"FUNCTIONAL HARMONY" is the title of the text written by me. It analyzes Harmony in a systematic and almost scientific manner; creativity in music is the ...most important thing, but one must also know its rules. It treats Harmony within the scope of its tonal, modal, and chromatic manifestations.
DESCRIPTION OF THE WORK
- GENERAL ADVICE……………………………………………………………………………………………………………….pag 6
- INTRODUCTION……………………………………………………………..………………………………………...……………pag 8
- MODAL IMPROVISATION………………………………………………………………………………………………………..…………….pag 12
Part 1
- VERTICALIZING TONAL HARMONY…………………………………………………..………….……..……….………..pag 14
- MODAL SCALES…………………………………………………………………………………….…..………………………pag 15
- MAIN CHORD GENRES IN TONAL HARMONY……………………………………….……………….….…….pag 16
- MODULATION…………………………………………………………………………………………..…….…….…………pag 20
- HORIZONTAL HARMONY AND VERTICAL HARMONY…………………..………………………………….……………….pag 23
- DE-TONALIZING MODAL INTERCHANGE……………………………………………..………….……………………pag 25
- VERTICALIZATION OF TONAL COMPOSITIONS………………………………….……..…………………….………….pag 29
- DIFFERENCE BETWEEN THE VII CHORD AND THE VII+5 CHORD IN A TONAL CONTEXT …………….……….pag 33
- SUBSTITUTION AND ALTERATION OF THE VII AND VII+5 CHORDS IN TONAL HARMONY…………….……….pag 34
- SYMMETRICAL SCALES………………………………………………………………………………..………….………...………pag 39
- UNALTERED AND ALTERED DIATONIC MODAL SCALES……………………….………………………..………pag 43
Part 2
- PROPAEDEUTIC GENERALITIES FOR MODAL HARMONY..………………………………………………...……..…..pag 44
- UNALTERED DIATONIC MODES……………….………………………………………..……………….……………………pag 45
- CONCEPTUALIZING MODES….……………………………………………………………………………..…………………pag 51
- TYPES OF HARMONY…..………………………………………………………………………………………………………………..pag 53
- "ARMOZO”……………………………………………………….…………………………………………………………………..pag 54
- TONAL CENTERS….………….……………………………………………………………………………..………………..………pag 56
- TONAL CENTERS IN TONAL HARMONY………………………………………………………...……….…..……….pag 56
- TONAL CENTERS IN MODAL HARMONY…………………………………………………….………………..……….pag 58
- TONAL CENTERS IN INTERVALLIC HARMONY…………………………………………………..………….pag 60, 129
- MODAL HARMONY…………………………………………………………..……………………………………....…………….pag 61
- ALTERED DIATONIC MODES.…………………………………………………………………………….…...………………….pag 64
- CHROMATIC MODAL HARMONY.…………………………………………….…………….………...……………….……….pag 64
- NON-CHROMATIC MODAL HARMONY.…………………………………………….……………………...………….……….pag 65
- TRITONES……………………………………………………………………………………………………....…………………….pag 67
- ANALYSIS OF MODES"
ALTERED DIATONIC MODES……………………………………………………………...…….……………….pag 68
- FORMS OF COMPOSITION IN THE MODAL CONTEXT……………………………………..……..…………………………….pag 75
- EMOTIONAL CHARACTERISTICS OF THE MODES…………………………………………………….……..…………………………pag 76
- GENERAL CONSIDERATIONS ON THE USE OF MODES………………..…………………………………...….………pag 80
- IDENTIFYING NOTES OF THE MODE……………………………………………………………………………………………pag 81
- CONSTRUCTION OF MODAL CHORDS..………………………………………………..…..…………………-…..…….pag 83
- examination of chordal sonorities without obscuring the mode…………..……….…………………pag 88
- methods of concatenation of diatonic modes…………………….……………………….………………..pag 89
- MODAL COMPOSITION………………………………………………………………………………………………….pag 101
Part 3
- Modal/chromatic Harmony………………………………….…………..……………………………………..……...pag 106
- Superimpositions……………………………………………………………….….………………..……………….………..pag 109
- Chromatic pedal point………….……………………………………………………………………..………..……….pag 112
- Chromaticization by addition of the mode's "latent notes”………………...….…………..……pag 113
- Modes with limited transposition……………………………………………………………….……..…………………pag 116
- Oriental modes…………………………………………………………………....………….……….….…………………..pag 124
- Modalism/intervallic HARMONY……………………….…..…………..…….………………….…………………pag 129
- Bimodality and trimodality …………………………………………………………………….………………………….pag 133
- Chordal melody……………………………………………………………………………….…………………………pag 136
- Chords with added notes………………………………………………...…………….……………………………pag 140
- Synthetic scales……………………………………………………………………………….………………………………pag 144
- Quartal harmony…………………………………………………………………………………………………………….pag 146
- DISCOGRAPHY……………………………………………………………………………………………………………………pag 154
