HARMONY
Workimportant for Harmony
A brief history of this work
After my year of study (1981/1982) at Berklee School of Music, I felt the need to organize all the information I had gathered from both harmony and arranging classes, as well as from my music writing practice. In fact, I wanted to write the book I wish I had had during that year.
The first edition was self-published in 1986, using a daisy wheel printer!
The second edition was released in January 1990.
This book addresses several concerns. It takes into account the questions of a growing number of musicians and students who seek to improve by seriously studying harmony in order to understand the themes they play, compose new ones, and master improvisation.
It was also the hesitations of my harmony students, their vague ideas gleaned from various books and multiple experiences, their difficulty in understanding certain concepts, that prompted me to clarify my explanations, to find the missing intermediaries between two pieces of knowledge, to establish a progression in the following chapters.
The book received as much praise as criticism.
A word about the criticisms
There are many anglicisms (it's true that I learned everything in American English and made some mistakes with certain French terms!). There are errors in the determination of intervals (m3 minor third or M3 major third (I was the only one reading and rereading and indeed, I left some typos).
CongratulationsSee also the back cover above.
Some rumors circulated, first live and then on the web:Jo Anger-Weller is an American(of course, a theoretical work can only be written by a man!)It's a work translated from American English… She can't even play what she writesetc… I even heard from a German publisher that I wasn't the one who wrote theKeysbecause… I didn’t know how to speak French, I didn’t even know how to translatefeelingAndgroove!
In 1988Beginning of a collaboration with Pierre Lemoine desHenry Lemoine Publishingwho has done a huge amount of work on the copyrights for the hundred or so standards present in the new edition.
In 1990, the second edition was published, revised and expanded with several chapters and examples… but it still contained typos.
In March 2011The 3rd edition is free of them thanks to the contribution of Jean-Claude Amacker; let me know if, by chance, you find any more.
On the other hand, if you have any doubt about a concept or any part ofKeys,useLeave a comment. I am ready to answer questions.
And for those who want to know more about the content, here is the Table of Contents:
- 1. The sound
- 2. Intervals
- 3. Ranges and modes
- 4. Diatonic harmony
- 5. Harmonic analysis
- 6. Two new functions: V7(sus4) and bVIIM7
- 7. Secondary and extensive dominant features
- 8. The II VI cadence
- 9. Dominant substitutes
- 10. The relationship between melody and harmony
- 11. Voicings, voice leading
- 12. The chromatic and contiguous II V
- 13. Dominant chords without a dominant function
- 14. Diminished chords
- 15. Diatonic Harmony in Minor Modes
- 16. Modulations
- 17. Modal harmony
- 18. Fashions
- 19. Intermodal exchange. Polymodality
- 20. Synthetic ranges
- 21. Polytonality
- 22. Reharmonization Techniques
- 23. Harmonization Techniques
- 24. Themes with a constant structure
- 25. Mirror writing
- 26. The Blues
- 27. The melody
- 28. Improvisation
to order the bookHenry Lemoine Publishing The reference number is 25202
