Harmony for Computer Musicians
| Project Editor/Coordinator/Director | Cathleen D. Small |
| Copyright Holder (Photos) | Michael Hewitt |
| General Manager | Stacy L. Hiquet |
| Publisher | Stacy L. Hiquet |
| Editorial Manager | Heather Talbot |
| Proofreader | Geary Yelton |
| Marketing Manager | Mark Hughes |
| Indexer | Sharon Hilgenberg |
| Cover/Jacket Design by | Luke Fletcher |
| Executive Editor | Mark Garvey |
| Copy Editor | Cathleen D. Small |
| Copyright Holder | Michael Hewitt |
| Interior Design | MPS Limited |
| Marketing Director | Sarah Panella |
| Format | Paperback + CD |
| Language | English |
| Location | United States of America |
| Copyright | 2011 |
| Pages / Font | 282 pages |
| ISBN 13 | 978-1-4354-5672-3 |
| ISBN 10 | 1-4354-5672-6 |
| Barcode | 0 82039 55672 7 |
| Barcode (EAN) | 9 781435 45672 |
| EAN 5 | 53499 |
| Price | $34.99 |
| Chapters | Introduction Chapter 1: An Introduction to Musical Harmony Rhythm Melody Harmony Chords Chapter 2: The Interval Simple and Compound Intervals Drone and Melody as a Simple Type of Harmony Aural Qualities of Intervals: Consonance and Dissonance Enharmonically Equivalent Intervals Intervals and Emotions Conclusion Chapter 3: Tonality and the Key System The Classical Key System The Spectrum of Expression from a Range of Keys Key Relationships Major and Minor Scales Popular Music Harmony Notation The Functions of the Seven Triads Conclusion Chapter 4: The Principles of Part Writing Voice Leading Studying Part Song Writing Three Kinds of Part Motion Consecutive Octaves and Fifths Disjointed Voice Leading Conclusion Chapter 5: Voicing the Common Triads and Its Inversions The Major Common Triad The Minor Common Triad Voicing Major and Minor Common Triads Chordal Doubling Chordal Spacing Chordal Inversion Conclusion Chapter 6: Tonic and Dominant Harmony Tonic and Dominant Harmony in the Major Scale The Authentic Cadence Tonic and Dominant Harmony in the Minor Scale Chordal Inversions The Cadential Six-Four Conclusion Chapter 7: The Three Primary Triads A Harmony for All Seven Notes of the Scale The Function of the Subdominant Adding Three Parts above a Bass Line Harmonizing Melodies with the Three Primary Triads Example Harmonization Reading the Melody for the Best Chords to Use Establishing a Harmonic Rhythm Sketching in the Bass Line and Adding the Inner Parts Adaptation of the Harmony for Various Forces Conclusion Chapter 8: Secondary Triads Secondy Triads Harmony in the Major Key The Complexities of the Minor Scale The Submediant Triad The Mediant Triad The Supertonic (and Subtonic) Triad The Leading Note Triad Chord Progressions and Root Movement Conclusion Chapter 9: Repetition, Arpeggiation, and Melodic Decoration Repetition Octave Repetition Apreggiation Linear Decorations Accented and Unaccented Embellishments Standard Types of Embellishment Melodic Auxiliaries Variations of the Auxiliary Passing Notes The Appoggiatura The Suspension The Anticipation Conclusion Chpater 10: The Chord of the Dominant Seventh Treatment of the Dominant Seventh Chord Inversions of the Dominant Seventh Chord Irregular Progressions of the Dominant Sevent Chord Conclusion Chapter 11: Secondary Seventh Chords The Seventh as Dissonant Note Approaching Sevent Chords Treatment of Seventh Chords Inversions of Seventh Chords Figured Bass Notation of Seventh Chords Types of Seventh Chords Conclusion Chapter 12: Seent Chord Harmony in the Major Key The Tonic Seventh Chord The Supertonic Seventh Chord The Mediant Seventh Chord The Subdominant Seventh Chord The Dominant Seventh Chord The Submediant Seventh Chord The Seventh on the Leading Note The Sequential Cycle Three Types of Seventh Chords Conclusion Chapter 13: Seventh Chord Harmony in the Minor Key The Tonic Seventh The Supertonic Seventh The Mediant Seventh The Subdominant Seventh The Submediant Seventh The Seventh Chord on the Leading Note Conclusion Chapter 14: Modulation Relationships between Keys Closely Related Keys The Relative Major/Minor Connection The Parallel Major/Minor Connection Distantly Related Keys Different Types of Modulation Abrupt Modulation Diatonic Modulation Chromatic Modulation Enharmonic Modulation Learning How to Modulate Conclusion Chapter 15: Suspended and Added Note Chords Suspended Chords Creating and Playing a Suspended Chord Origins of Suspended Chords Uses of Suspended Chords Added Note Extensions Added Sixth Chords Added Ninth Chords Added Sixth/Ninth Chords Conclusion Chapter 16: Chords of the Ninth How to Create an Extended Chord of the Ninth, Eleventh, or Thirteenth Voicing Extensions Ninth Chords Voicing a Ninth Chord in Four Parts Regular Pathways of Progression of Ninth Chords Inversions of Ninth Chords Conclusion Chapter 17: Chords of the Eleventh Uses of Eleventh Chord Harmony Eleventh Chord Harmony in Split Chords Voicing an Eleventh Chord Use of Other Eleventh Chords Treatment of Eleventh Chords Inversions of Eleventh Chords Conclusion Chapter 18: Thirteenth Chords Traditional Uses of Thirteenth Chords The Thirteenth and Drone Music Conclusion Chapter 19: Modal Interchange Chromatic Chords from Modal Interchange Conclusion Chapter 20: Secondary Dominant Chords Approaching a Secondary Dominant Chord Irregular Resolution of Secondary Dominants Conclusion Chapter 21: True Chromatic Chords Augmented Sixth Chords The Italian, French, and German forms of the Augmented Sixth Augmented Sixth Chords as Chromatically Altered Dominants Tritone Substitution A Wealth of Chromatically Altered Chords Non-Dominant Chromatic Alterations Experiment with Chromatic Alteration Conclusion Chapter 22: Modal Harmony Diatonic Modal Harmony Modal Colors The Harmonic Form of Chromatic Scale A Common Chromatic Pot of Chords Suppressing the Tonicizing Influence of the Dominant Seventh Expanding the Range of Modes Breakdown of the Principles of Functional Harmony Immerse Yourself in a World of Modal Color Conclusion Chapter 23: Conclusion References and Recommended Further Reading Index |
| Notes | Printed in the United States of America CD contains PDF and MIDI files |
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