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Treatise on harmony. Translated with an introduction and notes by Philip Gossett.

New York, Dover Publications [1971] .
ISBN 0486224619

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Standard Title Traité de l'harmonie. English
Subjects Armonía.
Description lv, 444 pages facsimiles, music 24 cm
Copyright Date [1971]
Notes Includes bibliographical references.
Contents Book Four: Principles of accompaniment -- 1. How to recognize the intervals from the arrangement of the keyboard -- 2. On the difference between major and minor intervals ; and between those which are perfect and those which are augmented or diminished -- 3. On the position of the hand and on the arrangement of the fingers -- 4. On how to find chords on the keyboard -- 5. Useful remarks concerning all the chords -- 6. On keys and modes -- 7. On the order which must be followed for the succession of chords found within the octave of each key -- 8. General rules -- 9. On the different chords which should follow the seventh chords when the bass note remains on the same degree -- 10. On the chord of the second -- 11. On chords of the sixth -- 12. On the chord of the augmented second and on its derivatives -- 13. On chords by suppositions -- 14. Observations on the relations between all the preceding chords -- 15. On how to prepare and resolve all dissonances from which we shall come to know the key in use and the chords which each note of this key should bear -- 16. On chromaticism -- 17. Recapitulation of the various successions of chords -- 18. Rules which are necessary in order to accompany properly -- 19. On how to figure a Basso Continuo, and on how to know which chords each figure denotes -- 20. How to tell which Bass notes should bear a chord.
Book One: On the relationship between harmonic ratios and proportions -- 1. On music and sound -- 2. On the different ways in which the relationship between sounds can be known to us -- 3. On the origin of consonances and on their relationships -- 4. Remarks on the properties of the harmonic and arithmetic proportions -- 5. On the origin of dissonances and on their relationships -- 6. On doubled intervals, and especially on the ninth and the eleventh -- 7. On harmonic division, or on the origin of chords -- 8. On the inversion of chords -- 9. Remarks on all the preceding chords -- 10. Remarks on the different ratios which can be given to a single chord -- 11. How to relate the ratios given by the divisions to the vibrations and to the multiplication of lengths
Book Three: Principles of composition -- 1. Introduction to practical music -- 2. On the fundamental bass -- 3. On the perfect chord, with which composition in four parts begins -- 4. On the succession of chords -- 5. On several rules which must be observed -- 6. On the seventh chord -- 7. Remarks on dissonance -- 8. On key and mode -- 9. On how to modulate harmonically when the bass is given a diatonic progression -- 10. On the bass continuo -- 11. On the progression of the bass, which simultaneously determines the progression of the chords ; how we may relate a derived chord to its fundamental -- 12. Continuation of the rules drawn from the preceding example -- 13. On the perfect cadence -- 14. On the leading tone, and on how all dissonances are resolved -- 15. On the eleventh, called the fourth -- 16. On the irregular cadence -- 17. On the different progressions of a bass which are related to one another in such a way that the harmony in the upper parts does not change at all -- 18. On how to prepare dissonances -- 19. On occasions when dissonances cannot be prepared -- 20. A precise enumeration of the different progressions of the bass, according to the different dissonances used there -- 21. On the chord of the second -- 22. On keys and modes in general -- 23. On how to pass from one key to another; id est, on how to modulate -- 24. Continuation of the rules contained in the preceding chapter -- 25. How to know which chords must be given to the bass notes in any progression -- 26. How to use the seventh on every note of a key in a diatonic progression -- 27. How the same dissonance may occur in several consecutive chords on different notes; how it may be resolved by notes which appear to be foreign -- 28. On all licenses, beginning with the deceptive cadence -- 29. On the chord of the augmented fifth -- 30. On the ninth chord -- 31. On the eleventh chord, called the fourth -- 32. On the chord of the augmented seventh -- 33. On the chord of the augmented second and on its derivatives -- 34. On chromaticism -- 35. On how to make use of everything we have discussed hitherto -- 36. On composition in two parts -- 37. On false relations -- 38. On how to write a melody above a bass -- 39. On ornamental melody or supposition -- 40. On how to compose a fundamental bass below a treble -- 41. How to compose a basso Continuo below a treble -- 42. Useful remarks concerning the preceding chapter -- 43. Rules to be observed in a composition in two, three, and four parts -- 44. On design, imitation, and future
Book Two: On the nature and properties of chords and on everything which may be used to make music perfect -- 1. On the fundamental sound of harmony and on its progression -- 2. On the chords appropriate to fundamental sounds and on their progression -- 3. On the nature and properties of the octave -- On the nature and properties of the fifth and the fourth -- 5. On the perfect cadence, in which the nature and properties of all the intervals are found -- 6. On the deceptive cadence -- 7. On the irregular cadence -- 8. On the imitation of cadences by inversion -- 9. On how to avoid cadences by imitating them -- 10. On chords by supposition with which we may also avoid cadences by imitating them -- 11. On the fourth and the eleventh -- 12. On chords by borrowing with which we may avoid perfect cadences by imitating them -- 13. Rule for the progression of dissonances, derived from the progression of fundamental chords -- 14. Remarks on the progression of thirds and sixths -- 15. On occasions when the seventh should be suppressed from the ninth chord -- 16. On dissonant consonances, in which the fourth is discussed together with the false idea of it that exists because of superfluous rules -- 17. On license -- 18. Observations on establishing rules, in which the method of composing a fundamental bass is taught -- 19. Continuation of the preceding chapter, in which it appears that melody arises from harmony -- 20. On the properties of chords -- 21. On the modes -- 22. On the origin of our liberty to pass from one mode or from one key to another -- 23. On the properties of modes and keys -- 24. On meter -- 25. On the usefulness of this new way of indicating different meters -- 26. On the number of measures each air should contain, and on their characteristic movements -- 27. How to proceed when setting words to music -- 28. On design, imitation, fugue, and on their properties -- 29. On those intervals which should be classified as major and minor ; as just or perfect ; as augmented and diminished
Network Numbers (OCoLC)131217
WorldCat Search OCLC WorldCat
WorldCat Identities Rameau, Jean-Philippe, 1683-1764.
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