By Keith Wyatt; Carl Schroeder
Advent -- pt. I. instruments : notes, rhythms, and scales -- 1. Pitch -- 2. significant scales and sharp keys -- three. Flat keys and accidentals -- four. durations -- five. Triads -- 6. be aware values -- 7. Time signatures and ties -- eight. Minor scales -- nine. Pentatonic scales -- pt. II. buildings : chords and chord progressions -- 10. Harmonizing the main scale -- eleven. Harmonizing the minor scale -- 12. Diatonic 7th chords -- thirteen. Key facilities -- 14. Blues -- 15. Chord inversion -- sixteen. prolonged chords -- 17. different chord forms -- pt. III. diversifications : concord and melody within the genuine international -- 18. Modes -- 19. adaptations in minor concord -- 20. diversifications in minor melody -- 21. Modal interchange -- 22. Secondary dominants -- 23. Altered chords -- 24. Altered scales -- 25. lowered 7th chords -- 26. Symmetrical scales -- 27. Diatonic chord substitution -- 28. Flat 5 substitution -- 29. Modulation -- Afterword -- Appendix I. Chord symbols -- Appendix II. ideas to routines
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Extra resources for Harmony & theory : [a comprehensive source for all musicians]
Arguing that an understanding of music would require a balance of both empirical and rational approaches, Forkel proposed that the true discipline of music theory would incorporate both, much as Kant was shortly to attempt a mediation in his critical philosophy of empiricism and rationalism. In Ex. 4, I have outlined the basics of Forkel’s program. Note that parts one and two constitute the traditional and modern domains of speculative harmonics: the mathematical and acoustical study of tone — Klanglehre.
27. For a reassessment, see Betty Jo Teeter Dobbs, The Foundations of Newton’s Alchemy, Cambridge 1975. 28 In this paper, I want to revisit Newton’s optical material, with a view to considering its relevance as an essential reference point for later medical and scientific understandings of perception and mind-body interaction, theories in which musical models apparently still had an important role to play. In particular I want to emphasize Newton’s commitment to maintaining an animating, divine principle in a universe which is harmonically constructed, because it is this dynamic, vital quality of music as immaterial, yet highly organized sound in motion, that makes it such a valuable conceptual resource in contexts where both words and vision fail.
Cramer’s Magazin der Musik 1 (1785), pp. 855–912. 35 orphBk6TowardsTonality_AmForm 09-12-2008 12:03 Pagina 36 Thomas Christensen Example 4. Johann Forkel, Über die Theorie der Musik (1777) I speculative 1. Die Physikalische Klanglehre 2. Die Mathematische Klanglehre II regulative 3. Die Musikalische Grammatik 4. Die Musikalische R hetorik a. Zeichenlehre (notation) b. Tonarten (scales, modes and intervals) c. Harmonie d. Rhythmopöie a. Periodologie (rhythm and logic) b. Schreibarten (style) III analytic c.