Harmony for computer musicians:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Boston, Mass. [u.a.]
Course Technology
2011
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Includes bibliographical references (p. 269-270) and index |
| Beschreibung: | XV, 282 S. Ill., Notenbeisp. CD (12 cm) |
| ISBN: | 9781435456723 |
Internformat
MARC
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|---|---|---|---|
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| 003 | DE-604 | ||
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| 008 | 110627s2011 agl| |||| 00||| eng d | ||
| 020 | |a 9781435456723 |9 978-1-4354-5672-3 | ||
| 035 | |a (OCoLC)681342345 | ||
| 035 | |a (DE-599)BVBBV039103013 | ||
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| 041 | 0 | |a eng | |
| 049 | |a DE-12 | ||
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| 100 | 1 | |a Hewitt, Michael |e Verfasser |4 aut | |
| 245 | 1 | 0 | |a Harmony for computer musicians |c Michael Hewitt |
| 264 | 1 | |a Boston, Mass. [u.a.] |b Course Technology |c 2011 | |
| 300 | |a XV, 282 S. |b Ill., Notenbeisp. |e CD (12 cm) | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 500 | |a Includes bibliographical references (p. 269-270) and index | ||
| 650 | 4 | |a Software sequencers | |
| 650 | 4 | |a Computer music | |
| 650 | 4 | |a Harmony | |
| 650 | 4 | |a Harmonic analysis (Music) | |
| 650 | 0 | 7 | |a Computermusik |0 (DE-588)4113239-7 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Harmonielehre |0 (DE-588)4129028-8 |2 gnd |9 rswk-swf |
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Datensatz im Suchindex
| _version_ | 1804145813039874048 |
|---|---|
| adam_text | Contents
Introduction
...............................................................xii
Chapter
1
An Introduction to Musical Harmony
1
Rhythm
....................................................................1
Melody
....................................................................3
Harmony
...................................................................4
Chords
.....................................................................6
Chapter
2
The Interval
_____________________________________________ 9
Simple and Compound Intervals
...............................................12
Drone and Melody as a Simple Type of Harmony
.................................-13
Aural Qualities of Intervals: Consonance
and Dissonance
.............................................................14
Enharmonically Equivalent Intervals
............................................17
Intervals and Emotions
.......................................................1°
Conclusion
................................................................20
Chapter
3
Tonality and the Key System
_________________________________
The Classical Key System
.....................................................22
The Spectrum of Expression from a Range of Keys
.................................25
Key Relationships
...........................................................25
Major and Minor Scales
......................................................27
Popular Music Harmony Notation
.............................................30
The Functions of the Seven Triads
..............................................33
Conclusion
...............................................................-36
Chapter
4
The Principles of Part Writing
__________________ 39
Voice Leading
..............................................................39
Studying Part Song Writing
...................................................40
Three Kinds of Part Motion
...................................................41
Contents
VII
Consecutive
Octaves
and Fifths
................................................43
Disjointed Voice Leading
.....................................................45
Conclusion
................................................................47
Chapter
5
Voicing the Common Triad and Its Inversions
49
The Major Common Triad
....................................................49
The Minor Common Triad
....................................................50
Voicing Major and Minor Common Triads
.......................................51
Chordal Doubling
........................................................52
Chordal Spacing
.........................................................54
Chordal Inversion
........................................................56
Conclusion
................................................................57
Chapter
6
Tonic and Dominant Harmony
59
Tonic and Dominant Harmony in the Major Scale
.................................60
The Authentic Cadence
.......................................................61
Tonic and Dominant Harmony in the Minor Scale
.................................63
Chordal Inversions
..........................................................66
The Cadential Six-Four
.......................................................68
Conclusion
................................................................69
Chapter
7
The Three Primary Triads
71
A Harmony for All Seven Notes of the Scale
......................................71
The Function of the
Subdominant
..............................................72
Adding Three Parts above a Bass Line
...........................................76
Harmonizing Melodies with the Three Primary Triads
..............................79
Example Harmonization
.....................................................80
Reading the Melody for the Best Chords to Use
....................................81
Establishing a Harmonic Rhythm
...............................................82
Sketching in the Bass Line and Adding
the Inner Parts
..............................................................83
Adaptation of the Harmony for Various Forces
....................................84.
Conclusion
................................................................86
Chapter
8
Secondary Triads
89
Secondary Triads
...........................................................89
Harmony in the Major Key
...................................................90
The Complexities of the Minor Scale
............................................91
VIII Contents
The Submediant Triad
.......................................................93
The Mediant Triad
..........................................................96
The Supertonic (and Subtonic) Triad
............................................99
The Leading Note Triad
.....................................................103
Chord Progressions and Root Movement
.......................................104
Conclusion
...............................................................107
Chapter
9
Repetition, Arpeggiation, and Melodic Decoration
109
Repetition
................................................................109
Octave Repetition
..........................................................110
Arpeggiation
..............................................................
Ill
Linear Decorations
.........................................................114
Accented and Unaccented Embellishments
......................................115
Standard Types of Embellishment
.............................................115
Melodic Auxiliaries
.........................................................116
Variations of the Auxiliary
...................................................118
Passing Notes
.............................................................119
The
Appoggiatura
..........................................................123
The Suspension
............................................................123
The Anticipation
...........................................................124
Conclusion
...............................................................127
Chapter
10
The Chord of the Dominant Seventh
__________________________ 129
Treatment of the Dominant Seventh Chord
......................................131
Inversions of the Dominant Seventh Chord
......................................133
Irregular Progressions of the Dominant Seventh Chord
.............................134
Conclusion
...............................................................136
Chapter
11
Secondary Seventh Chords
____________________137
The Seventh as Dissonant Note
...............................................138
Approaching Seventh Chords
.................................................139
Treatment of Seventh Chords
.................................................140
Inversions of Seventh Chords
.................................................142
Figured Bass Notation of Seventh Chords
.......................................143
Types of Seventh Chords
....................................................144
Conclusion
...............................................................144
Contents
IX
Chapter
12
Seventh Chord Harmony in the Major Key
147
The Tonic Seventh Chord
....................................................147
The Supertonic Seventh Chord
................................................149
The Mediant Seventh Chord
..................................................150
The
Subdominant
Seventh Chord
..............................................151
The Dominant Seventh Chord
................................................152
The Submediant Seventh
.....................................................152
The Seventh on the Leading Note
..............................................155
The Sequential Cycle
........................................................155
Three Types of Seventh Chords
...............................................159
Conclusion
...............................................................160
Chapter
13
Seventh Chord Harmony in the Minor Key
161
The Tonic Seventh
.........................................................162
The Supertonic Seventh
.....................................................164
The Mediant Seventh
.......................................................164
The
Subdominant
Seventh
...................................................165
The Submediant Seventh
.....................................................167
The Seventh Chord on the Leading Note
........................................167
Conclusion
...............................................................170
Chapter
14
Modulation
________________________________________________173
Relationships between Keys
..................................................174
Closely Related Keys
........................................................175
The Relative Major/Minor Connection
.........................................175
The Parallel Major/Minor Connection
..........................................176
Distantly Related Keys
......................................................177
Different Types of Modulation
................................................178
Abrupt Modulation
.....................................................178
Diatonic Modulation
....................................................178
Chromatic Modulation
...................................................179
Enharmonic Modulation
.................................................181
Learning How to Modulate
..................................................186
Conclusion
...............................................................187
Chapter
15
Suspended and Added Note Chords
189
Suspended Chords
..........................................................189
Creating and Playing a Suspended Chord
.......................................190
X
Contents
Origins of Suspended Chords
.................................................191
Uses of Suspended Chords
...................................................191
Added Note Extensions
.....................................................193
Added Sixth Chords
........................................................193
Added Ninth Chords
........................................................196
Added Sixth/Ninth Chords
...................................................198
Conclusion
...............................................................200
Chapter
16
Chords of the Ninth
__________________________________________203
How to Create an Extended Chord of the Ninth, Eleventh, or Thirteenth
..............203
Voicing Extensions
.........................................................203
Ninth Chords
.............................................................206
Voicing a Ninth Chord in Four Parts
...........................................208
Regular Pathways of Progression of Ninth Chords
................................209
Inversions of Ninth Chords
..................................................211
Conclusion
...............................................................213
Chapter
17
Chords of the Eleventh
________________________________________215
Uses of Eleventh Chord Harmony
.............................................215
Eleventh Chord Harmony in Split Chords
.......................................217
Voicing an Eleventh Chord
...................................................218
Use of Other Eleventh Chords
................................................219
Treatment of Eleventh Chords
................................................221
Inversions of Eleventh Chords
................................................222
Conclusion
...............................................................222
Chapter
18
Thirteenth Chords
____________________________________________225
Traditional Uses of Thirteenth Chords
..........................................225
The Thirteenth and Drone Music
..............................................227
Conclusion
...............................................................230
Chapter
19
Modal Interchange
___________________________________________231
Chromatic Chords from Modal Interchange
.....................................232
Conclusion
...............................................................238
Chapter
20
Secondary Dominant Chords
239
Approaching a Secondary Dominant Chord
.....................................242
Contents
XI
Irregular
Resolution
of Secondary Dominants
....................................243
Conclusion
...............................................................246
Chapter
21
True Chromatic Chords
247
Augmented Sixth Chords
....................................................247
The Italian, French, and German Forms of the Augmented Sixth
.....................248
Augmented Sixth Chords as Chromatically Altered Dominants
......................249
Tritone
Substitution
........................................................252
A Wealth of Chromatically Altered Chords
......................................253
Non-Dominant Chromatic Alterations
.........................................254
Experiment with Chromatic Alteration
.........................................255
Conclusion
...............................................................255
Chapter
22
Modal Harmony
257
Diatonic Modal Harmony
...................................................257
Modal Colors
.............................................................259
The Harmonic Form of Chromatic Scale
........................................259
A Common Chromatic Pot of Chords
..........................................260
Suppressing the Tonicizing Influence of the Dominant Seventh
......................262
Expanding the Range of Modes
...............................................262
Breakdown of the Principles of Functional Harmony
..............................264
Immerse Yourself in a World of Modal Color
....................................265
Conclusion
...............................................................265
Chapter
23
Conclusion
267
References and Recommended Further Reading
..................................269
Index
271
|
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| isbn | 9781435456723 |
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| spelling | Hewitt, Michael Verfasser aut Harmony for computer musicians Michael Hewitt Boston, Mass. [u.a.] Course Technology 2011 XV, 282 S. Ill., Notenbeisp. CD (12 cm) txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references (p. 269-270) and index Software sequencers Computer music Harmony Harmonic analysis (Music) Computermusik (DE-588)4113239-7 gnd rswk-swf Harmonielehre (DE-588)4129028-8 gnd rswk-swf (DE-588)4151278-9 Einführung gnd-content Computermusik (DE-588)4113239-7 s Harmonielehre (DE-588)4129028-8 s DE-604 Digitalisierung BSB Muenchen 4 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=022646912&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Hewitt, Michael Harmony for computer musicians Software sequencers Computer music Harmony Harmonic analysis (Music) Computermusik (DE-588)4113239-7 gnd Harmonielehre (DE-588)4129028-8 gnd |
| subject_GND | (DE-588)4113239-7 (DE-588)4129028-8 (DE-588)4151278-9 |
| title | Harmony for computer musicians |
| title_auth | Harmony for computer musicians |
| title_exact_search | Harmony for computer musicians |
| title_full | Harmony for computer musicians Michael Hewitt |
| title_fullStr | Harmony for computer musicians Michael Hewitt |
| title_full_unstemmed | Harmony for computer musicians Michael Hewitt |
| title_short | Harmony for computer musicians |
| title_sort | harmony for computer musicians |
| topic | Software sequencers Computer music Harmony Harmonic analysis (Music) Computermusik (DE-588)4113239-7 gnd Harmonielehre (DE-588)4129028-8 gnd |
| topic_facet | Software sequencers Computer music Harmony Harmonic analysis (Music) Computermusik Harmonielehre Einführung |
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