Chromatic Harmony: Difference between revisions

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**[http://openmusictheory.com/alteredSubdominants.html Chromatically Altered Subdominant Chords]
**[http://openmusictheory.com/alteredSubdominants.html Chromatically Altered Subdominant Chords]
**[http://openmusictheory.com/appliedChords.html Applied Chords]
**[http://openmusictheory.com/appliedChords.html Applied Chords]
**[http://openmusictheory.com/modalMixture.html Modal Mixture]<br />
**[http://openmusictheory.com/modalMixture.html Modal Mixture]
*[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==

Revision as of 21:23, 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

Files

Notes