Chromatic Harmony: Difference between revisions
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==Resources== | ==Resources== | ||
* ''[https://tobyrush.com/theorypages/ Music Theory for Musicians and Normal People]:'' | ==== 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] | ||
* ''[http://openmusictheory.com Open Music Theory]:'' | **[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 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]<br /> | |||
==Class Activities== | ==Class Activities== | ||
Revision as of 17:23, 16 July 2020
| This lesson is part of the Harmony category. |
Objectives
- 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
Readings
Class Activities
- 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
- 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