Music Theory articles
Harmony Basics - Part 49 - Other methods to identify modes
In the previous article we started to see how you can differentiate modes from each other. And we'll keep on doing the same today.
Characteristic notes in the modal system - Harmony Basics - Part 48
After the very brief historical and philosophical considerations of the previous article, it's time to get back to more concrete aspects.
Historical and philosophical perspectives on modes - Harmony Basics - Part 47
In the previous article, I introduced you to modal harmony and recovered, with a slight change of perspective, the concepts of mode, scale and key you saw at the beginning of this series. Before continuing with technical explanations, I thought it would be interesting to put forth some brief historical and philosophical considerations about modes.
Introduction to modes and modal harmony - Harmony Basics - Part 46
Today I invite you to continue on this harmonic trip with a completely new topic. But it's not just any topic! In fact, it might just shatter some of your most deeply entrenched beliefs and fundamental certainties regarding harmony! Let me introduce you to modes and modal harmony!
Voicings for piano (end) - Harmony Basics - Part 45
As you already saw, due to orchestration (delegating the root to the instrument carrying the bass line) or simplification (making voicings lighter), you can take away all sort of notes from your voicings, according to your needs. At the same time, in the last couple of articles, I have striven to present to you more concrete examples of the theore…
Voicings for piano (continued) - Harmony Basics - Part 44
In the previous article we started to discuss how to apply to the piano everything you've seen so far regarding voicings. Today we'll continue doing the same.
Left-hand voicings for piano - Harmony Basics - Part 43
Today I will change a bit the usual approach of this article series. What I intend to do this time is to leave aside the purely theoretical aspect and put into practice, in a very simple manner, what we've been discussing in the previous articles regarding voicings.
Voicings and cadences - Follow-up and end - Harmony Basics - Part 42
The present article closes the mini-series we started with article 39 focusing on the use of voicings within the most common cadences. And we'll finish studying voicings based on added-tone chords looking at the interrupted cadence and rhythm changes. Let's go!
Voicings and cadences - Second-to-last installment - Harmony Basics - Part 41
With this article we close the chapter on voicings within the framework of cadences by seeing how you can add tones to the cadence chords in the previous articles.
Voicings and cadences - Follow-up - Harmony Basics - Part 40
In the previous article we discussed some examples for three types of cadences: seventh chord progressions based on the circle of fifths, the perfect cadence and the plagal cadence. And we also looked at examples of voice movements within these different cadences.