Chromatic Harmony: Difference between revisions
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==Resources== | ==Resources== | ||
* | ====Readings==== | ||
** [https://tobyrush.com/theorypages/pdf/en-us/altered-chords.pdf Altered Chords] | |||
** [https://tobyrush.com/theorypages/pdf/en-us/borrowed-chords.pdf Borrowed Chords] | *[https://tobyrush.com/theorypages/ ''Music Theory for Musicians and Normal People'']'':'' | ||
** [https://tobyrush.com/theorypages/pdf/en-us/the-neapolitan-six.pdf The Neapolitan Six] | **[https://tobyrush.com/theorypages/pdf/en-us/altered-chords.pdf Altered Chords] | ||
** [https://tobyrush.com/theorypages/pdf/en-us/secondary-dominants.pdf Secondary Dominants] | **[https://tobyrush.com/theorypages/pdf/en-us/borrowed-chords.pdf Borrowed Chords] | ||
** [https://tobyrush.com/theorypages/pdf/en-us/augmented-sixth-chords.pdf Augmented Sixth Chords] | **[https://tobyrush.com/theorypages/pdf/en-us/the-neapolitan-six.pdf The Neapolitan Six] | ||
** [https://tobyrush.com/theorypages/pdf/en-us/altered-and-enharmonic-modulation.pdf Altered and Enharmonic Modulation] | **[https://tobyrush.com/theorypages/pdf/en-us/secondary-dominants.pdf Secondary Dominants] | ||
** [https://tobyrush.com/theorypages/pdf/en-us/secondary-subdominants.pdf Secondary Subdominants] | **[https://tobyrush.com/theorypages/pdf/en-us/augmented-sixth-chords.pdf Augmented Sixth Chords] | ||
* | **[https://tobyrush.com/theorypages/pdf/en-us/altered-and-enharmonic-modulation.pdf Altered and Enharmonic Modulation] | ||
** [http://openmusictheory.com/alteredSubdominants.html Chromatically Altered Subdominant Chords] | **[https://tobyrush.com/theorypages/pdf/en-us/secondary-subdominants.pdf Secondary Subdominants] | ||
** [http://openmusictheory.com/appliedChords.html Applied Chords] | *[http://openmusictheory.com Shaffer, Wharton (eds.), ''Open Music Theory'']'':'' | ||
** [http://openmusictheory.com/modalMixture.html Modal Mixture]<br /> | **[http://openmusictheory.com/alteredSubdominants.html Chromatically Altered Subdominant Chords] | ||
**[http://openmusictheory.com/appliedChords.html Applied Chords] | |||
**[http://openmusictheory.com/modalMixture.html Modal Mixture] | |||
*[http://musictheory.pugetsound.edu/mt21c/MusicTheory.html Hutchinson, ''Music Theory for the 21st-Century Classroom''] | |||
**[http://musictheory.pugetsound.edu/mt21c/SecondaryDominants.html Chapter 17: Secondary Dominant Chords] | |||
**[http://musictheory.pugetsound.edu/mt21c/SecondaryDiminishedChords.html Chapter 18: Secondary Diminished Chords] | |||
**[http://musictheory.pugetsound.edu/mt21c/ModeMixture.html Chapter 19: Mode Mixture] | |||
**[http://musictheory.pugetsound.edu/mt21c/Neapolitan.html Chapter 20: The Neapolitan Chord] | |||
**[http://musictheory.pugetsound.edu/mt21c/AugmentedSixthChords.html Chapter 21: Augmented Sixth Chords] | |||
**[http://musictheory.pugetsound.edu/mt21c/EnharmonicModulation.html Chapter 23: Enharmonic Modulation] | |||
*[https://global.oup.com/us/companion.websites/9780199990870/online/ Snodgrass, ''Contemporary Musicianship:''] | |||
**[https://global.oup.com/us/companion.websites/fdscontent/uscompanion/us/static/companion.websites/9780199990870/online_ch2.pdf Chapter 2: “Chromatic Chords Functioning as the Predominant”]<br /> | |||
==Class Activities== | ==Class Activities== | ||
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====Files==== | ====Files==== | ||
*Chromatic | *Spelling Borrowed and Neapolitan Chords in Basic Form ([https://drive.google.com/file/d/1ohp3fDwrubkIILGYbhLXwawmLzdgiWim/view?usp=sharing Finale] | [https://drive.google.com/file/d/1IekwrImXs9c2GFbyTyoZBRFJOteMej7X/view?usp=sharing MusicXML] | [https://drive.google.com/file/d/1463Mo8DkXYsqqr6uuc03Ms60A1n1ebp4/view?usp=sharing PDF]) | ||
*Spelling Augmented Sixth Chords in Basic Form ([https://drive.google.com/file/d/171SdABKgrFKn6f84gKXFFYKM5yZljr5q/view?usp=sharing Finale] | [https://drive.google.com/file/d/1Tcp7HsX48StZBrlooShRbTZhCFL6O5ha/view?usp=sharing MusicXML] | [https://drive.google.com/file/d/1vx4RODXlLE8mQuV78mh4Q6_CNuvnAYcF/view?usp=sharing PDF]) | |||
== | *Spelling Chromatic Chords in Basic Form ([https://drive.google.com/file/d/1im4CgrfgMDb6nbHxjQ9rF5irc5zEWNUQ/view?usp=sharing Finale] | [https://drive.google.com/file/d/1bD5FH8b9iGq66gHrBe9hnS6RTmZlLL8K/view?usp=sharing MusicXML] | [https://drive.google.com/file/d/1m4ibYbUpgvrAWA3FbAfthj1zpo-SwDu4/view?usp=sharing PDF]) | ||
*Spelling Enharmonic Modulations ([https://drive.google.com/file/d/1RUBCzhm3AZuGfQccSXHWntF3D-PLp73_/view?usp=sharing Finale] | [https://drive.google.com/file/d/16srPEhG0BqTo1aO1a8f3kNrggoeQ_KCZ/view?usp=sharing MusicXML] | [https://drive.google.com/file/d/1s4rNX2d7qtv6TOzrs-0Bh_No4MOPQf7g/view?usp=sharing PDF]) | |||
*Adding Chromatic Chords to a Diatonic Piano Passage ([https://drive.google.com/file/d/1r0ELXg90UJ7FkZFItvM8yhBfA1g2Sd_B/view?usp=sharing Finale] | [https://drive.google.com/file/d/1ZsTOfosXEQBjkdrYfeAJVadjVys-6sLV/view?usp=sharing MusicXML] | [https://drive.google.com/file/d/1UTtLYvMGtwPFK6XlnRrdZjUrloSZLHDn/view?usp=sharing PDF]) | |||
*Harmonic Analysis: "Peacherine Rag" (excerpt) by Scott Joplin ([https://drive.google.com/file/d/1iVdIVG7i0mDmL8xcJNKqMDVUlIVhRf7a/view?usp=sharing Finale] | [https://drive.google.com/file/d/1GxluZfgs5LQ1r4rvqTp9fmUyCMApRF_J/view?usp=sharing MusicXML] | [https://drive.google.com/file/d/1lj-2VhzPqCrcZ03DPafOnQwAy7sPz9NV/view?usp=sharing PDF]) | |||
*Harmonic Analysis: "Love On Top" (excerpt) by Beyoncé Knowles ([https://drive.google.com/file/d/1_peUdTbeWQ2ECJeni-gHbUuwuw4NqTk-/view?usp=sharing Finale] | [https://drive.google.com/file/d/1fAftrqMhdXNW0uRwMliFvZ3YsEKmtgVK/view?usp=sharing MusicXML] | [https://drive.google.com/file/d/1gmm0KX_tqDBLHE2wsQ1DtACO3VWbc__r/view?usp=sharing PDF]) | |||
*[https://www.andrew.cmu.edu/user/johnito/music_theory/19thC/19thCMain.html Worksheets by John Paul Ito] | |||
**[https://www.andrew.cmu.edu/user/johnito/music_theory/19thC/EnharmonicDimWksht.pdf Progressions based on enharmonic diminished-seventh chords] | |||
**[https://www.andrew.cmu.edu/user/johnito/music_theory/19thC/Adv+6Wksht.pdf Advanced uses of +6 chords] | |||
**[https://www.andrew.cmu.edu/user/johnito/music_theory/19thC/ChromaticModWksht.pdf Chromatic modulations] | |||
**[https://www.andrew.cmu.edu/user/johnito/music_theory/19thC/CTWksht.pdf Common-tone (CT) chords] | |||
==Notes== | ==Notes== | ||
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{{Theory3Navbox}} | |||
[[Category:Harmony]] | |||
[[Category:Theory 3]] | |||
Latest revision as of 20:47, 20 August 2020
This lesson is part of the Harmony category. |
Objectives[edit]
- Students will be familiar with common chromatic harmonic vocabulary, including the Neapolitan chord, borrowed chords and augmented sixth chords.
- Students will be able to substitute chromatic chords into a diatonic chord progression.
- Students will be familiar with enharmonic modulation and tritone substitution.
Resources[edit]
Readings[edit]
- Music Theory for Musicians and Normal People:
- Shaffer, Wharton (eds.), Open Music Theory:
- Hutchinson, Music Theory for the 21st-Century Classroom
- Snodgrass, Contemporary Musicianship:
Class Activities[edit]
- Discussion and definition of chromatic harmonic vocabulary
- Harmonic analysis of music from different genres and time periods
- Substitution or insertion of chromatic chords into a given diatonic chord progression
- Composition and improvisation of chord progressions which use altered or enharmonic modulation to modulate between two given keys
Assignments[edit]
- Notation of various chromatic chords in a given key
- Identification and analysis of chromatic harmony in written and recorded music
- Substitution of chromatic chords into a diatonic chord progression
- Composition of a chord progression which uses chromatic harmony
Files[edit]
- Spelling Borrowed and Neapolitan Chords in Basic Form (Finale | MusicXML | PDF)
- Spelling Augmented Sixth Chords in Basic Form (Finale | MusicXML | PDF)
- Spelling Chromatic Chords in Basic Form (Finale | MusicXML | PDF)
- Spelling Enharmonic Modulations (Finale | MusicXML | PDF)
- Adding Chromatic Chords to a Diatonic Piano Passage (Finale | MusicXML | PDF)
- Harmonic Analysis: "Peacherine Rag" (excerpt) by Scott Joplin (Finale | MusicXML | PDF)
- Harmonic Analysis: "Love On Top" (excerpt) by Beyoncé Knowles (Finale | MusicXML | PDF)
- Worksheets by John Paul Ito