Frank Haunschild The New Harmony book

ISBN 13: 9783927190689

The New Harmony book

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9783927190689: The New Harmony book
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This workbook for all musicians gets down to the rudiments of music right from the start. Notation is dealt with in depth and in an easily understandable way, as are the harmonic series and the various intervals and triads as well. There are step-by-step explanations of how to use chord symbols, with the relationships of the chords to each other being demonstrated as well. In addition there is close examination of the circle of fifths and the circle of fourths, the chord-scale systems of the major scales, and the harmonic and melodic minors, as well as pentatonic scales, symmetrical scales and blues scales. Numerous illustrations and examples, exercises and solutions, commentaries and analyses make a decisive contribution to a better understanding of the rudiments of music.

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Review:

''This book on harmony is meant to be for each and every musician. Irrespective of whether you are an instrumentalist, vocalist, composer, arranger, sound engineer, music teacher or student; the information contained in this textbook is essential for your day-to-day contact with music. It is for this reason that I have endeavoured to make each individual section of this book as detailed and as lucid as possible.

This book is also designed to be used at music schools, colleges and conservatories, where multitudes of classically trained teachers are faced with the problem of having to impart the terminology of rock, pop and jazz music to their eagerly awaiting students. It is here that this book - especially in the legendary and enigmatic field of improvisation can be an aid both to teaching and learning. It should be used to try to bridge the gap and unite the oft antagonistic camps of classical harmony and popular music by applying their rudiments and relating them to each other.

This harmony method is published in two volumes and is subdivided into different sections, the first two of which will be dealt with in this volume. The tonal system of western harmony is explained in the first part. To enable even the true beginner to learn a little about harmony, the book's first chapter deals with notation. This work thus attempts the virtually impossible: it should, without even calling upon the help of a teacher, serve the layperson as a textbook - even though this may not appear to be worth recommending to most of the experienced educators.

Using the harmonic series, the second chapter illustrates the origins of our tonal system, which are to be found in nature. It can be omitted if the reader wishes to limit him-or herself to learning the rules of harmony. These often neglected facts are, however, of considerable significance for understanding larger interrelationships, which is why would recommend each reader - perhaps after having read the didactic section - to have a look at this part.

It is the third chapter of the second part of this book which gets down to dealing with the real theory of harmony. The sequence of the chapters has been arranged in such a way that they go from monophony (intervals) right up to the more complex polyphony (triads and chords of four notes). The chords presented are first of all seen as static forms which only later take on the shape of larger-scale harmonic serial forms. There is an introduction in the sixth chapter (lonian system) to the way of thinking of the modern chord-scale theory, which this harmony method is based on. The chapter on the circle of fifths is followed by all the important and common scales together with the chords based upon them.

There is a whole range of examples for each important subject and they are generally to be found after the paragraph in question. The references printed in italics make it easy to find the explanatory text to the individual examples, and in addition, important terms are printed in bold type the first time they appear, so that this textbook lends itself to a sort of encyclopaedia or dictionary of harmony for quickly browsing over certain headwords.

There is an alphabetic index of the most important headwords and special terms of harmony at the end, to enable careful, thorough and academic work to be carried out when using this book. You will find a selection of tasks and exercises at the end of each chapter, which will serve to check wh at you have learnt and which will help you to gain the confidence needed when dealing with such material. The answer key at the end of this book should only really be used in cases of doubt or to check tasks you have already solved.

Many people helped me so much while I was working on this book and I would like to take this opportunity to express my heartfelt gratitude to them. --Bonn

I would mention Detlef Kessler, without whose energy this whole project would never have got off the ground, Michael Küttner, who supported me during my times of trouble with my computer, Eddy Marron, Gunnar Plümer, Herbert Kraus, Denis Wieger and my father Hans-Hilger Haunschild, who all looked through the manuscript critically. I would particularly like to mention Wolfgang Fiedler and Rene Teichgräber for the page make-up, Manfred Drechsel for the graphic design and Steve Taylor for the English translation. My particularly profound thanks, however, go to my wife Sabine for her constant support and encouragement and to my children Lisa and Felix.

I would refer those who have enjoyed reading the first volume of this work and would like to learn more about harmonic relationships, to the second volume of this book on harmony. It is also published by AMA Verlag and in addition to matters such as II-V-I-progressions, modal changes, tritone substitutes, secondary dominants, turnarounds and the blending of major and minor, it ontains a four-colour diatonic modulation table in DIN A 1 format. I hope I am able with this book to bring the reader closer to what for me has always been the driving force behind my pre-occupation with harmony, and that is simply the love of music.

Bonn, Autumn 1988'' --Bonn

About the Author:

2. The scales in the blues
The minor pentatonic scale as the first blues scale
The minor pentatonic scale with the b5 (minor blues scale)
The blues scale
The phenomenon of the ''''blue notes''''

3. The symmetrical scales
The whole-tone scale
The chromatic scale
Half-tone-whole-tone and whole-tone-half-tone scales
The half-tone-whole-tone scale
The whole-tone-half-tone scale
Further possibilities
4. Composite scales

Exercises

Chapter 11: The harmonic major scale

The formation of the harmonic major scale
The harmonic major scale system
Naming the harmonic major scales
The half-tone relationship of the four basic scales
The four chord-sea le systems
Exercises

Appendix: Additional chord symbols
Tables of the scales

Answer key to the exercises
Index''

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