Alfred Day's controversial work, presenting the case for strict and free harmony, in its second edition of 1885.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Author's preface Editor's preface General introduction: of thorough bass Part I. Diatonic Harmony, or Harmony in the Strict Style: 1. Of intervals 2. Scales and keys 3. Of the progression of parts in the diatonic or strict style 4. Of common chords and their inversions 5. Of sequence 6. Of discords 7. The first species of diatonic discords 8. The second species of discords 9. The third species of discords 10. The fourth species of discords 11. Of pedals in the strict or diatonic style 12. Of modulation in the strict or diatonic style Part II. Chromatic Harmony, or Harmony in the Free Style: Introduction 13. Of chromatic or fundamental harmony, the intervals used therein, and chromatic scales 14. Of the progression of parts in chromatic harmony 15. Of false relation as regards fundamental harmony 16. Of common chords and their first inversions 17. Of the second inversions of concords 18. Of the fundamental sevenths of the dominant, supertonic, and tonic 19. Of the fundamental minor and major ninths of the dominant, supertonic, and tonic 20. Of the chord of the fundamental eleventh of the dominant 21. Of the fundamental chords of the thirteenth of dominant, supertonic, and tonic 22. Of the chords of the augmented sixth 23. Of the suspension of fundamental chords 24. Of mixture of the diatonic and chromatic styles 25. Of diatonic and chromatic passing notes in the free style, and arpeggios 26. Of pedals in the free style 27. Of modulation in the free style Appendix Postscript.
Author's preface Editor's preface General introduction: of thorough bass Part I. Diatonic Harmony, or Harmony in the Strict Style: 1. Of intervals 2. Scales and keys 3. Of the progression of parts in the diatonic or strict style 4. Of common chords and their inversions 5. Of sequence 6. Of discords 7. The first species of diatonic discords 8. The second species of discords 9. The third species of discords 10. The fourth species of discords 11. Of pedals in the strict or diatonic style 12. Of modulation in the strict or diatonic style Part II. Chromatic Harmony, or Harmony in the Free Style: Introduction 13. Of chromatic or fundamental harmony, the intervals used therein, and chromatic scales 14. Of the progression of parts in chromatic harmony 15. Of false relation as regards fundamental harmony 16. Of common chords and their first inversions 17. Of the second inversions of concords 18. Of the fundamental sevenths of the dominant, supertonic, and tonic 19. Of the fundamental minor and major ninths of the dominant, supertonic, and tonic 20. Of the chord of the fundamental eleventh of the dominant 21. Of the fundamental chords of the thirteenth of dominant, supertonic, and tonic 22. Of the chords of the augmented sixth 23. Of the suspension of fundamental chords 24. Of mixture of the diatonic and chromatic styles 25. Of diatonic and chromatic passing notes in the free style, and arpeggios 26. Of pedals in the free style 27. Of modulation in the free style Appendix Postscript.
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