Harmony simplified: or, The theory of the tonal functions of chords PDF
Preview Harmony simplified: or, The theory of the tonal functions of chords
CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 189I BY HENRY WILLIAMS SAGE MUSIC MT 50.R55rni896n'Ver8i,y "**" 3 1924 022 305 357 Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022305357 ATJGENER'S EDITION No. 9198 HARMONY SIMPLIFIED OR THE THEORY OF THE TONAL FUNCTIONS OF CHORDS. BV DR. HUGO RIEMANN, Professor of Musical Science at Leipzig University TRANSLATED FROM THE GERMAN. THIRD IMPRESSION AUGENER LTD. LONDON Printed in England by AUGENER Ltd., 287 Acton Lane, London, W. 4. ©e&tcatefc TO PROFESSOR EBENEZER PROUT. B.A., ProfessorofMusicinthe UniversityofDublin,etc. THE DISTINGUISHED PIONEER OF MUSICAL PROGRESS. THE AUTHOR —— $ —————— CONTENTS. Introduction page i. — — — — — (Harmony Melody Tone relationship Overtones Undertones Majoi — — chordand minorchord Thethree functions Modulation.) CHAPTER I. Writing Confinedto Pure PrincipalHarmonies (Tonicand Dominants) page 10. — §I. sOivnegrlcelacnhgorsdsa.nd §U3n.dePrlcalina-nfgisf.th s§t2e.p F(ouTr-—paDrtawnrditi°ngT—T°hSe)—wrTihteingcono-f — — nectionofchords Consecutiveoctaves Chordsofsix-four(-Z?JandS\i)- °atc§ina4Tvdd.ee—nf"ciC+fDeotDsnh—.ts)r—a+—-T§-fChiD5of.e)nt—thtrTraDhs-iitfetmieoifpntwnehhi—os(SclhcheTeo-adr—tneo.gSneaen§da{s6nt°.edaSpuT—g(h"ZmSe>eT—nt+—tu)Dre°ndaDona)fdpnah—dfraCitrf°-otmpmDhrop-o—nlcgyherat°en(seSg+s)eiT—o((nb—C°sio-S—l"na—JstF?eeaarcl+anuslSd-e) — relation Modulation. — CHAPTER II. Characteristic Dissonances Parallel-Clangs —Leading-Tone-Change Clangs page55. §7. The characteris—tic dissonances {D1, Svn, S6, Dvl)—Treatment of dissonant tones Alto clef—Fi—guration with passing and auxiliarynotes. "§S8p. ;Cho°rTdps,of°Sspe,ven°-Dthpr,ee+(-IDPp1)——Tvrue)atamnedntparao—lflefleicglnainnggs(cTopn,soSnapn,cDesp, Doubling of the third allowed Third change Leading-tone change — — — Minor-third change Whole-tone change Tritone change Tenorclef — — Third step Minor-third step Leading-tone step. §9. Dorian sixth, Mixolydian seventh, Neapolitan sixth, Phrygian second,Lydian fourth — — Thechurchmodes Revival of these as means of expression Close — — — Half-close Deceptive-close Contra-whole-tone change Tritone step — — Chromatic-semitone change Augmented-sixth change Double-third — change Chromatic-semitonestep. —— vi Contents. — CHAPTER III.—The Theory of Dissonance Sequences- Intermediate Cadences page 107. — — § 10. Completion—oftheTheoryofDi—ssonance Passingdissonanc—es Prepared dissonances Altered chords Unprepared dissonances Syncopated — figuration. § II.—Sequences The sequence as melodicimitationofhar- mony formations Five-part writing, §12. Intermediate cadences — (Inserted) and [omitted] harmonies The notationfortransposing instru- ments. CHAPTER IV.—The Change of Tonal Functions (Modula- tion) page 141. — §13. Change of meaning of the simplest harmony steps Characteristic figuration. § 14. Modulating power of harmony steps. § 15. Modula- tions by means of chords of seven-three and of minor nine-three Enharmonic Change. § 16. Modulations by means ofthe third-change clangs. § 17. Modulations by means of bolder harmonic progressions (leading-tone steps, third steps, etc.). § 18. Modulationbymeansofthe most far-reaching harmonyst—eps (tritone step, etc.). § 19. Independent creation of musical sentences Periodformation. §20. Pedal-point and modulatingsequence. Exercises: pages 11, 16, 20, 21, 23, 25-28, 30-34, 39-43. 5°-54. 64-69, 82-83, 85-87, 104-106, 118-120, 126-127, I33-,4°> 180-187. Explanation of the Terminology and the Chord Signs in Alphabetical Order ... page 191 Alphabetical Index ... ._ page 196,
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