John Gormley RCS

Introduction to Harmony 03 - Why we should avoid parallel fifths and octaves (in part writing)
Introduction to Harmony 03 - Why we should avoid parallel fifths and octaves (in part writing)
Introduction to writing fugue 01
Introduction to writing fugue 01
Introduction to writing fugue 02
Introduction to writing fugue 02
Introduction to writing fugue 03
Introduction to writing fugue 03
Introduction to writing fugue 04
Introduction to writing fugue 04
Introduction to Harmony 02 - Applying simple textures to your harmonisations.
Introduction to Harmony 02 - Applying simple textures to your harmonisations.
Introduction to Harmony 04 - Using chord V7 (particularly with the fourth degree of the scale)
Introduction to Harmony 04 - Using chord V7 (particularly with the fourth degree of the scale)
Introduction to harmony 05 - Piano textures again and refining our SATB part writing.
Introduction to harmony 05 - Piano textures again and refining our SATB part writing.
Introduction to Harmony 06 - Adding passing notes.
Introduction to Harmony 06 - Adding passing notes.
Introduction to harmony 07 - Using second inversion chords: the passing and cadential 6/4.
Introduction to harmony 07 - Using second inversion chords: the passing and cadential 6/4.
Introduction to Harmony 08 - Refining the vertical spacing of our chords.
Introduction to Harmony 08 - Refining the vertical spacing of our chords.
Introduction to harmony 09 - The 'rising 7' in the second inversion of chord V7.
Introduction to harmony 09 - The 'rising 7' in the second inversion of chord V7.
Introduction to harmony 01 - Harmonising a melody using chords I, IV & V in root position only.
Introduction to harmony 01 - Harmonising a melody using chords I, IV & V in root position only.
Introduction to Harmony 10 - Avoiding parallels when harmonising a melody that rises 6, 7, 8.
Introduction to Harmony 10 - Avoiding parallels when harmonising a melody that rises 6, 7, 8.