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A Level Music Harmony Workbook 1 by Hugh Benham Pdf
The A Level Music Harmony Workbook 1 provides a firm foundation for all students embarking on a study of harmony. Assuming very little prior knowledge, it guides you through topics such as intervals, chord construction, cadences, harmonic progressions, part-writing and figured bass. Activities are provided throughout the book to help you learn and practise the skills you are acquiring. This book is a thoroughly revised edition of the AS Music Harmony Workbook (2008), updated to meet the requirements of the 2016 A Level Music specifications for all exam boards. Follow on with A Level Music Harmony Workbook 2 to learn how to apply your knowledge to a wide range of tasks, including the harmonisation of chorales in the style of J S Bach.
Exam boards: Edexcel, AQA, OCR This workbook builds on the AS Harmony Workbook and is designed to prepare students for the harmony and counterpoint tasks in their A2 Music exams. It explores more advanced techniques and is written to provide a firm foundation for all students embarking on a study of harmony. The chapters include: Chorales Baroque counterpoint String quartet Popular songs for the AQA, OCR and Edexcel specificationsDr Benham begins each topic by carefully introducing any material that was not covered in the AS Music Harmony Workbook. Topics are illustrated with examples from a useful range of musical styles. He then provides step-by-step guidance on the principal tasks required in A2 Music harmony tests. Each is dealt with in a progressive way, starting from short and simple examples and including many tips, clear explanations of technical terminology and carefully-graded exercises for practice. Each chapter covers some of the most widely offered harmony and counterpoint tasks for A2. It’s clearly set out, with step-by-step instructions as to how best to complete the tasks. There is also an Index for quick reference. This workbook is more than just a set of exercises as it also includes helpful tips for the student, and is suitable for both the current and the new A2 syllabus, with first examination in 2010. The A2 Music Harmony Workbook provides an invaluable and up-to-date resource for students working on harmony assignments, and one that is specifically tailored to their study needs. Together with the AS Music Harmony Workbook, this forms a thoroughly revised and expanded version of Hugh Benham’s highly successful earlier book, A Student’s Guide to Harmony and Counterpoint.
Mapping Tonal Harmony Workbook 1 by Ariel Ramos Pdf
The volumes in the Mapping Tonal Harmony collection have been envisioned as auxiliary material in the study of Tonal Harmony. The main objective of these books is to provide the student, teachers, composers and/or songwriters with a tool that will aid them in hearing, analyzing, foreseeing, and composing harmonic progressions without struggle, in all keys alike.These workbooks are based on the map used in the Mapping Tonal Harmony Pro app by mDecks Music, which is recommended as accompanying material/tool for all volumes.All maps, progression examples and exercises in these books, were designed to improve and expand the student?s view of the harmonic surroundings around each and every tonal center. The volumes in this collection are organized in a progressive manner, each volume expanding the previous volume's map by introducing new harmonic concepts and/or functions, based on the premise that all functions introduced in earlier volumes have been understood and assimilated. Each new concept or function adds some level of detail to the map and/or extends the known area around the tonic.Many of the concepts presented in these books are simply mentioned for mapping purposes only, and should be carefully studied by using other sources such as: a harmony course, tonalharmony books, teachers, etc.Voice-leading and inversions are not covered in these volumes since their main objective is to map essential harmonic functions in every key.Vol. 1The basic major & minor diatonic neighborhoodsTonic - Sub-Dominant - Dominant. Basic harmonic progressions.Perfect Authentic Cadence (PAC). The use of V7 vs. V as a triad. Standard/Basic Harmonic Progressions in the nearby diatonic neighborhood. Use of the Tonic- Subdominant - Dominant - Tonic progressions.Progression over the Circle of Fifths: vi-ii-V-ISubstitution: IVMaj7 in place of IIm7Vol. 2Mapping IIIm , I64, V7sus4 and deceptive cadencesThe complete diatonic neighborhood for Major-MinorDeceptive and Plagal Cadences.The IIIm (ambiguous chord : Tonic vs. Dominant).Cadential I64 or I/5, Im64 or Im/5 and the V7sus4: all preceding the V7.Borrowing chords from other modesVol. 3More harmonic progressions and cadences in the diatonic neighborhoodMapping the SubV7 and its use as a Neapolitan chordInverted bass and bass lines. Pedal points: Tonic Pedal and Dominant Pedal.Backward progressions and other progressions outside the circle of fifths.The half cadence to V7 without secondary dominants.The Neapolitan Sixth Chord (bII/3 or N6) and the SubV7 (bII7).Vol. 4Basic Secondary dominants and their related IIm7V7/x, viio7/x, IIm7/xBasic Secondary functions. Creating a temporary key center in the diatonic neighborhood.Secondary Dominants (V7 and VIIo7 and the related IIm7). Extended Dominants.?Vol. 5Mapping blues I7 IV7. Additional minor mode functionsThe bIIMaj7 subdominant minor and its related IIm7-V7More borrowed chords from other modes and paths to modulations.The IV7 from dorian minor. The modal Vm.The bIIMaj7 subdominant minor chord (or root-altered IIm7b5) and its related IIm7 and V7. The I7 as tonic in the Blues and Blues form.Vol. 6Advanced secondary functions and deceptive secondary cadencesSecondary cadential I64s & V7sus. Mapping IV/x , bVI/x, bVII7/x, viio7/xOther Secondary functions: IV/x bVI/x and bVII/xCreating a temporary Tonic in the diatonic neighborhood using secondary IV/x, bVI/x and bVII/x. More borrowing from other modes and paths to modulations.Secondary cadential 64s & V7sus.Vol. 7The entire MAP, including all secondary functionsMapping all secondary subVs/x and their related IIm. The N6 and Gr+6More Secondary functions: SubV7/X . The Neapolitan 6 N6/X (same as SubV/3 no 7)The Augmented 6th chords. Gr+6, It+6, Fr+6.The related IIm7/X for the SubV7/X. Extended dominants. Reinterpreting chord functions. New paths to modulations.
Anna Butterworth,Associated Board of the Royal Schools of Music (Great Britain)
Author : Anna Butterworth,Associated Board of the Royal Schools of Music (Great Britain) Publisher : Unknown Page : 0 pages File Size : 44,9 Mb Release : 1999 Category : Harmony ISBN : 1854728334
Harmony in Practice by Anna Butterworth,Associated Board of the Royal Schools of Music (Great Britain) Pdf
A workbook that discusses the main elements of tonal harmony, and contains numerous music examples and exercises for working. Particularly helpful to bridge the gap between Grade 5 and Grade 6 theory, and also very useful material for all higher-grade theory exam entrants, and for A Level, Diploma and undergraduate music students.
In this groundbreaking book, Tymoczko uses contemporary geometry to provide a new framework for thinking about music, one that emphasizes the commonalities among styles from Medieval polyphony to contemporary jazz.
Edexcel AS and A Level Music Study Guide by Alistair Wightman,Hugh Benham Pdf
Edexcel AS and A Level Music Study Guide is a definitive study guide for the AS and A Level syllabuses, written for exams 2017/2018 onwards. This comprehensive guide: - supports all components of the AS and A Level courses: Performing, Composing and Appraising - covers every set work in detail - provides guidance on the full list of composition briefs - includes tests and practice essay questions - Sample pages are available to view here.
Mapping Tonal Harmony Workbook 7 by Ariel Ramos Pdf
The volumes in the Mapping Tonal Harmony collection have been envisioned as auxiliary material in the study of Tonal Harmony. The main objective of these books is to provide the student, teachers, composers and/or songwriters with a tool that will aid them in hearing, analyzing, foreseeing, and composing harmonic progressions without struggle, in all keys alike.These workbooks are based on the map used in the Mapping Tonal Harmony Pro app by mDecks Music, which is recommended as accompanying material/tool for all volumes.All maps, progression examples and exercises in these books, were designed to improve and expand the student?s view of the harmonic surroundings around each and every tonal center. The volumes in this collection are organized in a progressive manner, each volume expanding the previous volume's map by introducing new harmonic concepts and/or functions, based on the premise that all functions introduced in earlier volumes have been understood and assimilated. Each new concept or function adds some level of detail to the map and/or extends the known area around the tonic.Many of the concepts presented in these books are simply mentioned for mapping purposes only, and should be carefully studied by using other sources such as: a harmony course, tonalharmony books, teachers, etc.Voice-leading and inversions are not covered in these volumes since their main objective is to map essential harmonic functions in every key.Vol. 1The basic major & minor diatonic neighborhoodsTonic - Sub-Dominant - Dominant. Basic harmonic progressions.Perfect Authentic Cadence (PAC). The use of V7 vs. V as a triad. Standard/Basic Harmonic Progressions in the nearby diatonic neighborhood. Use of the Tonic- Subdominant - Dominant - Tonic progressions.Progression over the Circle of Fifths: vi-ii-V-ISubstitution: IVMaj7 in place of IIm7Vol. 2Mapping IIIm , I64, V7sus4 and deceptive cadencesThe complete diatonic neighborhood for Major-MinorDeceptive and Plagal Cadences.The IIIm (ambiguous chord : Tonic vs. Dominant).Cadential I64 or I/5, Im64 or Im/5 and the V7sus4: all preceding the V7.Borrowing chords from other modesVol. 3More harmonic progressions and cadences in the diatonic neighborhoodMapping the SubV7 and its use as a Neapolitan chordInverted bass and bass lines. Pedal points: Tonic Pedal and Dominant Pedal.Backward progressions and other progressions outside the circle of fifths.The half cadence to V7 without secondary dominants.The Neapolitan Sixth Chord (bII/3 or N6) and the SubV7 (bII7).Vol. 4Basic Secondary dominants and their related IIm7V7/x, viio7/x, IIm7/xBasic Secondary functions. Creating a temporary key center in the diatonic neighborhood.Secondary Dominants (V7 and VIIo7 and the related IIm7). Extended Dominants.?Vol. 5Mapping blues I7 IV7. Additional minor mode functionsThe bIIMaj7 subdominant minor and its related IIm7-V7More borrowed chords from other modes and paths to modulations.The IV7 from dorian minor. The modal Vm.The bIIMaj7 subdominant minor chord (or root-altered IIm7b5) and its related IIm7 and V7. The I7 as tonic in the Blues and Blues form.Vol. 6Advanced secondary functions and deceptive secondary cadencesSecondary cadential I64s & V7sus. Mapping IV/x , bVI/x, bVII7/x, viio7/xOther Secondary functions: IV/x bVI/x and bVII/xCreating a temporary Tonic in the diatonic neighborhood using secondary IV/x, bVI/x and bVII/x. More borrowing from other modes and paths to modulations.Secondary cadential 64s & V7sus.Vol. 7The entire MAP, including all secondary functionsMapping all secondary subVs/x and their related IIm. The N6 and Gr+6More Secondary functions: SubV7/X . The Neapolitan 6 N6/X (same as SubV/3 no 7)The Augmented 6th chords. Gr+6, It+6, Fr+6.The related IIm7/X for the SubV7/X. Extended dominants. Reinterpreting chord functions. New paths to modulations.
Mapping Tonal Harmony Workbook 4 by Ariel Ramos Pdf
The volumes in the Mapping Tonal Harmony collection have been envisioned as auxiliary material in the study of Tonal Harmony. The main objective of these books is to provide the student, teachers, composers and/or songwriters with a tool that will aid them in hearing, analyzing, foreseeing, and composing harmonic progressions without struggle, in all keys alike.These workbooks are based on the map used in the Mapping Tonal Harmony Pro app by mDecks Music, which is recommended as accompanying material/tool for all volumes.All maps, progression examples and exercises in these books, were designed to improve and expand the student?s view of the harmonic surroundings around each and every tonal center. The volumes in this collection are organized in a progressive manner, each volume expanding the previous volume's map by introducing new harmonic concepts and/or functions, based on the premise that all functions introduced in earlier volumes have been understood and assimilated. Each new concept or function adds some level of detail to the map and/or extends the known area around the tonic.Many of the concepts presented in these books are simply mentioned for mapping purposes only, and should be carefully studied by using other sources such as: a harmony course, tonalharmony books, teachers, etc.Voice-leading and inversions are not covered in these volumes since their main objective is to map essential harmonic functions in every key.Vol. 1The basic major & minor diatonic neighborhoodsTonic - Sub-Dominant - Dominant. Basic harmonic progressions.Perfect Authentic Cadence (PAC). The use of V7 vs. V as a triad. Standard/Basic Harmonic Progressions in the nearby diatonic neighborhood. Use of the Tonic- Subdominant - Dominant - Tonic progressions.Progression over the Circle of Fifths: vi-ii-V-ISubstitution: IVMaj7 in place of IIm7Vol. 2Mapping IIIm , I64, V7sus4 and deceptive cadencesThe complete diatonic neighborhood for Major-MinorDeceptive and Plagal Cadences.The IIIm (ambiguous chord : Tonic vs. Dominant).Cadential I64 or I/5, Im64 or Im/5 and the V7sus4: all preceding the V7.Borrowing chords from other modesVol. 3More harmonic progressions and cadences in the diatonic neighborhoodMapping the SubV7 and its use as a Neapolitan chordInverted bass and bass lines. Pedal points: Tonic Pedal and Dominant Pedal.Backward progressions and other progressions outside the circle of fifths.The half cadence to V7 without secondary dominants.The Neapolitan Sixth Chord (bII/3 or N6) and the SubV7 (bII7).Vol. 4Basic Secondary dominants and their related IIm7V7/x, viio7/x, IIm7/xBasic Secondary functions. Creating a temporary key center in the diatonic neighborhood.Secondary Dominants (V7 and VIIo7 and the related IIm7). Extended Dominants.?Vol. 5Mapping blues I7 IV7. Additional minor mode functionsThe bIIMaj7 subdominant minor and its related IIm7-V7More borrowed chords from other modes and paths to modulations.The IV7 from dorian minor. The modal Vm.The bIIMaj7 subdominant minor chord (or root-altered IIm7b5) and its related IIm7 and V7. The I7 as tonic in the Blues and Blues form.Vol. 6Advanced secondary functions and deceptive secondary cadencesSecondary cadential I64s & V7sus. Mapping IV/x , bVI/x, bVII7/x, viio7/xOther Secondary functions: IV/x bVI/x and bVII/xCreating a temporary Tonic in the diatonic neighborhood using secondary IV/x, bVI/x and bVII/x. More borrowing from other modes and paths to modulations.Secondary cadential 64s & V7sus.Vol. 7The entire MAP, including all secondary functionsMapping all secondary subVs/x and their related IIm. The N6 and Gr+6More Secondary functions: SubV7/X . The Neapolitan 6 N6/X (same as SubV/3 no 7)The Augmented 6th chords. Gr+6, It+6, Fr+6.The related IIm7/X for the SubV7/X. Extended dominants. Reinterpreting chord functions. New paths to modulations.
(Berklee Methods). This essential method features rigorous, hands-on, "ears-on" practice exercises that help you explore the inner working of music, presenting notes, scales, and rhythms as they are heard in pop, jazz, and blues. You will learn and build upon the basic concepts of music theory with written exercises, listening examples, and ear training exercises. The included audio will help reinforce lessons as you begin to build a solid musical foundation. Even includes an answer key!
Mapping Tonal Harmony Workbook 5 by Ariel Ramos Pdf
The volumes in the Mapping Tonal Harmony collection have been envisioned as auxiliary material in the study of Tonal Harmony. The main objective of these books is to provide the student, teachers, composers and/or songwriters with a tool that will aid them in hearing, analyzing, foreseeing, and composing harmonic progressions without struggle, in all keys alike.These workbooks are based on the map used in the Mapping Tonal Harmony Pro app by mDecks Music, which is recommended as accompanying material/tool for all volumes.All maps, progression examples and exercises in these books, were designed to improve and expand the student?s view of the harmonic surroundings around each and every tonal center. The volumes in this collection are organized in a progressive manner, each volume expanding the previous volume's map by introducing new harmonic concepts and/or functions, based on the premise that all functions introduced in earlier volumes have been understood and assimilated. Each new concept or function adds some level of detail to the map and/or extends the known area around the tonic.Many of the concepts presented in these books are simply mentioned for mapping purposes only, and should be carefully studied by using other sources such as: a harmony course, tonalharmony books, teachers, etc.Voice-leading and inversions are not covered in these volumes since their main objective is to map essential harmonic functions in every key.Vol. 1The basic major & minor diatonic neighborhoodsTonic - Sub-Dominant - Dominant. Basic harmonic progressions.Perfect Authentic Cadence (PAC). The use of V7 vs. V as a triad. Standard/Basic Harmonic Progressions in the nearby diatonic neighborhood. Use of the Tonic- Subdominant - Dominant - Tonic progressions.Progression over the Circle of Fifths: vi-ii-V-ISubstitution: IVMaj7 in place of IIm7Vol. 2Mapping IIIm , I64, V7sus4 and deceptive cadencesThe complete diatonic neighborhood for Major-MinorDeceptive and Plagal Cadences.The IIIm (ambiguous chord : Tonic vs. Dominant).Cadential I64 or I/5, Im64 or Im/5 and the V7sus4: all preceding the V7.Borrowing chords from other modesVol. 3More harmonic progressions and cadences in the diatonic neighborhoodMapping the SubV7 and its use as a Neapolitan chordInverted bass and bass lines. Pedal points: Tonic Pedal and Dominant Pedal.Backward progressions and other progressions outside the circle of fifths.The half cadence to V7 without secondary dominants.The Neapolitan Sixth Chord (bII/3 or N6) and the SubV7 (bII7).Vol. 4Basic Secondary dominants and their related IIm7V7/x, viio7/x, IIm7/xBasic Secondary functions. Creating a temporary key center in the diatonic neighborhood.Secondary Dominants (V7 and VIIo7 and the related IIm7). Extended Dominants.?Vol. 5Mapping blues I7 IV7. Additional minor mode functionsThe bIIMaj7 subdominant minor and its related IIm7-V7More borrowed chords from other modes and paths to modulations.The IV7 from dorian minor. The modal Vm.The bIIMaj7 subdominant minor chord (or root-altered IIm7b5) and its related IIm7 and V7. The I7 as tonic in the Blues and Blues form.Vol. 6Advanced secondary functions and deceptive secondary cadencesSecondary cadential I64s & V7sus. Mapping IV/x , bVI/x, bVII7/x, viio7/xOther Secondary functions: IV/x bVI/x and bVII/xCreating a temporary Tonic in the diatonic neighborhood using secondary IV/x, bVI/x and bVII/x. More borrowing from other modes and paths to modulations.Secondary cadential 64s & V7sus.Vol. 7The entire MAP, including all secondary functionsMapping all secondary subVs/x and their related IIm. The N6 and Gr+6More Secondary functions: SubV7/X . The Neapolitan 6 N6/X (same as SubV/3 no 7)The Augmented 6th chords. Gr+6, It+6, Fr+6.The related IIm7/X for the SubV7/X. Extended dominants. Reinterpreting chord functions. New paths to modulations.
This comprehensive resource features more than 400 projections and colour illustrations augmented by MRI images for added detail to enhance the anatomy and positioning presentations.
Piano Adventures Scale and Chord Book 1 by Nancy Faber,Randall Faber Pdf
(Faber Piano Adventures ). Playing 5-finger scales has significant value for early-level pianists. This innovative book helps students chart progress through all major and minor 5-finger scales, cross-hand arpeggios, and primary chords. Engaging teacher duets for each key are used for scale exercises. Students also enjoy improvisation activities for each key with creative prompts to inspire imagery, character, and tempo.
Mapping Tonal Harmony Workbook 2 by Ariel Ramos Pdf
The volumes in the Mapping Tonal Harmony collection have been envisioned as auxiliary material in the study of Tonal Harmony. The main objective of these books is to provide the student, teachers, composers and/or songwriters with a tool that will aid them in hearing, analyzing, foreseeing, and composing harmonic progressions without struggle, in all keys alike.These workbooks are based on the map used in the Mapping Tonal Harmony Pro app by mDecks Music, which is recommended as accompanying material/tool for all volumes.All maps, progression examples and exercises in these books, were designed to improve and expand the student?s view of the harmonic surroundings around each and every tonal center. The volumes in this collection are organized in a progressive manner, each volume expanding the previous volume's map by introducing new harmonic concepts and/or functions, based on the premise that all functions introduced in earlier volumes have been understood and assimilated. Each new concept or function adds some level of detail to the map and/or extends the known area around the tonic.Many of the concepts presented in these books are simply mentioned for mapping purposes only, and should be carefully studied by using other sources such as: a harmony course, tonalharmony books, teachers, etc.Voice-leading and inversions are not covered in these volumes since their main objective is to map essential harmonic functions in every key.Vol. 1The basic major & minor diatonic neighborhoodsTonic - Sub-Dominant - Dominant. Basic harmonic progressions.Perfect Authentic Cadence (PAC). The use of V7 vs. V as a triad. Standard/Basic Harmonic Progressions in the nearby diatonic neighborhood. Use of the Tonic- Subdominant - Dominant - Tonic progressions.Progression over the Circle of Fifths: vi-ii-V-ISubstitution: IVMaj7 in place of IIm7Vol. 2Mapping IIIm , I64, V7sus4 and deceptive cadencesThe complete diatonic neighborhood for Major-MinorDeceptive and Plagal Cadences.The IIIm (ambiguous chord : Tonic vs. Dominant).Cadential I64 or I/5, Im64 or Im/5 and the V7sus4: all preceding the V7.Borrowing chords from other modesVol. 3More harmonic progressions and cadences in the diatonic neighborhoodMapping the SubV7 and its use as a Neapolitan chordInverted bass and bass lines. Pedal points: Tonic Pedal and Dominant Pedal.Backward progressions and other progressions outside the circle of fifths.The half cadence to V7 without secondary dominants.The Neapolitan Sixth Chord (bII/3 or N6) and the SubV7 (bII7).Vol. 4Basic Secondary dominants and their related IIm7V7/x, viio7/x, IIm7/xBasic Secondary functions. Creating a temporary key center in the diatonic neighborhood.Secondary Dominants (V7 and VIIo7 and the related IIm7). Extended Dominants.?Vol. 5Mapping blues I7 IV7. Additional minor mode functionsThe bIIMaj7 subdominant minor and its related IIm7-V7More borrowed chords from other modes and paths to modulations.The IV7 from dorian minor. The modal Vm.The bIIMaj7 subdominant minor chord (or root-altered IIm7b5) and its related IIm7 and V7. The I7 as tonic in the Blues and Blues form.Vol. 6Advanced secondary functions and deceptive secondary cadencesSecondary cadential I64s & V7sus. Mapping IV/x , bVI/x, bVII7/x, viio7/xOther Secondary functions: IV/x bVI/x and bVII/xCreating a temporary Tonic in the diatonic neighborhood using secondary IV/x, bVI/x and bVII/x. More borrowing from other modes and paths to modulations.Secondary cadential 64s & V7sus.Vol. 7The entire MAP, including all secondary functionsMapping all secondary subVs/x and their related IIm. The N6 and Gr+6More Secondary functions: SubV7/X . The Neapolitan 6 N6/X (same as SubV/3 no 7)The Augmented 6th chords. Gr+6, It+6, Fr+6.The related IIm7/X for the SubV7/X. Extended dominants. Reinterpreting chord functions. New paths to modulations.
