THE FUNDAMENTAL PRINCIPLES OF THE HARMONY


118
pages, ISMN: 979-0-69210-644-9.  ISBN : 978-84-96753-28-0, DINSIC Publicacions Musicals, S.L. 

 A Treaty of Harmony, conceived as a study of chords, or hearing between melody and harmony.

Detailed explanation of the rules of harmony. Keyboard harmony initiation and practice.  

 After “LES ÉLÉMENTS ESSENTIELS DE LA MUSIQUE” (Essential elements of the Music), this work completes and sums up Narcís Bonet’s teachings on harmony, while also explaining the  principles behind the rules of harmony.

 Contains indispensable tools for practicing harmony at the keyboard.

 Contains a hitherto unpublished text by Nadia Boulanger entitled, “Cours d’Harmonie” (Harmony Lessons), representing the only written account of her teachings.

 Preface : Dominique MERLET.  
 Prologue : Philip LASSER.  
 Introduction : Narcís BONET
 

 TABLE OF CONTENTS 

INITIATION TO KEYBOARD HARMONY

 STUDY OF KEYS

  •  The tetrachord
  • The study of the Major Scale in all 12 keys
  • The Circle of keys with sharps
  • The Circle of keys with flats

STUDY OF CHORDS

STUDY OF CADENCES

  • Different positions of the chords
  • Adding the Sub-Dominant
  • Summary of the cadences

STUDY OF THE MAIN HARMONIC SEQUENCES

  • Ascending sequence of the fourth and third
  • Descending sequence of the fifth and fourth  (known as the sequence of fifths)
  • Descending and Ascending sequence of the fourth and second 

THE TRIAD IN ROOT POSITION   

GENERAL RULES FOR REALIZING BASSES  

  • Position of triads  
  • Progression of triads  
  •      First Rule  
  •     Second Rule  
  •      Third Rule 

EXERCISES

  • Exception of the Third Rule  (Deceptive Cadence) 

EXERCISES

  • Exception to the Second Rule  (the relationship between the Sub-Dominant and the IInd Degree)
  • The false relation of the Tritone  

CADENCES AND SEQUENCES

  • Sequences (non-modulating)
  •      The Fourth/Third Sequence (4/3)
  •      The Sequence of Fourth and Fifth  (Circle of Fifths)
  •      The Fourth and Second Sequence (4/2)
  • Sequences  (modulating) 
  •      The Fourth/Third Sequence (4/3)
  •      The Fifths Sequence 
  •      The Fourth and Second Sequence (4/2)
  • Other realizations  (more complex) 
  •      The Fourth/Third Sequence (4/3) 
  •      The Fifths Sequence  
  •      The Sequence of Thirds and Seconds 
  •      Successions of thirds 

GENERAL RULES FOR THE REALIZATION OF GIVEN MELODIES 

THE TRIAD IN FIRST INVERSION 

  • The Role of the Soprano
  • Exceptions to the principle of the Sixth in the Soprano
  • Voice exchanges

ANALYSIS  OF FIRST-INVERSION TRIADS 

  • The First inversion of the Leading Tone triad
  • The First inversion of the Sub-Dominant
  • Progression from a wide vertical disposition to a narrow vertical disposition
  • Harmonic Rhythm
  • Doubled notes 

EXERCISES

  • Summary of progressions
  • Harmonic sequences
  •      The Sequence of 4th and 3rd
  •      The Sequence the Circle of fifths
  •      The Sequence by Fourths and Seconds
  •      The succession of Sixth Chords

GENERAL RULES FOR THE REALIZATION OF GIVEN MELODIES

THE SECOND INVERSION OR SIX-FOUR CHORD

  • Summary of progressions
STUDY OF CHORDS
  • The six-four chord considered as an actual inversion of a triad
  • The 4/3 sequence
  • The 4/2 sequence 
  • The Fifths sequence  

THE DOMINANT SEVENTH CHORD

  • The Figures for the Dominant Seventh chord

STUDY OF THE CHORD

  • The natural resolution of the Dominant Seventh chord
  • The ambiguity of the 2nd inversion or +6 chord

EXERCISES

  • Sequences
  • The Fifth sequence
  • The 4/3  sequence
  • The 4/2  sequence
  • The “Sub-Dominant Seventh chord” and irregular resolutions

REALIZATION OF FIGURED BASSES 

REALIZATION OF GIVEN MELODIES

SEVENTH CHORDS OF OTHER TYPES

  • The Figures for non-Dominant seventh chords (major and minor)
  • The Figures for Leading tone seventh chords (half-diminished) and Fully diminished seventh chords
  • Sequences

EXERCISES

REALIZATION OF FIGURED BASSES 

APPENDIX : HARMONY LESSONS OF NADIA BOULANGER

ROOT POSITION TRIADS

  • 1 – Major triad
  • 2 – Minor triad
  • 3 – Diminished triad
  • 4 – Augmented triad
  • 5 – Cadences

FIRST INVERSION TRIADS

  • General remarkss
  • I – Stationary Bass
  • II – Bass motion by 1/2 step
  • III – Bass by conjunct motion
  • IV – Bass moving by thirds
  • V – Bass moving by fourth

SECOND INVERSION TRIADS

  • A – as appoggiatura
  • B – as neighbor tones
  • C – as passing tones

DOMINANT SEVENTH CHORDS