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- Produkterinnerung
- Produkterinnerung
Alfred Day's controversial work, presenting the case for strict and free harmony, in its second edition of 1885.
Alfred Day's controversial work, presenting the case for strict and free harmony, in its second edition of 1885.
Produktdetails
- Produktdetails
- Verlag: Cambridge University Press
- Seitenzahl: 246
- Erscheinungstermin: 23. September 2011
- Englisch
- Abmessung: 244mm x 170mm x 13mm
- Gewicht: 432g
- ISBN-13: 9781108038607
- ISBN-10: 1108038603
- Artikelnr.: 34965860
- Verlag: Cambridge University Press
- Seitenzahl: 246
- Erscheinungstermin: 23. September 2011
- Englisch
- Abmessung: 244mm x 170mm x 13mm
- Gewicht: 432g
- ISBN-13: 9781108038607
- ISBN-10: 1108038603
- Artikelnr.: 34965860
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.
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.
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.