Jean-Philippe Rameau

Rameau, Treatise on Harmony in English

1. TREATISE ON HARMONY · Reduced to Its Natural Principles
2. Preface
3. Table Explaining Essential Terms
4. CHAPTER ONE. On Music and Sound
5. CHAPTER TWO. On the Different Ways in Which the Relations of Sounds May Be Known
6. Chapter three. On the Origin of Consonances and Their Relations
7. Chapter four. Observations on the Properties of Harmonic and Arithmetic Proportions
8. Chapter five. On the Origin of Dissonances and Their Relationships
9. Chapter six. On Compound Intervals, Especially the Ninth and Eleventh
10. Chapter seven. On Harmonic Division, or the Origin of Chords
11. Chapter eight. On the Inversion of Chords
12. Chapter nine. Observations on All the Preceding Chords
13. Chapter ten. Observations on the Different Ratios That May Be Given to the Same Chord
14. Chapter eleven. How to Relate Ratios Given for Divisions to Vibrations and Multiplications of Lengths
15. BOOK TWO. On the Nature and Properties of Chords, and Everything That Can Serve to Make Music Perfect
16. CHAPTER TWO. On the Chords Assigned to Fundamental Sounds and Their Progression
17. CHAPTER THREE. On the Nature and Properties of the Octave
18. CHAPTER FOUR. On the Nature and Properties of the Fifth and Fourth
19. Chapter five. On the Perfect Cadence, in Which the Nature and Properties of All Intervals Meet
20. Chapter six. On the Interrupted Cadence
21. Chapter seven. On the Irregular Cadence
22. CHAPTER EIGHT. On Imitating Cadences by Inversion
23. CHAPTER NINE. On Avoiding Cadences while Imitating Them
24. CHAPTER TEN. On Chords by Supposition, with Which Cadences Can Also Be Avoided while Being Imitated
25. CHAPTER ELEVEN. On the Fourth and Eleventh
26. CHAPTER TWELVE. On Borrowed Chords, with Which Perfect Cadences Can Be Avoided while Being Imitated
27. Chapter thirteen. Rule for the Progression of Dissonances, Drawn from That of Fundamental Chords
28. CHAPTER FOURTEEN. Observations on the Progression of Thirds and Sixths
29. Chapter fifteen. On Occasions When the Seventh Must Be Removed from the Ninth Chord
30. Chapter sixteen. On Dissonant Consonances, Discussing the Fourth and the False Idea Attached to It through Irrelevant Rules
31. Chapter seventeen. On license
32. Chapter eighteen. FIRST ARTICLE · Establishing the rules
33. Chapter nineteen. Continuation of the preceding chapter, showing that melody arises from harmony
34. Chapter twenty. On the character of chords
35. Chapter twenty-one. On modes
36. Chapter twenty-two. The source of our freedom to pass from one mode or key to another
37. Chapter twenty-three. On meter
38. Chapter twenty-four. On the character of modes and keys
39. Chapter twenty-five. The usefulness of this new way of marking different meters
40. Chapter twenty-six. On the number of measures in each air and its particular movement
41. Chapter twenty-seven. What to observe when setting words to music
42. Chapter twenty-eight. On design, imitation, fugue, and their properties
43. Chapter twenty-nine. Intervals distinguished as major and minor; just or perfect; augmented and diminished
44. Book III. Principles of composition
45. Chapter two. On the fundamental bass
46. Chapter three. On the perfect chord, with which four-part composition begins
47. Chapter four. On the succession of chords
48. Chapter five. Some rules to observe
49. Chapter six. On the seventh chord
50. Chapter seven. Remarks on dissonance
51. Chapter eight. On key and mode
52. Chapter nine. How to proceed harmonically when the bass moves diatonically
53. Chapter ten. On the continuo bass
54. Chapter eleven
55. Chapter twelve. Further rules drawn from the preceding example
56. Chapter thirteen. On the perfect cadence
57. Chapter fourteen. On the leading note and the manner in which all dissonances resolve
58. Chapter fifteen. On the eleventh, called the fourth
59. Chapter sixteen. On the irregular cadence
60. Chapter seventeen. Different related bass progressions that leave the harmony of the upper parts unchanged
61. Chapter eighteen. On the manner of preparing dissonances
62. Chapter nineteen. On occasions when dissonances cannot be prepared
63. Chapter twenty. An exact enumeration of the different bass progressions according to the different dissonances employed
64. Chapter twenty-one. On the second chord
65. Chapter twenty-two. On keys and modes in general
66. Chapter twenty-three. On passing from one key to another, which is also called modulating
67. Chapter twenty-four. Continuation of the Rules Contained in the Preceding Chapter
68. Chapter twenty-five
69. Chapter twenty-six. On Using the Seventh on All the Notes of a Key in Diatonic Progression
70. Chapter twenty-seven
71. Chapter twenty-eight. On All Licenses, Beginning with the Interrupted Cadence
72. Chapter twenty-nine. On the Augmented-Fifth Chord
73. Chapter thirty. On the Ninth Chord
74. Chapter thirty-one. On the Eleventh Chord, Called the Fourth
75. Chapter thirty-two. On the Augmented-Seventh Chord
76. Chapter thirty-three. On the Augmented-Second Chord and Its Derivatives
77. Chapter thirty-four. On the Chromatic
78. Chapter thirty-five. On Putting into Practice Everything Said Thus Far
79. Chapter thirty-six. On Two-Part Composition
80. Chapter thirty-seven. On False Relations
81. Chapter thirty-eight. On Making a Melody Above a Bass
82. Chapter thirty-nine. On Figured Melody, or Supposition
83. Chapter forty. On Making a Fundamental Bass Beneath an Upper Part
84. Chapter forty-one. How to Compose a Continuo Bass Beneath an Upper Part
85. Chapter forty-two. Useful Observations on the Preceding Chapter
86. Chapter forty-three. What to Observe in Composition for Two, Three, and Four Parts
87. Chapter forty-four. On Design, Imitation, and Fugue
88. Book four. Principles of Accompaniment
89. Chapter two. On the Difference between Major and Minor Intervals, and between Perfect, Augmented, and Diminished Intervals
90. CHAPTER III. Hand position and the arrangement of the fingers
91. Chapter four. How to Find Chords on the Keyboard
92. Chapter five. Useful Observations on All Chords
93. Chapter six. On Keys and Modes
94. Chapter VII. The order to follow in the succession of chords found within the octave of each key
95. Chapter VIII. General rules
96. Chapter IX
97. CHAPTER X. The chord of the second
98. CHAPTER XI. Sixth chords
99. CHAPTER XII. The augmented-second chord and its derivatives
100. CHAPTER XIII. Chords by supposition
101. CHAPTER XIV. Observations on the relationships of all the preceding chords
102. CHAPTER XV. How to prepare and resolve all dissonances, and thereby recognize the current key and the chords belonging to each of its notes
103. CHAPTER XVI. Chromaticism
104. CHAPTER XVII. Recapitulation of the different chord successions
105. CHAPTER XVIII. Rules necessary for good accompaniment
106. CHAPTER XIX. Figuring a continuo bass and recognizing the chord indicated by each figure
107. CHAPTER XX. Distinguishing the bass notes that must bear a chord
108. SUPPLEMENT: changes to two chapters and necessary corrections
109. CATALOGUE Of other books on music theory printed in France, of which copies may be found