Applications / Pedagogy / Triad Harmony / Class 12



Circle with Real Triad and deceptive triad on each Tetrad

As a parting gesture to the circle, here it is with each Tetrad represented by both its Real Triad followed by its deceptive triad a third higher, written inQuarter notes, with only the last chord written as aHalf note. All "progressions" by ascending third are illusory, both the Real Triad and the deceptive triad belonging to the same basic Tetrad, but all progressions by ascending second are True, the deceptive triad caving in to the Real Triad.

(I-iii)-(IV-vi)-(VII-ii)-(III-v)-(VI-i)-(II-iv)-(V-vii)-I

Doubling and Voice-leading Lines
Starting once again with the maximum amount of deceptive triads possible,
           in this case seven (none on the last chord),
      with aQuarter noteQuarter note Quarter noteQuarter note Quarter noteQuarter note Quarter noteQuarter note Quarter noteQuarter note Quarter noteQuarter note Quarter noteQuarter note Half notemelo-rhythm pattern,
 th121
NOTE that VLL 1 has been left inHalf notes all the way through,
      and that it possesses the Fifth of each Real Triad (and basic Tetrad).
 NOTE that VLL 1 will cross either VLL 2 or VLL 3,
           depending on the choice of octave in its fourth/fifth leaps,
      and that the crossing VLLs must be placed in the soprano and tenor voices.
 NOTE that VLL2 and VLL3 are in canon with each other.
 The four VLLs all descend.

Melody
All these VLLs hold the key to the secrets of Melody,
      whether it is in "harmonizing" one, or in "composing" one.




Exercises

The following exercises will insert the deceptive triad less frquently
      than was the case in the example of this class (above),
           and the first step will be to establish the VLLs
                for the chord pattern of each exercise.
      The Doubling and Voice-leading when the deceptive triad is added
           will be found in the example on this page,
                the displacement from the Real Triad to the deceptive triad,
                     using the fourth/fifth skip freely, and
                the progression (caving in) from the deceptive triad to the next Real Triad.
      The Voice-leading between two Real Triads
           will be found in the example inClass 10,
                with two of VLLs 1, 2, 3 rising, and the third stationary.
      Once the VLLs are established,
           the rest will be similar to the exercises of the preceding classes.

Exercise 1
With theI-IV-(VII-ii)-(III-v)-VI-II-V-Ichord pattern ,
           and theHalf note Half note Quarter noteQuarter note Quarter noteQuarter note Half note Half note Half note Half notemelo-rhythm pattern,
                using the deceptive triad only twice,
      produce the four VLLs,
           with VLL 4 ready for the bass voice (C F BD EG A D G C).
 In the soprano voice, a VLL which ends on the note C will be placed.
 In the alto and tenor voices, the two remaining VLLs will be placed,
      respecting problems of crossing.
 HINT - the three top voices, in open position, will rise slightly,
      while VLL 4, in the bass voice, although generally descending,
           will end on the same note as the first.
 Transposition to a more appropriate key may be required for vocal performance.

Exercise 2
With theI-IV-VII-III-(VI-i)-(II-iv)-(V-vii)-Ichord pattern ,
           and theHalf note Half note Half note Half note Quarter noteQuarter note Quarter noteQuarter note Quarter noteQuarter note Half notemelo-rhythm pattern,
                using the deceptive triad three times,
      produce the four VLLs,
           with VLL 4 ready for the bass voice (C F B E AC DF GB C).
 In the soprano voice, a VLL which ends on the note C will be placed.
 In the alto and tenor voices, the two remaining VLLs will be placed,
      respecting problems of crossing.
 HINT - the three top voices start in close position and end in open position,
           one rising, one falling, one stable,
      while VLL 4, in the bass voice, descends,
           ending a full octave lower.
 Transposition to a more appropriate key may be required for vocal performance.

Exercise 3
With the(I-iii)-IV-(VII-ii)-III-(VI-i)-II-(V-vii)-Ichord pattern ,
           and theQuarter noteQuarter note Half note Quarter noteQuarter note Half note Quarter noteQuarter note Half note Quarter noteQuarter note Half notemelo-rhythm pattern,
                using the deceptive triad four times,
      produce the four VLLs,
           with VLL 4 ready for the bass voice (CE F BD E AC D GB C).
 In the soprano voice, a VLL which ends on the note C will be placed.
 In the alto and tenor voices, the two remaining VLLs will be placed,
      respecting problems of crossing.
 HINT - the three top voices start and end in open position,
           all the voices falling,
      while VLL 4, in the bass voice, although generally descending,
           will end on the same note as the first.
 Transposition to a more appropriate key may be required for vocal performance.

Performance remains the best form of correction.

On toTriad progressions


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