HARMONY BOOKS volume3

BOOK 3 
Second part: MODAL HARMONY 
Introduction 
Modal Harmony
Modes associated to the major scale
Modes associated to the melodic minor scale
Modes associated to the harmonic minor and harmonic major scales 
Modal chords
Modal chords – Symbols 
Modes associated to the major scale Ionian 
       Dorian, Phrygian, Lydian, Mixolydian, Aeolian 
Modes of the melodic minor scale 
     Real melodic minor 
     Phrygian 6M 
     Lydian augmented 
     Lydian dominant 
     Mixolydian b13 
     Locrian 2M
     Super Locrian 
Pentatonic scales
False pentatonic 
Major pentatonic scales 
Minor pentatonic scales 
Other pentatonic scales 
     Hirajoshi, Kumoi, Pelog 
Blues Scales
     Major Blues scale and minor Blues scale 
Symmetrical modes
     Chromatic scale 
     Symmetrical Dominant Hexatonic Scale (Whole Tones) 
     Hexatonic scale #2–b2 – 81 
Octatonic scales
     Symmetrical Dominant Octatonic 
     Scale Symmetrical Diminished Octatonic Scale 
Modes of harmonic scales
     Modes of harmonic minor and its chords 
     Modes of harmonic major and its chords 
     Modes of harmonic minor b2
     Modes of harmonic major b2 
Other scales
     Spanish scale of eight notes 
     Hybrid harmonic-natural scale 
     Hungarian major scale 
     Romanian scale
     Enigmatic scale 
     Whole tone scale with sensible 
Two octave scale 
Quartal chords
Scriabin's mystical chord 
The Tristan. chord 
 
Third part: POST-TONAL HARMONY 
Post-tonal harmony 
Petrushka chord 
Other chords by thirds 
Twelve-note chords
Chords by seconds – Clusters 
Chords by fifths, sixths and sevenths 
Polytonality and Atonality
Harmonic structures in the dodecaphonic process