Old Music Theory

Every chord in a scale has the ability to strengthen or weaken the tonal impression. The harmony/impression of a chord depends entirely on its relation to the chords close to it. When a chord weakens the tonal impression it impresses on the tonal impression of a new tonic. When this is done unintentionally it results in a less satisfactory realization. These chords are split into 3 categories:

I. FIRST ORDER CHORDS (GOOD DEGREES)
– These are the degrees that must be frequently returned to, otherwise the tonal effect may be lost/undecided.

1. Tonic Chord (first)
2. Dominant Chord (fifth)
3. Subdominant Chord (fourth)

II. SECOND ORDER CHORDS (GOOD DEGREES)
– These degrees have an excellent effect when placed well. They break up the monotony from the exclusive use of First Order Chords. Since their tonal effect is lower, too frequent return/prolonged duration may impair the tonal impression.

1. Supertonic Chord (second)
2. Submediant Chord (sixth)

III. THIRD ORDER CHORDS (BAD DEGREES)
– The tonal impression of these chords are even weaker than the preceding one. The third degree has a weak tonal effect and is used infrequently. The seventh degree is only employed harmonic marches, and one must absolutely refrain from using it anywhere else.

1. Mediant Chord (third)
2. Leading Tone Chord (seventh)

NOTE: In the minor mode, the mediant chord must be considered as not existing. As the relative major scale is more perfect that the minor scale, use of the mediant chord absolutely destroys whatever tonal impression laid on by the relative minor. It must not be used in the minor mode.

NOTE: There may be confusion regarding the use of the seventh degree chord. Let me clarify. I believe in current music theory, its often shown that the seventh degree chord resolves to the tonic. This however is false. Based on my readings, this chord would be classified as the dominant seventh chord without the root, as functionally its the same. Secondly, the dominant chord is more perfect than the seventh degree chord. In order to truly hear the weak tonal influence of the seventh degree chord, one must hear it used in a harmonic march. It’s only in this instance where the actual seventh chord may be heard, and not the dominant seventh chord without the root.