Name: Practical Manual Of Harmony
Price: 26.50 EUR
ISBN: 978-0-8258-5699-0

Content

Section 1: Preliminary Notions - Chord of the Seventh - Natural and Altered Modes (Primary and Secondary Chords) - Natural and Altered Modes (Primary and Secondary Chords) - Relationship of Triads - Movement of Voices - Doublings - Close and Open Harmony - Melodic Position of Triads - Harmonic and Melodic Connection of Triads - Forbidden Progression and Steps - Certain Exceptions in the Rules of Voice Leading - Section 2: Harmonization of Chords within a Single Tonality - Consonant Combinations - Consonant Combinations - Consonant Combinations - Consonant Combinations - Consonant Combinations - Consonant Combinations - Simple Complete Cadences: Authentic and Plagal - Compound Cadences with the Progression of the Subdominant and Dominant - Compound Cadence with the Six-four Chord on the I Degree - Passing Six-four Chord - Semi-Cadence (Harmonic Phrase) - Leaps of a Fourth or Fifth in the Melody and Middle Voices - Leaps of a Third in the Melody - Leaps of a Third in the Bass - The Sixth Chord of the Diminshed Triad on the VII Degree - The Root-position Triad and the Sixth Chord on the II Degree - The Root-position Triad on the VI Degree - The Root-position Triad on the VI Degree - The Root-position Triad on the III Degree in Major - The Root-position Triad on the III Degree in Natural Minor (Phrygian Cadence - Second Form) - The Root-position Triad on the VII Degree in Natural Minor (Phrygian Cadence - Second Form) - Harmonization of Chorales (Without Modulation) - The Minor Subdominant Triad and the Sixth Chord on the II Degree of the Harmonic-Major Mode - Dissonant Combinations (The Dominant Seventh Chord in Root Postion) - Inversions of the Dominant Seventh Chord - Leading Seventh Chords on the VII Degree (Half-diminished and Diminished) - The Seventh Chord on the II Degree and Its Inversions - Particular Forms of Plagal Cadences on the II and VII Degrees - Application of Seventh Chords to the Harmonization of Chorales - The Chord of the Ninth - The Relationship of All Triads in a Mode - The Relationship of All Triads in a Mode - The Relationship of All Seventh Chords in a Mode (Sequence with Seventh Chords) - Supplement (Free Use of All Chords of the Scale) - Section 3: Modulation - Near Keys - or Keys in the First Degree of Relationship - Modulation without Chromaticism - Indirect Methods - Use of the Modified Triad on the IV Degree in Melodic Minor - Modulation Directly through the Tonic Triad of the Subsequent Key - Chromaticism and Free Progressions (Cross Relation) - Chromatic Modulation - Use of the Modified Triad on the IV Degree in Melodic Minor - Transitions and Digressions - Use of Modulations in Harmonizing Melodies - The Second Degree of Relationship (Modulation Plans) - Exceptions - Perfect Modulation - Imperfect Modulation - Remote or Distant Tonalities - Organ Point - Section 4: Melodic Figuration - Passing Notes - Passing Notes - Passing Notes - Auxiliary or Embellishing Notes - Suspensions - Suspensions - Suspensions - Suspensions - Strict Melodic Figuration - Figured Chorales and Harmonization of Melodies Containing Melodic Figuration - Free Melodic Figuration - Harmonic Figuration and Figuration of the Organ Point - General Rule - Chromatically Modified Chords - False Dominant-seventh Chords and False Diminished-seventh Chords - Major Triad on the Lowered II Degree ("Neapolitan Sixth Chord") and the Dominant Seventh Chord with the Lowered Fifth - Chords with an Augmented Fifth - Chords with an Augmented Sixth - Means for Enharmonic Modulation - Enharmonicism of Chords with an Augmented Sixth - Enharmonicism of the Diminished-Seventh Chord - Enharmonicism of the Augmented Triad - False Progressions - False Cadences - False Progressions of Dominant Seventh Chords - Application of False Progressions to Sudden Modulation - Harmonization of Chorales - Conclusion - Exercises

Practical Manual Of Harmony

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