|
Lecturer(s)
|
|
|
|
Course content
|
1. Strict and Loose Connection of Related Fifth Chords in Major. Cadence. The realisation of strict and loose connection of triads in a fifth and third relation, the connecting of unrelated triads, and the ability to form a cadence via main triads. 2. Harmonisation of Major Scale via Main Triads Issues of the formation of sopranos and their pitfalls. The prevention of wrong voice progressions in appropriate parallels and anti-parallels. 3. Unrelated Triads in Major The question of a functional overview of secondary triads. 4. Minor Key Variants of minor keys. Aeolian key. The pitfalls of the harmonic key - wrong progressions via an enlarged step and their prevention. So called inverted false connection. Melodic key - the question of the Dorian sixth. 5. Mixing of Keys Major harmonic and melodic key and its use in life. Minor subdominant in major. Issues of harmonic transverses. 6. Sequences Tonal and modal sequences. The threat of the misuse of a sequence as a 'cheap' harmonic mean. A model and its transposition. A possibility of the duplication of leading note and its chord progression in the transpositions of a sequence. 7. Sixth Chord The duplication of sixth chords. The unique character of the seventh degree. The connection of sixth chords with fifth chords, and connection of sixth chord among themselves. The practical use of sixth chords in a harmonic movement. 8. Inversion of Seventh Types of the applications of the chords in second inversion of triad. Their functional overview. An overview on the basis of melodic notes. The use of second inversion of sixth chord in a harmonic movement. 9. Cadences Authentic and plagal cadences. Rhythmic and harmonic variants of cadences. 10. Seventh Chords. Dominant Seventh Chord. The division of seventh chords into main and secondary. The characteristic dissonance of tritone and its solution. Dominant seventh chord - the rise of the seventh, the possibilities of the omission of the fifth, and the duplication of the root note, the chord progression to the tonic and to the sixth degree. The inversion of the dominant seventh chord and their chord progressions. 11. Seventh Chord of the Second Degree Two interpretation of the seventh chord of the second degree. The interpretation of the subdominant and the issue of and added the lower seventh - chord progressions to T6. A dominant chord progression to D. Subdominant and dominant chord progressions of the seventh chord of the second degree. 12. Seventh Chord of the Seventh Degree A combined chord progression. The interpretation of the seventh degree as of an incomplete dominant-subdominant functional combinations. Chord progressions of the seventh chord of the seventh degree, and of the inversions of the seventh chord of the seventh degree.
|
|
Learning activities and teaching methods
|
|
Dialogic Lecture (Discussion, Dialog, Brainstorming), Demonstration
|
|
Learning outcomes
|
The aim of the lectures is to give the student an overview of the basic issues of the classical harmony. Homework to the particular chapters is controlled by tutor during the course together with student´s ability to deal with practical application of concrete harmonic principles.
Acquired qualifications: The student is able to harmonically analyse simple diatonic excerpts from music compositions of music classicism and early Romanticism that do not extend the given key. Acquired skills: The student is able to: - independently deal with harmonic assignments - numbered and loose basses, and - harmonise assigned sopranos in the extent of the lectured material. Acquired qualifications: The student is able to harmonically analyse simple diatonic excerpts from music compositions of music classicism and early Romanticism that do not extend the given key.
|
|
Prerequisites
|
PHNK
|
|
Assessment methods and criteria
|
Written exam, Student performance
|
|
Recommended literature
|
-
Antonín Modr. (1960). Harmonie v otázkách a odpovědích. Panton, Praha.
-
DE LA MOTTE, DIETHER:. Harmonielehre, Kassel 1976.
-
HRADECKÝ, EMIL:. Úvod do studia tonální harmonie, Praha 1960.
-
HŮLA, ZDENĚK:. Nauka o harmonii, Praha 1956.
-
Janeček, K. (1982). Harmonie rozborem. Supraphon, Praha.
-
KOFROŇ, JAROSLAV:. Učebnice harmonie, Praha 1981.
|