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Theory of Harmony


Content

  • Why does our tone system consist of 12 tones per octave?
    • Analyzing harmonics
    • Stacking partials - the Pythagorean tuning
    • The unit Cent
    • Well-tempered tonal systems
    • The well-tempered tuning with twelve tones
    • Dyads, triads and more
      • Triads
      • Tetrachords
      • 5-note chords
    • Scales and diatonic system
    • The major scale and its scales and chords
      • The Ionian mode and its major seventh chord
      • The Dorian mode and its minor seventh chord
      • The Phrygian mode and its minor seventh chord
      • The Lydian mode and its maj7#11 chord
      • The Mixolydian mode and its dominant seventh chord
      • The Aeolian mode and its minor seventh chord
      • The Locrian mode and its m7b5 chord
    • The chromatic scale
    • The melodic minor scale and its scales and chords
      • MM1: The melodic minor 1st degree scale and its chord
      • MM2: The melodic minor 2nd degree scale and its chord
      • MM3: The melodic minor 3rd degree scale and its chord
      • MM4: The melodic minor 4th degree (mixo#11/lydianb7) scale and its chord
      • MM5: The melodic minor 5th degree scale and its chord
      • MM6: The melodic minor 6th degree (locrian9) scale and its chord
      • MM7: The melodic minor 7th degree (altered) scale and chord
    • The harmonic minor scale and its scales and chords
      • HM1: The harmonic minor 1st degree scale and its chord
      • HM2: The harmonic minor 2nd degree scale and its chord
      • HM3: The harmonic minor 3rd degree scale and its chord
      • HM4: The harmonic minor 4th degree scale and its chord
      • HM5: The harmonic minor 5th degree scale and its chord
      • HM6: The harmonic minor 6th degree scale and its chord
      • HM7: The harmonic minor 7th degree scale and its chord
    • The half step whole step diminished scale and its diminished seventh chords
    • The whole tone scale and its augmented triads
    • From minor pentatonic to Blues
    • Kadenzen und Kadenz-Varianten
      • Definition Kadenz
      • Die Mollkadenz der äolischen Molltonleiter
      • Die Mollkadenz der harmonischen Molltonleiter
      • Die Mollkadenz der melodischen Molltonleiter
      • Die heutzutage (nicht nur im Jazz) verwendeten II-V-I-Verbindungen
      • Ersatz der alterierten Dominante durch ihre Sekundärdominante
      • Ersatz der Dominanten durch verminderte Akkorde
      • Ersatz der Dominanten durch übermäßige Akkorde
    • Blues shifters as a solo stylistic device
      • Shifters over quarter triplets
      • Shifters over eighth triplets
      • Shifters over eighth notes
      • Shifters over sixteenth notes
    • Slash chords and inversions
      • Major7 slash chords
      • Major7#11 slash chords
      • Major7#5 slash chords
      • Minor-Major7 slash chords
      • Dominant seventh slash chords
      • Dominant seventh#11 slash chords
      • Minor7 slash chords
      • Minor7b5 (half diminished) slash chords
      • Diminished slash chords
      • Augmented slash chords

Why another theory of harmony?

The whole internet is so full of false transcriptions of music pieces that it literally leaves you speechless. On the one hand, this is probably due to the fact that only very few musicians have a background in music theory, and on the other hand, it is also due to the fact that most of the printed harmony lessons that I have come across so far are very unscientific. To make matters worse, music theory is based on a seven-stage scale system, which, as we will see later, leads to so-called enharmonic ambiguities at one point or another. The notation rules used here largely correspond to those used at the Berklee College of Music. Connections are derived and presented from scratch, so that no musical knowledge is required. Feedback and hints are welcome.