Page:LA2-NSRW-2-0384.jpg



HARMONY

840

HARMONY

sion of the minor mode of the tonic, dominant and subdominant chords adds three new melodic incidents to the diatonic tonality,—minor .3. or md (may) of the tonic; minor 6. or la of the subdominant; and minor JZL or td of the dominant.

The first phrase of the familiar hymn: "Joy   to   the   world,   the   Lord   is   come," EXAMPLE 12

presents the tones derived from the major mode of diatonic tonality in the closest order of succession from upper doh to lower doh. Such a succession of the tones of any tonality is called its scale—in this instance the diatonic scale. Scale, therefore, is simply one melodic ordering of the tones of tonality. This same melody can be translated into the minor mode, and the same harmonies, chords and harmonic base applied.

EXAMPLE 13

The solidarity of the two modes of diatonic tonality is thus clearly demonstrated. It also is plain that, since scale is not the foundation of music and tonality but is one of the melodic expressions, diatonic tonality furnishes many scales, illustrated in the following example:

EXAMPLE 14 Diatonic Tonality Key of D

To summarize: Harmony is all the simultaneous and progressive conceptions of the tonal relationships involved in tonality. Tonality is the unity involving all such harmonic ideas. Melody is the outlining, through tonal succession, of a definite conception of tonality. Key is the definite group of tones expressing tonality. Scale is the stepwise ordering of these tones from doh to doh.

The first study of harmony should consist in an effort to discover in one's own mind, and to express, original melody. For, the moment that melody is conceived in thought, harmony and tonality are expressed.

The second step in the study of harmony should consist in an effort to imagine one or more accompanying melodies which shall more or less clearly express definite harmonies suggested by the original or given melody, technically called the cantus. These accompanying melodies may move above or below the cantus, and are of two distinct orders: (i) the harmonic melodies which simply outline the harmonic bases

EXAMPLE 15

or fill in the chords of the harmony (see Examples 5, 7, n, 12 and 13) and (2) the contrapuntal melodies which not only outline the harmony but have the true melodic significance.

The next step in harmonic study would involve the completing of the expression of the harmonies by the filling in of the inner harmonic melodies and, also, the giving of many contrapuntal melodies to the original or given cantus. To the latter class of compositions the term polyphony more strictly applies. Where all the melodies but one are mainly harmonic, a composition assumes the character of what is called monody, although polyphonic in the sense of many voices.

Further development of the subject is impossible within the space allowed. It remains to say, however, that in the above simple outline of the primary elements of harmony and the elementary processes for the development of harmonic conceptions all the essential principles have been elucidated. The further study and development of the subject lies solely in the enlargement in respect to the amount and complexity of the harmonic material, great?-* insight into its artistic possibilities, and