Advance MusicSinopse Original:'A clear, concise, and beautifully conceived approach to expanding the harmonic possibilities for today's composer'.(Russell Ferrante - The Yellowjackets)'A way to forge a personal creative process which provides structure in a harmonic style that has few boundaries'.(Joe Mulholland - Chairman Harmony Department, Berklee College of Music.)Wayne Naus - BioB.M., Berklee College of MusicLeader of Heart & Fire Latin jazz octet (with whom he recorded Chase the Fire) and Berklee faculty group Moksha. Touring member for the Buddy Rich, Maynard Ferguson, and Lionel Hampton bands. Performances with Arturo Sandoval, Gary Burton, Mike Gibbs, Mel Torme, Frank Sinatra, Natalie Cole, Ella Fitzgerald, and Tony Bennett. Solo trumpet performances of the National Anthem for the Boston Red Sox at Fenway Park. Navy musicianRCA recordings with Buddy Rich and Maynard Ferguson, Numerous international television and concert performances, Author of Beyond Functional Harmony, published by Advance Music.'

I have had a long association with Berklee College of Music. Steam cd key generator. Igraduated from there in 1976 with a BA in Music Education. I havetaught there since then and am currently an Associate Professor inthe Harmony Department. I teach Harmony 1,2,3.4 and an electivecomposition course which I developed called 'The Music of TheYellowjackets'. I also lead the Berklee Tower of Power Ensemble whichI formed in 2000.

In the past I conducted the Berklee Buddy Rich BigBand. For the past 15 years I have taught in the 5-week SummerProgram where I teach the 5-week big band, the Tower of PowerEnsemble and advanced theory classes.' 'When I walk into a classroom, I'm not just prepared to teach-I'm prepared to learn as well. Keeping an open mind, especially around young people, is a critical aspect of my teaching style. Berklee is such a vibrant and vital environment, there's always the possibility of learning something new every day.

Teaching and studying harmony at Berklee is a unique experience. I like to combine the historical aspect of the subject with what's going on in today's world. A balanced perspective of both gives a student the tools to help bring their music to a higher creative level. Working with so many great players and writers over the years has given me the ability to relate what I'm teaching to real-life music.

I emphasize to students that everything we teach in the classroom actually exists in the real world of music-from Bach to Duke Ellington to the Beatles.'

Beyond.functional.harmony Wayne.j.naus v2. August 27, 2017 Author: ivan3220 Category: Harmony, Chord (Music), Melody. DOWNLOAD PDF - 6.9MB.

PDF MP3 173.92 MBBeyond Functional Harmony presents a system that creates melody and harmony, and allows them to function outside of the normal dependencies governing the principles of diatonic harmony, melody, and form. This system should give the composer a departure point from the harmonic and melodic characteristics grounded in the principles of tonal, key related, or functional harmony.This text should be undertaken in the same spirit in which it was written-an excitement of discovery, an enthusiasm for new ideas, and an ongoing pursuit for personal growth and development.Developed at the Berklee College of Music. Stay away from these books with old borrowed concepts that never worked.I am very sorry to see how Berklee is behind in concepts. No problem if read as a commom book whose author runs away from the topic.If neither the German original 'Functional Harmony' worked, what I can say about 'Beyond Functional Harmony', Beyond what? There is a lot of lack information and lack of historical knowledge. But, I'm within the official scenario that reproached the whole thesis of the German 'Dr. Hugo Riemann' who tried a new way to reshape harmony.Dr.

Hugo Riemann believed that the whole world would use his new system. But his own colleagues convinced him that all this was a redundancy of the past and added nothing and worse, didn't work as the name suggested, for when his colleagues tried to analyze Beethoven and Brahms the method failed, but not with traditional harmony'Dr. Riemann 'who was a first-rate musicologist acknowledged his error and apologized, his great mistake was to publish it, which crossed the continent to Americas,If he acknowledged his own error and didn't publish the continuation of this incomplete work, it is at least a bestiality, someone trying to continue something that didn't work, no one use it. You know one thing dude?:Speech is a lot like music, you can say a lot with a few words, or show a meaning less technique, not appropriate to the context.Dude it seems like you are the only one i the world that don't know what is meant by 'functional harmony ' so i created this account here to give you some light, it seems that you really need it:functional harmony:a theory of tonal music that regards all harmonies as functioning as essentially tonic, dominant, or subdominant harmony, or broadly: harmony as it functions within tonalityFunctional harmony.The idea is that chords have a function.

That's it dude, don't need to show off commentaries that are just out of the subject that obviously you don't understand ex:You wrote this:'the jazz exercises called chord progressions, already avoid parallel octaves or fifths. The fact of using 9th, 11th and 13th, doesn't imply functional harmony, but the same old traditional'.C'mon dude, what did you absorb!!!

Jazz exercises avoid parallels octaves or fifths ' Holly crap! Be serious dude, come backto earth (not flat by the way)Then what do those 9th, 11th and 13th comment about? WTFWTF do you know dude? Your speech does not make sense and if you don't agree go to hellbecause you are just fooling people here with your sick logorrhea that just prove one thingYou don't know this subject, that is not a problem if you shut up.Study RON MILLER and shut up with your false musical knowledge you are just mixingconcepts that you do not understand.Speak less, nobody gives a shit about your out of context remarks, you just want to show off some knowledge you learned and putting it together in a totally unintelligent way.Hard disks have a lot of knowledge inside also you know.Bye bye HD.

Pathetic in English is wrong: as ridiculous.Study the word of Greek origin PATHETIKOS, Latin PATHETICUS:Sensible, with capacity for emotion, 'related to PATHEIN,' to suffer, PATHOS, 'suffering, feeling, emotion.The fact that you have entered here, means that you have suffered for this, I have moved with you, it means that both of us are pathetics in the real etymological sense. I suffer every thing I read. This is life, movement. Suffering is good.nobody gives a. About your out of context remarks.How do you know about these numbers, it's impossible. Functional harmony merely refers to a hierarchical approach to chords which is the basis of tonal harmony. Piston, Aldwell and Schacter and the other classics are essentially Functional harmony approaches.Schoenberg's book is in effect a departure of functional harmony yet you list it as a stable of tonal haromny which i would say it isn't.

It is a great book that applies a post modern context and describes harmony for what it is, one system that serves as a framework.Essentially, these books provide a framework that helps organize the ideas presented in the music that was used as the basis of analysis.Riemann was something else. I would not really place him in any of these categories.I haven't yet read this book but i think you discount it rather early and for poor reasons that might mislead others that might appreciate it. It is not a book that we read, but study. I love 'Riemann' he has amazing works and is an extraordinary musicologist, I was obliged by office, to study his work named 'Functional Harmony', because my master's degree was about harmony.But, what you all DO NOT understand until now is that, he in music harmony tried to do the same, did nothing different from what was already used, just changed the figures and nomenclatures for something else, as well as simplifying too much, the cause of this, only served to analyze simple pieces and popular music for 3 minutes. Metaller: all types of harmony. Dude, there's just one, 'red is red, green is green'.

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Only temporal prohibitions.It doesn't exist: 'non common harmony' Tell me what this is, give some example! Once in time is not common, in another time it is. This is relative. Non Common in the opinion of whom?The paths that human beings discovered in the harmonic physics over the centuries are ready, we still use all them. My analysis is to say that there is no other harmony, but evolution since the unison.It is worthless trying to reformulate a system, after all music been composed centuries ago, whose composers were already dead, is like the book of piano technique 'Hanon' who published it after that most of the piano virtuoses were dead, including Beethoven, Schumann, Chopin, Alkan and almost Liszt.That is, Hanon has never been responsible for virtuosity on anyone's piano, so it is so contested. You know one thing dude?:Speech is a lot like music, you can say a lot with a few words, or show a meaning less technique, not appropriate to the context.Dude it seems like you are the only one i the world that don't know what is meant by 'functional harmony ' so i created this account here to give you some light, it seems that you really need it:functional harmony:a theory of tonal music that regards all harmonies as functioning as essentially tonic, dominant, or subdominant harmony, or broadly: harmony as it functions within tonalityFunctional harmony.The idea is that chords have a function.

That's it dude, don't need to show off commentaries that are just out of the subject that obviously you don't understand ex:You wrote this:'the jazz exercises called chord progressions, already avoid parallel octaves or fifths. The fact of using 9th, 11th and 13th, doesn't imply functional harmony, but the same old traditional'.C'mon dude, what did you absorb!!! Jazz exercises avoid parallels octaves or fifths ' Holly crap! Be serious dude, come backto earth (not flat by the way)Then what do those 9th, 11th and 13th comment about? WTFWTF do you know dude? Your speech does not make sense and if you don't agree go to hellbecause you are just fooling people here with your sick logorrhea that just prove one thingYou don't know this subject, that is not a problem if you shut up.Study RON MILLER and shut up with your false musical knowledge you are just mixingconcepts that you do not understand.Speak less, nobody gives a shit about your out of context remarks, you just want to show off some knowledge you learned and putting it together in a totally unintelligent way.Hard disks have a lot of knowledge inside also you know.Bye bye HD. You are pathetic.

A theory of tonal music that regards all harmonies.I see that you are in some language that naturally has etymological deficiency, therefore, makes a completely wrong use of words. It is easy to see in your words that also escapes academism and erudition.There is no 'Theory of Tonal Music', but books with this name, someone with a lack of notion and general education creates effects with the words to sell books, but there is 'Fundamentals of Tonal Music', since anyone with a good background in music knows that the harmony of the music is not to be analyzed by Einstein or Kabbalah, but the study of simple concepts that border on ridicule.Don't open the spoiler if you don't like to read.

Regards all harmonies.It is stupid to believe that there are several harmonies to be used in music, there is only one. On this topic I see clearly who needs some light, reading your text sent me to the 'Myth of the Cave or The Allegory of the Cave', by Plato.Over many years I give lectures in dozens of countries just to speak of harmony simplicity, which for some who have difficulty understanding harmony seems to be the most magnificent things of the arts, and then publish books on the subject and feel owners of the matter, if you are not the author of the book above.The fact that there are: chord symbols (Cmaj7, Dadd2, V13), Roman numerals (I, II, III, IV, V) or Dr. You seem to be well read on the matter.I don't think you deserve the sort of push back you are getting. I do think that perhaps your lexicon of terms does not correspond to what most people consider a consensus?for example, you dismiss functional harmony which i wouldn't disagree to a point yet pint to traditional harmony which is essentiallty functional harmony.

Any sort of hierarchy implies a function. All those traditional books you listed save for schoenberg's are completely V - I goal oriented books which isn't so bad because they are used to map music that acted in a way you could say was 'functional'. Poor you.Do you know that sometimes less is more?' When we do the first II-V-I jazz exercises, we perceive movements of thirds but not of fifths parallelisms. That was my point'WTF???What are you talking about?You are just jerking off with your false science.II-V-I exercises? Now, I understood you, and can't continue the subject, you're sure to be an amateur, you must play the guitar on the weekends. When you say:'Some light Platon: 1 / II-V-I = root movement of 4ths up (or 5ths's down) 'I am below Platon, but, not so much as you are, who until now, have not understood that all this discussion is about terminologies.

But after this.I received dozens of emails about the fact that you did not understand what PARALLELISM is. That's when two things go together, two voices in one movement like two thirds together in the same direction as always happens in II-V-I. This made me very happy, because I was already worried, thinking that I was talking to someone with serious argument. 'a theory of tonal music that regards all harmonies'Be honest dude: if you quote, take the whole sentence:'a theory of tonal music that regards all harmonies as functioning as essentially tonic, dominant, or subdominant harmony'And one thing 'sir'This was a quote from:can go and check it out, so you better give your commentsabout my deficiency to Merriam Webster!I was quoting because it was well defined.Perhaps you should go and tell them?! LOL!So Hans irgen:You write half of a quote and give me lessons about it?PATHETIC dude (or ridiculous to please you!)Poor soul.