Arnold Schoenberg · section 44 of 44

Guidelines

are given and restrictions made.

I. Unusual, first and foremost, are connections that create difficulties of voice leading. Our theory of harmony is derived for the most part from the events that arose in polyphonic music through the movement of voices; what caused voice-leading difficulties therefore did not occur there and is unusual. Such are, for example, cases like II with VI, III with VII, VI with III (at †), because of the danger of fifths, but also for yet another reason that will be discussed later; and: III with IV, V with VI, VI with IV and VII with VI (at ⊕), because of the augmented and diminished steps. The pupil will do best to leave these cases out entirely for now. Whether he will ever make use of them depends not on the teachings of the theory of harmony but on the need of an artist sure of his form. What such an artist does is well done. Harmony teaching recommends only what is customary and what has a place in its system of presentation.

II. Diminished triads that are introduced weakly take care of themselves for us (I with II, III with II, IV with VI [of C minor], V with VI [at ▽]).

III. The IV degree of C major with IV of F minor (Φ). IV of F minor is the subdominant of the subdominant, and given the natural power the subdominant has over the tonic, it is clear that the key could easily be lost. We do, to be sure, already have many means of restoring it. But here the means of restoring it would be more interesting than those by which it was lost. It is boring when the policemen are more interesting than the robbers. If we want to move so far from the key, to behave so revolutionarily, we shall later know more amusing means.

IV. III with I can arouse justified misgivings, which is especially noticeable when one connects them the other way round: I of F minor with III of C major (157 a and b). In this connection, unfamiliar to it, the ear does not want to take the chord E–G–B as III of C major, but prefers to hear it as a variant of 157 d, which 157 c does indeed sound very like. Less because these two chords do not occur side by side in any key than because this similarity suggests the more convenient interpretation to the ear too strongly for it to decide on the correct one. Nevertheless, 157 e and f prove that this six-chord can indeed be the III degree if it is continued as such.