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Friday, February 15, 2013
Monday, February 11, 2013
Sunday, February 3, 2013
Mapping Tonal Harmony Pro Workbooks
Soon to be available, currently being reviewed by the publisher
FAQ.
What's in these workbooks?
The volumes in this collection are organized in a progressive manner, each volume expanding
the previous volume's map by introducing new harmonic concepts and/or functions, based on
the premise that all functions introduced in earlier volumes have been understood and
assimilated. Each new concept or function adds some level of detail to the map and/or extends
the known area around the tonic. The volume number for each workbook corresponds to a level in the Mapping Tonal Harmony Pro app.
Many of the concepts presented in these books are simply mentioned for mapping purposes
only, and should be carefully studied by using other sources such as: a harmony course, tonal
harmony books, teachers, etc.
Voice-leading and inversions are not covered in these volumes since their main objective is to
map essential harmonic functions in every key.
How are they organized?
The workbooks are structured, and expected to be used, in the same manner.
Following is a layout of every book in the collection:
• Suggested functional harmonic progressions and the accompanying functional map
• A four-page worksheet, for every key, including all possible enharmonic spellings,
containing:
o A list of suggested harmonic progressions (a few keys will explicitly show the
progressions written in the current key, while the rest are expect to be filled out
by the student based on a list of the same progressions written functionally)
o An accompanying tonal map in the current key
o A composer’s diary with blank staff paper in two staves per system format
o A fill-in-the-blanks map for the current key
How do I study with these workbooks?
1) Locate the new functions in the functional map and study its location in relationship with the
tonic and other known functions also check for standard resolution paths to and from them.
2) Choose a key you are comfortable with. Find the corresponding map in that key, write and
play the suggested harmonic progressions, while visualizing them on the tonal map, or by using
the supporting "[url=http://mdecks.com/mapharmony.html]Mapping Tonal Harmony[/url]" application provided by mDecks.
3) Once the new functions for the chosen key have been assimilated, try to write a few
progressions or compose simple pieces/songs in the composer's diary. Remember to include at
least one of the new functions in each.
4) Complete the corresponding worksheet containing the empty map in the current key by
filling in the blanks.
5) Next move to another key of your preference and repeat steps 2) to 4) until your ability to
recognize and write music using these functions has sufficiently improved in all keys.
It is also essential that you listen, play, analyze, transcribe, and write as much music as
possible.
Is it necessary to purchase all workbooks in order?
No. Each volume is self contained. The introductory chapters are included in every volume. You can decide which volume is the right one for your level by looking at the list of functions introduced in each wokrbook. Just keep in mind that the map's complexity increases by volume and you need to know all previously used functions in order to map/study the new ones for the selected volume.
Which functions and concepts are introduced in each volume
Vol. 1
The basic major & minor diatonic neighborhoods
Tonic - Sub-Dominant - Dominant. Basic harmonic progressions.
• Perfect Authentic Cadence (PAC).
• The use of V7 vs. V as a triad.
• Standard/Basic Harmonic Progressions in the nearby diatonic neighborhood.
• Use of the Tonic- Subdominant - Dominant - Tonic progressions.
• Progression over the Circle of Fifths: vi-ii-V-I
• Substitution: IVMaj7 in place of IIm7 (subdominants)
Vol. 2
Mapping IIIm , I64, V7sus4 and deceptive cadences
The complete diatonic neighborhood for Major-Minor (borrowing from minor)
• Deceptive and Plagal Cadences.
• The IIIm (ambiguous chord : Tonic vs. Dominant).
• Cadential I64 or I/5, Im64 or Im/5 and the V7sus4: all preceding the V7.
• Borrowing chords from other modes (minor - major).
Vol. 3
More harmonic progressions and cadences in the diatonic neighborhood
Mapping the SubV7 and its use as a Neapolitan chord
• Inverted bass and bass lines. Pedal points: Tonic Pedal and Dominant Pedal.
• Backward progressions and other progressions outside the circle of fifths.
• The half cadence to V7 without secondary dominants.
• The Neapolitan Sixth Chord (bII/3 or N6) and the SubV7 (bII7).
Vol. 4
Basic Secondary dominants and their related IIm7
V7/x, viio7/x, IIm7/x
• Basic Secondary functions.
• Creating a temporary key center in the diatonic neighborhood.
• Secondary Dominants (V7 and VIIo7 and the related IIm7).
• Extended Dominants.
Vol. 5
Mapping blues I7 IV7. Additional minor mode functions
The bIIMaj7 subdominant minor and its related IIm7-V7
• More borrowed chords from other modes and paths to modulations.
• The IV7 from dorian minor.
• The modal Vm.
• The bIIMaj7 subdominant minor chord (or root-altered IIm7b5) and its related IIm7 and
V7. The I7 as tonic in the Blues and Blues form.
Vol. 6
Advanced secondary functions and deceptive secondary cadences
Secondary cadential I64s & V7sus. Mapping IV/x , bVI/x, bVII7/x, viio7/x
• Other Secondary functions: IV/x bVI/x and bVII/x
• Creating a temporary Tonic in the diatonic neighborhood using secondary IV/x, bVI/x
and bVII/x.
• More borrowing from other modes and paths to modulations.
• Secondary cadential 64s & V7sus.
Vol.
7
The entire MAP, including all secondary functions
Mapping all secondary subVs/x and their related IIm. The N6 and Gr+6
• More Secondary functions: SubV7/X .
• The Neapolitan 6 N6/X (same as SubV/3 no 7)
• The Augmented 6th chords. Gr+6, It+6, Fr+6.
• The related IIm7/X for the SubV7/X.
• Extended dominants. Reinterpreting chord functions. New paths to modulations.
Why is the functional notation using m for minor chords instead of lower case roman numerals?
Chords are notated in standard chord notation with tensions, such as Dm7 or D7, and bass
inversions are notated using the forward slash symbol, D/A (D over A)
Functional chords are also notated in standard chord notation with tensions and slashed bass so
as not to confuse tensions with inversions, except for the I64, Im64, the Neapolitan 6th (N6) and
the German augmented sixth (Ger+6). For example: IVMaj7 (for the major 7th), IV/3 (for IV
chord over the 3rd of the chord, or first inversion), or Im/b3 (for the Im in first inversion.)
Classical functional notation (such as i for Im or, I42 for I in third inversion) has not been used
in these workbooks to accommodate jazz and contemporary music chord notation for standard
songs repertoire. Keep in mind that the main objective of these workbooks is to map/learn chord
functions in every key.
Why are there two maps for enharmonic keys?
Since the main objective of these workbooks is to learn and map all functions in every key, maps for both sharp and flat keys have been included.
Why is Workbook 1 more expensive than the rest of the volumes?
Workbook 1 is double the size in pages since it introduces the basic diatonic neighborhood for both major and minor independently.
The rest of the workbooks treat functions from both major and minor keys simultaneously.
FAQ.
What's in these workbooks?
The volumes in this collection are organized in a progressive manner, each volume expanding
the previous volume's map by introducing new harmonic concepts and/or functions, based on
the premise that all functions introduced in earlier volumes have been understood and
assimilated. Each new concept or function adds some level of detail to the map and/or extends
the known area around the tonic. The volume number for each workbook corresponds to a level in the Mapping Tonal Harmony Pro app.
Many of the concepts presented in these books are simply mentioned for mapping purposes
only, and should be carefully studied by using other sources such as: a harmony course, tonal
harmony books, teachers, etc.
Voice-leading and inversions are not covered in these volumes since their main objective is to
map essential harmonic functions in every key.
How are they organized?
The workbooks are structured, and expected to be used, in the same manner.
Following is a layout of every book in the collection:
• Suggested functional harmonic progressions and the accompanying functional map
• A four-page worksheet, for every key, including all possible enharmonic spellings,
containing:
o A list of suggested harmonic progressions (a few keys will explicitly show the
progressions written in the current key, while the rest are expect to be filled out
by the student based on a list of the same progressions written functionally)
o An accompanying tonal map in the current key
o A composer’s diary with blank staff paper in two staves per system format
o A fill-in-the-blanks map for the current key
How do I study with these workbooks?
1) Locate the new functions in the functional map and study its location in relationship with the
tonic and other known functions also check for standard resolution paths to and from them.
2) Choose a key you are comfortable with. Find the corresponding map in that key, write and
play the suggested harmonic progressions, while visualizing them on the tonal map, or by using
the supporting "[url=http://mdecks.com/mapharmony.html]Mapping Tonal Harmony[/url]" application provided by mDecks.
3) Once the new functions for the chosen key have been assimilated, try to write a few
progressions or compose simple pieces/songs in the composer's diary. Remember to include at
least one of the new functions in each.
4) Complete the corresponding worksheet containing the empty map in the current key by
filling in the blanks.
5) Next move to another key of your preference and repeat steps 2) to 4) until your ability to
recognize and write music using these functions has sufficiently improved in all keys.
It is also essential that you listen, play, analyze, transcribe, and write as much music as
possible.
Is it necessary to purchase all workbooks in order?
No. Each volume is self contained. The introductory chapters are included in every volume. You can decide which volume is the right one for your level by looking at the list of functions introduced in each wokrbook. Just keep in mind that the map's complexity increases by volume and you need to know all previously used functions in order to map/study the new ones for the selected volume.
Which functions and concepts are introduced in each volume
Vol. 1
The basic major & minor diatonic neighborhoods
Tonic - Sub-Dominant - Dominant. Basic harmonic progressions.
• Perfect Authentic Cadence (PAC).
• The use of V7 vs. V as a triad.
• Standard/Basic Harmonic Progressions in the nearby diatonic neighborhood.
• Use of the Tonic- Subdominant - Dominant - Tonic progressions.
• Progression over the Circle of Fifths: vi-ii-V-I
• Substitution: IVMaj7 in place of IIm7 (subdominants)
Vol. 2
Mapping IIIm , I64, V7sus4 and deceptive cadences
The complete diatonic neighborhood for Major-Minor (borrowing from minor)
• Deceptive and Plagal Cadences.
• The IIIm (ambiguous chord : Tonic vs. Dominant).
• Cadential I64 or I/5, Im64 or Im/5 and the V7sus4: all preceding the V7.
• Borrowing chords from other modes (minor - major).
Vol. 3
More harmonic progressions and cadences in the diatonic neighborhood
Mapping the SubV7 and its use as a Neapolitan chord
• Inverted bass and bass lines. Pedal points: Tonic Pedal and Dominant Pedal.
• Backward progressions and other progressions outside the circle of fifths.
• The half cadence to V7 without secondary dominants.
• The Neapolitan Sixth Chord (bII/3 or N6) and the SubV7 (bII7).
Vol. 4
Basic Secondary dominants and their related IIm7
V7/x, viio7/x, IIm7/x
• Basic Secondary functions.
• Creating a temporary key center in the diatonic neighborhood.
• Secondary Dominants (V7 and VIIo7 and the related IIm7).
• Extended Dominants.
Vol. 5
Mapping blues I7 IV7. Additional minor mode functions
The bIIMaj7 subdominant minor and its related IIm7-V7
• More borrowed chords from other modes and paths to modulations.
• The IV7 from dorian minor.
• The modal Vm.
• The bIIMaj7 subdominant minor chord (or root-altered IIm7b5) and its related IIm7 and
V7. The I7 as tonic in the Blues and Blues form.
Vol. 6
Advanced secondary functions and deceptive secondary cadences
Secondary cadential I64s & V7sus. Mapping IV/x , bVI/x, bVII7/x, viio7/x
• Other Secondary functions: IV/x bVI/x and bVII/x
• Creating a temporary Tonic in the diatonic neighborhood using secondary IV/x, bVI/x
and bVII/x.
• More borrowing from other modes and paths to modulations.
• Secondary cadential 64s & V7sus.
Vol.
7
The entire MAP, including all secondary functions
Mapping all secondary subVs/x and their related IIm. The N6 and Gr+6
• More Secondary functions: SubV7/X .
• The Neapolitan 6 N6/X (same as SubV/3 no 7)
• The Augmented 6th chords. Gr+6, It+6, Fr+6.
• The related IIm7/X for the SubV7/X.
• Extended dominants. Reinterpreting chord functions. New paths to modulations.
Why is the functional notation using m for minor chords instead of lower case roman numerals?
Chords are notated in standard chord notation with tensions, such as Dm7 or D7, and bass
inversions are notated using the forward slash symbol, D/A (D over A)
Functional chords are also notated in standard chord notation with tensions and slashed bass so
as not to confuse tensions with inversions, except for the I64, Im64, the Neapolitan 6th (N6) and
the German augmented sixth (Ger+6). For example: IVMaj7 (for the major 7th), IV/3 (for IV
chord over the 3rd of the chord, or first inversion), or Im/b3 (for the Im in first inversion.)
Classical functional notation (such as i for Im or, I42 for I in third inversion) has not been used
in these workbooks to accommodate jazz and contemporary music chord notation for standard
songs repertoire. Keep in mind that the main objective of these workbooks is to map/learn chord
functions in every key.
Why are there two maps for enharmonic keys?
Since the main objective of these workbooks is to learn and map all functions in every key, maps for both sharp and flat keys have been included.
Why is Workbook 1 more expensive than the rest of the volumes?
Workbook 1 is double the size in pages since it introduces the basic diatonic neighborhood for both major and minor independently.
The rest of the workbooks treat functions from both major and minor keys simultaneously.
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