The study of 4-part harmony is introduced in Lesson 7 of ‘Studies in Music Theory’ by James Harrison, Louis Martin and Myron Fink. A set of basic tools is established - conjunct voice leading using the tonic and dominant triads in root position, and the complete and incomplete forms of the root position dominant 7th chord. Rhythmic extensions of the tonic are also part of the initial vocabulary. With these resources and no more, it becomes apparent that it is possible to create a short harmonic piece that has a convincing musical shape. Lesson 8 then goes a few steps further by adding disjunct and composite voice leadings as well as rhythmic extensions of the dominant.
Two realizations of the same figured bass appear in the example above. The authors compare the two pieces, revealing that with an imaginative treatment of the available resources, a great deal can be accomplished. The first setting lacks any sense of direction or meaningful shape but is technically correct, while the second exhibits a beautiful pitch contour in the soprano voice, as well as more elegant shaping in the alto and tenor. The various rhythmic extensions make a world of difference at this or at any stage in the study of harmony. Also note that the bass line itself [identical in both versions] has an attractive contour, despite its restriction to only the tonic and dominant notes.
The examples are quoted by permission of the authors.
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