inhoudsopgavet

Foreword TO VOLUME 2
CHAPTER 8			Deviating resolutions of the dominant 7th chord	137
	LESSON 39 LESSON 40 LESSON 41 LESSON 42 LESSON 43 LESSON 44 LESSON 45	The deceptive cadence V7 —> VI Dominant 7th chord —> raised IV Dominant 7th chord on lowered VII The double ending The added dominant 7th chord More deviating resolutions of the dominant 7th chord • a minor third apart • a major third apart • a whole step apart • a half step apart Double dominant —> 6/4 chord, and its reharmonization		137 140 141 144 146 147 147 149 150 151 153
CHAPTER 9			The turnaround, and something about form	157
	LESSON 46 LESSON 47 LESSON 48 LESSON 49	The TA to the tonic in major and minor TA to the IInd degree in major and minor More frequently occurring turn arounds • TA to IV • TA from major to relative minor and vice versa • TA to the dominant 7th chord on VI Other kinds of TA • TA to IV in an alla breve or fast 4/4 meter • TA to I in an alla breve or fast 4/4 meter • TA to the relative minor in an alla breve or fast 4/4 meter • two-bar TA to the raised IV • repeat without TA • TA from major to parallel minor and the cross relation • TA to the TR double dominant		158 161 164 164 164 166 166 166 167 168 168 169 170 170
CHAPTER 10			Piano-style harmony with silent bass	173
	LESSON 50 LESSON 51 LESSON 52 LESSON 53 LESSON 54 LESSON 55	The thickened line, continued Special thickened line • perfect parallel harmony Static chords with silent bass Minor 7th and half diminished chords with silent bass Dominant 7th chord with silent bass • dominant 7th chord with 5 as lowest tone Dominant chain with silent bass • tone families of fifth and root tone • tone families as moving tones • tone families in the thickened line More examples to practice		173 181 184 189 195 198 200 202 203 207 208 211
CHAPTER 11			The relation melody-harmony	217
	LESSON 56 LESSON 57 LESSON 58 LESSON 59 LESSON 60	What do we hear? 1. Construction of most applied chords in jazz 2. The right progression of chords 3. Embellishing chords and their application 4. Meter and harmonic rhythm 5. The key 6. The bass also forms a melody 7. The fourth in a major chord 8. Tonal excursions to family 9. Doubling of bass and melody 10. Unfavourably applied chord extensions and alterations 11. Usefulness of a chord 12. Arpeggiated chords in the melody 13. Embellishing tones in the melody 14. Editing chord symbols from a commercial song sheet The vertical harmonic element A. Chord diagrams • Summary of the systeem B. Aplication of the vertical harmonic element The horizontal harmonic element Excursions to family VI and III • to VI in major • to VI in minor • to III in major • to III in minor Excursions to family V and IV • to the dominant key (V) • to the subdominant keys, family IV and II • the target chord Substitute for II-V and the tritone II-V progression • leading tone in the melody • m7/13 chord • TR dominant 7th chord • TR II -V progression • –13 in the melody • –10 and –9 in the melody • +11 in the melody		218 220 220 220 221 221 223 223 223 223 223 224 224 224 224 226 226 230 232 237 245 245 246 248 250 255 255 257 259 265 265 265 265 266 266 267 267
CHAPTER 12			Miscellaneous	273
	12.1 12.2 12.3 12.4 12.5 12.6 12.7	Rhythm and practice of piano accompaniment 12. 2 The piano intro • examples of four-bar intros Scales and modes Overtones, Superimposed Triads, and the Mystic Chord The Circle of Fifths, Axis Cross System, and Octotonics The harmonies of the blues A few tips and suggestions		273 276 277 278 282 288 290 295
APPENDIX		Overview of the resolution of augmented triads on the degrees of the key family of C (C-E-Ab)		298
reference.Index.volume 2				Ind. 1-6