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Model #: 978-0-939067-46-6-PDF
Manufacturer: Alexander Publishing

Applied Professional Harmony 102 - PDF

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Henry Mancini, 4x Winner of the Academy Awards (Oscar) and 20 Grammy's
"Peter Alexander in his series, Applied Professional Harmony, has created what I feel will be standard text in schools for many years to come. In a thoroughly readable style, he has managed the neat trick of erasing the lines between so called 'popular' music and 'classical' music. Read and Learn."

John Tesh, 6X Emmy Winner and 4 Gold Albums
"If I had these books when I was in college, I'd have stayed in music school."

E.J. Doyle, National Academy of Songwriters
"Alexander Publishing books are comprehensive, efficient, and indispensable tools for National Academy of Songwriter members. I recommend them."


Applied Professional Harmony 102 picks up where Applied Professional Harmony 101 left off. We'll cover the seventh, ninth, and thirteenth chords and the assignment of specific chord type to chord scales. The material here goes far beyond the more traditional academic texts since both 'classical' and 'pop' uses of the seventh chord are covered. You also begin to learn various techniques of melody development for theme and variation techniques and various types of pedal point.

Applied Professional Harmony 102 takes you to the next level in creating powerful and wonderful music. Now you begin to learn the vocabulary of musical techniques.

You start with the eight different types of 7th chords and their voicing positions. From here, you learn how to connect seventh chords to the tonic triad, seventh chords in root position, how to prepare, strike and resolve the 7th degree in a chord progression, five alternate resolution patterns for the seventh chord, the 3-7 technique for creating background lines, plus most common comping patterns for pop and rock music.

You'll learn about passing tones, diatonic passing tones that create contrary motion, neither preparing nor resolving the seventh chord, omitting tones from seventh chords, jazz voicings and chord tone substitutions, ninth chords, seventh chords with 3rd, 5th and 7th in the bass.

You'll discover the melodic variety that comes with using the cambiata, the echappee, and the appoggiatura.

Next comes the use of syncopation and how it's used differently in classical and pop music.

We'll look at one of pop music's most frequently used techniques: the pedal point. You'll learn how to write tonic, dominant and pastoral pedals, the mediant pedal and short pedal point.

Next comes the most exhaustive look at suspensions you've ever seen. This is a powerful section that you'll go back to time and time again. This section contains nearly 75-pages of technique upon technique, idea after idea, all drawn from the classics that you can apply today.

In section 2, you learn the technique of the minor key area and modality. We'll first look at the original minor key: the Aeolian mode and how it expanded. You'll learn basic progressions, the III augmented chord, common use of seventh chords in minor, advanced work in minor, compositional applications in minor, commonly altered chords (altered ii, V and their jazz chord scale sources, altered vii).

There isn't a harmony book, past or present that's this complete with real world use of musical techniques and full pieces to study without having to purchase a separate workbook. This is a writer's approach, so throughout APH 102 you'll be doing lots of writing.

APH 102 Summary Table of Contents

Lesson 1 - Basics of Seventh Chords
Lesson 2 - Seventh Chords and their Applications Yesterday and Today
Lesson 3 - Connecting Seventh Chords to the Tonic Triad
Lesson 4 - Seventh Chords in Root Position - Two Chord Patterns
Lesson 5 - Prepare-Strike-Resolve
Lesson 6 - Melody and Analysis
Lesson 7 - Root Position Seventh Chords in Longer Progressions
Lesson 8 - Three More Ways to Introduce the 7th Degree
Lesson 9 - Five Alternate Resolution Patterns
Lesson 10 - Another View of Resolving the Small 7th Degree
Lesson 11 - Passing Notes and How to Harmonize Them
Lesson 12 - Diatonic Passing Tones Creating Contrary Motion
Lesson 13 - Neither Preparing Nor Resolving 7th Chords
Lesson 14 - Omitting Tones From Seventh Chords
Lesson 15 - Developing Background Lines with Root Position Seventh Chords
Lesson 16 - Ninth Chord and Ninth Tone
Lesson 17 - More Jazz Voicings and Chord Tone Substitutions
Lesson 18 - Third in the Bass and the Upper Neighbor
Lesson 19 - The Lower Neighbor
Lesson 20 - Developing Background Lines: Seventh Chords With 3rd in the Bass
Lesson 21 - 7th in the Bass & the Cambiata
Lesson 22 - Seventh With the Fifth in the Bass
Lesson 23 - Compositional Applications: Seventh Chords with Fifth in the Bass
Lesson 24 - Building Successive Seventh Chords
Lesson 25 - The Echappee and the Appoggiatura
Lesson 26 - Syncopation Classical Style
Lesson 27 - Pop Use of Syncopation and Anticipations
Lesson 28 - Organ or Pedal Point
Lesson 29 - Suspensions: An Indepth List
Lesson 30 - The Classical Anticipation
Lesson 31 - Compositional Analysis
Lesson 32 - Modality: The Minor Key Area
Lesson 33 - Aeolian Mode: The Minor Key
Lesson 34 - Gaining a View of Minor
Lesson 35 - Minor Chord Progressions With Inversions
Lesson 36 - Freer Treatment of the III+
Lesson 37 - Common Use of Seventh Chords in Minor
Lesson 38 - Advanced Work in Minor
Lesson 39 - Compositional Application in Minor
Lesson 40 - Commonly Altered Chords
Lesson 41 - More on Modality

571 pages.

SAMPLE CHAPTER (Click to open in a new window)
Applied Professional Harmony 102: Lesson 4 Sample Chapter

Series Overview


Want to make a budding musician, songwriter, or composer feel uncomfortable? Just start talking about the "rules of music." You'll see the light go out of their eyes, and a big sigh show up right on their face. Why such a reaction? Because most people believe that if you're going to learn music, you have to learn the rules of music. Then, after you've learned the rules, you can break them and do what you want.

Well, here's some good news. That's not how you learn music. It's how you learn math, but not how you learn music. Basically, you learn to write and play music by the same process that a painter learns to paint, and a short story writer learns to write stories.

Master the Basics
First, you start with the basics and learn to master them - so they don't master you. In music, the basics are knowing your notes, knowing your chords and the various voicings, learning how to put chords together in progressions, how to smoothly move voices to get a professional sound, song form, and instrumentation. Just knowing that alone lets you write all kinds of material. If you're using MIDI gear, just mastering these aspects is enough to put you on the road to recoding high quality demos right in your own home.

That's the basics, now comes art.

Study the Masters
Once an artist has mastered the fundamentals, he studies the techniques of specific painters and learns to paint in that style. That includes learning to mix paints and select the right tools to duplicate the various brush techniques of each master that's studied. As the student grows, he develops a vocabulary of expression. His eye develops likes and dislikes. He knows what he wants to see and what he doesn't want to see. In time, his own style emerges.

Music works the same way. Instead of a look, we create a sound. Peter Paul Rubens has a look. Bach, John Lennon, Ravel, Stravinsky and David Foster have a sound. Once you've mastered the basics, you study each composer to discover the rules by which they wrote to create the sound they achieved - their musical brush strokes. Then you write in that style. The process is then repeated. With MIDI equipment, once you've written and recorded your work you can hear it over and over again. Not even Beethoven could do that.

How Peter Alexander Teaches You:

1. The books are easy to read. They're written in everyday English so they're very readable. You use the words of the working musician that are simple, direct and to the point.

2. The books are easy to use. They're written so you can teach yourself. Music skills are taught in a logical flow with each lesson building on what you've already learned. In many cases, you can use what you've learned right away. The books are organized for quick referencing so you'll use them over and over again for many years. These are not textbooks, rather a welcome friend to inspire and instruct.

3. You'll be taught principles and application, not rules. There are only three true rules of music: 1) the harmony and melody issues that define a specific style of music; 2) the personal likes and dislikes of how a specific songwriter or composer created their music; 3) ranges and basic playing techniques of the instruments. Because Peter teaches you the principles behind these points, you can teach yourself to write in most any style of music you want. Academically sound? Yes. Though creatively driven, the books generally equal a semester at music school.

4. The books are series oriented, so you can go as deep as you want or need. In the privacy of your own home, you can study simply written materials that can take you through graduate school level courses, but with professional applications.

You'll get the best results when using the books with a MIDI keyboard and sequencing program on your computer. This way, you build keyboard skills, composing and songwriter skills, ear training skills, arranging and orchestration skills, sequencing and recording skills. The payoff: faster learning, a professional sound, and an entrance into the larger world of multimedia.

Please click on the "About APH 102" tab at the top of this product page for more information about Applied Professional Harmony 102 including a summary table of contents.

Haven't gone through the first book in the series yet? Click here for Applied Professional Harmony 101.

If you’re doing Applied Professional Harmony as a self-study program and your keyboard skills are not that strong, we highly encourage you to also order the Pace Piano Method. Your keyboard goal is getting to Grade Level 2 to develop “arranger’s chops” for both writing and sequencing.

For additional training, be sure to check out our Spectrotone™ Chart for arranging and mixing your work.