Fire and Colour

수록곡

• Volume 1:
• Introduction
• I Parallel Chord Shifts and Their Uses
• 1. Parallel thirds
• 2. Parallel fourths and fifths
• 3. Parallel thirds and fifths combined
• 4. Parallel fourths and fifths combined
• 5. Parallel fifths
• 6. Shifts of root-position chords
• 7. Sixte ajoutée – added sixth chords
• 8. Parallel root-position chords with added sevenths
• 9. Parallel first-inversion chords and fauxbourdon
• 10. Parallel first-inversion minor chords with minor seconds
• 11. Parallel second-inversion major chords
• 12. Parallel second-inversion major chords with major seconds
• 13. Parallel second-inversion minor chords with major seconds
• 14. Parallel second-inversion minor chords with minor thirds
• 15. Parallel dominant seventh chords
• 16. Parallel second-inversion dominant seventh chords
• 17. Parallel third-inversion dominant seventh chords
• 18. Parallel dominant seventh chords with fifths
• 19. Parallel dominant seventh chords with sixths
• 20. Parallel major seventh chords
• 21. Parallel minor seventh chords
• 22. Dominant seventh chords in sequences of descending fifths with ninths and elevenths
• 23. Interlude: The influence of jazz harmonies on hymns
• II Scales
• 1. Eighteen different scales on D
• 2. Chromaticism and note repetition
• 3. Modes and chords
• III Further Methods of Harmonic Intensification
• 1. Changing the middle voices in harmonic progression
• 2. Changing the outer voices in harmonic progression
• 3. Triads without notes in common
• 4. Harmonization with the minor dominant
• 5. Third and mediant relationships
• 6. Tritone relationships – the qualities of the diabolus in musica
• 7. Interlude: The diminished chord and its resolution in hymns
• 8. The augmented chord
• 9. Whole tone steps
• 10. Perpetuum mobile
• 11. Chordal timbre – there’s dissonance and dissonance
• IV Bitonality
• 1. Simultaneous use of major and minor modes
• 2. Taking the rules of voice-leading with dissonance into account
• 3. Enharmonics and modulation
• V Rhythm
• 1. Uneven bars
• 2. Phrasing four against fiv e
• 3. Phrasing fiv e against four
• 4. Ostinato, patterns and changes of time signature
• VI Techniques for Fantasias and Toccatas
• 1. Slow introduction or interlude
• 2. Figures in the left hand
• 3. Passagework and embellishment
• 4. Figures in the right hand
• 5. Cantus firmus in the alto part
• 6. Study in velocity on the manuals
• 7. Passagework in both hands
• 8. Swapping functions between hands and cantus firmus in the bass part
• 9. Changes in the position and inversion of chords
• 10. Study in velocity on the pedals
• 11. Sustained and tied notes, final chords
• VII Finale
• 1. Index of hymns
• 2. Recommended music
• 3. Recommended books
• 4. Afterword
• 5. Acknowledgements
• 6. List of rights holders
• Volume 2:
• Notes
• I Renaissance
• 1. Stylistic techniques of the Renaissance
• 2. Mode and church key
• 3. Cadences II, ornamentation and compositional technique in selected literature
• 4. Renaissance or Early Baroque Suite
• II The Baroque Concerto
• 1. Baroque Concerto 1 st movement: fast
• 2. Baroque Concerto 2 nd movement: slow
• 3. Baroque Concerto 3 rd movement: fast
• III The classical French Baroque Mass
• 1. Chorale en taille
• 2. Duo
• 3. Trio en dialogue
• 4. Dialogue sur les Grands Jeux
• 5. Fugue
• 6. Dialogue sur la Trompette et Cromorne
• 7. Tierce en taille
• IV The French modern suite based on a hymn
• 1. Suite française moderne: 1 st movement
• 2. Suite française moderne: 2 nd movement
• 3. Suite française moderne: 3 rd movement
• 4. Suite française moderne: 4 th movement
• V Romantic Harmonization
• 1. Romantic chords I
• 2. Sequences
• 3. Romantic chords II: chromatic divergence of doubled chord tones
• 4. Successively more progressive harmonization based on a hymn line
• 5. Romantic chords III: repeated notes and chromatic bass lines
• 6. Romantic chords IV: suspended notes and chromatically abrupt modulations
• 7. Modern Romantics
• VI Harmonization according to Max Reger
• 1. Reger harmonic I: excerpts from the hymn preludes
• 2. Reger harmonic II: The 100 th psalm
• 3. Reger harmonic III: ten harmonizations of the same hymn line
• VII Contemporary harmonization in French style
• 1. Chord combinations, ninth chords, fifth-alterations, tritone-relations
• 2. Added sixth chords as accompaniment
• 3. Augmented chords or chords of the eleventh as accompaniment
• 4. Second-inversion dominant seventh chords as accompaniment
• 5. Septnon chords as accompaniment
• 6. Second chords as accompaniment
• 7. Ninth chords as accompaniment
• 8. Seventh chords at the distance of a tritone interval
• 9. Minor third relations from minor chords
• 10. Minor chords with major sevenths
• VIII Hymn variations according to Marcel Dupré
• 1. Theme
• 2. Execution of the tune in the tenor
• 3. Canon in the octave
• 4. Chromatic Scherzo I
• 5. Dance
• 6. Chromatic Scherzo II
• 7. Chromatic Scherzo III
• 8. Pentatonic Scherzo
• 9. Canon in the fourth and fifth I
• 10. Canon in the fourth and fifth I I
• 11. Canon in the fourth and fifth I II
• 12. Two-part canon studies
• 13. Canon in the second in Dupré style
• 14. Fugato
• 15. Toccata
• 16. Toccata à la française
• IX Gregorian prelude and increasing hymnal fugue
• 1. Prelude to Introitus I with modern harmonization
• 2. Increasing hymnal fugue as Introitus II or for the Offertory
• X Organ symphony
• 1. Basic considerations in advance
• 2. Module I: short themes and their combination
• 3. Module II
• 4. Module III: relaxing elements
• 5. Module IV: Sound and position
• XI Finale
• 1. Index of Hymns
• 2. Recommended music
• 3. Recommended books
• 4. Acknowledgements
• 5. List of rights holders
• 6. Sources of the works cited