This clear and well organised text is suitable for students of arranging and composition, and for classically trained musicians wishing to further grasp the simple logic of jazz harmony. Essential understandings:- Triad structures and inversions- How to select chords; chord symbols- Simple but effective voicing formulae- The circle of 4th progressions, - Extensions to the 9ths and dominant 13ths, and altered 5ths and 9ths. Included in the 107 pages are comprehensive explanations, examples, exercises and solutions. For school students, the course can be started in year 9 and worked through to year 13."This book certainly delivers. Mr. Griffin does a superb job giving clear and concise steps that students should take when approaching the task of harmonizing a melody. The book is laid out in a clean, easy-to-understand format. Mr. Griffin is obviously a gifted teacher, and has developed a book that would be a great resource for any music teacher or student interested in understanding and implementing more complex theory/harmony concepts." - Natalie Wickham, Music Matters, USA."Particularly good for A Level pupils composing in a pop and jazz style. The material gradually increases in difficulty and there are a lot of useful exercises to be completed by students"- Music teacher, UK."Excellent resource which will save teachers hours of preparatory work. Useful for a general understanding of options when harmonising in composition. An essential part of KS5 harmony work which goes beyond the common chords and progressions. Very professionally set out."- ZigZag Education, UK.

An accessible scientific explanation for the traditional rules of voice leading, including an account of why listeners find some musical textures more pleasing than others. Voice leading is the musical art of combining sounds over time. In this book, David Huron offers an accessible account of the cognitive and perceptual foundations for this practice. Drawing on decades of scientific research, including his own award-winning work, Huron offers explanations for many practices and phenomena, including the perceptual dominance of the highest voice, chordal-tone doubling, direct octaves, embellishing tones, and the musical feeling of sounds “leading” somewhere. Huron shows how traditional rules of voice leading align almost perfectly with modern scientific accounts of auditory perception. He also reviews pertinent research establishing the role of learning and enculturation in auditory and musical perception. Voice leading has long been taught with reference to Baroque chorale-style part-writing, yet there exist many more musical styles and practices. The traditional emphasis on Baroque part-writing understandably leaves many musicians wondering why they are taught such an archaic and narrow practice in an age of stylistic diversity. Huron explains how and why Baroque voice leading continues to warrant its central pedagogical status. Expanding beyond choral-style writing, Huron shows how established perceptual principles can be used to compose, analyze, and critically understand any kind of acoustical texture from tune-and-accompaniment songs and symphonic orchestration to jazz combo arranging and abstract electroacoustic music. Finally, he offers a psychological explanation for why certain kinds of musical textures are more likely to be experienced by listeners as pleasing.

Excerpt from The Faith of a Quaker There arise also the insistent questions which beset all mystics, and which in Quakerism demanded a corporate, instead of an individual, answer. Was the light infallible? Was the claim to it an assumption of spiritual exaltation. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Includes music.

A new method of music theory education for undergraduate music students, Harmony, Counterpoint, Partimento is grounded in schema theory and partimento, and takes an integrated, hands-on approach to the teaching of harmony and counterpoint in today's classrooms and studios. A textbook in three parts, the package includes: - the hardcopy text, providing essential stylistic and technical information and repertoire discussion; - an online workbook with a full range of exercises, including partimenti by Fenaroli, Sala, and others, along with arrangements of eighteenth- and nineteenth-century compositions; - an online instructor's manual providing additional information and realizations of all exercises. Linking theoretical knowledge with aural perception and aesthetic experience, the exercises encompass various activities, such as singing, playing, improvising, and notation, which challenge and develop the student's harmonic, melodic, and rhythmic imagination. Covering the common-practice period (Corelli to Brahms), Harmony, Counterpoint, Partimento is a core component of practice-oriented training of musicianship skills, in conjunction with solfeggio, analysis, and modal or tonal counterpoint.