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Rimsky-Korsakov, Practical Manual of Harmony in English

Nikolai Rimsky-Korsakov

Rimsky-Korsakov, Practical Manual of Harmony in English

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  1. Preface to the First Edition
  2. Preface to the Third Edition
  3. Translator's Note
  4. Introduction
  5. Triads
  6. Seventh Chords
  7. Chords of the Strong and Weak Degrees, or Chords of the First and Second Order
  8. Triads
  9. Seventh Chords
  10. Motion of the Parts
  11. Melodic Position of Triads
  12. Harmonic and Melodic Connection of Triads
  13. Forbidden Motions
  14. Chapter II. Chord Progressions within One Key
  15. Connecting the Triads of I and IV, and of I and V, in Either Direction
  16. Exercise No. 1 (given melodies)
  17. Succession of Sixth Chords of the First, Fourth and Fifth Degrees with the Triads of the Same Degrees
  18. Succession of the Triad of the Fourth Degree with the Sixth Chord of the Fifth Degree
  19. Succession of the Two Sixth Chords of the Fourth and Fifth Degrees
  20. Cadences, or Full Closes — Authentic and Plagal
  21. Cadence Formula of the First Kind — with the Succession of Subdominant and Dominant
  22. Cadence Formula of the Second Kind (with the Six-Four Chord of the First Degree)
  23. Passing Six-Four Chords
  24. On the Half Cadence — On the Phrase
  25. Melodic Intervals of a Fourth and a Fifth in One of the Three Upper Parts
  26. Disjunct Motion of the Thirds of Chords
  27. Melodic Motion Formed in the Bass by the Thirds of Chords
  28. The Sixth Chord of the Diminished-Fifth Chord of the Seventh Degree (*)
  29. The Triad of the Second Degree in the Major Mode
  30. The Sixth Chord of the Second Degree in the Major and Minor Modes
  31. Twofold Use of the Triad of the Sixth Degree
  32. The Triad of the Third Degree of the Major Mode
  33. The Triad of the Third Degree of the Natural Minor Mode (Phrygian Cadence of the First Kind)
  34. The Triad of the Seventh Degree of the Natural Minor Mode (Phrygian Cadence of the Second Kind)
  35. Harmonizing Chorales (in One Key)
  36. The Minor Subdominant Chord and the Sixth Chord of the Second Degree in the Harmonic Major Mode
  37. Root position
  38. Inversions of the dominant seventh chord
  39. Minor and Diminished
  40. THE SEVENTH CHORD OF THE SECOND DEGREE and Its First Inversion
  41. A special form of plagal cadence
  42. USE OF SEVENTH CHORDS in the Realization of Chorales
  43. Ninth chords
  44. B) in the minor mode
  45. B) harmonic sequences of seconds and thirds
  46. Harmonic sequences with seventh chords
  47. B) in the minor mode
  48. Free use of all the degrees of each mode
  49. Related keys, or first-class keys
  50. Diatonic modulation
  51. Examples of modulations from A minor to its related keys
  52. Indirect means
  53. PARTICIPATION OF THE ARTIFICIAL MAJOR CHORD OF THE IV DEGREE of the Melodic Minor Mode
  54. by the tonic chord of the following key
  55. False relations
  56. Chromatic modulation
  57. INFLUENCE OF THE ARTIFICIAL CHORD of the IVth degree of the melodic minor scale
  58. Definitive and transient modulation
  59. Assignments
  60. THE USE OF MODULATION in harmonizing a melody
  61. Modulating plans
  62. Exceptions
  63. Assignments
  64. Distant keys
  65. On the pedal point
  66. Supplement
  67. Diatonic Passing Notes
  68. Spelling of the chromatic scales
  69. simple, double, etc
  70. The Neighbour Note
  71. General Principles
  72. Descending Suspensions
  73. Ascending and simultaneous suspensions
  74. Suspension of the diminished octave or of the augmented unison
  75. Melodic Ornamentation in the Strict Style
  76. On the Figured Chorale, and the Harmonization of a Melody Containing Melodic Ornamentation
  77. Melodic Ornamentation in the Free Style
  78. General rules
  79. EXERCISE No. 31 (MELODIES WITHOUT GIVEN BASS)
  80. EXERCISE No. 32 (GIVEN MELODIES)
  81. Altered Chords
  82. The Artificial Dominant Seventh Chord and the Artificial Diminished Seventh Chord
  83. CHORDS PRODUCED BY THE LOWERING ALTERATION OF THE IInd DEGREE
  84. The Augmented Fifth Chord (*)
  85. The Dominant Seventh Chord with Augmented Fifth
  86. The augmented sixth chord
  87. Enharmony of Augmented-Sixth Chords
  88. General Notions
  89. On Borrowed Cadences
  90. Supplement
  91. Polytonic Succession of Dominant Seventh Chords in the Relation of an Upper or Lower Third
  92. Application of Polytony to Sudden Modulation
  93. On Harmonic Ornament and Ornament of the Pedal
  94. Departures from the Strict Rule of Part Movement
  95. Peculiarities of Some Polytonal Successions
  96. Conclusion