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Harmony for Computer Musicians

Book Description

Many DJs, gigging musicians, and electronic music producers understand how to play their instruments or make music on the computer, but they often lack the basic knowledge of harmony needed to take their music-making to the next level and compose truly professional tracks. Beneath all the enormously different styles of modern electronic music lie certain fundamentals of the musical language that are exactly the same no matter what kind of music you write. It is very important to acquire an understanding of these fundamentals if you are to develop as a musician and music producer. Put simply, you need to know what you are doing with regard to the music that you are writing. Harmony for Computer Musicians explains harmony fundamentals in the most simple and accessible way possible. Concepts are taught using the MIDI keyboard environment and today's computer composing and recording software. By reading this book and following the exercises contained within it the aspiring music producer/computer musician will be able to great progress toward understanding harmony.

Table of Contents

  1. Copyright
    1. Dedication
  2. Acknowledgments
  3. About the Author
  4. Introduction
    1. CD-ROM Downloads
  5. 1. An Introduction to Musical Harmony
    1. Rhythm
    2. Melody
    3. Harmony
    4. Chords
  6. 2. The Interval
    1. Simple and Compound Intervals
    2. Drone and Melody as a Simple Type of Harmony
    3. Aural Qualities of Intervals: Consonance and Dissonance
    4. Enharmonically Equivalent Intervals
    5. Intervals and Emotions
    6. Conclusion
  7. 3. Tonality and the Key System
    1. The Classical Key System
    2. The Spectrum of Expression from a Range of Keys
    3. Key Relationships
    4. Major and Minor Scales
    5. Popular Music Harmony Notation
    6. The Functions of the Seven Triads
    7. Conclusion
  8. 4. The Principles of Part Writing
    1. Voice Leading
    2. Studying Part Song Writing
    3. Three Kinds of Part Motion
    4. Consecutive Octaves and Fifths
    5. Disjointed Voice Leading
    6. Conclusion
  9. 5. Voicing the Common Triad and Its Inversions
    1. The Major Common Triad
    2. The Minor Common Triad
    3. Voicing Major and Minor Common Triads
      1. Chordal Doubling
      2. Chordal Spacing
      3. Chordal Inversion
    4. Conclusion
  10. 6. Tonic and Dominant Harmony
    1. Tonic and Dominant Harmony in the Major Scale
    2. The Authentic Cadence
    3. Tonic and Dominant Harmony in the Minor Scale
    4. Chordal Inversions
    5. The Cadential Six-Four
    6. Conclusion
  11. 7. The Three Primary Triads
    1. A Harmony for All Seven Notes of the Scale
    2. The Function of the Subdominant
    3. Adding Three Parts above a Bass Line
    4. Harmonizing Melodies with the Three Primary Triads
    5. Example Harmonization
    6. Reading the Melody for the Best Chords to Use
    7. Establishing a Harmonic Rhythm
    8. Sketching in the Bass Line and Adding the Inner Parts
    9. Adaptation of the Harmony for Various Forces
    10. Conclusion
  12. 8. Secondary Triads
    1. Secondary Triads
    2. Harmony in the Major Key
    3. The Complexities of the Minor Scale
    4. The Submediant Triad
    5. The Mediant Triad
    6. The Supertonic (and Subtonic) Triad
    7. The Leading Note Triad
    8. Chord Progressions and Root Movement
    9. Conclusion
  13. 9. Repetition, Arpeggiation, and Melodic Decoration
    1. Repetition
    2. Octave Repetition
    3. Arpeggiation
    4. Linear Decorations
    5. Accented and Unaccented Embellishments
    6. Standard Types of Embellishment
    7. Melodic Auxiliaries
    8. Variations of the Auxiliary
    9. Passing Notes
    10. The Appoggiatura
    11. The Suspension
    12. The Anticipation
    13. Conclusion
  14. 10. The Chord of the Dominant Seventh
    1. Treatment of the Dominant Seventh Chord
    2. Inversions of the Dominant Seventh Chord
    3. Irregular Progressions of the Dominant Seventh Chord
    4. Conclusion
  15. 11. Secondary Seventh Chords
    1. The Seventh as Dissonant Note
    2. Approaching Seventh Chords
    3. Treatment of Seventh Chords
    4. Inversions of Seventh Chords
    5. Figured Bass Notation of Seventh Chords
    6. Types of Seventh Chords
    7. Conclusion
  16. 12. Seventh Chord Harmony in the Major Key
    1. The Tonic Seventh Chord
    2. The Supertonic Seventh Chord
    3. The Mediant Seventh Chord
    4. The Subdominant Seventh Chord
    5. The Dominant Seventh Chord
    6. The Submediant Seventh
    7. The Seventh on the Leading Note
    8. The Sequential Cycle
    9. Three Types of Seventh Chords
    10. Conclusion
  17. 13. Seventh Chord Harmony in the Minor Key
    1. The Tonic Seventh
    2. The Supertonic Seventh
    3. The Mediant Seventh
    4. The Subdominant Seventh
    5. The Submediant Seventh
    6. The Seventh Chord on the Leading Note
    7. Conclusion
  18. 14. Modulation
    1. Relationships between Keys
    2. Closely Related Keys
    3. The Relative Major/Minor Connection
    4. The Parallel Major/Minor Connection
    5. Distantly Related Keys
    6. Different Types of Modulation
      1. Abrupt Modulation
      2. Diatonic Modulation
      3. Chromatic Modulation
      4. Enharmonic Modulation
    7. Learning How to Modulate
    8. Conclusion
  19. 15. Suspended and Added Note Chords
    1. Suspended Chords
    2. Creating and Playing a Suspended Chord
    3. Origins of Suspended Chords
    4. Uses of Suspended Chords
    5. Added Note Extensions
    6. Added Sixth Chords
    7. Added Ninth Chords
    8. Added Sixth/Ninth Chords
    9. Conclusion
  20. 16. Chords of the Ninth
    1. How to Create an Extended Chord of the Ninth, Eleventh, or Thirteenth
    2. Voicing Extensions
    3. Ninth Chords
    4. Voicing a Ninth Chord in Four Parts
    5. Regular Pathways of Progression of Ninth Chords
    6. Inversions of Ninth Chords
    7. Conclusion
  21. 17. Chords of the Eleventh
    1. Uses of Eleventh Chord Harmony
    2. Eleventh Chord Harmony in Split Chords
    3. Voicing an Eleventh Chord
    4. Use of Other Eleventh Chords
    5. Treatment of Eleventh Chords
    6. Inversions of Eleventh Chords
    7. Conclusion
  22. 18. Thirteenth Chords
    1. Traditional Uses of Thirteenth Chords
    2. The Thirteenth and Drone Music
    3. Conclusion
  23. 19. Modal Interchange
    1. Chromatic Chords from Modal Interchange
    2. Conclusion
  24. 20. Secondary Dominant Chords
    1. Approaching a Secondary Dominant Chord
    2. Irregular Resolution of Secondary Dominants
    3. Conclusion
  25. 21. True Chromatic Chords
    1. Augmented Sixth Chords
    2. The Italian, French, and German Forms of the Augmented Sixth
    3. Augmented Sixth Chords as Chromatically Altered Dominants
    4. Tritone Substitution
    5. A Wealth of Chromatically Altered Chords
    6. Non-Dominant Chromatic Alterations
    7. Experiment with Chromatic Alteration
    8. Conclusion
  26. 22. Modal Harmony
    1. Diatonic Modal Harmony
    2. Modal Colors
    3. The Harmonic Form of Chromatic Scale
    4. A Common Chromatic Pot of Chords
    5. Suppressing the Tonicizing Influence of the Dominant Seventh
    6. Expanding the Range of Modes
    7. Breakdown of the Principles of Functional Harmony
    8. Immerse Yourself in a World of Modal Color
    9. Conclusion
  27. 23. Conclusion
    1. References and Recommended Further Reading
      1.