Theory of Harmony

Portada
Philosophical Library, 1948 - 336 páginas

Índice

FOREWORD
1
Connection of Primary and Secondary Triads of
12
Inversions of Triads
19
Inversions of Seventh Chords
44
CONNECTION OF CHORDS THAT HAVE NO COMMON TONES
66
FREER TREATMENT OF VII IN MAJOR AND IN MINOR
96
SECONDARY DOMINANTS AND OTHER ALTERED CHORDS FROM
123
RHYTHM AND HARMONY
155
MODULATION TO KEYS TWO FIVE AND SIX TIMES REMOVED
225
HARMONIZING THE CHORALE
246
SOME OBSERVATIONS ON NINTH CHORDS
286
Connection of a Triad with All Other Triads
300
Possibilities of the Rising Sev
306
A Few More Small Points
318
FOURTH CHORDS
336
Página de créditos

AT THE BOUNDARIES OF TONALITY
192

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Sobre el autor (1948)

An American of Austrian birth, Arnold Schoenberg composed initially in a highly developed romantic style but eventually turned to painting and expressionism. At first he was influenced by Richard Wagner and tried to write in a Wagnerian style. He attracted the attention of Alban Berg and Anton von Webern, with whom he created a new compositional method based on using all 12 half-steps in each octave as an organizing principle, the so-called 12-tone technique. His importance to the development of twentieth-century music is incredible, but the music he composed using this new method is not easily accessible to most concertgoers.

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