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Complete Book of Harmony, Theory & Voicing

94 pieces in this collection.

  1. - A combination of the voicing techniques and substitutions presented in this text will be used to reharmonize various chord progressions found in different songs.
  2. - An organized approach to the enharmonic realizations of the various chords presented in the tension addition chapters.
  3. - Completes the available voicings within this text's established framework on the middle four strings.
  4. - Dominant functions of whole-tone and diminished are examined.
  5. - Examination of chromatic motion in each voice or voices of four-part harmonic structures.
  6. - Examination of harmonies derived from the "altered" scale; 1 Flat 2 Sharp 2 3 Flat 5 Sharp 5 Flat 7.
  7. - Examination of the various functions in these non-drop 2 type voicings
  8. - In depth examination of chromatic, diatonic, and dominant approach techniques relative to four-note voicings.
  9. - Included are "Low Interval Limits."
  10. - Included are various voice-led line patterns.
  11. - Included at the end of this chapter is a list of the "incomplete" dominant-Sub V chords that were produced by their "Sub V" relation to the original dominant chords presented in the tension chapters.
  12. - New enharmonic possibilities of chords already presented.
  13. - Problems and suggested solutions to chord symbology
  14. - Rules and considerations governing various voicing possibilities.
  15. - Suggestions for continued harmonic study including different voicing sizes and string combinations
  16. - Symmetrical and diatonic approach to the addition of tensions on diminished chords and examination of various functions.
  17. - Tensions 11 and 13
  18. - Tensions 9 and 11
  19. - Tensions 9 and 13
  20. - The remaining new chordal discoveries from the "Additional Enharmonic Chordal Substitutions" chapter are presented in various II - V - I examples.
  21. - Various parallel and/or contrary chromatic motion combinations are superimposed over different string combinations.
  22. 1. 13th (and 6th) chords presented in various II - V - I examples.
  23. 1. Chromatic guidelines over a single chord:
  24. 1. Construction of "drop 2" inversions on the middle four strings of the guitar.
  25. 1. Enharmonic chordal substitutions produced by the addition of tension 11 to a four-part harmonic structure.
  26. 1. Enharmonic chordal substitutions produced by the addition of tension 9 to a four-part harmonic structure.
  27. 1. Examination of the relative major, minor, or minor 7 Flat 5 of selected chords.
  28. 1. Modal and diatonic approaches to quartal harmony.
  29. 1. Multi-function examination of a single voicing and chord type
  30. 1. Organization of major and minor triads over various bass notes.
  31. 1. Theory governing tension selections including tension addition chart
  32. 1. Various rhythms and chord omissions (rests) are suggested to be used over the existing examples throughout this text.
  33. 10. Doublings
  34. 11. Reharmonization
  35. 2. 11th chords presented in various II - V - I examples.
  36. 2. 13th chords presented in extended musical examples
  37. 2. Chromatic guidelines over chord changes:
  38. 2. Construction of the various four-part chords (6th and 7th chords) through chord spelling.
  39. 2. Different rhythms and string combinations are examined.
  40. 2. Enharmonic possibilities of each structure.
  41. 2. Examination of various scales for their quartal harmonic potential.
  42. 2. Introduction of non-drop 2 type voicings; 9th(no5) or 9th(no3) chords.
  43. 2. Musical examples including II - V - I situations.
  44. 2. Newly discovered chords and functions are listed and presented in various II - V - I examples.
  45. 2. Voicing formulas for tension additions and substitutions to basic four-part structures.
  46. 3. "Upper-structure triads" - triads over different 7th and 6th chords.
  47. 3. 11th chords presented in extended musical examples.
  48. 3. 32-bar song form demonstrating the various uses of fourth voicings.
  49. 3. 9th chords presented in various II - V - I examples.
  50. 3. Contrary motion: various contrary chromatic combinations are presented in II - V - I examples and some extended chord progressions.
  51. 3. Drop 2 inversion notation or "voice leading."
  52. 3. Incomplete structures formed by tension additions and substitutions.
  53. 4. Different functions of fourth voicings derived from the Pentatonic scale
  54. 4. Tension 9 additions by string
  55. 4. Triads over tensions
  56. 5. 9th chords presented in extended musical examples.
  57. 5. Triads over bass arpeggios
  58. 6. Symmetrical motion
  59. 7. Diatonic motion
  60. 8. Contrary motion
  61. 9. "Unavailable" half-steps
  62. Additional Enharmonic Chordal Substitutions
  63. Additional Substitutions in II - V - I examples
  64. Altered 9th Tensions (Flat 9 and Sharp 9) on Dom. 7th Chords
  65. Altered Dominant
  66. Approach Voicings
  67. Chord Symbol Notation
  68. Chromatic Guidelines
  69. Conclusion
  70. Constant Structure Harmonic Motion
  71. Dominant Substitute V7 Chords
  72. Drop 2 type voicings
  73. Enharmonic Chordal Substitutions
  74. Enharmonic Substitutions on 9th Chords with omitted third or fifth
  75. Fourth Voicings
  76. Introduction
  77. New Voicings
  78. one line / two lines / three and four lines
  79. Relative Major - Minor
  80. Rhythm
  81. Song Examples
  82. Symmetrical Dominant Substitutions
  83. Tension 11
  84. Tension 13
  85. Tension 9
  86. Tension Additions on Diminished 7th Chords
  87. Tensions
  88. Theory / II - V - I examples / extended musical examples
  89. Theory / II - V - I examples / extended musical examples
  90. Three Tensions (9, 11, and 13)
  91. Triad over Bass Voicings
  92. Two Tensions
  93. Voice leading
  94. Voice-leading Chord Scales
  95. Voicing Considerations