Learn Harmony with Handel

In the first exercise of Harmony and Thorough Bass, you learn to correctly connect chords to optimize voice leading and maintain common tones.

In the second exercise of Harmony and Figured Bass, you learn to use the 5/3 chord over a slightly more active bass line.

In the third exercise of Harmony and Basso Continuo, you learn to use harmonies over a bass that moves in eighth notes, identifying structural notes from embellishments.

In the fourth exercise of Harmony and Thorough Bass, you become even more skilled with the 5/3 chord, using it in minor keys and in triple meter.

In the fifth exercise of Harmony and Basso Continuo, you will have a bass in 3/2 where you need to recognize the structural notes that lead the harmony from the passing notes that you should not harmonize.

In the sixth exercise of Harmony and Figured Bass, you will learn to use chromaticism over a bass using 5/3 chords.

In the seventh exercise of Harmony and Thorough Bass, you learn to use the 6/3 chord, particularly in its combination known as Fauxbourdon, which you can further explore in detail in stage 3.1 of the course The Partimento Method.

With the eighth exercise of Harmony and Figured Bass, you will apply the 6/3 chord in minor keys!

In the ninth exercise of Harmony and Basso Continuo, you will combine Fauxbourdon with the Neapolitan Sixth, which you can further study and practice with other exercises in Stage 4.6 of The Partimento Method.

In this tenth exercise of Harmony and Thorough Bass, you will learn to use the 4-3 Suspension and the PSR rule, which you will use whenever you encounter a structural dissonance, meaning Preparation, Suspension, and Resolution.

In the eleventh exercise of Harmony and Figured Bass, you learn to use the 6/4 chord to create a very interesting phenomenon called Double Suspensions.

In the twelfth exercise of Harmony and Basso Continuo, you learn to use the 6/5 chord and discover why, as a rule (always with the necessary exceptions that confirm it), you should prepare the fifth following the PSR rule.

In the thirteenth exercise of Harmony and Thorough Bass, you learn to use the 2 chord, which is used when we have the compositional pattern called Tied Bass, which you can learn about thoroughly and definitively in stage 3.5 of The Partimento Method.

In the fourteenth exercise of Harmony and Figured Bass, you learn to use the version of the Tied Bass pattern that simultaneously uses the second, fourth, and sixth.

This type of chord is known in modern harmony as the third inversion of the seventh chord.

In the fifteenth exercise of Harmony and Thorough Bass, you will apply the PSR rule you learned in the previous exercise to another type of Suspension: 7-6.

This creates a compositional pattern called 7-6 Fauxbourdon, which you can learn about in more detail and with many practical exercises in stage 3.3 of The Partimento Method.

In the sixteenth exercise of Harmony and Basso Continuo, you will learn that if you add a bass that jumps down a fifth and up a fourth to the 7-6 Fauxbourdon, you get a new pattern widely used in Baroque music called Quintfall.

In the seventeenth exercise of Harmony and Figured Bass, you will learn to use the 9-8 suspension and the PSR Rule when the ninth resolves to the octave.

In the eighteenth exercise of Harmony and Thorough Bass, you will practice with a variant of the 9-8 suspension, when the bass moves up a third or down a sixth during the resolution, creating a 9-6 Suspension.

In the nineteenth exercise of Harmony and Basso Continuo, still during the 9-8 suspension, the bass moves down a third, creating a 9-3 Suspension.

In the twentieth exercise of Harmony and Thorough Bass, you will practice Double Suspensions, where two voices simultaneously apply the PSR Rule over the bass: 9-8/7-6.

In the twenty-first exercise of Harmony and Figured Bass, you will practice the other type of Double Suspension, namely 9-8/4-3.

Be aware that the PSR rule is also very valid here, and you must follow it.

In this twenty-second exercise of Harmony and Basso Continuo, you will practice pedals, where the bass stays on the fifth degree and leaves room for the other voices!

In this review exercise number 23 of Harmony and Thorough Bass, you will test your skills with a bass that moves with many passing notes, diminutions, and jumps.

In the final review exercise of Harmony and Figured Bass, you will conclude this course with a new type of bass, very jumpy and cheerful, reflecting the character of the Giga: a very important Baroque dance