterns (3-cycle). Start the pattern on C and B.

Exercise 22.6.6 The chord on the dominant (accord sur dominante). Continue through all keys.

The chord on the dominant with appoggiatura (accord sur dominante

Exercise 22.6.7
appoggiaturé). Continue through all keys.

Exercise 22.6.8 Mode 22. Transpose to Modes 21 and 23.

218 APPENDIX B: COMMON-PRACTICE HARMONY

Exercise 22.6.9 Cycle of dominant 7ths. Continue through all keys.

Exercise 22.6.10 The chord of resonance (accord de la résonance). Continue through all keys.

Exercise 22.6.11 The Arc-en-ciel d’innocence. Continue the progression and then transpose it up
a minor 2nd.

Exercise 22.6.12 A chromatic dominant 7th expansion. Continue through all keys.
 APPENDIX B : COMMON - PRACTICE HARMONY 219

Exercise 22.6.13 A chromatic dominant 7th expansion. Continue through all keys.

Chords of the transposed inversions (accord a renversements transposes sur

Exercise 22.6.14
la même de basse). Continue through all keys.

Chords of the transposed inversions with appoggiaturas. Continue through all

Exercise 22.6.15
keys according to the specific intervallic pattern.
220 APPENDIX B: COMMON-PRACTICE HARMONY

NOTES

1. For a discussion of the lead sheet notation, consult Chapter 3 of Jazz Theory—From Basic to Advanced Study.
2. For a discussion of triads, consult Chapter 3 of Jazz Theory—From Basic to Advanced Study.
3. In addition to the lead sheet notation, selected exercises will additionally include the functional notation symbols as
partially explained in Chapter 3 of Jazz Theory—From Basic to Advanced Study and fully discussed in Hugo Rie-
mann’s Harmony Simplified (Vereinfachte Harmonielehre), 1893.
4. See Units 16 and 17 in Appendix B.
5. For a discussion of the Roman numeral notation, consult Chapter 3 of Jazz Theory—From Basic to Advanced Study.
6. Since the functional behavior of a major triad in second inversion has been the subject of many a theoretical polemic
(some consider it a tonic chord, others a dominant, still others a dissonant chord with one or more suspensions),
in this publication we will label that dissonant chord in two different ways depending on the harmonic context in
which it occurs: (1) P6/4 and (2) Cad6/4. The former label indicates its passing function and the latter indicates its
cadential function.
7. For a discussion of the figured bass notation, consult Chapter 3 of Jazz Theory—From Basic to Advanced Study.
8. For a highly informative and succinct discussion of the practical application of various techniques of cadential
evasion, consult Chapter 54 in Gioseffo Zarlino’s Le istitutioni harmoniche (1558), translated as The Art of Counter-
point Part III of Le istitutioni harmoniche (Norton, 1976).
9. At the end of this progression, there is a characteristic cadential closure, which French professor of harmony Henry
Challan labeled as the Fauré cadence. That cadential gesture foreshadows the arrival of the tonic chord using two
imperfect sonorities: (1) IV6 and (2) V65, with a melodic ascend in the bass voice: ^ 6–^7–^
1.
10. Since the functional status of the Tristan chord is highly ambiguous and controversial, the author decided not to
add to the existing plethora of theoretical speculations by Karl Meyrberger, Simon Sechter, Hugo Riemann, Sigfried
Karg-Elert, Ernst Kurth, Salomon Jadassohn, Cyrill Kistler, Hermann Erpf, Georg Capellen, Alfred Lorenz, Kaz-
imierz Sikorski, John Rahn, and many others regarding its harmonic function.
11. For the discussion of la règle de l’octave, consult Chapter 21 of Jazz Theory—From Basic to Advanced Study.
12. In this realization, the author demonstrates the use of class one consonant voicing formations.
13. At the beginning of the 17th century, the rule of the octave occurred in the hexachordal form, demonstrating the
centuries-old dominance of the hexachordal pitch space in modal theory and composition. Diruta uses the natural
hexachord as a subject for exploring the concepts of melodic diminution, invertible counterpoint, and improvisa-
tion.
14. Similar to Diruta’s use of the natural hexachord, Spiridionis implements the incomplete Rule of the Octave for the
purpose of teaching improvisation. What he calls Cadentia Secunda is followed by the 62 (!) creative elaborations
of the natural hexachord. See Spiridionis a Monte Carmelo (1615–1685), Nova Instructio (ed. Edoardo Bellotti, Il
Levante Libreria Editrice, 2018).
15. In this realization of the octave (as in the Fenaroli below), the figured bass notation indicates the exact positions
of the chords in the R.H. The top number indicates the chord member occurring in the soprano voice, the middle
number the content of the alto voice, and the bottom number the content of the tenor voice.
16. For a comprehensive discussion of the chaconne and passacaglia, consult Richard Hudson’s The Folia, the Saraband,
The Passacaglia, and the Chaconne, Vol. III and Vol. IV.
17. For an exhaustive and highly informative discussion of galant schematas, see Robert Gjergingen’s Music in the
Galant Style (Oxford, 2007). Many of these harmonic formulas come from his seminal publication.
18. For a comprehensive discussion of partimenti, see Giorgio Sanguinetti’s The Art of Partimento—History, Theory,
and Practice (Oxford, 2012).
19. For an exhaustive study of the omnibus progression, see Victor Fell Yellin’s The Omnibus Idea (Harmonic Park
Press, 1998).
20. In some cases, certain lead-sheet symbols are shown in a simplified form with some pitches enharmonically respelled
to facilitate their realization.
21. The following harmonic settings come from Théodore Dubois’s Notes & Études d’harmonie pour servir de supplé-
ment au traité de H. Reber (1889). These harmonizations were frequently used by Olivier Messiaen in his harmony
lectures.
22. All exercises are derived from Wagner’s compositions (where indicated) and occur in a simplified/modified version.
23. All exercises are derived from Debussy’s compositions (where indicated) and occur in a simplified/modified version.
24. All exercises are derived from Reger’s compositions (where indicated) and occur in a simplified/modified version.
25. In keeping with Olivier Messiaen’s nomenclature used in his theoretical writings, the Modes of Limited Transposi-
tion will be labeled using two sets of Arabic numbers: (1) regular size numbers from 1 to 7 indicating seven modes
and (2) Arabic numbers in superscript indicating the exact transposition of a mode. For instance, Mode 1 (whole-
tone scale) comes in two distinct transpositions, which will be labeled as Mode 11 and Mode 12. Mode 2 (with the
recurring intervallic pattern of minor and major 2nds: 1/2) comes in three transpositions, which will be labeled as
Mode 21 (on C), Mode 22 (on C≥), and Mode 23 (on D).