Nikolai Rimsky-Korsakov: Practical Manual Of Harmony

Contents

• Section 1: Preliminary Notions
• Chord of the Seventh
• Natural and Altered Modes (Primary and Secondary Chords)
• Natural and Altered Modes (Primary and Secondary Chords)
• Relationship of Triads
• Movement of Voices
• Doublings
• Close and Open Harmony
• Melodic Position of Triads
• Harmonic and Melodic Connection of Triads
• Forbidden Progression and Steps
• Certain Exceptions in the Rules of Voice Leading
• Section 2: Harmonization of Chords within a Single Tonality
• Consonant Combinations
• Consonant Combinations
• Consonant Combinations
• Consonant Combinations
• Consonant Combinations
• Consonant Combinations
• Simple Complete Cadences: Authentic and Plagal
• Compound Cadences with the Progression of the Subdominant and Dominant
• Compound Cadence with the Six-four Chord on the I Degree
• Passing Six-four Chord
• Semi-Cadence (Harmonic Phrase)
• Leaps of a Fourth or Fifth in the Melody and Middle Voices
• Leaps of a Third in the Melody
• Leaps of a Third in the Bass
• The Sixth Chord of the Diminshed Triad on the VII Degree
• The Root-position Triad and the Sixth Chord on the II Degree
• The Root-position Triad on the VI Degree
• The Root-position Triad on the VI Degree
• The Root-position Triad on the III Degree in Major
• The Root-position Triad on the III Degree in Natural Minor (Phrygian Cadence
• Second Form)
• The Root-position Triad on the VII Degree in Natural Minor (Phrygian Cadence
• Second Form)
• Harmonization of Chorales (Without Modulation)
• The Minor Subdominant Triad and the Sixth Chord on the II Degree of the Harmonic-Major Mode
• Dissonant Combinations (The Dominant Seventh Chord in Root Postion)
• Inversions of the Dominant Seventh Chord
• Leading Seventh Chords on the VII Degree (Half-diminished and Diminished)
• The Seventh Chord on the II Degree and Its Inversions
• Particular Forms of Plagal Cadences on the II and VII Degrees
• Application of Seventh Chords to the Harmonization of Chorales
• The Chord of the Ninth
• The Relationship of All Triads in a Mode
• The Relationship of All Triads in a Mode
• The Relationship of All Seventh Chords in a Mode (Sequence with Seventh Chords)
• Supplement (Free Use of All Chords of the Scale)
• Section 3: Modulation
• Near Keys
• or Keys in the First Degree of Relationship
• Modulation without Chromaticism
• Indirect Methods
• Use of the Modified Triad on the IV Degree in Melodic Minor
• Modulation Directly through the Tonic Triad of the Subsequent Key
• Chromaticism and Free Progressions (Cross Relation)
• Chromatic Modulation
• Use of the Modified Triad on the IV Degree in Melodic Minor
• Transitions and Digressions
• Use of Modulations in Harmonizing Melodies
• The Second Degree of Relationship (Modulation Plans)
• Exceptions
• Perfect Modulation
• Imperfect Modulation
• Remote or Distant Tonalities
• Organ Point
• Section 4: Melodic Figuration
• Passing Notes
• Passing Notes
• Passing Notes
• Auxiliary or Embellishing Notes
• Suspensions
• Suspensions
• Suspensions
• Suspensions
• Strict Melodic Figuration
• Figured Chorales and Harmonization of Melodies Containing Melodic Figuration
• Free Melodic Figuration
• Harmonic Figuration and Figuration of the Organ Point
• General Rule
• Chromatically Modified Chords
• False Dominant-seventh Chords and False Diminished-seventh Chords
• Major Triad on the Lowered II Degree (Neapolitan Sixth Chord) and the Dominant Seventh Chord with the Lowered Fifth
• Chords with an Augmented Fifth
• Chords with an Augmented Sixth
• Means for Enharmonic Modulation
• Enharmonicism of Chords with an Augmented Sixth
• Enharmonicism of the Diminished-Seventh Chord
• Enharmonicism of the Augmented Triad
• False Progressions
• False Cadences
• False Progressions of Dominant Seventh Chords
• Application of False Progressions to Sudden Modulation
• Harmonization of Chorales
• Conclusion
• Exercises