Manuel pratique d'harmonie tonale
David Lampel
6. L'utilisation des trois positions de l'accord
L:1/4
Q:1/4=40
K:C
%%voicecombine 1
%%piano3+1C
[V:C] "C"x "G"x "Am"x "F"x | "G"x2 "C"x2 |]
[V:S] e d c c | B2 c2 |]
[V:A] c B A A | G2 G2 |]
[V:T] G G E F | D2 E2 |]
[V:B] C, G, A, F, | G,2 C,2 |]
w:I V VI IV V I
L:1/4
Q:1/4=40
K:C
%%voicecombine 1
%%piano3+1C
[V:C] "C"x "G/B"x "C"x "F/A"x | "G"x2 "C/E"x2 |]
[V:S] c d c c | B2 c2 |]
[V:A] G G G F | G2 G2 |]
[V:T] E D E C | D2 C2 |]
[V:B] C, B,, C, A, | G,,2 E,,2 |]
w: I V/3 I VI/3 V I/3
Faux bourdon
L:1/4
Q:1/4=60
K:C
%%voicecombine 1
%%piano3+1C
[V:C] "C/E"x2 "B°/D"x "C/E"x |]
[V:S] c2 B c |]
[V:A] G2 F G |]
[V:T] C2 D C |]
[V:B] E,2 D, E, |]
w: I/3 VII/3 I/3
L'accord /5 de cadence
cadence conclusive
L:1/4
Q:1/4=40
K:C
%%voicecombine 1
%%piano3+1C
[V:C] "C/G"x "G"x "C"x2 |]
[V:S] e d c2 |]
[V:A] c B G2 |]
[V:T] G G E2 |]
[V:B] G,,2 C,2 |]
w: I/5 V I
cadence suspensive
L:1/4
Q:1/4=40
M:2/4
K:C
%%voicecombine 1
%%piano3+1CN
[V:C] "C/G"x "G"x |]
[V:S] e d |]
[V:A] c B |]
[V:T] G G |]
[V:B] G,2 |]
[V:N] "_I/5"x "_V"x |]
A trois temps, l'accord /5 sur un temps faible
L:1/4
Q:1/4=40
M:3/4
K:C
%%voicecombine 1
%%piano3+1C
[V:C] "F"x "C/G"x "G"x |]
[V:S] f e d |]
[V:A] c c B |]
[V:T] A G G |]
[V:B] F, G, G,, |]
w: IV I/5 V
L'accord /5 de passage
L:1/4
Q:1/4=40
%%voicecombine 1
%%piano3+1C
[V:C] "C"x "G/D"x "C/E"x2 |]
[V:S] e d c2 |]
[V:A] c B G2 |]
[V:T] G G C2 |]
[V:B] C, D, E,2 |]
w:I V/5 I/3
Mouvements conjoints à la basse.
L'accord /5 de broderie
L:1/4
Q:1/4=40
%%voicecombine 1
%%piano3+1CN
[V:C] "C"x "F/C"x "C/E"x2 |]
[V:S] c4 |]
[V:A] G A G2 |]
[V:T] E F E2 |]
[V:B] C,4 |]
[V:N] "_I"x "_IV/5"x "_I"x2 |]
La basse reste en place.
L:1/4
Q:1/4=40
M:3/4
%%voicecombine 1
%%piano3+1C
[V:C] "C"x "G7/D"x "C"x | "G/B"x3 |]
[V:S] c B c | d3 |]
[V:A] G G G | G3 |]
[V:T] E F E | D3 |]
[V:B] C, D, C, | B,,3 |]
w:I V/5 I V/3
Les degrés et leurs fonctions
L:1/4
M:2/4
Q:1/2=30
%%voicecombine 1
%%piano3+1C
[V:C] "C"x2 | "F"x "C/E"x | "F"x "G"x | "C"x2 |]
[V:S] e2 | f g | f d | c2 |]
[V:A] c2 | c c | c B | G2 |]
[V:T] G2 | A G | A G | E2 |]
[V:B] C,2 | F, E, | F, G, | C,2 |]
w:I IV I/3 IV V I
En majeur.
L:1/4
M:2/4
Q:1/2=30
K:Cm
%%voicecombine 1
%%piano3+1C
[V:C] "Cm"x2 | "Fm"x "Cm/Eb"x | "Fm"x "G"x | "Cm"x2 |]
[V:S] e2 | f g | f d | c2 |]
[V:A] c2 | c c | c =B | G2 |]
[V:T] G2 | A G | A G | E2 |]
[V:B] C,2 | F, E, | F, G, | C,2 |]
w:I IV I/3 IV V I
En mineur.
Le IIe degré
L:1/4
Q:1/2=30
%%voicecombine 1
%%piano3+1C
[V:C] "C"x "Dm/F"x "C/G"x "G"x | "C"x4 |]
[V:S] e d c B | c4 |]
[V:A] c A G G | G4 |]
[V:T] G F E D | E4 |]
[V:B] C, F, G, G,, | C,4 |]
w:I II/3 I/5 V I
En majeur.
L:1/4
Q:1/2=30
K:Cm
%%voicecombine 1
%%piano3+1C
[V:C] "Cm"x2 "D°/F"x "G"x | "C"x4 |]
[V:S] e2 d =B | c4 |]
[V:A] c2 A G | G4 |]
[V:T] G2 F D | E4 |]
[V:B] C,2 F, G, | C,4 |]
w:I II/3 V I
En mineur.
Le VIe degré
L:1/4
Q:1/2=30
%%voicecombine 1
%%piano3+1C
[V:C] "C"x2 "Am"x "G"x | "C"x4 |]
[V:S] c2 c d | e4 |]
[V:A] G2 A B | c4 |]
[V:T] E2 E G | G4 |]
[V:B] C,2 A,, G,, | C,4 |]
w:I VI V I
En majeur.
L:1/4
Q:1/2=30
K:Cm
%%voicecombine 1
%%piano3+1C
[V:C] "Cm"x2 "Ab"x "G"x | "Cm"x4 |]
[V:S] c2 c d | e4 |]
[V:A] G2 !red!A !red!=B | c4 |]
[V:T] E2 E G | G4 |]
[V:B] C,2 A,, G,, | C,4 |]
w:I bVI V I
L:1/4
Q:1/2=30
K:Cm
%%voicecombine 1
%%piano3+1C
[V:C] "Cm"x2 "Ab"x "G"x | "Cm"x4 |]
[V:S] c2 c d | e4 |]
[V:A] G2 E =B | c4 |]
[V:T] E2 E G | G4 |]
[V:B] C,2 A,, G,, | C,4 |]
w:I bVI V I
En mineur, il faut éviter le 2e augmentée.
La cadence rompue
L:1/4
Q:1/2=30
%%voicecombine 1
%%piano3+1C
[V:C] "C"x2 "Dm/F"x "G"x | "Am"x4 |]
[V:S] e2 f d | c4 |]
[V:A] c2 d B | A4 |]
[V:T] G2 A G | E4 |]
[V:B] C2 F, G, | A,4 |]
w: I II/3 V VI
En majeur.
L:1/4
Q:1/2=30
K:Cm
%%voicecombine 1
%%piano3+1C
[V:C] "Cm"x2 "D°/F"x "G"x | "Ab"x4 |]
[V:S] e2 f d | c4 |]
[V:A] c2 d =B | c4 |]
[V:T] G2 A G | E4 |]
[V:B] C2 F, G, | A,4 |]
w:I II/3 V VI
En mineur.
Le IIIe degré
L:1/4
Q:1/2=30
%%voicecombine 1
%%piano3+1C
[V:C] "C"x "Em"x "F"x2 | "C/G"x "G"x "C"x2 |]
[V:S] c B A2 | G B c2 |]
[V:A] G G F2 | E G G2 |]
[V:T] E E C2 | C D E2 |]
[V:B] C, E, F,2 | G, G,, C,2 |]
w:I III IV I/5 V I
En majeur.
L:1/4
Q:1/2=30
K:Cm
%%voicecombine 1
%%piano3+1C
[V:C] "Cm"x "Eb"x "Fm"x2 | "Cm/G"x "G"x "Cm"x2 |]
[V:S] c B A2 | G =B c2 |]
[V:A] G G F2 | E G G2 |]
[V:T] E E C2 | C D E2 |]
[V:B] C, E, F,2 | G, G,, C,2 |]
w:I bIII IV I/5 V I
En mineur.
Le VIIe degré
Q:1/1=40
%%piano3+1C
[V:C] "B°"x "G7"x | "B°/D"x |]
[V:S] d d | !blue!d |]
[V:A] !red!B !red!B | !red!B |]
[V:T] F F | F |]
[V:B] !red!B, G, | !blue!D, |]
w: VII V7 VII/3
Q:1/1=40
%%piano3+1C
[V:C] "B°/D"x "C"x | "B°/D"x "C/E"x |]
[V:S] !red!B !blue!c | !red!B !blue!c |]
[V:A] F G | F G |]
[V:T] !blue!D E | !blue!D !blue!C |]
[V:B] !blue!D, !blue!C, | !blue!D, E, |]
w:VII/3 I VII/3 I/3
En majeur.
Q:1/1=40
K:Cm
%%piano3+1C
[V:C] "B°/D"x "Cm"x | "B°/D"x "Cm/Eb"x |]
[V:S] !red!=B !blue!c | !red!=B !blue!c |]
[V:A] F G | F G |]
[V:T] !blue!D E | !blue!D !blue!C |]
[V:B] !blue!D, !blue!C, | !blue!D, E, |]
w:VII/3 I VII/3 I/3
En mineur.
8. Les cadences
La cadence parfaite
Q:1/1=40
%%piano3+1C
[V:C] "G"x "C"x | "G"x "Cm"x |]
[V:S] !red!B !blue!c | !red!=B !blue!c |]
[V:A] !blue!G G | !blue!G G |]
[V:T] D E | D _E |]
[V:B] !blue!G,, !blue!C, | !blue!G, !blue!C, |]
w:V I V I
La cadence imparfaite
Q:1/1=40
%%piano3+1C
[V:C] "G"x "C/E"x | "G/B"x "C"x |]
[V:S] !red!B !blue!c | !blue!g e |]
[V:A] !blue!G G | d !blue!c |]
[V:T] D C | !blue!G G |]
[V:B] !blue!G, !blue!E, | !red!B,, !blue!C, |]
w:V I/3 V/3 I
La cadence plagale
Q:1/1=40
%%piano3+1C
[V:C] "F"x "C"x | "Fm"x "C"x | "C"x/4 "F/C"x/4 "C"x/2 |]
[V:S] c !blue!c | c !blue!c | !blue!c |]
[V:A] A G | _A G | G/4 A/4 G/2 |]
[V:T] !blue!F E | !blue!F E | E/4 F/4 E/2 |]
[V:B] !blue!F, !blue!C, | !blue!F, !blue!C, | !blue!C, |]
w:IV I IV I I
La cadence rompue
Q:1/1=40
%%piano3+1C
[V:C] "G"x "Am"x | "G"x "Ab"x |]
[V:S] !red!B !blue!c | !red!=B !blue!c |]
[V:A] !blue!G E | !blue!G _E |]
[V:T] D !blue!C | D !blue!C |]
[V:B] !blue!G,, A,, | !blue!G,, _A,, |]
w:V VI V bVI
9. Enchaînements d'accords
10. Mouvements de voix harmoniques
La sensible
La sensible est une note à forte attraction vers la tonique ; elle monte donc en principe toujours vers celle-ci.
Q:1/1=40
%%piano3+1C
[V:C] "G"x "C"x |]
[V:S] !red!!r>(!B !blue!!r>)!c |]
[V:A] !blue!G G |]
[V:T] D E |]
[V:B] !blue!G,, !blue!C, |]
w:V I V I
Toutefois quelques exceptions à cette règle sont à signaler, en voici les principales :
Lorsque la sensible est dans une voix intermédiaire et se trouve résolue par la voix supérieure.
Q:1/1=40
%%piano3+1C
[V:C] "G"x "C"x |]
[V:S] d !blue!!r>)!c |]
[V:A] !red!!r>(!B G |]
[V:T] !blue!G E |]
[V:B] !blue!G, !blue!C, |]
w:V I V I
Au soprano, lorsque la résolution ne se fait pas sur un Ie degré et que la ligne mélodique le permet.
Q:1/1=40
%%piano3+1C
[V:C] "C"x "Dm/F"x "C/G"x "G7"x | "Am"x |]
[V:S] e d c !red!!r>(!B | !blue!!r>)!A |]
[V:A] !blue!c A !blue!G F | E |]
[V:T] G !blue!F E D | C |]
[V:B] !blue!C, !blue!F, !blue!G, G,, | !blue!A,, |]
w:I II/3 I/5 V7 VI
En mineur la sensible ne peut descendre, puisque sa résolution se ferait en descendant d'une seconde augmentée, intervalle à éviter. => A ne pas faire !
Q:1/1=40
K:Cm
%%piano3+1C
[V:C] "Cm"x "G"x | "Ab"x |]
[V:S] e d | c |]
[V:A] !blue!c !red!!r>(!=B | !blue!!r>)!A |]
[V:T] G !blue!G | E |]
[V:B] !blue!C, !blue!G,, | !blue!A,, |]
w:I V bVI
En mineur la sensible ne peut donc pas non plus être amenée par le VIe degré, car cela ferait en entendre une seconde augmentée, intervalle à éviter. => A ne pas faire !
Q:1/1=40
K:Cm
%%piano3+1C
[V:C] "D°/F"x "G"x |]
[V:S] !blue!A !blue!G |]
[V:A] D D |]
[V:T] !blue!!r>(!A, !red!!r>)!=B, |]
[V:B] F,, !blue!G,, |]
w:II/3 V
C'est possible si l'on emploie le mode mélodique ascendant.
Q:1/1=40
K:Cm
%%piano3+1C
[V:C] "D"x "G"x "Cm"x |]
[V:S] !r>(!=A !red!!r>)!!r>(!=B !r>)!c |]
[V:A] ^F !blue!G G |]
[V:T] !blue!D D E |]
[V:B] !blue!D, !blue!G, !blue!C, |]
w:V/V V I
11. Harmonie et rythme
12. La modulation
13. La marche harmornique
14. Les accords de 7e
15. L'accords de 7e de dominante
16. Les accords de 7e d'espèce
17. Les accords de 7e de sensible
18. Marches et modulations avec les accords de 7e
19. Les accords altérés
20. Notes étrangères à l'harmonie
21. Dispositions