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
7. Chapter four
8. Chapter five
9. Chapter six
10. Chapter seven
11. Chapter eight
12. Chapter nine
13. Chapter ten
14. Chapter eleven
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
20. Chapter six
21. Chapter seven
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
28. CHAPTER FOURTEEN. Observations on the Progression of Thirds and Sixths
29. Chapter fifteen
30. Chapter sixteen
31. Chapter seventeen
32. Chapter eighteen
33. Chapter nineteen
34. Chapter twenty
35. Chapter twenty-one
36. Chapter twenty-two
37. Chapter twenty-three
38. Chapter twenty-four
39. Chapter twenty-five
40. Chapter twenty-six
41. Chapter twenty-seven
42. Chapter twenty-eight
43. Chapter twenty-nine
44. Book III
45. Chapter two
46. Chapter three
47. Chapter four
48. Chapter five
49. Chapter six
50. Chapter seven
51. Chapter eight
52. Chapter nine
53. Chapter ten
54. Chapter eleven
55. Chapter twelve
56. Chapter thirteen
57. Chapter fourteen
58. Chapter fifteen
59. Chapter sixteen
60. Chapter seventeen
61. Chapter eighteen
62. Chapter nineteen
63. Chapter twenty
64. Chapter twenty-one
65. Chapter twenty-two
66. Chapter twenty-three
67. Chapter twenty-four
68. Chapter twenty-five
69. Chapter twenty-six
70. Chapter twenty-seven
71. Chapter twenty-eight
72. Chapter twenty-nine
73. Chapter thirty
74. Chapter thirty-one
75. Chapter thirty-two
76. Chapter thirty-three
77. Chapter thirty-four
78. Chapter thirty-five
79. Chapter thirty-six
80. Chapter thirty-seven
81. Chapter thirty-eight
82. Chapter thirty-nine
83. Chapter forty
84. Chapter forty-one
85. Chapter forty-two
86. Chapter forty-three
87. Chapter forty-four
88. Book four
89. Chapter two
90. CHAPTER III. Hand position and the arrangement of the fingers
91. Chapter four
92. Chapter five
93. Chapter six
94. Chapter VII
95. Chapter VIII
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