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Full Description
Harmony Notes Book 1 offers a fresh engaging approach to the study of four-part vocal harmony. The presentation of material is clear, uncomplicated, and follows a carefully graded sequence.
Each topic is supported by worked examples incorporating detailed explanations of good practice. Each stage is underpinned by recordings of the material, fostering a musical understanding and encouraging a holistic approach - emphasising the necessary link between sound and symbol. To this end, tonic solfa is used extensively throughout the text as an effective tool to navigate the sound.
Exercises are built into each chapter at strategic points to assist with the learning, absorption and application of the topic at hand. The exercises move from easy to more challenging as the chapters progress.
'Lightbulb' moments flag essential grammatical points, while 'checklist boxes' summarise important features providing a useful revision tool.
Although Harmony Notes deals primarily with vocal writing, the scope of the book expands at three points to embrace simple analysis looking at the application of the harmony in the context of piano music and string quartet.
Resources to supplement Harmony Notes Book 1
The musical examples in the main body of the book are recorded by students of the Royal Irish Academy of Music. These recordings are available online and are intended to be listened to while studying the various topics. The three pillars of analysis are also available to be listened to online while studying the scores.
Furthermore, the student exercises are also made available as downloads. Supplementary exercises contained in the appendices. These relate to chapters 5, 7, 8, 14, 16 and 17, where some possible solutions are offered.
Chapters:
CHAPTER 1 Exercises
CHAPTER 2 Exercises
CHAPTER 3 Exercises
CHAPTER 4 Exercises
CHAPTER 5 Exercises
CHAPTER 6 Exercises
CHAPTER 6 Analysis exercises
CHAPTER 7 Exercises
CHAPTER 8 Exercises
CHAPTER 9 Exercises
CHAPTER 10 Exercises
CHAPTER 11 Exercises
CHAPTER 12 Exercises
CHAPTER 12 Analysis exercises
CHAPTER 13 Exercises
CHAPTER 14 Exercises
CHAPTER 15 Exercises
CHAPTER 16 Exercises
CHAPTER 17 Exercises
CHAPTER 17 Analysis exercises
Audios:
Audio 1.1
Audio 1.2
Audio 2.1
Audio 2.2
Audio 2.3
Audio 2.4
Audio 2.5
Audio 2.6
Audio 2.7
Audio 2.8
Audio 2.9
Audio 2.10
Audio 3.1
Audio 3.2
Audio 3.3
Audio 3.4
Audio 3.5
Audio 3.6
Audio 3.7
Audio 3.8
Audio 3.9
Audio 4.1
Audio 4.2
Audio 4.3
Audio 4.4
Audio 4.5
Audio 4.6
Audio 4.7
Audio 4.8
Audio 4.9
Audio 4.10
Audio 4.11
Audio 5.1
Audio 5.2
Audio 5.3
Audio 5.4
Audio 5.5
Audio 5.6
Audio 5.7
Audio 6.1
Audio 6.2
Audio 6.3
Audio 6.4
Audio 6.5
Audio 6.6
Audio 6.7
Audio 6.8
Audio 6.9
Audio 6.10
Audio 6.11
Audio 6.12
Audio 6.13
Audio 6.14
Audio 6.15
Audio 6.16
Audio 6.17
Audio 7.1
Audio 7.2
Audio 7.3
Audio 7.4
Audio 7.5
Audio 7.6
Audio 7.7
Audio 8.1
Audio 8.2
Audio 8.3
Audio 8.4
Audio 8.5
Audio 8.6
Audio 8.7
Audio 8.8
Audio 8.9
Audio 8.10
Audio 8.11
Audio 9.1
Audio 9.2
Audio 9.3
Audio 9.4
Audio 10.1
Audio 10.2
Audio 10.3
Audio 10.4
Audio 10.5
Audio 10.6
Audio 10.7
Audio 11.1
Audio 11.2
Audio 11.3
Audio 11.4
Audio 11.5
Audio 11.6
Audio 11.7
Audio 12.1
Audio 12.2
Audio 12.3
Audio 12.4
Audio 12.5
Audio 12.6
Audio 12.7
Audio 12.8
Audio 12.9
Audio 12.10
Audio 12.11
Audio 12.12
Audio 12.13
Audio 12.14
Audio 12.15
Audio 12.16
Audio 13.1
Audio 13.2
Audio 13.3
Audio 13.4
Audio 14.1
Audio 14.2
Audio 14.3
Audio 14.4
Audio 14.5
Audio 15.1
Audio 15.2
Audio 15.3
Audio 16.1
Audio 16.2
Audio 16.3
Audio 16.4
Audio 16.5
Audio 16.6
Audio 16.7
Audio 16.8
Audio 16.9
Audio 17.1
Audio 17.2
Audio 17.3
Audio 17.4
Audio 17.5
Audio 17.6
Audio 17.7
Audio 17.8
Audio 17.9
Audio 17.10
Audio 17.11
Audio 17.12
Audio 17.13
Audio 17.14
Audio 17.15
Audio 17.16
Audio 17.17
Audio 17.18
Audio 17.19
Audio 17.20
Audio 17.21
Audio 17.22
Audio 17.23
Audio 17.24
Audio 17.25
Contents
Contents: Primary Triads - Cadences - Perfect and Plagal - The Imperfect Cadence - Writing Soprano Lines - with decoration - Harmonising Melodies - Adding Inner Voices - alto and tenor Audio Analysis - The Dominant Seventh - root position - Adding More Chords - II and VI - Decoration - First Inversion Chords - Ib - Introducing Vb - Introducing V7b Audio Analysis - Adding IVb - Adding VIIb - Introducing IIb - Second Inversions - Dominant 7th Inversions - V7c and V7d Audio Analysis - Appendix 1: Supplementary Exercises - Appendix 2: Sample Answers for Supplementary Exercises.
