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Chords, and Their Connection 5
Taking the chord of C, the following arrangements will then be possible:
These all give four different sounds, and do not include cases where it may be considered that two voices are in unison, sounding only three separate tones.
The student should carefully observe the effect of each of these chords. No two give an identical impression. Each has its place in the art scheme.
The next thing is to connect two chords. In doing so the following rules should be observed:
(i) When one note is common to two successive chords it should be taken by the same voice.
(2) When the voices are moving, each should pass to the nearest available note.
These two rules give the normal and natural method of part-progression. Any departure from them is introduced for the sake of variety, and has the effect of being somewhat more venturesome and difficult.
In connecting I and V, or I and IV, there is always one note in common; but when IV goes to V, this condition no longer exists, and the progression is called 'foreign.' The bass will rise one step, and the rule for the three upper voices is that they shall descend each to the nearest available note. The progression V-IV is unusual, and should be avoided.
(a) Play the I, the V and the IV in each of the twelve major keys, in every possible position, according to the above example, carefully observing the rules already given.
(b) Connect the I with the V in all major keys in every position, according to the rules of part-progression.
(c) Connect the I with the IV in the same manner.