It’s time, finally, to learn what the golden course of horns is. This is nothing but a sequence of three harmonic intervals, namely: a small or large sixth, a pure fifth and a small or large third. The golden course of the horns is called this sequence because it is often the French horns that are often assigned to perform this turn in the orchestra.
We return to the topic of modulations, and from this article you will learn how to play modulations in the key of first-degree kinship. We will look at musical examples of modulations that will be included in the period already known to us. I remind you that this period I used myself in the lessons of harmony in the music school and the conservatory.
Even in ancient India, there were peculiar ideas about the close relationship between music and color. In particular, the Indians believed that each person has his own melody and color. Ingenious Aristotle argued in the treatise "On the Soul" that the ratio of colors is like musical harmonies. The Pythagoreans preferred the white color, as the main one in the Universe, and the colors of the spectrum in their presentation corresponded to seven musical tones.
Today we will do some interesting work - we will learn to look for distant related tonality, and to do it as quickly as we find “relatives” in the first degree. To begin with, we will clarify one important detail. The fact is that someone prefers to use the Rimsky-Korsakov system, according to which between tonalities there can be three degrees of kinship, and someone follows another system, according to which there are not three, but four.
Many experience difficulties in solving problems in harmony, and the reason is not a lack of theoretical knowledge of the subject, but some confusion: quite a lot of chords have been completed, but which one to choose for harmonization is a problem ... Partly this problem will be solved by my article, for which I tried to collect all the most famous, often used passing and auxiliary turns.
The subject of classical harmony necessitates a deep examination of the interrelationships between different tonalities. This interrelation, first of all, is carried out by the similarity of several tonalities with common sounds (including key signs) and is called relatedness of tonalities. Before it is necessary to clearly understand that, in principle, there is no universal system that determines the degree of relatedness of tonalities, since each composer perceives and implements this relationship in his own way.