Harmony 4 Workbook by Steve Rochinski Berklee ‘COLLEGE OF MUSICCopyright © 1995 Berklee College of Music All rights reserved. @ Printed on on recycled paper.Tan Harmony 4 represents the final stage of the Berklee core harmony curriculum. The material covered in Harmonies 1, 2, and 3 represents an exhaustive study of the underlying principles of theory /vocabulary for major key, minor key, and blues along with embellishments, all within the framework of functional harmony. The primary intention of Harmony 4 is to examine what are considered be harmonic situations that don’t readily fit into the mainstream of “common. practice” in traditional popular styles. Traditional popular styles can be defined as the formal, harmonic, and melodic characteristics of the music of such composers as Jerome Ken, George Gershwin, Richard Rodgers, Cole Porter, Harold Arlen, Sammy Cahn, Duke Ellington, Lennon and McCartney, Neil Diamond, Paul Simon, James Taylor, Carol King, Phil Collins, Stevie Wonder, Holland, Dozier and Holland, among many others. Every attempt has been made to create stylistic diversity wherever possible in examining these techniques, as references to specific tunes ot examples created for a given topic. (A fair amount of review has been supplied as preparation for Parts 1 and 2. ‘The teacher and students will determine how much review is necessary before continuing on to new material.) Part 1 is a continuation and conclusion of major key and minor key harmony as it relates to further uses of dominant 7th chords. Part 2 is further exploration of the concept of modal interchange in major key and minor key as it applies to the rest of, the modes derived from the major scale. Part 3 examines the use of pedal point and ostinato to enhance an existing chord progression and as a compositi Part 4 introduces the concept of contemporary modal music and basic compositional techniques. Part 5 demonstrates how inversions, hybrid chords, and polychords are used to, define contemporary harmonic progressions in major/minor key and modal contexts. Part 6 will examine functional and nonfunctional uses of constant structure chord progressions and define the basic difference between functional and nonfunctional harmony. In conclusion, the material covered in Harmony 4 not only represents a closure of the core Harmony courses, but also, more importantly, provides a foundation for the serious music student to make the successful transition into the more specialized harmony electives and major field courses. The combination of the core subjects and the electives makes for what has evolved over the last half century unique and effective method for analyzing, understanding, and applying contemporary popular harmonic practice. ional device.