Beyond Functional Harmony Wayne Naus Pdf Files

Tonal Music Harmony pdf. Beyond.functional.harmony Wayne.j.naus v2. Tonal Harmony(Chapter Three) Egber E Ch. Andy Jaffe - Jazz Harmony. Dean wiliams. The Evolution of 20th Century Harmony. Berklee Modal Harmony Jazz. Alexis Vidal Vega. Harmony in Chopin - David Damschroder. Beyond.functional.harmony Wayne.j.naus v2. Download as PDF File (.pdf), Text File. Lead Mute.Advanced Setup Menu MERGE. Beyond.functional.harmony Wayne.j.naus v2. The shape of Olympus was formed by rain and wind, which produced an isolated tower almost 3,000 metres (9,800 ft) above the sea, which is only 18 kilometres (11 mi.

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PDF MP3 173.92 MBBeyond Functional Harmony presents a system that creates melody and harmony, and allows them to function outside of the normal dependencies governing the principles of diatonic harmony, melody, and form. This system should give the composer a departure point from the harmonic and melodic characteristics grounded in the principles of tonal, key related, or functional harmony.This text should be undertaken in the same spirit in which it was written-an excitement of discovery, an enthusiasm for new ideas, and an ongoing pursuit for personal growth and development.Developed at the Berklee College of Music. Stay away from these books with old borrowed concepts that never worked.I am very sorry to see how Berklee is behind in concepts. No problem if read as a commom book whose author runs away from the topic.If neither the German original 'Functional Harmony' worked, what I can say about 'Beyond Functional Harmony', Beyond what?

There is a lot of lack information and lack of historical knowledge. But, I'm within the official scenario that reproached the whole thesis of the German 'Dr.

Hugo Riemann' who tried a new way to reshape harmony.Dr. Hugo Riemann believed that the whole world would use his new system. But his own colleagues convinced him that all this was a redundancy of the past and added nothing and worse, didn't work as the name suggested, for when his colleagues tried to analyze Beethoven and Brahms the method failed, but not with traditional harmony'Dr. Riemann 'who was a first-rate musicologist acknowledged his error and apologized, his great mistake was to publish it, which crossed the continent to Americas,If he acknowledged his own error and didn't publish the continuation of this incomplete work, it is at least a bestiality, someone trying to continue something that didn't work, no one use it. You know one thing dude?:Speech is a lot like music, you can say a lot with a few words, or show a meaning less technique, not appropriate to the context.Dude it seems like you are the only one i the world that don't know what is meant by 'functional harmony ' so i created this account here to give you some light, it seems that you really need it:functional harmony:a theory of tonal music that regards all harmonies as functioning as essentially tonic, dominant, or subdominant harmony, or broadly: harmony as it functions within tonalityFunctional harmony.The idea is that chords have a function. That's it dude, don't need to show off commentaries that are just out of the subject that obviously you don't understand ex:You wrote this:'the jazz exercises called chord progressions, already avoid parallel octaves or fifths. The fact of using 9th, 11th and 13th, doesn't imply functional harmony, but the same old traditional'.C'mon dude, what did you absorb!!!

Jazz exercises avoid parallels octaves or fifths ' Holly crap! Be serious dude, come backto earth (not flat by the way)Then what do those 9th, 11th and 13th comment about? WTFWTF do you know dude?

Your speech does not make sense and if you don't agree go to hellbecause you are just fooling people here with your sick logorrhea that just prove one thingYou don't know this subject, that is not a problem if you shut up.Study RON MILLER and shut up with your false musical knowledge you are just mixingconcepts that you do not understand.Speak less, nobody gives a shit about your out of context remarks, you just want to show off some knowledge you learned and putting it together in a totally unintelligent way.Hard disks have a lot of knowledge inside also you know.Bye bye HD. Pathetic in English is wrong: as ridiculous.Study the word of Greek origin PATHETIKOS, Latin PATHETICUS:Sensible, with capacity for emotion, 'related to PATHEIN,' to suffer, PATHOS, 'suffering, feeling, emotion.The fact that you have entered here, means that you have suffered for this, I have moved with you, it means that both of us are pathetics in the real etymological sense.

Beyond Functional Harmony Wayne Naus Pdf Files List

I suffer every thing I read. This is life, movement.

Suffering is good.nobody gives a. About your out of context remarks.How do you know about these numbers, it's impossible. Functional harmony merely refers to a hierarchical approach to chords which is the basis of tonal harmony. Piston, Aldwell and Schacter and the other classics are essentially Functional harmony approaches.Schoenberg's book is in effect a departure of functional harmony yet you list it as a stable of tonal haromny which i would say it isn't. It is a great book that applies a post modern context and describes harmony for what it is, one system that serves as a framework.Essentially, these books provide a framework that helps organize the ideas presented in the music that was used as the basis of analysis.Riemann was something else. I would not really place him in any of these categories.I haven't yet read this book but i think you discount it rather early and for poor reasons that might mislead others that might appreciate it.

It is not a book that we read, but study. I love 'Riemann' he has amazing works and is an extraordinary musicologist, I was obliged by office, to study his work named 'Functional Harmony', because my master's degree was about harmony.But, what you all DO NOT understand until now is that, he in music harmony tried to do the same, did nothing different from what was already used, just changed the figures and nomenclatures for something else, as well as simplifying too much, the cause of this, only served to analyze simple pieces and popular music for 3 minutes.

Metaller: all types of harmony. Dude, there's just one, 'red is red, green is green'. Only temporal prohibitions.It doesn't exist: 'non common harmony' Tell me what this is, give some example! Once in time is not common, in another time it is. This is relative. Non Common in the opinion of whom?The paths that human beings discovered in the harmonic physics over the centuries are ready, we still use all them. My analysis is to say that there is no other harmony, but evolution since the unison.It is worthless trying to reformulate a system, after all music been composed centuries ago, whose composers were already dead, is like the book of piano technique 'Hanon' who published it after that most of the piano virtuoses were dead, including Beethoven, Schumann, Chopin, Alkan and almost Liszt.That is, Hanon has never been responsible for virtuosity on anyone's piano, so it is so contested.

You know one thing dude?:Speech is a lot like music, you can say a lot with a few words, or show a meaning less technique, not appropriate to the context.Dude it seems like you are the only one i the world that don't know what is meant by 'functional harmony ' so i created this account here to give you some light, it seems that you really need it:functional harmony:a theory of tonal music that regards all harmonies as functioning as essentially tonic, dominant, or subdominant harmony, or broadly: harmony as it functions within tonalityFunctional harmony.The idea is that chords have a function. That's it dude, don't need to show off commentaries that are just out of the subject that obviously you don't understand ex:You wrote this:'the jazz exercises called chord progressions, already avoid parallel octaves or fifths. The fact of using 9th, 11th and 13th, doesn't imply functional harmony, but the same old traditional'.C'mon dude, what did you absorb!!! Jazz exercises avoid parallels octaves or fifths ' Holly crap! Be serious dude, come backto earth (not flat by the way)Then what do those 9th, 11th and 13th comment about? WTFWTF do you know dude? Your speech does not make sense and if you don't agree go to hellbecause you are just fooling people here with your sick logorrhea that just prove one thingYou don't know this subject, that is not a problem if you shut up.Study RON MILLER and shut up with your false musical knowledge you are just mixingconcepts that you do not understand.Speak less, nobody gives a shit about your out of context remarks, you just want to show off some knowledge you learned and putting it together in a totally unintelligent way.Hard disks have a lot of knowledge inside also you know.Bye bye HD.

You are pathetic. A theory of tonal music that regards all harmonies.I see that you are in some language that naturally has etymological deficiency, therefore, makes a completely wrong use of words. It is easy to see in your words that also escapes academism and erudition.There is no 'Theory of Tonal Music', but books with this name, someone with a lack of notion and general education creates effects with the words to sell books, but there is 'Fundamentals of Tonal Music', since anyone with a good background in music knows that the harmony of the music is not to be analyzed by Einstein or Kabbalah, but the study of simple concepts that border on ridicule.Don't open the spoiler if you don't like to read. Regards all harmonies.It is stupid to believe that there are several harmonies to be used in music, there is only one. On this topic I see clearly who needs some light, reading your text sent me to the 'Myth of the Cave or The Allegory of the Cave', by Plato.Over many years I give lectures in dozens of countries just to speak of harmony simplicity, which for some who have difficulty understanding harmony seems to be the most magnificent things of the arts, and then publish books on the subject and feel owners of the matter, if you are not the author of the book above.The fact that there are: chord symbols (Cmaj7, Dadd2, V13), Roman numerals (I, II, III, IV, V) or Dr. You seem to be well read on the matter.I don't think you deserve the sort of push back you are getting. I do think that perhaps your lexicon of terms does not correspond to what most people consider a consensus?for example, you dismiss functional harmony which i wouldn't disagree to a point yet pint to traditional harmony which is essentiallty functional harmony.

Any sort of hierarchy implies a function. All those traditional books you listed save for schoenberg's are completely V - I goal oriented books which isn't so bad because they are used to map music that acted in a way you could say was 'functional'.

Poor you.Do you know that sometimes less is more?' When we do the first II-V-I jazz exercises, we perceive movements of thirds but not of fifths parallelisms. That was my point'WTF???What are you talking about?You are just jerking off with your false science.II-V-I exercises? Now, I understood you, and can't continue the subject, you're sure to be an amateur, you must play the guitar on the weekends. When you say:'Some light Platon: 1 / II-V-I = root movement of 4ths up (or 5ths's down) 'I am below Platon, but, not so much as you are, who until now, have not understood that all this discussion is about terminologies. But after this.I received dozens of emails about the fact that you did not understand what PARALLELISM is.

That's when two things go together, two voices in one movement like two thirds together in the same direction as always happens in II-V-I. This made me very happy, because I was already worried, thinking that I was talking to someone with serious argument. 'a theory of tonal music that regards all harmonies'Be honest dude: if you quote, take the whole sentence:'a theory of tonal music that regards all harmonies as functioning as essentially tonic, dominant, or subdominant harmony'And one thing 'sir'This was a quote from:can go and check it out, so you better give your commentsabout my deficiency to Merriam Webster!I was quoting because it was well defined.Perhaps you should go and tell them?! LOL!So Hans irgen:You write half of a quote and give me lessons about it?PATHETIC dude (or ridiculous to please you!)Poor soul.

Shifting tonalities for an emotional responseby Professor Wayne Naus '76Wayne Naus, a professional trumpet player, is a professor in the Harmony Department. He is the author of Beyond Functional Harmony published by Advance Music. For more information, visit.On one level, the process of modulation is simply a change from one key or tonal center to another. But on another level, it can also trigger a variety of emotional responses from the listener. Depending on the technique or combination of techniques used, modulation can help music to more effectively evoke a mood.Several factors govern the effects of modulation. But simply put, major keys generally produce a positive or happy effect; minor keys, a sad one.

Beyond Functional Harmony Wayne Naus Pdf Files Online

Tempo is also a factor. Depending on whether the move to the new key is harmonically prepared or unprepared, for example, modulations may be smooth or abrupt.

In addition to modulations to major and minor keys, it is possible to modulate between various modes and keys and to create some interesting modal-tonal combinations.Modulation: Objectives and TechniquesIn this article, I will confine the discussion to actual key changes and explore five techniques for modulating: direct, pivot-chord, melody driven, transitional, and combination modulations. No matter which technique you use to create a modulation, you need to ask three questions: (1) What is the desired effect? (2) What is the destination key? And (3) Which technique will get you there?Audio examplesNote that you can heighten the effect of a modulation if you change not only key but also tempo. Further, when visual images accompany a modulation, the psychological or emotional effect can be even greater.

Each modulation should be tailored to a particular musical situation. In many cases, musicians use a modulation at the chorus or bridge of a tune or as a segue between songs in a medley. Many jazz tunes (especially those in the bebop style) modulate frequently, creating a potential harmonic obstacle course for the player. Regardless of the type of modulation used, it must be a carefully sculptured musical event that involves a series of harmonic and melodic choices that conform to the style and context of the music at hand.The diagram below shows the harmonic, melodic, and key relationships that are involved in a modulation.

When two or more of these elements are combined, it creates what I call a 'combination modulation.' Even though the listener hears these relationships over the course of only a few seconds as the key changes, such modulations initiate an emotional response.

The listener may not even be consciously aware of the combined relationships in a modulation. But the overall effect may convey a feeling of optimism or new beginning, even the sensation of goose bumps. Audio files examples 8 and 9, 'America the Beautiful' and 'Taps' are examples of this.Examples of Modulation (click to view)through 7 demonstrate various combinations of harmonic, melodic, and key relationships that produce a range of modulation types with varied levels of complexity. Example 1 shows a direct modulation that uses two preparatory chords, Eb-7 and Ab7 (the II-7 and V7 of the new key). They set up the key change.is a pivot-chord modulation. In bar 3, the F-7 is called the pivot chord because it has a dual function as IV-7 in the key of C and as the II-7 in the key of Eb.

This type of modulation is more subtle than a direct modulation. Also in bar 3, the melody note C contributes to the effect of this approach on the listener. The ear perceives the C as the root in the key of C and as the sixth degree in Eb. Harmonically, the C functions as the fifth of the F-7 chord and the ninth on the Bb7 chord.shows a combination of pivot-chord and direct modulations that involve a different interaction between the melody, harmony, and adjacent keys, adding a greater degree of complexity. In bar 2, the G7 chord resolves in a deceptive cadence to an Ab maj7; in bar 3, a chord that functions in both keys. In bar 3, the melody note is the root in the key of C and the third degree in Ab.shows an unprepared, direct modulation that is melody driven and accomplished through the use of a common tone. The C in bars 3 and 4 is diatonic to both chords and keys.

In the key of C, it's the root; and in Db, the seventh. On the Ab7 chord, the C functions as the third; and on the Db chord it's the seventh. The audio file of this example demonstrates the effect the change of melodic function creates.is another combination of pivot-chord and direct modulations that capitalizes on the interaction between the harmony, melody, and adjacent keys. The melody note F in bar 3 is the fifth degree in the home key of Bb and the third in the new key of Db. It's the root of the F7 chord and the third of the Db chord.

Because of the deceptive resolution of the F-7, the Db chord has a function in both keys.shows another combination of direct and pivot-chord modulations. In bar 3, the melody note E is the third degree in the key of C and the fifth in A. The G7 chords have a function in both keys. Because of its deceptive resolution, the A maj7 chord can be heard as functioning in both keys. In the key of C, it is a rare example of a VI maj7 chord. This complex modulation can affect the listener on many levels.is a transitional modulation. During the three-bar transition from the key of C to Db (see bars 3 to 5), the feeling of the key of C is lost, and there is no expectation of what the new key will be.

Beyond Functional Harmony Wayne Naus Pdf Files 2017

The process begins with a series of II-7 V7s, which don't resolve and imply the keys of Eb and D. The melody is sequential and moves in an ascending direction, adding to the forward momentum provided by the harmony. Since there is no expectation of a key destination, this type of modulation can continue until the desired key is reached.As mentioned above, examples 8 and 9 are versions of and that I arranged and played on the trumpet to demonstrate modulation techniques. These modulations were designed to produce an emotional response that is impossible to sum up in a description of the techniques utilized.I hope some of the ideas in this article and the musical examples may inspire you to continue on a path of musical discovery, inspiration, and creativity.All sequences were created by Brad Hatfield '75.