Combinatorial Harmony: Concepts and Techniques for Composing and Improvising

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Combinatorial Harmony: Concepts and Techniques for Composing and Improvising

Combinatorial Harmony: Concepts and Techniques for Composing and Improvising

by Julio Herrlein

Book/CD set. This unique book applies conbinatorial approach to harmony with materials usually known by the jazz improvisor. Reveals all the possible combinations of notes and harmonic situations you'll need in order to be a creative and unique musician, regardless of the style you play, or instrument. Inspires you to come up with your own ideas. Very guitar friendly. 311 pp.
Availability: Out of stock sku: 02-30042BCD

$39.99

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Contents:

ACKNOWLEDGEMENTS
FOREWORD by Nelson Faria
PREFACE by the Author
INTRODUCTION
WHO'S THIS BOOK FOR
HOW TO STUDY THIS BOOK

CHAPTER 1

  • 1. INTERVAL CLASSES
  • 1.1 DIATONIC STEP
  • 1.2 ACOUSTIC INTERVAL ROOT
  • 1.3 INTERVAL GEOMETRY
  • 1.3.1 CIRCLES (Chromatic and of Fifths)
  • 1.3.2 CYCLES 
  • 1.3.2.1 DITONE CYCLE 
  • 1.3.2.2 SESQUITONE CYCLE 
  • 1.3.2.3 WHOLE TONE CYCLE 
  • 1.3.2.4 TRITONE 
  • 1.4 MAPPING THE GUITAR
  • 1.4.1 GUITAR FRETBOARD (Notes in Standard Notation)
  • 1.4.1.1 CHORD DIAGRAMS.
  • 1.4.1.2 SCALE/CHORD DIAGRAMS
  • 1.4.1.3 GUITAR FRETBOARD (notes in standard notation)
  • 1.4.1.4 GUITAR FRETBOARD (notes on tablature)
  • 1.4.1.5 FINGER POSITIONS 
  • 1.4.2 FIVE ACTIVITY AREAS (CAGED)
  • 1.4.3 FRETBOARD (Set Theory View)
  • 1.4.4 FRETBOARD (Intervallic View)
  • 1.5 NOTATION CONVENTIONS 
  • 1.5.1 NUMBERING MELODIC DEGREES 
  • 1.5.2 NUMBERING HARMONIC DEGREES 
  • 1.6.1 DEGREE CONVENTIONS 
  • 1.6.2 CHORD SYMBOLS CONVENTION.
  • 1.7 MODULATORY CHARACTERISTIC OF DIATONIC SCALE 
  • 1.7.1 CYCLE OF FIFTHS KEY SIGNATURES OF TONAL CENTERS
  • 1.8 SCALE SUPERIMPOSITION 

CHAPTER 2

  • 2. FUNCTIONAL HARMONY
  • 2.1 FUNCTIONAL NOTATION
  • 2.2 SUPERIMPOSITION OF THIRDS CHORD MODEL
  • 2.3 TONAL SYSTEM - AXES
  • 2.3.1 TONAL CYCLE / CHORD PROGRESSION
  • 2.4 MAJOR TONALITY - FUNCTIONAL AXES 
  • 2.4.1 TONIC AXIS IN [C:]
  • 2.4.2 DOMINANT AXIS in [C:]
  • 2.4.2.1 TRITONE (LEADING TONES ) 
  • 2.4.3 SUBDOMINANT AXIS in [C:]
  • 2.5 MINOR TONALITY - FUNCTIONAL AXES 
  • 2.5.1 TONIC AXIS in [a:]
  • 2.5.2 DOMINANT AXIS IN [a:] 
  • 2.5.3 SUBDOMINANT AXIS IN [a:]
  • 2.6 SYMMETRICAL AXES 
  • 2.6.1 OCTATONIC DOMINANT AXIS
  • 2.6.2 OCTATONIC DIMINISHED AXIS
  • 2.6.3 WHOLE TONE DOMINANT AXIS
  • 2.7 USUAL CHORD SYMBOLS RELATED TO HARMONIC FUNCTION
  • 2.8 SCALE /FUNCTION RELATIONSHIP

CHAPTER 3

  • 3. CARDINALITY 3 - THREE NOTE CHORDS.
  • 3.1 "A" TYPOLOGY - TRIADS
  • 3.2 "B" TYPOLOGY - QUARTAL CHORDS
  • 3.3 "C" TYPOLOGY - SEVENTH WITHOUT THE FIFTH CHORDS
  • 3.4 "D" TYPOLOGY - SEVENTH WITHOUT THE THIRD CHORDS.
  • 3.5 "E" TYPOLOGY - CLUSTERS (THREE NOTE SEGMENTS)
  • 3.6 CARD 3 - TYPOLOGY
  • 3.6.1 7-35 DIATONIC SCALE 
  • 3.6.2 7-32a HARMONIC MINOR SCALE 
  • 3.6.3 7-34 MELODIC MINOR SCALE 
  • 3.6.4 7-32b HARMONIC MAJOR SCALE 
  • 3.6.5 8-28 OCTATONIC SCALE 
  • 3.6.6 9-12 NONATONIC SCALE 
  • 3.6.7 AUXILIARY SCALES TYPOLOGIES 
  • 6-35 WHOLE TONE SCALE 
  • 6-20 AUGMENTED SCALE 
  • 3.6.8 TRICHORDS - GENERIC INTERVALS 
  • 3.6.9 TRICHORDS - GENERIC INTERVALS THROUGH DIATONIC STEPS
  • 3.6.10 TRICHORDS - STEPS THROUGH SYMMETRICAL SCALES 
  • TRICHORDS - STEPS THROUGH 8-28 OCTATONIC SCALE STEPS
  • TRICHORDS - STEPS THROUGH 9-12 NONATONIC SCALE STEPS
  • 3.7 CARD 3 - THREE -NOTE CHORDS
  • See the Pitch Class Sets Index on page 309

CHAPTER 4

  • 4. CARDINALITY 4 - FOUR-NOTE CHORDS
  • 4.1 "A" TYPOLOGY - SEVENTH CHORDS
  • 4.2 "B" TYPOLOGY - QUARTAL CHORDS
  • 4.3 "C" TYPOLOGY - TRIADS WITH AN ADDED NINTH OR IN THE BASS (SUS)
  • 4.4 "D" TYPOLOGY - TRIADS WITH AN ADDED FOURTH OR IN THE BASS 
  • 4.5 "E" TYPOLOGY - T 3 7 + (9) FOUR-NOTE SEGMENTS
  • 4.6 VOICING THEORY. 
  • 4.6.1 CLOSED POSITION CHORDS
  • 4.6.2 OPEN POSITION CHORDS
  • 4.6.2.1 DROP 2 VOICINGS
  • 4.6.2.2 DROP 3 VOICINGS
  • 4.6.2.3 STRING TRANSFERENCE
  • 4.6.2.4 VOICINGS (SUMMARY TABLE )
  • 4.7 THEORY OF GENERIC INTERVALS 
  • 4.7.1 TABLE OF GENERIC INTERVALS
  • 4.8 GENERIC INTERVALS FORMULAE
  • 4.8.1 GENERIC INTERVALS FORMULAE TABLE 
  • 4.9 CARD 4 - TYPOLOGY
  • 4.9.1 7-35 DIATONIC SCALE
  • 4.9.2 7-32a HARMONIC MINOR SCALE
  • 4.9.3 7-34 MELODIC MINOR SCALE
  • 4.9.4 7-32b HARMONIC MAJOR SCALE
  • 4.9.5 8-28 OCTATONIC SCALE
  • 4.9.6 9-12 NONATONIC SCALE 
  • 4.9.7 AUXILIARY SCALES TYPOLOGIES 
  • 6-35 WHOLE TONE SCALE
  • 6-20 AUGMENTED SCALE 
  • 4.10 CARD 4 - FOUR-NOTE CHORDS
  • See the Pitch Class Sets Index on page 311

CHAPTER 5

  • 5. CARDINALITY 5 - TYPOLOGY
  • 5.1 7-35 DIATONIC SCALE
  • 5.2 7-34 MELODIC MINOR SCALE
  • 5.3 7-32a HARMONIC MINOR SCALE
  • 5.4 7-32b HARMONIC MAJOR SCALE
  • 5.5 CARD 5 - MELODIC EXERCISES 
  • 5.5.1 PENTATONIC SUBSETS OF 8-28 SCALE 

CHAPTER 6

  • 6. COMBINATORIAL VOICE LEADING OF HEXATONICS
  • 6.1 Melodic and harmonic exercises

CHAPTER 7

  • 7. CADENCES AN D CHORD PROGRESSIONS 
  • 7.1 TONAL AXES
  • 7.2 CADENTIAL GRAVITY
  • 7.3 ALL TONAL CENTERS - FUNCTIONAL SUMMARY
  • 7.4 CADENTIAL MODELS 
  • 7.5 LIST OF CADENTIAL MODELS
  • 7.6 CONNECTING CADENTIAL MODELS 
  • 7.7 CHORD PROGRESSIONS 
  • 7.7.1 SAME CHORD TYPE THROUGH THE SESQUIDITONE CIRCLE 
  • 7.7.2 V-I THROUGH THE SESQUIDITONE CIRCLE
  • 7.7.3 V-I THROUGH THE DITONE CYCLE 
  • 7.7.4 V-I THROUGH THE SESQUITONE CYCLE 
  • 7.7.5 V-I THROUGH THE WHOLE TONE CYCLE 
  • 7.7.6 II-V THROUGH THE SESQUIDITONE CIRCLE 
  • 7.8 HARMONIC PLURALITY
  • 7.9 HARMONIC ANALYSIS
  • 7.9.1 SECONDARY DOMINANTS
  • 7.9.2 SECONDARY SUBV7
  • 7.9.3 SECONDARY II - V
  • 7.9.4 SECONDARY II - SubV7
  • 7.9.5 EXTENDED DOMINANTS
  • 7.9.6 INTERPOLATED CHORDS
  • 7.9.7 ADJACENT II - V´s
  • 7.9.8 MODAL INTERCHANGE
  • 7.9.8.1 MODAL BORROWING
  • 7.9.8.2 CHROMATIC MEDIANTS
  • 7.9.9 DIMINISHED CHORDS
  • 7.9.10 AUGMENTED CHORDS
  • 7.10 SCALE FINGERINGS (GUITAR)
  • 7.10.1 SCALE 7-35 (DIATONIC)
  • 7.10.2 SCALE 7-32a (HARMONIC MINOR)
  • 7.10.3 SCALE 7-32a (MEL ODIC MINOR)
  • 7.10.4 SCALE 7-32b (HARMONIC MAJOR)

CHAPTER 8

  • COMPOSITIONS 
  • SONATA (to Ben Monder)
  • AINDANÃO (not yet)
  • serial matrix used on "ainda não " composition.

TECHNICAL APPENDIX (MUSICAL SET THEORY)

  • A. BASIC DEFINITIONS 
  • A.1 PITCHES 
  • A.2 PITCH CLASSES 
  • A.3 CIRCULARITY
  • A.4 PITCH CLASS SETS
  • A.5 PRIME FORMS.
  • A.6 INTERVAL VECTOR
  • A.7 FORTE´S TABLE 
  • A.7.1 REDUCING THE SCOPE
  • A.7.2 THE 3-1 SE T (0,1,2)
  • A.7.3 REMOVING THE 3-1 (0,1,2) THRICORD FROM THE SYSTEM
  • A.7.4 TABLE OF THE SETS WITHOUT THE 3-1 TRICHORD
  • A.7.5 SETS WITHOUT THE 3-1


END NOTES
REFERENCES
ABOUT THE AUTHOR
PITCH CLASS SETS INDEX
CD TRACKS INDEX

Additional Information

New or Used New
Skill level advanced